2.1 Composition of Periyapuranam
The great period of saivism prevailed when the sixty three canonical saints, called the Nayanmars or the Adiyars, lived and showed the people the way of devotion to Lord Siva. The Periyapuranam of Cekkilar is a literary masterpiece delineating the lives, deeds and sayings of these servants of the Lord. Tirunana Campantar, Appar, Cuntarar and Manikkavacakar are the four pillars of the edifice of Saiva Siddhanta (Vanmikanatan, 1985:1).Arunmoli Devar and his brother Palavaraiyar were born at Kunrattur in Tontai Mantalam in the Cekkilar family of the Vellala community. As Arulmili Devar was the most famous in the family,he was called Cekkilar. As he was learned, wise and righteous, King Anapaya Chola made Cekkilar the Chief Minister and dubbed him Uttama Chola Pallavar.Cekkilarwas greatly devoted to the good at Tirunagesvaram in Chola Nadu. He erected a temple at Kunrattur and named it Tirunagesvaram. He performed his daily worship in the temple and simultaneously, effectively and wisely assisted in the administration of the Kingdom of Anapaya Chola Maharaja.
At this time, some of the saivitites including the king began to admire Jainism. The king spent time in reading Civakacintami, one of the greatest jaina works. Cekkilar felt very sory at this and advised the king that being a saivite he should not believe in the false story of Civakacintamani.Instead he should master his own religion which would help solve the problems of life here and elsewhere and worship the true God Siva. The King then enquired his Minister which was the true religion. Cekkilar mentioned the greatness of the Tiruttonta Tokai of St. Cuntara Murti Nayanar and the Tiruttontar Tiruvantati of Nambiyandar Nambi. The king requested Cekkilar to expound the Tiruttontar Tiruvantati . Cekkilar complied wit the majesty’s request. Thereupon, the King Anabaya Chol Maharaja asked Cekkilar to write a work elaborating the lives of the Saiva Saints.
Obtaining ample funds from the king, Cekkilar went to Citambaram with purity of body and soul and he prayed to the Lord of the Golden Temple to gie him the first word to begin his work on the lives of the saints. The words , ulakelam unarntu otark ariyavan (whom all the world cannot know) rose from heaven. Havings this as the first line, Cekkilar composed and completed hid great work and called it Tiruttontar Puranam.
The King who had been making inquiries about the progress of Cekkilar’s work, as told by messengers with gold for the glad tidings they brought to the king who immediately started for Citambaran with his hosts surrounded by chariots,elephants, calvary and infantry. The King was welcomed by Cekkilar, the Antanars and the heads of Mutts. At the sight of the divine and saintly appearance of Cekkilar the King involuntarily worshipped Cekkilar and prostrated at his feet. Then, they all proceeded to the Golden Temple. A voice from heaven said, “oh! Chola King !! With our words as the first line Cekkilar has completed the lives of the saints , so listen to them”. The King, thereupon, sent invitation to all to come and hear the great worl being sung. The temple and the city of Citambaram were decorated gaily. Innumerable pandits, professors, grammarians and others thronged the temple.
Before the audience, the great was placed with great devotion on the pedestal with six legs and covered with green and white silk. Flower were placed on the book. Incense was burned, camphor was lighted. Praises were offered. Then the King asked Cekkilar himself to sing and explain the songs. All became overjoyed on hearing the great devotion, sacrifice and the salvation of the lives of the lives of the saints. The King from that day ordered puja for the Lord of the Golden Temple. He also fed and attended to the needs of Antanar, heads of Mutts and all the guest who came there to listen to the Tiruttontar Puranam . Cekkilar commenced recounting the lives in the mouth of Cittirai (April- May) under the star Tiruvatirai and finished under the same star in the same mouth next year.
After this, pujars were offered to the Periyapuranam. Then it was wrapped up in green silk and placed on the head of an elephant. Cekkilar and the King both mounted on the same elephant, the King doing service to Cekkilar by fanning him with white fly whisks with both hands and saying, “Is this not the fruit f mytapas?” Then they all started on a procession around the city which was decorated with flower garlands and gree leaves. The streets were kept scrupulously clean and were strewn with flour drawings and fried rice. Brahmans chanting the Vedas, Antanars singing the Tevaram hymns and the innumerable devotees shouting “Hara, Hara” accompanied the procession. After this, they all came once again to the front of temple. The Periyapuranam was taken down from the elephant and placed on the pedestal. Now the king gave the title Tontar Cir Paravuvar to Cekkilar who was then honoured with the Crown of Wisdm.
The King then prostrated before Cekkilar and worshipped him. The king included Periyapuranam as the twelfth among the Tirumurais. He made it to be engraved on copper plates and kept them at the temple. The King enquired about Cekkilar’s brother Palavaraiyar who was worshipping God in Tirunagesvaram after constructing a tank there. Palavaraiyar was sent for, dubbed Tontaiman and made the Chief Minister, Saint Cekkilar spet his days at Citambaram and in the end reached the shade of the feet of Lord Siva. Saint Umapati Sivacariyar has composed verses on glowing history of saint Cekkilar (Nallaswami.J.M, 1924: 160-163)
2.2 Title of the Book
Cekkilar named this book Tiruttontar puranam, Even Umapati Sivacariyar names this book Tiruttontar puranam ( Civanaa cittiyar-patal 53). If anyone does something with a pure heart and with full of devotion he or she is known as a Tiruttontar. Cekkilar sings songs prasing the pure hearted people who apply tiruniru on their forehead and body.
According to Mahadeva Mutaliyar. Since Puranam refers to something very old it means an old story (1929 : 1). Since this book describes the nayanmars of those days who devoted their lives to God by doing great deeds, this book is called Tiruttontar puranam. Another source says that, since Cekkilar referred to the Tiruttontar Tiruvantati, he just used the same name for this book. Nowdays it is known as the Periyapuranam. Cekkilar has no evidence to how this name was given. But Umapati Sivacariyar is the one who gave the name Periyapuranam to Cekkilar,s composition. So in the flow of time, it received the name Periyapuranam ( Umapati Sivacariyar, 1970: Cekkilar Puranam -84). If anyone asks how this name was given, there is a answer for it. In the beginning of the Puranam there is a sentence.
Yettukkum makkatai inrramil ceyyulai
( Tiruttontar puranam – payiram 3)
In this sentences, the word Ma means big or periya and katai is story or puranam. Since this book has 4286 songs it is big. So, it is normal to ame the book Periyapuranam. According to V. Ka, “if more explanation is needed, the Periyapuranam is a great Puranam. It tells us about the great people in the Puranam . some even name his book Periyapuranam. Periyar means Tiruttontar or someone great. So, in any way it makes sense that both names given to this book are same” (V.Ka.1934:36)
2.3 Periyapuranam as a great epic
If a kappiam (poem or composition) is created, there should be unity in it. The points from the beginning until the ends must have a good flow and be some how connected to each other. In the Periyapuranam, the topic which is being discussed is nayanmars or adiyars who have different backgrounds, countries, states, living standards and castes. The history of these people is the Periyapuranam. How is it that there is going to be a flow in their history. God who gave the first line, helped Cekkiyar put the history in order so that they have unity. In the beginning of the Puranam, the first line is Ponnin Ventiruniru and it ends with Teiva ventiruniru cirakkave. In the whole Puranam the greatness of tiruniru is being adored.
The nature of the Kappiyam is that it starts with Nambiarurar in the Mount Kailas and ends wit the summary of the Vellanai Carukkam. According to K.Gotandabani Pillai, this Puranam began as a great Kappiyam and ended as a great Kappiyam. In the first song which begins as ulakkelam; the word in the last line vanankuvom means salutations means salutations to god and valtti means praising God. Malar cilambati valtti tells us about the people (atiyars) who prayed to the lotus feet or God (Subramaniam. S.V, 1940: 301).
