Episode 02 - Azhwars Profiles Continued.
Azhwars Profiles Continued
7) TIRUPPAN AZHWAR
781 CE
Sampradaya date 2760 BCE (about 4800 years ago)
Place of Birth – Uraiyur, a suburb of Tiruchirapalli
Other Names: Paanar, Muni vaahanar, Yogi vaahanar, Kaveeswarar
Year/Month: Dhurmathi/Karthigai
Birth Star: Rohini
Amsam: Srivatsam
‘Thiruppaan Azhwar’ (திருப்பாணாழ்வார்) is believed to have been born in an ancient Thamizh tribe of ‘PaaNar’, a tribe dedicated to music (composing, rendering, vocal and instrumental – chiefly the popular Thamizh string instrument ‘Yaazh’( யாழ்). The tribe was predominantly migratory (no nomads, however, had regular homes and habitations) and is seen to be moving to sources where it would gain plaudits and prizes – the courts of rulers and the homes of the affluent. Paanaas were not mendicants by any stretch of imagination, though they seemed to have constructed their lives exclusively around their art forms and what they could eke out of their highly skilled delivery of these, that earned them acclamation and enough prizes to support their modest life styles.
A detour from the main story in order to understand the ancient social values and cultural distinctions of the “PaaNar” community:
Sangam literature has extensive references to this class of gentle artiste folk. Aha Naanooru, Patthuppaattu and Ettuththogai have compilations called ATRUPPADAI (ஆற்றுப்படை) (Perum Paanaatruppadai, Siru Paanaatruppadai, Porunar Aatruppadai) - that narrate episodes of these entertaining class visiting generous rulers and receiving plaudits, hospitality and prizes there. The verses are in the form of one PaaNar returning from such a lavishly generous ruler with the loads of prizes, sharing with another PaaNar all that had happened to him and his kin in that visit and commending him to go there and be similarly endowed. Females in this tribe were known varyingly as Paadini, Porunar, ViRaliyar.
Let us look at just one of these ancient verses. We would marvel at the remarkable metaphors used. Here in this verse, the PaaNar visiting a ruler’s palace in seek of hospitality and prizes, is likened to a bird seeking out a fruit-laden tree –
பழுமரம் உள்ளிய பறவையின், யானும், அவன்
இழுமென் சும்மை இடனுடை வரைப்பின்,
நசையுநர்த் தடையா நன் பெரு வாயில்
இசையேன் புக்கு, என் இடும்பை தீர,
(We, like birds zeroing in on a fruit-laden tree, entered the grand gates of (the Ruler’s great palace). Ravenous as we were seeking repletion in both food and wealth, we were not checked or stopped – (demonstrating the innate hospitality of the kingdom )
As the PaaNan and his kin are welcomed and provided shelter and food by the generous ruler, that hospitality is hailed, particularly the feeding, in great detail.
ஈரும் பேனும் இருந்து இறைகூடி
வேரொடு நனைந்து வேற்று இழை நுழைந்த
துன்னல் சிதாஅர் துவர நீக்கி
நோக்கு நுழைகல்லா நுண்மைய பூ கனிந்து
அரவு உரி அன்ன அறுவை நல்கி
மழை என மருளும் மகிழ் செய் மாடத்து
இழை அணி வனப்பின் இன் நகை மகளிர்
போக்கு இல் பொலம் கலம் நிறைய பல் கால்
வாக்குபு தரத்தர வருத்தம் வீட
ஆர உண்டு பேர் அஞர் போக்கி
செருக்கொடு நின்ற காலை
Our attires – filled with lice and ticks, reeking with the stench of sweat and made up mostly of mending stitches – were replaced with magnificently fine clothes – finer than snake skin that has been shed பாம்புச் சட்டை – and were feted. Lovely maidens, wrapped in captivating smile, drowned us with wine, refilling golden goblets repeatedly. And, as we had thus refreshed ourselves and our travel weariness completely gone, ..
The Feast –
கதுமென கரைந்து வம் என கூஉய்
அதன் முறை கழிப்பிய பின்றை பதன் அறிந்து
துராஅய் துற்றிய துருவை அம் புழுக்கின்
பராஅரை வேவை பருகு என தண்டி
காழின் சுட்ட கோழ் ஊன் கொழு குறை 105
ஊழின்ஊழின் வாய் வெய்து ஒற்றி
அவையவை முனிகுவம் எனினே சுவைய
வேறு பல் உருவின் விரகு தந்து இரீஇ
Welcoming us warmly and with excitement – ‘come, come’ – and briefing us on presenting ourselves to the Royalty, we were feted to disgusting limits with streams of delicacies - those that were steam-cooked and those that were barbecued, (துராஅய் துற்றிய துருவை அம் புழுக்கின் பராஅரை வேவை 'பருகு' எனத் தண்டி, காழின் சுட்ட கோழ் ஊன் கொழுங் குறை) till we were fully satiated and could partake no more.
(கொல்லை உழு கொழு ஏய்ப்ப பல்லே எல்லையும் இரவும் ஊன் தின்று மழுங்கி – Chomping on the delicious nuggets of meat ceaselessly through day and night, our teeth were worn and weary - outblunting the plough shares that get worn out due to relentless ploughing – in the sowing season.)
And the prizes?
