Temple, Travel and Sport

Chozha Period Temple near Coimbatore

Offering of Pepper to the Lord is a speciality at this temple

The current Bhattar's clan have been performing pooja for over 800years at this temple

(This story is dedicated to my class teacher Imam of 40 years ago (in the mid 70s) who used to come every morning by bus (25kms) from Sulur near this temple to the school in Saibaba Colony in Coimbatore to teach us. She did that for many years).

Located 20kms from Coimbatore on the Trichy Highway and just a couple of kms off the Air Force Base is the 1100years old Venkatanathan Perumal temple in Sulur (original name Suralur), a temple with huge outer walls and grand vahanas. The temple dates back to the early 10^th Century AD to the Chozha period with earliest records dating back to 908AD. 1000s of acres were allotted to the temple most of which have been usurped during the passage of time.

Recognition for the 24 Service officials

It is fascinating to find that the 24 different service officials of the temple were granted lands and specific duties and responsibilities relating to the temple. They received monthly grants in terms of provisions / sacred food. These service officials include Archakas, Maniam, Sthanigam, those who did Parayanam, Parijathakar, the ones who played the instruments during festive occasions and during poojas, the ones who brought and made sacred flowers for the Lord and the ones who blew the conch.

The Name of the Place

In centuries gone by, this place was referred to as Suralur, an indication of the swirling winds that used to be a feature at this place (Soora + Kaatru). With passage of time, Suralur became Sulur. Even in peak summer, one finds the swirling breeze here around this temple keeping the place cool.

During the rule of Kadiraditya Chozha, this place was referred to as Ariya Piratti Nallur. During the Pandya rule, this place was referred to as Sundara Pandya Nallur. Sundara Pandyan renovated the tank and lakes here in Sulur in the 13^thCentury AD.

King Ko Kandan Veera Narayanan donated liberally to the temple during his rule.

One of the oldest Trade routes

Sulur was an integral part of one of the oldest trade routes between Palghat in Kerala and Thanjavur in Tamil Nadu with Pepper (Milagu) being an important commodity of Trade. This important route also comprised of Perur and Vellalur in Coimbatore, Palladam, Kangeyam and Karur East of Coimbatore and Uraiyur in Trichy.

The temple legend

Traders used to congregate at Kangeyam Palayam about 3kms East of the Venkatanathan temple to put together the pepper in sacks for the next day sales in the market in Sulur and other neighbouring places.

One night after a tired day’s work, they were woken up late in the night by a shabby looking old Brahmin. He had developed Stomach pain and requested the trader for some pepper that could solve his ailment. In his anger of being disturbed from his slumber, the trader remarked that he had no pepper and that all he had was only black gram (Ulunthu).

The next morning as the traders made their way to the market, they found that the entire pepper sacks had turned to black gram. The trader then realised the conversation from the previous night and went in search of the old man.

It was here at this location in Sulur that he found a huge stone with an old man leaning on it. The old man consoled the trader asking him to forget about the now lost Pepper and to go back to the market with the promise that his black gram would fetch just as good a bargain as Pepper and that he should do something good with the extra profits he was to derive.

Much to his surprise, the trader found that the black gram which usually fetches a price much lower than pepper was up significantly that day and he made a great profit. Delighted at this, he came to the 2^nd location and promised to build a temple here with the Lord in a grand standing posture.

Nandi in front of the Lord

Cows are said to have assisted the construction of the temple. When they fell tired and were hungry, it is believed that the Lord provided them with his food. As a thanking gesture, Nandi sat in front of him. Hence Nandi in front of the Perumal is a unique feature at this temple.

Only Sweet Dishes -Sacred Food

The Lord who provided a third darshan to the trader presented him with a packet of pepper since that is what he had asked the trader in the first instance when he met at Kangeyam Palayam and asked him to include pepper in the presentation of the sacred food every day and as prasadam to the devotees who visit the temple.

Given the legend relating to this temple, only sweet dishes are offered to the Lord every day since the Lord is already presented with the spicy pepper all the time. All other Thaligai at this temple are only sweet dishes, mostly Chakkarai Pongal. No other spicy dishes are presented here at the temple on any day of the year, except for this sweet offering.

In addition to Tulasi, Pepper is also presented to the devotees who visit this temple.

Many Divya Desams are home to specific delicacies. If in Koviladi Divya Desam in Thiruper Nagar, Appam is a speciality, at Oppiliappan temple in Thiru Vinnagar, ‘Saltless’ food is the order of the day. Similarly here at this Abhimana Sthalam in Sulur, pepper is a speciality in the offering to the Lord.

Rayar Temple - The location where the Lord asked for Pepper

Three Kms east of here is the ‘Rayar Temple’ where the Lord provided the first of his three darshans as an old Brahmin late in the night. It is said that sitting from here, the Lord watches the offerings to him at the Thiru Venkatanathan temple in Sulur to confirm that Pepper is being offered every day.

Both the temples were built in its current form by Dasa Palanjika Chettiars who hailed from Mysore and who spread themselves across this region as trade merchants. They were Vishnu devotees. Pepper was one of the prominent items they traded in.

Grand Festivals and Vahana Procession

The Lord is driven on different vahanas during the annual Brahmotsavam that is celebrated in a grand way in Navarathri ( Puratasi/ Aipasi). Vahanas include Sesha Vahana, Hanumantha Vahana, Elephant and Horse Vahana and the beautiful Garuda Vahana. A temple chariot that had been constructed in the early 19^thCentury AD (1816AD) was damaged in the last century and a new one has been recently built.

Gopalakrishna Bhattar

Gopalakrishna Bhattar’s clan has been taking care of the temple for the last 16 generations – almost 800years. Gopalakrishna Bhattar has been here at the temple for over four decades. His performance of the Archanai is a treat to hear and watch, such is his devotion to the Lord.

Festivals

10 day Brahmotsavam during Navarathri

Vaikunta Ekadasi

Hanuman Jayanthi – the only day in the year when he is anointed with Vada Malai

Quick Facts

Moolavar: Venkatanathan in an East Facing Standing Posture

Time : 730am-1pm and 430pm – 8pm

Contact : Gopalakrishna Bhattar @ 0422 2680204 / 78100 21957 or Ramesh Bhattar @ 95433 34476

How to reach

Take the Tiruppur /Trichy bound bus and get down at Sulur Police Station stop. The temple is 5minute walk north of the bus stop.

Take an auto from this temple to Kangeyam Palayam to reach the Rayar Temple behind the Air Force in Sulur (3kms). Auto from Venkatanathan temple and back to Sulur bus stand will cost Rs. 125. (Auto Balaji @ 98422 56321)

Temple contact of the Rayar Temple behind the Air Force : 98941 38835 / 94431 91762

Pancha Bairava Sannidhi is a speciality at the temple

Parikara Sthalam for Pithru and Drishti Dosham

Located 15kms South West of Kumbakonam on the Melattur/Thittai Highway is the huge Chozha Period Pasupatheeswarar temple in Avoor, a temple praised by Thiru Gnana Sambandhar and one of the 70 Mada Koils of Ko Chenganan Chozha. One is welcomed by a big tower on the Eastern side.

The Name

Since Kamadhenu performed pooja for Lord Shiva at this temple and he provided darshan to the sacred cow, he came to be referred to as ‘Pasupatheeswarar’

Legend

King Dasaratha came here and finding only the idol of Lord Shiva, he installed the idol of Pankaja Valli and performed pooja invoking the blessings of both. On the Eastern wall opposite the Pankaja Valli Sannidhi, one finds the sculpture of King Dasaratha offering his prayers to Lord Shiva.

An invisible voice indicated to him the location of ‘Pancha Bairava’ idols hidden beneath. Dasaratha located these unique idols and installed the idols of Pancha Bairava opposite the Pankaja Valli Sannidhi. This is a Parikara Sthalam for Pithru Dosham and Drishti Dosham. It is believed one would be liberated from these after offering sincere prayers to the Pancha Bairava.

Sambandhar’s Praise

In each of his praise, Thiru Gnana Sambandhar refers to this place as ‘Avoor Pasupatheeswaram’. He also showers verses of praise on Pankaja Valli. He refers to the palace like mansions that were seen in the Mada Streets of Pasupatheeswaram. Sambandhar talks about the sacred cows that were always seen at the temple here.

Mada Koil

This is one of the 70 Mada Temples built by Ko Chenganan Chozhan and one finds steep steps leading up to the Sannidhi of Lord Shiva making it difficult for elephant to make an entry here. Another of the Mada Koil at Thiru Nallur (http://prtraveller.blogspot.in/2015/04/thiru-nallur-sundareswarar-temple.html) is just 6kms North of here.

Festivals

On each of the four Sundays of Karthigai, Lord Pasupatheeswarar goes out on a street procession and Theerthavari is performed.

Lord goes out on a street procession on Thei Pirai (immediately after the full moon day) on the Ashtami day every month with Homam, Abhishekam and Anna Dhanam being a special feature on that day.

Brahmotsavam?

In centuries gone by, Brahmotsavam was celebrated in a grand manner with Lord Shiva going out on street processions in majestic vahanas each day. However most of the vahanas have been damaged and only the Rishaba, Horse and Peacock Vahana are in shape currently. But similar to the Thiru Nallur temple, Brahmotsavam here too has not taken place for over half a century and the festivals that were once the pride of this temple, have lost its grandeur.

While this is a HR & CE managed temple, there is just one priest to take care of the entire temple. Mahalingam Gurkkal, who hails from Mannargudi, has been here for over three decades taking care of the pooja, almost on his own.

Lord Muruga with a bow and arrow

Seeking a handsome boy, King Dasaratha invoked the blessings of Lord Muruga at this temple.

It is believed that Rama was born subsequent to the prayers offered by Dasaratha here. Hence in memory of this event, Lord Subramanya is seen in a unique posture with a bow and arrow in hand.

Quick Facts

Moolavar: Pasupatheeswarar

Goddess : Mangalambigai and Pankaja Valli ( Separate Sannidhis)

Saint Poet: Thiru Gnana Sambandhar

The temple is open between 630am and 12noon and 4pm and 830pm

Contact : Mahalingam Gurukkal @ 94863 03484

How to reach

Avoor is located on the Kumbakonam/Patteeswara – Melattur/Thittai Highway. Buses / Mini Buses ply every 15minutes from Kumbakonam bus stand and Patteswaram to Avoor via Govindakudy (Bus Numbers: 52/67/11/72/25/8)

Direct buses (484 and 48) also ply from Thanjavur via Thiru Karugavur.

One can also reach the temple from Papanasam ( 9kms) and Sundara Perumal Koil (5kms)

Auto from Patteeswaram Durgai Temple will cost Rs. 100.

The ancient Kalinga Narathana temple at Oothukadu (http://prtraveller.blogspot.in/2010/05/kalinga-narthana-temple-oothukadu.html) is about 2kms from here

Grand Procession on Periya Thiruvonam in Aavani at this 400years old temple

Located 15kms from Coimbatore off the Salem Highway near Chinniyampalayam is the 400years old Kaarana Kari Varadaraja Perumal temple in Venkittapuram, one that has been built in the Kerala style architecture.

Centuries ago, this place was dense with Kaarai trees. Grazing cows was the popular profession in this region. The owner of one such cow found that she was not providing milk. As he followed the cow in her morning walk, he found that at this place she was offering her milk to an invisible person.

An invisible voice suggested the presence of the Lord’s presence here. The villagers found the idol of the Lord and installed it at this place and began worshipping Lord Kaarana Kari Varadaraja Perumal.

There is a separate South facing Sannidhi for the Utsava deity at this temple, a special feature at this temple. Opposite the Utsava deity is the sannidhi for Garuda, another speciality at this temple.

Festivals

Avani Periya Thiruvonam – Grand Procession in the evening

Puratasi Kalyana Utsavam – Moolavar, Utsavar Thirumanjanam

Procession on Garuda Vahana

On the first day in Aipasi, Kona Vaiyali and Vedu Pari enacted inside the temple in the evening

Aipasi Deepavali – Saali Alankara and Procession inside the temple

Karthigai Thiru Mangai Azhvaar Avathara Utsavam - Thirumanjanam

Vaikunta Ekadasi – Sesha Vahana Procession, Pathi Ulathal, Rathnangi Seva

Every Saturday morning at 5am, there is a special rendition of Nalayira Divya Prabhandham

Lord Kari Varadaraja Perumal goes out on different vahana processions through the year.

Quick Facts

Moolavar : Varadaraja Perumal, East Facing Standing Posture

Time : 6am-11am and 5pm-8pm

Contact : Marumozhi Nambi @ 98422 19373

How to reach

Cab from Coimbatore Railway Station and back will cost Rs. 500.

Bus every 10minutes from Gandhipuram Moffusil bus Stand (Avinashi/Erode/Salem bound buses)

Get down at Chinniyampalayam bus stop and walk ½ a kilometre east to reach the temple.

Town buses every 15minutes from Gandhipuram

EXCLUSIVE

The Programme is likely to sensitise parents on the sports potential (or otherwise) in their children so that the talent can be appropriately harnessed early on in the 'sports journey'

Cricket has always been a craze in India. In the last two decades, it has been even more so. Every Parent has wanted his /her son to be a Sachin (that wish moved on to a 'Dhoni' in the 2nd half of the last decade and more recently to wanting to be a 'Kohli' - the huge youthful crowd this week at the India A match at Chepauk was an indication of that).

It is not an uncommon sight at any coaching academy here in Madras to see a parent (especially a mother) remark that his (her) son had just played a beautiful shot that reminder her of Sachin. It is likely that she may never have seen Sachin play and definitely may not know the 'technical aspects' of Sachin's batting. And yet, it has become a fad to say that they want their son to become a 'Sachin'.

