Episode 03 - Azhwars Profiles Continued Further.
Azhwars Profiles Continued Further
10) SRI ANDAAL
Born: 767 CE
Sampradaya date or birth – 3005 BCE (About 5025 years ago)
Born in Srivilliputtur – was found in a Thulasi garden;
Other Names: Soodi Kodutha Naachiyaar, Kodai, Kodai Piraatti
Year/Month: Nala/Aadi
Birth Star: Pooram
Amsam: Bhoodevi
We noted that along with the first three Azhwars – Poigai Azhwar, Bhoodhathazhwar and Peiyazhwar, Andal was ‘ayonija’ – born without a mother’s womb.
Periyazhwar found this glowing female infant near a Thulasi grove in his garden (in Srivilliputtur). He named her ‘Kothai’ – meaning a garland – fitting her delicate, glowing and captivating form.
ஒலிமென் கூந்தல் கமழ்புகை கொளீஇத், தண்கமழ் கோதை புனைய; - வண்பரி நெடுந்தேர் பூண்க, நின் மாவே! Pura Naanooru. கோதை – a strand of fragrant flowers (to be fitted into the fine tresses still rife with the fragrant incense that the tresses were treated with).
The child grew up in the rarefied atmosphere of bhakti – in the close care and tutelage of her foster father Periyazhwar. The total dedication of the household in kainkaryam to Sri Vatapathrasayee ought to have made a deep imprint on the child’s mind. These, though, are causes on might try to find through the prism of the material world in a being that was high divinity incarnate – Sakshath Sri Bhooma Devi. Periyazhwar’s copious verses on Sri Krishna and his parables and anecdotes from Sri Bhagavatam ensnared the young Kothai’s mind and her imagining herself as the right mate of Sri Krishna further solidified.
The innate incarnate svabhava was permeating through Andal’s personality even as she was growing up. Unlike the other Azhwars including his great, illustrious foster father Periyazhwar, who all looked up to the Lord as the Supreme Being that stood far above all of them, Andal looked at Sri Bhagavan as her Consort, her suitor, her male counterpart – no less. That condition of Andal’s mind flows through all of her paasurams – in Thiruppavai and in Nachiar Thirumozhi as well.
The young girl thus pines all the time for being with her Lord.
The episode that heralded – for Periyazhwar and eventually for the whole world – her exceptional affiliation, identity with Sriman Narayana, divine destiny as it were – visualized by her mostly with Krishna – Kannan of Ayarpaadi – and Sri Ranganatha of Sri Rangam, would arrive soon.
She would be attracted by the glorious floral garlands that her father made for Sri Vatapathra Sayee and she decided one day to try them on her person and see how she looked in that garland that would go on to adorn the Thirumeni of her Lord. She went ahead with that thought without a moment’s hesitation or qualm and enjoyed her adorned reflection in a mirror, to check if she was a matching bride for the Lord. As this went on, Periyazhwar happened to see this happening one day. He was startled. He was too fond of Kothai and was also aware that this child was no normal girl. He did not scold her. But he thought that the garland that adorned a human body could not be taken to the Lord. Therefore he made a fresh one, discarding the one that Andal had put on herself. That night, Periyazhwar had a dream. The Lord enquired of him: ‘What happened to the garlands that you have been bringing for me till yesterday? Why did you have to get this one for me today, its divine fragrance was missing?’ In the dream conversation, Periyazhwar confesses to the desecration of the garland meant for the Lord by his ignorant daughter Kothai. The Lord admonished Periyazhwar – ‘They are not desecrated. They are indeed consecrated. Those that carry the divine fragrance that Kothai added to the garlands are most delightful for me to have. I shall have none other than those.’
Periyazhwar woke up to a new morn. He began to look at his foster child with a rarefied awe and profound adoration.
Andal earned her popular derived name – சூடிக்கொடுத்தாள். One of the ‘Thanians’ on Andal would acclaim this:
அன்னவயல் புதுவை ஆண்டாள் அரங்கர்க்குப்
பன்னு திருப்பாவை பல்பதியம் - இன்னிசையால்
பாடிக்கொடுத்தாள் நற்பாமாலை பூமாலை
சூடிக் கொடுத்தாளைச் சொல்லு
Andal tried to execute her dream of becoming the bride for Sri Krishna by engaging in austerities prescribed for young maidens to gain the husband they dream of. She undertakes ‘Paavai Nonbu’ – ‘Austerities of Young Maidens’ and mobilises all the young women of her neighbourhood – the whole imagery in this dramatized austerity is intent of converting Srivilliputtur into a Thiru Aayarpaadi – Gokulam; the young friends of Andal become Gopis. Andal imagines in this dream world, life-like Yasodha, Nanda Gopan, Balaraman; She also concedes a sweet heart for Sri Krishna – Nappinnai, a Thamizh look-alike of Radha. And she dedicates the whole month of MrigasIrsha (Margazhi) for this ‘Paavai Nonbu’. Did not Sri Krishna exalt that month thus: māsānāṁ mārga-śhīrṣho ’ham? There seems to be an otherworldly, devotional atmosphere built into this month – universally. One hears jingle bells, carols and psalms too, don’t we? And she renders one verse dedicated to each of this austerity beginning - மார்கழித் திங்கள் மதிநிறைந்த நன்னாளால் and concluding with the verse வங்கக் கடல் கடைந்த மாதவனை கேசவனை.
