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MUIRUKA WORSHIP
AND
THE CONCEPT OF BHAKTI
Dedicated to Lord Subramanya
Gintupitiya Temple
Proceeds from the sale of this book
will be credited to the temple fund
*
Printed by : Lake House Printers & Publishers Ltd.
LOR. A. KANDIAH

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PREFACE
This study on the modes of Muruka worship and concept of bhakti is based on the earliest Tamil literary works, Paripatal and Tirumurukairruppatai.
In this study an attempt is made to show that the devotees bhakti towards God Murukan is first introduced in the eight Paripdtal poems in praise of Cevvel and it achieves a deeper meaning when it finds expression together with the response of God Murukan in the Tirumurukariruppatai. It has been clearly proved how bhakti originated and developed gradually into its full form as the means of liberation, illumination and bliss for the devotee.
I am deeply grateful to Mr. D. Eswaran for helping me to publish this work.
A. Kandiah 4, 40th Lane, Colombo 6, Sri Lanka, 17.8.84.

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A NOTE ON THE TAMIL TRANSLITERATION
CONSONANTS
WOWELS
ፊቻ
த்
ற்
éT
俞

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THE MODES OF MURUKA WORSHIP
Of the various aspects of religious significance seen in the earliest works, Paripatal and Tirumurukarruppatai, the modes of worship of the Tamils, and the role of the brahmans as officiating priests in some of the shrines of Murukan, deserve detailed analysis. We have conclusive evidence in our sources of Murukan worship then, as now, consisting of going to different abodes, worshipping or taking part in congregational worship, offering various oblations, Worshipping the deity with songs and dances, conducting religious festivals and so on.
The Paripatal hymns reveal the manner in which this worship was conducted. We have references to the practice of people worshipping Murukan, sometimes in the morning, and sometimes in the evening." Nallaliciyar speaks of people worshipping in the evening, while Nappannanar describes how men and women proceed towards Parankunram to pay homage early in the morning. These men and women, garbed in fine clothes and expensive ornaments, proceeded on horseback or in chariots. This is clear indication that devotees in those days made use of vehicles and animals to travel to Murukan's abodes. The current theory that devotees should not go on vehicles or animals to temples was perhaps not observed during this period. In other words, the theory was perhaps formulated at a later date by Arumuka Navalar himself."
The subject matter of Tirumurukarruppatai also bears evidence to the fact that devotees went to different abodes of Murukan in order to obtain his grace. In the Tirumurukatruppatai, as we have already mentioned, the bhakta who has received spiritual blessings from Murukan directs other devotees who seek liberation to approach him and obtain his grace. The poem in fact describes the six hill shrines where he dwells, and how to reach those shrines.
The practice of people going to shrines on vehicles and animals and taking part in congregational worship is more clearly brought out in the description of Pantiyan's visit to Parankunram. In this description, the way in which Pantiyan, along with his ministers, womenfolk, and citizens, worshipped the abode in a clockwise direction, is compared to the moon and constellations going round mount Meru; and the premises where the people tethered the ele
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phants to different trees, removing the horses from the paths and
pushing aside the chariots, are compared to the encampment of an
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army.
A review of this description makes clear three facts; firstly the king himself went to worship Murukan in his abode, and his visit was celebrated with pomp and glory. Secondly, it was the custom, even during this period, for the devotees to worship the shrine in a clockwise direction, and this mode of worship survives even today. Thirdly, the elephants, horses and chariots, were perhaps used to transport the people in great numbers to celebrate the king's visit, and this is obvious evidence of people travelling to temples on vehicles and animals for congregational worship.
Offering various oblations to Murukan was another characteristic of the mode of worship of the period. Nallaliciyar presents a graphic picture of the devotees who worship the Lord at Parankunram offering flowers, leaves, silk clothes, gems and spears, with songs sung in praise of Him. The practice of offering a spear made of silver or gold for the fulfilment of a vow made to Murukan is prevalent among the Saivites even at present. Nallantuvanar, on the other hand, describes the devotees who offer sandalwood, incense, lighted lamps, fragrant flowers, drums, gems, peacocks, axes, elephants and various other oblations dear to Murukan, in worship.' The offering of peacocks and elephants is proof that devotees donated living things as oblations. Even if only images or statues of these animals were offered, they were offered because they were the vehicles beloved by Murukan.
