Episode 01 - Chapter12-Ayodhya prepares for wedding.
Chapter 12 – AYODHYA MOBILISES TO MITHILA FOR THE WEDDING எழுச்சிப் படலம்
Janaka poses to Sage Viswamitra both the available options: since Sita’s hand had been truly and celebratedly won by Rama, could the wedding be held right away; or, does the sage think that it is more appropriate and in good order to send for the lad’s father, family and entourage from Ayodhya and have the celebrations deferred for such wider participation. The sage expresses in favour of the second, more appropriate, option.
Janaka sends out messengers with due pomp and pageantry. The messengers arrive at the doors of Emperor Dasaratha’s court. What does it look like? Let us hear Kamban tell us:
அடி இணை தொழ இடம் இன்றி. மன்னர்தம்
முடியொடு முடி பொரு வாயில் முன்னினார்.
There was a stampede at the Court’s entrance: kings and princelings, (who paid tribute to the Emperor) wishing to pay obeisance at the feet of the Emperor, hustled with their crown-clad heads; the entrance was filled with countless such crowned heads and the messengers had to get past this melee.
FATHER’S MOMENT OF PRIDE
Dasaratha bids someone of his courtiers to read out the palm-leaf message sent to him by King Janaka; as the message is read
இலை முகப் படத்து அவன் எழுதிக் காட்டிய
தலை மகன் சிலைத் தொழில் செவியில் சார்தலும்.
நிலை முக வலையங்கள் நிமிர்ந்து நீங்கிட.
மலை என வளர்ந்தன. வயிரத் தோள்களே.
As the palm-leaf message was read out, Emperor Dasaratha, hearing about the bravado of his eldest son Rama in terms of defeating the famous Shiva Dhanus, was filled with pride and his diamond-like (strong) shoulders expanded like big hills (grew with pride) causing the ornaments adorning the shoulders to snap and fall down.
முற்ற ஏழ் உலகையும் வென்ற மூரி வில்
இற்ற பேர் ஒலிகொல் அன்று இடித்தது. ஈங்கு?’
Was the breaking of that notorious Shiva Dhanus that had defeated all the seven worlds (by defying all attempts by the most powerful and valorous heroes in all the seven worlds – till his own darling son Rama came along to accomplish that impossible deed) that we heard here as a deafening thunder? – We could imagine the father’s brimming pride in sharing that (factual) event with his court, in this presentation by the poet.
After rewarding the messengers as they had brought wedding news to him, Emperor Dasaratha orders his entourage to proceed towards Mithila (ahead of him and his Consorts and Bharatha and Satrugna); he also orders the proclamation of the wedding news to his people in Ayodhya:
ஆனை மேல் மண முரசு அறைக! ‘
Proclaim (the wedding news) through drum beats with elephants carrying the drums.
It was customary in the medieval Thamizh society for persons belonging to a particular sect “vaLLuvan” to proclaim to the people orders of the court or important news in the country. Kamban states that a “vaLLuvan” strode around the entire earth and proclaimed the wedding news; he, of course, can’t help but bring in a simile: “Like Jambavan traversed all through the seven worlds in trice and proclaimed the winning of the three worlds by “Thrivikrama” as prize from Mahabali:
……செங்கண் மாலவன்
ஆம் பரிசு உலகு எலாம் அளந்து கொண்ட நாள்
சாம்புவன் திரிந்து எனத் திரிந்து சாற்றினான்
The people of Ajodhya received the news of the forthcoming wedding of their darling prince Rama and exulted in happiness and merriment:
காற்று எறி கடல் எனக் களிப்பின் ஓங்கினார்.
(The people of Ayodhya) rose and reverberated with celebration like the seas roused by a strong wind.)
THE WHOLE OF AYODHYA MOBILISES
Responding to Dasaratha’s orders, his four-segmented, apparently limitless army (made up of foot-soldiers, cavalry, elephants and chariots) rose to move towards Mithila. (Denoting the rising of the army
விடை பொரு நடையினான் சேனை வெள்ளம். ‘ஓர்
இடை இலை. உலகினில்’ என்ன. ஈண்டிய;
கடையுக முடிவினில். எவையும் கால் பட.
புடை பெயர் கடல் என. எழுந்து போயதே.
