Episode 01 - Chapter 9 - Canto on Dasaratha's Funeral.
Chapter 9 – Canto on Dasaratha’s Funeral - பள்ளிப்படைப் படலம்
We move on to the next canto – பள்ளிப்படைப் படலம், one with intense, high drama, high octane exchanges, centre-staging Bharatha. Commentators almost universally place the character of Bharatha right at the top amongst the pantheon in this great epic – almost jostling shoulders with his elder brother and the central one, Sri Rama. Pravachana karthas and Pouranikas use an exalting appellation for him – Bharathaazhwaan. All this glory for Bharatha, despite the fact that Lakshmana is the one that steadfastly stands with Rama – indeed stands without a wink of sleep even as Rama sleeps – all through, fights fierce and famously great battles along with him in the war with Ravana, almost loses his life in the process and, as a crowning show of his sacrificial servitude to Sri Rama, sets up the pyre for Sita’s Agni PravEsa. In this canto and the next, we would see why.
Bharatha is also endowed with a short fuse, as short as Lakshmana’s. While Lakshmana’s simmering temper had to have the rain-cloud Rama to be proximate for dousing and not letting it spring out of control, for Bharatha, the temper had a built in control, the apprehension – “Rama will disapprove.” We would have him say repeatedly that he would have slayed Kaikeyi but for this in-built apprehension and reserve.
We recall Valmiki using the appellation, when Bharatha was born, “Satya Parakramah”, (endowed with the great valour of Truth) - even Rama was not attributed such grandeur of would-be attributes, when the babies are born.
As Dasaratha lay embalmed, waiting for his other two sons, Bharatha and Satrugna to come from Kekaya country and take hold of his last rites, Sage Vasistha sends messengers across to Kekaya, summoning these two immediately to return to Ayodhya. Sage Vasishta does not throw any hint of the earth-shaking disasters in Ayodhya in this message. The scroll, secured with sealing wax and the Ayodhya insignia and smeared with sandal paste (connoting auspiciousness) in order not to give out any clue to the grieving city, contains nothing but just summoning the two boys back to Ayodhya.
Despite all the fore-thoughts of the Sage, Bharatha instinctively knew something was amiss – possibly the call from Ayodhya was a bit premature? He enquires of the messengers:
“தீது இலன் கொல்? திரு முடியோன்” என்றான்.
Is the Emperor safe, unharmed?
The messengers just hand over the message scroll and politely stand by. Bharatha breaks the seal and opens and reads the message from Sage Vasishta: Seeing Vasishta’s innocuous recall message, Bharatha is filled with joy – at the prospect of going back to his father and particularly being with his elder brother Rama and generously reward the messengers.
சூடி, சந்தனம் தோய்த்துடைச் சுற்று மண்
மூடு தோட்டின் முடங்கல் நிமிர்த்தனன்;
ஈடு நோக்கி வந்து எய்திய தூதர்க்குக்
கோடி மேலும் நிதியம் கொடுத்தனன்.
Showing respect to the scroll from SageVasishta, Bharatha lifts it to his head in obeisance, then breaks the seal, unfolds the scroll and after reAading the message rewards the messengers – with more than crores of money.
Bharatha and Satrugna, taking leave of their maternal grandfather, the Raja of Kekaya, leave for Ayodhya rightaway – not even bothering to look for auspicious time or day - பொழுதும் நாளும் குறித்திலன் போயினான்.
They set course towards Ayodhya with an entourage befitting the Ayodhya princes – Kamban invests six lovely verses describing the entourage. We shall skip them, though.
The entourage travelled for seven days and reached Ayodhya. ஏறி, ஏழ் பகல் நீந்தி, பின், எந்திரத்து ஊறு பாகு மடை உடைத்து ஒண் முளை நாறு பாய் வயல் கோசலம் நண்ணினாள். Kamban says that they “swam” the distance – the mind was swimming ahead of the physical travel. The Kosala country’s fertility is indexed with the allegory: where the melting jaggery from sugar-cane mills flowed, boundlessly, into the rich, paddy-bearing fields of Kosala.
