Episode 01 - Azhwars - Profiles.
Azhwars – Profiles
Let us know look at the brief history of the twelve Azhwars. Before we get there, we need to reckon with several contesting versions of this history, especially about their period. There are in fact two main contending versions – one a ‘sampradaya’ version that would assert that these incarnated (as different ‘amsas’ of Sriman Narayana) long long ago – some in Treta Yuga and some others in the very beginning of Kali Yuga. The other of course is the scholars’ version which would cite in support recorded history, old inscriptions (in stone or on copper plates), recorded episodes (uncontested) that would throw some of the Azhwars in interaction with other saints e.g. Thirumangai Azhwar meeting Thirunjanasambandar in Sirkali, and some references in the verses themselves to the reigns of those times. It is not necessary for us to look for a conclusion from these contentions. While presenting the history here, we have given both the versions. And we are well aware that these two versions would have other contenders as well. But that discussion could only distract and is best passed over.
1. POIGAI AZHWAR
Born 713 CE
According to Sampradaya – 4203 BCE
Birth Place - Kanchipuram
Other Names: Saro yogi, Kaasara yogi, Poigai piran, Padma muni, Kavinyaporeyer
Year/Month: Sidharthi / Aippisi
Birth Star: Tiruvonam
Amsam : Panchajanya (Conch)
Poigai (பொய்கை) in Thamizh is a small pond. This Azhwar is reported to have been found in a small pond adjacent to the Yadoththakari Perumal Temple in Kanchipuram (Tiruvehka -Vishnu Kanchi).
Rendered one hundred verses in the ‘Andhaadhi – அந்தாதி’ format (first word of a succeeding verse will begin with the concluding word of the previous one). These are titled ‘Mudhal Thiruvandhaadhi’ - முதல் திருவந்தாதி. The very first verse would elevate us to the pitiable confines of this universe when one contemplates on that Supreme Being – Sriman Narayana –
வையம் தகளியா வார்கடலே நெய்யாக,
வெய்ய கதிரோன் விளக்காக, - செய்ய
சுடராழி யானடிக்கே சூட்டினேஞ்சொன் மாலை,
இடராழி நீங்குகவே என்று.
(With this planet earth as the earthen lamp, with the seas as the oil-fuel, with the blazing sun as the light, I proffer this garland of divine words at the feet of that Sudarsana-wielding One – with this prayer ‘let the sea of distress be banished (from all lives).’
2) BHOOTHATH AZHWAR
Born 713 CE
According to Sampradaya – 4203 BCE
Birth Place - Mahabalipuram aka Sthalasayanam, Maamallapuram
Year/Month: Sidharthi / Aippisi
Birth Star: Avittam
Amsam: Kaumodakee (Mace)
How did this Azhwar get this strange-sounding name? ‘Bhootham’ in Sanskrit connotes the basic elements in this universe – wind, fire, water, earth and ether. They are supposed to be the only constants in this constantly changing world. As this Azhwar had ‘bhakti’ – his unshakable faith in Sriman Narayana – he reportedly gained that name.
Bhoothathaazhwar is ranked as the second amongst the twelve Azhwars.
There is a very interesting episode that involves these two and the third – Peyaazhwar, which also documented the first devotional verse from each of these two. We have seen the first verse rendered by Poigai Azhwar.
Now, this was Bhoothathaazhwar’s first devotional verse – in very similar metaphors but switching to the inner being – njaanam (while Poigai Azhwar’s first verse was about the material world.)
அன்பே தகளியா ஆர்வமே நெய்யாக
இன்புருகு சிந்தை இடுதிரியா - நன்புருகி
ஞானச் சுடர் விளக்கு ஏற்றினேன் நாரணற்கு
ஞானத் தமிழ் புரிந்த நான்
(With my universal love as the earthen lamp, my emotional fount as the fuel-oil and with my mind that is melting with ‘bhakti’ layam as the wick, with my soul melting for the good of all this creation, I lighted up this lamp of inner ‘njaana’ for (everyone to see)Sriman Narayana (as the Supreme One). The Azhwar uses an interesting appellation for himself ஞானத் தமிழ் புரிந்த நான் – Proclaims himself as one who has rendered (all the hundred verses adduced to him) in the idiom of ‘Njaana Thamizh’ Thamizh that is infused with ‘njaana’. Interesting because this occurs in the very first verse – in the past tense - with the other 99 yet to follow. Commentators would explain that when the first verse was delivered there was little doubt about the other 99 following with the Azhwar’s mind riveted on the object of his ‘bhakti’ and his resolve. )
The one hundred verses rendered by Bhoodhaththaazhwar also are in the ‘Andhaadhi’ style and are titled ‘Second Thiruvandhaadhi’ - இரண்டாம் திருவந்தாதி).
3) PEIY AZHWAR
Born 713 CE
According to Sampradaya – 4203 BCE
Birth Place – Mylapore, Chennai
Other Names:… Kairava Muni, Mahadaahvayaae
Year/Month: Sidharthi /Aippasi
Birth Star: Sadayam
Amsam: Nandhagam (Sword)
Peiy Azhwar is believed to have been born in a well astride a pink lily, in Mylapore, Chennai.
