Deivatthul Deivam - Play on Kanchi acharya of 20th century

[putran M]

Namaskaram, 

I went to a play "Deivatthul Deivam" on the near 100 year life of the recent acharya of kanchi matham, Sri Chandrasekhendra saraswathi swamigal, aka Mahaperiva or Paramacharya. It was shown Oct 14, 15, 16 at the Music Academy, Chennai. We managed to get tokens for the 14th and 16th. I went the 14th, then got a spot also for the 16th, particularly because I wanted to analyze a peculiar aspect of the drama. On that basis, I wrote the following notes of the events and conversations as depicted in the play. (I am told that the play however is also on youtube.)

thollmelukaalkizhu

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Start: Shiva-Shiva-Shiva.... fast paced chant 

6:33 PM: Screen opens. Swaminathan gives dialogue in school play on Jesus. First word spoken in our play is also Jesus... Others present on stage are his Brahmin/Hindu teacher and a Christian Father with Church priest dress. They discuss Swaminathan's performance etc. and his obtaining first prize.

6:35 -6:40: Background screen - "Arcot American Mission High School"

A paati selling murukku sits on the ground. Swaminathan and friend enter seen carrying badminton racquets. They talk about the periva at the time.

Sw: Swamigal gave me kalkandu. Asked me what I know.

Friend: Why not tell about you knowing "Bible, Shakespeare", etc.?

Sw: I said that too... Also, that Amma taught me sthotras, Appa taught Vedam, Swamigal asked me to recite Rudram... I asked periva many questions.... I want to even stay with periva.

Fr: Maybe that is periva's vision as well.

An interaction with the murukku paatti.

6:40-6:45: Christian Father and Hindu Teacher enter. 

Father: We hear any things about Sw.  Now I too wish to know more about him.

Teacher: Now he is peetadipathi, we should not call him [using informal language]. (Narrates Sw's parentage, origin, gramam, etc.)

F: How come (previous) Periva spotted Swaminathan?

T: (Gives the sequence of events that led to Swaminathan becoming the head of matha.) Tomorrow the periva (Swaminathan now on) is coming here for purna kumbakam by devotees; we too will attend.

6:45 : Purna Kumbakam scene with devotees lined up, including the Father, the Teacher, the friend, the murukku paati.

A sequence of groups of 'musicians' of various types first go by. The first batch is followed immediately by a Muslim (?, based on the cap) drum beater, then followed by others a little later.

6:48 - 6:54: Periva arrives in pallakku, with "Hara Hara Shankara Jaya... in background."

The devotees take turns to do namaskarams and/or offer purna kumbakam. 

The Father does a bow with hands held together in namaste form.

Teacher does full namaskaram.

Friend goes as if to touch but periva signs he should not and friend also does namaskaram.

Finally, murukku paati (a consummation of earlier interaction)

Periva leaves in palakku followed by the devotees.

6:54:  New Scene before a Shiva (?) temple whose structure resembles a mosque [likely factual depiction; not suggesting motive here]

   6:55: Periva comes, bows to Shiva. People come and do namaskar.

    6:56-6:57: Teacher and Christian Father arrive. T: Very happy to see periva here. F: Periva should come to our school. (small talk...)

  

6:59 - 7:01: Periva is shown as studying under three gurus. Teacher and Father are in the background, to narrate what is going on.

          T to F: (Explains Periva learning Vedic studies.) Perivaa recites Rudram or some Vedic hymn to his guru.

          T to F: (Explains Periva learning Tamil Literature) Perivaa recites Thodudaya Seviyan to second guru

          T to F: (Explains Periva learning Tamil grammar or something else in Tamil) Periva recites something from that category.  

           [Note the highlighting of Tamil in his studies.]

7:01 - 7:02: Teacher and Father discuss Periva having gone to Mahendramandalam - a secluded place by the Kaveri (?) - to do tapas and study. Periva is shown sitting in meditative or study posture with back to audience, while the screen displays the setting.

7:02: We get back to Mission School Scene. Teacher tells to Father of Periva having become 21 years old. etc. 

[This concludes the early phase. It also concludes the Teacher and Father presence.]

7:03: Helpers discuss Periva having obtained full authority.

7:04-7:06: Periva tells to bhaktas 4 things [but I could only discern one, probably four aspects of it were mentioned]

                 : Vedam is the root of our Religion. We must protect the Veda and the teaching of it.

7:07: Kovil scene. Helper mentions of Periva having reached 27 years, of a Mahotsavam, year 1921.

7:08 - 7:11: Periva enters and talks of group of common people from the city who came and helped everyone at the event. Eventually we find Periva mention that they were Muslims and then 2 of the Muslim youth in their traditional attire are called in. Periva talks to them, praises them, then has them given a formal award. Periva talks on the need for religious harmony.

[We now introduce a different dimension of Periva's liberality and acceptance. Across various sections of society and jathis, incidents of his cordial interactions are highlighted. The issue of birth-basis to varna is not broached in the play.]

[On yatra to kasi etc.]

