tiruvAcagam or Sacred Utterances
of the Tamil Poet, Saint and Sage MAnikkavACagar
English Translation by Rev.G.U.Pope
Oxford, Clarendon Press, 1900
(part 2 -  Hymns 11-51 )
 

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Hymn XI- tiru Tellenam
THE TAMBOUR SONG or REFUGE WITH CIVAN

Arunachalam.- The name of Rudra is scarcely ever applied to Civan in the south, yet it would seem as if the idea of Civan had been mainly developed from the Vedic Rudra, the god of Storms, the father of the Maruts, of whom so many stories are told which now are the accepted legends of Civan. It may safely be said indeed that all the Vedic Rudra's acts and attributes are given in the modern Caiva system to Civan. One of these is connected with the legend of Arunachalam, so often referred to in Tamil Caiva poetry. According to the legend contained in the Linga Puranam, it is related that Brahma and Vishnu disputed regarding their respective claims to superiority, and thence a terrific fight arose. At this time to quiet their contention, Civan, or Mahadeva, appeared as luminous lingam, a pillar of fire, 'equal to a hundred final mundane configurations, without beginning, middle or end, incomparable, indescrible, undefinable.' Hari determined to examine the source of this fiery appearance, and took the shape of a boar whose description is very wonderful. Speeding downwards for a thousand years he beheld no base at all of the lingam. Meanwhile Brahma took the form of a swan purely white and fiery eyed, with wings on every side, rapid as thought, and went upwards to see the lingam'stop; but both failed, and at length united in a hymn of praise to Civan as supreme; which so pleased the god that he offered them a boon. They asked that they might both obtain an eternal devotion for him, which was granted. 'Thenceforward the worship of the lingamhas been inaugurated in the worlds. The pedestal is Mahadevi, and the lingamitself is the visible Mahecvara.'

Hymn XII- tiru Caral
THE SACRED CARAL
THE SPORT OF CIVAN'S GRACIOUS 'ENERGY.'

These are the words used by Dakshan to his daughter Umai in the Kaci Khandam,:-

His body he smears with ashes; a serpent he wears as adornment;
Poison from the sea he eats; a skull he carries
He rides a white bull that rages with anger. Such an one,
O damsel, is he fit to come to our sacrifice?'

The ashes, the serpent, the poison, the skull, and the bull are matters of praise in all Caiva poems.
 

An ascetic mendicant wears a very scanty cloth, suspended by a string round the waist; but why should He, who often appears in such stately majesty, wear this unseemly pretence of decent clothing! The answer is ambiguous in the original, but seems to say: 'All mysteries are containedand hiddenin Him, and the Vedic revelation is the link between Him and the souls of men.' Strange symbolism!

Kaman, the 'Bodiless."- The story of the destruction of Kaman (or the god of Love) by Civan is very curious, and should be read by the Tamil scholar in the Kamba-Ramayanam. It seems that Civan resolved to enter on a course of very strict devotion (Yogam) with the intention of increasing his powers! The lesser divinities fearing this, instigated Kaman to endeavour to distract the mind of the devotee. Accordingly the archer sallied forth with his arrows composed of the nine most fragrant flowers, and having fitted one on to the string, took aim at Civan's sacred breast. But the god suddenly opened his third eye in the centre of his brow, from which he darted a wrathful flame that instantly reduced Kaman to ashes. At the intercession of all orders of creation Kaman was restored to life, but not to a visible substantial form, and he still pervades the world riding on the chariot of the soft south-wind, working his mischief unseen. Ancient European mythology made him blind: he is here 'bodiless.' The legend may remind us of the story of Echo. The allusions to this myth in these lyrics are endless - and wearisome.
 

The Hala-hala Poison, the churning of the sea, the blackness of Civan's Throat, and the epithet 'Ambrosia.'-
Among other things in these lyrics that require explanation to the English reader, the subjects referred to in the above title are of the most frequent recurrence, and are apt to weary and even disgust.

It is most necessary however to understand once for all how essential they are to the South-Indian concept of Civan, as the great and beneficient Being Who is to be approached in prayer and gratefully adored. It will hardly be possible for the reader to do anything like justice to the Poet and religious Teacher, unless he deem it worth while to make the attempt to view these things candidly and dispassionately in the light in which they are viewed by the more devout and intelligent of the Caiva community.

The legend is simply this: the lesser deities were in sore affliction and came to Civan for help. He accordingly came forth from Kailaca, and using Mount Mandara as His churning-stick, with Vasu-deva as the rope which caused it to revolve, proceeded to churn the sea of milk. The result was the appearance of the Ambrosia or food of immortal gladness. But before this a stream of fiery poison black and deadly, the Hala-halapoison, rushed forth. This the deity himself drank up, and hence his throat is for ever black, a glorious memorial of his voluntary sufferings. The cup of ambrosia He gave to the grateful gods. Another version of this story may be read in Wilson's Vishnu Puranam. It is also to be found in various form in Tamil verse, but is essentially a Sanskrit and northern myth. The question occurs, was this regarded as literal fact, or was it put forth as a parable? It may be said that three classes of Hindus are to be met with in the South: those to whom this and similar histories are wonderful stories and nothing more. They take no more interest in them than we should in the Arabian Nights' Entertainments.

A second class believe the legends devoutly, and regard them as capable of a mystic interpretation to which however they do not attach any surpassing importance, nor are they at all agreed as to its details. The third class think that under the veil of such legends ancient sages concealed mysterious teachings which they were unwilling to expose to the vulgar gaze. And they say that they alone possess the secret of the esoteric meaning of the myths, which they themselves regard as more or less antiquated and uncouth.