Besides Tirunana Campantar and the other atiyars, Nambi Arurar has a greater relation with God. He is from Kailas. He is also known as the Tambiran tolan according to K. Gotandabani (1962 : 436). In Kailas the greatest devotee of Lord Siva was Alala Cuntarar. When Alala Cuntarar came down to earth, he became Nambi Arurar. He was basically related to God. In the Periyapuranam, Nambi Arurar is described in the Tirumalai Carukkam, Vellanai Carukkam, Eyarkon Kalikamar, Puranam and Kalarrarivar Nayanar Puanam. But he also described in the Cataiya Nayanar and Isai Nayanar’s Puranam . But he has a lesser amount of songs sung on him. Even though he has a lesser amount of songs sung on him, he appears in the whole puranam. Before describing a nayanmar in the Puranam, Cekkiyar will describe the nayanmar’s town and country in just a few words. Since cekkiyar wanted Nambi Arurar to become the main character, he describes Nambi Arurar’s town and country in a detailed form. In the Kaviyam he names it as the greatness of the Tirunakar and the greatness of the Tirunadu. To sum up, the person who is fit to be the main character(Kaviyat talaivan) is Nambi Arurar.
Some say that Periyapuranam is indeed not a great composition. They believe there is no main character and cuntarar cannot be the main character Fourtunately, C.K Subramaniya Mutaliyar proved them wrong. M. Rajamanikkam says, Cuntarar appears in the beginning, middle and end. This means, automatically he becomes the main character . T.P.Meenachi Sundaram also agrees to this. Just because the composition lacks a small grammar part, it shouldn’t be pushed aside. Actually there is no difference if there is something small lacking . Umapati Sivacariyar says the Puranam is a composition in mistake. So the Periyapuranam is a great composition. In literature, the most important things are imagination, feelings, porul and shape. In the Periyapuranam Cekkiyar has given it a very good shape.
2.4 The Sources of the Periyapuranam
The lives of sixty three saints have been explained in various works of Tamil, Sanskrit, Kannada and Telegu. However, the most ancient of them are in tamil and Sanskirt. The tamil version is called Periyapuranam or Tiruttontar Puranam authored bycekkiar. This version is based on Tiruttonta Tokai by Cuntaramurti Swamikal and Tiruttontar tiruvantati by Nambiyandar Nambi. The date of Cuntaramurti Swamikal was the eighth century and that of Nambiyandar Nambi was the tenth century. Cekkiyar lived in the eleventh century and was the Prime Minister in the count of kulottunka Chola who reigned the country. Periyapuranam was written after acquiring inspiration from the tevarams sung by Campantar, Appar and Cuntarar (N.Kanthasamy, 1998:Preface).
Becoming the chief Minister in the King’s court, Cekkiyar used his authority to find all issues related to his research. Acquiring all his proof he continuously concentrated and wrote the Tiruttontar Puranam. Cekkiyar relates that Lord Siva gave him the first line of his song. It is also said that the main reason why Lord Siva gave Cekkiyar the first line of his song was because he wanted to revive saivism which was dying. A few North Indians say that this book is a translation of the Upamannia Bakta Vilasam. But there is insufficient proof to support their claim. It isstill believed that the Tiruttontar Puranam was written by Cekkiyar .(Milalai Tontan 1998:13).
Before writing the Tiruttontar Puranam, Cekkiyar researched the history of all the nayanmars. He also studied the structures on the walls of temples. Combining his knowledge based on Hinduism, Medicine, Philosophy, History, literature geography and justice he wrote the Tiruttontar Puranam. Before writing, he prayed to the lotus feet of Tillai Kuttan (Ramanatan .A.1992 : 5-6). To expand the Tiruttonta Tokai, Cekkilar has also referred to the Tevarams sung by Campantar, Appar and Cuntarar.he has also used facts from the Tirumantiram written by Tirumular. From Karaikkal Ammaiyar, he used the Tiruvalankattu mutta Tiruppatikam, Tiru irattai Manimalai and Arputa Tiruvantati as reference. From Kalariirarivar nayanar, he used the Ponvannat tantati, Tiruvarur mummanik kovai and Tirukkayilaga nanavula as reference. From Aiyatikal Katavar Kon, he used the Cettira Tiruvenba for reference. Besides this, the life history of the nayanmars, the literature and situation helped him write the Tiruttontar Puranam ( Paramasivam. C, 1987: 1-2)
It has been the usual custom amongst ancient writers of great works to ascribe their authorship to God or a Yogi. They further mystify it by saying that the words were written prior to the occurrence of the events mentioned in those works. It is said that the Ramayana was written before Rama was born. In fact, such stories now are called myths. Anyhow for our purpose, it is enough to indicate the several sources as handed down to us by tradition.
Saint Cuntara Murti nayanar sang the Tiruttontar Tokai at the inspiration of the Lord Siva as Tiyakesar at Tiruvanur in Tanjore District. This is in Tamil. It is not stated by anyone that Saint Cuntarar knew the existence of Sivarahasyam. Hence,it is easy to say that the Periyapuranam is not derived from a Sanskrit source. Further, all the saints were born in Tamil Nadu and it is realy beyond the stretch of human imagination to trace the source to an alien or a different language. Again, at the time the saints flourished, the condition, status and culture of the Tamil literature were perfect and supreme as is evidenced by the fact that the Cera, Chola and Pandiya Kings encouraged, honoured and worshipped the poets in such a degree unparalleled in the history of any other literature of the world. Therefore, it cannot but be concluded that the Periyapuranam is an original Tamil work of great beauty and art.
Upamanyu Maharishi in Mount Kailasam recounted to his disciples the tales of saint Cuntarar and other Saints mentioned in the Tiruttonta Tokai at the time when Saint Cuntarar was entering Kailasam in flesh on the white elephant. Upamanyu’s tales are called the Siva Bhakta Vilasa which is written in Sanskrit. Here it is clearly acknowledged that the Tiruttonta tokai is the original. Nambiyandar Nambi sang his Tiruttontar Tiruvantati after receiving instructions on the Tiruttonta Tokai from Pollappilaiyar at Tirunaraiyur. Here also, the Sanskrit sources are not mentioned .
Saint Cekkilar compised the Periyapuranam on the inspiration of and in the immediate presence of Sri Nadarajar at the Golden Temple of Citambaram. It is needless to point out that the lives of the Saiva Saints re found originally in Tamil and not Sanskrit.
The 12th Tirumurai is praised and sung by all people as Tiruttontar Puranam. This 12th Tirumurai is praised as a song and a saying or a chant. It explains the history of Hinduism in detail. Cekkilar used Nambiyandar Nambi’s Tiruttontar Tiruvantati and Nambiyarur’s Tiruttonta Tokai as references. In the songs sung by Nambiyarurar, he describes the atiyars in one or two lines. Nambiyandar Nambi describes them in the form of sayings (ceyyul). Cekkilar has sung a Puranam for each nayanmar stating in detail their great deeds. Due to this, Cekkiyar’s book became very thick. A question may arise where did cekkilar get so much information related to the nayanmars when Nambiyarurar only described them in two lines in a saying (ceyyul). So , it is important for us to research wwhere and how did the great poet Cekkilar obtained the information related to the detailed description on each and every nayanmar. Cekkilar is equally good as the great poets namely Kambar and Ottakuttar. Cekkilar wasn’t like the other two Saints, Nambiyarurar and Nambiyandar Nambi. He was the first Minister . this gave him the opportunity to venture the backround of all the ayanmar. He visited villages of the nayamanrs. So this proves that his description on the scenary of the village, the people who lived during that time are not false.
