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PATTHUPPATTU IN SANSKRIT (Ten Sangam Classics)

I Part

BY

S. N. SRIRAMA DESIKAN, SIROMANI

WITH A FOREWORD BY

H. E. SRI K. K. SHAH

GOVERNOR OF TAMIL NADU

MADRAS

All rights reserved ] 1972 [Price Rs. 2-50

srcnit «r»r:

PATTHUPPATTU IN SANSKRIT (Ten Sangam Classics)

I Part

BY

S. N. SRIRAMA DESIKAN, SIROMANI

WITH A FOREWORD BY

H. E. SRI K. K. SHAH

GOVERNOR OF TAMIL NADU

MADRAS

All rights reserved'] 1972 [ Price Rs. 2-50

SHRI V. V. GIRI ( President of India )

[ Delivered the following speech during his release of

the Sanskrit Translation of Patthu-Pattu (Sangam Lite¬

rature) by Sri S. N. Srirama Desikan, under the auspices

of the South Indian Sanskrit Association, at Sringeri

Jagadguru Pravachana Mandiram, Mylapore, Madras on

I6th February 1973 ]

EXTRACT OF THE SPEECH

“ It is a great pleasure for me to be here to-day and

release the Sanskrit translation of the Tamil classic

“ PATTHU-PATTU ” by my friend Shri Srirama Desikan.

His service to the cause of literature is well known. As

you are all aware, he is the author of several well-known

translations and commentaries of Tamil and Sanskrit

classics. In fact, similarly, Desikan whom I have known

for a long time is a master of many languages, especially

Sanskrit and Telugu. He referred to Thirupathi. By

translating Tamil classics into Sanskrit, Shri Srirama

Desikan has rendered yeoman’s service to the cause of

national integration. I am convinced that it is by dedi¬

cated labour of writers that we can bring about great

understanding between different linguistic groups and

promote concord and amity among them. After all, langu¬

age is the vehicle of human thought and the purpose of

language is to cement human relationships. Language

should never be used to divide human beings into hostile

groups. The need of the hour is to build bridges of

understanding and I commend to the reading public

2

Shri Desikan’s latest offering. I always felt then and I still

feel that the children should study Sanskrit from their

infancy and one day, I hope, the language contraversy will

disappear and Sanskrit language will be the language of

the country. I once again commend my friend,

Shri Srirama Desikan's latest book " PATTHU-PATTU ”

in Sanskrit. I wish him many more years of fruitful

literary life.”

Mrs. Saraswathi Giri, wife of the President of

India, who was present on the occasion, expressed her

appreciation of the author’s intimate knowledge of several

Indian languages and her devotion to him as a Guru even

though he was younger to her in age.

Shri K. K. Shah. Governor of Tamilnadu, presiding

on the occasion, referred to the mastery of the author in

the two Indian languages - Tamil and Sanskrit.

The President, Shri Giri presented a Silver Kuthu-

viiakku to the author given by the South Indian Sanskrit

Association. The President, Shri Giri also presented a

Ponnadai given to the author by the Jagadguru H. H.

Sankaracharya of Sringeri Sarada Peetbam-

U. P. Government’s Award for Author’s work

The Avvaiyar’s Niti works in Sanskrit by Sri S. N.

Srirama Desikan has been awarded a cash award of

Rs. 500/- as being one of the best books in Sanskrit, by the Uttar Pradesh Government for the year 1973,

FOREWORD

RAJ BHAVAN

K. K. SHAH madras-22 ‘GOVERNOR OF Tamil NADU 2Oth November, IQ72

I have pleasure in introducing to the public this

Sanskrit version of the Tamil work “ Thirumurugatruppadai ”

and " Mullaippattu " brought out by Pandit S. N. Srirama

'Desikan. To translate a work from one language into

another is a task by no means easy as it requires mastery of

the two languages. Pandit Srirama Desikan possesses

this qualification. A research officer of the Kendriya

Samskrit Vidyapith, Tirupati, Pandit Srirama Desikan

was the recipient of the coveted President’s award for

Sanskrit in 1971. His earlier works include similar Sanskrit

renderings of Thiruppavai, Thirukkural, Silappadikaram

and Avvaiyar’s works. I admire the chaste Sanskrit in the

present work.

Tamil literature has a hoary past. The classical works

of the glorious Sangam Age (300 B.C. to 100 A.D.)

contain a collection of ten works called " Patthuppattu

“ Thirumurugatruppadai ” of the " Atruppadai” group is the

first and “ Mullaipattu ” is fifth of these ten. " Thiru¬

murugatruppadai ” is in praise of Lord Muruga. Variously

known as Kartikeya, Shanmukha, Skanda, etc., Muruga is

IV

the most popular God worshipped in Tamil Nadu and is »

source of inspiration to many a poet and saint. The

circumstances leading to the composition of this work

are interesting : The poet of this work, Nakkeerar, was-

confined in a cave by a demon who had already collected

and concealed 999 men and had been waiting for the

1,000th man to devour the whole lot. The poet found

himself to be the 1,000th man. Before the demon’s evil

design could materialise, Nakkeerar so fervently prayed to

Lord Muruga that He came to his rescue and destroyed

the demon. All were thus saved by His infinite Grace.

This poetical composition is therefore credited with the

power of saving devotees of Lord Muruga from any danger

or difficulty. As Nakkeerar shows the way to others to

get His Grace, the thematic classification " Atruppadai ”

is justified.

Those who know Sanskrit alone or those who know

both Tamil and Sanskrit are bound to read this work with

interest and profit- The description of Lord Muruga and

His famous Six Holy Resorts to which a pilgrimage is

commonly made, stirs piety in every heart and affords

spiritual solace.

