The Psychoanalysis of Appar

Dr.K.Loganathan, Dec 2003

The study of this remarkable Patikam of Appar (4: 25) that deals with the sexual act is prompted by the recent controversy about the application Freudian psychoanalytic interpretations of Genesha, which has served to offend the feelings of Hindus. It is NOT sufficient say that the analytical psychology of Freud Jung and so forth is inadequate to understand how the Hindu people view sexuality, we have to also articulate the how shapers of Hindu thoughts have actually viewed the matter and how it differs from that of Freud Jung and so forth.

The Tevaram and Divviya Prabantam, the Divine Tamil is full of metaphysical insights all of which have not been brought out by scholars. Most of the Indologists too focus on Sanskrit almost to the total negligence of Divine Tamil containing within it metaphysical insights perhaps unique to Tamil divine literature.

This has a commentary by Tiru Muttu. C. Manikka Mutaliyar (published by Tarumai Ateenam, 1957) that while I take into account but venture to give my own both in English and Tamil. My intention is to bring out the psychoanalysis buried in these verses.

Loga

The Psychoanalysis of Appar-1

Appar 4:3 TiruvaiyaaRu

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maatarp piRaik kaNniyaanai malaiyamaan makaLodum paadip

pootodu nii cumanteetti pukuvaar avarpin pukuveen

yaatunj cuvadu padaamal aiyaaRu adaikinra pootu

kaatan amdappidiyooduG kaLiRu varvana kaNdeen

lkaNdeen avar tiuppaataG kandariyaatana kaNdeen

Meaning:

BEING as Candrasekaran wearing the beautiful Crescent Moon as a head ornament stays with Parvati, the daughter of the King of Himalayas. Holding this in my mental vision and singing of them eloquently, I follow behind the adiyars who carry only fresh blossoms and pure water for worship and enter the temple. As I move along with them inconspicuously and near the Temple in AiyaaRu, I noticed on the way a male elephant coming with a young female elephant and in love with it. At that point I saw with my mental eyes, the Divine Feet of Siva (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

Appar obviously draws attention in this verse that a natural phenomenon such as the male and female elephants being in love with each other and enjoying sexual bliss can be SEEN differently. For those who posses the capacity to penetrate the surface features and gain a vision of the DEPTHS, the love and sexual union of the animals (and human beings) disclose the Dance of Bliss of Siva who by manipulating the Siva Tatvas Natam and Bindu (the Yin and Yang of Taoism) creates the male and female of all species in such a way that they are drawn to each other with the intention for enjoying the bliss of sexual union. The eyes of the ordinary people who have only the fleshy eyes that show only the PHYSICAL and without even a hint of the Third Eye that discloses the metaphysical depths, can only see that as an instance of carnal sexuality but not the Dance of BEING at the depths and where as Siva and Sakti there is also sexual union.

At every expression of love and at every act of sexual union there is the union of Siva and Sakti at the deepest level and for those who manage such a vision of ordinary sexual unions of the creatures they become SACRED, and ICON that help witnessing of Siva and Sakti in sexual union of a kind.

This vision comes as a new disclosure to Appar and for which he is so immensely grateful.

But there are many preconditions for gaining such a vision and appreciate the aesthetics behind it all, a natural marvel that in fact it is. These preconditions are:

One must understand the Icon of BEING as the wearer of the Crescent Moon, that which can become the amutu, ambrosia of good mental and physical health and hence longevity. The Woman becomes here the Parvati, the Lady of Earth but located at the peak and hence someone not that easily approachable. Parvati here is the same as the Sumerian ( and Toda) Nin Hur-Sag, the Lady of the Peak. She is also the ManonmaNi of the Ajna Cakra who descends at lower Cakras as the various Female Powers, KalaivaaNi Laksmi etc.

Thus one must gain a vision of BEING as such and SING about it so that the aesthetics, the MUSIC of it all is kept alive.

Now having gained it and to sustain it in the vision, one must worship, not with animal sacrifices and so forth but only fresh blossoms and pure waters. One must kill and expel the animistic thinking that shows ties with the flesh in order to sustain the vision of Siva--Parvati in love embrace.

Now another attendant feature is that one must have conquered the EGO, the tendency to push oneself to the front and establish various kinds of signposts of one’s presence. One must follow the crowd of Adiyars inconspicuous and hence totally humble. As long as the Ego is present, there will be metaphysical BLINDNESS and because of which the vision of the Depths will not be available.

Now what is wrong with Western Psychoanalytic account of such events?

Against what is implied by Appar in this verse, it would follow that such Western scholars lack the EYES to see the Divine Sexual Embrace of Siva and Sakti at the depths of all natural events where we have a male and female coming together to enjoy sexual bliss. The SACRED in every act of sexual union is beyond the reach of such scholars and because of which they become something revolting, carnal and promiscuous. The fault is NOT in such events and their depiction in temple iconography and so forth but rather in the BLINDNESS of such scholars who cannot see the DIVINE presence in such events.

The Psychoanalysis of Appar-2

Appar 4:3 TiruvaiyaaRu

The Rituals and Gaining Visions of the Metaphysical Eyes

The Tantric philosophies are not merely discursive where different points of views are endlessly debated and which in the end leads to nowhere. The Siddhas are very fond of saying “vaarttaiyaal onRumillai’ - simple verbal disputes are worthless.

We get the same message in this verse of Appar where he enjoys SEEING the depths and in that affirming the truth for himself. Philosophy in Tamil is known as Mey UNarvu, i.e. a discipline concerned with truth-experiences and to practice philosophy in this sense , one should try to GAIN truth-experiences after truth-experiences to FREE oneself from the IGNORANCE which is already there. The IGNORANCE here is also understood as a kind Metaphysical Blindness and which means that the primary task of Philosophy is the destruction of this BLINDNESS.

It also follows that such a blindness can be destroyed only by gaining VISIONS or darsanas that violate this blindness and throws LIGHT into metaphysical realms that have remained closed for witnessing hitherto.

Appar describes some rituals that he practiced and because of which he managed to gain a viison of the Dance of Siva Sakti in the love behavior of even the domestic fowl.

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pooz iLaG kaNNiyinaanaip puuntukiLoodum paadi

vaaziyam pooRriyenRu eeththi vadaamiddu aadaa varuveen

aazi valavan ninRu eettum AiyaaRu vawthakinRa pootu

koozi pedaiyoduG kuudik kuLirntu varavana kaNdeen

kaNdeen avar titupaatam kaNdaRiyaatana kandeen

Meaning:

I was coming singing the praise of Civa who as Candrasekaran wears the divided Moon with Uma of flower-silk attire, saying long Live! Praise be to you ! and so forth and dancing away moving in circles. Theý as I neared the AiyaaRu where stands Vishnu with the Disc on His right hand and praising Siva, I saw on the way, the cockerels coming with the hen having cooled themselves in sexual union. At that point I saw with my mental eyes, the Divine Feet of Siva (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

There are many repetitions here especially the crucial phrase “ kaNdeen . . . “ But there are also differences as well. While in the first verse it was the elephants, we have here a shift to the chicken, the domestic fowl and by which perhaps Appar is trying to show that sexuality is universal. Here the reference to the actual coitus is quite unmistakable. The fowl have cooled themselves with sexual union and which is a quite welknown feature of sex. In fact the word for sex in Tamil - kaamam- is derived from Su. ki-aga i.e. Ta. kaaGkai: heat. The surge of sexual desires creates internal heat, the Kaama Agni, the Fire of Kaama and which is also the muulaagni, the Fire in the loins. Thus it seems that the activation of sexual desires is perhaps something that happens in the depths and creatures simply respond to it.

However the preconditions that Appar mentions here are very interesting. One is that he in addition to singing hymns also dances and that too going round and round. Secondly he selectively mentions VishNu as the wearer of the Disc and who also worships Civa, who is said to have gifted the disc to Vishnu in the first place.

Is there any connection between these preconditions and his claims that he saw the normally impossible?

I see the connections as follows.

The disc of Tirumaal, is called su-darsan, that which facilitates the divine (su> ku> koo) vision (taru-san> darsan) and as such it is linked to the vision that Appar is excited about, the transductive perception that allows him to seen the Dance of Siva and Sakti in the Depths of love behavior of even the fowl. But this su-darsan is just a local manifestation of what is called by the Siddhas the Ravi-Mati, the Sun-Moon complex and which is the transmutation of Pure Energy, the Sakti by Natam and Bindu. Thus the Sudarsan is the vision provider but as Natam-Bindu complex something that can be enjoyed only in the Suzi Munai Nadi, that stream of energy where both Natam and Bindu are co-present.

And it is here that we see the link between the Sudarsan and dancing away going round and round. This conditioning of the bodily movement arrests the mind from worldly preoccupations and draws it into the Suzi Munai Nadi, the seeing not through the Ida Kalai and Pingkalai, the visions of the fleshy eyes and which disclose only the physical. The soul moving with its darsanas conditioned by Suzi Munai enjoys transductive perceptions and in which the MEATAPHYSICAL become available for seeing.

The Psychoanalysis of Appar- 3&4

Appar 4:3 TiruvaiyaaRu

The Depth Psychological Significance of Dance and Music

It is NOT an accident that in Tantric Hinduism (and Dravidian Hinduism is essentially that) we don’t have simply chanting of mantras but singing of hymns with fixed rhythms and dancing along with appropriate beats and so forth. It is not an accident that Barata Natyam was forged in the Dravidian countries where Tantrism thrived and was made an integral part of Temple worship. ( A condition that exists to this day despite modernization)

We have a reference to these in the phrase “muritta vilayaGkaL iddu” and which means dancing in accordance with beats that cause the withdrawal of the ego-self and with that causes a transposition of the soul into the metaphysical realms and with enjoy metaphysical illuminations. Thus the psychoanalysis of Appar is NOT simply theoretical or even simply interpretive. The subjectivity of the beholder must also be reconstituted so that it attains the necessary subjectivity in which it becomes capable of transductive perceptions.