Do the parents know what it takes to become a successful cricketer. What are the technical and non technical aspects that will assist in this long journey?

For a long time, coaches have done nothing about this (in fact, it is very likely that they would be laughing inside about such remarks from largely (cricket) ignorant parents) for it has suited them just right. This has contributed significantly to the 'Volumes' in coaching academies in Madras.

Was there an approach to try and test out if the youngster (be it a U13 lad or a U15 cricketer) really had the talent to move into the next grade, after learning the basics. It did not seem so till now, at least with the academies here in Madras.

Launch of TIP

S. Vasudevan, the former Ranji Trophy Winning Captain, is now looking to tackle this problem (and provide a seemingly probable solution) with the launch of a Talent Identification Programme (TIP). This programme will seek to identify the talent in youngsters through a ‘specific methodology’ that will educate the parents on the strengths and weaknesses of the player and the potential to go up the ladder.

The TIP is likely to sensitise parents to the fact that their son may not necessarily be suited to cricket, based on the findings.

Currently, one finds that tens of thousands of youngsters take up cricket at the age of 7 or 8 and spend close to a decade at various academies only to then find that they have no potential to go even into league cricket, let alone into much higher levels.

Often coaching academies are seen negotiating with league teams to get their wards in. There have been several occasions in the last few years when the academies have pitched in with TNCA league clubs for just a place in the 30 member squad that they can then showcase to the parents as having got the kid into a TNCA league team ( sometimes it almost seemed like the Kid had got into the Indian Team!!! such is the pitching exercise).

And in many cases the kids have quit cricket once into class XI but by then they have spent enormous amount of cricket time batting ‘8 minutes’ in the nets and/or bowling 2 sets twice or thrice a week. And of course these days going to grounds on the outskirts of the city to play 20 or 30 over matches!!!

The TIP could help parents with the much needed ‘cricket’ education on the likely progress of their children and on any course corrections very early on into their cricketing journey. And in some cases, it could also mean moving away from a particular sport into another in which the kid is likely to be more suited based on the findings..

While the TIP is likely to be initially targeted at cricketers in the age group of 7 to 17, it could very quickly/simultaneously be made available for all sportsmen including individual sports such as Shuttle Badminton and Tennis.

He is also planning to launch a full-fledged Video Analysis Programme for sports people. While the concept may not be new, its use has been quite minimal in the below 17 age group in cricket. In fact, even at first division or TN Ranji level, it has not been used that extensively in the way it could have been to sort out technical deficiencies.

It is hoped that this cricketer with several years of Ranji experience behind him and having contributed significantly to TN cricket for a decade as a player will now be able to help the young sportsmen in early identification of their potential so it can be harnessed better.

PS: The name was added later to the story.

'Palavakkam to Google' - Ghatotkacha of Stage Drama
Over the last few years, he has become literally unstoppable with his Venpas

His evening trip to Marudeeswarar temple in Thiruvanmiyur to meet with his close friend and mentor S Ravi (now VP at Bosch, Pune) turned out to be a defining moment in Rangachari ‘Crazy’ Mohan’s life. He could not have gone any further that late evening, for visiting Palavakkam (the next destination on ECR) after dusk was fraught with risk. It was a really dark location in the 70s. Houses were few and far between. The very thought (of not being able to go any further) set him rolling and sowed the seed for Mohan’s serious foray into the world of humour in the mid 1970s. It was then that he started writing the script for his first play.

Played out to a packed audience at Mylapore Fine Arts in 1974, ‘Crazy’ Thieves in Palavakkam turned out to be a sensational hit and shot Mohan into limelight. And there has been no looking back since.

Oppili (named after Thiru Vinnagar Oppiliappan), an innocent youngster was played by SV Shekar also in his debut play. One of the conversations goes thus:

Oppili’s Father: Recite the Thiruppavai every morning

Oppili : What is that Thiruppavai?

His Father: It’s the great songs written by Andal

Oppili: In which movie do those songs feature?

His father: Shame on you. You are an Iyengar and you do not know Andal

Oppili: Who is that Andal who is known only to Iyengars!!!!

His Father: It (Thiruppavai) is the sacred songs. If you recite these, you can go to Vaikuntam (attain moksham)

Oppili’s B-in Law: What is the big deal in going to Sri Vaikuntam. If I catch a bus or train, I can reach there the next day (it is near Tirunelveli)

10 years, it was Ravi once again who initiated him into Tamil Grammar and Venpas. And now he has become so proficient that he is literally unstoppable. He begins every morning thinking of Venpas and goes to bed late in the night after he has had his day (night) of Venpa.

இட்டிலி சாம்பார் வடையுண்டு
இனிக்கும் டிகிரி காப்பியுண்டு
பட்டுத் துளிர்வெற் றிலையுண்டு
புகையிலை வறுவல் சீவலுண்டு

விட்டம் சுற்றும் ஃபேன் உண்டு
வீசும் ஏஸிக் காற்றுண்டு
கட்டுரை கதைகள் பலவுண்டு
கல்கி தேவன் அதிலுண்டு

Janaki Teacher and Mohan’s gesture

As a 6 year old boy, in the late 50s, Mohan, a student of Karpagavalli School in Mylapore was driven every day into dramatics by his favourite teacher Janaki.

She was the first one to identify his potential and the spark that he had for dramatics. 76 year old Janaki teacher, now residing in Bangalore remembers Mohan as a naughty but very smart boy. ‘I could see early signs of his skills in ‘dramatics’. In the annual drama, I chose him for the role of Veera Pandiya Kattabomman. I taught him those dialogues. He grasped it very well and even as a young boy his presentation was outstanding. I am happy that he has leveraged that inherent creative talent and achieved great success in this field.

As a token of appreciation for his teacher, Mohan named every heroine of his play ever since as Janaki – an incredible gesture (even in the movie Panchathanthiram the heroines were named Janaki and Mythili!!!

His specific interest in drawing was a result of the encouragement provided by his grandparents. His grandfather, Venkatakrishna Iyengar was a staunch follower of C Rajagopalachari. In recognition of his Thatha’s contribution to his drawing interest, Mohan’s first drawing was of Rajaji’s. After every such sketch, his Thatha would go to the shop in Mylapore and come back with the drawing neatly framed. It was also his Thatha who taught Mohan a number of Sanskrit poems.

Mohan’s Friend Philosopher and Guide

Ravi initiated Mohan into religious thoughts. Ravi also helped Mohan focus on the Tamil language. In the late 50s and early 60s, Mohan, with great difficulty, would take Rs. 5 from his grandparents and go to Ethiraj Mudali Street in North Madras to have a look at Ravi Varma’s paintings. Mohan would come back home and recollecting what he had seen at the shop would start sketching through the night. Encouraged by Ravi, this was a regular process Mohan followed during those days and thus developed the art of painting.

During those days, Mohan would also watch the paintings of his neighbour Maniam Selvam, who was also his schoolmate. This too proved to be an inspiration for Mohan to continue with his interest in painting.

Mohan’s grandmother Shenbaga Lakshmi Ammal taught him the way of life – how to remain simple and to always save money that he remembers and follows to this day.

He has always been a voracious reader right from his childhood. He drew a lot of inspiration from the humourous writings of Devan and Wodehouse. ‘Humour is a big ocean where Wodehouse immersed and brought out gems and pearls. I am still at the beach and the sea breeze has just started striking me now. I have a long way to go in the field of humour’ says Mohan in his typically modest style.

First Skit

During his college days at Guindy Engineering College, he was excited to find on the notice board a letter inviting students to send scripts for a skit. Ravi says ‘Mohan has always been a person of strong beliefs and sentiments. He is very difficult to switch over. But once he is convinced, he accepts and follows for life. ‘The brilliance was always there and it came to the fore during the college days.’

After Mouli and Mahendra had passed out of college, there was a vaccum in terms of providing humour. Mohan had an excellent sense of humour. It was immense. I asked him to write humour. His immediate reaction as usual was ‘No’. How can I write humour, was his response. Intuitively I thought he would be a great writer and convinced him. He finally relented.

Ravi and Mohan decided that they would independently write a script each. Mohan came up with ‘The Great Bank Robbery’. He was chosen as both the Best Writer and the Best Actor. Interestingly, actor Kamal Hassan gave away the award to Mohan.

Mohan started writing stories for his brother Balaji’s plays at the Vivekananda College.

Sundaram Clayton – His only Corporate Job

Immediately after completing his Masters in Production Engineering from the Guindy Engineering College, Mohan joined TVS Group firm Sundaram Clayton, his first and only corporate job. He slogged there for almost a decade managing the tool room. It is difficult to imagine now that Mohan was once a full-fledged factory man those days.

Dogs on RK Salai and TTK Road literally drove Mohan out of his corporate job. After his late night duty, Mohan would ride back on the then popular Lambretta all the way from the factory in Padi to his house in Mylapore. Unfortunately starting at the Gemini Flyover and right through to TTK Road, a set of dogs took a special liking for Mohan and they would chase him relentlessly every night. They could literally sniff the sound of the lamby as it crossed the MG Road. Mohan has a phobia for dogs and having both his legs up during that chase proved a torturous exercise for him. This was one of the reasons for him to quit his corporate job.

Crazy Creations - 1979

When his brother was transferred from SBT Palghat to Madras, Mohan started a troupe of his own (Crazy Creations) in 1979 after a discussion at Pinjala Subramanyam Street. Mohan worked backwards on Crazy Creations’ first stage drama. The title was first fixed as Alauddin and 100watts bulb and he wrote a script for the title!

He wrote scripts for Tenant Commandments, Marriage made in Saloon (which was later re- made by K Balachandar as a movie), Maadhu+2 and One More Exorcist among many others, each of which was well received by the audience.

Crazy Mohan credits a lot of his success to his brother ‘Maadhu’ Balaji who he says shoulders and anchors the entire play. Kamal Hassan offered him roles in his movies but Balaji chose drama over films. He sacrificed several opportunities for comedian role in films because he wanted to keep the dramas going. Mohan is proud of the fact that his troupe has never done a drama without Balaji, such is his commitment.

Mohan had great fascination for KB and Nagesh from his early days with a specific liking for Maadhu (Nagesh’s terrific performance in Ethir Neechal). Hence Balaji has always been ‘Maadhu’ in every single play of Crazy Mohan that he has come to be called ‘Maadhu’ Balaji.

His Wedding!!!!

Mohan had penned the story for Kathadi Ramamurthy’s popular hit ‘Ayya Amma Ammamma’. Buoyed by its success, the owners of Kumudam wanted them to present it in their auditorium. With women not allowed inside Kumudam in those days, Crazy Mohan donned the role of ‘Janaki’ in that play that day. It was also the time Mohan was being finalised for Kumudam Parthasarathy’s niece. Instead of Mohan and his family seeing the ‘Ponnu’, Parthasarathy and his family saw the prospective Mapillai in the ‘Ponnu’ form with Kumudam Parthasarathy providing a hilarious introduction of Crazy Mohan to those gathered there. That ‘Janaki’ is our ‘Mapillai’. Quite a hilarious event in his life!!!!

Cemetery meeting with Kamal

In the 1980s, Mohan was coming back from work. He saw a crowd inside the cemetery and wondered what it was. Suddenly he saw a raised hand calling out for him. It was Kamal Hassan. The seed for the script of Aboorva Sahodarargal were sown that evening at the Cemetery on St. Marys Road. Two days later, Kamal sent home a car and the agreement had been signed for the film with Mohan as the script writer. It was a transformational meeting for Mohan. Since then the two have worked together in several successful films. ‘When I present dramas, Kamal is my Visiting Card. For my overseas foray, he is my Visa. And the common chord between us is ‘Humour’ says Mohan on his decades long association with Kamal.

Ghatotkacha of Stage Drama

The joint family system that Mohan was brought up into has played a key role in his troupe staying together for 36years and continuing to producing successful plays globally. Crazy Mohan has sketched 1000s of personalities through his paintings. He has staged over 6000 plays and written script for over 25 super hit films including Katha Nayakan, Avvai Shanmugi, Aboorva Sahodarargal, Michael Madana Kamarajan, Tenali, Panchathanthiram, Vasool Raja MBBS and Arunachalam. He has also authored over 150 short and serial stories in leading magazines. Mohan has also written, produced and acted in 10 Hilarious TV Serials.

A decade ago, Mohan went to Ravi for initiation into Tamil grammar. He was literally unstoppable once he started learning. He would send 10-15 Venpas every night. Such was his passion once he took up something, he would relentlessly pursue that.

At a time when staging commercially successful plays are seen as a challenge, Crazy Mohan’s stage dramas continue to be in big demand. The gate collections are such that sabhas are queuing up to sign him on.

Crazy Thieves in Palavakkam made him a household name. The chance meeting with Kamal Hassan at the St. Marys Road Cemetry triggered his successful expansion into films and elevated him onto the global stage.

No play has ever touched a1000 shows for a single play. With Chocolate Krishna, presented for the first time in 2008, Mohan is on the verge of creating history in the world of Tamil Drama. Last month, he presented the 777^th show and is fast moving towards the magical 1000^th show.

Whenever that happens, it will be a significant milestone for Mohan. And he will truly be the ‘Ghatotkacha’ of Tamil Plays (incidentally his next play is aptly titled Google ‘Ghatotkacha’).

