"Her Secret Love"

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Srimate SrivanSatakopa Sri Vedanta Desika

Yatindra Mahadesikaya nama:

 

Her Secret Love

 

The Lord tells us in the Gita that it is He who forms the

profound purport of the Shruti and that it is He who is to be found

in every syllable, word and sentence of the glorious

VEdAs—“VEdaischa sarvam ahamEva vEdya:”. Tiruppavai

is acclaimed to be the very seed of the Vedas—“VEdam

anaittukum vitthu”. Hence it follows that Sri Andal’s

outpouring too has for its content only the Paramapurusha. It is a

garland of thirty eternal and evergreen verses strung together with

boundless affection by a passionate devotee.

 

Sri Andal might speak of several avatArAs of the Lord in

Tiruppavai—She talks about the “Ongi ulagaLanda

Uttaman” (Trivikraman), “ManatthukkiniyAn” (Sri

Rama), “NandagOpan

Kumaran” (Sri Krishna). It would appear, from a superficial

study, that the Hero of the Prabandam is indeed KaNNa PirAn, the

darling of YasOda, the apple of NandagOpA’s eye, the heartthrob

of all the girls of Gokulam and the undisputed leader of all its

urchins. It would also appear that every alternate line of these

pAsurams bears a mention of Sri Krishna, attesting to their mission

of eulogising Him. Tiruppavai would thus seem to be an elaboration of

the obsession with Krishna that characterised Sri Nammazhwar’s

existence, to the exclusion of all else—“uNNum sOru,

parugum neer, tinnum vettrilai yAvum KaNNan Emperuman”.

 

However, if we go in for a deeper and discerning analysis, we

would find that Sri Andal’s real intent is to adulate not Sri

Krishna alone, but, in the guise of that, to direct Her praise to yet

another entity. Her words might appear on the surface to eulogise the

son of YasOda, but the spirit behind those words indicates quite a

different person. While She might hold the garland in Her hand and

stare at Sri Krishna, Her real intent appears to be to adorn someone

else’s neck with it. Who could that be, who is exalted enough

to steal Sri Andal’s affections, while Sri Krishna looks on in

disappointment?

 

Poets normally give an indication of what lies in their mind,

in the very beginning of their composition as well as in the final

verse, providing a clue to what undercurrent of emotion runs through

the entire work. Thus “upakramam” (the beginning) and

“upasamhAram” (the conclusion) provide a definite

indication as to what the work is all about. Adopting this rule, we

find a leonine motif dominating the broad canvass of Tiruppavai. We

may therefore safely conclude that the secret lover Sri Andal had

enshrined in Her heart was Sri Nrisimha and none else. To those

supporters of Sri Krishna who rise up in arms against this statement,

my request is to read on and find for themselves the irrefutable

evidence in favour of Andal’s infatuation with Nrisimha mUrthy.

 

In the very first pasuram, Kodai Naachiar speaks about the

glorious lion—“iLam singam”. To the superficial

reader, this may appear to be a reference to the irrepressible lion

cub that the young KaNNan was. However, if we care to look beyond the

obvious, we find that it is indeed an allusion to Sri Nrisimha, who

alone is the undisputed owner of the brand name,

“Simham”. There might be any number of contenders to the

throne of “Simham” like the RAghava Simha and the

YasOdai’s Simham—but the genuine article, the original

and magnificent lion, is only our Nrisimha. If anything, the words

“iLam singam” would emphasise the immaturity of the

toddler Krishna, when compared to the splendorous, mature and

majestic Lion that Sri Nrisimha was. The further reference to

“SenkaN”, a reddish eye, would suit Sri Nrisimha to a T,

as His eyes were veritable orbs of fire, blazing with rage at

Hiranyakasipu.

 

“Kadir madiyam pOl mugatthAn” is also very much an

allusion to Sri Nrisimha, whose one eye, directed at Hiranya,

resembled the scorching Sun, while the other, looking with love at

Sri Prahlada, was cool as the Moon. And the word

“Narayanan” in this pasuram must indeed refer only to Sri

Nrisimha, for it was He who resided as antaryAmi in all beings and

objects, ready to spring out of whichever place or being

Hiranyakasipu smote with his mace. Thus Sri Nrisimha fits the

definition of the Narayana Sabdam (“NArA: yasya ayanam, sa

Narayana:”), as all sentient beings and non-sentient objects

had Him inside them—“TrailOkyam Etat akhilam Narasimha

garbham”.

