Chapter 2.1 - Vishapaharana-murti (depiction of swallowing the poison)

I

A story which has always captivated the imagination of the Tamilians is the story of Shiva swallowing the poison. For obtaining the ambrosia which would make them immortal, the Devas churned the ocean of milk. The ‘Mandara mountain was placed as the churning post; the great snake-king Adisesa was made the rope; Visnu himself became the support for the post. The Devas caught hold of the rope at one end and the Asuras (Demons) at the other end. To the great consternation of all, there first arose the all destroying poison. Shiva swallowed it. Parvati who was near Him pressed the throat of Shiva to prevent the poison going into the stomach. The blue poison, becoming visible through the fair skin of the throat of Shiva, is ever remembered as the embodiment of Shiva’s Grace.

II

Rg Veda refers to Rudra drinking ‘Visa” from a cup along with a Muni. The Aitareya Brahmana speaks of Rudra drinking ‘visa’, which means water and poison. Halahala means also poison and liquor. Rudra is the Fire-god, and the drinking of water refers to the evaporation of water effected by Fire or Sun. ‘Visa has the meaning of poison and probably because of this the story of swallowing poison has developed. The Atharva Veda, and the Yajur Veda, speak of his blue neck (Nilagriva) and from the time of Svetasvatara Upanisad, this Nilakantham is considered by the Shaivites as the important mark of divinity.

Ill

The form of this Vishapaharana-murti is found described in the Kdranagama. Therein, it is stated: “Shiva, as usual, should have a face with three eyes on it, wearing a jatamakuta and having four arms. In two of His hands there should be the ‘parasu (the battle axe) and the ‘mrga’ (the deer); in one of the remaining hands there should be the cup containing the poison and the fourth hand should be held in the ‘varada’ pose. His sight must be fixed upon the poison and the general attitude should be such as to indicate that He is going to sip the poison immediately. He should be adorned with all kinds of ornaments. On the left of Shiva there should be His consort Parvati, embracing her Lord about the neck with her right arm and appearing highly perplexed and distressed. Her complexion should be dark; she should have two eves, two arms and be standing in the ‘tribhanga’ posture (with three bends in her body), with her right leg placed vertically on the ground and the left one kept slightly bent.”

Another description adds to the above the following details: “The appearance of Shiva should be made terrific (ugra) by the addition of side tusks: His complexion should be white as the full-moon and He should be draped in garments made of tiger’s skin: there should be a garland made of small bells, and along with the other usual ornaments, there should be some others composed of scornions (Vrscika). In the right hands of Shiva there should be the ‘tri sula’ and a beaked vessel (gokarna) containing the poison: and in one of the left hands the ‘kapala’. Since no object is mentioned as being in the fourth hand, it appears that this arm may be taken to be employed in the act of embracing the Devi. In the first description. Shiva and Parvati are required to be standing, but in this one. they are said to be seated on the bull-vehicle of Shiva”.

In the age of Raja Raia, Queen Prthivimahadevi set up a seated image of Srikanthamurtikal with four arms. The following is the note of the epigraphist: “The God Shiva got this name in consequence of his swallowing the halahala poison produced at the churning of the ocean. The name Nilakantha of the god is also traceable to the same event”.

Vishapaharana-murti, ‘the swallower of poison’ is described in the Karanagama to have one face, three eyes, braided hair and and four arms holding in the two upper ones the antelope and the axe. He is in the posture of drinking the poison which he holds in his right (lower) hand. On his left side is the goddess with two arms. With her right arm stretched round the neck of Shiva she shows anxiety in her face.

IV

Our search for a representation of this form in sculptures of the age of Arurar, is not successful. But however there is a sculpture of the churning of the oceans. A general note may be added before we proceed further. Most of the sculptures reveal the various poses described in the Natyasastras and according to the IV Chapter of this work by Bharala, it was, the samavakara of the churning of the ocean that was performed by Bharat a on the advice of Brahma on the Himalayan slopes to please Shiva who witnessed the same. It is no wonder, therefore, the sculptors, well versed in the Natyasastra gave this picture of the churning of the oceans. Dr. Minaksi has brought out with the help of quotations from Citra Sutra of the Visnudharmottara. the necessity for a knowledge of dancing for the proficiency in painting and has proved with the help of the paintings at Cittannavasal that the Pallava pamters were so proficient in the Bb Grata Sastra? She has also pointed out the royal interest which Rajasifnha evinced in dancing as revealed by the sculptures of his Kailasanatha Temple especially his special interest in Kvncita dance. But the postures of every figure in these sculptures could be referred to as describing the various postures of the Natyasastra. The sculptors of the Pallava age along with the painters were well versed in this art of dancing. Therefore, the sculptors represented the stories as a series of dances. The churning of the ocean is one such scene in this drama of Vishapaharana.

