srImathE SaTakOpAya namah
srImathE rAmAnujAya namah
srImathE anantArya mahAguravE namah
srImathE vara vara munayE namah
There are many modes of having anubhavam of the Lord, and His
countless auspicious qualities. Some of them are - enjoying Him by
telling/reciting His countless names, describing His beauty, by
talking about the great beauty and wealth of the divyadEsams which
He has blessed by being there, by talking about the greatness of the
SriVaishNavas who live in those blessed places. Among such
ways/modes, there is one mode which is extremely special. That mode
is a mode in which the AzhvAr moves away from the mode of the male
AzhvAr, takes the mode of a female person and speaks in the
mode of that female person.
When the AzhvAr is enjoying the Lord in this (female) mode, there
are three possible ways - (i) as the mother of a girl who is in
extreme love with the LOrd, (ii) as the friend of the girl who is in
extreme love with the LOrd, and (iii) as the girl who is in extreme
love with the Lord. During these modes (in the paasurams that the
AzhvAr has composed in these modes), the name parAnkuSa turns
into "parAnkuSa nAyaki" (i.e. feminine gender). Even though
the pasurams seem like they are told by the girl, her mother or her
friend, in reality it is the AzhvAr Himself who is speaking through
these paasurams. This is analogous to a big river that may have
several channels in it. Each channel will still be referred to by
the river's name. Similarly, in these pAsurams, AzhvAr Himself is
speaking - for e.g. he ends one such thiruvaymozhi with "amar pozhil
vaLam kurukoor SaTagOpan kuRREvalgal" (the services done
by saTakOpan of the wealthy kurukoor in which great souls live".
Why should the AzhvAr leave his masculine mode, and adopt a feminine
mode in these paasurams? AzhvAr himself does not adopt these modes
by his own will. As he gets immersed in the enjoyment of the LOrd
and His qualities, he gets so immersed that these modes
automatically come to him. The purusha uttama (most superior man)
of the Universe is the LOrd, and before Him, every other being in
the Universe is feminine; also, the nature of the soul is to be
completely dependent on the Lord (pAratantryam).; due to the above
two points, we can infer that the mode of a feminine
person is something that is temporarily present (vandhERi).
In this thiruvAymozhi, parAnkuSa nAyaki sends some birds as
messengers to do some work for her. The great commentaries
blessed by our pUrvAchAryAs teach us that these birds are metaphors
for our great AchAryAs who are full of knowledge,
and who show us how to live according to scriptures.
>From this thiruvAymozhi onwards, adiyEn will also translate the word-
by-word simple meanings (padavurai only) for
the corresponding pAsuram of svami maNavALa mAmuni's thiruvAymozhi
nURRandhAdhi. The source, once again, is svAmi
P.B.ANNangarAchAriAr's commentary - this very very simple version is
taken from the nityAnusandhAnam pozhippurai
book that is a small sub set of svAmi's divyArtha deepikai.
thiruvAymozhi nURRandhAdhi - 4
anciraya putkaL thamai aazhiyaanukku * neer
en seyalaic chollum ena erandhu * vinca
nalangiyadhum maaRan ingE naayakanaith thEdi *
malankiyathum paththi vaLam.
The act of nammAzhvAr in this thiruvAymozhi - where he becomes very
weak and mentally agonized as he is searching
for the LOrd on this earth, and where he requests many birds (like
the stork) with beautiful wings to be his messenger to
go to the milk ocean (ksheeraabdhi) and convey his state to the
LOrd - is a manifestation the greatness of His bhakti.
AzhvAr emperumAnAr jIyar thiruvadigaLE saraNam,
adiyEn madhurakavi dAsan,
thirumalai anandAnpiLLai varadhan
(Source of the material: Translation of the pravESas of the simple
version of divyArtha deepikai, found in the book "aNNa svAmiyin
amudha mozhi aayiram, 401st - 500th mozhigaL)
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azhwAr emberumAnAr jeeyAr thiruvadigalE saranam
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