Chapter 1 - The Tondar or Tontar (devotees) and their religion

I - Worship: Classification:

All those various kinds of worship, mentioned in Part I, of the saints may be brought under certain well-known heads. Though the details given by the modern tradition and the tradition that may be taken to have been known to Nampiyantar may differ, the underlying principles are all the same in both cases. We have more of miracles and more of aggressive and punitive acts, elaborated in the later day tradition. But that does not affect the fundamental basis of the worship of these saints. We have the importance of temple worship brought out through the lives of many saints.

Building temples, digging tanks attached to these temples, Temple worship, Linga worship, offering rice etc. as naivedya, lighting lamps, burning incense, offering sandal paste, offering various requirements of musical instruments, abhifeka to the Linga inside or outside the temples, attending and performing the festivals to the temples—all these come under the general head of temple worship.

The Agamas dealing with temple worship were probably in existence at the time of Arurar, and people were in search of these Agamas in general. But, though we know of Brahmin priests like Pukalttunai, Murukan (Murugan) and Sivakocariyar, members of other castes were also known to have acted as priests at the temples, as is learnt from the following verse of Campantar:

“Patta rotu palarum poliyam malar ankaip punal tuvi
Otta colli ulakattavar tamtolu tetta uyar cenni
Mattam vaitta peruman piriya turaikinna valitayam
Cittam vaitta atiyar avarmel ataiyamar ritarndye”.

‘Many, along with the bhaktas, shower the shining flowers and water from the palms of their hand. The people of the world praise and worship, uttering what is appropriate. The Lord resides there, at Valitayam, He, who has placed the ‘matta’ flower on His towering crown. Obstacles and diseases inflict not the devotees who place within their heart this Valitayam’.

The belief, in the sacred ash (Vibhuti), in rudraksa, in the mantra pancaksara, in the Sri Rudram of the Veda—forms part of Agamic worship. The reverence for the name Tirunilakantha implies the popularity of the Puranic stories and a recitation of Puranas has become part of temple worship. Singing of hymns and playing them on musical instruments are also connected with temple worship. Pilgrimages to holy places sanctified by temples became a common habit of pious people. Certain places became ‘tirthas’ (holy places) and people born there were looked upon as Sivaganas as was seen in the story of Naminanti Adigal, one of the 63 Shaiva saints.

The rules of the rituals were not always strictly followed. What was considered important was the love of God as is seen by the story of Kannappar and that of Cakkiya Nayanar. The performance of puja or worship will come under the head Kriya marga, whilst the other services will come under the head Carya marga.

We have also cases of private or individual worship of ‘linga’ as in the case of Sandesvara as contrasted with the public worship within the temple. There are also cases of mental worship: the life of Pucalar and Vayilar illustrate this aspect of worship which may be looked upon as Yoga: Perumilalaik kurumpar and Kazharitrarivar are looked upon as great Yogis.

The next important head under which the activities of the saints could be brought is the worship of the Shaivite atiyars. First come those saints who were great because of their admiration and reverence for the three great Tevaram saints. Kananata worshipped Campantar. Apputi worshipped Appar. Perumilalaikkurumpar worshipped Arurar. There are also other saints who were contemporaries of these great men. Irrespective of the greatness of Shaivite atiyars, it was thought that one should offer one’s service to the atiyars in general looking upon them as no other than the Lord Shiva Himself.

The reverence for the outward form is clearly brought out in the stories of Enatinatar, Meypporul Nayanar, Pukalccola Nayanar and Kazharitrarivar Nayanar. The saints were prepared to offer their all and sacrifice their dearest and nearest as well as their own lives. This is explained as Cary a marga. Following the path of the Lord, according to Vaishnavism, is Sara Dharma, the good; surrender to Him is Sdratara Dharma, the better; surrender to His followers is Sdratama Dharma, the best. Therefore, it is said: “God would forgive an offence to Himself but an offence to His devotees—atiyars—was unpardonable: Bhagavatapachara was more heinous than Bhagavadapachara”. The cult of the worship of Shaivite atiyars has taken a definite form by the time of Arurar. Viranmintar laid the emphasis on the worship of the atiyars rather than on the worship of God Himself. Tirumular explains the significance of this cult in his famous verse in Tirumantiram:

“Patamatak koyir pakavarkon riyil
Natamatak koyil namparkkan kaka
Natamatak koyil namparkkon niyil
Patamatak koyir pakavarka tame”.

(Patamdtum, Natamatum, Natamatum and Patamdtum are other readings for Patamata, Natamdta, Natamdta and Patamata).