 

The “Ongi ulagaLanda Uttaman” too is Sri Nrisimha only,

for during this unprecedented avatAram, the Lord’s tirumEni was

huge beyond measure, tall and broad enough to pervade the entire

universe.

 

“Azhi mazhai KannA!” too is a call to Nrisimha, whose eye

showered benevolence on Sri Prahlada like a veritable torrent of

rain, drenching the latter in a deluge of Mercy, as sought by Sri

Tirukkacchi Nambi—“KAruNya mAruta Aneetai: sheetalai:

abhishincha mAm”.

 

“MAyan” has to be Sri Nrisimha. The name denotes the

ability to perform the impossible—“aghatita ghatanA

sAmarthyam”. Sri Nrisimha’s glorious avatAra, springing

out of Hiranyakasipu’s palace pillar the moment it was smitten

by the asurA, in a form which was neither lion nor man (“na

mrigam na mAnusham”) but a mixture of both, totally devoid of

any serious weapon with which to slay the demon, is indeed a splendid

demonstration of making Mission Impossible come true and of the

display of unprecedented prowess. Hence this “adbhuta

KEsari” is indeed the “MAyan” of the fifth pasuram.

 

“ari endra pEraravam”—It is this lion-god whom

Rishis and Sages have in their mind when they wake up from sleep, for

“ari” in Tamizh refers to the lion. If you have any doubt,

listen to Sri PeriyAzhwar telling us that this “ari” is

indeed Sri Nrisimha- “ari uruvAgi ariyayi azhittavanai

bandahnai teera pallANdu pallAyiratthAndendru pAdudumE”.

Another Azhwar confirms that “ari” is indeed Sri

Nrisimha—“azhagiyAn tAnE, ari uruvan tAnE”.

Immediately after waking up, these Sages chant the name of Sri

Nrisimha with devotional fervour, filling the air with Nrisimha

nAmam—“ari endra pEraravam”. And why should the

wise think of such a terrifying form as Nrisimha, first thing in the

morning after waking up? Because He is auspiciousness

personified—“Bhadram”.

 

In the next pasuram, “Keesu Keesu” too, we have evidence

of Sri Andal’s secret love. When She says, “Kesavanai

pAdavum nee kEttE kidatthiyO”, She obviously refers to the

Leonine Lord with His beautiful mane. If Kesava: is taken to mean one

with beautiful hair, then it is Nrisimha who is alluded to here.

 

The three hallowed names that find a mention in the eighth pasuram,

“MAmAyan, MAdhavan and Vaikunttan” refer to the lion god.

The “MAya” sabdam’s connection with Nrisimha was

indicated in the context of the fifth pasuram. MAdhavan refers to Sri

LakshmINrisimha, who is forever in the company of His

Consort—“MAlOlan”, whom Sri Kalian adulates as

“alli mAdar pulga nindra Ayiram tOLan”. The irrepressible

Lord is also known as “Vaikuntta:”, which word has a

special connotation to Sri Nrisimha, as can be seen from the

DasAvatAra Stotram—“Vaikuntta kanteerava:”.

 

“PuLLin vAi keeNdAn” refers to the exploit of Sri Nrisimha

in subjugating the “Sarabha” pakshi, which dared to

confront Him immediately after the slaying of Hiranyakasipu, which

episode is indicated by “pollA arakkanai kiLLi

kaLaindAnai”.

 

“Sangodu chakkaram Endum tada kaiyan” too is Sri Nrisimha

only. During this avatara, in which the Lord could not use weapons

for destroying the asura due to the special boons the latter managed

to obtain, the inseparable Sudarsana Chakram transformed itself into

the deadly nails the Lord sported, we are told. “Pangaya

kANNAn”—The Lord did not forsake His lotus eyes even

during this terrifying avatara and they remained as lotus-like as

ever, says an Acharya, who addresses Sri Nrisimha as “VArija

vilOchana!” (“VArija vilOchana! mad antima dasAyAm, klEsa

vivaseekrita samasta karaNAyAm—Ehi RamayA saha sharanya!

VihagAnAm nAtham adhiruhya Narasimha! Narasimha!”