Crazy’s Best

BEST MOVIE : AVVAI SHANMUGHI

BEST DIALOGUE : ANDAVAN NINAIKIRAN, ARUNACHALAM MUDIKIRAN

FAVOURITE PLAY : CHOCOLATE KRISHNA FOR ITS ONE LINERS

FAVOURITE PLACE : MARUDEESWARAR TEMPLE

FAV CRICKETER :R PRABHAKAR (HE WOULD HIT EVERYTHING OUT OF THE GROUND)

Unique piece in Tamil Literature – Foremost among the ‘Pillai Tamil’ poets

Name your children after the Lord for at least then we can utter his name whenever we call them. This will earn us the merit of calling the Lord’s names every day

(This series on Periyazhvar will take a look at each of the five Cantos and the 473 verses of Periyazhvar Thirumozhi)

Each of the works of the Saint Poets Azhvaars has a unique aspect to it. Nam Azhvaar and Thirumangai Azhvaar have contributed over a 1000 verses each. Andal is seen as the Epitome of the yearning of the feminine individual towards the male - the unflinching love of a young girl for the Lord.

PERIYAZHVAR AT SRIVILLIPUTHUR

Benedictory Hymns

Among them, Periyazhvar has created a niche for himself with his Thirumozhi that stands in a class by itself. It occupies the first place in the 4000verses. Periyazhvar is the only one who sung an entire set of benedictory verses - a prayer for the welfare of the Lord himself. No other decad in the Nalayira Divya Prabhandham has such an exclusive set of verses praying for the ‘long years’ of the Lord. The first 12verses of Nalayira Divya Prabhandham are presented prior to the commencement of every recital of the Prabhandham at temples. He is also the only one among the Saint Poets to be called ‘Periya’ Azhvaar, the big one.

Periyazhvaar is unique because he was fully committed to divine living – to live for God and to share his pure love for God. In his verses, he refers to anecdotes describing the scenario sharply, beautifully and gracefully handling deftly different emotions.

Vishnu Chittar’s trip to Koodal Nagar

Vishnu Chittar (later Periyazhvar) was a true devotee of Lord Narayana and had dedicated his entire life to selfless service of the Lord in Srivilliputhur. He was invited to a debate in Koodal Nagar (Madurai) after King Vallabha Deva was told by an invisible voice that ‘what is required / you want after death should be accumulated in this life itself.’ The king spent sleepless nights on this and sought to know its inner meaning. He summoned his head priest Selva Nambi to find him the answer. Selva Nambi, who had heard of Vishnu Chittar, sent an invitation to Srivilliputhur to get Vishnu Chittar to participate.

Simultaneously at Srivilliputhur, Vishnu Chittar was instructed by the Lord in his dream to go to Madurai to participate in a debate that was being organised by the Pandya King with a direction to spread the Vaishnavite message on life’s philosophy.

There was a huge prize on offer to the one who provided insights into this. Many scholars came forward but the bag with the golden coins hung in the balance. When it was time for Vishnu Chittar to come up with his presentation, he stunned the Pandya King with his description of Lord Narayana and projecting him as the Supreme Being giving various references from the Vedic Scriptures and stating that worshiping him in one’s life time with devotion was the highest form of worship and was likely to lead one to what we want after death.

Even as he was finishing his speech, the golden coins were showered on him, for Vallabha Deva was truly impressed with his presentation and had got the answers that he sought. It was then that he was conferred the title of ‘Bhattar Piran’ by Raja Simhan I (Vallabha Deva) and was led into a royal procession around the streets of Madurai in a grand event witnessed by a huge crowd. The melodies of musical instruments resonated everywhere and Bhattar Piran was surrounded by a royal retinue with the Pandya king requesting him with open arms to ascend and mount on to the elephant top.

As he moved along in the procession, he suddenly had darshan of the Lord along with Goddess Lakshmi on Garuda mount against the back drop of the clear blue sky.

Immediately he fell into a trance and watching the Lord in high sky praised him expressing concern of his safety. Verses poured out instantly as he sung for the Lord’s long life. It was seen as so sacred that Thiru Pallandu became the first decad of the Naalayira Divya Prabhandham.

Vedantha Desikan on Periyazhvar

Vedanta Desikan in his Prabhanda Saaram provides a delightful description of this event in Madurai

பேர்அணிந்தவில்லிபுத்தூர் ஆனி தன்னில்

பெருந் சோதி தனில்தோன்றும்பெருமானே

முன்சீர்அணிந்தபாண்டியன்தன்நெஞ்சுதன்னில்

துயக்கறமால்பரத்துவத்தைத் திருமாச்செப்பி

வாரணமேல்மதுரைவலம்வரவே

வானில்கருடவாகன நாய்த் தோன்ற

வாழ்த்தும் ஏரணி பல்லாண்டுமுதல்பாட்டு

நானூற்றுஎழுபத்துஒன்றுஇரண்டும்

எனக்குஉதவுநீயே

Born in Aani in Srivilliputhur with great skill, he enlightened the Pandya king on the transcendental truth and sang benediction to Lord Narayana who he saw with Goddess Lakshmi on Garuda in the sky as he rode around Madurai on the mighty elephant. He sang hymns starting with Thiru Pallandu and other beautiful 471 and 2.

The place where Periyazhvaar had this vision of Lord Narayana in Madurai is referred to as ‘Mei Kattu Pottal’.

Trend Setter in Tamil Literature – Pillai Tamil

Periyazhvaar was a trend setter in Tamil literature. His KrishnaAnubhava is seen from his seeing himself as a mother of a cute unique child, enjoying every action of this child. Through his verses that bring great poetic expression of the growth of a new born, Periyazhvar lures every mother to sing for her child. His poems are studded with pearls of events from Puranas, Itihasa and Vedic lore.

His entire composition especially the first two cantos is seen as a great literary work in Tamil extolling the everlasting enjoyment of experiencing Child Prodigy. Nowhere else in the 4000 verses or even for that matter in Tamil literature do we see such expressive songs on the growth of a child from his infancy, and the wonderful moments a mother has with her child. All other decads in the first canto (other than Thiru Pallandu) fall under Pillai Tamil, one of the 96 kinds of poetic compositions. Periyazhvar is considered to be the foremost among the composers of this genre called Pillai Tamil.

In this Pillai Tamil, the poet takes on the role of a mother and looks at the growth of a child through its 10 different phases dedicating around 10 verses for each. Periyazhvar has retold the story in his own inimitable style visualising himself as Yashodha, the mother of Krishna and presenting his thrilling experience of dealing with this extra ordinary new born child.

Periyazhvar Thirumozhi - 473 Verses

Periyazhvaar composed 473 verses comprising of 5 Cantos with the final one being the shortest. Periyazhvaar Thirumozhi is about the experience he had when he assumed the role of Krishna’s mother, his associates and lived the life of those people through these verses.

The first two cantos comprising of over 200 verses reveal his mystic experiences as he takes on the role of Mother Yashodha. It is an unusual parental / motherly attitude of Periyazhvar converting himself into playing the role of Yashoda and enjoying the infant to boyhood stages of Krishna. Over half of these 473 verses portray the joyful pleasures of a doting mother with a clever and mischievous child experiencing the move from infancy to boy hood. Throughout the first half his outpourings as Yashoda are highly emotional and excel in compassion and include several other expressions. In these verses, Periyazhvaar through Yashoda brings out the different moods of a mother and her handling of an extraordinary child.

Second half of Periyazhvar Thirumozhi

In the 2^nd half of Periyazhvar Thirumozhi, he brings to us his own experiences with Lord in his various moods and his own spirited journey to attain the Lord. He takes on the role of Hanuman and conveys Rama’s message to Seetha. He sings praise of the Lord in different temples including Thiru Maliruncholai, Srirangam, Thiru Venkatam and Thiru Kottiyur. He conveys his absolute surrender to the Lord and expresses gratitude for Lord’s protective grace (Yetridai Mann Konda Enthai).

With Andal continually thinking of the Lord, she implored cuckoo to call her beloved Lord, asked the cloud as her personal messenger to informed the Lord about her languishing ailment of Love in her heart rendering hymns expressing her blooming full grown bosom dedicated intently for the Lord who holds delightfully the conch and the chakra. Even a mild whisper to negate this ( love) will result in her ending her life she says.

Finally convinced of her dauntless love for the Lord, into the 2^nd half of the Periyazhvaar Thirumozhi, he speaks unhesitatingly in the third canto. He took her to Srirangam for his marriage /merging with Lord Ranganatha. Later King Vallabha Deva built the Veli Andal Sannidhi ( in West Adayavalanjan) in the 8^th Century AD, the place when Periyazhvaar brought Andal to meet with Lord Ranganatha in Srirangam. In a thanking gesture, Periyazhvaar refers to the king as Kon Nedumaran Ten Kudar Kon (4.2.7).

Periyazhvar brings to us the feeling of parental love and the agony of separation from one’s daughter. He falls into a sorrow mood missing his daughter and says that without her, the house has become desolate.

‘When Yashodha finds my only daughter will she welcome her with open hands as the daughter in law’ he asks in a verse. The wonder boy of Brindavan who plays the flute mesmerises the entire universe finding great jubilation among birds and animals. Gandharvas and celestial damsels forgetting themselves gather around Krishna and remain spell bound on listening to his mysterious flute recital.

In the early verses he talks about the child’s broad shoulders, wide chest and his abilities as a wrestler. In the final set of verses he is still immersed in the praise of Krishna and presents to us the essence of Vishistadvaita doctrine ‘Unnai Kondu Ennum Vaithey…’

Conclusion

Thrilled with the sighting in the air, Periyazhvar ends his Thirumozhi with the Senniyongu verses describing his mystic experience – He says that ever since the Lord on the Garuda mount in the sky ‘adopted me’, the ocean of birth and deaths has dried up and become a sanctified place.

'The experience is truly amazing' was Periyazhvar's fitting finale to his Thirumozhi. In the last decad - Senniyongu - he says he has been blessed that the Lord quit the milk ocean and the Northern hills (Thiru Venkatam) and immersed in him. He calls the Lord his father and protector of his soul.

It is a great lesson for true devotion in each of our lives when we hear him say that his hunger is not when he is starved of food but of the days when he has not worshipped the Lord with fresh flowers, singing praise of him and reciting vedic scriptures.

He appeals to devotees to name their children after the Lord for at least then we can utter his name whenever we call our children. This even if it’s not in meditation will earn us the merit of calling the Lord's names repeatedly every day.

In the first Canto comprising of close to 120 verses, Periyazhvar describes the early months in the life of child Krishna, One that brings great excitement to Mother Yashodha

His first steps, Toddling, Dancing and his first sighting of the Full Moon

Periyaazhvar has dedicated the first 12 verses of his 473 to the Lord, born on Sravanam and reclining beautifully in Anantha Sayanam, offering benedictory hymns of praise.

In the first 107 verses of Periyaazhvar Thirumozhi after the benedictory hymns (Thiru Pallandu), Periyazhvar enjoys the mystic experience of handling a child prodigy (Krishna) through the eyes of a mother (Yashodha). Periyazhvar brings to us the mood in and around his house immediately following his birth. Yashodha dotes on him, sings lullaby for the baby in golden cradle, invites him to drink milk. She invites her friends to come to his house and admire the handsome features of the baby limb to limb.

This first canto deals with the progress of Krishna during his first few months of his life. The birth of the child, his first steps (Thalar Nadai), swaying dance on the mother’s lap (Sengeerai), clapping hands in happiness (Chappani) and the joy of sighting the full moon (Ambuli) for the first time are described in detail in these verses.

YASHODHA AND KRISHNA - EXCLUSIVE SKETCH BY CRAZY MOHAN

The child’s bodily features from head to toe are described in 21 verses. This is the highest for any decad in the entire Naalayira Divya Prabhandham.

In the last two decads of the first canto, Periyazhvar brings to us the yearnings of a loving mother who is seeking the embrace of this extra ordinary child, first receiving the hug from the front and then experiencing the embrace from behind leaving her in a state of ecstasy.

As seen in the early story on Periyazhvar, these verses are referred to as ‘Pillai Tamil’ as it describes the different phases of a unique child.

Thiru Pallandu - Benedictory Hymns

First Decad

In the first decad, Periyazhvar praises the handsome features of the Lord and prays for his long life. It is the only set of verses among the 4000verses where an Azhvaar has sung benedictory hymns of the Lord.

Lord’s Physical Might

In different verses in the first decade, Periyazhvar describes the physical strengths of the Lord. If in one verse he is seen as the one with strong shoulders (மல்லாண்ட தின் தோல்) and one who vanquished wrestlers, in another he is described as the one holding the dazzling fiery discus on his right hand as well as the Pancha Janya (the conch) that strikes terror on the battle field (அப் பாஞ்ச சன்னியமும் பல்லாண்டு) .

He Lord is also described as Rama and Krishna in different verses – in one verse he is identified as the one who blazed through the Rakshashas with his army and destroyed Lanka and in another he praises the Lord as the one who snapped the bow of Kamsa at Mathura, swooped down to the pool from atop the Kadamba and danced on the head of Kaliya, the five hooded Serpent.

How should we live our lives?

எந்த தந்தை தந்தை தந்தை தம் மூத்தப்பன்

ஏழ் படி கால் தொடங்கி

வந்து வழி வழி ஆட் செய்கின்றோம்

For 7 generations, Periyazhvar says that he and his fore fathers have been pure hearted and tried to be as Clean as possible having rendered relentless service to the Lord - his father, his grandfather, great grandfather and on and on had offered their services to the Lord who on Sravanam, right on dusk, descended as half Lion and destroyed the asura Hiranya (அந்தியம் போதி லரி யுருவாகி அரியை அழித்தவனை ).

He had arms sanctified with the sacred symbol of discus that blazes fire in scarlet rays and shines more gloriously than the luminous Sun. He killed Banasura who was an expert in mysterious warfare, tearing him apart under his 1000 shoulders that bled in streams. We see in the flag of the Lord Garuda bird, who is the enemy of the hooded serpent.

He suggests to the devotees who live with the only desire of serving the Lord to carry immediately talc paste and those with fragrances. Periyazhvar asks them to resist worldly pleasures and asks them to join the come together as true devotees letting go off vain glory to sing the sacred Om Namo Narayana mantra. Periyazhvar says that it is important for us to give up our old bad habits and to connect with him.

