Muthaliandan Ramanuja’s First Disciple

Ramanuja referred to him as his Tridhandam

'Daasarathi' composed 5 verses of praise on his Acharya Ramanuja at Thondanur

பாஷண்ட ஸாகர மகாபடபாமுகாக்நி:

ஸ்ரீரங்கராஜ சரணாம் புஜ மூலதாஸ:   

ஸ்ரீ விஷ்ணுலோக மணி மண்டப மார்க்கதாயீ

ராமாநுஜோ விஜயதே யதிராஜ ராஜ:- Dhaati Panchakam

In this 5^th and last verse, Muthaliandan showers great praise on his Acharya Ramanuja. ‘He is the one who shows us the way to reach the Mani Mandapa at Sri Vaikuntam…….’

Born in Pachai Vaarana Puram (now Nazrath Pettai or simply Pettai) about 30kms from Madras off the Poonamallee- Bangalore NH, Muthaliaandan is considered the first and foremost among the disciples of Ramanuja as well as the Lotus feet of Ramanuja. There is a Pachai Vaarana Perumal temple at his Avathara Sthalam at Pettai ( near Poonamallee).

Muthaliandan Avatharam

Anantha Narayana Deekshithar belonged to Pachai Vaarana Nagar. Not blessed with a child for a long time, he decided to invoke the blessings of Lord Srinivasa at Tirupathi and went along with his wife Kothambika (Ramanuja’s eldest sister). On the way he stopped over at Thirumazhisai and stayed back the night there. Rama appeared in his dreams and promised to bless him with a child. Later he had darshan of Pachai Vaarana Perumal on Panguni Uthiram. Muthaliandan was born on Chitrai Punarvasu in 1027 AD and was named by his parents as Dasarathi. He went on to become the first and foremost among Ramanuja’s disciples. Hence he was called Muthali Andan.

Alavanthar was in his final days and wanted to crown Ramanuja as his successor at Srirangam. Accordingly Thiruvaranga Perumal Araiyar came to Kanchi and presented Prabhandham verses there. Pleased with his presentation, Lord Devapiran blessed him with Parivattam but Araiyar asked him to grant him a wish. And the Lord agreed. Araiyar asked for Ramanuja to be taken back along with him.

Periya Nambi welcomed Ramanuja and Muthaliandan on the northern banks of Cauvery and brought them to the temple. Ramanuja was asked to take care of all the activities at the temple and Periya Nambi crowned him as Udayavar (the fitting one).

At an appropriate time, Periya Nambi informed Ramanuja about Alavanthar’s Rahasya Grantha and wanted him to be initiated into this at Thiru Koshtiyur .On the 18^th occasion, Thiru Koshtiyur Nambi asked him to come alone with his Dhandam and Pavitram.

Muthaliandan is my Dhandam

When Thiru Koshtiyur Nambi questioned his presence with two others, Muthaliandan and Koorathazhvaan (though he had asked him to come only with Dhandam and Pavitram), Ramanuja replied that they were his Dhandam and Pavitram much to the delight of Koshtiyur Nambi.

After being initiated with Thiru Manthiram and its meaning, Ramanuja secured permission to share it with Koorathazhvaan (after one year of his service). Learning about this, Muthaliandan too wanted to be initiated with this but was re-directed by Ramanuja to Koshtiyur Nambi.

After staying there for 6months he failed to get initiated and was once again directed to Ramanuja. He returned to Srirangam and served at the feet of Ramanuja and was finally initiated with the knowledge.

During the period of his stay at Srirangam, he was a beacon of support to Ramanuja and it was with his support that Ramanuja would go for bath to the Cauvery every day.

His Different Names

He was Daasarathi to his parents.  Nam Vadhoola Desikan was a name presented to him by Lord Rangantha himself. Ramanuja crowned him as Aandan and till the very end he was Ramanuja’s TriDhandam. 

Servant Maid of Athuzhai

One day Athuzhai came to her father Periya Nambi and presented a problem. She had asked her mother in law to accompany her to the bathing ghat at Cauvery but was told to find another one for this service.  Periya Nambi suggested to her that only her Acharya had the power to instruct her on this front. When she came to Ramanuja and asked for service help, the acharya called for his foremost disciple and directed him to be her maid servant. And he instantly agreed. Such was the greatness of Muthaliandan that he without a blink of an eyelid accepted the orders of his master even though it meant being a servant ( Seethana Vellati) to a young girl and undertaking the role typically performed by women.

