Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
xxxx
Purananuru wonders-66; Tamil Encyclopaedia 106, One Thousand Interesting Facts -Part 106
Let us take one more book from Eight Anthologies (Ettuth Thokai) in Sangam Tamil Literature. It is called Pathitrup Paththu in Tamil meaning 10 X 10 songs= 100. It is an anthology, dealing with all about ancient mysterious Kerala (Chera Nadu). Many of their customs are not known in other parts of Tami Nadu. This ancient land of Tamils has created a new language called Malayalam. That itself shows it is very different from other Tamil areas. But Malayalam is the closest language to modern Tamil. Malayalam is noting but a mixture of pure Tamil and pure Sanskrit with nasal accent. strangest thing is Sanskrit is studied by the lowest castes and mastered! This book is full of mysteries. The biggest mystery is a famous poet and his wife disappeared after a Yaga (Hindu Fire Ceremony). The Yaga was performed at his request who wanted to go to heaven!(probably like Trin Shanku with his own human body)! Unfortunately two of the ten songs are missing in the book. We have very interesting details about a Chera king punishing the Yavanas (Roman pirates from Italy). At last they cried and gave diamonds and gold to Chera king and got their release. And that gold and diamonds were given to poets!
In his book ‘The Eight Anthologies’, John Ralston Marr gives detailed information about the pathikams and the poems. He identifies the rivers, forests, kingdoms, kings and towns indicated in the poems.
Poems 11 – 20 were written by poet Kumattūr Kannanār for King Imayavarampan Nedunchēralāthan, son of King Uthiyan Chēral and Queen Nallini. This king is said to have defeated the Aryans and Yavanas and carved a bow–emblem on the Himalayas.
Poems 21 – 30 were written by poet Pālai Kouthamanār for King Palyānai Selkelu Kuttuvan, the younger brother of Imayavarampan Nedunchēralāthan.
Poems 31 – 40 were written by poet Kāppiyatru Kāppiyanār for King Kalangāykanni Nārmudichēral, son of Imayavarampan Nedunchēralāthan and his queen, daughter of king Pathuman.
Poems 41 – 50 were written by poet Paranar for King Kadal Pirakōttiya Chenguttuvan, son of Imayavarampan Nedunchēralāthan and the daughter of Manakkilli, a Chōzha king. King Chenguttuvan was a contemporary of Gajabāhu of Sri Lanka (A.D. 180).
Poems 51 – 60 were written by poetess Kākkai Pādiniyār Nachellaiyār for king Ādukotpāttu Chēralāthan, son of Imayavarampan Nedunchēralāthan and his queen, a daughter of a Velāvi king.
The above five kings belonged to the Chēral Uthiyan clan.
Poems 61 – 70 were written by poet Kapilar for King Selvakadungō Vāzhiyāthan, son of King Chēran Anthuvan.
Poems 71 – 80 were written by poet Arisil Kizhār for King Perunchēral Irumporai, son of King Selvakadungo Vāzhiyāthan and his queen, daughter of Velāvi king Pathuman. This king was the victor of Thakadūr. He was the greatest of the Uthiyan kings.
Poems 81 – 90 were written by poet Perunkundrūr Kizhār for King Ilanchēral Irumporai, son of King Perunchēral Irumporai and Princess Anthuvan Chellai.
The above three kings belonged to the Irumporai clan. Both clans were related through marriages.
Let us look at the wonders. Because the first song (or book ) is missing we go to Number Two song.
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item 911 -Himalayas to Tamil Nadu
Poems 11 – 20 were written by Brahmin poet Kumattūr Kannanār for King Imayavarampan Nedunchēralāthan, son of King Uthiyan Chēral and Queen Nallini. This king is said to have defeated the Aryans and Yavanas and carved a bow–emblem on the Himalayas.
There is prayer to God. It is about Lord Siva. பதிற்றுப்பத்து கடவுள் வாழ்த்து
Prayer song is taken from most famous Tamil commentator Nachchinarkiniyar. It may not be part of Pathitruppaththu. All the qualities attributed to Lord Siva is in one beautiful verse.
