¥ Bhavan's Book University 1@ «f rw yea ‘ the divine child The Hindu testament of wisdom Fork : cy Sea Tes | cs BHARATIYA VIDYA BHAVAN, BOMBAY-7 Talaa Biden AN i cncioniljeiieaeEn ony . Ses <} ef li, wanes Whac Bharatiya Vidya Stands for pri Bewitin Rergremmnnasnilie ANU ANILTARO AAU Bharatiya Shiksha must ensure that no promising young Indian of oharacter having faith in Bharat and her culture Bharatiya Vidya should be left without modern oducational equipment by reason merely of want of funds. 2, Bharatiya Shiksha must be formative more than in- formative, and cannot have for its end mere acquisition of knowledge. Its legitimate sphere is not only to develop natural talents but so to shape thein as to enable them to absorb and express the permanent values of Bharatiya Vidya. 3. Bharatiya Shiksha must take into account not only | the full growth of a student’s personality but the totality of his relations and lead him to the highest self-fulfilment of = which he is capable. Sie | 4. Bharatiya Shiksha must involve at some stage ‘or ie other an intensive study of Sanskrit or Sanskritic languages and their literature, without excluding, if so desired, the study of other languages and literature, ancient and modern. SS =! rey&6-00 uk The: gesintey ' idya, which is the i x gration of Bharatiya Vidya, W 2 stag? Sbiect of Bharatiya Shiksha, can only be attained through Creative [ff ree movements, motives, ideas, forms and art of ages.ag ife-energy through which it has expressed itself in di Single continuous process. haratiya Shiksha must stimulate the student's power © 6. B the Fi0% both written and oral, at every stage in accordance with interpiBhest ideals attained by the great literary masters in the sctual and moral spheres. Zi The technique of Bharatiya Shiksha must involve— (a) the adoption by the teacher of the Guru sities which consists in taking a personal interest ee Student; inspiring and encouraging him Lee Nee distinction in his studies; entering into his if veal a view to form ideals and remove _psycholog! Obstacles: and creating in hima spirit of consecration; an : (b) the adoption by the student of the Sisiya attitude by the development of — (i) respect for the teacher, Gi) a spirit of inquiry, A : o Gil) a spirit of service towards the teacher, t institution, Bharat and Bharatiya Vidya. rest eharatiya Vidya which is flowing from the supreme art Shai ettive life ; Ramachandra,- i “energy as represented by Shri Shr Arishna, Vyace’ Budde oy Mahavira ANE expressed wranclves in modern times in the life of Shri Ramakri ivenhamsa, Swami -Dayananda Saraswati, and Swami 'ekananda,'Shri Aurobindo and Mahaima Gandhi. he student with every ae * * y at... kind of coh*sativa Shiksha while equipping the siudent wie . Scientific and technical training must t r 10 Sacrifice an Sree nea ain ae An reasonine passion or change; not to retain a form or attitude which in the ight of modern times can be replaced by another form of attitude which is @ truer and more effective expression of the spirit of LU Vidya; and to capture the spirit afresh for each generation to Present it to the world.a AY wat: Saat ara fasqart Let noble thoughts come to us from every side —Rigveda, 1-89-i BHAVAN’S BOOK UNIVERSITY General Editors R. R. DIWAKAR S. RAMAKRISHNAN 182 KARTTIKEYA THE DIVINE CHILD (THE HinDU TESTAMENT OF WISDOM ) By RATNA NAVARATNAMBHAVAN’S BOOK UNIVERSITY Organising Committee : Litavati Munsu1—Chairman K. K. Birta S. G, NEVATIA J. H. Dave S. RAMAKRISHNANBHAVAN’S BOOK UNIVERSITY KARTTIKEYA THE DIVINE CHILD (THE HINDU TESTAMENT OF WISDOM ) By RATNA NAVARATNAM 1973 BHARATIYA VIDYA BHAVAN BOMBAY-7All Rights Reserved First Edition, 1973 Price: Rs. 6.00 PRINTED IN INDIA By P. H. Raman at Associated Advertisers & Printers, 505, Tardeo Arthur Road, Bombay 34, and Published by S- ‘Ramakrishnan, Executive Secretary, Bharatiya Vidya Bhavan, Kulapati K. M. Munshi Marg, Bombay-7.KULAPATI’S. PREFACE Tue Bharatiya Vidya Bhavan—that Institute of Indian Culture in Bombay—needed a Book University, a series of books which, if read, would serve the purpose of providing higher education. Particular emphasis, however, was to be put on such literature as revealed the deeper impulsions of India. As a first step, it was decided to bring out in English 100 books, 50 of which were to be taken in hand almost at once. It is our intention to publish the books we select, not only in English, but also in the following Indian languages: Hindi, Bengali, Gujarati, Marathi, Tamil, Telugu, Kannada and Malayalam. This scheme, involving the publication of 900 volumes, requires ample funds and an all-India organisation. The Bhavan is exerting its utmost to supply them. The objectives for which the Bhavan stands are the re- integration of the Indian culture in the light of modern knowledge and to suit our present-day needs and the resusci- tation of its fundamental values in their pristine vigour. Let me make our goal more explicit: We seek the dignity of man, which necessarily implies the creation of social conditions which would allow him freedom to evolve along the lines of his own temperament and capa- cities; we seek the harmony of individual efforts and social relations, not in any makeshift way, but within the frame- work of the Moral Order; we seek the creative art of life, by the alchemy of which human limitations are progressively transmuted, so that man may become the instrument of God, and is able to see Him in all and all in Him. The world, we feel, is too much with us. Nothing would uplift or inspire us so much as the beauty and aspiration which such books can teach,vi KULAPATI’S PREFACE In this series, therefore, the literature of India, ancient and modern, will be published in a form easily accessible to all. Books in other literatures of the world, if they illustrate the principles we stand for, will also be included. This common pool of literature, it is hoped, will enable the reader, eastern or western, to understand and appreciate currents of world thought, as also the movements of the mind. in India, which though they flow through different linguistic channels, have a common urge and aspiration. Fittingly, the Book University’s first venture is the Mahabharata, summarised by one of the greatest living Indians, C. Rajagopalachari; the second work js on a section of it, the Gita by H.V. Divatia, an eminent jurist and a student of philosophy. Centuries ago, it was proclaimed of the Mahabharata: ‘What is not in it, is nowhere”. After twenty-five centuries, we can use the same words about it. He who knows it not, knows not the heights and depths of the soul; he misses the trials and tragedy and the beauty and grandeur of life. The Mahabharata is not a mere epic; jit is a romance, telling the tale of heroic men and women and of some who were divine; it is a whole literature in itself, containing a code of life, a philosophy of social and ethical relations, and speculative thought on human problems that is hard to rival; but, above all, it has for its core the Gita, which is, as the world is beginning to find out, the noblest of scriptures an the grandest of sagas in which the climax is reached in the wondrous Apocalypse in the Eleventh Canto. Through such books alone the harmonies underlying true culture, I am convinced, will one day reconcile the disorders of modern life. I thank all those who have helped to make this new branch of the Bhavan’s activity successful. 1, Queen Victoria Road, New Delhi, K, M, MUNSHI 3rd October, 1951CONTENTS INTRODUCTION |. 2 Kumara-MuruGa—THe Divine CHILD AS ‘TIRUMURUGARRUPADAI—A STUDY Tue PorM—THE Way To Lorp MuRUGA THE PILGRIMAGE PAR EXCELLENCE a ig 5 TIRUPPARANKUNRAM—THE MOUNT OF BEAUTY ‘TIRUCHEERALAVAI—THE ABODE OF FULFILMENT TIRUVAVINANKUDI (PatANI)—THE Mount OF MEDITATION... ae oc bs od TIRUVERAKAM—THE ABODE OF THE KuMARA-GURU_.. KuNRUTORADAL—THE SPOR? ON 1HE HILLs PAZHAMUTHIRCHOLAI—THE GROVE OF GRACE ae SYNTHESIS OF MURUGA SADHANA IN ‘TIRUMURUGARRUPADAI MuruGa-KuMARA AS REVEALED IN THE VEDAS AND UPANISHADS * Ks se SKANDA IN THE MAHABHARATA .. es a SKANDA IN THE RAMAYANA Bh a ae af, SKANDA IN THE PURANAS aa a “ us 22 36 41 47 55 59 64 70 2B 81 88 93 95viii KARTTIKEYA—THE DIVINE CHILD Page OTHER SOURCES OF WORSHIP OF KUMARA-SKANDA_.. 98 THe CONCEP? OF MURUGA IN THAMILAHAM Sources .. 111 MuruGA TRADITION—SOCIAL AND LITERARY BACKGROUND . es =e - Regon25 KUMARAIN THE TAMIL Epics”... le oe ie HAMAD THE SAIVA AGAMAS AND KUMARA TANTRA - Pemelgss THE SAIVA TIRUMURAIS AND MURUGA .- a -.» 