Srimate SrivanSatakopa Sri Vedanta Desika
Yatindra Mahadesikaya nama:
The Fatal
Attraction It is only
last week that my wife and I visited this old gentleman, who is
confined to bed. Yet, the desire to see him again grows every moment. It is not
as if he is in the same town, so that we could visit him at will. He is located
at a seven-hour journey from You may wonder whether such a thing is at
all possible and whether the companionship of a person, however close he is and
however scintillating his company, would not pall after a length of time. For
instance, when we meet a dear friend whom we have not seen for years, we
exchange pleasantries with him and catch up on all the old gossip. However,
after all this is done, there is a definite lull in the conversation and
thereafter, we feel we have had enough of his company, at least for the nonce.
Economists say that the more you have of a thing, the less you would want to
have more of it (The Law of Diminishing Marginal Utility). This would definitely
apply to human company too. Given the aforesaid law, you would wonder
whether my wife and I are indeed correct in finding this old gentleman?s company
infinitely attractive, despite any number of visits to him. However, even the
economists agree that there are a few honourable exceptions to the rule. It is
in this exceptional group that our elderly and bed-ridden host would
fall. If you analyse what exactly makes us bored
with a particular thing or person, you would arrive at the conclusion that it is
the sameness, the unchanging attitudes, words and opinions, that make a person?s
company less and less desirable, the more and more we have of it. If our friend
were to be different every time we meet him, crack different jokes instead of
repeating the vintage ones in his repertoire, look, feel and behave differently
during every encounter, we would perhaps be constantly enamoured of his company.
It would be as if we were meeting a new person every time and not merely the
same old friend we have known for a long time. Thus, if a person were to be
constantly new in all his facets, displaying different traits (all pleasant
ones, of course?we do not want a Dr. Jekyll and Mr. Hyde syndrome) all the time,
we would definitely crave his company and be sad at every parting, however
brief. This, precisely, is what is happening to my wife and
me. Obviously, we two are not the
only ones to be mesmerized by this gentleman, for, much greater persons than us,
infinitely wiser and more devout, have called Him ?Aaraavamudan??the nectar that
one never feels satisfied with, however much and however frequently one imbibes
it. Even the famed nectar (Amutham)
that was obtained after much effort from the Without in any way intending any offence to
Emperumans at other divya desams, we
could safely declare that there is none as beautiful, none as appealing, none as
enchanting and endearing, as Aaraavamudan. Even a brief look at His sparkling
visage would reveal to us the truth of this statement. His countenance is
brilliant, totally without blemish, with cheeks that have a slight hint of
chubbiness about them. On His coral lips plays a half-smile (?Punmuruval?) indicating His pleasure at
seeing us. The broad forehead is adorned by a scintillating green gem,
triangular in shape and fitting perfectly. The face, hands and feet are awash
with brilliance, putting beaten gold to shame. This is what prompts Sri
Nammazhwar to exclaim ?Aani sem pon meni Endaai?. His complexion is
slightly reddish, the colour of red gold, the sort you might not have witnessed
at any other abode of the Lord. Unlike the other Emperumans who hold two, three
or at best four weapons on their hands, Aaraavamudan holds all the Panchaayudhaas?the Divine Discus, the
Cosmic Conch, the Magnificent Mace, the Sword Nandakam and the Beautiful Bow
Saarngam?in His hands. It is the Saarngam that gives Him His tirunaamam at this divyadesam and which He sports stylishly
in His hand. On His glorious head is a tall and diamond-studded Kireetam, with a glowing green gem as
its centerpiece, declaring to all that here is the Supreme Lord, the Parabrahmam from which all beings
emanate, by which they are sustained and to which they return at the time of the
cosmic deluge. The eyes are broad and beautiful, filled with mercy and
tolerance. One palm is held out in the ?Abhaya Mudra?, extending an assurance of
absolute protection to all. In tune with the rest of His tirumeni, the feet too are a glorious
pair, resembling glowing golden lotuses (?Swarnaamboja pratimam?), providing