The poet also speaks of ladies worshipping the lord for various material benefits. Some ladies worship the Lord asking him to grace them with success in love, some to grace them with conception; some for wealth" and others for the victory of their husbands in war." All these clearly prove that Saivite worship and religious practice derives its meaning from the bhakti that motivates them. The worshippers believed that all the oblations were to be offered with inner devotion and love for Murukan. To such worshippers, the god granted both spiritual blessings as well as material benefits. Apart from these, references may be cited from Tirumurukarruppatai for the practice of animal sacrifice. In the section Palamutircolai the poet describes the festivals conducted in honour of
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Murukan on holy days, in which the banner that bore the image of a cock was installed, gifts of millet and flowers were served and rams were given in sacrifice.'
Music and dancing must have become an essential part of Murukan worship as it is referred to in a number of places in our sources. Nallantuvanar speaks of devotees singing songs to time measure and dancing to tala. Nallaliciyar delights in describing Parankunram in association with sweet music and beautiful dancing. He compares the sweet music played on the yal by the Panar to the sweet singing of the crickets, the sweet melody of the flute to the humming of bees, the beating of drums to the sound of the mountain streams and the dancing of ladies to the rustling of creepers.' Nallantuvanar speaks of two different types of flutes played by the musicians at Parankunram; one has seven holes and the other five." Kunramputanar refers to music and dance competitions in the abode of Murukan at Parankunram." From all these, we may reasonably conclude that Parankunram was famous for music and dancing. Nallaliciyar's description clearly indicates that songs were sung by groups of people to the accompaniment of various musical instruments, while beautiful ladies performed dances. Another aspect described in all these references, is that music and dancing were performed not merely out of bhakti but also for pure enjoyment. On the contrary, not much mention of music and dancing at Parankunram is made in Tirumurukirruppatai, and this applies also to the other five abodes of Murukan, except for the descriptions of dances performed by young girls, tunanikai performed by Pējmakaļ, 'She-devil at Parankuņram, Kura vai at Kunrutóratal, and veriyatal at Palamutircolai-which will be examined shortly. There are, however references to brahmans chanting the mystic formula of six letters in the section about Tiruverakam;' to the sound of the drums of the gods, blowing of horns and conches, and the beating of drums in the section Tirucciralaivay," and to celestial damsels playing sweet music on the yal in the section about Tiruvavinankuti." There is no mention of any of these things in Paripatal. -
From these references we may legitimately conclude that songs were sung in the presence of Murukan both in Tamil and Vedic Sanskrit and probably to the accompaniment of musical instruments.

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There is evidence in our sources to suggest that during this period, in some shrines of Murukan, the religious ceremonies were performed according to tradition by the brahman priests while in certain other shrines, ceremonies were conducted by the worshippers themselves. The description of one face of the god guarding the sacrifices performed by the brahmans' throws light on the fact that the brahmans functioned as officiating priests in the shrine at Tirucciralaivay. The reference also makes explicit that the rites in the shrine were performed according to Vedic tradition. Besides this, from the description in the section "Tiruverakam, we can reasonably conclude that Tiruvérakam was a prominent holy centre of brahman activities tending sacred fires, performing rites with full devotion, keeping folded palms on their heads in adoration, offering fragrant flowers to Murukan at specified times and so on. These, therefore, furnish ample evidence to show that the ritual in these two shrines was performed by brahman priests and the worshippers probably offered their oblations through
them. 魅
The poet, however, presents a different mode of worship in the other sections on Parankunram, Kunrutoratal and Palamutircolai. He speaks of devotees performing ritual worship with song and dance. In the section about Parankunram, there is a vivid description of a dance' performed by young girls who bless the banner of Murukan on which is the image of a cock, and wish it great success. All the mountain slopes resound with echoes of their songs. The poet also describes how the girls beautified themselves prior to dancing;
“On their young breasts, shaped like unopened könku buds, they smear fine-coloured and scented sandal-paste made by grinding the strong, hard and fragrant sandalwood as though sweet-smelling marutam blooms are being piled; even before
the sandal paste dries they spread over it the fine pollen of full bloomed venikai.”
This description tells us of the mode of worship of the female devotees at Parankunram, where the women worshipped directly, without officiating priests. Moreover, it also indicates that unlike current practice, young girls were permitted to go to shrines and to take part in dancing. It is also conclusively proved that the dance was performed in the sacred abode of Murukan as a mode
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of worship. In addition, we have a description of tunanikai performed by Peymakal, "she-devil'. This was probably another dance-form used as a mode of worship at Parankunram by the female devotees of Murukan.'
