Episode 01 - Chapter 17 - Canto on the Divine Wedding.
Chapter 17 – Canto on the Divine Wedding - கடிமணப் படலம்
THE GREATEST CELESTIAL WEDDING, THIS VERY BLESSED EARTH WAS FORTUNATE TO WITNESS – FEEL THE CRESCENDOS… NEXT POST.
SEETHA KALYANAM
The responses to the “Seetha Kalyanam” invitation was quite wide and very fulfilling: your narrator is very pleased to have been a small prodding instrument in so many families celebrating this Greatest Celestial Wedding our Mother Earth and its denizens were fortunate to witness. May the Choicest Graces of the Divya Dhampathis be conferred on all of Their Creation.
We would briefly go through the few celebrative verses in both the epics – those that were recommended for reciting during the celebrations last Sunday.
VALMIKI
कृत कौतुक सर्वस्वा वेदि मूलम् उपागताः |
मम कन्या मुनिश्रेष्ठ दीप्ता वह्नेः इव अर्चिषः
kR^ita kautuka sarvasvaa vedi muulam upaagataaH |
mama kanyaa munishreShTha diiptaa vahneH iva arciShaH
"Oh, eminent-saint Vashishta, after concluding the sacred “Kankana” (wrist band) ceremony, my daughter Sita has arrived at the ritual Altar, herself glowing like the altar flames.” Said Janaka to Sage Vasishta, announcing the bride being ready for the wedding rituals.
दर्भैः समैः समास्तीर्य विधिवत् मंत्र पुरस्कृतम् || १-७३-२३
अग्निम् आधाय तम् वेद्याम् विधि मंत्र पूर्वकम् |
जुहाव अग्नौ महातेजा वशिष्ठो मुनिपुंगव ||
darbhaiH samaiH samaastiirya vidhivat maMtra puraskR^itam || 1-73-23
agnim aadhaaya tam vedyaam vidhi maMtra puurvakam |
juhaava agnau mahaatejaa vashiShTho munipuMgava
ततः सीताम् समानीय सर्व आभरण भुषिताम् |
समक्षम् अग्नेः संस्थाप्य राघव अभिमुखे तदा ||
अब्रवीत् जनको राजा कौसल्य आनंद वर्धनम् |
tataH siitaam samaaniiya sarva aabharaNa bhuShitaam |
samaksham agneH saMsthaapya raaghava abhimukhe tadaa || 1-73-25
abraviit janako raajaa kausalya aanaMda vardhanam |
Then that king Janaka led forth Seetha, decorated resplendently with every variety of bridal jewellery, and had her stand facing Raghava across the Altar of Fire. Then Janaka addressed Rama, the great delight and joy of his mother Kousalya:
(This Sloka is among the most celebrated in the Valmiki Ramayana)
इयम् सीता मम सुता सह धर्म चरी तव ||
प्रतीच्छ च एनाम् भद्रम् ते पाणिम् गृह्णीष्व पाणिना
iyam siitaa mama sutaa saha dharma carii tava || 1-73-26
pratiicCha ca enaam bhadram te paaNim gR^ihNiiShva paaNinaa |
The plain translation would be: "This is Seetha, my daughter, she shall acquit herself in whatever (dhaarmic) duty you undertake. Take her wishfully, let safeness betide you, take her palm into yours” But the words used by Janaka here would seem to be a bit befuddling, with a streak of superfluity – or perhaps with a pregnant intent that the poet wishes to convey. Let us spend some time over this very pithy, interesting sloka, which has been the delight of commentators, pravachana kartas and pouranikas.
1. The formal introduction of the bride to the groom: “this is (the one peerless in beauty and virtues) the one!
2. The one-word history of Sita: one who was obtained at the edge of a golden ploughshare; the ayonija – one who did not go through the travails of a womb-residence.
3. This is the one you parted company with in Sri Vaikunta; here She is, reuniting with you.
An announcement to shake Sri Rama of the bemused spell he has been in ever since He saw Sita briefly on her terrace; He has been seeing Sita everywhere and in everyone since then. Janaka wants to be sure that Rama did not offer the wedding garland to the nearest form that looked like Sita to him! (Sri Velukkudi Swami’s (light-hearted) elucidation.) (This of course would mix up the two epics – Valmiki and Kamban; Valmiki does noshrImAn kapisthalam rangAchArya, the then tarka-vedAnta teacher in shrI venkateshvara vidyAlaya, tirupati,t document any meeting of the two prior to their meeting at the wedding hall. Kamban of course does, and does how spell-bindingly! “நிறத் துவர் இதழ்க் குயில் நினைப்பினிடை அல்லால்.புறத்தும் உளதோ?”
