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Sunday, September 18, 2016

Marugelara : Thiagarajar Krithi

Marukelara O Raghava : Ragam: jayantashree

Composer: Tyaagaraaja;  Language: Telugu

Pallavi
Marukelara O RaghavaA

Anupallavi:
Marugela charachara rupa paratpara suya sudhakra lochana

Charanam:
Anni nivanusu antarangamuna dinnaga vedaki telisi kontinayya
Ninne gani madi nennajala norula nannu brovavayya thyagarajanuta



Pallavi: 
Marugu : Screen
Elara : Why 

Anupallavi: 
Chara : the one which moves
achara : the one which does not move
Rupa : who has the form of
Paratpara : the one who is beyond all / everything
Surya : Sun
Sudhakara : Moon
Lochana : eyes


Charanam: 
Vetagi : Having searched
Antarangamuna : confidential / inner most thoughts & feelings
Tinnaga : Have directly
Telusukontini : Perceived / understood
Nivanusu : you alone
Anni : everything

Ninne : you
Gani : other than
Madini : in my mind
Jalaju : I shall not
Enna : Even think about
orula : of anyone
Ayya : O Rama
Nuta : Praised
Brovu : protect
Nannu : Me


Meaning:
O Raghava (Lord Rama)! Why are you concealing yourself? 

The Universe itself is your form! The Sun and the moon are your eyes. By deep contemplation, inquiry, and search, I have directly perceived that you are everything, and everything is within you. 

There is no place in my mind for any other God. Please protect me


Discussion of the Meaning : 

In this song, Thiyagaiyar asks Rama to come before him. He says O Rama, why are you concealing yourself? Lord is concealed with a screen called maya. Only the lord can remove the screen. Thiyaggaiyar says that inspite of you having the screen, I have perceived you. Your trick of having the screen hence is useless. Why keep it any longer? Please remove it and come before me. 

He also asks Rama, "Can you even try to conceal yourself?". There is clear proof of Lord's existence. There is the Sun and the moon - which are the two eyes of Rama. The world itself is there and functioning which again shows that the Lord is there. How can HE conceal HIMSELF? 

The song reminds me of "Tera tiyagaraadhaa" in Goulibandhu where he asks Lord Venketeswara of Thirupathi as to when the screen will be lifted which is separating him and the God. While there is actually a screen which is placed between the idol of the God and us sometimes, Thyagaraja is not referring to that alone. He is also referring to the screen of maya which separates us from seeing the God. 

It is said that one of the five things that the God does is "Thirodhanam" - which is "concealing". While typically "Thirodhanam" is attributed to Lord Shiva / Goddess Lalitha who carries out the five different activities (As Lalitha Sahasranamam says - "Pancha kritya parayana" : Srishti, Sthithi, Samharam, Thirodhanam & Anugraham), it looks as if Thiyagaiyar is referring to the act of "Thirodhanam" here as well as in the other song - tera tiyagaradha. 


Listen to Maharajapuram Santhanam singing Marugelara here:

Marugelara by Maharajapuram Santhanam

Friday, January 15, 2016

Akilandeswari Rakshamam : Dikshithar Kriti


akhilaaNDEshvari  : raagam: dvijaavanti  taaLam: aadi


Composer: Muttuswaamy Dikshitar  Language: Sanskrit


pallavi
akhilANDEshvari rakSamAm Agama sampradAya nipuNE shrI

anupallavi
nikhila lOka nityAtmikE vimalE nirmalE shyAmaLE sakala kalE

charaNam
lambOdara guruguha pUjitE lambAlakOdbhAsitEhasitE
vAgdEvatArAdhitE varadE varashailarAjanutE shAradE
jambhAri sambhAvitE janArddananutE jujAvanti rAganutE jallI
maddaLa jhar jhara vAdya nAdamuditE jHnAnapradE


