Periyazhvar revels in Symbolic Revelation

கண்டார் உளர்

You missed it, but there were many who were fortunate to witness the Lord's Achievements

The first decad of the fourth canto is a one of a kind decad in the Nalayira Divya Prabhandham. In the first half of the Periyazhvar Thirumozhi, Saint Poet Periyazhvar presented a unique composition referred to as ‘Pillai Tamil’, one that traces the growth of a unique child. The first two cantos were descriptive of celebrations around young child’s birth and the activities during infancy phase.. Each of the child’s activities was described - some making the mother happy but most making the neighbours complain. A large part of the third canto dealt with his  remarkable achievements much beyond his age even during the childhood phase.

In this first decad of the fourth Canto, Periyazhvar revels once again presenting an entire decad of the Lord's achievement in the Rama and Krishna Avatara but he uses the 'Symbolic Revelation' style to showcase these achievements.  Periyazhvar in these verses has used a very interesting way to narrate the story. After describing the greatness of the Lord in the first part of the verse, he concludes each verse by disclosing to the devotees that there were those fortunate enough to have witnessed each of these great achievements of the Lord almost giving out a ‘I missed it’ feeling with these devotees.

Continuing on from where he left off in the 9^th decad of the 3^rd Canto with the Paadi Para verses

 (http://prtraveller.blogspot.in/2015/09/krishna-rama-praising-their-achievements.html), Periyazhvar once again alternates between praising the greatness of Rama and Krishna and ends the decad with the Varaha Avatar.

Praising Two Avataras in two different poetic ways

Rama’s crown, says Periyazhvar, is studded with gems and its shine can be compared with the rays emanating from a thousand Suns.

கதிர் ஆயிரம் இரவி கலந்து எறிந்தால் ஓத்த நீள் முடியன்

எதிரில் பெருமை இராமனை இருக்குமிடம் நாடுதிரேல்

He equates Rama with his previous Avatara and says that those interested in knowing his location, they could probably find it out from the many lucky ones who witnessed the Man-Lion tearing apart Asura Hiranya and had his hands in a stream of red blood.

அதிரும் கழற் பொருதோல் இரணியன் ஆகம் பிளந்து அறியாய்

உதிரம் அளைந்த கையோடு இருந்தானை உள்ளவா கண்டார் உளர்

Thus in the first verse, he provides insights into two different Avataras- one directly by praising Rama and his radiant features. And the next by revealing his features symbolically by taking one back to the Narasimha Avatara.

In the next verse, he directly describes Lord Rama and his physical posture of one having multiple weapons in his armoury. Periyazhvar names each of his five weapons he holds - Nandaka (Sword), Panchajanya (Conch), Kaumodaki (Mace), Saaranga (Bow) and Thiru Chakra (Discus).  

நாந்தகம் சங்கு தண்டு நான் ஒளிச் சார்ங்கம் திருச்சக்கரம்

ஏந்து பெருமை ராமனை இருக்கும் இடம் நாடுதிரேல்

And he goes on to his symbolic revelation of the same Lord.

He says that if anyone is keen to know his abode, they could check out with those who were fortunate to have seen him in his magical act of breaking the ‘Rudra’ bow and thus winning the prized hand of Sita at Janaka’s Court in Mithila. Periyazhvar praises Sita’s hands as being soft and compares it with the bud of red Kantal flowers.

காந்தள் முகிழ் விரல் சீதைக்காகிக் கடுஞ்சிலை சென்று இருக்க

வேந்தர் தலைவன் சனகராசன் தன வேள்வியில் கண்டாருளர்

In a matter of minutes he sent a swift arrow that ran through 7 trees before killing the dreaded Rakshasas Kara and Dhushana. Those that are interested to meet him can check his greatness with those  who have seen him seated alongside the sea shore, while an army of monkeys were helping him build the bridge across the ocean by carrying big boulders on their heads.

தலையால் குரக்கினம் தாங்கிச் சென்று தடவரை கொண்டு அடைப்ப

அலையார் கடற்கரை வீற்றிருந்தானை

அங்குத்தை கண்டார் உளர்

Periyazhvar offers a clue to locate him

If any of the devotees are keen to spot the Lord in the middle of a huge ocean, Periyazhvar says he has a clue to offer. As a child who seemed all innocent he had pierced seven bulls and killed an Asura who had troubled his girl friend Nappinnai. After his act, many found him standing there in perspiration.

