Sundarar: Icon Thinking

மரபு விக்கி இருந்து

தாவிச் செல்ல: வழிசெலுத்தல், தேடுக


The Icon Thinking of Sundarar

TirumuRai 7:4

Translation and commentary by Dr K.Loganathan, 2004

In my studies of the Sacred Tamil literature that is really massive running into thousands of verses, I have not studied the hymns of Sundarar that much and which have a peculiar essence of their own . Sundarar was very human and was entangled in domestic struggles where he loved and married two women and with Siva helping him in this matter. Unlike others he always appeared as a handsome bridegroom and in that he shunned the typical adornments of ascetics and so forth. Indirectly by his exemplary life he did not condone asceticism but rather a happy domestic life.

I have chosen the following hymn in view of the concentration on Icon Thinking that runs through as the metaphysical way of life of these saint-philosophers. They sought the MEANINGS of the various symbolic gestures of Siva and through that enlightened themselves with deep metaphysical truths which are encrypted in such icons and iconic features.

I shall try to elucidate these meanings in my commentary so that we get to understand the metaphysical MEANINGS that were enjoyed by such Baktas and which are also enjoyed by every temple worshipper in some ways.

I use the publication of Tarumai Atheenam that comes along with very useful commentary that I also use.

This hymn is the fourth in the Seventh TirumuRai

Dr K.Loganathan 2004

The Icon Thinking of Sundarar

TirumuRai 7:4 : Tiruvanjsaik kaLam

The Sexual Libido and Bravery

The Metaphysical Life is the shape of true spiritual life and it involves seeking out metaphysical truths that are communicated by BEING himself. BEING is there in the body and soul of all whether one acknowledges it or not. But there are gifted individuals who empowered with the vision of the Third Eye , manage to have visions of the various Icon Forms of BEING in which not only he informs the souls but also helps them out in ways that the souls may not be normally aware.

Here the first two icon features are that of Garland of Skulls and that of Flooding Ganges and which are worn on the head and side by side.

The garland of skulls is a symbol of DEATH and death-like processes in the world. BEING alerts by wearing this garland that there is DEATH and death bringing diseases and events in the world that cannot be wished away saying it is all Mythiya, an illusion etc. Death is NOT an illusion - it is fact and perhaps the most robust one that we should accommodate in our metaphysical thinking and seek to escape from it.

The Flooding Ganges is the Power of Rejuvenation, that which is provided by BEING Himself by way of helping out the embodied souls from the miseries of death and eventually enjoy Moksa that liberates them gradually and completely from being embodied and hence suffering death as such.

Next comes the Icon features of wearing the skin of the fierce TIGER and sporting SNAKES on the waist.

These two are also linked together.

The TIGER stand for immense valor, that which makes one a warrior hence one capable of battling fiercely. This valor is the gift of BEING and it is that which allows one to battle the evil forces fiercely in existence. But how does He provide the POWER?

The snake is the sexual libido, the virility. The sexual libido is that which allows a soul become very energetic and with that also BATTLE like fierce tiger and so forth. At the absence of this sexual libido of the Snakes, a person becomes an intellectual coward and will spend his time not exploring bravely the metaphysical world by plunging into it but will build, like the Vedanties , false metaphysical castles and imprison themselves there and enjoy a false sense of security.


தலைக்குத் தலைமாலை அணிந்ததென்னே

சடைமேற் கங்கை வெள்ளந் தரித்ததென்னே

அலைக்கும் புலித்தோல் கொண்டு அசைந்ததென்னே

அதன்மேற் கத நாகங் கச்சார்ந்ததென்னே

மலைக்குந் நிகர் ஒப்பன வன் திரைகள்

வலித்தெற்றி முழங்கி வலம்புரிக் கொண்டு

அலைக்குங் கடலங்கரை மேல் மாகோதை

அணியார் பொழில் அஞ்சைக் களத்து அப்பனே


மலைகளூக்கு நிகர் ஒப்பான வலிய பெரிய அலைகள் வலிந்து தாக்கி, வலம்புரிச் சங்கு கொண்டு இசைப்பது போல் மாகோதை எனும் கடலங்கரை மேல் இருக்கும் அழகுகள் நிறைந்த பொழில் சூழ நிற்கும் திருவாஞ்சைக் களம் எனும் திருக்கோயிலில் குடிகொண்டு அருள் பாலிக்கும் அப்பனே ! நீ எந்த ஆழமான உன் அருள் விளையாட்டுகளை விளக்குவான் வேண்டி, தலைக்கு கபால மாலை அணிகின்றாய், நீண்ட உன் சடை மேல் ஆகாய கங்கையை தரிக்கின்றாய்? மேலும் கடுங்சினப் புலியின் தோலை உரித்து இடையில் உடுத்தி ஆடுவதோடு ஆங்கே கடுஞ் சின பாம்பையும் கச்சையாகக் கொண்டிருப்பதென்ன? யாதை உணர்த்த நீ இவ்வாறான வேடங்களை தரித்து மக்கள் கான வெளிப்படுகின்றாய்?


talaikku talaimaalai aNintatennee

sadaimeeR kaGkai veLLan tarittennee

alaikkum pulittool koNdu asaintatenee

atanmeeR kata naakaG kaccaarntatennee

malaikkun nikar oppana van tiraikaL

valitteRRi muzaGki palampurik koNdu

alaikkuG kadalaGkarai meel maakootai

aNiyaar pozil anjsaik kaLattu appaanee!


O my Father who have taken residence in Anjîaik Kalam in the city of Maakootai that is forever beaten by the waves like hills with sounds like that of Valampuri Conch ! Tell me why you show yourself as the one wearing a garland of skulls on your head and why along with it you also sport the Flooding Ganges on your tuft? And furthermore , move about wearing the skin of the fierce tiger and on which you also have furious snakes as if your ornaments? What meanings you are trying to communicate by such forms?

The Icon Thinking of Sundarar-2

TirumuRai 7:4 : Tiruvanjsaik kaLam

Inner Purity and Divine Blessings

In Metaphysical life there is a DIALOGUE with BEING , a dilaogue in deep silence where metaphysical questions are asked and BEING answers in various ways - like dreams especially the lucid variety. As the experinces of the mystics would show, sometimes the answers may come even in words in a language the person understands. Thus BEING becomes the source of metaphysical wisdom, not DEAD like the scriptures and so forth but a living presence.

It is in this context that Sundarar raises the following metaphysical questions assuming that BEING is a living reality who is also with him and who would illuminate him with respect to the questions he has raised.

The question pertain to ICON forms of BEING, the primordial arhcetypal forms that are historically very ancient and quite common in the Nubian _Kemetian-Sumerian -Dravidian cultures . Certainly these roots archetypal images are to be met with also in many other world cultures.

The FOUR images that Sundarar brings together are in fact sematically connected and may pertain to the AMUTU, the ambrosia of good health and longevity etc.

