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Sri SundaraBahu Sthavam


SrI SundarabAhu Sthavam is a big sthavam with 132 slOkams .  KurEsar
enjoyed the Vaibhavam of ThirumAlirumchOlai SundararAja PerumAl
intensively as the Six AzhwArs did through their 128 Paasurams .
PeriyAzhwAr , ANDAL , Thirumangai , BhUthatthAzhwAr , pEy AzhwAr and
NammAzhwAr have blessed us with 128 deeply moving Pasaurams about the
dhivya Soundharyam of the Lord celebrated as Azhagar , MaalalankArar ,
Sundara ThOLudayAn , Sundara Baahu , KaLLazhagar. As archA Moorthy ,
Azhagar's aprAkrutha soundharyam shines through His aparanji tanga
ThirumEni .

Here at ThirmAlirumchOlati known otherwise as Azhagar Koil  , Lord
SundarabAhu enjoys the cool breezes from Vrushabha Giri and enjoys
Thirumanjanam from the waters of SilambARu (Noopura Ganghai) . Here the
Lord is accompanied by Sundaravalli ThAyAr and resides under Somasundara
VimAnam . The fragrant breeze from the Vrushabha Giri embraces the natural
perfume of the Sandal Wood Trees , which are the Sthala Vrukshams at this
dhivya dEsam .

KurEsar's ancestors were performing atthANi sEvakam to SundarabAhu and
Sundaravalli ThAyAr for centuries before one of their descendants settled
down in Kooram agrahaaram near Kaanchipuram . Hence , KooratthAzhwAn had
ancestral links to ThirumAlirumchOlai . In the 76th SlOkam of SundarabAhu
Sthavam , Swamy KurEsar refers to his ancestral links to
ThirumAlirumchOlat :

" MaamakAsccha Gurava: purAdhanaa: Sundaram Vanamaheedhragam srithA: "

Here , KurEsar states that his ancestors arrived at ThirumAlirumchOlai and
gained Parama PurushArTam through their worship of Azhagar, who had
settled earlier at the foothills of VrushabhAdhri .    

This elaborate Sthavam was created by KurEsar at ThirumAlirumchOlai , when
he was an exile from ChOLa Naadu due to the cruelty of the fanatic ChOLa
king . He missed the Sriranga SrI. His AchAryan was away at Melkote.  He
was approaching the ripe age of one hundred . Here at " Thenn KooDarkkOn
tennan koNDAdum tenn ThirumAlirumchOlai " , KurEsar reminds the Lord about
his ancestor's atthANi sEvakam to Him following the foot steps of
Malayadhwaja Paandyan , the ruling king of Tenn Mathurai, who gained
Moksham at this dhivya dEsam . Lord SundarabAhu is prathyaksham to
Malayadhwaja PaaNDyan even today at this dhivya dEsam . Here KurEsar
missed antharanga Kaimkaryam for his AchAryan (BhAshyakArar) , who was
away at Melkote  and prayed to Lord SundarabAhu to unite him with his
AchAryan . This union happened and AchArya RaamAnuja took his dearest
sishyan to Lord VaradarAjan's Sannidhi and commanded his sishyan to pray
for the restoration of his eyesight . The matchless boon giver, Lord
VaradarAjan responded positively . KurEsar did not want the eye sight for
seeing any one except his AchAryan and Lord VardarAjan , His aarAdhana
Moorthy . Lord VaradarAjan granted that special boon to his dear devotee.

adiyEn will cover the first ten slOkams of Swamy KurEsar about
Lord Sundara Baahu ( KaLLazhagar ) today .

SrImanthou Hari CharaNou samAsrithOham
Sriraamaavaraja Muneendhra laBdha bhodha:
nirbheeka: tatha iha SundarOrubAhum
sthOshyE taccharaNa vilOkanAbhilaashee

(Meaning ) : adiyEn , who has been blessed to recieve clear Jn~Anam about
the Tatthva Thrayams from Bhagavath RaamAnuja Yatheendhrar ; adiyEn is
therefore holding the sacred feet of Hari NaarAyaNan with nithya
sambhandham ( eternal links ) to SrI Devi ; as a result of my SaraNAgathy
, adiyEn is freed from the fear about the mighty and sorrowful ocean of
SamsAram . adiyEn is going to eulogize now the Lord of ThirumAlirum
ChOlai -- known for His beautiful and strong shoulders-- for the purpose
of gaining the darsana soubhAgyam of His sacred Thiruvadi .