Kamban brings to us his view of this mobilization of Dasaratha’s army:
The armies of Dasaratha, the one with the majestic walk of a great bull, filled the whole world without an inch of space; it looked like the end of time (end of “yuga” when everything is engulfed and devoured by ferocious winds) followed by the rising of the oceans to obliterate the world.
The women moved on bejeweled horses and elephants.
Kamban delves into scenes of intimate proximity (almost promiscuous) between men and women thrown together in that huge mobilization of the people.
The front-running segments reach Mithila:
உழுந்து இட இடம் இலை உலகம் எங்கணும்.
அழுந்திய உயிர்க்கு எலாம் அருட் கொம்பு ஆயினான்
எழுந்திலன்; எழுந்து இடைப் படரும் சேனையின்
கொழுந்து போய்க் கொடி மதில் மிதிலை கூடிற்றே!
Dasaratha, the life-support of all living beings, had not yet left his Court in Ayodhya; but his armies, rising and mobilizing towards Mithila ahead of him as ordered by him – its front fringes reached Mithila. How? There was not that space that could accommodate one single grain of lentil (black gram);
சேனையின் கொழுந்து (sEnaiyin kozhundhu) – literally one budding leaf of a whole tree; the front-running segment of the entire army.
(The poet underscores the speed of this immense army’s mobilization (not just the army but the whole population of Ayodhya) – traversing the distance between Ayodhya and Mithilia even before Dasaratha rose from his Court – impulse and desire to reach the wedding site and witness their darling Rama wedding Sita.)
We are in the precincts of the wedding hall- well, almost. Hold fast!
‘உரைசெய் எம்பெரும! உன் புதல்வன் வேள்விதான்
விரைவின் இன்று ஒரு பகல் முடித்தல் வேட்கையோ?
This does come across as remarkably unconventional – to seek Sage Viswamitra’s view if the wedding could be celebrated that very day – as the Shiva Dhanus was broken by Rama – and the option offered to the sage i.e. have the wedding properly proclaimed and conveyed to Dasaratha and he be invited for the celebrations. (Inviting Dasaratha comes as the second option).
A very interesting query this: before we get into this we must see what the Aadi Kaavya presents in this context. Sage Valmiki has Janaka propose to Sage Viswamitra that he would send his ministers to Dasaratha’s Court, proclaim the event when Rama has won Sita’s hand - सा वीर्य शुल्का – “saa viirya shulkam”, and have Dasaratha and his entourage come down to Mithila for the celebrations; “Sulkam” – the Sanskrit word has several meanings, from dowry to a (satisfying) settlement: the one, contextually appropriate here, is “contest prize”. Janaka expresses delight that he has been placed in a position to perform “Satya Pratigna”; that Rama, Dasaratha’s son, is the winner of Sita’s hand; that Sita would have Rama as her husband and so on.
भगवन् दृष्ट वीर्यो मे रामो दशरथ आत्मजः |
अति अद्भुतम् अचिंत्यम् च अतर्कितम् इदम् मया ||
bhagavan dR^iShTa viiryo me raamo dasharatha aatmajaH |
ati adbhutam aciMtyam ca atarkitam idam mayaa || 1-67-21
“Bhagavan! (Janaka, addressing Viswamitra): I (was fortunate to) witness the valour of Rama, Dasaratha’s son! It was most wonderful! It was unimaginable! I cannot (obviously) argue about this.
नाम् कुले कीर्तिम् आहरिष्यति मे सुता |
सीता भर्तारम् आसाद्य रामम् दशरथ आत्मजम् ||
janakaanaam kule kiirtim aahariShyati me sutaa |
siitaa bhartaaram aasaadya raamam dasharatha aatmajam ||
By getting Rama as her husband, my daughter Sita would most certainly bring repute and glory to Janaka’s (my) lineage.
मम सत्या प्रतिज्ञा सा वीर्य शुल्का इति कौशिक |
सीता प्राणैः बहुमता देया रामाय मे सुता |
|
mama satyaa pratij~naa saa viirya shulkaa iti kaushika |
siitaa praaNaiH bahumataa deyaa raamaaya me sutaa ||
Oh! Kaushika! My commitment, vow, that she (Sita) shall be the prize for the valour (in stringing the Shiva Dhanus) has (so delightfully) come about. And, Sita, my daughter, who is dearer than my own life, shall I give to Rama (as prize for his valour).
