TIRUVEZHUKURRIRUKKAI
श्री:
DIVYA PRABANDHAM WORKSHOP
SESSION – 20
TIRUVEZHUKURRIRUKKAI
(தேர் பிரபந்தம்)
Shree GurubhyO Namah,
Namaskaaram dear members,
Welcome back to the 20th session of our group's divya prabandham anubhavam.
TiruvezhukURRirukkai is a sharanAgati prabandham of Tirumangai AzhvAr who is highly acclaimed as ‘chatushkavi shikAmaNi or nAlu kavi perumAL’ meaning ‘the topmost in all four types of poet categories namely Ashukavi (extempore versifier), VistAra kavi (elaborate composer), Chitra kavi ( picture/pattern poet), and madhurakavi (rhyme poet). TiruvezhukURRirukkai was the prabandham that gave him the title ‘chitra kavi’. Let's see how!
In TirukkunDandai, KumbakkONam sArangapANi kOyil, Lord ArAvamudan is housed in the garbhagraha that resembles a temple chariot or a temple car drawn by horses and elephants on either side. When Tirumangai AzhvAr visited the shrine, He composed this prabandham with apt words that could be arranged in the model of the 'Ratha' meaning chariot.
*The name TIRUVEZHUKURRIRUKKAI *
- Tiru - auspicious/ shree, ezhu – seven, kooRu – parts/divisions, irukkai – seated.
The title simply means ‘The Lord seated on the seven-tier chariot’.
This is the eighth prabandham in the ‘moonRAm Ayiram ( iyarpA)’ section of divyaprabandham as categorized by Shree NAthamuni.
Uniqueness of TiruvezhukURRirukkai
🏆 It is the shortest divya prabandham.
🏆 It is a single pAsuram having 46 lines.
🏆 It is a ‘1 to 7 number poem’. (The number names of the numerals 1 to 7 have been used meaningfully to extol the greatness of Lord NArAyaNa – (oru, iru, moonRu, etc). Another poem which is all numbers is Tiruchchandaviruttam of Tirumazhisai AzhvAr.
🏆It is a picture poem or a shape poem. (If the phrases of the pAsuram are arranged in a particular pattern across seven rows, the shape of a double pyramid or a chariot is formed).
🏆The whole prabandham has been sung exclusively for the ever beautiful tirukuDandai ArAvamuda perumAL. Though Tirumangai AzhvAr has sung more than 100 pAsurams in praise of Tiruvarangam, Tirunaraiyoor and TirukaNNapuram deities, TirukuDandai ArAvamuda perumAl seems to have been his all-time favorite as is evident from the fact that He was featured in his very first pAsuram (periya tirumozhi), in his very last pAsuram (TiruneDuntANDakam), and finds mention in all of Tirumangai AzhvAr’s six prabandhams.
Do join us as we sing the glories of the enchanting TirukuDandai SArangapANi resting on His chariot.
ADIYEN
🙏🏽🙏🏽🙏🏽🙏🏽
AZHVAR EMPERUMANAR DESIKAN TIRUVADIGALE SHARANAM
மூன்றாம் ஆயிரம்
திருமங்கை ஆழ்வார்
திரு எழு கூற்றிருக்கை
ஒரு பேர் உந்தி இரு மலர்த் தவிசில்
ஒருமுறை அயனை ஈன்றனை ஒரு முறை
இரு சுடர் மீதினில் இயங்கா மும் மதிள்
இலங்கை இரு கால் வளைய ஒரு சிலை
ஒன்றிய ஈர் எயிற்று அழல் வாய் வாளியில்
அட்டனை மூவடி நானிலம் வேண்டி
முப்புரி நூலொடு மான் உரி இலங்கு
மார்வினில் இரு பிறப்பு ஒரு மாண் ஆகி
ஒரு முறை ஈர் அடி மூவுலகு அளந்தனை
நால் திசை நடுங்க அம் சிறைப் பறவை
ஏறி நால் வாய் மும் மதத்து இரு செவி
ஒரு தனி வேழத்து அரந்தையை ஒருநாள்
இரு நீர் மடுவுள் தீர்த்தனை முத் தீ
நான்மறை ஐ வகை வேள்வி அறு தொழில்
அந்தணர் வணங்கும் தன்மையை ஐம்புலன்
அகத்தினுள் செறித்து நான்கு உடன் அடக்கி
முக் குணத்து இரண்டு அவை அகற்றி ஒன்றினில்