Whether the Upanishads and Sanskrit literature in general lend any countenance to this last idea is exceedingly doubtful. I incline to think that these mystic interpretations are only to be found in later, and chiefly in South-Indian, authors. It is very ceratin that the Caiva Siddhantaphilosophers have made it their especial business to give to all such legends a more elevating, and at the same time distinctly Caivite, interpretation. The south of India has from the earliest time been more open than the rest of the east to western influences and teaching, and I feel convinced that this is one of the results. Whether in any way the chasm between western and eastern ideas can be bridged over by any such explanations is of course a most interesting question.

It is quite permitted us to say that, the truth supposed to be concealed (rather too carefully!) under these symbols is that, the Supreme Being has condescended to come to earth to taste the bitter cup of suffering, retaining ever the glorious signs of that agony, while to men He presents the draught of immortal blessedness. However this may be, the epithets of 'Black-throated' and 'Ambrosia' as applied to Civan need not be, must not be, simply grotesque, but associated with the pathos of sufferring and the tenderness of unselfish love.

The idea of this is expressed in the first poem of the Purra-Nannurru, which is by Perundevanar, the translator of the Bharatam:-

Of course there are many things which are said and sung by the devout of all systems in all lands that require to be explained, and it will generally be found that a mystic meaning is at the root of the uncouth phrase. This has been more or less lost sight of: the symbol is apt to supersede the real thought.
 

Hymn XIII- tiru puvalli
THE SACRED LILY-FLOWERS or
TAKING THE VICTORY FROM MAYA

Hymn XIV- tiru unthiyar
THE UNTHIYAR or
SACRED VICTORY CIVAN'S TRIUMPHS

Tamil scholars give different interpretations of the word Unthiyar. It seems to mean 'the players at a game resembling battledore and shuttlecock.' The word Unthiis, I imagine, used for the shuttlecock or ball which the players cause to 'fly aloft.'

In this lyric FIVE GREAT TRIUMPHS OF CIVAN are celebrated.

I. The first of these (I-4) is the destruction of the three towns, in Tami and Sanskrit Tripura, which is curiously enough made to be the name of a giant overthrown by Civan. I give an abstract of this story from Muir:-

'There were in the sky three cities of the Asuras, one of iron, another of silver, and a third of gold, which Indra could not demolish, with all his weapons. Then all the great gods, distressed, went to Rudra as their refuge, and said to him, after they were assembled: "Rudra, there shall be victims devoted to thee in all sacrifices. Bestower of honour, destroy the Daityas with their cities, and deliver the worlds." He, being thus addressed, said, "So be it;" and making Vishnu his arrow, Agni its barb, Yama, the son of Vivasvat, its feather, all the Vedas his bow, and the excellent Savitri (the Gayatri) his bowstring, and having appointed Brahma his charioteer, he in due time pierced through these cities with a three-jointed three-barbed arrow, of the colour of the sun, and in fierceness like the fire which burns up the world. These Asuras with their cities were there burnt up by Rudra.'

II. The second of these triumphs is the destruction of Dakshan's sacrifice. The story of this is told with many variations, and is evidently, as Professor Wilson pointed out long ago, of some great struggle between the followers of Vishnu and Civan: but it is neither possible to give any full interpretation of it, nor to reconcile the discrepancies in the various accounts of it. The account given below is that of the Kaci Khandam, which every student of Tamil should read.

In the Kaci Khandam, the account of Dakshan-his sacrifice, punishment, forgiveness, and penance in Benares - occupies chapters xxxviii-xc inclusive, and fills 148 stanzas. It sums up, with some inconsistencies, the whole story as given in the Sanskrit books. Dakshan (- the Intelligent) is represented sometimes as the father, and sometimes as the son of Aditi; and at other times the two are curiously said to have been reciprocally producers and produced. He is identified with Prajapati, the Creator. This almost seems like a statement that the whole universe is developed from intelligence, and might appear like a very symbolical acting forth of Hegel's system. Dakshan had many daughters married to the great saints, and especially Kacyapa(Kaciban) is said to have been the husband of twelve of them. One of his daughters was Durga, or Uma, who was subsequently born from the mountain after her voluntary death, and so received the name of Parvathi. So Civan, the Supreme, was a son-in-law of Dakshan, the Intelligence from which the Universe was developed. It is rather entangled.

On one occasion all the gods and saints made a visit to the silver mountain Kailaca. They were there received with great kindness, by the mighty one upon whose head is the Kondral wreath, whose throat is black with the poison he swallowed to save the world, and from the centre of whose forehead a third eye shines resplendent. But the deity did not recognize his father-in-law, nor rise to receive him. This fills Dakshan with disgust, and he proceeds to indulge in the most extravagant abuse of Civan. It will be seen that everything with which he reproaches Civan is used by Manikka-Vacagar as praise. Of course a mystical meaning is given to each circumstance! The following is a summary of his language:-

'He has no mother, no father, and no relatives!
He is a maniac who dances with demons on the burning-ground.
He has an eye in his brow from which devouring fire blazes forth.
He wears the skin of a fierce tiger, foul and fetid.
Race, family, caste, quality hath he none.
He wears as an ornament the skin of a serpent that causes deadly ill.
He has discarded the anointing of himself with flowery essences,
And besmears himself with foul ashes of corpses in the burning-ground.
His food is poison from the billowy sea;
As conveyance he has an ancient bullock;
He wears the skin of a black elephant;
His ruddy hand grasps a skull bereft of flesh.
If you say he is a Brahman, he has changed all rules of ordered life;
If you say he is a merchant full of wealth, he goes about begging;
He has no skill in any mystic lore.
Nor is he a Brahmacari, for a large-eyed damsel is part of his body;
He bears an implement of war, and so is not a worthy ascetic;
He wanders amid the hot desert sands, and so is no seemly householder;
He cut off the head of the flower god,
So knows not the laws of excellent justice;
The lady with gleaming brows is half of his frame,
So he is not male, or female, or sexless one.
In the day when he destroys all worlds,
Having worn as a garland the skull of flowery Ayan,
And whirling the three-headed gleaming lance
Everywhere he kills, Is it possible to call him a saint?'