Thiruppavai is possibly amongst the most widely commentated, the most widely discoursed on and the most widely studied and recited among the Naalaayiram corpus. Commentators see vedha and Vedanta tatvas right through these 30 verses. Expert commentators would point to amazing poetic and spiritual architecture in this short work. And, it is possible to enjoy this work from a simple, uncomplicated bhakti platform as well. For instance, the 27th verse would call out: ஆடையுடுப்போம் அதன்பின்னே பாற்சோறு மூட நெய் பெய்து முழங்கை வழிவார கூடியிருந்து குளிர்ந்தேலோர் – celebrating the conclusion of the austerities (nonbu). Thiruppavai thus lends itself to countless perspectives of comprehension and joy – a rare feature that could not be said of many other devotional works, the incomparable ‘Thiruvaaimozhi’ included.
Some ‘para tatva’ messages and ithihasa nuggets would enrapture even the uninitiated –
தூயோமாய் வந்து நாம் தூமலர் தூவித் தொழுது வாயினால் பாடி மனத்தினால் சிந்திக்க
போய பிழையும் புகுதருவான் நின்றனவும் தீயினில் தூசு ஆகும் செப்பு-
If, with a cleansed mind, we prayed to him with fresh flowers and sing his praise, with his thoughts filling our mind, then all our sins, the ones of the past and those that are yet to come, would all become dust consumed by fire.
சினத்தினால் தென் இலங்கைக் கோமானைச் செற்ற
மனத்துக்கு இனியானைப் பாடவும் நீ வாய் திறவாய்
Open your mouth – and sing the praise and prowess of that one who endeared himself to all by his anger, an anger that led to the end of Ravana.. Here Rama ‘endears’ himself to all by ‘invoking’ his anger. Anger was beside him. He had to invoke it with effort. And that effort - and the effect of it (the killing of Ravana) was so endearing.
‘Paavai Nonbu’ had not brought to Andal her groom, the one she had been dreaming of. She goes on to invoke the grace of the God of Love – Manmatha – in the month following Margazhi – the month of Thai. In her Nachiar Thirumozhi, she spells out her austerity and its purpose thus;
தை ஒரு திங்களும் தரை விளக்கித் தண் மண்டலம் இட்டு மாசி முன்னாள்
ஐய நுண் மணல் கொண்டு தெரு அணிந்து அழகினுக்கு அலங்கரித்து அனங்கதேவா
உய்யவும் ஆம்கொலோ? என்று சொல்லி உன்னையும் உம்பியையும் தொழுதேன்
வெய்யது ஓர் தழல் உமிழ் சக்கரக் கை வேங்கடவற்கு என்னை விதிக்கிற்றியே
(Through the auspicious month of Thai, I dedicate my prayers to you (God of Love, Manmatha) and Lord Krishna, sweeping the floor , decorating the street beautifully with fine sand and famishing myself severely, wondering if I would survive this austerity. Please do tie me with Thiruvenkatavan, the fiery Sudarsana-wielding one.)
She also has a dream of her wedding with her beloved Krishna which dream she articulates so captivatingly in her ‘VaaraNam Aayiram’ which is a lexicon of sorts for great wedding celebrations.
இம்மைக்கும் ஏழ் ஏழ் பிறவிக்கும் பற்று ஆவான்
நம்மை உடையவன் நாராயணன் நம்பி
செம்மை உடைய திருக்கையால் தாள் பற்றி
அம்மி மிதிக்கக் கனாக் கண்டேன் தோழீ நான்
Andal’s wait for uniting with her Lord was causing her deep anguish. In that mental distress, she seems to take it out on Him, in terms which only the One having the exclusive privilege to do so – Sri Piratti:
பாசி தூர்த்தக் கிடந்த பார்-மகட்குப் பண்டு ஒரு நாள்
மாசு உடம்பில் சீர் வாரா மானம் இலாப் பன்றி ஆம்
தேசு உடைய தேவர் திருவரங்கச் செல்வனார்
பேசியிருப்பனகள் பேர்க்கவும் பேராவே
Don’t I know? Long ago, you, with a dirty, depreciable form of a shameless wild boar, ventured for the sake of a pathetic, moss-covered Dame Earth? How can I dislodge from my heart all those sweet words that, Oh! The Lord or Sri Rangam! you dished out to me?
That is the meaning one would tend to place on those intriguing lines. Learned commentators would impart entirely different import and meaning for the same worlds e.g. மானம் இலா is supposed to mean அபிமானம இலாத; அபிமானம again meaning ‘self-conscious’. Bhagavan did not think even for a trice that he had to take that lowly form universally known for being dirty… for the அவசரம் called Him to do so.