This Azhwar also had acquired a strange-sounding name – Peiy பேய் – translates to ‘ghost’. This one was mostly in an abnormal state of ecstasy in his ‘bhakti’ – laughing, weeping, dancing or doing unnatural acts, always in a state of trance – and had gained that name for being found in that condition.
Peiy Azhwar had also rendered one hundred verses in the ‘andhaadhi’ style and this collection is called the Third Thiruvandhaadhi - மூன்றாம் திருவந்தாதி
Poigai Azhwar, Bhootath Azhwar and Pei Azhwar are collectively called as Mudhal Azhwars. Tlhe three are believed to have ‘incarnated’ in the same year, (Sidhaarthi) in the same month (Aippasi) and on consecutive days/stars – Poigai Azhwar with ThiruvONam, Bhoodaththaazhwar with Sravishta (Avittam) and Peiy Azhwar with Sathayam.
THESE THREE (ALONG WITH SRI ANDAL)_ ARE ‘AYONIJAS’ – I.E. WERE NOT GIVEN BIRTH FROM A MOTHER’S WOMB.
Now, the episode involving these three Azhwars which gave birth to their first verses:
By a (divine) coincidence, the three arrived in Thirukkovalur aka Thirukkoilur (Villupuram Dist.) on a stormy night. Poigai Azhwaar was the first one to arrive and he sought shelter in a sage’s small hermitage. He was shown a narrow ante-room (இடைகழி - ரேழி -) with the prompting – ‘one could lie down’ - ஒருவர் படுக்கலாம்; as Poigai Azhwaar was looking forward to spending the stormy night with space for him to lie down, Bhoodhaththaazhwar arrived there seeking shelter. It was pitch dark but the visitor was let in. Both of them muttered – ‘Two can sit here’ இருவர் இருக்கலாம். Even that truncated comfort was gone when Peiy Azhwaar arrived and he was let in with all the three muttering – ‘Three could stand here’ மூவர் நிற்கலாம். The ante-room was impossibly crowded when another stranger strode in and tried to preempt space for himself.
As the problem could not be resolved without light, Poigai Azhwar sung the above first verse and created light and at the same time Bhoodhaththaazhwar rendered his first verse lighting the inner light. The three of them then found, in that divinely conjured light, none else than Sriman Narayana there, hemming them in.
Peiy Azhwar, in ecstasy on seeing the Almighty Himself in full regalia offering the three an unthinkable darshan, rendered the first of his one hundred pasurams:
திருக்கண்டேன் பொன்மேனி கண்டேன் திகழும்
அருக்கன் அணிநிறமும் கண்டேன் - செருக்கிளரும்
பொன்னாழி கண்டேன் புரிசங்கம் கைக்கண்டேன்
என்னாழி வண்ணன்பால் இன்று
(I have darshan of Sri Piratti – on His broad chest! I have darshan of His Glowing Form! I saw His brilliance like Surya! I see the war-eager Sudarsanam! I see the Panchajanya held in His (left) hand! I (am blessed to) see all of these in my Sea-complexioned Sriman Naarayan, right now!)
4) TIRUMAZHISAI AZHWAR
Born 720 CE
According to Sampradaya – 3102 BCE
Birth place - Thirumazhisai – A small town on the highway Chennai to Tiruvalloor/Tirupati, about 50 kms from Chennai.
Other Names: Bhakthi Sarar, Magisaarapuriswarar, Mazhisai piraan
Year/ Month: Sidharthi / Thai – Two months younger than the First Three Azhwars.
Birth Star: Maham
Amsam: Sudarsanam (Discus)
The biological parentage of Thirumazhisai Azhwar is obscure. He was reportedly found near Sri Jagannatha Perumal Temple in Thirumazhisai by a couple – Thiruvaalan (who was a cane-cutter labourer and Pangaya Chelvi – and was brought up by them. Reportedly through the divine power of this exceptional child, the couple, though gone by in age, was blessed with a son who they named KanikaNNan. KanikaNNan was to be the very first disciple and a constant companion of Thirumazhisai Azhwar.
Thirumazhisai Azhwar, in his early growing years, tried his hand at learning several religious tenets and philosophies including Buddhism and Jainism. Eventually he found affiliation in Saivism and gained the appellation – Siva Vaakyar (not the Siva Vaakyar the 17th of the 18 Thamizh Siddhars). Peiy Azhwar initiated him in Sri Vaishnavism. The Azhwar himself traces his wanderings through various religious identities and finding eventual refuge, with Sriman Narayana’s Grace, in Sri Vaishnavism, thus:
சாக்கியம் கற்றோம் சமண்கற்றோம்; சங்கரனார்
ஆக்கிய ஆகமதுரல் ஆய்ந்தோம்-பாக்கியத்தால்
செங்கட் கரியானைச் சேர்ந்தோம் தீதிலமே
எங்கட் கரியதொன் றில்.
Peiy Azhwar rechristens him as ‘Bakthisaarar’( பக்திசாரர்). Plenty of legends are attributed to Thirumazhisai Azhwar, adducing to him mystic powers that wrought miracles.