After thus relieving his mind by abuse to punish Civan's discourtesy, he resolves to perform a mighty sacrifice (magam), and so gain additional powers. Civan must be dethroned or slain. All the gods are invited, and there is a very magnificent assembly on Dakshan's mountain. Then comes forth a sage Dadici, who protests that no sacrifice can be of efficacy to which Civan has not been invited; such a place of worship must become 'a burning-ground, where goblins, demons, and dogs prowl around.' His protest is answered by additional abuse, and so the devotees depart, leaving the gods and goddessess to joint with Dakshan in the unhallowed offering. And now the great mischief maker in all such legends, whose name was Naradar, the sweet lutist of the holy mount, hurries to Kailaca to tell the goddess Umai of her father-in law's projected offering. She longs to be present, and implores her spouse to permit it, but he rejects her request. Somehow or other she does however go, and with every token of filial piety meets her father and mother; and after the first greeting enquires why the great god, the lord of all, is not invited:

'It seems as though you had forgotten the greatest of guests.'

To this, abuse of Civan is the only answer.

She at once dies, puts off the body which owns Dakshan as father, and is reborn as the daughter of Himavat, whence, Civan afterwards takes her as Parvathi, 'the mountain maid.'

III. The third triumph is his bestowal of the milky sea on the son of Vasishtha. For this it is sufficient to refer to the Koyil Puranam. It is a rather confused and somewhat meaningless story as it has come down to us.

IV. The fourth triumph is given at great length in the Kaci Khandam, and is connected with the god's manifestation as Vira-bhadra. For this it is only necessary to refer to chapter xc of the above work.

In regard to the Kaci Khandam, indeed, which is mainly a translation from the Sanskrit Skanda Purana, it must be noted that there is in it much didactic poetry of a more elevated character, which characterized as a collection of legends which are uterly unprofitable, and have been worked into the devotional poetry of the Caivites to its very great detriment. The legends of Dakshan's sacrifice, of the appearance and ferocity of Vira-bhadra as a kind of incarnation of Civan, and of the unseemly disputes between Vishnu and Brahma as to the pre-eminence, occupy large portions of the book and are utterly useless in these days. We may give a summary of chapter xxxi, entitled 'The Appearance of Bhairava."

Civan, the Supreme, envelopes the world in elusive mystery, so that none know him while He is all in all. Hence, even among the gods, disputes arose as to who was the greatest. 'I am the supreme Essence,' cried Vishnu. 'I am the Self-existent,' declared Brahma from his lotus-seat. The sacred Veda, the unwritten record of mysterious truth, was called upon to decide. The divine essences whose incarnation, or manifestation rather, is the fourfold Veda spoke out: The first Vedic genius declared that since Civan alone performed the three operations of creation, preservation, and destruction, he was the Supreme and unoriginated God. The second declared that since Civan had performed arduous sacrifices and penances, so as to merit praise from the whole universe, he was the supreme. The third announced the same conclusion, but based it upon the fact that Civan fills all things with light, and is adored by all the mystic sages as the giver of wisdom. The fourth Vedic mystery declared that since Civan revealed himself in various forms exciting emotions of joy and ecstatic devotion in the hearts of his worshippers, who beheld him crowned with cassia-wreaths, he was the greatest of the gods. [It is easy to see the arguments by which the supremacy of Civan is here upheld, and there are gleams of truth which Christianity emphasises and illustrates, but the legends connected with the statements are very wonderful, and certainly obscure and confuse, rather than illustrate, the truth concerning the supreme and absolute.] Vishnu and Brahma listen only to deride. 'Civan,' they cry, 'rides on a bull; he has a matted coil of hair; he dances in the burning-ground; he smears ashes; his throat is black with the swallowed poison; he wears as a girdle a hissing snake; he is the leader of a wild demon-host, and Umai is a part of his form. This being so, how can he be the life of the soul of all ?' [These are the arguments that were urged by Jains and Buddhists, and the wonder is that they did not everywhere and finally prevail.]

Roused by these insults, Civan suddenly appears. His aspect is described in the usual terms, and he sends forth a manifestaion or incarnation of himself, or of his destroying energy, to which the name of Vairavan (Vira-bhadra) is given. This anomalous being is of terrific appearance, and endowed with all the Destroyer's terrible energy. He is followed by a host of malignant demons. Civan calls him his son, and bids him destroy all his enemies. Vairavan accordingly seizes the fifth head of Brahma between his thumb and forefinger, twists it off and throws it on the ground, performing a terrific dance which throws the whole universe and every order of sentient existence into a paroxysm of terror. This subdues the opposing deities, and Vishnu worships at Civan's feet, praising him in the most extravagant terms. The whole ends in a wild orgy, in which Civan and Brahma join. This is so often referred to in Caivite poetry, and seems so incapable of any edifying interpretation, that we have thought it necessary to give the authentic summary from the Kaci Khandam once for all.

