Sivapuranam in English
Sivapuranam in English
Sivapuranam in English
or
The Sacred Utterances
**
by
Rev. G.U. Pope
**
Oxford, Clarendon Press, 1900
Here all the Tamil lines are of four feet, except the last, which has three only. The connection is Vendalai. The metre is
venkalipa.
SALUTATIONS
Hail, the five letters! Hail, foot of the Lord !
Hail, foot of Him Who not for an instant quits my heart !
Hail, foot of the Guru-pearl that rules in GOgari !
Hail, foot of Him Who becomes, abides, draws near as the Agamam !
Hail, foot of Him, the One, the Not-One, and the King ! (5)
Victory to the foot of the King, who soothed my soul's unrest and made me His !
Victory to the jewelled foot of Pijjagan, who severs continuity of birth !
Victory to the flower-foot of Him Who is far from those without !
Victory to the anklets of the King, rejoicing 'mid those that fold adoring hands !
Victory to the anklets of the glorious One, who uplifts those that bow the head ! (10)
INTRODUCTION
Because He, Civan, within my thought abides,
By His grace alone, bowing before His feet,
With joyous thought, Civan's 'Ways of Old' I'll tell,
That thus my former 'deeds' may wholly pass. (20)
EPITHETS OF PRAISE
Spotless splendour ! Brightness of full-blown flower !
O Teacher ! Honied ambrosia ! Lord of Civa-town !
O venerated One, Guardian, Looser of PAcam's tie,
Working in grace of love, that in my mind delultion may die out ! (65)
Great river of exceeding tenderness, with ceaseless flow !
Ambrosia that satiates not ! Infinite, almighty Lord !
Light unseen that lurks within the souls that sought Thee not !
Thou Who abidest in my soul, till melting waters flow !
Thou Who art without pleasure or pain, Who yet hast both ! (70)
Loving to loving ones ! Effulgent One, Who all things art,
And their negation too ! Great Master, whom no darkness gathers round !
First One, Thou'rt End and Midst, and art devoid of these !
Father, Lord, Who drew'st, and mad'st me Thine !
Eye of the minds that see by keenest glance of wisdom true, (75)
Hard to be eyed ! Subtle understanding, none can scrutinize !
Holy ! Who comest not, nor goest, nor mingling liv'st !
Guardian who guardest us ! Great Light whom none can see !
Flood of delight ! Father ! Light of all passing splendours
That appear ! Unutterably subtle Intellect ! (80)
Of all that in this world diverse pronounced as truth
Is known, Thou art the knowledge sure ! Full certitude !
Precious ambrosia, fountain welling up within ! My Owner Thou !
PASSIONATE INVOCATION
I can't endure, our Guru, in this changing straitened frame to 'bide.
Aran! All Thy saints made true invoke Thee, (85)
Worshipping abide, and praising Thee, from falsehood freed,
Hither return no more ! That deeds and birth cling not,
To sever bonds of this deceitful sensuous frame the might is Thine !
Lord who dost dance, trampling dense darkness down !
Dancer in Thillai ! Dweller in the Southern PAndi land ! (90)
Thou Who dost cut off evil birth ! - Adoring ever, Thee they name,
Whom words declare not; then 'NEATH THY SACRED FEET
THEY LEARN THE MEANING OF THEIR SONG. The blessed ones
In Civan's town who dwell, - full many a one, - beneath
The feet of Civan, lowly bending utter praise. (95)
-------------------
Hymn II: CIVAN'S FAME
-----------
Hymn III: thiruvanndappahudi
This poem has an introduction of twenty eight lines, after which the praises of Civan are intermingled with
somewhat intricate but ingenious allegories. The whole partakes of the nature of a rhapsody, - not without some
sublimity, - and can be fully appreciated by those only who have studied the whole Caiva system as shown in Notes I-
XVII. It is an imitation, it would seem of the Sanskrit Catarudriya or Hyme to Rudra. Yet, Civan - the Auspicious -
is imagined by the Tamil Caivaites quite otherwise than by the northern and more ancient authorities Civan in the
south is the Guru, the friend, ulmost the familiar companion, of His votaries, and is addressed with a mixture of awe
and of simple affection that has a peculiar effect . Through all MAnikkaVacagar poems this personal relation of the God
as manifested Guru to His devotees or disciples is, of course most prominent. I am not aware of anything quite like
this in the mythology of the north though among the worshippers of Vishnu in His various incarnations something
analogous may exist.
Here lines 1-12 are very intricate, and emphasize two thoughts (1) that the Supreme in His greatness embraces
all, and pervades the minutest things in His universe; and (2) that He is the unique Being, whose wondrous and
admirable sublimity is not to be fully comprehended by any finite beings, gods or men. The two epithets the the Great
One (line 6), and the Beautiful one. (line 12). The idea of lines 13-16 is peculiar to the Caiva system, which teaches
that there are three great processes carried on by Civan, the Supreme, in the Universe. In the beginning of each aeon He
evolves the phenomenal universe, and through countless ages sustains it as the theatre of births and deaths - of the
whole drama of metampsychosis; and at the end of each aeon He involves the phenomenal universe in its primal
elements. These three processes of evolution,conservation and involution, are commonly assigned to three deities, of
whom BrahmA is the Creator, Vishnu the Preserver, and Civan the Destroyer. This however was seen to give to
Civan an office apparently inferior, and certainly less gracious, than that which belongs to the other Gods. The South-
Indian Caiva system boldly faces this difficulty. According to it there is really but one God. He is called, among
many other names, Civan 'the Blessed One'. Vishnu and BrahmA and the other so-called gods are but dependent 'souls'
like the rest, and at the beginning of each aeon their place and office for that aeon are assigned them by the Supreme as
the result of merits accumulated. The BrahmA of the present aeon is the Demiurge or fashioner of The evolved
Universe: he puts it into shape, and is the mere agent of Civan. This system invites us to contemplate the universe at
the beginning of each aeon awaiting the action of the Supreme. Existence is eternal; it is subject to what are called
deluges, or overhelming catastrophes, in which all the heavens, and all the regions of the abyss, all worlds, and all
beings are restored to their rudimental condition, after which, by the will and operation of Civan they resume their
normal manifestations. What exists at the beginning of an aeon First, we have the Lord, Pathi, Sivan, PerumAn. He
is the First Cause of all things;the only God.
Inseparable from Himself, dwelling in Him,is His personified energy or Sakti --- his bride said to be the
originator, source, fountain, beginning of all emotion, action, wisdom, and grace. Secondly, we have Souls, lives,
atomic existences,the flocks, pacu. These have now no embodiment , no powers, energies, or faculties,abiding like
birds sleeping in the night on the branchces of some mighty tree, hardly to be distinguished from the tree itself, save
that they live. These are definite in number, and are eternal; no addition can ever be made to the number of souls that
are alive in the universe, none of them can ever die. Since, as we shall see, these may gain absolute identification with
Civan-PerumAn and thus be embodied no more, the number of embodied souls diminishes; but no soul ceases to exist
even after obtaining release, and being taken into God. It may be, according to this system, that the time shall arrive
when all embodied lives have obtained release, and then the worlds will for ever cease and Civan be all in all. Each of
these souls has its load of deeds which are stored up, and are a’ parte ante, eternal; the result of which, in pleasure or
in pain, each soul in some embodied form must experience. As the Caiva system says, The fruit of deeds must be
eaten'.
These souls, at the beginning of each aeon, crouch waiting for their embodiments. There are now no evolved
worldsno heaven, no hell, no gods and demons, men. All these have been, and shall be,but now are not. That
SOULS may be furnished with embodiments, and with worlds in which they may experience their fate, we have
thirdly, the Bond, pAcam the eternal material cause of the creation. This is threefold, pure maya, impure maya and
prakrithi, the of offspring of the latter, which is undefined. These three categories PATHI, PACU and PACAM - which
we call roughly 'The God, SOUL AND MATTER' Are the subjects expounded in the Caiva Siddhantha Philosophy.
Civan's palpable and subtle existence
Lines 66-95 are well nigh untranslateable, for they contain a subtle and intricate allegory, by means of which the grace
of the manifested Civan, who is praised under the title of the 'Cloud' is set forth. The idea is that the Infinite sea of
rapturous supreme felicity is Civan, but - as the Cloud in the monsoon season sucks up water from the sea, and rises in
black masses that cover the sky, while all the phenomena of the wonderful outburst of the beneficient, but also fearful,
monsoon are exhibited - so does the Supreme manifest Himself as the Guru, the Object of Love, and Give of grace to
His worshippers. In the monsoon season, lightnings flash from one end of the sky to the other, crested torrents sweep
down over the hills, bearing with them uprooted plants and trees, and not unseldom huge snakes that have been
disturbed from their rocky mountain hiding places. The various kinds of 'Gloriosa' spread forth their beautiful flowers
like supplicating hands, while every valley and hollow is filled with water. Meanwhile, as the heat is most intense just
before the burst of the monsoon, the poet pictures a troop of thirsty antelopes, deluded by the mirage which seems to
offer them refreshing streams and shade: disappointed they are left to die of thirst in the wilderness. Meanwhile the
pain of the fierce heat has ceased. Down the gorges of the hill the torrent rushes, and is received into tanks prepared for
it by the expectant husbandmen. These lakes are fragrant with beautiful flowers, and on their banks the maidens have
kindled fires with aromatic woods, at which they dry their hair and garments after the refreshing bath. The cultivators
may now sow their seed and expect a rich harvest. All this is the work of the black clouds which drew water from the
sea to fertilise the earth. In these lines every particular of the description has its mystical meaning, which hardly needs
illustration. The student will compare VII, 61-64.
