Though bhakti has been in the consciousness of the Indian since Vedic times, it is only in the 3 century that we find a spontaneous outpouring of the emotions that fill a devotee's heart. The language used was Tamil and the opening chords were by the Vaishnava mystics, Poigai, Bhutam and Pey Azhwars.
A charming tale marks the actual beginnings of in a mystic experience the three devotees had in the temple town of Tirukovilur. One dark and rainy night, the three of them sought refuge from the foul weather in the tiny front-room of a house. It was very dark and they felt the presence of a fourth person who was pulling and pushing them. Poigai tried to see with the help of Nature and his own aspiration. He had a vision of the Lord and proceeded to adore the Supreme:
Bhutam felt that even the darkness around them was light enough. The divine is a luminosity within us as well, and so can be seized by the mind.
When the outer Nature and the mind within move in unison, spiritual illumination is gifted automatically for the aspirant. The Supreme stands revealed in this supernal light. It is all Ananda, when one envisions this Divya Mangala Vigraha! Peyazhwar narrated this vision immediately: One may confidently say that a major synthesis of yoga took place with this vision. The Mother was mentioned first (Tiruk-kanden, I have seen Lakshmi) and this is how the female aspect of the supreme came to have an unshakeable prominence in the Bhakti Movement.
However, it was the discovery of the Divine as a little child by Periazhwar that made the devotee very, very close to God. Of the twelve Azhwars (Poigai, Bhutam, Pey, Periazhwar, Aandal, Nammazhwar, Madhurakavi, Tirumangai, Tiruppanar, Tondaradippodi, Tirumazhisai and Kulasekara) Periazhwar began describing the childhood, boyhood and youth of Krishna in mellifluous Tamil verses.
Aandal was Periazhwar's foster daughter. Brought up by him, it was not surprising that she became a poetess full of Krishna bhakti. Her poems are an impassioned cry for becoming one with the Supreme. The famous Tiruppavai of Andal deals with a particular vrata called Pavai Nonbu which is said to bring one close to Krishna.
The 143 verses of Andal's Nachiyar Tirumozhi give us some very fine examples of bridal mysticism. Such is her total love for the Lord that she cannot even think of marrying any other, and has even a vision of her marriage with the Lord:
While it seemed utterly natural for a young girl like Aandal to speak in terms of a bride's anxiety, it would surely seem awkward for men to sing in such terms. But the Azhwars preferred to sing with a female voice, for this seemed the acme of god ward emotions. They imagined themselves as women and sang of the Beloved too. In particular, Tirumangai Azhwar and Nammazhwar have bestowed upon us lovely verses written in the Nayaka-Nayaki bhava. The genre is generally known as bridal mysticism.
The Bhakti Movement also sought to transform the social scenario of casteism, gender inequality and untouchability. The Azhwars hail from all castes. It has continued to do its best in these realms including the emancipation of women. Women in the Bhakti Movement like Meera and Jano Bai are well known.
A very high place is accorded to Tiruppanazhwar, a Dalit. To show the world the importance of the teacher in India's culture, Madhurakavi has been included among the Alwars. He was actually a disciple of Nammazhwar and considered his Guru more important to him than Krishna himself.
