The Mantrayana of Tirumular

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š Ȣġ

š Ÿ Ψ

š ź

š š Ȣ ħ


šȡ ǡ š ɡ ǡ ĸ ĸ Ǣ . Ǣ ը Ƣ šš ġ Ĩ 츨 θ Ÿ š쨸 ¡. ź . š Ȣ ¢ Ǣ Ţ š 츺θ ġ 츢 츢 .


vaaRee sataasivam maaRilaa aakamam

vaaRee sivakati vaNduRai punnaiyum

vaaRee tirukuuttu aakama vasanaGkaL

vaaRee potuvaakum manRin amalamee


In terms of these mantras BEING assumes the visible form of Sataasivaand discloses the Agamas of eternal TRUTHS to the people consistent with their circumstances. Those who understand the truths embodied and lead a life in accordance with them will attain Sivakati ,become a Tree full of bees seeking honey, i.e. someone dear to all and whose company is sought after. The words of such Agamas are in fact the DANCE that take the form of words. They remain there as the common possession of all in the universe as well in the deeper recesses of their brain, active forever making the souls free of any dirt hence pure.


Tirumular now turns his attention to TEXTS that are various forms of Mantras that have become words. Of these the Agamas, meaning that which have become a reality on their own accord, are special. While normal texts are produced by the ego-functioning of the human mind and hence are expressions of the INTENTIONS that agitates them, and here the mantras simply serve as tools for such purposes, the Agamas are different. They are Apurushaya, non personal or non intentional and are actually the Mantras of the Gods that have become words. The gods possess the body and mind of some individuals and disclose themselves through that person. This phenomena is quite widespread among the Shaman-priests who go into a trance so that they can be taken over by the divine forces and made the vehicle of their utterances. At a higher level, the same thing happens but without the condition of the music inducedtrance. When some individuals are capable of suppressing their ego and remain OPEN for divine disclosures, then through them the Agamas are disclosed but in a language the people are familiar with.

When among such disclosures we have BEING Himself assuming the form of Sataasiva, the Siva who has become TRUTH, we have Agamas of eternal and enduring TRUTHS and which do not suffer any kind of changes. Such agamas embody the DANCE itself and anyone who understands them and lives a life consistent with them will surely be guided towards a life full of deep understanding and happiness that comes along with it. This depth of understanding that person comes to enjoy will also make him a person sought after by the suffering humanity.

It should also be noted that the REAL Agama remains in the Causal Ground of the Cosmos and its reflection in the brain, the Ten Potu. Thus in a way the scriptures of words are translations of this ETERNAL AGAMA always there and already in the brain of every individual and hence they can access within themselves provided they go about it the right way.


The Mantrayana of Tirumular

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Ǣ Ţâ Ǣ ɡ ŧ , Ţ Ⱦ. 򾨸 ǡ Ǣ â. š â ʦɢ, ɡ Ө¢ 츨 Ż ž Ш ž. š ͨ . š Ţ ¡ , и ǡ â. ǡ 츨 򾢨 ¡ 츢ȡ.


amalam patipasu paasaGkaL aakamam

amalam tirootaayi yaakum aanantamaam

amalanjcol aaNava maayai kaamiam

amalan tirukuuttu aGku aamidan taanee


Among the various agamas or scriptures that are disclosed by BEING and which are consistent with their spiritual attunement, that which is disclosed by BEING by assuming the form Sataasiva is that which is faultless. It is such an Agama that discloses Fundamental Ontology, the TRUTH of BEING innumerable anmas and various kinds of fetters as unoriginated and hence eternal. This kind of graded disclosures are instituted because BEING conceals Himself and only in gradual measures He unconceals. This unconcealment is also the source of the experience of the everlasting Bliss. In the course of these disclosures the truths of fetters of which the most primordial is aaNavamand the derivatives Maayai and Kaamiyam are also revealed. BEING enacts the whole Cosmic Dance only to free the anmas from these polluting and atomising fetters.


The scriptures that exist , and all are equally apurushaiya, gods disclosures, are varied in nature , sometimes differing also in many ways. This is the main reason why there are different religions and quite often in conflict with each other. Tirumular now attends to this problem of DIVERSITY among the scriptures, though all are equally divine disclosures. He implies that these scriptures are like steps towards the peak and hence hierarchically graded among themselves. The Shamanic priests who utter words during trance are equally apurushaiya but certainly NOT of the same quality as the higher ones disclosed to the rishies , yogis and so forth. BEING assumes various archetypal forms consistent with the spiritual maturity of the anmas and discloses only truths that can be understood and assimilated by those to whom they are disclosed. As Tirumular says elsewhere, BEING is the most excellent GURU and can teach ALL creatures including the non-human in an idiom they can understand.

