BRAHMINS IN SANGAM LITERATURE-17. PURANANOORU

LITERATURE- LIGHT AND DELIGHT

BRAHMINS IN SANGAM LITERATURE-17
                 Purananooru

Purananooru thus reveals to us in great detail the exalted position of Brahmins in the Sangam age. The references to Brahmins and their Vedic dharma are unmistakable. In poem 122, speaking of Malaiyamaan Thirumudikkari of Thirukoyiloor (Chola emperor Raja Raja1 belongs to this line on his mother's side), poet Kapilar sings:

Azhal puram tharoom andhanar adhuvey

The whole of this country belongs to Brahmins performing yajnas.

The implication is that the king had gifted so much  as if the whole land had been given to the Brahmins.Or, his country was so full of Brahmins performing their yajnas.

In poem 397, poet Erukkaattoor Thayam Kannanaar says about Chola king Killivalavan:

Aru thozhil andhanar aram purindhu edutha
Theeyodu vilangum naadan.

This king's country is bright with the Brahmins engaged in their six duties, intent on dharma, performing the Yajna with the agni.

In poem 400,Kovoor Kizhaar sings of Cholan Nalangkilli:

Kaelvi malindha vaelvith thoonatthu

Erecting the yoobasthamba in the yajnashala, full of Brahmins learned in the Veda.

The Purananooru is thus full of references to Brahmins. I  provide below a rough list of the subjects covered in the different songs.

               Subject                                    Song No.   1.  Reciting the Veda                                   1
2.  Offering Ahuti                                       2,15
3.  Way of the 4 Vedas                               2
4.  Fostering 3 kinds of Agni                        2,367
5.  King bowing his head when Brahmins
     blessed him with Vedic mantra                6
6.  Conducting and facilitating yajnas         9, 15,166
7. Brahmins are timid, are easily frightened   9
8.  Erecting the yoobam                          15,224,400 9.  Kings will not do things which cause 
     pain to or displease Brahmins                   43
10. Yajna performed by Pandyan Nedunchezhiyan  26
11. The rite performed by Brahmins for the kings
      who did not die on the battlefield             93
12. Kings performing yajna                    95,125,224
13. Unmarried girls left in the care of 
      Brahmins                                            113
14.The exalted position of Brahmins             122
15.Six duties of Brahmins                    162,166,397
16. Brahmins as messengers from kings         307
17. Four Varnas                                        183
18.Offering daana with water              361,362,367
19.Paarppana vaagai                           166,305

These are just the direct references. Indirect references are scattered throughout. The Brahminical order is based on Purana and itihasa too, besides Veda. There are numerous references to  Puranic, itihasic incidents in Purananooru.

Mahabharata War                    2,366
From the Himalayas, including Podhigai
it was one country                      2,6,17,132
Belief in heaven and hell             5,93
Patala, Goloka,etc                       6
Uttarayana, Dakshinayana, Sun changing 
Raasi                                         8
Pitrulokam, rites for Pitrus           9
Amritam, Dandaneeti                 10
The world after death                 18
Birth in exalted kula/vamsa       27
Rebirth,chandraloka,                27,62,71,214,236,50,134,141
Four Purusharthas, primacy of dharma     28,31
Papa,punya                               29,174
Jyotisha, astronomy                       30,383
King's mistakes will affect people       35
Cholas come in the line of Sibi      37,46,39,43
Good and bad effects of previous karma    38
Tripura Dahanam,meru as bow                55
Worship of Shiva, Vishnu, Murugan, Balarama,
Indra, Varuna                                     56,58
Uttaragamanam, mahaprasthanam              65
Blue throat of Shiva                        1,55,56,91
Adverse effect of some planets           117,229
Showing Arundati                             122
Praying to Deity for rain                     143
Vishnu rescuing the sun                          174
Mauryas as chakravarthi                          175
Amritam                                            182
Ritam                                                  185,192
Renunciation (Isavasyopanishad)           189
Ramayanam                                            378
Yama with his paasa                             195
King Irungkovael comes in the tradition of 
one who originated in Yajnakunda of a muni
in the North                                         201
World of Devas                                 228,229,240
Offering pinda on the darba grass           234
Indra                                                   241
Planet Venus  may cause adverse effects       383,386

These are just the few prominent Brahminical ideas that one may notice even at a first glance. Close study will reveal  many more. 

