to music denoted by Panns and are part of the canon of the Tamil music. They continue to be part of temple liturgy today. Several of these poems refer to historic references pointing to the saint-poets' own life, voice of devotee persona, using interior language of the mystic. Multi-vocal rhetoric is commonly used taking on personal emotions and genres and some voices of classical Sangam literature. Appar's poems dealt with inner, emotional and psychological state of the poet saint. The metaphors used in the poems have deep agrarian influence that is considered one of the striking chords for common people to get accustomed to the verse. The quote below is a popular song of Appar glorifying Shiva in simple diction. மாசில் வீணையும் மாலை மதியமும் வீசு தென்றலும் வீங்கிள வேனிலும் மூசு வண்டறை பொய்கையும் போன்றதே ஈசன் எந்தை இணையடி நீழலே" ("Mācil vīṇaiyum mālai matiyamum vīcu těņṛalum vīŋkiḷa vēņilum mūcu vaṇţaṛai pǒykaiyum pōņṛatē īcaņ ěntai iṇaiyaţi nīļalē") translating to "My Lord's twin feet are like the blemishless Veena like the full-moon of the evening like the gentle breeze blowing from the South like the young spring like a bee-humming pond " The tendency to incorporate place names known to the folks in the idiom of the poems is another characteristic feature of Tevaram. The poems also involved glorifying the feat of Shiva in the particular location – the usage of locale continuously occurring in the verses is a testament. According to Prentiss, the poems do not represent social space as a contested space, the hymns represent the hymnists were free to wander and to offer their praise of Shiva. The emotional intensity of the hymns represent spontaneous expression of thought as an emotional responses to God. The hymnists made classificatory lists of places like katu (for forest), turai (port or refuge), kulam (water tank) and kalam (field) being used – thus both structured and unstructured places in the religious context find a mention in Tevaram. Compilation Raja Raja Chola I (ruled 985–1013 CE) embarked on a mission to recover the hymns after hearing short excerpts of Tevaram in his court. He sought the help of Nambi Andar Nambi, who was a priest in a temple. It is believed by Tamil Shaiva that Nambi found the scripts by divine intervention, in the form of cadijam leaves half eaten by white ants in a chamber inside the second precinct in Thillai Nataraja Temple, Chidambaram. Rajaraja thus became