भवतो अनुमते ब्रह्मन् शीघ्रम् गच्छंतु मंत्रिणः |
मम कौशिक भद्रम् ते अयोध्याम् त्वरिता रथैः ||
bhavato nimate brahman shiighram gacChaMtu maMtriNaH |
mama kaushika bhadram te ayodhyaam tvaritaa rathaiH ||
Oh! Brahman! (Viswamitra!): Grant me permission for sending out my ministers to travel speedily by fast-riding chariots to Ayodhya.
राजानम् प्रश्रितैः वाक्यैः आनयंतु पुरम् मम |
प्रदानम् वीर्य शुक्लायाः कथयंतु च सर्वशः ||
raajaanam prashritaiH vaakyaiH aanayaMtu puram mama |
pradaanam viirya shuklaayaaH kathayaMtu ca sarvashaH ||
On hearing the message from my ministers, (I expect) Dasaratha (and his Court) would arrive and grace my dominion and be present, witness and bless the endowment of Rama’s valour’s prize (he securing the hand of Sita.)
What could have moved Kamban to commit this impropriety?
We have seen Kamban’s proclivity to impute to the epic a heavy dose of Thamizh period, Thamizh culture, Thamizh social customs, Thamizh country’s richness, etc. In times of yore, it was quintessential Thamizh custom for young persons who fall in love with each other, consummate that emotional bond into a physical one, even if doing so without their folks having a scent of it. This is celebrated as களவியல். In other words, the young people committed to each other without waiting for the relationship being approved or blessed by the respective parents/family, or society.
I find that the late Sri R.P. Sethu Pillai, a reputed Thamizh litterateur of yore and a great exponent of Kaman, explains the ancient Thamizh culture involving காதல் - களவு – கற்பு – ஒழுக்கம்.
“ஆதியில், காதல் மணமே தமிழ் நாட்டில் சிறந்து விளங்கிற்று. ‘காதல் இல்லாத வாழ்க்கை உயிரில்லாத உடல் போன்றது’ என்பது தமிழர் கொள்கை.
“காதல் என்பது உணர்ச்சி; கற்பு என்பது ஒழுக்கம். உணர்ச்சியால் ஒன்றுபட்ட நம்பியும் நங்கையும் (தலைமகனும் தலைமகளும்) ஒருவரை யொருவர் தமக்கே உரியவராகக் கொண்ட நிலையிலே தோன்றும் ஒழுக்கமே கற்பு என்பர்.
“சீதையின் காதலில் வைத்து இந்த உண்மையைக் காட்டுகின்றார் கம்பர். மிதிலை மாநகரத்தில் கன்னி மாடத்தின் மேடையிலே நின்ற சீதையும் வீதியின் வழியாகச் சென்ற இராமனும் தற்செயலாக ஒருவரை யொருவர் நோக்கினர். இருவர் கண்ணோக்கும் ஒத்தது; காதல் பிறந்தது. காதலர் இருவரும் ஒருவர் இதயத்தில் ஒருவர் புகுந்து உறவாடினர்.
“இந்த நிலையில் இராமன் தன்னுடன் வந்த தம்பியோடும் முனிவரோடும் வீதியிற் சென்று மறைந்துவிடுகின்றான். அவன் இன்னான் என்று அறியாள் சீதை. அவன் எங்கே சென்றான் என்பதும் உணராள்; ஆயினும், அவனையே கருத்தில் அமைத்துக் கரைந்து உருகுகின்றாள். அந்த வேளையில் ஓடி வருகின்றாள் அவள் தோழியாகிய நீலமாலை; ஆனந்தமுற்று ஆடுகின்றாள்; பாடுகின்றாள். “தோழீ! என்ன செய்தி?” என்று கேட்கின்றாள் சீதை. அப்போது தோழி சொல்கின்றாள்: “அயோத்தி அரசனுடைய மைந்தன்; அஞ்சன வண்ணன்; செந்தாமரைக் கண்ணன்; அவன், தம்பியோடும் முனிவரோடும் நம் மாளிகைக்கு வந்தான்; உன் திருமணத்திற்காக வைத்திருந்த வில்லைக் கண்டான்; எடுத்தான்; வளைத்தான்; ஒடித்தான்” என்று கூறி முடிக்கின்றாள்.
