இந்த பதிப்பினை தமிழில் படிக்க, இங்கே சொடுக்கவும், நன்றி.
As the saying goes ” Thirumaalai (the prabandham) ariyaadhaar, Thirumaalaye (Emperumaanai) ariyaadhaar”, we all need to learn and understand Thirumaalai , sung by Thondaradipodi Azhwaar, to know more and more about Emperumaan. In the first three hymns of this Divyaprabandham, Azhwaar enjoyed the experiences, graced by Emperumaan on him and in the subsequent eleven hymns, Azhwaar was preaching us his experiences with Paramathma. When people raised many objections, Azhwaar responded to them to follow Sri Rama, when he mentioned “silaiyinaal ilangai setra devane devan aavaan”; and asked them follow Sri Krishna, who is simple and easy to approach, by ‘katrinam meytha kazhalinai panimin‘; and finally to Aranganathan, by ‘uybavaruku uyyum vannam Thiruvarangam kaatinaan”. Azhwaar continued his preaching by mentioning the glories of Thiruvarangam in the next three hymns.
As people did not follow Azhwaar’s preaching, he decided to leave them and started to sing about the great help graced by Periyaperumal to him in the next ten hymns. We discussed the first of these hymns, in the fifteenth paasuram, ‘Meyyarke Meyyanaagum‘, where Azhwaar stated that Emperumaan does everything for those who show truthful devotion to him; He also protects those who do things related to devotion which are not really truthful, but could be named truthful; He lets down those who are not even showing such false devotion as mentioned above. Azhwaar concluded that Perumal uses His beauty to clarify all the doubts.
In the next hymn, “soodhanaai kalvanaai“, Azhwaar mentioned that he himself was a thief and a fraud, who got entangled with the beauty of the eyes of the other women and fell in deep pits. Azhwaar confirmed that Periyaperumal used His beauty to correct him and diverted all his love and affection towards Him.
In the next hymn, “Virumbi ninru“, Azhwaar sang that previously he did not use his hands to pray, mouth to say the prayers or heart to devote himself to Emperumaan. Em[erumaan used His soft and sweet beauty to mend the iron like heart of Azhwaar and Azhwaar was very happy that his eyes were filled with happiness. Initially, Azhwaar was happy about the opportunity he got to have the dharsan of Thiruvarangan, Who is all alone and without any peer, ruling the entire kingdom and that happiness caused him to melt and continuous tears from his eyes started to pour. With tears, he could not enjoy the dharsan continuously. So Azhwaar was worried and frustrated at himself in not making use of the opportunity offered to him and hence he called himself as a sinner in the eighteenth hymn, “ini thirai thivalai“.
As Azhwaar felt that his body also started to melt after having the splendid dharsan of Periyaperumal, he wondered how others were unaffected; Azhwaar asked them to give a small portion of the medicine, if they were taking any medicine to sustain such a strong state. In this nineteenth hymn, “Kuda thisai mudiyai vaithu“, Azhwaar sang that Emperumaan created the four directions and kept the holy parts of His form (thirumeni) in each direction, so that we can get abode by having dharsan of those holy form. .
Now let us go into the next hymn.
Payum neer Arangam thannul paambanai palli konda, Maayanaar Thirunanmaarvum, maragadha uruvum thollum, thooya thaamarai kanngallum, thuvaridhazh Pavala vaayum, aayaseer mudiyum, thesum, adiyarorku agalalaame. (Thirumaalai 20)
In the last hymn, Azhwaar asked for the medicine that kept others from not getting melted unlike Azhwaar. Others responded that Azhwaar should not get involved in Bhagawath matters and come out of it like themselves. Azhwaar said that people who have the knowledge that Periyaperumal in Srirangam is only for those people, like azhwaar himself, who would not come out of Bhagawath activities; and only people who were proud and selfish could ignore bhagawath activities and would move out of Periyaperumal and Azhwaar would not be like them. This is the summary of twentieth hymn.