செல்வ சேறும் எம் தொல் பதி பெயர்ந்து என
மெல்லென கிளந்தனம் ஆக வல்லே
அகறிரோ எம் ஆயம் விட்டு என
சிரறியவன் போல் செயிர்த்த நோக்கமொடு
துடி அடி அன்ன தூங்கு நடை குழவியொடு 125
பிடி புணர் வேழம் பெட்டவை கொள்க என
தன் அறி அளவையின் தரத்தர யானும்
என் அறி அளவையின் வேண்டுவ முகந்துகொண்டு
இன்மை தீர வந்தனென்
As we tried to take leave of the ruler, gently informing him ‘we shall have to return to our place’. he rebuked us with mock anger (and genuine pain): ‘Why would you want to leave this place of mine in such a hurry?’. As he offered: ‘Please take with you all that you had wished from here – and all these herds of elephants with their calves’. As he kept on giving, as he thought he should, we kept on receiving those great gifts, keeping in mind what we would need to keep want away from our doors – forever.
The glory, social celebration and affluence that was sponsored by the rulers’ generosity, of this remarkable class of creative art folk seem to have all faded sharply when Bouddham and SaamaNam (Jainism) ran through much of Thamizh country; both the religions deprecated all sense pleasures and entertainment and the supporting art forms were disparaged as fountains of distress and grief. These religions and stringently propagated abstinence from pleasure-seeking.
As Saivism and Vaishnavism emerged as the bulwark of people’s frustration with the invasive and stringently ascetic Buddhism and Jainism – between the 7th and 14th centuries A.D. with Bhakti as the core of faith and temples as its platform, we see the reemergence of the PaaNars and their great art forms but now redefined in alignment with the great Bhakti movement that was at the core of both Saivism and Vaishnavism. It is thus we have ThiruppaaNaazhwar coming into his own as a celebrated member of the Azhwar pantheon and Thiru NeelakaNda YaazhppaaNa Naayanar (திருநீலகண்ட யாழ்ப்பாண நாயனார்), one of the 63 Nayanmars of the Saivite faith.
PaaNars’ social status and acceptability, devastated through the period of decimation at the hands of Bouddham and Samanam, from a highly celebrated tribe to one that was relegated as ‘outcastes’, found it difficult to shake off this’outcaste’ tag even after the resurgence of Saivism and Vaishnavism – the acclamation of two from that tribe as among the best of the devotee-saints in the two faiths was not evidently enough to bring the tribe back into the mainstream society. Thus we find them isolating themselves in habitations called ‘PaaNar Cheri’. They were not to mingle with upper caste Hindus, were not allowed entry in temples and temple precincts.
Back to ThiruppaaNaazhwar:
ThiruppaaNaazhwar grew up as ‘PaaN Perumal’ and would lose himself in ecstasy while singing the divine attributes of Sriman Narayana, strumming his yaazh. Self-conscious of his low birth, he would not even get into the river Cauvery, afraid he would pollute those sacred waters. He would stand across the riverbanks and looking at the Sri Ranganathaswamy temple towers, invoking the Lord in his heart, would be engrossed in singing Him. Once, when thus engrossed, he was in the path of a temple priest – Loka Saarangar - who had come to the river to fetch waters for the temple rituals. Unable to reach the PaaNar by calling out, to ask him to move out of his way, Loka Saarangar picked a pebble and threw it at the PaaNar. The pebble hit the PaaNar on his forehead and caused a bleeding wound. PaaNar, alerted to the problem he was causing to the priest, stood aside and let Loka Saarangar go through. When Loka Saarangar went to the temple and started preparing for the Lord’s thirumanjanam (abishekam), he was startled to find the Lord’s forehead with an exactly similar wound that was bleeding. The other onlooking priests were puzzled but Loka Saarangar was shocked as he could tie the two events and realise that he had caused indefensible offence to a staunch Bakta of the Lord.
Going to bed with that troubling thought, Loka Saarangar had a dream. The Lord would ask him – ‘Bring PaaNar to me, I am desirous of hearing him sing’. Loka Saarangar woke up to the Lord’s command and finding PaaNar at the usual rendezvous, conveyed to him the Lord’s wish. PaaNar, though thrilled and moved, declined to pollute the temple precincts by walking across to the Lord’s sanctum. Loka Saarangar told him – Do not worry, you need not walk. I shall carry you on my shoulders and take you to the Lord.
PaaNar, astride the shoulders of Loka Saarangar, arrived at Sri Ranganathaswami’s sanctum and, melting like jelly, rendered ten magnificent paasurams – now titled ‘Amalanaadhippiraan’ (அமலனாதிபிரான்) unmatched for simple poesy, rhyme and emotional outpouring, engrossed in the divine beauty of the Lord – Paadhaathi Kesam – from feet to the crown. Here is the concluding verse:
கொண்டல் வண்ணனைக் கோவலனாய் வெண்ணெய்
உண்ட வாயன் என் உள்ளம் கவர்ந்தானை
அண்டர்கோன் அணி அரங்கன் என் அமுதினைக்
கண்ட கண்கள் மற்று ஒன்றினைக் காணாவே
(The composition is simple, devoid of complex ‘tatvas’ and could very well be on every one’s lip while getting engrossed the Lord’s divine beauty.)
As he concluded his ten verses, he merged with the Lord, leaving his mortal remains behind – for all the assembled faithfuls to witness and marvel.
