Tamil Arts Volume33 Literary Treasure - Thandialangaram
Prabhu Rengaswamy
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Table of Contents

Introduction

Tamil literature is so rich with its works on Grammar with Tholkaapiyam (தொல்காப்பியம்) by Tholkaapiyar (தொல்காப்பியர்) being the oldest work on Tamil Grammar. There were other great works on Tamil Grammar during different periods of time that includes Nannool (நன்னூல்), Yapparum Kalakaarigai (யாப்பருங்கலக்காரிகை), Veera Chozhiyam (வீரசோழியம்), and Maaran Alangaaram (மாறனலங்காரம்). – I would like to provide some fascinating aspects of a great work in Tamil Grammar that I came across – Thandialangaram (தண்டியலங்காரம்). Actually, it is a book on Ani Ilakkanam (அணி இலக்கணம்), the Grammar on Poetical Decorations. Before I begin getting deeper into this, I would like to mention that I am not a scholar in Tamil nor am I an expert in Tamil Literature, so I would request the readers to bear with me if there are any mistakes or errors. Thandialangaram is written by Thandiyaasiriyar, however not much is known about this person. Some scholars say that he was the son of Ambikapathi, son of the great poet, Kavichakravarthi Kambar making Thandiyaasiriyar, the grandson of Kambar. They quote the following song as a supporting evidence of that information வடதிசை யிருந்து தென்மலைக் கேகி மதிதவழ் குடுமிப் பொதிய மால்வரை இருந்தவன் தன்பால் அருந்தமிழ் உணர்ந்த பன்னிரு புலவரின் முன்னவன் பகர்ந்த தொல்காப் பியநெறி பல்காப் பியத்தும் அணிபெறு மிலக்கணம் அரிதினில் தெரிந்து வடநூல் வழிமுறை மரபினின் வழா அது ஈரிரன் டெல்லையின் இகவா மும்மைப் பாரத விலக்கணம் பண்புறத் தமீஇத் திருந்திய மணிமுடிச் செம்பியன் அவையத்து அரும்பொருள் யாப்பி னமைவுற வகுத்தனன் ஆடக மன்றத்து நாடக நவிற்றும் வடநூ லுணர்ந்த தமிழ்நூற் புலவன் பூவிரி தண்பொழிற் காவிரி நாட்டு வம்பவிழ் தெரியல் அம்பி காபதி மேவருந் தவத்தினிற் பயந்த தாவருஞ் சீர்த்தித் தண்டியென் பவனே. However, some other scholars say that is a different person who lived in a period earlier than Kambar. Most people agree that he lived during the period of Kulothunga Cholan II of the 12th century. Thandialangaram consists of 3 parts
  • பொதுவியல்: Describes the general rules/grammar about poetic decorations
  • பொருளணியியல்: Describes the different types of expression/meaning
  • சொல்லணியியல்: Describes the various forms of word usage
When one reads the Thandialangaram, they not only see the grammatical rules of the languages but also appreciate the beauty of the language, as to how flexible and creative it can be. The following song illustrates such a beauty of the Tamil language ஓங்க லிடைவந் துயர்ந்தோர் தொழவிளங்கி ஏங்கொலிநீர் ஞாலத் திருளகற்றும் ஆங்கவற்றுள் மின்னேர் தனியாழி வெங்கதிரோன் றேனையது தன்னே ரிலாத தமிழ் Ongal Idai Vandhu Uyarndhor Thozha Vilangi Yaengoli Neer Gnalathu Irul Agatrum Aangavatrul Minnaer Thannazhi Ven Kadhiron Yaenayadhu Thannaeriladha Thamizh Meaning: The ones that rise from the mountains and worshipped by all great men, illuminate and enlighten this world covered by the high seas; One is the electrifying and the bright Sun, the other is the language Tamil. The analogy here is that the Sun rises above the mountains and removes the darkness from the world, likewise, Tamil, which originated from the Kudagu Mountains removes the darkness of ignorance and enlightens the mind. Thandialangaram is so dense and vast that it has figures of speech, and poetic decorations that can be discussed at length and there are many books written with the explanation for its contents. However, in this chapter, we will get on to the more interesting bits first. Tamil poetry primarily has four forms – Āsu Kavi (ஆசுகவி), Madhura Kavi (மதுரகவி), Citira Kavi (சித்திரக்கவி), and Vittāra Kavi (வித்தாரக்கவி). Aasu Kavi is spontaneous overflow where the poet sings the song on the spot complying with the grammatical rules; these songs can be one of the other three forms as well. Madhura Kavi is a song that has a good rhyme. Chithira Kavi is a poem that can be represented in a drawing. Viththaara Kavi is the form that has a song within a song, for example, if the odd letters are gathered, it forms one poem and if the even letters are gathered it gives another poem, as a whole the song itself is one poem. There are many such permutations which we will see in this article. One of the sections that Thandialangaram describes is the Chithira Kavi, a poetic form that can be represented as a drawing. Such forms of poetry are classified as Rathabandham, Thani naaga bandham, Irattai Naaga Bandham, Komoothri Bandham, Murasu bandham, Chakkara Bandham etc. There is Rathabandham or the Chithira Thaer which is one of the most complex we will see subsequently

Komoothri Bandham

This is an interesting form of Chithira Kavi where the poem can be read in different ways yet we read the same poem பருவ மாகவி தோகன மாலையே பொருவி லாவுழை மேவன கானமே மருவு மாசைவி டாகன மாலையே வெருவ லாயிழை பூவணி காலமே Paruvam Aaga Idho Ganam Maalaiyae Poruvila Uzhai Meivana Kaanamae Maruvum Aasai Vidaa Ganam Maalaiyae Veruvu Alaa Aayizhai Poovani Kaalamae Meaning: the friend of the lady in the song is consoling her because her husband/lover has gone away on some business and has not returned yet. The season that the lady’s husband said he will return has started; the signs of which are showing up, the clouds of rain have gathered; the deer in the forest are seen and so, not to worry. Her husband will soon be there to adorn her with the garlands The poem above is drawn as shown in the following diagram, the first two lines are written in the top row and the second two lines are written in the bottom row.
komoothri bandham
Figure 1. Komoothri Bandham
There is another way to read this poem. For the first two-lines follow the orange line and for the second two-lines follow the blue line in the diagram. Ko – Ox, Cow, Moothri – Urine. Meaning when the ox urinates while walking, the urine’s path will be zigzag. Likewise, the drawing to interpret the song resembles the zigzag pattern of the urine and hence the name

