Re: [INDOLOGY] Periya Tirumoḻi 8.2.2

Sat Feb 22 07:52:12 UTC 2014

Sorry,

the heroine outwardly looks like an innocent girl but she has already united with the heroine
This should be 'the heroine outwardly looks like an innocent girl but she has already united with the hero'.

Regards,
Palaniappan

-----Original Message-----
From: palaniappa <palaniappa at aol.com>
To: glhart <glhart at berkeley.edu>; indology <indology at list.indology.info>
Sent: Sat, Feb 22, 2014 1:31 am
Subject: Re: [INDOLOGY] Periya Tirumoḻi 8.2.2

The closest picture I could get to show how the iṟṟi tree can be rooted in stone is at http://ookaboo.com/o/pictures/noindex/picture.original/12325800/Name_corrected_as_Ficus_mollis_in_Bhongi .  This tree is called kal icci. Now if this tree grows it will probably look like this http://www.biotik.org/india/species/f/ficutalb/ficutalb_02_en.html. This tree is called kal itti. We do not know which tree the Classical Tamil poems refer to. I am sure they are closely related species, if not the same in the days of Kapilar. In any case one can see how securely they can be rooted on the side of a mountain/rock face and also how they would resemble a waterfall. 

As for the suggested meaning, the semantics of 'ivar' is interesting. Compare the usages of  ivar in kal ivar mullai (kuṟiñcippāṭṭu 77) 'jasmine creeper attaching and spreading on rock', kal ivar iṟṟi 'iṟṟi attaching and spreading on rock' (Aiṅkuṟunūṟu 279.1) , and kaṟi ivar cilampiṉ 'of the rock pepper creeper attaches and spreads on'(Akanāṉūṟu 112.14), on the one hand and Śiva being called Mātu Ivar Pākaṉ ' man with a part a woman attaches to' (Tiruvācakam 43.1). In all these cases, the verb ivar attaches some thing to a supportive thing. (See Comacuntaraṉār says, "kalliṉmēṟ paṟṟip paṭartaliṉ kal ivar iṟṟivēr eṉṟāḷ".) The jasmine creeper, iṟṟi tree, pepper creeper, and woman belong to the one group and the rock and man belong to the other/supportive group.  In Kuṟuntokai 106, the hero is the rock and the heroine is the iṟṟi tree. As for the roots of the iṟṟitree resembling a waterfall, the heroine outwardly looks like an innocent girl but she has already united with the heroine. Outsiders do not know that. What appears to be one thing is something else in this case too. Like the rock does not change its position, the hero does not waver in his commitment to her even though he may be separated from her for now. That is the message brought by the messenger. 

So Wilden's analysis meets all the requirements of having to explain the suggestion in the poem.  This also means the tiṇai is Kuṟiñci and there is no need for anger on the part of the heroine, thus matching Iḷampūraṇar's view. 

The assumption of a deceitful hero by Comacuntaraṉār ultimately results from his interpreting ney pey tī as a brahminic wedding. He says, "karaṇakkālai ney peytī tuḷḷi eḻuntamai kaṇṭāḷ ātaliṉ". 

As for Periya Tirumoḻi 8.2.2, this is an utterance by the heroine's mother. The mother's complaint is about the hero having changed the heroine so that she no longer listens to her mother as she used to. In the Classical Tamil tradition, I do not know of any poem in which the mother talks in Marutam or about the son-in-law's other woman.  The respectful reference to pāṇāṉ cannot be explained something from the bhakti sphere. The poem has to be explained from the akam perspective and bhakti perspective independently. One cannot bring in the role of ācāryas in the bhakti sphere to explain the form pāṇaṉār in the akam sphere. The explanation of pāṇaṉār cannot be done on the basis of Marutam.  But Kuṟiñci will pose no problem.