We thus come to the close of our peek into Purananooru. It is a vast treasure house of information. It clearly reveals the unity of our culture from Himalayas to Kumari and beyond. There is absolutely no hint of any racial element any where. There is not even a single reference to any migration or invasion by any race.

I have transliterated the Tamil poems- I am only too aware of the shortcomings. I have tried to give the gist of the poems in English, without any embellishment or literary merit. I have focused on only one aspect of Purananooru- how the life of Brahmins of those days is reflected in an ancient Tamil work.I have pointed out just a few bare facts.

This has arisen in a specific context: the need to make Brahmins themselves aware of their position in the Sangam age. After the Dravidian elements came to power in Tamil Nad, they have distorted history and teach unproved theories as Gospel truth through the educational system. Brahmins are not given admission to Tamil language courses; nor are the Brahmins interested in the study, given their current economic compulsions. Few Brahmin youngsters know our classical literature. What they study in the school is a version in which most references to Brahmins are filtered out. But a knowledge of what is actually there  in that literature will only strengthen our hands. I have just tried to give a sample here.

                    

BRAHMINS IN SANGAM LITERATURE-14.PURANANOORU

LITERATURE- LIGHT AND DELIGHT

BRAHMINS IN SANGAM LITERATURE-14
               Purananooru

Puranas occupy an important place in Indian religion and spirituality. But it is a word not properly rendered in English. Usually people call it 'mythology' but this is understood differently. Some take it as old beliefs concerning the origin of a society. It is also taken as popular belief which is not true. But in what sense? It may not be literally true, but there is a core which is based on some fact. Psychologist Carl Jung found out that all societies, in all stages of civilisation, had such mythologies, that there was a common pattern in them but the expression was symbolic and varied according to local culture. He pointed out that they expressed some deep psychological insights in symbolic form and it is necessary for people to understand them to develop as healthy individuals. Scholars like Joseph Campbell later interpreted the old myths for the modern mind.

Purana simply means that which is very ancient-it is incredibly ancient. In India it has been used traditionally to induce some religious faith in the common man, while the learned people always knew that they were allegorical or symbolic and contained deeper insights. The very terms and names are loaded with psychological significance and philosophical meaning. But at a popular or mass level, they merely explain some religious truth through stories. Some of them are outstanding, like the legend of the churning of the ocean for nector.

To a thinking person, it is clear that this story is understood at many levels and conveys a deep truth.In the story, Devas and Asuras churn the ocean desiring to obtain nectar which confers immortality, but first comes terrible poison. Lord Shiva swallows the poison and saves them. Let us take a modern situation. Nuclear energy is sought  both for military and so called peaceful purposes. But in either case,it is harmful- it produces radiation which is extremely dangerous and lasts for thousands of years. Scientists do not yet know how to dispose of the radioactive nuclear waste- there is simply no Shiva there! But they go on merrily advocating nuclear energy. So we see how this story is relevant today- though there seem be no Devas now- we all are Asuras, scientists heading the ranks, ever greedy for more and more power, however obtained!

The ancient Tamils were fully conversant with the Indian Puranas and numerous references are found in Sangam literature.

STORY OF AMRITA

10. Oonpothi Pasungkudaiyaar.

Amizhdhu attu aanaak kamazh kui adicil

Varunarkku varaiya vasaiyil vaazhkkai

Magalir

Your queens serve food, excelling  even Amrita in taste, to all those who approach you.

182. ILAM PERU VAZHUTHI, a Pandya King.

Vundaal amma, ivvulagam ; indhirar

Amizhdam iyaivadhu aayinum, inidhu enath

Thamiyar undalum ilarey.

Even if it is the very Amrita of Indra and other Devas, it is not their habit to take it alone, induced by  its sweetness.