Word by word meaning of the song : (mostly taken from the site : http://guruguha.org/wiki/akhilandeshvari.html)


kshEtra - tiruvAnaikkOil is the "kshetra" - the place - meant here
akhilAnDa - all the worlds 
ISvari - Goddess 
raksha - protect 
mAm - me 
Agama - The Agama canons 
sampradAya - The path of the ; the tradition
nipuNE - expert 
Sri - O auspicious one 
nikhila - various 
lOka - worlds 
nitya - eternal 
AtmikE - dwelling in 
vimalE - pure 
nirmalE - pure 
SyAmaLE - dark-hued 
sakala kaLe - the complete one / The one that is the essence of all the arts 
lambOdara - The long-bellied (Ganesa) 
guru guha - Subrahmanya 
pUjitE - worshipped by 
lamba - long 
Alaka - tresses 
udbhAsitE - resplendent with 
hasitE - having a pleasing countenance; smiling
vAgdEvatA - The goddess of speech 
ArAdhitE - worshipped by varadE - giver of boons 
vara - revered 
zaila - mountain 
rAja - king 
nutE - worshipped by 
SAradE - The one as bright as the autumnal moon
jambha - the demon jambha 
ari - enemy 
jambhAri - ie Indra 
sambhAvitE - celebrated by 
janArdana - vishnu 
nutE - praised by 
jujAvanti rAga nutE - the one who is praised by raag jujavanthi
jhallI maddaLa jharjhara - names of instruments such as jalli (also called jallaki), maddala and jharjharam
vAdya - instruments 
nAda - music 
muditE - pleased by 
jnAna - knowledge 
pradE - bestower 


The detailed meaning of the song : (mostly taken from the site : http://guruguha.org/wiki/akhilandeshvari.html)

Pallavi:

akhilANDEshvari rakSamAm Agama sampradAya nipuNE shrI

Akhilandeswari! Protect me! O Expert in the tradition of the Agamas.


Anupallavi:

nikhila lOka nityAtmikE vimalE nirmalE shyAmaLE sakala kalE

The one who is the eternal lifeforce of the various worlds. The one who is pure.
The one who is dark as the rain cloud. The one who encompasses all the arts and who is the essence of all the art forms.

charaNaM:

lambOdara guruguha pUjitE lambAlakOdbhAsitEhasitE
vAgdEvatArAdhitE varadE varashailarAjanutE shAradE
jambhAri sambhAvitE janArddananutE jujAvanti rAganutE jallI
maddaLa jhar jhara vAdya nAdamuditE jHnAnapradE

The one worshipped by Ganesha and Shanmukha. The one who has long locks of hair on her forehead.The one with a smiling countenance.
The one worshipped by the vagdhevathas. the bestower of boons. the one worshipped by the king of mountains. The one named Sharada.
The one respected by Indra - who is the enemy of the demon jambhA. The one worshipped by Vishnu. The one praised with the raga jujavanti.
The one pleased by the instruments such as jallI, maddaLa, jarjara. The bestower of knowledge 


The stories in the song: 

The one key story which appears in the song is that of "lambOdara guruguha pUjitE" which talks about Goddess Akilandeswari being worshipped by Ganapathy and Guruguha - who is Subramanya. This pertains to the Goddess being in a state of anger - which was dissipated by Adi Sankara who took all that anger in the form of tadanga (ear rings) and put it on the ears of the Goddess and also put the idols of Ganapathy and Muruga in front of the Goddess so that she sees her sons all the time and hence becomes pacified. 

Key points to note about the song: 

As with most other Dikshithar songs, this is pure poetry!

"nityAtmikE vimalE nirmalE shyAmaLE sakala kalE"  - all with "E" kaarams; and again, 

 "guruguha pUjitE;  lambAlakOdbhAsitEhasitE; vAgdEvatArAdhitE;  varadE ; varashailarAjanutE;  shAradE; sambhAvitE;  janArddananutE ; rAganutE ; nAdamuditE jHnAnapradE ....all "Ekaarams" in the song making the song all the more beautiful to listen to!