Regards,
Palaniappan  

-----Original Message-----
From: George Hart <glhart at berkeley.edu>
To: Indology List <indology at list.indology.info>
Sent: Fri, Feb 21, 2014 2:18 pm
Subject: Re: [INDOLOGY] Periya Tirumoḻi 8.2.2

(My last post on this subject).  I don't agree.  The aerial roots of the fig do not root in stone, as far as I can tell.  The word for “stone” is kal, which can also mean “mountain,” “hill.”  Most likely the poet means that the aerial roots of the fig (which are brown) reach down on a hill and find stone.  Unable to root, they dry out, turn a lighter shade and spread.  The image at the beginning of the poem is an uḷḷuṟai, and in such cases the comparison is not to one quality (e.g. moonlike face) but to an action or fact (roots like waterfalls).  The point here, clearly I believe, is that what appears to be one thing is something else — the messenger insists that the hero is good but he actually is not just as it looks as if there are waterfalls in the hero’s land (an image of prosperity and fertility) but what appear to be waterfalls are only the whitening roots of a parasitic plant.  Often, when the formula “…nāṭaṉ” (man from a land where….), this sort of uḷḷuṟai is intended.  I am pasting in a much more elaborate instance of an uḷḷuṟai in a marutam poem (about the courtesan).  Those who work with Sanskrit suggestion may find it interesting, I think.  George Hart

Akanāṉūṟu 46. Marutam
The friend refuses the request of the hero who asks her to allow him to see the heroine.  (This does not seem to fit the poem, which appears to be the words of the heroine.)

In your town, a red-eyed buffalo gets tired of being penned in mud
and at night, when everyone is asleep, breaks the rope holding him,
opens the sharp-thorned fence with his horns
and, as the fish all flee from him on the water-filled field,
stirs up the vaḷḷai flowers with their lovely throats	5
and eats the cool lotuses while the bees buzz inside them.
Who are you that we should be angry with you?
Others brought a woman to our house, her dark, falling hair
more lovely than a line of descending rain clouds,
and said that you had made love to her.  We have nothing to say about that—	10
may you live well, my lord.  I am as beautiful as Aḷḷūr
thick with stacks of paddy, city of victorious Ceḻiyaṉ
whose armies have shining spears that cut through and kill
in fierce battle with enemies and their elephants, yet
if the bright bangles on my arms must grow loose, let them.	15
Go, my lord, no one will keep you here.
Aḷḷūr Naṉmullaiyār
OC construes the suggested meaning (uḷḷurai) of this as follows: “The buffalo has turned its shed into a mire with its water and dung, broken its bond, broken open the fence that is protecting the field with its horns, stirred up the swamp morning glories that surround lotuses so that fish run away, and investigated the lotuses that are closed and unflowering with bees (inside).  Like that, you have made her who is protected by you other (i.e. ruined her beauty as she is distraught), broken the bond of shame, broken open the fence that protects the courtesan with the horn of your bard (who serves as a messenger to the courtesan), stirred up the mothers of those courtesans so that the friends who stay with them flee, and been a person who, bursting with egotism, enjoys women who do not welcome you.”

5. Vaḷḷai is the swamp morning glory.  Its flowers have the same shape as ordinary morning glories.
6. “Bees buzz inside  them” is vaṇṭu ūtu paṉi malar, literally “the cool flowers where bees hum (or feed).”  Because it is night, presumably the lotuses have closed and trapped the bees.
10. “Had made love to her” is vatuvai ayarntaṉai, which could also mean “had married her.”

On Feb 20, 2014, at 8:15 PM, palaniappa at aol.com wrote:

Eva Wilden has already given a satisfactory explanation for the tree and mountain.  According to Eva, "more easily to be connected with the rest of the poem may be that SHE is as much rooted in HIM as the Iṟṟi in the stone." Analyzing further, the stone can be taken to represent the strong hero and the tree with low aerial roots being the heroine weakened by the separation but still holding on to her faith in the hero.

Regards,
Palaniappan 

-----Original Message-----
From: George Hart <glhart at berkeley.edu>
To: palaniappa at aol.com Palaniappan <Palaniappa at aol.com>; Indology List <indology at list.indology.info>
Sent: Thu, Feb 20, 2014 9:57 pm
Subject: Re: [INDOLOGY]  Periya Tirumoḻi 8.2.2

Here is a literal translation of Kuṟuntokai 106 by Kapilar.