Here, the king is talking of great people who will not eat alone, even if is the nectar, who will seek fame even at the cost of life, and who will avoid acts that will cause blame, even if it involves rejecting the whole earth. He says it is such people who make the world great.

We see how the ancient Tamils were aware of the story of Amrita, its association with the Devas. Amrita confers immortality- but good people will not take it alone, neglecting guests. Thiruvalluvar expresses the same idea:

Virundu puratthathaath than undal saava

Marundheninum vendarpaat ranru.             82

Even if it is the nectar, which is the medicine for obtaining immortality, it shall not be taken alone when there is a guest waiting.

Valluvar refers to Amrita (amizhdhu in Tamil) -64- when he says the remnants of food touched by one's children are sweeter than nectar.So, this story was part of Tamil lore.

174. MAAROKKATTHU NAPPASALAIYAAR

Vishnu rescuing the Sun from the Asuras.

Anangkudai avunar kanam kondu olitthenach

Saenn vilangu sirappin jnaayiru kaadaadhu

Irulkan keduttha paruthi jnaalatthu

Idumbaikol paruvaral theerak, katundiral

Anjana vannan thandhu nirutthaangu.

The Asuras, causing great fear, seized the far-away Sun and hid it. All the worlds were immersed in darkness, and encountered great suffering. Then, Vishnu of the dark hue and great might, rescued the Sun, and removed the darkness from the world.

Puranas contain many stories of fight between Devas and Asuras. Essentially, this signfies the fight between light and darkness- the very term Deva means light. This in turn means knowledge and ignorance. In Hindu view, the Sun stands for not just external light, but for Enlightenment. Hence it is the object of Gayatri, which seeks enlightenment! The ancient Tamils were aware of such puranic accounts.

SIGNIFICANCE OF SOME NATURAL PHENOMENA

117.KAPILAR

Maimmeen pugaiyinum dhumam thonrinum

Then disai marungin velli yodinum

Even if Saturn changes and turns smoky, even if Dhumaketu appears (thereby inducing fear), even if Venus starts moving towards the South-- (the lands yielded aplenty so long as Paari lived)

35.VELLAIKKUDI NAAGANAAR

Alangu kathirk kanali naalvayin thonrinum

Ilangu kathir velli thenpulam padarinum

Even if the Sun rises in all the four directions, even if the bright Venus starts moving in the South.....(Cauvery river will continue to flow)

These are astronomical events. But ancient people attached significance to changes in natural events or cycles. For instance, the appearance of the meteor (dhumakethu) was interpreted as signifying ill-fortune for the ruler. Our Jyotisha sastra deals with such matters. Tamilians were fully aware of them, and shared those beliefs. Such beliefs are widespread even today among all people.

ARUNDATI AS THE IDEAL

122.KAPILAR

Vadameen puraiyum karpin

Steady in married fidelity (karpu), like the star which shines in the North.

Arundati, wife of Sage Vashishtha, is the ideal wife, extolled in the Puranas for married fidelity-chastity..She is identified with the star of that name in the northern direction. It is an important part of the marriage ritual of the Hindu to show this star to the newly-wedded girl. This ritual is followed even to this day. Tamilians of Sangam age knew this. 

'To step on ammi, to show Arundati' is a popular saying, both in the context of marriage ritual. The former is for the newly married girl to place her foot firmly on the flat grinding stone, which used to be part of every home (before the invasion of grinder-mixtures). This was meant to make her realise that her resolve in marriage should be firm like the stone( rock). The other was to look at the star Arundati and remind herself of the ideal cherished in marriage. This is an ancient practice, followed in the Tamil land too. The meaning and significance of Arundati was not lost on the Tamilians of the Sangam age.

