Thevarams - The Historical Perspective.

[a.ratchasi]

RR, your efforts are very much appreciated.

Thank you.

Do take your time.

[asitaraman]

Appar swamigal and Sambandar Swamigal were contemporaries. In fact, the name Appar was given by Sambandar since he could not call him "Appa" since his father was alive or "Appane" as this was reserved for the God.

Sundarar was apparently from a later time and the author of Thiruthondu Thogai. This compilation was apparently lost till Rajaraja I sponsored the revival of this great piece of work as also the tradition of singing Thevarams through Oduvars in temples. Numerous inscrptions all over South India note grants to scholars of both Thevarams and Vedas (see inscriptions.whatisindia.com).

An interesting anecdote of Thiruthondu Thogai. Apparently, Sundarar was going to see Thiyagesha in Thiruvarur when there was a "Agora" Bhaktha called Viranmindar on the way. All the other devotees paid respect to Sundarar except for Viranmindar. When people asked him why he was not paying his respect to Sundarar (as Sundarar was believed to be Shiva's friend and hence followed the practice of Thozhamai Margam or treating God as a friend) he said quite loudly "What is the point of being God's friend if he does not know the importance of worhing His devotee before worshipping him?" Sundarar, quite saddened by this, asked Shiva whether he was doing the wrong thing. Shiva agreed with Viranmindar. As a homage to Viranmindar and other devotees, Shiva inspired him to compose the life stories of prominent devotees after worshipping Viranmindar and also including him as one of the most reverent devotees. (There is another interesting story where Viranmindar, though an ardent devotee of Shiva, had a fight with Shiva about Him granting extra attention to Sundarar, but that can be another post).

In response to some queries on historical information available in the Thevarams, the answer is that there were many. As Iddiappam pointed out earlier, the age of the saints marked what information they decided to capture in their songs.

Thus there are anecdotal information on the size of towns, temples, festivals, functions, professions, architceture, dharma, philosophy, religions & customs, traditions, etc.

For example Appar has captured the traditions of Thiruvarur in his Thevaram "Ambalathu Mannikoothai Aaduvan Puguvadarkku Munno Pinno." See my article "Timeless Thiruvarur" at http://www.whatisindia.com/monuments...hiruvarur.html.

He has also talked about the music and prevalence of art in Thiruvaiyaru in a different Thevaram.

However, the best information on law, administration, quality of life, etc can be found in Sekkizhar's Periya Puranam which is essentially a buffed up and redo of Sundarar's Siruthondu Thogai with additions of Sundarar, and his parents to the list of Nayanmars. Hence, before Sekkizhar's Periya Puranam, the number of Nayanmars was only 60.

[asitaraman]

A query was raised on when and how Jainism came to South India. While there are many theories, no one is really sure.

One theory is that the Kalabras was a Jaina sect that overan the Southern kingdoms. Another theory is the South Indian kingdoms were influenced more and more into Jainism in response to incessant wars.

My theory is that Kaveripumpattinam was destoryed by the sea "Kandal kondu ponathe" through a tsunami. At that time, other port towns must have also been destroyed. This is corroborated by a 4th century story of Puri Jaganath temple.

It is believed that a set of pirates were landing in Puri to pillage and loot the temple. However, the God had appeared in the dreams of the priests about this incident so they can hide the moola vigraham and valuables. When the pirates came, they saw a deserted temple with nothing to loot. Disappointed and disgusted they left and about to borard their ship when the sea approached and killed all of them. IMHO, this must be the same event.

This tsunami is also supposed to have killed the royals at Keveripumpattinam leaving behind an economical and politcal vaccum. This probably encouraged others to assume power.

What is however preplexing is the lack of evidence, data, literature, etc. for the 4th and 5th centuries. It is only when the Pallavas started establishing their dominance that we see some information from the 6th Century onwards. The origin of the Pallavas themselves is in doubt. While some talk about the Pallavas having originated from the sea, there are also ridiculous theories of Pallavas being part of the Pahlavas from Persia (see http://www.iranian.com/Letters/2005/August/aug30a.html).