There remain the great saints and mystic philosophers who have given their experience in the forms of hymns and verses containing the quintessence of Jnanamarga, such as Campantar, Appar, Arurar, Karaikkal ammaiyar, Tirumular, Poyyatimai illata pulavar, Aiyatikal and possibly also Tirunilakanta Yalppanar who expressed the great truths of Campantar’s poems in the language of music.

II - Sadhakas and Siddhas:

We have been talking of Carya, Kriya, Yoga and Jnana margas in relation to these saints, but these are only the means of attaining the final realization or siddhi. A reference to these margas can be justified only if we look upon these saints as sddhakas or probationers. But, if they are siddhas, who have attained realization, it will be absurd to speak of these means. But, as will be explained or pointed out later, we can look upon these margas (paths) as being followed by even the released souls for ilokasan-grafaf—for the benefit of the world at large: “Kattu mayakkam aruttavar kaitolutu ettumitam” says Arurar. Bhakti itself is distinguished as ‘Para bhakti” or ‘Sadhya bhakti” which is nothing else than the immortal bliss of freedom (Mukti) itself. It comes unsolicited, by the Grace of God and self sacrifice. Upon gaining it, man realizes his perfection and divinity, and becomes thoroughly contented. He desires nothing more. He is then free from grief and hatred; he does not rejoice over anything, nor does he exert himself in the furtherance of self-interest. The realization makes him intoxicated and fascinated as it were, because he is completely immersed in the bliss of the Paramatman.

Cekkilar brings out the greatness of these siddhas in the introductory part of the Periyapuranam called Tirukkuttaccirappu; “Their mind is pure and white like the sacred ash besmeared on their body. Even if the elements go astray, their minds will not swerve from the love of God. To them gold and potsherd are the same. They care not even for Moksa, if only they could be assured of loving worship. They have no burden other than the service of the Lord, these merciful lovers and heroes wanting in nothing (vv. 6-8)”. “Zccuvai tavira yan poy intiralokam alum accuvai perinum venten”. “Patiyayk kitantu un pavalavay kanpene” are the oft quoted versions of the Alvars.

The verse of Appar,

‘Kunitta puruvamum kovvaiccev vayin kumincirippum
Panitta cataiyum pavalampon meniyir palvennlrum
Initta mutaiya etuttapon patamum kanappernal
Manittap piraviyum venfuva teyinta manillatte”

best illustrates his mind as a siddha.

The question arises why they should follow any rules or rituals if they had become ‘Jwanmuktas’. The Narada Bhakti Sutras give the answer: “Let a man have care for the scriptural teachings, even after his spiritual realization becomes well established. For, otherwise there is the risk of fall (of others). Social customs and practices also may be followed, in a like manner, to that extent only; but activities like taking food, may be continued to the measure necessary for the preservation of health of the body until it falls off in its natural course.” As Tirukkalirruppatiyar puts it, though the saints may be behaving like ordinary men, they become identified with Shiva and all their acts are the acts of the Lord.

It is because of this Sivajnanabodham in its last sutram emphasizes temple worship and worship of the atiyars:

“Cemmalar nonral ceralotta
Ammalankalli anparotu mari
Malara neyam malintavar vetamum
Alayam tanum Aranenat tolume”.

Arurar in enumerating the saints in Thiruthondathogai would not have looked upon them as mere Sddhakas. He falls at their feet in almost every line of his verses because he feels that they have attained siddhi (realization).

III - Signification of the Grouping of Atiyars:

The penultimate verse of Thiruthondathogai, a verse which we have reserved for consideration here, is important as giving us an idea of his classification of the Shaivite saints. That verse is said to give a list of groups of Shaivite saints not specifically mentioned in that hymn.

According to him the saints are classified as follows:

1. Pattarayp panivar,
2. Paramanaiye Paduvar,
3. Cittattaic civanpale vaippar,
4. Thiruvarurppirantar,
5. Muppotum tirumeni tintuvar,
6. Muluniru puciya munivar,
7. Appalum atic carntar.

Muppotum tirumeni tlntuvar are those who worship the ‘linga’ thrice a day at the temple or elsewhere. Cekkilar would take them as Shaiva Brahmin priests. But, as already mentioned, others like Kannappar and Cakkiyar could be brought under this head.

Thiruvarurppirantar, as already noted, exemplify the cult of holy places connected with temple worship. Or, this may mean that the worshippers in a temple and all the people born in that holy place, appear to be sacred and holy, to be worshipped by all.

This gives us the high ideal these saints had about society, and service to society, without any distinction. It is not the followers of their religion alone that are looked upon as worthy of their service but all the people in general. The Shaivites have been thus living as far as their ideal is concerned in a classless and casteless society—a society of devotees.

