Devi! Let the Kaustubha jewel that shines like an oil lamp that is filled and has a wick that removes the darkness of ignorance from us and remind us of the ‘arcirArdi mArgam”.

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amba Kamale! You are bathed by the white light from the muktAhAram on EmperumAn’s chest that looks like the white waters of GangA. The light emerges from His neck that looks like the conch that is used in the holy bath (thirumanjanam).

Comments:

Bathing once in the waters of GangA is considered very holy. Here the poet says that the light from the pearl chain on EmperumAn’s chest performs thirumanjanam for PirAtti constantly. It is customary to compare one’s neck to the conch. Here the conch is Valampuri, the best among conches befitting with the object it is being compared to namely EmperumAn’s neck. The white light from the pearls is compared to GangA’s water that is white in color.

The choice of words and the comparisons used display the rich poetic skills of Sri VenkatAdhvari. He is SeshaSaila nAyakan (uragAdri pati). Her residence is His chest (urasthalam). She is therefore “uragAdripate: urasthalsthA”, the One seated on His chest. Her Lord’s neck, which resembles the rare conch known for its beauty and three folds (Valampuri Sankham) sports a white pearl necklace from where emanates a copious flow of white radiance that resembles the flow of the river GangA. PirAtti is bathed in the white radiance of the rays emanating from the white pearls of the necklace on the neck of Her Lord. It is recognized that bathing even once with GangA waters held in a white conch is most sacred. In the case of PirAtti, this bath from GangA waters from the Valampuri Sankham/ pearl necklace proceeds without interruption (Sankha garbha muktai: Suci hAramaha: surasravantI salilai: abhishicyase sadA).

Slokam 9

kumAri kshIrAbdhe: kusuma sukumAra angi bhavatI
navam padmam sadma mradimaramaNIyam vijahatI |
SaraNye trAtum na: Sara kina ghanam kaustubha SilA
kaThoram gADhora: Srayasi krpayA kaiTabharipo: ||

Meaning:

Sarvaloka SaraNye! “KshIrAbdhe: KumAri! The daughter of ThirupArkkadal, You Whose limbs are as soft and delicate as a flower (Kusuma sukumAra angi) left the soft and beautiful just-blossomed lotus and took residence at EmperumAn’s chest that is undulated by the wound marks inflicted by the asurA’s weapons. His chest holds the jewel Kaustubham that is naturally hard. You did this to rescue us”.

Comments:

PirAtti is so delicate that She feels that even the lotus flower is too hard to serve as Her seat. UpanyAsakAs explain how delicate Sita PirAtti is. They say that Her maids brought out the jewel box to decorate Her and discussed which jewel should be worn where by looking at Her limbs. When they got the jewels out they found that various parts of Her body appeared reddened. They realized that their mere glances made them appear red even though they did not adorn Her with any jewels yet. She was such a SukumAri. Such a delicate PirAtti without considering Her comfort decided to adorn Emperuman’s chest that is so rough and hard from battle field wounds because of Her compassion for us. She elected to sit on the rough chest of the Lord (kaiTabha ripo: gaaDhoram) to protect us, the sinners (bhavatI na: trAtum kaitabha ripo: gaaDhoram Srayasi). While doing so, She left behind Her residence of the soft, just-blossomed lotus flower that is most comforting for Her tender limbs (navam padmam sadma mradima ramaNIyam vijahati, kaiTabharipo: gADhora: Srayasi). What a display of Vaatsalyam for us!

Slokam 10

SrIvatsAngam cirataram ura:sIma goshTham murAre:
adhyAsInAm anagha harita udAra kAntya abhirAmam |
kalyANi tvAm sulabham amrtam samSritAnAm duhAnAm
kshIrAmbhodhe: samuditavatIm brUmahe kAmadhenum ||

Meaning:

KalyaNi! You are the Kaamadhenu Who emerged from the Milky Ocean (ThirupArkkadal) and Who gives the milk/amrt, mokshA, for us who have surrendered to You. You do not expect us to perform any severe austerities such as the Bhakti yoga. Just as how a cow will stay in its shed, You, the Kaamadhenu reside in EmperumAn’s chest that is greenish black in hue like a grassy meadow.

Comments:

This is a very endearing slokam for us, jIvAs. SrI VenkatAdhvari who is an advocate of prapatti as the moksha upAyam brings out the vAtsalyam and kAruNyam of PirAtti through this verse. When vAtsalyam is described, one frequently refers to a mother cow that disregards the crud on its just-born calf, licks it and very generously gives it its milk. If a cow in this world is so generous one can imagine how the holy cow Kaamedhenu will be. PirAtti is compared to Kaamadhenu in this slokam. Her magnanimity supersedes all that is generous in any world. Out of Her vAtsalyam, She overlooks our sins and very liberally grants us moksham. The milk is called amrtam here. Amrtam grants eternal life to its consumer. The vAtsalyam of PirAtti grants us the everlasting bliss, kainkarya prApti. To achieve this She resides at EmperumAn’s chest that is compared to a meadow. When the grass grows very thickly, the meadow appears bluish green in colour. EmperumAn’s chest has the bluish green hue that is like a meadow where PirAtti, the Kaamadhenu resides. This poem reflects NammAzhvAr’s “agalagillEn” pAsuram where he does prapatti to Sriya:pati at ThiruvEnkatam.

