Tiruppavai pasuram 18 Undhu mathakalitran...
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- เผยแพร่เมื่อ 5 ก.พ. 2025
- This pasuram is said to be so dear to Udaiyavar, Swamy Ramanujar. He is also known as Thirupaavai jeyar as he chants to himself Thiruppaavai daily. One day as usual he was going for madhukaram that is biksha for that day, he was chanting Thiruppaavai as usual. He came to the entrance of Periya nambi house at Srirangam and was chanting this pasuram and was uttering செந்தாமரைக்கையால் சீரார் வளை ஒலிப்ப
வந்து திறவாய் மகிழ்ந்தேலோர் எம்பாவாய்.
At the same time, Nambi’s daughter Athuzhai came and open the door. Seeing her, Swamy Ramanuja who was completely involved in the pasuram of Andal, thought the girl to be Nappinnai piratti and fell at her feet. Puzzled, Athuzhai went inside the house and told Peria Nambi about the happening. Peria nambi immediately told her that he must be chanting Undhu madhakalitran paasuram. yes true. When Swamy Ramanjua chanted
செந்தாமரைக் கையால் சீரார் வளை ஒலிப்ப
வந்து திறவாய் at the same time Athuzhai came and opened the door. Swamy Ramanuja saw her as Nappinnai Piraatti and fell at her feet. This was quoted by our Purvacharyars and hence this paasuram was considered to be dear to Udayavar.
Tiruppavai pasuram 18
உந்து மதகளிற்றன் ஓடாத தோள்வலியன்
நந்தகோபாலன் மருமகளே நப்பின்னாய்
கந்தம் கமழும் குழலி கடைதிறவாய்
வந்து எங்கும் கோழி அழைத்தன காண் மாதவிப்
பந்தல்மேல் பல்கால் குயிலினங்கள் கூவின காண்
பந்து ஆர் விரலி உன் மைத்துனன் பேர்பாடச்
செந்தாமரைக்கையால் சீரார் வளை ஒலிப்ப
வந்து திறவாய் மகிழ்ந்தேலோர் எம்பாவாய்.
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Script and narration (English) by Rajalakshmi Parthasarathi.
Tiruppavai pasuram 18 Undhu mathakalitran....
sung by Smt. Aishwarya Krishnamohan
Kolams and Theme drawing by Smt. Latha Shanker
Kolam credit: Raji
Images credit: Google.
Video presentation by Rajalakshmi Parthasarathi.
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Super 👍🙏
Superb. You did it. Keep it up.
Divine voice. This pasuram is dear to Udayvar. Stay blessed Aishwarya ji and Latha with her theme drawing with udayavar pic.
Thank you so much, mami, for this wonderful opportunity and for your enlightening explanation. I truly appreciate it. 🙏🙏
Absolutely Divine Ma - Pasuram 18 Undhumada Ragam Saveri Adi Andal - All the Best Wishes 👋👌👋
Melodious voice & excellent singing as always. Keep rocking Aishu. Let Gunaseela & Swamiji bring more opportunities & success ❤
She is always filled with endless causeless grace on all of us. The need for mediation by the divine consort to get the grace of the Lord has been insisted in many places in Srimad Ramanyana and other scriptures;
Super ishwarya
Daily I am hearing your song. Nice clear and melody sweet voice. Andal blessings to you and your family members.😊
Śrī Rāmānuja, who was deeply immersed in the sentiment (bhāva) of the stanza, at once imagined her to be Nappinnai herself and fell into a rapturous trance. The incident was, of course, reported to Thirukkotiyur Nambi, who recognized the stanza that his disciple must have been reciting at once, even before it was mentioned to him.
U made us also to see nappinnai piratti. A wonderfull and easily understandable explanation.
Thus, it is quite clear that Śrī Āṇḍāḷ had an amazing effect upon Śrī Rāmānuja who liked to be called 'Tiruppāvai Jiyar' or the 'Tiruppāvai Saint' when he had numerous other titles and appellations of honour and distinction.
