SrIvatsa-cihna-misrebhyO nama-uktimadhImahe |
yaduktaya: trayeekaNThe yAnti mangaLa-sootratAm ||
- SlOkam 1
- SlOkam 2:
- SlOkam 3:
SrImantau hari caraNau samaaSritOham
SrIraamaavaraja muneendra labdha bodha: |
nirbheeka: tata iha sundarOrubAhum
stOshye taccaraNa vilOkanAbhilaashee ||
adiyEn, who has been blessed to receive clear Jn~Anam about the Tatthva Thrayams from Bhagavath RaamAnuja Yatheendhrar; adiyen is therefore holding the sacred feet of Hari NaarAyaNan with nithya sambhandham (eternal links) to SrI Devi; as a result of my SaraNAgathy , adiyEn is freed from the fear about the mighty and sorrowful ocean of SamsAram. adiyEn is going to eulogize now the Lord of ThirumAlirum ChOlai — known for His beautiful and strong shoulders– for the purpose of gaining the darsana soubhAgyam of His sacred Thiruvadi.
This slOkam is a moving celebration of Swamy KurEsar’s AchArya Bhakthi and his blessed status as one, who has chosen Prapatthi at the Thiruvadi of Sri Hari NaarAyaNan as the UpAyam for Moksham. Swamy KurEsar acknowledges that the AchArya Sambhandham is the cause for all MangaLams and expresses his gratefulness to his AchAryan by acknowledging that he gained clear Jn~Anam about Tatthva Thrayam and rahasyArthams from Sri RaamAnujA (SrI raamAvaraja muneendra labdha bOdha:). Afterwards, KurEsar describes that he performed his Prapatthi at the holy feet of Hari with nithya sambhandham to SrI Devi (SrImantau hari caraNau samaaSritOham). The direct result of his SaraNAgathy made KurEsar free from the fear (nirbheeka: tatA) of the sorrowful SamsAric ocean. KurEsar states that he is ready to start his sthOthram of the Lord of ThirumAlirum chOlai with mighty arms for gaining the darsana soubhAgyam of His auspicious Thiruvadi (taccaraNa vilOkana abhilAshee sundarOrubAhum stOshye). KurEsar wishes to have the darsanam of what AzhwAr saluted as “Thiruppolintha sEvadi”. “SrImantau hari caraNau samaaSritOham” reminds us of the Poorva BhAgam of Dhvaya manthram.
sundarAyata bhujam bhahAmahe
vruksha shaNDamayam adrim aaSritam |
yatra suprathita noopurApagA
teertham arthitha phalapradam vidu: ||
We worship the Lord of ThirumAlirumchOlai, who has the long and beautiful shoulders. He has chosen as His place of residence, the mountain with dense assembly of trees and groves and where the renowned SilambARu’s (Noopura Gangai) sacred waters flow and grant every one, who takes bath in it their desired wishes.
When BhagavAn took Thrivikrama AvathAram, Gangai flowed from the Silampu that he was wearing around His ankles following Brahma Devan’s washing of the Lord’s feet. That flow of water is known as “SilampARu” and comes down from the hills around ThirumAlirum Cholai. Sundara Baahu PerumAl gets bathed in this SilampARu water. Sundara Baahu PerumAL’s archA moortham is made up of aparanji Gold (very high grade gold) and SilampARu theertham is ideal for Thirumanjanam for the aparanji gold. Those waters of SilampARu are sacred due to the association with BhagavAn’s ankle ornament (Silampu) and hence it gives ishta PrApthi for those, who bathe in it. The Forests on the mountain slopes around this dhivya dEsam are populated by fragrant trees like Sandal, Ail et al. Hence this mountain (VrushAdhri) is known as Solai Malai. ThirumAl (Sundara Baahu) stays here and hence the dhivya dEsam is known as “ThirumAlirum ChOlai”. PeriyAzhwAr salutes this Noopura Gangai as “SilampARu payum tenn ThirumAlirum chOlayE” and His dear daughter (ANDAL) salutes this dhivya dEsam as “Santhodu Kaarahilum sumanthu taDangaL poruthu vanthu izhiyum SilampARudai MaalirumchOlai”. Thirumangai AzhwAr enjoys the beauty of the sandal trees, gems and peacock feathers being brought down by the swift currents of SilampARu from the mountain tops: “Santhodu MaNiyum aNi mayil tazhayu, thazhuvi vantharuvikaL niranthu vanthizhi saaral MaalirumchOlai”.
kvacit tvarita gAminee kvacana manda mandAlasA
kvacit skhalita-vihvalA kavacana phEnilA saaravA |
padantyapi kila kvacit vrajati noopurAhvA nadee
susundara bhujAhvayam madhu nipeeya mattA yathA ||
This SilampARu has drunk the intoxicating honey called SundarabAhu and is descending rapidly at some places and moving leisurely at the other places; at some places, she is blocked by boulders and causes whirlpools and yet at other places, She is full of foam and is making a lot of noise as she flows down; elsewhere, she takes the form of a mountain stream (aruvi).
Poets frequently compare the rivers to women in all their moods. If a woman has drunk any wine, her moods get accentuated. The lady with the name of SilampARu (noopurAhvA nadee) has drunk the Madhu known as SundharabAhu (susundara bhujAhvayam madhu nipeeya) and has become intoxicated (mattA yathA). This Madhu arose from the sambhandham with the Lord’s sacred feet. As a result of partaking that Madhu, Noopura Gangai rushes down from the mountain at some places and at other places, she moves with a slow gait. Elsewhere, she flows (moves) noisily. Other places, she comes down as swiftly descending aruvi (water falls).