62 CHAPTER SIX

Ararkaippuraarcci

The First Meeting of Lovers by Nature'

0) k4miappurtarcci, tivutirturoutliceEcii, and teirvapplartni (Herr utAappur.iarcci (see 6.1,1.2); irraeysturtiptiparcei (see 6.1.1.3).

t) LA. 'natural union' : DEDR 471 4 4 ivo i iyar ir . , 4 ,1410 to be possible, befall, be associated with; accept, agree to, approach, resemble; iyarkcsi nature, custom," etc.; pemareci, DEDR 4160 (b)

(-v-, to join, unite, copulate, associate with suit, fit, be understood, be possible; (-pp-, -4-) to combine (tr.)., connect, unite, make, do, bring about, fasten; n, mating, uniting,'

7) TP 487, IA 2, IAC 2, AV 27, 33-37, 123, 125; 12 occurrences in Itsrais.

6.1.0. All grammars agree on the point that iyarkaipptoyarcei is the first theme among all the love events in akani literature, but they do not agree on its contents. We have, therefore, for the convenience of our argument, used the. following model framework for the theme, based mainly orNakkirar's commentary on IA (IA C 2, pp. 28-47).

CHART 1G

iyarizapplormraci:

kr4rzilippti.Tim-ccL

This framework includes all the sub -phases of iyarkaippuarcci, which are, in TP 487, called '[sub- ) themes connected with and dep-endent on (a main theme' (atainta cdrvu). Neither TP nor IA makes any reference to the contents of iyarkaippur.iareci and its 'connected themes'. However later commentators and a medieval grammar, A V1

describe these themes, so we can tentatively follow therm

6.1.1.1. Prologue: AV gives four components of the prologue:1.kii!ci: the first look at each other;2.aiyarn.... the hero's doubt as to. whether the beroint- is human

or a deity;

prologue 1.kacci2. aiyarri3. t1.0:11V

ti

Ftigopputyrecci(mental union)

metrritirtipursartc epilogue(physical union) p Firm- acca-rrs

voinpueui etc.

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I VA RXA 171311411A R 63

3. tunivu; the hero's realiz.ation. from various signs, that she is litinian;

4. .kurippfirital:: the mutual uniiersta.nding of t.heitr love for each other, IA does not refer to the prologue. Nalcluriiir cites. a (11001 Whirit places the four sub-situationzi before ptiot rc.,ci. and then rejects them since they belong, to (011e-sided, unreciprocal, base love), which should not be mixed with 'Imre akattinai (mutual, reciprocal low ), 1hi school designates these sub-sitnations &yam., fc!ivil. and turifirri (IA C 2, pp. 36,-7). AV includes these four az; the con6titiients of kiriikki!ai (AV 118. 119 22) which should take platbi,•fore livarkai] pur ;tarcei (A V 28).

TP itself does not mention them clea.riv, as do IA C and AV. According to commentzi.tors can TP. however, these four are referred to in the opening Ramis of LP Kainviyai (the 3rd chapter of TP on pre-marital stage o1 love), such as TP Natratriyai 2, 3, 4 and 5. The following i8 the gist of the opening part of TP Kapniyal and the ferias marked with an asterisk are not ni.9.,,Ed in the original texr but only by coiliturtit at or2i-

The Gist of TP KaNtrimal (part)TP Kri4airibt al no, (serial tarp. of TP)1. T.P 89) nature of katat.IT1 courKie_2. TP 90) *kiElci (by Nace.).3.{ TP 91) aiyarn..

{ TP 92) *tuf:iiptg (b• Nacc.), *teiitru (by5. (TP 93) kur.ipparitat Raj am.ruitkutal (in SISSWPS ed.):

one aziprxt of melippat,u (by Nacc.).(TP 94) one aspect of rtcyppdP4 bv1.14 clued cif union iby

Nactr.).7. (TP 95) inen's nature.

8. ( TP 96) woineu's natiire_9. (TF9fl nine 'mini-situations of me:ottriiptIrpircci

(1.)y Ham.); nine situations of prv-marital stage (by Narc.'.

10. (TP 98) seven situations of igorkaippla,tarcci 41

,I.anti hut tiw interpretations differ from each otlwr).

( TP 99) i (Tram.) eight kinds of expression: the first six kinds related to igarkaippuncurci and the seventh and the eighth occur after it; (Niter...) eight kinds of ifxpre..-ision reboring

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to.qant fit&

ii) (Tam.) other expressions relating to post-iyfu-kriipirrir.mrom. quntalaimmtri., etc.: (Nave...) other expressions relating to parikarkiittam. etc.

Judging from this schei e.. we may assume that TP Kri?oviyal 2 -5 are

64 CHAPTER SEX

Ito firsir phase-1.4. or prelude of ipanimipptsrkareci, but Tol.'s audio' hitnielf (loe...4. not seem to regard them a kitikkijai as the later scholia: 41s, such aNakkirar, I lam., and acr. maintain, I

6,1.1.2. tigappur_Larreir. Iu TP neither the term 1446ppririarcei nor 7r1emply-upwrmarrei is used_ These two terms occur first in JulIC 2. wherein Nakkirar cites a savant's opinion that the union in pre-marital love (kalatizi) is a mental onv (ttgappur)arcei) and that physical union (Trtrylitinipuryzrcei) occurs. only after marriage (pip_ 34-5). Nampi also adutits two types of union. that. is. a mental and a physical otke (AV 34); thr mental union should prect.de the physical one (AV 35), but 1w does not elaborate on the contents of 11101.1pur..iareci. employx tlje tyrtu. tiLguppuraircci in his. commentary {comm. on TP 95 96), hi] L tiocs

at e which sutra of TP deals with it.Thus, erudite works only clarify that tLYappurymnri is a

thenie pre-

6.1.1.3_ Tney:rpirupurniarecil This term also first appvars iiiMC 2. where'Na_kb.rirar refers to a school which places the four sub-situa.tious (kir#ci, aiyam, etc, mentioned in 6.1_1.1) before actual union. feeling that -it is improper to have se:cLial union like hulls without telling sweet

Accutding,Ilatn. (comm. on TP 95-6). men anti womr..n

AN ETIcILIthiplind Ihrrup.i., it vtd.4. NetitkLl'ett vhij firta PrirrTivii tEP 11.13C 43E a SehOOL

;Lining th7-it the. film ph.a.,:e94 in the. proleiglie cankistikkifai (/A2)_ because until the fourth phasc (kuripp4mral 'tile- mutual undemanding of their

1.4.1I-sid.ecli whicha..t.ha.rar.vrristie of kailEk44.1as prr2-.4cribed in 7'P 53. Both [Tani. and Marc. Intlow thc• idrii (711

iCalatilyaLcumin.). and huld. 111140 TP fraPtriya 2 5 arr 4.$31103'iAInI% FrItliiLlIt. Ilir

loud- phworslif kuritkifm. (terrnuli Litrt, myarn, irritai, and feral by .N.Fizr.-, TP/ii rornrn..).l i owr - ver . thr ir v irw L. , qu i te ite contrry to the original. Tal. chaptrryin kafairtd. HarifieNt inv. pre-marital low) with thr ch!finitirm. of its lovt• relationship(ka.TruakihLY4.4.rri. qtr foutauti. and

mrcarricsiktiqurn. which iq within thr rnge-uf the. ennnerr.prl with aripti Owe, ailachrnera. friendship. hiPnevarence.dcychtion,. pir.ty: DE/.}.11(Ern.pocu ptirlicirrILAT Kalaviyai 1 }. 'Ilene :rot ttlls us that he wuuldwish kaikkitaiand pertaihrtui in tlinit gthiLptvr, LH:cause theme! two genres

are .outgide the range ofaiatxnai AE1C1 11,Vithi-Mt 11:917."4.rhuM.i,it iti (1,01111tf1.11 thrkt sutra fairt)Wirlg it

.K4E0.111011 2-5) refer to kankkilat as claimed by the cornmentators. Rather we may preziunie. the fOlICJW-1116:

t. CHINS AIM e0311014)ItiOrIS Of ILELp71, etIT.11TVii And kbrippGLriraf CleV41]Cip4-d 41n

the of 1'/' Kakviyal 2 73, which. had 4.)riginally 11-ailwith irutsal M[Agy5. (if

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2.the stag,e.s reptes.enttrd bv these terms were later related to kauLtcriu hrciwi-e of their cFne-hicirfinrssi:

3.the four situations of kaurdturai {Elf later origin} arc- found in TP Kcgaviyul. 114,1111Cil .iik.pparently deals wirli re,ciproi.:alr pure cilium. (tufarri.414). katik$4; is .reaAse:LiArrias a trrtal relevant to the early gratpi,f mutual Cove, as mfutionerl 1w Sp. %fan-

I TrL, p. 132).11.rollu.nr4 kunr:vrn tr_mp parcirrthrap pwriavrifor rnpair.c tokaia.

UNA !MCI 65

abstain from physical union on account of eithrr the man's or woman's virtues.' Nampi holds the same view its Ilaiii., most probably influenced by

Concerning the constituents of viewriraputzarrvi, _ll ana.. refers to nine situations, beginning with utitkni (amorous desire) and ending in, c4ikkritli ( t i l l * dying state) i l l TP 9_ Nampia fol lowing consid-

vrs these nine sititiiti()ILS •O be the CODA {'lit of 7ncyyti.7-1,1pnriaircri, hut he

also adds another compone.nt, kritei, which is not -the first look' men-

tioned in 6,1,1.1, but thy' meeting of filled with love, after thefour stages of a 'prelude'14(appi.a.iarcei, This notion of kkii(ci cor-responds to TP Kalcuribral 5 which runs.. -thu. meeting of the eyes of the two is the evidrnce ti d.et ermine that they sire mutually at

P. S. Subrahmanya. Sastri), th.ougli this tramsIation is influenced by Ilaiu.:!7; interpretation,'

According to 'lam, six mini-themes beginning with Trowitrylippriyirai the hero tout-13111g the heroine's body to ascertain her inclinA.tion) in Ti' K OM!. WI 1 1-3 a.re also components of mcpytimpuryircci (though he uses the term iyarkiaipple;tGrcei). This tia_s obviously influenced

RILipi, Who iises t h ;1_6: 1411z1i-theilics of A. a.ttaiuedthrough the wiz.:11 of the heroine' (tairsiviyin. plirlareci-.. A 127).

Thus, TP and IA tliern6.elves do ncit mention whether the physical union is a :...mb -sitlation of although commentators on thesv texts. consider that it

6.1.1.4. Epilngue: TP doe!, not refer t.o an -ifpilogue' explidtly.

3 'OiiI '1ik tt,r. rtHi WO Mil W hid! W.L'Irrf first mentioned in IA C 2 (pp.