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erippiRaik kaNNiyinaanai eentizaiyaaLodum paadi

muritta vilayangakaLiddu mukamalarntu aadaa varuveen

arittozukum veLlaruvi AiyaaRu adaikinra pootu

varik kuyil peedaiyoodu aadi vaiki varuvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kaNdeen

Meaning:

Siva wearing the bright crescent Moon on His head, shows Himself as Candrasekaran and Uma appears as the most beautiful wearing very elegant ornaments. While singing along their joint presence and dancing to the beats that caused me to forget the world and affording by that deep illuminations, I came towards AiyaaRu where flows a brilliant waterfall that uproots the vegetations and falls majestically. As I approached this place I saw the kuyil enjoying its company with the females of the species and living happily together. At that point I saw with my mental eyes, the Divine Feet of Siva (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

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piRaiyiLaG kaNNiyinaaip pey vaLaiyaaLodum paadith

tuRaiyiLam panmalar tuuvit toolaik kuLirat tozuveen

aRaiyiLam puungkuyilaalum AiyaaRu adaikinRapootu

ciRaiyiLam peedaiyodu aadic ceeval varuvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kandeen

Meaning:

Siva appears as the Candrasekaran wearing the Crescent Moon on His head while Uma appears very feminine with wearing a large number of bangles on her hands. Singing along their joint presence I will also sprinkle fresh blossoms plucked from the gardens on the way and admiring the powerful and manly shoulders of Siva would approach AiyaaRu, full of singing birds. There I also saw the male of the small birds or swallows dancing away and enjoying the company of the female of the species. At that point I saw with my mental eyes, the Divine Feet of Siva (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

There are many elements that are repeated here, the different forms of Siva as Candrasekaran and Uma appearing with all the feminine charms, wearing ornaments and a large number bangles. These are the kinds of things that would ENHANCE the feminine charm in ordinary life but here attributed to Uma by way of showing that the impulses to enhance the feminine charms of the females of all species are ultimately related to the inputs form the Depths where reside Uma along with Siva as Candrasekaran. The Crescent Moon He wears is also of symbolic significance. There is JOY and HAPPINESS in the existence of all creatures but to be had only when the male and female of the species live together in LOVE.

Two additional insights are unfolded in these verses. One is that the singing and dancing must not be wild but regulated with appropriate cadence and beats. These regular rhythmic movements, just like moving in circles, transposes the mind into the metaphysical space and hence into realms where transductive perception become available.

The second insight is the supreme masculine STRENGTH of Siva as shown by the anatomical feature of broad shoulders that Appar witnesses in his vision of Siva when He is along with Uma, wearing the Crescent Moon. Only when the male of the species is full of masculine strength, the females will also be happy and compliant. The feminine essence of the female of al species demands the supremely masculine for attaining the Natam-Bindu balance which at the root of all sexual attractions and enjoyments. Such a view goes well beyond the genetic notions of modern psychobiology.

The Psychoanalysis of Appar- 5

Appar 4:3 TiruvaiyaaRu

The Geographical is Sacred.

We see here one of the fundamental insights that sustains Agamic Hinduism, that the Geographical is Sacred and not simply physical, an aggregate of stones and rocks, rivers and vegetations and all kinds of animals. Appar says that he Worships with raised hands as he walks through such geographical localities and dances away with joy at finding them sacred.

What can be reason?

The woods countrysides and hills are places where abound the Living Things- the plants trees various kinds of animals and insects and of course human beings. And these living things disclose the presence of the fundamental processes of death and regenerations. As the parents die, their kind of species is carried over by the young in various ways. Thus these locations serve as TEXTS that within their naturalistic exterior discloses the divine interior, the presence of Siva-Sakti. As one manages to get the deeper vision by tearing the eyes from being trapped by the external and physical and manages a peep into the DEPTHS and with that manages a glimpse of the presence of BEING, the lands become natural temples, localities where the Siva-Sakti is present. Thus Appar having gained this vision is not only moved to worship it also dance away in boundless joy.

This also carries the implication that the Natural World is the genuine scripture, a notion well entrenched in Saiva Siddhanta.

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¸ñ§¼ý «Å÷ ¾¢ÕôÀ¡¾õ ¸ñ¼È¢Â¡¾É ¸ñ§¼ý.

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þ¨ÇòÐ ¦ÁøÄ¢¾¡¸¢ ¿¢ü¸¢ýÈ þÇõÀ¢¨È¨Â º¢Ã¢º¢ø ÝðÊ ¿¢üÌõ ºó¾¢Ã§º¸Ã¡É¡¸¢Â º¢Å¦ÀÕÁ¡¨É, «Å§É¡Î ºÃ¢À¡¾¢Â¡¸ ¿¢üÌõ «Æ¸¢Â «½¢¸Äý¸¨Çô âñÎ ÅÉôÒ Á¢¸ò §¾¡ýÚõ ¯Á¡§¾Å¢Â¡¨Ã þ¨½òÐ «Å÷¸û þ¨½óÐ ¿¼õ ÒÃ¢Ôõ Å¢ÄíÌ¸û Å¡ú ¸¡Î Áì¸û Å¡ú ¿¡Î ÁÃï¦ºÊ¦¸¡Ê¸û Å¡ú Á¨ÄÔõ ¾¢ùÅ¢ÂÁ¡É þ¼í¸§Ç ±ýÚ «È¢óÐ ¨¸¦¾¡ØÐ ¬Éó¾ì ¸Ç¢ôÀ¢ø ¬ÊÂÅ¡Ú, «ùÅ¡È¡É ¬¼ø À¡¼ø¸û ¿¢¨Èó¾ º¢Åò¾ÄÁ¡¸¢Â ³Â¡Ú ±ýÛõ ¾¢ÕôÀ¾¢¨Â «¨¼§Åý. «Ð¦À¡ØÐ «íÌ ¬ñ ÁÂ¢ø ¾ý §À¨¼ ÁÂ¢§Ä¡Î þ¨½À¢Ã¢Â¡Ð «ýÀ¢ý À¢¨½óÐ ÅÕÅÉ ¸ñ§¼ý. «Ð¦À¡ØÐ °Éì ¸ñ½¡ø ¸¡ñ¼üÌ «Ã¢¾¡¸¢Â º¢Å¦ÀÕÁ¡ý ¿¡¾Å¢óÐì¸¨Ç ¦Àñ¦ÉÉ ¬¦½É ¯Â¢Ã¢Éí¸û ±ØÁ¡Ú «¨ºò¾¡Îõ ¬Éó¾ò ¾¡ñ¼ÅòÐ ¾¢ÕôÀ¡¾í¸¨Ç »¡Éì¸ñ½¢ü ¸ñ§¼ý; «ÐÅ¨ÃÂ¢Öõ ¿¡ý ¸ñ¼È¢Â¡¾¢Õó¾ ¬ú ¯ñ¨Á¸¨Çì ¸ñÎ Á¸¢úó§¾ý.

eedu matik kaNNiyaanai eewtizaiyaaLodum paadik

kaadodu naadu malaiyuG kaitozutu aadaa varuveen

aadal amaiwthuRaikinRa AiyaaRu adaikinRa pootu

peedai mayoloduG kuudi piNaintu varuvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kaNdeen

Meaning:

Siva appears as Candrasekaran wearing the slim Crescent Moon on His tuft while Uma stands as His equal half wearing bright ornaments and hence immensely attractive. While singing their joint presence I came to AiyaaRu, also a place filled with dances and music on the way traveling through the woods countrysides and hills worshipping them with raised hands and dancing away with immense joy. And on the way I saw the peacock coming united with its female as if inseparable. At that point I saw with my mental eyes, the Divine Feet of Siva (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

Siva is still described as the wearer of Crescent Moon, that which is installed in the human bodies and allowed to secret the Amutu that provides the bliss. But this is possible only when the Female appears there as most the beautiful and seductive and which is the way the Woman- Uma- blesses the human beings. The Male has to encounter a seductive and alluring Female to enjoy the presence of the Crescent Moon within and which would secrete the Amutu, the elixir of deathless life.

However the most attractive part of this verse is the precondition where Appar sees the forests countrysides and hills and WORSHIPS them dancing away with immense joy. The seeing of the DIVINE, the joint presence of Siva and Sakti at the depths of even the love life peacocks requires a certain kind of subjectivity and here it turns out the kind of subjectivity that SEES the DIVINE in the woods, countrysides and hills. The Siva-Sakti is present not only where there is sexual life among the animals birds and so forth but everywhere.

The Psychoanalysis of Appar- 6

Appar 4:3 TiruvaiyaaRu

The Melting Heart and the Gift of Transductive Perceptions

The psychoanalysis of Appar, the kind of movement of the mind where a true understanding of the sexual impulses is gained, is NOT simply an academic exercise. No matter how acute the thinking is and how sharp and analytical the mental functioning is, the person may not succeed in fathoming the TRUTH especially about sexuality. For once we begin to understand the roots of sexuality, we are also on the way towards the ultimate understanding, the Civanjanam that would also provide us with RELEASEMENT from the huge prison of endless phenomenal existence, historicity, the Samsara and so forth.

But what is the precondition?

The deep insights into the essence of sexuality, with which all of us afflicted and from which we try to escape in so many ways, is finally a BLESSING, a gift of BEING. The deep secrets are DISCLOSED or revealed only for deserving - the Third Eye is opened and they are given to SEE the presence of Siva-Sakti in the depths of every phenomenal expression of sexuality and love.

But who are the deserving?

Those who do not go around sharpening their intellect with endless analytical exercise but rather indulge in the contemplation of Sexuality and Deep Love and with that also become egoless, gentle and soft. The contemplation of LOVE and CARE cultures the FEELINGS, the heart and when a person becomes sufficiently cultured in this way, then and only then the Third Eye is opened and he is led to see the Siva-Sakti at the deepest at all the phenomenal expression of sexuality.