Thirumazhisai Azhwar could be regarded as the stormy petrel among the twelve Azhwars. In a verbal altercation with the ruling king of Kanchipuram where the Azhwar was then residing along with his disciple KanikaNNan – KanikaNNan declines the request of the King to dedicate a verse conferring on him (the King) never-diminishing youth. KanikaNNan declines saying that with the lips that constantly uttered Sriman Narayana’s name, he would not sing in praise of a mere human. Enraged, the King banished him from Kanchipuram. Forced to leave Kanchipuram, accompanying his disciple KanikaNNan but unable to bear the prospective separation from the reclining Perumal of Thiruvehkaa, the Azhwar persuades the Perumal to rise from his recline, roll up his snake bed and accompany them our of Kanchipuram!
கணிகண்ணன் போகின்றான் காமருபூங்கச்சி
மணிவண்ணா நீ கிடக்கவேண்டா – துணிவுடைய
செந்நாப்புலவனும் போகின்றேன் நீயுமுன்றன்
பைந்நாகப்பாய்சுருட்டிக்கொள்
Perumal complies instantly! The trio leaves the City and move out to a hamlet outside the city precincts. With this Perumal leaving, all the other presiding deities in the Vishnu Temples of Kanchipuram also leave the City and the city falls into dire times. The King’s counsellers persuade him to go and seek the pardon of KanikaNNan and the Azhwar, and request them to return to the city, in order that the city’s temples would be restored their divine glory and the city’s prosperity regained. The King, crestfallen, complies. As the Azhwar accedes to the King’s appeal, he commands the Perumal also to return – with his snake bed – to his own temple:
கணிகண்ணன் போக்கொழிந்தான் காமருபூங்கச்சி
மணிவண்ணா நீ கிடக்கவேண்டும் – துணிவுடைய
செந்நாப்புலவனும் போக்கொழிந்தேன் நீயுமுன்றன்
பைந்நாகப் பாய்படுத்துக்கொள்
The neighbourhood outside Kanchipuram where these three rested a night – as per this episode – is known as ஓரிரவு இருக்கை (One night’s stay), now distorted as ஓரிக்கை.
Thirumazhisai Azhwar dedicated the mellifluous and endearing Thiruchanda Viruththam (120 verses) and Naanmukhan Thiruvandhaadhi (96 verses in VENBA structure and Andhaadhi style.) Naanmukhan Thiruvandhaadhi is part of the third thousand verses of Naalaayiram which are rendered as IyaRpaa Saatrumurai (இயற்பா சாற்றுமுறை) in temples that have ‘Adhyayana Utsavam and Iraappaththu and Pagalpaththu. Thiruchanda Viruththam verses excel in lilting, lifting rhyme – as the name of the collection would connote.
We would consider a few remarkable verses of Thirumazhisai Azhwar that underscores his personality and unbelievable versatility.”
When he visited Kumbakonam and prayed at Sri Sarngapani Sannidhi – popularly known as ‘Araavamudhan Sannidhi’ – he was finding it inconvenient to converse with the reclining Aravamudhan (Sarngapani); he bade him to get up and engage with him:
நடந்த கால்கள் நொந்தவோ? நடுங்க ஞாலம் ஏனமாய்
இடந்த மெய் குலுங்கவோ? இலங்கு மால் வரைச் சுரம்
கடந்த கால் பரந்த காவிரிக் கரைக் குடந்தையுள்
கிடந்தவாறு எழுந்திருந்து பேசு வாழி கேசனே
“Are your legs still tired of walking – throughout your Rama Avatara? Are you yet enervated by with the effort of retrieving this planet (from the seas where Hiranyaksha had hidden it), incarnating as a wild boar? Oh! Kesava! Araavamudha! Reclining in Thirkkudanthai richly washed by Cauvery who had flown here leaping across mountains and deserts! Please raise yourself – and talk to me!”
Perumal is startled and rises in a huff. His form is still seen in that half-rising recline – this is called ‘Uththaana Sayanam’ (உத்தான சயனம்) A rare feature amongst reclining Sri Maha Vishnu moorthys.
In another startling verse that followed Thirumazhisai Azhwar contends that the episodes of Perumal offering darshan in a seated pose (in Ooragam – near Kanchipuram); in a standing pose (in Paadagam – also near Kanchipuram) and in a reclining pose (in Thiruvehkaa – in Vishu Kanchi) were all legends that preceded his being born i.e. before he gained njana. The moment he gained that njana – divine knowledge – he found that Perumal was nowhere else – He was within his own heart – seated, standing and reclining.
நின்றது என் தந்தை ஊரகத்தில் இருந்தது என் தந்தை பாடகத்து
அன்று வெஃக அணை கிடந்தது எண்ணிலாத முன்னெலாம்
அன்று நான் பிறந்திலேன் பிறந்தபின் மறந்திலேன்
நின்றதும் இருந்ததும் கிடந்ததும் என் நெஞ்சுளே
The chasm in perception before and after his realization is so resoundingly sung in these four lines.
Thirumazhisai Azhwar excels himself in the Thiruchanda Viruththam wherein he plays with the metaphysical tenets and attributes capsulated and connoted in a mind-blowing word-play of numbers – e.g.
