The following segment deals with protection from dangerous animals and seeks antidote for poisons.

puliyum nariyum punnari nAyum

eliyum karadiyum iniththodarndhOda
thELum pAmbum seyyAn pUrAn

kadivida vishangkaL kadiththuyar angkam
ERiya vishangkaL eLidhudan iRangka
Animals like tigers,

Foxes
Foxes, though small, way-lay travellers when they travel alone. They hunt in packs.

pul-nari naay is a hyena.

eli - all types of rats.

Why should a person be afraid of rats? Rats such as bandicoot were abundant in those days. They are larger than a cat and are very fierce and vicious. They can attack in small packs. They can destroy crops and grain stores and kill babies, small children, poultry and small animals like goats, sheep, and calves.
Furthermore, a rat-bite is poisonous. A rabied rat is difficult to detect.

karadiyum  - bear

All these animals should run away immediately
In the 'KOLaRu Thiruppadhigam', ThiruGnAnaSambandhar devotes the fifth verse for the protection from dangerous animals.

vAL vari adhaLathaadai vari kOvaNaththar madavAL thanOdum udanAy,
nAnmalar vannikonRai mudimEl aNindhen uLamE pugundha adhanAl,
kOLari ulzhuvaiyOdu kolaiyAnai kEzal kodu nAgamOdu karadi,
ALari nalla nalla, avai nalla nalla , adiyAr avarkku mikavE.

He has enumerated lion, tiger, elephant which has gone berserk, boar, snake, bear, and ALari in his attavaNai. 'ALari' is not very clear. Some scholars say that it is a man-lion.
thELum pAmpum seyyAn pUrAn

kadivida vishangkaL kadiththuyar angkam
eeRiya vishangkaL eLithudan iRangka

This segment mentions about poisonous creatures and the poisons therefrom.

ThEL - scorpion
pAmbu - snake
seyyAn - a kind of centipede that is red in colour. A larger version of this, is known as the 'jala maNdali'.
pUrAn - centpede

Whatever venom that any of these creatures have inflicted, the venom which has spread into the various parts of the body; even though the venom has spread, let it all be neutralised, descend and disappear.

This sort of prayOgam is known as the 'GAruda Viddhai'. This word is found in the Periya PuraNam - 'gAruda vinjai viththagar'.
It is also known as 'gAruda thanthram'.

This is one of the 64 arts - 'Aya kalaigaL aRupaththu nAnku'.

It is the art of removal and neutralisation of poisons with charms, mantras, antidotes, etc. Since this art invokes Garuda, as the presiding deity for this art, it is named after him. The mantras belong to a particular group of mantras called 'gAruda mantras'. A very common form of this art can be seen in villages. Certain people chant some mantras while  rotating a bunch of Neem(vEppilai) leaves and then stroking the part afflicted by poison. It works - in many cases. How?

There are several other variations.

Kandhar Shashti Kavasam contains the part which acts as the 'gAruda Viddhai'.
The next segment contains protection from diseases.

oLippum suLukkum oruthalai nOyum
vAdham sayiththiyam valippup piththam (150)

sUlaisayam kunmam chokku chirangku
kudaicchal silanthi kudalvip piridhi

pakkap piLavai padarthodai vAlzhai
kaduvan paduvan kaiththAL silanthi

paRkuth tharaNai paruvarai yAppum
ellAp piNiyum enRanaik kaNdAl

nillAthu Oda nIyenakk(u) aruLvAy
This list of diseases contains only a small number of diseases. With modern therapeutics, most of these diseases are treatable. Some of them, though less dangerous can cause a lot of suffering.

oLippu - a visual defect where field of vision is affected

suLukku - sprain

oruthalai nOy - one-sided handache

vAdham - paralysis or arthritic pains

saiyiththiyam - fevers associated with rigors; panic and hysterical symptoms.

valippu - fits

piththam - gall baladder disorder, digestive disorder, dizziness.

sulai - a few diseases associated with acute abdominal pain, swelling. There are 15 types of sUlai associated with the abdomen. Other types of sUlai are 34 in number.

