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ME
s of Saintly ersonages)
SiWanamini Duraiswamy

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THE FOOTFALLS ON TIME
Hagiographies of
i Saintly Personages

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It was at the Meenakshi Amman Temple in Madurai that we heard the beginings of the Footfalls. Planning the Footfalls was a unique and wonderful experience. And through out the creation of several Footfalls in the early stages, I had a very special person who was by my side for almost 40 years. He is my beloved Yogendra - "Thank you my love - God gave me
something very special when He gave you to Inc. And I dedicate these Footfalls to your loving memory."

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An ancient Saiva Tamil Manuscript being preserved with lemongrass oil
 

CONTENTS
Acknowledgement
Blessings
Foreword
Preface
Introducing Mysticism
Tevaram
PART I
Saint Tirumoolar and his Anthology of Beauty and Auspiciousness
The Wonder that was Karaikkal Ammaiyar
Saint Appar - The Elder Saint
Ishvarakoti - the Child Saint Sambandhar
Karma as seen by a few English poets
The Disputant - Saint Sundarar
Saint Manikkavasagar - The Prophet of God
Saint Manikkavasagar - The Symphony of Margali
The Messenger of the Mystic Realm - Saint Pattinaththar
Saint Serkkilar and His Magnum Opus
The Harbinger of Lord's Grace - Saint Tayumaanavar Swami Vipulananda - The Savant of Batticaloa
The Friend, Guide and Philosopher - Yogaswamigal
III
IX
11
23
31
45
59
61
80
94.
102
114
125
136
145

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PART II So much, for so few, in so short a time - The Story of Shankara Mirabhai and Her Immortal Bhajans The Sacred Music of Saint Tyagaraja
Sri Sarada Devi - the Holy Mother Swami Vivekananda - The Prophet of our Age Swami Vivekananda - The Mystic Educationist The Poet Laureate - Rabindranath Tagore Echoes from the Himalayas - Swami Chinmayananda Appendix I Glimpses of Saiva Siddhanta Appendix II Mysticism of The Upanishads Appendix III The Ancient Hindu Thought and Culture
Select Bibliography
Glossary of Terms
61
174
186 196
203
207
212
221
232 242
247
253
256

ACKNOWLEDGEMENT
"The Footfalls on Time” tell you the story of our saints and sages called variously as nayanars, siddhars, acharyas, adigals or Swamigals in Tamil from the ancient and medieval ages to the more recent times. This monograph was many years in the making and was initially conceived after one of our pilgrimages to Madurai where we met several young pilgrims from the west, very English in their mannerisms and oriental in their dress.
It is written in order that these young men and women living abroad would understand and appreciate the lives of great personages. They need the rhythmic anthem of a religious background.
To me every footfall has a fragrance of the living past and in the writing of these as in all my writings, I had worked very closely with my husband Yogendra. This is indeed his achievement for nothing which I have achieved would have been possible if not for the encouragement he gave me. It was he who first suggested, on hearing the questions of the youngsters in Madurai, that I write the life story of some of our saints and sages. His glowing devotional spirit was the initial spark that encouraged me to write. His love, encouragement and closeness have
sustained me deepening my joys of writing.
The discussions with him are still vivid and real. In remembering I often find myself by his side, his voice gently inspiring with love and
COCC

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To the Acharya of the Chinmaya Mission, I am beholden. Revered Ramana Chaitanyaji went through each of the biographies carefully making remarks and corrections. These I have closely followed and made the corrections accordingly, -
To Revered Swami Atmaghananandaji of the Ramakrishna Mission Sri Lanka, I convey my sincere appreciation for his blessings.
To Justice Vigneswaran I owe a very special acknowledgement for having agreed to write the Foreword to this book and found time to do so. His Foreword has added greater value to the book.
I am grateful to Vijitha Yapa Publications for publishing the book and for the care that has been taken in doing this, by Mr. Yapa and his staff especially Shamini.
The book does not use the standard scholarly transliteration of the Tamil alphabet since the young ones living abroad may find it difficult to even read the verses - the anglicized form would be easier for them.

III
RAMAKRISHNAMISSION Płowe - 288823 (Ceylon Branch) S5 40, Ramakrisha Road, Colombo 6. Âန္ထန္ • ဦ&ီ29_?
Ematrkingeyseureka.k
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MESSAGE
We are glad to forward this message to the book, The Footfalls on Time, authored by Mrs. Sivanandini Duraiswamy.
As said by Swami Vivekananda, "Asia produces giants in spirituality, just as the Occident produces giants in politics, giants in science”, India has been producing spiritual giants uninterruptedly since the very ancient times of the Vedic period. And what type of giants are they? Said again Swami Vivekananda, "Just as you (Occidentals) are brave to jump at the mouth of a cannon with a hurrah, just as you are brave in the name of patriotism to stand up and give up your lives for your country, so are they brave in the name of God. There it is that when a man declares that this is a world of ideas, that it is all a dream, he casts off clothes and property to demonstrate that what he believes and thinks is true. There it is that a man sits on the bank of a river, when he has known that life is eternal, wants to give up his body just as nothing, just as you can give up a bit of straw. Therein lies their heroism that they are ready to face death as a brother, because they are convinced that there is no death for them.” The present book depicts the lives of 18 such spiritual giants.
The author, Mrs. Sivanandini Duraiswamy is a gifted writer with great literary talents. Having traveled widely in India, with a fund of knowledge of its hoary past she has quite absorbed the spiritual vibrations of that nation, which has ably equipped her to narrate the stories of

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the saints with a divine fervour. She has already written some books on the Hindu traditions and its Philosophy.
The present book is dedicated to the loving memory of her husband, the late Mr. Yogendra Duraiswamy, who was very much behind her in
all her spiritual, social and literary activities, providing all necessary sup
p y p 3. y sup
port. And one can easily surmise that she must have felt his blessings and
support even in this new venture of a valuable book.
We heartily congratulate her and wish her a long life! May this bookfind a place in every household to enrich them spiritually with the immortal stories of our spiritual giants!
(Swami Atmaghanananda)
3o-S, γυνό

ീധർ (r 76 (അല്ല ടലeർഗ്ഗില്പുe യു ( $(ele ( , Sid 4(, ( - 07,
7ሯ፰ ; Øሥ ፖ-ሯ6777ሩ“፰ ̇
15.06.2006
FOREWORD
Minstrel saintess Auvaiyar was asked by Muruga, the Warrior God of the Tamils, as to what was the greatest in this world. She replied in chaste Tamil which rendered into English runs thus - --
"Great indeed this vast wide world,
Yet it lies light on the head of serpent bold, (Goddess) Uma wears on little finger serpent akin ring gold, Goddess herself an adjunct in Lord Shiva's hold, Shiva resides in hearts of devotees of divine mould, Greatness of devotees in fact is too great to be told.”
Mrs. Sivanandini Duraiswamy has ventured to describe the biographies of eighteen personifications of greatness - ancient, medieval and modern, Indian
and Sri Lankan from the Hindu fold, in her latest publication "The Footfalls
on Time".
Starting with ancient Thirumoolar and followed by Karaikkal Arnmaiyar she describes in Part I the lives of the three more famous Nayanmars (Appar, Sundarar and Sambandar) and then Maniccavasagar. Also Serkkilar who wrote inter alia their biographies in the Periya Puranam, the more recent Pattinaththar and Thayumanavar and the Sri Lankan Sages of yester-century Yogaswami and Swami Vipulananthar find a place.
* பெரிது பெரிது புவனம் பெரிது
புவனமோ அரவினுக் கொருதலைப்பாரம் அரவோ உமையவள் சிறுவிரல் மோதிரம் உமையோ இறைவர் தம் பாகத் தொடுக்கம் இறைவனோ தொண்டர்தம் உள்ளத் தொடுக்கம் தொண்டர் தம் பெருமை சொல்லவும் பெரிதே.

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Part II of her book examines the lives of the young and brilliant Adhi Shankarar followed by God intoxicated Mirabhai, musical maestro Tyagarajar, Holy Mother Sarada Devi, Swami Vivekananda, Rabindranath Tagore and Swami Chinmayananda.
The catalyst that inspired her to undertake such a task seems to be some young pilgrims from the West, thirsty for knowledge about the mysticism of the Indian ethos, whom she met in Madurai in South India years ago in the company of her late husband Mr. Yogendra Duraiswamy.
The core of mysticism is the quest for communion with the Sacred. Hinduism from time immemorial had recommended different paths in order to unfold the mysteries of life and to imbibe the Sacred. The ancient saints and sages were tremendously interested in the art of living. They probed into their relationships with innumerable expressions of life surrounding them, they watched carefully the inner drama taking place in themselves both on the biological as well as the psychological levels, in the waking state, dream state and deep sleep state.
They came up with paths broadly probing into life at an intellectual level (Gnana), physical level (Karma), emotional level (Bhakti) and spiritual level (Dhyana). These paths took their votaries away from mere mundane enjoyment of life to probe further into the recesses of their beings to face up with something which exceeded themselves.
The saints and sages mentioned in "The Footfalls on Time” could be classified as having belonged to these different paths or margas. While Adhi Shankarar is reputed to have been a Gnana Yogi (man of wisdom) his life had glimpses of a Karma Yogi as well as Bhakthi Yogi illustrating the fact that these paths can overlap. Page 163 of "The Footfalls on Time” refers to the famous Bhaja Govindam composition which exhorted a student of religion not to waste his time on the rules of grammar but to seek Govinda (the Lord) with his heart. Shankarar realised that heart was the doorway to heavenly bliss.

Many saints and sages mentioned in the Book including the Nayanmars and Mirabhai were great Bhakthas or devotees of the Divine singing their hymns with great devotion, deriving emotional fulfilment and in the process a glimpse of the Divine.
Holy Mother, after the passing away of Ramakrishna Paramahamsa considered duty and dhyana as her foremost mission in life. She followed the Karma marga but with little fanfare. Swami Vivekananda did his duties as a man of dynamism and action. Swami Chinmayananda spent his life transforming himself into a conduit pipe to propagate the ancient Vedic wisdom to the common man. He followed the path of wisdom
and dhyana.
Yet bhakthi remains the most captivating path that enthralls the modern man. In a world which is mesmerised by scientific outputs, where knowledge, reason and materialistic attitudes loom large, dipping deep into our hearts gives us a much wanted recreative recess and relaxation. The ideal marga or path recommended for the modern human being is the path of devotion or bhakti. Leafing through the lives of great bhaktas infects us with their devotion, enthusiasm and enriching experiences.
Sivanandini has therefore selected a majority of great bhaktas as those who left an indelible mark on the sands of history - The Footfalls on Time'. Biographies of this nature in English fulfils a crying need among many Hindus and others today who have difficulties with their mother tongues, though keen on knowing about great saints and sages of yore.
It is said that in South Africa, Mauritius and elsewhere, the progeny of Tamil Hindus transliterate the Thevarams in English and sing them reading from the English version due to their ignorance of the Tamil script in which Thevarams were composed and sung.
They are English speaking Hindus who do not have an opportunity nor a necessity to study Tamil but keen on professing their traditional religion. When I had occasion a few years ago to address a Saiva

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Conference in England, I was extended the good fortune to dialogue with some Tamil youngsters born in Britain and elsewhere including U.S.A and the Continent. I was much delighted at seeing their keenness to understand their religion. Their forthright questions pertaining to Hinduism, often from a scientific standpoint when answered adequately quoting scientific examples, left them satisfied that they were on the correct path. That Hinduism is not hocus pocus, mumbo jumbo, but a serious well formulated scientifically acceptable deep and profound religion which has developed through the inputs of great saints, sages and savants qualifying to be called Sanatana Dharma - the perennial truth, these youngsters have grown to understand.
Some of the more famous torch bearers of this ancient religion find . their biographies described in "The Footfalls on Time. The book is not merely a biographical sketch. It also discusses philosophical Concepts and truths. It would make good reading to those amongst us who are Anglophiles whether Tamils or non Tamils. The language is romantic, picturesque and imaginative. The style of writing brings nostalgic memories of a by gone age appropriate no doubt to the personalities whose lifes are examined. The book would no doubt be popular among discerning connoisseurs of mystical literature.
=一工
Justice C. V. Wigneswaran

PREFACE
Through the stillness of the early Margali dawn in Madurai, wafted the chimes of the Meenakshi Amman Temple bells awakening the city to everyday life. The chanting of mantrams followed by the ethereal voice singing a soulfully rendered paean of praise, made the young pilgrims from the west enthusiastically ask, "Who sings; whose compositions are these beautiful hymns; when were they sung....... where....... why....... ?” These are the questions many young men and women who are swept off their Hindu cultural moorings pose whenever they are unable to comprehend something so serene and beautiful, Sung with deep devotion by maestros like M.S. Subbalakshmi. Being enmeshed in material comforts and ideas of the west, they tend to forget their rich traditions and need to have the benign and soul elevating Truths retold and re-enacted so that they get gradually tethered to their religious traditions.
The answers to some of these questions, have blossomed out as "The Footfalls on Time, weaving the serenity and grandeur of the lives of eighteen of our saints and sages - ancient, medieval and modern, creating a touching story. The saints and sages who form the chain of minstrels can be compared to the spring season, says the Vivekachudamani-vasantavat loka hitam carantah.” The advent of the spring rejuvenates every single plant bringing with it freshness and vigour. Each plant however small and unnoticed or big and mighty does get tender leaves and flowers according to its nature when spring comes. Nature bursts forth into a song of joy and activity. And in its own rhythm of appearance, it expects neither thanks for giving its best nor does it stand to be invited! Similarly, great saints and sages radiate invigorating influences on humanity unobtrusively, unasked and without expectations.

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The message of our religion and philosophy has been brought down from very ancient times by this chain of minstrels through their devotional movements. This was the alchemy that maintained the unbroken tradition, the secret power that helped Hinduism to stand the vicissitudes of political upheavals, pressures, persecutions and re-emerge triumphantly. This power is both amazing and beautiful, describing an Epic Saga which I strive to narrate.
The minstrels appeared at different times to guide humankind in the adventure of the Soul. Each brought a new vision to bear on the problems of life, lighting the torch of faith and handing it down in all its glory to posterity. The stories are ageless and the rhythmic anthem of love, compassion, peace and selfless service will last even when history is forgotten. The concepts underlying the teachings are eternal and inviolable and have been brought down from the learned heights and told in simple language. The songs together with the teachings retain a freshness that is beautiful and a language that has the familiarity and homeliness of intimate whispers. The minstrels are the mystics who have truly democratised Hinduism. They renounced everything for the Love of God and every word they spoke was a song and every song they sang was a sacred mantram leading them nearer God and guiding us on the same path. They are indeed the pioneers marching along the vanguard of human progress with a cheer in their hearts and a joy in their eyes.
Sri Aurobindo saw these mystics as the architects of Immortality.
The mystic's way is long and thorny and the journey is made through several births; however the pilgrim who is determined and works towards that end will succeed in entering the Kingdom of God - his pilgrimage to Perfection - each Soul linking itself up with the Infinite in the finite, the Eternal in the transient.
The footprints that the mystics have left on the sands of time are today allegories exhorting us to eradicate all obstacles that impede the spiritual

path helping us to realise the goal. Their immortal works enchant us, speaking eloquently of deep devotion and when we repeatedly read, sing or contemplate on the immortal works of such mystics the inner being swells with a sense of peace and blessedness. In that enthralling moment we also may feel -
"A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused.” Wordsworth.
The writing of these biographies recaptured for me sacred memories and associations with my parents and husband. In later years the deep discussions and pilgrimages with my husband and son to a number of shrines hallowed by these minstrels, make my writing more realistic.
The lives of these great personages of the past and those nearer present times have been chosen and presented. My fervent desire is that the discerning reader, particularly the youth should find in this a unity of outlook and a spiritual view of life that could lift him/her into the Elysium of Harmony and God's Grace.
پہجاہم چند مثلا ناول، وضعهSv 9, Castle Lane Colombo 4.
Aani 2006. June 17th 2006.

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INTRODUCING MYSTICISM
At a time when the rest of the world was still living in the darkness of night and long before the influence of Greece, Rome, Egypt and Babylonia came to be felt, the Hindus had been endeavouring to understand and establish a connection with the unseen power behind nature. The urge to know this reality developed into religion, philosophy, doctrines, dogmas and rituals while the quest towards external nature led to the discoveries of modern science. The wonders of creation are beautiful, manifesting the harmony and power of a Cosmic Intelligence. The tiny delicate petals and the mighty galaxies of the Universe reflect the presence of the unseen power that lured man from time immemorial to discover the Spirit, the inherent Divinity that lives in the hearts of all.
The rich tenets of Hinduism have been relived, rekindled and reintegrated time and again by the regal Minstrels of the Incommunicable, as Sri Aurobindo refers to the Hindu saints and sages. These saints helped the Hindus to survive the repeated shocks and setbacks that they have had through the centuries by invading foreign legions. Each blazed a trail fanning the dying embers every now and then and keeping alive the ancient Hindu religious culture in all its purity.
Their story is the story of mysticism and each one is a mystic. Sri Aurobindo saw them coming down the corridors of time and said,
"I saw the Omnipotent flaming pioneers Over the heavenly verge which turns towards life Come crowding down the amber stairs of birth; Forerunners of a divine multitude. Out of the paths of the morning star they come Into the little room of mortal life.

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I saw them cross the twilight of an age The sun-eyed children of a marvellous dawn, The great creators with wide brows of calm, The massive barrier-breakers of the world And wrestlers of destiny in her lists of will The labourers in the quarries of gods, The messengers of the Incommunicable, The architects of Immortality.” Savitri 1114.
The flaming pioneers of the Omnipresent One, are the living influences operating on the lives of the Hindus, teaching that the excellence in man comes from God, that every Soul is potentially Divine and the purpose of this human birth is to realise this and become one with God. They have instilled the highest Love, the Love for the Almighty - a pure self-giving and self-surrendering Love, asking for no consolation and making no covenants. They speak of God through their personal mystic experience and express their unshakable faith in Him in the language of human love.
What is mysticism? Is it the quest for a hidden truth or wisdom or is it the quest for the treasure that is hidden in the centre of man's Soul? The lives of the saints and sages have shown that the quest is the same - it is the quest for the Ultimate Reality. Mysticism is the result of a vast experience where the devotee has pursued his own method of attaining communion with God. "Man has a feeling that he is truly represented in something which exceeds himself,” said Tagore making it clear that the mystical faculty of perceiving the Reality belongs to all and not just a chosen few
The goal of mysticism is the union with the Ultimate Reality. In this life of strife and struggle, it is interesting to read in Hindu literature whether it be the Rishis of the Vedas, Nachiketas of the Upanishads, Tiruvalluvar of the celebrated Tirukkural, Appar, Sambandhar, Sundarar, Manikkavasagar, Andal and the Alwars of the Bhakti Movement, Tirumoolar, Pattinaththar, Tayumanavar, Ramalinga Swamigal, the

MYSTICISM 3
renowned Siddhars of the Saiva Movement, Mira Bhai, Tyagaraja Swamigal, Purandaradasa and in more recent times, Ramana Maharishi, Sri Aurobindo, Sri Ramakrishna, Swami Chinmayananda or Yogaswami, how the mystics realised, that the quest after Truth is far more important than the life of mundane enjoyment and that one does not have to go far looking for It, as It is deep within oneself.
The path of mysticism is a spiritual discipline, a sadhana based on self-sacrifice, self-control and renunciation. The discipline of prayer and meditation coupled with selfless acts of service culminates in the highest wordless union with the Divine. These disciplines light up the mystic way and the devotee gradually moves on, "From the unreal to the Real, from darkness unto Light and finally from death to Immortality.”
The record of Hindu mysticism goes back to the Vedas and Upanishads. In these texts we see the yearnings of the rishis for the Reality. But to achieve this is not easy and one could do so only as Saint Manikkavasagar says through His Grace alone - "Avan arulaale avan thaal vanangi" His Feet are worshipped by His Grace alone.
The Transcendental mysticism of the Upanishads, the Yoga mysticism of Patanjali, Tirumoolar and other Siddhars, the Devotional mysticism of the Saiva and Vaishnava saints, the Bridal mysticism (nayaka-nayaki bhavam) and the Vatsalya mysticism (motherly love) are the more important aspects of mysticism.
Transcendental and Devotional mysticism have run parallel down the ages and are really not two distinct forms. In Transcendental
Saint Appar sings, "I have found Him deep within me'. தேடொண்ணாத் தேவனை என்னுள்ளே தேடிக் கண்டுகொண்டேன். 2 Upanishad — Asathoma sad gamaya
Tamasoma jyotir gamaya Mrityorma amritham gamaya.
அவன் அருளாலே அவன் தாள் வணங்கி,

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mysticism the Reality is no individual God separate from the Atman while in Devotional mysticism the devotion and surrender to a Personal God is important. In reality the Personal God is a manifestation of the Transcendental One.
Sages like Narada, Tukaram, Mirabhai, Tyagaraja Swamigal, seek God through music, where raga (melody), tala (beat) and bhava (emotion) are blended in ryhthmical harmony. This devotional pathway expresses the spirit of self-surrender and prema which help to forge an eternal bond
with God.
Sri Ramakrishna Paramahamsa, Sri Ramana Maharishi, Sri Aurobindo, Swami Chinmayananda and nearer home Chellappa Swami and his disciple Yogaswami of Jaffna have brought these mystic traditions into the present times.
The unbroken succession of mystic minstrels, from the Upanishadic era downwards to the present times, has helped to carry the message of the sacred flame of the Spirit and transmitted the delicacy of the Eternal Truths through the corridors of time and kept the lamp of religious faith burning in the minds of the Hindus. The beauty and serenity of their lives radiating love and peace, are the true testimonies of grand achievement. They have left behind a great heritage singing, 'the abstruse spiritual Truths in homely similes and parables.” They are the Awakeners of the moral and spiritual consciousness in man showing that human limitations could be progressively transmuted so that he may become an instrument of God and be able to see Him in all and all in Him.They are indeed the guardian saints who have rekindled and reaffirmed the pristine glory of the perennial Sanatana Dharma. (See Appendix II)

5
THE WORD HINDU IS FOREIGN - a name given by the
ancient Iranians to those people on the other side of the River Indu (Indus). Hinduism is the only major religion not founded upon the revelation of one man but upon those of a great number of masters over the millennia working together verifying, clarifying and more importantly, experiencing the Supreme goal set forth in the scriptures.
It neither has a single Scripture as the Bible or Koran. The Hindu texts record the collected experiences of several saints and sages compiled as the Vedas, Upanishads, Brahmanas, Puranas, Ethihasas, Agamas, Tirumurais and Prabhandams.
Hinduism is a way of life that guides one to moksha or enlightenment.
There are two main streams of thought-Vedanta and Saiva Siddhanta - in short Vedanta speaks of God (Paramatman) and the Self more often referred to as the Soul (Atman) as being One, while Saiva Siddhanta asserts that the individual Self (Soul or Atman) merges with God (Paramatman) but remains separate.
The more important sects of Hinduism include Saivism, Vaishnavism and Saktism. All these sects are based on fundamental principles which
are the same namely -
a) existence of One Supreme God though the names may vary - Siva,
Vishnu, Devi, Ganapathy, Skanda, Surya.
b) existence of a Self (Soul) distinct from the body, which is
similar in nature to the Supreme One.
c) belief in Maya- illusion, ignorance, relatively of empirical existence. d) belief in Karma and the cycle of birth and death.
e) belief in Dharma (moral) which underlines all actions.
f) belief in Moksha - the pilgrimage to Perfection where the Self (Soul)merges with the Supreme; the Soul realises I am that.'

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6 THE FootRALLs on TIME
TEVARAM - THE DEVOTIONAL HYMNS OF THE NAYANARS
The devotional hymns of the great Saiva saints Appar, Sambandhar and Sundarar of the medieval age, are the Tevarams sung in a combined stream of song and music. These are acknowledged as one of the more sacrosanct and sacred scriptures of the Saivites. When the great Chola Emperor Rajarajan realized that most of the Tevara pathikams were lost, he approached Nambiandar Nambi, a young boy who had the blessings of Pollaappillaiyar of Tirunaaraiyoor to help find these manuscripts. Pillaiyar revealed that the manuscripts were locked up in a room in the Temple at Chidambaram. On reaching Chidambaram, they found that the room was locked and that it could be opened only in the presence of the authors of the hymns. The King organised a festival where the bronze figures of the poet Saints were brought and requested that the door be opened. It was opened and a heap of palm leaf manuscripts were found in a mound attacked by white ants. To the King's delight a Voice was heard saying that whatever was required was available in the heap of motheaten manuscripts.
The palm leaf manuscripts were thus retrieved. Nambiandar Nambi compiled them as the Tirumurais, the Saiva Anthology of hymns. The first seven, collectively called the Teveram are the hymns of Sambandhar (Tirumurais one, two and three), Appar (Tirumurais four, five and six) and Sundarar (Tirumurais seven).The eighth is the Tiruvasagam and the Tirukkovai being the hymns of Manikkavasagar; the ninth is Tiruvisaipaa a miscellaneous collection, the tenth is Tirumantram the mystic recordings of Tirumoolar, the eleventh, another miscellaneous collection which includes the hymns of Pattinaththar and other siddhars and the twelfth is Serkkilar's Periya Puranam which weaves into a splendid epic narrative the lives of sixty three Saiva saints.

IEVARAM 7
The first Tevara hymn in the compilation of the hymns of Appar, Sambandhar and Sundarar is "Thodudaiya Seviyan..." of Sambandhar. All the Tevarams are treasures of wisdom and knowledge and are the culminating experiences in the expression of the poet-saint's devotion, love and thankfulness to God. They are either the melodious outbursts in moments of supreme rapture or they are a quiet prayer of love.
The wealth and depth of the contents hold one spellbound; the poetry and description of nature are fascinating. Profundity of thought and felicity of expression and richness of imagery in all the hymns are remarkably alike. The philosophical content of the hymns is unique being an expression of Tamil spiritual culture. Sambandhar explained the philosophical aspect through knowledge which was showered on him as Sivajnanam by the Lord and His consort when he was barely three years old. Appar, Sundarar and Manikkavasagar explained Saivism essentially through the experiences that they had garnered in life. These four saints sang in beautiful chaste Tamil weaving garlands of philosophical thoughts into soul stirring hymns which are still fresh and graceful. They lived between the sixth and eighth centuries and are celebrated as the Nayanars.
The Tevarams are literary expressions of bhakti or devotion characterised by a mystical fervour of intense love, "anbu” of a personal God. The dominant emotion is one of joy expressing itself in song. The hymns have an ethical content explaining the virtues of love, humility
and brotherhood.
The hymns are documents recording Hindu and Tamil culture while speaking eloquently of the Presiding deity, His consort and the temples set in beautiful landscapes. In studying these hymns one studies and begins to understand Hinduism and the values of the people of the land. They teach us our great Tamil civilization, the melodic panns and the pathikam (chapter) format. Panns are equivalent to the present day raga and the ancient Pannisai (music) and Carnatic music became synonymous around the thirteenth century. These are the genre of Pannisai that the poet-saints have been drawn to since the time of Karaikkal Ammaiyar. Each pathikam generally consists often hymns with the exception of a few which have eleven or twelve hymns. The last hymn referred to as

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Tirukadaikkaapu may have the author's name and the benefit of singing all the hymns. The Tevaram corpus consists of 796 pathikams - 383 of Sambandhar's, 313 of Appar's and 100 of Sundarar's.
The poet saints dedicated their hymns to temples of Siva in 274 sacred shrines in South India and 2 in Sri Lanka - Tiruketheesvaram and Tirukonesvaram. It was during this period that the kings, mainly the Cholas built great structural Siva temples in stone. These became the "paadal petra Sthalams,” the temples that have been eulogized. The picturesque environs together with the trees and flowers that adorned the buildings must have truly created an ambience of serenity which the poet saints sensed and were able to relay for posterity.
Since the retrieval of the hymns, the Tevarams have been a great living force in the life of the Tamils in their personal, communal and ritual worship of Siva and a turning point in the history of Saivism. The presiding deity Siva celebrated by the Nayanars is an integral part of the Saiva temple iconography. These poets describe the Dance of Siva for example, elaborately, as this dance is the core of Saiva mysticism closely resembling the devotional spirit of the Tevarams. Appar's hymn on Siva's Dance beginning with the words, "Kuniththa puruvamum kOvvai sevvaaiyil kumul sirippum..." is an iconographic description and Sambandhar's first hymn beginning with the words, "Thodudaiya seviyan ..."? - He who wears a woman's earring on one ear...is an iconographic description of Siva as Ardhnarishvara. These descriptions reflect the devotional spirit and imagery of the hymns and the “Nayanars themselves became a part of the iconography and ritual complex of the temple.”
It was during this period that a large number of Cholabronzes and stone sculptures were exquisitely carved and closely resemble the devotional spirit of the Tevarams. The symbolism of the various sculptures as told in the hymns are a mine of philosophic wisdom. The aesthetics of devotion overn the poetic iconography rather than the Agamas which give details
representation as presented in the Chola bronzes of Nataraja.
குனித்த புருவமும் கொவ்வை செவ்வாயிற் குமிழ் சிரிப்பும். 2 தோடுடைய செவியன் விடையேறியோர்.
Indira Viswanathan Peterson in Poems to Siva. pp 29 - 31

PART
Each saintly personage is the full blovn
lotus flower the Guru,
guiding the bud the shisya,
to blossom out.

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SANTIT TIRUMO OLAR
Courtesy - Ramanashastri's Tirumantram 1912
உள்ளம் பெருங்கோயில் ஊனுடம் பாலயம் வள்ளற் பிரானார்க்கு வாய்கோ புரவாசல்
தெள்ளித் தெளிவார்க்குச் சீவன் சிவலிங்கம் கள்ளப் புலணைந்துங் காளா மணிவிளக்கே.
 

1
SAINT TRUMOOLAR AND HIS ANTHOLOGY OF BEAUTY AND AUSPICIOUSNESS - THE TRUMANTRAM
* “Nambiran Tirumoolan adiyaarkkum adiyen,”
Servitor am I to the servitors of Tirumoolar, the servitor of our Lord, sang Saint Sundarar in his celebrated TiruthondarTogai, a concise edition and the precursor of the Magnum Opus - the Periya Puranam.’ Saint Sundarar was no ordinary person; his humility is portrayed through the words "Servitor am I to the servitors of Tirumoolar.”
Tirumoolar was a mystic and a reformer whose spiritual path broadened into the Siddhanta School of Saivism. The legendary story that is woven round him speaks of him as an embodiment of sharing and caring and he bases the essence of his religion in a few phrases. In preaching - "Anbe Sivam,” God is love, the author equates Love with Godhead and that the Ultimate Reality is One and all of us belong to the
same family “Onre kulam oruvane Devan.”
These phrases teach us that Tirumoolar preached what he lived and these have the same special relevance today as it was then, several millennia
நம்பிரான் திருமூலன் அடியார்க்கும் அடியேன். Tirumoolar and his composition the Tirumantram, belong to the tenth Tirumurai, the Saiva Anthology of the sacred hymns called Tevaram.
The Periya Puraanam portrays the life and teachings of sixty three saints.
s63r(3u do Lib. verse 270 ஒன்றே குலம் ஒருவனே தேவன். verse 2105

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Courtesy - Tirumantram - A Tamil Scriptural Classic by Tirumoolar
The Yogi comes to Saathanoor and sees the cows lowing round the dead cowherd. (page 14)
 

SAINT TIRUMooLAR 13
ago. He adds," let the world be blessed with the bliss I have gained'Yaan petra inbam peruka ivvaiyakam," and finally speaks of the body as the temple of the Lord and that it should be taken care of
Through these statements Tirumoolar expresses a spirit and an example to posterity making Tirumantram a combination of precept and practice, thought and action teaching that the goal is for all and not for a chosen few only. He felt that it was his duty to care for his fellow beings and encourage them to do good. Love of the Lord to him implied love for one and all which he expresses as an act of sharing something with others. He says,
' ”Yaavarku maamiraivatkuorupachchilai ......
Yaavarku maampirrarkinnurai thaane.”
To offer a leaf to the Lord in worship, or to Feed a cow or share with the needy A Morsel of food, before partaking of a meal, are easy; Easier still is to shower kind words on others!'
In another instance he uses a metaphor similar to 'seeing the wood for the trees, to share a transcendental insight with the readers saying -
(K KK
Maraththai marraiththadu maa madha yaanai ..."
Observe the wood and the wood carving
of the elephant will fade away. Observe the carving and the wood will gradually fade away. Similarly,
* யான் பெற்ற இன்பம் பெறுக இவ்வையகம். Verse 85
உடம்புளே உத்தமன் கோயில் கொண்டான் என்று உடம்பினை யான் இன்று ஓம்புகின்றேனே. எநசளந 725 * யாவர்க்கு மாம் இறை வற்கொரு பச்சிலை.
யாவர்க்கு மாம் பிறர்க் கின்னுரை தானே. வுயவெசய 1 எநசளந 252 மரத்தை மறைத்தது மாமத யானை மரத்தில் மறைந்தது மாமதயானை, வுயவெசய 8 எநசளந 2290
6

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Observe the elements five and the
Transcendental One fades away.
Contemplate on the Transcendental One and the
elements fade away.
The Prologue or the Paayiram of the Tirumantram itself tells Tirumoolar's story. He speaks of having conducted tapas under a Bodhi tree in Tiruvaavaduturai singing the praises of God and continues,
In perfection was I created by the Lord; to sing His praises in Tamil."
He concludes saying, " 'Singing the Name of the Lord, I sat in meditation, Siva naamangal othiye sernthirunthen."
Besides these few facts we have only glimpses of his life from the hints he gives in his poems. He was a Yogi who had come down from the Himalayas to the South to visit his friend Sage Agastiyar residing in the Pothiya Hills. One evening, as he reached the outskirts of the village of Saathanoor, he found a herd of cows lowing miserably round the dead body of their cowherd Moolan. Seeing the miserable animals he took compassion on them and wanting to help them abandoned his physical body to enter the body of the dead cowherd through his Yogic powers. The animals were happy to see that their cowherd had come back to lead them to the village. On returning to the spot where he had left his body he found that it had disappeared. He acquired the name of Moolan because he entered the body of the cowherd Moolan. The story
now continues as -
"In the deeps of the forest, Moolan sat in meditation
7.ஆவடு தண்டுறை
- - - - யானுமிருந்தேன் சிவபோதியின் நிழலிற் சேர்ந்திருந்தேன். verse 82 என்னை நன்றாக இறைவன் படைத்தனன் தன்னை நன்றாக தமிழ் செய்யுமாறே. Prologue v 81 சிவ நாமங்கள் ஓதியே சேர்ந்திருந்தேன். verse 82

SAINT TIRUMooLAR 15
And saw the Sunrise of Self. Soon disciples flocked to him, And now and then he spoke a verse And these became three thousand." Dr. Srinivasa Iyengar
And Moolan confirms this in the words, "Moolan urai seidha moovaiyiram tamil” and links three thousand years to these three thousand mantrams explaining how this could be achieved,
If one concentrates on the nasal point
No sorrows befall him and the body perishes not.
O
Thus he lived for over three thousand years meditating on the presence of the grandeur of the Almighty sharing with and caring for others and composed the sacred composition the Tirumantram - an anthology of beauty and auspiciousness.'
Beginning with the traditional invocation to Ganesha,' the poet sets out in exquisite verse the fundamental concepts of Saiva Siddhanta in nine tantras describing God as Brahman the Lord of the Universe, His powers, His acts of Grace, His immanence and transcendence.
The First Tantra begins with the Upadesam in the form of divine instructions, an overview of the entire composition consisting of thirty
* மூலன் உரை செய்த மூவாயிரந் தமிழ்,
" நாட்டம் இரண்டும் நடு மூக்கில் வைத்திடில்
வாட்டமும் இல்லை மனைக்கும் அழிவில்லை. 3'Tantraverse 604
'நிறை மொழி மாந்தர் ஆணையிற் கிளர்ந்த
மறை மொழி தானே மந்திரமென்ப. Mantram according the ancient grammarian, Tolkaapiyar means the sacred words of an evolved human being.
* In the Periya Puranam, the author, Saint Serkilar speaks of the Mantram beginning with the words, 61.3616, g5T(360T Sexit 66 S61601(561 and not with an invocation to Ganesha. Perhaps this was a later interpolation to keep in line with the traditional prayer to Ganesha, the Remover of obstacles. Some are of the view that each Tantra is an exposition of an Agama. The tantras are loaded with verses, seemingly repetitive. Aspects that are important have been chosen by Author.

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16 M THE FootPALLs on TIME
verses. And then goes on to sing the fundamental Truth of Saiva Siddhanta - pati pasu paasam enappakar moonril.’’ Pati, Pasu, Paasam - Lord, Soul, Bondage - the three are eternal. Pasu literally means cow the individual Soul, Pati means Cowherd the Lord and Paasam is the lead string that binds.
In this Tantra, Tirumoolar speaks of the ethical code to which every human being should Conform to, followed by thoughts on non-violence, non meat eating, importance of charity, love and devotion, learning the middle path. The body, wealth, youth and life are spoken of in several verses as being merely transitory.
The Second Tantra speaks of theology basing it on Puranic stories, the different categories of the Soul, the cosmology of Hinduism, how the universe was created, sustained and will be destroyed. For example in the Linga Puranam, Tirumoolar relates the story of Brahma and Vishnu seeking in arrogance God's crown and Feet respectively and how they were subdued in the words,
Aranadi thedi aratrukindraare,'
Then as a column of fire, God stood before them To behold His Feet; they searched in vain.
Through His abiding Grace I saw Him Before me as the pillar of fire.'
* பதிபசு பாசம் எனப்பகள் மூன்றிற்
பதியினைப் போற்பசு பாசம் அனாதி பதியினைச் சென்றணு காப்பசு பாசம் பதியணு கிற்பக பாசம் நில்லாவே, Tantral verse 115
4 பிரமனும் மாலும் பிரானே நான் என்னப்
பிரமன் மால் தங்கள்தம் பேதமை யாலே பரமன் அனலாய்ப் பரந்துமுன் நிற்க அரனடி தேடி அரற்றுகின்றாரே. verse 372
* யானே அறிந்தேன் அவன் ஆண்னம யாலே. verse 373

SAINT TIRUMooLAR 17
The Third Tantra speaks of Yoga as conceived and practiced by Tirumoolar. It deals with the mystical science of Ashtanaga Yoga - a designed code of discipline which helps the body and mind to experience together the perception of God.'
The Fourth Tantra is essentially esoteric, based on mantrams and yantrams. Tirumoolar links the mantram Om and Sivaya nama to the . Dance of Siva and speaks of the concept of the Dance as the Tandava dance saying, "Thandavamaana thani eluththu oar eluththu.”7 that which became Tandava Dance is One letter Om and those who realise “ “Si Va Ya will behold Him in joyous Dance" - aananda koothaai akappadumthane.”o
The Tantra Five teaches us the essentials of Saiva Siddhanta. This includes the four forms of Saivism, the four margas or disciplines which are the stages in spiritual evolution and the four relationships the Soul
has with God.
Tirumoolar speaks of the four margas in this Tantra as,
l6 Ashtanga Yoga - lyama is the ethical preparation for the onward march in the Yoga path; it consists of dos and donts. These are the eight commandments where each step is a preparation for the next and finally lead to the attainment of samadhi
Nyama consists of the initial practice of 10 virtues. Asana is the practice of bodily postures — there are many but
only 7 are important. Pranayama is breath control and in turn this activates the body. Pratyahara is the next step which withdraws the mind and looks
inward Dharana controls the mind from the senses. Dhyana comes through the perfection of dharana - the control of the senses. Samadhi is the final stage in Ashtanga Yoga. " தாண்டவ மான தனியெழுத் தோரெழுத்.
தாண்டவக் கூத்துத் தமனியந் தானே. verse 888 * ஆனந்த மூன்றும் அறிவிரண் டொன்றாகும் ஆனந்தஞ் சிவாய அறியார் பலரில்லை ஆனந்த மோடும் அறியவல்லார்கட்கு ஆனந்தக் கூத்தாய் அகப்படுந் தானே. Verse.892

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Kriya is worship of Siva in Form, Yoga of the Formless One,
Jnana is the advaned path in ripeness of time, The adoration of the loving heart is Chariya Exalted indeed it is.'
And says that the Kriya and Chariya margas are important for ordinary devotees like us in our daily prayers.
He then goes on to show the relationship the Soul has with God saying,
* "Maalai vilakkum mathiyamum.”°
0 L L LSL S SL SC SL SL LL 0L LLLL LL LL SLSL S He is the Master who illumined
Within me, the Light of knowledge
And then entered my body to abide in me for ever.'
The Sixth Tantra relates to the Guru where the Guru is God Himself - "Guruve Sivamenakkoorinene nandi." It speaks in beautiful imagery of the Knower and the Known as one,
``.............................................. Thaanendra poovai avanadi saathinaal
Naanendravenkai nallathondranre” '
* கிரியை யோகங்கள் கிளர்ஞான பூசை
அரிய சிவனுரு அமரும் அரூபத் தெரியும் பருவத்துத் தேர்ந்திடும் பூசை உரியன நேயத் துயர்பூசை யாமே. verse 1448 The four stages of attainment namely, Chariya, Kriya, Yoga and Jnana are said to be according to the Agamic doctrine the four paths and from the paths come the Saha marga the path ofYoga, the Satputra marga the path of Kriya, San marga the path of knowledge and Dasa marga the path of chariya (devotion). * மாலை விளக்கும் மதியமும் ஞாயிறுஞ்
சாலை விளக்குந் தனிச்சுடர் அண்ணலுள் ஞானம் விளக்கிய நாதன்என் உள்புகுந்து ஊனை விளக்கி யுடனிருந்தானே. * தானென்ற பூவை அவனடி சாத்தினால் −
நானென்றவன் கை நல்லதொன்றன்றே. verse 1581

SAINT TIRUMooLAR 19
Offer the flower "I" at His feet and then "I" becomes Him.
He also speaks of renunciation, tapas and the glories of tapas, thavam, and jnana through God's Grace. The Lord's Grace is indispensable even in renunciation and this is spoken of as in the verse -
"Ilai thottup poopariththu enthaikkendrenni,” ' -
Tender leaves and flowers of varying hues I wove into A Garland for my Lord. Still I received not His gushing Grace; Not even when I scanned and studied the scriptures; His darshan had I, when in tapas I stood and soared high.
This clearly shows us that adorning the Lord with the offering of flowers, studying the scriptures are really not enough in the journey to God. Renunciation or tapas is the supreme means which gives one the vision of the Lord.
The importance of the sacrament Vibhuti is stressed in this Tantra. The author distinctly says that those who wear the sacred ash of Siva will be freed from karma and will finally reach His beauteous Feet - "Thangaa vinai....singaaramaana tiruvadi servaare.' Such is its power.
The Seventh Tantra deals essentially with the virtues of devotees, the characteristics of the Soul and the manner of worshipping.
Another symbolic object, the Lingam is also discussed in this Tantra, where Tirumoolar likens the Human form to the Siva Lingam saying, "'the Human Form is verily a Siva Lingam. It is Chidambaram, Sadasivam and the holy Dance as well, - maanudaraakai Vadivu sivalingam
chidambaram, sadasivam tirukkoothe." '
* இலைதொட்டுப் பூப்பறித் தெந்தைக்கென் றெண்ணி மலர்தொட்டுக் கொண்டென் வரும்புனல் காணேன் தலைதொட்ட நுால்கண்டு தாழ்ந்ததென் உள்ளத் தலைதொட்டுக்கண்டேள் தவங்கண்ட வாறே. verse 1640 * தங்கா வினைகளுஞ் சாருஞ் சிவகதி .
சிங்கார மான திருவடி சேர்வாரே. மானுடராக்கை வடிவு சிவலிங்கம் சிதம்பரம், சதாசிவம் திருகூத்தே. verse726
24

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This is the microcosmic and macrocosmic form of Siva as the Lingam. And again he speaks of the Soul as the Siva Lingam and the body being the temple as,
‘ “Ullam perun koyil oonudambu aalayam.”
To the bounteous Lord, my heart is the sanctum holy; My body is the temple vast and my mouth the tower
CaCe. My soul is the Sivalingam to the discerning one. My deceptive senses, the illuminating lamp.
One also studies the details on Mahesvara puja, Guru puja and Samadhi Kriya in this Tantra. We learn that the physical bodies of great jnanis should not be cremated but should be placed in samadhi and on that spot a temple should be created and regular pujas done.
The Eighth Tantra deals with metaphysical concepts, beginning with the five sheaths of the body, namely, the Annamaya kosa, the Praanamaya kosa, the Monomaya kosa, the Vijnaanamaya kosa and the Anandamaya kosa. These bodies merge in the Lord's Feet - "Ayanadikkul adangum
udambe.”*o
In the tantra, he speaks of "Thaanana vedantam; thaan ennum siddhantam.” - "I am the Supreme One, says Vedanta and "I shall become the Supreme One, says Siddhanta. The concept of Tvam-TatAsi he says is the goal of Vedanata-Siddhanta (Verse 2402).
*உள்ளம் பெருங்கோயில் ஊனுடம் பாலயம்
வள்ளற் பிரானார்க்கு வாய்கோ புரவாசல் தெள்ளித் தெளிவார்க்குச் சீவன் சிவலிங்கம் கள்ளப் புலனைந்துங் காளா மணிவிளக்கே. verse 1823 26 ஐயன் அடிக்குள் அடங்கும் உடம்பே.
These are the actual physical-body, the vital breath-body, the mind-body, the Vijnaanamaya kosa and the bliss-body respectively. * தானான வேதாந்தந் தானென்னும்ஞ சித்தாநாதமி. verse 2372

SAINT TIRUMooLAR 21
Having spoken of Pati, Pasu, Paasam as being eternal, he adds that the Pati-Pasu-Paasam concept is symbolised in the Temple, “Pati is the blessed Sivalingam while the Pasu is the mighty bull that stands in front of the Sanctum and the Paasa is the altar.” ***
The Ninth Tantra presents a picture of the final end, a beautiful finale to the entire celebrated work. In this is included the Divine Vision in several forms, namely in the Guru, in divine Light, in the Panchaksharam and in the Dancing pose. One sees the importance of the Namasivaya mantram in the verse beginning "Namavennum naamaththai odukki.' . - one should hold the letters Na Ma in the tongue while taking the letters ‘Si Va’ into the thought. This would lead to a life without entanglements
and help one to reach the goal of life.
Next comes the vision of the Dance. The Dances are several namely, Sivananda (Siva Bliss), Sundara (Beauty), Tillai and Adbhudha (Wonder) all performed on the stage referred to as Akasha which is both in the microcosm and macrocosm, in man's heart and in the cosmos. This is clearly indicated in the Holy Dance itself.
"Everywhere is the Sacred Form; everywhere is Siva-Sakti;
Everywhere is Chidambaram; everywhere is the Holy Dance; As Siva is everywhere, so is His Grace, And His Divine Dance.' '
* ஆய பதிதான் அருட்சிவ லிங்கமாம் Udi-6(B); j6SSLLD UT FLD. verse 241 1
”நமவென்னு நாமத்தை நாவில் ஒடுக்கிச்
சிவவென்னு நாமத்தைச் சிந்தையு ளேற்றப் பவமது தீரும் பரிசும தற்றால் அவமதி தீரும் அறும்பிறப் பன்றோ. verse 2717
* எங்குந் திருமேனி எங்குஞ் சிவசக்தி
எங்குஞ் சிதம்பரம் எங்குந் திருநட்டம் எங்குஞ் சிவமா யிருத்தலால் எங்கெங்குந் தங்குஞ் சிவனருட் டன்வினை யாட்டதே. Verse 2722

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In delineating the dance, "Aadiya kaalum athitsilambosaiyum...' he says, 'seek the Dancer whose foot work varies with the sound of anklets and songs and the forms. He assumes - seek this dance within you and your cycle of births will end.
Through the nine Tantras we learn the 'dos and 'do nots in life, we learn the tenets of Saivism and move towards our goal with greater confidence and faith. The spiritual trails that Tirumoolar blazed are pathways we should follow. We could chose the one most appropriate to us and move with the confidence that we too could reach the goal remembering that we are the individual Pasus and though our Soul is eternal and all pervading, yet in our embodied form we are bound up in bondage. Pati the Lord guides, teaching and helping us to get rid of bondage - Paasa, and attain salvation.
The finale of this celebrated composition ends with a grand song of praise to Lord Siva - this was one of the more eloquent ways that the poet Saint Tirumoolar found to praise God and offer thanks for the bountiful blessings -
All that I have composed three thousand verses chanted, three hundred mantrams and thirty instructions are all of one import Lord Siva, the Primal One.'
'ஆடிய காலும் அதிற்சிலம் போசையும் பாடிய பாட்டும் பலவான நாட்டமும் கூடிய கோலங் குருபரன் கொண்டாடத் தேடியுள் ளேகண்டு தீர்ந்தற்ற வாறே. verse 2760
* மூலன் உரை செய்த மூன்றும் ஒன்றாமே. verse 3046

23
THE WONDER THAT WAS KARAIKKALAMMATYAR
"Iravaadha inbaanbu veendi pin vendukindraar
Piravaamai veendum – meendum pirappundale unnai endrum maravaamai vendum....”
is the immortal prayer of Karaikkal Ammaiyar when the Lord asked her what she would wish for. Serkkilar in his Magnum Opus relates this incident saying that having asked for deathless love and joy she asks her Lord, May I not be born again; but if I were to be born, I must never forget you'. And still again, "Arava ni aadum podhu, unadiyin keel irrukka,”-when You dance, I will like to sit at your Feet and sing Your praises.’ In asking to sit at His Feet while He dances, she immortalised her prayer.
This was her moving appeal showing her pure and genuine love towards God and she finally reached her goal through this undying love for Him. This was the most memorable moment in her life for it was here in Kailash that she achieved the unique distinction of being called
"Ammaiye” O mother mine by the Lord Himself.
Sundarar in his composition Tiruthondar Togai speaks of Karaikkal Ammaiyar as "Peiyaarkkum Adiyen - I am the servitor of the one who
இறவாத இன்ப அன்பு வேண்டிப் பின் வேண்டுகின்றார் பிறவாமை வேண்டும் மீண்டும் பிறப்புண்டேல் உன்னை என்றும் மறவாமை வேண்டும் .
* அரவா நீ ஆடும் போதுன் னடியின்கீழ் இருக்க,
பேயார்க்கும் அடியேன்.

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24
ThE FootFALLs on TIME
KARAIKKAL AMMAIYAR
Courtesy - Author's
The Creative Touches of the Chisel
இறவாத இன்ப அன்பு வேண்டிய பின் வேண்டுகின்றார் பிறவாமை வேண்டும் மீண்டும் பிறப்புண்டேல் உன்னை என்றும் மறவாமை வேண்டும் இன்னும் வேண்டும் நான் மகிழ்ந்து பாடி அரவா நீ ஆடும் போது உன்னடியின் கீழ் இருக்க என்றார்.
 

