idu or arpudam keleer -part 4

[Guest guest]

Dear Sri Vaishnava perunthagaiyeer,

 

Sri lakshmi nrusimha divya paadukaa sEvaka SrivaN satakOpa Sri Vedaanta

desika yateendra mahaa dEsikaaya namah:

 

In the previous postings parts1 to 3 on this topic, we saw

* How periyaazhvaar identified KaNNan with thirumaal,

* How he described the entire world was tied down by

his divine music thru the paasurams (without the meanings of the paasurams),

 

* Certain points on observations of bagavathaas.

* The meanings in detail for the first two paasurams

and few others who relished the kuzhal oothal episode of krishna leelai

 

Now let us see meaning of two more paasurams:

3.6.3 VaaniLampadiyar vanthu vantheeNdi manamurugi malarkkaNgal panippa

thEnaLavu seri koonthal avizha senni vErppach chevi sErthu ninRanarE.

 

vaan iLam padiyar - the servants of the devaas- came down to

brindaavan from the dEva lOkam, - because the vaaniLavarasu - the young

prince of dEvalOkam is playing the flute, who is also the vaikunthakkuttan-

the young boy from srivaikuntam.

 

Whenever the young ones of a rich family or king or person

of that exalted status, is taking part in some music dance drama or

entertainment, or providing the entertainment, it is usual that the servants

are the first and important participants in such programmes. Whether they

are able to enjoy the entertainment or not, it is immaterial.

 

The Lord prince of dEva lOkam is playing flute. So the

servants- vaaniLampadiyar vanthu - as per this practice, these servants

arrived at the scene- vantheeNdi -they came close to kaNNan and were

listening to the music with the mind simply bent upon Kannan's music -manam

urugi.

 

MalarkkaNgaL panippa- the beautiful flower like eyed

(imaiyaa imaiyOr- who don't wink the eyes) dEvaas listened to the music with

tears rolling- panippa- like dews collecting and dripping from edge of

leaves or grass, the tear drops collect and then drips from their eyes.

 

thEnaLavu seri koonthal avizha - the hair tresses became

loose because they came rushing to listen to the music. What is that

thEnaLavu - these devaas are wearing flowers from dEvalOkam which is rare in

boomi - so these bees of brindaavan enjoy the honey dripping from these

devalOka flowers which appears to aazhvaar that the koonthal itself drips

the honey- so thEnaLavu. seri - means serintha- niraintha - full of honey

and as well the hair is full on the heads of these dEvaas.

 

Senni vErppa - when the mind is rapt attention to some

thing, the body starts sweating- to reduce the heat generated by the

attentiveness - this is a natural phenomenon of the body- which is

highlighted by aazhvaar very nicely. (Azhvaar is he scientist, psychologist,

musician all combined in one to say these things? My answer will be a firm

yes)

 

Sevi serththu ninranarE - the ears were fully glued to the

music. To sum up the servants of dEvalOkam were simply overawed by the power

of KaNNan's music.

 

This is the next arpudam because servants will not be able

to fully appreciate the music to that extent because their literacy level,

IQ level etc, which is the general opinion, and that is negatived here.

 

[Another point on the vaaniLampadiyar- in one of the commentaries the urai

aasiriyar has mentioned vaaniLampadiyar as young and nicely shaped apsara

sthree -iLam -young, padiyar- uruvam udaiyavar. In the devaas apsaras

gantharvar and all there is no mooppu- jaraa- young and old is not there for

them - it is only for human beings here in this bhoolOkam. That is why it is

taken as servants in the explanations in 3-6-3 above].

 

3.6.4 MEnakaiyOdu thilOththamai arambai uruppasi aravar veLgi mayangi

vaanagampadiyil vaai thirappinRi aadal paadal avai maarinar thaamE.

 

The celestial dancers like mEnakai, thilOththamai, rambai,

oorvasi (uruppasi) were simply carried away in Kannan's music. They thought

the karunchiRukkan- the dark coloured aayar paiyan - who does not know

valadhu idathu, what is he going to play on the flute? May be he is able to

produce some sound but not music.

