Temple, Travel and Sport

பூசூட்டவாராய் -Yashodha calls him the Only Medicine to solve our problems

Periyazhvar enjoys the experience of a mother decorating her child with different flowers

In the 7^th and 8^th decads, Periyazhvar is back to his best of Pillai Tamil describing next aspects of the growing child.

(2nd Canto, 7th Decad)

Periyazhvar experiences through Yashodha the different kinds of flowers that she likes the young child to wear. This is the only decad in the Nalayira Divya Prabhandham that describes an entire set of flowers worn by the Lord. As Yashodha takes one through the process of getting her child to wear the flowers on different days, she lures every mother to show true love on their children and to praise every positive act of the child to get the best out of the child. Through these set of verses, Periyazhvar also provides insights into the wide range of flowers that were offered to the Lord during his period. Many of these flowers are not heard off these days but in centuries gone by these were part of the daily attire of the Lord.

Shenbagam

Yashodha calls him sweeter than honey and a medicine for all troubles in life. She reasons out to him that only because he drank milk from the pots of others, he was pulled up by other boys and was laughed at by them (ஆனிரைமேய்க்கநீபோதிஅருமருந்துஆவதறியாய்…………………பானையில் பாலைப் பருகி பற்றாதார் எல்லாம் சிரிப்ப)

Unmindful of the hot sun, he happily goes after the cows grazing them in the forest. As a result of this, his body has even got roasted (by the hot sun) and he has tanned a bit. As he comes back, he looks tired after a long day’s graze. But he does it all for his mother. Pleased with his day’s work, she says he asks him to wear the Shenbagam flowers as she says he will look handsome in these (கானகம்எல்லாம்திரிந்துஉன்கரியதிருமேனிவாட).

Malligai

He is very well connected to Goddess as she always resides on his chest. On first looks, he is as beautiful as the dark clouds one sees during monsoon times. And then she wonders as to how much more beautiful will he look in the Jasmine flowers? (கருவுடைமேகங்கள்கண்டால்உன்னைக்கண்டலொக்கும்கண்கள்)

Padiri and Dhavana – Climbs ladies’ room

In the past, he has climbed the upper most layers of tall mansions and entered the ladies’ room. Once inside, he tore their silk robes and their edges as a play act. The beautiful young girls were angry at his mischievous acts. Unmindful, he continues with his playful acts. Yashodha thinks that the Padiri Flowers combined with Dhavana shoots will sit perfectly on his curly hair (மச்சோடுமாளிகைஏறிமாதர்கள்தம்இடம்புக்குகச்சோடுபட்டைக்கிழித்துக்காம்புதுகில்அவைகீறி).

Maruvu and Damanagam – Stop going behind Milk Maids

Yashodha gets back to the usual topic, one that she has been on ever since his birth. Instead of standing in the middle of the street and teasing the milkmaids, she wants him to come and wear the Maruvu and Davanam shoots (தெருவின்கண்நின்றுஇளஆய்ச்சிமார்களைதீமைசெய்யாதே).

Kalla Arakki Soorpanaka

She praises his acts of killing Bakasura and Tusker Kuvalaya. Wasn’t he the one who chopped off the nose of the immoral Soorpanaka and later slew her protector Ravana as well. Periyazhvar calls Soorpanaka her as ‘Kalla Arakki’ since Rama doubted her beauty and had got a scent of true character and believed that what she was presenting before him was not her true form and that it was different from her original complexion (புள்ளினைவாய்பிளந்திட்டாய்பொருகரியின்கொம்புஒசித்தாய்கள்ளஅரக்கியைமூகோடுகாவலனைதலைகொண்டாய்).

Shenkazhuneer - Will not repeat my beatings

Yashodha remembers the previous episodes of punishing him for gobbling up butter but says that is a thing of the past and that she is ashamed of her past acts and that she will not repeat it again. She asks him to adorn the Lotus flower (அள்ளிநீவெண்ணெய்விழங்கஅஞ்சாதுஅடியேன்அடித்தேன்).

Punnai Flowers

Yashodha says that despite repeated requests from her and the many complaints from the Gokulam Colony, he continues with his mischief on the street on the way to Mathura killing wrestlers every now and then. She wonders if the Punnai flowers will get him into good habits away from these wrestlers.

Kurukatti Flowers

As she hopes that he would mend his ways and not go behind others, she cannot resist recounting his juggling with pots in mid air and his love for young girls that continues as she says that they fall for his bewitching glowing eyes. She wants to see him draped with Kurukatti flowers (குடங்கள்எடுத்துஏறவிட்டுகூத்தாடவல்லஎன்கோவே).

Iruvatchi Flowers – Deceives an Asura

She cites the example of yet another of his dubious acts. When Malikan Asura persisted with the idea of seeking to learn the way to hurl the discus, he made friends with him and like a true friend taught him the art of using the discus. And then much to the shock of everyone made the asura operate the discus only to have his own head severed. Mysterious is the way the child acts. She says that Iruvatchi flowers will look lovely on his hair (சீமாளிகன்அவனோடுதோழமைகொள்ளவும்வல்லாய் சாமாறுஅவனைநீஎண்ணிச்சக்கரத்தால்தலைகொண்டாய்).

Karumukai flowers

She reminds us of him sleeping as a child on a floating fig leaf but he is always there for the devotees and comes instantly to protect those who offer their sincere prayers to him. Even in the celestial world, everyone is waiting for him and they also give him a full hearing. Delighted to have a child like him, she wants to see and enjoy him with Karumukai flowers (அண்டத்துஅமரர்கள்சூழ்அத்தானியுள்அங்குஇருந்தாய்தொண்டர்கள்நெஞ்சில்உறைவாய்).

காப்பிடல் - Washing off any Drishti that may have been cast on the handsome young child

It is the first time in Periyazhvar Thirumozhi that a decad has been entirely dedicated to a particular temple - Thiru Vellarai

Yashodha refers to him as 'Pillai Arasey' for the first time in Periyazhvar Thirumozhi

This decad is yet another beautiful example of Periyazhvar’s penchant for Pillai Tamil. As part of this, one had seen the many different descriptions given by a loving mother to her child in different phases of his childhood. She called him Sundara, Azhage, En Maniye and her little calf in earlier verses. Here for the first time, she calls Pillai Arasey, an obvious reference to his valorous acts.

While his liking for a couple of other temples is well known as seen from his elaborate praise ( to be seen later in this series), Periyazhvar seems to have been impressed so much with Thiru Vellarai that he gives it the first EXCLUSIVE decad in the Periyazhvar Thirumozhi describing the beauty of a particular location. In every verse, he brings out the speciality of Thiru Vellarai, a town 15kms North of Srirangam.

(http://prtraveller.blogspot.in/2007/05/108-divya-desam-thiruvellarai.html)

As he moves along into the fourth Canto, one finds Periyazhvar describing the greatness of more temples – Thiru Maliruncholai, Kadi Nagar and Srirangam. Thiru Koshtiyur seems to be a particular favourite of his as he is very harsh in his adjudication of the people of that place.

Periyazhvar praises the city of Thiru Vellarai and describes its beauty along with the quality of people residing there and simultaneously sings praise of the young child and asks him to abide by the loving commands of his mother for a little more time as it is important for him to be kept away from evil eyes that are all the time looking to create trouble for this beautiful son of Yashodha.

Prosperous Vellarai - Big Houses touching the moon

இந்திரனோடுபிரம்மன்ஈசன்இமையவர்எல்லாம்

மந்திரமாமலர்கொண்டுமறைந்துஉவரைவந்துநின்றார்

சந்திரன்மாளிகைசேரும்சதுரர்கள்வெள்ளறைநின்றாய்

அந்தியம்போதுஇதுஆகும்அழகனேகாபிடவாராய்

Thiru Vellarai was a place with lofty mansions that were so high that they seemed to touch the moon.Through this description one can well imaging the prosperity of Thiru Vellarai in Centuries gone by.

It is also described as a place where Indra, Brahmma, Shiva and other Celestial Lords brought flowers for the Lord from heaven. To this day, as a symbolic gesture of this episode, one can see the sculptures of the Indra, Brahmma and Shiva on the western side of the complex housing the Lord. She says that the young handsome child has been complimented by everyone that she wants to ward off evil eyes.

A mother shouting at the top of her voice!!!!!

கன்றுகள்இல்லம்புகுந்துகதறுகின்றபசுஎல்லாம்

நின்றொழிந்தேன்உன்னைக்கூவிநேசமேலொன்றும்இலாதாய்

மன்றில்நில்லேல்அந்திப்பொதிமதில்திருவெள்ளறைநின்றாய்

நன்றுகண்டாய்எந்தன்சொல்லுநான்உன்னைக்காபிடவாராய்

Yashodha says that the cows are all shouting as you have hidden the calves inside. She tells her child that like these cows, she too is shouting out for him at the top of her voice asking him to come inside as the dusk is fast approaching and it may not be such a good idea for him to stay outside. There are many who do not like the compliments being thrown on him and are eyeing his downfall. Like a typical mother, she says she always means well for him and cares for his welfare and hence he should listen to her.

Apologies from the mother

The Northern Temple tower of Thiru Vellarai

Thiru Vellarai is praised as a place where seers and celestials worship you thrice a day. Yashodha says that the women were playing happily in the sand and he created mischief by breaking their sand castles and also snatching their food. And her anger, as a result was justified. She reminds him of his earlier reaction.

Through this verse, Periyazhvar also sends out a message to the mothers on the kind of love to be showered on their children.

Angered at being shouted at by his mother, he refused to eat the pudding lovingly made exclusively for him. But since she has now experienced his saddened feelings, she promises that she would never again do anything negative and asked him to come inside so she can ward off the evil forces that may be working against him (…………….சிறுசோறும்இல்லும்சிதைதிட்டு அப்போதுநான்உரப்பப்……………………..இப்போதும்நான்ஒன்றும்செய்யேன்எம்பிரான்காப்பிடவாராய்)

At least don't pick up a fight with the strangers!!!!!!!!!!!

She says that she keeps on receiving complaints from other children in Gokulam. And she has now got used to this daily routine. But what has surprised her now is his ability to not let go even strangers.

Yashodha marvels at his ability (sarcastically) to pick up a fight with even completely unknown children . She probably wonders if the new visitors to the city will take away a sour message when they leave the place as a result of the mysterious acts of her child.

She reminds him of his throwing sand in their eyes, kicking them and other such activities that seem to come so easily to him. (கண்ணில்மணல்கொடுதூவிகாலினால்பாய்ந்தனைஎன்றுஎன்று....... கண்டோரோடேதீமைசெய்வாய் ). These she says have put off the other children and their families and they are upset with him. Given this background, she asks him to come inside so she can ward off negative energy being cast on him.

She goes on. There are thousands at Thiru Vellarai who commit mistakes and those are all being blamed on him. She asks him not to worry about those as she will continue to shower all the praises on him and will ward any evil threats that are likely to be directed at him. Once again Thiruvellarai is praised as a place that is home to great seers and noble people (பல்லாயிரவர்இவ்வூரில்பிள்ளைகள்தீமைசெய்வார்எல்லாம்உன்மேல்அன்றிப்போகாது……………….).

The huge walls of Thiru Vellarai is still intact

Periyazhvar refers to the huge walls and mansions of Thiru Vellarai that gave this city a grand look. With word going around that Kamsa has assigned a poisonous asura to kill the young child, she says that it is not safe for him to be alone and unguarded (மஞ்சுதவழ்மணிமாடமதிள் திருவெள்ளறைநின்றாய்)).

பிள்ளைஅரசே

And then Yashodha praises him that even as a child he is already a ruler. There are those jealous of his unique qualities and are eyeing his body. But she is confident that he will counter them with effortless ease. But for the moment she wants him to take rest and go to sleep.

For a few more days Please!!!!!!!!!!!!

Yashodha pleads with him to listen to her for some more time till he comes of age!!! She says that the Seers are arriving chanting the Rig Vedas and that he should not come in their way. She wants to light the evening lamp and its shine on the little boy is enough to send the evil forces away from him (தருக்கேல்நம்பிசந்திநின்றுதாய்சொல்லுக்கொள்ளாய்சிலநாள்…………திருகாப்புநான்உன்னைச்சாத்த...............உருக்காட்டும்அந்திவிளக்குஒழிகொள்ளஏற்றுகேன்வாராய்).

யசோதா உன் மகனை கூவாய்

The neighbours of Gokulam ask Yashodha to restrain her son from mischievous acts

Periyazhvar provides beautiful insights into the cooking process

While Periyazhvar has described on and off about his acts of stealing butter, he now describes in an entire decad the feelings of the neighbours and their complaints to Yashodha wanting the mother to keep control of her mischievous son. It is a fascinating description of these angry feelings among the entire colony and a despondent mother who after sharing with her the entire list of complaints tries her best to advise him about staying away from his unfriendly neighbours. One after another, day after day, Yashodha is the recipient of the choicest of outpourings from the residents of her colony.

Where did he master this act?

They say that he has gobbled up every ounce of butter on sight. He moves on from one house to another and there are going to be similar complaints from most other houses as well about these ‘wicked deeds’ of his (புரைபுரையால்இவைசெய்யவல்ல).

The neighbours instruct Yashodha that it is important for her to restrain him from such activities. They say that not only does he finish all the butter but he also has the audacity to throw all the empty pots on the rocks in such a way that it seemed he specifically wanted us to hear that thundering breaking noise (வெண்ணெய்விழுங்கிவெறுங்களத்தைவெற்பிடைஇட்டு கேட்கும்). He is really adding salt to their injury (புண்ணில் புளிப்பெய்தாலொக்கும்தீமை).

They say that they do not even know how he has mastered this naïve act of quietly moving into another’s house and consuming his favourite dishes (கண்ணபிரான்கற்றகல்விதன்னைத்). He constantly thrives on such acts and he finds a sense of happiness in making them angry. And he does not stop with just one house.

They say that she got a son whom she considers special but she should call him back away from his demeaning acts (அண்ணற்கண்ணன்ஓர்மகனைப்பெற்றஅசோதைகாய்நங்காய்உன்மகனைகூவாய்)

Yashodha laments at not being to catch her son about whom she is receiving innumerable complaints. She believes her son to be a harmless innocent kid but nevertheless when neighbours complain, it is not a good feeling for any mother (அசலகத்தார்பரிபவம்பேசதரிக்ககில்லேன்பாவியேனுக்குஇங்குபோதராயே).

