Meaning Of 'parai' In Thiruppavai.

Meaning of 'பைை ' in திருப்பாைை

The பாைை ோோான்பு is associated with the beating of the பைை by the girls. If we probe what this 'parai' was, we would be surprised to know that many types of 'parai' were used in those days, depending on the appearance, occasion and the need. Going through the instances of 'parai' as found in Sangam literature, we are able to identify the parai that AndaaL had used. To begin with let us see the meaning of Parai. PaRai has three meanings in Tamil lexicon. "பைை பைை ைசனத்ோதாடு பைக்கும் புள் -இைகு முப் -ோபர் " says ChoodamaNi Nigandu.

PaRai means (1) the drum called paRai. (2) 'word' and (3) 'bird's wing'. pRaidhal has its origins in this word and it means to announce or declare or convey something. This paRai as an instrument to convey something was very much part of life of ancient Tamils.

12 different types of பைை are found in புை ோானுைு . The types are dependent upon the occasion the parai is used and also its appearance and the quality of sound. They are as follows.

(1) அரிப்பைர :- The sound of this is that of rubbing something on some soft surface

(aritthal). It is comparable to the sound of the rub of the bird's wing on the plants of the field when it flies off the field This appears in texts as a comparison with some soft sound, say, the sound of ornaments rubbing with each other.

(2) அனோ்தன் பைை :- This has a dull sound but not an auspicious one. This paRAi is usually beaten by haunted women who beat this parai after smearing the blood of the dead fallen in the battle field, on their hair!! Vultures get attracted to this paRai and reach the battle field.

(3) ஆகுளிபைை and (4) சிைு பைை :- Both these are small in size, can be easily held in hand and used along with singing. Mostly the singers (paaNar) in olden days carry this paRai along with 'yAzh' (a kind of light veena that can be hung on the shoulder.) Both Yaazh and this paRai are used simultaneously or separately while singing. From different texts of yore, it is known that this parai is usually beaten in early hours before sun rise in praise of the king or God.

(5) சல்லிப்பைை :- This is also known as 'perum paRai', a big drum – used at the time of processions and for making announcements.

(6) சாக்காட்டுப்பைை :- This is used only at the time of death. Is also known as saavu-p-paRai.

(7) ெசருப்பைை :- This is beaten when the king goes out to the battle field. This PaRai is carried by drum-beaters in front of the elephants that go to the war-front.

(8) ோபார்ப்பைை :- This is also beaten at times of war. This is to announce that the king had started for the battlefield to snatch victory.

(9) ெோய்தல் பைை :- This is similar to Saa-k-kaattu-p-paRai, beaten at the time of death. This paRai was used by the people of Neidhal those living on the sea shore.

(10) தடாரிப்பைை :- This is the common drum used by many in the ancient land of Tamils. This is also known as 'kiNai-p-paRai' or 'pambai-p-paRai' or 'உடுக்ைக '. This is the drum held by Shiva during his cosmic dance. The image of Nataraja holds this.

(11) ஒரு கண் பைை . This means the one-eyed drum! This is a big-sized drum, with an eye that resembles the foot of an elephant. This was used in wars and for making announcements.

(12) மணப்பைை :- This is the drum used in marriages.

Apart from the above, each of the 5 land forms of the Tamils had their own characteristic parai, yaazh (hand held veena) and paN (song)

Those in hill tracts (kurinji) used 'ெதாண்டகப்பைை ' (this is in places ending with the word 'kudi', like sirukudi, kunna-k-kudi etc)

Those in desert areas (paalai) used 'துடிப்பைை '

Those in forest tracts (mullai) used 'ஏைுோகாட்பைை ' ( places end with 'paadi', chEri' and 'paLLi', like vaazhappaadi, aayar paadi etc.) Those in plains (marudham) used 'மணப்பைை ' and 'கிைணப்பைை ' (places end with 'voor', like putthur, maNavoor etc.)

Those in sea shores (neidhal) used 'மீன்ோகாட்பைை ' (places ending with 'pattinam' and 'paakkam'. Chenna-p-pattinam – former name of Chennai – belongs to this area.)