3:3 .n whempas in jf' Lw ) virtues. are 111•1"11 awlwonten ri.!!".p.ectiNcly t TP KtifortsrEa 7 8); I.)y ( A V 35)-

Ntro's virCL1. - 111T.13 .4 V 1. $remondi ({dignity) kirrin. (strinig0i. L,F *KO_NIPn's virtues in fAC: 1_ arrtnil livisidoni) 2.. fitrai (ninrai firm.rw&s.)

zirppritdiserirrunalinnj- 4. ka.tuippici icietcrinination).

Ilifororricti viriui,N. in 1'P and A V:a ccuin urnidity) 2. 74.d5:4 (ntikde.r.ty) 3 111,1404

I crednlity ).

Ihrorrern:s .1.11 1A 1- run 2. .a..ccurn ruczpin 4_ pcziorppu. (delictu y M.

....rsin.piL5 ruillysii; b intnitly ei yittliv4.1.i:4 of TY'. A1[ana.1.s. realm. of

7'11.in [ht. rase cif iyaritaipplo.areri. A V folicaws

6441.11.'1ra A V2. ka;ri (1.193. tinra ( 12.0)'1. list iutL (121)7:1 ktE riPPal !lit La (123)

7. .411.4..a.rn-kil kT.153.4,1.7i.ka4

8_ larairmikaikuik

4.1.1...1 great extrot .i.i.2... follow!...:

}ftaikkifuli (.24.3, I1S)

u.YaavirrLorve-i. (3S)

rneysrurupunurrci. OR)

9_ Tri

I. iyarkiityp17.karrei (127, cf. 32)

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6 CHAPTER SIN

but. according to horn., tired terram (expression of the hisatiety [of the hero's lust} in TP Kataviyal 11:5 corresponds to it, IA does not mention it either, but Nalikirar elaborates it as having the following sub-themes; piritincerrm (the heroine's fear of separation after the first union), varipurai (the hero's encouragement), taktivan talaiuiyatu artimaiyaritca (the hero's realization of the heroine's rareness) (IA C2). These sub-themes are treated as independent themes (kgaryi) in A V, so we also deal with them in 6.2. vairipurai. 6.3. tefivu, 6.4. pirivuli

and 6,5. pirivtaik

6.1.1.5. There are various expressions representing the themein question, as the following list shows:1. ktimappuljarcei TP 487; IA 2; IA C 2)2. iyarkaippurAareci (12 occurrences 'in trirai; MC 2; AV 27, 33,

123. etc.)3, tivinrAtirupw9arcei(IA C 2: cf. TP 112:111 IA 11, 12)4. ithruapprojareci PAC 2; Tingihki5vaiwit 71 A V 125)5.ugapputiarcci(IA C 2; AV 34, 35)6.Tneyyurtipurpurei ( IA C 2; A V 36; TP N 14 comm.)Among them, 5 and 6 are referred to, as seen above, only when the framework of the first meeting of lovers' is elaborated.

Kimapptityareci is used in the older grammars, ire. TP and IA. According to Nakkira.r, it is "a lisex-uall union which takes place due to the hero's and heroine's increased desire when they meet in a lonely placer (I4 , p. 31), and, according to modern critics, it is explained as, "the meeting taking place due to the love impulse' (Km. Periakaruppan, TTCP, p. 85) or 'the meeting as it is the result of passion characterized by ardent love" Varadaraja Iyer, TPVI, p. 81). But., these traditional renderings stand for a later connotation of the word kilmara, wherein the aspect of sexual desire (pleasure) inherent in the word is stressed, most probably, under the influence of Brahmanism, Jainism, Buddhism, etc.,' whereas, in the earlier texts, the term is used in a 'broader sense, in which both aspects of love, i,e. the mental and the physical one, are equally stressed:15 Therefore, the safest translation of

51 Around the eth Cent, AIL, according to K. V, Zvelebil, the conception of ko.Ntris "pre-rnabritail love' was not only not honored but. own alighted. The vettri quoted as Villi111111 (Preamble) of Tivairndisintirrairapatti. 'One hundred and fifty eitanzaa on the sstlanci of settings', 'suggests the reason why these restatements of the ancient akam genre were composed: obviously, the interest in the old literary conventions and themes was vanishing and there were people who even hated and attacked the conception of *alum, hence it became necessary to re-emphasi%e the ancient message of iove (47 TL, pp, 114-1X1)

The Sanskrit words mod oxippitimiunti borrowed are generally found more frequently in the later texts (cf. 11711, p, 29), in the case of kciirna (kairn13rn in Tali, however, it occurs more often in the earlier texts; on the other hand.,

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itipttn or

A RIC A IPPUNA CC/ 67

kiamapputpitinci may be 'union on the basis of low'.lyapkirzi-p-ptarfiarrci is the inobt popular expression. used to

represent the first In:Ain-event of klafairTi_ Thp term itiluriorti is

often tisetil iii the

early texts, hut in almost all usages, it arkai functions

at the end of a compound (i.e. Iwordl-i9arkai) and has the meaning of 'having the nature (quality) of There are, however, only a few instances, in which it appears as a single word ilenoting 'naturalness- or bunartificiality' in contrast with "artificiality' (cebriarkai) like in Tol. Coliatikeiram 19 and Pt'''. 35:2S.

Thus, the compound, i> whiuli iyarkai !itandt.4 first and signifies "una.rtificiality., may show that it is of later origin..

We do not know much about 171111:111rilirtl-pUlrJ. arrri, lit 'happened. before union'. According to. Nalzkirar. it is referred to by a irhool and so termed,. becaulie the heroine's 'Lawn (virtue) ht3. alrea.dy been taken 113' the hero .san.1 liis nalam also taken by lie r- (MG 2.. p. 37).

TeyrappuTurei first appears ii.Nakkiraf cninmentary on L4. The

inpu. (.0415,14)f_e ?.1W1-101 piragiant„ 4.Arpp.21.1ple: ,w.reetrieNs.

plext,mtnes.H.., inparndelight. happiness. sweetrie.ss. pleasantness, sexilai alerit fur kLimG., usetirnorr often irx t hr Iast rr to below.

ktinta- i1tpur

marriage- ), a Tamil Pquiv• .i1J;is SIC arlY w how l% in tilt. chart

unpuTP 2g 12 15IA 4 0Kur. 8 8Nor. (.1. 9 I'SAk, 2LI 14 18Alri. 1 fi I LJ

9 2.Pur-. 2

1gMani, 16 12 10Kurz! 4 29 28

7 I 6 75

As kid' the conatallalions or them- words, kairaurh. r•N .[OVI99its a. E.ProaLlrlin strist

in the earlisst texts. than in. the later Tex' s. In Kw:. 32, tier ercarnple, Or. lovelorn hrro say:9., -morning, midday, hPipiii-ss endening. damn, riiidniglit when thesleeps.. if one cant tell one from the oilier, [his.] love i* a false one:" (kaittlitrin pakittufn kaiyar-u friciiivirponyf$1171 ELM ti m trifiyaiurm ryirtd. ippolutu 10.1 tertym ,

poyyekinindni). It the 4.-11._..e• 4,11 ippurn. JI wapl ,tll'j'Ir*r.Vr'll in Chti Pi-Lairs' tents, :-Ls in Kue. 120, in which the hPro in distress says tn. his heart. "LO my .1-3e.a.rt. 3: 0 IA want

th' rare.m". thing like: 2x pcbor man ciesircs ippion kuntto-rdariku, Uritti

01.1411.423.§141.1 rliiite). Regarding. the F.LJEAle. difference cif meaning of the-he 71P2•5.) prolii+Ivs ux wiih ;l21 interesting exr.unra.le7 ir4patnurn poruPi. In-ri:rertu nirerirglikui anpoph pu7101-n4o. ii•olinfrn.d3 irakirurikL7L/ iwn-04 Luquoi

Copyr igh teci m ateri al

Arco?. porul, and mrcirri. air- Tamil equivalent:, /fir Vittrina, drat', and k rIrl

a rPspeciively, and hcnre the bc'lit translation 4.4 inparrt i 'plra-surrs. [or lovrr. 14.rL in the 2nd lime roraits attachnivnt. friendship - (1)ii:/).1-1 :I311) ThuiL, it rrirans, "karna.-kutiarn whirl is within the range! IA f.1 n IT max connectt.r.1 with anvil

which is a...mit-Laird with if.iputn, wealth, and dharma. in ot kyr word.,.4.

union/relationship blikEed (r1 karnaTri is akin 1. n both pleisNuri.

(zri .parn) and numital att4.chMrilit (13n1p1iij. There6)re... rim word kc.irrieirri in TP ,ind the .earlieb.t port rir.. should not he. taken ei....%143ife in as narrow and limited sense.

6S CHAPTER SIX

term manifests the Hindu notion of karma and rebirth and is explained as the first meeting of lovers "whose seemingly accidental meeting has been preordained in earlier lives" (K.V_Zvelebil, LCAP, p. 3).

These four terms. i.e. kiimappur.wrcei, iyerthisipptirpmci, mugnuru-purjartci, and teyvapptoanci, were considered to be synonymous by NakIrirar (MG 2, p. 37), and ahnost all savants have paid little atten-tion to the differences between them since then. Birthermore, they often mix one connotation with another. In TL, for example, all four words (nos. 1-4) are translated as 'First union of lovers brought about by destiny', but the only equivalent word for this translation is tewapptirprcei. If these four words were considered to be Eipao.nymotts by the compilers of TL, they should have defined them as, for example, 'First union of lovers' in order to represent the features common to all four. Sp. Manickam renders iyarkaippwjareci as 'union by nature or destiny' ( TCL„ p.. 30), but therein we find a blending of the terms, iyarkaippw:iarcci and tevitpappturpreci. These instances reflect a tradition regarding the theme in question, that is, iyarkaipptitiareci has been used to express the theme, and teyvapptmarcei to stand for its content. The most appropriate term for this theme will be indicated below.

G.1.2. There are several poems depicting the first nave Ling of lovers'. As an example, we may cite Aft. 110.

If mother finds out, let her.And if this lovely little street with its loose mouths hears, let it.Before the god at Pular with swift whirlpools,l swear this is all that happened.In the grove, L and my garlanded friends played in chip sere,made little hoki.ses and heaped up play rice.Then we were resting a bit, waiting for our tiredness to go, when a man came up and said,"Innocent girh; with rowed, soft arms s.s. supple as bamboo!The light of the sun has faded and I am very tired.Would there be anything wrong if I ate a guest's rme.a]on a oft, Open leaf,and then sLayeil in your noisy little villagerSeeing him, we lowered our faces,and, hiding ourselves, we politely replied.,'This food is not for you.It is moist fish, eaters only by low people.,"Then Suddenly Someone said,"There, can't we see the boats coming inwith their tall, waving banners?'At that we kicked over our sand houses with our feet_or all those who were leaving,

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he looked straight at me and said,"0 you who have the lovely face., May L gar

IYA8KA.IPPUNARCCN 69

so L felt I had been ruined.I answered, "You niy„."and he, staring at me all the while,

stood tall„ holding thr staff of his &MHO( Still it SCer11251 to be before my eyes.