He cautions that no one whose thoughts are just on food shall be allowed here (கூழாட் பட்டு நின்றீர்களே எங்கள் குழுவினில் புகுத்த லொட்டோம் ).

Purification of our soul

Periyaazhvar reminds us of the different things we, as devotees, take from the Lord.

நெய்யிடை நல்லதோர் சோறும் நியதமும் அத்தாணிச் சேவகமும்

We wear the sacred yellow silk robe worn and cast off by the Lord, every day we eat the sacred food (good rice with tasty ghee) first offered to him, we deck our self with garlands worn by the Lord. He also offers us betel leaf and ornaments for ears and the neck. Through his blessings we get the fragrant sandal paste to smear on our body which makes our soul purified.

அல்வழக் ஒன்றும் இல்லா அணி கோட்டியர் கோன்

அபிமான துங்கன் செல்வனைப் போலத்

Periyaazhvar compares himself to a noble king of fortified temple with a towering structure ( Thiru Kottiyur?) who was faultless and without any wrong intentions and says that he has tried to be just as pious like that noble king and that his heart is too pure and chaste in every aspect. He asks us to chant Om Namo Narayana besides ecstatic inspired mystic names with all our powers.

Praising the Lord in his abode as the Supreme One wielding the bow Saranga, he asks us to sing these benedictory Thiru Pallandu verses seeking a long life both for the Lord and for our own selves.

In each of these verses, Periyaazhvar refers to the Lord as ruling the entire universe dancing happily everywhere and offers his benedictory song and prays for his happiness. As true devotees ‘we should worship you feet and pray that your beautiful lotus feet be guarded well.’

He wants all of us to come together as one group and worship him, and continuously utter the 1000 names of the Lord (தொண்டக் குளத்தில் உள்ளீர் வந்தடி தொழுது ஆயிர நாமம் சொல்லி) and sing benedictory praise wishing for his long life.

Yashodha provides a recipe for ‘slimming’ in two weeks

Krishna breaks the cradle with his first kicks

( Decad 2)

Periyazhvar begins the 2^nd decad describing Thiru Kottiyur (75kms from Madurai) as a place that had big magnificent mansions and fertile land with green paddy fields (வண்ண மாடங்கள் சூழ் ….. செந்நெலார் வயல் சூழ் திருகோட்டியூர்). Through these 2^nd set of 10verses, Periyaazhvar brings to us the excitement surrounding Krishna’s birth. He says that Krishna as Kesava chose Nandagopal’s house as cradle. All of them were so excited that they sprinkled oil and turmeric powder on each other that then spilled into the vast courtyard and slashed the portico of Krishna’s house.

Immediately on hearing the news of the birth of a son to Nanda, the people ran fast in an excited manner. In this excitement some of them stumbled down, then picked themselves up and started running again in joy (ஓடுவார் விழுவார் உகந்தாலிப்பார்). They hugged each other and asked about the whereabouts of the new born. Singers, drummers and dancers thronged the place and performed together. Thus Gokulam became the cowherds’ dwelling place and hamlet.

Those born in Shravanam will rule the world

All of them were thrilled to see him. They just seem to love him instantly on first look. And then they came out of the mansion and everyone in unison felt that there was no one equal to him (ஆணொப்பார் இவன் நேரில்லை காண் ) confirming the fact that those born in Shravanam will rule the world (திருவோணத்தான் உலகாளும் என்பார்களே).

The birth of this young child sent the entire Gokulam into a tizzy. Most of them almost lost their minds. So excited were they that they rolled out the pots into the courtyard sprinkling milk and butter and danced their way around the new born. The entire place seemed to have received a new illumination and there was buzz about the new born, everywhere.

The hairs of the ladies were let loose and dishevelled as they were drunk with never been seen happiness (சேரி மென் கூந்தல் அவிழத் திளைத்து எங்கும் அறி வழிந்தனர்). They overturned the pots of milk and ghee in their portico.

Cowherds came in big heaps from the forest. Their teeth were as white as the Mullai Jasmine flowers. Wearing a neatly woven bark cloth, they carried with them a sharp axe, a bamboo staff as well as a sleeping mat that was made from screw pine fibre. As they saw the new born, they were so excited that they smeared themselves with ghee, butter and danced around.

His First Bath – Yashodha sees the entire universe

Having set the scene of excitement in Gokulam, Periyazhvar describes the scene around Krishna’s first bath. Yashoda stretched his hands, legs, limbs slowly and then rubbed gently softly massaging him with warm water (கையுங் காலும் நிமிர்ந்துக் கடார நீர் ) to relieve him of any pain of having been lifted by all the people around. She gave him a bath that he seemed to enjoy. She then used turmeric pieces to cleanse the tongue that was rosy and alluring.

And when she opened his mouth, she was stunned to find a glimpse of the 7 worlds inside his mouth (வையம் ஏழும் கண்டாள் பிள்ளை வாயுளே). How excited mother Yashoda was to have darshan of this. Her joy knew no bounds.

After mother Yashoda had bathed him and seen the 7worlds in his mouth, the other ladies came to him and saw inside his mouth. And to their bewilderment, they too could see the entire universe. It was difficult for them to believe. They exclaimed once again that this was no ordinary child. They shouted around saying that this is no Yadava child. He is God himself (ஆயர் புத்திரனல்லன் அருந் தெய்வம்). He has noble virtues that had never been seen earlier.

Having described the happiness surrounding the birth of Krishna and the initial joy and ecstasy of the first bath in the first 7verses, Periyazhvar moved on to the activities after the 10^th day.

10 days pass by and Celebrations

With the statutory 10days having elapsed, the Yadava clan erected festive pillars on all sides (பத்து நாளும் கடந்த இரண்டாம் நாள் எத்திசையும் சய மரம் கோடித்து). They then lifted the child prodigy who had been all play even during the first 10days. They praised the child as one who could fight even the mad elephants and who could lift the mountains in his two hands for had they not seen the entire universe in him.

Breaks the Cradle with one Kick

Periyazhvar describes the exhausted state of Yashoda after just 12days in a way that no mother would previously have experienced but is he not a wonder child. She has no clue as to how handle him.

She found to her horror that whichever way she carried him he struck her with a force that was unusual for an infant. She let her current situation be known to the Gopis and other ladies around.

Like every mother, she put him in a cradle for him to sleep. But no sooner did she do that, he tore and broke it to pieces by kicking it (கிடக்கில் தொட்டில் கிழிய உதைத்திடும்). She then in a typical mother’s position held him on her hip. But in a few seconds he squeezed and pressed her so hard that it gave her unbearable pain. Then she held him on to her bosom and this time he gave her a kick in the belly.

Slim your way in just 2weeks

In a matter of less than two weeks, she laments that she has become thin and totally tired of handling this ‘mischievous’ child (மிடுக்கு இலாமையால் நான் மெலிந்தேன் நங்காய்).

The longest decad in Divya Prabhandham

21 verses that describe the child Krishna from toe to head

Periyazhvar Thirumozhi - Third Decad

The initial celebrations and the statutory period are over but people of Gokulam haven’t become tired of sharing their own personal experience of having dealt with this new born.

Tired, though she was, Yashodha too could not resist talking about him. In 21 verses, the highest decad in the Nalayira Divya Prabhandham (outside of the Prose works),,Periyazhvar describes through Yashodha the physical features and attributes of Krishna starting from his toe and going right up to his head.

Yashodha to whom Devaki gave away her son on birth was all excited to look at the innocent looking child. She says that he even likes his toe so much that he is constantly holding on to his feet and sucking his toe with great enjoyment, Yashoda calls all the girls to come and watch this wonder child’s liking for his own toe (பேதைத் குழவி பிடித்துச் சுவைத்து உண்ணும்). She says that each of 10 little toes look stunning. It seems that the toes of the little boy are alternating between pearls and gems and diamonds and garnets. She has also noticed a harmony about his toes - and from one angle one almost sees it as golden toes (பத்து விரலும் மணிவண்ணன் பாதங்கள்).

With Krishna enjoying a peaceful sleep on her lap, she asks them to look at both his lovely feet and the shins that are studded with silver anklets.

But the sleep lasts only a little while. He is up again to frustrate her. After showcasing his beautiful rounded knees to her friends and his graceful crawls on the floor, she gets back to work only to find that in a flash he has finished consuming pot after pot of the butter that she had so meticulously churned. There is not a pot left and she unfurls the churning rope to threaten him with a whip. As if upset by her action, he creeps for a while before intelligently moving away (பழந்தாம் பாலோச்சப் பயத்தால் தவழ்ந்தான் முழந்தாள் இருந்தவ காணீரே).

Periyazhvar moves up to describe the thighs of this child who had once long ago torn apart the chest of the asura Hiranya and had sucked the poisonous breasts of the treacherous Putana. Yashodha calls her friends to show the thunderous thighs (குறங்குகளை வந்து காணீரே) of this child and tells them that he is now acting as if he is sleeping innocently having just been pulled up by her.

Throughout the verses in the first Canto, Periyaazhvar refers to the slender waist line of the child that is studded with pearls and coral strings and a golden girdle.

The young child even at this young age showcases himself as a strategist. Even as the other children come to play he shows his might by ignoring them and playing to himself like how an elephant calf would play with its own tusk (தந்தக் களிறு போல் தானே விளையாடும்). Yashodha says that he is showing off his beautiful belly and navel that look so lovely (உந்தி இருந்தவா காணீரே).

Perturbed by his naughty behaviour, Yashodha feeds him milk and while doing so quietly ties him up stealthily but resolutely with a rope around his stomach, that she says is so beautiful. She hopes that this will put an end to his tantrums, at least temporarily.

Periyaazhvar follows this with the description of his big broad chest. He says that the child’s broad chest is filled with a beautiful glittering pendant (குறு மா மணிப் பூண் குலாவித் திகழும் திரு மார்வு). Even as he crawled he showed the strength of his chest by destroying the twin Marudha trees despite being bound to a large mortar.

5 month old child

Into the 2^nd set of 10 verses of adulation of the child’s physical prowess, Periyaazhvar describes his progress into the 4^th and 5^th month. He has grown physically stronger in these 4months and has now gained the strength in his legs to kick the treacherous Sakata to doom (நாள் களோர் நாலைந்து திங்களளவிலே தாளை நிமிர்த்துச் சகடத்தை சாடிபோய்). During this time he also sucked the life of Putana. Yashodha admires his strong shoulders that could kill asuras. See the ARMS of the child, she says.

His Palms and signs of a special child

Periyaazhvar compares the handsome young child to a beautiful garden where flowers blossom. He says that the 4-5months child is blossoming under the guidance of the wide eyed Yashoda’s garden. As one looks at the palm of his hands, one can find imprints of the conch and discus, a clear indication that he is no ordinary child (நெய்யத்தலை நேமியும் சங்கும் நிலாவிய கைத்தலங்கள் வந்து காணீரே).

In the first 10 verses Periyazhvar described the lower part of the child's body. Then he moved on to the waist and stomach and then to the broad chest of the child.

In the 13^th verse, he describes the lovely neck of the young child. Bees are seen humming around the flower filled garden of Yashodha who is showering love on the young child as if he was her own. Even as a young infant of just a few months he has swallowed the whole universe.

Coral Lips and Red Mouth

The cowherd girls and Gopis lift the handsome child calling him out as their lion cub. They kiss him with their coral lips pressing him with all their love. And they enjoy the nectar springing from his reddish mouth just like a Kovai fruit (அத் தொண்டை வாய் அமுதாதரித்து ஆய்ச்சியர் தன்தொண்டை வாயால் தருக்கிப்பருகும்).

Attractive Nose – Hard to ignore!!!

Periyaazhvar goes about describing the delight with which Yashodha is bathing him. She observes his face and wonders as to how beautiful it is. She gives him the finest turmeric power and cleans his tongue. She finds his lovely mouth very sweet and soft. His eyes are stunning and she is just not able to take her eyes away from him. She feels that his nose is so attractive that anyone will be drawn towards it (வாக்கும் நயனமும் வாயும் முறுவலும் மூக்கும் இருந்தவா காணீரே). And to add to these he has got a beautiful alluring smile that draws everyone towards him.

Describing his as sparkling, Periyazhvar says that his eyes provide a spark the moment one’s eyes fall on the little child.

While he is giving serious blows to the demons and asuras even before coming of age, Yashodha is just not able to take herself away from admiring his eye brows that look so different and strange. Anyone looking at him is instantly drawn to his brows.

Makara Ear Rings

Even when there is a serious deluge of 7seas, mountains, earth and all, this boy plays around unmindful of what is happening around him and counters it with effortless ease. And watching him with those beautiful Makara rings on his ears, one tends to forget even the worst of deluge is how he describes the EARS of the child.

Not yet 3 years old and yet knocking out older boys

Even then, thousands of years ago, the girls used to make a house out of sand. This young mischievous child who is described as one with a beautiful forehead comes around and in a flash takes away with his tiny little hands their pots, winnow plates and palm leaf dolls and is out of sight in no time (சிற்றி விழைத்துத் திரி தருவோர்களை பற்றித் பறித்துக் கொண்டு ஓடும் பரமன் தன்). He has a beautiful smile on his face. He does not have the age to match the bigger boys. He even goes to the girls, much older than him and plays around with them. It is a wonder as to how he can do so much before he has even turned three years.

The familiar curly locks

Into the final two verses, Periyazhvar talks about the lovely curly locks in his hair. Holding a golden wand in his hand, he is seen rearing the cattle and tending them lovingly. His anklets as described earlier are scratching each other and resonating. There seems to be a merry jingle of silvery band. All these ornaments look so lovely on him(அழகிய பைம் பொன்னின் கோல் அங்கைக் கொண்டு கழல்கள் சதங்கை கலந்து எங்கு மார்பப் மழை கன்றினங்கள் மறித்துத் திரிவான்).