We are familiar with the SNAKE that BEING plays with and wears it on His neck. This signifies the sexual libido, the Kaamak Kundalini, that which allows youthful virility for the people. But this comes along with the Crescent Moon which is the source of Amutu, the ambrosia that makes the body HEALTHY. It is in the body of good health that the Sexual Libido will emerge as a form of this Amutu.

Now this would make a man a BULL, the symbol of immense strength and virility. To be a BULL of a man one should be very strong and powerful and this because of the forms of KuNdalaini supplied by the Snake and Crescent Moon.

Now in this context it may be puzzling as to why Siva wears the white and pure ASH all over His body. What does He communicate by this?

The ASH is a pecualir substance for on being burnt repeatedly it remains the same. This signifies the Absolute Purity of the soul and body and which constitutes the CONDITION for being blessed by the snake and so forth.


பிடித்தாட்டி ஓர் நாகத்தைப் பூண்டதென்னே

பிறங்குஞ் சடைமேல் பிறை சூடிற்றென்னே

பொடித்தான் கொண்டு மெய்ம்முற்றும் பூசிற்றென்னே

புகர் ஏறுகந்தேறல் புரிந்ததென்னே

மடிதோட்டந் துவல் திரை யெற்றியிட

வளர் சங்கம் அங்காத்து முத்தஞ் சொரிய

அடித்தார் கடலங்கரை மேல் மகோதை

அணியார் பொழில் அஞ்சைக் களத்து அப்பனே


வலிய அலைகள் சுருண்டு ஓடிவந்து அடியிலும் சென்று தோண்டுமா திரைகள் மோதி அலைத்திட, அதனால் சங்குகள் அங்காத்து முத்துக்களை சொரிகின்றன. இப்படி அலைகள் வந்து பொருந்தி அலைக்கும் கடலங்கரை மேல் மகோதை என்னும் நகரில் விளங்கும் அழகுமிக்க பொழில் சூழ்ந்த அஞ்சைக்களம் என்னும் கோயிலில் எழுந்தருளி அருள்பாலிக்கும் அப்பனே! உனது திருவேடங்களைப் பற்றி சில விண்ணப்பங்கள். பிடித்து ஆட்டி ஓர் பாம்பினை கழுத்தில் பொன்னரவமாக பூண்டது ஏன்? முழுமதியை அல்லாது உமது ஒளிமிக்க சடைமேல் பிறைமதியை சூடியுள்ளது ஏன்? சாம்பற் பொடிகொண்டு உனது உடல் எங்கும் பூசி நிற்பது ஏன்? மேலும் புகர் எருதினையே வாகனமாகக் கொண்டு ஏறி மகிழ்தலை ஏன் செய்கின்றாய்? இவ்வேடங்களால் நீ உணர்த்த விரும்பும் ஆழுண்மைகள் தாம் என்ன?


pidittaaddi oor naakattai puuNdatennee

piRaGkunj sadaimeel piRai cuudiRRennee

podittaan koNdu meymmuRRum puuciRRennee

pukar eeRukanteeRal purintatennee

maditooddan tuval tirai yeRRiida

vaLar caGkam aGkaattu muttanj coriya

adittaar kadalaGklarai meel makootai

aNiyaar pozil anjcaik kaLattu appanee!


There is the city of Makootai by the sea where the waves beat violent;y and because of which the conch sheels growing in the depths open up and sill out pearls. You have taken reisidence in the Temple of Anjcaik KaLam here and O my Father ! I have some questions for you. Tell me why you play with the snake and wearing on your neck (like a garland) Why (instead of the full moon) you wear only the crescent moon on you brilliant hair? Why do you smear your whole body with the ash (of the dead) And why do you choose to ride the bull ( as your vehicle)? ?

The Icon Thinking of Sundarar-3

TirumuRai 7:4 : Tiruvanjsaik kaLam

Evolution and Moksa

Saivism incorporates into itself the notion of Evolution as a truth about creature existence. But there is also Moksa , that which liberates the soul from being caught up in this evolutionary cycle - dying the oridinary way and being born again with a new body consistent with karma that has been elicited.

Thus Moksa presupposses evolution where it is BEING who is the ground of the evolutionary movement of the creatures and hence the kind of evolution that I have Disclosive Evolution. The end point is not the highest evolved form but rather escaping totally and irreversibly from this endless cycle of being embodied dying because of that getting reborn and so forth.

It is here that Sundarar locates the form of Fire that Siva assumes and which is not by VishNu and other deities. The form of Fire, the color of the evening Sun, is that which burns all bondages and frees the soul from all appetites thus making it absolutely Pure and Free. Thus those who chosen to meditate upon BEING as Fire, get to understand the highest ESSENCE of BEING and BEING becomes immensely close to their soul , like cherry fruit already in their palms. Now such blessings are made freely available for ALL irrespective of whatever birth - great or humble. BEING does take into consideration the birth at all but only the metaphysical aptitude of a person. Thus we have here VarNashrama Dharma being uprooted and made irrelevant for genuine spiritual life.

Now those who worship BEING like the Black VishNu or the Blue KrishNa and so forth, if they happen to rise above and worship of the color of Burning Fire or the evening sky of Siva , what becomes available is not just simply a beautiful life full of joys but Moksa itself and hence being liberated from being thrown into the historical world of evolutionary dynamics.


சிந்தித்து எழுவார்க்கு நெல்லிக் கனியே

சிறியார் பெரியார் மனத்தில் ஏறல் உற்றால்

முந்தித் தொழுவார் இறவார் பிறவார்

முனிகள் முனியே அமரர்க்கு அமரர்

சந்தித் தடமால் வரை போல் திரைகள்

தணியாது இடறுங் கடலங் கரை மேல்

அந்தித் தலைச் செக்கர் வானே ஒத்தியால்

அணியார் பொழில் அஞ்சைக் களப்பனே


மிக அழகிய பொழில்கள் சூழ்ந்துள்ள அஞ்சைக் களம் எனும் கோயிலில் எழுந்தருளியுள்ள என் ஐயனே! கரையினை சந்தித்து மிகப் பெரிய மலைகள் போல் எழுகின்ற திரைகள் ஓயாது தணியாது மோதுகின்ற கடலங்கரைமேல் அந்திக் காலத்து செக்கார் வானே போல் கருமை நீலம் போன்ற வண்ணங்களில் அல்லாது செந்தீ வண்ணனாய் உனைக் காட்டியருளுகின்றாய். இந்த வடிவில் உன்னை ஆழச் சிந்தித்து சிவஞானம் அகத்தே மிளர பக்குவத்தில் உயர்ந்து எழுவார்க்கு நீ எளிதில் கிட்டும் நெல்லிக் கனியாகின்றாய். ஏனைய வடிவங்களை ஒதுக்கி இவ்வடிவினை ஆதி என்று நினைத்து தொழுவார் பிறப்பில் குணத்தில் சிறியார் ஆkகினும் பெரியார் ஆகினும் மனதில் தயங்காது ஏறல் உற்று அவர்கள் வீடுபேறு மகிழ்ந்து சாதாரணமாக இறந்து மீண்டும் அற்ப உடலுற்று பிறவார். இதனால் முனிகட்கு முனிவனாய் யாண்டும் இறவா பிறவா அமரர்கட்கும் அமரனாய் திகழ்கின்றாய். என்னே உன் பெருமை!