Hart.. PTA, p. 120)

This poem tells us the following:1. The hero a.nd the heroine meet accidentalb... by chance, and

not hy (estiny„2, Though. [A 2 and IAC 2 say, -both he and she, not attended by

others, nieet-, there are some "others' (usually, her friends) in company with her at the meeting-place.

3. Contrary to the opinion of some grammarians, the two, skipping over the stages of aiyjrwi (dwilo.) and tur;ivu (abcertainmvnt), are attracted to each other from the very beginning..

4 A sexual physical union does not take place at. the meeting_These fea.ture$ are common to sloe ms depicting the first meeting. In Ak. 48, her friend (Lori.) says, -When we in the company of our friendf.5 went to gather verilcai flowers, there arose a hue and cry like Tig Tiger. At the moment a certain gentltman ...stood querying us about an animal ....So saying he got clown. from his chariot and went away staring incessantly on the lady-love just at. night-fall, The latly-love gazed on him till lit* chariot Out of sight and exclaimed.. `Al. thisis a man'" (tr, Varadaraja Iver. TP I. p, 186). In this poem, all fair features are described. In Ak. 82 also, tho'e features. are founda thereinthe heroine tells her friend. -2ilany saw him/ as ht.. near theentrance of the field of ripe and asked which way the elephanthe was fighting haft gone/ „ _ _ f Friend, of all 1.11(me who saw him,/ why am I the only one who,/ lying on my bed in the night with its difficult darkness,/ my eyes streaming tears/ fuel my arms grow thin?' (tr. a Hart, PTA, p_ 117).

Thus in actual poetry. first. the two meet (kfifri) by chance:, wads without the intervening stages of doubt ( aiyartir) and ascertainment (turtitrti). they are fascinated with each other, in other word. they are mentally 044.4.prt1yp1xeci). The early poets seem to have beenfrind till. motif ckf failing in lov+, first sight, halt tbr In ri•r poets

and graminaria.ns prefer more. tir-oflatir encounters of lovers.' Third,

7 Scanif...lati-r poems doscribo nl.re rtramatic enconrit or, heEweeri lovers, like

39; when she plunged and played with us in the rapid stream. *he hecarne FtxlialiRtert and shuiting ht:T 11)1 ey Ell in 4.R-right,

!hafted down 1141 Cu ETtilt. IOW 1.4 in nreyfor th.r drowning maid, the. here, with hig garlz-k.pd .d Long rod fragrant Siirapunnai fiLiwcit-i shaking, jurnprd into the Stream and (la:suing her 6ejewelled breabth dome to his (bosom), broliglit 1-1Pr sale to t hi- river h.;ink- (t r. R. Hallaltrishila 1lrrfali •a r,Thrr Goiltfert A nzhologry. Vol. 11, p_ 1Later, the dramatic r..nrannters ti.ke thig art Copyrighted

70 CHAPTER SIX

the hero parts from the heroine without. having had sexual intercourse (rneyytsrupuryirrci) with her 023 the first day, which is quite contrary to what Na.kkirar, Nacc., and Nampi maintain..

We shall now consult some poems which are said by commentators to depict iyankaippirElarcci (k.fitci tig.appuan-cci Trizywurupurlareci). According to Ham. (Comm. on TP 98)1 Nu r. 40 is a poem in which, when the two meet for the first time (termed iyarkaipptmareci by Kam.) and before they have a sexual union, the hero says, "Who are my mother and your mother to one another, and how are my father and your father related? How do I and you know each other?' The motif here is obvious from the following part of the poem, Our hearts filled with love are themselves min' .gled as red earth and pouring rain'; that is the wonder of love. The simile, "red earth and pouring rain are mingled", implies a soatal image, so we may guess that intercourse has taken place.' However, there is nothing in the poem itself to signify a connection with the first meeting; we may regard it as another kind of meeting, e.g+ the second meeting, or the meeting with the aid of his friend. Nat. 8, in which the love-stricken hero admires the heroine saying, "Whose daughter is she? Long Live her father! May the mother who yielded her prosper Eike Toptir, is said by a colophon writer and Nacc. (comm. on TP Nabiviyair 2) to represent iyarkaipptiTylovci, though this poem makes no mention of their first meeting.

The traditional interpretations of those po-erns, however, do not agree with what is depicted by the actual poems quoted above, where lovers do not tell each other of their love. Even though the commentators and later scholiasts derived their ideas of the main-situation, iyarkaipp-tuparcei, from sources other than the earliest poetry, it is evident that they neglected a group of poems which explicitly detail the first meeting of lovers.

Apart from the physical union at the first meeting, many poems suggest that a sexual union has tale place even in the pre-marital stage (kukrrti), by the following expressions:a. the hero holding the heroine's shoulders (iii? Kw-. 272: f.o?

termed:1. purtseuru fkiii9.0reti (union of a. lover with his beloved a rI the occasion of

his reacuing 1.1rer from being dtcwned in a flood (TL).. MO 14, AV 1.77, TPAr 114 comm.);

2- ptittartipisporecci. (union of a lover with his beloved Oil the occasion of his getting flowers for her from a tree out of her reach ( TL);

3. ka4--ru tam. putrid (union of a young man with a maiden on his having rescued her from an elephant (TO;

8. The colophon of the poem stem, "what is said by the hero after they met Inc the firm_ time 4.nd physically united'. Hut, qam. contradicts it "because it is not conVetional for the cultured to say so" (comm. cn TP 98)_

„ (040 tin Lipari" perahs inn% telye.

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I VA KA /PP (INA 71

maypittali KTIT. 36. 50. WI. 103. Ak. 1112; toi aylittaL KTI.T..

268); h, the hero embracing the heruine (rrtarpateirki, Kuir_ 25., Ak._ 242, 22);

c. the hero consumingleikioying dor heroine's virgin beauty (ruzicim Kw: 2232 Ak. 146, Airi. 24; naIum 712.- tat. Kw.. 133. 236+ Nar. 15.).;

(1. the he.rOillw t.linbri-tring the hern:!-; uhet4t (Mb-11i Ak. 242.A. 220; cf. mtfyarikair. Ak. 162),

Most peperns except those of type d imply that the einbrace is the first one (i.e. the first, sexual union), In Kur. 25. for

example, the heroine recounts how !;:lie feavA her lover's infidelity..

Only the thief Wi tlherc, one rke.Anti if hi' shimila lie, what can 1.(1.0?

There ww. onlya thin-legged heron :-1.1intiing

on legs ye.11.nw stern.,...;and Joann;

for I rn preysin ihe running water

'MICH he Look me."(tr. A. K. Barno.nujan, p. 3{19

Dirt the poem clod not hint when (for example,. at the first 'fleeting., or at the geconel infTting, or even later, at the meeting with the! aid of the maid) the :L.;exual union ha--; occurred- Other poet is referring to the .fir !..5( union }muffle it in the same way as !Cur.. 25.. Kiln 81. quite exceptionally, tells ns that the union took place when the couple met with the aid of

the heroine's friend, who s.rty to the hero. "She (the heroine) accepted n word which conveyed what you had said. And

rf...7sult] he lost her fresh beauty" ii (see also a full t

rainsla.tion of Km% Si on p. 116).That there are two roup (3f poetr:...: one wherein. the

lovers' encou.riter1-3y chance. their being a.t.t.racte.(1 to each other. and their parting without uttering .i.inything ithout. thwir love, are explicitly. der6cribed; the other wherein a physical! sexuid (probably the first) union which occurs at .soine point d.uring the pre-marital stage is implied. Technically these two grolo.p:L7i are illustrated t

1. katei -r .61-ipparital (=t4appurxarcci)2. - - - - - -

Colophon writers alit] erudite 2.-.eholinsts mix these two categorirs and

Teak its; though both love events have occurred on the ori.asion of the

1 1 3 Ian fritoirrraftmate ntn cor konia. rn eor tart 'mitt naian lianta

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first meeting: but what they S iS at variance with what the actual pocau-i. explicitly tril 1.11r5.

III conclusion, let us try to cleduce among the various ex-pr issions seen in 6.1..1.5 is the most appropriate for thy theme in question:: clearly, from the point of view of the actual poetry, it is iyarkftippunartci, because it triakc3 no suggestion that the meeting has. been prearranged by divinity or been preord.a.u- earlier livesteyvappniri.arcri). As we have seen. the meeting is completely natural (iyarkai). spontaneous. and accidental. The expression of ktintripririturci union.% hut none of the poems suggests aphysical. union at the finit meeting.

In this. connection, the best English rendering of iyarkii.ipptquireci: may be 'the first meeting. of lovers by nature', be.caue the phrase does not contain words cienoting either "destiny' or 'sexy al

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VA W? A I 73

6,2, Vil;..iptirezi'Assurance Givvn by the Hero

to the Heroine Fearing, 54..pararion.

1) Lit, 'strength - to use to happen'_ vappu < val, strong (D.EIIR 5276) Ecru (D DR 710, guru (orum- urr-) to be, happen: to7gari (uriiii-) to cauNe to be" ).

2) JAG 2, AV 129. TP 98 comm., TP .N 101 comm,(X. vanpurai (ipaiLipurutial), La theme in which the

heroine is comforted by the maid, mainly, during her separation from the hero.% DP 112. IA 53, MG 39, AV 15-3, 169, 209. etc.; about HO occurrenceR ttirais

6.2,1. This is a theme which comes after the chance meeting - sexual union', which is, as seen in 6.1.1, termed iyarkaippuriarcci by scholiasts. 21,12 and IA do not refer to it, but Nakkirar elaborates the theme in his commentary on IA 2 (IAC 2, pp. 44-5) and elucidates the following procedure:

iyarkaippimarcci pirivaccom vimpurai,According to him, pririmenam (lit. 'fear of separation') means both (1) `the hero fearing separation' and (2) `the hero causing the heroine to fear separation'; in other words, (1) 'he' fearing separation from "her' says, "I never part from you. I canuot hear [to live] without you" (raiggir ein-65), but (2) his word only arouses her fear of separation, 'Does separation happen?" (piny; evatum onru 113.01). Then he encourages her (vauptirai), saying, 4"[ Whenever you want, you may meet me, because] my place is near" (aslittu cm itam), and parts from her.

In AV, vanpurai consists of 6 sub-themes (AV 129); the former 3 deal with 'the hero dispelling her doubt about separation' (aiyan tirata) and the latter 4tb.e hero making the heroine know the separation' (piriuuarivuruttal) (AV 128). Judging from his terminology, such as qam ariittu eurai, Nampi seems to be influenced by 1,7%;akkirar.