Reference can also be cited from Paripatal for devotees conducting ritualistic worship of their own at Parankunram. Nappannanar describes how the ladies performed puja with flowers and water to the domed forehead of the sacred elephant of Murukan on which they applied Kunikumam, having decorated it with chowries made of the tail of the yak, and raising over it a golden-handled umbrella.' On the other hand, Nallantuvanar speaks of devotees offering to the holy feet of Murukan various oblations which are dear to him.' Kecavanar, however, differs in his descriptions, for according to him, Lord Murukan at Parankunram is well-pleased with the sacrificial ceremonies of the brahmans,' which is clear evidence of the fact that brahmans functioned as officiating priests. All these give us conclusive evidence of Parankunram being an abode open to all to worship on their own, although there were brahman priests to conduct ritualistic rites.
In the section "Kunrutóraital the poet speaks of the Kuravai dance of the mountain tribes.” The men tread the kurayai dance to the small drum's beat, and with them there are damsels whose modest walk is like the strut of the peacock. The “Red God descends among them well-decked, dances with them, embraces them, and accepts their offerings. This dance tells us much about the inherent connexions between the mountain tribes and the cult of Murukan. The kuravai dance was, therefore, the mode of worship of the people of the hill region, and Murukan was believed to have descended come among them to shower his grace in response to such worship.
Finally, in the section 'Palamutircólai' the typical Darvidian form of worship veriyatal is described. Though the technical term veriyatal which is used by the early poets for ritualistic dances does not appearin the Tirumurukarruppatai, the technical terms atukalam' or veriyayar kalan,' used to refer to "the floor of the frenzied dance are mentioned. While they danced in frenzy, songs were sung, horns were blown, bells were rung, and hymns were sung in praise of the sacred elephants of Murukan.'

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The foregoing analysis and examination taken together point to the conclusion that the three types of dances, tunankai, kuravai and veriyatal, figure prominently as the modes of worship of the people of this period. We need not emphasise this point any further; but what strikes the reader is that these dances are given prominence in the Tirumurukdrruppatai as a mode of worship, and that the author directs devout souls who desire liberation and the grace of Murukan to Murukan's abodes. Each of these dance forms was probably associated with a particular shrine-tunanikai with Parankunram, kuravai with Kunrutóratal, and veriyatal with Palamutircolai.
Furthermore, the description in the Tirumurukātruppatai of the young girls who in their worship bless the banner of Murukan and wish it eternal success, and that in the Paripatal of the ladies who perform puja to the domed forehead of the sacred elephant, with flowers and water, tend to suggest that during the period of these two works the devotees worshipped even the banner and the elephant of Murukan. In othen words, like the katanpu tree which provided shelter to the deity, the peacock and elephant vehicles, the banner and the spear were regarded as sacred and received all acts of worship which were meant for Murukan himself. Subsequently, this practice perhaps contributed greatly to installing the spear, the emblem of Murukan, as the sole object of worship in some of the shrines of the god. Therefore, Arumuka Navalar's objection to the installation of the spear in the sanctum sanctorum at Nallur in Sri Lanka is not convincing."

THE CONCEPT OF BHAKTI
The Paripatal and the Tirumurukarruppatai are perhaps the earliest works in which the devotee's love or bhakti of Murukan is quite explicitly expressed, conveying not merely “love of God but also a deeper, mystical union with the Almighty. The language and the expression bear ample evidence to the personal experience of the poets ; the outpouring of their hearts gives us a true picture of their spiritual elevation. This applies particularly to the poet of Tirumurukārruppatai. Apart from describing the beatific nature of Murukan and singing his glories with devotion, the poets of these two works display bhakti as the means of salvation, portraying his holy feet as the refuge of the devotees, and representing his holy faces and holy arms as granting spiritual boons.
The devotee's approach to the holy feet of Murukan is described in three places in the Tirumurukariruppatai. In one, the poet promises the immediate fulfilment of the desire for salvation if the devotees, with the supreme intention of attaining the sacred feet of Murukan, pursue the path of righteousness and move towards self-realisation. In another, he recommends devotees to sing praises with faces beaming with joy, to adore him with palms folded on the head, and to prostrate themselves at his holy feet, at whatever shrine they happen to see his image. In the third, the devotee's desire to achieve the holy feet of Murukan through bhakti is described." Dhavamony cites the reference anputai nanmoli, “good words expressive of love (for god) as clear indication that the Thirumurukdrruppatai teaches bhakti in its technical, religious sense and also points out that this evidence is all the more important since the work belongs to early Tamil literature.
