Let us now look at the true meaning of the phrase “grown in the forest, shedding beauty.” The verses from the Thirukkural say:
“Whatever the matter, no matter who hears it,
it is rare to perceive its true meaning.” (Thirukkural – 423)
“Whatever the matter, no matter its type,
it is rare to perceive its true meaning.” (Thirukkural – 355)
“To be free from the worldly delusion of birth,
and to realize the true essence of greatness is rare.” (Thirukkural – 358)
The scholars who have written explanations for the Vinayagar Agaval have often described it in terms of beauty. However, we aim to understand the true meaning from our Tamil literature. Let us proceed and explore this.
“The world, where the ruling Pallava king,
Kochchinga, was once seated, saw the queen near the flower pavilion, where a flower had been picked up and thrown away due to a sense of discontent. The queen could not bear the feeling, and in her rage, took a sharp sword glowing with light, and swiftly moved towards her goal.” (12.550, Chekizhar, “Kadal Soozhntha Sarukkam”)
In this context, the Pallava king, Kozhinsingar, also known as the ruler of the region, describes the queen near the flower pavilion, who, in her anger, takes a sword glowing like lightning, as she prepares to act swiftly.
“With love and devotion,
you offer service with an understanding heart,
like the lightning that strikes swiftly and the iron flowers that bloom,
blessed by the great Lord, the source of all beauty.” (Thiruirumbu, Thirujnanasambandar Pathikam)
Let us now examine the true meaning of the phrase “devotion to the feet,” which refers to the act of worshiping by offering prayers with utmost devotion. There is something that those who engage in such acts of devotion may not know. What is that? It is that, in the sacred temple of Irumbulai, Lord Parameswaran, who holds the essence of immortality through the sacred Ganges, and whose feet shine like gold, is said to be in the form of bliss, united with women with eyes that sparkle like lightning. This is described by the great Thirujnanasambandar, who at the age of 16, attained divine light through a miraculous experience during his marriage.
On that occasion, along with his wife and the attendees of the wedding, including a dog that was present, they all entered the sacred Linga, where they attained divine light and merged with Lord Shiva, receiving the wisdom of Shiva. The question arises, is it possible for a person to attain divine light at the age of 16? This possibility was demonstrated by Thirujnanasambandar, showing that when one attains grace, even things that seem impossible, such as writing divine songs and wisdom-filled verses, can be accomplished. According to Shaiva Siddhanta, those who are blessed with divine grace are considered to be on par with God.
The divine light attained by Auvaiyar at the age of 32 is also a testament to the profound wisdom that can be attained. In the Vinayakar Agaval, the term “marungul” is interpreted as “place of order,” and scholars have published this interpretation, spreading it worldwide. However, no one has yet provided a true and complete explanation of the essence of wisdom in the Vinayakar Agaval. There has been a gap in understanding, and it is our Guru who is guiding us to fill this gap through these discussions.
Among many Tamil words that have become obscure over time, the term “marungul” stands out. Although contemporary Tamil dictionaries list various meanings for this word, none seem to fully align with its usage in classical literature. The word “marungul” appears in the Kambar Ramayanam 43 times, indicating its importance in ancient Tamil literature.
The word “marungul” appears in numerous classical texts and works of Tamil literature. It has been used in:
- 32 instances in the Perungathai (a grand epic),
- 14 instances in Sangam literature,
- 13 instances in Civakasindhamani,
- 5 instances in Periyapurana,
- 2 instances in Pathinenkilkanakku,
- 2 instances in Nalvenbaval,
- 2 instances in Thiruvasagam,
- 1 instance in Manimekhalai.
This totals 114 instances where the word “marungul” has been used.
