श्री:
DIVYA PRABANDHAM WORKSHOP
SESSION - 22 - PERIYA TIRUMADAL
TIRUMANGAI AZHVAR
......And the love pangs continue. After desperately calling out the names of twenty-five divya dEsams in the previous divya prabandham ‘siriya tirumaDal’, parakAla nAyaki expected krishNa to come and embrace her for good. But lo! No effect at all. Her intimidation by quoting the brave woman vAsavadattA, got no attention, and the fire of her obsession only grew in height.
What next? Reflecting on the purpose of her love, and refusing to try another path to attain Him, a dejected parakAla nAyaki breaks down and vows to pursue the fourth purushArtham namely kAmam by performing the daring act of maDal, this time with firmer resolve. What is MaDal? Her goal is not mere lust but bhagavat kAmam (union with krishNa) and her path is intense desire to attain bhagavAn. Annoyed with her unrequited love, she helplessly complains that the other three purushArthas namely dharmam, artham and mOksham are impractical and impossible for humans to attain and asserts that kAma (strong desire to unite with KrishNa) is the most natural way.
If one thinks that parakAla nAyaki is too adamant in her love for krishNa, mahAbhArata 12 shanti parvam, adhyAya 334 – 47 says “vyavasAyAdhRtE brahman nAsAdhayati tatparam व्यवसायाधृतॆ ब्रह्मन् नासाधयति तत्परम् – If one does not have firm devotion, He will not attain the supreme abode”. In rAmAyana, dasharatha’s advisor jAbAli was referred as “brAhmaNOttama – the best amongst brAhmaNas”. Although he spoke atheistic words to Lord rAmA, it was for a noble cause of persuading Him to return to ayOdhyA and regain the crown. Hence parakAla nAyaki holds her stance that all is fair in love.
ParkAla nAyaki interestingly justifies her maDal by relentlessly quoting examples of fearless woman who united with their lovers by crossing their boundaries and taking the difficult and brazen path of maDal oordal – the women mentioned are seetA, vEgavati, uloopi, ushA, and umA.
Though parakAla nAyaki’s physical condition deteriorated, every time she threatened to engage in maDal oordal, the very thought of krishNa enhanced her beauty just like that of angry seetA dEvi as described in Shree rAmAyaNam kishkintA kANDam 29-6 - “vAtAtapa klAntam iva praNaShtam varshaNE bheejam prathisanjaharSha वात आतप क्लान्तम् इव प्रनष्टम् | वर्षेण बीजम् प्रतिसम्जहर्ष || – (Under the clutches of rAvaNa, when she was upset with Lord rAma’s inordinate delay in reaching her), seetA experienced bouts of joy (good omens) just as a seed, withered and scattered by sun and wind, would sprout at the very onset of rain.
The love darts galore make us wonder which divya dEsa perumAl was in tirumangai AzhvAr’s heart while singing the two maDals. In periya tirumaDal, parakAla nAyaki reveals that it is tirunaRaiyUr nambi that she was chasing.
Periya TirumaDal is the tenth prabandham in the moonRAm Ayiram section of divya prabandham set according to Shree nAthamuni.
Set in kali veNpA style of tamizh prosody, siriya tirumaDal has 155 lines, while Periya TirumaDal has 290 lines, hence the name periya tirumaDal.
Let’s enjoy this prabandham where the love of God knows no bounds.
ADIYEN
AZHVAR EMPERUMANAR DESIKAN TIRUVADIGALE SHARANAM
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| KUMUDAVALLI AND TIRUMANGAI AZHVAR, MANGAI MADAM |
PERIYA TIRUMADAL AUDIO LESSONS
BY GURU SMT. SEETHA SARANATHAN
By Shree piLLai tirunaRaiyUr araiyar
ponnulagil vAnavarum pUmagaLum pORRi seyyum *
nannudaleer! nambi naRaiyUrAr * - mannulagil
en nilaimai kaNDum irangkArEyAm Agil *
mannu maDal Urvan vandu
Due to his intense regard for tirumangai AzhvAr, it is said that shree pillai tirunaRaiyUr araiyar impersonated parakAla nAyaki while composing this pAsuram:
He says in stree bhAvam: Oh women having beautiful foreheads! Lord Nambi of tirunaRaiyur divyadEsam is the one who is worshipped and praised by the nityasooris (vAnavar) and periya pirATTi (poomagal) of paramapadam (pon ulagam). Knowing well my pitiable plight on this earth, if He fails to show mercy and accept me, I shall keep engaging in maDal outside His temple forever.
PERIYA TIRUMADAL 1 TO 10
PASURAMS 2713 TO 2722
ParakAla nAyaki, in the extended state of viraha tApam, is waiting to attain the Lord no matter what it takes. Helpless, she analyses the four goals (purushArthamas) laid in the vEdas one by one, and gives a detailed explanation about the incomprehensible path a jeevAtmA must travel to attain mOksha purshArtham.
senniya maNikuDumi deyva chuDar naDuvuL
manniya nAgattaNai mEl Or mAmalai pOl
minnum maNi makara kuNdalaNgaL vil veesa
tunniya tAragaiyin pEroLi sEr AkAsam
ennum vidAnattin keezhAl (1)
2713. Being well aware that the power of speech is one of the strongest tool of expressions to attain and attract emperumAn, parakALa nAyaki performs maNgaLAshAsanam of Lord krishNa.
Dear Lord! manniya (மன்னிய தான்)! Let your auspiciousness prevail eternally! Let there be prosperity on this earth! Let this devotion to you through my expression of speech become fruitful thus fulfilling my desire! Her expression of lauding the lord appears similar to king janaka who spontaneously said “bhadram tE!” on seeing rAma and seetA pirATTi together after their marriage; as periyAzhvAr said ‘pallANDu!’
parakAla nAyaki starts describing the beauty of ksheerAbdhinAthan.
This sarvEshvaran is none other than Lord nArAyaNa who is reclining peacefully on the milky ocean (ksheerasAgaram) in the state of yOganidra. He reposes on the divine serpent bed AdisEsha (aravin) who performs unending kainkaryam to emperumAn.
ParakAla nAyaki now adores the beauty of AdisEshan.
The radiant body of AdisEsha has several identical circular radiant spots on his body (pal poRi sEr) resembling pearls. The thousand hoods of the divine AdisEsha is flooded with glittering radiant gems as a result of association with emperumAn and selfless service to him.
The vast sky forms a canopy (vidAnattin keezh) of splendorous sparkling stars which resemble neat and closely woven pearls arranged in close proximity above the surging milky ocean.
Below this beautiful canopy and on the divine anatAzhvAn, the gorgeous emperumAn reposes peacefully in yOganidrA resembling a dark hued, huge mountain (Or mAmalai pOl). The beautiful fish shaped earrings called the makara kuNDalam on his ears emit abundant lustre similar to a lamp eliminating the darkness (minnum maNi makara kuNDalaNgaL). (1)
2714. irusuDarai mannum viLakkAga ERRi * maRikaDalum pannu tiru kavari veesa...(2)
2714. The dazzling divine weapons, the pAnchajanya and tiruchakrattAzhvAn (iru suDar-the divine conch and wheel) on the divine hands of emperumAn bear a resemblance to two luminous twin lamps which are inextinguishable. They are present even before jagatsrushTi; a period when only emperumAn alone existed. As nammAzhvAr says- onRum dEvum ulagum uyirum maRRum yAdum illA anRu (it was lord nArAyaNa alone who existed before creation during the cosmic deluge.
SamudrarAjan of the roaring pArkaDal with its unending waves moving back and forth seemed to perform a kainkaryam of commanding the giant waves which seemed to be affectionately fanning (chAmaram-tiru kavari veesa) the Lord. (2)
vAn iyangu tAragai meen *ennum malappiNaiyal Eynda….(3)
2715. The series of smaller waves fondly massage the divine lotus feet (tiruvaDis) of emperumAn which are soft like a newly blossomed lotus. They have become reddish like a lotus due to immense fatigue after measuring the earth during trivikrama avatAram, says parakAla nAyaki.