KARAIKKAL AMMAIYAR 25
has taken the form of a wraith. Serkkilar speaks of her as "Geetha mun paadum ammai,” the Mother who sang the first pathikam, sat beside her I ord while He danced.
Karaikkal Ammaiyar's life shows that prayer was all important to her. It was not an asking. It was alonging of the Soul and this was possible only with her living faith in the presence of God within. Serkkilar speaks of this saintly woman's birth in a very special way - "She was first conceived in the mind of a rich yet deeply religious merchant as a maiden and then was born as beautiful Punithavathy in Karaikkal,” around the fifth century AD. In due course of time she married a merchant and though endowed with riches, she lived a simple happy life performing her wifely duties and at the same time she was spiritually inclined and worshipped God Siva ceaselessly, serving her fellow beings as she would the Lord.
One day her husband had sent two mangoes to be served with his dinner. It so happened that a mendicant had called on this household early that day and since food was not ready, Punithavathy served one of the fruits sent by her husband. Later in the evening after serving dinner to her husband, she served the remaining fruit. Saying that the fruit was delicious he asked for the second fruit.
Serkkilar tells us the story -
'She stood lost in thought Knowing not what to do. She mentally worshipped the Lord's Feet and At that moment, In her hands reposed another fruit!'
Punithavathy, served this fruit and finding that this was sweeter than the first, her husband wondered whether this was the fruit that he had sent. He now wanted to know from where she obtained this fruit. Prayerfully she narrated the events of the day. He was overwhelmed by
" அருள் நடம் ஆடும்போது கீத முன் பாடும் அம்மை.

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this story and said that if she had received the fruit through God's Grace, could she give him another through His Grace also?
Prayer was the very core of Punithavathy's life. It was the silken thread that linked her to the Feet of the Almighty and this indefinable mysterious power pervaded all her duties at home, and at her husband's request, she once again prayed fervently saying, “O Lord grant me another fruit or my earlier words will be false.” The impossible was achieved. She received yet another fruit which she placed in her husband's hands. The
fruit after a while disappeared
The husband was amazed to see the fruit disappearing from his hand. He was confused; he felt that his wife was no ordinary human being but a strange goddess. He then became frightened by the events that after a while he left her and Karaikkal itself to settle down in Pandi naadu. He married another woman and named his daughter after his first wife.
When Punithavathy heard that her husband had left her for another woman, she lost interest in life and her physical appearance which she painstakingly kept for her husband. She fervently requests the Lord and Serkkilar renders this request eloquently in the words, "Nin thaalgal portrum peivadivu adiyenukku paangura vendum." O Lord may I shed this beautiful form which I preserved for my husband and in turn get the form of a wraith with which I may pay obeisance to Your Feet.
Again her prayer to the Lord was heeded. The Lord blessed her with the form of a wraith. This was the sacred relationship between God and herself a relationship that had developed through her life and these
incidents merely convey her commitment to prayer.
From her request one could glean that she must have been a beautiful woman. Yet since she did not want any other man to see her beauty, she earnestly requested for this form. The glorious form was given and she called her self pey-ghost.
* நின் தாள்கள் போற்றும் பேய்வடிவு அடியேனுக்கு பாங்குற வேண்டும.
verse 1765 - 44

KARAIKKAL AMMAIYAR 27
Punithavathy as she sheds her body of flesh sings of her apparitional
appearance as,
'a female wraith of shrivelled breasts, swollen veins, protruding eyes and teeth, sunken stomach and fiery red hair.’
Wishing to have the Lord's darshan, she walked up to Kailash on her head and hands not wanting to tread and thereby desecrate the pathway with her feet. To her the pathway was so sacred and pure that she preferred walking on her head and hands!
Tradition has it that on seeing her in Kailash, Umai ammai was amazed to see an apparition walking on her hands and head and at the love it exuded. She wondered as to who it was! Lord Siva hailed the apparition as "Ammaiye.” To this Punithavathy replied "O Father.” Since then she was known as Karaikkal Ammaiyar - the Mother of Karaikkal: On hearing that she had come to see the Lord and see Him dancing, the Lord asked her to go to the ancient shrine of Aalankaadu where she will be able to see Him dancing.
Karaikkal Ammaiyar's life now becomes a saga of love and devotion singing the praises of the Lord. To her, the Lord resides within her and through her songs we realize that it is important to place the Lord within and cultivate His presence. In one instance she says,
* “Vaanaththaal enbaarum enka ........................
en nejaththaanenben yaan.”
Let those who say God is in the heavens, say so;
Others say that He is the King of the Devas.
Saint Appar attempted to go to Kailash creeping on his chest since he too did not want to desecrate the pathway. Unlike Punithavathy, Appar did not complete the journey. 'வானத்தா னென்பாரும் என்க.
LLLLLLLL0LLCLL00LCLLLLLLLLLLLLLLLLLLLL ஞானத்தான் முன்னஞ்சத் தாலிருண்ட மெய் யொளி சேர் கண்டத்தான் என்னெஞ்சத் தானென்பேன் யான்.

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Saying that He is all knowing, I have placed Him, The One with the blue throat in my heart.
In another instance, she explains how she fostered and developed the presence of the Lord in her heart
‘ “Ondre ninaiththirunthen ............... Ondre en ullaththin ulladaiththen.”
I thought of the One in various forms;
and accepted that One; Having accepted It, I discarded all others
and fostered this wholly. This is the Lord who wears the Ganga and the
crescent moon on His head He carries the effulgent fire in His hand.”
She tells us clearly that it is important to place the Lord within one's mind and cultivate His presence deep within.
Karaikkal Ammaiyar was elder to both Sambandhar and Appar, Serkkilar, while narrating Sambandhar's story indicates her seniority telling us that knowing Karaikkaal Ammaiyar had walked on her head and hands to worship at Tiruvaalankaadu, Sambandhar not wishing to walk along the path trodden so sacredly by her, decided to stay in the outskirts and worship the Lord. Appar was senior to Sambandhar.
Serkkilar refers to her as the 'mother who sang the first pathikam since she was the one who founded the Tevara Pannisai - the sacred music of the Tevarams sung in pathikams.
* Sivathondan Malar 44/8
ஒன்றே நினைத்திருந்தேன்
ஒன்றே துணிந்தொழிந்தேன் ஒன்றே யென் உள்ளத்தின் உள்ளடைந்தேன்.

KARAIKKAL AMMAIYAR 29
Karaikkal Ammaiyar was the earliest of the bhakti poets who sang the praises of the Lord with an intense personal devotion to Him. She is the author of "Attpudha thiruvandhaadhi" "Tiru irattaimanimaalai” and *Tiruaalankaadu mooththa tirupathikam”.”
The saints Sambandhar, Appar and Sundarar were inspired by her system of music "Pannisai' and composed their respective hymns in accordance with pann music. Tradition tells us that this system belonged to the ancient Tamils of the 1" to 3 centuries AD.
Her two pathikams on the Lord at Tiruvaalankaadu sung in melodious panns are known as "Mooththa tirupathikam.The first of these pathikams beginning with the words "Kengai thirangi..." is in pann Nattapaadai and the other beginning with the word, "ettilavam..." in pann Indalam. These two panns - pann Indalam rendered in Maayaamaalavagaulai raga and pann Nattapaadai rendered in Kambira naatai raga Create a soothing effect on the listener.
It is strange that Sambandhar at the tender age of three sang through divine inspirtation the first tevaram "Thoducdaiya seviyan..." in pann Nattapaadai and in the pathikam style - the very same pann and style that Karaikkal Ammaiyar had introduced. Stranger still, two centuries later, Sundarar when commissioned by the Lord at Tiruvennai Nallur to sing, beginning with the word “Piththaa” sang his first Tevaram in pann Indalam and in the pathikam style introduced by her.
As time passed on, the ancient names of the panns changed and gradually Pannisai became synonymous with Carnatic music. Carnatic music was greatly enriched by Tamil, Telugu, Malayalam, Sanskrit and
* அற்புத திருவந்தாதி
திரு இறட்டை மணிமாலை
திரு ஆலங்காட்டு மூத்த திருப்பதிகம். 'Panns are equivalent to the present day Raga. The ancient Pannisai is music around
the 3rd century. Pannisai and Carnatic music have become synonymous. ' கொங்கை திரங்கி .
எட்டிலவம்.

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30 THE FootFALLs on TIME
Kannada. Many doyens of Carnatic music too began composing their first compositions in pann Indalam, namely Maayaamaalavagaulai which is even today the first raga that a student learns in music. Both Maayaamaalavagaulai and Kambira naatai are key ragas in Carnatic music. More importantly, these panns introduced by Karaikkal Ammaiyar merely show her creativity and style making her contribution towards this ancient system of music tremendous.
Her form has been portrayed in a sitting position holding a pair of cymbals in keeping with her request to sit at the feet of the Lord singing His praises while He dances! This confirms the fact that she sang the hymns to a beat or talam.
“Aadhiyodantha millaan arul nadanam aadum podhu
Geethamun paadumammai kilar oli malarthaal portruthum."*
Karaikkal Ammaiyar in Kailash. (page 23)
Courtesy - Condensed English Version of the Periya Puranam by Vanmkianathan.
*ஆதியோடந்த மில்லான் அருள் நடனம் ஆடும் போது
கீதமுன்பாடும் அம்மை கிளர் ஒளி மலர்த்தாள் போற்றுதும்.
 

31
SAINT APPAR- THE ELDER SAINT
"Ennukain ensoli ennukeno, emperumaan tiruvadiyai ennin allaal a a a a " is the opening line of an exquisite Swan song, a yearning prayer requesting to abide for ever, at the Feet of the Lord of Poompuhaloor,
Meditate I would
But what shall I meditate on?
Unless I meditate on nothing other than the Feet
Of my Lord . . . . . . . . . . . . . . . . . . . . . . . . . . . . When I breathe my last O Virtuous One who presideth in Poompuhaloor
To Your sacred Feet I come.'
This song tinged with a soulful charm transports us back through centuries to the old medieval Pallava temple and to the unforgettable saga of its composer Saint Appar. In this shrine at Poompuhaloor, he is celebrated in one of the most enthralling rites at the very time and place of his death. At dead of night when all the lamps are extinguished his Swan song is sung in the sanctum concluding with the words “ “Poompuhaloor
எண்ணுகேன் என்சொல்லி எண்ணுகேனோ
எம்பெருமான் திருவடியை எண்ணினல்லால் கண்ணில்லேன் மற்றோர் களைகண் இல்லேன் கழலடியே கைதொழுது காணின் அல்லால் ஒண்ணுள்ளே ஒன்பது வாசல்வைத்தாய் ஒக்க அடைக்கும் போது உணர மாட்டேன் புண்ணியா உன்னடிக்கே போதுகின்றேன் பூம்பகலுார் மேவிய புண்ணியனே. An oral tradition of the area gave us this entrancing story.
Saint Appar was named Marulnikiyar - one who dispels darkness, by his parents. The Jains gave him the title of Dharmasenar, The Lord blessed him with the name of Tirunavukkarasar - the King of sacred utterances. Appah was the term of respect given by young Sambandhar and since then was known as Saint Appar.

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SAINT APPAR
Courtesy - Author's Collections
சொற்றுணை வேதியன் சோதி வானவன் பொற்றுணை திருந்தடி பொருந்தக் கைத்தொழ கற்றுணைப் பூட்டியோர் கடலிற் பாய்ச்சினும் நற்றுணையாவது நமச்சியாயவே.
 

SAINT APPAR 33
meviya punniyaaunnadikke podhukindrene' O'Lord of Poompuhaloor
now I come to Your Feet to abide for ever.
Appar was able to achieve this ardent wish to abide for ever at the Lord's Feet through prayerful devotion, service and meditation. He was one of the Astrophysicists of the spiritual Universe who had dived into the immeasurable to return with 'full many a gem, and first hand information of the Master Craftsman. His life shows us that through spiritual disciplines the extra-ordinarily complex and contradictory aspects that exist within could be harmonized. He reminds us again and again of our spiritual destiny and demonstrates the method and manner of reaching the goal.
History has it that he was born in AD 564 in Tiruvaamoor to Pugalanar and Madhiniyar, a devout Saiva couple of the peasantry class and was named Marulnikiyar. At a young age he lost his parents and his elder sister Thilagavathy brought him up.
Young Marulnikiyar grew up and excelled in both spiritual and secular studies. He reached manhood and took great pleasure in serving God and humanity as best as he could. In course of time, realising the impermanent nature of the world, he renounced this worldly life and devoted all his time to his studies. The search for the ultimate Truth became an all consuming passion. Having mastered the Supreme truths of his own Saiva religion, he was filled with a desire to know about the Pathway to God offered by other religions. He studied Jainism which
o Goethe
These aspects, namely, the physical, the spiritual, the attractive, the ugly, the bound and the unbound, create problems for man.
Swami Buddhananda speaks of the usefulness of saints as being "programmed into the very process of evolution by which man has been bro ught into being - Practical Religion of the Prabuddha Bharata and says, "Even without these examples, left to nature he (man) would struggle and undoubtedly be led back to that goal through untold sufferings and perhaps aeons of time.”

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was the religion of the Pandyan kingdom. He entered the monastery, mastered the religion and was conferred the title of Dharmasenar."
The apparent change of faith saddened his sister for she thought that her brother had been converted. She prayed that he be brought back to the Saiva fold. The reconversion, was a peculiar incident. Marulnikiyar was one day stricken by an acute stomach ailment which baffled the Jains. After several days of pain and suffering, he sent word to his sister for help. She asked him to come to the sacred Temple of Virattaaneshvarar, where she gave him the Holyash and repeated the Panchakshara Mantram "Om Namasivaya. He was unable to stand the pain and he broke forth into song complaining,
' ”Kootraayina vaaru vilakkakaliyir
Kodumai pala seithana naan ariyen.”
Unbearable is this death like pain; Unaware am I of committing any wicked deeds. O Lord of Virataanam, save me from all this pain,
he cried in anguish. As he sang on, the incurable pain was cured.
And so Marulnikiyar was cured and blessed as 'Tirunavukkarasar - the king of sacred utterances by God Himself. Being blessed with the gift of poesy, Tirunavukkarasar became a wandering bard, singing the praises of the Lord in a stream of bhakti. Pure love and ecstatic devotion suffuse the outpourings of this minstrel. His songs are the Tevarams and
One may wonder whether Marulnikiyar renounced his ancestral faith. Saint Serkkilar in his Magnum Opus, the Periya Puranam says that he approached Jainism to study. He neither gives any details of Marulnikiyar's doubts nor any disappointments in his ancestral faith or conflicts within himself. Instead he says, "Nilaatha ulakiyalpu kandu..." knowing the unstable nature of the world and wishing to know the Pathway to God as shown in other religions he approached Jainism.' கூற்றாயினவாறு விலக்ககலிர் கொடுமை பலசெய்தன நான் அறியேன். 4' Tirumurai

SAINT APPAR 35
Tiruththandagams belonging to the fourth, fifth and sixth Tirumurai of the Saiva Anthology.
The Jains were very annoyed by Dharmasenar's change of faith and felt that he should be severely punished. The King ordered him to return, but the young man refused saying,
**Naamaarkkum kudiallom namanai anjom .....”
Subject to none am I; Unafraid am I of death nor hell; I know not what pain is; neither will I bow down to any one!
With abiding joy and no misery, I am the slave of the Lord; Shelter at His sacred Feet, have I taken."
This infuriated the King and his men. They subjected him to ordeals. He was locked in a lime kiln for several days. But he remained unaffected since he had attuned himself to the Almighty singing,
' ”Maasilveenaiyum maalai mathiyamum ...”
Like the melody of the faultless veena, and the evening
Crescent noon,
Like the soft breeze and the spring which blesses us with fruits,
Like the fragrant flower filled tank, full of bees, is the
Shelter of the Feet of my Father and Lord;
and so it was soft, cool and breezy in the lime kiln
6 நாமார்க்கும் குடியல்லோம் நமனை அஞ்சோம்
நரகத்தில் இடர்படோம் நடலை யில்லோம் ஏமாப்போம் பிணியறியோம் பணிவோம் அல்லோம் இன்பமே என்னாலும் துன்பமில்லை . கோமாற்கே நாம் என்றும் மீளாஆளாய்க் கொய்மலர்ச் சேவடிக்கே குறுகினோமே. Tiruthandagam மாசில் வீணையும‘மாலை மதியமும் வீசு தென்றலும் வீங்கிள வேனிலும் மூசுவண்டறைப் பொய்கையும் போன்றதே ஈசன் எந்தை இணையடி நிழலே, 4"Tirumurai

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Finding him alive, the Jain monks ordered poison to be given; they set a wild elephant on him. But these did not harm him, for this true devotee of the Lord feared nothing and had nothing to fear. The elephant to their consternation went round him in obeisance and charged into the Jains! Finally they tied him to a heavy stone and cast him into the river; instead of sinking he sailed across to the shores of Tiruppaadhirip puliyoor on the other bank of the river singing the immortal Panchakshara song,
' ”Sorrunai vediyan sothi vaanavan ........
narrunai yaavathu Namasivayave”o
The Word, the succour, and the Vedas incarnate is He; The Heavenly One and Effulgence is He. When tied to a stone and cast into the sea Na ma si vaya the mantram becomes the unfailing support.”
Tirunavukkarasar's faith in God was beautiful, and to him the Panchakshara was the Word which stood him in goodstead when he had to face the relentless wrath of the King and his men.
Reaching the Shrine on the opposite bank, he sang a Thankyou pathikam to God for saving him and bringing him across to safety,
ć KK
Indraaliumaai ennak enthaiyumaai udan thonrinaraali ...”
O Lord of Puliyoor, Like my mother, father and my sister, You who created the three worlds and
சொற்றுணை வேதியன் சோதி வானவன் பொற்றுணை திருந்தடி பொருந்தக் கைத்தொழ கற்றுணைப் பூட்டியோர் கடலிற் பாய்ச்சினும் நற்றுணையாவது நமச்சியாயவே. 4"Tirumurai Vanmikanathans Periya Puranam p 285 ஈன்றாளுமாயெனக் கெந்தையு மாயுடன் தோன்றினராய் மூன்றாயுலகம் படைத்துகந் தாள் மனத்துள்ளிருக்க ஏன்றா னிமையவர்க் கன்பன் திருப்பாதிரிப் புலியூர்த் தோன்றாத் துணையா யிருந்தனன் தன்னடி யோங்களுக்கே. 4*Tirumurai

SAINT APPAR 37
Graciously chose to abide in my heart, You are the Invisible Succour to me, Your devotee.
His life from now onwards became a sweet poem of love of God, which he expressed through all the songs he sang at the various temples he visited.
On his pilgrimage to Tingaloor he met one of his ardent disciples Appudi Adigal. He was the guest of the Appudi family and on learning of the tragic death of the son he brought him back to life. It is interesting to note that he sang ten songs counting one, two, three and so on, as it were to enable the knocked-out child to rise before the tenth was sung "Onru ... Irandu...' and with the tenth song, the boy was brought to life.
He then proceeded to Chidambaram and on his way worshipped in several more shrines. Whilst he was watching the Dance of Lord Nataraja, in Chidambaram, it is said that a Voice was heard asking, “When did you come?' and Tirunavukkarasar's answer was the Koyil Tiruppathikam beginning with the words,
‘ “Paththanaai paada maaten paramane paramayogi ..”"
O Transcendent Yogi! Your praises I do not sing as a devotee, Nor do I pay devotion to You, Do not spurn me, O Father who danceth in Tillai. It is to see Thy dance, that this bondsman has come thither
0. ஒன்று கொலாமவர் சிந்தையுயர் வரை .
இரண்டு கொலாமிமை யோர் தொழும் பாதம். மூன்று கொலாமவர் கண்ணுதலாவன.. 4"Tirumurai பத்தானாய்ப் பாடமாட்டேன் பரமனே பரமயோகி அத்தா உன் ஆடல் காண்பேன் அடியனேன் வந்தவாரே. 4"Tirumurai
1.

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Saying, “aththaa un aadal kaanpen adiyanen vandhah vaare,” he identifies the Lord as 'aththaa of the theistic Upanishad while celebrating Him in cosmic dimension. He captured this experience in the rhythmic word describing iconographically the Lord of Dance in the words,
"Kuniththa puruvamum kovvai sevvaaiyit kumil sirippum ...”
If I could see, The curve of Your brow; the budding smile on Your red lips; The matted hair with the cool Ganga waters and The milk white ash on Your coral skin and The sacred foot raised up in dance, then O Lord! I would wish for another human birth on this earth.
Tirunavukkarasar's greatest wish was to be released form the cycle of births and deaths. However, when he perceived the Dance in Tillai, his reaction was different. The image of Nataraja was all inspiring, transporting him into ecstasy - to him it was a vision of the cosmic
dance. As he stood in deep prayer, he beheld the Lord dancing
From Tillai, Tirunavukkarasar went to Sirkali, to keep his date with destiny. It was here that he met the young child, Sambandhar. On hearing of the arrival of the elder devotee, Sambandhar wanted to meet him. Serkkilar describes the meeting of these two, one in his forties and the other barely seven years old, in the words, "On Arasu prostrating with great love and devotion at the feet of Sambandhar, young Sambandhar held his hands and lifted him up saying "Appare” O Father; in return
Saint Serkilar describes graphically Tirunavukkarasar's ecstasy on seeing God's Dance - “With deep ardour and devotion, his palms joined together and held over the head, he was paying obeisance; while his eyes were filled with tears.' *குனித்த புருவமும் கொவ்வை செவ்வாயிற் குமிண் சிரிப்பும்
பனித்த சடையும் பவளம் போல் பால் வெண்ணிறும் இனித்த முடைய எடுத்த பொற்பாதம் காணப்பெற்றால் மனித்த பிறவியும் வேண்டுவதே இந்த மாநிலத்தே. Thiruviruththam

SAINT APPAR 39
Appar exclaimed, ‘Your obedient servant’ — “Appare ena, avarum adiyen ciraar.” Since then he has been reverentially called Appar.
From Sirkali both Appar and Sambandhar continued their pilgrimage together and in Tiruvilimilalai they found the people starving. They prayed fervently and were blessed with gold coins with which they bought food for the starving people. Having served the villagers, the two devotees then proceeded to the sacred Temple of Tirumaraikkadu (Vedaraniyam) where the main door of the Temple had been closed for a long period of time. Sambandhar requested Appar to sing in order that the doors will open. Happily Appar started singing the pathikam beginning with the words: "Panniner moliyaalumaipangaro." One after another he completed ten hymns and the door did not open. Finally he sang the eleventh hymn with a fervent appeal and then the doors opened - ....."sarakka ikkadhavanthirappininne." At the end of the puja, Appar requested Sambandhar to sing so that the door will be closed. With the first stanza of the pathikam beginning with the words, "Saduram maraithaan,” the door closed. This incident disturbed Appar that he had to sing the full pathikam for the doors to open. Tradition has it that the Lord appeared in his dream saying that He was enamoured by his song that He listened to the end and then opened the door.
In reality, the Vedas written in Sanskrit were privy to the Brahmins
* அப்பரே என அவரும் அடியேன் என்றார்.
* பண்ணின் நேர் மொழி யாளுமை பங்கரோ
கண்ணினாலுமைக் காணக் கதவினைத் திண்ணமாகத் திறந்தருள் செய்மினே. 5'Tirumurai சரக்க இக்கத வந்திறப் பிம்மினே. 5'Tirumurai சதுரம் மறைதான் துதி செய்து வணங்கும். எனக்குன் கதவந் திருக்காபுக் GasTsittsbib scrbig5(T(36). Sambandhar 2" Tirumurai, Perhaps the whole incident could also be viewed allegorically where the doors to the learning of the Vedas and the Upanishads were closed during the dark ages and learning had decayed. But when the doors of the temple were opened with the singing of the sacred hymns, the doors of learning were opened by these Saiva Reformers.

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and the knowledge of God enshrined in these Vedic texts was not understood by the ordinary people. Knowing this, Sambandhar inspired by the Lord, requested Appar a non-Brahmin to sing in Tamil so that the door opens. And as Appar sang the quintessence of the Vedas in Tamil, the doors opened and the barrier was removed. It was Sambandhar's wish that Vedic knowledge said in Tamil would become available to one and all as Tamil was the language of the people.
After visiting many shrines and meeting with Sambandhar again, Appar finally wished for the darshan of the Lord and His Consort as they appear in Kailash. He went on foot, crawled on all fours and rolled on the ground, badly bruised and bleeding, edging on very slowly. Lord Siva appeared as an old Brahmin and asked him to plunge into the nearby pond and rise up at Tiruvaiaar. Unhesitatingly he did so and found himself at Tiruvaiaar where he was blessed with darshan. Here he saw all creatures as Lord Siva and all the footprints as those of Him. He saw everything moving in pairs and sings,
“ “Maathar pirai kanniyaanai malaiyaan makalodu paadi
a w & a avar tiruppaadam, kandariyaathanak kanden.”*
I saw Him who wore the lovely crescent moon and I saw Her the daughter of the Mountain King.
I followed the devotees carrying flowers and water
singing the praises of the Lord and His Consort.
I saw His holy Feet and
I saw what I have never seen before,
sang Appar in simple and enchanting words, testifying to the eternal presence of God leading millions of Saiva devotees through divine inspiration towards the Lord.
* மாதர் பிறைக் கண்ணி யானை மலையான் மகளோடும் பாடி
கண்டேன்.கண்டேனவர் திருப் பாதங் கண்டறியாதன கண்டேன்.

SAINT APPAR 41
SAINT APPAR -- PART II
Many are the religious truths Appar conveys through his psalms. He teaches that our faith in God should be firm and our belief absolute. To him the essence of worship was love and sincerity and his deep concern was for his people and his greater concern was with the present time - here and now rather than the hereafter.
By his exemplary life he has shown the importance of worship - both ritual and spiritual. He does so by following the four steps or margas in spiritual life, namely the chariya, kriya, yoga and jnana margas (see page 18). Even though he belongs to the highest spiritual life, he is considered exemplar par excellence of the chariya pathway characterised by a relationship as between a Master and a servant - the dasa marga. He teaches that each step of the spiritual endeavours should be practised with sincerity and devotion. When we worship God with flowers, incense, offerings of prasadam, our minds concentrate on Him and we find joy in worship. He sings in one instance,
16
X KK
Nilai perumaa ennuthiye nenjeni va ...................
O mind if you want mental stability, Enter the precincts of the temple daily before dawn, Clean and sanctify it, weave garlands of flowers for
the Lord,
Sing, dance and worship, .........
He teaches that the constant practice of ritualistic worship, prayer and japa gradually calms the mind leading it towards meditation and finally moksha. These devotional exercises activate the emotional heart,
“நிலைபெறுமா றெண்ணுதியே நெஞ்சே நீவா
நித்தலும் என்பிரானுடைய கோயில் புக்கு புலர்வதன் முன்னலகிட்டு மெழுக்குமிட்டு பூமாலை புனைந்தேத்திப் புகழ்ந்து பாடி தலையினாற் கும்பிட்டு கூத்துமாடிச் சங்கரா சய போற்றி போற்றி என்றும். 6*Tirumurai

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awakening the spiritual heart. Appar awakens us to seek the Supreme
One in the cavern of the heart saying," ...Ennulle thedik kandu konden,' 'I searched and found Him deep within me. He then explains, "Kaayame koyilaaka..... manamani lingamaaka,” the body is
the Temple of God and the mind is the Lingam within.'
His life is the noblest paradigm of the truth that birth and experiences in this life are essentially determined by past karma. To free the shackles of the evil effects of karma, good karmas have to be done and all the fruits of the actions should be offered to God. Through certain hymns, he teaches the theory of karma, the importance of actions that are performed in this life and that by surrendering fully to God, we could bear the pain of wrong actions. And finally he explains through a question he poses to God, "Isn't it Your duty to erase the karma of those who sincerely and truly seek refuge in You?' thannai adainthaar vinai theerpathandro?...
To Appar the ideal of life was service - humble selfless service,
"En kadan pani seithu kidappathe”°
my duty is but to serve and rest content.
He reiterates here, Lord Sri Krishna's advice to Arjuna on the battle field, “Do your duty and leave the rest to Me,” and Appar scrupulously followed this ideal. The spade he carried for example, represented this ideal. He went from shrine to shrine removing stones and thorns from the temple gardens in order that all the pilgrims could walk about without being hurt.
தேடொண்ணாத் தேவனை என்னுள்ளே தேடிக் கண்டு கொண்டேன். 4* Tirumurai காயமே கோயிலாக.மனமணி யிலிங்கமாக. தன்னை அடைந்தார் வினை தீர்ப்பதன்றோ தலையாயவர் தங்கடன். என் கடன் பணி செய்து கிடப்பதே. 5'Tirumurai Saint Serkkilar refers to some of his acts of service in his Periya Puranam as "realising the impermanence of worldly life, he performed charities and through compassion he set up charitable eating houses and water stalls".

SAINT APPAR - 43
In seeking the Lord, at Tiruppoonthuruththi, he teaches us through the celebrated Tiruvanga maalai, to command each limb of the body to worship Lord Siva.
‘ “Thalaye! ni vanangaai .... Kangaal! kaanmingalo ....”
O head of mine bow to the Lord. O eyes of mine,
behold Him
Of what use is this body to me if it does not physically go round the Temple of Lord Siva, Offering flowers and singing Potri - obeisance to You’’
In another instance he seeks his Lord as a bride portraying bridal mysticism singing
“ “Munnam avanudaiya naamam kettaal ....”.”
Abandoning her parents, convention, name and herself She became passionately attached to Him; Hearing His name, nature and native place she Moved towards her Lord's Feet.'
The devotional psalm, reveals the nayaka-nayaki or Atma-vivaha bhavam which is the unselfish love that the true devotee has for the Lord. In Hinduism all Souls are considered to be females seeking the one Lord
* தலையே நீ வணங்காய் .
கண்காள் காண்மின்களோ . ஆக்கையாற் பயனென் அரன் கோயில் வலம் வந்து பூக்கையாலட்டிப் போற்றியென்னாத இவ்வாக்கை யாற்பயனென். முன்னம் அவனுடைய நாமம் கேட்டாள் மூர்த்தி அவனிருக்கும் வண்ணம் கேட்டாள் பின்னை அவனுடைய ஆரூர் கேட்டாள் அவனுக்கே பிச்சியானாள் அன்னையையும் அத்தனையும் அன்றே நீத்தாள் அகன்றாள் அகலிடத்தார் ஆசாரத்தை தன்னை மறந்தாள் தன்நாமங் கெட்டாள் தலைப்பட்டாள் நங்கை தலைவன் தாளே.
22

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and in this hymn, Appar draws a pen picture of a true devotee who abandons everything to seek the Lord.
Appar finally returned at the age of eighty one, to the sacred Shrine of Poompuhaloor where he passed away singing the immortal Swan song. In death he had no doubt shed his worn out physical body but through his timeless fame and the ideals he taught and aspired for, he continues to live and inspire humanity. Through lovely devotional bhavams he has shown us how the finite can find full expression in the Infinite and sang on and on like a crusader in his attempt to set down the Eternal Truths.
His devotion to God has a personal touch portraying a shade of devotional consciousness - serving the Lord as a servant serves his master - the dasa marga. He is no more, but the subtle vibrations of his purity, love, compassion, wisdom and humble service, must pervade and permeate all of us, so that divine qualities may bloom in the gentle hours of harmony and peace.
Courtesy - Condensed English Version of the Periya Puranam by Vanmkianathan.
The elephant salutes Appar instead of charging into him as the Jains expected it to do. (page 36)
 

45
ISHVARAKOTI - THE CHILD SAINT SAMBANDHAR
A little child of three accompanied his father to the tank in the village temple. While the father was taking his bath, the little boy not seeing him, gazed at the temple Gopuram and cried out, "Ammaiye Appah.” It is said that Lord Siva and His Consort, the Universal parents, appeared before the child offering milk in a golden cup. The boy drank the holy draught, the milk of knowledge and was inspired with abiding divine wisdom. The choicest Grace of Sivajnanam was thus showered on him
by God and His Consort.
On returning from the tank, the father was surprised to see that his son had been drinking milk. He questioned him and the boy pointed to the temple tower as the divine figures were disappearing through the sky singing the immortal words,
"Thodudaiya seviyan vidaierioarthoovan mathisoodi...”
He hath the ear stud in His ear lobe; Is mounted on a bull and crowned
with the pure white crescent moon. Is smeared with the ashes from the
burning grounds and is the Thief who steals away my Soul. He bestows Grace on those who worship Him.”
தோடுடைய செவியன் விடையேறியோர் தூவெண் மதி சூடி 1"Tirumurai - This portrays, Lord Siva as Ardhanaarishvarar - the male and female aspects delineated as the woman's ear ornament and one riding the Bull. Sambandhar is the author of 383 devotional pathikams.
Ishvarakoti as explained by Sri Ramakrishna is an incarnation of God or one born with the characteristics of an incarnation. Tirujnanasambandhar is the name the Lord gave
this child in a dream.

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46
TнE РоотғALLs oN Тимв
SAINT SAMBANDHAR
ॐ
Courtesy - Author's Collections
காதலாகிக் கசிந்து கண்ணிர்மல்கி ஒதுவார்தமை நன்னெறிக்குய்ப்பது வேதம் நான்கினும் மெய்ப்பொருளாவது நாதன் நாமம் நமச்சிவாயவே.
 

SAINT SAMBANDHAR 47
Sambandhar sang this Tevara hymn which is the first in the compilation of the twelve Tirumurais - the sacred Anthology of Saiva Saints. He was barely three years old when the incident took place. From then onwards, he started singing and his repertoire of hymns grew. He used a variety of panns to colour the wide range of philosophy he sang. The sound of talam mellowed to the richness and intimacy of devotion is his special contribution to the Anthology. His Tevarams, are texts on mysticism and are, "models of pure and elevated dictum generally earnest and touching but always melodious and well turned,” says Professor Sunderampillai. His songs are unsurpassed for hymnal beauty and emotional outpourings bearing the stamp of an unusual genuine spiritual experience of the Eternal Lord and His Consort.
At a tender age itself, young Sambandhar was able to sing such devotional hymns pregnant with meaning since he understood the higher order of law and justice - the law of God and Nature that Sophocles’ a Greek philosopher had spoken of Sambandhar made it clear that in order to understand the immortal laws of God, one's life must not be merely a pursuit of material success but should be a quest for the Divine. In this quest, the ordinary, spiritually under-developed human beings like us represent the beginning of the exciting and adventurous search, while Sambandhar and others like him represent the glorious end. Without them and their exemplary lives at the far nebulous end, we will most probably struggle for a very long time to evolve and better ourselves; however, we will finally be led back to the goal.
Sambandhar's life and teachings point out that limitless and everlasting wealth can never by anything material; instead it should be a longing of the Soul for the infinite wealth of God, the Supreme spirit. In life material acquisition becomes more important and greed impels man to face great trials in its fulfilment. This in reality is a misdirected longing
* "But all your strength is weakness itself
Against the immortal unrecorded laws of God,” This was said in 442 BC.

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for something which is limitless and everlasting. And this limitless wealth of God is hidden deep within one's own heart - "I found Him in my very being, sings Appar.
It takes several lives for an ordinary man to understand these longings, seek perfection and have the vision of God. But at the tender age of three, Sambandhar had attained mastery in spiritual disciplines. He was an Ishvarakoti, a divine messenger who was born with an abundance of spiritual power for the accomplishment of a special mission. He was born at a time when the tenets of Saivism were over powered by Jain teachings and the entire Tamil land was overcast with clouds of alien religious repression. He was born for the resuscitation of the Saiva religion, its Culture and the Tamil language.
The grand spiritual experiences, the profound knowledge of the Almighty and the extraordinary powers of Sambandhar drew large crowds towards him. An elderly saint who recognised the majesty of these extraordinary powers as the reflection of the Divinity in the young boy who was barely seven years old, carried the palanquin in which he
Courtesy - Condensed English Version of the Periya Puranam by Vanmkianathan.
Young Sambandhar being carried in a palanquin. (page 49)
 

SAINT SAMBANDHAR 49
was riding and fell at his feet in homage. In turn young Sambandhar recognised the saintliness of the older man and affectionately and most reverentially called him Appar - Father. This father was the elder saint, Thirunavukkarasar who was more popularly known as Saint Appar.
Desirou of begetting a son who could destroy the alien religious repressions and reduce them to ashes, Sivapaadha hirudhayaar, a Brahmin devotee meditated on the lotus Feet of Lord Siva. The request was unusual and Sambandhar was born in AD 634, to Sivapaadha hirudhayaar and his wife Bhagavathiyaar in Sirkali to stem the tide of atheism and hypocrisy which prevailed at that time.
He was born in Sembai on the auspicious day of the Athirai asterism when the sun and all the planets were in ascendence, to fulfil the 'thavam’ performed by his parents."
The child was named Tirujnana Sambandhar, which according to Serkkilar, was given by God Himself, in a dream to the priests saying
* "Jnana Sambandhan nam paalan anaikinraan ....”
Jnana Sambandhar my son is coming; Present him with a palanquin decked with pearls; A pair of golden cymbals - the talam and A pearl umbrella for protection from sun and rain.'
Tradition has it that since he was a small child and had embarked on this sacred mission of service he needed to be carried from place to
Generally one wishes to have a son to take care of parents in old age and perform the last rites.
4. தவம்பெருக்குஞ் சண்பையிலே சிவம் பெருக்கும் பிள்ளையார் திருவவதாரஞ்
செய்தார்.
ஞானசம்பந்தனம்பா லணைகின்றான் மான முத்தின் சிவிகை மணிக்குடை
A A O VO O VI A NO XA O NA X A XO A A O அன்பா லணைத்து கொடுமென. 197

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place. Thus he travelled in a pearl decked palanquin singing the glories of God and helping people spiritually and even materially. His whole life became a preaching Crusade against the disintegrating influence and the destructive spirit of the rival religious sects.
To Sambandhar, the Vedas and the Agamas were true revelations - the Word of God which he wanted to convey in Tamil to the ordinary people of Tamil Nadu so that the religious philosophy contained in them could be understood by all. All his hymns reflect the distilled essence of the Vedas or marai; he refers to God as " 'our Supreme Lord who taught the Vedas seated in the North, Vadapaalirindhu marai oathum engal paraman,” and 'the true import of the Vedas is God's Name, Sri Panchakashara, are two of the many references to the immortal Vedas, in his hymns.
In composing his hymns, he was greatly influenced by the Pannisai of Karaikkal Ammaiyar - the panns that she sang and the pathikam format of her compositions. Each of the Tevarams that have been sung not only by Sambandhar but also by Appar and Sundarar are sung according to the pann ascribed.
There is a methodology in all his pathikams. The first seven verses speak of Lord Siva with special reference to the traditions and the scenery of the area. The theme of the eighth verse in all the pathikams is based on Ravana, his love and devotion for Lord Siva and the agony he goes through on being crushed by Him, and later being bestowed with Grace.
* வடபாலிருந்து மறைபோதும் எங்கள் பரமன், 2nd Tirumurai
வேதம் நான்கினும் மெய்ப்பொருளாவது நாதன் நாமம் நமச்சிவாயவே. 3rd Tirumurai மண்ணுலகில் வாழ்வார்கள் பிழைத்தாலும் வந்தடையிற் கண்ணுதலான் பெருங்கருனை கைக் கொள்ளும், For example in his maiden song Sambandhar speaks of Ravana's deep love and devotion to Siva, but when he decided that Siva is his and tried to uproot Mount Kailash on which God and His consort were seated, his love became possessive. He pressed down Mount Kailash with his toe and Ravana was crushed until in agony he asked for pardon which was given. In interpreting this verse, one sees that Sambandhar conveys a universal message that even if one commits an offence, the great mercy of
God will be forthcoming.
8

SAINT SAMBANDHAR 51
The stanzas, nine and ten refer invariably to Lord Siva's Grace, His parexcellence over Brahma and Vishnu and to the condemnation of the bigoted teachings of the alien faiths of that time. The theme of the tenth also gives the reason for his birth, that is to re-establish Hinduism, the ancient faith of the people. Another characteristic feature of his hymns is that the last quatrain in each pathikam, is benedictory in composition, including his name 'Sambandhar and the blessings one gets by singing the pathikam.” He assures the people that his songs are the Word of God and therefore would eradicate their misery by the power of the whole song sung in praise of Him.
Three themes recur in all Sambandhar's pathikams and his mission in life could be summed up as
– purifying human love and transforming it into prema - restoring the ancient Hindu faith and - eradicating man's misery. Singing his hymns pregnant with these themes becomes meaningful as we move forward on our spiritual journey.
Several miracles are recorded and there are references to these in his own hymns. He always prayed for the well-being of the people and for their relief from suffering. His prayers had worked miracles. He had helped the daughter of a local chief to get over a painful deformity; he had cured devotees of their chronic fever; he enabled devotees to cross the Kaveri river with him to reach Tirukolamputtur during a storm in an unmanned boat;" and helped a Siva bakta being ridiculed by the Jains by making all his male palmyrah trees bear fruits. In association with Appar, he provided food to famine stricken people' at Tiruvilimilalai by
This reminds one of the concluding couplet of a Shakespearean sonnet.
" “கொட்டமே கமழும் கொள்ளம்பூதுாா;.” என்னும் பதிகத்தைப்பாட ஒடம்
தானாகவே கரையை அடைந்தது. ' "பூத்தேர்ந்தாயன.” பதிகத்தைப் பாடி அவற்றைப் பெண்பனைகளாக்கிப்
பயனடையச் செய்தார். சமணர் தமது சபதப்படி வெளியேறினார்.
* “வாசிதீரவே, காசு நல்குவீர் மாசின் மிழலையீர், ஏசலில்லையே." கறைகொள் காசினை முறைமை நல்குமே” என்று பதிகம் பாடி வாசிபடாமுறை நற்காசு பெற்று மக்களின் பசியைத்தீர்த்தார்.

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52 THE FootFALLs on TIME
obtaining money from the Lord and at Vedaraniyam, helped to open and close the temple doors that had remained closed for several centuries.' He had resurrected a dead man and the young girl Poompavai who were victims of snakebite; In bringing Poompavai back to life, Sambabdhar admonishes her for having left the world without seeing the great festivals of the year at the Siva temples in Aippasi, Kartigai, Margali, Masi and Panguni. (August, November, December, February and March respectively).
These were some of the miracles he had performed. But the more glorious achievements were associated with the re-establishment of the Saiva religion in Madurai.
On one occasion when Sambandhar and Appar were in Tirumaraikkaadu, the Pandyan Queen and the Chief Minister sent emissaries inviting Sambandhar to Madurai. They related the sad story of the land and that except for the Queen and the Chief Minister, the people had all become Jains. Sambandhar decided to accept the invitation but Appar, who had previously suffered at the hands of the Jains dissuaded him from going saying that the Jains were treacherous and that the times astrologically were not propitious for Sambandhar. However, Sambandhar with deep faith in God sang the celebrated “Kolaru pathikam,” beginning with the words — “ “Veyiru tholi pangan vidamunda kandan...... ' eulogising the Lord and saying, Since He has taken abode in my heart, "en ullame pukuntha athanaal," the sun, moon and all the planets will be propitious and the devotee will be safe.
Assuring Appar with these words Sambandhar left for Madurai. The Queen and the Chief Minister were happy that he had come but the
as in Appar's story. (page 39)
" திருமருகற் பெருமான் மீது "சடையாயெனுமால். "திருப்பதிகத்தைப் பாடியருள
வணிகன விடந்தீர்ந்து எழுந்தான். “மட்டிட்ட புன்னையங்கானல் மடமயிலை..." என்று தொடங்கிய பதினொரு பாடல்களைப் பதிகமாகப் பாட, குடத்திலிருந்து பூம்பாவை உயிர்பெற்று எழுந்த அற்புதம் கண்டு எல்வோரும் வியந்தனர். * கோளறு பதிகம் beginning with the words (86 Ital (35T6f Lifiab6f 65 (p6irL. 356xit 65 saying that since God with His Consort had taken abode in his heart, 676i
உளமே புகுந்த அதனால்.

SAINT SAMBANDHAR 53
Jains had horrible dreams and forebodings. That night, the Jains with the connivance of the King set fire to the ashram Sambandhar was residing in. He directed the fire to burn as fever in the King,
“Iyane poiyaraam amanar koluvun chudar
Paiyave senru pandiyat kaakave."
The King was plagued with burning fever. The Jains were helpless but the Queen invited Sambandhar to the palace to help cure the fever. Half the King's ailing body was apportioned to Sambandhar and the other half to the Jains to effect a cure. Sambandhar smeared Holyash (Neeru) on the half of the body and sang the immortal Tirunetru pathikam extolling the Neeru beginning with the words - "Manthiramaavadhu Neeruvaanavar meladhu Neeru.”7 The fever vanished on this half while the Jains stood askance. Subsequently, Sambandhar cured the King fully.
The Jains were not happy at the change of events and challenged the young boy. It was decided that each would write down the Truth of his religion on a palm leaf and throw it into the fire. The leaf that is not burnt by the fire will confirm the victor. Sambandhar took up the challenge and composed the pathikam beginning with the words, "Poka maarththa..” and wrote it down on the palm leaf. He then threw it into the fire singing the verse,
“ “Thalirila walaroli thanatheli uruthikal malaimakal...”'*
l6 ஐயனே பொய்யராம் அமணர் கொளுவுஞ் சுடர்
பையவே சென்று பாண்டியற்காகவே. மந்திரமாவது நீறு வானவர் மேலது நீறு. 2nd Tirumurai Holyash or Tiruneeru is the Holy sacrament and is the symbol of Siva. The ash reminds us of the transitory nature of the body and that we should perform good deeds in this life. It protects the wearer, prevents disease, expiates sin and grants liberation - (upg55 தருவது நீறு.
(8LITasLDITi55 l*Tirumurai
தளரிள வளரொளி தனதெழி றருதிகழ் மலைமகள்
- - - - - - - - - -நள்ளாறர் நாமமே மிளிரிள வளரெரி யிடிலிவை, பழுதிலை மெய்ம்மையே. 3'Tirumurai
7

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54 THE FootfALLs on TIME
The only Reality is God who resides in Nallaru with His Consort, This is the Truth; hence the scroll should not be burnt down.
The scroll glowed and remained green while that of the Jains was completely burnt
The Jains were not subdued by this incident either and challenged him again saying that having written the Truths on the palm leaf, each would throw the leaf into the running waters of the Vaigai River and that which flows against the current would be the victor.
This time Sambandhar wrote down the verse beginning with the words,
* "Vaalka andhanar vanavar aaninam .......19 יל
Blessed be the ascetics and the heavenly ones, May all live long, may the rains come and, May the King live long. Evil shall sink, God's Name shall protect all and the world may be rid of misery.
Saying "The Lord will be the One to take this palm leaf upstream and thereby overcome the Jains's terms of challenge, he put the palm leaf into the water. And the leaf moved against the current while that of the Jains was washed down stream.
These incidents in Sambandhar’s life clearly show that the vituperative attacks on Hinduism by the Jains were successfully taken up by him. His masterly exposition of the ancestral faith was his signal service which made the Pandyan King and the people of the kingdom come back into their traditional Hindu fold. The Jains failed miserably - trying to crucify the Truth they in reality helped in its resurrection.
"வாழ்க அந்தனர் வானவர் ஆனின்ம
வீழ்க தண்புனல் வேந்தனும் ஓங்குக ஆழ்க தீயதெல்லாம் அரன் நாமமே (5jpas 606.Juaj(pë gjujt 5Tabas(86j Tirupasuram - 3“Tirumurai

SAINT SAMBANDHAR 55
Sambandhar restored the ancient Hindu religion and made it the religion of the land. He enriched Tamil Literature by his immortal and melodious songs. He assured his people that his songs, would lead the singer to liberation.
SAINT SAMBANDHAR - PART II
His philosophical teachings are fascinating conveying the Vedic and Upanishadic teachings in Tamil, the language of the masses.
In the Tiru elukoottirukkai pathikam, which is essentially a chapter on the fundamentals of Saivism, Sambandhar sings of the One God as,
“O
ar uruvaayınaı maanaangaarath
Irrumaiyin orumaiyum orumaiyin perumaiyum”*
This song while speaking of the gracious acts of the Supreme Siva, deals with one and only God - "Oar uruvaaiyinai,” who manifests into many, till its all pervasive manifestation fills this Universe and is seen as the Atman (Anma), or the Eternal Being in man. In Upanishadic tradition, "Tat Tvam Asi, the Soul in its pure state and God are one. Sambandhar goes on to say that those who worship and meditate on the Supreme one, shall not have any more births thereby gaining eternal happiness. It is only after several births that man, through wisdom understands that the Almighty and Atman are one. The realisation of the Grace of God within us is the, "Irumaiyil orumai." It is interesting to note that Yogaswami, a few decades ago, reiterated this same Truth in the Tiruvunthiyaar song of the Natchinthanai as - "That became one and It became two, ...He loves to dwell in the hearts of devotees who, meditate on Him.'
*திரு எழுகூற்றிருக்கை பதிகம்,
ஒருருவாயினை மானாங்காரத் 1" line
இருமையின் ஒருமையும் ஒருமையின் பெருமை. 42' line * ஒருரு வானான் ஈருரு வானவன் ο
நீள நினையுமடியார் நெஞ்சில் வாழ விரும்புவன் என்றுந்தீபற. Yogar

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Weaving words intricately into garlands of praise for Lord Siva Sambandhar asks in one psalm, sung in Tiruaalavaai,
‘ “Kutram ni kunangal ni koodalaala vaaiyillaai ....”**
O Lord of sacred Aalavaai Thou art right and Thou art wrong. I am Thy kinsman and Thou art my Lord the Eternal light. Thou art the inner meaning in all books divine. Thou art my wealth, my bliss and my all. With what words of praise can I worship You.'
Sambandhar's lessons on Karma are fascinating. In one instance he asks,
“Enna punniyam seithanai nenjame, irunkadal vaiyeththu,” o
By worshipping the Lord of Tiruvalenchuli in thought, word and deed, O Mind what is the benefit you have accrued? (and replies)
It's your good deeds in the earlier births that Have enabled you to do so.
In another instance, when he cured a chronic fever that raged amidst his devotees, he sang chiding them - " 'why do you not do good, serve others and request for redemption, instead of merely saying that this illness is due to past karma. Avvanaiyukku ivvinaiyaam anru sollum ah: thariveer...' and adds that an earnest prayer made sincerely with great devotion will bring redemption and the past will not harm one. Let us serve our neighbours, praise the Lord so that, our karma will not affect
us; I swear this by the Lord Neelakandan.'
* குற்றம் நீ குணங்கள் நீ கூடலால வாயிலாய்
சுற்றம் நீ பிரானும் நீ தொடர்நதிலங்கு சோதி நீ கற்றநூல் கருத்தும் நீ அருத்தமின்ப மென்றிவை முற்றும் நீ புகழ்து முன் னுரைப்பதென் முகம்மனே.Tiruviraakam என்ன புண்ணியஞ் செய்தனை நெஞ்கமே « 0 − − «− «0 A a 4> 4O முன்னம் நீ புரி நல்வினைப் பயனிடை. 2"Tirumurai *அவ்வினைக் கிவ்வினை யாமென்று சொல்லு ம.தறிவீர். 1"Tirumurai
The songs in this pathikam remind us that the effect of bad karma could be lessened through sincere service to others and complete surrender at the Lord's Feet.
23

SAINT SAMBANDHAR 57
The Panchakshara Mantram “Om Na Ma Si Va Ya” was all important to Sambandhar as it was to Appar, Sundarar and Manikkavasagar. It is very significant that Sambandhar sang of the grandness of the Panchakshara Mantram on two important occasions of his life - the first was at his upanayana Ceremony which took place when he was seven years old - a traditional Brahmin practice. Immediately after the ceremony, he taught the priests the Vedic slokas and the importance of the Panchakshara mantram. He sang one whole pathikam beginning with the words -
‘ “Thunchalum thunchalilaatha polthinum
w Ancha udaiththana aintheluththume,”o
Meditate daily with a melting heart, while asleep or awake, the five letters - the letters which struck Yama with terror, when he had come to
take the life of Markandeya.'
The second time that the Panchakshara Mantram featured in his life was when dressed up as the bridegroom he circumambulated the sacred fire holding his young bride's hand. As he was about to enter the blazing Effulgence he sang his final message to all with the celebrated words - * “Kaadalaakik kasindhu kanneer malki ... Namasivayave,”o Those who chant the Panchakshara Mantram W
with deep devotion and love, Will be guided on the righteous path as said in
the four Vedas; The Panchaksharam is the essence
of the Vedas and
It is verily the Lord's Name.'
* துஞ்சலுந் துஞ்சலிலாத போழ்தினும்
நெஞ்சக நைந்து நினைமின் நாள்தொறும் வஞ்சகம் அற்றடி வாழ்த்த வந்த கூற் PEb&6)|6OSS56ðI SAGi;GG(Upgbg|GtD. Panchaakara pathikam 3“Tirumurai காதலாகிக் கசிந்து கண்ணீர்மல்கி
ஒதுவார்தமை நன்னெறிக்குய்ப்பது வேதம் நான்கினும் மெய்ப்பொருளாவது
brīgb6ÖT BITLDLð bLDěřáf6.JPTuuG86. Namasivaya pathikam 3“ Tirumurai
26

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58 THE FootFALLs on TIME
With these words the young couple together with all the guests disappeared into the Effulgence, into Immortality.
The life of this child-saint began and ended in miracles. These miracles teach us that God was the operator, Sambandhar with his extraordinary piety, was the medium and the hallowed Panchakshara mantram chanted by him worked the miracles. He accomplished the impossible because he had absolute and unquestioning faith in the Almighty. He was able to express such thoughts in mellifluous soul stirring songs only because these were his own experiences.
Today, even though thousand three hundred years have rolled by since Saint Sambandhar gained immortality, his timeless message of Truth, Love and Compassion are still fragrant with buoyant freshness. He came into this world with his ineffable lisping charm to wake mankind to truth, to revive so much that had briefly been forgotten, to bring so much that was new and stamp the principles of Saiva Siddhanta indelibly on the minds of the people of his land. He lived in tune with the attractive force of love and achieved harmony with nature and his fellow beings. He lives through his immortal songs, touching the responsive chords of every heart that sings his songs.
This Divine Integrator's songs quieten the spirit, unfold the meaning of life and help deliver us from,
"The unreal to the Real;
from darkness unto light; from death to Immortality.” Upanishad

59
KARMA ASSEEN BY ENGLISH POETS
John Masefield, the English poet speaks of this Hindu concept of rebirth
in the words,
“I hold that when a person dies His soul returns again to earth; Arrayed in some new flesh-disguise. Another mother gives him birth. With sturdier limbs and brighter brain The old soul takes the roads again.”
In reality man is a traveller, 'commuting from one life to another. In each . life he collects the fruits of his actions which may be good and pleasant ones or which may be sour and bad, all depending on his actions either lifting him up or bringing him down. Wordsworth speaks of this transmigration in mystic rapture in his celebrated Ode,
"Our birth is but a sleep and a forgetting The Soul that rises with us, our life's star Hath had elsewhere its setting And cometh from afar: Not in entire forgetfulness And not in utter nakedness But trailing clouds of glory do we come From God, who is our Home.”
Again in Lord Tennyson's elegy, "In Memorium, he clearly speaks of man's birth, death and his reincarnation. Man will be blessed according to the deeds he does in his birth and finally he attains salvation.