Chief Administrator of the Srirangam Temple

When Ramanuja went along with Koorathazhvaan on a long pilgrimage, he was so confident of the administrative abilities of Muthaliandan that he assigned him to take care of all the service activities at Srirangam. Muthaliandan and Embar hugged each other for the successful 10 day Brahmotsavam and for safely bringing back the Lord to his sanctum at the end of the festival.

Thiru Arathanam at Thondanur

Ramanuja along with Muthaliandan went to Thondanur which was also completely inhabited by Saivites (like it was in Srirangam under the then Chozha rule). There seemed to be many slaves there. Ramanuja directed Muthaliandan to place his feet at the sacred lake and the next day much to everyone’s surprise all the Saivites had become cordial. In recognition of this achievement, Ramanuja directed daily Thiru Arathanam for Muthaliandan at this place. The place turned to Sri Paatha Theertham.

 Dhaati Panchakam

When the health problems of Thondanu king’s daughter was instantly solved by Ramanuja, the king became his disciple. Angered at this, tens of thousands of Saivite followers challenged Ramanuja to a war of words (much like Thiru Gnana Sambanthar’s followers invited Thiru Mangai Mannan at Seerkazhi). Ramanuja chose this moment to display thousand of his hoods (Adisesha) and answered each question posed by them and won them over to his side. Delighted at this victory and having had darshan of Adisesha, Muthaliandan composed 5 songs in praise of Ramanuja referred to as Dhaati Panchakam.

 யச் சக்ரே பக்த நகரே தாட்டி பஞ்சக முத்தமம் ராமானுஜார்யா ஸச்சாத்ரம் வந்தே தாஸரதிம் குரும் (We salute the one (Muthaliandan) who composed that gem Dhaati Panchakam at Thondanur (BhaktaNagar). He is a great disciple of Ramanuja).

When news came from Srirangam that Periya Nambi had passed away and Koorathazhvaan had lost his eyes and that it was time for him to return to Srirangam, he directed Muthaliandan to instal Pancha Narayana Idols at Talakkad, Thondanur, Katak, Mithuna Saligrama and Belur.

Muthaliandan’s son was named by Ramanuja as Ilayavan (later referred to as Kanthadai Andan).

Muthaliandan’s Disciple

Muthaliandan once angered at his disciple Nambi Thiruvazhuthi Valanadu Dasar kicked him. He spent the whole night at the portico of Muthaliandan’s house. When Muthaliandan enquired the next day, he said even a dog if given food for just a day does not leave us. I cannot become less loyal than a dog by leaving you.

Thaligai presentation for Thiruthangal Appan during 5 Garuda Sevai

Once in Malli village, where Muthalianda stayed to have darshan of the 5 Garuda Seva at Srivilliputhur, a vaishnavite came asking for food. By the time Muthaliandan returned he only found thiruthangal appan in front of his house in a palanquin. To this day, Muthaliandan presents food to Lord Thiruthangal appan as part of this 5 Garuda Seva Utsavam.

Muthaliandan passed away in 1132 at the age of 105.

The Post Muthaliandan Period

After Muthaliandan, Ramanuja assigned his son Kanthadai Azhvan for temple service activities. It was he who installed Ramanuja’s idol both at Sriperambudur and at Srirangam.

Lokacharya

During Nampillai’s time, Muthaliandan’s grandson Kanthadai Thozappar too lived. With Nampillai getting all the attention, Kanthadai Thozhappar shouted at Nampillai in public during a Ghosti in an effort to embarrass him. Saddened by his emotional outburst, Kanthadai Thozhappar along with his wife decided to go that evening and apologise to Nampillai. As they opened the door to leave the house, they found Nampillai in front of them and he instantly fell at the feet of Kanthadai Thozhappar much to his shock for it was he who was the offender. However, Nampillai opined that it was unbecoming of him to have caused anger to the grandson of Muthaliandan in the sannidhi of Periya Perumal.