V. The last is the victory over the Ceylon king, Ravana. This legend is perpetually referred to in the south, and seems to have a popularity among the poets somewhat in excess of its apparent importance.

After his victory over Kuvera, Ravana went to Saravana, the birthplace of Karthikeya. Ascending the mountain, he sees another delightful wood, where his car Pushpaka stops, and will proceed no further. He then beholds a formidable dark tawny-coloured dwarf, called Nandicvara, a follower of Mahadeva, who desires him to halt, as that deity is sporting on the mountain, and has made it inaccessible to all creatures, the gods included. Ravana angrily demands who Cankara (Mahadeva) is, and laughs contemptuously at Nandicvara, who has the face of a monkey. Nandicvara, who was another body of Civan, being incensed at this contempt of his monkey form, declares that beings, possessing the same shape as himself, and of similar energy,-monkeys,- shall be produced to destroy Ravana's race (Tasmad mad-virya-sanyuktah madrupa-sama-tejasah utpatsyanti badhartham hi kulasya tava vanarah). Nandicvara adds that he could easily kill Ravana now, but that he has been already slain by his own deeds. Ravana threatens that as his car has been stopped, he will pluck up the mountain by the roots, asking in virtue of what power Civan continually sports on that spot, and boasting that he must now be made to know his danger. Ravana then throws his arms under the mountain, which being lifted by him, shakes, and makes the hosts of Rudra tremble, and even Parvathi herself quake, and cling to her husband (Chachala Parvathi, chapi tada clishta Mahecvaram). Civan, however, presses down the mountain with his great toe, and along wit it crushes the arms of Ravana, who utters a loud cry, which shakes all creation. Ravana's counsellors then exhort him to propitiate Mahadeva, the blue-throated lord of Uma, who, on being lauded, will become gracious. Ravana accordingly praises Mahadeva with hymns, and weeps for a thousand years. Mahadeva is then propitiated, lets go Ravana's arms, says his name shall be Ravana from the cry (rava) he had uttered, and sends him away, with the gift of a sword bestowed on him at his request.

Hymn XV- tiru tonokkam

There is an amusing illustration drawn by a native artist, of this game as played in South India. Its name literally means 'aiming at the shoulder,' for it ends up with placing the hands of each opposing pair on the shoulders of the other. In some lines this is used as a symbol of the approach of the soul to Civan's feet.

The Legend of Candecuvara Nayanar: The Young Brahman Cowherd.- In a town in the Cora country, called Ceynalur, a Brahman boy was born, whose name was Vicara-carumar, who from his earliest days instinctively understood the whole Caiva creed; so that when the sages came to instruct him he met them with the recitation of the essential doctrines of the system, which he had grasped by a divine intuition. It may be permitted to repeat the articles of his creed, as these are summed up in the legend: 'All souls are from everlasting fast bound in the chains of impurity. To destroy that impurity, and to give to these souls infinite felicity and eternal release, He who is eternal is revealed. He performs the five Acts of creation, preservation, destruction, "envelopment," and gracious deliverance. He is the one Lord (Pathi), Who possesses the eight attributes of absolute independence, purity of form, spontaneous understanding, absolute knowledge, natural freedom from all bonds, infinite grace, endless might, and boundless blessedness. His name is Civan, the Great Lord. He performs his gracious acts by putting forth the energy (Catti), Who, as a person, is one with Him, and is therefore the divine Mother of all, as He is the divine Father, and must with Him be loved and worshipped. Nor can we say "we will do this in some future birth," for we are born here as human beings for this and no other purpose; and the human form in the infinite series of transmigration is hard to attain unto. Nor should we defer till to-morrow our dedication of ourselves, since we know not the day of our death. Therefore must we avail ourselves of Civan's gift of grace, studying the sacred Agamas and other works, without doubting, or commingling of perverse interpretation. This is the WAY of life!

One day, together with his school companions, he went down to the bank of the river where the village cows were grazing in charge of a man of the herdsman caste. This rustic, having no sense of right and wrong, beat one of the cows with a stick; but Vicara-carumar was vehemently stirred by this outrage, and rushing up to him in great wrath, restrained him from striking the sacred animal: 'Know you not,' said he, 'that cows have come down from the world of Civan to this earth? In their members the gods, the sages, and the sacred purifying stream dwell. The five products of these sacred creatures are the sacred unguents of Civan. And the ashes which are the adornment of the God and his devotees are made from their refuse!' Dwelling upon this idea he conceived a desire to devote himself entirely to the task of herding and caring for the troop of sacred cows; and accordingly sent away the rustic, who reverentially departed. And thus our hero became a self-dedicated Brahman. As such he easily obtains permission of all the Brahmans of the town to take charge of their cows, and daily along the bank of the beautiful river Manni, he leads forth his troop in the green pastures, allowing them peacefully to graze their fill, and supplying them with drinking water. When the fierce heat of the sun oppresses, he leads them into the shady groves, and guards them well, meanwhile gathering the firewood necessary for his household worship; and then at evening, leaving each cow at its owner's door, he goes to his home.

