Kashi's revival is Bharat's revival. Southern states, Tamilnadu included, have a deep connection with Kashi. This affection is reflected in the many Kashi Vishwanathar temples across TN and the many Bhakti saints like Appar, Arunagirinathar, and Kumarguruparar journeying to Kashi
The affection is such that Kaveri is hailed as the Southern Ganges. The great poet Bharatiyar beautifully wove together the essence of Kanchi and Kashi in his works, highlighting the spiritual and cultural threads that unite these two iconic cities.
From the symbolic Kashi Yatra in vivaha to the Sraddha held at Kashi, this city is intricately woven into the cultural fabric of South Indian weddings and spiritual practices. The south has witnessed great spiritual leaders undertaking journeys north, sparking cultural revivals
Revival of Kashi is revival of India. Kumaraguruparar Swamy stands out for his crucial role in reviving the Kedareshwar temple in Kashi. Similarly, Dikshitar's northern sojourn to Kashi enriched his Carnatic compositions with Hindustani elements, creating a beautiful fusion
Kashi serves as a unifying ground for all sects within our Dharma. For example, Purandaradasa, a follower of Madhva philosophy, says "ಬಿಂದು ಮಾಧವನ ಘಟ್ಟಕ್ಕೆ ಹೋಗುವೆ ತಾರೇ ಬಿಂದಿಗೆಯ Bindu Madhavana Ghattake hoguve, tare bindigeya." about the Bindu Madhava temple and ghat at Kashi.
Arunagirinathar also includes a couple of Tiruppugazhs dedicated to Kashi, where he addresses Kartikeya 'O Kartikeya, Son of Siva, who bears the black mark of poison on his throat and is the consort of Uma. Your divine abode is at Kashi, on the banks of the Ganga river".
In this specific Tiruppugazh, "வேழம் உண்ட/Vezham Unda," he recalls the moment when Kartikeya, in the form of Gnana Sambandhar, triumphed over the Shramanas in Madurai, leading to their defeat and their subsequent fate at the gallows.
வேழம் உண்ட விளாகனி அது போல
மேனி கொண்டு, வியாபக மயல்ஊறி,
நாளும் மிண்டர்கள் போல்மிக அயர்வு ஆகி,
நானும் நைந்து விடாது, அருள் புரிவாயே,
மாள அன்றுஅமண் நீசர்கள் கழு ஏற,
வாதில் வென்ற சிகாமணி! மயில்வீரா!
காள கண்டன் உமாபதி தருபாலா!
காசி கங்கையில் மேவிய பெருமாளே!
Towards the close, Bhujangam moves to the total absorption of Skanda " Let Skanda’s form stay in my vision, His fame ring in my ears, His story fill my speech. Let my hands serve His feet, my body be His servant, my limbs and thoughts rest wholly in Guha."
दृशि स्कन्दमूर्तिः श्रुतौ स्कन्दकीर्तिः
मुखे मे पवित्रं सदा तच्चरित्रम्।
करे तस्य कृत्यं वपुस्तस्य भृत्यं
गुहे सन्तु लीना ममाशेषभावाः is similar to
விரகற நோக்கியு முருகியும் வாழ்த்தியும்
விழிபுனல் தேக்கிடஅன்புமேன்மேல்
மிகவுமி ராப்பகல் பிறிதுப ராக்கற
விழைவுகு ராப்புனையுங்குமார
Arunagiri says "I would like to look right into Your eyes with a melting mind and singing Your glory with, my eyes filled with tears; my love for You swelling constantly; and
day and night, I should concentrate only on You and nothing else."
Always wanted to explore the similarities between Subrahmanya Bhujangam & Tiruppugazh. With a 6-day Saiva Samayam space on both starting tomorrow and culminating in Skanda Shashti, this feels like the perfect time for the thread.
Though the time periods of the composition are different, there are some statements look very similar - some links that are metaphorical and poetic, some rooted in the composers themselves, few others unique to the deity and a few esoteric, left to the reader’s interpretation.
According to legend, both compositions arose from the composers’ physical ailments, with healing of ailments and diseases woven into their verses. Though from different traditions, the phalastuti of Bhujangam and certain Tiruppugazhs show Sayujya as the goal.
Pushya Masa Purnima /Thaipusam Special – Mayil Vaguppu: The Mayil Vaguppu with its powerful imagery glorifies Skanda’s vahana, showcasing its parakrama and authority, over serpents like Rahu-Ketu, Adisesha, etc., as well as over celestial birds like Garuda and Hamsa
Just as the Vel is revered, so too is Skanda’s Mayura (peacock), shaped like Pranava. Fittingly, "Subrahmanya" rides this sacred form. Some puranas say it was gifted by Garuda, while others narrate that Tarakasura/Surapadma was transformed into His Mayura Vahana.
Arunagirinathar says "the venomous serpents Rahu and Ketu, who torment the Surya-Chandra by swallowing and releasing them, wailed in distress. They pleaded, 'Shanmukha, five-faced Shiva, and elephant-faced Ganesha are the deities we worship.'
Navaratri special: Arunagirinathar, often seen as a Kaumara for his devotion to Lord Muruga, expressed a deep internal worship of Devi in his works. While his songs praise Kartikeya, a Sakta essence permeates many Tiruppugazhs, notably the Devendra Sanga Vaguppu.
This Vaguppu forms the mantra of the mani mantra aushada of Tiruppugazhs. This Sakta essence mirrors the deeper philosophy of Ananda. At the center of the Sricakra, Devi, united with Kameshvara, symbolizes the fusion of Siva, Sakti, and Skanda, representing Sat, Cit, and Ananda.
Similarly, in this Vaguppu, in 12 out of the 16 lines, Arunagirinathar sings of Cit, the manifested layers of Creation, as it is through Devi’s manifestations (vyakta) that we can comprehend her, for she is both manifest and unmanifest ("vyaktavyaktasvarupini").
Bhadrapada/புரட்டாசி Special: True to His divine promise in the Gita, Lord Krishna vanquished many demons in Vrindavan, restoring dharma. Arunagirinathar beautifully recounts several of these Bhagavata episodes in his Tiruppugazhs, particularly in 'முருக மயூர/Muruga Mayura.'
மருகன் எ(ன்)னாமல் சூழ் கொலை கருதிய மாமப் பாதகன்
வர விடு மாயப் பேய் முலை பருகா
Without regard for his familial bond to his nephew Krishna, the wicked Kamsa relentlessly schemed to kill Him. He dispatched the deceitful Putana, but He drained both her life and the deadly milk.
Contrast this with the bond that Vishnu and His Nephew Kartikeya has.
மேல் வரும் மத யானைக் கோடு அவை திருகி
Later, when the fierce elephant Kuvalayapeeda charged with intent to kill, Krishna effortlessly crushed its mighty tusks, bringing the beast to its death.
True to the Vedic verse 'agnirme vāciśritah/अग्निर्मे॑ वाचि श्रितः' - 'May Agni reside in my speech,' Arunagirinathar, a devotee of Agniswarupa Kartikeya, mastered tongue twisters. His Tiruppugazh 'Enakkuchatru/எனக்குச்சற்று,' for instance, features 80% hard consonants (வல்லினம்)
The song is filled with hard consonants like 'ka-க', 'ca-ச', 'da-ட', 'ta-த', 'pa-ப', and 'Ra-ற', making it challenging to pronounce without frequent breaths. Softer nasal syllables like 'gna', 'Na', 'na', and 'ma' are minimal, requiring significant practice to sing smoothly.