Since these murthies or archetypes are numerous , so there can be DIFFERENT Agamas or scriptures and which may NOT contain the whole truth but only partial truths. However when BEING takes the form Sataasiva, the Siva who has become the Sat, the absolute TRUTH, the Agama He discloses is the highest and the faultless. Against this Agama all else would turnout to be less authoritative. And only such faultless Agamas disclose the Fundamental Ontology , that BEING , the innumerable anmas and the fetters that bind the anmas are anati, unoriginated and eternally there.

Now another question arises. Why this painful and conflict generating graded nature of divine disclosures? It turns that BEING conceals Himself and unconceals only in a graduated manner and that too consistent with hermeneutic competence of the anmas. As an extremely skilful and competent Guru, he discloses the TRUTHS about Himself only to the extent they can be comprehended and assimilated by the anmas. This divine disclosure that is made available to anmas, it is noted here, is also a source of joy and happiness. It is unconcealment that is the medicine that kills the existential anguish, the depressions that set in along with a feeling of meaninglessness of existence. The gradual unconcealment, establishing always a THAT towards which one must aspire, gives a MEANING for existence and thereby making life worth living.

It is in the course of the dynamics of this series of graduated disclosures that fetters are further divided into the Fundamental AaNavam and derivatives Maayai and Kaamiyam. The aaNavam is the Black Hole which is inherently with the anmas and which eventually brings about their death. The Maayai is the physical both the concrete and abstract , Suttam and Asuttam and Kaamiyam is the Karmic traces that are related to competencies to act. The presence of aaNavam necessitates the effecting of ACTIONS for freeing oneself from it and this necessitates the assumption of a physical body and hence karma along with it.

At this point it is also noted that while all these are inert , the primordial competency to act comes from the Dance of BEING. BEING dances and the anmas appropriate the various movements that become available, transforming them into their ACTIONS and hence through that LEARN and ILLUMINATE themselves and in this manner freeing themselves gradually from the fiendish hold of these fetters.

The Mantrayana of Tirumular

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žǡ Ţ ȡ ȡ 쾢¡ æǡǢ ú ǡ ո . ¾ 츢 ¡ š ʦ .ɢ ;ɡ Ţ ǡ ¡ . ɡ úɡ , ̧ ġ ɡ .


taaneet tanakkut talaivanumaay niRkun

taanee tanakkut tanmalaiyaay niRkum

taanee tanakkut tanmayaay niRkun

taanee tanakkut talaivanumaamee


Even though BEING in conjunction with the Siva Tatvas Natam and Bindu presents Himself in the forms of Sivan , Sakti and the various root archetypal forms, but remaining absolutely ABOVE all, He stands the Power unto Himself. He also stands as the Pon MeRu, the final HOMEall the creatures and deitiesseek to attain to enjoy the final repose. Now He stands also as the Tanmayan, the ONE who cannot be induced to grant whatever by any instrumental means.Now as the ABSOLUTE, the ONE having nothing as ABOVE Him, he remains the Lord Supreme unto Himself.


The mantras may be differentiated forms of the Primordial Logos and which combine within themselves to form thevarious akkara-cakkaras or complexes to generate the world and whatever transpires there. However they being INERT,are incapable of dynamics of their own.What gives them the dynamics are the Powers, or Sakties the Me ( Ta. mey, moy) of the Sumerians and identified as that belonging In-anna, the Sakti, the creatrix of the world. This raises the question as to who is really the Moving Force behind it all?

Tirumular affirms here that it is BEING and no other -- even the Sakti or Sivan,the forms BEING assumes by conjugating with the Siva Tatvas Natam and Bindu or even the root archetypal forms like VishNu Brahma and so forth. BEING as the absolutely transcendent is the POWER unto Himself. He is LIMIT in the Power Hierarchy, the Sakti structure.

BEING also as the ParipuuraNan,One whois fully saturated within Himself and hence ONE who does not havethe pressure induced by thethat-towards- which, the Final Home Coming,stands also as the Tan Malai, the Peak of Grace and hence the Final repose for all others . The implication is thatall the mantras and divine powers that ordain them havea sense of direction ,a vectorialitytowards the Final Home Coming butBEING standing as that itself,is supremely FREE of it.

The word Tan Mayan is another attribute of BEING that indicates , in contrast to the anmas and deities that He is fully autonomous, ONE who could NOT beinduced at all by whatever instrumental means and by whoever. Whatever He grants are out ofaruL , Grace and NOT because of worship prayer praiseand so forth

And because of this He remains a Lord unto Himself for he SEEKS NOTHING and remains totally ABOVE allothers , Whoeverseeks whatever, by virtue of that seeking holds the possibility of submitting oneself to ANOTHER and this condition does NOT apply to BEING.