And, this one:
கோவை மணாட்டி நீ உன் கொழுங்கனி கொண்டு எம்மை
ஆவி தொலைவியேல் வாயழகர்தம்மை அஞ்சுதும்
பாவியேன் தோன்றிப் பாம்பு-அணையார்க்கும் தம் பாம்புபோல்
நாவும் இரண்டு உள ஆய்த்து நாணிலியேனுக்கே
Andal assails Him: Like the serpent on which you recline, do you also have a double-tongue?
The wait for Kothai gets to be excruciating, the pain redoubled when she finds Periyazhwar beginning to talk around about giving her away to an eligible man, in an appropriate wedding. She now boils over and states her mind – loud and clear:
வானிடை வாழும் அவ் வானவர்க்கு மறையவர் வேள்வியில் வகுத்த அவி
கானிடைத் திரிவது ஓர் நரி புகுந்து கடப்பதும் மோப்பதும் செய்வது ஒப்ப
ஊனிடை ஆழி சங்கு உத்தமர்க்கு என்று உன்னித்து எழுந்த என் தட முலைகள்
மானிடவர்க்கு என்று பேச்சுப் படில் வாழகில்லேன் கண்டாய் மன்மதனே
(If there is as much as a talk of me being given away to a human, like the havis offerd at a sacred yajna ritual being smelt and stole by a fox, I shall take my life, you shall see, Manmatha!)
நாணி இனி ஓர் கருமம் இல்லை நால்-அயலாரும் அறிந்தொழிந்தார்
பாணியாது என்னை மருந்து செய்து பண்டு பண்டு ஆக்க உறுதிராகில்
மாணி உருவாய் உலகு அளந்த மாயனைக் காணிற் தலைமறியும்
ஆணையால் நீர் என்னைக் காக்க வேண்டில் ஆய்ப்பாடிக்கே என்னை உய்த்திடுமின்.
(What is there to be bashful about any more? The whole neighbourhood knows about it. If you really care to shore me up to my normal condition, if you really care to save me, swearing by that head that would bow to that One who, incarnating as a young brahmachari, measured the worlds with his feet, please, please take me to that Thiru Aayarpaadi.)
Andal says, ‘what is left now for me to be bashful about? The whole story of mine is out in the public domain; the whole world knows. You see the tell-tale evidence in my precarious person. If you’ll really care to restore me, shore me up to some normalcy, give me a chance to survive this, please take me to Kannan, His ThiruAyarpadi.
Periyazhwar is in the quandary of his life. This girl is asking for a groom who I cannot even see or approach. How am I going to get out of this bind?
Sri Ranganatha ensures that Periyazhwar had to be in that quandary, distress, for long. He appears in Periyazhwar’s dream and commands him: “Bring Andal to Sri Rangam. She shall unite with me there.”
And the Lord does one better. He commandeers a fine palanquin with all royal appurtenances including a fine auspicious music band and sends it across to Srivilliputtur – for fetching Andal, Periyazhwar and kin to Sri Rangam, in comfort and pomp befitting His bride, for that greatest celestial event on earth – in this Kali Yuga. The Pandya King, a great admirer of Periyazhwar, had the entire route from
Srivilliputtur to Sri Rangam mended and decorated for the bride’s party to travel with due celebration enroute.
Periyazhwar is beside himself in joy. He responded to the Lord’s proposal thus;
**ThribhuvanAtheesvarAya , AkilAntakOti BrahmAnda NaayakAya , TattvAtheethAya ,
Sakla nishkaLa svarUpAya , SurasurArchitha paadha padhma yugaLAya , akilOnnatha pavithrAya , ArdhrathrANa pArAyaNAya , paravyUha vibhavantharyAmyarchA-
svarUpiNE , Chandra pushakaraNi tatsthithAya , SaraNAgatha santhrANa tathparAya , SRI RANGANAATHAAYA mama kanyA dhattham " .
**( Meaning ) : To the Lord of the three worlds , to the Master of the entire universes and its crores of beings , to the one beyond all TattvAs , to the one of the form totally free from any blemish ,to the One , whose pair of lotus feet are worshipped by the DevAs and the asurAs alike , to the supreme principle , which is the most sacred among the sacred , to the One supreme being which has taken the vow to come to the rescue of the distressed , to the one who is of the pentad forms (viz., ) Para , VyUha , Vibhava , ArchA and antharyAmi , to the One who resides on the banks of Chandra PushkaraNi ,
the one whose vratham is to protect those , who seek refuge under His feet , to that Sri RanganAthA , my daughter ANDAL Is betrothed .
