Philosophy can expect to enter into its spirit” continues Pope.¹⁶⁰ Here, it is evident that unless this hymn is sung with complete identification with the author and unless the singer merges entirely with its philosophy, the hymn loses its significance and singer, the elevated state is bequeaths. Rāmalinka Swāmi - another poet and saint of a more recent era - well comprehends this and bursts into this Tamil verse:

வான் கலந்த மாணிக்கவாசக நின் வாசகத்தை
நான் கலந்து பாடுங்கால் நற்கருப்பஞ் சாற்றினிலே
தேன் கலந்து பால்கலந்து செழுங்கனித் தீஞ்சுவை கலந்து
ஊன் கலந்து உயிர்கலந்து உவட்டாமல் இனிப்பதுவே.

Writing about the 15th stanza, Pope feels that there is a reference to Kāraikkāl Ammaiyār. The legend of this woman saint is given in detail. This legend, in Pope’s opinion, mirrors certain phases of South India Life about a thousand years ago. It also reflects the Pre-Aryan way of worship and usages.¹⁶¹ The Kuyil should be distinguished from the Nightingale, says Pope. This small bird for which there is no English word, resembles the Cuckoo, a much larger bird and it should not be confounded with it.¹⁶²

The rhythm is the most important factor in the song entitled “The Scared Gold Dust.” (9th hymn) The rhythm is to suit the pestles, Pope has tired to preserve this rhythm in his translation.

In some songs, the Tamil poet addresses irrational beings like parrots, bees etc., and requests them to perform various tasks. Pope finds Māṇikkavācakar full of sympathy for irrational beings even as St. Anthony (of Padua) and some other mediaeval saints had for them. He was filled with love for the whole creation.

In the third stanza of the tenth hymn, Pope gives a detailed account of Kaṇṇappanāyaṉār’s legend. Here, he mentions that Cupramaṇiya - the son of Civā - was probably a Pre-Aryan deity.

160. Ibid. P. 104

161. Ibid. Pp. 112-113

162. P. L. T. Vol. 1, No. 1, Pp. 11-12