On the other hand, the poets of Paripatal also often describe the shade of the holy feet as the place of surrender and final liberation of the devotees. Only the virtuous and those who are extolled by ascetics will reach the shade of the holy feet of Murukan, and therefore, to achieve that status, one should worship him for his divine grace, love and virtue, but not for wealth, gold and enjoyment, which are worldly possessions detrimental to final liberation.' The commentator says that anpu, bhakti creates arul, “divine grace' which causes final liberation, and that aram, “virtue', can be obtained through both divine grace and love. The reason for this interpretation is that love mollifies, softens and melts hearts
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quicker than any other passion, reaching its highest stage in the final realization of God. Kunramputanar describes how the lovers of Murukan, who worship him with their heads bowed and praise him in prayer, long to secure a permanent place in the shade of the holy feet. Nallaccutanar speaks of the devotee who praises the Lord in worship not only for his own liberation but also for the salvation of all the other devotees in the shade of the holy feet." Nappannanar sings of the devotee who with fellow devotees, sings the praise of Murukan who resides in the shade of the katanpu tree on Parankunram." These descriptions show conclusively that bhakti is fostered and developed by steady longing for the holy feet of Murukan and constant meditation on him by such means of worship as constant thinking, praising through hymns, adoration with palms joined together, and prostration.
What strikes the readers of the poems in Paripatal is the devotee's bhakti which creates in him the absolute trust and confidence in the power of Murukan and in the efficacy of his grace, because he goes to the extent of adoring the jewel-like hill where the Lord is housed,' worshipping the katimaram in the shade of which he resides,' and longing to secure domicile at the foot of his hillshrine Parankunram." Similar poetic techniques and situations are employed to describe secular love in the early akan poetry.
All the descriptions of bhakti examined above, although cited as explicitly revealing the devotion and love of devotees in general towards Murukan, can also be taken as a true picture of the spiritual aspiration of the poets in particular. This is true in the case of Tirumurukariruppatai, as it describes the bhakta-author who has received the spiritual blessings of Murukan and directs other devotees who seek after liberation to approach him and obtain his grace. The current story about the author of this work also bears evidence of this fact. The story runs thus:"
Nakkirar was ordered by Siva to make a pilgrimage to atone for his presumption after the dispute with Siva at the Tamil literary academy in the city of Maturai. He was caught by a demon on his way while performing his daily puja on the bank of the river in the forest. He was later confined in a cave along with 999 other men in order to make a huge sacrifice. When the demon was preparing himself to consume all the 1000 prisoners in the sacrifice, the poet invoked the help of the god Murukan to save him and chanted this
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poem in his honour. At the end of the chanting of the poem, the god Murukan appeared and killed the demon. Thus Nakkirar and the others were saved. Many Saivites believe even at present, with good reason, that the chanting of the Tirumurukariruppatai still has the same saving power. This legend is undoubtedly a creation of a later date to make the work a popular and inspiring one among the people.
On the other hand, although the poets of Paripatal are not celebrated as saints and spiritual personalities, the description bears testimony to the profound spiritual experience which they underwent as bhaktas.
Murukan's response, however, to those who worship him with bhakti is presented through his splendid appearance. We have already mentioned the six faces and the twelve arms, of which four faces and two arms are represented as showering spiritual boons not only on those who love him but also on the people of the whole world. The face which is described as diffusing countless rays of light and as dispelling the dense darkness of the world," and the arm which is portrayed as causing abundant rains,' show clearly his practice of granting boons to the whole world. The other three faces and the other arm shower spiritual boons on those who love him ; one face casts a gracious look on the devotees who praise him, and grants the boon for which they pray with love and joy;" the other watches with interest the sacrifices of the brahmans who recite mantiram and worship according to the Veda;' the third teaches the hidden truths and enlightens the minds of sages,' and the arm garlands with the bridal wreath the maiden who lives in heaven. The reference katalin uvantu varian kotuttanre' 'gladly grants spiritual bestowal out of love' is a remarkable expression of Murukan's love for his devotee. In addition, the references such as “the glorious Lord grants the favour of release from the sorrow of rebirth, and brings the most enjoyable bliss', “the Lord who is adorned with jewels made of gold grants grace to those who suffer from distress'," and “the Lord embraces and showers his grace on those who approach him, clearly demonstrate the spiritual blessings granted by Murukan to his bhaktas.
These expressions, or even the term апри, conveying the meaning of spiritual blessings of Murukan in response to his devotees love, do not figure in the poems in Paripatal, although the stead
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fast longing of the bhakta for the holy feet of the Lord is prominently displayed, especially in the concluding part of each poem. In other words, though the devotee lovingly takes refuge at Murukan's feet in order to live a divine life, the god's response is not explicitly expressed. The mystic union into which the god enters with the mind of his lover, and the way in which the beloved of god in turn, commits himself to god and surrenders entirely to him, is explicitly expressed only in the Tevaram.
