Puranaanooru 400 – A leader par excellence

Sangam Lit

In this episode, we perceive the noble qualities of a respected leader, as depicted in Sangam Literary work, Puranaanooru 400, penned about the Chozha King Nalankilli by the poet Kovoor Kizhaar. Set in the category of ‘Paadaan Thinai’ or ‘Praise’, the verse reveals nuances about the king’s compassion and administration.

மாக விசும்பின் வெண் திங்கள்
மூ ஐந்தான் முறை முற்ற,
கடல் நடுவண் கண்டன்ன என்
இயம் இசையா, மரபு ஏத்தி,
கடைத் தோன்றிய கடைக் கங்குலான்
பலர் துஞ்சவும் தான் துஞ்சான்,
உலகு காக்கும் உயர் கொள்கை
கேட்டோன், எந்தை, என் தெண் கிணைக் குரலே;

கேட்டதற்கொண்டும், வேட்கை தண்டாது,
தொன்று படு சிதாஅர் மருங்கு நீக்கி,
மிகப் பெருஞ் சிறப்பின் வீறு சால் நன்கலம்
…………………………………………………..லவான
கலிங்கம் அளித்திட்டு என் அரை நோக்கி,
நார் அரி நறவின் நாள் மகிழ் தூங்குந்து;
போது அறியேன், பதிப் பழகவும்,
தன் பகை கடிதல் அன்றியும், சேர்ந்தோர்
பசிப் பகை கடிதலும் வல்லன் மாதோ;

மறவர் மலிந்த தன் …………………..
கேள்வி மலிந்த வேள்வித் தூணத்து
இருங்கழி இழிதரும் ஆர்கலி வங்கம்
தேறு நீர்ப் பரப்பின் யாறு சீத்து உய்த்து,
துறைதொறும் பிணிக்கும் நல் ஊர்
உறைவின் யாணர் நாடு கிழவோனே.

A verse with many missing phrases and lines, highlighting to us the importance of saving the past from the ravages of time, and passing on that treasure to the future. The poet’s words about this much celebrated Chozha King can be translated as follows:

“Appearing akin to the white moon in the sky above, which has completed three fives and stands shining in the middle of the ocean, was my drum. I played upon it, and as per tradition, sang praises at his gate, when it was the last phase of the night. Even though many were asleep, he slept not, owing to his noble ideals of protecting this world. And so, that lord of mine heard the voice of my clear ‘Kinai’ drum.

The moment he heard it, with unceasing compassion, he came and removed my old and torn garment; He gave unto me, exceptional fine objects with an inordinate significance… Also, he rendered an attire to me, and looked with satisfaction at my newly adorned form. Drinking fine toddy filtered through thick fibres, every day was filled with joy for me; How many such days went by, in this way, I know not! Not only in chasing away his foes, but also in chasing away that foe called hunger in those close to him, this king is an expert indeed!

With countless warriors… with sacrificial pillars embedded with the knowledge of rituals… with widened and sculpted rivers to ensure uproarious ships, which come sailing through the dark backwaters, are docked at the many, many ports, are the fine towns, filled with prosperity, a delight to live in, in the country of this great leader!”

Time to delve into the intricacies of these words. The poet begins by talking about the glowing white moon in the high sky. He then goes on to give us a tiny mathematics lesson by saying this moon has completed three-fives, as depicted in the Tamil phrase he uses ‘Moo-Ainthaan’. Not sure about the generations that follow, but those of us, who know our tables, can tell instantly that this phrase represents the number 15. We can infer what the poet means is that the moon has journeyed for 15 days from the point you would call ‘New moon’ or ‘No moon’, depending on whether you are an ‘optimist’ or ‘pessimist’. Growing every day for fifteen days, this celestial object, which has charmed poets across the ages, becomes the ‘Full moon’. And thus, with a few lines, the poet not only teaches us mathematics but also a little astronomy. Returning, the poet has delighted us with these references only to say his ‘Kinai’ drum looks like this full moon in the middle of the ocean. Now, he gets working on that and goes playing the drum, singing the praises of this king to his gates. The time is the dark hour just before dawn. The poet says at this time the whole world seems to be sleeping but not the king, why because, like any leader, worth his salt, he takes the responsibility of protecting this land seriously. So, the king, suffering from a bit of expected insomnia, hears the drum beats at his gates.

Hearing that, the king rushes to the gates and immediately removes the old and torn garment of the poet and renders fine things and new clothes, says the poet. Pausing for a moment here, the poet describes how the king looks at the poet, all adorned with a new garment, with much satisfaction. Isn’t this a relatable emotion of feeling joy when a person emerges out of their state of misery right before our eyes? That’s what the king feels here. Then, he bids the poet to stay in his town and enjoy all the good things. The poet says, with such joy, countless days passed by, and declares a verdict that the king is a master not only in making his enemies scuttle away, but also in chasing that enemy called hunger in all those dear to him.

After all these details about the king’s nature, the poet turns to the outer world around the king and mentions something about countless warriors and ritual places, but these lines are missing. However, the last detail is etched and clear and this talks about how the king takes up the task of widening rivers, clearing the rich sediments they bring, so that ships that come from faraway can sail from the ocean with ease and be docked at the many towns of his kingdom. The poet concludes by depicting these towns in the land of this great leader as places filled with wealth and a pleasure to live in.

And here, in the last line of this last verse of Puranaanooru, we find an instance of a king, who does not only care about fighting wars, enriching his wealth or even rendering to supplicants. We find here, an expert administrator, who knows what needs to be done to ensure the wealth and happiness of his people. He takes up the challenging task of ancient engineering, wherein the shapes of rivers are moulded to let the vessels of commerce sail through. In this way, the poet has left behind, for generations to savour, this impressive portrait of a Chozha king, who has set sail from the ocean of the past, two thousand years ago, and docks in our hearts today.