BEING like a very skilful magician shape-shifts in numerous waysby differentiating the mantras but throughout all these PLAY of His, He remains the Lord and Power unto Himself unaffected by all that transpires because of His Play.


The Mantrayana of Tirumular

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ɡ ̧ ¡ ġ ɡ š.ġ ǢŢ « ŧ. 򧾡 š Ǣ â Ч Ǣ׸ Ţ츢 Ţ̸ȡ. šġ Ƣ¡ſ Ţ츨 š츢š Ǣ ʸ Ꭰ츾


talaivanumaay niRa taRparak kuuttanai

talavainumaay ninRa caRpaat tirattai

talaivanumaay ninRa taataviz njaanat

talaivanumaay niRa taaLinai taanee


BEING stands as totally ABOVE and the DANCER or MOVER of all having no mover moving Him. He is also the CONTAINER ( paattiram) of all that is PUREand Enlightening.He stands also the Primordial Guru who unfolds the light of metaphysical illuminations like a lotus would unfold its spores. All this isaccomplished by His Dance that generates the yantras and mantra complexes and the various things of the world through thesiva Tatvas Natam and Bindu and hence His Feet is really that which ought to worshipped.


Right from the ancient days the Divine Feet, the TaL iNai or iNaiyadi, the right and left legs togetherhasbecome the object of worship among the spiritually matured. This is the Highest Vision that is possible for the human beings and His coruubam , His essential form forever beyond the reach of the human mind.

The Right andLeft legs stand for the Natam and Bindu and also the hemispherical functioning of the brain and hence the organization of the body itself into these spheres. Bindu dominates the Right Side of the brain and hence the Left Side of the body and the hence left leg. The converse holdsfor Natam.The Dancing Siva, the icon ofNadarajahrepresents this understanding where the Right leg remains raised while the Left remains firmly fixed to the ground like a string pillarpressing down the Muyalakan or Mayalakan, that Power that introduces ignorance bewilderment and confusion in the mind of the creatures, the mayal or mayaakam or maayaai. This is Maya Sakti that bewilders the mind always distracting from the San Markkam.

The activation of Natam and Bindu in which the Natam stands as that which combats evil and Bindu that which differentiates and generates all - both physical and mental things, is that primordial Praxis that destroys the inherent darkness and infuses LIGHT and hence consciousness as such. Only when there real things there can be consciousness no matter how confused it may at the inception.

But BEING in addition to being this Kuuttan, the Dancing Lord is also the caRpaattiram,the cauldron or the container ( paattiram) of allthat is san i.e, noble, divine, beautiful, auspiciousand so forth. The Dance is for something: to press down and eliminate everything UGLY , beastly andhorrendous, purify the soulsof such filthand dirtin that way fill them with the divine etc.

This also proceeds along with apedagogy, the disclosure of Metaphysical Wisdom, unfolding deep and profound illuminations like a lotus would its spores, BEING becoming a Guru for this purpose. Anyone well in the WAY of BEINGHimselfis already destined to LEARN and thereby become the illuminated and for which reason this WAY of life where one cares only for BEING, is called san-maarkam by Tirumular and TiruneRi by Sambantar.

BEING teaches becoming the Njananak kuuttan for this purpose and our duty is to LEARN precisely as He teaches. This principle establishes the basic attitude ofthe Saiva Way of life and for which reason the Dancing Legs together are deemed as that which is the supremely worship worthy.


The Mantrayana of Tirumular

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Ţ츨 Ţ ʸǢĢ 򾡸 򾡸 򾡸 򾡸 򦾡 ǡ ơ¢æ Ȣ Ţâ .


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ơ ¢ ا ɡ

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ơ 츢 š


šڲ ¢ǡ, Ũ¢ ǡ, š ơ¢ ǡ Ţﺢ ا ɡơ¢ Ũ ¢Ǣ ¢ ý 츢 ġ Š Ũ¡ Ţ ġ ĸǢ 츢š â .


iNaiyaar tiruvadi eddezut taakum

iNaiyaar kazaliNai yiiranjca taakum

iNaiyaar kazaliNai aimpat tonRaakum

iNaiyaar kazaliNai eezaa yiramee


The Divine Feet that enacts the Cosmic Dancecause to emerge from the single Primordial Logos, the Five aksaras, the Eight Aksaras and also the Ten and so forth.They become the root aksaras 51out of which seven thousand different combinations are evolved.


