Episode 01 - Pillaiththamizh - Floral adornment.

Floral Adornment

பூச்சூட்டல் – After Kannan is bathed – after alluring promises by Yasodha and using ‘the world would laugh at you’ as a converting tool – Kannan is dressed with an accoutrement of floral decoration. Periyazhwar invokes the choicest flowers that Thamizh country is proud home to for this delectable rendering.

 

Unlike bathing, Kannan was quite fond of adorning himself with flowers – even wild ones:

 

காடுகள் ஊடு போய்க் கன்றுகள் மேய்த்து மறியோடிக் கார்க்கோடற்பூச்**

சூடி வருகின்ற தாமோதரா கற்றுத் தூளி காண் உன் உடம்பு

பேடை மயிற் சாயற் பின்னை மணாளா நீராட்டு அமைத்து வைத்தேன்

ஆடி அமுதுசெய் அப்பனும் உண்டிலன்  உன்னோடு உடனே உண்பான்

(Periyazhwar Thirumozhi)

 

** large ‘kaandaL’ flowers from the wild.

 

FLOWERS IN THAMIZH LAND;

 

The pride of place flowers have in people’s lives in peninsular India – particularly Thamizh country – is not seen elsewhere in India; nor outside India (exceptions being communities of South Indian ethnic extraction in different parts of the world – Malaysia, Caribbean, South Africa.) Flowers for personal decoration (male and female) as well as for devotional purposes had a vital role in ancient Thamizh society. The ‘Tholkappiyam’ – the Thamizh Thesaurus of the Sangham period – invests copiously in delineating the uses of flowers, identifying them with different types of land – kurinji, mullai, marudham, neithal and paalai (five of them).

 

Tholkappiyam,  acclaimed to predate Aryan civilization, enumeratess elaborate functional prescriptions for the use of flowers, floral adornments:

 

Kapilar, the poet of Sangham era, in his remarkable short epic ‘Kurinjip paattu’   (261 lines), enumerates 99 species of flowers – lines 61 through 98 – e.g.

 

ஒண்செங் காந்தள், ஆம்பல், அனிச்சம்

 தண்கயக் குவளை, குறிஞ்சி, வெட்சி,

 செங்கோடு வேரி, தேமா, மணிச்சிகை’  

வடவனம், வாகை, வான்பூங் குடசம்

 எருவை, செருவிளை, மணிப்பூங் குவளை,

பயினி, வானி, பலிணர்க் குரவம்’   

வாழை, வள்ளி, நீள்நறு நெய்தல்,

தாழை, தளவம், முள்தாள் தாமரை,

புன்னை மலர்

 ஞாழல், மௌவல், நறுந்தண் கொகுடி’

‘நந்தி, நறவம், நறும்புன் னாகம்,

  பாரம், பீரம், பைங்குருக் கத்தி,

  ஆரம், காழ்வை, கடியிரும் புன்னை’

உரிதுநாறு அவிழ்தொத்து உந்தூழ், கூவிளம்’

குரீஇப் பூளை, குறுநறுங் கண்ணி’

 ‘காஞ்சி, மணிக்குலைக் கள்கமழ் நெய்தல்’             

 

(Names that we are familiar with are highlighted.)

 

In ‘PuraththiNai iyal - புறத்திணை இயல் ‘ Tholkaappiyam identifies the distinctive floral decorations elected by the three major Thamizh royals – Cheras, Cholas and Pandyas – respectively Palmyrah flowers, ஆர் அல்லது அகத்தி (Sesbania Gandiflora) and Neem flowers.

 

போந்தை வேம்பே ஆர்என வரூஉம்

மாபெருஞ் தானையர் மலைந்த பூவும்     

 

Thus runs the famous lines that mocked the mindless rivalry and bloodshed between royals of the same Chola lineage:

 

நின்ன கண்ணியும் ஆர்மிடைந்தன்றே நின்னொடு

பொருவோன் கண்ணியும் ஆர்மிடைந்தன்றே

ஒருவீர் தோற்பினும் தோற்பதும் குடியே

இருவீர் வேறல் இயற்கையும் அன்றே அதனால்

குடிப்பொருள்  நன்று நும் செய்தி கொடித்தேர்

நும்மோர் அன்ன வேந்தர்க்கு

மெய்ம்மலி உவகை செய்யும் இவ் இகலே        

 

“Your floral crown is Agathi (Aar). The floral crown of your adversary is Agathi too. When one of you is defeated, the defeated really is your kin.  Both of you obviously cannot be victors. All that you would accomplish (by this senseless battling) would be to warm the cockles of the hearts of your real rivals – the Cheras and Pandyas. (So, please think! Stop this mindless bloody rivalry.)”

