VALMIKI AND TAMIL (The following is an English translation of the Tamil book “Vanmeegarum Thamizhum” by late Thiru. Narayana Iyengar, my grandfather, and Editor of Senthamizh, published by Madurai Tamil Sangam. It came in the form of a series of articles in 1938. He was honoured with the presentation of a golden “Toda” (which is still in our possession) and a shawl during the visit of the Prince of Wales in January 1922 “for his literary eminence in Tamil”. It was published in book form two years back with the monetary help given by the Tirumala-Tirupati Devasthanam, by his grandson and my brother, A. Rajagopalan, ACA, auditor, 22, Tamil Sangam Road, Madurai, where our grandfather, Thiru. Narayana Iyengar, lived for 46 years and served the Tamil Sangam as Editor, “Senthamizh”, Manager of the Tamil Sangam for some years, Principal of the Tamil Sangam College, teaching students, including Na. Mu. Venkatasami Naattar, A. Gopala Iyer, LP. KR. Ramanathan Chettiar and a host of others. He was widely respected as letters written to him by the great scholar and patron of scholars, Pandithurai Thevar, “Thamizh Thatha” U. Ve. Saminatha Iyer, Srinivasa Pillai of Thanjavur, who wrote the “Thamizh Varalaru”, Pandithamani Kathiresan Chettiar and others, which are in our possession now, show. He has established through these articles that Tamil was the spoken language throughout Bharath or India, during the Ramayana period and even earlier while Sanskrit was the language of the litterateurs and it was in Tamil that Lord Rama and others conversed in Ayodhya). ( I, T. A. Srinivasan, the eldest of his grandsons, who retired on April 1, 2004 as an Assistant Editor in “The Hindu”, translated the book into English, which is in manuscript form now with me, as per the request of Mr. Sudanshu Ranade, Deputy Editor in “The Hindu”, who wanted to read the great work, but could not do so as his mother-tongue is Marathi. I hope that it will be found interesting by the lovers of Tamil, who could read only English. I am presenting the Tamil translation here.) CHAPTER 1 - A STRAY VERSE
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VALMIKI AND TAMIL
(The following is an English translation of the Tamil book “Vanmeegarum Thamizhum” by late
Thiru. Narayana Iyengar, my grandfather, and Editor of Senthamizh, published by Madurai Tamil
Sangam. It came in the form of a series of articles in 1938. He was honoured with the
presentation of a golden “Toda” (which is still in our possession) and a shawl during the visit of
the Prince of Wales in January 1922 “for his literary eminence in Tamil”. It was published in book
form two years back with the monetary help given by the Tirumala-Tirupati Devasthanam, by his
grandson and my brother, A. Rajagopalan, ACA, auditor, 22, Tamil Sangam Road, Madurai, where
our grandfather, Thiru. Narayana Iyengar, lived for 46 years and served the Tamil Sangam as
Editor, “Senthamizh”, Manager of the Tamil Sangam for some years, Principal of the Tamil Sangam
College, teaching students, including Na. Mu. Venkatasami Naattar, A. Gopala Iyer, LP. KR.
Ramanathan Chettiar and a host of others. He was widely respected as letters written to him by
the great scholar and patron of scholars, Pandithurai Thevar, “Thamizh Thatha” U. Ve. Saminatha
Iyer, Srinivasa Pillai of Thanjavur, who wrote the “Thamizh Varalaru”, Pandithamani Kathiresan
Chettiar and others, which are in our possession now, show. He has established through these
articles that Tamil was the spoken language throughout Bharath or India, during the Ramayana
period and even earlier while Sanskrit was the language of the litterateurs and it was in Tamil that
Lord Rama and others conversed in Ayodhya).
( I, T. A. Srinivasan, the eldest of his grandsons, who retired on April 1, 2004 as an Assistant Editor
in “The Hindu”, translated the book into English, which is in manuscript form now with me, as per
the request of Mr. Sudanshu Ranade, Deputy Editor in “The Hindu”, who wanted to read the great
work, but could not do so as his mother-tongue is Marathi. I hope that it will be found interesting
by the lovers of Tamil, who could read only English. I am presenting the Tamil translation here.)
