Page Created by Jijith Nadumuri on 21 Nov 2011 19:47 and updated at 15 Dec 2011 16:54




kaanal vari


The Lute of Matavi was kept in a cover decorated with beautiful pictures {cittira}. She took it and bowed {tolutu} to it and held it in her hands. The Lute was painted with decorations of flower {malar} and looked like a beautiful bride {mana makal} with large eyes lined with Kohl. Its sounding cavity {pattar}, angle {kotu}, turning pegs {aani} and strings {narampu} were perfect. She played the Lute in eight types {en vakai} of modes in multiple ways {pan vakai} adhering to the texts. She pulled the first and fifth notes tuning {pannal} their octaves. She caused the strings to wrinkle and then listened to the correct pitch of each note and thus ascertained their modes. She carfully observed the duration of each note {kanni}. She created great melody by synchronizing metre and rythm. She improved upon the music and played {vilayaattu} the Lute with great joy.

Her soft fingers {mel viral kal} were like the petals of red lily {kaantal}. They were adorned with rings studded with Emerald {marakata mani}. They moved over the strings {narampu} like a flock {kilai} of humming bees {payir vantu}. Thus she played the Ragas improvising them without any faults. There are eight ways {ettu vakai} in which the string of Lute is pulled to create sound as per the Musicians {isaikkara}. These are respectiviely Vartal (pulling with index finger), Vatittal (pulling the string with up and down hits), Untal (thrumming), Uraltal (changing from one string to the next one), Chirutan (pulling with the pressure of fingers), Uruttal (rubbing the string to test the sound), Teruttal (sweeping the strings) and Allal (fine appreggios). She tested all of these by keeping her ear {chevi} close to the sound vibrations {isai}.

Then she put the Lute in the long hands of Kovalan and spoke these words:- ' Command me. I shall follow the beat of your song.' Then he began to sing a song delighting the heart of Matavi. The song was about the river Kaveri {kaaviri} and about the seaside garden {katal kaanal} near its confluence with the sea.


veru {aattu vari}

Moon {tinkal} is the garlanded white Umbrella {ven kutai} of the King. If the king streaches his Scepter {chenkol} and embraces Kankai, sulk {pulavu} not O Kaveri, be thou live forever {vaazhi}! If he embraces Kankai never sulk, O Kaveri, O thou having fish eyes {kayal kanni}. The highest asset of young women {mankai maatar} is chastity and great patiance {perun karpu}. I know this. Long live Kaveri. - 2

Eternal garlands are seen on the white Umbrella of the king. If he streaches his Scepter and embraces Kankai, sulk not O Kaveri, be thou live forever! If he embraces Kankai never sulk, O Kaveri, O thou having fish eyes! The highest asset of young women {mankai maatar} is chastity and great patiance. I know this. Long live {vaazhi}, O Kaveri! - 3

There are sounds {otai} of plowmen {ulavar} and the sounds of sliding gate {mataku} controlling the water flow. There are sounds of breaking waters {utaineer}, the sounds of revelers {vilavar} rejoicing over the sight of first freshes {chirantu}. You flowed amidst their growing uproar {aarppu}. Long live, O Kaveri! You flowed continously amidst the sounds of revelers and their growing uproar. You flowed circling the households of the Mazhavar tribe, hearing their babbling sounds {valavan}. The warriors praised you as the king's plenty without stopping their tounges. Long live, O Kaveri! - 4


veru (charttu vari - mukaccharttu)

They showed the Sea god {katal taivam} to our lady of wide eyes {netun kan} like the blue lotuses {kariya malar} again and again. They but failed to keep their promise {chuul} and left. We are innocent (ezhai}. How do we thus khow Sir {aiya} if they are good people? In our city Pukar, the bud of water Lily {aampal} opens, seeing the white spiraled Conches {vellai purivalai} and Pearls {muttu} mistaking them for the white Moon {ven mati} and the Pleiades cluster of (six) stars {meen kanam}. - 5

They teased us from behind in the seaside garden {kaanal} in the backwater, like lovers {kaatalar} bearing gifts {kaiyurai} in their hands. How do we know Sir, that they would turn to be strangers {etilar} and leave us standing to beg {irappu} of them? Here in this city of Pukar, in the dim light of the reflection of the Moon in the water {mati nizhal neer}, a bee {vantu} can't tell a woman's eyes {maataraar kannu} from a pair of moon lit blooming flowers. - 6