Key points about the temple and the Temple Stories (Sthala Purana) : (Taken from wikipedia : https://en.wikipedia.org/wiki/Jambukeswarar_Temple,_Thiruvanaikaval)

Thiruvanaikaval (also ThiruvanaikalJambekeswaram) is a famous Shiva temple in Tiruchirapalli (Trichy), in the state of Tamil Nadu, India. The temple was built by Kocengannan (Kochenga Chola), one of the Early Cholas, around 1,800 years ago. It is located in the Srirangam island, which has the famous Ranganathaswamy temple.
Thiruvanaikal is one of the five major Shiva Temples of Tamil Nadu (Panchabhoota Sthalams) representing the Mahābhūta or five great elements; this temple represents the element of water, or neer in Tamil.[1] The sanctum of Jambukeswara has an underground water stream and in spite of pumping water out, it is always filled with water.[2]
It is one of the 275 Paadal Petra Sthalams, where all the four most revered Nayanars (Saivite Saints) have sung glories of the deity in this temple. The temple has inscriptions from the Chola period.




Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples,[9] each representing the manifestation of the five prime elements of nature - space, air, fire, water, earth.[10] Pancha indicates five, Bhoota means elements and Sthala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams[9] and each of the lingams representing Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of water (Appu Lingam). The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple,[11] Akasa Lingam (representing sky)[9] at Thillai Nataraja Temple, Chidambaram,[11] Agni Lingam (representing fire)[12] at Annamalaiyar Temple[11] and Vayu Lingam (representing air) at Srikalahasti Temple.[11][13]

Once Parvati mocked Shiva’s penance for betterment of the world. Shiva wanted to condemn her act and directed her to go to the earth from Kailasam (Shiva's abode) to do penance. Parvathi in the form of Akilandeswari as per Shiva's wish found Jambu forest (Thiruvanaikoil) to conduct her penance. She made a lingam out of water of river Cauvery (also called as river Ponni) under the Venn Naaval tree (the Venn Naaval tree on top of the saint Jambu) and commenced her worship. The lingam is known as Appu Lingam (Water Lingam).[3] Siva at last gave darshan to Akilandeswari and taught her Siva Gnana. Akilandeswari took Upadesa(lessons) facing East from Shiva, who stood facing west.[2]


The temples idols are installed opposite to each other - Such temples are known as Upadesa Sthalams. As the Devi was like a student and Jambukeswara like a Guru (teacher) in this temple, there is no Thiru Kalyanam (marriage) conducted in this temple for Shiva and Parvathi, unlike the other Shiva temples. The sannathy of the goddess Akilandeshwari and the sannathy of Prasanna Vinayaka are in the shape of the pranava manthracalled "Om". It is believed that the Amman in the temple was in deep anger hence during one of Adi Sankara's visit he installed the Prasanna Ganapathy idol right opposite to her Sannathy and installed a pair of Sri Chakra thaatankas (ear-rings) to reduce her anger.[2]

There were two Siva Ganas (Siva’s disciples who live in Kailash): 'Malyavan' and 'Pushpadanta'. Though they are Siva Ganas they always quarrel with each other and fight for one thing or other. In one fight 'Malyavan' cursed 'Pushpadanta' to become an elephant on earth and the latter cursed the former to become a spider on earth. The elephant and the spider came to Jambukeswaram and continued their Siva worship. The elephant collected water from river Cauvery and conducted ablution to the lingam under the Jambu tree (Eugenia jambolana) daily. The spider constructed his web over the lingam to prevent dry leaves from dropping on it and prevent sunlight directly falling on it. When the elephant saw the web and thought it was dust onlingam. The elephant tore them and cleaned the lingam by pouring water and the practice continued daily. The spider became angry one day and crawled into the trunk of the elephant and bit the elephant to death, killing itself. Siva, in the form of Jambukeswara, moved by the deep devotion of the two, relieved them from the curse. As an elephant worshipped Siva here, this place came to be known as Thiru Aanai Kaa (thiru means holy, aanai is elephant, kaa (kaadu) means forest).[2] Later the name 'Thiruaanaikaa' become 'Thiruvanaikaval' and 'Thiruvanaikoil'.




