<< previous pAsuram \u2013 21 \u2013 maivaNNa narunkunchi<\/span><\/em><\/a><\/p>\n In the previous pAsuram, by \u201c<\/span>avarai nAm dhEvar enRu anjinOm<\/em>\u201d, <\/span>parakAla nAyaki said to her friend \u201cone who is kind was thought by me as a supreme One\u201d. \u201c<\/span>Her friend asked, <\/span>Now you are separated from Him, but tell me the story of what happened when He was together with you\u201d. \u201cThis is the way He enthralled me and stayed together with me\u201d – she replies in this pAsuram. <\/span><\/p>\n Even after showing His beauty and kindness, she did not get charmed by it; so He thought whether He would have to leave from there. But His divine feet did not move. How is it that the One who does not have any needs, is standing because of having no heart to leave, so <\/span>is <\/span>standing still, for the one (jeevAthmA) who is always needy? – It is only because He is the owner of this jeevAthmA. The loss if a property leaves, and the gain if the property joins, are that of the owner. Moreover, He is in love with her <\/span>so<\/span> He is not able to leave from there. \u201cIf I leave after failing to attract her with my beauty, then there won\u2019t be anybody to use this beauty against\u201d, He thought about His beauty. So He did not leave. If a prince of noble clan <\/span>went<\/span> to a princess of a noble clan and return<\/span>ed<\/span> because she did not engage in His beauty, then nobody else would engage in that beauty. It is emperumAn\u2019s thought that it is His beauty that helps Him <\/span>right <\/span>from the first step of engaging jeevathmA toward Him through to the step of making that jeevAthmA finally reach Him. Even if His beauty does not help here, His love for jeevathmA would not let Him leave. Since she is His sweet lover, He cannot engage force to get her; so He could not hug her forcefully. It is not enjoyable to hug her without her acceptance. <\/span><\/p>\n So He pondered, \u201cI could not attract her by my beauty or my simplic<\/span>i<\/span>ty; no<\/span>r<\/span> do i want to use force. So what else is the way?\u201d. When He was as kaNNan in thiruvAyppAdi He had seen that the cowherd girls were attracted to his playing <\/span>of<\/span> flute. So He decided that He shall engage her with the sound of His voice. So He sang a song that is set in a melody called \u201c<\/span>naivaLam<\/em>\u201d.<\/span><\/p>\n When thiruvadi wished to talk to seethAp pirAtti the first time after seeing her in rAvaNan\u2019s place, he thought of several ways to do that without troubling her. That is, \u201c<\/span>Evam bahuviDhAm chinthAm<\/span><\/em>[SrI rAmAyaNam – sundhara KANdam – 31-1]\u201d (thinking <\/span>of<\/span> these <\/span>many<\/span> ways). Here, it is emperumAn\u2019s <\/span>Evam bahuviDhAm chinthAm<\/span> moment.<\/span><\/p>\n \u201cI came here to the place where she is alone, for hunting. So there is no one who could stop <\/span>me<\/span> singing, by asking \u2018Oh who is singing like this\u2019. So this is the only way to engage her\u201d, He thought and sang one melody. <\/span><\/p>\n parakAla nAyaki says, \u201cSo <\/span>due to this <\/span>I got interested in Him very much and was in union with Him. This is what happened\u201d. <\/span><\/p>\n It is the usual practice of those who come for hunting, to rest in the shadow under a tree, sprinkle water in the face to remove tiredness, keep <\/span>a<\/span> piece of <\/span>camphor inside the mouth to <\/span>get relief from <\/span>thirst, and to sing some melody for tiredness to go. In that manner, He sang a melody – she says <\/span>so <\/span>in this pAsuram.<\/span><\/p>\n naivaLamonRArAyA nammai nOkkA ArAyA – <\/b><\/i>Singing elaborately<\/p>\n onRu – <\/b>the very best<\/p>\n naivaLam – <\/b>melody named naivaLam,<\/i><\/p>\n nammai nOkkA – <\/b> then seeing me<\/p>\n iRaiyE nANinARpOl – <\/b>while standing near me like He is a bit shy,<\/p>\n pinnum – <\/b>and even after that,<\/p>\n nayangaL seyvaLavil – <\/b>when He was singing with humble words in the melody,<\/p>\n en manamum kaNNum – <\/b>my mind and eyes<\/p>\n Odi – <\/b>ran (while<\/span><\/span><\/span> leaving me)<\/p>\n emperumAn thiru adik keezh aNaiya – <\/b>and set under the divine feet of emperumAn; as this happened,<\/b><\/p>\n ippAl – <\/b>after that,<\/p>\n kANEn – <\/b>I lost and have not seen<\/p>\n kai vaLaiyum – <\/b>the bangles I had worn in my arms,<\/p>\n mEkalaiyum <\/b>– and the cloth worn in my hip;<\/p>\n kaNdEn – <\/b>(But ) I saw<\/p>\n kanam makarak kuzhai iraNdum – <\/b>two strong ear ornaments,<\/p>\n nAngu thOLum – <\/b>and four divine shoulders;<\/p>\n (after that),<\/p>\n emperumAn kOyil evvaLavu uNdu enRERku – <\/b>to me who asked Him – how far is the place (from here) of you my majesty,<\/p>\n ezhil Ali idhu anRo enRAr – <\/b>He pointed to and told that the beautiful divine place thiruvAli is this.