Pillai Tamil.

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 Lullabies and nursery rhymes are the first introduction to music or songs in human life. Lullabies calm babies and give a secured feel that they are in a safe place. In Tamil is called தாலாட்டு. Lullabies are found in every human culture. தால் means tongue. Usually in 5th month of child, child starts to recognize lullabies. “ஒ ஒ ஒ ஆயி”  என்றெல்லாம் சத்தம் எழுப்பி பாடுவது தாலாட்டு. The Wikipedia definition of Lullaby proves that it is a காரணப்பெயர். The English term lullaby is thought to come from “lu, lu” or “la la” sounds made by mothers or nurses to calm children.

People sing wide range of nursery rhymes to connect with children and enjoy see them play. But do they respond or act as we ask them to do, say complicated rhymes in younger stage? In each stage they do new things. They recognize new styles and take up new habits or actions. If one asks grandmother they would tell to handle the child carefully. “Kozhandhai oda thalai innum nikkala paathu pidichuko”. So to recognize faces, to get what we speak, to clap, to jump, to speak back; the growth is stage by stage.

Tamil Literature has a separate rule describing these actions of a child, stage by stage. It is called பிள்ளைத்தமிழ். பிள்ளைத்தமிழ் is poets singing about their favourite personality, technically பாட்டுடைத்தலைவன்;  can be a deity, a learned person, Saint or a king whom they imagine as a child and sing about their childhood period from 3rd month to 21st month. பிள்ளைத்தமிழ் comprises of 10 phases, sometimes few additional phases are added or left, based on the creative license of the poet. Each phase is spread over 2 months.

It is divided into two. ஆண்பாற் பிள்ளைத்தமிழ், பெண்பாற் பிள்ளைத்தமிழ். Number of songs in each பருவம் or phase is 10. So the total number of songs is 100. Example Kumaraguruparar’s Meenakshi Ammai Pillai thamizh. So the phases are காப்பு, செங்கீரை, தால், சப்பாணி,முத்தம், வருகை or வாரணை, அம்புலி, சிற்றில், சிறுபறை, சிறுதேர்.

A short note on each phase.

1. காப்பு – Praying to lord for the well being, longevity of the child.
2. செங்கீரை – Children are as tender as lettuces. Poems in this phase have a tone of requesting the child to gently shake head.
3. தால் – Lullaby recognising phase. Precisely ‘ங்கு’ sollu phase.
4. சப்பாணி − in the current era corresponds to the day when child responds to the rhymes ‘Clap your hands; clap your hands; listen to the music and clap your hands’ by clapping their tender hands.
5. முத்தம் – the Ummah phase. Requesting the child to give a kiss on cheeks or the one not to be missed the overly sweet flying kiss.
6. வருகை or வாரணை − Mother standing at a distance and telling செல்லமே! தளர் நடையிட்டு வா with hands open to embrace the child.
7. அம்புலி − the famous rhymes “நிலா நிலா ஓடி வா” belongs to this phase.
8. சிற்றில் − building sand castles.
9. சிறுபறை – playing with drum and stick.
10. சிறுதேர் − playing with toys which are tied with chains, easy to pull and run.

For girl child last 3 vary and they are நீராடல், அம்மானை, ஊஞ்சல்.

8. நீராடல் – playing in water
9. அம்மானை − playing with stones.
10. ஊஞ்சல் – swinging.

It is not mandatory to sing on all stages as stated earlier. Sometimes poets can sing on அச்சோப் பருவம், காக்கையை அழைக்கும் பருவம் etc. But very few poets like பெரியாழ்வார் has handled these stages. 

பெரியாழ்வார் also known as Vishnu Chithar (one who constantly meditates on Lord Vishnu) was the one to formulate this பிள்ளைத்தமிழ். He was born on this day – Aani Swathi to Mukuntha Battar and Padumavalli Natchiyar. He is considered as the embodiment of Garuda, the Suparnan. He is called Battar Piran after he won the competition among scholars in the court of Pandya King Vallabadevan. The quest was to find out the path to ‘paramapada’.