The girls {maatar} make sand houses {vantal} on the wrinkled sand {varai manal}. They are plowed over and wreaked {uzhutu, azhippu} by the Conches with vibrating lips {mural vay chankam}. These come bound by the huge waves {mutu tirai} that swirl and strike and hurl them to the shore. Upset with this, the girls shred their garlands with soft fingers {mel viral} and throw the blue lotuses {kuvalai} to scatter the Conches. The people who pass by in the evening see these flowers and mistake them for blinking eyes {ciran kan} and stop. All these happen in our city Pukar. - 7


veru (mukam il vari)

In the sea shore {turai} the sand trails {manal uzhutu} of right spiraled {valam puri} Conches creates furrows {tottam}. A cloud of pollen is shed by the heavy blooming Laurel {puum punnai}. It covers the seaside garden {kaanal}. It hides the whisper of furrows in the sand. A heart ache is caused by her bright full moon face {niraimati vaal mukam} and wide fish eyes {neer kayal kan}. No medicine can heal this ache. Only her soft breasts {men mulai} having beauty spots {uur chunanku} can heal this ache. - 8


kaanal vari

A virgin girl {kanni} keeps watch over the flesh {ninam} of salted dried fish {pulaal unankal}. in the seaside garden {puun kaanal} full of fragrant flowers. She pretends {talaikkeetu} to drive the birds and Fowls {pul} away. She holds a smelling shrub {naru njazhal} in her hand. It hum and whirl round as a swarm {kanam} of bees {vantu}. She was a goddess {ananku}, this I did not know. I would not have gone there if I had this knowledge {arivu}. - 9

Fishermen {valai vaalnar} dry their nets {valai} in the frontyards of their Hamlets {cheri}. With flower {malar} in hand {kai}, she stays there and keeps watch over the fish dried for sale {vilai meen unankal}. I did not know that the terrific god of Death, Yama {kotun kuuttam} is living in the Seaside Garden {kaanal} of swirling waters {alai neer} in the guise of this girl of wide eyes {netun kan} resembling lethal spears {kolai vel}. If I had the knowledge {arivu} of this I would not have gone there. - 10


veru (nilai vari)

The handworks of fish {kayal} bow {vil}, dark cloud {kaaru} and the works of Kama {kaaman}, the god of Love, are seen on your face {mukam} which appears as the Moon {tinkal}; the same Moon, after having afraid of Rahu, the serpant {aravu} of the vast heaven {vaanam}, is now living in this Hamlet {cheeruur} of men with fishing boats {timil vaalnar}. - 11

The terrific god of Death, Yama {katun kuuttam} is seen in these eyes {kannu} that look like bloody spears {karai kezhu vel} that flutter from one side to the other in tune with the sound of the Conches flung into the shore. The terrific god of Death, Yama is seen in this simple looking girl {makal} who came to this Hamlet of people who live by the sea {katal vaalnar}. - 12

This girl seen as guarding the white smelling {velunankal} dried fish {pulavu meen} by driving away the birds {pul}, confuses and troubles onlookers. Is she a goddess {ananku}? Is she a goddess in the form of a girl {pen} with hair braided in five plaits {aim paalor} and lives in the Seaside garden {kaanal} full of hare leaf Atumpu creepers? - 13


veru (muri vari)

The garden {polil} with seaside palm trees {taru}, fragrant flowers {naru malar}, the fresh smell {putu manam} of the vast expanse of sand {viri manal}, her sweet, immaculate speech {tiru mozhi}, her fine, tender, big breasts {vana mulai}, her face {mukam} like the full moon {muzhu mati}, her arched eye brows {muri puru} like a pair of bows {vil}, her lightning waist {mini tai} which cannot be crafted {ezhut aru}, all of these are worrying me. - 14

The swirling waves {tirai} of the shore {turai}, the vast expanse {viri itam} of fine sand {tiru manal}, the fragrant flowers {naru malar} giving off perfume of seeds {virai viri}, the garden {polil itam} with closly united seaside Oaks {mitai taru}, her curly hair {puri kuzhal} giving off a different perfume {maru viri}, her perfect face {tiru mukam} resembling the lit moon {mati}, her two eyes {inai vizhi} resembling two fishes {iru kayal}, all of these are worrying me. - 15