“அப்பொழுது சீதையின் மனம் ஊசலாடத் தொடங்கிற்று; கவலையும் உண்டாயிற்று. வில்லை எடுத்து வளைத்து ஒடித்த வீரன், தான் கன்னி மாடத்திலிருந்து கண்ட ஆடவனோ? அல்லனோ? என்ற ஐயம் பிறந்தது. அவனாகத்தான் இருக்க வேண்டு மென்று ஒருவாறு மனத்தைத் தேற்றிக்கொண்டு, தோழி சொல்லிய அடையாளங்களை மீளவும் நினைத்துப் பார்த்தாள்.
“கோமுனி யுடன்வரு கொண்டல் என்றபின்
தாமரைக் கண்ணினான் என்ற தன்மையினால்
ஆம்அவ னேகொல்என்று ஐயம் நீங்கினாள்.”
“ஆனால், நொடிப்பொழுதில் மற்றொரு கருத்து அவள் மனத்தில் புகுந்தது. “என் தோழி சொல்லிய அடையாளங்கள் எல்லாம் உடைய மற்றொருவன் வில்லை வளைத்து ஒடித்திருந்தால் நான் என்ன செய்வேன்?” என்று அவள் எண்ணினாள்; ஏங்கினாள்.
“அந்த ஏக்கத்தினிடையே ஓர் ஊக்கம் பிறந்தது; உணர்ச்சியினிடையே ஒழுக்கம் எழுந்தது. காதல் கற்பாக உருவெடுத்தது. “அவன் அல்லனேல் இறப்பேன்” என்று சீதை முடிவு செய்தாள். கண்ணாற் கண்ட காதலனும் வில்லை ஒடித்த வீரனும் ஒருவனேயாயின் அவனை மணம் புரிந்து வாழ்வேன்; இல்லாவிட்டால் இறந்து படுவேன்” என்று உறுதி கொண்டாள் சீதை. கற்பு நெறி என்பது இதுதான். காதலனையன்றி மற்றோர் ஆடவனை மனத்திலும் கருத ஒருப்படாத உறுதியே கற்பு எனப்படும். இதையே திருவள்ளுவர் வியந்து பாடினார்.
“பெண்ணிற் பெருந்தக்க யாவுள கற்பென்னும்
திண்மைஉண் டாகப் பெறின்”
Could we therefore conclude thus? These two young people had met and are engulfed in love for each other. Rama has truly won that love by getting over the obstacle of the Shiva Dhanus. What could yet separate the two from consummating that engulfing love? Would that not be fit for immediate celebration? And, as far as Janaka is concerned, he sees Rama as the ward of Sage Viswamitra - . “உன் புதல்வன் வேள்விதான்” – let that sage take the responsibility for deciding on the two options. Kamban sees no impropriety at all in making those two propositions through Janaka.
What if Dasaratha did not approve of this match-making behind his back? What happens to Janaka’s “Satya Pratingna” then?
An elaboration of the context in the Aadi Kaavya would have Rama stand apart from the offer of Sita’s hand and leave the decision to his father, Dasaratha. That interpretation would have us understand that Rama ventured into the lifting and stringing of the Shiva Dhanus out of his adolescent curiosity – and egged on by Sage Viswamitra. He did not, at that point in time, reckon with the prize - his wedding with Sita. The Aadi Kaavya keeps the two - Rama and Sita – unacquainted with each other till they get wed.
The narrative flows in these two very great epics imbibe and give expression to the two distinct cultural streams with their own unique poetic grace and hence the pleasurable differences between the two – a connoisseur’s delight.
We heard Kamban describe the “spear-head” of the huge mobilization of people from Ayodhya for the Mithila Wedding as “the leaf-shoot”: consider the allegorical import: this is the leaf shoot of the tree that has filled out the whole of Mithila (without space for a black-gram grain to drop down); and there is the whole tree that is yet arriving!
We would see, as briefly as we can, the movement of the “rest of the tree”, including the main actors – the wives and Consorts of Dasaratha, the two other princes and the Emperor himself. Alongside, we would selectively savour some more of Kamban’s exceptional reverie, engrossed in this unprecedented movement.
Kamban compares this mobilization of people and all kinds of transport, to the flow of the mighty Ganges:
அங்கண் ஞாலத்து அரசு மிடைந்து. அவர்
பொங்கு வெண்குடை சாமரை போர்த்தலால்.
