Thaniyan 4 - Volume 16- Iramanusa Nootrandhadhi - Velukkudi Swamy's Upanyasam

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Thaniyan 4 :- (Concluding Part)

 

Volume 16 :-

 

Volume Title :- Drishtaadhrishta Phalamaagiya

Iraamaanusa Thirunaamam (Contd..)

 

 

This is compared to an incident in Raamaayanam :-

 

When Hanuman started towards Lanka in search of Seetha Piraatti

all the other vaanaraas refrained from talking or eating.

Hanuman found Seetha. With that joy he returned and while

he was returning he was making all joyful noices

indicating his victory. Hearing this all the vanarams

understood that Hanumaan succeeded in his attempt and they

also started shouting and jumping with joy. This joy of

all vaanaraas and the way they danced and jumped made the

sea also dance accordingly. Why ? because of the belief

that Hanumaan succeeded in his attempt of finding Seetha

piraatti. Similarly here when we recite the 4000 verses we

almost become tired and also doubtful whether we can reach

emperumaan. But when we recite the verses that sings the

praise of our aachaaryan we get a joy automaticaly because

of the vishwaasam or belief we get that our aachaaryan

will save us and make us reach the lotus feet of our

emperumaan and hence we do not need to worry about anything.

 

Now considering the line as "Kani thandha senchol.." :-

 

It means that the "Iraamaanusa Nootrandhaadi" was composed

out of those sweet words that are as sweet as the fruit.

 

Senchol means "sweet words". Why the terms "sweet words" came from

Amudanaar? It was because Amudanaar sung this with fully

concentrated mind, and with his mouth and his hands synchronising

 

together. But we cannot sing like that. Hence when we recite

this Nootrandhaadhi we get the same bhaavam of Amudanaar

had while composing this paasuram which will make us

synchronise our mind, speech and hands together and sing

this. Thats why it is mentioned as "Senchol". Also Senchol

means "Those words which are sweet to hear". Swamy

nammaazhwaar's paasuram was heard by all the dEvaas and

rishsis etc. They all felt that they should keep lisetning

to those paasurams always. Hence when those paasurams, which

were sung in praise of emperumaan Kannan , are very sweet

to hear, this Nootrandhaadhi should be sweeter than the nectar,

being sung in praise of the emperumaanaar. This is

because emperumaan felt that He did not achieve His goal

of making the jeevaathmaas to reach Him and hence He sent

emperumaanaar who is none other than Aadhi Seshan and also the

Panchaayudhams of emperumaan together.

 

"Kalithurai Andhaadhi Paadi thandhaan.."

 

We already saw that Kalithurai Andhaahi is the style of

composing tamizh paasurams as mentioned earlier. The

significance of this Kalithurai style is all the paasurams will

end with the "E" kaaraam. That is like "Mevinen","Kaathanane"

"Adainthen", "ManamE", "Punniyane", "Sorvilane". Such style

comes only in Kanninun Sriudhaambu and Iramaanusa Nootrandhaadhi

for the enitre set of paasurams. We might find this style in one or

two paasurams in other aazhwaar's works but not in any prabandham in

its entirity. What is so unique about this style? Since all the

paasurams in Kaninun Sirudhaambu and Nootrandhadhi end with the

"E" kaaram it always tells the pastence like "mevinEn" meaning I

surrendered, "Iraamaanusan ennai KaathananE.." means

"Iraamaanusan saved me..". In this way, these paasurams always say

that they "attained" or "achieved" something. This is the significance

of this Kalithurai. Only these two prabandhams as a whole are of this

style.

 

Why other paasurams were not sung with this style? It

was because they were sung as praise on emperumaan and they always

had a doubt that whether or not they will get the kataaksham of

emperumaan . But here it was sung on the praise of aachaaryan and

hence they were very certain that they can cross the ocean of

samsaaram and attain the feet of emperumaan through their

aachaaryan. Hence this clearly tells if we surrender to our

aachaaryan we can surely reach Moksham through our aachaaryan's

kataaksham. Moreover so we can recite easily, the next paasuram

starts with the ending word of the previous paasuram which is the

Andhaadhi style.

 

 

"Punidhan thiruvarangathamudhaagiya punniyane.."

 

Here Amudanaar has been referred as Punidhan and Punniyan. "Punidhan"

because this Nootrandhaadhi makes us pure by destroying

all the bad karmaas, paapams and punyams within us and also

materialistic qualities like Kaamam, Krodham, Lobham etc. by making

us get emperumaanaars' kataaksham by reciting this prabandham. Swamy

Manavaala Maamunigal in his yathiraaja vimsathi says :-

 

"Kaamadhi dosha haramaathma padaasrithaanaam.."

