1. The title 'ThirumurugAtruppadai' [திருமுருகாற்றுப்படை] consists of three words, namely, thiru [திரு], murugu [முருகு], and Aatruppadai [ஆற்றுப்படை].

2. The Tamil word 'thiru' [திரு], [often regarded as equivalent to the Sanskrit term 'Sri' - ஸ்ரீ], is an honorific term, which has several meanings [such as 'auspiciousness', 'sacredness', 'divine quality', 'beauty', 'wealth', 'distinction', 'eminence' etc.], and the word is traditionally prefixed to the names of divine manifestations [e.g. Thirumurugan திருமுருகன்], their sacred abodes [e.g. Thirupparangkundram], human beings and saints [e.g. ThirunAvukkarasar திருநாவுக்கரசர்] as well as great literary and religious texts or treatises [e.g. ThirukkuRaL, ThiruvAsagam, Thiruppugazh].

3. The term 'murugu' [முருகு], meaning 'beauty', 'youthfulness', 'divine-quality', 'fragrance', etc. [கி. வா. ஜகந்நாதன் 1998:86], is the root-word for the Tamil appellation of the divine manifestation known as Murugan ['the eternally Beautiful and Youthful One'], adored and worshipped as the Supreme Being by the Tamil people.

4. The term 'Aatruppadai' refers to a particular genre of classical Tamil literature [of the Sangam-era, circa B.C. 200 - A.D. 300], namely a long poem, in which its author, a learned poet, assuming the role of a professional bard or minstrel [பாணர்] or dancer [கூத்தர், விறலி], describes the way, or the principal route(s) by which a professional bard or dancer may proceed to meet with a wealthy patron of arts for material gifts.

5. Of the five poems of the Aatruppadai-genre in the anthology of PaththuppAttu ['Ten-Lays, or Songs'] belonging to the Sangam-era, the ThirumurugAtruppadai is a unique and a different kind of poem from the others in that its learned author Nakkeerar guides the devotees of Lord Murugan to the Lord's various sacred abodes for the spiritual benefit of the devotees. In other words, it is to the divine presence of Lord Murugan that the devotees are directed, so that they may attain the God's gracious blessings, whereas in the other Aatruppadai-poems it is the professional bards and dancers who are directed to the wealthy patrons for material gifts [சுப்பிரமணியன் 2002:13].

6. While there is not much devotional fervor in almost all the other poems of the early period of the Sangam-era, the ThirumurugAtruppadai is, indeed, an exceptional poem to the general rule, and perhaps it is for this reason that the redactor of the anthology of the PaththuppAttu deemed it most appropriate to include the poem as the first-and-the-'invocatory'-lay [கடவுள் வாழ்த்துப் பாடல்] of the entire anthology. It is also noteworthy that, because the same poem is held in very high esteem by the devotees of God Murugan as the most ancient and fundamental text of Saivite devotional literature, it is recognized and revered by them as belonging to the Eleventh ThirumuRai of the Twelve Saivite canonical texts. The ThirumurugAtruppadai is, indeed, the first truly religious poem in Tamil dedicated to Lord Murugan, adored and worshipped by the Tamils as the God par excellence since time immemorial [Zvelebil 1973:130].

7. As regards the date of the ThirumurugAtruppadai, though it is included as the first of the PaththuppAttu-collection of the Sangam-era, nevertheless it is also believed that the poem belongs to a later period of that era, and there are some scholars who, on the basis of the subject-matter and rather late Tamil-forms/innovations found in the poem, assign it to the period between A.D. 550-600 [Zvelebil 1973:130].