asylum to all those who surrender. It is these feet that capture the imagination
of Tirumazhisai Piran, whose heart cries out at the pain the divine tiruvadi must have tolerated when they
walked thousands of miles from Ayodhya to Lanka during Ramavataram, all over
forest, hill and dale, going behind cows during Krishnavataram and in measuring
the entire worlds during Trivikramaavataram. And Aaraavamudan adorns Himself
head to foot with a plethora of gold and diamond ornaments, adding to His
natural effulgence, dazzling viewers like a huge heap of lustrous gems, which
prompts Kalian to call Him ?Kudandai meya
kuru mani tiral?. And the combined effect of it all takes your breath away,
rivets your attention to the glorious Lord before your eyes and affords you
infinite pleasure that makes you wish never to take your eyes away??drishtvaa drishtvaa bhajati na cha me lochanam tripti lesam? as Sri
Tirukkudandai Desikan says. The Moola Moorthy reclines regally on a soft
snake bed. Unlike other sayana moorthies elsewhere, this Lord appears
as though He is about to get up??Utthaana Sayanam.?. Proving yet again that He
loves to be ordered about by His devotees, Saarngapaani almost rose up from His
bed in response to Sri Tirumazhisai Azhwar?s command, ?Kidandavaaru ezhundirundu pesu vaazhi
Kesane!? (Do rise and shine and do speak to me). His long thighs and legs,
resembling the trunk of a magnificent tusker, are encased in soft and supple
silk, while the broad and beautiful chest sports several strands of gold and
pearls, apart from its regular and constant adornment, Sri Mahalakshmi. Sri Devi
and Bhoodevi are to be seen on either side of the Lord, in postures of devotion.
River Gods are also seen paying obeisance to Saarngapani. Sri Komalavalli, the
Lord?s Consort, is predictably no less glorious and enchanting. It is this
boundless beauty that makes devotees swear that if it is exquisiteness that they
are looking for in the Lord, they would find it only at Kumbaghonam??Kalaikan
attraarai urukkum maadhuryam Kudamookkile pravahikkum?.
Most of the Lord?s forms in wood, stone and
metal at various divya desams have
been established by Devas, Siddhas, Rishis and great men?these are respectively
known as Daivam, Saiddham, Aarsham and
Maanusham. Unlike these, at Kumbhaghonam, the Lord, as well as His Consort,
manifested on their own, making it a Swayam Vyakta kshetram, on par with
Srirangam, SriMushnam, Tiruvenkatam, Badarikaashramam,
etc. It is not only the Lord who is enchanting
here?even His abode is extremely beautiful and artistic. The Gopuram is tall,
imposing and magnificent, packed closely with beautiful figurines. The sanctum
is shaped like a huge chariot with wheels, drawn by life-like elephants and
horses, all apparently in motion, with sculptures of the ten principal avataras
carved in panels all round. Another distinguishing feature of this beautiful
temple is that the sanctum sanctorum has two entrances, each with nine steps?one
used during Dakshinaayanam and the
other during Uttaraaayanam?a feature
you may not find at any other divya
desam. The canopy under which the Lord rests is known as the ?Vaidika Vimaanam?, while the temple tank
is called ?Hema Pushkarini? or the Pottraamarai Kulam. As at Srirangam, the
Kaveri and its tributary, Arasalaaru,
form a grand garland by flowing on either side of the town.
And the town where the Lord has
made His wonderful abode, Kumbhaghonam, has its own glory. It is called ?Bhaaskara Kshetram?, the place where the
Sun god regained his brilliance after long penance directed at Sri Saarngapaani.
Puranas tell us that sins committed at other places can be washed off by
residing at and performing good deeds at holy places. What if we are hardy
enough to commit sins at holy places? Then it is to Varaanasi (Kaasi) we must
go, for residence and a dip in the ?Anya kshetre kritam paapam punya kshetre
vinasyati Punya kshetre kritam paapam Vaaraanasyaam
vinasyati Vaaranasyaam kritam paapam Kumbhaghone
vinasyati Kumbhaghone kritam paapam Kumbhaghone
vinasyati? Even you search the three worlds, you would
be unable to find a place holier and more sacred than Kumbaghonam, we are
told??Tasya vai sadrusam naasti
trishu lokeshu saampratam?. The
place is not only holy, it is prosperous too, in all senses of the word, says
Sri Tirumangai Mannan??Selvam malgu ten
tiru Kudandai?. Just like ?Seer
malgum Aayppaadi attained its glory due to association with Sri Krishna,
Kumbaghonam too prospers because of the presence of Aaraavamudan.