From Siru Thondar's Thiruvillayadal (which is a collection of well known stories of Shiva), we know about Jains being north of Madurai and also a "Chola" from Kanchi called "Ayiram Pari Konda Cholan" (the Chola with thousand horses apparently a reference to his cavalry unit). This may well prove the origins of the Pallavas as Cholas who must have been a faction who had escaped the tsunami. Cant say why they called themselves Pallavas though.

Furthermore, Jains are naturally non-violent or non-destructive by philosophy and religion. So it is somewhat hard to associate them with the destruction of traditions, culture, history, and "Hinduism" as we know it today as is attributed to the Kalabras.

However, from Periya Puranam (which is essentially a rework of Sundarar's Thiruthonda Thogai by Sekkizhar), we know that even Jainas (or anyone for that matter), are not above violence.

It is believed that the Jain priests had converted Kuun Pandyan (because he had a physical deformity) into that religion and encouraged him to persecute Saivites. They encouraged a policy of "Kundu muttu" kettu muttu." This means that if someone saw a Saivitie he would have committed grave sin. If he reveals that he had seen a Saivite to another the one who hears this would have committed grave sin. The story goes that when Sambandar reaches Madurai, his place of stay was torched and that fire was sent by Sambandar to the king gently-- "payave selga Pandiyarku aaga." Then, Sambandar and the Jains attempt to cure the king. When the Jains fail, Sambandar cures the king's sickness Thiruneeru (Vibhuthi) after singing his Thiruneetru padiya "Mandiramavathu Neeru." Later the Jains challenge Sambandar to a debate where they would throw their poetry into fire ("Annal Vaadam") and water ("Punal Vaadam"). It is decided that those who lose will be impaled. The Jains lose and they are impaled. Sculptures of the Jain impaling is there in Madurai and paintings to that effect from Chola to Maratha times is seen in many temples in Tamil Naadu including Bhrihadeeshwara.

Another story about the the "cruelty of Jains" is the story of Appar. He was born Saivaite as Marulneeki, converts to Jainism after seeing the death of his would-be brother-in-law, in defference to this death the assumption of widowhood of his sister, the death of his parents all in quick sucession. He soon becomes the most-respected and seniormost Jain saint of South India with the name of Dharmaseelar.

However, the story goes that he developed a violent stomach ache and could not find out why he got this pain. He argues in his Thevaram "Kurainavaru Pugagaili, Kodumai pala saithana naan ariyaen." This means that he is convinced that he committed some bad karma in his bad life as he does not know of bad karma that may have committed in this life. This is contrary to the belief of Jains that people experience results of their karmas in the same life. Therefore, losing faith in Jainism, he becomes a Shiva devotee again.

Mahendra Pallava who was himself a Jain at that time is instigated by Jain saints to punish Dharmaseelar who is now called Thirunavukku Arasar (because he is the lord of his tongue as he sings such beautiful poetry). Mahendra Pallava punishes him and attempts to kill him by throwing him in the sea, burning him in a Sunambhu Arrai, etc. Thirunavukku Arasar comes out singing everytime. The king is intrigued and asks him how he survives these tortures. At that point the saint says that he is always thinking about his Lord's feet which to him is like the sound of a beautiful music from the Veena, the coolnes of the Southern breeze, the smell of fragrant flowers, etc. The king converts to Saivism.

Please remember that I am not "dissing" Jainism just quoting from texts as is.

[aravindhan]

Nice lines...

Yes, the entire song is one of my favourites.

I don't really understand, what is 'puram imagery'. Some light please.

My wording certainly wasn't clear! What I meant was that the songs of Kampan, and to a lesser extent, the Azhvars, make heavy use of the types of metaphors and other associations, particularly in relation to landscapes, that one finds in the akam poetry of the cankam period, but of course with a religious twist. For example, Kampan uses the image of a deer caught in a barren landscape with "parunthu"s circling overhead in describing Sitai's reaction to Iraman's accusations. One similarly often encounters of rice fields, the sandy seashore, hilly tracts, etc. This has been much analysed by scholars - the essence is that the language of feelings developed by sangam poetry for secular love is appropriated to refer to religious devotion.

I've heard some scholars say that in a similar way, the Tevarams use the poetic techniques and metaphors which puram poetry developed for describing its themes - heroism, generosity, virtue, glory, stoicism, etc. -, but to convey aspects of saiva philosophy. Thus if the puram songs praise a particular mode of conduct for secular reasons, the Tevarams, according to these scholars, praise the very same mode of conduct, using poetic devices which are quite similar(if one keeps in mind the time separating them) but giving it a religious colour. I would like to find out more about this, and that basically was my question. I hope I've explained it better now.