In his land, the white roots spreading on the mountain from the dun-colored (i.e. nondescript) runners of the iṟṟi
look like waterfalls descending from a hill.
The words of his heart that holds no malice
have come (to me), friend,
and (I took them) as fire takes ghee/oil (OR they were like fire when ghee/oil is poured on it).
(Now) I must send a messenger to say
that I am the same as when we became (or were) lovers (or were married).

Here are two possible interpretations that I see:

The image of ghee/oil feeding a fire means that his words, which she did not expect, made her suddenly experience relief and passion.  In this case, Palaniappan is correct in interpreting maṇa as union and not marriage, especially as this appears to be a kuriñci poem dealing with premarital love.  The messenger is likely to be a Pāṇaṉ, though this is not expressed, and the situation, as in other kuṟiñci poems, is that the hero who used to come and see the heroine secretly at night is no longer coming.  The heroine becomes distressed but is suddenly heartened when a messenger (Pāṇaṉ?) comes and tells her that the hero still cares for her.  She immediately (like oil feeding fire) feels her passion and love flare up and wishes to send a message to the hero to tell him that she still cares and feels the same as when they were lovers.

HOWEVER there is a problem with this analysis, and that is the image of the runners and roots of the iṟṟi tree, which clearly are intended to suggest that things are not as they seem.  That would suggest that we take “which holds no malice” as sarcastic and the image of the fire taking the ghee/oil as one of anger flaring up (following the suggestion of the Kazhagam commentator, Cōmacuntaraṉār).  In that case, maṇa could mean “marry” and the last line could mean “the same as when we married.”  In this interpretation, the poem, in spite of its kuṟiñci imagery, is really a marutam poem and the hero, who has been with his courtesans, has sent the Pāṇaṉ off to conciliate his angry wife.  She hears his words sanctimoniously describing the hero’s pure heart and sarcastically echoes them, concluding that she will send the messenger to tell him that while he has changed and is unfaithful to her, she has not changed.  She wishes to make the hero feel guilty.

Of these two interpretations, I think the second one is likely to be the correct one, as otherwise the image at the beginning of the poem does not make sense.  The point of the image would appear to be that just as the root of the rather ugly and parasitic iṟṟi tree looks like a beautiful waterfall, the hero’s reprobate heart appears pure.  I don’t think the poem can be understood without discovering the intent of the image at its beginning, and that would seem to mean that this has to be a marutam poem.  It’s worth noting that Kapilar is one of the greatest Indian poets — he is unlikely to have put in an image at the beginning of a poem that has no relation to its content.

nīḷ nilā muṟṟattu niṉṟu ivaḷ nōkkiṉāḷ;
kāṇumō, Kaṇṇapuram! eṉṟu kāṭṭiṉāḷ;
pāṇaṉār tiṇṇam irukka, iṉi, ivaḷ
nāṇumō? naṉṟu naṉṟu Naṟaiyūrarkkē!

A literal translation:
She stood on the open space with its long moonlight and looked.
And she pointed asking “Can one see the city of Kaṇṇaṉ (Krishna) (from here)?”
The excellent Pāṇaṉ was firm, and now will she feel ashamed?
A fine thing indeed is this for the person from Naṟaiyūr (Viṣṇu)!

It would seem that the hero/Viṣṇu is leading the heroine on, and that the Pāṇaṉ is insisting on the hero’s uprightness.  The last line suggests that the hero (or Viṣṇu) is not as upright as the Pāṇaṉ suggests.  This makes sense as a marutam poem, I think — especially given the last line, which seems to me to have the connotation that the hero is not being honest with the heroine.  The poem has two perspectives — the marutam situation in which the hero is with his courtesans but tries to conciliate the heroine by telling her he is a good person (which he is not, since he is visiting courtesans) and the religious one, in which God is playing with the soul of the devotee and is hard to get.  A notable thing about this is that Pāṇaṉār is made respective, suggesting that, as the commentary says, the Pāṇaṉ symbolizes the ācāryas whose teachings bring the souls of others to Viṣṇu.  Perhaps the intent is that the ācāryas are firm in their teaching, and so devotees who hear them should not feel discouraged or ashamed, even though (last line) Viṣṇu is elusive.