Muluniru puciya munivar are those holy people who smear themselves with the sacred ash (Vibhuti) as the outward symbol for the inner purity of their heart.

Pattarayp panivar are those who worship the Shaivite atiyars. ‘Panital’ emphasizes bending low in humility and service.

Cittattaic civanpale vaippar. are those saints great for their mental worship and yoga. Cittam emphasizes the mental contemplation.

Paramanaiye Paduvar then refers to poets. The emphasis is on the karana— tongue or speech. They are the mystic poets like our Tevaram authors.

It is thus clear that Arurar is emphasizing the very principles we had analysed in the philosophy of temple worship and holy places, the principle of mental worship, of mystic poetry, of the greatness of outward form and a reverential feeling therefor.

Appalum aticcamtar is mentioned to cover cases not mentioned anywhere else. Cekkilar takes it as referring to the lovers of God beyond the limits of the Tamil country and those who might have lived before and after the age of Arurar, thus conceiving a democratic family of the lovers of God in the whole Universe and of all times.

IV - Nature of the Worshipper—Introduction:

The various difficulties one feels in understanding Thiruthondathogai, may drive one to conclude that it was perhaps not from the pen of Nampiyarurar. But the ideas contained therein are found in other verses of Nampi Arurar. Some of the names of the saints are referred to by Nampi Arurar, as already pointed out by us. The philosophy of service to bhaktas has been developing both in Shaivism and Vaishnavism. Kulasekhara’s hymn, “Tettaruntiratten” has become famous because of this philosophy; and provision has been made for reciting this hymn in the temples, as is borne out by very early inscriptions. Nampi Arurar s poems may be examined from this point of view.

The various forms of the Lord as described in the Puraria and as appealing to our poet have been described at length in our study of our poet’s puranic mysticism. That study gives us our poet’s conception of his God. In the duality of the religious predicament of God and His worshipper, the Deity and the devotee, after an account of the nature of God, that of the worshipper is taken for consideration here:

V - Worship—Offerings:

The puja or worship by the afiyars or followers of God is referred to by our poet as Pucai or Pucanai. This forms part of Kriya marga. We have the descriptions of the worship by Sandesvara, Agastya, Brahma, Visnu and the Mother Goddess. Muppotum Tirumeni tintuvar come under this head. The symbol, image, or idol of God is placed before the worshipper and God is felt or imagined to incarnate Himself in that form. Usually this form is a linga; in another place we have explained the various kinds of lingas. Sandesvara makes a linga out of sand. Agastya makes a ‘tapara’ (stavara) linga, i.e-, an immobile linga

V (a)

Offerings are made to this Lord incarnating in the image. Any leaf or a handful of water is enough to please the Lord who is hungering for the love of the souls. It may be any leaf but the worshippers see it is green; it may be any water but they see it is clear without any foam—“Noc ciyam paccilaiyal nurai tir punalal toluvar”. Our poet brings out this truth in his statement, “Ilaiyal anpal ettumavar” — ‘Those who praise Him with leaves out of love’. Does not the Lord of the Gita say that He accepts (eats) even leaves? The Lord is pleased with the loving offering of flower. Visnu has offered his own eye when there was a shortage of flowers.

But usually the worshippers do not stop with the leaves. They offer the Lord, flowers and they are fragrant flowers blooming with all freshness and beauty inviting the humming bees. They offer the best of flowers All the flowers of the land are there for the Lord and the worshippers offer them as great tapas. Of these flowers eight have become sacred to the gaivites which are, ‘punnai’, ‘vellerukku’, ‘canpakam’, ‘nantiyavattam’, ‘nildtpalam’, ‘patiri’, ‘atari’ and ‘centamarai’. They offer this with their own broad munificent hands. Compare the Gita calling them ‘udarah’ They offer it on his feet in a feeling of self-surrender—“Atimel alarittu nalla tontankati paravi”; They themselves carry the water in a pot and the flowers, performing thus the service of the Lord who becomes pleased with them and dances They go all pure and holy after they had bathed every day without fail in water. They pluck the flowers with their own hands and weave out a beautiful garland out of love which knows no break, Flowers are offered in plenty. The offering of water is also made and it is said that it ‘is made eastward (to the Sun as a form of the Lord). These offerings of flower and water are made to the accompaniment of the mantras which the worshippers recite. Some offer these flowers with the mantras of the Rg Veda.

