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Personalities: Nandanaar

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"அன்று இரவு கண் துயிலார் 
புலர்ந்து அதற்பின் அங்கு எய்த 
ஒன்றியணை தரு தன்மை உறு 
குலத்தோடு இசைவு இல்லை 
என்று இதுவும் எம்பெருமான் ஏவல் 
எனப் போக்கு ஒழிவார் 
நன்றுமெழுங் காதல் மிக 
நாளைப் போவேன் என்பார்."

– Sekkizhar, Periyapuranam [4].

Introduction

Nandanaar, the peerless Siva Bhakta is worshiped as one of the sixty-three Naayanmars (Naayanars) in Tamizh Nadu. His life story is recounted in 37 Tamizh stanzas in the திருநாளைப் போவர் நாயனார் புராணம் as part of the hallowed Periyapuranam of Sekkizhar (சேக்கிழார்) composed in the 12th century. These uplifting verses capture the deepest of human emotions and dharmic ideals and never fail to touch our Atma. The puranam of ‘Thiru Naalai-ppovaar Naayanar’ takes us to the very roots of Sanatana Dharma.  Let us recall with reverence our Naayanars and Alvars who ensured that our Kalacharam, Dharma, and Tamizh Mozhi flourish in Bharatam to this day.

Biography

Sekkizhar’s verses on Nandanaar start by describing the prosperity of the town of Aaathanoor (ஆதனூர்) in Melkanadu (மேற்காநாட்டு) of the Chola country whose fertile lands are irrigated by the pristine waters of the Kollidam river. The Pulaiyar community lived in the outskirts of this town in thatched huts. They were farmers, agricultural workers, and leather craftsmen. Sekkizhar describes the different kinds of trees that grow there and talks about the daily activities of the men, women, and children who lived there. In this community was born Nandanaar. From a very young age, he continually meditated on Siva even as he engaged in the profession of leather craft he inherited.

 "He came to be born with the continuum of consciousness 
  Of true love for the ankleted feet of the Lord; 
  He, the peerless one, called Nandanar, flourished 
  In that slum of Pulaiyas; he was entitled 
  To the hereditary rights of his clan."
- A translation of Periyapuranam [2].

Nandanaar met his basic needs from the money given by the town for his services as the ‘town-crier’ who beats the drum and makes announcements. He gave up all worldly desires and dedicated his life to the worship and service of Siva. His leather-work profession was performed entirely as a Seva to all the nearby temples. For their Pooja, he provided Gorochanai. For their drums and other musical instruments, he provided the leather covers, animal skins, and binding straps. For their Veenas and the ancient stringed Tamizh instrument, the Yazh, he produced the various animal ‘guts’ derived from their intestines.

Yet this enlightened and most humble devotee of Siva would not enter any of the temples he served with great devotion lest his ‘low birth’ desecrate the temple traditions. He would visit a temple carrying his leather straps on his back, and stand outside the entrance trying to catch a glimpse of the deity. He would then dance and sing songs in praise of Siva and return home to continue his seva.

Once Nandanaar meditated on the feet of Sivalokanathan, the deity at Tirupoonkur and drawn to that deity, he decided to visit the temple. There he sang songs in praise of Siva and pleaded with him so he could get a direct glimpse of the divine he had worshiped for long but had not yet fully seen. The large Nandi of the Siva temple there that faces the deity blocked his direct view.  Sivalokanathar commanded Nandi to move aside so his devotee could have his darisanam. Overjoyed, the Siva Bhakta sang songs in praise of Siva. Next, Nandanaar eyed a depression in the land next to the temple, and proceeded to excavate a water tank for the service of the temple. He then performed a pradakshina (circumambulation) of the temple before taking his leave.

Since Nandanaar's visit, the large Nandi in Tirupoonkur sits slightly aside.

Saint Nandanaar eventually visited and served all the nearby temples in this manner. Over time, the desire to see and worship the magnificent Nataraja at Tillai (Chidambaram) with his own eyes grew. He contemplated this night and day and the intensity of his devotion and love for the deity grew.  This most sacred of spaces was managed by the ‘three thousand servitors’ (தில்லை மூவாயிரம்) who bound themselves completely to Tillai in the service of the same deity that Nandanaar wanted to behold and worship. Sekkizhar’s Periyapuranam praises the Dikshitars, who are compared to the Ganas of Siva.

pic link source: chidambaramnataraja.org

Every night, Nandanaar would remain awake and meditate on Siva as Nataraja and every morning, he would decide against going to Chidambaram that day.  The Tamizh verses describing the inner conflict and anguish of the Bhakta will melt even the hardest of heart:

அன்று இரவு கண் துயிலார் 
  புலர்ந்து அதற்பின் அங்கு எய்த
ஒன்றியணை தரு தன்மை உறு 
  குலத்தோடு இசைவு இல்லை
என்று இதுவும் எம்பெருமான் ஏவல் 
  எனப் போக்கு ஒழிவார்
நன்றுமெழுங் காதல் மிக 
  நாளைப் போவேன் என்பார்." - [4].