Here is a soul-captivating piece —

V

srrfsrc! fef^^*T?r^gTJTr^f^r^^Tf^! WT^^rfawR*-

1wra'T^f?JT5n^3rJTr^! ar^rîft^rTfT^ref*TR!

The " Mullaippattu ", forming the second part of this

■work, refers to a love-lorn lady who was anxiously

expecting return of her husband from the battlefield.

Jl Mullai-thinai “ means pastoral land, one of five classifica¬

tions of land mentioned in Tamil literature. This work

describes the rainy season, Vishnu - the presiding deity of

the region-cows and calves- Ancient customs and

manners of the people of the region are also dealt with

in a graphic way. Here is a sample of the Virahatapa of

the heroine in Pandit Srirama Desikan’s rendering—

SFcrsrrcrsfar i <rfar: ^wstPptt- gstif i ;Trc?TfrcT-

faRRf?ft jttPtH mfcrgqpnrcr i ^ ST 5TfcTT?r I KTTO?aV

I fM faTOTS I ÎWfÊTJT^

mkssrfimrcwrfr sfacriJ^ms i

I congratulate Pandit Srirama Desikan on the good job

he has done, and I am sure his labours will have been amply

rewarded if this work gains a wider circulation.

K. K. SHAH

INTRODUCTION

K. R. SRINIVASA IYENGAR 91, Kutchery Road,

Vice-President, Mylapore, Madras-4.

Sahitya Academy, New Delhi. 20th November, 1972.

A new effort at translation from Tamil into Sanskrit

by Sri S. N. Srirama Desikan needs no commendation,

especially from one like me who has but small knowledge

of classical Tamil and even less of Sanskrit. His past

adventures in translation have been the means of opening

a useful Suez Canal between Tamil and Sanskrit, and

between Tamil Nadu and the rest of India ; and the present

endeavour is no less welcome.

Of the two pieces here put into Sanskrit,

Tirumurugatruppadai is one of the five "guide-poems”

in Patthuppattu —Ten Songs and indeed the greatest of

them all. Here a Bhakta who has won his way to God-

realisation (God in the form of Muruga) shows the way

to a strayed and puzzled wanderer in life—it may be you

or me—singing His glories, describing the six sacred spots

where He could be worshipped, teaching the aspirant the

word of prayer, and giving assurance of the Divine response.

By sleight of hand as it were, the guide-poem technique is

charged with significance and the song becomes a magical

manual of Bhakti Yoga.

The second piece, Mullaippattu is in celebration of

idyllic human love of holy wedded love, the pangs of

separation felt by the queen when her husband is away oh

the battle-field, and the joy of imminent reunion.

Sri Srirama Desikan's choice of these two out of the

ten brings out the two-fold best—the sacred and the

secular, the mystical and the human sublime—in

Patthuppattu. This is no mean service to the cause of

national integration which is so dear to us, and I hope

this book will reach a wide and appreciative audience.

K. R. SRINIVASA IYENGAR.

PREFACE

(1) Tamil Sangams

In days of yore, the Rulers of Tamil Nadu strove very

|iard for the growth of the ancient and great language of

Tamil with the aid of several poets functioning through

^hree SANGAMS, which were specially set up for this

purpose.

According to the commentary on IRAYANAR AHAP-

fPORUL, written by NAKKEERAR, these Sangams would

appear to have been established asunder:—

1st Sangam—about 4000 years ago at South Madurai,

■2nd Sangam—about 3000 years ago at Kapatapuram,

3rd Sangam—about 2200 years ago (3rd century B. C.) at

Madurai, by the PANDYAN RULER. As the capital

cities of the first and Second Sangams were overwhelmed

by the sea, we have absolutely no record now of the works

or happenings of those times. It is generally held by

savants in Tamil Research that what are available to us

at present are only the record and works of the last

Sangam that functioned from the 3rd century B. C. to the

1st century A D.

There are some, who deny the existence of any Sangam

in Tamil Nadu. But this contention ignores the numerous

references to the functioning of a Sangam contained in the

iextant works:—

Aham-Puram ; Paripadals; Kalitohai; Silappadi

fiaram; Manitnekalai etc.; works of commentators like

|Nacchinarkiniyar and Perasiriyar.

X

(2) Sangam Poet*

In the last Sangam (3rd century B. C. to 1st century

A. D.) about 461 poets engaged themselves in nourishing

it, through devoted research and scholarship. The chief

among these were NAKKEERAR, KAPILAR, PARANAR

and AVVAIYAR. A remarkable fact is that the Sangam

poets were honoured by all as such, without any distinction

of class, community, creed, occupation or sex; members

of the ruling class, as well as those hailing from the pries¬

tly, trading and agricultural communities, experts in the

different fields of mathematics, music, medicine, astrology,

astronomy and so forth; followers of Saivism, Jainism,

Buddhism etc.; and women jointly laboured for the

development of the Sangam, composing poems of their

own. These also did not come from any special region or

age group.

We have now anthologies of 2426 poems sung by many

poets on different occasions, about several rulers and on

varying themes. These are in different metres, varying in?

length from 3 to 4o lines.

In olden days, the life of the people was classified into

two broad groups—11 Aham” and “Purarn”. The former

denotes family life with the accent on love, while the

latter deals with external activities like wars, with the

accent on heroism, valour and the like. Of the four-fold

objects of life—Dharma, Artha, Kama and Moksha—Kama

or ‘Inbam” is brought under “ Aham", while the other

three—"Aram”, “ Portil” and “ Veedu are the pro¬

vince of “ Puram ” ; likewise, all literature is comprised

within these two groups. Thus, all the works of the-

Sangara poets come under the one or the other of these

two categories.