In the next verse, he once gives a feeling of missing that great event by disclosing to the readers that those interested in seeing the Lord who Shiva with matter hair and Brahma with 4 heads sing praise of as the one with Lakshmi on his chest, can possibly find his whereabouts from the fortunate few who saw his valorous act of holding his beloved Rukmini by the hand staving off preventive efforts of her brother Rukmi and riding away in his chariot through the army of Rukmi. 

Periyazhvar describes Dwaraka as a place where the waves strike the shore in a soft way. He describes the Lord as one who rules the place seated in his majestic through along with his many beautiful consorts. As seen earlier in the Periyazhvar Thirumozhi, it was he who sucked the poisonous breasts of Putana till she breathed her last. He says there were many who were privileged to see him ascend the throne at Dwaraka and taking care of the loving people.

Periyazhvar once again says that he has a clue on offer to those who are on the lookout for his abode. It was He who stood in front of Arjana’s Chariot that was drawn by white horses and had the distinct symbol of monkey on its flag and conducted the entire Mahabaratha war.

Describing the Dramatic Sunset Event

Periyazhvar stays on with Mahabaratha and says that there were many lucky to witness that dramatic event just around Sun set.

நாழிகை கூறிட்டுக் காத்து நின்ற அரசர்கள் தம் முகப்பே

நாழிகை போகப் படை பொருதவன் தேவகி தன சிறுவன்

It was he, Devaki’s son, who in a fraction of a moment hid the sun thus deceiving Jayadratha who falsely believed that dusk had been reached and that he was now safe.

As Jayadratha basked in glory, the Lord brought back the hidden sun and Arjuna grabbed the opportunity to send out sharp arrows that took the head of Jayadratha.

ஆழி கொண்டு அன்று இரவி மறைப்பச் சயத்திரதன் தலையை

பாழில் உருளப் படை பொருதவன் பக்கமே கண்டார் உளர்

Varaha Avatara

He ends the first decad of the fourth canto praising the Lord, once again in his poetic style disclosing the Lord through a symbolic revelation. He says that those interested in seeking him can ask those who had the rare opportunity of seeing as a Boar, in whose form he swirled through the ocean and brought back Goddess Earth and married her.

Hanuman Sita Proof of Identity

ஓர் அடையாளம் 

Periyazhvar moves away from ‘Pillai Tamil and Krishna' to narrate Ramayana through Hanuman

Hanuman presents ‘Proof of Identity’ and finally succeeds in convincing Sita

This is another exciting set of verses in the Periyazhvar Thirumozhi as Periyazhvar moves away for the first time from the description of Krishna into an interesting episode in the Ramayana. It is also the only decad in the Periyazhvar Thirumozhi where the poet provides an entire set of 10 verses to Hanuman and his presentation.

Periyazhvar narrates through these last set of verses in the third Canto the true devotion of Hanuman and the manner of his presenting his Proof of Identity in an effort to convince Sita at the Ashoka Vana that he indeed is the messenger of Lord Rama.

Begins his narration

The stage was set at Janaka’s court. The great Janaka of Mithila performed a grand Yagna. Rama accompanied Vishwamitra and with his blessings broke the great bow to win Sita’s hand as the prize. When Parasurama, who had vowed to destroy generations of Kshatriyas, marched forward in anger ‘my Lord took his bow and ended his penance’ as well.

Later, in a lonely place at dusk, my Lord presented you with jasmine flowers (எல்லியும் போது இனித்திருத்தல் இருந்த ஓர் இட வகையில் மல்லிகை மாலை கொண்டு அங்கு ஆர்த்ததும் ஓர் அடையாளம்).

To the Forest

Ill advised Kaikeyi remembered her old pending boons and chose the coronation time of my Lord to invoke those boons and the great king had no choice but to grant her wishes. And thus my Lord was banished him to the forest accompanied by his brother Lakshmana and Sita Devi (காடு உறைப்ப போ என்று விடை கொடுப்ப இலக்குமணன் தன்னொடும் அங்க ஏகியது ஓர் அடையாளம்).

And then my Lord befriended that great bow wielder Guha on the banks of the Ganges. And as they moved on to Chitrakoota, there came a surprise visitor - My lord’s brother Bharata. He handed him his Sandals and sent him back.