They find Kosala bereaved, lifeless and soulless, inanimates not excepted.
ஏர் துறந்த வயல்; இள மைந்தர் தோள்
தார் துறந்தன; தண் தலை நெல்லினும்,
நீர் துறந்தன; தாமரை நீத்தெனப்
பார் துறந்தனள், பங்கயச் செல்வியே.
The fields were unploughed. The strong and handsome shoulders of young men were bereft of the (usual) garlands. The fields were bereft of the (usual) ripening, rich paddy. Lotus flowers had wilted and gone as they were starved of water. As the lotus flowers did not exist, deprived of her usual seat, Sri Devi had deserted (Kosala.) – it seemed.
With the demise of their most loved Emperor Dasaratha and the departure of their darling Rama for the forests, Kosala had lost its soul and life.
நாவின் நீத்தரும் நல் வளம் துன்னிய
பூவின் நீத்தென, நாடு, பொலிவு ஓரீஇ,
தேவி நீத்து அருஞ் சேண் நெறி சென்றிட,
ஆவி நீத்த உடல் எனல் ஆயதே.
Kosala, endowed with indescribable wealth (the seat of the Goddess of Wealth), lost the Lotus flowers (allegory – the seat of the Goddess of Wealth having been lost, the country lost its glory and richness. The nation lost its grandeur. As Sri Devi, the one who is seated on Lotus, having departed for a non-returnable destination, the country became a body without life. (A dead body conjures some fear in people; similarly, Kosala’s looks were inducing fear.)
நெல்லும் உயிர் அன்றே, நீரும் உயிர் அன்றே,
மன்னன் உயிர்த்தே மலர்தலை உலகம்,
அதனால், யான் உயிர் என்பது அறிகை
வேல் மிகு தானை வேந்தற்குக் கடனே .. Puranaanooru 186 (PoruNmozhikkanchi)
It is not just food and drink that are critical for the people. It is the King who infuses life into his land by inculcating in his subjects a sense of security which alone rounds off the sense of well-being. The ruler shall therefore realize this duty of his and keep his people protected with his strong army. மலர்தலை = vast.
சென்று கேட்பது ஒர் தீங்கு உளது ஆம் ‘எனா நின்று நின்று நெடிது உயிர்த்தான் அரோ. = Bharatha bemoans as they traverse, seeing the lifeless Kosala: “We are running into some disaster here, yes.” He stops several times on his way and sighs deep and sad.
ஊரும் பண்டியும் ஊருநர் இன்மையால்,
தேரும், மாவும், களிறும், சிவிகையும்,
யாரும் இன்றி, எழில் இல; வீதிகள்,
வாரி இன்றிய வாலுக ஆற்றினே,
The vehicles had no travellers; the chariots, the horses meant to draw them, the elephants (meant to carry people), and palanquins, were desolate without people. The roads resembled the dry white-sand bed of a flowless river. (பண்டி = vehicle; in Telugu too, a vehicle is called a “bhaNdi”)
‘வேற்று அடங்கலர் ஊர் என மெல்லிதால்;
சூல் தடங் கருங்கார் புரை தோற்றத்தான்
சேல் தடங் கண் திருவொடும் நீங்கிய
பால்தடங் கடல் ஒத்தது, பார்’ என்றான்.
“This Ayodhya looks like a city under enemy occupation – without life or lustre; this looks like the ThiruppaaRkadal from where the One resembling the dark, rain-filled, cloud (Sri Maha Vishnu), with His Consort, Sri Devi, the One with Her large, fish-like eyes, had moved out.” Bemoans Bharatha to Satrugna. (The poet actually has in mind the departure from Ayodhya, of Sri Rama and Sita (equated with Thirumal and Sri Devi), as the cause of this pallor-looking, dead, city.)
What all did Bharatha miss while driving into Ayodhya?
The flags and festoons from the palaces of the city, which usually reached into the sky, beckoning the Sun and calling him in, for some nourishing nectar over here to refresh himself from his arduous path and duties, they were missing.