[Idiappam]

For example Appar has captured the traditions of Thiruvarur in his Thevaram

"Ambalathu Mannikoothai Aaduvan Puguvadarkku Munno Pinno." See my article "Timeless Thiruvarur" at
http://www.whatisindia.com/monuments...hiruvarur.html.

He has also talked about the music and prevalence of art in Thiruvaiyaru in a different Thevaram.

That was a good start on the study of the towns mentioned in the Thevarams - Thiruvarur ->Arur!

Your quote "Ambalathu.." was interesting. Appar, in the following song says, Arur is the oldest city - origin "untraceable". The are more about that city - but the rhyme is good in this one!

Ò¨¸¦ÂðÎõ §À¡ì¦¸ðÎõ ÒÄý¸ ¦ÇðÎõ
...â¾Äí¸Ç¨Å ¦ÂðÎõ ¦À¡Æ¢ø¸ ¦ÇðÎõ
¸¨Ä¦ÂðÎí ¸¡ô¦ÀðÎí ¸¡ðº¢ ¦ÂðÎí
...¸Æü§ºÅÊ Â¨¼ó¾¡÷ ¸¨Ç¸ ¦½ðÎõ
¿¨¸¦ÂðÎõ ¿¡¦ÇðÎõ ¿ý¨Á ¦ÂðÎõ
...¿ÄﺢÈó¾¡÷ ÁÉò¾¸òÐ ÁÄ÷¸ ¦ÇðÎõ
¾¢¨¸¦ÂðÎó ¦¾Ã¢ôÀ¾üÌ Óý§É¡ À¢ý§É¡
...¾¢ÕÅ¡å÷ §¸¡Â¢Ä¡ì ¦¸¡ñ¼ ¿¡§Ç.
--Appar 6.34.9

From 'pugai, 'pOkku' ....... to 'malar' all grouped in eights(???). Before all these came into existence (or became known) all over (8 thisai), The Lord was already there - in Thiruvaarur!

What are the eights?

[viggop]

one question

Was the panchakshari mantram "Na ma Si va ya" introduced by gnanasampandhar or was this mantra existing before that?

[Idiappam]

one question

Was the panchakshari mantram "Na ma Si va ya" introduced by gnanasampandhar or was this mantra existing before that?

No! Manickavasagar's Thiruvasagam starts "namasivaya vazhga.."

There are many occurances of these letters - the 'ainthezhuththu mantiram' in Thirumoolar's Thirumanthiram, especially in the Fourth and the Nineth Thanthirams...... eg:

¦¾ûÇÓÐ °Èî º¢Å¡Â¿Á ±ýÚ
¯ûÇÓÐ °È ´Õ¸¡ø ¯¨Ãò¾¢Îõ
¦ÅûÇÓÐ °Èø Å¢ÕõÀ¢¯ñ ½¡¾Å÷
ÐûǢ ¿£÷§À¡ø ÍÆø¸¢ýÈ Å¡§È.
---Thirumantiram 2704

Üò§¾ º¢Å¡Â ¿ÁÁº¢ š¢Îõ
Üò§¾ ®°¬²µõ º¢Å¡Â ¿Á š¢Îõ
Üò§¾ ®°¬²µõ º¢Å¿Á š¢Îõ
Üò§¾ *°¬²µõ ¿Áº¢Å¡Â §¸¡¦Ç¡ýÚ Á¡§È.
--Thirumantiram 912

Thirumoolar and Manicakavasagar lived before Sambandar!

[rajraj]

idiappam:

The book on thiruvasakam by thiruvaavaduthurai aadheenam says that the five letters Na Ma Si Vaa Ya were given to him by his guru in Perunthurai (Avudaiyaarkovil).

[viggop]

Thanks Idiappam Sir
As me & lot other hubbders requested, please give us translations of your thevaram posts in simple english.

1 more question. Why is sampandhar known as Aludai Pillai?

[Idiappam]

As me & lot other hubbders requested, please give us translations of your thevaram posts in simple english.

