INTRODUCTION

When we speak about the Thiruppugazh (திருப்புகழ்) songs, what evidently comes to our mind is the “Devotional” aspect. But looking from a musical perspective, it will be evident that behind those carefully selected words of each line, there is a treasure of information – a lot, yet to be explored. Saint Arunagirinathar or “Chandapavala Peruman” (சந்தப் பாவல பெருமான்), as he is correctly titled, is the great composer of Thiruppugazh (which literally means “Praise of the Lord”). Not many of us really know that Saint Arunagirinathar also appears to have had a very high musical and mathematical proficiency. The Thiruppugazh compositions are filled with a lot of subtle and noteworthy intricacies, in its poetic form. This great composer not only exhibited utmost devotion through his songs, but also showed immense knowledge of “Metric Rhythm” (which is better known as “Thiruppugazh Chandam”) and mentioned a vast information of Musical Instruments used in the Indian sub-continent during his times. Thiruppugazh compositions appear to be an immense resource of Indian Music.

The Compositions of Saint Arunagirinathar

The spectacular works of Saint Arunagirinathar can be broadly categorized into 9 groups, namely Thiruppugazh, Kanthar Anthathi, Kanthar Anubhoothi, Kanthar Alankaram, Vel Viruttham, Mayil Viruttham, Seval Viruttham, Thiruvaguppu and Bhutha Vethala Vaguppu. A quick glance through a few of his compositions reveals the complexity and his techno-musical skills in setting the lyrics to the rhythm.

Contribution to the World of Music

Many standard Sanskrit works on music have chapters dedicated to Thala and Music. Such works as Thala Lakshana, Thala Vishaya, Thala Vidhana, Thala Samudra, Thala Dipika, Thala Mahoddhati (Achutaraya) and Thala Lakshana Sangraha treat of Thala alone. However, Saint Arunagirinathar’s contribution is invaluable. His compositions are known for their beautiful, flowing lyrics coupled with complex rhymes and rhythmic structures.

His Thiruppugazh compositions led to the invention of a new genre of Thala called Chanda Thala. Thus, he earned the title, “Chanda Pavalaperuman”, meaning, “Unequalled Master of the Verse”. On account of his great mastery over the rhythmic aspect of music, he has been given the tile “Thalachelvar”. The famous Thaayamaanavar poet spoke of this great Saint as “Vakkirkkarunagiri” (வாக்கிற்கு அருணகிரி) – because of his excellent usage of words in his compositions.

Musical Instruments in the Thiruppugazh Compositions

There are many Thiruppugazh references, which mention about the Musical Instruments which were prevalent during those times.

Tiruvannamalai temple sculpture depiction of musicians

Here are a few compositions, which have an explicit mention of Musical Instruments.

  1. In the Swamimalai Thiruppugazh song starting with “எந்தத் திசையினும்”, we can come across
  2. the thala instruments Challari and Beri (a kind of drum):
  3. தொந்தத் திகு குட தகு குட டிமி டிமி
  4. தந்தத் தன தன டுடுடுடு டம டம
  5. துங்கத் திசை மலை உவரியும் மறுக..................சல்லே பேரி (துன்ற)
  6. Meaning: The great directions, the mountains and the seas vibrated with the chiming of challari (JAlra
  7. metallic hand-cymbals) and beating of bEri.
  8. In another Swamimalai Thiruppugazh song starting with “சுத்திய நரப்புடன்”, we can come across
  9. a lot of thala instruments like Thimilai, Oththu, Murasa, Thudi, Idakkai, Muzhavu and Parai:
  10. தத்தன தனத்தன தனத்தன எனத் திமிலை
  11. ஒத்த முரச துடி இடக்கை முழவு பறைகள்
  12. சத்தம் அறைய தொகுதி ஒத்த ஜனி ரத்த வெ(ள்)ள(ம்)... மண்டி ஓட
  13. Meaning: The drums were beating to the meter of “thaththanatha natthanatha natthana”; trumpets,
  14. hand-drums and other percussion instruments beaten with the left hand were all making loud noise.
  15. In the next example from Vaiththeeswaran Kovil Thiruppugazh song starting with “மேகவார் குழல்”,
  16. the sound of Muzhavu is mentioned as follows:
  17. மீனு லாடையிடை யாடமயில் போலநடை
  18. யோல மோலமென பாதமணி நூபுரமு
  19. மேல்வில் வீசபணி கீரகுயில் போலகுரல் .... முழுவோசை
    முரசு
    Murasu    		 Muzhavu
    Parai Thimilai
    (is an hour-glass shaped percussion instrument)

Meaning : The dazzling attire of cotton fluttered around their waist; their gait was like that of the peacock; the gem-studded anklets on their feet made a jingling sound of surrender; their jewels radiated bright light; and these whores crowded in the assembly hall making sounds sweet like milk, cooing like cuckoo and resonating loudly like drum.

