The Realm of Religion

நல் வாழ்க்கையே----nal vAzhkkaiyE

2025-01-01T15:30:00.000-08:00

நல் வாழ்க்கையே----nal vAzhkkaiyE

rAgam: KOkilA(bhujAngini) ராகம்: கோகிலா (புஜங்கி/புஜாங்கினி)

Composer: M M Dandapani Desikar (தண்டபாணி தேசிகர்)

பல்லவி

நல் வாழ்க்கையே நாளும் வேண்டும் உலகில்

நல்லனவே செய்ய வேண்டும் நலமுடைய (நல்)

அனுபல்லவி

இல்லாத மக்களுக்கு ஈந்து உவக்க வேண்டும்

இன்னல் உறுவோர்க்கு இன்சொல் உதவ வேண்டும் (நல்)

சரணம்

நல்லார் உறவை நெஞ்சில் நாட்டம் கொள்ளவே வேண்டும்

நன்றி நினைவோர் கூட்டம் நாட்டிற்பெருக வேண்டும்

கல்லாத பேர்கள் எல்லாம் கற்றுத்தெளிதல் வேண்டும்

கடவுள் அருள் வியந்து காலம் கழிக்க வேண்டும்

Lyrics in Roman script

pallavi

nal vAzhkkaiyE nALum vENdum ulagil

nallanavE seyya vENdum nalamuDaiya

anupallavi

illAda makkaLukkE Indu uvakka vENDum

innal uRuvOrkku insol udava vENDum

caraNam

nallAr uRavai nenjil nATTam koLLavE vENDum

nanri ninaivOr kUTTam nATTirp-peruga vENDum

kallAda pErgaLellAm kaTrut-teLidal vENDum kaDavuL

arUl viyandu kAlam kazhikka vENDum

Meaning

Pallavi: We want a good life throughout. We want to do good in this world too.

Anupallavi: We have to help those who are unfortunate. We have to offer kind words to those who are miserable.

CaraNam: We have to seek the companionship of good people. People should also be grateful for help they receive. The illiterate people should get a good life with education. We should also have lasting thoughts about divinity throughout our lives.

Audio/video links

1. Listen to R Suryaprakash here

2. View/Listen to Sikkil Gurucharan here (scroll to time 32:24 to 51:10). The song is part of the concert performed under the auspices of Arkay Convention Center in Chennai on January1, 2025.

Tracing Rama’s journey from ayOdhya to MithilA---ராமரின் மிதிலை பயணம்

2021-11-09T18:31:00.001-08:00

Tracing Rama’s journey from ayOdhya to MithilA

Sage VishwAmitra came to king Dasharatha’s court and after customary greetings, demanded that the king send Rama with him to protect his yagna from demoness tATakai and her associates who were interfering with his sacrificial services so that he could successfully complete his yagna. He thundered, “ராமனைத் தருவாய் – செகத்ரட்சக ராமனைத் தருவாய்” (Let your son Rama come with me, O, protector of the world). VAlmIki describes the scene thus in BAlakANDam, 19.8:

स्वपुत्रं राजशार्दूल रामं सत्यपराक्रमम् || १-१९-८
काकपक्षधरं शूरं ज्येष्ठं मे दातुमर्हसि |

Meaning: “As such, oh, tigerly king, it will be apt of you spare the services of that brave one whose valor itself is his truthfulness, that youngling whose hair locks are all the more jet black like crow wings on either side of his head, spare that eldest son of yours, namely Rama.”

The scene is Dasharatha’s court. Sage VashishTa is the guru for king Dasharatha. Sage VishvAmitra does harsh penance to get a status equal to that of VashishTa. He cannot waste his power by fighting the demoness tATakai who tries to foil his penance. So VishvAmitra comes to Dasharatha to seek Rama, who is well versed in archery, to stand guard at his hermitage to protect his yagna. He is known for his rage and the king could not afford to antagonize him by refusing to let Rama go with him. He offers himself to help the sage. But VishvAmitra is steadfast in insisting that he wants only Rama.

The course of Ramayana is about to change. VishwAmitra intends to take Rama with him and teach him incantations in archery besides other aspects of life strategies. Such lessons would come in handy later for Rama in his war with RavaNa. Sage VashishTa has the clairvoyance to recognize all this and advises Dashratha to send Rama with Vishwamitra even though Rama is very young. Dasharatha is apprehensive but his guru VashishTa mollifies him pointing out the benefits lurking in the adventure. Dasharatha relents. VishwAmitra takes Rama and LakshmaNa with him and leaves ayOdhya. The poet Kamban describes the departure of the trio thus:

பால காண்டம் 6. கையடைப் படலம்

வந்த நம்பியைத் தம்பி தன்னொடும்
முந்தை நான்மறை முனிக்குக் காட்டி, 'நல்
தந்தை நீ, தனித் தாயும் நீ, இவர்க்கு;
எந்தை! தந்தனென்; இயைந்த செய்க!' என்றான். 18

Meaning: When Rama and LakshmaNa come to the court, Dashratha showed them to sage VishvAmitra and told him, “from now on you are their father and mother; I am giving them to you and do what you think is appropriate”

கொடுத்த மைந்தரைக் கொண்டு, சிந்தை முந்து
எடுத்த சீற்றம் விட்டு, இனிது வாழ்த்தி, 'மேல்
அடுத்த வேள்வி போய் முடித்தும் நாம்' எனா,
நடத்தல் மேயினான், நவைக்கண் நீங்கினான். 19

Meaning: VishwAmitra took the two young sons of Dasharatha and having been relieved of the anger he displayed earlier when Dashratha initially refused to part with Rama, blessed the king and proceeded to his hermitage to perform his yagna.

Let us follow the path the trio takes.

ayOdhya is located on the southern bank of the river Sarayu (ancient name but currently known as ghAghara river). Ghaghara, also called Karnali is a perennial trans-boundary river originating on the Tibetan Plateau near Lake Manasarovar. The Karnali cuts through the Himalayas in Nepal and joins the Sharda River at Brahmaghat in India. Together they form the Ghaghara River, a major left bank tributary of the Ganges. With a length of 507 kilometres (315 mi) it is the longest river in Nepal. The total length of Ghaghara River up to its confluence with the Ganges at Revelganj in Bihar is 1,080 kilometres (670miles)—Cf: Ghaghara - Wikipedia

For a google map of the confluence of Sarayu and GangA visit https://www.google.com/maps/@25.746631,84.4099873,11z

Here is a map of the whole area. ayOdhya is 415 miles southeast of New Delhi.

The trio walks along the southern/southeastern bank of the river, covers 1.5 yOjanas (approximately 150 miles by some calculation and as little as 8 miles by other calculations) and reaches a place called anga dEsam by evening. Vishwamitra teaches two incantations---balam and atibalam—to Rama to enhance his strength under all conditions of adversity. They spend the night sleeping on grass beds along the Sarayu riverfront.

At dawn the next day, the sage wakes up Rama, as VAlmIki describes,

कौसल्या सुप्रजा राम पूर्वा संध्या प्रवर्तते |
उत्तिष्ठ नरशार्दूल कर्तव्यं दैवमाह्निकम् || १-२३-२

Meaning: “Fortunate is Kausalya to beget you as her son Rama... get up oh, tigerly-man, eastern aurora is emerging, daytime tasks towards gods are to be performed."

After performing the morning ablutions, they start moving in the southeasterly direction (along the Sarayu/ ghAghra river) and eventually see the mighty river GangA and reach the confluence of Sarayu and GangA.

----- The river Sarayu meets with the river GangA at a place currently known as Revelganj in Bihar.---

They reach KAmAshramam on the northern bank of GangA (see the map below---Visit http://bharathistory.com/geographical-references/hermitage-at-the-confluence-of-ganga-and-river-sarayu/ for the detailed map). VishwAmitra describes the story of the Ashram being the original place where Lord Shiva was doing immense penance which was disturbed by the lord of love (manmatha) who was subsequently incinerated by lord Shiva through his third eye. Then onwards Love-god is renowned as ananga (an + anga-à no body), as he is without body, and where his body is given up, is known as anga province. [cf.ValmIki 1-23-14]

That Ashram was now occupied by some sages. VishvAmitra says to Rama, "Let us stay for this night in this hermitage situated in between two meritorious rivers Ganga and Sarayu, oh, Rama with auspicious mien, tomorrow we will cross over the River Ganga.” [VAlmIki 1-23-16]. The trio then stayed the night at the Ashram as guests of those sages.

The next morning they crossed the river GangA in a boat provided by the sages and walked in a forest called tATakAvanam (where the demoness tATakA held fort). The sage narrated the story of tATakA (maternal grandmother of RAvaNa) who caused extensive havoc to the once fertile forest area to the point of making it a desert. He then instructed Rama to kill tATakA saying that she is a ruthless demoness (unfitting to be a woman) and hence no sin would accrue to Rama if he killed her. Since Rama obeyed the order of his father to follow the sage, he fought with the demoness extensively and finally killed her. The next morning they proceeded to VishvAmitra’s hermitage, called SiddhAshrama.

VishvAmitra gives Rama arms (ashtras---projectiles, and missiles invoked by reciting hymns) and shastras (hand-held weapons such as swords, lance, mace etc.). He also teaches all the necessary hymns to deploy the missiles precisely to their destination. The arms stood near Rama, assured him that they would be at his disposal when needed and went their way. Rama also sought from the sage instructions on how to annul the weapons if he had to and the sage provided them too. The trio then walked about 20 miles (2 kAdams) towards the confluence of Sarayu and Gomati rivers where they reached VisvAmitra’s hermitage situated amid the forest and the hill. It was a beautiful orchard and the sage made preparations to perform his holy yagna which would stretch for six days and six nights. Rama and LakshmaNa stood guard with their weapons. The demons showed up and they were all killed. Finally the two sons of tATakA--- mArIcan and SubhAhu---appeared and engaged in ferocious fight. Rama killed SubhAhu instantaneously and dispatched mArIcan to the sea forthwith with his arrows.

The yagna was completed successfully and the sage was very happy. Although he provided the necessary skills to Rama, he couldn’t have performed the yagna all by himself without Rama’s help. Rama, having helped the sage complete his yagna asked him what else he is expected to do. The sage said, “not just one but a lot”. They were on to the next stage in Rama’s life. As they proceeded further east, another river, SOne joins GangA.

------Sone River is a perennial river located in central India. It originates near Amarkantak Hill in Annupur district of Madhya Pradesh and finally merges with the GangA near Patna in Bihar. Sone river is the second-largest southern tributary of GangA after Yamuna River-------

They break journey overnight at an orchard near the river. The next destination was MithilA, the capital city of VidEha kingdom ruled by king Janaka. He was performing a yagna and VishvAmitra took Rama and LakshmaNa to attend the yagna. MithilA is northeast from the confluence of the rivers SOne and GangA.

----------------- MithilA is in Bihar. Mithila is an ancient cultural region of South Nepal and North India lying between the lower ranges of the Himalayas and the GangA River. The Nepal border cuts across the top fringe of this region. The Gandak and Kosi Rivers are rough western and eastern boundaries of Mithila. Mithila, which could either be Janakpur (in present-day Nepal), or Baliraajgadh (in present-day Madhubani district, Bihar, India)--------------

Here are some geographical outlines of the regions surrounding MithilA.

On the way to Mithila, the trio were about to see a small hermitage and when they entered the hermitage, the dust from Rama’s foot fell on a stone from out of which a woman appeared suddenly. VishvAmitra explained to Rama that it was ahalyA, the wife of sage Gautama. He narrates the story of how ahalya was cursed to become a stone when the celestial chief Indra stealthily entered the hermitage when sage Gautama went to the river to take a bath at dawn, and had a physical encounter with the lady. ahalyA knew it was Indra but did not refuse the encounter being proud of her beauty which made Indra seek her physical relationship. Indra was cursed too by sage Gautama. He also provided redemption for ahalyA that when Rama comes through that place she will get her old self back. That was what Rama witnessed. They took leave of ahalyA and her sage husband Gautama and proceeded towards MithilA.

In MithilA, King Janaka welcomed the trio. King Janaka discovered the baby SItA while plowing the land during another sacrifice earlier seeking a progeny. When she came of marriageable age, he promised to get her wedded to one who would string the Shiva dhanush (bow) in his possession. Until the arrival of VishvAmitra with his wards in tow, no one could do that. VishvAmitra asked Janaka if Rama could see the bow. When it was brought to him, Rama (with VishvAmitra’s permission) took the bow, stood it up, wound one end of the string to the floor end of the bow and tried to tie the other end of the string to the top end when the bow broke. That signaled to everybody that Rama was the suitor to wed SItA. Let us read what Kamban says about that incident.

தடுத்து இமையாமல் இருந்தவர், தாளில்

மடுத்ததும், நாண் நுதி வைத்ததும், நோக்கார்;

கடுப்பினில் யாரும் அறிந்திலர்; கையால்

எடுத்தது கண்டனர்; இற்றது கேட்டார் --பால காண்டம் 13. கார்முகப் படலம்.34

Meaning: Everybody was looking at Rama without blinking their eyelids when he picked up the bow. They saw when he put one end of the bow near his foot, pulled the string from the other end towards his forehead. That is all. Then suddenly they heard the thunderous sound of the bow breaking.

It was then decided that Janaka would give sItA in wedding to Rama. Messengers were sent to ayOdhya to bring king Dasharatha and his retinue to Mithila. It was a distance of nearly 250 miles from ayOdhya to Mithila. Since they had horses and chariots, they reached Mithila quickly. The wedding was arranged in Janaka’s palace. Let us look at the wedding scene described by VAlmIki and Kamban.

According to VAlmIki, the wedding arrangements were made with great care. Vashishta arranged the Altar of Fire, in the ostentatious wedding hall, decorating it with sandal paste and flowers. The various vessels were sanctified, a sacred fire was created and the oblatory items such as ghee, water, and milk were assembled. Chanting scriptures, the sage spread the sacred grass (dharba) and twigs on the altar of fire and offered the oblatory items to the fire. Then King Janaka offered SItA’s hand to Rama. In the words of VAlmIki, King Janaka says:

इयं सीता मम सुता सहधर्मचरी तव 1.73.26
प्रतीच्छ चैनां भद्रं ते पाणिं गृह्णीष्व पाणिना
पतिव्रता महाभागा छायेवानुगता सदा 1.73.27
इत्युक्ऺत्वा प्राक्षिपद्राजा मन्त्रपूतं जलं तदा

Lyrics in Roman script

iyam sItA mama sutA saha dharma carI tava

pratIca ca enAm bhadram te pANim gRihNIsva pANinA pativratA mahAbhAgA chAya iva anugatA sadA

iti uktvA prAkshipat rAjA mantrapUtam jalam tadA

Meaning: “This is SItA, my daughter; she will acquit herself well in your path of righteousness. Take her hand in yours. She is blessed and will be devoted. She will walk with you forever like your own shadow”. Saying so, Janaka poured water, sanctified with holy hymns, into the palm of Rama.

Upon the completion of handing over his daughter SItA to Rama duly sanctified, King Janaka was happy beyond description. There were flower showers from the celestials blessing the wedding.

Let us now read what Kamban says about what Janaka does and says to Rama. Rama and SItA got seated on the wedding dais like a superior hero and a delicate swan resembling wealth and fortune. Again one can notice that Kamban compares SItA to Lakshmi, an obvious sign of the times.

கோமகன் முன் சனகன், குளிர் நல் நீர், பூமகளும் பொருளும் என, நீ என் மா மகள் தன்னொடும் மன்னுதி' என்னா, தாமரை அன்ன தடக் கையின், ஈந்தான்

kOmagan mun sanakan kuLir nal nIr pUmagaLum poruLum ena nI en

mA magaL tannoDum mannudi ennA

tAmarai anna taDakkaiyin IndAn

Meaning: “Just like Lakshmi and VishNu united in their bliss, you prosper with my dear daughter”—so saying to Rama, King Janaka poured cool sacred water onto the broad lotus-like palm of the prince (Rama).

This wedding ceremony was a singular event sanctifying the wedding---what is known as pANigrahaNam (hand holding). This was followed by going around the fire pit, stepping on the granite stone and viewing the arundati star---such traditional events in ancient weddings. After the wedding was over, the wedding party including SItA traveled to ayOdhya.

Epilogue: From ayOdhya to Mithila it is around 250 miles due east. However, VishvAmitra with Rama and LakshmaNa walked southeasterly from ayOdhya along the banks of Sarayu (ghAghrA) river till its confluence with GangA. They crossed Ganga to the southern bank to get to tATakA vanam. There tATakA was killed by Rama. The trio then traveled further east towards VishvAmitra’s SiddhAshramam where his big yagna was completed with Rama and LakshmaNa standing guard to protect it from the demons. From there it was further travel to Mithila in the northeasterly direction.

tanjam unnai vandaDaindEn--- தஞ்சம் உன்னை வந்தடைந்தேன்

2019-05-17T18:50:00.000-07:00

tanjam unnai vandaDaindEn--- தஞ்சம் உன்னை வந்தடைந்தேன்

rAgam: tODi tALam: Adi

Composer: Atmanathan

Note: It is understood that the composer was/is a family friend of Mrs. M S Subbulakshmi and Mr. T Sadasivam

பல்லவி:

தஞ்சம் உன்னை வந்தடைந்தேன் அஞ்சனையின் திருமகனே

அனுபல்லவி:

எங்கெல்லாம் இராம நாமம் பொங்கும் ஒலி கேட்கிறதோ

அங்கெல்லாம் மனமுருகித் தங்கிவிடும் எளியவனே

சரணம்:

வஞ்சகன் இராவணனை வெஞ்சமரில் ஒறுத்தவனே

கொஞ்சுமொழி மைதிலியின் சஞ்சலங்கள் தீர்த்தவனே

கொஞ்சம் என்னை பாராய் கோதன்டராமன் நேயா

பஞ்செனவே எனது துயர் பறந்திடவே செய்திடுவாய்

Lyrics in Roman script

Pallavi:

tanjam unnai vandaDaindEn anjanaiyin tirumaganE

anupallavi:

engellAm irAma nAmam pongum oli kETkiRadO

angellAm manamurugi tangiviDum eLiyavarnE

CaraNam:

vanjagan irAvaNanai venjamaril oRutthavanE

konjumozhi mythiliyin cancalangaL tIrtthavanE

konjam ennai pArAy kOdanDarAman nEyA

panjenavE enadu tuyar paRandiDavE ceydiDuvAy

Meaning

Pallavi: O, the darling son of anjanai, I came to you seeking refuge.