ஆறுமாறு மாறுமாயொ ரைந்துமைந்து மைந்துமாய்,
ஏறுசீரி ரண்டுமூன்று மேழுமாறு மெட்டுமாய்,
வேறுவேறு ஞானமாகி மெய்யினொடு பொய்யுமாய்,
ஊறொடோ சை யாயவைந்து மாய ஆய மாயனே.
The first line talks of three sets of ‘six’ (ஆறு) and three sets of ‘five’ (ஐந்து). The first of the three ‘six’es represents the six prescriptions of karma for the Brahmins – Adhyayanam (studying) Adhyapanam (Instructing) Yajanam (self-performing Yagnjaas) Yaajanam (performing yagnjaas for others), Dhaanam (Giving ‘dakshinas’ in the yajna karmas) and Pradhigraham (seeking and receiving resources for the karmas) – the appellation is ‘You are the ultimate goal for these karmas. (This prescription is according to Manu Smriti.) The Parasara Smriti, however prescribes a different set of karmas for Brahmins:
Sandhya, Snaanam, JapO, Homam, Devadhaanam ca poojanam
Adityam Vaiswadevam ca shadkarmaani dinE dinE
Sandhya Vandanam (this includes PrathaSandhya, Maadhyaannikam and Saayam Sandhya), Snaanam (bathing – should actually precede Sandhya); Japam; Homam (the ritual of offerings into sacrificial fire); Devadhaanam ca poojanam(formally praying to the ishta devatas with arkhyam, paadhyam, aachamanam, snaanam, dhoopam, deepam, gandham, pushpam and nivedhanam); the fifth Adityam is receiving and feeding aditis (guests); and the sixth Vaiswadevam is offering / feeding to all beings including candalas, beasts and insects. These again are performed with that Almighty as the goal or receiver.
Thiruvalluvar calls Brahmins as அறுதொழிலோர்
ஆபயன் குன்றும் அறுதொழிலோர் நூல்மறப்பர்
காவலன் காவான் எனின்
(Prosperity will perish; Brahmins will forget their learnings; when the ruler does not rule properly.)
The second ‘six’ represents the six seasons – Vasantham, Grishmam, Varsham, Sarath, Hemantham, Sisiram – respectively Spring, Summer, Rains, Fall, Early Winter, Winter – He is all of these seasons.
The third ‘six’ represents the important yajnas – Aagneyam, Agneeshomyam, Upamsujayam, Aindhram Tadhi, Aindhram Paya, AindhrOnjnayam – And He is the one that all these are offered to.
Now the three ‘fives’ -
The first five: He is the ultimate receiver of the offerings in the ‘pancha yagnyas’ that one is ordained to perform every day – Brahma Yajnam, Deva Yajnam, Pitru Yajnam, Maanusha Yajnam, Bootha Yajnam.
The second five: He is the ultimate source for the five breaths that keep lives going – Praana, Apaana, Vyaana, Udhaana and Samaana.
The third five: He is the inner energy in and the destination for the five fire flames that receive the offerings in rituals – Garhabathyam, Ahavaneeyam, Dakshinaagni, Sabyam, Avasthyam
We would pause here – we would be looking at the weighty other ‘numbers’ in the remaining three lines when we get into the Divya Prabhandam discussions. Just to underscore the remarkable command Thirumazhisai Azhwar had over the whole corpus of vedhas and the scriptures – both the Karma Khanda (Poorva Meemamsa – the ritual component) and the Njana Khanda (Uttara Meemamsa – the knowledge component), both the Srutis and the Smritis and use that divine knowledge in capsulating it in riddles of numbers.
Thirumazhisai Azhwar spent his evening years in the very kshetram where he would have Araavamudhan rise in alert attention and listen to him - and attained parama padam here, according to accounts available.
5) TIRUMANGAI AZHWAR
Born 776 CE
According to Sampradaya – 2706 BCE
Birth Place Thiru Kurayalur, near Sirkali, Nagai Dist.
Other Names: Kaliyan, Aalinaadan, Naalu Kavi perumal, Parakaalan, Mangaiyarkone
Year/ Month: Nala/ Karthigai
Birth Star: Krithigai
Amsam: Sarnga (Bow)
Thirumangai Azhwar was born in a ruling class of Chola country – in a Muththaraiyar family (‘Mutharaiyars were powerful chieftains who figure in a number of rock inscriptions and seem to have had significant part of Pallava and Chola territories under their control between CE700 and 900. Evidence to connect Thirumangai Azhwar to the Mutharaiyar clan is found in another rock inscription (முத்துராஜகுல திருமங்கை ஆழ்வார்).
There is a huge ongoing controversy about the tribe or class in which Thirumangai Azhwar was born. The conventional source (sampradaya) for the birth and lineage of the Azhwars could be said to be the ‘Panneeraayirappadi’ (பன்னீராயிரப்படி) one of the prominent ancient commentaries on the Naalaayira Divya Prabhandam (chiefly ‘Thiruvaaimozhi’) authored by Azhagiya Manavala Jeeyar (14th Century CE). This work also documents the birth and lineage of the twelve azhwars. According to it, Thirumangai Azhwar was born in the tribe of ‘Kallars’ (now known as part of ‘Mukkulaththor’). Later day works that speak about the history of azhwars and comment on their works seem to follow this ‘sampradaya’ lead.