  1. In another Thiruppugazh song starting with “நினது திருவடி”, we can come across a lot of thala instruments like Maththala (is a drum made out of the wood of the jackfruit tree. It has two sides for playing, made out of leather, and has different kind of sounds on each side), Idaikkai, Oththu, Thudi, Thavil:

செரும உதரநி ரப்புசெ ருக்குடல்

நிரைய அரவநி றைத்தக ளத்திடை

திமித திமிதிம மத்தள இடக்கைகள் ..... செகசேசே

எனவெ துகுதுகு துத் என ஒத்துகள்

டிமுட டிமு டிமு டிட்டிம் என(த்) தவில்...........எழும் ஓசை

\underline{Meaning}: The double-barrel drums made the noise of “thimidha thimithimi”; the left-handed drums (called idakkai) sounded “jegajega jE”; the trumpets and the hand-drums together made the thunderous noise of “thuguthugu thuththe”;the percussion instruments sounded like “dimuda dimudimu dittim”; the devils who fought among themselves beat the drums with their hands.

*படத்திலுள்ள நான்கு தாளங்கள் அவற்றின் பெயர்களுடன்:

  1. துடி (Thudi)
  2. தவில் (Thavil)
  3. மேத்தலாம (Maththalam)
  4. இடக்காய் (Idakkai)*
  1. The final example from Chidambaram Thiruppugazh song starting with “கங்குலின் குழல்”, there are a number of Tamil Musical Instruments including the Sangu (Conch), Yazh, Murasu, and so on:
சங்கு பொன்தவிற்காள முந்துரி
யங்கள் துந்துமிக் காட திர்ந்திட
சந்த செந்தமிழ்ப் பாணர் கொஞ்சிட .... அண்ட கோசம்

சந்தி ரன்பதத் தோர்வ ணங்கிட

இந்தி ரன்குலத் தார்பொ ழிந்திட

தந்தி ரம்புயத் தார்பு கழ்ந்திட......... வந்தசூரைச்

Meaning:

அழகிய மேளங்களும், ஊது கொம்பும், முரசப் பறைகளும், பேரிகைகளும் கூட்டமாக அதிர்ச்சி செய்து ஒலிக்க, அழகிய செந்தமிழ்ப் பாடல்களைப் பாடவல்ல பாணர்கள் அருமையாக வாசிக்க, அண்டங்கள் எல்லாவற்றிலும் உள்ள அனைவரும் சந்திர மண்டலத்தில் உள்ளவர்களும் வணங்கவும், தேவர்கள் பூமாரி பொழியவும், யாழ் ஏந்தும் கையினரான கந்தருவர் போற்றவும், எதிர்த்து வந்த சூரனின்,

Conches, elegant percussion instruments, trumpets, hemispherical drums that accompany royal processions and large drums were all beaten together making a thundering noise to the accompaniment of music nicely played on string instruments by musicians capable of singing songs in chaste Tamil language; Some of the musical instruments mentioned in his compositions include Yazh, Venu, Kombu, Udukkai, Thavil, Dol, Bherigai, Vennkombu, Parai, Murasu, Maththalam, Idakkai, Thudi, Thimilai and Muzhavu.

Contribution to the World of Thala / Chanda

The noteworthy aspect of the compositions of Saint Arunagirinathar is that the metrical pattern of his compositions suit to the rarest known and the unknown Thalas of present Thala Scheme namely Thishra Dhruva Thalam, Sankeerna Dhruva Thalam, Chathurshra Jampa Thalam, Sankeerna Triputa Thalam, Mishra Rupagam, Tishra Matyam Thalam, Chathurshra Ata Thalam, Khanda Rupagam Thalam, and so on. Not only these, but also unheard Thalas like Somathi Thalam, Simhaleela Thalam, Ananga Thalam, Nishankaleela Thalam, Vishama Thalam can be observed to be set in his compositions. Owing to his immense knowledge of music, he defeated Villiputhoor Azhvaar in a Music Contest.

