This is based on Rao Bahadur V.S. Chengalvaraya Pillai's Tamil work "Arunagirinathar: Varalaarum Noolaaraichiyum" --- "Arunagirinathar: Life and research on his works", published in the year 1947. Our revered and scholarly Pillai Avl. has done a tremendous work, a novel and original thought of his, in codifying the "Murugavel Panniru Tirumurai" (Complete works of Saint Arunagirinathar) corresponding to the 'Saiva Panniru Tirumurai', for which we are indebted to him. According to his research based on internal evidences of the Tiruppugazh and other works of Arunagiri, the life of the Saint, in his above work, is somewhat like this:

"Apart from the fact that Arunagiri lived in Tiruvannamalai, during the time of Pravuda Deva Maharaja who ruled that territory in 1450 A.D., no internal evidences are available to say anything definite about Arunagiri's caste, his parents, and his early life. Hence this research work is written based on information available in his works and what others who came after him have said about him.

"Arunagiri was acquainted, even from his younger days, with the earlier Tamil works, such as the Tevaram, Tirumantiram, Tirumurugaatruppadai, Tirukkural, etc. He had the skill and capacity to compose poems and he was a devotee of Lord Murugan. As fate would have it, he fell a victim to the evil traits of courtesans and lost all his property in debauchery. Utilising his talents of composing extempore songs, he earned wealth only to please his paramours. He was finally overpowered by poverty and incurable diseases (leprosy, etc.) which took heavy toll on him, and he felt ashamed over his own plight.

"Realising his condition and also due to the meritorious deeds of his earlier lives, an elderly pious person appeared before Arunagiri and advised him to do penance and contemplate on the six-faced Lord, Shanmukha. But, he paid no heed to this saintly instruction and wasted his life for some more time, only to be ridiculed by his kinsmen and townsmen. Thus some time passed.

"But, time is a great healer. The time for fruition of his past meritorious deeds approached and his mental attitude, too, underwent a change. He repented for his ill-spent life and for not having acted up to the advice of the pious person. He, therefore, offered up a prayer to Lord Murugan, sat near the big tower (Gopuram) of the Arunachaleshwarar temple at Tiruvannamalai and commenced Sadhana in right earnest, but to no effect. He then decided upon a plan, that of putting an end to his life, and to this end he climbed the temple-tower and dropped himself down.

"Lord Murugan, whose eternal 'dedicated' servant Arunagiri was, held him in His arms and saved him from death. The Lord then gave him His Darshana --- being surrounded by His devotees, Veda-chants resounding, and dancing of His peacock. The Lord addressed him as 'Arunagiri-Naatha', showered his side-glance grace, granted Feet-touch, wrote His six-lettered Mantra on Arunagiri's tongue, and imparted knowledge of the Tamil language in its three aspects of prose, poetry and drama. He also gave Arunagiri a Japa-Mala (rosary), removed his Mala (impurities) and Maya (ignorance), gave Mowna-Upadesa, taught him the different Yoga-paths or techniques, imparted Upadesa on Jnana-Marga, and revealed the highest secret of Pranava or Omkara. The Lord then commanded Arunagiri to sing His praises and, when the latter pleaded his ignorance, the Lord Himself gave the first line, as follows, and disappeared:

Muttait Taru Pattit Tirunagai Attikkirai! Sattich Saravana! Muttik Koru Vittug Gurupara! --- Ena Odhum

"O Moksha-conferring Lord! O Lord of Deivayanai who shines With smile-divine and teeth pearl-like set! O Saravanabhava, Sakti-Vel holding! O Guru Supreme! O Seed (Source) for Moksha! --- Thus praising"

With the grace of the Lord, Arunagiri completed the song in no time. At that very place where Arunagiri was saved by the Lord, at the bottom of the Gopuram (tower), a temple is dedicated for Lord Murugan with an idol of the saint with palms joined in a prayerful mood. It is called the 'Gopuraththu Ilayanaar Koil'. (Further story of Arunagiri continued on page xl.)

It is worthwhile to record that our revered and late Sri V.S. Chengalvaraya Pillai has quoted authorities for each and every one of the facts mentioned above from the nook and corner of Arunagiri's works and also from other sources, all which reveal his high scholarship, deep knowledge and devotion to God. However, it is astonishing to note that he has knowingly omitted certain vital facts which, of course, he has admitted in the very Preface of the book itself. He says, in the Preface:

"The life-history of Arunagirinathar is being narrated in many ways by hearsay stories. Sri Murugadas Swamigal who has sung the 'Pulavar Puranam' and many other devotees have told the story as they have heard and as inspired by the Lord from within their hearts. There is no way of saying for certain what the real history is. Those who wish to know these hearsay or 'karna-paramparai' stories may read their works. (Note: By this is implied that Sri Pillai does not give credence or authenticity to hearsay or 'karna-paramparai' stories.) The life-history I have written in this work (Arunagirinathar: Varalaarum Noolaaraaicchiyum) is, as far as possible, based on internal and external evidences. Just as Sekkizhar Swamigal has written the biographies of the three saints --- Sambandar, Appar and Sundarar --- with the help of the hints available from the 'Thevaaram' (their works), even so is my wish to write the history of Arunagiri’s pilgrimage, etc., based on his Tiruppugazhs and other works.