Vishnuchittar won the competition by explaining that the path to moksha is by service to Vishnu. He quoted various historic and Vedic reference to prove his point. The king was satisfied and he honored Vishnuchittar by taking him around the streets of Madurai. It is believed that Koodal Azhagar, the presiding deity in the Koodal Azhagar Temple near Madurai witnessed the event with his consort. Periyazhwar was surprised and he immediately composed Thirupallandu, the first twelve verses of Nalayira Divya Prabandam. He has also composed 461 songs on Lord Vishnu called பெரியாழ்வார் திருமொழி.

He is called பெரியாழ்வார் as he mothered the supreme power and cared, bothered on his longevity, his safety from a mother perspective. He assumed himself as Yashodha Maiya and composed poems from her emotional state. The fears of a young mother as the child grows that too a child which constantly faced the onslaughts of Asuras. He has composed songs on each of the phases of பிள்ளைத்தமிழ் on Lord Krishna. This is the first ever பிள்ளைத்தமிழ் reported in the history of Tamil Literature say a research by Tamil scholars.

Though he has mothered the supreme power, he has fathered பிள்ளைத்தமிழ். Reading just few verses of பெரியாழ்வார் gives the feel irrespective of gender

“தந்தைக்கும் தாய் அமுதம் சுறந்ததுமா

என் தங்கத்தை மார்போடு அணைக்கையிலே”.

And research scholars state that பெரியாழ்வார் has played a significant role in inspiring Shri Andal to write on Lord Vishnu. Not only on the core subject but also the language style followed by Shri Andal reveals that she should have been taught Tamil Grammar by her father, பெரியாழ்வார். The proverb “Thaai 8 adi paayindhal kutti 16 adi paayum” has been proved right beyond percentage. Counting days for Aadi Pooram from Aani Swathi.

For most of the rhymes, songs on children in cinema, பிள்ளைத்தமிழ் should have been the reference point. Just a tip of an ice berg from Deep Ocean called பெரியாழ்வார்.

அப்பூச்சி காட்டுதல் என்பது, குழந்தைகள் பயம் காட்டுவதைப் போலக் காட்ட நாம் பயப்படுவது போல வசீகர விளையாட்டு.

“இருட்டில் பிறந்துபோய் ஏழை வல்லாயர்

மருட்டைத் தவிர்ப்பித்து வன்கஞ்சன் மாளப்

புரட்டி அந்நாள் எங்கள் பூம்பட்டுக்கொண்ட

அரட்டன் வந்து அப்பூச்சி காட்டுகின்றான்

அம்மனே அப்பூச்சி காட்டுகின்றான்.” (நா.தி.பி− 121)

− பெரியாழ்வார்

இரவில் பிறந்து ஆயர்களின் பயத்தை நீக்கி, கம்சனைக் கொன்ற மிடுக்குள்ளவன்(அரட்டன்) வந்து பயங் காட்டுகின்றான் அம்மனீர் என்று வியக்கிறார். – சுஜாதா. 

Poetry is an endless ocean. How much ever one reads there is always something that one doesn’t know and one birth isn’t enough. Nalayira Divya Prabandam of Azhwars and verses of Nayanmaars play a significant role in Tamil literature and to be celebrated more so that one can prove Tamil is immortal.

Can’t wish பெரியாழ்வார் happy birthday as he has mothered even the Supreme Being. But can seek his blessings or at least pay tribute to the noble soul.

பெரியாழ்வார் வாழியே! 

பெரியாழ்வாரின் பல்லாண்டு பல கோடி ஆண்டு வாழியே! 

nd

Bhattathiri completed stories about Lord and from this Dasakam onwards, speaks about his glory, philosophy and ways to reach him.

From the stories of Vrikasuran, Bhrigu Muni, Mohini avathara and Ambarisha, it is evident that Lord's glory rules over glory of all devas and devathas including Parameshwaran. What is formless and still not any different from the form of Brahma, Vishnu and Shiva is the form of Lord. It can be concluded that amongst the trinities, Lord Narayana/Hari/Krishna has the greatest glory.

Shaivites mention five forms of gods, namely, Brahma, Vishnu, Shivan, Eshwaran, Sadasivam and say that Parameshwaran exists as these five forms.In this Sadashivam is one another form of the supreme Lord only. Eshwaran existing in vaikuntam is also the Lord Hari only. Lord exists in Brahmaloka in the form of Brahma, Shivaloka in the form of Shiva and Vaikunta in the form of Vishnu.