161 THe Concept oF MuRUGA IN KANDAPURANAM ae" 165) REVALUATION oe oe o o pa FATUBS KATHIRGAMA RAHASYA .. ee me oe S86 KATHIRAVEL-KANDAM.. oe we ee Pee KATHIRGAMAM TODAY... oe es os eG Canzones on Muruga-Kumara Srt SUBRAHMANYA BHUJANGAM—SRIMAT SANKARA BHAGAVATPADA oo oF te me TROY) TinupPuGAZH By St. ARUNAGIRINATHAR—THE PROPHET OF THE MODERN AGE ne . eh AG: KANDAR ALANKARAM—ST. ARUNAGIRINATHAR ee 2S KANDAR ANUBHUTI—S’.. ARUNGAGIRINATHAR Holl | BESS Srt SUBRAHMANYA ASHTOTTARA SATA NAMAVALI se 202) ILLUSTRATIONS ais a ae .. AT THE END6. 10. LIST OF ILLUSTRATIONS Frontispiece (Colour Plate)—Lord Subrahmanya, Tiruchchendur. . Sri Subrahmanya, (Arumukha), Subrahmanya temple, Tiruch- chendur. (Tirunelveli Dt.). . Sri Subrahmanya and Deyasena, Subrahmanya Cave, Tiruppa- rankunram. (Madurai Dt.), . A scence from Pazhamuthircholai, . Sri Subrahmanya with Valli and Devasena, Tirupparankunram. (Madurai Dt.). . Sri Subrahmanya with Aja and Gaja, Subrahmanya Cave, Tirup- parankunram, (Madurai Dt.), Sri Subrahmanya, Subrahmanya temple, Tiruchchendur. (Tirunelveli Dt.). . Subrahmanya killing Surapadman, Subrahmanya _ temple, Tiruchchendur. (Tirunelveli Dt.). . Subrahmanya killing surapadman, Siva temple, — Punjai. (Tanjore Dt.). . Bala-Subrahmanya, Shore temple, Mahabalipuram (Mamal- lapuram), (Chingleput Dt.). Bala-Subrahmanya, Siva temple, Alampur, (Mahaboobnagar Dt) A.P. . Subrahmanya on clephant, Sri Neclankantesvaran temple, Laddigam (Chittoor Dt.) A.P. . Sri Subrahmanya with two hands, (Emblem of Sevel, Gana holding Parasol, Virabahu with folded arms, Aja and Mayurax KARTTIKEYA—THE DIVINE CHILD on the side) Sri Malaikkolundisvarar temple, Tirumalai. (Ramnad Dt.). 13. Sri Subrahmanya on the peacock, Siva Cave, Badami, (Bijapur Dt.) (Karnataka). 14. Subrahmanya and Devasena, Ladasanyasi Cave, Anaimalai. (Madurai Dt). 15. Subrahmanya on elephant, Sri Bilvanesvarar temple, Tiruvalam. (N. Arcot Dt). 16. Samhara-Subrahmanya, Dandayudhapani temple, Palani. (Madurai Dt.). 17. Tiruchchendur temple. 18. Tirupparankunram temple. 19. Swamimalai temple. 20. Temple at Palani hills. 21. Sacred Tank of Tiruttani temple. ACKNOWLEDGEMENTS Frontispiece—Courtesy: Tiruchchendur, Devasthanam, Tamil Nadu. Illustrations Nos. 1 to 16—Courtesy: French Institute of Indology, Pondicherry. Illustrations Nos. 17 to 21—Courtesy: Ananda Vikatan, Madras.INTRODUCTION The Hindu Testament of Wisdom as enshrined in the cult of Muruga is unfolded in this book. Who is the Divine Child? Who is Kumara-Muruga? From the effulgent eye of Siva was begotten Kumara-Muruga, the eternal child of Light, the in- carnate wisdom of the ages. Muruga is the embodi- ment of everlasting fragrance of life, the symphony of Beauty, Truth and Love. Muruga, the Divine Child, is depicted in this Testa- ment of Wisdom as a Power, seen and unseen, known and unknown, in whom are amalgamated many legends and traditions, many aspects of religion and modes of worship, primitive and advanced. He embodies the Hindu ideal of God immanent in all things and mani- festing Himself in diverse forms—as the Divine Guru, God of sacrifice, leader of the powers of righteous- ness, devas, seers and sages, God of war and peace, the source of wisdom and grace, and above all, the magnetic lover, the child of Love and Light. We analyse the different aspects of His penetrat- ing Light, on many aspects of spirituality in differentxii KARTTIKEYA—THE DIVINE CHILD traditions and seek to find unity in diversity, trans- cendent wisdom enshrined in tradition, fulfilment in the victory of the power of righteousness over the forces of evil, and unfoldment of the spiritual trea- sury of realisation through the pathways of Bhakti (devotion), Karma (action) and Jnana (wisdom). Such is the purport of this book, which follows the earlier book on Tiruvachakam: The Hindu Testament of Love, published by the Bharatiya Vidya Bhavan in 1963. It is an accepted fact that there is a power be- hind all the manifested forms of this universe. There should be a Power to dispense the fruits of our ac- tions, Attuning our mind to that Power (God-head) with love is called Bhakti or devotion. This book penetrates the veils of Time and Eter- nity, the Vedas, Agamas, Puranas, the Epics and the classical poetry of the Academy of Letters (Sangam Epochs) of the Tamil Nad. It delves into the tradi- tional modes of belief and worship of Kumara-Muruga, in an humble effort to reveal the grandeur that illu- mines the cult of Muruga, down the ages to the ever- present Now—in principio. The first part of the book deals with the vision of Muruga as delineated by Saint Nakkirar in his immor- tal poem Tirumurugarrupadai. This illustrious poet lived in Madurai, the capital of the kingdom of Pan- diyans, in the golden age of the Tamil Academy of Letters, at the beginning of the first century A.D.’ 1. The Light of Truth or Siddhanta Dipila, 1912, page 407,INTRODUCTION xiil The poem depicts in every detail the concept of Muruga as glorified in the tradition of Tamilakam. A study of this poem leads us to consider the social and lite- rary background of the culture of the Tamils, their intrinsic forms of worship of Kumara-Muruga, hailed by the indigenous race of the South as the favoured deity of the mountainous terrain called Kurinchi by Tolkappiar. He is also the eternal beloved of Valli and Devayanai, the Divine Teacher, (Swaminatha) as revealed in the anthologies of poems constituting the Sangam Classics. Many a siddha in the Tamil Nad has invoked Him as Guru Guha—the divine teacher who dwells in the cave of the heart. An English translation of the poem of Saint Nak- kirar, a renowned poet of the Third Sangam era, en- titled Tirumurugarrupadai is the pivot on which this study of the development of Muruga worship has been worked out. This poem of three hundred and seven- teen lines of sublime poetry written in classical Tamil adopts the dialogic form of poetic technique known as Aarruppadai which is unique to Tamil poesy. Herein a mature guide who has relished the bliss of the grace of a benefactor—in this instance it is Muruga—leads a novice who desires to tread the same way, to gain the award of His Grace. The very technique itself beto- kens the spirit of benevolence of the rulers and the loyalty of the subjects of this golden age. The poet penetrates in a novel manner the cita- dels, well established and illustrious as Tirupparan- kunram and Tirucheeralavai, of the worship of Muruga. His abodes or Padaividu have been ex- tolled by Saint Nakkirar and all other successivexiv KARTTIKEYA—THE DIVINE CHILD poets on Muruga, as magnetic sanctuaries where He dwells, drawing people by the spell of love. We have tried to retain the lyrical quality of these cantos with their high metaphysical import in our transla- tion, as well as examined the greatness of the sub- ject—Kumara, the Divine Child of Light, and the grandeur of human aspiration and love that seck to attain His Grace, in a magnificent pilgrimage of the soul. In this Idyll, the author conveys in exquisite lines of poesy, the fascinating abodes of Muruga, with their enthralling natural setting and picturesque craftsmanship. The life of the people, their pursuits and pastimes, their piety and incantation are all brought out in an exuberance of imagery and diction. They are paeans of praise by man and nature; the heroic exploits of Muruga, His majestic form of six faces with twelve arms, mighty in stature, the splen- dour of his valour and the enchantment of His love, are all reflected in inimitable poesy with a crescendo of faith and devotion, that crowns Tirwmurugarru- padai as a poem par excellence, in the religious poetry of the world, not second to Dante’s Divine Comedy, or the Canticles of St. John of the Cross. The quintessence of this poem of poems is the grand vision of Muruga to His devotees who had sought Him in the sanctified sanctuaries of love—His six abodes—as the goal of their lives. The Testa- ment of Wisdom proclaimed in Tirwmurugarrupadai is the assurance of ‘Fear Not’, and the certitude of realisation. The author has effected a subtle ming-INTRODUCTION XV ling of the traditional Vedic form of worship with that of the indigenous, spontaneous form of worship; a fusion of the light and dark cameos in the terre- strial and celestial spheres, an affirmation of doctri- nal and ritual approaches, as well as a rejection of sceptred might and cloistered authority. In his poem, Nakkirar himself walks on the bridge of love and harmony, and paves the way for an integral understanding among all levels of Muruga worship- pers. His is a revelation of an indissoluble relation- ship between cause and effect, and thereby he esta- blishes that the love of the power and origin of all that are beloved of us, is sustained. Herein lies the greatness of this immortal poem. The conception of Kumara-Muruga as revealed in the literature and language of the