AzhvAr describes the beauty of the most graceful and charming Bhoomi pirATTi.
The countless varieties of stars on the vast sky appear like tufts of flowers and garlands adorning her. (3)
tennan uyar poruppum deyva vaDamalaiyum *
ennum ivaiyE muLaiyA vaDivamainda *
anna naDaiyA aNangE! (4)
2716. The long beautiful tresses of Bhoomi pirATTi resemble the energized and cool dark water laden clouds. A mere glimpse at these tresses would remove the exhaustion of the lord!
The two gigantic mountains of tirumAlirunchOlai and tiruvENkaTam are compared to the bosoms of the graceful mother earth where emperumAn willingly chose to reside through all the ages for the upliftment of the mortals on this earth.
The gorgeous mountain tirumAlirunchOlai in the south is further honoured with the source of noopura gaNgai which is trickles of the holy river ganges that fell on this hill from the anklets of emperumAn when Lord brahma washed the feet of the lord with ganga water during trivikrama avatAram. This is the abode of the most handsome azhagar.
Then the eminent divine hills of tirumalA in the north called tiruvENkaTam is the home of tiruvENkaTamuDaiyAn who is a sulabhan and bhaktaparAdeenan; easily approachable and ready to fulfil the desires of all the devotees who visit him.
This Bhoomi tAyAr has a gait like a swan (anna naDaiyA). Her divine characteristics are beyond expression. (4)
Or unniya yOgattu uRakkam talaikkoNDa
pinnai * tan nAbhi valayattu pEroLi sEr *
manniya thAmarai mAmalar poottu * ammalar mEl
munnam tisaimuganai tAn paDaikka * (5)
2717. Bhoomi pirATTi who is marvelous and innately compassionate by nature is affectionately massaging the divine tiruvaDis of emperumAn with her delicate hands. The Lord who is reclining peacefully in yOganidrA is in deep meditation before creation, contemplating upon the well-being of the jeevas waiting for an opportunity to emancipate them from the claws of this samsara as nammAzhvAr says ‘uRaNguvAn pOlE yOgu seikinRa perumAn’ (tiruvAymozhi 5.4.11).
After yOganidrA, the Lord begins the most complicated process of creation (talaikoNDa pinnai).
From His gorgeous attractive navel springs a huge gleaming captivating lotus which is eternal and ever fresh. Next on that lotus he created the four headed brahmA sitting in a meditative posture.
emperumAn then discharged the duty of creation to brahmA as declared in the vEdic texts which are extolled by the smritis proclaiming that the vEdas are time immemorial and eternal. अनादि निधना नित्या वागुत्सृष्टा स्वयंभुवा। आदि वेदमयी दिव्या यतः सर्वाः प्रवृतयः।। (mahAbhAratam shAnti parva-232/24).
The four vEdas Rig, yajur, sAma and atharvaNa poured seamlessly from the mouth of brahma due to mere sankalpam of emperumAn residing in his heart who also taught him to recite the vEdic texts in the sandai format. Hence BrahmA earned the name as the Creator. (5)
munnam paDaittanan nAnmaRaigaL * ammaRai tAn
mannum aRam poruL inbam veeDu enRu ulagil *
nanneRi mEmpattana nAnkanRE * (6)
That four faced brahma imparted the four vedas to the world, asserts tirumaNgai AzhvAr. The vedas pronounce in detail the four purushArtam (nAnkanRE) which are dharmam (aRam), artham (poruL), kAmam (inbam) and mOksham (veeDu). AzhvAr also asserts that the vedas are the supreme authority to be followed sincerely by every samsAri to attain a higher plane and permanently get released from the shackles of the samsAram. (6)
tol neRiyai vENduvAr veezh kaniyum oozhilaiyum *
ennum ivaiyE nugarndu uDalam tAm varundi *
tunnum ilaikkurambai tunjiyum* (7)
2719. parakAla nAyaki describes the fourth purushArtham called mOksham.
Among the four purushArtams mentioned in the vedas, the last one is mOkshOpAyam or the path leading to that enchanting unique ancient eternal abode srivaikuNTam or paramapadam (Or tol neRiyai) of sriman nArAyaNa. The dwelling where a soul is permanently freed from the cycle of rebirths. It exists since time immemorial and is clearly elucidated in depth in the sacred vEdic texts.
( वैकुण्ठे तु परे लोके श्रिया सार्धं जगत्पतिः।आस्ते विष्णुराचिन्त्यत्मा भक्तैः भागवतैः सह।। The lainga purANam says Sreeman nArAyaNa, the sarveshvaran of all the lOkas resides in the supreme lOka called sreevaikuNTam with mahAlakshmi tAyAr. This abode is attainable only after death either through bhakti or prapatti mArgam and the soul of such jeevas reach paramapadam through a path called the archirAdi mArgam).
In the next two pAsurams parakAla nAyaki is seen criticizing mOksham and the path to paramapadam.
It may appear as if AzhvAr is a non-believer of the concept of an abode called moksham and our vedic texts! That’s not so.
AzhvAr himself swears in periya tirumozhi (10.2.10)” immaiyE iDarillai irandAl tangumoor aNDamE kaNDu koNmin”. He says those who go around the world singing and dancing for these pAsurams will not face any kind of troubles and after death they will attain Paramapadam as their permanent residence. Mark my words! You will understand this only by experience!
ParakAla nAyaki expresses her unshaken paramabhakti towards emperumAn and a firm resolve to contemplate on the Lord while on earth which is enjoyable and easy than performing the stringent austerities of bhakti yOgam. It is most fruitful if one surrenders to Him by performing prapatti. Hence one should rejoice and enjoy life by having his darshanam in all the divya desams, using our karmEndriyas for a good cause. She just wishes to give prominence to archAvatAram which is visible to us than paramapadam; not as a nAstika but due to paramabhakti.
ParakAla nAyaki tells us about the bhaktiyOgis who are desirous to attain paramapadam.
Those who aspire to attain this abode through bhakti yogam subject their body to immense sufferings. They eat only fruits and withered leaves that have dropped on the ground (veezh kaniyum oozhilaiyum) and sleep on huts made of the dried leaves which may be not be worthy to inhabit. (7)
innadhOr tanmaiyarAy eengu uDalam viTTizhundu *
tonneRikkaN senRAr enappaDum sollallAl *
innadhOr kAlattu inaiyAr idu peRRAr *
ennavum kEttu aRivadillai * (8)
2720. Further these seekers resolve to inhale only the hot rays of the sun and meditate on the five fires (panchAgni). They submerge themselves in beautiful ponds filled with moss to attain the eternal abode of paramapadam.
दुर्लभो मानुषो देहः। It is said that to be born as a human is rare. Then why should humans loaded with ignorance subject their bodies to such harsh treatment? AzhvAr wonders. Instead, they can enjoy and relish the archAvatAras in various divya desams on this earth by surrendering to these Gods which will be very rewarding.
The shastras say that after death the soul rises up and travels through the archarAdi mArga to reach the eternal abode of paramapadam but we have not heard or seen it. Is there anyone who has heard the date and time a soul reached this abode? (ennavum kETTu arivadillai). No, says parakAla nAyaki.
maNDalattin nannaDuvuL * annadhOrillIyinUDu pOy * (9)
2721. This subtle concept as declared by the shastras is a wonderment! It seems the soul passes through a small narrow hole in the core of the soorya maNDalam and reach the abode of shreevaikunTham guided through a path called archirAdi mArgam.
The shAstras say that shuka and vAmadeva attained moksha (सुकोमुक्तः वामदेवो मुक्तः). I am not convinced with this reasoning. (9)
annadE pEsum aRivil siRumanattu * Angu
annavarai kaRpippOm yAmE? (10)
2722. If this is true then show me a person who has returned from this abode to narrate his travel experience. As shAstras proclaim, it appears that the soul of a prapanna is received with great respect and honour; treated with immense love while proceeding to paramapadam. It also asserts that the Lord waits passionately to receive the soul! (As the brahma sootram (4-2-16) declares हार्धान् अनुग्रहितः, that the liberated soul is able to attain the divine abode guided by the Lord who resides in his heart).