¾ñÁ¾¢ì ¸ñ½¢Â¢É¡¨Éò ¨¾Âø ¿øÄ¡¦Ç¡Îõ À¡Ê

¯ñ¦ÁÄ¢ º¢ó¨¾ÂÃ¡¸¢ ¯½Ã¡ ¯Õ¸¡ ÅÕ§Åý

«ñ½ø «Á÷óÐ¨È¸¢ýÈ ³Â¡Ú «¨¼¸¢ýÈ §À¡Ð

Åñ½ô À¸ýÈ¢§Ä¡Ê ¬Ê ¨Å¸¢ ÅÕÅÉ ¸ñ§¼ý

¸ñ§¼ý «Å÷ ¾¢ÕôÀ¡¾õ ¸ñ¼È¢Â¡¾É ¸ñ§¼ý

¯¨Ã:

«Ó¾õ ¦º¡Ã¢Ôõ º¢ÈôÀ¡ø ÌÇ¢÷ó¾ þÇõÀ¢¨È¨Â Áì¸ÙìÌ ¯¾×õ Å¨¸Â¢ø ¸ñÉ½¢Â¡¸î ÝÊ ºó¾¢Ã§º¸ÃÉ¡¸ Å¢ÇíÌõ º¢Å¦ÀÕÁ¡¨É, þÉ¢Â Á¸Ç¢÷ ¾õ ÅÉôÀ¢ü¦¸øÄ¡õ ãÄ Å¢ò¾¡¸ Å¢ÇíÌõ ¨¾Âø ¿øÄ¡Ç¡¸¢Â ¯¨ÁÂõ¨Á¦Â¡Î Ò¸úóÐ À¡Ê, «ùÅ¢ÕÅ÷ À¡ø Å¢ÇíÌõ «ÂÃ¡ À¢Ã¢Â¡ «ýÀ¢¨É ¿¢¨ÉòÐ ¿¢¨ÉòÐ ¯ûÇõ ¦Áý¨ÁÂ¡Ìõ º¢ó¨¾ÂÃ¡¸¢ , «¾¨É ¿Ä§Á ¯½÷óÐõ «¾¨É «ÕÙõ º¢Åºò¾¢ ÅÊÅ¢¨É º¢ó¾¢òÐ ¯ûÇõ ¦¿ìÌÕ¸¢ º¢Å¦ÀÕÁ¡ý ¯¨ÁÂõ¨Á§Â¡Î «Á÷ó¾¢ÕìÌõ ³Â¡Ú ±Ûõ º¢Åò¾Äò¨¾ ¦¿ÕíÌ§Åý. «Ð¦À¡ØÐ, þôÀÊôÀð¼ þ¨½ À¢Ã¢Â¡ ¸¡¾¨Äì ¸¡ðÎõ À¸ýÈ¢ø ±Ûõ Åñ¨½ô ÀÈ¨Å ¾ý Ð¨½§Â¡Î ¬Ê þ¨½óÐ Å¡úó¾Å¡ ÅÕÅÉ ¸ñ§¼ý. «Ð¦À¡ØÐ °Éì ¸ñ½¡ø ¸¡ñ¼üÌ «Ã¢¾¡¸¢Â º¢Å¦ÀÕÁ¡ý ¿¡¾Å¢óÐì¸¨Ç ¦Àñ¦ÉÉ ¬¦½É ¯Â¢Ã¢Éí¸û ±ØÁ¡Ú «¨ºò¾¡Îõ ¬Éó¾ò ¾¡ñ¼ÅòÐ ¾¢ÕôÀ¡¾í¸¨Ç »¡Éì¸ñ½¢ü ¸ñ§¼ý; «ÐÅ¨ÃÂ¢Öõ ¿¡ý ¸ñ¼È¢Â¡¾¢Õó¾ ¬ú ¯ñ¨Á¸¨Çì ¸ñÎ Á¸¢úó§¾ý.

taNmatik kaNNiyinaait taiyal nalllaadum paadi

uNmeli cintaiyaraaki uNaraa urukaa varuveen

aNNal amartuRaikinRa AiyaaRu adaikinRa pootu

vaNNap pakanRil aadi vaiki varuvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kaNdeen

Meaning:

The Crescent Moon Siva wears as Candrasekaran, is COOL because it lets flow the Amutu that cools the heart of all because of sexual pleasures it serves to enjoy. Uma stands as the seed of all feminine charms that evoke the sexual desires. Thus singing their inseparable union out of the deepest LOVE possible, I became one of soft heart at their contemplation. Understanding this and even melting further at the Kindness of BEING for blessing the creatures thus, I was moving towards AiyaaRu, where He resides with Uma. And there on the way I saw the colorful PakanRil, the bird that never separates from its spouse dancing and living together. At that point I saw with my mental eyes, the Divine Feet of Siva ,(where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

The key phrase in this verse is “uL meli cintaiyaraaki” and which means a reflective exercise that melts the heart and makes one SOFT with LOVE. But what is that which on being contemplated would bring about such a change in FEELINGS and hence a fundamental change in personality, from that of being hard hearted to that of being gentle and loving?

The Icon that brings about this change is that Siva, wearing the Crescent Moon and having Uma, the seed of all feminine charms as Equal Half, the Icon of Ammai-Appar. This icon exemplifies the deepest and unfailing LOVE that is possible between any a man and woman provided they are blessed by this Icon- BEING installs this in a man and woman by way of engracing them. The colorful PakanRil is a kind of bird that never separates from its spouse and should one be separated, then the other remaining would naturally die. We see this kind of love relationship even among some human beings. In such a love, the ego identities are lost, and one exists the same as the other and the death of one would mean also the death of the other.

When we ordinary human beings CONTEMPLATE this Deep Love also as our own possibility, our mind will withdraw from its wild analytical spree and attend to the FEELINGS, the matters of the heart. Thus when we contemplate sexuality and the Deep Love that it hides within, our feelings are cultured and as a result of which we slowly destroy our ego and learn to LOVE all as dear to oneself and with that CARE for all as well.

Appar further melts on realizing this and which is the reason for BEING presenting Himself as Siva-Sakti complex exemplifying the deepest kind of LOVE that is possible also us to enjoy.

The Psychoanalysis of Appar- 7

Sexuality and Aesthetics

A new dimension in the Psychoanalysis of Appar emerges here where a link between Sexuality and Aesthetics is noted. The arts of Dance and Music are intimately linked with sexuality the enjoyment of which is ritual bound, not only among human beings but also in all creatures. Like modern biologists who make a careful study of animal behavior, so did the CaGkam Tamils as the literature would show and in which they also noted the presence of sexuality not only as the most common element among human beings despite the various differences of all kinds but also among all creatures.

Here Appar assimilating all these notes the presence of beauties both in shapes (vadivu) and colors (vaNNam) and the EYES to see them and appreciate them to the heart’s content as a precondition towards seeing at the depths of sexual unions the presence of Siva and Uma, with Siva dancing away in absolute bliss with Uma looking on and as sung even by the CaGkam Tamils.

The world is full beauties of all kinds but normally we do not have the eyes to see them and derive pleasures of all kinds out of appreciating them. However when the ordinary sexuality is transmuted, the aesthetics that comes with it is also transmuted so that beauties hidden to the eyes before now become available for witnessing and enjoying.

Thus it would follow that the aesthetic culture also has the capacity to transmute sexual cravings into spiritual cravings.

¸ÊÁ¾¢ì ¸ñ½¢Â¢É¡¨Éì ¸¡Ã¢¨¸Â¡¦Ç¡Îõ À¡Ê

ÅÊ¦Å¡Î Åñ½õ þÃñÎõÀ¡Ê Å¡ö §ÅñÎÅÉ ¦º¡øÄ¢ Å¡ú§Åý

«ÊÂ¢¨½ ¬÷ìÌí ¸ÆÄ¡ý ³Â¡Ú «¨¼¸¢ýÈ§À¡Ð

þÊÌÃø «ýÉ§¾¡÷ ²Éõ þ¨ºóÐ ÅÕÅÉ ¸ñ§¼ý

¸ñ§¼ý «Å÷ ¾¢ÕôÀ¡¾õ ¸ñ¼È¢Â¡¾É ¸ñ§¼ý

¯¨Ã:

¦ÀÕõ Å¢Çì¸òÐ À¡¾¢ Á¾¢¨Â ¸ñ½¢Â¡¸î ÝÊ ºó¾¢Ã§º¸ÃÉ¡¸ Å¢ÇíÌõ þ¨ÈÅ¨É «Å§É¡Î Â¡ñÎõ ºÃ¢À¡¾¢Â¡¸ Å¢ÇíÌõ ¸¡Ã¢¨¸Â¡¸¢Â ¯¨Á «õ¨Á§Â¡Î þ½óÐ À¡Ê «¸ò¦¾Ø »¡Éì¸ñ½¢ý Ò¾¢Âô Ò¾¢Â ÅÊÅ¸¨ÇÔõ Åñ½í¸¨ÇÔõ «ÅüÈ¢ý ÅÕ ¦¾öÅ£¸ «ÆÌ¸¨ÇÔõ ÀðÊÀ¡Ê Á¸¢úóÐ §ÅñÎÅÉ ¦ÅøÄ¡õ ¦º¡øÄ¢ÂÅ¡, «ÅüÈ¢¨É ¯Ä¸ò¾¢ø Å¢ÇíÌÁ¡ ¯¨Á ¸¡½ ¿¢ýÈ¡Îõ ¬÷ìÌí ¸ÆÄ¡É¡¸ ¬¼ÅøÄ¡É¡Ìõ ¸¡ðº¢ ¾Õõ ³Â¡Ú ±Ûõ º¢Åò¾Äò¨¾ «¨¼Ôõ §À¡Ð, þÊÌÃø ÀýÈ¢¸û ¾ý Ð¨½¸§Ç¡Î «ýÀ¢ý þ¨ºóÐ ÅÕÅÉ ¸ñ§¼ý. «Ð¦À¡ØÐ °Éì ¸ñ½¡ø ¸¡ñ¼üÌ «Ã¢¾¡¸¢Â º¢Å¦ÀÕÁ¡ý ¿¡¾Å¢óÐì¸¨Ç ¦Àñ¦ÉÉ ¬¦½É ¯Â¢Ã¢Éí¸û ±ØÁ¡Ú «¨ºò¾¡Îõ ¬Éó¾ò ¾¡ñ¼ÅòÐ ¾¢ÕôÀ¡¾í¸¨Ç »¡Éì¸ñ½¢ü ¸ñ§¼ý; «ÐÅ¨ÃÂ¢Öõ ¿¡ý ¸ñ¼È¢Â¡¾¢Õó¾ ¬ú ¯ñ¨Á¸¨Çì ¸ñÎ Á¸¢úó§¾ý.

kadimatik kaNNiyinaanaik kaarikaiyaaLodum paadi

vadivodu vaNNam iraNdumpaadi vaay veenduvana colli vaazveen

adiyiNai aarkkuG kazalaan AiyaaRu adaikinrapootu

idikural annatoor eenam icaintu varuvana kaNdeen

kaNdeen avar tiuppaatam kaNdaRiyaatna kaNdeen.

