The Icon-Thinking of Punitavati 61-70



61. BEING is Indeterminate with respect to Form 62. The Mythical Tales and Ethics 63. BEING is Beyond Words 64. The Icon as the Image 65. Siva as the IMAGE of the World. 66. The Poisonous Dark as a Real Stuff 67.

The Destruction of Animism 68. Red is Love 69. Towards a Life of Eternal Joy 70. There is SEEING only because there is SHOWING by BEING





The Icon-Thinking of Punitavati-61


BEING is Indeterminate with respect to Form


The genuine Icon Thinking constitutes the base of genuine metaphysical life where simple worship is transcended and hermeneutic inquiries with respect to the MEANINGS of the icons and mythical tales involving these icons become the central concern. Certainly this is a higher kind of religious existence where the person is NOT simply a worshipper but an inquirer.


In this inquiry there is also a LOGIC, the Hermeneutic Logic where CLARITIES are sought after with the clarities themselves showing from within that what is being enjoyed are TRUTHS and NOT falsities. There is apodictic certainly and this certainty itself showing that the experience is a truth-experience.


Such experiences eventually lead the mind to a post icon thinking where the understanding encounters INDETERMINACY with respect to the ESSENTIAL FORM or Icon of BEING. There is a realization that among the thousands of icons encountered and mythical tales woven around them understood, there is NOTHING that can be singled out as THE icon of BEING. Enjoying the presence of BEING in terms icons and so forth is just one level of metaphysical life and at the end which it emerges that there is another level, a higher level where BEING is encountered as INDETERMINATE with respect to iconic forms.





񸢧 -

էš á 째

էš .


( ĸ)


Ǩ ۨ ¡ ¡ Ǣ Ȣ¡ Ȣ 째 Ƣ . θ 츢. 째 ¡ Ţɡš ɾ §? ɧ¡ Ǣ , Ȣ ¡ š¡!





anRun tiruvaruG kaaNaatee aadpaddeen

inRun tiruvuruvaG kaaNkileen - enRuntaan

evvuruvoo numpiraan enpaarkadku en uraikkeen

evvuruvoo ninnuruavam eetu.




O Lord! You disclose yourself to me in so many forms. But even during those early days where I did not know what form is your essential form, I became devoted to you. Even now after so many years I still cannot see your essential form. Now to those who ask me: What is the essential shape of your Lord, what can I say? So please tell me what is that which is the most distinctive shape of yours?




Punitavati has been exulting in various icons of BEING and the mythical tales woven around these, interpreting them and enjoying metaphysical illuminations of various kinds that are to be found nowhere else. However after years of study of such shapes of BEING and learning whatever encrypted in such shapes, the question crops up: among all these numerous forms, is there one that can be called the essential and the most distinctive for e.g. the Blue Throated Siva? She is bewildered not knowing what to say. For the fact is BEING has no definite form- He is wholly INDETERMINATE with respect to such forms and functions. He is equally all and at the same none so that He lacks a form which is the essence and the most distinctive.


The forms or ICON shapes are fluid with none of them as the most essential. All forms are various kinds of PRESENTATIONS and are taken for pedagogic purposes, as a way of INSTRUCTING the anmas certain metaphysical truths and with that ILLUMINATE them. They are real but their reality is pedagogic - they emerge to instruct and cease to be in relation to a person the moment what an icon can communicate is already in the mind of the person.





The Icon-Thinking of Punitavati-62


The Mythical Tales and Ethics


In this verse Punitavati raises ethical questions about the meanings of the mythical themes that is the stuff of Icon Thinking. Thus this is a departure from the Hermeneutic Semiotics where the chief concern is the MEANING of icon forms, icon constituents, mythical tales woven around them and so forth.


The ethical questions too take a specific form: such GAMES as Siva plays - are they PROPER to the essence of Siva, CONSISTENT with His essence, quite BECOMING of divine essence etc.


And the point here is that Punitavati recognizes that answering such questions are BEYOND the resources of the human person. It is BEYOND the finite human mind to evaluate and JUDGE the games BEING plays and all for the purpose of educating the arrogant and errant individuals. What we have to do is to OBSERVE and RECOGNISE such games BEING plays in life and accommodate ourselves to it with the believe what is done by BEING Himself cannot be anything bad or evil.