Cekkilar describes his hometown in length. He names 19 atiyars: Tillai Valantanar or Llayankutimarar, Viran Mintar, Pukal Color, Kungkiliyak kalayar, Manakkancarar, Anayar, Perumilayak Kurumbar, Tirunilanakkar, Ciruttontar, Kananatar, Kurruvar, Atipattar, Cantesurar, Ninra Cir Netumarar ,Vayilar,Ceruttunaiyar, Pusalar, Koccenkat Cholar and describes their villages in detail. Cekkilar should have got information from the Tiruttonta Tokai. The hometowns of the rest oft the atiyars were told in detail with reference from the Tiruttontar Antati. By reading the tevarams sung by Campantar,Apputi, Pukalttunaiyar, Cantesurar, Murugar and Amarnitiyar. Cekkilar managed to explain these hometowns because he analysed the songs sung by Campantar, Appar and Cuntarar.
This life history of all the sixth-three nayanmars is explained. In the Ciruttontar Puranam. The victory of Vatapi in the Callava war is described . based on this , the time period when the nayanmaras lived was also predicted .Besides this , Cekkilar used Campantar’s time to determine what had happened. Cekkilar describes the life story of nayanmars in detail. There is a reason for this. The life history of the nayanmars is not detailed out in the Tiruttonta Tokai. From tevaram and other books written by teachers, Cekkilar managed to get enough information for his book. From the Tirumurais sung by Campantar, Appar and Cuntarar and also the hymns by Pattinatar Tirukanappar and the nayanmars who sang the 11th Tirumurai, Cekkilar describes Amarniti nayanar, Kannappa nayanar, Murugar, Candesurar, Appar, KulaiCirai, Karaikkalammai, Atipattar, Apputi, Tirunilanakkar, Naminanti, Campantar, Eyarkon, Kalikkamar, Cakkiyar, Ciruttontar, Kanampullar, Ninra Cir Netumarar, Mangkayarkkarasi, Pukalttunaiyar, Kotpulliyar, Pusalar and Koccenkat Cholar.
Cekkilar is a great writer and poet. His creation a great contribution. So, it is natural that the author would have blend the stories with good moral values. After all the main purpose of a Hindu is happiness, justice and material in life. At the end of the life, he or she should reach heaven and seek a place there permanently. To reveal the truth of Hinduism, Cekkilar blend it with his stories. The atiyar is greater than God. This is shown in the Tiruttontar Puranam. Cekkilar describes every great deed done by the atiyars, After all, the atiyars have dedicated their life towards God. So, basically Cekkilar explains the relationship of the atiyars with God and their good morals.
Hinduism stresses the aspect of living together. Without the female, the male cannot perform. This is being shown in the form of Ammaiappar. In Cekkilar’s Puranam, he tells us the contribution made by the wives of the atiyars.To perform a service, there is no difference between castes or living standards. To show this Cekkilar describes the history of Ilayankuti Maranayanar, Kungkuliyar Ciruttontar, Mangkaiya Karasiyar, Nilanakkar and Iyatpakaiyar. At times, Cekkilar does his own assumption based on proof from other sources. In some situations he fits his own ending to few stories. This harmonizes the stories ( Ramasamy Pillai, 1970 : 102-107)
2.5 The Purpose of the Periyapuranam
The objective of this Puranam is to push aside the evil inside man and to enlighten him. According to the Saiva Siddhanta, the way to reach God is by practising cariyai, kiriyai, yogam and nanam. The place where one can see and pray to God is Guru, Linkam and Atiyar Vetam. The Periyapuranam tells us how the 63 nayanmars used the 4 ways and three kinds to pray to God. Among the 63 nayanmars, the person who is doing the research has been concentrating on one person Tirunana Campantar.
In the Tiruttontar Puranam the life histories of the 63 nayanmars and the nine Tokai atiyars are narrated. Instead of narrating it as a history, he describes it in the form of a Puranam. Since Cekkilar combines both the sixty three Tani atiyars and nine Tokai atiyar’s life history together, his composition is known as the Periyapuranam. In this Periyapuranam the person who is doing the research has made Campantar his object of research. The Periyapuranam was written in the 12th life history of nayanmars in detail. There is a reason for this. The life history of the nayanmars is not detailed out in the Tiruttonta Tokai. From tevaram and other books written by teachers, Cekkilar managed to get enough information for his book. From the Tirumurais sung by Campantar, Appar and Cuntarar and also the hymns by Pattinatar Tirukanappar and the nayanmars who sang the 11th Tirumurai, Cekkilar describes Amarniti nayanar, Kannappa nayanar, Murugar, Candesurar, Appar, KulaiCirai, Karaikkalammai, Atipattar, Apputi, Tirunilanakkar, Naminanti, Campantar, Eyarkon, Kalikkamar, Cakkiyar, Ciruttontar, Kanampullar, Ninra Cir Netumarar, Mangkayarkkarasi, Pukalttunaiyar, Kolpuliyar, Pusalar and Koccenkat Cholar. Cekkilar is a great writer and poet. His creation is a great contribution. So, it is natural that the author would have blend the stories with good moral values. After all the main purpose of a Hindu is happiness, justice and material in life. At the end of the life, he or she should reach heaven and seek a place there permanently. To reveal the truth of Hinduism, Cekkilar blend it with his stories. The atiyar is greater than God. This is shown in the Tiruttontar Puranam. Cekkilar describes every great deed done by the atiyars. After all, the atiyars have dedicated their life towards God. So, basically Cekkilar explains the relationship of the atiyars with God and their good morals.
Hinduism stresses the aspect of living together. Without the female, the male cannot perform. This is being shown in the form of Ammaiyappar. In Cekkilar’s century B.C. Among its purpose are : (I) this Puranam tells the government how to perform its duties and fulfil the citizens wish. All kinds of government can use the advice written in this book. The Nattu’s Cirappu 26th song explains the gifted people living under a caring government. (II) This Puranam tells about the discipline through a few highly disciplined people namely, Kuraiciraiyar the Minister, Mangkaiyarkkarasi and many more. (III) This Puranam tells the people what is justice. Besides that, it also tells us tells how to be truthful when giving opinions in the court in front of the judge. It also tells the difference between two castes, habits and many more. (IV) By narrating the life history of the nayanmars, this book tells us how great Saivisme is. It tells us that to reach God’s lotus feet there is no difference from caste, rank or what so ever. It is just your pure heart. (V) By attaining the above mentioned, one’s life would be prosperous. These four things (aram, porul, inbam and vitu) have been described in the Puranams. But in the Periyapuranam, these four are merged and besides that, there is more to be attained. By attaining the first three, the vitu will come automatically. If one lives a righteous life and does everything he is supposed to do with respect and maintains his discipline, he will automatically have a place in the heaven. Tiruvalluvar in Tirukural says, “ if one lives life the best way, he will be praised and be kept among the Devas” (Tirukkural 50). The nayanmars in the Periyapuranam didn’t live a life to get a place in heaven. By the way there were living, a place was already assured for them. Since they didn’t even want the place given to them, they were known as Tiruttontars.
What Cekkilar means by telling this is the nayanmars; who always did good; didn’t want a place up in heaven but wanted to remain down on earth and continue doing good for people. This Puranam also shows that there is another stage after the heaven.
2.6 The form of Periyapuranam
Cekkilar devides Periyapuranam into two kantams. All together there are 13 Carukkams. There are 4253 songs ( ceyyul ). Later 33 more were added in. So, the total amount of songs are 4286. Cekkilar has named this book Tiruttonar Puranam. In the first kantam, ther are five carukkams.