ஒன்றி நின்று ஆங்கு இரு பிறப்பு அறுப்போர்
அறியும் தன்மையை முக் கண் நால் தோள்
ஐ வாய் அரவோடு ஆறு பொதி சடையோன்
அறிவு அரும் தன்மைப் பெருமையுள் நின்றனை
ஏழ் உலகு எயிற்றினில் கொண்டனை கூறிய
அறு சுவைப் பயனும் ஆயினை சுடர்விடும்
ஐம் படை அங்கையுள் அமர்ந்தனை சுந்தர
நால் தோள் முந்நீர் வண்ண நின் ஈர் அடி
ஒன்றிய மனத்தால் ஒரு மதி முகத்து
மங்கையர் இருவரும் மலர் அன அங்கையில்
முப்பொழுதும் வருட அறிதுயில் அமர்ந்தனை
நெறி முறை நால் வகை வருணமும் ஆயினை
மேதகும் ஐம் பெரும் பூதமும் நீயே
அறுபதம் முரலும் கூந்தல் காரணம்
ஏழ் விடை அடங்கச் செற்றனை
அறு வகைச் சமயமும் அறிவு அரு நிலையினை
ஐம்பால் ஓதியை ஆகத்து இருத்தினை
அறம் முதல் நான்கு அவை ஆய்
மூர்த்தி மூன்று ஆய் இரு வகைப் பயன் ஆய்
ஒன்று ஆய் விரிந்து நின்றனை குன்றா
மது மலர்ச் சோலை வண் கொடிப் படப்பை
வரு புனல் பொன்னி மா மணி அலைக்கும்
செந்நெல் ஒண் கழனித் திகழ் வனம் உடுத்த
கற்போர் புரிசைக் கனக மாளிகை
நிமிர் கொடி விசும்பில் இளம் பிறை துவக்கும்
செல்வம் மல்கு தென் திருக் குடந்தை
அந்தணர் மந்திர மொழியுடன் வணங்க
ஆடு அரவு அமளியில் அறிதுயில் அமர்ந்த
பரம நின் அடி இணை பணிவன்
வரும் இடர் அகல மாற்றோ வினையே.
TIRUMANGAI AZHVAR’S RATHA BANDHAM
The exceptional divyaprabandham TiruvezhukURRirukkai is called as chariot poem (tEr prabandham) as it is composed in the Ratha Bandham style of poetry.
Let’s go numbers for some time and get a snapshot of the arrangement of the phrases that form a chariot shape.
From the pAsuram, all the phrases beginning with numerals 1 to 7 are arranged in order of their occurrence, into separate slots, in seven rows, to form a pyramid, so that the beginning and end numbers of every row is 1.
For example, the line ‘oru pErundi, iru malar tavisil, oru murai ayanai eenranai’ is arranged in the first row into three separate slots as follows:
Row 1: First slot - oru pErundi (1), Second slot - iru malar tavisil (2), Third slot - oru murai ayanai eenranai (1) So, 121 is the pattern.
Row 2 : First slot - oru murai (2), Second slot - iru suDar meedinil iyangA (2), mummadiL (3), ilangai irukAl vaLaiya (2), orusilai (1). The pattern is 12321.
Following the same pattern for seven rows up to ‘onRAy virindu ninRanai, we get the shape of a seven-tier pyramid. If we invert this pyramid and place it below, leaving some space in between, the overall shape of the poem becomes a chariot. This is called Ratha-bandham.
The central space inbetween is filled with the last paragraph of the divya prabandham with starts with ‘kunRA madhumalar sOlai’ and ends with ‘mARRO vinayE’. This is the beautiful concluding phrase where Tirumangai AzhvAr surrenders, and vows never to move away from the benign tiruvaDis of the Lord of TirukkunDandai who enjoys His yOga nidrA on the serpent bed.
TiruvezhukooRRirukkai is recited in every chariot festival of divya dEsams. When you visit, don’t miss the age-old painting of Tirumangai AzhvAr’s ‘ratha bandham’ on the walls of TirukuDandai sArangapANi kOyil!
It is also said that Tirumangai AzhvAr gifted a wooden chariot to the temple as part of his kainkaryam. That leaves ArAvamudan with three magnificent chariots - ‘kal tEr’ (stone chariot in garbha graham), ‘chittirai tEr’ (chaitra festival wooden chariot), and ‘sol tEr’ (words chariot tiruvezhukURRirukkai).