But the ‘Mutharaiyar’ community has been claiming with dogged perseverance and ferocity, that Thirumangai Azhwar belonged to the Mutharaiyar community and would produce a plethora of evidence – including some historical inscriptions.
Sri M.Raghava Iyengar, the noted Thamizh scholar of yore, has tried to douse this controversy by linking “Mutharaiyars” to the tribe of “Kallars”. This is what he writes in his book – ‘ஆழ்வார்கள் கால நிலை’ (Period of Azhwars) – 1929:
பல்லவ மன்னனது இளமைக் காலத்தில் அவன் ஆட்சியை நிலை நிறுத்திய கள்வர் தலைவருள்ளே பெரும்பிடுகு முத்தரையன் என்பான் சிறந்தவன். இவனை ‘களவரகள்வன்’ என்று சாஸனம் விசேஷித்துக் கூறுகிறது. திருமங்கை மன்னன் ஆலி நாட்டதிபரான கள்வர் குலத்தவர் என்று வரலாறு வழங்குதலும் பல்லவராதிக்கம் சோணாட்டில் (சோழ தேசத்தில்) பல்கி நின்ற காலத்தே தாமும் விளங்கி அப்பல்லவர் பெருமைகளையே பலப்பல பாராட்டுதலும் மேலெல்லாம் நன்கறியப்பட்டன. இங்ஙனம் கள்வர் குலத்துதித்த சோணாட்டுத் தலைவராய் பல்லவரபிமானம் மிக்குடைய நம் பெரியாரை மேற்கூறிய முத்தரைய மரபினருள் ஒருவராகவே நாமும் கருதல் கூடியதன்றோ?
GIST - During the youth of Pallava ruler, his reign was supported and strengthened by Perumbidugu Mutharaiyan, a chieftain of the Kallar tribe. This role of his is documented in a stone inscription. It was noted earlier that Thirumangai Azhwar’s time was contemporaneous to the period when the reign of Pallavas was extended to Chola country and that the Azhwar had often praised the Pallavas’ influence in the Chola country. Contextually, thus, would it not be appropriate to regard Thirumangai Azhwar, born in a Kallar tribe, as belonging to the lineage of Mutharaiyars?
Thirumangai Azhwar was named ‘Neelan’ as he was bluish dark at birth. Belonging to a warrior tribe he grew up learning warrior skills. Recognsing ‘Neelan’’s war skills demonstrated in some battles, the Chola king made him the ruler of ‘Thiruvaali’ domain. (Thiruvali is adjacent to Sirkazhi and has ‘Thirunagari’ which is one of the 108 Sri Vaishnava Divya Desams. (Sirgazhi, besides being a major Saivite sthalam, has, in its neighbourhood as many as 13 Sri Vaishnava Divya Desam temples, including this “Thiruvaali” and “Thirunagari”(taken together), Sirkazhi – and another 11 collectively known as “Thirunaangoor Kshetrams”.)
‘Neelan’ fell in love with ‘Kumudhavalli’ of “ThiruveLLakkoil”. She laid out one condition for her to let him have her hand – She first pointed out that she was from a Sri Vaishnava family and ‘Neelan’ was from a warrior clan – so the twain cannot come together. ‘Neelan’ sets forth to acquire ‘Sri Vaishnavam’ and approaches Thirunaraiyur (Nachiar Koil) Nambi (the presiding Deity Himself0 who performs ‘pancha samskaram’ and initiates him with the ‘Thirumandiram’ - Ashtaksharam. With that proper samskaram qualifying him as a Sri Vaishanava, ‘Neelan’ returns to Kumudhavalli. Now she sets out one more condition: ‘Feed 1008 Sri Vaishnavas daily for one year’.
Stubborn and persevering by nature, ‘Neelan’ invests all his accumulated resources in this expensive ‘kainkaryam’ – for the sake of gaining the hand of Kumudhavalli. The resources run out fast. He reaches into the tribute he has to pay the Chola king – unmindful of his earthly obligation - and having spent all of it, he is accosted by Chola King’s forces for the default in the tribute. ‘Neelan’ defeats them. The King himself comes and imprisons ‘Neelan’. Denied of food and drink, he lapses into a weary sleep and has a dream. Sri Varadaraja Perumal of Kanchipuram offers him help if he would come and pray at his sanctum. Taking the King’s permission, ‘Neelan’ sets out to Kanchipuram. He is directed by the Lord to a place adjacent to the Temple where ‘Neelan’ finds a treasure, Returning with the wealth thus found, ‘Neelan’ offers the tribute due to the King. The King, seeing the divine hand in this, returns the money to ‘Neelan’,- for his ‘kainkarya’.
‘Neelan’ runs out of resources again. He, along with his four companions – they had strange names - நீர்மேல் நடப்பான், நிழலில் ஒதுங்குவான், தோலாவழக்கன், தாளூதுவான் – One who walks on water; One who could hide himself; One who could retrieve himself from any quarrel; One who could break any lock – decides to waylay and rob affluent passersby.