ThiruppaaNaazhwar, among the twelve Azhwars, is distinguished by three remarkable features:
1. Each of the twelve Azhwars is identified with an aspect of the ‘parivaaras’ of Sriman Narayana – the five weapons, the mount (Garuda), adornments like Koustubam and Vanamaalai, etc. It is only ThiruppaaNaazhwar who has the distinction of being identified with a part of Emburmaan’s Thirumeni itself – the mole on his chest – Sri Vatsam.
2. He is the only Azhwar who is identified with a social denomination outside the four varnas – as PaaNars were regarded as untouchables in the period when he became an Azhwar.
3. He contributed the least number of Paasurams (10) to the Naalaayiram and yet his ‘Amalanaadhippiraan’ is collated as part of the very first 1000 verses – Mudhalaayiram. (The first one thousand verses are equated by Sampradaya thought with the Rig Veda; the second is identified with Yajur Veda, the third with Atharva Veda and the fourth – the Thiruvaaimozhi – with the Sama Veda.)
As he was carried on the shoulders of Loka Saarangan, he has earned the monikers – ‘Muni Vaahanan’ (முனி வாகனன்). The Azhwar ‘Thanian” documents this:
ஆபாத சூடம் அனுபூய ஹரிம் சயாநம்
மத்யே கவேரது ஹிதுர் முதிதாந்தராத்மா |
அத்ரஷ்ட்ருதாம் நயநயோர் விஷயாந்தராணாம்
யோ நிச்சிகாய மனவை முநிவாஹநம் தம் ||
Sampradaya works dwelling on Azhwars would explain that some of these incarnates of Sriman Narayana’s Amsams, chose lower births because of the facility that birth would give them to humble themselves and dedicate themselves completely in His service and His praise.
And, Nammazhwar, unquestionably the tallest of them all, would offer this most humble appreciation for the so-called entities of ‘low birth’:
குலத்தாங்கு சாதிகள் நாலிலும் கீழிழிந்து
நலந்தானிலாத சண்டாள சண்டாளர்க ளாகிலும்
வலந்தாங்கு சக்கரத்து அண்ணல் மணிவண்ணற்கு
ஆள் என்று உள்கலந்தார் அடியார்தம் அடியார் எம் அடிகளே… Thiruvaaimozhi.. Moondraam Paththu, Ezhaam Thiruvaaimozhi.
(Even if a person be of lowly birth, -even a Chandala of the lowly Chandalas, -if he is a devotees of my Sudarsana-wielding Lord, I shall serve the feet of his servants’ servants )
8) KULASEKHARA AZHWAR
9th Century CE
Sampradaya date 3075 BCE (5100 years back)
Born in: Kolli (near Karur) OR Thiruvanjikkulam (Near Kodungallur, Kerala)??
Other Names: Kollikkaavalan, Koodal Naayagan, Koyikone, Villavar Kone, Cheyralar Kone
Year/Month: Prabhava/Maasi
Birth Star: Punar Poosam
Amsam: Kaustubham (Gem Necklace)
Kulasekara Azhwar’s history is subject to quite a bit of debate and confusion, the confusion mainly derived from many of us identifying a Sanskrit stotra – Mukunda Maalai – as attributable to the same Kulasekaran who rendered the celebrated Thamizh paasurams ‘PerumaL Thirumozhi’ (105 paasurams).
One of the sampradaya sources would assert that the two granthas are the work of the same entity – Kulasekara Azhwar. Another, also adduced to Nampillai Jeeyar, states that the two are different entities separated by a few centuries of time:
Kulasekara Azhwar, the author of Perumal Thirumozhi was a Chera King who ruled out of Kolli – Kolli hills; the territory in Thamizh lore is known as ‘Kongu Nadu’. The capital is believed to be Karvur-today’s Karur. Kulasekara Azhwar’s period is believed to be 8th Century CE.
The author of ‘Mukunda Maalai’ on the other hand is believed to have been born in ‘TiruvanjikkaLam’ a place close to Kodungallur in Kerala. This one is believed to be Kulasekara Varma. He is believed to belong to a period post Ramanuja i.e. 1200 CE or later. He is believed to be the author of ‘Mukunda Maala’ which is in Sanskrit.
In support of the latter version, it is pointed out that in the commentary of Sri Manavaala MaamunigaL on ‘Mukunda Maala’, there is no reference to the author being the same as the Kulasekara of ‘Perumal Thirumozhi’. Also, the sampradaya work on Azhwar’s history – ‘Divya Suri Charitam’ does not refer to ‘Mukunda Malai’ while presenting Sri Kulasekar Azhwar.
And, this Azhwar ‘Thanian’, which is both sampradaya and authentic, mentions ‘Kolli’ as the Azhwar’s birth place. No ‘TiruvanjikkaLam’ here:
மாசிப் புனர்பூசம் காண்மினின்று மண்ணுலகீர்
தேசித் திவசத்துக்கேதென்னில் – பேசுகின்றேன்
கொல்லி நகர்க்கோன் குலசேகரன் பிறப்பால்
நல்லவர்கள் கொண்டாடும் நாள்
Sri Kulasekara Azhwar’s reign is believed to have extended to much of the Chera and Pandya territories and some parts of Chola region as well.