VAZHI PARAKALAN!
🙏🏽🙏🏽🙏🏽🙏🏽
LEARN TIRUVEZHUKURRIRUKKAI
AUDIO LESSONS BY SMT. SEETHA SARANATHAN
TIRUVEZHUKURRIRUKKAI
TANIYAN
BY EMPERUMANAR
vAzhi parakAlan vAzhi kali kanRi
vAzhi kuraiyaloor vAzhvENdan—vAzhiyarO|
mAyOnai vALvaliyAl mandirankoL mangaiyarkOn
tooyOn suDar mAna vEl ||
Long live parakAlan (tirumangai AzhvAr)! Long live kalikanRi (the destroyer of the effects of kali yuga)! Long live the leader of Kuraiyaloor city! Long live the Tirumangai king who secured the aShTAkshara mantrOpadEsham from the Lord mAyOn, (vayalAli maNavAlan perumAL) by threatening Him with the sharp sword! Long live the shining, respected spear of the spotless Tirumangai AzhvAr (tooyOn)!
*parakAlan – the confronter (kAla) of the non-vEdic beliefs (para samayam).
*tooyOn – Though tirumangai AzhvAr engaged in numerous thefts, He is referred as pure (tooyOn) because He spent all the money for bhagavat-bhAgavata samArAdhanam (gratification) and devoted the rest of His life entirely to Shreeman NArAyaNa.
*suDar mAna vEl - . The spear was gifted to tirumangai AzhvAr by TirugyAna Sambandhar in appreciation of his poetic prowess. Hence, the phrase could also refer to AzhvAr's immaculate, great words (i.e. the divyaprabandhams).
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| Tirukkudandai Sarangapani |
TIRUVEZHUKOORRIRUKKAI
PASURAM 2672
PART 1
Tirumangai AzhvAr does sharaNAgati to ArAvamudan perumAl of tirukkuDandai. Overwhelmed with the selfless compassion of the Lord and His beauty, AzhvAr seeks his grace and protection from this samsAra bandham of recurring births. AzhvAr beautifully and categorically elucidates the amazing feats of the Lord reminding him of his kalyANAguna of rakshakatvam.
oru pErundi iru malar tavisil, oru muRai ayanai eenRanai,
EmperumAnE! After every deluge you started the amazing process of creation! You who are filled with an extraordinary attribute of shaktitvam, created from your exuberant navel (oru pEr undi), the four headed Lord brahmA (oru muRai ayanai) seated on the huge lotus (iru malar). You initiated him with the vEdas as before and entrusted the duty of creation to him, guiding him as the antaryAmi from within.
Being the cause of creation as shrushTikartA, isn’t it your responsibility to protect me too?
oru muRai iru suDar meedinil iyaNgA, mummadil ilangai
irukAl vaLaiya, oru silai onRiya eereyiRRu azhalvAy vALiyin aTTanai,
After creation, You have constantly protected your devotees. None could see the creation of brahmA but once during the trEtA yuga you incarnated as rAmapirAn (oru muRAi) to express Your kalyAnaguNa of rakshakatvam.
LankA was a wasp nest of powerful rakshasas. You physically stood and fought to protect your devotees from the atrocities of the mighty king rAvana who had instilled immense fear in the devas too. Even the sun and moon (iru suDar) feared to span over the city of LankApuri which was fortified by mountains, water and forests (mummadil ilangai -malaikOTTai,neerkOTTai and vanakkOTTai).
emperumAnE! Your peerless bow which is the shArNgam (oru silai) had two bent ends (irukAl valaiya). The two headed arrows (eereyiRRazhalvAy) when strung and released from your incompatible bow (onRiya) spit fire vanquishing the rakshasas thus destroying lanka.
rAma! Just as you protected your bhaktas in rAmavatAra by vanquishing the rakshasas, please favour me by destroying my karma vAsanas which have always been my obstacle in all the births.
moovaDi nAnilam vENDi, muppuri nooloDu mANuri ilangum
mArvinil, irupiRappu orumANAgi, oru muRai iraDi moovulagu aLandanai,
PerumAnE! Long ago, you who protected the bhaktas with your shArNgam mesmerised the world with your beauty and nirhEtuka krupai in vamana avatAram. You took the form a young brAhmana brahmachari (oru mAN Agi) adorning the sacred thread yagnyOpaveetam (muppuri nooloDu-which has three strands) and camouflaged it with a deer skin across your shoulder. You elegantly walked upto mahabali’s sacrifice and begged for three feet (moovaDi) of land. Amazingly you took the form of trivikrama and measured the three worlds (moovulagu aLandanai) with your divine tiruvaDis (eeraDi). One feet measured the earth which has four types of landforms (nAnilam vENDi) mullai, kurinji, marudam and neidal and the lokAs below it. The second tiruvaDi measured the higher worlds and lokAs above the earth. For the third feet of land you pressed the mighty king mahAbali with his permission into the pAtala lOka.
emperumAnE! You graced every being in the universe during this avatAram without any discrimination. Having completely surrendered to you please grace me to serve your tiruvaDis forever.