While things went on in this manner, the cows increased daily in beauty, waxed fat, were joyous, and by day and night poured forth abundant streams of milk for their owners. The Brahmans found that they had more milk than formerly for their offerings and were glad. The cows, tended with such solicitude, were brisk and cheerful, and though separated for awhile from their calves that remained tied up in the houses, grieved not a whit, but with joy awaited the coming of their young herdsman, following him gladly, crowding around him like tender mothers, and lowing joyfully at the sound of his voice. The youthful Brahman, seeing the exuberance of their milk, reflected that this was a fitting unction for the head of the God; and conceiving a great desire so to employ it, constructed a lingamof earth on a little mound beneath the sacred Atti tree on the bank of the river, and built around it a miniature temple with tower and walls. He then plucked suitable flowers, and with them adorning the image, procured some new vessels of clay, and took from each of the cows a little milk, with which he performed the unction prescribed for the divine emblem (the Lingam); and Civan, the Supreme, looked down and received with pleasure the boy-shepherd's guideless worship. All essentials of the sacred service he supplied by the force of his imagination. Though this was done daily, the supply of milk in the Brahman's dairy was no whit diminished.

For a long time this continued, until some malicious person saw what was going on, and told it to the Brahmans in the village, who convened an assembly before which they summoned the boy's father, and told him that his son Vicara-caramar was wasting the milk of the Brahmans' sacred cows by pouring it idly on the earth in sport. The father feared greatly when he heard the accusation, but protested his entire ignorance of the waste and democration, and asking pardon, engaged to put a stop to his son's eccentric practices. Accordingly the next day he went forth to watch the boy's proceedings, and hid himself in a thicket on the bank of the river. He soon saw his little son ceremonionaly bathe in the river, and then proceed to his minutine of Civa-worship, and then pouring a stream of anointing milk over the earthern lingam.

Thus convinced of the truth of the accusation, he was greatly incensed, and rushing forth from his concealment inflicted severe blows upon the boy, and used many reproachful words. But the young devotee's mind was so absorbed in the worship,- so full of the rupture of mystic devotion,- that he neither perceived his father's presence, nor heard his words, nor felt his blows. Still more incensed by the boy's insensibility, the infatuated father raised his foot, broke the vessels of consecrated milk, and destroyed the whole apparatus of worship! This was too much for the young enthusuast to bear; the god of his adoration was insulted, and the sacred worship defiled. He regarded not the fact that it was his father, a Brahman and a guru, who was the offender; but only saw the heinous sin and insult to Civan. So with the staff in his hands he aimed a blow at the offender's feet, as if to cut them off; and, behold, the shepherd's staff became in his hands the Sacred Axe of Civan, and the father fell maimed and dying to the ground.

The enthusiastic boy then went on with his worship as if nothing had occured, but the Lord Civan, with Umai, the goddess, riding on the sacred White Bull, immediately appeared hovering in the air. The young devotee prostrated himself before the holy vision in an ecstasy of joy; when the Supreme One took him up in his divine arms, saying, 'For my sake thou hast smiten down the father that begat thee. Henceforth I alone am thy father,' and embracing him stroked his body with His sacred hand, and kissed him on the brow. The form of the child thus touched by the divine hand shone forth with ineffable lustre, and the God further addressed him thus: "Thou shalt become the chief among my servants, and to thee shall be given all the offerings of food and flowers that my worshippers on Kailaca's mountain present.'

His name there upon became Candecuvarar ('the impetuous Lord'). The manifested God finally took the mystic cassia-wreath from His Own head, and with it crowned the youthful saint. And so he ascended to heaven with Civan, and was exalted to that divine rank. The father too, who had been guilty in his ignorance of such impiety to the God, and had been punished by the hand of his own son, was forgiven, restored, and with the whole family passed into Civan's abode of bliss.

VIII.

Our pride is gone, forgotten reason's laws; ye maidens fair!
We think but of the cinctured foot of Him, Lord of the south,
Whom heaven adores! The rapturous Dancer's grace if we obtain,
His slaves,- even so in rapture lost, we then shall dance; and thus

Hymn XVI- tirup ponnusal
THE SACRED GOLDEN SWING or
PURIFICATION BY GRACE

Hymn XVII- Annai pathu
THE MOTHER-DECAD or
'SOUL'S PLENITUDE.'

Hymn XVIII- Kuyil pathu
THE KUYIL-DECAD

The Kuyilis often referred to in these poems. Our Sage, like St. Francis of Assisi, was exceedingly fond of birds, and indeed was filled with love for the whole creation. In this poem he calls upon the Kuyil to join him in the praises of his Master, recounting the chief themes on which he was wont to dilate. The epithets applied to the Kuyil are skilfully varied; it is pictured to us as a diminutive bird haunting the leafy groves; of a dark azure hue with a golden tint; as uttering a sweet call of a peculiarly tender kind; as possessed of a beauty gladdening the eye; and as imparting pleasure to all that hear its inviting notes. Mystically the Kuyil is the human soul.

The Kuyil (or Kokila: Eudynamys indicus) is found in all parts of the peninsula of India, and is a great favourite with the people. Its somewhat monotonous cry is more appreciated by the natives of the East than by those of the West, yet it is not unpleasing, - in moderation. Its note is sweet and plaintive. It must not be confounded with the English cuckoo, though it is of the same species, and not unlike it in some particulars.

Hymn XIX- tiruththa saangam
THE SACRED TEN SIGNS: THE ROYAL INSIGNIA

Hymn XX- tirupalli yezuchi

MORNING HYMN IN THE TEMPLE or
THE ROUSING FROM THE SACRED COUCH
'THE FREEDOM OF THE UPLIFTED SOUL.'

The image of the god is laid upon a couch each evening, and taken up in the morning. This reveilleis the first business of the day. This was composed in Perun-turrai, 'the great harbour,' where the poet went to buy horses for his King, and was made a disciple. The bull is Civan's emblem. He rides on a white bull. It is also on his banner. The bull-headed Nandi, whose image is everywhere in South India, is his Lord High Chamberlain.