We would leave this debate now. If some amongst the Group are willing to contribute and clarify, that would be gratefully welcome.
Sri Kulasekar Azhwar was among the most emotionally fragile Azhwars. He seems to have vacillated between his responsibilities as a ruler of a kingdom and as a completely surrendering devotee of Sriman Narayana.
One particular episode underscored this vacillating, emotionally driven state of the king’s mind. During the regular Ramayana upanyasam in the palace, the person delivering the Upanyasam was dwelling on Sri Rama’s battle with the 14000 strong Rakshasa forces led by Kara and Dushana, Sri Rama taking them on single-handedly with Sita Piratti in the care of Ilaya Perumal, tuck away in a nearby safe place. Azhwar got deeply disturbed that his most loved Sri Rama was in such grave peril and there was no help around for Him. The Azhwar rose and ordered all his four units of army – Ratha, Gaja, Thuraka, Padaathi – to go with him in battle mode, to lend a helping hand to Sri Rama. As the King’s command could not be ignored, the mobilization commenced. Deeply disturbed by what was happening, the Councilors requested the Upanyasakar to rush through the Kara-Dushana war episode and let the Azhwar know that Sri Rama was the victor in that war, he was safe and Sita Piratti was tending to him with great affection, nursing the scrapes that Sri Rama had to sustain in that great battle. The Upanyaska complied. And the Azhwar quietened down and rescinded his hasty command.
This and similar expressions of the Azhwar’s mind, seems to have led to the emergence of some concern – even jealousy – among his royal council. There was concern that matters of state were being unduly influenced by the free run Sri Vaishnavas had in the king’s court.
The evil-minded amongst the councilors decided to have the King retrieve himself from the debilitating influence of the Sri Vaishnavas and get him to address the Rajya Bharam with greater focus and alacrity. They conspired to purloin a precious necklace adorning Sri Rama’s Thirumeni in the sanctum for the Lord located in the palace and float the impression that the theft would be laid at the doors of the Sri Vaishnava priests responsible for the sanctum. They took the case to the king.
Kulasekara Azhwar, feeling in his bones that this was a cooked up case, but not wanting to offend anyone, decided to take a very strange means of resolving the problem. He ordered for a pitcher with a deadly viper placed in it to be brought to him. And as this was brought in, he dipped his hand into the pitcher proclaiming – ‘if the Sri Vaishnavas are innocent, let me not be harmed by this poisonous one.’ Nothing happened to him. And the councilors, crest-fallen, admitted to their sin and promised to conduct themselves better.
(Manakkal Nambi, a latter-day saint would sing this episode thus:
ஆரம் கெடப்பர னன்பர்கொள் ளாரென்று அவர்களுக்கே
வாரங் கொடுகுடப் பாம்பில்கை யிட்டவன் மாற்றலரை
வீரங் கெடுத்தசெங் கோல்கொல்லி காவலன் வில்லவர்கோன்
சேரன் குலசே கரன்முடி வேந்தர் சிகாமணியே
Such events only tended to wean the Azhwar away from his material world responsibilities as a ruler, and the royal appurtenances that came with them. He resolved to surrender these responsibilities by coronating his son. He handed over the reign to him and began to devote his entire life in the service of Sriman Narayana and his devotees. (Consider this line in his verse dedicated to Tiruvenkatam – quoted later hereinbelow: ஆனாத செல்வத்து அரம்பையர்கள் தற் சூழ வான் ஆளும் செல்வமும் மண்-அரசும் யான் வேண்டேன்)
The Azhwar’s renderings begin with adoring Sri Ranganatha of Sri Rangam. Among 31 verses dedicated to this Perumal, we could savour this captivating sample:
தூராத மனக்காதல்-தொண்டர் தங்கள் குழாம் குழுமித் திருப்புகழ்கள் பலவும் பாடி
ஆராத மனக் களிப்போடு அழுத கண்ணீர் மழை சோர நினைந்து உருகி ஏத்தி நாளும்
சீர் ஆர்ந்த முழவு-ஓசை பரவை காட்டும் திருவரங்கத்து அரவணையிற் பள்ளிகொள்ளும்
போர் ஆழி அம்மானைக் கண்டு துள்ளிப் பூதலத்தில் என்றுகொலோ புரளும் நாளே!
Let us visualize the Azhwar’s mind - போர் ஆழி அம்மானைக் கண்டு துள்ளிப் பூதலத்தில் என்றுகொலோ புரளும் நாளே!
Engrossed with Sri Venkatesa Perumal of Tiruvenkatam, the Azhwar pines for being born there as a fish or an insect or even as an inanimate rock step at the entrance to His sanctum:
ஆனாத செல்வத்து அரம்பையர்கள் தற் சூழ
வான் ஆளும் செல்வமும் மண்-அரசும் யான் வேண்டேன்
தேன் ஆர் பூஞ்சோலைத் திருவேங்கடச் சுனையில்
மீனாய்ப் பிறக்கும் விதி உடையேன் ஆவேனே
செடியாய வல்வினைகள் தீர்க்கும் திருமாலே
நெடியானே வேங்கடவா நின் கோயிலின் வாசல்
அடியாரும் வானவரும் அரம்பையரும் கிடந்து இயங்கும்
படியாய்க் கிடந்து உன் பவளவாய் காண்பேனே
But the Azhwar’s lullaby’s sung to Sri Rama – the infant one – are on the lips of many mothers and grandparents singing those lines that captivated even innocent infants and comforted them to sleep, the lullaby beginning with the famous lines –
மன்னுபுகழ் கோசலை தன் மணிவயிறு வாய்த்தவனே!