Tamils has been traced faithfully, following the extant works of Tolkappiam and Paripadal. In the southern tradi- tion of the Hindus, Muruga connotes everlasting fragrance, youth, divinity and beauty. In the collec- tions of Ettutogai and Pattuppattu of the Tamil Sangam Literature, are many lyrics devoted to this eternal lover who fills the seeker with rapturous bliss, and they fill us to this day with something of their ethereal piety. In Paripadal, Ahananuru, Purananuru, and the Kurunchi anthologies, Muruga’s birth, exploits, acts of grace and love are delineated with an irrepressible charm and beauty that leave no doubt in our minds that the cult of Muruga was deep-rooted in the reli- gious life of the Tamils in the heyday of their civili- sation, some three thousand years ago. In theseXvi KARTTIKEYA—THE DIVINE CHILD works and especially in Paripadal, we get the con- cept of Muruga, the flaming God—Cevvél—as the supreme source of energy, and we get the panoramic vision of the universal Muruga in the natural setting of hilltops and mountains, rivers and sea coasts. The primal deity of the Kurinchi land was Muruga, and his lance and cock banner were extolled by the wor- shippers. Paripadal, a notable collection of poems of great merit of the third Sangam epoch, has been translated and marked for special study, as it furnishes valu- able data about the legends and worship of this deity in the ancient Tamil territory. Almost all the myths relating to the birth and exploits of Muruga known in the Puranie period are portrayed in the eight poems on Muruga in Paripadal. Cevvél, as he is termed in these poems, is compared to lustrous fire. In another poem occurs these memorable lines, which reveal the ultimate aim of Muruga worship: “We implore thee not for boons of enjoyment or wealth, But for thy grace beatific, love and virtuous deeds.’ Paripadal-5 The references to the stately temples of Tirup- parankunram, with its art galleries and assemblies of scholars, throw light on the high watermark of Tamil culture, as well as on the popularity and universa- lity of the worship of Muruga. Our translation of Paripadal seeks to convey the peculiar cadence ofINTRODUCTION xvii this type of musical composition. A blend of con- cepts of Gods like Mayon (Vishnu) and Céyon (Muruga), and a fusion of religious cults and wor- ship are revealed in these poems, and this prevalence of harmony and tolerance continues to this day to be a noteworthy feature among the devotees of Muruga. We next examine the evolution of the concept of Subrahmanya-Kumara as revealed in the Vedas end Upanishads, the Epics and Puranas. In the vedic lore, Muruga is termed Subrahmanya. Su means joy, auspiciousness; Brahma means the Sup- reme Reality; nya denotes whatever derives its ori+ gin in the Supreme Reality. Thus Subrahmanya means the One who took His origin from the Sup- reme Reality which is joy, and who is inseparable from that Reality. He is the great upholder of the Vedic way. The Sadakshara mantra, ‘Saravana bhava’, is sacred to Skanda and has a mystical import. As son of Siva, He is in no way different from Siva. He is a reflex of Siva. Kumara is blended of aspects of Rig- Vedic Soma, Agni, Indra, Varuna, Brihaspati and Hiranyagarbha. Kumara is a Rig Vedic divinity affirming the immensity and the variety of Reality. The Puranas give biographical details and Skanda is extolled as Deva Senapati. In the Chandogya Upanishad (7) Skanda is referred to as the Supreme Being. Sanat Kumar taught sage Narada how to overcome igno- rance and attain wisdom. “The way that leads to light or wisdom points to Skanda”. Sanat Kumar, the child eternal, who taught the Brahma Vidya isxviii KARTTIKEYA—I'HE DIVINE CHILD declared to be none else than Skanda, by reputed Sanskrit scholars. We proceed to a study of the Epics and Puranas and other sources which depict Muruga as a great integrator among the divinities. Muruga is acclaim- ed as the son of Siva and Sakti, the beloved nephew of Vishnu, brother of Ganesa and son-in-law of Indra. He is hailed as the God of valour, the wielder pf the victorious lance Vel, and the saviour of the lowly. Thus Muruga and Subrahmanya are terms signifying the love for this God, of two streams of culture. The blend of the two streams of grace as em- bodied in Siva and Sakti are united in Kumara- Muruga. By invoking His grace and chanting His magic formula, we invoke the grace of Siva and the divine Mother and attain enlightenment. The advent of Kumara has been celebrated by poet Kalidasa in Kumara Sambhava; and Panini’s Vyakarana Sutra and Sri Tattva Nidhi speak of his forms as Gangeya, Guha, Shanmukha, Visakha and Karttikeya. The Saiva Agamas and Kumara Tantra the ceremonial worship of Muruga deal mainly with the construction and the conduct of the formal rites, : of images and icons with the rules governing the in- stallation of Muruga in the temples as principal or associate deity. The Tirumurais of the Saiva saints ranging from the seventh century to the twelfth century A.D. contain many allusions to Muruga as the dyna- mic son of Siva. The triune aspects of Siva, Uma and Skanda form the concept of Somaskanda, the—— INTRODUCTION xix most popular form of Siva worship from the Pallava period, in all South Indian temples. Saint Tiru- gnanasambandar whose moving psalms heralded the awakening of the Saiva faith in South India in the seventh century is acclaimed as the manifestation of Muruga. Kandapuranam of Kachiappa Sivachariar is a prolific work in Tamil, which elaborates Kandan’s divine wisdom, which is at once the essence of divine grace. It is a wondrous testimony of the power of _ Siva’s Will on earth, even as His Will prevails in the kingdom of the Devas and Gods. The perennial charm of Kandapuranam lies in its entrancing stories on the manifestations of the Divine Child—Kandan —and his myriad activities to save men and devas from the bondage of their three-fold limitations of Karma, Maya and Anavam. It was found necessary to expound on the esoteric meaning of this most wide- ly known work on Muruga in a brief manner, in order to substantiate the validity of tradition and its continuity in a progressive evolution of Muruga as a source of power (kriya), love (iccha), and wis- dom (jnana) in South India, Ceylon and Far East Asia. We next proceed to reflect on the experiential bliss of the devotees of Muruga and begin with the famous poem of Sri Subrahmanya Bhujangam by Adi Sri Sankaracharya, as an appealing canticle on Muruga —the Light of Wisdom. Before his beauteous form at Tiruchendur, Sri Sankara, the advaitic seer, melts into poetic delight in contemplation of that Form of the Formless One, The goal of Skanda SayujyamXX KARTTIKEYA—THE DIVINE CHILD (union with Muruga) is the fitting reward of a pious study of this poem, which has been translated by us in lucid prose without sacrificing the melody of the poet’s supplication and adoration. “Will Thou not quell this foe of mine, This my ignorance that afflicts me sorely”? V. 23. When ignorance flees, Sankara testifies that the lumi-+ nous wisdom shall illumine the inmost recess of his heart, and the poem lifts us to the summit of Skanda Sayujyam. “Grant that my body and mind Be immersed in thy light.” V. 26. We have compiled a selection of canticles, man- tra slokas, invocatory chants, and holy psalms of St. Arunagirinathar which we believe can help to fruc- tify true devotion and enable a bhakta (a man of devotion) to become a jnani (a man of knowledge), one who sees Muruga everywhere and in everything. The quest of Muruga leads a phakta to the quest of his own real self, till finally it leads him to the con- quest of duality, when he surrenders himself to the Guha, who abides for ever in the cave of his heart. Thus the invocatory chant and Dhyana Mantra and the singing of inspiring hymns on Muruga help in attaining Santi or peace. A study of Muruga worship will pe incomplete without a dip into the mystery of Kathirgamam. This is significant as proving the import of the form-INTRODUCTION Xxi Jess state of worship of Muruga prevailing to this day at Kathirgamam. Here the effulgent glory of the divine child of wisdom in the veiled silence of the sanctum sanctorum is affirmed by the tuneful devotion of millions of devotees of all creeds and climes, Idam Sarvam is His abode. The light of Kathi- ramalai beckons one and all to come unto Him—all who are heavily laden with the ceaseless combat of pain and evil—to follow the way of devotion. In the beginning, the piety of the devas, their penance and prayers, fasts and vigils, their sacrifices and worship helped them to win Muruga’s grace. His Pasarat (encampment) that was Kathirgamam was the scene