sayam - tuberkulosis

kunmam - bowel disease associated with pain and spasm

sokku - fatigue, fainting attacks

siranggu - scabies

kudaichchal - neuralgic and arthritic pains

silandhi - big abscess

kudal vippriridhi - intra-abdominal abscess

pakkappiLavai - carbuncle(multiple abscess) of the side of the chest

padarthodaivaalzhai - deep abscess of the thigh which spreads.

kaduvan - skin disease occuring in the waist and groins

paduvan - eczematous ulcer or abscess

kaithaaL silandhi - abscess which occurs in the hands and legs

palkuththu - tooth ache

araNai - abscess of the gums or root abscess of the tooth

paru - abscess

araiyaappu - a swelling in the groins which is caused by diseases which are sexually transmitted. araiyaappukkatti had no treatment in those days.

ellAp piNiyum enRanaik kaNdAl

nillAthu Oda nIyenakk(u) aruLvAy

The above prayOga is 'rOganAsana' prayOga.

Such an effect is found in 'VaidhyanAthAshtakam' and 'Dhnavanthri mantra'. There are also specific ThEvAram hymns which have this effect. Such thEvAram hymns belong to a class called 'payan tharum thirumuRai'. 23 of them are very important and are considered to be potent.
Thirungnaanasamabndhar mentions about diseases in his 7th verse of the kOLaRu Thiruppadhigam.


seppiLa mulai nanmanggai oru pAgamAga
vidaiyERu selvan adaivAr

oppiLa madhiyum appum mudimEl aNindhen
uLamE pugundha adhanAl

veppodu kuLirum vAdham migaiyAna piththum vinaiyAna vandhu naliyA

appadi nalla nalla avai nalla nalla
adiyAr avarkku mikavE
IrELzh ulagamum enakkuRavAga
ANum peNNum anaivarum enakkA
maNNAL arasarum magilzhndhu uRavAgavum

The first one - 'IrElzh ulgamum enakku uRavAga'

It is known as 'sarva lOka vasIkaram'.

IrElzh ulaku - seven lokas above and the seven lokas below.

The lOkas above -

BhUlokam, bhuvalOkam, suvalOkam, mahAlOkam, janalOkam, thavalOkam, and satyalOkam.

The lOkas below -

athalam, vithalam, suthalam, tharAthalam, rasAthalam, mahAthalam, and pAthAlam.

Descriptions of all these lOkas are given vividly in the various purANas.

There is something known as 'purANa lakshaNam'.

What is the format of a purANa?

There is a specific lay-out for the compilation of a purANa. It is very interesting even to know the lay-out of the purAnas. Reading them is even more binding. There are many puzzles in the purAnas. Pity nobody looks into that field. Some of these lOkas are beyond our known dimensions. Not the lOkas which are formed of the pancha bhUthas.
What is Vasyam or vasIkaraNam or vasIkaram? Let us explain it before going any further. Just as the Siddhis are classified into 8 - the 'ashta mahaa siddhi' or 'attamaasiddhi', the magical arts are classified into 8 also. They are the 'ashta karma'.

They are the following:

SthambhaNam
MOhanam
AkarshNam
VidhvEshaNam
vasIkaraNam or Vasyam
BEdhanam
MAraNam
uchchAtaNam

There are other classifications also. But this is what is found in many texts.

If you refer to the Kandhar Shashti Kavasam No.3 which is dedicated to Palzhani ThaNdayudhapaaNi, you will see the following:

Eka rUpamAy en munnE vandhu
vAhanaththudan-en manaththuL irundhu
thambanam, mOhanam, thayavAm vasIkaram,
imbamA karudanam, mEvum uchchAtaNam,
vambadhAm bEdhanam, vali tharum mAraNam,
umbargaL Eththum uyar vithvEshaNam
thanthira manthiram tharumaNi atcharam
undhan vibUthyudanE capiththu
kandhanin thOththiram kavasamAy kAkka!

In this passage, we can find the atta karmA:
thambanam
mOhanam
vasIkaram
AkarudaNam
uchchataNam
bEdhanam
mAraNam
vithvEshaNam

thambanam - is the art of stopping the natural activity of a particular force or energy or mind.

'jalasthambanam' is the art, wherein water does not drown something. The object floats. Siddhas walk on water. This is one form of jalasthamabanam.

Some great sages and yogis, go into the depth of water and sit in meditation. They would undergo a state known as 'suspended animation'. This is some form of samadhi. So the water does not drown them. When the period of such suspended animation is over, they come up to dry land.