The exciting drum beats, beckoning all people to come and receive from good-hearted affluent people who would offer, for the sake of their reputation, their entire wealth – those drum beats were not heard.
The court singers who sing in praise of the Emperor and take with them – in apparent avarice resembling a loot – rewards that included elephants (cow, calf and bull) and immeasurable wealth. Those were missing. (மங்கலவள்ளை = songs invoking auspiciousness and praising the ruler – occurs across ancient Thamizh literature like PuRaNaanooru)
ஒரு வகைத்து அன்று உறு துயர்; ஊழி வாழ்
திரு நகர்த் திரு தீர்ந்தனள் ஆம்’
Satrugna responds to Bharatha: “Yes: what seems to have happened does not seem to be a disaster or grief of some ordinary kind. The Goddess of Wealth, who was destined to live here for eternity, seems to have left here for ever, for good.”
The duo arrives at the Royal Palace. Not seeing their father in his quarters, they reach Kaikeyi’s chambers. Kaikeyi enquires of the welfare of her father, her brothers and her sisters and Bharatha responds briefly in the affirmative. He then enquires: Where is Dasaratha, our father?
Kaikeyi – the poet brings to us a distilled picture of this character in this short phrase, which is shorn of any emotions or remorse. She just tells Bharatha:
“தேவர் கைதொழ, வானகம் எய்தினான்; வருந்தல் நீ”
“With all the Gods paying obeisance to him, he reached the Heavens. You don’t grieve.”
The poet brings to us a picture of Kaikeyi, her steely resolve, a cold, reckless, lack of concern for what would the world think of her, hail her or assail her, who is still without any remorse, or grief or any emotions, untouched, unaffected by the disaster she has wrought and which lay all around her, driven by her single-minded resolve to have her son crowned the King of Ayodhya and she becoming the Royal Mother. Would the son be pliant and acquiescing? Would he accept what she had done for him? She had not figured out her son, it would seem.
The defining words from her to her son: “Do not grieve.”
Bharatha, hearing these words from his mother – words that were like flames inducted into his ears, ‘தீ எரி செவியில் வைத்தனைய தீய சொல், is inconsolable. He assails his dead father:
அறம்தனை வேர் அறுத்து, அருளைக் கொன்றனை,
சிறந்த நின் தண்ணளித் திருவைத் தேசு அழித்து,
இறத்னை ஆம் எனின், இறைவ! நீதியை
மறந்தனை; உனக்கு, இதின் மாசு மேல் உண்டோ?
“Oh! My King! You destroyed Dharma from its roots. You killed compassion. Giving up your resplendent glow flowing from your limitless compassion, if indeed you had died, Oh! My King! you lost sight of (your duty of) justice. Could there be any worse blemish staining you?”
Bharatha uses the appellation “இறைவ!” – Almighty God, for the King. The King, according to Hindu perspective, is an aspect of Sri Maha Vishnu. “Prithveepathi Vishnu”. All good kings are presumed to be having an aspect of Sri Maha Vishnu.
திருவுடை மன்னரைக் காணில் திருமாலைக் கண்டேனே என்னும்,
உருவுடை வண்ணங்கள் காணில் உலகளந் தான்என்று துள்ளும்,
கருவுடைத் தேவில்க ளெல்லாம் கடல்வண்ணன் கோயிலே என்னும்
வெருவிலும் வீழ்விலும் ஓவாக் கண்ணன் கழல்கள் விரும்புமே.
(Nammaazhwar’s Thiruvaaimozhi).
Bharatha laments further, continuing to blame his father who set such high standards not just for monarchy but for a human that was divine as well, exemplified by the high codes of dharma he followed assiduously:
யாவர்க்கும் மனக்கு உறு நெறி செலும் வள்ளியோய்! மறந்து
உனக்கு உறு நெறி செலல் ஒழுக்கின்பாலதோ?
“You were a beacon of ideal for all of humanity, impeccably following dharma and ethics for everyone to follow. Did you forget your duty when you decided to leave (this world)?”