The ethicality of Divine Games is just beyond the finite human mind to judge and evaluate.





š ()

¡ Ȣš -

ţ żɡ ާɡ



- Ţ.


- ɡո â ( - ) ާɡ - ɦɡ â Ǣ




ţռɡ ɢ 쨸 ž Ţ֨ żɡ ŧɡ վɡ. šȡ ż â Ţ Ҹ. ̧ , 측, ̧ š Ţ , ¡ Ȣš Ǣ ȢŢ, !




eetu okkum eetu ovvaatu eetu aakum eetu aakaa(tu)

eetokkum enpatanai yaar aRivaar - puutappaal

viil veedanaaki visayanoodu eRRa naaL

valveedanaaya vadivu !




In those ancient days O Lord! You assumed the shape of a hunter with a bow and in order to humiliate Arjuna proud of his valor, you fought with him and defeated him. Now people raise questions about this. They ask: is this proper, consistent with BEING, is it becoming of BEING or not and so forth. No one seems to know the correct answer and I remain bewildered.




This is another episode which looked at superficially may appear improper unethical and so forth as do many such episodes in the puranas. Arjuna here is the prototypical warrior, proud of his physical prowess and quite smug about it. There is pride and arrogance among human beings of various kinds and here because of the impressive skills of the warrior. But then in history no one is allowed to enjoy such arrogance and BEING plays a game so that such individuals are defeated and their arrogance removed by such humiliations.


But here the question arises: why the form of a killing hunter carrying the bow to defeat Arjuna?


Such an Arjuna individual is a BEAST like a tiger lion mad elephant and so forth. And so he has to be HUNTED down and vanquished to be humiliated. The form of a hunter Siva assumes is that which MATCHES the bravery of Arjuna and hence it is the form that Siva assumes to defeat Arjuna.



The Icon-Thinking of Punitavati-63


BEING is Beyond Words


The Icon Thinking of various forms the BIT, GIT and the Mantric thinking that accompanies them are both symbolic and verbal. The Icons and the tales woven around then are INTERPRETED hermeneutically taking them as TEXTS which have a Deep Structure as their meaning and which they communicate through the visible Surface structure. The understanding is verbalized and communicated to other as well. Through such illuminations and communications the dark patches of ignorance already in the mind are removed and through that the soul is LIFTED up into higher planes of existence step by step.


If there is such a lifting up, then surely there must a LIMIT to such an ascendance. In this verse Punitavati touches on this LIMITING EXPERIENCE where it turns out to be the experience of Pure Light that contains all the beauties of the world. On top of that it is this Pure Light that lifts up the soul into the realms of Deep Silence where Icon Thinking itself is no more available.


Thus Icon Thinking has within itself some processes that take it to such realms of Pure Light and which also cause a cessation of Icon Thinking itself, initiating in its place Moksa Thinking.





ר ȡ

Ţ Ȣ ġ -

Ȣġ ¡ ġ¡

ʧ ġ!


- : . Ţ.


- , ( Ƣ - šɡ), -


( ĸ)


Ƣ Ģ Ƹ ȡ ǡǢ¢ ¡ Ţ Ż Ȣš . Ч ġ , Ȣġ ¡ , § ġ ȡ! Ч ʧ ¢ ġ Ƣ ը¡?




vadivudaiya ceGkatirkku maaRaayp pakalee

neditulavi ninRu eRikkuG kolloo - kadiyulavu

conmudivu onRilaata cootiyaay collaayaal

nimudimeel tingkaL nilaa!




There is the Pure Light of undying brilliance that stands beyond the destructive Fire Light of great heat, illuminating the mind. Could it be that this is the Supreme Radiance that informs from within that it is beyond any verbal description but containing within itself all great beauties? And could it be that you telling without really verbalizing this truth and which is reason you are wearing the Crescent Moon of your head?




The key word here is "con mudivu onRilaata cooti, Brilliance that that cannot be captured definitely with any verbal description. Thus over and above the Icon Indeterminacy now we have Punitavati encountering descriptive indeterminacy - beginning to understand that words have their limits and BEING stands as Pure Light and which is just simply beyond words.


