IDHU OR ARPUDHAM KELEER- PART 17 &CONCLUSION

[Guest guest]

Dear Sri Vaishnava perunthagaiyeer,

 

Sri lakshmi nrusimha divya paadukaa sEvaka SrivaN satakOpa Sri Vedaanta

desika yateendra mahaa dEsikaaya namah:

 

Now let us see Srimadh Bhagavatham:

1. VrundhasO vrajavrushaa mrugagaavO vENuvaadhya hruthachEthasa aaraath!

Dhanthadhashtakavalaa dhruthakarNaa nidhrithaa likhitha chithramivaasan!!

Srimad bhagavatham- (dasama skandham chapter 35 slokam 5) 10-35-5

 

Meaning: A flock of cows and deers with large and multitude of happiness

came from long distances, as if carried by the flute music of krishnaa, to

Brindaavan where krishna was playing the flute. These cows and deers stood

motionless (or asleep?) as though they were in a painting with the bitten

grass in the mouth held for munching but forgotten to munch.

 

This has the parallell in periyaazhvaar paasuram 3-6-8, which we have

already seen with meaning, just for easy reference repeated the verse alone

here "MaruNdu maan kaNangaL mEigai maRanthu mEintha pullum kadai vai vazhi

sOra iraNdu paadum thulungaap pudai peyaraa ezhuthu chiththiram pOl

ninRanavE".

 

2. Anuucharai: samanuvarNitha veerya aadhipurusha iva achala bhoothi:/

VanacharO girithatEshu charantheervENunaahvayathi gaa: sa yadhaa hi// - 10

35- 8

 

Meaning: The servants were simply carried away by the music, so that they

stood motionless like ancient rishis. The ghandharvaas who sing verses and

roam on the hill tops came to brindhaavan as though they were called by the

flute music of krishnaa.

 

The reference from aazhvaar is 3-6-6 ambaram thiriyum kaanthapparellaam

amuda geetha valaiyaal surukkundu nam paramenRu naaNi mayangi nainthu

sOrnthu kai maRiththu ninRanarE.

 

3. Vanalathaastharava aathmani vishNum vyanjayanthya iva pushphalaaDayaa:!

PraNatha bhaara vitapaa maDhu Dhaaraa: prEmamhrushtathanava: sasruju:sma:!!

10-35-9

 

Meaning: The creepers in the forest wee moving in the air as though they are

waving the victory flag for the King krishna. The trees were bending in love

and letting loose the flowers dripping honey, offering the fruits etc

reverentially to krishnaa.

 

This has a paraalel in periyaazhvaar 3-6-10 MarangaL ninRu madhu thaaraigaL

paayum malargaL veezhum vaLar kombugaL thaazhum irangum koombum thirumaal

ninRa ninRa pakkam nOkki avai seyyum guNamE.

 

4. Sarasi saarasa hamsa vihangaaschaaru geetha hutha chEthasa Ethya

harimupaasatha thE yathaa chiththaa hantha meelithadhrusO dhruthamounaa:/

10- 35-11

 

meaning: In the tanks the cranes and swans heard the music of krishna. They

left their basic nature of roaming in the pond in the same way how they

will stop on the appearance of clouds in the sky. The music killed their

will power and made them silent.

 

This has a parallel in periyaazhvaar in 3-6-9 Paravaiyin kaNangaL koodu

thuranthu vanthu padu kaadu kidappa karavaiyin kaNangaL kaal parappittu

kavizhnthirangi seviyaattagillaavE.

 

5. Harshayanyarhi vENuravENa jaathaharsha uparamBhathi visvam! 10 - 35-12

 

Meaning: The bhumi the mother earth it appeared on hearing the music of

krishna went into horripilation in ecstacy due to the joy it gave and

appeared to cease in existence (meaning went into trance or silence).

 

6. KvaNitha vENurava vanchitha chiththaa: krushNamanvasath krushNa

gruhiNya:!

GuNagaNaarNam anugathya hariNyO gOpikaa iva vimukthagruhaasaa: ! 10 - 35- 19

 

Meaning: Due to the influence of Krishna's flute music, some girls lost her

mental equanimity and in that entrenched state of mind in krishna (krishna

bhavam or krishna smarana state) started uttering I am krishna's wives. In

the music ocean the deers also lost their mental balance and like gopees

they also stood in the yogic trance.

 

Comment: See the effect of krishna's music. The comparison is made between

deer and gopees- harinya gopika iva says sukha rishi.

 

The great rishis varnanam gave clues to periyaazhvaar or viceversa is a

point for discussion and the descriptions are so close and similar. The

enjoyment of krishna on the tongue is so sweet to both of them.

 

Now let us see the palasruthi paasuram and other slokams in connection with

the vENu gaana episode of krishnaa.

