Sacred · c. 750 · South & Southeast Asia
Tiruppavai
திருப்பாவை / Tiruppāvai
Thirty Tamil hymns by the poet-saint Andal, one for each morning of the month of Margazhi, sung in praise of the god Vishnu.
- Words
- Andal (attributed)
- Music
- traditional
- Culture
- Tamil Hindus, the Sri Vaishnava tradition
- Language
- Tamil
- Place
- Puduvai, Tamil Nadu, India
- Date
- traditionally 8th century (Andal)
- Type
- Sacred
- The words
- Public domain (words attributed to Andal (traditionally 8th century))
The story
The Tiruppavai is a set of thirty Tamil Hindu hymns attributed to the female poet-saint Andal, one of the twelve poet-saints called the Alvars. Its stanzas, called pasurams, praise Perumal, that is Vishnu, and the work forms part of the Nalayira Divya Prabandham, the collection of the Alvars' works and an important part of the devotional literature of Tamil. The last stanza names the poet as the daughter of Vishnucitthar, Periyalvar, who made this garland of thirty pasurams.
The hymns belong to the pāvai genre of songs. The genre grew from a Tamil tradition in which unmarried girls performed rites and kept a vow (vrata) through the month of Margazhi; the vow is already mentioned in the late-Sangam anthology Paripatal. Andal speaks in the guise of a cowherd girl who means to keep such a vow in order to marry Vishnu and stay in his company for ever, and who calls her friends to join her. Each day of Margazhi takes its name from one of the thirty verses.
In the Sri Vaishnava tradition the hymns are read as carrying a hidden teaching. Andal's call to her friends to wake and seek Krishna is held to contain the essence of the tradition's three basic mantras, the Tirumantram, the Dvayam and the Charama Sloka, and the 27th pasuram is read as teaching the need for an acharya, a teacher, to receive them. The tradition calls the Tiruppavai the seed of all the Vedas, whose meaning only a teacher well versed in them can unfold. Later authors added three taniyans, standalone verses that introduce the text: one in Sanskrit by Parashara Bhattar and two in Tamil by Uyyakondar.
The hymns travelled beyond Tamil. Mullapudi Venkataramana translated them into Telugu as Melupalukula Melukolupu. In Thailand an annual Giant Swing ceremony called Triyampavai-Tripavai was held in the major cities until 1935, when it was abolished for safety reasons. Its name came from two Tamil hymns, the Thiruvempavai, a Shaivite hymn by Manikkavacakar, and the Tiruppavai. Tamil verses of the Thiruvempavai are known to have been recited at the ceremony and at the coronation of the Thai king; according to T. P. Meenakshisundaram, the name suggests that the Tiruppavai may have been recited as well.
What it says
The poet, speaking as a cowherd girl, wakes her friends before dawn to keep the month's vow together: to bathe, to give up comforts, and to go to the god's house and wake him with their songs. The early stanzas promise rain and plenty to those who pray, the middle ones draw the morning life of a village, and the last ones ask for the god's grace and a lasting place in his service. The mood is joyful, eager and devout.
The words
மார்கழித் திங்கள் மதிநிறைந்த நன்னாளால்mārkaḻit tiṅkaḷ matiniṟainta naṉṉāḷālIn the month of Mārkaḻi, on this good day when the moon is full,
நீராடப் போதுவீர்! போதுமினோ ,நேரிழையீர்!nīrāṭap pōtuvīr! pōtumiṉō ,nēriḻaiyīr!you who would go to bathe, come! Come, you with fine jewels!
சீர்மல்கும் ஆய்ப்பாடிச் செல்வச் சிறுமீர்காள்!cīrmalkum āyppāṭic celvac ciṟumīrkāḷ!Rich young girls of Āyppāṭi, brimming with wealth!