Not only is Kumbhaghonam holy, its residents
too are endowed with goodness and fame, as can be made out from Sri Nammazhwar?s
words, ?nalatthaar mikkaar Kudandai:, ?vaazh tol pugazhaar
Kudandai? etc. `From two of Sri Kalian?s
pasurams, we get the impression that it is only repeat only Tirukkudandai and Aaraavamudan whom
we should worship??Soozh punal Kudandaye
tozhumin?. The ?ye? after the word Kudandai indicates an
exclusive emphasis and points to Kalian?s conviction that it is the Lord of
Kudandai and none other, whom we should adore and adulate. Sri Parakala places
similar emphasis while telling us how and where he obtained the priceless
treasure of the Ashtaakshara Mantram?? Kudandaye tozhudu
naavinaal uyya naan kandu konden Narayana ennum
naamam?.
And it is extremely significant that Tirukkudandai is the very
first divya desam to be venerated in Periya Tirumozhi, in the ten pasurams
beginning with ?Vaadinen vaadi?. It
is only the traditional devotees of Aaraavamudan who receive a hero?s welcome at
the gates of Sri Vaikunttam, according to Sri Nammazhwar, who too resorts to
such emphatic words to denote the primacy of this Emperuman??Kudandai em Kovalan kudi
adiyaarkke??readers may note the?e? at the end of the sentence, which again is for
emphasis, indicating that if one wants to be welcomed into Paradise, then it is
Sri Saarngapani they must pay obeisance to and none other. And when you do reach
Sri Vaikunttam, what can you look forward to attaining there? It is Aaraavamudan
again whom we would find at the ultimate destination, affording us infinite
bliss, says Sri Tirumangai Mannan??Teraar nirai kadiron
mandalatthai keendu pukku, Aaraavamudam angu
eidi? A mere glimpse of the Lord reclining here in
His supple snake bed is enough to rid of the gravest of sins, says the Sesha
Dharmam? ?Brahmahatyaadaya: ghoraa: mahaa paataka
raasaya: Kumbhaghone sayaanasya Vishno: nasyanti
darsanaat? This is what Sri Nammazhwar refers to, when
he declares, ?Teeraa vinaikal teera ennai
aatkondaai Tirukkudandai ooraa!? A unique feature of this Emperuman is His
names. He is adulated as the Nectar that never palls, the Amudam of which you can never have
enough. The more you drink Him in, the greater is the yearning for more of Him.
He is hence known as ?Aparyaapta
Amrita:?, a Sanksrit equivalent of Aaraavamudan. None has been known to say,
?I have had enough of this Lord?, the desire to see Him and be with Him
increasing with every encounter. Another beautiful name, unique to Aaraavamudan
and with which no other Emperuman is favoured, is ?Aazhwan??He is affectionately called ?Aaraavamudaazhwaan?. We wonder why the
Lord, who is the object of adulation of all Azhwars, should be called by the
sobriquet commonly bestowed on His devotees. It is not without reason that
Emperuman became an Azhwaan too. Due to their antiquity and due to the
negligence of Vaishnavas, the Divya
Prabandas, lovingly composed by various Azhwars as verbal garlands for the
Lord at various divyadesams, had all
but disappeared from popular usage. Things had come to such a pass that by the
time of Sri Nathamuni, the principal protagonist of our Sampradayam in this era,
most Vaishnavas were not even aware of the existence of the Divine Four
Thousand. One day, when Sri Nathamuni went from his village Kaattu Mannaar Koil
to Tirukkudandai for worshipping Sri Aaraavamudan, he found a group of Sri
Vaishnavas reciting eleven beautiful Tamizh verses, sweet beyond measure and
extremely profound in purport. The paasurams began with an extremely
evocative call to ?Aaraavamude!?,
concluding with ?Kuzhalin malia sonna Or aayiratthul ippatthu??ten
verses out of a melodious thousand. Reaching the height of rapture at the sound
of these paasurams, Sri Nathamuni
found from the concluding verse that these were not the only ten, but were only
part of a huge compendium of a thousand verses. Blissful at the thought of
having found a treasure trove of eulogies, when Sri Nathamuni enquired from the
visitors about the verses, their number and where the rest could be located,
they pleaded ignorance as to the rest of the 990 songs. Driven by a consuming
desire to unearth these lovely lyrics, Nathamuni traveled far and wide in his
quest for the thousand verses. And when he arrived at Tirukkurugoor, the birth place of Sri
Nammazhwar, he was told by a descendant of Madhurakavi Azhwar that Sri
Nammazhwar could be propitiated by the recital of ?Kanni nun Sirutthaambu?, a poem
dedicated to Satakopa Muni. Sri Nathamuni sat in penance under a great tamarind
tree (which was reputed to have been the abode of Sri Nammazhwar when he
inhabited this earth briefly) and recited Madhurakavi?s composition 12000 times
with great devotional fervour. Pleased at the devotee?s perseverance and
penance, Sri Nammazhwar appeared before Nathamuni and gave him the invaluable
treasure of four thousand verses comprising the outpourings of all Azhwars.
