Theiva Pulam Activation Method - A Summary

Summary of the talk by a student of Dr Sivakumar

Theiva Pulam Activation Method - Part 2

Talk by Dr Sivakumar, University Science Malaysia

Theiva Pulam Activation Method - Part 1

Talk by Dr Sivakumar, University Science Malaysia.

The Psychoanalysis of Appar - Part 5

The Geographical is Sacred.

We see here one of the fundamental insights that sustains Tamil Hinduism, is 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 the 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 beings disclose the presence of the fundamental processes of death and regeneration. 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.

5.

ஏடு மதிக் கண்ணியானை ஏந்திழையாளொடும் பாடிக்

காடொடு நாடு மலையுங் கைதொழுது ஆடா வருவேன்

ஆடல் அமைந்துறைகின்ற ஐயாறு அடைகின்ற போது

பேடை மயிலொடுங் கூடிப் பிணைந்து வருவன கண்டேன்

       கண்டேன் அவர் திருப்பாதம் கண்டறியாதன கண்டேன்

உரை:

இளைத்து மெல்லிதாகி நிற்கின்ற இளம்பிறையை சிரிசில் சூட்டி நிற்கும் சந்திரசேகரானாகிய சிவபெருமானை, அவனோடு சரிபாதியாக நிற்கும் அழகிய அணிகலன்களைப் பூண்டு வனப்பு மிகத் தோன்றும் உமாதேவியாரை இணைத்து அவர்கள் இணைந்து நடம் புரியும் விலங்குகள் வாழ் காடு  மக்கள் வாழ் நாடு  மரஞ்செடிகொடிகள் வாழ் மலையும் திவ்வியமான இடங்களே என்று அறிந்து கைதொழுது ஆனந்தக் களிப்பில் ஆடியவாறு, அவ்வாறான ஆடல் பாடல்கள் நிறைந்த சிவத்தலமாகிய ஐயாறு என்னும் திருப்பதியை அடைவேன். அதுபொழுது அங்கு ஆண் மயில் தன் பேடை மயிலோடு இணைபிரியாது அன்பின் பிணைந்து வருவன கண்டேன். அதுபொழுது ஊனக் கண்ணால் காண்டற்கு அரிதாகிய சிவபெருமான் நாதவிந்துக்களை பெண்னென ஆணென உயிரினங்கள் எழுமாறு அசைத்தாடும் ஆனந்தத் தாண்டவத்து திருப்பாதங்களை ஞானக்கண்ணிற் கண்டேன்; அதுவரையிலும் நான் கண்டறியாதிருந்த ஆழ் உண்மைகளைக் கண்டு மகிழ்ந்தேன்.

5.

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 worshiping 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 the most 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 that 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.

ULLAGANAR

( Editing and re-paragraphing by his student )

( photo of peacock taken from https://www.dreamstime.com/ with thanks ) 

Mantra, Yantra and Tantra in Agamic Science - A Summary

A summary of the above topic by a student of Dr Sivakumar

Mantra, Yantra and Tantra in Agamic Science - Part 3

Talk by Dr Sivakumar, University Science Malaysia

Mantra, Yantra and Tantra in Agamic Science - Part 2

Talk by Dr Sivakumar, University Science Malaysia

Mantra, Yantra and Tantra in Agamic Science - Part 1

Talk by Dr Sivakumar, University Science Malaysia

The Psychoanalysis of Appar - Part 3 and 4

The Depth Psychological Significance of Dance and Music

It is NOT an accident that in Tantric Hinduism (and Tamil 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 Bharata Natyam was forged in the Tamil 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 that 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.

3.

எரிப்பிறைக் கண்ணியினானை ஏந்திழையாளொடும் பாடி

முரித்த விலயங்களிட்டு முகமலர்ந்து ஆடா வருவேன்

அரித்தொழுகும் வெள்ளருவி ஐயாறு அடைகின்ற போது

வரிக்குயில் பேடையொடு ஆடி வைகி வருவன கண்டேன்       கண்டேன் அவர் திருப்பாதம் கண்டறியாதன கண்டேன்

உரை:

ஒளி மிக்க இளம்பிறையை கண்ணியாகச் சூடி சந்திரசேகரனாக விளங்கும் சிவபெருமானை, சிறந்த அணிகலன்கள் பூண்ட உமையம்மையோடு இணைத்துப் பாடி வருமபோது, ஞானதெளிவுகளைத் தரவல்ல தாள இலயங்கள் இட்டு மெய்மறந்து அதனால் வரும் அகச்சுவையின் முகமலர்ந்து ஆனந்தக் களிப்பில் ஆடிக்கொண்டும் வருவேன். அதுபொழுது செடிகொடிகளையெல்லாம் அரித்து வெள்ளருவி ஒழுகும் ஐயாறு எனும் சிவத் தலத்தை அடைகின்ற போது வழியில் வரிக்குயில் தன் பேடையொடு ஆனந்தமாக ஆடி இணைந்து வாழ்வதைக் கண்டேன். அதுபொழுது ஊனக் கண்ணால் காண்டற்கு அரிதாகிய சிவபெருமான் நாதவிந்துக்களை பெண்னென ஆணென உயிரினங்கள் எழுமாறு அசைத்தாடும் ஆனந்தத் தாண்டவத்து திருப்பாதங்களை ஞானக்கண்ணிற் கண்டேன்; அதுவரையிலும் நான் கண்டறியாதிருந்த ஆழ் உண்மைகளைக் கண்டு மகிழ்ந்தேன்.

3.

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.

4.

