Music has an enormous appeal. It transcends all barriers and reaches the soul. Atharva Veda mentions elaborately about the power of music. The seven notes of music are Shadja, Rishaba, Gandhara, Madhyama, Panchama, Dhaivata and Nishada which have been shortened as Sa Ri Ga Ma Pa Dha Ni, popularly known as Saptha Swaras. We hear these Saptha Swaras in nature; in the drop of rains, in the waves of the ocean, in the songs of the birds, in the buzz of the trees and in almost every face of the earth. It is said, since music has the appeal to hold the mind, it has the effect of Yoga or meditation.

Music is divine. It is the language of God. A prayer to Lord is expressed in music. Shiva, the cosmic dancer, has set the tone for the harmonious note of music. Brahma is known as the embodiment of Nadha (Music) Nadha Brahmam. Saraswati symbolizes the instrumental music. Naradha, the renowned sage, has established a fine tradition of Bhagawan Nama Sangeerthanam.

Music represent the entire gamut of human life. The most important concepts of music are Raga, Tala and Laya. Raaga, a vital aspect of classical music, gives every song a distinct stamp of identity or melody. Raaga represent different emotions, different seasons and different relations and create pleasant impressions in the heart and mind. Talas represent the time measure or rhythm. Every movement in the world, be it the fast forward movement of a train or a respiratory system of a human heart, is measured by a time limit.

Apart from Raga and Tala, there are other aspects like Sruthi which signifies the key or pitch of the music, laya which represents the harmony or rhythm and Bhava which represents the emotional involvement. Almost all prayers to God have been composed in a way that is set to render in music. In their search for ultimate truth, great sages have undergone extreme penance and sacrifice and they revealed their findings through Vedas and Upanishads. These scriptures were composed in musical rhythms. Ever since, music remained the medium of communication with God. Just as Mantras produce vibrations, the sound of music too produces vibrations and create a positive effect on the consciousness of the listener.

Almost all works of devotion hailed the glory of the Lord. They depicted the divine qualities of God. Those songs lauded the ‘sacred glory’ (Thiruppugazh) of the Lord. But no other works portrayed the glory of the Lord so eloquently, elegantly and elaborately as did Arunagirinathar and therefore only Arunagirinathar’s works have acquired the name, quite appropriately, as "Thiruppugazh". Perhaps, he almost succeeded in describing the glory of the God through his songs.

Many saints have composed songs in praise of Lord but songs composed by Arunagirinathar were unique for the chandam style in which they were composed. Chandam means composing the words in such a way or length of metre that they conform to the beats or rhythm (thala). It requires enormous capacity and skill to compose words harmoniously to thala, retain the poetic flavour and yet convey the message effectively. While composing, the poet has taken into account the various time-measure and composed every verses in concordance with Thala. No where, the words extend beyond the time measure necessitated by beats of rhythm and therefore Thiruppugazh has been rightly described as Thalamaligai. Thus, Arunagiri has set the tone for the sound of music and yet effectively conveyed the message. Critics hailed him as a genius of high order and as a Master Craftsman of Letter. Tamil Pundits have rightly honoured him as Chanda Pavala Peruman.

Many saints have composed songs in praise of Lord, but song composed by Arunagarinathar is unique for the vast area of human activity it covered, the wide range of human relations it touched, the devotional fervour it kindled, the poetic beauty it signaled, the philosophy of life it focused and the and the inherent divine power it carried.

While the Krits composed by classical singers contain the elements of Pallavi, Anu Pallavi and Charanam, Arunagirinathar’s composition usually contained 3 to 4 lines and the word ending with the last line always standing separately as Perumale or Thambirane. It is a distinct and novel style admirably employed by Arunagirinathar. While in classical songs, the first few lines (Pallavi) are repeated after every Anupallavi, in Thiruppugazh, the line which the author wished to highlight are repeated at the end. According to Tamil scholars, the poetic expression of Arunagiri, his language and style, the metaphors and similes he used, all went into making his works an outstanding literary masterpiece. "Villukku Vijayan, Vakkukku Arunagiri" so goes a Tamil saying. "If Arjuna is known for his archery power, Arunagiri is known for his vocabulary power".