He would not sleep during night; when day broke 
He would think thus: “My low and inferior birth 
Will not suffer my adoring at that holy shrine; 
Even this thought comes to me by my Lord’s fiat.” 
Thus thinking he would smother all attempts of visit; 
Yet when nobly-bred love increasingly importuned him 
He would say: “I’ll go to-morrow.” - [2].

Nandanaar’s distress regarding his birth and Kulam (clan/community) barring his spiritual union with Nataraja is brought out in multiple verses [4]:

  • “ஒன்றியணை தரு தன்மை உறு
  • குலத்தோடு இசைவு இல்லை” – 21

 

  • “மடங்கள் நெருங்கினவும் கண்டு
  • அல்கும் தம் குலம் நினைந்தே”- 23

 

  • “இன்னல் தரும் இழி பிறவி இது” – 27

Through this unending tussle every night and day, he became known as ‘Thiru Naalaippovaar’ (he who would go tomorrow). And then one day, his love for his lord prevailed and he set out for Chidambaram and made it as far as the outskirts where he could see the smoke rising from the sacrificial fires of the Dikshitars in the town. He could hear them chanting the Vedas. He imagined the inside of the fortified town as it had been described. He knew the sacred mathams were nearby and remembered his kulam and ‘low’ birth and did not go further. He went around the town in circles for days and nights wondering when he could catch a glimpse of Nataraja. Nandanaar’s conflict had merely relocated closer to Tillai; his worldly identity could not move any further toward his deity and nor would the true enlightened self consider retreat.  Finally, the Supreme deity of Chitrambalam reached out to his Bhaktas.

“This (my wretched birth) is sure the clog.”
Thus thinking he slept; the gracious Lord
Of the Ambalam sensed his distress and to end
All the miseries of the aeviternal servitor,
He appeared in his dream with a gracious smile. ” – [2]

“The gracious Dancing Lord now chose to allay all the sorrow of His devotee. With a gentle smile playing on His lips, He spoke: “To get rid of this birth, you may enter the flaming fire and emerge hallowed in the company of those wearing the three-stranded sacred thread.”” – [1].

The Vedic Brahmanas of Tillai were struck with fear hearing the command of Siva to prepare a fire for Nandanaar. With only Siva in his thoughts, Nandanaar entered their fire without hesitation and emerged unscathed to everyone’s joy. The apparent duality dissolved and the true self beyond limited identities was revealed. He arose from the fire as a ‘Marai Muni’, a self-realized Vedic sage who has experienced the truth of the Shruti. Everyone in Tillai bowed in reverence and adoration. Nandanaar, followed by the assembly, proceeded into the temple for the first time and worshiped the dancing deity and thereafter merged into Siva.

“Thus did the Lord out of His grace, cut asunder the bonds of all ‘karmas’ of the devotee and made him delight for ever in the bliss of His Lotus feet.” [1].

மாசு உடம்பு விடத் தீயின் 
  மஞ்சனம் செய்து அருளி எழுந்து
ஆசில் மறை முனியாகி 
  அம்பலவர் தாள் அடைந்தார்
தேசுடைய கழல் வாழ்த்தித் திருக் 
  குறிப்புத் தொண்டர் வினைப்
பாசம் உற முயன்றவர்தம் திருத் 
  தொண்டின் பரிசு உரைப்பாம் - [4]

Humbled was the ego of those among the guardians of Tillai who could not see Siva within Nandanaar.  The final act establishes the inner fire of spiritual purity as supreme and brilliantly inverts the meaning of ‘untouchable’ in the case of Nandanaar who was beyond mortal desires:

“An unexampled exception in the mode of worship was made by the Lord in the case of Nandanar, the untouchable.  Yes, he was an untouchable and no evil or pollution could ever touch him.  The Lord demonstrated to the world the fact that he was even greater than the Tillai Brahmins“- [2].

Thus ends the mortal portion of the story of Thiru Naalaippovaar Nayanaar documented in the Periyapuranam. Nandanaar lives forever as one among the 63 Nayanmars whose Murthis grace multiple prominent Hindu temples including the Meenakshi Amman Kovil in Madurai.

Periyapuranam

The Periyapuranam is the twelfth among the twelve devotional Stotram canons (Panniru Tirumurai) in the Tamizh Saiva tradition and consists of 4253 verses. Its author Sekkizhar was a contemporary of Chola king Anapaya (Kulathunga Chola-2) who was a great devotee of Nataraja at Chidambaram. Sekkizhar authored the Periyapuranam in the 12th century and called it the Thiruthondar Puranam, the Sacred Anthology of the Servitors of Siva. The main purpose of reading or listening to these verses is the purification of one’s mind (Chitta Shuddhi). Sekkizhar expanded upon the prior work Thiruthondatthohai of Sundarar (one of the divine trinity of Saivite Saints that includes Appar and Sambandar) in the 8th century, followed by Nambiyaandaar Nambi’s Thiruthondar Thiruantadi in the 11th century.