Ascriptions of Praise
Praises
Seeming one thing, then not, eluding knowledge, Thou dost hide Thyself !
When e'en of old I strove to find Thee, when to-day I strive, (140)
Thou hid'st Thyself, Deceiver ! But we've found Thee now !
Worship
Rapture
Kinsman,-praise ! Life,-praise !
Glory,-praise ! Bliss,-praise !
O Cloud,-praise ! O Bridegroom, praise !
Spouse of Her whose feet are soft,-praise !
I, a cur, Thy slave am perplexed,-praise ! (185)
Our Master Thou, all dazzling bright,-praise !
Eye apprehending forms diverse,-praise !
King, dwelling in the circling, sacred town, I praise !
Lord of the mountain land,-praise !
Thou in Whose locks is the crescent moon,-praise ! (190)
Blessed Lord of the sacred Eagle-mount,-praise !
Aran of hilly PUvanam,-praise !
Formless, in form revealed Thou art,-praise !
Mountain of mercy ever nigh,-praise !
Light transcending utmost bound,-praise ! (195)
Clearness, hard to understand,-praise !
Ray of the flawless Gem, praise !
Loving to those Thou mak'et Thine own,-praise!
---
Hymn V - thirucathakam
This remarkable poem contains a hundred especially flowing and harmonious verses of varying metres. These are
divided into ten decades, and the whole are connected by the law which requires that the last word of each verse shall
begin the following verse. The whole ten lyrics with their hundred verses are thus linked together. This arrangement,
which is very common in Tamil, is called AnthAthi, which I venture to translate 'anaphoretic verse'. This cento is
intended to exhibit the progress of the soul through the successful stages of religious experience till it loses itself in the
rapture of complete union with the Supreme. The general titile given by one editor is equivalent to 'The Varying
Phases of Religious Enthusiasm' at least this is the nearest expression for it that I can find in English. The poem is
supposed to have been composed in Tiru-peran-turai immediately after the departure of the Saints, for some time
MAnikka-VAcagar's companions, who passed through fire and went home to Civan. From the border of the tank,
where the divine conflagration had arisen, into he midst of which his companions had thrown themselves, he returned
to the Kondral tree, where he spent a long period in solitary meditation, of which these poems are the sum. He surveys
his past experiences, contemplates the work assigned him and while he begins the series of sacred poems by which he
was to establish the Caiva system n the hearts of his fellow-countrymen, he never ceases to complain in most touching
language, that he is not permitted at once to follow his Master and brethren into the rest and glory of Paradise. This is
indeed the burthen of much of his poetry.
The titles of the ten decades, into which the poem is divided, indicate in some measure the course of his thoughts
and the character of his mental conflicts. There is a most pathetic alternation of rapturous and realising devotion with
coldness and apathy, and even, it seems of temporary abandonment to gross sensuality. It is to be doubted whether the
whole of these verses are of one period, and I should prefer to think that they really embody his meditations and
solloquies up to the period of his final settlement in Cithambaram.
DECAD 1.
DECAD II
DECAD III.
DYING TO SENSE AND SELF.
This decad describes the mystic experience known by Caiva Siddhantha, as NAna-Carithai, in which the devotee,
though able to discern God in and above and beyond all things, continues to perform outward rites (Carithai) and to
avail himself ofall means of grace. See Civa-PragACam II.48. Since Civan so deigns to manifest, and yet vell, His
presence, the devotee is assiduous n performance of all prescribed acts of worship, while his soul transcends the visible,
and by NAnam (in this connection = divine faith) sees God.
XXX. Triumph
The GOD OF GODS, to king of gods unknown;
King of the ' Three '; what teeming worlds create,
Preserve, destroy; the First; Essence divine;
the Sire of sires; Fa,ther, whose half the Mother is;
The King of all ! He came, and made me, too, His own.
Henceforth I'm no one's vassal; none I fear !
We've reached the goal; with servants of His saints
in sea of bliss we evermore shall bathe ! (120)
DECAD IV
DECAD V
XLIX. An appeal.
My bonds Thou loosed'st, mad'st me Thine ! And all
The loving saints -who ashes gave -beheld.
Thou didst exalt, within the temple court,
Ev'n me Thou didst exalt, who knew not anything. (196)
DECAD VI.
OVERFLOWINGS OF JOY.
DECAD VII.
LXI. Praises
I BEAR no more these joys of sense; Hail I CangarA !
Hail ! heaven's ancient Lord. Hail ! our Vidalai !
Hail ! Matchless One ! Hail ! King of heavenly hosts !
Hail ! Tillai's Dancer ! All hail ! our Spotless One ! (244)
LXII. Ectasy.
All hail ! Na ma-ci va ya ! Buyangan ! My senses fail !
All hail ! Na ma ci-va-ya ! Other refuge is there none !
All hail ! Na-ma-ci-va-ya ! Send me not forth from Thee !
All hail! Na-ma-ci-va-ya! Triumph, triumph, Hail! (248)
LXV. Praise.
Hail ! O CangarA, other refuge have I none !
Hail ! Partner of the Queen of glorious form, of ruddy lips,
And gleaming smile, and black bright eye ! Hail ! Rider on the mighty Bull
Here these earthly joys I bear not, Embiran,I all renounce ! (260)
LXVI. Prostration.
I have myself renounced, even I; Hail, hail, Embiran !
I have not done Thee wrong ! Hail ! Foot to which I service owe !
Hail ! Faults to forgive is duty of the great !
O cause this earthly life to cease ! Hail, Lord of heaven ! (264)
LXVII. Adoration.
Hail, Lord ! Hail ! Thou King of heavenly saints !
Partner of the Queen's graceful form, Hail ! Wearer of the sacred ash !
Hail ! Worthy Prince ! Hail ! Thou of Tillai's sacred court !
Hail! ! King of heaven ! My only Ruler, Hail ! (268)
LXVIII. Take me
Hail !, only Deity ! lncomparable Father, Hail !
Hail ! Guru of the heavenly ones ! Hail ! ! Tender Branch !
Hail, bid me come, receive me ! grant Thy Foot to gain;
And thus remove my lonely friendless woe ! (272)
LXIX.
Hail, to those who love with perfect love, Giver of love surpassing theirs !
Hail ! Greatness that oft my falsehood pardon'd, granted grace, and made me Thine !
Hail ! Prince, Who drank the outpoured poison,-to the heavenly ones ambrosia gave !
Hail ! Thy perfect Foot on me, a wretch, in grace bestow ! (276)
DECAD VIII.
MYSTIC UNION.
LXXVII. Pity me !
To me, a guileful soul, who thought to GAIN Thee, Lord, salvation save by Thee
Is none. No other Being truly is, save Thee ! Lest pining sorrow come,
In mercy to my sin, my soul vouchsafe to guard.
'Tis pitying grace like this alone RULER SUPERNE ! Thy glory doth beseem. (308)
ECSTASY.
LXXXII. Resignation.
Thou SPAK'ST to me, amid Thy saints with sacred ash I was besmeared;
By men on earth as Thy poor slave I've been abused; henceforth, if what
I suffer pleases not, 'tis what my soul desires, because I am
Thy SLAVE, whom Tho~ didst make Thine own ! (328)
LXXXVII. Failure !
O Master, give Thy slave to love Thy FOOT; Thy servants now have gained
The world from which they come not back; outside I have remained, I've tried
'To crown the village cow, and so have crowned the blind !' From love, of Thy twain Feet
Estranged, a slave I 'wildered WEEP ! (348)
DECAD X
XCVII. Devotion.
OWNER AND LORD, all hail! Besides Thyself
support to cling to hath Thy servant aught ?
I serve Thee, hail ! Transcendent Being, Lord
of those in heavenly courts who dwell, all hail !
Lowest of all have I become, all hail !
Giver.to me of every grace, all hail !
Thou Who didst make me Thine own servant, hail !
the First Thou art, and Last, my FATHER, hail ! (388)
C. Longing desire.
THY PRAISE TO SING I long, all hail ! Thee sing !
while all my being sinks and melts in love.
I long to dance, all hail ! in Thy blest courts,
before Thy flow'ry dancing Foot ! A dog,-
I long to join, all hail ! Remove me from
this nest of worms, all hail ! The false I long
To Ieave, all hail ! Grant me Thy home, all hail !