Those who proclaim themselves as scholars go on blabbering this ideology due to lack of wisdom, without any proof. Their silly mind tries to prove that the shAstras are authentic, when they speak about paramapadam.
Parakala nAyaki now calms down. She says, “Let the scholars speak what they want. Who am I to confront them and enter into an argument?”
Is it my duty to educate or correct their words and deeds? As nammAzhvAr says… ArAnum AdAnum seyya, agaliDattai ArAyndu adu tiruttalAvadE?”(10)
PERIYA TIRUMADAL 11 TO 20
PASURAMS 2723 TO 2732
As KrishNa says in the bhagavat geetA 9.21
क्षीणे पुण्ये मर्त्यलोकं विशन्ति |
एवं त्रयीधर्ममनुप्रपन्ना
गतागतं कामकामा लभन्ते || 21|
ksheeNE puNyE martyalOkaM vishanti |
EvaM trayee dharmam anuprapannA
gatAgataM kAmakAmA labhantE ||
When they have enjoyed the pleasures of the vast heaven, the stock of their puNyas being exhausted, they return to the earthly plane called martya lOka. Thus, those who follow the rituals enjoined by the three vEdas, desiring objects of enjoyment, repeatedly come and go in this world.
annavar tAm kaNDeergaL AyirakkaN vAnavar kOn
ponnagaram pukku amarar pORRi seppa (11)
2723. ParakAla nAyaki says: Let the concept of “mOksha” stay aside for a while (adu niRka). As previously discussed, all those who take efforts to attain dharma purushArtham enter the swarga lOka otherwise called Indra lOka, the golden kingdom of the thousand eyed Lord Indra hailed as the chief of all Gods. As the jeevAtmAs enter this lOka, they are welcomed and hailed by the dEvas. (11)
kolnavilum kOLarimAt tAn sumanda kOlam sEr
manniya singAsanattin mEl (12)
2724. The radiance of swarga lOka keeps increasing as one trails through its corridors. They are seated on the simhAsanam, the royal chair carried by golden majestic lions that look real, well-trained and ready to pounce. (12)
kanniyarAl iTTa kavarip podi avizhndu, Angu
inniLam pUntenRal iyanga (13)
2725. Seated comfortably on the lion throne, they are fanned by the gentle, cool and fragrant breeze coming from the blooming chowries (kavari) waved by damsels having long, spear sharp eyes. (13)
munnam mugizhtta mugizh nilA vandarumba
annavar tam mAnOkka muNDAngkaNimalar sEr
ponniyal kaRpagattin kADuDutta mADellAm
manniya mandAram pUtta maduttivalai
innisai vaNDamarum sOlai vAy mAlai sEr
manniya mAmayil pOl kUndal (14)
2726. Standing very close, ravishing young women with waist as thin as lightning, would give a welcome smile with their pearl like teeth beaming like the rising moon. In the time they enjoy the doe eyes of these beautiful women, the place is transformed into a fresh orchard of the wish fulfilling, golden karpaga trees. Inside the orchard, bees buzz over the honey secreted from pArijAta flowers. In such a refreshing atmosphere, they would find young damsels having tresses like peacock feathers and decked with a variety of flowers.
minniDaiyArODum viLaiyADi vENDiDattu
mannum maNittalattu mANikka manjchariyin
minnin oLi sEr paLingku viLimbaDutta
mannum pavaLakkAl semponsey maNDapattuL
anna naDaiya arambaiyar tam kai vaLartta
innisai yAzh pADal kETTu inbuRRu (15)
Then, they get to play with those cool, wide-eyed apsaras having thin, lightning like waist. In another area embedded with precious gems is a hall made of pure gold, corniced with sparkling marble or crystal (paLingu), supported by beautiful coral pillars, and decorated with bunches of ruby flowers. Inside the hall, they can listen and enjoy the mellifluous tune arising from the veeNA (yAzh pADal) played by the sleek hands of the beautiful apsaras (like rambhA - arambayar) having the gait of a swan. (15)
minnin oLi sEr visumbUrum mALigai mEl
mannum maNi viLakkai mATTi (16)
In the extensive sky above (iru visumbu), the clouds would come and make a canopy for the bright moon to rest comfortably. The roof of the shining chariot called vimAnam that flies across the sky will be decked with hanging lamps or rubies that emit light. (16)
tunniya sAlEgam sUzh kadavam tAL tiRappa
annam uzhakka neRindu ukka vAL nIlach
chinna naRuntAdu sUDi (17)
Damsels with eyes as cool as the rain bearing clouds would then spread out a big, comfortable, never seen mattress for them to sleep and relax all through the night. As they enjoy their night, the doors of the closely placed windows would open and a gentle cool breeze carrying pollen dust of neelOtpala blue lotuses crushed by the fluttering of the swans, would sweep in. (17)
mannu malar vAy maNi vaNDu pin toDara
inniLam pUntenRal pugundu IngiLa mulai mEl
nannarum sandanachERuL pulartta (18)
As if wearing a garland of ethereal mandAra flowers on its shoulders, the fragrant, gentle breeze, followed by the honeybees coming out from the flowers of the everlasting karpaga trees, enters the amorous arena and dries the fine sandal paste applied on the bosoms of those young women. (18)
kai vaittirundu EntiLa mulai mEl
ponnarumbAram pulamba (19)
2731. In such a sensual surrounding, they would keep their hands on the lightning like waist that struggle to hold their rising bosoms loaded with tinkling chains made of golden coins. (19)
inna uruvin imaiyAt taDangkaNNAr
annavar tam mAnOkkam uNDu Angku aNimuRuval
innamudam mAndi iruppar (20)
2732. Mesmerised and pampered by the extra-ordinarily beautiful wide-eyed women in that exciting world, and looking continuously into the beautiful doe-eyes, they would consume sweet nectar from their smiling lips, unable to let go of it. (20)
PERIYA TIRUMADAL 21 to 30
PASURAMS 2733 TO 2742
He says the path to mOksham is rigorous, tedious and requires severe austerity.
One can perform dharma only when he is in possession of artham (wealth) and the ultimate goal is the same, viz, fulfillment of desire/ kAmam. mOksham too is attaining what one is most desirous of. Ultimately it is kAmam or desire that makes one perform these purushArtham. Putting forth arguments in this fashion, AzhvAr, as parakAla nAyaki, unequivocally declares that kAmArtham is indeed the base for the other purushArthams, and so she decides that she will unabashedly exhibit her intense desire for emperumAn and perform maDal oordal.
oN poruLum anna thiRathEyAdalAl
The fruit of dharma (anna aRam) purushArtham is kAmasiddhi- fulfillment of desire. The fruit of artham (oN poruL) is also the same. It is now established that the fruit of all purushArtham is nothing but kAmam. (21)
mAnOkkin anna naDaiyAr alarEsa Adavar mEl
mannu maDaloorAr enbadhOr vAsagamum
thennuRaiyil kEttaRivadhuNDu
Hence I decide to stand by and pursue kAmArtha purushArtham as the means to attain emperumAn.
In the south, where tamizh is the ruling language (tennuRaiyil), dainty women who have eyes like the deer (mAnOkkin) and walk like the swan are not permitted to perform maDal oordal for men which invites criticism and disapproval ( alarEsa) from the society. (22)
vENDAdAr tennan podiyil sezhunchandana kuzhambin annadOr tanmai aRiyAdAr (23)
I am not conforming to this view. I would prefer to abide by the sanskrit texts (which permits maDal oordhal by women)**
The insensitive and unappreciative people( vENDAdAr), are those who are incapable of understanding the true nature of the cool sandal paste procured from the podigai mountains in the pANDiya kingdom (tennan). The sandal paste, instead of being a cool, fragrant balm is scorching and burning to the heroine (talaivi) yearning for the hero's (talaivan's) proximity.