Give us our peace, exclaim the Neighbours

And neighbours go on relentlessly. They find him unique. He drinks ghee and butter from the pot and then he breaks it on the spot and quietly slips away. They even go to the extent of saying that he does not let others live in peace and after his act makes it seem like a big achievement. And then ask her if she does not find such acts of her son as great injustice. Not trusting Yashodha to caution her son, they call out for him so they can give their own treatment (உருகவைத்தகுடத்தோடுவெண்ணெய்உறுஞ்சியடைதிட்டுப்போந்துநின்றான்).

A beautiful description of cooking in centuries gone by

Through this verse, Periyazhvar provides insights into the process of cooking in centuries gone by. Not every house in the locality had the stove lighting equipments. From his description, it is quite likely that only a select few houses were blessed with this facility. And the rest in the locality would collect the necessary raw material as and when they needed it. The child Krishna seemed to have spotted this loophole and cashed in on one of the neighbours much to her displeasure.

பாலைக்கறந்துஅடுப்பேறவைத்துப்

பல்வலையாள்என்மகளிருப்ப

மேலையகத்தேநெருப்புவேண்டிச்சென்று

இறைப்பொழுதுஅங்கேபேசிநின்றேன்

This neighbour narrated her incriminating experience. While her daughter milked the cows and kept the milk on the stove, the mother went to bring firewood from her neighbour. She did spend a few extra minutes chatting up with her neighbour. And that was the only mistake she made.

On her return, she was stunned to find that the mischievous child had turned the bowl upside down and drunk everything (சாய்த்துப்பருகிட்டபோந்துநின்றான்).

The young child is happy to say that he has sucked everything and the neighbour is further agitated that with a mother’s love she takes him on her hip. And she suggests to Yashodha that all these are her own lessons.

Why are you doing this, Yashodha asks Krishna

Unable to bear this any longer and infuriated at being told thus, Yashodha calls out for her son and tells him that though they seem to start off with some praise about his unique abilities, they invariably end up complaining about his mischief of the day leaving her totally embarrassed (ஏதேனும்சொல்லிஅசலகத்தார்ஏதேனும்பேசநான்கேட்கமாட்டேன்). She tells him that she cannot put up with this shame anymore.

Neighbour tracks the little boy's every act

This neighbour has kept a count of Krishna's mischief. For 12 shravanams, her neighbour had made special offerings of rice made of paddy, ghee, cow’s milk, sugar and candy. And she now recollects what happened to each one of these. She bemoans that he finished everything and like an innocent child wanted another piece of it.

(செந்நெலரிசிசிறுபருப்புச்செய்தஅக்காரம்நறுநெய்பாலால் பன்னிரண்டுதிருவோணம்அட்டேன்..................இன்னும்உகப்பன்நான்என்றுசொல்லிஎல்லாம்விழிங்கிட்டும்போந்துநின்றான்).

To add to Yashodha’s anger, the neighbour tells her that she is not even confiding the entire story almost indicating that this is only a sample (கூவிக்கொள்ளைஇவையும்சிலவே).

Frustrated Yashodha asks him not to go to loveless neighbours who speak ill of him(நேசம்இலாதார்அகத்தில்இருந்துநீவிளையாடாதேபோதராயே). Listening to mother’s words is Dharma, she says (தாய்சொல்கொள்வதுதன்மம்கண்டாய்). She asks him to stop playing in such places where he is not wanted. And expecting an unfavourable reply, she tells in advance not to say no to her request.

Who consumed the Salty Seedai and Delicious Laddus

It is a new day but the story remains the same. Another neighbour arrives at Krishna's Portico and Yashodha knows what's in the offing.

She says that she had made all the special sweets like Laddus and Salty Seedai. He finished every single savoury. It was meant to be a lean day at home for that lady and she was not expecting any strangers at home. And hence she had gone away for a little while. But in this small gap, this naughty child came and finished off everything. With an intention to shame yashodha, she asks if this is the way for any child to be. (கன்னல்இலட்டுவத்தோடுசீடைகாரெள்ளின்உண்டைகலத்திலிட்டுஎன்னகமென்றுநான்வைத்துப் போந்தேன் இவன்புக்குஅவற்றைப்பொருத்திப்போந்தான்).

And then some time later he came back again almost innocently to check if there was anything in the shelves and finished off the white butter (பின்னும்அகம்புக்குஉரியைநோக்கிப்பிறங்கொளிவெண்ணெயும்சோதிக்கின்றான்).

A different approach by this neighbour

The last neighbour starts off on a very interesting note. Knowing Yashodha’s love for her son, she opens with a statement saying that even Yashodha will be furious with what she is going to hear (சொல்லில்அரசிப்படுதிநங்காய்).And then reels off the latest act of the young child.

She says he entered the house, removed the bangles from her daughter’s hands, went out through the back door on to the street and exchanged these bangles for a purple fruit. And then as though he knew nothing, he acted with utmost innocence and gave a beautiful smiling face as if nothing at all had happened (இல்லம்புகுந்துஎன்மகளைக்கூவிக்கையில்வளையைக்கழுற்றிக்கொண்டுகொள்ளையில்நின்றும்கொணர்ந்துவிற்றஅங்கொருதிக்குஅவ்வளைகொடுத்துநல்லனநாவற்பழங்கள்கொண்டுநானல்லேன்என்றுசிரிகின்றானே).

Krishna loved playing with the Gopis - this time he steals their clothes and bangles

First it was his neighbours and now in this last decad of the 2nd Canto, it was time for the young beautiful Gopis to levy their charges against Krishna.

The girls say that they were enjoying themselves playing in the sand. Everything was fine till the time he came. He started throwing sand on them and in a flash ran away with their bangles and sarees (ஆற்றில்இருந்துவிளையாடுவோங்களைச்சேற்றால்எறிந்துவளை துகில்கைக்கொண்டு).

It seemed to them that he was running faster than the wind and he just vanished into his house before they could even make any attempt to recover their belongings (காற்றின்கடியனாய்ஓடிஅகம்புக்கு)

Despite their repeated calls, he does not come out. He knows what we are going through but he refuses to oblige.

The day is coming to an end and they wonder as to what would happen to their bangles and how could they return home without these. And what answer would they have to their family members on the missing jewellery.

Climbs the Tree and laughs at the Gopis

With his ear pendants and his chain on the neck hanging low, Gods and men from all the eight quarters bend low and worship him. After taking the Gopis’ sarees, he climbed the Kurundu trees and refused to return. We plead before him but he sits up there and enjoys our despondent state through the day.(வண்டுஅமர்பூங்குழலார்துகில்கைக்கொண்டுவிண் தோய் மரத்தானால்இன்றுமுற்றும் வேண்டவும்தாரானால்இன்றுமுற்றும்)

Beaten up earlier for stealing- What will happen now

He had previously been caught red handed for stealing butter and curd and was tied with a rope and beaten up. He wept in pain. But what about the things he grabbed from them this time. They were wondering as to how he will be punished this time around and for that to happen someone would have to get hold of him first.

The girls saw him as a wonder kid. They related his Trivikrama Avatara, his killing of Putana, his Gajendra Moksham episode and his avatara as a Boar. They praised his all other actions but question the location of their belongings.

They praise him for taking on Indra by providing cover as the Govardhana Mountain, killing Dhenukasura by flinging him into the tree as well as killing Kaliya and then dancing atop him.

The Gopis appreciate his many valorous acts but they do not like it when he comes and takes away their belongings and refuses to return those to them.

எல்லேபாவமே– Yashodha regrets her ‘Sinful Act’ of sending Krishna to the forest to graze the Cows

In the initial days he went from house to house and enjoyed himself. He would smear turmeric all over his body and then make his way to the sea shore and smash the sandcastle of young Gopis and enjoy their tears. At other times, he would roam the streets with beautiful girls and they would be all over him. He offered his red lips to the girls like Kovai fruit but she did not want him to hold their hair and wander around.

The residents of Gokulam came together to spread the word that this new wonder kid wanders around the town doing wrongful acts.

He is handsome but at the same time difficult to understand. He roamed around teasing girls who came home complaining. She says she sent him to graze calves to avoid his mischievous acts and to avoid women who uttered negative words.

Very early in the morning she woke him up that day gave him a quick bath and then despatched him to the forest to graze the cows (பொன்னடிநோவப்புலரியே).

But later during the day, like a true loving mother, she began to regret her hasty act. She began to visualise how her son would be spending his day. And then she realised what a decision she had taken trusting the words of her neighbours.

Periyazhvar describes beautifully the loving and caring thoughts of a mother as each hour in the day passes by.

Will his legs hurt?

In the first half of the day, she starts off cribbing about the fact that his tender feet will be hurting in the hot Sun. It was with these legs that he killed Kamsa. Will those same legs not be paining now? She calls herself a sinner for having sent him thus (கஞ்சனைக்காய்ந்தகழலடிநோவக்கன்றின்பின்என்செய்ப்பிள்ளையைப்போக்கினேன்எல்லேபாவமே).

Why didn’t I give him the Umbrella and Sandals?

She says she had gone inside to get some protective gear for him but before she could be back, he had left. She He neither has an umbrella nor sandals to wear and it is terribly hot in the forest that has sharp broken rocks (குடையும்செருப்பும்கொடாதே....உடையும்கடியனஊன்றுவெம்பரற்கள்உடைகடியவெங்காளிடைக்காலடிநோவக்.....).

How will he face the wild elephants?

Yashodha regrets the wicked thing of sending him to the forest to graze calves. Suddenly she started seeing the positives in him. He enjoyed gulping butter from homes. And like a wicked mother, ‘I sent him to the forest amidst wild elephants.’ (கடிருபலதிரிகான்அதறிடைக்கன்றின்பின்இடறஎன்பிள்ளையைப்போக்கினேன்)

Will the hunters hit out at the Calves?

The herd of cows would be raising dust along the way that would be falling on his eyes. And as they progress further, they are likely to be entering the territory of hunters. She regrets having sent the heavenly God to such a place just to avoid him wandering with the Gopis (எவ்வும்சிலைஉடைவேடர்கானிடைகன்றின்பின்தெய்வத்தலைவனைப்போக்கினேன்).

What will happen to his Sweet Voice?

He is shouting at the top of the voice running behind the cows like a typical cowherd would. And she says his voice can be heard reverberating against the tall mountains (கன்மணிநின்றுஅதிர்கான்).

The forests are such a dry place that even cactus plants seem to go dry there, such is the hot weather during this period. And she considers it a deadly sin to have sent him to such a place (கள்ளியுணங்குவெங்கான்).

YASHODHA CELEBRATES KRISHNA'S RETURN

Having spent an entire decad cribbing about having sent him out to graze the calves, Yashodha is delighted to see him back and describes the scene of his coming back home. She was angry about his mischievous acts and hence packed him off early in the morning to the forest so he will not trouble the girls any more. However, like a loving mother, she started to feel the pain of separation the moment he had left. Now she calls the entire Gokulam to welcome him on his return making it seem as if he was away for many months and years!!!! He had been out away from her only part of a day but even that was unbearable for her. She says she is blessed to be the mother of such a son.

She praises his beautiful ears: One ear has an earring made of cloth…. While the Red Lilly flowers are looking loving on his other ear. And then she describes his chest. The pearls on his chest are bright and he wears a shiny look. Down to the waist, she finds him wearing a new cloth (சீலைக்குதம்பைஒருகாதுஒருகாதுசெந்நிறமேல்தோன்றிப்பூ).

On his return, graciously she confesses to waking him early and sending him out to graze. She regrets that decision and asks him for a kiss (உன்னைஇளங்கன்றுமேய்க்கச்சிறுகாலிஊட்டிஒருப்படுதேன்……………என் குட்டனே முத்தம் தா).

Hot water bath

Describing his tired face covered with dust after a long weary day, Yashodha says she has water ready for his bath, following which he can have his dinner with his father who too has not eaten (நீராட்டுஅமைத்துவைத்தேன் ஆடிஅமுதுசெய்அப்பனும்உண்டிலன்உன்னோடுஉடனேஉண்பான்).

Yashodha says she had gone inside to get him umbrella and sandal but he left before she could bring them. And now she sees his scorched feet and the reddish face having spent the day in the blazing sun. She bemoans the tired look on him after grazing the calves through the day

(குடையும்செருப்பும்குழலும்தருவிக்கக்கொள்ளாதேபோனாய்…………அடியும் வெதும்பி உன் கண்கள் சிவந்தாய் அசைந்திட்டாய்).

It was okay for the older boys to go behind the cows, but Yashodha felt that her little boy was the youngest among them and it was too early for him to undertake this activity.

Once again, she is reminded of his old activities of gobbling up butter from everywhere and says that she find it difficult to keep him quiet even for a day. She talks about him gobbling up huge quantity of rice, curry and curd in on gulp, one that Gopas offered to Indra.

Birthday Celebrations

திருநாள்திருவோனம்மின்றேழுநாள்முன்

பண்ணேர்மொழியாரைக்கூவிமுளைஅட்டிப்பல்லாண்டுகூறுவித்தேன்

கண்ணாலம்செய்யக்கறியும்காத்ததுஅரிசியும்ஆக்கிவைத்தேன்

She confides that she does not have money to give him such offerings even for one occasion. But she is bullish on celebrating his next birthday in a grand manner. She says that his birthday is coming up in a week’s time and that she is organising a big celebration. She has sown the seeds in pots to sprout in time for his birthday. She has also got the milk maids to present benedictory songs and all of them are practising day and night for this occasion. ‘Vessels will be full of rice and vegetables’, she promises.

She asks him not to go out to the graze the calves ahead of his birthday (நீநாளைத்தொட்டுக்கன்றின்பின்போகேல்கோலம்செய்துஇங்கேஇரு).

Paripatal was a pioneering initiative in the religious literary works in Tamil

Great Insights on the Vaigai River and Thiru Maliruncholai and the state of life in Madurai during that period

Lord Vishnu is referred to as Thirumaal / Maal / Maayon in the Paripatal

Paripatal is one of the 8 Anthologies that comprise a separate collection of poems of different lengths dating back to the Sangam Period.

Among these 8, Akanaanooru, Kuruntogai, Narriniai, Kalittogai and Ainkurunooru belong to the Akam category (Love subjects) while Purananooru and Pattirupattu belong to the Puram category (war theme/ guiding musicians to the patronage of kings).

Paripatal stands in a separate class by itself written on ‘Paripatal meter’ and in lofty rhymes with a musical verse whose length ranges from 25lines to almost 400lines. Out of all the Sangam classics Paripatal is the only one that is sung to the accompaniment of Yaazh and Flute and to the measured beat of drums by musicians. Much later, Azhvaars too refer to Yaazh in their Prabhandham but it was originally set to music by Paripatal.