8. The illustrious author of the poem is a great learned poet [புலவர்] named Nakkeerar [நக்கீரர்]; he is identified as the son of a learned teacher [kaNakkAyanAr கணக்காயனார்] of Madhurai [சுப்பிரமணியன் 2002:13]. However, since several individual lyrics of the early period of the Sangam-era would also seem to have been composed by learned poets bearing the revered name of Nakkeerar, the author of the ThirumurugAtruppadai would seem to have been younger to the earlier Nakkeerars [Zvelebil 1973:125]. Nevertheless, it is also believed that the author of the poem ThirumurugAtruppadai and the author of the poem entitled NedunalvAdai [நெடுநல்வாடை], which is also included as one of the PaththuppAttu-anthology, are one and the same poet.

9. The classical Tamil poem ThirumurugAtruppadai, consisting of 317 lines of 'akaval' metrical verse, describes the various events occurring at God Murugan's sacred abodes, namely, (1) Thirupparangkundram, (2) ThiruchcheeralaivAi [ThiruchchendhUr], (3) ThiruAvinankudi [Pazhani], (4) ThiruvEragam [SwAmimalai], (5) other sanctuaries on hills [collectively designated as kunRuthOrAdal], and (6) PazhamudhirchOlai in the Tamil country of South India. This is in keeping with the traditional Tamil belief that there is an intimate connection between God's divine manifestation and a particular place of worship where the God abides for the benefit of devotees.

10. In the first section on Thirupparangkundram, Lord Murugan is praised as one who is shedding righteous splendor of scarlet effulgence over the whole world like the sun, as one who is endowed with natural beauty and sturdy feet that protect the Lord's devotees, as one who annihilates the evil enemies with thunderbolt-like arms, and as one who is the divine consort of TheivayAnai of flawless chastity and bright forehead. The Lord's sacred chest is adorned with the garland, strung with scarlet flowers of kadambu-tree.

11. There is reference to nymph-like-damsels who live on the high hills;

they are endowed with natural beauty;
their rosy feet are adorned with tinkling bells;
their hair is elaborately adorned with flowers and gold ornaments;
they praise the Lord's flag of rooster by wishing the rooster all victory in the battle against evil forces;
their songs and dances reverberate all over the hills, which are so high that the tall trees there have never been climbed by monkeys, nor the bees ever hum over the flowers blooming at such great heights.

12. Lord Murugan is adorned with the fiery-red-kandha-blossoms and is armed with long-fiery-lance-with-leaf-shaped-head of unfathomable fame, and hence the eternally youthful Lord is known as SevvEl SEy [செவ்வேல் சேய் = 'the Youthful Lord with the red-lance']. When the demon SUrapanman assumed a huge form as a human being with the face of a horse, Lord Murugan assumed six different forms and subdued the demon by wielding the fiery-red-lance to split the illusory mango-tree, wherein the demon had hidden, and killed him. The victory is celebrated by the devil-woman [பேய் மகள்] performing the thuNangkai-dance [துணங்கைக் கூத்து] on the battle-field.

13. Some readers might find the description of the thuNangkai-dance [lines 47-56] as somewhat 'gruesome and grotesque' [Zvelebil 1973:126], or 'intensely revolting' [Chelliah 1962:336]. However, the 'gory' aspect of the description [in the opinion of the present writer] is only meant to serve as a stern warning to the evil forces such as SUrapanman, who are inclined to commit evil deeds against good people; that is to say, in addition to being annihilated by Lord Murugan's fiery-lance, [as an aftermath of the gruesome battle] a gory sacrificial ritual of the battle-field [கள வேள்வி] will be held by the goblins and devils, who would go to the extent of digging out the eyeballs from the socket of the vanquished demons' eyes of evil! [Such scenes are described in certain other Tamil poems such as the poem entitled KalingkaththupparaNi (கலிங்கத்துப் பரணி) [Zvelebil 1973:127], and also a glimpse of such scenes may be seen in some of the songs of the Thiruppugazh [e.g. in the song beginning with ' முத்தைத்தரு ... ' (song 6):

... கொத்துப்பறை கொட்டக் களமிசை ...
குத்திப்புதை புக்குப்பிடி என
கொட்பு உற்று எழ நட்பு அற்ற அவுணரை
வெட்டிப் பலி இட்டு ...

and in the song beginning with ' கட்டழகு விட்டு ... ' (song 38):

... அவுணர் முடிசாயத்
தட்டு அழிய வெட்டிக் கவந்தம் பெருங்கழுகு
நிர்த்தமிட ரத்தக்குளம் கண்டு ...'].