TP does not refer to the theme in question. Commentators regard TP 98 ( TPN 101) as a relevant st-ztro to the theme, but their interpretations of it differ fundamentally; according to it deals with themes of pre-union but, according to Nacci, themes of post-union.

6.2.2. An old anonymous commentary on AV cites Kur. 40 as an example of the theme, which seems to follow the colophon of the poem, `what he said to her, after their physical union on the first meeting, when she was afraid he would leave her'. However, as seen in 6.1,2,

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heroine's words could he considered. as ironical, and hence both ilam. and *ice, are incorrect.

Thus. thi.re seems to he no specific illustration of the theme. Though We may take poems depicting the hero's oath on their union (e.g.36) :ELF, examples of it., and may assume that the heroine-is confidence irs also implied in them, it is hardly possible to regard those poE...ins repre.sentative of teytm.

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PLRivulei MAK/L.176'r 77

6_4. Pirx i:rrf Makilcci'Tbe Hero Fc.viill.g Joy in. Love at the Partingfrom the Heroine after the First Meeting"

1) Lit. 'joyJAS' 2. AV 1...31. comets. on TP

16.4.1.. There axe, according. to AV 131. two sub-themes; one is `the hero speaking to his heart on seeing till, heroine leave' (lecithin."

eciavti.kargu tliatiotti natal), and another *lien] telling his frient14 (pilkeir.t01,1 IA does not refer to thk theme. but Halikirar touches oii the theme of the hero's joy and confusion. Rigliitikezi) on e.e}garating from the heroine, mentioning 'the hero realizing the heroine's rarenest$' (talaitran talaiviyatti rzrt an.at aritni) (L4 2 ).. En TP, there is the phrase. iperravali Trinkikri '[his] joy on havirig got [here (TP 9977„ alias TP

afriviyal 11:7), which, according to Nacc... happen:....i at the second meeting, in the same place iviier F they first met i(itarttaraippa(t.ii. and according to Iliitn„ is a sub-theme of both iontablippritu and pairikarkTiyam.the meeting with th.F... aid (41tiq friend) and to?iyirkaltarn

(the meeting, with the aid of the maid).There are therefore. two views concerning the theme in

{11.111Sti{M; one sign it tr st sub-theme i)

ibroptuzipptityirrri (i !AC and AV) and, another to sub.-thein? of itnrifiliiiii.Ppfffix [or of l t sit um ions] (in corn ms. of Ilam. and 'acc..)..

6.4,2, In some poeins, suck ELS KIT. 62, 70, Mid 119, the hero tells of his joy in love either to 11i:1.11i:e1f or to his heart or to hi friend.. However,

we have seen in the discussion of methodolog!... (Chap. 1). the .Tie poem:; reveal so little about their situation . that the readepi Citi1130( identify it. That. why explallnion vary even among commentators and colophon writer:;-, of the poems: there are three clifFerent explimation!;; for owe! poen", Ktir, 62. In other word the scholiasts only agree if a poem clearly

describes a ziitu.ation..There are many poem. s.. in which the hero tells of his.

delight or ..iorrowbut which do pot suggest any sitecific_ Aitnatiou. Such

poem.i leave room' for farther a.nialysis an,d hence may have lir.•d the theoretician!4. to c1a,,52iify them under vario1xs situations.

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78 CHAPTER SIX

6,5. Pirivulik Kaltrnikai`The Hero's- Sorrow on Separatinr;

from the Heroine after the First _Meeting'

1) Lit. ̀ confusion. RE separat.ioin k 1ari f,DEI)R 1:iO3 (keil-ariki-) to be stirred up, agitated. ruffled 02, water). Ii conrustd. abashed: krilarika4turviditv. muddiness, muddy water, pertuirh.notinn

} 7111 fir) fA C 2, AV 1:12-3.

6.5.1. Tol. uses the term. pirimi(ik kaintiorcal in TP 99:7 ( TV Kirifratitjal 11), but gives no details about its vontencs, According to it. is 1Mit. 01113: a sub-therne of ibrarkaippurnrireci. but also of ifantalaippiVN, of parikarktit:tam, and pdrik-ibrink-ti!t:arrz TP99 comm.); Nacc. regards it as a liLP-theme of ir:ontalaippatit ( TRW 102 comm.); See also IA dot-

llot mention the theme., but Nakkira.r m C 2). seen in the previous section, referg. to it itnder the t,erlir ref 'taiaitnin toiniviyartl arurnai aritar (the hero realizing the heroine' raretie).. According to Nakt:irar, th hero -ir errns to int. like fire -Lni that I have won her- (MC 2, p. 40,1'

In AV 133, the theme i further divided iiito 5 mini-themes:1. when the hero sa• the heroine mingling with her friends. hu.

doubts whitherre,..1.11.12,... won her] ((poi vegan' Valipri tail! kar.q-ittg

th.P hero contmliplates making one of the heroine's friends hi.s. pfrrnytai ):

thr. hero praiser,. tbe heroine's nature { partpu

4. the hero admires mu-. who gave birth to the heroine (pirmantorp phalirealy:

5_ the hero sutlers from sk.eplessue4s at night (kifitpa!igi pi-rdttz in(1rkuna?‘21).

lu many poems, the hero reveak his lovesickness (KTIT:. 128, 129, 156, 184, 21[16. Nor, 95. 160, 319; .4k. 1311, 140; and other). hi Nar. 319. for example, the hero's sleeplessness is d.escribed: -In the midnight of deluding darktie:;.;s, I think 4-3f embracing tile lovely bre:cots of the girl who ig o :.voling and in with broad, soft, and bamboo-like arms, ;Ana even i.vben the fish sleep I cannot dose my eyes.'17 But the poem does ipot imply which night it Other poems deeding with the linro's lovesickness 41.1/441 do not hint at 111; t hillg related to iVITknippfll:411Triei,

16 itlitiNt earl ryi.rpep.k keirsitman eyrqratu ttr1Itd kanclirep711011.17

Fri ti $11 t.I i r u d r a t a n u ! . . . 1 4 E l l y 11. Fr44 I4rnLJ4 Fri tI LIA.; . . . LI

mulluoikuf 1501 rrtt kitt.)r urn 'N71E11E-um man k tir) turi f•r:.

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6.6. I taut ataippii-The Second ',Meeting of Lover .4.

ou the Next Day at the SamtThe:Ie. First Met Each Other'

0} ilantalrappa0/ P 187), tryir.otn kaqiim second Inrut ling' (War.39t, 15.51(1)1.

1) Lit. 'the place (.101r4)rae-eting21 TP-P4.7, fA 3. AV 27, 134-5; Ktir. 12 arid

Nikkkira..r brings out the meaning of the phrase itarti-trarlippm7.4 dearly: itam is 'the where they niet before' (rrozn

etirppayn i!errn; IA C 2 p. 57) and here. the word '.1.1efore' is proved, by another phr„ase to he -the day befort:` -the next day ;Liter the first union by nature' (iyark.a.ipprir:mrcei puitarrttri phrTaifienri%, id., p. ThuiN the thematic. meaning of the phrase is probably the one shown in the ca.ptinri,

..A.ccor<iing t o TP 48,7, it is the second among the four kfittiataz themes (k070147Fpnr).arcci,, i tantala ippfy i t i p t d s .tartm ) AV places all four in the same. order as TI', but IA manifests a different arrangement. 1A 3 runs. 'There a.re two ways of nweting: the hero. having united with her mention.ed previothily (i.e. in the previous gidra•), meets her at the same place [where they met first] with the aid of his friend (i.e, ihrilakarlainctin); and, another is, 1w who is not ac uoilipaiiied by his friend meets her, who also comes alone lat the place where they met first] (i.e.. itaritainippety.0". Nakiparar aitligotc

ats L4 3, saying 'lithe Inciinitig of the lititra is that.] ituraaktippeitti does not take place if peirikarkiitlam happens. and piririkarkqtarn does not happen if iOntal.ctippfitil occurs" ( fAC 3„ p. 58) This can be illustrated

ivrArkutprito:p.rvircc.:ipicrik.arktz4airn or ;.!ard.....daippa4i

TiruUovaiyar and Mt.ittupiriyaIn follow the a.rran.gement shown in IA.

6_6,2. The term itaraissitiippicru is well-known, but there are only a few poems which are said to incorporate the theme,. A.ci.Lording to colophons, Ktir. 62. Aran 39, 1551 ani 197 represent the theme of itiarita1nippr3!ti-19 In lirL 197. the hero says!

She ..s.ti-inds with her head bowed,

is Peru". t.a.107, idcar, 39 and.4r!xamplos of icanlafairrOu in TPP .05, and

Nace_ takitLi War..3q and A 14_ 197TPN 102. As. kir niudern 447114.1114-S. 511) _ :141 al

isays that Nay_ 39, I 7,71., and A Iri_ 15.)7 zkrr i-xarnplek 01 thy. alum& (I'CL. p. 33) and, an:corti ing to i 'cri iskaruppan.. Kyr. t r 2 Ana No!. 39 TTCP, 11. 130). Their upinifiris micro t0 come from the same sourer, that is. the colophons. See the index under t h ca.ptikm.

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TA IV TA L A H PA Trt 81

her hair conceals the face,the tinkle of her Bhining bangles sca.res away the

crabs._ As the lonely evening vanishes,she will offer her breasts of virgin beauty to rue_

(tr. Author)

The poem describes lovers standing still on the seashore in the lonely evening. The meeting does not seem to be their first; nor do they seem to have met several times, judging from her appearance of shyness and the fact that she does not utter a single word (the same motif is found in Ntur. 39:1-2, 155:8-10). If the meeting is neither the first nor the one which has been repeated several times, should we regard it as the second? The poem does not mention this..

Airi. 197 is a better example of this theme than the other three, although, as already mentioned, Kul. (2 is an 'unauthentic' example of

a specific situation (c f. L4 and 6.4.2). Thus we may say that there is no poem which describes explicitly itAntaiaippcitu.

Subsequently, the question of the theme's origin may be raised. As we have seen in 6_1, a man and a girl meet each other by chance., for the first time and are attracted to each other almost at first sight; but they part without telling each other of their Love or about themselves (their Bailie etc.).. Therefore, the best way, or rather the only way, for the lovers to meet again is to go back to the place of their first. meeting in the hope that they may meet again by accident as they did the previous day.

The author of TP 487 may have interpreted the theme iyarkaipppur)arcci as represented by actual classical poetry, unlike its later connotation, in which Love phases, such as the first meeting by destiny, unio~ of hearts, physical union, intimate conversation, etc., are all included. That is why it may have been logically necessary for him to intervene the second meeting (irargiing ktigam) among the love events in order to inter link them in a serial order.

