Episode 01 - Pillaiththamizh - Lullaby.
LULLABY (தாலப் பருவம்)
Periyazhwar in his version of PiLLaith Thamizh, sings about infant Kannan in the various phases that this format prescribes, (we have gone through the format prescription that Tholkaappiyam defines earlier), plus a few other delightfully interspersed ones. He begins with Paadaathi Kesam (which we had seen last week), goes on to the Thaalap Paruvam தாலப் பருவம் (lullaby). In ten verses with amazing imagery and poetic riches, the Azhwar has Yasodha sing to infant Kannan, gently rocking a very special cradle. He presents this cradle in the first verse;
மாணிக்கம் கட்டி வயிரம் இடை கட்டி
ஆணிப் பொன்னால் செய்த வண்ணச் சிறுத்தொட்டில்
பேணி உனக்குப் பிரமன் விடுதந்தான்
மாணிக் குறளனே தாலேலோ வையம் அளந்தானே தாலேலோ
A widely popular lullaby that mothers sang to their young ones with devotional relish.
The Azhwar has Yasodha admire the very special cradle for Kannan which Brahma brought in – as his loving tribute to his Lord and Master, now incarnate here in Thiru Aayarpadi.
“The cradle is wrought of solid gold - ஆணிப் பொன்னால் செய்த; it is richly ornated with finest rubies interspersed with brilliant diamonds - மாணிக்கம் கட்டி வயிரம் இடை கட்டி ; this matchless, glowing, little cradle made lovingly for you, infant Kannan (possibly by Viswakarma, the celestial architect at the behest of his master Brahma), was brought with loving dedication by that Brahma himself (பேணி உனக்குப் பிரமன் விடுதந்தான்). Oh! The Dimunitive Brahmachari! ThaalElO! Oh! The One who measured the worlds! ThaalElO.”
ஆணிப் பொன் – gold that is pristine pure, that serves as a benchmark for indexing quality – like 24 carats.
Here is a link to the YouTube rendering of this paasuram by Unnikrishnan –
https://youtu.be/dxb1JUcWolo
Azhwar proceeds to enumerate the loving and reverential tributes which the other celestials bring to infant Kannan – in meticulous pecking order.
2. Lord Siva comes next – gifting an exquisite and well-fitting golden waist-belt (அரைஞாண்) strung with magnificent little bells and beads resembling the buds of pomegranate (மாதுளம்பூ).
3. Indra enters next – proffers to Kannan, his Lord and Master, a sweetly jingling, bejewelled and beautiful set of golden anklets; and stands aside offering pranams to him.
4. The other celestials troupe in and tender – white valampuri conches, bell-anklets, lovely bracelets carved out of conches and (golden) waist-bands .
5. Kubera lines up next – offering a bejeweled golden garland with forms symbolizing the five weapons of Thirumaal (ஐம்படை) and other garlands. (It is customary even now for male babies to be adorned with either a waistband or a garland-chain with replicas of the five weapons of Thirumaal – Sudarsana, Panchajanya, Sarnga, Koumodhakee and Nandaka (the disc, conch, bow, mace and sword). This ornament is supposed to protect the child from all harm.)
6. ஓதக் கடலின் ஒளிமுத்தின் ஆரமும்
சாதிப் பவளமும் சந்தச் சரிவளையும்
மா தக்க என்று வருணன் விடுதந்தான்
சோதிச் சுடர் முடியாய் தாலேலோ! சுந்தரத் தோளனே தாலேலோ!
“Varuna has come and offered you, Oh! The One with lustrous tresses, One with most handsome shoulders! Garlands made of the finest, glittering pearls from the depths of the seas, garlands made of brilliant corals also from those depths and lovely bracelets made of the choicest conches, from the seas as well. ThaalElO! ThaalElO!” – Varuna being the Lord of the seas, brings in what abundantly lay in his command domain.