Metaphors for “Marungul”
The term “marungul” has been compared to various things in classical poetry, such as plant vines, lightning, and threads. Some examples of such comparisons include:
- “Kodi marungul viraliyareemé” (Puram 139),
- “Valli marungul vayangu izhai aṇiya” (Puram 316),
- “Min nēr marungulāy” (Pazhamozhi 191),
- “Vanci pōl marungul” (Kamban, Balakanda 3/9),
- “Nool uru marungul” (Kamban, Balakanda 10/41).
In these verses, “marungul” is explained metaphorically as referring to the waist, comparing it to a vine (as seen in the valli kodi and vanci kodi), to lightning (in “min nēr”), or to a thread (in “nool uru”). These interpretations suggest that the “marungul” refers to the waist in different forms of comparison.
Are These Metaphors Appropriate?
Before comparing one thing to another, it is important to examine the similarities between the two objects. More crucially, one must determine whether the two objects being compared are easily recognizable to the audience. In the case of “marungul,” which refers to the female waist, it is clear from over a hundred references in Tamil literature that it is a part of the body easily seen and recognized by people, especially in the context of feminine beauty and grace.
Hence, when poets refer to the waist as “marungul,” they are highlighting its prominence as a part of the body that is universally noticeable and celebrated. This makes the comparison appropriate and meaningful, since the “waist” or “marungul” is a bodily part that everyone can easily identify, making the metaphors relatable and vivid.
In classical Tamil poetry, the word marungul has been compared to various objects, such as plant vines, lightning, and threads. However, when one considers the question of whether women would actually want to expose their waists to the public, the answer is no. The waist, especially that of a woman, is seen as a part of the body that can arouse desire in those who observe it. As such, women typically cover their waists with their attire, as displaying it would not align with social norms. In fact, it is not part of Tamil culture to openly display the waist, and thus poets did not compose verses about it when it was covered.
Furthermore, it is important to reflect on the nature of comparisons. The question arises: What connection does the waist of a woman have with a plant vine, lightning, or a thread? These comparisons are often used in poetry to describe the delicacy and grace of the waist, but are they appropriate? The thickness of a vine, the width of a thread, and the fleeting nature of lightning cannot be easily compared to the human waist. The waist, which has a solid structure and is connected to the spine, cannot be described with the same qualities as a vine, thread, or lightning.
Would it make sense to compare the waist to these objects? The waist of a woman is a structured part of her body, and comparing it to something like lightning or a vine is an over-simplification. The spine must remain stable, which means the waist must be firm to support it, and it certainly does not resemble the flimsy qualities of a vine or thread. These physical traits cannot be found in the waist, so why would poets choose to compare it to such things?
Why Not Other Comparisons?
Some might argue that these comparisons are purely artistic or metaphorical and should be understood as creative expressions rather than scientific explanations. However, before arriving at such conclusions, one must ask: Why did poets only compare the waist to a vine, lightning, or a thread, and not to other things such as tree branches, twigs, ropes, or rainbows? These too are soft and curved objects, yet they were never used as metaphors for the waist. Why, then, did poets choose not to use these comparisons?
Reflecting on this further, one can conclude that marungul does not mean the waist. Instead, it may represent something entirely different, as supported by another argument in the text.
Verse from Kamba Ramayana (Balakanda 21/17):
“With dark locks of hair weighing heavily, she wears ornaments resembling clouds, her eyes filled with yearning, and her brows adorned with a garland. Despite her desire to open her eyes and witness the beauty of her beloved, she cannot due to the weight of her ornaments. Through the gaps between her closed eyelids, she gazes upon him.”
Interpretation:
The verse portrays a woman whose eyes are covered by heavy eyelash-like ornaments, preventing her from seeing clearly. Her longing to see the beauty of her beloved increases, and she attempts to look through the gaps in her eyelids. However, her longing to see him is not fulfilled until she glimpses him through the slight spaces between her closed eyelids.