In Sanskrit etymology (niruktham), it is said that each word could be attributed as many as ten meanings / elucidations. For those who might have that interest, I attach a discussion of each one of the words in this particular sloka, in Sanskrit – courtesy Sriman Kapisthalam Rangacharya, the then (1913) Tharka Vedantha teacher in Sri Venkateswara Vdiyalaya, Tirupati - link:https://sanskritdocuments.org/sites/giirvaani/giirvaani/.../sps.ht)
पतिव्रता महभागा छाय इव अनुगता सदा ||
इति उक्त्वा प्राक्षिपत् राजा मंत्र पूतम् जलम् तदा
pativrataa mahabhaagaa Chaaya iva anugataa sadaa || 1-73-27
iti uktvaa praakshipat raajaa maMtra puutam jalam tadaa
"She who is connotes prosperity and who shall be husband-devout, will always be with you in all your life like your own shadow..." So saying, Janaka poured forth water into the palms of Rama, water that was sanctified with sacred mantras.
साधु साधु इति देवानाम् ऋषीणाम् वदताम् तदा ||
देव दुंदुभि निर्घोषः पुष्प वर्षम् महान् अभूत्
saadhu saadhu iti devaanaam R^iShiiNaam vadataam tadaa || 1-73-28
deva duMdubhi nir.hghoShaH puShpa varSham mahaan abhuut
Then there occurred a great celebratory shower of flowers from the heavens, there were celebratory and cheering shouts everywhere – from this earth and from the heavens – and there were intense celebratory drumbeats also from both the earth and the heavens. duMdubhi = (heavenly) drum. Saadhu – cheer.
மங்கல முரசு இனம் மழையின் ஆர்த்தன;
சங்குகள் முரன்றன; தாரை. பேரிகை.
பொங்கின; மறையவர் புகலும் நான்மறை.
கங்குலின் ஒலிக்கும் மா கடலும் போன்றதே.
The celebratory drumbeats (proclaiming the wedding) sounded like the peals of rain clouds’ thunder; conches were sounded; wind and percussion instruments, in concert, filled the place; the four vedas chanted by the vedic pundits , was like the mighty ocean heralding the sunrise with noisy waves.
மண்ணுறு’ சுடர் மணி வயங்கித் தோன்றிய
கண்ணுறு கருங் கடல்அதனை. கை வளர்
தண் நிறப் பாற்கடல் தழீஇயது ஆம்’ என.
வெண் நிறப் பட்டு. ஒளி விளங்கச் சாத்தியே;
Like the dark-blue ocean, the repository of priceless glittering gems being encircled by the intensely wave-swept Milky Ocean, Sri Rama, the dark-complexioned one, wore a glittering white silk.
இரதம் ஆண்டுஇழிந்த பின்னர். இரு மருங்கு. இரண்டு கையும்.
பரதனும் இளைய கோவும். பரிந்தனர் ஏந்த. பைந் தார்
வரதனும் எய்தி. மை தீர் மா தவர்த் தொழுது. நீதி
விரத மெய்த் தாதை பாதம் வணங்கி. மாடு இருந்த வேலை.
As Sri Rama, the one endows Auspiciousness, descended from his chariot, Bharatha and Lakshmana holding his two hands, led him to the wedding hall; as Rama paid humble obeisance to the sages (Vasishta, Viswamitra and others) and then to the Emperor Dasaratha whose reign was filled with spotless.justice and dharma. (Sita arrives, then.)
அலை கடல் பிறந்து பின்னை அவனியில் தோன்றி மீள
மலை இடை உதிக்கின்றாள் போல் மண்டபம் அதனில் வந்தாள்
Resembling Sri Sridevi herself, born from the Milky Ocean, descending this earth, rising from the hilly horizon, Sita arrived in the wedding hall.
