Episode 01 - Pillaiththamizh - Protective Bracelets.
Protective Bracelets - காப்பிடல்
காப்பிடல் – derived from கா – protect, secure, காப்பு – security, ring of security.
Securing. Securing against what? Ring-fencing against what?
This is presumably an oriental phenomenon – that even adorative or admiring looks of people could hurt the object of those looks. E.g. when someone looks at a bride or a celebrity and admire - ஐயோ, இத்தனை அழகா! – even of devoted people, could hurt the object or object person. Why? Psychologically, when one admires with intense emotion like this, there is an underlying stream of thought, a fear, that this might not last, this is too good to last. And – not so rationally – the belief that such a negative streak of emotional flow even from true devotees, admirers, could cause harm to the object person(s).
And, of course, there would be really hurting looks out of jealousy and deprivation. திருஷ்டி – Evil eyes.
(The belief is: (a) even when an object of adoration and devotion is adored and admired, the intense emotional stream of joyous appreciation has, underneath it, a negative stream – “Could this be real? Could this last?”; and of course (b) there are in this wide world some roving evil eyes that wish harm, hurt, devastation just by those ill-wishing eyes: eyes could sear, burn, destroy, devastate.)
These possible hazards of thought streams hurting the object person(s) ought to be protected.
The protection is devised in a variety of ways.
One way is to distract those roving eyes and disrupt the negative thought streams.
We know that deities – or even celebrities or bridal couples – by waving clockwise and anti-clockwise coloured rice balls and throwing them in different directions. The viewers’ attention is thus disrupted, dislodged and shifted to the colour balls falling around. Or a whole ash-gourd, impregnated with vermillion to provide an effect of garish red, being waved clockwise and anti-clockwise and broken on the floor – with the scattered pieces smeared with red vermillion providing an anti-view for the onlookers.
Even normal households would find elders indulging in this rite – with regard to children or even elders when they feel that what the object person has done or that person’s exceptional appearance might have invoked an ‘evil eye’. The object child or person would be stood facing the east and the elder would wave, clockwise and anti-clockwise, lighted camphor often with a prayer on the elder’s lips seeking the unravelling of the evil-eye:
ஊரு கண்ணு, உறவு கண்ணு, நாய் கண்ணு, நரிக் கண்ணு, நோய்கண்ணு, நொள்ள கண்ணு கண்டக் கண்ணு, கள்ளக் கண்ணு, அந்த கண்ணு, இந்த கண்ணு எல்லாம் கண் ணும் கண்டபடி தொலையட்டும்
; the black remains of burnt camphor would be placed on the forehead. A more severe form is for red chillies to be used in this process and then thrown into burning coals or fire. The more pungent the acrid chillies’ smell being burnt, the more potent the evil-eye’s harm is supposed to be.
For structural objects like a new home, we find people tying an ash-gourd painted with a scare-face, right at the entrance. And, in well-tended and rich looking paddy patches or patches of field bearing good produce, we find ‘scare-crow’ poles hoisted. The ‘scare-crow’ poles are basically intended to scare away foraging birds, but also intended to secure the field against ‘evil eyes’ – or திருஷ்டி.
Thamizh culture is replete with this routine of ‘காப்பு’ in different facets of life – personal, family, community. For instance, a day before the Thamizh festival of ‘Pongal’ it is customary for people to secure their homes – and cattle-sheds, sheep-steads, fields too – with a cluster of herbs made of வேம்பு neem, நாயுருவி (Achyranthes aspera), தும்பை Plumbago zeylanica etc. These plants are known insect repellents. But the actual users of this mode think that this would ward off evil and epidemics.
Wherever there is a staunch faith backing a superstitious thought, may be wholly irrational and unsubstantiated – that faith is used as the market opportunity by smart business minds. We thus have multifarious offers of காப்புs, made of different material – from plain copper or steel on to ivory or more fancied materials, being marketed with roaring success. These are sometimes specifically designated to (supposedly) guard against specific harms.
