Eighth Wonder - 5

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and hence requested Sowrirajan to take proper action. Perumal in archa

form seldom speaks (except in few cases: Koil, Thirumalai and Perumal

Koil on certain occasion). Unable to control the anger, araiyar threw

the instrument in his hand at the Sowri Perumal. It hit the Perumal’s

forehead. After this, Sowri Perumal used his bow to send rain of

arrows on the king, who eventually got killed. This was the leela of

Sowri Perumal to show that he is ready

0in 0in 0pt">to even get hurt by His bhakta. Another interesting piece

of anubhavam is that of Parakalanayaki. The mother of parakalanayaki

describes the status of Azhwar in thelliyir pathikam. While singing

on the Sowri Perumal, Azhwar is able to have darshan of Sowrirajan

even from his avatara sthalam,Thiruvali Thirunagari. There is an open

space in front of Azhwar’s sannidhi, which is referred

to as nNilaa murram. nNINilaa muRRaththu nNiNnRivaL

nNOkkiNnaaL,kaaNumO kaNNa purameNnRu kaattiNnaaL Azhwar ends this

pathikam with,

0in 0in 0pt"> kaarmali kaNNa puraththem adigaLai,paarmali maNGgaiyar

kONnpara kaalaNnchol,chIrmali paada livaipaththum vallavar,nNIrmali

vaiyaththu nNIdunNiR paargaLE One would think, how could it be

possible for us to enjoy the life in this world when

Azhwar’s pasurams are meant to grant moksha. The answer is very

simple. This is where our Kaliyan himself answers this question.

Thirukkannapuram is in this world, and not in SriVaikuntam. The

thelliyir anubhavam can only be enjoyed in Thirukkannapuram, and not

even in SriVaikuntam. This is what is referred to as the happiness

even in this World. Azhwar goes on singing on this Perumal. He sends

the naarai as messenger to this Perumal in ThiruNedunthantakam.

Another interesting reference in the same work is the following:

kanRumEyth thinithugandha kaaLaay! enRum, kadipozhilsoozh

kaNapuratthen kaniyE! enRum,

Roman'">manRamarak kootthaadi magizhndhaay! enRum, vadathiruvENG

kadammEya maindhaa! enRum,venRasurar kulangaLaindha vEndhE! enRum,

viripozhilsooz thirun^aRaiyoor ninRaay! Azhwar talks about the

vibhavam and archai in a nice fashion. In the first line he refers to

Krishnan and the in the next line, he refers to Thirukkannapuram.

Then, he talks about ThiruVenkatadamudayan and his dancing posture.

This anubhavam was not new even when Kaliyan sang this pasuram. There

was one, who enjoyed the same Divya Desams in one pasuram. Who was

that, and how was it enjoyed? Let us further continue with Azhwars’

anubhavam of

Thirukkannapuram Perumal in the following postings, aDiyEn,ramanan

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