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"That each, who seems a separate whole Should move his rounds, and fusing all The skirts of self again, should fall Remerging in the general Soul.” XLVII
The words, 'should move his rounds, refers to the cycle of births and after several births when man is spiritually advanced, his Soul finally shakes off the body which is referred to in the words, 'the skirt of Self should fall and is wholly merged with the Soul.
Dr. Radhakrishnan says clearly that what looms over us is no dark fate but our own past. We are not victims of a driving doom. Suffering is the wage of sin. There is no question that such an idea is a great incentive to good conduct. Karma rightly understood does not discourage moral effort, does not fetter the mind nor chain the will.

6
THE DISPUTANT - SAINT SUNDARAR
"He sent me the White Elephant to ride to Kailash and there I was received by all the celestials - Indran, Mal and others. When the sages on seeing me riding in, asked "who is he?”,
The Lord's blessings were - "He is my friend Arooran.'
"Ivan yaar ena, emperumaan namthamar ooran, anraar," - He is my friend Arooran is the finale of Saint Sundarar's extraordinary life indicating the beautiful pattern of his divine existence. Great was his love for God and greater was his humility that reigned in his Soul. At the age of eighteen he earnestly wished to be free from worldly existence and was rewarded as he himself records.
Sundarar's life is a divine poem set in earthly language and rendered into word. It is a beautiful story in which he becomes a beckon light on the path of man's spiritual evolution. The nectar drops of his wisdom are pure, alluring and charming, giving a perception and a vision of Truth. These are ever fresh withstanding all storms creating a perennial source of strength and inspiration in us. Over one thousand two hundred years have rolled down the stream of time since he left his mortal coil, but the wave of spirituality raised by his life, has splashed distant shores and his songs are resurgent still in all its native potency in the life of the
Hindus.
Sundarar was born in AD 694 to Sadaiyanar and Isaijnaniyar - a devout Brahmin couple belonging to the Aadisaiva clan. He was
இவன் யார் என, சிவபெருமான் நந்தமர் ஊரன் என்றார்.
* இழியாக் குலத்திற் பிறந்தோம் உம்மை இகழாதேத்துவோம்.
He himself sings in one instance of being born in the Aadisaiva family which performs the various pujas in the Lord's Name. He records in his songs that Sadaiyanaar and Isaignani were his parents. He was born in the latter part of the 7" century 694-712.

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62. ' THE FootfALLs on TIME
SAINT SUNDARAR
踩 艇
* *
• سرے نے عید خان 2 بسی۔
"...M.
Courtesy - Ponnambalam - Periya Puranam 1949
பித்தா பிறை சூடி பெருமானே அருளாளா எத்தான் மறவாதே நினைக்கின்றேன் மனத்துன்னை வைத்தாய் பெண்ணை தென்பால் வெண்ணெய்
நல்லுார் அருட்டுறையுள் அத்தா உனக்காளா இனி அல்லேன் எனலாமே.
 
 

SAINT SUNDARAR 63
born in Navaloor and was named Nambi Aroorar. His early childhood showed unmistakable signs of a great person in the making; he was handsome and had a sharp intellect. These qualities fascinated the Prince of Tirumunaippaaddi who later adopted him as his son. At the palace he was given a good education in both the princely and brahmanic lores.
His marriage was arranged. The bridegroom arrived at the bride's residence at the auspicious time and the ceremonies were about to begin when an old Brahmin produced documentary evidence saying that the groom's entire family were his slaves; he castigated the bridegroom and claimed him as his slave in the presence of all the guests. The groom remonstrated calling him a madman. When the guests inquired as to who He was, He chided them saying, "Don't you know Me?” He then invited all the guests to the neighbouring temple in order to prove that the ola document was genuine and that the young man was his slave. Speaking of the Temple as His Home, the old man went in disappearing into the Sanctum Sanctorum surprising one and all. And then the groom had the vision of God and His Consort in the Sanctum. A Voice was heard, "My child, you are My beloved devotee. You were in Kailash as Alala Sundarar but had to come down to earth to fulfil the desire of marrying two damsels, devoted in the service of Parvati. When you were banished to earth, you earnestly requested Me to restrain and rescue you when in danger. It was I who intervened forbidding this marriage and enslaving you as you were about to be bound in the wrong wed-lock. You are now saved. Because you entered into a disputation with me, you shall be called Van Thondan. Since you became My slave on your wedding day you should always be in a bridegroom's silk attire and turban. The
best way of worshipping Me is to sing My praises and serve Me.”
It is strange that God had called Nambi Aroorar 'Van Thondan,* litterally meaning a "harsh devotee - a disputant. Stranger still is the
He sings again of Navaloor as being his birth place BT616) 6Triád Lib asugi நந்திரு நாவலுாரே.
Saint Sundarar refers to this incident of being called Van thondan in the words. வன்மைகள் பேசிட வன்றென்டான் என்பதோர் வாழ்வுதந்தார்.

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fact that he was neither known as Nambi Aroorar the name given by his parents nor by Van Thondan given by God but was known as Sundarar - a handsome person. Perhaps the bridegroom's attire that had been bestowed on him earned this namel Or again since he was known in Kailash as Alala Sundarar, this name may have been adopted.
Tradition tells us that Alala Sundarar while serving the Lord in Kailash fell in love with Kamalini and Anindhitai who were serving the Lord's Consort there. These two maidens deeply committed to service became mere pawns in Alala Sundarar's life which had to be redeemed from births and deaths. The fact that all of them were sent down to earth reveals a fundamental truth that thoughts born of strong desire have to materialise through birth on this earth. Life on this earth is the proving ground for spiritual evolution and no one can escape this law of karma. And so Alala Sundarar, Kamalini and Anindhitai were all brought together into this mundane world to fulfil their desires, and through this, burn out their karma and attain salvation. The unfoldment of the karma. of Alala Sundarar, is the story of Saint Sundarar's life on earth being the sequel to the incident in Kailash.
Though Sundarar was born into this material world yet his first love and in reality his only love, was Lord Siva. His desire to attain salvation made him a wandering minstrel, singing the praises of God and serving mankind. He was made to suffer for his wrong actions but through his suffering he was redeemed.
When Sundarar was commissioned to sing the praises of God, he knew not how to begin. 'What do I know O Lord, to sing Thy greatness?' he asked. It is easy, for you have already called Mea Madman "Piththaa"; begin with that word, directed the Voice of God. He was inspired and his devotion burst forth into garlands of songs beginning with the words,
& &{
Piththaapirai soodi perumane arulaalaa,”
அத்தா உனக்கு ஆளாய் இனி அலலேன் எனலாமே. pathikam l verse 1

INT SUNDARAR 65
O Madman, with the shining crescent crown! O Lord who abideth in Arulthurai of Vennainallur
Having become Your slave, can I now ever deny it?'
And continued, "Mudiyen ini piraven, perin mooven petra oorthi ...." Sundarar reiterates, Lord Sri Krishna's explanation to Arjuna of the immutability of the Soul saying,
“I will not die, nor be born again; Nor if born will grow old again. As I lovingly meditate on Thy Feet, My bonds break away for ever.'
Having recounted the ancient Truth, Sundarar goes on singing with remorse, ”naayen pala naalum ninaippenri manaththunnai...” How great is Thy Grace that has deemed this dog worthy of It. Like a ghost I have wasted so many days without thinking of Thee.
God had thus encroached on him, laid siege to his rebellious heart, and made him. His slave. This divine encounter was the turning point of his life. Henceforth being reminded of his goal, all the discordant elements that may have been struggling within him were composed into a new harmony which guided him towards his Lord.
Sundarar lived barely for a decade and eight years but in that brief span led a full life and left a legacy whose rich dividends we continue to reap. His songs are the Tevarams which form the Seventh Tirumurai of
the Anthology of the Saiva Saints. Though tradition has ascribed thirty
* முடியேன் இனி பிறவேன் பெறின் மூவேன் பெற்றம் ஊர்தி,
கொடியேன் பல பொய்யே உரைப்பேனைக் குறிக்கொள் நீ.
pathikam 1 verse 4 Sri Krishna says in the Baghavad Gita, "He is not born; nor does He ever die; after having been, He again ceases not to be. Unborn, Eternal, Changeless and Ancient, He is not killed when the body is killed. (11th chapter verse 20) நாயேன் பல நாளும் நினைப்பின்றி மனத்துன்னை, பேயாய்திரிந்தெய் தேன் பெறலாகா அருள்பெற்றேன். pathikam 1 verse 2

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seven thousand songs to him, only one thousand and twenty six songs are presently available. His hymns are, of an autobiographical nature, sharing his aspirations and failures and at the same time echoing deep philosophical truths.
He had had several dates' with God which unfold as one reads
through his story. The first encounter was on his day of marriage. He
then revealed Himself together with His Consort at the neighbouring
Temple of Tiruvarutturai where He requested him to sing hymns in Y praise of Him. He bestowed on Sundarar the boon of Thavaneri, the path
of prayer and meditation and blessed him with the Thiruvadi deekshai,
the initiation into the fold of devotees. He also bestowed on him the
vision of the Cosmic Dance at Tillai and lastly he blessed him with His
companionship - a very high privilege.
This friendship with God was fascinating where his whole life was an eloquent testimony to it. It was a grand blessing bestowed on him and when God granted it, He also assumed certain liabilities and risks such as the liberties taken by this friend with or without permission.
It is only when this ideal of friendship is fully comprehended that all the episodes in Sundarar's life become explicable. He sings in one instance referring to the friendship -
* *Elisaiyaai isaipayanaai innamuthaai ennudaiya tholanumaai......
Elaiyen pirinthirukken en Aroor Iraivvanaiye - ”o
As the various notes of music and sweet ambrosia give pleasure, He became my close Friend accepting me with all my faults....... I shall not be parted from my Lord residing at Tiruvaroor.
The association with God being his closest Friend, earned him the name of Thambiran Tolan. His hymns reveal this extra-ordinary relationship which was peculiar and baffling. One may wonder how God
* ஏழிசையாய் இசைப்பயனாய் இன்னமுதாய் என்னுடைய தோழனுமாய்
யான் செய்யும் துரிசுகளுக்குடனாகி. Verse 527

SAINT SUNDARAR 67
could be a close friend; however, Sundarar's sincerity was recognised and he was accepted as a friend.”
Sundarar's earnest request for the boon of renunciation, prayer and meditation - Thavaneri - was granted by God.' To him, renunciation did not mean retiring into the forest; he lived his life in this world performing his duties and at the same time he was vigilant and alive to right action, discriminated between the real and the unreal and served mankind, expecting nothing in return. All his actions were consecrated
to God, who was his Friend, Guide and Philosopher.
The day Sundarar was redeemed he felt an indomitable urge to worship in various shrines, singing as an unfettered Soul depending only on God's Grace. He proceeded with deep devotion and ecstatic fervour from shrine to shrine as a wandering bard attired in the bridegroom's garb. At Tiruvathigai, Sundarar wishing not to tread on the hallowed grounds made holy by Appar, worshipped from the outskirts of the village. And that night, the Lord had given him initiation, "Deekshai,” which Sundarar did not quite understand and later relates the story of the Lord placing His foot on his head and giving him the initiation - tiruvadi deekshai.
Yogaswami of Jaffna in more recent times shared with Sundarar the affinity of worshipping God as a close friend and would often advise devotees thus, your Friend is within. Tap and keep on tapping at the door till He opens it. Call on Him incessantly. Chant His Name and he will respond as He did to Saint Sundarar. While you perform your duties in life follow the path laid down by Sundarar, because his way of life brought him (Sundarar) peace and love. This example should strengthen and illumine your souls. (Sivathondan 47/8 Saint Sundarar and Swami.)
"His request at Tiruththuraiyoor was that he be blessed with the boon of Thavaneri in
order that he may pursue his goal - D60)6)u JTUCD 6ig55J6i LDTLD60s ubids ...... and achieve bliss. துறையூர்த்தலைவா! உனை வேண்டிக் கொள்வேன் தவநெறியே. pathikam 13 verse 123Thavaneri is a word which is difficult to translate into English. It encompasses austerities, non attachment, ahimsa, prayer, meditation leading to mukti - a blessing granted by the Lord.

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He then travelled as a wandering bard through the holy cities of Tiruvathigai, Tiruvidaimaruthur, Tiruvaavaduturai, singing mellifluous hymns reaching Tillai. At Tillai he was overwhelmed by the flood of bliss at the Dance of God and broke forth addressing his mind,
“Madithaadum adimaikkan anriye manane ni vaalu naalum ...”"
O mind you did not worship the Lord who danceth; yet, He redeemed you. Now you have had the good fortune Of seeing Him holding the drum, the fire and the serpent, Dancing in Tillai, what more do you want?
To Sundarar this deity at Tillai, Lord Nataraja was a living form, dancing His Eternal Cosmic Dance, and not a mere image in bronze. This figure in bronze is awe inspiring how much more would the Dance of Ecstasy have been to Sundarar
A pen picture of this scene is portrayed by Serkkilar in the Periya Puranam where he depicts Sundarar as saying, "Unthan thirunadanam kumbidap pettru mannile vandha piraviye enakku vaalitham inbamaam.' This birth on earth that grants me worship of Thy Dance is very blissful to me, O Lord I have nothing more to gain.'
An image of Sundarar in bronze belonging to the Chola period in Polonnaruwa, Sri Lanka, is an expression of perfect art portraying his rapture in witnessing the sacred Dance of Siva in Tillai. The artist has captured the very moment when he stood intoxicated with the Dancer. The hands are raised but
மடித்தாடும் அடிமைக்கண் அன்றியே மனனே நீ வாழு நாளுந்
- - - - - - - தமரகமும் எரி அகலுங் கரிய பாம்பும் பிடித்தாடிப் புலியூர்ச் சிற்றம்பலத்தெம் பெருமானைப் பெற்றாமன்றே. pathikam 90 verse 913 * தெண்ணிலா மலர்ந்த வேணியான் உன்றன்
திருநடனமகும் பிடப்பெற்று மண்ணிலே வந்த பிறவியே எனக்கு வாலிதாமின்பமாம். - பெரியபுராணம்.

SAINT SUNDARAR 69
held in suspense and this arrested movement conveys a sense of breathless wonder and awe. The Dancer not only appears real to Sundarar but fills his inner being. The delight that is depicted by the unknown artist whose life merges in the perfection of his creation tallies with Serkkilar's description of Sundarar in the
Periya Puranam.'o
At Tillai he had a divine message to proceed to Tiruvaroor. On his way he worshipped at his birth place, Tirunavaloor and then went to Tiruvaroor, where God bestowed on him the accomplished devotee Paravaiyar who like Sundarar had come down to earth in order to
Courtesy - The Creative Touches of the Chisel
work out her karma. The moment he saw Paravaiyaar he was smitten with love. Saint Serkilaar describes Sundarar's dilemma as "Karpakaththin poonkombo kaamanthan peruvaalvo..." Is this a sprig of the wishing tree or is it a fragrant creeper.....Or is it God's Grace?'
Sundarar's Companion Lord Siya arranged the marriage. In his married life Sundarar led a perfect householder's life but at the same time was deeply devoted to God. He tells us through his songs that all the needs of his family were miraculously supplied through the divine Grace of God.
For example, once when there was a shortage of grain and Paravaiyar could not feed the needy poor, the Lord Himself appeared in the dream of the supplier Kundaiyoor Kilavar and said that he had supplied the
'The artistic image of Sundarar was found in Polonnaruwa - The Creative Touches of
the Chisel-page 154 by the Author. l4 கற்பகத்தின் பூங்கொம்போ காமன்றன் பெருவாழ்வோ
அற்புதமோ சிவனருளோ அறியேன் என்றதிசயித்தார் - பெரியபுராணம்.

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paddy allotted for Arooar and that it could be now delivered to him. Finding the large stocks of grain, Kilavar informed Sundarar of this. Seeing the stocks Sundarar realised that he had no one to collect them. He went to the Shrine of Tirukkolili and petitioned God for help -
' ”Neelaninainthadiyen unnai niththalum kaitholuven ......
aalilai emperumaan avai attiththarapaniye.”
With folded hands, I constantly worship
and contemplate on You. O Lord! Now I have received some grain; but I have no one to help carry this to my home. Instruct some one to collect it and bring it to me.'
The paddy was delivered at his place and Paravaiyar was able to feed the hungry.
On another occasion Sundarar pleaded for gold, which Paravaiyar needed badly in order that she could help the poor in the neighbourhood. Here too, he was bestowed with the gold and he requested that it be delivered at Tiruvaroor so that the people would see the miracle. He was asked by the Lord to dump the gold in the sacred river Muththaaru and go back to Aroor and collect it from the temple tank. The gold was brought to shore to the amazement of all.
In these incidents we see the ineffable love God had for Sundarar despite his demanding nature.' Since he was enslaved it was the Master who had to fulfil all his needs; for no one else could help a slave except his Master
* நீள நினைந்தடியேன் உனை நித்தலும் கைதொழுவேன்
- - - - - - - - - - - - - ஆளிலை எம்பெருமான் அவை அட்டித் தரப்பணியே.pathikam 20 verse 1 19 “அற்ற போழ்தும் அலந்த போழ்தும்
ஆவற்காலத் தடிகேள் உம்மை ஒற்றிவைத்திங் குண்ணலாமோ ஒண காந்தன் தளியுளிரே. pathikam 39 Verse 393

SAINT SUNDARAR 71.
Having settled Paravaiyar's needs, Sundarar stepped out of his home to visit the Temple of Tyagesar. There he saw a host of devotees gathered in the great thousand pillared hall, the Devasiriyon Mandapam. He was moved on seeing these saintly men that he wished to pay his humble homage to them. When wilt Thou O Tyagesa, make me a servant of all these devotees?” he asked. The Almighty granted this boon, and gave Sundarar the understanding of the greatness and the goodness of these devotees. He then commanded him to sing about them. Since Sundarar had said that he was not competent to sing about them, Lord Tyagesar sang the opening line of the celebrated pathikam -
“ “Thillai vaal anthanar tham adiyaarkkum adiyen.”
I am the servant of servants of the Brahmins at Tillai;
Of Neelakandar, the potter, named after the blue
throated Lord;
Of Iyarpakai, who never said no; of Meipporal an expert
in gaining victories.
Sundarar was inspired and having worshipped them from afar at first and later prostrating before them with unsurpassed devotion and deep realisation he began singing about each one calling himself the servitor of the servitors of each. In the stillness of his mind he kept tuned to the wavelengths of these devotees and accumulated threads of understanding that widened his knowledge of them. To him the devotees were none other than God Himself. In very apt and concise phrases, he condensed the greatness and life story of each one. Having sung the last verse, saying that he was the servant of Poosal, Maani, Nesan and servant to Sengkannanaar, Tiruneelakandaththu paanaar, he finally adds the names
Speaking in such terms as , 'When one is destitute and sunk in despair and in dire necessity should they mortgage You O Lord who abideth in Onakaanthanthali and feed themselves with the money so raised. 7 தில்லைவாழ் அந்தணர்தம் அடியார்க்கும் அடியேன்
திருநீலகண்டத்துக்குயவனார்க்கு அடியேன் இல்லையே என்னாத இயற்பகைக்கும் அடியேன் வெல்லுமா மிக வல்ல மெய்ப்பொருளுக்கடியேன். pathikam 39verse 403

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of his parents Sadayan and Isaijnani and concludes that those who have listened and enjoyed hearing his servitude will become devotees of the Lord at Aroor.
“Annavarum arooran adimaikettu uvappar
Arooril ammanukku anbar aavaare.ʼ'°
And thus was sung the Tiruthondar Togai, the catalogue of the holy servitors of the Lord, a concise edition and the forerunner of the monumental epic, the Periya Puranam by Serkkilar. Sundarar's Togai was a luminous and masterly exposition of the whole range of sixty two . saints and the light that was in him revealed the ancient truth in all its splendour through these saints.
Sundarar lived in this world but lived a life in God and considered God to be the only treasure - "Meelaa adimai umakke aalaai..."' my allegiance is to Thee alone and to no one else, he sang. His was a wondrous spirit, with God as his closest friend. Whenever he needed help, he turned to God and God never failed him.
SAINT SUNDARAR — PART II
An important chapter in Sundarar's life was still to unravel itselfthis was the meeting with Sangiliyar, who had also come down to earth to work out her karma. Unlike Paravaiyar, Sangiliyar remembered her earlier life and was waiting for Sundarar. When he visited Tiruvottriyoor to worship the Lord, he met this maiden and realised that this was the other maiden he had wished to marry and for which he was sent down to earth.
The Lord, his friend, arranged this marriage and Sundarar had to give his word that he will not leave the village after marriage. Tradition has
* அன்னவரும் ஆரூரன் அடிமைக்கேட்டுவப்பர்
ஆரூரில் அம்மானுக்கு அன்பராவாரே. pathikam 39 verse403 ? மீளா அடிமை உமக்கே ஆளாய்ப் பிறரை வேண்டாதே.
pathikam 95 verse 964

SAINT SUNDARAR 73
it that the marriage was solemnised by the Lord Himself and the couple were deeply committed to Him. However, the pending annual festival at Tiruvaroor lured him out of his promise. He sang in anguish,
Eththanainaal pirinthirukken en aaroor iraivanaiye..?”
I have left the path of love and service And now I understand the cause of my pain; How long can I be separated from my Lord of Aroor?'
This was the nostalgic urge to visit Tiruvaroor.
The moment he crossed the village limits he lost his sight - a punishment meted out for breaking a solemn oath nay it is not that God punished him; it is that Sundarar laid himself open to the workings of the inexorable karma. He was deeply pained both in body and mind but this did not deter him. He walked on totally blind stopping at all the shrines, praying for forgiveness. More than the physical handicap and pain of body and mind, he was very much concerned and anguished that the relationship with God may have gone. The wish to worship the Lord at Tiruvaroor was really far more important to Sundarar than keeping his promise. Perhaps he felt that his intimate friendship with God cannot be injured by this act of leaving the village to worship Him.
He sang in one instance at Tiruvottriyoor
‘ “Alukku mei kodun thiruvadi adalinthen ...................2
I have come to Thee with an unclean body. If I slip and stumble, Your sacred Feet I’ll never fail; Na Ma Si Va Ya Your Name I'll never forget! Give me a cure for my lost sight.'
20 பத்திமையும் மடிமையுங் கைவிடுவான் பாவியேன் மற்று நான் அறியேன்
LLLLSLLLLLSLLLLLSSSASLL LLLLL LCLLLSLLLSLLLC எத்தனைநாள் பிரிந்திருக்கேன் என்ஆரூர் இறைவனையே. pathikam 51 verse 518
* அழுக்கு மெய்கொடுன் திருவடி யடைந்தேன்
பிழைப்பனாகிலுந் திருவடி பிழையேன் வழுக்கி விழினும் திருப்பெயரல்லால் மற்று நான் அறியேன்.என் கண்ணுக்கு ஒரு மருந்துரையாய். pathikam 54verse 550

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And goes on to chide Him saying,
"O Lord Thou who hath three eyes; Yet You deprive me of my eyes; Graciously help me with a walking stick.’
After worshipping at Tiruvaalankaadu, where Karaikkal Ammaiyar had worshipped the Lord moving on her head as a ghost, he went to Tiruvekambam. Here he fell prostrate crying, “................... Kaanakkan adiyen perravaare,' Thou drank the poison and gave the nectar to the Devas: forgive me my transgression O Lord Ekambane, in order that I may see and worship Thee it would be that I have got my sight back.'
He gained the sight of his left eye but the physical ailment and the loss of sight of the right eye continued. He realised that he had to still exhaust his karma. This made him more determined in his prayers and his faith increased. 'You robbed me of my sight; restore it and reveal Yourself to me, he sings, chiding God. At one stage he was so desperate that he pleaded with the Lord of Tiruvaavaduturai to bless him saying, "Dont fear for who else is his kith and kin here (other than the Lord).
At Tiruththuruththi, he prayed fervently that he was unable to bear the physical pain and according to a command, he bathed in the tank and was cured of the ailment. In ecstacy he sang "O Lord, I a dog with many faults, how could I ever forget Thee who cured me.'
22 மூன்று கண்ணுடையாய் அடியேன்கண்
கொள்வ தேகணக் குவ்வழக் காகில் ஊன்று கோலெனக் காவதொன் றருளாய் pathikam 54 verse 553 ஒற்றியூர் எனும் ஊருறைவானே. ஆலந்தானுகந் தமுது செய்தானை எம்மானை காணக் கண் அடியேன் பெற்றவாறே. pathikam 61 verse 624 தீர்த்தனே திரு வாவடு துறையுள் அண்ணலே எனை அஞ்சல் என் றருளாய் ஆர் எனக்குற வமரர்கள் ஏறே. pathikam 70 verse709 செடியனேன் நாயேன்
என்னை நான் மறக்குமா றெம்பெரு மானை யென்னுடம் படும்பிணி இடர்கெடுத்தானை pathikam 74verse 751
23
24
25

SAINT SUNDARAR 75
And finally at Tiruvaroor, he again pleaded saying,
While Thy eternal slave asks for none but Thee and With burning passion tells Thee of his suffering,
Thou keepest silent and helpeth not; I have done no wrong;
Why has Thou taken my sight? the blame is Yours.'
With this prayer, he regained his sight completely.
Sundarar was now cleansed of all his karmas. He was God's companion and even in pain when he prayed fervently he prayed to Him his friend; his pleas though addressed to God, were mundane and resembled those of a child in great pain addressing a mother for assuage. God, understood His friend's prayers and granted him his requests as and when the karmas were expiated.
With a prayer in his heart and a murmur of God's Name on his lips, Sundarar continued his pilgrimage worshipping the deity in each temple, composing devotional songs which not only expressed the delicate shades of his feelings, but were also of a philosophical nature.
Sundarar spoke through direct experience radiating love, peace and joy. Taking examples from the Vedas and Puranas, he wove them into devotional songs emphasising their esoteric significance and the faith one should have in God. For example in the hymn,
* குற்றம் ஒன்றுஞ் செய்த தில்லை
கொத்தை யாக்கினி என்கண் கொண்டீர் நீரே பழிபட்டீர் pathikam 95 verse965 நம்பி என்ற திருப்பதிகத்தில் சுந்தரர் இறைவனை பலவாறு ஏத்தி "நிரே எங்கட்கு எப்பிறப்பிலும் துணை” என்றும், அவரை "நம்பி” என்ற சிறப்புப் பெயரால் அழைக்கின்றார். “பொழுதம் விண்ணும் முழுதும் பலவாகி இருந்த நம்பி” காலமும் வானமும் முதலிய எல்லாப் பொருள்களுமாய் பலவாகி நிற்கின்ற நம்பியே.

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“ “Andanaalan un adikkalam pugudha....”*7 he says, ܚ
My Lord! You saved Markandeya from the jaws of Death; Knowing that when Death comes to me, You would save me by saying, don't touch him; he is my devotee.'
In this song besides recounting sage Markandeya's story of faith in God, Sundarar portrays his own indubitable faith in his Lord that He would save him.
To Sundarar, the Panchakshara mantram was all important and his mind was always attuned to this. In the Namasivaya pathikam he dedicates the songs to the Lord of Kodumudi and concludes in each verse, "Narravaa unnai naan marakkinum sollu naa Namasivayave,' even if I were to forget Thee, My Lips will always murmur Namasivaya.'
The first of these hymns begins with the words,
“Matru patru enakku inri nin thiru ...”
Attachments have I none except for the Attachment to Your sacred Feet and I have Truly been blessed with Thy Grace and
Have attained the state of birthlessness
27 அந்த ணாளனுன் னடைக்கலம் புகுத அவனைக்காப்பது காரணமாக
எந்தை நீயெனை நமன்தமா நலியில் சிந்தையால் வந்துன் திருவடி அடைந்தேன் செழும் பொழில் திருப்புன் கூருளானே இவன்மற் றென்னடியான் என விலக்கும். pathikam 55 verse 560 நற்றவாவுனை நான் மறக்கினும் சொல்லு நா நமச்சிவாயவே மற்றுபற்று எனக்கின்றி நின்திருப்
பாதமே மனம் பாவித்தேன்
பெற்றலும்பிறந்தேன்இ னிப்பிற வாததன்மை வந் தெய்தினேன். pathikam 48 verse 488
28

SAINT SUNDARAR 77
Even if I were to forget Thee my Lord, my lips will always
murmur Namasivaya.”
Another feature that Sundarar stressed was the importance of leading a righteous life and performing righteous acts. The only redemption for man is to practise dharma in order to free himself from the cycle of births and deaths because life is an illusion and must come to an end. In one song he clearly portrays this truth in the words, "thaalaatharam seimin,' do righteous acts since life is an illusion and death is certain.'
Sundararhad sungten hymns eulogising the Lord of Tiruketheesvaram in Sri Lanka. This is an ancient temple of Mantai on the banks of sacred Paalaavi Teertham. which was completely destroyed by the Portuguese in the sixteenth century and was rebuilt several centuries later. In one hymn he sings, ".......Mathotta nannagaril... "Tradition tells us that as he stood on the southern shores of South India, he saw this wonderful temple and sang the celebrated pathikam beginning with the words
' 'Naththaar padaijnanen pasu verrinanai kavilvaaio
Hail to The O Lord of Tiruketheesvaram Who cleanses the sins of the devotees and
* வாழ்வாவது மாயமிது மண்ணாவது திண்ணம்
......... g5 TypTg5ABG, GlasujL66ŠT.... pathikam 78 verse 792 * நத்தார் படை ஞானென் பசு வேறிந்நனை கவிழ்வாயி pathikam 80 verse812
அங்கத்துறு நோய்கள்ளடி யார்மேலொழி தருளி வங்கம்மலி கின்ற கடல் மாதோட்ட நன்னகரில் பங்கஞ் செய்த மடவாளொடு பாலாவியின் கரைமேல் தெங்கம் பொழில் சூழ்ந்த திருக்கேதீஸ்வரத்தானே. pathikam 80 verse 816 Thiruketheesvaram Temple was/is a famous Sivan temple and the saints of the sixth, seventh and eighth centuries sang special pathikams venerating the presiding deity. Tradition has it that this temple was built by King Mayan, the father-in-law of King Rawana in the historic settlement of Mantai where international trade flourished. This shrine together with Munnesvaaram, Konesvaram, Thondesvaram (now extinct) and Nagulesvram are the five famous Iswaramsof Sri Lanka. The Portuguese completely sacked it and it was rebuilt years later.

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Bequeaths on them serene blessedness. Hail to Thee Who presideth with the beautiful Uma On the celebrated banks of the Paalaavi river At Mantottam by the sea which abounds in ships
An important personality in Sundarar's later life was the Chera King whose extraordinary experience led him to seek out Sundarar. The Chera monarch was a devotee of Lord Siva and at the end of his daily prayers and meditatioin he would hear the sound of God's anklets as He danced in the hall at Tillai - a very rare experience for any one. One day, he did not hear the sound of the anklets. He was greatly disturbed by this that he wanted to take his life. But the loving God hastened to dance so that the sound of the anklet would be heard. The King was deeply agitated and wanted to know the cause of this delay. A Voice was then heard saying that since Van Thondan was watching the Dance of the Lord at Tillai and singing His praises, He was enraptured by the devotion that He was late in coming.On hearing this, the King was eager to see this Van Thondan who had bewitched his Lord. They met soon after and became close friends, visiting various shrines together. And finally both entered the Lord's Kingdom, Sundarar riding the White Elephant that the Lord sent him and the Chera king on his horse which rose into the air as he chanted the mantram Na Ma Si Va Ya into his ears.
The story of Sundarar tells us that he lived in this world but lived a life in God and considered God to be the only treasure - 'my allegiance is to Thee alone and to no one else. His was a wondrous spirit, with God as his closest friend. Whenever he needed help, he turned to God and God never failed him.
His life teaches that prayer is the most powerful force in the world. Greater the load of his suffering, the more he needed the power of prayer to sustain him. His life shows that the important technique is to do all that we can possibly do in a situation that has arisen and leave the rest in God's Hands. He showed that the secret is to pray and have faith that the prayer will be answered. The essence of all prayer is, "Not my will but

SAINT SUNDARAR - - 79
Thine, be done.'
Saint Sundarar's Guru puja is annually commemorated in the holy Hindu month of Adi. One remembers him as a bird of heaven and a bard of the Spirit. His sojourn on earth was brief and when his day was done, he rode back to the regions of the Immortal. Though he was householder, detachment and devotion were his two wings and the Panchakshara mantram gave wind to soar higher and higher, making his life a sweet symphony of idealism and spirituality. He had a message for all and the least homage we can pay to his memory is to translate into our own lives the noble teachings of devotion and detachment and murmur constantly, Om Namasivaya.
Courtesy - Condensed English Version of the Periya Puranam by Vanmkianathan.
Sundarar breaks a solemn promise and becomes blind.(page 73)

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SAINT MANIKKAVASAGAR - THE PROPHET OF GOD
ʻ “Manivasagan cholla alagiya Tiruchittambalam
Udayan eluthiyathu,”"
as Manivasagan dictated it was written down by Tiruchittambalam Udayan.' "Tiruchittambalam Udayan,” was the signature of the scribe on the two hand written ola manuscripts. The priests found these scripts on the steps at the entrance to the Chidambaram Temple as they opened the doors for the morning pujas, early one morning about one thousand hundred years ago.
"Tiruchittambalam Udayan” was none other than the Lord who had appeared before Saint Manikkavasagar, as an old Brahmin expressing the wish that he would like to write down all that he was singing. Manikkavasagar consented; when the Tiruvasagam was completed he was requested by the Brahmin to compose a work in the Kovvai theme on the Lord of Tillai. The Tirukkovvaiyar was duly composed and was also faithfully taken down. As the task was over, the Scribe vanished leaving the scripts at the entrance to the Temple which the priests found. The priests were intrigued to see these sacred manuscripts so beautifully written and placed on the steps. A Voice directed them to the author Manikkavasagar, who was residing in the ashram close by.
They went to the ashram and after paying their homage they requested him to explain the import of the two compositions. Silently
மணிவாசகன் சொல்ல அழகிய திருச்சிற்றம்பலம் உடையான்
6T(gg5uigi. The Tiruvasagam and the Tirukkovai were written down. The Tirukkovais i is a composition in nayaka-nayaki bhavam where Manikkavasagar seeks God. It is a love lyric where the individual Soul the Jivatman, seeks the Universal Soul the Paramatman.

SAINT MANIKKAVASAGAR 81
SAINT MANIKKAVASAGAR
Courtesy - Author's Collections
நமச்சிவாய வாழ்க! நாதன் தாள் வாழ்க! இமைப்பொழுதும் என்நெங்ஞ்சில் நீங்காதான் தாள் வாழ்க!

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Manikkavasagar went to the temple, followed by the priests. There he stood in rapt silence communing with the Lord Almighty. He pointed to the Mystic Figure in the Sanctum Sanctorum, the figure of Lord Nataraja, the Eternal Dancer in the Golden Hall at Tillai, as being the essence of these immortal compositions. At that very moment, a great effulgent Light emanated from within and Saint Manikkavasagar disappeared into It, casting aside all that was mortal in him to abide for ever at the Lord's Feet.
Lord Siva Himself is said to have not only asked Manikkavasagar to sing these compositions but had written them down for posterity. These form part of the eighth book of the religious Anthology of Saivism, the Tirumurai. On reading such compositions like the Tiruvasagam and Longfellow's works on Dante, we realise how in every age and race there appeared great personalities, prophets of God who keep the flame of life burning steadily, so that others might follow its light.
It was in the holy Hindu month of Aani under the Magam star that Saint Manikkavasagar became One with God at Tillai. This marks his Guru Puja and one remembers with deep reverence the saint and his immortal Compositions - the Tiruvasagam and the Tirukkovai.
The Tiruvasagam is Manikkavasagar's main composition - the story of man's search for God portraying the Soul's agony and ecstasy and its quest for the Lord, seeking His Grace through repentance and finally achieving this through the consummation of his aspiration. The aroma, ardour and content of the work is fascinating.
* One could compare Longfellow's poem on Dante and the Divine Comedy, with
Manikkavasagar and his Tiruvasagam -
"O bringer of the light, whose splendour shines
Above the darkness of the Apennines, Fore-runner of the day that is to be!
s
o Tiruvasagam — Tiruvasakamani Balasubramaniam.
"The Tiruvasagam is the quintessence of the Upanishads, the unique gift to the world by the Tamils. The Upanishads teach the way of life while the Tiruvasagam, is life itself, recorded in unfaltering words, in words of unsurpassing melody, in a language that is nectar itself," says Vanmikanathan.

SAINT MANIKKAVASAGAR 83
The hymns combine the exoteric and the esoteric aspects of Saivism and teach the tenets of this rich human philosophy. The remarkable feature of Saiva Siddhanta as seen in the Tiruvasagam is the personal tie which connects the Soul with God and this relationship is described in the language of human love. "Love one another not only as thyself but as the embodiment of Lord Siva for it is the love of fellowmen that helps to free the Soul from bondage, is the silken thread that weaves through the immortal Tiruvasagam. It is this love and harmony that transcends religious, political and communal considerations that Manikkavasagar
has left behind for humanity.
The author's agonies, his spiritual ecstasies and enlightenment have been rendered into lyrics, each lyric being a unit of mystic insight knit into a pathikam or chapter. These gems, pure, Sweet and serene' tell us that from the sublime heights of spirituality, Manikkavasagar regarded human beings as children playing on the seashore of eternity. He too became a child himself for the moment composing the truths of great spiritual values in the simple language of sporting children, guiding us to the lotus Feet of God Almighty, Siva. He shows that this world is a place where man can find his salvation, where he can be redeemed. He sings in one instance,
Kannaal yaanum kanden kaanka.”
See what I have seen. See the One whose rosy Feet touched the earth; See Him whom I have recognised as Siva; See Him who has made me His and showered Grace.
It was from the turmoils of a difficult political career that Tiruvathavoorar reached his goal. He endeavoured with singleness of purpose to understand and establish a connection with God - a conscious
* கண்ணால் யானுங் கண்டேன் காண்க
சேவடி தீண்டினன் காண்க சிவனென யானும் தேறினேன் காண்க அவனெனை யாட்கொண்டு அருளினன் காண்க. Tiru andappakuthi

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urge to transcend his finite existence, from a very young age itself. In this search he realised that he was only an instrument in the hands of God and his duty was to serve Him. In the Tirupalli eluchchi he sings,
"Tell us the ways of serving You and we will obey You,'
Edhu emai pani kolumaaru athu ketpom.”
History has it that Tiruvathavoorar was born in the village of Vathavoor in the Pandyan Kingdom in the latter half of the ninth century. The talents and the capabilities of this young man drew the attention of the ruling monarch who appointed him as his Chief Minister with the title of Tennavan Brahmarayan. He conducted the administration of the Kingdom well and the land flourished; however, he was a Soul in conflict, yearning for the Grace of God and seeking a Guru who would guide him towards this end.
The ardent wish for a Guru was soon answered when he was sent to Tiruperunturai to purchase horses for the Pandyan cavalry. While journeying to Tiruperunturai he heard divine music and perceived a mystic Guru, who exerted an indescribable sense of wonder in the young man. On seeing Him, Tiruvathavoorar fell prostrate at His feet with the words "Namasivaya,” on his lips. He forgot his immediate mission and without realising changed allegiance from the mundane ruler to the Sovereign Ruler of the Universe. He was inspired by the Guru and was charged with spiritual fervour and wisdom and was able to pour out his yearnings for God in garlands of songs.
On hearing these songs, the Guru blessed and named him "Manikkavasagar - one whose utterances are gems. It was this unseen Power that lured him to discover the Truth and teach mankind these eternal verities.
Manikkavasagar now became oblivious of his purchasing mission
* எது எமைப் பணிகொள்ளும் ஆறு அது கேட்போம். Tirupalli eluchchi.

SAINT MANIKKAVASAGAR 85
and spent the money in acts of selfless service. When the Pandyan King learnt that his orders had been flouted and the money squandered away, he had him arrested demanding an explanation. Manikkavasagar was helpless against the might and wrath of the King. But sucCour came to him through divine intervention, as it would, to any true devotee of God engaged in selfless pursuits. Taking refuge at the Feet of the Lord, he prayed for assistance. An inner Voice directed him to proceed to the capital and say that the horses would reach Madurai on Avani Moolam. And on this auspicious day, a contingent of fine horses did appear in the city led by a Stranger whose cavalier behaviour angered the King. Manikkavasagar refers to this incident in one of the hymns in the Keerthi tiru ahaval as,
"Madurai perunen maa nagar irunthu
Kuthiraich sevakan aakiya kolkaiyum.”“
That night the horses changed into jackals creating pandemonium in the city. The King was very angry and his wrath and indignation were directed against his Chief Minister, who once again became the victim of torture and punishment. He was stripped of his position and thrown on the hot sands of the Vaigai river bed.
Manikkavasagar again appealed for help and the unfailing God came to his rescue by causing floods and the breaching of bunds along the Vaigai river. The safety of the city itself was threatened and all the citizens of Madurai were called upon to build portions of the bund. Except for an old woman named Vandhi, all the others built their allotted portions. This woman employed a Youth who was not building but playfully breaking portions that had already been built. The King was horrified when he learnt about this and got the Youth caned. The Youth vanished but the impact of the lash was felt by all. Manikkavasagar recounts this incident in one of the Ammaanaai psalms graphically,
* மதுரை பெருனன் மாநகள் இருந்து
குதிரைச் சேவகன் ஆகிய கொள்கையும். Ammaanaai is a ball game where three maidens play throwing, catching and passing the ball while singing the praises of God as questions and answers.

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” “........................... kadavulkali Madurai
Man sumanthu koolikondu akkovaal moththundu Pun sumanthu ponmeni paaduthum kaan ammaanaai,”
He is the King of the world who carried sand in Madurai, Earned His wage and got caned on the Orders of the Pandyan King; His golden Form Carries the scars! O Ammaanaai.
He sings telling us the rest of the story how the unfailing One came to his rescue once again; this time as the young Coolie.
It was then that the King realised his mistake in punishing Manikkavasagar and that the Youth was none other than God Himself and that all this was His tiruvilaiyaadal (play). Manikkavasagar was immediately released and the King begging his pardon offered the Kingdom at his feet. He declined and renounced the world becoming a wandering minstrel, visiting temples and singing the glories of the Lord in, "holy strains of beauteous word. Finally he settled down at Chidambaram, as he had been asked by the Lord.
The autobiographical sequence of the various stages in Manikkavasagar's spiritual life and experience is the pilgrim's progress from the mundane to the immortal which is melodiously told in the Tiruvasagam - if one is not moved by the strains of these songs, then nothing else could move him.”
The Sivapuranam, is the first chapter in the Tiruvasagam which tells us the timelessly ancient story of Siva and His formlessness - 'arupam,
"... . கடவுள் கலி மதுரை
மண் சுமந்து கூலிகொண்டு அக்கோவால் மொத்துண்டு புண் சுமந்த பொன்மேனி பாடுதும் காண் அம்மானாய், Tiru ammmanaai verse 8 The old woman was also known as Semmanachchelvi.
*திருவாசகத்திற்கு உருகாதார் ஒரு வாசகத்திற்கும் உருகார்.