From these information, some idea of the kind of parai that AndaaL has mentioned in her Thiruppavai can be inferred.

At 9 places, the word paRai has been mentioned by ஆண்டாள்

1. பைை தருைான் , 2. பாடிப்பைை ெகாண்டு , 3. ோபார்ைப்பைை தரும் , 4. அைை பைை , 5. பைை தருகியாகில் 6. சாலப்ெபரும் பைை , 7. உன்ைன்ைன பாடி பைைெகாண்டு ,

8. ோீ தாராய் பைை 9. இை்ைை பைை ெகாள்ைான் Let us now see what parai was carried by the aayar girls and AndaaL during their month-long vratham. The parai used for singing the praise of god in early hours of the day (before sunrise) was 'aguLi-p-pari' or 'siru parai'. It was a small and easy to hold drum. It is possible to assume that this would have been the choice of young AndaaL and her friends.

There is another way to think if that Andaal had used the parai that was characteristic of her land, namely Villiputthur. (putthoor in the name indicates that the place of AndaaL was in marudham or plains). The parai of her land was, 'kiNai-p-parai' or 'udukkai' or 'tadaari-p-pari' which was meant for worship of Shiva and AndaaL would not have used that for the worship of Thirumaal. There is yet another one, "mana-p-paRai" for Marudham lands. But that was used only during marriages. So that is also ruled out. The easy to be held parai which goes well with singing the praise of God in the early hours of morning is the "aguLi-p-paRai" also known as "siru paRai" It is therefore proper to assume that AndaaL used Siru parai.

But here again a doubt comes. At one place AndaaL mentions 'saala-p-perum parai'. Is this the parai she used? It can not be. Because from the meaning of 'saala-p-perum parai'. it is known that it is the big parai (perum parai) the Salli-p-parai, which is used in processions. AndaaL has mentioned 'Saala-p-perum parai' in "MaalE maNi vaNNa" paasuram. She also mentions about the recital of 'பல்லாண்டு ' to the beating of the saala-p-perum parai! This is indicative of a procession, 'புைப்பாடு ' with all accompanying recitals and auspicious music. In all probability it is about the கருட ோசைை she witnessed on that day, that is most likely to be the day of ைைகுண்ட ஏகாதசி. http://jayasreesaranathan.blogspot.com/2008/01/secrets-in-thiruppavai-secret1vaikunta.html

In the present context, we know that AndaaL used Siru parai, AndaaL has also given a clue about what exact message is conveyed by her parai. We all know that it is about the 'ோபைு ' or 'kataaksham' or 'blessings' or 'servitude' etc But the mention of அைை பைை (paasuram 16) which has specific application in Tamil lexicon, reveals the exact message given by Narayana that AndaaL along with the aayar girls had been spreading by beating the paRai!

From ancient texts it is learnt that 'arai-parai' is used in specific contexts only. Arai means 'பாைை ' or rock or boulder. Arai parai is beating the rock. When a rock is beaten (with an axe) it creates a tremendous sound / noise. Since it is not easy to beat (or break) the rock, the beating is continuously done. And the beating can not be done secretively – the sound reverberates everywhere. It is for this reason, when something that is not known or revealed already, is needed to be made known to all, 'அைை -பைை will be done.

When the Cheran king, ெசங்குட்டுைன் decided to go to the Himalayas to get a rock for making Kannagi's image, he wanted his trip to the North to be made known to all the kings on the way. He said that the spies of those kings were anyway roaming in the streets of his kingdom to gather information on his moves so that they could secretly convey it to their respective kings. 'Now let this trip be known to all without any doubt – that I am going to the Himalayas with an army and if anyone comes in my way, I will teach them a lesson. Announce it as 'arai parai', said the king. (Silappadhikaram, chapter 25, 177 – "அைை -பைை என்ோை அழும்பில் ோைளுைரப்ப")

In குரல் 1076, Thiruvalluvar tells "அைை பைை அன்ன கயைர் ". Arai parai in this verse is explained by the commentator, ParimElazhagar as announcing aloud to everyone something which is originally guarded as a secret.

Applying this meaning to AndaaL's arai parai, we get some interesting leads.

