An important truth...

10. cheyththalaiyezhunARRuppOl - Like the crops of the field

Unlike the previous comparisons, this one is deeply philosophical. This is from Periyazhwar Thirumozhi 3-7-7 "cheyththalai yezhunARRuppOlavan cheyvana cheydhukoLLa; maiththaDamugil vaNNan pakkam vaLaraviDumingaLE". This hymn delivers the final word on the true character of the soul.

Swami Pillai Lokacharyar - Courtesy : Pbase Ramanujadasargal

In Mumukshuppadi, Swami Pillai Lokacharya beautifully describes the meaning of the "namas" of Thirumanthram. In this, the Acharya describes our state before and after the realization of the meaning of the "namas". Prior to this realization, the soul thinks that the Lord is for Himself alone, the non-sentient world is only for everyone else and the soul is for both oneself and others. In other words, the soul thinks that the Lord is sovereign; matter is subordinate to the Lord and the souls; the soul is both sovereign and subordinate. A deep philosophical realization dawns upon the soul after knowing the "namas". Post-realization, the soul considers itself as much subordinate to the Lord as non-sentient matter itself, with no tinge of sovereignty. The soul allows itself to be used by the Lord to the best of His wishes in the same manner that He would use a non-sentient object.

Swami Periyazhwar brings out this truth through a comparison in this hymn. "As the crops cultivated by a farmer are his own and are available to be used as he desires, the souls must adhere to the sense of complete subordination to the Lord and let themselves be used as He wishes." As this dwells into esoteric concepts of our tradition, greater elaboration is left to the feet of scholars and preceptors.

Naughty Krishna gets a reprimand!

9. puNNiR puLippeydAlokkunthImai - misdeeds akin to pouring tamarind essence over wound

Courtesy : ISKCON

In Periyazhwar Thirumozhi 2-9-1, veNNey vizhungi hymn, a lady pours out the problems caused by Krishna to His mother Yasodha. "puNNiR puLippeydAlokkunthImai purai puraiyAlivai ceyyavalla ... maganaippeRRa asOdai nangAiy un maganaik kUvAiy" - "O nice lady, Yasodha! You have got such a wonderful son who takes delight in performing misdeeds in every house of this village. Please call Him back. His actions are like pouring tamarind essence onto our wounds." Pouring tamarind essence on the wound would heighten the pain and irritation.

The same comparison is also used by Andal in Nacchiyar Thirumozhi 13-1 "puNNiR puLippeydARpOlap puRaninRazhagu pEsAdE". However, the usage is for a different reason. Andal is suffering from separation from Krishna; she is already hurt. In addition, her relations pour unnecessary advice in a futile bid to comfort her. Their words heighten her pain and thence she uses this comparison.

The Little Cloud

8. polindamugiRkanRupOlE - like the offspring of the cloud

In Periyazhwar Thirumozhi 2-7-4, "theruvinkaNNinRu" hymn, Periyazhwar runs out of comparisons in the real world to describe Krishna's beauty and makes comparison to an imaginary object. "puruvangarunguzhal neRRi polinda mugiRkanRupOlE uruvamazhagiya nambi" - the beautiful form alike the offspring of the cloud that has eyebrows and dark hair with a forehead between them. This is an exercise in the imaginary world as there is no offspring of the cloud that also has eyebrows and dark hair on either side of the forehead!  Words and objects appear to materialise from diverse domains, even the imaginary, to serve as suitable comparisons to the Lord's beauty. 

The Divine Bee

7. minnanaiyanuNNiDaiyAr virikuzhalmEl nuzhaindavaNDu innisaikkum villiputthUr - Srivilliputthur, the city of the singing bee that likes the elaborate hair of women with lightning-like waists

Courtesy: Pbase ramanujadasargal

This is Periyazhwar Thirumozhi 2-2-6. To the average eye, there is no significant figure of speech here. Srivilliputthur is the place of a bee. This bee sings as it enjoys the beautiful elaborate hair of women whose waists are as slender and sharp as lightning. The comparison of waists to lightning exists; true; but of what consequence is it?