The shore {taru turai} where Conches {valai} live, the Garden {taru polil} with its flowing smells {manam viri}, the fragrant flowers {naru malar} with petals yet to open, the twisted paths {tiri itam} where she wanders alone {tani aval}, her smile {ila nakai} like the tender sprouting buds {mulai valar} , her face {mukam} like the full moon {muzhu mati}, her two breasts {inai mulai} which are full of youth {ilai}, all of these are troubling me. - 16


veru (tinai nilai vari)

Your elders {aiyar} live by going to sea {katal} and taking the lives {uyir} (of fishes). You too live by coming into my body {utal} and taking my life. Struggling under the weight {paaram} of your hot breasts {vemmulai} that your tight garment {mitalpukku} is not able to hold {atankaata}, your waist {itai} is seen as becoming thin {ituku} so as to become lost completely. - 17

Your father {nuntai} takes the lives (of fishes) with his cold eyed net {kotun kan valai}. You take my life with your wide eye nets {netun kan valai}. With your breasts {mulai} bound with a rope {vatam} of pearls, your waist {nucuppu} is seen as becoming thin so as to become lost completely and it waves and shakes {nutanku} like lightning {minnu} during rains {mazhai}. - 18

Your elders {aiyar} take the lives (of fishes) with their fast boats {timil}. You take my life with your bent eye brows {puruvam}. You ignore the sorrow {peetu} of others {pirar}. Carrying your breasts {mulai chumantu} your narrow {chiru} waist {marunku} is becoming weak {vaatum} so as to become lost completely. - 19



She holds a Coral pestle {pavala ulakkai} in her hand. Using that she with red eyes {chen kan} is pounding the white Pearls {tavala (skt. dhavala) muttam}. She with red eyes is thus pounding the white pearls. They are not blue Lilies {kuvalai}. This is cruel {kotiya} ! This is cruel! - 20

She of red eyes {chen kan} is walking like a swan {annam} walking in the shadow {nizhal} of a Laurel tree {punnai} washed by stinking {pulavu} waters. She of red eyes is walking like a swan. Cruelty {veyya} beyond words! This is Death! This is Death! - 21

She holds a honey mouthed {kal vaay} violet {neelam} plant in her hands. She, of red eyes, is guarding the salted dry fish {unankal} by keeping the birds {pul} away. She is guarding the salted dry fish by keeping the birds away and has red eyes that are not white spears {vel vel}. They are terrible {veyya}! They are terrible! - 22



Don't meet her O Swan {annam}. Don't meet. Your walk {natai} is not like her walk. Don't meet her O Swan {annam}. Don't meet. Your walk {natai} is not like her walk. She tramples down {uzhakkit} the world bounded by waters {neer veli} swelling with waves {uur tirai}. Don't meet her O Swan {annam}. Don't meet. Your walk {natai} is not like her walk. - 23


Matavi of wide deer like eyes {maan netun kan} listened to the Seaside garden song {kaanal vari} of Kovalan. She then thought like this:- He has the intention {kurippu} to leave me (for another woman). Thinking thus herself {tannilai}, she sulked {mayanki}. But she pretended {kalav} to be happy {makizhntu}. Taking the Lute {yaal} from Kovalan, she started playing another song {paatal} of the Seaside garden {kaanal vari} as if with the intention {kurippu} of leaving him (for another man). The god of moonlight {nila teyvam} listened in amazement {viyappu}. The people of the long stretch of land {neezh nilattor} rejoyced {makizh} in their minds {manam} hearing the sweet voice emerging from her throat {kantam} harmoniously combined with {punarntu amaintu} the melodious Lute sound {kalam}. - 24


veru (aattu vari)

The cluster of seaside {marunku} bees {vantu} sing out loudly {aarppu} and greatfully {chirantu} around the garment of jewl like flowers {mani puu aatai} covering {porttu} your person O Kaveri. You walks {natantu} with rolling dark {karunka} fish eyes {yal kan}. Live long O Kaveri! With your rolling dark {karunka} fish eyes {yal kan} you flowed {natantu} to the edge seeing your husband's {kanavan} Scepter {chenkol} is not bending {valayaa}. I know this. Live long O Kaveri! - 25

As you flowed {natantu}, your lovely garlands {kaamar maalai} swung near {aruku achai}. Peacocks {mayil} danced and followed them. Friendly {purintu} Koels {kuyil} sang songs {isai paatal} in the garden {cholai} full of flowers {puuv}. Live long O Kaveri! Your lovely garlands {kaamar maalai} swung near {aruku achai} as you saw the power {tiram} of your husband's {kanavan} Spear {vel}. I know this. Live long O Kaveri! - 26