A mother cow does not wait for the calf to seek the milk. It pours it out in great measures without asking. Similarly PirAtti does not wait for us to seek moksham. She does not expect us to perform the difficult bhakti yoga. She takes the initiative Herself and does everything needed to make us surrender at Her lotus feet and grants us moksham also in the end. She has the three “AkAram” or acts namely upAyam — the means, purushAkaram-mediation, and upeyamShe is the ultimate goal to be reached. She is the AkAratraya sampannai and Vakshasthala Vaasini, who is easy to seek refuge (samSrita sulabhA) and stays as the wish-granting KaamadhEnu for us that arose out of the Milky ocean (kshIrAmbhodhe: samudita kAmadhenuriva amrtam duhA).

SrI Komalavalli ThAyAr

Slokam 11

viSvAtIto jayati vrjinahrAsade vAsudeva:
padme tasyApi upari mahimA bhAsate tAvakIna: |
kshetraj~nAnAm hrdayamaniSam kanjanAbha: adhiSete
tasyApi tvam hrdi hrta tama: arAjase rAjase yat ||

Meaning/Comments:

PadmE! SrIman NArAyaNan is sarva vyApi and He pervades the entire Universe and as such He is known as vAsudevan. Your vyApakatvam is even greater than His Vibhutvam. He has Suddhasattva guNam that is devoid of rajas and tamas. The poet uses an alliterative prayogam to bring out the superior vaibhavam of PirAtti here: “tasyApi arAjase hrdi hrta-tama: rAjase”. The play is between arAjase and rAjase as well as between hrdi and hrta. You are however far superior to Sriman nArAyAnan, since You have also Suddhasattva guNam with out rajo and tamo guNam and as You never part from Him even for a second and wherever Your Lord is there, You are also there and also residing in His heart and in the entire Universe.

Slokam 12

vIkshante ye venkaTakshmAbhrd indo:
sUrassthAne SobhamAnAm iha tvAm |
dugdhodanvatputri divyam padam te
sUrasthAnam hanta bhitvA viSAnti ||

Meaning:

Daughter of the Ocean! Who is present like a lightning streak on the chest of Srinivasan who is as beautiful as the cool moon, it is marvelous that those who worship You go through the arcirArdi mArgam and travel through the sUrya maNDalam and reach Paramapadam.

Comments:

This slokam reassures us that PirAtti is both the moksha upAyam and upeyam (means and end). This slokam has the poetic alankAram of “adisayokti”. The travel of the blessed jIvan who has the darsana saubhAgyam of Vakshastala Lakshmi via the arcirAdi mArgam, a brief rest in Soorya MaNDalam and the ultimate arrival at Sri VaikuNTham is described with a sense of awe and wonder (indO: sUrasthAnE SobhamAnam tvAm ye vikshante te sUrasthAnam bhitvA divyam padam viSanti, hanta!).

Slokam 13

balivasumusha: praharshAd uccorassthalam upetya kamale tvam |
asmAkam apathagAnAm harase cirakAla sancitAnarthAn ||

Meaning:

Kamale! You dwell on EmperumAn’s revered chest. He chased away the fame and glory of Bali Cakravarti and reclaimed the land that was originally His. Similarly You remove all the sins we have accumulated over many births and reclaim us as Your property.

Comments:

This slokam could also mean that PirAtti goes to the forest where thieves live and who had stolen the treasures of a strong man. Instead of taking the safe path, She took the dangerous path through the forest and took their possessions.

This is a very beautiful slokam that describes the actual status of the jIvA. The jIvA who is the Sesha bhUtan of EmperumAn and PirAtti is snared by samsArA that hides him from undeserved. PirAtti fearlessly reclaims us who are actually Her property after getting rid of our sins. EmperumAn incarnated as VaamanA and reclaimed from MahA Bali the land that is actually His. MahA Bali and samsAra are equated to the thieves.

PirAtti’s intervention with delight to remove our multitude of sins accumulated during many births is celebrated beautifully this way: “asmAkam cirakAla sancitAn anarthAn praharshAt harasi”.

Slokam 14

SaSilekhA bhavatI ca SrI: abdhe udgate tayo: AdyA |
dhArayati krshNam anta: krshNena anta: tu dhAryate caramA ||

Meaning:

This slokam has “Sabda slEdai” where the poet has played with the sound of the words. He says both PirAtti and the moon emerged from ThirupArkkadal. Candra has the disgrace that it has “krshNam” or darkness/black patch on it while "krshNam" or Lord KrishNa adorned PirAtti. One wears krshNam while the other was worn by KrshNam!