As an outcome of making sin by killing the elephant, in the next birth, the spider was born as the King Kochengot Chola (kotchengannan cholan meaning red-eyed king) and built 70 temples and this temple is the one among them.[2] Remembering his enmity with the elephant in his previous birth, he built the Siva Sannathi (sanctorum) such that not even a small elephant can enter. The entrance on the sanctorum of Jambukeswara is only 4 foot high and 2.5 foot wide.[2]



Tamil sage & poet "Thirunavukkarasar" has sung about this temple (in tamil) - for those who understand tamil : (all from Tamil wiki)

இந்த தல வரலாற்றை திருநாவுக்கரசர் தனது திருக்குறுக்கை சிவஸ்தலம் பதிகத்தில் (4-ம் திருமுறை - "ஆதியில் பிரமனார் தாம்" என்று தொடங்கும் பதிகம் - 4வது பாடல்) தெரிவிக்கிறார்.
"சிலந்தியும் ஆனைக்காவில் திருநிழல் பந்தர் செய்து
உலந்து அவண் இறந்த போதே கோச்செங்கணானும் ஆகக்
கலந்த நீர்க் காவிரீ சூழ் சோணாட்டுச் சோழர் தங்கள்
குலந்தனில் பிறப்பித்திட்டார் குறுக்கைவீ ரட்டனாரே"  
இப்பாடலின் பொழிப்புரை : 

திருவானைக்காவிலுள்ள பெருமானுக்கு அழகிய நிழலைத்தரும் பந்தலை அமைத்த 
சிலந்தி இறந்தபின் மறுபிறப்பில், சுவாமியுடன் கலந்து பயின்ற நீரை உடைய 
காவிரியாற் சூழப்பட்ட சோழ நாட்டில் அந்நாட்டு மன்னர் மரபிலே கோச்செங்கண்ணான்
என்ற பெயருடைய அரசனாகுமாறு பிறப்பித்து விட்டார் குறுக்கை வீரட்டனார்
The other old tamil poems on this temple (again in tamil are as follows)

திருத்தலப் பாடல்கள்[தொகு]

திருவானைக்கா நாயன்மார்கள் மற்றும் தாயுமானவரின் பாடல் பெற்ற ஒரு தலம். திருநாவுக்கரசர் அருளிய ஒரு தேவாரப் பதிகம் கீழே:
துன்பம் இன்றித் துயரின்றி என்றும்நீர்
இன்பம் வேண்டில் இராப்பகல் ஏத்துமின்
எம்பொன் ஈசன் இறைவன் என்று உள்குவார்க்கு
அன்பன் ஆயிடும் ஆனைக்கா அண்ணலே.
காவேரி நதியோடு சென்று விட்ட சோழனின் மணியாரம், திருமஞ்சனக் குடத்தில் சிக்கிக் கொண்டு எம்பிரானுக்கு ஆபரணமாக விளைந்த அற்புதத்தைசுந்தரமூர்த்தி நாயனார் இவ்வாறு வடிக்கிறார்:
தாரமாகிய பொன்னித் தண்டுறையாடி விழுத்து
நீரினின்றடி போற்றி நின்மலாக் கொள்ளென வாங்கே
ஆரங்கொண்ட வெம்மானைக் காவுடையாதியைநாளும்
எனவும் , திருஞானசம்பந்தப்பெருமான்
ஆரம் நீரோ டேந்தினா னானைக்காவு சேர்மினே
சைவ ஆகமமாம் பெரிய புராணத்தில் ஏயர்கோன் கலிக்காமநாயனார் வரலாற்றினில், சேக்கிழார் தலத்தின் பெருமையை இவ்வாறு உரைக்கிறார்:
வளவர் பெருமான் திருவாரஞ் சாத்திக் கொண்டு வரும் பொன்னிக்
கிளருந் திரைநீர் மூழ்குதலும் வழுவிப் போகக் கேதமுற
அளவில் திருமஞ் சனக்குடத்தி லதுபுக்காட்ட வணிந்தருளி
தளரு மவனுக் கருள்புரிந்த தன்மை சிறக்கச் சாற்றினார்
தலப் பெருமையைப் பறைசாற்றும் பழந்தமிழ்ப் பாடலொன்று:
மேதகைய பயன்விழைவோர் ஞானதலத் துறைகுவது மேவாதாயின்
ஓதுக அத்தலப்பெயரை யாங்கதுவு முற்றாதே லுரைப்பக்கேட்க
காதலொடு கேட்டவரு மூவகைய பாதகமுங் கடந்துமேலாம்
போதமுணர்ந் தெமதடியிற் புக்கிருப்ப ரிஃதுண்மை பொலங்கொம்பன்னாய்
Once Goddess Akilandeswari was angry. At that point in time, the temple was not at all a place of worship. All the people were afraid of the Goddess. Adi Shankara learnt about this and came to the temple. He, thru the mantra shastra, collected all the forces of anger from the Goddess and put that into two ear rings. The ear rings were made in the form of "Sri Chakra" - which again is a form of worship in Hindu - Saktha tradition. He put them onto the Goddess who was by now, peace and serenity personified. Adhi Shankara also ensured that he put the idols of Ganesa in front of the Goddess and the idol of Subramanya on the back side of the Goddess so that the first thing the Goddess sees is that of Ganesa and she is surrounded also by Muruga. This also ensured that the Goddess stayed as a Goddess of love and affection. 
The kriti, makes a deft reference to this sthala purana in the line " lambodara gurugua pujithe"
To listen to this song : 
1. by MS : 
2. by Kavalam Srikumar : this is amazing rendition!!