கங்கை யாறு கடுத்தது - கார் எனச்
சங்கு. பேரி. முழங்கிய தானையே.
The vast-flowing army of people, resonating with the playing of conches and huge drums that reminded the thunder-peals of huge rain-clouds, resembled the mighty flow, in full spate, of Ganges (filled with all kinds of flotsam and jetsam swirling around), as Ayodhya, the best piece of land on this earth, was endowed with countless parasols of all hues and fans (saamaram) made of the tail-hair of “kavari” deer and those countless paraphernalia, moved with the huge swell of people. (This is a bird’s eye view of the mobilization.)
(We find a seemingly compulsive influence of poets by words and expressions, by various metaphors, used by predecessor-composers of yore. One striking example is of Sri Andal’s Thiruppavai and Nachiar Thirumozhi where we find inescapable influence of the metaphor and words used by her father and mentor, Sri Periyaazhwaar. Now in this particular verse, Kamban uses the term “ அங்கண் ஞாலத்து “ that would remind readers of Andal’s Thiruppaavai Verse 22: அங்கண் மா ஞாலத்து அரசர்*….)
The poet gets engrossed with the countless and riveting love-play amongst young men and women in this huge mobilization of people. Here is an outstanding exclamation of his:
சுழி கொள் வாம் பரி துள்ள. ஒர் தோகையாள்
வழுவி வீழலுற்றாளை. ஒர் வள்ளல்தான்.
எழுவின் நீள் புயத்தால் எடுத்து ஏந்தினான்;
தழுவி நின்று ஒழியான்; தரைமேல் வையான்.
As one of the fine horses (endowed with the best circles on their torso prescribed to define fine horses), suddenly jumps about in excitement, scared by that melee, one lovely young women riding that beast was about to fall; a chivalrous young man alongside, with his strong and long arms, holds her from falling; holds her aloft in transfixed admiration of her loveliness; forgetting even about his first impulse to embrace her; nor putting her back on the ground. (There is another interpretation to the last line: he embraced her while holding her aloft – wouldn’t place her on the ground.)
The whole moving sea of people resonates with Rama’s valourous deed in chording and breaking the reputed Shiva Dhanus. Here is Kamban:
சந்த வார்குழல் சோர்பவை தாங்கலார்.
சிந்து மேகலை சிந்தையும். செய்கலார்.
‘எந்தை வில் இறுத்தான்’ எனும் இன் சொலை
மைந்தர் பேச. மனம் களித்து ஓடுவார்.
As the men raved: “Our darling Rama broke the bow (Shiva Dhanus)”, the women, obsessed with the single-minded thought of reaching Mithila soonest, started running recklessly towards Mithila in unfettered joy, forgetting to gather their lustrous hair that was falling unbound, forgetting to collect their precious gold waist-bands that were falling apart.
There was night’s darkness and day’s sunlight in the same very moment in time!
குடையொடு பிச்சம். தொங்கல் குழாங்களும். கொடியின் காடும்.
இடை இடை மயங்கி. எங்கும் வெளி கரந்து இருளைச் செய்ய.
படைகளும். முடியும். பூணும். படர் வெயில் பரப்பிச் செல்ல-
இடை ஒரு கணத்தினுள்ளே. இரவு உண்டு; பகலும் உண்டே!
The dense collection of multi-coloured parasols, with their decorative drops adding to the density, the forest-like congregation of all kinds of flags, enveloped the whole movement, causing the impression of nightfall; and the glitter of the (armoured) army, the shining armour and crowns, together spread sun-like light; and this caused the amazing phenomenon of both night’s darkness and day’s sunlight, in the very same moment.
(Thongal, Peeli, Kunjam refer to decorative drops from the fringes of spread parasols.)
Kambans narrates the movement of all of Dasaratha’s women (all Sixty Thousand of them முப்பதிற்று இரட்டி கொண்ட ஆயிரம்… அரும் திருவின் நல்லார் - : and his three Consorts – Kaikeyi, Sumithra and Kousalya – in that order. Let us see Kousalya’s journey –
வெள் எயிற்று இலவச் செவ்வாய் முகத்தை வெண் மதியம் என்று.
கொள்ளையின் சுற்றும் மீன்கள் குழுமிய அனைய ஊர்தி.
தெள் அரிப் பாண்டி பாணிச் செயிரியர் இசைத் தேன் சிந்த.