தென்னிலங்கை கோன் முடிகள் சிந்துவித்தாய்! செம்பொன் சேர்
கன்னி நன் மா மதில் புடை சூழ் கணபுரத்தென் கருமணியே!
என்னுடைய இன்னமுதே! இராகவனே! தாலேலோ!
This verse rendered at the feet of the Lord in ‘Vilththuvakodu’ (near Pattambi in Palghat Taluk, Kerala) would be close to spelling out the inescapable lot of every being to continue investing faith in that Supreme Being, even while being put through the cane-crusher travails of ‘samsara’ –
வாளால் அறுத்துச் சுடினும் மருத்துவன்பால்
மாளாத காதல் நோயாளன் போல் மாயத்தால்
மீளாத் துயர் தரினும் வித்துவக்கோட்டு அம்மா நீ
ஆளா உனது அருளே பார்ப்பன் அடியேனே
In eleven paasurams dedicated to Sri Govinda Raja at ‘Chitra Kootam’ in ‘Thillai’ (Chidambaram), beginning அங்கண் நெடு மதில் புடை சூழ் அயோத்தி என்னும்
அணி நகரத்து உலகு அனைத்தும் விளக்கும் சோதி, Azhwar renders the whole of Ramayana (including episodes from the Uttara Khanda).
Sri Kulasekara Azhwar, like the other ruler-Azhwar Thirumangai Mannan, had invested considerable resources and devotion to the Sri Rangam Temple structures, including the rampart walls and some of the Mandapams which bear his name.
The Big Three – Periyaazhwar, Andal and Nammazhwar and Madhurakavi – next.
Fond wishes,
Parthasarathy
9) PERIYAAZHWAR
Born 785 CE
Sampradaya year of birth – 3056 BCE (about 5100 years ago)
Born in Sri Villiputhur – Pandya country
Other Names: Vishnu Chittar, Patta Naadan, Bhattar Piraan, Sri Villiputthooraar, Sriranganaatha Svasoorar
Year/Month: Krodhana/Aani
Birth Star: Swathi
Amsam: Garuda (Chariot/Vehicle)
Periyaazhwar was one who immersed himself completely in finding blissful joy and delight in Sri Krishna – KANNAN the divine Child. He totally transformed himself into Yasodha, Krishna’s mother in Gokulam – indeed out-mothered Yasodha in his caring and love for the divine child; and he had the divine poesy to communicate that joy and delight to the world at large, transmuting those who read / sing his verses nearly to the same levels of his grand, melting ‘anubhava’. His (foster) daughter Andal came close to him. The other Azhwaars had multi-faceted ‘anubhavams’ – either with the vibhavas (incarnate deeds of divinity) or the different ‘archavataras’ in the Divya Desams.
Born to Mukunda Bhattar and Padmavalli a pious Brahmin couple in Sri Villiputtur, engaged in divine servitude to Sri Vatapatrasayee in the Srivilliputtur temple, he was named ‘Vishnu Chittan’ – one who has Sri Maha Vishnu constantly in his mind. Vishnu Chittan’s childhood was not marked by any intense thirst scholarship. He studied the minimal scriptures and was assiduous in his anushtanas, helping his parents with services to Sri Vatapatrasayee** and His Consorts.
VATAPATHRASAYEE:
**(Vatapatrasayee literally means one who is reclined on a banyan leaf.. connotes that form of Sri Maha Vishnu – as an infant – that devours all the worlds for safekeeping in his stomach and is afloate on the deluge – with no care in the ‘world’ except to bring the worlds back to life as the deluge drained itself. This form is adored not by just Sri Vaishnavas but the whole universe of the faithful: ஆலிலைக் கிருஷ்ணன். Actually, the infant was the very first one – at the very beginning of time (yuga) - முதற் கிழங்கு to use Nammaazhwar’s stunning appellation. Krishnavatara was way later in Dwapara Yuga. But, for the faithful, everything that captivates is Krishna, isn’t it? Did not Brahma himself adore Him thus:
īśvaraḥ paramaḥ kṛṣṇaḥ
sac-cid-ānanda-vigrahaḥ
anādir ādir govindaḥ
sarva-kāraṇa-kāraṇam
(He is SACCHITHAANANDA VIGRAHA isn’t He?)
This Vata Patra Sayee is adored by Sage Markandeya, reportedly the only witness to the deluge, in his incomparable ‘Bala Mukundashtakam’ immortally, thus:
Kara Ra Vindena Pada Ra Vindham
Mukhara Vinde Vini Vesay Antham
Vatasya Pathrasya Pute Sayanam
Balam Mukundam Mansas Smarami.
(A grossly inadequate translation: My mind is riveted to that infant ‘Mukundha’ – His lotus like hand holding his lotus like foot, and takes that little toe to his lotus-like face, to his mouth. Reclined on the fold of the banyan leaf.)