தண்டிலம் விரித்தனன் தருப்பை சாத்தினன்
மண்டலம் விதி முறை வகுத்து மெல் மலர்
கொண்டவை சொரிந்து எரி குழும மூட்டினன்
பண்டு உள மறை நெறி பரவிச் செய்தனன்.
Sage Vasishta spread sand on the floor (to serve as a base for the Altar-Flame) “ThaNdila” is Sanskrit for a ritual sand square for the altar; spread the dharbha grass in the prescribed places; set up the altar as prescribed; and started the holy altar fire, feeding it with flowers and ghee. He followed the ancient vedic ritualistic procedures in proceeding with the wedding rituals.
மன்றலின் வந்து மணத் தவிசு ஏறி
வென்றி நெடுந்தகை வீரனும் ஆர்வத்து
இன் துணை அன்னமும் எய்தி இருந்தார்
ஒன்றிய போகமும் யோகமும் ஒத்தார்.
Accompanied by the engulfing fragrance of the flowers and incense, Sri Rama, the repository of victory and virtue and Sita, his swan-like beloved, were seated on their respective seats close to each other. They resembled the ultimate Ananda and the Yoga that accomplishes that Ananda.
“Bhoga” is normally connotative of sense-pleasures. Commentators also generally follow that root. But your narrator feels that that is too materialistic an attribute to be associated with Sri Rama. He thinks it should really connote Bliss – for this reason, that the means to that “Bhoga” is said here to be “Yoga”. I hope the Group would bear with me in this divergent presentation. Jives with the main Visishtadvaita principle that Sri Piratti is the means or purveyor of the ultimate mukthi.
கோமகன் முன் சனகன் குளிர் நல் நீர்
பூ மகளும் பொருளும் என நீர் என்
மா மகள் தன்னொடு மன்னுதி என்னாத்
தாமரை அன்ன தடக்கையின் ஈந்தான்.
Janaka, standing in front of Sri Rama, saying thus: “Like Sriman Narayana, the ultimate Truth "பரம்பொருள்"and Sri Piratti, seated on her lotus seat, live eternally with my daughter, Sita”, poured sacred water on to the lotus like large hands of Rama.
Like “போகமும் யோகமும்” here also commentators seek different interpretations for the terms “பூ மகளும் பொருளும்” but your commentator would like to stay with his.
அந்தணர் ஆசி அரும் கலம் அன்னார்
தந்த பல்லாண்டு இசை தார் முடி மன்னர்
வந்தனை மாதவர் வாழ்த்து ஒலி போல
முந்திய சங்கம் முழங்கின மாதோ.
As Janaka consummated the “kannika dhanam” (by pouring water on to the hands of Sri Rama) and then placing Sita’s tender, flower-like, hand into the large hands of Sri Rama, the place was filled with the hearty blessings of learned Brahmins, the “பல்லாண்டு” (Long Live) chorus of the assembled, well-lived, gracious and virtuous, women, (அரும் கலம் அன்னார்) the highly-cherished blessings of the great sages in the assmbely, the tributes paid by the countless kings and royalties who were attending, all mingled with the long conch-shell renderings, affirmed the great moment.
“புதல்வற் பயந்த திதலை அவ்வயிற்று. வாலிழை மகளிர் நால்வர்
கூடி. கற்பினின் வழாஅ நற்பல உதவிப் பெற்றோற்பெட்கும்
பிணையை ஆக!” (அக நானூறு.86) – Even in the Sangam Era, blessings by well-lived virtuous women (endowed with children), were highly valued and cherished.
வெய்ய கனல் தலை வீரனும் அந்நாள்
மை அறு மந்திரம் முற்றும் வழங்கா
நெய் அமை ஆவுதி யாவையும் நேர்ந்தான்
தையல் தளிர்க்கை தடக்கை பிடித்தான்.
Seated in front of the hot, glowing flames of the Altar, Rama chanted with avid religious fervour and recited thrice, the various mantras that were required to be chanted and offered ghee and other oblations into the Altar fire. He then held, in his large hands, the tender, gentle, flower-bough like hand of Sita.
They circumambulate the Altar Fire.
இடம் படு தோளவனோடு. இயை வேள்வி
தொடங்கிய வெங் கனல் சூழ்வரு போதின்.