Delighted at this reply, Kanthadai Thozhappar crowned him as Lokacharaya, an acharya for the entire world.

Kanthadai Thozhappar’s elder son Periya Varadachariyar performed service at Kanchipuram while his younger son Chinna Varadachariyar received the title of Thirumazhisai Kanthadayar and he stayed in Thirumazhisai and performed service.  Later the chozha king brought back the 3^rd son, Eeyan Ramanuja to Srirangam to perform daily services to the Lord.

Padalathri Singa Perumal Koil

In recent times, it was Annavilappar (Venkatachariar) who identified the Padalathri Narasimha at Singa Perumal Koil, which was a forest and installed the Vimana and Mandapas there.  His son Azhagiya Singar (KKVA Kumar Ramanujacharya Swami) is the current Acharya of the Muthaliandan clan. 

He resides in the Thirumaligai at Singaperumal Koil.

Pachai Vaarana Perumal Temple @ his Avathara Sthalam

When Yudistira’s Rajasuya Yagna was disrupted by Asuras, Lord Vishnu came on a Green Elephant and killed the Asuras. This place was referred to in centuries gone by as Haritha Vaarana Puram and Purusha Mangala Kshetram. As part of the Avathara Utsavam in Chitrai, Muthaliandan gets Parivattam, Garland and Silk Robe from his Acharya Udayavar at Sriperambudur.

Quick Facts

Moolavar: Pachai Varana Perumal

Thaayar  : Amrutha Valli Thaayar ( Separate Sannidhi)

Time       : 7am-1030am and 430pm-730pm

Contact   : Arun Bhattar @ 95001 81134  

Festivals

10 day Brahmotsavam in Panguni

10 day Avathara Utsavam in Chitrai

How to reach Pettai

From Poonamallee, Nazrath Pettai is 1km South West, off the Madras- Bangalore National Highway.

 Take a left at the Signal immediately after Poonamallee flyover.

Bus Numbers 53K, 54E, 54F to Nazrath Pettai.

Auto from Bangalore NH (main road) at Nazrath Pettai will cost Rs. 30/-

Paripatal Krishna Balarama

In the first Paripatal on Vishnu comprising of 80 lines, the unnamed author showers praise on both Lord Krishna and Balarama and starts off with a comparison of the two of them.

He describes the Lord’s location and his posture.  Reclining on the venomous 1000 hooded serpent, the Lord has the support of Goddess Lakshmi who eternally resides on his chest (ஆயிரம் விரித்த வணங்க்குடை யருந்தலை………. மாயுடை மலர் மார்பின் மையில்வால் வளைமேனிச்).

Lord’s Chest – Both Soft and Mighty

His chest is presented as being flowery (மாவுடை மலர் மார்பில்), a connotation to his soft nature of protecting his true devotees. Towards the end of the poem, the author praises Thirumaal’s chest as mighty and massive (எண்  இறந்த புகழவை எழில் மார்பினவை ) giving us an indication that he can be both soft and tough depending on the kind of devotion shown.

Compares different aspects - Thirumaal and his elder Brother

Balarama the white complexioned with an elephant flag, a destructive plough and an ear ring

Krishna the dark sapphire hued with a garuda flag and conch and discus

He then moves on to his brother Balarama who is described as having a white complexion and compares him to the white conch from the sea.  The flag atop Balarama’s elephant is seen fluttering adding beauty to the elephant!!!He praises Baladeva as a peerless warrior who carries along with him the curved plough that everyone dreads. And he is seen with a beautiful ear ring (சேயுயர் பணைமிசை எழில்வேழ மேந்திய).

And then the poet comes back to Thirumaal. Contrasted with Balarama, Thirumaal is described as one with a dark complexion. His eyes are bright and the poet compares it to the blooming of a lotus petal. Lord is always seen with the Kaustupa Gem on his chest where Goddess Lakshmi resides . His Jewels are praised as providing positive energy and there is a radiant shine about them (கடறரு  மணியொடும் முத்து யாத்த தேரணி).

While Balarama is seen with elephant flag, Thirumaal is seen with the Garuda flag.