And at the same location, when a demon disguised as a crow pecked your bosom, my Lord using a sample grass charged with a mantra waved it at the crow that ran helter skelter for life all over the world and finally came and fell at my Lord’s feet for forgiveness, who provided liberation from its sins by removing its one eye.

சித்திர கூடத்து இருப்பச் சிறு காக்கை

முளை தீண்ட அத்திரமே கொண்டு எரிய

அனைத்உலகம் திரிந்தோடி

வித்தகனே இராமாவோ நின் அபயம் என்று அழைப்ப

 அத்திரமே அதன் கண்ணை அறுத்ததும் ஓர் அடையாளம்.

You wanted the Golden Deer

And into the next stage at Panchavati, a deer with golden hue attracted you. And you wanted it badly. My Lord went after it with a bow. And then Lakshmana too followed leaving you unprotected.

பொன் னொத்த மான் ஒன்று புகுந்து இனிது விளையாட

நின்னன்பின் வழி நின்று சில பிடித்து

எம் பிரான் ஏக பின்னே

அங்கு இலக்குமணன் பிரிந்ததும், ஓர் அடையாளம்  

Rama along with Vanara King Sugreeva sent me on this search for you. My Lord is tormented by your separation. Lord Rama told me in person each of these above stories to be shared with you. He also handed this ring from his own hand to be given to you (இத்தகையால் அடையாளம் ஈது இவன் கைம் மோதிரமே) as proof of my identity.

And hearing all these in a moment of great joy, she placed the ring on her head and confirmed to Hanuman that all that he said was true (ஒக்கு மால் அடையாளம் அனுமான் என்று உச்சிமேல் வைத்துக் கொண்டு உகந்தனளால் மலர்க்குழலாள் சீதையுமே). 

Krishna Rama Praising their Achievements

பாடிப் பற  

Periyazhvar showcases the Lord’s achievements in the Krishna and Rama Avatara

After great decads where Periyazhvar shares the emotions of a mother in great depth taking us through the feelings of a mother whose daughter is being lured by a handsome boy, it looked like he wanted a breather or wanted to give the devotees a breather and had it easy.

In these verses Periyazhvar extols his achievements of the Lord in two of his avatars and alternates through the ten verses between Krishna and Rama Avataras.

After well over 250 verses of Pillai Tamil describing the childhood of Krishna, he praises some of the achievements of Rama and Krishna.

Garuda brings Kalpataru for Satyabhama

Having killed Narakasura at the request of Indra, Krishna, along with Satyabhama came to meet him. Satyabhama was suddenly excited on seeing the flowers from Kalpataru but was refused by Indra’s wife. But the Lord’s vehicle Garuda simply uprooted the entire tree in anger and carried it to Satyabhama’s garden while Indra could only watch in silence (என் நாதன் தேவிக்கு அன்று இன்பப்பூ ஈயாதாள் ..........வன்  வலியப் பறித்திட்ட).

When Parasurama arrogantly asked if he could wield his bow, Rama took it and sent a sharp arrow at Tataka that saw the end of the demon (This is once again endorsed in the Hanuman’s praise of Lord Rama in the last decad of the third canto)

Rukmini sent a message to her beloved about her impending wedding to Sisupala as ordained by her brother Rukmi and asked him to come there as early as possible to take her away. When Krishna was about to take Rukmini in his chariot, Rukmi stopped him only to be slain(உருப்பிணி நங்கையை தேரேற்றிக் கொண்டு விருப்புற்று அங்கு ஏக விரைந்து எதிர் வந்து………….).

And then Periyazhvar moves into an episode in the Ramayana. He obediently followed the instructions of his step mother and left for the forest. When his own mother called out for him and cried, his step mother asked him to proceed without stopping (மாற்றுத் தாய் சென்று வனம் போகி யென்றிட ஈற்றுத் தாய் பின் தொடர்ந்து எம்பிரான் என்று அழ).

He played the role of the messenger and when that failed, he donned the role of a charioteer guiding the Pandavas to victory. He had earlier killed the deadly Kaliya and danced atop the Serpent.

When Baratha followed his elder brother to the forest and offered him the crown, the Lord gave him his sandals. Then at the Dhandaka forest, he cut Surpanaka’s ear and nose. Later, he created a bridge across the huge ocean, defeated the Lankan King, who is stated to have misjudged the strength of his enemy and gave the crown to his younger brother Vibheeshana.

Periyazhvar reminds us of the story (that we saw earlier several times in his Pillai Tamil) of the cowherd boy uprooting the twin Marutha trees and the melodious music that emanates from his flute.