** Courtesy: Sri Ramanuja org.
It was one of the most auspicious days of the calendar – the month of Phalguni and the day when star Uttara Phalguni (Uttaram) was ascendant, with the full moon drenching the world with its silvery rays through clear cloud-less skies. So many celestial weddings took place on that day including Sita – Rama Kalyanam and Murugan and Deivaanai,
Andal waited with excited anticipation as the wedding party approached Sri Rangam. As they entered the temple, she jumped out of the palanquin, unable to restrain herself any longer. Running into the temple sanctum, she embraced Lord Ranganatha and dissolved into Him, in a blaze of glory.
The attending priests, the onlooking devotees, Periyazhwar and his kin were all specially blessed to be witness to this grand, mind-blowing, unearthly / celestial phenomenon.
Andal stands etched in the hearts of all Thamizh, Sri Vaishnava – indeed in all pious hearts as a matchless, peerless Azhwar, poetess, her incarnate status writ large all over her short life on this blessed earth.
How old was Andal when she merged with Sri Ranganatha? This is again a matter of a delicate, unending debate. Some Sampradaya view is that she was barely six years old. Some would concede she was fifteen then. If one takes into account her worldly-wise idioms and an intimate understanding mental, physiological and biological urges in a well-developed female, the perspective would be different.
Swami Desikan honours Kothai Nachiar – Andal – picking her as the only one amongst the pantheon of Azhwars for his adorative grantha – Kotha Sthuthi.-
ஸ்ரீ விஷ்ணுசித்த குலநந்தந கல்பவல்லீம்
ஸ்ரீரங்கராஜ ஹரிசந்தன யோக த்ருச்யாம் |
ஸாக்ஷாத் க்ஷமாம் கருணயா கமலாமிவாந்யாம்
கோதாம் அநந்யசரண: சரணம் ப்ரபத்யே
Sri Vishnuchitta kulanandana kalpavalleem
Sri Ranganatha harisanthana yOga dhrsyaam
Sakshaath kshamaam karuNayaa kamalaamivaanyaam
kOthaam ananya saraNa: saraNam prapadhyE.
Sri Bhagavad Ramanuja regarded Andal as his elder sister. He felt obliged to fulfil her pledge – an unaccomplished one – as she sang about the presiding deity of Thirumaaliruncholai (Azhagar Koil near Madruai), on the 27th Day of Margazhi (when the paasuram ‘koodaarai vellum seer Govinda is dedicated – It is believed that when Sri Ramanuja travelled to Srivilliputtur after accomplishing for Andal her unfulfilled pledge, when he prayed at Sri Andal’s Sannidhi there, she appears to have welcomed him – ‘Do come, my brother!’.
நாறு நறும் பொழில் மாலிருஞ்சோலை நம்பிக்கு நான்
நூறு தடாவில் வெண்ணெய் வாய்நேர்ந்து பராவி வைத்தேன்
நூறு தடா நிறைந்த அக்கார அடிசில் சொன்னேன்
ஏறு திருவுடையான் இன்று வந்து இவை கொள்ளுங் கொலோ?
இன்றுவந் தித்தனையும் அமுதுசெய் திடப்பெறில்நான்
ஒன்றுநூ றாயிரமாக் கொடுத்துப்பின்னும் ஆளும்செய்வன்
தென்றல் மணங்கமழும் திருமாலிருஞ் சோலைதன்னுள்
நின்ற பிரான்அடியேன் மனத்தேவந்து நேர்படிலே
This ‘Thada VeNNai and Akkara Adisil’ event is widely celebrated in Divya Desams and, especially by Sri Ahobhila Mutt, annually on the 27th day of Margazhi.
11) NAMMAAZHWAR
798 CE
Sampradaya year of birth – 3059 BCE (About 5080 years ago)_
Born at Azhwar Thirunagari (Thiruk Kurugoor)
Other Names: Sadagopan, Paraankusan, Sadaari, Maaran, Vakulaaa Baranan, Kurugaiyar Kone (and several others – noted herein later)
Year/Month: Pramaadhi/Vaikasi
Birth Star: Visakham
Amsam: Viswaksenar (Nitya Suri Commander in Sri Vaikuntam)
&
12) MADHURAKAVI AZHWAR
800 CE
Sampradaya year of birth – 3049 BCE
Born at ThirukOLoor
Other Names: Inkaviyaar, Azhwaarukku Adiyaan
Year/Month: Eeswara / Chittirai
Birth Star: Chittirai
Amsam: Vainatheya (Garuda) (Shares that distinction with Periyazhwar?)
Nammazhwar’s spiritual life was inseparably intertwined with that of Madhura Kavi Azhwar, though Madhura Kavi Azhwar looked on Nammazhwar as his preceptor – Acharyan – and, indeed, the only Thamizh grantham attributed to Madhura Kavi Azhwar is a eleven-verse collection dedicated entirely to Nammazhwar – beginning கண்ணிநுண் சிறுதாம்பினால் கட்டுண்ணப்பண்ணிய பெருமாயன்.
We would therefore present the profiles of both together; overlaps would be inescapable.
Madhura Kavi Azhwar was born in a family of Brahmins (pUrva Shika - முன் குடுமி – சோழியர்) in ThirukkOLUr (திருக்கோளூர்) – just two miles east of Azhwar Tirunagari, the birth place of Nammazhwar. Madhura Kavi was elder to Nammazhwar by a few years and he also outlived Nammazhwar.