TO HEAVEN THROUGH HEROISM IN WAR

62.Kazhaaththalaiyaar

It was the heroic age and which place to prove one's heroism better than the battlefield? Unfortunately, this frenzy for war seized the ancient Tamils and many great kings died on the battlefield. It was the general Indian belief that a righteous war should not be avoided; the victor will attain glory here while the brave loser will ascend  to heaven- a point made by Krishna to Arjuna. The pity is that the Tamil kings fought among themselves, and which or how many wars could be considered righteous? In one battle, Chera king Kudakko Neduncheralaathan and Chola king Peruvirarkilli both died.This poet sings of the tragedy of war, but cannot avoid praising the dead kings and warriors!

Varuthaar thaangi amar migal yaavadu?

How can one be sure that the garlanded (kings and warrors) will win the war? It is strange!

Kurudhich chengai koondhal theetti

Niramkilar vuruvin paeip pendir

Eduthu ari anantar parai seer thoongap

Parundu arundhutra......

Warriors get killed, and blood flows.

Female ghosts (which feast on the dead bodies) dance in glee.

Vultures feed on the dead bodies and circle round the field, contented.

Aratthin mandiya marappor vaendar

Thaam maaindanare.

The kings who fought in the name of righteous war are dead.

    .....................pendirum

Paasadagu misaiyaar, pani neer moozhgaar

Marbagam porundi aangu amaindhanarey.

(Because hundreds of warriors are killed) their women cannot take betel leaves, and not enjoying the pleasant  cold bath , are crying in the battlefield, falling on the deadbodies.How tragic it is!

Even so,

Vaadaap poovin imaiyaa naattatthu

Naatra vunavinorum, aatra

Arumperal ulagam niraiya

Virundhu petranaraal!

Poliga num pugazhey!

The Devas, who wear the flower which never withers, and whose eyelids do not blink, and who enjoy the fragrant food offered in the Havis, rejoice- that they have received many guests through this righteous war!

May your glory last for ever!

Even though the poet describes the horrors of war rather graphically (I have omitted some lines), and suggests that the war was pointless, yet he conforms to the old heroic norm of praising the dead warriors and holding that they have entered the realm of the Devas. In the process, he confirms every detail of Hindu belief- about the ghosts, the Devas,etc. About the activities of the ghosts on the battlefield, Arunagirinathar is even more graphic in his hymns. 

It is tragic that good kings fight and die. What if they are friendly?

KAARIK KANNANAAR

58. Cholan Perum Thirumaavalavan

      Pandyan Peruvazhuthi

The poet saw them  seated together, and sings.

Paal nira vuruvin panaik kodiyonum

Neel nira vuruvin naemiyoum, enru

Iru perum deivamum vudan ninraangu

Vurukezhu thotramodu vutkuvara vilangi....

You are together- like the white-complexioned Balarama with his flag inscribed with the palmyra tree, and the dark-blue  Vishnu , with his chakra- the two big Gods! This sight will frighten all enemies!

Inneer aagalin iniyavum vulavo?

Can any sight be better than seeing  you two thus together?

The poet then expresses his wish that they sould always be friendly and not listen to the words of those who might cause discord.

It is usual for poets to compare the king to the sun. But recalling Balarama and Krishna (in that order) shows how popular they were among the ancient Tamils.  It is intriguing that Balarama was so well known and worshipped in the ancient Tamil land.See poem 56 also.

In considering the position of Brahmins in the Sangam age, we have also to see to what extent their ideas and beliefs were common to the land and shared by every one. Purana and Itihasa are an integral part of the Vedic culture, and where their knowledge is widespread, Brahminical presence is automatic.

BRAHMINS IN SANGAM LITERATUE-13. PURANANOORU

LITERATURE-LIGHT AND DELIGHT

BRAHMINS IN SANGAM LITERATURE-13

                Purananooru

Brahmins of the Sangam age had to lead their lives subject to strict discipline.'Aanra kaelvi,adangiya kolgai', 'Arampuri kolgai naalmarai mudalvar', 'Thugalaru kaelvi vuyarndhor', 'Kaelvimutriya velvi andanar', 'onru purindu adangiya irupirappaalar' etc are the epithets we come across in Purananooru. They were chiefly known for the six duties enjoined upon them: learning and teaching Veda, performing and officiating at yajna, and accepting and giving gifts- daanam. But we do come across some other duties and jobs entrusted to them in Purananooru.

