The greatness of the hymn that we learnt last week can’t be explained with just words, though that’s exactly what I am attempting to do here. The hymn (which we call thiruppugazh) that is my topic of experience today is – “Oruruvagiya”, literally meaning – the Singular (ie the One) form. This poem/'செய்யுள்' is on சுவாமிமலை முருகன் and its format is திருவெழுகூற்றிருக்கை - a numerical poem wonderfully praising the Divine using numbers from 1 to 7 progressively. And ultimately when the numbering is written down verse by verse, it resembles a chariot.
The word -திருவெழுகூற்றிருக்கை
literally means
Tiru – The suffix in Tamil associated when describing the
Divine
Ezhu – denotes number 7 or Ezhu (We’ll know the significance
as we go further in the discussions)
Kootru – Saying/Discussing/Describing
Irukkai - இருக்கை
- His seat.
This format of poetic literature follows a pattern where the
numbering the verses and writing them down would resemble a chariot. It is a
very difficult form of poetry which only with Divine Grace does one get to
possess! Very few Tamil poets have composed poems in this format. For Further
details here is the Wiki Link (திருவெழுகூற்றிருக்கை)
In a nutshell, the numbering of the verses would resemble
something like this
1
1 2 1
1 2
3 2 1
1 2
3 4 3 2 1
1 2
3 4 5 4 3
2 1
1 2
3 4 5 6 5
4 3 2 1
1 2 3
4 5 6 7 6 5
4 3 2 1.
As one can identify instantly, this structure is very
similar to that of binomial theorem in Mathematics.
Figuratively, the structure resembles the tower of a chariot
– ‘தேர் கோபுரம்’
Now let’s come to the genius of this hymn.
The detailed lyrics and the meaning of this poem are given
in Note 1.
As one may see, the words of this poem have a lot of
numbers/numerical significance in them which can be arranged in the pattern
described above. To explain, I have tabulated the numerical lyrics according to
the pattern that they follow.
And then comes the
end with the following concluding verses describing His greatness in His
abode-Thiruveragam!
The greatness and the devotion of Arunagirinathar is evident
in the way words have flowed from his mind while praising the Lord in the holy
place of Thiruveragam/Swamimalai. It is no simple or mean feat that meaningful
praising words which are numerical homonymns and which fit in the metre of his
composition and are filled with devotion and which describe His various
attributes/actions/miracles have all appeared so very simply to the great
Arunagiri. Yours truly is too small a devotee to appreciate Arunagiri, so all
that one can do is be in awe.
Now, such great verses need an equally great composition to
reach the masses and bring out the devotion from them too. And that’s exactly
what Guruji Raghavan has done while composing this gem in Darbari Kanada. Even
some one as out of tune as yours truly could easily identify it’s the ragam in
which Marudhamalai mamaniye murugayya from Deivam movie is set. No Muruga
Devotee can ever forget that song, its tune or the devotion it evokes in the
listener. The numerical lines of that Kunnakudi Vaidhyanathan and Kannadsan’s
composition may have inspired our guruji to compose this numerical poetry also
in the same ragam.
But the real genius of Guruji shines in the way has composed
the repetitive lines. In Guruji’s composition (the link to his singing is given
in Note 2), the first
repetitive verse is “மூவா
தாயினை” but Guruji sings
it just twice. Perhaps he thought since only 2 levels of the numerical chariot
are done by now so it is not appropriate to repeat it more than twice. But
there could be another reason why he chose to sing this verse just twice not
more, not thrice. The words “மூவா
தாயினை” mean “the one
who never gets old”, the one who is always youthful – the one who never
matures/ nears the end. In our tradition repeating anything 3 times signifies
the ‘subham’ of it as in “Om Shanthi Shanthi Shanthihi” or “thaththasthu
thathasthu thathasthu”. Guruji could not bring himself to even repeat the lines
which signify the youth of Swaminathaswamy three times. Not even figuratively
could he bring about the old age to Him, when Arunagiri himself glorifies “the
one who doesn’t age”, how could Guruji repeat the very same words 3 times as if
to prematurely age Him! So only sings those words just twice.
But, as we go further in the thiruppugazh, the other
repeating lines like “ஒருசிறை
விடுத்தனை”, “நீவலஞ் செய்தனை”, “ஒருகுரு வாயினை”, “ஒருவேல் விடுத்தனை” are
all repeated 3 times. By now, the height of the chariot has long crossed 3
levels. The thiruppugazh is maturing as it flows. So, repeating these lines 3
times is perfect and also in sync with the numeral arrangement envisaged by
Arunagiri.
And then, when we reach the end of the hymn, Guruji peaks it
by singing the last line “ஏரகத்திறைவனென
இருந்தனையே” an ultimate 6 times/full 6 variations (perhaps one for each
of His Divine abodes as described by Keerar - the other poet who has written
Thiruezhukoottrirukkai poem and the OG creator of the concept of arupadai
veedu) filled with so much emotion and feelings that when one hears it, one can’t
help but feel choked with emotions. As the finale, Guruji finishes it with just
calling out His name – “Muruga!! Muruga!!” quite slowly, softly, peacefully and
blissfully, three times signifying the end of the experience.