 

The boundless infatuation the Lord has for Piraatti and the pleasure

He derives from Her company, are described in the pasuram

“kutthu viLakkeriya”. This must doubtless refer to Sri

Nrisimha, who is always to be found in the embrace of His

Consort—“LakshmyA samAlingitha vAma bhAgham”.

 

All the thirty-three crore and odd celestials were paying tribute to

Hiranyakasipu, who had them all under his thumb. By liberating them

from the dreaded asurA, Sri Nrisimha became the “Muppatthu

moovar amararku mun chendru kappam tavirkkum kali”. As the

whole world witnessed His prowess in slaying the asura with His bare

hands, He is indeed the “Tiral udayAi”. And, as Hiranya

found out to his chagrin, Lord Nrisimha is indeed a terror to His

foes—“SettrArkku veppam kodukkum Vimalan”.

 

The next pasuram, “Ettra kalangaL” too contains several

references to this Lion God. “PeriyAi”—Sri

Nrisimha’s was a mammoth figure, striking terror with His very

form. And He shone with the brilliance of a thousand rising

Suns—“tOttramAi nindra sudar”.

 

Fearing the blazing orbs that the Lord sported during His encounter

with the asurA, Sri Andal prays to Him to look at Her with merciful

glances out of pleasant, lotus-like eyes, one like the Sun to destroy

all the gloom of ignorance in our hearts and the other cool and

consoling like the Moon, to provide us the instant bliss of Bhagavat

anubhavam—“TAmarai poo pOlE sengaN siru siridE emmEl

vizhiyAvo, TingaLum Adityanum ezhundAr pOl angaN irandum koNdu engaL

mEl nOkkudi”.

 

It is the next pasuram, “MAri malai muzhainjil” that

speaks graphically about Sri NrisimhA’s fragrant and bountiful

mane (“VEri mayir”), His majestic gait

(“pOtharumApOlE”), His stentorian voice

(“muzhangi”) which is enough to strike terror in the

heart of His foes, etc. The beautiful allusion to “Seeriya

Singam” identifies beyond doubt the real Hero of this

Prabandam, for the word “Seeriya” speaks volumes about

Andal’s admiration for this loftiest of Lords. And the word

“SimhAsanam” can refer only to the seat of Sri Nrisimha,

as it can be construed as “Simhasya Asanam”. As befits a

“Seeriya Singam”, His throne too is a “Seeriya

SingAsanam”.

 

It is Sri Nrisimha who triumphs over His detractors with

ease—“KoodArai vellum seer Govindan”.

 

It is He who has as His profession, the Creation, Sustenance and

Destruction of the myriad varieties of life, which is symbolised as

cows (“pettram”), in the pasuram, “Chittram siru

kAlE”. And it is to Him that Sri Andal offers eternal service.

It is with this Nrisimha that She professes eternal bondage and

desires everlasting kainkaryam to—“ettraikkum EzhEzh

piravikkum un tannOdu uttrOmE AvOm, unakkE nAm AtcheyvOm”.

 

In the final pasuram, “Vanga kadal” too, Sri Andal refers

to Sri Nrisimha with the epithets,

“MAdhavan”,”Kesavan” etc. The words

“SengaN Tirumukham” indicate conclusively that is Sri

Nrisimha who is Her Hero, for it was during this avatara that the

Lord’s eyes blazed with the reddishness of anger against the

unrepentant asurA. “Selva TirumAl” is indeed the lion

god, who is forever in the embrace of the Goddess of Wealth and who

has incredible and unfading infatuation for Her, despite innumerable

millennia of married life. And it is the worship of Sri Nrisimha,

which would confer upon us all types of auspiciousness and ultimately

the endless bliss of Bhgavata anubhavam—“engum tiruvaruL

pettru inburuvar”.

 

To those who are inclined to scoff at the aforesaid as being far-fetched,

I would recommend a visit to Srivilliputtur, where, till date, the

shrine of a majestic Nrisimha greets everyone and whom we have to

worship before passing on to the sannidhi of Sri VatapatrasAyee, as

Sri Andal must have done too, in Her times.

 

Srimate Sri LakshmINrisimha divya paduka sevaka SrivanSatakopa Sri

Narayana Yatindra Mahadesikaya nama:

Dasan, sadagopan