Hail Thou who art to THY TRUE SERVANTS TRUE !
Hymn 6
neethal viNNappam (prapanja vairakkiyam)
HYMN VI
This title, which forms the burthen of the poem, is given to one of the Sage's most interesting
compositions. It consists of fifty quatrains, constructed in a beautiful metre (see my Second
Grammar 192) which is in fact epichoriambic (as is explained in the notes to the Tamil text).
It is called AnthAthi poem. This means that it is anaphoretic, the last word of a verse is to be
repeated in the beginning of each following verse, and very often striking its keynote. Hymn V is
the same). This has a beautiful effect in Tamil, but the difference of Idiom often forbids translator
to attempt to reproduce it in English.
The poem throughout is a genuine human cry for Divine help in the midst of a terrible struggle
and is full of the most vivid emotion. It was composed, according to tradition, immediately after the
wonderful cento that forms the fifth poem, and gives expression to the youthful devotee's feelings
after his guru had finally departed, and the company of the 999 (?) saints who attended him had
thrown themselves into the fire. He is said to have gone round the Civan shrines in the PAndiyan
Kingdom, and first of all to have spent some considerable time in the ancient city of Tiru-uttara-
kOcamangai, which was at one time a PAndiyan capital, situate eight miles south-west of Ramnad,
where the ruins of an important Civan shrine are yet to be seen. There he suffered from the reaction
naturally consequent upon the excitement produced by the wonderful events of the preceding
months. He had been till now the petted, highly gifted favourite and prime minister of the
PAndiyan Kingdom living in the midst of pomp and luxury, invested with almost absolute power;
and was still in early manhood. He finds himself at once a Caiva mendicant, who has renounced
everything subsists on alms, and must spend his days and nights in solitary meditation.
Meanwhile the circumstances in which he finds himself placed the lives of his companions, the
whole environment of the temple, are not favourable to pure and high devotion. The lofty ideal is
not realized here. Then, as now, the influences surrounding and emanating from the shrine itself
were in many ways deteriorating. From the evidence of these verses, we conclude that there were
two things from which he suffered. One of these was the allurements of the female attendants who,
in bands pertained to the temple. We have noticed this elsewhere. Hindu commentators will often
find mystic meanings, which are harmless, - if unfounded. Again and again in this and other poems
he deplores the way in which he has been led to violate his vow. The other difficulty, often referred
to was the way in which mere ceremonial acts had to be performed, affording no relief to his
conscience. He thus fell into a desponding and well-nigh despairing state of mind, and sent forth this
cry like that heard in the Psalter, and reiterated by the greatest Being that ever trod the pathway of
this human life. Few things in literature have such a genuine ring as some of the verses in which
young noble bewails his apparent desertion by his Master. Yet he never quite lost his confidence
and love; and afterwards, as many of the lyrics show, exchanged for the 'spirit of heaviness the
garment of praise'.
I do not think that any one can be found who will withhold his sympathy from the Sage. It may
be noticed, though it is in connection with the Tamil text that the matter must be more fully
discussed, that there is a great difference, as it seems to me, between the style of the first twenty
stanzas (where indeed it may be conjectured that the poem originally ended) and those that follow.
Notably in verses 21-50 there is only reference to Uttara-kOca-mangai, which city in verses 1-20 is
a part of the perpetual refrain. These latter verses, too, are more ingenious and subtle, and are more
ful of poetic fancies. Sometimes, indeed, they may seem to be even more beautiful than those that
are the undoubted composition of the Sage. Their language, rhythm, and manner seem to me,
however, to be different. But I readily acknowledge the difficulty that lies in the way of all merely
subjective criticism, especially by a foreigner. Yet the exceedingly uncritical way in which these
texts have been hitherto handled necessitates and justifies the attempt.
The writer did a great part of these translations at beautiful Lugano, not unfrequently relieving
the toil by the enjoyment of an hour in the church of S. Maria degli Angoli, before the marvellous
frescoes of Bernardino Luini; and could not help wishing oft times that the Tamil Sage and Seeker
after God could have stood there, or haply knelt by his side. Could Manikkavacagar have traced
that history of the Great Master, of His passage from Gethsemane to the glory of His heavenly
dwelling place, how would he have been affected?. One wonders!. It may be that he, and the weaver
of MailApUr, and the wandering sages of the NAladiyAr, and others whose legends we recall, have
since, freed from the flesh, visited that spot. Certainly they know those histories now! Shall we not
in regard to our poet-sage, wherever his ashes are scattered, say hopefully and tenderly, Requiescat
in pace?
Metre: kaTTaLaikkaliththuRai
II.
The crimson lips of maidens fair, in ripeness of their charms,
I press no more; yet, Lo ! THOU HAST FORSAKEN ME; though in,
Not out Thy worthy service, UTTARA-KOCA-MANGAI'S KING,
I am ! Thou mad'st false me Thine, why dost Thou leave me NOW ? (8)
III.
A tree on river bank of dark eyed maiden's senses five
I rooted stand ! LO, ME THOU HAST FOKSAKEN; Thou who dwell'st
In ArUr's shrine renowned; O UTTARA-KOCA MANGAI'S KING !
Half of her form, the beauteous one ! Thou FOSTERER of my life ! (12)
IV.
Thou took'st me in Thy gracious FOSTERING hand; and then, withdrawn,
LO ! THOU'ST FORSAKEN me lost here; Thou Whose lofty crown
Bears the pale crescent moon, O UTTARA KOCA-MANGAI'S KING !
Thou radiant Beam as lightning seen 'mid sheen of GLISTENING gold ! (16)
V.
Like moth in GLISTENING flame, to those of gentle speech, long time
I fall a prey ! LO, THOU'ST FORSAKEN ME! In Thy flower-crown
Sweet bees sip fragrant honey; UTTARA KOCA-MANGAI'S KING !
Since with ambrosia of Thy grace to feed me I REFUSED ! (20)
VI.
Through ignorance I have Thy grace REFUSED; and Thou, my Gem!
Hast loathed me ! Lo, THOU'ST FORSAKEN ME ! My throng of 'deeds '
Suppress, and make me Thine, -O UTTARA-KOCA MANGAI'S KING !
Will not the great-soul'd bear, though little curs are FALSE ? (24)
VII.
FALSE me Thou mad'st Thine own, as though some worth I had; didst mend
Me, O Thou True ! LO, THOU'ST FORSAKEN ME! Thy throat is black
With swallow'd poison ! STATELY UTTARA-KOCA MANGAI'S KING!
O roseate One, Civan, who PUTT'ST AWAY my mortal pains ! (28)
VIII.
What is Thy way of glorious grace that PUTS AWAY my sin ?
I ask with awe; THOU'ST LEFT ME, -UTTARA-KOCA-MANGAI'S KING;
Before whose jubilant Bull flower-crown'd foes fearing fled !
The senses 'five' and fear in ways DIVERSE draw guilty me ! (32)
IX.
Like ant on firebrand lit at DIVERSE ends, sever'd from Thee,
Distraught, Lo ! ME THOU HAST FORSAKEN, Thou the only Lord
Of the vast triple world, strong UTTARA-KOCA-MANGAI'S KING !
Whose BRIGHT right hand uplifts the warrior's triple-headed spear ! (36)
X.
I gained access to Thy BRIGHT Feet, freed from this mortal frame !
Yet me who pine, THOU'ST LEFT; O UTTARA-KOCA MANGAI'S KING,
Around Whose beauteous flowery groves the swarms of beetles hum;
Thou Who with bow of might didst burn the city of, Thy FOES ! (40)
XI.
MY FOES, 'the five' deceived me; from Thy jewelled flower-like Feet
I parted; LO! THOU HAST FORSAKEN ME ! Thou honey of
My sinful soul ! O UTTARA-KOCA MANGAI'S KING !
O WORTH, Whose golden form gleams 'neath the hallowed ash ! (44)
XII.
O WORTHY ONE, Thou mad'st me Thine; by senses ' five ' deceived,
I worthless left Thee ! UTTARA-KOCA MANGAI'S KING ! And Thou
Hast left me ! Thou Whose mighty javelin slays Thy trembling foes;
Great SEA of clear Ambrosia given for worthless me to taste ! (48)
XIII.
As dog laps water from the lake, my soul Thy mercy's SEA
Quits not; me THOU'ST FORSAKEN, UTTARA-KOCA-MANGAI'S KING;
Who dost as in a home abide in those who leave Thee not,
Wine of the palm ! Ambrosia ! Gem ! My FLOOD of bliss ! (52)
XV.
Like one whose tongue amid the FLOOD is parched I gain'd Thy grace,
Yet sorrow springs; ME THOU'ST FORSAKEN; UTTARA-KOCA-MANGAI'S KING;
Who ever dwellest in Thy servants' hearts that Thee desire !
To me in guile immersed grant grace ! My joy is JOYLESS all ! (56)
xv,
With JOYOUS thought I saw Thy Foot, drew near, and gained Thy grace;
Yet am not free ! ME THOU'ST FORSAKEN, UTTARA-KOCA-MANGAI'S KING,
Whose flowery jewell'd Foot is Light of all true lights that gleam !