This different from a traditional Thiruppugazh because
Arunagiri does not seek any blessing from the Lord. There are no “arulvaaye” or
“tharuvaaye” lines. And that’s exactly the biggest clue to why this song is not
part of his compostions which come under the name/category of “Thiruppugazh”. According
to experts, this திருவெழுகூற்றிருக்கை
is a stand-alone ‘பண்’ or poem composed in the land of Swamamalai by Arunagirinaghar.
But it does not fall under the category of Thiruppugazh. Perhaps Arunagiri felt too contented with His
Grace that he didn’t feel the need to ask for anything and Guruji’s composition
makes us understand and experience what exactly Arunagiri would have felt, all
those centuries ago, standing in the corridors of Gurumalai while singing and
experiencing his very own ஏரகத்து
இறைவன் – the Swamimalai Gurunathan!
Note:
1)
For detailed meaning of the above thiruppugazh with the numerical implications,
- திருப்புகழ்
- திருவெழுகூற்றிருக்கை ஓருரு வாகி - Sri AruNagirinAthar's Thiru Ezhu
kUtrirukkai 1326 OruruvAki thiruvezhukUtRirukkai - Songs of Praises and Glory
of Lord Murugan - Experience the Magic of Muruga
2)
To listen to Guruji Raghavan’s composition on which this analysis is based,
please listen here - Audio
Player for Kaumaram Songs
3) Also note the exact pronunciation of அறுமீன் பயந்தனை. Guruji cracks the pronunciation perfectly. it is not bayanthanai
it is payanthanai. bayam refers to fear and payanthanai
means the one taken care of, here taken care of by the “அறுமீன்” 6 stars viz the karthigai ladies.
4) That this திருவெழுகூற்றிருக்கை
is not classified a thiruppugazh by experts is evident as one digs deeper
to know more about this. Even in our thiruppugazh book, this comes after the
set of Swamimalai Thiruppugazhs, not as a continuation but in the next page as
separate category “திருவெழுகூற்றிருக்கை” which is even in a slightly bigger
font than other headings. Guruji Raghavan knew exactly how it should be classified and what he was doing. It is
for us to reflect, realise and understand it.
5) One
other point to be noted is in this poetry, Arunagiri makes it very clear
without a trace of doubt that his Gnyanaguru (Spiritual Teacher)
Thirugnyanasambandhar is none other than Lord Murugan Himself. He mentions this
fact in 2 places/2 stanzas in this poem.
6)
Also, in the 3rd line of the song, “ஒன்றாய் ஒன்றி இருவரில் தோன்றி, மூவாது
ஆயினை!”, Arunagiri talks about Lord Murugan being ever youthful and being born
from both Siva and Shakthi. Researchers and experts on Arunagiri and his
compositions explain that this is the Somaskanda form of Murugan –
the young Murugan seated in between Siva and Sakthi that Arunagiri so fondly
describes.
7)
No wonder our guru Jayanthi mami mentioned that singing this one song is
equivalent to singing all of Arunagirinathar’s total
compositions.
8)
The other poets who have composed such numerical wordplay – திருவெழுகூற்றிருக்கை
compositions are Arunagiri’s spiritual guru Thirugnyanasambandhar, Nakeerar,
and Thirumangai Azhwar. Among these, Thirugnyana sambandhar composed a hymn
praising Lord Shiva in திருவெழுகூற்றிருக்கை at the behest of his father because
Sambandhar was composing songs at such a pace that his father feared devotees
may not be able to finish singing all of the songs all the times. So, he
requested his son to sing one song which would encapsulate the essence and
power all of his thevarams. And so Thirugnyansambandhar composed
his திருவெழுகூற்றிருக்கை.
9) I am attaching the supporting documents for my analysis in the link below. They are well researched opinions of experts of Thiruppugazh/Tamil grammar/literature.
Article1 சுவாமிமலை திருவெழுகூற்றிருக்கை - Article 1 (Introduction)
Article 2 சுவாமிமலை திருவெழுகூற்றிருக்கை - Article 2 (The Song and its essence).
I can’t seem to get enough of the composition (of 2 great devotees) that we learnt in all its glory and greatness that my ‘Note’ section seems to be running almost as long as my write up itself! May His Grace be upon us as we continue to experience the divinity of the lineage of our gurus – From Gnyanasambandhar to Arunagiri to Guruji Raghavan to our Jayanthi mami!
10) Pictures of the other திருவெழுகூற்றிருக்கை's by Thirumangai Azhwar and Sambandhar.
Thirumangai Azhwar's Thiruezhukootrirukkai from the temple walls of Sarangapani Temple, Kumbakonam