In trinities, the one who has maximum sattvic qualities, is mentioned as Vishnu, one who possess sattvic qualities but have more rajasic qualities is called as Brahma and the one who has more sattvic qualities but actions of tamasic qualities is called as Shankaran. Transcending the trinity, Lord is considered Supreme and is the essence of all. Shaivas consider Parameshwaran as the one form of Lord and there are enough proofs in support of this truth.

Bhagavatpada Shri Adi Shankaracharya who is considered as Shiva avathar, has respected and honoured Supreme Lord's form, the most. He never favoured one deity. He has written commentaries on sahasranama, Bhagavad Geetha and has said in them, that it all denotes Lord Narayana/Hari /Krishna only. He wrote works depicting Lord and sung his praises and attained moksha at the end. In this explanation about Manthra Sastras, Shri Adi Shankaracharya has mentioned Lord as supreme over the Trinity - Brahma, Vishnu and Shiva. He has described Lord Narayana/Hari/Krishna as one appearing similar to a beautiful blue lily and one who is Lord of the universe, the Lord of all. When describing about Pranava, he has mentioned about Nishkala meditation on the Lord's supreme form only and not about forms of other deities.

In Purana sangraha, which summarizes all puranas, only Lord's glory has been discussed and explained. It is mentioned that Satyaloka where the trinities exist is bigger and glorious than the three worlds. Above Satyaloka is the Vaikunta, where Lord Narayana/Hari/Krishna exists and it is more glorious and transcending than Satyaloka. There are no reference to the abode of Shiva. The present Brahma Kalpa, in its beginning, Lord revealed his cosmic form to Brahma as mentioned in Second skandam of Srimad Bhagavatam.  Sri Madhvacharya who was devotee of Shiva has mentioned in his puranasara, this form of Lord revealed to Brahma only as Lord Vishnu, Shiva.

People who by their instinct in previous births are devoted to Shiva and for such people, the liberation come through firm devotion to Shiva. While encouraging and motivating such persons, Sage Vyasa in Puranas like Skanda, has spoken about glory of Shiva more that of Lord. Arthavadam is classified in to Bhoodarthavadam, Anuvadam, Vritta Arthavadam. Talking about how their God protected his devotees from bad elements it is called Bhoodaarthavadham. Talking the glory of their respective god and mentioning that it is the fortune of that particular individual to have the desire to worship that god, is Anuvadam.Talking about the negatives of the other gods to highlight the supremacy of their favourite deity is Vritta arthavadam. This is also to increase the devotion towards the favourite deity for that individual. Sage Vyasa has mentioned in skanda puranas that Vishnu possess more of thamo Gunas, have got advice from Shiva. This was to increase the devotion of the worshippers of Shiva and not to be considered as something where Lord's glory is spoken less.

Bhattathiri mentioned at this context, that he is ignorant and what little he tried to say above, were the ones, which have been explained well in Manthra Sashtras. Amongst various puranas scripted by Sage Vyasa, the most significant one is Bhagavata purana, in which he spoke glory of Lord Krishna. Bhattathiri worshipped that Lord to remove all his miseries and requested to make him more devoted to him. Guruvayoorappan from sanctum immediately nodded his head in approval.

Lyrics of Dasakam 90

वृक भृगु मुनि मोहिन् अम्बरीषादि वृत्तेषु
अयि तव हि महत्त्वं सर्व शर्वादि जैत्रम् ।
स्थितमिह परमात्मन् निष्कलार्वागभिन्नं
किमपि यदवभातं तद्धि रूपं तवैव ॥१॥

vR^ika bhR^igu muni mOhini ambariiShaadi vR^itteShu
ayi tava hi mahattvaM sarva sharvaadi jaitram |
sthitamiha paramaatman niShkalaarvaagabhinnaM
kimapi tadavabhaataM taddhi ruupaM tavaiva || 1 ||

मूर्ति त्रयेश्वर सदाशिव पञ्चकं यत्
प्राहु: परात्म वपुरेव सदाशिवोऽस्मिन् ।
तत्रेश्वरस्तु स विकुण्ठ पदस्त्वमेव
त्रित्वं पुनर्भजसि सत्य पदे त्रिभागे ॥२॥

muurti trayeshvara sadaashiva pa~nchakaM yat
praahu: paraatma vapureva sadaashivO(a)smin |
tatreshvarastu sa vikuNTha padastvameva
tritvaM punarbhajasi satya pade tribhaage || 2 ||