 

Kuzhal irundu suruNdu Eriya kunchi gOvindanudaiya kOmaLa vaayil

Kuzhal muzhinchugaLinoodu kumizhththu kozhiththu izhintha amudap punal

thannai Kuzhal muzhavam viLampum pudhuvaikkOn vittu chiththan viriththa

thamizh vallaar Kuzhalai venRa vaayinaraagi saadhu kOttiyuL koLLappaduvaarE-

3-6-11

 

The first line is described in part 15. The second line is covered in part

1. Only the next two lines have to be dealt here. People, who are capable of

reciting and enjoying the tamil songs of Pudhuvai nagar bhaktha's king named

Sri vishnu chiththar, will become members in the association of sadhus the

maharshis who enjoy krishna and his music. Not only that their words will

become kuzhalai venra vaayinar- meaning their words will become so sweet-

they will be subdued in nature and their talks will have an automatic

transformation once they know these 10 songs of naavalam theevil. The music

of krishna (Kuzhal muzhinchugaLinoodu kumizhththu kozhiththu izhintha amudap

punal- nectarian music) will transform the people to that extent.

 

Note to all bhakthaas: With this I complete this series of the writeup on

the krishna leelai of Venu gaanam as enjoyed by periyaazhvaar. A very big

thanks to all of you for the encouragement offered during writing this

series, in particular to Srimaans Sadagopan, Madhavakkannan, and Mani.

 

Dasan Vasudevan M.G.

[Guest guest]

Sri:

 

Dear Sri MG Vasudevan

 

It is PrEma Bhaavam that is what cultivates and enhances bhakti. PeriyAzhwAr

excelled in it. dEvarIr brought the highlights of pAsurams and their Bhavams

very well.

 

This reminded me of Nadadur AmmAL, (the grandson of Nadadur AzhwAn, one of

the most important pradhama sishyas of Sri Ramanujacharya), the one who

blessed the five year old tEjaswI boy Swami Desikan.. .

 

This Sri Vatsya Varadacharya, who wrote Prapanna Parijatam, is called

Nadadhur AmmAL, for his anubahvam and Bhavam as a caring and concerned

mother to the Lord SarvEshwaran, PeraruLALan, Sri Varadharaja PerumAL. He is

called "en ammAvO?" (Are you my mother?" by the Lord, when he takes great

care in even checking the warmth of the milk that is offered to the Lord

Varadhan, ensuring that it is adequately warm, neither too hot, nor too

cold. Good for His "thoNdai" (throat).

 

Once, it appears AmmAL was sleeping at night. Kutti Varadhan came and sat

next to him crying and quivering lips. AmmAL got up hearing the sounds, and

was shocked to see his dearest Varadhu crying..

 

"yENdaa Varadhu kutti azhaRE?" (Why Varadhu kuuti, why are you crying?)

"andha archakar ennai Thirumanjanam paNREn pErvazhiyEnu, piRaandRaar..

paaru, udambellaam naga keeRal.." (That archakar- priest, while bathing me,

scratches my body with his nails, vigorously.. look at these lines on my

body..)

 

He got up with a jerk, and found it was a dream. Next morning he went and

appealed to archakar who was taken aback as to how he came to know of his

"manhandling manner" of bathing Him.

 

Thanks again Sri Vasudevan for your great post and sharing of your

anubhavams.

 

Regards

 

Narayana Narayana

>

[Guest guest]

Dear Sriman Vasudevan:

 

Please accept my sincere thanks for your

most enjoyable series of postings on

the joyous anubhavam of Lord KrishNA's

VeNu GhAnam with extnsive references to

many KrishNa BhakthA's anubhavams

across the centuries.

 

Your links in the concluding post with

an analysis of the extensive links between

the anubhavam of Srimadh BhAgavatham and

PeriyAzhwAr's paasurams are very insightful .

>Now let us see Srimadh Bhagavatham:

>1. VrundhasO vrajavrushaa mrugagaavO vENuvaadhya hruthachEthasa aaraath!

>Dhanthadhashtakavalaa dhruthakarNaa nidhrithaa likhitha chithramivaasan!!

>Srimad bhagavatham- (dasama skandham chapter 35 slokam 5) 10-35-5

>

>Meaning: A flock of cows and deers with large and multitude of happiness

>came from long distances, as if carried by the flute music of krishnaa, to

>Brindaavan where krishna was playing the flute. These cows and deers stood

>motionless (or asleep?) as though they were in a painting with the bitten

>grass in the mouth held for munching but forgotten to munch.

>

>This has the parallell in periyaazhvaar paasuram 3-6-8, which we have

>already seen with meaning, just for easy reference repeated the verse alone

>here "MaruNdu maan kaNangaL mEigai maRanthu mEintha pullum kadai vai vazhi

>sOra iraNdu paadum thulungaap pudai peyaraa ezhuthu chiththiram pOl

>ninRanavE".

>

>The great rishis' varnanam gave clues to periyaazhvaar or viceversa is a

>point for discussion and the descriptions are so close and similar. The

>enjoyment of krishna on the tongue is so sweet to both of them.

 

What a lovely way to conclude this series !

Thanks again and we will wait for another feast

of similar postings from your nimble pen .

 

NamO NaarAyaNAya !

 

V.Sadagopan