The azhwars represent many subtle facets of devotion and their hymns are excellent indicators to even the uninitiated to turn to God and seek salvation. Among them, Tiruppanazhwar represents the pinnacle of bhakti, pointed out Mukkur Sri Srinivasan in a discourse. He is believed to be an amsa of the Lord’s Srivatsa mark and also an ‘Ayonija,’ that is, one who is not born of human parents. He is brought up by a family of singing minstrels known as the Panars who used to live on the southern banks of the River Kaveri. His only passion is for Lord Ranganatha though he has not entered the temple and his devotion would overflow as soulful songs in praise of the Lord.
Once when he is thus engrossed in mystic trance, the temple priest, one Loka Saranga, comes to the river to collect water in a pitcher for the Lord’s abhisheka. Finding the Panar in the way, he expects him to move; but the Panar is totally unaware of what is happening being lost in God experience. So the priest throws a piece of stone that hits him on his forehead. Immediately, the Panar is apologetic, and chiding himself for his thoughtlessness, moves away. But the priest is in for a surprise when the Lord makes him realise the mistake of hurting a true devotee. The Lord commands him to carry the Panar on his shoulders and bring him to the temple the next day. He does so and when the Panar is in the presence of the Lord he breaks into a series of hymns in praise of the Lord from His feet to His crown.
The import of these hymns contains the essence of all what the Vedas and the Upanishads convey through so many words, rhetoric, stories, anecdotes, etc. It reinforces the Lord’s compassion and grace that sustains an unbreakable bond between Him and His devotees.
