saya rakSai - Mugattai kATTI lyric request

keerthi · Post by **keerthi** » 31 Dec 2010, 11:43

Request for the lyric of the above song..

I am particularly interested in the phrase 'sAya raKSha' - it probably refers to the andikkApu ritual of performing a dRSTi-nivAraNaM in the evening.. Prevalent in temples as well as homes.

I request rasika-s to post any other references to sAya-rAkSai that they can recollect. [besides rakSa beTTarE]

Pratyaksham Bala · Post by **Pratyaksham Bala** » 31 Dec 2010, 14:02

The term sayarakSai is generally used to mean 'evening'.
sayarakSai vandu mugattai kATTu = come and see me in the evening.

Lakshman · Post by **Lakshman** » 31 Dec 2010, 17:25

mukhattai kATTiyE. rAgA: bhairavI. cApu tALA. Composer: Papanasha Mudaliar

P: mukhattai kAtTTiye dEham muzhumaiyum kATTAmal mUDU mandiram EdayyA
A: jagattil adhikamAna ArUril vAsarE shezhitta mEniyilUnam uNDO tyAgEsharE
C1: shAyarakSiyil vandu salikkap-pArppOm enrAl sAntaNinda sevvantit-tOtTTaik-kATTi
mayakki mAyAvittanam uLLa mandahAsattuDanE mAn mazhuvEndiya karattai kUDa maraittu
2: kUttADum pOdangE kunindu pArppOm enrAl kudittu kudittu munpin Odum vidattai utru pArttAl
pasigaL tIrum paravashamAga sheyyum paNiyAl maraittu koNDoru pAdam kATTuvadallAl
3: abhSeka kAlattil arumait-tirumEniyai ati rahasiyamAna toTTAl maraikkirIr
vibhavam tandu rakSikkum divya mangaLa rUpA-viDanga tyAgarAjarE pApavinAsharE

Pratyaksham Bala · Post by **Pratyaksham Bala** » 31 Dec 2010, 18:28

A few minor corrections:-

P: mukhattai kATTiyE dEham muzhumaiyum kATTAmal mUDU mandiram EdayyA
A: jagattil adhikamAna ArUril vAsarE shezhitta mEniyil Unam uNDO tyAgEsharE
C1: shAyarakSaiyil vandu salikkap-pArppOm enrAl sAntaNinda sevvantit-tOTTaik-kATTi
mayakki mAyAvittanam uLLa manda-hAsattuDanE mAn mazhuvEndiya karattai kUDa maraittu
2: kUttADum pOdangE kunindu pArppOm enrAl kudittu kudittu munpin Odum vidattai utru pArttAl
pasigaL tIrum paravashamAga sheyyum paNiyAl maraittu koNDoru pAdam kATTuvadallAl
3: abhiSEka kAlattil arumait-tirumEniyai ati rahasiyamAna toTTAl maraikkirIr
vibhavam tandu rakSikkum divya mangaLa rUpA-viDanga tyAgarAjarE pApavinAsharE

To help easy reading:-
mEniyil Unam instead of mEniyilUnam
manda-hAsattuDanE instead of mandahAsattuDanE

'ati rahasiyamAna toTTAl maraikkirIr' = ?

Lakshman · Post by **Lakshman** » 31 Dec 2010, 19:24

Doesn't toTTAl mean by the touch?

Pratyaksham Bala · Post by **Pratyaksham Bala** » 31 Dec 2010, 20:06

Yes, of course.
Now I am able to decipher.

It makes sense if it is corrected :-

'ati rahasiyamAga toTTAl maraikirIr'
If I touch (toTTAl) you very (ati) secretly (rahasiyamAga), you vanish (maraikirIr).

PUNARVASU · Post by **PUNARVASU** » 31 Dec 2010, 20:49

PB, I feel 'toTTAl maRaikkiRIr' is correct, there must be some significance to this word; we have discussed this song earlier ,I think.

keerthi · Post by **keerthi** » 02 Jan 2011, 00:54

the SAya-rakSA is a temple ritual.

This term has entered common parlance as meaning evening... But this is merely a case of the event being used to indicate the time. A suitable example I can think of is the afternoon prayer in Churches, referred to as matins, which gave it's name to midday, as well as the associated Film screening time.

I feel there may be something specific about the sAyarakSa ritual of the tyAgarAjEswara temple.

Is there a reference here to the chrysanthemum?