of his victory over the Asuras. Today it stands as a symbol of Muruga’s power, the testimony of the ages. His living presence can be felt and experi- enced today in an equally efficacious manner as in the ages past. Once the river Manicka Ganga is crossed, the thronging pilgrims are carried in the stream of love, only to get engulfed in the serene em- brace of the beloved of Valli-Muruga. This oneness with Truth is the mystery of Kathirgamam. Kathir is jyothi or effulgence, and in Kathirgamam, He abides in Light and illumines with wisdom all who seek him there, in contempla- tion and ecstatic devotion. The attributeless, form- less worship of Muruga witnessed today in the sanc- tum of Kathirgamam has its roots in the intrinsic iradition set out in Tholkappiam in the Puratinai Sutra, Nachinarkiniar interprets Kodinilai as sunKARTTIKEYA—THE DIVINE CHILD xxii and Valli as moon and Kantali as that which is at- tributeless and formless. Kathirgamam delineates Muruga in his formless state and his worship in the Kantali aspect. Hindus, Buddhists, Muslims, Jearned and untutored—all a worship flock to this sylvan shrine and commingle in of devotion and love. Thy silence is the way is what is betokened in the chapter on Kathirgama Rahasya. The universality of worship at Kathirgamam, a reminder of the ancient form of Hindu mystic wor- ship of the supreme God-head, is what gives it an intrinsic value and appeal today. It is a significant testimony of the eternal wisdom that is for ever asso- ciated with the luminous Vél implanted on the sum- mit of Kathiramalai. The flame of the Divine Child is enshrined in the heart of love, and He reveals Him- self to those who seek Him in devotion. Select translations of the poems on Muruga sung by different authors at different periods of time be- fore dedicated abodes and temples convey to us the intensity of their fervent love for the Divine Child. Tn purity, detachment, and selfless service, we witness man becoming a participant of the treasury of wis- dom, that is the repository of the God-head. The illu- mined St. Arunagirinathar, St. Kumaraguruparar, Ramalinga Swamigal, and Pamban Adigal sang His praises as an aid to God-realisation, till they were merged in His supreme effulgence. Not forgetting the masses, they awakened from their contemplation, and showed the way to the people, and intensified their faith by their melting songs and stotras, Thus the Ee ———- "~~ °° ° ° °° Se eea INTRODUCTION » xxiii worship of Muruga was revitalised in every age, by the testament of his devotees. The divine Kumara-Muruga who is popularly re- presented with six faces and twelve arms, each face with its corresponding hands being assigned distinctly correlated functions in the cosmic evolution, is per- haps the grandest conception of divine manifestation in the Hindu pantheon. This book seeks to convey the testament of the Power and Wisdom of God as witnessed in the divine activities of Kumara-Muruga, and proclaimed by the sages and saints, down the ages. It is a testament of the Jnana (Gnosis) of God. It is also a testament of the Grace of God in the form of the Son Kumara, as revealed in the Vedas, Agamas, Epics, Puranas and in the popular songs of the Rea- lised Seers. “In the gloom of fear, His six-fold face doth gleam, In perils unbound, His lance betokens ‘Fear Not’, In the heart of those who recount His Name He doth reveal His gracious Feet. Thus He appears to those who chant The Hallowed Name of ‘Muruga’. St. Nakkirar. The Effulgence (Jnana) of Siva-Sakti gleams in and through the radiant Son, Kumara, Muruga, Subrah- manya, called thus by several endearing terms. He is enthroned in the heart of Valli-Nayaki; she is none other than the Jivatma—the human soul.KUMARA-MURUGA—THE DIVINE CHILD It is the vision, seen and unseen—the sacramen- tal child becomes the sanctified word. In Him is the Eye of Wisdom—that luminous Bye on the forehead of Siva—effulgent, radiant, as if a thousand suns are blazing forth. The rays divine herald the dawn. Tis the dawn of light from darkness. ‘Tis the dawn of life from death, actuality from potentiality. *Tis the supreme Brahman, ‘I Am’ from non-conscious- ness; God from Godhead. This lustrous Eye is the first formal assumption of Godhead as “Being”—God as Siva. An eternal Will pulsates in the nothing, to trans- lume the nothing into something, that the Will might feel, find and behold itself. Sivam and Sakti become ONE The Father is the manifestation of the Godhead— Para-Sivam. One and one uniting, there is the Su- preme Being—the unity of God without a second.2 KARTTIKEYA—THE DIVINE CHILD Para-Sivam representing Godhead effects nothing by Himself, and Sakti, Mother of all things is the active power, engendering, preserving and resolving in His Light. In Him, the Tri-Unity meet,—Brahma, the crea- tor, Vishnu the protector, and Rudra who controls the dissolution of the universe. This is the divine comedy and the Divine Child is the witness and the actor. The Will of Siva is the moving power in all pro- cession, ‘Iccha’ (kama) or zest is the will to life. It is by His Will that His intrinsic Form (svarupa) reveals His intrinsic Nature (svabhava). Therefore the single Will of Siva may be regard- ed with respect to Essence as the Being, and with respect to Nature as Iccha or kama, zest, craving or desire. The Siva-Sakti aspects of the will are seen in the Indian legends on the birth of Kumara-Muruga. ne sparks of brilliance The mutual outpouring nm of the Father and 1f in all things. The The Will proceeds as divil from out of the effulgent Eye. of love is the common spiratio: the Son. Kumara enjoys himse connascence of eines casence and the Mother nature, the two forms of Para-Brahman, is not a generation from conjoint ‘principles. The son is unborn and un- begotten. So it was, so it is and shall be for ever. In the beginning, this world was without form and void—Moolaprakriti. Godhead is rid of light and darkness, poised in itself in sable stillness. This still-; KUMARA-MURUGA—THE DIVINE CHILD 3 ness is the incomprehensible nature of God. Para- Sivam has all things in potential existence. First to arise in it is the glorious splendour of the light that jllumines all things at once. As He shone were the waters born. Vac, the means of utterance, is synonymous with Sakti or omnipotentia. Vdc is divine wisdom. She is the mother of all first principles, affirming that she was with God in the beginning. She was the thought of Him who set the universe in motion. Vayu or motion, Agni and Earth are denotations of the prin- ciple of manifestation. The fiery energy and rasa (meaning elixir) from the luminous eye of Siva sent forth lustrous sparks and agni (fire) with the help of vayu carried them to the bosom of the waters. Skanda or Kumara makes his appearance in six aspects upon a lotus and is established in the Saravanai lake, in the possibility of existence. The six sparks reposed in germinal (garbha) state on the Saravanai pool. The ‘Pleiades’, the six stars, popularly known as the Karttikai maids or the heavenly wives of the six immortal Rishis nur- tured the six babes. The Will of Siva, Chit-Sakti, brings them together in one manifested form, and thus emerged ‘Kandan’ with six heads and twelve hands, the Divine Child, the saviour of the fearful mortals and the celestials. The effulgent Kumara is perpetually brought to birth in the sacrificial fire at the dawn of every day, as also at the beginning of every temporal cycle. The supernal sun, the fire and the motion are the funda-4 KARTTIKEYA—THE DIVINE CHILD mental aspects of the imperishable Word—Om. The light (Aditya—Sun) in Heaven, of motion (Vayu) in any firmament and the earth as the principle of fire (Agni), known in puranic tradition as Lord Vishnu, Brahma and Rudra, are the embodiments of the transcendental Brahman or Para-Sivam (God- head). The sun is the source of life and vayu is the breath of life. The gift of life radiates from eternity to eternity and no manifestation is conceivable ex~ ‘cept in terms of pairs of opposites. Neither good nor evil can have any place in pure being. The birth of Kumara or Muruga is a symbolic presentation of the operation of power or energy: Symbolism is the language of the metaphysics. The symbol presupposes that the chosen expression is the best possible description or formula of a relatively unknown fact. The everlasting Godhead is unknown, never was known and never will be known. The supernal image of the son Kumara is revealed in the and traditional symbolism of the birth of Kumara, most of the idiom is the common property and in- heritance of the Hindus. The Hindu tradition maintains that the only be- gotten son is cosmic. The