The water is not only given as offering but the Lord is bathed in water. The Lord is bathed not only in water but also in the five sweet (ten) things of the cow. The five of the cow are—milk, curd, butter or ghee, cow-dung and cow-urine. Of these the milk occupies the pre-eminent position. One may at once distinguish milk, curd and ghee from the other two and these are, therefore, specifically mentioned. Honey also is mentioned as an article in which the Lord is bathed. The word used is ‘Ten’ and this as already pointed out, refers also to the sweet fluids of the cow. The idea behind this bath seems to be that the worshippers should realize that the Lord is the inner light within these various objects of worship and that the various organic processes are a divine mystery.

Indian life is characterized by the co-operation of the beast and the man. The cultivation is the basic occupation of this country and when the harvest is made, man gets his share of rice and the bull gets its share of straw and grass. The grass becomes the life blood of the cow but when the cow is the loving mother, its blood undergoes a wonderful and mysterious change by becoming the milk—the ideal food, containing in a miraculous way all the necessary elements in the right proportion. This milk undergoes further change into the curd, the best protein food, and the ghee, the best fat food, the milk becoming the curd in the stomach and the ghee being absorbed by the body in its digestible organic form through the small intestines. The live process continues and the water and the undigested fibres are thrown out as refuse—the urine and the cow-dung—by the kidney and the colon respectively. This refuse is valued by men not only as the manure but also as the plaster for beautifying the mud walls and floor; of their habitat. The biologists speak of the nitrogen cycle. Here comes in the co-operation of Nature and living beings. The refuse goes back to the land to enrich it with all that it had willingly given away for the growth of the plant on which we live. All this is looked upon by the Hindus and Shaivites including our Poet as a mystery explicable only as a divine consummation. In even one of the stages, God is found in all His creative glory and this is the significance of this bath of the cow’s five (pancagavya). Abhiseka may be generalized as revealing this inner truth of all the sweet things we love, as God. We offer God unto God and we partake of it as God, a wonderful transubstantiation. We, there fore, love, move and have our being in God.

Incense is also offered; Bhaktas worship Him with the rich fragrant smoke. The worshippers besmear themselves with the sacred ash. “Muluniru puciya munivar” are those great men. Purification through a bath in water has already been referred to.

Here, a distinction is made between ‘Carya’ and ‘Kriya’. Whei one brings the flower, water, etc., for the worship in the temple that is when the puja is not one’s own, it is Carya— it is service —‘Tontatal’ or Tontu punal — taking up a vow of service; ‘Kurreval ceyyal’— performing all menial services Has no Kulasekharar said that he will follow the Lord carrying the spittoon? The Bhaktas are thus practising themselves for living in His service. They take care of Him as a parent. Those who perform worship in the temple are called ‘Akattatimai’the ser

It must be noted that the Carya mentioned in some of the references are really Carya in Jnana; for, the Jnani who has realized God has to perform acts whilst alive and his Carya is the Carya in Jnana.

Fruits intended for the beloved are also offered and this is mentioned with reference to the worship by a loving couple of monkeys which worship on the mountains at every one of the Sandhyas with water and flower. Kannappar’s story tells us that food also was offered to God.

Going round the Lord or the couple from the right side of the Lord is another item of this worship—“Culum valam ceytu”. Circumambulation is referred to with reference to Muttaru which is conceived by our poet as his comrade in worship.

VI - Time of Worship:

This kind of worship is offered every day. The morning worship is important as it begins the day with the sacred thought. The phrases ‘Tolutelumanpar’, ‘Cintitteluvar’, ‘Valipdtucey-teluvar’ and ‘Ninainteluvar’ are important. The second word of these phrases is ‘eluvar’, i.e., those who wake up. The first words are ‘Tolutal’ (bowing down), ‘Cintittal’ (think of Him), ‘Vuli-patal’ (worship Him) and ‘Ninaital’ (contemplate on Him). The phrases as they stand mean that worship occurs first and then the waking. This is an impossibility. Unless this worship is something like a dream-waking, it can occur only after one wakes up. Therefore, Subrahmanya Diksitar (the commentator on Tamil Prayokavivekam) changes the word order and interprets them as ‘Eluntu tolaunr’ etc., those who wake up and worship. This is making prose of poetry. But this ‘Eluntu toluvar’ is also referred to by our poet.® Hence these phrases should have a special significance. These phrases refer to a different mental state and these have been interpreted by Parimelalakar and Peraciriyar to mean that the worshippers always contemplate on God, that their last thought before they sleep is their worship of the Lord, that their first thought on waking up at dawn is the same worship and that, therefore, they wake up thus with the thought of worshipping the Lord. Worshipping and waking are said to occur simultaneously. As worship is the continuous act, it is spoken of in the past tense. This reveals a spiritual stage called ‘Sahaja nista’.

