Devi! When the pearl necklaces and the sandalwood paste that decorated Your breasts rubbed against EmperumAn’s chest they became so powdery that they looked alike.

↑

⇐ ПредыдущаяСтр 91 из 206Следующая ⇒

SLOKAM 14

kaThina mukhanakha kshatAni Saure:
karayuga nirdaya mardanAni ca asya |
bhagavati sahamAnayo: prakAmam
tava kucayo: ucitam kshamAdharatvam ||

Meaning:

Bhagavati! It is fit to say that Your breasts have a lot of patience as they endure EmperumAn’s grasp and discomfort from His nails. It is fit that Your breasts are said to be as strong and hard as a mountain.

Comments:

EmperumAn tore HiraNyakaSipu’s body with His strong nails. When those nails touch the breasts of PirATTi who is SukumAri, they will certainly hurt them. Hence the poet says that PirATTi’s breast are said to have a lot of patience as they endure the touch of His nails.

kshamAdharatvam means being patient and also being hard like a mountain.

SLOKAM 15

bhItam SItakarAt rathAnga mithunam nityAnushaktya ASayA
mAta: vyAtata tAvaka stana janim mAnAn puna: candramA: |
tvat prANeSa nakhAtmanA krtajani: tatra pradatte kshatam
vairam hanta virodhino: kila mitho janmAntare api akshatam ||

Meaning:

mAta! Fearing the moon, the cakravAhA birds incarnated as Your breasts. When Candra learnt about this he incarnated as EmperumAn’s nails and hurt them. Isn’t it well known that one’s bad qualities continue through many births? Here Candran's ahankAram is referred to. It is pointed out that the natural hatred of one does not subside even after few rebirths.

Comments:

This Slokam is another example of the poet’s great imagination. The cakravAhA birds always live in pairs on palm trees. It seems they cannot see well in the moonlight. To avoid being separated, the birds sleep with their beaks entwined. If they get separated by accident in the night the birds chirp without a break through out the night till they can see each other at the day break. Hence the moon that indicates the presence of the dark night became the enemy of the cakravAhA birds. As the birds wanted to remain inseparable it seems they decided to be born as PirATTi’s breasts. When Candra knew about this, due to his life long enmity with the birds, he became EmperumAn’s nails so that he could continue to torment them. The poet remarks that one’s bad qualities and enmity continue through many births as seen in the case of the devAs when they are born as humans.

SLOKAM 16

santyajya sundari sudarSana pAncajanyAdi
ekena kaNTham itareNa karadvayena |
sangrhNata: tava kucau ca madamba Saure:
na: Sankha cakra dharatA viratA rate api ||

Meaning:

Sundari madamba! Beautiful mother! When EmperumAn embraces Your neck with His two hands and Your breasts with His other two hands, He is still considered to be holding His conch and disc (Sankhacakra dhAri) even though He is not having them on His hands.

Comments:

When EmperumAn is intimate with PirATTi He does not hold His weapons, the conch and the disc. However He is still considered to be holding them due to the following reason. A pair of His hands is embracing the conch like neck of PirATTi and the other pair of hands is holding Her breasts that are like the cakravAham birds. Thus He remains Ayudha bhUshaNan even without the conch and disc.

“the divine embrace!”

SLOKAM 17

bhAvatkam Acarati devi harau apUrvam
pANigraham vijana keLigrham praviSya |
lAjAyitam vimrdita stana lola hAra
vyAkIrNa mauktika cayai: jvalati smarAgnau ||

Meaning:

Devi! When EmperumAn held You tightly in the private room after Your wedding, He engaged in rati leelA. When He embraced You tightly, the pearls from Your necklace that was dangling over Your breasts got loose and spilled in all directions as if they were puffed rice that was being offered in the homa fire of love.

Comments:

The poet says EmperumAn was marrying PirATTi again by performing the pAnigrahaNam, holding Her hands/embracing Her, in a private room. An important part of the marriage is the lAja homam. It seems the pearls that dispersed from PirATTi’s necklace looked like puffed rice that were being offered in the lAja homam where the fire of love was lit.

SLOKAM 18

pancAyudhAni api vihAya tava angakeshu
sancArayan sa catura: catura: svahastAn |
kanjAlaye katham aho madhukaiTabhAri:
pancAyudhAjim api harsha bharAt akArshIt ||

Meaning:

KanjAlaye! One who resides on the lotus! EmperumAn who destroyed the asurAs Madhu and KaiTabha with His weapons laid down His weapons when He was performing the war of love with You. How did He manage it?

Comments:

EmperumAn was performing the war of love (manmatha yuddham) with PirATTi by playing with Her using His four hands. At that time He did not hold any of His five weapons with Him. The poet wonders how EmperumAn was able to carryout the war without His weapons.

This Slokam can also be interpreted as EmperumAn who was eternally playing with PirATTi setting aside His weapons fought the war with Madhu and KaiTabha with His five weapons. The poet seems to wonder how He could do that as He was with and without His weapons at the same time.

SLOKAM 19

krIDAraNe tava krtApajaya: smareNa
santyAjiteshvapi ca SArnga mukha Ayudheshu |
kalyANi kamsadamana: kamale vicitram
uttunga cApalatayA nanu yojita: abhUt ||

Meaning:

KalyANi Kamale! Beautiful Lakshmi, Manmatha defeated EmperumAn in the war of love and made Him give up all His weapons. It is surprising that EmperumAn is still associated with a long bow given to Him out of the dayA of Manmathan.

Comments:

This Slokam really means that even though EmperumAn played with PirATTi leaving all His weapons aside He was still tempted by love. The reference is to Him being united with the long creeper like bow (His Devi) even after being deprived of all the weapons.

SLOKAM 20

upamarditayo: urojayo: te
dayitASlesha daSAsu mauktikAnAm |
tava candana reNu nirviSesham
pariNAmam pratipedire parAgA: ||

Meaning:

Comments:

Both the hard pearls and the soft sandalwood paste became soft and powdery when they rubbed against EmperumAn’s hard chest that one could not find any difference between them.

Познавательные статьи:



Техника прыжка в длину с разбега

Тактические действия в защите

История Олимпийских игр

История развития права интеллектуальной собственности