Punarvasu, searches with several variations of the title didn't yield this song.

vasanthakokilam · Post by **vasanthakokilam** » 02 Jan 2011, 01:18

I found this thread http://www.rasikas.org/forums/viewtopic.php?f=11&t=8303 but it does not have much in the way of discussion..

vasanthakokilam · Post by **vasanthakokilam** » 02 Jan 2011, 01:27

Here is some info on andikappu: http://www.ramanuja.org/sv/bhakti/archi ... /0200.html

Lakshman · Post by **Lakshman** » 02 Jan 2011, 01:40

An audio clip is available here but the artist does not sing the last stanza.

http://www.sendspace.com/file/hzyka9

vasanthakokilam · Post by **vasanthakokilam** » 02 Jan 2011, 01:54

If you search sangeethapriya for "Papanasa", there is also a version by Sri. G.S. Mani . See if that is helpful in anyway.

rshankar · Post by **rshankar** » 02 Jan 2011, 22:38

Based on the request in this thread, here's my preiliminary attempt:
pallavi
mukhattai kATTiyE dEham muzhumaiyum kATTAmal mUDU mandiram EdayyA
My Lord (ayyA)! What (Edu) is this secret (mUDu) enchantment (mandiram) that makes you to not show (kATTAmal) your body (dEhattai) in full (muzhumaiyum) afetr revealing (kATTiyE) your face (mukhattai) to me?

anupallavi
jagattil adhikamAna ArUril vAsarE shezhitta mEniyil Unam uNDO tyAgEsharE (mukhattai kATTiyEâ€¦)
In the AP, the composer wonders if there is some dermatalogical reason/defect for this chicanery â€“ he says: "Oh tyAgESa (tyAgESarE), resident (vArasarE) of/in the city of tiruvArUr (ArUril) that is the best (adhikamAna) in the world (jagattil), is there (uNDO) a blemish/defect (Unam) in your mighty (Sezitta) [1] body/complexion (mEniyil) that (makes you to not show your body in fullâ€¦)?"

caraNam 1
shAyarakSaiyil vandu salikkap-pArppOm enrAl sAntaNinda sevvantit-tOTTaik-kATTi
mayakki mAyAvittanam uLLa manda-hAsattuDanE mAn mazhuvEndiya karattai kUDa maraittu (mukhattai kATTiYEâ€¦.)
With the idea that (enrAl) I would come (vandu) in the evening/at the time of evening ritual (SAyarakshaiyil) and see (pArppOm) you to my heart's content/until I am tired (Salikka), I am here. Instead, you delude (mayakki) me, and point to (kATTi) the garden (tOTTattai) of chrysanthemums (Sevvandi) embellished (aNinda) with sandal trees (cAndu) [2], and with (uDanE) a illusory (mAyAvittanam uLLa) smile (mandahAsam), you hide (maraittu) your hands (karattai) that hold (Endiya) a deer (mAn) [3] and a battle-axe (mazhu) as well (kUDa). (What is the sorcery that prevents you from showing your body even after you reveal your face?)

caraNam 2
kUttADum pOdangE kunindu pArppOm enrAl kudittu kudittu munpin Odum vidattai utru pArttAl
pasigaL tIrum paravashamAga sheyyum paNiyAl maraittu koNDoru pAdam kATTuvadallAl (mukhattai kATTiyEâ€¦)
As I watch (pArttAl) the way (vidattai) you run (ODum) and jump (kudittu) back (pin) and forth (mun) very intently (uTRu), with the idea that (enrAL) by bending down low (kunindu), I will be able to catch a glimpse (pArppOm) (of your entire body) when (pOdu) you perform (ADum) the cosmic dance (kUttu) there (angE), I see you hide (maraittu koNDu) yourself and show (kATTuvadAl) only one (oru) foot (pAdam) with an act/a performance (paNiyAl) that puts an end to (tIrum) to all forms of hunger (pasigaL) [4] and makes (Seyyum) one to become (Aga) ecstatic (paravaSam). (What is this sorcery that prevents you from revealing your entire body to me?)

caraNam 3
abhiSEka kAlattil arumait-tirumEniyai ati rahasiyamAga toTTAl maraigirIr
vibhavam tandu rakSikkum divya mangaLa rUpA-viDanga tyAgarAjarE pApavinAsharE (mukhattai kATTiyE...)
If I touch (toTTAl) your precious (arumai) and divine (tiru) body (mEniyai) very (ati) secretly (rahasiyamAga) at the time (kAlattil) of your ritual bath (abhishEka), you disappear (maraigirIr). Oh handsome (viDanga) tyAgESa with a divine (divya), and auspicious (mangaLa) form (rUpA), who grants (tandu) prosperity (vibhavam) and protects (rakshikkum), and destroys (vinASarE) my sins (pApa) [5], (what is the sorcery that prevents you from revealing your full form to me?)