The worship is sometimes performed twice—‘Irupaluturn’; ‘Irupotum’, at dawn and at dusk or at day and night Day and night may also mean always, when the worship will be ‘Sahaja nista’. But the worship in the morning and in the evening is clearly referred to—“Kalaiyilum malaiyilum”. There is also the worship thrice a day. The Sandhya worship is offered at morning, noon and evening. Therefore, our poet also speaks of ‘Canti munru’ —three sandhyas; ‘Munru potu’ —at the three points of the day. This is described as two joints of the day morning and evening along with midday—“Antiyum nan-pakalum”. The expression “Iravum elliyum pakalum” is not clear. Can we take ‘Iravu’ to denote the evening, ‘Elli’, morning and ‘Pakal’, the midday? Then this expression will mean, worship at the three points of the day. Or, can we take the expression to mean, the night, the morning and the evening sandhyas and the midday? Then it will mean worship always, that is ‘Sahaja nista’. Every day at these sandhis, the Lord is adorned with flowers like the beautiful ruddy sky. The worship at midnight (Natunal) and day (Pakal) is also spoken of with reference to the ‘single legged Beings’, uttering the Rg Veda, standing like elephants sprinkling the mountain spring water. ‘National’ is midnight, probably because the ancient Tamilians counted the day from the midday to the next midday. The Natunal’ worship will answer to the ‘Ardhajama puja’ of the present day.

All this is the ‘pucai’ or ‘pucanai’ which is called in Tamil ‘Valipatu’ The life of this puja is bhavana. Our poet speaks of ‘Pavittal’. This bhavana has three levels: one is mental imagination, where mind is one with prakrti, i.e., with ‘Pasu karana’; the second is the contemplation of the jiva which is with the ‘Pati karana’; the third is the contemplation out of ‘Arul’ or Divine Grace. Here comes the mystic vision blossoming into beatific vision. The worshippers contemplate on Him and praise Him with offerings of flowers and frankincense This worship becomes a tapas. The worship of the Mother Goddess is described as tapas Love is the soul of this puja Bowing down, falling at the feet, touching them with our head, and bringing hands together, one palm facing the other palm in what is called the anjali pose are all mentioned—“Nil nil muti vanavar vantirain-cum”; “Mutiyal vanavarkal muyankal”, “Ati tolal”; “Ati vzltal”; “Ati toluvar”; “Kai tolal”; “Kaikalal kuppi” Kuppu-tal is anjali. Vanankutal is bowing down: “Talaiyal talum”.

VII - Trikarana:

The worship is through all the trikaranas— body, speech and mind. The poet asserts that he has dedicated his head, tongue and mind to the services of the Lord. The poetry is itself a worship as Cekkilar says, “Arccanai patte dkum” and this is a peculiar kind of worship in which our poet has specialized. These wor-shippers sing; they speak of Him in many ways; they compose verses of various rhythms. They cease not singing. Even as their speech becomes the art of poetry and music, their movements inspired by the thought of the Lord become the dance. They praise him in whatever way they are capable of—“V allatellam colli valttal”? They sing his praises—“Pomcaittal”; they praise His feet—‘Ukantetti’. ° They live in this praise of their love even as they live in His presence. ‘Sottu’ is their cry of refuge. ‘Ati porri’ is another form of this cry of self surrender.

Their uttering of the mantras is referred to There is again the repetition of the names of the Lord, His thousand names, and His many names. “I have been blessed with the repetition of your name”; “Thanks to my good old fortune” sings our poet. Learning the sacred name, the name of All Power, the worshippers praise Him with these names. This practice has soaked through his body and the poet exclaims, “Even if I forget, my tongue shall utter the mantra, Namassivaya”, Here also it is the mind which moves. “The Lord, He stands in the mouth of those who contemplate on Him with their mind”.

Learning His name has been referred to. It becomes thus an art and the worshippers practise this art. They learn it, listen to it and repeat thereby the greatness of the Lord, reciting, praising and contemplating on the various hymns of praises (probably Tamil hymns and Vedic mantras) full of the glory of words and their meanings. The Lord thus is the meaning of all arts and becomes sympathetic with the Sahrdya who experiences the art as the Seer. “The worshippers recite and learn; they realize the meaning; they think of Lord’s greatness; contemplate on it. Their hearts melt in love. Appropriate words come out as sound.” The words of praise as far as Arurar is concerned are Tamil words. All these descriptions suggest the worshippers taking pleasure in these names even as the beloved does in the name of her lover.