Saturday, July 18, 2015

Nambik kettavar Evaraiya : Hindolam : Papanasam Sivan

Nambik Kettavar Evaraiya

Ragam: Hindolam  :         Talam: Adi  :      Composer: Papanasam Sivan


Pallavi:
nambik-keTTavar evar aiyA umai nAyakanait-tirumayilaiyin iraivanai

Anupallavi:
ambuli gangai aNinda jaTAdharan  anbar manam vaLar shambhu kapAliyai

Charanam:
onrumE payan illai enru uNarnda pinbavar uNDenbAr
ovvoru manidanum oru nAL in-nilai eiduadurudi idai marandAr
anru sheyal azhindala marupozhudu shivan peyar nAvil vArAdE
AdalinAl manamE inrE shiva nAmam shollip-pazhakku anbudan


ராகம் - ஹிந்தோளம் :    தாளம் - ஆதி : இயற்றியவர் - பாபநாசம் சிவன்


பல்லவி

நம்பிக் கெட்டவர் எவரய்யா உமை
நாயகனைத் திருமயிலையின் இறைவனை

அனுபல்லவி

அம்புலி கங்கை அணிந்த ஜடாதரன்
அன்பர் மனம் வளர் சம்பு கபாலியை

சரணம்

ஒன்றுமே பயன் இல்லையென்று உணர்ந்தபின்பவர் உண்டென்பார்
ஒவ்வொரு மனிதனும் ஒருநாள் இந்நிலை எய்துவதுறுதி இதை மறந்தார்
அன்று செயலழிந்தல மருபொழுது சிவன் பெயர் நாவில் வாராதே
ஆதலினால் மனமே இன்றே சிவநாமம் சொல்லிப்பழகு அன்புடன்


Word by word Meaning: 

Pallavi:


nambik-keTTavar evar aiyA umai nAyakanait-tirumayilaiyin iraivanai

Nambi : after believing in you, after having faith in you, after praying to you - all these fit in as quite good meaning here

Kettavar : who has suffered; who went awry

evvaraiya : who is there? 

Umai : Goddess Uma

Nayaganai : Husband of 

Thirumayilaiyin : residing in Mylapore

Iraivanai : God


Anupallavi : 

ambuli : moon

gangai : the river Ganga

anintha : wearing these on His forehead / on his head 

Jadatharan : having matted hair

Anbar : devotees; those who have the faith in you; those who worship you

manam : heart

valar : living in; having the place as 

sambu : The Shambhu - God Shiva

Kapali : Lord Shiva with specific reference to the Lord in the Kapaleeshwara temple, Mypalore