"As we cannot with any certainty say that the printed Tiruppugazh songs are Arunagiri's own words, and as it was the wont with the Tamil saints to depict themselves as being caught up in Maya, though really unaffected by it, for the sake of teaching to the world, I have consciously omitted even certain internal evidences afraid of quoting them as referring to Arunagiri's life, as for instance:

1. In Tiruppugazh verses*5 T-392: 'Manaiyaval Nagaikka'; T-752: 'Maattirai Yaagilum'; and T-1301: 'Manai Makkal sutra'; though Arunagiri's words are very, very clear to prove that he led a life (of Grihastha) with wife, children, sister-in-law and other relatives, yet hesitating to boldly state as such I have omitted the same.

_____________________________________________________________________________________________ *5 T. Nos. refer to Tiruppugazh numbers in Sri Pillai's work "Murugavel Panniru Tirumurai"

xxviii 2. (a) As regards Arunagiri's caste, he condemns himself in T-26: 'Anicchang Kaarmugam' as 'a low one who avowedly consumes meat'. From this, can one say he belongs to a meat-eating caste? And again, in verse 31 of the Kandar Anthaathi he (Arunagiri) himself says, 'O Brahmins, who mercilessly kill goats and do Yagas or sacrifices!' Is he, who thus condemns Brahmins (of their acts of killing of animals), one belonging to the meat-eating caste? (See page xxxvii for reply.)

(b) Further, in his work "Sasanat Tamizhkavi Charitam" Rao Saheb M. Raghava Iyengar refers to Arunagiri as 'Sarva-Bhauma Dindima Kavi', 'Ashta-Bhasha Paramesvara' etc. Now, if we propose to claim Arunagiri to be a Brahmin because there is a lot of the usage of Sanskrit language in his Tamil works, (it cannot be; since) we are led to think that to one who had obtained 'countless powers' due to the special grace of Lord Murugan, should the use of Sanskrit language present any difficulty?

"To avoid these confusions I have stated that Arunagiri's caste is unknown, being satisfied that he is a great Tapasvin and a Knower of Truth", concludes Sri V.S.C. Pillai*6.

Now, let us consider the above points.

1. A free rendering of T-392: 'Manaiyaval Nagaaika' would be:

*Wife laughing in ridicule, all townsmen ridiculing, all women-folk ridiculing; father and relatives

Dejected in mind, I also dejected in heart, all people thoughtlessly using condemning words and speaking low of me,

Darkness enveloping my pondering mind, I thought: 'Is this the purpose of my having taken birth?' ----

And reflecting thus daily, when I cast off the body and soul, ----

Approaching me, Those Feet that You granted then, O Lord grant me again.*

The song begins with the words 'wife laughing in ridicule'. While the ridicule of his wife, father, relatives etc., is the cause of Arunagiri's taking a decision to put an end to his life, Sri Pillai has taken the effect as authentic information but does not want to accept the cause as authentic! If the effect is authentic, the cause has also to be authentic. To take the effect as true but to cast away, ignore or doubt the cause, neither seems to be rational nor brings soundness to one's research. _____________________________________________________________________________________________ *6 I had no occasion to study the Tiruppugazh songs earlier. So when I read this preface of his, I was eager to have a first-hand knowledge of what Arunagiri says in the songs referred to in the preface as well as in all the other Tiruppugazh songs. I, therefore, felt it necessary to glance through them, at least, and in doing so many facts were revealed. Fortunately for me the Ashram's library had all the six volumes of Sri Pillai's "Murugavel Panniru Thirumurai" for my easy and ready reference.

Moreover the facts that Arunagiri decided to end his life and that he knew the different earlier Tamil works etc. are supported by a few Tiruppugazhs only. While these facts can be taken as relevant to Arunagiri's life, why not also take that Arunagiri was married and had wife, children, mother, father and relatives, --- a fact which Arunagiri says in unambiguous terms in not less than 30 places, i.e., in his Tiruppugazh poems as well as in his other works.

Further, it is said that it was the wont of great Tamil saints and poets to attribute to themselves the shortcomings of the masses and invoke the grace of God to condone their evils and shower His blessings; and this method they adopted as an effective means of transforming people, as the poems are given in first person, capable of touching the hearts of people when they recite them. It is, therefore, held by many that all the shortcomings enumerated by Arunagiri in Tiruppugazh songs need not necessarily refer to him and should not be taken literally. Sri V.S.C. Pillai also contributes to this view, and there is some truth in it. But this view is advanced primarily to relieve Arunagiri of such evils as debauchery, etc., and not so much to deny that he was a householder; because while prostitution is an evil and sin, Grihasthashrama or the stage of householder is not an evil, crime or shortcoming. On the other hand, Grihasthashrama is a praiseworthy stage of life, more so according to the Tamil scriptures. It is, therefore, really un-understandable that Sri Pillai should accept that Arunagiri indulged in prostitution but not be prepared to accede that he led a householder's life. When remote and vague internal evidences are given due authenticity to support even minor facts, what is the harm in accepting that Arunagiri led a family life when there are umpteen evidences for the same? Will it diminish Arunagiri's greatness? Or can we add an inch to his greatness in ignoring this fact? Perhaps to accept that he had wife and children might lend support to the acceptance of the fact that Arunagiri had a son and that he has referred about Arunagiri in one of his Sanskrit works and that a descendant of Arunagiri has donated for the construction of an altar for him at his native village Mullandiram, --- facts which are proved by historians based on inscriptions, etc., (as seen earlier)! Is it not strange that he who set forth to write the life of Arunagiri based mainly on internal evidences should ignore certain vital facts of life so conspicuously disclosed in his works!

