The ‘Parai’ used by AndaaL! (part-1)

[Guest guest]

A very good analysis on the word 'paRai' used by SrI ANdAL at various places. We shall wait for Part-2.

Regards,

dAsan

anbil SrInivAsan--- On Wed, 31/12/08, Jayasree Saranathan <jayasree.saranathan wrote:

Jayasree Saranathan <jayasree.saranathan The ‘Parai’ used by AndaaL! (part-1)oppiliappan , "Dr. Sadagopan" <yennappanWednesday, 31 December, 2008, 11:35 AM

 

 

 

 

 

The Paavai nOnbu is associated with the beating of the parai 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.

"parai parai vachanatthOdu

parakkum puL-iRagu mup-pEr"

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 paRai are found in Pura naanUru.

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) Ari-p-paRAi :- 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) Anathan paRai :- 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) AaguLi-p-paRai

and

(4) Siru paRai :- 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) Salli-p-paRai :- This is also known as 'perum paRai', a big drum –

used at the time of processions and for making announcements.

 

(6) Saa-k-kaattu- p-paRai :- This is used only at the time of death.

Is also known as saavu-p-paRai.

 

(7) Cheru-paRai :- 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) pOr-p-paRai :- This is also beaten at times of war.

This is to announce that the king had started for the battlefield to snatch victory.

(9) Neidhal paRai :- 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) Thadaari-p-paRai :- 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

'udukkai'.

This is the drum held by Shiva during his cosmic dance..

The image of Nataraja holds this.

 

(11) Oru kaN paRai. 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) MaNa-p-paRai :- 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 'Thondaga-p-parai'

(this is in places ending with the word 'kudi', like sirukudi, kunna-k-kudi etc)

 

Those in desert areas (paalai) used 'thudi-p-parai'

 

Those in forest tracts (mullai) used 'yEru kOt parai' ( places end with 'paadi', chEri' and 'paLLi', like vaazhappaadi, aayar paadi etc.)

 

Those in plains (marudham) used 'maNa-p-parai ' and 'kiNai-p-parai' (places end with 'voor', like putthur, maNavoor etc.)

 

Those in sea shores (neidhal) used 'meen kOt parai' (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 AndaaL

1. parai tharuvaan,2. paddi-p-parai kondu,3. pOrra-p-parai tharum,4. arai parai,5. parai thaaruthiyaagil,6. saala-p-perunm parai,7. undrannai paadi paraikondu,8. nee thaaraai parai9. irrai parai kolvan

 

 

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 'Pallaandu' to the beating of the saala-p-perum parai!

This is indicative of a procession, 'Purappaadu'

with all accompanying recitals and auspicious music.

In all probability it is about the Garuda Sevai she witnessed on that day, that is most likely to be the day of Vaikuntha Ekadashi.

We will analyze it on the day of Maale Manivanna!

 

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 'pEru' or 'kataaksham' or 'blessings' or 'servitude' etc

But the mention of Arai paRai (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! It will be discussed in the next post.

 

(to be continued)

Unlimited freedom, unlimited storage. Get it now