Charanam: 

onrume payanillai : absolutely nothing is of use; not even one thing is of use

enru : as such 

unarnthapinbavar : after having realized so they will

undenbar : accept that you are there

ovvoru : every 

manithanum : man / woman

orunal : one day

innilai : this state of affairs / finding that nothing is of use but God 

eithuvathuruthi : reaching this state is certain

ithai : this 

maranthar : is forgotten by them / people forget this

anru : that day; the final day; the day of death; the moment of death

seyalazinthu : action fails ; body fails

alamarum pozuthu : highly agitated / distressed state of affairs / complete confusion and panic stricken state

sivan : lord Shiva

peyar : name / nama / chanting / mantra

navil : on the tongue / to tell / to say / to chant

varathe : would not come; would not be able to say it

athalinal : and hence; therefore

maname : O my heart / O mind

inre : today itself / right away

sivanamam : the name of Lord Shiva / the mantra of panchakshara (Om Namachchivaya) 

solli : chant / say 

pazagu : practice / make it a habit

anbudan : with love


Detailed meaning: 

Pallavi:
nambik-keTTavar evar aiyA umai nAyakanait-tirumayilaiyin iraivanai

Who has suffered after having faith? After having prayed? After having worshipped lord Shiva? Nobody's faith has been betrayed. Nobody's prayers have gone unanswered. Those who worship Lord Shiva, Uma's Husband, the Lord of Mylapore Kapaleeshwarar temple, will always have their prayers answered. Will always have their faith reposed. Will always have Lord Shiva's grace. 



Anupallavi:
ambuli gangai aNinda jaTAdharan  anbar manam vaLar shambhu kapAliyai

The one who is wearing the crescent moon on his forehead and the river Ganga on his matted hair - Lord Shiva, the one who resides in the hearts of those who believe in Him, who worship Him, who pray to Him, the Shambhu, the Kapali - those who have believed in such a God, those who have believed and prayed in such a God, those who have worshipped in such a God, will not suffer. Their prayers will be answered. 



Charanam:
onrumE payan illai enru uNarnda pinbavar uNDenbAr
ovvoru manidanum oru nAL in-nilai eiduadurudi idai marandAr
anru sheyal azhindala marupozhudu shivan peyar nAvil vArAdE
AdalinAl manamE inrE shiva nAmam shollip-pazhakku anbudan

When one realizes that there is no use of anything but HIM, they will start believing in HIM; they will accept that HE is indeed there. And, every single man and woman is going to come to this stage. This is certain. But, people forget this fact. But, when that day comes, the body fails. The mind fails. Panic sets in. One is highly distressed and cannot think. In that state of affairs, one's tongue is unable to chant Shiva nama. Hence, O my heart! O my Mind! today itself, right now, start chanting Shiva nama and practise it with lots of love.

Discussion on the lyrics & stories it has : 

It is a very subtly nuanced song. It is not very easy to understand the poet's heart as to exactly what he meant in a line or a word. Beautful verses give raise to multiple nuanced subtle meanings and that is indeed the beauty of lovely song. 


It holds good here too. 

"nambik-keTTavar evar aiyA" : is there anyone whose faith has gone awry? whose prayers have not been answered? whose worship has gone waste? who has been betrayed because he / she believed in Lord Shiva? That is the question here. Many times, many occasions, we do feel that our prayers are NOT answered. Many times we feel that God has failed us. Right from our childhood when we would stand in front of idols at home or at temples and pray to God for higher marks or to simply pass in exams and that did not happen, we feel that God did not listen to us or even after listening, did not heed to our prayers. But, while we may feel because of such incidents, God never ever fails us. He knows what is right for us and carries us thru our troubles. 

Story of Sita : 



Is there anyone whose bakthi was greater than what Sita had towards Rama? And yet, she had to spend 10 months at Ravana's place all alone, not knowing what happened to Rama and Lakshmana, not knowing whether she will be able to go out of that place alive and without getting harmed. And yet, she had faith in Rama. She had absolute confidence that Rama will come and rescue her one day. And, while it took 10 months, it did materialize at the end. 