This word is used by AndaaL at the time of knocking the doors of Krishna's abode. The door is closed, prompting AndaaL to ask the door keeper to open it. Why should the door keeper take the words of the aayar girls seriously and open the door for them? According to AndaaL he has to open it because மாயன் மணிைண்ணன் has said it long ago with the 'அைை -பைை ' 'அைை பைை மாயன் மணிைண்ணன் ெோன்னோல ைாய் ோோர்ோ்தான்'. மாயன் 'முன்ோப ைாய் ைிட்டுைிட்டான் ' – Maayan has given word long ago in strong terms as arai-parai. So there was something kept as a secret, which Mayan Manivannan had announced by means of arai-parai long ago. Having got that information, AndaaL and her friends have come to his door step. What could have been the secret that Maayan had announced aloud already? What else it can be but the மாயன் உைர , (ோான் முகன் திரு .. 50) known as a secret until then, and announced for the mankind in the battlefield at the Dharma kshethram! The Mayan urai is nothing but the Charama slokam of Mayan, the Gitacharyan. asking us to renounce even the fruits of our action and surrender unto His feet.

Starting from the 1st paasuram to the 29th, one can see this Mayan urai implied by the paRai.

In the 1st paasuram, "ோாராயணோன ோமக்ோக பைை தருைான் "Narayana will certainly give us also ( as He did to Arjuna) the upaaya to reach Him. That is why we have begun the Maargazhi nOnbu.

(Pasuram 8) We know the message of the 'பைை – உைர" He had given and let us go to Him with that. He would certainly receive us and analyze our case with ஆஹா -காரம் . Because He is not an easy person like சக்கரைர்த்தி திருமகன் . He would expect us to give up even our "புண்யம் ". (முமுக்ஷுப்படி 247)

This aspect is further emphasized in Pasuram 10 – "ோபாை்ை பைை தரும் புண்ணியனால்" We have come with that parai-urai to His door step (pasuram 16) We should not be stopped, because 'அைை – பைை மாயன் மணிைண்ணன் ெோன்னோல ைாய் ோோர்ோ்தான் '. He has announced loudly for everyone to know that if we follow this method of surrender, He would relieve us of all our karma. Like Arjuna who took refuge in the Nedu maal, we too have left everything to Him.

"அருத்தித்து ைோ்ோதாம் பைை தருதியாகில் " (pasuram 25). He accepted Arjuna's prapatthi by declaring him to be His 'nimittham' – the tool – (BG 11-33). He accepted his services while at the same time had given him happiness. This Nedu maal in the nature of Kalaagni, will accept our prapatthi too. The prapatthi has been accepted by Him as how He accepted Arjuna's pleading.

To Arjuna, He showed His Vishwa roopam. For us, He is showing Himself with His ayudhas, to the singing of Pallandu accompanied with சாலப்ெபரும் பைை (pasuram 26). The para- vasthu that received the 'Pallandu' from my father gave my father the big benefit of saala –p-perum parai. But we are small ones, just content with our siru parai. For us His blessings from a small bed on banyan leaf itself would do!! "ஆலின் இைலயாய் அருோளல் "

The benefit of this parai-urai - 'பாடிப்பைை ெகாண்டு யாம் ெபரும் சன்மானம் ' is actually the recovery of what we pledged to give up! (pasuram 27) The (joy of ) Punyam that He demanded we will get all that in addition to the pleasure of "ூகூ டி இருத்தல் "

in company with you – like how Arjuna enjoyed your company. All these days we have called you names – like how Arjuna did. (BG 13- 41 &42) But you did not disown Arjuna for that nor get angry with him Please do the same to us also and bless us with your parai-urai. "சிைு ோபர் அைழத்தனைும் சீைி அருளாோத , இைைைா ோீ தாராய் பைை ". (pasuram 28)

"இை்ைை பைை ெகாள்ைான் அன்ைு காண்" (pasuram 29) We have not come for a favour for today. Arjuna did not stop with the favour you did to him in the battlefield. He continued to follow you. In the same way we will also be with you for all times to come. For that to happen you have to remove all other thoughts in us. When can such a state of not having any thoughts other than you happen? When you reign us as the Yogeshwaran in out heart, directing us to do what you wish, as you did to Arjuna, "யத்ர ோயாோகஷ்ைர கிருஷ்ோனா, யத்ர பார்த்ோதா தனுர் தர :" When you enter our minds and occupy it completely, "அங்க பைை ெகாண்ட ஆை்ைை "- (pasuram 30) the purpose of giving us your parai-urai is completed.