For later grammarians, on the other hand, it might have been important to include itantalaippiitu as a love event not from the logica/ point of view, but because TP had prescribed it as one of the four main events in premarital love, and also because it (i.e. icantalaipptifu) had been traditionally admitted as a significant love-event.

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82 C.HAPTI.At SIX

6.7. P f l r i ka i • KU 011711

El' Hi' r0.'S :k.lectiug with the Heroineat r he Same Place. Where They First Met

with the Aid of Hi.F. Friemr

0) Orrikocu tr.lr4cr i TP .1A7).1) Lit. by mate frie.nd t.W.iitt 4053 "7.0ariku. side,

neighlhourhood, plare, eBitppattivn hill. partisanship; pcirikaR frien.d.„ companion., husband": -Union eff a hero with 1.11:.; heroine effected through the aid Elf his ecwapailimi- (TEA,

2) TP 180 ] A], .1S7, /A 3. AV 136-7

TP this is referred to as. the third main-therm. of thefour dealing with. the 1 re-marila.1 sta.ge (k..4.2?).1trt1).. Rut, St' VII in theprevious 1-;Elution„ IA mid other graninia.rs following 1,4, regard it as the alternative theme to (IA 3). TP awl IA do not

iiahorate on the theme., 1-ma LAC and AV do: according to Nakkirari it consists of 12 2iiih-theilie!..; (IA C 3 awl, according, to Nampi whoeern.....; to have mainly followed Na.L:kirar's commentary, it consists of 24 sub-themes (A V 136 7), The prv8ent author has zullinuarizeti and rearranged them followinv, the formula (main situation -1- others attached to and dependent, on it) shown in TP 487. N-13. 'nos... in tilt! Following chart mantis

for thr of sub-themes_

I the lovesick hero approaching his friend; the friend asking him about the matter ( IA C nos. 1-2; A V nos_ 1 2).

H the hero's reply; the friend's aarnotiirim. and the hero's rejection of it (IA C nos. 3-4., AVnos. 3-7).

III the friend's consent to help him; the friend's going to the meeting place to .1r° if the heroine is think.: his

return and intimation to tin- hero of the news ( IA C nos. .5 It): AV 0.02-i .. 8 18).IV the hero meeting mid having am. union.

with the heroine (MC Los. 11-1Z AV nos. 19-22, V the hero making the heroine ret urn to her friends (AV uos, 23 -1),T

III and IV are the main phase...i.. and I. IL alid V are sub-ph.asE.is it Vradied

to alni d•p•odtitit (81 the. main ones, in the sens4.. manifested by TP.

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84 CHAPTER STX

6.7.2. There is no poem which illustrates the theme of paTikaricrittam in the narrowest sense, that is 'union through the aid of the friend'; so we shall first investigate the other phasem of the theme (i.e. the other four, except phase ry of our classification), and we shall then consider the historical development of the theme.

There is no example of the first phase (i.e. the friend asking the hero about the matter when the lovesick hero approaches him) in the poems. The friend is only the 'addresser' (speaker) in very few of the poems, According to MC, Cur. 129 is a case in which the hero replies to an inquiry from his friend:

Friend=playmate of young children,who makes them glad;friend of poets!"Listen=a small forehead shining near black hair,

like the young, white,crescent moonappearing on the eighth day,amidst the vast ocean,"

1tas bound me,like an elephant Freshly caught.

(tr. M. S. Filial and 0. E. Ludden, NT, p. &2)

Here the hero tells his friend plainly how he is pining away from love. Though the poem itself does not refer to the friend's inquiry, we may regard the situation as presented in the poem as the hero's reply to his friend (as explained by Nakkirar). However, even though we may agree, and although this is one of the most crucial examples in which the hero tells his friend of his distress in love," we can not agree that the poem depicts a preliminary event leading to the union achieved with the aid of the friend, The Barrie is true about the poems. as given in 6.5, which describe the hero's lovesickness, without presenting any clue

journey (vinai maim: mcksi) is described,. and in all of ihern only role of the

friend, who is a charioteer, is to provide a listener for the hero. Thtt‘. therc i no priern which illustrates TP 180_

J2 `poets% in the origin's!, raferrar. Cf. Tiff. pp. 1] 2-114; FAT, pp. 148

ft.23 `the vast ocean', in the original, mak ki0a1, rad has several

meanings but here, judging from the simile. 'a forehead (the white

cmcent moon) 3 Lining, near black hair (the Mack ocea.0) 1, 'blank' is

an appropriate rendering for it, Cf. M. Vara.darajan, The Treatment of Nature in Sullivan', Lan -alum, pp. 749 -250.

2 1 ln 156, the lovesick hero, warding to be cured. says, -0 Br'ahmin's son, 0 wr" of a Brahmin, in your unwritten learning, is there any medicine

to re -unite the separated?" Here `a Brahmin's son' (piirppana maken)

traditionally considered to be the hero's friend.. However, there is nothing in the poem to prove it. It may be probable that the hero just asks a young Brahmin, who is supposed to be. wise anti learned., fora cure for loymickness. Concerning the Brahmin's rotrn, &Pr' 7? 175_ Cf.

a IM) PA T. pp- 5 I fr,

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PA XriCA K OTTA Al 85

which would help to clarify a specific situation, such as IL;Lfter the first meeting

As for the sub-themes in IL, there are poems which refer to the friend's attempts to dissuade the hero (kalartital) and the latter's rejection of them (kajarru-etirmarni).25 In Kur. 58, the hero repulses the friend's admonitions; "0 my friend who abuses me! If you could stop [my love] as your duty, that would be definitely good." Here, the phrase 'abusing friend' clearly indicates that the friend has discouraged the hero (see also AL 130).

The theme, kalarutal, is found in Ktir. 7S therein the par an says, "0 man of the hills, Lima is so stupid, because it has gone to the who do not realize that it is goody?' and be points out to the hero the stupidity of falling in love. Though Arun 204 is said to have the moire theme,I presome that its theme is not kalarutal but kalarru-eiirmarai. Before examining the poem, let us fast consider Nur. 136, as both of Kur. 204 and 136 were composed by the same author, Milaippernikautag, and start with the same phrase, "ktimayn keirmam ova, keirnam artoriktan

m an re'.

Love, love,they say. Yet 1(p..1.is no new griefor sudden disease; nor 1-..ornethiri

that rages and cools.Like mac-Less in an elephant, coming up when he eatscertain leaves,

lave waitsfor you to findsomeone to look at.

ltr.. A, K. Ramanujant p. 60)

The expression, "kiiviam is neither 'new grief' (4nazirileti) nor 'sudden disease' (pitti)", tells us that people talk of love (kciirnam korriarrir capa) as something evil, bringing trouble, and, therefore unwelcome. 1-liere4 as U. V. Swaminathalyer points out, piirikan is one of those who make critical mention of love. They are at that moment free from lovesickness,

26 Sre fix note 20 on p_

25 'abuse% in the original, iti; cf. DERR 443 "qi (-pp., •“.) 'Lei butt, hit against, kill; ilk strokes blow, paiih?

27 main rerra, yilainnt rizatirli gin ttrairdrOtaHillirrt semi war Curs pe-rm= petairnaitte. Though M. Sharunugarn Pillai and D. E, Ludden translate the passage as "the stupiiiity of love which comes for people who don't know even a little about what good" (KT, p- 39), " - wrLanir' not Ignorant peopie" (ibid.), but "a person who does not realize its (kdrnam. the author) value" ( TOL, p- 314 which ailudim to the heroine (UVS's commentary on Kut, 78).

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so they can, as reasonable men, criticize a lovelorn, irrational person. However, ?imnin manifests itself even to the rational beings when they encounter an object of love, like a sane elephant (i.e. the hero) who becomes mad when he eats certain leaves (i.e. encounters the heroine), Thus, the hero exclaims, "you should not speak so bitterly of me, because you also are not free from the kamarn,"

Bearing in mind the above interpretation of Kur. 13G, let us examine Arun 204. According to the traditional explanation, the friend, who abuses the hero. states therein, "Love, love they always talk about love: but love is neither devil nor disease. 0 man of wide shoulders, if you think of it, love is a sweet, surprising feast,' like an old cow licking tender young grass that sprouts on an old high plateau" (tr. M.S. Pillai and D. E. Ludden, KT, p. 42)- In other words: They speak badly of love, but love is not so awful as they maintain; if you think about it, love may turn out to be a sweet feast, that is, a splendid thing. Thus, if we take the literal meaning, the friend is encouraging the lovesick hero, which is totally contrary to the traditional interpretation of the situation. Hence the translators interpret the friend's remark as irony and say, "love is so little sweetness among so much misery and pain, just as this tiny grass is so little sustenance in the wasteland" (ibid.; cf. also TPV1, p. 102). However, if we disregard the traditional explanation of the poem and presume that another poetical situation pertains, namely that the hero rejects the friend's discouragement, the interpretation of the metaphor may differ from what is understood traditionally. The ex-Film:lotion of tht, metaphor is then as follows: when the proper season comes, new tender grass (a metaphor for the heroine, i.e. her Emih beauty) sprouts even on an old plateau (i.e. this everyday world). Then an `o/d cow' (i.e. the wordly-wise hero), for whom the sight of new grass sprouting is not necessarily a marvellous experience, enjoys licking it. Likewise, love appears entirely new for one who encounters the object of his love, although love is not new at all.

This seems a more probable interpretation than the traditional explanation of the poem, in which the speaker is said to be the friend. A possible reason for the traditional ascription is due to a phrase, peruntofelye '0 you of wide shoulders'. The idiom peruntell (big shoulders) is usually used to denote a woman's beauty, but in a few instances,

215 In Ta., wining% d. DEDR 5415 'least, banquet, guest,. newcomer, newness,

friNhneas_"25 to significs both 'shoulder' and `forearm'''. DEDR 35E4 "Ta._ til' shoulder,

Copyr igh toci ni atoll al

arm. Ma. tri? shoulder. K. 10.1 upper arm" elbow to shoulder.. Ka.. £451(11.) the Arrn.F1 There are idioms like 'broad Etnuldere (perun-ion.,. "Bat shoulders/arms' (Trien-‘45h, forearms'.. In Ak.. 271:14-5., we find an example of a good combination of them; "extended and soft forearms resembling a bamboo between

LIZ] ie.as purairion Itc4acreiell pai_aitia.n. The expression, "ici hold

PA.1141CAR KfirrilM 87

to denote the manliness of the hero. In this reason, the hero may have been assumed to be the addressee and the friend the addresser, How-ever, if indeed the friend admonishes the hero to stop the love affair, the friend may also have been called. a man of big shoulders' because of his superior manner.'

Though there are examples of kalarutai (Ku?. 78) and of kalarrts-etirmi2rai (Nur. 136, 204), we cannot find any reference in those poems to the friend's helping the hero to meet the heroine.