The first wonder is King Imayavarampan Nedunchēralāthan ruled for 58 years, according to Pathikam attached to it. He went upto the Himalayas and carved his bow symbol on it. He made cultured Aryan kings salute him. His mother was Mrs Nallini; his father was Uthiyan Cheral.
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item 912- Punished Yavana Rouges
He arrested the harsh worded Yavanas, tied their hands behind, poured oil on their head; to release them he got precious gold and diamonds and distributed them to others. Commentators interpreted others as poets, bards, dancers and army commanders.
Two points must be noted here: when the poet described Yananas negative words are used. whenAryas mentioned appreciatory words are added. Second point is he distributed Yavana gold and diamonds to others. He did not add them to his treasury. Yavanas were the Italian pirates who did bad things in the western sea what we call now as Arabian sea, a misnomer!
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item 913- Lord Skanda Muruka and Chera King- lines 1-15
Lord Murugan (Skanda/ Kartikeyan) destroyed Sura Padman, a demon. This story is enacted on the shores of Tiru Chendur coast on Skanda Sashti day every year. Million Hindus assemble there to worship Lord Murugan. So we see 2000 years continuity in Hindu beleifs.
All Tamil Kings had Trees as totem symbols. Lord Muruga is said to have cut the Mango tree of demon Sura Padman.
In the same way Chera King cut down the Kadampa tree in the island in the Arabian sea. He used the tree to make a war drum
The pirates were occupying one of the islands of Arabian sea and were robbing all the gold ladden ships.
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Map of Chera Nadu (Kerala)
item 914- Beautiful Himalayas with Aryan Sages and Dreaming Deer
Here comes beautiful lines which explode the myth that British united India. Now and then we see some comments by Hollywood and Kollywood idiots saying British united India. From Mahabharata to Sangam Tamil literature we see repeated words Himalayas to Kanyakumari ruled or controlled by a king. Here we see it in lines 17-25
Aryan= Sages; not the racial meaning given by Foreign Gangs.
Here the poet described the dream of Kavari Deer or Yaks. I have already explained Hindus are the one who repeatedly talked about animal dreams. Now western magazines are WRITING RESEARCH ARTICLES!! As if they have discovered something new! Sangam Tamil literature, Tamil epics and Tamil Bhakti literature have hundreds of dreams.
All the Himalayan descriptions in the early strata of Purananuru and Pathitru Pathu are copied from the first ten stnzas of Kalidasa’s Kumara Sambhava.
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item 915- Blood Changed the colour of the sea Red!
Like him, you struck your enemies with your blood-tipped sword, and slaughtered them to pieces on battlefields. Blood from wounds your sword caused flowed into the sapphire- colored, dark backwaters, the color changing to that of saffron dye.
We know this as an exaggeration. But the same thing said about Charmanvati river (Chambal river) on the banks of which King Ranti Deva performing Yagas with animal sacrifice, and river water turning blood red, was used by idiots .
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Cheran Senguttuvan on March
item 916- Mars and Venus-
Line 25 is about the old belief of Hindus about the position of planet Venus.
Venus does not run toward Mars, rains fall without fail in the lands where they are needed and when they are needed
The movement of Venus as seen from earth is always noted. Here poet says if Venus moves too close to planet Mars there will be drought. In 2021 and 2015 both Venus and mars were seen close to one another from earth. Though they are millions of miles away, we see them close. More research has to be done by Hindus to see how correct they are.
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item 917- Unwoven Clothes- Silk-
The kings munificence towards the bards and dancers were explained in many words. King gave them goat meat, rice, toddy, golden ornaments and clothes not woven in the normal way (from cotton). It is silk. From this we know the poverty of the bards and the wealthy life style of the cities. Silk clothes were made from the silk worms. Poet has coined a new word Noolaak Kalingam நூலாக் கலிங்கம்in Tamil.
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Statue of Yavana
item 918- Mysterious Akkuran!
In the verse 14 the king is compared to five elements and stars and planets. He is not measurable like these elements and heavenly bodies. This comparison with planes five elements is in Manu Smriti and Valmiki Ramayana . அக்குரன் அனைய கைவண்மையையே;
The king is praised as generous as Akkuran. No details of that philanthropist are available in Hindu scriptures. Karna of Mahabharata is the greatest philanthropist in Hindu literature.