cintittu ezuvaarkku nellik kaniyee

ciRiyaar periyaar manattil eeRal uRRaay

muntit tozuvaar iRavaar piRavaar

munikaL muniyee amararkku amarar

cantit tadamaal varai pool tiraikaL

taNiyaatu idaRuG kadalaGkarai meel

antit talaic cekkar vaanee ottiyaal

aNiyaar pozil anjcaik kaLattappanee


O my Father who has taken residence in the temple of Anjcaik kaLam surrounded with beaituful gardens and pools! You, over and above the black and blue hues, shine forth also in the color of the seeting sun like those on the sea-sides where huge waves beat the shores ceaselessly . It appears to me that for those who meditate upon you on this hue and get at the meaning, come to have an immediate understanding of your essence and has it like the nelli fruit in their palms. You also ascend into their soul of those who contemplate and worship you thus be they great or simple. Those who worship you in this form as the foremost, will also attain Moksa where they do not suffer the normal death and hence get to reborn with another physical body. And because of this you show also yourself as the most illuminated among the illuminated and the really immortal among the immortals.

The Icon Thinking of Sundarar-4

TirumuRai 7:4 : Tiruvanjsaik kaLam

The Birth of Meanings and BEING

The Dravidian linguistic and philosophic tradition is peculiar even in India for enshrining the MEANINGS as that which are central in all such studies. Thus we have Tolkaappiyam where the final book PoruLatikaaram is devoted wholly to determining the various ways the existential meanings emerge both in verbal behavior and nonverbal gestural behavior. The whole of Tirumantiram enters into a very detailed analysis of human behavior where the forms of behavior are sought to be understood in terms of the metaphysical meanings that shape them.

Sundarar brings out all these in his own beautiful ways where he uses a number of interesting metaphors. First he notes that the words and texts are woven using the various phonemes. But what agitates them and makes them a language are the meanings and he understands this is how BEING stands in relation to human existence. BEING agitates and animates human existence by projecting various MEANINGS into the mind and which makes them ACT in various ways.

But these meanings have their own ways of emerging that is understood in terms of the concepts cuukkumam and tuulam, the subtle becoming gross, or non-manifest becoming manifest. An analogy frequently given in Saiva texts is that of the egg in relation to the peacock, The peacock is already in the egg but in the cuukkumam or subtle form. Thus the meanings are like the visible leaves but which pre-exist in the embryonic or germinal form of shoots and so forth.

Thus we have an Evolutionary Understanding of how BEING provides the meanings and which can be put- presenting the meanings initially as the unconscious and later very conscious- clear and articulate. The MEANINGS lurk in the depths as the unconscious and later emerge into consciousness becoming those which are enjoyed by the souls.

In this for the living creatures BEING also becomes the water that makes the plants flourish. For the creatures cannot exist without meanings and by providing or injection various kinds of existential meanings, He allows the creatures - no matter how humble in their evolutionary development - exist as such struggling for this and that.

Because of this for human beings who worship BEING with Bakti, He also becomes the Existential Ground - the very foundation of Existence itself where the MEANINGS are no more mental fabrications of the cognitive processes but rather those which are implanted in the depths by BEING Himself.


இழை எழுத்துக்கு உயிர் ஒத்தியால்

இலையே ஒத்தியால் உளையே ஒத்தியால்

குழைக்கும் பயிர்க்கோர் புயலே ஒத்தியால்

அடியார் தமக்கோர் குடியே ஒத்தியால்

மழைக்குந் நிகர் ஒப்பன வன் திரைகள்

வலித்தெற்றி முழங்கி வலம்புரிகொண்டு

அழைக்குங் கடலங்கரை மேல் மகோதை

அணியார் பொழில் அஞ்சைக் களத்தப்பனே


மழை பெய்வதுபோல் நீர் துளிகளை தெறிக்கும் வன் திரைகள் வல்லிதாகப் பொருதி வலம்புரி சங்கினைக் கொண்டு முழங்குவது போல் தோன்றும் கடலங்கரையைக்கொண்ட மகோதை என்னும் திரு நகரில் அழகிய பொழில்கள் சூழ்ந்த அஞ்சைக் களம் எனும் கோயிலில் எழுந்தருளி ஆருள்பாலிக்கும் என் ஐயனே! உன்னை சிந்திக்க சிந்திக்க, எழுக்களைல் கொண்டு சொற்களை இழைக்கும் போது, அந்த சொற்களுக்கு பொருள் எனும் உணர்வினைத் தருவதின் , ஆன்மாக்களுக்கு உயிர் போல ஒத்து நிற்கின்றாய். வளரும் செடிகட்கு சூக்கும உருவத்து உளை போலும் அவை மலர்ந்திட விளங்கும் இலைகள் போலும் விளங்குகின்றாய் மேலும் வளமாக பல குழைகளை தள்ளும் பயிர்களுக்கு நீர் ஊட்டும் மழையை ஒத்தும் இருக்கின்றாய். உன்னைத் தொழுது வணங்கி மேம்படும் அடியார்கட்கு அவர்கள் தம் குடியிருப்பையே ஒத்தும் நிற்கின்றாய். என்னே உன் பெருமைகள்.


izaikkum ezuttukku uyir ottiyaal

ilaiyee ottiyaal uLaiyee ottiyaal

kuzaikkum payirkoor puyalee ottoyaal

adiyaar tamakkoor kudiyee ottiyaal

mazaikkun nikar oppna van tiraikaL

valitteRRi muzaGki valampuri koNdu

azaikkuG kadalaGkarai meel makootai

aNiyaar pozil anjcaik kaLatappanee


There is the city of Makootai on the sea-side where on the shores beat the violent waves showering drops of water like rainy clouds and where it calls as if blowing the conch shells. On my Father you have taken residence in the Temple of Anjcaik KaLam surrounded by beautiful pools and gardens! This is what I Understand of you by seeking the meanings of the various Icon forms in which you disclose yourself. You are like the animating MEANINGS for words woven with the phonemes. You are like the shoots as well as the visible leaves in the plants. For all luxuriant vegetations you are like the rain-water that enables them to be so. And for humble people who worship you with understanding, you exist as their existential foundation

The Icon Thinking of Sundarar-5

TirumuRai 7:4 : Tiruvanjcaik kaLam

Bondage and Liberation as Aspects of Existence

Sundarar brings out the meanings of a number of icons here but in the form of interrogations where the question itself contains within itself the answers.

