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Some Remarks on the Role of Tamil Literary Tradition in Śiva Śatakam of Nārāyaṇa Guru

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Some Remarks on the Role of Tamil Literary Tradition in Śiva Śatakam of Nārāyaṇa Guru Sociology Study, October 2016, Vol. 6, No. 10, 619‐628 D doi: 10.17265/2159‐5526/2016.10.001 DAVID PUBLISHING Some Remarks on the Role of Tamil Literary Tradition in Śiva Śatakam of Nārāyaṇa Guru Hanna Urbańskaa Abstract The paper presents an analysis of the selected stanzas of Śiva Śatakam (One Hundred Verses on Śiva)—the most important hymn devoted to Śiva composed in Malayalam by Nārāyaṇa Guru. The analysis shows that there is a tendency in the hymn to emphasise the equal status of Sanskrit and Dravidian literary tradition. Several stanzas are constructed on the basis of Sanskrit stories or myths; however, this “classical” scheme is filled with Tamil or Malayalam concepts, ideas, and key words. What is more, Nārāyaṇa Guru employs so called twilight language used by authors of Tamil philosophical works in order to provide a receiver of the poem with the opportunity to interpret some stanzas in accordance with Sanskrit as well as Dravidian tradition. The introduction of a person belonging to lower caste of South India as the one who is able to attain liberation, as well as presentation of the well‐known philosophical concepts as equal or even subordinated to the Dravidian ideas could become a significant contribution to the social activity of Guru comprising among others the concern for spiritual and social uplift of the lower caste people of Kerala. Keywords Śiva Śatakam, Nārāyaṇa Guru, Tirumantiram, Kuṇḍalinī, Tamil literary tradition In the present paper, an attempt will be made toward language and meaning and retaining its original style” interpreting selected stanzas from the Malayalam (Balachandran 2015: 21) as well as Oḻiviloṭukkam2; he work of Narayana Guru (Nārāyaṇa Guru, 1854-1928), also composed poems in Tamil a South Indian philosopher and social reformer from (Tēvārappatikaṅkaḷ—A Set of Verses on Adoration of Kerala. In his poem Śiva Śatakam (abbr. ŚŚ)—One Gods). Hundred Verses on Śiva, based on different This might explain why the first stanza of Śiva philosophical systems (Śaiva Siddhānta, Yoga, Tantra, Śatakam contains an allusion to the Tamil work, etc.), Narayana combines Sanskrit and Dravidian although the plot of the story mentioned here is shared (Tamil and Malayalam) tradition1. The intent of the by both the Sanskrit and the Tamil tradition. It is the paper is to present the method of introduction of South Indian version of the famous epic Mahābhārata, several Tamil ideas into a composition based on the from which Narayana Guru derived the motif of “classical” Sanskrit scheme, attested by ancient Indian literary tradition. Narayana Guru was proficient—as well as in Malayalam and Sanskrit—in Tamil aUniversity of Wrocław, Poland language and literature (Yati 2007: 13; Balachandran 2015: 20-21). He translated into Malayalam a part of Correspondent Author: Hanna Urbańska, University of Wrocław, Pl. Uniwersytecki Tirukkuṟaḷ “without losing even a bit of its beauty in 1, 50‐137 Wrocław, Poland 620 Sociology Study 6(10) writing down the poem, which was considered to be an experience of bliss. The name Bhāratī can be the fifth Veda3 by Ganeśa with his broken tusk on the associated with the disposition of attaining bliss slopes of the sacred Meru Mountain which served as a within consciousness, knowledge, or light6. The palm leaf. Two commentators, T. Bhāskaran and M. N. second stanza of ŚŚ runs as follows: Prasād, quote the portion of the Tamil Villi Bhāratam “The four excellent Vedas, revealed in olden times, which could be the literary source of the story were granted as divided into (four) parts to the included in the first stanza of ŚŚ: Rain-Cloud-Dark-Skinned One (i.e. Kṛṣṇa Dvaipāyana Vyāsa); that supreme (Knowledge) was As soon as the best of sages Vyāsa who was practicing recited in the tongue of Valluvar7—may the Goddess penance—had composed Mahābhārata as the fifth Bharati protect us eternally”! Vēda—together with the four Vēdas existing in this world surrounded with the ocean, he had bowed to the God In both stanzas given above, there is a tendency to (Ganeśa), who wrote it down (using) the Meru Mountain as equate Sanskrit works and Dravidian ones; firstly, in 4 a palm leaf and his broken tusk as the pen . the stanza constituting the praise of Ganapati (Gaṇapati), Narayana Guru mentions the great epic One can find a reference to that extraordinary (Mahābhārata), regarded as the fifth Veda—but in its writing material in the first stanza of ŚŚ: The slopes of Tamil version; secondly, it has been emphasised in the (Meru) Mountain (adriyinmēl) serve as the palm leaf stanza constituting the praise of Sarasvatī that both for Ganeśa, whereas the tip of his broken tusk