The Tamil month of Maargazhi is popular for traditions made famous by two Tamil poets. Despite their religious connection, what can they tell us about Tamil culture?
While many are familiar with global traditions like Christmas and Hanukkah celebrated in December, Tamils around the world observe their own vibrant customs during the month of Maargazhi (mid-December to mid-January). This special time is marked by diverse traditions that highlight Tamil cultural heritage, blending religious devotion with secular celebrations.
The month of Maargazhi holds unique significance across Tamilakam (Tamil Nadu), Eelam, and Tamil diasporic communities. It is a period filled with virathams (fasts) and thiruvizhas (festivals). Many of these practices are rooted in Shaivam (devotion to Lord Shiva) and Vaishnavam (devotion to Lord Vishnu), two major religious aspects within Hinduism. These insights, however, transcend religious boundaries and offer a window into the shared cultural identity of Tamils.
At the heart of Maargazhi traditions are the works of two celebrated Tamil poets: Aandal’s Tiruppavai, dedicated to Kannan (Lord Vishnu), and Manickavasagar’s Thiruvempaavai, dedicated to Sivaperuman (Lord Shiva). These poetic contributions have not only shaped Tamil literature but also deeply influenced Tamil culture and identity. Though often celebrated in religious contexts, their writings reflect the broader historical, social, and cultural fabric of ancient Tamil society.
In fact, these Maargazhi virathams are also practiced in Southeast Asia, underscoring the historical Tamil influence and migration across the region.
Learning about these texts—while they are categorized as religious works—reveals the interplay of spirituality, values, art, and community in Tamil history. Let us explore the lives and poetry of Aandal and Manickavasagar to better understand Maargazhi celebrations and the valuable insights they offer into Tamil culture.
Maanickavasagar’s Story
Maanickavasagar was a poet and Prime Minister to a Pandya king in the 9th century. A native of Thiruvathavoor, he was well-educated and appointed as Prime Minister by King Arimarthanan of the Pandya dynasty.
While serving in this role, he was tasked by the king with purchasing horses. On his journey, he passed through Thiruperunthurai and was mesmerized by a siddhar (sage) meditating under a tree. This siddhar was said to be none other than Lord Shiva. After this encounter, Maanickavasagar became completely devoted to Shiva. He eventually left his position as Prime Minister to dedicate his life to Lord Shiva, primarily living in Thillai Chidambaram.
Maanickavasagar is famous for composing the Thiruvasagam and Thirukovai, which were later compiled into the 8th Thirumurai by Raja Raja Chozhan. It is believed that to preserve the Thiruvasagam, Lord Shiva appeared as a siddhar and transcribed the hymns as Maanickavasagar recited them. The transcription was later found in the main sanctum (moolastanam) of Nataraja, with the inscription: “Maanickavasagar solla Thiruchitrambalath udaiyan eluthikondathu” (Transcribed by the God at Chidambaram [Shiva] as recited by Maanickavasagar). When asked about the meaning of his text, Maanickavasagar pointed to Natarajar and is said to have merged with the deity thereafter.
Maanickavasagar described his Thiruvasagam as then (honey). One aspect of honey is that it is both sweet and does not spoil, and this metaphor reflects the enduring quality of the text. In fact, the Thiruvasagam was one of the few texts that the British attempted to translate during colonial rule, as they sought to use cultural texts to control the people. Within the Thiruvasagam, the Thiruvempaavai pathigam is a set of 20 hymns praising Shiva as an eternal flame across realms. (It is important to note that historically, "Sivan" was also a term used to mean Creator or Source.) Additionally, the pathigam is written from the perspective of women observing the paavai viratham for Shiva, much like Aandal did for Lord Vishnu. These themes of devotion and ritual are explored across the 20 hymns.
Manickavasagar’s Contributions: Philosophy, Landscapes, and Eternal Questions
Manickavasagar’s Thiruvasagam and Thirukovai offer profound philosophical reflections while celebrating the beauty of Tamil landscapes. His hymns vividly describe serene temple towns, vibrant markets, and mystical forests, bringing the geography of ancient Tamil lands to life.