SAINT MANIKKAVASAGAR 87
referring to Him as ekan, anekan, isan, iyan, desan. It is the story of the evolution of the embodied Soul through its various transmigrations to the final destination, Moksha. Beginning with the Panchakshara Mantram, “Namasiwaya vaalga” “Hail Namasiwaya, my obeisance to It" he captures the unfathomable, the open sesame of the spiritual storehouse of Saivism as Tiruvachakamani Balasubramaniam says. In one instance while praising God,
“ “Vegan keduththaanada venthan adivaalka,”
Victory to the Lord's Feet; the Lord Who calmed the storm within me and made me His own,
he speaks of his mental turmoil which was quelled by God.
The Sivapuranam could be divided into chapters beginning with the salutations followed by an introduction wherein he says, 'through His Grace alone, I shall recount with a joy in my heart, the ancient ways of Sivas Grace.”*
Next the poet sets forth in sublime language the various stages of progress, that is from a life of ignorance and sin to the ultimate realisation of God. After the invocatory lines, he sings of the evolutionary pattern of the Soul on its onward march to perfection as,
"Pullaakip poodaali puluvaali maramaakip
Palvirukamaaki paravaiyaai paampaakip ..............13 גג
"o FBILDŠéf6 Tuu 6 ITĮpab. Beginning cadence of the Sivapuranam.
(36Jasib Gai,(63,576irl (86.556i stgoutpas. Sivapuranam line 6. Lord Tennyson several centuries later requests - "Calm me, ah, compose me to the end."
12 அவன் அருளாலே அவன் தாள் வணங்கி
சிந்தை மகிழ சிவபுராணம் தன்னை
முந்தை வினைமுழுதும் ஒய உரைப்பன் யான், Sivapuramam lines 18 - 20
புல்லாகிப் பூடாய் புழுவாய் மரமாகிப்
J6ö6úlb36lotaélú Lip606)JuJTuj LJTubLJTaélú
கல்லாய் மனிதராய் பேயாய் கணங்களாய்
SSLSS SSSLC0LCCCCCSLSCCCCLC இத்தாவர சங்கமத்துள்
எல்லாப்பிறப்பும் பிறந்திளைத்தேன் எம்பெருமான். Sivapuramam line 26 - 31
13

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Grass, shrub, worm, tree was I and Many a beast, bird, snake, stone, man and demon, and In every species of life was II;
Now I have grown weary of all these births, my Lord.
One wonders whether this is the evolution promulgated by science today, where man has come up a very long way to his present state by evolving through stages. But this theory is the mere evolution of the body and not of the Soul, that the poet speaks of. He goes on to explain in the hymn how he reached the Feet of God after passing through all the stages. The veil of ignorance which hides man's innate spiritual and divine nature, is gradually removed through the process of births and deaths. The actions we perform in these births, ordain the quality of our next birth and to us Hindus the day of judgement is not in some remote future, but here and now because we carry with us our good and bad actions, and pay for them. None could escape this. This is karma and no man suffers because he is pre-ordained by God to suffer. The suffering human beings undergo is one's own seeking and through this process one learns to do good and be good over several births and deaths. Manikkavasagar perhaps felt that he was no exception to this law for in one instance he calls himself, "Pollaa vinayen pugalumaaru onrariyen," O Lord! I am a wicked sinner who knows not how to sing Thy praise. We see the underlying struggles, aspirations and all that he experienced in his one endeavour to realise the Supreme, to be one with God.
The third chapter in the Sivapuranam is based on the Guru, the teacher who is the most important person in an aspirant's life. It is God who appeared as the Guru to Manikkavasagar and he speaks of Him as, 'One of pure bliss and knowledge who guided me to cure my ignorance.' And goes on to say, "Maasatrasothi malarndha malar sudare.” Thou art
* பொல்லா வினையேன் புகழுமாறு ஒன்றறியேன். Sivapuranam line 25
5 எஞ்ஞானம் இல்லாதேன் இன்பப் பெருமானே
அஞ்ஞானம் தன்னை அகல்விக்கும் நல்லறிவே. Sivapuramam line 39-40 uDTargBib (8aFTgó LDGloribgb D6Nofiế#35LC3g. Sivapuranam line 62-63

SAINT MANIKKAVASAGAR 89
the flower-like splendour blossomed out of the flawless effulgence, God of Sivapuram, and finally ends with the invocation,
“ “Nalirulil nattam payinraadum nathane
Tillaiyul koothane ... Allal piravi aruppaane, O vendru...”"o
O the Lord of Pranava vibrations! stepping to dance In the dark night of my Soul. ܫ O Dancer in the hall of Tillai, the Destroyer of births...’
Having recounted the story of the ageless Siva and His natural epithets, Manikkavasagar sings of the Grace of Siva who appears in various forms for the sake of his sincere devotees. In the Keerthi tiru ahaval or the Sacred Song of Siva's Renowned Acts, he begins with the mystic dance at Chidambaram which in reality is symbolical of His dance within each one – "Tillai moothooraadiya tiruvadi...”
In the sacred Temple Lyric, the Koyit tirupathikam sung in Tillai, Manikkavasagar's yearning for God, His Love and His Grace are seen. In this chapter he speaks of his senses being treacherous and perversely hallucinating - “Maari nindrennai mayakkidum vanjap pulanainthim” and concludes,
* நள்ளிருளில் நட்டம் பயின்றாடும் நாதனே
தில்லையுள் கூத்தனே.
Đ6ÖGogi tî gp6î SÐgpyÜLJT(8601. Sivapuranam line 89-92 The Pranavam, Om features prominently in Manikkavasagar’s Tiruvasagam particularly in the Sivapuranam and some speak of the Sivapuranam as being a song of Omkaaram since in the beginning, middle and end this mystic mantram is heard. The first word, “Namasivaya," is Panchaksharam which is none other than the Omkaaram and in the concluding lines "Nalliruli nattam payinraadum Nathane,” Nathane is Omkaaram; while in the middle it is 'en ullaththul Omkaaramaaininra. The Vedas and the Upanishads, for example have Omkaaram as their quintessence says the Mandukaya Upanishad says. தில்லை மூதுார் ஆடிய திருவடி பல்லுயிர் எல்லாம் பயின்றனன் ஆகி. Keerthitiruahaval

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“ "Eerilaa pathangal yaavaiyum kadantha
inbame ennudaiya anbe,”"o
O Mighty Bliss my Love of Tiruperunturai that Transcendenth everything and knows no end. To him Love and God were synonymous, "Anbe Sivam."
MANIKKAVASAGAR - PART II
The entire Tiruvasagam shows thatManikkavasagar was an outstanding exponent of Saiva Agamic thought. Agamic culture is pre-Aryan and is essentially Dravidian, preaching a theistic religion with Lord Siva as the Supreme. It is connected with temple worship. A temple is the house of God in the mundane language and this worship is the stepping stone to the true house of God, which is in man's heart, made all the more beautiful by God's Grace.
“ “Irraivane ni en udlidem kondaai ini unnai ennirakkene,”
OLord Thou hast made my body Thy abode, What more do I ask of Thee,
sings Manikkavasagar and then asks, "Who is my kin, who is not; there is nothing save the splendour of God.'
To Manikkavasagar, the sentiment of Grace as seen in Saiva Siddhanta, was all important. The Grace of Siva was his eternal support. This was veiled and concealed at the beginning, but finally unfolded itself as the luminous Grace, Anugraham. Human birth is precious
because it provides the embodied Soul with an opportunity to regain its perfection.
“ஈறில்லாப் பதங்கள் யாவையுங்கடந்த
S6tu(3LD 616ig)6OLu 96ir(3u. Koyit tiru pathikam verse 1
9 இறைவனே நீ என்னுடலிடங் கொண்டாய் இனியுன்னை என்னிறைக்கேனே. Koyit
tiru pathkam verse5

SAINT MANIKKAVASAGAR 91
His hymns enriched by the waters of faith, keep guiding humanity. For example when he sings,
' ”Paaviyennudaiya ooninai urukki uloli perukki”
O Lord! Thou hast melted the heart of my own sinful selfand My inward Light now glows with lustre through Thy Grace, we feel that we too can experience the inward Light.
He recognises the Cosmic Creator as, The Ancient One ...' and speaks of His Grace and how he was redeemed.
"Listen O Mind. While Mal, Ayan and Indiran searched for God in every birth, He made me through His Grace in this birth itself His own And freed me from future births. He is manifest in things Real and Truth is His essence.'
In the worship of the Lord, he guides us saying that love, pure and unselfish, welling forth from the very depths of one's being is more important than the scriptural texts, fasts, rites and even penances of great magnitude which cannot take the Soul to the Feet of the Almighty. In such an instance, the Infinite God will Himself reach out His Hand to the mortal being. For example, in the Holy Song of Praise, the Potritiru-ahaval, he says,
“ “Meitharu vediyanaaki vinai kedak
kaithara valla kadavul potri,"*
* பாவியேனுடைய ஊனினை உருக்கி உள்ளொளி பெருக்கி.
Pidiththa paththu. verse9
* மைப்பொலியும் கண்ணி கேள்! மால் அயனோடு இந்திரனும்
எப்பிறவியும் தேட என்னையும் தன் இன் அருளால் இப்பிறவி ஆட்கொண்டு இனிப் பிறவாமேகாத்து மெய்ப்பொருட்கண் தோற்றமாய் மெய்யே நிலைபேறாய். Tiruammaanaaiverse 12
* மெய்தரு வேதியனாகி வினைகெடக் கைதரவல்ல கடவுள் போற்றி.
Potri tiru ahaval

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Praise to Thee O God! Who came as the Brahmin Teacher, In order that my karma be crushed,
Didst Thou not hold out Thy helping Hand?' he asks,
telling us that the faithful and friendly arms that guided him were those of God.
Just as in traditional poetry, where we see lovers sending their message oflove to their beloved ones, through bees, birds, clouds Manikkavasagar too pours out his appeals in the form of hymns addressed to God and His Consort, through young maidens, birds like the kuyil as in the Kuyitpaththu and insects like the bumble bee as in the Tirukoththumbi. In the Tirukoththumbi one gets the impression that he pictures himself as the bumble bee which incessantly hums and worships at the Lotus Feet of God. And there, the bee sucks nectar, the nectar of bliss. In one hymn he chides,
K KK
a a aananda then soriyum Kunnippu udaiaanukke senru oothaai koththumbi.? Drink not the little drops of nectar from the flowers; instead Imbibe the eternally sweet nectar at the Feet of God; This nectar is rapturous bliss and melts one's bones; Go there to that Dancer and hum!
In this hymn we see Manikkavasagar feeling the pangs of separation from God Almighty, and he addresses the bee to convey his yearning to Lord Siva, the Eternal Dancer.
Again, we see him being inspired to sing the Tiruammaanaai, as he saw the maids playing with the ball, the Tirupotchchunnam while they were pounding the golden dust of sweet herbs to anoint the devotees, the Tiruththelenam as they leaped about standing and clapping their hands,
23 ... ஆனந்தத் தேன் சொறியும்
குனிப்பு உடையானுக்கே சென்றுாதாய் கோத்தும்பி, Tiru koththumbiverse 3

SAINT MANIKKAVASAGAR 93
the Tiruponoosal as they were swinging to and fro. In the Tirupoovalli we see a group of young maidens pick flowers and weave garlands of flowers for God. He sings, " 'for that Lord who was caned let us pluck flowers, - Pun paadal paadi naam poovallikoiyaamo.”*
In Tiruvannaamalai, he saw the young maidens rise early, waking each other up in the early hours of the Margali morning, going to the pond for a bath and then to the Temple for worship. Seeing this delightful scene, he composed the Tiruvempaavai hymns to enable the maidens to sing the glory of God Almighty every morning while waking each other on their way to the sacred pond for a bath. "aadu ellor empaavaai,” ends each of the Tiruvempaavai hymns.
Patronised by the Pandyan King, Manikkavasagar visited many shrines, singing these ethereal hymns, disputing with and putting down his religious rivals and spreading among the people the gospel of devotion to God and His Consort. His devotion is magnificently portrayed in the song where he asks,
“ “Thanthadhu un thannai kondadhu en thannai
Sankara aar kolo sathurar," “ThyselfThou hast given but myselfis what Thou hast got Who is the cleverer of the two, O Sankara? I have gained the All-pervading Bliss But what hast Thougot from me? O Lord Thou hast converted my heart into Thy Shrine
* திண்போர் விடையான் சிவபுரத்தார் போர் ஏறு
மண் பால் மதுரையில் பிட்டு அமுது செய்தருளித் தண்டாலே பாண்டியன் தன்னைப் பணி கொண்ட புண் பாடல் பாடி நாம் பூவல்லி கொய்யாமோ! Pooval தந்தது உன் தன்னை கொண்டது என் தன்னை சங்கரா ஆர்கொலோ சதுரர் அந்தம் ஒன்றில்லா ஆனந்தம் பெற்றேன் யாது நீ பெற்றது என்பால் சிந்தையே கோயில் கொண்ட எம்பெருமான் திருப்பெருந்துறையுறை சிவனே எந்தையே ஈசா உடலிடங் கொண்டாய் யான் இதற்கு இலன் ஓர்ட கைமாறே. Koyittirupathikam
25

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And O Lord Who resideth at Tiruperunthurai Thou has made my body Thy abode But I have nothing to give Thee in return.'
Through all these hymns Manikkavasagar teaches the rich tenets of the Saiva Siddhanta philosophy while speaking of the sublime Truths of the Upanishads, blending into them the devotion to Lord Siva, his Ishta Devata. The sweet melodic phrases couched in melting bhava (emotion) softens the heart and brings many a tear to one's eyes giving Hinduism not only the philosophical basis of religious life, but bringing religion to the hearts of all. The devotion that flows through each one of the songs, soothens gently an anguished mind, the Tiruvasagam being the Music,
that Lord Tennyson speaks of as
"Music that gentlier on the spirit lies Than tired eyelids upon tird eyes.”
MANIKKAVASAGAR - PART III - THE TIRUVEMPAAVAI HYMNS
As the dawn comes with its ineffable beauty to awaken the world to every day life again, to bring so much that is new, revive so much that may have been briefly forgotten for mankind, so comes the month of Margali. In Margali when the long nights are chilly and the days bright, Nature adorns herself with a spiritual loveliness, a loveliness which inclines the heart to prayer, meditation, love and peace. The lingering chimes of the temple bells float through the stillness and purity of the Margali dawn reminding the Hindus of the Brahma Muhurtham, the auspicious hour of dawn. V0
An aspect that becomes very important to us is the significance of dawn, the hour just before sunrise. Dawn is referred to as Usha, the goddess in the Vedas. Sri Aurobindo while explaining the poem Dawn in the Rig Veda says, "The Dawn comes as the bringer of Truth, is herself the outshining of the Truth. She is the Divine Dawn and the physical

SAINT MANIKKAVASAGAR 95.
dawning is only her shadow and symbol in the material Universe.” Thus the dawn indicates the dawning of the awareness of God's presence dispelling the darkness of ignorance and the fog of doubt within us. The light of Dawn is indeed the symbol of an inner illumination bringing spiritual riches while in the outer world, the deep orange glow that paves the way for the coming sun, dyes the sky blotting out the sun and the new day smiles upon a sleeping world.
The earth while revolving on its axis rotates round the sun giving a twenty four hour day and an year of twelve months. A complete year of the mortals becomes a complete day for the Devas with the first six months as the day and the next six, night - uttaraayanam and dakshanaayanam respectively. The month of Margali is the hour of dawn, the usath kalam of the Devas and the charm of Margali dawn has been captured in the Tirupallieluchchi, Tiruvempaavai and Tirupaavaihymns making it all the more sacred to us. Even though Krishna says in the Gita, "Maasaanaam Marglilo aham,” of the months I am Margali, paradoxically Margali is considered a dark month!
The Tiruvempaavai observances in the month of Margali become a retreat for the Hindus, a training period for mental and physical purification. To get up early morning, particularly in the Cold Margali days and take a bath keeps one physically fit and mentally alert. In the immortal Tirupaavai lyrics, Sri Andal speaks of these aspects and the importance of being physically fit. She sings in one instance, "nei unnom paal unnom," clearly implying that a simple fatless diet sans animal proteins is necessary for mental and physical well-being. Avoiding these would enrich the mind and create good thoughts and subtle vibrations, sings Andal and concludes, "Thoo malar thoovith tholudhu vaayinaal paadi manaththinaal sinthikka,”o one should think of the Almighty, sing
His praises and offer pure flowers.
The dawn of a day is also referred to as Usath Kalam - the sacred hour conducive to prayer and meditation. Scientists tell us that at that time of the day, there is more ozone than carbon dioxide in the atmosphere. The ancient Hindus realised the sanctity of dawn and observed it with reverence.
* நெய் உண்ணோம் பால் உண்ணோம்.
* துா மலர் தூவித் தொழுது வாயினால் பாடி மனத்தினால் சிந்திக்க.

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Through the period of Margali, special rituals are performed daily in all temples and Hindu homes. The day starts with the singing of the Tirupalli eluchchi hymns, awakening God from His slumber,
"Emperuman palli eluntharulaaye,”
Praise O Being, Thou the Source of all my life! 'tis dawn From off Thy couch arise (O Lord) and grant us Grace.'
According to Hindu traditions, the rituals associated with the last puja in the temple is singing of the lullaby and laying the deity on a couch to sleep and in the morning, the deity is awoken from slumber. The refrain, "Emperuman palli eluntharulaaye,” is thus an allegory of awakening the Lord, the Omniscient One. This ritual, based on waking up the deity in the temple literally means waking oneself up from the slumber of ignorance.
Tradition haslinked Manikkavasagar and his celebratedTiruvempaavai lyrics to the month of Margali. It is said that when Manikkavasagar was on a pilgrimage to Tiruvannaamalai, he noticed young girls waking up very early in the morning of Margali, singing the praises of Siva, calling their friends and going to the lotus pond for a bath. Seeing these young maidens, Manikkavasagar composed these lyrics to enable them to sing more beautifully the praises of God as they vend their way to the pond. After the bath they would worship Gowri praying not only for prosperity but also for good husbands who are sincere devotees of Siva. This religious observance is known as Paavai Nonbu, the fast of the maiden.
In the opening lyric Manikkavasagar delineates Siva as being the embodiment of spiritual Light and wisdom with neither a beginning nor an end -
““Aadhiyum andhamum ilaa arum perum jyothi;”
We sing the splendour rare and greatness of Him, who is
* ஆதியும் அந்தமும் இல்லா அரும் பெரும் சோதி

SAINT MANIKKAVASAGAR 97
the embodiment of Light, who has nor beginning nor end, sing the maidens chiding the one who is asleep saying, 'How dost thou sleep on after hearing the resounding praises of God? or art thou hard hearted and dull? -"vannejap pedhyarpol.” Why my friend, is this thy
nature?
God Almighty is next praised as having many blessed qualities. He is the Omniscient One capable of healing all diseases. He is the embodiment of Divine knowledge and beauty.
“ “Vinnukku oru maruntai veda vilupporulai kannukkiniyaanai
ow empaavaai,”
He is heaven's ambrosia and embodiment of the essence
of the Vedas; The sweetest sight. We shall sing His praises with deep
devotion and Stand enthralled with melting hearts. Therefore you Count the numbers and sleep on, if you will, O maiden,
Singing the praises in melodic phrases, the maidens go for a bath. "Let us plunge into the tank filled with fresh blue kuvalai flowers and rosy lotus buds in order that we may wash away our sins,
”Paimkuval kaarmalaraal semkamalap paimpothaal
Thangal malam kaluvuvaar vanthu saarthalinaal Engal piraatiyum emkonum ponruisainthu Pongumaduvil pugap paainthu
u = 0 a ab 4 aadu elorem paavaai." The pen picture of the tank is beautiful; the abundance of the lotus
* விண்ணுக்கொரு மருந்தை வேத விழுப்பொருளை கண்ணுகச்கினியானை, * பைங் குவளை கார் மலரால் செங்கமலப் பைம்போதால் or ---- தங்கள் மலம் கழுவுவார் வந்து சார்தலினால் எங்கள் பிராட்டியும் எங்கோனும் போன்றிசைந்த பொங்கு மடுவிற் புகப் பாய்ந்து பாய்ந்து ஆடேலோரெம்பாவாய்.

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flowers besides the blue lilies in the water resemble the picture of Siva - Sakti. Just as the devotees go to the tank to wash off the dirt on their bodies so do they also go to Siva and His Consort to wash away their bonds - anavam, kanmam and maya. The bath is purificatory and bathing in the holy waters of the tank is symbolic of the bathing in God's Grace. These maidens sing and pray not for material gains only but for mental
purity and freedom from births and deaths,
''Aartha piravithth thuyar keda naam aarthaadum,”
We sing and bathe in His holy Grace, the waters of the pond, so that our griefs of binding births may flee.
Singing and bathing together gives a sense of social awareness and togetherness, caring and sharing the pleasures with one another brings about social harmony.
Thus the entire observances of the young maidens waking each other up going for a bath, bathing in the pond are allegories. The maidens are in reality the advanced Souls and those whom they wake up are the ones living in ignorance bound up in the material world. The spiritual significance of waking the ones who are asleep is in reality to wake them up from the state of ignorance to the state of spiritual enlightenment. The Souls pine for God and the prayer is one of deep devotion to attain Him. Manikkavasagar considered himself as one of these maidens who worshipped God and sought liberation and sings of His praises as being
endless,
“ “Veda mudal vinnorum mannum thuthiththaalum odha ulavaa,”
Even if the Vedas, the heavens and earth should sing His praise, it grows endlessly, sing the maidens.
'ஆர்த்த பிறவித் துயாகெட நாம் ஆர்த்தாடும். * வேத முதல் விண்ணோரும் மண்ணுந் துதித்தாலும் ஓத உலவா. These sentiments are echoed by Kabir centuries later in the words, "If I make the seven oceans ink, if I make the trees my pen, if I make the earth my paper, the glory of God cannot be written."

SAINT MANIKKAVASAGAR 99
Some researchers give the Tiruvempaavai, a mystical interpretation saying that these songs speak of the precosmic process where each one of the nine saktis wakes up the other. The nine saktis are Manonmani, Sarva Bhutadamani, Palapramadani, Palavikarani, Kalavikrani, Kali, Rowdri, Settai and Vamai.” The waking up process starts with Manonmani waking up Sarvabhutadamani and so on. Finally all sing in chorus in praise of Siva and as a result of this awakening of Saktis, creation of the
world takes place.
A mundane Connotation to this poem is more appropriate with the maidens of Tiruvanaamalai awakening each other on their way to the river or pond for a bath. The requests and prayers of the maidens are very mundane and worldly despite the inner meanings for in one instance the prayer is very straight forward - we would wish to marry those who are Your true devotees and if You grant us this request we have no grievances -
*Unnaipperaanaakap pettra un seer adiyom,
un adiyaar thaal panivom, ...... annavare em kanavar aavaar .... e a a a emakku enkon nalkuthiyel enna kuraiyum illom .....”"o
We see that the aim of Manikkavasagar is to uplift humanity to the
Divine level, through these immortal hymns.
The last day of the Tiruvempaavai fast culminates in the early hours of the morning with the Aardra Darisanam on Tiruvaadirai. This is a day of great significance to the Hindus, the day Nataraja disports Himself in the Universe and in the Souls of individuals. Tradition has it that Nataraja danced the Cosmic Dance in the golden hall of Chidambaram
o Tiruvachchaka mani Balasubramaniam - Tiruvachakam.
"உன்னை பிரானாகப் பெற்ற உன் சீர் அடியோம்
உன் அடியார் தாள் பணிவோம் ஆங்கு அவர்க்கே பாங்காவோம் அன்னவரே எம் கணவர் ஆவார் அவர்உகந்து சொன்ன பரிசே தொழும்பாய்ப் பணிசெய்வோம் இன்ன வகையே எமக்கு எம் கோன் நல்குதியேல் என்ன குறையும் இலோம்.

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on this day. This dance is symbolic of His gracious perpetual actions, the Panchkrityas.
It was also on this day that Siva annihilated the demon Andhaka which is an allegory depicting the conflict between knowledge and ignorance within oneself. God is the spiritual wisdom while Andhaka is avidya, the personification of ignorance and darkness. During the traditional rituals of Tiruvaadirai one of the rites performed is the burning of a straw effigy of the demon Andhaka, signifying the eradication of evil.
The Tiruvaadirai festival has been an important festival from very early times. In the Sangam literature which dates back to around the first century AD references are made to Margali Nonbu, the Margali fast. Karaikkaal Ammaiyaar of the fifth century speaks of Siva as, "Aadirai Nannaalan;" Appar addresses the Lord of Tiruvaroor as, "Aadirai nalai amarnthaan." One is also reminded of Nandanar, who was a great devotee of Siva, but was not permitted to enter the Temple by the priests because of his low birth. He appealed to the Lord of Tillai, "'O Lord, since Margali Tiruvaadirai is nigh, grant me permission to come to You in Chidambaram, "Margali Tiruvaadirai naal varap pokuthaiye poivaa
enru sollaiya.”"
Tiruvaadirai is propitiated by elaborate abhishekams with cold water, milk, sandal paste, curd, fruits etc in the early hours of the cold Margali morning in all Sivan temples. Referring to this long and cold abhishekam, a poet in one instance asks God, " By what powers are you able to endure the cold of such magnitude' - iththam seetham prabhootham,” and answers the question himself by saying, You reside in the inmost recess of my heart and this O Lord is white hot with anxieties, fears, hatred and jealousies. To endure this scorching heat in my heart, I need to perform these cooling abhishekams.
"மார்கழி திருவாதிரை நாள் வரப்போகுதையே
போய் வா என்று சொல்லையே.

SAINT MANIKKAVASAGAR 101
These elaborate rituals performed with sincerity brings about devotion and adoration leading the devotee to perform internal abhishekam with pure bhakti and love thereby cooling off all the anxieties and hatred. It is in the thousand pillared Hall at Chidambaram, the aayiram kaal mandapam, that the special abhishekams on Tiruvaadirai are performed during the night, in accordance with the Agamas. The experience is wonderful, carrying one higher into the realm of prayer and spirituality. The Hall is packed with devotees from various parts of the world who make a special pilgrimage to Chidambaram during this period. The chanting of the mantrams, blowing of conch shells accompanied by naadaswara music reverberate through the Hall, creating a mystical atmosphere of faith and devotion. Tirumoolar in the Tirumantiram speaks of 'Chidambaram as being everywhere, everywhere is His Dance. The Dance of Siva takes place in the heart of every individual. To Saint Manikkavasagar Chidambaram was a holy place revered by the whole world and he says that (though) Siva is of South India; He is also God of all nations,
“Tennaadudaiya Sivane Potri
Ennaatavarkkum irraiva potri.'”
The early hours of Margali dawn are very special to every Hindu. The temples and religious centres of Tamil Nadu in particular, relay the gentle symphonies of the Tirupaavai and Tiruvempaavai hymns sung by Maestros and the soft breezes carry them, gently charging the atmosphere itself with spirituality. These are unforgettable experiences stored away in one's memory
The month of Margali, thus connotes esoterically the awakening of the embodied Soul from its long slumber but exoterically is the dawn of a new way of life awakening man's religious instincts. May these spiritual symphonies of Margali, rooted in the millenia of our ancient Hindu Culture and traditions, encourage us along the path of bhakti and help us to surrender to the Almighty, leading us from darkness to Light.
Courtesy - Remembering Hindu Traditions.
2 தென்னாடுடைய சிவனே போற்றி
என்னாட்டவர்க்கும் இறைவா போற்றி.

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THE MESSENGER OF THE MYSTIC REALM - SAINT PATTINATHTHAR
"Nothing accompanies one on his last journey,
Neither ill-gotten wealth, nor hidden treasures of a miser, Not even this broken needle!'
Theethutta selvamum thedip pudhaiththa thiraviyamum Kaathartta oosiyum vaaraadhu kaanum kadaivalikke,”'
was the message from a son to his father enclosed in a package wrapped in a piece of rag
This package together with a few cow-dung cakes was handed over to Tiruvenkaadar by his wife saying that the son had left it behind for his father before going out. The father was annoyed and dashed the cow-dung cakes on the ground only to find diamonds in them. He was stunned and went in search of the boy, but found him missing. He was more bewildered when he opened the package which contained a broken needle wrapped up in a piece of rag with this crypt note - Nothing accompanies one - not even this broken needle. Tiruvenkaadar realised that this was divine providence - for nothing happens but happens for the good.
This realisation was unusual and the story of Tiruvenkaadar was itself unusual. Tradition has it that he was the second child of Sivanesan and Gnanakalaambigai, a devout Hindu couple. Their elder child was a girl and the son was born several years later. He was named Tiruvenkaadar after the presiding deity of Tiruvenkaadu the sea port.
தீதுற்ற செல்வமும் தேடிப்புதைத்த திரவியமுங் காதற்ற வுசியும் வாராது காணுங் கடைவழிக்கே, * The name Swedharanyar is also associated with him.

SAINT PATTINATHTHAR
SAINT PATTINATHTHAR
ః
భీభ
ళ్లభ్యఖ్య
Courtesy - Mahadeva Yogi Pattinaththar 1949
ஐயுந் தொடர்நது விழியுஞ் செருகி அறிவழிந்து
மெய்யும் பொய்யாகி விடுகின்ற போது ஒன்று
வேண்டுவன் யான்
செய்யும் திருவொற்றி யூருடையீர்! திருநீறுமிட்டும்
கைய்யுந் தொழப் பண்ணி ஐந்தெழுத்து ஒதவுங்
கற்பியுமே.
103

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Since his father died when he was still very young, Tiruvenkaadar came under the benign influence of his mother; he studied the three R’s conscientiously but religion was more important to him. And at a tender age itself his idea of education was that the knowledge one gains should be used for the worship of the Lord - "Katra Kalviyin payan Gangaadharanai poosiththalaakum." With these ideas paramount in him it was natural that he wished to have a Guru who would guide him in his path of religion.
It is said that the Lord appeared as a Brahmin in his dream one day and asked him to go to the Shrine in Tiruvenkaadu, where some one will give him a Sivalingam which he should worship regularly for the time being. He went to the temple as instructed, with his widowed mother. There, he was given a metal container which had the Sivalingam and was made to understand that this was the very same Sivalingam, that he had worshipped daily in his previous life. The young boy worshipped the Sivalingam on that auspicious day itself and was imbued with a sense of SCIVICC.
The young man in course of time started his own business, married Sivakalaiammai but was childless for a long time. One day a couple visited them bringing a beautiful baby saying that they were asked to do so in a dream and would be paid the weight of the child in gold by Tiruvenkaadar in order that they may continue the service offeeding the poor. The child was lovingly adopted and called Marudhavanar. As time passed on, the father became a rich merchant and the child grew up in luxury.
It was at this critical moment in time with plenty and prosperity all round that the son, after handing over the note and package to the mother
* கற்ற கல்வியின் பயன் கங்காதரனைப் பூசித்தலாகும்.
One is reminded here of Sage Tiruvalluvar words where in he says -
கற்றதனால் ஆய பயனென் கொல் வாலறிவன் நல்தாள் தொழார் எனின். The three Rs are arithmetic, writing, reading.

SAINT PATTINATHTHAR 105
to be given to the father, disappeared. A sense of alarm and despondency overwhelmed the father as he realised that his son was none other than the Lord Himself, who had come to redeem him. The whole incident was a revelation to him and he now felt that he had wasted his precious life running after the ephemeral, mere material wealth. The fragility of his mind was devastating. The material world that he had built up over the years appeared an illusion. He decided to renounce and distribute his wealth to the needy. To his wife he said, 'Go and serve humanity and attain salvation.” Saying so he renounced, donned a loin cloth and took a begging bowl calling himself Pattinaththar, surrendering himself completely to the Lord of Tiruvottriyoor. This changeover to an ascetic infuriated his sister who asked the neighbours not to give her brother alms. She decided to poison him. Pattinaththar through psychic power was able to see this and saying, "Than vinai thannaichudum, ottappam veetaichudum,” as much as bad karma burns oneself, this bread that she has given me, will burn the house, he threw the poisoned bread on to the roof of the house and the house caught fire.
Thus began the life of the pilgrim Pattinaththar, a crusader, teaching the eternal Truths of life. Having donned the ascetic garb, Pattinaththar's life became a long saga of prayer, meditation and service. He was a messenger of the mystic realm of peace and enduring calm. The spirit of service, sharing and caring that characterised his early childhood was more predominant now as a renunciate.
Behind his renunciation there was the enlightened dispassion for the ephemeral, the intense desire for liberation coupled with the love of the Personal God whom he worshipped in the various shrines he visited. On seeing him, the King one day asked him, 'What hast thou gained by being an ascetic?" His reply was very apt and concise, "Neer nittka naamirukka,” while you stand in worldly affairs, I sit following this religious path. He was thus a saint-philosopher who spoke of the impermanence of the world and condemned the ways of the worldly
*தன்வினை தன்னைச்சுடும் ஓட்டப்பம் வீட்டைச்சுடும். * நீர் நிற்க நாமிருக்க, நீர் உலக காரியத்தில் நிற்க நான் முத்தி நிலையினிற்க
இறைவன் ஆணை என்றபடி,

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minded. In one instance he chides himself for considering this body as being permanent when it is like a bubble ready to burst at any time - "Neerkumiliyaam mudal niththiyamaai ennuthe." And so, he was anxious to serve human kind and redeem his fellow beings from the mire of maya.
His life and teachings remind us that we spend a great deal of time in mundane pursuits forgetting our goal. For example through his teachings we understand more clearly that happiness with one's children and one's wealth merely brings sorrow and it was for this reason that he in the first instance renounced the world of material wealth saying,
* "Maadundu kanruundu makkalundu enru makhilvethellaam
kedundu...”7
That sense of happiness in material wealth
cows, calves, children bring problems; Now, with the begging bowl to collect food, a loin cloth to wear, The sacred Panchakshara mantram to intone
and the Lord's devotees as Company I have no worry at all.
Singing thus Pattinaththar gave his lesson on life, reminding us that material wealth brings sorrow and that we should live frugally, serve mankind and meditate on God.
When his mother died, he returned as he had promised her, to perform her last rites. His love for his mother was tremendous. He never for a moment forgot her who had given him this life. His songs on her death are immortal. These songs remind us that a mother's love
* நீர்குமிழி யாமுடலை நித்தியமா யெண்ணுதே.
7 மாடுண்டு கன்றுண்டு மக்களுண்டென்று மகிழ்வதெல்லாம் கேடுண்டு,
ஒடுண்டு கந்தையுண்டுள்ளே எழுத்தைந்து ஒதவுண்டு, தோடுண்ட கண்டனடியார் நமக்குத்துணையுமுண்டே

SAINT PATTINATHTHAR 07
is pure and that she undergoes great physical pain in order that she may give birth to her child. The qualities of love and purity of a mother are beautifully delineated by him. The younger generation of today seems to take a mother's love for granted and sometimes tends to disparage it. But to Pattinaththar it was different for he cried, ".................. Eppirappit Kaanpen ini,” when will I see my revered mother who brought me into this world,”o and then continued to sing movingly,
* “Makane ena alaiththa vaaikku alli iduvathu arisiyo,”o
Do I put a handful of grain into her mouth Which so lovingly addressed me as son.
And finally sang, “Yaanumitta thee moolka moolkave,” may the pyre that I have lit, burn, and the mortal remains of his mother were reduced to ashes.
i While reminding us of a mother's pure love, he also impresses upon us the impermanence of this life and sings, She was in the home; she was seen in the streets, she was there yesterday but today she is no more, a handful of dust - all this is Sivamayam - God's way
Having shown us that death is certain in life he goes on to say that it is no respecter of persons. He sings -
“ “Mudisaarntha mannarum marrum ellorum mudiviiloru,.......”"o
Though kings and all others come to dust,
* ஐயிரண்டு திங்களா வங்கமெலாந் நொந்து பெற்றுப
aspasaroe எப்பிறப்பிற் காண்பேன் இனி. ? அள்ளியிடுவ தரிசியோ?. முகமேன் முகம்வைத்து முத்தாடி என்றன்
LD35(360T 6T60T 6.60).pgg, 6 studg5. This is one of the last rites that the son performs. "யானுமிட்ட தீ மூழ்க மூழ்கவே. ' வீற்றிருந்தாள் அன்னை வீதிதனிலிருந்தாள்,
நேற்றிருந்தாள் இன்று வெந்துநீறானாள்
எல்லாம் சிவமயமே யாம். * முடிசார்ந்த மன்னரும் மற்றும் எல்லோரும் முடிவிலொரு
பிடி சாம்பராய் வெந்து மண்ண்ாவது கண்டு.

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Man clings to this world and forgets to worship the Lord at Tillai which would alone bring redemption to him.'
Thomas Grey several centuries later reiterated the ideas of Pattinaththar,
"The boast of heraldy the pomp of power All that beauty, all that wealth ever gave Await like the inevitable hour The path of glory lead but to the grave.”
Through these words, Pattinaththar goes on to enunciate another truth,
“ “Pirakkum poluthu koduvanthathu illa; piranthu manmel........
O Lord of Kachchi Ekambanel When one is born one brings nothing and after being born one dies, and takes nothing — What do I say to the dying breed of humanity who realise
not, that This wealth is God's and know not to share it.'
These teachings advise us to consider our wealth as God's gift and use it to serve others and create good karmas which we carry over as a bank balance of karma to the next life. These karmas are the actions of the body, mind and senses contributing to our karmic circumstances and our dharmic obligations in this life.
Pattinaththar, while analysing the cause for the pains and miseries of life and the cause for births and deaths, says clearly that one pays for one's bad actions. Taking an example from his own life he relates the story
* பிறக்கும் பொழுது கொண்டுவந்ததில்ல்ை பிறந்து மண்மேல் இறக்கும் பொழுது கொண்டுபோவதில்லை - இடை நடுவில் குறிக்குமிச் செல்வம் சிவன் தந்தது என்று கொடுக்கறியாது இறக்கும் குலாமருக்கே என் சொல்வேன் . கச்சி ஏகம்பனே.

SAINT PATTINATHTHAR 109
that once when he was in deep meditation at Lord Ganesha's temple in the outskirts of Ujjain, he was confronted by King Pathiragiri's guards who said that he had stolen the pearl necklace that he was wearing, from the palace. A gang of robbers had robbed the King and on their way back decided to offer thanks to Lord Ganesha and hurriedly threw a necklace into the temple and ran away. Unfortunately, this fell on Pattinaththar who was totally oblivious of everything.
When he was accused of being the thief who stole the pearl necklace from the palace, he said that knowingly in this life he had not done anything wrong, but perhaps a bad action in his previous birth may be the cause for this punishment. “ “Pirappthartku mun seidha theevinaiyo ingane vandhu moondadhuve,” is this the bad karma that I had done in my previous life?' he asks.
On hearing that a mendicant was the thief, the King ordered him to be punished and as Pattinaththar was about to be guillotined he sang,
‘ “En sayalaavathu yaathondrum illai; inith theivame un sayale
enru unarap petren.””
O Lord! There is nothing that I can do. for I now realise that All these are Your doings.'
The guillotine caught fire and the King immediately realised that he had made a grave mistake and fell at the feet of the mendicant and asked for forgiveness, becoming his disciple.
Pattinaththar clearly tells us that man reaps what he sows. If his actions are bad and wrong he has to reap bad fruits and vice versa - one reaps the fruits according to one's karma. In his case, the Lord intervened and helped him.
14 பிறப்பதற்கு முன் செய்த தீவினையோ இங்ங்னெ வந்து மூண்டதுவே. * என்செயலாவ தியாதொன்று மில்லை எயினித் தெய்வமே
உன்செயலே யென்றுணரப் பெற்றேன்.

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Soon after this incident, at the behest of God, Pattinaththar started on another sacred pilgrimage, visiting several shrines through Sirkali and Chidambaram. At Kaalaththi he reflected on the greatness of Kannappa Nayanar, who had first gouged one of his eyes and transferred it to the bleeding eye of the deity at Tirukaalaththi. He admonishes himself saying, 'How could I become a devoted slave of the Lord when I am not able to sacrifice anything, a child I cannot butcher to feed you, my youth I will not waste and neither can I gouge my eye for you.'
Singing deep philosophical truths in simple language he has succinctly put them in the form of brilliant aphorisms and admonishes man that before old age and death approach him, he should worship God. Man, he says, forgets that life passes by rapidly and spends his time on vain pursuits. This is a stern warning reminding us that we should seek and follow the correct path here and now and not postpone it to a later date.
As he was growing older, he felt tired and weary of this mortal life. On his visit to Madurai he invoked Goddess Meenakshi and appealed in fervent devotion, I do not understand and know the origin of my karma nor do I know when my karma would be over. The problems of the world seem to come to me,' and then adds, “O Lord, the embodiment of Grace, haven't the various forms that I have taken as grass, shrub, tree, reptiles, human beings and all the problems I have suffered, been enough;
"வாளான் மகவரிந்துாட்ட வல்லேன் அல்லன் மாது சொன்ன
சூளால் இளமை துறக்கவல்லேன் அல்லன் தொண்டுசெய்து நாளாறிற் கண்ணிடந் தப்பவல்லேன் அல்லன் நாணினிச்சென்று ஆளாவதெப்படியோ திருக்காளத்தி அப்பருக்கே. Kannappa Nayanar's love for God at Kaalaththi was immortal and unparalleled, even to this day. He was an illiterate dweller in the wild mountain terrain of Kaalaththi who gave up his eye gladly gouging it out when he found the Murti's bleeding and was about to gouge his other eye when God intervened.(see page 118) Similarly Tayumanavar another great mystic of the 17th century was wondering when he would be able to understand the greatness of Pattinaththar. 'மூலமறியேன் முடியுமறியேன்
ஞாலத்துட்பட்ட துயர் நாட நடக்குதடா.

SAINT PATTINATHTHAR
and You still keep me here? It is to Thy sacred Feet that I offer my worship
l
- “Ninthaalinaikke yaan portri.”"* where he reiterates Manikkavasagar’s
words on the evolution of life from the lowly forms to the human form, 'Grass shrub.....have I been.....'
Yet again Pattinaththar tells us that one should pray and repeat God's Name continuously so that when the time Comes to make peace with one's Maker, the Name of God would come naturally to him. It is in this context that he sings the immortal words,
220
‘ “Aiyun thodarnthu viliyum cheruki arivalinthu ...
O Lord of Tiruvottriyoor!
When my Soul leaves this mortal coil, And I know not what is happening, then Teach me to raise my hands in prayer, Repeat the Panchakshara mantram and apply Holyash.
In the Gita, Sri Krishna says that whatever thoughts become dominant in the dying moment, will determine the character of the next birth. This is a fundamental pattern. Every action whether it be physical or mental, makes an impression on the mind and these get collected and become a force - the habit of a person. At the time of death these get sorted out and those that have been foremost in one's life take precedence over the others. These are the forces that will be prominent in the next life. Thus we see that if such thoughts born of good actions are to be dominant, then these should be a continuous process. It is for this reason, that Pattinaththar
* நின்றாளினைக்கே யான் போற்றி.
* புல்லாகிப் பூடாய்ப் புலர்ந்த நாள் போதாதோ? கல்லாய் மரமாய்க் கெட்டநாள்
போதாதோ? கீரியாய் கீடமாய்க் கெட்ட நாள் போதாதோ? நீரியா யூர்வனவாய் நின்ற நாள் போதாதோ?
* ஐயுந் தொடர்நது விழியுஞ் செருகி அறிவழிந்து
மெய்யும் பொய்யாகி விடுகின்ற போது ஒன்று வேண்டுவன் யான் செய்யும் திருவொற்றி யூருடையீர்! திருநீறுமிட்டும். கைய்யுந் தொழப் பண்ணி ஐந்தெழுத்து ஒதவுங் கற்பியுமே.

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fervently requested that at the time of death, he should remember to raise his hands in prayer, wear the Holyash and repeat the Panchakshara mantram, so that he may attain a higher place in the evolution of his Soul. But again he speaks of not wanting any more births and if by chance he is born, he should not die; and sings that there is a way to remain so, merely by remembering sincerely and truly the Lord residing in Tillai.
The last years of his life were spent in Tiruvottriyoor with the children of cowherds. He loved children and they in turn were indulgent to him and gave him their love and devotion most abundantly. He spent time singing with them, singing for them philosophical songs - a children's carousel, going round and round with emotion and fervour but returning with every revolution to the one central theme, his desire for salvation. Perhaps it was in one such frenzy that he begged God saying
322
“ “Kalaap pilaiyum karuthaap pilaiyum kasinththuruki ...
O Lord Katchi Ekambane
Forgive me for all my mistakes - of not Studying and understanding the Vedas; of not Meditating sincerely on You; of not Repeating the Panchakshara mantram and your Name,
Though Pattinaththar was an erudite scholar, knowing the Vedas fully, being a deeply religious man, repeating God's Name constantly and serving humanity, we see here the humility of the great sage, asking to be forgiven for any mistakes he may have made!
* பிறவாதிருக்க வரம் பெறல் வேண்டுமி, பிறந்துவிட்டால்
இறவாதிருக்க மருந்துண்டு, காணிது எப்படியோ அறமார் புகழ்த்தில்லை அமபலவாணரடிகமலம் மறவாதிரு மனமே யதுகாணன் மருந்துனக்கே.
* கல்லாப் பிழையும் கருதாப் பிழையும் கசிந்துருகி
நில்லாப் பிழையும் நினையாப் பிழையும் நின் ஐந்தெடுத்தைச் சொல்லாப் பிழையும் துதியாப் பிழையும் தொழாப்பிழையும் எல்லாப் பிழையும் பொருத்தருள்வாய் கச்சியேகம்பனே.
2

SAINT PATTINATHTHAR 13
On the last day of his life, it is said that he had asked the little cowherds to dig a pit; he went into it and was covered with leaves and twigs. Tradition has it that his mortal remains became a Sivalingam and to this day thousands of devotees flock to Tiruvottriyoor, especially on his Guru Puja’ to worship the Sivalingam on Adi uththiraada naalaam’ in the month of Adi (July) under the asterism uththaradam.
The life and teachings of Saint Pattinaththar form an imperishable part of the Tirumurai. His philosophical message is the message of Truth - the songs produce a moral awakening in the devotees and exhort them to remember the perishable and illusory nature of life. They urge one strongly to do good, practise virtue and cultivate dispassion. His various activities transcend human understanding and his wonderful sacrifice and humility live through his immortal songs even though he passed away a millennium ago.
May we also murmur with Saint Pattinaththar his immortal words - Naan seiyum, “ “ellap pilaiyum porutharulvaai, Kachi Ekambane” - O Lord of Kachi Ekambam, may You bear with me and forgive me for all my mistakes.
His Guru Puja is observed annually in the holy Hindu month of Adi. மண்ணாசை. ஒற்றியுயர் பதியில்-பண்ணாது நாடிலிங்கமாய்பபட்டி
னத்தடிகளானதினம் ஆடியுத்தி ராடநா ளாம்.

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SERKKILAR AND HIS MAGNUM OPUS — THE PERIYA PURANAM
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Chintamanipayitchiteedhenave,” the study of the Epic Chintamani is not beneficial since it does not convey any spiritual values, said the Chief Minister Serkkilar, to his Chola King, Anapayan. To this the King posed a barrage of questions - If the Epic does not convey beneficial spiritual values, then this story of Siva that you speak of, what does it convey? What is the story? Is it a Purana? Does it have a source book? Who is the author of that? Who has heard this story? And many more!
The Chief Minister replied that this celestial scripture is the enthralling story of the devotees of Lord Siva - each devotee being a towering spiritual giant, and added, "Saint Sundarar of Tiruvaroor was guided to sing the first edition of this grand story by the Lord Himself who sang the first line, * *Tillai vaal andhanartham adiyaarkum adiyen,” I am the servitor of the servitors of the Brahmins of Tillai.” Sundarar sang the greatness of these devotees in eleven hymns each a very concise story with brevity and haunting reverberations. This was the Tiruthondar Togai. A couple of centuries later, Nambiandar Nambi of Tirunaraiyoor who helped the Chola monarch Rajendra to find the lost Tevara manuscripts and who compiled the Tirumurais, sang the story of the devotees of Siva more
elaborately as the Tiruvandhadhi in eighty nine quatrain verses.
சிந்தாமணி பயிற்சி தீதெனவே. "56ö656)6. Typ 95.360TT 5lb 9 gurds(5ub 9.903ugit.”was given to Sundarar and
"ulakellam through the entire world' was given to Serkkilar by the Lord.

SAINT SERKKILAR 115
SAINT SERKKILAR
:* r
á****** *# -- Ss: * : , sw: ::::::3 Courtesy - Condensed English Version of the Periya Puranam by Vanmkianathan. Serkkilar being taken round the city with the King in attendance. (see Page 124)
உலகெலாமுணர்ந் தோதற் கரியவன் நிலவு லாவிய நீர் மலி வேணியன் அலகில் சோதிய னம்பலத் தாடுவன் மலர்சி லம்படி வாழ்த்தி வணங்குவாம்.

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The King was greatly inspired by this story that he requested the Chief Minister to document the story of the saints in greater detail - where they were born, their names, the services they had rendered, their devotional achievements, how each attained salvation while living in this world and all other relevant details. "Compile the hagiography of each of these saintly personages into an Epic of great magnitude, a Mahakavya, so that human beings will benefit by studying it,” requested the King. Studying each story will guide the people to follow on the same lines as Longfellow -
"Lives of great men all remind us We can make our lives sublime,”
and inhale the air of sanctity and blessedness exuded by each.
Serkkilar retired from his position and moved to Chidambaram. His work started and tradition has it that he stood before the Lord in Tillai and fervently prayed that the Lord should inspire him with the first word. Through the sanctum and the mandapams, the word, “Ulakellaam,” resounded and the whole congregation stood up in prayerful silence.
And so beginning with the sacred and auspicious word of God, "Ulakelaam,” Serkkilar composed his Tiruthondar Puranam referred to as Periya Puranam where the galaxy of saints, the prophets and laureates of bhakti leap into scintillating life in epic proportions. The epic narrative of the lives of sixty three saints is, "a motley, assembly of seemingly different people wonderfully held together by the unalloyed devotion to God, by the love of God, of God in all and the unfailing ambience of Divine Grace.” These devotees are of both the sexes and of all ages; they range from tribal hunters to emperors.
The gossamer like thread that links all these saints in Serkkilar's Epic is the spirituality of pure devotion, pure child-like love, unshakable faith and an indomitable will and persistence to overcome any obstacle that
Forword to the Periya Puranam by Vanmikanathan.

SAINT SERKKILAR 117
God may have placed before them to test their sincerity. His aim was to compose an epic blending the spiritual lives of the Lord's devotees, sixty three of them into a whole making it a wonderful scripture on Devotion. He researched each biography painstakingly and these have been substantiated in recent times by discoveries of epigraphical finds on stone or copper plates."
Sundarar in his Togai had included his parents Sadaiyanar and Isaignaniyar making it the story of sixty two saints. Serkkilar included Sundarar as the crown jewel' in his composition with a total of sixty three saints, "Arupaththu Moovar”
Of the sixty three saints, Sundarar, Appar, Sambandhar and Tirumoolar are the major players whose hymns account for about half the output of the Tirumurais. In this monumental work, Sundarar was the Lord's companion portraying sakhya bhava an attitude of a friend towards the Lord. We see him freely demanding and receiving what ever he asked the Lord. These were no selfish demands but requests to serve the needy.
We see Appar’s great humility as he carried Sambandhar's palanquin. Appar saw the majesty and divinity in young Sambandhar for he understood and recognised the insignificant nature of human life in comparison to the great Infinity. And Sambandhar in turn saw the effulgence in the older devotee and referred to him as "Appare" - O
father
Karaikkal Ammaiyar, Aiyadigal Kadavar and Ceraman Perumal have left records of their quest of God. All the other saints have been silent devotees of the Lord and have been portrayed as men who were ever ready to renounce everything in favour of devotion to Lord Siva. Serkkilar has
; Vanmikanathan's explanation in the Preamble to the Condensed English Version, Periya
Puranam.
The foot falls of these four saints have been dealt with separately in this monograph. As examples, the more silent devotees have been given.

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portrayed the love that went with each act as being more important than their acts. He shows for example, Chandeshwara Nayanar who was totally absorbed with his puja inflicting a blow on his father who appeared as an obstacle to his puja. In another story we see Arrivattaya Nayanar who in his old incapacitated state was unable to carry on his worship of the Lord, ready to cut his throat. Again we see Tinnar, a hunter-chief who in his crude way offered abhishekam, flowers, fruits and meat as prasadam
to God. Serkkilar describes him as,
'Carrying his bow and arrows in one hand and
in the other, carrying the drona
of fresh tender meat,
anxious that his Lord will now be very hungry,
he sped and neared the hill.'
His love for the Lord was so great that we see him in another moment gouging his own eye and placing it on the Lord's when he saw the Lord's eye bleeding. He was ready to do so with even the other eye when the other eye started bleeding
He saw and cried: "I am ruined on ceasing of bleeding from one eye, blood gushes forth from the other eye! but I won't be frightened by this, I have the remedy in hand; one more eye have II, that I shall gouge out and apply, and put an end to this.' .
When he was about to gouge his other eye the Lord hailed Tinnar saying, "Stop Kannappar stop" (Kann means eye) We See Kannappar, a servitor of the Lord, who not only lived for Him but adored Him in delightfully distinct tribal ways!
A 'container made of dry leaves.