Mind is much more important than the tongue and the body, for, it is the mind which moves them. Out of the fullness of the heart the mouth speaketh: “Manattu mikkatu vay veruvum” is a familiar saying. “Vay veruvit toluten” sings our poet. We referred to the phrases ‘Cintitteluvar’, ‘ninainteluvar’ etc. The worshippers are steeped ever in this contemplation. It becomes a sahajanista, where the contemplation with God as centre becomes as natural as our very breathing. The worshippers there sit, they lie, they walk, but all along, they think of Him and utter with all their heart, “He is our Lord”. They sit, stand and lie, but they praise Him always, .... wherever they may be, they always think of Him and He becomes one with them. They think Him for long—“Nila ninaintu”, They think of Him and nothing else—“Nunaiye ninaintirunten”; “Unaiyallal iniyonrum unarene”

VIII - Cittattaic Civanpale Vaippar:

The importance of the mind even in puja has been already brought out. The verbs used are, “Ennal”; “Karututal”; “Cintittal”; “Unartal”; “Arital”; “Ulkutal”; “Pavittal”; “Ninaital”; “Paravai”; “Cintai ceytal”. The nouns used are,” “Ullam”; “Cittam”,; “Cintai”; “Mati”; “Manam”; “Nencu”; “Ninaippu”; “Karuttu”; and “Bhavana”. Sometimes these words are used as synonyms; sometimes they are distinguished. Namputal, Kulaital, Kacital, Nekutal, Urukutal, Elutal, Aticertal, Cerital, Telital, Terital, Cikkanavu, Teral are also used with reference to these mental acts. What is important in this worship is ‘Cintai’ which contemplates and in many places it is the ‘Cintanai’ and its acts that are referred to. Does not Cekkilar describing Arurar whilst the latter was worshipping the Lord of Tillai, state that the four internal organs of the mind of Arurar became this ‘Cintai’—“Alap-parun karanankal nankum cintaiye aka”?

Manam, Buddhi, Cittam and Ahankaram are distinguished as internal organs or organizations of mental activity. Manam perceives and builds its castles in the air with all its consequent doubts and confusions; this is often compared to the monkey wandering about without any rest. Buddhi, like the serpent winding through to its place of rest understands the pros and cons of a problem for arriving at a judgment; it is the faculty of decision; Cittam is the conative faculty of pursuing this decision like the dog following its scent. Ahankaram is the feeling of ‘I’—the feeling of self or egoism moving proudly and majestically like the elephant as though it is the master of everything. “The oscillating mind should be stabilized, the arguing buddhi should be let alone with the Reality, the Ego which feels there is nothing comparable to it should be subdued, then, ‘Cittam' will bring our Greatness (the Mahat or the Absolute) even where it stands”: (This is one of the invaluable versions of the Tamil Upani-tatam, consisting of 32 such versions or verses). The internal organs have thus to be transformed by a re-orientation. When our poet speaks of these, he must be taken to be referring to such transformed organs all re-oriented towards God. The mind ordinarily a slave to the world and the passions which are evanescent, develops the Universe as consciousness (Akantakara vrtti) in its attempt at aiming at the Absolute; when that is developed, mind is said to become burnt itself away, like the torch setting fire to a heap of wood and being itself burnt away along with other logs of wood, the whole lot becoming the glorious bonfire. This is according to a verse in Tamil Upanitatam.

In the Samkya Philosophy Manam, Buddhi and Ahankaram are alone emphasized and the Shaiva Siddhanta following this philosophy looks upon ‘cittam' as the second stage of activity of the mind. Sivajnana Mapatiyam explains these;

“In every perception, there are certain sensations; for instance, we have the sensation of yellow colour, a round form and a sweet smell at the sight of a mango—a meaning is added on to these by memory and the resultant is the perception of the mango. The mere sight, a dim awareness that something is before us as an object is called undifferentiated perception—‘Nirvikalpak katci’- When it is perceived as a particular object placed within a particular class, then it is called differentiated perception—‘Savikalpakkatci’. As soon as there is a dim awareness, the activity of what is called ‘manas’, the desire for knowing the object begins. Memory is searched and old recollections come to light. A suggestion that what is appearing may be this particular thing develops. This is the mental activity of ‘cittam’ what is considered to be a sort of manas. All the possible meanings are put in the melting pot but there is not a definite conclusion arrived at as yet. The mind is still indefinite and doubtful. In the next stage the mental activity of egoism or lahankara’ comes into play and the man is attempting at solving the puzzle or the challenge of the object. The emphasis is on the ego or its volition. The last stage is reached when the man decides that the object is any one particular variety of fruit or mango. This is the result of the activity of ‘buddhi’.