As Sundarar’s original work only provided a brief summary of the Nayanaars, Sekkizhar visited all the locations associated with the Nayanaars and studied the inscriptions and other material to document an authoritative and more detailed account of their lives and contributions. Ramana Maharishi‘s spiritual journey was inspired by his reading of the Periyapuranam at a young age:

“Towards the end of 1895 (perhaps a few months after hearing about Arunachalam from a relation) he found at home a copy of the Periya Puraanam which his uncle had borrowed. This was the first religious book that he went through apart from his class lessons and it interested him greatly…. It transported him to a different world…. ”

The 63 Nayanmars in the Periyapuranam come from all sections of the society and include both women and men. Nandanaar was a leather worker whose raw materials were the carcasses of domestic animals, while Thiru Neelakanta Naayanar was born in a potter clan. The revered Saint Kannappan was a hunter, while several others were vendors, merchants, priests, kings, soldiers, etc.  All are recognized as Jivanmuktas who had gave up all worldly desires to seek refuge at the feet of Siva [1].  Each of their life stories are remarkable and teach us lessons in self-realization and dharma. In the case of Nandanaar whose Siva-Consciousness was evident from an early age, it was not only about Mukti but also about Nataraja imparting a valuable and timeless lesson to devotees.

Later Narratives

Sri Gopalakrishna Bharathi, a great composer of Carnatic Sangeetam came up with an operatic musical version, the Nandana Charitram in the 1860s. This work is recognized for its highest musical and lyrical quality. However, Sri Bharathi introduced imaginary events inspired by the social-political churn in British-occupied India. Few doubted the reformative intent of Bharathi and this part-fictional version became popular all over India through Carnatic compositions, Bharatanatyam recitals, Harikatha, and feature films. An interesting story of Bharathi’s work and its critique by the renowned scholar, Meenakshi Sundaram Pillai is recounted here [3].

It should come as no great surprise to contemporary readers that this version has been seized upon by western academia and politicians for its ‘Breaking India’ propaganda value. Using a western lens, Itihasa is dismissed as mythology and Periyapuranam is reduced to hagiography. In this framework, the spiritual context, the transcendental nature of the millennium-old story of dharma, the seva and tapas of Nandanaar, and the central idea of Siva Bhakti are either distorted or discarded. Instead, speculative and divisive commentaries totally contrary to the Periyapuranam are  produced.

Nandanaar’s Legacy

The life of Nandanaar as told by Sekkizhar brings to mind other sacred stories from our Itihasa and Puranas including Bhakta Prahalad who emerged from the fire unscathed while the ‘fireproof materialist’ Holika did not;  we find parallels in the life of Bhakti saint Mira who overcame many barriers and ultimately merged into Krishna. Babasaheb Ambedkar’s book on The Untouchables is dedicated to a trinity of Hindu saints [7]: Nandanaar, along with Sant Chokamela, the great devotee of Vithoba from Maharashtra, and Sant Ravidas the disciple of the Vaishnava Saint Sri Ramananda, and the guru of Mira.

The Chidambaram temple where Nandanaar Muni merged into Siva has endured many trials and violent attacks in the last millennium and has emerged stronger each time. The Dikshitars have protected the Tillai deity throughout history and many gave their lives defending the temple against a barbaric assault by Malik Kafur in 1310-11. The temple became one of the first to welcome people from all sections of the society to worship Nataraja. The Dikshitars continue their millennia-old hereditary tradition of serving the Tillai deity despite severe economic and social hardship [5].

Today, leather workers in India can not only set up thriving businesses, they are leaders of the Samaj who inspire and support others in distress. Such achievements have been recognized by the Indian Government, and by the Prime Minister’s ‘Mann ki Baat’ social media handle on Women’s day.

 

Ultimately, the story of Nandanaar is a celebration of Sanatana Dharma and its fundamental principle of harmony and well-being of all barring none.

 

References

  1. Saint Sekkizhar. Periyapuranam. Sri Ramanasramam. 2013.
  2. Shaivam.org: The Puranam of Tiru Nalai-p-povar – Periyapuranam as English poetry.
  3. Nandanar: the imagination that won over truth. 2008.
  4. Shaivam.org:  12.024 திருநாளைப்போவார் நாயனார் புராணம்.
  5. http://www.chidambaramnataraja.org/deekshithar.html.
  6. HinduismToday: A Priestly Clan Under Siege. 2009.
  7. Dr. B. R. Ambedkar. The Untouchables: Who They Were And Why They Became Untouchables? 1948.

Personalities: Periyalvar

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pic source V. Rajagopalan [6].

