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Sage Peyazwar
Period 7th C. AD
Place Mylapore
Other Names Kairava muni, Maha-daahva-yaar
Month Iyppasi
Star (Natshatram) Sadhayam (Satabhishak)
Hamsam Nandhgam (Sword)
Pey Alwar - SaranathanPey Alwar concluded by singing the third 100 verses starting with the words ' Tiruk Kanden, Pon Meni Kanden' ( I found the glorious, golden form of the Lord').
Tiruk Kanden Pon Meni Kanden- Thigazhum / Arukkan Ani Niramum Kanden-Seruk Kilarum / Pon Aazhi Kanden Puri Sangam Kai Kanden / En Aazhi Vannan Paal Inru On witnessing the glorious vision in which the entire universe was the very body of Lord Narayana, the Alwar proceeds to describe all that he had seen. "
I have seen the glory of SRI, the consort of the Lord; I have seen hos
bewitching body that is azure in color as the sea; I have seen his brilliance like that of the Sun; on his one hand, he holds his divine discus that reverberates in the battlefield and on the other he holds the divine conch.
Seru : Battle, Aazhi Vannan : One whose color is like that of the blue seas.
The verses were so constructed that the ending word of each verse became the commencing word of the next verse - a special kind of prosody characteristic of Tamil literature called 'Anta Adhi' 'Anta' means 'end' and 'Adhi' means 'beginning'. The three works were thus called First Antadhi, Second Antadhi and Third Antadhi respectively and set in motion the mellifluous flow of Bhakti literature to follow.
Thanian on Pey Alwar Seeraru Mada Tirukkovilur Athanul / Karaar Karu Mukhilaik Kaanap Pukku /Oraat Thiruk Kanden Enru Uraitha Seeraan Kazhale Uraik Kandaai Nenje! Ugandhu/
" O! My mind! On the corridors of the ramparts of the lovely Tirukkovilur where reclines the Lord with the color of the rain bearing clouds. Experiencing an intimate bonding with him, the great Pey Alwar has bequeathed to us his psalm "Tiruk Kanden" in Antaadhi style. You can derive divine ecstasy by concentrating on his holy feet"
The Divya Desams consecrated by Pey Alwar (14) Tiruvarangam, Tirukkudantai, Tiruvinnagar,
Tirumaliruncholai,Tirukkoshtiyur, Ashtabuyakaram,Tiruvelukkai, Tiruppaadakam, Tiruvekka, Tiruvallikkeni, Tirukkadikai, Tiruvenkadam, Tiruppaarkadal and Paramapadam
Mudhal AzhwArs: [first three among the 12 AzhwArs]
These three AzhwArs namely Poigai AzhwAr, bhoothatthAzhwAr and
PaeyAzhwAr are the earliest among the 12 AzhwArs and are called
mudhal AzhwAr. According to the traditions, they were born in the
same year of SiddArti, same month of Aippasi and on three
consecutive days respectively. The stars were: ThiruvONam, avittam
and Sadhaym. They were not born like us; they appeared and hence
they were ayOnijas. Their period was estimated as 7th century A.D.
(Though we are not attaching any significant importance to it, it is
better to have a datum)
Poigai AzhwAr, an incarnation of MahAvishNu's paanchjanyam (Divine
conch, sanghu in Tamil) is also called Adhi kavi. poigaiAr appeared
on the ThAmarai mottu (lotus bud) in a pond in tiruve:ka near
kancheepuram in the proximity of Yathothkaari temple. He is so named
because of his birth in Poigai [tank]. He is also knows as Saroyogi,
indicating his birth in a saras. [Remember bhootham saras cha
mahadhaahvya bhatta nAtha? sloka].
BhoothatthAzhwAr the second AzhwAr was born at Kadanmallai
[Mahabhalipuram] near Chennai. He was found near the Kurukkatthi
flower and hence also called as poo thatthAzhwAr. Another view is:
He is named so because of the possession of divine jnAnam out of
God's grace [Sri SMS Chari writes in his book on AzhwArs: bhootha ?
Sanskrit equivalent of Pootha means- etymologically one who has
gained sattaa or sustenance by spiritual knowledge [bhoo sattaayaam
vaachi]. He is also known as bhootha muni, hence. He is an
incarnation of Divine mace (called kaumOdaki) of our Lord
mahAvishNu.
