Chapter 91 - Thiruvaiyaru or Tiruvaiyaru (Hymn 77)

I

This hymn on Thiruvaiyaru, according to Cekkilar, was composed by our poet whilst going to the Cera capital along with the king Ceraman Perumal, a story which we discussed elsewhere. The Kaviri was in floods at the time of our poet reaching its bank. “The stream swallows so quickly, without anybody knowing it, the arecanut fruits probably falling down over-ripe. (At this) under the green shade of the cocoanut palm, full of bunches of fruits, the sugar-cane crusher raises as it were a hue and cry. Thus roll the waves of Kaviri on whose bank stands Aiyaru” (1) and God is addressed as the Lord of Aiyaru on the bank of Kaviri in every one of the verses of this hymn.

“The flood gathers together (paruvi-arittu) the seeds and on its course it throws and scatters (vicci) them to grow on the mountain slopes. It takes hold of the barks of trees to play its pranks with the elephants. The maids of the mountains keep watch over their fields preventing the birds from coming in and driving out the parrots. The flood rushes carrying away the garlands of their tresses of hair. Rushing fast Kaviri becomes noisy” (3). “The beautiful waves of Kaviri in floods bring the plantain and the cocoanut palm full of fruits and throw them on to the banks; thus the waves are full of beauty” (4). “The river comes down (to the plains) so that the good damsels of cool eyes may bathe and play. It overflows unable to be kept within the mountain and the neighbouring lands. It mixes itself with the honey of the bamboos. It flows into the fields, the waves of the Kaviri getting up through the channels and proclaiming as it were its gift (to the needy)” (5). “The long drawn streams coming in great numbers gather the gems, the pearls and gold so much that the waves respond with the noise” (6, 7). “The Kaviri with its waters, deepens down so that those, who worship you and thereby desire to be rid of all their miseries, may bring it with all their hearts, wherever they stay and bathe you in the Kaviri waters” (8). “The clouds tremble (with their lightning) and the rain is poured out. The flood spreads; the foam is scattered. The Kaviri roars with its waves” (9). “Everywhere the people of the country bathe with a clear vision in the waters of the Kaviri when this settles down. It is for this, the stream of the Kaviri is so full of the waves of fragrance, waves that play” (10).

The last few descriptions make it clear that the Kaviri is described not only when it is in full floods but also when it is crystal clear enabling the devotees to bathe.

II

Our poet refers to the puranic descriptions of the Lord: His mat-lock of hidden Ganges (2), the deer and the battle-axe (in His hand) (2), the hood of the cruel serpent encircling His waist (4), His konnai (6, 8), His bull (6), His begging in the company of the damsel of the mountain (7), His crescent moon (8), His being a flame of light surrounded by the serpents (8) and His remaining unknown to Visnu and Brahma (10). The poet here identifies the king of the country with the Tirumal or Visnu—(Tecaventan—Tirumal—Visnu) (10) thus proving that the divine right theory of kings had taken final form and shape by the time of Nampi Arurar.

III

Our poet describes the Lord as the past and the future ‘Mun nl, pin nt’ (6); the basis and the first cause (or the chief)—‘Mutalvan’ (6). The holiness of God is also emphasized. He is Tirttan (7)—the Lord of holy path or holy waters; He is Punni-yan (8), the virtuous, He is Jyoti, the light of flame—Cutarccoti (8). The Lord is as is often the case with Nampi Arurar spoken of as “Emman tamman tammane” (9)—the father of the father of my father.

IV

The rest of the hymn reveals two different lines of thoughts; one, emphasizing the Grace of the Lord and our poet’s unworthiness; the other, emphasizing our poet’s innoncence and the Lord’s indifference to the Bhaktas. There is thus a conflict of emotions. “I do not know any way of worshipping you; nor did I in my early days attune my mind to worship you; though thinking of you day and night, I cannot think of attaining you” (1). “Wherever I may go, you come and become enshrined in my mind. Without any doubt whatever, you remain ever loving, without any difference between the first day or the last day of our intimacy” (2). “Having come together, I cannot bear any separation from you. I have given myself completely to you, standing firmly in your path. I cannot leave it off” (3). “Those, who have become habituated to your service, who have become servants without slighting you, what gain they had, I know not” (4). “I do not know any mistakes committed by me. Pray, order that the mistakes if any may be erased” (5). “I have not seen or realized you, perhaps I have seen you as somewhat like the irradiating or pinching hunger. I cannot swim against the current” (9). “Though Your servants feel shy to approach you and keep quiet, You have no good in you, nor is there any sign in you of understanding their thoughts” (10). “Though devotees gather together you keep mum because you have not any good quality; nor do you understand their thoughts. Though I Continue to be in a sulky mood I am not in a position to realize you, I, your servant, Uran. I have searched everywhere but cannot see or realize you; I think only of Thiruvarur” (11).

Apart from the conflict of emotions, the construction of the sentences is also confusing. We have probably to take the conjunctive participles lying in the verses almost unconnected, as going with the verb implied in the word ‘utaiya’ of the phrase, “Aiyarutaiya Atikalo” (1-11).

The Absolute is so rich in its varied aspects that what appears to be conflicts are resolved in its beauty of variety. The assertion that, “I am thinking only of Thiruvarur” (11) suggests that this also must belong to the cycle of hymns hankering after Thiruvarur like hymns No. 83, 51.

V

It is remarkable that our poet does not refer to any good effect flowing from a recitation of this hymn. The ‘specific effect of recitation is not mentioned probably because mere recitation as giving vent to pent up fellings is itself a great boon. “Aiya.ru-taiya Atikalo!";—‘Is it the Lord of Aiyaru!’ may be an exclamation of wonder and joy as much as the exclamation, “PuvanamltoV’ (H. 11)—“Is it Puvanam!” expressing the pent up desire for seeing the place a desire now being fulfilled. It is probably because of this that Cekkilar is bringing together all these hymns. Our poet must then be visiting these places for the first time; there must have been some difficulty in his visiting this place, perhaps due to the war of succession to the Pallava throne.