Biography

Vishnuchittar was born to Mukunda Bhattar and Padumavalli in Srivilliputtur (less than 100 Km from Madurai) in the Pandya Kingdom. A date range given for his birth is the 8th-9th century CE. The boy developed a sense of devotion and service toward Mahavishnu from a very young age, and he thought of the best way he could serve his deity every day. His natural affinity for the Krishna avatar reminded him of a story of Sri Krishna who sought out Kamsa’s garland maker in Mathura and wore his garlands with joy. Vishnuchittar thereafter created a beautiful flower garden in Srivilliputtur, and would pick a variety of flowers from there to prepare garlands and offer it to Vatapatrasayee, the deity of the temple there. Vishnuchittar continued this practice for long and it is clear from the amazing incidents in his life that Bhagavan bestowed his grace upon this ardent devotee.

A main reference for this introduction to the life and work of Periyalvar is the book by Thiru M.P. Srinivasan [1].

During this time, Sree Vallabha Devan was the Pandya king who ruled from the capital city of Madurai. He was a great and dharmic ruler like so many Tamizh kings and leaders who built Tamil Nadu, the land of the Vedas. While doing a round of the city one night, the king chanced upon a person sleeping alone outside and woke him up. After learning that he was a Brahman who’d returned after bathing in the sacred waters of Mother Ganga, the king requested him to share a dharmic truth with him. The Brahman’s reply was a simple yet amazing Shloka that said:

“search what you want during the rainy season in the previous eight months, what is needed in the night during day-time, what is required in old age during youthful days, and what is essential for the other life, search in the life now.” [1].

The king was lost in thought especially about the direction given in the last part of a shloka that seamlessly blends the earthly cycles and spiritual realm to make that transcendental point so natural. The King’s adviser suggested he invite the dharmic scholars in his kingdom to find a convincing answer to the nature of ultimate reality; regarding paratvam, which could also answer the King’s question- ‘what effort do we put it today, in this world, to attain transcendental bliss’. The King agreed, and offered a purse of gold to any scholar in the land who could debate this issue and convincingly answer this question. Vishnuchittar was directed by the Srivilliputtur deity, Vatapatrasayee, to proceed to Madurai. Vishnuchittar was able to debate and explain to the august gathering present that indeed, Vishnu was the ultimate reality, ‘the indisputable truth that cannot be surpassed by any reality’; surrendering to the feet of Vishnu, the one who grants the Purusharthas would bring Moksha. He was able to substantiate his response on paratvam, and the story goes that the golden purse tied atop the pole bent down toward Vishnuchittar.

The king was overjoyed by the words of Vishnuchittar that eloquently reflected the teachings of Vedanta and answered the question that had confounded him, and hailed him as ’Bhattarpiraan’. As the seer was being taken in an open procession around the city on an elephant, he experienced a divine vision of Bhagavan Vishnu and Mahalakshmi atop Garuda. The devotee of Vishnu was overcome with love and affection for his deity and sang the twelve great verses of ‘Pallandu’, wishing for the welfare and well-being of the infinite divine for many, many years. After this amazing event, he became known as Periyalvar.

source link: dinamalar.com

Periyalvar returned to Srivilliputtur, dedicated the gold purse to the temple, and continued his service of preparing flower garlands for his deity. He immersed himself within the Krishna avataram and composed his profound Thirumozhi. Baby Andal (Godai Devi) was found near the Tulasi plant in his garden, and Periyalvar brought her up as his daughter. Andal as an ardent devotee of Vishnu, continued the divine service of Periyalvar.  She learned from her father’s teachings of the Vedas and Vedanta and soon became an accomplished scholar of dharma. She composed great works, and is revered as one of the twelve alvars. You can read more about Andal in this sublime essay.

Āṇḍāḷ – The Girl Divine

It is said that Periyalvar spent his last mortal years in Thirumaliruncholai and at age 85 reached the lotus feet of his deity he had served from birth. This is a brief biography of the peerless Periyalvar. Let us remember the twelve alvars who dedicated their lives to dharma and brought the genuine message of love and peace to the common people through their shraddha and sadhana.

The Twelve Alvars

Poikai Alvar

Puttatalvar

Peyalvar

Thirumalicai Alvar

Nammalvar

Maturakavi Alvar

Kulasekaralvar

Periyalvar

Andal

Tontaratippotialvar

Thiruppanalvar

Thirumankai Alvar

The divine songs of the twelve Alvars form the Nalayira Divya Prabandam. The songs of the Alvars and Nayanmars sung in the native language of Tamizh cut across all classes of the society to touch all people of Tamilnadu. Eventually the Bhakti movement of Hinduism spread all over India and profoundly influenced Indic thought. The Alvars and Nayanmars are a major reason for the unbroken dharmika beliefs of Tamizhs and the prosperity of தமிழ் மொழி itself, which continues to this day. It is simply not possible to fully understand Tamilnadu’s dynamics until one comprehends the depth of its diverse dharma traditions.