The Paripatal authors may have belonged to a period between 300BC and 200AD though there are many differing opinion on this. It is likely that Paripatal existed before Tholkappiyar but none of that is traceable. Out of the 70 songs, only 22 have survived the test of time with most getting lost/ becoming irrecoverable with passage of time. Originally there were 8 songs on Thirumaal, 31 on Murugan, 26 on Vaigai, 1 on Sea Lord and 4 on Madurai.

The flow of Paripatal

Pari refers to a horse and these set of verses were so named as the rhymes sometimes galloped, at other times ambled and sometimes one got the feeling that the verses even leapt like a gambadoes of a Horse where all the feet are up in the air almost as if to jump the Vaigai in one go!!!!

Paripatal was written to be sung to the accompaniment of Yaazh and Flute along with the beating of the drum. These were set to one of the three musical modes – Palaiyaazh, Notiram and Kaantaaram. Each Paripatal has an author, music setter and the melody type (for some, the name of the authors is not traceable). There were 10 Music setters in Paripatal some of whom set to music their own composition. There were others who authored a Paripatal but the music composition was by others.

Currently there are 6 poems that deal with Thirumaal. These constitute the earliest devotional hymns in Tamil Literature. These are broadly based on divine myths and legends. The typical tone of Paripatal was highly emotional and all of these ended with a prayer to God.

Vaigai and its greatness

There are 26 songs based on the greatness of Vaigai River and the festivities surrounding that including the lives of the people of Madurai, religious practices and devotion of the people, sporting activities and games played during the peak periods at Vaigai. There is a lot of reference to Pandya Kings, Lord of the South and Madurai as Capital in different verses of the Paripatal

Parimelazhagar was the first to write a commentary on Paripatal. .

Paripatal’s reference to Lord Balarama!!!!

Very interestingly, Paripatal has a lot of reference to Balarama. Rarely in the Nalayira Divya Prabhandham is there a reference to him. This throws up an interesting point of Balarama being worshiped here in TN during the period Paripatal was written. Of course over the last many centuries, there is hardly any temple for Balarama. And it is Rama and Krishna to whom most of the temples are dedicated.

Pancharatna System and Paripatal

While Vaikanasa is followed pre-dominantly in most temples today, Pancharatna may have been a system of worship in those days for Paripatal makes great reference to that – Paratva, Vibhava, Vyuha, Antaryami and Archavatara.

Six Paripatal - Praise on Vishnu

In the six works on Thirumaal currently available, the names of the author are not available for a couple. Lord Vishnu is referred to as Thirumaal. Sometimes it is just Maal. He is also referred to as Maayon, the dark hued Lord.

The first Paripatal is on Thirumaal. Vishnu is referred to as one who is seen reclining on a serpent with 1000hoods. He is referred to as Sun, Moon, Easwara and Brahmma. Paripatal alone among the 8 anthologies does not have an invocation verse for this first Paripatal on Vishnu is seen as an invocation song.

The second Paripatal authored by Keeran Taiyaar (music setter- Nannaa Kannaar) starts with description of deluges in the Universe and refers to the five elements in the same order as mentioned in the Vedic Texts. In this 2^nd poem, Keeran Taiyaar identifies Thirumaal with Balarama who is seen as an incarnation of Adisesha. There is also reference to Varaha Avatara in the 2^nd poem.

On Garuda Vahana

The third is a beautiful hymn by Kattuvan Ilaveyinnannaar (Music Setter – Pettannaa Kannaar). This is in a form that can be chanted every day as a prayer. Here the Lord’s description is similar to one that is seen in ancient Sanskrit texts. Lord is praised as one who provides Moksham and that all celestial beings are Thirumaal’s creation. A reference is made to Garuda, Lord’s mount. Lord’s Vamana Avatara is described here. There is also mention of Krishna’s achievements here. The third poem is characterised by its brevity but every phrase has deep meaning attached to it. The poet calls Maal as a Lord of eternity and as the virtue of all things in creation. He is the heat in fire, fragrance in flowers, radiance of gems, essence of Vedas and so on. This third poem also provides an interesting note on the use of numbers to describe Thirumaal

Towards the end of the poem, one sees a lot of passionate fervour, brevity of expression and rich allusiveness. There is reference to various personalities of Lord and his appearance and exploits. In the end, the poet invokes the Lord’s blessings to keep the world safe.

Who is a True Devotee

In the fourth poem by the same author, he starts with a description of the true devotees of the Lord. He says that they envision God in their minds by purifying and controlling their senses, making them free from delusion of any kind. Parimelazhagar calls this cleansing of mind as Chitta Parikrama. He ends the fourth poem by concluding that God has no friends or foes and is above human limitations. He says that God is the sole refuge and protector of all.

In a short poem by Nallellunniyaar, there is a beautiful description of the Lord, his flag and discus, his form, ornaments, garments and his weapon. He calls Vishnu as the all pervasive Lord and states that the Lord is not only the origin and source of all creation but is also the essence of virtues.

On Thiru Maaliruncholai

In a poem by Illamperuvallutiyaar ( Music: Maruttvuan Nallachutanaar), the poet refers to the hills of Thiru Maalirunkunram, where he says one finds Lord Kannan and his elder brother Balarama. Despite having different complexions, both seem inseparable. He also refers to Silamparu, peacocks and cuckoos (also praised by Thiru Mangai Azhvaar and Periyazhvaar in their verses on Thiru Maalirun Cholai in the Nalayira Divya Prabhandham).

Reference to a town near Madurai

The last poem again by an unnamed author has an easy style of presentation with a poetic grace to it. This is directed at the Lord of Iruntaiyoor (a place on the outskirts of Madurai) who is stated to be in a seated posture. In this poem the Lord is described as being bright and beautiful. The entire place is described beautifully giving us great insights into what it was during that period almost 2000years ago. There is also a mention of an exclusive temple for Adisesha near Madurai.

Conclusion

From a literary works point of view, Paripatal is a significant milestone in the history of the development of Vaishnavism. The significance of Paripatal authors is that they were ahead of the Azhvaars. In that sense, they were pioneers of religious literature in Tamil. They clearly began the Bhakti cult much before both Azhvaars and Nayanmars who then carried forward the legacy of Paripatal authors and took it to the next level of Bhakti.

While Rama and Krishna avataras are dominant in Nalayira Divya Prabhandham, Krishna finds only a few references in Paripatal. There is absolutely no reference to Rama at all. It is Balarama who gets praised in Paripatal. Hence there may have been a great following for Balarama preceding the period of the Azhvaars. There are also brief mentions of Varaha, Vamana and Narasimha Avataras in the Paripatal.

From the Paripatal, it is clear that people were truly religious during that period. They were devoted to God. It does not seem that there were any religious fights during that period unlike the period of the Azhvaars and Acharyas. Worship of the Supreme Lord in his various forms was almost universal in the Sangam days.

(Each of the Paripatal on Lord Vishnu will be seen as part of this series….Follows shortly)

In the first Paripatal on Vishnu comprising of 80 lines, the unnamed author showers praise on both Lord Krishna and Balarama and starts off with a comparison of the two of them.

He describes the Lord’s location and his posture. Reclining on the venomous 1000 hooded serpent, the Lord has the support of Goddess Lakshmi who eternally resides on his chest (ஆயிரம்விரித்தவணங்க்குடையருந்தலை……….மாயுடை மலர் மார்பின் மையில்வால் வளைமேனிச்).

Lord’s Chest – Both Soft and Mighty

His chest is presented as being flowery (மாவுடைமலர்மார்பில்), a connotation to his soft nature of protecting his true devotees. Towards the end of the poem, the author praises Thirumaal’s chest as mighty and massive (எண் இறந்தபுகழவைஎழில்மார்பினவை) giving us an indication that he can be both soft and tough depending on the kind of devotion shown.

Compares different aspects - Thirumaal and his elder Brother

Balarama the white complexioned with an elephant flag, a destructive plough and an ear ring

Krishna the dark sapphire hued with a garuda flag and conch and discus

He then moves on to his brother Balarama who is described as having a white complexion and compares him to the white conch from the sea. The flag atop Balarama’s elephant is seen fluttering adding beauty to the elephant!!!He praises Baladeva as a peerless warrior who carries along with him the curved plough that everyone dreads. And he is seen with a beautiful ear ring (சேயுயர்பணைமிசைஎழில்வேழமேந்திய).

And then the poet comes back to Thirumaal. Contrasted with Balarama, Thirumaal is described as one with a dark complexion. His eyes are bright and the poet compares it to the blooming of a lotus petal. Lord is always seen with the Kaustupa Gem on his chest where Goddess Lakshmi resides . His Jewels are praised as providing positive energy and there is a radiant shine about them (கடறரு மணியொடும் முத்து யாத்த தேரணி).

While Balarama is seen with elephant flag, Thirumaal is seen with the Garuda flag.

Brahmins are forever chanting the four Vedas seeking him. He praises the Lord as being flawless to whom every sincere devotee bows seeking his blessing. The poet goes on to describe the great strength of Thirumaal. He defeated those with arrogance with effortless ease. He is praised as the Lord of Manmata and Brahmma (இருவர்தாதை).

12 lines describing him as ‘The Supreme One’

அறனும்ஆர்வலர்க்குஅருளும்நீ

மரணம்மற்றலற்குஅணங்கும்நீ

திங்களும்தெருகதிர்க்கனலியும்நீ

மைந்துடைஒருவனும்மடங்களும்நீ

புலமும்பூவனும்நாற்றமும்நீ

நிலனும்நீடியஇமயமும்நீ

There are 12 lines in the middle that all end with the word ‘Nee’. Through this the poet emphasises the fact that everything in this world is because of him. He is the creator, the four Faced one, the five Faced one, the Moon, the Sun, the God of Death and the Victorious Cloud.

It is nigh impossible to get know about the full prowess of his powers for even the greatest of the seers who possess all the wisdom in the world. Such is his indomitable power (மருள்அறுதேர்ச்சிமுனைவர்க்கும்அரிதே). He is incomparable and we do not have the wherewithal to define him. And yet poets like him still strive to describe him as best as they can.

The poet author pleads with Thirumaal to not discard his prayers as trivial and frivolous and asks him to shower his blessings on the devotees (பெருமையின்வல்லாயாம்இவன்மொழிபவை………..நீ அருளல் வேண்டும்).

He then praises Thirumaal as one who does not let go of his true devotees and always takes care of them. And through his grace, even the weak regain their strength of mind. Just the mention of his name is enough to create terror in the minds of the foes.

Both Sun and Moon are required

The unknown poet describes Thirumaal as the moon that provides light to the entire universe through the night. In the next line, he refers to the Lord as the Sun whose shining rays provide brightness to the entire world (அம்கண்வானத்துஅணிநிலாத்திகழ்தரும் ........திங்களும்தெருகதிர்க்கனலியும்).

Thirumaal is Shiva, Yama and Brahmma

He also praises Thirumaal as the five headed Shiva. He goes to say that he is also the God of Death Yama crushing those who are wrong doers in this world

(ஐந்தலைஉயிரிய வணங்குடையருந்திறல்மைந்துடையொருவனுமடங்கலு நீ………..புலமும் பூவனு நாற்றமு நீ).

He also praises him as the one with the four faces. He credits Thirumaal as being the source of the Vedas. As one sees him in the Victory cloud, one gets the feeling that his space is limitless and the Himalaya Mountain is one small part of his creation.

The author praises the Lord as one with the dreaded discus in his right hand and with a conch. He sustains all life in this earth. No one can deliver justice like him.

Conclusion

Having praised his greatness, his Garuda Flag, his conch, his all destructive discus (புள்ளின்கொடியவைபுரிவளையினவை), the sapphire gem on his chest, the poet ends the first Paripatal pleading for a little space on his lotus feet so that he and all other true devotees like him can have the opportunity to sing his praise all the time to the maximum joy of their heart (வாய்மொழிப்புலவநின்தாள்நிழல்தொழுதே).

Ramanuja referred to him as his Tridhandam

'Daasarathi' composed 5 verses of praise on his Acharya Ramanuja at Thondanur

பாஷண்டஸாகரமகாபடபாமுகாக்நி:

ஸ்ரீரங்கராஜசரணாம்புஜமூலதாஸ:

ஸ்ரீவிஷ்ணுலோகமணிமண்டபமார்க்கதாயீ

ராமாநுஜோவிஜயதேயதிராஜராஜ:- Dhaati Panchakam

In this 5^th and last verse, Muthaliandan showers great praise on his Acharya Ramanuja. ‘He is the one who shows us the way to reach the Mani Mandapa at Sri Vaikuntam…….’

Born in Pachai Vaarana Puram (now Nazrath Pettai or simply Pettai) about 30kms from Madras off the Poonamallee- Bangalore NH, Muthaliaandan is considered the first and foremost among the disciples of Ramanuja as well as the Lotus feet of Ramanuja. There is a Pachai Vaarana Perumal temple at his Avathara Sthalam at Pettai ( near Poonamallee).

Muthaliandan Avatharam

Anantha Narayana Deekshithar belonged to Pachai Vaarana Nagar. Not blessed with a child for a long time, he decided to invoke the blessings of Lord Srinivasa at Tirupathi and went along with his wife Kothambika (Ramanuja’s eldest sister). On the way he stopped over at Thirumazhisai and stayed back the night there. Rama appeared in his dreams and promised to bless him with a child. Later he had darshan of Pachai Vaarana Perumal on Panguni Uthiram. Muthaliandan was born on Chitrai Punarvasu in 1027 AD and was named by his parents as Dasarathi. He went on to become the first and foremost among Ramanuja’s disciples. Hence he was called Muthali Andan.

Alavanthar was in his final days and wanted to crown Ramanuja as his successor at Srirangam. Accordingly Thiruvaranga Perumal Araiyar came to Kanchi and presented Prabhandham verses there. Pleased with his presentation, Lord Devapiran blessed him with Parivattam but Araiyar asked him to grant him a wish. And the Lord agreed. Araiyar asked for Ramanuja to be taken back along with him.

Periya Nambi welcomed Ramanuja and Muthaliandan on the northern banks of Cauvery and brought them to the temple. Ramanuja was asked to take care of all the activities at the temple and Periya Nambi crowned him as Udayavar (the fitting one).

At an appropriate time, Periya Nambi informed Ramanuja about Alavanthar’s Rahasya Grantha and wanted him to be initiated into this at Thiru Koshtiyur .On the 18^thoccasion, Thiru Koshtiyur Nambi asked him to come alone with his Dhandam and Pavitram.