Receiving these with gratitude, Sri Nathamuni returned to Kaattu Mannar Koil and spent the rest of
his pious life in setting the verses to music and propagating them through his
disciples, Melayagatthu Azhwan and Keezhayagatthu
Azhwan. Since it was the pasurams on Aaraavamudan
that led to the rediscovery of the lost treasure of Tamizh marai, He is afforded
a status equal to that of the original composers (Azhwars) and called
affectionately as Aaraavamudaazhwaan.
This is no mere old wives? tale?in commemoration of this episode, the naamaavali of Aaraavamudan used during
archana includes a beautiful name??Draavida Shruti Darsakaaya nama:?, indicating that it
was indeed Saarngapaani who enticed Sri Nathamuni to Tirukkudandai, for the
express purpose of inspiring him to recover and propagate the Divya
Prabandas. Another reason too is ascribed for Emperuman
bearing the name ?Aazhwaan?. The
Lord?s relationship with Tirumazhisai Azhwar was so close that it was difficult
to discern at times as to who between them was the master and who the devotee.
?Aazhwar? is a name to given to those who are immersed in the Lord and His
attributes. Since Aaraavamudan of Kumbhaghonam appeared immersed, nay drowned,
in the enchanting attributes of Sri Tirumazhisai Azhwar, Emperuman came to be
known as Aazhwan, and paradoxically, Tirumazhisai Azhwar was given the
sobriquet, ?Piraan? (an appellation
normally referring to the Lord) indicating supremacy. Thus the actual Piran became Azhwar and the real Azhwar
became Piran. It is indicative of His
soulabhyam and devotees? absolute
control over Him that He is not even called ?Azhwar? honorifically, but merely
as ?Azhwan?, with an endearing informality. Seven Azhwars out of twelve
have lost themselves in the boundless beauty of Aaraavamudan and devoted around
51 nectarine verses to this Emperuman. Sri Nammazhwar has devoted an entire lot
of 10 pasurams, beginning appropriately with ?Aaraavamude!?. More than any other, it
is these ten verses that can be acclaimed as a guidebook for surrendered souls.
First and foremost, ?Ananya gatitvam?
or the indispensable characteristic, of seeking relief and refuge from none
other than Sriman Narayana, is emphasized in these pasurams. ?Unnaal allaal yaavaraalum ondrum kurai venden? says Sri
Nammazhwar, spurning succour and safety from any source other than the Lord. He
reiterates this in another verse too??Kalaivaai tunbam, kalayaadu ozhivaai, kalaikan
mattrilen?. Azhwar declares to Aaraavamudan??I have been appealing to You
for long, for relief from my mundane travails: You, however, have so far turned
a deaf ear to my pleas. Whether or
not You decide to help me out of this samsaara, I shall seek solace from none
other than You. Like a chaste wife, who knows none other than her husband, even
if he is indifferent to her, I too am wedded to you forever and shall look only
to You for relief, support and liberation.? However, having declared his
intention thus, Azhwar is overwhelmed by desire for Aaraavamudan and demands
immediate reunification with Him, not prepared to tarry even a moment more in
his mortal coils??tariyen ini, un
charanam tandu en janmam kalayaaye?. This nectarine Lord is sweet not only
to our external senses like the eye, ear and the nose, but provides an
incomparably pleasurable sensation all over, inside and out and in the soul
too??Aaraavamudaai adiyen aavi agame
tittippaai?. And the mere sight of this Emperuman is enough to make even
stone-hearted specimens like us melt down, we are told??Neeraai alaindu karaya urukkugindra
Nedumaale!?. It is only the Lord?s holy feet that form an eternal refuge for
us mortals, declares Azhwar??Peycchi
mulayoodu avalai uyir undaan kazhalgal
avaye sharanaaga konda Kurugur Satakopan?. During his blissful
interaction with Aaraavamudan, Azhwar reserves some of his choicest sobriquets
for this Lord: for instance, against the norm of Emperuman being black, here is
a Lord who is sparklingly white, says Azhwar??En Vellai Moorthy!? He is a mighty and
magnificent bull, handsomeness personified-?Ezhilere!?. His tirumeni is effulgent as
fire??Eriye!? and as beautiful as a
mountain of coral??Pavala kundre!?.