In this hymn, Azhwaar is trying to describe the beauty of Periyaperumal. Srirangam is surrounded by the river Cauvery and Arangan, who does amazing things, takes a reclining position on the five-headed snake, Anathazhwaan. In this hymn, Azhwaar explains the beauty of Lord Aranganathan, individually and collectively as His chest adorned always ever by Sridevi Naachiyar, His glistening form in the colour of emerald ; His shoulders; His eyes, compared to pure lotus flowers; reddish lips; superior locks of hair; and overall brightness of His form. Azhwaar concludes this hymn, that all these beauties are all for the devotees and would they miss such a divine dharsan.
From this hymn, we can understand the beauty of Periyaperumal and also the Azhwaar’s attachment on His form.
The first version is, that Srirangam is a place, that is conducive to water flowing in naturally, unlike in a dam where we need to pump/store in the water . This also represents all other materials which are as clear as water, that purify or cleanse. All such materials confluence at Thiruvarangam. The other explanation for ‘Payum Neer Arangam‘ is, that Srirangam, the temple town was the place where all the eleven Azhwaars and all Achaaryars came to. Another place where water is compared to a virtuous person is from Valmiki Ramayanam. “O Bharadhwaja, behold the beautiful and pleasant waters of this river, that is as clear and pure as the mind of a virtuous man. (Valmiki Ramayanam, Balakaantam, 1.2.5).
Azhwaar is talking about the wonders of Periyaperumal and in that context, he brings out the fact that the wonders of Periyaperumal are not only in the books, but also it is on display, through His individual and overall Beauty of His form (Thirumeni), and the splendor all around. Here the commentator is recollecting “than thaalum tholum mudigalum samanilladha pala parappi” (Thiruvaaimozhi 8.10.8) to highlight the beauty of each and every part of His Holy Body (Thirumeni) in the reclining position. Some more hymns from Azhwaars, where Periyaperumal’s reclining position is explained using “than thaalum tholum mudigalum samanilladha pala parappi” (Thiruvaaimozhi 8.10.8) is given here for your reading pleasure.
Since Emperumaan is having a form that is more delicate than a flower, He is reclining on Ananthaazhwaan the multi headed serpant, so that the milky ocean water does not abrase Him. Here the commentator is quoting Periyazhwaar’s Thirumozhi (5.1.7) as “vellai vellathin mel oru paambai methaiyaaga virithu adhan mele kalla nithirai kolkinra“, meaning that the Lord is reclining and in pretented sleep on a serpent-bed in the milky ocean.
The words “palli konda” can be combined as “paambanai palli konda” and also “pallikonda maayanaar”, as both convey beautiful meaning. The word “Maayam” is used as “wonder”. Periyaperumal even when He is in reclining posture, does wonders. An example being, when Periyaperumal wishing to witness and hear the discourse of Nampillai (one of our Achaaryars) got up and talked to Thiruvilakkupichan.
Another explanation given is that His astonishing beauty, even in reclining position. Sita happily recollected the beauty of Rama in the reclining position in Yudha Kaantam of Ramayanam (38.25). (sa mayaa bhoditah sukha suptah parantapah) When Sita Piraati was disturbed by Kakasuran, Rama, handsome and capable of tormenting His enemies on a reclining position on Sita had to be woken up. Periyaperumal now in Srirangam was worshipped by Sri Rama, when He was in Ayodhya. No wonder, why Thondaradipodi Azhwaar was very fascinated by the reclining Aranaganathan. In the same way Aandal, woke up Sri Krishna, as the thaniyan says “Neela thunga sthana giri thadi supthamuthbodhya Krishnam“.
Thondaradipodi Azhwaar continued to state that people might leave Emperumaan in standing or sitting postures; but it is not possible to leave Him, when He is in reclining posture. Namazhwaar’s Thiruvaaimozhi (5.8.1) said “Yeraar kolam thigazha kidandhaai kanden emaane” and Kulasekara Azhwaar’s Perumal Thirumozhi (7.2), said “aanaiyil kidantha kidakai kandida pertrillen“, meaning that the beauty of His reclining posture is like a an elephant sleeping.