Muthaliandan is my Dhandam

When Thiru Koshtiyur Nambi questioned his presence with two others, Muthaliandan and Koorathazhvaan (though he had asked him to come only with Dhandam and Pavitram), Ramanuja replied that they were his Dhandam and Pavitram much to the delight of Koshtiyur Nambi.

After being initiated with Thiru Manthiram and its meaning, Ramanuja secured permission to share it with Koorathazhvaan (after one year of his service). Learning about this, Muthaliandan too wanted to be initiated with this but was re-directed by Ramanuja to Koshtiyur Nambi.

After staying there for 6months he failed to get initiated and was once again directed to Ramanuja. He returned to Srirangam and served at the feet of Ramanuja and was finally initiated with the knowledge.

During the period of his stay at Srirangam, he was a beacon of support to Ramanuja and it was with his support that Ramanuja would go for bath to the Cauvery every day.

His Different Names

He was Daasarathi to his parents. Nam Vadhoola Desikan was a name presented to him by Lord Rangantha himself. Ramanuja crowned him as Aandan and till the very end he was Ramanuja’s TriDhandam.

Servant Maid of Athuzhai

One day Athuzhai came to her father Periya Nambi and presented a problem. She had asked her mother in law to accompany her to the bathing ghat at Cauvery but was told to find another one for this service. Periya Nambi suggested to her that only her Acharya had the power to instruct her on this front. When she came to Ramanuja and asked for service help, the acharya called for his foremost disciple and directed him to be her maid servant. And he instantly agreed. Such was the greatness of Muthaliandan that he without a blink of an eyelid accepted the orders of his master even though it meant being a servant ( Seethana Vellati) to a young girl and undertaking the role typically performed by women.

Chief Administrator of the Srirangam Temple

When Ramanuja went along with Koorathazhvaan on a long pilgrimage, he was so confident of the administrative abilities of Muthaliandan that he assigned him to take care of all the service activities at Srirangam. Muthaliandan and Embar hugged each other for the successful 10 day Brahmotsavam and for safely bringing back the Lord to his sanctum at the end of the festival.

Thiru Arathanam at Thondanur

Ramanuja along with Muthaliandan went to Thondanur which was also completely inhabited by Saivites (like it was in Srirangam under the then Chozha rule). There seemed to be many slaves there. Ramanuja directed Muthaliandan to place his feet at the sacred lake and the next day much to everyone’s surprise all the Saivites had become cordial. In recognition of this achievement, Ramanuja directed daily Thiru Arathanam for Muthaliandan at this place. The place turned to Sri Paatha Theertham.

Dhaati Panchakam

When the health problems of Thondanu king’s daughter was instantly solved by Ramanuja, the king became his disciple. Angered at this, tens of thousands of Saivite followers challenged Ramanuja to a war of words (much like Thiru Gnana Sambanthar’s followers invited Thiru Mangai Mannan at Seerkazhi). Ramanuja chose this moment to display thousand of his hoods (Adisesha) and answered each question posed by them and won them over to his side. Delighted at this victory and having had darshan of Adisesha, Muthaliandan composed 5 songs in praise of Ramanuja referred to as Dhaati Panchakam.

யச்சக்ரேபக்தநகரேதாட்டிபஞ்சகமுத்தமம்ராமானுஜார்யாஸச்சாத்ரம்வந்தேதாஸரதிம்குரும் (We salute the one (Muthaliandan) who composed that gem Dhaati Panchakam at Thondanur (BhaktaNagar). He is a great disciple of Ramanuja).

When news came from Srirangam that Periya Nambi had passed away and Koorathazhvaan had lost his eyes and that it was time for him to return to Srirangam, he directed Muthaliandan to instal Pancha Narayana Idols at Talakkad, Thondanur, Katak, Mithuna Saligrama and Belur.

Muthaliandan’s son was named by Ramanuja as Ilayavan (later referred to as Kanthadai Andan).

Muthaliandan’s Disciple

Muthaliandan once angered at his disciple Nambi Thiruvazhuthi Valanadu Dasar kicked him. He spent the whole night at the portico of Muthaliandan’s house. When Muthaliandan enquired the next day, he said even a dog if given food for just a day does not leave us. I cannot become less loyal than a dog by leaving you.

Thaligai presentation for Thiruthangal Appan during 5 Garuda Sevai

Once in Malli village, where Muthalianda stayed to have darshan of the 5 Garuda Seva at Srivilliputhur, a vaishnavite came asking for food. By the time Muthaliandan returned he only found thiruthangal appan in front of his house in a palanquin. To this day, Muthaliandan presents food to Lord Thiruthangal appan as part of this 5 Garuda Seva Utsavam.

Muthaliandan passed away in 1132 at the age of 105.

The Post Muthaliandan Period

After Muthaliandan, Ramanuja assigned his son Kanthadai Azhvan for temple service activities. It was he who installed Ramanuja’s idol both at Sriperambudur and at Srirangam.

Lokacharya

During Nampillai’s time, Muthaliandan’s grandson Kanthadai Thozappar too lived. With Nampillai getting all the attention, Kanthadai Thozhappar shouted at Nampillai in public during a Ghosti in an effort to embarrass him. Saddened by his emotional outburst, Kanthadai Thozhappar along with his wife decided to go that evening and apologise to Nampillai. As they opened the door to leave the house, they found Nampillai in front of them and he instantly fell at the feet of Kanthadai Thozhappar much to his shock for it was he who was the offender. However, Nampillai opined that it was unbecoming of him to have caused anger to the grandson of Muthaliandan in the sannidhi of Periya Perumal.

Delighted at this reply, Kanthadai Thozhappar crowned him as Lokacharaya, an acharya for the entire world.

Kanthadai Thozhappar’s elder son Periya Varadachariyar performed service at Kanchipuram while his younger son Chinna Varadachariyar received the title of Thirumazhisai Kanthadayar and he stayed in Thirumazhisai and performed service. Later the chozha king brought back the 3^rdson, Eeyan Ramanuja to Srirangam to perform daily services to the Lord.

Padalathri Singa Perumal Koil

In recent times, it was Annavilappar (Venkatachariar) who identified the Padalathri Narasimha at Singa Perumal Koil, which was a forest and installed the Vimana and Mandapas there. His son Azhagiya Singar (KKVA Kumar Ramanujacharya Swami) is the current Acharya of the Muthaliandan clan.

He resides in the Thirumaligai at Singaperumal Koil.

Pachai Vaarana Perumal Temple @ his Avathara Sthalam

When Yudistira’s Rajasuya Yagna was disrupted by Asuras, Lord Vishnu came on a Green Elephant and killed the Asuras. This place was referred to in centuries gone by as Haritha Vaarana Puram and Purusha Mangala Kshetram. As part of the Avathara Utsavam in Chitrai, Muthaliandan gets Parivattam, Garland and Silk Robe from his Acharya Udayavar at Sriperambudur.

Quick Facts

Moolavar: Pachai Varana Perumal

Thaayar : Amrutha Valli Thaayar ( Separate Sannidhi)

Time : 7am-1030am and 430pm-730pm

Contact : Arun Bhattar @ 95001 81134

Festivals

10 day Brahmotsavam in Panguni

10 day Avathara Utsavam in Chitrai

How to reach Pettai

From Poonamallee, Nazrath Pettai is 1km South West, off the Madras- Bangalore National Highway.

Take a left at the Signal immediately after Poonamallee flyover.

Bus Numbers 53K, 54E, 54F to Nazrath Pettai.

Auto from Bangalore NH (main road) at Nazrath Pettai will cost Rs. 30/-

Yashodha plans Birthday Bash to get him back into mood

No more going out in the Sun, definitely not without Umbrella and Sandals

Having spent an entire decad cribbing about having sent him out to graze the calves, Yashodha is delighted to see him back and describes the scene of his coming back home. She was angry about his mischievous acts and hence packed him off early in the morning to the forest so he will not trouble the girls any more. However, like a loving mother, she started to feel the pain of separation the moment he had left. Now she calls the entire Gokulam to welcome him on his return making it seem as if he was away for many months and years!!!! He had been out away from her only for part of a day but even that was unbearable for this loving mother who dotes on him despite all his mischievous acts. She says she is blessed to be the mother of such a son.

Come for a hot water bath

It was okay for the older boys to go behind the cows, but Yashodha felt that her little boy was the youngest among them and it was too early for him to undertake this activity.

Birthday Celebrations

திருநாள்திருவோனம்மின்றேழுநாள்முன்

பண்ணேர்மொழியாரைக்கூவிமுளைஅட்டிப்பல்லாண்டுகூறுவித்தேன்

கண்ணாலம்செய்யக்கறியும்காத்ததுஅரிசியும்ஆக்கிவைத்தேன்

Gopis Swoon, fall into a Trance, Swear that they will not look at anyone else - Their bangles and clothes loosen on seeing the Handsome Young Boy

Mothers' warnings largely ignored as the young girls are overcome with infatuation

It is time for Gossip - 'Did you see that girl next to that unique boy - What a mismatch it is' !!!!!!!!!

Angered at his mischievous acts, Yashodha woke him up early in the morning and sent him to the forest to graze the cows. After having sent him thus, she spent the whole day cursing her own self for this hasty decision. By evening, she was back in good mood as she admired his return. She praised him so much that it looked like she had been away from him for many years and not just 12 hours.

After the mother expressed happiness at his return, the ladies of Gokulam who were part of the reason for him to be despatched to the forest, are thrilled to see him back. And it is celebration time once again at the Gokulam Colony.

Ladies forget their dinner!!!!

There are drum beats, trumpets, flutes and songs as they welcomed back the unique child (குழல்களும்கீதமும்ஆகிஎங்கும்கோவிந்தம்வருகின்றகூட்டம்கண்டு).

All the ladies are looking out through the windows to get a glimpse of him so much so that they even forgot their dinner and are exclaiming if the rain clouds that has suddenly set is in happiness of this handsome boy’s return from the forest (உள்ளம்விட்டுஊண்மறந்துஒழிந்தனரே).

He is described as coming back with Mullai and Vengai flowers along with other cowherds. They also talk about his clothes.

Stay away from him and save your bangles

Some of them are seen warning others to get out of his way as they run the risk of losing their bangles when they are lost in the process of admiring his handsome features (எல்லியம்போதாகப்பிள்ளைவரும்எதிர்நின்றுஅன்கினவலைஇழவேன்மினே).

The Girl looks at him and the Gossip begins around town

One of the mothers is describing the gossip going around the place. Her daughter stood close to the tired Krishna and kept looking at him again and again. And immediately the entire town started talking connecting the two but accusing the girl and saying what a mismatch it was (அருகேநின்றாள்என்பெண்நோக்கிக்கண்டால்அதுகண்டுஇவ்வூர்ஒன்றுபுனர்க்கின்றதே).

Periyazhvar describes the scene of his return. He says that there are a variety of cows that he is bringing back from the graze. And then describes the boy who is taken care of them through the day. He is described as having a strong body, a fragrant tuft decked with peacock feathers. There is always a spark in his eyes and looks like a red lotus, even during the time he is tired after a long day’s work out. He along with his cowherds are singing, dancing and playing the flute. He is too fascinating to be ignored.

Strategic move by a Gopi

Confiding that she has not seen anyone like him, one of the girls draws up a strategy with her friend. She wants her friend to hold him up on the pretext of him stealing their ball. And it is likely that everyone will believe this. And in this time, she will have a quick glance at his handsome features including his lovely lips and his ever smiling face (அறிந்துஅறிந்துஇவ்வீதிபோதுமாகில் பந்துகொண்டான்என்றுவளைத்துப்பவளவாய்முறுவலும்காண்போம்தோழி).

Even in his tired looking face, he looks handsome. Her dress has become loose, her bangles are seen shaking and she is in the midst of losing control of herself.

She threatens - He is for me alone

One of the girls on seeing him singing and dancing, from the portico of her house, says he is the one for her and she cannot be given to anyone else. She threatens that if she is being considered for someone else, they will have to face a dire situation of confusion and chaos (மற்றுஒருவர்க்குஎன்னைப்பேசலொட்டேன்..........கொற்றவனுக்குஇவளாமென்றெண்ணிக்கொடுமின்கள்கொடீராகில்கோழம்பமே).

A mother describes the scene at her house. Her daughter has swooned on seeing this handsome boy and is now in a trance unable to think of anyone else (அழகுகண்டுஎன்மகள்அயர்க்கின்றதே).

Another Mother had warned her daughter not to stand in his way on the street. Mesmirised by his beautiful features and his graceful looks, she could not resist the temptation and did not heed to my words. She stood at the junction of the road to glance at him. And her dress and bangles and bracelets have now loosened as a result (எதிர்நின்றுஅங்கினவளைஇழவேல்என்னைசந்தியில்நின்றுகண்டீர்நாங்கதனதுகிலொடுசரிவனைகழல்கின்றதே).

Yet another mother too adds her story to this. She too had warned but her daughter confronted him lured by his handsome features. He came adorning himself with Karthigai Flowers, wearing jasmine garlands, curly locks that fell on his shoulders and played delightful music on his flute that sent her into a rapturous mood. His majestic appearance led to a strong desire for him. Instead of staying out of his way, she confidently stood right in front of him only to find her white bangles slipping away

(அழகுகண்டுஎன்மகள்ஆசைப்பட்டுவிளங்கிநில்லாதுஎதிர்நின்றுகண்டீர்வேல்ல்வளைகழன்றுமெய்மெலிகின்றதே).

Periyazhvar is at his poetic best as he describes the Lord holding the huge Govardhana upside down providing different kinds of relief to different beings

With lovely examples of Monkeys, Tigers, Fishes, Serpent and Elephants, he showcases as to how true devotion and love can lead to happiness

For a large part, Indra, the King of Gods, was blemish less. But arrogance overtook him as well and he ordered the clouds to strike heavily (வழு ஒன்றும் இல்லாச் செய்கை வானவர் கோன்). And soon Dark clouds gathered and rain drops poured like arrows in a battlefield. It rained non-stop for 7days causing deluge everywhere (மழை வந்து ஏழு நாள் பெய்து மாத்தடுப்ப). There were screams all around for help from the deluge. There was great hardship caused to the Gopas and the deluge also restricted the movement of cows.

