tAtparya ratnAvaLi - Submission 53, Slokam 20 Part 3, tiruvAimozhi 1.9, pASuram-s 1.9.6 - 1.9.8.

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SrImate ra'nga rAmAnuja mahA deSikAya namaH. tAtparya ratnAvaLi - Submission 53, Slokam 20 Part 3, tiruvAimozhi 1.9, pASuram-s 1.9.6 to 1.9.8. · pASuram 1.9.6: mAyan en ne'njil uLLAn maRRum yavarkkum

ahdE kAyamum Seevanum tAnE kAlum eriyum avanE SEyan aNiyan yavarkkum Sindaikkum gocaram allan tUyan tuyakkan mayakkan ennuDait tOLiNaiyAnE. ennuDait tOLiNaiyAnE - He got on to my shoulders, just as He is seated on His garuDan. He who is both my body and my soul, He who is Himself the five great elements - air, fire, etc., He who is readily accessible to the devotee and at the same time beyond the remotest comprehension of the non-devotee, He who is bent upon being together with those who have surrendered to Him and therefore has made my mind long after Him - He has now occupied my two shoulders. Has this happened to anyone else? svAmi deSikan captures AzhvAr's anubhavam of bhagavad samSlesham - union with emperumAn, in this pASuram through the words 'bhuja Sikhara gatam' - He has climbed on to the top of my shoulders - enneDait tOLiNaiyAnE - as He is seated on garuDan. Just as we want to have physical contact with the object of our liking, bhagavAn is having physical contact with His devotee whom He likes immensel.y. tUyan - He who does not have any other objective except to

be united with His devotee; tuyakkan - He who keeps always stirring up the mind of the devotee by showing His kalyANa guNa-s; mayakkan - He who mesmerizes the devotee through happiness of thoughts of Him. mAyan - He who is full of wondrous acts such as these; mAyan en ne'njin uLLAn - He who is on my chest; ennuDait tOLiNaiyAnE - has now climbed on to my shoulders; maRRum yavarkkum ahdE - AzhvAr exclaims: Has anyone else had this wonderful union with emperumAn! · pASuram 1.9.7: tOLiNai mElum nan mArbin mElum SuDar muDi mElum tALiNai mElum punainda taNNan tuzhAi uDai ammAn kELiNai onRum ilAdAn kiLarum SuDar oLi mUrti nAL aNaindu onRum agalAn ennuDai nAvil uLAnE. ennuDai nAvil uLAnE - He is in my tongue - bhagavAn who

wears the cool and fragrant tulasI garlands on His broad shoulders, on His vaksha sthalam - chest, on His head and on His feet, has no equal to Him in any sense, and has the tirumEni that radiates incomparable effulgence, will never leave me once He has mingled with me, and is permanently seated in my tongue. svAmi deSikan describes the gist of this pASuram with the words 'tALu simhAsanastham' - He who is seated on my tongue as His simhAsanam. tALu means jaw or tongue. SrI UV notes that the meaning is like that of 'cAru jihvAsanastham' -

cAru - beautiful, jihvA - tongue, Asanastham - seated. The word 'Asana' indicates that He is physically seated; it does not refer to His being the antaryAmi of vAk or speech, which is true in also. Here it means that bhagavAn tok a seat in the tongue that sings His praise superbly. His physical presence is what is sung here - bhagavAn is aghaTita ghaTanA sAmarthyan. He is seated with tirut-tuzhAi - tulasi decorating His broad shoulders, His chest, His head and His Feet - shoulders with which He embraces AzhvAr, chest on which pirATTi who makes Him embrace the devotee is seated (in Her role of purushakArattvam), on His crown which shows His Seshittvam or Lordship over all, and on His feet where the devotee surrenders and which reinforces His supreme Lordship. This order is also as if a hero garlands his weapons first, then his wife, then himself, and then the servant is given the garland. BhagavAn decorates Himself with the tulasI garlands as AzhvAr sings of Him, and is seated in his tongue now, with the determination that He won't be separated from AzhvAr. Just as the nAyakan decorates himself attractively when he comes to see his nAyaki, bhagavAn is enhancing Hin natural beauty with tulasI garlands decorating all parts of His tirumEni and comes to AzhvAr. SrI PBA

comments that since AzhvAr keeps repeatedly referring to 'taNNam tuzhAi' when he sings about perumAL in tiruviruttam, He decided to come to AzhvAr fully decorated with taNNam tuzhAi. · pASuram 1.9.8: nAvinUL ninRu malarum j~nAnak kalaigaLukkellAm Aviyum Akkaiyum tAnE aLippODu azhippavan tAnE pUviyal nal taDam tOLan poru paDai Azhi Sa'ngEndum kAvi nan mEni kamalak kaNNan en kaNNil uLAnE. en kaNNil uLAnE - He has now occupied my eyes - the same emperumAn who is the body and soul - words as well as their meanings - of all the arts that originate in the tongue, is both the origin and destruction of all of these, is soft like the gentle flowers, has the four broad shoulders that bear the conch and the discus, has the beautiful dark-complexioned tirumEni, and has the beautiful lotus-like reddish eyes, is now seated inside my eyes. svAmi deSikan describes AzhvAr's samSlesha anubhavam - experience of union with bhagavAn, with the words ' cakshur-madhye nivishTam' - He who is seated in the center of the eye (nivishTa - seated, encamped). SrI UV notes that BhagavAn is seated inside AzhvAr's delicate eyes with a soft tirumEni, with all His weapons etc. SrI UV stresses that the meaning here is NOT that bhagavAn is SEEN by AzhvAr with his eyes - He is physically seated in AzhvAr's eyes - another level of physical union with His devotee, and this He does because there is nothing that He cannot do. ARAyirappaDi vyAkhyAnam is "en kaNNukkuLLE pugundu

aruLinAn" - He blessed me by entering my eyes. SrImad tirukkuDandai ANDavan says in his word- for-word meaning for this pASuram - 'ennuDaiya cakshussukkuLLE pugundAn' - "He entered into my eyes;

cakshur-vishayamAnAn ennavumAm". Thus, both interpretations are given: 'He entered my eyes', and 'He became the object of my eyes'. -dAsan kRshNamAcAryan (To be continued)

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