AZHWARS - UDAIYAVAR THANIYAN

-

 A poetic verse or stanza (in Sanskrit) designed for prayer describes the names of these AzhvArs and one more sage or Guru as follows:

Blessed and penned by *PARASARA BHATTAR*

"Bhutam Sarascha Mahadahvaya Bhattanatha
Sri Bhaktisara Kulasekhara Yogivahan
Bhaktanghrirenu Parakala Yatindra Mishran
Srimat Paramkusha munim pranatosmi nityam"


The salutations of the AzhwAr goes thus
Bhutham- Bhuthathazhvar
Sarascha- Poigaiyazhvar
MahadhAhvaya-Peyazhvar
Bhattanatha-Periyazhvar
Sri- Andal (according to pillailokachar)
Bhakthisara- Thirumazhisai Azhwar 
Kulasekara-Kulasekarazhvar
Yogivahan-Thiruppaanazhvar
Bhakthangri renu- Thondaradippodi azhvar
Parakala- Thirumangai azhvar
Yathindra-Ramanujar
Misran- Madurakavi Azhwar (according to pillailokachar).
Parangusa muni- Nammazhvar
Pranathosmi Nithyam- I do my pranams to them daily.
Azhwar Thiruvadigale Sharanam.

Comments

Post a Comment

Popular posts from this blog

Divya Prabandham

-
Image
Divya Prabandham also called Nalaayira Divya prabandham consists of nearly 4000 hymns.  These 4000 Tamil verses are composed by 12 Tamil poet-saints called Azhwars who were immersed in their devotion to Lord Vishnu. The 12 Azhwars sang these songs about various sacred shrines and the presiding Deity of the shrine, that came to be known as the Divya Desams. There are 108 Divya Desams. 105 in India, 1 in Nepal  and the last two believed to be beyond the Earthly realms. The 12 Azhwars Poigai azhwar Boothath azhwar Peyazhwar Thirumazhisai azhwar Nammazhwar Madhurakavi azhwar Kulasekara azhwar Peri azhwar  Andal  Thondaradipodi azhwar Thiruppan azhwar Thirumangai azhwar       The Nalaayira Divya Prabandham also known as “DRAVIDA VEDAM” or “TAMIL VEDAM” became lost after the period of the Azhwars. Later it was the scholar-saint and Acharya “NATHAMUNI “ who in the 10th century retrieved and compiled this treasure in the present form which’s the pride of Tamil Classical Literature.      Natham
Read more

THIRUPPAVAI - PASURAM 1

-
Image
THIRUPPAVAI PASURAM 1 Andal assumes herself to be the cowherdess of  ‘AyarpAdi’, awakens her peers to follow a certain discipline in view of attaining everlasting happiness and service to the Lord. Eventually selecting the month of “MARGAZHI” and as a monthlong process she sang 30 pAsurams (one for each day) for the “PAVAI NONBU”, called “THIRUPPAVAI”. Each pAsuram ends with the special phrase “ELOr EmpAvAi”, meaning Oh, my dear friends which is the speciality of ThiruppAvai. 474.mArgazhit tingaL, madi niRainDa nannALAl *  nIrADap pOduvIr! pOduminO nErizhaiyIr! *  sIr malgum AyppADich selvach siRumeergAL! *  kUrvEl koDuntozhilan nandagOpan kumaran **  ErArnda kaNNi, yasOdai iLanjchingam *  kArmEnich sengaN kadir madiyam pOl mugattAn *  nArAyaNanE namakkE paRai taruvAn *  pArOr pugazhap paDindElOr empAvAy (1) 1.MARGAZHI THINGAL. The First PAsuram is the introduction, where she invites all her companions for this PAvai NOnbu. As it is the first full moon day of the month of “MARGAZHI”, O
Read more

NACHCHIYAR TIRUMOZHI 14

-
NACHCHIYAR TIRUMOZHI 14 PASURAMS 637 to 646 *paTTi mEyndOr* After all the hardships that AndAl faced in uniting with the Lord, that she explained starting from " thaiyoru thingkaLum “, finally she gets relieved by having a darshan of the Lord when He shows up, which she explains interestingly in this last decade, as a conversation between herself and her gopika friends. AndAl, in the first half of each pAsuram putsforth a question asking,  "have you seen (கண்டீரே) kaNNan?" describing about Him. The later half comes as an answer saying (விருந்தாவனத்தே கண்டோமே) " *virundAvanaTTE kaNDOmE"* by the gopis. The essence of 'paramabakthi ' required to attain Him and the resultant 'pErinbam' attained out of it are clearly explained here.   637 * patti mEyndhOr kArERu * baladhEvaRku Or kIzhk kanRAy *  ittIRittu viLaiyAdi * ingkE pOdhak kaNdIrE? ** ittamAna pasukkaLai * inidhu maRiththu nIrUtti * vittuk koNdu viLaiyAda * virundhAvanaththE kaNdOmE (2) (1) (6
Read more