1) Tirumala carukkam
2) Tillai val Antanar carukkam
3) Ilaimalinta carukkam
4) Mummaiyal Ulakanta carukkam
5) Tiruninra carukkam
In the second kantam there are eight Carukkams,
6) Vambara Varivantu carukkam
7) Var Konta Vanamulaiyal carukkam
8) Poiyatimai Illata Pulavar carukkam
9) Karaikkantan Carukkam
10) Katal Culnta carukkam
11) Pattarai Panivar carukkam
12) Manniya Cir carukkam
13) Vellanai carukkam
In total there are 4286 ceyyuls in this Puranam. In the first kantam, Cekkilar starts off with the Tirumalai carukkam and ends with the Tiruninra carukkam. In the second kantam Cekkilar starts off with the Vambara Varivantu carukkam and ends with the Vellanai carukkam. As Cekkilar narrates to us the greatness of the Tirumalai, Tirunakar, Tirunadu and Tirukuttam, we will understand the Tiruttintar Puranam and the life histories of the nayanmars (Milalai Tontan, 1998: 15). Every part of the carukkam has its first verse from the Tiruttonta Tokai.
The Beginning of the Song Name of the Carukkam
1) Tillai Var Antanar Tam “ Tillai Val Antanar Carukkam”
2) Illaimalinta Vel Nambi “ Ilaimalinta Carukkam”
3) Mummaiyal Ulakanta “ Mummaiyal Ulakanta Carukkam”
4) Tiruninra Cemmaiye “ Tiruninra Carukkam”
5) Vambara Varivantu “ Vambara Varivantu Carukkam”
6) Varkonta Vanamulaiyal “ Varkonta Vanamulaiyal Carukkam”
7) Poiyatimai Illata Pulavarkkum “ Poiyatimai Illata Pulavar Carukkam”
8) Karaikkantan Kalalatiye “ Karaikkantan Carukkam”
9) Katal Culnta Ulakelam “ Katal Culnta Carukkam”
10) Pattarai Panivarkal “ Pattarai Panivar Carukkam”
11) Manniya Cir Marainavan “ Manniya Cir Carukkam”
Cekkilar used this method in his composition ( Paramasivam, 1983 : 33). In the Tiruttonta Tokai Cuntarar sang 11 songs. Using this as a guide line, Cekkilar sang eleven carukkams in the middle. In the beginning he sang a carukkam describing Cuntarar’ s birth and his previous birth as the Tirumalai carukkam and at the end he sang the Vellanai carukkam. This carukkam describing life history of Cuntarar in Kailai. All together he sang thirteen carukkams. Nambiyandar Nambi had added a few more atiyars as nayanmars ( Paramasivam, 1987 : 35 )
Cuntarar sang about sixty nayanmars. Later on, Nambiyandar Nambi added Cuntarar, Cataya nayanar and Isai naniyar. Due to this there was a total of sixty three nayanmars ( Arunacalam, 1974 : 155 - 156 ). Referring to both these books, Cekkilar sang his Puranam on the sixty-three Tani atiyars and nine Tokai atiyars. In the book Tiruttonta Purana Caram, a composition by Korravam Kuti Umapati Sivacaiyar, he has summarized the life history of the seventy-two nayanmars based in Cekkilar’s Tiruttontar Puranam.
The first and 13th carukkam were written by Cekkilar himself. He named the carukkam by using the name of the place in with it took place. There is some similarity between both the name of the carukkam and what happened in the place. To show that Alala Cuntarar came down from the Tirumalai to be born on the earth as Nambi Arurar he uses Tirumalai carukkam. At the end after living a beautiful life on the earth end returning to the Tirumalai using a white elephant, Cekkilar names the last carukkam as the Vellanai carukkam.
2.7 Characteristics
In the olden days a country was constituted principally of several villages.The village was the self – sufficient unit of a country. The self – sufficiency of a village in India and perhaps of all countries was something unique.At the bottom of the structure of the community life in an Indian village was the Pulayan, a person who, according to Saint Tirunavukkarasar, though he is one who eats the offal of a dead cow, is worthy of worship as God if he is a devotee of Lord Siva. Others in the structure were the hunter, the fisherman, the potter, the weaver, the was washerman, the barber cum physician and surgeon, the toddy – tapper, the oil – monger, the grocer or the merchant, the cowherd, the carpenter, the blacksmith, the farmer, the temple priest, the vedic brahmin, the chieftain and the king.
All these categories of a village community except a carpenter and a blacksmith are represented in the Periyapuranam.The crafts of six of the saints are not given by Cekkilar in his work.They are Eripattar, Kanampullar, Kariyar, Kulacciraiyar, Peru milalai-k-kurumbar and Tandi – atikal.Tandi – atikal was a blind man from birth and therefore was not plying any craft. Kariyar was a poet. Kanampullar was a rich merchant who had fallen on evil days. He should have been classified as a vanikar, a merchant.Kulacciraiyar was the Chief Minister of a Pandiyan King and therefore would have been a Velalar.Peru – milalai –k kurrumbar was a petty – chieftain.This leaves only Eripatter who could have been a blacksmith.He could well have been one.Perhaps, he forged his own hatchet with which he hacket down the elephant of the king.Perhaps, he followed the profession of a carpenter as well.
In writing the chronicles of the saints, Cekkilar was not giving the castes but the crafts they followed to earn their livelihood, the crafts which also served as their means of service. In no more than two cases out of the sixty –three does Cekkilar use the name of a Varna. He uses the word Soadra. In the cases in which he used the word brahmin, he did not so much refer to the caste as to the carft the persons followed in their lives.That is the discharge of the prescribed six duties – learning, teaching; performing sacrifices and conducting sacrifices on behalf of others ; giving and receiving of gifts.It is a tragedy of our country that craft became castles.It was a fossilization that took place because of troubled conditions in society. Therefore it is not an exaggeration to say that Cuntarar when he sang the Tiruttonta Tokai and Cekkilar when he wrote his Periyapuranam,cboth the greatest truth, that is, that everyone irrespective of caste or craft is entitled to gain mukti, freedom from the cycle of births and deaths.When Saint Manikkavacakar sang “ Behold Esan ”whom everyone is entitled to apprehend” , he was uttering a phrase which is the keynote of the Periyapuranam.It is the first and foremost characteristics of the Periyapuranam. Country, creed, craft, caste, sex, language – nothing is a bar to person apprehending the Godhead.Love, creature – oriented and creator oriented , is the only qualification required of an aspirant for mukti.It must be total love , selfness love – a love which opens the gates of salvation to any one irrespective of one’s birth in any caste or community.
The second characteristics of the Periyapuranam, or rather, of the saints whose lives are chronicled in the Periyapuranam, is that all of them were householders. They were married men with wives and children.In the case of twenty saints, the chronicles make special mention of their married atate. In the case of others, this can be inferred from the particulars of the lives of the saints. All of them had accupatoins of their own which served as means of their livehood and what is more unique about them, as means of service as well. The very first saint mentioned in Cuntarar’s calender of saints, Tirunilakanta kuya Vanar – Tirunilakantar the potter – baked pots and pans for sale to provide him a living and at the same time, baked alms – bowls to give away to devotees.This was the form, his desire to do service to fellowmen took.Tirukkuripput Tontar was a washerman. He laundered clothes for his living.He washed clothes of devotees free of any charge and thus served his fellowmen.