Further, these pcems give us glimpses of the legends,

history, wars, ruling dynasties, religious life, morals, and

cities of the Tamils in the bygone days, One special

feature is the delineation according to the five “ Thinais ”•

The land was grouped as “KURINJI” (hilly regions),

“ MULLAI ” (jungles - pastoral), “ MARUDAM ” (plains),

*‘NEIDAL” (sea-shore-coastal) and “ PALAI ” (waste

land). The underlying philosophy was that the way of

life and morals of the people would be shaped according

to the nature of the terrain where they resided. Conse¬

quently, the vay of living was set in five different moulds

on "THINAIS”, which were included under "AHAM”.

Similarly, the " PUR AM ” had seven groups.

In later days, the Sangam poems were grouped with

reference to their length, the classification under the five

“ THINAIS ”, the subject-matter, and the rulers extolled

and arranged in anthologies known as “ETTUTTOHAI ”

and ” PATTHUPPATTU ”. These are the first literary

works of the Sangam Age.

(3) Ettutthohai This comprises : —

A- Aham (i) AINKURUNOORU (The five short hundred) -500

stanzas; (ii) KURUNTHOHAI (Short anthology)-400

stanzas; (iii) NARRINAI-4C0 stanzas; (iv) AHANA-

NOORU - 400 stanzas : (v) KALITTHOHAI - 149 stanzas

xii

<<An anthology in a special metre. These deal with all

the 5 ** Thinais ”). B. Puram

*<vi) PURANANOORU - 400 stanzas ; (vii) PATHIRRUP-

PATTHU . 100 stanzas. (These deal with external or

“ Puram ” themes).

C. Aham and Puram

(viiij PARIPADAL - 22 stanzas (Dealing with both Aham

and Puram themes).

(4) Patthuppattu This comprises : —

A. Arruppadai (Guides to the path)

(i) THIRU MURUGA ARRUPPADAI. Guide to Lord

Muruga; (ii) PORUNARARRUPPADAI; (iii) SIRU-

PANARARRUPPADAI, (iv) PERUMPANARARRUP-

PADAI (v) KOOTHARARRUPADAI, Guides to bards,

dancers etc. B- Ahapporul

(vi) KURINJIPPATTU-dealing with the hilly regions ;

(vii) MULLAIPPATTU - dealing with the pastoral regions;

(viii) PATTINAPPALAI - dealing with the waste lands.

C. Purapporul

(ix) NEDUNALVAADAI - dealing with camp life ; (x)

MADURAIKKANCHI - dealing with life in Madurai,

festivals etc. These are the works of NAKKEERAR (2),

RUDRAM - KANNANAR (2) and 6 other poets. The

metre used is “ ASIRIAPPA ”. The arrangement in the

antholgy is according to the length of each - the total

number of lines is 3552. NACCHINARKKU INIYAR has

commented extensively on these works.

xiii

(5) Thirumurugaarruppadai (Nakkeerar)

This work of 317 lines is the first among the “ Guides ”...

The theme is that of a “Liberated Soul” (MUKTA),

meeting an ardent devotee who is vainly hungering for the

Lord, notwithstanding all his virtues, and assuring him

that through the praise and adoration of Muruga, salvation

was sure and then showing him the way to the abode of

Lord Muruga.

The term “ ARRUPPADUTHAL ” means that with

the noble desire of sharing one’s bliss with another, showing

him the way to it.

The author is NAKKEERAR who flourished in the

Sangam Age. Some scholars hold that this poet was the

presiding genius among all others who devoted themselves

to the development of Tamil. He was the son of

MADURAIKKANAKKAYANAR, a professor of Tamil in

Madurai.

Nakkeerar pointed out a grammatical error in a poem

(KONGUTHERVAZHKAI) written by LORD SIVA

Himself for a poor Brahmin named “ Dharmi ”, This led

to a dispute between Nakkeerar and the Lord. In the end*

the Lord showed his third eye situated on His forehead to

declare Himself. But nothing daunted- Nakkeerar

proclaimed

“ An error is an error, though the Lord might open his

fiery third eye ! ” Such a courage of spirit is unique to this

poet! Tradition has it that after falling down a victim to

the rage of the Lord, his body all burnt, he pacified the

XIV

Lord by composing a poem - “Appeasement" (Kopa-

prastdam).

Another event is recorded in the commentary of

PERASIRIYAR for “ TOLKAPPIAM " (a Grammatical

work).

A potter by name, 4 KUYAKKONDAN ” declared

from the public platform that 44 ARY AM ” (Samskrit) was

supreme and that Tamil was less in merit. Angered by

this presumption, Nakkeerar, sang a poem which made

the potter fall down dead. Then at the entreaty of other

poets, he revived the potter by singing another song.

The traditional account for the origin of " THIRU-

MURUGAARRUPPADAI ” is as follows

For insulting Lord Siva, the poet was cursed to become

-& leper, but was told that a pilgrimage to KAILASA would

cure him. Accordingly, Nakkeerar went to KAILASA and

engaged himself in meditation on the bank of a tank,

sitting under a banyan tree. Just then, a strange l?af

fell down from the tree and this disturbed the poet's

meditation. A demon had by this same trick got hold of

999 persons and imprisoned them. Now, it seized Nakkeerar

as the 1000th person and confined him The poet then

composed this poem-“THIRUMURUGAARRUPPADAI ".

Lord Muruga now appeared before him, slew the demon

and liberated him as well the other 999 persons.

(6) The Story

The first 65 lines of the poem deal with the main

theme (as already stated of a liberated person) showing

the way to a Devotee for attaining the grace of Lord

XV

Muruga “ the Omnipresent consort of ‘ Devayanai ’

wearing a garland of KADAMBA flowers and mighty

enough to vanquish all foes.”

The devotee enquires about the ' Abodes ' where Lord

Muruga is blessing the faithful with His glorious Presence.

