The Religion and Philosophy of Tevaram (Thevaram)

by M. A. Dorai Rangaswamy | 1958 | 410,072 words

This page describes “introduction” from the part dealing with the Pilgrim’s progress (unto the last), which represents the development of Arurar’s Mysticism as gleaned from his hymns. The 7th-century Thevaram (or Tevaram) contains devotional poems sung in praise of Shiva. These hymns form an important part of the Tamil tradition of Shaivism

I

The hymns included in this part belong to the last period of our Poet’s life.

The Nagaikaronam hymn suggests that the poet has come back to play an important part in the political life of the country. It is significant that in this part of his life, he does not go north of Vedaranyam and Tiruvaiyaru. It is the first time that our poet enters the Pandya country and his hymns give expression to this new experience. He also goes through the Konku country, to the country of the Ceras. We know the Tamil kings were opposed to Nandivarma, the Pallavamalla, who came to the throne after Rajasimha’s successor, and they were supporting a prince of the direct line of Rajasimha. In the end Nandivarma was successful. Probably it is this kind of political trouble which cast its shadow in the last part of our poet’s life. Perhaps he was the supporter of Nandivarma’s rival which will explain why he is found during the period only in the Pandya and Cera countries and also singing his Thiruparankundram hymn in the presence of the three Tamil kings.

The hymns of our third part, it was suggested by us, should belong to this period. Pandikodumudi hymn which occurs in the third part is on the temple which Rajasimha Pandya is said to have specifically worshipped according to the epigraphical reports (Termaran, son of Koccataiyan who according to Dubreuil married the daughter of Rajasimha, the Pallava ruler, after whom his grandson, the Pandya king was named). There is a spirit of renunciation running through this hymn rather a natural loosening of attachment to this world, a readiness and fitness to renounce this world if God decides so. The last hymn on Mount Kailas expresses the inexpressible final salvation.

It is true that there are hymns on Arur but they may be taken to have been sung when the poet was far from that favourite place of expressing his love and anxiety to go back to that city. We have noticed our poet’s great attachment to Thiruvarur and his singing about Thiruvarur from Thiruvottiyur. In this part in Tiruvaiyaru hymn, he asserts that he is thinking of Thiruvarur (Thiruvarure cintippan— 77: 11). The 59th hymn on Thiruvarur cries, “Is it possible to forget the Lord of Thiruvarur?” Therefore, our poet need not have gone back to Thiruvarur to sing these hymns. The hymns of this part are very important as showing the highest spiritual state attained by our poet.

II

Our poet’s heart expresses itself as follows in these hymns: “The place, the Lord likes most is Maraikkadu” (H. 71); “Why are You, O, Lord, all alone in this place?” (H. 32); “Is this Puvanam, where resides the Lord?” (H. 11); “We are afraid of serving you, O, Lord!” (H. 2); “The Lord who resides at Thiruketheeswaram removes the karmas and miseries of His followers” (H. 80); “Those who worship the Lord of Thiruchuzhial will be happy devoid of their miseries” (H. 82); “When am I, the servant, to see and worship this Youth residing at Kanaper?” (H. 84). “O, my mind! Instead of cursing me, think of Punavayil, the ancient city of the Lord” (H, 50); “O, Father of Arur! I am afraid of this illusory body” (H. 8); “Is this the Lord of Tiruvaiyaru?” (H. 77); “Is there nothing else for the Lord except these serpents, etc.? Please, do not speak of deserting Him, O, Bhaktas!” (H. 44). “Is it possible to forget the Lord of Arur, who is all for me” (H. 59); “O, our Patron! Why are you here in this cruel and desolate place of Thirumuruganpoondi?” (H. 49); “How can I forget you, my Lord of Avinaci?” (H. 92). “Why have you done this and that, O, my father of Ancaikkalam?” (H. 4); “The best One of Notittanmalai has blessed me thus to reach Kailas” (H. 100).

III

Our poet who had lost all confidence with the king of this world addresses the Lord now as the king: ‘Uttaman’ or the Best (100: 1). As usual he calls the Lord, Sivan, Paraman, Pacupati, Parametti, Sankaran, Punniyan, Manavalan. The astamurtas are also mentioned. The conception of the Lord as Amudu is repeated. Here occurs the beautiful phrase “Cuntaraccoti”, ‘the Flame of Beauty’. He is the Lord of the beautiful form who has however conquered the five senses, the latter description reminding us of ‘Porivayil aintavittan’ of Tirukkural (Tiruk.: 5). He is the ruler of Dharma. He removes our karmas; the formless Lord becomes the Lord of forms. He is everything and He is the very organs of our senses as well as things enjoyed and the enjoyer. This universal form is really frightening even unto the followers. He resides in our heart. He is the Before and the After. Doubts are no good. We must wait, consider and worship Him alone in this ephemeral world, where everything is nauseating and revolting. He is the great sound evolving out of Nada. He offers the final release and salvation.

IV

The good results attained by the reciters of the hymns are given as usual in the last verses. Eternal fame, residence in Amarulakam, or Shivaloka of great fame, becoming the chief of the eternals ruling the whole Heavens, becoming the citizens of God when words yield their fruit, conquest of Death and Birth, freedom from miseries, obstacles and mental agitations, attachment to truth, sacrifice, achievement of goodness of a blotless heart, becoming Bhaktas and singing the hymns are as usual described as the great ideal of Shaivites.

V

Nature occupies a much more important place in these hymns. Perhaps the political failures have not affected his spiritual equanimity in enjoying Nature as the very form of the Lord. The desolation of the places visited does not fail to suggest an atmosphere of worship. Even the ships seem to bend low and worship the Lord. The sea-ports come in these hymns. The Kaviri is also described.

VI

Worship with flowers and water, with Pancagavya, offerings of gold and gems, playing by Bhaktas on Kallavatam drum, learning the holy name of the Lord, uttering his 1000 names, contemplation on the Lord, melting in love, becoming almost one with the Lord, self-surrender and service, worship by the learned, worship of the feet of the Bhaktas are all mentioned. All kinds of worship are valid but self-surrender and service unto the Lord are considered very important.

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