Anupallavi: Wherever the sound of the name “Rama” is heard, you are sure to take residence there.

CaraNam: In a ferocious war, you punished the deceitful RAvaNa. You mollified the misery of Mythili (SItA) while she was in lanka. Please glance at me, O, the friend of KOdaNDarAma, make my miseries disappear like the fluffy cotton.

Acknowledgement: I thank V R Vasudevan (of FB carnatic music group) for providing the basic version of the lyrics and URL for MS Subbulakshmi’s delectable rendition of this song. The lyrics were also gathered from rasikas.org site. Some errors in words and construction were fixed (after listening to the clear pronunciation of MSS in her rendition).

Audio/video links

Listen to M S Subbulakshmi here

Paramapadam---- பரமபதம்---- VaikunTham

2016-05-09T20:48:00.001-07:00

Paramapadam---- பரமபதம்

VaikunTham

Paramapadam (VaikunTham) is the ultimate destination (108^th divya dEsam) for those who worship Vishnu and his avatArs. It is believed that those who get here attain immortality. They too get a divine form (like angels) but still they serve the Lord. This is the frontier land and supposed to be in space equivalent what is called Heaven.

The lord is called Paramapada nAthan seated on the throne of the divine serpent (AdisEshan) facing south. The goddess is called Periya PrATTi. The water body is called VirajA River as also ayiramatha pushkariNi. The vimAnam is ananthAnga vimAnam.

MangaLAsAsanam: Eight AzhwArs have either described or mentioned Paramapadam in 36 pAsurams. NammAzhwAr has described the features of this place in detail using 20 pAsurams. Let us look at a pAsuram by tirumazhisai AzhwAr here

ஏன்றேன் அடிமை இழிந்தேன் பிறப்பிடும்பை

ஆன்றேன் அமரர்க் கமராமை, - ஆன்றேன் கடன்நாடும் மண்ணாடும் கைவிட்டு,மேலை

இடநாடு காண இனி.

----- (NDP 2476) நான்முகன் திருவந்தாதி 95

Roman script follows below.

EnREn aDimai izhindEn piRappiDumbai

AnREn amarark kamarAmai, - AnREn

kaDannADum maNNADum kaiviTTu,mElai

iDanADu kANa ini.

----- (NDP 2476) nAnmukan tiruvandAdi 95 (Tirumazhisai AzhwAr)

Meaning:

Oh Lord, suffering repeated births, I did not succumb even to the celestials. I sought your feet, and received such grace as even celestials do not enjoy. I have visited all the shrines in this earth. Freed of worldly life, I am going to see the supreme world of VaikunTham. That is my goal.

For a video/audio tour of all the 108 divya dEsams please visit

https://www.youtube.com/watch?v=BlNqNCEL9KQ

https://www.youtube.com/watch?v=Ix1fknTL3I4

For a virtual tour of the divya dEsams please visit

https://www.youtube.com/watch?v=iDV_tkV9yZQ

tiruppARkaDal----திருப்பாற்கடல்--- KshIrasAgaram

2016-05-07T17:29:00.002-07:00

tiruppARkaDal----திருப்பாற்கடல்

KshIrasAgaram

There are 106 divya dEsams in terrestrial region and 2 more are in the celestial region which together make up the 108 divya dEsams sacred to the Vaishnavites. The 106 shrines on earth are situated mainly in India and NEpAl. The celestial ones are imaginary since no one has been to them in physical form. It is believed that only the souls can reach the two celestial shrines. Several AzhwArs have described the features of the two celestial divya dEsams limited only by their imagination.

The milky ocean (described in astronomy) conforms to tiruppARkaDal (திருப்பாற்கடல்) or KshIrasAgaram (or KshIrAbdi) in Vaishnavite lore. The lord (KshIrAbdi nAthan) is supposed to be in sleeping posture on the serpent bed in the milky ocean facing the southerly direction. SrIdEvi (KaDalmagaL nAcciyAr) and BhUdEvi sit at his feet. The ocean itself is called amruta tIrttam and the vimAnam is called ashTAnga vimAnam. With respect to his complexion it is supposed to be white matching the color of the ocean itself.

From the milky ocean he is supposed to have created Brahma from out of the lotus emanating from his navel and then the universe through Brahma (lord of creation). Once the world ends (the deluge) he would return to Paramapadam (his other abode in the celestial region).

MangaLAsAsanam: 10 AzhwArs have described or mentioned tiruppARkaDal in their pAsurams. In all 51 pAsurams mention this divya dEsam. Thirumangai AzhwAr when describing the lord in the shrine tiru indaLUr, refers to the lord in tiruppARkaDal as “munnai vaNNam pAlin vaNNam” (முன்னை வண்ணம் பாலின் வண்ணம்) as the primordial form which keeps changing as desired by him.

Let us look at one specific pAsuram of PeriyAzhwAr where he equates the presiding deity at Srirangam to the one at tiruppARkaDal.

பையர வினணைப் பாற்கடலுள் பள்ளி கொள்கின்ற பரம மூர்த்தி

உய்யவுலகு படைக்க வேண்டி உந்தியில் தோற்றினாய் நான்முகனை

வையமனிசரைப் பொய்யென் றெண்ணிக் காலனையும் உடனே படைத்தாய்

ஐய இனிஎன்னைக் காக்க வேண்டும் அரங்கத் தரவணைப் பள்ளி யானே

-----NDP427 பெரியாழ்வார் திருமொழி 4-10-5

Lyrics in Roman script paiyara vinNaip pARkaDaluL paLLi koLginRa parama mUrtti

uyyvulagu paDaikka vENDi undiyil tOTRinAy nAnmuganai

vaiyamanisaraip poyyen ReNNik kAlanaiyum uDanE paDaittAy

aiya iniennaik kAkka vENDum arangat taravaNaip paLLi yAnE

-----NDP427 periyAzhvAr tirumozhi 4-10-5

Meaning:

O Lord of Srirangam, you recline in the milky ocean on a bed of the hooded serpent. To create the worlds you created Brahma on your lotus navel, and deciding that man shall remain a mortal (ephemeral), you also created Time, the Lord of death. My master, please protect me.

tiruvaNparisAram –திருவண்பரிசாரம்---തിരു വൺപരിസാരം

2016-05-04T08:25:00.000-07:00

tiruvaNparisAram –திருவண்பரிசாரம்

This shrine is located 2 miles northeast of NAgarkoyil on the road to Thirunelveli in Kanyakumari district in ThamizhnADu.. It is more commonly known as tiruppatisAram (or Shria pati sanchAram).

Temple Details: The architecture is different from other Kerala temples although this is still classified as a malainADu temple. It was previously in the tiruvAngUr kingdom territory. The presiding deity is called tirukkuRaLappan or tiruvAzhmArban. The goddess goes by the name Kamalavalli nAcciyAr. The temple pond is called Lakshmi tIrttam. The crown structure over the sanctum is called indra kalyANa vimAnam.

The lord is found in a seated posture facing east. The idol is a 9-feet tall stone structure constructed with stone and lime smeared over with mustard, sugar, and some herbal concoction in a process called “kadusakkari yOgam”. The process is similar to that used in tiruvaTTARu and tiruvananthapuram. In view of such construction no ritual washing with water is done for the idol. The so-called tirumanjanam is done only for the metal icon. The deity is surrounded by images of 7 sages, known as saptarishis. The worship protocols follow those of other Kerala temples. The temple is open for devotees from 5 to 11 AM and 5-8 PM. There are 5 daily ritual worship services.

Festivals: In the Thamizh month of Chitthirai (April-May) the annual Branhmotsavam is celebrated for 10 days. Other festivals are: AvaNi tiruvONam, and Vaikuntha EkAdasi. Saturdays in the month of PuraTTAsi are special days. There is also a jUlA (swing) festival for the festival idol.

Special significance: This place is the birthplace of the mother of nammAzhwAr and also nammAzhwAr. nammAzhwAr’s mother uDayanangai prayed to the lord at tirukkuRunguDi for a child. The lord himself was born to her as nammAzhwAr. He also told her to take the child to AzhwAr tirunagari and leave him at the base of the tamarind tree there. The child crawled into the hole in the tree base and lived there for 16 years. His glory was well known. He was a prolific author of pAsurams.

Legend: It is believed that after slaying HiraNyan by taking the narasimha avatAr the lord was still raging and his consort Lakshmi was terrified. So she came to this place and did some penance to get the lord back to normal. In the mean time Prahlada also requested the lord to attain his original form. Then the lord came to this place in search of his consort. The goddess was happy to see him back in a peaceful form and requested that she be placed in his chest which he did. Thus the name tiruvAzhmArban came into vogue. The name means (tiru + vAzh + mArban) that Lakshmi (tiru) lives (vAzh) in his chest (mArbu). Since the divine couple rejoined in this place the place came to be known as tiru + pati + sAram (tiruppatisAram).

MangaLAsAsanam: nammAzhwAr sang one pAsuram on the lord of this shrine.

வருவார் செல்வார் வண்பரி சாரத் திருந்த,என்

திருவாழ் மார்வற் கென்திறம் சொல்லார் செய்வதென்,

உருவார் சக்கரம் சங்கு சுமந்திங் கும்மோடு,

ஒருபா டுழல்வானோரடி யானு முளனென்றே (NDP 3541) திருவாய்மொழி 8-3-7

Lyrics in Roman script

varuvAr selvAr vaNpari sArat tirunda,en tiruvAzh mArvaR kentiRam sollAr seyvaden,

uruvAr sakkaram sangu sumandin kummODu,

orupA DuzhalvAnOraDi yAnu muLanenRE

(NDP 3541) ---- tiruvAymozhi 8-3-7

Meaning: The AzhwAr agonizes thus: “There are pilgrims who go to the shrine of vaNparisAram to visit the lord who carries the goddess Lakshmi on his chest. They return after visiting the shrine. But nobody seems to have commended me to Him that I, a devotee, is waiting right here longing to go out with Him carrying His conch and discus. What shall I do?”

tiruvaTTARu divya dEsam--- திருவட்டாறு திவ்ய தேசம்--- തിരുവട്ടാറു ധിവ്യ ധേസം

2016-05-02T18:52:00.000-07:00

tiruvaTTARu divya dEsam--- திருவட்டாறு திவ்ய தேசம்

തിരുവട്ടാറു ധിവ്യ ധേസം

This shrine is located near the Kerala/ThamizhnADu border, 30 km northwest of NAgarkOyil in KanyAkumari district in ThamizhnADu. However this area has been under the administration of the erstwhile tiruvAnKUr kingdom for a significant length of time in the past and accordingly the architecture is in Kerala style (wooden doors, pillars, and roof). The town is located in the tiruvanathapuram—nAgarkoyil train route. The temple is surrounded by two rivers on three sides.

The temple is similar to that in tiruvananthapuram in the interior. The reclining deity is 22 feet long and hence is to be observed through three portals (for viewing the head, body, and the feet). It is called Adi ananthapuram, denoting its existence predating that in tiruvananthapuram. There are some minor differences between the two idols---such as no Brahma on the navel of the idol, and that the lord’s head crown is only semi-visible in this shrine.

Temple details: It finds mention in BrahmANDa purANam and GaruDa purANam. The presiding deity is called AdikEsava perumAL in a reclining posture facing west (head south). The goddess has the name marakathavalli nAcciyAr. The crown structure over the sanctum is called ashTAnga vimanam. The water body in the temple is called kaDalvAy tIrttam/vATTARu/rAma tIrttam.

The main entrance is on the west side. The sanctum faces west. The worship times are 6—11 AM and 5—8 PM. The deity is made from 16000 sALagrAma stones assembled together using a special chemical concoction called kaDusakkarai yOgam. Hence there is no ceremonial washing with water (ablution---thirumanjanam) for the idol. There is a golden GaruDa near the festival idol in the sanctum. Twice a year (in the months of VaikAsi and aippasi) the lord is taken on a procession on GaruDa mount. There is a hall in front of the sanctum which is carved out of a single stone. This shrine has the moniker cEra nATTu srirangam.

Festivals: VaikunTha EkAdasi, AvaNi tiruvONam, and KalAbham (in Jan-Feb) besides the eve of winter and summer solstices are celebrated every year. In addition, two others, mIna utsavam (in the month of panguni) and tulA utsavam (in the month of aippasi) are celebrated for 10 days each

Legend: It is believed that at one time there was a demon called KEsi who troubled celestials. The celestials prayed to the lord (in this place) who defeated KEsi and lay over him. KEsi’s wife (AsUri) prayed to the rivers Ganga and tAmirabaraNi who together rushed to create a deluge in the area. But bhUmidEvi raised the place with the result the deluge was ineffective. The river then split into two called GOthai and ParaLi forming a garland around the shrine thus providing the name vaTTARu (vaTTam means circle). The lord also got the name Adi KEsavan for conquering the demon KEsi.

MangaLAsAsanam: nammAzhwAr sang 11 pAsurams (tiruvAymozhi 10.6.1-11) on the lord dwelling here. Let us look at one of the pAsurams here.

வாட்டாற்றானடி வணங்கி மாஞலப் பிறப்பறுப்பான்

கேட்டாயே மட நெஞ்சே கேசவன் எம்பெருமானை

பாட்டாய பலபாடி பழவினைகள் பற்றறுத்து

நாட்டாரோடு இயல்வொழிந்து நாரணனை நண்ணினமே

(NDP 3723) திருவாய்மொழி 10-6-2

vATTATRAnaDi vaNa#ngi mA~nalap piRappaRuppAn
kETTAyE maDa ne~njE kEsavan emberumAnai
pATTAya palapADi pazhavinaigaL paTraRuttu
nATTArODu iyalvozhindu nAraNanai naNNinamE
(NDP 3723) tiruvAymozhi 10-6-2

Meaning: The AzhwAr is taking a resolve about avoiding his association with people who indulge only in mundane things in life. He wants to worship the lord in tiruvaTTARu and sing his praise in order to cut the cord of endless births and get relief from the bad consequences of the futile deeds of past.

tiruvaN vaNDUr—திருவண் வண்டூர் திவ்ய தேசம்---തിരുവൺ വണ്ഡൂർ

2016-04-09T18:35:00.000-07:00

tiruvaN vaNDUr—திருவண் வண்டூர் திவ்ய தேசம்

തിരുവൺ വണ്ഡൂർ

This is one of the 5 divya dEsams in the ChengaNNUr area (in AlappuzhA district in Kerala) 6 km north of ChengaNNUr. The river PampA flows around the temple. This shrine was believed to have been renovated/rebuilt by nakulan (one of the PANDava brothers in the Mahabharatha time).

The presiding deity is PAmbaNaiyappan (or KamalanAthan) in a standing posture facing west. The goddess is called Kamalavalli nAcciyAr. The water body is called PampA tIrttam and the vimanam is called VEdAlaya vimAnam. The temple is open for worship from 4:30 to 11:00 AM and 5 to 8 PM.

Presiding deity Temple interior

Festivals: The annual tiruvAymozhi festival is conducted over 51 days to commemorate the installation of the Krishna idol dancing on the head of the serpent KALingan on top of the western portal. Kathakali performance by reputed groups accompanies the festival. In the month of mAsi (Feb-Mar) brahmOtsavam is celebrated.

Legend: It is said that there was once an argument between Brahma and Narada which resulted in a curse to Narada because Narada sent the sons of Brahma to do penance. Brahma cursed Narada, “You shall forever be wandering”. Narada came to this shrine and did penance on the lord. The lord answered his prayer and granted boons so that Narada could teach philosophy to humanity, which brought forth the text called NAradeeya purANam. It contains liturgical details of worship of Vishnu.

MangaLAsAsanam: nammAzhwAr sang 11 pAsurams on this shrine and the lord (NDP 3227-37). Let us look at one pAsuram here.

ஒருவண்ணம்சென்று புக்கெனக்கு ஒன்றுரை யொண்கிளியே, செருவொண் பூம்பொழில் சூழ்செக்கர் வேலை திருவண்வண்டூர், கருவண்ணம் செய்யவாய் செய்யகண் செய்யகை செய்யகால், செருவொண் சக்கரம் சங்கடை யாளம் திருந்தக் கண்டே. (tiruvAymozhi 6-1-7)

oruvaNNamsenRu pukkenakku onRurai yoNgiLiyE, seruvoN pUmbozhil sUzhsekkar vElai tiruvaNvaNDUr,

karuvaNNam seyyavAy seyyagaN seyyagai seyyagAl, seruvoN sakkaram sa#ngaDai yALam tirundak kaNDE (tiruvAymozhi 6-1-7)

Meaning: He sends a parrot on a mission. “Oh, beautiful parrot, please go to tiruvaN vaNDUr which is surrounded by luscious orchards and a red landscape. Take a look at the lord who is dark-hued and red-lipped, with red hands, lotus eyes and lotus feet. He bears a discus and a conch in his hands as a mark of identification. Please speak some good words about me to Him”.

tiruvARan viLai (ArammuLA)--- திருவாறன் விளை (ஆரம்முளா)---ആരമ്മുളാ

2016-03-02T17:00:00.001-08:00

tiruvARan viLai (ArammuLA)--- திருவாறன் விளை (ஆரம்முளா)

This shrine, known as PArthasArathi temple, is located in Kerala state 10 km east of ChengaNNUr on the southern bank of PampA River. The eastern portal has 18 steps through which devotees enter the shrine. The vernacular name is ArammuLA.

