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Oppiliappan List Archive: Message 00050 Jan 2003

 
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Dear friends,

Tomorrow's verse of the day (2 Jan'03) is Stanza # 18 beginning with
"undhu madha-galitran OdAtha tOl valiyan...". This verse begins with
the sound "u".

The next verse (3 Jan'03) Stanza # 19 begins with"kuttuvillak-eriya
...". It begins with "ku" also containing the sound "u".

And the following verse, Stanza# 20, (4 Jan'03), also begins with
"muppatu-mUvar amararkku mun senru...". Here also the first syllable
is "mu" containing the sound "u".

So all three verses #18, #19 and # 20 of the "tiruppAvai" in seriatum
begin with the sound of "u" which in Sanskrit is called "u-kAra
shabdham" or the letter denoting "pirAtti-vAchakam"... the vowel that
constitutes "U" in the primordial sound of the "praNava-mantra",
A-U-M. 

Within the sonic timbre of the "U" in the A-U-M, the Divine
Mediatrix, the Consort of Lord Narayana, "sAkshAt-mahAlakshmi" is
said to reside.

"AchArya-s" point out that the three "u's" used here in 3 contiguous
stanzas by AndAl are not without significance as each of them denotes
respectively the following:

(1) the nature of "purushAkAratvam" of thAyyAr which makes Her
actively intercede with the Almighty on behalf of "jivA-s"and secure
for them His Grace; this is denoted by the expression
"kadai-tira-vAy" and
"vandu-tira-vAy".

(2) the nature of "nithya-yogam" of thAyyAr which makes Her
inseparable from the Almighty and which constitutes His essential and
inalienble Self; this is pregnant in the expression "ettanai-yElum
pirivAtrakilAyAl..".

(3)the nature of "upEyatvam" of thAyyAr which holds within it the
power of rendering a "jivA's" condition acceptable to the Almighty;
this is latent in the expression "un maNAlaNai emmai nirAttu...".

All 3 essential aspects of thAyyAr are howeversplendidly brought
together in one single piece of poetic imagery through the use of
AndAl's rare expression: "pandAr-viraLi" in Stanza 18. 

This phrase "pandAr-viraLi" is brilliantly explained by that
extraordinary one amongst 'tiruppAvai' commentators, Sri.PVPillai who
wrote along the following lines: 

The literal meaning of "pandAr-viraLi" denotes thAyyAr,
'napinnai-pirAtti', as a "playful lass" in the aayarpAdi and found to
be ever distracting herself twirling a ball on her nimble fingers
("pandhu").

When such a lass got the better of Sri.Krishna Himself at playing
ball, "napinnai-thAyyAr' came to be affectionately known as
"pandAr-viraLi"... a sort of "expert ball-player".

So deeply does "thAyyAr" savour her victory over Krishna, and so
delighted over her exploits with the ball, that even while asleep she
keeps the ball tightly clasped in one hand, while with the other, she
lies embracing the Lord. And so lost is she in her wonder-filled
slumber that "nappinnai" does not heed other "aayarpAdi" girls
calling out to her from her doorstep to awaken and allow them
audience with Her
Lord Paramour, Bhagavan Krishna.

It is to such a lass that in this verse of the tiruppAvai that the
"aayarpadi" girls call out: "pandAr-virali".

Sri.Peria-achhAn pillai here explains that it is Krishna who is the
"instrument to be enjoyed" by "nappinai"; the ball is merely her
plaything!

She holds in one hand "that which is contained" i.e. "naram" ... the
"ball" ... while in the other hand she holds "the container" i.e.
"narAyanan". While in one hand she holds "vibhuti" ... i.e.
substance... in the other she holds "vibhutimAn" ... viz. the
underlying principle of all Substance.

In one hand she holds "chetanA-s"; in the other she holds "Iswara"...
both are so dear to her she clasps the one no less tightly in her
embrace than the other!

Thus, is clearly established thAyyAr's nature of "purushAkAratvam"...
being the all-compassionate universal mother ...the Divine
Mediatrix... to whom her errant and wayward children ("chetanA-s")
are no
less precious than her own Lord Paramour ("Iswara" itself). 

"pandAr-virali" also subtly brings out pirAtti's "nitya-yOgam" ---
inseparability with not only the Lord in whose embrace she ever
resides but also, seemingly, with the "pandhu" -- this great Ball of
Creation. She keeps it tightly clasped in her hand never letting it
slip out of her hands for even a moment... the poetic imagery of a
mother who will
never let go of her infant even when in the embrace of her husband is
indeed exquisite here. It reveals an important SriVaishnava doctrine
that says that a relationship between "iswara" and "chetana" would be
well nigh impossible without the intervening agency of divine
intercession.

"pandAr-virali" also suggests how by virtue of being clasped in her
hand, a ragged piece of "ball" ("chetana") attains to the elevated
status of intimate proximity with the Lord. If not for "pirAtti"
would
the "ball" ever attain the kind of proximity to God that is available
in his own bedstead? Is it not she who renders "acceptability" to the
lowly "jivA" and enables it to achieve "parama-gathi"? Here thus is
established the "upEyatvam" of thAyyAr!

A most wonderful explanation by Sri.Peria-AcchAn Pillai indeed !! 

Stanza#18 is very important for one other reason. It contains the
lines 

"sendhAmarai-kaiyAl seerAr vaLai-olippa
vandu tiravAy mahizhendElor embAvAy !" 

The above lines literally mean : "With thy hand of lotus-red hue and
with the jingling of your beautiful bangles, come forth, O napinnai, 
and fling the doorway of thy abode open!".

Sri.Ramanuja in his early days in SriRangam lived in the traditional
"yati" style... going around begging for food ("bIksha") through the
streets of the holy city. He was fond of reciting the stanzas of the
"tiruppAvai" as he went around. (A habit which earned him the
sobriquet, "tiruppAvai-jeeyar").

One day on one of his alm-gathering rounds he found himself at the
doorstep of his achAryA, 'peria-nambi'. It remained bolted shut. 

Coincidentally, it so happened that Ramanuja happened to be uttering
the above lines of the "tiruppAvai" at that very instant, and lo
behold! no sooner were those words uttered than the bolted door
opened and "attulAy", peria-nambi's little daughter sallied forth
daintily with that day's alms for the YatirAja-r!

So sudden and intense was the coincidence that it simply took
Ramanuja's breath away! For a moment he seemed to have a vision of
"napinnai-thAyyAr' herself in the form of Peria-nambi's little
daughter! He grew giddy and fell into a deep and rapturous swoon !

Peria-nambi was not present at home then. But the fact that Ramanuja
had swooned and collapsed at his doorstep quickly reached him in
another part of the town where he was tending to some other personal
chore. When the news reached him the venerable guru of Ramanuja
seemed to have already had a prevision of what had transpired at his
home, for he is reported to have cooly commented,
"undhu-madha-gaLitru
anu-sandhAnam- AyirrukkavadUkkum!" ...meaning, "it's alright, I know
what might have happened to that fellow Ramanuja. He must have
recited the tiruppAvai stanza beginning "undhu-madha-gaLitru..." at
my
doorstep and must have lost himself in a trance!".

dAsan,
Sudarshan

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