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From: L&T-ECCG-Buildings & Factories (BAF-ECC_at_eccm.co.in)
Date: Mon Oct 04 1999 - 01:49:12 PDT
Dear Sri Vaishnava perunthagaiyeer, Sri lakshmi nrusimha divya paadukaa sEvaka SrivaN satakOpa Sri Vedaanta desika yateendra mahaa dEsikaaya namah: A very big thanks to Sri Mani who gave a very beautiful cross reference from Thirumangai aazhvaar in response to part 7. Thanks also to Sri Viji triplicane. In the previous postings parts 1 to 7 on this topic, we saw * How periyaazhvaar identified KaNNan with thirumaal, * How he described the entire world was tied down by his divine music thru the paasurams (without the meanings of the paasurams), * Certain points on observations of bagavathaas. * The meanings in detail for the first six paasurams and few others who relished the kuzhal oothal episode of krishna leelai Thanks to Smt. Jayshree Narasimhan for her response to part 7 when this write up was posted earlier in Malolan net. She conveyed a beautiful pet name and description for narasimhan - "iLichchavaayan" as quite often said with fun, by my aachaaryan Sri Mukkoor Azhagiyasinger. May be this pet "name calling" very well fits HIM. "Ezhai (poor man), eLiyEn (simple person), iLichchavaayan (sulabhan, can be taken for granted), three beautiful names for my kaNNan. Sage naarada once asked naaraayaNa himself "among the avataaras you have taken which avataara you like more". The reply is Ezhai, eLiyEn, iLichchavaayan. Ezhai- is vaamanan - went for begging. ELiyan is raaman - always considered himself as ordinary maanudan (human). Third is iLichchavaayan- of course narasimhan. Some body exclaims "hey! Can you prove your fellow is here also?" Instantaneous and spontaneous answer is "YES" from the other, small in size, but big in stature. Just to prove this single word, this very firm yes, this "iLichchavaayan" is forced to appear there, at that moment, without wasting any time, even the small time taken to wink the eye. No garbhavasam, no human mother, only an "achEthana thooN (pillar)" as thaai - the mother, (please recollect kaNNan - thooN episode in part 2). Can not appear in a marvellous child form, like kaNNan with chanku and chakram to show the parents that your child is not an ordinary person and then hide them later- all forcing circumstances. No slow growth, no baala leelai like kaNNan (on which, one part is the topic for these posts, getting elongated part after part- excuse me for going on prolonging without completing)- must appear in "full-grown form". Immediate and urgent work on hand to kill the fellow, who asked the question "can you prove". Much time is also not there to carry out the job of killing. No help from anybody nearby, forced not to use any known weapons like sword, arrows, etc. Every time some body will give varam (boon) without thinking, and without any hesitation. "in no way" you can kill the varam receiver is the actual position. "in a new way" kill that fellow by this iLichchvaayan -that is the way this fellow has to do - because of the ill effects of that varam- innovate the way- to achieve the same task. All these account for that good name calling "iLichchavaayan". Aha! Aha! A "rasanai miguntha azhagaana" name - bountiful of taste in that name indeed. HH Swamy was always quickwitted. Such off the cuff remarks from him always have deep meaning and enjoyable for quite a long time to come. Thanks again to Smt. Jayshree for kindling the fond memories of the revered aachaaryaa. Another incidental link between krishna and narasimha by another staunch krishna baktha - leela sukhar in his krishna karNamrutham First slokam: "Prahlaada bhaagadhEyam nigama mahaardrEr guhantha Narahari padhaabhidhEyam vibudha vidheyam