This is the universal experience of all great mystics throughout the world where at the height of the mystical experiences they encounter this Form of Pure Light, which makes them transcend language as such.


But this also means there is a process, as effected by the burning Light of Fire, the CaGkatir and which brings about this state as its product. The final mental blocks are singed to ashes and because of which emerges the vision of this Cooti, the ArutperuNjcooti as it became to be called later, The Pure Light of Love and Grace.


It turns out that even this is an Icon, an Icon of Pure and Beautiful Light, perhaps a product of the Crescent Moon Siva wears on His head. This Icon is peculiar in that it does NOT promote Icon Thinking but rather that of transcending from it to a higher plane of existence where enjoying in Deep Silence becomes the way.





The Icon-Thinking of Punitavati-64


The Icon as the Image


The hermeneutic semiotics that is the essence of Icon Thinking such as that of Punitavati in this text, does NOT exclude understanding the Physical Cosmos but in a way different from physicists. The image of Siva gives her a clue to understand the physical cosmos through interpreting the Siva Icon as a representation of the Cosmos, a picture of the Cosmos of a peculiar kind.


This image, in addition to pointing out to her the hidden metaphysical realities, sexual libido, the nectar and so forth, also suggest to her the essence of the cosmos itself. Thus the head of Siva reminds her of the red sky where moves the moon restlessly diminishing and growing and it appears that Siva is forever on the move too chasing this moon to keep it fixed on His head. It is this movement that appears both as that of the snake as well as that of the wind.


What is happening here is that the Icon of Siva as such is also and IMAGE of the Cosmos and hence in seeing and understanding this Image she also recalls and recognizes the whole of the Cosmos and dynamic movement within.





ġ 즸š

ġŢ Ƣ ġ - ġŢ

šɧ ¡ 째



- . Ţ.


ġ - Ģ. 즸š - 즸š. Ƣ - â. ħ - ȧ


( ĸ)


Ŧ ¢ Ţ š , Ŧ ʧ šɢ ġ 츢. ¡Χ ġ¢ 츢 ú š , Ǣ ġ Ǣ ڧ, ġŢ šɢ ġ Ǣ âȡ ڸ.




nilaa ilaGku veNmatiyai needikoLvaan pool

ulaavi uzitarumaa kolloo - nilaavrunta

cekkar av vaanamee yokkun tirumudikee

pukku aravaG kaaliayee poonRu




When I inquire how the Moon came to be on head of Siva, it appears to me as follows. The red sky, that has the moon circulating in it stands like His crown where in order to get this moon and have it on His Head he moves around the whole sky as a snake-like wind that crawls around.




This is another kind of MEANING that Punitavati sees in the icon form of Siva where He wears the Crescent Moon on His head. The Moon, in addition to being the metaphysical Moon, that which is the source of amutu, the nectar or Soma juice that prolongs life in good health is also an astronomical object, the physical moon that roams the sky forever diminishing and growing, that which does not stand fixed, the nilaa veNmati. So it appears that Civa moves or more specially crawls like the wind and which resembles to movements of the snake.


In this Punitavati sees another meaning for the Icon of Siva where He wears the snake of His neck and the Crescent Moon on His head. This icon is the COSMOS itself, a way of grasping through a REPRESENTATION in the Icon form of Siva. Siva is also the visible cosmos where over and above the INTERNAL essences the EXTERNAL form is also grasped in the same Icon. The snake becomes here the movement of the Wind and that itself the movement of BEING in search of Moon that is forever changing and on the move.




The Icon-Thinking of Punitavati-65


Siva as the IMAGE of the World.


The form of Siva, which as an Icon is a picture of metaphysical elements, allows itself to be viewed as an IMAGE of the cosmos as above and the daily world as here. Thus Siva as an IMAGE is a representation of the cosmos as well as the daily world and hence a figural way of retaining and recognizing the world of physical experience. It turns out that Punitavati sees the different play of light and darkness from sunrise to sunset in the IMAGE of Siva Himself.


Thus the figure of Siva incorporates representational features from which one can recall the different times of the day and as described below. The form of Siva allows itself to UNDERSTAND the natural, the physical reality and not just the metaphysical depths.