The Robbery That Transormed ‘Neelan’ into ‘Thirumangai Azhwar’:
‘Neelan’ received information that a newly wed affluent couple is headed the way of his town. He, accompanied by his four companions, waits in rendezvous for the couple’s arrival. He finds them riding a palanquin. The palanquin bearers drop the palanquin and flee. ‘Neelan’ finds a heart-filling, lovely, couple glowing in their wedding regalia, loaded with glittering ornaments. The couple hand over to ‘Neelan’ all their jewellery. He ties that booty in his upper cloth. Then he finds that the toe-ring of the groom was still left – it was glittering, invitingly. He bends down to pull the ring out. It would not budge. Instinctively, he lowers himself and bites the toe of the grown and pulls out the ring with his teeth. He hears the groom cry out – Oh! You are a ‘Kaliyan’! (Meaning you are a strong man) He finds some divine energy flowing through him and completely flushing him. Still steeped in ignorance, he returns to the bundle of ornaments and tries to lift it to his shoulders. The bundle would not budge. He thought the groom had cast a spell – with a mantra. He asks the groom – what have you done? What trick is this? If this is bound by a mantra, tell me the mantra to annul it. I would rather leave now. The groom beckons him and whispers in ‘Neelan’s ears the Ashtakshara Mantra. Thus delivered from his ignorance, ‘Neelan’ is granted a rare divine view – Sriman Narayana Himself with Sri Lakshmi blessing him with Their Graces.
Moved beyond his senses, ‘Neelan’ aka ‘Kaliyan’ renders his first verse (paasuram) that is immortal and one that underscores the infinite divinity ingrained in the Ashtakshara Mantra -
வாடினேன் வாடி வருந்தினேன் மனத்தால் பெருந்துயர் இடும்பையில் பிறந்து
கூடினேன் கூடி இளையவர் தம்மோடு அவர்தரும் கலவியே கருதி
ஓடினேன் ஓடி உய்வதோர் பொருளால் உணர்வெனும் பெரும்பதம் தெரிந்து
நாடினேன் நாடி நான் கண்டு கொண்டேன் நாராயணா என்னும் நாமமே
With the assumed name of ‘Thirumangai Mannan’ and ‘Thirumangai Azhwar’ ‘Neelan’ aka ‘Kaliyan’ blossoms into the most prolific amongst the twelve Azhwars. His works are Periya Thriumozhi, Thirukkurunthandagam, Thirunedunthandagam, Thiru vezhukootirukkai, Siriya Thrumadal, Periya Thirumadal
Periya Thirumozhi (பெரிய திருமொழி (1084 verses) is the largest of his six collections. These verses were rendered in ‘mangala saasanam’ at the eighty two (86?) divya desams that he walked to and prayed at (including Badrigasramam, Salagramam, Naimisaaranyam – the most amongst all the Azhwars.
When the Azhwar arrived at Thirnindravoor (Tiruninravur today; Tinnanur during the British times), he found the presiding deity – Sri Bakthavatsala Perumal – engrossed in the captivating beauty of His Consort – Matsavathri – Ennai Petra Thayar and would not take note of him. Thus felt spurned the Azhwar moved on to Thiruvallekeni, Thiruneermalai and Thirrukkadal Mallai (today’s Maamallapuram aka Mahabalipuram). Realising that this special baktha was thus upset with them, Sri Piratti in Thirunindravoor persuaded the Perumal – Go instantly to him, and get him to do mangala saasanam to us. Perumal arrives post haste at Thirukkadal Mallai and beseeches with Thirumangai Azhwar – how come you would not sing to us? Azhwar then rendered one verse –
பூண்டவத்தம் பிறர்க்கடைந்து பொய்னூலை மெனூலாமென்றுமோதி மாண்டவத்தம் போகாதே வம்மீனெந்தை என்வணங்கப்படுவானைக் கணங்களேத்தும்
நீண்டவத்தைக் கருமுகிலை எம்மன்றன்னை நின்னவூர் நித்திலத்தை தொத்தார்சோலை
காண்டவத்தைக் கனலெரிவாய்ப் பெய்வித்தானை கண்டது நான் கடல்மல்லைத் தலசயனத்தே
Perumal returns to his Sannidhi and lets Thaayaar have what he had won from the Azhwar. Thaayaar is unimpressed. This one renders mangala saasanam at other Divya Desams in tens of verses; how come you could be happy with this one verse?
Perumal sets out again to meet with the Azhwar. Azhwar had by then moved on and was at Thirukkannamangai (Tiruvarur/Nagapattinam region). He meets Azhwar and seeks atleast one more verse – in order Sri Piratti could be mollified. Azhwar obliges -
ஏற்றினை யிமயத்து ளெம் மீசனை இம்மையை மறுமைக்கு மருந்தினை
ஆற்றலை அண்டத் தற்புறத் துய்த்திடும் ஐயனைக் கையிலாழி யொன்றேந்திய
கூற்றினை, குருமாமணிக் குன்றினை நின்றவூர் நின்ற நித்திலத் தொத்தினை
காற்றினைப் புணலைச் சென்று நாடிக் கண்ணமங்கயுள் கண்டு கொண்டேன்
(Thirunindravoor has been accorded this space in this presentation for one more proximate reason – your narrator spent his first thirty years in this wonderful place).