PERIAZHWAR THIRUMOZHI.PALLANDU 1 - 1

-
 PERIAZHVAR THIRUMOZHI. PALLANDU. Pasurams- 1 - 12 During his triumph procession through the streets of Madurai city, emperumAn showed himself along with PiraaTTi to  periyAzhwAr. On seeing bhagavAn in the most beautiful form  revealing  his auspicious qualities such as saundharyam (beauty), etc., AzhvAr was concerned and out of great fear started  thinking that, “in this world which is controlled by kAlam (time), what bad might happen to him?, and what evil eyes people might cast on Him”. So he performed mangaLAsAsanam (well-wishing thoughts) to emperumAn‘s divine and beautiful form to stay forever from any evil eyes. Pasuram 1: pallANdu pallANdu pallAyiraththANdu pala kOdi nURAyiram mallANda thiN thOL maNivaNNA! un sEvadi sevvi thirukkAppu # He starts the first pasuram saying “Pallaandu Pallaandu “ praising the Lord who has conquered the enemies with His strong arms. May you be praised for ever and ever and ever and for many crores of years to come as we stand beneath your Divine fee
Read more

PERIYAZHVAR TIRUMOZHI - 3.6

-
 PERIYAZHVAR TIRUMOZHI - 3.6 PASURAMS 275 – 285 The glory of kaNNan playing the flute. 275: naavalam periya theevinil vaazhum* naNGgaimeer_kaaL! idhu Or aRpudham kELeer* thoovalam puriyudaiya thirumaal* thooyavaayil kuzhalOsai vazhiyE* kOvalar siRumiyar iLaNGgoNGgai- kudhuhalippa* udaluLavizhndhu* eNGgum- kaavalum kadandhu kayiRumaalaiyaaki* vandhu kavizhndhu n^inRanarE.* (2) (1) 275. Oh beautiful girls who live in the island of jambudweepa (nAvalan teevu)! Come and listen to this wonder!! The consort of MahAlakshmi, holding the pure, right coiled conch (valampuri), is now playing the flute keeping it on His purest lips. The girls of AyarpAdi lost themselves listening to the mesmerising tunes . As their emotions rose high, they started going towards the music leaving their boundaries and they all joined together like flowers of a string to listen to the music. Seeing kaNNan playing the flute they put their heads down in shame. (1) 276: idavaNarai idaththOLodu saayththu* iruhai koodappu
Read more

PERUMAL TIRUMOZHI - 9*

-
*PERUMAL TIRUMOZHI 9* *PASURAMS 730—740* *Van tALiNai* (thanayan vanam pugath dhasarathan pulambudhal) In this decade AzhvAr talks about the misfortune of king dasharathA. He thinks that, there can be none like DasarathA, who would have    suffered to this extent, the separation of rAma. DasarathA's grief and regret of sending rAma to the forest is vividly explained here. 730 * vanthALiniNai vaNangki vaLanagaram thozhudhEththa * mannanAvAn ninRAyai * ariyaNai mEl irundhAyai * nedungkAnam padarap pOgu enRAL ** em irAmAvO! * unaip payandha kaikEsi than soRkEttu * nanRAga nAnilaththai ALviththEn * nanmaganE! unnai nAnE (1) 730. Oh! My dear son rAma! Getting to know the excitement of the entire subjects of Ayodhya and the chieftains, who respect you, greet you and honour you by falling at your feet, on making you the next heir to the throne, I got overwhelmed in making all the arrangements for crowning you. Later listening to the words of kaikeyi, I had to dethrone you and send you to
Read more

PERUMAL TIRUMOZHI - 7

-
PERUMAL TIRUMOZHI - 7 PASURAMS 708 TO 718 Alai neeL karumbu According to various circumstances and the state of mind one is in, one can enjoy Lord in different kinds of relationship, like husband and wife, mother and child, teacher and student or as two friends. Here in this tirumozhi, the motherly instinct of AzhwAr becomes prominent. Not finding his child close to him, he personifies himself as Devaki and tries to reminiscence each and every stage of kaNNan's childhood. The time frame here is that, Devaki laments this when she sees KaNNan after He frees her on the death of Kamsa. THE CRADLE STAGE: [New born] 708 * AlainIL karumbannavan thAlO * ambuyath thadangkaNNinan thAlO * vElainIr niRaththannavan thAlO * vEzhap pOdhaga mannavan thAlO ** ElavArkuzhal en magan thAlO * enRenRu unnai en vAyidai niRaiya * thAloliththidum thiruvinai illAth * thAyaril kadaiyAyina thAyE(2) (1) 708 Oh my child!, who is like the well grown sugarcane ready to be sent to the factory for juice extraction,
Read more