The presiding deity is tirukkuRaLappan (also known as PArthasArathy) in a standing posture facing east. The goddess goes by the name PadmAsani.. There is a separate sanctum for ParashurAma. The pond is called VyAsa tIrttam (also PampA tIrttam), and the vimAnam is called vAmana vimAnam. The temple is open for worship from 5-11 AM and 5-8 PM.

Festivals: There is an elaborate 10-day festival called ArATTu in the month of January. An elaborate boat festival is conducted on the river across the temple. There is a pushpa (flower) abhishEkam in May. In November a 12-day Kalapam festival is celebrated.

Legends: It is believed that this shrine was built/renovated by Arjuna (in the Mahabharatham period) when the pancha pANDavAs visited this area after the war was over and their descendant Pareekshith was crowned as the king. It is believed that the idol PArthasArathi was brought in a raft (in the PampA River) made of six pieces of bamboo (hence the malaYALa name ArammuLA)

It is also believed that arjuna hid his weapns in the vanni tree in this temple premises before the five brothers went on exile. He killed KarNa (of the Kaurava clan) using an unfair tactic of killing an unarmed soldier (when KarNa’s chariot was stuck in the ground and when he was attempting to release it) in the battlefield in KurukshEtra. He prayed at this shrine to atone his sin. Accordingly this place is also called arjuna ambalam.

Legend has it that the two demons Madhu and KaiTapa stole the scriptures written by Brahma. Brahma prayed to the lord here who then restored them to Brahma.

MangaLAsAsanam: nammAzhwAr sang 11 pAsurams (tiruvAymozhi 7.10.1-10) on this shrine and the lord who dwells here. Let us look at one pAsuram (7.10.2).

ஆகுங்கொல் ஐயமொன்றின்றி அகலிடம் முற்றவும் ஈரடியே
ஆகும் பரிசு நிமிர்ந்த திருக்குறளப்பன் அமர்ந் துறையும்
மாகம் திகழ் கொடிமாடங்கள் நீடு மதிள் திருவாறன்விளை
மாகந்த நீர் கொண்டு தூவி வலஞ் செய்து கை தொழக் கூடுங் கொலோ

----NDP 4347 ---திருவாய்மொழி 7-10-2

Agu#ngol aiyamonRinRi agaliDam muTRavum IraDiyE

Agum parisu nimirnda tirukkuRaLappan amarn tuRaiyum

mAgam tigazh koDimADa#ngaL nIDu madiL tiruvARanviLai

mAganda nIr koNDu tUvi vala~n seydu kai tozhak kUDu#n kolO ( NDP 4347)

------- tiruvAymozhi 7-10-2

Meaning: The AzhwAr wishes that he should visit this shrine and worship the lord soon. He describes the shrine as follows: “He came as a manikin and dispelling all doubts he measured the whole earth in two steps. He resides in tiruvARanviLai which has long fortress walls and huge mansions touching the skies. When will I be able to carry fragrant water, go around the sanctum and with folded hands worship my lord tirukkuRaLappan?”

அயோத்திக் கரசனைப் பாடிப்பற ---PeriyAzhwAr’s paean on Rama

2016-02-19T07:39:00.000-08:00

அயோத்திக் கரசனைப் பாடிப்பற ---PeriyAzhwAr’s paean on Rama

PeriyAzhwAr, is placed on a pedestal among all the 12 AzhwArs. He wrote 473 pAsurams in all-- a vast majority of them dealing with Krishna’s childhood, assuming the role of Krishna’s mother. He lived the life of YasOdhA through those pAsurams. He described the birth, the cradling, bathing, dressing, and feeding baby Krishna, and watching the baby steps. He also described Krishna’s activities during the childhood and youth periods. PeriyAzhwAr dedicated his other pAsurams to the presiding deities of the following divya dEsams: Srirangam, SrivilliputtUr, ThirumAlirunjcOlai, Mathura, ThiruveLLarai, PrayAgai, ayOdhya, Tiruppathi, DwAraka, TirukkuRunguDi, ThirukkaNNapuram and other places. He devoted 10 pAsurams to describe how Hanuman identified himself to SItA in ashOka vanam in LankApuri. It is interesting to note that PeriyAzhwAr’s pAsurams had superior diction on top of Bhakthi oozing throughout. Swami MaNavALa MAmunigaL and PeriyavachAn PiLLai wrote commentaries on PeriyAzhwAr’s pAsurams. To read about PeriyAzhwAr’s greatness visit http://narada-therealmofreligion.blogspot.com/2012/02/periyazhwar.html

When it comes to eulogizing Rama, he devoted barely 5 pAsurams to sing the praise of Rama in one decad with alternating verses to sing the glory of Krishna and Rama. The theme of that decad (PeriyAzhwAr tirumozhi 3.9.1-11) is “undhi paRaththal” (உந்தி பறத்தல்) which is a game played by women who swing around while singing. In this particular thread two groups of women sing the praise of Krishna and Rama alternately. Here we pay attention to the 5 verses that pertain to Rama. The verses are given in Thamizh script and Roman script followed by the meaning for each.

என்வில் வலிகண்டு போவென்று எதிர்வந்தான்

தன்வில்லி னோடும் தவத்தை எதிர்வாங்கி முன்வில் வலித்து முதுபெண்ணுயிருண்டான்

தன்வில்லின் வன்மையைப் பாடிப்பற தாசரதி தன்மையைப் பாடிப்பற. NDP 308

envilvalikaNDu pOvenRu edirvandAn

tanvilli nODum tavattai edirvA#ngi

munvil valittu mudubeN NuyiruNDAn

tanvillin vanmaiyaip pADippaRa tAsaradi tanmaiyaip pADippaRa. NDP 308

Meaning: “Take my bow and string it if you are capable”---so declared Parasurama to Rama when he was returning to ayOdya from Mithila after getting married to SItA . Rama picked the bow from Parasurama and strung it with ease. In return for that he acquired the fruit of Parasurama’s penance. Before that he used his power of archery to kill the ogress tATakai. We shall sing his bow’s might and let us sing the virtue of Dasharath’s son.

மாற்றுத்தாய் சென்று வனம்போகே என்றிட

ஈற்றுத்தாய் பின்தொடர்ந்து எம்பிரான் என்றுஅழ கூற்றுத்தாய் சொல்லக்கொடியவனம்போன
சீற்ற மிலாதானைப் பாடிப்பற சீதை மணாளனைப் பாடிப்பற.
NDP 310 (PeriyAzhwAr tirumozhi 3.9.4)

mATruttay senRu vanampOgE enRiDa

ITRuttAy pindoDarndu embirAn enRuazh

kUTRuttAy sollak koDiya vanambOn

sITRa milAdAnaip pADippaRa sIdai maNALanaip pADippaRa. NDP 310 (PeriyAzhwAr tirumozhi 3.9.4)

Meaning: The step-mother KaikEyi bid him to go to the forest exile. His birth mother KausalyA followed him up crying, “My Lord”. He obeyed the order of the step-mother who would eventually cause the death of her husband and went to the wild forest. But he never harbored any ill-will towards anybody. Let us swing and sing the praise of the husband of SItA.

Additional note: There are three terms used for "mother" (தாய்) in this pAsuram. ஈற்றுத்தாய் means the mother (Kausalya) who gave birth to Rama. மாற்றுத்தாய் means alternate mother. Here it could mean KaikEyi or Sumitra. However, since the term is followed by "one who asked Rama to go to the forest" it has to refer to KaikEyi only So மாற்றுத்தாய் definitely refers to KaikEyi since it was she who sent Rama to the forest. The only remaining term "கூற்றுத்தாய்" (mortifying mother) that is variously interpreted by different vaishnavite scholars has to be examined further. கூற்றுவன் means Yaman in Thamizh (one who is the agent of death). Since Kaikeyi was responsible for the death of Dasharatha, it can be assumed the term refers to KaikEyi (i.e., the mother who acted as the agent of death). Another interpretation for "கூற்றுத்தாய்" is as follows. கூறு means divide or partition. Since KaikEyi ate a portion of the pudding after Kausalya ate, it can be taken to mean KaikEyi or Sumitra since both of them ate a portion of the pudding . It is obvious that there is no scope for Sumitra (the third mother for Rama) to be on the scene here. She was not responsible for the death of Dasharatha nor did she tell Rama to go to the forest.

முடியொன்றி மூவுல கங்களும் ஆண்டுஉன் அடியேற் கருளென்று அவன்பின் தொடர்ந்த

படியில் குணத்துப் பரதநம் பிக்குஅன்று அடிநிலை யீந்தானைப் பாடிப்பற அயோத்தியர் கோமானைப் பாடிப்பற. NDP312

muDiyonRi mUvula ka#ngaLum ANDuun

aDiyER karuLenRu avanbin toDarnd

paDiyil kuNattup paradanam pikkuanRu

aDinilai yIndAnaip pADippaR ayOttiyar kOmAnaip pADippaRa. NDP312

Meaning: “Wear the crown, rule the three worlds, and offer your grace to your devotees’---so said Bharata following Rama into the forest. To such a noble brother Rama gave his sandals instead as his proxy. Let us swing and sing Rama’s praise who truly is the king of ayOdhya.

தார்க்குஇளந் தம்பிக்கு அரசீந்து தண்டகம் நூற்றவள் சொல்கொண்டு போகி நுடங்கிடைச் சூர்ப்ப ணகாவைச் செவியொடு மூக்குஅவ ஆர்க்க அரிந்தானைப் பாடிப்பற அயோத்திக் கரசனைப் பாடிப்பற. NDP314

tArkkuiLan tambikku arasIndu taNDagam

nUTRavaL solgoNDu pOgi nuDangiDaic

sUrppa NagAvaic seviyoDumUkkuva

Arkka arindAnaip pADippaR ayOttik karasanaip pADippaRa. NDP314

Meaning: He gave the kingdom to his younger brother.. He went to the forest abiding by the command of Kaikeyi who was determined to send him away. He cut the nose and ears of the slender-waisted SUrpaNakA to her great distress. Let us swing and sing his praise who deserves to be the king of ayOdhya. (According to VAlmIki RAmAyaNam it was LakshmaNa who disfigured SUrpaNakA. But PeriyAzhwAr attributes it to Rama himself since he was the one who initially directed the demoness to LakshmaNa and subsequently asked him to disfigure her)

காரார் கடலை யடைத்திட்டு இலங்கைபுக்கு ஓராதான் பொன்முடி ஒன்பதோ டொன்றையும் நேரா அவன்தம்பிக் கேநீ ளரசீந்த ஆரா வமுதனைப் பாடிப்பற அயோத்தியர் வேந்தனைப் பாடிப்பற. NDP 316

kArA kaDalai yaDaittiTTu ilangaipukku

OrAdAn ponmuDi onbadO TonRaiyum nErA avantambik kEnI LarasInd

ArA vamudanaip pADippaR ayOttiyar vEndanaip pADippaRa. NDP 316

Meaning: He bridged the dark ocean and reached LankA. There he felled the ten crowned heads of RAvaNa who disregarded peace entreaties. After killing him, Rama offered the throne of Lanka to VibhIshaNa. Let us swing and sing the praise of such insatiable nectar that is the king of ayOdhya.

Audio link:

Listen to M S Subbulakshmi sing these pAsurams here

(KuTTanADu) tiruppuliyUr divya dEsam (குட்டநாடு) திருப்புலியூர் திவ்ய தேசம்--കുട്ടനാഡു തിരുപ്പുലിയൂർ ദിവ്യ ദഏസം

2016-02-16T09:26:00.000-08:00

(KuTTanADu) tiruppuliyUr divya dEsam
കുട്ടനാഡു തിരുപ്പുലിയൂർ ദിവ്യ ദഏസം

(குட்டநாடு) திருப்புலியூர் திவ்ய தேசம்

This shrine goes by the name tiruppuliyUr (as mentioned in nammAzhwAr’s pAsurams), kuTTanAdu tiruppuliyUr among the local population, and Bheema kshEtram among those who are familiar with the folklore connecting this shrine with the PANDavAs (vide infra). It is located 5 km west of ChengaNNUr in AlappuzhA district in the state of Kerala. This place is mentioned as KuTTanADu in the ancient Thamizh literary work of tolkAppiyam as a constituent region of the southern country. The worship times in the temple are 5 AM—11 AM and 5 PM to 8PM.

Festivals: In the month of MArgazhi (Dec-Jan) the primary festival is celebrated for 10 days. In the month of Thai (Jan-Feb) several ceremonial activities such as KAvaDiyATTam take place. In the month of AvaNi (Aug-Sep) janmAshTami (birthday of Krishna) is celebrated.

Temple Details: The presiding deity is called mAyapirAn in a standing posture facing east. The goddess goes by the name poRkoDi nAcciyAr (hEmalatha in Sanskrit). The temple pond is called pragjnasaras tIrttam (pUnchunai tIrttam in Thamizh) and the vimAnam is known as Purusha sukta vimAnam.

Legends: It is believed that the PAnDavAs visited this area after winning the war with the KauravAs. They coronated Pareekshith as king and the five brothers visited this region near pampA river to make amends for some of their unethical acts during the war. Each one of them built a temple within a short distance of each other. Yudhistra built in ChengaNNUr, Bheema (the second brother) built a temple in tiruppuliyUr, arjuna in tiru Aran viLai, nakula in tiruvaN vaNDUr, and ShahadEvan in tirukkadith thAnam.. Accordingly this place gained the sobriquet “Bheema kshEtram”. A replica of the mace used by Bheema can be see here in the temple complex (see the image below).

Legend has it that this region was ruled by a king by name VirukshAdarbi (son of the great king Sibi). At one time this region experienced a severe drought and accordingly a widespread famine prevailed. The seven sages known as Saptarishis passed through this place and the king wanted to seek their blessing for famine relief. He donated gold and other gifts to them in return for their blessings. But the sages refused thinking it would be sinful to accept gifts from a king whose citizens were suffering during the famine. The king sent the gold mixed with fruits and requested that the fruits be accepted. The sages knew the ruse of the king and hence rejected that too and went their way.

The king got angry, performed a huge sacrifice and an evil spirit rose from the fire. He sent the evil spirit out to kill the sages. The sages prayed to Lord Vishnu. The lord sent Indra to protect them. Indra took the form of a tiger (puli in Thamizh) and destroyed the evil spirit thereby saving the sages. The sages were grateful to the lord and were provided a darshan by the lord which gave the name for the deity, “mAya pirAn” (lord who conquers illusion).

MangaLAsAsanam: This shrine has been sung by nammAzhwAr (in 11 pAsurams; periya tirumozhi 8.9. 1-11 (NDP 3535-45) and mentioned by tirumangai Azhwar in one verse. Here is a pAsuram by nammAzhwAr.

அன்றி மற்றோர் உபாயமென், இவளந்தண்துழாய் கமழ்தல்
குன்ற மாமணி மாட மாளிகைக் கோலக் குழாங்கள் மல்கி
தென்திசைத் திலதம் புரை குட்டநாட்டுத் திருப்புலியூர் நின்ற மாயப்பிரான் திருவருளாம் இவள் நேர்ப்பட்டதே
திருவாய்மொழி 8-9-10

anRi maTROr ubAyamen, ivaLantaNtuzhAy kamazhdal
kunRa mAmaNi mADa mALigaik kOlak kuzhAngL malgi
tentisait tiladam purai kuTTanATTut tiruppuliyUr ninRa mAyappirAn tiruvaruLAm ivaL nErppaTTadE
tiruvAymozhi 8-9-10

Meaning: nammAzhwAr imagines himself to be a maiden in love with the lord and accordingly describes her status; “This maiden emits the fragrance of cool basil. The source for this is the grace of the lord mAyapirAn who dwells in tiruppuliyUr which stands as the bacon of the southern country (kuTTanADu) situated among resplendent tall buildings and visited by throngs of devotees.”

முதல் ஆழ்வார்கள்--Mudhal AzhwArs

2016-02-13T09:50:00.000-08:00

முதல் ஆழ்வார்கள்--Mudhal AzhwArs

PoygaiyAzhwAr BhUtatAzhwAr PEyAzhwAr

In the list of the 12 AzhwArs, the three mentioned above are considered the first and foremost, first because they predated all the others and foremost because these three were supposed to have the vision of the lord together when confined to a small space. They were contemporaries in a strict sense, having born on three consecutive days. All the three made their appearance on earth outside the human womb (called ayOnijas----a+ yOni + ja). They came on to this world on flowers in water bodies. Their real names are not known but their nicknames are the ones by which they are recognized now. Their period is believed to be 7^th century CE. A brief description of the three follows.

Poygai AzhwAr: “Poygai” means pond in Thamizh. This Azhwar was born on a lotus flower in a pond at the YathOktakAri temple in tiruvekkA also known as KAnchipuram. Hence he got the name Poygai AzhwAr. He is believed to be the incarnation of PAnchjanyam (the conch) of Lord Vishnu. He sang 100 songs in praise of the lord which are called mudal tiruvanthAdi.