Hymn XXI- koyin muutha tirupathikam
THE ANCIENT SACRED TEMPLE-SONG or
'ETERNAL REALITY.'

Hymn XXII- koyitr trirupathikam
THE SACRED TEMPLE-LYRIC. [AN ANAPHORETIC DECAD]
'THE CHARACTERISTICS OF SACRED ENJOYMENT.'

Hymn XXIII- sethila pathu
WEARINESS OF LIFE
(THE INFINITY OF BLISS IN CIVAN.)

Hymn XXIV- adaikalap pathu
THE REFUGE - DECAD or
'THE ASSURANCE OF MATURITY.'

It seems probable that this song was founded upon the Buddhist formula which required the devotee to utter nine times the word saranam, three times to Buddha, three times to the law or doctrine, and three times to the congregation (=church, or order). This entire abandonment of self on the part of the disciple was his initation into the Buddhist system. Here our author takes 'refuge' at the foot of the loving Master Who has called him, and will at last receive him to Himself. This element of personal devotion to One Whom he believes to have been the Supreme manifested in the flesh is very striking, and gives a power that was wanting in the Buddhist system. We must remember that all his life our sage was brought into hostile contact with the Buddhists, and that he fashions his poems so as to afford the strongest possible contrast to that which he hated.

Hymn XXV- aasai pathu
THE DECAD OF DESIRE or
KNOWLEDGE OF 'SELF'

Hymn XXVI- athisiya pathu
THE DECAD OF WONDER
(RELEASE)

Hymn XXVII- punarchi pathu
THE DECAD OF MYSTIC UNION or
THE NATURE OF RELEASE

Hymn XXVIII- vaazhap pathu
NO JOY IN LIFE

Hymn XXIX- arut pathu
THE DECAD OF GRACE or
'CLEANSING FROM DELUSION.'

The T.V.U.P states that this was one of the earliest of the Sage's poems, and that it was sung at Tiru-perun-turrai. It certainly bears the impress of youth, and in many respects is inferior to some of his later poems. It is said to have for its subject the purification of the soul from the great delusion (Maha-maya). What this is can only be known by a careful study of the Caiva Siddhanta philosophy.

The metre is the same as in XXII, and is very sweet. In each stanza, the two latter lines nearly correspond throughout the whole poem, an epithet or two being changed. Civan is addressed as the god who appeared in the Triclinia (Kuruntham) grove near Tiru-perun-turrai, and about thirty different epithets are applied to him, some of which are mere repetitions. The epithets applied to Tiru-perun-turrai are also varied. The last line in each stanza contains a Telugu phrase equivalent to 'and what is that'? so that the line literally reads: 'Save Thou in grace, saying "what is that"? or in other words, 'What is there to fear? fear not.' The poet is complaining of the power of earthborn delusions, and prays the god to take away his anxious fears. I cannot trace any sequence in the thought from stanza to stanza.

In the Siddhanta, very great stress is laid upon the idea that all embodiment, while it is painful and to be got rid of as soon as possible, is yet a gracious appointment of Civan, wrought out through Cakti, for the salvation of the human soul through the destruction of deeds, which are the root of all evil to mankind. Now the Buddhist formula represents suffering as being the whole account of the matter: 'Birth is suffering, old age is suffering, sickness is suffering, death is suffering. The origin of suffering is the thirst for pleasure, being, and power. The extinction of this thirst brings about the extinction of suffering.' The Caiva Siddhanta doctrine, on the contrary, gives to life and sufering a real significance. The present life is a probation,- a purgatory,- a preparation for endless fellowship and communion with the Supreme. Thus Grace is recognised where the Buddhist sees only suffering; and the instrument of man's release is that wisdom which understands the divine purpose, and adapts itself to that purpose. Our Sage dwells much upon the value of prayer, and of humble worship paid to the divine guru, while in Buddhism all is to be done by unaided human effort. At every point the two systems are in directest opposition!
 

Hymn XXX- tiru kazhukundra pathicam
THE LYRIC OF THE 'EAGLE-MOUNT'
THE SIGHT OF THE 'GURU'

This is one of the places which the Sage is said to have visited before seeing Cithambaram. It would appear that here he had some peculiar manifestation of the god, who had revealed himself to him in Perun-turrai. It is open to conjecture that the Guru, whom he regarded as Civan manifested in the flesh, resided there, or at least was a constant visitant. The place itself is a renowned Caiva shrine, and has its own legend, a considerable poem of 832 quatrains. This is of recent origin, and, I should suppose, of small authority. It states that the original name of the hill was Veda-giri, or the hill of the Veda. It is said to have four hills clustered together, each being one of the four Vedas, while the central peak, which is of basaltic formation, is Civan Himself in the form of the Lingam. It is curiously stated that 'in Arur the god dwells for the first watch of the night, and in Cithambaram for the midnight watch; but in Veda-giri he is always to be formed.' The name of the hill of the Veda was changed to that of the hill of the Eagle, because two eminent persons, having disputed an order of Civan, were sentenced to perform penance there.
 

Hymn XXXI- ganda pathu
'MINE EYES HAVE SEEN.'
THE SIGHT OF THE MYSTIC DANCE or
THE UNSPEAKABLE VISION.