His Thiruvasagam explores the complexities of human existence, touching on themes of morality, self-doubt, and surrender. At one point, he speaks of the fleeting nature of life; at another, he celebrates the eternal flame of Shiva [historically Shiva was a term used to describe source energy]. These dualities—between life and eternity, doubt and faith—mirror the existential questions that Tamils found in many works produced by Tamil Siddhars. [Siddhars are sages who have great skills in areas including but not limited to literature, medicine, mathematics, physics etc.
Excerpts from Maanickavasagar’s Thiruvempaavai
Song 1:
ஆதியும் அந்தமும் இல்லா அரும்பெருஞ்
சோதியை யாம்பாடக் கேட்டேயும் வாள்தடங்கண்
மாதே வளருதியோ வன்செவியோ நின்செவிதான்
மாதேவன்வார்கழல்கள் வாழ்த்தியவாழ்த்தொலிபோய்
விதிவாய்க் கேட்டலுமே விம்மிவிம்மி மெய்ம்மறந்து
போதார் அமளியின்மேல் நின்றும் புரண்டிங்ஙன்
ஏதேனும் ஆகாள் கிடந்தாள் என்னேஎன்னே
ஈதே எம்தோழி பரிசேலோ ரெம்பாவாய்.
We come to sing of the rare and great flame that has no beginning nor end.
O beautiful-eyed maiden, are you still sleeping? Are your ears hard of hearing?
The praises of anklet-adorned Mahadevan (Sivan) are being sung along the streets outside.
Those hearing it are overcome with bliss, forgetting themselves in it.
And you are here still sleeping [spiritually asleep], oblivious to it.
Come, wake up and join us in the celebration.
What is it that has kept you from awakening?
O friend, come and join us in this celebration, as we sing of the greatness of Mahadevan.
Song 5:
மாலறியா நான்முகனும் காணா மலையினை நாம்
போலறிவோம் என்றுள்ள பொக்கங்களே பேசும்
பாலூறு தேன்வாய்ப் படிறீ கடைதிறவாய்
ஞாலமே விண்ணே பிறவே அறிவறியான்
கோலமும் நம்மை ஆட்கொண்டருளிக் கோதாட்டும்
சீலமும் பாடிச் சிவனே சிவனேயென்று
ஓலம் இடினும் உணராய் உணராய்காண்
ஏலக்குழலி பரிசேலோர் எம்பாவாய்
You claim to understand the great mountain (Shiva) that Thirumaal (Vishnu) does not know, nor Naanmukan (Brahma) can comprehend.You say you know it, but it is beyond understanding by any being.O maiden with honeyed lips, open the door.Neither the world, nor the celestials, nor any being understands Him.Mesmerizing us with His form, He embraces us and removes our faults.Singing His beautiful nature, we simply call out "Sivane, Sivane."Yet you remain unmoved and unfeeling.O fragrant-haired friend, are you still sleeping while all this is happening?
Song 18:
அண்ணாமலையான் அடிக்கமலம் சென்றிறைஞ்சும்
விண்ணோர் முடியின் மணித்தொகை வீறற்றாற் போல்
கண்ணார் இரவி கதிர் வந்து கார் கரப்பத்
தண்ணார் ஒளி மழுங்கித் தாரகைகள் தாமகல
பெண்ணாகி ஆணாய் அலியாய் பிறங்கொளிசேர்
விண்ணாகி மண்ணாகி இத்தனையும் வேறாகி
கண்ணா ரமுதமாய் நின்றான் கழல்பாடி
பெண்ணே இப்பூம்புனல் பாய்ந்தாடலோர் எம்பாவாய்.
Like how the gems in the Devas' crowns lose their luster
when bowing at the feet of our Annaamalaiyar,
the darkness is dispelled by the sun’s rays, and the stars lose their cool shine.
Shining as both female and male, and as neither,
transcending space, ether, and earth, yet different from all of it,
He stands before us like divine nectar. Sing of the anklet-adorned feet.
O maiden, dive in and bathe in these waters.
From these three paadalkal from Thiruvempaavai, we see how Maanickavasagar beautifully portrays Sivan in Tamil. He presents Sivan as a cosmic force and energy beyond human comprehension. Moreover, Maanickavasagar describes Sivan as embodying both male and female qualities, as well as transcending traditional gender norms, illustrating how all genders are integral aspects of Sivan's essence. Additionally, Sivan’s form is often intertwined with that of Amman, further emphasizing the unity and reverence for both divine masculine and feminine representations. This duality of forms in their collective strength calls for deep respect and reverence from us.
