BRAHMINS IN SANGAM LITERATURE-16. PURANANOORU

LITERATURE-LIGHT AND DELIGHT

BRAHMINS IN SANGAM LITERATURE-16
                  Purananooru

We have so far seen poets singing about kings,princes and other chieftains, who were patrons, practitioners and protectors of the Vedic dharma and its rites in the Tamil land. We have a remarkable poem -No.166 which deals with a Brahmin, who was not a king or chieftain, but who seems to have been remarkable in some way so that a poet has immortalised him in a poem. His name is given as " Sonattup Poonchaatroorp Paarppaan Kauniyan Vinnandhayan".

As the name conveys, he belongs to Poonchaatroor in Chola terrirory. He is a Kaunyian- ie he comes in the Kaundinya Gotra. Vinnandhayan may be the Tamil form of the original name- Brahmins would usually have only the name of some Deity as their Sarma,which alone is used in religious rites. 'Dhayan' may indicate that it was originally 'Dasan', and the first part may well stand for Vishnu! The poet is Avoor Moolangkizhaar. He obviously is not a Brahmin.

166. Avoor Moolangkizhaar on Kauniyan Vinnandhayan

Nandraaindha neel nimirsadai
Mudhu mudhalvan vaaipogaadhu
Onru purindha eer irandin
Aaru unarndha oru mudhunool

The  ancient, matchless Veda, divided into four and consisting of six adjuncts, focusing only on Dharma, never is away from the lips of the Great Ancient One, with the long,matter hair,(Lord Shiva) whom sages have tried to understand in various ways.

Mudhu Mudhalvan vaai pogaadhu: The  eternal Veda emanated from Lord Shiva and so it never leaves his lips! This is stated so often in the Thevaram by the Shaiva saints: 'Veda naavinar', 'Paadinaar Sama Vedam', etc. Silappadhikaram calls Him "Marai mudhu mudhalvan". Mudhalvan means the first.

The six adjuncts of the Veda are:

• Vyakaranam
• Jyotisham
• Niruktam
• Chandas
• Siksha
• Kalpam

Those studying the Veda have to master these. The Vedic language is not the classical Sanskrit. It is incredibly ancient and is anterior to classical grammar. It has to be understood by special effort. These six adjuncts are meant to aid our understanding. The Europeans do not understand this simple truth, and make translations according to their fancy. Indian imitators simply ape them.

Ikal kandor migal saaimaar

In order to reduce the strength of those who advocated ideas differing from the Veda.

Mei anna poi vunarndhu
Poi oraadhu mei kolee.....

Understanding their falsehood, uttered like truth, and firmly rejecting it,and conveying the truth to them,

This refers to the Buddhists and Jains who were active in the Tamil land, opposing the Vedic dharma.That they resorted to falsehood is clearly stated by Jnanasambandha in his hymns, the ninth of each of which condemns them:

'Buddhar samann kazhuk  kaiyar poi"
Besides, Sambandha makes it clear that he wants to engage them in debate and defeat them:

Veda vaelviyai nindanai seidhuzhal
Aadhamili amanodu therarai
Vaadhil chenrazhikkath thiruvullamey

Moovezh thuraiyum muttinru pogiya
Vurai saal sirappin vuravor maruga!

 Obtaining fame, performing the twenty one Yajnas without any shortfall, and assuming prominence were your learned ancestors. You come in that tradition.

That this Vinnandhayan comes in a long line of Vedic ritualists is made clear here. The 21 Yajnas are classified as:

7 Soma yajnas:

• Agnishtomam
• Atiagnishtomam
• Uktiyam
• Shodasi
• Vajapeyam
• Atiratram
• Aptoryamam

7 Havir Yajnas :

• Agniyadeyam
• Agnihotram
• Darsapurnamasam
• Chaaturmasyam
• Nirudapasubandham
• Aagrayanam
• Saudhramani

7 Baagayajnas:

• Ashtakai
• Aapaarvanam
• Sraddha
• Sraavani
• Aagragayani
• Chaitri
• Aasvayuji

Vinaikku vaendi nee poonda

Pulap pulvaaik kalai pachai

Suval poonn jnaan misaip poliya

You have prepared yourself for the yajna. The strip of the skin of the wild stag is worn over your sacred thread.