 

Let us look at the following observations made by a non-Thamizh scholar in a book on ancient migration in vedic India, discussing the place flowers had in devotional rituals:

 

“The prehistoric offerings in the Puja rite viz. flowers, leaves, fruit, etc. are not known to the homa rite (sic) except in instances where it has been influenced by the puja(sic). It has been suggested with good reason that Puja is the pre-Aryan – in all likelihood the Dravidian form of worship, where the Homa is the Aryan. And, throughout the entire vedic literature, the puja ritual with flowers, etc offered to an image or symbol is unknown.  The word Puja, from a root ‘Poo’ appears like the thing it connotes, to be of Dravidian origin also. This word or (its) root is not found in any Aryan or Indo-European language outside India.  பூ+செய் = பூசை”

 

S.K.Chatterji In his book “Race Movement and Prehistoric Culture in the Vedic Age” – London 1951 page 160.

 

A remarkable claim this.. We find, though, Sri Krishna enjoining on devotees to offer him even the minimal – ‘patram, pushpam, phalam, toyam’ –

 

patraṁ puṣhpaṁ phalaṁ toyaṁ yo me bhaktyā prayachchhati

tadahaṁ bhaktyupahṛitam aśhnāmi prayatātmanaḥ

Chapter 9 Verse 26.

 

Worth further research.

     

Our ancients were astutely observant; drew life lesson metaphors from the inanimate component of this universe – trees, leaves, flowers. Here is one amazing verse in ‘Naaladiyaar’:

 

கோட்டுப்பூப் போல மலர்ந்துபின் கூம்பாது

வேட்டதே வேட்டதாம் நட்பாட்சி - தோட்ட

கயப்பூப்போல் முன்மலர்ந்து பிற்கூம்பு வாரை

நயப்பாரும் நட்பாரும் இல்  

 

The flowers that bloom in land-based plants, bushes, creepers, once they bloom, stay bloomed. The will not close themselves. The water-borne ones, lillies, lotus, would on the other hand bloom as they welcome specific parts of the day – sunset for lillies and sunrise for lotuses – and as that desired part departs, would close themselves. The verse uses that attribute on the part of the two kinds of flowers to commend relationships – seek friendship of those who like the flowers of the land that stay bloomed – shall not close themselves – and avoid with those who are bloomers of good times and who close themselves up when adversity hits you.

 

Now to Periyazhwar’s Pillaiththamizh - பூச்சூட்டல்

 

ஆனிரை மேய்க்க நீ போதி  அருமருந்து ஆவது அறியாய்

கானகம் எல்லாம் திரிந்து உன் கரிய திருமேனி வாட

பானையிற் பாலைப் பருகிப்  பற்றாதார் எல்லாம் சிரிப்ப

தேனில் இனிய பிரானே செண்பகப் பூச் சூட்ட வாராய்          

 

“Oh! Kannaa! You venture to herd the cows and calves (of Thiru Aayarpai), wandering all over the grazing grounds and forests, with your dark complexion darkening further with the beating down sun. You seem oblivious that each step of yours in that mission is deliverance (nivarti) for countless souls that seek refuge of your Lotus feet. And, those who are yet to see you in that divine light (பற்றாதார்), ridicule you and laugh at you, as you drink milk that is just drawn from the cows’ udders, right out of the large milk pots – without bothering if the milk has been boiled or cured. Oh! Kannaa! Sweeter than sweetest honey! (தேனில் இனிய பிரானே!) One whose divine plays I can hardly comprehend! Please come hither! Let me adorn you with these lovely, shenbagam blossoms.”

 

செண்பகப் பூ – (Magnolia Campaca) – a very attractive flower with a heady fragrance.

  The fragrance does not diminish even after the flower wilts and shrivels. Is listed among the select flowers recommended for puja in Sri Vishnu temples and for puja at home too.