SAINT SERKKILAR 119
Serkkilar portrays the great truth, "Love of God' as completely removing the devotee's attachment even to his own body. Siruthondar's breath-taking devotion to God was wonderful. Who could even approach such devotion. He was a bhakta who willingly cooked his son's flesh to feed a guest' who had then insisted that his son sits with him (the guest) at the meal. 'Go call him was all the guest said and low and behold when the father called the son the boy came in answer to the call but the guest, the Lord Himself and the cooked meal were gonel Siruthondar's commitment to love and service was all important to him. Serkkilar speaks of the son as having come to wash away the taints of attachment that may have been there in his parents through his blood in
\ the words -
he came into the world to sever the bonds of attachment of Siruthondar.
We see, that the Lord disguised Himself to play with the servitor Siruthondar, when his devotion was incandescent!
By documenting the stories of saints, Serkkilar has brought these saints close to us for each story is a living scripture, throwing light on the spiritual path along which we could walk boldly and fearlessly in our attempt to reach the goal. Serkkilar's peerless devotion to God gives these biographies an advantage of a great and inspiring presentation. He has portrayed them as great jnanis and devout bhaktas who loved to visit temples, worship, sing the glories of the Lord and serve humankind.
One could glean certain characteristics in Serkkilar's Puranam. While chronicling the life story of each, he brings out the characteristics which distinguish the saints. He does not speak of the caste of these devotees; instead the crafts that these men followed were spoken of Similarly from

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the Tiruthodar Togai of Sundarar, we do not see the caste of the devotees.
Each had an occupation with which he earned his living and served his people. Caste, community wealth and status were not important with them as they are not, with the Lord Himself. Devotion to these saintly men meant expansion of the heart which included selfless service and charity. For example Tiruneelakandan was a potter, “Kuyavanar' who fashioned and baked pots and pans for a living and at the same time baked bowls for alms which he gave away to devotees.
Similarly, Tirukuripputh thondar was a washerman who washed clothes for a living yet he laundered the clothes of devotees without charging a fee. The Lord appeared one day before this devotee in dirty rags wearing the Rudraksha mala and vibhuti. The washerman seeing the dirty clothes wanted to wash them and it was given on condition that the washed clothes should be dried and given back before sunset. No sooner had the clothes been washed, it started raining and he felt miserable. Serkkilar says
'On the stony slab on which I smite the clothes to rid them of their dirt my head I shall Smite to smithereens.’,
and was about to dash his head on the washing stone when the Lord appeared before him and blessed his sincere devotion.
This omission of caste by both Sundarar and Serkkilar show significantly that every human being irrespective of caste or craft is entitled to moksha - free from births and deaths. Any one can approach God through devotion and gain His blessings. Sundarar and Serkkilar portray succinctly that Love, pure and selfless is the only qualification necessary to attain moksha. We see Nandanar a devotee of low birth and a tanner by profession, becoming One with the Lord in this celestial story because he was an embodiment of devotion, with Lord Siva as his

SAINT SERKKILAR 2.
sole refuge. At Tirupunkoor, the nandi placed in front of the sanctum moved to let Nandanar have the Lord's darshan from afar” Having had this darshan he wished to see the Lord dancing in Chidambaram and fervently requested, "Margali Tiruvaadirai naal varap pokuthaiye poivaa enru Sollaiya." He was so obsessed with the idea of going that he would repeat, "I'll be going to Chidambaram tomorrow, and earned the name "Tirunaalai povaar.” He did go to Chidambaram but had to first go through the fire ritual. There he kept on asking, "O Tillai's Varadhal To the extinction of my fevereish longing and my sins, May I come. Varalakumo.”
He became One with Lord Nataraja as the final call came. Nandanar underwent the trial and tribulation cheerfully and the incredible way he went through the fire ritual takes our breath away
Serkkilar clearly shows that love, selfless love, selfless service are most important for any aspirant to aspire for salvation.
Another important feature is that these devotees of the Lord are like all of us householders leading a normal household life, with wives and children. However these devotees though ordinary but deeply committed to serving God, were portrayed in rare splendour. Iyatpakai Nayanar for example, was one who could not say 'I have not. He willingly gifted his wife to a Brahmin who had come to the household asking for a special gift - the wife of the devotee. Perhaps this devotee had a special attachment for his wife and the Lord needed to remove the taint of attachment so that the devotee would reach the goal of salvation.
“Yor wife, the abode of your love,
desiring her, I came here, was his peculiar request.
The gift was given without hesitation. It was God who had disguised
To this day, we see this nandileaning to one side. 8 திருநாளைப் போவார். .9 வரலாகுமோ.

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Himself as this Brahmin merely to show the greatness of the devotee.
Serkkilar while narrating the story of the devotees, portrays the wonderful spirit of renunciation that characterised the respective lives of kings, men of standing, ordinary village and forest dwellers, hunters and women who understood the illusory nature of the world, and renounced in the true spirit of renunciation. The devotion to God was paramount. Karaikkal Ammaiyar for example, renounced her beautiful physical appearance for that of a wraith - pey Vadivam! The royal devotees Cheraman Perumal and King Kadavar renounced their kingdoms and wanted only God.
The life story of Cheraman Perumal portrays the haunting reverberations of the sound of the Lord's anklet as He dances and Perumal hears it at the end of his daily prayers. Serkkilar tells us in Sundarar's biography that he (Sundarar) was the son,
who became the matchless friend of no less a person than the Chera King no less a person not because he was the Chera King but because he was such a great devotee of Lord Siva that the Lord Graced the King's puja and performed His cosmic dance that the devotee might hear the sound of the cilambu on His feet.'
These personalities were in reality "ascetics” who had renounced attachment and desire, pride and anger, theft and killing, though not necessarily their kith and kin or their occupation and home. Each was a renunciate in thought, word and deed. All these acts are acts of joyously giving up attachment.
Some of the devotees portrayed were imbued with service to the Lord. Services such as Sweeping the sacred premises, keeping it clean, providing oil for the lamps, wicks, incense - these were to them the different forms of worshipping the Lord. Worship of devotees and worship of the temple
oanklet.

SAINT SERKKILAR 123
were also acts of devotional service. Naminandhi adigal for example, was a devotee whose devotional service was the lighting of lamps in the Temple of Aroor. His devotion to the Lord at Aroor was so great that when the Jains ridiculed him saying, "Your Lord has fire in his hand so why do you want to light a lamp? Yet if you want to light the lamp go collect water from the pond and light the lamps. Being scoffed at in this manner, he stepped into the tank repeating the Lord's Name, Collected water, poured it into the lamps and lit the lamps.
“With mounting delight he
lighted the lamps with water for oil, by the ineffable Grace of the Lord. And all watched this miracle.
Each lamp burnt with greater effulgence.
The unfailing Love for God that some of the other devotees chronicled in the Periya Puranam had, was portrayed effectively. Pusalar Nayanar for example, was one who loved God and his ardent wish was to build a temple. Serkkilar speaks of Pusalar and the extraordinary feature of constructing a temple. He had no money to buy brick, mortar, wood nor metal. Yet his ardent wish was portrayed as Pusalar fabricated a grand temple in his mind!
'mentally he constructed and made several tiers from the basement to the temple dome. He installed the presiding deity, the Lingam in the Sanctum and invited the Lord for the consecration ceremony.
It was the Lord who made known this wonderful temple by asking the Kadava King in his dream to postpone the consecration ceremony in his new temple at Kanchipuram, since He had to attend the ceremony of one who had raised the temple with great devotion. Pusalar's unfailing love is beyond reckoning.

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Thus from the grand stories of the devotees of the Lord, we learn that the pathway to moksha is, Love God; serve Him by serving mankind and give up attachment. From these we see the more salient feature that Serkkilar stressed, was that the Lord does not look into the act but the Love behind it - the Love throbbing within the hearts of the devotees. This was unique and grand. "Such is the greatness the mahaatmiya of the chronicles recorded by Serkkilar in the Periya Puranam.”
On completing the monumental composition, Serkkilar sent word to the King. On the King's arrival at the Chidambaram Temple, a Voice accompanied by the sound of the Lord's anklet was heard saying, "O King, with the prompting of the word 'Ulakellam Serkkilar has composed this Epic; now you listen to it."
It was in the holy month of Chittirai under the Tiruvadirai asterism that Serkkilar began reading and explaining the import of his composition. On the following year on the same day under the same star, the reading was completed. Tradition tells us that the author and his celebrated composition were taken round the city in a chariot drawn by an elephant with the King in attendance. At the entrance to the Chidambaram Temple, the King conferred the title, "Tondarsir paravuvar”''' on Serkkilar.
Thus was completed the saga of the sixty three saints, servitors of the Lord. Serkkilar's Magnum Opus, the Periya Puranam was now added as the twelfth Tirumurai in the Saiva Anthology of hymns compiled initially by Nambiandar Nambi and inscribed in an inscription which was placed in the Sanctum in the Chidambaram Temple.
(Some of the English translations of the verses - courtesy Periya Puranam condensed English version by G. Vanmikanathan)
' Condensed English Version of the Periya Puranamj by Vanmkianathan.
12 தொண்டர் சீர் பரவுவார்.

125
THE HARBINGER OF THE LORD'S GRACE - SAINT TAYUMANAVAR
'O Sivagama Sundari, the Mother of millions, but Virgin by the Vedas; am I fit to pronounce the names of Thy devotees who call you, Poorani, Puranthani, Sumangali, Sudhandhari, Puraanthari
and Triyambaki......,'
“Akilanda Kodiyendra annaiye - Poorani, Puranthani Sumangali, Sudhandhari, Puraanthari, Triyambaki pinnaiyum Kanniyena maraipesum aanantha roopa mayile Naathaantha sakti enrun naamame uchchariththidum Adiyaar naamame naanuchcharikka vasamo,"
sang Tayumanavar in ecstasy when he saw the rich shawl he had placed on an old beggar woman a while earlier on his way to the Temple, now adorning Goddess Sivagami in the Sanctum Sanctorum.
The King had placed a rich shawl on Tayumanavar who was accompanying him to the Temple to worship the gentlebenign Goddess Sivagami. Tayumanavar, seeing an old woman who appeared ill, placed the shawl round her shoulders. He did not see the woman; instead he saw
பூரணி புராதனி சுமங்கலி சுதந்தரி புராந்தகி திரியம்பகி
« « « « « − சக்தி யென்றுன் நாமமே யுச்சரித்திடும் அடியார் நாமமே நானுச்சரிக்க வசமோ
அகிலாண்ட கோடியீன்ற அன்னையே பின்னையும் கன்னியென மறைபேசும் ஆனந்த ரூப மயிலே.

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SAINT TAYUMANAVAR
Courtesy-Tayumanavar Speaks
ஆழாழி கரையின்றி நிற்கவிலையோ கொடிய ஆலமழுதாக விலையோ ...
பழான என்மனங் குவிய ஒரு தந்திர்ம்
பண்ணுவது உனக்கு அருமையே .
 
 
 
 

SAINT TAYUMANAVAR " . 27
the Universal Mother in her. The King was surprised but said nothing. On entering the temple the King and Tayumanavar were amazed to see the very same shawl adorning the Deity in the Sanctum. Tayumanavar was so moved that he promptly broke into this song addressing Her as the 'Mother of millions yet known as Virgin in the Vedas, the Consort
of God.
Tayumanavar was chosen by God as the medium through which the sweet, mellow effulgence of His Grace, His infinite ways and aspects may be brought home to ordinary mortals. He shows that at the beginning of the spiritual life, we should seek expression for our religious impulses in outward acts of worship, through pujas, japa, fasts, pilgrimages and service to the needy - an attempt to capture an intimation of the Almighty through the gross and the concrete. -
Through these disciplines Tayumanavar directs us to move on to inward contemplation and harmony, where we would begin to feel the presence of the Lord within. He saw the Lord in humanity and propitiated Him through selfless service while enjoying communion with Him deep within. For him there was a joyous communion with God within and a
selfless service in the name of God, without.
These were the important stages in the expression of his spiritual life which made him a mystic par excellence. As all other mystics, he too constituted, as Ranade says,
"The musical band of God, where each one constitutes
his note in such a way that the whole becomes a harmony and a symphony wonderful.”
These are the three important stages in the expression of man's spiritual life. These stages are explained in great detail by various people. These may not be achieved in one single life but would gradually lead man towards the final spiritual objective which would be achieved after several births. The stages in the expression of man's spiritual life as explained by Swami Brahmananda, a brother disciple of Swami Vivekananda re-iterates Saint Tayumanavar’s teachings.

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Tayumanavar was a remarkable individual who blazed a trail and helped to discover the inner treasure trove. He adumbrated the philosophical fact that man is in eternal search for the immanent treasure deeply hidden within himself and that this can be acquired only after arduous struggles. In this struggle he was never disillusioned with life neither did he ever despair when faced with problems. He was able to do so because from a very young age, he listened to the eternally counselling voices of the religious books, his Guru whom he identified as God Himself and to the inner Voice, the Voice of the Almighty enshrined in all our hearts.
He was a great Saiva saint who belonged to the eighteenth century. He was born in Trichinopoly to Vellala parents who were great devotees of Lord Tayumanavar, the presiding Deity at the Vedaraniyam Temple and was named Tayumanavar after Him. Although three centuries have rolled by, he is still a living force in the religious life of the Tamil Hindus who sing his hymns regularly,
At the age of fourteen, the boy grew into a cultured, erudite young man and was a profound scholar in Sanskrit and Tamil and is said to have mastered the great ethical and spiritual literature of India. The King, Chokkanatha Naik, was impressed with the academic achievements and the sagacity of this young man that on the death of his father he conferred the post of minister on the son Tayumanavar. But the young man was not interested in power and position; in fact the office had no attraction for him and he yearned for a spiritual Teacher. He engaged himself in various spiritual exercises, since he realised that for him a life divine was incompatible with the worldly life. One day during his religious practices, he met an ascetic sitting in deep meditation. This was Maunaguru Swamigal, the great Yogi, Arulnandi Sivaachaariyar, who had with him the Sivagnana Siddiyar, the spiritual treasure of the Saiva Siddhanta system of thought. Though this Swami was to become Tayumanavar’s Guru at a later date, at this stage he merely initiated him into the Saiva Siddhanta philosophy and advised the young man to first lead a householder's life and then come back to him.

SAINT TAYUMANAVAR * . 129
The story now goes on to say that when the monarch died without an heir, the widowed queen tempted Tayumanavar with her hand and kingdom. Nay, the young man was not tempted and he tried to advise her. This was of no avail and when the queen exercised her authority, the minister merely said, "I own no sovereign but God, the King of my
Soul.”
He left her services and continued his spiritual practices serving people and helping them to lead a better life. However, on the advice of his Guru, he returned home married and became a householder. He was blessed with a son, but his wife died at childbirth. He brought up his son in his religious style. After he grew up, Tayumanavar renounced completely, turned a recluse and became a wandering minstrel, singing the glories of the Almighty and spreading the message of love. His humanitarian zeal which characterises his teachings, his great concern for humanity, and his greater concern with the here and now rather than the hereafter, are things that make him specially important to the Hindus.
Moved by the love of God Tayumanavar dedicates his life and actions to that God of Love who dwells in the inner spirit of all beings and in all nature. He seeks to commune with the Lord in prayer, song and meditation and serve Him by serving all His creatures.
* "Anbar pani seiya ennai aalaakki vittuvitaal
Inba nilai thaane vandhaidum, paraaparame,"o If You enable me to serve Your devotees, then happiness will come to me on its own, my Lord,
he sings showing that service to mankind brings true happiness. He was able to serve truly and sincerely because he saw God in every being.
Thus we see that serving humanity selflessly in keeping with the Lord's schemes and chanting the Name of the Lord, are aspects that Tayumanavar stressed. -
அன்பர் பணிசெய்ய என்னை ஆளாக்கி விட்டுவிட்டால் இன்ப நிலை தானே வந்தெய்தும் பராபரமே. Paraapatkkanni

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"Sankara Sankara Sambu Siva
Sankara Sankara Sambu,”
was his japa. The repetition of the Lord's Name creates bhakti, where caste, sex, religious and communal distinctions have no place in it. He
conceived Sankara as God the Absolute Existence, Consciousness and Bliss and called Him Sat-Chit-Ananda Sivam,
“Sarvaparipoorana akanda thaththuvamaana
4
Satchidaananda sivame.”
Sankara is also something formless and void, difficult to be explained, "Sollarkkariyavar” and the whole Universe is permeated by this formless Being, and he sings that if no atom moves but by His will, as the great sages say, then who are the great, the little, the friend or the foe? Is there anything without Thee O Lord, who pervadeth the entire Universe, the life of life that sustains one here and hereafter,” — “Avnindri oar anuvum asaiuaadhenum periya.”
Sects and creeds, the great and the little meant nothing to him; all are equal and he perceived the working of the divine grace in every human being. He sings in one instance,
* "Verupadum samayamellaam pugunthu paarkin,
vilangu paramporule, nin vilayaatallaal maarupadum karuththillai,”
When I analyse the different creeds, I find
*சர்வபூர்வ அகண்ட த்ததுவமான சச்சிதானந்த சிவமே,
s சொல்லற்கரியவர்.
அவனின்றி யோணுவும் அசையாதெனும் பெரிய
எவர் சிறியர் எவர் பெரியர் எவர் உறவர் எவர் பகைஞப் uITS|b 9 606ðIu 16öló u60ö(3Ls!... Engum niraikindra porul 7 வேறுபடும் சமயமெல்லாம் புகுந்து பார்க்கின்,
விளங்கு பரம்பொருளே, நான் விளையாட்டல்லால் மாறுபடும் கருத்தில்லை எத்திக்கம் தானாகி என்னிதயத்தே யூறித் தித்திக்கும் ஆனந்தத் தேனே பராபரமே. Kalaalin

TAYUMANAVAR 131
Non other than You everywhere O Lord!
· · · · · · · · · · This is your leela. Though the Reality is Omnipresent, yet Deep within me it is the fountain of sweet honey, he explains.
Having experienced deep bliss within he invoked the Lord for His light for the benefit of humankind for love of humanity was uppermost in his mind. Just as the crow caws inviting its kind to share in the meal, human beings should get together in a spirit of friendship to share the Supreme Bliss of God Realisation before this body dies," he sings.
Tayumanavar conveys his spiritual experiences in rare metrical beau
Tay ys his spiritual exp trical b and melody. In a psalm he asks the Lord, "Iniedhu emakku un arul varumo?” Will Thy Grace be granted to me ever and continues to chide Him saying 'to sit alone with eyes closed was my wish; knowest Thou not my desire?
“Kan moodi mauniyaki Thaniye irrupathatku enninen ennamidhu Swami ni ariyaathatho
These words of anguish came out from the depth of his heart and in the silence of meditation he understood the Truth.
காக முறவு கலந்துண்ணக் கண்டி ரகண்டா காரசிவ போக மெனும்பே ரின்பவெள்ளம் பொங்கித்ததும்பிப் பூரணமாய் ஏகவுருவாய்க் கிடைக்குதையோ வின்புற்றிட நாமினியெடுத்த தேகம் விழமுன் புசிப்பதற்குச் சேரவாருஞ் செகத்திரே, Kaadum karaiyum இனியேது எமக்குஉன் அருள்வருமோ
w a w w & நான் கண்மூடி மெளனியாகித் தனியே இருப்பதற்கு எண்ணினேன் எண்ணமிது சாமி நீ அறியாததோ.

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Tayumanavar says that the Soul when ripe in the path of devotion, meets God as the Teacher, the Guru. To him this Teacher, the eternal formless One graciously appeared in the form of the Silent Teacher Mauna Guru. Having been initiated by the Silent Teacher in the path of knowledge Tayumanavar sings, "This Lord the Silent Teacher is the Light which is the beginning and without beginning, but shines in me as Bliss
and Knowledge.'
He expresses these Saiva Siddantic thoughts in his hymns. Yet he conveys an Advaitic conception in certain other hymns. For example he speaks of the All-pervading Absolute Bliss as 'Paarkumidam engum oru neekamara niraiginra paripoorana aanandam 'O perfect bliss thou pervadeth everywhere wither 'soever the eye turneth’. While singing his hymns one realises that his mind at certain moments becomes one with the object of devotion. It is said that at such moments he appears a transcendental mystic living in the Absolute only - the Mahavakya, "Tat Tvam Asi” of the Upanishad.
His philosophical outlook is unmistakably dominated by the spiritual idealism of Saiva Siddhanta on one hand and Advaita which he interprets into his own idealism, on the other, thereby revealing their inner beauty. He himself sings in one hymn, 'the Vedas, Agamas, Ithihasas all speak of both the non-dual (advaita) and the dual (dvaita) and say that the dvaita indeed formed the advaita.' This is the advaita-dvaita samarasam of Tayumanavar.
ACCording to Tayumanavar, the dualistic approach where we look up
" ஆதியுனாதியமாகி - எனக்
கானந்தமாயறிவாய் நின்றிலங்குஞ் சோதி மெளனியாத் தோன்றி - அவன் சொல்லாத வார்த்தையைச் சொன்னானடி தோழி. Ananda kalippu வேதமுட னாகம புராணமிதி காசமுதல். Engum niraikindra porul

SAINT TAYUMANAVAR 133
to God as the power that bestows, leads one gradually to the perfection of the Soul to become One with God. And he continues in this particular psalm that the four paths, namely, chariya, kiriya, yoga and jnana margas as depicted in Saiva Siddhanta help one to realise the Self (Soul - Atman). "If I hold Thee as my true Self, I will surely become That, he concludes. But again to him, Soul is not God, nor God, Soul; instead there is a relationship between the two, as between the letter 'a' the root of all sounds and the letters of the alphabet.'
His poem, "Revel in Bliss,” (Aananda Kalippu) composed as a love lyric is based on the theme, Thy Maker is thine Husband. It contains the outpourings of a bhakta where the Soul is the female lover of God Who is the Beloved. The Soul having been purified through several births and transmigration, blends with the Lord, who has been long sought after. In this poem Tayumanavar portrays the Soul as dancing and singing in bliss where she pours forth her happiness to a companion. He speaks of there being no distinctions since he sees his Beloved everywhere - " "Kannit
kaanpathun kaatchi ....”*
'The Sivagnana Botham which is the chief authority on Saiva Siddhanta says clearly the non-dualism is not synonymous with monism. When the Vedas say, "Ekam Sat’, that is All that is, is One', they do not mean the identity of God and the Soul, but that the Almighty pervades and enerigises the soul. The sound 'a' is the first sound that is uttered when the mouth is opened and this sound is indispensable to the formation of all other letters. This is the letter, a that pervades and energises all the other letters, but remains distinct and is the chief letter. As, song by its tune, as fruit by its flavour, all Souls are pervaded and energised by God, while standing apart and being the Chief. Sage Valluvar says
அகர முதல எடுத்தெல்லாம்
ஆதி பகவன் முதற்றே உலகு. All letters have for source the letter 'a'. The world for source has the Ancient One, the Adorable. Valluvar gives this traditional illustration of pure non-dualism. Valluvar is the venerated sage and the law-giver of the Tamil Hindus. கண்ணிற் காண்பதுன் காட்சி கையாற்றொழில்
பண்ணல் பூசை பகள்வது மந்திரம்
மண்ணோடைந்தும் வழங்குயிர் யாவும்
அண்ணலே நின்னருள் வடிவாகுமே.
13

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Whatsoever the eye sees is Thou. Whatsoever the hand does is Thy worship. What the mouth says is Thy praise.
The earth and other elements and all living things are Thy gracious forms, these hymns show that Tayumanavar was also a bhakta who expresses his devotion in madhura bhava nuptial emotion.
After portraying the Almighty as his Beloved One, Tayumanavar
goes on to say,
*Chinthai pirandhadhum aange, antha
Chinthai irandhu thelindhadum aange . . . . . . . . . . . . . . . . . . .4ן יג There, in that Sivam, thought was born; There, thought died and became pure. Every state is there, and there,
I the witness stand non-dual - One with God.'
The noble concept tells us that the Soul, owes everything wholly to Him and finally merges in Him, through His Grace. This Soul and the All-pervading Almighty are apparently distinct but in fact they are non-dual. Taking a mundane example we could say that the Almighty remains unaffected like the sun, whose rays cause the flowers to blossom. This is the doctrine of Saiva Siddhanta and Tayumanavar harmonises the seemingly conflicting concepts of Saiva Siddhantic and Vedantic schools.
In Saint Tayumanavar, we find a humble devotee, a visionary, a gifted poet and a revolutionary all combined in the most harmonious way. He was truly a harbinger of Lord's Grace. His life is indeed a living scripture,
"சிந்தை பிறந்தது மாங்கே - அந்தச் சிந்தை யிறந்து தெளிந்தது மாங்கே எந்த நிலைகளுமாங்கே - கண்ட யான்றானிரண்டற்றிருந்தது மாங்கே.

SAINT TAYUMANAVAR 135
throwing a flood of light on the spiritual path for us. Through our daily spiritual practices may we carry the torch that this great Master had handed down and adopt the wonderful pattern and glorious tradition
of pure devotion delineated for humanity and ask as he had asked the Lord
( KK
Paalaana en manam kuviya oru tanthiram
Pannuvadhu unnaku arumaiyo?” o
'Is it difficult for You O Lord to still my
accursed mind?'
*ஆழாழி கரையின்றி நிற்கவிலையோ கொடிய
ஆலமழுதாக விலையோ அக்கடலின் மீது வட வனனிற்க வில்லையோ
வந்த ரத்து அகில கோடி தாழாம் நிலை நிற்க வில்லையோ மேருவுந்
தனுவாக வளைய வில்லையோ ... வாழாது வாழவே இராமனடி யாற்சிலையு
மடமங்கை யாக வலையோ பழான என்மனங் குவிய ஒரு தந்திர்ம
பண்ணுவது உனக்கு அருமையே
Doesn't the deep ocean stand without banks? Did not the poison become ambrosia? Did not Mount Meru bend as a bow? Did not the stone touched by Rama turn into Ahalya?”

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SWAMIVIPULANANDA
THE SAVANT OF BATTICALOA
“ “Uththamanaar venduvathu ullak kamalamadi.”
The Lord desires the pure lotus flower of a sincere heart, was Swami Vipulananda's offering of his sincere heart to the Lord. He says this in an inspiring verse beginning with the words,
“ “Vellai nira mallikaiyo verendha maamalaro Vallal adi inaikku vaaindha malaredhuvo Vellai nira poovumalla verendha maamalarumalla Ullak kamalamadi uththamanaar venduvathu”*
Is it the pure white jasmine or any other beautiful flower
That could be offered at the Lord's Feet? The Lord desires neither the jasmine nor any other flower
But the pure lotus flower of a sincere heart.'
The pure white jasmine flower is dear to Lord Siva because of its purity, beauty and unsurpassed fragrance; yet the Lord wishes for the pure lotus flower of a sincere heart, says Swami Vipulananda, weaving philosophy into poetry in simple Tamil, making his writing elegant and clear. He had drunk deep at the well of both Tamil and English Language and Literature. In the art of writing Tamil prose and poetry, he was a
உத்தமனார் வேண்டுவது உள்ளக் கமலமடி * வெள்ளை நிற மல்லிகையோ வேறெந்த மாமலரோ
வள்ளல் அடியினைக்கு வாய்ந்த மலரெதுவோ வெள்ளை நிறப் பூவுமல்ல வேறெந்த மாமலருமல்ல உள்ளக் கமலமடி உத்தமனார் வேண்டுவது.

SWAM VIPULANANDA 137
SWAML VIIPULANANDA
४४४४:४:*; 醬。*
Courtesy - Author's Collections
காப்பவிழ்ந்த தாமரையோ கழுந்ா மலர்த்தொடையோ மாப்பிள்ளையாய் வந்தவர்க்கு மலரெதுவோ காப்விழுந்த மலருமல்ல கழுந்த தொடையுமல்ல கூப்பியகைக் காந்தளடி கோமகனார் வேண்டுவது.

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genius. Composing poetry came easily to him. The magnificent idea of what man could achieve and how he sets about to achieve it, could be directly applied to Swami Vipulananda. In keeping with these words, the Swami's greatness was not in what he was but in what he made possible. His conscious assent, dedicated will and participation were in abundance as he was moulded as the Savant of Batticaloa, by the Divine Craftsman.
Man's life has always been a pursuit of worthy spiritual well being. He may have consciously or unconsciously pursued this line and in the process his inquiring mind has sought to understand the Lord Almighty. He called him by various names and pictured Him in various forms. "Ekam sat viprabahudhavadanti,” Truth is one; sages call It by various names, says the Rig Veda. God is infinite; His aspects are infinite and infinite are the ways to reach Him. This ideal of harmony has come down to the present time and Swami Vipulananda chose the monastic order to understand this and seek his destination weaving the fabric of his life on the loom of spirituality.
Swami Vipulananda was born at a time when there was a surge in alien thought and culture and the Hindus had lost faith in their age old culture and were swept off their cultural moorings. The trend of education under the colonial rule had disrupted the inner life of man and he became English in taste and intellectual outlook embracing Christianity. These changes shook the spiritual foundation and Swami Vipulananda was born to resuscitate the Hindu social structure.
He was born in 1892 in Karaitivu, a somnolent village in the outskirts of the District of Batticaloa in Eastern Ceylon (Sri Lanka) and was named Mailvaganam. His parents Samiththambi and Kannammai who
"Man's greatness is not in what he is but in what he makes possible. His glory is that he is the closed place and secret workshop of a living labour in which supermanhood is being made ready by a Divine Craftsman. But he is admitted too the lower creation, he is partly an artisan of this Divine change: his conscious assent, his consecrated will and participation are needed so that into his body may descend the glory that will replace him” - Sri Aurobindo.

SwAMI VIPULANANDA 139
led a pious life centering round the worship of their family deity Kannagi Ammai, were a well known couple. As a little boy he came under the benign imfluence of his mother. Sitting on her lap he would listen avidly to the stories of Kannagi and Kovalan, Sita and Rama, Draupadi and the Pandavas and at a tender age itself he came to the conclusion that women sacrifice a great deal while the men take life easily. According to his tender mind Kannagi, Sita and Draupadi were embodiments of goodness and divine fragrance and were unjustly punished by their husbands, Kovalan, Rama and Dharmar respectively, Ancient Tamil tradition has it that if the land is not justly and benevolently ruled then the planetary positions change bringing drought and hardship. However, Mailvaganam was of the opinion that despite all the injustices the land flourished because of the presence of such chaste women.
Mailavaganam received his early training in his own home town and later at Kalmunai. He made a mark as a brilliant student and imbibed a deep and abiding love for Tamil and Hinduism. He was proficient in both Tamil and English and read widely the works of Illango, Serkkilar, the Saiva Nayanars, Villipuththoorar, Shakespeare, Tennyson and Milton. At the young age of sixteen he passed the Senior Cambridge Examination and was appointed teacher in his own school. Although his taste and inclination were towards Tamil and Hindusim he realised while teaching, the importance of science in the life and future progress of his people and he pursued the subject diligently, graduating with honours.
As a young student he was greatly influenced by Vythilinga Desigar, the officiating priest of the Pillaiyar temple in his neighbourhood. The Desigar's words of wisdom,
"That which is, is; that which is not, is not. Out of nothing Something cannot occur; a thing that is, can never come to naught. That which is, is Perfection; imperfection can never be in the world. The wave that deployed will ipso facto recoil and go back to where it came from. Fear not; flinch not,”
'Vipulananda - A Bio raphy - The man and his achievements by K. Kanapathipillai
p İ3. ipso facto - by that very fact.

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had a profound influence on young Mailvaganam who was mesmerised by this simple yet towering personality. He owed his knowledge of Tamil classics, grammar, prosody, logic and astrology to Desigar. Mailvaganam was also greatly influenced by a Catholic Missionary, Father Bonnel whose form of education was not merely imparting knowledge but was inspiringly done. This priest moulded Mailvaganam into an erudite disciplined man and at the same time created in him a deep reverence towards service. He himself had come from Europe to Batticaloa, which was a backward area to serve the people, improve their lives by giving them an education and a better way of life.
These men and earlier his mother developed in Mailvaganam a sense of creativity where he could think independently. It was natural that as a young man, he loved, moved and had his being in a world of thoughts. He was more an idealist than a realist. He was of the firm opinion that,
"Man's power resides in his mind. There is nothing else besides the mind. There should be permanently in one's mind a noble
vision of life and how life has to be lived; and life should be lived accordingly.”
The idea of renunciation seemed to have been a deep-seated wish which over the years and through the association of renunciates came into full flowering. After his graduation, in the early years of his teaching career, he had the good fortune to meet Swami Vivekananda's disciple Sister Avaami who had visited Batticoloa. Mailvaganam who was planning to start schools in Kalladi, Uppodai, Akkarapattu and Karaitivu invited her to lay the corner-stones for each of these schools. This association with Sister Avaami together with that of his teacher, Father Bonnel created in his mind the importance of selfless service and in later years it was strengthened by the sannyasins of the Ramakrishna Mission. " 'Service to man is service to God - Makkal sevai madhavan sevai aakum,” was
his guiding star and he accomplished this to the best of his ability.
At this stage of his life he came under the spiritual influence of Swami Sarvananda of the Ramakrishna Mission in Colombo. Being inspired by

SWAMIVIPULANANDA 141
the eloquence of this Swamiji, he felt the impulses of a higher spiritual life. He was made aware of the transitoriness of everything in the world including himself. The words, * “Irruppadhu poi; irrapadhu mei.”o life is
uncertain; death is sure, were indelibly etched on his mind.
Mailvaganam was also greatly impressed by the services of the Ramakrishna Mission, its service to religion, education and humanity. The overwhelming feeling to serve humanity and the desire to propagate Tamil led him to join the Mission in Madras as a novitiate so that he could embrace the ancient order of Sannyasam. As a Brahmachari he was called Piraboda Chaitanya. Finally in 1925 he received the orchre robes, the distinct garb of a Hindu monk from his Guru, Swami Shivananda and was ordained as Swami Vipulananda. From then onwards he forged ahead as a sannyasin and led an austre monastic life. But his life was not lived altogether within the recess of the ashram. He was a lecturer at the universities both at home and at Annamalai, a teacher, a principal at various schools in the Island and a social worker.
His enlightened views on many social and religious questions are reflected in his writings. In keeping with Hindu traditions he neither spoke nor allowed others to speak ill of another religion. "You are a traitor to the Saiva religion if you speak ill of another religion,” were his words of admonition to his students. His wish was that the Hindus should not be urged by feelings of hatred and enmity, instead they should, in a positive way contribute their efforts and see that Hinduism floorishes.
He wished to share his knowledge with others so that they too could dip into this nectar. He wrote articles, essays and poems, of a religious and secular nature. Some were translations while others were his own creative writings. Amongst his translations were Tagore's. Gitanjali in Tamil. The
* இருப்பது பொய் இறப்பது மெய்.
Here he pursued the study of philosophy and religion under the guidance of Swami Shivananda, the head of the Ramakrishna Mission in Madras. He was made editor of the English journal, Vedanta Kesari and the Tamil journal Sri Ramakrishna Vijayam. His background education helped him in this work.

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"Yaalnool was one of his more important compositions and is based on his research work on iyal, isai and nadakam namely, literature, song and dance respectively, Oral traditions tell us that while he was travelling by boat in the Batticaloa lagoon the sound of singing fish gave him the idea of writing, linking up music, literature and drama. And it was during his tenure as Professor at the Annamalai University that he composed this composition Yaalnoo, which earned him the title of "Muththamil Viththakar” - the exponent of the three forms of Tamil.
In his essay Tillai Tirunadanam, (the Holy Dance of Tillai) he writes in chaste Tamil about the Cosmic Dance as being the form of Lord Nataraja. Lord Siva disports Himself in the Universe and in the Souls of individuals, dancing the Cosmic Dance in the Golden Hall of Chidarnbaram. The dance is a symbolic representation of the philosophic concept of cosmic activity, an activity performed effortlessly so that He is said, "to act without acting thereby making everything the sport of Siva - Irraivan Tiruvilayadal.” It was to see this perpetual and gracious dance of Lord Siva in Chidambaram that Swami Vipulananda accepted the position as lecturer at the Annamalai University.
Another feature that is unique in his writings is that besides relating an original story he also adds his own innovative comments. In his essay, "Illakkiya Suvai,” he asks, 'Who is the hero of the Mahabharata story? Some say that it is Lord Krishna, others say that it is Arjuna, Dharma. but I agree with those who say that it is the King of Angadha Karanan.'
Glossing through the life story of Swami Vipulananda and his writings, we see that his main objectives were to preserve Tamil and Hinduism in their pristine purity. In order to fulfil these objectives he realised as Arumuga Navalar did, that education was an important
'முத்தமிழ் வித்தகர்.
One is reminded here of Romesh Dutt's couplet on Karnan and Arjuna in his translation where in he says,
"Room is none for Arjun's glory and for archer Karna's fame
One must sink and one must sparkle with a brighter richer flame.”

SwAMI VIPULANANDA 143
instrument that would help in achieving these. The Sarada Vidyalayam and the Shivananda Vidyalayam of Batticaloa are two of the many schools that have grown under his vigilant care. He modelled the Shivananda Vidyalayam on Tagore's Shantiniketan away from the noise of the city where Hindus, Christians and Muslims study and live together as one family.
The story of the growth of his educational institutions is fascinating. The Gurukula system of education influenced him in his effort to formulate his educational policy. His educational thoughts were rationalised, integrated and activity centred that would bring the youth self-confidence, courage, honour, freedom and self-reliance.
Under the guidance of the Ramakrishna Mission, he helped to start more schools in the Eastern province and contributed substantially to revive the faith of the Hindus in their own sacred religion and language. The words of Poet Bharati, "'Give the knowledge of letters to a poor person, aangor ellaikku eluth thiriviththal,” inspired him in his educational activities. He also started several orphanages and homes for children which the Ramakrishna Mission is managing to this day.
Despite the difficult and repressive circumstances of that time, the institutions grew, because of his undaunted perseverance and tenacity. He not only built up these institutions but also helped in the mental growth of his students making a deep and wide impact on them. He helped the youth to develop an overall vision of life and of life's designs.
Swami Vipulananda conveyed a wealth of knowledge, teaching the gospel of a pure true life - a life of perfect faith and action coupled with devotion and selfless service. Knowing that man generally strives for the transitory and perishable objects of the world tending to lay his life at the altar of his lower self, Swami Vipulananda awakens us from this state by reminding us of our true nature - "Man is a true representative of
"ஆங்கோர் ஏழைக்கு எழுத்தறிவித்தல்.

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God. So serve Himselflessly,” was his advice.
Thus we see that his was no small achievement. His charismatic personality and courteous bearing coupled with the unwearied spirit of service and universal love, won for him many friends both in his Island home and abroad. Despite all these achievements he was a humble man in keeping with sage Valluvar's words "Paniyumaam enrum perumai”." the great will always be humble'. He lived in perfect peace and harmony
exuding kindness, compassion and deep love.
His life was a continuing saga of endeavours in which he added piece by piece his essays, poems and institutions. Through these activities his whole life was sedulously garnered for service and spirituality. With his way of life of a sannyasin steeped in the distinct Tamil Hindu background, Swami Vipulananda has been the ancient Guru re-incarnated as the
Savant of Batticaloa - the Light from the old world.
"பணியுமாம் என்றும் பெருமை.

145
The friend, guide and philosopher
YOGASWAMI - THE SAGE OF COLUMBUTURAI
At the sacred hour of dusk a serene and pleasing atmosphere pervades the ashram in Columbuthurai. An extraordinary sense of stillness creeps upon the devotees blending into the exquisite environment as the shadows of twilight steal like a transparent mist over the spreading branches of the Illupai tree in the holy hermitage. Amidst the devotees gathered there, is the granite form of a fishi, with silver hair combed back and tucked behind his head in the form of a kudumbi - a head of a Roman Emperor with the piercing eyes that seem to penetrate through one's innermost recesses. A calmness and detached expression radiates from this personage as he sits amidst his devotees. This charismatic personality is Yogaswami at sandhyopasana - evening prayers at the ashram that I wish to particularly remember - a picture that is indelibly etched on my mind. The vibrations emanating from the ashram filled with the scent of flowers and the fragrance of camphor and incense enrapture one and
soften the mind into sublime serenity.
This sacred scene at the ashram often takes me mentally back through several centuries to the scene under the Kurundha tree at Tiruperunturai where Tiruvathavoorar, forgetting his mission of purchasing horses for the Pandyan cavalry, sat at the Feet of Lord Siva surrounded by a band of devotees oblivious of everything except his Guru(see page 83).
Every evening at sundown a lamp symbolising the sacred fire, would
be lit in the ashram and the singing of the Sivapuranam begins,

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YOGASWAMI
:
Courtesy - Author's Paintings
என்னை எனக்கென்னால் காட்டிவைத்த இறைவா எல்லாம் செய்ய வல்லவனே எந்தன் பெருமானே அன்னையினும் அப்பனினும் அன்புமிக்க அரனே ஆன்மாவுக் கான்மாவே ஆதியந்தம் இல்லானே தென்னை பனை சேரிலங்கைத் திருவேயென் செல்வமே தேவாதி தேவனே சிறியேனுனுக்கபயம்.
 

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"'Namasivaya vaalga Naathan thaal vaalga
Imaippoluthum ennenjil neengaathaanthaal vaalga,' Hail to the Panchakshara Namasivayal Hail to the Lord's feet! the Lord who does not leave me even for a moment...'
This ethereal melody of adoration to Lord Siva, floats from the ashram. The young and the old, the ignorant and the wise, the friend and the foe, all sit together and sing in unison with deep faith and devotion, occasionally Swami joining in. Swami during his life time, encouraged and revived such observances of traditional practices of singing the Namasivaya pathikam and the Kolaru pathikam which purify the mind bringing divine joy and hope to each of us who follow his practices. To this day the ritual of singing the Sivapuranam during Swami's thithi puja is followed exactly as it was done during Swami's time and often one would feel the sacred presence of Swami, the rapt mystic amidst the devotees, even though he is no more.
Yogaswami loved and moved freely among the people and their complexities undaunted and unafraid. His life was austere and of spartan simplicity. It was a long saga of giving. "Giving what,” one may ask. He gave strength, hope, courage, peace and love to erring humanity. These radiated from him as light and warmth radiate from the sun. He would walk miles and miles in the peninsula, meeting people, discoursing with them and often having meals whenever and wherever he desired. My paternal grandmother was a great devotee of Swami and my father would recall nostalgically that she would arise early in the morning, and say, "Swami will be coming here today; I must prepare lunch for him.” Why she chose that particular morning was only known to her Though she had her domestic aids, it was she who would scrub the kitchen floor, take her bath and prepare the food all by herself with deep piety and devotion
நமச்சிவாய வாழ்க நாதன் தாள் வாழ்க
இமைப்பொழுதும் என்நெங்ஞ்சில் நீங்காதான் தாள் வாழ்க! The kolaru pathikam begins with the words Veiyuru tholi pangan, where Sambandhan sings that the planetary position will not harm a true devotee because God resides within - en ullame pukundha athnaal.

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and wait for Swami. Lo and behold, around twelve noon, the wicket gate, the padalai would open and Swami would enter clad as usual in white dhoti and shawl with his umbrella under his arm. He would accept the lunch that my grand mother would serve. My father would marvel at his mother's intuition and devotion, for no one invites Swami - he decides where he is to go and with whom he would have lunch with. This is the mystical aura of Swami that is difficult, especially for ordinary people like us to understand. This is just one example and many of Swami's devotees would have similar stories to narrate.
While on these walks, he would have a word of solace and a blessing to those stricken in body or mind or those weighted down by sorrow. Many have drawn inspiration, solace and consolation in times of distress and desolation; light and enlightenment in times of bewilderment and darkness. He has also been harsh at times chasing away the devotees from the ashram. But all these acts of Swami have been acts of love for the good of the devotees. He was truly a friend and guide who lived amidst
the people to fashion and mould them into beings to befit a human birth.
Yogaswami was born at a great moment in the history of the Hindus of Ceylon whose spiritual lives were being disrupted by alien thought and culture. His personal biography is not only sketchy but irrelevant, for he is a timeless being, a voice of clarity with a deep concern for humanity, belonging to neither place nor time. His influence was not confined merely to Jaffna but encompassed entire humanity both during his life time and after his death. People from different parts of Sri Lanka and the outside world would come regularly to pay their homage to Swami whose name and fame had spread far and wide. Sivaya Subramunya Swami of Hawaii and Sandha Swami (Lord Soulbury Junior) were two devotees who continued to spread Swami's message in various parts of the world even after his mahasamadhi.
He was indeed a kind shepherd tending his flock and at the same
time, a regal minstrel who had come into the present time to restate

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the eternal Turths in simple Tamil, revitalising them with the vibrant testimony of his own experience.
Swami neither gave lectures nor held classes. But he taught the eternal verities while conversing with the devotees either in the ashram or at chance encounters on the street, train or their homes. The chalice of his philosophical thoughts was always brimful with his practical ideas flowing ceaselessly for humanity's sake. His teachings relate the ancient Hindu thought to the mundane life of man, making religion more relevant and realistic in the troubled world of today. His devotees were essentially householders and he did not preach undue austerity and renunciation to them; neither did he emphasise the subtle differences in Hindu religious thought. He conveyed a wealth of knowledge, teaching the gospel of a pure life, based on faith, action, devotion and selfless service.
Since the majority of his followers were Hindus, his teachings were expressed mainly in Hindu terms. But Swami was beyond all religious distinctions. Buddhists, Christians, Muslims and agnostics would all seek his guidance. He heard the desperate call from those around him crying for his spiritual and healing touch - he may heed the call or ignore it perhaps depending on one's karma.
All Swami's teachings have been compiled as the Natchintanai - reflections of Truth, a masterpiece of philosophy. The characteristic feature of the Natchintanai is its soulful brevity, Sweet and short leaving out nothing important. The hymns succinctly define the whole beauty of man in relation to the Lord on one hand and to the world on the other. Composing these songs embodying great truths, came easily to Swami - the spontaneous overflow of powerful feelings. These spiritual feelings were translated into simple hymns for the benefit of human beings. He sings in simple homespun language packing this with philosophy thereby making his songs elegant and easy to understand. Knowing that man generally seeks the transitory and perishable objects of the world, Yogaswami awakens us from this state through his mellifluous thoughts and reminds us of our true nature. The intellectual heritage

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that he has bequeathed through the Natchintanai has added greatly to the understanding of Hinduism.
Let us delve into some of his teachings on our true nature, bhakti, dhyana, service, surrender and faith.
"Go to the abode of Sivathondan - deep within you and there through meditation learn to relax yourself. In silence you will discern and relish peace and serenity,”
is a reflection in the Natchintanai unfolding the Truth of the inward Self of man communing with the Divine power within. This emphasises the Truth, "'You and I are One' - Naan thaanai vilanguginraan,' which Swami repeats often to one and all.
Swami's letter to Yogendra tells us more about our true nature. Though Swami had written many such letters to Yogendra who was a young boy at that time, he was speaking to humanity in general and his father in particular who was a great devotee of Swami. In simple style Swami has
given the essence of Vedanta in these letters.
"See! All is pervaded by Siva. Then who are you? Who am I? Who is your father? What are all others? Are they not all Siva? Are you still in doubt? Why fear. Look I am with you; you are with me. All being One and One being all, all
remain as they have ever been without any change.
"Arisel Learn as you go on. Listen carefully to what I say. Who are you? Are you the body? Then what is my real nature? I am the Immortal One. Therefore can fear or anything else affect me? No. But by the laws of Dharma that govern the body and mind, you must fear sin and act righteously. Wise men think and behave in this way and become worthy to gain bliss both here and hereafter. God lives in this house built of earth, water, fire, air and either. Therefore keep the house clean and the mind pure, and conduct yourself with calminess.”
*நான் தானாய் விளங்குகின்றான்.

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“Andaththil pindaththil Aandavanai kaanum thondar
naangale," If only we devotees could understand that in
the Universe and in each living creature is Siva, the Lord we
y
See,
and practice this Truth, then our daily life would be made less hostile and more happy. Since God resides deep within, Swami's repeated advice to us is to surrender ourselves fully by thinking, feeling and doing everything with Lord Siva as our goal. In doing so, our life could be made into a spiritual practice of Sivabhakti and Sivadhayana and then, we would be in a position to face life's challenges without suffering from shocks and tensions and go ahead despite failures with firm devotion to God.
In Swami's words.
"Sivabhakti, alone makes a man blessed. Everything else is useless. Therefore withoutbreak practise Sivadhyana. Do not be afraid of anything. Victory is yours! No matter how often you fail, do not lose courage. Failure relates to matter but your nature is consciousness- that is, you are of the essence of knowledge. You can never be destroyed. Arise, be awake and until you achieve your aim, stop not, but march on with a zealous spirit. Do not put on any outward show. Become strong within yourself. True religion is a solitary state that conforms to no pattern. Body, soul, possessions- surrender all three to God. Thereafter give up everything that concerns yourself and see that all is He and He alone
"Persevere until you attain success. Why do you continually allow your mind to dwell on mean, unpleasant things? Give up that kind of thinking and pray with a full heart. Gladly accept and carry out what karma decrees for you. Finally everything will end in success."
*அண்டத்தில்பிண்டத்தில் ஆண்டவனைக் காணும் தொண்டர் நாங்கள்.

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Swami inculcated the spirit of service through Yagna sadhana at the Sivathondan Nilayam, the centre for prayer, meditation, discourses and service. His aim was to make his devotees sacrifice their ego and get involved in a self-giving dedicated service to ameliorate the physical, social and spiritual needs of their less fortunate fellow beings. His view was that if all the devotees pray, meditate and work together in silence, then they would feel a sense of belonging and meet each other in love and prayer.
Swami's call to serve without attachment is as insistent as Saint Appar's whose goal was to serve Siva and His devotees, "En kadan paniseidhu kidappathe..." To Swami, service was Sivathondu literally meaning service to Siva. Such a service leads to the summation of action, conduct and discipline culminating in Sivajnanam, the grand enlightenment.
"Serve Him by praise, by the action of the hand, by touch and sight, by the power of the mind and soul and such dedicated work shall take you to the Supreme goal, of Siva,"
were his words. In this way Swami made his devotees develop the spirit of selfless service and said, "Blessed are the ones who consider all the acts they perform as Service unto Siva, for the Lord resides in one and all who worship Him by serving others - "Sivathondu seivaar sivame
35 2aVa.
According to Swami, true service should be done unobtrusively with no outward show and in the process one should surrender body, soul and possessions to the Lord saying, "Udal porul aavi unadhe iraiva," all these
are Thine O Lord. He says,
"We are the servants of Siva. We are lacking in nothing. Our
"என் கடன் பணி செய்து கிடப்பதே.
*சிவதொண்டு செய்வார் சிவமே ஆவர்.

YoGASWAMI 153
work is to do Sivathondu. It is for that alone that we are living in this world. The moon is doing Sivathondu. The sun and all the planets are performing the same holy service. Everything is the work of Siva. Without Him not an atom can move. We lose nothing, we gain nothing. We are as we have always been.”
In another Natchintanai, he urges us to worship Siva as the source of Truth, Love and Grace by constantly remembering His Name and meditating on It.
"Chittham thelindhu sivayanamavene
ninrum, irundhum kidandhum ninai,”7
While standing, sitting and lying meditate on Sivayanama with a calm clear mind. Be true and sincere and make that Beloved the sweetest thing and your undying Friend. Always fix the mind on the sole support of your life. This is true surrender.
Swami reflects on surrender and in one Natchintanai says,
"Offer your whole self in perfect surrender And the Supreme shall sustain you in loving support like a dear mother.” It is but natural that when one surrenders with deep faith and devotion, God will protect us. This is not dissimilar to the Tirumantram where Tirumoolar speaks of surrender to the Lord in beautiful imagery saying -
“Thaan endra poovai avanadi saathinaal
* உடல், பொருள், ஆவி உனதே இறைவா. 7 சித்தந் தெளிந்து சிவாய நமவென
நின்றும், இருந்தும், கிடந்தும் நினை.