FOOTNOTES
[1] Sezitta literally means something that has flourished very well
[2] I have no clue to the symbolism of the chrysanthemums, or if 'cANdaNindu' has anything to do with sandalwood trees
[3] What is the story behind Siva becoming sArangapANi?
[4] I guess this refers to all forms of hunger â€“ of body, mind and spirit
[5] pApavinASarE incorporates the composer's ankita as well

vasanthakokilam · Post by **vasanthakokilam** » 02 Jan 2011, 23:37

Ravi: Excellent translation. Thanks.

rajumds · Post by **rajumds** » 03 Jan 2011, 15:08

In Thiruvarur temple, only the face of Thiyaagaraaja is shown. His left leg is shown during Margazhi - Thiruvadhirai and right leg during Panguni - Uthram . Other portions of his body are never shown .

This is the theme behind the song.

shAyarakSaiyil vandu salikkap-pArppOm enrAl sAntaNinda sevvantit-tOTTaik-kATTi

Does it not mean the ear ring of the Lord.

ravir · Post by **ravir** » 03 Jan 2011, 15:09

Keerthi/Others- This song alludes to some of the mythologies/beliefs associated with this hoary temple/Tyagaraja idol amongst the very many.

1. 'Sayarakshai' - This signifies the evening pujas to the Lord. There are 5 regular pujas everyday in a Siva temple - Ushatkala/early morning puja , Kalasandhi/mid morning puja, Uccikala/noon puja, Sayarakshai/evening puja and Ardhajama/early night puja. Amongst the 5 'rajas' or the so called pancarajas - Nataraja and Tyagaraja are the saivaite ones. Legends have it that the Devas congregate at Tiruvarur to have the darshan of Lord Tyagaraja for sayarakshai ( evening puja) and then leave for Cidambaram to have the darshan of Nataraja for Ardhajama puja. And hence the special significance of sayaraksha puja. Refer to the Rudrapriya kriti 'Sri Tyagarajasya Bakto Bhavami' and in the carana one can find the reference to this as "amaresadi pujita sayamkalasya'. In fact Shahaji the King of Tanjore was so enamoured of Tyagaraja and the evening /sayaraksha puja that he retired to Tiruvarur (crowning his brother Tulaja) to be in the Royal quarters near the Temple. He alludes to the sayaraksha puja in a couple of his compositions.

2. The Tyagaraja idol is supposed to be a somaskanda murti with the deer/antelope and the mazhu (refers to pick axe) in the hands and even that is completely elided in Tiruvarur. This is alluded to by Papavinasa Mudaliar in the first carana. Again the idol is completely covered save for the face with flowers & ornamentation and the term 'mudu mandiram enayya'signifies this.

3.The word 'thOttAl'/thOdU ( as in 'thOdudaiya seviyan') refers to the earrings of the Lord which are big in terms of size and is typically decorated with the sevvandi/marigold flower (I dont think it is chrysanthemum). The 'sevvandi thOttAl' signifies this.

4.The second carana also refers to the unique way in which the idol is carried and the ajapa natana is performed using the (nArU) thread derived from plantains.

5. 'sAndanindu'- Refers to the paste with which the Lord is covered, save for his face. Again this is made for the Lord as an admixture of camphor, sandal, saffron etc (IIRC and will need to refer to my notes to give the correct ingredients).

Raj

ravir · Post by **ravir** » 03 Jan 2011, 15:15

In Thiruvarur temple, only the face of Thiyaagaraaja is shown. His left leg is shown during Margazhi - Thiruvadhirai and right leg during Panguni - Uthram . Other portions of his body are never shown .

rajumds - Very right and this eka pada darshana is referred to by Dikshitar in the Sri raga kriti 'Tyagaraja mahadvajaroha' wherein he refers to the pada darsana as a svarakshara with the dhaivatha being used once (in the composition to coincide with the single usage of the dhaivatha note in Sriraga )and the pada darshana which happens once every year.

Raj

Pratyaksham Bala · Post by **Pratyaksham Bala** » 03 Jan 2011, 15:26

rajumds:
ravir:

Thanks a lot.