                   

கரு உடை மேகங்கள் கண்டால்  உன்னைக் கண்டால் ஒக்கும் கண்கள்

உரு உடையாய் உலகு ஏழும்  உண்டாக வந்து பிறந்தாய்

திரு உடையாள் மணவாளா  திருவரங்கத்தே கிடந்தாய்

மருவி மணம் கமழ்கின்ற  மல்லிகைப் பூச் சூட்ட வாராய்           

                   

“Oh! Kannaa! When my eyes encounter rain clouds, I feel I am seeing you. Oh! One with a captivating look! You are born here for the deliverance of all the seven worlds. Oh! The Consort of Sri Maha Lakshmi! One who is reclining in Thiruvarangam! Come hither! Let me adorn you with these fresh jasmines that engulf all of this place with their fragrance.”

 

மல்லிகைப் பூ – could be called the ‘national’ flower of the south. It is ubiquitous - pervades everywhere – temples, homes, girls, young women and elderly ladies too; all celebrations, all festivals, all celestial ceremonies. Naturally seasonal – spring and summer – now with modern cultivating practices is produced almost through the year. Madurai and surrounding places have earned a celebrity status in the jasmine market - மதுரை மல்லி – goes the refrain. Airlifted from Madurai to Chennai as well as to Singapore, Malaysia and Gulf countries.

 

மச்சொடு மாளிகை ஏறி  மாதர்கள்தம் இடம் புக்கு

கச்சொடு பட்டைக் கிழித்து  காம்பு துகில் அவை கீறி

நிச்சலும் தீமைகள் செய்வாய்  நீள் திருவேங்கடத்து எந்தாய்

பச்சைத் தமனகத்தோடு  பாதிரிப் பூச் சூட்ட வாராய்  

 

“Climbing through to the palatial upper quarters of Aaychiyar ladies and trespassing into their private chambers, you indulge in reprehensible pranks like tearing off their silken robes and blouses, tearing their precious sarees with exquisite border embroidering – relentlessly, every day. Give up that wicked engagement and come hither! Oh! The One residing in the hilly Thiruvenkatam! Come and let me adorn you with these lovely Paathiri blossoms set in green and bewitchingly fragrant dhamanam plants. “

        Paathiri blossom (Stereospermum suaveolens or Bignonia suaveolens) is        another tropical flower infused with intense fragrance. Unlike jasmine, which is a creeper, (or a bush) this one relates to a full blown tree that grows to 25 feet with a large trunk. The flowering season is what is known as the Fall – when the leaves are all shed and the tree is full of flowers, it is a sight for the celestials. This flower has great medicinal values and is used in a number of formulations in informal medicine.

 

Dhamanam (aka Dhavanam) is a small dark-green plant with small roundish leaves that emits a heady fragrance; this plant goes with its fragrant twin – ‘marikkozhundu’. These are used in temple rituals along with other flowers. As spring and early summer are the flush season for these plants, some temples celebrate ‘DhavanOtsavam’ – taking the deities to the ‘Vasanta Mantapam’ and letting the deities reside in a chamber made of these plants – must be quite intensely heady for mortals!. Yasodha would use ‘Dhavanam’ as the setting for stranding ‘Pathiri’ flowers for adorning Kannan.

 

தெருவின்கண் நின்று இள ஆய்ச்சிமார்களைத் தீமை செய்யாதே

மருவும் தமனகமும் சீர்மாலை மணம் கமழ்கின்ற

புருவம் கருங்குழல் நெற்றி பொலிந்த முகிற்-கன்று போலே

உருவம் அழகிய நம்பீ உகந்து இவை சூட்ட நீ வாராய்           

                   

“Stop hassling the young Aaychiyar women on the streets! Oh! The handsome one with eyebrows, abundant tresses, and broad forehead together indicative of your form – otherwise incomparable - resembling a young of a grand raincloud! Have this grand garland I have made for you – of ‘marikkozhundu’ and ‘dhamanam’ plants which, though infused with bewitching fragrances, feel lost and shamed on your person.