Periyazhwar calls out the whole world to come and see that enthralling event – of the divine infant clutching his lotus like foot with his lotus like hand and getting his toe into his little mouth, sucking on it with relish:
பேதைக் குழவி பிடித்துச் சுவைத்துண்ணும்
பாதக் கமலங்கள் காணீரே பவளவாயீர்வந்து காணீரே.
The collection of devotional poems – ‘Kettathellaam Tharuvaan – ThandavanthottaththuLaanE’(கேட்டதெல்லாம் தருவான் … தாண்டவந்தோட்டத்துளானே) acclaims this toe sucking Supreme Being thus:
நான்முகனும் நீர்முகந்து தான்கழுவும் பொற்கழலே! வாமனனாய்
வான்முகந்த, மூன்றுலகும் போற்றியதுன் திருவடிகள்; சிலையதுவாய்த்
தான்சமைந்த ஆரணங்கு அகலிகையைத் துடைத்துயிர்த்த திருப்பாதம்!
கான்திரிந்த நெடுங்காலம் காவல்பரதற்குப் பாதக்குறடளித்த அருட்பாதம்!
கால்புகுந்த வீடணற்கு புகல்தந்து நாடுமுகந்தருளும் திருக்கழலாம்!
நீர்புகுந்து விடஞ்சீறும் காளிங்கன் தலைகுலையத் தருக்கறுத்துப்
பார்வியந்த சதிராடும் பங்கயமலர்க் கழலுனதே! சோதிக்கவோ
கால்சுவைத்தாய்? தாண்டவந்தோட்டத்துறைவா! ஏதத்துயர்மீட்கப் பொற்பாதம்
தானுயர்த்திப் பரந்தருவேன்! பற்றுமென்றாய்! வகையறியேன், வழியருள்வாய்.
As he grew into adulthood, and questions were in front of him about his life goals, Vishnuchittan was inspired by one particular anecdote in Sri Vishnu Purana and Sri Bhagavata Purana narrating the mind-churning episode of Sri Krfishna and Sri Balarama visiting Mathura accompanying Akrura, (on being summoned by Kamsa.) Sri Krishna got attracted to a flower-vendor, Sudama, who was selling flowers and beautifully made, headily fragrant, colourful flower garlands. The flower- vendor, himself drawn by the divine handsomeness of Sri Krishna, entertained him and presented him with the best garland among his collection and invited the due home. Visiting the flower-vendor’s modest home, Sri Krishna blessed him with everything auspicious in this life and ‘sayujya’ in the next – a la Dadhi Paanda (the owner of pots in Gokulam as Krishna hid himself from the chasing Gopis in one of Dadi Paanda’s large pots).
Having got his life’s goal-setting inspiration, Vishnuchittan goes about executing it. He organizes a beautiful flower garden (Nandavanam) and cultivates all the lovely colourful and bewitchingly fragrant flowers for his Vatapatrasayee. He collects large basketfuls of these blossoms every morning and knits grand and lovely garlands for his Lord. Through his life – and its major tumults that are yet to come, Vishnuchittan would be wedded to this service to the Lord unflinchingly – as a humble servitor to Sri Bhagavan.
Till this point Vishnuchittan’s life was not marked by anything that could be called exceptional or remarkable: a deeply pious, committed servitor for the Lord in keeping with his family tradition. No hint, no clue, to the divine metamorphosis that the world would see, marvel, applaud and sing for all times to come.
One of Periyazhwar Thanians (தனியன்கள்), would spell out his very modest scholarship and academic accomplishments;
குருமுக மநதீத்ய ப்ராஹ வேதா நஸேஷான்
நரபதி – பரிக்லுப்தம் ஸுல்க மாதாதுகாம:
ஸ்வஸுர மமவரவந்த்யம் ரங்கநாதஸ்ய ஸாக்ஷாத்
த்விஜகுல திலகம் தம் விஷ்ணுசித்தம் நமாமி.
Even though he did not have the opportunity to receive knowledge at the feet of a proper Acharya, he received that knowledge through divine grace; and he with that received wisdom, won the gold purse awarded by the Pandya king. And, he became the father-in-law of Sri Rangantha Himself, one who is paid obeisance by all the Devas. I adore that great jewel of a Brahmin, Vishnuchittan.
The king of Pandya region (with Madurai as its capital – Srivilliputtur was in the region) at the time was one Sri Vallabha Deva Rajan – a good ruler a dharmic one. As he was on his nocturnal rounds one day, he found a very old pious person lying on the pial (the elevated platform that would adorn a typical home in those days; one would find them in villages even now – ThiNNai திண்ணை. Curious, the king engages the old man in a casual conversation; asked him what he thought of life and its place in the world and beyond. The old man responds with a riddle-like two liner:
varshArthamashtau prayathEtha mAsAN NichArththamarththam dhivasam yathEtha
vArdhdhagyahEthOr vayasA NavENa parathra hEthOriha jaNmaNA cha
People work hard for eight months to stay in comdort during the four months of rains; To be relaxed in the night they work hard during the day; To live comfortably when they get old, theye work hard when they are young; People should thus work hard too, in this life, if mindful to have a good after-life.
The last line in this aphorism set the ruler thinking about himself and about his people at large. What lies in the ‘after life’ that this elder had informed me about? What is that goal? How is that objective defined? What is it, in unquestionable Truth? With his mind-churn rolling these queries over, he consults Selva Nambi, the most learned amongst his Royal Council and in whom the king had intimate trust. Selva Nambi advised the King to convene a ‘maha sathas’ a grand caucus of the learned from all over the place and have them debate and deliver a verdict – a conclusive and convincing one – on the king’s queries.
