1. Invoking "the world" at the beginning
of a poem is considered auspicious.
2. The word for "right" used here
(valan/வலன்), also means victory. So an alternate opening would read:
The World delights
as he rises victorious
and goes wandering...
"Right" presumably refers to the right side of Mount Kailasa, which is
Shiva's abode, the cosmic axis, and center of the world. The god is here
envisioned as the rising sun.
3. So Murugan is both the Sun in the sky,
as well as the sacred "Son" of the Goddess Korravai.
4.("strength") + ("having") ("attempt")
("feet")- Uraiyaciriyar's commentary would render this line as:
Those who approach
have the support
of his mighty,
ego-crushing feet.
5. Naccinarkkiniyar would render this
verse as:
His destruction
of his enemies
coldly contrasts
his broad hand.
6. the expression used here for "ocean,"
literally means "what the cloud takes."
7. The Sun & Moon, who
literally, "cut" the sky with their light.
8. The Sengadambu tree is here
called the மரா அம்.
9. The term used here for this
highly refined form of gold is "navalam/நாவலாம்."
10. Blue lotus.
11. A kind of jewelry worn on the
head, called "Tevya Utti."
12. The word used here for
mountain (silampakam/சிலம்பகம்) literally means "the place of echoes."
13. Uraiyaciriyar (and Parimelazhakar
also offers this as a possible alternate reading) ineterprets the word
for "she-monkey" (manti/மந்தி) as actually refering to Aditya or the
Sun. So the passage would read:
A mountain range
with trees so dense,
it's unknown
[even] to the Sun.
14. As we saw in the previous footnote,
this should literally read "the she-monkey doesn't know it."
15. Tradition holds that when the
deity comes down to Earth, bees won't dare approach the garland of the god.
16. This flower, the gloriosa
superba, is likened by poets to the evocative gesture of worshipping
maids, whose palms are held together with fingers spreading like a
blossoming flower.
17. An ancient dance of joy and
victory, where the hands are placed on the shoulders and the arms flap
like the wings of a bird.
18. That is, a body part man and part
animal.
19. In the Sangam age, if a king wishes
to wage war, he erects a flag post at the border, and hangs from it a
ball of coiled twine and twelve dolls. This tells the enemy king that he
is only fit to play childish games.
20. In Sangam times a seven-storied
building was a sign of great status.
21. A sophisticated poetical-bhakti
image, where the god's pervasive presence in nature (i.e. as the hillside
flowers) is likened to the eyes of one's lover as they awaken beside them.
22. Parimelazhakar says that Muruga has
five different crowns. The other commentators are in agreement that
these are five different gems.
23. The Tamil in this line echoes
that of line five.
24. This line may also be read,
"of golden foam".
25. Celvan, here an epithet of Vishnu.
26. Celvan is again used, this
time to denote Shiva.
27. Tradition holds that to
complete a hundred fire sacrifices is to become an Indra.
28. Naccinarkkiniyar explains that Tiru,
appropriately, refers to Lakshmi. Before the advent of the Linga Purana,
Lakshmi was the consort of whoever was the supreme sovereign. First she
was wife of Indra, then Kubera, and finally Vishnu when the Churning of
the Milk Sea myth first appears in the Linga Purana in the 4th CE.
Uraiyaciriyar explains Tiru as here meaning "beauty".
29. Celvan is yet again used,
this time for Indra.
30. Naccinarkkiniyar explains that these
four great gods are Indra, Yama, Varuna, and Soma. Parimaelazhahar,
oddly explains the four great Tevams as being the four varnas or castes.
31. According to Naccinarkkiniyar, the
three are Ayan, Hari, and Haran (i.e. Brahma, Vishnu, and Shiva).
32. The proper role of the trinity was
undermined when Muruga declared that his victory over the asuras was due
to the power of his spear. Brahma in his arrogance announced that he was
its creator. So Muruga humbled him with the curse that he be born on
Earth (or alternately held him captive in a cave).
33. Literally, "pointed out".
34. Presumably inferring that the
Creator comes into being just to have the darshan of Muruga, and by
extension brings about creation for a purpose much the same. This
section may also be referring to those who achieve the higher state in
line 168.
35. An alternate rendering would be,
"Appearing as the Sun."
36. "Vision" here can also be read as
"opinion".
37. The 4 classes of deity that make
up the thirty three gods include the 12 Adityas, the 11 Rudras, the
8 Vasus, and the 2 Maruts.
38. The 9X2 refer to the 18 Ganas.
39. முறை கொண்மாலு.
40. Presumably Devasena.
41. Alt. "The woman whose doctrine
is free of suffering."
42. The six duties of the Brahman: (1)
reciting and (2) teaching the Vedas, (3) performing yagnas, (4) having
them performed, (5) giving and (6) recieving charity.
43. குடி or gotra.