(Commentary ) : This slOkam is a moving celebration of Swamy KurEsar's
AchArya Bhakthi and his blessed status as one , who has chosen Prapatthi
at the Thiruvadi of Sri Hari NaarAyaNan as the UpAyam for Moksham . Swamy
KurEsar acknowledges that the AchArya Sambhandham is the cause for all
MangaLams and expresses his gratefulness to his AchAryan by acknowledging
that he gained clear Jn~Anam about Tatthva Thrayam and rahasyArthams from
Sri RaamAnujA ( SrI RaamAvaraja Muneendhra laBdha BhOdha: ) . Afterwards ,
KurEsar describes that he performed his Prapatthi at the holy feet of Hari
with nithya sambhandham to SrI Devi ( SrImanthou Hari CharaNa
SamAsrithOham ) . The direct result of his SaraNAgathy made KurEsar free
from the fear (nirbheeka: tathA ) of the sorrowful SamsAric ocean.
KurEsar states that he is ready to start his sthOthram of the Lord of
ThirumAlirum chOlai with mighty arms  for gaining the darsana soubhAgyam
of His auspicious Thiruvadi ( taccharaNa vilOkana abhilAshee
SundarOrubAhum sthOshyE ) . KurEsar wishes to have the darsanam of what
AzhwAr saluted as "Thiruppolintha sEvadi ".  "SrImanthou Hari charaNou
SamAsrithOham " reminds us of the Poorva BhAgam of Dhvaya manthram .

SlOkam 2
*************
SundarAyudha bhujam bhajAmahE vrukshashaNDamayam adhrim aasritham
yathra supraTitha noopurapagA theerTam arTitha phalapradham vidhu:

(Meaning  ) : We worship the Lord of ThirumAlirumchOlai , who has the long
and beautiful shoulders . He has chosen as His place of residence , the
mountain with dense assembly of trees and groves and where the renowned
SilambARu's ( Noopura Gangai)  sacred waters flow and grants every one ,
who takes bath in it their desired wishes .

( Commentary ) : When BhagavAn took Thrivikrama AvathAram , Gangai flowed
from the Silampu that he was wearing around His ankles following Brahma
Devan's washing of the Lord's feet .  That flow of water is known as
"SilampARu " and comes down from the hills around ThirumAlirum Cholai.
Sundara Baahu PerumAl gets bathed in this SilampARu water .  Sundara Baahu
PerumAL's archA moortham is made up of aparanji Gold ( a very high grade
gold) and SilampARu theertham is ideal for Thirumanjanam for the aparanji
gold . Those waters of SilampARu are sacred due to the association with
BhagavAn's ankle ornament ( SIlampu) and hence it gives Ishta PrApthi for
those , who bathe in it .The Forests on the mountain slopes around this
dhivya dEsam are populated by fragrant trees like Sandal , Akil et al .
Hence this mountain ( VrushAdhri ) is known as Solai Malai . ThirumAl
(Sundara Baahu) stays here and hence the dhivya dEsam is known as
"ThirumAlirum ChOlai " .  PeriyAzhwAr salutes this Noopura Gangai as "
SilampARu ppayum tenn ThirumAlirum chOlayE " and His dear daughter (ANDAL)
salutes this dhivya dEsam as " Santhodu Kaarahilum sumanthu taDangaL
poruthu vanthu izhiyum SilampARudai MaalirumchOlai ". Thirumangai AzhwAr
enjoys the beauty of the sandal trees , gems and peacock feathers being
brought down by the swift currents of SilampARu from the mountain tops : "
Santhodu MaNiyum aNi mayil tazhayu, thazhuvi vantharuvikaL niranthu
vanthizhi saaral MaalirumchOlai " .

SlOkam 3
**************
Kvachith thvaritha gAminee kvachana mandha mandhAlasaa
kvachith skhalitha-vihvalaa  kavachana phEnilaa saaravaa
padanthyapi kila kvachith vrajathi noopurAhvaa nadhee
Susundara bhujAhvayam madhu nipeeya matthA yaTA

( Meaning) : This SilampARu has drunk the intoxicating honey called
SundarabAhu and is descendng rapidly at some places and moving leisurely
at the other places ; at some places , she is blocked by boulders and
causes whirlpools and yet at other places , She is full of foam and is
making a lot of noise as she flows down ; elsewhere , she takes the form
of a mountain stream (aruvi) .

