![thodudaiya seviyan thevaram lyrics thodudaiya seviyan thevaram lyrics](https://i.ytimg.com/vi/dHAodZoZbUQ/maxresdefault.jpg)
This voice was heard to everyone who was there at that time and King was satisfied with this and requested Nambiandar Nambi to collect the undestroyed palm leaves and compile it accordingly. The door was opened and the King was extremely disappointed to see the condition of the hyms on the palm leaves that was destroyed by the termites.That was the time when a divine voice was heard “ Whatever that is need for the world today are saved, the rest are made to be destroyed with my grace”. The king prayed to Lord Ambalavanan and decided to make statues of the saints and brought it to the Chitsabha. They demanded that the three saints should come in order to open the room door. In Thillai, the dikshitars refused to open the door of the room where the hyms are kept. Pillaiyar granted his wish and told them to proceed to Thillai where the hyms are all locked in a room inside the Chitsabha. Nambi then prayed to Pillaiyar to help the King. He then requested Nambi to help him to find the origin and the source of the hyms by Samayakuravargal. The King was in great joy to see his offerings were received by Pollappillaiyar. The King came to Thirunaraiyur with many offerings for Pillaiyar and paid his respect to Nambiandar Nambigal. This miracle of Nambi reached the King Raja Raja Cholan and decided to visit Nambi. Pillayar became the guru of Nambi and he was then known by the name Nambiandar Nambigal.
![thodudaiya seviyan thevaram lyrics thodudaiya seviyan thevaram lyrics](https://c.saavncdn.com/351/Isha-Thevaram-Outpourings-of-Tamil-Devotion-English-2020-20200115112036-500x500.jpg)
Pillaiyar then appeared and ate all his offerings. Due to this he decided to hit his head on a rock and that is when a voice was heard “ Nambi.wait!”. When he realized that the offerings were untouched by Pillaiyar, he assumed that there was a mistake in his worship. He believed that the food and sweets offerings (Neivethiyam) offered to Pillaiyar will be eaten by Pillaiyar after the prayers. As a child, he worshipped Pollappillaiyar and performed all necessary rituals for Pillaiyar. In Thirunaraiyur, there lived a great devotee named Nambi.
![thodudaiya seviyan thevaram lyrics thodudaiya seviyan thevaram lyrics](https://i.ytimg.com/vi/oLTW6GIh3E8/hqdefault.jpg)
The king was mesmerized with the hyms but he was in deep sorrow as these beautiful heart melting hyms are nowhere to be found. Some of the devotees of Lord Siva used to sing a few lines of the Thevarams that they know of. Raja Raja Cholan who was known as Abayakulasekara was was inspired by the idea of winning back the lost hyms. Thirumurai Kanda Puranam by Saint Umapathi Sivam explains in detail of how these works were found. The twelve Thirumurais were compiled as such in different stages and st different times, but the hyms of St Sambanthar, Appar and Sundarar ( first seven Thirumurais) were collected by Nambiandar Nambigal at the Chidambaram Nadaraja temple. The fact that the arrangement is not chronological, reveals that they were arranged as and when a gap was felt by the Saivite world getting to know in stages the significance of the Saivite works not included in the earlier compilation. Her hyms were included only in the 11th Thirumurai, whereas the 1st, 2nd and 3rd Thirumurais was formed ignoring the chronological order. Karaikkal Ammaiyar, great devotee of Lord Siva, lived before the period of St Thirunganasambantar. Special halls called ‘Thirukkai Kotti’ because of keeping time with hands, were built for recitation of these hyms and arrangements were made for feeding people who recited the hyms. Facilities were made in the temple premises by Chola emperorsfor the recitation of hyms. The practice of singing saiva hyms was an important item of temple worship during the period Bakthi movement. Thus this is also better known as Stotram as it is in overall directs the inner meaning of the work towards Lord Siva. But in common it is acknowledged as Literary work or Nuul. The term ‘Murai’ means antiquity ( Thonmai ), providence or destiny ( Uul), collection ( Kooddu), discipline or orderliness (Olunggu), literary work ( Nuul) etc.