eezaa yiramaay irupataay muppataay

eezaayirattum ezukoodi taanaaki

eezaa yirattuyir eNNilaa mantiram

eezaay iraNdaay irukkinRa vaaRee


In this the seven thousand and so mantras that are generated ,some group together as tens and twenties and so forth generatingmantra complexesseven thousand seven millionsand so forth and in fact a countless number. Having thus become complexes they possessthe seven thousand kinds ofcreatures becoming their life breath. In this,they also get organized into SEVEN basic clusters, those in theSIX aataara Cakrasand those in the final location of Thousand Petalled Lotus and divided into TWO basic types within all these , that agitating Natam and Bindu, the primordial Siva Tatvas


Now Tirumular is trying to UNDERSTAND the whole phenomenal world and its essence in terms of the mantras and in which he throws out a number of fundamental ideas in the above two verses that need to isolated and considered separately so that his accounts become a bit easier to comprehend.

Firstof all, there is concern with the ROOT sound forms of all languages, the Phonological Linguistic Universals, the building blocks of the PHONOLOGICAL structure of ALLlanguages. These are said to be the 51 aksaras, the atomic-phones out of which are generatedall words, including their prosodic contours.

But how are they generated?It is said the DANCE of BEING , the ever moving Feet, the iNaiyadi is the cause of it all. BEING dances and as a component of one kind of dance , the primordial Ongkaaram gets split into 51 root sounds serving also as the building blocks of all words and of all languages.

At another level are sound-clusters, the various kinds of gestalts, complex wholes that are formed out of these root-aksaras. The possibility is infinite actually but the realized ones come in combinations of Five Eight Ten, Twenty Thirtyand so forth. The ideas is a FINITE number of root-mantras are selected and mantra-gestalts generated and such possibilities being really uncountable, the eNNilaa mantiram

But what is the necessity of it all?

There are countless number of creatures and they all have to begiven a form and function so that they can LIVE and effect various kinds of actions both consistent with a certain ecology.These countless number of gestalt-mantras come to be there to give both a physiological form and a mental form consistent with the various ecological conditionsin which the LIVING has to go on.But of course this would also include the physical, the brutish and insentient for even they have structural forms of a kind and subsist as a physical individual of its essence and idenity. The gestalt-mantras permeate the whole universe and take possession of both the physical and mental giving them an identifiable form shape or structure and function. 

But when it comes to those mantra-gestalts of the living creatures , especially man, globally they areorganised into SEVEN different types. Thefirst SIX pertainto the existential abodes,Ataara Cakras ,and final Seventh pertain tothe highest and the most inclusive Sahasra Talam, the Divine Ground of Thousand Petalled Lotus, attaining which the souls attains mukti.

And this is NOT the end of matter. Each one of these gestalt-mantras and as they located in the Cakras are further analysable as belongingto those that workout Natam or Bindu, the basic Siva Tatvas, the Male and Female , the Yin and Yang and making the whole lotSivaSakti Dance.

The Mantrayana of Tirumular

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츢 ơ ¢

츢 ɢ


ý ç Ţâ Ţâ51 ǡ š Ȩ¡ . Ţâ ȫúĸ Ǣ ġҸ . š ǡ ġ Ҹ ý Ч էɢ ¡. Ч ĸ ׸.


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ĸ ɢ


Ȣ ç էɢ¡ ŢŦ, ġ ׸ áɡ Ţš. Ц ŢЦš , 쾢¡, 򧾡 , ɡ ʦ . ĸ ġ , ĸ Ţ Ţ Ţ.


irukkinRa mantiram eezaa yiramaam

irukkinRa mantiram ettiRam illai

irukkinRa mantiram civantiru meeni

irukkinRa mantiram ivvaNNan taanee


The primordial Logos Om is divided into the 51 aksaras and selections of which in various generating an infinite number of mantra-complexes. In thus there is NOT a feature of the world that is outside their capacity to configure. In this mantra in which all the tatvas are moved and made generate all is in fact the Divine Body of BEING. Thus the mantras exist and function as the very body of BEING.


taanee tanakkut takunaddan taanakum

taanee akaara ukaarama taayniRkum

taanee riingkat tattuvak kuuttukkut

taanee ulakil taninadan taanee


While assuming this mantra-body BEING also stands as the One who executes the appropriate dance moves and impelled by no other than Himself. And in this as akaara mantra He is one with Bindu becoming thereby the Sakti, and he is also one with ukaara becoming thereby the Civan. Thus assuming this Male and Female forms dances the dance that agitate all the tatvas thereby showing that He is the Primordial Mover of the whole world.