மடம் படு சிந்தையள். மாறு பிறப்பின்.
உடம்பு உயிரைத் தொடர்கின்றதை ஒத்தாள்.
Sita, with her coy, cultivated innocence, followed the broad-shouldered Rama, as he circumambulated the Altar Fire, like the soul following the body incessantly.
The poet uses a simile that does not seem to fit the divine sanction of this celestial occasion and brings in one of the sore complaints of Hindu thought – incessant births by the soul. He should have had reason but your narrator couldn’t fathom it.
P.S. Here is an amplification of the four renowned virtues recommended for women in ancient Thamizh culture: courtesy – Wikipedia.
அச்சம் வரவிருக்கும் அபாயம் மற்றும் அவப்பெயர் குறித்து ஏற்படும் மன நடுக்கம் எனப் பொருள்படும். (A typically feminine trait that causes an internal shudder in anticipation of an oncoming hazard.)
மடம் இது மடமை எனவும் கூறப்படும். அறிந்தவொரு விடயத்தைக் கூட அறியாதவர் போல சபையில் எடுத்துக்கூறாத தன்மை என இது விளக்கப்படுகிறது. (Another feminine trait that stops one from venturing into delving in matters that one might not have completely mastered.)
நாணம் வெட்கப்படுவது எனப் பொருள் கொள்ளப்படும். (Another feminine trait that causes a typically gender-indexed shyness.)
பயிர்ப்பு கணவன் தவிர்த்த வேற்று ஆண்மகனின் உடல் பரிசம் பட்டதும் ஏற்படும் கூச்ச உணர்வு என இது விளக்கப்படுகிறது. பயிர்ப்பு என்றால் அசுத்தம், குற்சிதம் என்று மதுரைத் தமிழ்ப் பேரகராதியிலிருந்து பொருள் கூறப்பட்டுள்ளது. குற்சிதம் என்றால் அசுத்தம் - அருவருப்பு என்று பொருள் மதுரைத் தமிழ்ப் பேரகராதியிலிருந்து கூறப்பட்டுள்ளது (A feminine trait that causes extreme physical and mental aversion to the touch of a male, other than the spouse.)
வானவர் பூ மழை மன்னவர் பொன் பூ
ஏனையர் தூவும் இலங்கு ஒளி முத்தம்
தான் நகு நாள் மலர் என்று இவை தம்மால்
மீன் நகு வானின் விளங்கியது இப்பார்.
The floral tributes rained down from the heavens, made up of the divine “Karpaga” flowers, the rain of gold by the assembled royalty, the glittering pearls rained by the rest of the assembly, the freshly blossoming, fragrant, flowers raining in, it looked as if this wedding precinct – nay the whole of this earth - had become the glowing nightly heavens with countless twinkling stars.
ஆர்த்தன பேரிகள் ஆர்த்தன சங்கம்
ஆர்த்தன நால் மறை ஆர்த்தனர் வானோர்
ஆர்த்தன பல் கலை ஆர்த்தன பல்லாண்டு
ஆர்த்தன வண்டு இனம் ஆர்த்தன அண்டம்.
The “Beri” drums boomed; the Conch-shells resounded; the veda chants filled the air; all the Gods of the Heavens cheered aloud; all the art forms articulated with cheer; the huge chorus of “பல்லாண்டு” (Long Live) reverberated everywhere; bumble bees droned loudly with cheer; and the mighty seas resonated the cheer as well.
பங்குனி உத்தரம் ஆன பகல் போது
அங்கண் இருக்கினில் ஆயிரம் நாமச்
சிங்கம் மணத் தொழில் செய்த திறத்தால்
மங்கல அங்கி வசிட்டன் வளர்த்தான்.
That day in the month of Phalguni, with the Star Uththira Phalguni (Uttiram) in the ascendance, with Sage Vasishta raising the Altar Fire as prescribed in the different subsets (angas) of the vedas, the thousand-named, young lion, Sri Rama’s wedding rituals were accomplished by the Sage with great competence and conformity reaching the crescendo of the poornaahuthi.
(Readers would note that both the Aadi Kavi and Kamban (in sincere conformity here) render the Celestial Wedding with two main events of consummation: Kannikadhanam and PaNigrahaNam. There is no mention of “Mangalya DharaNam” which is a latter day evolution.)