‘Ninaippu’ is recollection, a freedom from distraction; ‘Karuttu’ emphasises certain amount of feeling and decision or wili. Worshipping with all one’s heart is spoken of as ‘Karuttinal kai tolutal’. It is possible to interpret this as mental worship also. ‘Cintittali is mananam; this is connected with ‘cintanai’—the dlrgha cintana. Our poet speaks of cintai, manam and mati all in one verse. Here, cintai may be cittam; mati, the buddhi and manam, the manam of the above classification. Or, they may stand for ahankaram, manam and buddhi which are alone mentioned in the old Samkhya Philosophy. Before these internal organs, stands the world as object, making possible the enjoyment according to karma—‘Vitiyin payan’. It must be pointed out that in worship and contemplation, cittam plays the important part and these various words may after all refer to that.

“Bhavana” is imagination. This is of various kinds: 1. Imagination through mind—a mere mental experience; 2. Imagination without mind; 3. Imagination which is none of these two; 4. Imagination like that of a starving man imagining that he is feasting. All these are either unreal or mere mental affections. But, the vision of the Soul is real; the Soul is inspired and embraced and kissed by the inner Lord. The bhavana, then, is the beatific vision and real divine experience, thanks to the ‘Arul’ (Grace) of God. The mental imagination blossoms, if there is the sincerity of the Soul, into the supra mental real imagination or the beatific vision and experience of the Lord. There is also the ‘Sivoham, Bhavana’— the contemplation of Shiva as the Self or the Self of Self. The poet refers to the difficulties of this bhavana—“Unnaippol ennaip pavikkamatten”, ‘Sivoham’— ‘I am Shiva’; ‘Nanay a Paran’ is the form of the cotemplation arising out of the teaching of the Guru or Master, ‘Tattvamasi’—‘That thou art’. Bhavana is interpreted by Parimelalakar as Nididhyasana, the final stage of the realization of the message of ‘Tat tvam asi’

IX - Sravana, Manana and Nididhyasana:

The Upanisad, Brhad Aranyaka speaks of Sravana, Manana and Nididhy asana. There is the upadesa of the Master, the revelation of the Truth. The disciple listens to it and learns the Truth. This is Sravana. “Ketten ketpatelbam” says our poet—‘I have listened to all that has to be heard, and learnt them’. “Piravamai kettolinten” — ‘I have learnt and experienced birthlessness!’ This is not mere study, for the poet asserts that this is a message of birthlessness. ‘Kettal’ is ‘arital’, knowing, though literally it means hearing or listening to. It is not merely hearing by the ear; it is hearing in the mind. It is real understanding where the knowledge learnt soaks through the soul so as to transform it. ‘To know is to be’; c.f. “Brahmavit Brahmaiva bhavati”. ‘Manana’ is contemplating on this truth, and removing thereby all doubts, so that the realization may result. Nididhyasana is the clarity of the vision of Truth. Nista follows: it is standing firm in that realization; it is the stage of inseparable communion or unity with God. The Vaishnavite commentary ‘The Itu’ interprets the terms Terivu, Ninaivu and Ennutal as referring to the Sravana, Manana and Nididhyasana. Sivajnana Yogi interprets the words Sravana, Manana and Nididhyasana as Kettal, Cintittal and Telital and Parimelalakar translates them as Kelvi, Vimarisam (Vimarsa) and Pavanai (Bhavana) Sivajnana Yogi interprets ‘U nar tai’ as Pavittal (Bhavana).

In hymn No. 86, our poet uses the terms, ‘Arivu, ‘Ninaivu’ ‘Unarvu’ ™ and ‘Carvu’. One may interpret ‘Arivu’ as learning through Sravana; ‘Ninaivu’ as Manana, and ‘Unarvu’ as Nididhyasana. In that hymn the poet speaks of the Jnani ever speaking of Him; ever praising Him; ever being in His presence in all his acts. ‘Carvu’ may mean, not the first approach but the final complete self-surrender; the final communion—the ‘Prapatti’ or ‘Anma nivetanam’, referring to what the Gita gives as its final message: “Sarva dharman parityajya mam ekam saranam vraja”. ‘Ati viltal’, ‘Ati ataital’ and ‘Ati certaV may be taken as referring to this Nista. The poet speaks of ‘Elutal’ receiving or carrying the truth, which may be taken to be Sravana; of ‘Ettutal’ —meditation so as to blossom into vision, which may be taken as Manana; of ‘Ennutal’ which may be taken as Nididhyasana. Here ‘Ati certal which may be taken as Nista is also mentioned. The 59th hymn (verse 5) speaks of ‘Cerivu’, the attachment of the mind to the Lord. Probably this is the result of Sravana; this is the contemplation and meditation and the mental communion. Then this must be taken as Manana. The poet next speaks of ‘Telivu’, the clarity of vision which is the result of Nididhyasana. Out of the clearness of vision and of the firmness of conviction comes the unloosening embrace of real communion or identity—‘Cyckannvu’. Does not Manikkavacakar say, ‘Unnaic cikkenappititten’?