Well-founded in the srutis, smritis, puranas and ithihaasas, through proper ‘adhyayana’, giving up interest in material life, Madhura Kavi set out on a long pilgrimage to the Divya Desams in the north including Ayodhya. While in Ayodhya, he saw a strange, what looked like a divine phenomenon. He saw a huge brilliant glow high in the sky over him. As he was contemplating on it, the glow started moving southwards. Madhura Kavi followed it in spell binding curiosity. The glow led him first to Sri RAngam and then on almost to his own town, but stopping short, held him in Azhwar Tirunagari and then on to a cavernous hollow in a tamarind tree, melted there - where he found Nammazhwar – seated in padmasana, eyes closed, barely breathing, almost lifeless.
In Azhwar Tirunagari he heard people inform him about this divine phenomenon. A male child was born in a family of farmers (வேளாளர்);** the infant would not suckle the mother’s breast; growing up it would not take in any feeding, would not cry nor laugh; looked always in a state of near lifeless stupor. The parents named the child ‘MaRan’ மாறன்- and took him to the sanctum of Sri Adinathar and left him near a large tamarind tree in the temple precincts, hoping that the child was in the direct care of Perumal and whatever happened to him, it was Perumal’s mercy. Though deprived of any food, ‘MaRan’ grew – seated in ‘padmasana pose under the tamarind tree and in endless stupor. This entity was thus seated in the cavernous trunk of a tamarind tree for sixteen years – without any food and not relating with the world – in a permanent trance and emitting a divine glow.
** (Parents: Father – PoRkaariyaar; Mother – Udaiya Nangai; the name ‘MaRan’ may have emerged also from the Pandyan antecedents of the parents. As NathamunigaL refers to Nammazhwar in these terms - ‘மன்னும் வழுதி வளநாடன் மாறன் திருக்குருகூர் சடகோபன் தமிழ் – there is one version that adduces ‘MaRan” to a lineage of Pandya royalty. ‘Satagopan’ was derieved from the circumstance that the infant had overcome the life-pulse (naadi) called ‘Sata’ which is supposed to be responsible for the curtain of illusion that makes an infant lose its past bearings and begin to cry. He later earned the name ‘Parankusan’ – as he held that Paramatma Himself in his command – ‘Ankusam’ is the steel prod that elephant riders use to control the elephant. Nammazhwar would portray himself as ‘Parankusa Nayaki’ when he visualizes himself as the female servitor / spurned beloved, of Paramatma.
Madhura Kavi was intent on getting this very abnormal, divine-looking entity, engage with him. He dropped a pebble in front of MaRan. With that disturbing noise, MaRan opened his eyes and just smiled at Madhura Kavi. Keen to take this lead forward, Madhura Kavi asked MaRan a riddle-like question:
செத்ததின் வயிற்றில் சிறியது பிறந்தால் எத்தைத் தின்று எங்கே கிடக்கும்
(If a small one is conceived in a lifelss one, where shall it lie and what would it eat?)
Pat in response, from the lips of Nammazhwar – word for the first time –
அத்தைத் தின்று அங்கே கிடக்கும்
(It would eat that and lie there).
The meaning attributed to this apparently meaningless aphorism are profound philosophy:
Question: If the minute Atma, (the Soul - Chetana) is ensconced in the otherwise lifeless body (Achetana), where exactly would lie the soul and what is it that it gains?
Answer; The Atma (soul) would be experiencing the pleasures and pains of the body and would lie, bound, there.
Madhura Kavi instantly realized that this one is a ‘Sarva Njani’ the fully realized one; he prostrated before ‘MaRan’ and took him to be his Acharyan – the preceptor.
The short interaction between the two great Azhwars was a divine-ordained spiritual trigger, as it were. From that point forwards, Nammazhwar (we would call him thus henceforward) would pour out his inner spiritual welling into paasurams (verses) pregnant with ‘tatvas’ (spiritual tenets), his personal experiences with the Paramatma and counsel for the world at large.
Madhura Kavi Azhwar was so taken in by Nammazhwar’s divinity and njana, that he adored him in eleven very special verses beginning - கண்ணினுண் சிறுதாம்பினால் கட்டுண்ணப்பண்ணிய பெருமாயன். We noted, at the beginning of this series, the critical role played by this short collection in the unearthing of the whole priceless devotional corpus of Naalaayiram by Natha MunigaL.
Amongst the twelve Azhwars, Madhura Kavi is the only one who did not dedicate any of his verses to Emperumaan. They were all dedicated to his Acharyan and preceptor, Nammazhwar alone.
Nammazhwar would gush out his inner thoughts into well-constructed Thamizh poems. There is no hint in his history that he was taught or instructed in the languages nor for that matter a proper initiation into the vedhas, Upanishads, smritis, puranas and ithihasas. Given that, Nammazhwar’s mastery over Thamizh verse-making, his total command over the Vedhic, Vedantic and Puranic tenets and anecdotes would underscore Madhura Kavi’s assessment on seeing him – this is a ‘Sarva Njani’.
