Srivaishnavite Aachaaryas probably in the interest of exposing the Aazhvaars ideas to the Sanskrit knowing scholars who cherished the Vedas as the only great literature, always maintained that the Aazhvaars have put Vedic ideas in Tamil (vedam thamizh seidha, though in their hearts they would have felt, THAMIZH VEDAM SEIDHA). But earlier to our Aachaaryas the great poet Kamban has this to say about Nammaazhvaar's Thiruvaaimozhi: -
Aatril podhintha maNalin thohaiaru maamaraihal
Vetril podhintha porulhalellaam vizhumaakkamalam
Setril podhiavizhkkum kurukoorar senjorpadhika
Nootril podhintha porul oru kooru nuvalkilave.
Sadahoparandhaadhi - 11.
(All the messages which are enshrined in the Vedas, which are innumerable like the sands underneath the river, are not conveying even a fraction of the messages enshrined in the hundred decads in chaste Tamizh of saint of Kuruhoor, where fine big lotus blossoms in the mud.)
Thirumazhisai Aazhvaar explains, how it has been possible for him to convey such messages.
Kadhavu manamenrum kaaNalaamenrum
Kudhaiyum vinaiyaavi theerndhen - vidhaiyaaha
Natramizhai vitthi ennullatthai nee vilaitthaai
Katramozhiyaahik kalandhu.
Naanmuhan Thiruvandhaadhi - 81.
(You blended with me in the form of the language I learnt, by cultivating (the field of) my mind after sowing the seed of good Tamil. I was saved of the confusing situation which makes one believe that one's mind is a barrier or a means to know You.)
The Aazhvaar is assertive about the language the Lord has created in him, to express his messages without any contradiction or confusion. In the works of Aazhvaars there are no conflicting messages as found in the Vedas (e.g. 'kshemo asthu na:' (let there be good for us). and 'yo asmaan dweshti yame cha vayam dwishmaha.. agne sandhahi' (Fire! Burn well the one who hates us and whom we hate) ). Also the messages conveyed in their works that matter for spirituality are not found in the Vedas.
The language of Aazhvaars viz. Tamil and its literature, which was enriched immensely by the Aazhvaars' verses does play a prominent role in conveying their ideas. What latter scholars presented as Svapadesa-artha (ullurai-p-porul) or inner meaning is really guided by this factor. This is illustrated below in the context of Nammaazhvaar's Thiruviruttham.
Tamil has a section of grammar (in its oldest extant work Tholhappiam) devoted to "porul" (subject matter) besides "letter" and "word". In sangam literature the subject matter of poetry is formally divided into two clearly distinct categories, "Aham" (inside) and "puram" (outside) with the synonyms indicated in the brackets to be interpreted in a broader sense. The greater bulk of sangam poetry belongs to "aham" category. In the aham poetry the whole of nature is divided into five landscapes. ("Padu thirai vaiyam paatthiya paNpe". Thol-Porul-Akat-2) and each has three correlating characteristics known as "mudal", "karu" and "uri-p-porul". The following table will be of some guidance.
| Tinai | Mudalporul (landscape) | Uriporul (emotive circumstances) | Karuporul (features of the land) |
| KURINJI | Hill & Mountain | Union | Millet fields, water falls, elephant parrot, honey extraction |
| MULLAI | Forests & pastures | Patient waiting of heroine | Ragi, Deer, cowherd, cattle rearing. |
| MARUTHAM | Agricultural land | Sulking of wife | Rice, buffalo, stork, cultivation, rivers lakes |
| NEYTHAL | Seashore | Anxiety, agony of separation | Fishermen, well, seawater, sea hawk |
| PAALAI | Arid region, desert. | separation | Robbers, vulture, starving elephants. |
Incidents and messages correlated to the above forms the "ahattinai". (Tinai in Tamil refers to one of land, discipline, group of people, earth, subject)
In aham poetry the verses are expressions of the thought or words of the hero, heroine, friend, mother, nurse, or soothsayer. There are norms and restrictions as to whom, when and where one character can speak. Ahattinai is in fact normative concerning matters of love and presents an ideal situation. Hence the lovers (and others also) are idealized. It is a taboo in aham poetry to name lovers or to describe real persons. "Makkal mudalia aham aintinaiyum chutti oruva r peya r kola-p-peraar" (Thol-Porul_ahat-54) (Considering that the five landscapes of aham speak about people (in general), the name of (any) individual person must not be mentioned.) As such the hero/heroine in aham are strictly anonymous. It is to be noted that the substance matter presented in the ahattinai is only a poetic tradition. It is not based on real life. It is used as a mode to express good messages. "Naataka vazhakinum ulahiyal vazhakinum paadal saantra pulaneri vazhakkam" (Thol-Porul-Akat-53). Poetic conceptualization (dramatics) compounded with realities is made into (ahattinai) poetry. Nambi ahapporul vilakkam (ahatinai-2) says "Both imagination and reality will be used in the (ahattinai) poetry as per traditional usage (marabu)".