Through the verses, he asks the devotees to clap and sing praise of the Lord who destroyed the evil forces for the sake of the survival of the good and the noble.

Following this decad and the next, in the last 150verses, he is at his devotional poetic best trying to relate to God and providing practical prayers to devotees to try and reach God. 

Krishna Andal in Love

The daughter is in Divine Love; The mother knows not how to handle

When will he formally announce the Wedding?

Will the wedding be organised as per traditions?

Will she be welcomed into the new house with warm hands?

Will he start finding new faults with her that he did not previously notice?

Will she be reduced to a ‘house maid’ doing daily chores?

Periyazhvar assumes the role of the mother of Andal and describes the feelings of one who can only wonder now on the future of the daughter as she is relentlessly pursuing him.

The daughter leaves, Home turns desolate

Periyazhvar brings to us the feeling of parental love and the agony of separation from one’s daughter.  He falls into a sorrow mood missing his daughter. He says he does not know where she has gone. Without her, the entire house has become desolate (இல்லம் வெறியோடிற்றாலோ என் மகளை எங்கும் காணேன்).

Periyazhvar compares the current state in the house to that of a frost entering a lake. This has resulted in fresh lotuses losing their petals thereby causing the lake to lose its special charm. Similarly with the daughter having gone behind the dark complexion Lord, the house is now desolate. She asks if the daughter would have by now gone behind the Lord who smashed the wrestlers and reached the outskirts of Mathura (மல்லரை யட்டவன் பின் போய் மதுரைபுரம் புக்காள் கொலோ.

The angry mother lets out her fury. Just like the cowherds who sometimes quietly steal away others’ calves, this boy too has charmed her little girl and taken her away from her through a well planned love strategy (நன்றும் கிறி செய்து போனான்). The mother wonders if this episode of this girl going away in this manner to her beloved will cast a blemish on the family that will haunt them all their lives(என்றும் எமர்கள் குடிக்கு ஓர் எச்சுக்கொள் ஆயிடுங் கொலோ).

Will he officially announce?

Mother is anxious as to how all of this will pan out. Will the other family conduct all the ceremonies in the auspicious way and will there be an official announcement that she is getting wedded to him. And will her marriage be conducted properly as per traditions (துமிலமெழப் பறை கொட்டித் தோரணம் நாட்டிடுங் கொலோ).

And will they take care of her

The mother laments yet again at the way things have progressed in recent times. She says that she brought the young girl like an ideal mother and gave her all the wealth that a daughter would look for. And everything seemed to be going in the right direction till this boy seduced her into love. While nothing can be done about this now, will Yashodha take care of her daughter in law with care and affection. And will she shower her with gifts like the mother had in all these years prior (மருமகளைக் கண்டு உகந்து மணாட்டுப் புறம் செய்யுங் கொலோ) and did she not bring her up like Goddess Lakshmi herself’ (திருமகள் போல வளர்த்தேன்)?

Will the mother of such a beautiful girl survive the pangs of separation

Periyazhvar brings out the current feelings of the mother in a beautiful hidden way in this verse. When Nadagopala the father in law sees her for the first time at her lovely features, it is very likely he will ask her to look up. He would be stunned at the beautiful fish like eyes, lovely lips, slender waist and healthy shoulders and will exclaim that ‘it is unlikely the mother of this goddess would have survived the separation from her’ giving one insights into the pangs of separation from the daughter (இம் மகளைப் பெற்ற தாயர் இனித்தரியார் என்னுங் கொலோ).

Her mother continues to lament given the unclear future and hits out at this handsome young boy. She poses a tough question to him. Will he behave like an uncultured hunter and start living quietly with her or will he officially announce the impending marriage and give her the credibility that she deserves.

Once in the groom’s home, will he start finding faults

The mother remains in a confused state of mind. She wonders if he will treat her properly like a queen or will she have to bear the work like a house maid. Will he give her the security that she is looking for in him or will he all of a sudden find fault in her that he had not previously noticed during the initial period of love (ஆழியான் இன்று என் மகளை பண்டப் பழிப்புகள் சொல்லிப்).