Maalai Maatru (Palindromes)

Tamil language has its own share of Palindromes at least a thousand years ago. A Palindrome is a textual construct that reads the same even in the reverse நீவாத மாதவா தாமோக ராகமோ தாவாத மாதவா நீ Neevaadha Maa Dhava Thaa Moga Raagamo Thaavadha A Maadhu Ava Nee Meaning: You are a great person with an undisturbed meditation, however you will have to bestow on the wishes of the lady who is thinking about you வாயாயா நீகாவா யாதாமா தாமாதா யாவாகா நீயாயா வா Vaaya Yaa Nee Kaava Yaadhu Aam Maadhu Aam Maa Thaa Yaa Aagaa Nee Aayaa Vaa Meaning: What is there that we would not get when you guard us. If you don’t bless us, she will become very sad. So, please come to us Lord Krishna, the cow herdsman. Thirugnanasambandhar has done all forms of these poetry. Here is one from his Thevaram called the Seergaazhi Thirupathigam. Each verse in this pathigam is a palindrome சீகாழி திருமாலைமாற்று யாமாமாநீ யாமாமா யாழீகாமா காணாகா காணாகாமா காழீயா மாமாயாநீ மாமாயா. யாகாயாழீ காயாகா தாயாராரா தாயாயா யாயாதாரா ராயாதா காயாகாழீ யாகாயா தாவாமூவா தாசாகா ழீநாதாநீ யாமாமா மாமாயாநீ தாநாழீ காசாதாவா மூவாதா நீவாவாயா காயாழீ காவாவானோ வாராமே மேராவானோ வாவாகா ழீயாகாயா வாவாநீ யாகாலாமே யாகாழீ யாமேதாவீ தாயாவீ வீயாதாவீ தாமேயா ழீகாயாமே லாகாயா மேலேபோகா மேதேழீ காலாலேகா லானாயே யேனாலாகா லேலாகா ழீதேமேகா போலேமே நீயாமாநீ யேயாமா தாவேழீகா நீதானே நேதாநீகா ழீவேதா மாயாயேநீ மாயாநீண நேணவராவிழ யாசைழியே வேகதளேரிய ளாயுழிகா காழியுளாயரி ளேதகவே யேழிசையாழவி ராவணனே காலேமேலே காணீகா ழீகாலேமா லேமேபூ பூமேலேமா லேகாழீ காணீகாலே மேலேகா வேரியுமேணவ காழியொயே யேனை நிணேமட ளோகரதே தேரகளோடம ணேநினையே யேயொழிகாவண மேயுரிவே நேரகழாமித யாசழிதா யேனனியேனனி ளாயுழிகா காழியுளானின யேனினயே தாழிசயாதமி ழாகரனே.
— திருஞானசம்பந்தர்

Nagabandham

This is one of the complex forms of poetry, in which letters of the poem are represented along the body of a snake from head to tail; the shape of the snake is convoluted to form a symmetric Kolam. Kolam is an artform in Southern parts of India, where women clean the front side of their house during sunrise with water and draw artistic figures using rice flour/coloured powder, usually. This is done to welcome the goodness into their homes daily and also to feed the small forms of life like the ants. These kolams are not permanent but erased and drawn daily. Coming back to the poem, when you trace the letters from the head to tail of the snake, you get the poem. There are many variants in the Nagabandham
First let us look at the Ottrai naagabandham. The following image is the representation of the Ottrai naagabandham, if we trace the letters from the head of the snake to its tail we get the song mentioned below.

Ottrai /Eka/ Thaninaaga Bandham (ஒற்றை / ஏக / தனி நாகபந்தம்)

ekanagabandham
Figure 2. Eka/Thani Naagabandham
The beauty of this form of poetry is the convoluted shape is what we call the “Kolam” and with colours added becomes Rangoli. The complexity is that shape is symmetrical and the cells at the intersections of the path have the same letter வந்தறந் தோய்ந்தி வையமுய தந்தநம் வாமிசுதன் தந்திரஞ்சேர் மதமார்வார் முன் சாய்ந்தவபோதனுசன் சந்ததம் சீர்த்திவதிதுதி மாதவர் தந்தன்புசெய் செந்தில் வந்தந்த நந்தந்தமிழார் நஞ்சிதாசிவனே Vandhu Aram Thoindhu Ivvaiyam Uyya Thandha Namm Vaami Sudhan Thandhiram Saer Madham Aarvaar Munn Saai Thava Podhanusan Sandhadham Seerthi Vadhi Thudhi Maadhavar Thandha Anbu Sei Senthil Vandhandha Nandham Thamizhaar Nanjidha Sivanae Meaning: For the salvation of this world, Lord Murugan came with all the noble characters. Those with evil minds would fall at His feet. The devotees who worship Him are bestowed with goodness. We praise Lord Shiva who begot him for us Tamil people

Irattai / Dvi Naaga Bandham (இரட்டை/துவி நாகபந்தம்)