** As stated earlier maDal oordal is performed by the man/woman in question, publicly showcasing their love, out in the streets. It is strictly forbidden in the tamizh culture, for women naturally endowed with 'modesty' as an exclusive trait. Notwithstanding, tirumangai AzhvAr argues, that, if abundance of love is the criterion for maDal oordal, how could being a woman be a constraint?
SeetA pirATTi did not hesitate to go along with Shree RAma when He set out to the forests.
UshA, bANAsuran's daughter, concealed aniruddhan in her harem and even married him discreetly. She was steadfast in her love and did not hesitate to go forward to achieve her desire. (23)
mAl viDaiyin mannu maNi pulamba vADAdAr (24)
They do not melt (irangAdAr) to the melodious music from the cowherd boy's(Ayan) flute (vEi). Nor do they pity the pining pangs from the bells (mannu maNi) of the bulls, which is drawn to its partner. (24)
2737. peNNaimEl pinnum avvanRil pEdaivAi siRu kuRalukku unnu udalurugi naiyAdAr (25)
Their hearts are not wrung and moved by the melancholic shriek of the female glossy ibis( anRil pEdai), from atop the palm tree (peNNaimEl). It locks its beak with its male counterpart, not bearing to part with it even for a moment.
They are the women who do not yearn for their thalaivan and become frail and lose their lustre in the process.(udal urugi naiyAdAr). (25)
2738. umbarvAi tunnumadiyuganda toonilA neeLneruppil tam uDalam vEva taLarAdAr (26)
These indifferent women are not consumed and scorched (vEva taLarAdAr) by the pure moonlight that spreads in the sky (umbar), which is blazing like flames of fire for the love stricken women. (26)
2739. kAmavEL mannum silaivAi malarvALikOtheyya ponneduveedhi pugAdAr (27)
They are those who have still not unabashedly performed maDal oordal to establish their love, by getting into the beautiful broad streets, stringing floral arrows (malarvALi) that are shot from manmadan's bow (kAmavEL). (27)
ponnanaiyAr pinnum tiruvuRuga (28)
May these unappreciative women lie in slumber(kaN thuyila) in their beds(poovaNai) decked with flowers, decorating their braids with beautiful flowers(malarkuzhal) and their bodies caressed by the cool breeze (inniLa vADai taDava). May these women's beauty glow and shine ( ponnaiyAr tiruvuRuga). (28)
2741. pOrvEndan tannuDaiya thAdhai paNiyAl arasozhindhu ponnagaram pinnE pulambavalankonNdu mannun vaLa nADu kaiviTTu
Shree rAma, the invincible warrior( pOrvEndhan), resolving to abide by his father's ( tAdai) orders, relinquished His kingdom (arasozhindu), the glorious city of AyodhyA and set off to the forest. The citizens of AyodhyA (ponnagaram) followed Him, begging Him not to leave them ( pulamba valamkoNdu). But rAma stood His ground and left the prosperous city of AyodhyA. (29)
kalniRaindu teendu kazhaiyudaindu kAl suzhanRu
pinnum tirai vayiRRu pEyEtirindulavA
kol navilum venkAnatoodu (30)
The exile to which Sri Rama retreated, resounded with flashes of mirage (minnuRuvil viNtEr) in all directions (mAtirangaL) and seemed to be filled with an emptiness (veLippaTTu). The path was strewn with stones and gravels (kal niraindu). The grass was burnt in the scorching sun (teendu). The bamboos (kazhai) were split (udaindhu) and dried out due to excessive heat. The heat wave led to dust storm (kAl suzhanRu). Further, famished demons with parched bellies roamed about looking for food (tirai vayiRRu pEi tirindu ulavA). The forest reeked with sounds of death and killings (kol navilum). (30)
PERIYA TIRUMADAL 31 TO 40
PASURAMS 2743 TO 2752
AzhvAr makes references of five women from our purANas to justify and elaborate maDal oordal – They are vaidEhi, vEgavati, uloopi, ushA and umA.
vemparal mEl panjchaDiyAl
mannan irAman pin vaidEvi enRuraik (31)
In this verse, He takes vaidEhi as his first reference. ParakAla NAyaki narrates how VaidEhi (the daughter of vidEha king Janaka), instead of enjoying the luxurious life in AyodhyA, firmly decided to follow the footsteps of Lord rAma who immediately obeyed mother kaikEyi’s orders, and walked with her cotton like delicate feet. (She knew that amidst the dense cruel forest, the ghosts would roam with empty stomach craving for human flesh, and only the sound of murder would be heard. Further, the hot terrible sun (koDum kadiron) would roast the pebbles to the extent that they could roast the Sun God Himself. Despite knowing the perils of the forest, SeetA pirATTi quietly followed shree rAma mahArAjA says AzhvAr) This incident too is actually maDaloordal, concludes AzhvAr. (31)
minnanaiya nuNmarungkul vEgavadi enRuraikkum
kanni * than innuyirAm kAdalanaik kANAdu *
tannudaiya muntOnRal koNdEgat tAn senRu * Angku
In these two verses AzhvAr quotes yet another story. VEgavati who was engaged in maDal for a person who was born in a great lineage. (According to our poorvAchAryas, the source of this story is not found in any purANa but referred in a story book titled kathAsaritsAgaram in Sanskrit)
vEgavati was a beautiful woman having black eyes, red lips and a gait like a swan. She was denied the pleasure of living with her beloved, by her elder brother (முன் தோன்றல்).(32)
ponnavilum Agam puNarndilaLE? *(33)
Ignoring (நோக்காது) her brother, she, having learnt that her beloved is in a war field, went there straightaway without fear and pulled His hand boldly amidst the gathering, hugged (பொன் நவிலும் ஆகம்) his chest of golden hue, took him to her place and married him (கைப் பிடித்து), and lived with him happily thereafter. (33)
konnavilum nILvEl kurukkaL kulamadhalai
thannigar onRillAdha venRith dananjchayanai
pannAgarAyan maDappAvai (34)
Haven’t you heard of the story of a nAgakanni (a girl born in the clan of snakes) named ulUpi who leaving all her shyness fell in love and embraced Arjuna? questions AzhvAr in the following three verses.
This story has its mention in the Adi Parva, MahAbhArata.
Arjuna (also known as dhananjaya) is the Lord of a great country where the beautiful river Ganges flows abundantly. He is the one who holds the long spear (which knows how to kill) that shines like lightning (min adum kol navilum nilvel) in his hand and is the one who was born in the Kuru Vamsa. (குருக்கள் குலமதலை). (Kuru vamsa is known for their caliber, wisdom and unparalleled victory.). Once when the courageous Arjuna went on a spiritual tour and while he was bathing in Ganges and reached the riverbank, ulUpi, the daughter of the snake king kouravya, pulled him into the water. (34)
thannudaiya kongkai mugam neriya (35)
When questioned by Arjuna, shedding all the four feminine qualities* namely achcham, nANam, maDam and payirppu, she looked at him lustfully and advanced towards Him.
*The 4 feminine qualities are...
அச்சம்- fearfulness
நாணம் – shyness
மடம்- modesty
பயிர்ப்பு- alertness especially with men other than husband (35)
nannagaram pukku nayandhu inidhu vAzhndhadhuvum *
munnuraiyil kEttu aRivadhillaiyE? (36)
She embraced His chest which looked like a golden mountain full of precious stones. Though Arjuna was disinterested, she coaxed him and took him away to her nAga lOka. She loved him so much that he agreed, and they lived happily there. Haven’t you heard of this story in the mahAbhArata? (36)
mannavan vANan avuNarkku vAL vEndan *
tannudaiya pAvai ulagattuth tannokkum
kanniyarai illAdha kAtchiyAL (37)
ParakAla NAyaki talks of the story of yet another woman ushA in the next three verses to explain the meaning of maDaloordal.
The maDal speaks of how ushA, the daughter of bANAsura trickily brought and married her lover aniruddha, the grandson of krishNa.