An interesting postscript: Kamban exhilarates by inventing a unique way in which Sita manages to have a glimpse of Sri Rama, seated as she was by Janaka’s side and in the teeming assembly of Royalty, Dasaratha included and practically all of Ayodhya and Mithila: கைவளை திருத்துபு கடைக்கண் தேர்ந்தாள் (in the act of checking the symmetry of the bangles in her hands, he glanced sideways and saw Rama in the assemblage – making sure that this was indeed the one who stole her heart). Saint Thyagaraja, in his famous pancharatna kirtana … kana kana ruchiraa, exclaims: “ora kannule juche ninnnu.”
மங்களம்! மங்களம்!
mangaLam kOsalEndraaya mahneeya kuNapdhayE
chakravarthi dhanoojaaya Saarvabhowmaaya mangaLam
vEdha vEdhantha vEdhyaaya mEgha Syaamaa moorthayE
bhimSaaam mOhanaroopaaya puNya Slokaaya mangaLam.
Pithru bhakthaaya Sathatham bhrathrubhi saha Sitayaa;
Nandhithaakila lOkaaya Ramabhadhraaya mangaLam.
mangaLaa SaaSana parai: mdhaachaarya purOgamai:
SarvaiScha poorvairaachaaryai: SadhkruthaayaaSthu mangaLam.
****
We celebrated Seetha Kalyanam, along with the whole Universe. We did, though, have to content ourselves with a bare tour of the core ritual of the Universal Celebration. The Celebration was actually a lot more of pomp and pageantry, colour and noise, extroverted emotional flows and the whole universe becoming one entity in identifying itself with that incomparable joy and belonging. Kamban really exults in bringing out that Universal Celebration in his peerless style of poetic grandeur, leaving no part of the Universe outside of that drama.
It was your narrator’s difficult lot to invoke that restraint – with really a heavy heart. We have traversed for 64 weeks in this delectable journey but we are yet a couple of weeks away from the conclusion of “Bala Kandam” i.e. one-seventh of this great epic. Life is finite and mortals have to accept the limitations of time and move in concert with it.
However, your narrator is irresistibly tempted to bring to the Group just a glimpse – a sliver or two – of the grandeur of celebration that Kamban has produced for us.
People Flocking to the Wedding Hall:
தேர்மிசை வருவாரும். சிவிகையில் வருவாரும்.
ஊர்தியில் வருவாரும். ஒளி மணி நிரை ஓடைக்
கார்மிசை வருவாரும். கரிணியில் வருவாரும்.
பார்மிசை வருவாரும். பண்டியில் வருவாரும்.*
Riding chariots, aloft palanquins, moving by other (oxen-drawn, horse-drawn) vehicles, riding dark male-elephants decorated with glitteringly jeweled forehead plates, riding female-elephants, also treading the earth and on bullock-carts as well. கார் = bull elephant (by the dark complexion); கரிணி = cow elephant.
பண்டியில் நிறை வாசப் பனி மலர் கொணர்வாரும்.
தண்டலை இலையோடு. கனி பல தருவாரும்.
குண்டலம் வெயில் வீசக் குரவைகள் புரிவாரும்.
உண்டை கொள் மத வேழத்து ஓடைகள் அணிவாரும்.*
People were moving cartloads of cool, fragrant, fresh blooms and along with leaves like banana (for feeding from), fresh, ripe fruits from several groves, in order to feed the multitudes moving into Mithila to witness the Celestial Wedding. (The event took place in the summer month of April and those who were mindful of the need to provide cool, succulent, succour to the multitudes, were meticulous about what they brought in. Countless troupes of men and women were singing the “kuravai” folk songs with their earrings dazzling in the blazing sun. And some were fussy about adorning elephants – that devoured huge balls of food fed to them – with glittering bejeweled, forehead plates. (முகபடாங்களை)
Note that “பண்டி” occurring in the above two verses is the current Thamizh equivalent of “வண்டி”. The current collogue in Telegu is also பண்டி.
(The lilt in these verses is exceptional, isn’t it? The drama presented in rhythmic music.!)
The Vastness of the Wedding Hall Assemblage presented:
எண் தவ முனிவரும். இறைவர் யாவரும்.