father is the Sat (Being)- The mother is the Chit (wisdom or vac). Wisdom is the divine nature. The unity of essence and nature brings forth Skanda or Kumara. This going out of the fiery energy is the first sacrifice. The concept of self-sacrifice suffered to the end, so that life may be made more abundant recurs in the Vedas. Many are the sacrifices thus outspread before the face of God, but mostly all of them are by way of works whichKUMARA-MURUGA—THE DIVINE CHILD 5 lead to release. Better than the sacrifice of any ob- jects is that of wisdom, by which is effected the return of the several powers or elements of consciousness to their single source in the knowing Self. This is the secret gnosis of the Pranavam—OM. In the beginning was the Word—Vac or Chit; the Word was with Siva or Sat—Being, and the Word was Sivam. In the beginning does not mean at a given time, but in the ever present Now—in principio.TIRUMURUGARRUPADAI—A STUDY Introduction: Three thousand years ago, in the territories of India where the Tamils held sway, two thousand years~ ago in the Kingdoms of the Chera, Chola and Pandyan Kings of South India, and down the ages to today, the worship of Muruga has continued to find an honoured place in the annals of the Tamils. There is ample evidence in the literature and archaeological findings of South India and Sri Lanka to prove the antiquity of the Muruga cult; and even to- day, one often hears from all quarters, the supplica- tion to Lord Muruga. His name is on the lips of those who suffer and those who enjoy, those engaged in war or peace. The old man full of reminiscential glow, the young woman nestling her babe in her arms, the youth at the threshold of life’s adventures, the growing child playing on the sands of time—all chant the holy name of Muruga and invoke his protection in the manifold drama of life. This age of Kaliyuga is believed to be an era of eventful change, when the ‘ego’ of man exerts itsTIRUMURUGARRUPADAI—A STUDY 1 maximum potency, and destructive forces gain supre- macy over the powers of truth and goodness. The Deity of this Kaliyuga is God Muruga—Kaliyuga Vara- dan—whose weapon the Lance, symbol of victory, pierces the fearful gloom that envelops humanity. The holy name of Muruga fans the flame of spiritual love in the hearts of men and women, the victorious and the vanquished, and renews man’s faith in the sanctity of existence on earth and in the strength of the forces of good represented by the Devas. Cevvel or Seyon as he was known to the ancient Tamils, and remembered today as Muruga and Kandasamy re- veals his living Reality in the hearts of his devotees, who testify by their fervent sadhana, the depth of their piety to this God of love and valour. They hail Him as the manifestation of the Supreme Siva. Muruga’s mission was to save the Devas from the terror of the Asuras, and point the way of everlasting joy to His devotees on earth. The Author of the Poem: Every lover of Muruga chants the idyll of Tiru- murugarrupadai, sung by Nakkira Deva Nayanar, the Poet Laureate of the Third Academy of Tamil Letters, which scholars attribute as having flourished from the third Century B.C. to the second Century A.D. It is a timeless piece of artistic creation, a work of ex- quisite literary art and apart from its religious value stands out in the literature of the world as a master- piece of flawless poetry. Nakkirar may be called in the ancient grammarian, Tolkappiar’s phrase, Nirai- Mozhi Mantar, men who attain mystic powers of ut- terance by their penance. Tirumurugarrupadai is a8 KARTTIKEYA—THE DIVINE CHILD revealing text about the popular religion of the Tamils in the classical age. It is one of the earliest and most devotional of the poems on God Muruga—hailed as the Supreme Guardian Deity of the Dravida people, ac- claimed also as the Son of Siva, the immanent word that manifested as Being. In one of his less known poems called Kailaipati Kallatipati Antadi, Nakkirar sang thus: “The word and its import, the body and the soul, Fragrance and flower, flawless like these, Our Lord of Kailas Hills too difficult to reach, Stands He immanent in all.” Nakkirar was the son of a reputed teacher at Madurai, called Kanakayanar and was a distinguished poet of the Third Academy which had its seat in the capital city of Madura, Ptolemy’s “royal Modura Pondion”. He was a contemporary of the Pandyan King, Mudattitumaran of the Third Academy of Tamil Letters. His age is believed to be between the first and second Century A.D. He wrote a learned com- mentary on the well known work entitled Irayandr Ahaporul. Vankya Sudarnani Pandyan offered a handsome donation of gold to the poet who would compose the best poem according to the highest stan- dards of literary composition prevailing at that time. Dharmi, a lowly poet, invoked divine aid and sub- mitted his poem which was selected for the award. However, Nakkirar found fault with a particular line in that poem and tradition avows that even when Siva appeared and supported the correctness of Dharmi’s thought and diction Nakkirar persistently refuted it. He suffered the consequence of his arrogance and got rts Ai eeTIRUMURUGARRUPADAI—A STUDY 9 rid of his incurable ailment after undertaking a pil-° grimage to Mount Kailas. It was on his way to Kailas that he encountered the demon Ayakrivan and was captured by him and put in a cave along with 999 men of piety who had been made captives by this Bhutam, who wanted to perform a unique sacrifice of one thousand men, in order to fulfil his penance. When Nakkirar arrived in the cave, his fellow captives were seized with grief as his capture spelt doom for all of them. Tradition declared that Nakkirar composed this illustrious poem on Muruga during this crisis, and invoked the Lord to guide him and also save his fellow captives from the impending danger. The place of captivity was a mountainous cave on the top of Tirupparankunram, and Nakkirar in the opening lines of the poem Tirumuru- garrupadai extols its praise, as the holy abode of Muruga. When the poet finished his poem of praise, Lord Muruga appeared and killed the demon with his powerful Lance and rescued the thousand men: “Kunram erinthay! Kuraikadalit Strthadinthay! Panthalaya Pathap Porupadaiyay!—Enrum Elayay- Alagiay! Erarnthan Eréy! Ulaiyay en ullathu uray. Kunram Erinthathuvum Kunrapér Seythathuvum Antrangu Amararidar Thirthathuvum—Intrenaik Kaivida nintrathuvum Katpothumpit Kathathuyvum Meyvida Virankai Vel. T. M. G. Venba 1-2KARTTIKEYA—THE DIVINE CHILD 10 He was also the author of Tiruvingoimalai Elupathu, Tjruvalanjuli Mummanikovai, Peruntévap panei Tiruvelu-Katirukkai, Potri Kalivenba, Trukannsepes dévar Tirumaram and Naladi Naropatu. His poems are included in the earliest anthologies of Tamil Poetry known as Narrinai, Kurruntokai, Ahananuru and Pyrananiru. His son Kiravi Korranar composed the famous poem on nature called “Nedunalvadai’’, which is also included in the above anthology of the Third Academy of Letters, which marked the glorious epoch of the Tamil civilisation. The tradition: Tirumurugarrupadai is the masterpiece of Nak- kirar. It is the first Idyll in the Pattuppattu consisting of ten Idylls which enjoyed popular esteem as marking the high watermark of Tamil poetry in the Third Aca- demy of Letters. Besides this, Tirumurugarrupadat is unique in that it is also included in the collection of the sacred Saiva religious poetry known as the ele- venth Tirumurai. In this text, the author is exalted as Nakkira Deva Nayanar, Saint Nakkirar. The purport of the author is brought out in one of the closing stanzas of the poem itself: ‘In the face of fear, His face of comfort shows! In the fierce battle-field, ‘fear not’, His Lance shows! Think of Him once, twice To those who chant His He shows! Name Muruga!’ T. M. G. Venba 6.TTIRUMURUGARRUPADAI—A STUDY 11 This poem enjoys great popularity as a timeless work of art, and essentially it is the work of a reli- gious mind, who drew his inspiration from the dis- tinct religious tradition of his land and age. It is be- lieved to be efficacious in that it acts as a healing balm on those who recite it, and even today, we find this poem sung with piety by many a devotee of Muruga. What is the religious tradition, the peculiar reli- gious import of this great masterpiece on Muruga? Its religious background has to be understood fully before we can enjoy its perennial beauty as a world’s great poem. A study of the cultural, historical and literary background of the ancient Tamils will throw light on its exquisite poetic workmanship and the excellence of thought and content. It will also un- fold in stages, the inherent religious faith and tradi- tion of the people, who look upon Muruga as their fa- voured Deity; their covenant with Muruga, through one of their illustrious poets Nakkirar in the Golden Age of Tamil Poetry, has been enshrined in this im- mortal poem known as Tirumurugarrupadai. The Academy of Letters (Sangam Epoch) indi- cates the existence of a highly cultured community and it is on record that the body of Tamil scholars known as the first Sangam, second Sangam and third Sangam epochs extended their influence over a period of centuries before the dawn of the Christian era— periods of great output alternating with comparative barrenness. This Academy of Letters was composed of scholars, poets, critics and writers of great renown, whose imprimatur was necessary for the publication of any work of encyclopaedic range in Tamil. A stan-12 KARTTIKEYA—THE DIVINE CHILD dard of excellence was set up, which had the insignia, the hall-mark of approval of the Sangam Laureate poets and authors. The later commentators and cri- tics of these works, which were classified as the San- gam Works, have conformed to the critical standards established in the code of poesy and grammar em- bodied in Tolkappiam, an extant work in Tamil attri- buted to the Second Academy of Letters, and dated prior to the fifth century B.C. Arruppadai: In this background of Tamil Culture, a study of Tirumurugarrupadai offers great challenges. The poem has a peculiar technique which is unique to Tamil poesy. A bard or a seer, a poet of exceptional erit, who has enjoyed the benefaction of a king, a warrior hero, or a poet, and in rare instances the grace of a deity, in short one who has enjoyed the boon of an exalted One, meets another companion who is seeking out for similar favours. Out of the abundance of his munificence, the favoured bard re- counts his experiences and extols the praise of his master and delineates his attributes and deeds with such delicate subtleties and poetic appeal; he thus points to a novice, the Way that shall ensure success in the attainment of winning the award. Herein is brought out a fundamental concept of the Guru, the guide and master in Tamil tradition, who is ever pre- pared to show the Way he has trod, experienced and found beneficial, to other seekers who stumble in du- bious highways and byways of life. The illumined poet called as the Seer in the East, WNakkirar in this instance, beckons to one and all whoTIRUMURUGARRUPADAI—A STUDY 13 waver on the crossroads of life, burdened with the penury of the mind, heart and body, the sick and the ailing, the aged and the feeble, the weak and the lost to follow the path, that shall take away from them their burdens of suffering and misery and lead them to the goal of Muruga, the great benefactor, who shall reward them for their steadfast devotion and sacrifice. . “The Way shall not be long and arduous, if ye but sing His praise and extol Him in the most sublime poesy”. Such is the exhortation of Nakkirar, the master guide, and this kind of poetry came to be known as Arruppadai from the age of the Tamil Aca- demy of Letters. In Tolkappiam, we get the defini- tion of Arruppadai poetry in the thirty-sixth Sutra of Purathinaiyal. Further Tolkappiar elucidates the meaning of the nature of the award which the sup- pliant makes at the direction of the mature guide. It is Kantali which forms one of the three fruitful gains to be attained by worshipful devotion (Sutra 33). In other words, the goal is to attain the trans- cendent One, who is beyond all ties and forms: “Sarpinat tonrathu talaruvai eporurku Méyanint trenjnanrum inpam tagaitor Vaimozhyal vakal manattal arivilanta Taiymaiya tana maitir sudar.” Nakkirar’s Arruppadai exhorts the struggling mortals to strive for the wealth of immortal bliss. This reward can be attained only through inward pilgri- mage which takes one away from the path of the senses: “Pulam Pirintu urayum Selayu Née Nayantanai Yayin.” T.M.G. 6414 KARTTIKEYA—THE DIVINE CHILD Nakkirar in Tirumurugarrupadai builds up a new tra- dition of Arruppadai by which he enunciates, that in the process of salvation of the mortals, God’s initiative is as intense as that of the devotee. Nakkirar invokes the grace of God Muruga to take the initiative and crown the devout seeker. In this poem, the guidance is given to Muruga by the Kiliyar or the matured en- lightened Seers, who are already in possession of the grace of Muruga. That was the reason why Nakkirar’s Arruppadai is named after Muruga as he is the One who is guided! to come to his devotees true, in response to their supplication— “Murugu Aarrupadutha Urugelu Viannagar.” According to Tolkappiar, Arruppadais are named after the persons who are given guidance, and not named after the patrons who are the objects of the guidance. (Tol: puram: 30:) Nakkirar’s Arruppadai seems apparently to be named after the patron who is the ultimate goal of the guidance. However in lines 284-285 of Tirumurugarrupadai, the Kiliyar or the at- tendants of Muruga appear on the festival grounds and draw the attention of Muruga to the earnest piety and spiritual fervour of the devotee, who has made this pil- grimage to Him, and who stands in need of His suc- cour, moved as they are by his tuneful worship and praises of the Lord. T.M.G, 244 Thus it is evident that Nakkirar has not deviated from the traditional approach in his Arruppadai. Muruga is depicted as searching for the true devotee in order to shower his grace. The victorious leader of the Devas, the spiritual Guru of the righteous seers,TIRUMURUGARRUPADAI—A STUDY 1S the great lover of the young, God Muruga is given gui- dance and His attention is drawn to the ripe maturity of a devotee who also with high yearning has worked his way up to obtain His grace. It is both an outer pil- grimage to the hallowed abodes of Muruga, as well as an inward odyssey of the spirit. This aspect of Muruga worship is worked out more fully by M.A. Dorairan- gaswamy in his work on “Anbu Neriyé Tamilar Neri” ee pwT2). All spiritual sojourn must be crowned by God's grace. A fervent devotee of Muruga—in this instance, iv is poet Nakkirar—mediates with Muruga in the true role of a spiritual preceptor, to grant His benediction on the younger devotee who has been guided to come unto Him, with the ardent faith to receive His behest— that the Lord should turn His Eye of Grace on him, even as He has showered His Grace on the poet, and thus fulfil his supplication! This is Tamil Culture at its pinnacle! It is Lokasamngraha, the sovereign sway of Universal Love for all living beings! In the stinking culture of modernism with its tentacles of aggressive egoity and pride and perversion of eternal values, it is salutary to recite Nakkirar’s poem on Muruga and quench the thirst that doth rise from the soul for a drink divine. Such is the full import of Tirumuru- garrupadai which is named after Muruga. In this Idyll, the favourite abodes of Muruga are described by the path-finder, whose main aim is to turn the doubters and wavering seekers to follow the right track, the royal way that shall lead each one of them to Lord Muruga. He dwells in special sanctua- ries which are dedicated to His worship and termea16 KARTTIKEYA—THE DIVINE CHILD centres of encampment (Padaividu), reminding the followers that it was He who warred against the hordes of Asuras, forces intent on destroying the good and the righteous order of this world. This humble sojourner, this votary of Muruga, is bidden to arise and go, and go at once to the temples at Tirupparankunram, Tiru- cheeralavai, Kunruthoradal, Tiruvavinangudi, Tiru- véragam and Pazhamuthircholai, and worship Him tunefully and receive His Grace. Muruga is all-pervading in every particle of the Universe, and while He is immanent in everything, everywhere and at all times, it is also true that man can experience an intimate nearness and presence in the temples specially dedicated to His worship. He can- not be seen nor heard, as He is beyond sight and sound; but the true Seer can see Him in every phase of Nature’s beauty and ugliness, in the calm serene beauty of the pastures green and mountain peaks, as well as in the horrors and weird scenes of the grim battlefield and in the terrors of brute force. This al- ternating phase of light and darkness is brought out majestically by Nakkirar in this poem of poems. The Poetic Crescendo: In this Idyll, it is not a King or a chieftain who is extolled by the bard, Nakkirar. He points the Way that shall lead a seeker to Muruga; it is the path of light, love and loveliness. The goal is Lord Muruga, the exalted Son of Siva, the victorious Lord whose abodes are endowed with such power and charm, that the guide extols His glory in the most fascinating