But why is this possible?


It is through understanding the physical that the metaphysical realms are reached and where the physical is NOT NEGATED as Maaya Sakti, a Power that misleads understanding into illusory and so forth. The physical world is Meyya Sakti, something TRUE and which shows from its surface features the deep structures, the metaphysical realities.


The shape of Siva as an IMAGE is the physical world but as an Icon, as a symbolic structure is the metaphysical world.




ħ ɢ Ģ

Ũħ - ¢






Ĩ š 츢ȡ Ŧ. â â ب ɢ Ǣ. Ģ 񸾢 Ţ Ũ . â ؾ 򾡸 , ο¢ ɢ տĸ Ţ̸ !




kaalaiyee poonRu ilaGkum meeni kadumpakalin

veelaiayee poonRu ilanGkum veNNiiRu - maalaiyin

RaGkuruvee poolunj sadaikkaRRai maRRavarkku

ViiGkuruLee poolum midaRu




I am reminded the world in its daily course in seeing the image of Siva. His resplendent body resembles the light of the daybreak and the sacred ashes the intense light of the mid-day sun with its blinding brilliance. His black and long hair resembles the dusk of the evenings while the dark patch on His throat the intense darkness of the middle of the night.




Here again we have the shape of Siva viewed as an IMAGE of the world and not as the COSMOS as above but the world of daily experience, from sunrise to sunset where light bursts forth, stays glowing and then declines. Thus the resplendent body of Siva is like the glow of the morning light that bursts upon the world killing the darkness of the prevailing night. The Mid day sun with the brilliant and blinding light is the color of the sacred ashes, intensely white and extremely pure. As the sun sets and the dusk returns there we have the color of the golden hair that flows majestically on His head. The darkest however is the throat where He holds the most deadly poison by way of saving the world.



The Icon-Thinking of Punitavati-66


The Poisonous Dark as a Real Stuff


One of the problems in Indian metaphysics is with respect to different kinds of explanations for the presence of DEATH in the world both for the world as a whole and for the existence wrought out for the anmas in it. This is also related to the question of EVIL in man, why man can degenerate into the unethical, immoral and bestial way of being instead of the humane and spiritual.


While Advaita Vedanta dismisses the whole question as irrelevant in view of the magicality and hence illusory character of all thinking in terms of forms and functions, and Visistadvaita seeks to explain it in terms of Tamasa GuNa, it is only Saivism that goes even beyond the GuNas and acknowledges the presence of Malam, the Giggosum, the POISON that kills and brings about the killing kind of evil nature in man.


The Malam, the Dark, is absence of Light only when we take the figure of Siva as an IMAGE of the universe, simply a pictorial way of understanding the Physical Nature. However when we take it as an ICON, the Black is the Alakaala Visham, the most potent poison ALREADY there in the world and which can KILL the whole universe, the Black Hole that can swallow every presence and let there be only EMPTINESS and against which except for Siva all other gods are powerless.


The Malam as the killer, as the primordial cause of DEATH and Evil as such is NOT simply the absence of light but rather a substantial reality just as real as Pati, the BEING and equally anati, unconfigured and with which BEING is always in battle.





Ȣ ŢӨ£ 츢

Ȣ Ţšȡ -ȸ





- . Ţ.


- Ţâ . ĸ, ĸ. Ţ ? 츢 .




ĸ Ƣġ ý ǡ 𦸡 ¡ ĸ Ţ ոĢ ɢ տĸɡ Ţ § ! 째 Ţ . Ţâ θ š Ţ ȡ¢? Ţ 츢 츢 񼾡 šȡ? ը 񼾡ġ? ŢҸ § Ȣ¡ Ũ¢!




midaRRil vidamudaiyiir um midaRRai nakki

midaRil vidaGkoNdavaaRoo - midaRRakattu

maitaaz iruL poolum vaNNaG karitaaloo

paittaadum nummaarbiR paampu?




O Lord! You appear as the Blue Throated Siva on account of drinking the most potent poison that would destroy the whole universe and which was beyond all other devas to control and regulate. Now I have a question. There is on your shoulders the poisonous snake also blue throated and which dances spreading out its hood. Now how come it has also this dark neck? Is it because it licked the poison in your throat and became poisonous because of that? Or is it simply a matter of getting the black color by the same process? Please clarify it for me!