வள்ளலைப் பயந்த நங்கை. வானவர் வணங்க. போனாள்.
With her gleaming white teeth and crimson-red lips, Kousalya’s face must have resembled the full moon: as the twinkling multitudinous stars (fishes of the sky) crowd around the full moon, the First Consort, the proud mother of Sri Rama (வள்ளலைப் பயந்த நங்கை) rode in the midst of dense vehicles all around her, to the accompaniment of musically talented “ceyiriyar” filling the entourage with honey-like “paandi” (thakkEsi) scores of music, also to the accompaniment of the adoration and praise sung by gods of all heavens.)
Bharatha and Satrungna are of course in this royal entourage:
திரு வளர் மார்பர். தெய்வச் சிலையினர். தேரர். வீரர்.
இருவரும். முனி பின் போன இருவரும் என்ன. போனார்.
These two very much resembled the two who went along with Sage Viswamitra – Sri Rama and Lakshmana – themselves.
The Emperor moves:
பொற்றொடி மகளிர் ஊரும் பொலன் கொள் தார்ப் புரவி வெள்ளம்.
சுற்றுறு கமலம் பூத்த தொடு கடல் திரையின் செல்ல.
கொற்ற வேல் மன்னர் செங் கைப் பங்கயக் குழாங்கள் கூம்ப
மற்று ஒரு கதிரோன் என்ன. மணி நெடுந் தேரில் போனான்.
Dasaratha moves like another Sun itself - மற்று ஒரு கதிரோன் என்ன. Surrounded by women wearing numerous golden bangles; attractively decorated horses moving in concert like a surging flood. As the numerous kings and princelings paying obeisance to him with folded hands that resembled lotus closing their petal-lips (as the sun sets), surrounding him like a lotus-filled, man-made, sea, Dasaratha rode his glittering, golden chariot, like another sun. (The poet distinguishes this “sun” from the other original one; this one makes the lotuses close their petal-lips (the kings folding their palms together in obeisance) while the ‘other’ sun makes lotus bloom.) An extraordinary allegory!
Kamban gets inextricably involved with this remarkable mobilization – Dasaratha, His Consorts and his sixty thousand wives with their maids and other paraphernalia, his Court and Courtiers, his vast, seemingly limitless, army of the four different brigades (charioteers, cavalry, elephant-riders and foot soldiers), the countless kings, princes and princelings who pay tribute to the Emperor, along with their respective entourage, and of course, virtually the whole of Ayodhya, every citizen venturing into this exciting excursion wanting so dearly to witness their darling Rama’s wedding.
The poet is seen to be an inseparable emotional part of it and narrates for us, as a first person witness of both the engulfing big picture as well as the trivia of human behaviour – the joyous cavorting of young men and women, taking centre stage in his mind.
One might be tempted to compare this part of Kamban’s epic with Homer’s Iliad or with Sri Villiputhoorar’s Bharatham – but the inescapable conclusion would be that Kamban is poet nonpareil.. (Some excerpts from the two epics are given for us to get a flavour of comparison).
“VILLI BHARATHAM” – FIRST DAY’S BATTLE
சென்று தேர்களும் தேர்களும் சேர்ந்தன;
வென்றி வேழமும் வேழமும் ஊர்ந்தன;
நின்ற வாசியும் வாசியும் நேர்ந்தன;
வென்றி வீரரும் வீரரும் மேவினார்.
வாசி = horse
பார வாளமும் வாளமும் பாய்ந்தன;
கூர வேல்களும் வேல்களும் குத்தின;
வீர சாபமும் சாபமும் வீக்கின;
தூர வாளியும் வாளியும் தோய்ந்தவே.
பார வாளமும் = heavy swords; சாபமும் = bows; வீக்கின = destroyed;
வாளி = arrow, astra.
இட்ட தார்முடி மன்னவரோடு, எதிர்
இட்ட தார்முடி மன்னவர் எய்தினார்;
பட்டவர்த்தனப் பார்த்திவர் தம்முடன்,
பட்டவர்த்தனப் பார்த்திவர் எய்தினார்.
(It would be pointless to paraphrase and amplify these verses. We could hear the sounds of war in the words and their rhymes and we could ourselves visualize the battle-field when we run through these verses. Yes, but the sheer poesy, mind-blowing imagery (sometimes outlandish) enrapturing and impregnating the same passion and emotional throes that Kamban experiences, into the minds of the readers, is missing in this doubtlessly great epic .)