CHAPTER 1 - A STRAY VERSE
It is a legendary fact that Sage Valmiki wrote the Adi Kavya, the Ramayana, in Sanskrit and many
scholars have hailed his poetic excellence and following in his footsteps, many epics were written
in Sanskrit.
Before he wrote the epic, Ramayana, there were Vedas and other scriptures in Sanskrit; but they
contained the advice to people and spoke about the other worldly benefits. They spoke nothing
about the life on earth and its great attraction. Besides they lacked lustre. Hence there might
have been good reason for Valmiki becoming a poet of great excellence. Scholars say this was
due to the fruits of his penance, the counsel given by Sage Narada and the blessings of Lord
Brahma. Though this could not be disputed, one who look at his life from the historical angle
would think that he must have been well versed in another language and studied its literary
works and enjoyed the poetic excellence.
His age must have been that of Agasthiyar, Tholkappiyar, and other Tamil Sangam poets and it is
the conclusion of historians that he must have studied thoroughly the Sangam classics. This fact
is corroborated by Sri M. Raghava Iyengar in the Madurai Tamil Sangam journal, “Senthamizh”
volume 7, issue 3, pages 119 to 132 titled “Sri Valmiki and the South”.
A Sangam classic, “Purananooru”, is a collection of verses by various poets who were the
contemporaries of Valmiki. The author of one of these poems is mentioned as “Vanmikiyar” and
also as “Vanmigaiyar”. Both of them had been derived from the original name of Valmiki.
Valmiki did penance for many years. He has called himself as “Valmikir Bhagawan Rishihi”.
Further while mentioning the name of Sage Narada, who was his preceptor, he gives preference
to penance by saying “Tapasvadhyaya Niradham”. Hence it could be said that he was greatly
enamoured of doing penance and he had indulged in it for many years.
The “Purananooru” poem by Vanmikiyar also glorifies the importance of penance. It contains
many words and sentences, which are pleasing to the ears, have great depth, and contain many
Vedantic truths. It is very much in tune with his Ramayana verses.
The poem has not been commented upon by later day scholars. To help research scholars, the
poem, with its commentary, is given below:
“Parithi soozhnda vippayankezhu maanilam
oru pahal ezhuvar eithiyatre
vaiyamum thavamum thookitravathukku
ayyavi anaithum aatrathu aagalin
kaivittanare kaathalar adhanal
vittorai vidaall thiruve
vidaa thorivall vidappattore”
“Parithi soozhnda vippayankezhu maanilam”_This world is surrounded on all sides by Sun, who
drives away darkness.
“Oru pahal ezhuvar eithiyatre”_One day is divided into many parts and each one is looked after
by Sun’s seven deputies.
“Vaiyamum thavamum thookitravathukku”_If the benefits of worldly life and penance are put in a
balance.
“Ayyavi anaithum aatrathu aagalin”_Fruits of penance would be so great that the benefits of
worldly life would be very miniscule.
“Kaivittanare kaathalar adhanal”_Hence many kings, who thought this earth was theirs, forsook
her and took to ascetic life).
“Vittorai vidaall thiruve”_Those who forsook the worldly life were saved by Goddess Mahalakshmi,
who pleaded with Narayana to grant them eternal bliss.
“Vidaa thorivall vidappattore”_Those who laid stress on worldly life had to face the cycle of births
and deaths).
The meaning of this poem is that the world is surrounded by the Sun who drives away darkness.
This earth is full of worldly pleasures, which are not eternal, and many kings claimed possession
of this world as a day is divided into many parts and each part (Horai) is looked after by a “Horai
Nayagan”. Some of them are big, others small. Some of them are inauspicious, while others are
considered as auspicious and some of them are considered as enemies of each other. They are
the masters of their own time and cannot interfere in other’s time. The worldly life is so
impermanent, but what gives one permanence is penance. If one puts the benefits of worldly life
in one plate in a balance and that of penance in the other, he will find the former stands no
comparison with the latter. Hence many kings who ruled this world renounced it and became
ascetics. Those who renounced worldly life were not let down by the Goddess who recommended
their case to the Lord and She appealed Him to forgive them for their past sins and grant them
eternal bliss. Those who refused to renounce the worldly life were let down by the Goddess and
they suffered births and deaths (After this, the author gives word-by-word meaning for the poem
and draws parallels from other literary works.).