The King concurs and goes ahead with the plan. He goes one step further and organizes a purse containing a lot of gold to be tied to a tall poll in the venue of the ‘maha sathas’, hoping that if there was divine approval for the winning debater, the pouch would unhinge and fall in his hands.
Selva Nambi wanted to invite Vishnu Chittan for the debate. His co-councillors objected saying that Vishnu Chittan was not known for any great learning or punditry. But Selva Nambi overrules and with the King’s consent, he himself sets out to go to Srivilliputtur to invite Vishnu Chittan personally.
That very night, Vishnu Chittan has a dream – a dream that would transform him, a dream that would deliver to the world the grandest of all the Azhwars, the Periya Azhwar. Vishnu Chittan has, in that dream, Emberumaan Himself, accompanied by Sri Piratti, astride Garuda, informing Vishnu Chittan about the debate next day in Madurai and prodding him to go and join it. Vishnu Chittan protests; I am not at all good at punditry; I can hardly express myself; and what do I know of all these complex vedantha, etc? Please, please, leave me to my lot as a humble servitor to You. Sri Bhagavan brushed aside Vishnu Chittan’s protestations and prods him – ‘Go there, you would do very well. Believe me. Have trust in me.’
As Vishnu Chittan woke up in the wee hours – 4 a.m. (Brahma Muhurtam) – he finds Selva Nambi at his doors!. He confides in Selva Nambi about his dilemma. Selva Nambi, a good friend, disabused Vishnu Chittan about all his lingering self-doubt and persuaded him to accompany him to Madurai. As he arrives in the company of the exalted Selva Nambi, Vishnu Chittan is received with royal honour. The other pundits snigger and could not contain their chagrin and ridicule as Vishnu Chittan was called upon to state his presentation. As he rose in that intimidating assembly, Vishnu Chittan felt a glow overwhelming him. He was not his own self any more. With that divine energy pervading all through him, he rose and rattled through all the core ‘satya tatvas’, citing the Sruthis, Smrithis, Puranas and Ithihasas effortlessly – all of them leading to the invariable and incontrovertible conclusion – Sriman Narayana is the One Supreme Being that the whole universe is pervaded by, is inescapably indebted to, is bound with; He is the One that delivers all the jivatmas from their misery and distress. And, the Ashtaksharam is the sole mantra that would the delivering tool for all Jivatmas. He concludes:
sathyam sathyam puNassathyam udhdhruthya bhujamuchyathE
vEdha chAsthrAth param NAsthi Na dhaivam kEchavAth param
ஸத்யம் ஸத்யம் புநஸ்ஸத்யம் உத்த்ருத்ய புஜமுச்யதே
வேத சாஸ்த்ராத் பரம் நாஸ்தி ந தைவம் கேசவாத் பரம்
As stated in nAradhIya purANam, I repeatedly declare (emphasis) with raised hands – there is no god greater (or other) than kEsavan and there is no sAsthram greater (or other) than vEdham.
He assembly rose as one man and applauded Vishnu Chittan. And lo! The treasure purse unhinges itself and falls into Vishnu Chittan’s hands.
The King is delighted beyond words. He honoured Vishnu Chittan with the title ‘Bhattar Piraan’. He had Vishnu Chittan ride the royal elephant, with all the royal trappings and had him taken through the streets of Madurai in a grand procession. As the procession was about to start, the entire assembly – Vishnu Chittan in particular – is awe-struck as Sri Maha Vishnu, astride Garuda, with Sri Mahalakshmi by his side, appears overhead and blessed – the whole city of Madurai. As Vishnu Chittan, immerses himself in this grand divine gift to him, the ‘pratyaksha darsanam’ of the Divya Dhampati in all their effulgence, his mind goes through another transformation. He finds his Lord and His Consort so irresistibly beautiful and attractive, presenting themselves not just to him, but on his account to all the uniquely blessed people of Madrai, he is overtaken by concern, fear, that the Divya Dampati, normally in the exalted, rarefied and blemishless atmosphere of Sri Vaikuntam, well-protected by the constant adoration of Nitya Suris, having now desceneded to this material world, already I the grip of Kali and inhabited by all kinds of people, including demoniac ones, could be harmed by some ‘evil eye’ – ‘dhrishti’ (கண்ணேறு). He forgets that he is the one who is protected by the Lord. He thinks that – seeing the Divya Dampati in that context- he was their protector and had the duty to execute that responsibility – cast a safety fence around them, keeping them from all possible harm. This impels him instantly to bless the Divya Dampati with long life – thus was born the immortal twelve verses – ThiruppallaaNdu. He sang these verse in abandon and the accompanying populace of Madurai, that included the King and all the pundits in the’ maha sathas’, were in raptures as well.
(Foklore would say that this grand divine incident took place in front of the temple for Sri Koodalazhagar in the city of Madurai.)
Another ‘Thanian’ on Periyazhwar would acclaim this great event, thus:
பாண்டியன் கொண்டாடப் பட்டர்பிரான் வந்தானென்று,
ஈண்டிய சங்க மெடுத்தூத – வேண்டிய
வேதங்க ளோதி விரைந்து கிழியறுத்தான்
பாதங்கள் யாமுடைய பற்று.