Anumber new ideas emerge here and which explains the essence of Hindu way of life. The IMAGES or icons which represented in various ways are in fact Mantra-complexes or entities with mantra-complexes as their body. Thus all such images are ultimately reducible to pure mantras and which constitute the Deep Structure of the visual and iconic archetypal presentations.As we go deeper and deeper intohow the archetypes are configure , finally we hit mantra-complexes as their form. And furthermore all collectively constitute the very body of BEING, how BEING is present in the world permeating and configuringthe world and everything in it.He remains the POWER that shapes and changes everything and all these through His mantra forms. Thus His Body includes not only the countless number of mantra-complexes generated out of the root aksaras but also ALL the archetypes that serve as the deities people worship

The implication is that once we gain a TRUE understanding of the essence of the deities especially in terms of mantras by a DEEP penetration into their deepest level, the final level language translation of a kind, it will be found thatall deities are within the BODY of BEING, of Siva. While human beings may quarrel among themselves in terms of the nonsensical status difference of the deities they worship or the reality and irreality of their being, all are equally within the body of BEING and hence equally BEING.

Another issue that is explained and which has become one of the most distinctive notions of Saivism is that BEING is the Dancer, the Kuuttan which is the Saiva way of putting the fact that BEING is the SOLEsource of every dynamics in the world be it physical or mental. All movements originate from the primordial movement of BEING and which is the nature of a Dance or Play or Sport. And in this BEING becomesthe Male, Sivan by becoming the ukaaram and conjoining with Natam; the Female, the Sakti by becoming the akaaram and conjoing with Bindu. The forces of attraction and repulsion thus generated, this dynamics of Transcendental Sexual Division become the Deep Structure of all MOVEMENTS in the world-the celestial, the earthly, the social , the personal and what not

And in these it is made very clear that BEING is the Power unto Himself, does not have anything else ABOVE and as the one that impels Him to move. All such impulses emerge from within BEING and NOT from outside.


The Mantrayana of Tirumular

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ġ š Ũ𼾡 ġ. Ȣ θ ġ 츢 츢 Ǣ. Ȣ ý . Ȣ ġ ǡ , ¡ ǡ š. ȡ Ǣ , ǡ ǡǢ 츢 Ţ â¡ Ģ , 츢 Ǣ θ 츢 ɡ š.




ɡ š¿ ɢ

ɡ к

ɡŠã ãԦ

ɡ ħ




š¿ ը Ţ ɡ - Ǣ Ǣ 츺θ , š ¢ . Ц, Ţ θ ĸ ¢Ģ Ţξ š쨸 ¡. ¢ ƒ ǡ Šã ã Ţ , Ţơ ɡ Ǣ Ũ¢ ¢ ǡ Ģɢ . 򧾡 ¢ ǡ, , Ţ â.




nadam iraNdu onRee naLina mataakum

nadam iraNdu onRee naman ceyyuG kuuttu

nadam iraNdu onRee nakai ceyyaa mantiram

nadanj civaliGkam nalanj cembu ponnee




We can categorize al the dances of BEING into TWO different basic types. One is these is the dance that confers illuminations , the NaLinam,or the SaGkaarat TaaNdavam that which purifies the soul by cleansing it of all the dirt within.The other is that of the of Yama, the God of Death, the dance that issues forth because of aaNavam, that which brings about death and death-likeexperiences. Among these that by Naman/ Yamaare worked by the mantras that do not bring any happiness at all. In contrast to this the CaGkarat TaaNdavam brings about the seeing of CivaliGam, the joined presence of Natam and Bindu and through that the alchemical transformation of the soul akin to the copper becoming gold.




cembu ponnaakum ci-vaa-ya-na-ma ennil

cembu ponnakat tiraNadatu ciRparanj

cembu ponnaakun sriiyuG kriiyum enac

cembu ponnaana Tiruvam balamee




If we persist in reciting the mantra Si-vaa-ya-na-ma meaningfully,we shall succeed in overcoming the pulls of the aksaras na-ma that arethe influences of aaNavam Kanmam and Maayai and enjoy the golden state of purityfacilitated by the mantra si-vaa-ya.And as we persist in this we shall also be relieved of being played by BEING to relieve us of the worldly desiresand enjoy being in CiRparam , the Realms of Pure Consciousnesswhere there areno such plays. And as we pursue life further reciting the mantras Srii and Krii, we shall be blessed by the Woman who would provide the KuNdalini that would transform the physical body into the evergreen and youthfulgolden body. And as wepersist in this way of Being, of existing, we would also gain a vision of Tiruvambalam, the Final Destination, the HOME of the metaphysical journey




Tirumular now comes to a central discovery of Saivism that appears to be quite distinct of it. The processes at work in the world are TWO types and in opposition to each other , the eternal conflict between the Devas and Asuras, the Good and Evil that is understood here in terms of TWO kinds of DANCES , that NalLinak Kuttu and Naman Cey Kuuttu. The word Nalinam is probably derived from Ta. naaL meaning bright, daylight and the brilliant celestial bodies and means the processes that LIGHT UP the world and mind and hence those that educate and illuminate.This is ascribed tothemantra Si-vaa-ya, those mantras that bring the vision of authentic BEING closer and closer to the anmas, the vision of SivalinGkam ,BEING as Natam-Bindu in eternal and inseparable union. 