The next form is the Irattai Naaga Bandham; where there are two snakes are involved, still the shape is symmetrical. Here in this there are two songs, one that runs on the body of one snake and the second song on the other அருளின் றிருவுருவே யம்பலதா யும்பர் தெருளின் மருவாசீர்ச் சீரே பொருவிலா வொன்றே யுமையா ளுடனே யுருத்தரு குன்றே தெருள வருள் Arulin Thiru Uruvae Amabalatha Umbar Therulin Maruva Seer Seerae Poruvlia Ondrae Umaiyaal Udanae Uruththaru Kundrae Therula Arul Meaning: You are the manifestation of grace, the One who has the Thiruchitrambalam Stage. The One who cannot be perceived even by the Devars; The One who is a flawless Universal Being; The One who stands like a mountain with Umayaal (Goddess Parvathi). Enlighten our minds to understand/perceive “You”. மருவி னவருளத்தே வாழ்சுடரே நஞ்சு பெருகொளியான் றேயபெருஞ் சோதித் திருநிலா வானஞ் சுருங்கு மிகுசுடரே சித்த மயரு மளவை யொழி Maruvinavar Ullathae Vaazh Sudaraee Nanju Perugu Oliyaan Aeya Perum Jothi Thirunila Vaanam Surungum Migu Sudarae Siththam Ayarum Alavai Ozhi Meaning: Lord Shiva, You live as the light in the hearts of those who worship you. You have the great poison in Your neck, yet you shine in all brightness that dwarfs the brightness of the moon. Bestow me with the wish that my mind does not forget “You”.
irattainagabandham 1
Figure 3. Dvi Nagabandham
The following is another version of the Irattai Naagabandham, the only difference from the former is that there is only one song that runs through the two snakes where the intersections share the letters. The first two lines run on one snake and the last two on the other. சேயா சேயாதே தேயா சேயாசே மாயா மாயாவா வாயா மாயாமா வாயா மாவாயா மாயா சேமாசே யோயா நோயாவோ யாயே தேயாளே Seyaa Seyaadhae Theyaa Seyaase Maayaa Maayaavaa Vaayaa Maayamaa Vaayaa Maavaayaa Maayaa Semaase Yoya Noi Aavoi Aayedhae Aayaalae The poem above is believed to cure any curse that relates to snakes. Kaalasarpadosham, etc, and also to attain peace in life, if the poem is recited in front of Lord Muruga daily, it is believed to bring peace and betterment in one’s life. The song is of the form Kalivirutham (கலிவிருத்தம்) which can be broken into an other form called Vanjithurai (வஞ்சித்துறை) resulting in two separate songs that form part of body of the snakes. The song above is split as follows into two vanjithurai songs. சேயா சேயாதே தேயா சேயாசே மாயா மாயாவா வாயா மாயாமா வாயா மாவாயா மாயா சேமாசே யோயா நேயாவோ யாயே தேயாளே To understand the poem, it has to be split into words and syllables as follows சேயாசேயா - சேயவனே சேயவனே தே - கடவுளே. தேய் ஆசு - (எனது) சிறுமையைக் கெடு, ஆசு ஏமா - சிறுமைக்கு நமளாயுள்ளானே யாமாயா - (சத்திரூபமாகச் சுருங்கியிருந்து) வியக்திருப மாக விரியும் மாய மாயைக் கதிபதியே, வா- வந்தருள்வாயாக. வாயா மாயாமா - (உயிர்களோடத்து லிதமாயிருந்துமவைகட்குக்) கிட்டாத மகா சிவ ராத்திரியத்தனே. வாயா - உண்மைப்பாடுடையானே, மாவாயா - சிறந்த வாக்குடையானே, மாயா - மாய வித்தைகளுடையானே சேமா- சேமமுடையானே. சேய் - இளநலமுடையானே. ஓயாநேயா - (அன்பர் மாட்டு) ஒழியா நேயமுடையானே. ஓயாய் ஏது - (என் கண்ணதாய) ஏதெனுங் குற்றத்தை யொழித்தருள், ஆள் - ஆண்டருள். To paraphrase the meaning: Lord Murugan appearing like a child is the God who is capable of removing the lowliness as He is the eradicator of lowliness. He exists as the condensed form Sakthi and His manifestations expands all over. The God with all the divine qualities like truth, word, wellness and more. He loves His devotees and I request you to forgive my mistakes and bestow me. The song was sung by Pamban Swamigal who has also sung many such songs in praise of Lord Murugan. Those songs especially are of the Chithira Kavi form – Mayura Bandham, Kamala bandham etc.
irattainagabandham 2
Figure 4. Dvi Nagabandham

Naangu / Chathur Naagabandham (நான்கு / சதுர் நாகபந்தம்)

The next naagabandham form is the Naangu or the Chathur Naagabandham, where there are 4 snakes and the verses of the poems run along the bodies of 4 snakes. தன்னை யறிதல் தலைப்படுத்துங் கல்வியதாலெங்ங னறித லுலகியலை – முன்னுவந்துன்னை யறிக முதல். நீக்கு வினைநீக்கி நேர்மைவினைக் கின்னலையாதீங்குநீ நன்மனத்தால் நன்னயங்க ளுன்ன வுடன்பெறு வாயுய் தலை ஓங்குபனை போலுயர்ந் தென்னே பயனுன்னத்தீங்கு தனைமனத்து ளெண்ணித்தீ நீக்காதார்தீங்கினைத் தீப்படுந் தீ உன்னை யறிதற் குனதூழ் தரப்பெற்றபொன்னைப்பெண் மண்ணாசை போக்கலைக் காணாயேலென்னை பயக்குமோ சொல் Thannai Aridhal Thalaipaduththum Kalvi Adhellam Enganam Aridhal Ulagiyalai Munnu Vandhu Unnai Ariga Mudhal Neeku Vinai Neeki Nermai Vinaikku Innalai Yaadheengu Nee Nanmanaththaal Nann Nayangal Unnavudan Peruvaai Uyidhalai Ongu Panai Pol Uyarndhu Ennae Payanunna Theenguthanai Manaththul Enni Thee Neekaadhaar Theenginai Thee Padum Thee Unnai Aridharkku Unadhoozh Tharapetra Ponnai Penn Mannaasai Pokalai Kaanayael Ennai Payakkumo Sol Meaning: One’s self realisation, Elevating Knowledge can be acquired when one reaches You realising your Supreme Beingness The Supreme Being will eliminate one’s past karmas, the ones that will occur in the future once you get to realise that He is the route to salvation What is the use even if one is exalted to the height of a palm tree, if one cannot remove the evil thoughts from their mind, which in turn will cause evil back to them? To attain self realisation, one will have to forgo the following even if it is the fate to have those – the wealth, the better half, the land, which is materialistic, If not what is the use in attaining self realisation. In the image below, each of these verses run through each snake with the intersections having the same letters
naangu nagabandham
Figure 5. Chathur Naagabandham