Though it is clear from the Anupallavi that the song is addressed to 'ArUril vAsan' 'tyAgEshar', the details given by you make the caranam lines more interesting.

bilahari · Post by **bilahari** » 03 Jan 2011, 16:44

Ravi, thanks for the excellent translation of the song.

Raj and Raju, thanks for the additional details, as well.

This is my new favourite song!

rshankar · Post by **rshankar** » 03 Jan 2011, 19:47

Raju - thank you. Ravi - thanks for the detailed explanation making it clear (I am very impressed with your knowledge of dIkshitar kRtis).
Punarvasu was indeed correct - it was tOTTAl marikkirIr.
Ravi - a couple of questions for you - is the 'cAndu'/'sAndu' a generic one - I mean, was it the same that was used to annoint sItA as part of the wedding preparations? kamban refers to 'cAndu podi...' in the famous 'ponnin oLi pUvin veri...' verse. Also, is this the same deity that is the focus of the aThAna padam (tiruvoTRiyUr tyAgarAjar cidvilAsakAraraDi...)?

vgovindan · Post by **vgovindan** » 03 Jan 2011, 20:51

rs,
Dikshitar kRti 'tyAgarAja mahadhvajArOha' mentions - 'kRshNa gandha dharaNaM'.

Regarding kRshNa gandha festival, you may refer to http://tamilartsacademy.com/journals/vo ... dance.html

sAndaNinda - sAndu - generally means the black tilaka - prepared from blackened rice - worn by women and children in olden days.

rshankar · Post by **rshankar** » 03 Jan 2011, 21:19

VGV - thanks for that link - so, the application and removal of the cAndu symbolises the removal of ignorance, right?
My first question still remains - the cAndu in wedding ceremonies - is it the same? In addition to its mention in sItA kalyANam, ANDAL also mentions it in the recounting of her dream wedding with ragamannAr - if memory serves me right, the last verse goes, 'kumkumam appi kuLircAndu maTTiTTu....'

vgovindan · Post by **vgovindan** » 03 Jan 2011, 22:31

rs,
kungumam appik-kuLir sAndam maTTittu
mangala vIdi valam seydu maNa nIr
angavanODum uDan-cenRang-Anai mEl
manjanam ATTak-kanAk-kaNDEn tOzhI nAn (10)

sAndam - means sandal paste.

rshankar · Post by **rshankar** » 03 Jan 2011, 22:58

Ah...OK - got it...

rshankar · Post by **rshankar** » 04 Jan 2011, 06:13

Based on the input from Raju and RaviR I have edited my earlier post (#13).

pallavi
mukhattai kATTiyE dEham muzhumaiyum kATTAmal mUDU mandiram EdayyA
My Lord (ayyA)! What (Edu) is this secret (mUDu) enchantment (mandiram) that makes you to not show (kATTAmal) your body (dEhattai) in full (muzhumaiyum) after revealing (kATTiyE) your face (mukhattai) to me?

anupallavi
jagattil adhikamAna ArUril vAsarE shezhitta mEniyil Unam uNDO tyAgEsharE (mukhattai kATTiyEâ€¦)
In the AP, the composer wonders if there is some dermatological reason/defect for this chicanery â€“ he says: "Oh tags (tyAgESarE), resident (vArasarE) of/in the city of tiruvArUr (ArUril) that is the best (adhikamAna) in the world (jagattil), is there (uNDO) a blemish/defect (Unam) in your mighty (Sezitta) [1] body/complexion (mEniyil) that (makes you to not show your body in fullâ€¦)?"

caraNam 1
shAyarakSaiyil vandu salikkap-pArppOm enrAl sAntaNinda sevvantit-tOTTaik-kATTi
mayakki mAyAvittanam uLLa manda-hAsattuDanE mAn mazhuvEndiya karattai kUDa maraittu (mukhattai kATTiYEâ€¦.)
With the idea that (enrAl) I would come (vandu) in the evening/at the time of evening ritual (SAyarakshaiyil) and see (pArppOm) your body to my heart's content/until I am tired (Salikka), I am here. Instead, you delude (mayakki) me, by showing (kATTi) me your marigold (Sevvandi) studded earings (tOTTai) embellished with fragrant black paste (cAndu) [2], and with (uDanE) a illusory (mAyAvittanam uLLa) smile (mandahAsam), you hide (maraittu) your hands (karattai) that hold (Endiya) a deer (mAn) [3] and a battle-axe (mazhu) as well (kUDa). (What is the sorcery that prevents you from showing your body even after you reveal your face?)