First of all there is DUALITY of MEANING in existence where a person has TWO options - either to forever remain caught up in the evolutionary dynamics of the cosmos or ESCAPE from it and enjoy Moksa or liberation by severing and burning off every bondage.

Now BEING provides for both kinds of meanings as possibilities for founding existence for all. However it appears that there are certain ICONS where BEING-as-Siva promotes the Moksa meaning as the meaning for existence and hence of making the individuals Mumuksu, people who desire Moksa and nothing else.

While riding the valiant elephant would mean throwing people in the evolutionary dynamics that exists as part of the cosmos, riding the Pure White and Young BULL would mean that Siva promotes the Moksa meaning over and above the other, The BULL stands for a certain kind of KuNdalini Sakti , that which provides virility but only for those who desire Moksa and nothing else. For such individuals youthful virility is gifted so that they can subliminate and eliminate every kind of desire including the obstinate sexual so that they can be become PURE and white.

Now this also explain s why Siva sports the Ganges as the Woman where He stands always united with Parvati, the daughter of Hill. The daughter of the Hill is the Earth and Siva stands one with earth all the time. However He sports also the Ganges and for promoting the self-cleansing and hence becoming absolutely PURE and which is a precondition for being blessed with Moksa.

This also explains the prize the metaphysical poets would gain compared to the ordinary ones who sing the earthly matters and who are praised by the ordinary folks in various ways. While the metaphysical poets may not enjoy worldly riches as would the ordinary, but they get to have Moksa as the MEANING of Existence and hence begin to lead a form of life which would lead them towards Moksa.

A metaphysical poet like Sundarar is certainly one of such for in many places he declares that the ordinary poets who sings the praise of the kings and nobles for monetary rewards are Poy Adimai Pulavar, poets who are slave to the false.


வீடின் பயனென் பிறப்பின் பயனென்

விடையேறுவதென் மதயானை நிற்கக்

கூடும் மலை மங்கை ஒருத்தியுடன்

சடைமேல் கங்கையாளை நீ சூடிற்றென்னே

பாடும் புலவர்க்கு அருளும் பொருளென்

நெதியம் பல செய்த கலச் செலவின்

ஆடுங் கடலங்கரை மேல் மகோதை

அணியார் பொழில் அஞ்சைக் களத்தப்பனே


நிதிகள் பலவற்றை சுமந்தவாறு பல மரக் கலங்கள் வந்து சேரும் , அலைகள் ஆடுகின்ற கடலங்கரை மேல் மகோதை எனும் திருநகரில் இருக்கும் திரு அஞ்சைக் களம் எனும் கோயிலில் அழுந்தருளியுள்ள ஐயனே, வாழ்க்கையை சிந்திக்க சிந்திக்க என்னுள் பல வினாக்கள் எழுகின்றன. மாறி மாறி பிறந்து இறந்து வருதலும் பிறகு இப்போக்கிலிருந்து விடுபட்டு மீண்டும் பிறவா இறவா வீடுபேற்றையும் வாழ்க்கையின் கூறுகளாக அமைத்து ஏன்? மதயானை பக்கமே இருக்க அதனை விடுத்து விடலை வெள்ளேற்றின் மேல் ஏறி உலா வருவது எதற்காக? நீ இமையவான் திருமகளாகிய மலைமங்கையோடு யாண்டும் பிரிவின்றி கூடியிருக்க, உனது சடைமேல் கங்கை எனும் மாதுவையும் சூடி மகிழ்வதென்னே? இவ்வாறெல்லாம் ஞானக் கேள்விகள் கேட்டு மெய்யுணர்வு தலைப்பட்டு தெய்வீகமான பாடல்களைப் பாடும் புலவர்க்கு நீ அருளும் பரிசில் தான் என்ன? (என் உள் நின்று இவற்றை எல்லாம் விளக்கி அருளவேண்டும்)


vii(d)din payanen piRappin payanen

vidaiyeeRuvaten matayaanai niRkak

kuudum malai maGkai oruttiyudan

sadaimeel kaGakaiyaaLai nii cuudRRennee

paadum pulavarkku aruLum poruLen

netiyam pala ceyta kalac celavin

aaduG kaladalaGkarai meel makootai

aNiyaar pozil anjcaik kaLattappanee


There is the city Makootai, by the sea where on the shores there are many boats carrying various kinds of riches. O my Father who has taken residence in the temple Anjcaik KaLam in this city, I have a number of metaphysical questions for you. What is the reason for providing in existence both birth with bondages and Moksa where every bondage is severed? Why is that you mount the valiant bull where there is the strong elephant just by the side? Why though you remain eternally in union with Parvati the Daughter of King of the Himalayas , you also wear on your tuft, the Ganga Woman? And what gifts await those poets who sing on such metaphysical matters?

The Icon Thinking of Sundarar-6

TirumuRai 7:4 : Tiruvanjcaik kaLam

BEING is the Guru of All the Guru-s

Ordinary people seek metaphysical wisdom through the study of scriptures , listening to the edifying discourses of guru-s swamis and so forth. These are either secondary or tertiary forms of spiritual life where there are always place for the interference of the human ego and hence false metaphysics and so forth. However when a person rises to the level where he manages a metaphysical dialog with BEING himself, there can only be TRUTHS and not falsities at all.

Sundarar understands this and hence avoiding scriptural exegetics, dialogs with guru-es and so forth , interrogates BEING himself directly , understanding also BEING as the Paramaa Parameeddi, the most transcendent and absolute Guru of all the guru-s. Whatever is disclosed by way of answers to the puzzling metaphysical questions by BEING Himself cannot but be truths.

This is the true shape of the highest form of spiritual life where scriptures and human guru=s are avoided and BEING Himself is interrogated directly

The first question he raises pertains to Cosmology where while there is the universal DARKNESS, the thick cosmic night , BEING plays around throwing Wild Fire ( kaadderi) everywhere violating this primeval darkness. The next question follows this : Why does BEING demand further sacrifices from the head of even the dead? And finally what benefits are enjoyed by the metaphysical poets who worship such disclosures of BEING and sing praise of them?

All these questions are interlinked. The Primeval Darkness is the MALAM, that which disallows the manifestation of anything at all m throwing the whole universe into an EMPTINESS, a NOTHINGNESS of PRESENCE. It is here BEING as the Kaalaagni Rudra who violates this dark force and allows with that the PRESENCE of objects as such and such there,

Sundarar recalls here a cosmological theme as old as Sumerian Suruppak's NeRi (c. 3000 BC) attesting a continuity of metaphysical thinking despite many kinds of massive upheavals. See the lines:


1. [u]ri-a u sud-ra ri-a ( In those distant days, in those far remote days)

ஊ எரிய ஊ சூத்திர எரிய

uu eriya uu cuuttira eriya

2. gi ri-a gi bad-du ri-a ( In those nights, in those far-away nights)

மை அரிய மை பண்டு அரிய

mai ariya mai paNdu ariya

3. mu ri-a mu sud-ra ri-a ( In those years, in those far remote years)

மூஉ அரிய மூஉ சூத்திர அரிய

mUu ariya mUu cuuttra ariya

4. u-ba gestu.tuku inim.galam inim.zu-a kalam-ma ti-la-am ( In those days, the intelligent one, who made the elaborate words, who knew the (proper) words, and was living in Sumer .