A brief review of two important works of Periyalvar is presented noting that this can only be a layperson understanding of the profound ideas they contain. The references and recommended reading at the end of the post may guide readers deeper into these sacred works.

Thirupallandu

ThiruPallandu comprise the opening verses of the sacred Divya Prabandam and has 12 pasurams, each of which end with the words ‘Pallandu Pallandu’ (many, many years). In Tamizh, the prefix ‘Thiru’ signifies the qualities of divinity, sacredness, and respect. The first Pasuram has two lines and the remaining have four lines each.

Embedded within these verses are the deepest truths of Vendanta. A remarkable aspect of these verses is that the devotee’s plea to Mahavishnu is not for himself, but for the welfare of the supreme deity Vishnu. And since Narayana is the One, ultimate reality as Periyalvar explained with Pramanas in the Pandyan capital city, as a layman reader we can understand this plea as one that is automatically for the welfare of everything within and without the cosmos.

The linked video provides brief English translations for each of the 12 verses. A simple translation of the first verse is given below.

“For many years, many years, many thousands of years, many crores of hundred thousands more, The Gem-hued One with mighty shoulders that defeated wrestlers, may your blissful feet (entire form) be well protected and safe.”

Scholars say that just like the Pranavam/Omkaram is chanted before and after the Vedas are recited, so too is the Pallandu, whose depth and meaning is like the Omkaram, chanted before the Divya Prabandam. Vishnuchittar, ardent devotee of Sri Vishnu since childhood, and then a celebrated Vedic scholar after his discourse in the Pandya King’s court, became revered as Periyalvar after reciting the Pallandu. It can be asked how and why this pride of place is given to Vishnuchittar, who was not the first Alvar. Dharma scholars have responded and shed light on a truly remarkable quality of Periyalvar:

When mere mortals and Bhaktas appear before their deity, the request is usually for the all-powerful Bhagavan to protect them and guide them along the path of dharma. But Vishnuchittar asked not for his own protection or guidance, but instead, asked for the welfare of the all-powerful. He is concerned about the well-being of his lord and sings the Pallandu. The thought does not cross his mind, even for an instant, about his ‘status’ and ‘propriety’ and ‘rationality’ behind his request to protect the One who is the supreme protector! Scholar Pillailokaachaariyyar [1] explains this apparent paradox, noting that in the Jnana stage, the protector-protege state remains, and is transcended in the Prema stage where this relationship is reversed by the overflowing love and immeasurable affection of the devotee for the lord.  Periyalvar is doing his Mangalaasaasanam to the lord, just as in the Ramayana, the noble Jatayu blesses the divine and all-powerful Sri Rama. The Srivaishnava tradition recognizes Jatayu as Periya Udaiyaar and likewise, Vishnuchittar became Periyalvar and the wise elders accept the Thirupallandu completely.

Scholars note that this Thirupallandu tradition can also be seen in the pasurams of Thiruppavai composed by Periyalvar’s daughter, the divine Andal.  They also state that within the twelve pasurams of the Pallandu [1], the “essence of the Vedanta has been concisely rendered and the meanings of the Thirumantiram and Arthapanchakam are also provided succinctly.” There exists a long tradition of the musical rendering of the Pallandu, and as mentioned in the Thiruppavai, the singers were known as ‘Pallantisaippar’ [1]. Bhakta-scholars who experienced the depth and beauty of the Thirupallandu wonder if there is any art comparable to this work and if there is anyone comparable to Periyalvar?

Periyalvar Thirumozhi

Periyalvar’s work has a total of 461 pasurams (473, when we include the Thirupallandu) celebrating the young Sri Krishna starting with his birth and continuing through his divine childhood pranks and events of his early youth. There are 43 Patikams each with 10 or 11 pasurams, with each Patikam considered a Thirumozhi. There is a total of 5 decads (sets of 10 Thirumozhi).  In these verses, Periyalvar’s affection for little Krishna, avatar of Mahavishnu, knows no bounds and such is his goodness, such is the integrity of Periyalvar’s devotion that he transcends powerful worldly identities including ‘Jati’ and ‘gender’ to speak of his blissful experiences of the childhood of Krishna as his mother Yashodha, and as the gopikas who adore Krishna. When we listen to the verses, we do not hear Periyalvar the towering scholar and accomplished poet; we simply behold mother Yashodha in front of us bathing little Krishna, singing to Kannan, pleading with him, in awe of her boy, admonishing the divine child for his mischief. It is difficult to find a parallel to this, as another great devotee of Sri Krishna, the Bhakti poet-saint Surdas would later sing: “jo sukh Sur Amar-Muni duralabh, so nandabhamini paavai” – This joy that Yashodha experienced is so special and rare, it cannot be attained even by the Devatas and Munis.

A refocus on these contributions of Periyalvar and Andal would greatly benefit a world that is increasingly divided by gender and class wars and losing itself in a maze of identity-driven dualities.