அண்டரும். பிறரும். புக்கு அடங்கிற்று; ஆதலால்.
மண்டபம் வையமும் வானும் வாய்மடுத்து
உண்டவன் மணி அணி உதரம் ஒத்ததே.*
The Wedding Hall, accommodating all the great Sages (led by Vasishta), all the Gods (33 crores of them?), all the distinguished royalty, kings, princes and all their entourage, - nay the whole of this Universe – flowing in and comfortably drawn in, resembled Sri Maha Vishnu’s stomach. (Allegory: Sri Maha Vishnu swallowed all the worlds and protected them in His stomach till the deluge flowed and ebbed.)
தராதலம் முதல் உலகு அனைத்தும் தள்ளுற.
விராவின. குவிந்தன. விளம்ப வேண்டுமோ?
அரா - அணை துறந்து போந்து. அயோத்தி எய்திய
இராகவன் செய்கையை இயம்புவாம்அரோ:
Kamban exclaims: “What shall I say? Everyone in each of the seven worlds, desirous of witnessing this Great Celestial Wedding, came forth and crowded this place. Leaving His serpant recline in the Milky Ocean, descending into Ayodhya , all this unequalled spectacle is that Raghava’s own ordain, is it not?
(All the action in this fairy-tale, mystic, drama – where the Principal Actor is Sri Raghava – all this is also His own handi-work! )
Sita’s Bridal Presents by the Three Consorts of Dasaratha:
‘எண் இல கோடி பொன். எல்லை இல் கோடி
வண்ண அருங் கலம். மங்கையர் வெள்ளம்.
கண் அகல் நாடு. உயர் காசொடு தூசும்.
பெண்ணின் அணங்கு அனையாள் பெறுக!’ என்றார்.
Kousalya, Kaikeya and Sumitra presented to their lovely daughter-in-law, Sita, countless pieces of gold, immeasurable jewels made of gold and precious gems, huge armies of maids, dresses of the best finery – and vast domains of land. It is not just Kousalya. All the three Consorts, who regarded and loved Rama as their own Child, indeed dearer than their children, welcome their darling daughter-in-law Sita with these presents.)
(Sounds refreshingly different from today’s social custom that requires the bride’s parents to pawn his entire life and future and give as dowry outrageous sums of money, a car or atleast a two-wheeler, furniture, et al, doesn’t it?)
We have dwelt on Sree Seetha Rama Kalyanam. What about the other three?
வள்ளல் தனக்கு இளையோர்கள் தமக்கும்
எள்ளல் இல் கொற்றவன். ‘எம்பி அளித்த
அள்ளல் மலர்த் திரு அன்னவர் தம்மைக்
கொள்ளும்’ எனத் தமரோடு குறித்தான்.*
Janaka, with a royal reputation that was spotlessly clean of any criticism, arranged the wedding of the other siblings of Rama – with his own Daughter Urmila (for Lakshmana), his brother Kusathwaja’s two daughters Mandavi (for Bharatha) and Sruthakeerthi (for Satrugna).
Janaka Donates Everything other than his own Well-Earned Reputation
வேட்டு அவர் வேட்டபின். வேந்தனும். மேல்நாள்
கூட்டிய சீர்த்தி கொடுத்திலன் அல்லால்.
ஈட்டிய மெய்ப் பொருள் உள்ளன எல்லாம்
வேட்டவர் வேட்டவை வேண்டளவு ஈந்தான்.
Kamban, in line with his presenting the Sita-Rama Union in the unique Thamizh cultural format i.e. their having met each other first, having lost their hearts to each other and then deciding to marry, here says that Rama’s three siblings also wed their Consorts after meeting and getting love-struck with them.” வேட்டு அவர் வேட்டபின்”. (A whole courtship leading to the tying of the knot compressed in one short phrase: வேட்டு அவர் வேட்டபின்)
Janaka, in celebration, gave away all his immeasurable wealth – save only the fame and reputation that he had earned by his sage-like just reign – gave to whatever anyone desired and in whichever measure that was desired.
We have come to the conclusion of “கடி மணப்படலம்”, the celebratory wedding event.
Next up we would witness an extra-ordinary spectacle in the firmament:: one avatar (incarnation) of the same Paramaatma confronting another: one withdrawing energy and the other the emerging one.