The study of these early works has clearly proved how bhakti originated and developed gradually into its full form as the means of liberation, illumination and bliss for the devotee. The Paripatal advocates love, divine grace and virtue but not gold, wealth or luxury. In these poems, the devotees attitude is one of love and loyal submission to the holy feet of God as being the means of deliverance from the sufferings of rebirth. A notable feature of these poems is that God's response to the devotees' love is not explicitly expressed there as in the other works.
The Tirumurukdrruppatai, perhaps the earliest non-fragmentary poem in praise of Murukan, exhorts devotees to obtain grace and liberation. The central theme in this work is that if the devotee worships God with love, God will grant him the priceless gift of final liberation, which would otherwise be difficult to obtain. This provision for a response from God to the devotees bhakti shows that Tirumurukarruppatai is the earliest work in Tamil Saiva bhakti literature which exhibits how the devotee pours out his love to God while God responds by showering endless grace on him.
The main difference between the two works is that the Paripatal represents the self-expression of the devotees who desire salvation while the Tirumurukarirupatai represents the outpourings of the devotees who have already had Divine revelation and grace. This is perhaps another reason why the Paripatal poems have not gained a place of religious importance in the Saivite world and were excluded from the sacred collection of the Panniru tirumurai. The two main reasons are that the anthology contains six poems in praise of Visnu and eight secular poems in praise of Vaiyai, and that secular love-themes dominate some of the poems in praise of Murukan without symbolising the mystic union of the devotee with the Almighty.
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Campantar worshipped Siva with intense bhakti for the purpose of achieving spiritual illumination, freedom from rebirth, and final liberation. Dhavamony concludes, ''The characteristics of bhakti, as described by Campantar, are loving contemplation of things divine, sincere and genuine acts of worship, single-minded devotion, and total surrender of the whole person to God in loyal service. On the other hand, Appar's bhakti flows from the bottom of his heart which is pure, sincere and genuine, paving the way for the attainment of final liberation. Single-minded love is very often expressed through Cuntarar's bhakti which showed him how to liberate himself from worldly attachments, be freed from fetters, and finally take refuge under the shade of the holy feet of Siva.
The devotee's bhakti towards God is first introduced in the Paripatal poems. It achieves a deeper meaning when it finds expression together with the response of God in Tirumurukarruppatai. The full flowering of bhakti finds expression in a refined and profound manner only in the mystical verses of the Nayanmar. Pillay (probably referring to the Paripatal and the Tirumurukarruppatai) says that the beginning of the bhakti cult is traceable to the third or fourth century A.D., and (probably referring to the Tevaram and Tivviyappirapantam) that it blossomed into full vigour in the seventh century A.D.)
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References:
மாலை மாலை யடியுறை யியை நர்.
பரிபாடல், 17:7.
தெரிமலர்த் தாரர் தெருவிருள் சீப்பநின் குன் ருெ டு கூட லிடையெ லா மொன்று பு.
Ibid., 19 : 14-5
உரிமாண் புனை கல மொண்டுகி ருங்கிப் புரிமாண் புரவியர் போக்க மை தேரர்.
lbid., 19 : 12—3.
சைவ வினவிடை, I, பக். 76.
சுடரொடு சூழ் வரு தாரகை மேரு ப் புடைவரு சூழல் புலமாண் வழுதி மடமயி லோரு மனைய்வ ரோடும் கடனறி காரியக் கண்ணவ ரோடு நின் சூருறை குன்றிற் றடவரை யேறி மேற் பாடு வலந்திரி பண்பிற் பழ மதிச் சூடி யசையுஞ் சுவன் மிசைத் தானையிற் பாடிய நாவிற் பரந்த வுவகையின் நாடு நகரு மடைய வடைந் தனைத்தே படுமணி யானை நெடியாய் நீ மேய கடிநகர் சூழ்நு வலுங் கால். தும் பி தொடர் கதுப்ப தும்பி தொடராட்டி வம் பணி பூங்கயிற்று வாங்கி மரனசைப்பார் வண்டார்ப் புரவி வழி நீங்க வாங்குவார் திண்டேர் வழியிற் செலநிறுப்பார் கண் டக் கரும்பு கவழ மடுப்பார் நிரந்து பரிநிமிர் தானை யான் பாசறை நீர்த்தே.
பரிபாடல், 19:19-35,
தேம்படு மலர் குழை பூந்துகில் வடிமணி ஏந்திலை சுமந்து சாந்தம் விரைஇ விடையரை யசைத்த வேலன் கடிமரம் பரவின ரு ரையொடு பண்ணிய விசையினர்.
Ibid., 17: 1-4.

I 0.
11.
12.
13.
14.