तत्रापि सात्त्विकतनुं तव विष्णुमाहु:
धाता तु सत्त्व विरलो रजसैव पूर्ण: ।
सत्त्वोत्कट त्वमपि चास्ति तमोविकार-
चेष्टादिकम् च तव शङ्कर नाम्नि मूर्तौ ॥३॥

tatraapi saattvikatanuM tava viShNumaahu:
dhaataa tu sattva viralO rajasaiva puurNa: |
sattvOtkaTatvamapi chaasti tamOvikaara-
cheShTaadikaM cha tava shankara naamni muurtau || 3 ||

तं च त्रिमूर्त्यतिगतं परपूरुषं त्वां
शर्वात्मनापि खलु सर्वमयत्व हेतो: ।
शंसन्त्युपासन विधौ तदपि स्वतस्तु
त्वत् रूपम् इत्यति दृढं बहु न: प्रमाणम् ॥४॥

taM cha trimuurtyatigataM parapuuruShaM tvaaM
sharvaatmanaa(a)pi khalu sarva mayatva hetO: |
shamsantyupaasana vidhau tadapi svatastu
tvad ruupam ityati dR^iDhaM bahu na: pramaaNam || 4 ||

श्रीशङ्करोऽपि भगवान् सकलेषु तावत्
त्वामेव मानयति यो न हि पक्षपाती ।
त्वन्निष्ठमेव स हि नाम सहस्रकादि
व्याख्यात् भवत्स्तुति परश्च गतिं गतोऽन्ते ॥५॥

shriishankarO(a)pi bhagavaan sakaleShu taavat
tvaameva maanayati yO na hi pakshapaatii |
tvanniShThameva sa hi naama sahasrakaadi
vyaakhyat bhavatstuti parashcha gatiM gatOnte || 5 ||

मूर्ति त्रयातिगम् उवाच च मन्त्रशास्त्र:
आदौ कलायसुषमं सकलेश्वरं त्वाम् ।
ध्यानं च निष्कलम् असौ प्रणवे खलूक्त्वा
त्वामेव तत्र सकलं निजगाद नान्यम् ॥६॥

muurti trayaatigam uvaacha cha mantrashaastra:
aadau kalaayasuShumaM sakaleshvaram tvaam |
dhyaanaM cha niShkalam asau praNave khaluuktvaa
tvaameva tatra sakalaM nijagaada naanyam || 6 ||

समस्त सारे च पुराण सङ्ग्रहे
विसंशयं त्वन्महिमैव वर्ण्यते ।
त्रिमूर्तियुक् सत्यपद त्रिभागत:
परं पदं ते कथितं न शूलिन: ॥७॥

samasta saare cha puraaNa sangrahe
visamshayaM tvanmahimaiva varNyate |
trimuurtiyuk satyapada tribhaagata:
paraM padaM te kathitaM na shuulina: || 7 ||

यत् ब्राह्मकल्प इह भागवत द्वितीय-
स्कन्धोदितं वपु: अनावृतम् ईश धात्रे ।
तस्यैव नाम हरि शर्वमुखं जगाद
श्रीमाधव: शिवपरोऽपि पुराण सारे ॥८॥

yad braahmakalpa iha bhaagavata dvitiiya-
skandhOditaM vapu: anaavR^itam iisha dhaatre |
tasyaiva naama hari sharvamukhaM jagaada
shriimaadhava: shivaparO(a)pi puraaNa saare || 8 ||

ये स्व प्रकृत्यनुगुणा गिरिशं भजन्ते
तेषां फलं हि दृढयैव तदीय भक्त्या।
व्यासो हि तेन कृतवान् अधिकारि हेतो:
स्कन्दादिकेषु तव हानि वचोऽर्थवादै: ॥९॥

ye sva prakR^ityanuguNaa girishaM bhajante
teShaaM phalaM hi dR^iDhayaiva tadiiya bhaktyaa |
vyaasO hi tena kR^itavaanadhikaarihetOH
skaandaadikeShu tava haanivachO(a)rthavaadaiH || 9 ||