Ashta Naagabandham (அஷ்ட நாகபந்தம்)

In this form there are 8 snakes, and each line/verse of the poem runs along each of the snakes. I was not able to find an illustrative song / drawing for this form. Any help from the readers would be much appreciated. However the following is the rule for an ashta naagabandham song ஒருநான்கக் கரத்தொடுநாற் பத்தொன் றாமா றுடனாற்பத் தைந்தாமெட் டுடனைந் நான்காம் இருளறுபன் னிரண்டுடனே பதினெட் டாகும் இருபத்தி ரண்டுடனே நாற்பத் தேழாம் பரவுமிரு பத்துநான் குடன்முப் பத்தொன் பானாமுப் பான்மூன்றோ டைம்பத் தொன்றாம் அருமுப்பத் தேழுடனே நாற்பத் தொன்பா னாமட்ட நாகபந்த மாஞ்செய் யுட்கே. There are even more complex poetry forms, no wonder there were people who carried the Anna Kavadi for more than 6 months to learn this masterpiece from a sanyasi There are few constructs that are a different form of poetry called the Viththaara Kavi (வித்தாராக்கவி), they are special in a way that they embed/hide one song in another. In other words, you can find another song by collecting letters in a specific fashion or dissecting the song in a specific way. The first one that we will see is the Kaadhaikarappu.

காதைகரப்பு

Kaadhaikarappu is where the alternate letters are gathered starting from the last-but-one letter of the last-but-one word of the poem. The gathered letters in that order will form another poem by itself. Let’s see that in the following illustration தாயேயா நோவவா வீரு வெமதுநீ பின்னை வெருவா வருவதொ ரத்தப வெம்புகல் வேறிருத்தி வைத்த சினிச் சைகவர் தாவா வருங்கலநீ யே Thaaiyae Yaan Novu Ava Eeru Yemadhu Nee Pinnai Veruvaa Varuvadhu Oru Aththaba Empugal Vaer Iruthi Vaithisin Ichchai Kavar Thaava Arungalam Neeyae விளக்கம்: எங்கள் தாயாக இருக்கும் இறைவா. எங்கள் துயர் தீர். நீ எங்கள் சார்பாக பாதுகாவலாக உள்ளாய், இருப்பினும் அச்சமாகவும் தோன்றுகிறாய். அந்த அச்சமும் மறைந்து பின்னர் புகலிடம் அளித்து அமைதி தருவாய். எங்களுக்கு கேடில்லாத பாதுகாப்பு அரனாய் இருக்கிறாய் ஈசனே. Meaning: You are our mother; You remove our sorrows. You stand by us to protect, yet at times You appear scary. After all this, you provide a solace to remain in peace. You are the armour that protects us. தாயேயா நோவா வீரு வெதுநீ பின்னை வெருவாருதொத் வெம்புல் வேறிருத்தி வைத்திசினிச் சைர் தாவாருங்லநீ யே Starting with the letter க, which is the last-but-one letter of the last-but-one word of the poem, the letters that alternate traversing in the reverse for each line, we end up with the following subset of the poem which itself is another poem. கருவார் கச்சித் திருவே கம்பத் தொருவா வென்னீ மருவா நோயே Karuvaar Kachchi Thiruvaekambathu Oruva Venni Maruvaa Noyae விளக்கம்: மனதில் கச்சித் திருவேகம்பத்துறையும் கச்சியப்பரை நினைத்தால் மீண்டும் கருவில் புகுந்து பிறப்பெடுக்கும் நோய் நம்மை சேராது. Meaning: When the mind recites the name of Kachiappar at Thiruvekambam, the curse of being born again will be eliminated It seems that this construct could have been a forerunner of cryptography/steganography, where one could conceal the actual message without even encrypting and without causing any doubt. Simple and effective, however I haven’t come across any historical references of using it in secret transmission of messages. Next is the even more interesting form, the Chakkara Bandham. The letters of the poem are written along the rim and the toggle in a specified way. There are variants to this Chakkara Bandham based on the number of toggles/spokes that wheel has 4,6 and 8 called as Naalaarai Chakkara Bandham, Aaraarai Chakkara Bandham and Ettaarai Chakkara respectively. We shall see these forms in that order

Chakkarabandham - சக்கர பந்தம்

Chakkarabandham is a poetic form written in the parts of the wheel (Chakkaram). There are primarily three forms in this Chakkarabandham
  • Naangaarai Chakkarabandham (Four Spokes Wheel)
  • Aaraarai Chakkarabandham (Six Spokes Wheel)
  • Ettaarai Chakkarabandham (Eight Spokes Wheel)

