Chapter 9 - Thirunattiyathankudi or Tirunattiyattankuti (Hymn 15)

I

The Nattiyattankuti hymn reveals more of the personality of Nampi Arurar. It is in this hymn we have the reference to the Shaivite Saint and Chieftain, Kotpuli, one of the saints of Thiruthondathogai. This reference shows Nampi Arurar’s friendship with the Chieftains of the day and the part played by him in the political world of his day. In coming to Nattiyattankuti of a political chieftain, our poet’s mind chooses to address the Lord as the great Prince ‘Nampi’ in every one of the verses of this hymn. The kings and chieftains are there to rule on behalf of the Great Being or the Prince whom they have to crown. God is the Lord, the King. He is the king who resides in the Paccil of the west—“Kutappaccil urai Ko” (6). He is the Lord of the Devas—“Amararkal Talaiva” (7).

II

Nampi Arurar has grown into a father with all the necessary worldly experience. It is here that he speaks of himself as the father of Cinkati (10). We had occasion to discuss the reference in narrating the life of Arurar.

‘Nampi’ suggests its similarity to ‘Tampi’. ‘Nampi’ is derived by Naccinarkkiniyar from ‘Nam’. It means ‘Our Brother’ as addressed by the King. Nampi was a title usually assumed by Royal Princes and conferred on those who are great like the Royal Princes, when a landed estate called ‘Nampi Peru’ and a golden flower ‘Nampi-Pu’ were to be given as insignia. Because of the unique greatness of the people holding this title, it has come to mean the best of men. The Vaishnavite commentators always interpret the word as ‘Purtti Utaiyavar’ (the perfect) or ‘Nirvahakan’ (the Lord). Therefore, we may interpret the term Nampi as our perfect Prince.

III

This hymn is important as showing his pre-occupation with the mythological stories and descriptions of Shiva—stories and descriptions which at the first flush excite fear and revulsion, the stories about the ornaments of serpents (1), and white skull (3), the crescent laurel on the ruddy mat-lock (3), about the midnight dance on the burning ghat (2) and the graveyard (1), about the company of the Mother (3), about the ride on the bull (9) and the pilgrimage of beggary (8), about the singing of the Vedas (6) and about the feast of poison (3) and the conquest of Death (6). He feels that these express in a way his inexpressible experience of Godhead. He, therefore, protests, “I shall not deride your Dance” (1); “I shall steal it all” (2); “I shall not speak ill of your life of beggary” (8); “I shall not abuse you even if you ride on the cow (bull)” (8); “I am not afraid of the serpents” (1). “It is a beauty, this harmonious commingling of the serpents and the crescent moon” (7). “His is a divine form (Tippiya Murti—2)”. “He is the gem beautiful of the colour of the precious carbuncle stone” (2 & 3).

IV

This kind of thought excites him to express his confidence in God. “I am capable of serving you without any fear. What shall I desire for?” (3) he exclaims, suggesting he wants nothing but the Lord. “You may not care but I realize your greatness” (1). “You are the Supreme Being—Parametti” (3). He is sure there is no more birth for him, but still he exclaims, he will never forget the Lord (1). “Even if the Lord forgets him he shall not forget Him” (12)—such is his resolution. “You may not care to see me but I am able to see you with my mind’s eye. You may not think of me but I shall not leave off singing your praises” (1). “I shall not like anyone, except yourself” (2). “I shall not press hard on anyone else except you” (8). “Even if you do not love me, I will love you and I am happy with you. I have come to serve you not for suffering” (7). “Even if you are not attached to me I am attached to you” (5). “You may walk away from me but I shall walk (to the very end of the universe) to reach your feet” (6). “I do not know anything but you. Even if the heretics by their mean acts achieve anything, even if I see their success with my own eyes, I shall not think of it as of any worth” (9).

“I have seen your followers worshipping you and serving all and (therefore) I am also worshipping you so that my karmas may take leave of me” (9). The usual method of worship, the abhiseka or bath of milk, curd and ghee of the Pancagavya is also mentioned (6).

“In exercise of the best of my thinking power or faculty or as long as my mind acts I have resolved to reach the target fixed up for being aimed at. I thought of being saved and have taken refuge in your feet” (7). “I, the slave, have become the slave of those who had taken refuge in your feet. But yet, I shall not cease singing your praises. I have befriended you so as to realize you through my songs and quests after you. Therefore, I cannot forget you” (5).

All these assertions do not mean that Nampi Arurar has not realized the loving aspect of God. “O, Lord of the pure and divine form, pray tell me how you have entered and continued to stay in my mind—I, who am the meanest of the mean. Having placed (one) in the midst of suffering, you are capable of removing those miseries” (2).

Nor is he oblivious of his own shortcomings which as usual he exaggerates. “It is not that I have not been educated. I read and learnt many things except your greatness and my servitude. It is not that I cannot stand firm in any undertaking. But I cannot think of the right path of those who are firmly established in your path. I cannot praise your feet of gold. I cannot think of the future. Yes, I am good to no one but yourself” (4).

V

A rich life—political and social, domestic and public, religious and spiritual—is full of varied experiences and conflicting situations, creating problems. Nampi Arurar, who has taken the Lord as his friend, philosopher and guide, is sure of God’s help but when trying situations arise,'in the midst of his certainty of Lord’s love he feels as though God is loosening His hold because of his imperfections, but only to make Arurar to tighten his own grip on the Lord. It is the complicated situation that is reflected in this poem. He says that he is proud (or happy or in the midst of pomp—kaliyen) but he asserts that on deeper consideration, this human life when thought of as something substantial, draws out but tears from his eyes. Therefore, he says, “I cannot but fall at your feet even forcibly—even against your wish. I shall not worry any one but you” (8). “I shall not recount my miseries and blame you stating that you have caused me to suffer all that I have undergone though they are not to be experienced by me”. (“Because they have to be undergone according to my karma, I shall not blame you that you have made me suffer these miseries which I have experienced”—this is another interpretation) (6).

The Mythological stories seem express this truth. What appear to be cruel, frightful and mean, seem to be all love on further consideration. The Hound of the Heaven is but our beloved and none else. He is indeed so loving—He is the cool showers or the clouds so dear to the people of South India (6).

VI

In this spirit of humility, the poet notes even the tiny crab playing in the fields of the city which has the groves as its fence (9). Having given expression to his conflicting emotions, he feels relieved and whole, sinless and pure. This inspires him to advise the Bhaktas to recite this song of a hymn even if they were not accustomed to sing hitherto—for he feels sure that such a recitation will completely wipe out their sins (10).