Nammazhwar’s prolific verses are arranged in four distinct compartments –
Thiru Viruththam – 100 paasurams
Thiru Aasiriyam – 8 paasurams
Periya Thiruvandhaadhi – 87 paasurams
Thiruvaai Mozhi (the
Magnum opus) – 1102 paasurams.
The first three are added on respectively to the first three thousands of Naalaayiram. And because of these getting there in those collections, the whole collections are known respectively as Rig, Yajur and Atharva Vedhas. Thiruvaaimozhi, the fourth thousand, is believed to represent Sama Vedham. Hence the appellation ‘Dravida Vedham’. (‘Dravida Vedham’ as an appellation came to denote the entire corpus of Naalaayiram.)
The first three titles denote the type of Thamizh verse structures they are made of – Thiru Viruththam – made of ‘Viruththam’ class of verses. ‘Viruththam’ verses usually have four lines and the phonetic components (சீர்) could range from three to six.
Thiru Aasiriyam – These are composed in ‘Asiriyappa’ class. This class allows a great deal of freedom of space for the composer to communicate his or her message . An Aasiriyappa verse could have two lines, three lines, or even lines that do not lend to any predefined limit. The phonetic components could range from two to six.
Periya Thiruvandhaadhi – As we noted earlier as well, ‘Andhadhi’ just means that a succeeding verse begins with the concluding word of the preceding one. The verses could be of any class – VeNpa, KuraL, Asiryappaa, etc. e.g.
முனியே! நான்முகனே! முக்கண்ணப்பா! என் பொல்லாக்
கனிவாய்த் தாமரைக்கண்கருமாணிக்கமே என் கள்வா!
த்னியேனாரியிரே! என்தலைமிசையாய் வந்திட்டு
இனிநான் போகலொட்டேன் ஒன்றும்மாயஞ்செய்யேலென்னையே
மாயம் செய்யேல் என்னை உன் திரு மார்வத்து மாலை நங்கை
வாசம் செய் பூங் குழலாள் திரு ஆணை நின் ஆணைகண்டாய்
நேசம் செய்து உன்னோடு என்னை உயிர் வேறு இன்றி ஒன்றாகவே
கூசம் செய்யாது கொண்டாய் என்னைக் கூவிக் கொள்ளாய் வந்து அந்தோ!
ThiruvaaiMozhi – These 1102 paasurams exclusively represent the fourth thousand of Naalaayiram.
Madhura Kavi Azhwar’s contribution to the recording of Nammazhwar’s paasurams is priceless – we find him vowing thus:
நாவி னால்நவிற் றின்ப மெய்தினேன்
மேவி னேனவன் பொன்னடி மெய்ம்மையே
தேவு மற்றறி யேன்குரு கூர்நம்பி
பாவி னின்னிசை பாடித் திரிவனே
Among all the Azhwars, it is Nammazhwar who delves into the mystique of meta physics, the realm of dense vedantic tatvas, with consummate ease and felicity. Here is one –
சூழ்ந்து அகன்றுஆழ்ந்துயர்ந்த முடிவில் பெரும் பாழேயோ
சூழ்ந்ததனில் பெரிய பரநல் மலர்ச்சோதீயோ
சூழ்ந்ததனில் பெரிய சுடர்ஞான இன்பமேயோ!
சூழ்ந்ததனில் பெரிய என் அவாஅறச் சூழ்ந்தாயே!
Aren’t you a limitless void – surrounding everywhere, limitlessly extensive, fathomlessly deep, endlessly tall – Aren’t you the all engulfing divine flame that lights up all of this universe? Aren’t you the very and only source of the realization of that brilliant and endless bliss? And you engulfed me in order that I am bereft of all desire.
(Azhwar elevates himself from contemplating on the Archavatara form of the Supreme Being to reach into His all-pervasive, omniscient state. Rare amongst the other Azhwars.)
And Nammazhwar also brings to us – with a thud that would shake us up – the truth that the Supreme Being is not just all Kalyana Guna as we steadfastly believe. He is the repository of the negative opposites too because nothing can exist without Him. Here are a few such stunning assertions:
புண்ணியம் பாவம் புணர்ச்சி பிரிவு என்று இவை ஆய்
எண்ணம் ஆய் மறப்பு ஆய் உண்மை ஆய் இன்மை ஆய் அல்லன் ஆய்
திண்ண மாடங்கள் சூழ் திருவிண்ணகர் சேர்ந்த பிரான்
கண்ணன் இன் அருளே கண்டுகொள்மின்கள் கைதவமே?
Aren’t you Punyam and Paapam together? Aren’t you uniting and separation as well? Aren’t you our memory as well as our forgetfulness? Aren’t you the Truth and its opposite too? What to make of your Graces – or Cunning, Oh! Kanna, the one resident in ThiruviNNagar (Sri Oppiliappan Koil), resplendent with sturdy terraces?