14. In the lines 61-66 of the section on Thirupparangkundram is found the most important aspect of the spiritual guidance to a devotee of Lord Murugan, namely, that the attainment of 'mukthi' [முக்தி] or salvation, which is the fundamental goal of one's existence in this world, is to be attained at the sacred feet of Lord Murugan through true love [பக்தி] for the Lord by carrying out good deeds for the benefit of all beings without any trace of egoism:[ திருமுருகாற்றுப்படை  , 61-66]

"சேவடி படரும் செம்மல் உள்ளமொடு
நலம்புரி கொள்கைப் புலம்பிரிந்து உறையும்
செலவுநீ நயந்தனை ஆயின், பல உடன்
நன்னர் நெஞ்சத்து இன்னசை வாய்ப்ப
இன்னே பெறுதி நீமுன்னிய வினையே ... "

["If you have the wholehearted intention of attaining mukthi ['salvation'] at the sacred-scarlet-feet of Lord Murugan by carrying out good deeds for the benefit of all other beings and wish to proceed from one sacred abode to the other [where Lord Murugan abides], you may achieve your intention right now as you wish!"]

15. As a direct sequel to the guidance provided [in the lines 61-66 of the poem] the attention of the devotees is directed to the actual site of Thirupparangkundram, located north of the great unassailable city of KUdal [Mathurai], where the Goddess of Wealth reigns supreme in the trading centre of the city. This directive is followed by a graphic account of the natures' bounty in the form of fertile paddy fields, where bees are humming over lotus blossoms as well the pretty flowers found in the reservoir of the great hill. Lord Murugan's sanctuary is situated at the summit of the sacred hill.

16. The second section on ThiruchcheeralaivAi [also known as ThiruchchendhUr] refers to Lord Murugan riding a mighty elephant. The Lord's hair on the crowned head is arranged in the form of five kinds of crowning glory, while the gold ear-rings of the Lord shine with great splendour as that of the asterisms around the moon. There is also reference to the important functions of the Lord's six sacred faces and twelve arms for the benefit of all beings [lines 91-117]:

[The Lord's six sacred faces individually dispels darkness and ignorance by the sparking splendour of light, confers gracious favours on devotees, protects sacrificial rituals, expounds real truths to sages, annihilates evil forces, and rejoices with VaLLi-ammai. The Lord's twelve sacred arms individually protects the sages on their way to the abode of mukthi ['salavation'], rests on the Lord's waist, plies the goad on the elephant, rests on the Lord's lap, wields a huge shield, hurls the lance at the evil forces, expounds real truths to the sages, rests on the Lord's sacred chest, orders the beginning of the sacrificial ritual on the battlefield, causes the bell to produce a twin-sound, makes abundant rain pour down from the sky, and adorns the heavenly maiden with the wedding-garland].

17. The third section on ThiruAvinankudi [also known as Pazhani] refers to the arrival there of great sages, who are more learned than the learned persons; nevertheless, they are free of lust and anger. There are also celestial minstrels there, who are singing in praise of the Lord to the accompaniment of lute [யாழ்]. Other devotees entering the precincts of the Lord's sanctuary [at Pazhani] to pay their homage include ThirumAl, SivaperumAn, Indhiran, and a host of divine beings who are there to plead for the Lord's compassion towards Biraman [BrahmA]. Lord Murugan abides at the sanctuary in Pazhani with the Lord's divine consort TheivayAnai.