ஊப கெஸ்த்துதொகு எனம்கலம் எனம் சூவ களம்ம தில்லாம்

uuba kestu.toku enam.kalam enimcuuva kaLamma tillaam


Here ‘gi-ri-a ‘ ( = mai ariya) is the primeaval darkenss bad-du-ri-a ( Ta. paNdu iriya) and u-ri-a is the burst of light in the form of Fire ( uu: light eri: fire ) just as primordial , sud-ra ri-a ( Ta. suuttira eria)

Now against this we have to seek out why BEING takes a further measure of sacrifice(pali koodal) from the head of the dead. Here we have to recall that what BEING promotes through His Violence of Fire is an EVOLUTINARY movement of the whole cosmos and which proceeds with a Niyati, an orderliness. The dead person is re-issued another birth such that the evolutionary climb he has registered is not wiped out entirely so that when he is granted another lease of life, he does not begin from the beginnings as the most humble of creatures. What is extracted from the head of the dead is the Prabta Karma, that form of karma that can be transferred to a future birth and which retains all his achievements, good or bad in the life he has lived. This Prabta karma serves as the input for this shaping the form of future birth so that evolutionary relapse or regression is avoided.

Now what benefits accrue to the metaphysical poets who sing out the glories of such divine archetypal disclosures?

They get to UNDERSTAND axiomatic truths, the truths that are the deepest and the most fundamental so that their future existence as founded by such truths become the most authentic and which is a life organized as if for Moksa.


இரவத்திடு காட்டெரி ஆடிற்றென்னே

இறந்தார் தலையிற் பலிகோடல் என்னே

பரவித் தொழுவார் பெறு பண்டமென்னே

பரமாபரமேட்டி பணிந்தருளாய்

உரவத்தோடு சங்கமொடு இப்பி முத்தங்

கொணர்ந்தெற்றி முழங்கி வலம்புரிக் கொண்டு

அரவக் கடல்ங்கரை மேல் மகோதை

அணியார் பொழில் அஞ்சைக் களத்தப்பனே!


பெரும் சத்தத்தோடு அலைகள் கரையைப் பொருதி சங்கமொடு இப்பி முத்து போன்றவற்றை கொணர்ந்து , வலம்புரி சங்கினை கொண்டு முழங்குவதுபோல் ஒலிக்கும் கடலங்கரை மேல் மகோதை எனும் திருநகர் இருக்கின்றது. ஆங்கு அழகிய பொழில்கள் சூழ நிற்கும் அஞ்சைக் களம் எனும் கோயிலில் எழுந்தருளி இருக்கும் என் ஐயனே ! நீ காட்டும் உனது திருவிளையாடல்கள் பலவற்றை ஆழ சிந்திக்க தெளிவு வாராது தடுமாறுகின்றேன். அடியேனுக்கு நீயே ஞானகுருவாக உளமர்ந்து கீழ் வரும் கேள்விகளுக்கு தக்க விளக்கங்களை தந்தருளவேண்டும் இரவுப் பொழுத்தில் உலகே இருளில் மூழ்கியிருக்கும் போது நீ ஏன் கட்டுக்கடங்காத காட்டு எரி கொண்டு ஆடுகின்றாய்? மேலும் இறந்து கிடப்பார் தலையில் தொடர்ந்து பலிகோடல் ஏன்? இவ்வாறு உனது வெளிப்பாடுகளை அழகற்றது அஞ்சத் தக்கது என்று வெறுத்து ஒதுக்காது பரவித் தொழுவார் பெறும் பண்டம்தான், பொருள் தான் என்ன? எல்லா வகை பரமேட்டிகளுக்கும் மேலாம் பரமா இருக்கின்ற நீ விளக்கியருளினால் தான் அழிவில் உணமைகள் எனக்கு அறியவரும் கண்டாய்.


iravattidu kaadderi aadiRRennee

iRantaar talaimeeR palikoodal ennee

paravit tozuvaar peRu paNdamennee

paramaa parameeddi paNintaruLaay

uravattoodu cangkamodu ippi muttaG

koNarnteRi muzaGki valampurik koNdu

aravak kadalaGkarai meel akootai

aNiyaar pozil cuuz anjcaik kaLattappanee!


There is the city of Makootai where violent waves attack the shores bringing along with them the shells pearls and so forth making great noise as if blowing with the conch. O my father who has taken residence in the temple of Anjcaik KaLam in this city surrounded with beautiful gardens and pools! You are the Guru of all the guru-s and I have some questions for you. I hope you would answer these deep within me so that I have TRUTHS and nothing else. Now why in this of dark night you Play throwing wild fire everywhere? Why even when people are dead and gone you demand further sacrifices from their head? And what is benefit for the metaphysical poets who sing eloquently your such disclosures?

The Icon Thinking of Sundarar-7

TirumuRai 7:4 : Tiruvanjcaik kaLam

BEING who Destroys and Regenerates is the Most High

The most authentic metaphysical understanding emerges only when one enters into Icon Thinking where the various archetypes and mythical dramas as disclosed by BEING are interrogated so that BEING Himself provides the answers. This requires that one FREES oneself from all the prejudices that traditions, religions and ideologies and so forth establish in the mind. The most authentic spiritual wisdom is gained only by the FREE mind that accommodates itself to the divine disclosures and seek to UNDERSTAND the essence of BEING through such an exercise

Sundarar in this verse describes these processes of metaphysical investigations and because of which he also maintains that he has acquired a faultless and the most authentic understanding of BEING.

But what are they?

There are universal praxis or fundamental processes of Destruction and Regeneration that go together and are available everywhere and in all layers. There is nothing in the mental and psychical without these fundamental processes. So also at the cosmic level - the whole of the cosmos is subject to destruction and regeneration. Because of this BEING-as-Siva, the Antam-aati, as put by MeykaNdar, the Power that destroys and regenerates is the Mutal, the Most High , a Power that has NO other Power above it. For Siva who destroys and regenerates all, does the same with Himself - He can self-destroy and self-regenerate and hence the TaRparan, the Power unto Himself as put by Tirumular

Since this BEING-as-Siva is the Most High, the Supreme BEING, He who has no power above Him, all other gods and goddesses have to be various kinds of presentations of BEING-as-Siva himself. Hence all the words of metaphysical discourses are ultimately that of BEING-as-Siva, disclosed by various lesser gods to be in tune with human understanding of various levels of sophistication- the high and low.

