Dr.K.R.SeethalakshmiAsso. Professor & Head

Dept of MusicQueen Mary’s College

Chennai – 600 004.

INDALA PAN & MIRACLES IN TEVARA TIRUPPADIGAMS

Abstract:

gz;ZsPuha; ghl;Lk; MdPh;’

PANNULIRAI PATTUM ANIR

gj;jh; rpj;jk; gutpf; nfhz;Bh;

PATTAR CHITTAM PARAVIKKONDIR

(TIRUVENKADUPADIGAM – SUNDARAR)

‘PAN’ is the divine gift endowed with the power of miracles. It is the language

of pure sound, capable of expressing subtle thoughts, delicate shades of feelings,

sublime ideas effectively portrayed through the medium of Music.

The Saiva saint Sundaramurthy Nayanmar in the above Padigam mentions

that the Lord Himself is in the form of ‘Pan’ and the Pattu that praises the Lord is by

itself the embodiment of the Almighty for the ardent worshipper.

This article is pertaining to the illustration of efficacy of ‘Indalappan’ -

,e;jsg;gz; in enacting miracles.

Introduction:

‘Pan’ (gz;Zjy;) is that which is rendered with embellishment confined to the

Lakshana that brings out the colour of the raga. The ancient Tamil literary works

Tolkappiyam, Sanga Ilakkiyam, Kappiyams, Bakti Ilakkiyam, Chitrilakkiyam deals

with four main Pans, Palais and their derivatives.

gz; Ruq;fis epwk; Njhd;w

PAN SURANGALAI NIRAM TONDRA

mirj;Jk; tOf;fpAk; ce;jpAk;

ASAITTUM VAZHUKKIYUM UNDAIYUM

Ez;xypkq;fs; $l;bf;Fioj;J

NUN OLIMANGAL KUTTIK KUZHAITTU

,irj;jy; ,d;wp aikahjd

ISAITTAL INDRIYAMAIYADHANA

(TAMIL ISAI IYAL – V.P.K.SUNDARAM)

The Tamil scholar V.P.K.Sundaram in the above verse emphasizes the ‘Pan’

should not be rendered as mere scale (or) Ascent & descent. It should be rendered

as Pan-raga in its full form.

The sixty three Saiva Canons contributed the Tirumurais to propagate the Cult

of Bhakti. The Saiva Tirumurais are twelve. Of these the first three Tirumurais are

of the divine child Tirugnana Sambandar who has composed his first padigam at the

age of three securing the place as the youngest composer in the World. The next

three Tirumurais are of Tirunavukkarasar and the seventh Tirumurai is of

Sundaramurthy Swamigal.

The contribution of ‘Tevara Moovar’ collectively known as ‘Tevaram’. The

term literally means the garland of songs that adorns the lotus feet of Lord Siva.

Three padigams in ‘Indalappan’ of Tevara Moovar is taken to illustrate the

miracles that occurred during their period.

Methodology

The hypothesis is to highlight the power of divine hymns of Tevaram in

‘Indalappan’.

It is observed that the deceased person owing to fatal snake bite was brought

to life by the sacred hymns. This is the Testimony of Godly events and the devotion

towards the Almighty.

The miracles are explained in chronological order. Karaikal Ammaiyar the

foremost Nayanmar has composed Two Mootha Tirupadigam, one of which is in

Indalappan – ‘vl;b ,ytk;’ ‘YETHI ILAVAM’

The lakshana of Indalappan as in the history of Panniru Tirumurai is

portrayed. A special point is that the ‘Aludai Nambi’ Sundara Murthy poured out his

first composition in Indalappan after having obtained the divine command of the

Lord.

Discussions

The bond that exists between Music of the Ardent devotees & their musical

works can be traced back to ancient Tamil Literature. The Tevara Tirumurais are

compiled in three groups. Panmurai Paguppu, Sthalamurai Pagupu &

Adanganmurai Paguppu. The Panmurai paguppu is applied for this article.

According to musical & prosodical structure known as Kattalai. The Tirugnana

Sambandar’s hymns are called Tirukkadaikappu Tirunavukkarasu Padigams are

called Tevaram. Sundaramurthy Swamigal Padigams are known as Tiruppattu.

The Tevara hymns are rendered in two ways Suddangam (without tala) and

Layangam (with tala). The hymns are sung according to the time theory (gana Kala

Niyama). The Tevara Pans are twenty three & classified into Pagal Pan (Morning

ragas) Iravuppan (Evening raga) and Poduppan.