We find that village communities even today assume காப்பு – without an exception all adults accept this ritual – and this is a collective and individual vow to stay with the community’s annual temple festival and celebrations. No one is allowed to leave the village when the காப்பு is on – till the festivals are successfully concluded.
Ring-fencing against not only evil-eyes but also aasuric (demoniac) forces lingering all over the atmosphere, unseen, (காற்று, கருப்பு) calls for a mantra-backed ritual. We see this as an integral, opening part of an auspicious ritual - called காப்பு (Insulation, Shielding)– most often a string made of cotton thread smeared with turmeric/vermillion and tied around the wrist of the bride/bridegroom (left for the bride and right for the groom) or the main celebrity(ies), before the major rituals are commenced.
There is a third function of காப்பு. That is internal protection of a person for his vows and ritual commitments. The காப்பு that is tied to the wrist of a bridegroom and the bride – or any person who is sitting down for a holy ritual – has that function. The mantras that are chanted before the tying of this string would impregnate that string with that securing potential.
The tying of consecrated threads on the wrists of bridal couple or those who set out to perform important rituals would combine both these functions.
Andal, in her amazing narrative of her dream of wedding Kannan, relates with this காப்பு ceremony:
நால்-திசைத் தீர்த்தம் கொணர்ந்து நனி நல்கி
பார்ப்பனச் சிட்டர்கள் பல்லார் எடுத்து ஏத்தி
பூப் புனை கண்ணிப் புனிதனோடு என்தன்னைக்
காப்பு-நாண் கட்டக் கனாக் கண்டேன் தோழீ நான்
In temple rituals, Thiruvandhikkaappu திருவந்திக்காப்பு, a function at the conclusion of a processional carrying of the deity around the streets surrounding the temple புறப்பாடு, is also meant to avert ‘evil eyes’ திருஷ்டி, கண்ணேறு, is also based on the presumption that the deity could have been harmed by evil-eyes while in procession.
The very first twelve verses that flowed from the lips of Periyazhwar – the famous திருப்பல்லாண்டு that has become a prime rendering in all Sri Vaishnava Shrines and in Sri Vaishnava homes, were borne out of the Azhwar’s concern, fear – that Emberuman who granted him a rare darshan astride Garuda, as the Azhwar won the prize purse that the Pandya King had announced for having established, irrefutably, the Siddantha of the Ashtaksharam.
மல்லாண்ட திண்டோள் மணிவண்ணா! உன் சேவடி செவ்வி திருக்காப்பு
We therefore would place the ten verses rendered by this very Azhwar in his Pillaiththamizh passurams, about காப்பிடல், ought to rank right up there in the unmatched pantheon of Naalaayiram paasurams. Distinctively, all of these are dedicated to the presiding deity In TiruveLLarai திருவெள்ளறை one of the 108 divya desams –
A brief note on ‘TiruveLLarai:
This remarkable temple and sri vaishnavite pilgrim centre is close to Tiruchirapalli city – enroute from Tiruchi to Thuraiyur.
The name is derived, as per legend, from two different sources: one, a puranic one, is that this deity gave darshan to Chakravarti Sibi (of Ikshvaku lineage) as a white boar; and was therefore known as ‘Swetapuri Nathan’ (Swetha is white). The temple was known as ‘Swetha Giri’ – (white hill.) The other, and more directly attributed, source is that the rocks used in the temple structure – a spacious one – are whitish and thus the name வெள்ளறை – white chambers.
The temple, resembling a fort, presents some amazing architecltural features. The approach steps number 18 – representing the number of chapters of the Gita. On reaching the final step, there is a sanctum for Lord Krishna. We are enjoined to pay prayers here before proceeding further into the temple. Then we encounter 4 steps – representing the four vedhas; Then on, there are five steps – representing the five elements this world is made of; and then follow 24 steps, representing the ’aksharas’ in Gayatri mantra. A truly elevating journey right up to the presiding Lord’ sanctum.
The presiding main deity – Moolavar – is Pundareekakshan - செந்தாமரைக் கண்ணன் – in a standing posture. (The Azhwar would repeatedly address Him: வெள்ளறை நின்றாய். Seated at his feet on either side are Sri Bhooma Devi (on His right) and Sage Markandeya (on his left) – a feature we would see in Sri Oppiliappankoil as well.