Naangaarai Chakkarabandham - நாலாரைச்சக்கர பந்தம்

Naalarai or Naangaarai Chakkara Bandham has 4 spokes in the wheel. The following picture shows how the letters in the poem mentioned below fits inside the wheel that has four spokes. It should take a great mind to conceive such complex forms in poetry that could be accommodated in shapes of a wheel with spokes and so on. We will subsequently see different forms which get even more complex.
naangaarai chakara bandham
Figure 6. Naangaarai Chakkarabandham
மேரு சாபமு மேவுமே மேவு மேயுண வாலமே மேல வாமவ னாயமே மேய னானடி சாருமே Meru Saabamum Mevumae Mevumae Unavu Aalamae Melavaam Avan Aayamae Meyanaan Adi Saarumae விளக்கம்: மேருவை வில்லாக கொள்பவனும். ஆலகால நஞ்சை உணவாக உந்தவனும். அவன் அடியார்களிடம் விளையாடும் நண்பனும் ஆன ஈசன் திருவடிகளை வணங்குவீர். Meaning: The One who has the mountains has his bow; The One who intakes the great poison as if it was food; The One who plays with His devotees as a friend. Surrender to that One - Lord Shiva - at his feet. We will see a different variation of the Naalarai Chakkarabhandham. This variant has more letters in the spokes and the wheel is much bigger than the previous one. The flow of the poem is different in the wheel, but the song follows 4-spokes chakkaram that we saw earlier. மாதவா போதி வரதா வருளமலா பாதமே யோத சுரரைநீ தீதகல மாயா நெறியளிப்பா யின்றன் பகலாச்சீர்த் தாயே யலகில்லாத தவ Maathava Bodhi Varadha Arul Amala Paadhamae Odha Asurarai Nee Theedhu Agala Maayaa Neri Alippaaiyin Thann Anbagalaa Seer Thaayae Alagillaadha Dhava விளக்கம்: போதி மரத்தடியில் ஆழ்நிலை தியானத்தில் அருள் தருவாய் இறைவா. நின் திருவடி போற்றும் அன்பர் தம்மை அசுரரென வருத்தும் தீவினை களைவாய். மனதின் இருள்நீக்கி ஞானம் அருள்வாய். தாயைப் போல் அன்பு செலுத்தும் நீ அளவிடறக்கரியவன்! Meaning: The One who is deep meditation, bestow Your blessings. Praising your blemishless feet; You remove the sins that torture us as the Asuras. You enlighten us by eliminating the illusion of ignorance (Maayaa); You show Your love like a mother. You are an immeasurable Supreme Being. This song can be interpreted to refer to Lord Shiva who is always in a deep meditation under a peepal tree (Lord Dakshinamoorthi) and as Lord Buddha who meditates under the Peepal Tree.
naangaarai chakara bandham 2
Figure 7. Naangaarai Chakkara Bandham
In the image, you can observe that the hub has the letters that read – “வசுதாரை” – “Vasudharai”. Vasudharai is a Goddess of wealth, prosperity and abundance, comparable to Kubera. She is also considered a bodhisathva – a path to enlightenment or Buddhahood – in the Buddhist belief.

ஆறாரைச்சக்கர பந்தம்

Aaraarai Chakkara Bandham has 6 spokes in the wheel. This is more complex than the one with four spokes. One could imagine the magnitude of the thought-process to bring out a complex design in the form of poetry and the flexibility of the language to bend it the way the creator likes to bring these masterpieces..
aaraarai chakara bandham song
Figure 8. Aaraarai Chakkara Bandham
தண்மலர் வில்லிதன் போரன தஞ்ச நமக்களித்த கண்மலர்க் காவிக் கெதிர்வன வன்று கரமளந்த பண்மலர் யாழ்பயில் வாரன்பு சூழ்பதி நாகைமிக்க தண்மைய கத்துப் பதுமத்த மாதர்த் தடங்கண் களே Thann Malar Vill Idhan Por Ana Thanjam Namakkalitha Kann Malar Kaaviku Edhirvana Andru Karam Alandha Pann Malar Yaazh Payilvaar Anbu Soozhpadhi Naagai Mikka Thannmai Agaththu Padhumaththa Maadhar Thadam Kangalae விளக்கம்: அன்புள்ள மக்களை உடைய நாகையில், யாழ் பயிலும் அழகிய பெண்களின் தாமரை மலரைப் போன்ற கண்களை மன்மதன் அம்பினால் காதல் வயப்பட்டு நீலமலரைப் போன்ற கண்களையும் கூட ஒப்பாக கூற முடியாது. Meaning: In the city of Nagapattinam, where the people are genial, there are women who practice the entrancing Yaazh (A string instrument like the Veena) music. When struck by the arrows of Manmadhan (The Indian version of cupid), the eyes get romantic like a beautiful blue flower; even those eyes are never a match for the lotus like eyes of the women of Nagapattinam. If you observe the image, the hub has the letters that read “போதிவானவன்” – “Bodhivaanavan”. Bodhivaanavan means the enlightened One of the Buddhist belief. Bodhivana could refer to a Buddhist Monastery of ancient times.

எட்டாரைச்சக்கர பந்தம்

Ettaarai Chakkara Bandham has 8 spokes in the wheel. The more the spokes, the more complex the poem gets. As we will now go through an 8-spoke wheel. If you have noticed, the number of letters in each spoke is the same. What makes it a difficult formation are the letters in the junctions that also form part of another word in another line of the poem. A careful and a well-calculated placement of the letters is necessary. The following picture brings out the complexity of the poem
ettaraarai chakara bandham song
Figure 9. Ettaarai Chakkara Bandham
: மலர்மலி சோலை யகநலங் கதிர்க்க மடமயி லியற்றக மாதிரம் புதைத்து வளைந்து புகன்மேக வல்லிருண் மூழ்க வரியளி துதைந்த கதுப்பினி தடைச்சி மன்னுமா மடமொழி வடிவாள் வளவன் கன்னித் துறைவன் கனகச் சிலம்பே Malar Mali Solai Aga Nalam Kathirkka Mada Mayil Iyatra Agamaadhiram Pudhaithu Valaindhu Puganmega Vallirul Moozhga Variyali Thudhaindha Kadhuppu Inidhu Adaichi Mannuma Madamozhi Vadivaal Valavan Kannith Thuraivan Kanaga Silambae விளக்கம்: வளவனின் தலைவி அகமகிழ்வோடு மலர்ந்த சோலையில் இருக்கிறாள் எவ்வாறெனில். மயில்கள் தோகை விரித்து ஆடும்போது கார்மேகம் சூழ்ந்து தேன் நிறைந்த மலர்களில் தேனீக்கள் தேன் உண்ணும், அது போல் தலைவியின் நீளமான மலர் சூடிய கரிய கூந்தல் இருந்தது. Meaning: This song describes about beauty and how the queen/the king’s lover is standing in his garden. She stands in the garden with her long, braided hair covered in garlands. It resembled the garden blooming with blossomed flowers with bees humming to drink the nectar, surrounded with peacocks in every direction, and like the dark rain clouds covering the skies. In the image, the hub would contain words that would read “யறமே தநமாவது” which should be read as – “அறமே தனமாவது” that means “Righteousness is wealth”