<\/p>\n naivaLam – <\/b><\/span>Since this melody would attract the people, this melody \u201c<\/span>natta pAdai\u201d<\/i><\/span> (<\/span>nAttai kurinji rAgA<\/span><\/a><\/u><\/span><\/span>) is mentioned here as \u201c<\/span>naivaLam<\/b><\/i><\/span>\u201d based on such nature of it. <\/span>M<\/span>eaning obtained <\/span>from this name<\/span> naivALam <\/i><\/span>is that it would attract both the singer and the listener and everyone. He sang such a melody. nammAzhvAr too <\/span>divined<\/span><\/span><\/span> as \u201c<\/span>nudangu kELvi isai<\/i><\/span> [thiruvAimozhi – 3.4.6<\/a>]\u201d, <\/span> <\/i>that is, that those who listen to this melody will get attracted.<\/span><\/p>\n onRu – <\/b>unparalleled. Considering that this melody is the best in attracting when compared to all other types of melodies, and if one is not able to attract using this melody then there is no other way to attract, it is said as unparalleled. When it is not possible to attain Him through karma yOgam or gyAna yOgam, <\/i>then one could try to attain Him through bhakthi yOgam. <\/i>If that does not work, then one could attain Him through prapaththi, <\/i>considering Him as the shelter. If prapaththi <\/i>also does not yield Him, then there is no other way to attain Him. Like how a devotee does not have a way other than <\/i>the last one that is prapaththi, <\/i>He too used the last resort to get her – singing in this rAgA of naivaLam.<\/i><\/p>\n ArAyA – <\/b>He <\/span>s<\/span>tarted a<\/span> prelude (AlApanai) to the song.<\/p>\n nammai nOkkA – <\/b>After doing the AlApanai for the rAga, He Himself got under its control and forgot Himself. \u201cNow it is impossible for her to not be under my control\u201d, He thought, and so looked at my face. He thought, \u201cIt goes without saying that the one that melts a diamond itself, would definitely melt lac wax\u201d. That is, He thought – the melody that attracted me who is a man, would definitely engage this soft-natured woman; and so He looked at my face. She is saying in plural, \u201cnammai\u201d to imply herself only.<\/p>\n nANinAr pOl iRaiyE – <\/b>Like getting shy a little bit. I melted completely when He started AlApanai for singing, and as He saw my face, I pretended not to be interes<\/span>ted, like how rice puff appears with jaggery paste covering it. Seeing that, shyness was born in Him, and He thought – I performed the act of last resort, but it did not get the result; so He became shy. If He becomes fully shy then He would not be able to do anything further. So He pretended to be shy, she says. That is, in order to appear shy, instead of seeing me directly, He saw the garden, then saw on the sides, etc., – she says. All the struggle that <\/i>a <\/i><\/span><\/span><\/span>prapannar<\/i> went through in \u2018azhuvan thozhuvan <\/i>[thiruvAimozhi – 5.8.5<\/a>]\u201d, He went through regarding one He<\/span> loves.<\/p>\n pinnum nayangaL seyvaLavil – <\/b>Even after that, when He sang using humble words<\/span>;<\/p>\n nayangaL pinnum – <\/b>Like how my utmost faith is, is how His utmost faith too. Even though the surrender did not yield desired result, one would not be having<\/span> any other place to go for help; similarly, even after His final effort of attracting by singing did not yield the desired result, He did not leave it, but still continued singing the same melody.<\/p>\n nayangaL – <\/b>(this word being in<\/span> plural) there is no count of words expressing (His) humbleness<\/span> in the song, she says.<\/p>\n ArAyA, nammai nOkkA, nANinAr pOl iRaiyE nayangaL pinnum – <\/b>when paraphrasing like this, she says to her friend – you could not see His sweet acts, by be<\/span><\/span><\/span>ing with me here.<\/p>\n seyvaLavil – <\/b>As He sang that song,<\/p>\n en manamum kaNNum Odi – <\/b><\/span>my high-esteem got destroyed fully. I was pretending to be uninterested, but I could not control it. I broke like the ocean breaking (into the shore). Normally it <\/span>is<\/span> the mind that goes behind what the eyes see. That norm got broken, she says. Mind went toward Him separately, and my eyes also went<\/span> to Him<\/span> separately, she says. One\u2019s senses would be having connection with a person only till he sees HrusheekESan (one who controls senses). Since the senses are tied to the body, (even though AthmA is the controller of the senses) it is based on karmam, and so that control is artificial\/temporary. (So when seeing Him who is having natural relationship, the mind and eyes ran to Him).