Dear All,
cheruvaraimuNn NnaachaRuththa chilaiyaNnRO
kaiththalaththa' theNnkiNn RaaLaal,
poruvaraimuNn pOr_tholaiththa poNnNnaazhi
maRRorukai' eNnkiNn RaaLaal
Thirumangai Azhwar?s anubhavam of Sowri Perumal is endless in itself. In the first pathikam
of 100 pasurams in Periya Thirumozhi, Azhwar talks about the Perumal?s bow. There is
a beautiful story narrated in our sampradayam. There was a chola king who used to destroy
all the Vishnu temples. An araiyar in Thirukkannapuram was in deep sorrow,
and hence
requested Sowrirajan to take proper action. Perumal in archa form seldom speaks
(except in few cases: Koil, Thirumalai and Perumal Koil on certain occasion). Unable to
control the anger, araiyar threw the instrument in his hand at the Sowri Perumal. It hit the
Perumal?s forehead. After this, Sowri Perumal used his bow to send rain of arrows on the
king, who eventually got killed. This was the leela of Sowri Perumal to show that he is ready
to even get hurt by His bhakta.
Another interesting piece of anubhavam is that of Parakalanayaki. The mother of
parakalanayaki describes the status of Azhwar in thelliyir pathikam. While singing on the
Sowri Perumal, Azhwar is able to have darshan of Sowrirajan even from his avatara sthalam,
Thiruvali Thirunagari. There is an open space in front of Azhwar?s sannidhi, which is referred
to as nNilaa murram.
nNINilaa muRRaththu nNiNnRivaL nNOkkiNnaaL,
kaaNumO kaNNa purameNnRu kaattiNnaaL
Azhwar ends this pathikam with,
kaarmali kaNNa puraththem adigaLai,
paarmali maNGgaiyar kONnpara kaalaNnchol,
chIrmali paada livaipaththum vallavar,
nNIrmali vaiyaththu nNIdunNiR paargaLE
One would think, how could it be possible for us to enjoy the life in this world when
Azhwar?s pasurams are meant to grant moksha. The answer is very simple. This is where
our Kaliyan himself answers this question.
Thirukkannapuram is in this world, and not in SriVaikuntam. The thelliyir anubhavam can only
be enjoyed in Thirukkannapuram, and not even in SriVaikuntam. This is what is referred to
as the happiness even in this World.
Azhwar goes on singing on this Perumal. He sends the naarai as messenger to this Perumal
in ThiruNedunthantakam. Another interesting reference in the same work is the following:
kanRumEyth thinithugandha kaaLaay! enRum,
kadipozhilsoozh kaNapuratthen kaniyE! enRum,
manRamarak kootthaadi magizhndhaay! enRum,
vadathiruvENG kadammEya maindhaa! enRum,
venRasurar kulangaLaindha vEndhE! enRum,
viripozhilsooz thirun^aRaiyoor ninRaay!
Azhwar talks about the vibhavam and archai in a nice fashion. In the first line he refers to
Krishnan and the in the next line, he refers to Thirukkannapuram. Then, he talks about
ThiruVenkatadamudayan and his dancing posture.
This anubhavam was not new even when Kaliyan sang this pasuram. There was one, who
enjoyed the same Divya Desams in one pasuram. Who was that, and how was it enjoyed?
Let us further continue with Azhwars? anubhavam of
Thirukkannapuram Perumal in the
following postings,
aDiyEn,
ramanan
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