18. The fourth section on ThiruvEragam [also known as SwAmimalai] refers to the presence there of a large number of andhaNar, well-versed in reciting and teaching Vedic scriptures and in performing Vedic rituals. They are referred to as irupiRappALar - இரு பிறப்பாளர் ['twice-born']; they are wearing pUNUl [பூணூல், a sacred string consisting of nine individual threads strung into three strands] signifying their attainment of spiritual maturity through learning. They pay homage to Lord Murugan by pronouncing the six-letter-sacred-term-of-address, 'namO kumarAya' while raising their joined-palms of their hands over the top of their heads.

19. The fifth section on KunRuthOrAdal refers to the kuravai-dance performed by the people of the hills to the accompaniment of the beating of the thoNdagam-drum. The religious leader at the festivities celebrated there in honour of Lord Murugan is known as VElan [வேலன்] for he holds the vEl [lance] in his hand. VElan is of red complexion, and his garment is also of red colour. His feet are adorned with heroic anklets; his head is adorned with vetchi-blossoms of red colour. He plays the flute and horn; and he has the ram and the peacock. Thus, VElan assumes the role of Lord Murugan at such festivities held in honour of the Lord.

20. The sixth section on PazhamudhirchOlai includes a lively account of the religious festivities celebrated in honour of Lord Murugan by the people living in every village of the hill-region. Lord Murugan abides in the hearts of sincere devotees whenever they think of the Lord with true love. Worship is offered to the Lord in such places as forest, groves, islets between the rivers, on the banks of rivers and pools, at the [square] junction of four-streets as well as the [triangular] junction of three-streets, under the kadambu-tree and at sacred centres, where a stone-pillar known as 'kandhu' has been erected as the representative emblem of Lord Murugan. The flag of rooster is raised at the beginning of the festivities. Ghee, mixed with tiny-white-mustard-seeds, is smeared at the entrance of places of worship. The millet-grain of the hills is one of the essential things used in worship. Sacred names of Lord Murugan are softly recited by devotees while they clasp the palms of their hands in prayer. The kuravar-womenfolk are dressed in two garments of contrasting colours. A red string [of protection] is tied around the worshipper's wrist. Flowers with fertilizing ingredients [e.g. pollens], mixed with turmeric-paste, and white parched rice are ceremonially sprinkled by the devotees. White rice, mixed with ram's blood, is laid down as a sacrificial offering. Water, mixed with turmeric-powder and fragrant things, is also strewed. Fragrant-smoke-of-incense is waved. The kuRinjippaN [melody of the hill-region] is sung. Small drums such as thudi and thoNdagam, which are Lord Murugan's favourite drums, are played by womenfolk. Songs in praise of Lord Murugan are sung to the accompaniment of blowing of horn and ringing of bell. The peacock-bird is praised. The devotees are confident that Lord Murugan will graciously grant them whatever that is asked of the Lord.

21. The same section enjoins on Lord Murugan's devotee that, wherever the devotee has the sacred vision of the Lord, the devotee must, with smiling face, praise and worship the Lord by prostrating oneself at the Lord's sacred feet ["கைதொழூஉப் பரவி கால் உற வணங்கி"]. The devotee's words in praise of the Lord may include:

"ஆல்கெழு கடவுள் புதல்வ! மால்வரை மலைமகள் மகனே!"

["The Lord, who is the divine son of God SivaperumAn and Goddess PArvathi!"]

"அறுவர் பயந்த ஆறுஅமர் செல்வ!"

["The Lord, who is AaRumugan, born of the six sparks of Lord SivaperumAn's fiery-third-eye, and fostered by the six maidens of the KArththigai asterism!"]

"மாற்றோர் கூற்றே!"

["The Lord, who is like the death-wielding-yaman to the enemies!"]

"வெற்றிவெல் போர்க் கொற்றவை சிறுவ!"

["The Lord, who is the son of the Goddess Kotravai [Victory in battle]!"]

"மாலை மார்ப!"

["The Lord, whose chest is adorned with garland [of flowers of kadambu-tree]!"]

"நூலறி புலவ!"