Now since in this way it is BEING-as-Siva who stands as the PoruL or MEANINGS of all divine disclosures, it may be concluded this Power has nothing to do with the sensorial processes and which generate physical understanding. Now Sundarar notes here even the senses and sensory processes are also the gifts of BEING-as-Siva for even here we have the fundamental processes of destruction-regeneration. There cannot be sensing at all unless BEING stands along with the senses making them fuse with some objects and later once the object is already processed, the FREE the senses from that fusion. Here too we have the fundamental destruction-regeneration and hence BEING-as-Siva, the Destoyer0 Regenerator.


ஆக்கும் அழிவும் ஐய நீ என்பன் நான்

சொல்லுவார் சொற்பொருளவை நீ என்பன் நான்

நாக்கும் கண்ணும் செவியும் நீ என்பன் நான்

நலனே இனி நான் உனை நன்குணர்ந்தேன்

நோக்குந் நெதியம் பல எத்தனையும்

கலத்திற் புக பெய்து கொண்டேற நுந்தி

ஆர்க்குங் கடலங்கரை மேல் மகோதை

அணியார் பொழில் அஞ்சைக் களத்தப்பனே


மக்கள் அனைவரும் நோக்கி வேட்கும் நிதிகள் பலவற்றை மரக்கலங்களிம் நலமே புக ஏற்றி பல நாடுகட்கு செல்லும் சிறப்பின் கடலங்கரை உடைய மகோதை என்னும் திருநகரில், அழகிய பொழில்கள் சூழ்ந்திருக்கின்ற அஞ்சைக் களம் எனும் கோயிலில் எழுந்தருளி இருக்கும் என் ஐயனே! ஆழமாக நீயே உணர்த்தியருளுமா உன்னையே நான் சிந்திக்க, நலமே எவ்வித பிழையும் இல்லாது உனை நங்குணர்ந்தேன் கண்டாய். அதனால் அடிப்படை தொழிகளாகிய ஆக்கத்தையும் அழிவினையும் செய்கின்றவன் நீ வேறு தெய்வங்கள் அல்ல என்பது மெய்ஞானம் என யார் பகர்ந்தாலும் அவர்கள் கூறும் பொருளெல்லாம் நீயே அல்லது வேறு தெய்வங்கள் அல்ல என்றும் தெளிந்துள்ளேன். மேலும் இவ்வாறான சித்தத்தின் செயல்பாடுகளோடு நீயே ஐம்புலன்களாகவும் நின்று பொறிலிய அறிவையும் தருகின்றாய் எனப்தையும் அறிவேன் காண்.


aakkum azivum aiya nii enpan naan

colluvaar coRporuLavai nii enpan naan

naakkum kaNNum ceviyum nii enpan naan

nalanee ini naan unai nakuNarnteen

nookkun netiyam pala ettanaiyum

kalattiR puka koNdeeRa nunti

aarkkuG kadalaGkarai meel makootai

aNiyaar pozil anjcaik kaLattappanee!


There is city of Makootai on the shores where in the seas there are many boats filled with all kinds riches and depart to foreign countries , sailing into the seas. O my Father who has taken residence in the temple of Anjcaik kaLam surrounded with beautiful gardens and pools in this city, let me tell you that through diligent interrogations of various disclosures directly from you I have gained the most authentic understanding of Yourself, Now I will say for sure that you are the Most High as the POWER that destroys and regenerates Thus you are also all the MEANINGS that are disclosed in various ways through metaphysical discourses. In addition to all these you are also the physical senses that provide an understanding of the physical world.

The Icon Thinking of Sundarar-8

TirumuRai 7:4 : Tiruvanjcaik kaLam

A Life of Pure Love and Moksa

We must recall that there were two significant phases in the life of Sundarar. The first is that of the typical young man, seeking a female partner and enjoying sexual life. Sundarar in fact married two women and with the grace of BEING. The second phase towards the end of life is a life of Pure Life where the ordinary life is domestic life is despised and abandoned but without any hatred towards any body including his wives. As sexual libido exhausts itself and gets transformed into Pure Love , quite universal in nature , the narrow family is transcended and true asceticism comes to prevail. This is the condition where the soul is ready for being blessed with Moksa and this is what Sundarar is seeking in this verse.

Against this we can see why BEING is addressed as the source of metaphysical wisdom( veetiyan) and who is also the Ardhanaari, the androgynous Reality. While the ordinary sexual life does not have the full fusion of Natam and Bindu, or the Male and Female , this is so when the soul becomes androgynous in nature and which annuls any sexual desire replacing it with Pure and Universal Love. It is at this point that the soul also begins to enjoy the Njaanam, the absolute Metaphysical Understanding that would confer Moksa.

BEING helps along every soul to ascend in evolutionary development and reach this stage and for which He plays certain games that are listed by Sundarar here.

Now sexuality comes along with EGO where the figure of RavaNa is the prototypical figure of excessive egotism where the ten heads and twenty arms symbolizes the megalomania, It expresses the human desire to be God to the people by displacing the worship of BEING, the true God. Now when such a RavaNa seeks to shake Mount Kailash itself, BEING-as-Siva presses him down so that all his ten heads and twenty arms are shattered and RavaNa is led to bleat with intolerable pain. This in fact means that any aggressive and tyrannical individual will suffer a fate in which he is reduced to nothing and made to die a miserable death,

Next comes the plucking off one of the five heads of Brahma, the god of scriptures. There is another kind if egotism where instead of taking scriptures only as help in the spiritual development of person, one such a scripture is isolated and made the supremely authoritative displacing thereby the DIRECT encounter with BEING and learning from BEING Himself through metaphysical interrogations such as Sundarar in this Patikam. This arrogant head of Brahma is plucked off to destroy such scripture based egotism.

Then comes the mythical tale of Siva drinking the most potent poison and holding it back is His throat so that the throat itself becomes dark, This episode explains the underlying truths in the above divine plays. Though they may appear as cruel , but are in fact benign for they are acts in which BEING withdraws the poison of Malam, the most powerful killer energy and which is also the root of egotism By such acts BEING-as-Siva in fact drinks the poison in the soul of the human beings and holds it back in the throat so that it never assails the souls again. This is the Diksa , the divine act of PURIFICATION and which by destroying the ego transmutes the sexual libido into the libido of Pure and Universal Love