BANAsura, the destroyer of the HiraNyAksha’s golden ocean cities and the one as wealthy as Indra (purandara) was the favourite leader of the asuras.
His daughter was ushA, the beautiful girl without a second. (37)
mannum maNivaraith tOL (38)
She had a very close friend and right hand called ChitralEkhA. With her mystic/yogic powers (yoga vidhai), ChitralEkhA abducted Aniruddha who wore a tulasi garland on his wide mountain like shoulders. (38)
mannavan tan kAdhalanai mAyattAl koNDu pOy *
kanni than pAl vaikka maRRavanOdu ettanaiyO *
manniya pErinbam eydinAL (39)
Aniruddha was the dearest grandson of krishNa, the rAjadhi rajan of dwArakA, the amazing supreme personality with four shoulders matching a mountain made of precious stones and the one who is troubling me now. UshA took her lover Aniruddha to her place, married him and lived with him happily enjoying her dream come true. (Even when bAnAsuran imprisoned them, they lived in peace together). (39)
Thus by narrating the story of UshA, ParakAla NAyaki not only repeatedly brings to light, the might (prasthAvam ) of Kannan emperumAn, but also laments that the lord, the mahAnubhAvan, one who wears the most adorable tulsi garland had thus put her in a delicate position as to lament and frame this maDal in order to attain him.
**pAviyEn! parakAla nAyaki says, “She is a sinner”. Many interpretations can be made for this term.
Some are...
1.ParakAla nAyaki wonders, “What sin have I committed? All her friends who are going to the long street where I started setting out my maDal disowned me and discouraged me from framing a maDal. What a fortunate girl ushA is to have a friend with a helping attitude?
2. She is calling herself pAviyEn because she could not attain Him.
3. She is unable to swim upto her destination she opted for as she is stuck in the deep river of Bhagavat kAmam. (39)
mannum malaiyaraiyan poRpAvai (40)
AzhvAr cries, Oh ignorant and silly folks! Are you desirous of hearing thousands of such stories and anecdotes from me who attempted to set a maDal but unable to deliver it due to lack of courage and strength? You have not understood that this is not possible for me. Yet, I will tell you one final tale which is about umA, the precious daughter of the mountain king, ParvatarAja HimavAn. (40)
PERIYA TIRUMADAL 41 TO 50
PASURAMS 2753 to 2762
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| TIRUNARAIYUR NAMBI AND VANJULAVALLI TAYAR |
annanaDaiya aNangu nuDangidaisEr
ponnudambuvAdappulanaindhum nondhagala
thannudaiya koozhai chadAbhAram tan taritTu
Angu anna arunthavatinoodu pOi (41)
Flashing a smile as bright as the shimmering moonlight, on her red lips, the divine lady, UmA/ pArvati, with gait like a swan, tied up her matted locks (koozhai sadAbAram tarittu), made her already frail ( nuDangu), delicate body even weaker (vADa). She brought her five senses under control and completed her austere penance (aRunthavam). (41)
mAthirangaL minniyeriveesa mEledutha sUzhkazhaRkAl*
ponnulagamEzhum kaDandhu umbarmEl silumba *
mannukulavaraiyum mArudhamum thAragaiyum*
thanninudanE suzhalachuzhanRAdum*
kolnavilum moovilaivEl koothampodiyAdi*
Anna Anthony ponnagalam senRAngaNaindilaLE?*
panni uraikkungAl bArathamAm (42)
As a result, she was rewarded by being able to embrace Lord Shiva. His thousand arms spread out far and wide in all directions ( Ayiram tOL mannu kaeatharangL mattithu) and fire sparks ( eri veesa) broke out in all directions (mAtirangL) as he lifted His feet which was adorned with the victory anklet (kazhal). Scanning the upper worlds(pon ulagu Ezhum kaDandhu), his feet reached the heavenly abode of the dEvAs( umbar). The unshakeable mountains (mannu madavaraiyum), the wind (mArudamum) and the stars(thAragaiyum), swirled along, in tune with Shiva's tANDavam. He held the weapon trishul ( moo ilai vEl) which had been instrumental in eliminating despicable demons ( kol navilum), this dancer (kootTan) smears his body with ash and hence is addressed as basmadhAri ( podiyAdi). It is this SivaperumAn that UmA ultimately got to embrace.
If I have to continue to elaborate (panni uraikkumkAl) on such exemplary events, it will turn out to be as lengthy as the mahAbhAratham( bhAratam Am). (42)
irumpozhilsoozh mannumaRaiyOr tirunaRaiyur mAmalaipOl*
ponniyalum mAdakkavAdam kadandhupukku*
ennudaiya kaNkaLippa nOkkinEn (43)
Let me now tell you, in my own words, how unfortunate I have been! Pray! Listen to my woes and about my affliction.
Having an enclosure comprising of orchards ( pozhilsoozh), this temple town, tirunaraiyur is home to learned vedic scholars(mannu maRaiyOr). Opening the grand, large, mountain like golden doorways (ponniyalum mAdakkavAlam) to the temple, I stood transfixed, delightfully gazing at my emperumAn (kaNkaLippa nOkkinEn). (43)
pannu karathalangaLum kaNgaLum *
At that instant, I was drawn to my emperumAn. His broad chest, which is pirATTi's eternal residence, His lips which breaks into a broad smile, His two divine feet, His valorous hands and beautiful eyes encaptured me. (44)
minniyoLipadaippa veezhnANum thOLvaLaiyum*
manniyakuNdalamum Aramum neeLmudiyum*
thunnuveyilviritha chULAmaNiyimaippa*
mannumaradagakkunRin marungE* (44)
Behold! What a sight I was confronted with! Tirunaraiyur emperumAn's imposing tirumEni was like a glowing, lustrous sapphire hillock, covered with blooming golden lotuses. He wore a charming waist band (tiru araignAN). His bejeweled shoulders and beautiful ear rings, the elaborate necklace adorning His chest, His long strands of hair, the resplendent crown studded with gems and diamonds were stunning! Beside this awesome and adorable emerald hillock, (mannu maragada kunRin marungE) my emperumAn ...... (45)
annamAi mAnAi aNimayilAi AngidayE*
minnAi iLavEyiraNdAi iNaicheppAi*
munnAyathoNdayAi keNdaikkulamirNdAi*
annatiruvuruvam ninRadhu aRiyAdhE*
ennudaiyanenjum aRivum inavaLaiyum*
ponniyalum mEkalaiyum Angozhiya pOndhERku*
mannumaRikadalum Arkkum* (45)
PirAtti stood like a tender and delicate vine (vanjikkodi). Resembling a swan in her gait, a deer in her looks, a beautiful peacock in her tresses, and with a waist slender like lightning, shoulders smooth and sturdy like the bamboo, lips red like a kovai fruit and eyes fluttering like the keNdai fish. Until then, I had not realized her presence near emperumAn!