Meaning:

Siva stands the Candrasekaran wearing the bright Crescent Moon as His headgear and with His beautiful Woman, Uma. I came along singing their joint presence and because of which my eyes were opened I began to see Shapes and Colors of outstanding beauties. Singing both of these beauties in whatever way that pleased me I was moving towards AiyaaRu where stands Siva dancing energetically (with Uma seeing it all) and with His anklets resounding with musical notes, and there I saw the boars of thunderous voice coming in love with their females. At that point I saw with my mental eyes, the Divine Feet of Siva, (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

The new thing Appar says here is that sexuality is present even among the pigs, the swine herd and hence it is something universal. It is not only present among human beings but also all creatures including here the swine crowd. But the most import theme he brings out here is the link between sexuality and aesthetics. Whether human or nonhuman, sexual cravings lead to the appreciation of beauties both in shapes and colors. The desire for sexual consummation also requires beautifying oneself and hence the appreciation of aesthetics and within Music and Dance. It is also not surprising that even among the animals there are rituals of dance and music by way of stimulating sexually the partners.

However in the case of Appar here it is already spiritualized and sexuality remains transmuted into higher aesthetics where the Divine is seen and appreciated. The various visions of beauty that moves Appar so much that he prattles endlessly about them gives him a taste of the Divine, the Kalyana kuNas, as the VaishNavites would say. But unlike them he traces all to the Dance of Siva, the Dance of Bliss that He dances with Uma, a very ancient metaphor that has been sustained by Saivism because of its immense explanatory value.

The Psychoanalysis of Appar- 8

Inner Purity and Seeing the Sacredness of Sexuality

In the psychoanalysis of Appar we have something quite interesting viz, the subjective conditions of the observing self over and above the events that are indicative of sexual unions. That Appar sees the sexual unions of even animals in natural life is quite obvious and therefore if he had also seen the depiction of such activities even in temples, he would have seen the dance of Siva Sakti there.

The psychoanalysis a person advocates is not FREE of his own subjective self and if it happens to be IMPURE and IMMATURE he will also be BLIND to the sacred dimensions available in the Depths, as the Deep Structure of such surface structure phenomenon.

The subjective conditions are a kind Inner Purity where the Njanam, the Absolute Understanding is about to dawn like a great sunrise and where only fresh blossoms are chosen as that which ought to be offered to BEING. Also along with this there is re-evaluation of what is real wealth. It is NOT gold and gems of the physical world i.e. the material riches but rather the metaphysical illuminations, the undying and axiomatic TRUTHS, the Sattiya Njanam that is the real wealth.

When a person has such a subjectivity, in seeing the sexual union whether in natural life or their depiction in temples, it will not be revolting, obscene, dirty, despicable and so forth. When there is NO DIRT in the self but only purity, such scenes would not be dirty but will be seen as Divine, the Sacred Play of Siva and Sakti.

Å¢ÕõÒ Á¾¢ì ¸ñ½¢Â¡¨É ¦ÁøÄ¢Â Ä¡¦Ç¡Îõ À¡Êô

¦ÀÕõÒÄ÷ ¸¡¨Ä ¦ÂØóÐ ¦ÀÚÁÄ÷ ¦¸¡öÂ¡ ÅÕ§Åý

«Õí¸Äõ ¦À¡ýÁ½¢ ÔóÐõ ³Â¡Ú «¨¼¸¢ýÈ §À¡Ð

¸Õí¸¨Ä §À¨¼¦Â¡Î ¬Êì ¸ÄóÐ ÅÕÅÉ ¸ñ§¼ý

¸ñ§¼ý «Å÷ ¾¢ÕôÀ¡¾õ ¸ñ¼È¢Â¡¾É ¸ñ§¼ý

¯¨Ã:

À¡ºí¸Ç¢ü Àð¼ ÀÍì¸Ç¡¸¢Â ¬ýÁ¡ì¸§Ç¡Î Å¡ÛÄ¸ò ¦¾öÅí¸Ùõ Å¢ÕõÀ¢ô §À¡üÈ¢ Á¸¢Øõ ºó¾¢Ã§º¸ÃÉ¡¸¢Â º¢Å¦ÀÕÁ¡¨É, «¨ÉÅ÷ ¯ûÇòÐõ ¦Áý¨ÁÂ¢ý «ýÀ¢¨É ±ØôÒõ ¦ÁøÄ¢ÂÄ¡Ç¡¸¢Â ¯¨Á «õ¨Á§Â¡Î þ½òÐ À¡Ê, ÒÈÅ¢Õ¨Ç ¾ý ´Ç¢ì¸¾¢÷¸Ç¡ø §À¡ìÌõ ¦ÀÕõ ÒÄ÷ ¸¡¨Äô ¦À¡Ø§¾ ¾ÅÈ¡Ð ±ØóÐ, «Ð¦À¡Ø§¾ âò¾ ¦ÀÃ¢Â ¿øÄ ÁÄ÷¸¨Çì ¦¸¡öÐ þ¨ÈÅÛìÌ º¡òÐÅ¡ý §ÅñÊ, «Õí¸Äý¸Ç¡¸¢Â »¡Éô ¦À¡ýÛõ Á½¢Ôõ ¯óÐõ ³Â¡Ú ±Ûõ º¢Åò¾Äõ §¿¡ì¸¢ô ¦ÀÂ÷§Åý. ¬íÌ ¸Ã¢Â Åñ½òÐ ¸¨ÄÁ¡ý¸û ¾ò¾õ Ð¨½¸§Ç¡Î þýÀõ àöò¾Å¡Ú ¯Çí¸ÄóÐ ¬ÊÅÕÅÉ ¸ñ§¼ý. «Ð¦À¡ØÐ °Éì ¸ñ½¡ø ¸¡ñ¼üÌ «Ã¢¾¡¸¢Â º¢Å¦ÀÕÁ¡ý ¿¡¾Å¢óÐì¸¨Ç ¦Àñ¦½É ¬¦½É ¯Â¢Ã¢Éí¸û ±ØÁ¡Ú «¨ºò¾¡Îõ ¬Éó¾ò ¾¡ñ¼ÅòÐ ¾¢ÕôÀ¡¾í¸¨Ç »¡Éì¸ñ½¢ü ¸ñ§¼ý; «ÐÅ¨ÃÂ¢Öõ ¿¡ý ¸ñ¼È¢Â¡¾¢Õó¾ ¬ú ¯ñ¨Á¸¨Çì ¸ñÎ Á¸¢úó§¾ý.

virumbu matik kaNNiyaanai melliya laaLodum paadip

perumpular kalai yezuntu peRumalar koyyaa varuveen

aruGkalam ponmanI yuntum AiyaaRu adaikinRa pootu

karuGkalai peedaiyoodu aadik kalantu varvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kaNdeen!

Meaning:

Civa as Candrasekaran is One who is loved not only by the anmas infected with the Paacaas but also the celestial beings. With Him stands Uma, she who brings love and softness in the bosom of all and because of which she stands as of the gentle natured. Having woke-up in the early morning of great sunrise and having plucked great fresh blossoms to offer to BEING, I moved towards AiyaaRu where the river brings along with its flood great riches gold and gems. There on the way the saw the male deer coming along with their females in great joy in the union and dancing joyously. At that point I saw with my mental eyes, the Divine Feet of Siva, (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

Now Appar sees the same sexual dynamics among the male and female deer and which because of it are happy in their sexual union and move along dancing away. This observation goes to reinforce the universal presence of sexuality, its presence even among such animals as deer and so forth.

However the real significance of this verse is carried by the metaphors of great sunrise, the plucking of large fresh blossoms and the flood river carrying great riches of gold and gems. These metaphors are descriptive of the SUBJECTIVE CONDITIONS that would enable a person to see the presence of Siva and Sakti in the very mundane and commonplace sexual activity of even the animals by transcending over the sense of revolt of disgust of the spiritually immature.

The great sunrise symbolizes the DAWN of Civanjanam, the deepest metaphysical illumination and towards which all creatures are moving knowingly or unknowingly. In this movement which is there as the undercurrent in the existential struggles of all, there comes a moment where the self is sufficiently PURE, free of the dirt and filth of Mummalam so that the Njanam DAWNS on its own and as the blessing of BEING Himself. This inner purity is also shown by the choice of fresh and large blossoms for offering to BEING and which indicates the severance of all kinds animism within. The SACRIFICE in terms of animals or even various aspects of self, is no more and there is only the offering of flowers and as indications of inner purity and beauty. The self aesthetically beautiful, free of all kinds of UGLINESS, chooses flowers only as that which ought to be offered to BEING.

The Psychoanalysis of Appar- 9

Becoming Free of Sexuality and with that Wholly Human

One of the puzzling features of this Patikam is that while it is quite obvious, Appar does not sing the sexuality of human beings that they share with the animals - elephants, cattle, pigs, birds and so forth. It is only in seeing the Deep Structure of animal sexuality that Appar seems to have gained deep metaphysical insights that also show the workings of Siva and Sakti, their Dance of Bliss.

But what is the REASON for this Dance? Is it to keep creatures enjoying sexual bliss and with that get continuously remain tied down to Samsara, existential repetition where there is endless births and deaths?

No certainly not - the Dance has a hidden agenda, that of FREEING all creatures from these earth-binding sexual desires, the ropes or chains or Paacaas that throw the anmas into assuming a bodily existence and with that suffer births and deaths.

While this may not be an animal possibility or a possibility for those humans who are animal-like, it is possible for those exceptional humans, the Civayogies and so forth, described here as “aRRu aruL peRRaar”

Thus Appar provides a new insight into sexuality and hence Psychoanalysis as such: Human beings are both animal and pure human and that they remain animal-like even like Appar as long as they enjoy seeing sexual acts and the Dance of Bliss at the deepest level. Such visions of the Dance of Bliss itself is a joy to behold. But this is NOT the final possibility in the psychological growth of a person. Unlike the animals, man can become totally human without any trace of animalism by transmuting this desire for sexual bliss into Pure Love, a state of Absolute Purity, a freedom from all desires.

ÓüÀ¢¨Èì ¸ñ½¢Â¢É¡¨É ¦Á¡öÌÆÄ¡ ¦Ç¡Îõ À¡Êô

ÀüÈ¢ì ¸Â¢Ú «Úì¸¢ø§Äý À¡ÊÔõ ¬¼¡ ÅÕ§Åý

«üÚ «Õû ¦ÀüÚ ¿¢ýÈ¡§Ã¡Î ³Â¡Ú «¨¼¸¢ýÈ §À¡Ð

¿üÚ¨½ô §À¨¼¦Â¡Î ¬Ê ¿¡¨Ã ÅÕÅÉ ¸ñ§¼ý

¸ñ§¼ý «Å÷ ¾¢ÕôÀ¡¾í ¸ñ¼È¢Â¡¾É ¸ñ§¼ý.