caraNam 2
kUttADum pOdangE kunindu pArppOm enrAl kudittu kudittu munpin ODum vidattai utru pArttAl
pasigaL tIrum paravashamAga sheyyum paNiyAl maraittu koNDoru pAdam kATTuvadallAl (mukhattai kATTiyEâ€¦)
As I watch (pArttAl) the way (vidattai) you run (ODum) and jump (kudittu) back (pin) and forth (mun) very intently (uTRu), with the idea that (enrAL) by bending down low (kunindu), I will be able to catch a glimpse (pArppOm) (of your entire body) when (pOdu) you perform (ADum) the cosmic dance (kUttu) there (angE), I see you hide (maraittu koNDu) yourself and show (kATTuvadAl) only one (oru) foot (pAdam) with an act/a performance (paNiyAl) that puts an end to (tIrum) to all forms of hunger (pasigaL) [4] and makes (Seyyum) one to become (Aga) ecstatic (paravaSam). (What is this sorcery that prevents you from revealing your entire body to me?)

caraNam 3
abhiSEka kAlattil arumait-tirumEniyai ati rahasiyamAga tOTTAl maraikkirIr
vibhavam tandu rakSikkum divya mangaLa rUpA-viDanga tyAgarAjarE pApavinAsharE
My Lord, in order to prevent me from catching a glimpse of your body in its entirety even at the time (kAlattil) of your ritual bath (abhishEka), you hide/veil (maraikkirIr) your precious (arumai) and divine (tiru) body (mEniyai) with great (ati) secrecy (rahasiyamAga) using your large ear-rings (tOTTAl). Oh handsome (viDanga) tyAgESa with a divine (divya), and auspicious (mangaLa) form (rUpA), who grants (tandu) prosperity (vibhavam) and protects (rakshikkum), and destroys (vinASarE) my sins (pApa) [5], (what is the sorcery that prevents you from revealing your full form to me?)

FOOTNOTES
[1] Sezitta literally means something that has flourished very well
[2] Please see RaviR and VGV's posts for what cAndu is
[3] What is the story behind Siva becoming sArangapANi?
[4] I guess this refers to all forms of hunger â€“ of body, mind and spirit
[5] pApavinASarE incorporates the composer's ankita as well

Any help with footnote #3 will be much appreciated

Pratyaksham Bala · Post by **Pratyaksham Bala** » 04 Jan 2011, 06:42

In caraNam 3, it is toTTAl (not tOTTAl) as per the lyrics given above.

But the line 'abhiSEka kAlattil arumait-tirumEniyai ati rahasiyamAna toTTAl maraikkirIr' does not convey a clear meaning. How can a devotee touch (toTTAl) the deity during the abhiSEka kAlam?

Usually during the time of abhiSEkam, a curtain is drawn in front of the inner chamber so that no one is able to see the Lord when he is dressed up. So, 'paTTAl maraikkirIr' (shutting our vision with a silk curtain) seem to be appropriate. (paTTu = silk)

Is it a typo? Is it 'paTTAl' instead of 'toTTAl'?
If it is not a recent typo, it may be the old time "printers' devil"!

vgovindan · Post by **vgovindan** » 04 Jan 2011, 08:51

pb,
It should be 'tOTTAl' and not 'toTTAl' - derived from 'tODu'.

rs,
'sAranga' means 'deer' and 'bow'.
In his kRti 'O ranga SAyI' (kAmbhOji), tyAgarAja calls Siva 'sAranga dharuDu'

ravir · Post by **ravir** » 04 Jan 2011, 09:18

rshankar wrote: [3] What is the story being Siva becoming sArangapANi?
Any help with footnote #3 will be much appreciated

rshankar - I dont see any reference to Lord Vishnu as you have given. The deer/'maan' and pick-axe/'mazhu' are standards for somaskanda icons and as is refers to that only. Even in the case of 'bow' it should be sArngam & not saarangam or otherwise. AFAIK sArngam is the bow held by Lord Vishnu (as in the case of Lord sArngapAni at Kumbakonam).

Hope this clarifies.