7:12: Agricultural scene. Periva meets 2 farmers. They talk about sacrificing goats for God. Periva approves them worshipping according to their traditional ways and emphasizes the importance of worshipping regularly.

After farmers leave, a Helper indicates urgency: "Periva, we should go to nearby town to worship Chandramoulishvarar."

Periva: What do you think I was doing till now? This [interaction with the farmers] is equivalent to that worship.

7:15: At Kasi. Meets a well-to-do person who talks disrespectfully about Periva being jagadguru. Periva says he considers all things his Guru; points to ants and squirrels abiding by their ways as (capable of) being Gurus to him. The rich person does namaskaram to Periva saying "You alone are jagadguru."

7:18: [Periva is now 53. A different actor for this phase 53-71.]

Bhaktas come and sit in matha. Periva comes.

Periva talks about Aanmeega Arasiyal. That Government should tell good things in all religions to the people.

7:22-23: A question is raised about "secularism". Periva says Secularism is not Govt not involving in religions, but rather to see all religions as equal (samam), to seek to help them and tell their good to the people.

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7:23: A Helper asks: "People think of Narayana when they see you. But you keep repeating "Narayana, Narayana" always. [This is shown throughout the play, at the end of conversations, Periva repeats Narayana 2 or 3 times.]

Periva: I am a postman. When people come and tell me their problems, I send it to Him and keep saying Narayana, Narayana to remind Him to take care of bhaktas.

7:26: An old lady arrives. Complains with sorrow that her Daughter is not married and she is not wealthy to conduct one, that she had asked her relatives who promised to provide the funds, but once marriage fixed, they backed out and said they can only give the usual money gifts ("odhi idaradhu") at the marriage.

Periva sympathizes her condition and asks her to stay a while.

Next comes in a Bhakta from Mysore. He brings in a sack and says that it is excess money that he wants to give to the matha.

Periva has the old lady come and asks the Mysore bhakta give his money to the lady.

At the lady's surprise, Periva says: Why should when you come [telling your need for money], this money also come? That is Ambal's thittam (plan).

Lady sees the money and says: This is too much money. I don't need this much.

Periva jokes about his varadakshina rule for his devotees and their way they act. He tells them they should not take varadakshina and if they do, then they should not put his name on the invitation card. They listen to him, take the varadakshina and even then put his name on the card!

"At least you are not doing like that..."

After the lady and mysore bhaka leave, Periva tells his helpers: You all call me Periva. Did you see? One of them wants to give his excess money. One does not want the excess money given. To me, they seem to be perivas.

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7:33: Periva to an audience: Politics when it is going astray, how to keep silent? "The taking of money for the sake of getting votes is bad, adharma. Is this jananayakam or pananayakam? Year is 1949. I would not be surprised if in 60, 70 years, this becomes a major problem." He tells people (looking at the theatre audience) to not take money for their vote.

7:38: Ra. Ganapathi enters. He talks about writing Deivatthin Kural to a helper. They mention about Periva now being 72 years old.

Periva enters stage alone. [New actor representing the final age phase 72-'100'.] He goes to Chandramoulishvarar then turns to main audience and blesses them. [His semblance to periva is so close that it brings a collective joy in the audience.]

7:43: <Intermission>

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8:00: Periva: People should not convert from one religion to another. Everyone should respect all religions. Unity is needed, not uniformity (in religious practices etc.).

8:05: A botany student enters. He talks about wanting to do PhD in US and settle there.

Periva tells him the importance of staying in our country, of the duty to home and country.

He mentions of the Pidiarusi thittam.

Tells the botany student the meaning behind "vetthalai"

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8:11: Arasiyal Vadi comes there. He talks to Periva about his regret about being in a group that talks ill of periva. [from my memory] Periva says they have their view and we have ours. We will keep telling our side. That's all. 

8:15: Periva commences a new vijayayatra (on foot) on his 78th year, through Hampi, Kurnool(?),Satara, etc. Meets different people.

8:19: Reaches a village with mud and grass roof huts. A poor villager tells him of water shortage. Then along with him, he goes further into the village where a village rich person or leader meets him. [Here the background shows a well irrigated field.] He tells periva that though he has wealth, he lacks in happiness. Periva advises him to spend his energy to helping the poor, help them with getting water, then he will see how happiness comes. The man says his selfishness and egotism is cleared and that he will follow the Periva's advice. He asks periva to visit the village temple with him.

On returning in the same path, another villager had placed a basket of (food?) offerings on the street. Periva sees this and then him, calls him and enquires. He says that it is is offering to Periva. Periva accepts the offering and asks his helpers to take the basket, much to their surprise. Periva tells them later that the poor villager is like Nandanar to him.

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8:27: (Helpers discuss) Yatra ends. Periva had traveled 3860 km over 6 years. Age 84.

[Now Periva is 90 years]

8:29: A Bangle seller comes and sits outside the matha. Periva notices and asks his helper to give him 'neer more' and call him in. The bangle seller thanks periva for the drink, and upon enquiry by Periva, tells his business is going very poorly and of his difficulties. Periva tells about women having to wear bangles and symbols and half-jokingly of the situation of the day when nose, hands, forehead are all "shunyam" only. He asks the seller to stay. 