THE POTHIGAI HILLS - WATRAP TEMPLE

In his typical nonchalant way this young boy consumed cooked rice, curd in huge quantity along with ghee (அட்டுக்குவி சோற்றுப் பருப்பதமும் தயிர் வாவியும் நெய்யளறும் அடங்க). And then for the sake of his true devotees, he held the mountain upside down, spread his five fingers of his lotus hand like spokes and stretched his long arms like its stem thus providing cover like an umbrella for the world.

With effortless ease, the boy lifted the Govardhana Mountain and restrained the storm. Just like a mahout takes rice in huge quantities in his hand and feeds his hungry / angry elephant, who he loves much (கடு வாய்ச்சின வெங்கண் களிற்றுனுக்கு கவளம் எடுத்துக் கொடுப்பான் போல்), similarly the young boy uprooted the mountain and held it in his hand to provide cover for everyone.

It was under this great Govardhana Mountain that a mighty elephant that had lost its tusk lifted its trunk on seeing the full moon in the sky and sought it as its replacement tusk (this is similar to the earlier description in the Periyazhvar Thirumozhi of young child of Yashodha who looking at the full moon invited it to play) - கானக் களியானைத் தன் கொம்பிழந்த கதுவாய் மதம் சோரத் தன கை எடுத்தக் கூனல் பிறை வேண்டி.

Streams of water flowed beneath like a glittering ornament and strings of pearls shone acting as armour protecting everyone. It was under this mountain that fawns are caught in nets and fed with milk.

Periyazhvar provides a beautiful comparison. Just like how the Serpent Lord spreads his hood to support the earth, Krishna too spread his five fingers of his hand to support the mountain.

Monkeys Care and Teach

And then he provides two nice examples of how monkeys are taking care of their young ones.

First, under the cover of this mountain, female monkeys hold their little ones with their palms and put them to sleep singing praise of Hanuman who rocked Lanka with his might.

(அடங்கச் சென்று இலங்கையை ஈடழித்த அனுமன் புகழ் பாடித் தம் குட்டன்களைச் குடங்கைக் கொண்டு மந்திகள் கண் வளர்த்தும்).

And then he narrates the episode of the black monkeys teaching their young ones the art of jumping from tree to tree and leaping ahead - முன்பே வழி காட்ட முகக் கணங்கள் முதுகிற் பெய்து தம்முடைக் குட்டன்களைக் கொம்பு ஏற்றியிருந்து குதி பயிற்றும்
(Interestingly in the Sangam Literature, in Paripatal, one finds a similar example of monkeys).

Holding the mountain in the palm of his hand, the Lord shone in his resplendent form and stood like a shield.

Deadly Tiger soften with the Rishis

Periyazhvar provides yet another terrific example of how caring for the animals can get them to reciprocate the love. He says that at this mountain which the boy is holding in his one hand, that great rishis receive deadly tigers and put them to sleep by massaging their necks (இலைவேய் குரம்பைத் தவ மா முனிவர் இருந்தார் நடுவே சென்று அணார் சொறியக் கொலை வாய்ச்சின வேங்கைகள் நின்றுஉறங்கும்).

The Young Boy feels no pain

Despite holding the huge mountain in his hand for the sake of protecting the world he did not lose his beauty or strength. His shapely nails remain intact and he seems to have no pain. And he remains his elegant self (கொடியேறு செந்தாமரைக் கை விரல்கள் கோலமும் அழிந்தில வாடிற்றில வடிவு ஏறு திருவுகிர் நொந்தும் இல).

Like how a calf elephant ran and hid under the legs of the mother who then attacked and chased the Lion, he too provides protection to all his true devotees.

(இலஞ்சீயம்தொடர்ந்துமுடுகுதலும்குழவிஇடைக்கால்இட்டுஎதிர்ந்துபொரும்)

Periyazhvar describes the positive impact Music has even on trees

Celestial Dancers announce their retirement; Kinnaras vow never to touch the flute again

Birds leave their Nest; Cows bend their head; Grass slips out of Deer’s mouth

Recently a research has been done using the latest technology on the positive and negative impact on trees and plants based on our interactions with them. And it has been found that if our interactions are positive, the plants react positively.

However, this was proved 1000s of years ago even during the time of the Krishna Avatara. Periyazhvar describes this story in the 6^th Decad of the 3^rd Canto of the ‘Periyazhvar Thirumozhi’. When Krishna played the flute, it was so melodious that trees and plants started reacting positively. And Flowers started to bloom and Fruits ripened.

Driven by his angry mother, the young boy had left home early in the morning and taken the calves for a graze into the forest.

Having shown his physical might earlier by lifting the Govardhana Mountain, he now shows his softer, lighter side. He plays the flute and puts the young girls of Gokulam to shame. They are so moved by his tunes that their clothes loosen and their hearts throb leaving them wanting more of his tunes. (குதூகலிப்ப உடல் உள் அவிழ்ந்து )

How his body co-ordinates

When he is ready to play the flute, his hands come together and his weight fell on his left shoulder. His stomach rose. His eyebrows expanded and the corner of his lips touched the flute (இடவணரைஇடத்தோலோடுசாய்த்துஇருகைகூடப்புறவம்நெரிந்தெறகுடவயிறுபடவைக்கடைகூடகோவிந்தன்குழல்கொண்டுஊதினபோது).

As they began listening to his tunes, Gopis were moved. One could hear a big heave of happiness from their bosom. They had to hold on to their saree, lest it slip (உடைநெகிழஓர்கையால்துகில்பற்றி). They stood shyly with their neatly lined eyes swooping all over him (ஒல்கிஓடஅரிக்கணோடநின்றனரே).

Description of Krishna

Periyazhvar describes the different kinds of emotions that the young girls of Gokulam encounter on listening to his lovely tunes. In this verse, he also describes Krishna in many different ways – child of Vaikunta, king of Mathura, prince of Nandagopa and friends of the cowherds (மதுரைமன்னன்நந்தகோனிளவரசுகோவலர்குட்டன்).

Some of the hearts melted others had misty eyes, a few had their flowers loosening and others had severe perspiration in their foreheads (மனம்உருகிமலர்க்கண்கள்பனிப்பதேனளவுசெரிகூந்தல்அவிழசென்னிவேர்ப்பச்செவிசேர்த்துநின்றனரே).

On one side he showed his physical might, he defeated the mighty asuras – Dhenuka, Pralamba, Kaliya and many others with a thumping physical victory. On the other, he played the flute and put others to shame in a soft way.

Celestial Dancers vow never to dance again

The famous celestial dancers Menaka, Thilottama, Urvasi and Ramba listened to his divine music, felt dumbfounded and stood in silence. And then promised never to sing and dance again (மேனகையோடுதிலோத்தமைஅரம்பைஉருப்பசியர்அவர்வெள்கிமயங்கிவானகம்படியில்வாய்திருப்பின்றிஆடல்பாடல்இவைமாறினர்தாமே).

Drastic Step

Periyazhvar describes more great musicians who felt ashamed after listening to the young child. Thumbur, who played the string and Narada, the bard, almost forgot their respective instruments. The twin Kinnaris – Kinnara and Mithuna, celestial musicians promised never to touch their flutes again (நன்னரம்புடையதும்புருவோடுநாரதனும்தம்வீணைமறந்துகின்னரமிதுனங்களும்தம்தம்கின்னரம்தொடுகலோம்என்றனரே).

All the reputed musicians fell by the way side one after another.

Gandharvas, the celestials in the skies on hearing his flute that sent never before heard air waves were trapped in these waves. They were so humbled that they blushed wearily and could do no more than submit their defeat with folded hands. ‘This is beyond our play’, they sighed (அம்பரம்திரியும்காந்தப்பர்எல்லாம்அமுதகீதவலையால்கருக்குண்டுநம்பரம்அன்றுஎன்றுநாணிமயங்கிநைந்துசோர்ந்துகைம்மறித்துநின்றனரே).

And then as he continued to play, the Gods found it difficult to perform their duties in their abode. They could sense something extra ordinary happening amidst the cowherds in Gokulam. And it was pulling everyone towards Gokulam. The music resonated in the heavens and all of them came together to listen to this melody and they were left with no option but to follow him everywhere.

(அவியுணாமறந்துவானவர்எல்லாம்ஆயர்பாடிநிறையப்புகுந்துஈண்டிச்செவியுணாவின்சுவைகொண்டுமகிழ்ந்துகோவிந்தனைத்தொடர்ந்துஎன்றும்விடாரே)

Periyazhvar then goes on to describe his passion for the flute and how each part of his body synched to produce this mellifluous music. His tiny little fingers ran over the holes, his eyes tilted his red lips formed like a bud and some sweat formed over his eyebrows as he played with passion (சிறுவிரல்கள்தடவிப்பரிமாறச்செங்கண்கோடச்செய்யவாய்கொப்பளிப்பகுருவெயர்ப்புருவம்கூடலிப்பக்கோவிந்தன்குழல்கொடுஊதினபோது….).

Birds and Animals react

Periyazhvar says not just the Gopis of Gokulam and the celestial lords and musicians were rocked by his music. Even the birds and animals felt out of place. Birds started to leave their nests and felt like broken twigs all around. The fate of the cows was even worse. They spread their legs, lowered their heads and their ears were almost motionless as they listened to the lovely play of flute of this young child. (பறவையின்கணங்கள்கூடுதுறந்துவந்துசூழ்ந்துபடுகாடுகிடப்ப கறவையின்கணங்கள்கால்பரப்பிட்டுக்கவிழ்ந்திறங்கிச்செவியாட்ட்கில்லாவே).

Motionless Deer

But Periyazhvar reserved his best description for this last set of verse and for the deer. When herds of deer suddenly heard a waft of music emanating from a flute, they instantly stopped grazing. The grass that they had picked up in their usual grazing too slipped out of their mouth and they stood stunned and motionless. Periyazhvar compares their state of mind to a picture on the wall. Such was their feeling. They neither moved front or back or sideways (மருண்டுமான்கணங்கள்மேய்கைமறந்துமேய்ந்தபுல்லும்கடைவாய்வழிசோரஇரண்டுபாடும்துலுங்காப்புடைபெயராஎழுதுசித்தரங்கள்போலநின்றனவே).

Trees bear fruits and flowers

One can understand the happiness among the Gopis and the revered celestials. Even the mood of cows and birds and deer is probably understandable for they seem to have emotions and the child naturally impacted their love for music with his melodious tunes.

But unbelievably even the trees reacted to the flute recital. Suddenly the flowers bloomed to full shape and were seen in a variety of colours and forms. And fruits suddenly ripened and were ready to be presented to the lord. The flute recital seemed to tickle the emotions even in the trees (மரங்கள்நின்றுமதுதாரைகள்பாயும்மலர்கள்வீழும்வளர்கொம்புகள்தாழும்இறங்கும்கூம்பும்திருமால்நின்றநின்றபக்கம்நோக்கிஅவைசெய்யும்குணமே).

Periyazhvar’s brilliant description of a young girl 1000s of years ago

Can’t even wear a Half Saree but has already ‘Fallen in Love’

Spends all her time looking at herself in the Mirror

Was close to the mother for the first 10-15 years but does not want her mother by her side now

The mother gave her everything she wanted but the girl now hates the constant murmur of the mother

They have seen him carry the mountain in his hand. They have heard him play the flute and were mesmerised by his rendition. Even in the initial days, they realised that he was a unique child quite unlike what they had ever seen. And despite all the complaints about him, the Gopis loved him and swarmed all over him.

In this set of verses Periyazhvar presents an emotional picture of a mother’s expression of the anxiety of her daughter slowly moving away from her after she first met with him. The daughter’s thoughts are now completely centred around him. Every verse is filled with anger and frustration at the dramatic turnaround in the behaviour of the daughter. It is a description every mother even now, 1000s of years later, will be able to easily relate to.

Periyazhvar in this decad presents the changes that a girl goes through as she enters the teenage phase. The mothers of Gokulam murmur but the daughters don't lend their ear, for their mind has been set elsewhere. More the mother tries, farther her daughter goes away from her.

Too Young to look at him

Like a typical mother’s remark, she says that her daughter is so tiny that she is not even capable of wearing a little (half) Saree. But like the young boy next door, she too smears dust on her body and carries with her trivial things like pot to play. And then refuses to let go the pot.

(ஐயபுழுதிஉடம்புஅளைந்துஇவள்பேச்சும்அலந்தலையாய்ச்செய்யநூலின்சிற்றாடைசெப்பன்உடுக்கவும்வல்லன்அவள் கையினில் சிறு தூதையோடு இவள் முற்றில் பிரிந்து மிலள்…).

Angering her even more is the fact that she wants to hold on to his hand and refuses to part with his company.

Her teeth haven’t grown yet, she is that young. She is incapable of even knotting her hair together for that hasn’t grown enough (வாயில்பல்லும்எழுந்திலமயிரும்முடிகூடடிற்றில)!!!!!!!! She is all the time seen in the company of other young girls learning all the wrong things of life. And against the mother’s words, she repeatedly justifies herself in seeking him.

Will she be with Him now?

Another mother finds her young one making sand castle in her portico comprising of only Conch, Chakra, Mace, Dragger and Bow. It worries her about the direction the daughter is taking. And more importantly her body features have not even grown yet. And every time she suspects that her daughter is physically in his company, her heart misses a beat in the fear that something untoward may happen (கோவிந்தனோடுஇவளைச்சங்கையாகிஎன்னுள்ளம்நாழிதோறும்தட்டுளுப்பாகின்றதே).

Yet another mother bemoans the fact that from being the innocent little girl who was very attached to her mother right from birth, her daughter has gone the wrong way by mingling with some of the other Gopis. They have taken her into the deep wave of the ocean and introduced her to the One with the DISCUS. And that very moment she stopped being the ‘innocent spoon that does not taste the salt of the soup’ (மூழைஉப்புஅறியாதுஎன்னும்மூதுரையும்இவளே). The mother wonders as to who she can complain this to.

The young girl bears it all in Public

Typically in such a scenario, a mother would not want her daughter’s activities to be publicised for she is trying to get her daughter back on the right track. The mother is heartbroken that her once innocent girl has now become the gossip of the town. She follows him everywhere and never stays away from him. A lot of the gossip mongers of Gokulam are interested in hearing news of her being ruined. And the most frustrating part for the mother is that she does not want to do it quietly for she is carrying a rich garland around her so everyone can distinguish her from others (நாடும்ஊரும்அறியவேபோய்நல்லதுழாய்அலங்கல்சூடி).

What did I not give my daughter?