சுழிகுளம்

The Suzhikulam depicts the whirlpool where the content of the same poem could be read as a spiral, the way an eddy/whirlpool looks. It is a distinct form of a poem where you place the individual letters of the poem in a grid and if you read the poem in a spiral way, you would get the same poem lines. What an imagination and creativity the poet would have had, choosing the right words.
suzhikulam
Figure 10. Suzhikulam
கவிமுதி யார்பாவே விலையரு மாநற்பா முயல்வ துறுநர் திருவ ழிந்துமாயா Kavi mudhiyar paavae Vilai Aruma Narpa Muyalvadhu Urunar Thiruvazhindhu Maayaa விளக்கம்: முதிர்ந்த கற்றோர் செய்யும் செய்யுளே விலைமதிப்பற்றதாகும், அது போல் அயராது இடைவிடாது முயல்வார் செல்வம் என்றும் நிலைத்து நிற்கும். Meaning: Like the poem of the well learned and experienced poet would be invaluable and great in meaning, the wealth of those who put in untiring effort and have relentless endurance would never perish. Another song that follows which is of the same form and describes about Lord Shiva who wears a serpent coiled around His neck, yet He bestows His blessings and protects us all. மதந விராகா வாமா தநத சகாவே நீவா நதத நதாதா வேகா விசந விரோதா காரா Madhana Viraagaa Vaamaa Thanadha Sagaavae Neevaan Adhuadhan Thaadhavae Vega Visana Virodhaa Kaara விளக்கம்: அழகு பொருந்தியவன், ஆசைகளற்றவன். செல்வத்தின் அதிபதி குபேரனின் நண்பனானவன் . மழை முகிலைக்காட்டிலும் வள்ளல்தன்மை உள்ளவன். பாம்பு அணிந்து உள்ளதால் அச்சமூட்டுபவன். எங்கள் வினைகள் மற்றும் துயரங்களை விலக்கு. Meaning: The One who is free of desires and with great brightness; You are the friend of the person of great wealth (Lord Mahalakshmi/ Kuberan); The One who is more benevolent than the clouds that bestow the rains; The One (Lord Shiva) who looks scary because of the scary adornment – the snake; Remove our troubles and sorrows
suzhikulam 2
Figure 11. Suzhikulam

சருப்பதோபத்திரம்

Saruppadhopaththiram is the form where the poem is written in an 8x8 grid containing 64 cells, the first four rows contain one letter each of the poem as is and the second four rows is the mirror image of the first four rows. Each corner can be used as an entrance and if we traverse the cells like a snake for four rows or columns, we get the same poem. Interestingly, each of those rows/columns are palindromes
sarupadhopathiram
Figure 12. Sarupadhopathiram
மாவா நீதா தாநீ வாமா வாயா வாமே மேவா யாவா நீவா ராமா மாரா வாநீ தாமே மாரா ராமா மேதா Maava Nee Thaadha Vaama Vaayaa Vaa Aamae Maevaai Aavaa Neeva Rama Maara Vaan Nee Thaamae Maar Aar Aamamae Thaa விளக்கம்: பெரியவனே, நீதி உடையவனே, வற்றாத செல்வம் உடையவனே. நீ என்னுள் இருப்பின் கிடைக்காதது என்ன, வேறு என்ன தேவை. நீ இராமனைப் போன்றவன், மன்மதனைப் போன்றவனும் ஆவாய். நீ மேகங்கள் போல வளம் தருபவன். ஆதலால் நீ அணிந்திருக்கும் மலர்மாலை போல உன் நெஞ்சத்தில் எங்களுக்கும் இடம் அருள்வாய். Meaning: You are a great Being, Just and Wealthy. When You are within me, what else would one need. You are like Lord Rama and also like Manmadham who showers the arrows of love. You are benevolent like the rain clouds. You are generous and we request a place in your heart like the garland that adorns your chest.

நிரோட்டம்

Neerottam is an interesting piece of poetry, though it pictorial form, it is notable that when the poem is sung, the words are used in such a way that the lips DO NOT touch each other when singing. The words that have the syllable formed by these letters - “உ, ஊ, ஒ, ஓ, ஒள, ப, ம, வ” are not present. These letters make the lips come together while uttering those words. சீலத்தால் ஞானத்தால் தேற்றத்தால்சென்றகன்ற காலத்தால் ஆராத காதலால் - ஞாலத்தார் இச்சிக்கச் சாலச் சிறந்தடி யேற்கினிதாங் கச்சிக்கச் சாலைக் கனி Seelaththaal Gnanaththaal Thaetraththaal Sendragandra Kaalathaal Aaraadha Kaadhalaal Gnalaththaar Ichichikka Saala Sirandhadiyaerk Kinidhaang Kachichikkach Saalaik Kani விளக்கம்: தொழிலாலும், அறிவாலும், மனத் தெளிவாலும், தன்னிடம் சிந்தனை செலுத்திய காலத்தாலும், ஒப்பில்லாத ஆசையாலும். என்னை போல எத்தனையும் தாழ்ந்தவனை அருள் செய்தாய். கனியைப் போல உள்ள திருக்கச்சியில் உள்ள ஈசனே. Meaning: The One who is disciplined, learned, and with clarity of thought. The memorable time that passed in thinking about You. The never-ending affection in You. You are very kind even to the mean and the modest like me. With all these characters, You, Lord Shiva, are fruits that reside in Thirukachi.