Story of Thirunavukkarasar : "Appar", as he was called, "Thirunavukkarasar", converted back to Saivism at the ripe old age of 76 years. He had converted to jainism earlier in his younger age much to the chagrin of her elder sister Thilakavathi. The jaini monks wanted Appar to convert back. They could not persuade him to do so. Hence, with the help of the king, they ensured that Appar went thru a whole series of tortures. Appar was put into lime kiln. He was tied to a stone and put into a river. He was put into a pit and an elephant was ordered to trample him. Appar survived all this. 



He even sung about his experience of how it was to be there in that lime kiln : 

"மாசில் வீணையும் மாலை மதியமும்
வீசு தென்றலும் வீங்கிள வேனிலும்
மூசு வண்டறை பொய்கையும் போன்றதே
ஈசன் எந்தை இணையடி நிழலே"
("Mācil vīṇaiyum mālai matiyamum
vīcu těņṛalum vīŋkiḷa vēņilum
mūcu vaṇţaṛai pǒykaiyum pōņṛatē
īcaņ ěntai iṇaiyaţi niļalē")
translating to
"My Lord's twin feet are like the blemishless Veena
like the full-moon of the evening
like the gentle breeze blowing from the South
like the young spring
like a bee-humming pond "[14]  (taken from https://en.wikipedia.org/wiki/Appar)

The detailed stories of Appar can be accessed from here: Appar : The Story;    Appar the story - 2


Like this, there are scores of stories of devotees whose faith has been answered over a period of time. 


"thiru mayilaiyin iraivanai" :  when did the Lord of "Kayilai" (Kailasha) become the lord of the "mayilai"? 



According to the PuranasShakti worshipped Shiva in the form of a peacock, giving the vernacular name Mylai (Mayilāi) to the area that developed around the temple - mayil is Tamil for "peacock".[3] 



Shiva is worshiped as Kapaleeshwarar, and is represented by thelingam. His wife Parvati is depicted as Karpagambal (from: https://en.wikipedia.org/wiki/Kapaleeshwarar_Temple; 


"gangai anintha jadatharan" :    why did Lord Shiva take the river Ganga on his matted hair? This is the story of Bageeratha and his tapas and how the river Ganga - which was supposed to be running only in the devaloka, came down to the earth. 

The story from wikipedia is as follows : How did River Ganga come down? The photos are also from Wikipedia.

Bhagiratha was the king of Kosala, a kingdom in ancient India. He was a descendent of the great King Sagara of the Suryavansha, orSurya Dynasty. He was one of the forefathers of Lord Rama, of the Ramayana, the epic in which Bhagiratha's tale is primarily recounted.
He lost his father when he was just a child, and was raised by his mother. Bhagiratha was very intelligent, virtuous and kind hearted. When he came of age, Bhagiratha ascended to the throne of the kingdom of Kosala, today located in the Indian state of Uttar Pradesh. He was a benevolent ruler who adhered to his duties as a king as prescribed bydharma.
When king Sagara chose to perform the Ashwamedha yagna, his royal agents lost track of the sacrificial horse. Sagara ordered his sixty thousand sons by Sumati to track down the horse. The proud and mercurial prince raged across Bharat, burning down forests and uprooting life and property to find the horse. They finally arrived at a quiet spot where the Sage Kapila was sitting in meditation. Beside him was tied the white horse. The enraged prince condemned Kapila as a thief and attacked him. When the sage opened his eyes, his immense power turned the princes into ashes. the only way for the souls of the dead prince to ascend to heaven would be through the offering of niravapanjali with the water of the sacred Ganga (Ganges) river, which was flowing only in Swarga.
Bringing Ganga back to Earth was a near impossible task and required many years to be spent intapasya and prayer. The Kosala kings of successive generations could not do this while managing their duties as kings. As a result, the sins of the thousand princes multiplied in their destructive energy, and began resulting in natural disasters. The kingdom began to lose its peace and prosperity, and by the time Bhagiratha ascended the throne, he found it impossible to govern.
Bhagiratha turned over the kingdom to his trusted ministers and set off to the Himalayas to perform an arduous tapasya in the extreme climate. For one thousand years, he performed an excruciatingly harsh penance to please Lord Brahma. At the end of the thousand years, Brahma was pleased and asked him for his wish. Bhagiratha asked Brahma to bring the river Ganges down to earth so that he may perform the ceremony for his ancestors.
Brahma asked Bhagiratha to propitiate Lord Shiva, for only He is capable to break Ganga's landfall. Ganga has a strong flow and it would have been impossible for anyone to contain the destructive impact of this event except Shiva.
Bhagiratha performed a tapasya for Lord Shiva, living only on air. The compassionate Shiva appeared only after a year's penance, and told Bhagiratha he should not have to perform tapasya to accomplish a noble goal such as this. He assured Bhagiratha that he would make Ganga fall on his matted locks (dreadlocks). After aeons of being flattered and praised by the Devas, Ganga had become vain. She scoffed at Brahma when he asked her to flow down to earth, but could not disobey him as he was her father.
But Ganga was sure, as much as Bhagiratha was afraid that no one could stop her fall, which would devastate the earth for a long time. As she cascaded down from Swarga, Bhagiratha and celestial observers were terrified of the roar and volume of water coming down. But Lord Shiva appeared under the flow and captured all of Ganga in his jataa just before she fell on earth. Ganga came to the earth because of Bhagiratha's efforts so Ganga is also called Bhagirathi. Bhagiratha led the way for Ganga on his chariot, and she followed him across the north and east of Bharat and finally merging with the ocean. In her course she washed the ashes of Sagara's sixty thousand sons, who ascended to heaven while praising and blessing Bhagiratha.