He looks so lovely in those curly locks, Yashodha says.

In these 21 verses, Periyazhvar took the role of a mother (Yashodha) and described to us the physical attributes of Child from toe to head (யசோதை முன் சொன்ன திரு பாத கேசத்தை). Also during this extolling of his attributes, he has grown from an infant to a 5 month old and by the end of this decad to almost a 3 year old boy.

Those who read and recite these verses of the physical attributes of this Godly child with sincere devotion will gain special entry to Vaikuntam (through a special entrance, they will get a VVIP entry there)

'It is now Time for you to Sleep' says Yashodha

Gifts showered on the new born by Celestial Powers - Anklets from Indra, Necklace from Kubera, Bangles and Bracelets from Varuna + More

After the happiness surrounding the birth of the new born in Gokulam ,Periyazhvar described the physical features of the new born, who to the residents of Gokulam was unique. They had not seen anyone like him before.

In this fourth decad (மாணிக்கம் கட்டி வயிரம் இடைகட்டி) of the first canto of the Periyazhvar Thirumozhi, one is taken back in time to get a glimpse of the special kind of gifts showered on the new born by different Celestial Lords each of whom wanted to out beat the earlier gift.

Highlighting the specialities of each of these gifts that have come to him, Yashodha lures her loving child in the golden cradle to stop crying and to go to sleep.

Brahma gifts the golden cradle

Brahma created the young child and gifted in a golden cradle studded with diamonds and rubies which seemed to be specifically made for him. Yashodha tells him that a beautiful girdle with beads and perfectly made for his waistline has been personally sent by Lord Shiva who is described as on who rides on the bull as Kaabali (விடையேறுகாபாலி ஈசன்விடுதந்தான்).

Lovely Anklets from Indra

Then Periyazhvar describes Indra’s gift to this child. In sync with his lotus feet, Indra gifted lovely anklets that resonate time and again the special kin-kini tunes with great effects that draws every one towards the young child (இந்திரன்தானும்எழிலுடைக்கிண்கிணி தந்து). Yashodha says that these anklets combined with his lotus like red eyes are a perfect combination for him to lie down and sleep peacefully.

The next gift for this lotus red eyed and dark hued Lord comes from celestials in the sky. He is praised as on with a superb conch and gets anklets that ring a sweet music each time he moves his rosy feet. For his strong arms, he is given gorgeous armlets and bangles. A golden cincture for his waist was another addition from the celestials. Yashodha praises him as a Lion Cub. With all the new ornaments shining brightly on him, she says it is time right for him to sleep.

Kubera gifts a Necklace

The next gift came all the way from the Lord of the Northern Quarter. Kubera (described by Periyazhvar as Vaisravana), presented a gift comprising of 5 ornaments – Conch, Chakra, Mace, Dragger and Bow (அழகியஐம்படையும்ஆரமும்கொண்டுவழவில் கொடையான்வயிசிராவணன்). Vaisravana is described as standing with folded hands in a noble posture having presented the unique with all of these special gifts.

She is so happy that it fits perfectly on his broad chest that has a radiant shine about it. With the ornamental necklace on your chest, you need not fear anyone, she says. What excuse would you now give to not sleep asks Yashodha, questioning her son of his refusal to sleep.

Varuna’s Bangles and Bracelets

Periyazhvar experiences as Yashodha the gift given by Varuna to the young child. From the strong waves of the ocean, Varuna has carefully picked up a perfect set of bangles and bracelets with prized corals and a string of stunning pearls put together in the form of grand garlands (ஓதக்கடலின்ஒலிமுத்தின்ஆரமும்சாதிப்பவளமும்சந்தச்சரிவளையும்மாதக்கவென்றுவருணன்விடுதந்தான்).

She says it just looks so beautiful on his strong shoulders.

Gifts from Three Goddesses

Thrilled with this handsome new born, Goddess Lakshmi herself strung together a garland of fragrant Tulsi leaves and a garland of flowers from Kalpataru, the wish yielding tree that grows aplenty in celestial heaven (தேனார்மலர்மேல்திருமங்கைபோத்தந்தாள்).

Yashodha tells her new born that all of them have been presenting him with exciting gifts to keep him happy. With all the celestial Lords and Goddesses showering special gifts on him, he should stop crying and should sleep well.

Bhoo Devi’s wants to outdo others

After Lakshmi, Bhoo Devi, Goddess of Earth too was keen to send something to the new born. She wanted to out beat all other earlier gifts (அச்சுதனக்குஎன்றுஅவனியால்போத்தந்தாள்).

Keen to impress the new born, she showered on him a host of gifts – a golden sword, ornaments and armlets, a lovely robe, golden bangles, jewels, a head dress and stem like gold flower, a golden diaper and a pendant for his forehead as well as a hair pin with flowers marked with gold (கச்சொடுபொற்கரிகைகாம்புகனகவளை உச்சிமணிச்சுட்டிஒன்டாள் நிறைப்பொர்பூ )

Durga gifts items for his bath

Durga who rides deer gifts the young boy with powder of fragrance along with turmeric, vermillion powder for bath consecration, Sindoor power for his forehead and collyrium for his large red lotus eyes (மெய்திமிரும்நானப்பொடியோடு மஞ்சளும், செய்யதடங்கண்ணுக்குஅஞ்சனமும்சிந்தூரமும்).

With all these gifts showered on him by celestial powers, Yashodha says that there is no more reason to cry and that he should sleep for sometime on his golden cradle.

Hanuman went after the Sun - This new born goes after the Moon

The new born has taken a fascination for the bright full moon in the sky and has invited him to come and play with him

We now know that this new born has some handsome features including an attractive nose. His Makara Ear Rings - visit Thenthiruperai Divya Desam to find Lord Makara Nedung Kuzhai Kaathan (http://prtraveller.blogspot.in/2008/09/then-thiruperai.html) - have now become the talk of the town. He is also seen as a self indulgent child - He loves his toes just as much as fingers. Delighted at this new born, the celestials have showered very many gifts on him each trying their best to impress him.

In these 10 verses, Periyazhvar takes the role of Yashodha and experiences the child’s fascination for the full moon (தன் முகத்துச் சுட்டி தூங்க தூங்க ).

Request turns to Caution

Through these set of verses, we see that she first requests, then prays and towards the end threatens and cautions the Moon God to answer the wishes of her son who on seeing the full bloom of the moon for the first time is keen to play with it, almost in a way Hanuman went after the Sun.

Yashodha describes the various activities of her son to the Moon. She says the beautiful golden faced child falls, rolls and crawls in the dust (பொன்முகக்கிண்கிணியார்ப்பப் புழுதி யளை கின்றான்). Yes, he is very mischievous but even in that he is beautiful to watch. The way he stokes his brow jewel is also a lovely sight. He dances and sways at his forehead. The kin kini bud of his golden girdle resonates sweetly as he moves his different parts of his body.

Don't Hide behind the Cloud:)

With his little hands, he is calling out for you again and again. Now is not the time for you to be going behind the clouds (தன்சிறுகைகளால்காட்டிக்காட்டிஅழைக்கின்றான்........மனசில்மறையாதேமாமதீமகிழ்ந்துஓடிவா ).

Sorry but You are no equal to my son

While complimenting the moon in multiple ways, Yashodha says despite all his strengths and positives, the moon unfortunately is no match for her son. Yes the moon with its beautiful circum lunar structure is good to watch. The bright light rays spread in all the four directions and provides a cool blue light and feel to all. While agreeing that everyone embraces the offering of the Moon, she says it pales in significance when compared to the delight her son provides to the entire universe (சுற்றும்ஒழிவட்டம்சூழ்ந்துசோதிபரத்தெங்கும்எத்தனைசெய்யிலும்என்மகன்முகம்நேர்ஒவ்வாய்)

Krishna’s hands are paining

It has been a while now. And his repeated calling out for the moon has now begun to hurt his palms. She requests the moon to hurry up and reach out to her son.

Yashodha says that in the recent past he has done nothing other than pointing at you with his large wide open eyes pointing at this large bright light in the sky and seeking to play with it (ஒக்கலைமேலிருந்துஉன்னையேகட்டிக்காட்டும்காண்).

Threatens the Moon

She now gets into a threatening mode with the moon. ‘Having listened to my description of his achievements, you should by now be aware of his capabilities. You are continuing to be adamant in not answering positively to the young one’s requests. You are so lovely. But do not delay any further (தக்கதறிதியேல்சந்திராசலம்செய்யாதே). Without deceiving my son I hope you will be able to come like an angel and make him happy.’

She goes on to say that her little one has taken a special liking for the moon especially in the full shape and the bright light that is being emanated all around. In his child like voice he has cooed and called for you. As he calls out for you, again and again, nectar juice flows out of his lovely mouth (அழகியவாயில்அமுதஊறல்தெளிவுறா). In many different ways, with his sweet little voice he is calling out for you (மழலைமுற்றாத இளஞ்சொல்லால் உன்னை கூவுகின்றான்). He just does not seem to get bored calling out for you. Despite his repeated calls, you seem to be disregarding him. What else can the young one do to reach out and break through your ears (புழையிலஆகாதேநின்செவிபுகர்மாமதீ), asks Yashodha addressing the moon in an angry tone.

Help him digest the milk

He seems to want to play with you as you shine brightly there up in the sky. He is almost in the grip of sleep and one can see his continuous yawns. If he does not sleep, the milk he has just drunk will not digest (உண்டமுலைப்பால்அறாகண்டாய்உறங்காவிடில்). Hence come soon and answer his prayers by playing with him.

After pleading patiently with the moon, Yashodha now gets more aggressive. She warns the moon not to ignore her child just because he looks a tiny little one. He is my Lion Cub. She reminds the Moon that it was he reclining on a banana leaf that secured the whole universe in his belly when the deluge struck. And you will know more about the greatness of this young child from Maha Bali (சிறுமையின்வார்த்தையைமாவலியிடைச்சென்றுகேள்).

She threatens him asking him not to be swayed by his small size. He is only a small child but if he gets angry, he is likely to leap up and catch you in no time (மேல்எழப் பாய்ந்துபிடித்துக்கொள்ளும்வெகுளுமேல்).

It is time for you to let down your ego and come here soon to play with the child.

Finding him a young child cannot be a reason for you to be discourteous to him. Despite the repeated pleas, you have ignored the simple wishes of this young one. She now warns that any further delay and it would end up with the Moon having to seek refuge in her child and then to hope that he will be gracious enough to forgive his delay (சிறுமைப் பிழைகொள்ளில் நீயும்உன்தேவைக்குஉரியைகாண்).

In every verse, Yashodha addresses the Moon and describes the greatness of the young child who seems to crave for the bright fullness that Moon is currently displaying in the sky.

Do you want the discus flung at you?

The young child of just a few months is calling for you because he likes you. He has a hand that with one swipe can gobble up a large piece of butter into his mouth. And that shows his appetite for sweet dishes.

ஆழிகொண்டுஉன்னைஎரியும்ஐயறவுஇல்லைகான்வாழஉறுதியேல்

She warns him once more that if he does not meet with the child’s wishes, he may have to face the consequences of his swift discus being flung at him. Have no doubt on this. It is a matter of time. Be assured. She ends the (one sided) conversation by sending one last warning to the moon saying that if he cares for his life, he should come quickly and play with her son.

ஆடுக செங்கீரை Yashodha yearns for her ‘Sundara’s’ crawling on the floor

Periyazhvar praises the child as one who, for millions of years, had reclined on banyan leaf in a yogic meditation posture and who during deluges swallowed the entire universe into his belly.

He describes the body of the child as having a darkish complexion, his eyes as large and like a lotus petal. The chest is so wide that Goddess Lakshmi finds it a safe place to reside forever. And what can one say about his ears. With Makara Ear Rings swinging from side to side as he dances away to glory (செல்வபொலிமகரக்காதுதிகழ்ந்துஇலக), he delights everyone with his Senkeerai dance. His crawling on the floor is a delight to watch.

To protect his devotee Prahalada he took the form of a lion to rip apart the chest of his devotee’s father. On another occasion when Indra, the king of Gods showed his anger and showered hail storms by bringing about a sudden cloud cover, he took the form of the huge mountain Govardhana and protected his dear cows (he describes this in detail in the third canto of the Periyazhvar Thirumozhi where he has dedicated 10 exclusive verses to the child effortlessly lifting the Govardhana mountain with his hand).

Periyazhvar describes more qualities of the Lord in the succeeding verses of this decad. He equates the child as being the very essence of the Vedas. He calls him ‘Our Lord’. When Asura Madhu took away the Vedas, he was the one who retrieved it all by himself. He so easily measured the whole earth and the heaven with two large steps as Trivikrama.

When confronted by Kuvalaya, he destroyed the mighty mad tusker. When he killed asura sakata, the entire Devas and Gods rejoiced. Further when he flung Vatsa into the trees disguised as a calf, apples fell down in heaps from the trees on the impact. With his mighty limbs, he felled the twin Marutha trees that were looking to cause him harm.

He sent many more asuras down the death path- he list is endless – Dhanuka, Mura, Narakasura the impact of which shook the whole earth (தேனுகனும்முரனும்திண்திறல்வெந்நரகன்என்பவர்தாம்மடியச்செருஅதிரச்செல்லும்).

Periyazhvar reminds once again of the child's special liking for curds, butter and ghee that were painstakingly made by Yashodha and other Gopis. He looks so beautiful with the smile and the dark curly locks.

In a contest held for cowherds, he bagged the hand of the beautiful Nappinnai by conquering the 7 bulls. In another instance, he rescued the songs of a Brahmin and handed over to the parents.