PART 2
nARRisai naDunga, anjiRai paRavai Eri, nAlvAy mummadattattu irusevi orutani vEzhattu arandaiyai, orunAL iruneer maDuvuL teerttanai,
Once upon a time, causing the people spread over all the four directions to shiver out of fear (nARRisai naDunga), You alighted the beautiful-winged GaruDa-The periyatiruvaDi and reached the banks of the pond with deep waters (iru neer), to relieve the agony of that singular devoted elephant, GajEndran, who had a drooping mouth (nAlvAi), trunk, three pores (on either side of its head and from its rear) which secreted musth ( munneer, ) and two large ears (irusevi).
** As mentioned earlier, the numeric representation need not necessarily denote numbers and could mean something else. In these lines, iruneer refers to the deep waters, anjirai- is the beautiful wings of garuDa, nAlvAi - elephant's trunk, hanging mouth.
** Though the long trunk, large ears or the three pores that exude musth are nothing unique to gajEndran, the emphasis is on the empathy emperumAn exhibits on seeing His exceptional devotee in undue distress.
muttee, nAnmaRai, aivagai vELvi, aRutozhil andaNar vaNangum tanmaiyai,
EmperumAnE! You are worshipped by the brAhmaNas, who raise the three vedic agnis* (muttee), chant the four vEdas*(nAnmaRai), perform the five yagyas (aivagai vELvi), and observe the six karmas (aRutozhil) stipulated by the shAstras.
** The three agnis
1. gArhapatyam: Agni that is brought to the house after marriage and is kept alive for ever. All offerings are made to this agni by the married man.
2. Ahavaneeyam: A consecrated agni taken from the householders perpetual agni and established in the east to be used in vedic rituals of sacrifice.
3. dakshiNAgni: Placed to the south, it is to be preserved permanently and it protects the sacrifice from evil forces.
** Four vEdas: rig, yajur, sAmam and atharva .
** Five yagyas :
brahmayagyam -- To recite the vedas on a daily basis
dEvayagyam -- agnihOtram
bhoothayagyam --Feeding other living creatures, like animals and birds.
pitRu yagyam -- Performing shrAddha/tarpaNam for the departed souls.
manuShya yagyam -- Feeding guests.
**Six karmas
Reciting the vEdas (adhyayanam), Teaching vEdas to students (adhyApanam); Performing yagyas (yajanam), Conducting yagyas for others (yAjanam); Donating to others (dAnam), Accepting donations (pratigraham).
aimpulan agattinuL cheruttu, nAngu uDan aDakki mugguNattu iraNDu avai agaRRi, onRinil onRi ninRu, Angu iru piRappu aRuppOr aRiyum tanmaiyai,
Only those noble people who,
1. Keep the five faculties (indriyas - aimpulan)* under control, without allowing them to go astray,
2. Deny themselves even the four karma* (nAngu uDan aDakki)
3.Of the three guNas, avoid the two guNAs (iraNDavai agaRRi) and cultivate the one desirable guNA,(OnRinil)*
And, as a result, by being steadfast with the sattva guNa, (OnRi ninRu) they are able to wean away from the samsAric swirl, which is the result of the two karmas viz the papa and puNya karmas (iRu piRappu aRuppOr), possess the eligibility to realise parabrahmam.
*five indriyas -- body, mouth,eyes, ears and nose.
*four karma -- eating, sleeping, fear and self indulgence.
* three guNas -- sattvam, rajas, tamas
* two guNas to be avoided-- rajas, tamas
* desirable guNa -- sattvam
mukkaN, nAl tOL, aiy vAy aravODu, ARu podi shaDaiyOn aRivu aRum tanmai perumaiyuL ninRanai,
Even rudra, of such glory as his three eyes (mukkaN), four arms(nAlthOL) which are adorned by snakes with five mouths ( aivAi aravu), the river ganges (ARu) tied up in his matted locks, could not, on his own efforts, realise emperumAn. Such is emperumAn's paratvam!