Nappinnai and hence wakes up Nappinnai in this 18th verse. Fire can be extinguished with water, but to cool water when it becomes hot, water itself will serve the purpose. Similarly we need the divine Mother to mediate between the Lord and the Jiva but no mediation is required for us to approach our divine Mother.
During the Krishnavatara, while in gokula, the only consort was Nappinai piratti and hence Andal wakes her now;
Earlier Andal and others rushed to enjoy Kṛṣṇa and hence went to wake Him up first. Then they realized that they need to go as per procedure and hence approaches Nappinai for mediation;
Nappinai, is the incarnation of Nila Devi, one among the three consorts of the Lord in Srivaikunta; The foremost among the three is Sri Mahalakshmi; Bhoo Devi and Nila Devi aid in the pleasure of the Lord and the divine Mother (Sri Devi);
Nicely presentation
Raj jee
Everybody can
Understand
Though all r know its
Bhavarth
In the last verse Andal tried to wake up Kṛṣṇa through the proper channel of first waking Nandagopa, followed by Yasoda, then Balarama and Kṛṣṇa but still failed in Her attempt; Then She remembered the necessity and efficacy of approaching the Lord through the mediation of His consort,
While in Paramapadam, we need to surrender to all the three consorts before reaching the Lord;
In Ksheerabhdhi (milky ocean), one needs to fall to the divine Feet of Sri and Bhoo Devi’s before surrendering to the Lord;
During the Ramavatara, one needs to approach Sri Rama through the divine mother Sita Devi (incaranation of Sri Devi);
During the Varahavatara, one can reach Varaha moorthi with the mediation of Bhoo devi
When Sri Devi is considered to be a Vaishnavi (who surrenders to the Lord alone) Bhoo and Nila Devi’s are the foremost Srivaishnavas (as they surrender to both perumal and piratti). So, as falling in the Feet of Srivaishnavas are considered more sacred, Andal now proceeds to wake up Nappinnai piratti.
Raga Saveri Janyam of 15th mela Mayamalavagowlai.
Aro: S R1 M1 P D1 S Av: S N3 D1 P M1 G3 R1 S
Saveri is an ancient raga with many textual references. This raga is classified as a Bhashanga raga in Sangeeta Ratnakara, albeit with the name Savari.
This raga has a place of pride in Carnatic music, as can be also seen in the proverb, "Kaveri snaanam, Saveri Gaanam", which is duly reflected in a composition by Dikshitar. Each swara has a significant role.
Gandhara and Nishada, at Trisruti levels, render this raga as Bhashanga. Rishabha, Madhyama and Nishada are raga-chhayya swaras, which bring out the nuances of this raga.
Madhyama is unique, often called Saveri Madhyama. It is one of the select ragas with compositions by all members of the Carnatic Trinity.
There is a marked conceptual similarity between Dikshitar and Syama Sastri. Some rare sancharas can be found in "Karmame
Balavanta", a Tyagaraja kriti. There is considerable esoteric significance in some passages of the kriti "Sri Rajagopala" by Dikshitar. Syama Sastri's first composition was in this raga. Many post-Trinity composers have used this raga, unto recent times.
A great legacy.
The earliest reference is by Parshwadeva (11th Century). Narada's classification under the time theory details Saveri as a derivative of Gauda, apt for rendition between noon and 3 pm. Sarangadeva refers to raga Sauviri only.
The Brihaddharma Purana mentions Saveri as a janya raga of Gowda mela. Annamacharya and Purandaradasa have composed in this raga. Ramamatya refers to Saveri as a janya raga of Salanganata mela.
The references by Somanatha to a raga Saveri as a derivative of the Mallari scale perhaps is in respect of Suddhasaveri. Venkatamakhin opines that Saveri is a derivative of Gowla mela.