The Mukta then describes the 6 camps of the Lord in

Tamil Nadu-w'z. Tirupparankunram (near Madurai),

Tirucheeralaivai (Tiruchendur), Tiruvavinan Kudi (Palni

Hills), Tiruveraham (Swamimalai near Kumbakonam),

Kunruthoruadal (Tiruttani and other hill tops), Pazha-

mudirsolai (Alagar Hills beyond Madurai).

In lines 67-249 of the poem are described beautifully

he glotries of the 6 “ Abodes ” and the Lord’s Presence

therein. The order is as follows :—

1st camp:- The glory of Madurai and the beauty of

Tirupparankunram to the west. 2nd camp The glory

of Lord Muruga with 6 faces and 12 arms, seated on an

elephant. 3rd camp Combined entreaty to Muruga by

Lord Vishnu (Tirumal), Siva, Indra and other hosts of

heaven, to lift the curse on Brahma. 4th camp - The

proper way by which Brahmins adore the Lord, with the

MANTRA ‘‘ NAMAH-KUMARAYA ’’ (Obeisance to

Muruga). 5th camp The ” Kuravai ” dance of Muruga

with KURAVA (gypsy) damsels. 6th campThe

abundant glory of the Alagar hill s. the beauty of the

rippling stream there, all the places sanctified by Muruga’s

Presence, the method of His worship, and the attainment

of His Grace by the devotee.

The succeeding lines, 250-281, contain the exhortation

of the MUKTA for the devotee to go to any of the 6 Holy

Abodes and announce his desire to the Servitors of the

Lord (Bhoota Ganas), who will convey it to the Lord, and

the assurance that the Lord will then appear before him,

bless him and fulfil his desire.

The final lines, 295-317, give a picturesque description

of the falling stream and the fair natural scenery all

around in the special Abode of Muruga- "PAZHAMUDIR-

SOLAI ” (Alagar hills).

This is the brief resume of the subject matter of the

poem.

(7) Special Features.

" TOLKAPPIAM ” is the oldest extant grammatical

work in Tamil, anterior to the Sangam classics. The 36th

Sutra in the Chapter dealing with " Subject-matter ”

( Poruladhikaram) lays down the features of the “ ARRUP-

PADAI ” (putting in the way) works, thus:—

Dancers, bards, instrumentalists and females of these

species, in unison, with the desire that others ot their class

should also get gifts from a generous benefactor, as they

had got, show them the way to the same person.

After stating that this is the “ Guide to the Path ”,

TOLKAPPIAM also indicates the general Rule that good

persons, with a view that others should also get the "riches”

that they had obtained, point out the way to persons

whom they chance to meet. It is in pursuance of this

general rule that the special "Guides” have been

composed.

xv ii

The essence of the"TOLKAPPIA SUTRA” is that an

artist shows the path to a generous HUMAN benefactor,

for the benefit of another artist. In contrast, Nakkeerar

has in his work made one Devotee show another the path

to LORD MURUGA Himself. This change from man to

God as the goal, makes the work unique.

(8) Sanskrit influence

It should be noted (notwithstanding his scuffle with a

potter mentioned above) that NAKKEERAR was also

learned in the Vedas, Dharma Sastras, Puranas and other

Sanskrit works. In fact, he sought to be a bridge between

Sanskrit and Tamil, by incorporating several ideas from

Sanskrit works in his Tamil poems. To illustrate:—

(i) Lines 62-64 of “THIRUMURUGAARRUPPADAI”

are an exact translation of MANTRAS 8-9 in

" KATHOPANISHAD ” indicating the way to attain the

Lord, (ii) Lines 176-189 describe the six "occupations” of

Brahmins, their vow of celibacy for 48 years to learn the

Vedas—the injunction to wear the " Sacred Thread” of 3

strings, the 3 daily sacrifices, and the significance of their

being called- “ the twice-born Here, the ideas in

Gautama Sutras, Vedas and Dharma Sastras have been

pressed into service, (iii) The ideas in “ Mahabharata ”,

** Ramayana”, and many Sanskrit Puranas will be

apparent in Nakkeerar's narration of Muruga's exploits

etc.the birth of Muruga, Soorapadma Vadba, the

combined entreaty by Vishnu, Indra, Siva and 18 Deva

Ganas on behalf of Brahma, Siva’s burning of the 3 cities,

Indra performing 100 sacrifices, and Siva’s being acclaimed

ii

as the Lord with the 3 eyes. The description of the 6

Abodes would seem to be based on the Sthala Puranas.

Further, the passages about the glory of Muruga and His

praise recall several Sanskrit hymns. This poem is at

once—(i) a KAYYA rich in imagery in the description of

the hill-stream; (ii) an exalted work of Devotion, in the

charming delineation of the Bhakti Rasa; and (iii) a

historical window into the life and habits of the Tamil

folk of olden days—[e.g., women making sacrificial

offerings during festivals, one dancing “possessed " and

foretelling events, women dancing the “ KURAVAI ", and

Kuravas (gypsies) being clad in garments of leaves and

bunches of flowers].

(9) Other Works

The other works of NAKKEERAR are (a) NEDU-

NAL-VADAI-included in PATTHUPPATTU; (b)NARRI-

NAI (7 stanzas), KURUNTHOHAI (8 stanzas); AHANA-

NOORU—(17 stanzas), PURANANOOR1J (3 stanzas)

i.e., 35 stanzas in all, as apparent from these works,

(c) COMMENTARY ON “ IRAYANAR AHAPPORUL ”,

(This is the first commentary on this *' Aham ” work).

In the 11th THIRUMURAI—Saiva Agatnas— has been

incorporated later—the Tirumurugarruppadai as also 8

other Prabandhas like " KAILAIPADIKALATTHIPADI '*

ostensibly attributed to NAKKEERAR.