வேறுபடு சாந்தமும் வீறு படு புகையும் ஆறு செல் வளியி னவியா விளக்கமும் நாறுகமழ் வீயுங் கூறு மிசை முழவமும் மணியுங் கயிறு மயிறுங் குடாரியும் பிணிமுக முளப்படப் பிறவு மேந்தி அருவரைச் சேராத் தொழுநர்.
Ibid., 8: 97-102.
கனவிற் ருெட்டது கை பிழை யாகாது நனவிற் சே எப்பநின் னளிபுனல் வையை வருபுன லணி கென வரங்கொள் வோரும் கருவயி றுறு கெனக் கடம்படு வோரும் செய்பொருள் வாய்க் கெனச் செவிசார்த்து வோரும் ஐயம ரடு கென வருச்சிப் போரும் பாடுவார் பாணிச்சீரு மாடுவா ரரங்கத் தாளமும் மஞ்சாடு மலை முழக்கம்.
Ibid., 8: 103-110.
கருவயி றுறு கெனக் கடம்படு வோரும்.
Ibid., 8: 106.
செய்பொருள் வாய்க்கெனச் செவிசார்த்து வோரும். Ibid., 8: 107.
ஐயம ரடுகென வருச்சிப் போரும்.
Ibid., 8: 108
சிறுதினை மலரொடு விரை இ மறியறுத்து வாரணக் கொடியொடு வயிற்பட நிறீஇ யூரூர் கொண்ட சீர்கெழு விழவினும் .
திருமுருகாற்றுப்படை, 218-20. பாடுவார் பாணிச்சீரு மாடுவா ரரங்கத் தாளமும்.
பரிபாடல், 8:109.
ஒரு திறம், பாணர் யாழின் நீங்குரலெழ ஒரு திறம், யாணர் வண்டி னிமிரிசையெழ ஒரு திறம், கண்ணுர் குழலின் கரைபெழ ஒரு திறம், பண்ணுர் தும் பி பரந்திசை யூதி ஒரு திறம், மண்ணுர் முழவி னிசையெழ ஒரு திறம், அண்ண னெடுவரை யருவிநீர் ததும்ப ஒரு திறம், பா டனல் விறலிய ரொல் குபு நுடங்க ஒரு திறம், வாடை யுளர் வயிற் பூங்கொடி நுடங்க,
Ibid., 17 : 9-16.
13.

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I 5.
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4.
ஏழ்புழை னயம் புழை யாழி ைசகேழ்த் தன்ன.
Ibid., 8: 22.
ஆட னவின் ருே ரவபோர் செறுப்பவும் பாடல் பயின்ருே ரைப் பாணர் செறுப்பவும்.
Ibid., 9 : 72-3.
தாறெழுத் தடக்கிய வருமறைக் கேள்வி நாவியன் மருங்கி னவிலப் பாடி.
திருமுருகாற்றுப்படை, 186-7.
அந்தரப் பல்லியங் கறங்கத் திண் காழ்
வயிரெழுந் திசைப்ப வால்வளை ஞரல
வுரந்தலைக் கொண்ட வுரு மிடி முரசமொடு
Ibid., 119-21.
செவிநேர்பு வைத்த செய்வுறு திவவி னல் லியாழ் நவின்ற நயனுடை நெஞ்சின் மென் மொழி மேவல ரின் னரம் புளர நோயின் றியன்ற யாக்கையர்,
Ibid., 140-3
SLASSASSLAS SLSLS SLS ALL Lq qSSSLq SSqSSqqSSSSLSLSLSSSL SSLS SS LSAALSEESS SELLSLLLLLSSS qqqq SqSL LSL LSLLSLS LS LSq qSqSL MSSLSLSSLSSSL0000S யொருமுகம் மந்திர விதியின் மரபுளி வழாஅ வந்தணர் வேள்வியோர்க் கும்மே.
Ibid., 95-6.
குருதி யா டிய கூரு கிர்க் கொடுவிரற் கண்டொட் டுண்ட கழிமுடைக் கருந்தலை யொண்டொடித் தடக்கையி னேந்தி வெரு வர வென்றடு விறற் களம் பாடித்தோள் பெயரா நிணந்தின் வாய டுணங்கை துரங்க.
Ibid., 52-6.
வண் காது நிறைந்த பிண்டி யொண்டளிர் நுண்பூ ன கந் தினைப்பத் திண் காழ் நறுங்குற டுரிஞ்சிய பூங்கேழ்த் தேய்வை தேங்கமழ் மருதினர் கடுப்பக் கோங்கின் குவிமுகி Nளமுலைக் கொட்டி விரிமலர் வேங்கை நுண் டா தப்பிக் காண் வர.
Ibid., 31-6.

23.
24.
25.
27.
28.
29.
3 0.