The Third AzhwAr- paey AzhwAr was born at Mylapore in Chennai. The
term paey means one who is possessed. And this AzhwAr was possessed
and intoxicated with the intense love and bhakti for the Lord Sriman
Narayanan and hence he was called paey AzhwAr. He is also called
Mahadhaahyvar, signifying his greatness as one who had experienced
God. He is an incarnation of the sword of mahAvishNu (called
nandaki), appeared in sevvalli (Red alli-lily) flower in a well of
AdhikEsava perumAL koil at mylapore (in madras).
NammazhwAr, (our azhwAr), the greatest azwAr about whom we will see
later, has addressed these three azhwArs as "innkavi pAdum parama
kavigaL" meaning the greatest poets who sang the loveliest songs or
the sweetest songs; All three azhwArs were blessed with tamizh jnAnam
(knowledge) and bhakti uLLam; All of them, though were not known to
each other, were singing the glories of sriman nArAyaNan, and were
going from place to place visiting the PerumAL temples to get
blessed with Lord's Darshan. They had no other thoughts but for
nArAyanan and lived like sanyAsis (recluses); The Lord perhaps
wanted them to get together and liked to listen to their discussion
about Him and His kalyANa guNAs.
So, they had come to Thirukkovilur and each of them had a separate
Darshan of Trivikraman (the Lord who appeared as vAmanan, a small
brahmachari boy, took the huge tall form as Trivikraman and measured
the entire universe in one step in vAmanAvatAram)
called "UlagaLandha perumAL.
Let us enjoy this wonderful scene from sri Sdagopan Iyengar Swami's
article]It was a dark and stormy night at Tirukkovalur, with
rain coming down in torrents, the threatening roar of thunder
shaking all souls and with flashes of lightning serving as the only
illumination. It was a night when none would venture out and
everyone had shut himself up tight in his home. Yet, it was a night
on which three Yogis, who had the Lord entrenched in their hearts,
chose to be out and about. When they reached Tirukkovalur separately
by different routes, they found all houses shut, all choultries
locked up, with the inmates unlikely to open up. The first to reach
was Poigayazhwar, who found a narrow passage in the front portion of
an ashramam belonging to Mrigandu Maharshi and lay down, prepared to
spend the night among the inhospitable and confined environs.
Sometime later, Bhootattaazhwar too discovered the same place and
finding someone already occupying the space, enquired whether there
would be room for one more person. The first occupant welcomed the
stranger, saying that if there was space enough for one person to
lie down, two could sit there. An hour or so passed and there came
knocking another worthy, wet and drenched to the skin and seeking
shelter in the passage. He too was welcomed by the other two, who
thought that three could at least stand comfortably in the small
space, which could seat two and provide a bed for one. The three
Azhwars were thus standing in the pitch dark, sharing with one
another their experiences of the Lord and His auspicious attributes.
All of a sudden, they felt rather tight pressed. Where they were
standing comfortably earlier, they now felt that the available space
had diminished, as if a fourth person, unknown to the other three,
had entered the narrow passage and was crowding them. Apparently,
someone had sneaked into the already constricted space without
announcement and was standing as one with them.
As it was pitch dark and they had no way of producing light,
Poygaiazhwar hit upon the idea of lighting a novel lamp. Using the
elements of nature as ingredients, considering the whole earth as a
lamp, the waters of the salty seas as oil and with the shining Sun
as the wick, he lit a glorious lamp that would shine forever and
show up with clarity even the tiniest speck of dust. For his part,
Bhootattaazhwar lit another lamp, using entirely home-made
ingredients, all available within oneself and yet the hardest to
find in any human being: he fashioned a lamp out of his unfathomable
love for Emperuman. Oil for the lamp was his uncontrollable urge to
see the Lord and the wick was his intellect, made sweet and melting
by constant contemplation of the Lord's auspicious attributes.
Such was the extraordinary illumination provided by the two lamps
lit by these two Yogis, that the third, Sri Peyazhwar, was able to
see clearly the fourth person who had been squeezing them tight.