Thirunedunthandagam (30 verses) Thirukkurunthandagam (20 verses) – both expatiate the criticality of the Ashtakshara Mantram in climbing through the peril-filled samsara. ‘Thandagam’ is a staff one uses in climbing. The words nedu and kuru signify the length of the compositions and their poetic meter. In Tirunedunthandakam, Azhwar speaks as a Nayaki (consort of the Lord), who, separated from her beloved Perumal (Nayaka), pines for Him. Tirukuruthandakam speaks dependency of the soul on Perumal.
Periya Thirumadal (long verse of 297 lines) and Siriya Thirumadal (long vrse of 155 lines). “Madal” is a unique – and an extremely strange - form of poetic serenading by a frustrated male beseeching his beloved to confer her attention on him – or else he would end his life. He constructs a horse-like seat for himself with palm fronds (மடல்), fitted with crude wheels. This oblique vehicle with the jilted suitor astride is drawn through the main thoroughfares of the town – in order the whole community gets know the lovers’ squabble. This is referred to in ancient Thamizh literary references as மடலேறுதல் or மடலூர்தல். In these two remarkable collections Azhwar presents himself as the feminine beloved – breaking the literary convention till then that மடலேறுதல் was a male preserve.
Siriya Madal concludes thus – signifying the strange street procession:
பேரா யிரமும் பிதற்றி - பெருந்தெருவே
ஊரார் இகழிலும் ஊராது ஒழியேன் நான்
வாரார்பூம் பெண்ணை மடல்
The sixth collection – Thirvezhukootriruukkai – is even more extraordinary as a poetic effort. Also known as ‘Ratha Bandhana Kavi’, the construction of this poetry displays a mastery over the numbers as well as words flowing from those denoting numbers conveying the poetic intent.
Arranged as composed, the poem would resemble a ratham – தேர். The number play, illustrated below would amaze us;
1
1 2 1
1 2 3 2 1
1 2 3 4 3 2 1
1 2 3 4 5 4 3 2 1
1 2 3 4 5 6 5 4 3 2 1
1 2 3 4 5 6 7 6 5 4 3 2 1
The seat of the chariot in the Middle
1 2 3 4 5 6 7 6 5 4 3 2 1
1 2 3 4 5 6 5 4 3 2 1
1 2 3 4 5 4 3 2 1
1 2 3 4 3 2 1
1 2 3 2 1
1 2 1
1
Azhwar’s paasuram in this construction begins like this:
ஒருபே ருந்தி யிருமலர்த் தவிசில், ஒருமுறை அயனை யீன்றனை,
ஒருமுறை இருசுடர் மீதினி லியங்கா, மும்மதிள் இலங்கை யிருகால் வளைய, ஒருசிலை ஒன்றிய ஈரெயிற் றழல்வாய் வாளியில் அட்டனை,
மூவடி நானிலம் வேண்டி, முப்புரி _லொடு மானுரி யிலங்கும்.
மார்வினில், இருபிறப் பொருமா ணாகி, ஒருமுறை யீரடி,மூவுல களந்தானை,
A pictorial representation of this paasuram could be found on the left side wall at the entrance threshold of Sri Sarangapani Temple in Kumbakonam:
(Apart from Thirumangai Azhwar, the other devotional poets who have contributed verses in this form are Thirunjanasambandar, Nakkeerar, and Arunagirinathar).
Even as the four collections of Sri Nammaazhwar’s paasurams – Thiruviruththam, Thiruvaasiriyam, Periya Thiruvandhaadhi and Thiruvaaimozhi are respectively equated with Rig, Yajur, Atharva and Sama Vedhas, the six collections of Thirumangai Azhwars compositions are equated with the six angas of the Thamizh Vedhas viz. Nammazhwar’s compositions.
Recorded anecdotes narrate his meeting with Thirugnana sambandhar, a Shaiva saint, who went to meet Thirumangai on his own and invited Thirumangai to his home town Sirkazhi so that Thirumangai would compose a poem in praise of the local deity Thadaalan. On the request of Thirugnana sambandhar at Sirkazhi, Thirumangai composed a poem on the spot, which was admired by Thirunjana Sambandar – who granted the Azhwar a trident as a mark of appreciation.
Thirumangai Azhwar is distinguished – from the other Azhwars – by his steadfast, singular focus on the ‘Archai’ form of the five aspects of Sriman Narayana – Param, Vyuham, Vibhavam Archai and Antharyami. He also invests resolutely on the infinite power and potency of the ‘Ashtakshara’ mantra e.g.
குலம் தரும் செல்வம் தந்திடும்* அடியார் படு துயர் ஆயின எல்லாம்
நிலம் தரம் செய்யும் நீள் விசும்பு அருளும் அருளொடு பெரு நிலம் அளிக்கும்
வலம் தரும் மற்றும் தந்திடும்* பெற்ற தாயினும் ஆயின செய்யும்
நலம் தரும் சொல்லை நான் கண்டுகொண்டேன்* நாராயணா என்னும் நாமம்.