This Perumal considers Himself answerable to His Consort – Pankajavalli. The Thaayaar would head the ‘purappaadu’ procession. Perumal would follow her. And the Thaayaar would return to the Temple precincts before sunset. Truly denoting male licence, the Perumal would take His own time but when he returns, he has to pause at the entrance and offer to the Thaayaar an explanation for his being late!!
The Azhwar’s காப்பிடல் renderings present Yasodha calling Kannan for ‘kaappu’ ring-fencing ritual, as Kannan returns home as the sun sets. திருவந்திக்காப்பு.
இந்திரனோடு பிரமன் ஈசன் இமையவர் எல்லாம்
மந்திர மா மலர் கொண்டு மறைந்து உவராய் வந்து நின்றார்
சந்திரன் மாளிகை சேரும் சதுரர்கள் வெள்ளறை நின்றாய்
அந்தியம் போது இது ஆகும் அழகனே காப்பிட வாராய்
“Indra, Brahma and Siva accompanied by all their subservient celestials have arrived here carrying divine flowers consecrated by veda mantras; they are standing around here hidden from mortal view. As the sun sets, the moon is descending on this palace of ours to light up.
Oh! The One standing tall in TiruveLLarai, for all the emancipated and highly learned souls offering you ‘mangala saasanam’ prayers! The evening twilight is here. You seem to be oblivious of the harm that could come from evil eyes roving over your ever-captivating form, Oh! Kannaa! Come hither! Come! Let me secure you with these consecrated flowers and other auspicious things in order to protect you from those roving evil eyes.
கன்றுகள் இல்லம் புகுந்து கதறுகின்ற பசு எல்லாம்
நின்றொழிந்தேன் உன்னைக் கூவி நேசமேல் ஒன்றும் இலாதாய்
மன்றில் நில்லேல் அந்திப் போது மதிற் திருவெள்ளறை நின்றாய்
நன்று கண்டாய் என்தன் சொல்லு நான் உன்னைக் காப்பிட வாராய்
“Because you are engrossed in your wild and impervious playful wandering, the cows are mooing plaintively, with their milk-filled udders aching as the calves have not come in to suckle and the milking is not done. (Or, the calves are crying plaintively as they are famished with the suckling time having come long back.). I have been crying hoarse for you – like those cows, not getting to see you back home even as the twilight is arriving, Oh! Kannaa! Bereft of care and love for your own mother! One Who stands tall in TiruveLLarai! Do not stray around in crowded spaces where those roving evil eyes – unable to take in your captivating form with love and affection for you – could cause you harm. Come back home! Come hither! Let me secure you with these consecrated flowers and other ritual objects and secure you from those sight-laden harm that descends from all direction.”
செப்பு ஓது மென்முலையார்கள் சிறுசோறும் இல்லும் சிதைத்திட்டு
அப்போது நான் உரப்பப் போய் அடிசிலும் உண்டிலை ஆள்வாய்
முப் போதும் வானவர் ஏத்தும் முனிவர்கள் வெள்ளறை நின்றாய்
இப்போது நான் ஒன்றும் செய்யேன் எம்பிரான் காப்பிட வாராய்
‘Harassing young maidens who are playing among themselves making mock food (from fine sand) and building mock homes from fine sand as well, destroying their sweat-invested handiwork in a trice and breaking their hearts, despite my censuring you, you seem so engrossed in such mischief, even not finding the mind and time to have the delicious meal I have laid out for you! Oh! One who stands tall in TiruveLLarai where the celestials and the great sages keep offering oblations and prayers to you all the three times every day! I promise you! I shall not punish you – for your reprehensible deeds! Come! Let me secure you from the harms that lurk everywhere – with your form and deeds so universally captivating.”
கண்ணில் மணல்கொடு தூவிக்காலினால் பாய்ந்தனை என்று என்று
எண் அரும் பிள்ளைகள் வந்திட்டு -இவர் ஆர்?- முறைப்படுகின்றார்
கண்ணனே வெள்ளறை நின்றாய் கண்டாரொடே தீமை செய்வாய்
வண்ணமே வேலையது ஒப்பாய் வள்ளலே காப்பிட வாராய்
“Countless children come to me and complain: ‘(Your Kannaa) throws sand into our eyes and as we flounder, kicks us without our knowing who.’ You seem to be intent on indulging in mischief with anyone you encounter. Oh! Kannaa. One who stands tall in TiruveLLarai! Oh! One who has so handsomely gifted me this divine motherhood! Come! Let me secure you with this consecrated காப்பு.”
பல்லாயிரவர் இவ் ஊரில் பிள்ளைகள் தீமைகள் செய்வார்
எல்லாம் உன்மேல் அன்றிப் போகாது எம்பிரான் நீ இங்கே வாராய்
நல்லார்கள் வெள்ளறை நின்றாய் ஞானச் சுடரே உன்மேனி
சொல் ஆர வாழ்த்தி நின்று ஏத்திச் சொப்படக் காப்பிட வாராய்
“There are thousands of roguish boys in this Tiruaayarpaadi. All the mischiefs these engage in would surely redound on you and would go nowhere else. Do give up association with them. Come home to me! Oh! The very light of Njaana! One Who stands tall in TiruveLLarai, peopled by sadhus! Come! Let me adore your entrancing form to my heart’s content, bless you and offer you my fervent prayers – and secure you with this consecrated காப்பு.”
கஞ்சன் கறுக்கொண்டு நின்மேல் கரு நிறச் செம் மயிர்ப் பேயை
வஞ்சிப்பதற்கு விடுத்தான் என்பது ஓர் வார்த்தையும் உண்டு
மஞ்சு தவழ் மணி மாட மதிற் திருவெள்ளறை நின்றாய்
அஞ்சுவன் நீ அங்கு நிற்க அழகனே காப்பிட வாராய்
“Oh! Kannaa! There was a word around that Kamsan, driven by the enmity he entertains against you, set up a dark-skinned, red-haired demon to destroy you through deception. I am scared when you are straying outside. Oh! The tall-standing one in TiruveLLarai, filled with high standing palaces that have clouds crawling through them! Come! Let me secure you with this காப்பு consecrated with divine care and celestial devotion.”
கள்ளச் சகடும் மருதும் கலக்கு அழிய உதைசெய்த
பிள்ளையரசே நீ பேயைப் பிடித்து முலை உண்ட பின்னை
உள்ளவாறு ஒன்றும் அறியேன் ஒளியுடை வெள்ளறை நின்றாய்
பள்ளிகொள் போது இது ஆகும் பரமனே காப்பிட வாராய்
“Oh! The remarkable Child! Kannaa!, After you destroyed the demo sakatasura and felled those giant marudhu trees, and after you suckled the breast of that demon Poothanai drinking her life along with her poisonous milk, I do not know you at all for what you may really be! I am ceaselessly worried about what harm would come to you next. Oh! The tall standing one in divinely lighted TiruveLLarai! This is actually time for you to retire to bed – and not for wandering around. Come! Oh! The Almighty Himself! Come! Let me secure you with this consecrated காப்பு.
இன்பம் அதனை உயர்த்தாய் இமையவர்க்கு என்றும் அரியாய்
கும்பக் களிறு அட்ட கோவே கொடுங் கஞ்சன் நெஞ்சினிற் கூற்றே
செம்பொன் மதில் வெள்ளறையாய் செல்வத்தினால் வளர் பிள்ளாய்
கம்பக் கபாலி காண் அங்கு கடிது ஓடிக் காப்பிட வாராய்
“Oh! My darling Kannaa! You are granting me a joy – not just a mortal mother’s joy, but an indescribable divine joy, by your ever escalating supra-human deeds, mischiefs – cheshtithams – a joy that seems to be scaling new heights every morn! **Oh! The one who is difficult to reach even for the ascetically endowed celestials! Oh! The little Lord who astonishingly destroyed ‘Kuvalaya’ battle elephant with his bare hands! Oh! The god of death for the wicked and ill-fated Kamsan’s impregnable heart! Oh! The one standing tall in TiruveLLarai, encompassed by golden ramparts! Oh! The One with unbridled licence to play around and indulge in mischiefs implicit in your being the darling prince of Nanda, the chief of Aayars! Look! The skull-wielding Lord Siva is surrounded by a frightening army of bootha ghanas in the proscribed areas of our habitation! Pray! Do not venture into those harm-filled places! Come home! Come and have this காப்பு that shall protect you from all possible harm.”