 

Emperumaanaar himself is "Punidhan". To sing about this Punidhan,

another Punidhan (Amudanaar) composed this prabandham. To sing about

a Punidhan the person who sings should also be a Punidhan. Otherwise

he will not find words to compose such a prabandham. Similarly when

Kamban wanted to place his "Kamba raamaayanam" in Namperumaal's

sannidhi, nammperumaal asked "Have you sung about Sadagopan ?". This

clearly states that nammperumaal felt that only Kamban can sing in

the praise of Sadagopan and no one else can. This was not told by me

but by emperumaan himself ! This does not indicate that Kamban had

that pride but he just states that emperumaan gave this gift only to

him to make his tongue purify by singing the praise of

Sadagopan.Similary Kamban said if someone can praise emperumaan

Kannan with most appropriate words it can be done only by Swamy

Nammaazhwaar and if someone has to praise Swamy Nammaahzwaar it can

be only me and no one else. Thus a "Punidhan" (Emperumaanaar) can be

praised only by another "Punidhan" (Amudanaar).

 

Now "Puuniyan" means who does Dharmam. Amudanaar did dharmam. Did he

give his wealth, home or food to anyone ? No. He gave the wealth of

the Sri Rangam temple itself which was managed by him, to Swamy

Koorathazhwaan as a Dhramam to continue the Kainkaryam. Hence he is

considered as the "Punniyan". Moreover in Nootrandhaadhi 90th pasuram

Amudanaar says "Iraamaanusan ennum punniyane..". He refers

emperumaanaar as "Punniyan". Amudanaar is also Punniyan (Dhaarmikan).

Hence a Punniyan (Amudanaar) can alone sing the praise the another

"Punniyan" (Emperumaanaar).

 

Hence now arrange the words in the taniyan as follows and say :-

 

"Thiruvarangathamudaagiya punniyan emperumaanar thirunaamathaal

kalithurai andhaadhi paadi thandhaan"

 

Amudanaar who is Punniyan has done a great dhramam of giving us this

prabandham that contains Raamaanuja Thirunaamam and praises

emperumaanaar as "Udaiyavar", "Punniyan", "Punidhan" etc. and

shows all of us the way that if we recite this Prabandham we can get

emperumaanar kataaksham and when we get his kataaksham we can

undoubtedly reach emperumaan's lotus feet at Sri Vaikuntam and do

nithya kainkaryam to Him. He also gave this prabandham in the

andhaadhi style such that we can recite easily by using the last

word of the previous paasuram. Hence again he is called as

"Punniyan". This is another dharmam done by Amudanaar.

 

This thaniyan refers to all those qualities of Amudanaar which match

those of emperumaanar namely, Punidan, Punniyan, Amudhan

etc. Finally Agasthya Samhithai says that those who sing the praise

of Lakshmana Muni (Lakshmanan Raamma's brother) will reach Sri

Vaikuntam definitely.

 

Laskshmanaa was "Raamaanujaa". Here our emperumaanar is also

Raamaanujar. Hence if we sing in praise of emperumaanar who is

himself the incarnation of Laskshmanaa who in turn was Aadhi Seshan

himself, we can reach Sri Vaikuntam.

 

Hence let us all recite this prabandham irrespective of caste, creed

or gender. This does not require specific qualifications like

Gaayathri Manthram or Ashtaaksharam do. We do not even have to recite

this by heart. But when we start reciting, at one point all our

mind will be automatically singing the praise of emperumaanaar and

nothing else. Hence let us all surrender at the feet of emperumaanar

and attain the feet of emperumaan at Sri Vaikuntam and do nithya

kainkaryam.

 

Lets us us sing pallaandu for Amudanaar, let us sing pallaandu for our

emperumaanaar, let us sing pallaandu for our poorvaachaaryaas and our

current aachaaryaas so that they all can be with us for many more

yugamsto come and keep guiding all of us to save us from the cycle of

lifeand death in this bhoolokam.

 

 

This ends the postings on thaniyan 4

 

RAAMAANUJASYA CHARANAU SHARANAM PRAPADYE. SRIMATHE RAAMAANUJAAYA NAMA:

 

Amudanaar, emperumaanaar, aahcaaryan, emperumaan thiruvadigale

sharanam.

 

 

Vedics Iraamanusa Nootrandhaadhi team.