Out of the Milky Ocean arose both the crescent of Candran and MahA Lakshmi. First arose the Candran having its KaLangam (KrshNam). Next, Lakshmi appeared and She is adorned by KrshNan on His chest. The word “anta:” (inside) is common to both Candran and KrshNan (the Lord). One wears it inside as KaLangam/blemish. The other wears the blemishless One inside His mind.

Slokam 15

vanamAlAya ushitAm viSvavibho: bhuja tamAlaviTapa anta: |
kAmapi kanakalatAm tvAm kalaSAkUpArakanyake manye ||

Meaning/Comments:

In this poem the poet has used words that could imply PirAtti as well as a creeper. The song could be interpreted as Daughter of the Ocean, Your presence decorates the chest of Sriman NaarAyaNA who has the garland Vaijayanti made of wild flowers. His chest is present between His two arms that are like “Surapunnai maram branches (tamAlaviTapAnta:)”. You are like a golden creeper that entwines His chest. It could also be interpreted as You are like the golden creeper Kanakavalli that climbs the Surapunnai trees in the Emperor’s garden where He entertains himself.

 “viSva vibho: tamAla viTapAnta: vanamAlAyAm ushitAm kanakalatAm tvAm manye” houses the Sabda SlEdai. The words used here are common to both PirAtti and the golden creeper.

Slokam 16

parama tulasI itam anaghe vanamAlAptam sulakshmaNAkalitam |
kalayasi sadru upayutam kamale vaksho hare: mahArAmam ||

Meaning:

Kamale! EmperumAn’s chest is beautiful with TulasI garlands, VanamAlA, and the mole SrIvatsam. You add to the beauty of His chest by residing there. It could also mean that “Lakshmi, You realize EmperumAn’s chest is a beautiful garden that has a lot of foliage, the beautiful garland of wild flowers, trees such as campaka and aSokA that have sArasa birds residing in them. So you never leave it.”

Comments:

This slokam has three expressions that could be split in different ways and thus confer different meanings to it. “parama tulasItam” could be split as parama+tulaSI+itam (surrounded by the great tulasI). Parama+atula+sItam (has matchless foliage). “VanamAlAptam” could be split as VanamAlA+Aptam (friend of a garland of wild flowers) and vana+mAlA+Aptam (includes wild flowers). “sulakshmaNAkalitam” could be split as su+lakshmanA+kalitam (decorated by the SrIvatsa mole) and as su+lakshmana+Akalitam (includes the beautiful sArasa birds).

Slokam 17

drshTa Atma pratibimbiteshu maNishu drAgindire mA sma bhUt
anta:stheshu abalAntarasthitidhiyA kopastavetyacyuta: |
SankonmeshakathApathAtipatitam samtyakta ratnAntara:
tam tvatsodarameva kaustubhamaNim dhatte bhujAbhyantare ||

Meaning:

Sriman NaarAyaNan always wears the jewel Kaustubam. He wears other jewels occasionally. The poet gives a new reason for it. He says, if EmperumAn wears other jewels, they will reflect PirAtti’s image. She may mistake the images for the presence of other lady loves of EmperumAn and will leave him in Her anger. She will not get angry with Kaustubam as it is Her sibling that emerged from ThirupArkkadal, Her birthplace. So instead of causing Her anger and assuaging Her, EmperumAn avoids any such misunderstandings and wears only the Kaustuba jewel always.

Comments:

This slokam refers to the characteristics “madamai” and “rejecting any lady who competes for her husband’s love” that are seen in ladies who have good lineage. It also refers to EmperumAn’s characteristic of “avoiding any mishap” instead of trying to salvage the situation after it.

The poet suggests here a reason for the Lord wearing only the KaustubhA gem on His chest. He becomes therefore the One, Who has abandoned the use of other gems for decoration on His chest (samyakta ratnAntaran) and wears only KaustubhA gem that is the elder sibling (sahodaran) of MahA Lakshmi (tvat sodharam kaustubha maNimeva bhujAbhyantare dhatte). Why so (kim)? Your Lord is afraid of causing You anger incase You mistake the image of His in them and think that are other women sought after by Him (maNishu drushTa Atma-pratibimbiteshu satsu teshu anta: abalAntarasthidhiyA iti). He does not therefore wear them lest it may provoke your anger and result in Her leaving Her residence on Your chest.

Slokam 18

sasnehapUrti: udita tridaSa upaseva:
dIpto harerurasi devi tava ishTagehbhe |
asmAkam Antaratama: praSamayya mukte:
mArgam prakASayatu kaustubha ratnadIpa: ||

Meaning:

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