Chapter 84 - Thirupuvanam or Tiruppuvanam (Hymn 11)

I

For the first time our poet sings of a temple of the Panilya country. “Is this Puvanam, where resides the Lord”? is the refrain of this hymn. The fourth line of every verse ends with the words “Urai Puvanam ltd?”. The poet must have heard about this temple and must have been longing to see this. That is why he exclaims: “Is this Puvanam?” After the poet’s regret that the Lord is all alone at the Point Calimere, a regret that possibly gives expression to the desolation of that part of the Cola country at that time, he breathes in this hymn a sigh of relief, that the Lord is here in all glory showering His Grace on all. This hymn begins with the statement, “Tiru utaiyar”—‘He is the Lord of wealth of Grace’. The place is not described at length. In the last verse, however, the poet describes the Lord as one who resides at Thirupuvanam so glorious for its great fame, as his favourite resort.

II

The same love of the temple expressed in the previous hymn with almost childish simplicity inspires this hymn and our poet exclaims: “Is this the Puvanam where resides the Lord”? The word preceding the ending ‘Urai Puvanam ito?’ comes as the first word of the fourth line with the usual emphasis—thanks to assonance, “Pur iv utaiyar”— ‘He who is blessed with sympathy, mercy or Grace’ (1), “Punniyanar”— ‘the virtuous or the fortunate’ (2), “Pulluvanar”— ‘the dupe unto the dupes’ (3), “Ponnanaiyan”— ‘One who is like gold’ (6), “Nencam, pukkuraivan” (7, 8, 9)—‘one who resides in the heart’. The other two verses refer to the Puranic stories of the Ganges (4) and the sacred ash (5).

Our poet refers to the Lord as Tiruvutaiyar, one who is the Lord of beauty, wealth or Grace; Lankaran, One who creates bliss, as One who resides at Thirupuvanam as His place of desire and love, thus suggesting that the Lord coming down to enshrine Himself for saving us all. Our poet also refers to the blessing the Lord showers on us (1). The Lord removes the karma of those who think of Him as AnnaV, The Great One (2).

III

The puranic descriptions come back to his mind with all their glory. “The formless Lord because of His assuming the forms of Visnu and Brahma, becomes the Lord of the Form. He lovingly has by His side His consort, Uma” (1). “The young deer is in His hand; so is the burning battle-axe. There is also the fire in His hand. In the beautiful crown is the water”: This verse (4) thus stresses the contrasts to suggest the divine harmony. The Bhikshatana form comes to our poet’s mind: “He goes a begging to the doors of damsels. He rides on the bull. He shines with the sacred ash in the company of the Mother” (5). His midnight dance with the ghosts also comes to his mind (3). “He is the creator of bliss, He who shares His form with the lightning-like Mother and (yet) He is the gold like one, burning the three cities belonging to those who did not think of Him” (6). The same contrast is further emphasized. “Ravana, thinking too high of his sovereign power and influenced by his wicked nature, tried to uproot Kailas. The Lord laughed and pressed a little His toe (and vanquished him)” (7, 8, 9). “But if any one loves Him even for a little while, He enters that unique heart and resides for ever there (7), this Lord removing the karmas of those who whilst lying and walking cogitate and think of Him as the Lord” (2). “He is so loving that He removes the karmas of those taking refuge in Him” (I). “Yes. He is true to the truthful and a cheat unto those who are cheats” (3).

IV

This hymn thus expresses the joy of the poet’s arrival at the favourite resort of the Lord in the Pandya country and at the Lord’s Grace removing the karmas of His followers. We found in this hymn that the poet referring again and again to the removal of the karma and which implies the removal of all sins. This feeling of holiness inspires our poet to assure those who recite this, the ten garlands of verses in this world that they will cut away their sins even as he has done while singing this hymn (10).