Father accessible ! Lord, Who didst make me all Thine own ! (60)
XVI
I wandered weary, none to say 'Fear not !' Like lightning's flash
Behold, THOU HAST FORSAKEN ME ! Thou Truth beyond compare;
Great UTTARA-KOCA-MANGAI'S KING, that like Thyself abides:
Like Mother Thou, like Father Thou, my soul's most precious WEALTH ! (64)
XVII.
O WEALTH ! Sole Refuge of my lonely heart ! By those who spurn
Thy glories fear'd ! Lo, THOU'ST FORSAKEN ME; - O Grace by eager heart
And true enjoyed; THOU KING OF UTTARA-KOCA MANGAI'S SHRINE,
With fair groves girt ! Darkness and light, this world and that, Thou art ! (68)
XVIII.
'Be with me ! Govern, use, sell, pledge me,' thus I cried,
Yet me, erewhile Thy guest, THOU HAST FORSAKEN, Who didst drink
The poison as ambrosia; UTTARA KOCA-MANGAI'S KING !
Thou healing Balm for those bowed down by 'changeful birth's' disease ! (72)
XIX.
Fire of Thy 'biding grace my sins' thick springing wood burns up,
Vidangan ! THOU'ST FORSAKEN ME; O UTTAR-KOCA-MANGAI'S KING;
Who dost destroy the root of human 'birth,' and make me Thine;
The hill-like elephant didst flay, and fright the Vanji-BOUGH ! (76)
XX.
Like climbing plant with no-supporting BOUGH, I wavering hung !
Lo, Tender One, me-tremblulg THOU'ST FORSAKEN; Thou Who dwell'st
Where heavenly ones come not; strong UTTARA-KOCA-MANGAl'S KING;
Thou Who art Ether, Earth, and Fire, and Wind, and watery FLOOD ! (80)
XXI.
Like little shrubs where elephants contend, by senses five
I've been sore vexed; lo, THOU, my Father, HAST FORSAKEN ME !
To sinful me commingled honey, milk, sweet cane, ambrosia,
LIGHT of my soul, -thrilling my flesh and inmost frame,-Thou art ! (84)
XXII.
The LIGHT Thou art: the White One, gleaming bright. with sacred ash
Besmeared. Lo ! THOU'ST FORSAKEN ME; Thou to Thy servants true
Art near; from others ever distant; hard to know; -
The Feminine, the ancient Male, the neutral One art Thou ! (88)
XXIII.
The form Thou gav'st I wore, in faults abounding, scant of love,.
Me, worthless slave, THOU HAST FORSAKEN, see ! But, if Thou leave,
I perish; none but Thee upholds Thy slave; Source of my being's bliss;
This clear perception hath Thy servant gained, Indwelling Lord ! (92)
XXIV.
Things true abiding, folly-stirred, for vanities I burn'd;
And THOU'ST FORSAKEN ME; Thou Who as robe dost wear the hide
Of fiery mighty-handed elephant !-I joys of sense
Seeking gain not, like ANTS that noiseless round the oil-jar swarm. (96)
XXV.
Like worm in midst of ANTS, by senses gnawed and troubled sore,
Me, utterly alone, Lo ! THOU'ST FORSAKEN; Thou Whom fiery death obeyed;
Whose fragrant flowery Foot the heavenly ones attain, and they
Who know; O MIGHTY One, Who from Thy servants partest not ! (100)
XXVI.
'When the GREAT waters fail, the little fishes faint; ' so reft of Thee
I quake. Lo ! THOU'ST FORSAKEN ME ! The moon's white crescent borne
On Ganga's wave, like little skiff on mountain stream,
Is hidden in Thy braided locks, -O CHOICEST GEM of heaven ! (104)
XXVII.
CHOICE GEMS they wore, those softly smiling maids; I failed, I fell.
Lo ! THOU'ST FORSAKEN ME ! -Thou gav'st me place 'mid Saints who wept,
Their beings fill'd with rapturous joys; in grace didst make me Thine !-
Show me Thy Feet, even yet to SENSE revealed, O spotless Gem ! (108)
XXVIII.
While SENSES made me quake, I trembling swerved to falsehood's way.
Lo ! THOU'ST FORSAKEN ME ! While heaven and earth the poison feared
From out the mighty sea, Thou madest it ambrosia; Home of grace !
Thy servant I, O Master, stand distraught; sole Worship of my heart ! (112)
XXIX.
Thyself from every fetter free, Thou freed'st me from all fault, O Sire,
Whose bow victorious is the mighty mount ! Lo, THOU'ST FORSAKEN ME !
Thy lotus-form the cassia's gold wreath wears; O matchless One !
By fivefold-evil am I stirred like milk by CHURNING STAFF. (116)
XXX.
The senses' fire burns fierce; I'm stirr'd as the cool curds by CHURNING'STAFF,
Lo ! ME THOU HAST FORSAKEN I Thou Who wear'st chaplet of skulls
And clustering wreaths of flowers, and the long entrails' twine; and dost Thyself
Adorn with ashes, and sweet sandal-paste, O ESSENCE PURE ! (120)
L.
ABUSING Thee or praising,-crushed by sin, and grieved am I !
LO! THOU'ST FORSAKEN ME, Thou Brightness on red coral hill !
Thou madst me Thine; didst fiery poison eat, pitying poor souls,
That I might Thine ambrosia taste,-I, meanest one ! (200)
-----------------
Hymn VII: thiruvempaavai
(Cattiyai viyantatu)
The mystic 'Song of the Maidens' forms a pendant to the 'Morning Hymn' (XX). It has always been attributed to
Manikka-vACagar without any hesitation, though in many respects it is certainly unlike most of his other lyrics. It is
said to have been composed for the use of the women at ArunACalam, among whom it is, and was, the custom to
celebrate with great demonstrations of joy a festival in honour of the god Civan and the goddess Catti in the month of
Margazhi, which corresponds to the second half of December and the first half of January. At that time the females of
the city of all ages for ten successive days rise before dawn, and perambulate the precincts, arousing their companions
from house to house, and proceeding to bathe (in rigidly decorous manner) in the sacred tank. There are passages in this
poem which I have been obliged somewhat to veil, and modify, carefully preserving, however, the full and exact
meaning of the original, as I conceive it. There is, however, connected with the Caiva worship, it must be said, a series
of rites which is sometimes called the tantric, and sometimes the Cakti system. No doubt, in connection with this,
many unspeakable abominations have been, and are at times perpetrated; and every thoughtful Hindu is sincerely
anxious that all trace of these corruptions should be swept away. In all nations Similar things have existed, and it
would be quite superfluous to enumerate the ancient rites of a similar character that have been enthusiastically
celebrated. From such things the Caiva system must sever itself absolutely, which it can the more decidedly do,
because they have no real root in the Caiva Siddhanta philosophy itself.
In one edition of these poems there is the introduction to the 'Maidens' Reveille,' which gives a mystic
interpretation to a large portion of the lyric. According to this author, from the month of Adi to the month of Margazhi
(i.e. from July 15th to January 15th) is the night season; the other half of the year being the daytime; the whole year
forming a single day of the Gods. The former half of the year, in which there is rain with black clouds, is the
representative of the secular period of involution or destruction, when all things have been re-involved in the ripple
veils of darkness, which period precedes that of the recreation, or evolution. The other half of the year represents the
period of creation, i.e. the time during which the phenomenal universe is re-evolved from its eternal elements as the
sphere of the activities of all things that have life. The month of Margazhi is then the symbol of the awaking of the
universe from its slumber of involution. It is the dawn of the new creation,— of secular evolution. [NOTE XIII].
Now this creation is the work of Catti, the manifested energy of Civan:—his wife, who is the author, not of life
indeed, but of the whole phenomenal system in which and by which life exerts its energy, and achieves its destinies.
Civan himself can come into no personal relation with matter and its veiling delusions and darkness. It is, therefore,
Catti that accomplishes the work; she is an energy of activity, of knowledge, and of desire; and through her alone the
Supreme evolves all things. But this tantric system, like the gnostic systems of old, does not permit Catti as the
Partner of the Supreme, to accomplish directly the work of evolution. This would be far too simple and direct for
Hindu philosophy. There is a long chain of feminine manifestations (aeons evolved in succession, each coming into a
relation to the Supreme that constitutes a distinct stage in the process; and it is only at last that BrahmA and Vishnu
are evolved, to be respectively the fashioned and the maintainer of the cosmic world. The writer here enumerates nine of
these Cattis amongst whom are numbered the chief female divinities that, under various names and epithets, are
worshipped or propitiated in various parts of India. Among them is the dreaded KAli. No doubt there are hints of all
this in this poem, but its plain and obvious interpretation is the only one known to the majority of those that use it,
and I imagine the composer himself was innocent of anything like the gnosticism and mysticism that his interpreters
have given him credit for. As the hymn stands it is a beautiful composition, but in some parts it will seem to be
somewhat obscure. I have tried to give a version that still be as literal as possible, but only the Tamil reader can feel
how great a poet its author was; and only the student of the South-Indian Caiva philosophy can expect to enter into its
spirit.