The musical aspects of 3 are dealt in detail herewith Vellai Varanar in the first

part of the history of Panniru Tirumarai (page 612) mention that the ‘Indalappan’ is

the derivative of kUjg;ngUk;gz; (Marudapperumpan) & named as tLF epwk;

(Vadugu Niram) & enumerated as 73 pan. The Indalappan occurring in the Tevara

Padigam are listed below:

a) Second Tirumurai 1 – 39 Padigams.

b) Fourth Tirumurai 16 – 18 Padigams

c) Seventh Tirumurai 1 – 12 Padigams

This Pan in Tamil Nadu is known as tLF (Vadugu), in North India njYq;f

(Telunga). The Padigams in this Pan is also sung in Natha Nama Kriya & Lalitha

Panchagam. This Pan is equivalent to Maya Malava Gowla its Janya Natha Nama

Kriya of the present day.

The first anecdote: is the Padigam of the World’s youngest poet Tirugnana

Sambandar the Child prodigy while Tirugnana Sambandar was approaching

Tirumarugal Temple during early morning when he heard the sobbing of a young

lady. On enquiry he learnt that the girl had eloped with her uncle to get married at

his place. Unfortunately he was bitten by a snake & died. A sorrow stricken woman

was weeping helplessly and Tirugnana Sambandar took pity on the woman and sang

the Padigam rilaha; invoking the mercy of the Lord in bringing him back to life.

“rilaha; vDkhy; ruz; eP vDkhy;”

Sadaiyai Yenumal Sharan nee Yenumal

Paying need to an ardent devotee’s request the Lord gave life to the Woman’s

fiancée. They got married under the august presence and blessings of Tirugnana

Sambandar. This proves that the rendering of this Pan will enable rising of the

Kundalini Sakthi to the highest level. In Tingalur there was a devotee named

‘Appoodhi Adigal’. He had invited Tirunavvukkarasar for a feast. In the meanwhile

Appoodhi Adigal’s First son Mootha Tirunavvukkarasar went to the garden to fetch

the Plaintain leaf for the feast. There he was bitten by a snake & died.

Tirunavvukkarasu was welcomed by Appoodhi Adigal with great reverence.

Preparations of were on to serve the meal though with great hesitation to divulge the

boy’s death. Appar enquired about the whereabouts of his son. Only then with great

reluctance, Appoodhi Adigal burst into tears & informed the death of his son in the

garden. Appar ordered that the boy’s body be brought to the Temple premises

invoking the Lord’s grace to bring life back to the boy. He sang the following

padigam.

xd;W nfhyhkth; rpe;ijAah;tiu

Ondru Kolam avar

xd;W nfhyhKaUk;kjp #Lth;

xd;W nfhyhkpL ntz;jiy ifaJ

xd;W nfhyhkth; Ch;tJ jhNd.

And called the boy by name immediately the boy sprung into life & was

blessed by him. Thereafter he joined the family members for the feast and blessed

them all.

The Third anecdote: is Sundarar was to wed the daughter of Sadangavi

Sivachariar. On the day of the wedding Lord Siva came in time guise of an old man

he asserted that Sundaramoorthy was his slave as agreed by his predecessors for

generations. To prove his claim he showed his documents in palm leaves.

Sundarar had no other choice except to follow him upto Tiruvennai Nallur “he

scolded him as Pitha” (Mad). He pleaded for justice in Public. The Lord finally

disclosed his identity as Siva. Then he requested him to sing in praise of him

beginning with the word Pitha.

gpj;jh gpiw#b ngUkhNd mUshsh

Conclusion

From the above inferences we find that Thevaram hymns are not only

soothing to the ear and soul-stiring but also are capable of bringing about miracles

through divine grace. Thus highlighting the supreme powers of the almighty.

The saints and musicians of India whose spiritual genius had undoubtedly

stood the test of time inspite of several odds served as the Pillars supporting the

great edifice of Indian thoughts. They developed an easier path for their

emancipation through Bhakthi Cult.

Bibliography

1. Tevaram – V.Mahadevan – Sri Kanchi Research Centre 1988

2. South Indian Music – Book – VI - Prof. Sambamurthy V Edition – 1999

3. Yazhnool – Swami Vipulanandar – 1947

4. Tamil Isai Iyal – Ve.Pa.Ka.Sundaram – 1947

5. Tamil Isai Vazham – Ve.Pa.Ka.Sundaram – 1947

6. Tamil Isai Ilakkana Marabbu – Dr.Salem Jayalakshmi

7. Panniru Tirumurai Varalaru – Part I & II – Vallai Varanarar 1969