Yashodha calls him Sundara

Once again Periyazhvar extols the great physical strengths of the young child that were described in earlier verses. From atop the tree, he swooped down and danced on the head of Kaliya the snake, he rattled the mad Kuvalaya and wrestled so easily with those many times his size and beat them down. His beautiful complexion resembles the dark monsoon clouds prompting Yashodha to call him Sundara (கருமுகில்போல்உருவா….தூய நடம் பயிலும் சுந்தர என் சிறுவா). Maidens throng and take him on their waist. They enjoy playing with him and then they leave him home. To please them and to satisfy all those watching him and to grace his mother, she repeatedly asks him to present his special Senkeerai dance

He is seen in different temples

Periyazhvar says he is seen protecting us everywhere in Thiru Vellarai, Thiru Kurungudi, Thiru Maliruncholai and at Thiru Kannapuram (மன்னுகுறுங்குடியாய்வெள்ளறையாய்மதில்சூழ்சோலைமலைக்கு அரசேகண்ணபுரத்துஅமுதே).

Beautiful description of his features

He is the darling of everyone. He has all the time to be smeared with milk, curd and ghee. The fragrance of sandal camphor, lotus flowers are always on him. And it goes well with his beautiful rose lips. The tender teeth shine well and Kovai fruit nectar seems to ooze out of his mouth (பாலொடுநெய்தயிர்ஒண்சாந்தொடுசண்பகமும்பங்கயம்நல்லகருப்பூரமும்நாறிவர கோலநறும்பவளச்செந்துவர்வாயினிடைக்கோமளவெள்ளிமுளைப்போல்சிலபல்இலக).

The Child and his ornaments

While in the earlier decad, Periyazhvar described his physical features from head to toe, here he provides the ornaments worn by him from head to toe.

The feet are lotus red and the toes are like small petals. He is seen wearing matching rings on his toes that look like petals on feet of lotus (செங்கமலக்கழலில்சிற்றிதழ்போல்விரலில்). He has bells fitting perfectly the ankles that make the kin kini noise whenever he makes a crawling movement on the floor. He has golden thread fastened to his waist alternating in gold beads like pomegranate (தாளநன்மாதுளையின் பூவொடுபொன்மணியும்).

He has rings on his fingers and a bracelet on his wrist. And his necklace, shoulder rings, makara shaped ear pendants and a forehead jewel look beautiful on him as does the brow jewel, his armlet and the spear. All these make him shine in a sprightly fashion.

With these on him, it is only befitting that he dance his favourite number.

He manifested in many different avatars - Swan, Fish, Turtle, Manikin and also as a Man Lion. Through these he helped the pious by destroying evil. Yashodha walked everywhere behind him like a swan asking him if she did not truly deserve the gift of him dancing before her by crawling in style on the floor.

கொட்டாய் சப்பாணி Krishna claps for his mother

Yashodha calls him her ' Little Calf'

In this 7^th decad, Periyazhvar enjoys a mother’s experience of a child beginning to clap with both hands. She just loves his clapping style that she wants more and more of these. She pays glowing tribute to his physical features and to his achievements of killing asuras and rakshashas.

As seen in the earlier decads, the young child is seen wearing a waistband of gold, his ankles have bells that bring out melodious tunes each times he moves about. He is always sporting a lovely smile with his white teeth shines glowingly. He was the one who with just one step measured the entire Earth. With these beautiful hands how nice would it be to see you clap.

Yashodha extols the beauty of the ornaments that he adorns. Through the verses, Yashodha is seen praising his ornaments, - the pearls, gems and corals and the golden earrings. The white shiny teeth is spoken about once again in great warmth as she says it gives him a rich look and makes his mouth look even more lovely. She says that the band around his waists and the jewels on his forehead swing and sway on to his brow.

First on Mother's lap then moves to the father and is then back with the mother

She wants him to show his beautiful clap, the only thing that she says she has not seen. However, having enjoyed the time with Yashoda on her lap, his mind is now on being with his father Nandagopa. She later tells him that he looks handsome on his mother’s lap. And that it was time for him to showcase his clap for all to see and hear. Thus from these two verses it can be seen that he has now moved back from his father to the mother’s lap once again.

While it has all been mother thus far, Periyazhvar provides us a glimpse of the father’s happiness. He takes us back to the earlier decad when the child called for the moon to come down and play with him in the portico of his house that is lit brightly by the full moon light (தூ நிலா முற்றத்தே போந்து விளையாட வான் நிலா அம்புலீ சந்திரா வா என்று). His father Nandagopa is very happy to find his son in this exciting stage enjoying the small things in life like asking for the moon!!!

A Mother’s True Love

Like a true mother, Yashodha sarcastically lauds him. She says that he goes out through the day, plays around in the dust and brings home all the dirt from the ground. And then with the body smeared with mud and dirt, he quietly slips into the house and takes away all the butter curd and ghee that she had worked away on for hours together and then acts as if he did nothing (புட்டியில் சேறும் புழிதியும் கொண்டு வந்து அட்டி அமுக்கி அகம் புக்கு அறியாமே).

From Sundara, he now is the 'LITTLE CALF'
In the earlier decad on Senkeerai, Yashodha called him a Sundara. Now she showers even more love on him and calls him her little calf. Despite all his acts of mischief as seen above, she says he is dear to her like a little calf. She calls him பட்டிக் கன்றே

You took the support of Monkeys to cross the bridge

Varuna the Lord of rain hid himself deep beneath and refused to move or give way. Angered at this, Yashodha says it was he that sent shivering arrows that brought Varuna out of the ocean. He rained arrows that day to which the rain God had no answer and almost made him weep.

Periyazhvar then moves on to the Ramayana episode and projects the achievement from the earlier avatar. There was a huge ocean to cross but he easily built a bridge with a friendly army of monkeys help him.And with the swiftest of arrows he killed the rakshashas.
( குரக்கு இனத்தாலே குறை கடல் தன்னை நெருக்கி ஆணை கட்டி நீள் நீர் இலங்கை).

When Hiranya pointed at the pillar built by his own self and questioned the presence of God, Yashodha says it was you in an earlier avatar that tore him apart with these same hands. And when he pointed to a particular pillar, you came out of it much to the Asura’s shock.

It was with these hands that you churned the nectar along with the help of Devas and Asuras using Mandara Mountain as the churning stick and Serpent Vasuki as the churning rope (மிடைந்திட்டு மந்தரம் மத்தாக நாட்டி வடம் சுற்றி வாசுகி வான் வயிறாக கடைந்திட்ட கைகளால் சப்பாணி ).

Your hands have performed some magical acts in the past. We now want to see these hands come together and clap for all to enjoy.

தளர் நடை நடவானோ -The first Toddling Steps of Krishna

It is time for the Child to move away from the Cradle

Even his Urine is holier than the water gushing from the Ganges, says Yashodha

Having described his various physical attributes in the previous decad and asked him for the special claps with the hands that killed many an asura, Periyazhvar now describes many more attributes of Krishna and the ornaments that he adorns in different parts of his body. With these fitting perfectly on his body, Periyazhvar enjoys the unique experience of getting on to the 'shoes' of Yashodha and her reminding the child that it is now time for him to toddle along, away from the cradle.

'தொடர் சங்கிலிகை சலார் பிளார் என்னத் தூங்கு பொன்மணி ஒலிப்ப '

He has chains and necklaces all over his body. The chains make such sweet music as he sways left and right. The anklets chime rhythmically as he moves his feet. The Golden girdle around his waists vibrates and creates resonating tunes. She calls out for his toddling so she can watch his lovely movements.

He is seen wearing a conch string around his waist and a tortoise like amulet (lucky charm) on his neck. He is the ever sleeping Lord Vasudeva. He has shining white teeth with red lips and is seen smiling in the evening as the large bright moon comes up in the blue sky.

Periyazhvar compares the child’s robe around the waist to the full moon in the sky. He says that the silky loin cloth and the silver fig leaf he wears around his waist are like a flash of lightening around the full bright moon and the halo surrounding it.

The golden necklace that one sees on him is like the lightening striking amidst that dark cloud.

Periyazhvar then goes on to describe the face of the child. He is giggling as he comes forward and gives a kiss, his spittle flows from his mouth like froth from a can of sugarcane juice.

A rare verse of praise of Krishna’s Brother in Periyazhvar Thirumozhi

This is the first time that Periyazhvar makes a direct reference to Krishna’s elder brother. He compliments Balarama and says that it the elder brother who is setting the pace. He compares the brother to a scenario in the mountain. Just like a boulder from a White Mountain rolls down with great speed and another boulder from a black mountain rolls behind it, Baladeva is speeding ahead while his dark skinned younger brother is behind. Will the young child start to toddle now. It is also the first reference of the world singing praise of Balarama and no praise of Krishna (பன்னி உலகம் பரவி ஓவாப் புகழ் பலதேவன் என்னும் தன் நம்பி ஒடப்பின் கூடச் செல்வான்).

Where ever he set foot, he leaves an impact of everlasting joy thanks to the blissful ecstasy pouring out of his walks
(பெருகா நின்ற இன்ப வெள்ளத்தின் மேல் பின்னையும் பெய்து பெய்து).

Periyazhvar compares his young face to the pearls of nectar that open out of fresh lotus buds. His red lips dribble with hanging drops of nectar from the mouth. Once again, he describes the waist band. This time he compares it to the bell on a cow’s neck and says that he produces melodious music whenever he moves (கடுஞ் சேக் கழுத்தின் மணிக்குரல் போல உடை மணி கண கணென ).

Just as a stream flowing down a mountain looks a fluttering ribbon of light, his waist band too goes up and down as he moves his hips sideways.

Gem of a Child

Periyazhvar describes him as a ‘Gem of a Child’ the world has never seen before (மக்கள் உலகினிற் பெய்து அறியா மணிக்குழவி உருவின்). The string on his waist band moves and creates beautiful noise that one cannot miss noticing.

He compares the tiny tot to an elephant calf that plays with the white mud and makes itself dirty smeared with mud. Similarly he plays in the mud and comes back sweating profusely (வெண் புழுதி மேற் பெய்து கொண்டளைந்ததோர் வேழத்தின் கருங்கன்று போல் தென் புழுதி யாடி).

His feet are so tender that one prays for a soft set of blooming flowers on which he can toddle so it does not hurt his tender feet.

Urine more sacred than the Ganges water!!!

The glow from the red lotus eyed Kesava’s face where the brow jewel falls beautifully is just as bright and swaying as the full moon whose light falls on a river and provides flashes of happiness. So sacred is the child that Yashodha feels that even the urine he passes is more sacred that the water gushing out from the Ganges
(பேரு நீர்த் ததிரையெழு கங்கையிலும் பெரியதோர் தீர்த்த பலம் தரு நீர்ச்
சிறுச் சன்னம் துள்ளம் சோரத்).

Through these verses, he has described the toddling steps of the child that his mother enjoyed and the enemies feared.

என் புறம் புல்குவான் - The Frontal Embrace and The Hug from the Back

Periyazhvar ends the first canto of his Pillai Tamil Composition with a mother's longing for the loving hug from her child.

Even the urination of the child is a thing of beauty!!!!

In the final two decads of the first canto, Periyazhvar brings to us the mother’s yearnings for a hug from her little one whom she loves so dearly. In the penultimate decad, she experiences his frontal embrace while in the last decad, she enjoys his special hug from behind. Through these last 20 verses, Periyazhvar also encapsulates his description from the earlier decads in the first canto reviving our memories of the young child’s early days and his activities during the first few months.

She asks the handsome one who has a golden girdle and a jewel on the brow and whose anklets provide for a beautiful music to come in a flash and cling on to her waist like a flash of lightening that strikes after the clouds come together (மின்இயல்மேகம்விரைந்துஎதிர்வந்தார்போல்என்இடைக்குஓட்டரா அச்சோ அச்சோ).

EXCLUSIVE FROM CRAZY MOHAN

Yashodha praises her son as one whose curly locks swarms his red lips just like bees suck nectar from red lotus flowers.

Despite his being tender, he holds conch discus sword mace and bow in his hands. With these qualities she says she is ever eager for his frontal embrace.

Highlights his noble qualities

When the poisonous snake was creating trouble, he went inside the ocean and defeated and stood atop the 5hooded Serpent. And yet later pitying the snake he blessed it.

Straightens the Hunch!!!

He asked for sandal paste to be smeared on his body. When the hunch back maid pasted the most fragrant of sandals on him, he was so happy that he gifted her immediately by straightening her hunch (தேறிஅவளும்திருவுருவம்பூசஊறியகூனினைஉள்ளேஒடுங்கஅன்றுஏறஉருவினாய்).

Periyazhvar describes the royal scene at the court of the Kauravas. King Duryodhana was seated majestically on his crown surrounded by his ministers and feudal kings who seemed like the rays around the blazing sun. When he entered, Duryodhana involuntarily stood up. And then his inherent quality came to the fore and sat down giving a wry ‘almost why did I stand’ kind of look at him. But just his gaze sent scorching waves at Duryodhana.

His answer to Sukracharya

In the Trivikrama Avatara he went to the yagna of Bali and asked for 3pieces of land. When preceptor Sukra, who knew the motives behind these boons, tried to intervene, he pierced his eyes with just a blade of sacred grass.