BhUtatAzhwAr: His nickname means “one who is possessed”. He was possessed by the love for the lord. He was born in a jasmine flower creeper (kurukkaththi in Thamizh). He is believed to the incarnation of KaumOtaki (the mace/club) -- a weapon of lord Vishnu. He was born in MahAbalipuram (known as kaDal mallai in Thamizh). He sang 100 pAsurams called iraNDAm tiruvanthAdi

PEyAzhwAr: His name means “ghost”. He was very oblivious of his surroundings and looked scary to everybody. He was born in current-day MayilAppUr in Chennai. He is considered to be the incarnation of the sword of the lord. He was born in a red lilly (sevvalli in Thamizh) in the temple (dedicated to Chennakesava perumAL) pond. He composed 100 songs which are called mUnRAm tiruvanthAdi.

Legend: It is believed they were brought together in close quarters by divine will. The apocryphal story goes as follows: They were all visiting tirukkOvalUr (a shrine for lord Vishnu). It was raining heavily. Poygai AzhwAr took shelter in a closed space in a small cottage. He lay down to rest. A while later BhUtatAzhwAr knocked at the entrance. Poygai let him in saying “oruvar paDukkAlam, iruvar amaralAm” (ஒருவர் படுக்கலாம் இருவர் அமரலாம்)----meaning one can lie down but two can sit in the space available. They engaged in religious conversation. Soon there was another knock and PEyAzhwar was waiting. He was also let in with the cautionary note, “mUvar niRkalam” (மூவர் நிற்கலாம்)—meaning three people can stand comfortably. Very soon they felt squeezed together. They could feel it but not see who was the “fourth” person who was squeezing them.

Poygai sang 100 pAsurams, one after the other (for the first pAsuram see below) in praise of the lord having had an inkling that it might be the lord who was the invisible fourth person. The surrounding darkness vanished at the end of his singing. BhUtatAzhwAr sang another 100 pAsurams after which they could see effulgence in the room and they could all see the Lord. . Then PEyAzhwAr sang another 100 pasurams describing the lord. Together the three hundred pAsurams are labeled as first, second, and third tiruvanthAdi (antham means end, Adi means beginning)—i.e., each song in the 100-song garland was constructed such that the end word of one song is the beginning word of the subsequent song and the end point of the 100th song became the beginning point of the first song in a circular fashion---a poetic splendor indeed.

IyaRpA: The three anthAdis were compiled under the label iyaRpA (non-musical poetry) in the compilation of nAlayira divya prabhandam. Poygai called his pAsurams solmAlai (garland of words). He sang about the celestial abode of lord Vishnu, and the shrines Srirangam, tiruvEnkaDam, tirukkOvalUr, and tiruvekkA in the 100 pAsurams. BhUtatAzhwAr described the lord in five forms---para (supreme), vyUha (cosmic), vibhava (incarnation), antaryAmin (inner dwelling), and archa (consecrated idol or image). All the three sought the removal of ignorance and fostered the realization of Supreme Being through devotion.

It appears that the three AzhwArs traveled to various shrines together along with another one, tirumazhisai AzhwAr, and had discussions together. In BhUtatAzhwAr’s songs there is a mention of the town “mAmallai” (the current day MahAbalipuram) which was built on the seashore by the pallava king Narasimhavarman This would place the AzhwArs’ time at or slightly later than the 7^th century CE.

A discourse in Thamizh on the three AzhwArs can be listened here. https://www.youtube.com/watch?v=EiKOq9qWzdc

Now let us read the first song of each tiruvanthAdi.

First tiruvanthAdi (of Poygai), first song:

வையம் தகளியா வார்கடலே நெய்யாக
வெய்ய கதிரோன் விளக்காக - செய்ய
சுடர் ஆழியான் அடிக்கே சூட்டினேன் சொல் மாலை
இடராழி நிங்குகவே என்று

vaiyam tagaLiyA vArkaDalE neyyAga
veyya kathirOn viLakkAga - seyya
suDar AzhiyAn aDikkE sUttinEn sol mAlai
iDarAzhi nIngkugavE enRu

Meaning: Keeping the earth as lamp bowl, the vast sea as oil, and the fiercely radiant sun as a luminous wick (lamp), I have devised a garland of words for the feet of the lord who wields the red flaming discus so as to remove the ocean of misery

Next, the first song of 2^nd tiruvanthAdi (of BhUtatAzhwAr)

அன்பே தகளியா ஆர்வமே நெய்யாக
இன்புருகு சிந்தை இடுதிரியா - நன்புருகி
ஞானச் சுடர் விளக்கேற்றினேன் நாரணற்கு
ஞானத் தமிழ் புரிந்த நான்

anbE tagliyA ArvamE neyyAga
inburugu Chintai iDu tiriyA
nanpurugi gnAnac cuDar viLakku EtrinEn
NAranarku GnAnat tamizh purindha nAn

Meaning: With love as the lamp bowl, desire as the oil and compassion as the lamp wick, I lit the lamp of wisdom thereby performing service of the Lord

First song of the 3^rd tiruvanthAdi (of PEyAzhwAr)

திருக்கண்டேன் பொன் மேனி கண்டேன் திகழும்
அருக்கன் அணிநிறமும் கண்டேன் - செருக்கிளரும்
பொன்னாழி கண்டேன் புரி சங்கம் கைக்கண்டேன்
என்னாழி வண்ணன் பால் இன்று

tiruk KaNDEn pon mEni KaNDEn Thigazhum
arukkan aNi niRamum KaNDEn--seruk KiLarum
pon Azhi KaNDEn puri sangam kai KaNDEn
ennAzhi VaNNan pAl inRu

Meaning: Today I saw goddess Lakshmi, and the golden body of the lord with the radiant color of the Sun. I saw the fiery discus which shows its power in the battleground. I saw the conch in his hand too---all with the lord who has the hue of the ocean.

For a detailed account of the first three AzhwArs visit http://sriramanujar.tripod.com/mudhal_azhwar.html http://alwarsandacharyas.blogspot.com/2007/02/boothathazwar.html

Thirumazhisai AzhwAr---திருமழிசை ஆழ்வார்

2016-01-18T13:59:00.000-08:00

Thirumazhisai AzhwAr---திருமழிசை ஆழ்வார்

Thirumazhisai is a small town on the Chennai—BengaLUru highway, 3 km from the town PUvirundhavalli. It was a small hamlet several centuries ago when, it is believed, that a sage by the name BhArgava visited that place and performed a yagna to propitiate lord Vishnu. The lord granted a boon to the sage that a son will be born to him and his wife KanakAngi bearing some aspects of the lord himself. When a son was born, however, it was only a lump of flesh without any limbs or life. So the sage and his wife left the “baby” in a bamboo bush and went their way on their pilgrimage.

A couple, tiruvALan and Pankayachelvi, belonging to the “fifth” class found the baby and picked it up and took it home thinking it was god’s will. They named the baby tirumazhisai pirAn (திருமழிசை பிரான்). But the baby was not eating or drinking until an old couple brought cow’s milk. The baby drank it and indicated the old couple to drink the left-over milk. The old couple got their youth restored and soon they got a child who was named KaNikaNNan (கணிகண்ணன்). The two grew up to be friends.

Thrumazhisai piran (from now on referred to as AzhwAr) and KaNikaNnan toured several shrines. The AzhwAr learnt the vEdAs as he was growing up. He studied other religions and their merits versus demerits before being convinced of the superiority of Lord Narayana. He met the three AzhwArs (called mudal AzhwArs) in thirumazhissai. All the four went to the shrine tiruvallikkENi and stayed for a few days together. Then the AzhwAr went to a shrine called tiruvekkA and stayed there along with KaNikaNnan to serve the lord.

In the city of KAnchIpuram during the reign of Pallava king Parameswaran I (670-680 CE), AzhwAr was pleased with the services rendered by an old lady at the ThiruveqkA temple and restored her to her youthful form so that she could continue to render service to the Lord for a long time. The king was attracted by the beauty of this lady and married her. However, he wanted his own youth returned to him too and he asked the assistant of the AzhwAr (KaNikaNNan) to convey that desire to his guru. The disciple refused to do such a command. Consequently the king banished KaNikaNNan out of his country. The AzhwAr not wanting to part with his disciple walked with him and requested that the Lord of the temple too do likewise. The request is described in the following poem which means, “KaNikaNNan is leaving, oh Lord. You should not stay here since I am also leaving. Roll up your (serpent) bed and let us go”

கணிகண்ணன் போகின்றான் காமரு பூங்கச்சி
மணிவண்ணா நீகிடக்க வேண்டா-- துணிவுடைய
செந்நாப் புலவனும் செல்கின்றேன் நீயும் உன்றன்
பைந்நாகப் பாய் சுருட்டிக் கொள். kaNikaNNan pOginRAn kAmaru pU#ngacci
maNivaNNA nIgiDakk vENDA-- tuNivuDaiy
sennAp pulavanum selginREn nIyum unRan
painnAgap pAy suruTTik koL.

The Lord, it is believed, obeyed. Soon the kingdom faced untold hardship of drought and famine. The king was contrite and requested the duo to return. They acceded and asked the Lord to return with them as described in the following verse which means “KaNikaNNan decided to stay back. So, oh lord, you should also stay back because I am also staying back. Spread your (serpent) bed”

கணிகண்ணன் போக்கொழிந்தான் காமரு பூங்கச்சி
மணிவண்ணா நீ கிடக்க வேண்டும் --துணிவுடைய
செந்நாப் புலவனும் செலவொழிந்தான் நீயுமுன்றன்
பைந்நாகப் பாய் படுத்துக்கொள். kaNikaNNan pOkkozhindAn kAmaru pU#ngacci
maNivaNNA nI kiDakk vENDum --tuNivuDaiy
sennAp pulavanum selavozhindAn nIyumunRan
painnAgap pAy paDuttukkoL.

The Lord obeyed the dictates of His devotee again. Accordingly the Lord at ThiruveqkA is called “YatOktakAri” or “sonna vaNNam seyda PerumAL” (the Lord who did what He was told to do).

PerumpuliyUr incident: The AzhwAr and his disciple, on their way to tirukkuDanthai, went to a place called perumpuliyUr and stopped to rest on the pial of a house where some Brahmins were reciting vEdas. Upon sighting these two, they stopped their recitation on the belief that the two (from the “lower” class) should not listen to the vEdas. They ordered to the two to move on and started on their recitation but could not remember where they left off before stopping. The AzhwAr (being an expert on vEdas) came back, took a black paddy grain, opened the hull with his thumb nail to indicate the context (referring to the black paddy grain in the recitation) where they left off. The Brahmins got ashamed and begged the Azhwar’s pardon. They started the recitation using the clue (“KrishNAnAm vreeheeNAm nakanirbandham” ). The AzhwAr got the moniker, “bhakthisArar” (one who is the epitome of devotion) as a result of that incident.

At another shrine the temple priest wanted to honor bhakthisArar. However, a few local residents spoke ill of the AzhwAr in an attempt to deny the honor due to him.. The AzhwAr invoked the lord to show himself to those people which the lord did as an image in the body of the AzhwAr. That put the protesters to shame. The AzhwAr then moved on to tirukkuDanthai (KumbakONam).

At tirukkuDanthai the AzhwAr wrote his famous work on birch leaf, “tiruchchanda vruttam” (a compilation of 120 verses). The first verse goes as follows:

பூநிலாய ஐந்துமாய்ப் புனற்கண்நின்ற நான்குமாய், தீநிலாய மூன்றுமாய்ச் சிறந்தகால் இரண்டுமாய்

மீநிலாய தொன்றுமாகி வேறுவேறு தன்மையாய்

நீநிலாய வண்ணநின்னை யார்நினைக்க வல்லரே.

-திருச்சந்தவிருத்தம் (NDP 752)

pUnilAya aindumAyp punaRgaNninRa nAngumAy, tInilAya mUnRumAyc ciRandagAl iraNDumAy mInilAya tonRumAgi vERuvERu tanmaiyAy nInilAya vaNNaninnai yArninaikk vallarE. –tiruccandaviruttam (NDP 752)

Meaning: “Lord, you are the manifestation of the five attributes of the earth, four attributes of water, three attributes of fire, two attributes of air, and one attribute of space. Still you stand apart from all of them. Can anyone comprehend you?”

It is said that AzhwAr went to ThirukkuDanthai to worship the reclining Lord ArAvamudhan. He was enchanted by the beauty of the Lord and sang (NDP 812 ―…… ”(Oh, KEsavA, please just raise yourself slightly and talk to me). The Lord, it appears, readily obliged and tried to get up (from the sleeping posture) to speak to the AzhwAr. The AzhwAr requested perumAL to remain in the same exact posture of getting up, and to this day the Lord in this shrine can be seen in this udhAna sayanam (slightly raised reclining) posture. The full pAsuram is given below:

நடந்த கால்கள் நொந்தவோ? நடுங்க ஞான மேனமாய் இடந்தமெய் குலுங்கவோ? இலங்குமால் வரைச்சுரம் கடந்தகால் பரந்தகாவி ரிக்கரைக் குடந்தையுள் கிடந்தவாறு எழுந்திருந்து பேசுவாழி கேசனே! NDP 812 naDanda kAlgaL nondavO? naDu#nga ~nAna mEnamAy iDandamey kulu#ngavO? ila#ngumAl varaiccuram kaDandagAl parandakAvi rikkaraik kuDandaiyuL kiDandavARu ezhundirundu pEsuvAzhi kEsanE! NDP 812 Meaning: The AzhwAr addresses the lord, “Are you lying down because your feet hurt after walking so much (as trivikrama)? Does your body ache after carrying back a distressed bhUmidevi (who was abducted by HiraNyAksha) from under, taking the shape of a boar? Is that why you are lying on the banks of the river KAviri which overcame several obstacles like hills and desert and flows here? No need for you to get up completely but just answer me while reclining.”
The AzhwAr has sung about 14 divya dEsams in all. He is the author of two works included in nAlAyira divya prabandham (NDP): tiruchchanda vruttam (120 verses) and nAnmukan tiruvandAthi (96) verses) He is considered the manifestation of Sudarshana cakram (the discus) of the lord. The story of tirumazhisai AzhwAr is narrated in video format in two parts asunder. https://www.youtube.com/watch?v=LfKqmKDTfeg https://www.youtube.com/watch?v=wLFUcMTQPn8 For further study about the AzhwAr visit https://guruparamparai.wordpress.com/2013/01/16/thirumazhisai-azhwar/ http://sriramanujar.tripod.com/thirumazhis.html http://alwarsandacharyas.blogspot.com/2007/02/pey-azwar.html

tiruppaLLiyezhuchchi----திருப்பள்ளியெழுச்சி-- 6-10

2016-01-10T09:10:00.000-08:00

tiruppaLLiyezhuchchi----திருப்பள்ளியெழுச்சி 6-10

Author:MANikkavacagar

All the songs are singing the praise of Lord Shiva by enumerating his attributes and seeking his grace for protection and deliverance. The meaning given under each song is basically a literal meaning of each song while the philosophical import is the common theme of seeking the lord’s grace for this birth and salvation going forward.

Listen to MLV sing song #6 http://www.mediafire.com/listen/obqbe3l1nsrv90h/11+Pappara+Veettirunthu.mp3

Song #6 பப்பற வீட்டிருந் துணரும்நின் அடியார்
பந்தனை வந்தறுத் தாரவர் பலரும்
மைப்புறு கண்ணியர் மானுடத் தியல்பின்
வணங்குகின் றார்அணங் கின்மண வாளா
செப்புறு கமலங்கள் மலருந்தண் வயல்சூழ்
திருப்பெருந் துறையுறை சிவபெரு மானே
இப்பிறப் பறுத்தெமை ஆண்டருள் புரியும்
எம்பெரு மான்பள்ளி எழுந்தரு ளாயே.

Lyrics in Roman script pappaRa vITTirun tuNarumnin aDiyAr
pandanai vandaRut tAravar palarum
maippuRu kaNNiyar mAnuDat tiyalbin
vaNa#ngugin RAraNang kinmaNa vALA
seppuRu kamalangaL malaruntaN vayalsUzh
tirupperun tuRaiyuRai sivaperu mAnE
ippiRap paRuttemai ANDaruL puriyum
emperu mAnpaLLi ezhundaru LAyE.

Meaning: “Oh consort of umA, who is dwelling in tirupperunthuRai which is surrounded by fertile fields full of blossomed lotus flowers, please deliver us from our current births. Your servitors control their minds and get deliverance. Women who wear collyrium in their eyes also worship you. Please wake up!”

Listen to song #7 by MLV http://www.mediafire.com/listen/xfhl19trhdop97h/13+Athu+Pazhachchuvai.mp3

அதுபழச் சுவையென அமுதென அறிதற்
கரிதென எளிதென அமரரும் அறியார்
இதுஅவன் திருவுரு இவன்அவன் எனவே
எங்களை ஆண்டுகொண் டிங்கெழுந் தருளும்
மதுவளர் பொழில்திரு வுத்தர கோச
மங்கையுள் ளாய்திருப் பெருந்துறை மன்னா
எதுஎமைப் பணிகொளு மாறது கேட்போம்
எம்பெரு மான்பள்ளி எழுந்தரு ளாயே.