On seeing my emperumAn, my heart and intellect (nenjum arivum), my precious bangles, my golden waistband (ponniyalum mEkalaiyum), all slipped out my control, leaving me disturbed and disconcerted. The turbulent ocean, with its waves relentlessly hitting the shore and... (46)
thannuDaiya thanmai thavirathAn enkolO?*
thennanpodhiyil sezhunchandhanathin thAthaLaindhu*
mannivvulagai manam kaLippavandhiyangum*
inniLampoonthenRalum veesum eri enakkE
munniya peNNaimEl muLmuLrikkoottagathu*
pinnum avvanRil pEdaivAi siRukuralum*
ennudaiya nenjukku OreervALAm enseigEn?*
kalnavil thOL kAman karuppuchilaivaLaiya*
kolnavilum poongkaNaigaL kOthupodhavaNainthu*
thannudaiya thOL kazhiyavAngi* (46)
The cool moon and its caressing rays only add to my agony. Why does the moon lose its natural quality of spreading its cool rays and instead radiates heat? Could it be that emperumAn planned it to be thus? The soothing breeze blows from the podigai mountains of the Pandiya kingdom in the south (thennan podiyil). It brings along with it the pollen dust of the sandal trees (sezhunchandanathin thAdhu) and spreads joy to the people living in the world. But why does the tender breeze (inniLam poontenRal) blow like hot furnace( veesum eri) on me? Why does the chirp ( siRu kural) of the ibis (anRil) which locks its beak with its partner, living on top of the palm tree, pierce my heart as if with a sharp sword? How am I to save myself from such agony?
manmadan (kAman), who has shoulders as strong as the mountains, strung his bow made of sugarcane (karuppuchilai), locked the floral arrow, held it against his chest and pulled it to his shoulders...(47)
pinnadhanai kAppeerthAm illaiyE* (48)
Aiming at my heart, he shot at me! Pray! I don't see anyone coming to my rescue! (48)
nalnaRuvAsam mARRArAnum eidhAmE*
mannumvaRunilathu vALAnguguthadhupOl
ennudaiya peNmaiyum ennalanum enmulaiyum*
mannu malarmangai maindhan* (49)
Just like a fragrant, beautiful flower that blooms in a climber in a rocky forest gets wasted without being useful for anyone and wilts away in the emptiness of the forest..... (49)
ennivaithAn? vALA enakkEpoRaiyAgi*
munnirundhu mookkinRu moovAmai kAppadhOr*
mannu marundhaRiveerillaiyE? (50)
....I too feel wasted without being able to embrace the broad divine chest of the emperumAn of kaNNapuram. What is the use of these organs, other than being an added burden to myself? I can find no medicine to cure my malady! (50)
PERIYA TIRUMADAL 51 TO 60
PASURAMS 2763 TO 2772
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ParakAla nAyaki had been waiting patiently craving to see her dear lord sriman nArAyaNa. She wonders if her life is wasteful and meaningless having been deprived of enjoying the proximity of emperumAn of tirukkaNNapuram inspite of contemplating upon him alone.
kanniyar kaN miLira kaTTuNDu…(51)
2763. As she sobbed profusely in this distressed state, she hears the clanging of the bells. She wonders,” This appears to be like the bells tied with strong ropes or chains around the neck of oxen who are excessively in love with a cow. They are majestic with huge humps on their back (tunnu piDar e ruttu) which attracts the attention of young girls too”. (51)
innisai Osaiyum vandu en sevi tanakkE *
konnavilum ehkil koDidAy neDidAgum *
ennidanai kAkkumA? solleer….(52)
2764. She continues blabbering,” In order to attract the cows, the grieving oxen keep bellowing in evening. The tongues of the bells around their neck sway and vibrate continuously producing melodious loud tingling sounds. They are pleasant to the ears for others, but they seem painful and brutal to mine like a deadly spear (kolnavilum ehgil) thrust into my ears. Oh! Who will protect me from this agony that I am undergoing? (idanai kAkkum A en solleer?)” (52)
munnam viDutta mugil vaNNan….(53)
2765. ParakALa nAyaki ascertains the culprit who is the root cause of this mental anguish that she is undergoing.
I know who is that mahAnubhAvan (idu viLaitta mannan)who is subjecting me to undergo this suffering. He is the sarva rakshagan who adorns the fragrant tuLasi garland on his gorgeous chest promising to protect his devotees at all times. Don’t I deserve to lie on his chest like the tuLasi garland? He has caught me in his web of love and promised to protect me. He is the mugil vaNNan! The emperumAn with a complexion of dark rain bearing clouds who once resolved the curse of kshayarOgam incurred by Chandran the moon god. (54)
anna kaDalai malainiTTu aNai kaTTi *
mannan irAvaNanai mAmaNDu venjamattu *
pon muDigaL pattum puraLa saram turandu *
tennulagam ERRuvitta sEvaganai……(54)
2766. Now on parakAla nAyaki swears to visit various divyadEsams, glorify his incarnations, his kalyaNagunAs and express her agony with an anticipation that he may lend an ear and come rushing to accept her immediately.
He is the radiant one whose tirumEni is very enchanting and brilliant, resembling the fragrant dark purple kAyA flowers (kAyampoo-flowers of ironwood tree) blooming in clusters.
He is the mahAveeran rAmapiran who has a skin tone resembling the dark blue ocean. He constructed the sEtu bridge across the vast ocean and marched fearlessly into laNkApuri. He is the mahAsooran who confronted the four types of armies of rAvana. In the fierce war that raged he shot powerful arrows, severed the pride filled attractive ten heads of the rAkshasa king rAvaNA and sent them rolling down to yamalOka, the abode of the Lord of death (ten ulagam Eruvitta sEvaganai). This feat was to rescue his beloved seetA pirATTi who had been abducted by the asura king rAvana.
He who performed amazing feats beyond the reach of a human had always given a word of assurance to protect whoever surrendered to him. (55)
tannuDaiya tOL valiyAl kaikkoNDa tAnavanai *
pinnOr ari uruvamAgi eri vizhittu *
kolnavilum venjamattukku kollAdE…(55)
2767. NARASIMHA AVATARAM
The mighty strong shouldered HiraNyAkashipu conquered the swargalOka of the thousand eyed Indra and the other beautiful heavenly abodes. After a few years unable to withstand atrocity on his people and his son prahlad, emperumAn incarnated as the incomparable one in the man-lion (ari uruvam) form. hiraNyan and Lord Narasimha had a perfect combat but the Lord did not kill him at the first sight. (55)
tannuDaiya tAL mEl kiDAtti *(56)
2768. The outraged emperumAn narasimhan dragged the ferocious and powerful rAkshasa hiraNyan by his hair which adorned the beautiful gem studded crown. He pulled him closer, lifted him and place the rakshasa on His divine tiruvaDis ( here it means on his lap-tannuDaiya tAL mEl kiDAtti) in the twilight hour negating all the boons he had gained from brahma. (56)
minnilangum Azhi paDai taDakkai veeranai *
pinnumOr EnamAy pukku vaLaimaruppil *
konnavilum koornudi mEl vaitteDutta koottanai *
mannum vaDa malaiyai mattAga mAsuNattAl *
minnum irusuDarum viNNum piRaNgoLiyum *
tanninuDanE suzhala malai tirittu * Angu
innamudam vAnavarai yootti * avaruDaiya
mannum tuyar kaDinda vaLLalai…(57)
The most powerful Lord Narasimha, the veeran who wielded the luminous sudarshana chakra in his hand, split the majestic chest of the powerful hiraNyakashipu with his sharp nails as a weapon and killed him. Dear lord! You did this astounding feat and gained the fame of protecting (pugazh paDaitta) your dear devotee prahlAd who was immensely tortured by hiraNyan.
VARAHA AVATARAM
pinnumOr EnamAy pukku vaLaimaruppil *
konnavilum koornudi mEl vaitteDutta koottanai *
At the end of the pAdma kalpa during the mahApralaya, hiraNyAkshA the brother of hiraNyakashipu rolled mother earth like a mat and drowned her in the ocean. The devas and the rishis pleaded Lord Vishnu to retrieve mother earth.
Dear Lord! You assumed the form of a gigantic boar (EnamAy), dived into the ocean and found bhoomi dEvi stuck to the ocean bed. You majestically and effortlessly dug your sharp tusk into the ocean bed stuck to the pAtAla lOka and seated Bhoomi pirATTi affectionately on the edge of your sharp tusk. As you rose above the ocean, you seemed to dance celebrating this victory.
KOORMA AVATARAM
minnum irusuDarum viNNum piRaNgoLiyum *
tanninuDanE suzhala malai tirittu * Angu
innamudam vAnavarai yootti * avaruDaiya
mannum tuyar kaDinda vaLLalai…
Lord sriman nArAyarNa incarnated as a tortoise (koormam) and removed the sorrow of dEvEndran who was cursed by sage durvasa (avaruDaiya manam tuyar kaDinda).