III.
O thou whose smile as pearl is bright, arise, present
thyself before the Sire, the blissful One, th' Ambrosial,
And with o'erflowing sweetness speak ! Come, ope thy doors !—
[She joins them. They enter the temple porch]
'Ye men devout, the Ruler's ancient saints, ye reverend men,
Will’t be amiss if ye our weakness aid, us novices admit ?' [in the temple]
No cheat is this know we not all Thy wondrous love ?
Who sing not what they beauty deem ? Our Civants form
ev'n so we yearn to see.—OUR LADY FAIR, ARISE ! (12)
IV.
[ They all henceforth sing their morning song to the goddess,
imploring HER to arise in grace]
O thou of radiant pearl-like smile, is't not now dawn ?
have not the sweet-voiced come, like parrots many-hued ?
Thus thinking, as is meet, we speak; meanwhile in sleep
close not Thine eye; let not thy time in vain be spent ! —
Sole Balm of heaven, the VEda's precious Sense, the Dear
to eyes that see, we sing, our melting minds
In rapture all dissolved; nor deem thou should'st remain
for ever thus asleep !—OUR LADY FAIR, ARISE ! (16)
VII.
Mother, are these too trifles? Many heavenly ones
know not, the One, the mighty glorious Lord.
Hearing His signals, ope thy mouth, and 'Civan ' cry,
Cry Southern-One.' Like was before the fire
Melting,—'My own, my King, Ambrosia,' we all
have sung! Hear thou ! apart from us yet dost thou sleep ?
Dost thou yet speechless lie, like the hard-hearted silly ones ?
What grace is in this sleep ?—OUR LADY FAIR, ARISE ! (28)
VIII.
While cocks are crowing, small birds chant on every side;
while trumpet sounds, sound out the conch-shells everywhere;
The heav'nly Light without compare, the Grace without compare,—
the Being great without compare, we've sung; hear’st not ?
Bless thee, what slumber's this ? Thou openest not thy mouth ?
is such the recompense for our King's love we bring ?
Th'Eternal, First of Beings; Him Who'bides the Only-One;
the Lady s Partner sing we all !—OUR LADY FAIR, ARISE ! (32)
IX.
Ancient of days, existing ere the ancient world!
Whose nature shares the newness of created things!
Thy worshippers devout, who've gained Thee for their Lord,
adore Thy servants' feet.—to them give reverence due.---
And these alone shall be our wedded lords; joyous
ev'n as they bid, due service will we render meek.
Thus, if Thou grant to us this boon, our King, no lack
Thy handmaids e'er shall know!—OUR LADY FAIR, ARISE ! (36)
X,
Beneath the sevenfold gulf, transcending speech, His foot-flower rests;
with flowers adorned His crown of all the universe is crown !
The Lady's at His side !—His sacred form dwells not alone !
The VEdam, heavenly ones, and earth, praise Him; and yet
He's our one Friend, Whose praise ne'er dies; within His saints He dwells;
pure He sustains the 'clan '; ye temple-ladies, say
What is His Town ? His Name ? His kin ? and who His foes ?
And how sing we His praise?—OUR LADY FAIR, ARISE! (40)
XI.
[In the temple tank]
Entering the broad, frequented tank with joyful cries,
and hands outstretched, we plunge and plunge, and sing Thy Foot
O Guru, see, Thy faithful worshippers are blest! As fire
Thy'hue is red; Thou wear'st white ashes; Blessed One!
Thou Bridegroom of the Lady lithe, with broad, black eyes !
O Guru, make us Thine in grace. In this our sport,
What those who would be saved perform, we've done, as they;
guard that we weary not!—OUR LADY FAIR, ARISE! (44)
XII.
Lord of the sacred stream, where we, that thronging mortal woes
may cease, acclaiming bathe ! Dancer in Tillai's sacred court
'Midst waving fire ! This heaven, this flowery earth, us all,
in sport Thou guardest, formest, dost enshroud;—
Thou say'st the word !—Bracelets tinkling, jewels rattling
with a merry sound, tuneful beatles humming round our locks adorned,
Plunge in the tank, where flowers are glistening; praise the Masterts golden Foot,
and in the fountain bathe !—OUR LADY FAIR, ARISE ! (48)
XIll.
There burn dark crimson flowers of Kuvalai, here the red lotus blooms;
there the bright race of small birds utters songs;
Here those who wash away their sin are gathered round !
This swelling tank is Like our Queen and King!
We ent'ring plunge and plunge again, our shells resound;
our anklets tinkling sound; our bosoms throb with joy;
The wave we plunge in swells. Plunge in the lotus crowned flood
and joyful bathe!—OUR LADY FAIR, ARISE ! (52)
XIV.
While ear drops swing; while golden jewels wave;
while flow'ry locks are dancing; swarms of wing'd things flit;
Bathe in the cool flood, sing the sacred court!
sing the mystic VEdas; sing their inner sense!
Sing glory of the Light, sing Him the cassia-wreath Who wears !
Sing ye the power of Him, the First, sing Him the Last!
Sing ye the glory of Her Foot, Who armlets wears,
Whose guardian care we own !—OUR LADY FAIR, ARISE ! (56)
The word ‘time’ is Kal, so there is a play on the word Karai-kAl. It may be that the poet in another passage alludes to
her beautiful prayer(XI, verse 8)
‘He gave me grace, tho’ I all else forget, ne’er to forget
His foot, whose mighty dance we sing!…….’
After awhile his return and prosperity became known to his friends In KArai-kAl, who resolved to compel him to
receive again his first wife, their kinswoman, whom he had deserted. They accordingly proceeded to his new residence,
carrying with them in a litter his saintly spouse, the 'Mother' of KArai-kAl. When he heard that she had arrived and was
halting in a grove outside the town, he was seized with a great dread, and proceeded with his second wife and daughter
to where the 'Mother' was encamped surrounded by her kindred. He at once prostrated himself with profoundest
reverence before her, saying, 'Your slave is happy here and prosperous thorough your benediction. To my daughter I
have given your sacred name, and I constantly adore you as my tutelary goddess'. Poor PunithayathiyAr, utterly
confounded by this salutation and worship, took refuge among her kinsfolk, who all cried out, 'Why is the madman
worshipping his own wife!' To this Paramadattan replied, 'I myself beheld her work as miracle, and I know that she is
no daughter of the human race, but a supernatural being, and so I have separated myself from her, and I worship her as
my tutelary divinity, and have dedicated this my daughter to her, and therefore have I worshipped her and call upon
you to do the same.' But PunithavnthiyAr pondered the matter and prayed within herself to Civan the Supreme,
saying: 'Lord, this is my husband's persuasion. Take from me then the beauty that I have hitherto cherished for his sake
alone. Remove from this burthen of the flesh, and give to me the form and features of one of the demon hosts who
evermore attend on Thee, and praise Thee.' That very instant, by the grace of the god, her flesh dried up, and she
became a demoness, one of Civan's hosts, whom the earthly worth and heavenly world hold in reverence. Then the
gods poured down a rain of flowers, heaveny minstrelsy resounded, and her relative fearing, paid her adoration and
departed. So she had now become a demoness, and her abode was the wild jungle of AlankAdu; but through the
inspiration the god she sang several sacred poems, which are preserved. Afterwards there came upon her an irresistible
desire to behold the Sacred Hill of KailACam, and with inconceivable speed she fled northwards till she arrived at the
foot of the Mountain, and reflecting that it was not right with feet to tread the heavenly ascent, she threw herself down
and measured the distance with her head. The goddess UmA, Civan's bride, beheld her thus ascending, and said to her
spouse, 'Who is that in this strange fashion draws near, A gaunt fleshless skeleton, sustained only by the energy of
love? To which Civan replied, 'She that cometh is the "Mother" devoted to my praises, this mighty demon-form she
has obtained by her prayers.' When she drew near he addressed with words of love, calling her by the name of 'Mother,'
which she for ever bears. As soon as heard the word she fell at his feet worshipping, and ejaculating 'Father !' Civan
then said to her What boon dost thou ask of me?' She worshipped and replied, 'Loni, to me your slave give love which
is undying, and infinite blessedness. I would fain be born on earth no more; but if I must so born, grant me at least
that I may never, in any form, at any time, forget Thee, my God; when thou dost perform thy sacred mystic dance,
beneath thy feet in rapture may I stand and sing thy praise’, To which the God replied, 'In AlankAdu thou shall see my
dance, and with rapture thou shalt sing.' Then the sacred 'Mother' of KArai-kAl returned, measuring the distance still on
head to holy AlankAdu, where she beheld the God's sacred dance, and sang her renowned lyric his praise.