Here we can have a useful and pertinent diversion. It is true that great men take upon or attribute to themselves the evils, shortcomings and weaknesses of the general masses, with the intention of educating and reforming the evil doers, and Arunagiri too has done so in some Tiruppugazh songs. (We will refer to such songs as 'attribution'). This can be evident from such songs as T-121: 'Seeralasadan'; T-180: 'Thitamili'; T-183: 'Pancha Paadagan'; T-576: 'Pulaiyanaana'; T-611: 'Avaguna Viraganai'; T-291: 'Thaakkamarukkoru'; T-363: 'Maalaasai Kopa', etc., wherein he condemns himself in general terms, - as a sinner, an egoistic person, a fool, a good-for-nothing person, an uncultured, an unlettered, etc., etc., - and prays to the Lord for His grace. Such poems are 'attributions', no doubt, because the evils mentioned in these are of a general nature. Also, there are poems which can prove that he was well-versed in the

earlier works of the Tamil and Sanskrit languages, that he was cultured, that he had practised Tapas in his earlier births, etc., all which will be contradicted if the above verses are to be taken literally. Since the condemnation in these Tiruppugazh songs is of a general nature, we can easily take these poems as 'attributions' and not literally as referring to himself.

But, all Tiruppugazh poems are not of this type only and Arunagiri cannot be said to merely take upon himself the evils, shortcomings and misdeeds of others, because there are also poems of quite a different type wherein he does not condemn himself in general terms as a low man, a fool, etc., but says something of a purely personal nature.

Take the Tiruppugazh 'Manaiyaval Nagaikka' (T-392. See page xxix). Here is the moot question: Why did Arunagiri jump from the temple tower to end his life? Was it because he 'attributed' to himself the sins and wrong deeds of the masses and repented for them, and jumped? OR, repenting for his own sins and indulgence in debauchery? Again, was it because some townsmen indulged in debauchery and contracted diseases, and their wives laughed at their husbands that he jumped from the tower? OR, because Arunagiri's own wife and relations laughed and ridiculed at him for his indulgence? Certainly this song is not an 'attribution'; it was for his own wrong deeds, for which his wife and others ridiculed and laughed at him, that he jumped from the tower.

It is easy to glibly say that saints take upon themselves the sins, wrong deeds and weaknesses of others and Arunagiri also did it. But what is the ground reality? When he jumped from the tower, was he a saint? Or an ordinary man? Of course, he was not a saint; not even an ordinary man, but a sinner of an unimaginable magnitude, --- though being married and with children, he succumbed to the wiles of prostitutes and indulged in them for years and years, squandered all his wealth to please them and contracted incurable diseases, being laughed at by the courtesans as well as his own wife and others, not wanted by anyone and dejected in his mind, feeling sorry for having wasted the precious human life, he jumped from the tower as a Prayaschitta or expiation of his sins. The Lord saved him and transformed him into a saint. He was not an ordinary man transformed into an ordinary saint but a horrible sinner transformed into an exceptionally gifted saint, with a mission to fulfil; so much so that none has spoken about 'truth' or 'facts' (both matters worldly and spiritual) so frankly like him. So, from then onwards, in utter gratitude, he not only sings the glory of the Lord in his Tiruppugazh songs but also gives vivid descriptions of his miserable experiences with the prostitutes, from whom the Lord saved him.

If it is the wont of saints to 'attribute' to themselves the weakness of the masses (though it is true with regard to simple weaknesses), how many other saints have spoken of being regular visitors to public women and given such graphic descriptions of intimate experiences with them in countless verses, by way of 'attribution' of others' weaknesses? If none, why? Only Arunagiri has done so, because they are his personal experiences and not 'attributions'. Who else has

spoken the 'truth' as Arunagiri has done? And so, saint Thayumanavar is all admiration for him for his frankness.

In many of his Tiruppugazh songs, which are rather more in number than the attribution-poems, Arunagiri vividly describes his different experiences with the prostitute women, --- how they lure men, what they talk in privacy, how they fix the rates and offer measured (i.e., less or liberal) enjoyment commensurate with the wealth offered by men (T-515), what modifications their different limbs undergo before, at the time of and following the sexual act, what sounds they produce, what experiences the lover himself undergoes, etc., etc. One can clearly see that there is an element of one's personal experience in these poems. While the evils and wrong deeds of others, which are of a general nature, can be portrayed in oneself, experiences cannot be so done unless one has had them for oneself. Such poems as T-46: 'Angai Menkuzhal Aaivaar'; T-287: 'Koonthal Avizhthu'; T-329: 'Angai Neettiya'; T-336: 'Kumutha Vaaikkani': T-364: 'Megamenum Kuzhal'; T-785: 'Paadagach Chilambodu'; etc., can give ample testimony to the fact that these are Arunagiri's personal experiences. These cannot be equated with poems wherein one attributes to oneself the evils and wrongs of others.