Murasabandham (முரசபந்தம்)

Murasabandham is a much more complex form of poem, where the first two line are “Komoothri Bandham” by themselves and so are the last two lines. Komoothri bandham was covered in Part 1 of this book. Additionally, the lines of the poem run along the strap of the percussion instrument Murasu - hence the name - also called as Thavil or Mridhangam
murasa bandham
Figure 13. Murasa bandham
கான வாரண மரிய வாயினனே தான வாரண மரிய வாயினனே மான வாரண மரிய வாயினனே கான வாரண மரிய வாயினனே Gaana Vaar Ranam Ariya Ayinanae Thaana Vaaranam Ariyavaai Inanae Maana Vaaranam Ariya Vaayinanae Kaana Vaaranam Ariya Aayinanae விளக்கம்: சோழ மன்னன் போர் புரிந்த இடத்திலே பல மதயானைகளும், காட்டுக் கோழிகளையும், கர்ஜனை செய்யும் சிங்கங்களையும் கொண்டிருந்தது. Meaning: Which says the place where the Chola King waged war was a place that was abundant with raging elephants, forest fowls and roaring lions.

திரிபங்கி

Thiribangi is a form of poem where the poem as a whole gives a meaning. In addition, the poem can be split into three parts vertically and each of those parts are poems themselves. This is a form of the Viththaara Kavi, as mentioned earlier ஆதரந் தீரன்னை போலினியாய் அம்பிகா பதியே மாதுபங்கா வன்னிசேர் சடையாய் வம்புநீண்முடியாய் ஏதமுய்ந் தாரின்னல் சூழ்வினை தீரெம்பி ரானினியார் ஓதுமொன் றே!உன்னு வாரமு தே!உம்பர் நாயகனே Aadharam Theerannai Pol Iniyaai Ambikapathiyae Maadhubanga Vannisaer Sadaiyaai Vambuneen Mudiyaai Yaedha Muyandhaarinnal Soozhvinai Theerembinnaarin Iniyaar Odhum Ondrae Unnuvaar Amudhae Umbar Naayaganae விளக்கம்: ஒரு தாயைப் போல் இனிமையானவனே, அன்னை அம்பிகையின் தலைவனே. உமையை இடப்பாகதிலே கொண்டவனே. கையில் நெருப்பை கொண்ட சடையப்பனே. நறுமணம் கொண்ட நீண்ட சடைமுடி உடையவனே. நின்னை உணர்ந்தவர் தம் தீமை, துன்பம் நீக்கிய கடவுளே. உயர்ந்தோர் வணங்கும் ஒப்பற்ற பொருளே. மனதில் நினைப்பவர்க்கு அமுதம் போன்றவனே. தேவர்களின் தலைவனே, எனக்கு அருள்புரி Meaning: Like a mother who showers her affection to her full on her child, You show affection to your devotees. The consort of Goddess Ambika, The One who has shared half of the body to His consort. The God with long hair who holds fire in his arms. The long locks of hair that hold a pleasant fragrance. Those who have realised you get their troubles and sins eliminated and being praised by the noble people. The nectar to those who consume your thoughts. The leader of the Devars. The poem can be split vertically as follows and each of them standing as separate poems by themselves

ஆத ரந்தீர்

மாது பங்கா!

ஏத முய்ந்தார்

ஓது மொன்றே

அன்னைபோ லினியாய்

வன்னிசேர் சடையாய்

இன்னல்சூழ் வினைதீர்

உன்னுவா ரமுதே

அம்பிகா பதியே

வம்புநீண் முடியாய்

எம்பிரா னினியார்

உம்பர்நா யகனே

Aadharam Theer

Maadhu Panga

Yaedham Uyindhar

Odhum Ondrae

Annai Pol Iniyaai

Vannisaer Sadaiyaai

Innal Soozh Vinaitheer

Unnuvaar Amudhae

Ambika Pathiyae

Vambuneen Mudiyaai

Embiraan Iniyaar

Umbar Nayaganae

Following are the corresponding meanings for the verses in the corresponding cells
  1. உய்ந்தவர் போற்றும் மாதொரு பங்கன் - The realised praise the one Universal Being - Maadhu Pangan (Lord Shiva) who half of his shared the body with his consort Goddess Shakthi
  2. தாயை போல் அன்பு கொண்டவன். வன்னி மரத்தின் மலர்களை சூடுபவன். தீவினைகளையும் இடர்களையும் தீர்ப்பவன். போற்றுவார்க்கு அமுதை போன்றவன். - Kind and affectionate like a mother. The One who wears the flowers of the Vanni tree on his head. Remove the troubles and sins that surround me. The nectar to the ones that sing Your praise.
  3. அம்பிகையின் தலைவன். நீண்ட சடைமுடி உடையவன். உயர்ந்தோரின் கடவல், தேவர்களின் தலைவன் - Consort of Goddess Ambika. Having long hair with pleasant fragrance. You are the God to the Noble people and the leader of the Devas