We have seen that the figure of Siva as such can an IMAGE of the Cosmos as the physical reality of our daily experiences, as it can be an ICON of the cosmos as a whole and hence as a metaphysical reality. The figure of Siva allows for both kinds of viewing depending on what one selects for seeing. This duality as a possibility lurking in the figure of Siva is brought out here by inquiring into the meaning of the dark in the neck of the snake that dances majestically on the shoulders of Siva, spreading its hood.


If the figure is taken as an IMAGE then the color of dark is simply the innocuous absence of light and which can be dispelled by the burst of physical light from the sun. However when taken as an Icon that shows in a pictorial form the essence of metaphysical realities, then the DARK is the poisonous KILLER, the Malam, the Black-Hole that eats up every expression of light including the physicality.


The snake is the KuNdalini, the sexual libido and which binds the anmas to the physical realms where DEATH is an inevitability. Thus the snake has the poison as Malam, the Black Hole that swallows or KILLS the whole universe and against which only Siva can act for He is the controller of both death and regeneration, the most fundamental processes in nature.


Thus the black taken as coming from the Image of Siva of the Cosmos, it is simply the innocuous absence of physical light but taken as Icon with the killer poison, it is Malam, the aaNva Malam that comes along with sexual libido that binds the anmas to the physical world. The energies that afford physical existence has within it the poison that would cause death.





The Icon-Thinking of Punitavati-67


The Destruction of Animism


Punitavati shows herself not only as a bold thinker but also deep metaphysician in this verse below where the whole purpose of religious life is explained in terms of some famous symbolisms of Saivism. There is ANIMISM permeating the whole gamut of religious life where there is ANIMOSITY of a deep-seated kind with HATRED rather than LOVE among people. Most of them look for sacrificial animals among human beings - the Sudras of the Brahmanahs, the kafirs of the Muslims, the heathens of the Christians and so forth where normal human beings are projectively identified as sacrificial animals who can be killed without feeling guilty about it.


This is an expression of animism; the fierce TIGER in man making them behave thus.


Related to this is the sexual libido that presses for species regeneration, a demographic warfare where other species, including the religious, are killed to make ones own species multiply and prosper. The Muslim wants the whole world to be Islamic and Christian also the same but as Christians.


These are primitive ways of thinking and functioning and which are essentially animistic for the guiding passion is ANIMOSITY hated towards whoever is different from oneself.


But this is NOT genuine religion that installs LOVE COMPASSION CARE and COINCERN as the chief psychological essences of man. The genuine religion is there in the world for the culturing of man so that he would be freed of animism that is inherent to him and so visibley present all over the world.


Punitavati sees here the relevance and immense importance of the War Dance of Siva for culturing man in this way. Siva promotes wars disputes conflicts battles and so forth by way taming this animosity and transmuting the animism into genuine religion of LOVE.





¢ Ţ ̾ġ -

Ţ Ǣ Ͼġ

¢ !


- . Ţ.


¢ - Ƹ. Ţ ̾ġ - âġ. ӾĢ Ƹ ̾ġ ġ. (¢ - ; ɢ.) - ( ţ) . ¢Ȣ Ȣ š, ĢԼ Ȣ Ȣ¢ ¢ ġġ, Ӹ ̨ ¢ 츢 ը ġ Ŧ ¢ ţ Ҩ ̾¡ .




Ŧ ¢Ģ Ţ ¢, ¡ â , Ģ Ţá ¡Ȣ ȡ ħ Ƹ ɢ š. šȡ 츨 է ͼ Ţ Ţ Ȣ Ȣ Ũ ɦšǢ Ͼ ɡ Ŧ Ȣ Ũ¢ ¢ ţ Ȣ츢 !




paambum matiyum madamaanum paaypuliyum

taam payinRu taazaruvi tuuGkutalaal - aampon

uruvadivil ooGkoLiceer kaNNutalaan koolat

tiruvadiyin meel cilambu!




