SrI ranganatha unjal final

 

 

 

 

 

 

 

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The fourteenth pAsuram is from KonEri Appan IyengAr, the grandson of SrI PiLLai PerumAL 

IyengAr, who wished to celebrate the Dolotsavam of SrI RanganAyaki with SrI RanganAtha on 

a Panguni uttiram day during 

sErti sEvai

. He was inspired by PiLLai PerumAL IyengAr’s Usal/

Unjal pATTu for the Lord. He is a later day poet. Appan IyengAr paints here a wonderful word 

picture of the movement of the bangles, the kinkiNi nAdam of the bells attached to the 

oTTiyANam, the pleasant nAdam raised by the ankle ornaments as SrI RanganAyaki moves 

back and forth enjoying Her swing. The gentle movement of Her forelocks in the breeze 

(movement of 

aLakabhArams

) and Her 

AbharaNams 

are beautifully described in this pAsuram 

set in 

KamAs 

rAgam and 

kanDacApu

 tALam. The title of this pAsuram is “

cI (SrI) 

ranganAyakiyAr ADir Usal

”. 

This side of the tape concludes with a description of AcArya RaamAnujA’s SaraNAgati at the 

sacred feet of the divya dampatis and the birth of SaraNAgati gadyam. SwAmy Desikan’s 

celebration of Prapatti is alluded to in the concluding portion of this side. The second side of 

the tape pays tribute to the Tamizh SrI sUktis of SwAmy Desikan and His enjoyment of Lord 

RanganAthan. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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SrIranganAyakI aaDIr Usal  

(Thanks SrI N Santhanagopalan) 

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SrI RanganAthar in Unjal (Thanks: SrI N Santhanagopalan) 

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சீரங்கநாயகர் ஊசல் 

SrI ranganAyakar Usal 

(Unjal prabandham)

 



 

The taniyan and the kAppu pADal-s for the Unjal Prabandhams for both SrI RanganAyaki and 

SrI RanganAthan are the same. 

தனியன்

 /

TANIYAN

 

அண்டப் பந்தாில் பற் க் கால்களாக  

     அறி  விட்டம் கரணம் சங்கி களாகக் 

ெகாண்ட பிறப்ேப பலைக விைன அைசப்ேபார்  

     ெகா  நரகம் சுவர்க்கப்   ெவளிகள் தம்மில் 

தண்டல் இல் ஏற்றம் இறக்கம் தங்கல் ஆக 

     த மாறி இடர் உழக்கும் ஊசல் மாறத் 

ெதாண்டர்க்கா மணவாளர் ேபரர் கூ த்  

     ெதாகுத்திட்டார் தி வரங்கத்  ஊசல் தாேன. 

 

anDAp pantaril paRRu kAlkaL Aka 

aRivu viTTam, karaNam cankilikaLAka 

koNDa piRappE palakai vinai asaippOr  

koDu naraka suvarkkap bUveLikaL tammil 

taNDal il ERRam iRakkam tangal Aka 

taDumARi iDar uzhakkum Usal mARat- 

toNDarkkA maNavALar pErar kUDit- 

tokuttiTTAr tiruvarangattu Usal tAnE.  

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Word by word meaning: 

anDam pantaril 

 - with this Universe becoming the pandal (thatched roof) 

paRRu kAlkaL Aka 

 -  with the worldly attachments (pAsams) becoming the pillar to support the 

crossbeam (

viTTam

) 

aRivu viTTam Aka

 - with the intelligence becoming the 

viTTam 

(crossbeam) to attach the 

chains 

karaNam cankilikaL Aka

 - with the indriyams becoming the chains holding the plank 

koNDa piRappE palakai Aka

 - with the birth taken by the Jeevan, serving as the plank for 

seating (the 

Unjal palakai

). 

vinai asaippOr Aka

 - the two karmAs (PuNyam and pApam) being those, who move the Unjal up 

and down 

koDu narakam suvarkkam bU (bhu) veLikaL tammil

 - travelling (moving) amidst the spaces of 

the fearsome narakam, pleasant svargam and the earth 

iRakkam taNDal il ERRam tangal Aka

 - Moving upward effortlessly or traveling downward with 

ease or staying stationary 

taDumARi iDar uzhakkum Usal mARa

 - to remove the sorrows experienced (

iDar uzhakkum

) of 

these confusing movements (

taDumARRam

) hither and thither at dizzying speed (relating to 

the speed of the swing). 

toNDarkku maNavALar pErar tokuttiTTAr tiruvarangattu Usal

 -  is the Unjal Prabandham 

(Usal) presented (composed) by Azhagiya MaNavALa dAsar and his grandson (KonEri appan 

IyengAr) for the aDiyArs of SrIrangam divya dampatis dealing with Their rAjadhAni of 

Sriranga divya desam. 

Comments: 

PiLLai PerumAL IyengAr (Azhagiya MaNavALa dAsar) and his grandson (

KonEri appan IyengAr

) 

created this SrI RanganAtha and SrI RanganAyaki Unjal pATTukkaL. The taniyan states that 

these two prabandhams were created by the two poets to chase away the confusions and 

agitations in the mind of the servants of the Lord  (

toNDars

), who are affected by the 

terrifying swinging movements (of the jIvans) as they rock between the cycles of their births 

and deaths. The supporting roof, the crossbeam attached to it for positioning the hooks from 

which the chains of the swing are connected, the sitting plank, the movers of that Unjal, the 

places that Unjal stops over during the upward, downward and stationary positions as the Unjal 

rocks are connected allegorically to the Universe, the samsAric bonds, the dharma-bhUta-

j~nAnam, the j~nAna-karma indriyams, the birth taken, the places stopped during the 

movement of this Unjal and the loss of balance (the spinning of the head). It is suggested that 

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