Raj

rshankar · Post by **rshankar** » 04 Jan 2011, 09:31

Ravi - sAranga is a deer - so, Siva is the true sArangapANi
vishNu is SArngapANi as you point out (his bow is SArnga - sAranga is a corruption) - Siva's bow is the pinAka (pinAka hastaya sanAtanAya as in the pancAkshara stOtram)
The battle-axe that Siva wields (mazu) is the one that the ascetics in darukA vana threw at him, and so is the snake - the tiger they sent after him contributed to his lower garment etc...I have not seen any myth regarding the deer - how did he come to hold a deer/sAranga in his hands? What does it symbolize?

rajumds · Post by **rajumds** » 04 Jan 2011, 11:44

Oh handsome (viDanga) tyAgESa with a divine (divya), and auspicious (mangaLa) form (rUpA), who grants (tandu) prosperity (vibhavam) and protects (rakshikkum), and destroys (vinASarE) my sins (pApa) [5], (what is the sorcery that prevents you from revealing your full form to me?)

viDanga is term used to represent the seven Thyagaraja idols. viDanga also means "not sculpted"

We had discussed this in this thread

http://www.rasikas.org/forums/viewtopic. ... t=kshetras

vgovindan · Post by **vgovindan** » 04 Jan 2011, 17:47

Monier's Sanskrit Dictionary does not have a word 'sArnga'. It only lists 'sAranga'. Can someone quote authoritative text (not Tamil) in Sanskrit which refers to bow of vishNu as 'sArnga'?

rs,
It is in 'bhikshATana' form (dAruka vana episode) Siva got 'mAn'. Please refer to http://www.dlshq.org/download/lordsiva.pdf (page 67)

"His holding a deer on one hand indicates that He has removed the Chanchalata (tossing) of the mind. Deer jumps from one place to another swiftly." (ibid page 33)

Rajani · Post by **Rajani** » 04 Jan 2011, 18:16

Ravi, as VGV sir has said, the deer too is from the same rishis. Here is what Swami Sivananda says:

LORD SIVA WEARS TRIDENT, DEER, ETC.

The Rishis of Darukavana performed a Yajna to destroy Lord Siva. A cruel tiger came out of the fire. They commanded the tiger to kill Lord Siva. Lord Siva killed the tiger and wore the skin around His waist. Then they created a trident, to kill the Lord. Lord Siva wore it in His hand as His instrument. Then they created a deer with sharp horns, to kill the Lord. Lord Siva wore it in His left hand.

Later on they created countless black cobras to kill the Lord. Lord Siva wore them as His ornaments. Then they created countless Bhuta Ganas to kill the Lord. Lord Siva made them as His army. Then they created a Damaru to kill the Lord. Lord Siva wore it in His hand. Then they created an Asura, Muyalaka, to kill the Lord. Muyalaka marched with the Yajna fire to destroy Lord Siva. Lord Siva held the fire as Malu in His hand and kept the Asura under His feet.

Rajani · Post by **Rajani** » 04 Jan 2011, 18:17

The Vishnu Sahasranamam refers to Vishnu as "SArnga-dhanvA"

vgovindan · Post by **vgovindan** » 04 Jan 2011, 19:06

Rajani,
Thanks.

keerthi · Post by **keerthi** » 04 Jan 2011, 19:26

Thanks, ravir and ravishankar, for all the efforts..

Such compositions are in keeping with the spirit embodied by kshEtrayya and annamayya, who interwove the sensuous with the spiritual with some very mundane details, into lyrical art of the finest nature.

About how Shiva became mRga-dhara; there is this puranic story about Shiva in dArukAvana.

When the sages practising austerities and yagna-s in dArukA-vana, became arrogant of their tapObala, and ceased to be humble; Shiva appears as a handsome naked youth to test their sage-ness.

the wives of the RSI-s are enamoured of him and rush to embrace him. the RSI-s are enraged and offer several oblations into their yagna-vEdi hoping to invoke elements that will kill Shiva.

A fierce tiger appears, which he skins. He wears the tiger's pelt as a robe and became a vyAghra-carmAmbara.

A snake appears, which he calmed and wore around his neck .

A red-hot sorcerer's rod appeared, which he cooled and bore in his hand. It is called the khaTvAnga.

Similarly a feral stag[1] that tried to gore him, and a magic fire that tried to scorch him were controlled and made into playthings in his hands.

Finally appeared a goblin called muyalakan in Tamizh, apasmAra* in sanskRt. He too was subdued and then Shiva danced on his spine, wearing the tigerskin, holding the rod, the deer and the ball of fire, amongst other things.

[1] kara-dhRta-sArangaM (in the song aruNAcala-nAthaM) - the deer is a symbol of the flighty mind and Shiva having overpowered it probably represents his mental equipoise.