Thondaradipodi azhwaar wondered that he was running away from Paramathmaa’s extended hands, into the worldly life and Periyaperumal brought him back and this act of Periyaperumal is making him say Periyaperumal as “the Maayanaar“( who does wonders) according to Azhwaar.
We may also recollect “aravu in anai misai meya maayanaar” by Thirupaanazhwaar in his Amalanathipiraan (7).
The Holy chest of Emperuman is unique, and special because, that it is the place where Piraati ever resides and would not want to leave. Namazhwaar’s Thiruvaaimozhi (6.10.10), ‘agalagillen iraiyum enru” glorifies the above. Our achaaryar, Parasara Bhattar in his Sri Guna Ratna Kosam (4) established that Upanishads identify and claim that Emperuman is Paramathmaa, as there are marks of sempanjukuzhambu (soft reddish paste, which ladies use to enhance their beauty, in olden days) and the garlands of Piratti on the holy chest of Emperuman.
The holy radiant chest of Emperuman, Emperuman Himself and Piratti are combined together in Namazhwaar’s Thiruvaaimozhi (10.6.9), “Thigazhginra Thiru Maarbil Thirumangai thannodum thigazhginra Thirumaalaar”, that all of them together add beauty to each other and it is impossible to explain which is adding beauty to which.
Here Periyaperumal’s glowing emerald like form is compared to the released gushing water, by the commentator and it is stated that both, give pleasure and cooling effect to the eyes that see such a treat. We also recall “pachai maa malai pol meni“, Thirumaalai 2, by same Azhwaar. The prefixes Thiru (Mahalakshmi) and Nan (good) were added to the holy chest and maragadha (glowing emerald) was added to His holy form to enhance the specilaity of His form and Chest. But Azhwaar says that there is no such need to add any prefix to His shoulders, as they are naturally beautiful and strong. Also the commentator adds that these shoulders are like a float in a flood.
The direct meaning is that His holy eyes are like a pure lotus flower. The prefix ‘thooya’, meaning ‘pure’ is added as these eyes purify those who are all blessed by Them (His eyes). His holy eyes are impartial, whether it is His Piratti (Mahalakshmi) or the asuras like Hiranyan and bless them uniformly. His vision is pure as He views all without attaching any specific reason . His desire is to bless all through His holy eyes, without any bias.
Bhagawadh Geetha (5.29) says that, Emperumaan (Paramathma) is a friend to everyone, without any difference between enemies and friends. Another reference used here is Jithanthe Sthothram (1.2), where the holy feet of Mahavishnu is quoted as the source for surrender, equally for those who are devotees of Vishnu as well as those are atheists. In other words His relationship is same for all. The commentator queried why someone like asuras get unfavourable results when His vision is same for both good and bad. The commentator confirmed that it is not because of His vision, but because of the shortcomings or dhoshams of the Asuras. This is similar to, how a cool breeze, which gives pleasure to all, makes the lotus dry up.
When Azhwaar compared the flawless lotus flower to the holy eyes of Emperuman (Periyaperumal), it is only for the coolness, aroma and superior status; the flower can never be compared to compassion and mercy flowing from Emperuman’s eyes,
Azhwaar stated that Emperumaan has reddish holy lips and whitish dental array. But later changed his mind and called the dental array is reddish like coral and it is because of the reflection of the holy lips. We can also recall that we should retain satva habits (the colour of satvam is white) within ourselves like dental array and push out rajo habits (the colour of rajo is red) like the lips. Paramathma is all alone, without the support of anything, speaking to none, in a superior most level. From such a sublime state, He comes down and speaks kind words to those who approach Him. This is another explanation for His holy reddish mouth. Similarly, many are scared to approach Him, due to their own shortcomings. He gives such devotees a pleasing smile and assures them that they do no need to be scared. This is another explanation given for the reddish holy mouth, when Azhwaar called it as pavala vaai.