["The Lord, who is the learned poet, well-versed in all fields of learning!"]

"போர்மிகு பொருந!"

["The Lord, who is the victorious hero in the battles against evil!"]

"அந்தணர் வெறுக்கை!"

["The Lord, who is the source of wealth to the righteous andhaNar!"]

"மங்கையர் கணவ!"

["The Lord, who is the divine consort of TheivayAnai-ammai and VaLLi- ammai!"]

"வேல்கெழு தடக்கைச் சால்பெருஞ் செல்வ!"

["The great Lord, who has the vEl [lance] in the broad hand!"]

"சூர் மறுங்கறுத்த மொய்ம்பின் மதவலி!"

["The Lord, who is the mighty one who killed the demon SUrapanman!"]

"பலர் புகழ் நன்மொழிப் புலவர் ஏறே!"

["The Lord, who is the Chief of all the learned poets!"]

"அரும்பெறல் மரபின் பெரும்பெயர் முருக!"

["The Lord, who is known by the great name of Murugan [One who is eternally youthful and beautiful]!"]

"பொலம்பூண் சேஎய்!"

["The Lord, who is adorned with gold ornaments and is of red-complexion!"]

"பரிசிலர்த் தாங்கும் நெடுவேள்!"

["The Lord, who is the most gracious patron who grants all that is asked by the devotees!"]

22. A devotee makes known to the Lord the purpose of the visit:

['O' Lord, it is not easy for ordinary human beings to know the Lord; I remembered your sacred feet and I have come here to have your sacred vision, and there is no one else in this world to be compared with you.']

The learned poet guiding the devotee says that the Lord's servants will inform the Lord that 'an old devotee has come to the Lord's sacred presence, and the Lord will be gracious enough to be kind to the devotee, for he has come here after having heard of the Lord's fame.'

23. Lord Murugan will at first manifest the gigantic divine form reaching up to the sky; however, since the devotee shall not be frightened, the Lord will assume the beautiful and youthful form of divine fragrance and will assure the devotee lovingly:

"'அஞ்சல் ஓம்புமதி அறிவல் நின்வரவு என'

["Do not fear; We will protect you; We know of your arrival!"]

24. The learned poet guiding the devotee assures the devotee that the Lord will say more such kind words and will graciously grant the devotee a rare gift, so that he may live in a unique manner in this world which is encircled by the dark waters of the sea:

"அன்புடை நல்மொழி அளைஇ, விளிவுஇன்று
இருள்நிறமுந்நீர் வளைஇய உலகத்து
ஒருநீ ஆகித் தோன்ற, விழுமிய
பெறல் அரும் பரிசில் நல்குமதி ..." [292-295]

25. The sixth section on PazhamudhirchOlai concludes with a vibrant description of a waterfall rushing down with torrential force from the top of a hill; though it appears to be a mere single or multifarious [flag-like] pieces of fine [white] cloth [துகில்] when seen from a distance, the descending waterfall brings with it many things such as the uprooted agil-and-sandal-wood-trees, branches of bamboo with flowers, mutilated honey-combs, pulp of jack-fruits, flowers of punnai-tree, as well as pearly-white-elephant-tusks, gold-dust, gem-stones, banana-trees, clusters of young coconuts, and black-pepper-plants. In a frightened reaction to the thundering-down of the waterfall, monkeys and elephants are shivering, while the boars and bears seek shelter in caves, and the peacock and the peahens are flying away in fear. Lord Murugan, the King of KuRinji-realm, is abiding at PazhamudhirchOlai ['Grove of Ripe Fruits'].

26. There is no doubt that we are also awe-struck with the description of the thundering down of the waterfall just like the animals and birds in the passage mentioned above. At the same time, we must not overlook the learned-poet's intention behind the artistic description, namely, that he wants the devotee listening to his poem, or reading it, to appreciate the fact that Lord Murugan's KuRinji-realm is graciously endowed with very rich resources of wealth, such as the agil-wood, sandal-wood, bamboo-trees, punnai-trees, honey-combs, jack-fruits, pearly-white-elephant-tusks, gold-dust, gem-stones, banana-trees, coconuts, black-pepper, elephants, bears, peacocks and other birds.