44. 48.
45. May mean either "six" or "path".
Parimelazhakar say that the passage refers to Brahmins spending time
studying the six religions(?!!!).
46. Or Dharma.
47. The three types of sacrificial
fires, with their varied functions, are partly defined by the shape of
the fire pit: with the triangular Dakshinagni, the square-shaped
Ahavaniya, and the semi-circular Grihapatya.
48. Held above their heads or directed
to the mountain's zenith.
49. The commentators designate "Nama
Kumaraya" as the original six lettered mantra (vs. the more contemporary
"Saravanabhava").
50. "That which is heard", i.e. the
mantra. The "scripture" referred to here is most likely a universalizing
allusion to Vedic tradition in general.
51. தொண்டகம்.
52. An ancient dance, known as the
Kuravai (குரவை).
53. Parimaelazhahar reads "[at that]
place" as வயிலு +(ப்ப)+ உடன் or "horn"(+aux.). So an alternate reading of
the line would be:
Then the flag of the cock
and horns [of the goat]
are held high.
54. Can refer to any small isle in a river.
55. The forceful attribution of
Murugan with Mars is clumsy at best, it stems from sanskritizing
attributions that taut him as the God of War. But his character is most
definitely Mercurial in nature, and as the Greeks and Romans erected
posts and shrines to honor Mercury at all junctions, we can see the
relationship is more than superficial.
56. The 'Sea-side Indian Oak'
(anthocephalus kadamba).
57. Translated here as
"dignified/revered," "leadership/chief," and "flag." Naccinarkkiniyar
reads this section as if in ancient times they depicited the cock on
Murugan's banner as having a man's head.
58. There is a reference in the
Tolkappiyam that oil mixed with white mustard will keep away all evil.
59. This rendering is based on
Naccinarkkiniyar's commentary. A more literal rendering would be:
smeared with oil
and white mustard.
They speak
so beautifully.
60. Parimelazhakar says that this
"bending worship" actually refers to a specific mode of salutation where
the fingers of both hands are intertwined at the chest, while the two
thumbs are extended so as to touch the heart.
61. Presumably some kind of raksha or
rakhi is tied about their wrists.
62. What is translated here as
"wide-hoofed" is literally rendered "large feet". Parimelazhakar,
explains this expressions to be referring to elephants (!) that are
sacrificed with the goats.
63. Both Naccinarkkiniyar and
Uraiyaciriwar interpret meaning as "bamboo basket", but Kavipperumal
favors the word's alternate meaning, this being "a bamboo cane," that is
set alongside these offerings. Parimelazhakar once again provides us with
an interesting interpretation as he sees the word to mean to mean முலை or
"breast," as the worshippers chests are smeared with the blood-soaked rice.
64. விரை can also refer to "cosmetics."
65. (lit. "cool").
66. The word for "peak" used here also
means "anklet." At Pazhamutircolai there was once a river that flowed
from its peak, back in Sangam days. It was called Silamparu, but is now
mistakenly referred to as Nupuru Kangkai or "Anklet River."
67. (lit. "afraid").
68. தினை.
69. "Attractive Face", the name of
Muruga's elephant. Parimelazhakar says that pinimukam refers to his peacock.
70. Refers to Mount Kailasa.
71. Refers to Lake Saravanbhava.
72. Agni, one of the five elements
residing in the body, received the seed of Shiva.
73. Referring to Dakshinamurti, but as
the text literally describes the tree as being "full of" the god, it may
infer a time when the god was worshipped as the tree itself, rather the
divine guru who sits beneath it.
74. Parvati.
75. Naccinarkkiniyar informs
us that the god is envisioned as a mountain formed of the praises of his
devotees. Uraiyaciriyar & Parimelazhakar explain that those who know
Muruga (because of the sheer immensity of his being) are confronted with
a mountain of words, when they try to praise him. (Just as this vast
sequence of epithets implies.) Pariti's commentary states that he is the
mountain praised by scholars.
76. May also mean "head" or "bull."
77. Celvan is again used.
78. The demon, Tarakasuran took the
form of a hill.
79. See 76
80. Naccinarkkiniyar specifies 'those
longing for liberation.'
81.(vel).
82. Uraiyaciriyar explains the name
(மதவலி) to mean "Great Strength."
83. Naccinarkkiniyar and Uraiyaciriyar
deny him his devilish attendants, and instead say these kuli (Pqi) are
"worshippers."
84. Muruga's own "Visvarupa."
85. Out of mercy for those who
cannot bare his Universal Form, he manifests as a youth.
86. Lit. "Along with many..."
87. The commentators all describe
these fabrics as being 'flags.'
88. A tree of particularly strong
character. Like the sandalwood of the following verse, it is employed as
incense in sacrifice, much like the sacrifice it experiences in this
auspicious torrent.