பெருமுலை யலைக்குங் காதிற் பினர் மோட் டுருகெழு செலவி னஞ்சுவரு பேய்மகள் குருதியாடிய கூருகிர்க் கொடுவிரற் கண்டொட் டுண்ட கழிமுடைக் கருந்தலை யொண்டொடித் தடக்கையி னேந்தி வெரு வர வென்றடு விறற் களம் பாடித்தோள் பெயரா நிணந்தின் வாய டுணங்கை தூங்க,
Ibid., 50-56.
நினயானைச் சென்னி நிறங்குங்கு மத்தாற் புனை யாப்பூ நீருட்டிப் புனை கவரி சார்த்தா ப் பொற் பவழப் பூங்காம்பிற் பொற் குடை யேற்றி மலிவுடை யுள்ளத்தான் வந்துசெய் வேள்வியுட் பன்மண மன்னு பின்னிருங் கூந்தலர் கன்னிமை கனிந்த காலத் தார் நின் கொடியேற்று வாரணங் கொள்க வழ மிச்சில் மறுவற்ற மைந்தர் தோ ளெய்தார் மணந்தார் முறுவற் றலையளி யெய்தார் நின் குன்றம் குறுகிச் சிறப்புணுக் கால்.
பரிபாடல், 19; 85-94. ஆறு செல் வளியி னவியா விளக்கமும் நாறுகமழ் வீயுங் கூறு மிசை முழ வமும் மணியுங் கயிறு மயிலுங் குடாரியும் பிணிமுக முளப்படப் பிறவு மேந்தி அறுவரைச் சேராத் தொழுநர் .
Ibid., 8: 98-102.
இரு பிறப் பிரு பெய ரீர நெஞ்சத் தொரு பெய ரந்தண ரறன மர்ந்தோயே.
Ibid., 14 : 27-8.
தொண்டகச் சிறுபறைக் குரவை யயர.
திருமுருகாற்றுப்படை, 197. ஆடுகளஞ் சில ம்பப் பாடி,
Ibid., 245. வேலன் றை இய வெறியயர் களனும்,
Ibid., 222. ஆடுகளஞ் சிலம்பப் பாடிப் பலவுடன் கோடு வாய் வைத்துக் கொடுமணி யியக்கி யோ டாப் பூட்கைப் பிணி முகம் வாழ்த்தி.
Ibid., 245-7.
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38.
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Ārumuka Nāvallar Pirumāņiņ Pirapantat Tiratu, Collection of Essays written by ARUMUKA NAVALAR and Compiled by T. KAILACAPILLAI), Part I, p. 5.
சேவடி படருஞ் செம்ம லுள்ள மொடு நலம் புரி கொள்கைப் புலம் பிரிந் துறையுஞ் செலவு நீ நயந்தனை யாயிற் பலவுட னன்னர் நெஞ்சத் தின்னசை வாய்ப்ப வின்னே பெறுதிநீ முன்னிய வினையே.
திருமுருகாற்றுப்படை, 62-6.
யாண் டாண் டாயினு மாக காண்டக
முந்து நீ கண்டுழி முகனமர்ந் தேத்திக் கைதொழுஉப் பரவிக் காலுற வணங்கி.
Ibid., 250-2.
நின்னடி யுள்ளி வந்தனென்ன்.
Ibid., 279.
அன்புடை நன்மொழி யளை இ.
Ibid., 292.
Mariasusai Dhavamony, Love of God, according to Saiva Siddhänta, p. 126.
நின் குண மெதிர்கொண்டோ ரறங் கொண்டோ
ரல்லதை மன்குணமுடையோர் மாதவர் வணங்கியோ ரல்லதை செறு தீ நெஞ்சத்துச் சின நீடினுேருஞ் சேரா வறத்துச் சீரி லோரும் அழிதவப் படிவத் தயரி யோரும் மறுபிறப் பிலெனு மடவோ ருஞ் சேரார் நின்னி ழ லன்னே ரல்ல தின்னேர் G3Fri GunT ராதலின் யாஅ மிரப்பவை பொருளும் பொன்னும் போகமுமல்ல நின் பால் அருளு மன்பு மறன மூன்றும் உருளிணர் க் கடம்பி னெலிதா ரோயே.
பரிபாடல், 5:71-81.
See Paripatal malamum Parimélalakar Uraivum, ed. by Caminataiyar (3rd edition), p. 48.

39.
40。
4 l ..
42,
4@,
44.
45。
46。
47;
நயத்தகு மரபின் வியத்தகு குமர வாழ்த்தினேம் பரவுதுந் தாழ்த்துத்தலை நினையா நயத்தலிற் சிறந்தவெம் மடியுறை பயத்தலிற் சிறக்க நாடொறும் பொலிந்தே.