Once a dEvatAstree belonging to the vidhyAdharas of dEva lOka reached Vishnu lOka. She sang praising goddess Mahalakshmi who gave her a garland of flowers as a gift. While returning with the garland wound around her veena, she met sage durvAsa. He offered his respects to her and sang her praises. In turn she gave the garland to the sage who was on his way to dEvaloka. In the swargalOka, dEvendran was in a procession riding joyously on his elephant airAvatam. As he offered his respects, sage durvasa gave the garland to him. Indra placed the garland on the back of the elephant but at once it took the garland, threw it on the ground and stamped it. This angered sage durvasa who cursed dEvEndran to lose his wealth (aishvaryam) in all forms which will get hidden in the ocean. This weakness in the devas was advantageous for the asuras to capture the heavenly abodes. Indra and the devas surrendered to the Lord and requested him to come to their rescue.
Wooing the asuras with the prospect of getting the divine necar, amrutam, the devas took the pleaded them to lend a hand and churn the ocean of milk ( ksheerasAgaram). The huge mountain mandara became the churning rod and the longest snake vAsuki (mAsunattAl) became the rope to churn the mountain. While the asuras held the head and the devas held the tail they churned the mandara mountain which started sinking due to its heaviness.
Immediately emperumAn, the supreme one incarnated as a gigantic tortoise and held the huge mountain on his back and helped the asuras and devas churn the ocean. As they churned fiercefully several treasures were unearthed. The churning was so intense that even the sun, moon and all the luminous bodies in the vast sky appeared to be spinning. . Then the lord granted the innamudam or sweet amrutam to the dEvas (Lord Vishnu emerged as DHANVANTRI, the lord of medicine carrying the pot of sweet nectar. The asuras came running to grab it). Thus, he removed the sorrow and poverty of the devas who had lost their aishvaryam.
tirumAl is the karuNyasheelan who stoops to any level to protect his devotees. He is filled with bountifulness (vaLLaL) who is extremely generous by nature. (57)
maRRanRiyum
tannuruvam Arum aRiyAmal tAn aNgOr *
mannum kuRaL uruvil mANiyAy *(58)
This paramapurushan (mANiyAy) came in the guise of a young, handsome and attractive brahmachAri dwarf or vAmana who was unrecognizable even by the celestials!
mannai manaNkoLLa vanjittu nenjurukki *
ennuDaiya pAdattAl yAn aLappa mUvaDi maN *
mannA! Taruga venRu vAy tiRappa. (59)
2771. The gait and the tirumEni of the young vAmana was so enticing that everyone stood staring at him in amazement. He spoke to the king very sweetly and firmly with respect. When mahAbali asked his desire, he sweetly addressed the king saying, ”mahAprabhuvE! mannA! Please grant me three feet of land; it should be the measure of my foot. Please offer the alms immediately (taRuga- as he may change his thoughts).” (59)
minnAr maNimudi pOy viN thadava *(60)
2772. King mahAbali who was full of pride seemed to have become a pure soul listening to his humble request. The words from the divine lord left the king mesmerized that he couldn’t question him further and granted three feet of land without even listening to the advice of his guru sukrAchArya who doubted that this young brahmachAri could be Lord nArAyana himself. Immediately vAmana started growing into the huge and gorgeous trivikraman to measure the worlds adorning a radiant gem studded crown which touched the vast sky. (60)
PERIYA TIRUMADAL 61 TO 70
PASURAMS 2773 to 2782
Winding up with the vibhava avatAras of Shreeman nArAyaNa, parakAla nAyaki performs mangaLAshAsanams for thirty-five archAvatAra moortis with specially chosen, dear words for each perumAL. So, lets travel divya dEsams for some time…..
kaDandu angu onnA asurar tuLangkach sela neeTTi
mannu ivvagaliDattai mAvaliyai vanjchittu
tannulagam Akkuvitta tALAnai (61)
2773. Lord vAmana lifted his foot adorned with tinkling gold anklets, that spanned across the sky and the seven worlds. At the same time, He destroyed the asuras like namuchi who confronted Him at the yAgashAlA below, on the earth. Using all these incredible exploits, He tricked mahAbali to regain the vast opulent earth and made it His own, thereby earning the name ‘tannulagam Akkuvitta tALAn – the owner of the feet that repossessed the universe’. (61)
viNNagaruL ponmalaiyai
ponni maNi kozhikkum pUngkuDandaip pOr viDaiyai
tennan kuRungkuDiyuL sempavaLak kunRinai
manniya taN sERai vaLLalai (62)
2774. Hear me, oh Lord of tiruviNNagaram, oppiliappan, who shines like a golden hill and is the husband of the thin-waisted Goddess shreedevi resting on the lotus!
Oh Lord of the beautiful tirukuDandai, ArAvamudan, who appears like a war-bull filled with pride and is resting on the banks of the river kAvEri gushing with precious gems!
Oh Lord of the extraordinary tirukuRunguDi to the south, vaishNava nambi, who sheens like a red coral mountain!
Oh the most generous Lord sArAnAtha residing comfortably in the cool tiruchErai! (62)
ennuDaiya innamudai evvuL perumalaiyai
kanni madiL sUzh kaNamangkaik kaRpagattai
minnai irusudarai veLLaRaiyuL kallaRai mEl
ponnai maradagattaip puTkuzhi em pOrERRai
mannum arangkattu em mAmaNiyai (63)
2776. Oh my sweet nectar vayalAli maNavALa, residing in tiruvAli tirunagari filled with water bodies in which swans sleep peacefully on huge lotuses!
Oh Lord veerarAghava reclining like a huge mountain in tiruevvul!
Oh Lord Bhaktavatsala standing like a kalpavRuksha in the strongly ramparted city of tirukaNNamangai!
Oh Lord PuNDarikAksha standing with the shining chakra and the conch at tiruveLLarai!
Oh Lord vijayarAghava, my war-bull, sparkling like an emerald inside the stone shrine at tirupuTkuzhi!
My Lord ranganAtha, the extra-ordinary gem shining eternally in the beautiful town of tiruvarangam! (63)
tonnIrk kaDal kiDandha tOLA maNich suDarai
en manattu mAlai iDavendai eesanai
mannum kaDalmallai mAyavanai (64)
2777. Oh Lord of tiruvallavAzh, shree vallabha, the beloved of nappinnai!
Oh Lord appakuDattAn doing nityasayanam in tiruppErnagar, relaxing as if he has not done any work so far and has a lot to do - pirappu iliyai!
Oh Leader varAha of tiruviDavendai who radiates like an un-holed precious stone!
Oh the amazing sthalasayana Lord reclining on the ocean in the lovely tirukaDalmallai ! (64)
tannaip piRar aRiyAt tattuvattai muttinai
annattai meenai ariyai arumaRaiyai
munnivvulaguNDa mUrttiyai (65)
Oh the magnificent Lord ninRa nArAyaNan of tirutaNkAl, the shining pearl that adorns the crowns of nityasooris!
Oh Lord, the one understandable by none, the eternal truth, the pearl, the one who took the hamsAvatARa, meenAvatAra, narasimhAvatAra, and the form of all the great vEdas! Oh Lord who once took the form of a small infant and ingested all the worlds in your stomach! (65)
pEy alaRap pinnum mulai uNDa piLLaiyai (65)
Oh my fascinating ‘iDaikkazhi Trivikrama’ who abodes in tirukOvaloor! The Lord who appeared amidst the three mudal AzhvArs poygai AzhvAr, bhoodattAzhvAr, pEyAzhvaAr.) The infant, Ayan krishNa who sucked the milk from pootanA and let her screaming! (66)
tentillaich chittira kUDattu en selvanai (67)
Oh Amaruviyappan, the glowing light of tErazhundoor which is surrounded by muddy marshes where swans search for their food.
Oh my affluent Lord GovindarAjan reclining in the southern city of tillai tiruchitrakooDam ! (67)
mannanai mAlirunjsOlai maNALanai
kolnavilum Azhip paDaiyAnai (68)
Oh the benevolent Lord SreenivAsan standing in tiruvEngaDam covered above with abundant lightning clouds ready to shower rain!
