Nammalwar's Tiruvaimozhi - are these two songs in the I.1 and I.7 intertextual?

Nammalwar's Tiruvaimozhi starts with 'uyarvaRa'. Then the beginnings of next two lines are 'mayarvaRa', 'ayarvaRu'. The 'edugai' pattern is 'uyarvaRa - mayarvaRa - ayarvaRu'. There is another song in the 7th decad in the same First Ten which has these three beginning words in another sequence as 'mayarvaRa - uyarvinai - ayarvil'. This is just a verbal feature but the poem never overlooks any feature whether it be structural or hermeneutical. The song runs as follows: 

'mayarvaRa enmanatthE manninAn tannai
uyarvinaiyE tarum oNsudark kaRRaiyai
ayarvil amararkaL Adik kozhundai en
isaivinai ensolli yAnvidu vEnO' 

(He has come to stay in my mind
removing ignorance and
any chance of it affecting again
He gives me all greatness rising high
and He is a mass of light
becoming more and more bright
He is the root and core
sustaining a world of involved
and relentless devoted immortals
He stands as my own accepting and yielding
Him, how can I give up or leave
telling what pretext!) 

Outwardly the poem has the tone of searching for a pretext to leave or give up. It is not the intention. Any discerning reader should be sensitive enough not to interpret just the letter. The intention is thankfulness and wondering at the divine agency leaving no chance to the human soul to destroy its own chances. The soul is very adept in collapsing at the very moment when it should be all cooperative. Even in worldly affairs the human being behaves quite foolishly and in a self-destructive fit. In transcendental matters how to rely on this poor soul? That is why, Sri Vaishnavism says that only Tirumal can stand as both the path and also the goal. Nammalwar drives home this all absolute and unexpecting agency of the Divine in doing good to the human soul. The Divine forces itself against any possible excuses. He becomes even the mental acceptance of the human soul. So nothing is left to human predilection or human choice. It is this unique aspect of the Divine that Nammalwar communicates very effectively and dramatically. It is to make clear this drama that the Arumpadam commentorial note narrates a story, a social folklore may be. A bridegroom visits his father-in-law's house. The father-in-law is very poor and he has to draw water from the well which was very deep. So he needs an assistance and he finds the chance coming of his bridegroom timely and he wants to make use of the man fully. After assisting in one or two buckets, the bridegroom begins to understand that he is caught in a fix. To escape from the situation he uses some pretext. Suddenly he spits on the face of the host mouthful of water. So that the host will become angry and drive him away and he can be free of this ordeal. But the host is more smart. He says, 'oh how cool is your mouth! It is so chill!'. The bridegroom got vexed and in a fit of anger he converted even that compliment into an occasion of hurt and gave up his work at the well saying, 'if you want a man to spit hot water go and search somewhere' Leave me.' The story may look very domestic and colourless. But is not the human soul's predicament equally banal and colourless? It is the Divine that is all the meaning and worth of human life and that worth has to be brought into human realisation only in spite of the human soul and not in its collateral support. It is not that the human beings cannot take efforts but miserably they are geniuses in self-destructive way. It is this shocking realisation on the part of the human soul that makes it wonder at the superb handling of the Divine leaving nothing to human vagary.
Srirangam Mohanarangan 

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