A rich person comes. Periva asks him to buy all the bangles from the seller, then return 1 pair to him so that he is not empty-handed, and then the rest can be distributed to the sumangilis who come to the matha. That will please Ambal and also him.

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8:34: A sprightly old widow paati comes and talks excitedly to periva about the govt giving pension to people who are in need and that periva should bless her that she may obtain the same. In the humorous episode, Periva notes that per her description, he would be a fitting candidate. But upon enquiry, the old lady says gleefully that she has everything that periva is asking about: food, clothes and faith in him. "Irukku, Irukku, Irukku" Periva tells her that she says she has everything whereas the pension is meant for those who lack such things. Lady apologizes and that she sought the benefits unknowingly. Periva says that she at least wanted unknowingly, but [looking at the audience] there are many who know fully well and still avail of such benefits meant for the poor. He asks how can these schemes reach their intended people if others put themselves in the middle, that pension etc. is for the needed people only.

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8:36: Auditor Santhanam [a close devotee] meets periva. 

He asks why periva does not go in car and insists travel on foot. Periva tells him the dharma of a sannyasi, that he should not stray further than his minimal needs, etc.

Then a rich North Indian person shows up. He wishes to fund the matha a year's worth of money then and there, and then do the same each year hence. Periva appreciates the offer but tells him instead to spend the money on other dharmic karya of his choice.

After the rich man leaves, periva calls Auditor Santanam and asks him to provide the matha Rs 10,000 for a month's expense. Auditor at once agrees, but then wants to ask something that Periva himself verbalizes: "you are wondering why I did not accept from the rich man the year's money and instead from you. [from memory ~] A sannyasi should not seek more than his immediate needs. If at all the matha needs something more, we can get it from devotees like yourself."

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8:43: A devout wife and her atheistic or irreverent husband enter. He says he is there only for her. She wants him to be respectful of periva; he retorts that he is respectful of all 90+ old people but he will show his respect in his own way.

She does namaskaram and he [I think] just showed a casual hand-version of namaste. She starts to tell periva about her husband; he says he understands already but that in his opinion, it is she who is at fault. For, the husband has his (atheistic) views and is following them 'faithfully' in his way whereas she is trying to force her devotion to Periva onto him. "Good buddhi is to respect others' viewpoints." 

She does namaskaram, receives prasadam from him (some fruit), and they start to leave. Half way, the husband turns, wipes his eyes, and goes back and does sashtangam namaskaram to periva (much to the brimming happiness of his wife), receives prasadam, and the couple leaves.

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8:48 - 8:52: Judge Ismail comes and asks periva about Hindu matham, its origin. Periva tells him Hindu matham is anaadi (without beginning). [And didn't catch this fully perhaps, but as if a contemporary message] "Those who follow Hindu dharma are Hindus."

The judge had given his books on kamba ramayanam (?). Periva says he will look at them and then tells the judge to write on Mohammad's words. 

The Judge praises periva's efforts for the uplift of the Tamil image.

Periva gives the judge sandanam, saying that is appropriate/acceptable for the followers of Islam as well.

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8:52-8:53: Helper mentions of early morning sound [call to prayer] from Masoodhi disturbing periva's sleep. 

Periva: Did I tell you the sound was disturbing me? They are following their matham properly, likewise we should do the same. ~ I am happy to hear the call of God each morning. Do what you must do and stop bothering over needless issues.

8:54-9:00: Ra. Ganapathi. Talks to periva about Jayendrar also being called periva and that the bhaktas after discussion wants to call him "Paramacharya". Periva says that the name is not appropriate since the denotation is used in Saiva matham [whereas we are smartha matha]. He then says he has been hearing periva since age 13, that he would be fine if puthu-periva is called periva and he instead is called chinnava henceforth. This causes agitation in Ganapathi, who says he alone is their "Mahaperiva".

[Ok, ok :). Sorry periva, you are still paramacharya, thirty years running.]

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9:00:  "A day in the life of Periva" is shown

9:01 to a few second before 9:04: Dark setting with Islamic call to Prayer in background

9:04 - 9:13: Periva gets up (now Hindu music) to arathi by ladies and namaskarams of other early devotees.

Gives hay to cow. Takes bath. Does japa. Eats a bit from a full plate. Bhaktas darshan. Reads and teaches shastras to some questioner or devotee. Blesses the general public. Japa. Blesses a Muslim couple. Back to sleep.

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9:14 : Kanakabhishekam [full videos of event in youtube]

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[Last scene]

Periva shown sitting still in chair, no light on him but background screen displaying date and time of his passing: January 8, 1994. Saturday. ~ 2:58 PM.

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After this, the writer/producer comes to stage and explains the origin of the play, introduces all the actors (over 100, on first day, he said 108). He also mentioned the play was seen twice by Vijayendra Saraswathi, and that the original script was approved by the acharyas in 2017. The present show (at Music Academy Oct 14, 15, 16) is their 31 to 33/34 time.