Arunagirinathar was born in 15th century at Thiruvannamalai. Though he evinced interest in religious studies and scriptures, his mind went after sensory pleasures. However, overtaken by disease and dejection, Arunagiri decided to end his life and fell from the tower of Thiruvannamalai temple. But rather than falling to the ground, he found himself in the hands of a saviour. It was Arunagiri the Lord had choosen to be His Messenger. Blessing him with knowledge and vision, the Lord commanded him to sing His glory. Arunagirinathar received the saintly advice from the Lord and became one of the rare disciple who had the distinction of having Lord Muruga Himself as Master (Guru). Arunagiri’s songs have thus acquired a divine power and anyone rendering it with devotion is sure to attain fulfillment in life.

Aiming at God realization, many saints followed the path of knowledge (Gjnana). It was not an easy path but they pursued it vigorously. They sacrificed all basic necessities for the fulfillment of their aim. But the case of Arunagirinathar was different. He did not undergo any penance or meditation. He did not undergo any path of struggle. Yet, for some strange reasons, he qualified himself to the grace of the Lord. While other saints, having led a life of virtue, realized God at the end, Arunagirinathar, having led a life of carnal pleasure, realized God at the very beginning. Strange indeed are the ways of God. There was something in him, beyond all his weaknesses that made Lord to choose Arunagirinathar as His ideal disciple. Perhaps, it was the devotional bend of mind that remained dormant in Arunagirinathar’s heart. Perhaps, it was his genuine sense of guilt or his eagerness to atone for his sin. Perhaps, it was his inherent strength to rise up to the high task expected of him. Whatever that be, Arunagirinathar proved himself worthy of Lord’s finest Messenger. Arunagirinathar rose up to the occasion, came out of his world of illusion, lived up to the high demands of his new role and admirably fulfilled the divine task expected of him through the sweet medium of music.

From then on, he started his spiritual journey, visiting the six sacred abodes of Lord Muruga, the Pancha Bootha Sthalas, Vayalur, Sikkal, Kunrakudi, Vrali Malai, Kadhir Kamam etc. Arunagirinathar visited over 250 temples and composed Thiruppugazh from there. Impressed by the sanctity, the power and importance of the temple, Arunagirinathar composed songs on the Lord, bringing forth all the unique characteristics. Today, a description about a temple is never complete without the mention of Arunagirinathar’s visit there, a music consort is not complete without the rendering of a Thiruppugazh and a religious discourse is not complete without Arunagiri’s contribution to the cause of devotion.

Having experienced the presence of Muruga and having realized the God, Arunagirinathar extolled the various divine qualities of the Lord, His benevolence, His knowledge, His valour and courage, His exquisite beauty and brought all His magnificence into full focus through his sings of Thiruppugazh. In the song: "Thandayani Vendayum, Kinkini Sadhangayum" he likened the beautiful face of Muruga to that of an effulgent and exuberant moon. Never before, literature and devotion blended so harmoniously. Never before, there was a poet of distinction who showed the path of knowledge and devotion so brilliantly.

Apart from Thiruppugazh, Arunagirinathar weaved a beautiful garland of verses, Kandhar Alamgaram, to adore Muruga. Alamgaram vividly portrays the splendour of the Lord from His sacred head to His Lotus feet. It is believed that just as Thiruvachagam would please Lord Shiva, Kandhar Alamgaram would please Lord Muruga. Kandhar Anuboothi, containing 51 stanzas, is considered as the most outstanding works of Arunagirinathar. Here, Arunagirinathar explains his own experience of having realized the presence of Muruga and receiving the saintly advice (Upadesa). It is said, Anuboothi which means divine experience is the quintessence of all Arunagiri’s works. Arunagirinathar also composed hymns (Virutham) on Vel (lance), Mayil (peacock), Seval (rooster), Thiru Ezhu Kootrirukkai, Thiruvakuppu and Velaikkaran Vakuppu. All these songs are ideal for daily prayer and one who renders them with devotion is sure to overcome the hovering storm and sail through the ocean of life smoothly.