All the saints chronicled in the Periyapuranam were ascetics. Usually we identify asceticism with certain external marks and ways of life. No doubt asceticism means renunciation. But what these saints renounced was not their kith and kin, their hut or hamlet, or their locks or their occupations. What they gave up was meat, anger, theft, killing, pride,hurting others, conduct not becoming a righteous man.Attachment and desire were two other things they renounced.What they donned was not externals.They donned truthfulness, ahimsa (not hurting any creature), cheerful endurance of privations, austerity of life.In the externals there were no different in appearance than their neighbours, they were householders like the rest of the people in their village.In heart, they were ascetics.
In word and deed they were ascetics.They were ascetics according to the age – old Tamil traditions. They were the ascetics who were portrayed by Tiruvalluvar in his section on asceticism in his Tirukkural. This is the third characteristics of the saints portrayed in the Periyapuranam.
2.8 Life History of Cekkilar
Arulmoli Dever remarks, ‘he of the gracious word ’, better known as ‘Cekkilar ’, was born in Kunrattur”. His rare qualities and aducation won for him the position of Prime Minister to the Chola King , Anabaya ( AD 1063-1112). Cekkilar was concerned about the monarch ‘s interest in the Jain epic, Civika Cintamani. By the way of explaining the Minister ‘s attiude in this matter , Dr. Pope says, “There were many good reasons against this heretical study , but the chief one urged was that its teachings were opposed to the Saiva Faith” (V.Paranjothi1954: 32 ). The king said that if the records of the lives of Saivite saints were available, he would have read these instead of the Jaina epic. To supplant this need, the Minister composed, Periyapuranam or the ‘Great Legendary History’ which recounts the lives of the 63 saints of the Saivite sect of the Tamil land.
The author of Periyapuranam, Cekkilar has inherited the wisdom of Saivism not only by his parentage and ancestry but also by his deep study and insight.Before compiling the biography of the Saiva saints , he must have toured widely, gathering reliable information with regard to the life of individual nayanmars not only from the tradional accounts current among the locals, but also from the inscriptions of the temples which were consecrated by the saints and were renovated by various monarchs who were instrumented in preserving some anecdotes in the lives of the nayanmars.These nayanmars hail from various stratas of society , some of them were comtemporaries, others belong to different periods.Some of them belong to adjacent areas, others are from remote places. They performed different avocations but these differences are only at the surface level. They forged in one point, i.e.in the uncompromising faith and devotion to Lord Siva and his devotees, aiming to uplift the whole society and spiritually through their unremitteble service. They aimed at the fatherhood of God and brotherhood of fellow beings.They practised social equality (N.Kanthasamy.1998:9).
2.8.1 The Period of Cekkilar
Many views have bee expressed with regard to Cekkilar ‘s time.According to Kalyana Cuntarar , “Few tell that it was the end of the 11th century, or the beginning of the 12th century and a few even tell that it was the middle of the 12th century.There is not enough proof to show the exact time when Cekkilar was born”(V.Ka.,1945:Vi &VII). According to V.Mahadeva Mutaliyar , the time of Cekkilar was some time during 1070 Bc ( 1924 : 18 ). The Puranam of Cekkilar says the Chola King was responsible for the composition of Periyapuranam.Cekkilar praises the king in some 10 places in the song. He describes the king as Anabayan.He also praises the king’s kindness. He used names such as Abayan ,Anabayan and Kulotunggan.When people hear the same of Kulotonggan, they would definitely known that it is the king who ruled Tillai.
Cekkilar uses the word Abayan in two places ( Tirumalai Cirappu-12:Candesure nayanar Puranam- 8).Many kings in the Chola dynasty have taken this name.Even the name Kulottunga Chola have been used by many kings.A question arises to whom the name Anabayan is referred? When Cekkilar describes the epic, the king’s name is also mentioned.He also tells the deeds done by the king. He reveals that the king had presented gold for the temple in Tillai three times. Rasa Manikkanar concludes that it was the second Kulottunga Cholan ( 1960 : 17-27). This is the period of Cekkilar ( 1113 – 1150 BC ). S.Vaiyapuri Pillai agrees with C.K Subramanya Mutaliyar on this point ( 1957 : 235 ). According to Sataciva Pandaratar,l the second Kulottungga Cholan ( 113- 1150 BC ) gave gold for the Perambalam,Utkopuram and Tirucurru Malikai .So, it is a fact that Cekkilar ‘s time was some where in 1113 – 1150 B.C(1974 : 343).Tiruttontar Puranam also states that not only the king gave gold to the temple but also to the people in the streets.So, it can be determined that Cekkilar ‘s time was during 1113- 1150B .C.
2.8.2 Compliments to Cekkilar and Periyapuranam
Many people have conducted researches in the Periyapuranam. They were very happy and pleased with the Periyapuranam. They even composed songs praising the Periyapuranam. Right after we have read the Periyapuranam, we admire the magnanimous aspect of it. We will be delighted to know about the devotion of it. Let us now see what others have commented about the Periyapuranam.
According to C.K Subramaniya Mutaliyar, “ Umapati Sivacariyar had a lot of interest in Saivism. Among the Antanar Tillai, he is greatest. He has written eight out of the 14 sastras in the Saiva Cittantam. He lived in Kontravan Kuti , a town in Citambaram. He was born 200 years after Cekkilar” (1954: 199-200). Umapati Sivacariyar was the first one to describe Cekkilar, the Tiruttontar Puranam, its from , the way it was staged and many more. He named Cekkilar’s composition as Tiruttontar Puranam Varalaru or Cekkilar Swamikul Varalaru. In his book, he talks about described the talent of Cekkilar in the field of literature . According to him, as Cekkilar completed his great composition, he placed it on the elephant and the king too was on the elephant. This elephant went around the whole city and the Devas threw flowers from the heaven and marry other people praised him. (Cekkilar Puranam -90).
Many claim that therenis no better writer than the author of Ramayana i.e Valmiki and the author of Mahabaratha ,Vyasa. But according to Umapati Sivacariyar, Cekkilar is the best author. He even says that the 1000 tongues of Aticesen are not equivalent to Cekkilar ( Cekkilar Puranam -91). Moreover , the Goddess of Knowledge , Saraswathy , has also praised Cekkilar,s work. According to Umapati Sivacariyar . She left her lotus and stayed in Cekkilar’s tongue. Cekkilar wrote the whole Periyapuranam with full of beauty only after Saraswathy dwelled in his tongue ( Cekkilar Puranam- 93). The greatness of the Puranam is also described by Umapati Sivacariyar. According to him , this book describes many worlds, directions, places, castes, names and times. Even though a few do not have any connection with the tittle or the contents. He makes Lord Siva his main deity and sings the whole Puranam in many ways. He is known as the one incharge of spreading the great deeds of His devotees (nayanmars). The Puranam tells the worlds about the greatness of the Nayanmars. Tiruttontor Puranam was put as the last Tirumurai after the 11 Tirumurais. This whole set of 12 Tirumurais was later placed in the altar of Lord Nadaraja in Tillai.
Sabapathi Navalar , from Yalpanam Koppai , is a Velalar ( a kind of caste ) . He excels in Tamil grammer and literature and being a vittuvan, he praises Cekkilar’s talent. When the king asked Cekkilar, which is greater ,the sea , mountains or land, Cekkilar answered using a Tirukkural . By doing so he depicts the talent he had in the field of literature.( Citambara Sabanata Puranam –Katavul Valtu – 15).
Tirupuram Mahavitvan Meenachi Cuntaram Pillai was the teacher of Dr.U.V. Saminataiyar. He has also read the Periyapuranam and has taken a plunge in it. He has sung a song praising and describing Cekkilar in his book entitled Cekkilar Pillai Tamil ‘.In this book he describe the extra ordinary talent of Cekkilar . Mahavitvan Meenachi Cuntaram Pillai also has told.