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Naanandravan enkai nallathondranre.”o
Lay the flower of Anma at His Feet; The 'I' and 'He' shall no more a puzzle be.'
Swami's thoughts on Faith are firm and clear. In simple language he advises,
“Have full faith in God. Believe in Him with all your heart. Think that in the world He is the sweetest of all Sweet things for you. Think that there is nothing other than God. Sitting and standing, walking or lying down, think of Him. Let the thought of Him permeate your nerves, flesh and blood. Think that you are non-existent and that He alone exists. Let the aim of your life be to worship Him. What one thinks, that one becomes. Have God in your heart and bring Him up there. Let all actions be His action. Finally all will be seen as Him.”
Again he reflects in a lullaby melody, on the question "Unnai marappeno . . . ."
O God will I forget Thee? can I survive then? Wilt Thou, O Gracious Lord forget me?”
God will never forsake His devotees, but it is our faith in Him that will make Him come to our rescue. Our faith must be implicit and unwavering.
Lord Murugan was Swami's Ishta Devata. He was both God and Guru, the latter in the form of Chelappah Swami at the Nallur Temple. He saw no difference between Murugan and Chellappan and he said that it was the Divine Lord of Nallur who had taken charge of him as his
* தானென்ற பூவை அவனடி சாத்தினால்
நானென்றவனென்கை நல்லதொன்றன்றே. * உன்னை மறப்பேனா உயிர் நான் தரிப்பேனோ
என்னை மறப்பாயோ ஈசனே கண்வளராய்,

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Guru. The words,
' ”Nalluraan tiruvadiyai naan ninaiththa maathiraththil Ellaam marappenodi kiliye, Nalluraan tanjamedi,”"o
the moment I think of the Feet of the Lord residing at Nallur, I forget all my problems for He is my Refuge, are his cherished thoughts.
Bringing Swami's Natchintanai to more recent times, when Jaffna was in the grip of war and when tens of thousands of refugees took shelter at Lord Murugan's Abode in Nallur, we see that Swami had perhaps seen this sad scenario for he had prophesied, "panjam padai vandhaalum
Even if we are plagued by war and famine and The world burnt down to ashes Will there be fear? for " Lord Arumugan will be our Refugee.
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And as Swami predicted, Lord Arumugan of Nallur was the Refuge of many during those trying times of July 1983.
Swami reformed the lives of many a devotee, teaching them the importance of a virtuous life. His Natchintanai thoughts are -
"Hold rectitude more dear than life itself,
And live, giving priase to the sacred Feet of the Lord.'
Here Swami's reflections are not dissimilar to Sage Valluvar's idea on this subject. A virtuous life is one of humility, truthfulness and righteousness sans envy, anger and desire. "Let envy, anger and desire be strangers to thy heart," reflects the Swami and continues to say,
"More precious than life itself is rectitude. Those who practice
" நல்லூரான் திருவடியை நான் நினைத்த மாத்திரத்தில் எல்லாம் மறப்பேனோடி கிளியே நல்லுாரான் தஞ்சமடி.
"பஞ்சம்படை வந்தாலும் பாரெல்லாம் வெந்தாலும் அஞ்சுவோமோடி கிளியே ஆறுமுகன் தஞ்சமடி.

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rectitude possess everything that is worthwhile. Whatever the work may be, a man should train himself to carry it out with perseverance, devotion and joy. By disciplining himself in this way he will acquire steadiness of mind, that is to say, the mind will become one-pointed. This will allow the Atma increasingly to manifest its power. What one thinks will take place immediately.”
Swami's attitude to life can be summed up in the aphoristic declaration,
the Mahavakyas, which he inherited from his Guru Chellappah Swami,
"Nothing lost nothing gained; We know not; Who knows; Fear not; All is Truth; It was accomplished long ago; Be still - summairu." In short, he sought to teach us through the Natchintanai that God is Absolute Truth - "Muluthum Unmai' and in God's Kingdom, the Kingdom of Truth, there can be no intrinsic evil, error or ill-will, "Oru pollaappumillai.” Even though Divine Grace of God cannot be comprehended by the enmeshed Soul, “Naam ariyom,”o we know not, yet that is how it will be "Eppavo mudhintha kaariyam.”7
And finally Swami himself seeks refuge in the Lord singing a beautifu hymn which embraces the vibrations of the Upanishads, the Gita, the devotional hymns of the Saiva Saints, Sage Valluvar and others beginning with the words,
' ”Ennai enakkenaal kaativaiththa iraivaa
Ellam saiya vallavane enthan perumaane
* ஒழுக்கம் விழுப்பம் தரும் தம்பிமாரே
ழுக்கம் உயிரினும் ஓம்பப்படும். சும்மா இரு.
முழுதும் உண்மை. ஒரு பொல்லாப்பும் இல்லை, நாம் அறியோம். எப்பவோ முடிந்த காரியம்,
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Annai inum appan inum anbumikka arane Aanmaavukaanmaave aathi antham illaane Thennai panai ser ilangai tiruve enselvame Thevaathi thevanesriyenunak abhayam.”*
It is He who has empowered me, Myself by myself to know. Greater than that of a mother and father Is the love He bestows. He is the Supreme Anma, the Lord Almighty, With no beginning nor end; - To You O Lord of Lanka, abounding in palms, I in my insignificant form come seeking Thy Refugee.'
Swami's final achievements could be summed up in the words of Sri
Aurobindo
"I have thrown from me the whirling dance of mind
And stand now in the spirit's silence free Timeless and deathless beyond creature-kind, The centre of my own eternity. I have escaped and the small self is dead; I am immortal, alone, ineffable; I have gone out from the Universe I made, And have grown nameless and immeasurable.”
Yes, Yogaswami has grown nameless and immeasurable but he will
always remain fragrant and treasured in our memory.
iil 19 גי Ennuvaan nenjul nannuvaan san.
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9
என்னை எனக்கென்னால் காட்டிவைத்த இறைவா எல்லாம் செய்ய வல்லவனே எந்தன் பெருமானே அன்னையினும் அப்பனினும் அன்புமிக்க அரனே ஆன்மாவுக் கான்மாவே ஆதியந்தம் இல்லானே தென்னை பனை சேரிலங்கைத் திருவேயென் செல்வமே தேவாதி தேவனே சிறியேனுனுக்கபயம், எண்ணுவான் நெஞ்சில் நண்ணுவான் ஈசன்,

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PART II
The Mysticism Path
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Gateway to Achievement,

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Ancient holy texts that Shankara "decoded” for posterity.
 

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So Much, For So Few, In So Short A Time
THE STORY OF SHANKARACHARYA
(
"Sannyasthoham, Sannyasthoham Sannyasthoham” I am a Sannyasin, I am a Sannyasin, I am a Sannyasin, reverberated through the early morning mist, echoing and re-echoing, as a Crocodile gripped the little boy who was chanting. The child was just stepping into the holy river for his morning ablutions while his mother stood watching him. As he was tugged more and more by the crocodile, the helpless woman yielded to his fervent request of becoming a sannyasin just before he was swollowed up fully. To her utter amazement with the last declaration of "I am a Sannyasin', the crocodile released its hold and disappeared into the swirling waters of the river suffused with its mystery. This unusual scene is said to have taken place about one and a quarter millennia ago.
Perhaps this could be explained as an allegory, where the crocodile is maya or illusion and the river is the stream of life with its births and deaths. These 'crocodiles, live on the individuals and this young child of eight, even at that tender age had no attachments whatsoever, but found it difficult to free himself from maya, the great temptress. Strangely enough, the crocodile released its hold on the child when he declared. 'I am a Sannyasin.
The child was Shankara and the incident was the precursor of many more wonderful incidents in the life of Shankaracharya, the Jagadguru, (the world teacher) as we Hindus call him.
During the years prior to Shankara, the sublime spiritualism of Hinduism was gradually fading away. To understand the story of Shankara itself, it is essential that we have a glimpse into the times in

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SHANKARACHARYA
Courtesy - Author's Collections
Worship Govinda! Worship Govinda! Worship Govinda! Oh Fool! Other than chanting the Lord's Name, there is no other way to cross life's ocean.
 

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which he lived and the context in which he worked. He, as all great men worked in the milieu of his surroundings and helped in solving the problems facing his society.
Religion, to Hindus, is the matrix of all sciences and arts and the philosophy is indeed a way of life. There are no dogmas in the religion which have to be accepted unquestioningly as matters of faith. Religion is natural to man and is a longing for the Infinite deep within. This Infinite is Brahman, the pure Spirit of the Universe. The reverential prayers to this one Universal Spirit as the Inner Soul, have been sung invoking Him through mantrams, hymns, rituals, rites and philosophical discussions dating back to the times of the rishis. The philosopher tries to understand the spiritual basis of the Universe and among them there are the pluralists and the absolutists."
It is the Upanishadic idealism that Shankara emphasised and built the system of Advaita or non-dualism. He re-emphasised the importance of the Mahawakyas, “Tat Twam Asi,” “Aham Brahma Asmi,” “Ayam Atma Brahma.” These sayings are the quintessence of the Upanishadic wisdom, reminding us that despite the apparent differences the individual Soul the Atman and the Universal soul the Paramatman, are one and the same Reality. His greatest advice was, "Within you and me and elsewhere, there is only one Reality; to achieve this Reality is all important.”
Glossing through his life we find that he was born at a time when man seemed to have missed the woods for the trees and religion was used as a weapon of aggression, false doctrines were misguiding people and the Hindu society was under siege. The noble truths of Hinduism
The pluralist speak of a colony of souls who in their embodied form go through several births and deaths, purifying themselves and finally become One with the Absolute as it is in Saiva Siddhanta. The absolutists say that the Soul of man is identical with the Absolute One the Brahman, as said in Vedanta. According to Vedanta, each individual is divine - unfortunately this divinity is shrouded by maya and one cannot discern it. When one realises this state then God and the individual are One - meaning to say It is That - non dual which is ad- vaita (as opposed to dvaita which is two).
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were being gradually eroded by undue stress on rituals. He appeared on the scene to lift the slumbering Hindu society and recapture the noble tenets of Hinduism. In one bold stroke he wiped out all the myths, misconceptions and corruptions resuscitating the Hindu society.
Shankara's life-span straddles a period of far-reaching changes in the historic scene of that era. He was born to a devout Nambudiri couple, Sivaguru and Aryambe, who had prayed for a son. Pleased with the devotion of the couple, the Lord appeared to them in a dream saying that if they wished they could have either a son with average intellect but with a long span of life or a brilliant son with a short span of life. They prayerfully opted for the latter and thus was born Shankara in AD 788 at Kaladi in Kerala - 'a wonderful personality and an ethereal light fleeting across history in its own blinding glory.'
He was born not to lead an aimless life, but with the greatest mission of leading mankind to the blessedness of knowledge and peace. He was imbued with divine compassion to provide enlightenment to the ignorant and suffering. At a tender age itself he dedicated his life dauntlessly to the quest of the Absolute at the feet of his Guru. Armed with this knowledge he recaptured the wonder that is the Upanishadic philosophy and gave mankind the benefit of eternal life and re-established the perennial philosophy of Sanatana Dharma. Through the sheer force of intellect and moral energy he revitalised the Hindu society by being an organiser nonpareil establishing a network of monasteries to serve as spiritual guide posts; these were centres reverberating with the ageless Hindu message. His monasteries were from Kerala in the south to Badrinath in the north and from Puri in the east to Dwaraka in the west.
Shankara was not an individual but an Institution. No single person could have achieved what he had achieved in his short span of life - 'So much for so few in so short a time. Tracing his life story we see that he was truly a child prodigy and at the age of eight he had completed his formal education at the Gurukulam. He wished to be a sannyasin even though his innate brilliance and extraordinary learning brought him

SHANKARACHARYA 165
great fame and admiration. Fate in the form of a crocodile conspired with nature and helped him to fulfil his wish of becoming a sannyasin. (See first paragraph).
Blessed with his mother's approval of him becoming a sannyasin, he set out to find a Guru in order that he may be initiated into the holy order of sannyasam. On the eve of his departure, the presiding deity of the village temple, Lord Achyuta, directed the young boy in a dream to his Guru, Govindapada at Omkaranath, on the banks of the river Narmada. After having travelled a long distance his path finally led him to the sage. His first impression was that the sage's beautiful countenance appeared chiselled for the ages. He bowed in utter surrender and reverence and sang a hymn in praise of the Guru. The great sage who was in deep meditation woke up and without a breath of censure at being disturbed, enquired as to who the visitor was. Shankara replied in ten verses - the Dasa Sloki - describing his true identity with the Supreme Reality which begins with the words 'I am not earth, water, fire, air nor space; nor a combination of all these which are in the realm of change; but I am Siva,
the Changeless One.'
Having accepted Shankara as his disciple, the sage initiated him into Brahmavidya, teaching him the scriptures and yogic techniques. While he was at the hermitage, it is said that once, when the Narmada breached its banks and flooded the area around the ashram, Shankara contained the flood waters in his kamandalam. Referring to this incident, the Guru said, "You should write Commentaries on our great scriptures, compiling
the essence of all the Vedas."
With this blessing Shankara left for Kasi barely twelve years old
but ripe enough to write commentaries on the ancient scriptures. He
reiterated the doctrine of Brahman as the Ultimate Reality, the only Reality and as the unifying factor that runs through all life.
Tradition has it that one day, the Lord wishing to test Shankara, appeared before him as a Chandala surrounded by dirty dogs. Being a

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human being with human failings, Shankara who was on his way to the Temple of Vishvanath, after a bath in the holy Ganges, shrank from the man and asked him to move out of the way. "Whom dost thou order to move out - the spirit or the flesh?" asked the Chandala. It was then that Shankara felt that he had failed in the eyes of God. He was deeply humbled, for the All-pervading Lord is equally within every being, whether he is a chandala or a brahmin. He bowed low before the Man, who was none other than the Lord Himself. He recapitulated this experience in the verses of the Maneeshapanchakam and guided his fellow beings by setting an example and living the simple life of a true devotee,
- doing daily pujas,
- worshipping at temples,
- serving mankind and treating all alike,
- eradicating false values through his overflowing love
for God and His creations,
- infusing the idea of the essential Oneness of the Hindus in various parts of India despite the seemingly different customs, traditions and methods of worship, prevailing at that time amongst them and
- consolidating universal brotherhood and understanding
among men.
While building his monastery at Sringeri, centred round the Sarada Devi Temple, he realised that his mother was very ill. Remembering his promise that he would be with her at her hour of need, he rushed back to her bedside. It is said that his revered mother left her mortal coil peacefully as Shankara sang the Vishnu Bhujangam, invoking the celestial attendants to take his mother to the abode of Vaikuntham. Since a Sannyasin cannot perform the last rites even for his mother he changed into ordinary clothes and made all the arrangements. Chanting mantras, he took a little water from the kamandalam and sprinkled it over the pyre. The pyre caught fire and the body was reduced to ashes within a
short time!

SHANKARACHARYA 167
He started his pilgrimage once again and travelled through the length and breadth of India unifying the people, reminding them of their divinity and the essence of the Vedantic teachings. Finally the cyclopean peaks and mountain ridges of the Himalayas lured him to Kedaranath and there he stayed with a few of his disciples. His four main disciples were Padmapada, Suresvara Hastaamalaka and Totaka and each one was appointed as the Head of a monastery. He expounded the Dasa sloki to them and sat to meditate. After a while he went into deep samadhi and became one with the Lingam at Kedaranath, thereby disappearing from this mortal world.
SHANKARA - PART II
Shankara was a vigorous missionary who did not preach any new doctrine - his teaching was an exposition, where he decoded as it were and simplified the Upanishads. His task was colossal since the Hindu society at that time was in complete disarray and did not understand nor did it realise the value of these sacred texts. Within a span of about twenty years, the genius in him overcame all the problems and obstacles. It was
he who unified the Hindus and brought them back to their indigenous faith.
Some are of the opinion that there is no place for religion in Shankara's philosophy. This is not so because he was the mystic composer of so many devotional hymns of surpassing beauty, eulogising a personal deity. Through his songs, he tells us clearly that the Reality is strictly one without a second but, is capable of being viewed from two different standpoints, the intuitive and the intellectual, the Saguna and the Nirguna Brahman. Saguna Brahman is really the acosmic Brahman spoken of as Ishvara and the work of creating, sustaining destroying, and the granting of Grace are attributed to Him. The intellectual looks beyond the acosmic Brahman and sees the Nirguna Brahman, the Universal Reality. Man's difficulty is to comprehend the transcendent one the Nirguna Brahman and Shankara made sufficient provision for prayer and worship within
his Advaita Philosophy.”
It is easier for man to worship at the Feet of the Lord whom he referes to as Ishvara his Ishta Devata rather than 'see Him as the Transcendental One.

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Shankara's life and teachings portray him both as a jnana and karma yogin - a perfect jnani and at the same time an able organiser. And above all he was a devout bhakta whose heart throbbed with compassion and sympathy for his fellow beings. His, was a magnanimous mind and he came down to the level of the ordinary man, to guide and elevate him to the supreme understanding of the Truth of the Ultimate Reality. In his composition, the Bhaja Govindam, for example, he advises man,
"Bhaja Govindam! Bhaja Govindam!
Govindam bhaja moodhamate Sampraapte sannihite kale
Nahi nahi irakshati dukrinyakarane
seek Govinda seek Govinda, O silly mind; for when the time for departure comes, the rules of grammar will certainly not protect you.' In this context Shankara conveys that the basic search is for the Ultimate Reality, who is Govinda.
This composition was composed to foster bhakti in man. The way of devotion is not different from the way of knowledge. It is said that when knowledge becomes fully mature it is bhakti and Shankara has shown us clearly that jnana and bhakti are one and set the oneness to music and song.
In another verse he says in a very realistic manner Just as drops of water on lotus petals are extremely unstable so is life exceedingly uncertain and shaky. The real worth of one's mundane body is limited within the darkness of ignorance. The body is not the reality. What is real is the Ultimate Self.
Swami Chinmayananda while commenting on the verses in the Bhaja Govindam likens each stotra to the fresh blossoms, the “manjarika” that Shankara himself indicates. Swamiji compares each devotee to the bee probing deep into the flower in search of honey. The devotee should use his faculties of emotion and intellect and study the stotras probing in to imbibe the spiritual aroma and collect the nectar.

SHANKARACHARYA 169
Swamiji compares the fragrance of the flower to the practical instructions given in each verse. These instructions are fragrant and followed by those who take the trouble to understand them. And finally he compares the honey to the Advaitic philosophy saying that the subtleness could only be understood by one who is persistent like the bee which does not stop by the flower but probes into the recess to suck the honey. Similarly, each devotee should study each stotra, probe into it and through contemplation absorb the spiritual values, collect the subtle truths and store them in his mind."
The term "bhaja is worship - not merely a ritual of offering flowers or chanting mantrams but seeking our identity with the Lord - a total subjective surrender in love and devotion at the altar of the Lord. This is true bhaja. The disciple is asked to pack his heart with thoughts of God
rather than with anxieties of acquiring wealth.
While that Reality is absolute, formless, timeless, all-pervading and nameless, the human mind has limitations of understanding. Furthermore, man is saddled with his mundane pursuits. But the idea of Govinda looming big and bold, the Istha Devata to whom we could go, pray and ask for guidance, invokes not only deep devotion but also hope and courage to us, ordinary mortals.
Shankara's compositions are soul stirring devotional hymns. Besides the Bhaja Govindam, he has composed the Soundarya and Shivananda Lahari, Meenakshi Stotram, the Paanduranka Ashtakam, Annapoorna Stotram and many more. In these he sings of the matchless beauty and exquisite grandeur of the glories of the deities in the temples he worshipped. These songs flowed out of his heart in a perennial stream of love, devotion and supreme knowledge.
In the Annapoorna stotram for example, which many Hindus repeat daily at meal times he begins to sing requesting for alms, but concludes
From the author's The Gentle Breezes of Early Dawn pp 81-82. From the Commentary by Swami Chinmayananada on Bhaja Govindam.

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differently. Being a sannyasin, he had to go out for the mid-day meal. bhiksha, but on a particular day in Kasi, he did not receive anything and was very hungry. He went to the temple, sang in praise of the Mother and at the end oblivious of the physical pangs of hunger, entreated Her to bless him with the alms of jnana and vairagya - knowledge and dispassiono and concluded 'Parvati Devi is my Mother, Lord Mahesvara my Father; my kith and kin are the devotees of Siva and the three worlds are native to me'.
"Annapoorne Sadaapoorne shankarapraana valabhe Jnaanavairaagya sidhyratham bhikshaandehi cha parvati Matha cha paravati devi pitha devo mahesvara;
Baandhavaa Sivabhakta, svadesho bhuvanathriyam.”
The Soundarya Lahari is a composition where Shankara contemplates on the Absolute as Devi and sings of the transcendent beauty of the Highest, manifesting Itself in every limb of Devi. The concept of the Highest as Devi, is a unique feature in Hinduism. The Brahman of the Upanishads comes down not only as Brahma, Vishnu, Siva but also as Devi, the Universal Mother, with a beauty that is ineffable. To a devotee who intensely longs for a vision of Devi, She will vouchsafe Her benign presence. Shankara gives us the impression, in this poem, that Devi is near us and yet far away, that She is in the world and also beyond it and that She is both immanent and transcendent. There is a sense of remoteness and nearness and at the same time there is a sense of awe on one hand but benign love and compassion on the other. He sings magnificently dedicating all actions as acts of worship saying
"O Lady Supreme, may all the functions of my mind be
Thy remembrance; May all my words be Thy praise. May all my acts be an
obeisance unto Thee.”
In more recent times this very scene was re-enacted by Swami Vivekananda, before he became a sannyasin; he went to the Kali temple to implore Mother Kali to help his starving family, there forgetting his worldly problems asked instead for jnana and valragya.

SнANкARAснARYA .A 171
These descriptions of deities in Hindu religious poetry is intended to show that the Supreme Being is also supremely beautiful and when It gets embodied in human form for the benefit of the mortals, the beauty that is Its essence, naturally shines through every limb. For example, in one instance he sings -
‘ “Kavindraanaam chetah kamalavanabaalaatha paruchim..’ ” You shine like the glow of the morning sun upon the lotus-like minds of the poets; You resemble the colour of the morning sun; You are worshipped by some who are thus enabled by you to please learned assemblies with their sweet words of enthralling poetry.'
Shankara enjoyed composing these songs, where he communicates his ecstasy through the magic of his words. For example in the Linga Astakam which is a wonderful prayer he sings,
‘ “Brahmamuraari suraarchithalingam nirmalabhaasshitha shobithalingam Janma jadhukka vinashakalingam tatprnamaami sadaasivalingam.”
I always bow before that Sadaasivalingam which is adored by Brahma, Vishnu and other suras, praised by pure and holy speeches and which destroys the cycle of births and deaths.
Shankara travelled through the length and breadth of India unifying and reminding the Hindus of their great heritage. He was pre-eminently suitable to propagate the great philosophical Truth for, his own experience of Truth was in consonance with those of the rishis who gave humanity the shastras. He appeared on the scene during the dark age and revived . the ancient Hindu thought and culture explaining the mystic language of the texts and thereby unlocking the vast treasure chambers of wisdom contained in them. His, was a mighty work of organising and purifying

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while at the same time, "He lit a flame of devotion in men's heart, strong enough to revitalise the whole of Hinduism,” said Dr Annie Besant.
"Poornamadah poornamidam Poornaat poornam-udachyate Poornasya poornam-aadaaya
Poornam eva-avasishyate."
THE ETERNAL TRUTH OF HINDUSM REITERATED
SEVERAL MILLENNIALATER BY ENGLISH POETS
The English poets several millennia later, conceived these very thoughts and retold them in their own style. Lord Tennyson depicts the
Supreme One as immanent and transcendent.
“...................................... That Infinite Within us as without, that All in all And above all, the never changing One
And ever changing many."
The never changing One, is the Absolute which assumes the various forms of the 'ever changing many. This is Brahman, the Soul of the Universe, the Soul of man and transcends time and space.
Wordsworth lends support to the Spirit of the ancient wisdom when he spoke of the consciousness, the permeating spirit, the singular Oneness and a singular unfying energy as he sought God in Nature and in man.
This is the Saanti Mantra in the mystic language and is not clear to the lay person unless explained. Shankara's explanation reads "That is whole; this is whole; from the whole, the whole becomes manifest; From the whole when the whole is taken out, what remains is the whole" - the invisible Reality (Brahman) is Whole; the seeming Universe too is apparently whole; from the Whole when the Whole is taken away, the Whole namely Brahman remains.

SHANKARACHARYA 173
" .And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Whose dwelling is the light of setting suns And the round ocean and the living air And the blue sky as in the mind of man.”
To Shelley, the whole world together with Nature was a manifestation of the Divine Life and an attestation to the Divine Love.
"He is a presence to be felt and known
Which wields the world with never wearied love Sustains it from beneath and kindles it above." -Adonais
He conceived God as Eternal Love, not only pervading but also animating creation.
Thus we see that the ancient Vedic and Upanishadic thoughts of the rishis are eternal truths that have reverberated in the hearts of mystics in the West as well and find expression in their writings. Eternal truths abide in all ages and all lands.

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MIRABHAI - AND HER IMMORTAL BHAJANS
' “Mere to Giridhara Gopala,” sang Mirabhai.
Giridhara Gopala who wears the peacock crown, is Mira's Lord, are the simple words of an exquisite song of devotion which have come floating through the ages expressing the pure and wonderful love of the devotee for her Lord. Sri Krishna played the flute and awoke in Mirabhai of Chittor the memory of her previous life as a Gopi as she incarnated to sing her bhajans and sankirtans to awaken the sleeping chord in devotees leading them back Home.
The English poet Longfellow speaks of such minstrels as
"God sent His singers upon earth With songs of sadness and mirth; That they may touch the hearts of men, And bring them back to heaven.”
The words of the poet aptly describe this mystic poetess Mirabhai who came down to earth and sang on and on touching the hearts of many a devotee and guiding them on their spiritual path. She herself has sung her way to her Lord Giridhar and her whole life was a sacrifice at His Feet shedding devotional fragrance for all times.
Her bhajans and kirtans are beautiful with an evocative charm taking all of us to her old medieval Rajasthan with its impregnable fortresses, hills, deserts temples and to her immaculate saga - the devotee in quest
of the Flute Player.

MIRABHAI 175
MIRABHAI
Courtesy - Author's Collections
In the presence of Giridhara will I dance, Him I shall please by dancing
And His devotees I shall solicit. Love and affection shall be the anklet of my feet and Remembrance shall be my dancing role."

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Mira was born in Chitoor, Rajashtan into the Royal House of Mewar, the daughter of Rao Ratan Singh in 1547. Even as a child she was devoted to her Krishna, the Image on her table. One day on seeing a marriage procession the five year old Mira is said to have asked her mother, "Where is my bridegroom?" To this the mother, marvelling at her child's innocence pointed to the lovely image of Lord Krishna saying, "Giridhara Gopala is your bridegroom.” This exerted an indescribable piety in her.
And from the very beginning of her sadhana, she cultivated the attitude of a bride in her devotion to God - everything was centred round her Gopala - her playtime was spent in bathing and dressing up the image; singing, dancing and offering flowers; talking to Gopala - all these came naturally to her. To others she appeared mad for she was apparently able to read the expression of Krishna in the image and accordingly felt either happy or sad and was in deep conversation with the seemingly silent Krishna. She grew up cultivating the sadhana of adoring the Lord which blossomed out into her innate Love for God. This was her pathway to mystical union with the Absolute.
The remedy the parents sought for her "madness was to get her married and her marriage was arranged to the eldest son of Rana Sanga the valiant Rajput Prince, Bhojraj. The Rajputs were a proud race and never recognised Muslim suzerainty, Bhojraj had inherited the martial qualities of the Rajputs and was considered a valiant soldier. But after marraige an encounter with his bride humbled him. Mira was a good wife and did her duties in a devoted way but at the same time she stood firm in her virgin glory in her love for Lord Krishna. Once her household duties were over she would retire to her Temple, to her Giridhar; she would sing, dance and talk to Him in total surrender. To her the Lord would appear, play the melodious tunes on the flute and hold long discussions. This was Mira's joy and life - something that she would never give up.
The nocturnal activities of Mira irritated the royal householdespecially the mother-in-law and sister-in-law, Though the mother-in-law realised

MIRABHAI 177
her daughter-in-law's sincerity and devotion to Lord Krishna, she was silent in her appreciation of Mira's faith; but the younger girl did not understand because she felt that Mira was betraying her brother and that she was having a paramour with whom she was talking to, at dead of night. One night she complained to her brother who rushed into the Temple and found Mira in an ecstatic mood making her confessions of love to her Lord. "There He sits, the Eternal One smiling - don't you see Him,” she cried and fell into a swoon. The young bridegroom, not knowing what to do, left the room confused.
Bhojraj realising that his wife was no ordinary person left her alone. Mira was now totally oblivious to all the ill-talk about her and would go on singing, dancing and praying,
'Now none else but Him can I claim as my own
I forsook my father and my mother and all those who
were dear to me, ............ With tears I nourished the everlasting creeper of love Thenceforward the Name within and the saint overhead
have lighted my path To the Lord, the servant Mira has consigned herself What cares she for the rumours......... 3)
Being inspired by her Lord, she sang sankirtans which have come down to us shining in a transcendental way. In a bhajan translated as Realisation, she gives an autobiographical sketch saying,
"My mind is fixed on the Lord, no obstacle in the
pursuit of the path can obstruct me. I have met my teacher Saint Raidas and he has conferred
Realisation's boon on me. The Name has struck root in my heart, and I am ever
pining for Thee. Long since have I discarded ornaments - gold and pearls.

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And only the garland of Tulsi beads dangles on my
bosom and I apply sandal paste to my forehead. Attending the temple service, and meeting the saints
and dancing Before the Lord, is my daily vocation. I am fortunate to have the company of the saints, Who are responsible for my spiritual uplift...”
Mira's one and only cherished desire was to cultivate Supreme devotion
so that she could reach the Temple of Truth. She knew the difficulties but
she received spiritual light from her Guru which she portrays as,
"(I am the disciple of) the great Teacher and through his Grace I
worship Him by falling at his feet and offering obeisance.”
And His kindly light led her onwards - "I have thus realised Giridhar and have escaped the agony of rebirth.”
Her tireless striving stretching its arms towards the Realisation of the Truth, gave her happiness and strength and her whole life was a paean of praise for her Lord. Her tremendous strength of character and a wonderful independence of spirit and courage were worthy of the Rajputs.
The extra-ordinary news of Mira's devotion to Giridhar spread far and wide that even Emperor Akbar, an arch rival of the Rajputs wished to meet this young saint whose genuine devotion made her Lord appear before her. He strongly wished to hear Mira singing the songs herself but knew that if he went as the Moghul Emperor he would not be able to see her and his life itself was in danger. Together with his court musician, Akbar journeyed to the Temple in disguise and was transfixed at seeing the beautiful and innocent young devotee seated before her Lord in total surrender. It is said that the restraining hand of the musician that prevented Akbar from running forward to prostrate himself at Mira's feet. "As the devotees sat round Mira, she started singing her songs. When the moment arrived, she jumped up and started her ecstatic dances.

MIRABHAI 179
The scene was so much enlivened that for the time being each forgot himself and saw divine shafts of light shooting forth from the Idol and encircling Mira in a halo. Fragrance spread throughout. Some lost their consciousness seeing Mira at the height of her emotions fall flat on the ground absorbed in divine consciousness.”
Emperor Akbar was deeply moved by all this piety and as Mira awakened from this state, he made his offering of a necklace to her. She refused saying that a true devotee of God needs nothing. Akbar entreated her to take it, saying that the offering is made at Lord Krishna's Feet. This made the difference and the necklace was laid at the Feet of the Image. The whole episode touched Akbar a great deal and he is said to have left steeped in reverence and love for God. It was a great experience for the Emperor and perhaps such occurrences were responsible for the tolerant nature and liberal views of the great Moghul.
The story now reads that the Rajput prince was very annoyed that Akbar had dared to visit his wife and he reprimanded her and asked her to leave the palace and jump into the river and show your face no more. Being an obedient wife she did leave the palace and as she was about to jump into the river, Lord Krishna appeared and restrained her saying, Henceforth you are Mine; seek Me in Brindaban. When the Prince heard that his wife was still living he came back to her deeply humbled now and asked her for forgiveness. He entreated her to return to the palace with him. This she did willingly. Instead of being angry with his wife's devotional escapades which he did not completely understand, he built a special Temple for her devotional prayers and sankirtan sessions encouraging her in her spiritual activities. Unfortunately he died soon after and his brother who succeeded him was very cruel to her. She cared less and says,
"I am now fearless and care not for the reprimands
Of the Rana my husband's elder brother.”
Bankey Bihiari in his Bhakta Mira.

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She braved the hatred, wrath and contempt of her husband's immediate family who were planning to kill her
Counting his cruel acts she says,
"Rana made a present of a basket of serpent,
Mira performed her ablutions and put her hands in it. Lo! it was turned into an image of the Lord. Rana sent a poisoned cup; having performed her prayers Mira drank it.
It changed into nectar. Rana senta bed of nails for Mira to sleep din, Evening fell and Mira slept on it. Lo! it had transformed into a bed of roses. Mira's Lord, ever beneficient keeps her ever out of all trouble, Mira has dedicated herself to Giridhara
And roams about in ecstatic mood arising out of deep love.”
It is said that due to the harassments she left the Palace and wandered to Brindaban. Here the beautiful woods and pastures associated with the pastoral life of Lord Krishna inspired her to sing some of her finest bhajans and kirtans as she became a Gopi again.
Mira's theme was love and she sang in total worship of her Lord in madhura bhava (nuptial emotion). Though she was born into a wealthy royal household, she was obsessed in this pursuit of seeking her Lord in His kingdom. She lived a beautiful life, steeped in mystic spirituality. Her words,
“How could I live without Hari, O mother!
For the Dear One I have gone mad; it is like
the worm eating out the wood Medicines and herbs do not work on me, it appears all madness to me. As dwells the lotus in the waters, of water born. As loses the fish its life when from waters withdrawn.

MIRABHAI 18
In search of the Beloved from forest to forest, to catch the
music of the fute, I roamed.
Mira, the Blessed one, her Lord Giridhara,
the comforter obtained."
This was Mira's secret, her path through which she approached Lord Giridhar. All outward shows and conventional rules did not affect her; her path was through love in the theme - "O Lord, I am Thine and Thou art mine.” Her life was different and the decorum of society did not bind her. Though she did not sit in prayer as such, yet her whole life was one of deep prayer. She seemd to say, "O Father, I know not how to pray; but I yearn for a vision of Thee; when shall I see You.”
Mira knew only of one union - the union with her Lord and it was sacrilegious for her to place anyone else there. Her Lord was her Lover, her Friend, her Guide and her everything. She fell at His Feet to pay
homage to Him. In one instance she sings,
"I am true to my Lord; Why should I feel abashed, O comrade,
now that I have danced in public. All day I feel no hunger, nor find any rest;
at night my sleep is gone. The secret arrow of love has pierced my heart
and passed to the other side. My family and kin have swarmed round me like bees. Mira is the servant of Giridhara, the ridicule of the world has lost its sting for her.”
Due to this love for her Lord she was fearless and not concerned what one may have to say about her madness. She expresses this state of fearlessness as -
"In the presence of Giridhara will I dance Him I shall please by dancing, and His lovers I shall solicit; Love and affection shall be the anklets of my feet;

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Remembrance shall be my dancing robe. The world's regard and the family dignity I shall all discard, And I shall go and sleep on the bed of the Beloved. Mira shall dye herself in the colour of her Hari.”
This was Mira's way of life. Her attention was to please her Lord and her love gushed forth ceaselessly and she says,
"O dwell in my eyes, Thou darling of Nanda!
Enchanting is Thy figure and dusky Thy complexion
and big Thy eyes; And so beautiful looks the flute on Thy lips,
its note sweet like nectar. On Thy bosom is the Vaijayabthi wreath: There is a belt of little bells round Thy waist,
and the anklets in Thy Feet sound Sweet. Thou art the giver ofjoys to the saints, O Lord of Mira and the protector of Thy devotees!”
Mira's devotion to Lord Giridhar was absolute and this is manifested in various forms namely,
- Love of the glorification of the Lord's blessed qualities which
Mira never tired of praising the virtues of her Lord. - Love for His enchanting beauty. - Love for worship which Mira had from childhood itself. - Love for the constant remembrance of the Lord wherein she loved to remember Him all the time - her Krishna playing the flute which had stolen her heart. - Love for the Lord as that of a servant and she sings in one instance, "Mira is sold to Hari, a slave for many, many lives.” - Love as a friend which often in her sankirtans could be
intermingled with the nuptial bhava. - Love of self-surrender where Mira considered herself as the wife
of God surrendering herself completely to God.

MIRABHAI 183
Love of the pain of separation from the Lord which is poignantly expressed as Mira's bhakti as, "Beloved, give me a chance to
see You - Mira the separated one is desolate; when will she see Youጀ”
Mira's whole life was a genuine surrender to God, her Lord Giridhar. She was a beautiful human being who lived in this world shrouded in the invisible presence of her Lord. Hers was the struggle of a wonderful personality on her way to the beloved Lord of her heart. She was a moth that burnt itself in the candle of love for Giridhara and for all times filled the Temple of Devotion with fragrance. Undaunted by fire or frown, unperturbed by persecutions, this devotee of Sri Krishna, sang her songs of princely renunciation and self surrender that shall infuse courage in any aspirant on the Path of Love. She lived the message she preached and proclaimed the doctrine of absolute faith in and devotion to Lord Krishna.
Tradition has it that she finally reached Dwaraka. There she assembled all her devotees for evening prayers in her Temple of Sri Krishna. She sang to her heart's content in ecstasy and finally was absorbed by the sacred image of Sri Krishna symbolising the Soul attaining Moksha. She may have disappeared but the message of Bhakti that she bequeathed to humanity lives on for ever. Her message is simple
"None by reason of birth, poverty, age or sex will be debarred from His divine presence. The way is but one, that of Bhakti. The portals will open when the Teacher will bless the devotee with his company and teach him the mysteries of the Sabda. Once He is reached, further or future separation is not possible. Sooner or later everyone will meet the Lord. Time is a great factor and can be shortened by the intensity of one's affection for the Lord. Burn in the fire of separation from the Lord. But this is to come through practice of no Yogic exercise nor through mere learning, it is a gift and a boon from the Lord
Himself."

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With a smile playing softly on her lips, she seems through the centuries to beckon us with the message, "let them who wish, follow."
"How I yearn for a vision of Theewhen shall I see Thy face? My perplexed heart knows no peace: meet Thou soon, O friend. Mira's Lord is Giridhara Nagara - she is burning from separation from Him.”
Mira's songs were handed down over long years by oral traditions - memorised and sung over and over again by generations of minstrels through Rajasthan and the rest of India, leaving the fragrance of her songs to guide and lead us to the abode of Lord Sri Krishna.
The timeless purity of voices singing in prayerful devotion is the supreme melody of communion with the Almighty - the serene fragrance of bhakti. Bhajans are sung in worship of the most beloved deity. Presenting her immortal bhajans in an authentic interpretation brings waves of devotion.
SINGING OF BHAJANS AND KIRTANS
Mirabhai offers her devotion to Lord Giridhar through song and dance and this devotion was a genuine love verging on sublime passion and ecstasy. Her emotions found sublimation in bhajans and kirtans and her life burnt itself into one white flame of devotion and song. Being inspired by Giridhar, her songs shine in a transcendental way. Her music is permeated by devotion because it is conceived as a consecration to the Lotus Feet of the Lord. Her contribution to bhakti and dharma through the bhajans she sang is invaluable. Bhakti and music are interwoven and one strengthens the other instilling in the singer and the listener compassion, humility, selflessness, promoting harmony and brotherhood. Her songs describe the living intimacy between the individual Soul and the Supreme Lord. She was not a scholar but a Seer whose songs rise up from the springs of intuition possessing rare qualities of mantrams that
illumine the mind and spiritual moods, uplifting the Soul and instilling a deeper reverence for God.

MIRABHAI 185
Rooted in the millenia of Hindu Culture and Mythology, the bhajans are folk spirituals and a favourite form of religious music. In this form, the choir sings after a leader accompanied by an orchestra. The congregational singing of these bhajans encourage total surrender to a sense of unity with the Supreme One. They are a means of prayer and solace, a devotional approach, the bhakti marga which supersedes intellectual philosophies. Singing of bhajans together becomes a spontaneous prayer - a yearning of the human heart to touch the Feet of God - a simple sadhana.
In bhajans, the Name of God is repeated again and again to a raga and a beat, making it pulsating and grand. While offering prayers to God, singing His Name in chorus sincerely and truly, a gentle Voice is born in one which could be heard in the quietness and peace of mind. This is the Voice of the inner Spirit and OM is the mystic refrain of the Inner Being. OM is Brahman, the Primordial Sound Principle - the Pranava Natham. The chanting of the Name of the Lord is Namasankirtan; remembering His Name is Namasmarana and singing of It in Congregation becomes
Bhajans.
The bhajans and kirtans are permeated by bhakti and each has been conceived as a consecration to God. These have a unifying force bringing together all, irrespective of caste, colour, religion and language, promoting fellowship and camaraderie.
(Translation of Mirabhai's bhajans and kirtans are from Bankey Bihari "Bhakta Mira.”)
Various melodies have been in use in both Hindustani and Carnatic music. Dhrupad and khyaal are from the north of India and in the south, Carnatic Music has the kirtan and kriti. The kirtan and kriti are melodies which are made up of the Pallavi, Anupallavi and Charanam. The pallavi consists of the main subject and the anupallavi, the second subject which is generally sung in the higher octave and the charanam contains phrases of both. The kirtan and kriti are in many ways similar but with an important difference - the kirtan is used for sacred and devotional music and the sahitya (the words sung to music) is very important, essentially sacred in theme. The kriti's sahitya may be sacred or secular but the emphasis is is on the musical elaboration. Similarly, the dhrupad is a solemn devotional song sung in slow tempo while the khyaal
is a "light melodic air.

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THE SACRED MUSIC OF SAINT TYAGARAJA
It was quite and still everywhere; the wind was at peace with itself as the day unveiled itself and dawn fitted across to a tawny crimson. A stream of light shot lengthwise on the rippling waters of the River Kaveri revealing a cottage in the forefront and away in the distance the monument of loveliness, the Sanctum of Lord Sri Ranganathan.
Then, through the intense stillness of early dawn, emerging from the waters of the Kaveri came the ringing sound of the incredibly beautiful prayer of yearning -
“My body is your favourite abode.
My steadfast mind is the golden throne for you - asana. My meditation of your blessed feet is
the holy Ganga water for you - abhisekha. My loving devotion is the garment for you - vastra. My praise of your great glory is
the Sweet smelling sandal paste for you - gandha. My chanting of your sacred names is
the full-blown lotus flower for you - pushpa. The effect of the past misdeeds is
the burning of the incense before you - dhupa. My devotion to your holy feet is
the all-day light burning before you - deepa. The fruit of my devout worship is
the offering for you - neivedya. The permanent happiness that I derive is
from you - taambula. Your darsana is - deepaaraadhana. This is the true worship done by your devotee Tyagaraja. O Raghunatha, protect me."

SAINT TYAGARAJA
187
SAINT TYAGARAJA
: .
ଜ୍ଞା :
s t
Courtesy - Author's Collections
Sweeter will be the devotee's pleasure, the more he with a loving mind,
daily sees You and Your charming face
radiating beauty and unbounded glory.

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This is just one of the thousands of songs sung by the doyen of Carnatic Music, Tyagaraja Swamigal, whose anniversary is celebrated annually on Margali Panchami at his samadhi at Tiruvaiyaar.
The story of Tyagaraja who lived a householder's life serving God, practising sadhana and leading a very frugal life, is well known. He did have some formal training in music; however, such great Souls need very little training. His mastery of Carnatic Music and the dedication to a life of service and prayer made him sing in a language that could be understood by all. He was a divine bard singing not only the praises, love and compassion of Sri Rama, but also singing his own experiences and anxieties. He had the power to express the mundane experiences in a language that touches every being. He lived a rich life of spirituality, serving God and lifting the suffering humanity to the Bliss of God.
Tyagaraja was born at a time when a wave of devotional music spread over South India. Tyagaraja, Dikshitar and Shyama Sastri were contemporaries at Tiruvaroor where the presiding deity was Tyagesar and were known as the Trinity of Carnatic Music. These composers together with Swati Tirunal Maharaja and Gopalakrishna Bharati ushered in the augustan age of music into South India. Prior to this period music was more or less a handmaid of hedonism rather than a sacred art performed as an offering to God. Purandaradasa, the saint-philosopher and teacher, conveys this indirectly in one of his compositions, explaining
“ “Kelano Hari talano
tala melagaliddu premavillaada gaana,”
God will not listen to, nor will he accept that music, which is devoid of devotion, however well dressed it may be with instrumental accompaniment. Tyagaraja says the same thing in his celebrated song, ' “Sangeeta jnaanamum bhakti vinaa sanmaargamu gulade,” music without devotion is not the right path.'

SAINT TYAGARAJA 189
Two centuries after Saint Purandaradasa, Tyagaraja continued the teaching of Carnatic music. These great personalities were born to make music an offering to God and not be just a sophisticated art without genuine refinement and devotion. Tyagaraja himself acknowledges that he was guided by the compositions of his predecessor and throughout the vast collection of his songs, we find echoes of Purandaradasa's ideas and his musical thoughts. Tyagaraja realised that the Guru was none other than Truth and offered his obeisance to all great masters in the words “endaro mahaanubhaavulu andariki vandanamu...”
Tyagaraja is believed to be an incarnation of sage Valmiki and is said to have received initiation at the hands of Sage Narada in the art of music. Tradition has it that one morning when Tyagaraja was taking a bath, Sage Narada appeared at his doorstep disguised as a mendicant to meet and listen to the famous exponent of Carnatic Music. Tyagaraja was singing while taking his bath and Narada was thrilled with the music. Saying that he would return after Tyagaraja has had his bath he left leaving behind a book, requesting that the book be kept till he returns. He did not return; instead he appeared in a dream that night and said, 'I presented the book, Svaraarnavam to you. It is the foremost treatise on music unknown to anyone. Studying this sacred text on music and guided by his own experiences Tyagaraja was able to compose hundreds of devotional Kirtans, synthesising bhava, raga and tala and maintaining the purity of music. Into these Kirtans he has woven all his experiences, ecstasies and enlightenment in the spiritual world. His melodies and rhythms carry the simplicity of a great art.
Unlike the Western composers, Tyagaraja did not have a Lockhart or a Boswell to chronicle the incidents of his life. But the notes on the personal life of Tyagaraja, could be gathered mainly from allusions in his own compositions. He sings of his father as being Ramabrahman and mother, Saantamma; they lived in Tiruvaiyaar also known as Panchanadi Kshetra. There was no direct descendent, for his only daughter's son died without children. Besides these sketchy notes, one clearly sees that his whole life was dedicated to prayer and worship, the worship of Sri Rama.

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Tyagaraja's mother-tongue was Telugu and this language is exquisitely woven into his music. His kirtans are lyrical with opportunities for improvisation. Improvisation is very special to classical Indian music. It is a form ornamentation or extempore music known as Manodharma sangita while the composed music is Kalpita sangita. One of the most beautiful ornamentation in music is the sangati, the delicate variation of a melodic line or phrase repeated again and again with changes. Tyagaraja's songs are creations where the raga eddies in and around a phrase unfolding the moods, feelings and Contours of the raga.
His songs have been recorded by his disciples who sat with him or travelled with him, noting down the songs. One disciple would write the first part of the Kirtan, the Pallavias it is known, while the second writes down the Anupallavi, the second part, a third writes the Charanam while the fourth writes the Sahitya (the words that are set to the music), each concentrating only on his respective portion. The notations were learnt carefully by the disciples and presented the following day to the Guru. On special days like Ekaadasi he would travel to sacred shrines, composing kirtans in rare ragas. It was on such pilgrimages that the celebrated Pancharatna (five gems) Kirtanas were composed.
Through each of his compositions, Tyagaraja presents guidelines as to the easy way of worshipping Sri Rama. The more important of these is the yearning of the heart with the deep love for Sri Rama. In the Thodi raga kirtan 'Chesinatella Marachitivo, we feel the divine love as he sings, *Rama! Sri Tyagarajas prema avataar." Prema to the Supreme is the core of worship and this finds expression in adorning God, offering milk, fruits and flowers to Him, waking Him up in the morning and putting Him to bed at night - a ritual of worship performed with deep love.
His Pancharatna kirtans are five gems - each a masterpiece. In style these kirtans are similar to an ordinary kirtan but the Charanams are slightly different. They are much longer and each kirtan has several Charanams. In rendering the Charanam, the notes are first sung followed by the sahitya. Annually at Tiruvaiyaar these songs are sung by many artists who gather there to pay homage to this great mystic musician.

SAINT TYAGARAJA 191
His Divya Nama kirtans are simple and the language is mellifluous, combing bhava, raga and tala. The songs are marvels of Sweetness and melody portraying the perfection of pure and selfless love flowing to the Lord's Feet, the spiritual experience of a yearning human Soul seeking moksha.
In his kirtan, Evarimaata, Tyagaraja is seen in a despondent state where he appeals and pleads with the Lord placing his faith and belief in His sense of fairness and concern for all devotees, while in Ramaa nannu brovara, he asks the Lord why He does not come to his protection and in Ninnuvinna, he testifies to the eternal presence pouring out his spiritual experience of God's Omnipresence.
'Mochcha mugalada, is a rare composition where Tyagaraja says that unless one sings of God there is no point in singing at all.
"Where is salvation in the world?
Except to the living released. Where is salvation to those who cannot Sing in devotion to Thee? The universal harmony Made itself manifest in many tones By the union of life with fire O these men who know not the heart Delighted in the music of the Vina.”
What is unusual in this song is that the Gaandhara note’ in the raga Saaramati is the soul note (jiva Svaram) and the song is composed such
The sloka embodies the Truth of the Upanishad in the words,
Atma madhya gaataa Praana Praana madhya gaataa dhvani Dhvani madhya gaataa Naada Naada madhya Sadasiva.” "In the centre of the body is Praana In the centre of Praana is Dhvani In the centre of Dhvani is the Naada And in the centre of the Naada is Sadasiva.'
In Western Music notation this would correspond to Mi the others being Do Re Mi So Fa La Ti Do.