As opposed to these are the dances of Naman where it is the Power that rules the mantra‘na-ma’ , processes that OPPOSE the educating and illuminating and hence those that would eliminate understanding and throw the anmas into the Darkness of Ignorance. If si-va-ya is Christ or BEING then this is the AntiChrist or AntiBEING.


The Dance of Naman or Yaman , the God of death is metaphysically clarified as those pertaining Mummalam, the agents of darkness within, the aaNavam Kanmam and Maayai which are as real as anything and also anaati, unoriginated and hence eternal. These things INFECT the anmas right from the beginning and it is for the purpose of FREEING the anmas from their fiendish hold that BEING interrupts with His Presence and enacts the Dance that sheds LIGHT into them and destroys the darkness already prevalent.


Man has a choice -- either go the way of BEING or the way of Mummalam;however it is made clear that the latter choice would be disastrous. For in that way of life lies DEATH and prior to that the death-like mental depressions, melancholy, disenchantment, meaninglessness, guilt , anguish and such other psychological dispositions, mental turmoil that may drive one to suicide and so forth. So in order to DEVELOP and be happy, one has to avoid that way of life and move the WAY in the direction of BEING. In terms of mantras, this is stated as avoiding the recital of na-ma and installing firmly the recital of si-vaa-ya

Thus established then there occurs changes at both levels -- the bodily and mental. Mentally there comes to more JOYS and CHEERS in life and physically good health , a firm evergreenand golden body . These areassociated with functioning of the mantras of the WOMAN or Uma -- srii and krii, the mantras that increase the workings of Bindu and thereby increase the flow of Kundalini, the coiled Power . This is experienced as the tremendous amount of psychic energy that allows working tirelessly as wellas move around with youthful vitality even when chronologically old.

This Energy that allows continuation ofYouthful Lifethrough offsetting or slowing down the onset of senility, also leads to the vision of CiRparam, the enjoyment of Pure Consciousness, the Cutta Caitanyam, consciousness freed of mundane desires and various of STRESSES that come along with it. The CiRparam,as already explained earlier ( Verse 891),is the realms where the DANCE is no more and one is NOT played in various ways by way of educating and making one move in the right direction. Those child rearing practices are over and the realms where such plays are absent is reached. There is an UNDERSTANDING that frees one from desiringto learn the mundaneand the anma remainsonly to enjoy the PRESENCE of BEING allowing itself to be moved by BEING and nothing else. This lands the anma in the vision of Tiruamabalam, the Final HOME, the Final Destination, that ABODE that puts an end to the whole of phenomenal circulation, the Samsaram and hence the attainment of ParaMukti, the final and absolute liberation.

The Mantrayana of Tirumular


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á Ȣ

츢 š




Ũ¢ , Өȧ θ Ȣ, ȸ 츢,-š--- , Ũ¢ ؾ 츧.Ч Ө¡ 츢 Ƣ¡.




š š  š¿

š 츢

š ǡ ġ

š 츢




š¿ 츨 Ө¡ Ȣ, š¿, š, ¿š, š¿ ġ Ţ 츢,Ħ ǡħ á âġ. ɡ츺θ ġ , Ǣ ɡЧ ɡ. ɡ ţΧ , ġЧ Ũ¢




tiruvam balamaakac ciirccak karattait

tiruvam balamaak iiraaRu kiiRit

tiruvam balamaaka irupattainj caakkit

tiruvam balamaakac cepikkinRa vaaRee




There is a way for the recital of themantra si-vaa-ya-na-ma.Create a square with six lines scratched vertically and horizontally thereby creating 25 cells. Then fill the cells with si-vaa-ya-na-ma , starting with the top row and coming down to the lower with the aksaras systematically permuted




vaaRee sivaaya namassi vaayanama

vaaRee cepikkil varumpeer piRappillai

vaaRee aruLaal vaLarkuuttuk kaaNalaam

vaaRee ceppikkil varunjcembu ponnee


This mantra must be recited in the order si-vaa-ya-na-ma, ma-si-vaa-ya-na, na-ma-si-vaa-ya, ya-na-ma-si-vaa and vaa-ya-na-ma-si repeatedly and continuously. Then with the Grace of BEING, the DANCE that is being enacted in the world continuously can be witnessed directly. With this direct vision of the DANCE, the anma will be purified of all inner dirt and thereby undergo an alchemical transmutation like copper becoming gold. This will also enable the attainment of Mukti that will put an end to the phenomenal re-circulation or existential repetition of the anma.