IIakkiya cuvaiyum nani cotta cotta (1965 : 60 )
Patiya kavi valava
This means the book is sweet as honey.
Beside our citizens, foreigners have also praised this book because of its contents.Dr.G.U. Pope who has translated the Tirukkural , Nalatiyar and Tiruvacakam describes the Periyapuranam as the Great Legend.According to Dr. G.U.Pope , “At the end of the 11th century an Indian poet was born and wrote the Periyapuranam.This Indian poet was very famous and known all over South India.He was born in the village of Kunrattur. His time period was 1063 -1112 BC” ( 1970 : XCIV).
Cekkilar Pillai Tamil ‘.In this book he describe the extra ordinary talent of Cekkilar . Mahavitvan Meenachi Cuntaram Pillai also has told.
IIakkiya cuvaiyum nani cotta cotta (1965 : 60 )
Patiya kavi valava
This means the book is sweet as honey.
Beside our citizens, foreigners have also praised this book because of its contents.Dr.G.U. Pope who has translated the Tirukkural , Nalatiyar and Tiruvacakam describes the Periyapuranam as the Great Legend.According to Dr. G.U.Pope , “At the end of the 11th century an Indian poet was born and wrote the Periyapuranam.This Indian poet was very famous and known all over South India.He was born in the village of Kunrattur. His time period was 1063 -1112 BC” ( 1970 : XCIV).
2.9 Conclusion
From this research it is found out that the Periyapuranam, a book which tells us the stories of those days has all the qualities needed by a piece of literature such as feelings, imagination, a good chase of words, poetry and many more. Based on Cuntarar’s Tiruttonta Tokai and Nambiyandar Nambi’s Tiruttontar Kantams, Tiruttontar Tiruvantati, Cekkilar has written this book which is made out of carukkam having Cuntarar as the main character.
Next Cekkilar has made this an interesting composition by placing all the literary devices which would make the Periyapuranam sound better. These devices are stories, dialogues, poems, flowery language and many more. We also find out the laws involved in a king’s life, normal life and a family. The law such as nothing is better than doing good, don’t let down people who have high hopes for you. If you do bad you will be punished, receive bad and many more has been discussed in this book. We also found out how Cekkilar managed to lay out his facts in the form of songs. How he had sung the songs in certain areas and how did he manage to connect the place and the scenery and how did he had done many other things are been clearly started. We have also praised those who have done researches on Periyapuranam namely Umapati Sivacariyar, Sabapathi Navalar, Sivana Munivar, Sri Kacciyappa Swamigal, Maha Vitvan Cuntaram Pillai and Dr. G.U.Pope.
Unfortunately, when compared to the number of people who interested in Periyapuranam nowdays to the people those days it is disappointing. Not many people are interested in learning or listening to it. To them it is a book which teaches religion. Some believe that this book teaches only about religion ang they do not see that there is literature in this book. Even the Saivites are not propagating the teachings in the book. Even though they have speeches, they mostly specify the religious part of the Periyapuranam. Cilappatikaram, Ramanayam, Maha Baratam and other great stories are being spread through talks, forums and seminars. But, Periyapuranam hasn’t been spread like this.
THE BIOGRAPHY OF CAMPANTAR
3.1 Introduction
Tamil literature has a rich heritage of over two thousand years. Every century has its own characteristic features . Though we find some dark patches here and there, the flow of literature has been constant throughout these twenty centuries. Just as the age of Cankam and epic literatures is called the golden age, the age of Bhakti Literature of the middle period has its own distinction. The purpose of literature is to enlighten the society in all walks of life. The part played by the Campantar,s sacred service and his devotional songs in furthering this noble cause is worthy of consideration.
3.2 The Religious Phases
3.2.1 Cankam period upto 300 A.D
In the history of Tamil literature the hymns occupy a highly esteemed place. The reason for this is not only their religious value, but also their literary excellence and the monumental service they have rendered to the society . The Cankam literature is no doubt an immense treasure to the Tamilians. It is a record of the maturity and the glory of Tamil language. But mostly, the theme of Cankam literature is romantic when compared to other periods. But Tolkappiyar mentions the four Gods Mayon, Ceyon, Intiran and Varunan, pertaining to the four regions Mullai, Kurinci, Marutham and Neytal (Tolkappiyam, cuttiram 5).
The early Tamilians had ardent faith in God and they composed even songs in praise of Gods. We find numerous verses about Gods in the anthologies. Tirumurukarruppatai and Paripatal are exclusively made up of devotional songs. They built temples and worshipped many Gods. Perumpanarruppatai speaks about the Tirumal temple at Vehka ( Ragavaiyangkar, 1952: 372-373).
Cilappatikaram and Manimekalai mention the various temples of Maturai, Vanci and Kanci (Saminatha Aiyaravarkal,1960 : Cilappatikaram Kantam 5 line 169-172) and the methods of workships found in the anthologies. At the same time, they had a broader out-look. Jainism and Buddhism came to the Tamil land early during the Cankam age itself. Since the Tamilians had no bias towards any religion , they tolerated different religions. But in course of time, the other religions gained a firm foot-hold in the Tamil land. They began to hate the local faiths and propagated their religions. In the seventh century A.D Jainism and Buddhism were wide spread in the Tamil Nadu. The glorious age of the three cankams noted for its tolerance and catholicity of outlook included poets of different faiths. The poet Ilangkovatikal, the author of Cilappatikaram was an ardent follower of Jainism while his own elder brother Ceran Cenkuttuvan is said to have worshipped Lord Siva placing the offerings of Visnu on his shoulders during his expedition to the north to fetch the stone from Himalayas in order to curve the idol of Kannaki ( Ibid,1960: Cilappatikaram Kantam 5 line 62-67). Morever, the poet Cattanar , the author of Manimekalai, was a follower of the Buddhist faith which was clearly known by his monumental work. Similarly the various poets who sang verses of the anthology of the cankam period were of different castes and religion.
It is an undisputed fact that the cankam age was not an age of persecution. The poets followed their own faiths. There was no fanaticism displayed by any religious faith. Hence it is said that the literature of the Tamilian society in all its phases of which religion is one ( Soundra, 1980 : 4).
3.2.2 The post – cankam period (300 A.D -700 A.D)
The catholicity outlook of religion and life was greatly marred during the post-cankam period. This period, roughly from the second to the sixth century A.D is characterised by the historians as the dark age. It can be seen that the bright golden age of life in the cankam period was greatly affected and there was a complete change in the outlook in all walks of life. The foreign rulers,kalabras, began their reign in the Tamil land with their conservative and crude out-look on life. One particular religion,Jainism, which is foreign to the Tamil land had the royal support and there was a royal propagation of that particular faith in the country. There were also persecutions of other religions. This state of things awakened the leaders of other religions who launched to safeguard their own religions. This was the beginning of the religious revolution in the Tamil Nadu. Consequently , the Bhakti movement in the Tamil Nadu under the aupices of the Nayanmars and the Alvars wanted to restore Saivism and Vaishnavism. This was the beginning of the Bhakti literature.
The Nayanmars and the Alvars revived the old Hindu religions suppressing the others effectively. Their only powerful and single weapon in this moral conflict was their hymns. We find no parallel movement throughout the history of the world. So , only in the history of the history of the Tamil land and literature , but our devotional songs achieved an incomparable place in the history of the world. No doubt, the credit goes to our gifted Nayanmars and mainly to Campantar who was the pioneer and captain of this great mission.