Brahmins are forever chanting the four Vedas seeking him. He praises the Lord as being flawless to whom every sincere devotee bows seeking his blessing. The poet goes on to describe the great strength of Thirumaal. He defeated those with arrogance with effortless ease. He is praised as the Lord of Manmata and Brahmma (இருவர் தாதை).

12 lines describing him as ‘The Supreme One’

அறனும் ஆர்வலர்க்கு அருளும் நீ

மரணம் மற்றலற்கு அணங்கும் நீ

திங்களும் தெரு கதிர்க் கனலியும் நீ

மைந்துடை ஒருவனும் மடங்களும் நீ 

புலமும் பூவனும் நாற்றமும் நீ

நிலனும் நீடிய இமயமும் நீ

There are 12 lines in the middle that all end with the word ‘Nee’. Through this the poet emphasises the fact that everything in this world is because of him. He is the creator, the four Faced one, the five Faced one, the Moon, the Sun, the God of Death and the Victorious Cloud.

It is nigh impossible to get know about the full prowess of his powers for even the greatest of the seers who possess all the wisdom in the world. Such is his indomitable power (மருள் அறு தேர்ச்சி முனைவர்க்கும் அரிதே). He is incomparable and we do not have the wherewithal to define him. And yet poets like him still strive to describe him as best as they can.

The poet author pleads with Thirumaal to not discard his prayers as trivial and frivolous and asks him to shower his blessings on the devotees (பெருமையின் வல்லா யாம் இவன் மொழிபவை………..நீ அருளல் வேண்டும்).

 He then praises Thirumaal as one who does not let go of his true devotees and always takes care of them. And through his grace, even the weak regain their strength of mind.  Just the mention of his name is enough to create terror in the minds of the foes.

Both Sun and Moon are required

The unknown poet describes Thirumaal as the moon that provides light to the entire universe through the night. In the next line, he refers to the Lord as the Sun whose shining rays provide brightness to the entire world (அம் கண் வானத்து அணி நிலாத் திகழ்தரும் ........திங்களும் தெரு கதிர்க் கனலியும்).

Thirumaal is Shiva, Yama and Brahmma

He also praises Thirumaal as the five headed Shiva. He goes to say that he is also the God of Death Yama crushing those who are wrong doers in this world 

(ஐந்தலை உயிரிய  வணங்குடை யருந்திறல் மைந்துடை யொருவனு மடங்கலு  நீ……….. புலமும் பூவனு நாற்றமு நீ).

He also praises him as the one with the four faces. He credits Thirumaal as being the source of the Vedas.  As one sees him in the Victory cloud, one gets the feeling that his space is limitless and the Himalaya Mountain is one small part of his creation.

The author praises the Lord as one with the dreaded discus in his right hand and with a conch. He sustains all life in this earth. No one can deliver justice like him.

Conclusion

Having praised his greatness, his Garuda Flag, his conch, his all destructive discus (புள்ளின் கொடியவை புரி வளையினவை), the sapphire gem on his chest, the poet ends the first Paripatal pleading for a little space on his lotus feet so that he and all other true devotees like him can have the opportunity to sing his praise all the time to the maximum joy of their heart (வாய் மொழிப் புலவ நின் தாள் நிழல் தொழுதே).

Paripatal on Vishnu

Paripatal was a pioneering initiative in the religious literary works in Tamil

Great Insights on the Vaigai River and Thiru Maliruncholai and the state of life in Madurai during that period

Lord Vishnu is referred to as Thirumaal / Maal / Maayon in the Paripatal

Paripatal is one of the 8 Anthologies that comprise a separate collection of poems of different lengths dating back to the Sangam Period.

Among these 8, Akanaanooru, Kuruntogai, Narriniai, Kalittogai and Ainkurunooru belong to the Akam category (Love subjects) while Purananooru and Pattirupattu belong to the Puram category (war theme/ guiding musicians to the patronage of kings).

Paripatal stands in a separate class by itself written on ‘Paripatal meter’ and in lofty rhymes with a musical verse whose length ranges from 25lines to almost 400lines. Out of all the Sangam classics Paripatal is the only one that is sung to the accompaniment of Yaazh and Flute and to the measured beat of drums by musicians. Much later, Azhvaars too refer to Yaazh in their Prabhandham but it was originally set to music by Paripatal.