Kothai Naachiyar’s (Aandal) Story
Andal (Kothai Naachiyar), the only female Alvar (devotees and poet-saints of Lord Vishnu) of the Vaishnavam tradition in Hinduism who lived in the 7th century. She was found and raised by Periyaazhvar (another of the 12 Aazhvars) in the village of Srivilliputhur.
As a child, Kothai grew fascinated by the stories of Lord Vishnu, especially those of Krishna, and decided that she would marry only him. The name "Andal," meaning "she who rules over the lord," was given to her after she offered garlands to Lord Vishnu, which he accepted.
To obtain Vishnu as her husband, Aandal conducted a 30 day viratham (fasting) in the month of Maargazhi called Paavai Nonbu where she composed a set of hymns called Thirupaavai.
Today, this Thirupaavai is recited in the month of Maargazhi every year in Tamil Vaishnava temples.
Aandal also composed the Naachiyar Thirumozhi consisting of hymns expressing her yearning for Lord Vishnu to come and marry her. Aandal’s work expresses a different type of bakthi in which there are many romantic influences in them. She is not simply wanting to be one with the lord but she sees no one else as her husband except him. Aandal is believed to have married and joined with the reclining form of Vishnu, Ranganaathar in Thiruvarangam on Panguni Utharam.
Aandal’s Contributions: Landscapes, Traditions, and Relationships
Aandal’s works, particularly the Thiruppavai, are a poetic guide to Tamil traditions and seasonal practices. The Paavai Nonbu, a 30-day ritual observed during the Tamil month of Maargazhi, is a recurring theme in her hymns. Through these verses, Aandal paints vivid pictures of Tamil landscapes—lush paddy fields, serene rivers, and morning dewdrops. These natural elements are not just backdrops but integral to the way Tamils connect with their environment. Her verses also highlight values such as discipline, and community when Aandal calls upon her friends to rise early, bathe in the river, and sing together.
Through her Nachiyar Thirumozhi, Aandal also explores deeply human emotions like longing, love, and hope. Her poetic expression of romantic devotion serves as a metaphor for the Tamil ideal of surrendering oneself to a higher purpose, showcasing the emotional depth of Tamil bakthi (devotional) poetry.
Excerpts from Aandal’s Thirupaavai
This first song may be more familiar when featured in a Tamil movie from 1999.
Song 1:
மார்கழித்திங்கள் மதிநிறைந்த நன்னாளால்,
நீராடப்போதுவீர், போதுமினோ, நேரிழையீர்!
சீர்மல்கும் ஆய்ப்பாடிச் செல்வ சிறுமீர்காள்!
கூர்வேல் கொடுந்தொழிலன் நந்தகோபன் குமரன்
ஏர் ஆர்ந்தகண்ணி யசோதை இளஞ்சிங்கம்
கார்மேனிச்செங்கண், கதிர்மதியம் போல் முகத்தான்
நாராயணனே நமக்கே பறை தருவான்
பாரோர் புகழப் படிந்தேலோரெம்பாவாய்
On the beginning of the Maargazhi month, the full moon shines on this auspicious day.
O decorated girls living in the prosperous Ayarpadi (Brindhavan), will you come out and bathe if you desire?
The son of Nandagopan, whose sharp spear is ever vigilant (against enemies),
The lion cub of the beautiful-eyed Yashoda,
With a dark body, red eyes, and a face like the sun and moon.
Narayana will give us a blessing,
For the earth to celebrate in our viratham (vow).
Song 4:
ஆழி மழைக்கண்ணா! ஒன்று நீ கைகரவேல்
ஆழியுள் புக்கு முகந்துகொடு ஆர்த்தேறி
ஊழி முதல்வன் உருவம்போல் மெய்கறுத்து
பாழியந் தோளுடைப் பற்பநா பன்கையில்
ஆழிபோல் மின்னி வலம்புரிபோல் நின்றதிர்ந்து
தாழாதே சார்ங்கம் உதைத்த சரமழைபோல்
வாழ உலகினில் பெய்திடாய் நாங்களும்
மார்கழி நீராட மகிழ்ந்தேலோர் எம்பாவாய்.