Live long {vaazhi}! Like a mother {taay} raises her infant child {makavu}, you raise his fertile land {vala naatu}. You are a great aid {per utavi} that salvage {uykai} this muddy land {uuzhi}. Never stop {ozhiya}. Live long O Kaveri. You are a great aid {per utavi} that salvages {uykai} this muddy land {uuzhi}. Never stop {ozhiya} your flow {ozhukal}. By the grace {arul} of the life protecting {uyir ompu} Discus bearer {aazhi aalvaan} who makes the daylight and heat viz the Sun god {pakal veyyon}, live long O Kaveri! (Here, the discus bearer could be a reference to krishna or vishnu; the life protector could be the king himself; or it could be the reference to the king in the lineage of sun god (surya-vamsha), who have the discus as his royal sign ) - 27


veru (chartuu vari)

Her face {mukam} glows like the moon {tinkal}. Her smile {muruval} is like coral. O Sir {aiya} you come daily {vaikalam} like the god of Love {maal makan}. You then says:- 'Buy these pearls {muttu}.' which are not like her coral smile. The roaring sea is like a trader {vilainar} who trades glittering white Pearls {ven muttam} in exchange of the garlands of flowers {puun kotai} from the Seaside gardan {kaanal} full of sweet scents {virai}. All these happen in our city Pukar. - 28

Some adultrous {van paratar} women {matavaar} who belong to the Seaside village {paakkam} of the fishermen make love in secret {marai}. This is but revealed by the slipping of Bangles {valai} in their beautiful forearms {chen kai}. We are innocent {ezhai} so we don't know any of these, Sir {aiya}. A swan {annam} is sitting on a branch of a tall Laurel tree {neel punnai} with full of flowers. A white Lily {aampal} with a humming bee {vantu} inside, blossomed seeing the swan but mistaking it for full Moon {nirai mati} shining amidst the Mina constallation of stars. All these happen in our city Pukar. - 29

The abuse of Wine {vel naraa} that ruins those who drink it is not a secret in our Seaside village {paakkam}. This cause to our women {maatar} this lasting uncurable sickness {talait aruti}. How do we know this, Sir? The waves {tirai} pull down our sand castles {vantal}. These women scoop sand {manal} by the hand {kai} as if they can fill the sea {katal} with it. Their spearlike {vel} eyes were full of tears {neer} falling through their moonlike faces. All these happen in our city Pukar. - 30


veru (tinai nilai vari)

He saw {nokki} the spotted male Crab {pori alavan} in embrace with its mate and engaged in conjugal dance {aatal}. He saw me {ennai} in the flowery Seaside garden {puun kaanal}. This Fisherman cheif {cherppan} of the roaring waves {oli tirai neer}, then left us before we regained our senses {unarvu ozhiya}. This is what happened O girl, having curly hair {vanar churi} braided in five plaits {aim paaloy vannam} when we woke up {unarenal}. - 31


He seems to have left us without thinking. He took with him his kindness {ali} and his Horse drawn Chariot {maan ter}. He has foresaken us. Let him leave. O Hare leaf creepers having soft flower clustors {inar}! O swans {annankal} ! He forgot {marantu} us. But we won't forget him. - 32

My eyes {kannu} are weeping {pulampu} on this evening of great sorrow {tunpam}. Don't grieve. Get yourself sleep {tuyil}. O honey tounged {inkal vaay} blue Lily {neytaal}! Did you see in some dream that hard-hearted man {vankanaar} coming to this Seaside garden? - 33

The furrowed paths {vazhi} formed by the chariot wheels {ter aazhi} of the Chariot driven by the birdlike swift Horses {puliyal maan} were all erased {chitaittu} by the tidal waves of clear waters {tellu neer otam} of the sea. What do I do? The tidal waves washed off everything. The sea has joined hands {ullaay} with the foes {ullaar} without realizing it {unaraay}. What do I do? - 34

O sea of swelling waters {otam}, you have thoughtlessly {nertanam} erased {chitai} the furrowed paths {uurnta vazhi} made by the wheels of the big sturdy Chariot {nemi netun tin ter} of my dear lover {kaatalar}! O cool garden {pozhil} of flowers {puu}! O swan {annam} dancing in conjugal love {punarntu aatum}! O moist {irnta} beach {turai}! You didn't tell him:- 'This is not right' {itu takaatu}. - 35