The melodic identity of this raga is established in works like Raga Lakshanamu, Sangeeta Saramrita and Sangeeta Sampradaya Pradarsini. The Sangeeta Saramrita deems Saveri to be a morning raga. Shadja is used as Graha, Nyasa and Amsa swaras.
Many compositions are available with notation in the Sangeeta Sampradaya Pradarsini. B Subba Rao has expressed a view that Saveri is getting popular in Hindustani music too. There is no eqivalent for Saveri in the Pann system.
Saveri is a very unique raga affording ample scope for manodharma. The three swaras, Rishaba, Madhyama and Dhaivata play a vital role. It is difficult to prescribe any uniformity in Manodharma in respect of this raga.
It is the judicious combination of swara and gamakas that accentuate the beauty of this raga and facilitate Raganubhava. (The proximity and combination of Shadja and Rishaba was demonstrated by her, duly accentuating the gamaka element with Rishaba swara).
The effect is such that some may adopt the zonal concept, within the raga framework For a total aesthetic effect, the key is the judicious use of the gamaka with any swara.
Saveri is a gamaka - variga raga but not extensible to all swaras. This raga gives the anubhava of Sringara, Santa and Adbhuta rasas.
உந்து மத களிற்றன் ஓடாத தோள் வலியன்
நந்தகோபாலன் மருமகளே நப்பின்னாய்
கந்தம் கமழும் குழலி கடை திறவாய்
வந்து எங்கும் கோழி அழைத்தன காண் மாதவிப்
பந்தல் மேல் பல் கால் குயிலினங்கள் கூவின காண்
பந்து ஆர் விரலி உன் மைத்துனன் பேர் பாடச்
செந்தாமரைக் கையால் சீரார் வளை ஒலிப்ப
வந்து திறவாய் மகிழ்ந்தேலோர் எம்பாவாய்.
undu madha kalittan ōḍāda tōḷ valiyan |
nanda gopālan marumahaḷē! nappinnāy!
gandham kamazhum kuzhalī! kaḍai tiravāy |
vandengum kōzhiyazhaittāna kāṇ | mādhavi
pandal mēl palkāl kuyil inangaḷ kūvina kāṇ |
pandār virali! un maittunan pēr pāḍa |
centāmarai kaiyāl cīrār vaḷai olippa |
vandu tiṛavāy makizhndēlōr empāvāy ||
Once during his visit to Thirukottiyur, It is said that one day, when Śrī Rāmānuja was going on his daily round for alms reciting this verse (18th), to which he was specially attached, he found himself in front of the house of his ācārya, Sri Thirukkotiyur Nambi. When chanting this stanza, the outer-door of the house which was bolted, was abruptly opened by Devaki piratti, the daughter of Thirukkotiyur Nambi, as the last words of the stanza - "With thy hand of red lotus and with the jingling of beautiful bangles, come and gladly open the door" - were being sung.
(undu mada kalittran) Since Nandagopa was so powerful he was capable of pushing elephants alone; Kṛṣṇa later killed kuvalayapita not because of His supremacy but because He was the mighty son of Nandagopa;
But as Nandagopa belonged to the clan of cowherds, did he have elephants? The Prince Vāsudeva and Nandagopa are such close friends that the property of one is as good as that of the other and Vāsudeva had many elephants. Moreover a foster son (Kṛṣṇa) has rights in both, the house he was born and where he has been sent;
(ōḍāda tōḷ valiyan) Nandagopa was a powerful warrior who never turned back on the foe; that is the main reason why kamsa didn’t come directly to gokula and instead sent putana and others to kill Kṛṣṇa; hence the girls also lived without fear;
(nanda gopālan) He might be mighty and powerful but for us he is our nandagopan, so easily accessible and down to earth that Andal calls him by name and not with respect.
(nanda gopālan marumagaḷē!) The Gopis address Nappinnai as the daughter-in-law of Nandagopa, though she was the daughter of the King Kumbha, the reason being that traditional women are more proud of the family to which they belong by marriage than that of their birth. In the Rāmāyana Sītā Devi began a description of Herself to Hanumān by saying "I am the daughter-in-law of Daśaratha, the fire of enemy-armies."