Bharatha seems to remind Dasartha (who is in the heavens, of course) of his own wish while expressing to his court, his desire to retire and have Rama crowned King of Ayodhya:
“மன்னுயிர்க்கு உறுவதே செய்து வைகினேன், என்னுயிர்க்கு
உறுவதும்செய்ய எண்ணினேன்”
“I had served all my life doing the right thing to all of humanity. Now, I would like to do something about my own life, its deliverance.”
Bharatha, finally, laments to Dasaratha: how did you decide to leave Rama?
கண்ணுடை
நுதலவன் சிலை விலின் நோன்மை நூறிய
புதல்வனை, எங்ஙனம் பிரிந்து போயினாய்?
“How did you leave your darling son, the one who shattered the famous Shiva Dhanus?” கண்ணுடை நுதலவன் = the One with an eye in His forehead – Lord Shiva.
‘இம்பர் நின்று ஏகினை; இருக்கும் சார்பு இழந்து,
உம்பர் வந்து உன் கழல் ஒதுங்கினார்களோ?
சம்பரன் அனைய அத் தானைத் தானவர்,
அம்பரத்து இன்னமும் உளர்கொலாம்? - ஐயா!
“Did the Gods, driven from their domain (by Asuras like the Samparasura who you vanquished and saved them before), did they come again to your feet and sought your help; are there Sampara-like asuras still (bothering the Devas)? Is that why you left this world and went heavenwards?”
‘பற்று இலை, தவத்தினின் பயந்த மைந்தற்கு
முற்று உலகு அளித்து, அது முறையின் எய்திய
கொற்றவன் முடி மணக் கோலம் காணவும்
பெற்றிலை போலும், நின் பெரிய கண்களால்?’
“You had conquered desire. But did you not want to stay and witness, with your large eyes, the coronation of Rama, the darling and exceptional son of yours, the reward from your extreme ascetics?”
At this point Bharatha is totally unaware of the other disaster – the abdication of Rama to the forests. So he laments the loss of his father in not being around when Rama would crown as Ayodhya’s King.
Having exhausted with his barbs at his departed father, Bharatha thought his grief would need the consoling broad shoulders of his elder brother Rama to cry on and get comforted.
‘எந்தையும், யாயும், எம் பிரானும், எம் முனும்,
அந்தம் இல் பெருங் குணத்து இராமன்; ஆதலால்,
வந்தனை அவன் கழல் வைத்தபோது அலால்,
சிந்தை வெங் கொடுந் துயர் தீர்கலாது’ என்றான்.
“Rama, the one with limitless virtues, endless compassion, is my mother, my father, my God and my elder; unless I disgorge my grief at his feet, this searing anguish cannot be doused.”
Bharatha now enquires of his mother: where is Rama? (He did not see any signs of him being around, obviously). Kaikeyi is, once again, cold and insensitive brevity personified: தேவி, தம்பி, என்று இவ் இருவோரொடும் கானத்தான்’ With his Consort and younger brother, he left for the forests.”
Bharatha is bewildered. The whole complex but singular disaster is released by Kaikeyi in searing, shattering instalment after another. Kamban credits her with this attribute: அசனிஏறு என,வெவ் உரை வல்லவள், = She is capable of delivering heart-shattering disastrous messages, out-thundering thunders.
Keeping a semblance of equipoise, Bharatha enquires, still in bewilderment: போயது தாதை விண் புக்க பின்னரோ? ஆயதன் முன்னரோ? Did he leave before Dasaratha’s death or after? What happened for him to deserve that abdication? Bharatha cites three presumptive causes which Kaikeyi refutes:
குருக்களை இகழ்தலின் அன்று; கூறிய
செருக்கினால் அன்று; ஒரு தெய்வத்தாலும் அன்று;
அருக்கனே அனைய அவ் அரசர் கோமகன்
இருக்கவே, வனத்து அவன் ஏகினான்’ என்றான்.
“It is not on account of humiliating elders; not on account of arrogance; not on account of any act of God either. And, he left when Dasaratha was alive.” (Kaikeyi uses a very honourable term for Dasaratha here - அருக்கனே அனைய = like the Sun God himself, because she is aware that Dasaratha kept his word to her even at the point of realizing that he would be dying and would see his darling Rama leave Ayodhya, as a direct consequence of his keeping that promise to her.