You have thoughtlessly erased the furrowed paths made by the wheels of the big sturdy Chariot of my dear lover {kaatalar} by spreading over them {uurntaiy}! O swelling waters of the sea {katal otam}! Live long {vaazhi}! You have erased the furrowed paths by spreading over them. O swelling waters of the sea! Live long {vaazhi}!


veru (mayanku tinai nilai vari)

As far as the fields {kazhani} in which the golden Paddy {chen nel} is cultivated {pazhanak} , the waves {tirai} of the Sea {katal} are dispersed {ulaavu}. The paddy plants are seen as wearing {ututtu} sparkling ornaments of fine pearl and bright corals {pavalam}. The one with fish {makaram} symbol on his banner {koti} viz the god of Love, creats fresh wounds {putu pun kal} (on her) amidst the Laurel {punnai} flowers. Then he conceals {mara} her from my sight. If her mother {annai} sees, what do I do? - 37

The pearls forms the smile {nakai} and red coral {van chem pavala} forms the opened mouth {vaay} of the waves {tirai} of the sea {katal} that spread as far as the front yard of huts {cheri} where fisherman {paratar} dry their nets {valai}. The girl is seen with the color of yellow flower of sponge gourd {alar} that opens in the rains {maari}. If her mother {annai} prays to the God {katavul} and learns who inflicted this cruelty {kotumai}. What do I do {en chey ko}? - 38

The waves {tirai} of the sea {katal} removes the bad smell of fish {pulavu} by washing and spreading the good smell {manam} of faded {pukunt} and fragmented {utirnt} flowers in this Seaside garden {pozhil}. This smell resemble the smell of perfumed paste {kalavai} and the smell of fishermen's sandal {chemmal}. This unique {oru} disease remains unknown even after the experience of many {pala} troubles. This girl {matavaal} is suffering mental pain {uzhappu} all alone {tani}. If her mother {annai} learns about this rare disease what do I do? - 39



The early night {ilai irul} has spread. The maker of light {el cheyvaan}, viz. Sun has dissapeared. Rejection and separation {kalaivu} is hard (to get rid off). The corners of the eyes {kan pozhi} is overflowing with tears {pulampu neer}. O girl, with a bunch of flowers {malar kulai} adorning your hair, does this harsh and bewildering evening {maalai} that makes my Bangles {valai} slip by bursting and spitting fire {eri} appear in the land {naatu} of the one who has gone{tanantaar}? - 40

The sun {katiravan} has dissapeared. Dark night {kar irul} has spread. Like opening flowers {etir malar}, the eyes lined with Kohl is shedding teers of sorrow {evva neer}. O girl with face like the full moon {putu mati}, does this harsh and bewildering evening that has revealed moon {mati mizhntu} and swallowed sun {katir vizhunki} appear in the land {naatu} of the one who has gone {ponaar}? - 41

The song of the birds {paravai paattu} has stopped {atanki}. The maker of the day {pakal cheyvaan}, viz. the sun has dissappeared {marantu}. In great pain {nirai nilaa} the wide eyes {netun kan} is shedding tears {neer} non stop. O girl, with thick blooming flowers {turu malar} in your flowing hair {avizh kuzhal}, does this harsh and bewildering evening that enters my life with great cruelty {maravai} appear in the land {naatu} of the one who has gone {tutantaar}? - 42


veru (kaayal vari)

Someone came slipping {kazhi} through the Screwpine {kaitai} fence {veli}. He destroyed {azhittu} our Poytal games (women's games; sand houses made as part of child's play) and went away. That man who wrecked our games and went away, is not going away {akalvaar} from my loving heart {maiyal mamam}. - 43

Someone came slipping {kazhi} through the fence {veli} of Seaside garden {kaanal}. He stood before us and said:- You {ne} grant {nalku} (me a favor). That man who stood before us and asked us to grant him a favor will not forget {marappar} our deer like looks {maan ner nokkam}. - 44

Someone saw the swan {annam} dancing {aata} with its mate {tunai}. Yesterday {nennal}, he stood watching us. That man who stood watching us yesterday won't leave {povaar} us, like this golden beauty spots {pon neer chunanku} (on our breasts). - 45


veru (mukam il vari)

Don't come here Crane {kuruku}! Don't come to our Seaside garden {kaanal}. Don't come here Crane {kuruku}! Don't come to our Seaside garden {kaanal}. Don't tell {uraiyaay} about my great sickness {uru noy} to the lord of great waves {tirai} and waters {neer}. Don't come here Crane {kuruku}! Don't come to our Seaside garden {kaanal}. - 46


veru (kaaturai)