(Commentary ) : Poets frequently compare the rivers to women in all their
moods .  If a woman has drunk any wine , her moods get accentuated . The
lady with the name of SilampARu ( NoopurAhvaa Nadhee ) has drunk the Madhu
known as SundharabAhu ( Susundhara bhujAhvayam madhu nipeeya) and has
become intoxicated ( matthA yaTA ) . This Madhu arose from the sambhandham
with the Lord's sacred feet . As a result of partaking that Madhu ,
Noopura Gangai rushes down from the mountain at some places and at other
places , she moves with a slow gait .  Elsewhere , she flows( moves )
noisily . Other places , She comes down as swiftly descending aruvi (
water falls) .

SlOkam 4
**************
udhadhiga mandharAdhri maTi manTana laBdhapayO--
madhura rasEndhirAhva sudha sundaradhO: parigam
asaraNamAdhrusAthma saraNam SaraNArTinajana--
pravaNadhiyam bhajEma tarushaNDa mayAdhri pathim

(Meaning) : Let us enjoy the darsanam of the Lord of ThirumAlirum chOlai ,
who is the refuge for those like adiyEn , who have no other recourse ; He
is deeply attached to the all , who have performed SaraNAgathy at His
sacred feet . Let us enjoy the Sevai of this Lord with beautiful arms and
shoulders , who churned the Milky ocean with Mandhara mountain as the
churning rod and using His own powerful  hands to acquire the essence of
that milky ocean (i-e)., the nectar known as MahA Lakshmi .  

(Commentary ) : Our Lord churned the Milky ocean . Every one present there
thought our Lord was churning to release the simple nectar for the DevAs .
He had some thing else in mind : "ViNNavar amudhuNa , amudhil varum
PeNNamudhu uNDAn " . While the DevAs ate the nectar , our Lord enjoyed the
acquisition of the Femenine nectar of Sri Devi . ANDAL celebrated this
leelai of the Lord this way : " Mandharam nAtti anRu Madhurak-kozhumchARu
koNDa Sundarat- thOLudayAn " . The celebration of the Lord of ThirumAlirum
ChOlai as " SaraNrTi Jana pravaNa dhiyam " is a moving tribute to the
attachment of the Lord to SaraNAgatha Janams. The salutation to MahA
Lakshmi as " PayO Madhurasa IndhirAhva sudhi " ( the feminine nectar ,
which is the essence of the milk named Indhiraa ) is another beautiful
poetic description .  

SlOkam 5
*************
Sasadhara-ringaNa-AaDyasikham  ucchikaraprakaram  
timira nibha prabhUtha tarushaNDamayam bramadham
bhidhuritha saptha lOka suvisrungala sankharavam
vanagirim aavasantham upayAmi Harim SaraNam

(Meaning) : adiyEn clings to the mOksha upAyam of Hari NaarAyaNan ,  who
has ThirumAlirumchOlai as the place for His permanent residence (
Vanagirim aavasantham Harim).  This Supreme Being is known for the
unobstructed sound of His Paanchajanyam , which has the power to shatter
all the seven worlds ( bhidhuritha sapthalOka suvisrunkhala Sankaravam ) .
This Vana Giri ( ThirumAlirum ChOlai) has lofty peaks among which the Moon
roams . These lofty peaks are mistaken as the intense , dark groves  that
this Vana Giri is famous for. 