In the Mahabharata and Bhagavata Purana, Akrura is a Yadava prince and the maternal uncle of Lord Krishna. He is famously known for his righteousness and for driving the chariot that brought Krishna and Balarama to Mathura. Note the difference in spellings.
Tags – Purananuru wonders-66, Tamil Encyclopaedia 106, One Thousand Interesting Facts -Part 106, Item 918, Akkuran, Yavana
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
xxxx
Vahana
Mounts of Gods or Vehicles of Hindu Gods
They are actually the symbols of Gods; they appear on their flags as well. They have symbolic meaning. That will explain why an elephant (god Ganesh) riding on a mouse
Following is the first list of Hindu Vahanas:
1.Ganesh/Vinayaka=Mouse
2.Kartikeya/Skanda/Murugan–Peacock
3.Shiva=Bull/ Nandhi
4.Raja Rajeswari= Lion
5.Vishnu= Garuda/Eagle
6.Bhairava=Dog
7.Sastha= Horse
8.Ayyappa= Tiger
9.Sani/Saturn= Crow
10.Kalki Avatar=Horse
11.Indra= Airavata/ Elephant
12.Lakshmi= Red Lotus, Owl
13.Sarasvati=White Lotus, Swan
14.Ganga Devi= Crocodile
15.Manamatha & Rathi= Parrot
16.Kubera= Man,Parrot or Horse
17.Vishnu= 7 headed Snake/ Sesha
18.Krishna=Banyan leaf
19.Brahma= Swan
20.Kartikeya=Rhino (Vietnam)
21.Chandi= Pig
22.Sindhi saint= Fish
23.Ganda Beranda Bird= Mannarkudi Rajagopalswamy
24.Varuna= Makara (Shark or Crcodile)
25.Agni / Fire= Ram
26.Durga= Antelope
27.Marut= Deer
28.Lakshmi in Nepal=Turtle, In Bengal=owl
29.Durga= Lion or Tiger
30.Chamundi- Owl
31.Asvini Devas= Donkey (also for Indra and Agni)
32.Dead Body= Niruthi
33.Sun= 7 Horse Chariot
34.Rahu/ Shasti= Cat
35.Rathi= Pigeon
Following Vahanas are used by different temples in Tamil Nadu
36.Surya Prabha (SUN)= Northern Districts of Tamil Nadu
37.Chandra Prabha (MOON)= Northern Districts of Tamil Nadu
3.Vahana Order in Temples: 6th Day=Gaja, 8th Day=Horse Vahana
Temple Vahanas are taken out in a particular order. The Agama Shastras have stipulated some rules regarding this. For instance Ani Thirumanjana Festival at Chidamabaram Shiva Temple is celebrated in the following order:
First Day: Dwaja Arohanam (Flag Hoisting),In the night Pancha murthy procession in Manjam
Second day: Silver ChandraPrabha Vahana
Third day: Gold Surya Prabha Vahana
Fourth day: Silver Bhutavahana
Fifth Day: Silver Rishaba Vahana
Sixth day: Silver Elephant Gaja Vahana
Seventh day: Gold Kailash Vahana
Eighth day: Bhikshadanar in Gold Chariot
Ninth Day: Rathothsavam (Ratham= Big Chariot)
Tenth day: Maha Abhishekam
Eleventh day: Muthu Pallakku ( Pearl Palanquin)
Saivaite temples do elephant vahana on the sixth day of festival.
Tirupati-Tirumala Brahmorchavam Calendar:
First Day-Dwajarohan: Flag of Eagle hoisted, Pedda Sesha Vanam/many headed snake vahana;
9th day: Chakra snanam/lord’s disc is immersed in the tank and flag is lowered.
This is typical of North Tamil Nadu and Andhra temples. Surya and Chandra Prabha vahanas are absent in Southern Tamil Nadu. They replace it with other Vahanas. But 8th day is allocated for Kuthirai/Aswa/Horse vahana.
Amarasimhan’s Amarakosha (First Dictionary of Synonyms in the World) gives Vahana names as other names for Gods. This shows people were very familiar with all Vahanas and flags 2000 years ago.