Now we move on to other sub -situations (III-V) of pan/cal-

16710m, As mentioned before, there is no text amongst the early classical poems which describes the union with the aid of the hero's friend, although, according to colophons of Airi.. 171-175, some events of pectikarkCiffam are serially described in them. Their colophons run as follows:

171. what the hero says when, as he is leaving the heroine after a spon-taneous meeting with her, he sees her going away with her friend;

172.. what the hero says to nisi friend, when the friend asks him the

reason why he cannot skep;173 what his friend says to himself, when he goes to the meeting-place

designated by the hero and sees the heroine;174. what the hero who is thinking about going to the meeting-place,

says to himself, when his friend comes back from the place indi-cated by the hero and informs him that the heroine is there;

175. what the hero says to the heroine: "Incase come with your friend when you come next time", when he leaves her after a meeting arranged with the aid of his friend.

Judging from these colophons, sub-themes displayed in I-V appear to be depicted in those poems (171-5). However, the subject matter given in a colophon of a poem does not correspond to what the poem Itself says. ILI Airi. 172, for example, there is no allusion to a preliminary situation for pirlicari-iigarn, as mentioned in its colophon.

The lassie of bright braceletshas stolen away my heart.Like the roaring waves of the moving seabeside ToTIte of the cold. region of huimaing beesI do no get sleep even at night..

(tr. P. Jotimuttu, F. 240)

From our viewpoint. ix. that a poem explicitly describes a. specific[her) shoulders' denoting a. genial union, can be found in 8,1_2,

1" Though it is almost impossible to say how the hero and his friend address each other. due to the dearth of examples in the poem, dealing

the pre-marital stage, some modern scholars cling to the traditional

interpretation. of K. 204 and say, `The companion ridicules the hero in a

satirical manner: "A learned person like you has lea( the heart to, after

ail, a maiden!" (ITCP, p_ l31: see also LCAP., p. 13).

Copy!' ighled rnalerial

88 ct [AFTER SIX

theme/situation/event, Ain. 172 should not be taken here a an illustration of the situation. The principle, hoivever, can be applied only to the case of the isolated stanza (ianippmari because, in the case of narrative poetry like kottat:, we cannot always clarify the subject-matter of the poetry by a single stanza of a poem, but only through its entire narrative sequence. The 18th decad as seen in Chap. 4, is composed in anifiti, wherein the last line, word or syllable, of the previous stanza is identical with the first line, word or syllable of the following stanza, so that each poem of the decad must be taken as part of the whole, from the point of view of literary form. Hence, we may presume that there is a link between these ten poems in the way they treat the subject. The following is the gist of each stanza of Airi. 171-175:

171. she has stolen away my heart;172. she has stolen away my heart; [That is why I

cannot sleep even at night;173. those who are smitten by love of her cannot sleep even

at night and suffer pain;174. she favoured us, who are in distress, with the fragrant

sea-grove as a trysting place;175.0 innocent maiden! If you love us, please come [again]

with thv girl of bamboo-like shoulders and bright. forehead.

It is also easy to prove that, in point of subject-matter, these five stanzas are connected with one another, so it probably follows that their colophons interpret their contents most accurately. This should mean that there are a lot of good examples of serial events of piiiikarkti4arrx, which is, however, not the case. The literary. form of anti and of kovoi, in which the decad of Airy is composed, is not found in the earliest texts, so we have to ascribe the date of AM., or at least, this particular decad of Ain., to a later age. Anyhow, this decad and its colophons had a great influence on Nampi in formulating all the relevant mini-situations of pririkarkfitfarn (AV 137), as is shown by the fact that he repeats what the colophons say almost verbatizrOt

In conclusion, among all themes assigned to priYikarktifrarn by the erudite scholiasts, only 'the twin themes', i.e. kal.arutul and kaiarnietimarai, are represented in the earliest texts. To trace the development of the major theme, ptirikarktigarra, let us now arrange what we have learned so far in a correct order:L the theme inirriatikaqtAtal, which is later termed kalorittal, is

referred to in TP 99+ Though pi:16.64140ra is mentioned in TP 487 as the

i t AV 's themes: Eirripthi erniiyarmi rued (1G) and awn.ivripitv

iirmiwattri c-91,41 (11). A cam. )91 turae: Rsrna keitiappaffavail einti!actu

Copy!' igh ked rn Mori al

etisnmaiyai r11 IrIgthriya pebiLattui itailimakan kgrivatti.. Cf. IA 's 6-7th therne24; s a 4111rn kiyal (6) and lira ifairn hill', (7).

PANKA NUTTA

third main situation among the four pre-marital ones in terms of pettikoN tuitial, the sutra apparently belongs to a later layer than TIP 99, because it is included in Chap. 8 of TP (see 2.1.1-2.1.2);

2. in the early texts, poems depicting the twin themes (kaitirutal and kegarru-etirviarai) are found., but they do not suggest that these themes are related to parikarkliqiun. There is no early poem which contains the theme of `union by the aid of the hero's friend'. Although in Airi. 171-5, some of the serial sub-events of pcifikarktiftant as mentioned in the later grammars (IA and All occur, the stanzas which contain them seem to have been comp-used later than the main corpus of Cankam literature;

3. in IA, this theme is not elaborated:4. in colophons (excluding those of Airi.), the sub-themes other

than the twin themes are not found:5. these sub-themes first appear in IA C 3. or otherwise in

colophons of the 18th decad of Airi.We may thus trace the development of the theme

patikarkilqam as follows:L the early CaAkam age ( TP 98 and the earliest texts): the

theme, ktacutal, exists as an isolated episode;2, the late Catikatn period (TP 487, the 18th decad of ASri.t

turais ofthe earliest texts, IA): anthologization of the earliest poems; the fi-nal codification of erudite works; sonic isolated episodes (themes)are linked to form a. series of love events. Au old episode, kalartital,

is ta.ken into the serial events and becomes a sub-situation of

pririlt.Turicaam after the model of an old and popular theme of

tigiyirktigam (union of lovers v;ith the aid of the heroine's friend); 3. finally (turais of Airi. Chap. 18 and IA C); addition of other comple-

mentary events, such as katarri-etirrnarai, itnitattu itruiyarrue coital

(the hero telling his friend where and how the heroine is), puttartm

(meeting and sexual union), to the main situation, pdrilearkiiqam

As seen above, no poem describes the union with the aid of the hero's friend. Hence Nace. insists, piirikarkfiffam, the heroes friend does not have a role in arrangement of a meeting acting as a go-between, unlike the role paved by the maid in tePhyirkti#arn. (the meeting with the aid of the maid). Therefore, the term l'pririkorktlyiatn' should be taken as 'a meeting where the hero approaches the friend" ( ITN 102, coax.) .32 A modern scholar, Rut. Periakaruppan supports him and Copyr igh toci rn

says, 'this explanation is quite in keeping with the tradition found in Canes poetry" (TT P, p. 131). However. even though Na_cc.'s

32 higFerrapritap pciaen uraiyqipenikarktiqam

enrarandit LeklaimakairL pd koogrpcuridi torke TPfir 102 earnm.Y.

90 CHAPTER SIX

explanation of the term is in keeping with the literary conventions in the earliest poetry, that does not necessarily indicate that his explanation corresponds to what Toe. it-self meant by the terra- Only when we can find confirmation of all (or, at least, almost all) Tol.'5 descriptions reflected in the actual literatures can we infer their meaning from the actual usages. Therefore, we will attempt to estimate the reliabilityof Nacc.'s explanation of parikarktiyam only when we

have reached ananswer to the question of whether or not the descriptions in TP are reflected is the actual poems.

Copyr igh toci ni atoll al

6.8. Payiki Matiytitariprqu'The 'Maid Learning of tlw Love A‘ffair cif the fivroine'

0) rrifilitruNnticicural ( TP 125: mativt4Empuituticti hi 6, TPN 1271,1) Lit_ -the maid knowledge ai2,Teernent.: 'to dir....,cover, as a maid,

the luve affair of her .rnis[ ress" TI.): DEDR 4053 "pririkerrneighbourhood, place.„lucation, prifikez snit% neighborhood. piaci.% companicinsihip, pa.rtifianohip;. pepiki female relmparlion of hrtoitile,laity's maid..." rie,; meal: <Skt li4a11

1P(47.i. DE DR 915 "(Jinntogether with. altogether, immediately after, at once ., tiquirt-pc4 toagree,utart-padu consent., cm-lc:ord..'

21 TP 125-C). IA 5-9, AV 138-112; cf. TP111. 233.

6.8.1. Ott some occasiousi the maid (SAO learns of the heroine's love affair, and then she always has a part in the love affair of the hero and the heroine ( TP 125).

All grammars give three witvs iii which the maid learlis IS the heroizie`s love affair ( TP 125, IA 7. AV 138).'1) Intonritgria lea.rning of the love affair through subth3! changes

in the heroine.

2) knrairpsra tioryzrtal: learning of it through th.e hero's approach to the maid. for help.

3) irtuFartrrn avirm to unartai; lea.rniug, of it throll12,1 the hero'sarrival when the heroine and the maid are together.

munrcura tr,Lartal:34 Tol.. allots a special Nutru to these three ways. but does not detail their contc-uts ( TP 125). According to Nacc,, rirrunimr.a unartal meau:s that the maid learn4.4 4...pf the heroine's love affair throag,1i seven kinds of subtle change in her: they ate, perfumenarriani.). a.ppear an ce ( to,-ruin ) behavior ( oitEkkain). food (rc

itri,hiding her key riritzi ma:77appti),, walking about (cdamt), and action (payiltm), a.s enumerated in TPN 114:1-2. Naiiipi has :already (...x1 ressed the ;ime opinion (AV 139). Nakkirar and nam... on the other hand. do not regard these seven items as the means of recognizing the heroine's love affair, but r' ou gi ci e r i ri such as her red eyes or the pallor oil her brow the day after iyarkaippropireri (IA CT. p_ 69). iL F he pertinent means.

U In TP 121.9 I hr-m- direr are arrange-ii in a difir-rent im-fi•-r: 2.), 1), 3). Thp 1114hanills 4.4 the. •eTnr. is [lot dear. rtnarl. tliurTi

[that munimthirlic) h3. .hai_petir ii prrvi4nr41.).- (LC41, no, t:' itMIL!'rr[lS SITIVP •Urak thiy infinitive of uru, Hake. reark Inu.netirri. lit_ 40 hub

in front', ror mitrintEra and 1.1cnor 4 the phrase. L4 -pen :riving lAorne-

thing] whim it is in front., T.PAr 127 ...n um ).

PA ii;rici f l Ti YliTA .1111.1" A 7. ri g 1

Copyr igh ked m ateri al

35 in flit ccpnneethan, Nam. mgarth, the,r. Lts Ayrriptorns throup,ii which tip'?