 

புள்ளினை வாய் பிளந்திட்டாய்  பொரு கரியின் கொம்பு ஒசித்தாய்

கள்ள அரக்கியை மூக்கொடு  காவலனைத் தலை கொண்டாய்

அள்ளி நீ வெண்ணெய் விழுங்க அஞ்சாது அடியேன் அடித்தேன்

தெள்ளிய நீரில் எழுந்த செங்கழுநீர் சூட்ட வாராய்            

                   

“Oh! Kannaa! You as a little child, destroyed Pakasura the wicked one sent by Kamsan to harm you, who came as a terrifying stork, by tearing him down in two beginning with his beak. You killed the battle elephant Kuvalayam – again sent by Kamsan to harm you – by plucking out its tusks. You punished Surpanaka by snipping her nose and went on to sever the ten crowned heads of the invincible Ravana. (Not realizing who you really are), as I saw you swallowing the butter that I had put away, I, this ignorant one, (ignorant about who you really are –( Yasodha wildly swings between the divine windows where she sees Krishna as He really was and the mortal ones where she sees him as a ceaseless prankster that causes her embarrassment and shame especially as the first lady of Aayars) punished you out of that ignorance. (Forgive me for a moment)! Oh! Kannaa! Here are some very fresh pink water lilies from crystal clear spring waters! Come and let me adorn you with these.”

 

எருதுகளோடு பொருதி ஏதும் உலோபாய் காண் நம்பீ

கருதிய தீமைகள் செய்து கஞ்சனைக் கால்கொடு பாய்ந்தாய்

தெருவின்கண் தீமைகள் செய்து சிக்கென மல்லர்களோடு

பொருது வருகின்ற பொன்னே புன்னைப் பூச் சூட்ட நீ வாராய்  

 

 “In order to gain the hands of your beloved Nappinnai, you took on the murderous bulls and killed them. Oh! Kannaa! One who neglects his own personal care!    You delivered the evil Kamsan from him continuing wicked deeds, by kicking him to his end. Causing wreckage enroute to Kamsan’s place – killing the errant washerman and breaking the bow – you wrestled the murderous wrestlers set up by Kamsan – Chanoora and Mushtika – and ended their lives – Oh! The Precious Golden One! Come hither! Come and let me adorn you with these lovely Punnai flowers.”

 

“Punnai” (calophyllum inophyllum is a short tree, with lustrous dark green leaves and white flowers. calophyllum would translate to ‘lustrous leaves’. This tree is closely associated with Krishna.   

                   

குடங்கள் எடுத்து ஏற விட்டுக்  கூத்தாட வல்ல எம் கோவே

மடம் கொள் மதிமுகத்தாரை மால்செய வல்ல என் மைந்தா

இடந்திட்டு இரணியன் நெஞ்சை  இரு பிளவு ஆக முன் கீண்டாய்

குடந்தைக் கிடந்த எம் கோவே குருக்கத்திப் பூச் சூட்ட வாராய்            

                   

“Oh! My Kannaa! One with a wizardry in dancing with milk pots, several of them thrown up and gathered in a mesmerizing, unending cycle! One who is adept as well in entrancing young Aaychis in your enticing spells! Oh! My Son! One who – in your incarnation as Narasimha – tore Hiranyakasipu’s steely impregnable chest with your sharp claws! Oh! One who reclines in Thirukkudanthai! Come hither! Come and let me adorn you with these adorable ‘Kurukkathi’ blossoms.”

குருக்கத்திப் பூ – Hiptage benghalensis - is amongst the flowers that find a place in several verses in the Sangham literature – e.g.

 

அடிமருங்கி னரசிறைஞ்ச  வாழியாள்வான் பெருந்தேவி

கொடிமருங்கி னெழில்கொண்டு குழையல்வாழி குருக்கத்தி

கொடிமருங்கி னெழில்கொண்டு  குழைவாயாயிற் பலர்பறிப்பக்

கடிமருங்கிற் புக்கலரே  காண்டிவாழி குருக்கத்தி

 

Bharathi hails this flower:

 

“சிப்பியிலே நல்ல முத்து விளைந்திடுஞ்

  செய்தி யறியாயோ – நன்னெஞ்சே

  குப்பையிலே மலர் கொஞ்சுங் குருக்கத்திக்

  கொடிவள ராதோ? – நன்னெஞ்சே”

 

குடங்கள் எடுத்து ஏற விட்டுக்  கூத்தாட வல்ல எம் கோவே –

Sri Periyavaachaan Pillai’s vyakyanam –

 

'தலையிலே அடுக்குக் குடமிருக்க, இரண்டு தோள்களிலும் குடங்களிருக்க, இரு கைகளிலும் குடங்களை ஏந்தி ஆகாசத்திலே எறிந்தாடுவது கூத்தாய்து – குடக்கூத்தாவது’ Holding several pitchers on one’s head and shoulders and throwing several pitchers from the hands in cycles of throwing and catching blurring into one whirring cycle and dancing with the legs – that is understood to be ‘kudakkooththu’.