PART 3
EzhulageyiRRinil koNDanai,
AzhvAr says oh lord! When the earth with the seven dweepas ( Ezhulagu - 7 islands - Jambu, Plaksha, sAlmali, Kusha, krauncha, shAkha and Pushkara) was undergoing terrible turbulence in the hands of the wicked demon HiraNyAkshan, no one came to the rescue, only You took pity and emerged as VarAha avatAra. Not bothered about dirt or mud, You pulled the earth and kept it shining - like a bee in a lotus; like a blue diamond in a glittering silver ornament; on your white tusks) and rescued the world ( including rudran) from getting submerged. What AzhvAr tries to convey is that he is pleading emperumAn who is a kArunyan to show mercy on aDiyArs too.
kooriya aRu suvaipayanum Ayinai,
Azhvar feels that he should be allowed to enjoy and describe his beauty. He admires His four shoulders and states that He adds beauty to the jewellery he wears.
In this phrase, AzhvAr defines that emperumAn possessed all the skills and He himself is the epitome of beauty and is the 'aru suvai' (shAstras mention six tastes viz..salt (lavaNa), sour (Amla), astringent (kashAya), sweet (madhu), spicy/pungent (tikta) and bitter (kaTu).
suDar viDum aimpaDai ankaiyul amarndanai,
In the next phrase, AzhVar says that the five weapons, Pancha Ayudham - Shankam (conch), chakram (Sudarsana), gadha (mace), sArngam (bow) and nandakam (sword) and the beautiful hand that holds them are the abode of the six tastes.
sundara nAl tOl munneer vaNNA,
The beauty of the divine four shoulders has been explained in these lines. Even though they are fit for holding the ornaments, they themselves are so beautiful and add beauty and wonder to the jewellery resting on them.
Munneer vaNNA! River, spring and rain water all the three become one when they flow into oceans and when people gaze at the ocean they forget their tiredness and refresh and stay cool.
AzhvAr feels that similarly emperumAn removes our fatigue when we admire his beautiful archa AvatAra tirumEni and requests Him again to allow him to enjoy his divine vaDivazhagu.
oru madi mugattu mangaiyar iruvarum...
Here, Azhvar beautifully captures the purushakAra kaTAksham and ananya bhogyatvam ( not enjoying anything other than emperumAn) of the pirATTis tirumaDandai and manmaDandai.
AzhvAr says the two devis ShreedEvi and BhoodEvi always stay calm at the lotus feet of the Lord and it is they who recommend the aDiyArs to Him so that they get the fullest benefit of enjoying His beauty.
malar ana am kaiyin mupozhudum varuDa
The two divya mahishi's hands are compared with the flowers. AzhvAr says they are softer, more colourful, and more fragrant than the flowers and hence they are far beyond comparison. PirATTis caress His divine tiruvaDis at all three times (future, present and past) with great hesitation as even their gentle touch would cause disturbance and distraction to their spouse Shreeman NArAyaNa.
aRii tuyil amarndanai,
It is not possible to not get the fullest benefit because of any lack in your end as you are always in deep meditation of showing the ways and means to save His devotees and the dEvis are reminding you to fulfill that deed says kaliyan.
PART 4
neri murai nAlvagai varuNamumAyinai,
You are the governor of the varnAshrama dharma laid for the four divisions of people namely brAhmaNa, kshatriya, vaishya and shoodra. (The vEdas proclaim that brAhmaNas emerged from the face of the virAT purusha, the kshatriyas from His arms, the vaishyas from His thighs and the shoodras from His feet)
mEdagu aimperum boodamum neeyE,
You are also the inner soul of every AtmA that is hosted inside the body made of five great elements (panchamahAbhootas) namely Bhoomi (earth), agni (fire), Apa (water), AkAsha (space), and vAyu (air).
arupadam muralum koondal kAraNam, EzhviDai aDanga seRRanai.