---
This legend illustrates a remarkable feature in the Caiva worship of the south, where devotees are not infrequently
adored as having become demons. Doubtless, this is connected with pre-Aryan usages, and the poems attributed to the
'Mother' of Karaikaal present the most vivid picture demon worship with which I am acquainted. It is not difficult to
imagine the source of tradition. We have the picture of a devout and enthusiastic worshipper of Civan, who sacrifices
everything to the performance of her supposed duties to the god. She is misunderstood by inappreciative husband, who
forsakes her, and finally, with scorn, repudiates her. She has herself a chapel in the jungle, where she spends her days
and nights in prayers and austerities on her death is worshipped. The legends would soon accumulate, and the poems
represent dramatic form the artistic view of all the circumstances.
-----------
Erewhile thou didst the sea diminish, rising like the Queen;
didst glisten like Her slender waist Who rules my soul;
Didst like the golden anklets sound that on Her sacred foot
in beauty gleam; didst bend like to Her sacred brow
The bow. As she, mindful of those who love our King,
who like herself, our Mistress, never quit His side;
Mindful of us too, as our Queen, pours forth sweet grace,
even so pour down, O CLOUD ! OUR LADY FAIR, ARISE ! (64)
---
* Here there is a subtle comparison between Civan, Catti, and a cloud that in the monsoon season rises from the sea.
The cloud drinks the waters of the sea, gleams in the sky with lightning fires, sends forth the voice of the thunder, is
sometimes made beautiful with a rainbow, and then spreading itself over the heavens, pours down fertilizing showers
on all the earth below. So Civan drank the poison of the sea; dances in Cithambaram while His golden anklets sound;
wears a form of dazzling splendour; is renowned for the victories He gained with His bow; and pours forth blessings
over all the earth. The comparison of UmA or Catti is obvious. This closely resembles III, 66-94
---
XVII.
The red-eyed one', and He Whose face turns to each point',
and gods in every heaven, taste no delight like ours.
Thou of the fragrant locks didst make our beings pure;
and here in grace didst rise in every home of ours;
The Warrior gave in grace His golden lotus feet;
the King of beauteous eye; Ambrosia rare to us His slaves;
Our PerumAn ! Singing His gift, plunge we and bathe
in the clear lotus-flood ! —OUR LADY FAIR, ARISE ! (68)
XVIII.
AnnAmalai His form, His lotus foot heaven's host
adored, while lustre of their jewell’d crowns grew dim;
So when the bright eyed sun the darkness drives away,
the cool moon's rays are paled, the stars themselves depart.
Thus stood He forth; was Female, Male, was Neither-one;
was Heaven with gleaming lights, was Earth, was all the rest.
Ambrosia manifest! Praising His jewell’d Foot, O Maid
plunge in this flowery stream !—OUR LADY FAIR, ARISE ! (72)
'The children of Thy hand are we; our Refuge Thou ;'—
thus that old word we say anew; in this our dread
Our Lord, to Thee one prayer we make; vouchsafe to hear
'let none but Thine own lovers true our forms embrace;—
Our hands no service pay save to Thyself alone;—
our eyes,—by night, by day,—let them see nought but Thee''—
Our King, if here this boon Thou grant, to us the sun
in perfect beauty shines!—OUR LADY FAIR, ARISE! (76)
XX.
-------------------
Hymn VIII: THE SACRED AMMANAI
RAPTUROUS JOY.
The remarks made in the introduction to VII will apply in Some degree to this poem also, which is traditionally said
to have been composed at the same place and time by the bard, who seeing women in great numbers enjoying their
favourite game of AmmAnai and accompanying it a simple song, listened to their words, and then put the substance
into these verses. In some of them He relates his own experiences: In others he puts words into their mouths In the
play the women, generally six in number, sit in a circle and toss a number of little balls from one to another with great
dexterity and very swiftly. It is a pretty sight. They accompany their game a simple song, the rhythm of which is
suited to the action of the players. In this case there are twenty verses of six lines, each verse having but a single
rhythm. The subject of such verse .... generally some heroic exploits, such as are popular among all classes; or the
great acts of a deity. Here the title of 'rapturous joy' has been prefixed, as the editor seems to have conceived that as
the main idea of the verses.
----
1-6. Here there are four lending ideas: i) Civan rising as the mountain ArunAchalam passed above and below the
roaring flight of BrahmA and the delvings of Vishnu; 2) this same Caiva graciously manifested Himself as a GURU to
the humble, loving bard in order to release him from further metempsychosis; 3) He is also worshipped in the temple
of Perun-turai, His great southern- shrine, where the saint first knew Him; and 4) in the sacred court of Tillai He
dwells, a BrAhman, one of the 3000 saints, the mystic Dancer and Dispenser of grace. There the sage is to obtain his
consummation. These four ideas perpetually recur in these poems.. This is un unfailing topic treated with inexhaustible
variety.
--------
II. Manifestations
To men on earth, to heavenly ones, to those beneath,
To those beyond, He's scarce made known; to us accessible !
The Name revered, the South-King, Perun-turrai's Lord
Entering our souls, with frenzy filled them, showed the final way.
Unsating Nectar, - in the billowy sea He cast His net;
The Sea of full desire SING we ! AMMAANAY, SEE ! (12)
Civan cast His net, is a fisherman. This refers to a story in the fifty-seventh of the ‘Sacred sports’. PArvathi was one
day inattentive while Civan was expounding to her the VEdic mysteries, for which she was condemned by her angry
husband and preceptor to be born on earth as a wife of a fisherman. Accordingly one day she was discovered lying as a
tender infant under a Pinnai tree(or Punnai, Calophyllam Inophyllam)by the headman of the Paravar, a great clan of
fisherman found everywhere along the coasts of the Tamil lands. By him she was adopted, and grew up a maiden of
surpassing beauty. At this time Nandi the Chamberlain of Civan, in order to bring about the accomplishment of the
god’s purpose with regard to the banished PArvathi, assumed the form of a monstrous shark; and in various ways
annoyed the poor fishermen, breaking their nets and wrecking their boats. On this the headman of the paravars issued a
proclamation that whoever should catch the sea-monster should be rewarded with the hand of his beautiful adopted
daughter. Civan forthwith made his appearance as a youth of noble aspect who had come from Madura, and at the first
throw of his net caught the shark and brought it to land. He accordingly, having himself become a fisherman, received
the fisherman’s daughter in marriage. The god now assumed his ancient form, and restored pArvathi to hers, and with
many gracious words took the foster father with Him to KailACham, the paradise of Silver Hill.
-----------------------------------------------------------------------------
III. The Initiation in Perun-turrai
Inthiran, MAl, all the other heavenly ones,
Stood round in upper air; - Civan in grace to earth came down,
Made those like us His own. His arm the sacred ashes shows;
All-glorious Perun-turrai's Lord, who comes our hearts to thrill;
To loose our bonds He on a charger rode, and gave
Unending raptures; SING the bliss ! AMMAANAY, SEE! (18)
XI. Praises.
The fair Queen's Half; of southern Perun-turrai Lord;
Whose Nature thrills the souls that cling around His feet;
The Sire who made that Paandi-land the Civa-world;
Adown Whose braided lock the waters flow; Whose blissful jewell'd foot
Abides within their souls, who rightly render them to Him;
Beyond the furthest limits praise uplift ! AMMAANAY, SEE ! (66)
In the VAthaVurar PurAnam V, 63, we are told that the Sage when in Tillai saw women pounding the gold dust
which, mixed with perfumes, is strewn on the heads of distinguished visitors to the shrine, and on great occasions is
lavishly thrown over all things and persons connected with the worship. As they pounded, they sung foolish songs;
and he composed these twenty verses, in a somewhat loose metre, to be sung in time with the pestles. The song is
much admired, but is a little obscure, and almost colloquial. I have tried to preserve the rhythm,—five principal
accounts in each half line.
IV.
Adorn each pestle with glistening gems;
the handle and mortar adorn ye !
The loving, lowly devotees, salute
and wish them lasting bliss !
The golden shrine of sacred Ekamban in Kachi,
whither all the land resorts,
Sing we. And, freed from deeds that bondage bring,
singing, POUND WE THE DUST OF GOD ! (16)
V.
Ayan and Ari shall their garlands bring!
not Indra, nor with him the deathless ones,
Nor all the perfumed hosts of gods, save after us,
the pestle suffer we to lift
Sing we the golden shrine of sacred Ëkamban
the Bowman Who smote three forts of his foes,
Ye of smiling roseate lips ! for the three-eyed Sire's
dance—POUND WE THE DUST OF GOLD ! (20)
VI.
Many a pestle would the great ones upraise;
that the world would not serve for a mortar,
To mix the fragrant dust the saints crowd round,
that the worlds suffice not to behold.
In favouring love He made us slaves His own;
and gave His flowery Feet to crown our brows,
To the mountains Son-in-law, joyous ever,
sing we and POUND THE DUST OF GOLD ! (24)
VII.