BRAHMINS AS MESSENGERS (305)

Poet: Madurai Vaelaasaan.

This does not seem to be his real name, but seems to indicate his community (Vaelir) and his profession (teaching).

Vayalaik kodiyin vaadiya marungin

Vuyaval voordhip payalaip paarppaan

Elli vandu nillaadhu pukkuch

Cholliya sollo silavey; adharkay

Yaeniyum seeppum maatri

Maan vinai yaanaiyum mani kalaindanavay!

This young Brahmin, slim like a creeper, seized with some sorrow and with faltering steps- he just entered the palace of the king straight, without waiting even a little, even though it was night. He uttered just a few words. But the consequence was that the ladder and protective arms were removed. The bells were removed from the famed elephants which stood bare!

(The idea is that was was avoided!)

This is a remarkable poem, sung by a non-Brahmin poet about a Brahmin who came as a messenger, said a few words and averted a war! That he could enter the palace without let or hindrance even at night shows the freedom and privilege enjoyed by the Brahmins. He must of course have been skilled in talking so that with a few words, he could convince the king and make him give up war. This was not a regular duty of the Brahmins, but shows that they could be pressed into service for such extraordinary jobs.

Incidentally, this poem belongs to a specific category in the classification of Tamil grammar.It is called "paarppana vaagai" or victory of  Brahmins.It records instances where Brahmins win over other Brahmins in debates or scriptural disputes. Likewise, there is another division called "Arasa vaagai" which records the victory of kings. It shows how integral were the Brahmins in the society. And it shows the practice of such debates prevailing then.

93. AVVAIYAAR ON ADHIYAMAAN

............

Senru amar kadatthal yaavadhu? vandhor

Thaaar thaangudhalum aatraar; vedipattu

Odal mareeyiya peedu il mannar

Noyppaal vilindha yaakkai thazheeik

Kaadhal marandhu avar theethu marungu arumaar

Aram puri kolgai naanmarai mudhalvar

Thirampuri pasumpul parappinar kidappi...

How can you enter the battlefield again? (There is no one to fight with you). Your opponents  could not even bear the weight of the garlands on their neck, and started running away showing their backs to you. They thus lost their glory, but to protect their body which is subject to disease, they just saved their lives! They took shelter in places occupied by the Brahmins, who are engaged in the performance of their dharmic rites with dharba grass, after mastering the four Vedas to ward off all evils.

This again is a remarkable poem. The kings engaged in war were supposed to fight, without retreating. They had either to win or embrace death on the battlefield. Running away or escaping without a wound was considered disgraceful (We have another poem on that, 65) Here, Adhiyamaan's opponents ran away from the battlefield and reached the place of the Brahmins, who were never involved in any conflict and were never disturbed by any king.

But there is something more here. The specific reference is to the rites of the Brahmins, spreading the dharba grass! (pasumpul parappinar). Dharba is spread like this only when Sraddha, tarpanam, etc-connected with rites for Pitrus- are performed. Since the victorious kings would not pursue those who ran away, the opponents reaching the place of the Brahmins and reference to dharba grass indicates that some specific rite was performed by these Brahmins to save them the ignominy of having run away from the battlefield!

(Unfortunately, no commentator, old or new, explains this clearly. If the poem is tough, the commentaries are even more confusing, both in style and substance. Several interpretations have been made). The reference to the Brahmins with dharba grass is intriguing, in the context of the battlefield! In any case, it shows an unusual job for the Brahmins.)

In poem 65, poet Kazhaatthalaiyaar sings about Chera king Cheramaan Peruncheralaadhan. He fought with the famous Chola king Karikaalvalavan. He lost

and got external wounds. But he was ashamed of that and decided to give up his life, by fasting, facing North.

Giving up life, fasting and facing North was an ancient practice all over the country. This was resorted to by people desiring to reach higher worlds, by going to the North , undertaking appropriate austerities, without returning. This was called  'Uttara gamanam' or 'Mahaprasthanam'. It may be recalled that Pandavas had undertaken this. This is mentioned in poems 214,216,218. We have one more instance we will see below.