(Commentary) : " Mathi tavazh kudumi Maalirum ChOlai " is how AzhwAr
describes ThirumAlirumchOlai . AzhwAr describes the Moon here as crawling
like an infant between the lofty peaks here . Thirumangai sees the play
between the Moon , the tall Mountain and the dense green (dark) groves
this way : " ThingaL nann maa muhil sEr ThirumAlirum ChOlai " .  KurEsar
echos Thirumangai's  thoughts as " Sasadhara-ringaNa-AaDyasikham
ucchikhara-prakaram " as the first paadham of this slOkam . In the second
paadham , the echo of Swamy NammAzhwAr's Paasura passage is  heard : "
mayal mihu pozhil soozh MaalirumchOlai" ( timira nibha prabhUtha
tarushaNDamayam bhramadham Vana Giri ) .  The Pozhils ( groves and
froests) cause the illusion because of the darkness created by their
density that they are the dark green, tall mountains . It is hinted that
the tall trees nestling with each other to form a canopy and have shot
upto the sky and prevent  the rays of Sun or Moon to penetrate down below.
KurEsar was deeply immersed in the enjoyment of AzhwAr's aruLiccheyalkaL
and echoed them quite often in his own impeccable way in his Sthavams .
The Third Paadham, " bhidhuritha sapthalOka suvisrunkhala sankharavam " is
an echo of Poem passage, "athir kural Sankatthazhahar " , which relates to
the incident , when ThirumAlirum ChOlai Azhagar sat in the Paandya King's
Tamizh Sangam as a Scholar-poet ( Pulavar) and examined the offerings at
that exalted assembly and blew His conch , when He approved the work
prsented before the Tamizh Sankam .     

SlOkam 6
*************
yatthunga-srunga vinashangi surAnganAnAm
nyasthOrdhva puNDra mukha maNDana maNDithAnAm
dharpaNyabhUth dhrutham apanga sasAnka prushtam
taddh dhAma Sundarabhujasya mahAn vanAdhri:

(Meaning) : The divya dEsam of ThirumAlirumchOlai , the consorts of the
DevAs flock to have SundararAjan's darsanam. They bathe in Noopura Gangai
, adorn Urdhva PuNDrams with the help of the mirror of Chandran (nyastha
Urdhva PuNDra mukha maNDana maNDithAnAm SurAngaNAnAm ) . The dEva mAthAs
appear to touch the Moon , hold it and fix their Urdhva PuNDrams with the
help of the Moon serving as the Mirror in the poet's imagination (
SurAnganAnAm dhrutham apanka SasAnka prushDam dharpaNee abhUth ) .  Such
is the greatness of dhivya dEsam of ThirumAlirumchOlai( Taddh dhAma
Sundarabhujasya VanAdhri: mahAn ) .

(Commentary ) : The thoughts expressed in this slOkam are echos of number
of AzhwArs . For instance , PeriyAzhwAr salutes this dhivya dEsam and
refers to the Deva MaathAs taking bath in the Noopura Gangai and
worshipping the Lord ( " SilampArkka vanthu DhaivamahaLirkaL aadum
seercchilambhARu paayum tenn THirumAlirumchOlayE" ) .  The union of the
Moon with the Dhivya dEsam is celebrated also by the AzhwAr as : "
MalamaRu Mathi sEr MaalirumchOlai " .  Swamy KurEsar is a Masterpoet and
has demonstrated his poetic skills by setting the various slOkams of His
Sthavam in many lilting metres .This slOkam is set in Vasantha Tilakam
metre.    

SlOkam 7
*************
yadheeya-sikharAgathAm sasikalAm thu sAkhAmrugA:
nireekshya  harasEkharee-bhavanam aamrusantha: tatha:
sprusanthy na hi dEvathAnthara samAsrithEthi sphuDam
Sa yEsha sumAhA-taru-vrajagiri gruham SrIpathE:

(Meaning) : There are many Monkeys ( SaakhA mrugA: ) on the hills
surrounding the dhivya dEsam . They are ParamaikAnthis (MaRanthum puRam
thozhaar ) and will not think of worshipping anyone but Srimann NaarAyaNan
in His archA form at ThirumAlirumchOlai . The ParamikAnthi monkeys see the
Chandran on  the  third day of Sukla Paksham or KrishNa paksham as a
crescent Moon and stay away from that form of Chandran since that adorns
Siva"s head due to Daksha  Prajaapathi's curse .  The monkeys are on top
of the hill and can almost touch the crescent Moon with their hands but
they refuse to do so because of the Moon's sambhandham with DevathAntharam
. They can not do so because of their ParamaikAnthithvam .