If the term Marungul (waist) were taken literally here as referring to the gap between the waist, it would result in an absurd interpretation. It suggests that through the gap between the waist, she sees her beloved, which would not make sense, considering she’s unable to open her eyes due to the weight of her ornaments. Therefore, in this context, Marungul is not referring to the waist but to the eyes or eyelids. We can conclude that Marungul refers to the eyes, their space, or their expressions in this poetic context.
Metaphor of the Eyes and Lightning:
Several verses from Tamil literature compare the eyes of women to lightning. Let’s examine some examples:
- “Minee Ner Marungul Kurumagal” – Akanaanooru 126
- “Mukil Endhu Min Marungul” – Chinthamani 3/679
- “Melivu Udai Marungul Minnin Alamara” – Kamba Sundarakanda 2/108
- “Mazhaiyura Min An Marungul” – Kamba Balakanda 21/9
- “Minvayin Marungul KondaL” – Kamba Aranyakanda 10/67
Explanation:
Why do poets compare women’s eyes to lightning? The answer lies in the metaphor of shine and disappearance. Just like lightning in the sky, the brightness of the lightning can only be seen in the moment it appears and fades away. Similarly, when a woman closes her eyes, the viewer experiences a similar fleeting moment of beauty and brilliance, akin to the transient nature of lightning. The glow from her eyes can be as bright as lightning and vanish just as quickly, making it an apt comparison.
Hence, the poets’ comparison of women’s eyes to lightning, plant stems, or threads is based on the idea of ephemeral beauty, similar to the sudden, fleeting nature of light or flashes that are momentarily visible. This reflects how the poets used these metaphors to capture the fleeting beauty of a woman’s eyes.
In essence, the texts explore how poetic metaphors in Tamil literature are used to describe women’s beauty, often comparing their features, especially their eyes, to elements in nature like lightning, clouds, and plants. These comparisons emphasize the transient and enchanting qualities of beauty and desire.
The poets have often compared women’s eyes to plant stems and twigs in many verses:
- Kodi Marungul Viraliyaraume – Puram 139
- Valli Marungul Vayangu Izai Aniya – Puram 316
- Vanchi Pol Marungul – Kamba Ramayana, Balakanda 3/9
What is the connection between plant stems and women’s eyes?
In plants, stems are long, twisty, and often bear multi-colored flowers along their length. Similarly, women adorned their eyes with ornamental designs resembling plant twigs. The poets made this comparison due to the delicacy of the stems, which mirrors the subtle, delicate nature of women’s eyes. Stems are thin and flexible, just as women’s eyes are portrayed as soft and delicate.
In Tamil poetry, plant branches or shrubs were not used as metaphors for eyes, but twigs were preferred because they share the same slender and delicate characteristics.
Women’s eyes compared to threads in poetry:
There are several verses that compare women’s eyes to threads, emphasizing their delicacy:
- Nool Urmarungul – Kamba Ramayana, Balakanda 10/41
- Nool Okum Marungulal – Kamba, Kitab 13/46
- Izai Purai Marungul – Kamba Sundarakanda 3/88
- Izaiyum Nunnai Marungulal – Kamba Sundarakanda 3/6
What is the significance of comparing eyes to threads?
In the previous verses, it was established that women’s eyes are very delicate. The poets compare these delicate eyes to the fine thread found in fabrics. These comparisons emphasize the thinness and subtlety of women’s eyes, which are as delicate as the finest thread.
From all the examples so far, it is clear that the term Marungul refers to the eyes and the eyelids. Other words like Kathuppu, Othi, and Nucuppu also denote the eyelids or eyes.
The beauty of the eyes in spiritual context:
In the verse, “Auvaththayai Vannamarungil Valarndha Azhuva Eriya,” the beauty of the eyes is metaphorically described as the continuous radiance of the eyes through which the beauty of Lord Vinayaka is reflected. This verse highlights that Vinayaka’s eyes, as well as the eyes in general, radiate a divine beauty, which is further amplified by the divine gaze.