mamaanusandhEyam" The puNNiyam of prahlaada metamorphised into a roopam as Narasimha. The subject of reference to be thought in the mind, and is called Narasimham, who is the resident of the caves in the vedaa hills (the vedaas themselves form the hill - vedhaadri). The subject which concur with the words of the devaas and does kaaryams accordingly, that subject called Narasimham is the one, on which, I do my dhyaanam and is also fully fit as my dhyaana vasthu. [I understand there is a place in Krishna district of Andhra Pradesh called vEdhaadhri where the presiding diety is Narasimhan. So the name vedhaadhri referred may not be his own imagination from Leela sukhar]. Second slokam: Nruthyantha mahyantha vilOkaneeyam krshnam maNisthambhagatam mrugaakshee nireekshya saakshaadiva krshnamagrE dvidhaa vithEnE navaneetha mEkam - The lady yasodhai, who has the eyes like the deer, [maan vizhiyaaL -mruga akshee] sees the dancing Krishna nearby herself, and his reflection in the rathnam decorated pillar. In the pillar Krishna appears differently. Same kannan appears for a second as krishnaa and then as nrusimha in the same pillar for yasodhai. She is very much confused. She divided the single butter ball held in her hand (to give it krishnaa) into two, since the reflection is so natural like Nrusimha and original kaNNan standing nearby. She gave butter to both. (one to real krishna standing in front and to the nrusimha in the pillar). This describes the confused state of yasodai seeing krishnaa in the pillar. See another beauty here. Two mothers two sons- yasodhai and the pillar- krishnan and narasimhan. One mother sees both sons with her eyes. The other mother (pillar - please recall "thooN meethu sathiyam" in part 2) wonders "is that my son who is standing there? Because within me he gives the impression and appearance as my son". What is this?- a confusion- no taste of very high order. Note: in tamil mirugam is animal, but in samskrut mruga- is deer See how the bakthaas enjoy nrusimha in krishna, which brings us double amount of joy in a single attempt. Before we go into the next arpudam let us see one more paasuram of periyaazhvaar on the same kuzhal oothum leelai. KunReduththu aanirai kaaththa piraan KOvalanaai kuzhal oothi oothi KanRugal mEiththu than thOzharOdu Kalanthuu udan varuvaanai theruvil kaNdu EnRum ivanai oppaarai nangaai kandariyEn Edi vanthu kaaNaai, onRum nilla, vaLai kazhanRu thugilEnthiLamulaiyum envasamallavE - 3-4- 7 thazhaigaLum of periyaazhvaar KunReduththu kOvalanaai aanirai kaaththa piraan - the Lord who lifted the hillock (kunRu is hillock, malai - hill) govardhanam to save flocks of cows (aa- cows) (nirai- flocks). Here the word piraan is a beautiful selection - savior, head, lord, king all put together in one word. He is the gOpaalan- savior of cows- in tamil kOpaalan only -pa va mix up allowed, hence gOpaalan has become kOvalan. He is also the king of yaadavaas, so kOvalan. Kuzhal oothi oothi - playing the flute- why two times? oothi oothi- means, it is not a one time affair or one day affair. It is a regular and routine practice, that krishnan plays the flute, when he goes for grazing of the cows and calves. But one day he wanted to show his prowess in music, play with all the living things through his music. Hence all the arpudams happened on that day, which came to us thru 10 paasurams. Reason - he is "leelayaa gOpa vesha: vishnO:" as described by Sri Swami Desikan. Why this oothi oothi? Another reason- periyaazhvaar gives the indication in advance - that I am going to give arpudam after arpudam, prepare yourself to see that, enjoy that, because it may not be repeated. Because krishna has no equal/ above in this world, his arpudangaL are also going to be