¯¨Ã:

«ý§È Ó¨Çì¸¢ýÈ þÇõ À¢¨È¨Â ¾ý ¸ñ½¢Â¡¸î ÍÊ ºó¾¢Ã§º¸ÃÉ¡¸ Å¢ÇíÌõ º¢Å¦ÀÕÁ¡¨É, ¦Àñ¨ÁÂ¢ý ÅÉô¦ÀøÄ¡õ ¿Ä§Á Å¢ÇíÌõ «¼÷ò¾¢Â¡É ¸ÕíÌÆø ¯¨Á§Â¡Î þ¨½òÐô À¡ÊÂÅ¡Ú ¬É¡ø, À¡ºí¸¨Ç ÀüÈ¢ Á¸¢Øõ ¿¡ý «ôÀ¡ºì ¸Â¢Ú¸¨Ç «Úì¸¡Ð À¡ÊÔõ ¬ÊÔõ, ±ý¨Éô §À¡ø «øÄ¡Ð þó¾ô À¡ºì¸Â¢Ú¸¨Ç «üÚ àö¾¡¸¢ «¾É¡ø þ¨ÈÂÕ¨Çô ¦ÀüÚ ¿¢ýÈ¡¦Ã¡Î þ¨½óÐ ³Â¡Ú ±Ûõ º¢Åò¾Äõ §¿¡ì¸¢ô ¦ÀÂ÷§Åý. «Ð¦À¡ØÐ (±¨Éô §À¡ø ÀüÚ¸û «Úì¸¡Ð) ¿øÄ À¡ºò§¾¡Î ÜÊÂ ¬ñ ¿¡¨Ã¸û ¾ò¾õ ¦Àñ Ð¨½¸§Ç¡Î Á¸¢úîº¢ô ¦ÀÕì¸¢ø ¬Ê ÅÕÅÉ ¸ñ§¼ý. «Ð¦À¡ØÐ °Éì ¸ñ½¡ø ¸¡ñ¼üÌ «Ã¢¾¡¸¢Â º¢Å¦ÀÕÁ¡ý ¿¡¾Å¢óÐì¸¨Ç ¦Àñ¦½É ¬¦½É ¯Â¢Ã¢Éí¸û ±ØÁ¡Ú «¨ºò¾¡Îõ ¬Éó¾ò ¾¡ñ¼ÅòÐ ¾¢ÕôÀ¡¾í¸¨Ç »¡Éì¸ñ½¢ü ¸ñ§¼ý; «ÐÅ¨ÃÂ¢Öõ ¿¡ý ¸ñ¼È¢Â¡¾¢Õó¾ ¬ú ¯ñ¨Á¸¨Çì ¸ñÎ Á¸¢úó§¾ý.

muRpiRaik kaNNiyaanai moykuzaalaa Lodum paadi

paRRik kayiRu aRukkilleen paadiyum aadaa varuveen

aRRu aruL peRRu ninRaarodu aadi AiyaaRu adaikinRa pootu

naRRunaip peedaiyodu aadi naarai varuvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kaNdeen.

Meaning:

BEING as Candrasekaran stands as the One wearing the just born young Crescent Moon along with Umai who appears with thick and black hair indicative of the essence of all the feminine charms. I who has seized upon for my delight all the worldly bonds but without severing those ties, came with the great ones who have done so and who because of that enjoy the aruL of BEING singing and dancing away, to AiyaaRu, the great Temple of Siva. There on the way I saw (just with ties like me) the male storks coming with their females dancing away in great joy. At that point I saw with my mental eyes, the Divine Feet of Siva, (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

It may be possible that Appar provides a psychoanalytic description of himself by contrasting himself with the Pure Ones who have severed all the worldly ties. . This description also explains why in the whole Patikam he describes only the animal sexuality and not at all the human.

The phrase “paRRi kayiRu aRukkilleen” is very important in connection with this. The word ‘paRRi” is a verbal participle that is concluded grammatically by “kayiRu aRukkilleen” and hence the clause should be interpreted to mean “ having tied my self with bonds (of sexual desires) I did not severe those bonds” and which contrasts with those who have done so and because of which they enjoy the blessings of BEING - aRRu aruL peRRu.

Thus it remains a possibility for all to severe the worldly ties and this through transmuting the sexual cravings into Universal LOVE, that which removes all feelings of alienation and difference. Appar putting himself in the position of a typical man shows that the appreciation of animal sexuality and understanding the DIVINITY behind it all, at the very depths, would also serve to severe all the worldly ties or bonds and with that prepare the soul to enjoy the blessings of Njanam by BEING. It is UNDERSTANDING the root cause of sexuality that would also help out transmuting it into LOVE. It should not be negated, repressed suppressed but rather looked into and the DEPTHS of the genesis of such urges and the reason for them understood to free oneself from it.

The Psychoanalysis of Appar- 10

No Insights Unless BEING Graces the Soul

How do we get the deep insights into the mysteries surrounding the every day occurrences particularly the sexual that draws the attention of all positively or negatively? Research studies, deep thinking, yogic meditations, analysis of the details, dialogues discussions reading and reflecting and so forth are not sufficient, it would appear from this verse of Appar.

We can ask thousands of questions, think very hard logically creatively and what not but despite all thses the illuminating insights may be elusive throwing us into perplexity, frustrations anxiety and even anger. For such redeeming insights are a GIFT, a BLESSING and only the deserving are engraced with it.

BEING conceals Himself and such deep insights with an activity called Transcendental Concealment, the Tirotakam, the casting of a screen. This screen can be removed only by BEING and only then we can witness the Deepest Truth, as we do the Deity in the Sanctum Sanctorum only after the priest pulls aside the screen.

The deserving condition is the Pakkuvam, the readiness to witness and understand. The truth about the genesis of sexuality is the understanding that would FREE the anma from phenomenal circulation and such a redemption will not be granted to every body no matter how arduously they seek it. Only a person who can stand a life of no sexuality, will be able to understand and appreciate the roots of the sexual instinct itself and only to such individuals the truth will be disclosed.

¾¢í¸û Á¾¢ì¸ñ½¢Â¡¨Éò §¾¦Á¡Æ¢ Â¡¦Ç¡Îõ À¡Ê

±íÌ «Õû ¿øÌí¦¸¡ø ±ó¨¾ ±Éì¸¢É¢ ±ýÉ¡ ÅÕ§Åý

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¨Àí¸¢Ç¢ô §À¨¼¦Â¡¼¡Ê ÀÈóÐ ÅÕÅÉ ¸ñ§¼ý

¸ñ§¼ý «Å÷ ¾¢ÕôÀ¡¾õ ¸ñ¼È¢Â¡¾É ¸ñ§¼ý

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Ó¾¢Ã¡ þÇó¾¢í¸¨Ç º¢Ãº¢ø ÝÊÂ ¸ñ½¢Â¡¸ì ¦¸¡ñÎ ºó¾¢Ã§º¸ÃÉ¡¸ì ¸¡ðº¢ ¾Õõ º¢Å¦ÀÕÁ¡¨É, ¿øÄ Á¸Ç¢÷¸¨Ç þÉ¢¨ÁÂ¡¸ô §Àºò ¾óÐ ¬¼Å÷¸¨Ç ¯ÅôÀ¢ì¸ «Õû ÒÃ¢Ôõ §¾¦Á¡Æ¢Â¡Ç¡¸¢Â ¯¨Á «õ¨Á§Â¡Î þ¨½òÐ À¡ÊÂÅ¡Ú, þùÅÇ× À¡ÎÀð¼ô À¢ÈÌ þýÈ¡ÅÐ ±ÉìÌ ¦Áö»¡Éõ «ÕÇ¢ ±ý¨Éì ¸¨Ã§º÷ôÀ¡ý ¦¸¡ø ±ýÚ ¦º¡øÄ¢ÂÅ¡Ú, «Æ¸¢Â þÇõ Áí¨¸Â÷ º¾¢Ã¡Ê þ¨ÈÅ¨ÉÔõ Áì¸¨ÇÔõ ¯ÅôÀ¢ìÌõ ³Â¡Ú «¨¼¸¢ýÈ §À¡Ð, «íÌ ¨Àí¸¢Ç¢¸û ¾ò¾õ §À¨¼¸§Ç¡Î þ½óÐ Á¸¢úîº¢ô ¦ÀÕì¸¢ø ¬ÊÂÅ¡Ú Å¢ñ½¢ø ÀÈóÐ ÅÕÅÉ ¸ñ§¼ý. «Ð¦À¡ØÐ °Éì ¸ñ½¡ø ¸¡ñ¼üÌ «Ã¢¾¡¸¢Â º¢Å¦ÀÕÁ¡ý ¿¡¾Å¢óÐì¸¨Ç ¦Àñ¦½É ¬¦½É ¯Â¢Ã¢Éí¸û ±ØÁ¡Ú «¨ºò¾¡Îõ ¬Éó¾ò ¾¡ñ¼ÅòÐ ¾¢ÕôÀ¡¾í¸¨Ç »¡Éì¸ñ½¢ü ¸ñ§¼ý; «ÐÅ¨ÃÂ¢Öõ ¿¡ý ¸ñ¼È¢Â¡¾¢Õó¾ ¬ú ¯ñ¨Á¸¨Çì ¸ñÎ Á¸¢úó§¾ý.

10.

tiGkaL matik kaNNiyaanait teemozi yaaLodum paadi

eGku aruL nalkuGkol entai anakkini ennaa varuveen

aGku iLam magkaiayar aadum AiyaaRu adaikinRa pootu

paiGkiLip peedaoyodaadi paRntu varuvana kaNdeen

kaNdeen avar tiruppaatam kandaRiyaatana kaNdeen

Meaning:

BEING shows Himself as Candrasekaran wearing the Crescent Moon as His head ornament and Uma appears as the Source of pleasant speech with which women please men. Singing both of them I came to AiyaaRu where beautiful young females dance majestically pleasing the gods and the people thinking that at least now BEING will be kind enough to engrace me with the redeeming insights that would put an end to all my miseries. And there on the way I saw the male green parrots flying happily and dancing with their females in immense joy. At that point I saw with my mental eyes, the Divine Feet of Siva, (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

The new thing that emerges here is the EXPECTATION of Appar that he would be engraced with deep insights if he comes to AiyaaRu and worship Siva and Uma in the temple. His expectations were not in vain for as he saw the sexual life of all kinds of living creatures, his metaphysical eyes were open and he saw the KaNdaRiyaatana, that which is NOT normally witnessed i.e. the Dance of Siva and Sakti at the depths of sexual behavior of creatures and where when a male and female are together there is happiness and because of which there is dancing and singing. This is the Avar Tiruppaatam, the Divine Feet of BEING and which seeing is NOT possible unless BEING wills it.