Lyrics in Roman script adupazhac cuvaiyena amudena aRidaR
karidena eLidena amararum aRiyAr
iduavan tiruvuru ivanavan enavE
engaLai ANDugoN Dingezhun taruLum
maduvaLar pozhiltiru vuttara kOsa
mangaiyuL LAytirup perunduRai mannA
eduemaip paNikoLu mARadu kETpOm
emperu mAnpaLLi ezhundaru LAyE

Meaning: “The celestials argue that the lord is like ‘a sweet fruit’, ‘nectar’, ‘difficult to comprehend’, and ‘easy to approach’. Yet no one knows the truth. That is how the lord is. We know, Oh lord, you appear before us in a form we understand. You are the lord of tirupperunthuRai. How do you want us to serve you? We will act accordingly. Please wake up.”

Listen to MLV sing song #8 http://www.mediafire.com/listen/6i2t0cfkp372e7h/15+Munthiya+Muthal.mp3

Song # 8 முந்திய முதல்நடு இறுதியு மானாய்
மூவரும் அறிகிலர் யாவர்மற் றறிவார்
பந்தணை விரலியும் நீயும்நின் அடியார்
பழங்குடில் தொறும்எழுந் தருளிய பரனே
செந்தழல் புரைதிரு மேனியுங் காட்டித்
திருப்பெருந் துறையுறை கோயிலுங் காட்டி
அந்தண னாவதுங் காட்டிவந் தாண்டாய்
ஆரமு தேபள்ளி எழுந்தரு ளாயே.

Mundiya mudalnaDu iRudiyu mAnAy
mUvarum aRigilar yAvarmaR RaRivAr
pandaNai viraliyum nIyumnin aDiyAr
pazhanguDil toRumezhun taruLiya paranE
sendazhal puraitiru mEniyun kATTit
tirupperun tuRaiyuRai kOyilun kATTi
andaNa nAvadun kATTivan tANDAy
Aramu tE paLLi ezhundaru LAyE.

Meaning: “Sweet nectar! You are the beginning, middle, and the end of everything. Nobody is aware of your true self. You and your consort (with delicate hands and fingers) visit the dwellings of your servitors. You have the hue of fire. You reside in tirupperunthuRai. You rule over us. Please wake up.”

Listen to MLV sing song #9 http://www.mediafire.com/listen/6fej8ab1qia3yjt/17+Vinnaga+Thevarum.mp3

விண்ணகத் தேவரும் நண்ணவும் மாட்டா
விழுப்பொரு ளேயுன தொழுப்படி யோங்கள்
மண்ணகத் தேவந்து வாழச்செய் தானே
வண்திருப் பெருந்துறை யாய்வழி யடியோம்
கண்ணகத் தேநின்று களிதரு தேனே
கடலமு தேகரும் பேவிரும் படியார்
எண்ணகத் தாய்உல குக்குயி ரானாய்
எம்பெரு மான்பள்ளி எழுந்தரு ளாயே.

Lyrics in Roman script viNNagat tEvarum naNNavum mATTA
vizhupporu LEyuna tozhuppaDi yOngaL
maNNagat tEvandu vAzhaccey tAnE
vaNdirup perunduRai yAyvazhi yaDiyOm
kaNNagat tEninRu kaLidaru tEnE
kaDalamu tEkarum pEvirum paDiyAr
eNNagat tAyul kukkuyi rAnAy
emperu mAnpaLLi ezhundaru LAyE.

Meaning: “Even the celestials can’t approach you. You come down, Oh lord, to earth to accept our service and make us thrive. You offer bliss to your servitors. You stay in the hearts of your devotees. You are the life of the whole world. Please wake up.”

Listen to MLV sing song #10 http://www.mediafire.com/listen/db6jnn4j6jbo4bj/19+Bhuvaniyir.mp3

புவனியிற் போய்ப்பிற வாமையில் நாள்நாம்
போக்குகின் றோம்அவ மேஇந்தப் பூமி
சிவனுய்யக் கொள்கின்ற வாறென்று நோக்கித்
திருப்பெருந் துறையுறை வாய்திரு மாலாம்
அவன்விருப் பெய்தவும் மலரவன் ஆசைப்
படவும்நின் அலர்ந்தமெய்க் கருணையும் நீயும்
அவனியிற் புகுந்தெமை ஆட்கொள்ள வல்லாய்
ஆரமு தேபள்ளி எழுந்தரு ளாயே.

buvaniyiR pOyppiRa vAmaiyil nALnAm
pOkkugin ROmav mEindap bUmi
sivanuyyak koLginRa vARenRu nOkkit
tirupperun tuRaiyuRai vAytiru mAlAm
avanvirup peydavum malaravan Asaip
paDavumnin alarndameyk karuNaiyum nIyum
avaniyiR pugundemai ATkoLLa vallAy AramutE paLLi ezhundaru LAyE.

Meaning: “Oh, lord of tirupperunthuRai, lord tirumAl desired that you should visit the earth since he himself is not taking birth on earth. Time is wasted. Brahma also felt that way. Hence you are here on earth with your consort to rule over us. Please wake up.”

End of tiruppaLLi ezhuchchi songs. End of the month of MArgazhi.

tiruppaLLiyezhuchchi----திருப்பள்ளியெழுச்சி 1—5

2016-01-05T17:47:00.000-08:00

tiruppaLLiyezhuchchi----திருப்பள்ளியெழுச்சி 1—5

Author:MANikkavacagar

ThiruppaLLi ezhuchchi is wake-up call at dawn for Lord Shiva who dwells in the temple at tirupperunthuRai. The 10 songs extol the lord’s attributes and request the favor of his grace. It is not that the lord is asleep but for the human mind the dawn of everyday begins with getting up from bed to do the morning ablution in the pond or river and offering prayer to God. The lord is also considered to be in slumber. Proper worship consists of waking him up first. The lyrics for the first 5 songs in Thamizh and Roman scripts are given along with the meanings. Audio link for each song is also given before the lyrics.

Listen to MLV sing the first verse here. http://www.mediafire.com/listen/42422pjdg93688m/01+Potri+Yen.mp3

Song #1 : போற்றிஎன் வாழ்முத லாகிய பொருளே
புலர்ந்தது பூங்கழற் கிணைதுணை மலர்கொண்
டேற்றிநின் திருமுகத் தெமக்கருள் மலரும்
எழில்நகை கொண்டுநின் திருவடி தொழுகோம்
சேற்றிதழ்க் கமலங்கள் மலருந்தண் வயல்சூழ்
திருப்பெருந் துறையுறை சிவபெரு மானே
ஏற்றுயர் கொடியுடை யாய்எனை யுடையாய்
எம்பெரு மான்பள்ளி எழுந்தரு ளாயே.

Lyrics in Roman script

pOTRyien vAzhmuda lAgiya poruLE
pularndadu pU#ngazhaR kiNaituNai malargoN
TETRinin tirumugat temakkaruL malarum
ezhilnagai koNDunin tiruvaDi tozhugOm
sETRidazhk kamala#ngaL malaruntaN vayalsUzh
tirupperun tuRaiyuRai sivaperu mAnE
ETRuyar koDiyuDai yAyenai yuDaiyAy
emperu mAnpaLLi ezhundaru LAyE.

Meaning: “Hail to thee, O lord of tirupperunthuRai where the muddy fields are full of lotus flowers, you are the source of my life. Your lofty bull banner flies and you rule over me. It is now dawn. It is time for me to worship your feet with flowers. Your smile will confer your grace on me. Please wake up.”

Listen to MLV sing the second verse. http://www.mediafire.com/listen/oy472dsg2d88xd7/03+Arunan+Indiran.mp3

Song #2: அருணன்இந் திரன்திசை அணுகினன் இருள்போய்
அகன்றது உதயநின் மலர்த்திரு முகத்தின்
கருணையின் சூரியன் எழஎழ நயனக்
கடிமலர் மலரமற் றண்ணல்அங் கண்ணாம்
திரள்நிரை அறுபதம் முரல்வன இவையோர்
திருப்பெருந் துறையுறை சிவபெரு மானே
அருள்நிதி தரவரும் ஆனந்த மலையே
அலைகட லேபள்ளி எழுந்தரு ளாயே.

Lyrics in Roman script

aruNanin tirandisai aNuginan iruLpOy
aganRadu udayanin malarttiru mugattin
karuNaiyin sUriyan ezhezha nayanak
kaDimalar malaramaR RaNNala#n kaNNAm
tiraLnirai aRupadam muralvana ivaiyOr
tirupperun tuRaiyuRai sivaperu mAnE
aruLnidi taravarum Ananda malaiyE
alaigaDa lEpaLLi ezhundaru LAyE.

Meaning: “O, lord dwelling in tirupperunthuRai, you are the mountain of grace. You are an ocean with splashing waves. The charioteer aruNan (who drives the chariot of Sun) has arrived at the eastern horizon. Darkness disappeared. As the Sun ascends from behind the mountain, the lotus flowers blossom. The bees are humming around the flowers. Please wake up!”

Listen to MLV sing verse #3 http://www.mediafire.com/listen/3w52hnwlpgm8d2v/05+Koovina+Poonguyil.mp3

Song #3: கூவின பூங்குயில் கூவின கோழி
குருகுகள் இயம்பின இயம்பின சங்கம்
ஓவின தாரகை யொளிஒளி உதயத்
தொருப்படு கின்றது விருப்பொடு நமக்குத்
தேவநற் செறிகழல் தாளிணை காட்டாய்
திருப்பெருந் துறையுறை சிவபெரு மானே
யாவரும் அறிவரி யாய்எமக் கெளியாய்
எம்பெரு மான்பள்ளி எழுந்தரு ளாயே.

Lyrics in Roman script

kUvina pU#nguyil kUvina kOzhi kurugugaL iyambina iyambina sa#ngam Ovina tAragai yoLioLi udayat

toruppaDu kinRadu viruppoDu namakkut
tEvanaR seRigazhal tALiNai kATTAy
tirupperun tuRaiyuRai sivaberu mAnE
yAvarum aRivari yAyemak keLiyAy
emberu mAnbaLLi ezhundaru LAyE.

Meaning: “O, lord who dwells in tirupperunthuRai, you are incomprehensible. To us you are near and dear. You guide us. The cuckoos are singing and the cocks are crowing. The other birds are also chirping. The conches are blowing. The stars have dimmed as the dawn arrived. Show us your sacred feet and please wake up!”

Listen to MLV sing verse #4 http://www.mediafire.com/listen/ozafpzfknccqb2o/07+Innisai.mp3

Song #4: இன்னிசை வீணையர் யாழினர் ஒருபால்
இருக்கொடு தோத்திரம் இயம்பினர் ஒருபால்
துன்னிய பிணைமலர்க் கையினர் ஒருபால்
தொழுகையர் அழுகையர் துவள்கையர் ஒருபால்
சென்னியில் அஞ்சலி கூப்பினர் ஒருபால்
திருப்பெருந் துறையுறை சிவபெரு மானே
என்னையும் ஆண்டுகொண் டின்னருள் புரியும்
எம்பெரு மான்பள்ளி எழுந்தரு ளாயே.

Lyrics in Roman script

innisai vINaiyar yAzhinar orupAl

irukkoDu tOttiram iyambinar orupAl
tunniya piNaimalark kaiyinar orupAl
tozhugaiyar azhugaiyar tuvaLgaiyar orupAl
senniyil a~njali kUppinar orupAl
tirupperun tuRaiyuRai sivaperu mAnE
ennaiyum ANDugoN DinnaruL puriyum
emperu mAnpaLLi ezhundaru LAyE.

Meaning: “Lord of tirupperunthuRai, you enslave me and protect me. There are lute players and harp players lining up on one side. There are those reciting vEdAs and paeans lining up on the other side. There are holders of flower garlands on one side. There are others who worship, shed tears, or in trance lining up too. Some others hold their folded hands up over their heads. All of them deserve to receive your grace. Please wake up!”

Listen to MLV sing verse #5 http://www.mediafire.com/listen/49y9su5irf3u4bt/09+Boothangal+Thoru.mp3 Song #5: பூதங்கள் தோறும்நின் றாயெனின் அல்லால்
போக்கிலன் வரவிலன் எனநினைப் புலவோர்
கீதங்கள் பாடுதல் ஆடுதல் அல்லால்
கேட்டறி யோம்உனைக் கண்டறி வாரைச்
சீதங்கொள் வயல்திருப் பெருந்துறை மன்னா
சிந்தனைக் கும்அரி யாய்எங்கள் முன்வந்
தேதங்கள் அறுத்தெம்மை ஆண்டருள் புரியும்
எம்பெரு மான் பள்ளி எழுந்தரு ளாயே.

Lyrics in Roman script

bUda#ngaL tORumnin RAyenin allAl
pOkkilan varavilan enaninaip pulavOr
gIta#ngaL pADudal ADudal allAl
kETTaRi yOmunaik kaNDaRi vAraic
sIta#ngoL vayaltirup peruntuRai mannA
sindanaik kumari yAye#ngaL munvan
tEta#ngaL aRuttemmai ANDaruL puriyum
emperu mAnpaLLi ezhundaru LAyE.

Meaning:” Lord of tirupperunthuRai surrounded by cool fields, you are so precious to ponder. You appear before us, forgive our trespasses, and shower grace on us. Everybody says you manifest in the five elements (earth, water, fire, air, and space) and that you are eternal. The wise men sing your praise. We hear them but we have not met those who have seen you. Still we want you to wake up and appear before us.”

tiruvembAvai 16-20---திருவெம்பாவை-16-20

2015-12-30T14:37:00.000-08:00

tiruvembAvai---திருவெம்பாவை-16-20 Author: MANikkavAcagar

Song # 16 Listen to MLV sing this song, http://www.mediafire.com/listen/zw1n9b15h1x81gz/26+Munnikkadalai.mp3 பாடல் எண் : 16

முன்னிக் கடலைச் சுருக்கி யெழுந்துடையாள்
என்னத் திகழ்ந்தெம்மை ஆளுடையாள் இட்டிடையின்
மின்னிப் பொலிந்தெம் பிராட்டி திருவடிமேற்
பொன்னஞ் சிலம்பிற் சிலம்பித் திருப்புருவம்
என்னச் சிலைகுலவி நந்தம்மை ஆளுடையாள்
தன்னிற் பிரிவிலா எங்கோமான் அன்பர்க்கு
முன்னி அவணமக்கு முன்சுரக்கும் இன்னருளே
என்னப் பொழியாய் மழையேலோ ரெம்பாவாய்

Lyrics in Roman script

munnik kaDalaic curukki yezhunduDaiyAL
  ennat tigazhndemmai ALuDaiyAL iTTiDaiyin
minnip polindem pirATTi tiruvaDimER
  ponna~n silambiR silambit tiruppuruvam
ennac silaikulavi nandammai ALuDaiyAL
  tanniR pirivilA enkOmAn anbarkku
munni avaNamakku munsurakkum innaruLE
  ennap pozhiyAy mazhaiyElO rembAvAy

Meaning: This song is a request to the cloud to rain. “You form by picking up water from the sea. Your color resembles the dark blue hue of the goddess mother, who enslaves us. You shine like the slender waist of the goddess and make a sound similar to that made by the anklets of the goddess. Your shape is like her eyebrows. Oh clouds, pour the water like the grace of the goddess, who is inseparable from our lord. Her grace is bestowed on us and the servitors of our lord”
.

Song # 17 பாடல் எண் : 17 Listen to MLV sing this song, http://www.mediafire.com/listen/reymdpqxxh1yx9k/27+Senkan+Avanpaal.mp3

செங்கண வன்பால் திசைமுகன்பால் தேவர்கள்பால்
எங்கும் இலாததோர் இன்பம்நம் பாலதாக்
கொங்குண் கருங்குழலி நந்தம்மைக் கோதாட்டி
இங்குநம் இல்லங்கள் தோறும் எழுந்தருளிச்
செங்கமலப் பொற்பாதந் தந்தருளுஞ் சேவகனை
அங்கண் அரசை அடியோங்கட் காரமுதை
நங்கள் பெருமானைப் பாடி நலந்திகழப்
பங்கயப் பூம்புனல்பாய்ந் தாடேலோ ரெம்பாவாய்
Lyrics in Roman script,

se#ngaN vanbAl tisaimuganbAl tEvargaLbAl
  e#ngum ilAdadOr inbamnam pAladAk
ko#nguN karu#nguzhali nandammaik kOdATTi
  i#ngunam illa#ngaL tORum ezhundaruLic
se#ngamalap poRbAdan tandaruLu~n sEvaganai
  a#ngaN arasai aDiyO#ngaT kAramudai
na#ngaL perumAnaip pADi nalandigazhap
  pa#ngayap pUmbunalbAyn tADElO rembAvAy

Meaning: This is addressed to the girl who is in the water. “Oh girl, who has dark fragrant locks of hair, we have great bliss which is not experienced even by the celestials, the red-eyed Vishnu, and the four-headed Brahma. The lord is visiting our residences giving us the opportunity to worship his sacred golden lotus feet. He showers his grace upon us. Wade in the water, replete with lotuses, singing his praise.”

Song # 18 பாடல் எண் : 18 Listen to MLV sing this song, http://www.mediafire.com/listen/v4c19gdt0loqnwl/28+Annaamalaiyaan.mp3

அண்ணாமலையான் அடிக் கமலம் சென்று இறைஞ்சும்
விண்ணோர் முடியின் மணித் தொகை வீறு அற்றால்போல்,
கண் ஆர் இரவி கதிர் வந்து கார் கரப்ப,
தண் ஆர் ஒளி மழுங்கி, தாரகைகள் தாம் அகல,
பெண் ஆகி, ஆண் ஆய், அலி ஆய், பிறங்கு ஒலி சேர்
விண் ஆகி, மண் ஆகி, இத்தனையும் வேறு ஆகி,
கண் ஆர் அமுதமும் ஆய், நின்றான் கழல் பாடி,
பெண்ணே! இப் பூம் புனல் பாய்ந்து ஆடு' ஏல் ஓர் எம்பாவாய்!