Tillai.- In the legends of the Sage it appears that he did not visit Tillai till he had seen the other shrines of Caiva worship, and had become renowned both as a devotee and as a poet. It almost appears as if there existed some rivalry between the great temple of the Pandiyan land in Madura, and the famous shrine of he Cora land in Cithambaram. It is quite certain that this latter in great measure superseded the former. It does not appear, indeed, that Manikka-Vacagar ever revisited Madura after his formal renunciation of his position there. It may almost be inferred that he was never heartily forgiven by the king for the misappropriation of the cost of the horses. Of the fifty-one poems about a half were composed in Tillai, and these may be divided into two classes: the lyrics that express his own feelings and illustrate his life; and those which were composed (as is believed) for the use of others. I wish that it had been possible to re-arrange the poems.

Among the Tillai lyrics are to be found his most impassioned utterances. With this poem (XXXI) must be compared (XL), both of them expressing his enthusiastic joy at being permitted at length to behold the greatest shrine of his Master.

Tillai in the time of the Sage was to the devotees of Civan what Jerusalem was to the Jews of old; and many of the expressions in these two lyrics will remind the reader of Psalm cxxii; and not a few of the expressions are identical with those in the rhyme often attributed to Bernard of Morlaix. One is frequently reminded of 'Jerusalem the Golden, with milk and honey blest.'
 

Hymn XXXII- praththanai pathu
THE SUPPLICATION

Hymn XXXIII- kulaitha pathu
THE DECAD OF THE BRUISED HEART or
'SELF-DEDICATION'

It would be hard to find a more touching expression of absolute mystic self-renunciation than these verses contain.

I. Useless suffering

If cruel pain oppress from 'deeds of old,' guard Thou

Hymn XXXIV- uyir unnip pathu
'MY SOUL IS CONSUMED.'
RAPTURE OF LIFE IN CIVAN

Hymn XXXV- achchap pathu
THE DECAD OF DREAD or
'ABSORPTION IN DIVINE KNOWLEDGE.'

Hymn XXXVI- tiru pandi pathikam
THE SACRED PANDI
[THE GROWTH OF RAPTURE]

The Lyric of the Sacred Pandi.- Note IV should be studied as introductory to this very dramatic poem, which is in every way a remarkable composition; yet I should hardly venture to affirm that Manikka-Vacagar was its author. In order to understand it, it is necessary to call to mind the strange legend of Civan's appearance at Madura as a horseman, or as He is here called a warrior. The first stanza is supposed to be uttered by the poet as he contemplates the God entering Madura on that occasion, surrounded by the other gods, all on splendid chargers. Civan Himself is mounted upon leader of a band of foreign merchants, the graces of the accomplished knight, and the majesty of a king. He has come, according to His promise, to save His servant from suffering, and to vindicate His fidelity. The poet in his soul adores his Deliverer and his God.

In the remaining stanzas he addresses the assembled multitude, and expounds the mystery. 'Fear not as though it were the Avatar of some ruthless conqueror! This horseman is Civan,'- the founder, according to legend, of the dynasty of Pandiyan kings. 'He is the abiding King of Madura, and now He comes in grace to the mortal king of Madura, Arimarttanan.' The whole typifies the sacred war that He wages as the Pathi against the enemies and tormentors of His people's souls. The third stanza skilfully, though by an anachronism, allegorizes the flood that Civan brought upon the city, when at His command the Vaigai overflowed its banks. In the fifth stanza he spiritualizes the idea that Civan appears here as a merchant, a seller of horses. The sixth, referring to His previous appearance at Perun-turrai, hints at His character as a Guru, a giver of spiritual light; and the whole ends with an urgent call to the people to throw aside all foolish delusions, and to march boldly forward under His banner, and accept Him as their King. The way in which the whole legend is allegorized points, it may be thought, to a later period, when the Caiva Siddhanta system had been more developed; and when, under the influence of the Santana Teachers, the whole system was being harmonized. There is here a disposition to make little of the myth, and to bring into prominence its spiritual teaching. This was the second stage of the Caiva development. This however is mere conjecture, and there seems to be scarcely any means for its absloute verification.

The metre is to my ear the most rhythmical of all the species of Tamil poetry. The student should learn to recite and enjoy the verses, if he would fully understand them!
 

Hymn XXXVII- piditha pathu
THE DECAD OF THE 'TENACIOUS GRASP'

This is one of the most characteristic of the Sage's lyrics, and would seem to belong to a later period than that when the 'cry of the forsaken' (VI) was composed. It is in singular contrast to that lyric. He had meanwhile visited many shrines, and had passed through much struggle; but when he reached what is here called Tiru-toni-puram(the sacred Boat-town), of which the modern name is Shialli, he found a magnificient temple there,that seemed to him like a reproduction on earth of the silver mountain Kailasam, on which the God dwells in splendour with Parvathi.

This shrine has always been remarkable, but is especially honoured now as the reputed birthplace of Tiru-nana-sambandhar; who, in popular estimation, is perhaps the greatest of the Caiva saints. In his legend we have elsewhere given some notices of this his home. It has twelve names connected with wild legends; but is called here 'the sacred Boat-town,' because when at the end of each aeon the deluge of universal destruction overwhelms the universe, this shrine floats securely on the waters,- the everlasting ark ! Here it seems that the Sage renewed his vows to his guru, from whom he had somewhat departed in thought and practice. He seems to regard himself now as a sivanmuthan and declares that he will henceforth hold fast his allegiance under all circumstances, in life and through death.
 