The Paripatal authors may have belonged to a period between 300BC and 200AD though there are many differing opinion on this.  It is likely that Paripatal existed before Tholkappiyar but none of that is traceable. Out of the 70 songs, only 22 have survived the test of time with most getting lost/ becoming irrecoverable with passage of time.  Originally there were 8 songs on Thirumaal, 31 on Murugan, 26 on Vaigai, 1 on Sea Lord and 4 on Madurai.

The flow of Paripatal

Pari refers to a horse and these set of verses were so named as the rhymes sometimes galloped, at other times ambled and sometimes one got the feeling that the verses even leapt like a gambadoes of a Horse where all the feet are up in the air almost as if to jump the Vaigai in one go!!!!

Paripatal was written to be sung to the accompaniment of Yaazh and Flute along with the beating of the drum. These were set to one of the three musical modes – Palaiyaazh, Notiram and Kaantaaram. Each Paripatal has an author, music setter and the melody type (for some, the name of the authors is not traceable). There were 10 Music setters in Paripatal some of whom set to music their own composition. There were others who authored a Paripatal but the music composition was by others.

Currently there are 6 poems that deal with Thirumaal. These constitute the earliest devotional hymns in Tamil Literature. These are broadly based on divine myths and legends. The typical tone of Paripatal was highly emotional and all of these ended with a prayer to God.

Vaigai and its greatness

There are 26 songs based on the greatness of Vaigai River and the festivities surrounding that including the lives of the people of Madurai, religious practices and devotion of the people, sporting activities and games played during the peak periods at Vaigai. There is a lot of reference to Pandya Kings, Lord of the South and Madurai as Capital in different verses of the Paripatal

Parimelazhagar was the first to write a commentary on Paripatal. .

Paripatal’s reference to Lord Balarama!!!!

Very interestingly, Paripatal has a lot of reference to Balarama. Rarely in the Nalayira Divya Prabhandham is there a reference to him. This throws up an interesting point of Balarama being worshiped here in TN during the period Paripatal was written.  Of course over the last many centuries, there is hardly any temple for Balarama. And it is Rama and Krishna to whom most of the temples are dedicated.

  

Pancharatna System and Paripatal

While Vaikanasa is followed pre-dominantly in most temples today, Pancharatna may have been a system of worship in those days for Paripatal makes great reference to that – Paratva, Vibhava, Vyuha, Antaryami and Archavatara.

Six Paripatal - Praise on Vishnu

In the six works on Thirumaal currently available, the names of the author are not available for a couple. Lord Vishnu is referred to as Thirumaal. Sometimes it is just Maal. He is also referred to as Maayon, the dark hued Lord.

The first Paripatal is on Thirumaal. Vishnu is referred to as one who is seen reclining on a serpent with 1000hoods. He is referred to as Sun, Moon, Easwara and Brahmma. Paripatal alone among the 8 anthologies does not have an invocation verse for this first Paripatal on Vishnu is seen as an invocation song.

The second Paripatal authored by Keeran Taiyaar (music setter- Nannaa Kannaar) starts with description of deluges in the Universe and refers to the five elements in the same order as mentioned in the Vedic Texts. In this 2^nd poem, Keeran Taiyaar identifies Thirumaal with Balarama who is seen as an incarnation of Adisesha. There is also reference to Varaha Avatara in the 2^nd poem.

On Garuda Vahana

The third is a beautiful hymn by Kattuvan Ilaveyinnannaar (Music Setter – Pettannaa Kannaar). This is in a form that can be chanted every day as a prayer. Here the Lord’s description is similar to one that is seen in ancient Sanskrit texts.  Lord is praised as one who provides Moksham and that all celestial beings are Thirumaal’s creation.  A reference is made to Garuda, Lord’s mount.   Lord’s Vamana Avatara is described here. There is also mention of Krishna’s achievements here.  The third poem is characterised by its brevity but every phrase has deep meaning attached to it. The poet calls Maal as a Lord of eternity and as the virtue of all things in creation. He is the heat in fire, fragrance in flowers, radiance of gems, essence of Vedas and so on. This third poem also provides an interesting note on the use of numbers to describe Thirumaal

Towards the end of the poem, one sees a lot of passionate fervour, brevity of expression and rich allusiveness. There is reference to various personalities of Lord and his appearance and exploits. In the end, the poet invokes the Lord’s blessings to keep the world safe.