 

There is a story behind this ‘kudamaadu kooththan’ attribute of Krishna – Sage Udhanga was going through his guru kulam with his mentor and teacher – Vaidhar. As Udhanga completed his learning and wished to leave after paying an appropriate ‘guru dakshina’ he asked his guru as to what was his wish. The guru passed on this wish to his wife. The guru patni asked for the earrings worn by the queen of the ruler of the country. Udhanga, undaunted, went to the palace and sought the queen’s earrings, stating his purpose. The queen, knowing the antecedents of the guru, readily handed over her ear rings. As udhanga was returning with the ‘guru dakshina’, he was seized with intense hunger and thirst. He saw a shepherd coming along, dancing with a pot on is head. Udhanga sought some food or drink. The shepherd said that the contents of the pot with him were cow’s urine and dung and if Udhanga so wished, he could have it. He added that Vaidhar, the guru, also had that stuff for his meal. Udhanga received the cow stuff and took it without hesitation as he thought what was good for his guru must be good for him. And, after ingesting this, he dozed off. He woke up as he saw a stranger grabbing his ‘kamandalam’ pitcher in which he had secured the earrings, and running away. The stranger ran into a cave and disappeared. Udhanga was stupefied. A horseman arrived there and promised help. He had the horse blow into the cave. Fire streamed out of those nostrils. Unable to bear the heat the stranger thief ran out and handed Udhanga his kamandalam and the earrings. As Udhanga reached his guru and related the events to him, the guru said, the shepherd was in fact Sri Maha Vishnu who wanted to test Udhanga’s firm affiliation to his guru and his routines. That the horseman was in fact Indra who came astride Agni at the behest of Sri Maha Vishnu to retrieve Udhanga’s kamandala. And, that the cow’s stuff was in fact divine nectar and it was what saved Udhanga from Agni’s severe burns.

 

Udhanga prayed for Sri Bhagavan’s darsan. He appeared before him in the same form and stance that we find in the ‘Kudamaadu Koothan’ temple – near Sirkazhi.

 

There is an entirely  different explanation for ‘குடக்கூத்து’ in the Krishna context. This is attributed to the episode of Krishna holding the Govardhana Giri aloft with one little finger of his and protecting the aayars and the cow herds from Indra’s rain fury:

 

காமரூசீர் முகில் வண்ணன் காலிகள் முன்

காப்பான் குன்றதனால் மழைதடுத்துக் குடமாடு

கூத்தன் குலவுமிடம்

(Thirumangai Azhwar - Periya Thirumozhi – 3.10.8)

 

The conclusive construct seems to be that – dancing with pots is a play (leela); holding the Govardhana giri was an act of ‘vatsalyam’ for the beings under His refuge; therefore, the second interpretation should hold.

 

Yasodha calls out - என் மைந்தா!  Poor thing! She is often unsure who this one is really, witnessing his escapades and adventures that lay far beyond the grasp of a mere mortal child. Kannan ensures that Yasodha is not in that moment of uncertainty – confusion – for long. He ensures that she does think He is her child, may be an incomparable one. With a sense of supreme pride infused with that alternating confusion, she calls out – Oh! My Son! என் மைந்தா! – just to assure herself again and again that this one is in truth her child?

 

 

சீமாலிகன் அவனோடு தோழமை கொள்ளவும் வல்லாய்

சாமாறு அவனை நீ எண்ணிச் சக்கரத்தால் தலை கொண்டாய்

ஆமாறு அறியும் பிரானே  அணி அரங்கத்தே கிடந்தாய்

ஏமாற்றம் என்னைத் தவிர்த்தாய் இருவாட்சிப் பூச் சூட்ட வாராய்            

                   