And in this verse, the mother shares something that any mother would relate to. She says she gave her all the freedom in the world and bought her all the things she asked for – bangles, anklets, necklaces and more. She had never been without the mother all these years. But alas how this scenario has dramatically changed after his arrival. Now she is always aloof, always looking for him and never wants the mother around (இட்டமாகவளர்த்தெடுத்தேனுக்குஎன்னோடுஇருக்கலுறால்). The mother wonders if there is any way to turn around this changed scenario.

Love at Parrot’s Speed

Yet another mother laments her side of the story that is presented beautifully by Periyazhvar. The mother had for long thought that her daughter was an innocent one till the day she was introduced to these ill mannered Gopis. And suddenly she found the daughter’s character changing. From an innocent one, she went to the other extreme. She is completely shameless now as she shouts out the name of Kesava in public so loud that she wants everyone to hear. Her infatuation for the dark complexioned lad has gone beyond repair. Her love has now taken the shape of a parrot’s speed and the mother compares her current state to a ‘spoon that has fallen off its handle’ (பேசவும்தெரியாதபெண்மையின்பேதையேன்பேதைஇவள்கூசமின்றிநின்றார்கள்தம்எதிர்கோல்கழிந்தான்மூழையாய்).

It is now time for the next mother to describe the scenario inside her house. She is not able to tolerate the scene of her daughter spending all her time in front of the mirror adorning her necklace and shaking the bangles to listen to the music that resonates. She has now begun to wear silk clothes and is seen holding it with one hand lest it slips. And she is constantly decorating her lips ((காரைபூணும்கண்ணாடிகாணும்தன்கையில்வளைகுலுக்கும்கூறைஉடுக்கும்அயர்க்கும்தன்கொவ்வைச்செவ்வாய்திருத்தும்).

And then, much to the mother’s shock, she suddenly falls down in a swoon only to recover and starts uttering his 1000 names. She has become so emotionally attached to him that the mother means nothing to her any more (தேறித்தேறிநின்றுஆயிரம்பேர்த்தேவன்திறம்பிதற்றும்).

Do what you want – I don’t care

And finally frustration caught up with the mother. She had spent a lot of time, effort and money on her daughter all these years celebrating various milestones of her growth. She looks back with a tinge of regret and tells herself that it has been of no avail. In the current scheme of things, she has resigned herself to sending her off with him. And ends the verse in an angry state saying ‘he can do whatever he wants with her.’

All the preventive steps to no avail

And continuing from the previous verse, Periyazhvar brings out the consolatory stance taken by the mother. The feeling had always been that she could be kept within the domains of the home. But she has figured out that that’s not the way it has panned out.

Like a doctor who gave precautionary medicines to a patient to prevent the likely occurrence of an illness, the mother says that she took all the right steps to prevent the possibility of a deviation from the rightful path. But she has just found out that her daughter has other thoughts in her mind. And the mother has come to a final decision that before she exceeds the acceptable limits of relationship, it is better for her daughter to unite with him

(மருத்துவப்பதம்நீங்கினாள்என்னும்வார்த்தைபடுவதன்முன்ஒருப்படுதுஇடுமின்இவளைஉலகளந்தான்இடைக்கே).

Different Features of the Lord
Periyazhvar uses this opportunity of a mother's grief to reveal many aspects and features of the Lord. In these verses, he calls out the different names referring to him as Narayana, Krishna, Govinda and Kesava. He reminds us that he is often seen in one of his four postures - Anantha Sayanam. Through the young girl, he discloses the various weapons of the Lord- Mace, Dragger that he uses to destroy the evil forces. Referring to his complexion as being in Sapphire colour, he compares him to the 'Poovai' Flower.

Poetic Skills of Periyazhvar

In this decad, he also showcases his poetic skills specifically in two verses:

Referring to the early years of the girl, he says that there was a time when this innocent child did not know to taste the salt in the soup - மூழை உப்பு அறியாது என்னும்- (but those days are behind her now)!!!

and

And then talks about how like a spoon slips out of one's hand in a momentary lapse of concentration, she has slipped out of the mother's reach in the blink of an eye (even though the mother was living under the impression that she was still an innocent little girl) - பேசவும் தெரியாத பெண்மையின்............... தம் எதிர் கோல் கழிந்தான் மூழையாய்)

The daughter is in Divine Love; The mother knows not how to handle

When will he formally announce the Wedding?

Will the wedding be organised as per traditions?

Will she be welcomed into the new house with warm hands?

Will he start finding new faults with her that he did not previously notice?

Will she be reduced to a ‘house maid’ doing daily chores?

Periyazhvar assumes the role of the mother of Andal and describes the feelings of one who can only wonder now on the future of the daughter as she is relentlessly pursuing him.

The daughter leaves, Home turns desolate

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. He says he does not know where she has gone. Without her, the entire house has become desolate (இல்லம்வெறியோடிற்றாலோஎன்மகளைஎங்கும்காணேன்).

Periyazhvar compares the current state in the house to that of a frost entering a lake. This has resulted in fresh lotuses losing their petals thereby causing the lake to lose its special charm. Similarly with the daughter having gone behind the dark complexion Lord, the house is now desolate. She asks if the daughter would have by now gone behind the Lord who smashed the wrestlers and reached the outskirts of Mathura (மல்லரையட்டவன்பின்போய்மதுரைபுரம்புக்காள்கொலோ.

The angry mother lets out her fury. Just like the cowherds who sometimes quietly steal away others’ calves, this boy too has charmed her little girl and taken her away from her through a well planned love strategy (நன்றும்கிறிசெய்துபோனான்). The mother wonders if this episode of this girl going away in this manner to her beloved will cast a blemish on the family that will haunt them all their lives(என்றும்எமர்கள்குடிக்குஓர்எச்சுக்கொள்ஆயிடுங்கொலோ).

Will he officially announce?

Mother is anxious as to how all of this will pan out. Will the other family conduct all the ceremonies in the auspicious way and will there be an official announcement that she is getting wedded to him. And will her marriage be conducted properly as per traditions (துமிலமெழப் பறை கொட்டித் தோரணம் நாட்டிடுங் கொலோ).

And will they take care of her

The mother laments yet again at the way things have progressed in recent times. She says that she brought the young girl like an ideal mother and gave her all the wealth that a daughter would look for. And everything seemed to be going in the right direction till this boy seduced her into love. While nothing can be done about this now, will Yashodha take care of her daughter in law with care and affection. And will she shower her with gifts like the mother had in all these years prior (மருமகளைக்கண்டுஉகந்துமணாட்டுப்புறம்செய்யுங்கொலோ) and did she not bring her up like Goddess Lakshmi herself’ (திருமகள்போலவளர்த்தேன்)?

Will the mother of such a beautiful girl survive the pangs of separation

Periyazhvar brings out the current feelings of the mother in a beautiful hidden way in this verse. When Nadagopala the father in law sees her for the first time at her lovely features, it is very likely he will ask her to look up. He would be stunned at the beautiful fish like eyes, lovely lips, slender waist and healthy shoulders and will exclaim that ‘it is unlikely the mother of this goddess would have survived the separation from her’ giving one insights into the pangs of separation from the daughter (இம்மகளைப்பெற்றதாயர்இனித்தரியார்என்னுங்கொலோ).

Her mother continues to lament given the unclear future and hits out at this handsome young boy. She poses a tough question to him. Will he behave like an uncultured hunter and start living quietly with her or will he officially announce the impending marriage and give her the credibility that she deserves.

Once in the groom’s home, will he start finding faults

The mother remains in a confused state of mind. She wonders if he will treat her properly like a queen or will she have to bear the work like a house maid. Will he give her the security that she is looking for in him or will he all of a sudden find fault in her that he had not previously noticed during the initial period of love (ஆழியான்இன்றுஎன்மகளைபண்டப்பழிப்புகள்சொல்லிப்).

Slog like a House Wife

The mother hits out at the boy and is worried if her daughter will have to go through a tough life. She says that this young boy has done nothing befitting Nandagopa’s clan. He has not followed the right practices or the traditions of the land by luring her away. She is anxious with thoughts that her daughter will be reduced to hard work of churning the rope through the day till the palms of her hand have swollen (இடைஇருபாலும்வணங்கஇளைத்துஎன்மகள்ஏங்கிகடைகயிறேபற்றிவாங்கிக்கைதழும்புஏறிடுங்கொலோ).

Will she be able to wake up early in the morning

The mother wonders if her daughter would be able to wake up every morning energised and fresh to churn the fresh white curd. Or is she likely to fall asleep given the slogging and tiresome work of the previous evening (கண்உறங்காதஇருந்துகடையவும்தான்வள்ளல்கொலோ). Will he make her do work unbecoming of her. Is he likely to order her to do petty jobs and enjoy instructing her thus (பண்ணறையாகப்பணிகொண்டுபரிசறஆண்டிடுங்கொலோ).

And she has no answers to any of these!!!!

பாடிப் பற

Periyazhvar showcases the Lord’s achievements in the Krishna and Rama Avatara

After great decads where Periyazhvar shares the emotions of a mother in great depth taking us through the feelings of a mother whose daughter is being lured by a handsome boy, it looked like he wanted a breather or wanted to give the devotees a breather and had it easy.

In these verses Periyazhvar extols his achievements of the Lord in two of his avatars and alternates through the ten verses between Krishna and Rama Avataras.

After well over 250 verses of Pillai Tamil describing the childhood of Krishna, he praises some of the achievements of Rama and Krishna.

Garuda brings Kalpataru for Satyabhama

Having killed Narakasura at the request of Indra, Krishna, along with Satyabhama came to meet him. Satyabhama was suddenly excited on seeing the flowers from Kalpataru but was refused by Indra’s wife. But the Lord’s vehicle Garuda simply uprooted the entire tree in anger and carried it to Satyabhama’s garden while Indra could only watch in silence (என்நாதன்தேவிக்குஅன்றுஇன்பப்பூஈயாதாள்..........வன் வலியப்பறித்திட்ட).

When Parasurama arrogantly asked if he could wield his bow, Rama took it and sent a sharp arrow at Tataka that saw the end of the demon (This is once again endorsed in the Hanuman’s praise of Lord Rama in the last decad of the third canto)

Rukmini sent a message to her beloved about her impending wedding to Sisupala as ordained by her brother Rukmi and asked him to come there as early as possible to take her away. When Krishna was about to take Rukmini in his chariot, Rukmi stopped him only to be slain(உருப்பிணிநங்கையைதேரேற்றிக்கொண்டுவிருப்புற்றுஅங்குஏகவிரைந்துஎதிர்வந்து………….).

And then Periyazhvar moves into an episode in the Ramayana. He obediently followed the instructions of his step mother and left for the forest. When his own mother called out for him and cried, his step mother asked him to proceed without stopping (மாற்றுத்தாய்சென்றுவனம்போகியென்றிடஈற்றுத்தாய்பின்தொடர்ந்துஎம்பிரான்என்றுஅழ).

He played the role of the messenger and when that failed, he donned the role of a charioteer guiding the Pandavas to victory. He had earlier killed the deadly Kaliya and danced atop the Serpent.

When Baratha followed his elder brother to the forest and offered him the crown, the Lord gave him his sandals. Then at the Dhandaka forest, he cut Surpanaka’s ear and nose. Later, he created a bridge across the huge ocean, defeated the Lankan King, who is stated to have misjudged the strength of his enemy and gave the crown to his younger brother Vibheeshana.

Periyazhvar reminds us of the story (that we saw earlier several times in his Pillai Tamil) of the cowherd boy uprooting the twin Marutha trees and the melodious music that emanates from his flute.

Through the verses, he asks the devotees to clap and sing praise of the Lord who destroyed the evil forces for the sake of the survival of the good and the noble.

Following this decad and the next, in the last 150verses, he is at his devotional poetic best trying to relate to God and providing practical prayers to devotees to try and reach God.

ஓர் அடையாளம்

Periyazhvar moves away from ‘Pillai Tamil and Krishna' to narrate Ramayana through Hanuman

Hanuman presents ‘Proof of Identity’ and finally succeeds in convincing Sita

This is another exciting set of verses in the Periyazhvar Thirumozhi as Periyazhvar moves away for the first time from the description of Krishna into an interesting episode in the Ramayana. It is also the only decad in the Periyazhvar Thirumozhi where the poet provides an entire set of 10 verses to Hanuman and his presentation.

Periyazhvar narrates through these last set of verses in the third Canto the true devotion of Hanuman and the manner of his presenting his Proof of Identity in an effort to convince Sita at the Ashoka Vana that he indeed is the messenger of Lord Rama.

Begins his narration

The stage was set at Janaka’s court. The great Janaka of Mithila performed a grand Yagna. Rama accompanied Vishwamitra and with his blessings broke the great bow to win Sita’s hand as the prize. When Parasurama, who had vowed to destroy generations of Kshatriyas, marched forward in anger ‘my Lord took his bow and ended his penance’ as well.

Later, in a lonely place at dusk, my Lord presented you with jasmine flowers (எல்லியும்போதுஇனித்திருத்தல்இருந்தஓர்இடவகையில்மல்லிகைமாலைகொண்டுஅங்குஆர்த்ததும்ஓர்அடையாளம்).

To the Forest

Ill advised Kaikeyi remembered her old pending boons and chose the coronation time of my Lord to invoke those boons and the great king had no choice but to grant her wishes. And thus my Lord was banished him to the forest accompanied by his brother Lakshmana and Sita Devi (காடுஉறைப்பபோஎன்றுவிடைகொடுப்பஇலக்குமணன்தன்னொடும்அங்கஏகியதுஓர்அடையாளம்).

And then my Lord befriended that great bow wielder Guha on the banks of the Ganges. And as they moved on to Chitrakoota, there came a surprise visitor - My lord’s brother Bharata. He handed him his Sandals and sent him back.

And at the same location, when a demon disguised as a crow pecked your bosom, my Lord using a sample grass charged with a mantra waved it at the crow that ran helter skelter for life all over the world and finally came and fell at my Lord’s feet for forgiveness, who provided liberation from its sins by removing its one eye.

சித்திரகூடத்துஇருப்பச்சிறுகாக்கை

முளைதீண்டஅத்திரமேகொண்டுஎரிய

அனைத்உலகம்திரிந்தோடி

வித்தகனேஇராமாவோநின்அபயம்என்றுஅழைப்ப

அத்திரமேஅதன்கண்ணைஅறுத்ததும்ஓர்அடையாளம்.

You wanted the Golden Deer

And into the next stage at Panchavati, a deer with golden hue attracted you. And you wanted it badly. My Lord went after it with a bow. And then Lakshmana too followed leaving you unprotected.