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that the word Jiva, falls on the Gaandhara itself thereby emphasising its importance.
In another kirtan, he sums up the importance of bhakti, music and nama smarana, addressing his mind in the words,
'O mind, that bhakti alone which is leavened by the nectar of svara and raga can lead to moksha. Naada, comprising of seven svaras, that rises from the mulaadhaara, is in truth, moksha. It takes several births to become a jnani, but singing the praises of the Lord with the knowledge of raga, is moksha. Of what use is it to play on the drum without time sense? Praying without mental purity is bad. Know that Tyagaraja vouchsafed the knowledge of Swaraarnava taught by Lord Parameswara to Parvati.
Tygaraja's compositions were composed in a spirit of dedication expecting no fame nor desiring any reward. To him music was religion and his life was filled with Rama consciousness and he experienced perfect joy in composing and singing and to him music was an act of devotion with which he could communicate with God.
His life is an illustrious example where Sri Rama not only protected him and gave His darshan but also bestowed bliss on him. It has been said that if some of the kirtans are rearranged, one could see the story of the Ramayana as told by Tyagaraja.
Several incidents in his life show us that he was not just an ordinary person. Once when he was offered the position of Court Musician by the Maharaja of Tanjore, he declined saying that he only sings the praises of Sri Rama. This angered his brother who threw the Murti of Rama into the river saying, "Is your Rama going to feed and clothe you?" Tyagaraja was deeply dejected but Sri Rama appeared in his dream directing him to the river where he would behold Him. True to this dream, he did behold
Rama not in the original clay form but in gold!

SAINT TIYAGARAJA 193
Tyagaraja's song Raja jyoti Swaroopini, tells us another strange story. The King invited the musicians challenging them to light a lamp through music. Tyagaraja sang this song and to the amazement of the audience, the wick of the lamp lit up brilliantly. It is said that with the rendering of the raga and according to the gradation the wick shone in varying brilliance.
Another incident in his life is more fascinating. It is said that once on a pilgrimage to Sri Rangam during the annual Car festival, Tyagaraja was overwhelmed with joy seeing the Deity at a distance that he broke forth ecstatically into song, singing the kirtan, Raaju Vedate jutamuraare.' And later when the Car literally stopped so that Tyagaraja could have darshan, it could not move. He was asked to sing and on completing the kirtan, "Vinarada na manavi, deeparaadhaana was performed and the procession moved on.
On another occasion, the Sanctum of Lord Venkateshvara was closed and Tyagaraja who had come from afar was thoroughly disappointed in not seeing the Lord. In total submission and humility he sang, Teratiyyagaraja and kept on singing and the screen opened revealing Lord Venkateshvara in all His radiant glory.
SAINT TYAGARAJAS MODE OF PRAYER - NAMA SANKIRTAN
Tyagaraja learnt the mantram, Sri Rama and the importance of chanting the Lord's name - nama sankirtan from a devotee of Lord Sri Rama. He was also told that he should cultivate nama smarana and repeat the Lord's Name, nine hundred and sixty million times, so that he could attain moksha. He was charged with spiritual fervour and he poured out his yearnings for Sri Rama in garlands of namams and was able to fulfil this task in twenty one years. Singing incessantly the Name of Sri Rama created vibrations helping him to commune with Sri Rama. In his own inimitable way he taught humankind his experiences of the eternal Truth through raga, Svara and Sahitya. In all the kirtans in his repertoire one see that the theme is bhakti and the sahitya essentially Rama nama.

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The Name of the Lord is beyond reckoning and it is the key to success in one's search for consolation, courage, illumination and liberation. To him the repetition of the Lord's Name was all important, "Is it possible to describe the joy one derives from chanting Lord Rama's Name?” he asks. The Name of the Lord in certain cases becomes more potent than the Lord Himself Sri Rama's faithful devotee Hanuman, for example, while crossing the sea to Lanka, threw stones across the stretch of water, reciting and writing the Lord's Name, Jai Ram' on them. These formed the bridge to Lanka.
Tyagaraja has thus shown as several others had done earlier that the Lord's Name has the power of burning sins, counteracting bad karma and bestowing everlasting peace, just as fire has the natural property of burning down things.
We are often reminded that constant repetition of the Lord's Name will stand us in good stead especially in the dying moment of a person. Sri Krishna says in the Baghavad Gita, that what ever thoughts become dominant in the dying moment, will determine the character of the next
Mirabhai in one of her bhajans refers to this significant incident in the words,
"My Lord, I am fascinated by Thy Name Who can count the merits of Thy Name, which Could float stones on which It was inscribed?" “ Sri Shankara says in his commentary on the Vishnu Sahasranama that by the mere remembrance of the Lord's Name, one is freed from the sea of samsara. "O Lord, how compassionate art Thou! Thy sacred Name is my very life and soul. To me there is no other support in this world, than Your holy Name. Oman, be rest assured that in this Kaliyuga, there is no other prop for you except His Name.” To Saint Manikkavasagar who sang the praises of the Lord the Name was not that important; he was really not interested whether the Supreme Being was called Siva or just referred to as He; "We call Him by a thousand Names; when in reality He has neither name nor form, "Oaru namam oar uru vam onrum illarkku aayiram thiru namam paadi thellenam kottaamo.”

SAINT TYAGARAJA 195
birth. This is a fundamental pattern. Thus if we have the Lord's Name on our lips as life ebbs out, our soul would evolve to a higher position on its onward journey to moksha. But such a thing is certainly not easy to
achieve, unless we are used to this practice of nama smarana.”
As Saint Tyagaraja was growing older, he was initiated into Sannyasam and was given the name of Naada Brahmaananda. Tradition has it that he himself told his disciples that the following morning Sri Rama will come to take him back into His fold. Singing the kirtans "Paramaatmudu” in Vagisvara raga and "Paritapamu" in Manohari raga, he became one with
Lord Sri Rama - the finale of a beautiful blessing to a devout bhakta.
Every action whether it be mental or physical makes an impression on the mind and these get collected to become the habit of a person. At the time of death, these forces or habits get sorted out and those that have been dominant in one's life takes precedence ovaer the others and become the prominent habits in the next birth. Constant nama sankirtan therefore helps one to develop spiritual thoughts which would become good habits in the next birth. The lives of great saints tell us of these practices; for example tradition has it that just before his death Bhishma sang the Vishnu Sahasranama in the
w
presence of Sri Krishna. (See Page lll)

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SRI SARADA DEVI - THE HOLY MOTHER
"Here am I; I have come to you,” are the words of a sweet little girl expressing realistically in a dream that she was going to be born to Ramachandra and Shymiasundari. These words are filled with a charm taking us back through a century and a half to the old Bengali village of Jayarambati and to the story of the immaculate life of one who refused to raise progeny in the physical sense, but extended maternal blessings to the saintly brotherhood of the Ramakrishna Sangha and to one and all who came to her. She was Sri Sarada Devi- a renunciate, wife and mother, all rolled into one. She was born in 1853 and unlike Sita, Radha and Yasodhara, the spiritual consorts of Sri Rama, Sri Krishna and Lord Buddha, Sarada Devi was born in a poor Brahmin family.
At that moment of history when Sarada Devi was born, the Hindus were going through a difficult period and the struggle had assumed the dimension of a challenge thrown out by an atheistic view of disbelief in God, the immortality of the Soul and the traditional values with materialism and passion, envy and enmity creeping into society. It was at a similar critical juncture that we see Lord Sri Krishna in the Gita coming down as an avatar for the protection of the good and the destruction of evil. In man's psyche there is a constant conflict between the good and evil tendencies mythically presented in the Puranas as a war between the asuras and the devas and projected to cosmic dimensions. Similarly in Consequence to the challenge of atheism in the mid nineteenth century that we see Sri Ramakrishna and Sri Sarada Devi as embodiments of love, purity and spirituality who had come to prevent society falling into greater decadence.
As a girl Sri Sarada Devi was certainly no ordinary person. There was a strange combination of divinity and humaneness in her from her early childhood. It was said that she would often be lost in meditation in the shrine room before the Goddess and after a while she was so absorbed

SRI SARADA DEVI 197
SRI SARADA DEVI
Courtesy - Author's Collections
When a person takes refuge with God, life's goal
changes ....
God Himself reverses his destiny. Does he grow a pair
of horns? No;
but he can distinguish good from evil;
discover knowledge and pass beyond the reach of life
and death.
You must find Him in your meditation....

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that one could not make out as to who was the Deity and who was Sarada Devi. This identification of little Sarada Devi with the Goddess in her meditation was not uncommon in her unique life. In her own words she would reminisce, "As a girl, I saw that another girl of my age always accompanied me in my work and frolicked with me; but she disappeared at the approach of other people. This continued till I was ten or eleven years old.”
While Sarada Devi was growing to be a child of five, Gadhadar' was experiencing spirituality; he appeared mad and his parents thought that marriage would have a stabilising effect on him. They started looking out for a suitable girl without Gadhadar's knowledge. However, it was Gadhadar who came to their rescue saying, "She who is destined for me is at Ramachandra's house in Jayarambati.” And so Sarada Devi was found and married to a man almost twenty years her senior. After marriage it was when she was eighteen years old that she had a meaningful meeting with her husband. She was ill when she came and at that particular time he was passing through a spirit of renunciation. Despite these strange circumstances, Gadhadar looked after her with great devotion and brought her back to normal health. And from then onwards it was a period of training. She was his first and foremost pupil and his spiritual CONSO Tt. .
Sarada Devi was endearingly called the Holy Mother personifying the holy sanctity of Divine Motherhood. In her rustic simplicity she was able to break all barriers as she was inspired by a universal love, which enfolded one and all in the charming fragrance of motherliness that she exuded. Her mother was disappointed that her eldest daughter did not have children of her own. It was Sri Ramakrishna who allayed her fears saying that Sarada Devi was destined to be the guide light to her people and that there would come a day when she would be called Mother. To this day, she is referred to and regarded as the Holy Mother by her
devotees all over the world.
'Gadhadar was the name given by the parents to Sri Ramakrishna.

SRI SARADA DEVI 199
To a Hindu woman, motherhood is all-important for the eternal feminine in her is identified with motherhood. Wife-hood precedes motherhood and is a special function of woman. But a woman is a successful wife to the extent that she is a mother. The essence of wifehood lies in motherhood and in this Sarada Devi not only remained true to the eternal feminine in her, the principle of motherhood but also encouraged other women to follow this and bring into existence a true feminine culture. She represented the Motherhood of God. The essence of motherhood is love that is pure and serene and this spirit sustains the Universe.
Besides seeing her as a mother, one sees her also as a true sahadharmini - not merely a wife but a fellow seeker of truth and higher spiritual values of life. It was Sri Ramakrishna who helped her in this field by careful education, discipline and the Shodasi Puja. Through this Puja, he surrendered his spiritual practices and the fruits of these to her, making her a true sahadharmini. She became a participant of his austerities and his spirituality helping her to share the full glory of the Master and also making her a vital part of his mission. These rich traditions helped her to look upon all beings as manifestations of the universal Mother.
Sarada Devi led a very disciplined life that she became a symbol of moral and spiritual perfection for women - both married and unmarried. Her life is a story of religion in practice. She was a simple village woman outwardly poor and illiterate with her face covered with a veil. She was soft spoken but always busy with the ordinary duties of her strange household. Her life was one of spartan simplicity. But it is precisely her uneventful day to day life that challenges other women to follow her - it is not what she did but how she did it performing everything to perfection. Her very attitude towards life helped her to blossom out for such acts and attitudes bring about a harmonious blending of all forces of life. She practised the Upanishadic teaching of the Oneness of humanity, from which flows the Divinity of the Soul - the One God in all beings, pervading all, the inner spirit of all beings - to perfection. She seldom
° Shodasi Puja is a ritualistic worship Ramakrishna offered to his wife, Sarada Devi, seating her on the pedestal of the Deity. She too identified herself with the deity and through deep absorption the worshipper and the worshipped realised the identity of their being as Sat-Chit Ananda.

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spoke of equality or tolerance but lived a life practicing them. To take one example from the sheaf of her life story, it is said that one day she had invited a poor emaciated looking labourer who was working in the ashram, to a meal and she herself served his food. Her niece who refused to serve was amazed at her aunt. This attitude of loving and Considerate service sees the Divine in one and all becoming Madhava seva - service to God. In this way she spent time with her devotees showing that acts of selfless service elevate the smallest act to the highest form of worship. She embraced every living being in the fragrance of motherliness which charmed all those who came under her benign influence.
Her time was occupied with acts of service to her Master and disciples. and the practice of religious disciplines. Hers was an ideal way of living in which service and worship went hand in hand inspired by a universal love, which made no distinction between friend and foe, the small and great, the ignorant and wise. She remained untouched by worldly desires just like the lotus leaf remains untouched by water.
Her pure and disciplined mind was always tuned to spirituality. Her teachings were simple yet very practical as she exhorted her devotees,
"Sit in meditation for two minutes only. Concentrate fully while doing this and in case your concentration fails, stop for a while and come back to it later. Keep doing the nama japa whenever you can. Nama japa purifies your mind which will gradually give you realisation. The essence of realisation consists in the transformation of the inner life and not in any external manifestation, for the mind becomes pure and through that pure mind comes enlightenment. What else does one obtain by
the realisation of God? Does one grow a pair of horns?” she asks.
Her last message to humanity was beautiful. It was an echo from the past as she reiterated the Sangam poet Poonkundranar words - "Yaadhum oore yavarm kelir,” the world is one and all are related!” Her advice was,
"If you want peace of mind, do not find fault with others. Rather see your own faults. Learn to make the whole world your own. No one is a stranger - the whole world is your own.”

SRI SARADA DEVI 20
We are constantly finding fault with others and according to her, when we do this, we are actually degrading our own selves. Instead she advises us to look within, see our faults and improve.
Sarada Devi has been described as the historical fulfilment of the Madonna Ideal - a description that is very apt. Madonna is the picture of Virgin Mary and the Madonna lily is the pure white lily. In this context, Modonna is synonymous with purity and Sri Sarada Devi was an embodiment of it. Her reply to her husband's question, "Do you want to drag me into maya?" was itself special - "Why should I do this? I have come to help you in the path of religious life.” Such a reply could have been given only by a person of immaculate purity of mind - a spontaneous expression of her lofty nature. Her contact with Sri Ramakrishnaattuned her mind to purity and discipline. In her, the world found a very special personality in its history, who combined purity and discipline in the roles of a perfect wife, nun, mother and teacher. Her life is unique where she lived with the family and shared all their difficulties and worries but did so in a spirit of renunciation, discrimination and devotion. She looked after the mundane and spiritual needs of her relatives and disciples but she was not of it. Hers was a sanctifying influence dispelling the darkness of ignorance. The words of Goldsmith,
"As some tall cliff that lifts its awful form, Swells from the vale, and midway leaves the storm, Though round its breast the rolling clouds are spread Eternal sunshine settles on its head,”
show that despite her worldly involvement she was still out of it. This was Divinity manifesting Itself through the frailties of humanity.
It was the Master, Sri Ramakrishna, who through his careful training, a silent but profound process, brought out the Mother in her, making her ready to take up the leadership of the spiritual movement that he had inaugurated and add momentum to the work of spiritual regeneration in man. The training he had given her moulded her as we have seen into a very special personality - one with inexhaustible patience, peace and pure motherly love.
When Sri Ramakrishna was very ill towards the end, Sri Sarada Devi

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had gone to the Siva temple for worship. She fasted and prayed that he should get well. On the second night of her prayer and fast she suddenly heard the sound of breaking earthen pots and she realised that the end was imminent. "Who is husband? Who is wife 2 Who is my relative in the world? Why am I about to kill myself? She kept asking and with that she freed herself from all personal attachments and her mind became one of intense spiritual renunciation.
After Sri Ramakrishna's Mahasamadhi, she realised that his disciples were scattered and begging for alms. She prayed requesting him saying, "O Lord you came in human form, organszed these disciples as sannyasins and went away. Should everything end with that? What then was the need to come and undergo so much suffering? I cannot bear to see my children who have given up everything for your sake, go begging from door to door for food. My fervent request is that those who renounce the world in your name may never be in need of basic food and clothing and from them humanity will benefit by hearing your teachings.” And with this remarkable prayer for the monks, the Ramakrishna Movement was inaugurated. She was the inspiration of Swami Vivekananda's work; she blessed him and the Ramakrishna Order and became the cornerstone of this great edifice.
Her portrait, depicting her in a white saree with a narrow red border, wearing a pair of bangles, the thilagam on her forehead with a strand of hair in front, seated in deep meditation, is truly beautiful - the face being the index of her peaceful mind. As one continues to gaze at her portrait, her spiritual beauty grows on you demonstrating in unparalleled ways how the highest form of spirituality can be comfortably combined with normal domesticity and how an ordinary woman can reach the extraordinary pinnacle of purity and perfection in the midst of her thousand and one daily chores.
On her death, her countenance seemed to resemble the face of the image of goddess Durga used in worship-mellow and golden in colourwith an inward calmness and serenity, reflected on her face.

203
THE PROPHET OF OURAGE -
SWAMI VTVEKANANDA
(In September 1993, the Ramakrishna Mission in Calcutta commemorated the centenary of Suami Vivekananda's Address at the Parliament of Religions in Chicago. The Mission organised a Parliament of Religions inviting speakers from various parts of the world Yogendra was the only speaker who was invited from Sri Lanka and he addressed the large gathering at the Netaji Stadium on the first day of the celebrations, speaking of Suamiji as the Prophet of our age).
One hundred years ago at the Parliament of Religions, a unique and representative gathering of religious leaders of different faiths, Swami Vivekananda spoke on behalf "of the millions and millions of Hindu people of all classes and sects.” His majestic personality, his Commanding voice and his universal approach captured the imagination of those present at the Chicago Assembly. Here was an Indian Monk, with faith in himself and in God, inspired by his Guru, Ramakrishna Paramahamsa, and nurtured in the Hindu tradition, who spoke of the religion of tolerance and universal acceptance. When the various religious dignitaries advocated the exclusive merits of their respective religions, Swami Vivekananda took the audience by storm by emphasising the oneness of humanity, indeed, of all beings, and Hinduism's acceptance of all religions as true. He referred to the wonderful hymn he had repeated from his boyhood - "As the different streams having their sources in different places all mingle their water in the sea, so Oh Lord, the different paths which men take through different tendencies, various though they appear, crooked or straight, all lead to Thee." A completely different approach of peace and harmony of religions transformed the audience, who were yearning to hear more of the doctrine of the Sanatana Dharma,
the perennial philosophy.
Swami Vivekananda strode like a Colossus on the Indian and International scene. He made a deep impact on humanity. He revealed Hinduism to the West and reawakened the Hindus of the East from

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SWAMI VIVEKANANDA
Courtesy - Author's Collections
Stand up, be bold, be strong, Take the whole responsibility on your shoulders And know that you are the Creator of your own destiny. All the strength and succour you want is within yourself. Therefore make you own future.
 

SWAMI VIVEKANANDA 205
their slumber and servitude. He was born at a time when his country was under the British rule and his people were politically suppressed, economically impoverished and socially divided. Religion which had acted as a cohesive force and held the people of India together for many millennia, despite their ethnic and political differences, was later misunderstood and misinterpreted bringing in its wake a stunted and a weak nation. Centuries of alien rule with the imposition of alien faiths contributed substantially to this state of affairs.
Swami Vivekananda realising the sad state of his country resolved to work for its upliftment. He felt that India could be effectively reorganised and strengthened on the basis of religion. According to him the Indian nation was still living, having survived many trials and tribulations. He realised that the national character had matured after thousands of years of a religious tradition and like a river it cannot flow back. He exhorted his people to shake off their shackles of religious indifference, political and economic dependence and to march forward, imbued with courage and determination, to restore the pristine glory of India. He gave them hope and strength. Strength was what he preached at every stage. 'Strength is life, weakness is death. Strength is felicity, life eternal, immortal. Weakness is constant strain and misery,” proclaimed Swami Vivekananda. He inculcated in the minds of his fellow countrymen a feeling of courage and confidence. He declared, 'Stand up, be bold, be strong; take the whole responsibility on your shoulders and know that you are the creator of your own destiny. All the strength and sucCour you want is within yourselves. Therefore, make your own future.”
Religion to Swami Vivekananda was essential to promote peace and harmony among people. He was a great devotee and an ardent advocate of the Hindu faith which preaches peace and harmony. He did not like the Hindus separating themselves and forming different sects, but wanted them to remain in the great common fold and retain the name of Hindu, which to him was the 'greatest and the most glorious possession.” He once exclaimed, "Here am I, one of the least of the Hindu race, yet proud of my race, proud of my ancestors. I am proud to call myself a Hindu..." He stated that no destruction of religion is necessary to improve the Indian Society, and that this state of society exists not on account of religion but because religion has not been

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applied to society as it should have been. The mistake is in ourselves and not in the religion. Improper emphasis is placed on Superstition, rituals, fasting for prolonged periods and weakening one's system permanently, and on the outmoded caste system. Fasting for householders is useful, provided it is done in moderation. Rituals should be observed up to a point, it should not detract us from the essence of Hinduism, which is to enable us to lead a righteous life on earth without fear. We should be strong, mentally and physically, to face successfully the challenges and problems that we encounter in life. Hinduism properly understood and practised will enable us to meet these demands.
The spiritual traditions of India could well be the religion of humanity. The spread of democracy and human rights has strengthened the individual and his desire to preserve his culture and identity. This desire enables a community of like-minded individuals to form political units, either within or outside a state, to manage their own affairs and to preserve their cultural identity. The failure of governments to appreciate the human urge to preserve one's cultural identity has led to conflicts of a violent nature in many parts of the world. While this tendency to preserve one's cultural identity is strong, there is a parallel movement to co-operate and unite on regional and international levels. The advance in science and technology resulting in the development of communications has shortened distances and brought people closer to one another. The inter-dependent world has shrunk in this sense and people from different parts are interacting with each other more often and at various levels, creating new attitudes and ways of life. Problems and solutions are no longer confined to national boundaries. They have transcended state jurisdiction and are also the concern of regional and international organisations, resulting in state sovereignty gradually eroding and giving way to shared sovereignty. The concept of one world and the way of life that flows from it are slowly but surely taking shape.
These two movements, the one to preserve one's cultural identity and the other to co-operate and coalesce for greater good are not contradictory. It could be forged into one synthetic whole enabling people to live in peace and harmony.
A change of attitude is necessary to adopt such an enlightened

SwAMI VIvEKANANDA 207
approach. We must treat humanity as a whole while recognising the different cultural streams within it. Hinduism's all embracing approach and its values of tolerance and universal acceptance are well suited to bring about this attitudinal change. Besides, it is founded on eternal truths and not on personalities.
"These truths are universal in their outlook, cutting across differences of race, religion and nationality, and ready to shelter anyone and everyone.” It is applicable to all times and adaptable to changing circumstances. It respects other religions, accepts that there are various paths to salvation and cares not to oppose the progress of any other system. It promotes unity in diversity and qualifies to be the religion of the entire world. Swami Vivekananda proclaimed, 'Such a religion which will have no place for persecution or intolerance in its polity, which will recognise "Divinity in every man and woman and whose whole scope, whose whole force will be centred in aiding humanity, to realise its own truth - Divine nature, is only found in our ancient way, now known as the Hindu way of thinking. Offer such a religion and all nations will follow...”
Swami Vivekananda had the unique distinction in bringing out so eloquently and forcefully the universality of the spiritual traditions of India to the outside world and in this respect alone he made a major contribution to the peace, harmony and progress of humanity. Swami Vivekananda was a great Soul ordained by God to serve humanity. He appeared on our horizon, glittering like a morning star, full of life, vision and joy. He gave strength to the weak, courage to the faint-hearted and hope to humanity. He brought out the Hindu values of love and truth, live and let live, as a way of life to the strife-torn world. He is indeed, the
Prophet of our Age.
SWAMI VIVEKANANDA - THE MYSTIC EDUCATIONIST
The day Swami Vivekananda stood before the audience in Chicago at the Parliament of Religions in 1893, unfurling the Hindu Dharma flag saying, "Sisters and Brothers of America,” he emanated a magnifying power that mesmerised the audience into a pin-drop silence, only to rise to give him a standing ovation. These words reverberate with the exquisite beauty of the spiritual message of the Atman, resounding with

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the all-embracing call to kinship, unity and love for all. His message for unity and harmony finds fulfilment in his educational philosophy. His thoughts on education are fascinating and he was ahead of western educationists when he gave his Vedantic interpretation to education. In this interpretation explaining its ancient Hindu form, Swamiji points out that each individual is divine by nature and the aim of life is to manifest this inherent nature. True education helps in this process through the cultivation of one's personality.
It was on Christmas day in 1892, that Swami Vivekananda swam across from Kanya Kumari to the island athwart the peninsula to spend time meditating on Mother India and the validity of her great traditions in the face of the challenges of modernity. Here he resolved, "to dedicate himself to the service of India and to spread the message of the Vedas." He was firmly convinced that India's traditions could be a vehicle for spiritual and cultural renovations in the future and this could be made possible through the training of the young minds.
In a short span of thirty nine years this redoubtable sannyasin was a spiritual messenger on one hand and a mystic educationist on the other. He strode like a colossus on the Indian and Internationl scene carrying the universal message of the Oneness of humanity and harmony of religions, to different parts of the world. He advocated a new social order for India and the world, based on Indian spirituality and the scientific advancement of the West - a happy blend of religion and science and moral excellence and material prosperity. As an educational reformer, he emphasised that the scientific material world could be saved only through spiritual growth for as Einstein said, "Science can denature plutonium but it cannot denature evil in the heart of man.” And according to Swamiji's thinking, science can create conditions for man's happiness but it cannot ensure that he is happy
Swamiji's message on education was based on the contemplation of mind rather than on collection of facts. Contemplation strengthens the mind and enhances the intellect. The purpose of education is to realise the Divinity within and one could achieve this through work, worship, psychic control or philosophy.

SwAMI VIVEKANANDA 209
w He always considered religion as the base of education which helps in the blossoming of the inner-self. To him, "Education is not the amount of information that is put into your brain and runs riot there undigested all your life..... If education is identical with information, the libraries are the greatest sages in the world and the encyclopaedias are the rishis. The pouring of information into the student's brain is a defect in the modern system of education and needs to be changed into an education of not merely stuffing the brain but training the mind and building character so that mental maturity could be had". Saying, "Education which does not help the common man to equip himself for the struggle of life, which does not bring out strength of character, a spirit of philanthropy and Courage of a lion, is unworthy of that name,” he aimed for mental development. He also aimed towards an education by which character is formed, strength of mind is increased, intellect is expanded and self-reliance is achieved. Our ancient rishi-educators recognised this as being the immediate aim of education, for the mind is an important instrument of knowledge and the main string of all actions. Training and strengthening the mind is basically a man-making character building process.
According to Swamiji, knowledge whether secular or spiritual is inherent in the human soul, "the gigantic intellect is coiled up in the protoplasmic cell of the human being." In psychological parlance, to learn' is 'to discover. Since this knowledge is covered and has to be discovered, he speaks of education as being, "the manifestation of the perfection already in man." Just like fire in a piece of flint is brought out by rubbing two pieces, similarly, 'suggestion and guidance, from outside become the friction which spark off this knowledge and power deep within.
This Vedantic idea which Swamiji applies to education has been reiterated in a rather similar way by Pestaloggi, the European educationist who says that education is the manifestation of the inherent faculties of man. In the discovery of the law of gravitation, the falling apple was the suggestion which linked up all the links in the chain of Newton's thoughts helping him to 'uncover the already existing law of gravitation, for humankind. Again, one sees a resemblance in thought where Swamiji and Froebel an educationist of Europe, compare the child to a plant. Taking the example of the little seed of a banyan tree which contains

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the potentiality of developing into a huge tree, Swamiji explains the mental growth of a child, manifesting from within its own nature. One provides a plant with water and manure, weeding and pruning it when necessary and giving it protection and it is able to assimilate and grow by itself. Similarly, in the education of a child, one should remove all obstacles in his way and provide all that is necessary to uncover the existing knowledge. Once the obstacles are removed, the scope to grow is created and the 'student starts learning.' The teacher helps to awaken the knowledge inherent in the child, and guides him so that the child applies this knowledge to proper use. This is all important because if this opportunity is not given to a child, the inherent tendencies in him/her may not develop.
In order to attain perfection, Swamiji felt that one should not be cut off from society and its activities and for this all subjects relating to one's well being must be included in the curriculum namely, languages especially the English language, literature, science and technology, art and aesthetics. Science and technology as developed in the west will give the nation material prosperity so essential for life - "First bread then religion. We talk against material civilisation. The grapes are sour. I do not believe in a God who cannot give me bread here, giving me eternal bliss in heaven." He wanted material progress of the country to go hand in hand with spiritual life and warns that if science and technology are not based upon and inspired by spiritual ideals, they will bring greed and lust for power,
The method of education promulgated by Swamiji is based on the ancient system of education, namely the concentration of the mind, the observance of brahmacharya as expounded in the shastras and the gurukula system. Concentrating all the powers of the mind and bringing them into one focus becomes the essence of education. This is the key to knowledge and the practice of meditation leads to mental concentration. The observance of brahmacharya which is the period of study for twelve years, helps in concentration. And it is during this period that the student lives with his guru and learns.
Swamiji strongly felt that, while training young children to discover their inherent knowledge, positive ideas of love, peace and harmony should also be developed in them. These become over the years loving,

SwAMI VIVEKANANDA 211
peaceful and harmonious impressions gradually blossoming out and Creating loving and peaceful personalities. Such a training brings about an inner-illumination and an inner-transformation.
Swamiji's thoughts on the education of women are very topical even today. No peace and harmony could be brought about and no improvements could be effected in any society until and unless the women who form a greater part of the population are educated. Saying, "Can a bird fly on one wing only," he sought equal opportunities for women to receive education as men and a training in the ideals of renunciation so that they could become the teachers of the masses of women and rural folk. If women, who according to him are the embodiments of the Divine Mother, are elevated, then culture, freedom, peace and harmony will spread not only in the homes but also amongst humanity for as Sarojini Naidu said, "the true shrines of Liberty are in the homes of the
nation and women are the high priestesses who guard the sacred flame.”
Swami Vivekananda's thoughts are based on the ancient Indian values which have been given a freshness and vigour by him in order that they may provide the answers to the questions that agitate an individual especially the youth of today. These values are universal and bring out the best in the individual and enable him to live in peace and harmony.
This spiritual giant, in a span of thirty nine years, lived a life of five thousand years of spiritual and national attainment.
Swami Vivekananda at the Parliament of Religions: Chicago 1893

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THE POET LAUREATE - RABINDRANATH TAGORE
"Being chained to a perch,” was Rabindranath Tagore's feeling of being tied down and hemmed in as a child both at home and school. He was one of the younger children of a rich and famous family where for generations great men have come out of its cradles. He was born in 1861 in Calcutta into the Devendranath Tagore family of Jorosenko. Being so he was naturally protected; however, this protection was an imprisonment for him and he speaks of "being chained" and the subsequent classroom with its straight-back hard benches was not his idea of school. He never took a liking to the shackles of school discipline, instead he longed for freedom and in his own words, "to soar higher and higher like a kite.”
Fortunately at the age of twelve young Tagore had a reprieve. The Upananyana ceremony or the tying of the sacred-thread was arranged, and at this ceremony he was taught the Gayatri mantram. This is an ancient prayer of the Vedic age which is being chanted to this day by millions of Hindus all over the world as they see the very same glorious rising Sun,
“ “Om Bhur Bhuvah Swaha
Tat Savitur Varenyam
Bhargo Devasya Dhimahi Dhiyo Yo-nah Prachodayat.”
May we meditate on the adorable effulgence of the shining stimulator Tat Savitur, the remover of all sins and ignorance. May He inspire and illumine our intellect, is man's prayer for Light and Knowledge which inspired young Tagore.
The whole ceremony and the deep solemnity and sanctity that went with it and the Gayatri Prayer of worshipping the Sun-Tat Savitur - as the adorable Splendour Brahman itself, made a very great impression on

RABINDRANATH TAGoRE * 213
RABINDRANATH TAGORE ዶ
Courtesy - Author's Collections
"Let me light my lamp,"
says the star.
"And never debate
if it will help to remove the Darkness.

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the young mind. The subsequent retreat with his father at their family ashram, Shantiniketan the Home of Peace, gave him that freedom which he longed for. His stay here with his father was memorable especially that of his father sitting in prayer and meditation in the early hours of dawn, very still and quiet, in his flowing white garments - a veritable Maharishi exuding peace and harmony. The beautiful words in which his father expressed what God meant to him had a wonderful impact on young Tagore too. The simple words, "God is the Repose of my life; the Joy of my mind and Peace of my spirit," were all inspiring to the young boy that on a later date he transcribed these words to a memorial stone which we see to this day at Shantiniketan on the spot which was the Maharishi's
seat of meditation.
Young Tagore learnt Sanskrit and English from his father and these lessons were very inspiring and created a love for his religion, language and literature both English and Bengali. He was encouraged to read and think for himself. It was perhaps these months of retreat and living in the midst of Nature and its beauty and being greatly influenced by his father that awakened to full consciousness his passion for literature, for the magnificent Universe and Nature in all its glory. These experiences were wonderful because Tagore was happiest when he was in communion with Nature and was able to imbibe so much more rather than from stiff textbooks in a dull classroom.
The studies in Sanskrit and the learning of mantrams helped in forming and flowering Tagore's genius. He naturally imbibed the ancient Hindu culture and traditions and was deeply influenced by these. At the same time, he was sensitive to the new currents from the west which came into India with the colonial masters. He was one of those rare persons who was able to accept the challenges of the new within the values of ancient Hindu thought and culture. It was this sensitivity which helped him to forge the "seemingly" new educational philosophy into Shantiniketan.
Furthermore Tagore was born at an opportune time which made him the genius he was. "The advent of the west had disturbed the placid waters of Indian life and a new awakening was sweeping through the land. Its initial impact had dazzled the Indian mind and made many of the early

RABINDRANATH TAGoRE 215
reformers blind imitators of the west. The first uncritical admiration was wearing off when Tagore was born but the ideals brought by the west were still active and strong. At the same time there was a growing recognition of the values of India's own heritage.” To Prof Kabir, Tagore's birthplace too was an advantage because Bengal had felt the impact of the west more vividly than perhaps any other part of India, Calcutta became the centre where east and west met and the meeting of the two cultures on India's shores, was for Tagore, both a fact and an ideal.
The retreat with his father at Shantiniketan when he was still young, unconsciously influenced his thinking. He was also greatly influenced by the ancient Hindu Gurukula model of education where the student and the teacher lived in harmony with nature and studied in an atmosphere of peace, calm and spirituality.
Unfortunately, education in all its varied forms is closely linked with the classroom, school discipline and textbooks. This was an attempt by the older generation to impose on the younger generation their ideals of life and shape the younger generation accordingly, forgetting the fundamental fact that education is concerned with the individual, his development and his ability to face the challenges of life. To Tagore education, which does not equip one to face the struggles of life, which fails to bring out strength of character and give him the spirit of love, peace, harmony and freedom, is unworthy of that name.
About this time, when he was building up his ideas of education, it is said that Tagore wrote a book of songs of devotion, in which he expressed his faith in God. Having dedicated this book to him, he read out a verse which impressed and delighted his father simply because he
rejoiced that his son had found and loved the Truth which is God,
"They who are near to me do not know that you are nearer to me than they are.
Prof. Humayun Kabir – the well known Indian Academician and former Minister for Scientific Affairs and Culture.

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They who speak to me do not know that my heart
is full with your unspoken words.
They who crowd in my path do not know that I
am walking alone with you.
They who love me do not know that their love brings
you to my heart.”
This sense of Love for Truth gradually blossomed out into outward simplicity and inward Truth as was seen in the ancient schools, the Gurukula, Tapovana or Ashrama schools as they were variously called.
It is easy to see why Tagore should have decided to start a school. His own education was unorthodox both in the choice of his study, his reading and in the mode of his life. And this guided him in what he should do and what he should not do in the development of a school where children could be helped to think and learn instead of the stereotype of pouring knowledge into their brains. According to his thinking, education, "is the freedom of mind which can only be achieved through the path of freedom” and that the highest education "is that which does not merely give us information but makes our life in harmony with all existence."
The purpose of a school was to relive the ideals of outward simplicity and inward harmony and truth in the modern world. To Tagore, Goodness and Beauty are the languages in which Truth speaks to man - through Sivam and Sunderam, Satyam will emerge - a spirit where the individual personality and development of a child will blossom out - this was his philosophy of education bringing out the inherent qualities of truth, goodness and beauty - Satyam, Sivam, Sunderam.
The inspiration for his school thus was the forest hermitage of ancient India where the guru-sishya' relationship was personal and immediate. Over time these ideas blossomed out into a Vidyalaya in the family ashram Shantiniketan, which the Maharishi had gifted to the son. This
This was the Gurukula tradition where the pupil lived with the Guru. In todays classroom personal contact is not possible.

RABINDRANATH TAGoRE 217
is truly the Temple of Learning, where the flowering of the individual personality and the full development of the many facets of human genius are fostered. The life of the ashram school to this day, as in the past, is one of simple freedom with the fewest possible rules. An inscription on the gate reads, "Here in this ashram the One Invisible God is to be worshipped,” and the unwritten one is that one should avoid speaking ill of other's religious beliefs. Shantiniketan is Tagore's offering of homage to the ideals and traditions of Education.
Though Shantiniketan was developed into a "forest” school away from the noise and rush of the city, yet it was different - in that it had the ancient spirit with an outward form suitable to the present times - "A Home for the Spirit of India,” as a friend called it. This unique Forest University was designed by Tagore himself consisting of "Kutis,” in the northern part called "Uttarayan” to which he gave special names like Konark, Udaya, Syamili and Udichi. The students at Assembly under trees with their palms together chant the Gayatri prayer - the traditional invocation to the Sun every morning. The chanting is followed by a few minutes of silence ending with "Om Shanti Shanti Shanti" – Peace! Peace! Peace!
Besides developing his educational philosophy and building up Shantiniketan, he developed the ancient spirit of India in him. His poems, Songs, writings, music, dance and paintings were outpourings of his creativity in keeping with this spirit.
Tagore's writing could be divided into three stages. When he was young his poetry centred round natural objects which he culled while seated in his garden enjoying nature and her beauty. His next stage was when he wrote the most beautiful love poetry in Bengali where words came out from the depth of his own experiences, both joy and sorrow. Then his writings, art, paintings and music grew deeper becoming
With plenty of trees where children could learn by living and working with Nature and knowing that Nature is a friend and not an enemy. The trees are living, giving shelter and nourishment to life and hence should be treated with care and affection.

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religious and philosophical. "All the aspirations of mankind are in his hymns," says Y.B. Yeats an Irish poet and a great admirer of Tagore and his creative writing, art, painting and music.
Tagore's testament of faith and his grateful homage to God could be gleaned in his work. It is this that he had personified and sensitively portrayed in his work. He writes in one instance,
“Thou hast made me endless, such is thy pleasure.
This frail vessel thou emptiest again and again, and fillest it ever with fresh life.
At the immortal touch of thy hands my little heart loses its limits in joy and gives birth to utterance ineffable.
Thy infinite gifts come to me only on these very small hands of mine. Ages pass, and still thou pourest, and still there is room to
fill.”
His dislike for ritualism is seen in another Gitanjali poem,
"Leave this chanting, singing and telling of beads. Whom doest thou worship in this lonely dark corner of a temple with doors all shut. Open thine eyes; see thy God is not before thee! He is there where the tiller is tilling the hard ground and where the path maker is breaking stones. Come out of thy meditations and leave aside thy flowers and incense Meet him and stand by him in toil and in sweat of thy
brow.”
Tagore's gift to mankind was an integral part of his living being. In his poem in the Gitanjali he gives us an unusual prayer in the form of a request to his Lord, where he asks Him to strike at the root of penury in his heart and then seeks strength,

RABINDRANATH TAGoRE 219
"Give me the strength lightly to bear my joys and sorrows. Give me the strength to make my love fruitful in service. Give me the strength never to disown the poor
or bend my knees before insolent might. Give me the strength to raise my mind high above daily trifles. And give me the strength to surrender my strength to thy will with love.”
His poems have a leaning towards God - the joy of union and the profound sorrow of separation. He uplifts the Soul of human passion to spiritual heights. He renounced his ego, will and bondage and felt free for he says "Deliverance is not for me in renunciation. I feel the embrace of freedom in a thousand bonds of delight. And because I love this life, I know I shall love death as well.” He says that on the day when death will knock at the door,
"I will set before my guest the full vessel of my life - I will never let him go with empty hands. All the Sweet vintage of all my autumn days and summer nights, all the earnings and gleanings of my
busy life will I place before him at the close of my days.”
Besides his commitment towards the spiritual and his firm faith in God, one realises that his vision was wonderful. I would like to share a poem from the Gitanjali that fascinated me from my childhood, especially when I felt lonely, lost and in despair, it gave me courage,
"Have you not heard His silent Steps?
He comes, comes ever comes........ In the fragrant days of sunny April through the
forest path He comes, comes, ever comes. In the rainy gloom of July nights on the thundering
chariot of clouds He comes, comes ever comes.

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In sorrow after sorrow it is his steps that press upon my heart, and it is the golden touch of his feet that makes my joy to shine.”
Yes it is the Lord as Tagore said, Who comes to us in sorrow and in victory, every moment and in every age and it is His silent touch that makes us blossom out.
Through these lyric poems, Tagore combined emotion, imagery and music together. This fusion of sincerity of feeling and vividness of imagery combined with music keep haunting one even after the words may have been forgotten. His music is not rigid classical in style; it is influenced by the folk music of Bengal and the Tumris of East Bengal
with a mingling of European music."
Speaking of Indian Poetry and Philosophy Tagore says, "Both poetry and philosophy have walked hand in hand, only because the latter had claimed its right to guide men to the practical path of their life's fulfilment. What is that fulfilment? It is our freedom in truth, which has for its prayer, "Lead us from the unreal to reality, for Satyam is Anandam, the real or joy.” "And for his country he has a haven of fredom'.
"Where the mind is without fear and the head is held high;
Where knowledge is free; Where the world has not been broken up into fragments by
narrow domestic walls; Where words come out from the depth of truth; Where tireless striving stretches its arms towards perfection; Where the clear stream of reason has not lost its way into the
dreary desert sand of dead habit; Where the mind is led forward by thee into ever-widening
thought and actionInto that haven of freedom, my Father, let my country awake."
"Through Shantiniketan Eyes - pp 73-74.

221
ECHOES FROM THE HIMALAYAS
THE STORY OF SWAMI CHINMAYANANADA
He sat in deep meditation as the Ganga caressingly flowed round his feet, rolling and gurgling, looping here and there round rugged rocks seemingly to convey a message to the young Sannyasin. He was in ochre robes, the orange colour reminding him of the vows he had taken and representing the mental flame in which all desires are extinguished. This physical symbol offers a protection to the young monk as he pursues his spiritual life. The beautiful Gangadevi weaves a spell over him and says, "Son, don't you see me; born here in the heart of the Himalayas, I rush down to the plains taking with me both life and nourishment to all on my way. Fulfilment of any possession is in sharing it with others.” The message was loud and clear and the young monk was inspired and with all doubts completely cleared, Swami Chinmayananda stepped out into the world, the centre of his arena. There was something purposeful in the calm and detached way he stepped out. He was completely transformed into "The Sannyasin with a Mission.”
The spiritual heritage of the ancient land of India was paramount in him. The beauties of his land, the valleys and lowlands, the windswept deserts, the pristine beauty of the northern reaches clad in snow were in him a montage, a rhapsody of images, colours, sounds coupled with the eternal Vedas, Upanishads and the Bhagavad Gita to last a life time.
Chattambi Swami, the preceptor of the Menon family had predicted that Balan would be a great person in his later days which unravelled through a facade of mischief and pranks of the young boy. Silently, but unconsciously he was preparing himself with a sense of deep yearning to serve humanity through spirituality.

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SWAMI CHINMAYANANDA
Courtesy - Author's Collections
There is a Reason. For every pain that we must bear, For every burden, every care For every grief that crushes our heart. For every scalding tear we shed, For every hurt, for every plight, For every lonely painful night.
Yet, if we trust God as we all must, It all can turn to be for our good, He knows the Reason.
 

SWAMI CHINMAYANANDA 223
During adolescence, Balan was full of pranks. Yet he was deep down one who helped his friends and relatives; he was a loyal dependable friend with an uncanny spiritual bend. Though he thought of God in a negative way, yet he did not let go of his relationship with Lord Siva. He had cultivated this relationship at a very young age when long evening prayers were compulsory in the Menon household. "These prayers were an unending torture,” reminisces the Swami in later years with a mischievous twinkle in his eyes, "not only to me but to the Goddess herself - she was burdened with prayers and flowers! Thus Balan started a form of meditation at a very young age through mentally visualising Lord Siva as Lord Chandrakaladhara. This would keep him awake, uplift and purify his mind making it one pointed giving him a positive thought form. Daily at bed time, without others knowing he would mentally visulise this favourite form and repeat "Om namah Sivaya." Swamiji would say in later years that it was during those days of waiting for the conclusion of evening prayers that Chinmayam was born in Balan.
"I reached the feet of my guru more as a deserter of life than as a discoverer of some new shores. I was tired of living in the tomb; so he walked out into the open to breathe, to bask, to work and to live,” said Swami Chinmayananda describing his transformation from the worldly life into sannyasam and service.
Years rolled by through agnosticism and atheism divorcing himself from God. He passed through the Lucknow University and later participating in the Quit India Freedom Movement he was incarcerated in prison and left to die of fever outside the prison walls. During those years, the gossamer like golden thread of his japa continued religiously before bedtime. This mantram of his childhood made him realise that he was a pilgrim on an unknown path; and he quietly but surely discovered for himself the turns on the route and the charms of the destination.
Finally through curiosity he travelled to the Himalayas saying, "I

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am going to find out how these holy men are keeping up the bluff and I shall expose their whole racket.” Instead at Rishikesh, seeing Swami Shivananda as a very simple humble person exuding a dynamic peace through his full time activities in the ashram, he was bowled over. His critical thoughts mellowed into finding peace and tranquility in the ashram through spirituality even though he was not aware of what a 'spiritual life' meant. His thoughts and ideas, his concepts and visions, his values and principles were changing. Here amid tranquil and solitary surroundings, he was able to devote himself to the different texts, studying each carefully and learning the Sanskrit language.
These miraculously turned into self perfection - first at the feet of Swami Shivananda of Rishkesh who initiated him into sannyasam and later with Swami Tapovan Maharaj. Studying at the feet of these Swamis had a profound influence on the young man, Balakrishnan. These two major influences were very diverse - Swami Shivananda was full of dynamic energy where as Swami Tapovan manifested a subtle vibration through deep learning and knowledge. "All I am, all I have done is only because of my teacher Swami Tapovan Maharaj,” said Swami Chinmayananda several years later as he was building the Chinmaya spiritual fortunes in various parts of the world.
All the while, the poverty of his people and the negative experiences he had had with the British raj shocked him and perhaps led him to a more heightened awareness of life to more doubts and to intense soul searching. This over time created in him a spirit of transcendence from the mere worldly concerns to the spiritual needs of man. At this stage he began comparing the ancient and modern needs of the youth. He realised that the young generations of Hindus had lost faith in their religious traditions and were swept off their cultural moorings and that they were aping the west. He was agitated and disappointed with his people for being enmeshed in alien material comforts and oblivious to their rich and glorious cultural past.