பிறையிளங் கண்ணியினானைப் பெய் வளையாளொடும் பாடித்

துறையிளம் பன்மலர் தூவித் தோளைக் குளிரத் தொழுவேன்

அறையிளம் பூங்குயிலாலும் ஐயாறு அடைகின்றபோது

சிறையிளம் பேடையொடு ஆடிச் சேவல் வருவன கண்டேன்       கண்டேன் அவர் திருப்பாதம் கண்டறியாதன கண்டேன்

உரை:

அழகிய இளம்பிறையை கண்ணியாகச் சூடி சந்திரசேகரனாக இளங்கும் சிவபெருமானை, வலையல்களை கை நிறைய அணிந்த உமையோடு இணைத்துப் பாடி வரும்போது, நீர் நிரைந்த பூந்தோட்டங்கள் தரும் மலர்களைக் கொய்து தூவி இறைவனது திருப் புயன்களை அவை வீரம் மிக்கதாய் இருப்பதைக் கண்டு கண்கள் குளிரத் தொழுவேன். அவ்வாறு செய்துகொண்டே கூவி மகிழும் குயில்கள் சூழ்ந்த ஐயாறு எனும் சிவத்தலம் அடைகின்ற போது, அங்கு சிறிய இளம் பேடைகளோடு இணைந்து ஆடி மகிழ்ந்தவாறு ஆண் பறவைகள் பல  வருவன கண்டேன். அதுபொழுது ஊனக் கண்ணால் காண்டற்கு அரிதாகிய சிவபெருமான் நாதவிந்துக்களை பெண்னென ஆணென உயிரினங்கள் எழுமாறு அசைத்தாடும் ஆனந்தத் தாண்டவத்து திருப்பாதங்களை ஞானக்கண்ணிற் கண்டேன்; அதுவரையிலும் நான் கண்டறியாதிருந்த ஆழ் உண்மைகளைக் கண்டு மகிழ்ந்தேன்.

4.

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 of 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 all 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.

ULLAGANAR

( Editing and re-paragraphing by his student )

Agamic Pulam ( Field ) - The Greatest Discovery Of The Tamils - A Summary

A summary by a student of Dr Sivakumar

Agamic Pulam ( Field ) - The Greatest Discovery Of The Tamils - Part 3

Talk by Dr Sivakumar, University Science Malaysia

Agamic Pulam ( Field ) - The Greatest Discovery Of The Tamils - Part 2

Talk by Dr Sivakumar, University Science Malaysia

Agamic Pulam ( Field ) - The Greatest Discovery Of The Tamils - Part 1

Talk by Dr Sivakumar, University Science Malaysia

Purana or Mythological Language - Part 3 A Summary

A summary by a student of Dr Sivakumar

Purana or Mythological Language - Part 2

Talk by Dr Sivakumar, University Science Malaysia

Purana or Mythological Language - Part 1

Talk by Dr Sivakumar, University Science Malaysia.

The Psychoanalysis of Appar - Part 2

The Rituals and Gaining Visions of the Metaphysical Eyes

Appar 4:3 TiruvaiyaaRu

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.

2.

போழ் இளங் கண்ணியினானைப் பூந்துகிலாளோடும் பாடி

வாழியம் போற்றியென்று ஏத்தி வட்டமிட்டு ஆடா வருவேன்

ஆழி வலவன் நின்று ஏத்தும் ஐயாறு வந்தடைகின்ற போது

கோழி பெடையொடுங் கூடிக் குளிர்ந்து வருவன கண்டேன்

கண்டேன் அவர் திருப்பாதம் கண்டறியாதன கண்டேன்

உரை:

பிளந்து குறைக்கப்பட்ட பிறை மதியினை கண்ணியாக சிரசில் அணிந்த சந்திரிசேகர சிவபெருமானை, அழகிய பூந்துகில் உடுத்தி எழில் நிறைந்தவளாகத் தோன்றும் உமை அம்மையோடு இணைத்துப் பாடி,  இவ்வாறே என்றும் வாழ்க வென்றும் உமது திருவுள்ளம் போற்றி என்று ஏத்திப் பாடுவதோடு  வட்டமிட்டு ஆடியும்  செல்வேன். தனது வலது கையில் சுதர்சன் எனும்  சக்கரத்தை ஏந்தியவாறு, தனக்கு அந்த சக்கரத்தை அருள் செய்த சிவபெருமானை நின்று ஏத்தும் ஐயாறு எனும் சிவத்தலத்தை வந்து அடைகின்ற போது வழியில்,  கோழி தத்தம் பெடையொடு கூடி காமவேட்கைக் குறைந்து குளிர்ந்து வருவன கண்டேன்.அதுபொழுது ஊனக் கண்ணால் காண்டற்கு அரிதாகிய சிவபெருமான் நாதவிந்துக்களை பெண்னென ஆணென உயிரினங்கள் எழுமாறு அசைத்தாடும் ஆனந்தத் தாண்டவத்து திருப்பாதங்களை ஞானக்கண்ணிற் கண்டேன்; அதுவரையிலும் நான் கண்டறியாதிருந்த ஆழ் உண்மைகளைக் கண்டு மகிழ்ந்தேன்.

2.

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 wellknown feature of sex. In fact the word for sex in Tamil - kaamam- is derived from Sumerian ki-aga i.e. Tamil kaaGkai: heat. The surge of sexual desires creates internal heat, the Kaama Agni, the Fire of Kaama and which is also the muula-agni, 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 METAPHYSICAL become available for seeing.

ULLAGANAR

( editing and re-paragraphing by his student )