He is also distinguished by his dedication to extensive temple renovations. He is believed to have built (or rebuilt) one of the ramparts around the Sri Ranganatha Swamy Temple in Sri Rangam.
“6) THONDARADIPODI AZHWAR
Born 726 CE
Sampradaya date 2814 BCE (4800+ years back)
Born in Thirumandangudi, Near Papanasam, Thanjavur Dist.
Other Names: Vipra Narayanar, Thiru Mandangudiyaar, Bhakthangirirenu, Palliunartthiya Piraan
Year/Month: Prabhava/Margazhi
Birth Star: Kettai
Amsam: Vanamaalai (garland)
“Thondar Adi Podi’ translates to the dust at the feet of Bhagavatas – those who live a life of ‘bhakti’ and in the service of the Lord. This name seems to have been imagined by the Azhwar for himself, as he was delivered from the darkness of ‘Moha’.
‘Thondaradippodi’ was born as a ‘Choyizha Brahmana’ (Choyizha’s wear their tuft on the fore part of their head unlike other Brahmins who have it in the rear.) His father was ‘Vedha Visaradha’ – possibly a name gained through his acclaimed knowledge of the vedhas. The child was named ‘Vipra Narayana’. “Vipra” is used to connote a sage, a knowledgeable person- a pandita e.g. एकम सत विप्रा बहुधा वदन्ति . Ekam sat Vipra Bahudha Vadanti.
The episode that saw a pious, ascetically conforming and highly disciplined Vipra Narayana slip from his Brahmacharya into the cesspool of sensual pleasure and how the Lord Himself enacted a drama to redeem this well-groomed bhakta from his fall, is the core of this Azhwars life story.
Vipra Narayana was dedicated to his pushpa kainkaryam to Lord Ranganatha and, as a steadfast Brahmachari, lived all by himself in the flower garden (Nandavanam) that he tended and nourished for getting the colourful and fragrant blossoms which he knit creatively into beautiful garlands for adorning the Lord’s and His Consorts’ Thirumeni.
Deva Devi, a courtesan by profession, was attracted to Vipra Narayana by his handsomeness, innocence and Tejas. Knowing the Brahmacharya vow of her quarry, and in firm resolve to selduce him, she insinuated herself as a sanyasini and offers to help Vipra Narayana in his daily pushpa kainkarya. As a female hand lends greater dexterity and beauty to garland-making, Vipra Narayana consented, taking her to be ascetically inclined going by her saffron attire. But he carefully maintained a safe distance from her, not allowing her into his hermitage. When it rained hard one day, Deva Devi got drenched completely in the rain and sought shelter. Moved by the plight of the drenched woman, Vipra Narayana let her in. The moment of his fall had thus arrived. And Deva Devi would not let Vipra Narayana from her vice grip of her carnal offerings, making him even forget his life-breath – pushpa kainkarya for the Lord.
The Lord made the ‘sankalpa’ to redeem this falling bhakta. As Vipra Narayana, neglecting his work and totally wrapped in his infatuation for Deva Devi, slipped into dire economic circumstances, Deva Devi deserted him and returned to Woraiyur, her place. Vipra Narayana, pining for her, was deep in distress. The Lord, assuming the form of a good Samaritan, and calling Himself ‘Azhagiaya Manavala Dasan’ offered to try and get Deva Devi back for Vipra Narayana. The hopelessly jilted Vipra Narayana consented. ‘Azhagiaya Manavala Dasan’ picked up a golden ‘vattil’ (cup) from the sanctorum, and took it to Deva Devi, saying that this is a gift from Vipra Narayana and she must go back to him. The gold did the trick and she obliged. As the priests noticed the mission ‘vattil’, they reported it to the king who ordered a screen and search. Meanwhile, Deva Devi coming in possession of a golden vattil becam market news and the king got that report too. Questioned, she said, truthfully as she knew, that it was sent to her by Vipra Narayana. . Vipra Narayana was charged with felony of the worst kind – stealing from the lord’s santorum and imprisoned. The Lord appeared in the king’s dream and indicated what was the whole drama like. The king let Vipra Narayana out of prison and prostrated before him in apology.
Vipra Narayana shook himself off the interruption in his total dedication to the Lord – and rededicated himself to the Lord’s kainkarya - heart and soul. This divine intervention grants Vipra Narayana the inner light to see the Lord in all His indescribable divine glory and he composed and rendered two great collections – ‘ThiruppaLLi Ezhuchi’ ten verses with which he beseeches Lord Ranganatha to wake up from his sleep and another 45 verses called ‘Thirumaalai’. Some of the poems in ‘Thirumalai’ are greatly soul-stirring:
ஊரிலேன் காணியில்லை உறவு மற்றொருவர் இல்லை
பாரில் நின் பாதமூலம் பற்றிலேன் பரம மூர்த்தி
காரொளி வண்ணனே என் கண்ணனே கதறுகின்றேன்
ஆருளர்க் களைகண் அம்மா அரங்க மாநகருளானே
Thondaradippodi Azhwars ThiruppaLLi Ezhuchi (Suprapadam) dedicated to Sri Ranganatha Swami, are the standard Suprapada rendering in all the SriVaishnavite temples and at homes as well.