Maram kadindha arum karpin

Aram pugazhndha valai soodi

Siru nudhal paer agal alkul

Sila sollin pala koondhal, nin

Nilaikkoththa nin thunaith thunaiviyar

Thamakku amainda thozhil kaetpa

Avoiding acts contrary to dharma, strictly adhering to the norms of chastity, wearing the special ornaments prescribed in the sacred books, with narrow foreheads, and the hair properly plaited, endowed with sweet speech, properly fitting your status, your wife and her companions are attending to duties assigned to them.

At the time of yajnas, the karta has to wear a strip of stag's skin. Three married ladies were supposed to assist in the proceedings at the appropriate stage.

Kaadu enru naadu enru aangu

Eeraezhin idam muttaadhu

Neer naana nei vazhangiyum

Enn naanap pala vaettum

Mann naanap pugazh parappiyum

You gave ghee - obtained from not less than seven wild cows and seven village cows- more plentiful than water; you thus performed countless yajnas. Your fame spread everywhere.

Arung kadip perung kaalai

Virundhu vutra nin thirundhu yaendhu nilai

Yenrum kaankathil amma, yaame!

Thus you completed the many difficult yajnas in excellent manner. On the big occasion of completion, you attended on the guests with all due ceremony. May we always behold you in such excellent circumstances!

.............................kudaa adhu

Ponpadu neduvaraip puyal yeru silaipin

Pooviri puduneer Cauvery purakkum

Thann punar padappai emmoor aangann

Vundum, thinrum, oorndhum aadugam

Selval atthai yaaney;

The Cauvery river, rising on the Western mountains shining like gold, floods with fresh water from the rain accompanied by thunder. It brings sweet, cool water, which protects the world, to my place. I will celebrate by feasting ,  and enjoying in other ways,on account of the plenty so found. So, I will proceed to my place then.

..............................chellaadhu

Mazhaiyann naappa neediya neduvaraik

Kazhaivalar imyam pola

Nilee yiyaratthai nee nilamisai yaaney.

But may you long  stay here, firm like the high Himalayas which facilitate rain, with many  ranges, with  bamboos growing tall.

This poem conveys many interesting things. It shows that guests were entertained at the end of the yajna,as prescribed in the rules. It shows how the ghee was sourced. It shows the role of women in the yajnas. 

The poet not being Brahmin, it is remarkable how closely he has observed the proceedings, and his great familiarity with the details of the yajna- which shows that learned people had knowledge about them.

The poet mentioning rain and floods in the river, at the end, after the yajna, is also significant: it clearly shows the association our ancients had between Vedic yajna and timely rains. 

The lines referring to the poet going back to his place, but asking the Brahmin to stay long in his place is also significant: it indicates the wish that he should continue to perform many more yajnas in future, as that causes rain and makes his own place prosperous!

This poem is shown as example of Brahmins conducting yajnas and gifting at the end, by old commentators like Ilampuranar and Nachinaarkkiniyar.

Incidentally this poem is classified under "Paarppana Vaagai", which is a special branch of Tamil literary grammatical tradition, dealing exclusively with the excellence of Brahmins.

This Vinnandhayan is a Brahmin belonging to Kaundinya Gotra. It is said that his forefathers had countered the influence of the Buddhists and Jains. In the Tamil land, Buddhists and Jains had once been influential with kings. But they had resorted to mantra and tantra, and rites of their own, even while criticising Vedic practices. Shaiva saints were instrumental in engaging them and ending their influence. 

Thirujnanasambandha, with whose works the Thevaram, collection of Tamil Shaiva hymns, starts, was a Brahmin belonging to the same Kaundinya Gotra!

Such was the position of Brahmins as seen from just one book of Sangam literature! Yet the Dravidian partisans would attempt to hide a huge pumpkin in a heap of cooked rice!