There is a lot of speculation here. I believe that the Kuṟuntokai poem is probably a marutam poem about the hero visiting his courtesans and the same is true of the verse from the Periya Tirumoḻi — but it’s a tough call, and I would certainly see Palaniappan’s analysis as possible.

George

On Feb 18, 2014, at 9:40 PM, Palaniappa at aol.com wrote:

I think the solution to the problem presented by Periya Tirumoḻi 8.2.2 is given by Kuṟuntokai 106 by Kapilar. What I am giving below is the poem based on the critical edition by Eva Wilden but with gemination of consonants shown in puṇarcci.

pul vīḻ iṟṟik kal ivar veḻ vēr
varai iḻi aruviyiṉ tōṉṟum nāṭaṉ
tītu il neñcattuk kiḷavi namvayin
vantaṉṟu vāḻi tōḻi nāmum
ney pey tīyiṉ etirkoṇṭu
tām maṇantaṉaiyam eṉa viṭukam tūtē

The translation below is basically Eva Wilden's except that I have changed 'ghee' to 'oil' for ney.

Word has come to us, oh friend,
	from the faultless heart of the man from a land where,
	    like the waterfall descending the mountain,
	appears the stone-climbing white root of the talbot fig
									with low aerial roots,
   After receiving [his words] like fire into which oil is poured,
we too shall send a message saying    
					    'we are still those he united with.'

While ney can mean both oil and ghee, ney pey tī simply refers to a situation of 'adding fuel to the fire' as in the following passage from Arttamuḷḷa Intumatam by Kannadasan, showing the common usage of oil being poured into a fire. 

"ஆம்;ஆடவன் மனது சலனங்களுக்கும், சபலங்களுக்கும் ஆட்பட்டது.
கோவிலிலே தெய்வ தரிசனம் செய்யும்போது கூட கண் கோதையர்பால் சாய்கிறது.

அதை மீட்க முடியாதபலவீனனுக்கு, அவள் சிரித்துவிட்டால் எரியும் நெருப்பில்எண்ணெய் ஊற்றியதுபோல்ஆகிறது."

The notes given by UVS to Kuṟuntokai 106 show that the commentator Iḷampūraṇar considers the poem to describe a pre-marital situation in which the heroine does not dislike/is not angry at the messenger from the hero. But Nacciṉārkkiṉiyar, another commentator, thinks the poem deals with a situation after marriage. A comment by Pērāciriyar, another commentator, that receiving 'like fire into which ney is poured', is not possible in a pre-marital situation. May be he associates ney being poured into the fire with the Vedic fire ritual. I do not consider that a likely scenario. In contrast, Iḷampūraṇar's discussion of the poem in Kaḷaviyal makes more sense. Wilden is right in translating 'maṇa-' as 'unite' and not as 'marry' as some scholars have done. The waterfall and mountain clearly suggest Kuṟiñci as the landscape, as some scholars have considered. There is nothing in the poem that suggests that there is an 'other woman' in the picture. So I do not agree with T. V. Gopal Iyer's view that this poem belongs to Marutam.