பொன்னொத்தமான்ஒன்றுபுகுந்துஇனிதுவிளையாட

நின்னன்பின்வழிநின்றுசிலபிடித்து

எம்பிரான்ஏகபின்னே

அங்குஇலக்குமணன்பிரிந்ததும்,ஓர்அடையாளம்

Rama along with Vanara King Sugreeva sent me on this search for you. My Lord is tormented by your separation. Lord Rama told me in person each of these above stories to be shared with you. He also handed this ring from his own hand to be given to you (இத்தகையால்அடையாளம்ஈதுஇவன்கைம்மோதிரமே) asproof of my identity.

And hearing all these in a moment of great joy, she placed the ring on her head and confirmed to Hanuman that all that he said was true (ஒக்குமால்அடையாளம்அனுமான்என்றுஉச்சிமேல்வைத்துக்கொண்டுஉகந்தனளால்மலர்க்குழலாள்சீதையுமே).

கண்டார்உளர்

Through this set of verses, he gives us a ‘MISSED’ feeling of the Lord

The first decad of the fourth canto is a one of a kind decad in the Nalayira Divya Prabhandham. In the first half of the Periyazhvar Thirumozhi, Saint Poet Periyazhvar presented a unique composition referred to as ‘Pillai Tamil’, one that traces the growth of a unique child. The first two cantos were descriptive of celebrations around young child’s birth, the activities during infancy phase and the remarkable achievements much beyond his age. Each of the child’s activities was described- some making the mother happy and most making the neighbours complain. A large part of the third canto dealt with his greatness even during childhood phase.

In this first decad of the fourth Canto, Periyazhvar revels once again and reveals his poetic greatness by presenting an entire decad in Symbolic Revelation of the Lord. Periyazhvar in these verses has used a very interesting way to narrate the story. After describing the greatness of the Lord in the first part of the verse, he concludes each verse by disclosing to the devotees that there were those fortunate enough to have witnessed each of these great achievements of the Lord almost giving out a ‘I missed it’ feeling with these devotees.

Continuing on from where he left off in the 9^th decad of the 3^rdCanto with the Paadi Para verses

(http://prtraveller.blogspot.in/2015/09/krishna-rama-praising-their-achievements.html), Periyazhvar once again alternates between praising the greatness of Rama and Krishna and ends the decad with the Varaha Avatar.

Praising Two Avataras in two different poetic ways

Rama’s crown, says Periyazhvar, is studded with gems and its shine can be compared with the rays emanating from a thousand Suns.

கதிர்ஆயிரம்இரவிகலந்துஎறிந்தால்ஓத்தநீள்முடியன்

எதிரில்பெருமைஇராமனைஇருக்குமிடம்நாடுதிரேல்

He equates Rama with his previous Avatara and says that those interested in knowing his location, they could probably find it out from the many lucky ones who witnessed the Man-Lion tearing apart Asura Hiranya and had his hands in a stream of red blood.

அதிரும்கழற்பொருதோல்இரணியன்ஆகம்பிளந்துஅறியாய்

உதிரம்அளைந்தகையோடுஇருந்தானைஉள்ளவாகண்டார்உளர்

Thus in the first verse, he provides insights into two different Avataras- one directly by praising Rama and his radiant features. And the next by revealing his features symbolically by taking one back to the Narasimha Avatara.

In the next verse, he directly describes Lord Rama and his physical posture of one having multiple weapons in his armoury. Periyazhvar names each of his five weapons he holds - Nandaka (Sword), Panchajanya (Conch), Kaumodaki (Mace), Saaranga (Bow) and Thiru Chakra (Discus).

நாந்தகம்சங்குதண்டுநான்ஒளிச்சார்ங்கம்திருச்சக்கரம்

ஏந்துபெருமைராமனைஇருக்கும்இடம்நாடுதிரேல்

And he goes on to his symbolic revelation of the same Lord.

He says that if anyone is keen to know his abode, they could check out with those who were fortunate to have seen him in his magical act of breaking the ‘Rudra’ bow and thus winning the prized hand of Sita at Janaka’s Court in Mithila. Periyazhvar praises Sita’s hands as being soft and compares it with the bud of red Kantal flowers.

காந்தள்முகிழ்விரல்சீதைக்காகிக்கடுஞ்சிலைசென்றுஇருக்க

வேந்தர்தலைவன்சனகராசன்தனவேள்வியில்கண்டாருளர்

In a matter of minutes he sent a swift arrow that ran through 7 trees before killing the dreaded Rakshasas Kara and Dhushana. Those that are interested to meet him can check his greatness with those who have seen him seated alongside the sea shore, while an army of monkeys were helping him build the bridge across the ocean by carrying big boulders on their heads.

தலையால்குரக்கினம்தாங்கிச்சென்றுதடவரைகொண்டுஅடைப்ப

அலையார்கடற்கரைவீற்றிருந்தானை

அங்குத்தைகண்டார்உளர்

Periyazhvar offers a clue to locate him

If any of the devotees are keen to spot the Lord in the middle of a huge ocean, Periyazhvar says he has a clue to offer. As a child who seemed all innocent he had pierced seven bulls and killed an Asura who had troubled his girl friend Nappinnai. After his act, many found him standing there in perspiration.

In the next verse, he once gives a feeling of missing that great event by disclosing to the readers that those interested in seeing the Lord who Shiva with matter hair and Brahma with 4 heads sing praise of as the one with Lakshmi on his chest, can possibly find his whereabouts from the fortunate few who saw his valorous act of holding his beloved Rukmini by the hand staving off preventive efforts of her brother Rukmi and riding away in his chariot through the army of Rukmi.

Periyazhvar describes Dwaraka as a place where the waves strike the shore in a soft way. He describes the Lord as one who rules the place seated in his majestic through along with his many beautiful consorts. As seen earlier in the Periyazhvar Thirumozhi, it was he who sucked the poisonous breasts of Putana till she breathed her last. He says there were many who were privileged to see him ascend the throne at Dwaraka and taking care of the loving people.

Periyazhvar once again says that he has a clue on offer to those who are on the lookout for his abode. It was He who stood in front of Arjana’s Chariot that was drawn by white horses and had the distinct symbol of monkey on its flag and conducted the entire Mahabaratha war.

Describing the Dramatic Sunset Event

Periyazhvar stays on with Mahabaratha and says that there were many lucky to witness that dramatic event just around Sun set.

நாழிகைகூறிட்டுக்காத்துநின்றஅரசர்கள்தம்முகப்பே

நாழிகைபோகப்படைபொருதவன்தேவகிதனசிறுவன்

It was he, Devaki’s son, who in a fraction of a moment hid the sun thus deceiving Jayadratha who falsely believed that dusk had been reached and that he was now safe.

As Jayadratha basked in glory, the Lord brought back the hidden sun and Arjuna grabbed the opportunity to send out sharp arrows that took the head of Jayadratha.

ஆழிகொண்டுஅன்றுஇரவிமறைப்பச்சயத்திரதன்தலையை

பாழில்உருளப்படைபொருதவன்பக்கமேகண்டார்உளர்

Varaha Avatara

He ends the first decad of the fourth canto praising the Lord, once again in his poetic style disclosing the Lord through a symbolic revelation. He says that those interested in seeking him can ask those who had the rare opportunity of seeing as a Boar, in whose form he swirled through the ocean and brought back Goddess Earth and married her.

Kalloori Kaalangal - This Simple Down to Earth Top Ranking IAS officer offers easy implementable solutions to teenage challenges

It is 10.30 pm on a Monday evening. As one tunes to Channel 701 on Tata Sky, V Irai Anbu (State Topper in Civil Services Exam in the late 1980s) has just begun a new behavioral challenge for the day. For the next 30 minutes, he provides a simple process to be followed by the parents as well as their teenage kids.

It would easily rank as one of the most educative programmes on Tamil Television. And it is touching the magical milestone of 100 episodes.

For many months now, Irai Anbu has been addressing the parents as well the students (especially the teenagers) on handling that fascinating phase of adolescence through his half hour programme ‘Kalloori Kaalangal’ on DD Pothigai every evening at 1030pm.

Each day (Monday- Friday) he picks up an important aspect of this teenage phase and provides solid implementable methodology / behavioural techniques to the teenage students and their parents to pass through this period unscathed and with a positive developmental attitude.

As he starts talking about his recent experience on a train travel, he points out the insensitive conduct of many of the teenagers today. It was 10 pm when he boarded the train. For the next 5 hours, this boy was shifting from text messages to voice calls to working on the lap top. There were elderly gentlemen around but unmindful of the time of the night, he was loud in his mobile call. The light from the phone and the laptop were bright as well.

A colleague's daughter who was just into her teens was introduced to him recently. And the 'Confident'!!!!!!!!! young girl greeted him with a Hi! ( there)- probably the influence of chatting on messaging system. It did not mean anything to her that she was meeting this civil services state topper for the first time in her life. There are many such incidents he narrates in the course of his chat.

He joined work at a sub four digit salary. Today in the city where he did his graduation, students carry bundles of 500 rupee notes to college ( almost as pocket money)...

When he went shopping for his friend, he was shown a Rs. 5000 shoe by his friend. He replied that he had never bought a shoe in excess of Rs. 1500. Shot came the reply from his friend ' even my son buys shoes for over 5000. Irai Anbu sasy he is even selection about the shirts he buys for it should serve the purpose.

The ‘teenage challenges’ he deals with are those that every parent would be facing almost every day with their college going sons and daughters. His solutions are so well thought out and so very simple that the parents (and their kids) just need to follow it, almost blindly to achieve a positive change in their relationships!!! These involve very relevant tips in the management of inter personal relationship between the parents and children especially till the time the kids complete their college education.

Irai Anbu has been the District Collector of Kanchipuram District, Chairman of TTDC and Director of Anna Institute of Management. He is currently Commissioner, Economics and Statistics and over the last two decades and more has touched the lives of the common man and made a significant impact on the quality of life of the people in Tamil Nadu.

Golden Childhood in Salem

Born in Kattur, near Salem Junction, Irai Anbu did his higher secondary education at Sri Ramakrishna Saradha Higher Secondary School based on the philosophy of the parents in those days -the nearest school is the best one. An added reason was that his mother too worked there in that school.

Incidentally, he belonged to the first batch of ‘Plus Two’ students in Tamil Nadu.

Irai Anbu looks back at his school days with a lot of nostalgia and cherishes every moment while recounting his memories of what he calls the ‘golden childhood’ phase. ‘We went to school with joy and used our leisure time in playing various games. Education was secondary to enjoyment. We did not have cut throat competition in those days. Learning was a natural process. Less syllabus, minimum home work, no regimentation and lack of pressure on performance made our school life a beautiful experience.’

We had teachers who were simple, focussing mainly on teaching. The teachers were less paid in those days. Therefore, they had simple living and high thinking. They were strict without being cruel, disciplinarians without being harsh. They paid attention on all aspects of our personality. I modelled my handwriting based on the calligraphic letters of my science teachers. We loved our physical education teachers.

He says that even now, well over three decades after completing his schooling, his sweet school days flashes in his dreams and he often wakes up in a ‘pleasant mood’ having re-visited some of those glorious moments from his school days.

Importance of the English Language

In his Kalloori Kaalangal series, he narrates several instances of how students from the villages faced challenges of communicating in English when they entered the college phase of their life and beyond. He himself had studied in Tamil Medium till class V and initially found it challenging when he shifted to an English Medium School.

He stresses on the importance of learning the English language. ‘Knowledge of English is a must to transact with people from various parts of the world. Any good piece of literature written in other languages is first translated into English. Reference books for research are available mostly in English.’

He provides a lot of encouragement to students from Tier 2 and Tier 3 towns asserting that it is not difficult to learn English even for a person who did not have English as medium of communication in the initial schooling days.

‘In our days, English alphabets were introduced only in Class 3. Before that, we were very strong in Tamil and we could write Tamil essays in a flawless manner. Today, in many schools, English is taught before the vernacular language is introduced.’

However, he finds a large number of students who are fluent neither in English nor in Tamil. Moreover, they are not able to comfortably read Tamil. He is saddened by this development for he says that ‘the current generation of students are missing out on our ancient wisdom and the cultural elements emphasized in our tradition.’

After completing his schooling in Salem, Irai Anbu did his graduation in B. Sc (Agri) and later he also did a Masters in Business Administration (MBA). In addition, he has Masters Degree in Labour Management, English and Psychology. He also has doctorate in Business Administration and in English as well.

A Great Learning Phase

The years at the renowned Tamil Nadu Agricultural University (TNAU) in Coimbatore was an important learning phase in his life.

He found out that Agricultural Education involved a different style of academic life. There was a trimester system with grades in place. His daily routine would start at 7am with visit to the field carrying a spade for his agronomy sessions. Practical classes in animal husbandry, pathology and entomology were conducted in the morning hours. Insect collection, herbarium preparation, insect rearing, project preparations and presentation of seminar papers were a part of the curriculum.

While he enjoyed the food at the college for there was a wonderful mess with delicious cuisines, he remembers the library at TNAU with particular pride. ‘It was of international standard and had numerous journals and excellent books to support our learning process.’

Such was his enjoyment that he says that the four years of his academic life there passed like a few seconds.

Creating a Model Village in TN

One of his incredible achievements has been to turning the fishing hamlet near Villupuram into a remarkable ‘Model Village’. In the early 1990s he had visited the village as an Additional Collector and had initiated the process of converting the bamboo huts into concrete houses. But none of the villagers gave him a hearing. But similar to his Kalloori Kaalangal series, he persisted with his positive message on the long term benefits of this project. And finally they relented. He built several concreted roads in that village that had until then remained under developed and also set up a high school.

Re-kindling memories of his college days, he set up a huge library with 3000 books stressing the importance of reading literature, a topic that has always been close to his heart.

So pleased were the villagers with his contribution that they changed the name of the village from Mudhaliar Kuppam to V. Irai Meenavar Kudiyiruppu. When Tsunami struck, the village was devastated. But Irai Anbu was there again with his transformational activity. He came within a fortnight of the Tsunami to rebuild the entire village with new houses. For the first time in its history, the village had streetlights and drinking water facilities too.

Yet another Novel Idea

Later he also initiated construction in other villages of fishermen quarters by the beneficiaries themselves. This turned out to be a very successful experiment. He was so passionate about this project that even after his transfer, he continued to follow up till the completion of construction.

But Irai Anbu underplays his role with typical modesty. ‘I cannot claim anything as my personal achievement. Over the years, certain contributions have been made in the departments where I worked and they were mainly due to team work and excellent co-operation from my staff. It is also because of opportunity given by the government to accept my novel and creative proposals.’

