Episode 02 - Chapter 1 - Canto on Pampa Lake.
Chapter 1 – Canto on Pampa Lake - பம்பை வாவிப் படலம்
The Pampa mentioned hereabouts is not to be confused** with the river Pampa affiliated with Sri Ayyappa. This one is a lake situated near Hampi, south of Tungabhadra river. This is amongst the five most sacred lakes enumerated in the Hindu scriptures like Srimad Bhagavata Purana. The five sacred lakes are: Manasarovar (now in Chinese Tibet) , Bindu Sarovar (Patan District, Gujarat), Narayan Sarovar (Kutch District, Gujarat) , Pampa Sarovar (Koppal District, Karnataka) and Pushkar Sarovar – the famous “Pushkar” – Ajmer District of Rajasthan).
(**However, we find the AAadi Kaavya describe Pampa as a LAKE AS WELL AS A RIVER:
4.1.1
स ताम् पुष्करिणीम् गत्वा पद्म उत्पल झषाकुलाम् |
sa taam puShkariNiim gatvaa mam utpala jhaShaakulaam
He (Rama) arrived at the (Pampa) Lake profuse with lotuses, lilies and fishes.
4.3.7
पम्पा तीर रुहान् वृक्षान् वीक्षमाणौ समंततः |
इमाम् नदीम् शुभ जलाम् शोभयन्तौ तरस्विनौ ||
pampaa tiira ruhaan vR^ikShaan viikShamaaNau sama.ntataH |
mam nAadiim shubha jalaam shobhayantau tarasvinau ||
The AAadi Kaavya describing this water body varyingly as a Lake (PushkariNi) and a river (nAadiim) opens up speculation if Kishkinda was geographically located near Hampi in Karnataka or in Kerala. Widely understood location is the former.
The trek from Panchavati to Pampa Lake ought to have been along the harsh, but florally rich foot-hills on the eastern flank of the western ghats. Renowned exponents of Ramayana like Sri Velukkudi Krishnan would place “Kishkinda” around the same area where Pampa Sarovar is located. )
On with the epic:
Kamban could not get his (inner) eyes off this marvelous water body and waxes eloquent about its natural and spiritual attributes in exceptionally poetic and imaginative 21 verses. We pick, at random, as it was difficult to choose one from the others – just a few from these.
தேன் படி மலரது; செங்கண், வெங்கைம்மா -
தான் படிகின்றது; தெளிவு சான்றது;
மீன்படி மேகமும் படிந்து, வீங்கு நீர்,
வான் படிந்து, உலகிடைக் கிடந்த மாண்பது;
The lake was filled with honey-dipped flowers. Elephants with reddened eyes (due to ‘musth’) and powerful trunks bathed and frolicked here. The water was crystalline (despite the churn by the frolicking elephants). It was filled with fishes. It had the clouds of the sky resting on it (as reflection?). The brimful lake simulated the rain-filled skies and was thus remarkable.
காசு அடை விளங்கிய காட்சித்து ஆயினும்,
மாசு அடை பேதைமை இடை மயக்கலால்,
'ஆசு அடை நல் உணர்வு அனையது ஆம்' என,
பாசடை வயின்தொறும் பரந்த பண்பது;
Even though the waters were crystal clear – so clear as to reveal the precious and semi-precious gems lying in its deep bed, it did have, interspersed here and there in its vast expanse, leaf-layered eye-sores, like even the glowing, enlightened, pure intellect is infected and infused intermittently with devilish, dark thoughts.
The various fauna abounding on the surface of the lake, in it and around it seem to emote with Rama as he strolls towards the lake, filled as he was with grief and remorse, completely engrossed with Sita – some seemingly mocking at him and the others sharing his pain.
'களிப் படா மனத்தவன் காணின், ''கற்பு எனும்
கிளிப் படா மொழியவள் விழியின் கேள்'' என,
துளிப் படா நயனங்கள் துளிப்பச் சோரும்' என்று,
ஒளிப் படாது, ஆயிடை ஒளிக்கும் மீனது;
The fishes in the lake hid themselves from the sight of Rama, who was bereft of any joy due to separation from the most virtuous Sita (whose mellifluous speech put the speech of parakeets in the shade), as he might be reminded, if he sighted the fishes, of the lovely eyes of Sita and his normally tear-free eyes would collect drops of tear.