கைதவம் செம்மை கருமை வெளுமையும் ஆய்
மெய் பொய் இளமை முதுமை புதுமை பழமையும் ஆய்
செய்த திண் மதிள் சூழ் திருவிண்ணகர் சேர்ந்த பிரான்
பெய்த காவு கண்டீர் பெரும் தேவு உடை மூவுலகே
Oh! All the worlds! See the accomplishment of the One resident in ThiruviNNagar! He is the epitome of cunning, great morality, he is incomprehensibly black, he is transparently white, he is the truth, he is falsehood too, he is youth, and he is old age, he is all new and he is the freshest one as well.
Azhwar finds Him as part of himself and articulates the delicious emotions he derives from that experience:
யானும் தானாய் ஒழிந்தானை யாதும் எவர்க்கும் முன்னோனை
தானும் சிவனும் பிரமனும் ஆகிப் பணைத்த தனி முதலை
தேனும் பாலும் கன்னலும் அமுதும் ஆகித் தித்தித்து என்
ஊனில் உயிரில் உணர்வினில் நின்ற ஒன்றை உணர்ந்தேனே
He is without a sliver of doubt in me; He is older than anything or anyone; He, the only first entity in all of this universe, is Himself (Sri Maha Vishnu) and manifests as Brahma and Siva. He is infinitely delicious – he is honey, he is milk, he is candy, he is the very divine nectar. And I feel Him through - in my whole being – flesh, breath and senses.
Here Azhwar orders the Perumal about – How long would you be so slothful – reclining all the time? Stir yourself. You have a job to do.
கிடந்த நாள் கிடந்தாய் எத்தனை காலம் கிடத்தி உன் திருஉடம்பு அசைய
தொடர்ந்து குற்றேவல்செய்து தொல் அடிமை வழி வரும் தொண்டரோர்க்கு அருளி
தடம் கொள் தாமரைக் கண் விழித்து நீ எழுந்து உன் தாமரை மங்கையும் நீயும்
இடம் கொள் மூவுலகும் தொழ இருந்தருளாய் திருப்புளிங்குடிக் கிடந்தானே
Nammazhwar has sung about the presiding deities in several Divya Desams –
Sri RAngam, ThiruppEr, Thirukudanthai, ThiruviNNagar (Sri Oppiliappan Koil), ThirukkaNNapuram, Thirumaaliruncholai (Azhagar Koil), Thirumogoor, Thirukkurhoor. Azhwar Tirunagari (Nammazhwar’s birthplace), Srivaramangai, ThiruppuLingudi, ThiruppErai, Srivaikuntam, varaguNamangai, PerunkuLam, ThirukkuRunkudi, ThirukkOvalUr, Thiruvananthapuram, ThiruvaNparisaaram, Thirukkaadkarai, Thirumoozhikkalam, Thiruppuliyur, ThiruchenkundrUr, Thirunaavaay, Thiruvallavaazh, ThiruvanvaNdUr, Thiruvattaaru, Thirukkadiththaanam, ThiruvaaRanviLai, Thiruvenkatam, thiru ayodhya, Dwarakama, Vadamathurai. All of 33 Divya Desams plus ThiruppaRkadal and Sri Vaikuntam as well
But Nammazhwar was not known to have moved out of the cavernous tamarind tree seat at all. Amazing that he could visualize all these Emperumaangal and the Thaayars, sitting there in Azhwar Tirunagari, never having travelled at all. Underscores the appellation Madhura Kavi found for him – Sarva Njani.
Nammazhwar is believed to have had a curtailed longevity – among all the Azhwars, apart from Andal who united with her Arangan very young, Nammazhwar lived to only 35 years. He may have attained param padam while in ThiruppEr Nagar – a conjecture from the last verses by him adoring the presiding deity at that Divya Desam.