Not only this; in certain Tiruppugazh songs Arunagiri vehemently criticises and abuses public women with such piercing, forceful and dirty words that they cannot be dubbed as mere 'attributions'. He must have undergone such immense suffering and torture at their hands that he scolds, abuses, criticises and curses them to his heart's content, as though to avenge for the harm they have done to him. But it should not be construed that he hates them. He could not help vividly describing his experiences with them because simply glorifying the Lord for the blessings He conferred on him will not be telling the 'whole truth' unless he also mentions the problems and sufferings that those blessings cured.

Arunagiri does not seem to be satisfied with criticising them in a few poems; he takes recourse to it again and again, and one wonders why? But, to understand this one has to go through all his Tiruppugazh songs, then this will become evident. So plentiful are such poems! More than half of the 1300 Tiruppugazhs refers to the prostitutes. Such must have been the immensity of his suffering at the hands of the fallen women that he could not rest satisfied with merely praising the Lord for having saved him from their clutches, but also had to show how much he had suffered. It may appear that he vehemently attacks them as though in a revengeful attitude or that he hates them. Far from it; he is merely saying 'facts' as they are. And telling the truth does not mean he hates them. Perhaps Arunagiri used this method to wean the minds of the promiscuous men from indulgence in them, by indirectly telling them what is behind their alluring smiles and flesh, as he has had first-hand experience of them. This can be evident from T-267: 'Thodaththulakkigal'; T-269: 'Thiruttu Naarigal'; T-677: 'Kanavaalan Koorvizhi'; T-698: 'Kadiya Vega Maaraatha'; T-884: 'Kuritha Nenjaasai'; etc., etc. If one goes through these verses, he will not venture to say that these are 'attributions' or that Arunagiri is scolding the

prostitutes for the sufferings undergone by others at their hands. He did suffer himself, horribly. Arunagiri, as we know, is famous for telling the truth as it is. No other saint would have confessed as truthfully as he has done, if he were to be in his position. It is for this reason that saint Thayumanavar said, 'Aiyaa Arunagiri appaa unnaippola meiyaaga ore sol vilambinar yaar.'

These verses also act like warning sign boards: "Beware! O unwary Fools!" Arunagiri, unlike all other saints, does not merely wish that others also enjoy the Bliss of God that he enjoys, but also does not want the unwary ones to suffer as he had suffered at the hands of those bewitching women --- யாம் பெற்ற இன்பம் வையகம் பெற; தான் பட்ட துன்பம் ஒருவரும் படாதிருக்க. Is he not "Karunaikku Arunagiri", --- Arunagiri for compassion?

Further, a scrutiny of such songs as T-392: 'Manaiyaval Nagaikka'; T-509: 'Kumara Gurupara'; T-513: 'Makara Merikadal'; T-916: 'Tiruvuroopa Neraaga'; etc., will leave no room to doubt that Arunagiri not merely led a family life but that his indulgence in debauchery was real and not a mere 'attribution', because the special favours conferred by the Lord, as acknowledged by the saint in these poems, are of a purely personal nature and were granted to Arunagiri and not to somebody else, and as these divine favours saved him from indulgence in prostitution, ridicule of his wife, etc., these facts cannot but be as much real and pertaining to Arunagiri as the favours obtained by him. It cannot be that the blessings mentioned were received by him and the evils which those blessings cured or removed are of someone else, i.e., these songs cannot be 'attributions'.

It is believed that prostitution was very rampant during Arunagiri's time. Though from a cultured family, he too fell a victim to it, lost his wealth and health, and was ridiculed by all. Dejected, when he jumped from the temple tower, the Lord saved him and ordained him to sing His glories. So it was part of his mission to help people not to fall into the net of the prostitutes and also help retrieve those who have fallen; and show that there is salvation even for the worst of sinners. Hence, while showing his gratitude to the Lord for having saved him, Arunagiri devoted hundreds of Tiruppugazh in which he not only thanks Him but also exposes the courtesans and their treacherous behaviour by graphically describing his horrible experiences with them. To do so must have been the Will of God and with a purpose. Otherwise, who would imagine that in a holy scripture called 'Tiruppugazh' (Glory of God or the Divine) so much of voluptuous matter can be sung by a saint? What is the purpose? It is not single; it is manifold. As saint Thayumanavar very aptly said, no one has spoken the 'truth' (not only matters spiritual but also mundane and sensuous) like Arunagiri. Hence, first and foremost, the songs in which he describes about his experiences with the prostitutes are autobiographical or personal in nature, i.e., they are his own and not 'attributions', which at the same time also give an inkling of the condition prevailing then. Secondly, they give a clear warning to those young men who are likely to fall a victim, as if to say: "My friends, Beware! Don't be foolish and fall into their net. Don't do the mistake which I made and suffered untold misery." Thirdly, many songs are meant to help retrieve those who have already fallen into