The main purpose of Campantar,s avataram was to give a new life to the Saiva religion. Civapatairutayar also prayed to Lord Siva mainly with this aim. Campantar came just to fulfil that aim and passed away within a very short period triumphantly fulfilling the duty entrusted to him. Appar who was a Jain and who was harassed much by his own people did not attack them much. Later in the days of Cuntarar , it had almost faded and so there was no necessity for him to sing patikams like Campantar. So , Campantar is the only saint who did it as a duty and by his perseverance succeeded in the end in eradicating Jainism and its followers once and for all in his own life time. So, in the conflict of Saivism versus Jainism , Campantar,s role is much more creditable. At Tirumaraikkatu , the queenof Pandiya Kingdom sent for Campantar just because she knew that he only can successfully face the Jains. Campantar’s policy was not only to cherish and foster Saivism but also destroy Jainism. His was a thrust on both the fonts. It is really an admirable achievement that in the end he was victorious in his mission. He had achieved this great object of his, mainly through his songs . in a record short time, he had rooted out all the evils caused by the Jains to the society by their several obnoxious activities at various periodsnof their ascendancy.
Thus Campantar struggled hard with the external and internal religious. The eradication of the foreign faith and the establishment of his own vedic faith, both were his target. He within a very short period achieved a tremendous success in both ends.
3.2.3 The Age of Campantar
Campantar attained bliss about 6 years after meeting Ciruttontar. Then it may be taken as 654 A.D Appar lived upto 81 years.He was a Jain for a long time. Then he became a Saivite. He was quite old when he met Campantar, That is why the young saint addresed him ‘Appar’. Appar attained bliss some bliss some time after the beatification of Campantar. Considering all these, we may safely put down the age of Appar, somewhere between 580-660 A.D . The regin of Mehendravarma 1 ( 600 – 630 ), major portion of Narasimha Varma’s rule (630-668), the invasion of Vatapi (642), the first half of Netumaran’s rule (640-670) all these events coincide with this period. Campantar lived in the middle part of the period of Narasimhan and Netumaran. Evan if we take that he met Ciruttontar in650 at the age of 10 his period falls about 640-656 A.D. Though there is difference of opinion about the date of Campantar, we can conclude that Campantar lived for 16 years within the period of 638 -656 A.D.
3.3 The Biography of Campantar
Tirunana Campantar was born in Cirkaji or Brahmapuram, a celebrated old city about thirty-eight miles north – east of Kumbakonam, in the Tanjore district. His parents were of ancient Brahmanical race, rigid saivites, holding aloof from every other worship.Civapatairutayar belonged to Kanniya Kotram which is a prommaent sectv brahmins. His wife was Bagavati.
Civapatairutayar being a staunch saivite was very much annoyed at this situation . He prayed to Lord Siva to bless him with a son who could restore Saivism to itsn proper place. The sincere love and reverence of the devoted couple proved fruitful. On a very auspicious day, Bagavati gave birth to the divine child. It was brought up with great care and enthusiasm.
The wonders of his life begin with his third year.He evidently felt the separation from his Divine father and at times, he suddenly became alarmed and cried out. His emotion was preternatural. Having come to earth direct from Lord Siva’s presence. Though born a human child, he had vague reminiscences of his ancient home and not unfrequently sobbed and wept with an instinctive longing for his divine Master. One day, as usual Civapatairutayar went to take his bath in the temple tank. The child with an unconscious yearning for his divine father’s prensence, rushed after him and crying. The father tried his best to comfort the child. But it insisted on accompanying the father and at last he consented.
The father took him to the temple and left the little boy on the banks of the tank, while he performed the daily cereminies. The father immersed into the water and remained for a while, under the water. The child having been left alone, looked round very much perplexed and when his attention was arrested by the tower of the temple. He was reminded of his previous connection with God . He began to sob and weep calling out ‘’ Mother ‘’ ! ‘’Father’’! Lord sIva was much moved by that call and hastened to the banks of the tank Piramatirtam. He appeared on His Bull with His consort Divine Mother on the left. The God heard the feeble words, came down to the child and bade Uma give him some milk mixed with Civananam from her breast in a golden cup and fed the child. The child drank it and became at once an inspired sage, absolutely and forever consecrated to Lord Siva, in consequence of which he received the epithet of Alutaiya Pillaiyar ( the God’s own child) and Tirunana Campantar ( he who is conjoined with divine wisdom )
Civapatairutayar, having finished his ablution came up out of the tank and perceived the child with radiant face and noticed the milk in his mouth.The orthodox Brahmin was very much shocked. He taking a stick in his hands,threatened the child asking him to show the person that gave him the milk. At once the child raised his hands over his head and pointing with his fingers towards the sky burst out with the sacrred hymn.Totutaiya ceviyan the first letter itself being the mystic pranava.
‘’His ears are beringed, HE rideth the bull:
His head is adorned with the creseent moon’s ray
White is he with ash from the burning –ground swept
And He is the thief who my heart steals away:
Great Brahma enthroned on the lotus full bloom
Erstwhile bowed him down and His glory extollen
And singing received he the grace of our Lord
Who dwelleth in famed Bramapuram old”
( Translated by Kingsbury .F. and Philips .G.E )
In every stanza he gave each and every detail of the Lord and assured his father that it was He who had robbed his heart .When the Divine figure appeared in the sky and moved towards the temple, the child also followed it. Civapatairutayar was stunned . He could not have darsanof the Divine figure that appeared in the Heavens. But he was fully convinced that the incident was an expression of the grace of Lord Siva. Civapatairutayar also followed the child with great joy Campantar went up to the presence of the deity and pointed out to to his father and said thet ‘’here is my Lord with His consort’’. The news spread like wild fire and people thronged in large numbers in front of the main gate of the temple, quite amazed. When Campantar got out of the temple the gathering felt at his feet and worshipped him. The blesses father took the child on his shoulders and carrying him in procession, amidst the sound of musical instruments, the chanting of the Vedas and applause of Saiva devotees, returned home. From that time he lisped in numbers and his father carried him as a prodigy from shrine to shrine while he sang at each appropriate atanzas.The fame of the miraculaous endowment of the wonderful child spread throughout the whole country and deputations were sent to ask him to visit each each holy place.
Presented with golden cymbal
The next great incident however took place on the day following this wonderful visitation to Tirukkolakka, a temple about half a mile to the west of Cirkali. Standing in front of God he began to sing the patikam , Matayil valai paya .While singgingb he kept time by clapping his tender hands. The Lord of Tirukkolakka throught of the pain to his blessed son’s soft hands. A set of golden cymbals with the holy Pancatcara ( with the mystic five letters ) inscribed therein alighted into Campantar’s hands. With them he kept time to his song. He felt highly delighted and grateful and completed the patikam in which the seven musical tunes were richly displayed to the accompaniment of the cymabals.Then he returned to Cirkali carried by his father.
Commencement of his pilgrimage
At the request of the devotes of Tirunanipalli the birth place of his mother, he went to the temple of that place. As usual Civapatairutayar carried his son on his shoulders. He would not allow the child to walk or be carried by other. A grove in the opposite direction having attracted the attention of Campantar, he came to know from his father that it belonged to Tirunanipalli. After worshipping God at the temple he returned to Cirkali visiting on his way Talaicenkatu, Caykatu, Venkatu etc and extemporisting hymns at each place .
Association with Panar
Soon after this he set out on his first circuit, embracting all the reighbournig towns. About this time, Campantar’s name had spread over on all corners. Tirunila Kanta Perum Panan, a Saiva devotee came to Cirkali with his wife to pay reverence to Campantar. Campantar received them cordially. Panar was captivatedby the sweet strains of Campantar. He therefore prayed to Campantar for permission to remain with him and sing his hymns in the lute. Campantar gladly accepted the offer and the Panar couple remained with him upto the eand. From that time forth this musician with the young songstress, accompanied him in all his journeyings, and we are to picture to ourselves an assembly in the courst of each of hundreds of temples which he visted , consisting of the youthful hard. These hymns and the music had a profound and permanent effect upon the Tamil people.
