Goddess Ellammaa

[N. Ganesan]

The tensions between ancient Dravidian models
of auspiciousness invested in folks like washerwomen, potters,
shaman priests of Murukan called as vElans, and dancers like
'viRaliyar'  as recorded in the Sangam corpus versus the brahminical
system are brought out vividly in the various reNukA-ellammA legends
and rituals. The transition accomplished in post-sangam period is
clear from the name of the Goddess, mAri. Ethnographers often connect
Dravidian goddess name "mAri" found all across the South with the
tamil verb, mARu-tal 'to change'. Her physical body itself is a
Changed one.

Jamadagni, ("all devouring fire") seems to be symbolically related
with the "pot-lamp" authority (kuTa viLakku) ever associated with
devadaasis. The legend of Parasuraama Jaamadagnya, killing his mother
and later completely  wiping out all of the Kshatriyas and giving the
whole earth away to Brahmins,  seem to point mythologically to the
Sanskritization process of Southern India. And, the popular
Ellammaa-ReNukA-Maariyamman legends with a composite physique of a
low-caste body fitted with a brahmin head marks the change of ritual
authority from indigenous priests, vElan shamans of Murukan,
viRaliyar-type dancers into the hands of brahmins.

"The marriage of a Pariah god with a Brahman woman or of a Brahman
goddess with a Pariah man, a god's double parentage (one set of
parents being of high caste, the other of low caste, eg.,
Kaattavaraayan, Maturai Viiran), and the theme of the split body
(eg. the story of ReNukA) seem to be various expressions of the
paradox that the deity in question is both a Pariah and a Brahman.
[...]

     ReNukA's story is very apt. She is one of Brahma's daughters
and wife of a sage. When she realizes that she has the body of an
Untouchable, she does not return to her husband (probably in heaven)
but remains as Maariyamman on earth, where she brings disease and
death but also cures and rebirth. Although she is involved in the
violence and impure activities on earth, a part of her, symbolized
by her Brahman head, remains in the realm of the transcendent,
the pure. "
(p. 90-91, Eveline Masilamani-Meyer's Kattavarayan essay in
A. Hiltebeitel, Criminal Gods and Demon Devotees: Essays
on the Guardians of Popular Hinduism, SUNY, 1989.)

A particularly important offering to ReNukA-Maari is the
fire burning in pots. This is related with the 'pot-lamp'
waving to add lustration to chiefs, kings done by devdasis
from ancient times.
"they (ie., men and women) form a procession towards the [Mariyamman]
temple while each dances and carries a fire-pot (pU-caTTi) fire in
it. The pUccaTTi used here is smaller than the one used only
by the pUcAris in other places. It is carried with both
hands outstretched. In front of these fire-bearers, other men
in Mariyamman's garb, take the lead and dance without any pot.
As soon as they enter the temple, the fire-pots are put down
in front of the Goddess. They will be left there and removed
much later by the priest."
(p. 27, M. Biardeau, Brahmans and Meat-eating Gods, in
A. Hiltebeitel, Criminal Gods and Demon Devotees: Essays
on the Guardians of Popular Hinduism, SUNY, 1989.)

Has the ReNukaa legend in the MBh. been analyzed in Indological
publications? Is the "ReNukAmAhAtmya, SahyAdrikhaNDa, Bombay, 1877"
considered in modern scholarship?

Regards,
N. Ganesan



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