**Periyazhwar wonders about the unthinkable ascetics that this simple woman, Yasodha, ought to have had on her side – for her to own this divine child as her son:
மின் அனைய நுண் இடையார் விரி குழல்மேல் நுழைந்த வண்டு
இன் இசைக்கும் வில்லிபுத்தூர் இனிது அமர்ந்தாய் உன்னைக் கண்டார்
என்ன நோன்பு நோற்றாள் கொலோ இவனைப் பெற்ற வயிறு உடையாள்
என்னும் வார்த்தை எய்துவித்த இருடிகேசா… (Thirumozhi)
கம்பக் கபாலி காண் – by imputing the implicit harms hovering around in the space that the ‘skull-wielding Siva” – Kapaali – prefers, the Azhwar seems to make a dig at the principal competing faith – Saivam – here. A rare show of disavowal of the alternate faith.
இருக்கொடு நீர் சங்கிற் கொண்டிட்டு எழில் மறையோர் வந்து நின்றார்
தருக்கேல் நம்பி சந்தி நின்று தாய் சொல்லுக் கொள்ளாய் சில நாள்
திருக்காப்பு நான் உன்னைச் சாத்த தேசு உடை வெள்ளறை நின்றாய்
உருக் காட்டும் அந்தி விளக்கு இன்று ஒளி கொள்ள ஏற்றுகேன் வாராய்
“Brahmanas adept in vedhas and vedic rituals are chanting ‘riks’ and holding consecrated pure water in conches, for bathing you – cleansing your form of possible evil-eyes and such harms that might be clinging on to your captivating self! Please! Please! Do not invoke your wild inclinations and venture into densely peopled centres (where demonic energies are surely mingled in the atmosphere and waiting to harm you)!. Atleast for some more time, (till you grown into an independent adult), should you not abide by what your loving mother bids you (out of that love and caring for you)? Oh! The One standing tall and with infinite ‘tejas’ in TiruveLLarai! Come! Come hither for me to fit you with this consecrated திருக்காப்பு; and light the evening lights that would surely show up for me and the world that admires and adores you incessantly, your magnificent divine form.”
THE ’PHALA SHRUTI’
போது அமர் செல்வக்கொழுந்து புணர் திருவெள்ளறையானை
மாதர்க்கு உயர்ந்த அசோதை மகன்தன்னைக் காப்பிட்ட மாற்றம்
வேதப் பயன் கொள்ள வல்ல விட்டுசித்தன் சொன்ன மாலை
பாதப் பயன் கொள்ள வல்ல பத்தர் உள்ளார் வினை போமே
These verses narrating the securing of Kannan (the darling of the lotus-seated Sri Mahlakshmi who stands tall in TiruveLLarai), with consecrated திருக்காப்பு by that great female, the one unmatched in this creation, Yasodha, rendered by Vishnu Chittan who is invested with all the beneficial attributes of the Vedhas, if devotees could recite and invoke the auspiciousness infused in the last line of these verses, they would have banished from their lives, all their sins and dividends of dushkarmas – the antithesis of such chanting and invoking.
We conclude this component of our devotional journey into the great “Naalaayiram’ with this Selection. The Azhwar moves on from here to the ‘leelas’ and ‘cheshtithams’ of a Kannan who is a grown up child – beyond the purview of PiLLaiththamizh grammar.
Humbly request the Group to let me have feedback – a feedback that nourishes, enriches and evokes, nudges me on.
A world of grateful thanks to Sri Vajapeyam Ranganathan Parthasarathi, whose suggestion had launched this particular (PiLLaiththamizh) pilgrimage.