These two verses are concerned with the technique of reciting the Siva Mantra si-vaa-ya-na-ma and it is recommended that it be systematically permuted aksara by aksara and recited continuouslythousands of times till the whole mind is filled with the sounds of these aksaras. The mantras are elements that can transfigure the whole of mental functioning in a special way. The continuous recitation and with systematic permutation reaches the DEPTHS, the unconscious layers of the mind and by increasing the presence of si-vaa-ya there , the presence of the Light of metaphysical illuminations,drives way thedefilers of the mind,those managed by the aksaras na-ma.

While the icon of Siva Nadarajah provides a visual representation of the fundamental and the most basic Universal Praxis, the Five fold universal processes, the Panckritiyaas,the direct perception of these in the world and at the Depths of all can be enjoyed only by gaining the competence to see the deepest metaphysical layers and which is possible only if the anma is PURIFIED of all blindness inducing Malam, the Mummalam -- the aaNavam Kanmam and Maayai

The anma can be freed of these only if it succeeds reaching the Ground Level, the Tiruvambalam, the Primordial Ground of all movements and as constituted by the mantras si-va-ya-na-ma. When the SEEING or darsana becomes that which is configured by this mantra, then and only then there is witnessing the DANCE in the world, seeing everything in terms of Divine Play, as expressions of the dance of BEING.

But then why the circular permutations? The Divine CANNOT be fully understood unless the DEVILISH is also understood. BEING cannot be understood unless it is contrasted with the ANTI BEING. Understanding must comprehend BOTH to liberate itself from its ignorance and finitude. The si-vaa-ya has no meaning unless it is SEENas different from from na-ma and that it is si-vaa-ya that is desirable and that one should have more and more ofsi-vaa-ya and less and less ofna-ma configuring the seeing.

Finally when na-ma is transcended and the seeing is constituted only by si-vaa-ya, only the Dance becomes visible and hence BEING in His essence. The continuous witnessing of this Dance in its purity,further purifies the soul leading ultimately toPara Mukti- that condition that liberates the anma from its historicity, the samsara, being born again and again into the phenomenal world, suffering existential repetition thereby.

The Mantrayana of Tirumular

â á½ 



ɡ Ҹ

ɡ Ȣ

ɡ Ҩ â츢

ɡ ġ




š¿ ġ Ǣ ɡ Ĩ . šŢ . Ţ 즸 , ý ý . ը Ҩ¡ ǢŢ 츢 ¡ , ȡ Ǩ¢ ɡ κ â .




ponnaana mantiram pukalavum oNNaatu

ponnaana mantiram poRi kinjcukattaakum

ponnaana mantiram pukaiyuNdupuurikkil

ponnaakum valloorkku udambu poRpaatamee




This mantra si-vaa-ya-na-ma is the best of all the mantras and is capable of transmuting the body and mind into gold. It is best that is not uttered loudly but rather muttered inaudibly. The continuous recitation in this manner will transmute both the internal and external cognitive utensils into gold. And when this mantra is recited with all the confusions andmisunderstandings removed with its real significance well understood, for those capable of this, they will be able to witness the DANCE of BEING and which will transmute their body into gold.




The primitive shamanic roots of mantrayana where it was believed that through the recitation of certain mantras, the desired could be attained,is itself transmuted into a science here. In Tirumular words, the magical origins are transcended and we have Mantrayana as the most comprehensive Hermeneutic Science, the science where there is a seeking to UNDERSTAND everything. This is what is meant by ‘pukai uNNal’, which literally means swallowing the smoke but metaphorically the removing of confusions, bewilderments, puzzles, misapprehensions, delusions and so forth. The soft and continuous muttering of this Mantra must go along with UNDERSTANDING its real significance and which consists in making the cognitive utensils both internal and external PURE and hence golden. There must be continuous attempts to purify the mind so that both the perceptual and intellectual processes are concerned only with the GOOD and NOT the evil and ignoble.


This is NOT easy for it requires the eliminating the inherent PREJUDICES that distort thinking where everything istwisted and turned to become expressions of EGO exultations rather than expositions of TRUTH that we see so abundantly in almost every religion and culture. The valloon, the great one is he who can look well into him, how his own perceptions and thoughts are coloured by the inherent prejudices within him and lead him to enjoy the false as true and the true as false. The mind must be purified so that the truth is seen as truth and the false as the false.