(தக்கதுஇதுஅன்றுஎன்றுதானம்விளக்கியசுக்கிரன்கண்ணைத்துரும்பால்கிளறிய)

His reply to Namushi

Having provided insights into the ease with which he poked Sukracharya’s eyes, Periyazhvar follows up the story with a description of the Lord’s action against Bali’s son Namushi. Having watched the dwarf suddenly measure a huge step, Namushi came forward and questioned the measurement and suggested that it seemed like a magical trick and that his father had not known of this gigantic size when he agreed on the boon. Namushi instructed him to measure once again in the dwarf’s original form, to which he answered by just throwing him high into the sky (என்னஇதுமாயம்என்அப்பன்அறிந்திலன்முன்னையவண்ணமேகொண்டுஅளவாய்என்னமண்ணுநமுசியைவானில்சுழற்றியமின்னுமுடியனே).

Quells Shiva’s arrogance

His greatness is brought to light through the episode of quelling Shiva’s ego. When Shiva remarked that no one in the entire 7 worlds, universe and ocean was able to fill his skull bowl, the Lord came and filled it instantly (கண்ட கடலும் உலகு ஏழும் முண்டத்துக்கு ஆற்றா முகில் வண்ணா ஒ என்று இண்டைச் சடை முடி ஈசன் இரக்கொள்ள மண்டை நிறைத்தானே ).

Once when the 4 Vedas went into oblivion shrinking the world into darkness, he was the one who secured it back and brought light back into the world, by taking the form of a swan.

After thus praising the child’s great achievements, repeatedly Yashodha sought the frontal loving embrace of her child saying she is indeed blessed to have a child like him.

Give me a hug from behind!!!

In the final decad of the first canto, Periyazhvar finds Yashodha even describing her son’s urination as a thing of beauty. She says that the urine trickling down as a lovely sight to watch.

Yashodha describes the ornaments in different parts of his body. With bracelets on his wrists, armlets, bangles, necklace and golden girdle in the waist, how beautiful it is to receive a hug from him from behind.

Periyazhvar, like in the previous decad, highlights the role he played in Mahabaratha war. The unruly Duryodhana and his brothers wanted to hold on to their huge wealth and refused to share it with their cousins the Pandavas. Dhananjaya fell at his feet and sought refuge. And he obliged by driving his chariot to victory.

Periyazhvar looks back at the earlier decads and reminds us of the armlets, bracelets, necklaces worn by him and the sweet music resonating from his perfect anklets. And also as to how his toddling was so enjoyable to everyone. He played around shady trees singing and dancing around. He just wore a bronze leaf around his waist. He had a nice tuff on his head with peacock feathers. He sought alms of just three feet from the great King Bali. And then in the midst of all the kings he measured the entire world stunning the entire audience into silence. He held an umbrella atop him and stood in a unique posture.

As a child of just a few months, he quietly turned the mortar upside down and stood on top of that. He consumed the entire milk and butter kept in slings till his stomach became full and then acted innocent.

With a flute he played melodious tunes standing atop a sand dune delighting the elders. The Vedic seers who listened to this piece of sweet music worshiped him. The celestials congregated in big numbers and enjoyed his presentation (Periyazhvar describes this in an elaborate way in the third canto as to how his flute recital impacted different beings including animals and even non living things).

To test his love for her, his beloved suddenly desired the beautiful Kalpataru tree from Indra’s garden. To please her he went there and in a few moments placed the plant in her bright moon lit garden (கற்பகம்காவுகருதியகாதலிக்குஇப்பொழுதுஈவன்என்றுஇந்திரன்காவினில்நிற்பனசெய்துநிலாத்திகழ்முற்றத்துள்உய்த்தவன்).

The big shouldered Yashodha recounted through these verses her child’s delightful hug from behind.

அப்பூச்சிகாட்டுகின்றான் - Shows fear when asked to giggle

2nd Canto

In this first decad of the 2nd canto, Yashodha punishes him for his stealing acts, but later in Periyazhvar Thirumozhi, it is seen that the young child takes revenge on the mother!!!

Periyazhvar describes the Lord as one who is holding the conch in one hand and playing the flute with the other (the quality of his flute recital is described in detail in the third canto). He tried his best to broker a peace deal after the five brothers had lost the game of dice but did not manage to get even 10 villages. (பத்துஊர்பெறாதுஅன்றுபாரதம்கைசெய்தஅத்தூதன்அப்பூச்சிகாட்டுகின்றான்). In his childhood days, he showed a certain artificial fear to giggle.

Periyazhvar follows this with the description of Krishna at the Mahabaratha war. Having failed to broker the peace deal, he drove the chariot and led Arjuna to victory against Duryodhana, his brothers and many other kings.

As seen in the 1^st canto, he is described as a cowherd boy who jumped atop Kadamba tree and leapt over Kaliya and danced atop venomous snake.

The Birth Story

Once again he reminds us of the birth of Krishna, him being transported to Gokulam and the way he saved the cowherd. Born on a dark night to Devaki, he was shipped that very same rainy night to Yashodha who then brought him up so lovingly. He removed the fear of the cowherds by killing Kamsa and other evil forces ((இருட்டில்பிறந்துபொய்ஏழைவால்ஆயர்மருட்டித்தவிர்பித்துவான்கஞ்சன்மாளப்புரட்டி)). In addition to being mighty, he was also naughty in his early days with the Gopis and many a time would quietly steal their silk robes.

Yashodha punishes but he will make her regret

Born to the beautiful Devaki, he showed himself in all his resplendent beauty to her. When he moved to Yashodha soon after his birth, repeatedly he ate all milk, butter and ghee creating anger among the residents. He who killed many Asuras with effortless ease was once caught red handed by Nanda’s wife Yashodha for stealing butter. Frustrated with his repeated acts of stealing, she tied him to a mortar with a rope around his waist. This really pained him and he cried in pain (In the 2^nd Canto, with the boy having grown a little more, he remembers this earlier episode and taunts his mother reminder her of how she created the pain in him (சேபூண்டுசாடுசிதறத்திருடிநெய்க்குஅப்பூண்டுநந்தன்மனைவிகடைதாம்பால்சோபூண்டுதுள்ளித்துடிக்கத்துடிக்க).

Periyazhvar asks if Yashodha had this beautiful kid in her womb or if she adopted him later. And then asserts that whichever way, he is the Lion amongst the cowherds. He has black curly locks and is fully decked with flowers all the time (தத்துக்கொண்டால்கொலோதானேபெற்றால்கொலோ, சித்தம்அணையால்......).

He praises the child as one who earlier was banished to the forest on the ill advice of hunch back Manthara to kaikeyi. He let go of elephants and horses and left for the forest on bare foot giving away the kingdom to his brother Baratha.

Gajendra Moksham Episode

Periyazhvar also praises the Lord by narrating the Gajendra Moksham episode. When the crocodile caught the feet of the unsuspecting elephant, he writhed in pain and called out for the Lord seeking his refuge. Immediately the lord came on his vehicle Suparna and hurled the discus to provide relief to the elephant (பதகமுதலைவாய்ப்பட்டகளிறுகதறிக்கைகூப்பிஎன்கண்ணாகண்ணாஎன்னஉதவப்புள்ஊர்ந்துஅங்குஉறுதுயர்தீர்த்த).

Through each of the verses in this decad, Periyazhvar showcases the child as one who would playfully show fear ( in his innocent way) when everyone wanted him to giggle.

Yashodha calls her child to drink milk

In the 2^nd decad, Yashodha wants her child to come and drink milk.

She says that he had forgotten to drink milk last night and that it is already noon the next day. Justifying to him that he will be having a lean stomach, she calls him to have milk (அரவு அணையாய் ஆயர் ஏறே அம்மம் உண்ணத் துயிலேழாயே இரவும் உண்ணாது உறங்கி நீ பொய் இன்றும் உச்சி கொண்ட தாலோ).

She then says that since his birth, she has made ghee, butter and purified curd and he has enjoyed all of this though she herself has rarely seen any of these (வைத்த நெய்யும் காய்ந்த பாலும் வாடி தயிரும் நறு வெண்ணெயும் இத்தனையும் பெற்றறியேன் எம்பிரான் நீ பிறந்த பின்னை).

Yashodha then comes back to the favourite topic relating to her young kid. She tells him that many of the mothers are complaining that the sons are returning home crying because of this child’s teasing and taunts. She says it is quite understandable. When a child comes and cries to a mother about being taunted, what option will she have?

When will you mend your ways?

Yashodha says that ‘even his father has tried best to mend your ways but it has largely been unsuccessful. I too have tried but have not been able to stop the nonstop mischief.’ She asks him to stop playing all over the place picking up a lot of dust in the process. She wants him to stop the mischief of ragging others (தம்தம் மக்கள் அழுது சென்றால் தாய்மார் ஆவார் தரிக்கில்லார் வந்து நின் மேல் பூசல் வாழ வல்ல வாசுதேவ உன்(தன்)தயார் உன் திருத்தர் அல்லர் உன்னை நான் ஒன்று உரைப்ப மாட்டேன்).

A mother will say things for the Child's Welfare

The young child’s greatness is brought out through the episode of him killing Kamsa including the way he destroyed his cart. After having referred to the way he killed Kamsa, Periyazhvar takes us back to the life of Kamsa. Yashodha tells the child that Kamsa had for long been gunning for his life and that he was likely to adopt any approach to kill him especially he may target you when you are hungry. She even threatens her young one that she will live no more if the wicked asura captures him. She says she always says things for welfare and hence she should not go out to play that day. She wants him to have milk for he would be tired and this would fill him to the brim (தீய புந்திக் கஞ்சன் உன் மேல் சினம் உடையன் சோர்வு பார்த்து.....தாயார் வாயச் சொல் கருமம் கண்டாய் சற்றிச் சொன்னேன் போக வேண்டா).

Mother should hear good things from others about her children
As a mother, Yashodha is delighted to hear from everyone several complimentary things about the child. Other women have repeatedly enquired about the good things she had done to get a child like him (என்ன நோம்பு நோற்றால் கொலோ இவனைப் பெற்ற வயிறு உடையால்).

In another verse, Yashodha sings praise of him saying every house wife passing that way along with her husband takes a peek into the house looking for him. And then they exclaim that they too would like a child like him. All the young girls passing through our house are reaching out to you to kiss you and absorb nectar from your lips. Praising his wonderful features, she then asks him to come and have milk (பெண்டிர் வாழ்வார் நின் ஒப்பாரைப் பெறுதும் என்னும் ஆசையாலே கண்டவர்கள் போக்கு ஒழிந்தார்).

She ends the day on a positive note saying that whenever she sees him, she can only visualise him as Lord Padmanabha.

Periyazhvar beautifully describes the heated argument between Yashodha, now in a regretful mood and Krishna, who refuses to accept her apologies for punishing him earlier

‘என்குற்றமேஎன்றுசொல்லவும்வேண்டாகாண்

என்னைநான்மண்உண்டேனாக

அன்புற்றுநோக்கிஅடித்தும்பிடித்தும்அனைவர்க்கும்காற்றிலையே’ – Krishna to Yashodha J

A Special Decad in Nalayira Divya Prabhandham – The Lord is praised with a special name in each of the verses

The third decad of 2^nd Canto of Periyazhvar Thirumozhi is very unique in the Nalayira Divya Prabhandham for in each verse, the young child is praised with a special name the only such decad in the Divya Prabhandham.

In each verse, Yashodha sees him as a different Lord who had performed many different acts for the sake of protecting the devotees. Thus praising, she asks her young child to get his ear bored and help her tie the thread in the ear similar to many other children in Gokulam.

Kesava

She begins by saying that everything including betel leaf and Arecanut are ready for the ear boring ceremony of Kesava (அடைக்காய்திருத்திநான்வைத்தேன்). All the cowherds are excited at the prospect of being part of this special event for him and have gathered at his place eagerly awaiting his acceptance to get his ear bored. She cautions him that Kamsa is ever ready to attack him. Given that his father is not in the house, he is currently unprotected. She is worried about him going alone all the time (போய்ப்பாடுஉடையநின்தந்தையும்தாழ்ந்தான்பொறுதிரள்கஞ்சன்கடியன்). She wants him to come inside and show his ear for the bore.

Narayana – Bore without Pain

Yashodha praises him saying that he is always around because everyone loves him and he does not like to cause hardship in them by being away from his loved ones (நண்ணித்தொழும்அவர்சிந்தைபிரியாதநாராயணா). She lures him with the beautiful golden ear rings and says she will insert the needle and thread without causing pain and that she will use the lint in his bore to minimise any chances of injury to Narayana (திரியைஎரியாமேகாதுக்குஇடுவன்).

Madhava – will bore quickly

In the earlier verse, Yashodha spoke about boring the ear without pain. In this verse, she refers to speed. And calling him out as Madhava, she says not only will she do it quickly, she will also give him all that he wants as a gift (வெய்யவேகாதில்திரியைஇடுவேன் நீவேண்டியதெல்லாம்தருவன்)!!!

Govinda- she lures him with his favourite fruits

She now draws comparison with other cowherd boys who she says are well mannered and have listened to their mother and have bored their ears. With long ears that stretch to their shoulders, she says they all have ear pendants. Calling out for him as Govinda, she lures him with jack fruit and milk if he agrees to get his ear bored (இணைநன்றுஅழகியஇக்கடிப்புஇட்டால்இனியபலாப்பழம்தந்து .............).

Vishnu and his love for Appams

Continuing to lure him for the ear boring, Yashodha comes up with three different emotions in this verse. She says even if she requests him repeatedly with a ‘Please’, he does not agree (சோத்தம்பிரான்என்றுஇறந்தாலும்கொள்ளாய்).

She then says that he is constantly in the midst of beautiful girls and playing around with them. Can any mother extol that as a virtue?

She then lures him with a big appam, his favourite sweet dish (remember daily presentation of appam to him at Koviladi Divya Desam!!!) if he agrees for the ear boring ceremony -பேர்த்தும்பெரியனஅப்பம்தருவன் (http://prtraveller.blogspot.in/2007/11/108-divya-desam-koviladi-appakudathaan.html)

Madhusudhana – this will not hurt

Referring to the earlier episode of having seen the entire universe when he opened his mouth, Yashodha referring to him as Madhusudhana says she knows who he really is and promises to not hurt him. And that he has to bear it for just one moment and that it will heal (புனம்ஏதும்இல்லை, உன்காதுமறியும்பொறுத்து இறைப்போதுஇருநம்பி ).

