Verse 132 (வாத வைப்பு)

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தமிழ் பாடல்

விதிவசத்தால் மதிகெட்டே அதிதி யோடே

வேதமுனிக் காசிபனும் புணர்ந்த காலம்

கதிவசத்தால் கதிருருட்டும் அருண னன்றே

கடல்வருண னடைக் கலமாய்ப் புகுந்த காலம்

மதிவசத்தால் மறிகடலும் மதியங் கண்டே

மருண்டரண்டு புரண்டுருண்டே யலைத்த காலம்

வதிவசத்தார்லதிதிமகன் விதியின் போக்கில்

மனமாறத் துதிசெய்ய வந்தான் காலன்

Transliteration

Vidhivasaththaal madhikette athidhi yode

Vedhamunik kaasibanum punarndha kaalam

Kathivasaththaal kathiruruttum aruna nandre

Kadalvaruna nadaik kalamaayp pugundha kaalam

Madhivasaththaal marikadalum madhiyang kande

Marundarandu purandurunde yalaiyththa kaalam

Vadhivasaththaarlathidhimagan vidhiyin pokkil

Manamaara thuthiseyya vandhaan kaalan.

Literal Translation

By the compulsion of fate, (one) lost clarity of mind, and with Aditi—

when the Veda-sage Kashyapa united (with her).

By the compulsion of (gati) “movement/attainment,” it is Aruna who rolls up the rays,

when (he) entered as refuge into the sea of Varuna.

By the compulsion of (mati) “mind/moon,” even the turned/changed sea saw the moon,

and, confused and afraid, rolled and tumbled, being churned and tormented.

By the compulsion of (vati)—in destiny’s course—Aditi’s son,

Kālan (Time/Death) came, so that the mind would change and perform praise.

Interpretive Translation

Through a chain of “forces” (fate, motion, mind/moon, breath/abiding), the verse sketches a cosmic turning:

Kashyapa’s union with Aditi gives rise to the Aditya (Sun). Aruna (the reddening dawn/charioteer principle) gathers or “folds” the sun’s rays as the sun sinks to Varuna’s ocean—suggesting sunset, concealment, or withdrawal. The sea, under the moon’s pull, becomes restless—an image of the mind (mati) agitated by lunar change. Finally the Aditya appears as Kālan—Time that ripens into Death—arriving to break complacency and force the mind to turn (manam ār-a) toward praise/inner recollection.

Philosophical Explanation

The stanza is built on a deliberate sound-pattern: vithi–gathi–mathi–vathi (“fate/order; movement/goal; mind/moon; wind/speech/abiding”), implying that human experience is governed by layered compulsions. The outer cosmos (sunset into the sea, moon-stirred tides) mirrors the inner cosmos (rays withdrawn inward, mind tossed by periodic forces).

1) Mythic-cosmic layer: Kashyapa + Aditi → Aditya; Aruna and Varuna frame the solar cycle; moon’s influence agitates the ocean. This reads as a miniature cosmology of cyclical time.

2) Yogic-psychological layer: “Rolling up the rays” can suggest pratyāhāra (withdrawal of the senses/light); “entering Varuna’s sea” can suggest dissolution into a vast inner field (bindu/amṛta imagery is nearby through “moon”). The moon-tide agitation becomes the mind’s fluctuation (citta-vṛtti) under changing influences.

3) Ethical-soteriological layer: Kālan/Time arrives not only as punishment but as a corrective teacher: mortality (or the pressure of time) compels a pivot of mind toward praise—i.e., devotion, remembrance, or disciplined attention. The verse keeps the Siddhar tension intact: fate compels, yet the compelled mind can still be turned toward liberating practice.

Key Concepts

Vithi (fate, ordained order)
Gathi (movement, course, attainment)
Mathi (mind; also moon as a force)
Vathi (wind/breath; speech/argument; dwelling—multiple possible senses)
Kashyapa (Vedic sage; generative principle)
Aditi / athithi (goddess-mother of the Adityas; also ‘guest’ as a pun-possibility)
Aruna (reddening dawn; charioteer of the sun; principle of withdrawing/turning rays)
Varuna (ocean deity; ocean as refuge/dissolution)
Aditya (Aditi’s son—often the Sun)
Kālan (Time; Death; possible Yama resonance)
Moon–ocean (tides as metaphor for mental fluctuation)
Cyclicality of time and inner discipline
Praise (tuthi)—devotion/remembering as response to impermanence

Ambiguities or Multiple Readings

அதிதி (athithi) can be read as Aditi (mythic mother of the Adityas) or as the common noun ‘guest’; Siddhar verses sometimes exploit such overlap.
மதி (mathi) simultaneously means ‘mind/intellect’ and is a conventional epithet for ‘moon’; the verse may be intentionally letting lunar-tide imagery stand for mental turbulence.
அருணன் (Arunan) may denote Aruna the sun’s charioteer, or the reddish dawn/dusk principle; ‘rolling up rays’ can mean sunset visually, or yogic withdrawal inward.
கடல்வருணன் (kadal-Varunan) can be ‘Varuna, lord of the sea’ or simply ‘the sea’ personified; ‘entering as refuge’ can mean setting into the ocean or dissolution into a vast principle.
மறிகடல் (maṟi-kadal) may mean ‘the sea that turns/changes’ (maṟi = to invert/turn/transform), not a fixed proper noun; the phrase supports either physical tides or inner turning.
வதி (vathi) is unclear by design: it may hint at vāyu (breath/wind), vāda (speech/argument), or ‘abiding/dwelling’; the patterned sequence vithi–gathi–mathi–vathi suggests a coded series of forces.
அதிதிமகன் (Aditi’s son) most naturally points to the Sun/Aditya, but could also invoke a broader class of Adityas; the identification affects whether Kālan is ‘Sun-as-Time’ or ‘a deity of death’ like Yama by implication.
காலன் (Kālan) can be ‘Time’ as cosmic principle or ‘Death’ as personal terminus; Siddhar usage often keeps both active to produce urgency without settling the metaphysics.

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