Who is a True Devotee

In the fourth poem by the same author, he starts with a description of the true devotees of the Lord. He says that they envision God in their minds by purifying and controlling their senses, making them free from delusion of any kind. Parimelazhagar calls this cleansing of mind as Chitta Parikrama. He ends the fourth poem by concluding that God has no friends or foes and is above human limitations. He says that God is the sole refuge and protector of all.

In a short poem by Nallellunniyaar, there is a beautiful description of the Lord, his flag and discus, his form, ornaments, garments and his weapon. He calls Vishnu as the all pervasive Lord and states that the Lord is not only the origin and source of all creation but is also the essence of virtues.

On Thiru Maaliruncholai

In a poem by Illamperuvallutiyaar ( Music: Maruttvuan Nallachutanaar), the poet refers to the hills of Thiru Maalirunkunram, where he says one finds Lord Kannan and his elder brother Balarama. Despite having different complexions, both seem inseparable. He also refers to Silamparu, peacocks and cuckoos (also praised by Thiru Mangai Azhvaar and Periyazhvaar in their verses on Thiru Maalirun Cholai in the Nalayira Divya Prabhandham).

Reference to a town near Madurai

The last poem again by an unnamed author has an easy style of presentation with a poetic grace to it. This is directed at the Lord of Iruntaiyoor (a place on the outskirts of Madurai) who is stated to be in a seated posture. In this poem the Lord is described as being bright and beautiful. The entire place is described beautifully giving us great insights into what it was during that period almost 2000years ago. There is also a mention of an exclusive temple for Adisesha near Madurai.

Conclusion

From a literary works point of view, Paripatal is a significant milestone in the history of the development of Vaishnavism. The significance of Paripatal authors is that they were ahead of the Azhvaars. In that sense, they were pioneers of religious literature in Tamil. They clearly began the Bhakti cult much before both Azhvaars and Nayanmars who then carried forward the legacy of Paripatal authors and took it to the next level of Bhakti.

While Rama and Krishna avataras are dominant in Nalayira Divya Prabhandham, Krishna finds only a few references in Paripatal. There is absolutely no reference to Rama at all. It is Balarama who gets praised in Paripatal. Hence there may have been a great following for Balarama preceding the period of the Azhvaars. There are also brief mentions of Varaha, Vamana and Narasimha Avataras in the Paripatal.

From the Paripatal, it is clear that people were truly religious during that period. They were devoted to God. It does not seem that there were any religious fights during that period unlike the period of the Azhvaars and Acharyas. Worship of the Supreme Lord in his various forms was almost universal in the Sangam days.

(Each of the Paripatal on Lord Vishnu will be seen as part of this series….Follows shortly) 

Krishna grazing cows

எல்லே பாவமே – Yashodha regrets her ‘Sinful Act’ of sending Krishna to the forest to graze the Cows

In the initial days he went from house to house and enjoyed himself. He would smear turmeric all over his body and then make his way to the sea shore and smash the sandcastle of young Gopis and enjoy their tears. At other times, he would roam the streets with beautiful girls and they would be all over him. He offered his red lips to the girls like Kovai fruit but she did not want him to hold their hair and wander around.

The residents of Gokulam came together to spread the word that this new wonder kid wanders around the town doing wrongful acts.

He is handsome but at the same time difficult to understand. He roamed around teasing girls who came home complaining. She says she sent him to graze calves to avoid his mischievous acts and to avoid women who uttered negative words.

Very early in the morning she woke him up that day gave him a quick bath and then despatched him to the forest to graze the cows (பொன்னடி நோவப் புலரியே).

But later during the day, like a true loving mother, she began to regret her hasty act. She began to visualise how her son would be spending his day. And then she realised what a decision she had taken trusting the words of her neighbours.

Periyazhvar describes beautifully the loving and caring thoughts of a mother as each hour in the day passes by.

Will his legs hurt?