He is capable of acts considered impossible for others and wears a shroud of
mystery, hiding Himself from those who lack devotion??Maamaaya!? He is the undisputed chief of
all celestials-- If such is the delight of the sober Sri
Nammazhwar, the more flamboyant Sri Tirumangai Mannan is no less infatuated with
the Lord of Kudandai. His enchantment finds _expression_ in a unique composition
known as Tiruvezhukoottrirukkai, in
which the numbers one to seven are used in straight and reverse order, in a
formation resembling a beautiful pyramidical chariot. This is an extraordinary
type of Prabandam, involving the
drawing of a Chariot-like figure with a top half and a bottom one, both
triangular. The resulting structure is somewhat akin to the ?Pascal?s Triangle?
that mathematicians are fond of speaking of airily. Here is a small sample of the beautiful
arrangement of words in Tiruvezhukootrirukkai-- ?oru perundi?iru malar tavisil?oru murai Ayanai
eendranai
1
2
1 oru murai?iru sudar meedinil iyangaa?mum madhiL ilangai---irukaal valaya?oru silai 1
2
1
2
3
2
1 ondriya--eereyettru azhal vaai--moovadi--naanilam vendi--muppuri noolodu--iru
pirappu
2
3
4
3 2 oru Maan
aagi 1
oru murai-eer adi-moovulagu alandanai-naal disai nadunga-anchirai paravai eri-
1
2
3
4
5
naalvaai mum madattu-iru sevi-oru tani vezhatthu arandayai? and so
on.
4
3
2
1 Readers would observe how cleverly the
Divine Poet has effortlessly employed words representing numbers, either in
purport or in sound, and woven all these into an enthralling garland of words,
that is at once lilting in metre, profound in purport, brimming over with Bhakti
and matchlessly magnificent in composition. This Tiruvezhukoottrirukkai belongs to a
poetical form known as ?Chitra Kavi?,
refreshingly different from run-of-the-mill verses and appealing to the
intellect as well as the heart. Not surprisingly, this Prabandam is recited during the Rathotsavam at several divyadesams. And the beauty of this
paasuram is to be heard to be believed, especially when intoned in unison in the
at once melodious and stentorian voices of the venerable Ghoshtti. Even the most reticent of Azhwars, Sri
Tiruppaanaazhwar, with just ten paasurams to his credit, has sung Aaraavamudan,
swear the devotees of Saarngapaani. ?En Amudinai kanda kangal mattrondrinai
kaanaave? definitely refers to Aaraavamudan, say these bhaktas,
notwithstanding the preceding phrase, ?Andar kon ani Arangan?. Azhwar, having
had an extremely fulfilling and glorious glimpse of Aaraavamudan, has eyes for
none else, attesting to the boundless and bewitching beauty of this Emperuman.
Azhwars have reserved some extremely
evocative sobriquets for this Emperuman? ?Kudandai em Kovalan, Tan Kudandai kidanda
Maal, Kudandai meya kuru mani tiral, Kudandai kidanda Kudamaadi?
etc. Given the fact that all Azhwars have
enthused over Amudan, is it not strange that none of the Poorvaachaaryas have
composed any eulogy on this Emperuman? Sri Ramanuja, Sri Koorattazhwan, Sri
Bhattar, Swami Desikan?all these Acharyas have authored innumerable and prolific
paens of praise on Sri Rangaraja, Sri Varadan, Sri Tirumalayappan and Lords at
other divya desams, but not on Aaraavamudan. Perhaps they felt they could not
add a single word to what the Azhwars had poured out in all their devotional
eloquence. Perhaps they felt so overwhelmed by Amudan?s enchanting tirumeni and
auspicious attributes, that they were rendered speechless when standing before
Him, unable to pour out their hearts as they did before other Emperumans.