Having regard to the style and admixture of Sanskrit

words, some scholars hold that all the 9 Prabandhas

should have been the work of “ NAKKEERARDEVA-

NAINAR ” who lived much later than Nakkeerar, the

Sangam poet. (This applies also to the commentary

referred to abovej. Yet, we still see the practice of

reciting this composition with dutifulness and devotion

with assurance of benefits too. Saint ARUNAGIRI-

NATHAR holds the “Tirumurugarruppadai” as a “ Veda

Anyway, THIS WORK STANDS ALONE AMONG THE

SANGAM CLASSICS as a work of Devotion, in contrast

to the others dealing mainly with “ Aham ” and “ Puram ”,

the ways of the world and Rulers—This is very remarkable

indeed.

There is a large admixture of Sanskrit words in this

work, which also has the name—" PULAVARARRUP-

PADAI There are shrines for Nakkeerar in Madurai

and Tirupparankunram.

MULLAIPPATTU

(1) Nappoothanar

This work of 103 lines composed in the “ Asiriappa ”

metre, is an imaginative KAVYA, on the theme of a lady

pining in separation from her lover who had gone to the

wars. This is arranged as the fifth among the works

comprised in “ PATTHUPPATTUThe author is the

poet, “NAPPOOTHANAR”, son of “ Kaverippoom-

pattinatthu Ponvaniganar ” (the name denoting a person

hailing from the city of Kavirippoompattinam and

engaged in the gold trade).

(2) Resume

The lover when going to the wars had assured his

lady-love that he would return in the rainy season. But

the rains have commenced and the lover has not come

back. The lady is therefore grieved and sheds copious

tears.

The aged women of the place are touched by her

misery : they go out of the city to look for omens, as was

the custom of the times ; returning, they assure the lady

that her lover would soon return.

The lover engaged in the wars has a camp set up in

the forest, together with a palacial residence for himself.

There, he is surrounded by several warriors and lady-

guards, holding swords as well as guardsmen gone in

years. He spends the night in his gorgeous residence in

great grief and anxiety. Memories of heroic companions

fallen in battle surge forth in his mind.

Then, after the close of battle, he rushes victoriously,

to meet his lady-love. The sound of the wheels of his

chariot fall sweetly into the ears of the lady’s nurse.

This is all the theme.

(3) Nomenclature of the work

As this work is based on the way of life and nature

characteristic of the “ Mullai ” region and “ Mullaithinai ”

(pastoral),—one of the sub-divisions of “ Aham "—it also

goes by the name of "Mullai

The term " Mullai ” has also the connotation of

“patient waiting". As the lady waits in patience for the

return of her absent lover, well guarding her chastity,

some scholars hold that this is the reason for the

nomenclature “ Mullai ” given to this work.

The characteristic of “ Mullai ” poetry is the depiction

of the state of the lady during the period when her lover

is engaged in the wars.

The rainy season, Tirumal (Vishnu),—the presiding

-deity of the pastoral region, cows and calves are the

theme of " Mullaithinai". The poet has dealt with all

these, doing full justice to the requirements of this

class of poetry.

(4) Ancient customs

This work depicts beautifully and picturesquely the

custom of aged women looking for omens, the set up of the

camp house with the bed-chamber inside, the training of

elephants, the valourous women, the time-keepers and

xxii

body-guards, as well as the grief of the lady pining in the

rainy season, and the scenery along the forest pathway*

at the time.

We learn that in those days, rulers kept mutes as

guards in the bed-chamber, women kept watch in the night

with drawn swords in their hands, elephants were trained

to respond to Sanskrit (Prakrit) words and that time was

measured with the belp of the hourglass. Thus this work

is very revealing in regard to ancient customs.

It is also remarkable as a treasure house of imagery

and store of description, besides being a narrative of

ancient ways of living.

Lines 1-3 depict Vishnu (Thirumal) with the Conch

and the Discus and Lakshmi: lines 36-37 indicate how

elephant-keepers feed the animals making them respond

to Sanskrit (Prakrit) words; lines 37-38 picture the

Brahmin ascetics clad in saffron and holding the three-fold

staff, by way of simile.

From these, it would be clear how in those days the

Sanskrit language and faith in VARNASRAMA DHARMA

and the PUR AN AS were widely prevalent.

Following the practice of other Sangam classics, the

author here speaks only generally of a lover and a lady

without specifying names.

NOTE ON THE SANSKRIT TRANSLATION

I have translated here into Sanskrit Prose, the twa

works “ Thirumurugaarruppadai " and “ Mullaippattu " -

comprised in the anthology called “ Patthuppattu

xxiii

|The high purpose of rendering into Sanskrit -

the world-language - these works is that all interested

■persons in the world would thereby be enabled to learn

Lbout the noble record contained in the Sangam classics,

the greatness of Tamil literature and the civilisation of the

ITamils, and to have access to other rare information.

The original Tamil works are also appended to the

fjanskrit rendering. This would help those acquainted

fwith both the languages to compare the original with the

ftranslation and appreciate well the subtle beauty of the

flatter-

My grateful thanks are due to all those who generously

helped with donations to meet the cost of printing and

publishing this work.

I also express my sincere thanks to His Excellency,

fSri K. K. Shah, Governor of Tamil Nadu, who has been

|pleased to write a nice and thoughtful Foreword to this

pook, and to Professor K. R. Srinivasa Ayyangar, Vice-

president of the Sahitya Akademi, for having contributed

fa charming and invaluable Introduction.

§27, Musa Sait St., ^ Madras-17 >

10-12-72. J S- N. Srirama Desikan

DONORS

My thanks are specially due to the following donora

who have contributed liberally to the successful bringing

out of this book the first part of PATTHUPPATTU

(Sangara Classics).

