Page Created by Jijith Nadumuri on 18 Dec 2011 19:10 and updated at 18 Dec 2011 19:19




antimalaic cirappu cey kaatai


The goddess Earth cried in grief not seeing her husband the Sun thus:- ' I am not seeing my strong man {uravon} who radiates {parappi} his glowing rays {viri katir} over the whole world {ulakam muzhutu}, who rules with his solar disk {tikiri}. O handsom Moon {tinkalam}, O thou of soft glow {ani nilaa} who lights up the heavenly sky {ankan vaanam}, where is he?' The cardinal directions {ticai} were her elegant {pacantu} face {mukam}. Her eyes {kankal} were like the red flowers {chem malar}. They were running with tears {muzhu neer} like incessant rains {panittu}. She was still majastic in her blue robes {aatai} made of the waves and waters {tirai neer} of the sea. She was like a dark young woman {matantai} of Irunila (a dark region, tamizhakam).

When the king {araicu} is ruined {ketuttu} during the time of distress {alam}, the citizens lamants {valampu} as they are forced to place their hands {kai} on their heads {talai}, by some rebels {kezhu} who don't pay tax {karai}. They misbehaves with the citizens {kutikal} staying in their homes {arai} and with the kinsmen {viruntu} of the king {mannar} (the other kshatriyas). The laments {pulampu} of the chaste wives were even like that. The sorrow of chaste wives losing {turant} their husbands {taazh tunai} mixed with the plays and joys {kali makizhvu} of women embracing {punarnt} their lovers {kaatalar}.

The cowherds {kovalar} (skt. gopalakas) in the village {mullai} of the heardsmen in the Mullai (middle) regions, sung the song of separation {mullai} with their Flutes {kuzhal}, adorned with Jasmine {mullai} on their mouth-piece. Prattling {mazhalai} bees {tumpi} sucked {uuta} necter into their mouths {vaay}. The small legged insect {ciru kaal celvan} staying {vaacam} inside the bundles {poti} of buds {arumpu} was mischivously {kurumpu} swept away {tuutta} by the wind {erintu} into the streets {maruku}.

Women {makalir} with shining bangles {el valai} took {etuppa} their lamps {mani vilakku} as the evening {maalai}, like a strong man {mallai} coming from an ancient city {muutuur}, emerged {vantu} and darkened {iruttena} their sourroundings. The youths {ilaiyar} overpowered {kati} a hostile king {pakai aracu} like the sons {kula-mutal} of the Pandya {tennar} king of glorious battles {ceru maan}. Similarly the crescent moon {ven-pirai} that appeared {nattu} in the twlight sky {anti vaa} made that Evening {maalai} who was like a troubling {punkan} cheiftan {kurumpu} to flee {otti}.

Without any flaw in the quality {paanmay}, the milky rays {paal katir} of the mooon spread {parappi} everywhere. Thus the Moon, who assumed {aanta} the rulership {aracu} of the Fish {meen} constallation appeared like a silvery {velli} white lamp {vilakku}.


Matavi's bed {chekkai} inside {ul} her bedroom {palli} was full of homegrown {il valar} Mullai {mullai} mixed {avizhnt} with Jasmine {mallikai}. The red-Coral {cen-tukir} Kovai {kovai} (ornament fastening garment to waist) disapeard {cenru} having streached {entu} away from her mound of love {alkul}. Her pretty {am} fine garment {tukil} and her waist-chord {mekalai} danced {acaintana} and fell {varunta} .

She then stepped on to the open terrace {muttam} of the upper floor {netu nila} lit by moolight {nilavu}. She sometimes gave sexual union {kalavi}, and sometimes pretended refusal {pulavi}. Thus she played with her lover {kaatalar} and melted {alittu} into him with a heart {nencham} full of passion {aarva}. Thus Matavi of beautiful form {kolam} competed {etirik} in love with Kovalan.

There were many others like Matavi. From the Western {kuta ticai; lit.west direction} hillside {marunku} they got the white Ayir {ayir} (an aromatic substance made of white {vel} resin). From the Eastern {kuna-ticai} countryside {marunku} they got black {kaar} Akil {akil} (agar, an aromatic substance). These they burned to produce fragrant smells.

They had painted themselves with the paste of Sandalwood {cantanam} obtained from the Tenmalai {tenmalai}, the southern {ten} mountains {malai}. These Sandalwood pastes were prepared by rubbing the Sandalwood pieces upon the round {vattattu} stone of great lustur {kezh} having regular {vaan} surfaces, obtained from the Vatamalai, the northen {vata} hills {malai} (venkatam / tiruppati hills).

They had adored themselves with fresh garlands of flowers and leaves arranged using soft stalks {kozhu muri} taken from the red Lotus {taamarai}. There were other garlands made of bright flowers {cezhu malar} fresh with polen {taatu} on them, charming {kaam aru} Kuvalai (blue Lotus), Kazhuneer (purple water lily), Maamalar (indian laburnum) buds {talir} and strings {patalai} of big {paru} bright {kaal} Pearls {aaram} that adored their beautiful bodies.