भूतार्थ कीर्तिरनुवाद विरुद्धवादौ
त्रेधार्थवाद गतय: खलु रोचनार्था: ।
स्कान्दादिकेषु बहवोऽत्र विरुद्ध वादा:
त्वत् तामसत्व परिभूति उपशिक्षणाद्या: ॥१०॥

bhuutaartha kiirti ranuvaada viruddha vaadau
tredhaa(a)rthavaada: khalu rOchanaarthaa: |
skaandaadikeShu bahavO(a)tra viruddha vaadaa:
tvat taamasatva paribhuuti upashikshaNaadyaa: || 10 ||

यत् किञ्चिदपि अविदुषाऽपि विभो मयोक्तं
तन्मन्त्र शास्त्र वचनाद्यभि दृष्टमेव ।
व्यासोक्ति सारमय भागवतोप गीत
क्लेशान् विधूय कुरु भक्तिभरं परात्मन् ॥११॥

yatki~nchidapi aviduShaa(a)pi vibhO mayOktaM
tanmantra shaastra vachanaadyabhi dR^iShTameva |
vyaasOkti saaramaya bhaagavatOpa giita
kleshaan vidhuuya kuru bhaktibharaM paraatman || 11 ||

 

navatitama-daśakam -- viṣṇumahattvasthāpanam

vṛkabhṛgusunimōhinyambarīṣhādivṛttē\- ṣhvayi tava hi mahattvaṃ sarvaśarvādijaitram| sthitamiha paramātman niṣhkalārvāgabhinnam kimapi yadavabhātaṃ taddhi rūpaṃ tavaiva||1||

mūrtitrayēśvarasadāśivapañchakaṃ yat prāhuḥ parātmavapurēva sadāśivō'smin| tatrēśvarastu sa vikuṇṭhapadastvamēva tritvaṃ punarbhajasi satyapadē tribhāgē||2||

tatrāpi sāttvikatanuṃ tava viṣhṇumāhu- rdhātā tu sattvaviraḷō rajasaiva pūrṇaḥ| satvōtkaṭatvamapi chāsti tamōvikāra\- chēṣhṭādikaṃ cha tava śaṅkaranāmni mūrtau||3||

taṃ cha trimūrtyatigataṃ purapūruṣhaṃ tvām śarvātmanāpi khalu sarvamayatvahētōḥ| śaṃsantyupāsanāvidhau tadapi svatastu tvadrūpamityatidṛḍhaṃ bahu naḥ pramāṇam||4||

śrīśaṅkarō'pi bhagavānsakalēṣhu tāvat tvāmēva mānayati yō na hi pakṣhapātī| tvanniṣhṭhamēva sa hi nāmasahasrakādi vyākhyadbhavatstutiparaścha gatiṃ gatō'ntē||5||

mūrtitrayātigamuvācha cha mantraśāstra- syādau kalāyasuṣhamaṃ sakalēśvaraṃ tvām| dhyānaṃ cha niṣhkaḷamasau praṇavē khalūktvā tvāmēva tatra sakalaṃ nijagāda nānyam||6||

samastasārē cha purāṇasaṅgrahē visaṃśayaṃ tvanmahimaiva varṇyatē| trimūrtiyuksatyapadatribhāgataḥ paraṃ padaṃ tē kathitaṃ na śūlinaḥ||7||

yadbrāhmakalpa iha bhāgavatadvitīya\- skandhōditaṃ vapuranāvṛtamīśa dhātrē| tasyaiva nāma hariśarvamukhaṃ jagāda śrīmādhavaḥ śivaparō'pi purāṇasārē||8||

yē svaprakṛtyanuguṇā giriśaṃ bhajantē tēṣhāṃ phalaṃ hi dṛḍhayaiva tadīyabhaktyā| vyāsō hi tēna kṛtavānadhikārihētōḥ skāndādikēṣhu tava hānivachō'rthavādaiḥ||9||

bhūtārthakīrtiranuvādaviruddhavādau trēdhārthavādagatayaḥ khalu rōchanārthāḥ| skāndādikēṣhu bahavō'tra viruddhavādā- stvattāmasatvaparibhūtyupaśikṣhaṇādyāḥ||10||

yatkiñchidapyaviduṣhāpi vibhō mayōktam tanmantraśāstravachanādyabhidṛṣhṭamēva| vyāsōktisāramayabhāgavatōpagīta klēśānvidhūya kuru bhaktibharaṃ parātman||11||

||iti śrīmannārāyaṇīyē navatitama-daśakaṃ sampūrṇam||