Arunachala Reddiar said the songs of Thiruppugazh are so powerful that they would reverberate all over the world. Many saints hailed the glory of Arunagirinathar in the form of Pillai Thamizh and Sannidhi Murai. There were saints like Pamban Swamigal, Vaidyanatha Desikar, Poet Veera Raghava Mudaliar, Poet Sahaya Devar, Chidambara Munivar, Kandappa Desikar, Krupananda Variyar, Sengalvaraya Pillai, Calcutta Thiruppugazh Mani Iyer, T.M. Krishnaswamy Iyer etc. who took the glory of Thiruppagazh to great height. Sri A.S. Raghavan, affectionately known as "Guruji" rendered every verse of Thiruppugazh a distinct Raaga and Thala. Having given the verses of Thiruppugazh the sweet sound of music, "Guruji" is leading a powerful Thiruppugazh movement across the country and abroad for over 3 decades now.

Arunagirinathar was graced and initiated to sainthood by Lord Muruga at the precincts of Thiruvannamalai and many years later, the same Tiruvannamalai witnessed another sage from Madurai being enlightened by the father-figure of Muruga, Lord Arunachaleswara.

Sri Venkataraman, born at Madurai, once dreamt about death and that left behind a trail of thoughts on his mind. He then started his spiritual journey - the journey in quest of truth – that ended at the gate of Arunachalenswara. The sight of Lord Arunachala transformed this aspirant and he became a realized soul.

Liberating himself from all attachments and affiliations, Sri Ramana engrossed himself in meditation and attained self realization at the foothill of Tiruvannamalai. Virupaksha cave, Kandasramam and then from Ramanasramam, Bhagawan radiated the light of knowledge to all. People from all walks of life and from all parts of the world came to Ramanasramam to seek his blessings, to seek directions in life and seek answers to various questions that bothered them. They wanted to know the eternal truth, where this life should be destined and how. Whichever way the questions were posed, Bhagawan Ramana Maharshi, who seldom spoke in detail, responded with one answer: "Find out who it is that wants to know". He said knowledge is to be sought not from the world outside but from within. All human problems arise out of eagerness to know everything else except the ‘self’. He is knowledgeable who realizes his real self. In fact, the real knowledge, according to Bhagawan, is not to know anything but to realize the spirit already existent within the person. "The self which shines without there being anything else to know or be known is knowledge". He who turns inward and analysis this self attains self realization.

Normally, conditioned by its influence, a person identifies himself with his body. He is unable to acknowledge the existence of a ‘self’ apart from his body. Finding his reflection in a mirror, he says: "This is my face". He says "This is my chest; this is my hand" and so on. Now he accepts the fact that there is a self to which these organs belong to. When he says "This is my pen" he does not mean that he has become the pen. He simply means that the pen belongs to him. Similarly, when he says "This is my body" he does not become the body. He should accept the fact that beyond the body, its subtle form, there exists an immortal spirit which is the ‘self’, the supreme consciousness. Unlike the body which is mortal and perishable, this ‘self’ is eternal, immortal and divine.

The mind creates an ego which projects itself as the real "I" and the person unknowingly identifies himself with this ego. He then believes that he is the actual doer. The self-enquiry (Athma Vichara) means turning attention on the ego and constantly enquiring "Who Am I"? Despite its seemingly overwhelming power, the ego has a weakness. It loses it strength when attention is focused on it and its nature investigated. Ego has no independent existence and gains strength only by attaching itself to external objects. Constant scrutiny exposes its weakness and ego gets eliminated. Once the ego is gone, it paves the way for the realization that one is not the body, mind or intellect. He is now transcended to a stage beyond the three Gunas, Satwa, Rajas and Tamas and to a state where there is no time or space. Having attained the state of supreme consciousness, the Jeevathma, he becomes one with Paramathma and realizes "Aham Brahmasmi" (I am Brahman).

There are various methods to attain self-realization like spiritual contemplation, introspection and meditation. According to Bhagawan silence prepares the seeker (sadhaka) to the process of self enquiry. The state of silence transcends the mind to the higher level of realization. Such a state is beyond the comprehension of mind. Only silence can describe such a state. According to Bhagawan, silence speaks volumes and silence is eternal eloquence. Silence which is the source and origin of all thoughts is more powerful than speech which is the expression or function of the mind. "From silence came the ego, from ego came thoughts and from thoughts came speeches. So, if speech is effective, silence which is the origin and source of all thoughts and speeches must be more powerful." True to his belief, Maharshi, who was also known as Mouna Swamigal, mostly remained in silence and communicated in silence. He did speak though, but concisely and to the point. Those who went to Maharshi to seek guidance and receive blessings experienced his grace in silence and they returned with a sense of fulfillment.