It was Madhura Kavi Azhwar who took it on his head and took the Dravida Vedham to all nooks and corners – in keeping with his vow -
நாவி னால்நவிற்றி இன்ப மெய்தினேன்
மேவி னேனவன் பொன்னடி மெய்ம்மையே
தேவு மற்றறி யேன்குரு கூர்நம்பி
பாவி னின்னிசை பாடித் திரிவனே
Madhura Kavi went to Madurai and heralding Nammazhwar to his heart’s content, took on the reputed Madurai Thamizh Sangham
வேதம் தமிழ்செய்த பெருமாள் வந்தார்,
திருவாய்மொழிப்பெருமாள் வந்தார்,
திருநகரிப்பெருமாள் வந்தார்,
திருவழுதிவளநாடர் வந்தார்,
திருக்குருகூர்நகர்நம்பி வந்தார்,
காரிமாறர் வந்தார்,
சடகோபர் வந்தார்,
பராங்குசர் வந்தார்”
And he proferred for approbation by the reputed ‘Sanghap Palagai’ – a floating plank that is supposed to have the ability to judge, approve or reject classical Thamizh poems, a two liner of Nammazhwar, in preference to numerous verses in four lines and more –
கண்ணன் கழலிணை நண்ணும் மனமுடையீர்
என்னும் திருநாமம் திண்ணம் நாரணமே! (திருவாய்மொழி 10.5.1)
The Sanghap Palagai accepts that verse and the Sangham instantly lauded Nammazhwar, thus:
ஈயடுவதோ கருடற்கெதிரே இரவிர்கெதிர் மின்மினி ஆடுவதோ
நாயாடுவதோ உறுமும்புலிமுன் நரி கேசரிமுன்நடையாடுவதோ
பேயடுவதோ ஊர்வசிக்குமுன் பெருமானடிசேர் வகுளாபரணன்
ஓராயிரமாமறையின் தமிழிற்ஒருசொற்பொறுமோ இவ்வுலகிற்கவியே
Would a pathetic fly dance before the imperial Garuda? Would a firefly dance in front of the brilliant sun? Would a poor dog dance in front of a ferocious Tiger? Would a deplorable jackal walk with pride in front of the king of the forest – the Lion? Would a ghost dance in front of Urvasi? Could all the so called poems (of Thamizh) together, match one single phrase in the one thousand strong Thamizh Vedham of VakuLaparaNan?
The ultimate seal of approbation – by Madurai Thamizh Sangham.
Namperumal of Sri Rangam is very very fond of Nammazhwar. It was Thirumangai Azhwar who established the ‘Iraappaththu’ utsavam in Sri Ranganatha Swami temple, when Thiruvaaimozhi was rendered during ten nights. Thirumangai Azhwar arranged for Nammazhwar to be brought to Sri Rangam to be physically blessing this celebration.
After Nammazhwar attained parama padam, Thiruamangai Azhwar constructed a sannidhi for Nammazhwar in order that his archa murthi would preside over the ‘Irappaththu’ Utsavam. The concluding celebration where the idol of Nammazhwar lays his head at the Ponnadi of Rangan is filled with a lot of emotion, the priests as well as the congregation deeply moved.
The Tamarind tree in Azhwar Tirunagari, in the Adipiran temple precincts still flourishes – after hundreds of years. It regularly sheds leaves, spring brings new shoots, the tree turns green, flowers but never yields fruit. The tree has its own history in folklore. In Ramayana’s Uttara khanda in the episode where sage Durvasa curses Lakhsana for having stopped him from having darsan of Rama in ekantham with Sita Piratti, curses him to become a ‘jatam’ inanimate thing. Sri Rama, while consoling him, commends to him to go and become the tamarind tree in Azhwar Tirunagari, saying that he would himself arrive there as Nammazhwar; Lakshmana, the Ananthaazhwan, would continue to shelter him, protect him.
All the other ten Azhwars (excluding Andal) are assumed to be different parts of Nammazhwar – Bhoothathaazhwar was the head; Poigai and Peiy Azhwars were the two eyes, Periyazhwar was the face, Thirumazhisai Azhwar the neck, Kulasekara Azhwar and ThiruppaaNaazhwar the two arms, Thondardippodi Azhwar, the chest, Thirumangai Azhwar – the stomach and Madhura kavi Azhwar, the feet.
These are the numerous names that Nammazhwar is known by –
Satagopan
MaRan
KaarimaaRan
Paraankusan
VakuLaabharaNan
Kurugaippiraan
Kuruhoor Nambi
Thiruvaaimozhi Perumal
Perunal ThuRaivan
BhavarOga Pandithan
Muni Venthu
Parabramha Yogi
Naavalar Perumal
Njaana Desikan
Njaana Piraan
ThoNdar Piraan
NaavIrar
ThirunaavIRu Udaiyapiraan
Udhaya Bhaskarar
VakuLa Bhooshana Bhaskarar
Njanath Thamizhukku Arasu
Njana Thamizhk Kadal
Mei Njanak Kavi
Deiva Njanak Kavi
Deiva Njana Chemmal
Naavalar Perumal
Paavalar Thambiran
Vinavaadhu UNarntha Virakar
Kuzhanthai Muni
Sri Vainavak Kulapathi
Prapanna Jana Koodasthar
MaNivalli
Periyan.
Nammazhwar is accorded the ultimate distinction of taking a place in the line of Sri Vaishnava Guru Parampara – right after Emperumaan, Sri Piratti, and Vishvaksenar in the celestial fold:
Periya perumAL (srIman nArAyaNan)
Periya pirAtti (srI mahAlakshmi)
SEnai mudhaliAr
NammAzhwAr
NAthamunigaL
UyyakkoNdAr
MaNakkAl nambi
ALavandhAr
Periya nambi
EmperumAnAr
EmbAr
Bhattar
NanjIyar
NampiLLai
Vadakku thiruvIdhi piLLai
PiLLai lOkAchAryar
ThiruvAimozhi piLLai
Azhagiya maNavALa mAmunigaL