"anbar manam valar" : Here, there could be two different ways of singing this (called : patabetham"). "anbar manam cavar" -" the one who is loved by His devotees"  could also be one word which fits quite well here. 

"onrumE payan illai enru uNarnda pinbavar uNDenbAr" : When one comes to the end of life, one realizes and accepts that He is there. A number of life stories are there which are all hidden here but come to mind when one sings this line. There are stories of those people who had always denied existence of God and spirituality too but when they became older, had completely converted. The poet Kannadasan was an example. He was in the group of people who were opposing the existence of God but then converted and wrote many books on what Hinduism is all about. 

"anru sheyal azhindala marupozhudu shivan peyar nAvil vArAdE; 
AdalinAl manamE inrE shiva nAmam shollip-pazhakku anbudan" : 

when one is close to death, one is not sure how the body would function. One is not sure whether one's mind would function or whether one's tongue would be able to even say God's name. Those who are able to say God's name and chant His name are blessed. But the question is whether one is so blessed. 
Let us take the story of Ajamilan. The story is beautifully told in the Gayakrishna Blogspot - the link is given here : Ajamilan story:
The story of Ajamila occurs in the sixth skanda of Srimad Bhagavatam:














Ajamila was once a very noble brahmin, performing his duties and prescribed rituals most sincerely and was also a good husband, good son and good father. Once when he was in the forest to gather the fuel-wood for his rituals, he fell for a woman, heart and soul. Actually the woman was one of very low morals. From that time onwards he lived with her, abandoned his family and his own parents. He got ten children by her, made a living and supported this large family by blackmailing rich people, by cheating, fraud and gambling. He was particularly fond of the youngest child, Narayana, by name. The attachment to the child was so pronounced that whether he was eating, drinking, relaxing or working, he would always want Narayana to be by his side and partake of his food or participate in his enjoyment. When finally the call from Yama, the God of Death, came, it came suddenly and in his agony he called his child to his side and cried: O Narayana. Suddenly, the messengers from Yama were stopped from discharging their duty by the messengers from Vishnu. 
This story illustrates the power of chanting God's name during one's last stages of life. However, can this happen? Should one wait till this very last moment to chant God's name? That is the point being asked by this line. 


One can see a detailed swara notation in this blog by Shivakumar : Nambik kettavar evaraiya : swara notation

Listen to the song here by : Ranjani Gayatri : Nambik kettavar Evaraiya

Listen to the song here by : Nambik kettavar everaiya by Priya Sisters