*apasmAra - the name translates to loss of cognition.

Siva dancing on the gnome could indicate the need for full awareness and cognition to perform either the acts of sRSTi etc. or to dance.

narayan · Post by **narayan** » 04 Jan 2011, 19:52

keerthi wrote: When the sages practising austerities and yagna-s in dArukA-vana, became arrogant of their tapObala, and ceased to be humble; Shiva appears as a handsome naked youth to test their sage-ness. The wives of the RSI-s are enamoured of him and rush to embrace him.

mArakOTi in Arabhi has this business in the anupallavi and perhaps later.

By the way, RSI is just great! Sounds like a modern corporation! Probably is one.

keerthi · Post by **keerthi** » 04 Jan 2011, 20:00

p.s -

ViSNU's bow is called shArnga as it is fashioned out of horn (shRnga) [most likely the black buck].

Hence he is called shArnga-dhanvA or shArngapANi.

As an artifact of Tamizhification the name has morphed to sArangapANi.

narAyan,

Yes,

I was reminded of the phrases -

dArukA-vana-tapOdhana-taruNI-mOhAkAra-bhikSATana-vESa-dhara shankara!

and parashu-mRga-agni-kapAla-DamarukaM dadhAna

from this KRti, while posting..

Pratyaksham Bala · Post by **Pratyaksham Bala** » 08 Jan 2011, 07:23

In the MW dictionary, sAranga , among other meanings, is mentioned as :-
- a kind of spotted antelope called sAranga
- derived from the antelope called sAranga
- a name of shiva,
and also
- kAma-dEva

Pratyaksham Bala · Post by **Pratyaksham Bala** » 08 Jan 2011, 19:43

vgovindan wrote:Can someone quote authoritative text (not Tamil) in Sanskrit which refers to bow of vishNu as 'sArnga'?

In Mahabharata Lord Krishna is mentioned as wielding mace, sword and Saranga.

Ref: Mahabharata, Translation by Kisari Mohan Ganguli, Page 152
http://www.sacred-texts.com/hin/m06/index.htm

Book 6 (Bhishma Parva) Section LIX (Bhagavat-Gita Parva):-
"... And armed with his discus Vasudeva looked like the Samvarta fire that appears at the end of the Yuga for consuming the world. And the preceptor
p. 152
of the universe blazed up like a fierce comet risen for consuming all creatures. And beholding that foremost of bipeds, that divine personage, advancing armed with the discus, Santanu's son stationed on his car, bow and arrow in hand, fearlessly said, 'Come, Come, O Lord of the gods, O thou that hast the universe for thy abode. I bow to thee, O thou that art armed with mace, sword and Saranga. O lord of the universe, forcibly throw me down from this excellent car, O thou that art the refuge of all creatures in this battle. Slain here by thee, O Krishna, great will be my good fortune both in this world and the next. ..."

ksrimech · Post by **ksrimech** » 09 Jan 2011, 04:30

vgovindan wrote:Can someone quote authoritative text (not Tamil) in Sanskrit which refers to bow of vishNu as 'sArnga'?

SrImad bhAgavatham 10th Canto 63rd Chapter (bANAsurOpAkhyAnam) 12th SlOka:

pRtagvidhAni prAyunkta pinAkyastrANi SArngiNe |
pratyastraihi SamayAmAsa SArngapANir avismitaḥa ||

Meaning: All the arrows sent out by pinAki (the holder of pinAkA bow, SivaperumAn) was neutralized by the arrows of SArngapANi (the holder of SArnga bow, here SrIkRSNa).

You have at least half a dozen other verses in SrImad bhavagatham which describe SrIkRSNa as SArngapANi or SArngadhanvI.

vgovindan · Post by **vgovindan** » 09 Jan 2011, 09:42

Re 'sAranga' and 'sArnga'.
The confusion seems to have arisen because of spelling error. vishNu's bow is 'SArnga' शार्ङ्ग (some spell it as 'shArnga') and not 'sArnga' सार्ङ्ग. I have checked Monier's Dictionary. 'SArnga' is available therein. Therefore vishNu is SArngapANi शार्ङ्गपाणी and not sArngapANi सार्ङ्गपाणी. Siva is sArangapANi सारङ्गपाणी or sArangadhara सारङ्गधर.
Sorry for raising unnecessary query.