The above ‘Manikkam Katti’ verse is part of a cradle song (தாலாட்டு பாடல்) sung by mother Yashodha as she puts Kannan to sleep in an ornate gem-lined golden cradle. She sings a lullaby to the divine baby ensconced within this small cradle while recalling his Vamana avatar whose strides measure the cosmos! [6].

The verses are full of genuine ‘Krishna-consciousness’ and those fortunate enough to listen to the Thirumozhi without distraction will surely experience bliss too. Such verses could only have emerged from the deepest realized experiences of Periyalvar, and like we saw with Kavichakravarthi Kamban and his Ramavataram before, the literary artistry does not come across as a separate material addition, but could only have poured out of Bhakti and Consciousness.

Two examples from the Thirumozhi are given below to bring out some interesting literary aspects of its poetry.

This above verse is focused on Krishna the cowherd who is grazing the cattle and wearing a traditional pendant made of peacock feathers. It is but one of the many verses that is at ease with the folk language, rural themes and traditions, which is very different from the western ‘ivory tower’ erudition that is intended for an academic audience. The verses often include common dialect, and in other places introduces Sanskrit words that are understood and used by Tamizhs. Scholars found several Tamizh words that have no direct English equivalent and have to be retained as is the English translation as Tamizh non-translatables. The commentators note the clear influence of folk literature that makes this work accessible to everyone.

The part-verse shown above is an example of the use of simile by Periyalvar. He transforms an everyday, common creature like a lizard into poetic delight. He compares the effortless compactness and firmness with which Kannan wears the sword on his waist to the grip of a lizard on the wall without any gap. ‘To be so is the lizard’s nature’ [1].

Scholars note that Periyalvar’s work is of the highest caliber in skill, imagination, emotion, and poetic expression. Beyond aesthetics, scholars have also explained how the verses reflect Vendantic concepts and Srivaishnava philosophy. They note that this ending pasuram below brings out a profound concept of Vishishtadvaita, where Periyalvar ultimately places himself in the lord who also resides within him.

 

What is presented here is a mere glimpse of the contributions of Periyalvar. Let us listen to the Thirupallandu and Thirumozhi and recall Periyalvar whose enlightened thoughts and steadfast Bhakti continue to guide generations of Tamizhs and dharmikas all over the world.

The book by Thiru M.P.Srinivasan can be purchased here.

 

References and Further Reading

  1. Makers of Indian Literature Series. Periyalvar. M.P. Srinivasan. English translation by Padma Srinivasan. Sahitya Akademi. 2014.
  2. Vedics.org: Thirupallandu.
  3. https://4000divyaprabandham.wordpress.com/category/2-periyalvar/periyalvar-thirumozhi/
  4. https://alvarsandacharyas.blogspot.com/2007/02/peria-azawar.html
  5. http://divyaprabandham.koyil.org/index.php/2015/11/thiruppallandu-12-pallandu-enru
  6. Periyazhvar Thirumozhi: Sublime Hymns of Mystic Consciousness. Vankeepuram Rajagopalan. 2008.

Acknowledgment

TCP thanks dharma scholar Smt. Prakruti Prativadi for her critical feedback. Any error in this article belongs solely to its author.

Tamil Nadu: The Land of Vedas – Part 1

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The Sangam Era

‘Tamil Nadu: The Land of Vedas‘ is Dr. Nagaswamy‘s latest publication in a long series of scholarly works studying the history and culture of Tamil Nadu. Nagaswamy’s several decades of contributions in this area have lead to a better understanding and awareness among the people of Tamizh kalacharam in particular, and Indian Sanskriti as a whole.  Through this book, Nagaswamy demolishes several ill-formed and spurious assumptions and claims regarding Tamizh culture, history, and language that have been postulated in the last century. Leading Hindu and Indian-American intellectual Rajiv Malhotra, in this video below, shares his thoughts regarding the importance of this work.

New TV serial on Aryan/Dravidian conflict expected soon on Star Plus. Goldie Behl producer-director. I plead them to pause the project & consult scholars rather than politicize irresponsibly based on myth-makers & breaking India forces. This could be serious so please get involved in a responsible manner. Rajiv Malhotra

Posted by Rajiv Malhotra on Saturday, August 20, 2016

TCP painstakingly curated the content of Dr. Nagaswamy’s important talks demonstrating the fundamental dharmic links between Tolkappiyam, Silapathikaram, and Natya Shastra as part of a two-part series that demonstrated an integral unity between Tamizh and Sanskrit traditions. In the process of understanding the nature of this unity, it becomes evident that the culture of Tamizhs, while distinct, is not separate from other regional cultures in India since ancient times. Many of Nagaswamy’s prior works, including his lectures, are focused on this remarkable consonance between Tamizh and Sanskrit. In this new book, his research, expertise and wisdom come together to bring to the reader a fascinating and factual description of the Vedic culture of the Tamizh land. In doing so, his work reaffirms the philosophical unity of Bharatvarsha. This book is a fact-driven work representing several decades of research by Dr. Nagaswamy in four different areas:

  • Literature
  • Epigraphy and Inscriptions
  • Ancient Structures and Monuments
  • Darshana / Philosophy

The magnificient ancient temples of Tamil Nadu, with their proud Gopurams, majestically proclaim to the world that the land on which they stand is the land of dharma and Vedas. There is also a massive amount of historical and literary data directly attesting to the dharmic and Vedic basis of Tamizh society since ancient times. For example, Nagaswamy notes that the organization of Tolkappiyam, the first Tamizh grammar work, and its rules, is reflected in Vedic Pratisakyas and Paanini’s grammar, as shown by P. Subramanya Sastri. Furthermore, the marriage of Kannagi, the main character of Silapathikaram was conducted as per Vedic rites. Ancient Tamizh kings invited and rewarded thousands of meritorious brahmanas by providing them residences and land grants. It is worth noting that the necessary and stringent qualifications imposed by the Kings here. Rewards were not simply bestowed on the basis of birth, but required the individual to exhibit good conduct, maintain their vow of poverty, be a living embodiment of the Vedas, and demonstrate their adherence to dharma.

This first post briefly summarizes some key comments and insights provided by Nagaswamy in the chapter on Sangam literature.

link source: globalsecurity.org
link source: globalsecurity.org

Purananooru (Puram Anthology)

  • First two songs

This collection of poems has been recognized as the most authentic record of ancient Sangam literature without any latter additions. Nagaswamy points out to us the rich Vedic tradition and dharmic concepts present in this anthology which seamlessly spans the material and sacred domain. The first prayer song is attributed to Perumdevanaar who sang the Mahabharata in Tamizh, and the second to Mudinaagaraayar, the earliest known Tamizh poet in history. This latter fact is known to us thanks to Tamizh Thatha (grandfather) U. V. Swaminatha Iyer’s work with palm leaf manuscripts.  Legends like UV Swaminatha Iyer and Dharampal, through their decades of tireless seva, are true Bharat Ratnas. Mudinaagaraayar praises a Chera king in this song as a participant of the Kurushetra battle between the Kauravas and Pandavas. Nagaswamy’s commentary is extremely powerful and important, clearly bringing out the integral unity of India. He notes that even if this is were a case of poetic exaggeration, “it still makes clear, that this Tamil king did feel he was a part of this country and did not stand in isolation. The reference to Mahabharata war the king’s participation would show that the epic was a part of Tamil ethos at the very beginning of Tamil history, is an identity but not isolation. The Tamil territorial division and linguistic difference did not make them followers of an independent culture, but remained one with the rest of the country. Each region of India had its own boundaries and different dialects, but the culture remained one and the same‘. This song gives the Vedas a sacred and venerated place.

  • Avvaiyaar

The lady saint and poetess Avvai is deeply respected in Tamil Nadu to this day.

The lady saint and poetess Avvai is a most respected and revered saint of Tamil Nadu. A Sangam poem (in the puram anthology) describing the Rajasuya Yaagashaala by a Chola king was sung by her. The Chola king invited the Chera and Pandya king to attend, and both accepted. Thus we have the three crowned kings of Tamizhakam of the Sangam era participating in a sacred Vedic Yagna. This amazing sight gladdened the heart of Avvaiyaar, and led to the composition of the poem. The trinity of kings are recognized as the direct representatives of Tamizh society and its culture, as noted by Nagaswamy, and is emphatically expressed via the Tamizh saying “Mannan Uyirte Malar Talai Ulakam.  The king is the living embodiment of the nation. In her poem, the great Avvaiyaar notes that the the kings honored meritorious Brahmanas following a specific custom that is prescribed in the Dharmashastras. Avvaiyaar has praised the Vedas in her songs.

  • Yagnas and dharmayuddham

Poet Nettimaiyaar in verse 15 in the Puram section praises Pandya king Peruvaluti for the completion of many Vedic Yagnas as prescribed in the Vedas and directed by the Dharmashastras. These Yagnas were not merely ceremonial and occupied an important role in Tamizh life, and were guided by Vedic Brahmanas of the Sangam era.  This is also seen in Avvaiyaar’s poem and even the Tolkappiyam. This fact demolishes any claim of Vedic priests not being present in the Sangam era. In fact the Tamizhs performed two types of Vedic Yagnas (Velvi). The Kala Velvi is performed by the farmers who follow their dharma, and the Mara kala Velvi is done by the kings after victory in the battlefield, who followed the kshatriya dharma. Thus the farming and warrior communities of the Sangam era commemorated and celebrated their successes by connecting to and dedicating their work to the divine via Vedic Yagnas. The poem refers to the marriage festival as Vaduvai, which is derived from the Sanskrit term for marriage.