On the Ganges that flows out from the head of Siva abide in peace the poisonous snake of sexual libido and the nectar oozing crescent moon. So do the violence prone fierce tiger and the nonviolent and peace loving female deer. How is that this coexistence of such opposing forces has become possible? It is all because of the War Dance of Siva who assuming the brilliantly shining pure body of the gold has danced the War dance with shining anklets on His feet and in the process has given the Third Eye to all creatures Himself appearing as thus.




Saivism exults in seeing BEING as the Dancer of various kinds of dances. Here we have a description of the War Dance symbolized by the brilliant anklets that He wears on His feet. But why the War Dance?


The creatures given over to their natural essence are animistic - ruled by sexual libido, the poisonous snakes and a violent-prone ferocity of the ferocious tigers. The sexual libido comes along with involvement with the physical and within which lurks the poison that would kill and cause death. As opposed to this remain the amutu, the ambrosia as symbolized by the Moon, the Soma of the Rig Veda and Suen of Sumeria. The copulation seeking sexual libido has to be transmuted into the LOVE seeking Arul i.e. the snake has to be made to live in peace with the Moon. Sexual enjoyment must come along within LOVE.


Similarly the inherent aggression that comes along with animism and which shows itself in various kinds ANIMOSITY has to be transmuted so that gentility kindness care and concern comes to prevail. The tiger in man must be vanquished and the deer made to be active or at least make them live in peace with each other. For them to coexist there must BRAVERY or heroism that battles only the evil. The aggression must be directed at only to destroy the evil.


This happens when they live together interacting happily and sleeping in peace in the falls of Ganges i.e. in the stream of life.


It is to bring about such a happy state of affairs that Siva dances the War Dance where he battles courageously with the sexual libido and aggressive nature of man. He has to dance the War Dance for unless violence is met with violence, it cannot be defeated and transmuted, sexual cravings into LOVE and beastly aggression into heroic bravery.


How does He dance this War Dance and why in the process He has to assume the shape of the golden body with the Third Eye shining on His forehead?


The GOLD stands for underlying TRUTHS and the Third Eye stands for transductive perceptions. Thus the War Dance Siva dances is a dance where the Third Eye of creatures are opened up so that they can then see deep metaphysical truths and which alone can transmute their inherent animism, get rid of the animosity and with that make them essentially LOVING and gentle.





The Icon-Thinking of Punitavati-68


Red is Love


One of the central archetypes worshipped in Saivism along with SivaliGkam and Siva Nadarajah is that of Ammai-Appar, the androgynous shape of BEING. It is a presentation of BEING as for the human beings of deep metaphysical significance.


Man can be a warrior, a fighter of immense courage. But whether in that process he turns out a TYRANT or HERO would depend for what fights and aspects of existence that would make him fight. Where he fights out of ANIMISM deep within and which promotes DESTRUCTION out of animosity and hatred, then he becomes as satanic force and hence an evil force. However when he is moved into serious fighting and battling out of LOVE then he becomes the HERO, almost a god to many people.


But what is the natural mechanism through which BEING creates HEROES and not Tyrants?


Through cultivating LOVE and in the first place for a woman as sexual love and later as parental love towards children and so forth.


He who cannot LOVE a woman and later love his children cannot develop also into HERO who fights for the general good of the people and all because of LOVE unto all. A man should aspire to be an Ammai-Appar, the Androgynous Reality in order to avoid being a TYRANT and emerge a HERO.







¡ Ţ

ʧ - ()

á â 째

Ӿá ¡


- Ţ.


¡ - Ө Ţ¡â. ʧ - , - 墨. ʧ á â 째 . ¡â ʧ 墨 ʧ 了 š.





էǡ Ȩ ʧ š Ŧ ¡ š է š â¡ á иȡ. æƢ¡ Ũ¢ Ǣ Ҹ ȡ. Ŧɢ â ġ Ŧ, Ҹ ¡ 츨 Ţ, š Ƹ Ǣ Ţ¡ ǢŢ 츢ȡ 1





cilambadiyaaL uudalait taan tavirppaan veeNdic

calmbadimeeR cevvarattanj ceertti - nalambeR(Ru)

etiraaya cekkarinum ikkoolanj ceytaan

mutiraa matiyaan mudi




BEING-as-Siva shows Himself as full of Arul, Love unto all, by wearing the Crescent Moon on His head. This He attains by having the Woman as an equal part of Himself as in the androgynous form. Now in order never to depart from this way of being, he decorates the anklet feet of Uma, the Woman with red-cotton flowers when she feigns anger and seeks to depart from Him and in that process creates a red hue more brilliant and love disclosing than the red of the evening sky!