வெறுத்தேன் மனை வாழ்க்கையை விட்டொழித்தேன்

விளங்குங் குழை காதுடை வேதியனே

இறுத்தாய் இலங்கைக்கு இறையாளனைத்

தலை பத்தொடு தோள் பல இற்றுவிழக்

கறுத்தாய் கடல் நஞச அமுதுண்டு கண்டங்

கடுகப் பிரமன் தலை ஐந்தினுள் ஒன்று

அறுத்தாய் கடலங்கரை கரை மேல் மகோதை

அணியார் பொழில் அஞ்சைக் களத்தப்பனே


அலைகள் பாயும் கடலங்கரை மேல் உள்ள மகோதை என்னும் திருநகரில், அழகு மிக்க பொழிகள் சூழ்ந்த அஞ்சைக் களம் என்னும் திருகோயிலில் எழுந்தருளி இருக்கும் என் ஐயனே ! காமவின்பத்தை மூலமாகக் கொண்ட சாதாரண மனைவாழ்க்கையை இனி வேண்டாமென்று விட்டொழித்து அனபின் மயமாகிய தொண்டு வாழ்க்கையையே தேர்ந்துள்ளேன். மாதொரு பாதியாக ஒளிமிக்க குழையை ஓர் காதில் அணிந்து அர்த்தநாரீயாக விளங்கும் வேதியனே ! ஆணவச் செருக்கின் இலங்கைக்கு அரசனாகிய பத்து தலை இராவணனை , அவன் செருக்கெல்லாம் அழியும் வகையில் தலைகளும் தோளகலும் அற்று விழ அவனை தண்டித்து அருள் புரிந்தாய். யாராலும் கொள்ள முடியாத ஆலாகல விசத்தை உணடு கண்டத்தில் இருத்தி நீலகண்டனாக எழுந்து அனைவரையும் காத்தாய். சாத்திரப் பேயாக விளங்கிய பிரமனின் செருக்கு அழியுமாறு அவனது ஐந்து தலைகளுள் சிவஞானம் புகட்ட வல்லதாக விளங்கிய ஓர் தலையை அறுத்தாய் . இவ்வாறெல்லாம் அருள் புரியும் ஐயனே , என்னையும் நீ அருள புரிந்து ஆட்கொள்ள வேண்டும்.


veRutteen manai vaazkkaiayai viddozitteen

viLaGjuG kuzai kaatudai veetiyanee

iRuttaay ilaGkaikku iRaiyaaLanait

talai pattodu tooL pal iiRRu vizak

kaRuttay kdal nanjca amutuNdu kaNdaG

kadukap piraman talai aintinuL onRu

aRuttay kadalaGkarai meel makootai

aNiyaar pozil cuuz anjcaik kaLattappanee


O my Father who has taken residence in the temple of Anjcaik KaLam, surrounded with beautiful pools and gardens located in the city of Makootai by the sea-side! Let me tell you that I have learned to despise the ordinary family life of sexual happiness and having abandoned it ( have chosen a life of Pure Love). Now my Father who appears in the androgynous form wearing bright rings in one of the ears and thus also the source of absolute metaphysical wisdom ! Explain how all these have happened and what connection it has with your following divine plays. You shattered the arrogant RavaNa smashing all his ten heads and twenty arms. You drank the most potent poison (when it emerged when devas and asuras churned the ocean ) and keeping it safely in your throat you became the blue-throated. You also plucked one of the five heads of Brahma ( to reduce his ego)

The Icon Thinking of Sundarar-9

TirumuRai 7:4 : Tiruvanjcaik kaLam

The Fire of Njaanam and its Purification Effects

Saivism moves on the basis of the metaphysics as founded by Triadism - that Pati (BEING) , pacu ( the souls) and Paacam ( the binding fetters) are anati- un-originated and eternally there. In this the souls are infected with these Paacaas or Malam from the beginning while BEING is remains absolutely Pure and Free from these polluting dirt. It is only because this that only BEING can provide the Diksa, the Tiikkai, the BURNING off the dirt and making the soul Pure and Free of all the binding fetters.

This is a central theme in Saiva Metaphysics where Siva is taken as the one who burns off the three false citadels by the Fire that emerges from His forehead attacking these castles like arrows and burning them off. Among these the Maya Malam is the attachment to the physical world with the consequent blindness to the non-physical world. Individuals locked up in this castle will not recognize anything as real unless it is physical,

The Kanma Malam creates historicity and hence the trap of traditions. Such individuals cannot see anything beyond the historical and evolutionary and cannot see the presence of the ABSOLUTE that remains trans-historical.

The ANava Malam is the Killer Energy, the Root Malam and which is the root cause of the atomicity and the egotism of the human mind. Such a mind cannot conceive of a self without ego , the Pure Sat Self and hence the soul in itself.

It is only Njaanam - metaphysical wisdom that can singe to ashes these false ideologies and metaphysics and this is what Siva does - provides through various avenues metaphysical illuminations which will singe to ashes these false citadels. It is Civanjaanam that can PURIFY the souls of all the polluting dirt and this is what Siva does through His plays. And because of this he comes the Male elephant to the female elephant - an unfailing guide who shows forever the Right Way so that the soul sojourns in the direction of Moksa.

Sundarar mentions that because of this kind of blessings of BEING, he remembers always BEING-as-Siva so that he would be assisted in his existence so that he moves in the right direction, lives out the most authentic existence.

Against this we have to investigate why Sundarar as do al the Saivites claim that BEING-as-Siva is supreme even to BEING-as-Brahma and BEING-as-Vishnu. While it is recognized that one and same BEING shows Himself as Siva Vishnu and Braham but it is noted that among these BEING-as-Siva is supreme to other presentational forms. The reason is clear . While Saivism as a metaphysics as found by BEING-as-Siva recognizes the Killer Energy, the Anava Malam and understands Siva even controls it and hence the death and destructive forces, the metaphysics as founded by Brahma and Vishnu do not. The SriVaishnavism seeks to explain the Killer Energy and hence death and destruction in terms of the GuNas and here the Tamas. But death and destruction of the whole universe cannot be a matter of guNas at all for in this absolute and total annihilation of everything so that there is presence of NOTHING at all, even guNas disappear and hence along with it also Vishnu


பிடிக்குக் களிறே ஒத்தியால் எம்பிரான்

பிரமற்கும் பிரான் மற்றை மாற்கும்பிரான்

நொடிக்கும் அளவிற் புரம் மூன்று எரியச்

சிலை தொட்டவனே உனை நான் மறவேன்

வடிக்கின்றன போற் சில வன் திரைகள்

வலித்தெற்றி முழங்கி வலம்புரி கொண்டு

இடிக்குங் கடலங்கரை மேல் மகோதை

அணியார் பொழில் அஞ்சைக் களத்தப்பனே


கரைகளை கரைத்து வடிக்கின்றன போல் சில வன் திரைகள் மிக வல்லிதாக மோதி வலம்புரி சங்கினைக் கொண்டு ஊதுவது போல் முழங்கும் கடலங்கரை மேல் மகோதை எனும் திருநகர் இருக்கின்றது. அதில் அழகிய பொழில்கள் சூழ்ந்த அஞ்சைக் களம் எனும் கோயிலில் எழுந்தருளி இருக்கும் என் ஐயனே! பெண் யானைக்கு அதனை யாண்டும் பிரியாது இருக்கும் ஆண் யானை ஒத்து எல்லா உயிர்களுக்கும் நீங்காது யாண்டும் இருக்கும் துணையாக நீ இருக்கின்றாய். முன்றாவது கணணாகிய ஞானவிழியைத் திறந்து அம்புகளை எய்வதுபோல், ஞானக் கதிர்களை ஆன்மாக்களின் உளத்திலே எய்து, ஆணவம் கன்மம் மாயை என்ற அழுக்குகளால் ஆகிய முப்புரங்களை எரித்து இல்லாது போக்கி ஆன்மாக்களை சுத்தம் செய்கின்றவன் நீயே ஆதாலால் இவ்வாறு செய்ய முடியாத பிரமற்கும் திருமாலிற்கும் பிரானாக விளங்குகின்றாய். இவ்வாறு உன்னை நலமே உணர்ந்த என்னால் உன்னை என்னால் யாண்டும் மறக்க முடியாது காண்


pidikkuk kaLiree ottiyaal empiraan

piramaRkum piraan maRrai maaRkum piraan

nodikkum aLaviR puram muunRu eriyac

cilai toddavanee unai naan maRaveen

vadikkinRana pooR cila van tiraikaL

valitteRRi muzaGki valampuri koNdu

idikkuG kadalaGkarai meel makoothai

aNiyaar pozil anjcaik kaLattappnee!