<\/span><\/p>\n Odi<\/span><\/strong> – (mind and eyes) ran without looking at each other in the back, she sa<\/span>y<\/span>s. They ran even without looking at me, she says. <\/span><\/p>\n emperumAn thiruvadik keezh aNaiya<\/strong> –<\/span> they ran and reached Him who is naturally related.<\/span><\/p>\n emperumAn<\/strong> – <\/span>He who got me as His servant using the sound of His voice.<\/span><\/p>\n thiruvadikkeezh aNaiya<\/strong> – <\/span>My self-control was lost beyond the level He expected. He was thinking of hugging me tightly by pressing my bosom to His chest, but I kept his leg in my head, she says. Like how when having control and being in the state of AzhvAr as a male, where he sang \u201c<\/span>thaLir puraiyum thiruvadi en thalai mElavE<\/span><\/em> [thirunedunthANdakam – 1]\u201d, here too when she has lost her control, it is again the divine feet of His <\/span>to which<\/span> she reaches out (Note: This is given in periyavAchchAn piLLai vyAkhyAnam as \u201c<\/span>azhakki irukkumAppOlEyirE azhiyumpOdhazhiyumpadi<\/span><\/em>\u201d. If it were not for the generous explanations <\/span>showered by<\/span> the great swamys it would be impossible <\/span>at present <\/span>to understand its meaning <\/span>or others\u2019 meanings too<\/span>).<\/span><\/p>\n ippAl<\/strong> – <\/span>(after that) – I told about all His acts of coming here and trying to get me. It would be like mahAbhAratham if I tried to explain what all He did when we united. Since I don\u2019t have <\/span>a<\/span> clear mind to explain it fully, it is not possible to be explained. If I tried to describe, it would be like starting to describe about seethA pirAtti in SrIrAmAyaNam. (Like how it talked about the state and actions of seethAp pirAtti in SrI rAmAyaNam, you see my state and actions and understand my story). I told the introductory part, now <\/span>would<\/span> you listen to the effects of it in me (palaSruthi).<\/span><\/p>\n kai vaLaiyum, <\/span>etc. – Like when there is a theft in the house, how one would ask, \u201cwhat is present, what is gone\u201d, her friend asks her – when <\/span>did <\/span>He c<\/span>ome <\/span>and unite, what did you see and <\/span>and<\/span> not see. She replies starting with \u2018kai vaLaiyum..\u201d. \u201c<\/span>dhRushtam became adhRushtam, adhRushtam became dhRushtam<\/span>\u201d – my bangles, hip garment, etc., on my body which I had been seeing till then were not to be seen; His ear rings, etc., which I had not seen earlier, were seen by me, she says.<\/span><\/p>\n kai vaLaiyum<\/strong> –<\/span> Bangles coming out of hand is after separation from Him only, so why say <\/span>that <\/span>the bangles left the arm <\/span>(even during union)<\/span>? Due to union with Him my body grew ecstatic, and so my bangles burst away. <\/span><\/p>\n mEkalaiyum<\/strong> – <\/span>Is it appropriate to tell others that you lost the dress worn around you? One\u2019s clothes got in to the other\u2019s hands during union, so I did not see my clothes, she says. She only saw His clothes in her hand.<\/span><\/p>\n kANEn<\/strong> – <\/span>I do not know where my bangles, clothes, etc., went. By this, <\/span>when it comes to its inner meaning<\/span><\/strong> – It is talking about losing one\u2019s <\/span>ahankAram <\/span>and <\/span>mamakAram. <\/span>When a jeevAthmA is in the path to understand its true nature, <\/span>ahankAram <\/span>(I enjoyed\/experienced), and <\/span>mamakAram <\/span>(It is sweet for me) would be hurdles. At the time of enjoyment, <\/span>ahankAram<\/span> and<\/span> mamakAram <\/span>would be denoted as bangle and cloth. According to jeevAthmA\u2019s true nature it is not a correct behaviour to think, \u201cI am the one enjoying\u201d, and \u201cit is enjoyable for me\u201d. It would be matching one\u2019s true nature to only think, \u201cI am desirable for emperumAn\u201d, \u201cHe is the one who enjoys me\u201d.<\/span><\/p>\n kANEn<\/strong> – <\/span>I would know where they went only if I made efforts to get rid of <\/span>them<\/span>Introduction<\/h3>\n
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<\/a><\/p>\n
\n<\/span><\/em> nANinAr pOl iRaiyE nayangaL pinnum
\n<\/span><\/em>seyvaLavil en manamum kaNNum Odi
\n<\/span><\/em> emperumAn thiruvadik keezh aNaiya ippAl
\n<\/span><\/em>kaivaLaiyum mEkalaiyum kANEn kaNdEn
\n<\/span><\/em> kanamakarak kuzhai iraNdum nAngu thOLum
\n<\/span><\/em>evvaLavuNdu emperumAn kOyil enRErku
\n<\/span><\/em> idhuvanRO? ezhil Ali enRAr thAmE. 22<\/span><\/em><\/p>\nWord by word meaning<\/span><\/h3>\n
<\/a>vyAkyAnam <\/span><\/h3>\n