The riddle, unbearable riddle for a mind simmering with a deadly potion of grief, anger and bewilderment, continues. Kaikeyi measures her replies to him – exactly to the point of his query, not an inch farther. What else caused the extradition?
குற்றம் ஒன்று இல்லையேல், கொதித்து வேறு உளோர்
செற்றதும் இல்லையேல், தெய்வத்தால் அன்றேல்
பெற்றவன் இருக்கவே, பிள்ளை கான்புக
உற்றது என்? தெரிதர உரைசெய்வீர்.’ என்றான்.
“If there was no guilt (on the part of Rama), if there was no inimical conspiracy, if there was no act of god, and when the father was still around, why did the (eldest) son have to leave for the forest? Let me know with clarity.”
The conclusive confession tumbles out of Kaikeyi’s lips eventually:
வாக்கினால் வரம் தரக் கொண்டு, மைந்தனைப்
போக்கினேன், வனத்திடை; போக்கி, பார் உனக்கு
ஆக்கினேன்; அவன் அது பொறுக்கலாமையால்,
நீக்கினான் தன் உயிர், நேமி வேந்து’ என்றாள்.
“I made Dasaratha to fulfill his boons to me and with that had Rama sent forest-wards; and I ensured that this kingdom is yours. As he could not bear that grief, Dasaratha died.” Again so cold, matter-of-fact!
Your narrator would commend this verse for its special lilt and the exceptional brevity with which such calamitous news could be capsulated. Although she seems to be keen to exculpate and extricate herself of guilt in the eyes of Bharatha, the “mamakaara” in the words “போக்கினேன்” and “ஆக்கினேன்” come through as arrogant self-indictment.
சூடின மலர்க் கரம், சொல்லின் முன், செவி
கூடின; புருவங்கள் குனித்துக் கூத்து நின்று
ஆடின; உயிர்ப்பினோடு, அழல் கொழுந்துகள்
ஓடின; உமிழ்ந்தன, உதிரம் கண்களே!
Till Kaikeyi spoke thus, Bharatha was paying obeisance to her with hands folded over his head. Those hands dropped to close his ears now. The eyebrows narrowed and shivered. His breath was laced with flames. The eyes shed blood.
கொடிய வெங் கோபத்தால் கொதித்த கோளரி,
கடியவள் தாய் எனக் கருதுகின்றிலன்.
‘நெடியவன் முனியும்’ என்று அஞ்சி நின்றனன்.
இடிஉரும் அனைய வெம் மொழி இயம்புவான்.
The lion-like Bharatha, overwhelmed with fury, would have done his mother away with – that instant – mindless of the fact that she was his mother (and a woman); the one thing that restrained him was that Rama would be upset and would disapprove. He snarls at Kaikeyi and thundered :
(Rama was the reason why Bharatha wanted to kill his mother. Rama was also the reason why he restrained himself from that drastic act.)
நீ இனம் இருந்தனை; யானும், நின்றனென்;
“ஏ” எனும் மாத்திரத்து எற்றுகிற்றிலென்;
ஆயவன் முனியும் என்று அஞ்சினேன் அலால்,
“தாய்” எனும் பெயர் எனைத் தடுக்கற் பாலதோ?
“You are still alive; I am standing in front of you (restrained); I couldn’t finish you, though I could, before one said “A”. I was afraid that Rama would be upset with me. Otherwise, you being my mother would not have been reason enough to stop me (from killing you).”
Bharatha rubs it in, into Kaikeyi: “you are still alive because of Rama who you conspired to send to the forest.”
மாளவும் உளன், ஒரு மன்னன் வன் சொலால்.
மீளவும் உளன் ஒரு வீரன்; மேய பார்
ஆளவும் உளன் ஒரு பரதன்; ஆயினால்,
கோள் இல அறநெறி! குறை உண்டாகுமோ?