(Commnetary) : The Moon during the third day of growth or waning is
adjascent to the tall peaks of the mountain and it is seen very close to
them by the monkeys as they sit on top of those peaks ( Yadheeya sikhara
aagathAm sasikalAm nireekshya SaakhA mrughA : ) . They reflect on the
thrid day crescent Moon ( aamrusantha: sasikalAm SaakhA mruga: ) . The
monkeys decide not to extend their hands to touch the Moon because of its
dEvathAnthara sambhandham of  being adorned by Lord  SivA in His Jadai to
give Him the name of Chandra Sekharan ( SasikalAm nireekshya ,
HarasEkharee bhavanam aamrusantha: SaakhA MrugA: ) . They do not touch
therefore the Moon unlike the Devasthrees in the previous slOkam .  This
is clear (sphuDam) . Such is the glory of this VrushAdhri , the permanent
residence of SundararAjan because of the presence of ParamaikAnthis every
where .  Only the Moon crescent of the third day has the dEvathAnthar
dhOsham , not the full Moon or astami chandran et al .The monkeys refuse
to have contact with that particualr Moon crescent .  

SlOkam 8
*************
SundaradhOr-dhivyAj~nA lambhana kaatara-vasaa-anuyAyini kareeNi
praNaya-kalaha samAdhi : yathra VanAdhri sa yEsha SundaradhOshNa:

(Meaning) : The male and female elephant couple roaming the VrushAdhri
mountain , the abode of the Lord , some times develop OOdal ( anger from
differences of opinion ) and seperate from each other .The male elephant
can not take the seperation and cries out to its partner that it is the
Lord's command for them to stay united and the female elephant heeds that
command and forgets its anger to rejoin her partner . Swamy KurEsar
invokes this picture of reunion of the elephant couple in this slOkam as
visualized earlier by PeriyAzhwAr in His ThirumAlirumchOlai Paasuram (
PeriyAzhwAr Thirumozhi : 4.2.5) .  Such is the glory of these mountains ,
where the power of the Lord is evident everywhere .

(Commentary) : The male elephant (KariNi ) following the angry female
elephant ( Kaatara vasaa anuyAyini) creates the end to their praNaya
kalaham ( love quarrel) by declaring that it is the divine command of Lord
Sundararajan to be togeether  and got reunited with the female elephant (
DhivyAj~nA lampana praNyaja kalaha samAdhi :) . Such is the greatness of
the Mountain , where Lord Sundara Rajan resides .  The chandas used in
htis slOkam is VaidhALeeyam .

SlOkam 9
*************
Sa yEsha soundaryanidhE: dhrutha-sriyO
vanaachalO naama sudhAma yathra hi
bhujangarAjasya kulasya gouravAth
na khaNDithA: kuNdalina: sikhaNDibhi:

(Meaning) : On this Solai Malai 's hill (VrushAdhri) , the snakes
(KuNDalina:) as descendants of AdhisEshan (Bhujanga Raajan) , are not
attacked by the peacocks (SikhaNDibhi: ) , their natural enemies . Such a
hill with the celebrated name of ThriumAlirumchOlai malai is the
auspicious residence (Sudhama) of the wealth of Beauty ( Soundharya nidhi
, Sundara Raajan ) , on whose chest resides MahA Lakshmi ( Dhrutha Sriya:
= " yERu ThiruvudayAn" of ANDAL's NaacchiyAr Thirumozhi ) .

(Commnetary ) : Sthala PurANam for this dhivya dEsam refers to the Lord
mediating to remove the traditional enimity between the Snakes and the
Peacocks .  Both respect the Lord's presence here and desist from
attacking each other . Both engage in Bhagavath Kaimkaryam . The poetic
meter used here is "PushpithAgraa" . 

SlOkam 10:
****************
Vrushagirirayam Achyuthasya yasmin
svamatham alangayithum parasparEbhya:
khagapathy charaNou khagaa: sapanthE
BhujagapathE : bhujagAsccha sarva yEva

(Meaning): This Solai Malai is a dharma Malai  , the mountain which is the
embodiment of Dharma . This dharma mountain belongs to Achyuthan , who
never abandons anyone , who has sought His refuge .  Here , all the birds
( Pakshi , Tiryank ) take a vow in the name of their Kula Pathi ,
PakshirAjan and get their wishes fulfilled by Bhaagavaan .  Similarly ,
the Snakes take a vow in the name of their king , AdhiSeshan and have
their wishes realized . Such is the power of this mountain embodying
Dharma chosen as the seat of the residence by Lord Achyuthan ( Sundara
Raja PerumAL) .