The above verse returns to the theme of Malam, the Dark Power than kills and which is the source of animism and where it is also shown that Siva dances the War Dance to defeat this animism and transmute it into a form that is tame and nonviolent. But the power that would install this as a permanent feature of the anmas is the Love Power, the AruL and which is always associated with the Woman, Uma, the equal half Siva. BEING is Siva-Sakti Complex, the Androgynous Reality, the Ammai-Appar and which shows that BEING can wage wars but only out of LOVE and hence who is NOT the Devil but the Hero.


Only a man fully saturated with LOVE can be heroic as opposed to being Satanic and devilish. The force that can eliminate animism that breed animosity and hence hatred is LOVE and in this verse Punitavati points it out through describing a mythical episode.


Uma is the Mantra Force who dances wearing the anklets on Her feet. Now when feigns anger and seeks to depart from Siva, He piles the RED colored cotton flowers and creates a RED haze more brilliant and intense than even the evening sky! The color RED stands for Pure Love and what it means is that the Sakti is made to be an integral part of Siva only through the show of immense LOVE and which makes Siva in turn very loving in general. In such a way of being, even if He dances the War Dance it cannot be out of hatred as is the case with satanic forces but only out of LOVE unto all.



The Icon-Thinking of Punitavati-69


Towards a Life of Eternal Joy


Human existence is such that we can either FALL or Lift Ourselves Up, all depending upon the ACTIONS we effect. The choice is ours and we can configure for ourselves a life of eternal joy provided we go about the right way.


But what is the Right Way, the Sanmaarkkam as said by Tirumular?


The right way is the way that destroys the animism within us and hence gets rid of the Malam, the Black Killing Energy, which is already there as the most deadly poison, and which Siva holds up in His throat so that it is under His control.


The animistic way of life, where there is animosity hatred and willingness to KILL even fellow human beings by projectively identifying them as sacrificial animals is the way of Tyrants, the Rakshasas and which will continue to pull the anma more and more into the grips of this Malam and hence lead to a way of life full of miseries of all kinds, both mental and physical.


As opposed to this stands the Sanmaarkkam, the way of metaphysical illuminations where by ACTIONS that are of the Divine Service type, not only we keep our soul within the reign of BEING but also AWAY from the influences of this Killer Dark Energy and with that also learn to lead a life of eternal joy.





ʧ ¡ 츽

ʧ ¡ - ʧ

ɢ ʨ 񼡼 ȡ

ɢ 񧼡


- Ţ..


¡ - Ũ ½. ( - ڸ) ʧ - ʨ ħ , ¡. ʧ ɢ - ¢ Ĩ . ʨ 񼡼 - ʨ 񼡼. -


( ĸ)


â Ũ Ȩ ħ Ȣš ɡ Ŧɢ ʸ ħ 째 𧼡. ɡ Ǣ ý ﺸ ¡ Ȩ ȡ. ը ǧ ħ š ¡ġ Ƹ š쨸 ȡ !




mudimeeR kodumatiyaan mukkaNaan nalla

adimeeR kodumatiyooG kuuRraip - padimeeR

kuniya valamaam adimai koNdaadap peRRoom

ini avalam undo emakku




BEING-as-Siva stands wearing the Crescent Moon that is the source of ambrosia of eternal happiness and as the Third Eyed showing that He sees all immediately and as it is. Now having adorned His Feet on my head and with that become someone who lives by His decrees only, we have learned to drive away and avert all the gimmicks of the God of Death. And in addition to that we have learned to do only the Divine Services as the most becoming way of life and in that add more and more the AruL that drives away all the miseries in life.




Having identifying the Malam, the deadly Poison, the Killer Energy, the root cause of Satanism, it becomes obvious that to lead a life of eternal joy and happiness and in good mental and physical heath, what needs to avoided is the presence of this Dark Force and augmenting it by improper and evil actions. But how are we to accomplish this?