Who is the messenger here? According to Tolkāppiyam Poruḷatikāram, those who are allowed to speak in poems dealing with pre-marital love include pārppāṉ (brahmin/priest), pāṅkaṉ (companion), heroine's friend, heroine's foster mother, hero and heroine. Although the commentary for Iṟaiyaṉār Kaḷaviyal 3 identifies the companion as a pārppāṉ, Nacciṉārkkiṉiyar (commentary for Kaḷaviyal 10) only says that the companion is "perumpāṉmai pārppāṉām", i.e., in majority of the instances the companion is a brahmin/priest.  Although poems like Kuṟuntokai 156 suggest the companion being a brahmin/priest, Naṟṟiṇai 250 and Naṟṟiṇai 370, in both of which, the hero invites the bard to laugh with him, suggest that the companion could have been a bard earlier. Moreover Nacciṉārkkiṉiyar in his commentary on Tol. P. 193 refers to pāṇaṉ as pāṅku paṭṭoḻukum pāṇaṉ and pāṭiṉi as talaivimāṭṭup pāṅkāyoḻukum pāṭiṉi even as Tol.P. 193 lists pāṅkaṉ separately from the bard and his female counterpart. Interestingly, in their commentaries to the sūtra beginning with "avaṉaṟi vāṟṟa", Iḷampūraṇar considers Naṟṟiṇai 90 as spoken to the hero's companion. But Nacciṉākkiṉiyar considers the same poem as spoken to the bard. 

Thus whatever be the view of the later grammarians in classifying the companions as distinct from the bards and that only companions could speak in poems dealing with pre-marital love, the internal evidence from the poems suggest that the bards could have been companions too. If that were accepted then, they could have served as messengers not only after marriage but before marriage too. 

If that were accepted, Periya Tirumoḻi 8.2.2, makes eminent sense.  A maiden being in love with the hero (Viṣṇu), the bard (pāṇaṉār interpreted as religious teacher) acting as a messenger, and the girl being resolute in passion towards Viṣṇu, all fit the pre-marital love scenario with no 'other woman' being present.  The lack of anger towards the messenger also explains the honorific form, pāṇaṉār.

I would appreciate any comments on this solution.

Thanks in advance.

Regards,
Palaniappan

-----Original Message-----
From: palaniappa <palaniappa at aol.com>
To: indology <indology at list.indology.info>
Sent: Sat, Feb 15, 2014 11:19 am
Subject: [INDOLOGY] Periya Tirumoḻi 8.2.2

Even with the understanding that the devotional poems of the Vaiṣṇava saints do not strictly follow the conventions of the Classical Tamil love poetry, the interpretation of Periya Tirumoḻi 8.2.2 is perplexing. Here is the verse given in Periya Tirumoḻi Iraṇṭām Tokuti (with Periyavāccāṉ Piḷḷai's commentary translated into Tamil by Ti. Vē. Kōpālaiyar) produced by EFEO and published by Teyvac Cēkkiḻār Caivacittāntap Pāṭacālai, Tañcāvūr, 2006, p. 962.

nīḷ nilā muṟṟattu niṉṟu ivaḷ nōkkiṉāḷ;
kāṇumō, Kaṇṇapuram! eṉṟu kāṭṭiṉāḷ;
pāṇaṉār tiṇṇam irukka, iṉi, ivaḷ
nāṇumō? naṉṟu naṉṟu Naṟaiyūrarkkē!

The verse is supposed to be the utterance of a mother about her daughter in love with Viṣṇu. The traditional commentary (p. 965) explains 'pāṇāṉār' in the verse by relating it to the Classical Tamil Marutam genre in which the bard acts as a messenger from the husband to his wife , who is mad at him for having gone to the other woman. But then it goes on to explain that 'pāṇaṉār' represents the religious teachers, who act to bring the souls toward 'God' and that in the verse the girl is resolute in her faith because of the religious teachers. And the mother concludes that the resolute girl will not be bashful in expressing her love toward Viṣṇu.  See attachment. 

I am not convinced by the commentary's explanation about the association with Marutam, the resoluteness of the bard, who is referred to in a very respectful way, and the lack of bashfulness of the girl. The respectful way the bard is mentioned suggests more of Mullai.  Won't a better interpretation be that the mother talks about her daughter, a maiden, who sends a message to her beloved through the bard; the bard comes back with the message that the hero will join her soon; emboldened by this certainty, the maiden has no bashfulness in expressing her love; and the mother is critical of the hero for causing this immodest behavior in her daughter? (Of course, many tiṇai conventions are violated here too.)

I would appreciate any comments on this verse and possible interpretations.

Thanks in advance

Regards,
Palaniappan

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