Bharatha ridicules himself, his plight and scorns with derision the whole code of Dharma that has accommodated all this: “A great king shall die because of the wicked words (of Kaikeyi); (as their other consequence), an incomparable warrior shall go – forest-bound; and a Bharatha shall rule the residual (tarnished) domain. What flaw could be adduced to the whole corpus of Dharma in this?”
Bharatha continues with his self-flagellation:
சுழியுடைத் தாயுடைக் கொடிய சூழ்ச்சியால்,
வழியுடைத்தாய் வரும் மரபை மாய்த்து, ஒரு
பழி உடைத்து ஆக்கினன், பரதன் பண்டு” எனும்,
மொழி உடைத்து ஆக்கலின் முறைமை வேறு உண்டோ?
“Because of his mother’s conspiracy, a great royal trAadition (of the eldest son ascending the throne after his father) was demolished; and Bharatha was guilty of that destruction of trAadition – Besides earning me that approbation, is there any other (good) consequence from what you have done?”
It would be interesting to recall here, Kaikeyi’s own reposte to Mandhara, initially, when Mandhara brought to her the proposition of Bharatha getting the crown of Ayodhya:
“மயின்முறைக் குலத் துரிமையை மனுமுதல் மரபைச் செயிர் உற”
We noted the rather rare phenomenon referred to by Kaikeyi then – the trAadition followed in the Manu dynasty, following the peacock species; we noted also that in that specie, the first born was the one which had golden plumes and never the succeeding progeny.
Bharatha’s self-flagellating laments continue:
“வில் ஆர் தோளான் மேவினன், வெங் கானகம்” என்ன,
நல்லான் அன்றே துஞ்சினன்; நஞ்சே அனையாளைக்
கொல்லேன், மாயேன்; வன் பழியாலே குறைவு அற்றேன் -
அல்லேனோ யான்! அன்பு உடையார்போல் அழுகின்றேன்.
“The One with the (Kothandam) bow astride his shoulders, Rama, went to the harsh forests; hearing that, the good King died instantly; I am unable to kill the poison-like one (who is the cause of all this tragedy); I am not dying either. I am “fulfilled” with all that blame, ain’t I? I am crying as if I was filled with love (and regard) for the two – Dasaratha and Rama! (Imputes to himself, a false, put-up, sense of grief.)”
என்றேனும் தான் என் பழி மாயும் இடம் உண்டோ? Is there a place and a time where and when my blame would be delivered?
ஏன்று, உன் பாவிக் கும்பி வயிற்றினிடை வைகித்
தோன்றும் தீராப் பாதகம் அற்று, என் துயர் தீர,
சான்றும்தானே நல் அறம் ஆக, தகை ஞாலம்
மூன்றும் காண, மா தவம் யானே முயல்கின்றேன்.
“I shall have to undertake severe ascetics – for atoning and washing the sin of having been in your filthy womb; for dousing the grief of the loss of my father and my dear elder Rama leaving for the forests; with Dharma as as well as the three worlds as the witnesses.”
சிறந்தார் சொல்லும்நல் உரை சொன்னேன்; செயல் எல்லாம்
மறந்தாய் செய்தாய் ஆகுதி; மாயா உயிர் தன்னைத்
துறந்தாய் ஆகின் தூயையும் ஆதி; உலகத்தே
பிறந்தாய் ஆதி; ஈது அலது இல்லைப் பிறிது’ என்றான்.
Bharatha thinks of an atonement for his mother as well. “Here! I am giving you some sage advice. Whatever you had done (your evil deeds), confess to your having done so in a state of mindless confusion and lack of lucidity; by giving up your life now, you could purge yourself of your sin. That could be the purpose of your having been born into this world. I can’t think of any other device of deliverance for you.”
Noteworthy would be the feature that Kaikeyi does not open her mouth, hereafterwards, through the rest of this epic.
Done with Kaikeyi and wanting to go and condole with the one soul that was most grieved in the palace, Bharatha goes to Kousalya. As he unburdens his agony and indirectly seeks her reprieve, she realizes that this one did not share the mind of his mother; he was not after the Ayodhya crown; his heart was pure.
