Introduction

I

The hymns sung by our poet after he left Otriyur deserting (mnkili, and losing his eyesight therefor till he reached Thiruvarur, are included in this part. There is a feeling of sincere repentance and heartfelt sorrow, running through all the hymns, though his firm faith and high spirituality stand revealed therein. His great attachment to Thiruvarur shines here as the great guiding light. Perhaps the political complications were getting resolved almost inviting the poet’s re-entry into the political arena. The hymn on Ndkai-k-karanam gives us a picture of our poet as a chieftain, Hence that hymn also may be included in this part itself, for in the next part there seems to be a change in his life.

II

Our poet exclaims in these hymns as follows: “How can I remain separated from the Lord of Thiruvarur?'’ (H. 51); “O, Lord of Otriyur!. Save me from this pain, this disease and this blinan ess” (H. 54); “O, Pasupata, Great Light! Remove my sufferings” (H. 69); “I inquired, are you inside the temple, but alas! the Lord replied, we are here all right; you go your way” (H. 89); “Do not great men excuse the faults of their servants, O, Lord of Alankatu! I shall become the slave of your followers” (H. 52); Ah! How I, a mere slave, got the eyesight to see the Lord!” (H. 61); “When am I to meet my father, my Lord at Thiruvarur with joy! (H. 83); “I have seen Him, the Lord of Amathur; I sing of Him” (H. 45); “Tell me, O, Lord of Nelvayil Arathurai, a strategy or a place of escape” (H. 3); “Shower your blessings, O, Lord of Tiruvavatuturah by assuring me, ‘Fear not’. Who is there as my relation or my help if not you?” (H. 70); “I cannot forget, enjoy, know, sing or praise the Lord, nor can I get away from His path or decry Him” (H. 74); “O, my Father! Pray, out of pity for me, cry alas!” (H. 96); “You birds, beasts and clouds! Are you capable of informing Him of my miserable conditions?” (H. 37); “The followers suffer, O, Lord! You take no note of them” (H. 95); “Well, to become prosperous, having heard the story of your Grace I took refuge in your feet” (H. 55); “Do not pretend to be a beggar; You must give me gold, horse and food” (H. 46).

III

Apart from the holy places which he describes as Heavens on earth, Nature appears to him in the beautiful form of Palaru, Niva River, Kaviri River and the sea, Otriyur, and Negapatam (Nnka-p-pattinam). Puranic stories are also mentioned. Bhiksa-tana form has been referred to as the art motif of our poet. He, as the lady-love pines for the Lord. This is the mystic way.

IV

The last verse of each hymn as usual describes the goal to be reached, the goal which our poet assures us that those who recite his hymns will attain. It is described as Paragati above the people of the world, the highest, higher than the high spiritual sphere—the world of good path, the golden Vinnulakam of the virtuous, the Amarulaku reached through the path of Tapas. Those who reach the goal are beyond the reach of the cruel karma having attained His feet without any falsehood; they are the most virtuous, and they have cut away their fetters of births and deaths, knowing no old age or misery. This goal is sometimes spoken of in terms of sovereignty and rulership as one of becoming the rulers of the Vinnulaku, Vinnavar, of becoming the sovereigns riding on the elephant and ruling the whole of the Heavens. The happiness of Dancing, Singing and Worshipping the feet of the Supreme as a holy community of Bhaktas is itself sometimes described as the goal.

V

The cult of Bhaktas is thus emphasized. In the Thiruvalangadu hymn, the poet seeks to become the slave of the followers of Shiva. Reference is made to the community of Bhaktas as the unique brotherhood. The learned worship the Lord. So, do the poets. Agamic rites are also mentioned. Worship with flowers, music, Pancagavya, especially milk and ghee, worship through poetry, and with mantras especially Ancupadam or Pancaksara worship at the three points of the day or Muccanti are described as obtaining during the poet’s age. We get more details in Kancivaram hymns where the poet describes the worship of the Lord, by the Mother—coming near Him, taking refuge in Him, embracing Him in love, praising and worshipping Him and contemplating on Him in joy. Our poet speaks of Muttar, Cittar and Pattar as the various kinds of the followers of Shiva and identifies the Lord with these. Tapas is another mode of worship and our poet brings out the importance of the sufferings of the world as a mode of Tapas. Our poet refers to Candesvara, Eyarkon Nana Campavtar, Navinukkaraiyar, Nalaippovar, Koccenkanan. Cakkiyar, Kannap-par and Kanampullar. To justify this gospel of Grace, our poet speaks of the faults of these saints becoming great merits in the eye of the Lord. He paints the whole world of men, beasts, serpents and all as a happy family of worshippers.

VI

Our poet also emphasizes the harmony of all religions, the six great religions being each one of them according to the fitness and development of the varied souls.

VII

The Lord is herein also praised as Aravamudu, Masilamani and Maruntu, thus emphasizing the bliss aspect of the Lord and His being the Supreme value curing us of our great karma; for He is described as being responsible for births, deaths, delusions and salvation. Reference is also made to Sivoham Bhavana or contemplation and our poet explains its difficulty by crying out, “I cannot contemplate that I am yourself”. The Lord is Parancoti, Tuntavilakkin coti, the eye of those who want to see Him. These emphasize the Jnana or Cit aspect of God. Purity and holiness are also asserted. He is the Truth, the Blotless, the Holy. He is the great path, the path of the Vedas.

Though our poet repents, he also asserts, “I do not know what mistakes I have committed”. But at the same time in describing the gospel of Grace, he refers to the Lord saving him though he had forgotten the Lord, thus suggesting the ‘Marjara Kisdra Nyaya’. In other places he speaks of himself of his own accord, coming to serve the Lord whole-heartedly without his being a hypotheca, a statement which is difficult to be reconciled with the story of the ancient document of slavery of our poet’s family. The Venneinallur incident is found described in detail in this part.

God is described as Truth, Beauty and Goodness. He is the great dancer, the great Artist while He is the very form of Art, Tamil and Music. He is our inseparable companion whether on the right or wrong path, always residing in our heart. His Asta-murta and His being all kinds of relationship are again and again emphasized. He is Pasupati, Parametti, Karunaiccevakan. He is also described as “Maiyan” a term which is not clear though we had tried to explain. The Lord is everything but if this is forgotten the world becomes a trap of death, miseries and illusion. Our poet, therefore, begins his message with emphasizing the ephemeral nature of this world.