Trivikrama – regrets her mistake of not boring earlier

Yashodha calls him as Trivikrama and refers to the episode of him breaking Shiva’s bow to win over Sita. She now regrets at not doing the ear bore when his ears were lot more supple. She agrees that she made a mistake. As a result, she has to bear the brunt of his anger and has to face his mischievous act of plucking the pendants and throwing them by the way side (தலைநிலாப்போதேஉன்காதைபெருக்காதே விட்டிட்டேன்குற்றமேஅன்றே).

Vamana hits back at Mother Yashodha

It is a beautiful follow up verse from Periyazhvar. Having heard his mother express regret, the child almost instantly, in his typical style, hits back at Yashodha. He says that she is pretending to regret and he is not the one to believe her acceptance of her mistakes of the past. For he says, did she not tie him to a rope and then opened his mouth to expose him in public for eating mud. Did she also not beat him up (என்குற்றமேஎன்றுசொல்லவும்வேண்டாகாண்என்னைநான்மண்உண்டேனாகஅன்புற்றுநோக்கிஅடித்தும்பிடித்தும்அனைவர்க்கும்காற்றிலையே).

In the same verse, she accepts this accusation as well and promises to speak the truth from now on without fail. And also promises that the ears will seal if left as is. And that is the reason that she is keen to thread them (வன்புற்றுஅரவின்பகைகோடிவாமனநம்பிஉன்காதுகள்தூறும்துன் புற்றுஎல்லாம்தீர்ப்பாய்பிரானேதிரியிட்டுச்சொல்லுகேன்மெய்யே).

Sridhara – Child unconvinced, Mother pleads

Not convinced of her arguments, he continues to hit out at her. He reminds her of the time when she listened to gossip stories and believing them blamed him for stealing butter and tied him to a stone mortar with a rope as a punishment of his acts (மெய்என்றுசொல்லுவார்சொல்லைக்கருதித்தொடுப்புண்டாய்வெண்ணையைஎன்றுகையைப்பிடித்திக்கரைஉரலோடுஎன்னைக்கட்டிற்றிலையே).

Resigning herself to his aggressive comments, she pleads with him referring to him as Sridhara and says that if he keeps on taunting her for all her deeds, it will be a matter of time before his ears get sealed. She says it is now time for her to thread him so the girls don’t scoff at him. The beautiful girls of Gokulam will showcase this as one defect in the otherwise perfect child and they will use this opportunity to go around laughing at the inability to get the ear bored like all other children his age.

(செய்தனசொல்லிச்சிறிதுஅங்குஇருக்கில்சிரீதராஉன்காத்துதூறும்கையில்திரியைஇடுகிடாய்இந்நின்றகாரிகையார்சிரியாமே)

Irudikesa – He asks what’s your problem?

The child continues with his aggressive stance against his mother. He questions as to what is her problem and how it would matter to her and the Gopis if his ears get inflamed (காரிகையார்க்கும்உனக்கும்இழக்குஉற்றுஎன்காதுகள்வீங்கிஏரியல்).

Patient like a loving mother, Yashodha accepts once again that she made a mistake of not threading him earlier but reasons out that she feared his head ache. She tries to thrown in the typical mother’s comparative analysis and says that all other children in Gokulam have thread in the ear bore and that it is only appropriate that he, Irudikesa, too should have one.

Padmanabha – Mother turns positive

By now, Yashodha has realised that being tough with him will not work in her favour. Accepting this fact, she tries to lure him with positive remarks. She impresses upon him that all the beautiful girls in whose hearts he resides all the time will show their love for him even more if he added this new dimension with the ear bore. She motivates him further saying that she will give him all his favourite fruits if he agrees to this painless process of ear boring that will not last too long (உன்னைக்கனிகள்தருவன்கடிப்புஒன்றுநோவாமேகாதுக்குஇடுவண்).

Damodara - Lures him with Apple

And the argument continues. Yashodha looks back at her son’s excuse that she will deceive him with a loving call. He says that she would call him inside and once he comes in lured by the mother’s call, she is likely to forcibly hold him by her strong hands and thread the pendent causing much pain to him. And for this reason he refused to answer her call for the ear bore (வாஎன்றுசொல்லிஎன்கையைப்பிடித்துவலியவேகாதிற்கடிப்பைநோவத்திரிக்கில்உனக்குஇழக்குற்றுஎன்).

Like a patient mother, once again she lures him, referring to him as Damodara, with another fruit- this time it’s the red apple that she says he likes a lot (காதுகள்நொந்திடும்கில்லேன் நாவற்பழம்கொண்டுவைத்தேன்இவைகாணாய்நம்பி).

In each of these 12 verses, Yashodha addresses the young child with the name of a lord luring him to wear the special studded Makara rings in his ears.

நீராடவாராய் - Yashodha invites Krishna for a special Oil Bath on his birthday

‘Sundara and Little Calf’ earlier, She refers to him as ‘Azhage’ and ‘En Maniye’ in these verses

He has had his ear boring ceremony. And now Yashodha calls him for a special bath reasoning out the need for this at this point of time. Periyazhvar also narrates the style of bath that Yashodha says she will give him. Earlier we saw her calling him as Sundara and then a ‘Little Calf’. Here she calls him ‘Azhage’ and ‘En Maniye’.

Waiting with Oil and Fruits

Every day he goes out to play and comes back dirty with mud all over him. He has spilled the butter on to his body. The wait has been long and he has evaded his mother all this while. She will not permit him to go to sleep tonight without him having the bath for she has kept the oil and sour fruit nut powder for a long time. This will remove the itching sensations (arising as a result of playing in the mud) in the body (வெண்ணெய்அலைந்தகுணுங்கும்விளையாடுபுழுதியும்கொண்டு .....எண்ணெய்புலிப்பழம்கொண்டுஎத்தனைபோதும்இருந்தேன்).

Yashodha threatens him that she will let insects like ants inside calves’ ears that will force them to run wild and then they will find it difficult to yield milk. And consequently, he will not be able to gobble up butter. It is a very auspicious day. It is his birthday Sravanam today and without further delay, he should agree for the bath that is long due (கன்றுகள்ஓடச்செவியில்கட்டெறும்புபிடித்துஇட்டால்தென்றிக்கெடும்ஆகில்வெண்ணெய் திரட்டிவிழங்குமாகாண்பன்).

Hot Water is ready

Like how every mother keeps hot water ready for her child, Yashodha too lures Krishna with it. She says she has specially kept hot water for him. And she has added a tinge of gooseberry mix to it for medicinal effect. Yashodha says that she has also kept other things ready for a beautiful bath including sandal paste, rich garlands and turmeric (காயய்சினநீரோடுநெல்லிகடாரத்தில்பூரித்துவைத்தேன்…………………………..மஞ்சளும் செங்கழுநீரின் வாசிகையும் நாறு சாந்தும் அஞ்சனமும் கொண்டு வைத்தேன்).

Appam for Ear Boring, Now another Special Sweet for the Bath

Like she lured him for ear boring ceremony with appam, she once again lures him with this special sweet promising him to offer these if he has bath. She says that understanding his favourite tastes, she has made a sweet cake made of milk, sugar, jaggery and spices அப்பம்கலந்தசிற்றுண்டிஅக்காரம்பாலிற்கலந்து).

And then she tries to shame him a bit by saying that the beautiful young girls will scoff at him and will talk slanderous things and indulge in ‘small talk’ behind his back using his refusal to have bath as an opportunity in their favour (செப்புஇளமென்முலையர்கள் சிறுபுறம்பேசிச்சிரிப்பர்.

More Fruits for him

She reminds him of his mischievous acts- overturning oil pots, pinching boys and running away turning his eye lids inside out. Despite these acts she still loves him and has tasty fruits just for him but all these he can have only if he has bath(எண்ணெய்குடத்தைஉருட்டிஇளம்பிள்ளைகில்லிஎழுப்பிக்கண்ணைபுரட்டிவிழித்துக்கழகண்டு…………………உண்ணக் கனிகள் தருவன்).

She says she has never seen ghee, fresh milk and curd since his birth. And even if she gets any more complaints from others, she will never again, even forgetfully or unknowingly scold him in public (சிறந்தநற்றாய்அலறதூற்றும்என்பதனால்பிறர்முன்னேமறந்தும்உரையாடமாட்டேன்).

She praises him as one who stood on top of a snake and threw a calf on to a fruit bearing tree. She is proud of his brave acts, once again reminds him of his birthday and asks him not to run away and to come for this clean and special bath (நன்றுநீநீராடவேண்டும்நாராணாஓடாதேவாராய்).

Brings in the Love angle to entice him

Yashodha says that as a mother she is okay to him going to the cow shed and smearing himself with cow dung and all other dust there. Even with cow dung she finds him beautiful. But his girl friend Nappinnai may not be so happy looking at his current shape and may even laugh at him (பூணித்தொழுவினிற்புக்குப்புழுதிஅலைந்தபொன்மேனிகாணப்பெரிதும்உகப்பன் ............................நப்பின்னைகாணிற்சிரிக்கும்).

If he does not want his girl friend to scoff at him, he should immediately come to be bathed by his mother.

Gem of a Child

Another interesting aspect of these verses where Yashodha invites her unique son for a bath is the way she refers to him. Through these set of verses Yashodha addresses her young child in many different ways clearly indicating that he was a gem of a child despite his mischievous and unruly acts.

She calls him Azhagiya Nambi, Maanickam, ‘En Maniye’, Azhaga, Naaranaa, Manivannaa and Sothampiraan.

அக்காக்காய் - A call to comb his hair

Interspersed between two pairs of beautiful decads in the 2nd Canto ( Ear Boring Ceremony/ Bathing Consecration and Describing his flowers / Warding off the Evil Eyes) are probably two of the least interesting decads in the Periyazhvar Thirumozhi.

In these 20 verses, he repeated goes back to describing the killing of the asuras that have already been described many times earlier. Also, one does not see any special highlight in his call for bringing the grazing staff or combing his hair.

Through these verses, Periyazhvar sings praise of the various achievements of the lord and experiences a mother’s feelings of combing a child’s hair. She wants to comb his hair so she can make him look presentable to the onlookers lest they laugh at his uncombed hair.

He is referred to as the bridegroom of Nappinnai and as the Lord of Tiruper Nagar. As mentioned many times earlier in the 1^st canto, Periyazhvar once again refers to his killing of Putana and breaking through the Marutha trees to kill Sakata.

He opened the jar hanging from the ceiling finished the butter and acted as if he was asleep (தின்னக்கலத்தில்திரைஉரிமேல்வைத்தவெண்ணைவிழுங்கிவிரயஉறங்கிடும்)

The child ripped apart the beaks of Bakasura who acted as a stork in water. It was his discus that killed Narakasura who is described as having troubled repeatedly the Gods of Eastern Kingdom buoyed by the earlier boon that he had received (கிழக்கில்குடிமன்னர்கேடுஇலாதாரைஅழிப்பான்நினைதிட்டுஅவ்வாழி…………………..)

Don’t go around for food!!!!

She asks him not to roam around looking for well cooked food. She asks him to come without wandering everywhere (பிண்டத்திரளையும்பேய்க்குஇட்டநீர்சோறும்உண்டற்குவேண்டிநீஓடித்திரியாதே).

Description of ingredients for his bath

The fragrant oil is ready and there is an ivory comb that looks sleek. If he gets combed with it, he will look even more beautiful. His hair locks are described as being beautiful and she says that if she combs him, his dark rich hair will become look and feel even softer (உந்திஎழுந்தஉருவமலர்தன்னில்சந்தச்சதுமுகன்தன்னைப்படைத்தவன்கொந்தக்குழலைக்குருந்துபுளிஅட்டித்தந்தத்தின்சீப்பால்குழல்வாராய்அக்கக்காய்).

ஓர் கோல் கொண்டு வா - Krishna given his grazing staff

Yashodha referes to his physical attributes wearing a talisman pendent made of tender palm leaf around his neck. He also adorns himself with a peacock feather fan. He made a toy bow with a stick cut from hedge. He goes after the cows. The child’s hair which were combed as seen in the previous decad is seen tossing and fluttering in the breeze as he runs behind the calves. And most of the time, he runs faster than the grazing cows (வேலிக்கோல்வெட்டிவிளையாடுவில்ஏற்றி தாலிக்கொழந்தைத்தடங்கழுத்தில்பூண்டு…………………………………நெறித்தகுழல்களைநீங்கமுன்னோடி).

She says he is the one who resides in Thiru Kudanthai, Thiru Kottiyur, Thiruper and Konga region.

Once again, many of his acts are glorified including his sending arrows to defeat Lankan king Ravana.

She asks for the grazing staff to be given to him…

Sulur Venkatanathan Perumal Temple

Avoor Pasupatheeswarar Temple

Kaarana Kari Varadaraja Perumal Coimbatore Venkittapuram

Former Ranji Trophy Winning Captain to launch TIP

Crazy Mohan

Periyazhvar Thirumozhi

Thiru Pallaandu

Krishna the New Born and Yashodha

Divya Prabhandham Longest Decad

Krishna Cradle Song

Krishna loves the Full Moon

Krishna Senkeerai Dance

Krishna claps for mother Yashodha

Krishna Toddling Periyazhvar Thirumozhi

Krishna embraces his mother

Krishna fears a giggle

Krishna drinks milk

Krishna Ear Boring Ceremony

Krishna Special Oil Bath

Krishna combs his Hair