Lyrics in Roman script

aNNAmalaiyAn aDik kamalam senRu iRai~njum
viNNOr muDiyin maNit togai vIRu aTRAlbOl,
kaN Ar iravi kadir vandu kAr karappa,
taN Ar oLi mazhu#ngi, tAragaigaL tAm agala,
peN Agi, AN Ay, ali Ay, piRa#ngu oli sEr
viN Agi, maN Agi, ittanaiyum vERu Agi,
kaN Ar amudamum Ay, ninRAn kazhal pADi,
peNNE! ip pUm punal pAyndu ADu' El Or embAvAy!

Meaning: Pervasiveness of God is the theme of this song.” The celestials worship the feet of the lord aNNAmalaiyAn. It is daybreak now. When the Sun appears at the horizon, the darkness disappears and the stars lose their luster similar to the cluster of gems in the diadems worn by the celestials. The lord takes the form of man, woman, eunuch, bright sky, and earth but yet he is still different from all of these. He is a delight to look at. Let us sing the praise of his feet and wade in the water.”

Song # 19 பாடல் எண் : 19 Listen to MLV sing this song, http://www.mediafire.com/listen/9as8g7hstr8sb4h/29+Ungaiyir+Pillai.mp3

உங்கையிற் பிள்ளை உனக்கே அடைக்கலம்என்
றங்கப் பழஞ்சொற் புதுக்குமெம் அச்சத்தால்
எங்கள் பெருமான் உனக்கொன் றுரைப்போம்கேள்
எங்கொங்கை நின்னன்ப ரல்லார்தோள் சேரற்க
எங்கை உனக்கல்லா தெப்பணியுஞ் செய்யற்க
கங்குல் பகல்எங்கண் மற்றொன்றுங் காணற்க
இங்கிப் பரிசே எமக்கெங்கோன் நல்குதியேல்
எங்கெழிலென் ஞாயி றெமக்கேலோ ரெம்பாவாய்

Lyrics in Roman script

u#ngaiyiR piLLai unakkE aDaikkalamen
Ra#ngap pazha~njoR pudukkumem accattAl
e#ngaL perumAn unakkon RuraippOmgEL
e#ngo#ngai ninnanba rallArdOL sEraRg
e#ngai unakkallA teppaNiyu~n seyyaRg
ka#ngul pagale#ngaN maTRonRu#n kANaRg
i#ngip parisE emakke#ngOn nalgudiyEl
e#ngezhilen ~nAyi RemakkElO rembAvAy

Meaning: The girls make a fervent appeal to the lord to enable them to serve Him. “Oh Lord, we make an appeal to you. There is an adage ‘your baby is under your care’. We reinforce that adage. We are your wards. Let us not be associated with those who are not your devotees. Let us serve none other than you. Day or night, let our eyes feast only on you. If you grant us this request, we don’t care where the Sun rises on earth in the morning”.

Song # 20 பாடல் எண் : 20 Listen to MLV sing this song, http://www.mediafire.com/listen/gp7tli60yxab0lk/30+Potriyaruluga.mp3

போற்றி அருளுகநின் ஆதியாம் பாதமலர்
போற்றி அருளுகநின் அந்தமாஞ் செந்தளிர்கள்
போற்றிஎல் லாவுயிர்க்குந் தோற்றமாம் பொற்பாதம்
போற்றிஎல் லாவுயிர்க்கும் போகமாம் பூங்கழல்கள்
போற்றிஎல் லாவுயிர்க்கும் ஈறாம் இணையடிகள்
போற்றிமால் நான்முகனுங் காணாத புண்டரிகம்
போற்றியாம் உய்யஆட் கொண்டருளும் பொன்மலர்கள்
போற்றியாம் மார்கழிநீ ராடேலோ ரெம்பாவாய்

Lyrics in Roman script,

pOTRi aruLuganin AdiyAm pAdamalar
pOTRi aruLuganin andamA~n sendaLirgaL
pOTRiel lAvuyirkkun tOTRamAm poRpAdam
pOTRiel lAvuyirkkum pOgamAm pU#ngazhalgaL
pOTRiel lAvuyirkkum IRAm iNaiyaDigaL
pOTRimAl nAnmuganu#n kANAda puNDarigam
pOTRiyAm uyyAT koNDaruLum ponmalargaL
pOTRiyAm mArgazhinI rADElO rembAvAy

Meaning: This is a final song (hallelujah) in praise of the lord. “Lord, let your primordial flowery feet grace us. Let your everlasting tender feet favor us always. Your feet are the originator of all lives. They sustain all lives. They are the salvation for all lives. They evaded the detection by Vishnu and Brahma. Your feet guide us in our lives and they are our succor. Let us take a dip in the water singing your praise”

tiruvembAvai----திருவெம்பாவை-11-15

2015-12-26T10:38:00.000-08:00

tiruvembAvai----திருவெம்பாவை-11-15

Author: MANikkavAcagar

The songs 11-15 describe the bathing ritual for the girls----singing the glory of the lord while wading in the pond.

Listen to MLV sing this song #11 http://www.mediafire.com/listen/95781xlc1x95173/21+Moyyaar.mp3

Song # 11 பாடல் எண் : 11 மொய்யார் தடம்பொய்கை புக்கு முகேரென்னக் கையாற் குடைந்து குடைந்துன் கழல்பாடி
ஐயா வழியடியோம் வாழ்ந்தோங்காண் ஆரழல்போற்
செய்யாவெண் ணீறாடீ செல்வா சிறுமருங்குல்
மையார் தடங்கண் மடந்தை மணவாளா
ஐயாநீ ஆட்கொண் டருளும் விளையாட்டின்
உய்வார்கள் உய்யும் வகையெல்லாம் உய்ந்தொழிந்தோம்
எய்யாமற் காப்பாய் எமையேலோ ரெம்பாவாய்

Song 11 in Roman script, moyyAr taDamboygai pukku mugErennak kaiyAR kuDaindu kuDaindun kazhalbADi
aiyA vazhiyaDiyOm vAzhndO#ngAN ArazhalbOR
seyyAveN NIRADI selvA siRumaru#ngul
maiyAr taDa#ngaN maDandai maNavALA
aiyAnI ATgoN TaruLum viLaiyATTin
uyvArgaL uyyum vagaiyellAm uyndozhindOm
eyyAmaR kAppAy emaiyElO rembAvAy

Meaning: “Lord, you have an effulgent body smeared with white ash. You are the consort of umA, who has a slender waist and dark eyes. In the large pond, populated with bees around the flowers, we plunge and wade in the water and sing your glory. We worship your feet. We are your traditional servitors. Because you rule over us, we are rid of misery and we enjoy bliss. Due to your grace know how to live useful lives. Please save us from slipping out of this path.”

Listen to MLV sing the song #12. http://www.mediafire.com/listen/312j9vlrxe113bf/22+Aartha+Piravi.mp3

Song # 12 பாடல் எண் : 12 ஆர்த்த பிறவித் துயர்கெடநாம் ஆர்த்தாடுந்
தீர்த்தன்நற் றில்லைச்சிற் றம்பலத்தே தீயாடும்
கூத்தன்இவ் வானும் குவலயமும் எல்லோமும்
காத்தும் படைத்தம் கரந்தும் விளையாடி
வார்த்தையும் பேசி வளைசிலம்ப வார்கலைகள்
ஆர்ப்பரவஞ் செய்ய அணிகுழல்மேல் வண்டார்ப்பப்
பூத்திகழும் பொய்கை குடைந்துடையான் பொற்பாதம்
ஏத்தி இருஞ்சுனைநீ ராடேலோ ரெம்பாவாய்.

Song 12 in Roman script, Artta piRavit tuyargeDanAm ArttADun
tIrttannaR RillaicciR RambalattE tIyADum
kUttaniv vAnum kuvalayamum ellOmum
kAttum paDaittam karandum viLaiyADi
vArttaiyum pEsi vaLaisilamba vArgalaigaL
Arpparava~n seyya aNiguzhalmEl vaNDArppap
pUttigazhum poygai kuDainduDaiyAn poRbAdam
Etti iru~njunainI rADElO rembAvAy.

Meaning: “Our Lord is dancing, while holding flame, in the wisdom hall of tillai to rid humanity of its misery of multiple births. He created the heaven and earth, created us, and protects us. Let us sing his glory while wading in the water, with flowers all around, with jingling of our bangles and waist ornaments. Let the bees swarm around the flowers in our beautiful locks of hair. Let us think about the glory of the golden feet of the lord.”

Song # 13 பாடல் எண் : 13 Listen to MLV sing, http://www.mediafire.com/listen/84f24l9t07bcnht/23+Painguvalai.mp3 பைங்குவளைக் கார்மலரால் செங்கமலப் பைம்போதால்

அங்கங் குருகினத்தால் பின்னும் அரவத்தால்
தங்கள் மலங்கழுவு வார்வந்து சார்தலினால்
எங்கள் பிராட்டியும் எங்கோனும் போன்றிசைந்த
பொங்கு மடுவிற் புகப்பாய்ந்து பாய்ந்துநம்
சங்கஞ் சிலம்பச் சிலம்பு கலந்தார்ப்பக்
கொங்கைகள் பொங்கக் குடையும் புனல்பொங்கப்
பங்கயப் பூம்புனல்பாய்ந் தாடேலோ ரெம்பாவாய்.

Song 13 in Roman script,

pai#nguvaLaik kArmalarAl se#ngamalap paimbOdAl
a#nga#n kuruginattAl pinnum aravattAl
ta#ngaL mala#ngazhuvu vArvandu sArdalinAl
e#ngaL pirATTiyum e#ngOnum pOnRisaind
po#ngu maDuviR pugappAyndu pAyndunam
sa#nga~n silambac silambu kalandArppak
ko#ngaigaL po#ngak kuDaiyum punalbo#ngap
pa#ngayap pUmbunalbAyn tADElO rembAvAy.

Meaning: “Dark blue luscious lilies and red lotuses abound in the pond. The maidens with long braided hair and jingling bangles in their forearms come here to wash themselves. This pond represents our lord and his consort. Let us get into this pond, immerse, and play in the water splashing around with our bodies booming with pleasure while the sounds of conch bangles and anklets resonate in the air.”

Song # 14 பாடல் எண் : 14 Listen to MLV sing, http://www.mediafire.com/listen/168vx5d71jyb5g2/24+Kaathar+Kuzhaiyaada.mp3 காதார் குழையாடப் பைம்பூண் கலனாடக்
கோதை குழலாட வண்டின் குழாமாடச்
சீதப் புனலாடிச் சிற்றம் பலம்பாடி
வேதப் பொருள்பாடி அப்பொருள்ஆ மாபாடிச்
சோதி திறம்பாடிச் சூழ்கொன்றைத் தார்பாடி
ஆதி திறம்பாடி அந்தம்ஆ மாபாடிப்
பேதித்து நம்மை வளர்த்தெடுத்த பெய்வளைதன்
பாதத் திறம்பாடி ஆடேலோ ரெம்பாவாய்.

Song 14 in Roman script,

kAdAr kuzhaiyADap paimbUN kalanADak
kOdai kuzhalADa vaNDin kuzhAmADac
sIdap punalADic siTRam palambADi
vEdap poruLbADi apporuLA mAbADic
sOdi tiRambADic sUzhgonRait tArbADi
Adi tiRambADi andamA mAbADip
pEdittu nammai vaLartteDutta peyvaLaidan
pAdat tiRambADi ADElO rembAvAy.

Meaning: “With ear ornaments and gold waist ornaments wave around, with locks of hair bearing flowers wave, with bees swarming around the flowers, let us bathe in the cold water while singing the lord’s praise. Let the essence of VEdAs touch us. Let us sing the glory of the lord who has neither beginning nor end, the konRai (golden shower/Cassia fistula) flower on his head, and the glorious feet of the goddess who guard us.”

Song # 15 பாடல் எண் : 15 Listen to MLV sing, http://www.mediafire.com/listen/b7wfzq7ggn11ojb/25+Ororukaal.mp3

ஓரொருகால் எம்பெருமான் என்றென்றே நம்பெருமான்
சீரொருகால் வாயோவாள் சித்தங் களிகூர
நீரொருகால் ஓவா நெடுந்தாரை கண்பனிப்பப்
பாரொருகால் வந்தனையாள் விண்ணோரைத் தான்பணியாள்
பேரரையற் கிங்ஙனே பித்தொருவர் ஆமாறும்
ஆரொருவர் இவ்வண்ணம் ஆட்கொள்ளும் வித்தகர்தாள்
வாருருவப் பூண்முலையீர் வாயார நாம்பாடி
ஏருருவப் பூம்புனல்பாய்ந் தாடேலோ ரெம்பாவாய்.

Song 15 in Roman script,

OrorugAl emberumAn enRenRE namberumAn
sIrorugAl vAyOvAL sitta#n kaLigUr
nIrorugAl OvA neDundArai kaNbanippap
pArorugAl vandanaiyAL viNNOrait tAnbaNiyAL
pEraraiyaR ki#n#nanE pittoruvar AmARum
Aroruvar ivvaNNam ATgoLLum vittagardAL
vAruruvap pUNmulaiyIr vAyAra nAmbADi
Eruruvap pUmbunalbAyn tADElO rembAvAy.

Meaning: “This girl uttered the lord’s name generally as “emperumAn’. Then with tears flowing down her cheeks and a delightful heart, she never stops murmuring the lord’s name. Now she falls on the ground in worship and stays there. She never worships other celestials. Who else is there in this world who is the object of such an intense devotee? Oh girls, with beautiful bosoms wearing nice chest-wear, let us sing the lord’s praise and wade in the beautiful pond.”

tiruvembAvai----திருவெம்பாவை-6-10

2015-12-21T18:38:00.000-08:00

tiruvembAvai----திருவெம்பாவை-6-10 Author: MANikkavAcagar

The girls go around and rake up still sleeping girls in the neighborhood. They persevere in gathering all of their friends. They offer prayers to the lord. They sing his praise appreciating his qualities.

Song #6 பாடல் : 6

To listen to MLV sing song #6 http://www.mediafire.com/listen/orn94n8o1if2o4o/12+Maane+Nee.mp3

மானே! நீ நென்னலை “நாளைவந் துங்களை
நானே யெழுப்புவன்” என்றலும் நாணாமே
போன திசைபகராய் இன்னம் புலர்ந்தின்றோ
வானே நிலனே பிறவே அறிவரியான்
தானேவந் தெம்மைத் தலையளித்தாட் கொண்டருளும்
வான்வார் கழல்பாடி வந்தோர்க்குன் வாய்திறவாய்
ஊனே உருகாய் உனக்கே உறும்எமக்கும்
ஏனோர்க்குந் தங்கோனைப் பாடேலோ ரெம்பாவாய்

Lyrics in Roman script

mAnE! nI nennalai “nALaivan tungaLai
nAnE yezhuppuvan” enRalum nANAmE
pOna tisaipagarAy innam pularndinRO
vAnE nilanE piRavE aRivariyAn
tAnE van temmait talaiyaLittAT koNDaruLum
vAnvAr kazhalpADi vandOrkkun vAytiRavAy
UnE urugAy unakkE uRum emakkum
EnOrkkun tangOnaip pADElO rembAvAy

Meaning: The group (of girls outside) admonishes the girl who is still inside her home. “Oh girl, with a delicate frame of a deer, you said yesterday, ‘Tomorrow I will come and wake you up all’ but then unapologetically you did not even disclose your whereabouts. Isn’t it dawn yet for you? The celestials, earthbound, and others cannot comprehend the lord. He himself is coming and offering his refuge to us. We have come to you singing the lord’s praise. Won’t you say something? Are you not getting moved by this? Does this suit you? Please come out and sing the lord’s praise.”

Song #7 பாடல் : 7

To listen to MLV sing song #7, http://www.mediafire.com/listen/77ez9777mj9m9ea/14+Anne+Ivaiyum.mp3

“அன்னே இவையுஞ் சிலவோ பலவமரர்
உன்னற் கரியான் ஒருவன் இருஞ்சீரான்
சின்னங்கள் கேட்பச் சிவனென்றே வாய்திறப்பாய்
தென்னாஎன் னாமுன்னம் தீசேர் மெழுகொப்பாய்
என்னானை என்னரையன் இன்னமுதென் றெல்லோமுஞ்
சொன்னோங்கேள் வெவ்வேறாய் இன்னந் துயிலுதியோ?
வன்னெஞ்சப் பேதையர்போல் வாளா கிடத்தியால்
என்னே துயிலின் பரிசேலோ ரெம்பாவாய்
Lyrics in Roman script

annE ivaiyunj cilavO palavamarar
unnaR kariyAn oruvan irunjIrAn
sinnangaL kETpac sivanenRE vAytiRappAy
tennA ennAmunnam tIsEr mezhugoppAy
ennAnai ennaraiyan innamuden RellOmunj
sonnOnkEL vevvERAy innan tuyiludiyO?
vannenjap pEdaiyarpOl vALA kiDattiyAl
ennE tuyilin parisElO rembAvAy

Meaning: Dissatisfied with the reluctance of the inside girl to come out, the girls persist in convincing her. “Whenever you heard the sounds of conch and drum carried by the incomparable Lord Shiva, you used to utter ‘shivanE’. Before we said, “thennA” (Lord of the South) you used to collapse like a wax near a flame. As we chant, individually and variously, “my lord”, “my king”, “my companion”, you are still in bed. You do not respond as though you are a heartless girl. Is it a reward for sleep?”