yet baffling melodious poesy, where nature, man and cele:4 TIRUMURUGARRUPADAI—A STUDY 17 stial Devas enact a moving pageantry, and realise the award of the boon of Grace from the living presence of Muruga. Unlike Dante who beholds at a distance the Beatific Vision with the sweet river of Light di- viding him, poet WNakkirar transmutes the dross of the earth into the molten gold of divine wisdom, and sees Muruga, Lord of heroic feats and wisdom, hears his word of Truth and experiences his Love— the summum bonum of Life, in blissful communion. Let us examine Nakkirar’s approach to Muruga, which is unique in its appeal. He is a peerless de~ votee of Muruga, steadfast in the pursuit of the Way that leads to Muruga; he exhorts the people to strive to acquire the spiritual wealth from this treasure cave. The reward is for those who make the inward odyssey to His abodes of wisdom found within each: man: “With a heart imbued with love and purity, And a will tuned to do His bidding in virtuous acts, If you seek His abodes, then shall be fulfilled All your cherished desires and objects.” T.M.G. 62-66, In this Arruppadai of Nakkirar, we get some poetic gems of purest ray serene, and soul-stirring descriptions of God Muruga and His abodes. We find exhilarating pen pictures of nature as the seat of His: glory, of the sea and sky, hills and forests, fields and pastures, (Neithal, Kurinchi, Mullai and Marutham regions classified by Tolkappiar), of the sun and moon, of trees and flowers and the song of birds and prowess of animals. We cannot see God, neither can. K.D.C,—218 KARTTIKEYA—THE DIVINE CHILD we hear Him; we can neither sense Him nor know Him. But the true Seer sees Him in every phase of Nature’s beauty and hears Him in every rustle of the wind and senses His joy in every note of the kuyil bird. i Like Dante’s Divine Comedy, Nakkirar’s poetic theme is pitched to the highest chord of praise unto the Divine Jyoti. Muruga is depicted as the lumin- ous Child, the refreshing youth radiating love and vitality, the young warrior who commands the im-~ mense array of heavenly hosts and earthly forces, the power of the Bhutaganas and the milieu of the nether worlds; He is the enlightened embodiment of Siva, the sun of wisdom. Thus we see that Nakkirar conjures in all his poetic imagery, the concept of Muruga as testified in the local religious tradition, and in the legends. Nakkirar delineates the types and modes of wor- ship of this peerless God in his grand Idyll. The lovers worship him with music and dance, and con- gregate in the open fields, or near the waterfalls; the priestly class worship Him with elaborate rites and ceremonies; the warriors celebrate his banner and Jance; the rustic with foodgrains and sacrificial offer- ings; the aboriginal Veddas invoke Him with intoxi- cating drink and dance veriyidal. The devout aspi- rant meditates on him in silence, adoring Him as the Supreme God, the giver of all that is beneficial— Subrahmanya. Muruga is the all-pervading Spirit of the Uni- verse, the Essence from which all things are evolved,TIRUMURUGARRUPADAI—A STUDY 19 by which they are sustained, and into which they are involved. Out of gracious compassion for the suffer- ing humanity, He takes forms sometimes as the youth- ful God of Love, the mystic Child of Wisdom or the God of War in order to crush the forces of evil, He also appeals to the true seekers after the riches of the Kingdom of God, as the Divine Child Muttu- kumaran, a type of perennial tender beauty, always and everywhere waiting fragrance to rescue his de- votees, with his consorts—Valli and Devayanai, who are the instruments of His Grace unto humanity and celestial beings. As a literary poem, Tirumurugarrupadai is of great interest to all lovers of art and poesy. When we unravel its scintillating beauty, we also compre- hend its profound religious meaning. It unfolds ele- ments of poetry and drama combined with music— the three major aspects of Tamil literary tradition. The poem is made up of six scenes. God Muruga is represented as having taken His abode in six sacro- sanct shrines, five of which are specific locations and Kunrutéradal has no particular shrine. Symbolically His six faces find their resting place in each of the six abodes. The seeker is bidden to undertake a pil- grimage and worship Him in Tirupparankunram, Tirucheeralavai, Tiruvavinankudi, Tiruverakam, Kunrutoradal and Pazhamuthircholai. Within this general framework, we discover the literary technique of Arruppadai, the way to Muruga depicted in six different forms and patterns of wor ship by six different types of adherents or worship- pers. Each one of the six scenes is composed of a20 KARTTIKEYA—THE DIVINE CHILD single unit of long--winding sentences, consisting of diction so profound, condensed in meaning, so that within the general ambit, each of the sentence struc- ture is so broken up as to release a few clearly defined pictures arranged systematically, centering round Muruga, the object of worship; the devotees swing round his orbit as subjects with nature around as the stage, on which the drama of man in his relationship to Muruga is enacted; Nature is the witness. In this triangular panorama, the stage by which we mean the world of nature, the abode (Padaividu) becomes at some point or other, the focal centre, where the poet has worked out his exquisite artistry. ‘At another time, it is the object, the adorable Muruga who steals full attention and delicate details of His form, adornments, smiles, and actions add lustre to the poem. Lastly, we get scintillating pictures of the worshippers, the procession of devas, mortals, and the gamut of the celestial and human pageantry seek- ing Him, praising Him and supplicating unto Him in diverse ways and modes. Thus Muruga, His Abodes and His gravitational pull on the fervent devotees who revolve round His axis—these three centrifugal pivots grip our hearts and minds and hold us spell- pound. The one in three and three in six and six by six reveal to us the pinnacle of the sublime truth of Religion. This indeed is great poetry and even if the peculiar halo of religion embodied in this poem were to wane at some unknown future in the history of mankind. this poem of poems will live on in eter- nity, as a peerless work of art. Thus we trace the continuity of the cult of “TIRUMURUGARRUPADAI—A STUDY 21). Muruga worship in Tamil Nad from ancient times to the modern period, and find that Muruga is a living force today and rests upon an old tradition. Tamil literature, archaeology, epigraphy and iconography supply several kinds of data in this interesting study of Muruga cult, and this continuity is one of the main features of our study. Puranas record the legends— legends praising holy places, temples and thirthams, and explain the images, whereas technical treatises like the Silpasaastras, Kriyapaada of the Agamas and Tantras like Kumaratantra give the rules to. build temples and to make the images and conduct pujas. The Tamil literature like Paripadal, Tirumurugarru- padai, Kandapuranam and Tiruppugazh reveal the in- tense piety of the devotees who built and worshipped in the temples of Muruga, and illustrate their emo- tional feelings and thoughts. An attempt has been made to utilise Tamil literary sources for the correct appreciation of the indissoluble links between the monuments and the religious thought and practice of the Tamils in regard to the worship of Muruga in Tamil Nad.THE POEM—THE WAY TO LORD MURUGA TIRUPPARANKUNRAM Behold the Sun, Dispeller of Darkness: 1-11 The world rejoices and the many adore As the Sun of Glory riseth above the Sea Radiating its gleaming luminosity afar In its diurnal ascent around the Mount. Behold in its lustre His lofty Feet Trampling ignorance while upholding their love. His mighty arms like thunderbolt wiping out foes. He’s the spouse of flawless gleaming forehead— Devayanai. Lo, the dark clouds laden with draughts from the sea Scatter their dense raindrops in the luminous sky And confer the first showers on the balmy forest glades. Fresh and cool appear those broad red Kadamba trees, Whose round crimson flowers play on His fair Chest Adorning it in the form of a fragrant garland.THE POEM—THE WAY TO LORD MURUGA 23 The blooms of Love unfolding in the Dance of Beauty: 12-44, On the towering mountains where high bamboos grow Are the groves where celestial Maids display their valour; Their dainty roseate feet tinkle with anklets Their shapely legs, swaying waist, and graceful arms Arrayed in glittering raiment of radiant hue, Their hips embellished with chain of multi-gems Their beauty so artless and immaculate Enhanced by bright jewels of purest gold; Their