Whatever the reason, the fact remains (I am subject to correction here) that
none of the Poorvacharyas aapear to have eulogised this glorious
Empruman. This apparent omission must have rankled
in the devout mind of Srimad Azhagiasingar (30th Pontiff of Sri
Ahobila Matham), who graced the Peetham almost two centuries ago. This Yati was
extremely devoted to Aaraavamudan and submitted to Him a pair of golden covers
for His holy feet, that adorn Amudan?s tirumeni till date. Not satisfied with
offerings of mere gold, Srimad Azhagiasingar also submitted to Amudan a more
sparkling and scintillating garland in the form of a verbal tribute titled ?Aaraavamudan Mangalaasaasanam?,
consisting of 11 beautiful verses. Another great Acharya who has composed
stotras on Amudan is Tirukkudandai Sri Gopaalaarya Mahadesikan, whose verses
drip with devotion and are sweet to the tongue and the soul. His ?Aparyaaptaamruta Dhyaana Sopaanam?
(modelled closely on Swami Desikan?s Bhagavat Dhyaana Sopaanam) giving a
glorious head-to-foot description of this Emperuman and the equally beautiful
?Aparyaaptaamruta Mangalaasaasanam?
are a delight to the discerning devotee. There is also a Aparyaaptaamrita Suprabhaatam, while
another enchanting composition is the ?Komala Dandakam?, eulogising the Divine
Mother and Consort of Sri Saarngapaani.
We have heard of Emperuman doing so many
things for His devotees. But what we hear of at Kudandai tops it all. We are
told that Sri Aaraavamudan performs Shraaddham annually to one Lakshmi
Narayana, on the Deepavali Amavasya day. This Lakshmi Narayana was no ordinary
person?not merely was he an ardent admirer of Aaraavamudan: the grand and
majestic tower gracing the temple?s entrance is his contribution, truly
reflecting the height, breadth and depth of his devotion. When he died without
issue, the Lord took it upon Himself to perform the last rites of His devotee,
through an archaka. And ever mindful
of His duties, He continues to perform the annual shraaddham for this sincere votary, to
this day. Sri Lakshmi Narayana?s sculpture with folded hands adorns one of the
pillars in the praakaaram. One more
unique feature about this sannidhi is that on a particular day in Margazhi, the
Lord dons female attire and ornaments, while His Consort sports a masculine
garb. It is a treat to witness this reversal of roles and one must admit that
the Divine Duo very much looks the part they play. Apart from all the beauty and bounties you
find at Kumbhaghonam and at the Saarngapaani Sannidhi, one thing that appeals
most to you is the absolute peace and serenity that you experience, while
standing before Amudan. Though situtated plumb in the middle of the congested
town, Aaraavamudan?s abode is somehow insulated from all the hustle and
bustle?once you enter the temple, you feel transported to a haven of tranquility
and quietude. There is no pushing and jostling among devotees, nor repeated
appeals from the temple staff to move on. You can stand for as long as you
please before the Lord, have your eye-fill of Him, store His snapshot in your
mind?s eye for leisurely contemplation and converse with Him all you want.
I warn you, however: if you go once, you are
hooked and would be unable to resist repeat visits. He does something to you that makes you wish to
return again and again, whatever be your station and priorities in life. ?Ennai en seigindraai???What are you
trying to do to me!? is Sri Nammazhwar?s plaintive cry, for he too has not been
proof to Aaraavamudan?s attractions. If you think about it and study the
_expression_ on Amudan?s face deeply, you find that it is not only you who are sad
at the parting and mad after reunion?He too feels the same way. He is extremely
glad to see us all and is esctatic in our company. However, when it is time to
part, you can really see a wistful look in His eyes, as if wishing we would stay
longer and visit more often. Well, it is time to end this piece, as my
wife and I are preparing to leave for Kumbhaghonam. Srimte SriLakhsmi Nrisimha divya paduka
sevaka SrivanSatakopa Sri Narayana Yatindra Mahadesikaya
nama: dasan,
sadagopan Azhvar EmberumAnAr JeeyAr ThiruvadigalE Saranam http://www.vedics.net
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