Homer’s Iliad – Book X (Translation by Samuel Butler)
As when fair Juno’s lord flashes his lightning in token of great rain or hail or snow, when the snow-flakes whiten the ground, or again as a sign that he will open the wide jaws of hungry war, even so did Agamemnon heave many a heavy sigh for his soul trembled within him. When he looked upon the plain of Troy, he marveled at the many watch-fires burning in front of Ileus, and at the sound of pipes and flutes and of the hum of men, but when presently he turned towards the ships and hosts of the Achaeans, he tore his hair by handfuls before Jove on high, and groaned aloud for the very disquietness of his soul. In the end he deemed it best to go at once to Nestor son of Neleus, and see if between them they could find any way of the Achaeans from destruction. He therefore rose, put on his shirt, bound his sandals about his comely feet, flung the skin of a huge tawny lion over his shoulders – a skin that reached his feet – and took his spear in his hand.
(There is an enjoyable presentation of detail that brings out the picture of the ground anticipating warfare, the potent Rain god, prospect of a storm and its wrath and the detail of Agamemnon dressing himself up for a mission. But this does come through as tepid and insipid in the context of Kamban, doesn’t it? May Homer and his admirers pardon me for this blasphemy)
Justice Maharajan, one of the modern-day connoisseurs of Kamban (rubbing shoulders with the other towering personalities of that ilk like T.K.Chidambaranatha Mudaliar, Rajaji, R.P.Sethu Pillai, M.Raghava Iyenger, V.M.Gopalakrishnamachariar, Sri Bhaskara Thondaiman, (Justice) M.M.Ismail, P.Sri Acharya and others), describes Kamban thus:
“Each word of his is a focus of persuasive energy, in which his living faith is transformed into the vibrations of the human voice.”
He then commends: “And those, who wish to expose themselves to these vibrations, must listen to the songs of Kamban in the original and not to the feeble and uncreative vibrations of the translator.”
He would place Kamban’s poetic reach and richness as materia poetica of Kamban The word “materia” is a Latin term to represent “collected knowledge” e.g. encyclopedia. Justice Maharajan sees Kamban as the repository of all poesy!
Kamban devotes five whole cantos to present to us this remarkable mobilization:
Frist, the mobilization, next the camping en route at a place called Chandra Saila and with the natural attractiveness of that place, then narrating how the actors in this immense group drama – not just kings, ordinary men, and women but beasts as well, overwhelmed by the joy of the occasion, get drunk with that joy and cavort and play about, then a whole canto to present how women busy themselves in the joyous engagement of plucking and collecting flowers, or just standing in admiration of the nature’s bouquet – incidentally imitating boughs of lovely flowers, then moving on graphically to present the pleasurable excesses of men and women in engaging in water-sports and then, of course, the salivating feasting.
We could invest a whole lifetime in these five cantos and dwell and enrapture ourselves in the quintessential Kamban poesy and still find ourselves unwilling to move on. But sadly, we don’t have the luxury of a lifetime to invest in hereabouts; we shall be denying ourselves of more powerful and scintillating drama further on; we shall be distracted from witnessing that great DIVINE WEDDING – “SITA KALYANAM” in Mithila. We need to content ourselves with a fleeting bumble-bee skim over some of the highlights of these five cantos and move on – reluctantly. நுனிப்புல் மேய்ந்தேதான் ஆக வேண்டும்
Of these five, we are done with the first one - எழுச்சிப் படலம், followed by
வரைக்காட்சிப் படலம் (76 verses)
பூக்கொய் படலம் (39 verses)
நீர் விளையாட்டுப் படலம் (33 verses)
உண்டாட்டுப் படலம் (66 verses)
This massive movement of the Emperor, His Consorts, his sixty thousand wives and their paraphernalia, the emperor’s Court (including the Raja Guru Vasishta), the countless kings, princes and princelings with their own wives and women and courtiers, the four-division army of charioteers, cavalry, elephants and foot-soldiers and practically the entire citizenry of Ayodhya, needed to rest and relax en route. They camp at a site called Chandra Saila.
Kamban devotes one whole canto of 76 verses in presenting the captivating natural beauty of this hilly place and what the men and beasts (the crowned royalty included) do here. Let us pick just one verse for savouring and then move on: