Episode 01 - Pillaiththamizh - Toddling Phase.

தளர்னடைப் பருவம் – TODDLING PHASE

As this follows the சப்பாணிப் பருவம் – ChappaaNip Paruvam which we discussed in the last selection, this should fit in with the ninth and tenth months of the baby’s growth and development – when it begins to stand up and take those bewitchingly captivating ‘baby steps’ – ‘toddling’.

This phase is not found in the ten phases prescribed in the Tholkappiyam format for PiLLaiththamizh, but Periyazhwar would not miss it.

Let us visualize – a scene that none of us might have missed – a baby, male or female, well-endowed physically, begin to take those unsteady steps and the mother – or aunt or any elder – sitting at a ‘manageable distance from the baby, goad it to make to the awaiting arms. The baby does that and gleams with the first emotions of winning. And gets a loving hug and a kiss as the prize.  This little most fascinating race of the baby is verbalized enticingly - வந்தானோ, வந்தானோ, வந்தானோ. (For babies the gendered endearments are often interchangeable, aren’t they?)

If the mother’s caress in the initial months have a deep imprint on the personality of the baby as child psychology would assert, this drama of the mother – or elder – encouraging the baby to take on the challenge and win it – would seem to make its attitude of ‘will do’ later in life as well.

Let us see how Periyazhwar presents this captivating phase of this divine baby, Kannan:

தொடர் சங்கிலிகை சலார்-பிலார் என்னத்

      தூங்கு பொன்மணி ஒலிப்பப்

படு மும்மதப் புனல் சோர வாரணம்

      பைய நின்று ஊர்வது போல்

உடன் கூடிக் கிண்கிணி ஆரவாரிப்ப

      உடை மணி பறை கறங்க

தடந் தாளிணை கொண்டு சார்ங்கபாணி

      தளர்நடை நடவானோ           

The Azhwar presents a scintillating allegory here –

Rutting elephants could get wild any moment. Therefore, they are secured with iron chains in their legs in order that they cannot run wild. The elephant is thus forced to pace its walk within the span that the chaining would admit. As it thus makes those constricted small steps, the chains and the other elaborate ornaments and the proverbial bell that it always carries, make a very absorbing set of musical notes – measured, metered, cacophony - சலார்-பிலார் என. Now, little Kannan is not chained, but his steps are as unsteady and short as those of the elephants because he has just found that feat in him. As he thus walks, toddles, the elaborate necklaces of gold and gems that sway on his baby chest, the ornaments and tiny bells on his waist-band (அரைஞாண்) and the anklets on his legs all make that rapturous musical ensemble – little Kannan takes those ‘baby steps’ – toddles: தடந் தாளிணை கொண்டு சார்ங்கபாணி தளர்நடை நடவானோ   - Azhwar uses the appellation   சார்ங்கபாணி – the presiding deity of Kumbakonam Sarngapani Temple.

Let us ponder this seemingly outlandish metaphor that Periyazhwar finds for matching with baby Kannan trying to take his first toddler steps.  One is a mighty beast, whose unpredictable energies are sought to be fettered by the chains on his legs. The other is a universally captivating little child. Where is the allegory? What the Azhwar conveys, methinks, is this: Kannan is that Almighty Himself. He is AkaaraNa Anukoolyan, AkaaraNa Vatsalan, whose Graces are conferred for no particular reason or expectation or motivation and whose deeds do not get defined or confined by anything that any mind could conjure. He is here, as a child, roughing it out with the innocent, ignorant, simple shepherd folk. What binds Him to these unsuspecting bhagavatas? What chains Him to their relating with Him in their rough and tumble simplicity and ignorance? It is, I would say, their AkaaraNa Bhakti, Akaaraa Vaatsalyam for Him.  They al love Him, adore him and celebrate Him – for no apparent reason other than His magnetic charm. He is chained, fettered, bound – by that Bhakti – distilled of any return or consideration or reason – of these very simple, rustic and innocent shepherds. The shepherds outdo the Paramatma here, as it were.

செக்கரிடை நுனிக்கொம்பிற் தோன்றும்

      சிறுபிறை முளைப் போல

நக்க செந் துவர்வாய்த் திண்ணை மீதே

      நளிர் வெண்பல் முளை இலக

அக்குவடம் உடுத்து ஆமைத்தாலி

      பூண்ட அனந்தசயனன்

தக்க மா மணிவண்ணன் வாசுதேவன்

      தளர்நடை நடவானோ  

செக்கரிடை நுனிக்கொம்பிற் தோன்றும்  சிறுபிறை முளைப் போல – The Azhwar presents a portrait here – The western skyline is bathed in crimson. And, the crescent, cool, silvery moon appearing in this riot of colour, shows up as it is topping the tallest branch of a tree in the horizon set in that scene.  And – matches that with Kannan’s red lips and mouth – the baby keeps the mouth open with the exertion, excitement and joy of what he is about to achieve - with the just forming tooth or two. நுனிக்கொம்பு – the tallest branch of the tree? In the picture perspective, it should fit in with the dark-complexioned face of Kannan.

கன்னற் குடம் திறந்தால் ஒத்து ஊறிக்

      கணகண சிரித்து உவந்து

முன் வந்து நின்று முத்தம் தரும் என்

      முகில்வண்ணன் திருமார்வன்

தன்னைப் பெற்றேற்குத் தன்வாய் அமுதம்

      தந்து என்னைத் தளிர்ப்பிக்கின்றான்

தன் எற்று மாற்றலர் தலைகள் மீதே

      தளர்நடை நடவானோ

Kannan comes into my arms, toddling, with his drool flowing like a pitcher of cane juice is toppled, laughing and with his endearing love and intent, he kisses me. This one, the one with the complexion of a rain-cloud, the one who has Sri Maha Lakshmi on his chest, the one who would walk on the subjugated heads of all his adversaries, He is rejuvenating me, his mother, with the nectar flowing from his little mouth.

தன்னைப் பெற்றேற்குத் தன்வாய் அமுதம்

      தந்து என்னைத் தளிர்ப்பிக்கின்றான்

The baby is nourishing the mother! With the nectar from his little mouth! தளிர்ப்பிக்கின்றான் – rejuvenating is a poor translation. The mother Yasodha is infused with infinite flow of energy, love and motherly bonding with the love that this divine child confers on her.

ஒரு காலிற் சங்கு ஒரு காலிற் சக்கரம்

      உள்ளடி பொறித்து அமைந்த

இரு காலுங் கொண்டு அங்கு அங்கு எழுதினாற்போல்

      இலச்சினை பட நடந்து

பெருகாநின்ற இன்ப-வெள்ளத்தின்மேல்

      பின்னையும் பெய்து பெய்து

தரு கார்க் கடல்வண்ணன் காமர் தாதை

      தளர்நடை நடவானோ

Kannan, Sri Maha Vishnu incarnate, has on the sole of his feet imprints of Sudarsana and Panchajanya – Sankhu and Chakra. And as he toddles, those are imprinted along with his foot-marks, as if these were portraited. பெருகாநின்ற இன்ப-வெள்ளத்தின்மேல் பின்னையும் பெய்து பெய்து – He showers love, over and over, on Yasodha the mother, who is already overwhelmed in the flood of Kannan’s love. தரு கார்க் கடல்வண்ணன்– Kannan is of the complexion of the seas; the seas are dark with the density of cool moisture. The complexion goes with the cool moisture that drenches those who seek His love. காமர் தாதை – Manmatha’s Father. He is of course of the Universal Father. Here Manmatha reference is to denote Pradhyumnan, son of Sri Krishna and Rukmini, a son who is regarded as an ‘amsam’ – aspect – of Manmatha, the God of Love.

The Azhwar invokes here, through Yasodha, what we could describe as an ‘inverted event’. Yasodha was nowhere in the picture when Pradhyumnan was born. But Azhwar makes her  invoke that event here – with Kannan, the nine months old baby! The Azhwar of course is full of all of Sri Krishna’s avatara events but he ascribes those in a context far ahead of those events. We would come across these time and again – e.g. Krishna slaying the wrestlers, the Kuvalaya elephant, subduing Kalinga, lifting Goverdhana, et al.