While the golden armlets tinkling sound;
while the saintly bands uprising chant;
While townsfolk greet us with loud acclaim;
while them we greet with answering shout;
The Partner of the Queen, on whose soft feet
the anklets tinkling sound,—our God,
The King, like mighty mount of purest gold,
To serve, POUND WE THE DUST OF GOLD ! (28)
VIII.
Ye simple maidens fair, with bright wide eyes,
while armlets tinkle, bosoms heave and swell,
While shoulders gleam with ashes pure,
proclaim ye ever praises of our Lord,
Who showed His bright flower-Foot, and in this world
made us, lower than very dogs His own !
His ways of grace, sing o'er and o'er, and Him
to serve, POUND WE THE SACRED DUST OF GOLD ! (32)
IX.
Let the whole earth be the mortar;
as pestle plant Meru the lofty;
Saffron of truth pour forth in copious stream.
Him Who in southern Perun-turrai dwells
His sacred roseate Foot sing evermore !
With right hand seize the pestle's ruddy gold.
The Sage, the glorious One of beauteous Tillai's shrine
to serve, POUND WE THE DUST OF GOLD ! (36)
X.
While our bosoms pearl-adorn'd beat high; while in our
clustering locks the honey-bees play;
While with Civan our minds are dancing; while bright
eyes with dew are gleaning;
While wild rapture from our Lord is thrilling;,
as others live, their changing lives we live;
With our Fathers mercy glad, ever
dancing, POUND WE THE DUST OF GOLD ! (40)
XI.
Rich jewels like the moonlight gleaming;
panting mouths and lips of coral quivering;
Sing ye the way He made us His; sing ye the way
our service He accepts;
Seek ye our PerumAn, and seeking, joy in heart,
then let your trembling minds grow bold;
Dance ye to Him who dances in the Court;
dance and POUND WE THE DUST OF GOLD ! (44)
XII.
Him in whose throats is the blackness, Balm of the
dwellers in heaven, the ruby Dancer Himself,
The Sage, the Lord of the sages, us who took,
and made us His, and all His rareness showed;
The False to the false, the Truth of the true,—
ye beauteous ones with eyes like opening flowers,
Who wear the golden armlets ye of lovely form,—
praising, POUND WE THE DUST OF GOLD ! (48)
XIII.
Damsels with slender waists and crimson lips,
black eyes, bright smile, and words like music sweet !
My rare Ambrosia; our Sire; our Lord of might;
to the daughter of Himavat
Her Husband, Son and Sire, and Brother too;
our Teacher's feet sing ye, whose bosoms gleam
With gold and gems, ye damsels beautiful,
sing and POUND WE THE SACRED DUST OF GOLD ! (52)
XIV.
While the shells aound, while the anklets tinkle,
while waving chaplets crown your flowing looks,
While your roseate lips like ripe fruit quiver,
bright jewelled ones, sing the Civa-world !
For His foot, Whose head is crowned with braided lock
where GangA's streams resound with serpent's hiss;
While our bosoms with swelling tenderness
heave, POUND WE THE SACRED DUST OF GOLD ! (56)
XV.
Essence of wisdom's sweetness exquisite;
honey unfailing, full of excellence;
Him who is savour rich of every fruit; the King
with power to enter sweetly every mind;
The Dancer Who cut off embodiment
and made us His, in swelling strains praise ye,
Ye maidens sweet, with eyes like purple lotus flowers,
singing, POUND WE THE SACRED DUST OF GOLD ! (60)
XVI.
Thus we too, coming with the loving ones,
shall sing the ways He makes us His,
He shows the roseate flowery feet, that gods
in Heaven who rule, e'en in their dreams, know not.
He bears aloft the flag of victory
in prosperous war. Praise Civa-PerumAn ! -
Singing the conquering Hero's names who took
the towns, POUND WE THE SACRED DUST OF GOLD ! (64)
XVII.
Sing we the cassia-flower with honey rife;
sing Civa-town; sing we the infant moon
Upon His sacred braided lock; sing we
the mighty Bull, the trident and the axe,
His warring right hand wields; that dwellers
in this world, and in other worlds might 'scape;
Sing how the poison for his food He ate,
that day, and POUND WE THE SACRED DUST OF GOLD ! (68)
XVIII.
He trundled Ayan's head like ball, - sing Him !
He broke the teeth of Arukkan, - sing Him !
He slew the elephant, and wore its skin, - praise Him !
The Lord of death He spurned with sacred Foot, - praise Him !
He shot His arrows 'gainst the towns combined, - praise Him !
Poor wretched slaves, He made us His, - praise we
That love ! Here stand, and ever dance and sing,
and for the Lord, POUND WE THE DUST OF GOLD ! (72)
XIX.
Sing ye the cassia-wreath of rounded flowers !
Sing ye His folly wild ! His wisdom sing !
Sing ye southern Tillai, the saints' abode !
Sing we the blest One of the 'sacred hall' !
Sing we the serpent girdle that He binds !
Sing we the armlets ! on His hollow palm
Sing how the serpent rears its folds, and for
the Ruler, POUND WE THE DUST OF GOLD ! (76)
-------------------------
Hymn X: tiruk kOttumpi
Our poet-sage, like S. Anthony of Padua, and some other mediaeval saints, had a great sympathy with the irrational
creation. This poem is addressed to the humming bee, or winged beetles, which abound in all the topes and glads of
South India, and are especially numerous in the shady groves that surround the temples;; having a great preference for
the fragrant and beautiful trees which are sacred to the Hindu deities. The insect, here called Gottumbi, is probably the
dragon-fly Ruplea Spenders. Here the SOUL is really addressed and exhorted to seek Civa's feet.
I. Mysteriously great.
The King that crowns the flower; Purandaran;
the Lady blest, in beauty clothed,
That sits on learned tongues; and NAranan;
the fourfold mystic VEdic Scroll,
The Splendours, Riders in majesty; - with all
the heavenly ones too, know Him not:-
Go to His roseate foot who mounts the Bull;
AND BREATH HIS PRAISE, THOU HUMMING-BEE ! (4)
------
The Legend of Kannappa Nayanaar, or the 'Eye-Devotee'.
The image of this renowned South Indian devotee stands in the temple at KAlahasti (Calastri) near the Pulicat
Hills. He was a rAja of UduppUr, and of the Shepherd caste ( a vEdan or Hill-men, perhaps a Kurumban). The story
represents his ancient clan as possessing great wealth and authority in a wild hilly district, where their whole
occupation was hunting. There is a ZamindAr, who lives there now in feudal state. The old chieftain, the father of
Kannappan, whose name was NAgan (the Dragon-man) is represented to us as moving about attended by fierce hunting
dogs, armed with every kind of rustic weapon; a skillful archer, around whose mountain-dwelling innumerable forest
animals of every kind had their home, and where the cries 'shoot' 'hurl' 'strike' were mingled from morning to night
with the howlings of wild beasts, the barking of dogs, and the sound of the horns and drums of the hunters. He had
no son, and therefore he and his wife went to the temple of Subrahmanyan ( a son of Civan) - the favourite deity of
mountaineers, and probably a pre-Aryan deity of the South, an object of worship, under many names and forms, in
every Tamil hamlet. To him they offered cocks and peafowl, made good feasts with copious libations of strong drink,
performed wild dances; and in fact, according to the legend, seem to have worshipped much after the rude fashion of
the demon worshippers of the present day. The result was that by the favour of their tutelary deity a son was born to
them, who from his early childhood shared in his father's pursuits, being brought up, it is expressly said, like a tiger's
cub. The proud, happy father used to carry him about on his shoulder, but finding him one day too heavy to be thus
borne, gave him the name of 'Tinnan' ('the sturdy man') which remained his pet household name. He was erewhile to
bear a more honourable and enduring title! Soon after this the old chief, finding himself unable any longer to conduct
the hunting expeditions of the tribe, made over his authority to his son, with whom alone this history is concerned.
Henceforth our young hero is ever in the dense jungle with his veteran huntsmen. One day a wild boar, of gigantic
size, that had been caught in their nets, escaped and made off with prodigious speed to the mountain side. Tinnan
pursued it with two faithful attendants, but it let them a weary chase and did not stop till, exhausted with fatigue, it
fell down in the shade of a tree on the slope of a distant hill. There Tinnan with his sword cut it in two. His
attendants came up and were astonished and delighted at his success and said, ' We will roast the boar here, and refresh
ourselves'. But there was no water at hand, so they took up the carcase of the boar and carried it some distance onward,
till they came to sight of the sacred hill of 'KAlahasti'.