92 CHAPTER SIX

Nacc. may be correct; as the theme of 'the maid learning of their union through seven kinds of sign', followed by themes relevant to 'union through the aid oldie maid', is mentioned in the beginning of TF N 114

TP 112), which is the only vitroinKqattiyal that enumerates all the occaaions when the maid speaks, approximately in the order of time sequence of love events, Inungura wyrrtal may be considered as the first occasion when she appears in akam events.

According to TP, after the maid, suspecting that the heroine is in-volved in a love afFair because she has noticed the seven symptoms, be-comes convinced of the fact, she, without exceeding her limits, probes into the heroine's heart through both true and fake expressions" (TF 11215-6). This procedure is followed by Nampi (AV 139).

6.6.1.2. kuraittura tigoartal: The first phase of kuraissira urtartai is karai-y-untai, 'the hero's approach to the maid for help',' and the next phase is 'the maid's learning of their love affair'. Hereafter, there are some occasions when the hero beseeches the maid to arrange a meeting, so that we may tentatively call the entreaty in this situation, 'the first entreaty by the hero'.

According to TF 99:11-13, the first entreaty' is performed so that "the hero entreats the maid to intercede, suggesting to her his intention by asking about the village of the heroine and the maid, their name, misfortunes, etc.` However, Nampi thinks that it takes

place when the maid Ls alone. On the other hand, Nam. believes that it happens when the maid awl the heroine are together (i.e. iruvarum uPavali). Ilarn. makes no clear reference to it.

Nampi mainly follows TP but enlarges its contents: "(1) the hero who discovers a desirable mediator (feli) wants her to intercede (= TP 99:10), (2) the hero, taking inupi 'chaplet' or Mini 'gannent of strung leaves' ( to bang down, cf. DE DR 3178) with him, visits the heroine and the maid, and (3) the hero asks them about their village, etc. (= TP 99:11)" (AV 140).

In IA, on the other hand, the theme in question is termed. irantiti. (to beg) ktiraiyurutai, which means, [after having united with the hero-ine at the meeting of parikanktitOrn or itantalraippdpil he courteously beseeches the maid [while she is alone] to arrange a meeting" (IA 5).

maid Warm or the heroine". 3exual union (77 112

comm.). Sp-Mriniclom and P. S. Subrahnianya Sastri follow tlarn.'s interpretation (ee TCL, p. 39 and TPS, p. 8J).

DEPA 1.851 "kuria short., dwarfish, defective; LaPiii n_ deftdency, defect,

p-ovErty."37 amen r Frurri kepalyurn. Fitrarum rtinr kanippitt ntrampak hint

i4hyaikktirai sal. Fri.

Copyr igh toci ni atoll al

6.8.1.3- iruvartm tiffava4i avaD vara to:tared:3' TP does not give details of this phase, but Nacc., as mentioned above, takes TP 99:11-3 as a relevant part. In IA, matters are complicated: first, this event takes place when kumipturutal has failed, thus, it is an alternative to ktiraiyuniital; next, its contents are, "the hero conies, as if he were a stranger [to the heroine], to where she and her friend are together, and makes her friend aware of (matiyqata-patyttai) his intention by asking their village and name, etc." (IA 6). This is nearly the same as what TP says regarding kuraiyurtgtal (see above). In this connection, Itarn., citing IA 6, says! "When kuraiyura ur.gartal takes place, this (irgivargrm uffariali ...) does not happen" ( TP 112:14-15, comm.). Hence in IA, there are apparently three ways of matiyufanpitu as far as the terms arc concerned, but actually there are only two ways: 1. Troirjuura

and 2. kuraiyurci In:Lai-NIor iruvartim ugavali aveng vam 147(gretal,In AV, the contents are given as follows; "they axe, ,when the

hero entreats the maid to intercede, suggesting his intention. to her by asking their village and name, etc.] the maid laughing at him (= TP 112:14-

), and she realizing his intention" (AV 141). This means that, in AV, the contents of .iruvartm qategki repregent the second half of a sub-phase of kuraiyurrital. Hence, also in AV, there are actually two ways of matipstanplitu; mulitimira urpartal and ktirdivirdal [either when the maid is alone or when she and the heroine are together].

Thus, in fact, it would seem more convenient for us to take matiyutanp.#1.4 as a theme consisting of the following two phases:L the maid learning of the heroine's love affair for herself (Fromuura

nrjerrial);2. the maid learning of it only when the hero comes to leer

(kurniyura urlartal) or to the place where she and the heroine are (irutielrum avan yam uncrtat).

However, in the following argument, we still follow the three-fold classification of this theme, along with its definition, as given above (6.8.1), because it is the traditional and popular interpretation of the theme.

6.8.2.1. munrtura urtarial in the poems: Many poems tell us of the changes in the heroine due to lovesickness, such as pallor (paculait pacappte spreading over her body, her broad shoulders drooping, ban-

In 15-0111C texts, this phrase is read tigiELVd.li ciValt thilVdtla

11.Flartar l ithe

maid) learns of his coming to where. Lx-lth or them are), but this reading does nut make sen.se. See Taikappivards, Rajarn ed. p. Si,. R. Balakrishna Mudaliyar., The Golden Anthology of Ancient Tamil Li! enatutr, Vol_ Ir

pacappi and pacalsi spread on the heroine's body while she is in distress due to 10VeSidCrle2411. On the other hand, when she is happy in Love,. she has ft rr complexion (black, dark blown, cr DgMli 4781; according to fo'k etymology,

PA NKI M A T I Y V T A f t 171 93

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this ifl the colour

94 CHAPTER. SIX

files slipping off from her thin arms, etc. In this connection, run 185 is quite intemAing, since in it most of these changes are mentioned.

Pallor spreads on my forehead; my passion marks fade away; my soft, broad shoulders droop,and my bangles slip off:would it be wrong to say to him,It is your fault I am like thisrmy friend?The ruin of my beautiful brown bodyi all for the sake of that man

from the land where bright red klinta; flowersfold up like hoods on many-striped snakes.and then are knocked off, by the east wind,and cover rocks_

(tr. M_ 5. Pillai and B. E. Luddeu, KT, p. 77)

This poem, however, cannot be taken as an example of rum-aura tor;tartal because, in it, it is the heroine herself who tells the maid of her distress caused by love,

In the colophons (turais) of the poems, the heroine's distress and/or changes in her resulting from lovesickness, are termed vErupcitu, lit. 'becorniug different' (cf. DERR 5548). Among the approximately 130 poems which are said by the colophons to be relevant to tiiruptitu, half actually refer to the physical changes in the heroine. However, in almost all these poems, the changes are due to distress during the period before marriage (varaivifcii) or during separation (piriuifai). Nal'. 13 is the only poem whose theme is mentioned by the colophon as murmunt toliartrid (the maid getting to know of the heroine's love affair through changes in her In it, the maid says to the heroine, "Don't weep over having lost Lyour] young beauty because of a stranger") as parrots cry to see the hills [where he lives]. The poem does not give us any clium; except the word 'a stranger (noturetaiar)' to help us under$tand the situation. The colophon writer may have interpreted the word as 'a newcomer' in its literal sense, and if so, the heroine would have iad a casual love affair with a real stranger. However, such an interpretation is in complete disagreement with the akom conventions. Whenever the heroine or the maid applies the word noturnalar to a man with whom the heroine has had a love affair, the man is always someone who bas been

of a. mango ( 1114) fruit) and yalaw gratis (etramikti.,spread on her body.

1° The colophon of Nar. ]3 says,. '`What the maid aid concerning the heroine's secret,. when .she saw the dianges in the heroine a few day alter t h apprithnecais meet in g."

4 1 1 Eiji Maur.' iolaiyg aE Ciriali nt is rrialcif

igh ked rn Mori al

"INK I MAT IY If TA NP 95

known to 'them for a i.e. the horn. III tile poems, the appella.tionimplies the zneeink% of `the MAUI WIDLII coulii off towards a.~ if hi. 10,:lirea stranger' (Kiln, 191; /Vox. 395; A ri. 4. 234 Thus the colophon Rives an incorrect interpretation. of the poem..

Though many poems refer to subtle changes in the heroine's physique due try love, in all of them the changes are described ()My in ronaect.inn with the themes in the later stag.es of the love event:.i; that means that there is too poem which depicts mtzuvaira

Azi mentioned in 6.8.1.1, TP 112 enunieratezi seven kind& of symptom by which the heroine's love affair may be r•ognized. The changes in lter physique referred to in the poems may correspond to what Tot. calls torram. (the changes in. .2ippea.rance), However, apart from these changes, no poem mentions any other kind of change in her; though some poems

refer to the pelf-wag. (neirrarn) of her body (Kixr. .62, S4) and of her brow (Nur. 22, 52. Airi. 97), and others refer to the beauty of her gait (Kirin 182, 214). which may correspond to

ceinnu in TP, they do not mention that the perfume or the gait have changed because of love. Therefore, the relevant part of TP 112 is rieither 'descriptive of nor prescriptive to the actual texts, so far the themes treating the heroine's changes are concerned.

As for the mini-event. regarded as the following tht-me of Tinzirmura tir..mrttal 1w TP 112:5-6 and AV 139. Le_ -the maid probing into the heroine's heart. through both true and false expressions". Ak. 32. Which is cited by Nakc.. as an exainpic of it. quite intvrtis-ting.,

Yesterday a man appeared in the miller fieldweiaring it glitturitig .".et with a kivriy siqiphire.Changing his kingly dcmeanOr.he repeated the obsequious words of a sLippiiant: -0 you who cha..se parript.:s from the tiny millet,heating weakly your plea,.sa.nt-sounding rattle over and overstanding like a gotirle.ss.Whira are you?You have bewitched me-- f will eat you upn and he embraced me from behind.At my heart was arrlicted,melting like. mud in pouring rain.Afraid he might know, I said harsh words. I did not meanawl bici,r(iiiic grip of his bands.

stood my ground.he stood away like a frightcneri doe.. rpvereome liv ttitrength of will..and ho.. did no dart- anything elNe_lie left :sadlylike an elephant. separated from hi24.