above all excellent things available. Be prepared- a fore warning - that is why this warning appears in 3-4-4, and arpudams are given one by one in 3-6-1 to 10. Than thOzharOdu kanRugaL mEiththu- he goes to the forest to grass the young calves along with friends, so company for krishna is available- task is not handled single handedly. Kalanthu udan varuvaanai- he mixes and mingles with all easily- see the sowlabhyam- kalanthu - status is not thought about- not only with boys - calves also. Theruvil kaNdu - seen in the streets EnRum ivanai oppaarai kandariyEn nangaai- a person equal in stature to krishnaa, I have not seen- enRum- ever- oh my dear girls, says aazhvaar. "Ivanai opparai kandariyEn nangaai- I have not seen an equal to krishnaa". [This stopped my thinking further and forced me to linger on same line again and again. Yes, who is there equal to my krishnaa except himself]. "Edi vanthu kaaNaai, onRum nilla, vaLai kazhanRu thugilEnthiLamulaiyum envasamallavE". Periyaazhvaar says "due to continuous thinking on my krishna, as to who is equal to him, I could not control any thing like my mind, my body, my dress etc, - onRum nillaa, nothing stands- runs after krishnaa. Bangles became loose, clothes which supported my breasts are gone, breasts are also not in my control - means they long to embrace krishna thereby forcing the clothes to go - means the clothes are shed in the longing. All these mean when the thinking is on the flute playing krishnaa, all things go out of control- body becomes pale, bangles loose, dress gone etc. Please observe the power of krihnaa's flute. So there is no wonder that aazhvaar gives arpudam after arpudam. We will see 11 slokams from "yaadhava abyudhayam" the voluminous work by our Swami Desikan on krishna charitham. In this baala leelai of kuzhal oothum krishnan is covered in chapter 8. The meanings of these slokams and how the taste is in similar lines of periyaazhvaar, we will see in next post. 1. praayasthadhaahvaanavidhow niyOkthum pragruhya vENum prathipannadhUthyam ! nyavEsayath kudmalithE salilam bimbaadharE sUchitha chitha raagE!! - chapter 8 slokam 45 2. SaamOpapannaan kramasa: svarandhrai: sapthasvaraan saptha bhirudhvamantham! PrachamakramE vaadhayithum vanaanthE vamsam priyO vallavavamsajaanaam!! Slokam 46 3. MukundavakthraanilavaadhyamaanO vENur babhow vEdha iva dvitheeya:! Raagaavadheenaam rahasaam yadhEkam geethaathmanaam thasya nidhaanamaaseeth!! Slokam 47 4. thadhvamsanaadha: subhagO anugachchan agrEsaram sowrabham aagamaanaam! Ayathnanishpannamanassamaadheen aabrahmakaan aathanuthEva janthUn!! Slokam 48 5. sruNvadhbhirudhvaanthamadhupravaaham vamsasvamna thasya sudhaikavamsam! SayUthyathaam nUnamavaapya sarvai: sathvai: sthitham saaminimeelilaakshi:!! Slokam 49 6. madhudhravairulvaNa sammadhaa srUNlEkhya nishpadha mrugadhvijaani! UdhgrakOsOthpulakaani krushNO vamseeninaadhEna vanaanyakaarsheeth!! Slokam 50 7. aaswaadhya thadhvamsaninaadhamaadhveemaadhraaya thathsancharasowrabham cha! Bhukthaamruthaanaam bhuvi sowrabhEyya: kshipthEtharaam ksheebadha saamavaapu:!! Slokam 51 8. vamsasvanaasvaadha vaseekruthaanaam vyakthOdhayaanaam vanadEvathaanaam! Sa karbura: snigdhathamai: kataakshai: sEndhraayudhow mEga ivaababhaasE!! Slokam 52 9. aadhmaapayaamaasa sa srungamagrayam sankham thathaa bhUthbhikaathmayOgaath! Jagow cha gEyaani bahUni yEshaa gaandharva vedhO api na paaradhasravaa!! Slokam 53 10. thristhaanayukthasvara bhUshitham thath thridhaa sthitham graamavisesha yOgaath! Aran~jayan saptha jaganthyayathnaath geetham harE raahutha kinnarowgham!! Slokam 54 11. vilaasavaakyairiva vENu naadhai dhivyEna geethEna cha dhaithya hanthu:! NivEdhithaarthaa" sudhrusa: svavaasaadhaajagmuraakarshaNa manthratheekshNai: slokam 55 Dasan Vasudevan M.G.