.Fishes hiding themselves from Rama’s sight! Reminds one of the lament of Nala, separated from his sweet-heart Damayanthi (due to the mischief of Saturn) in the great Thamizh rendering of “Nala VeNba”( நள வெண்பா.) by poet Pugazhendi. Nala, looking at crabs on the seashore he was walking along, scurrying into their holes as he approached them, thinks that they do not want to see this wretched man who deserted his sweetheart in the middle of the night and in a dense forest.
காதலியைக் காரிருளிற் கானகத்தே கைவிட்ட
பாதகனைப் பார்க்கப் படாதென்றோ - நாதம்
அளிக்கின்ற ஆழிவா யாங்கலவ ஓடி
ஒளிக்கின்ற தென்னோ வுரை.
Back to Kamban:
ஆரியம் முதலிய பதினெண் பாடையில்
பூரியர் ஒரு வழிப் புகுந்தது ஆம் என,
ஓர்கில கிளவிகள் ஒன்றோடு ஒப்பு இல,
சோர்வு இல, விளம்பு புள் துவன்றுகின்றது.
The indistinct cacophony from the untiring, unending, bird calls – several bird species calling with jarring notes indistinguishably mixed with each other – around the lake was like a number of unlettered fools, presumptuously thinking they were highly lettered, reciting indistinctly and without knowing what they were reciting, from the eighteen languages led by Sanskrit, in a discordant symphony.
Which are the eighteen languages, obviously literarily well known in Kamban’s times?
அங்கம், அருணம், கலிங்கம், கெளசிகம், காம்போசம், கொங்கணம், கோசலம், சாவகம், சிங்களம், சிந்து, சீனம், சோனகம், திரவிடம், துளுவம், பப்பரம், மகதம், மராடம், வங்கம்
The geography is identifiable, but the language spoken in 9th century CE in those regions are not reAadily associated except in obvious cases like Konkani, Singhalese, China, Thulu, Maratti, Bengali(?). Some in the group conversant with history of that period could take a shot. But we note that territories are not confined to India – we find references to Sri Lanka, China, Indonesia (சாவகம் = Java), Arab regions (சோனகம்), countries with which India then related – in terms of suzerainty, culture, religion and trade. திரவிடம் (Dravidam) is understood to be Thamizh by the derived Sanskrit distortion of “த்ரமிளம்” (DhramiLam).
கவள யானை அன்னாற்கு, 'அந்தக் கடி நறுங் கமலத் -
தவளை ஈகிலம்; ஆவது செய்தும்' என்று அருளால்,
திவள அன்னங்கள் திரு நடை காட்டுவ; செங் கண்
குவளை காட்டுவ; துவர் இதழ் காட்டுவ குமுதம்.
Swans romping in the lake, presented to Rama their captivating gait, as if to remind him of Sita’s gait; the water lily reflected Sita’s captivating eyes; “kumudham” flowers (red-tinted lillies) imitating Sita’s red, closed lips; all of them parAading their wares to Rama, resolved to cheer him up by parAading for him the physical attributes of the matchless beauty of Sita, though they felt totally helpless in relieving his pain by providing him the means of retrieving her.
வலி நடத்திய வாள் என வாளைகள் பாய,
ஒலி நடத்திய திரைதொறும் உகள்வன, நீர்நாய்
கலிநடக் கழைக் கண்ணுளர் என நடம் கவின,
பொலிவு உடைத்து என, தேரைகள் புகழ்வனபோலும்.
A rapturous symphony and opera for Rama! The “VaaLai” fishes frolicked to enact a sword play; otters swam around presenting a water opera mimicking the anklet-wearing vagrant rope-dancers (the otters skimming the waves resembled a rope-dance) and embellishing the show by the “VaaLai” fishes; hordes of frogs joined in with their croaking as if to applaud this opera cum symphony.
'வண்ண நறுந் தாமரை மலரும், வாசக் குவளை நாள்மலரும்,
புண்ணின் எரியும் ஒரு நெஞ்சம் பொதியும் மருந்தின், தரும் பொய்காய்!
கண்ணும் முகமும் காட்டுவாய்; வடிவும் ஒருகால் காட்டாயோ?