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With all these ideas and experiences, agitations and disappointments, the young monk began his transformation into the spiritual mission he was destined to play. The richness and validity of his change from a naughty little boy through scepticism and apparent atheism into a renunciate armed with knowledge, made him the guiding star for all his devotees round the world. He began to be affectionately revered and loved as 'Gurudev.
The young Sannyasin's life was a long saga of endeavour, planning his programmes meticulously using the same English language that the young generation of English speaking Hindus were familiar with. To the young monk, spirituality was never a post retirement pastime for he believed that spirituality should help prepare and equip a young mind to face the challenges of life and emerge diligently as the winner. He realised that the youth should be harnessed carefully into the channels of dynamism and progressiveness. These ideas were to become the springboard for the great Hindu cultural renaissance, to teach the young that,
"the present is the richness of the past. To be aware of the glorious past itself inspires man to strive now in the present. The future glories come with the present efforts. To maintain his sacred past will readily give him a splendid spirit of self-sacrifice
in the present - a spirit which will assure achievements.”
Very often, as we struggle through life facing challenges from moment to moment, we tend to act thinking of the results of our actions. The present always moulds the future. Tomorrow's harvest depends on what the farmer has already put in - today's ploughing, sowing and weeding. Instead of carefully ploughing and sowing at the right time, the farmer. wastes the present chances and thinks of the worst scenario of the crop failing, then in all probability the harvest will fail. Thus, Swamiji quotes the Bhagavad Gita saying, -
"Invest the present moment intelligently and properly so

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that the future is taken care of. The past is over and the future is yet to come. The present is all important and is the moment of action and decision. Your duty is to work. An action in the present defined in terms of a future moment is its reward.”
In this manner, he urges us to bring out the best into the present.
As an artist of life, a sculptor of character-perfecting he moulded the lives of devotees who flocked round him - for the soul of man never blossoms without influencing other buds to blossom too. He emphasized spiritual beauty and how one should bring its laughter and cheer into our world of fears and competitions, conflicts and confusions, joys and sorrows. He served grandly and renounced nobly and has left for prosperity the grand example of his own life and also bequeathed to future generations a whole edifice of structures creating the Chinmaya Mission Centres in India and around the world, training acharyas to carry out his mission. These centres were developed and worked out essentially for the teaching of scriptures to the little ones, the youth and the elders. His mission was based on religion and philosophy. The purpose of religion is to refine man's emotions and transform his entire life while the task of philosophy is to bring light to the understanding and realisation of man's true nature. This is indeed the fulcrum in which the Chinmaya Mission works. His tryst with destiny was his dream blossoming out and, the mission centres he founded are the Divine Gifts that endure. Saying, “The world needs the refreshing teachings of the Bhagavad Gita and the Upanishads, when materialistic tendencies and greed have greatly reduced the divine qualities of sharing and caring,” he brought back the yagna spirit into our mundane lives, homes and work places.
The yagna was a popular ritual of the Vedic age. The people under the guidance of a purohita, the Vedic priest, assembled in the woodland hermitages along the banks of the Ganga to perform the yagna. Both men and women tended the blazing sacrificial fires in a spirit of sharing and surrender, offering a mixture of nine grains, ghee, milk, grass, fruits, wood, while chanting the Vedic mantrams. The whole ritual was a prayer,

SwAMI CHINMAYANANDA 227
an invocation to the Lord in a spirit of yagna - "Lokaah samastaah sukino bhavantu," for the community's happiness, for the nation's glory and for the welfare of the world. All prayed and offered together without attachment and egocentric desires in the true spirit of yagna.
Unfortunately, this grand spirit behind the yagna gradually faded away and only the ritualistic aspect continued with larger offerings coupled with the desire for benefits. Sri Krishna brought back the spirit of the yagna in the Bhagavad Gita. Swami Chinmayananda in more recent times brought it into our mundane lives, homes and work places helping to make our action a sacred yagna. He explains that such selfless efficient actions bring mental poise and beauty to the work undertaken. His yagnas take the form of spiritual discourses where the Vedantic Truths are taught and into the fire of Knowledge sacrificial offerings - offerings of ignorance, fruits of our actions and our ego are made and consumed in the fire kindled by the deep and profound truths of the scriptures. He would say,
"Act in a spirit of sacrifice and surrender and work with dedication to a higher and nobler ideal if you wish to be successful in life. Just as Arjuna finally woke up to fight his battle, you too will find success and peace of mind in the midst of life's sufferings as soon as you become selfless and dedicated in all your activities without ego and desires for the results.”
In the early years, the Swamiji would introduce the fire ritual, at the yagnas. The fire ritual was the legacy from the Vedic period. In the early yagnas, the turf was specially prepared for this ritual with flowers, grain, ghee and other puja materials. A priest would recite the mantram offering the oblations into the fire. The devotees repeat the mantram and at the end, each one offers individually an offering of oblation into the fire. The ashes would be the prasad, the Grace received from the Lord of the ritual. This was the yagna done with materials - dravya yagna, while the yagna that Swamiji was conducting was jnanayagna as means of self purification through spiritual discourses. Later towards the end of the

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yagna, Swamiji replaced the fire ritual with an archana, the offering of flowers together with the chanting of the Name of the Lord. As we offer the flowers, we offer our ego and negative tendencies.
The last day of any yagna was a day of offering unto the Guru-Guru dakshina. In the early days Swamiji himself came down from the dais, walked majestically amidst the devotees sprinkling water on them. To us it was a kind of baptism to reconvert ourselves to the purity of Hinduism with the blessing of the Master. The touch of the cold water thrilled us and we felt cleansed of our ignorance. After this sacred purification each one of us made an offering of flowers while chanting the Sahasranama, offering our love at the Feet of the Lord and in turn receiving the prasad from Swamiji.
With the chanting of the final Peace Sloka the curtain comes down on the spiritual session, leaving us, the devotees richer and purer than when we entered the yagna sala.
"All that the Teacher can supply is a clear vision of what is involved, a glimpse of the goal to be achieved and logical arguments to convince the student of the blessedness and perfection of both
God and the path but each one must walk the path by himself.”
The yagnas were generally planned as retreats by Gurudev for a retreat into a quiet place filled with harmonious vibrations and a pure salubrious atmosphere will help rejuvenate the tired psyche. A retreat is a period of withdrawal from the humdrum of ordinary activities of daily life in order to meditate on God, seek a closer union with Him.
In the mundane life one leads a very mechanical life moving from one
day to another without respite doing whatever that has to be done, more often being totally confused as not to know what should be done! Such

SWAMI CHINMAYANANDA 229
a retreat becomes a time to introspect and retreat into a salubrious state for an effective means for spiritual renewal.
Gurudev has planned these retreats such that they are essentially for the Chinmaya devotees and group members where each one weaves together the teachings and practices of Hindu traditions with the timeless themes of meditation, learning of specified texts, discussions, singing of bhajans, silent observation of nature and being one with it. The silence, openness and unspoiled nature of the landscape and purity of the atmosphere, support all these practices creating a natural awareness. To watch and experience the beauty and majesty of nature increases the capacity to contemplate within ourselves. The retreats are conducted in an atmosphere of silence and contemplation for most of the day having specially prepared vegetarian food - less spicy yet wholesome. All these coupled with the sacred chimes of the temple/hall bell, the gentle wind rustling through the leaves and the chirping of the birds, help us to shed our tired vasanas, chastening and purifying our psyche. As each day proceeds, the sattvic atmosphere created by us help to unburden the endless problems burdening us and these gradually evaporate through the mists into thin air.
At retreats the day begins very early. The accommodation may be rustic; however, after a quick hot water bath, dressed and draped with warm shawls, the devotees are seen walking silently into the prayer hall around 5.30 in the morning for meditation. The guided meditation taken by the Gurudev at that sacred hour was a wonderful experience - his imposing presence and baritone voice guiding us through the intricacies of meditation beginning with the chanting of the mantram "Om ...Om ... Om ..." long and vibrant (resounds through the hall) sending a thrill down the spine. He would explain the significance of the Peace invocation as being one that is chanted daily to our own higher self, to lessen all agitations and establish peace within ourselves.

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Swmiji also introduced the satsang - a question and answer session at the end of the evening sessions. This was a truly beautiful occasion when we come close to Swamiji and a time when we quietly commit our selves to a spiritual life, listening to the practical answers to questions.
Gurudev was a lover of humanity and the wonderful creation. This love gave him a certain insight and he heard the hushed voice of humanity and felt its suppressed longing for the Infinite. He had realised the nature of the Ultimate Reality after renouncing the world and developing detachment and acquiring great contemplation. The path to this was long and arduous requiring hard work. He would always tell us that the initial steps along this path comprise curbing the desires, perception of mundane objects as mere illusions and developing a sense of detachment. The act of prayer and meditation is indeed a fine mode of generating faith and devotion. This even in limited measures elevates the mind and leads one on to detachment.
The study of the life of Swami Chinmayananda shows that he was great in his goodness and good in his greatness. The mosaic of his thoughts and actions show that his reliance on the ancient scriptures was steadfast. He made his life a laboratory of the Soul in which a rediscovery of the supremacy of the ancient scriptures was made and taught. A moral reawakening has now been created through the yagnas and retreats and satsangs in the several thousands of devotees emphasising spiritual beauty and how one should bring its laughter and cheer into our world of fears and competitions, conflicts and confusions, joys and sorrows. The trail
he blazed is
"Live a chaste life of love and dedication and be yourself a
'Sandeepany, one who lights the Lamp of Truth, in the hearts of all.”
This is the guiding principle of the life's work of each mission member.

SWAMI CHINMAYANANDA 231
He strode the spiritual stage like a colossus and to us in the Chinmaya family, he was a presence, a light, a glow and a fragrance guiding and
inspiring us. When the news of his samadhi reached us, the words of an English poet came to mind,
"Why did nature bring down this mighty oak beneath
whose benevolent shade so many found refuge.”
Courtesy - Author's Collections
Swamiji with a very young devotee.

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APPENDIX I
A GLIMPSE OF SAIVASIDDHANTA
(The collection of hymns of the Nayanars, Pattinaththar, Tayumanavar and many others serve as the primary scripture of the Tamil Saivites. The literature of the Agamas is the important link between the exoteric and esoteric aspects of bhakti in the Tevarams. It is the Saiva Siddhanta flavour that sets the religion of the Nayanars, Hence a glimpse into Saiva Siddhanta becomes
useful).
Saiva Siddhanta unravels the profound fount of wisdom, grace and love that flowed from the ancient Agamas and Vedas teaching man that the fundamental aim of life is the realisation of Truth. There is only one Reality, which is God or That (tat). Realisation of Truth has taken many forms - from the primitive to the sublime showing distinctly his inherent belief in having an immortal Soul. This Soul according to the Vedantists is "Tat Tvam Asi” That thou art, while to the Siddhantists. It merges with the Paramatman at the end of the pilgrimage becoming One with It.
Saint Tirumoolar is considered to be the father of Agamic Saivism and his celebrated work the Tirumantram, is the tenth Saiva Anthology - a compendium of Agamic religion, psychology and philosophy.' His mysticism was built on the firm foundation of Saiva devotion and Lord Siva is the Supreme One - both immanent and transcendental. His doctrine of Grace pervades the whole philosophy of Saiva Siddhanta.
Saivism is timeless; in fact some feel that it is as old as man himself and say that it is coexistent with man. It is concerned with the practical
Kalaipulavar Navaratnam - Studies in Hinduism p 167.

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aspect of life that one should lead, to realise God rather than the speculative aspect of the ultimate Reality and its relation to the world of everyday experience. It is not dogmatic in its teachings; there are no rigid rules, nor coercive restrictions. Instead, the philosophy allows each one to evolve according to his inner convictions.
The most important Schools of Saiva Thought are,
- Saivism of Kashmir, - Virasaivism or the Lingayat Saivism of Mysore,
- Saiva Siddhanta of the Tamils.
These three schools have common beliefs, namely,
- in Siva as the Supreme Reality,
in Sri Panchakshara as the most sacred mantram, in Vibhuti and Rudraksha as the sacred symbols,
a belief in karma and reincarnation,
܀
a reliance upon the Vedas and Agamas as their scriptural authority - the ceremonies and rituals.
The devotional literature is in the language of the people even though these are based on the Agamas and Vedas which are in Sanskrit. The doctrines of Kashmir Saivism and Virasaivism are closely connected while Vira Saivites hardly see any difference between their creed and that of the Saiva Siddhantists.
Saiva Siddhanta represents the evolution of human thought and is a synthesis of deep realisations and logical conclusions based on the Divine theme," "Anbe Sivamayam; Satyame Parasivam,” Love is God; Truth is God.' Saintly personages from very ancient times, have been the living commentaries on this Truth, contributing their beatific experiences, towards this thought enriching it and guiding the Hindu on his onward pilgrimage to moksha. It also means the true or the accomplished end of

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Saivism - Siddha-anta, establishing the final Truth. In Saiva Siddhanta, the Soul and God are separate entities of similar nature and in moksha, the Soul becomes one with God and appears as One. In other words, the individual Soul is of the same nature as the Supreme Soul but distinct from It, enabling the devotee to seat the Lord in his heart and worship Him with devotion.
Saiva Siddhanta posits one God - Siva and as in the Vedas, " 'there is only one God but sages call Him by different names' - Ekam sat vipra bahuda vadanti.” We are all Souls in embodied forms and are separate but of similar nature. In moksha, the Soul becomes one with God and appears as One. Appar spoke of God as being concealed like fire in fuel, ghee in milk, and in the Sivajnana Siddhi this very idea is reiterated as fire in wood, ghee in milk, juice in fruit, oil in gingerly seed; God is immanent in everything.
Thus when the Soul becomes One with God, the two things appear as One by complete identification. The inherent nature of the Soul of becoming One with God, makes this apparent Oneness. This is the inseparability of God and Soul - the Advaitic concept of Saiva Siddhanta.
The authoritative scriptures of Saiva Siddhanta are the Saiva Agamas, the Vedas, the Tirumurais and the Meikanda Shastras. The Vedas are intended for all but the Agamas are meant essentially for the spiritually inclined devotees. The Agamas are revelations of Siva and the religious practices are based on Temple worship. Unlike the Vedas which are still in existence, the Agamas have been lost to humanity. Fortunately, some saints and sages have included the essence of the Agamas in their texts. For example, the Tirumantram deals with some aspects of the jnana
It is said to be midway between Sri Sankara's Monism and Ramanuja's Visistadvaita that is qualified monism. Moksha or salvation is referred to as Mukti, Veedu or Iraivanadi. According to Ramanuja, in Advaita, there is no room for bhakti or devotion by the individual to the Supreme One as there is only one Absolute Reality, the rest being unreal: the individual Soul and the Supreme are One.

SAVASDDHANTA 235
portion as depicted in the Agamas while Arulnandi Sivam has included the essence of all the Agamas in his Magnum Opus the Sivajnana Siddhiyar. Meikanda Devar's Sivajnana Botham, another philosophical treatise, consists of the essence of the Raurava Agama though some are of the opinion that it is a translation of the Agama itself. Thus through these sacred texts, the essence of the Agamas have been handed down to posterity.
It is interesting to note that certain Upanishads for example, the Svetaasvataara Upanishad, also exalts the supremacy of Lord Siva as the Eternal Absolute. There is no form for Him whose name is Supreme Celebrity, (iv - 19) and again. He is described as the Great Master, the Giver of boons. This Upanishad has within it all the elements of Saivism. In one instance it says that men would be able to roll up the ether like a skin with greater ease than to reach the end of sorrow without knowledge of the Lord (vi 20) and in another says, 'Intense devotion to the Lord and equal devotion to the Guru are the essential preliminaries to the realisation of the true path'. (vi 23)
In the Satarudriya (the one hundred names of Rudra) Lord Siva is referred to as “Pasunaam pati” - the Lord of creatures. The Satarudriya together with the texts in the Rudra Bhasya composed by Abhinava Sankara spoke of the three entities of Saivism as Pati, Pasu, Paasam. In the Atharvasiras Upanishad, the wearing of vibhuti, the holyash is spoken ofasa pasu paasa vrata a fast to release pasu from paasa orbondage.
Saiva Siddhanta bases its philosophy on these three eternal entities - Pati, Pasu, Paasam - God, Soul, Maya. These are referred to as padaarthas and are recognised as Brahman, Jiva, Jagat or as God, Mind, Body. These three entities are recognised by all religions in some form or other, but Saiva Siddhanta delves deeply into them. In the Tirumantram, Tirumoolar explains clearly that Pati, Pasu, Paasam are eternal, but Pati is untouched by Paasam or bondage while Paasam binds Pasu only and that too will break away.

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Meikanda Devar in his philosophical treatise, the Sivajnana Botham also speaks of the existence of Pati, Pasu, Paasam, their attributes, the religious practices that are essential to gain knowledge and moksha to be sought.
PATI
Pati is Lord Siva and His existence is proved by revelation rather than intellectual discussions. The mystics testify to the existence of the Ultimate Reality as being Omnipotent, Omnipresent and Omniscient with no beginning nor end. He is both Nishkala and Sakala - one who is beyond attributes and one possessed of attributes. He takes forms only because of His Infinite Love for Souls, for the redemption of mankind. But these forms and appearances are purely spiritual ones and can be perceived only with the aid of Divine Grace. "By this Divine sense, not of the eyes, but of a pure heart which is the mind, God can be seen by those who are worthy,” says Origen. And it is the mystics who are the worthy ones to whom God reveals Himself and they testify to the existence of God as the Ultimate Reality.
The Supreme God is the Creator of the Universe. He is the Creation too. He is not different from it. He is the uncreated Supreme Being, the ever existent One in His three perfections of Absolute Reality, Pure Consciousness and Primal Soul. Parasivam is His unmanifested first perfection; Sat Chit Ananda is the second perfection which is the Allpervasive Infinite One found in every action and particle of His creation and lastly, the third perfection or Primal Soul is our personal Lord, the Ishta Devata.
Saiva Siddhanta is based on the doctrine of Divine Love and Grace. God is Love and Tirumoolar says that it is only the ignorant who say Love and God are different. In reality they are the same and when one knows that Love and God are the same he rests in God as Love, "Anbum sivamum irendenbar arivilaar...” The doctrine of Grace is the axle of Saiva Siddhanta and through Grace redemption is assured to one and all,

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giving hope to mankind. The Grace of God is always there guiding one, even the non-believer, towards spiritual perfection.
At the dawn of civilisation itself, one could see in the fragments that have been unearthed in the Indus Valley, "The religion of the Indus people was the lineal progenitor of Hinduism,” says Sir John Marshall.
The figure with three faces, surrounded by animals is remarkably similar to the three faced Siva as Pasupati - the Lord of all beings. Pasupati the herdsman is very familiar to the Saivites, where pasu literally means cattle. Siva is the Pati (Lord) of the Pasu (flock) which is tied up with Paasa (bondage) - anavam, kanmam, maya.
PASU
In Saiva Siddhanta, the Souls are referred to as Pasus, literally meaning cattle. The Souls are individual and are by nature infinite, all-pervading and eternal; but their potencies are over-cast by Paasam which consists of anavam, kanmam and maya; hence they are called Pasu(s). Arulnandi Sivachariar in the Sivajnana Siddhi defines the Soul as Formless and Allpervading - Arupa and Vibhu respectively. Its Omnipresence - Vyapaka, becomes one with the thing it dwells in, either the body in the mortal world or God in moksha.
Souls assume bodies to work out their karmas, the result of their good and bad actions. The nature of the karma determines the quality of birth and life of the individual. It is not determined by God but by themselves. All beings have within them the stains of egoism, action and delusion - anavam, kanmam, maya - the paasas. Anavam or egoism makes the individual Soul to identify itself with the perishable body, thinking ignorantly that the body is the reality. It forgets its essential Divine nature. Anavam is present in Souls like the husk and bran in paddy and it is because of this covering sheath of impurity that the Soul thinks itself as finite. As a result it acts in certain ways, good and evil. It is the Grace of God that helps the Souls to free themselves from the

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bonds of anava malam (maya) with which it is in constant contact from the beginning of its existence.
The Law of Karma is an essential element in Saiva Siddhanta as in all other sects of Hinduism.
PAASAM
The third entity in Saiva Siddhanta is Paasam, which is Maya, the material cause of the world, the bondage which binds the Soul to worldliness. Paasam is illusion and is divided into anavam, kanmam and maya. Anavam is egoism or ignorance. Kanmam or karma is the action good or bad which bears fruits following the Law of Karma. Maya is the ever-changing matter which includes the human body. It is through ignorance that one becomes egoistic where 'I' and 'Mine" come into play. Maya consists of insentient matter - physical bodies, worlds and objects of enjoyments created from the five elements. These are eternal for matter is indestructible though subject to changes. Maya binds the Soul to matter but this bondage is not eternal; it can be freed through the Grace of God. Bondage is due to ignorance, egoism and desire. Karma means action and one has to perform actions because they are part of life. Good karma that is punniyam gives pleasure and bad karma that is paapam gives displeasure or pain while maya is created by Lord Siva purely through love for the enmeshed Souls, in order that they may exhaust their karma and gain emancipation. In the evolution of the embodied Soul, anavam, kanmam and maya have different functions to perform. Maya provides the physical body - Tanu (bodies) Karana (mental organs) Bhuvana (the worlds) and Bhoga (the objects of
pleasure). Anava creates desire and lust, anger and hatred in man while karana is action which is outcome of anava. All these enmesh the Souls and they in turn work themselves out through various lives in the cycle of births and deaths through good actions, prayer, meditation and finally eradicate ignorance and reach spiritual attainment, freeing themselves completely from bondage.
The concept of worship has been clearly explained in the four paths as

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Kriya - the Satputra Marga, Chariya - the Dasa Marga, Yoga - the Sakha Marga and Jnana - the San Marga, and essentially deal with physical and mental activities of the devotee. But more important and fundamental to each one is the devotional aspect - the Bhakti with which the activities are performed. It is this intense bhakti that helps the devotee to undergo all hardship to attain moksha.
SACRAMENTS
In the path of sadhana, the followers of Saiva Siddhanta have been given the universal gift of Tiruneeru - the sacred ash. It is variously termed, Vibhuti, Bhasmam, Neeru, Raksha. It is a priceless treasure with super human power. It is a talisman that protects one from all dangers. Saint Sambandhar cured the ailing Pandya King by applying the Holyash and singing its glories as seen in the Tiruneerup pathikam - “Manthiramaavadhu Neeru.”
Bhagavan Satya Sai Baba would often fill the hands of devotees with sweetly scented Vibhuti specially materialised for them by Him. He says, "Vibhuti is symbolic of reducing our desires to ashes. It is a constant reminder of the fate of the body which is ultimately reduced to ashes.” At the regular Bhajan Prayer Meetings of Baba, there is a beautiful congregational chanting of the Vibhuti Mantram until all devotees receive the Vibhuti. The words are not sung to any beat but is in 'blank verse' -
“Paramam pavitram Baba Vibhutim Paramam vichitram leela Vibhutim Paramaartha ishtaartha Moksha praddaanam Baba Vibhutim idam aashra yaami.”
Supremely holy is the Sacred Ash (Vibhuti); supremely wonderful in its effects is the Vibhuti which Baba manifests in Hisplayful way (leela). This Vibhuti bestows the supreme and the most coveted desire - Moksha (liberation). I take refuge in the sacred Vibhuti."
The Rudraksha mala which is a string of Rudraksh beads, is used

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for Counting when repeating the Namasivaya Mantram or any other . Mantram. These beads are the seeds of the Rudraksha tree which is said to be found in the Himalayan mountain range. The number of beads in the string varies - generally being twenty seven, fifty four or hundred and eight. The use of any of these strings of beads, gives a special potency to the Mantram chanted.
The seeds are generally in four colours - white, reddish, golden and dark brown. Of these the white and the golden ones are rare. The Yoga Sara speaks of the spiritual powers of the Rudraksha according to the number of faces or mukhas on each bead. The faces could be from one to fourteen and the Mantrams to be recited depend on the faces.
Medical science is tending to accept that wearing of a genuine Rudraksha has salutary effects on certain illnesses like blood pressure, cancer, jaundice.
CONCLUSION
Certain unique characteristics of Saiva Siddhanta make it universal. Its doctrines are of value to one and all. There is no regimentation of beliefs or compulsion of practices. Individuality is respected where each person grows according to his inner convictions and actions. It is mainly concerned with how one should lead this life so that one could attain final beatitude, free from anavam, kanmam and maya. It emphasises the practical aspect of religion and does not delve into the philosophical aspect of life. Its aim is therefore to show a way out of misery and ignorance and to unite man with his Maker.
In Saiva Siddhanta there is nothing called misery in this world or elsewhere. God is All-good, All-knowing and All-powerful. Suffering which we term misery caused by ignorance is the result of our own wrong karmas, our own seeking. Through suffering we pay for our wrong acts

SAvASDDHANTA 241
thereby exhausting the karmas. These powerful experiences, even if they be painful at times, bring spiritual advancement. And so the Soul evolves unto God. Saiva Siddhanta clearly shows us that life is an opportunity that the Almighty has provided us to evolve and become One with Him. The human body with its discriminating mind could carry the Soul through prayer and sadhana to moksha.
Thus according to Saiva Siddhanta there is one God and many Souls. These Souls gain knowledge by the lessening of the anavic veil which is a gradual process where the Soul takes a body to perform karma, experiences them and finally after several births removes ignorance. The body is created, then preserved in accordance to its past karma and exists till its prarabdha karma is exhausted. Prarabdha karma is the product or effect of the past that which we are experiencing. We are influenced by our prarabdha since our present status is caused by our past. It is then dissolved till the weakening of the anavam and with the anavic veil totally removed God pours His choicest Blessings - His Grace, on the Soul and with this ends the Soul's pilgrimage becoming One with God.

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APPENDIX II
More On Mysticism
MYSTICISM OF THE UPANISHADS
The mysticism of the Upanishads is transcendental. Ranade calls the Upanishadic mysticism, "a naive philosophical mysticism belonging to the forest hermitage,” and refers to the mysticism of the Middle Ages as a practical devotional mysticism belonging to a devotee and adds, as we pass from the Upanishadic mysticism to the mysticism of the Middle Age, we see the spiritual life brought from the hidden cloister to the market place!”
The transcendental experience is based on the Mahavakya - "Tat Tvam Asi” I am That, where the devotee is aware that 'I' the Atman and That the Paramatman are One, understands. Its meaning, Contemplates and meditates on the Truth of It. The constant meditation on this Mahavakya gradually brings about the state of identity, "in which one sees nothing else, hears nothing else, understands nothing else and finally becomes One with It, experiencing infinite bliss and peace - this is the Infinite,” says the Chandogya Upanishad.
YOGA MYSTICISM
Yoga is a psycho-physical discipline which helps the yogi to free himself from worldly desires and see himself as the pure Atman, the Purusha as it is referred to. Yoga is a means of union, 'Yuj, of the Atman with the Paramatman. The songs of the Siddhars of the Saiva sect, Tirumoolar, Sivavakkiar, Pattinaththar, Kuthambai, Ramalinga Swamigal and Tayumanavar are in simple homely Tamil full of sublime thoughts and experiences in Yoga. Their faith was based on the Divine nature of

UPANISHADs 243
man and their religious experience was universal and transcendental. It is believed that the esoteric teaching of the Siddhars and the Yoga doctrines are not dissimilar. To these Siddhars, the Supreme God was Siva and they had faith in the Divine nature of man and his capacity to attain miraculous powers - siddhis.
There are four forms of Yoga Mysticism namely Hatha, Laya, Mantra and Patanjali's Raja Yoga. Of these Yogic practices the Hatha Yoga is most popular where the body and the vital energies are controlled for self-realisation. The Laya Yoga is the Kundalini Yoga where the power which lies dormant in the Muladhaara of man (that is at the base of the spine), is awoken to rise up through the six chakras to the head, the Sahasrara. In the Mantra Yoga, the devotee attains realisation through meditation on OM, the Pranava Mantram. In the Raja Yoga, the devotee attains realisation through elevated contemplation.
DEVOTIONAL MYSTICISM
The Transcendental and Yoga mysticism of the early Upanishads were influenced by the theistic cults of the Indus Valley people and gradually developed into Devotional mysticism which found expression in the Bhagavad Gita, the Svetasvataara Upanishad and essentially in the Saiva and Vaishnava hymns. (See page 231)
Devotional mysticism found its fullest expression in the lives and compositions of the great Saiva and Vaishnava saints. In this, as the word indicates, devotion or bhakti is all important and the devotee surrenders to a Personal God - his Ishta Devata. Some mystics aspire only to be able to repeat His Name (namasmarana) or contemplate on His vision. Tukaram's earnest call was, "Sing with me the Name of the Lord, and It shall carry you to the Lord and you shall gain victory over death."
The devotional psalms of the mystics reveal different types of devotional emotions (bhavam). The emotions are expressed as that of a servant to a master, as depicted by Appar, as that of a son to the parent

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as in Sambandhar's odes, as that of a friend to a friend as portrayed by Sundarar and lastly as that of pure bhakti coupled with jnana as in Manikkavasagar's hymns and the Prabandhams of the Alwars. These are dasa marga, satputra marga, saha marga and san marga respectively, which correspond to the chariya, kriya, yoga and jnana margas as seen in Saiva Siddhanta. These disciplines or margas are the pathways adopted by the various sages in their spiritual quest and could be compared to the bud, flower, green and ripe fruit which progressively lead one to selfrealisation, the final summum bonum of all aspirants.
From the lives of these mystics and their ethereal songs, one could glean a spiritual biography, an evolution of the Soul where external facts and dates are irrelevant but the inner history, their travails, yearnings, successes and ecstasies in the pursuit of God realisation, are all important. Through a process of deep spiritual experience and intense devotion, they speak of the existence of God. Their personal experiences and unshakable faith in Him are expressed as the Divine Love for the Almighty. These are the spontaneous outpourings of highly evolved Souls, in moments of ecstasy as seen in the Tevarams, Tiruvasagams, Prabandhams and other devotional songs, which are treasures of spiritual wisdom.
BRIDAL MYSTICISM
Bridal mysticism is deep devotion characterised by madhura bhavam or the nayaka-nayaki bhavam, the theme being the ardent longing for God by the devotee - Atma-Vivaaha. Here, the devotee considers himself/herself as the bride betrothed to God. The love that is depicted is Prema, the pure unselfish Love for the Divine. Appars example of this bhavam is unusual and beautiful. He sings - "First she heard His Name, and obtained information of His Nature, person and His native land. She became passionately attached to Him and abandoned her parents, worldly conventions, herself and her name and dedicated herself wholly to His Feet. In this composition Appar sees himself as the bride longing for the Lord. -
In the nayaka-nayaki bhavam of the Alwars, all the devotees consider themselves as Radha and Sri Krishna as their beloved Lord. It is only a

UPANISHADs 245
rapt mystic who could send forth such a prayer which springs from the deepest recess of his heart.
Lastly is the Vatsalya bhavam where the Supreme is adored as a child. To Perialwar, Gopalan of Gokula was the Child and he was His mother The Murugan Pillai Tamil is the Saiva counterpart of this bhavam and Lord Murugan takes the place of Sri Krishna and is adored as the Child, Balakumaran. He is praised and adored as a baby, being put to bed with a lullaby Song and a fascinating range of adorations a typical mother's love for her little one!
"From the beginning of recorded history, Hinduism has borne witness to the sacred flame of the spirit which must remain for ever, even while dynasties crash and empires tumble into ruins. Hinduism alone can give our civilisation a soul, and men and women a principle to live by. It
developed an attitude of comprehensive charity instead of a fanatic faith in an inflexible creed,” said Dr S. Radhikrishnan.

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APPENDIX III
THE ANCIENT HINDU THOUGHT AND CULTURE
The richness of the Upanishads, the splendour of the Bhagavad Gita and the Brahma Sutras, the vastness of the Mahabharata, the touching heroism of the Ramayana, the wisdom of the Agamas, the sentiment of Grace of Saiva Siddhanta, the sublime philosophy of the Saiva and Vaishnava hymns are some of the brilliant examples of our ancient religious thought and culture. Each one of these is beautifully interwoven with idealism, practical wisdom and a passionate longing of man for spiritual vision. Each is the practical expression of the sublime principles contained in the other, supplementing or complementing, but the message is a living one for all times, linking the present to the very dawn of Hindu Civilisation. The Gayatri Mantram for example, is an ancient prayer of the Vedic age which is being chanted to this day by millions of Hindus all over the world as they see the very same glorious rising Sun.
The Hindu civilisation begins with the Mohenjo-Daro Harappa era whose inhabitants were the 'Dravidians, essentially Siva worshippers. They were a very cultured people who through centuries of refinement had grown soft and were unable to face the onslaught of the hordes of Aryans who are said to have poured into the plains of Northern India from Asia Minor. But the Dravidians greatly influenced the Aryans. Some of them may have been absorbed into the Aryan fold and still others may have fled southwards. However both the 'Dravidians' and the Aryans' i jointly contributed in building up a common Hindu Culture in India.
Over the centuries perhaps, the Aryans' settled down and became the Vedic people. The Vedic period goes back to about four or five thousand

THE ANCIENT HINDU THOUGHT AND CULTURE 247
years and its literature, the Vedas is perhaps the oldest, far older than the literature of any branch of the Indo-European family. Its literature is distinguished by its refinement and beauty of thought. From the sublime Hymn of Creation one could glean that Religion is a faith born of a deep conviction that there is a transcendent and immanent principle in this Universe, a great Agent who guides it and carries it to its fulfilment. In considering the beginning of things, the Vedic Rishis say, "There was not then what is, nor, what is not. There was no sky and no heaven beyond the sky. What power was there? Where? Who was that power? Was there an abyss of fathomless waters?..... Only the One was in deep peace. There was nothing beyond. And in the One arose Love - Love the first seed of Soul. The truth of this, the sages found in their hearts. Who knows the truth? Who can tell us whence and how arose the universe? Only God knows; whence comes this Universe and whether it was created or uncreated."
THE VEDAS
The Vedas are religious revelations. They deal with Truths that do not contradict the Truth of another age. These Truths made ancient India the cradle of true religion. Here, in the morning of the world, perhaps four or five millennia ago, the Vedic Rishis sang those hymns which are associated with a kind of awe and reverence that unfailingly inspire us to this day. Here was developed a literature which excited and still excites the admiration of the world and a philosophy which delved and still delves into the mysteries of life. This literature satisfies the highest yearnings of the loftiest minds. The philosopher-poets of that time expressed the nature of Reality. The countless outpourings of such poetic and impenetrable beauty have made the Vedas the Revealed Scripture, known as the Sruti. The Rig Veda is a glorious Song of Praise to the nature gods and the cosmic powers at work both in nature and in man. It is the recorded version of the aspirations, fears, struggles and hopes of the rishis.
In the Vedas, we see man watching the outside world with joy and wonder. His life depends upon nature and he realises that, between nature

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and himself there is no impassable gulf. He loves this beautiful creation and he feels that this love could be answered only by a greater love. He personifies nature and elevates it to the position of God. The esoteric meaning of the Vedic scripture deals with the psychic significance of the Godhead in the Cosmos. The various aspects of Nature personified as Gods, are governed by a Truth, thereby making them One in essence. The Sun God, Surya, for example has the outer light of the physical sun, another inner light which the psychic consciousness and the highest inmost Light of spiritual illumination - the Eternal Light - the Para Brahman. Thus the Surya is not merely the physical sun but the luminous form of the One and Infinite Godhead - "Ekam Sat” where all the various forms, names, powers, personalities of Nature as one sees with physical eye, are powers of the One Reality. This is often referred to as "Tat Satyam' that Truth, in the Vedas." "Truth is one, but the sages call it by various names Ekam sat viprabahudhavadanti,” says the Rig Veda. This ideal of harmony is a significant aspect of Vedic teaching. Hymns, written about Indra, Mitra, Varuna and others are seen as one and the same; but each is worshipped as the all powerful Personal God, that is the Being perceived. It was the singer who perceived the difference. This adoration of a number of gods does not mean that the Vedic people were polytheists. A God worshipped as the Supreme One pales into insignificance as the next is adored and so on. This is the concept of Ishta-devata, the chosen deity. Man looks upon this deity as the Supreme Lord and perseveres to attain the highest through prayer and worship.
The inner meaning of the entire Vedic Scripture is the foundation of the later evolution of Hindu spiritual seeking and experience. There is the unbroken continuity between the great Vedic past and the riper but hardly greater spiritual development of our religious culture. History points out that hordes of invaders with their respective cultures had invaded India from the very dawn of History itself. However, the blossoming of the Hindu spirit after a period of slumber due to these alien. invasions, is essentially due to the fact that great men and women arose amidst the Hindus, who kept the torch of faith and devotion burning, illumining the civilisation through the fire of their spiritual realisation.

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And it is the advent of such torch-bearers that kept the ancient Hindu thought unbroken. Sri Aurobindo says, "But the greatest power of the Vedic teaching that made it the source of all later Indian philosophies and religious systems of Yoga, lies in its application to the inner life of man. Man lives in the physical cosmos subject to death and the 'much falsehood, of the mortal existence. To rise beyond death, to become one of the immortals, he has to turn from the falsehood to the Truth; he has to turn to the Light and to battle with and to conquer the powers of the Darkness.” The Vedic prayer, "Lead me from the unreal to the Real, from darkness to Light and from death to Immortality,” has been and is the yearning cry of man wanting to free himself from darkness to Immortality.
History tells us that the lessons of the Vedic mystics too gradually paled into insignificance as the sacrificial ceremonial became more important. Emphasis was now laid on the ritual and the Vedic hymns were directly connected with its details. Around this combination of the sacred hymn and the ritual, a new treatise called the Brahmanas developed. They were essentially in prose explaining the connection between the hymn, the ceremonial and their symbolical meaning. The subject matter of the Brahmanas was shallow and pedantic but the period is important because it was during this time that the system of the four castes came into being in the society with the priesthood securing for themselves a dominant place, unlike in other earlier societies where the chiefs were mainly of the warrior clan Caste is not sanctioned by religion. It is the hereditory law of society distinguished by a particular function which creates the social status.
THE UPANISHADS
The latter portion of the Brahmanas is confined to a theosophic treatise called the Aranyakas or forest books meant to be studied in the solitude of the forest. After a lapse of time a revival movement set in and in the final part of these Aranyakas, we see the deep Eternal Truths being re-established as the celebrated Upanishads, the philosophical books which developed into the Vedanta system of Hinduism. According to

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Dr Radhakrishnan, the Upanishads are concerned with the search for the Reality underlying the flux of things - One God of whom the Vedic gods
are manifestations.
The Word of the Veda was perceived by the Vedic seer in a flash of intuition in his awakened self but the sages of the Upanishads, in their contemplation of the Divine were able to experience these truths and in turn, retold them. The subtle but sublime thoughts of the Vedas have thus been the guiding principles behind the knowledge and inner disciplines of the Upanishads. This is clearly seen because the sages keep reporting, 'So it is declared by the Rig, or 'so says the seer of the Veda, etc. The spiritual wisdom of the Vedas as seen in the Upanishads and the outer symbolism of the rituals as seen in the Brahmanas are the germs of thought and tradition of the Hindus.
We do not know how many millennia have passed since these thoughts were recorded in the forest hermitages but we do see the human spirit soaring high in the Upanishads which are aptly referred to as "purusaat na param kincit,” there is no limit to the heights to which the human spirit can soar.
The infant yearnings of man are reflected in the Upanishads which are the most ancient and sublime of all recorded human thought. These are the unchallenged documentary evidence of philosophic references. It is the basic unit on which the entire edifice of Hindu culture rests.
The Upanishads speak of the Reality of the Universe as a creation which is eternal and massive but guided by a force, an Energy which is the Real of Real - "Satyasya satya.” Beyond all this manifestation of the Universe this Reality is unmanifest there by being both dynamic and static. The Taitreya Upanishad asserts that the whole Universe of names and forms, the world of being and becoming springs from the Supreme One, is sustained by It and returns to It at the time of dissolution.
Themagnificent Universe is Brahman- “Brahmaiva idam visvamidam varishtham," pervading everywhere beyond the manifest and unmanifest which cannot be described by words. Strangely enough, in trying to

THE ANCIENT HINDU THOUGHT AND CULTURE 251
describe It, the sages used a negative expression, "Neti, neti," not this, not this.'
W
This Real is Brahman, the heart of the Universe and it is reflected in the infinite depths of the Self as the Atman. Thus we see that, "Brahman represents the Cosmic principle which pervades the Universe; the Atman, the physical principle manifested in man and the latter as the known is used to explain the former as the unknown.”
The Supreme Being is the Purusha. It is Truth, Knowledge, Infinity - satyam, jnaanam, anandam. The knowledge of this Truth leads on to Infinity which is bliss. Ananda is immortality, the Brahman, say the Upanishads. To attain immortality is the destiny of man and the sages of the Upanishads tell us that this can be enjoyed here and now, while in this physical body and not necessarily elsewhere after death. The human birth, thus gives man the golden opportunity to realise the Almighty by adhering to the various disciplines, serving mankind and thereby serving
God.
The desire for spiritual illumination is the important feature of Upanishadic mysticism. In the Chandogya Upanishad, the spiritual experience of the Atman is beautifully expressed as, "There is a spirit which is mind and life, light and truth and vast spaces. This is the spirit in my heart, smaller than a grain of mustard secd; but this spirit that is in my heart is greater than the earth, greater than all the worlds. This is Brahman."
The devotional aspect of the Upanishads is explained in the Bhagavad Gita through the fundamental principles of the Hindu philosophy of life. The mysticism of the song consists in the performance of action without any personal attachment surrendering all results to God. Lord Sri Krishna is the personal deity in this poem but at the same time. He is portrayed as the friend of Arjuna.

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SELECT BIBLIOGRAPHY
Andal and Mirabhai-Tamil translation Art of Man-making, The - Swami Chinmayananda 1970 Aum Ganesha - Ratna Navaratnam
* Bhagavad Gita, The - in Sanskrit and Translations * Bhaja Govindam - Translation - Swami Chinmayananda 1965 * Bhakta Mira — Bankay Behary 1961 Brihadaranyakopanishad, The -Translation
Chandogya Upanishad, The — Translation - 1956 Complete Works of Swami Vivekananda Volumes 1 - 8 Cultural Heritage of India, The - Published by the
Ramakrishna Mission Institute of Culture, Calcutta Volumes 1 - 5
Culture of India as envisaged by Sri Aurobindo, The 1958
* Dance of Shiva, The - A.K. Coomaraswamy 1952
Foundations of Indian Culture - Sri Aurobindo 1952 * Fundamentals of Hindu Culture - Sri Aurobindo 1956
* Gitanjali - Rabindranath Tagore 1912
Glimpses of Ancient India - C.C. Dutt Glimpses of Ancient India - Radhakamal Mookerji Hindu Civilisation - Radhakamal Mookerji Hindu View of Life - Dr Radhakrishnan * Hinduism - Kalaipulavar Navaratnam 1959 * Hymns of Saint Appar 1949 * Hymns of Saint Pattinaththar 1925 * Hymns of Saint Sambandhar 1949
* Hymns of Saint Sundarar 1964 * Hymns of Saint Tayumanavar 1966

253
* Hymns of the Tamil Saiva Saints - Translation - Rev Kingsbury 1921 -
Ideals of Indian Art - E.B. Havell 1911 India's Priceless Heritage - N.A. Palkhivala Indian Idealism – Surendranath Das Gupta Indian Inheritance - Bhavan's Book University. Volumes 1 - 3 Indian Thought and its Development - Albert Schweitzer
Kartikeya - the Divine Child - Ratna Navaratnam Kathopanishad, The -Translation 1956
* Life of Sri Ramakrishna - Advaita Ashrama - 1924 * Life of Sri Sarada Devi - Advaita Ashrama - 1955 * Lord Shiva and His Worship - Swami Sivananda
Meditation and Life - Swami Chinmayananda 1989 Message of Arunachala, A - Paul Brunton Message and Mission of India, The - Sri Aurobindo
* Message of the Upanishads, The - Swami Ranganathanantha 1968
Our Oriental Heritage - Will Durrant
* Pageant of Great Lives - series * Patinaththat by Mahadeva Yogi 1949 * Periya Puranam - in Tamil * Periya Puranam — S Ponnambalam 1949 * Periya Puranam - Condensed English version by Vanmikanathan
Remembering Hindu Traditions - Sivanandini Duraiswamy 1997 Rudraksha - Professor N. R.Krishnamoorthy
Saint Ramalingam — Vanimikanathan * Saiva Siddhanta - S. Sivapathasunderam Satyam Shivam Sunderam - Discourses by Bhagavan Sri Satya Sai Baba * Savitri Sri Aurobindo
Search in Secret India, A - Paul Brunton

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* Shankara the Missionary
Siva in Dance, Myth and Iconography - Anne Marie Gaston 1982 * Studies and Translations - Sir P. Arunachalam - 1937 * Studies in Hinduism - Kalaipulavar Navaratnam - 1963 * Studies in Saiva Siddhanta - J.M.Nallaswamipillai Studies in Tamil Literature - Dikshitar
* Sundarar 1945
Symbolism in Hinduism - Chinmaya Trust Publication
Tamil Elements in Ceylon Culture - Kalaipulavar Navaratnam 1959 Ten Upanishads, The - Swami Sivananda - 1941 * Thiruvasagam of Manikkavasagar * Tirumantram Dr. V.V. Ramanashastri 1912 * Tiruvasagam — Balasubramaniam 1958 * Tiruvasagam - Translations by Pope and Balasubramaniam
Tiruvisaippa — Arumuga Navalar 1955
* Upanishads, The — Swami Prabhavananda and Frederick
Manchester - 1948
Vedanta in Practice - Ramgopal Mohatta * Vedic Reader, The - Macdonell - Oxford
* Vipulananda — K. Kanapathipillai 1981 Vipulananda - Sebaratnam 1984
* Vivekachudamani
Wonder that was India, The - A.L. Basham 1954
* Yogaswamigal - A Testament of Faith - Ratna Ma Navaratnam
(* - Primary Sources)

SELECT BIBLIoGRAPHY 255
Periodicals
Sivathondan
Prabuddha Bharata
Vivekananda Kendra
Bhavans Journal
Mother
Divine Life
Hindu Voice
Hinduism Today Marg Publications

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Glossary of Terms - (With Pronunciation)
Abhisheka - anointing the Lord Agama - South Indian text in Sanskrit on which the Saiva Siddhanta texts are based (pronounced as Aagama) Agni - Vedic fire god Alvar-Tamil Vaishnava poet-saint (pronounced as Aalvar) Amman - Goddess or Sakti of the Lord Ammanaai - a game played by women Ananda tandava - a dance of Siva expressing Bliss.
(pronounced as Aananda taandava) Anavam — one of the taints, malam — ignorance
(pronounced as Aanavam) Anindhitai - Sundarar coveted her in Kailash and she becomes
Sangiliyaar in her next birth Arasu — another name for Appar Arati - waving of camphor during puja (pronounced as Aarati) Ashrama - Where renunciates, monks live Ashtanga-the eightfold disciplines of Yoga (pronounced as
Ashtaanga Asura - demon Atman - the embodied soul (pronounced as Aatman) Avatar - incarnation of Vishnu; Ishwarakoti is also referred to as
aVata
Bhakta - devotee
Bhakti - devotion to God Bhava - an emotional fecling (pronounced as Bhaava) Bhiksha - mid-day meal; a meal given to a sannayasin Brahma - the creator Brahmin - member of the priestly class in the Hindu system
Chariya - a pathway, maarga of devotion through rituals -
daasa maarga
Chera - A dynasty of the Tamils

257
Chola - a dynasty of the Tamils Chidambaram - the sacred temple of Tillai Chilambu — anklet
Darshana - blessed with the sight of the Lord Dasa marga; San marga; Satputra marga and Saha marga Deepaaraadhana - waving of lighted camphor Devasiriyon Mandapam - the hall at the Tiruvaaroor Temple Dewi - Sakti, the divine mother Dhyana - meditation (pronounced as Dhyaana) Dhyana Mudra - gesture of meditation
Ganesha — Lord Ganesha various by known as Pillaiyaar, Vinayaka Gayatri Mantram - a prayer of the Vedic age Gopura - monumental gateway Gurukulum - the ancient forest school
Icon - image; the image in the sanctum is referred to in Tamil as
the moolamurti
Iconography - illustration of a subject by drawing of figures
Ishvarakoti - an avatar or an incarnation of God
Jainism - a sect founded by Mahavira in the sixth century BC
Jnana - a pathway, maarga of devotion through knowledge -
san maarga
Kailash - Siva's abode: peak in the Himalayas Kamalini - Sundarar coveted her in Kailash and she
becomes Paravaiyaar in her next birth Kamandalam - a water pot carried by sannyasins Kanmam - one of the taints, malams - good and evil actions Karma - deed; acts of good and bad values entailing reward
or punishment in this or future life The different aspects of the Law of Karma are Praarabdha is the product of the past that we are experiencing now Aakamya is the karma we are performing

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Sanchita is the sum total of all our karmas Kavya- ornate classical poetry (pronounced as kaavya) Kriya - a pathway, maarga of devotion through service -
satpurtra maarga Koil - kovil, koyil - all mean Hindu temples Lilai - God's play (pronounced as Leela) Linga - aniconic Symbol of Siva
Maha mandapam – great hall Mahabarata - an epic with the Bhagavad Gita as its core teaching Mahadeva - the great God, Siva Mahakavya - a great epic (pronounced as Mahaakaavya) Mal — another name for Tirumal or Vishnu (pronounced as Maal) Mandapam - also referred to as mandapa - a large hall Mantram — sacred chants Marai - Vedas Marga — spiritual pathway (pronounced as maarga); four pathways
are mentioned in Hinduism dasa, satputra, saha, san maargas Maya — one of the taints, malam - the creation of an illusion
- (pronounced as Maaya) Moksha - pr: mo as most Murti - iconographic form of Divinity (pronounced as Moorti) Murugan - Skanda Muvar - refers to three poet saints - Appar, Sambandhar and Sundarar
(pronounced as moovar)
Naadha - sound (pronounced as naada) Nadanta Dance of Siva as Nataraja Nama — Name (pronounced as naama; naamam) Nama sankirtana - nama sankirtana-singing the Lord's Name
(pronounced as naama sankirtana) Nama smarana - namasmarana — remembering the Lord's Name
(pronounced as naama smarana)

GLossARY OF TERMs 259
Namasivaya — salutations to Siva — the sacred mantram Nandi - the bull of Siva Nandi mandapam - pavilion where the sacred bull is installed. Nataraja - Siva as Lord of dance (pronounced as Nadaraaja) Nayaka, Nayaki-hero/heroine in art and poetry Nayanar - one of the 63 saints in thee Saiva traditions
(pronounced as Naayanaar) also known as Nayanmaar Pallava - a dynasty of the Tamils Panchakshara — the five sacred syllables — Na Ma Si Va Ya Pandya - a dynasty of the Tamils Pann - a mode in Tevara music Pannisai-Tevara music which later became synonymous
with Carnatic music Parvati - consort of Siva (pronounced as Paarvati) Pasam - or Pasa bond age of karma in Saiva Siddhanta philosophy
(pronounced as paasam; paasa) Pasu - the individual Soul in Saiva Siddhanata philosophy pathikam - chapter in Saiva devotional music Pati - the Lord in Saiva Siddhanta philosophy Periya Puranam - Serkkilars Tiruthondar Puranam - the biographies
of 63 saints (pronounced as Periya Puraanam) Pillaiyar - another name for Lord Ganesh Prana - breath - vital air (pronounced as Praana) Prema - pure love towards God Puja - ritual of devotional service; worship (pronounced as poojaa) Puranam - a sacred text in Hinduism (pronounced as puraanam)
Ragam - Raga punn in Tevara music (pronounced as raagam, raaga)
Ramayana - an epic poem of great antiquity like the Mahabharata.
Ratha - a car used in temple ceremonies especially in South India
and Sri Lanka
Rishi - seer or sage of the Vedic age; a sage in general; also spelt as
Rsi (Sanskrit)
Sabha mandapam - assembly hall

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260 THE FootRALLs on TIME
Sadhana - spiritual practice (pronounced as saadhana)
Sahitya - words set to music (pronounced as Saahitya)
Saivaite - a sect among the Hindus with Siva as the Lord Almighty
Saiva Siddhanta - the philosophical system of the Tamil Saivites
Sakti - the active power of God and thought of as His consort
Samadhi - in deep meditation or position after death of a saint or
tomb of a saint (pronounced as samaadhi)
Samsara - (pronounced as Samsaara)
Sanctum Sanctorum – also known as sanctum - the holy of holies in
a temple; it is also referred to as Moolasthaanam
in Tamil
Sandhya - evening
Sankara - anothername for Siva
Sankirtan - religious song
Sastra - a manual devoted to the rules of a craft
Shrine - the sanctum or also referred as the garbha-griha
Sloka - Sanskrit verse
Stotram - hymn in prais of God
Surya- sun god
Sutra - sacred text in the form of a verse
Talam — Tala — beat of music (pronounced as taalam, taala) Tandava - dance of Shiva (pronounced as Taandavam) Tavil - a musical instrument; a form of a drum. Tirumurai - Saiva Anthology - Hymns of Tamil saints Tiruneeru — Hollyash or vibhuti
Tondar - devotee
Tower - sikhara
Upanayana - a traditional Brahmin practice of tying the sacred
the thread - poonool Upanishads - ancient sacred text of the Hindus in Sanskrit
Vahanam - also referred to as vahana - the mount of the deity
(pronounced as Vaahana(m))

GLossARY OF TERMs 261
Vaishnavite - a sect among the Hindus with Vishnu as the
Lord Almighty Vedas - ancient sacred texts of the Hindus Viimanam – tower above the sanctum (pronounced as Vimaanam) Vina – a musical instrument (pronounced Veenaa) Yagasala - where yagam or homas are performed
(pronounced as yaagasaalai) Yagna - yaagam Yal- an ancient Tamil musical instrument (pronounced as yaal) Yoga - a pathway, Maarga of devotion (saha maarga)- a meditative discipline

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