There was a great Siddhar who was an avadhUtha. He was called Guhanandha. He was a contemporary of Ramakrishna Paramahamsa. Just as winter was approaching, he would go to the Himalayas, to a particular lake called ManasarOvar. He would enter the depth of the water of the lake, just when it is about to freeze. The lake would freeze over. He would be in that state of jala samadhi until spring and summer come and the water melts again. Then he would come out again.
Agni sthambanam is the art of arresting the qualities of fire. Fire does not burn or scald.

There are at least two Swamijis who perform this feat.

Ganapathi SwamigaL of Bangalore performs a yagam wherein, a pit about 5 feet in depth is dug. A Yaaga kundam is on the floor of the pit. The Swamiji descends into the pit and performs the yaagam. The flames from the yaagam fire sometimes reach a height of six feet and more. The Swamiji stands inside the pit, in a very close proximity to the fire.

There is another Swamiji who performs a homa with arugampul grass and he lies down over the flames. In certain types of fire-walking ceremonies, the pujari chants some manthras and throws a garland of flowers into the fire pit which remain fresh. That is a feat of agni-sthambanam also.

There is another sthambanam called vak-sthambanam.

This involves speech and thought. Commonly it is known as 'nakkaik kattuvadhu'.

There is a DEvi called BagaLaamukhi. She has the power to arrest speech. This process is also known as 'jihvaa sthamabanam'. This sort of prayOgam is used in debates and for preventing another mantrikan from chanting the correct mantra.
MOhanam is the art of creating illusions, mesmerising, hypnotising, stupifying, etc.

Indonesian robbers have a particular method of robbing houses. They cast a spell on their victims and get into their house. The victims would not know what is happening. They will only realise that their house has been robbed after the robbers had gone. Such robbery gangs are known as 'Pukau' gangs. There are several types of mOhanam and they also vary in degrees of effects.
AkarshNam or AgarudaNam is the art of attracting something.

You would have read advertisements regarding yantras which have special qualities - 'Dhana AkarshaNa yanthra', 'Swarna AkarshaNa yantra'. These yantras are supposed to attract riches and gold, respectively. There is a tradition that Adhi Sankarar has established a 'dhana AkarshaNa yanthra' in Thirupathi. Rain making manthras also fall within the AkarshaNam class.
There is a famous temple in South India, where there is a 'Jana AkarshaNa yanthra' - attracting a lot of people. The Thai people have a statue of a deity which, when placed in a place of business, attracts customers and compels them to buy. Other religions also have their own share of such yanthras.

The Chinese have a statue of a very fat man with a pot-belly who brings wealth and good effects. He may be found sitting, standing with his hands stretched over his head, laughing, etc. The Buddhists say that he is Amitabha Buddha.

The Chinese have several symbols which attract wealth. Boat-shaped gold money, carts bearing fruits and riches, etc. All these are AkarshaNa objects.
'uchchAtaNam' is the art of dispelling something. If a devatha is in a particular place, it is made to shift or is removed by uchchAtaNam. Many people make the mistake of confusing 'uchchAtaNam' with 'uchchAraNam'.

'uchchAraNam' is chanting or reciting.
'bEdhanam' is the art of breaking up connection between people. 'bEdhanam' is used to break up friends or allies.
'vidhvEshaNam' is the art of making two friends or allies turn against each other and destroying each other.
'mAraNam' is the art of causing death or destruction of a being. 'bhutha mAraNam', pisAsu mAraNam', etc., are destruction of various forms of evil spirits.
'vasIkaraNam' or 'vasIkaram' or 'vasiyam' is the art of 'vasapaduththudhal' - acquiring, attracting, charming, etc. There several types of 'VasikaraNam's.
'IrELzh ulagamum enakkuRavAga '

This has been explained as 'sarvalOka vasiyam'.


ANum peNNum anaivarum enakkA

This is known as 'SthrI-purusha vasiyam'.

maNNAL arasarum magilzhndhu uRavAgavum

This is 'rAja vasiyam'.

unnaith thudhikka un thiru nAmam

Let all this be achieved by me when I pray to you and recite your name(thus).......
A full valzhipAdu has to have a section of 'namAvaLi.

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