“Vittarai vidall Thiruve
Vidathorivall vidapattore”
These two lines stand comparison with the Valmiki Ramayana sloka about Jayanthan, son of Indra,
who came as a crow and harmed Sita. When the crow surrendered at the feet of Sita, She saved it
after turning its head towards Rama and thus making him surrender at the Lord’s feet. Ravana got
killed, as he did not surrender at Her feet.
As Lord Narayana is the Supreme Authority who grants bliss, why the poet says that Mahalakshmi
recommended their case to the Lord? He is more attracted towards the Goddess (Sita) than the
Lord.
Sage Valmiki also airs the same view in the verse beginning with ‘Maa nishadha’. The word ‘Maa’
here refers to Goddess Mahalakshmi. Further he says that “Kaavyam Ramayanam kruthsnam
Seethayaaccharitham mahath”.
By this he wants to stress that the entire Ramayana is the story of Sita and She has been given an
exalted status. This also shows that the Tamil Sangam poet Valmikiyar and Sage Valmiki held
identical views.
Those who studied the Purananooru poem and its literary merits would doubt whether Poet
Valmikiyar and Sage Valmiki were the same person. To clear this doubt one has to find out
whether Sage Valmiki was well versed in Tamil. This fact needs further examination.
CHAPTER 2 SUNDARAKANDAM
Sage Valmiki has named each canto of his epic after the events taking place in it. Rama’s birth
and childhood, his education etc., which are considered as ‘Rama bala charitham’ are covered in
the Balakandam. Rama cahritham that took place in Ayodhi is covered in the Ayodhya Kandam,
the events that took place when Rama was exiled to the Aaranyam (forest) are listed in the
Aranya Kandam, those which happen at Kishkintha are covered in the Kishkintha Kandam and the
war (yudham) is covered in the Yudha Kandam.
He has named one of the cantos as Sundhara Kandam. Sundharam in Sanskrit means a beautiful
thing. Hence this name and one can call it as the beautiful canto. If one accepts this meaning, it
would mean that the canto was named after something beautiful and not after the events in
Rama’s life. As the events that happened were not beautiful or pleased one’s heart, this title does
not seem to be more apt.
As Kishkintha Kandam is named after a pleasing incident that took place at Kishkintha, one has to
surmise that Sundhara Kandam was also named after a particular event that took place in the
epic.
Though many things are narrated in the Kishkintha kandam, one of the most important events in
Rama’s life is the coronation of Sugreeva as the king of Kishkintha. Hence it was named as
Kishkintha Kandam. Like this the best thing narrated in the Sundhara kandam is when Sitha was
about to end her life at Ashoka Vana , Anjaneya saved her by singing the beauty and glory of Lord
Rama. As Rama’s charming beauty (sundharam) saved Sitha, it must have been named as
Sundhara Kandam. This is the general meaning of the title of this canto.
But Sanskrit experts do not accept this meaning and they give different meanings for the word
Sundharam. They say that without naming the canto after the majority of events taking place in
it, one particular incident could not give the title to it. ‘Rama’s beauty’ or Rama Soundharyam is
covered only in a few pages and the word ‘sundharam’ could not fully cover the beauty.
These are not valid reasons because it was the custom of Tamil poets to give the title to a chapter
after a small important event narrated in it. This custom prevailed even during Valmiki’s period in
the Tamil country.
CHAPTER 3 – THRUNADHOMAGNI
“Thrunadhoomagni” (Tholkappiar) the earliest Tamil grammarian, who lived during Valmiki’s
period, has named one big chapter as “Porulathikaram” after “Porul” (literature or thought
conveyed by poetry). Thiruvalluar has named one section of his work as “Porutpaal”, though the
major portion of it deals with other subjects while only a small portion deals with making money.
Ilango Adigal has named his work as Silappathikaram after the anklet worn by Kannagi, though it
comes as the subject of dispute much later in the epic. Similar is the case with the Sangam
classic “Padhitruppathu” where the poems have been given the title after words occurring in
them.