In another verse, it is mentioned that the Lord’s feet represent the foundation or essence of the deity, often referred to as the “feet and crown,” symbolizing the divine. The verse suggests that the eyes, or “Thiruvadigal,” are compared to a treasure chest where all the knowledge of the universe is hidden. Just as a chest is needed to hold precious treasures, the divine eyes hold the universe’s secrets, wisdom, and spiritual knowledge.
All the sculptors have carved Ganapati’s belly into statues. Does the Lord have a belly? Let’s think about our knowledge a little. Since the feet are the place where the objects of knowledge are kept, the eyes that are the feet are protruding from the face and extend forward like cashew nuts, it looks like the stomach is protruding. Therefore, the chest that can be represented as the stomach by touching these feet is called the stomach, said Auvai.
In order not to directly state the true meaning of knowledge, Auvai sang the wisdom in other words related to it. The next word is a heavy line. The poets wrote about the ivory that carries a heavy burden. Here, Auvai described the crescent shape of the proud moon as a heavy line. The feet of Lord Vinayaka are as strong as the tusks of an elephant, says Auvaitha.
The next line is Vezham Mukum Yaraku Sindooram. This word Vezham is used well in Sangampattu.
The word Vezham refers to Vezham grass and the elephant that loves to eat that grass.
The Sangampadu collection Aingurunuru contains the songs of Maruthathinai sung by the poet Orambokiyar. The second tenth of his 100 songs is the section called Vezhampattu. It contains references to Vezham grass. Vezham grass is called Korukaipul or Korukaichi in this period.
Vezham and Cherundhi grow in the field
The field flag planted at home (in the fence of the house) revolves around the Vezham.
The Vezham white flower blooms in the grove of Venkadamba trees called Maraam.
The flag flowers climb up the velam.
The velam has holes like bamboo.
The velam flower looks like a sugarcane flower.
The velam flower stem also has holes.
The velam flower looks like a horse’s trot.
The velam flower dances like a kuruk bird flying in the sky.
Women who have bathed use the velam flower as a hiding place for sexual intercourse.
Therefore, the flower that blooms on the velam plant that grows in the field looks like the flower that blooms on sugarcane. The word “karumbu” is wrong. The correct meaning is “karumbu”. Pattinathar used the word “karumbu” as “karumbu” before he attained enlightenment, and he sang it while standing on the beach of Thiruvottriyur. The song is for you.
The continent is black, it has three eyes
It is as beautiful as the universe – the servant
The body melts like a black flower standing by the sea. (Pattinataar Lambal – 600th song)
Our eyes can be as black as the continent. It has three eyes. 1. White eye, 2. Black eye, 3. Eye. The universe here should mean an egg. Whatever shape the egg is, our eyes, which are the feet, are the same. When those feet are completely taken out and viewed from the outside, they look so beautiful. The bodies of ascetics who perform spiritual feats with these feet, start to melt due to the pure heat of penance. The more pure heat there is in the body, the more the nectar pot that is inside the head starts to melt slowly. The nectar honey that melts and flows from the nectar pot flows down the throat. The ascetics who taste it are always immersed in blissful ecstasy. Where are the three feet that can give such an elixir, they are near the sea.
The sea is a word of wisdom that refers to our white eyes. Just as the sea turns salty, the tears that come from our eyes also turn salty. Therefore, the sea is the white eye. It is near that white eye, the sea, that the true object of the eye, the eye that blooms like a black flower, is located.
Therefore, the word “Auvaithai Vezhamugam” means that the Lord Ganesha has these three eyes at the feet.
The next word after this Vezhamugam is “Sindooram”. Sindooram can be interpreted as a kind of fine colored powder that can be worn on the forehead. The three types of eyes that are Vezhamugam are located on the forehead. The poet sings that the forehead is red.
The next line is Anju Karam and Angusa Pasam.
