Page Created by Jijith Nadumuri on 18 Dec 2011 19:10 and updated at 18 Dec 2011 19:19
SILAPPATIKARAM ENGLISH TRANSLATION BY JIJITH NADUMURI
CHAPTER 4
THE SILENT LAMENTATION OF KANNAKI
THE STORY PRAISING THE EVEINING
antimalaic cirappu cey kaatai
THE GRIEF OF CHASTE WOMEN
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}.
THE JOY OF MATAVI AND WOMEN LIKE HER
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}.
THE GRIEF OF KANNAKI AND WOMEN LIKE HER
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}.
VENPA VERSES
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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