நிலம் பொறை ஆற்றலன் நெஞ்சம் தூய்து
But she still wants to be absolutely sure that Bharatha was not a conniver. She queries him:
கைகயர் கோமகள் இழைத்த கைதவம்,
ஐய! நீ அறிந்திலை போலுமால்?’
Were you not at all aware of the conspiracy of the Kekaya Princess (neither your mother” nor “Kaikeyi”, but a “Kekaya Princess”!)? கைதவம் = conspiracy.
Bharatha is stunned. This is no ordinary person asking an innocuous query. It is the most aggrieved in this palace; and, it is Rama’s mother. How am I going to convince her that I am innocent? That churning torment triggers him into a huge, self-deprecating spasm of vows, to which he would condemn himself, if he were really guilty of what Kousalya was hinting.
Bharatha lapses into a long lament of self-deprecation which could come through as an all-inclusive list of sins, sacrileges and blasphemies in this world, which he was a sinner of. (He concludes this enumeration with the self-condemnation, that he shall reach the hell meant for each of these misdeeds and sins/sinners. அத் தீ எரி நரகத்துக் கடிது செல்கயான்’)
அறம்கெட முயன்றவன், அருள் இல் நெஞ்சினன்,
பிறன்கடைநின்றவன், பிறரைச் சீறினோன்,
மறம்கொடு மன்னுயிர் கொன்று வாழ்ந்தவன்,
துறந்த மா தவர்க்கு அருந் துயரம் சூழ்ந்துளோன்,
1. One who tried to disrupt an act of dharma (by a good soul);
2. One whose heart was bereft of compassion;
3. One who stood at the doors of others, (for his living) not doing his own penny’s worth; - begging without having to.
4. One who, without reason or provocation, snarled at others;
5. One who made a living by killing others;
6. One who caused agony and grief to innocent, learned sages.
குரவரை, மகளிரை, வாளின் கொன்றுளோன்,
புரவலன் தன்னொடும் அமரில் புக்கு உடன்
விரவலர் வெரிநிடை விழிக்க, மீண்டுளோன்,
இரவலர் அரு நிதி எறிந்து வௌவினோன்,
7. குரவரை = elders (five elders are usually denoted – The Ruler, The Teacher /Guru, The Father, The Mother and The elder brother.) One who had slaughtered his elders and women with his sword;
8. The One who goes to battle with his ruler, but flees the battle-field showing his back to the enemy forces;
9. The One who steals the scanty savings from those who beg for a living.
(“AchaarakkOvai extols virtuous habits and chores. And this is what it says about “Kuravar”):
அரசன், உவாத்தியான், தாய், தந்தை, தம்முன்,
நிகர் இல் குரவர் இவ் ஐவர்; இவர் இவரைத்
தேவரைப் போலத் தொழுது எழுக!' என்பதே-
யாவரும் கண்ட நெறி.
(The King, Teacher, Mother, Father, Elder Brother – these are peerless elders; pay obeisance to them as if they were gods. This is the chosen virtuous code.)
தழைத்த தண் துளவினோன் தலைவன் அல்லன்” என்று
அழைத்தவன், அறநெறி அந்தணாளரில்
பிழைத்தவன், பிழைப்பு இலா மறையைப் பேணலாது,
”இழைத்த வன் பொய்” எனும் இழுதை நெஞ்சினோன்.
10. The one who would proclaim Thirumaal (the one who wears Thiruthuzhaai) as not his God;
11. The one who wronged good Brahmins.
12. The one who with a wholly corrupted, perverted mind, instead of lauding and learning the Vedas, rubbishes them as a bundle of lies fabricated by someone.
Commentators would point out that this is another occasion where the poet is reaffirming his staunch affiliation to Sri Maha Vishnu as his Lord.
- The Vedas are not authored by anyone: they were heard as oracles by learned sages and collected and given to posterity. It is therefore called “Apaurusheya”. It is a given in Hindu theology that the Vedas are the foundation of all Truth. To call these a bundle of lies is the ultimate blasphemy)
தாய் பசி உழந்து உயிர் தளரத், தான் தனி,
பாய் பெரும் பாழ் வயிறு அளிக்கும் பாவியும்,
நாயகன் பட நடந்தவனும், நண்ணும் அத்
தீ எரி நரகத்துக் கடிது செல்க, யான்.