 

(please observe the selection of words to mention about the lord first and

then the incidence of the arpudam, in each paasuram

* in 3-6-1 it is thirumaal, kOvalar sirumiyar and

their shame is removed,

* in 3-6-2 govindan, mangaimaar and the nice

comparison with other creations like peacocks and deer,

* in 3-6-3 vaaniLavarasu, vaikunthakkuttan,

vaaniLampadiyar and their reception of Krishnaa's music

* in 3-6-4 karunchirukkan, the damsels of devalokam

and the change in their routines or their normal behaviour

and enjoy how the levels of arpudam are so nicely linked)

 

But when they reached the vaanagampadi- the entry point to

the boomi -just the steps- they were ashamed- veLGi- these ladies think "oh

what a song- what a music- what we thought is totally wrong"- in the music

mayangi- simply taken aback. Usually, these ladies wherever they are they

are - inside the music hall listening to the concert or other places, even

then they can not postpone their talking, it is their nature. In the music

hall some comments about music or that man sang song differently etc -but

here vaai thirappinRi - says aazhvaar - means they missed their natural

characteristics.

 

Ramba menaka all forgot their dancing, not only that the

dancers started singing, singers started dancing etc, viz. they did not know

what they were doing finally.

 

Why this kind of reaction? The power of KaNNan's music. This

is another arputham to change the very nature of the persons, let it be

manushyan or dEvan.

 

Let us see some more about "kaNNan kuzhal oothi" from others in this post.

Please see the same Govindan kuzhal kondu oothinapOdu, what is Nammaazhvaar

anubhavam

OothumaththeenkuzhaRkE uyyEn naan

Athu mozhinthu idaiththan sei kOlath

Thoothu sei kangaL kondu onRu pEsith

thoomozhi isaigaL kondu onRu nOkki

pEduRu mugam seithu nonthu nonthu

pEthai nenjaRavarap paadum paattai

yaadum onRaRigilam amma amma

maalaiyum vanthathu maayan vaaraan.

 

Thirumangai mannan refers the 'kaNNan kuzhal oothi' in two places.

 

Nandan peRRa madhalai aNNal ilaikkuzhal oothi nam chErikkE alluththaan

vantha pinnai - periya thiru mozhi 10-7-6

 

"Ivvaayanvaai Engu vEinkuzhal ennOdaadum iLamaiyE"

- in periya thiru mozhi 11-2-2

"Swami dEsikan says, he wants to have a dharsanam of Govindan with his flute

on the lips and on the head crown decorated with peacock feathers, during

his last travel- of leaving this body- with the intention of going to

mOksham - in gopaala vimsathi (since prapatti is already carried out, and

hence to have the smaranam of Govindan) - slokam 12"- in gopaala vimsathi

Adharaahitha Chaaru vamsca naalaah:

makutaalambi mayuura pincha malaa:

harineela scilaavibhanga neelaa:

prathibhaa: santhu mama anthima prayaaNE

 

There is a slokam from Sree Leelasukar who enjoyed Kannan very much and on

this kuzhal oothum topic which reads

 

Vyasthyasthapaadhamavathamsitha barhibarham

Saacheekruthaanana nivEscitha vENurandhram

ThEja: param paramakaaruNikam purasthaath

PraaNa prayaaNa samayE mama sannidhhaththaam

--- Slokam 2.22 sree krushna karNaamrutham

 

Meaning: That Krishnaa with the crossed feet,

* having peacock feathers decorated in the head,

* having the head inclined on one side,

* having the holes of the flute near the mouth ready

to play the music,

* having so much of benevolence towards his devotees,

* having the body with the bright divine light

(paranjothi swaroopam),

let that krishna appear before me when my life is just going out of this

body ( praaNa prayaaNa samayE).

 

Please observe similarity of views or raasikyam levels between Swami Desikan

and Leela sukar. That is why it is said "wise men think alike" perhaps.

 

Dasan Vasudevan M.G.