Sri Vishnuchitta kulanandana kalpavalli (Part-13)

[Guest guest]

Sri Parthasarathi thunai

Srimathe ramanujaya Namaha

Srimad Vara Vara MunayE namaha

Sri Vanachala mahA munayE namaha

 

In the vibhavAvatara Krishna was fond of music. He used to be playing

his flute always and everyone in gokulam including the cows used to

listen awe stricken to the divine music leaving all their other jobs

(let it be dressing themselves, serving their kids/husbands/elders or

the cows grazing). Chakravarthi thirumagan was so moved by the sweet

rendering of Ramayana by lava kusa that he left his throne and

descended to a seat near the common folks. Such was the attraction

of the lord towards music. That is why geethAcharyan says “vedAnAm

samavEdOsmi”. We hear that in paramapadam the nithya sooris always

keep singing Sama vedam. Varaha moorthi explained to bhoomi piratti

his taste for singing through the charitram of nampAduvan. We saw

that the very purpose of bhoomi piratti’s avatara as andal was to

show this important form of worship to her kids (people of this

world).

 

Even today we find Srivaishnavas giving special importance to

mangalasasanam with the divine paasurams rendered by our azhvars.

And all the divya desa emperumans especially parthasarathi in

thiruvallikeni is adorned as “pAttu ketkum perumal” by bhagavatas.

 

Andal in her second paasuram in thiruppavai says, “pArkadalul

paiyaththuyindra paraman adi pAdi” In the first paasuram she talked

about the paramapurushan as NarAyanan. Now she talks about the vyuha

moorthi as ksheerApthi sayanan. But wasn’t she interested only in

krishnAnubhavam. Why talk about other forms? This was eyewash just

to satisfy the elders that the girls were doing their nombu in a

proper manner prostrating to some divine deity. Andal says, “adi

pAdi” Why should she talk the praise of his divine feet? In Ramayana

Sri Sita feels in separation from chakravarthi thirumagan. At that

time she says, “My father showed me the hands of Sri rama and hence I

didn’t fall to his feet mesmerized by the beauty of his shoulders so

today I am suffering but the divya padukas always held on to his

divine feet and hence today it not only removed the grief of bharata

but has also be crowned as the king of ayodhya.” Such is the

greatness of emperuman’s divine feet when compared to his other

parts. Like a small kid more attracted towards the breasts of a

mother that feed the child more than any other part of the mother’s

body, bhagavatas are more attracted towards the divine feet of

emperuman that comes to their rescue at all times. That is why andal

first says that it is very important to sing the praise of emperuman’s

thiruvadi. ThiruppAnAzhvar started singing the beauty of Periya

perumal starting only with the thiruvadi. PadAdhi kEshAntham

darshanam is very dear to our poorvacharyas. Those who shed their

ahankara live under the divine feet of emperuman. Both arjuna and

duriyodhana came to ask krishna’s help. While arjuna preferred to

stay under the divine feet of krishna, duriyodhana considered

standing in the leg side as loosing his dignity so he stood on the

head side. When emperuman opened his eyes he first saw only arjuna

and throughout he was on the side of arjuna. That is the effect of

holding on to the divine feet of emperuman.

 

The dvaya maha manthram very close to the hearts of our acharyas says,

”Sriman Narayana charanou sharaNam prapathyE” It instructs us only to

hold on to the divine feet of emperuman. That is why andal also

stresses the importance of singing praise of emperuman’s thiruvadi,

“paraman adi pAdi”

 

(To be continued)

 

Azhvar emperumAnAr Jeeyer thiruvadigalE sharaNam

Adiyen ramanuja dAsee

Sumithra Varadarajan