the Sanskrit Vedas and the Tamil Tirukkural were becomes the pen (muṟikonbu): revealed thanks to the Goddess of Speech—Sarasvati (Bharati); as a result, the position and value of both In olden times, the Perfect-Eared One gracefully wrote must be admitted to be the same8. down from end to end the story of Mahābhārata battle with The very same importance of Sanskrit and Tamil (the tip) of his broken tusk on the slopes of (Meru) Mountain; may the divine form (of Lord)—the manifestation of the literary tradition has been suggested by Guru not only Fullness remaining the close friend to his humble devotees, at the level of literary tradition and mythological 5 bestow protecting cares on us! issues, but also from the philosophical as well as from the social perspective. Stanza 24th of ŚŚ, in which one In the subsequent stanza of ŚŚ, another reference can find the influence of Tamil tradition, seems to to the Tamil literary tradition can be found: The four touch on the subject of liberation in the context of the Vedas described here with the expression social situation and reforms introduced by Guru. It is arumaṟa—“the excellent mystery/secret” as well as worth recalling here that ŚŚ was composed during param atu—“what is transcendent, highest, supreme”, Guru’s stay in Tamil Nadu, at Marutvāmala, which ascribed to Kṛṣṇa Dvaipāyana Vyāsa according to was renowned for its medical herbs: Sanskrit tradition, have been chanted in the language “At the mountain top, there are three remedial of Valluvar (Vaḷḷuvar), the author of the famous Tamil herbs, guarded on both sides by snake and tiger; the poem Tirukkural (Tirukkuṟaḷ)—thanks to the Speech untouchable one, having attained and taken the half Goddess Sarasvati (Sarasvatī) or Bharati (Bhāratī). It (of such a medicine), shines again. O my heart! May is worth emphasising here that the term maṟa denoting you grasp and taste (the same)”9! secret as well as Vedic texts is of Tamil origin. The The source of the allegory given above has been name of Goddess has been explained by Prāsad in indicated by two commentators, T. Bhāskaran and M. N. accordance with the context of that stanza: bhā means Prasād, both of whom provide the Malayalam summary brightness, light, or splendour, whereas rati denotes of a corresponding portion of the Tamil poem Urbańska 621 Nantanār Caritam, composed by Gopalākṛṣṇa Bhārati the yogic experience, i.e. the ascent of the serpent (1810-1896). It presents the story of a Śaivite devotee, power (Kuṇḍalinī śakti) within the central channel of belonging to the untouchable community (paraiyār), the human body, called suṣumnā (represented by who finally become physically merged with Śiva in a Meru Mountain in Tirumantiram, whereas Kailāsa blaze of light: “On the theatrical stage of the great joy Mountain represents its top) in order to reach the top and the fullness of bliss, there is a remedial herb of the head14. The nectar or immortality juice (amṛta) which can remove the confusion of mind. No other is described as flowing down from the moon region of medicine can be useful for your mind”. “My Lord, I the body, which comprises the head sphere containing am your slave”—in such words, Nantanār speaks to energy centers (cakras) called ājñā and sahasrāra, Brahmin, staying in his house in order to work; as situated respectively between the eyebrows and on the soon as he—having taken pains—found snake and top of the head15. Hence, the process of the ascension tiger, the agricultural work was completed. After the of Kuṇḍalinī śakti, finally reaching the top of the whole world was measured, both Viṣṇu and Brahmā, yogi’s head, is symbolically described as the having seen it, became filled with joy. Beautiful one, absorption of moon digits representing divine powers Goddess Pārvatī, has eaten one half of it. Another half (śaktis) in the moon region of the body in order to has remained. Say, may I eat (such a half) as soon as I compound the full moon. The concept is present in get (your) consent: “Come here and see”! “As soon as several stanzas of ŚŚ: the 83rd (the fullness of Soma I get the approval, my illness will disappear”10. symbolising the mind), the 78th (the moon or the The story given above has been adapted by Guru mind fixed on Śiva’s head as opposed to the unstable after several transformations have been introduced. mind of a devotee), the 28th, and the 35th (the Firstly, the animals (tiger and snake) imagined as an expression muḻumati denotes the perfect i.e. full moon obstacle during agricultural work, became two as well as a perfect i.e. liberated mind). custodians preventing an ascent to the mountain top, The three remedial herbs mentioned in the stanza where three remedial herbs are mentioned as growing. of ŚŚ quoted above are interpreted by T. Bhāskaran The vision proposed by Guru is shared by both the and J. B. Nāyar as sat, cit and ānanda16, i.e.
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