Sri Dhattuvarayar, an erudite scholar, composed the high profile Bharani songs about his Master, Swami Swaroopananda and called for an assembly of Pundits to launch his works. The Pundits who assembled at the venue expressed the view that Bharani songs are normally conferred on one who has power enough to subdue thousand elephants at a stretch or a towering personality who has achieved a feat to that level. They doubted whether Swami Swaroopananda did merit such an honour. "Well, let us all go to same sage and decide the issue" said Dhattuvarayar. Everyone assembled before the sage, Swaroopananda. The composer, Sri Dhattuvarayar then explained the circumstance that brought them before him and sought clarification to the point. Swami Swaroopananda did not utter any word and rather he went into a spell of silence. It was an intellectual assembly and almost everyone followed suit. No one ever made any move and total silence fell all over the place. Some even forgot why they came there for and hours turned into days. The total silence cast an aura of divinity in the air and each one felt as if he was endowed with a new and clear vision. It was clear that during the spell of silence, they all lost their individual identities. Gradually, a realization dawned that the sage who was capable of conquering the minds of many was in fact more powerful that one who could conquer elephants. As Swamiji gently broke the silence, they were all unanimous in their view that sage Swaroopananda was the ideal person to be glorified with Bharani songs. They paid obeisance to the sage and joined the launching ceremony of Dhattuvarayar’s works. Bhagawan Sri Ramana quoted this instance to a group of devotees while stressing the value of silence.

When Paul Brunton, the British Philosopher and writer sought an appointment with Maharshi, he never knew that the meeting could change the course of his life. As Maharshi looked intently at his eyes, Brunton felt total silence pervading all over and they conversed without any words, without any language or expression. Brunton himself explained the meeting of the two souls thus: "One by one, the questions I prepared dropped away and I knew that a steady river of quietness flowing near me and a great peace penetrating the inner reaches of me." Arthur Osborne, a devotee and founder of Mountain Path says: "Bhagawan was reclining on his couch and I was sitting in the front row before it. He sat up, facing me and his narrowed eyes pierced into me, penetrating, intimate and an intensity I cannot describe. And then, quietness, peace and lightness prevailed. …..The silent guidance was continuous, strong and subtle. It may seem strange to modern minds but the Guru taught in silence".

Silence means meditating without any mental activity. The significance of silence is mentioned in various scriptures. According to legend, the four sons of Brahma did penance to seek Shiva’s blessings and the Lord, appearing as Dakshinamurthy, imparted them the knowledge on truth through the medium of silence (Mouna vyakhya prakatita tatvam). The great silent sage, Sadasiva sanctified the atmosphere of India those days. The sky was his roof and earth his home. To see him was to know the Real. His songs were already popular among the learned. On his way to Pudukottai, in 1738, Sage Sadasiva met Thayumanavar. Their meeting was like the meeting of Vedhanta and Siddhanta. "Silence is Peace. Silence is Bliss, Silence is Knowledge" wrote the sage. Thayumanavar, already a lover of silence, said: "Mouna is that stage which spontaneously manifests after the annihilation of ego".

While Arunagirinathar wrote volumes on the power of God in sweet sound of music, the sage Ramana Maharshi, who was Bhagawan himself, communicated in few words that spoke volumes on the power of Self, the Athman. Arunagirinathar attained enlightenment from Tiruvannamalai and proceeded on a long pilgrimage from there. While Tiruvannamalai served as a starting point for Arunagirinathar, Tiruvannamalai served as the destination for Ramana Maharshi. It might appear that the musical path of Arunagirinathar and the silent path of Ramana Maharshi are different. In fact, both the paths lead to same goal of self-realization.