13. The one who, when his mother is dying of hunger, mindless of her misery and not doing anything to feed her, feeds his own stomach;
14. The one who flees the battle-field when his leader/commander falls to the enemy weapons.
“Let me go to that hell that is the preserve of all these (14 types of) sinners.”
தாளினில் அடைந்தவர்தம்மை, தற்கு ஒரு
கோள் உற, அஞ்சினன் கொடுத்த பேதையும்,
நாளினும் அறம் மறந்தவனும், நண்ணுறும்.
மீள அரு நரகிடைக் கடிது வீழ்க, யான்.
15. Let me to go that hell from which there is no return – to which is dispatched: (a) the mindless one who hands over a helpless person fleeing from his pursuers, seeks refuge, instead of protecting that one, hands him over to the pursuing enemies; (b) the one who forgets the good oblations even on a religiously important day.
பொய்க் கரி கூறினோன், போருக்கு அஞ்சினோன்.
கைக் கொளும் அடைக்கலம் சுரந்து வவ்வினோன்.
எய்த்த இடத்து இடர் செய்தோன், என்று இன்னோர் புகும்
மெய்க் கொடு நரகிடை விரைவின் வீழ்க, யான்.
16.“The one, under oath, lies as a witness; the one who backs off from battle; one who expropriates wealth entrusted for safe-keeping; one who tormented someone who is already in agony; let me go to that harshest hell to which these sinners are destined.”
‘அந்தணர் உறையுளை அனலி ஊட்டினோன்.
மைந்தரைக் கொன்றுளோன், வழக்கில் பொய்த்துளோன்,
நிந்தனை தேவரை நிகழ்த்தினோன், புகும்
வெந் துயர் நரகத்து வீழ்க, யானுமே.
17. “The one who set fire to the homes of learned Brahmins; the one who, (out of wantonness), kills young children; one who gives a perverted verdict, when an issue to referred to him to arbitrate on; the one who speaks ill of godheads; let me be thrown into that torturous hell to which these sinners are consigned.”
கன்று உயிர் ஓய்ந்து உகக் கறந்து பால் உண்டோன்,
மன்றிடைப் பிறப் பொருள் மறைத்து வவ்வினோன்,
நன்றியை மறந்திடும் நயம் இல் நாவினோன்,
என்று இவர் உறு நரகு என்னது ஆகவே.*
18. “The one who, milking a cow entirely for his own use, without letting the calf to suckle and thus letting it die; the one who pilfers the belongings of strangers in a public place; the one who, ungrateful, slanders those who had helped him; let that hell, to which these sinners are destined, be mine as well.”
ஆறு தன்னுடன் வரும் அம் சொல் மாதரை
ஊறு கொண்டு அலைக்க, தன் உயிர் கொண்டு ஒடினோன்.
சோறு தன் அயலுளோர் பசிக்கத் துய்த்துளோன்,
ஏறும் அக் கதியிடை யானும் ஏறவே.
19. “The one who, accompanying women as their chaperone, deserts them and flees for life when the women are harassed by evil elements; the one who, when his neighbours are starving, eats to his heart’s content; to that hell that these sinners would go, let me go as well.”
“கதி” (gathi) is the destination (contextually, after life.) “para gathi” is the most exalted destination i.e. “Moksha” . Apart from this, ordinary after-life destinations are considered to be four-fold: தேவகதி, மக்கள் கதி, விலங்கு கதி, நரககதி Divine, Human, Beastly and Hellwards.
எஃகு எறி செருமுகத்து ஏற்ற தெவ்வருக்கு
ஒஃகினன், உயிர் வளர்த்து உண்ணும் ஆசையான்,
அஃகல் இல் அறநெறி ஆக்கியோன் பொருள்
வெஃகிய மன்னன், வீழ் நரகின் வீழ்க, யான்.
20. “The one who, in a raging battle, submitting to the enemy out of