கூர்வேல் கொடுந்தொழிலன் நந்தகோ பன்குமரன்kūrvēl koṭuntoḻilaṉ nantakō paṉkumaraṉThe son of Nandagopa, fierce in deed with his sharp spear,
ஏரார்ந்த கண்ணி யசோதை இளஞ்சிங்கம்ērārnta kaṇṇi yacōtai iḷañciṅkamthe young lion of Yaśodā of the lovely eyes,
கார்மேனிச் செங்கண் கதிர்மதியம் போல்முகத்தான்kārmēṉic ceṅkaṇ katirmatiyam pōlmukattāṉdark-bodied, red-eyed, with a face like the radiant moon,
நாரா யணனே நமக்கே பறைதருவான்nārā yaṇaṉē namakkē paṟaitaruvāṉNārāyaṇa himself will give us the paṟai,
பாரோர் புகழப் படிந்தேலோர் எம்பாவாய்!pārōr pukaḻap paṭintēlōr empāvāy!so that the people of the earth may praise us, plunge in and bathe! Ēlōr empāvāy!
Original: Andal, Tiruppavai (traditionally 8th century): the first pasuram. Text from Wikisource; public domain.
The romanization is the Institute’s own (ISO 15919).
The English is the Institute’s own translation, made from the original for this page.
Notes on the translation (8)
- EDITOR FIRST: lines 2, 3, 5 and 6 of orig carry square-bracketed glosses in modern Tamil added by the Wikisource editors ([போது = வா; …], [சீர் = செல்வம் …], [ஏர் = அழகு …], [மதியம் = முழுநிலா]). They are not part of the poem: en and rom translate and romanize the verse only. Strip the brackets from orig so the three columns match.
- Romanized as written, including the metrical splits of the printed text ('nantakō paṉkumaraṉ' for Nantakōpaṉ kumaraṉ, 'nārā yaṇaṉē' for Nārāyaṇaṉē) and the stray space before the comma in line 2 ('pōtumiṉō ,nēriḻaiyīr'). ISO 15919 for Tamil: letters as written (k, c, ṭ, t, p whatever their sound), ṉ ன, ṟ ற, ḻ ழ, ḷ ள, e/ē and o/ō kept apart.
- line 6: kathir-mathiyam is read two ways: 'the radiant (full) moon' (as the Wikisource gloss has it, மதியம் = full moon) or 'the sun (katir) and the moon (matiyam)', a face both bright and cool. I chose the first; note the second.
- line 7: paṟai is a drum, here also the boon the girls ask for at the end of their vow (the drum they will play, and what they are 'given'). Kept untranslated.
- line 8: 'ēlōr empāvāy' is the refrain of all thirty verses of the pāvai vow. ēl and ōr are usually taken as particles of exhortation or as meaningless refrain syllables; em pāvāy is 'our maiden / our pāvai' (the image of the goddess made for the vow, or the girls addressing one another). Kept as a refrain, not translated.
- line 1: Mārkaḻi, the Tamil month of December-January; 'mati niṟainta', 'the moon full'.
- line 3: Āyppāṭi, 'the herdsmen's village' (Gokula), kept as a name.
- line 4: koṭun-toḻilaṉ, 'he of cruel / fierce work' (Nandagopa guarding the herds against enemies of the child Krishna).
Listen
On YouTube, from the channel Sreenidhi Music. Pressing play loads YouTube’s player. Watch on YouTube
What it inspired
- Melupalukula Melukolupu (Mullapudi Venkataramana)Telugu translation
- Triyampavai-Tripavai, Giant Swing ceremony in Thailand until 1935name partly taken from it; perhaps recited there (T. P. Meenakshisundaram)
What it drew on
- Pāvai vow of unmarried girls in Margazhi (mentioned in Paripatal)the genre and occasion of the hymns
People, places and events
Sources
- Wikipedia, "Tiruppavai", https://en.wikipedia.org/wiki/Tiruppavai
Cite this page
- APA
- The Epoch Institute. (2026). Tiruppavai. In Songs in History. https://the-epoch-institute.org/songs/tiruppavai
- MLA
- “Tiruppavai.” Songs in History, The Epoch Institute, 2026, https://the-epoch-institute.org/songs/tiruppavai. Accessed .
- Chicago
- The Epoch Institute. “Tiruppavai.” Songs in History. 2026. https://the-epoch-institute.org/songs/tiruppavai.
- Harvard
- The Epoch Institute (2026) ‘Tiruppavai’, Songs in History. Available at: https://the-epoch-institute.org/songs/tiruppavai (Accessed: ).