1. Sri V. Vaidyasubramanya Ayyer

"navasuja’' Venkatakrishna Ayyar Road,

Madras-28 ... Rs. 500

2. Sri K. S. Venkataraman Engineering Contractor

Dr. Thomas Road, Madras-17 ... Rs. 500

3. Kumudam Endowments Kumudam Office,

83, Purasawalkam High Road,

Madras-10 ... Rs. 150

It is proposed to bring out the other four parts in

four volumes. The cost of production of each works up to

Rs. 1,000/-. It is requested that the public will liberally

contribute to enable the books to see the light of day.

List of Institutions and Individual Philanthropists

who have contributed liberal donations for

bringing out my previous publications

1. Sundaram Charities (T.V.S.)

37, Mount Road, Madras

2. Kumudam Endowments

Kumudam Office

83, Purasawalkam High Road, Madras-10

3. Goenka Charitable Endowments

Express Estate, Madras-2

4. Sri V. Vaidyasubramania Iyer

Venkatakrishna Iyer Road, Madras-28

5. Sri N. Mahalingam

Industrialist

Chamiers Road, Madras-28

6. Sri S. Subrahmanyam

Chartered Engineer

No. 5, Dr. C. V. Raman Road, Madras-Lb

7. Late Sri T. L. Venkatrama Iyer

Retired Supreme Court Judge

No. 81, Mowbrays Road, Madras-lb

8. Sri T. V. Viswanatha Iyer

Advocate

14, East Mada Street, Mylapore, Madras-4

iii

9. Sri K. Srinivasan

Advocate

Sripuratn View, Madras-14

10. Sri P. S. Subrahmanya Iyer

Engineering Contractor

5, Ramachandra Iyer Street, Madras-17

11. Sri R. Gopalaswamy Iyengar

Advocate

Ramaswamy Street, Madras-17

12. Sri T. S. Narayana Iyer

Auditor & Founder, Lalitha Charities Trust

Sth Block, Jaynagar, Bangalore

13. Sri Raman Brothers

Engineering Contractors

Vidyodaya Street, Madras-17

14. Sri Nanai.ae Biiat

President, College Committee,

Vaisbnava Women’s College, Chromepet

15. Sri M. S. Varadachari

No. 8, II Street, Balcthavatsala Nagar, Madras-20

T*

1—26

2. gfe^TT^ 27—36

SLii(3«*TL_i»*t®

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II

1. *T3T3T55Ts 77—82

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3. qwrr g^*r q^^rf* 91—102

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2. 138—142

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15

5. 151—154

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176—189

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18

V

(sfeqsfa 189—197

1.

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r <raft°r rrirr

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2. s^RTfR^R* 198-205

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RfWWWT: PPimwaw RR I

19

3. 206—217

staoiawfTfta ST^W, I afaaTCWWRT^ftfl I

aaftarcftaiqsa: staifiaT aw aw aarfa I isaasawi-

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a? a^3 a<aataia, l

VI

aaifN^NN. l. rafaifcqqw?:waftqtqr! 217—226

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30 rN®ST3*TRs

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2. ^(5!^ f mâtfe®Tn 22?—24

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21

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sOTTfOT dSEWH:

w*nR% Sotw Rîrafif i

3. Tfg*3T<J3rrOTr?:: 246—249

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i

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22

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250—276 4. vpwgfa: aaiswi^g ai af? la waâ pit

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5. sfe 277—281

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6. âmonfirsfat 281—286

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7. irtsrsrtfirer 287—298

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30

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5. Ifwrgrrer 24—28

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32

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11. tffcrcar: 69—66

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Supplement to the life, career and works of

Pandit S. N. SRJRAMA DESIKAN (Siromani)

1

Government Award

1. Research Officer, Kendriya Samskrit Vidyapeeth,

Tirupati.

2. Recipient of the President's Award for Sanskrit

for 1971.

II

Release and Felicitations

3. Under the auspices of the South Indian Sanskrit

Association in an Assembly at Srinivasa Sastri Hall,

Mylapore, Madras on 5*7-1971 under the Presidentship of

Shri M. Ananthasayanam Ayyangar, Ex-Speaker of Lok

Sabha and Ex-Governor of Bihar, the Sanskrit translation of

Avvaiyar Four Neethi Works (' Athichoodi’, ' Konrai

Vcndan', ' Moodtirai’, *Nalvavzi ’) was released by Shri

K. K. Shah, Governor of Tamil Nadu ; Shrimathi Saraswathi

Giri, wife of the President of India felicitated the author

on the occasion, and the book was dedicated to her by the

author.

(On the occasion of the release of Avvaiyar Four

Neethi works in Sanskrit)

Extract of speech by Shrimati Saraswathi Giri

" With his rich experience, Sri Desikan has accom¬

plished this noble task in a highly commendable manner.

He is known to me and to the Rashtrapathi for several

years. Your Rashtrapathi had participated in the function

A

2

connected with the release of his earlier works. So we

may appreciate the great contribution that our friend,

Sri Rama Desikan has been making towards national

integration and understanding by his labours- Non-

Tamilians in particular should be grateful to this author

for giving them an opening into the great treasures of

Tamil literature, through the medium of simple, elegant

and chaste Samskrit. It would be of great profit and

interest to draw parallels between the thoughts of

Avvaiyar and the ethical writers in other languages of

India. It gives me some consolation to find that Tamil

writers themselves have recognised the value of Sri

Desikan's works.

My parents gave me the name Saraswathi. Perhaps

this may be the reason for the privilege I have today in

participating in the function. I am also an ‘‘ Avvaipatti ’’

in the sense I compose poems. This may also be the

reason.