To go to the depths of sexual behavior of all creatures and see the TRUTH that BEING dances there as Siva and Sakti, one has to be blessed - the eyes must be opened towards the depths where Siva and Sakti dances the Dance of Bliss

The Psychoanalysis of Appar- 11

Siva and Sakti are Always Together

This is the final verse of this patikam of profound psychological significance and which goes to the very roots of animal and human sexuality without any feelings of abhorrence, revulsion etc. That sexuality of creatures is a GIFT of BEING and that existence itself is meaningful and enjoyable only because of that is clear. Appar sees or led to see the Dance of Bliss of Siva and Sakti at the depths of all sexual activities and this is that which leads him to extol that he has been graced by BEING with an understanding that is so rare and difficult.

But having seen this, he also hopes to see a moment when Siva and Sakti stand separated and hence there being NO sexual passions of whatever kind in the bosom of all creatures. It is a possibility but reserved only for the rishies as KantapuraaNam (and many other puraNas) would affirm. But this is not yet for Appar -he fails to see the moment Siva and Sakti remain separate having severed their union. As far as Appar goes, both are inseparable - where Sakti is Siva is and vice versa.

11.

ÅÇ÷Á¾¢ì ¸ñ½¢Â¢É¡¨É Å¡÷ÌÆ Ä¡¦Ç¡Îõ À¡Êì

¸Ç× À¼¡¾¦¾¡÷ ¸¡Äí ¸¡ñÀ¡ý ¸¨¼ì¸ñ ¿¢ü¸¢ý§Èý

«Ç× À¼¡¾¦¾¡÷ «ý§À¡Î ³Â¡Ú «¨¼¸¢ýÈ §À¡Ð

þÇÁ½ ¿¡Ì ¾ØÅ¢ ²Ú ÅÕÅÉ ¸ñ§¼ý

¸ñ§¼ý «Å÷ ¾¢ÕôÀ¡¾õ ¸ñ¼È¢Â¡¾É ¸ñ§¼ý

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þÇõÀ¢¨ÈÂ¡¸ò §¾¡ýÈ¢ ÅÇ÷À¢¨ÈÂ¡¸ Ó¾¢Õõ þÇó¾¢í¸¨Ç º¢Ãº¢ø ¸ñ½¢Á¡¨ÄÂ¡¸î ÝÊ ºó¾¢Ã§º¸ÃÉ¡¸ò §¾¡ýÚõ þ¨ÈÅ¨É, þÇõ¦Àñ¸ÙìÌ ÅÉôÒ ¾Õõ ¸Ã¢Â ¦¿ÊÂ Üó¾¨Äò ¾Õõ ¯¨ÁÂõ§Á¡Î þ¨½òÐô À¡ÊÂÅ¡Ú, Â¡ñÎ§Á ¸Ç× ÀðÎ þ¨½ó§¾ þÕìÌõ þùÅ¢ÕÅÕõ ¸Ç× À¼¡Ð À¢Ã¢ó¾¢ÕìÌõ µ÷ ¸¡ÄÓõ ¯ñ¦¼É ¿¢¨ÉòÐ «¾¨Éì ¸¡ñÀ¡ý þÚ¾¢Â¡É µ÷ ÓÊ§Å¡Î ¿¢ü¸¢ý§Èý. þùÅ¡È¡É º¢ó¨¾Â¢ø þùÅ¢ÕÅ÷ Á¡ðÎõ «Ç×À¼¡¾§¾¡÷ «ý¦À¡Î ³Â¡Ú «¨¼¸¢ýÈ §À¡Ð, ±ý ±¾¢÷ôÀ¡÷ôÒì¸û ±øÄ¡õ Å£½¡ÌÁ¡Ú þÇÁ½ ÀÍì¸¨Çò ¾ØÅ¢ÂÅ¡Ú Å£Ãì¸¡¨Ç¸û ÀÄ ÅÕÅÉ ¸ñ§¼ý. «Ð¦À¡ØÐ °Éì ¸ñ½¡ø ¸¡ñ¼üÌ «Ã¢¾¡¸¢Â º¢Å¦ÀÕÁ¡ý ¿¡¾Å¢óÐì¸¨Ç ¦Àñ¦½É ¬¦½É ¯Â¢Ã¢Éí¸û ±ØÁ¡Ú «¨ºò¾¡Îõ ¬Éó¾ò ¾¡ñ¼ÅòÐ ¾¢ÕôÀ¡¾í¸¨Ç »¡Éì¸ñ½¢ü ¸ñ§¼ý; «ÐÅ¨ÃÂ¢Öõ ¿¡ý ¸ñ¼È¢Â¡¾¢Õó¾ ¬ú ¯ñ¨Á¸¨Çì ¸ñÎ Á¸¢úó§¾ý.

11.

vaLarmatik kaNNiyinaai vaarkuza laaLodum paadik

kaLavu padaatator kaalaG kaaNpaan kadaikaN niRkinReen

alavu padaatator anbodu AiyaaRu adaikinra pootu

iLamaNa naagu tazuvi eeRu varuvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kaNdeen

Meaning:

There is Siva appearing as Candrasekaran wearing the growing Crescent Moon on His head as an ornament and Uma with Him as the One who blesses women with long flowing hair that stimulates sexual feelings. Singing both of them I stood with the final resolve to see them not together in union but separately standing alone, I came to AiyaaRu with boundless LOVE for them. And there on way I saw, destroying all my hopes the virile bulls coming embracing with love the young and beautiful cows. At that point I saw with my mental eyes, the Divine Feet of Siva, (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

Comments:

The most important phrase here is ‘kaLavu padaatatoor kaalam” and which means the times when Siva and Sakti are NOT in union, in sexual embrace i.e. kaLavu. Appar notes that it is possible for Siva to depart from Sakti and becoming the Mahayogi teach Njanam to the rishies who have overcome the sexual desires. Thus it is a possibility for all to be Maha Yogies and hence as ascetics totally uninterested with sexual bliss. This also goes for females who however practice Bakti, doing tapas and what not to re-unite with Siva.

Here he may saying something about Natam and Bindu - that Natam dominated individuals may isolate themselves and enjoy Njanam and find self-fulfillment in being thus while the Bindu dominated women may not be able to do so and hence to find saturation and completeness and hence pushed to seek very ardently union with Siva, the Natam.

In this verse and by describing the bulls coming embracing the cows, Appar shows that he is disappointed in his expectations. The Siva and Sakti are always together, no Sakti without Siva and no Siva without Sakti, an understanding of BEING that has become quite commonplace among the Saivites.

Psychoanalysis : Freud and Appar-1

Dr.K.Loganathan, Dec 2003

Dear Friends

However crude and simplistic this study may be, I nevertheless want to write about this to initiate new thinking about some hidden components of Hindu thinking particularly as available in Tamil literature and which, thanks to Brahmanism (perhaps mostly introduced by Western Indologists) has been bypassed marginalized thrown aside and so forth. I welcome criticisms or deconstructions of my views, as that will be the only way the TRUTH of the matter will surface to the fore and become part of our conscious apprehensions.

By Psychoanalysis, Analytical psychology Depth Psychology and so forth I understand a kind of Psychology where the notion of UNCONSCIOUS, however differently it is understood, plays a prominent role in the analysis of Human Behavior. Freud saw the Unconscious as something that comes to be because of suppression and repression and which are mainly related to instinctual and libidinal sexual urges. Jung subsumes this under Personal Unconscious and on the basis of the presence of the same archetypes across many individuals, cultures the past and present in the dreams and mythologies etc notes also a Collective Unconscious, a layer deeper than the Personal Unconscious of Freud. Now this is where both the similarities and differences between Saiva Psychology and these Western psychologies emerge. There is the notion of Unconscious is Saivism but understood as the MaRai poRuL, the concealed realities and which are related to the Tirobavam of BEING, an activity of BEING casting a screen so that some truths remain beyond the reach of understanding till the Pakkuvam, maturity is reached by the anmas. There is also the admission of the presence of Mummalam and which breed BLINDNESS and because of which people remain not seeing even though it is there right in front of their eyes.

Appar resembles Freud in taking up the analysis of sexual behavior of animals as well as the human beings in this remarkable Patikam, the TiruvaiyaaRu Patikam (4:3). We can see his thinking is along the SS and DS lines, in terms of Hermeneutic Science and in which from the features of the observable SS, he locates the DS that remains the Agentive Cause and declares that he UNDERSTANDS the roots of sexual behavior of creatures in accessing this Depth where he sees the Dance of Siva and Sakti and which can also be understood as the SivaliGkam. However we can see that for Appar the sexual behavior of all animals - elephants, birds, cattle, deer, monkey and so forth - are BLISSFUL, full of JOY and HAPPINESS and because of which they SING and DANCE. Unlike for Freud, the starting point of Psychoanalysis is NOT the diseased and abnormal mind with the suppressed and repressed causing hysteria and so forth. For Appar the bliss producing sexual behavior is the SS part of animal and human behavior and which remains INCOMPREHENSIBLE if it is just noted as such and left at that or worse still put them aside as revolting disgusting etc.The question he poses: Why there are males and females among these creatures and why when the males and females come together attracted sexually there is HAPPINESS and because of which they dance and sing?

With this question he SEES the Dance of Bliss of Siva and Sakti as the DS of it all and with that UNDERSTANDS such phenomena and thrills at it.