(nappinnāy!) The Gopis address Nappinnai in a familiar manner, for after the birth of the Lord Kṛṣṇa, every young girl in the Gokula claimed relationship of daughter-in-law to Nandagopa; and as such Nappinnai remained silent when they addressed her as 'daughter-in-law of Nandagopa'. So they had to address her again by calling her name.
Nappinnai kept quiet thinking the girls will leave after calling for sometime assuming that she is not there. Envisaging her thought Andal says,
(gandham kamazhum kuzhalī!) "The overwhelming fragrance of your hair betrays your presence, even though you remain silent and pretend that you are not home!"
Nappinai felt that they were complaining because they have all vowed not to decorate their hair with fragrant flowers by themselves but here she is enjoying the same and so she kept quiet;
(kaḍai tiravāy) Open the door so that we can also enjoy along with you; Experiencing Kṛṣṇa in solitude is not fair; allow us in so that we can aid you in getting more divine experience; Experiencing the divine Lord should always be done only along with devotees;
Nappinnai: But why do you all come and wake me in the middle of the night come once it is dawn;
(vandengum kōzhiyazhaittāna kāṇ) Roosters are crowing in all the directions; isn’t that an indication of dawn?
(mādhavi pandal mēl palkāl kuyil inangaḷ kūvina kāṇ) won’t you accept the cooing of the cuckoos as an indication? It is not just one but a flock of cuckoos, not one time but incessantly they are cooing.
Nappinnai: But probably they are cooing not able to sleep.
They are lying on the bower of madhavi flowers can they be without sleeping? If they have woken up and cooing is it not clear that it is already dawn?
Once the mukthAtmas reach the divine abode of the Lord, they never think about this samsara; similarly once the cuckoos rest on the bower of madhavi flowers, they seldom think of anything else;
Wanting to hear you and see you they are cooing many times; At least for their sake wake up and come;
Due to the grief of separation the sound of the cuckoos are hurting us but you are sleeping as if it was lullaby;
Nappinnai: Probably you frightened the cuckoos and made them coo;
(pandār virali) Kṛṣṇa is the partner to be enjoyed by Nappinnai, the ball is her toy. She has in one hand 'the contained' (nāram ) and on the other hand 'the container' (nārayanan): she has in one hand 'substance' (vibhūti ) and on the other hand the possessor of all substances' (vibhūtimān).
This dichotomy establishes the puruṣākara-bhāva (mediatrix). The ball that she holds in her hand represents the Universe which is an object of Līlā - sport for the Lord. In the ball game with the Lord, she is the winner and this augurs well for the welfare of all beings.
What a blessing that ball has to be in your hand? We were not blessed to be that ball.
Nappinnai: Ok what is the purpose of your visit?
(un maittunan pēr pāḍa) We came here to celebrate your victory and sing about the loser, your beloved; We are here to chant thousand Names indicative of His defeat;
Nappinai: Then open the door and come.
We are dependents and hence cannot come in without your help;
(centāmarai kaiyāl) The Lord shows his abhaya hasta and says don’t worry I will wash out all your sins; But we depend on your Red Lotus-hands that assures that you will protect us from the svathantriya (ultimate independence) of Kṛṣṇa. The Lord has to be impartial and hence might get angry seeing our sins at times but the divine mother ever filled with grace mediates and makes Him to forgive and accept the surrendering Jiva.
(cīrār vaḷai olippa) Bangles go away only during separation from the beloved, so they want to hear the jingling of bangles indicating the joy of union;
(vandu tiṛavāy makizhndu) For our sake please walk a few steps and open the door with joy;
In this verse the five senses are mentioned as being sublimated and directed to the goal of life which is the service of Lord Kṛṣṇa.
Makizhndu - in this way, seeing all the senses getting satisfied your mind rests in peace and so even ours;