We must submit to be RULED wholly by Siva and this because He wears the Crescent Moon that would replenish the anma with the necessary energy each time it runs out. The anma, as long as it gains the Grace of Siva, will continue to enjoy a continuous replenishment of ENERGY so that it can continue a vigorous life. But this is also to be accomplished by a certain kind of ACTIONS viz, Divine Service, the ToNdu.


BEING in being full of Love, does whatever is done for the good of the anmas and all to redeem them. When a person imitates BEING in this aspect he also becomes akin to BEING and hence will move CLOSER to BEING and in that away from the Dark Force that is also equally powerful in seducing the anmas to its way but only to bring about DEATH and death-related painful experiences.


A life of Divine Service is the most authentic life that will ensure that the anma is continuously under the CARE of BEING and hence safe and secure






The Icon-Thinking of Punitavati-70


There is SEEING only because there is SHOWING by BEING


Once we isolate UNDERSTANDING as the most important activity of metaphysical reflections and hence Hermeneutic reflections, it will also be discovered that unless there is SEEING or darsana there cannot be any understanding at all. From this it also follows that prior to any seeing, there must be a SHOWING (Ta. kaaddutal) and processes that lead the anma to SEE what is being SHOWN and SEEING exactly as SHOWN.


Meykandar mentions that quite clearly - the anma ceases to see when the showing ceases to be (kaadu oduGkak kaaNaatu)


There is TRUTH-EXPERIENCE (Ta. MeyyuNarvu) only when anma succeeds is SEEING exactly as SHOWN. The feeling that what one is seeing and understanding is a truth is contingent upon this aspect of seeing. The truth-experience as such becomes the Modus Operandi of BEING to guide the anmas towards elevating them to higher ways of Being-in-the-World, of living, existing.


This aspect of Hermeneutic Logic, the kind of Logic that pervades the whole of Saiva Metaphysical thinking emerges here as does in the verses of Appar Sambantar Sundarar and many others.


Punitavati implores that Siva should show (kaaddutiyoo) to clarify and illuminate her with respect to the locale where He dances the Dance of Destruction by throwing burning fire in all directions in a frenzy.




Чš á Ţá()

տ ξ¡ -츧

â â¡ Ţ



- (, Ţ.)


- . ξ¡ θ


( ĸ)


â ͼ Ȣ 즸 Ч, Ц Ţâ¡! Ƣ â 츢. ɡ ¡ Ȣ¸. ! Ȣ Ǣ á վ, Ǣ տ ǧ ! Цا ¨.




emakku ituvoo peeraasai enRun taviraa(tu)

emakku orunaaL kaaddutiyoo purisadiyaay pongkiravil

poontu eri paayntanna purisadaiyaay poGkiravil

eentu eripaayntu aadum idam.




O Lord! Your flying locks resemble the spread of sparks in all directions when the dry Palmyra tree burns. There is a place when you dance this dance of destruction spreading the burning sparks in the depth of the nights and which I am not aware. Without presuming that this desire to know this place is a vain desire, I hope one day you will disclose the truth to my satisfaction!




The object of Hermeneutic reflection is the flowing lock of Siva (purisadai) and which is the color of the burning flame. The meaning is clear - it is singing to ashes all that is evil, the Tiikkai (Sk. Diksa) so that only good will prevail in the world. The spreading locks that places it everywhere and hence creates a problem in locating a specific locale for this destructive praxis. It takes place for there is death and destruction everywhere but perhaps except in some places presumably where there is nothing to burn off and destroy.


So where does He burn and where does He not? How to differentiate these different localities?


For the metaphysical mind this is important and hence the intense interest of Punitavati towards an answer to this perplexing question. Once she knows where there is no burning she perhaps can gravitate towards being in that locale.


But why she should implore to BEING to disclose?


In the context of some metaphysical questions such as this, the LIMITATIONS of human thinking even of the hermeneutic reflection type are met with and in the face of which the only thing that remains is to implore BEING to reveal or disclose the truth. And this is the substance of this verse. When THINKING fails, the anma humbly seeks the GRACE of BEING to learn further.