Narayana
Guru composed Sanskrit verses during his student days in Varanappalli and
during his period as an Avadhootha. The importance of Sanskrit at the time and
Guru's proficiency in it might have motivated him to write hymns in the
language. ‘Vishnvashtakam’, ‘Vasudevashtakam’, ‘Vinaayakaashtakam’,
‘Guhaashtakam’, ‘Bhadrakaalyashtakam’, ‘Bahuleyashtakam’, ‘Chidambarashtakam’,
and the ‘Homa Manthram’, composed in his later years, are his Sanskrit hymns.
Many
of Guru's Sanskrit hymns bear similarities to Shankaracharya's hymns. Guru's
earlyhymns adhered to the traditional path of Sanskrit hymn composition. They
also have the historical distinction of finding a place in the eclectic world
of literature despite being composed by someone born in a lower caste.
Narayana Guru's mastery of hymn composition shines through in his Malayalam works, many of which praise Subrahmanya, Devi, and Shiva. Among these, ‘Daivadasakam’, a hymn to God, and ‘Sree Krishna Keerthanam’, stand out. He reverently addresses Subramanya, as the "Guru of Gurus". Hymns like ‘Shanmukha Stotram’, ‘Shanmukhadasakam’, ‘Subrahmanya Keerthanam’, and ‘Navamanjari’ were composed during his Avadhootha period and are dedicated to Subramanya.
Guru held a particular affinity for Shiva, with twenty-eight of his hymns being Shaiva—a notable departure from the general prevalence of Vaishnava hymns in Malayalam. His works vividly showcase the Shaiva tradition. Key Malayalam Shiva hymns include ‘Shivaashtakam’, ‘Svaanubhavageethi’, ‘Shivaprasaada Panchakam’, ‘Ardhanareesvara Stavam’, ‘Shiva Stavam’, ‘Sadaa Shiva Darshanam’, ‘Pindanandi’, ‘Chijjada Chinthanam’, and ‘Kundalinippaatt’.
‘Kundalinippaatt’ is particularly significant as it powerfully illustrates Narayana Guru's deep experience with Yoga Shastra, uniquely intertwining devotion, yoga, and poetry. It stands as a testament to unadulterated mysticism within Malayalam poetic tradition.
Composed in 1914, ‘Daivadasakam’ is considered the most distinguished of Narayana Guru's hymns. Guru desired that the children at Aluva Advaitha Ashram chant it daily, as it encapsulates the entire essence of his philosophy and, by extension, Indian philosophy. This hymn praises God as the ultimate cosmic power. Through his vernacular hymns, Guru, as both philosopher and poet, skillfully integrated Dravidian deities and practices into Malayalam hymnody, further revealing his profound insight and poetic genius.
Guru demonstrated profound scholarship in Tamil, composing the hymn ‘Thevarappathikangal’. The term 'Thevaram,' meaning 'special worship’, later became synonymous with Shaiva hymns expressing deep love and devotion for Shiva.
In 'Thevarappathikangal', Guru praises a Nayanar idol at the Arumanur temple, a hymn he recited while bowing in the dilapidated temple. This composition resonates with reverence for Shiva, extolling various aspects of the deity. Guru’s immersion in Tamil literary culture significantly deepened his understanding of his own traditions.