(Commnetary ) : The definition of "Vrushaa "  is : " VrushO hi Bhagavaan
Dharma:  ".  This mountain is named Vrsuha Giri or the Dharma Svaroopa
Giri . The Achyutha naamam is chosen for Bhagavaan here because Vrusha
Giri has no sambhnadham with kshudhra dEvathais . The deep meanings of
Achyutha Naamam underlying the Lord's unfailing vow not to abandon anyone
, who sought refuge in Him are emphasized here : " yasmaanna
chyutha-poorvOham AchyuthastEna karmaNA "  ( Other devathais will abandon
those , who sought in refuge in them but not Achyuthan , who practises the
Achyutha Tatthvam through His deeds ) . In Taathparya Chandrikai , Swamy
Desikan defined the Achyutha namam this way : " Aasrithan na chyAvayathi ,
atha chyuthOasya naasthi".  ( Achyuthan never lets down any one , who
sought His rakshaNam ) .  

SlOkam 11
**************
Harikulam akhilamHanumadhangrim
     svakulapa JaamBavatha: taTEva bhallA:
nija kulapa jaDAyusha: cha grudhrA:
     svakulapathE cha GajEndhra nAmnA 
 
SlOkam 10 & 11 have to be read together as a connected pair.  In the previous
slOkam , Swamy KurEsar referred to the birds taking a vow at PakshirAjan's feet
as their Kulapathy ( " khaga: Khagapathy charaNou parasparEbhya: sapanthE ayam
Vrushagiri: Achyuthasya " ) to extoll the greatness of Achyuthan residing at
Vana giri and to perform nithya kaimkaryam to Him . Here ,  other members of
the animal kulam are invoked to show their dedication to Bhagavath Kaimkaryam
because of the power of this Solai Malai ( Vrusha Giri) that arises from the
Lord's presence there .

 
(Meaning ) : All the monkeys vowed in the name of their Kulapathy ,
HanumAn ; the bears vowed in the name of their Kulapathy , JaamBavAn;
the Eagles took  a vow invoking JaDAyu ; the elephants vowed to 
engage in Bhagavath Kaimkaryam in the name of GajEndhran . They
said "ThiruvANai NinnANai " and vowed that Bhagavath Kaimkaryam
is their goal ( uddhEsyam) . They all became ParamaikAnthis through
their avyapachArika bhakthi for the Lord of ThirumAlirum ChOlai .
   
 
SlOkam 12: 
****************
VakuLadhara sarasvathee vishaktha 
     svararasa bhAvyuthaasu kinnareeshu
dhravathi dhrushadhapi prasaktha gAnusu 
     iha Vanasaila taDeeshu Sundarasya 
 
(Meaning) : As the Kinnara women began to sing the ThiruvAimozhi
Paasurams of Swamy NammAzhwAr with the VaguLa pushpa garlands ,
some thing extraordinary happened at SundarabAhu's Solai Malai.
The power of the NishAdham and other svarams as well as the srungAra 
rasam embedded in Swamy NammAzhwAr's Paasurams on Solai Malai
( KiLaroLiLamai / 2.10 and MudicchOthiyAi / 3.1 , SenchoRkkavihAL/10.7)
made even the stones melt , as the Musical experts , Kinnara women sang
the above paasurams . The Svara-Rasa BhAvams of the singing of 
Swamy NammAzhwAr's Paasurams by the KInnara women melted
the stones of the mountain and that flowed as SilampARu .
 
(Commentary ) : Just as ChandrakAntha stone melts with the Moonrise
and just as SooryakAntha stone melts with the Sunrise , the stones of
the Vana Giri melted on hearing the sunAdham of Swamy NammAzhwAr's
paasurams sung by the divine musicians .The mountain itself is described 
by some bhakthAs of SundararAjan as the Noopuram (Silampu) of the Lord ,
which melted to generate Noopura Gangai ( SilampARu ) .
    