There is the city of Makootai on the shores where the violent waves beat and reduce the banks and howls as if blowing the conch shell, O my Father who has taken residence in the temple of Anjcaik KaLam surrounded by gardens and pools, let me tell you that I can never forget you even for a moment for you stand my companion like a male elephant towards a female elephant it loves. You are Siva who singes to ashes the Three False metaphysical castles with Fire that you shoot out like arrows from your Third Eye. And because of this you also remain the Lord unto Brahma and Vishnu ( who cannot do thus

The Icon Thinking of Sundarar-10(Final)

TirumuRai 7:4 : Tiruvanjcaik kaLam

Music Songs and Metaphysical Illuminations

What provides apodictic certainty is not the scientific method logical consistency scriptural or individual authority and so forth but rather the metaphysical illumination that dawns from within and drives away all doubts and uncertainties by the clarity brought forth. Such an understanding which is free of doubts and uncertainties is a concept of understanding that has been in the Dravidian philosophic tradition at least from the days or Tolkaappiyar if not earlier. This is the ‘vinaiyin niiGki viLaGkiya aRivu' , a form of understanding that is free of prejudices and hence Absolutely Pure .

BEING-as-Siva is the source of such an understanding for it is He who can dispel all the ignorance and illuminate the mind so that it shines forth in axiomatic TRUTHS. Because of this BEING becomes not only the Lord of all human beings but also the gods for each god is a prejudice installing deity and hence in need of this Njaanam that is FREE of any kind of prejudice.

This Njaanam can be provided only by BEING and no other and hence one must seek His grace through direct interrogating of BEING himself as is done by Sundarar in this hymn.

This essence of this hymn makes also Sundarar recommend that people in general sing out these songs to the accompaniment of the gentle music of drums flute and so forth. But why this?

BEING is Black-throated and where the throat has become black because of the Killer Poison that He holds there.

The throat as the source of the sounds and hence speech can be a killer by the evils said and done. It may be possible when discursive speech is subdued by singing divine hymns, this Dark Killing Force itself is destroyed being helped here by Siva the Blue-throated. Music in general does not reach just the brain but also the heart and makes it mellow down, become the source of Love Compassion and Sympathy.

Such a condition of the soul is also that condition that would allow the shining even brighter the Njaanam that is already there. The Njaanam is not something that is learned and acquired as part of one's own understanding. It is pre-existent but under normal circumstances remains covered up. What the singing of divine hymns does is to remove or weaken this cover, the curtain and with that allow the Njaanam shine forth majestically informing the understanding the axiomatic truths so that there are no doubts and uncertainties - the tadumaaRRam


எம்தம் அடிகள் இமையோர் பெருமான்

எனக்கென்றும் அளிக்கும் மணிமிடற்றன்

அந்தண் கடலங்கரை மேல் மகோதை

அணியார்பொழில் அஞ்சைக் களத்தப்பனை

மந்தம் முழவுங் குழலும் இயம்பும்

வளர் நாவலர் கோன் நம்பி உரன் சொன்ன

சந்தம் மிகு தண்தமிழ் மாலைகள் கொண்டு

அடி வீழ வல்லார் தடு மாற்றிலரே


என்னைப் போன்ற அடியவர்கட்கும் எல்லா தேவர்கட்கும் சங்கார காரணனாக இருக்ன்ற சிவபெருமானே தலைவனாவன். நஞ்சினைப் பருகி தன் கண்டத்தில் இருத்தி மணிமிடற்றனாக விளங்கும் அவன் எனக்கு என்றும் அருளபாலிக்கின்ற கருணை வள்ளலுமாகும். இப்படிப் பட்ட இறைவன் குளிர் நீர் நிறைந்த கடலங்கரை மேல் இருக்கின்ற மகோதை என்னும் திருநகரில் உள்ள அழகிய பொழில்கள் சூழ்ந்த அஞ்சைக் களம் என்னும் திருகோயிலிலும் பலரும் தொழுது மகிழும் வண்ணம் எழுந்தருளி இருக்கின்றான். அருள வளர் உள்ளத்து நாவலர் கோனாகிய நம்பி ஊரன் எனும் அடியேன் பாடிய சந்த ஓசை மிகு தண்தமிழ் மாலையை மந்தமான ஒலியுடை முழவு குழல் போன்ற இசைக் கருவிகளோடு இனிதே பாடி இறைவனது அடி வீழ்ந்து வணங்குவார் பெறுகின்ற ஞானத்தெளிவின் எப்படித் தான் வாழ்வது என்பது பற்றி எவ்வித தடுமாற்றமும் இல்லாது மனவுறுதியோடு நலமே வாழ்வர்.


emtam adikaL imaiyoor perumaan

nakkenRum aLikkum maNimidaRRan

antaN kadalaGkarai meel makootai

aNiyaar pozil anjcak kaLatappanai

mantam muzavuG kuzalum iyambum

vaLar naavalar koon nambi uuran conna

cantam miku taNtamiz maalaikaL koNdu

aci viiza vallaar tadu maaRrilaree


BEING-as-Siva , in view of being the power of destruction and regeneration is not only the Lord unto myself and people similar to me but also all the divine beings. He showing Himself as the Blue-Throated by drinking the poison and keeping it is His throat, never fails to bless me with His Grace. Now He has taken residence in the temple of Anjcaik KaLam surrounded with beautiful gardens and pools and located in the city of Makootai, by the sea-side. Now I, the king of mystic poems that allow people to develop spiritually have composed these songs with beautiful and soft music. Anyone who sings these songs to the accompaniment of the gentle instrumental music of drums flute and so forth are sure to gain the Njaanam that would dispel all doubts and uncertainties and enable one lead an authentic life of apodictic certainty.



"" இருந்து மீள்விக்கப்பட்டது
இப்பக்கம் கடைசியாக 18 பெப்ரவரி 2013, 07:26 மணிக்குத் திருத்தப்பட்டது. இப்பக்கம் 1,164 முறைகள் அணுகப்பட்டது.