Oh azhagA, the King of the world, the bridegroom residing in tirumAlirunchOlai and wielding the sudarshana chakra capable of slaying all enemies! (68)
innamuda veLLattai indaLUr andaNanai
mannum madiL kachchi vELukkai ALariyai
manniya pADagattu em maindanai (69)
Oh Lord Sowmya nArAyaNa/Narasimha of TirukOTTiyoor!
Oh the compassionate Lord satyagirinAthan of tirumeyyam overflowing with sweet kindness!
The virtuous Lord ParimaLa RanganAtha resting at tiruvindaLoor!
Oh, Lord azhagiya singar/kAmasikA (man-lion avatAra Narasimha) sitting on His own will in TiruvELukkai, the well-fortified city of kAncheepuram!
Oh my dear child pANDavadoota aboding in the beautiful tirupADagam! (69)
UragattuL annavanai aTTabuyakarattu emmAnERRai
ennai manam kavarnda Isanai (70)
Oh Lord yathOtkari lying alert in yOganidrA in tiruvehkA! (Though VishNu appears to be sleeping, it is said that He is seriously thinking on the ways to emancipate the jeevAtmAs).
Oh the unique Lord ulagaLanda perumAL of tiruvooragam (the lord gave Mahabali darshan in the rare form of AdisEshan snake; uragam in tamizh means snake - ooragattAn)!
Oh my Lord of Lords, ashTabhuja AdikEshava perumAL of tiruvaTTabuyakaram!
Oh Lord pEraruLALan of kAnchi who captivated my heart.
**('ennai manam kavarnda eeshan’ refers to kAnchi dEvAdirAjan perumAL who rendered financial help to King tirumangai AzhvAr by showing in his dream the treasure hidden along the banks of river vEgavati at a time when he was imprisoned for defaulting his taxes due to the kingdom of tiruvAli”. (70)
PERIYA TIRUMADAL 71 TO 78
PASURAMS 2783 TO 2790
ParakAla nAyaki's list of archAvatAra perumAL goes on, her intent being to disgrace Him and coerce Him into fulfilling her desire.
annavanai Adanoor ANDaLakkum aiyanai*
nennalai inRinai nALaiyai
The emperumAn as dEvAdirAjan (vAnavartham munnavan)(pEraruLALan of kAncheepuram); as tirumoozhikaLattAn, appan who resides in tirumoozhikaLam; as the one beyond comparison (annavan); the swAmi who controls and rules over eons and time (ANDaLakkum aiyan),residing in tiruAdanoor; the one who is in charge of the present, past and future (nennalai, inRinai, nALaiyai)... (71)
pullANi thennanthamizhai vadamOzhiyai*
nAngooril mannumaNimAda koilmaNALanai*
nalneer thalaichanganANmadiyai** (72)
The one who stands tall in tiruneermalai as the embodiment of the four vedas - neervaNNan emperumAn; the one who has mastered both the tamizh and sanskrit languages and is a ubhaya vEdanti - Adhi JagannAthan in tiruppullANi; the one who resides as an adorable bridegroom (maNALan) - nArAyanan in tirunAngur's maNimAdakkOvil; the one who is the presiding emperumAn , nAnmadiyan of talaichanga nANmadiyam which is surrounded by cool waterbodies. (72)
ennilaimai ellAm aRivithAl emperumAn
..... ...who is the kaNNan I devotedly worship, who is the emperumAn of kaNNapuram, who is the handsome deity of tirunaRaiyoor maNimADam and the one who is the sarvEswaran having huge, mountain like shoulders.
I prayed to all these perumALs with folded arms, expressing my anguish and my woeful disposition. If, even after listening to my woes, He doesn't grace me by granting my desire of embracing His divine chest..... (73)
thannaDiyAr munbum dharaNi muzhudhALum* kolnavilum vElvEndhar koottathum nAttagathum* thannilamaiyellAm aRivippan*
I will go to places where women gather in groups (minnidaiyAr chEriyilum) and to where vaidikas reside (vEdiyargaL vAzhvidam), in front of His devotees, in the presence of kings who rule over the world, having spear wielding soldiers under their command and throughout the country and reveal (aRivippan)to them His heartless nature. (74)
Now parakAla nAyaki starts to talk about some of His vibhava avatAra leelas which only brought disrespect to His stature.
2787. tAnmunanAL minniDai Aichiyartam chErikkaLavinkaN tunnupadaltiRandu pukku*
Long back, during the krishNAvatAram, the AyarpADi women with slender waists, stored butter and curd in pots and securely covered, tied and hung them up in the ceiling trying to keep them from being stolen. Creeping in and piercing open the covers..... (75)
tannuchagadathAl pukkaperunchORRai*
munnirundu muRRattAn tuRRiyatheRRenavum*
mannarperunchavaiyuL vAzhvEndar thoodanAi* thannai igazhndhuRaippa
thAn munanAL senRaduvum*
mannupaRaikaRanga mangaiyartham kaNkaLippa* konnavilum koothanAi peyarthum kudamAdi* ennivan? ennappaDuginRa eedaRavum*
then ilangaiyAtti arakkarkulapAvai*mannanirAvaNan than naltangai* (76)
...KrishnA stealthily gulped all the butter and curd to His stomach’s capacity! Unfortunately, He was caught in the act by the women who had eyes like the kayal fish and was bound to the mortar (ural) with a piece of rope(vAnkayiRu). I will expose this atrocious act of Yours to all in the street!
On another occasion, the AyarpADi people decided to offer food to Indra as a thanksgiving gesture. Taking the form of a huge demon(bhoodam), He shamelessly gobbled up all the food that was brought in several carts (shakaTam). Right in front of their eyes, He consumed every mite of food without leaving even a bit!( muRRa thAn thuRRi). I will also disclose this shameless act of Yours to everyone!
Yet again, He undertook the menial job of being the messenger (toodan) for the pANDavas and went to Duryodhana's court. I will loudly expose the fact that He stooped low and performed deeds which were ridiculed ( igazhndhu uRaippa) by all.
Much to the amusement of the AyarpADi girls, He tied drums to His waist and danced to its beat. He also balanced pots on His head and hands and deftly juggled (koottanAi kuDamADi). I will tell people about these frivolous acts and give them the impression that He is a mere entertainer.
The princess of lankA in the South, the celebrated offspring of the rAkshasa clan and the dear sister of King rAvaNA....(76)
2789. vALeyiRRu thunnusudusinathu soorpankA sOrveidi*
manniyathiNNenavum, vAithamalaipOlum*
thannigar onRillAdha thAdakaiyai* (77)
.....with teeth as sharp as swords (vAL eyiRu) and whose rage was capable of roasting the enemies ( suDu sinam), SoorpanakhA, was deeply attracted by Rama's looks. Her lust made her become weak and helpless. When she approached Rama with amorous intent He, heartlessly chopped off her nose. He took false pride in having spared her life and let her off by simply mutilating her. I will defame Him by saying that He humiliated a woman.
The demoness tAtakA was huge as a mountain having none to equal her cruelty. (77)
munnimuLaithezhundhu OngiyoLiparandha*
manniyampoompeNNaimaDal. *(78)
tAtakA was killed and sent off to yamalOka ( tennulagam), on the instruction of sage viswAmitrA. But it is not fair play to kill a woman.
I, parakAlA nAyaki, will talk about all these exploits and will wield the well grown, glossy, beautiful palm frond and perform maDal oordal. (78)
CONLUDING POEM BY POET KAMBAN
tannaruLumAgamumtArAnEl* pinnaipOi
ONtiRaineervElai ulagaRiya oorvan nAn*
vaNdaRai poompeNNai maDal.
These verses are composed by kambar. This is normally recited at the conclusion of periya tirumaDal recitation.
If, even after appealing to Him about my intense desire and my associated woes, emperumAn doesn't take pity on me and embrace me, I will hold the palm frond and proclaim to everyone in the world that is surrounded by the ocean, that, I, parakAla nAyaki will perform maDal oordal.