Their flower {puun} filled soft {cezhum} beds {cekkai} were smeared with colored {cuntara} fragrent powders {cunnam, skt.chuurnam} and pollen {tukal} and adorned with conches {cintu-pu, skt. sindhu-pushpam, the ocean-flowers}. They tranced {mayanki} exhausted and intoxicated by love making, in the gentle breeze {manta maarutam} after letting themselves to be spoiled {malintu}. They, having poetic {kaaviyam} eyes {kannaar}, curled up {otunki}, approaching their yawning {aavi} masters {kozhunar} and then pretended sleeping {kali tuyal}.


Meanwhile, Kannaki's small-feet {ceerati}, beautiful {am} and painted with red {cen}, was devoid of any Anklet {cilampu} or ornaments {ani}. The waist-chord {mekalai} and the soft garment {men tukil} over her waist {alkul} never moved {neenka} . Her breast {konkai} were not decorated {ezhutaa} with the red sandal paste {kunkumam}. She was not happy wearing any other {piritu} ornament {ani} except for her bridal pendant {mankala ani}.

Her ears {kaatu} hung down loosly {vatintu veezh} and its big hole {kotun kuzhai} to put ear rings was empty and open {turantu}. Her moonlike bright face {tinkal vaal mukam} was not wet {iri} with sweat {viyarppu}. Her red fishlike wide eyes {cen kayal netun kan} had long forgotten {marappa} the use of Kohl {anjanam} (black paint adorning eyes). No Tilaka {tilakam} was seen on her bright forehead {vaal nutal} adorned with red Coral {pavalam}.

Her smile {nakai}, white {tavala, skt. dhavala} and bright {vaal}, that she used to display to Kovalan, was lost {izhappa} all togather. Her thick dark hair {mai irun kuuntal} had long forgotten {marappa} the use of oil {ney}. Kannaki's heart broke {kai aru nencham; lit. hand severed from heart}.

Other women {maatar} like Kannaki, having parted {pirint} from their lovers {kaatalar} aching {nota} themself, sighed like the blowing {uutu} of bellows in a smithy {ulai}. They were seen as shrunk {kuruki}, lifeless {uyir tanar} and withdrawn {otunki}. They abandoned their spring {venil} bedrooms {palli} and retreated into their autumn {kuutir} rooms {palli} with narrow {kurunkan} windows {atait}. They didn't adorn their beautiful {alar} breasts {mulai} with Sandalwood {aaram} paste from Malaya {malaya} hills (Potiyil hills) or decorate them with Pearl {mani muttu} strings {aaram}.

They didn't use their flower {puun} filled bed {chekkai} adorned with charming Kuvalai {kuvalai} (blue lotus) and cool red {tan chen} Kazhuneer {kazhuneer} (red water lily) taken from wide ponds {taazhi}. They didn't get good {tiruntu} sleep {tuyil} on the best quality {mempatu} pillows {inai anai} made of soft feathers {tuuvi} of swans {annam} while they mated with their mates {tunai}.

Some of these women, during the time {kaalam} of lover's quarrel {uutal} with their husbands {kozhunar}, having troubled {utai} greatly {perun}, rolled their eyes {itai} from gap {itai} near the nose {kumizh} to the eye lobes {katai kuzhai} to calm their agitated {kalankaa} minds {ullam} at the end {kataici} of their quarrel {kalanka}. Their wide eyes {netun kan} shed, from its swollen {nimir} boundaries {vilanki}, tears of sorrow {pulampu-muttu}.

The fresh water {nan neer} lake {poyka} looked like a woman. The elegant gait {mel natai} of the swan {annam} in the fresh water {nan neer} lake {pykai} was her walk. Her fragrence {naru virai} were the Aampal (water lilies) flowers full of fragrant {tem} pollen {poti}. The lotuses {taamarai} were her red lips {cev vaay}. The cool {tan} sand {aral} were her hair {kuuntal}.

The bees with a musical mouth {paan vaay} sang the Notiram {notiram} songs. Hearing that, the
lake opened her flowery eyes {kan malar} made of glowing Kuvalai {kuvalai} (blue lotus) flowers. The beaks {vaay} of birds {pul} sounded like the Muracu {muracam} drums. The thorn {mul} like beaks {vaay} of the stripe-feathered {poru mayir} Rooster {vaaranam} sounded again and again {murai murrai} like conch shells {cankam}.

Hearing these sounds, the city of Pukar {uur} woke up {etuppi} from the sleep {tuyil} and spread {parappu} out like the sea {uravu neer} as the dawn {vaikarai} came and caused the night {iravu} to withdraw. Some did not sleep {tunca} even between mid-night {arai irul yaama} and the early morning {pakal}.

With the arrows {vaali} made of fragrant flowers {virai malar}, bow {vil} made of Sugarcane {karuppu} and with a white banner {vel koti} having the Makara {makara} Fish symbol on it, the heroic {maintan} young prince (Kama) wandered {tiri tara} around to protect {kaaval} the greatly famous {nani ciran} city {nakaram} for its defence {tatu}.


Friends {kuutinaar} for some, by becoming the milky {paal} shade {nizhal}, but enemies {kuutaar} for some others, by becoming the heat {veyt}! This is what the Moon {mati} in the heaven {vaanuur} who makes the blossomed {virintu} flower-buds {potu} to open {avizhk} and the setting Sun {pozhutu} at the horizon {kankul} do. This is much similar to the white Umbrella {ven kutai} of the protector {kaavalan} king (Chola king) is doing, to his aquintance {kuutiya} Matavi and to Kannaki (unknown to him).

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