PUNARVASU · Post by **PUNARVASU** » 12 Jan 2011, 07:06

There is a special pooja in the Tiruvarur temple 'muchukundaarchani' in which an enormous quantity of flowers is used to adorn and do archanai to the Lord.Probably there is some reference to this also in the song.

Pratyaksham Bala · Post by **Pratyaksham Bala** » 12 Jan 2011, 07:31

caraNam 3 once again!

'abhiSEka kAlattil arumait-tirumEniyai ati rahasiyamAna toTTAl maraikkirIr'

It cannot be tOTTAl.
How can the whole idol be hidden by a tODu - ear ornament? And that too during the 'abhiSEka kAlattil' when all the ornaments are removed?

Would it be:
'abhiSEka kAlattil arumait-tirumEniyai ati rahasiyamAna toTTAl maraikkirAr' ?

toTTAl = toTTa + Al (person who touches), the Priest who touches the idol and decorates it.
maraikkirAr = shuts the idol from my vision.
The Priest usually stands in front of the idol and decorates it, thus hiding the idol from the view of others.

Comments are welcome.

vgovindan · Post by **vgovindan** » 12 Jan 2011, 08:37

pb,
Please refer to Tamil version of this kRti. -http://www.treasurehouseofagathiyar.net/16300/16307.htm
However, instead 'maRaikkiRAr', it is given as 'maRaikkiRIr'.

keerthi · Post by **keerthi** » 12 Jan 2011, 10:22

Pratyaksham Bala wrote:caraNam 3 once again!

'abhiSEka kAlattil arumait-tirumEniyai ati rahasiyamAna toTTAl maraikkirIr'

It cannot be tOTTAl.
How can the whole idol be hidden by a tODu - ear ornament?

toTTAl = toTTa + Al (person who touches), the Priest who touches the idol and decorates it.
maraikkirAr = shuts the idol from my vision.
The Priest usually stands in front of the idol and decorates it, thus hiding the idol from the view of others.

Comments are welcome.

For an interpretation as ' a person who touches', shouldn't it be toTTa AL, and not toTTa Al?

This could be resolved if one of us goes to ArUr and witnesses the abhiSEka ritual.

Pratyaksham Bala · Post by **Pratyaksham Bala** » 12 Jan 2011, 11:11

You are right!

rajumds · Post by **rajumds** » 12 Jan 2011, 16:00

I am planning to visit on 26th Jan. I will try to get more info on this

keerthi · Post by **keerthi** » 13 Jan 2011, 21:04

rajumds wrote:I am planning to visit on 26th Jan. I will try to get more info on this

How nice..!

If I can trouble you, please ask specifically about the AbhishEka-kAlattil line.. It would be wonderful if you could take this song there, and ask any senior priests about the meaning of all the carana-s.

I suspect that the AbhishEka may not be a daily affair at TiruvArUr, and is performed only a few times a year, and then again, only to the sOmAskanda icon. The valmIka linga there is supposed to be an anthill (or a linga which arose from an anthill), and is always covered by a kavaca-like beaten metal sheet.

It is unlikely that the valmIka-linga is subjected to the abhiSEka ritual.

PUNARVASU · Post by **PUNARVASU** » 14 Jan 2011, 07:24

IIRC, the 'sAyarakshai abhishekam' is a daily affair; as children we all used to run to the temple to witness this; feel so bad-

- that did not find out about the significance of the various rituals; all we were interested in ,at that time, was the 'ghee omappodi and athirasam' from the 'madappalli' and the bonus share we got for being the grandchildren of a great doctor there.

Will try to get more info from my sister and BIL.
I really miss my mother , who would have given all the details, if she were alive today.She was a daughter of the soil.
And to say that 'I was born there'.

The 'Muchukundarchanai was a special poojai' which was done on special occassions when any one wants to do it and pays for it.
It involves an ENORMOUS quantity of flowers and the whole idol is adorned with flowers from head to toe.
The lingam there is 'marakatha lingam'
Witnessed the 'uchikala abhishekam' to this a few years back.

vgovindan · Post by **vgovindan** » 14 Jan 2011, 11:10

raju(mds),
Lord's face is repository of 'SAnta'. The brilliance of 'tODu' is a distraction. You can perceive only one thing at a time - either distraction or SAnta and not both. 'kallaik-kaNDA nAyaik-kANOm; nAyaik-kaNDA kallaik-kANOm'.

The poet calls this distraction as 'maRaikkiRIr'. Are you going to verify poetic exaggeration? Good luck!