V

Arurar’s description of this story may be now taken up for study. We are in a better position to understand his references in the light of what we have summarised from the puranas, Agamas and the sculptures which were all probably before him. From the known sea, the poet proceeds to the unknown ocean of milk, from which the poison came up. The ocean on which the snips sail—“Vankam mali kataV, “Vankam meviya velai” must have been very familiar to the age of Arurar, when people from the port of Mahabalipuram and other ports of the East coast, must have sailed for purpose of trade to the East. The limit of the sea is the shore ‘Velai’, from which we get a glimpse of its greatness. The sea from which the poison came up is ‘katal’; perhaps like ‘katu’, a forest, it comes from the root ‘katu’, a cruel and terrific expanse of water—“Tatankatal”. It is dark—“Karunkatal” , the clouds feast therein—“Karar katal”. It is full of tides—“Otakkatal”. This big ocean heaves up as though to cover everything—“Ponku ma katal”. It is the noisy sea—“Oli katal” “Mulankum katal”, teasing the conches—“Cankalakkum tatan katal”.

This ocean is churned by the “Vanavar and Tanavar” (the Devas and the Demons). The beautiful mountain is the churning post; the deadly serpent is the churning rope. The poison sprang up from the sea—“Elunta alam” “Elukatal nancu”, “Velaiyul mikkelunteriyum nancam”.

The poison is ‘Nancu’. It is the deadly ‘Kalakutam’™ It is the terrible great poison—“Periya nancu”, the ‘alam’ (Halahala); it is the ‘visa’ (Vitam) It comes swarming like the gathering darkness—“Karulaviya nancu”, and concentrating a point—“Moyttelunta vitam” The Devas were terrified when the poison sprang up and an alarm was raised—‘Pucalita’. The poet proceeds to explain the drinking of the poison in various ways. He exclaims in one place, ‘But what an innocent and foolish one is the Great God to swallow this poison?’—“Nancinai untitta petai-p peruman” He again says, ‘This poison of the sea He swallowed without knowing it and the throat became black’—“Velai vitam ariyamal untu kantam karuttay.” This may mean that you swallowed it to save the world without anybody knowing but the throat became black permanently, revealing the secret act. If so the poem must be describing the version that God of His own accord swallowed the poison.

The other version is that the Devas requested Him to swallow the poison

In another place, he speaks of the distressing lamentation and contusing uproar amongst the Devas at which Shiva swallowed the poison—“Vanavarkal pucilita-k katal nancunta”

In one place the poet speaks of the Devas as deceitful and mean—‘VancarkaV, who gathered together at the sight of the poison and begged of God to swallow it so that it may not attack them—“Vankam meviya velai nancela vancarkal kuvi-t tankal mel ataramai unnena” The idea probably is that Shiva will never refuse the request especially when they pretend that they are offering a feast—“Un ena”. He calls the Devas, “Vincai vanavar” which in view of the hymn 75, verse 2, may be interpreted as adepts in deceitful magic art, deceiving God also, giving Him the poison as food.

In another place, the poet speaks of Shiva swallowing the poison because the three great gods, Visnu, Brahma and Indra, fell at His feet reciting the Mantra. In the hymn 19, verse 3, the poet probably refers to the Rudras, the Devas carrying the trident, falling at His feet and begging of Him to save them from the poison—“Ankaiyil muvilai vet amarar ati parava” Arurar speaks of God clearing the doubts in the minds of these Devas by this act of swallowing the poison—“Cankaiyai nznka aruli-t tatankatal nancamuntar” a conclusive proof of His omnipotence and divinity.

God made a feast of this poison (aruntu) as a great delicacy and “Ukantu amutu ceytan” He dined it to His full—‘Nunki’.

The poet refers to the presence of Parvati at the time of this feast. In the last reference, Arurar describes Uma of the crescent-like beautiful and shining forehead, closing her eyes or staring in great fright. It looked as though this look of hers made the poison to stay in the throat; it became full and was pressing hard. Thus did the Lord make a feast of the great blue poison. In one place, Arurar, overpowered with his imagination which makes the story occur before his very eyes, cries with all the anxiety of a mother, “Please do vomit forth this poison. You have drunk this deadly dark poison as though it was food or nectar specially prepared for you in the fear that if it were not swallowed it would destroy all the world”.

In another place, the poet exclaims that Shiva, swallowing the poison, became immortal, so to say—“Varkatal nancuntatanuk kirava tenrum iruntavan”,

The blue neck is not natural; it was the result of this feat. It darkened because of the poison. It became a poisoned throat—“Kalakantan”, a blue throat—“Nilakantar”, a blotted throat—“Karai mitaru”, a throat of black spot—“Maiyarum mitaru”, the throat where darkness spreads—‘Karur’, “Karur kantam”, “Karirul ponra karai”. It is a beauty spot; beautiful like the sapphire—“Mani kaniani’, “Maimmana mani nila kania-t temman”. The poet speaks of the beauty, directly using the word ‘er’—“Nancer kanta” It shines—‘Tikal’.