Thus sang {paati} Matavi, the woman with excellent ornaments {aayizhai}. She played with her soft fingers {mel viral} resembling the petals of the Kaantal lily. She sang in Kaikkilai theme and in sweet voice {kural}. She played the song {icai} in Chevvali Raga in Paalai melody. In this, the third note {teen totai} coincided with the first. In company {pankini} of others, she began singing {paati} in a new Raga {peyarttaal}. - 47


veru (mukam il vari)

When the fishermen {nulaiyar} sang the Vilari Raga phrased {noti} in the sweet {teem} Paalai mode, with the fifth note {kilai} blending with the third, O Evening {malai}, you sat (/darkened ) {iruttaayaal} plunderously {kolla}. When the fifth note blended with the third, you {nee} sat (/ darkened) {iruttaayaal} plunderously {kolla} in agrement {el}. You are ruthess at murder {kolai}. Take my breath {aavi}. Live long {vazhi} O Evening {malai}! - 49

Those who have parted ways {pirantaar} sat {iruntu} and wept {enki} under the shadow {nizhal} of the great words {per arul} that they spoke {uraitta} with passion {parintu} when they were in love. O Evening {malai} you have taken the life {uyir} out {purattu} of these living people {vaalvaar}. Their lives have gone out due to you. How O Evening, you became allied to the enemy king who attack the king {ventan} from the outside {purattu} of his fortress {eyil}? - 49

My suffering {paiyul} is growing. The maker of the day {pakal cheyvaan} viz Sun has faded and gone {poy vizha}. O deluding Evening {marul maalai}, you make me swoon {vaiya} and shuts my eyes {kan putaip}. If {aayin} he {avar} (sun?) is my husband {manantaar} and you are the evening {maalai}, then this world {naalam} is certainly ruined {nalkuur}. Live long {vaazhi} O Evening ! - 50


By spreading fire {tee tuzhai} this deluding evening {marul maalai} is vulgarly {vantai} inflicting sorrow {chellal} on us. We never suspected {tuukkaatu} it. We followed {tuyar} his kind words thinking that it is a pledge {tunint}. Let us forgive {porukka} his false promises {py chuul} made in this Seaside garden {kaanal} full of flowers {puu kamal}. Let us pray thus to this God {teyvam} of the endless Sea { maa katal}. We bow our heads {vananku} unto your lotus feet {malar ati}. - 51

Hearing all these Kovalan spoke to himself in his mind thus:- 'I sang {paata} the song of the Seaside garden {kaanal vari}. She on the other hand spoke a mixed set {pala kuutu} of lies {maaya p poy} one after the other {onrin mel} full of self interest in mind {manam vaittu}. She sang {paati} with someone else {maayattaal} in mind.' He found a fault in the music {icai} of the Lute {yaal} that Matavi played. Thus the fruits of his Karma {uul vinai} now emerged {uruttu}. He took his caressing hands {kavavu k kai} off the face {mukam} of Matavi, which appeared like the moon {tinkal} on the day of Uvavu (fullmoon or newmoon). He then said thus:-' A lot of time {pozhutu} has indeed elapsed {kazhintu}. Let us go.' Matavi did not get up at once. Kovalan left immediatly {utane} along with his attendants {eval aalar}.

Seeng that Kovalan has gone, Matavi asked her maides to lower their clamour {otai} to make the pollen filled {taatu avil} flower garden {malar cholai} free of noice {oli}. With an empty heart {kai atta nenchu}, she climbed her Horse driven Chariot {vaiyam}. She entered her home {manai} alone without her lover {kataalan}. She then made this prayer:-

'May king Cempiyan of the brilliant sword {chutar vaal}, having an Elephant {yaanai} with faceplate {chuuli}, become the cheif of kings {aracu talaivan} in this extensive world {maairu naalam}. May his garlanded {maali} white Umbrella {ven kutai} cover {kavippu} within its inside {akavai} the whole of Chakravala Mountains {aazhi maal varai}.'

(ma iru:- wide, extensive, having two shores; the two shores could be the eastern and western shores of peninsular india)

(maal-varai:- mountain range; aazhi:- ocean, discus weapon; aazhi maal-varai is a mythical discus shaped circular mountain range surrounding the world and boardering the ocean; it could be the eastern ghats and western ghats put togather. from the vantage point in the middle, in tamil country, where both mountain ranges can be seen, they would appear togather in circular shape).

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