27. A significant feature of the poem is its learned author's skilful use of epithets, words, and phrases denoting light and radiance, so that the entire poem is aglow with divine radiance and splendour dispelling darkness and ignorance. Most frequent epithets occurring in the poem include 'shining', 'lustrous', 'fiery', or 'fire-like'. Words or phrases denoting radiance or brightness include:

'சேண்விளங்கு அவிர் ஒளி',
'அவிர்இழை',
'ஒண்தளிர்',
'விரிமலர்,
'ஒளி செஞ்சீறடி',
'செங்கால் வெட்சி',
செவ்-அரும்பு',
'வெள்ஏறு',
'மார்பின் செம்பொறி',
'சுடர்ப்பூங்காந்தள்',
'சுடர்இலை நெடுவேல்',
'செவ்வேல்',
'சேவடி',
'ஒண்தொடி',
'வாள்மதி',
'வாள்நிற முகனே',
'மாஇருள்ஞாலம் மறுஇன்றி விளங்க பல்கதிர் விரிந்தன்று',
'திங்கள்போல் திசைவிளக்கும்மே',
'சுடர்விடுபு',
'மாசுஇல் தூஉடை',
'அழலென உயிர்க்கும் கடுந்திறல்',
'மீன் பூத்தன்ன',
'தீஎழுந்தன்ன',
'முத்தீ'.

28. It is also noticeable that the various events happening at the sanctuaries of Lord Murugan and the devotees participating in them are portrayed by the learned poet frequently in different colours of contrast.

["முரண்கொள் உருவின் இரண்டுடன் உடீஇ,
செந்நூல்யாத்து, வெண்பொறிசிதறி ...
... குருதியொடு விைரைய தூவெள் அரிசி
சில்பலிச்செய்து, பல்பிரப்பு இரீஇ" - 230-234]

29. At the same time, it is also significant to note that, of all the colours, it is the scarlet, or red, colour which is dominant throughout the poem:

Lord Murugan is of red-complexion ['சேய்'];the Lord's sacred feet are red ['சேவடி'];the Lord's garments as well as adornments such as the kadambu, vetchi, and kandha-blossoms are of red colour;the Lord's vEl is of fiery-red-colour ['செவ்வேல்'];the protective string, worn on the wrists of worshippers, is of red colour;the religious officiant VElan at the festivities, held in honour of Lord Murugan, is also of red-complexion ['செய்யன்'] and is adorned with red garment ['சிவந்த ஆடையன்'].

30. Of the several picturesque descriptions to be found in the poem, the following may be mentioned as examples:

(a) "மந்தியும் அறியா மரன்பயில் அடுக்கத்து
சுரும்பும் மூசாச் சுடர்ப் பூங்காந்தள்
பெருந்தண் கண்ணி மிலைந்த சென்னியன்" [42-44]

["Lord Murugan's sacred head is adorned with a large cool chaplet of fiery-red-kandha-blossoms (Gloriosa superba) which are un-swarmed by bees because the blossoms bloom at such a great height of the wooded hills that even the monkeys do not know how to climb the gigantic trees."]

(b) "இருஞ்சேற்று அகல்வயல் விரிந்து வாய்அவிழ்ந்து
முள்தாள் தாமரைத்துஞ்சி வைகறைக்
கள்கமழ் நெய்தல் ஊதி எல்படக்
கண்போல் மலர்ந்த காமருஞ் சுனைமலர்
அஞ்சிறை வண்டின் அரிக்கணம் ஒலிக்கும்
குன்று அமர்ந்துஉறைதலும் உரியன் ..." [72-77]

["Lord Murugan abides on the summit of Thirupparangkundram, which is surrounded by wide-fertile-and-muddy-paddy-fields, where swarms of bright-winged-bees hum over the lotus blossoms of thorny-stalks and sleep on them at night; they wake up at dawn and buzz over the honeyed-neythal-flowers as well as the adorable eye-like-buds blooming in the mountain-reservoir."]