Although Desikan is younger than I, I adore him as

my Desikan—the preceptor. Kumaran, as a boy came to

Avvai as her Guru. Therefore, I am not blessing him. I

pray to God to bestow on him long life and prosperity. My

Guru has honoured me by dedicating this book to me. Let

us consider the work as a unique treasure.

We will never forget Avvaiyar's Neetis in life ”.

Felicitations

4. On 9-10-71, Shri Vaishnava Siddanta Sabha, New

Delhi, on the occasion of Vedanta Desika Festival felicita¬

ted the author on his receipt of the President’s Award for

3

Samskrit. Various scholars and eminent men spoke in

appreciation of the recipient, and the Sabha also honoured

the recipient by a cash award.

5. On 24-11-71, Sri Sarada Middle School Staff and

School Union, West Mambalam, Madras, felicitated the

author for the receipt of the Award. Sri N. Venkataraman,

Manager of the School presided and presented a shawl to

honour the recipient. Many school teachers and eminent

men spoke on the occasion felicitating the author.

6. On 26-12-71, under the auspices of Samskrit

Language Society of India, on the occasion of their Sixth

Veda Sastra Vidwat Sadas under the Chairmanship of the

Madras High Court Judge, Shri N. Krishnaswami Reddiar

felicitated the recipient and presented a shawl honouring

him. Many scholars spoke on the occasion appreciating

him.

7. On 2-2-72 under the auspices of the Students

Union of Shri Vaishnava College for Women, Chromepet,

under the Chairmanship of Shri 0. V. Alagesan, M. P.,

the recipient was felicitated presented and an address and

shawl honouring him. Many distinguished guests spoke

on the occasion.

8. On 28-2-72 under the auspices of South Indian

Sanskrit Association at Ramakrishna Mission High School,

on the occasion of the opening of a Free Sanskrit School,

under the Chairmanship of Dr. Ratnavelu Subramaniam,

eminent Doctor, Shri M. Anantasayanara Aiyangar,

Chairman, Kendriya Samskrit Vidyapeeth, Tirupathi and

B

4

Shri S. Parthasarathi Aiyangar, felicitated the author

for his receipt of the President’s award.

9. On 24-3-72, under the auspices of Shri Ahobila

Madam Oriental High School on the occasion of Sri Rama

Navami celebrations, under the Chairmanship of Shri

M. Ananthasayanam Aiyangar, the author was felicitated

for his receipt of the President's award.

Ill

Extracts from the Press about the author & his works.

(1) Bhavan’s Journal Fortnightly. Bombay, 14-11-7L

“President’s Award for Sanskrit Scholar’’

Sri S. N. Srirama Desikan, well-known Sanskrit

Scholar, received at a special investiture, held at the

Rashtrapati Bhavan, Delhi on October 5, 1971, the

President's Award for 1971 for research work in Sanskrit.

Sri Desikan was the only recipient of the Award from the

whole of South India.

Sri Desikan is a versatile scholar in Tamil and English

with several publications to his credit on works like

‘ Silappadikaram ', ‘ Kamba Ramtyanam ', ' Tirukkural ’

and ' Hymns of Avvaiyar ’.

His extensive research work on the authorship of the

Mahabharata was brought forth in a thesis published in

1943. Sri Desikan's service to the cause of literature has

been commendable and has served as a bridge between the

Tamil and Sanskrit languages. The Vavilla Venkateswarulu

5

Sastri Commemoration Vidwat Parishad awarded him

the title of Samskrita Ratna recently.

Sri Desikan, 50, can yet look forward to many years

of dedicated service in the fields of Sanskrit and Tamil

literature.

He worked as a part-time lecturer in the Sanskrit and

Philosophy Wing of the Fundamental Research Esta¬

blishment of the College of Engineering, Guindy, under

the Central Government’s Post-Graduate Development

Scheme. He has been recognised as a progressive writer

and has received encomiums from eminent persons like

Dr. C. P. Ramaswamy Aiyar, Dr. S. Radhakrishnan,

Kulapati, Dr. K. M. Munshi, Dr. Suniti Kumar Chatterji,

Dr. Sampurnanand, Rashtrapati Dr. V. V. Giri, Sri

T. L. Venkatarama Aiyar, Dr. C. D. Deshmukh and Sri

M. Anantasayanam Ayyangar. (Special feature)

(2) Hindustan Times New Delhi, 5-10-71

“Engineering in Sanskrit Possible”

A frail little man who is struggling to achieve a novel

ambition, Pandit Srirama Desikan would like to see

colleges and technical institutes in the country teach

engineering in Sanskrit.

“ For too long have Sanskrit Shastras been regarded

as purely relating to soulhe argues.

Pandit Srirama is one of the seven Sanskrit scholars

who are to be honoured by the President at a special

6

function to be held tomorrow- He is the only Sanskrit

scholar from the South.

“ Actually ” he points out “ two of the Tarkasastras

dating back to third century B.C. deal totally with atomic

energy and composition. But they deal with the construc¬

tive qualities of atom and not the destructive side of it.

For a number of years Srirama Desikan was a part-

time lecturer in the Madras College of Engineering,

teaching the various " darshanas ” to the lecturers of

Engineering.

Though the basis of engineering was known in India

long before, the rest of the world had gone far ahead and

most of the recent works are in foreign languages. This

does not discourage Pandit Srirama. “ If the will is there,

they can all be easily translated into Sanskrit and all

research work in future can be compiled in our own

language."

His immediate ambition is to achieve national inte¬

gration through translations. He translates Tamil and

Telugu classics into Sanskrit.

But how many people in India follow Sanskrit ?

Pandit Srirama is of the opinion that all Indian

languages have 50 to 90 per cent of their basis in Sanskrit

wprds and any one can understand the essence of a work in

Sanskrit, while if he were to write in any other language,

only readers of a few States would benefit from it.