He also notes that vision of DS is KaNdaRiyaatana, that it is a vision that normally escapes the ordinary individuals. Thus in noting that the seeing DS of the sexual behavior is NOT possible for all and just like that and that it is a GIFT, blessing from BEING granted only for the deserving. In this way he brings in the notion of PAKKUVAM, a condition of Spiritual Maturity for the psychoanalyst - not everyone can be a true psychoanalyst even by training for it requires a spiritual maturity which is NOT a matter of learning training birth and so forth. The verse 6 touches on an aspect of this:

taNmatik kaNNiyinaait taiyal nalllaadum paadi

uNmeli cintaiyaraaki uNaraa urukaa varuveen

aNNal amartuRaikinRa AiyaaRu adaikinRa pootu

vaNNap pakanRil aadi vaiki varuvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kaNdeen

Meaning:

The key word here is “uNmeli cintaiyaraaki” and which means being with a melting heart ie. LOVE and Care unto all. What is important to access a vision the Depths that would destroy the MYSTERY surrounding the sexual behavior is NOT intellectual acumen, skills in verbal disputes, vast scholarship in scriptures and so forth but rather a CULTURED HEART, the refinement of FEELINGS and EMOTIONS so that there is LOVE and CARE for all. But this life of feelings is NOT divorced from that of THINKING for he mentions uNartal, understanding along melting the heart, urukal: uNaraa urukaa varuveen. The culturing of the heart, of desires, feelings and emotions cannot be accomplished without THINKING and both must go together. We must THINK deeply and metaphysically so that our FEELINGS are also cultivated so that we become uLam Meli Cintaiyar - people with thoughts that reflect LOVE and Care for all.

Does Western Psychoanalytic tradition emphasize this subjective reconstitution in the direction of Love and Care as a prerequisite for a person to be a psychoanalyst? I doubt very much. If they do then they will include religion or metaphysics as part of the training of the Psychoanalysts.

( to continue) 1

Psychoanalysis : Freud and Appar-2

Psychoanalysis as Hermeneutic Science

A few words on the methodological principles are in order here. I have already pointed out that the notion of Hermeneutic Science was already available to the Tamils at least from the days of Tolkaappiyam if not earlier and that the principles of Hermeneutic Logic, the EraNaviyal ( as it was called later) was the most rigorous expression of this rationally. This is available in this Patikam of Appar and only because of which he declares - KaNdu aRiyaatanak Kandeen: SAW what are normally difficult to see. Such seeing is what I have called Transductive Perception and which is a rendering into English of such notions as Yogak Kaadci, Vinjnjaanak Kaadci, Civanjnanak Kaadci, Njnanap Pariyaaka Kaadci and so forth in Indian texts. Now Appar has added his own depth into this and which has come to stay as a permanent feature of Saiva Thinking i.e. kaaNpaar aar kol KaNNuutal Kaaddaakaalee? - Who can see anything at all if not shown as such by the BEING of the Third-Eyed?

The fact is Hermeneutic Sciences develop along the lines of: Showing by BEING and Seeing by the anmas exactly as shown. The blindness intrinsic to anmas are violated and something is SHOWN (disclosed, revealed etc) and the anmas prepared and prompted to SEE and when the seeing is such that it sees exactly as shown and not otherwise, it is disclosed to the anmas by the feeling of TRUTH implanted by BEING at that point. Thus truth-experiences become the register of the anmas seeing exactly as shown by BEING and therefore being in agreement with BEING.

Now it appears to be that Freud did not have such a clear understanding of the principles of Hermeneutic Science within which only the human sciences can be developed. He postulated as part of meta-psychology such notions as Id, Ego and Superego and so forth more as theoretic constructs rather than as REAL structures lurking there in the Depths. In Hermeneutic Sciences there cannot be theoretic constructs but only REAL things either at the surface or the depths. Now even if we take these meta-psychological constructions something in the vein of DS elements and which is a possibility, then we can see that Freud is not wrong but rather quite primitive, not sufficiently matured enough. The most glaring omission is the ‘instinct’ towards Moksa as the deepest element of the psychodynamics, the overriding MEANING of existence, that towards attaining and enjoining which the psychodynamics is configured by BEING. Here there is also transmutation of sexuality (Id, Eros etc) into Pure Love, something that Freud never operates with at all.

Now Jung thinks in terms of psychic functions and he takes thinking, feeling, intuition and sensation as the four basic psychological functions. The psychological function is understood as a 'form of psychic activity that remains theoretically the same under varying circumstances and is completely independent of its momentary contents' . Consciousness through sense perception reveals the existence of the world but does not tell us what it is. Seeing what it is that is sensed, as an existent constitute for him an apperception process and is identified as the cognitive, arising from thinking as such. Associated with this apperception is what he calls a 'feeling-tone' that implies evaluation of some sort. An object is now seen positively as pleasant, desirable and beautiful or negatively as unpleasant, disgusting, ugly and so forth. In addition to these, he also recognizes another, the 'intuitive process' as distinct from the above.

Intuition is said to be a basic function of the psyche and consists in perceiving 'the possibilities inherent in a situation'. His theory of psychological types, considered a major contribution towards a better understanding of human personality, rests upon the four different psychic functions identified as above.

Thinking and Feeling are characterized as rational in the sense that they are judgments, evaluations and so forth with respect to certain norms. Thinking proceeds on the basis of logical consistency, correctness or incorrectness, true or false and so forth. Feeling proceeds on the basis of right and wrong, agreeable or disagreeable and so forth.

So much for the essence of the analytical psychology of Jung. Here again quite obviously there is the OMISSION of transductive perceptions, the Yogak Kaadci and which transmute the feelings and emotions by the INNER PURITY they bring about. The notion of seeing what lurks in the depths and thus destroying the reign of the Unconscious, the Mystery, the Hidden and Concealed etc is ABSENT in Jung (unless we subsume this under Jung’s ‘intuition” ). Absent here is also the notion of Moksa and which puts an end to all psychic functions as such.

Thus we can conclude that both Freud and Jung are naive in relation to the Methodological Principles of Psychoanalysis and even though Appar does not spell out explicitly in this verse, he states it quite clearly in many other places.

With this difference in the methodological principles cleared, let us now come to the most glaring omission in the HUMAN condition in relation to sexual behavior where again we see an important difference. This is available in the following verse:

muRpiRaik kaNNiyaanai moykuzaalaa Lodum paadi

paRRik kayiRu aRukkilleen paadiyum aadaa varuveen

aRRu aruL peRRu ninRaarodu aadi AiyaaRu adaikinRa pootu

naRRunaip peedaiyodu aadi naarai varuvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kaNdeen.

Meaning:

This is the only verse in this Patikam where Appar talks about human sexuality with all others describing animal sexuality. Here he does NOT speak the joys sexual life brings but the joys of those who have transcended sexuality and with that gaining the Grace of BEING live in a kind of happiness that is more satiating than the sexual. These are those individuals:”aRRu aruL peRRu NinRaar” and which he sees as his own possibility but something that he can see only as an ideal and NOT something he has achieved though he would like to. He still uses sexuality as a rope to climb up towards the higher reaches of Existence without severing it (paRRik kayiRu aRukkilleen) and classifies himself as one of the ordinary folks who can only appreciate the state of Purity but not as yet enjoy it as a reality.

Thus unlike in the case of animal sexuality, in the human there can be a battle, a serious struggle to FREE oneself from being pulled by the sexual instincts and emerge victorious and in that enjoy a state of purity and Being-with-BEING as the SAME.

We can see there can be suppression and repression and hence pushing down some experiences into the unconscious in the sense of Freud here. But why should there be such activities?

This is a moral struggle and it is there only because there is an intuition of Absolute Purity and as intimated by the presence of BEING and an intuitive grasp of the essence of BEING on the part of the anma. We can also see that there must be forces OPPOSING such a movement and against which the anmas have to struggle, wage a battle. Thus the moral struggle is there only because both BEING and AntiBEING are there in the interior of the anmas, each pulling them in their own direction. Thus it may not be because of nasty events in early childhood in course of suppression and repression of which insanity and abnormal behavior results but rather because of doing EVIL things under the dominance of the Killer Power, the Malam, the AntiBEING.

Insanity, the disintegration of normal human functioning and hence a person becoming abnormal may not be because of early childhood experiences being suppressed and repressed but because of EVIL actions that draw the anmas more and more into the hold of Malam, the Universal Killer Force, the Saitan.

(to continue) 2

Psychoanalysis : Freud and Appar-3

Temple and Existential Psychiatry

Before we pass over we have also to draw out the implications of the Psychoanalysis of Appar for Psychiatry where we take psychiatry as the APPLICATION of psychoanalytic UNDERSTANDING of the mind for solving mental diseases, restoring normality among the abnormal and so forth. Here we note a difference in focus between the Psychiatry of Appar and that of Freud. Appar is concerned with the so-called normal people with all the social and communication skills in tact, like himself for example. But metaphysically viewed even such people are diseased for they suffer what is called piRavip piNi, the disease of being born again and again into the world and hence continuously failing in Moksa. The average individual, even when normal by the average social norms, is DISEASED when looked at metaphysically and against the True Meaning of Existence i.e. attaining Moksa and escaping from the cycle of births and deaths. When the Pharaohs built enormous pyramids to preserve their body, there is this disease for instead of forgetting the bodily existence, it is cherished as eternal. Desiring endless progeny to perpetuate self and with that enjoy a kind of immortality is also part of this disease. When a vain man sets himself up as the Jagadacariya or Messiah for redeeming the whole of mankind, making people forget God, there is also this disease. In lesser cases whenever a person sets himself up as one who should be worshipped extolled submitted to without being questioned and so forth, we have this disease afflicting the soul and hence something very widespread indeed. Each one of us nurture as part of out aims this rising up above the average and become a god-like figure, loved admired and submitted to by all.

Let us call the psychiatry that cures this disease- the PiRavip PiNi- Existential Psychiatry, notion of psychiatry more inclusive than that of restoring a person to normality. Existential Psychiatry includes this (as dealt by the Siddhas) as well as the so-called normal people but who are BLIND to their great possibilities for GROWTH as a person and who can raise himself to a condition of being blessed with Moksa. Let us note immediately that not only this notion of “existence itself is a disease” is NOT available either in Freud or Jung, it is also NOT available at all as a fabric of Western Thinking as a whole (as far as I can see). Thus Existential Psychiatry as such is a discipline that is absent not only in the whole of Western Psychiatry but also the whole of Western culture. They are still IGNORANT of the notion of PiRavip PiNi, that this worldly existence they cherish so much and where growth is measured in terms of annual average monetary income of n individual and where social and political success is also measured in terms of the financial reserves hoarded up in the treasury, this disease is active even though as the Unconscious. There are major wars being fought, terrorism of all kinds where huge arsenal and weapons of advanced technologies are made useless, escapism in terms of drug addictions and so forth, pointing out the reality of this disease. The cure to all these is available in noting the possibility that all of us can become what Appar calls ‘aRRu aruL peRRu NinRaar”, or what is the same and as said in KuRaL, “PaRRuka paRRu aRRaan paRRu”, an ideal that would establish us in existential sanity whereby we will not be seeking become the Pharaoh Messiah Jagadguru and so forth but rather a humble adiyar who would worship BEING and seek His Grace and nothing else. In existential Psychiatry of Appar what we have is the transmutation of sexual desires, the primordial paRRu or bondage into Universal Love that sees no difference at all among all creatures, the attuviti anbu of Meykandar through destroying alienation (anniyam) from whatever.