ஒண்ணும் என்னின், அஃது உதவாது, உலோவினாரும் உயர்ந்தாரோ?'
Rama pleads with the Lake: “Oh! The (sympathetic) lake! Your showing me the beautiful lotus flowers and the fragrant lilies was soothing balm for my hurting mind. But why would you stop with showing her (Sita’s) eyes and lovely face only? Why would you not show her – all of her – just once! When someone could lend a helping hand but withholds that help, how could misers be considered as good?”
Kamban rates miserliness as the lowest of low attributes in humans and that is evidenced here. Earlier he would accost miseliness thus:
''உளப்பரும் பிணிப்பறா உலோபம் ஒன்றுமே அளப்பருங்குணங்களை அழிக்கும்'' (Verse 384 – Bala Khandam – Thadaka Vadhai Padalam)
(Fostered in a greed-filled mind, miserliness alone, would destroy all the good attributes.)
'ஓடாநின்றகளி மயிலே! சாயற்கு ஒதுங்கி, உள் அழிந்து,
கூடாதாரின் திரிகின்ற நீயும், ஆகம் குளிர்ந்தாயோ?
தேடாநின்ற என் உயிரைத் தெரியக் கண்டாய்; சிந்தை உவந்து
ஆடாநின்றாய்; ஆயிரம் கண் உடையாய்க்கு ஒளிக்குமாறு உண்டோ?
“The strutting splendorous peacock! Humiliated by Sita’s matchless beauty, you were making yourself scarce, as if fleeing advresaries; but now that you know Sita is not around, are you feeling delighted! You are very familiar with the captivating looks of Sita, my life breath which I am searching for; yet, (instead of sympathizing with me) you seem to be pleased and dancing with glee! Endowed with thousand eyes (reference to the numerous glittering ‘eyes” in the peacok’s plumes), how could you hide! (It is not really your fault that you are flaunting yourself in front of me!)
பொன்பால் பொருவும் விரை அல்லி புல்லிப் பொலிந்த பொலந்தாது
தன்பால் தழுவும் குழல் வண்டு, தமிழ்ப்பாட்டு இசைக்கும் தாமரையே!
என்பால் இல்லை; அப் பாலோ இருப்பார் அல்லர்; விருப்புடைய
உன்பால் இல்லை என்றபோது ஒளிப்பாரோடும் உறவு உண்டோ?
“Oh! Lotuses! Ones with golden inner petals holding delicious pollen for the droning bumble bees, which seem to render a scintillating concert in mellifluous Thamizh, you know very well that Sita is not with me and she is not likely to be in any other place. If you deny she is with you – Sita as Piratti dwells on a Lotus – how could I relate with you when you conceal my sweetheart from me?”
Rama accuses the lotus for hiding Sita in it and denying him her presence.
'பஞ்சு பூத்த விரல், பதுமம் பவளம் பூத்த அடியாள், என்
நெஞ்சு பூத்த தாமரையின் நிலையம் பூத்தாள், நிறம் பூத்த
மஞ்சு பூத்த மழைய அனைய குழலாள், கண்போல் மணிக் குவளாய்!
நஞ்சு பூத்ததாம் அன்ன நகையால் என்னை நலிவாயோ?'
Rama now turns his ire to the Lily. “Oh! Lily! You so resemble Sita’s lovely eyes! But pray! Why this poison tinted mocking smile for me? Don’t you know that Sita, with red-tinted slender fingers, with dainty, delicate feet resembling lotuses set with red-corals, the one with dark tresses that matched dark rain-clouds, the one who blossomed in the lotus of my heart and took residence there, is not with me now? (Is Sita’s separation from me a matter of scorn for you? ) The poet has Rama imagine the blossoming of the lily as the flower’s mocking smile at him.
வார் அளித் தழை மாப் பிடி வாயிடை,
கார் அடிளக் கலுழிக் கருங் கைம் மலை
நீர் அளிப்பது நோக்கினன், நின்றனன் -
பேர் அளிக்குப் பிறந்த இல் ஆயினான்.
Rama, the repository of the attribute of benevolence, stood bemused (at the lake front), as he witnessed male elephants feeding their females with rich leafy boughs and cool water, the separation from Sita hurting him even more grievously with this sight of animal love-making.