Slog like a House Wife

The mother hits out at the boy and is worried if her daughter will have to go through a tough life. She says that this young boy has done nothing befitting Nandagopa’s clan. He has not followed the right practices or the traditions of the land by luring her away. She is anxious with thoughts that her daughter will be reduced to hard work of churning the rope through the day till the palms of her hand have swollen (இடை இருபாலும் வணங்க இளைத்து என் மகள் ஏங்கி கடை கயிறே பற்றி வாங்கிக் கை தழும்பு ஏறிடுங் கொலோ).

Will she be able to wake up early in the morning

The mother wonders if her daughter would be able to wake up every morning energised and fresh to churn the fresh white curd. Or is she likely to fall asleep given the slogging and tiresome work of the previous evening (கண் உறங்காத இருந்து கடையவும் தான் வள்ளல் கொலோ). Will he make her do work unbecoming of her. Is he likely to order her to do petty jobs and enjoy instructing her thus (பண்ணறையாகப் பணி கொண்டு பரிசற ஆண்டிடுங் கொலோ).

And she has no answers to any of these!!!!

Krishna A Mother's Grief

Periyazhvar’s brilliant description of a young girl 1000s of years ago  

Can’t even wear a Half Saree but has already ‘Fallen in Love’

Spends all her time looking at herself in the Mirror

Was close to the mother for the first 10-15 years but does not want her mother by her side now

The mother gave her everything she wanted but the girl now hates the constant murmur of the mother

They have seen him carry the mountain in his hand. They have heard him play the flute and were mesmerised by his rendition. Even in the initial days, they realised that he was a unique child quite unlike what they had ever seen. And despite all the complaints about him, the Gopis loved him and swarmed all over him.

Periyazhvar presents an emotional picture of a mother’s expression of the anxiety of her daughter slowly moving away from her after she first met with him. The daughter’s thoughts are now completely centred around him. Every verse is filled with anger and frustration at the dramatic turnaround in the behaviour of the daughter. It is a description every mother even now, 1000s of years later, will be able to easily relate to. 

Periyazhvar in this decad presents the changes that a girl goes through as she enters the teenage phase. The mothers of Gokulam murmur but the daughters don't lend their ear, for their mind has been set elsewhere. More the mother tries, farther her daughter goes away from her. 

Too Young to look at him

Like a typical mother’s remark, she says that her daughter is so tiny that she is not even capable of wearing a little (half) Saree. But like the young boy next door, she too smears dust on her body and carries with her trivial things like pot to play. And then refuses to let go the pot.

(ஐயபுழுதி உடம்பு அளைந்து இவள் பேச்சும் அலந்தலையாய்ச் செய்ய நூலின் சிற்றாடை செப்பன் உடுக்கவும் வல்லன் அவள் கையினில் சிறு தூதையோடு இவள் முற்றில் பிரிந்து மிலள்…).

Angering her even more is the fact that she wants to hold on to his hand and refuses to part with his company.

Her teeth haven’t grown yet, she is that young. She is incapable of even knotting her hair together for that hasn’t grown enough (வாயில் பல்லும் எழுந்தில மயிரும் முடி கூட டிற்றில)!!!!!!!!  She is all the time seen in the company of other young girls learning all the wrong things of life. And against the mother’s words, she repeatedly justifies herself in seeking him.

Will she be with Him now?

Another mother finds her young one making sand castle in her portico comprising of only Conch, Chakra, Mace, Dragger and Bow. It worries her about the direction the daughter is taking. And more importantly her body features have not even grown yet. And every time she suspects that her daughter is physically in his company, her heart misses a beat in the fear that something untoward may happen (கோவிந்தனோடு இவளைச் சங்கையாகி என்னுள்ளம் நாழி தோறும் தட்டுளுப்பாகின்றதே).

Yet another mother bemoans the fact that from being the innocent little girl who was very attached to her mother right from birth, her daughter has gone the wrong way by mingling with some of the other Gopis. They have taken her into the deep wave of the ocean and introduced her to the One with the DISCUS. And that very moment she stopped being the ‘innocent spoon that does not taste the salt of the soup’ (மூழை உப்பு அறியாது என்னும் மூதுரையும் இவளே). The mother wonders as to who she can complain this to.

The young girl bears it all in Public

Typically in such a scenario, a mother would not want her daughter’s activities to be publicised for she is trying to get her daughter back on the right track. The mother is heartbroken that her once innocent girl has now become the gossip of the town. She follows him everywhere and never stays away from him. A lot of the gossip mongers of Gokulam are interested in hearing news of her being ruined. And the most frustrating part for the mother is that she does not want to do it quietly for she is carrying a rich garland around her so everyone can distinguish her from others (நாடும் ஊரும் அறியவே போய் நல்ல துழாய் அலங்கல் சூடி).