Visit to Citambaram
His second journey was to Citambaram, where he was altogether overwhelmed by the place and its associations. He worshipped Lord Nadaraja with the patikam beginning with the word karran keriyombi. The place in his opinion was too holy for him to stay. Because of this feeling he stayed at Tiruvetkalam about two miles on the east of Citambaram. From there he used to go to Citambaram. One day when he went to Citambaram as usual, the three thounsand priests of temple appeared before him as Civakananatar by a divine dispensation.
Presented with palanquin
After that, he went on his way, visiting Lord Siva shrines and towns on the bank of the river. At the request of Panar, Campantar paid a visit to Tiruverukka tampuliyur, the birth place of Panar. From there, he visited Tirumutu kunram, Tiruppennakatam and proceeded to Tiruvaratturai. This time he did not allow his father to carry him on his shoulder asa before. Because he decided to walk by himself. But the effort was too much for his slender feet. About sunset, he reached Maranpati feeling. Meanwhile Lord Siva had noted these sufferings of his scared son. That night, Lord Siva appeared to the deotees of the place in their dreams and bade them hand over to Campantar a pearl-wrought palanquin, umbrella and a bugle which would be found in the temple next morning. At day break, the devotees opened the doors of the temple and to their great surprise, found the God-given things there. These they were to convey to the young poet and present them to him in the name of the God. The divinity appeared in vision to Tirunana Campantar himself also, telling him to receive and use the palanquin, umbrella and bugle which would arrive in the morning.
Upanayanam
He now returned home to Cirkali from his second tour. He was met by the whole population of the city and received with more than royal honours, while his mother Bagavati (the blessed lady) came and paid him reverence, to which he responded lovingly. He was received once more into his home. As he was now seven years old, his father performed the upanayanam ceremony. Now he was of the age to receive the investiture of the scared cord, the second birth of the higher castes. On that occasion the ministering Brahmans uttered the mystic formula, ‘we give the authority over the four Vedas and were proceeding to reveal to him the sacred mysteries. But, Campantar opened his mouth and unprompted chanted forth the text of the Vedas with the in subsidiary sciences, and every species of mystical and scared lore. They bowed in astonished joy before the inspired youth, who graciously quieted their excitement. He sang same scared verses of which we shall given an abstract in the sequel.
Meeting with Tirunavakkaracar
By this time the fame of the divine child had reached the ears Navukkaracar. The veteran sainst went to Cirkali. Campantar was greatly delighted to hear this and he himself started to receive his guest. The two saints met and prostrated before each other with feelings of genuine love. Campantar considered the old sainst as Lord Siva himself and addressed him ‘Appar’ meaning father. The elder sainst stayed for some time and then took leave. Campantar remained at Cirkali for some time more. During this period he compesed various patikams. Panar played them in his yal.
Cure of Muyalakan
After some time, Campantar started on his pilgrimage and travelled towards the west. Visiting many places on the way he reached Tiruppaccilacciramam. The ruler of the land, Kolli Malavan by name, had a daughter who was ailing from the disease known as Muyalakan. As the disease was incurable, the man was very much grived. He took his daughter to the temple and laid her in front of God. As soon as Campantar entered the temple he noticed her and ascertaining from her father, the nature of the disease, he was very much moved. He prayed to God with the patikam, ‘Tiruvalar tinkal’. It had a miraculous effect. Immediately the maiden’s disease was removed and she arising clung to her father. Both the father and the daughter fell at Campantar’s feet and worshipped him gratitude.
Change of weather
Resuming his pilgrimage, Campantar directed his course towards Konkunadu and reached Cenkunrur. The rains were over and it was the time of heavy dews, while fever and ague were rife. His attendants came and represented this to him. He immediately sang a sacred hymn, and the fever left the whole country side.
Canopy of Pearls
During the same year, he went through a large number of villages adjacent to the banks of the Kaveri. In the months of June and July the temperature is often terrifically hot. Unmindful of the excessive heat of the summer, he proceeded to suffering from the hot sun and sent down at Patticaram from Mount Kailasa a canopy of pearls, which was brought by a heavently messenger with the words, ‘the Lord hath sent this unto thee’. Campantar praised the grace of God and went to the temple at Patticaram under the refreshing (cool) shade, of the canopy singing the patikam, ‘Patal marai’. Then after worshipping many temples he reached Tiruvavatuturai.
A bundle of Gold
The next incident is connected with his father, who so far had accompanied him. At the time, Civapatairutayar expressed his desire to return to Cirkali as it was time to perform a yaga (solemn sacrifice) which he had in view and appealed for funds. Campantar hastened (went) to the temple and there sang one of his most renowned hymns. It begans:
In trouble and in weakness, and when pain
Afflicts, I seek the feet, and worship there
( Nallaswami, 1924:173)
The result was that a divine messenger appeared and placed at the altar a bundle of Gold. Campantar received the purse expressing his gratitude to God and handed it over to his father. The father took leave of his son and after some time Campantar also started for Taramapuram.
Yalmuri
The next incident of interest is connected with the town of Tarumapuram, where his minstrel’s (Pannar) mother and other relatives dwelt. His relatives welcomed Campantar with great honour. Panar informed them of the privilege granted to him by the saint in allowing him to play his hymns on the lute. The relatives praised and fearing to appropriate to himself the glory that belonged only to his youthful master (Campantar) and to the God, Panar went and threw himself at the Campantar’s feet begging him to compose a hymn that would show off his skill. So, that he might convince the people realize the fact that the tunes of spiritual hymns are celestial. Panar then found it altogether impossible to play the hymn on his lute. He got alarmed and raised his lute over the head in order to dash it on ground. Campantar prevented him from doing so and convinced him explaining the invaluable merits of the spiritual hymns. Panar paid his respect to Campanntar and followed him as ever before.
Restoring the dead Merchant to Life
Proceeding on his pilgrimage Campantar reached Tirumarukal. About this time he is said to have raised a Brahman Merchant from the dead. During his stay there, a merchant travelled through that place with a maiden girl. When he was sleeping in a mutt near the temple, he was bitten by a snake and he died. When Campantar came to the temple in the early morning, he heard the cry of the virgin girl and was moved very much. He approached her and having known the details, he began the patikam, 'Catayai yenumal’ in which he started the pathetic condition of the girl, to the strains of the music, the merchant came to life as from a sound sleep. He stood up and prostrated before Campantar. Then Campantar had their marriage solemnized at the place and gave them leave to go.
Meeting with Appar
After visiting many places on his way, Campantar reached Pukalur. About is time Appar also came to Pukalur. Campantar received the senior contemporary even beyond the borders of Pukalur and both were very much pleasedto meet each other. Appar explained the grand festivel at Tiruvarur. On hearing this Campantar made up his mind to worship Arur and he took leave of Appar for a short while. Finishing the worship at Arur and other places in the neighbourhood, he returned to Pukalur. After this, the two saints remained together for time enjoying the company of one another.
Conclusion
Summing up all, we get a clear picture of Campantar. The magnetic as well as dynamic personality stands matchless in our religious history. Not only from the religious point of view but also from the literary, cultural and social points of view he has his own credit. The Saiva world is very much indebted to him. But for him, we cannot even imagine the condition of Saivism. He awakened the society. Or in fact , he formed a new bright and colourful society. There was a complete renaissance in all walks of life.
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