(i) Two special points are made out, in this song. No reward is too great for those who mediate between us and God, not even the Earth and spiritual world, put together. Therefore it is, aphorism 432 of ‘Śrī Vacaṉa Bhūṣaṇa’ avers that it would be possible to recompense theĀcāryā, in an adequate measure only if there were four vibhūtīs and two Gods. The idea is that any

Having offered both spiritual world and Earth to her emissaries, in the last song, the Nāyakī now offers to give her very self unto them, a more precious gift, coveted by the Lord Himself and that too, not secretly, but in front of all her mates. It is noteworthy that the Nāyaki indicates beforehand how she would reward her emissaries. The accent thus ultimately rests on service unto the Lord’s devotees.

Here is a case of collective bargaining by a swarm of bees, on behalf of the Nāyakī. And when they come back with their mouths, soaked in honey from the Lord’s locks, they could jolly well play right on the Nāyakī’s head and thus indirectly feed her with the Lord’s honey.

(i) The beetles, ever in quest of honey, are directed by the Nāyakī to the Lord in spiritual world, on whose crown is honey-studded tuḷaci, garland, so as to gather the honey therefrom and incidentally tell the Lord that He should not keep aloof from her, at that distance, gloating over His transcendent glory. It is through such mediation by the God’s chosen few, His detachment

(i) Be it anywhere: Go and ferret Him out, wherever He might be hiding, even as Hanumān solemnly resolved that he shall go to swarga [svarga] and find out Sītā even if he couldn’t locate her in Laṅkā. It is this phrase that gives the clue for the interpretation that this song deals with the ‘Antaryāmi’ (hidden or all-pervading) aspect of the Lord, as well.

(ii) Unique

(i) The little Pūvai birds, commissioned by the Nāyakī to carry her message to the Supreme Lord, were naturally diffident about getting the Lord’s attention. The Nāyakī, therefore, enthuses them by saying that the Lord, who had enticed her by His sweet decorations, exquisite Form and amazing simplicity, would surely give unto His devotees, the tuḷaci worn on His feet.

The Nāyakī’s plight is such that she is obliged to seek the assistance of even inanimate things like dolls; the Supreme Lord seems to be indifferent while the mobile creatures like the winged birds have their own occupations. In the last resort, she falls back upon her very playthings. The folks around question why at all she should agitate like this, when the Lord is

The Nāyakī prays to the stork, near at hand, to carry her message to the Lord of the Celestials, in spiritual world and bursts into grief. She can’t articulate and spell out her woes, in detail, as both her grief and the Lord, whose separation is the cause thereof, are too deep for words.

These birds are commissioned by the Nāyakī to go and meet the Lord in spiritual world, surrounded by Angels and regaling them (like unto rains, unleashed on the ocean instead of on the crops, withering away) and tell Him, His greatness lay not in His might and majesty in that transcendent setting but in His loving condescension unto the desolate Nāyakī who was dwindling,

The Swans are instructed by the Nāyakī, to disclose her critical condition to the Lord, when He retires to His private chamber, on the conclusion of His Durbar, so that it can catch the attention of ‘Tiru’, Lakṣmī. the Gracious Mother, the great Intercessor between the Lord and His Subjects; The birds are to bring back the Lord’s reply, and inform the Nāyakī.

(i) The end-song usually gives out the tangible (in concrete terms) benefit accrued by dint of learning the songs in this decad. Melting tenderness of heart is indeed a great virtue when one sees that only those with such a disposition can tread the path of Bhakti (God-love) and that is acquired by those who are conversant with this decad. Intangible though it might seem