Kanna, lord of rains. Listen to us.
Dive into the ocean, rise up and form clouds as dark as the primordial being.
Let lightning strike and thunder roar like the chakram and conch shell on the broad shoulders of Padmanaban (Kannan).
Don’t hesitate like a rain of arrows from Sarangam (Vishnu’s bow).
For rain to shower upon us for prosperity,
We have come to happily bathe for our Maargazhi viratham (vow).
Song 27:
கூடாரை வெல்லும்சீர்க் கோவிந்தா! உன்தன்னைப்
பாடிப்பறை கொண்டு யாம்பெறு சம்மானம்
நாடு புகழும் பரிசினால் நன்றாக
சூடகமே தோள்வளையே தோடே செவிப்பூவே
பாடகமே என்றனைய பல்கலனும் யாமணிவோம்
ஆடை உடுப்போம் அதன்பின்னே பாற்சோறு
மூடநெய் பெய்து முழங்கை வழிவார
கூடி யிருந்து குளிர்ந்தேலோர் எம்பாவாய்.
Oh Govinda, who wins over His enemies.
We come to sing praises of you and receive your graces.
Grant us the wealth (not just material, but prosperity) that we need to live in this world.
With it, the country will flourish.
Give us your ornaments and new clothes.
Then, to complete our viratham (vow), we shall eat paatsorru (akkaravadisal) with you.
The themes of Aandal’s Thirupaavai focus on Lord Kannan (Krishna) in Ayarpadi (Brindavanam), where Aandal describes herself and her fellow maidens, known as the Gopiyars, performing a viratham (spiritual vow). Through these 30 songs, Aandal shares stories of Kannan's divine acts and asks for his grace to complete her vow. In the songs translated above, she praises Kannan’s greatness, his ability to bring prosperity, and his unifying presence in all forms. Aandal’s ultimate goal in this viratham is to be united with Kannan as his consort.
This reflects a key theme of Tamil culture—devotion, community, and the connection between the divine and the individual. Through Aandal’s Thirupaavai, we see how Tamil culture blends spiritual practice with deep emotional and communal expressions, presenting these elements in a context that introduces a sense of romance and devotion.
Practice of These Virathams in the Present Day
For Tamils practicing Vaishnavam and Shaivam, the Thiruppavai and Thiruvempaavai Virathams are observed in the early hours of the morning. Thiruppavai begins on the first day of Maargazhi Maatham (usually December 15 or 16) and ends on the last day, just before Thai Pongal. Thiruvempaavai, a 10-day viratham, starts 10 days before the moon coincides with the Thiruvathirai Nakshatram (Betelgeuse star system). Maargazhi Thiruvaathirai holds special significance for Lord Sivan, with many stories related to his cosmic dance at Chidambaram. These works have been preserved and are still practiced with great reverence in both religious institutions and homes, where devotees follow the rituals, recite the hymns, and participate in the prayers. You can participate in these practices by bathing early in the morning and attending your local kovil (temple) dedicated to either Sivan or Vishnu.
Global Influence of These Works
These sacred works are recited worldwide, especially among Tamils who have migrated from their native lands. Communities in Thailand also practice these virathams, maintaining similar traditions.
The Tamil diaspora in Thailand dates back to the reign of Rajendra Chozhan, and many communities participate in celebrations such as Thai Pongal, where Triyampavai (Thiruvempaavai) and Tripaavai (Thiruppavai) are recited during certain festivals.
The Triyampavai festival is observed for 10 days in the morning, just like the Thiruvempaavai viratham. On the other hand, the Tripaavai festival is held for a shorter period in the evening, rather than the 30 days observed during Thiruppavai nonbu. The festivities traditionally ended with a swing festival (oonjal vizha), though this practice has been discontinued for safety reasons.
Conclusion
Tamil heritage and history span thousands of years. Over this vast period, regional and community-based practices and traditions have evolved, but much of the core knowledge about Tamil history and way of life has been lost. To truly reconstruct what has been erased, manipulated, or neglected, it is valuable to open ourselves to the preserved Tamil works within society. We encourage you to explore the writings of poets like Aandal and Manikavasagar to uncover hidden details about the historical Tamil way of life.
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