(c) "சீரை தைஇய உடுக்கையர் சீரொடு
வலம்புரி புரையும் வால்நரை முடியினர்
மாசுஅற இமைக்கும் உருவினர் மானின்
உரிவை தைஇய ஊன்கெடு மார்பின்
என்புஎழுந்து இயங்கும் யாக்கையர் நன்பகல்
பலஉடன் கழிந்த உண்டியர் இகலொடு
செற்றம் நீக்கிய மனத்தினர் யாவதும்
கற்றோர் அறியா அறிவினர் கற்றோர்க்குத்
தாம்வரம்பு ஆகிய தலைமையர் காமமொடு
கடுஞ்சினம் கடிந்த காட்சியர் இடும்பை
யாவதும் அறியா இயல்பினர் மேவரத்
துணிஇல்காட்சி முனிவர் ..." [126-136]

(The munivar (sages), entering the pricincts of Lord Murugan's sanctuary at ThiruAvinankudi (Pazhani) are described as follows):

["they are clad in the garment made of the bark of trees; the bright locks of their grey-white-hair are knotted in the shape of a conch-shell turning to the right; their limbs are shining bright with flawless purity; they are wearing the deer-skin as a shawl; As their bodies are lean without flesh, their chest-bones are thrusting out; they abstain from food even during the day-time for several days; their minds are free of hatred and malicious rage; they have such great knowledge that even the learned-persons are not aware of; they provide leadership to all the other learned-people by virtue of having attained the ultimate limit of knowledge; they have the wisdom to forsake lust and cruel anger; they know of no suffering whatsoever; as they have true knowledge, their minds are attuned to be wise, and they bear no ill-will towards others."]

(d) "செய்யன் சிவந்த ஆடையன் செவ்வரைச்
செயலைத் தண்தளிர் துயல்வரும் காதினன்
கச்சினன் கழலினன் செச்சைக் கண்ணியன்
குழலன் கோட்டன் குறும்பல் லியத்தன்
தகரன் மஞ்ஞையன் புகர்இல் சேவல் அம்
கொடியன் நெடியன் தொடிஅணி தோளன்
நரம்பு ஆர்த்தன்ன இன்குரல் தொகுதியொடு
குறும்பொறிக் கொண்ட நறுந்தண் சாயல்
மருங்கில் கட்டிய நிலன்நேர்பு துகிலினன் ... " [206-214]

["(VElan) is of fair complexion; he dons a red garment, cool asOka-shoots behind ears, a girdle, anklets, and vetchi-wreaths; he plays the flute, blows the horn, and other small instruments of music; he has a ram, peacock and flag of rooster; he is tall; he wears an armlet on his forearm; he is with damsels whose sweet voice sounds like the melodious tune of stringed instrument; and he is wearing above the sash around his waist a fragrant shawl trailing upon the ground."]

31. Finally, it may be appropriate to conclude this introduction by mentioning that, because of the divine nature of the ThirumurugAtruppadai, there is a firm belief among the devotees of Lord Murugan that a devotee, who recites the sacred poem daily, will be conferred with many spiritual benefits [சுப்பிரமணியன் 2002:14] and this is also confirmed by the following Tamil metrical nErisai-veNpA [நேரிசை வெண்பா] verse:

" நக்கீரர் உரைத்த நல்முருகுஆற்றுப்படையை
தற்கோல நாள்தோறும் சாற்றினால் - முன்கோல
மாமுருகன் வந்து மனக்கவலை தீர்த்தருளி
தான் நினைத்த எல்லாம் தரும்! "

வேலும் மயிலும் துணை