You encountered and controlled the seven ferocious bulls in order to marry your uncle Kumban’s daughter nappinnai, the beautiful girl with flowered tresses hovered around by buzzing, six legged honeybees (arupadam).
aruvagai samayamum aruvaru nilaiyinai,
You are at a level that is beyond the scope of the six non- vEdic faiths namely sAkhya, ulookkya, bouddha, chArvaka, pAshupata and kAnAda (aruvagai samayam).
aimpAl Odiyai Agattu iruttinai,
You hold in your chest (Agattu) your beloved consort Tirumagal ShreedEvi whose tresses are soft, dark, cool, fragrant, and long ('aimpAl' - five characteristics of 'Odi' – hair).
aramudal nAngavaiyAy,
You are the granter of the four purushArthas namely dharmam (aram), artham (poruL), kAmam (inbam) and mOksham (veeDu).
moortti moonrAy,
You are the tirmoorti swaroopi who performs the shrShTi (creation), stithi (maintenance) and samhAra (dissolution) activities in the form of BrahmA, VishNu and Shiva.
iruvagai payanAy,
You are the one who grants the twin results sukha and duhkha to the chEtanas.
onrAi virindu ninRanai,
You are really the single brahman who pervades the entire universe. You are the ‘sookshma-chit-achit-vishiShTha-Brahman’, the subtle, unseen energy of all sentient and non-sentient creations. All that we see in this universe is your manifestation called ‘sthoola-chit-achit-vishiShTha-brahman’.
The 'ezhukooRRirukkai’ verses end with this line.
PART 5
StOtra samApanam.
kunrA madumalar sOlai
vaNkoDi paDappai, varupunal ponni
mAmaNi alaikkum, senneloN kazhani
tigazhvanam uDutta, karpOr puri sei
kanaha mALigai, nimirkoDi visumbil
iLampirai tuvakkum, selvam malgu ten
tirukkuDandai, andaNar mandira mozhiyuDan
vaNanga, ADaravamaLiyil arituyil
amarnda parama, ninnaDiyiNai paNivan
varum iDaragala mARRO vinaiyE.
The rest of the verses form the concluding para of this prabandham (stOtra samApanam). After describing the swaroopa, roopa and guNas of bhagavAn in the previous verses, Tirumangai AzhvAr describes the beauty of TirukuDandai to his full heart and fully surrenders to Lord ArAvamudan.
The prosperous southern city of TirukkuDandai (selvam malgu ten tirukkuDandai) is filled with flower gardens of never-depleting honey (kunrA madu malar sOlai); beds of betel creepers (vaN koDi paDappai); rich beautiful paddy fields irrigated by the perennial kAvEri river flowing profusely with precious gems (sennel ON kazhani mAmani alaikkum varupunal ponni); enclosing forests (tigazhvanama uDutta); settlements of learned vEdic scholars (or) cities decorated with stones (karpOr puri sei); golden palaces with their flags towering high into the sky to touch the waxing moon (kanaka mALigai nimirkoDi visumbil iLampirai tuvakkum).
Reciting vEdic mantras (andaNar mandira mozhiyuDan vaNanga), the brAhmaNas salute Lord ArAvamudan who sleeps majestically in yOga nidrA on the serpent bed AdisEsha who beautifully sways his thousand heads (ADu aravu amaLiyil arituyil amarnda). Oh Lord of Lords, paramA! I surrender unto your divine pair of feet so that the miseries of the samsAra are extinguished (parama ninnaDiyiNai paNivan. Please remove all the troubles that come on my way (varum iDar agala mARRO vinaiyE).
KAMBAN'S POEM IN TIRUVEZHURRIRUKKAI
Poet kamban has composed a song on ArAvamuda perumAL as if sung by Tirumangai AzhvAr. This song is also recited in the end of the prabandham.
iDangkoNDa nenjchattu iNangkik kiDappana *enRum ponnit taDangkoNDa tAmarai sUzhum malarnda taN pUngkuDandai *
viDangkoNda veNpal karundutti sengkaN tazhalumizh vAy *
paDangkoNDa pAmbaNaip paLLi koNDAn tiruppAdangaLE
In the lovable, cool city of tirukkuDandai standing on the banks of the river kAvEri and surrounded by ponds of full bloomed lotuses, Lord ArAvamudan reclines majestically on the multi hooded serpent bed AdisEsha (paDangkoNDa pambaNai) who sports his poisonous white teeth (viDam koNDa veN pal), black tongue (karum tutti), red eyes (sem kaN), fire emitting mouth (tazhal umizh vAy), in order to protect the precious emperumAn. May His divine tiruvaDis alone (tiruppAdangaLE) be embedded in my big heart (iDam kONDa nenjattu) forever.
AZHVAR EMPERUMANAR DESIKAN TIRUVADIGALE SHARANAM