In passing it may be added that Sravana, Manana and Nididhyasana and Nista are related to the Shaivite Carya, Kriya, Ydga and Jnana paths. Sravana is said to be Carya in Jnana; Manana, Kriya in Jnana; Nididhyasana, Yoga in Jnana and Nista, Jnana in Jnana. " Vallabhacharya speaks of Bhakti being developed by deep faith or Sravana, loving remembrance or manana and devotional music or Samkirtana which he places in the place of Nididhyasana. This throws a flood of light on the correct conception of the musical compositions of Arurar. But all this is of Sastriya Bhakti which later on bursts all limits to become Pusti Bhakti. This points out the inadequacy of our attempt at restricting the thoughts of our poet to the traditional dimensions.

X - Yoga:

Our poet speaks not only of Carya and Kriya both physical and mental but also of Yoga. What has been described above is m [in?] a way Yoga. But the Yoga system refers to the various stages of contemplation. First is Pratyahara— the introversion or the looking in; the Second is Dharana, where the contemplation becomes concentrated and continuous like the flow of a liquid, unlike the intermittent thoughts of the previous stage; the Third is Dhyana— the mental retention. The Fourth is Samadhi or spiritual unity. Our poet speaks of “Karutuma karutakirrar”; “Karuttil ummaik karutuvarkal”; this may be Pratyahara. “Cittam oru nerikke vaittal” is the Dharafta leading to Dhyana. Ninaivu will be Dhyana leading to Samadhi as a result of which the Lord occupies the whole mind leaving no room for anything else, “Ninaivartam ullatte ninaintu tonrum”.

The Kundalini— the Serpent Power—the Yogi’s divine power—is said to sleep at the lower end of the vertebral column. It has to be awakened when it rises up to the crown and the beyond. The six cakras or mystic centres in the body are, (1) Muladharam, (2) Svadhisthanam, (3) Manipurakam, (4) Anahatam, (5) Visuddhi, and (6) Ajna respectively at (1) the base of the spinal column, in (2) the region of the genitals, (3) abdomen (navel), (4) heart, (5) throat and (6) in the forehead between the two eyes.

Our poet exclaims, “I will search four fingers breadth above the navel and there I shall dance”— Natuvan natuvan napikku mele or nalviral,...atuvan aturan” reminding us of the Mundaka Upanisad, “When the Self chooses, unto Him, He reveals Himself”. The significance of this statement of our poet cannot be explained before further researches are made in the Yogasastra, Manipurakam is near the navel; Svadisthanam is four fingers below the navel. Is ‘mel’ to be interpreted as ‘kil’? The cakra above the navel is Anahata of the heart. The Agamas speak of the mental puja conceiving the Universe or Anda being in the Pinda or the body, starting from the navel in the form of the lotus on which the Lord as the Great Beyond sits. There is the flower stalk of this lotus—eight finger breadth in length. The lotus bends down; possibly it reaches the midway of the stalk—above four finger breadth from the navel. If this were so, our poet may be referring to this meditation.

“Man mutal nalamalar vittai kalarupam
Enniya Tear Catasivamum—Nannir
Kalaiyuruva natamam Cattiyatan kannam
Nilai atilam accivan ner”.

The twenty-four tattvas from Prthvi upwards form the stalk of the lotus. The seven Vidhya Tattvas along with Suddha Vidhya form its eight petals. Isvara Tattva and Sadasiva Tattva form the sixty four stamens. Sakti Tattva forms the pericarp. The Shiva Tattva forms the (51) seeds, inside the pericarp. Shiva’s feet stand on this lotus of the heart. Worship them (through pancdk-sara).

XI - Jnana:

The final state is communion or identity. That is Jnana. It is spoken of as love. In all that has been described, therefore, what is important is the love which according to Tirumular is nothing but Shiva. Love transmuted is God. ‘Katanmai’, ‘Katal’ ‘Necam’ ‘Pittam’ ‘Anpu’ are the words used by our poet. It is a melting of the heart: ‘Nekutal’ ‘Kacital’, Iram’_} ‘Kulaivu’ Love is a union and inseparability and both these are emphasized: “Kalantunaik katalittdt ceykirpar’; “Piriyatu ulki”; “Piriyata anpar” This Divine Love is universal Love and Jnanis are characterized by their love and sympathy: ‘Kulaivu’, ‘iram’.