The Eights according to Appar!

Ò¨¸¦ÂðÎõ §À¡ì¦¸ðÎõ ÒÄý¸ ¦ÇðÎõ
...â¾Äí¸Ç¨Å ¦ÂðÎõ ¦À¡Æ¢ø¸ ¦ÇðÎõ
¸¨Ä¦ÂðÎí ¸¡ô¦ÀðÎí ¸¡ðº¢ ¦ÂðÎí
...¸Æü§ºÅÊ Â¨¼ó¾¡÷ ¸¨Ç¸ ¦½ðÎõ
¿¨¸¦ÂðÎõ ¿¡¦ÇðÎõ ¿ý¨Á ¦ÂðÎõ
...¿ÄﺢÈó¾¡÷ ÁÉò¾¸òÐ ÁÄ÷¸ ¦ÇðÎõ
¾¢¨¸¦ÂðÎó ¦¾Ã¢ôÀ¾üÌ Óý§É¡ À¢ý§É¡
...¾¢ÕÅ¡å÷ §¸¡Â¢Ä¡ì ¦¸¡ñ¼ ¿¡§Ç.
--Appar 6.34.9

1. Ò¨¸¦ÂðÎõ pugai ettum = eight kinds of body the soul would reside
pugai = dwellings --- pugu(verb) > puguthal (to enter) > pugai(noun)
Thevar, Manithar, mirugam, naragar, etc.

2. §À¡ì¦¸ðÎõ pOkku ettum = the eight flaults (evils)
pOkku = kuRRam eight - they are:
ignorance, insincerity, arrogance, selfishness, greed, hatred, etc

3. ÒÄý¸ ¦ÇðÎõ pulangal ettum = the eight 'senses' ??

4. â¾Äí¸Ç¨Å ¦ÂðÎõ - pUthalangalavai ettum = the eight worlds

5. ¦À¡Æ¢ø¸ ¦ÇðÎõ - pozhilgal ettum = the eight gardens or isles??
nAval pozhil, iRali pozhil, thengu pozhil, kamugu pozhil etc

6. ¸¨Ä¦ÂðÎí - kalai ettum = the eight seas
kalai > kadal = sea

7. ¸¡ô¦ÀðÎí - kAppu ettum = the eight forts = hills

.........¸¡ðº¢ ¦ÂðÎí - kAtchi ettum (reach) = that 'reaches' our view (sight)

.........¸Æü§ºÅÊ Â¨¼ó¾¡÷ - kazhaR sEvadi adainthAr = those who reach (the Lord's) feet

8. ¸¨Ç¸ ¦½ðÎõ - kaLaikaN ettum = the eight type of rewards (spirutual)

9. ¿¨¸¦ÂðÎõ - nagai ettum = the eight stars (constellations)
nagai = glitters, light, (not jewel here)

10. ¿¡¦ÇðÎõ - nAL ettum = the eight measures of time, they are:
hours(nAzhi), day, week, phase, month, season, half-year (ayanam), year.

11. ¿ý¨Á ¦ÂðÎõ - nanmai ettum = the eight virtues - they are:
aRam, poruL, inbam, vIdu, and four ranks of nearness to the Lord (Siva pathavi)

....... ¿ÄﺢÈó¾¡÷ - nalanchiRanthAr = of the good men

12. ÁÉò¾¸òÐ ÁÄ÷¸ ¦ÇðÎõ - manaththakaththu malargal ettum = blooms of the heart, they are:
non-violence, kindness, self-control, patience, devotion, truth, love and wisdom.

13. ¾¢¨¸¦ÂðÎó - thigai ettum = the eight points (of the compass) - means 'all over'
thigai > thisai = directions

.......¦¾Ã¢ôÀ¾üÌ Óý§É¡ À¢ý§É¡ - therippathaRku munnO pinNo = before of after they became known

.........¾¢ÕÅ¡å÷ §¸¡Â¢Ä¡ì ¦¸¡ñ¼ ¿¡§Ç. - thiruvArUr kOyilAk koNda nALE. = was the day the Lord made Thiruvarur his abode.
Simply:
From 'pugai, 'pOkku' ....... to 'malar'. Before all these came into existence (or became known) all over (8 thisai), The Lord was already there - in Thiruvaarur!