In the first half of the day, she starts off cribbing about the fact that his tender feet will be hurting in the hot Sun. It was with these legs that he killed Kamsa. Will those same legs not be paining now? She calls herself a sinner for having sent him thus (கஞ்சனைக் காய்ந்த கழலடி நோவக் கன்றின் பின் என் செய்ப் பிள்ளையைப் போக்கினேன் எல்லே பாவமே).

Why didn’t I give him the Umbrella and Sandals?

She says she had gone inside to get some protective gear for him but before she could be back, he had left. She He neither has an umbrella nor sandals to wear and it is terribly hot in the forest that has sharp broken rocks (குடையும் செருப்பும் கொடாதே....உடையும் கடியன ஊன்று வெம் பர ற்கள் உடை கடிய வெங்காளிடைக் காலடி நோவக்.....).

How will he face the wild elephants?

Yashodha regrets the wicked thing of sending him to the forest to graze calves. Suddenly she started seeing the positives in him. He enjoyed gulping butter from homes. And like a wicked mother, ‘I sent him to the forest amidst wild elephants.’ (கடிரு பல திரி கான் அதறிடைக் கன்றின் பின் இடற என் பிள்ளையைப் போக்கினேன்)

Will the hunters hit out at the Calves?

The herd of cows would be raising dust along the way that would be falling on his eyes. And as they progress further, they are likely to be entering the territory of hunters. She regrets having sent the heavenly God to such a place just to avoid him wandering with the Gopis (எவ்வும் சிலை உடை வேடர் கானிடை கன்றின் பின் தெய்வத் தலைவனைப் போக்கினேன்).

What will happen to his Sweet Voice?

He is shouting at the top of the voice running behind the cows like a typical cowherd would. And she says his voice can be heard reverberating against the tall mountains (கன்மணி நின்று அதிர்கான்).

The forests are such a dry place that even cactus plants seem to go dry there, such is the hot weather during this period. And she considers it a deadly sin to have sent him to such a place (கள்ளியுணங்கு வெங்கான்).

Krishna Gopis Complain

Krishna loved playing with the Gopis - this time he steals their clothes and bangles

First it was his neighbours and now in this last decad of the 2nd Canto, it was time for the young beautiful Gopis to levy their charges against Krishna.

The girls say that they were enjoying themselves playing in the sand. Everything was fine till the time he came. He started throwing sand on them and in a flash ran away with their bangles and sarees (ஆற்றில் இருந்து விளையாடு வோங்களைச் சேற்றால் எறிந்து வளை  துகில் கைக் கொண்டு).

It seemed to them that he was running faster than the wind and he just vanished into his house before they could even make any attempt to recover their belongings (காற்றின் கடியனாய் ஓடி அகம் புக்கு)

Despite their repeated calls, he does not come out. He knows what we are going through but he refuses to oblige.

The day is coming to an end and they wonder as to what would happen to their bangles and how could they return home without these. And what answer would they have to their family members on the missing jewellery.

Climbs the Tree and laughs at the Gopis

With his ear pendants and his chain on the neck hanging low, Gods and men from all the eight quarters bend low and worship him. After taking the Gopis’ sarees, he climbed the Kurundu trees and refused to return. We plead before him but he sits up there and enjoys our despondent state through the day.(வண்டு அமர் பூங்குழலார் துகில் கைக் கொண்டு விண்  தோய்  மரத்தானால் இன்று முற்றும் வேண்டவும் தாரானால் இன்று முற்றும்)

Beaten up earlier for stealing- What will happen now

He had previously been caught red handed for stealing butter and curd and was tied with a rope and beaten up. He wept in pain. But what about the things he grabbed from them this time. They were wondering as to how he will be punished this time around and for that to happen someone would have to get hold of him first.

The girls saw him as a wonder kid. They related his Trivikrama Avatara, his killing of Putana, his Gajendra Moksham episode and his avatara as a Boar. They praised his all other actions but question the location of their belongings.

They praise him for taking on Indra by providing cover as the Govardhana Mountain, killing Dhenukasura by flinging him into the tree as well as killing Kaliya and then dancing atop him.

The Gopis appreciate his many valorous acts but they do not like it when he comes and takes away their belongings and refuses to return those to them.