First and foremost, Azhwar's eyes alighted on the glorious form of
Sri Mahalakshmi adorning the broad chest of the intruder-"Thiru
kanden" sang out Sri Peyazhwar, exulting in the wonderful spectacle
that greeted his eye. Having realized, from the presence of the
Divine Consort, that it was none other than the Paramatma Sriman
Narayana who had entered the passage and was squeezing the trio,
Azhwar's sight fell next on the glorious golden tirumeni of the
Paramapurusha-"Ponmeni kanden". The brilliant and blazing complexion
of the stranger imprinted itself upon Azhwar's eyes, prompting him
to comment ecstatically on the same-"Tigazhum arukkan ani niramum
kanden". The Lord's Divine Discus and the Cosmic Conch adorning His
upper hands presented a spectacular sight to the thirsty eyes of
Azhwar-"Serukkilarum Ponnaazhi kanden, puri Shankham kai kanden".
The three Azhwars, inspired by the grand spectacle of Emperuman's
glorious form in their midst, poured out their devotion in a hundred
beautiful verses each, brimming over with Bhakti.
These are the paasurams which served as forerunners of the four
thousand nectarine verses that were to be composed by the other
Azhwars. Though there is no direct internal evidence in the Divya
Prabandas of one Azhwar eulogizing another (except in the case of
Sri Madhurakavi and Sri Andal), Sri Nammazhwar refers to these
three "pioneer" Azhwars as "Paaley Tamizhar, Isaikaarar, patthar",
paying generous tribute to their devotion and the beauty of their
compositions.
Each of these 100 verses (pasurams) flowing from their mouths as if
they are clear stream of water; in andhadhi style. These three works
which constitute the earliest poetical compositions contributed by
the Vaishnava saints of South India contain philosophical and
theological ideas of Srivaishnavam. Sriya: Pathi listened to them
to the utmost pleasure and satisfaction all their pasurams and after
blessing them, disappeared.
From then on, they always went together to other temples, and On
their way, the three azhwars also were blessed with
1. a darshan of sitapiratti, lakshmana, bharatha, sathrukna,
hanumathsametha Sri Ramachandra at Ayodhdhi,
2. a darshan of Lord ThiruvEnkadamudaiyAn down the hill (not at
tirumala, but at tirupathi), when they hesitated to step on the Hill
and turned back; such a place is called "Azhwar theertham" even
today.
3. Offering a charkayudha to Vishnuvarthanan, a king at kanchipuram
for winning a battle. and
4. later, joining with another azhwAr, by name Thirumazhisai azhwAr
(on their way)
A Glance at their marvelous compositions:
1. Poigaiazhwar composed the first 100 pasurams "mudhal
thiruvandhadhi" (andhadhi means the first word of one verse will be
last word of the previous verse )starting with the first one: vaiyam
thagaliya, varkadle neyyaga/ veyyakkadiron vilakkaga/ sudarazhiyan
adikke soottinen son malai/ Idar neenghugave enru/
Meaning:Lord Narayana, who holds the Divine chakrayudha, is the
cause of this wonderful universe and the seas. I am singing these
malai(Garland) of verses(pasurams) and dedicating to Him, whose
vision I had is the light of the lamp of the earth, and oil being
the seas, the sun being the source of the light;
2. Bhoodathth Azhwar composed the second 100 pasurams "irandam
thiruvandhadhi" starting with the first one: anba thagaliya, Arvama
neyyaga/ inburugu sindhai idu thiriya/ nanpurugi Gnana chudar
vilakku etrinen/gnana thamizh purindha nan/
meaning: Here, it is the love as the lamp and involvement as the oil
and azhwAr says" I dedicate myself to the service of the lord, by
singing this song that blesses wisdom(gnana), with love as the lamp,
endearing involvement as the oil(Ghee), and knowledge as the wick of
the torch".
3. Pey Azhwar composed the third 100s called "moonram
thiruvandhadhi", with the first one as follows: thirukkanden,
ponmeni kanden- thigazhum/arukkan ani niramum kanden-seruk kilarum/
ponazhi kanden puri sangham kai kanden/ en azhi vannan pal inru/
What a song! Azhwar just says:" I now beheld the Goddess by the side
of my Lord who has the luster of blue ocean; I saw the lustrous
divine body of golden colour [of Mahalakshmi]; I perceived the
radiant sun-like form; I saw the most beautiful chakra that glows
fiery in the battle field and the lovely conch shell [sankhu] in the
most beautiful hands of the Lord.
Guruji. A. Sivaguru Swamy
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