xxxiii their lure. They are those Tiruppugazhs in which Arunagiri vividly describes his deep involvement with the prostitutes and the sufferings and humiliation he underwent under their spell, and prays to the Lord to save him from that predicament: --- T-1023 'Irut-kuzhalaik', T-108 'Kaaraninthavaraip', T-685 'Kaarcchaar kuzhalaar', T-118, T-172, T-134, T-979, etc., etc. When people, who are already fallen into their clutches and suffer, and want to free themselves but unable to do so (not having the will-power), hear/sing those songs, they touch their hearts as they exactly portray their condition. They lift them up from their state of helplessness and infuse hope into them. Then they start singing those songs, praying fervently from their hearts. The Lord cannot but hear such prayers and eventually they are saved from the prostitutes. Fourthly, in some of the Tiruppugazhs Arunagiri profusely thanks the Lord for granting His Feet or such other blessings which saved him from attraction for sex and the courtesans: T-426 'Paaravida mutthappa', T-360 'Kaamaatthiramaagi', etc., etc. These and similar songs are meant for those who have been saved by the Lord in some way; when they sing such songs, they are like gratitude-filled thanks-giving to the Lord and also they act as safeguards against falling back into the evil way once again. Fifthly, there are songs which simply glorify the Lord without any reference to attraction of sex, etc: T-106 'Apakaara ninthai', T-168 'Kadalai poriyavarai', and other categories.

Thus, we find a curious mixture of all the above categories even in the few compositions given in the span of a few days in every town/place. Unless we understand them in the above manner, it is difficult to explain the mixed nature of Tiruppugazhs. Inability to see in the above light made one author to remark: "Among Arunagiri's compositions, those that do not contain prayers to overcome the attractions of sex or the fear of death, may be said to have been sung after he attained Brahmic wisdom." Then, how will he explain when in one song Arunagiri thanks the Lord for having saved him from sex-attraction and in the very next song he prays to Him to rescue him from the courtesans, given in the same town within a few days' time or even on the same day? And, again similar songs are given in the next and subsequent places! Does it mean that he attained Brahmic wisdom in one place, then lost it, and again attained it in the next place and lost it, again and again! No, because, Brahmic wisdom attained once can never be lost. The songs he gave in each town or area were primarily meant to help the people of the different category of that town/area. Hence we find so much repetition of the descriptions of courtesan women, their behaviour, sufferings from them, prayer for and freedom from their clutches by Lord's grace, etc. in his Tiruppugazh songs, as these songs were given during his pilgrimage, at different places. It is like a learned speaker giving talks on the same subject at different towns, almost repeating what he said in the earlier towns again and again, though with some minor changes, as the audiences are different.

So we find this assortment of songs to cater for the needs of people in every situation. It is not that all the songs are meant for everybody or for one and the same person at the same time. Some songs will appeal to some at one time, and other songs at another time. But every Tiruppugazh is calculated to help

someone or the other, at some time or the other. Which Tiruppugazh or a verse of Arunagiri's other works will touch whose heart and transform him and when, we do not know. It was the Tiruppugazh (T-817: Vangaara Maarpilani) sung by a Daasi (courtesan) before the Lord of Palani during a festival, which the 38 year old family-man Ardhanari happened to hear, that sent a thrill in him and transformed him into the famous saint 'Vallimalai Sri Sacchidananda Swamigal'.

Thus, Arunagiri's involvement with the prostitutes was real and the Tiruppugazh songs are primarily the out-pourings of his personal experiences with them from which the Lord saved him, but also calculated to help the masses in different ways. Arunagiri himself says in unambiguous terms that his entanglement in the meshes of public women was due to his past deeds and as ordained by Brahma (T-584: 'Vidhiyathaagave'; T-842: 'Thodutha Naal Mudhal'). It is worth remembering Saint Thayumanavar's words every now and then:

Aiyaa Arunagiri Appaa! Unnaippola Meiyaaga Ore Sol Vilambinar Yaar? ---

"O Arunagiri, my (spiritual) father! Who has, like you, uttered a word of truth?"

Thus we find that the Tiruppugazh songs are of various types: there are poems of self-condemnation by way of attributing others' evils of a general nature upon himself, to educate the masses and help turn their minds towards God (T-214: 'Charana kamalaala ...'; T-109: 'Sivanaar manam ... '); there are poems of confession and repentance over his past evil life with the courtesans; many are poems seeking God's grace to be freed from sex-indulgence; there are gratitude-showing poems wherein he acknowledges the special favours conferred on him, which saved him from the clutches of prostitute women; there are poems of severe attack and criticism of public women, to serve as a warning to the unwary ones, etc. There are also poems which do not come under any of the above classifications. Some poems reveal the different kinds of spiritual experience obtained by Arunagiri purely out of Lord's infinite grace; there are poems which are only praises of God (T-100: 'Naada Vindu'; T-270: 'Arakara Sivanari'; T-366: 'Saravana Jaataa'; T-101: 'Bodakantharu'; T-654-I: 'Paramagurunaatha'; T-730: 'Seethala Vaarija'); there are poems which contain information on different subjects such as diseases (T-228: 'Vaadamodu'; T-260: 'Irumaluroga'; T-582: 'Valivaada'); on different Yogas such as Jnana, Bhakti, etc., (T-190 'Moolankilarodu'; T-647: 'Naalu Sathuratha'; T-652: 'Mathiya Manguna'; T-896: 'Pancha Pulanum'; T-1114: 'Neerunila Mandaatha'); on music (Tala), etc., etc. Hence we cannot bring all Tiruppugazh songs under a single category of 'attribution', etc., nor can we relegate one category of poems to another. They have to be carefully sifted and understood in their true perspective, which is, of course, not an easy task.