This is known as ‘Nokku’, a nuance of an epic form of poetry where the readers are made to read
the entire section to know the meaning of the title. Hence it is not a mistake to give the title to a
chapter after a small incident or an object, according to the Tamil poetic tradition.
Like that, in Sanskrit also, a drama explaining the story of Charudatta is not given the title of
“Charudatta Charithram” but is named as “Mruchakatikam” after the toy car drawn by the child
character in it.
Hence it is not wrong to name Sundarakandam as Anjaneya narrates Rama’s beauty or “Rama
Soundaryam” in it. But one should examine whether the word Sundaram would denote
Soundaryam. Soundaryam is a Sanskrit word in vogue in Tamil. Sanskrit scholars denote by it
anything that is beautiful, and not beauty itself. But Tamil poets consider Sundaram and
Soundaryam as the same as this is borne out by Nigandus (lexicons). In Jeevaka Chinthamani, a
Tamil epic, the word Sundaram is used to denote beauty.
Tamil poets make similar usages with regard to Dharithriyam (Dharithram or poverty), Kavi (poet
and poem) Veeram (heroism). Hence to refer to beauty (Sundaram) after Soundharyam seems to
be the practice followed by Tamil poets.
In Sanskrit, Tamil words like Balan (youth), Aani (nail) have been used. This will be examined later.
Instead of naming it Soundaryakandam, Valmiki has given the name of Sundarakandam as it is
more pleasing to the ears and even those who are not well versed can understand its meaning.
But Valmiki was a Sanskrit poet. Why did he not name it as Soundaryakandam following the
Sanskrit custom and named it as Sundarakandam following the Tamil custom? It was because he
was well versed in Tamil and wanted to make known to the Sanskrit scholars such a fine usage.
He wanted Sanskrit scholars to study many Tamil works. It is the custom of epic poets to make
known the greatness of works in other languages to Sanskrit scholars.
Thiruvalluar, in his first Thirukkural couplet, has used the term ‘Aadhi Bhagavan’ following the
Sanskrit custom and had not mentioned the word as ‘Aadhippagavan’ following the Tamil custom.
In other places he uses the words and sentences like “Naannenum Nallaal”, “Adhinutpam”,
“Aaapayan”, which are wrong usages as per Tamil grammar but are acceptable under Sanskrit
grammar. Hence Sage Valmiki has named this canto as Sundarakandam and not as
Soundaryakandam. It is more relevant here to examine whether Valmiki has followed other Tamil
usages in his epic.
CHAPTER 4 - A PROVERB
A proverb is a short pithy saying containing what one intended to say crisply and to the point. It
will be short, but if its meaning is considered it will be expansive and it is a saying in vogue in
speech as well as in poems from time immemorial. Sanskrit scholars called it as “Lokokthi” and
used it in their literary works. They admitted the fact that Sanskrit is not a spoken language and
hence proverbs are in usage only in native, spoken languages. The Tamil grammarian,
Tholkappiar, called it as “Mudhumozhi” or old saying, which is another form of the word
“Pazhamozhi” (proverb) and has defined its grammar in his work, Tholkappiam (Porulathikaram,
Soothram 489). According to it, a proverb will be short and sharp and its meaning will be
exhaustive. As he has not stated whether the proverb will be in the spoken language or literary
language, he agreed with the view that it will be both in written and spoken languages.
Hence it could be confirmed that there was no proverb in Sanskrit and it could be found only in
Tamil. An example: The eyes of a woman who saw her lover shed tears while her shoulders which
could not embrace him became green in colour (a sign of uneasiness.) This is like a calf grazing in
a newly tilled field going unpunished while the ass gets punished with its ears being shorn off.
There are many proverbs like this given by Tholkappiar, a contemporary of Valmiki. One of them
says: “Paambariyum paambin kaal” (a snake knows where its legs are). This proverb is used to
denote the place where one hides, to keep himself away from prying eyes.
In the Sangam classic, “Pazhamozhi Naanooru”, this proverb is used to show that poets alone
know the hidden meaning of words used by them; it could not be found out by a layman as a
snake alone knows its legs. The words “paambin kaal” here denote a snake’s hideout and not its
legs.
This proverb is used by Valmiki in his Ramayana as a translation from Tamil. In Sundharakandam,