பரிபாடல், 9; 82.5.
நன்ற ம ராயமோ டொருங்குநின் னடியுறை இன்றுபோ லியை கெனப் பரவுதும் ஒன்ருர்த் தேய்த்த செல்வநிற் முெழுதே
Ibid., 21 : 68-70. அவ் வரை யுடைத்தோய்நீ யிவ் வரை மருங்கிற் கடம்பம ரணிநிலை பகர்ந்தேம் உடங்கம ராயமொ டேத்தினந் தொழுதே,
Ibid., 19 : 103-5. மணிநிற மஞ்ஞை யோங்கிய புட்கொ டிப் பிணி முக மூர்ந்த வெல்வோ றிறைவ பணியொரீஇ நின் புக ழேத்தி அணி நெடுங் குன்றம் பாடுதுந் தொழுதும் அவை, யா முமெஞ் சுற்றமும் பரவுதும் ஏம வைகல் பெறுக யா மெனவே.
Ibid., 17:48-53. தேம்படு மலர் குழை பூந்துகில் வடிமணி ஏந்திலை சுமந்து சாந்தம் விரை இ விடை யரை யசைத்த வேலன் (5 - D if th பரவின ரு ரையொடு பண்ணிய விசையினர்.
Ibid., 17: 1-4. குன்றத் தடியுறை யியை கெனப் பரவுதும் வென்றிக் கொடியணி செல்வநிற் முெழுது,
Ibid., 17: 16-7. For a detailed account see Nakkirar carukkam in cikālattippurānam.
மாயிருண் ஞா ல மறுவின்றி விளங்கப் பல்கதிர் விரிந்தன் ருெருமுகம்,
திருமுருகாற்றுப்படை, 9 - 2.
གས་པ་འདས་ན་ལས་ནས་ས་བབས་ས་བསམས་པས་སས་པས་ཕམ། -----་་གསན་པས་ས་བབ་. வொரு கை  ́ » நீணிற விசும்பின் மலிதுளி பொழிய.
Ibid., 115-6.
17

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43。
49。
50,
51.
52。
53.
54。
55。
58.
59.
18
Supra, p. 7.
-------------------------------------...་ན་བས༦༠,2/f (/༡༡ (/) ༡ மார் வல ரேத்த வமர்ந்தினி தொழுகிக் காதலி னு வந்து வரங்கொடுத் தன்றே ,
Ibid., 93-4.
SLLLLL LSSLASLSLSL LSLASLLqSL S S qqqqq LLLLLA LLLLS SSLSLSSSLSLSL SSqSS SLLALS qqSSSS SSqSqS SSLS qqqqSqS qqqq qqqq qqqq qSq Sq qqS SqSq LLL rL LL LqqSL யொருமுக மந்திர விதியின் மரபுளி வழாஅ வந்தணர் வேள்வியோர்க் கும்மே.
Ibid., 94-6.
w---யொருமுக மெஞ்சிய பொருள்களை யேமுற நாடித் திங்கள் போலத் திசை விளக் கும்மே.
Ibid., 96-8.
நீணிற விசும் பின் மலிதுளி பொழிய வொரு கை வான ர மகளிர்க்கு வதுவை சூட்ட ༠#ff f5# ༡ ཡི9 --...-------------------------------ཤས་བ--------
Ibid., 116-8.
SSSSSSSSSSSLALLAAAALLLLLLL LLLL LSL LLTLLLLLLL LLLLLL LALAA q AALL L00 LLLSSTL SSLLS 0SLALA AL SLLLL 0SLL LSASSLLL SLLLL AAAAA LAL 0A0 AAA LLLLLL AA AAAS SAAA AAAA மொருமுக மார் வல ரேத்த வமர்ந்தினி தொழுகிக் காதலி னு வந்து வரங்கொடுத் தன்றே.
Ibid., 93-4.
நசையுநர்க் கார்த்து மிசை பே ராள.
Ibid., 270.
அலந்தோர்க் களிக்கும் பொலம்பூட் சே எய்
Ibid., 27.
மண் டமர் கடந்த நின் வென்ற டக லத்துப் பரிசிலர்த் தாங்கு முருகெழு நெடுவே எள்.
Ibid., 272-3.
விழுமிய பெறலரும் பரிசி னல் குமதி,
திருமுருகாற்றுப்படை, 295.
Mariasusai Dhavamony, Love of God, according to Siva
Siddhānta, p. 354.
Pillay K.K., Landmarks in the History of Tamilnad Proceedings of the Second International Seminar of Tamil Studies, Madras, p. 20.

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