Though the Tiruppugazh songs are, in general, variegated in their nature and purpose in their first halves, their second halves are almost of a uniform nature in that they extol the glory of the Lord in diverse ways. He glorifies not only Skanda but also all the other Gods -- Lord Siva, Ganesha, Devi, Vishnu, Rama, and others. Hence the songs are called 'Tiruppugazh' --- songs of praise (Pugazh) of

God or the Glorious One (Tiru). They are not called 'Kandan Pugazh' or 'Murugan Pugazh' etc., whereas the other works are called 'Kandar Anubhuti', 'Kandar Alankaram' and 'Kandar Anthaathi'.

The dexterity of Arunagiri in explaining the theme dealt with in each Tiruppugazh is such that he infuses life into it. His ability is par excellence and he is a past-master in the art of revealing facts and his experiences, --- whether temporal or spiritual, sensory or Divine, pleasing to the hearers or not --- in touching and lively expressions. This has so much endeared Arunagiri to Saint Thayumanavar that the latter exclaims:

Aiyaa Arunagiri Appaa Unnaippola Meiyaaga Ore Sol Vilambinar Yaar? --- vaiyagattaar Saatrarithentre satraar thannanaiyaai mukkanenthai Naatrisaikkum kai-kaattinaan

"O Arunagiri, my (spiritual) father! Who has spoken a word like you so truthfully and precisely? People of the world got exhausted in their attempts, finding it difficult to express. But you are unique in this art, without an equal to you. Our three-eyed Father (Lord Siva) showed His hands in all the four cardinal directions."

We may wonder: Why and to whom did Lord Siva show His hands in all four directions? -- This is how He instructed the Four Kumaras (Sanaka, Sanandana, Sanatana and Sanat Kumara), in silence. Showing His hands in all four directions was to indicate the All-pervading nature of Truth (i.e. Omnipresence) and that the Truth cannot be explained in words; and after thus showing His hands Lord Siva showed the 'Chinmudra' and remained in Silence (Samadhi) which meant that Truth is 'Supreme Silence.' This instruction Lord Siva gave, not to worldly people like us but to the Four Kumaras (the four mind-born sons of Brahma) who were untainted by worldliness and needed no verbal instructions; they were ready and fit to Experience Brahman, the Absolute. And so, with that 'silent instruction' (Sollara Summa Iru Enralum) they entered into Samadhi. But the instructions of Arunagiri in his works were/are meant for the masses, for people who are immersed in worldliness and sensuality. Hence he had to 'speak' and there is none to equal him who has spoken so truthfully and precisely (in all matters).

Here we may take a little diversion. Some feel that Arunagiri's vehement attack of the public women and their treacherous behaviour is tantamount to hatred towards them. They say, "How can he hate women, chaste or otherwise, as it goes against his policy of 'Avirodha' (which they translate as 'non-hatred')." They quote verse-25 of 'Kandar Alankaram' whose free-translation would be: (Arunagiri says:) "O Yama! I am a servant of the Lord of Tiruchchendur Who has a Vel. Do you see the shining Wisdom-sword of Avirodha I have? Beware! I will attack you and scare you, and cut you and throw you down, along with your mace and trident. If you dare, just come close to me at my arm's length and see what happens." Now, to tell someone that he will be cut to pieces and thrown

down -- can we call it Avirodha or non-hatred? Is it love? Certainly not. So, the Wisdom-sword of Avirodha does not seem to mean non-hatred, but non-opposition. 'Virodha' means opposition and A-virodha means non-opposition or 'no opposition', i.e., that which has no opposition or that which cannot be opposed by anything or against which nothing can stand. So it means nothing can stand before Wisdom; darkness or any dark force cannot oppose or stand against Light or Wisdom. Darkness can hide itself away from light; but if it dares to come close to light, we know what will happen to it; it will get dispelled, i.e., cut to pieces and thrown away. So, after Arunagiri got the sparkling Wisdom-sword of A-virodha or non-opposition by the Lord's grace, he was freed from the dark forces of lust and fear of death, and it does not mean he hated public women or Yama.

2. (a) As regards Sri Pillai's views on T-26 and Kandar Anthaathi-31 (see page xxix) I may quote from Sri Sadhu Anuvanandaji's article "Life of Sri Arunagirinathar", published in the 'Sri Vallimalai Tiruppugazh Sacchidananda Swami Centenary Jayanti Souvenir' (1970), as follows:

"These are not formidable objections, for Arunagiri as a Gowda Brahmin may be permitted to partake of certain animal-food by the rules of his caste, but even then Arunagiri deplores his indulgence in it. Even a Brahmin could condemn animal-sacrifices in Yajnas as they have become scarce at the time, being disapproved by the better class of Brahmins. Thus, the statements that Arunagiri ate meat and yet condemned Brahmins eating meat are neither irreconcilable, nor do they nullify our claim to Arunagiri being a Brahmin."