When one becomes capable of this way understanding self and the world, and which is the meaning of ‘pukai uNdu puurittal”, one begins to enjoy the visions of the Dance of Siva, the Play of BEING in the historical processes or in the natural world. When one persists in this vision there isan ALCHEMICAL effect of this on the person. The continuous indulgence in this vision of the world transmutes in slow measures the body itself so that it becomes GOLD, very resplendent and youthful with immunity built up against diseases and senility.


The Mantrayana of Tirumular

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էɢ ¡¢

ɼ ֧




Ȣ ŨǢ š 츢, ġ ¢ ȡ á âġ. â Ż Ǣ , ǡ . տ , Ż θ ġ , Ǣ , ɡ¢. ɢ ɢ ţ էɢ ¢. Ц ظ ɦġ վ򨾧




poRpaataG kaaNalaam puttirar uNdaakum

poRpaatattu aaNaiyee cembu ponnaayidum

poRpaataG kaaNat tirumeeni yaayidum

poRpaata nannadnj cintanai collumee




When the mantra si-vaa-ya-na-ma is recited with an UNDERSTANDING of its significance as above, it will be possible to witness directly the Golden Feet of BEING executing the Dance. On witnessing this and gainingSivanjaanam, the Absolute Understanding; there will a following of people who would become the students. Ad it is on the decree of this Golden Feet and as a result of Sivanjanam that the body and mind become pure and become gold just like copper becoming gold on being purified. The physical frame would also become transmuted into something divine (tirumeeni).Fully taken by this DANCE, the person’s thoughts will also speak of it and nothing else and move in universal dimensions.




A number of issues, ill understood or grossly misunderstood in Mantrayana are being clarified by Tirumular in this verse that deserves a detailed study. First of all the recitation of the mantra si-vaa-ya-na-ma is not simply a meaningless repetition or muttering of it -it must be accompanied by the hermeneutic effort of UNDERSTAND everything with respect to the Divine Play of which the historical are phenomenal expressions.At the deepest levelwithin the historical, there is the DANCE of BEING, of Siva Nadarajah and without which nothing in the world will happen.


But this verse also indicates that the DANCE is that executed by the Golden Feet of BEING where the metaphor of gold stands for joy, happiness and bliss. The Golden Feet of BEING is that which provide joys unbound for the creatures. This means the historical processes areNOT just suffering, the sarvam tukka mayam of the Buddhists but rather one of happiness and joy. In existence there is the positive side of happiness over and above the negative side sufferings unhappiness misery and so forth. The recitation of the mantra along with the hermeneutic efforts to understand the historical,leads one to witnessing the presence of JOY everywhere and in countless number of forms.


It is this witnessing which is instrumental for becoming the illuminated for the DANCE is simultaneously PEDAGOGIC - through the Dance BEING TEACHES the creatures so that they become illuminated and enjoy Sivanjaanam, the Absolute Understanding. It is this that makes a person a Guru with a large gathering of followers as students. The Sivanjanam shining within confers the person the quality of becoming the secondary illuminator of mankind and which is NOT becoming a messiah of a kind. The messianic individuals do NOT teach but only communicate certain insights claiming divine authority for them. The word ‘guru”is probably derived from Su. sur-u (Ta. suur-u > kuuru > kuru) meaning he who illuminates and thereby drives away the darkness of ignorance.Such a Guru, because of the ability to illuminate others,attracts unto himself a large gathering of people not as blind devotees but rather as students -- sisyas or putras.


The matter does not end there - this is only one of the EVIDENCES for the TRUTH of the matter. The second is the heart and body becoming GOLD, here in the sense of good health and eternal youthful vitality. The analogy given here is the copper becoming gold on being purified of the KaLimbu, the dirt within. As the dance of the Golden Feet is continued to be witnessed, there is alchemical transmutation of self, the getting rid of the ignorance producingMALAM, the metaphysical blindness. This transmutational processes also transformsthe mere physical body into a Tirumeeni, the Divine Body with its special aura about it, graphically represented by a circle of light about the head. But actually what it means is that the THINKING becomes GOLD, where here the metaphor of gold means universal goodness, happiness and prosperity for ALL. The truly illuminated person, who enjoys Sivanjanam, does not have any PREJUDUCES within and hence does not just worry about a narrow group of people, a collectivity formed out of an ideology, religion, nation, language, trade, caste and so forth. Freed of all such prejudices, the thinking shines in universality where the happiness of the whole of mankind becomes the chief concern.