Chapter 95 - Thirupukkoliyur Avinashi or Tiruppukkoliyur Avinaci (Hymn 92)

I

This hymn is on the temple at the place called Tiruppukkali. The Lord of the Temple is Avinaci, i.e., one who knows no destruction. Now the place itself goes by the name of Avinaci. But in the hymn, it occurs as the name of the Lord, as a noun put in apposition with the other names describing the Lord. Every third line of the verses ends with the words, ‘Pukkoliyur Avinaciye' except in verses 2 and 9 which speak of ‘Pukkaliyurir kulatti-taz (2 & 9), referring to some Brahmachari or youngster getting into the tank and bathing and playing a prank or deceiving the poet. The story about the boy dead long ago coming alive from the mouth of a crocodile had been discussed earlier (in the life of Cuntar ar-Arurar).

II

The place is described as being full of gardens which dance in the woods (4), as it were for the Temple—a garden where play the monkeys (7) and where the birds get to the top of the trees (9). Our poet is so overpowered by his feeling of universal love that he speaks of the she-monkey going in search of edible fruits for its beloved and also worshipping the Lord in the mountain slopes at the time of every sandhi (morning, midday and evening) with the offerings of water and flower and the Lord residing in its heart (7)—a beautiful picture of domestic life and tapas rolled into one, something contemplated in Narrinai (v. 22).

If Kalidasa’s Sakuntala speaks of the creepers as sisters, our poet speaks of even the she-monkey as a spiritual colleague like him performing the duties of domestic life and tapas (7). This worship of the monkey, and that of a she-monkey, takes, in the seventh verse, the place of worship by the celestials in the previous verse (6). “The tongue will not utter anything except singing of you” (6). So saying, the Devas or celestials worship and salute as the Lord’s servants. For, He becomes the crown of those who contemplate on Him; for He is so fond of their praises (6).

III

The Lord is the beautiful light of the Devas—cuntaraccoti—6. Our poet thus emphasizes the beauty aspect and the jnana aspect of the Absolute. He is the great gem— Mamani’ (2). He is Pacupati (1)—the Lord of the souls, a name which expresses the unique philosophy of the fiaivites. He is Parametti (1)—the Supreme. He is Nandi (7), a name which is sacred to the later day Shaivites, though it is also a name of Arhats in ancient times especially of Rsaba Deva. He is our Man and Prince (3). He is our Chief (1). He is the Alpha and Omega (4). He is the blotless and the Pure: ‘Ninmala mwrti’ (10). He is the great Dancer (6).

IV

The puranic references here are not many as is the case with our poet’s hymns in which the subjective element predominates. But the serpent is spoken of often and often (1, 3, 4 & 8). The blotted throat (10), the destruction of the three cities (5) and the mat-lock of flowers (6) which mat-lock rises mercifully (arulanku) higher and higher with the increasing waters of the Ganges (10), His dance hall of graveyard (5), His fighting bull (10), His preferring the garment of tiger’s skin to white clothes (9)—are all mentioned. The temple cult is also emphasized. He resides at Nallaru, Tellaru and Arathurai (9).

V

One may turn to the personal representations of the poet to the Lord. The Arur hymn exclaimed, “Is it possible to forget the father of Arur? (H. 59). Here our poet begins in the same strain, “Because of what, will I forget my Lord even in the seven fold births? With all my heart I think of you alone as my relative, realize that truth. I live attached to you” (1). “Wherever I may go, if I just think of my Lord no evil befalls me (3); even if I enter the Konku country there is none to waylay me and rob me of my clothes” (3). (This is the reference to the condition of affairs at Tirumurukan Poondi already described—H. 49). “Excepting you, I worship not other gods. I see not, if you do not show. If you show me I shall still see” (8). “You are capable of making even blind eyes to see”. (Has it anything to do with the blinaness of the poet? Or, does it mean that the Lord is capable of showing things which the physical eyes cannot see?) (8). There are a few requests of the poet: “My Lord! I beg of you and pray for the birthless state. I pray for escaping from Hell” (3).

VI

In these stanzas occur the reference to Mani (2, 9) and ‘Pillai’ (4). “You came and joined those wayfarers. Is it fair that you should leave off and disappear in the midale. The Mani who descended into and bathed in the pond of Pukkoliyur has duped me” (2). “The Mani that began to bathe inside the pond of Pukkoliyur has duped me” (9). It is not clear what the incident in his life that the poet is referring to. “Karaikkal muta-laiyaip pillai taraccollu Kalanaiye” (4) is the last line of the fourth verse and this remains a problem; for, the meaning given as referring to a miracle is not convincing. The construction seems to be peculiar.

Has this anything to do with what the poet had spoken of probably in the Kalumala hymn? (58: 9).

“Maraiyitait tunintavar manaiyitai yiruppa
   Vancanai ceytavar poykaiyu may at
Turaiyurak kulittula takavait tuytta
   Vunmaiye nuntaka vinmaiyai yoren
Piraiyutaic cataiyanai yenkal piranaip
   Peraru lalanaik karirul ponra
Karaiyani mitarutai yatikalai yatiyen
   Kalumala valanakark kantukontene” (58:9).

VII

The poet speaks of himself as Tontan (10) and these are the verses which he had conceived and which are of growing fame. In singing this hymn, our poet must have experienced a spiritual calmness devoid of all miseries and he assures that those who can recite this will also enjoy the same experience.