This poetic tradition has been adopted by Aazhvaars in their works. It gives them a cultural super structure and the usage (marabu) provides them the desired platform to proclaim their philosophical ideas. The regional traditions like the local customs and spoken language are found embedded in their poetry. Some scholars observed this as a counter to the Northern (or Sanskrit) influence on the (Thamizh) Southern tradition. Aazhvaars have blended the fine Tamil literature with philosophy and presented spiritual message to the entire humanity without any discrimination.
Aazhvaars works are addressed to the worldly people in the context of their way of life and salvation of their souls. The messages are based on the qualities of the Supreme Being, which give lot of confidence to the worldly beings. This feature is brought out by Nampillai in his preface to his commentary on Thiruvaaimozhi. "Ippadi bhagavadsvaroopa roopa guna vibhoothihalai visadha, visadhathara, visadhathamamaaha anubhavitthu adhu ulladangaamai vazhindhu purappatta sollaayitru prabhanthangal"- Thus having enjoyed the qualities, form and the entities under His reign clearly, more clearly, most clearly the immense pleasure (so derived) overflows from his heart not capable of being kept bound, giving rise to words making the work. It is the Tamil literature that helps Aazhvaars to express their enjoyments (inbham) simultaneously with the messages they want to convey to their listeners.
Commentators sometimes and later authors of notes thereon include what is often called "svaapadesa-artha" - "ullurai-p-porul" - that signifies the true ideas of the poet. The benefit of human knowledge is to understand and realize 'the truth', as Thiruvalluvar has noted (in Kural 355) "Epporul etthanmaitthaayinum apporul meipporul kaanbathu arivu". The significance of this Kural is elaborated by the late savant V.M. Sadagoparamanujachariyar based on the commentary of Parimelazhagar as follows:- Going through the chain of effect and cause, ultimately we reach 'the cause', not qualified by the artificial classification of names, classes etc., but which is permanent, whose knowledge is essential, which is knowledge itself, and which is the conductor and controller of all beings viz. the Supreme Being. Towards this end aham in the form of drama or real life activity is rightly used by Aazhvaars for conveying messages relating to the Supreme.
It is enough to illustrate the use of ahapporul tradition through a verse from Thiruviruttham. Out of the 100 verses leaving aside the first and last ones, the 98 verses pertain to Ahattinai. Of which 26 verses, where the hero is anonymous, are called 'ahappaadal' and the rest where the hero is described by proper name are called 'ahappurappaadal'. Here the 'ahappaadal' verse chosen is the fifteenth.
Kayalo numakangal enru kaliru vinavi nitreer
Ayalor ariyilum eethenna vaartthai, - kadal kavarntha
Puyalodulaam kondalvannan punavengadatthu emmodum
Payalovileer kollai kaakkinra naalum palapalave.
The aham scene relating to kurinji behind this verse according to (sangam literature) poetic convention is this:- The heroine and her friend are guarding the millet field and the hero who has earlier fallen for her, attempts to make another meeting. But before that he wants to read the mind of the heroine through the friend and make an alliance with her in his endeavor to win the heroine. (This process is known as "Mathiudanpadutthal".) In this context note the explicit indication of the Tinai (Kurinji) with all its mudal,uri,karu porul in the given verse. Further this falls under the classification ('turai') "the friend's reply to the hero on reading his intention".
Here the hero comes in the pretext of asking about an elephant, but, on seeing the heroine and her friend words in praise of their beauty spontaneously flow out first. The friend understands his real intention and gives the suitable reply. The reply of the friend forms the substance of the verse, in conformity with poetic norms. The friend gives a reply that can be interpreted in two ways. One is expressing denial of consent by heroine on his approach and the other is indicating the heroine's true love for him and her waiting for him.
In the first case the friend says, "If you have come in search of an elephant, why talk about our eyes and stand still here. If others come to know of this impertinent words of yours (i.e. praising our beauty and asking about lost elephant) we will be blamed. You are not our associate in our cultivation and you are totally new to us. As such it is not proper for you stand here and talk with us. Keep off. We have been guarding this field for long years but have never come across such a fancy."
The richness of Tamil language permits another equally proper interpretation, which reads as follows:- "You praised the beauty of our eyes and we are pleased at that. But you also asked about the elephant, as if you are on some other errand. Why say such words when you have actually come to see us. If others (who can understand the nature of true love) come to know of this, they will only appreciate your words. Though we have acquaintance, you look new to us because of your charm and handsomeness. Expecting your visit we have been waiting here for long in the pretext of guarding the millet field." In this interpretation the friend implies by the word 'ayalar' (others) , that you belong to us and we belong to you and as such differentiates all the rest as 'others'.
The above two interpretations are comprehensive and explicit. They represent the meaning of the verse within the limits of literary poetic norms. But Aazhvaar has utilized this mode only to express philosophical thoughts through the verse as the Svaapadesa reveals.
Before going into the inner meaning of this verse it will be beneficial to collect together the usage of certain terms in the context of svaapadesa.
Thalaivan - Hero- represents manliness. Implies the One Who rules and can give full protection.
Thalaivi - Heroine- represents feminine qualities. Needs security and protection. A willing servitude to and only to the hero and stay put faithfully under his care for his pleasure.