Having remained in a state of meditation called "Siva Yoga"; Arunagirinathar experienced himself being initiated into sainthood and received the Advice (Upadesa) direct from Lord Muruga. The gist of such advice, which Arunagirinathar shared with devotees in his immortal hymn "Kandhar Anuboothi", was: "Summa Iru" (Be quiet)

Kandhar Anuboothi, the quintessence of all Arunagirinathar’s works, roughly means ‘experiencing the presence of Skanda’. Arunagirinathar highlights the importance of silence.

Semman Magalai Thirudum Thirudan Pemman Murugan Piravan Iravan "Summa Iru" Sollara Enralume Amma Porul Onrum Arinthilane (Song12)

Here, Valli, the tribal girl, is being referred as Semman Magal. According to legend, she was aspiring to marry Muruga even from her previous birth. Muruga finds her and concealing his identity attempts to win her heart by various means. One night, Muruga sneaks into her house and physically takes her away without the knowledge of her foster father, Nambi Rajan. Arunagiri describes the act as a theft and calls the Lord ‘thief’. Having been addressed by his devotees by various names like Subramanya, Saravana Bhava, Velayudha, Kandha, Kadamba, Karthikeya, Karunakara, Kaliyuga Varadha, Muruga etc. the Lord would indeed find this epithet, ‘thief’ as strange. Arunagirinathar has taken liberty to scold his favourite Lord, that too by repeatedly stressing the word Thirudum Thirudan.

When Valli yearns to reach the Lord, it represents the aspiration of the Supreme Self to reach the Lord and the Lord readily comes down and immerses Himself in the aspiring soul. The concept of ‘Valli Sanmarga’ signifies the unity of the soul (Jeevathma) with that of eternal Power (Paramathma). Sri Arunagirinathar recalls the saintly advice given by Lord Muruga: "Remain in silence without any word being spoken". ("Summa Iru, Sol Ara"). Sri Arunagirinathar says he knows no other means to find God realization but the path of silence, solitude and stillness.

Here is another passage from Kandhar Anuboothi which reminds us of the teachings of Maharshi. Ana Amudhe, Ayil Vel Arase Gjnana karane, Navila Thakumo? "Yan" akiya ennai vizhungi verum thanai nilai ninrathu tharparame!

Oh Muruga, you are indeed a rare nectar; a precious nectar that one would ever keep aspiring. You are the King wielder of the powerful lance (Vel). You are the source of all knowledge. As my ego is removed, I am elevated to a higher state of realization and my ‘self’ loses its individual identity and becomes immersed in you.

Arunagirinathar admirably described the elegance of Muruga at Thiruchendur. He described in vast detail the magnificent qualities of the God. But gradually, he came to the view that the God is not to be sought anywhere but within. In his song "Iyal Isayil Uditha" he prays for finding God and realizing Him within. (Unai Enathul Ariyum Anbai Tharuvaye).

Bhagawan Sri Ramana Maharshi was well versed in Thiruppugazh songs. He always liked hearing Thiruppugazh songs and quoted the following passage from Kandhar Anuboothi to a group of persons who called on him in December 1935. "Uru Anru, Aru Anru, Ulathu Anru, Ilathu Anru Irul Anru, Oli Anru Ena Ninrathuve" (Song 13)

Here, rather than describing what God is, Arunagirinathar describes what He is not. The God has no form but He is not formless either. He is not visible to the eyes but he is not without physical features either. He is not present but he is also not absent. As he radiates light, He is not darkness but he is not Light either. In short, He is indescribable or indefinable.

It is believed that Lord Muruga revealed Himself as a Guru before Arunagirinathar, graced his disciple with Arul Gjnana (enlightenment) and advised him the mantra for God Realization, "Summa Iru, Sol Ara" (Kandhar Anuboothi Song No.12). Years later, Lord Muruga Himself reincarnated as Ramana Maharshi and composed Akshara Mana Mala to convey the same message from the same venue. "Sollathu Solli Nee Sol Ara Nillenru Summa Irundhai Arunachala"...(36) "Oh Arunachala, You remained still, not uttering any word, as if signaling a message, without openly saying so in words, the message of silence."

Note: This article is scheduled for publication in the souvenir to be brought out on the occasion of Golden Jubilee Celebrations of Thiruppugazh movement at Bangalore on 19th July 2008