So close he became with the villagers there that he began to look at Mudaliyar Kuppam almost as his own native village so much so that his familiarity with the people there was much more than that of his relatives at his birth place. Irai Anbu has had many more enduring projects over the last couple of decades but those have been done quietly away from the media glare.

Concluding message

He leaves with a message that will make those who have known him love him even more. ‘One should not brag about his good deeds and beat his own trumpet. Satisfaction that we derive after helping a deserving individual gives us more happiness than any award conferred on us or laurels showered on us.’

The Victory Hill – A Pleasant Hill – A Beautiful Hill - A Sanctuary

A Hill with Fertile Land - Long Ancient Great Mountain

Periyazhvar had a special liking for the Lord of Thiru Maliruncholai. In the fourth Canto, he praises the temples of Srirangam, Kadi Nagar and Thiru Koshtiyur. And he begins the praise with a detailed description in two decads of the activities surrounding Thiru Maliruncholai that provides insights into this place. He makes repeated references to Nupur Ganga and its greatness.

Celestial girls came all the way to bathe in Nupur Ganga that flowed down from the Thiru Malirun Cholai hills. Through the verses, he praises Nupur Ganga as producing sacred water. One also gets a glimpse of the force of Nupur Ganga. She is seen sending down sacred water from atop the hill that streams with great speed down the steep slope of the mountain. In the process, she is showering many precious gifts and it seems like a message to the devotees to place those directly at the feet of the Lord of Thiru Maliruncholai.

ஈட்டியபல்பொருள்கள்எம்பிரானுக்குஅடியுறைஎன்றுஒட்டரும்தண்சிலம்பாறுஉடைமாலிருஞ்சோலையதே

The Kalpataru flowers in heaven that he had earlier described in the 2^ndcanto (Satyabhama wanted Krishna to get it for her) is filled with nectar like fragrance and compares that to Nupur Ganga which he as having this fragrance of nectar. Devotees were seen thronging in big numbers through the year to have a sacred bath.

வானாட்டில்நின்றுமாமலர்க்கற்பகத்தொத்தஇழி

தேனாறுபாயும்தென்திருமாலிருஞ்சோலையே

He credits the huge groves of Thiru Maliruncholai to the flowing spring of Nupur Ganga that was producing streams of water round the year.

Rama and Krishna Avatara

Periyazhvar praises the Lord of Thiru Maliruncholai as both Rama and Krishna.

Ravana as one who was gifted the great sword Chandra Hasa by Shiva. The Lord who killed that great Lankan King and mutilated his sister’s nose provides darshan here in a grand posture.

Periyazhvar had earlier described the recognition provided by Krishna to the hunch back lady who as a reward for smearing sandal paste on his body was gifted with removal of the hunch. He reminds us once again of that episode in these verses.

Down South to Hell

He is praised as one who sends wicked Asuras down South to Hell. However, at the same time, those who offer sincere prayers at Thiru Maliruncholai are protected by him. Whenever in distress, even the celestials and sages used to invoke the blessings of the Lord of Thiru Maliruncholai and those who visit this temple are kept on the same noble path without deviating into doing wrong things.

தக்கார்மிக்கார்களைசஞ்சலம்செய்யும்சலவரைதெக்காநெறியேபோக்குவிக்கும்செல்வன்பொன்மலை

Cobras and Animals at Thiru Maliruncholai

Cobra is described as a huge long animal. Each time it raises its hood there is a scary hissing sound that one hears. The cobras of Thiru Maliruncholai were so long that their tongue that when stretched seem to be touching the moon.

நஞ்சுமிழ்நாகமேழுத்தணவிநளிர்மாமதியைசெஞ்சுடர்நாவளைக்கும்திருமாலிருஞ்சோலையதே

Thiru Maliruncholai is described as a place home to huge elephants that make their way into the forest at the strike of dusk in large numbers as a herd. The Wild elephants are seen chasing helpless cows into the forest of Thiru Maliruncholai.

Bees are presented as a six legged creature that with its sweet buzzing noise wakes up the residents at dawn. Not only are the Vedic Seers chanting the Vedas, he says that such is the sanctity of this place that even the buzzing noise of the bees seem like they too are chanting the names of the Lord at Thiru Maliruncholai. The bees were enjoying sucking Nectar from the groves and then producing humming melodious tunes.

அறுகால்வரிவண்டுகள்ஆயிரநாமம்சொல்லிசிறுகாலைப்பாடும்தென்திருமாலிருஞ்சோலையே

The silky worms presented a juice that seemed like nectar emanating from the Kovai fruit that Lord so enjoys.

Thiru Maliruncholai was home to gypsies of the Kurava tribe who were seen singing praise of the Lord in their typical Kurinji melody.

Description of Madurai

It was here at Thiru Maliruncholai that the great Pandya King Nedumaran celebrated his victory. The King is described as one who wielded a Sharp Spear. The name of the place is referred to as KOODAL and as the South City.

கொல்நவில்கூறவேற்கோன்நெடுமாறன்தென் கூடற் கோன் தென்னன் கொண்டாடும் தென் திரு மாலிருஞ் சோலையே

Many Facets of Maliruncholai

Periyazhvar then describes the scene at the top of the Thiru Maliruncholai Hills and makes an interesting comparison. One finds high KONRAI trees that are seen constantly shedding round yellow petals and curved stamens that Periyazhvar compares to generous people who graciously dole out gold coins and open rings.

பொருப்பிடைக்கொன்றைநின்றுமுறியாழியும்காசும்கொண்டுவிருப்பொடுபொன்வழங்கும்வியன்மாலிருஞ்சோலையதே

He also refers to four specific kinds of trees in the groves of Thiru Maliruncholai - Punnai, Nerundi, Vengai and Kongu. These four seemed to be so shaped that one finds them in the shape of a Necklace on God.

புன்னைசெருந்தியொடுபுனவேங்கையும்கோங்கும்நின்றுபொன்னரிமாலைகள்சூழ்பொழில்...

He calls it the Beautiful Hill, an ‘ancient very long mountain’, a Great Sanctuary where animals enjoy themselves, a Pleasant and Cool Mountain with Nupura Ganga flowing all the time from atop the hill. Periyazhvar shares a positive message based on the experiences of the people. Those who visited the Lord at Thiru Maliruncholai and invoked his blessings before an event always returned with victory. And hence he describes it as a VICTORY HILL.

அலை வலைமை தவிர்த்த

அழகன் அலங்காரன் மலை

குல மலை கோல மலை

குளிர் மா மலை கொற்ற மலை

நில மலை நீண்ட மலை

திரு மாலிருஞ் சோலை யதே

A verse of 1000s on Thiru Maliruncholai

To drive home his point about the sanctity of Thiru Maliruncholai, Periyazhvar makes an exaggerated praise to make one understand the size and greatness of the hill. He refers to everything in 1000s - 1000s of lakes, streams and flower groves, the Lord seems to have a 1000 arms and 1000 shining crowns. And he seems to reside on a snake with 1000s of hoods.

ஆயிரம்தோல்பரப்பிமுடிஆயிரம்மின்னிலக

ஆயிரம்பைந்தலையஅனந்தசயனன்ஆளும்மலை

ஆயிர மாருகளும்கணைகள்பலவாயிரமும்

ஆயிரம்பூம்பொழிலுமுடைமாலிருஞ்சோலையதே

The only decad in the Nalayira Divya Prabhandham that is entirely dedicated to the ‘People of a Town’

Benchmark on how to live life - Their generosity was a standout feature

Even the Asuras would feel ashamed to steal here

Thiru Kottiyur stood for JUSTICE

People always spoke the truth

For ever they performed selfless service

Always welcomed guests with honour

Developed good habits and noble thoughts

Youngsters wanted to emulate their Preceptors

In the entire Periyazhvar Thirumozhi comprising of 473 verses, the people of Thiru Kottiyur get the highest form of praise from Periyazhvar. While he has praised Srirangam and Thiru Maliruncholai in multiple decads with far more number of verses, in his praise of Thiru Kottiyur in the fourth Canto comprising of 10 verses, he cites the people of Thiru Kottiyur as the ‘Gold Standard’ for living our lives.

The verses on Srirangam and Thiru Maliruncholai are more about the greatness of the Lord and what he offers his devotees. The one on Thiru Kottiyur is about how one should live life showcasing several examples of how the residents were a benchmark in the art of a Noble Life.

These 10 verses are a beautiful mix of showcasing the greatness of the sacred town through a negative connotation. The residents were seen as people with the greatest of qualities. Even in the most testing of times, their character stood out.

Periyazhvar is so pleased with the way the Thiru Kottiyurans lived life that he even talks about the kind of punishment that should be meted out to those (thankfully they were in the minority- he does not even mention that there were a few, he only questions if there is a possibility of any existing) who strayed away from the normal way of life of the people of Thiru Kottiyur.

The people of Thiru Kottiyur always spoke the truth. They welcomed guests with honour. They performed selfless services to the Lord. Youngsters learnt the Vedas all the time and tried to perfect it through their life time, such was their dedication.

If ever there was anyone away from the aforementioned qualities, he wonders as to why the lord created them at all in the first place(முதல்வனைச்சிந்தியதைஅப்பாவகாரிகளைப்படைத்தவன்எங்ஙனம்படைதான்கொலோ).

Blemish-less People

They were blemish-less with almost no faults. From a young age, they cultivated good habits. You could find no one with malice. Their generosity was a stand-out feature. The youngsters always wanted to emulate their preceptors and each one of them strived to perfect the Vedas.

If ever there is anyone from Thiru Kottiyur who does not offer worship to this Lord and who strays from the above qualities, he is likely to cause unbearable pain in the womb of his mother for having been born here(தன்னைத்தொழாதவர்பெற்றதாயார்வயிற்றினைப்பேருநோய்செய்வான்பிறந்தார்களே).

Blessed to Sing Praises

Periyazhvar then describes the physical structure of the place. Big mansions and Gem Studded porticos used to cast shadows by their light of brilliance. Those destined to be born at Thiru Kottiyur were blessed to sing praise of his names.

The Lord gave us fingers to use them to count his names. If ever there remained a person who did not understand this wish of the lord even for a moment and who thought that his only job in life was to push food down his throat to create a bad odour, it is unfortunate to have someone like that(உன்னைகண்டதம்ஊத்தைவாய்குக்கவளமுந்துகின்றார்களே).

A pity if the tongue does not utter HIS Names

He describes it further. Rows of swans rise over the fertile fields that are abound with red lotus. Having been blessed to have obtained a birth at Thiru Kottiyur it would be such a pity if his tongue does not utter the Lord’s name.

If he did not use this blessed life of being born at Thiru Kottiyur to utter the Lord’s name, then the water he drinks and the clothes he wears must have sinned, for him to be so (நரகநாசனைநாவில்கொண்டுஅழையாதமானிடசாதியர்பருகுநீரும்உடுக்குங்கூரையும்பாவம்செய்தனதாங்கொலோ).

In addition to the swans, Thiru Kottiyur had large number of fishes that jumped on the back of turtles and then on to the fresh lotuses and moved around playfully.

Log of Dead Wood

Periyazhvar compares the devotion-less people to dead wood.

If ever any person from Thiru Kottiyur did not invoke the blessings of the Lord, he is like a log of dead wood and a burden on the entire earth. His anger rises and he even contemplates taking away the food from their mouth and replacing it with grass(நேமிசேர்தடங்கையினானைநினைப்பிலாவலிநெஞ்சுடைப்தூமிபாரங்களுண்ணும்சோற்றினைவாங்கிபுல்லைத்திணிமினே).

He praises that a majority of them as being generous, blemish-less and without enemies. He goes to the extent of saying that when their feet touch the ground, the earth gets sanctified and becomes purer (பாததூளிபடுதலால்இவ்வுலகம்பாக்கியம்செய்ததே).

The seers at Thiru Kottiyur unmindful of their health recite the four Vedas day and night praising their Lord offering their heart and soul. Periyazhvar wonders what penance they would have done in their previous birth to have been blessed with a life in Thiru Kottiyur.

Thiru Kottiyur is a place that provides highest form of justice. Lord has himself assigned Selva Nambi to serve him and chant his names. He praises Selva Nambi as one who has excellent qualities, brings people together, is highly compassionate and sings praise of the Lord of Thiru Kottiyur.

Even Asuras won’t steal here

In the last two verses, Periyazhvar places Thiru Kottiyur as an ultimate place to be for noble people and takes the sanctity of Thiru Kottiyur to a different level. He says that such is the purity of the place thanks to the reverberation of the sacred chants that even Asuras won’t steal grains at Thiru Kottiyur (விளைத்ததானியமும்இராக்கதர்மீதுகொள்ளகிலார்களே).

Even the cuckoos sitting along the huge trees seem to be singing praise of the Lord with their cooing. These cuckoos and the noble beings that he sees at Thiru Kottiyur symbolise the qualities of the Lord. Just seeing them fills one’s hearts with good thoughts.

Do such people exist now?

Periyazhvar has reserved showcasing the greatest quality of the residents of Thiru Kottiyur for his concluding verse.

During famine, grains sell at such a premium that even a handful of grains cost a gold coin. But even during these most testing of times, the people of Thiru Kottiyur, known for their extra ordinary generosity, feed the guests with honour as if everything was normal. They do not use such tough times to hide their stocks and claim shortfall to their guests. Would you not sell yourselves as bonded slaves to such high quality people, asks Periyazhvar

(காசின்வாய்க்கரம்விற்கிலும்கரவாதுமாற்றிலிசோறிட்டுதேசவார்த்தைபடைக்கும்வண்கையினார்கள்வாழ்திருக்கோட்டியூர் ...........அடியார்கள்எந்தம்மைவிற்கவும்பெறுவார்களே).

Krishna Poochoodal

Krishna Kaapidal

Krishna Neighbours Complain

Krishna Gopis Complain

Krishna grazing cows

Paripatal on Vishnu

Paripatal Krishna Balarama

Muthaliandan Ramanuja’s First Disciple

Krishna returns from grazing

Krishna Gopis fall for him

Krishna Govardhana Mountain

Krishna Plays the Flute

Krishna A Mother's Grief

Krishna Andal in Love

Krishna Rama Praising their Achievements

Hanuman Sita Proof of Identity

Periyazhvar revels in Symbolic Revelation

Irai Anbu IAS

Thiru Maliruncholai Periyazhvar Thirumozhi

Thiru Koshtiyur Periyazhvar Thirumozhi