Song # 8 பாடல் : 8

To listen to MLV sing song #8, http://www.mediafire.com/listen/r41f27mydb5gg7b/16+Kozhi+Chilamba.mp3

கோழி சிலம்பச் சிலம்புங் குருகெங்கும்
ஏழில் இயம்ப இயம்பும்வெண் சங்கெங்கும்
கேழில் பரஞ்சோதி கேழில் பரங்கருணை
கேழில் விழுப்பொருள்கள் பாடினோம் கேட்டிலையோ
வாழிஈ தென்ன உறக்கமோ வாய்திறவாய்
ஆழியான் அன்புடைமை ஆமாறும் இவ்வாறோ
ஊழி முதல்வனாய் நின்ற ஒருவனை
ஏழைபங் காளனையே பாடேலோ ரெம்பாவாய்

Lyrics in Roman script

kOzhi silambac silambu#n kuruge#ngum
Ezhil iyamba iyambumveN sa#nge#ngum
kEzhil para~njOdi kEzhil para#ngaruNai
kEzhil vizhupporuLgaL pADinOm kETTilaiyO
vAzhiI tenna uRakkamO vAydiRavAy
AzhiyAn anbuDaimai AmARum ivvARO
Uzhi mudalvanAy ninRa oruvanai
Ezhaiba#n kALanaiyE pADElO rembAvAy

Meaning: The admonition to the sleeping girl continues. “The rooster crows and the other birds chirp too everywhere. The pipes and drums in the temple grounds play the music and the white conches sound too. We sang the praise of the supreme lord who displays immense compassion. Didn’t you hear that? What a deep slumber you have! Did lord Vishnu love our lord Shiva by sleeping in the milky ocean? Come out and sing the praise of the eternal lord.”

Song #9 பாடல் : 9

To listen to MLV sing song #9, http://www.mediafire.com/listen/sl0xs6s4x9ea3t6/18+Munnaippazhamporutkku.mp3

முன்னைப் பழம்பொருட்கும் முன்னைப் பழம்பொருளே
பின்னைப் புதுமைக்கும் பேர்த்துமப் பெற்றியனே
உன்னைப் பிரானாகப் பெற்றஉன் சீரடியோம்
உன்னடியார் தாள்பணிவோம் ஆங்கவர்க்கே பாங்காவோம்
அன்னவரே எம்கணவ ராவார் அவர்உகந்து
சொன்ன பரிசே தொழும்பாய்ப் பணிசெய்வோம்
இன்ன வகையே எமக்கெங்கோன் நல்குதியேல்
என்ன குறையும் இலோமேலோ ரெம்பாவாய்

Lyrics in Roman script munnaip pazhamboruTgum munnaip pazhamboruLE
pinnaip pudumaikkum pErttumap peTRiyanE
unnaip pirAnAgap peTRun sIraDiyOm
unnaDiyAr tALbaNivOm A#ngavarkkE pA#ngAvOm
annavarE emgaNava rAvAr avarugandu
sonna parisE tozhumbAyp paNiseyvOm
inna vagaiyE emakke#ngOn nalgudiyEl
enna kuRaiyum ilOmElO rembAvAy

Meaning: This song is a resolution taken by the young maidens. “Oh lord, you are so ancient and yet you last into the distant future. We consider you as our lord and we will serve you and your devotees. We will marry only your devotees and carry out their wishes. If you grant us this request we will not have any shortcomings.” Song #10 பாடல் : 10

To listen to MLV sing song #10, http://www.mediafire.com/listen/o65s3bmlicvhov2/20+Paathalam.mp3

பாதாளம் ஏழினுங்கீழ் சொற்கழிவு பாதமலர்

போதார் புனைமுடியும் எல்லாப் பொருள்முடிவே
பேதை ஒருபால் திருமேனி ஒன்றல்லன்
வேதமுதல் விண்ணோரும் மண்ணும் துதித்தாலும்
ஓத உலவா ஒருதோழன் தொண்டருளன்
கோதில் குலத்தரன்றன் கோயிற் பிணாப்பிள்ளைகாள்
ஏதவன்ஊர் ஏதவன்பேர் ஆருற்றார் ஆரயலார்
ஏதவனைப் பாடும் பரிசேலோ ரெம்பாவாய்

Lyrics in Roman script

PAdALam Ezhinu#ngIzh soRgazhivu pAdamalar
pOdAr punaimuDiyum ellAp poruLmuDivE
pEdai orubAl tirumEni onRallan
vEdamudal viNNOrum maNNum tudittAlum
Oda ulavA orudOzhan toNDaruLan
kOdil kulattaranRan kOyiR piNAppiLLaigAL
EdavanUr EdavanbEr AruTRAr ArayalAr
Edavanaip pADum parisElO rembAvAy

Meaning: On the way to take their bath in the river/pond, the girls address the temple maids with the following queries.

“His feet, which cannot be described in words, are below the seven nether worlds. His flower-bedecked head is the ultimate of all. His body is not a single type---one side is female. From the time of the VEdAs although everyone praised him, he is very unique and a friend to everybody. He mingles with devotees. Which is his abode? What is his name? Who are close and who are alien to him? What is the reward for singing his praise?” To listen to Bombay Sisters click here

க

tiruvembAvai----திருவெம்பாவை—3----5

2015-12-18T18:10:00.000-08:00

tiruvembAvai----திருவெம்பாவை—3-5

Author: MANikkavAcagar

In this segment let us examine songs 3-5. These three songs deal with exhortation by a group of friends to the still-sleeping friend to join them in worshiping the lord and some back and forth conversation between them.

Song #3 பாடல் 3

முத்தன்ன வெண்ணகையாய் முன்வந் தெதிரெழுந்தென்
அத்தன்ஆ னந்தன் அமுதன்என் றள்ளூறித்
தித்திக்கப் பேசுவாய் வந்துன் கடைதிறவாய்
பத்துடையீர் ஈசன் பழவடியீர் பாங்குடையீர்
புத்தடியோம் புன்மைதீர்த் தாட்கொண்டாற் பொல்லாதோ
எத்தோநின் அன்புடைமை எல்லோம் அறியோமோ
சித்தம் அழகியார் பாடாரோ நம்சிவனை
இத்தனையும் வேண்டும் எமக்கேலோ ரெம்பாவாய்

Lyrics in Roman script

muttanna veNNagaiyAy munvan tedirezhunden
attan Anandan amudanen RaLLURit
tittikkap pEsuvAy vandun kaDaidiRavAy
pattuDaiyIr Isan pazhavaDiyIr pAnguDaiyIr
puttaDiyOm punmaitIrt tATgoNDAR pollAdO
ettOnin anbuDaimai ellOm aRiyOmO
cittam azhagiyAr pADArO namsivanai
ittanaiyum vENDum emakkElO rembAvAy

Meaning: This is a conversation between the group of girls and the girl who is still sleeping. The friends say, “Oh, young maiden with pearly teeth, every day you wake up before we do and tell us ‘my lord is nectar and bliss’ and say sweet words with glowing tributes to the lord. But now we want you to open your door.”

The girl replies, “You are great longtime devotees of the lord. You serve him well. You have great personal integrity. I am a novice devotee. If you can ignore my faults and accommodate me, will it be detrimental?”

The girls respond, “We know your devotion to the lord. Those who have blemishless heart will sing the praise of our Lord Shiva. We came to wake you up. We deserve this treatment by you!”

To listen to MLV sing this song, http://www.mediafire.com/listen/ifd3r5vsrcnwff8/06+Muthanna.mp3

Song # 4 பாடல் 4 ஒண்ணித் திலநகையாய் இன்னம் புலர்ந்தின்றோ
வண்ணக் கிளிமொழியார் எல்லாரும் வந்தாரோ
எண்ணிக்கொ டுள்ளவா சொல்லுகோம் அவ்வளவும்
கண்ணைத் துயின்றவமே காலத்தைப் போக்காதே
விண்ணுக் கொருமருந்தை வேத விழுப்பொருளைக்
கண்ணுக் கினியானைப் பாடிக் கசிந்துள்ளம்
உண்ணெக்கு நின்றுருக யாம்மாட்டோம் நீயேவந்
தெண்ணிக் குறையில் துயிலேலோ ரெம்பாவாய்

Lyrics in Roman script oNNit tilanagaiyAy innam pularndinRO
vaNNak kiLimozhiyAr ellArum vandArO
eNNikko TuLLavA sollugOm avvaLavum
kaNNait tuyinRavamE kAlattaip pOkkAdE
viNNuk korumarundai vEda vizhupporuLaik
kaNNuk kiniyAnaip pADik kasinduLLam
uNNekku ninRuruga yAmmATTOm nIyEvan
teNNik kuRaiyil tuyilElO rembAvAy

Meaning: This song continues the conversation between the group of girls and the girl inside the home. The friends say, “Isn’t it dawn yet for you, oh girl who has shining white pearly teeth?”

The girl replies “Have all our friends, who have parrot-like voice, arrived?”

The friends respond, “We will count and let you know. Until then do not waste your time sleeping. Our lord is the nectar for the celestials, the essence of the Scriptures, and pleasing to look at. Instead of singing his praise and lose ourselves in deep devotion, we won’t waste our time. You come out and check if everybody is here. If there is a shortage in the number, you can get back to sleep”

To listen to MLV sing this song, http://www.mediafire.com/listen/ce7k0d6126a3t7c/08+Onnithilanagaiyaai.mp3

Song # 5 பாடல் : 5
மாலறியா நான்முகனுங் காணா மலையினைநாம்
போலறிவோம் என்றுள்ள பொக்கங்க ளேபேசும்
பாலூறு தேன்வாய்ப் படிறீ கடைதிறவாய்
ஞாலமே விண்ணே பிறவே அறிவரியான்
கோலமும் நம்மைஆட் கொண்டருளிக் கோதாட்டுஞ்
சீலமும் பாடிச் சிவனே சிவனேயென்
றோலம் இடினும் உணராய் உணராய்காண்
ஏலக் குழலி பரிசேலோ ரெம்பாவாய்

Lyrics in Roman script mAlaRiyA nAnmuganum kANA malaiyinainAm
pOlaRivOm enRuLLa pokkanga LE pEsum
pAlURu tEnvAyp paDiRI kaDaitiRavAy
~nAlamE vine piRavE aRivariyAn
kOlamum nammaiAT koNDaruLik kOdATTum
sIlamum pADic civanE sivanEyen
ROlam iDinum uNarAy uNarAykAN
Elak kuzhalI parisElO rembAvAy

Meaning: The gathered friends then scold her, “Vishnu and Brahma could not find Lord Shiva’s full form. You talk so sweet and utter falsehood that we can comprehend him. Please open the door. Earth-bound folks as well as celestials and others find Lord Shiva inscrutable. We sing his beauty, grace, and generosity to absolve our faults. We chant ‘shiva, shiva’. You are still asleep and do not pay attention to our entreaty. Is this becoming of you, oh girl who has dark shiny hair?”

To listen to MLV sing this song #5, http://www.mediafire.com/listen/o13huhai3cbdm7t/10+Maalariyaa+Naan.mp3

To listen to all 20 songs of tiruvembAvai, https://www.youtube.com/watch?v=I5KB2juycvY

http://www.anpesivam.ch/Thiruvempavai.mp3 (44 minutes audio)

To listen to tiruppaLLiyezhuchchi (10 songs), http://www.anpesivam.ch/Thiruppaliyeluchchi.mp3

To listen to all the 30 songs here: https://www.youtube.com/watch?v=IAaRF1e0suE

Bombay Sisters sing here,

https://www.youtube.com/watch?v=mNm2tGS4EtU&list=PL4298465B37AFA5E7&index=1 parts 1-5 songs 1—13.

Thiruvembaavai---- திருவெம்பாவை--I---2

2015-12-16T19:42:00.000-08:00

Thiruvembaavai---- திருவெம்பாவை--I

Author: MANikkavAcagar

ThiruvembAvai (the name being derived from the ending of each verse with "embAvAy) is a set of 30 songs written by MANikkavacagar (a shaivaite servitor of the first millennium CE) specifically for young maidens to get up early in the month of MArgazhi (Dec-Jan) and perform austerities every day for the entire month. All the songs are in praise of Lord Shiva (parallel version of tiruppAvai sung by ANDAL in praise of Lord Vishnu and his avatAr Krishna). The 30 songs of tiruvembAvai consist of 20 songs singing the praise of Lord Shiva and 10 songs waking up Lord Shiva (suprabhAtham----good morning wake-up call). The sacred bath in a pond or river is a metaphor for getting immersed in God's grace.

All the 20 tiruvembAvai songs end with the phrase "elOr embAvAy" (ஏலோர் எம்பாவாய்). The first word is just decorative. It is also meant to give a musical sound. The second word is an address to the girls (pAvay means young girl or maiden). All the 20 songs are addressed to such girls to perform austerities and take a sacred vow to serve Lord Shiva.

The first 8 songs deal with waking up one or more girls who are still sleeping. Songs 9 and 10 deal with praying to the lord and singing his praise. Songs 11-15 describe bathing in the pond and singing the glory of lord Shiva. Song 16 is a prayer to cloud and rain. 17 and 18 again deal with singing and bathing. 19 is a wish to serve the lord. 20 is a "hail to thee" song for the lord.

The other 10 songs (our of a total of 30) are titled "tiruppaLLiyezhuchchi" (திருப்பள்ளி எழுச்சி) which constitute a suprabhAtham ('good morning") or wake up songs for lord shiva. These 10 songs are about lord shiva in the temple at the town "tirupperunthuRai"(திருப்பெருந்துறை)

Let us study them in several installments. Songs 1 and 2 are featured in this article. The lyrics are given in Thamizh and Roman scripts along with the meaning of each song. Audio clips are also given.

Song 1 பாடல் 1

ஆதியும் அந்தமும் இல்லா அரும்பெருஞ்
சோதியை யாம்பாடக் கேட்டேயும் வாட்டடங்கண்
மாதே வளருதியோ வன்செவியோ நின்செவிதான்
மாதேவன் வார்கழல்கள் வாழ்த்திய வாழ்த்தொலிபோய்
வீதிவாய்க் கேட்டலுமே விம்மிவிம்மி மெய்ம்மறந்து
போதா ரமளியின்மேல் நின்றும் புரண்டிங்ஙன்
ஏதேனு மாகாள் கிடந்தாள்என் னேயென்னே
ஈதேஎந் தோழி பரிசேலோ ரெம்பாவாய்

Lyrics in Roman script:

Adiyum andamum illA arumberum cOdiyaiyAm pADak kETTEyum vAL taDa#ngaN
mAdE vaLarudiyO vanseviyO ninsevidAn
mAdEvan vArgazhalgaL vAzhttiy vAzhttoli pOy
vIdivAyk kETTalumE vimmivimmi meymmaRandu
pOdAr amaLiyin mEl ninRum puraNDu i#n#nan
EdEnum AgAn kiDandAL ennE ennE
IdE endOzhi parisElOr embAvAy

Meaning: This is an appeal by a group of young girls to get a still sleeping girl to join them.”Oh, young girl with eyes as sharp as a sword, we are singing the praise of Lord Shiva who has no beginning and no end and who is an effulgent flame shining bright. Aren’t you listening or are you deaf? When we were singing in the street, another friend of ours who was sleeping in a flower-bedecked bed heard our singing about attaining the sacred feet of Lord Shiva who wears bright anklets. She started sobbing intensely and fell on the ground and swooned, overcome with devotional emotion. That shows her devotion.”

Listen to MLV sing this song #1: http://www.mediafire.com/listen/8uhoi1wkzz1ve74/02+Aathiyum+Anthamum.mp3

Song 2 பாடல் 2

பாசம் பரஞ்சோதிக் கென்பாய் இராப்பகல்நாம்
பேசும்போ தெப்போதிப் போதா ரமளிக்கே
நேசமும் வைத்தனையோ நேரிழையாய் நேரிழையீர்
சீசி யிவையுஞ் சிலவோ விளையாடி
ஏசு மிடமீதோ விண்ணோர்க ளேத்துதற்குக்
கூசு மலர்ப்பாதந் தந்தருள வந்தருளுந்
தேசன் சிவலோகன் தில்லைச்சிற் றம்பலத்துள்
ஈசனார்க் கன்பார்யாம் ஆரேலோ ரெம்பாவாய் (2)

Lyrics in Roman script:

pAsam paranjOdik kenbAy irAppagalnAm
pEsumbO teppOdip pOdA ramaLikkE
nEsamum vaittanaiyO nErizhaiyAy nErizhaiyIr
cIcI yivaiyun cilavO viLaiyADi
Esu miDamIdO viNNOrg LEttudaRguk
kUsu malarppAdan tandaruLa vandaruLun
dEsan sivalOgan tillaicciR RambalattuL
IsanArk kanbAryAm ArElO rembAvAy

Meaning: Some girls are assembling together and try to wake up a still sleeping friend of theirs one early morning. They tell her, “Oh maiden wearing precious jewels, whenever you chat with us day and night, you used to declare ‘my love towards the Lord (the effulgent one) is immeasurable’. But you are still sleeping and reluctant to come with us to take the sacred bath and perform austerities”.

To that entreaty the girl awakens and chides them, “Come on, cut this silly talk. I just slept a little longer. Don’t tease me”

The friends then say, “Even the celestials are waiting to worship the effulgent lord without much success. But the lord is coming on a procession to our residences. He is the one who dances in the golden hall at Cidambaram. When he is coming here to give us his darshan, you very well know that we have to be earnest in offering our devotion to him. We are not strangers to you."”.