These compositions can be rightly termed as the “Treasure house of Thalas” or “தாள இலக்கிய பிரபந்தம்”,

It won’t be an exaggeration to state that the Tamil language has acquired a unique dimension and sanctity in the hands of Saint Arunagirinathar who handled the language very beautifully in poetic verses. According to Tamil scholars, the poetic expression of Arunagirinathar, his language and style, the metaphors and similes all went into making his works an outstanding literary masterpiece. It is difficult to judge who is great; Arunagirinathar – the saint or Arunagirinathar – the poet. Literary critics hailed him as the master craftsman of letters. “Just as Arjuna was the master in the art of archery, Arunagirinathar was the master in the art of handling letters”. “வில்லுக்கு விஜயன் வாக்கிற்கு அருணகிரி”.

[^1]: People from all the worlds including those from the lunar zones assembled to prostrate (at Your feet); the celestials showered a rain of flowers; the GandharvAs (Divine Musicians) praised You musically holding the string instrument YAzh in their hand.

Conclusion:

It would be most appropriate to mention here, that Thiruppugazh is of “Chandapaadal”. Just before the time of Saint Arunagirinathar, “Vannappa” or “Chandapa” came in use and it reached its pinnacle during the “Thiruppugazh” of Saint Arunagirinathar, in the 15ᵗʰ Century A.D. For any composition or Hymn to qualify in a particular “Chanda”, all its verses need to be in that particular chanda. This criterion is gracefully fulfilled by the compositions of Saint Arunagirinathar. In fact, these compositions give rise to a revolutionary set of “Chanda” called Thiruppugazh Chandas. Such mathematical precision and adherence to the principles of the grammar of Music are indeed commendable. Strictly speaking in technical terms, a demonstration of poetic skills amalgamated with mathematical mastery is rarely seen in other types of compositions. The parallels can be stated from the Vedas and Upanishads. As we are aware, the Vedic verses are set to a particular meter throughout the entire text without any deviation. We also observe strict adherence to the meter in the scholarly works of Adi Shankaracharya. But it is a real challenge for a composer to strike a balance between chanda and poetry without diluting the devotional aspect of the song. This is not only successfully but also efficiently handled, by Saint Arunagirinathar. We observe adherence to Musical Prosody plaited by a fundamentally mathematical basis (in the Chanda) amalgamated with utmost devotion with frequent reference to the epics and other sources of literature, in these compositions. Therefore, it is revealed that Saint Arunagirinathar must have been a “Versatile Genius” with “Multifaceted Personality”.

Thus, the above analysis brings out a vast treasure of information hidden behind the carefully selected words of the compositions. Hence, we need to have a deeper introspection of the Thiruppugazh compositions in order to understand them to the fullest extent. On a concluding note, let us not claim that we have fully comprehended the Thiruppugazh compositions, by merely singing them at the end of a concert or as a part of a bhajanai...we need to retrospect.

★★★

திருப்புகழ் அன்பர்கள் அருளாளர் அருணகிரிநாதரின் அனைத்து படைப்புக்களும் அடங்கிய திருப்புகழ் மதானி என்ற புத்தகத்தை 1991 ஆம் ஆண்டு அச்சிட்டனர். அதன் முதல் பிரதி திருமுருக கிருபானந்த வாரியார் சுவாமிகள் அவர்களால் வெளியிடப்பட்டது. வெளியிடப்பட்ட அன்றே அச்சிடப்பட்ட 2000 புத்தகங்களும் விற்பனையாகி சாதனை படைத்தது. பிறகு இசை வழிபாடு நிகழ்ச்சிகளுக்கு மக்களின் ஆதரவு அதிகரிப்பத்தை கண்ட குருஜி அவர்கள் 'திருப்புகழ் இசை வழிபாடு' என்னும் வழிகாட்டு புத்தகத்தை வெளியிட முற்பட்டார். அந்த இசை வழிபாடு புத்தகத்தை 1993ஆம் ஆண்டு முன்னாள் ஜனாதிபதி வெங்கட்ராமன் அவர்கள் வெளியிட்டார்கள்.திருப்புகழ் இசை வழிபாடு புத்தகம் மக்களிடையே மிகப் பெரிய வரவேற்பை பெற்றது.12 ஆண்டுகளில் 14 பதிப்புகள் அச்சிடப்பட்டு 41,000க்கும் மேற்பட்ட புத்தகங்கள் விற்பனையாகி உள்ளன.

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