Hymn XXXVIII- tiruvesaravu
SACRED SADNESS
['ABSTRACTION FROM OBJECTIVE THOUGHT']

Hymn XXXIX- tirup pulambal
THE SACRED LAMENT
['THE MATURIY OF RAPTURE']

Hymn XL.- kulaap pathu
THE DECAD OF 'GLORIOUS TILLAI'
['UNINTERMITTED ENJOYMENT']

Hymn XLI.- arputha pathu
THE MIRACLE-DECAD
[THE UNUTTERABLE EXPERIENCE]

The following decad was composed at Tiru-perun-turrai, and is probably one of the first sung by our bard. It is in some respects quite unique among his compositions, and certainly has not the flowing case and rapture of some of his subsequent verses; but perhaps it reveals more of himself than any other. It was put forth, as would seem, immediately after his conversion; and is a thankful acknowledgment of the grace that has delivered him (as he now thinks) completely, and for ever, from the bonds of sensual passion.

The three things which a Caiva saint has to get free from are sensual passion, wrath, and the infatuation that regards the phenomenal as the real. Our Sage seems never to have been troubled with wrathful tendencies; and, in fact, must have been a very gentle and sweet-tempered man; but it must be remembered that at the time of his conversion he was yet in his early youth, the Prime Minister and favourite of the great Pandiyan king, the virtual ruler of that ancient realm, boasting a pure and lofty lineage, of prepossessing appearance and manner, instinct with the glow of a poet's enthusiasm; and, in fact, possessing all that the phenomenal world has to give.

Remembering, too, the tone and manners of his time and people, it is not to be wondered at that this poem makes acknowledgement of a previous utter absorption in worldly enjoyments, and a habit of mental infatuation,- apparently absolute. From the first and third of the trio of evils, he had very little chance, humanly speaking, of ever becoming free. Yet the history tells us that he had previously sought for light, had consulted teachers of many systems, and had waited in darkness and in bonds for the coming of the Master Whose service should be 'perfect freedom' from sensual thraldom. This poem is his thanks giving for (what he believes to be) his final deliverance. It will be noted that he dwells with persistent monotony on one theme: he is 'free'; the time has not yet come for the analysis of his fellings; or for considering his future career. There is here an almost entire absence of mythology,- the one idea of God that he has before him is the loving Guru Whose feet have crowned the suppliant's head; even Uma, the mother, is not mentioned or alluded to; he utters no invitation to others to join him in praise; his is a gladness with which no stranger can intermediate.

The other poems, sung in the same place soon after, show him recovering from the overwhelming effect of his first glad surprise, and in them he finds it possible to dwell upon other topics.

The Tiruvacagamis a veritable Pilgrim's Progress, and surely reveals the experience of a devout and godly soul. It is possible that in this and in other of the poems, lines may have been altered and even verses added; for there is a noticeable discrepancy here and there; but internal evidence justifies us in concluding that mainly we have here the unrestrained utterances of a Caiva mystic of the eighth century.

Hymn XLII.- chennip pathu
THE HEAD-DECAD
[THE CERTAINTY OF BLISS]

Hymn XLIII.- tiru varthai
THE SACRED WORD
[GRATEFUL LOVE]

Hymn XLIV.- ennap pathikam
DEVOUT MUSINGS
[JOYOUS EMOTION]

This poem expresses his intense longing to rejoin at once the Master and His disciples.

Hymn XLV.- yathirai pathu
THE PILGRIM-SONG
[RAPTURE]

This is our Sage's wonderful 'psalm of the up-going,' He commemorates his first visit to Tillai, and thence mystically sets forth the soul's pilgrimage through the world of sense to union with Civan on the silver mountain.

Hymn XLVI.- tirupadai ezhuchi
THE SACRED MARCH
[THE HOLY WAR.]

Hymn XLVII.- tiruvenba
THE SACRED VENBA
[THE STATE OF 'THOSE WHO HAVE ATTAINED']

This purports to have been composed immediately after his return to Perun-turrai, when he was hoping for speedy consummation, but felt impatient.
 

Hymn XLVIII.- pandaayanan marai
THE ANCIENT MYSTIC WORD.
[THE REALITY OF DIVINE GRACE.]

Hymn XLIX.- tirupadai yatchi
THE MARSHALLING OF THE SACRED HOST
[THE CESSATION OF LIFE'S EXPERIENCES]

It was no easy taks to work out a version of this lyric, the rhythmic beauty of which is very remarkable. I have striven, at the risk of sundry irregularities in metre, to imitate the flow of the original; but the numberless allusions in a poem, which sums up the whole Caivite idea of the blessedness of Civan's final manifestation to the emancipated soul, will give the reader trouble, if he is at all to enter into its spirit. The metre itself is very unusual, resembling somewhat that of the Attys of Catullus, and is much admired by those who use the poem in their temple service. My rendering is, I believe, strictly and almost literally exact; but it differs in some respects from the Tamil paraphrases. The intense mystic fervour of the song must take itself felt !
 

Hymn L.- Aananda malai
THE GARLAND OF RAPTURE
[DESIRE OF THE EXPERIENCE OF CIVAN]

Hymn LI.- achchop pathikam
THE WONDER OF SALVATION
[ENJOYMENT INEFFABLE]

This hymn was composed after he had settled down in Tillai, his active life finished, and was waiting for the great release. He surveys, as he was so fond of doing, the whole course along which his Master had guided him; acknowledges how often he had fallen through an undisciplined and unpurified mind; and records with thankfulness that grace him the victory at last. No rapture is like his! Each verse addresses his Master variously as (1) Father, (2) the Mystic Dancer, (3) the Guru, (4) the High and Lofty One, (5) the Master, (6) the Blissful, (7) again as the Guru, (8) the Author of all things, and (9) the Mother (being one with Umai).