What did I not give my daughter?

The mother shares something that any mother / parent would relate to. She says she gave her all the freedom in the world and bought her all the things she asked for – bangles, anklets, necklaces and more. She had never been without the mother all these years. But alas how this scenario has dramatically changed after his arrival. Now she is always aloof, always looking for him and never wants the mother around (இட்டமாக வளர்த்தெடுத்தேனுக்கு என்னோடு இருக்கலுறால்). The mother wonders if there is any way to turn around this changed scenario.

Love at Parrot’s Speed

Yet another mother laments her side of the story. The mother had for long thought that her daughter was an innocent one till the day she was introduced to these ill mannered Gopis. And suddenly she found the daughter’s character changing. From an innocent one, she went to the other extreme. She is completely shameless now as she shouts out his name in public so loud that she wants everyone to hear. Her infatuation for the dark complexioned lad has gone beyond repair. Her love has now taken the shape of a parrot’s speed and the mother compares her current state to a ‘spoon that has fallen off its handle’ (பேசவும் தெரியாத பெண்மையின் பேதையேன் பேதை இவள் கூசமின்றி நின்றார்கள் தம் எதிர் கோல் கழிந்தான் மூழையாய்).

It is now time for the next mother to describe the scenario inside her house. She is not able to tolerate the scene of her daughter spending all her time in front of the mirror adorning her necklace and shaking the bangles to listen to the music that resonates. She has now begun to wear silk clothes and is seen holding it with one hand lest it slips. And she is constantly decorating her lips (காரை பூணும் கண்ணாடி காணும் தன் கையில் வளை குலுக்கும் கூறை உடுக்கும் அயர்க்கும் தன் கொவ்வைச் செவ்வாய் திருத்தும்).

And then, much to the mother’s shock, she suddenly falls down in a swoon only to recover and starts uttering his 1000 names. She has become so emotionally attached to him that the mother means nothing to her any more (தேறித் தேறி நின்று ஆயிரம் பேர்த் தேவன் திறம் பிதற்றும்).

Do what you want – I don’t care

Finally frustration caught up with the mother. She had spent a lot of time, effort and money on her daughter all these years celebrating various milestones of her growth. She looks back with a tinge of regret and tells herself that it has been of no avail. In the current scheme of things, she has resigned herself to sending her off with him. And ends up in an angry state saying ‘he can do whatever he wants with her.’

All the preventive steps to no avail
Periyazhvar brings out the consolatory stance taken by the mother. The feeling had always been that she could be kept within the domains of the home. But she has figured out that that’s not the way it has panned out.

Like a doctor who gave precautionary medicines to a patient to prevent the likely occurrence of an illness, the mother says that she took all the right steps to prevent the possibility of a deviation from the rightful path. But she has just found out that her daughter has other thoughts in her mind. And the mother has come to a final decision that before she exceeds the acceptable limits of relationship, it is better for her daughter to 'officially' unite with him

(மருத்துவப் பதம் நீங்கினாள் என்னும் வார்த்தை படுவதன் முன் ஒருப்படுது இடுமின் இவளை உலகளந்தான் இடைக்கே). 

Different Features of the Lord
Periyazhvar uses this opportunity of a mother's grief to reveal many aspects and features of the Lord. In these verses, he calls out the different names referring to him as Narayana, Krishna, Govinda and Kesava. He reminds us that he is often seen in one of his four postures - Anantha Sayanam. Through the young girl, he discloses the various weapons of the Lord- Mace, Dragger that he uses to destroy the evil forces. Referring to his complexion as being in Sapphire colour, he compares him to the 'Poovai' Flower. 

Poetic Skills of Periyazhvar

Periyazhvar's true poetic skills are exemplified in two verses:

Referring to the early years of the girl, he says that there was a time when this innocent child did not know to taste the salt in the soup - மூழை உப்பு அறியாது என்னும் -  (but those days are behind her now)!!!

and 

Then he talks about how like a spoon that slips out of one's hand in a momentary lapse of concentration, she has slipped out of the mother's reach in the blink of an eye (even though the mother was living under the impression that she was still an innocent little girl) - பேசவும் தெரியாத பெண்மையின்............... தம் எதிர் கோல் கழிந்தான் மூழையாய்)