Iyarkai-p-punarcchi - In literature the first natural union of hero and heroine. In svaapadesa it is symbolic of the Lords' bestowal of His grace on any one He so chooses and giving him/her the element of knowledge to realize Him and the furtherance of mutual love and enjoyment thereon (hence a union).
Eyes - reflect knowledge. Sparkling eyes like a fish refers to in-depth knowledge of the truth. Here it is Aazhvaar's wisdom i.e. He alone is the means and goal (upaaya and upeya) and it is His grace that matters and not our self-effort.
Ayalor - 'Others' - To await and accept His grace as it comes without any effort on our part is the essence of Aazhvaar's message . Contrary to this, those who venture into self-efforts (like karma, Gnana, bhakthi, prapatthi yogas) for His grace are known as "others". They do not belong to our group (or school of thought). Azhahiyamanavaala Jeer terms those who indulge in worship and performances (upaasanaas) in contravention to Aazhvaar's wisdom as 'others' (ayalaar).
Now one of the inner meaning of the verse in reference is that, the passerby gentleman having all praise for Aazhvaar's wisdom (that He alone is the means and goal) also appears to have interest in his self efforts to gain the knowledge to control his sensory powers. These two aspects are considered incongruous. Reading this the friend puts the gentleman on test to know his real intention. In this angle this verse is interpreted as follows;-
Kayalo numa kangal - refers to the beauty of the sparkling eyes-, which are deemed as window of one's knowledge- here it is about the wisdom of Aazhvaar. (parankusa naayaki- for whom He Himself is the means and goal - upaaya upeya). This passerby gentleman is attracted by this policy. However he is still unable to shed his interest and intention on securing knowledge by self-efforts to control his sensory powers to perform worship. This is indicated by 'kaliru vinavi'. Here the 'kaliru'(elephant) is at large in the wilderness of the forest and is to be found and controlled. This is allegorical to the human sensory powers, which go astray in the wilderness of the worldly things to be controlled by self-knowledge, to realize the truth, which obviously is extremely difficult. So he stands still. 'Nitreer'. Aazhvaar's philosophy is so attractive he is unable to move out. "eethennavaartthai"- If others who value and indulge in self efforts come to know of this they will not be kind to this precarious situation since the words kayal and kaliru are incongruent. - i.e. praising the wisdom of Aazhvaar , which upholds His grace and His effort for our salvation and at the same time talking about self-efforts are contradictory.
The Lord is merciful like the cloud showering rain on all places without discrimination; His grace is also for one and all, at His will and pleasure without any expectation from the recipient and where the recipient can do absolutely nothing in return for the bestowal. He is so simple and easily accessible. It is further said that in His place at Vengadam (which annihilates all difficulties) He enjoys the soul (of the Aazhvaar) and vice-versa. She guards the field, for this place signifies their policy. Here again note that the standing crop in the millet field represents the Srivaishnavite society, which survives by the cloudy rain symbolic to the grace of the Lord of Thiruvengadam for He owns the field and the crop (World and its subjects). The field is guarded by Aazhvaar for His sake, on His behalf, at His desire and in service to Him. In essence we are protected and taken care of by Aazhvaar, and just accepting and abiding to his guardianship (his philosophy) is sufficient enough to receive His grace for salvation and there is absolutely nothing else on our part that needs to be done. The friend finally tells the gentleman 'payalovileer'- you are new to us and do not share our concept (of upaaya and upeya). As such there can be nothing in common between us and you are an outsider.
The Aazhvaar indicates intolerance to means other than His own acceptance for deliverance even if it is suggested by Himself and asserts that He is in Thiruvengadam to get the souls to Him and for the souls to enjoy Him through Tamil literature. Aazhvaar's works are potent with good literature embedded with high philosophical truth presented in lucid Tamil. It is to be recited with reverence for its meanings and to be understood and consumed as the ocean of nectar and to be enjoyed to the core. Azhahiya manavaalapperumaal Naayanaar emphatically states that Aazhvaar has sung Thiruvaaimozhi not for His pleasure, but it is for the pleasure of Srivaishnavites to enjoy. It is Vaishnavite principle that nothing shall be done by self for one's own sake whereas anything and everything should be done for the sake of others. Aazhvaar has delivered the message in praise of Him, by His grace, not as a means for himself but for the world, for us to realize the truth and happily enjoy our days not only on this earth alone and even after that. As such Aazhvaar’s work excels in all aspects and for those who develop even a small inclination towards Aazhvaar philosophy it brings such a knowledge and pleasure that Kamban has this to say:
........................... Thiruvaaimozhi seppalutraal
mayirthaaraihal podikkum kangal neer malhum maamaraiyul
ayirtthaar ayirttha porul veliyaam engal andhanarkke.
Sadahoparandhaathi - 33.
When Thiruvaaimozhi is recited hairs stand on and eyes are filled with tears. The hidden and unfound (and misinterpreted passages) messages in the great Vedas are plainly explicit (in Aazhvaar's work) for our Brahmins (Sri Madhurakavi, Sriman Naathamuni and the like) who are desirous of knowing the Supreme Being properly.
I am very grateful to Prof. M.S.Rangacharya Swami for many valuable discussions on this and many other topics.