mien so flawless, decked with petals Of Kuvalai embedded in stalks of Vetchi red; Their curled hair adorned with Seedevi and Valampuri The “Makarai pakuvai” pendant on the fragrant forehead Marked by ‘tilak’, while the knotted hair behind Circled by lovely champaka bloom with marutha sprays; The eardrops of Asoka shoots dangle gracefully; The comely breasts touched with fragrant sandal paste On which were strewn the pollen of Venkai blooms; These fearless nymphs so alluring in their sport f Pick the tender shoots of woodapple and throw at each other, They sing in praise of the banner of the Chanticleer. In the dales so enchanting these damsels dance around And their dulcet music resounds up the mountain peaks, Flanked by dense trees where bees nor monkeys stalk There blooms the Gloriosa Superba in flaming hues. From which are made the fragrant garland wreath That adorns His Crown in splendour fine.24 KARTTIKEYA—THE DIVINE CHILD The blooms of Love unfolding in the Dance of Terror: 45-61. The resplendent leaf-shaped lance of mighty fame The Victorious Lance of the ever youthful Lord, Pierced the cold rocky cliffs embedded in the sea, And cut asunder causing dread to the dual Form Of Suran, the warrior hero of the Titans who hid Beneath drooping clusters of the uprooted Mango tree. The hideous demoness with frizzy hair and canine teeth, Green eyes with whirling eyeballs, wide mouths and fierce look, Ears from which blinking owls and deadly snakes twine On to the heaving shoulders, rough belly and tinkling hands With sharp nailed cruel fingers claw at the eyes Of dark skulls that emit a putrid stench. This repugnant fiend with mouth full of carrion fat Sings paeans of praise to the battle-field so eerie, That strikes great terror into giant’s hearts; She treads the Thunkai dance and thus celebrates His Victory. The flawless lance so red, of the Lord of boundless fame Dimmed their glory, inspiring fear and dread, Cut in twain the Chief of the Asuric hosts, Who bears two names but has one body gigantic, Who hid neath the mango tree upon whose boughs Hang drooping branches with blossoms bright. The Goal of Roseate Feet: 62-67. If with piety and merit of former birth,THE POEM—THE WAY TO LORD MURUGA 25 Thou doth aspire to the goal of liberation, Strive for the wisdom that radiates From virtuous deeds, and may yearning sweet For His roseate Feet animate Thy mind, And lead thee to attainment divine. The Holy Mount: 68-77. Hearken! He dwelleth on the Mount, west of the City Whose towers and gates freed from the snares Of wars with all the foes routed, display The sign of ball and doll dangling on the flagstaff In whose wealthy masts and palatial streets Lakshmi abides. °Tis the Hill where winged bees rest on stalks of lotuses ‘That bloom in the muddy ponds across the vast fields, While at dawn they hum around the honey laden flowers; And with the light of the rising Sun, they gleefully buzz Among the scented flowers as they unfold their petals. Such is the Mount of Beauty where He abides in joy Tis not this alone. TIRUCHEERALAVAI (TIRUCHENDUR) The Triumphant Return: 78-88. The Elephant’s head scarred deep with sharp goad. Adorned with unfading garland and golden shield, Bells of rhythmic peals resound on either side ‘ Powerful as Yama, fleet as the risen wind; The elephant rides swiftly carrying the Lord aloft.26 KARTTIKEYA—THE DIVINE CHILD The crown of beauteous gems in pentagon shape Glows like lightning’s flash and his golden drops Shine like starry sheen swinging round the moon Who doth illumine distant firmaments. The Glorious Form of Muruga: 89-103. In disciplined hearts of sages kindled with love, Lo! the glorious Form of Muruga blooms in radiance; That the world be freed from dense darkness One face illumines by diverse beams of grace; That those who seek His Love be blessed with boons, One face responds in melting love to their behest; That no ills befall the devout who offer oblation Ordained in the sacred Vedas, one Face benign takes care; That the Seers be enlightened on the many hidden truths. One Face resplendent illumines every quarter like the moon: That the Titanic foes be vanquished and victory celebrated, One Face assumes infernal wrath, equanimity desisted. One Face for ever rejoices in the company of Valli, The slender youthful veddha maid of peerless love; Thus do these six faces, each its role fulfils. His All-Embracing Dynamism: 104-118. On his broad brave shoulders rest luminous weapons That could cleave the bodies of foes in majestic might; Behold the triple fold of his bejewelled chest Lo, one arm is held aloft to guard the celestial seers, While other arm reclines at ease on his waist; One arm wields the elephant goad,THE POEM—THE WAY TO LORD MURUGA 27 And one arm rests on His well clad thigh; Two other arms twirl the wondrous lance and shield; One arm reposes on his chest, while the other Arm with sweet scented garlands decked; One arm waves aloft in grace with armlet donned; The other arm rings the bell of double peal; One arm showers rains from dark blue clouds, The other arm crowns celestial brides; Thus the arms twelve in number perform their role, In consonance sweet with His faces six. The Victorious Return: 119-125 List! Heavenly drums and strong horns blow aloud, White coneh shells and drums resound like thunder; The peacock with variegated plumes so beautiful sways On the victorious banner of Muruga, As he speeds up the aerial way with rapid pace, And alights in the famed city of Tiruchiralavai. ‘Lo! his munificence in abodes of this nature; and besides these. TIRUVAVINANKUDI The Processional March: 126-147. In garments of bark these hoary seers are clad, Their braided hair gleaming white like valampuri conch, Their body so immaculately clean and fair, Their high chest of bony ribs wrapped in deer skin, Bodies lean with austere meals after days of fast: Their minds unsullied and free of guile and hate: They’re wise beyond the wisdom of the Jearmned:28 KARTTIKEYA—THE DIVINE CHILD They act as the goal and pivot of the knowers Free from anger, greed and sufferings sore; With cheerful hearts and gracious mien They lead the way. While soft voiced gandharvas, spotless in mistlike robes Decked with garlands of freshly opened buds, Their swaying bodies not subject to human ills, Adept in playing well-tuned instruments like yal Art seen in merry company, mates of matchless love, Their golden hue like sheen of mango’s tender shoots, Their beauty spots scintillating, and waists Adorned with lustrous strands and gems. Their guileless joy ripples in melodies sweet As they wend their way. The Godly Deputation: 148-167. Behold Vishnu with the banner of the falcon, Whose striped curved wings smite to death The fierce dread dragon of eerie hiss that spouts Deadly venom with its bellowed teeth so sharp. He is the divine guardian of the world with cities That gleam with temples four to the Devas four The Lord of Uma comes with victorious flag of white bull, Valiant shoulders has He and ever-open triple eyes; The adorable One who razed the topless towers of Tripura; Gallant Indra of thousand eyes follows, his fame far spread For routing his foes with hundred sacrifices well performed. He rides aloft on his four-tusked elephant white, Majestic in gait with the trunk swinging stately.THE POEM—THE WAY TO LORD MURUGA 29 Then come the thrice thirty wise, in forms diverse hey belong to classes Four, great seers of Truth Who are untrammelled by diversity quaint. In the rear are eighteen Ganas of high esteem They all wend their way to intercede on behalf Of the deluded Brahma, four faced and lotus born That He be restored, deathless thro’ aeons. Intercession: 168-177. To his ancient duty of creation so that the Tri-Unity As of yore be enlivened too in their distinct duties. Their brightness is that of the twinkling stars; Their pace is that of the wind on the risen sea; Their might is that of the wind swept fire; Their voice is like that of thunder emitting fire; In harmonious array o’er the heavens they move on To Avinankudi where with chaste pure love by His side, He abides for a time, seen and sought by Celestials for boons to regain their lost glory. TIRUVERAKAM The Traditional Worship: 178-189. The priestly class not failing in their duties six, Blest with high lineage on both sides, well esteemed, Full forty-eight years of life span well spent In vedic lore and consecrated life— Keen in imparting the Truth of holy scriptures, They tend the sacrificial fire of three-fold type Wearing the sacred thread of thrice triple strands; These twice-born, tuned to the hour of worship ‘i In wet clothes clad, and palms uplifted o’erhead, Laud themselves and chant the vedic lore,