SlOkam 13 ( Long SaardhUla vIkreeDitham Meter ):
****************************************************************
brunghee gAyathi HamsatAla nibhrutham , tath pushNAthi kOkilAapi
  udhgAyathyaTa valli tallajamukhAth aasram madhu syandhatE 
nisspandhasthimitA: kurangatataya: seetham silAsaikatham
   saayAhnE kila yathra Sundarabhuja: Tasmin vanakshmAdharE 
 
(Meaning) : Lord SundararAjan presides over the Solai Malai , where 
the female bees sing ThiruvAimozhi in consonance with the beat 
(TaaLam) associated with the gait of the Swans  (Hamsa tALa nibhrutham 
Bhrungee gayathi ). The female nightingale takes the cue from the song
of the bee and loudly joins in the ongoing song . The delicate creeper 
listening to these beautiful songs shed tears of joy from its flower bunches
in the form of sweet honey . The assembly of deers listen to this music 
and become immobilized and close their eyes in enjoyment .The hot sand 
dunes and the granite slabs become cool from the effect of this music .
At he sandhyA kaalam ( evening ) , all these extraordinary events take
place at this dhivya dEsam , where Lord SundararAjan has His abode .
Such is the Vaibhavam of Solai Malai !   
 
SlOkam 14 :
****************
PeethAmBaram varadha-seetala dhrushtipAdham
     aajAnulamBibhujam aayatha karNa paasam 
Srimann MahA VanagirIndhra nivAsa dheeksham 
    LakshmIdharam kimapi vasthu mamAvirasthu
 
From this slOkam onwards , the VedAnthic doctrines will 
be the focus of Swamy KurEsar . He starts withthe salutation
to the dhivya MangaLa vigraham of Lord SundararAjan here .
 
( Meaning) : May the Supreme Lord appear before adiyEn 
with the yellow silken garment ( PeethAmbharam) around His waist , 
with His merciful eyes granting our desired boons , with the arms extending 
all the way to His knees , with His beautiful , long and auspicious ears and
with MahA Lakshmi residing on His chest ! May the Lord , who is beyond 
description by mind or speech and who has taken Vana Giri as the dhivya
dEsam for His permanent residence bless adiyEn with His appearance ! 
 
SlOkam 15:( ManjubhAshiNee Metre)
***********************************************
Jani jeevana apyayavimukthayO yathO
     jagathAmithi sruthisirassu geeyathE
tadhitam samastha dhurithaika bhEshajam
     Vanasaila sambhavam aham bhajE maha:
 
(Meaning) : AdiyEn has the sevai of the Supreme JyOthi of
Vana Giri , who is the precious medicine for the illness of
SamsAric afflictions , who is declared by the Upanishads as 
the root cause of the birth , sustenance, MokshAnugraham and 
the dissolution of  the Universe and its beings .
 
(Commentary) : Upanishads and Geethai celebrate the Lord being 
the sole cause of the birth ( Jani) , sustenance ( Jeevanam) ,
destruction ( apyayam) and Moksham ( Vimukthi)  : "TamEvam
VidhvAn amrutha iha bhavathy "declares Purusha Sooktham  . In Geethai , 
our Lord says: " Aham Thvaa Sarva PaapEpyO MokshayishyAmi Maa Sucha: " .
Maharishis have stated : " MokshadhO BhagavAn VishNu: , MokshmicchEth 
JanArdhanAth " . PeriyAzhwAr reminds the Lord of ThirumAlirumchOlai 
standing as the great medicine for samsAric illness:
 
" ippiRavi yennum nOykku maRunthu aRivArumillai ; MarutthuvanAi
ninRa MaamaNi VaNNaa ! maRu PiRavi tavirat-tirutthi Unn KOil kadaip-
puhappey ThirumAlirumchOlai YenthAi ! " . 
 
Azhwar states here that niether Sivan, nor Brahmaa or Indhiran 
know about any medicine for the cruel SamsAric illness . Oh Lord of 
ThirumAlirumchOlai ! You stand as the medicine and Doctor prescribing it . 
Please cure me of the SamsAric illness and bless me with freedom 
from the cycles of births and deaths and grant me entry into Your 
Supreme abode ! He is Bhava oushadham ( Medicine for SamsAram).
The source pramANam for considering BhagavAn as the curative medicine 
for SamsAram is provided by the Veda Manthram : " Bhishakttamam ThvAm 
bhishajAm vruNeemahE " .    
 
Swamy KurEsar ThiruvadigaLE SaraNam ,
SrimathE SrIvaNN SaThakOpa NaarAyaNa YathIndhra MahA DesikAya Nama:
Daasan Oppiliappan KOil VaradAchari Sadagopan