vAraNamAyiram
Describing Her dream of wedding the Lord
vAraNam Ayiram Soozha valam Seidu
nAraNa nambi naDakkinrAn enru edir |
pooraNa porkuDam vaittu puram engum
tOraNam nATTa kanA kaNDEn tOzhee nAn || One ||
ANDAL is describing her dream to one of her friends. She dreamt she is getting married to nArAyaNa. The previous day to the marriage the whole city is decorated giving a festive look. The porkuDam are placed in the marriage hall. nArAyaNa is arriving dressed as a groom surrounded by thousand elephants decorated to suit the function. The ‘vAdyagoSTi’ play musical instruments when He comes.
nALai vaduvai maNam enru nALiTTu
pALai kamuhu pariSuDai pandarkeezh |
kOLari mAdavan gOvindan enbAnOr
kALai puhuda kanA kaNDEn tOzhee nAn || Two ||
Oh! My dear friend! Listen to my dream – when nArAyaNa enter the marriage hall, the elders of both the parties sit together and make engagement and fix that such and such a boy marries such and such a girl at such and such a time. The marriage hall is decorated with auspicious betel nut leaves and bunches. The bridegroom is called by thousand names. They perform certain religious rites previous to marriage.
indiran uLLiTTa dEvar kuzhAm ellAm
vandu irundu ennai mahat pESi mandirittu |
mandira kODi uDutti maNamAlai
andari SooTTa kanA kaNDEn tOzhee nAn || Three ||
ANDAL continues her narration – indra and all the dEvAs came with great enthusiasm to this earth to take part in the kalyANa mahOtsava of their Lord. They do all the arrangement for the marriage. They talked to the bride’s people about how it should be conducted. They decide about the gifts from both the sides, ornaments, dresses etc. Then they arrange the marriage to be conducted on the very next day since any obstacle may come if there is delay. Immediately, as a token of starting of the ceremony the sister-in-law durga gifts the bride the beautiful saree and a garland to be worn.
mahat pESi – this girl to be given in marriage to this person.
mandirittu – to talk in secrecy about the gifts and bride money.
mandira kODi – the dress for the marriage
durga is called andari because she disappeared in the sky as kamsa try to kill her. Since she is born to dEvaki she becomes the sister-in-law to ANDAL.
nATTriSai teertam koNarndu nani nalhi
pAppana chiTTarhaL pallAr eDuttu Etti |
pooppunai kaNNi punidanODu entannai
kAppu nAN kaTTa kanA kaNDEn tOzhee nAn || Four ||
tOzhi! During Sree rAma paTTAbiSEka the vAnarAs brought ‘teerta’ from all the quarters. Likewise BrAhmaNAs have brought the teerta from all directions and sprinkle several times chanting mantras on both of us. They tied kankaNa on our wrists.
kadiroLi deepam kalaSamuDan Endi
SadiriLa mangaiyar tAm vandu edir koLLa |
maduraiyAr mannan aDi nilai toTTu engum
adira puhuda kanA kaNDEn tOzhee nAn || Five ||
Oh! My dear friend! I saw in my dream such beautiful young girls who are so beautiful as to attract the attention of all assembled there. They were carrying deepa and kalaSa in their hands to invite the Bridegroom. The King of madura put on the pAduka and started walking in a royal dignity shaking the earth.
mattaLam koTTa variSangam ninrooda
muttuDai tAmam nirai tAzhnda pandarkeezh |
maittunan nambi madusoodan vandu ennai
kaittalam paTTra kanA kaNDEn tOzhee nAn || Six ||
ANDAL says to her friend – ‘He came into the marriage hall with pAduka on. The hall was decorated with pearl garlands hanging from the ceiling. As He came there was the beating of drums and blowing of conches. He came to take my hand into His (pAnigrahaNa)’.
vAi nallAr nalla marai Odi mandirattAl
pASilai nANal paDuttu paridi vaittu |
kAi Sina mA kaLirannAn en kai paTTri
tee valam Seyya kanA kaNDEn tOzhee nAn || Seven ||
After the pAnigrahaNa the couples hold hands and go round the agni (pradakShiNa) with priest chanting the vEda mantras loudly. kaNNan looked like a proud war elephant – proud because He married ANDAL.
immaikkum EzhEzh piravikkum paTTrAvAn
nammai uDaiyavan nArAyaNan nambi |
SemmaiyuDaiya tirukkaiyAl tAL paTTri
ammi midikka kanA kaNDEn tOzhee nAn || Eight ||
kaNNapirAn is the SESi and receives our kainkarya. He puts my foot on stone this is called ‘aSmArOhaNam’. During the marriage there is some argument between the two parties – of bride and groom. The groom likes her so much that He catches hold of her leg. When BagavAn is in samslESa it is He who falls on her feet. It is not like upadESa samaya – when the SESa holds the master’s feet. It is to symbolize that the bride will be steadfast in her ‘pativrata dharma’.
variSilai vAN muhattu ennaimAr tAm vandiTTu
erimuham pArittu ennai munnE nirutti |
arimuhan achchutan kaimEl en kai vaittu
porimuhandu aTTa kanA kaNDEn tOzhee nAn || Nine ||
After ‘ammi midittal’ comes ‘rAja hOma’ i.e., offering rAja into the sacrificial fire. This practice is found in prayOgachandrika. It is done by the bride’s brother. ANDAL says ‘my brothers came and made me stand in front of the fire and placed my hand on His and offered pori into the fire’.
kungumam appi kuLir SAndam maTTittu
mangala veedi valam Seidu maNa neer |
angavanODum uDan Senru angu AnaimEl
manjanamATTa kanA kaNDEn tOzhee nAn || Ten ||
For a long time ANDAL and kaNNan were sitting in front of the sacrificial fire to do certain rites. In order to cool their body they smeared kunkum and sandal paste. Then they are taken in a procession along the streets decorated for marriage. Finally they come to the marriage hall where they were given ‘mangala neerATTu’.
AyanukkAha tAn kaNDa kanAvinai
vEyar puhazh villiputtoor kOn kOdai Sol |
tooya tamizh mAlai eeraindum vallavar
vAyu nan makkaLai peTTru mahizhvarE || Eleven ||
This is the Pala Sruti. ANDAL has in her dream married kaNNan which she narrates to her friend. This shows how she desires deeply to be with Him. Those who read them will have good children.
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