Now since the average doctor or professor of Western Psychiatry is IGNORANT of his own diseased nature in this sense , it becomes clear that he is unfit to become the Existential Psychiatrist. The one supremely ignorant of his own condition and blind to the ideal possibility inherent to all and which is as above where sexuality is transmuted into Universal and non-alienating Love, cannot become one who can cure the PiRavip PiNi as such.

This raises the question as to who can in fact be the Existential Psychiatrist. The Hindus would immediately jump to the conclusion that the great Gurus are the only people who can be the authentic Existential Psychiatrists. And the Brahmins would almost unfailingly push Sankara as the Supreme Jagadacariya as they are never tired of doing. But noting that there can be corruptions even in this institution where most of the gurus are in fact subtly tyrannical where they want to rule the multitudes as if a Spiritual King, the God on Earth and in Flesh they cannot in fact be ones who can cure the PiRavip PiNi as they themselves are NOT free of it. Worst is Sankara as he is ignorant of the world and the sexuality that reigns supreme in the psychodynamics ofs the average man.

Thus we are to the notion that it is only a TEMPLE and the gods themselves who can be the existential psychiatrist and NOT any mortal man. The temples are the locality where the gods in the depths are somehow visibly present and hence the invisible are made somewhat VISIBLE in the Temple though the various representation of icons and where the RITUALS are such that such beings in the depths are made surface to the fore and be ACTIVELY PRESENT in the foreground of consciousness and hence serving as the eyes of the person. When the SEEING becomes ordained by the deities, it becomes possible to see or at least intuit one’s own IDEAL possibility and hence live an authentic life, a life in the direction of becoming that ideal, psychodynamics in the direction of Moksa.

This is the substance of the following verse of Appar.

pooz iLaG kaNNiyinaanaip puuntukiLoodum paadi

vaaziyam pooRriyenRu eeththi vadaamiddu aadaa varuveen

aazi valavan ninRu eettum AiyaaRu vawthakinRa pootu

koozi pedaiyoduG kuudik kuLirntu varavana kaNdeen

kaNdeen avar titupaatam kaNdaRiyaatana kandeen

Meaning:

I was coming singing the praise of Civa who as Candrasekaran wears the divided Moon with Uma of flower-silk attire, saying long Live! Praise be to you ! and so forth and dancing away moving in circles. Then as I neared the AiyaaRu where stands Vishnu with the Disc on His right hand and praising Siva, I saw on the way, the cockerels coming with the hen having cooled themselves in sexual union. At that point I saw with my mental eyes, the Divine Feet of Siva (where he creates the male and females of all species with agitating the Natam and Bindu). Thus I saw what are impossible to witness with the fleshy eyes alone.

In noting this we also understand why right from at least the Sumerian times the TEMPLE has played such a central role in Agamism or Tantrism. Tantrism is a culture of Existential Psychiatry and hence a scientifically constituted culture where there is recognition that all individuals are capable of Moksa and that it is BEING who can confer this and NO other. We can see that scriptures and gurus are only intermediaries but not absolutely authoritative for none of them can offer Moksa. The temple can in a way do this for in its architecture the idea of deepening and widening the VISIONS of the individuals is incorporated and by the time a person reaches the Sanctum Sanctorum (and always past the Pali Peedam, the sacrificial post), he is led to witness that which is not normally seen, so that he would sing like Appar here “ KaNdariyaatana KaNdeeN’: O I can see now what are normally not possible. Now we can understand why Appar declares:

6: 95-5.

tirukooyil illaata tirvil uurum

tiruveNNiiRu aNiyaata tirvil uurum

parkkoodu pattimaiyaaR paadaa vuurum

paaGkinoodu palataLikaL illaa vuurum

viruppoodu veNcaGkam uutaa vuurum

vitaanamum veNkodiyum illaa vuurum

aruppoodu malarpaRittiddu uNNaa uurum

avaiyelaam uurallaa adavi kaadee

Meaning:

The cities that do not have temples with well consecrated icons and hence without the divine Grace; cities that do not have people wearing the Sacred Ash indicating the desire to be Pure in heart and soul; the cities where there are people who are not humble and with genuine Love for BEING do not sing the hymns that melt the heart; the cities where in every street corner there are no simple shrines for people to worship the deities readily; the cities where there are no spiritual individuals who would counsel and with that relieve the confusions of people around; the cities where there are no festivals celebrated with banners and flags raised to create an atmosphere of mirth and joy; the cities where there people who do not worship the icons with fresh flowers before they eat anything at all - all these cities are NOT genuine cities but simply woods with thick wild growths

The temple, the abode of the Gods in the Sanctum Sanctorum of which resides a DS of BEING is in fact an institution of Existential Psychiatry and I believe that when the Western Psychiatry grows and develops it will also become Existential Psychiatry of Appar and so forth and hence the whole of Western culture a Temple Culture i.e. Tantric in essence.

Psychoanalysis : Freud and Appar-4

The Evolutionary Odyssey and its Grand Finish.

10. This is a patikam of amazing beauty with an inner coherence of its own and in which are disclosed so many meanings of immense existential significance. We should not fail to notice that every verse centers on a travel, a pilgrimage, that of traveling towards AiyaaRu and reaching it and only in the course of which the various observations on animal sexuality and the happiness they produce and because of which they dance and sing is observed. The AiyaaRu serves as the Final Destination and literally it means the Divine (Ai) River (aaRu) and which may be another name for the GaGka that flows on the tuft of Siva serving as the Tiirttam, the Pure Waters that cleanse the souls of their filth, the Malam and makes them absolutely PURE and with that FIT for being blessed with Moksa, the final redemption. This he is trying to reach and in fact reaches the AiyaaRu and enjoys with that the final Baptism OF Waters, a theme that runs across as a common ritual also in all the Semitic religions perhaps as an input from Sumerian times. This pervades the popular religious thinking of the Hindus as having dips in GaGka and Kaviri, as having a drink of the zam zam waters among the Muslims and so forth. But what kind of pilgrimage is the GENUINE pilgrimage and which is only hinted at by these rituals or symbolic behavior?

11. We get a clue as to this in the immensely meaningful verse below that comes towards the end (and naturally of course!) of the Patikam.

11.

vaLarmatik kaNNiyinaai vaarkuza laaLodum paadik

kaLavu padaatator kaalaG kaaNpaan kadaikaN niRkinReen

alavu padaatator anbodu AiyaaRu adaikinra pootu

iLamaNa naagu tazuvi eeRu varuvana kaNdeen

kaNdeen avar tiruppaatam kaNdaRiyaatana kaNdeen

Meaning:

He claims that he stands at the final stages of a journey, of his metaphysical odyssey, KadaikaN NiRkinReen. He has come to the END of the pilgrimage, the Yaattirai. But what kind of Yaattirai and what kind of Final Stage? It cannot simply be the travels around various kinds of temples, shrines, sacred rivers and hills for they are there always and one can always revisit them and continue the journey endlessly. So the Yaattirai that opens his eyes towards the Dance of Siva and Sakti at the DEPTHS of the normal and everyday sexual behavior of animals, can only be a subjective pilgrimage, of self-evolution, of evolution of the subjectivity where it reaches higher and higher pakkuvam, a kind of subjective MATURITY that allows the seeing of the Divinity behind animal sexuality that the prudish and the Vedanties will either look at with disdain or invent metaphysical systems where it is very conveniently forgotten.

11.

There is another way of looking at this Yaattirai and which may account for he describing that at this point of his subjective evolution there is ‘aLavu padaata anbu”, Boundless LOVE, a subjective condition of Wholly of Love and like BEING Wholly-For-Others and hence Egoless. The Yaattirai is in fact the Whole of Evolutionary Pilgrimage in which he has taken the shapes of various animal and animal-like human beings and now FREE of all of them by having evolved ABOVE them. For it is interesting that in the verse he describes only animal sexuality but not at all animal-like human sexuality and when he talks about human beings he talks of those great ones who have freed themselves of this sexuality: ARRu aruL peRRu NinRaar. Thus the observations on animal sexuality have double meanings. One is the naturalistic description of the animal sexual behavior given objectively like a naturalist. But other is the METAPHORICAL - these elephants bulls pigs birds and so forth are human beings who are animalistic in various ways. Some people behave as if elephants as if pigs as if bulls and so forth. These animal essences are there in the human beings as the karmic deposits of their earlier life forms and which are lodged in their unconscious mind, making them behave like such animals and so forth. Thus the Yaattirai Appar describes is the Evolutionary Odyssey where after enjoying various animal births and has come to human forms retaining the phylogenetic memories of earlier life forms as part of the Prabta Karma and now has evolved to a condition of being truly human, the PURE Human and which is FREE of any trace of animal sexuality. This view is reinforced for it is only this animalism-free human essence which can be one with aLavu Padaata Anbu, boundless LOVE for all including certainly even animals.

12. Now the question arises: has Appar reached the Grand Finish or not?

He visualizes this as Siva and Sakti ‘KaLavu padaatavoor Kaalam’ , a moment when they are NOT in union. This is his THINKING as to the ideal possibility but in which he is disappointed for with this mental expectations, he sees the bulls and cows coming together with sexual desires animating their behavior. His expectation is foiled; there is NO MOMENT where Siva and Sakti remain dissociated, union severed and live as separate entities. Men can THINK of such possibilities, isolate Sakti, as Amman and become the Saktas, isolate Siva as Brahman or Sunyata and remain idealists of a kind practicing a monastic way of live. Appar fails in such expectations and learns the TRUTH that both are always together, that BEING is a Siva-Sakti complex, an Androgynous reality always and who dances the Dance of Bliss TOGETHER.

This vision of the Dance of Bliss of Siva-Sakti is the TERMINAL vision and that which constitutes the enjoyment of Moksa itself and which is simultaneously a destruction of ALL false views such as that of the Saktas Vedanties and such other idealists.

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