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In this episode, we perceive the portrait of a king’s land, as depicted in Sangam Literary work, Puranaanooru 22, penned about the Chera King Yaanaikatchey Maantharancheral Irumporai, by the poet Kurunkozhiyoor Kizhaar. The verse is set in the category of ‘Vaagai Thinai’ or ‘a king’s victory’ and speaks of protection and peace in this king’s domain.
தூங்கு கையான் ஓங்கு நடைய,
உறழ் மணியான் உயர் மருப்பின,
பிறை நுதலான் செறல் நோக்கின,
பா அடியான் பணை எருத்தின,
தேன் சிதைந்த வரை போல,
மிஞிறு ஆர்க்கும் கமழ் கடாத்து,
அயறு சோரும் இருஞ் சென்னிய,
மைந்து மலிந்த மழ களிறு
கந்து சேர்பு நிலைஇ வழங்க;
பாஅல் நின்று கதிர் சோரும்
வான் உறையும் மதி போலும்
மாலை வெண் குடை நீழலான்,
வாள் மருங்கு இலோர் காப்பு உறங்க;
அலங்கு செந்நெல் கதிர் வேய்ந்த
ஆய் கரும்பின் கொடிக் கூரை,
சாறு கொண்ட களம் போல,
வேறு வேறு பொலிவு தோன்ற;
குற்று ஆனா உலக்கையான்
கலிச் சும்மை வியல் ஆங்கண்,
பொலந் தோட்டுப் பைந் தும்பை
மிசை அலங்கு உளைய பனைப் போழ் செரீஇ,
சின மாந்தர் வெறிக் குரவை
ஓத நீரின் பெயர்பு பொங்க;
வாய் காவாது பரந்து பட்ட
வியன் பாசறைக் காப்பாள!
வேந்து தந்த பணி திறையான்
சேர்ந்தவர்தம் கடும்பு ஆர்த்தும்,
ஓங்கு கொல்லியோர், அடு பொருந!
வேழ நோக்கின் விறல் வெஞ் சேஎய்!
வாழிய, பெரும! நின் வரம்பு இல் படைப்பே,
நிற் பாடிய வயங்கு செந் நாப்
பின் பிறர் இசை நுவலாமை,
ஓம்பாது ஈயும் ஆற்றல் எம் கோ!
‘மாந்தரஞ்சேரல் இரும்பொறை ஓம்பிய நாடே
புத்தேள் உலகத்து அற்று’ எனக் கேட்டு வந்து,
இனிது கண்டிசின்; பெரும! முனிவு இலை,
வேறு புலத்து இறுக்கும் தானையொடு,
சோறு பட நடத்தி நீ துஞ்சாய்மாறே!
A long song to celebrate this Sangam king, known for his gaze, like that of an elephant. This is the third and final song by this poet about this king. His words can be translated as follows:
“With a hanging hand, an upright gait, bells ringing in synchrony, long tusk, crescent-like forehead, a gaze of fury, huge feet and thick throats, akin to a hill without bees, making flies buzz about, with faces coated with fluids of musth, stands and sways many a strong and powerful male elephant tied to posts;
Nearby, akin to the ray-showering, sky-residing moon, is the white umbrella, in whose shade, without their swords, they sleep in peace.
Thatched huts, woven with stalks of red paddy, with a roof built by tying together sugarcane stems, akin to a field of festivities, the place appears with adornments many. Here, the sounds of the pestle cease not and the arena resounds with uproarious sounds many. Here, also bloom ‘thumbai’ flowers with golden petals. Swaying above the flowers are luxurious palm fronds, and here, furious people come together for a wild dance, loud like the resounding waves of the ocean.
O protector of wide encampments that spread all over the land, with unguarded entrances! With the tributes of kings many, you render the requests of those close to you, O warrior king of the Kolli hills!
O victorious king CheEy with the gaze of an elephant, may you live long, my lord! With your limitless wealth you gift those who sing your praises, so much that they care not to sing about others. Such is your unceasing generosity, O monarch!
‘The land ruled by Maantharancheral Irumporai is a heavenly paradise indeed’, they said. Hearing this, I came and saw it to be true. With huge, untiring armies, you invade other lands without any rest and render food to all who come seeking to you!”
Let’s delve into the details about this victorious king! As it’s about a king with an elephantine gaze, the poet seems to begin with an etched portrait of battle elephants, talking about their long trunks, proud walks, chiming with bells, a moon-like forehead and their appearance resembling small hills sans bees, but there are other flies buzzing about because of the pouring musth liquids. He tells us how these elephants are tied to posts and standing there, they sway hither and thither, looking all around with the eyes of their owner king!
Then, the poet moves to the soldiers resting there, no swords nearby, under the shade of a moon-like umbrella. A striking image here is that the soldiers have no swords nearby and seem to sleeping ever so peacefully, the significance of which we will shortly delve into.
From this scene, the poet turns to talk about another place where the sounds of the pestle are ceaselessly heard, no doubt signifying the copious amounts of grains in that land that give no rest to these pounding hands. This town is a scene of festivity and people come together to perform a victory ‘Kuravai’ dance and celebrate amidst the fields of ‘thumbai’ flowers and palm fronds, the poet details.
Next, the poet remarks about how the encampments of the king spread everywhere, and yet, there are no guards at the entrances. Another subtle remark which has much significance. The poet then delves into the copious amounts of tax money that pour from other kings, which the king showers on those close to him. Calling him the ruler of Kolli hills, the poet talks about how the king showers so much wealth on those who sing about him that these poets have not the mind or need to sing about any other king. Following this with words the poet heard about the king from others that his land can be called a heaven on earth, the poet seems to have come there and now he declares that is true indeed. And he concludes with the words that the king travels to many, many lands with his armies relentlessly, and thereby, makes his land prosperous with food and wealth, even as the king seems to sleep not!
The interesting elements in this verse are scenes of soldiers sleeping without swords and of encampments having no guards at the entrance. This talks of a land and people who seemed to fear no trouble other than the trouble they went looking for. They seem to be sure that no one would attack them for so complete was the protection of their fierce-eyed king! Even as there is a lot of ‘telling’ about who the king is, in this verse, in these two instances, the poet seems to employ the superior technique of ‘showing without telling’ thereby elevating sublimely the reign of this Chera king!
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