VI

In 82 places in all, Arurar refers to this act of swallowing the poison. It is indeed very curious that this Vishapaharana Murti is not specifically mentioned as Anugraha Murti in the Agamas. Arurar, as already stated, has referred to this in his enumeration of Anugrahamurtis. The NUakantham signified God’s Grace and the very name Nilakantha was cherished as the most lovable name of Shiva. The story of Tirumlakanta Nayanar explains the importance of this name. To ward off any danger, this name was always pronounced and this is clearly proved by Tirunilakantar and Tirunanacampantar

Arurar also mentions with all love and reverence this phrase “Tirunilakantam” as though it were a mantra. The addition of ‘Tiru’ to any name suggests divine association. Peraciriyar in his commentary on ‘Tiru’ in the first verse of Tirukkovaiyar, makes this tradition clear. The name ‘Nilakantar’ is also used, by Arurar, but the phrases ‘Tirunila mitarrinan’, and ‘Tirumla mitarrempiran’ are used with the prefix ‘Tiru’ to bring about the sacred aspect.

VII

The spiritual significance of this story was realized by the Tamilians as early as the Cankam Age. When Atikaman instead of eating the black emblic myrobalan (karunelli) of life-giving properties offered it to Avvaiyar, it amounted to his preferring death if the lady of the culture could be saved. This is the act of a saviour preferring crucifixion for redeeming the world. Avvaiyar when she learns the truth about the magic powers of the fruit offered to her, explains that Atikaman is verily Shiva, the Great Saviour, swallowing the poison and preparing to die for saving others. We see our poet mentioning this kind of Grace—“Nancuntu tevarkku amutam kotutta nalam” ‘We do not understand this Good act”, “Nalam onru ariyom” — says Arurar.

The famous Kural defining civilization in terms of ‘Daksanyam’ (Kannattam) refers probably to this very great act of Shiva knowingly swallowing the poison offered by others. The poet has a veiled reference to this

No other story can bring out this theory of Grace of God swallowing all our sins and saving even the prodigal son—“Patakame corn” and “Ceytanave tavamnkkwm” This form is, therefore, the rare nectar—“Aramutu”, unto the worshippers. These simple, credulous, innocent and tender lovers of God keep this form in their mind—it looks He has assumed this poisoned neck, so that, He himself might be in their hearts—‘Matamutaiya atiyar-tarn manatteyura vitamutaiya mitaran’.

VIII

It is probably this esoteric significance of this story that Tirumular expresses, when he writes the verse:

“Antamo tenticai tankum atomukam
Kantam karutta karuttari varillai
Untatu nancen ruraippar unarvilor
Ventalai rnalai viricatai yorke”

In other places Tirumular speaks of God as swallowing us all and keeping us immersed in the bliss of His love:

“Antamum atiyum nkum paraparan
Tantam paramparan tannir paramutan
Nantamai untumeyn fwinane yantatte
Nanti iruntanan namari yome.”

Arurar elaborates this in an autobiographical reference that God’s Grace revealed by this story has inspired him to take refuge in Him. He says,

“The big mountain of beautiful pattern was fixed as the churning post; the deadly serpent was bound round it; (the ocean) was churned; there arose the deadly poison and all those who saw it ran very fast away from this danger. With a view to showering your blessings upon the Devas, you swallowed the blue poison of the sea and kept it for ever in your throat. O Mad Lord! Seeing this conduct of yours, I have taken refuge in your feet”.

IX

This story has thus a special significance to the worshippers of Arurar, because of the tradition of the Puranic story about his previous birth. Periyapuranam in "Tirumalai-c cirappu’ makes out that this poet in his previous birth was a denizen of Kailas going under the name Alalacuntarar. Alalacuntarar is the ‘tatbhava’ form of the phrase ‘Halahala Sundara". The reflection of God Shiva in a mirror came out as the beautiful form of Sundara and when the Devas rushed to Shiva for his help against the growing poison of Halahala, Shiva sent this Sundara to collect the poison and bring it to Him for being swallowed; and it is because of this, Sundara came to be known as Alala Cuntarar. Therefore, this poet’s description of this story has a special significance to those who believe in the puranic tradition. Marai Malai Alikal and others feel that the verses about the previous birth are later day interpolations. Be that as it may, this poet does not refer to the story of bringing the poison. He seems to suggest that Shiva straightaway swallowed the poison at the instance of the Devas.

X

It may be stated in passing, that how this poet came to be called Sundarar, remains still a ridale unless it be that he was called Sundarar because of the name in his previous birth, though in the 100th hymn, the poet describes himself, ‘Cuntaravetankalal turice ceyyum tontan’. In one of his verses, this poet refers to this name. It is clear Cekkilar does not give him this name except where he refers to his previous birth.

Sundarar as a denizen of Kailas is referred to by Appar, “Cuntar anai-t tunai-k kavari vica-k kontar”, where he is given the function of fanning with the chaurie. In Periyapuranam, his function is to bring the sacred ashes and the garland.