Hamsa Vahana means Brahma (Swan Vehicle)
Garudadwaja means Vishnu (Eagle Flag)
Vishnuratha means Garuda (chariot of Vishnu)
Vrushadwaja means Shiva (Bull Flag)
Siki Vahana means Lord Kartikeya (Peacock Vehicle)
Megha Vahana means Indra (Cloud as Vehicle)
Havya Vahana means Agni (Fire takes all Havis/food in Yagas)
Picture of Ashta Matrika with Vahanas
5.Unusual Vahanas
Some temples have lotus (India’s national flower) as vahana for goddess Devi. Tulsi (Holy Basil plant) also used as a Vahana. Alwartirunagari near Tirunelveli in Tamil Nadu, has a strange vahana –Tamarind Tree (Imli in Hindi). This is used for one of the twelve Alvars known as Nammalvar. He attained wisdom under a tamarind tree. Another unusual vahana associated with this town is Parangi Narkali (Foreign Chair).The origin of this vahana is shrouded in mystery.
Chandi Devi in Sujanaghat has got varaha (pig) as vahana which is unusual.
6.Vahanas of Ganesh
Dhumaketu (kaliyuga): Horse Vahana
Vinayakar (Kritayuga):Simha Vahana
Mayuresar (Treta yUga):Mayura Vahana
Gajananar (Dwapara Yuga): Mushika Vahana
7.Buddhist Vahanas
Buddists also have vahanas for their gods:
Vairochana- Dragon Vahana
Ratna Sambhava- Lion/simha
Amitabha—Mayura/peacock
Amoka siddhi-Eagle
Ashosabya-Elephant
8.Strange Vahanas of Temples
Several temples have unusual vahanas. It is a long list of strange things. Let us look at a few:
In the next part we will look at the Vahanas on ancient Indian coins.
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Vahana in Egypt
Also read my earlier posts:
1.Iraq: 7 Gods Procession on Vahanas
2.Deer Chariot: Rig Veda to Santa Claus
3.Hindu Vahanas around the World
4.Vahanas in Kalidasa and Tamil Literature
5.Who Rides What Vahanas?
6.உலகம் முழுதும் இந்து தெய்வ வாகனங்கள்
7.சங்கத் தமிழ் இலக்கியத்தில் வாகனங்கள்
8.வாகனங்கள் தோன்றியது எங்கே?ஏன்? எப்போது?
9.எந்தக் கடவுளுக்கு என்ன வாகனங்கள்?
10.Interesting Facts on Vahanas
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Vamana
Vāmana (वामन).—An incarnation of Mahāviṣṇu. There are ten main incarnations of Mahāviṣṇu. Of these, the incarnation of Vāmana is the fifth.
Avatar of Viṣnu. Vamana, the dwarf, appeared in the Treta Yuga. The fourth descendant of Hiranyakashyap, Bali, with devotion and penance was able to defeat Indra, the god of firmament. This humbled the other deities and extended his authority over the three worlds. The gods appealed to Vishnu for protection and he descended as the dwarf Vamana. During a yajna of the king, Vamana approached him in the midst of other Brahmins. Bali was happy to see the diminutive holy man, and promised whatever he asked. His Brahmin teacher Shukracharaya warned him not to entertain him. But Bali ignored his advice. Vamana asked for three paces of land. Bali agreed, and the dwarf then changed his size to that of a giant. He stepped over heaven in his first stride, and the netherworld with the second. Bali realized that Vamana was Vishnu incarnate. In deference, the king offered his head as the third place for Vamana to place his foot. The avatar did so and thus granted Bali immortality. Then in appreciation to Bali and his grandfather Prahlada, Vamana made him ruler of Pathala, the netherworld. Bali is believed to have ruled Kerala and Tulunadu. He is still worshiped there as the king of prosperity and recalled before the time of harvest.
Tamil Sangam literature and later Tirukkural refers to Vamana Avatara.