“சீமாலிகன் அவனோடு தோழமை கொள்ளவும் வல்லாய்” tells us a pithy story in Krishna’s life. Maalikan, though an Asura, (the prefix சீ (Sri) derived from the association with Krishna) gained the friendship of Krishna. Krishna taught him all the ‘sastra’ (weaponry) skills. But Maalikan entertained a grouse – Krishna stopped short of teaching Maalikan of the skill in handling his Sudarsana Chakra (the Disc). As Maalikan had strayed into evil deeds and was causing widespread pain and destruction amongst the sadhus, Krishna thought that the time had come for ending this evil. But the friendship was a moral bar. Krishna, found the means that would not cause a slur on his ‘friendship’ with him - used Maalikan’s ceaseless grouse about wanting to gain the skill in handling Sudarsana chakra: Krishna let Sudarsana go from his fingers and come around and settle on his finger back – as a demonstrative instruction. Maalikan, observing this, would say – how could this be beyond me? Let me try. He had Sudarsana in his hand, let it go and as it returned to his finger, the evil one was terrified and backed off. Sudarsana chased him and severed his head along with the flailing fingers. சாமாறு அவனை நீ எண்ணிச் சக்கரத்தால் தலை கொண்டாய் – completes the story. சாமாறு – சாகுமாறு – means to die.

 

ஆமாறு அறியும் பிரானே  - Oh! One who knows what  happens – in all denominations of time! Oh! One who reclines in Thiruvarangam! You saved me from a letdown in this life of mine (of being steeped in ignorance)!  (ஏமாற்றம் என்னைத் தவிர்த்தாய்) Come! Come to me! Let me adorn you with these snow-white Iruvatchi blooms.

 

இருவாட்சி – is a white flower in the jasmine specie, sharing many of jasmine’s attributes – is even more heady in its fragrance.

 

அண்டத்து அமரர்கள் சூழ அத்தாணியுள் அங்கு இருந்தாய்

தொண்டர்கள் நெஞ்சில் உறைவாய் தூமலராள் மணவாளா

உண்டிட்டு உலகினை ஏழும் ஓர் ஆலிலையிற் துயில் கொண்டாய்

கண்டு நான் உன்னை உகக்கக்  கருமுகைப் பூச் சூட்ட வாராய்           

 

“Oh! Sriman Narayana! You are seated in Sri Vaikuntam with all the celestials**adoring you. You also reside in the hearts of all your devotees. Oh! The Consort of the lotus-seated Sri Maha Lakshmi! You devoured all the worlds in order to protect them from the maha pralaya (deluge) and (with the worlds in your safe-keeping), reclined in a banyan leaf, during that deluge. In order that I could see you adorned, come to me! Let me decorate you with these lovely ‘karu mugai’ flowers.”

 

**(most sampradaya vyakyanams would interpret ‘அமரர்கள்’ all the celestials as ‘Nitya Sooris’ . Needs some instructive elaboration why the wider pantheon of all celestials including Indra and the mukya devatas like agni, vaayu, etc. should be interpreted down to ‘Nitya Sooris’ which include only the sanakathis, garuda, anantha, etc. and excludes most of the other celestials.)        

 

கருமுகைப் பூ -  Cananga odorata, known as ylang-ylang (/ˈiːlæŋ ˈiːlæŋ/ EE-lang-EE-lang) or cananga tree, is a tropical tree that is native to the Philippines, Malaysia, Indonesia, New Guinea, the Solomon Islands, and Queensland, Australia. It is also native to parts of Thailand and Vietnam. It is valued for the essential oils extracted from its flowers (also called "ylang-ylang"), which has a strong floral fragrance. Ylang-ylang is one of the most extensively used natural materials in the perfume industry, earning it the name "Queen of Perfumes".

Courtesy - Wikipedia.

 

We find in these verses, as we would in the rest of Naalaayiram, that the Azhwar presents Sri Bhagavan in all his five states – param, vyooham, vibhavam, archai and antaryami.

 

அண்டத்து அமரர்கள் சூழ அத்தாணியுள் அங்கு இருந்தாய் – param

உண்டிட்டு உலகினை ஏழும் ஓர் ஆலிலையிற் துயில் கொண்டாய் – vyooham

இடந்திட்டு இரணியன் நெஞ்சை  இரு பிளவு ஆக முன் கீண்டாய்,

கள்ள அரக்கியை மூக்கொடு  காவலனைத் தலை கொண்டாய்.. vibhavam

தொண்டர்கள் நெஞ்சில் உறைவாய்  … Antaryami.

 

We would leave this part of Naalaayiram after presenting ‘காப்பிடல்’ in the next selection. I request the Group to flag further forays in this amazingly rich corpus:  which parts should we delve into next?