At the view of the mountain one of the attendants cried out, that on that mountain summit there was an image of
the 'God with flowing hair' (Civan). 'If we go thither we may worship him' added he. Hearing this the young giant
Tinnan again shouldered the boar and strode on, exclaiming, 'with every step that I advance towards the mountain the
burden of the boar diminishes. There is some miraculous power here; I must find out what it is'. So saying he rushed
on with great eagerness till he came to the bank of a river, where he deposited his burden, bade his companions make a
fire and prepare the feast, while he himself hastened onward till he beheld on the slope of the hill, on the further bank
of the stream, a stone lingam, the upper part of which was fashioned into a rude image of the head of the god. The
moment he beheld it, as the magnet draws the iron, it drew his soul, which had been somehow prepared by the merit of
good deeds and austerities performed in some former birth; and his whole nature was changed, every feelng being
swallowed up the intense love for the god, whom for the first time he now beheld. As a mother, seeing her long lost
son return, tarries not, but rushes to embrace him, as he threw himself upon the image, tenderly embraced it, and
fervently kissed it. With tears of rapture, his soul dissolving like was n the sunshine, he cried out, 'Ah, wondrous
blessedness! to me a slave this divinity has been given! But how is that the god remains here alone in a wilderness
where lions, elephants, tigers, bears, and other wild beasts dwell, as though he were some rude mountaineer like me?'.
Then, examining the image more closely, he saw that water had been recently poured upon it and green leaves
strewn over it. 'Who can have done this?' said he. His attendant, who had in the meantime has come up, replied: 'In
the olden time, when I came here on a hunting expedition with your father, a BrAhman, I remember came, poured water
and placed leaves upon this image, repeating some mysterious words;- perhaps he is still here. So it dawned upon the
mind of Tinnan that these and other services, which he himself could render, might be acceptable to the god. 'But,' said
he, 'there is no one here to supply him with food. He is alone, and I cannot leave him for an instant, yet I must
perforce go and bring for him some of the boar's flesh cooked for our feast'. So, after much hesitation and
unwillingness to lose sight for a moment of his new found treasure he went back, crossed the stream, where he found
the food already prepared and his servants wondering at the delay in his return. Tinnan regarding them not, took some
of the boar's flesh and cutting off the tenderest portions, roasted them on the point of an arrow; tasted them to ascertain
that they were savoury; carefully selected the best, putting them into a cup of teak leaves which he had sewn together;
and prepared to return to the woodland deity with his offering.
The servants seeing all this, very reasonably concluded that their master had suddenly gone mad, and hastened off
home to take the news, and to ask the priestess of their tribe to return with them and exorcise the evil spirit that they
supposed had taken possession of their lord. Tinnan unconscious of their departure, hastened back with the food in one
hand, and his bow and arrow in the other. As he crossed the river, he filled his mouth with water, with which coming
before the image he besprinkled it. He then took the wild jungle flowers from his own hair, and put them over it, and
presented the coarse boar's flesh he had brought, saying: 'My Lord, I have chosen for thee the daintiest portions, have
carefully prepared them with fire, have tasted them, and softened them with my own teeth. I have sprinkled thee with
water from the stream, and have put on thee flowers thou mayest love. Accept my gifts!' [ This presentation of the
food to the lingam and other images is often referred to in these stories, and the impression is given that the
worshippers believed that the idol itself consumed the offering; but it is never expressly said that the food disappeared
before the shrines, though this is sometimes implied.] Meanwhile the sun went down and during the whole night
Tinnan with his arrow on the strung bow kept watch and ward around the god and at dawn went forth to the mountain
to hunt, that he might provide for the daily wants of his new master.
While he was gone on this errand the BrAhman in charge of the lingam, who was a learned ascetic of renowned
virtue and holiness, CivagOchariyAr, came at daybreak, and having performed his own ablutions in the river, provided
himself with a vessel of pure water for the purification of the divine image, and a basket of sacred flowers and fresh
leaves for its adornment and uttering the mystic Five Syllables, devoutly drew near. A scene of unutterable pollution
met his horrified gaze. Flesh and bones were strewed around, and the image itself had been defiled with filthy water
and common wild flowers! With trembling horror he sprang aside, exclaiming, 'Oh, god of gods!what an unhallowed
impious hands of mountaineers have brought these pollutions here. How didst thou permit them thus to profane thy
presence?'. So saying, he wept, fell down, and rolled in anguish before the god. But, reflecting that at any rate it was
wrong to delay any longer the sacred service, he carefully removed the unhallowed things from the precincts, and
proceeded to perform worship according to the Vedic rites: and having sung the appointed Hymn, and many times gone
round the right image, and prostrated himself in adoration, departed to his hermitage.
Meanwhile the servants, having taken the news of Tinnan's madness to old NAgan, his father returned with him
and the priestess of their demon temple. They both attempted to reason with the young enthusiast, and to recall him
tot he worship to which he had been accustomed; but its wild orgies delighted him no more. His whole affection was
centered upon the new found Civan so they regarding him as hopelessly mad, returned sorrowing to their village.
[One object of this legend seems to be the reconciliation of the orthodox Civa worship and the ruder forms of demon
worship then in use. The contrast is exceedingly striking when the refined and thoroughly instructed BrAhman, with
his scrupulous attention to all the minutiae of vEdic worship, who regarded the slaying of animals as a crime, and the
eating of their flesh as an unspeakable abomination, and considered that whatever had touched a man's mouth was
polluted and that the wild human inhabitants of the jungle were a lower order of creation is brought face to face with
the youthful chieftain of an almost savage tribe, whose chief delight is how to hunt down, slay and devour the birds
and beasts of the forest; who brings boar's flesh for the unpolluted Civan to eat, and carries water in his mouth
wherewith to besprinkle the image; who actually uses his leathern slippers to brush away the refuse leaves from the
head of the god, who know no sacred texts; and who worships the same god, indeed, but has nothing to commend him
save a rude uninstructed though zealous devotion.]
Meanwhile the mountaineer guards the god by night, returns at eventide to Offer his gifts and perform his rude
service, and spends the day in providing flesh of beasts for the god's repast.At dawn, when the young woodman has
departed, duly comes the pure and exclusive BrAhman having scrupulously made his own ablutions, cleanses the
precincts, and performs his ceremonious worship. These men so different serve by turns before the same lingam, which
they both regarded with equal reverence!
But this cannot long continue so. The BrAhman makes a passionate appeal to Civan to guard himself from these
pollutions, the author of which he cannot trace. He then return to his hermitage sad and utterly perplexed. But in the
night the god appears to him, and then addressed him: ' That which thou dost complain of is to me most dear and
acceptable! Thy rival ministrant is a chieftain of the rude foresters. He is absolutely ignorant of the VEdas and the
Caiva texts. He knows not the ordinances of worship. But regard not HIM, regard the spirit and motives of his acts.
His rough and gigantic frame is instinct with love to me, his whole knowledge - in thine eyes craze ignorance - is
summed up in the knowledge of Me! His every action is dear to me; the tougch of his leathern slipper is pleasant to me
as that of the tender hand of my son Skanda. The water with which he besprinkles me from his mouth is holy to me
as the water of the Ganges. The food he offers me - to thee so abominable - is pure love. I regard not the externals of
worship. He utterly loves me, even as thou dost; but come to-morrow when thou shalt see his worship, and I will give
thee proof of his devotion to me'.
The BrAhman slept no more that night, but at daybreak was put in hiding behind the lingam by the god himself.
And now Civan, who knows the hearts of worshippers, in order that Tinnan's truth might be manifest, caused blood to
trickle down from the right eye of the image. The young worshipper drawing near beheld this, and exclaimed : ' Oh,
my master, who hath wounded thee? What sacrilegious hand, evading my watchfulness, has wrought this evil?' Then
seizing his weapons he proceeded to scour the neighbourhood to see if any mountaineer or wild animal could be
detected as author of the mischief. Finding none, he threw himself on the ground in despair; but at length reflected
that he had heard of remedies which would staunch the flow of blood. So he went and sought out in the jungle some
herbs of virtue, and applied them; but the wound bled all the more copiously. Then a happy idea struck him; ' for a
wounded eye the remedy is another eye applied,' said he; and pausing not an instant, with his arrow he scooped out his
own right eye, and applied it to the bleeding eye of the image, from which at once the blood ceased to flow! At this
his rapture knew no bounds. He sang and danced, and poured forth uncouth expressions of ardent thanksgiving; but on
looking at the image once more, alas! blood was seen issuing from the other eye. After a moment or two of bewildered
sorrow, his countenance was lit up with a radiant light of gladness; for he has still one eye left, and the efficacy of the
remedy has been tried already; so he raises himself up, puts his one foot close up to the image's suffering eye, that he
may be able to feel, when he no longer can see, where to apply the remedy; and proceeded to scoop the other eye. But
this last sacrifice is too much for Civan to permit to be consummated; from out the lingam he puts forth a sacred hand,
and grasps that of the youthful enthusiast, who still holds the arrow ready to accomplish his pious intention, and says:
'Stay, Tinnan, stay thine hand, my loving son! Henceforth the place for ever shall be at my right hands, on my holy
mount'. CivagOchari had learnt the lesson that LOVE AND SELF-DEVOTION AND MORE THAN CEREMONIAL
PURITY, and fell prostate; while the choirs of heaven chanted the beatification of the Saint, who is from age to age
adored while his title of Kann-appan - the devotee who gave his eyes for the service of his God.
---
V. The only god.
XII.
-----------------