Kanchi Swami throws light on the esoteric aspect of this otherwise innocent verse. This verse is sung on the unique relationship between Andal and Vadaperunkoiludaiyan. How? The bee, spoken here is none other than the Lord Himself. Nammazhwar names the Lord in his Thiruvoymozhi as "thUviyampuLLuDait theiyvavanDu" or the Divine Bee. The damsel with lightning-like waist and beautiful hair is Periyazhwar's own daughter Andal. The Lord only accepts the garlands that have decorated Andal's hair. The Divine Bee likes to enjoy the relationship of this damsel's hair. This Bee happily resides in Srivilliputthur.

The best of truths are always secrets, aren't they?

Happy Bees

6. chengamalappUvil thEnuNNum vaNDEpOl - as the bee that drinks honey from lotus flowers.

This is Periyazhwar Thirumozhi 1-8 "ponniyal kiNkiNi", where Periyazhwar, in the mood of Yasodha asks infant Krishna to come running and hug her. In the second hymn, Yasodha describes the beautiful hair of Krishna that swings across His face. "chengamalappUvil thEnuNNum vanDEpOl pangigaL vandunpavaLavAy moyppa" - "as the swarms of bees hover around fresh lotuses to drink their honey, Thy dark hair should hover over Thy red lotus lips, while Thou come running to hug me".

His hair and His lips seize Periyazhwar's attention; he wants Krishna to coming running as a baby rushes towards its mother and in the process, His dark hair should merrily dance to His steps and sway about His face, hovering over His red lotus lips. Surely, this looks like a swarm of bees who are hovering excitedly over red lotuses that looks like ponds of nectar. 

 

Periyazhwar's daughter Andal, also makes the comparison of His joyfully swaying hair to happy swarms of bees hovering over honey in Nacchiyar Thirumozhi 14-8, "kaLivaNDengum kalandARpOl kamazhpUnguzhalgaL thaDandOLmEl miLira ninRu viLaiyADa virundAvanaththE kaNDOmE"!

White Mountain Kid and Black Mountain Kid

5. veLLip perumalaikkuTTan - karumalaikkuTTan - Baby of the silver mountain and Baby of the black mountain

The baby of the big silver mountain goes in the front; the baby of the black mountain dashes after him from behind. What is going on? Mountains chasing one another? What is happening to our world? Relax.

This is Periyazhwar Thirumozhi 1-7-5. munnalOr veLLip perumalaikkuTTan moDu moDu viraindODap pinnait thoDarndadOr karumalaikkuTTan peyarndaDiyiDuvadupOl, panniyulagam paraviyOvAppugazhp paladEvanennum thannambiyODap pin kUDac chelvAn thaLarnaDai naDavAnO!

veLLip perumalaikkuTTan and karumalaikkuTTan-Courtesy: ISKCON

This mountain-chasing-mountain episode takes place inside Nandagopa's mansion. A closer look reveals that the silver mountain and the black mountain are actually small kids. The bigger kid is silvery white in complexion and is called Balarama. The smaller kid is dark in complexion and is called Krishna. The two kids are running hither-thither all over the house. Balarama runs in front; Krishna follows Him from behind. To an observer, they look like sons of mountains going after one another. moDu moDu viraindODa - They run with accelerating speeds or as they run their feet make the sound "moDu moDu moDu moDu....".

Here comes the elephant!

4. vAraNam paiya ninRUrvadupOl - as the trudging elephant in rut

Coutesy: PBASE ramanuja dasargal

This is from Periyazhwar Thirumozhi 1-5-1. "thoDar changiligai chalAr pilArennat thUnguponmaNiyolippa paDumummadap punal chOra vAraNam paiyaninRu uRvadu pOl uDankUDi kiNkiNi AravArippa uDaimaNi paRaikaRangat thaDanthALinai koNDu cArngapANi thaLarnaDai naDavAnO".

Lord Krishna walks unsteadily as a child. As He walks, His anklets ring "kiNkiN". The small jewels around His waist swing across and sound a gentle music. The small child sweats at His small effort. Periyazhwar finds comparison to this scene in an elephant in rut. As the passionate elephant breaks free and trudges along, the chains bound to its feet sway about making clashing sounds, the bells hung about its neck on a golden rope make music in their sway and the waters of rut exude from its face. Having sung the Thirupallandu on the back of an elephant using its very bells for the music, Periyazhwar makes a most beautiful comparison indeed!