Mysticism in the composition of Azhwars - by Dr. NSA - Part 2

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ShrimatAm Shri KavitArkikasimha Sarvatantraswatantra VedAntAchArya Thooppul

Nigamantha Maha Deshikan ThiruvadigaLE SharaNam

 

Mysticism in the composition of Azhwars - Part 2

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Brahman is the aesthetic absolute described as 'Bhuvana Sundara' and the

culmination of the philosophy of love is the experience of the union with

that Supreme 'Bhuvana Sundara'. In this particular relationship the supreme

is loved as a bridegroom and is not feared or revered or honored or served

as is done in respect of a father or a master or a stern God or a ruler.

 

This kind of intimate relationship of the soul with the Lord is suggested in

the Veda itself. The Upanishad says that the soul will be in the full

embrace of the Lord everyday when it is in deep sleep.

 

The Azhwars have sought for an intuitive union with the cosmic ground. They

have expressed sometimes that they have seen Him and so do not like anything

else. They bitterly cry for Him and his union -

 

" I am not aware of having forgotten you " , " I came upon the holy name

'Narayana' " , " I cannot describe my love for you " , " He is within the mind of

those that think of Him " , " He is within, without " , " those who know Him will

see Him " , " I am always at His service " , " He softly entered my mind, He sat

there, He is residing there, He reclines there " , " Who knows Him as I have

known Him? " , " Show me yourself one day " , " I am all alone, you are my

refuge " .

 

The yearning of Azhwars for union with the cosmic ground is expressed in all

these. Sometimes they expressed the experience of union with that supreme

principle -

 

" I am your soul and you are my soul, I have at the very outset gained you "

 

It is a light, which we cannot afford to miss. God has become one with the

totality of the soul and the universe. But yet the human soul remains

limited in its knowledge of God.

 

Nammazhwar's hymns contain much more of longing than realisation. Permanent

realisation baffles all descriptions of course. It is the fruit of such

longing which will be an eternal ecstasy of divine communion. All Azhwars

have felt such intimacy with the Lord and they know Him and His ways.

 

Of these, bridal mysticism is most significant here. The Azhwars start

singing in 'tAnAna tanmai' - as themselves as men. But in the white heat of

their passion of God, they lose themselves and sing in 'pirAttiyAna tanmai'

- as ladylove. The commentator Azhagiya ManavALa perumAL nAyanAr says

" jnAnaththil tan pEchchu, prEmaththil peN pEchchu " .

'kAntha bhAva' or 'madhura bhAva' is one of the modes of bhakti. This is

'bhagavatkAma' and is transemperical. This is described here in terms of the

objects to be desired. The mystics are prone to treat themselves as the

bride of God, not as belonging to either of the sexes - " I am only for Lord

Krishna and this is my longing " .

 

NammAzhwar, Thirumangai Azhwar and AndAl are preoccupied with Krishna prEma

and their hymns enshrine this mystic love in its pristine purity and

perfection. The 'nAyaka nAyakI bhAva' is expressed by them. The Azhwar bride

NammAzhwar gives expression to this type of mystic love in as many as 27

decads of his ThiruvAimozhi.

 

This is in three forms -

1. The Azhwar himself gives expression to this type of mystic love in

some decads.

2. The mother of the bride tells her visitors and friends that none but

the Lord whom the daughter loves could afford relief.

3. The maid companion of the bride also shows her interest in her

welfare and speaks of her condition.

 

(5-4-1) of ThiruvAimozhi is an example for the first, (6-6-1) is an example

for the second while (4-6-3) is an example for the third.

 

Continued ...

 

dasan,

Balaji (Rajiv)

 

vAzhi vyAkhyAmuddirak kai !!!