Periyazhwar, one who sundered the golden purse, by establishing irrefutably all the vedhic tenets needed (to prove Sriman Narayana was the only Paramatma), and acclaimed by Vallabha Deva, the Pandyan King, with thousands of devotees, blowing conches celebrating that event – his sacred feet are my refuge.
In those twelve verses, apart from seeking a timeless, inseparable bond with the divya Dampati - அடியோ மோடும் நின்னோடும் பிரிவின்றி யாயிரம் பல்லாண்டு, Azhwar also mentions the key player for this divine episode – the Pandya King – and Selva Nambi as well - thus:
அல்வழக்கொன்று மில்லா அணிகோட்டியர்கோன்* அபிமான துங்கன்
செல்வனைபபோலத் திருமாலே!
Periyazhwar returned to Srivilliputtur with the treasure that he won in the debate and invested every bit of it in the temple of Sri Vatapathrasayee – resolved that all of it was the property of his Lord and master. And his humbleness, devotion and piety untouched by all the tumultuous fame and world-wide reputation that the Madurai episode had gained him, he went about his pushpa kainkaryam without any remiss or let. But the fount of poetic adoration of Emperumaan having been yanked open in his person – body, mind and soul, Periyazhwar was now engaged, additionally, in imagining himself as Krishna’s mother Yasodha and produced verses of immeasurable beauty and emotional appeal – Periyazhwar’s PiLLaiththamizh பிள்ளைத் தமிழ் (272 verses) was born. (We would be enjoying delectable nuggets from this part of Periyazhwar’s compositions, next. But here is just one for a salivating sample:
மைத் தடங்கண்ணி யசோதை வளர்க்கின்ற
செய்த்தலை நீல நிறத்துச் சிறுப்பிள்ளை
நெய்த்தலை நேமியும் சங்கும் நிலாவிய
கைத்தலங்கள் வந்து காணீரே
கனங்குழையீர் வந்து காணீரே
And with it was born also the other parts of his Thirumozhi, varyingly swaying between paying adorative tributes to the presiding deities in Thirumaaliruncholai (Azhagar Kovil, near Madurai), Thirukoshtiyur, Srirangam and Tiruvekatam and rendering exceptional collections like ‘Pattinam Kaappe’ – this body is sound and secure with Emperumaan in his various avataras and vibhutis is very much inside it; addressing all mothers, he advises them – why name your children – ‘ambi’ and ‘thumbi’? you have an inexhaustible reservoir of Sriman Narayana’s names to choose from and if you did that, why would you fear of going to hell - நாரணன் அன்னை நரகம் புகாள்
Periyazhwar was graced by the Divya Dampati all over again – he found ‘Andal’ who would become a brilliant and most-loved jewel in the exalted Azhwar pantheon and what is more, he becomes the father-in-law of Sri Ranganatha – no less – as Andal is wed to Him. We would be journeying through this delectable phase when presenting Andal’s life profile.
As Andal leaves Periyazhwar and merges with Sri Ranganatha in that greatest celestial event on this earth – in Kali yuga, the pangs of separation, the pain became perceptible in the Azhwar’s compositions, thence forward.
We find Azhwar distilling his pangs and pain in this great paasuram – (277 of his Thirumozhi):
ஒரு மகள் தன்னை உடையேன் உலகம் நிறைந்த புகழால்
திருமகள் போல வளர்த்தேன் செங்கண் மால் தான் கொண்டு போனான்
பெரு மகளாய்க் குடி வாழ்ந்து பெரும்பிள்ளை பெற்ற அசோதை
மருமகளைக் கண்டு உகந்து மணாட்டுப் புறம்செய்யுங் கொல்லோ?
He rants - திருமகள் போல வளர்த்தேன் செங்கண் மால் தான் கொண்டு போனான்; then consoles himself that Yasodha would be delighted to have this one (Andal?) as her priceless daughter-in-law and would treat her well - பெரு மகளாய்க் குடி வாழ்ந்து பெரும்பிள்ளை பெற்ற அசோதை
மருமகளைக் கண்டு உகந்து மணாட்டுப் புறம்செய்யுங் கொல்லோ?
His later renderings reflect the further transformation – he feeling a bit frail and insecure, needing reassurance from his Lord:
நன்மை தீமைகள் ஒன்றும் அறியேன் நாரணா என்னும் இத்தனை அல்லால்
புன்மையால் உன்னைப் புள்ளுவம் பேசிப் புகழ்வான் அன்று கண்டாய் திருமாலே
உன்னுமாறு உன்னை ஒன்றும் அறியேன் ஓவாதே நமோ நாரணா என்பன்
வன்மை ஆவது உன் கோயிலில் வாழும் வைட்டணவன் என்னும் வன்மை கண்டாயே
In ongoing fierce debates about ranking the Azhwars, understanding who was the tallest of them all, three of them consistently figure – Nammazhwar, Periyazhwar and Peiyazhwar – the three having been granted the unique privilege of Sriman Narayana and Sri Piratti in their celestial splendour, presenting themselves to these three. The debates are highly learned and replete with incomprehensible sampradaya tatvas. We would not dare delving into them with our hopelessly impecunious wealth of that skill.