KAPILAR

He is perhaps the most celebrated poet of the Sangam age along with Bharanar and Avvaiyaar. His friendship with the great chieftain Paari is a glorious chapter, but full of heart-wrenching tragedy. 

The three chief Tamil kings became jealous of Paari on account of his fame due to his fabulous charity and joined hands and killed him treacherously.Kapilar became totally dis-heartened. He took charge of the two unmarried daughters of Paari, tried to get them married, entrusted them to the care of Brahmins and gave up his life, fasting, facing North!

200. KAPILAR TO VICHCHIKKON.

                                                                              Yaaney parisilan mannum andhanan......

Ninakku yaan koduppak konmathi.

I am the one (usually) seeking gifts from you. Besides I am a Brahmin. But I give you (these daughters of the famed Paari.) Please accept.

These words were addressed by Kapilar to a  Vaelir chieftain,Vichchikkon. But he declined.

201.KAPILAR TO IRUNGKOVAEL

Neeye vadapaal munivan thadavinul thonrich

Chembu punaindhu iyatriya saen nedum purisai

Vuvaraa eegaith thuvarai aandu (See note)

Naarpaththu vonbadhu vazhimurai vandha

Vaelirul vaeley!

Thandhai thozhan, ivar yen magalir

Andhanan pulavan, kondu vandhananey...

Yaan thara ivarik konmathi!

You come in the line of the great Vaelirs, extending back to 49 generations, who had gone to the Himalayas and obtaining the blessings of a Muni there, ruled over the Thuvaraapathy country, displaying great charity.

 I am a friend of their father; therefore they are my daughters.I am a Brahmin, also poet. I have brought them here. I offer them to you. Please accept.

Kapilar describes the great qualities and fame of Paari, while introducing the girls. His revealing that the was a Brahmin and a poet was perhaps in the expectation that his words would be honoured. But this chieftain too declined to accept them. The connections that existed between Tamil kings and the North are revealed here.

Kapilar became broken hearted. He decided to hand over Paari's daughters to Brahmins for safekeeping. He undertook a fast unto death facing North, declaring to the deceased Paari that it was unfair of him to have broken their friendship and left for the higher worlds without him, his dear friend, but that he intended to keep him company in the other world too, as in this world. (Poem 236) 

Kapilar's poems are most moving, but with great difficulty I refrain from dealing with them in full, as it detracts from our main theme.

Here we see the intensity of the bond between a Brahmin poet and the king, his declaration that the late king's daughters were his own because the king was his friend, his efforts to get them married, failing that entrusting them to Brahmins and giving up his life. It is interesting to note that there seems to have been the practice of entrusting the king's daughters to the care of Brahmins. 

In this instance, the great Avvaiyaar finally got the girls married to the king of Thirukkoyilur.

 Note:
Poem 201.
What is stated as Thuvaraapathy , and mentioned as 'thuvarai' in the poem is reckoned as Dwaraka, as there are accounts that after this city got submerged in the sea, Agasthya brought some people with him to the South and they were the Vaelirs who mainly took to agriculture. This probably accounts for how Balarama became the Deity for the marudham lands, instead of the original Indra, whose worship had been abandoned by Krishna in Brindavan!

The connection that existed between the ancient Tamil land and the kings of the Northern parts is also revealed in poem 175. This is sung by Aatthiraiyanar in praise of a local chieftain who ruled a small area near Tiruvenkatam.. He says he will not forget the king as long as life lasts in his body. He makes a mention of the Mauryas.

Vinnporu nedungkudai kodiththaer moriyar
Thinn kadhirth thikiri thiritharak kuraiththa
Vulaga idaikazhi yaraivaai nilaiyia

The Mauriyas, with their mighty umbrella reaching up to the sky and chariot bearing their flag,  rule over the whole world and maintain the order .

We notice how the might of the Mauryas is recognised and their rule praised.