Apart from the above reply, we may offer one from another point of view, which would appear to be more appropriate and convincing, too:

Arunagiri's confession of 'eating meat with eagerness' only hints at the fact that he did belong, by birth, to a non-meat-eating caste (a Brahmin) and that his eating meat was only accidental, i.e., in and due to the company of courtesans "who drink and eat meat" (T-391: 'Soodu Kolai'); "who are dirty ones that give stimulating and intoxicating food-stuffs as diet" (T-677: 'Kanavaalang-Koorvizhi'); "who commit murders, who spoil the high and noble births of people, who have no regard for the caste-distinctions" (T-817: 'Vangaara Maarpilani') -- whose association is the cause for the five great sins (Pancha-Mahapatakas) and many other vices, from which meat-eating cannot be excluded. And, Arunagiri's condemnation of the Brahmins' merciless acts of himsa or cruelty of killing goats in Yajnas, only, again, hints that though he belonged to the Brahmin caste, yet, he condemned it because it is an act of cruelty which deserves condemnation whether done by Brahmins or others. In both these statements, Arunagiri has stated bare facts, - facts as they are, for which act he is outstanding. A Brahmin openly confessing that he ate meat, and at the same time condemning the Brahmins' merciless act of killing animals in sacrifice enhance his greatness, for who but Arunagiri would venture to state facts so frankly? He is an exceptional

xxxvii type of person to whom disclosing facts thread-bare is simple and spontaneous*7. While Arunagiri thus condemns the cruel acts of Brahmins, he, on the other hand, also praises them for the observance of their pious and prescribed religious deeds in T-625*8, 'Thaathu Maamalar': "O Lord who is worshipped daily, as prescribed in the Vedas, without any flaw, and very ceremoniously by the 3000 glorious Brahmins (at Chidambaram)"; T-432, 'Vilaikku Meniyil: "O Lord who is enshrined at Tirukkonamalai, where reside eminent Brahmins who are versed in the four Vedas which are eternal"; T-504: 'Kuruthi Pulaal'; T-577: 'Bhoga Karpakkadavul'; etc., etc.

2. (b) If Arunagiri's use of Sanskrit words is attributable to the 'countless powers' he attained due to the Lord's grace, can we not, with the same breath, say that his knowledge of the different earlier Tamil works referred to in Tiruppugazh, etc., is also due to the very same 'countless powers' conferred by God? Why should we, then, attribute them to Arunagiri? One would do justice in attributing all that is of any worth in Arunagiri to the Lord's grace, rather than to attribute certain aspects to the Lord and certain others to Arunagiri, which Arunagiri himself would feel shy to claim.

Arunagiri says, in T-432, 'Vilaikku Meniyil': "O Lord Muruga, whose form is of the essence of the songs composed by Vasishtha, Kasyapa, Yogis well up in Tapas, Agastya Muni, Idaikkaadar and Nakkirar!" While the songs composed by the latter ones are in Tamil, those of Vasishtha and others are in Sanskrit. It is, therefore, quite evident that Arunagiri was well conversant not only with the Tamil works of Idaikkaadar and others, but also with the Sanskrit works of Vasishtha and others.

Also, Arunagiri's mention of "Munis offering Tarpana (Oblations), uttering 'Aadityaaya' (which means 'to the Sun-God'), doing the 'Gayatri Japa and Archana' in the early morning, after a clean bath, facing the east" (T-508: 'Velaippol') can be taken as sufficient proof of not only his knowledge of the Sanskrit language but also of his belonging to a caste to which these rituals are obligatory and with which he was naturally well conversant; for, otherwise, he could not have given them in such meticulous detail.

A critical study of his Tiruppugazh songs will, on the other hand, reveal, to our own surprise, that Arunagiri's knowledge of the Tamil language was conferred on him by Lord Skanda, whom he extols as the Tamil-God. "O Lord, who gave me the glorious Tamil language that I could daily sing the praises of Your radiant, Divine Feet," says Arunagiri, in T-214: 'Sarana Kamalaalayattai'. We do not find Arunagiri acknowledging anywhere to this effect in regard to the use of Sanskrit in his works. It appears that Lord Murugan ordained Arunagiri to _____________________________________________________________________________________________ *7 "O Arunagiri, who has spoken about truth as you have!" Arunagiri not only 'calls a spade a spade', but also calls 'an iron spade an iron spade', 'a steel spade a steel spade', and 'a golden spade a golden spade'. *8 This song was responsible for late Sri V.T. Subramaniya Pillai (father of Sri Pillai) to search for and publish the Tiruppugazhs, when he heard it quoted by the Brahmins of the Chidambaram Temple in support of their glory, in a court case.

xxxviii sing in the Tamil language, though he knew both the languages, giving him a special power to compose poems in the Tamil language when He gave the first line to start with. Perhaps, but for conferring this special power and ordaining him to sing His glories in the Tamil language, Arunagiri would have, in all probability, done it in the Sanskrit language itself in which he seems to have had a greater mastery even from his early life. Yet his proficiency in, his knowledge of and his love for Sanskrit is so much that he could not resist the spontaneous overflow and lavish use of Sanskrit phrases and words, and even full stanzas, in many a Tiruppugazh, as well as in his other works. Such exuberant use of Sanskrit in Tamil works is also a special feature of Arunagiri's works and is rarely seen in the Tamil works of other saints. Hence we can conclude, with all emphasis, that Arunagiri's knowledge of the Sanskrit language was not due to the 'countless powers' conferred on him by the Lord, but that he was well-versed in both the Sanskrit and Tamil languages even from his early life, having been born in a Brahmin family.