In a nutshell, AndaaL tells about the Urai He has given to Arjuna as a kind of loud announcement that was held a secret (of Moksha) until then. Believing His Urai as the ultimate secret now known to all of us, we undertake all steps to fulfill your demands. We have come to you, expecting you to analyse and accept our case as fit for Moksha. We care less about what punyam we have gathered. Now all that is punyam is yours. Like Arjuna who had seen you in your wonderful form, you have shown us in your great form as you showed to Vishnu Chitthar. Like Arjuna we too are rendering ourselves to do 'sevakam' to you. Like Arjuna who received the 'sanmaanam', we too want to have the sanmaana of being with you always. Lastly, you completely occupied Arjuna as His Sarathy – as his yOgeshwaran – as the Inner force driving him. Do that to us also by occupying our minds.

-The state of moksha of the 'அணுக்கர்கள் having Him pervading their self (ைிஷ்ணு chitthar vakku) (முமுக்ஷுப்படி 227)

-the state of முத்தன்னார் , முகுோ்தனார் புகுோ்து ோம்முள் ோமைுதல் – of pervading us (Thiru-ch-chanda viruttham) (Mumukshuppadi 228)

-the similar state that Arjuna enjoyed with ோயாோகஷ்ைர கிருஷ்ணன் occupying him, that is the state given to us as His "ைார்த்ைத " (திருைாய் ெமாழி 7-5-10) -the உைர of மாயன் , of 'கடல் கிடக்கும் மாயன் ', of 'ஆை்ைங்கைர கிடக்கும் கண்ணன் ', (ோான்முகன் திருைோ்தாதி 50), that ensures that we will be "Relieved"

That ைார்த்ைத in encapsulated in a simple 'பைை ' of ஆண்டாள் . The parai is the vaarthai. It is the Urai of Maayan.

Post- thinking:Why the Mayan urai had become the 'arai parai', - a secret until then, to be announced aloud by Krishna? It is perhaps to do with the change of Yuga. The world had been like this – pre - Krishna and post-krishna period. The Varaha charama sloka was the ruling sloka for salvation in pre-Krishna period. The finds at the Indus –Saraswad regions (popularly known as Harappan excavations) indicate a post Vedic culture that glorified 'Eka-shringi' – a single horned God. It is none other than Lord Varaha who was worshipped since the time the earth was lifted up from the waters. He was praised as Eka-shringan and Maha-shringan who established Dharma

soon after recovering the worlds. His influence had lived on till Krishnavathara and even after as seen in the excavations

But with the loss of civilization in the pralaya that followed Krishna's exit, Varaha charama could have been lost and the more recent avatar of Krishna was well remembered. Also the change of dharma and deterioration of Dharma in Kali found it easier to adapt the Urai of Mayan than that of Varaha. Outwardly the Varaha- salvation manthra looks easier. But it calls for non-stop thinking of Him. The only time you can be excused is at death bed, when your senses may not be under your control. Lord Varaha assures that He will remember one at his hour of death – even though the person will be incapable of remembering him then. There is no conditional clause given by Lord Varaha. The qualities expected are belief in god as root cause, as one who commands from within, as the all pervasive, Ultimate who is near us all the time and as one who alone is to be worshiped . http://www.pdfcoke.com/doc/2525551/varaha-புராணம்

But in Kaliyuga, the wandering mind of people can not get its focus fixed on the Lord. The prescription in this scenario given by Krishna is just not to worry about anything. Give up everything, Dedicate everything to Him – even the bad act to be done. He will take care.

Post-Krishna, Varaha charama sloka had to be replaced with Krishna charama sloka. which He declared in the midst of a terrible battle field in the nature of samsara of our lives. That urai has been brought to us – the people in the nature of sleepy and lethargic little girls of Aayarpaadi, by the beating of the parai by AndaaL.