நீத்த நீரில் நெடியவன் மூழ்கலும், தீத்த காமத் தெறு கதிர்த் தீயினால்,
காய்த்து இரும்பை, கருமகக் கம்மியன், தோய்த்த தண் புனல் ஒத்தது, அத் தோயமே.
As Rama entered the cool and soothing waters of the Lake for his morning bath and oblations, the water singed with Rama’s raging love-lorn fever, as a black smith dips a red-hot iron in cool water.
ஆடினான், அன்னம் ஆய் அரு மறைகள் பாடினான்,
நீடு நீர்; முன்னை நூல் நெறி முறையின், நேமி தாள்
சூடினான்; முனிவர்தம் தொகுதி சேர் சோலைவாய்,
மாடுதான் வைகினான்; எரி கதிரும் வைகினான்.
The One who redeemed the Vedhas coming unto this world as a divine swan, He bathed in the Pampa Lake and, after offering the prescribed ritualistic prayers, retired towards the grove that was home to several holy sages. And the sun went into the west. (This is an extraordinary allegory - நேமி தாள்
சூடினான் = Rama invoked and held on his head the feet of Sriman Narayana – while offering his ritualistic prayers. He held His own feet on His head – because he had to play out his Avatara as a human.
பூஒடுங்கின; விரவு புள் ஒடுங்கின, பொழில்கள்;
மா ஒடுங்கின; மரனும் இலை ஒடுங்கின; கிளிகள்
நா ஒடுங்கின; மயில்கள் நடம் ஒடுங்கின; குயில்கள்
கூ ஒடுங்கின; பிளிறு குரல் ஒடுங்கின, களிறு.
As the night descended, the flowers shut themselves. The birds withdrew into the groves (where they had nested) to sleep. The leaves of trees flopped in sleep. The parakeets became quiet. The koels’ cooing stopped. The strutting dances of peacocks ceased. Elephants stopped calling out. (The poet brings out the quiet that descends everywhere with nightfall.)
மண் துயின்றன; நிலைய மலை துயின்றன; மறு இல்
பண் துயின்றன; விரவு பணி துயின்றன; பகரும்
விண் துயின்றன; கழுதும் விழி துயின்றன; பழுது இல்
கண் துயின்றில, நெடிய கடல் துயின்றன களிறு.
Rama could not have a wink of sleep as he coped with his distress from the separation of Sita, while the whole world slept away.
As night falls, everything went to sleep – every living being, organisms, on this earth slept; the immobile hills, and the creates having them as their home, slept; the clear, spotless, water bodies rested too. The reptiles of the nether world went to sleep. The highly spoken sky and its bodies slept; even the usually nocturnal ghosts went to sleep. The elephants dozed away too. The only one who could not have a shut-eye was the one who usually sleeps (an awakened sleep, in fact) in the Thiruppaarkadal, he could not sleep a wink – because of his separation from Sita.
(Ancient lore would have us believe that the water bodies (including the seas?) would become placid for the duration of a “muhoortham” and that the ghosts also sleep for one “jamam” during night. 'பேயும் துயின்றதால் பேரியாமம்'; ''உயிர்புறம்பே தோன்றும் கழுதும் துயின்றதே'' (நள வெண்பா )
Another day dawns:
கடலில் வெம் கதிர்க் கடவுள் எழ, விமலன் வெம் துயரின் எழ.
As the sun breaks out of the horizon of sea, the blemishless Rama rose along with his scorching distress.
காலையே கடிது நெடிது ஏகினார் கடல் கவினு
சோலை ஏய் மலை தழுவு கான நீள் நெறி தொலைய,
ஆலை ஏய் துழனி அகநாடர், ஆர்கலி அமுது
போலவே உரைசெய் புன மானை நாடுதல் புரிஞர்.
(Rama and Lakshmana resume their long trek in search of Sita and in search of Sugreeva for help in this daunting challenge.)
Rama and Lakshmana, from Kosala country that is filled with cane-crushers and the noise from them, post-haste resumed their long trek through vast, sea like groves, through hills and through dense forests, in search of the doe-like Sita, the one with a speech that matched the divine nectar from the churning of Thiruppaarkadal.
“Cane-crushers” is an allegory that not only connotes the richness of Kolsala country but would also hint at the wringing/crushing distress of Rama and Lakshmana.