Rathabandham / Chithira Thaer

One of the most fascinating and exquisite works in Tamil Literature, that I searched for a long time and found in Kumbakonam, is the Chithira Thaer, meaning Artistic Car/Chariot. The literary eloquence really is awe-inspiring and is in a different dimension, that I have not seen/heard such a work in any other language. I found the Chithira Thaer at two places in Kumbakonam, one at the Saarangapani Temple (in praise of Lord Rama) and the other at the Kumbeshwarar Temple (in praise of Lord Shiva). The Chithira Thaer at Saarangapani Temple is a work by Thirumangai Azhwar, and this form of poetry is called the Thiru Ezhu Kootru Irukkai. The Chithira Thaer at Kumbeshwarar Temple is by Thiru Gnana Sambandhar. The Chithira Thaer consists of many boxes in the form of a Chariot and each box containing a short verse. The speciality is that you can read the contents from the boxes from any line, but in order, and it will give you a meaningful verse. For e.g. take the content from box 1 in line 1 and then box 2 in line 3 and then box 3 in line 2 and so on – will give you a complete meaning. So the order of reading should be of the form. 1, 2, …​ n , …​ , 2, 1 Only the numbers need to be in that order, the content can be from any row. It is such a literary beauty that has to be treasured and to be felt proud of. Take a look at the wonderful masterpiece.
ChitiraThaer
Figure 14. Chithira Thaer at The Saarangapani Temple
The image that follows is nothing but the top section of the chariot, zoomed and rotated to the right to illustrate the masterpiece. The lower section is a mirror image of the upper section.
ChitiraThaer top
Figure 15. Top Section of the Chithira Thaer
The top section can be symmetrically divided vertically into two halves along the middle. There are seven rows, and the number boxes from the top increase in odd numbers starting from 3. The boxes are numbered as follows 1 2 1 1 2 3 2 1 1 2 3 4 3 2 1 1 2 3 4 5 4 3 2 1 1 2 3 4 5 6 5 4 3 2 1 1 2 3 4 5 6 7 6 5 4 3 2 1 1 2 3 4 5 6 7 6 5 4 3 2 1 As it can be seen, the right and left halves are numbered mirroring each other. We will have to collect the words in the boxes number from 1 to 7 and then from 7 to 1. Only the numbers have to be in that order but the boxes can be chosen from any row. Consider the following sequence [box-number, row-number(L/R)] – L/R indicates if the words were taken from the left portion or the right portion The corresponding words in the boxes are
  • [1, 3L] – ஒன்றிய,
  • [2, 1] – இருமலர் தவிசில்,
  • [3, 4L] – மூவுலகு அளந்தனை,
  • [4, 4L] – நான்மறை,
  • [5, 7L] – ஐம்பெரும் பூதமும்நீயே,
  • [6, 7R] – அறுவகை சமயமும் அறிவரு நிலையினை,
  • [7, 6] – ஏழுலகு எயிற்றினில் கொண்டனை கூறிய,
  • [6, 5] – அறுதொழில் அந்தணர் வணங்கும் தன்மையை,
  • [5, 6L] – ஐவாய் அரவொடு,
  • [4, 3] – நானிலம் வேண்டி,
  • [3, 5R] – முக்குணத்து,
  • [2, 6R] – ஈரடி,
  • [1, 7R] – ஒன்றாய் விரிந்து நின்றனை
Gathering all together, we get the following verse ஒன்றிய இருமலர் தவிசில் மூவுலகு அளந்தனை நான்மறை ஐம்பெரும் பூதமும்நீயே அறுவகை சமயமும் அறிவரு நிலையினை ஏழுலகு எயிற்றினில் கொண்டனை கூறிய அறுதொழில் அந்தணர் வணங்கும் தன்மையை ஐவாய் அரவொடு நானிலம் வேண்டி முக்குணத்து ஈரடி ஒன்றாய் விரிந்து நின்றனை Ondriya Irumalar Thavisil Moovulagu Alandhanai Naanmarai Aimperum Boodhamum Neeyae Aruvagai Samayamum Arivaru Nilaiyinai Ezhulagu Yeyitrinil Kondanai Kooriya Aruthozhil Andhanar Vanangum Thanmaiyai Aivaai Aravodu Naanilam Vendi Mukkunaththu Eeradi Ondraai Virindhu Nindranai Meaning: Standing on a single small pedestal filled with flowers, you expanded and measured all the three worlds (Space, Land and the Underworld). You are the manifestation of the Four Vedas (Rig, Yajur, Sama, and Atharvana), the Five Elements (Air, Water, Fire, Soil, and Space), You are beyond the comprehension of the Shanmatham – Six Branches – (Vaishnavam, Saivam, Saaktham, Kaumaram, Gaanapathyam and Sauram); You carried the mother Earth in your tusks in the Varaha avatar; Your divine quality makes the priests, who perform the divine duties, worship You; You rest on the five-headed snake – Kaalingan; You went asking for three feet of land in the Vamana Avatar. You covered all the three parts of the expanse – Space, Land and Underworld – with your two feet covering everything as a Universal Being. This is one random sequence; we will be able to create verses that are meaningful whatever the permutations we use in picking the words from the boxes provided the order is maintained. The literary eloquence, brilliance of Thirumangai Azhwar and the flexibility of the Tamil Language definitely blows our mind! With that we have come to the end of the article, however, we have just scratched the surface of what Thandialangaram actually contains. This great treasure contains even more interesting pieces of poetry like the Varukka Paadalgal - ஒரு வருக்கம் (Oru Varukkam), இரு வருக்கம் (Iru Varukkam), மூவருக்கம் (Moo Varukkam) - where Oru Varukkam is a song sung using only the letters of one series of alphabets, for example, க, கா, கி, கீ, etc. Likewise, there are poems that use only the Vallinams, Mellinams and Idai Inams. The tamil alphabets are classified in the aforesaid group based on the sounds. What we have seen of Thandialangaaram is a drop in an ocean where there are lots to explore and cherish for our lifetime. No wonder that there are many people who have dedicated their lifetime’s effort to actually find out the example illustrations - taken from the works of Thirugnanasambandhar, Arunagirinathar, Kaalamega Pulavar, Ramalinga Adigalar and many more - to these different forms that Thandialangaaram defines.

About the Author

I’m Prabhu and I am a software consultant by profession. I have a passion for Tamil Literature, Tamil History, Temples, Siddha Medicine and related subjects . I have authored two books on those subjects - Ancient Wisdom Explored - Parts 1 & 2. That doesn’t mean I am a scholar or an expert in those topics. I have merely dipped my feet in the ocean standing at the shore. It is fortunate to have been associated with Tamil Arts Academy as they bring out the fabulous work of the eminent scholar and historian - Dr. R. Nagaswamy. Uma, Dr. Nagaswamy’s daughter, was kind enough to give me the opportunity to proofread the works of Dr. Nagaswamy. It is through reading his works, I came to understand better what being a historian/archaealogical researcher means. How much effort is being put in to bring out all the details and the depth of such research needed to interpret what has been left by our forefathers, mainly because it is prone to misinterpretation and bias. I feel very honoured to have made a tiny contribution of my effort to the initiative of Tamil Arts Academy in bringing the great works of Dr. Nagaswamy to the world. Though I never had the opportunity to meet him in person and talk with him, he still talks to us through his amazing works of historical research.