7. கானார் நறுந்துழாய் கைசெய்த கண்ணியும்
வானார் செழுஞ்சோலைக் கற்பகத்தின் வாசிகையும்
தேனார் மலர்மேல் திருமங்கை போத்தந்தாள்
கோனே! அழேல்! அழேல்! தாலேலோ! குடந்தைக் கிடந்தானே! தாலேலோ!
“Sri Maha Lakshmi, seated on the honey-filled lotus, came and gifted you, Oh! The Little One! Oh! The One reclining in Thirukkudanthai! Fragrant and fresh Thiruththuzhaai (திருத்துழாய்) garlands and incense from the Karpaga trees in the celestial world. Do not cry! Do not cry! ThaalElO! TaalElO!” வாசிகை – incense.
8. கச்சொடு பொற்சுரிகை காம்பு கனகவளை
உச்சி மணிச்சுட்டி ஒண்தாள் நிரைப் பொற்பூ
அச்சுதனுக்கு என்று அவனியாள் போத்தந்தாள்
நச்சுமுலை உண்டாய் தாலேலோ! நாராயணா அழேல் தாலேலோ!
“For you, Achchuthaa, Bhooma Devi came and proffered a grand waistband with a bejeweled golden short scimitar (சுரிகை), a fine, gold-laced pitambara vastram, golden bangles, the chutti jewel for adorning your lovely tresses over your forehead, floral anklets for your captivating little feet. Oh! The One who drank the life of Poothanai through her poison-filled breasts! ThaalElO! Oh! Narayana! ThaalElO!”
Why did the Azhwar use the appellation ‘Achchuthaa’ here? Why did Bhoomi Devi surpass everyone else in her bounteous tributes to her Lord and Master, Kannan?
Achchuthaa, according to Sankara Bhashyam for Sahasranamam, would connote – ‘Shadbhaava vihaara rahitatvaat Achyutah – He is free from the six stages of change that ordinary beings are subject to which are birth, existence, growth, change, decay and death. Hence he is called Acyutah’.
Sri Parasara Bhattar points out that He does not ever fall from His position of Lordship unlike Brahma or Indra who are subject to loss of their position. Hence He is called Acyutah.
And He is incarnate here: for what? For delivering Bhooma Devi from the mounting burden of adharma and akrama. She has reason to be extra-considerate in her prayers. And the one she proffers those tributes to is a never changing One and shall not waver a wee bit from his sankalpa to punish the wicked and sustain the sadhus and redress them of their grief, thus providing relief to her.
9. Durga Devi has come, bringing with her fragrant dust to adorn His tender self, also kasturi turmeric powder, collyrium for his wide and all-devouring eyes, and sindhoor for His lovely forehead.
‘வெய்ய கலைப்பாகி’ could denote Durga Devi as she has a stag as her mount
கலை. பாகி is feminine for பாகன் – rider. வெய்ய in this context would denote ‘fierce; an attribute of Durga.
The term could also mean Saraswati; in that altered context, வெய்ய would mean likeable or adorable and கலைப்பாகி would mean one who commands all the learnings (arts and sciences) i.e. Saraswati. Commentators point out that the latter connotation would fit well here, as the Azhwar had brought in Brahma as the first tribute-tendering devotee; and the concluding one should appropriately be his consort.
வஞ்சனையால் வந்த பேய்ச்சி முலை உண்ட
அஞ்சன வண்ணனை ஆய்ச்சி தாலாட்டிய
செஞ்சொல் மறையவர் சேர் புதுவைப் பட்டன் சொல்
எஞ்சாமை வல்லவர்க்கு இல்லை இடர்தானே
Whoever recites, without omissions and with dedication, these verses of Bhattar of Sri Villiputtur, a city abounding with vedhic scholars, verses that retell Yasodha’s mellifluous lullaby’s for Kannan, one who sucked the life of the vengeful and wicked Poothanai along with her poisonous milk, shall never have any travails in this world.