What these Anju Karam and Angusa Pasam say is, O devotee who worships me, do not fear anything, I will give you safety. If you surrender completely to me, I will remove all your sins and protect you with my Angusa Pasam.
Tell me, how should we worship and praise the Lord who comes to protect us? Shouldn’t we know a little more thoroughly? For that, we will call the Manikkavasaka here. He will also come and sing and leave. It would be appropriate to compare some lines from Thiruvasakam – Pottri Thiruvagaval here.
My heart cries out and trembles
I do not even dream of another god
A person from Arupara comes to me
The glory bestowed by becoming a Guru
Do not despise the Lord’s feet as smallness
Like a shadow that does not know the fate of others
Like a sage’s voice before and behind
I sink and melt, yearning (80)
The river of love flows on its banks
The fragrance of goodness unites with the fragrance
The words stumble and the hair trembles
The flowers of the palms bloom and the heart blooms (84)
The eyes are filled with tiny drops
The one who grows love every day
As a mother, I praise you (Potri Thiruvakaval 87)
Since I did not see Shiva within me, my strength diminished, the delusion of wanting to know God began to test me further, thinking that the birth of a house is the greatest surprise, I I started to cry like a madman, and I even panicked.
I never thought of any other god except Shiva, and I did not speak less of the glory of the great god Shiva – the Lord of the inner world, who came here and became a Guru, and I kept following his feet like a shadow that never leaves him, and he, without the slightest anger, continued to bless me.
My bones were filled with the grace of Shiva and melted, my heart melted and yearned, the river of love flowed to its banks, the five senses that do good united and sang to him as ‘Natha’, words stumbled, the hair trembled, the flowers called hands (karamala buds) gathered like buds and worshipped, the heart blossomed, the eyes rejoiced, and tears of joy came in tiny drops.
O Lord Shiva, who has nurtured me as a mother who increases my love day by day, I will continue to worship you forever.
Gnana Meyuphuura: The last ten lines of wisdom spoken are a proof and a witness to the experience of BrahmaGnana Tapa. All that has been said in this is that which blossoms into the experiences of wisdom and true consciousness that occur in the body of the devotee when he performs BrahmaGnana Tapa. If you want to fully and completely understand the scriptures with true consciousness and immerse yourself in bliss, then you will have to choose BrahmaGnana Tapa.
The flood of love should touch the shore and flow away, says Manikkavasagar. Love can only be measured by tears. When the five senses at the feet of the Lord are filled with joy, tears will flow away from the feet of the Lord. When will the feet of the Lord find joy, when they are filled with the nectar of the air. How can the nectar be filled? For that, you must first find the true Guru. If you have stood before the eyes of the true object that the true Guru has shown you, and have been there, gazing at the light of Shiva with your eyes, then the tears will first touch the shore (the lower eyelids of the feet of the Lord), as if in heaven, from the feet of the Lord, and flow away, he said, “The river of love flows away.”
When this flood of love flows away, the five senses will also flow away in this flood. Then it is natural to praise and call upon the Lord in many ways with joy, he said, “Singing with the sound of The earth is like the sky is like the sky is like the Vedas are like the music of the forest. I love the music of the forest with my eyes in my eyes (Dhim. 31)
Since there is no living being in this world who surpasses the mother in showing love and affection, God Himself comes as the mother and nurtures me in the knowledge of Brahman, I praise and glorify Him, he said, “As the mother, I praise and glorify her.”
Just as fire appears in the sacrificial fire cultivated by the priests, so in the fire pot of the feet of the priests, the fire of Shiva is revealed by the penance of the fire, and the karmic deeds are completely destroyed. At that time, one should perform some wise deeds with the fingers and praise and glorify the Lord, he said, “As a true priest, I praise and glorify the Lord, who is not the giver of gifts.”
To heat means to heat, to make hot. The true Vediyan is the one who, after burning the three-layered veils on the water of life within the real object, takes a red-colored form from the face below the feet of the Lord and performs the supreme austerity of Bramma.
