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Dr.K.R.Seethalakshmi Asso. Professor & Head Dept of Music Queen Marys 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. The Tirugnana

According to musical & prosodical structure known as Kattalai.

Sambandars 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) 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 & named as tLF epwk; (Vadugu Niram) & enumerated as 73 pan. The Indalappan occurring in the Tevara

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 Worlds 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 devotees request the Lord gave life to the Womans fiance. 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 Adigals 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 boys 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 boys body be brought to the Temple premises invoking the Lords 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. 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. 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 They developed an easier path for their Then he requested him to sing in praise of him

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