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In this episode, we perceive the comparison of a pantheon of gods to a patron, as portrayed in Sangam Literary work, Puranaanooru 56, penned about the Pandya King Ilavanthikaipalli Thunjiya Nanmaaran by the poet Madurai Kanakkaayanaar Makanaar Nakkeeranaar. The verse is situated in the category of ‘Paadan Thinai’ or ‘king’s praise’ and celebrates the virtues of this king.
ஏற்று வலன் உயரிய எரி மருள் அவிர் சடை,
மாற்று அருங் கணிச்சி, மணி மிடற்றோனும்;
கடல் வளர் புரி வளை புரையும் மேனி,
அடல் வெந் நாஞ்சில், பனைக் கொடியோனும்;
மண்ணுறு திரு மணி புரையும் மேனி,
விண் உயர் புள் கொடி, விறல் வெய்யோனும்,
மணி மயில் உயரிய மாறா வென்றி,
பிணிமுக ஊர்தி, ஒண் செய்யோனும் என
ஞாலம் காக்கும் கால முன்பின்,
தோலா நல் இசை, நால்வருள்ளும்,
கூற்று ஒத்தீயே, மாற்று அருஞ் சீற்றம்;
வலி ஒத்தீயே, வாலியோனை;
புகழ் ஒத்தீயே, இகழுநர் அடுநனை;
முருகு ஒத்தீயே, முன்னியது முடித்தலின்;
ஆங்கு ஆங்கு அவர் அவர் ஒத்தலின், யாங்கும்
அரியவும் உளவோ, நினக்கே? அதனால்,
இரவலர்க்கு அருங் கலம் அருகாது ஈயா,
யவனர் நன் கலம் தந்த தண் கமழ் தேறல்
பொன் செய் புனை கலத்து ஏந்தி, நாளும்
ஒண் தொடி மகளிர் மடுப்ப, மகிழ் சிறந்து,
ஆங்கு இனிது ஒழுகுமதி! ஓங்கு வாள் மாற!
அம் கண் விசும்பின் ஆர் இருள் அகற்றும்
வெங் கதிர்ச் செல்வன் போலவும், குட திசைத்
தண் கதிர் மதியம் போலவும்,
நின்று நிலைஇயர், உலகமோடு உடனே!
A long song by yet another poet about this Pandya king. The poet’s words can be translated as follows:
“A bull on his raised flag of victory, with fire-like, matted braids, with an irresistible and rare axe, is the one with the sapphire throat;
A body akin to the conch shell that grows in the sea, with a plough that seeks murder, is the one with the palm tree on his flag;
A complexion akin to well-washed sapphires, a bird that soars to the sky on his flag, is the one who desires victory;
A sapphire-hued peacock on his flag, with unceasing victories, riding on that peacock, is the glowing Seyyon;
Four are these gods who guard this world. Of these four who hold the fame of never failing – In fury, you are like Kootruvan; In strength, like Vaaliyon; In fame, you are like Pughazh, who destroys enemies; In fulfilling intentions, you are like Murugu.
As you are like these great gods, could there be anything that’s hard for you? And so, render rare gifts to your supplicants unceasingly, and relish the joy of drinking cool and fragrant wine gifted by foreign merchants in fine vessels that are brought and raised before you in golden cups by maiden wearing shining bangles. Indeed live so happily, Maran, the one with the victorious sword!
Upon that alluring sky, akin to the hot-rayed sun that dispels deep darkness and the cool-rayed moon that rises upon the west, may you live a lasting life on this earth!”
Time to delve into the core meaning of these words! The poet starts by listing four different gods without naming them but identifying them by different elements such as their flag, the features of their skin, or the accessories they are carrying. For instance, the first God is said to have a bull on his flag, have a blue throat and carry a fiery axe. The next one has skin like a conch shell, a flag with a palm tree and he carries the agricultural tool of a plough, that’s not so meek but seeks murder. The third one in line has skin in the hue of sapphires, and a flag with an eagle symbol. The last one has a peacock in his flag and seems to ride on the same too.
To say it’s not a mere listing of Gods for those interested in a religious education, the poet comes to the crux of the matter and says how this king is similar to each of these Gods. Now, we get the names of the same gods in order. Respectively, the first one is called Kootruvan, the God of Death, whose characteristics contemporary Hindus associate with God Siva. The fury of Kootruvan is summoned to be placed in parallel to this king. Likewise, the next one is Vaaliyon, identified currently as Balaraman with his characteristic plough and this god’s strength is equated to this king. The third one, with blue skin and eagle flag is called as ‘Pugazh’, which is the word for ‘fame’ in contemporary Tamil, and this god is known currently as ‘Thirumaal’ or ‘Vishnu’, and in attaining victory, the king is said to be equal to this particular god. Finally, the fourth God with a peacock vehicle and a similar flag is called as ‘Murugu’, currently called as ‘Murugan’, and this god’s quality of fulfilling whatever he plans to do, is likened to the king. After this neatly wrapped-up presentation of parallels, the poet puts forth the question asking whether anything at all would be hard for this king.
Requesting the king to render charity without reservations to supplicants, the poet also wishes the king delights in a life, where he savours the fine wine brought by foreign merchants, who are referred to as ‘Yavanar’, served to him by maiden wearing golden bangles. The poet ends the verse by wishing that like both the hot sun and the cool moon, the king should live on forever!
A verse that gives insight into the belief in Gods by some poets in Sangam times. From these references, I understand God as an epitome of a certain laudable quality. It’s like they take an abstract characteristic and render it in vivid physical form, perhaps to make it tangible and accessible to the common people. Kings being equated to gods and kings acting as if they are gods, is nothing new in history. What’s interesting here though is that mention of foreign merchants, ‘Yavanar’ bring wine in well-carved vessels, and this ties up with the many archaeological discoveries of amphoras, having Greek and Roman origin, in many Sangam-era sites in Tamilnadu and Kerala! Trade between these far-off outposts were very much active in that ancient world and it’s intriguing to imagine what might have transpired in these past interactions between people of different ethnicities!
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