Change the left and right hands
Do not be weary of food with the palm of your hand
Remove sleep and make the senses
Do not die or remain, yes (Dhima 801)
In the Brahmanical penance, one performs the penance of changing the positions of the lunar and solar arts, and combines the energies of these two arts into the fiery art of Dudhikkai, where the solar, lunar, and fiery arts come together, and there a burst of light occurs in the third foot, and the third eye appears before us. The arts that appear in that third eye are the red arts. When these red arts are added to the Brahmanadi, the place where life arises within, the nectar melts and flows there. If one consumes this nectar, his body will not weaken. He will be free from sleep and will live in the state of true consciousness of knowledge, and he will live on this earth forever, immortal and immortal.
That middle finger is the first little finger
The way it came changed and recited
The first Tamil is clear and worshipped
Nandi himself recited this Navam Urai (D.M. 1089)
The middle finger represents the fire principle. The little finger represents the earth principle. The word “vanna vayu” refers to the Tantric method of combining the air arts indicated by the Satguru with the fire arts. This is another proof and witness to the Brahmanical penance. In the Sutarazhi penance, which is a part of the Brahmanical penance, this Tantric method has been taught by the Siddha Gnanis from the time of the ancient Tamil Siddhas to this day. In the Sutarazhi penance, first the apana vayu present in the adhomukha should be heated with the nectar wind and heated and converted to a vapor state. This is because the nature of the apana vayu always tends to go downwards. Although it is a gas in nature, it is somewhat solid, so it cannot travel upwards. Therefore, the apana should be hit by the nectar wind and heated and converted to a vapor state. The light Apana Vayu should be taken to the Prana Kalai, which is perpendicular to 900, by the Sutarazhi Tapa. Then Apana starts mixing with Prana, and a great light is created there. The reason is because of the Apana Vayu. Prana is an invisible light gas that is luminous. If this Prana light is to shine and become a great light, it definitely needs the help of Apana Vayu. This mixture of Apana and Prana Vayu is a festival that takes place on the Pranava Meru, where the real thing is. If this festival does not take place, we cannot be reunited with God, and the sacred marriage will not take place within us. The root and root cause of all this is the same Brahmanical Tapa. It is the bold conclusion of the ancient Tamil Siddhas that without this, we cannot attain God.
The thumb represents the sky, the index finger represents the air, the middle finger represents the fire, the ring finger represents the water, the little finger represents the earth.
The two fingers are joined together,
the little finger is held by the index finger,
and the middle finger is held by the thumb. (D.M. 1094)
Little finger – earth; ring finger – water. Index finger – air. Long middle finger – fire. Big finger – sky. Another excellent proof and witness for the Sutarazhi penance is this song. All five fingers are filled with the five elements. These five elements are also present in the universe. They are also present in the universe that is embodied. The universe that is embodied is our two eyes, which are the divine feet. Since the eyes are round like the universe, this was said by the Siddhas as a mystery. The place where these five elements are all together in one place is the eyeballs, which are the real thing. The Sutarazhi penance of the Brahmanical penance is the wisdom technique of bringing the electromagnetic arts of the nectar wind into this eyeball. The ascetic should be doing the sadhak that allows the nectar wind to enter this real thing.
We have been providing such great teachings of our ancient Tamil Siddhas for the past 3 years by forming an organization called the Brahmanjanap Potsabai Gurukulam and providing them in the form of lectures and written forms on the website Dr. Rudra Shivatha and the website called Vaidikkal Vaidik and the website Brahmanjanap Potsabai.com for the enlightenment of the people of the world. We conclude this talk by saying that you can go there and fully understand and enjoy all the activities of our Brahmanjanap Potsabai Gurukulam.
From the Brahmanjanap Potsabai Gurukulam, your Rudra Shivatha, Salem.
May all beings live happily!
Tiruchirambalam !!