The word Aaya represents that it is always beautiful and ready that informs us that His hair style is beautiful and always in readiness to reach the devotees. Aayam means gold in Tamil the last character is reduced and combined with the next word, namely, Aaya seer, meaning that His locks of hair is like made up of gold. The word Seer reflects the wealthiness.
Thesu is supposed to be Thejas, meaning brightness, brilliance or illumination. Emperuman’s total form is illuminating with brightness and brilliance from each and every part mentioned earlier. Thirunanmaarbu, Maragadha Uru, Thooya Thaamarai Kanngal, Thurvar Idhazh, Pavala Vaai, and Aaya Seer Mudi are all expressions related to the beauty of the individual parts of His Form, whereas this word “Thejas” refers to the whole form, called as ‘samudhaaya sobhai”, and the other one is called ” Avayava sobhai”.
Some might question why Maragatha Uru is not classified under samuthaaya sovai, as uruvu may refer to the whole body. The commentator explained this as only avayava sovai, as not all parts of Emperumaan are green in colour like His teeth, His inside palm.
Avayava sobhai is referred to as Soundharyam and samudhaya sobhai is referred to Lavanyam. Among the divyadesams, Nagaipattinam Soundararaja Perumal is admired for Soundharyam and Thirukurungudi Nambi is admired for Lavanyam.
Azhwaar explained the individual and total beauty of Periyaperumal. He continued that for those who have the knowledge of Paramathmaa would not be able to stop enjoying the beauty of Periyaperumal and would not leave the place. Only those who are selfish and proud about themselves (Ahankaaram and Mamakaaram) would be able to leave the place. The last word ‘aame‘ seemed to be an acceptance from those around Azhwaar and with that Azhwaar concludes this hymn. Who would not like to enjoy the beauty of Periyaperumal or Emperumaan.
Let us catch up again on the next hymn.
When Namazhwaar referred to Emperumaan reclining on a tiny banyan leaf, he said “aalam perilai annavam seyyum ammaane” (Thiruvaaimozhi 8.3.4). The commentator asked should Emperumaan lie in a small place like the leaf, wherein He could have moved to a more spacious place as “than thaalum tholum mudigalum samaniladha pala parappi“.
Namazhwaar in Thiruvaaimozhi (4.1.6) advised people who desired to have a sustained superior life, to reach out to Emperumaan, reclining on the milky ocean (Thirupaarkadal), “nirkuril aazhndhaar kadal palli annal adiyavar aamin“. Here the commentator uses “than thaalum tholum mudigalum samanilladha pala parappi” to explain his reclining state on Thiruparkadal.
In Thiruvaaimozhi (3.10.2), Namazhwaar said “kuraivil thadankadal kol aravu yeri than kolachenthaamaraikan, uraibavan pol oru yogu punarntha oli mani vannan kannan”. The commentator uses ‘than thaalum tholum mudigalum samanilladha pala parappi” to explain that Emperuman is on Thiruvananthazhwaan in Thirupaarkadal with ample space, without any restriction.
Thirumazhisaiazhwaar in the 3rd hymn of Naanmugan Thiruvandhaadhi, sang, “Paalil kidandhadhuvum, Pandaragam meyadhuvum, aalil thuyindradhuvum, aararivaar “, meaning that He is in reclining state in Thirupaarkadal, is in Thiruvarangam and is on the banyan leaf and graces from all these places. Here also, the commentator uses than thaalum tholum mudigalum samanilladha pala parappi” to highlight that Emperuman capable of having enough space in each of the above settings.
Poigai Azhwaar in his second hymn of Mudhal Thiruvandhaadhi, sang “anru udaithu adaithu kann padutha aazhi” to express all the glorious and astonishing activities of Emperuman like building the Sethu across the ocean as Rama, wrecking the same when returning and reclining on the same ocean. Here the commentator uses than thaalum tholum mudigalum samanilladha pala parappi to indicate that His snake bed is spacious. Also Periyazhwaar’s “vella vellathin mel oru paambai methaiyaaga virithu adhan mel kalla nithirai kolkinra” (Periyazhwaar Thirumozhi 5.1.7) is quoted here.