—Press interview

7

IV

Book Reviews (Avvaiyar Neethi Works in Sanskrit)

(i) The Hindu (3—10—1971) " Sri Srirama Desikan specialises in translating into

Sanskrit various Tamil classics in the hope that the content

and message of these classics will reach a large audience.

His translation of Bharati’s works and Silappadikaratn are

particularly noteworthy. In the present work, he has

translated into Sanskrit, Avvaiyar’s Athichudi, Konrai-

Vendan, Moodurai and Nalvazhi into Sanskrit epigrams.

To those who would query why at all a work in a known

language should be translated into a ‘ dead language ’, the

answer is that the language is not dead and that various

North Indain and South Indian dialects have had such a

close affinity to it that simple Sanskrit is ipso facto scrut-

able. This reviewer is particularly impressed by the facile

versification of Moodurai and Nalvazhi. This observation

is not however a detraction on the other translations.”

(ii) Bhavan’s Journal (14—5—1972) “ The President of India has since awarded the Certifi¬

cate of honour for Samskrit scholarship to this young writer.

This book is the latest of the efforts in rendering into

Samskrit select works in the regional languages, in a chaste

and lucid style. With experience the author has gained

in elegance, beauty and fidelity to the original (based on

extant commentaries).

The collection of verse abounds in practical wisdom

and morality, which can be compared profitably, with

similar works in Sanskrit literature etc., (Niti Satakas).

8

It would be a great service to students, if this is prescribed

-as a text book ",

PATTUPPATTU IN SANSKRIT

FOREWORD RAJ BHAVAN

K. K. SHAH madras-2 2

GOVERNOR OF TAMIL NADU 20th November, IQ72

I have pleasure in introducing to the public this

Sanskrit version of the Tamil work “ Thirumurugatrup-

padai" and Mullaippattu brought out by Pandit

S. N. Srirama Desikan. To translate a work from one

language into another is a task by no means easy as it

requires mastery of the two languages. Pandit Srirama

Desikan possesses this qualification. A research officer

of the Kendriya Samskrit Vidyapith, Tirupati, Pandit

Srirama Desikan was the recipient of the coveted Presi¬

dent’s award for Sanskrit in 1971. His earlier works

include similar Sanskrit renderings of Thiruppavai,

Thirukkural, Silappadikaram and Avvaiyar’s works I

admire the chaste Sanskrit in the present work.

Those who know both Tamil and Sanskrit are bound

to read this work with interest and profit. The description

of Lord Muruga and His famous Six Holy Resorts to which

a pilgrimage is commonly made, stirs piety in every heart

and affords spiritual solace. Here is a soul-captivating

piece. (Page No. 23 Para No. 3 in Thirumurugatruppadai

and Page No. 34 Para Na. 1 in Mullaippattu.)

I congratulate Pandit Srirama Desikan on the good

joft he has done, and I am sure his labours will have been

amply rewarded if this work gains a wider circulation.

K. K. Shah

INTRODUCTION

K.R. SRINIVASA IYENGAR 91, Kutchery Road,. Vice-President, Mylapore Madras-4. Sahitya Academy, New Delhi. 20th November, 1972*

A new effort at translation from Tamil into Sanskrit

by Sri S. N. Srirama. Desikan needs no commendation,

especially from one like me who has but small knowledge

of classical Tamil and even less of Sanskrit. His past

adventures in translation have been the means of opening

a useful Suez Canal between Tamil and Sanskrit, and

between Tamil Nadu and the rest of India; and the

present endeavour is no less welcome.

Sri Srirama Desikan's choice of these two out of the ten,

brings out the two-fold best—the sacred and the secular,

the mystical and the human sublime—in Pattuppattu.

This is no mean service to the cause of national

integration which is so dear to us, and I hope this

book will reach a wide and appreciative audience.

K R. Srinivasa Iyengar

V

Material Appreciation

(1) Sanskrit Translation of Avvaiyar's Nal Vazhi

Neethi works—20 slokas prescribed for Madras

University P.U.C. Advanced Sanskrit Exami¬

nation 1973 onwards.

(2) The Government of India (Ministry of Educa¬

tion) have purchased 50 copies of the Sansksit

publication Avvniyar’s Neethi works in Sanskrit

on consideration of merit for free distribution to

the University Libraries, Oriental Libraries

and College Libraries.

1. 2.

3.

4. 5. 6.

7. 8. 9.

10.

11. 12. 13. 14.

BOOKS BY THE SAME AUTHOR

Sri Krishna Leela—in Tamil Ra

Erira Nataka Kathaigal

(Short stories of Seven Sanskrit Dramas)

Tirnppavai in Sanskrit

Tirukkural in Sanskrit (Arattupal)

Krishna Katha Sangraha (Skt. Poetry)

Desikamani Satakam (Skt. Poetry) (Life of Vedanta Desika)

Authorship of Mahabharata—A critique (Tamil)

Vemana Padyamulu (in Sanskrit Slokas)

Vemana Padyangal (in Tamil)

Vemana Padyamulu (in Sanskrit Slokas with

Tamil Translation)

Bharatiyar's Works (in Sanskrit)

Kamba Ramayanam (in Skt.) Bala Kandam ...

Silappadikaram (in Skt.) Pukar Kandam

Awaiyar Niti Worics (in Sanskrit)

D25

1-25

0-30

1-50

1-00

1-00

0-50

1-75

1- 25

3-00

3- 00

4- 50

5- 00

2- 50

W of v— 5. & SRIRAMA DESKAN

(AUTHOR)

27, Musa Sait Street, T.Nagar, Madras-17

Hindi Prachar Prt»«, Madrai-W

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