And, if we are to accept that Arunagiri knew the Tirukkural, etc., merely because there is a direct or indirect mention of them in a few places in his works, we should also be charitable enough to accept that he knew the Vedas, the Upanishads, etc., to which also he makes reference in innumerable places. But, surprisingly, Sri Pillai has failed to record all these facts, i.e., that Arunagiri was well-versed in Sanskrit and that he knew the Vedas, Upanishads, etc. His research does not seem to be impartial, certain facts being intentionally omitted/ignored.

Just as the weaknesses, etc., mentioned in some Tiruppugazhs are 'attributions' and in some others are his personal experiences, even so may be the case with the diseases enumerated by him in Tiruppugazh songs, which is a huge list. Some of the general diseases like fever, cold, cough, head-ache, and many others mentioned in the Tiruppugazhs can be those suffered by all, while some serious illnesses are his own sufferings. It is not necessary that he suffered from all those diseases at one and the same time. We may safely assume that he must have spent the best part of his youth (say from age 20 to 30 or 35 years) with the prostitutes and in those years he had suffered from many diseases, all which were cured by the Lord's grace instantly.

From a study of the above views, we may make an assessment of Arunagiri's early life as follows:

(a) He was a native of Mullandiram near Tiruvannamalai and a descendant of Gowda Brahmins who were learned scholars and poets, himself being a talented Sanskrit poet, called 'Dindima Kavi' (Sri Raghava Iyengar's research); (b) He was well-versed in the earlier Tamil works such as the Thevaaram, Tirukkural, Tirumantiram, etc. (Sri V.S.C. Pillai's research work); (c) He was highly learned in the Sanskrit language and had deep knowledge in the Sanskrit literature, because he makes free use of Sanskrit words and phrases in his works as also there is a lot of reference to the Vedas, Upanishads, Gayatri-Mantra, Tarpana, etc., in his compositions (as explained above).

It cannot be argued that the use of Sanskrit words, etc., was due to the 'countless powers' conferred on Arunagiri by the Lord; because, the same argument will hold good in respect of item (b) above. Hence, if we are to take internal evidences as authentic in respect of item (b), we cannot help accepting item (c) as true;

Items (b) and (c) suggest that Arunagiri must have hailed from a highly religious and cultural family whose tradition it is to educate their children in both the Tamil and Sanskrit languages, i.e., he belonged to a Brahmin family.

(d) Being a native of Mullandiram, he lived in Tiruvannamalai. This may be due to his parents' settlement there in his boyhood for his education, or his settlement there after his marriage for his livelihood. That he lived in Tiruvannamalai where he succumbed to the wiles of the public women and the Lord saved him when he tried to commit suicide is evident from many Tiruppugazh songs, and is beyond doubt; (e) Even before he was ordained by the Lord to sing His glories, Arunagiri had the ability to compose poems, which he made use of to earn wealth to be given to his paramours (T-146: 'Irukanaka'; T-494: 'Arivilaap'; etc.). {Some authors, to create confusion, say that some of those songs which Arunagiri composed earlier to earn wealth might have been mixed up with the Tiruppugazh songs. We should not forget that the Tiruppugazh songs were given after ordainment and are divine-inspired and are in 'praise of the Lord' and not of misers (as could be seen clearly in the above 2 songs). The Tiruppugazh songs have a flavour of their own, they are divine-inspired out-pourings; whereas the earlier songs were intellectual compositions and they can be no match to the Tiruppugazhs and cannot be confused or mistaken one for the other.} (f) He was a married man and had wife, children, father, mother, and in-laws (T-392: 'Manaiyaval Nagaikka') and yet he fell a victim to the lures of prostitute women (T-132: 'Thakara Narumalar'; T-436: 'Seelamula Thaayaar'), which was due to his Prarabdha Karmas or fate (T-584, 'Vidhiyathaagave'; T-842, 'Thodutha Naal Mudhal'); (g) Dejected and fed up with the wretched life of debauchery which resulted in contracting many diseases and poverty and also the ridicule of his wife, kinsmen and even his paramours, Arunagiri decided to put an end to his life (T-392: 'Manaiyaval Nagaikka'; T-394: 'Kothi Mudhithu'); and (h) When Arunagiri attempted suicide, the Lord held him and conferred various blessings on him: T-392: 'Manaiyaval Nagaikka'; T-513: 'Makara merikadal'; T-515: 'Murugu cheri kuzhal'; etc.)