Battles were fought by Tamizh kings in accordance with the dharmasastras, for e.g., ensuring that innoncents were not killed, with due warning given to civilians so that they could ensure their safety before the battle started. The Tolkappiyam states that the warring kings had to make sure that women, children, Brahmanas, the sick, and the cows would be protected.

  • Respect for Brahmanas in Tamizhakam

Puram poem 43 mentions an interesting episode that highlights the need to respect a group of Brahmana Rishis who were revered for their sacrifices on behalf of humanity. To teach a Chola prince who insulted such a Brahmana, the story is told by a poet of the great King Sibi who followed the path of dharma and whose self-sacrifice astounded even the selfless Rishis.

link source: university4children.blogspot.com
link source: university4children.blogspot.com

Sibi was recognized by the ancient Tamizhs as an ancestor of Cholas. This story is also known in the Jataka tales of Buddhism that originated far north, and is praised in the Silapathikaram and later Tamizh poems. Clearly, there is no trace of north-south divide here.  The prince realized his mistake, and poet too relented. The poet blesses the land with prosperity as long as the sands of river Kaveri remain.

  • Karma and reincarnation

Karma and Maru Janmam (Punar Janam, rebirth) are two non-negotiable beliefs held not just Hindus, but also by Jains and Buddhists. These are fundamental truth claims of dharma thought systems. Puram poem 27, sung by Saatanaar, an adviser to the Chola king, echoes this belief, and clearly this was part of the ancient Tamizh culture and belief system.

  • Vinnantaayan

Nagaswamy cites verse 166 sung by Avur Mulam Kilaar in praise of a Brahmana named Vinnantaayan (Vishnu Dasa) of the Chola country, as a very important one for understanding the Vedic studies in Tamil Nadu. Nagaswamy notes “this poem points to the immense faith the ancient Tamil society had for Brahmanas as leaders among the men of knowledge“.

Vinnantaayan is praised for as performer of a variety of Yagnas and as a descendant of the foremost men of learning who were well versed in the dharmasastras.  His family had studied all four Vedas as well as the six Vedangas. The  Sangam Tamizhs were familiar with the visualization of the shandangas as six limbs of the body:

  • Kalpa (hand)
  • Chandas (leg)
  • Jyotisam (eye, Kanakku in Tamizh)
  • Nirukta (ear)
  • Siksha (nose, Brahmam in Tamizh)
  • Vyakarana (mouth)
Note the word 'Kanakku' or calculation in Tamizh for Jyotisam. Vedanga Jyotisha contains Ganita (calculation).

Vinnantaayan did a Purva-Paksha of other dharmic systems that refuted some aspects of the Vedas, and is known to have debated and defeated several such opponents using brilliant arguments. Thus we see Sangam Tamizhs were not only followers but also leaders and defenders of India’s Vedic tradition.

Nagaswamy states that this poem provides an example of Vedic lifestyle in Tamil Nadu at the start of the first century CE, i.e., around 2000 years ago, and that were many such Brahman families living in the Kaveri delta at the time. Sangam literature also highlights the centrality and sacredness of Kaveri to Tamil Nadu, which remains to this day.

  • Taittiriya Upanisad

Pulaviyanaar’s song about the famous Pandya king Nedum Chezhiyan is recognized by Nagaswamy as another important one that depicts the Vedic basis of ancient Tamil Nadu. The poet while celebrating the king’s victories as a vanquisher of the nation’s enemies, exhorts him to also be a protector and sustainer of people, noting that this is the way to everlasting fame. The passages in the Taitreya Upanishad highlighting the importance of food, light, and water are then translated into Tamizh by the Sangam Poet and sung in the aftermath of the battle of Talaialanganam where thousands of lives were lost. Nagaswamy notes: “this is perhaps the earliest translation of the Taitreya Upanishad, Brguvalli, in any regional language. This is an important illustration of Vedic Upanishad absorbed in the earliest of Tamil literature and expressed in lovely Tamil. It is also an unimpeachable evidence of amalgamation of Vedic and Tamil culture… The poem also proves the Tamil society is irrefutably based on the four “Purusharthas” (the four foundational pillars Dharma, Artha, Kama, Moksa) of the Vedic tradition.”

We have discussed just a few snippets from a large body of amazing facts in this chapter that includes discussions on:

  • Van Paranar
  • Pattiru Pattu
  • Patthu Pattu
  • Ain-kurunuru
  • Paripadal
  • Dating sangam literature
  • Natural evolution of sanskrit
  • Copper plates, hero stones, Pulmkuruchi inscription
  • Stratigraphic evidence

Beyond all this direct material evidence, we find within the conduct and expressed beliefs of all illustrious Tamizh saints and scholars since ancient times, an unswerving commitment to Satya, the Truth, that is the foundation of the Vedas and Indic civilization.

https://youtu.be/NLQhKMtG3ik

We will continue this discussion in Part-2.

Tamil Nadu, The Land of Vedas is available for purchase at the Tamil Arts Academy, Chennai.