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herd. :dud even today he has not recovered.lic {hips not knov: Char. he

96 CHAPTER SIX

and the right to these ample arras with curving joints is his. Come, let's go, friend,to laugh Fit him as he comestrying to get what. he wants,begging as I turn my back,

(tr. G. Hart, PAT, pp_ 23g--2410)

G. Hart explains the situation of the poem saying, "the heroine describes her first meeting with her lover" with coyness (op_ cit., p. 239), Judging from what the poem represents explicitly, it appears to describe the first meeting. But, if this IS so, it differs from other poems, which actually describe, or are said by the erudite scholiasts to describe iyarialipptirjarrei, in one important point, namely the hero embraces the heroine from behind (eirupurafn kavaryicia9) without their having mutually agreed to the embrace. His behavior also seems to he improper and hence Nace. may also have cited the stanza as an example of a poem beyond the range of moral code (arca kiativu utoiyand) in his commentary on TPN 218, which runs, "if those themes which are to be rejected as unworthy of moral code appear to be useful because of their content in dealing with the love, they may be allowed as usages and such usage is not to be depreciated' (tr. S. itakkuvanar). Furthermore? the poem reveals that the speaker is the maid because, according to btu conventions, it is always to the maid that the hero goes for help (kurai) and in the poem the speaker says that she has been requested to help the man; she says., "the man who comes to hang on me in expectation of a favor" (eu kuraip puranitai muyalion atikarygop; 20-21).

Even if we disregard all thee reasonings, it is beyond dispute that the most suitable explanation of the poem is that given in TP 112:5-6, that is, that the maid tells the heroine a false story to probe into her heart. When one reads the poem Aft. 32 along with the passage in TP, one may think that this passage is indispensable to an understanding of the poem, because what is described in the poem does Dot occur frequently. Subsequently, a doubt arises regarding the relationship between the poem and the description in TP; i.e. that there is a possibility that the description in TP was written first., and that the poem Aft_ 32 was composed following it; or, alternatively, there had been the poems dealing with the theme but poems other than Air- 32 are no longer extant), and that Tot. subsequently formulated the rule (TP 112:5-6) after the model of those poems. Both cases are equally probable.

6.8.2.2. kuraiyara uriortal in the poems: Several poems refer to the theme of the hero approaching the maid to ask her to arrange the meetings, etc. In Ak. 38D, the maid says to the heroine, "Days before, a man of the coastal region came alone, leaving his chariot behind, and

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asked (me], *fir hat is your village?' ...His chariot [again appears] today. If we were to receive [his petition), he would accept it (Le_ marriage).."12 If one reads this poem, bearing T.IJ 99:11-13 in mind. one immediately notices that what the hero did days before is almost the same as what is mentioned in TP, and hence one can consider that the hero's first petition has occurred. In Kum 81, the maid says to the hero, She (the heroine) trusted me to convey your worlds, and she lost her virgin beauty by the side of fresh., wet branches of nal& trees."' This poem clearly shows that the hero had asked the maid to arrange a meeting, though that demand does not seem to have been the first. one. In addition to the poems cited above, some poems refer to the hero's gifts, such as taiai (garment of strung leaves; Afar, SO, AM. 201), bra rani (chaplet J, park-al/pp:11mi (a doll made with pariedygrassz Kur. 276, Airi. 383); these are, according to the grammarians, the presents he gives to the maid to give to the heroine when he asks the maid to help

It seems that there are enough poems depicting kuraiyura mortal; but the poems we require, as iflustrations of the theme, are those which describe both the liero's first entreaty and the maid becoming aware of the heroine's love affair because of that entreaty. Though Ak. 380 may be taken as an example of the first approach by the hero, the poem d.oes not suggest that the maid becomes aware of the heroine's love because of it,

inivarum ugavali (Ivan vans tu:tartira in the poems: As far as I know, Nan. 213 is the only poem that. is taken as an example of this phase. Therein the hero says, "0 you of elevated mound of Venus and broad shoulders, you never reply when I say, 'What will you do with your tiny feet to the big mountains ...?' Is it your work to protect the millet field?'" The poem gives no clue as to whom he is addressing but, in the original, the addressee is addressed in the 2nd person plural; num- 'your', colt- it you who do not speak', and too- it `you of shoulders', and hence it would appear that both the heroine and the maid are addressed by the hero.'

The colophon of Nan 213 among all colophons of the early main poems is the only one which contains a term relevant to

1 .2 #fir re 'n "saki turnistain waniu num lir Yalu riinia 'tarp. Vass: a NIUE nu tIke a Euraipay „ EtTre! im-una ndm fir kon6i.m tar rats LairtalbutPatt

43 matt nin car Loimit en ear firs pact,. fiinai Tialdr pal einui oru plata nisigittilania. .—

44- - - kell Pak' eifiiktifiYet VOA eCiiitiimiin colhirr Flamm kdslaturn nurnatd

klite era's Ault ni! enill atilt, hi. 'high, elevated mound of secnua', aUosignifies a womati's bran ter I98, 368, Ai_ 75. 201. 269; and others).

45 it is common. for the herofrie and the maid to go together to the millet field to drive away patrotz, as in Kur. 198 which runs, "We are going to drive. away parrots that swoop down on green millet stalks' (pain. bare patu.k i kafikarn cc? m}.

PA NI( I MAT/YIITA LVPA TU 97

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truitivtqcznpf4m. The colophon runs, -what the hero. making the maid understand his 'intention, tells [to her- to have his intention understood" (thatiwifanpftptikracra tGlitimakarl rolliyeata). It is interesting that the only usage in thv colophons is 7.raitiwzympqtr.kkum (relative parLiciple of the transitive form. matiyuttinpatu-ttab which shows a similarity to IA 6 (i.e. the form -patrittal is used). Both narn.. and 'acc. interpret Nar. 213 in the Barr its %ye saw above. probattly under the influence

either of 1.4 6 or of the (:61ophon ic`Otu rr _try TFand TPN 102).

in conclusion, we may say: the erudite scholiast- think that the rim meeting Nyarbripploym-ri) takes when the hero Awl the heroine are alone (see 6.1,1), which inPans that it tnay have been. Lecess-ary for them to institute a phase in which the maid learns of the heroines love affair, In thf. poems. however, the lwroine encounters the hero for the tin-it time when she is accompanied by the maid(s), which 2tiea11:4 that the maid ht q already met the hero and learned of their love. That is probably why poenks depicting inatillititaripii0 are not prevalent in the vatly poom_s..

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PANICiY18 KUTTAM 99

6.D. Ar_itikiyir 10.14ani`Union through the Aid of the Maid'

0) tollyir ptritylrvu (TP487).kcivam (MC 13. turais).1) Lit. 'hy the female friend "Ir.nion of a hero with

his hero-ine effected through the aid of her female cornpa.taion"!IEDR 4053; kcittam., DEDR 188.2 "ftf4t1 (k1.10-} C.o come together, join, meet, _._ ktiyisrm. union. meeting, crowd. group. association. kindred, companions, battle, sexual intercoo.r6a.-

2 TP 1877 IAC. 13; AV 143.

6.9,0.. Sp_ Niatickam writes, -A series of ineeting,s between the loverz., will take place after the entry of the heroine's maidl into the scene, The importance and indispensability of this character can be easib,• gauged„ from the fact that out of 8S2 Kalavu poems in Sangarn literature. nearly 842. Lc. 95 per cent come under the category of ToliyikputAarcci(Tel,

p. 37). „If we bold the same opinion as; TP 487, which maintains that kalavu corwists of four major gituations, i.e. iyarkaimitsrpmei. iOntald2ippqtz, parikarktiiyant... and parilkiyirkuqizni, all thPnies that will be discu.t...sed in 6.9-6.15 would fall under sub-phases of ptirikiyir..kiVirm... It seems almost impossible for theoreticians to describe intell4,Fibly all these themes i the guh-phmeA (If a main situation. Ailire a major part of kal'atkr; poems fall under the main situation, as pointed out by Man-iclmari (though it is not necessary to adhere to the numbers he shows). Hence, in ail grammars, some dominant sub-phases of ,ri.t5iikiyirkti4am., such as pakarkuri, ircuukkuri, etc.. are treated as stparati- !.;ituations (termed. kqatii in AV).

6.9,1, In AV 143-150. paiikiyirktigam cansists of 12 sub-ph.mes (vakai) and 61 mini-themes (viri). As it is not really important to look kip to ail the themes Lo understand the situation payikiyirkliqarn.., we 8hodl confine our investigation to the five well-known sub-situations... as represented by almost all grainina.rs11, irantu.pinnirral: the hero entreating the maid. to

arrange meetings; cetpSai:the maid putting off the hero:

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3. mat:al kurril: the hero. tlirt:atening. to =Ana af palnlyrastems;

4. kurai Iiiribrappittai: the vilaiti accepting his entreaty and ina.king the heroine consent to a meeting:

5. k-fittaTrt: arrangement of a meeting by the maid and the ac-tual meeting.

The meeting of the lovers with the aid of the maidplace more

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stitni eau be summerised thus:EL 1-4 seven symptoms through which the maid learns of the

heroine's love affair;i. 5-6 the maid probing into the heroine's heart to find out the truth;

lL 7-10 the hero approaching the maid for help (kuraiyurtital); she tries to turn him back on the pretext of his honor, the customs of the world, the difficulty of getting the heroine. etc;

i 11(not interpretable in only one way, but can be interpreted as)the maid referring to the arrangement. of a meeting;

I, 12 the actual meeting (klittarn).If we apply technical terms CI stands for the application of a. later term which is not used in the original) to the 12 lines, it may be illustrated as:

*Intirinura firlortal kuraivuruted*eqpot.ciiIt is obvious that the procedure shown in TP 112 corresponds to the pdrikiyiniftiftrun described in later grammars, i.e. the 'first' parikiyir1014mn, because these events follow directly the situation described as the maid learning of the heroine's love affair'. In this connection, kuraiythrtaal, in the 7th line of TP 112, evidently substitutes for the inginttspiguirral in question.

In IA, the process of the love affair is almost the same as the one mentioned in TP, The hero approaches the maid while she is alone, or while she and the heroine are together, and makes her aware of his intention (natiyufaupiguttal; IA 5-6). The maid Icarus of the heroine's love affair either through the hero's approach or because of changes in the heroine (natiyAtzEipatutal; IA 7). IA 9 runs. It is not until the hero requests the maid to arrange a meeting that the maid tells [the heroine of his request), even if she has learned of the heroine's love affair'. This aphorism corresponds to TP 126, which mentions that the maid tries to help the lovers only after determining their love in three ways, i.e. after matir4anpatti. Then, in IA 10, kurat nayappriital (the maid making the heroine consent to a meeting) is referred to. Thus, in IA too, the 'first' entreaty by the hero is directly followed by the first arrangement of a meeting by the maid.

As a sub-event of the hero's request, the later grammars refer to a

love-token gift (ketilturairg' he takes with him ola b-eseeching the

maid (MC 12, AV141). The gift can be talai ( deaf-garment), karwii (chaplet), mutiu (pearl}, kitai (garland), etc. (IA C 12, p. SS; AV 140; Peres.`comm. on TPP 264), which, according to Nakkirar and Nampi (IA C

19< tai (hand, d, DEAR 2023) - urn (tn be, happen, come in contact

with; cl DED1.1 710). TL gives several meanings: offerings, present from inferior to superior: marriage-present; Cligtantary love-token conkisting of a branch cif tender leavt; bribe.

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