Listen to MLV sing the song #2 here: http://www.mediafire.com/listen/68xofwool2lx38x/04+Paasam+Paranjothi.mp3

You can listen to all the 30 songs here: https://www.youtube.com/watch?v=IAaRF1e0suE

Bombay Sisters sing here,

https://www.youtube.com/watch?v=mNm2tGS4EtU&list=PL4298465B37AFA5E7&index=1 parts 1-5 songs 1—13.

திருச்செங்குன்றூர் --tiruchchenkunrUr divya dEsam---തിരുച്ചെങ്കുന്രൂർ (തിരുച്ചിത്തതു)

2015-12-01T08:14:00.000-08:00

திருச்செங்குன்றூர் --tiruchchenkunrUr divya dEsam

This divya dEsam is located in the town ChengaNNUr (Alappuhza district) a stop in the railway line from Ernakulam to Thiruvananthapuram in Kerala. The ancient names are tiruchchenkundrUr and tiruchchitrARu. The locals call the shrine tiruchchittatu mahavishnu temple or dharmaputra mahAvishnu temple (see Legend). The river that flows in the area is called citrAru (known as Pampa River). The temple is open for worship from 4 AM to 11 AM and 5 PM to 8 PM. The 10-day annual BrahmOtsavam festival is celebrated in the Thamizh month of panguni (Mar-Apr)The temple is administered by ThiruvAnkUr Devaswom Board.

Temple Details: The presiding deity is called imaiyavarappan (the lord of the celestials) in a standing posture facing the west. The goddess goes by the name sengamalavalli. The temple pond is called sanga tIrttam or tiruchchitrAru. The vimAnam is JagajyOti vimanam.

Legend: It is believed that Yudhistra came over here after the war (Mahabharatham) to atone for uttering a lie about DroNa’s son ashwattAma. In order to emotionally disable DroNa Yudhistra said “ashwattama hataha kunjaraha” (the elephant named ashwattAma died) in such a way that the word “kunjaraha” was barely audible. That made DrOna drop his weapons at which time DroNa was killed. Yudhistra came to this location to build/renovate the temple. Accordingly this temple is now known as “Dharmaputra pratishTa temple”. It is also believed that the celestials gathered here to worship the lord and thus the lord got the name “imaiyavar appan” (lord of the celestials)

MangaLAsAsanam: nammAzhwAr sang 11 pAsurams on this shrine (NDP 3480-90). Let us look at one of them here.

எங்கள் செல்சார்வு யாமுடையமுதம் இமையவரப்பன் என்னப்பன்

பொங்கு மூவுலகும் படைத்தளித்தழிக்கும் பொருந்து மூவுருவன் எம்மருவன்

செங்கயலுகளும் தேம்பனை புடைசூழ் திருச்செங்குன்றூர் திருச்சிற்றாறு

அங்கு அமர்கின்ற ஆதியானல்லால் யாவர் மற்று என் அமர்துணையே

(NDP 3481) திருவாய்மொழி 8-6-2

Meaning: NammAzhwAr declares, “The Lord of the celestial world (இமையவரப்பன்) is my Lord too. He creates, sustains and destroys the world. His abode is in the midst of all pleasant environment filled with ponds where fish swim around. It is Tiruchengundrur on the banks of TiruchittrAru (Pampa River). Who else but He is there to offer me protection”.

tirukkaDithAnam divya dEsam---திருக்கடித்தானம்----തിരുക്കഡിത്താനം

2015-11-02T20:00:00.000-08:00

tirukkaDithAnam divya dEsam---திருக்கடித்தானம்

This is one of the six Vishnu shrines in the central part of Kerala----south of Ernakulam/Kottayam. It is close to tiruvallA and located 3km east of ChengaNAchEri (in Kottayam district). Locally this shrine is also called tirukkoDiththAnam. This temple is believed to have been built in ancient times by SahAdEvan of the MahAbhAratha period. It is believed that when sahAdEvan built this temple the idol of the lord appeared from nowhere and hence the deity is called “aRputha nArAyaNan” (marvelous nArAyaNa). Temple worship times are 5-11 AM and 5-8 PM.

Deities: The presiding deity is called atputha or amrutha nArAyaNan in a standing posture facing the east. The goddess is KaRpagavalli. The temple pond is called bhUmi tIrttam and the crown structure over the sanctum is puNyakOTi vimAnam. Within the same circular sanctum lord nArayaNan faces the east and lord narasimha faces west. There are two flagpoles outside. There is a sanctum for Krishna. There are several beautiful wall murals and the wood sculptures around are also notable.

Festivals: During the month of KArthigai (Nov-Dec) the dhIpam festival is celebrated for 10 days. In addition, gOkulAshTami festival is also a hallmark celebration.

Legends: In the picture depicted at the beginning there is a stone statue of the body of a man placed on a raised platform. The origin for that is stated variously to be a curse for the temple guard to turn into a stone by the lord since he was negligent in opening the temple for worship by the devotees. Another version of the story states that the stone statue was that of a guard who was cursed for opening the temple (after accepting some money) for the king who came to the temple to worship after it was closed for the day.

Another legend has it that the local king by name RukmAngathan had a flower orchard in that place and that the celestials routinely came there to collect flowers to offer to the lord. One day they were caught and imprisoned upon the orders of the king. The celestials were thus prevented from returning to their abode. The only remedy suggested was that the king had to part with his “puNyam” (merit) accumulated over the years through his austere devotion to the lord which he did. All that happened within one “kadigai” (also called nAzhigai in Thamizh)---a duration of 24 minutes. Hence “kadi” got introduced in the name of the shrine..

It is believed that the idol gets re-energized every 60 years. Devotees who come here to worship believe that if they stay here and worship for one “kadigai” all their sins would vanish.

MangaLAsAsanam: nammAzhwAr sang 11 pAsurams on this shrine and the lord. Let us look at one of the pAsurams here.

கோயில் கொண்டான் திருக்கடித் தானத்தை
கோயில் கொண்டான் அதனோடு என்னெஞ்சகம்
கோயில் கொள் தெய்வமெல்லாம் தொழ வைகுந்தம்
கோயில் கொண்ட குடக் கூத்த அம்மானே. ( NDP 3506)
திருவாய்மொழி 8-6-5

kOyil koNDAn tirukkaDit tAnattai
kOyil koNDAn adanODu ennenjagam
kOyil koL deyvamellAm tozha vaikunTham
kOyil koNDa kuDak kUtat ammAnE. ( NDP 3506) tiruvAymozhi 8-6-5

Meaning: “The lord took his abode in tirukkaDittAnam. He is dwelling in my heart too. He dwells in vaikunTham for other deities to worship him”. The reference to Kudak kooththu ammAn refers to the lord who as Lord Krishna used to play with young maidens who passed along pots (kudam) in group play.

tiruvallavAzh divya dEsam --திருவல்லவாழ்---തിരുവല്ലാ

2015-10-04T13:53:00.001-07:00

tiruvallavAzh divya dEsam --திருவல்லவாழ்

This shrine popularly known in the local community as “tiruvallA” in the vernacular is located in central Kerala, 30 km south of KOTTayam on the ErnAkuLam—KOTTayam—Kollam railway route in PandanamthiTTA district. The railway station is “tiruvallA” and the temple is 4 km away from the station. The river maNimAla/vallA flows near the temple. Six divya dEsams are located in this region (others are: thirukkaDithAnam, thiruchchengundranUr, thriuppuliyUr, thiru vARaN viLai and thriuvaNvaNDUr). The temple is mentioned in the 7^th century Sanskrit work of a poet (of KAnchipuram) by name Dandin. The plinth and the walls of the temple are constructed of granite with extensive use of timber all around.

The temple is open for worship from 4 AM to 11:30 AM and from 5 PM to 8 PM. Every Saturday morning a special pujA is performed with traditional Kathakali dance. The annual 10-day festival is conducted in the month of mAsi (Feb-Mar). As is common in Kerala temples, the prasAdam here is sandal paste and vibhUti.

Temple Details: The ancient name for the kshEtram is Srivallaba kshEtram from which the popular malayALam name tiruvallA was derived. . The presiding deity is called tiruvAzhmArban and Sri Vallabhan KOlapiran in standing posture facing east. The goddess goes by the names VAthsalya dEvi and Selvath thrirukkozhundhu nAcciyAr. The temple pond is called KaNDakarNa/pampA tIrtham. The vimAnam is called caturanga kOla vimAnam. The shrine is mentioned in GaruDa and matsya purANams There is a 50-foot stone pillar on top of which the garuda is installed. There is a separate sanctum for VishwaksEna.

Legend: It is widely believed that in a village called Sankaramangalam nearby, there was a chaste lady who used to regularly observe fasting on EkAdasi day and then offer food on the following dwAdasi day at the temple to a brahmachAri and ascetics after which she would consume food. It appears that she was tortured in a forest on her way to the temple by a demon known as TholakAsuran. The lady prayed to the lord and he responded by sending his discus to annihilate the demon. Then when the lady went into the sanctum she saw a brahmachAri in front of the lord’s idol. She recognized that it was the lord who took the form of a brahmachAri and killed the demon. To this day there is no angavastram (cloth on the chest) on the idol in recognition of such incident.

MangaLAsAsanam: ThirumangaiyAzhwAr (NDP 1808-17, 2674) and nammAzhwAr (NDP 3205-15) each sang 11 pAsurams on this shrine. Let us look at a pAsuram of nammAzhwAr.

காண்பது எஞ்ஞான்று கொலோ, வினையேன் கனிவாய் மடவீர் பாண்குரல் வண்டினொடு பசுந்தென்றலுமாகி எங்கும் சேண்சினையோங்கு மரச் செழுங்கானல் திருவல்லவாழ்

மாண்குறள் கோலப் பிரான் மலர் தாமரைப் பாதங்களே. (NDP 3210)

kANbadu ejnjnAnRu kolO, vinaiyEn kanivAy maDavIr pANkural vaNDinoDu pasundenRalumAgi engum sEN sinaiyOngu marac cezhungAnal tiruvallavAzh mANkuRaL kOlap pirAn malar tAmaraip pAdangaLE. tiruvAymozhi 5-9-6

Meaning: Here the AzhwAr imagines himself to be a maiden in love with the lord. He is addressing (his/her) friends, “Oh, berry-lipped friends when can I , a sinner, visit the lotus feet of the noble manikin lord who resides in tiruvallavAzh replete with tall palm trees carrying ripe fruits at the top? The place abounds in melodiously humming bees and pleasant breeze all around.”

tirumUzhikkaLam divya dEsam---திருமூழிக்களம்---തിർമൂഴിക്കളം

2015-09-04T19:12:00.003-07:00

tirumUzhikkaLam divya dEsam---திருமூழிக்களம்--- തിർമൂഴിക്കളം

This shrine located on the banks of the ChAlakkudy River (a tributary of PeriyAr River) can be reached by bus from Alwaye (aka aluva) and ErnAkuLam at a distance of 10 km from ErnAkuLam. The nearest railway station is angamali, 5 km away. This town is also close to KAlaDy (the birth place of Adi Sankara). The natives call this temple “LakshmaNa PerumAL temple” (see under Legends for an explanation). The temple is open for worship from 5 AM to 11 AM and from 5 PM to 8 PM. The annual festival is celebrated in the month of Cittirai (Apr-May) for 10 days around the asterism tiruvONam. Also the month of ADi (Jul-Aug) is sacred as it is associated with RAmayaNam in this temple.

Temple Details: The presiding deity is known as tirumUzhikkaLattAn (திருமூழிக்களத்தான்) as well as SrisukthinAthan (ஸ்ரீசுக்தினாதன் ) in a standing posture facing east. The goddess goes by the name maduravENi nAcciyAr (மதுரவேணி நாச்சியார்). The temple pond is called shanga tIrttam (சங்க தீர்த்தம் ) and the crown structure is called Saundarya vimAnam (சௌந்தர்ய விமானம்) There is also a separate sanctum for Lord Shiva to denote religious harmony.

Legends: It appears LakshmaNa (from the RAmAyaNam period) came here to worship the lord and atone for his misconception that Bharatha came to CitrakUTam to fight with Rama while, in actuality, Bharata came to persuade Rama to take the ayOdhya throne back. Bharatha then trekked to this shrine to make peace with LakshmaNa and to clear his misconception. They exchanged sweet words and hence the place acquired the name tirumozhikkaLam (திரு+ மொழி+ களம்) which in Thamizh means “place where good words were exchanged”. The name morphed to tirumUzhikkaLam in due course.

Another legend has it that a sage by name Hareetha requested the lord to direct his devotees how to attain salvation. It seems the lord delivered “Srisuktham” which became known as thirumozhi (sacred words) which in turn changed to tirumUzhikkaLam (the place where sacred words were preached by the lord).

MangaLAsAsanam: nammAzhwAr sang 11 pAsurams (tiruvAymozhi 9-7-1 to 11, NDP 3623-33) on this shrine and tirumangaiyAzhwAr sang 3 pAsurams (NDP 1553, 2061, 2674). Thirumangai AzhwAr refers to the arrival of LakshmaNa here to worship the lord (pAsuram # 2061 in NDP). nammAzhwAr assumes the role of a young maiden in love with the lord as seen in the pAsuram below.

பூந்துழாய் முடியாருக்கு பொன்னாழிக் கையாருக்கு    ஏந்து நீரிளங் குருகே திருமூழிக் களத்ததாருக்கு
ஏந்து பூன் முலைபயந்து என்னினை மலர்கண்கள் நீர் ததும்ப      தாம்தம்மை கொண்டகல்தல் தகவன்றென்றுரையீரே ( NDP 3631)
                                 திருவாய்மொழி 9-7-9

PUntuzhAy muDiyArkku ponnAzhik kaiyArkku Endu nIriLang gurukE tirumUzhik kaLattArukku Endu pUn mulaipayandu enniNai malarkaNgaL nIr tadhumba tAnthammai koNDagaldal tahavanRenRuraiyIrE (tiruvAymozhi 9-7-9)

Meaning: The AzhwAr is addressing the delicate bird (water egret) to carry a message that the maiden (the AzhwAr) is pining due to separation from the lord at tirumUzhikkaLam who wears a tuLasi (holy basil) crown on his head and a golden discus in his hand that her jeweled breasts are losing their normal splendor, that she is in tears to be separated from the lord and that it is improper for the lord to continue the situation like that.

tirukkATkarai divya dEsam --- திருக்காட்கரை----തിരുക്കാക്കരാ

2015-07-31T17:29:00.000-07:00

tirukkATkarai divya dEsam --- திருக்காட்கரை

This shrine is built in the Kerala style architecture with the main sanctum in a round shape comprising a tiled roof. The malayALees call this place “trikAkkarA” a morphed form of tirukkATkarai (the name used by the AzhwAr in his pAsuram). The ancient name is

vAmanakshEtram (see the details under Legend below). It is located at a distance of 10 km from ErNAkuLam on the way to AlwAye. The nearest railway station is iDappaLLi.

The presiding deity is KATkaraiyappan in standing posture facing south. The locals call the presiding deity as vAmana mUrthy. The goddess, who does not have a separate sanctum, goes by the names perunchelva nAyaki and vAthsalyavalli. The temple pond is known as kapila tIrttam and the vimAnam is called pushkala vimAnam.

There are separate sanctums in the premises for dEvi Bhagavati, sAsthA, gOpAlakrishNan, vAmana, and Shiva too. The temple is believed to have been constructed by Parashurama (an avatAr of Vishnu). In 1825 the erstwhile kingdom of TriuvAnkUr took over the administration of the temple. Renovation work was done in 1948. The temple is open for daily worship from 5 AM to 11 AM and from 5 PM to 8 PM.

Legend: It is believed that in ancient times the king Mahabali ruled here. He was a demon king although a virtuous one. He was very charitable but he was also troubling the celestials. So Vishnu took the VAmana avatAr (the form of a dwarf Brahmin), sought 3 foot-measures of land which the king thought was a paltry amount and promised to give. Then vAmana enlarged himself, measured the earth and heaven with two steps and placed the third step on Mahabali’s head (which was offered by the king) and sent him into the netherworld. Mahabali requested the lord that he should be allowed to visit this area once a year. The lord declared that it would be so. Every year this festival is celebrated for 10 days in the month of AvaNi (Aug-Sep) as ONam festival. It is believed that Mahabali’s palace was at the entrance of the temple. There is also a stone throne set up there representing Mahabali’s throne.

MangaLAsAsanam: nammAzhwAr sang about the lord in this shrine in 11 pAsurams (NDP 3612-22). The pAsuram is given in Thamizh script, followed by Roman script and meaning.

நீர்மையால் நெஞ்சம் வஞ்சித்துப் புகுந்து என்னை ஈர்மை செய்து என்னுயிராய் என்னுயிருண்டான் சீர்மல்கு சோலை தென் காட்கரை யென்னப்பன் கார்முகில் வண்ணன்தன் கள்வம் அறிகிலேனே. (NDP 3614) -----tiruvAymozhi 9-6-3

nIrmaiyAl nenjam vanjittup pugundu ennai Irmai seydu ennuyirAy ennuyiruNDAn sIrmalgu sOlai ten kATgarai yennappan kArmugil vaNNan tan kaLvam aRigilEnE

Meaning: “In the town of tirukkATkarai surrounded by luscious orchards, my lord who inhabits here used deception to enter my heart, took advantage of my weakness, occupied my soul, and took my life. I can’t comprehend the deceit of this dark-hued deceptive lord.”