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Vāmana (वामन).—Name of one of the joint authors of the well-known gloss or वृत्ति (vṛtti) upon the Sutras of Panini, who lived in the seventh century A. D. It cannot be ascertained which portion of the Kasika was written by Vamana and which by his colleague जयादित्य (jayāditya). There was another famous scholar of Kashmir by name Vamana who flourished in the tenth century and who wrote an independent grammar treatise विश्रान्तविद्याधर (viśrāntavidyādhara), together with उणादि-सूत्रवृत्ति (uṇādi-sūtravṛtti) and लिङ्गानुशासन (liṅgānuśāsana).
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Vamachara
Worship of female energy. Goddess is on the left side of Lord Siva. Left belongs to Devi or Shakti.
Vāmācāra (वामाचार).—the left-hand ritual or doctrine of the Tantras; the doctrine of resorting to मांस, मद्य, मत्स्य, मैथुन (māṃsa, madya, matsya, maithuna) and मुद्रा (mudrā).
Vāmācāra (वामाचार):—[from vāma] m. the left-hand practices or doctrines of the Tantras (id est. the worship of the Śakti or Female Energy personified as the wife of Śiva, as opposed to dakṣiṇācāra .
These practices are often generally considered to be Tantric in orientation. The converse term is dakṣiṇācāra “Right-Hand Path”, which is used to refer to “orthodox” (Āstika) sects .
Arthur Avalon (the pen name of British high court judge Sir John Woodroffe) wrote and edited several seminal books on Tantric worship and Shakta philosophy. His most notable books focusing on Tantric worship, doctrine, and ritual practices include: The_Serpent_Power, Shakti and Shakta.
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Vararuchi
Vararuci (वररुचि).—A reputed ancient grammarian who is identified with Katyayana, the prominent author of the Varttikas on the Sutras of Panini. Both the names वररुचि (vararuci) and कात्यायन (kātyāyana) are mentioned in commentary works in connection with the Varttikas on the Sutras of Panini, and it is very likely that Vararuci was the individual name of the scholar, and Katyayana his family name.
Name of a grammarian (also a poet, lexicographer, and writer on medicine, sometimes identified with Kātyāyana, the reputed author of the Vārttikas or supplementary rules of Pāṇini; he is placed by some among the nine gems of the court of Vikramāditya, and by others among the ornaments of the court of Bhoja.
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Vartika
Vārtika (वार्तिक).—An additional statement which is as much authoritative as the original one to which it is appended for the purposes of correction, completion of explanation. Kātyāyana wrote about 4000 Vārttikas on the sūtras of Pāṇini’s Aṣṭādhyāyī.
According to the prominent 19th-century German Sanskrit scholar Theodor Goldstücker, the Vartika (Vāttika) of Kātyāyana was composed around the 4th century BCE. Goldstücker established this chronology by analyzing the significant linguistic and structural evolution of the Sanskrit language between the periods of the great grammarians. Goldstücker placed Pāṇini (the author of the Aṣṭādhyāyī) in the 7th century BCE (or late 8th century BCE). He argued that Kātyāyana lived at least 300 years after Pāṇini. Goldstücker argued that during the 300-year interval, grammatical forms current in Pāṇini’s time had become obsolete or incorrect, and words had assumed entirely new meanings, forcing Kātyāyana to write the Vartika to rectify and complete the rules.
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Varuna
Brahmins worship him in the daily ritual Sandhyavandana with reverential fear.
Oldest Tamil book Tolkappiam has named Varuna as the god of the Tamil community living in the coastal area.
Zoaroaster has praised him as an Asura in Zend Avesta
VEDIC GOD VARUNA is described as a spy in the Vedas. The implied meaning is ‘nothing can happen without his knowledge’. His description beats all the spies from RAW, Mossad, CIA, KGB, FBI, MI 5, MI 6, Scotland Yard and James Bond Films. After reading the Atharva Veda hymn on Varuna, even anti Hindu German Indologist Von Roth said this was The Best Description of a God in the Vedas. His omnipresence and Omnipotence are described beautifully and powerfully.
Varuna is said to count the batting of eyelids of every human being. That means he is the most advanced Super Computer; because he counts 75840 billion every day.
Following is my calculation:
Average 10 blinks per minute; X 60 minutes= 600 per hour
600X16 hours (eight hour sleep deleted from 24 hours a day)= 9600 blinks per day per person X 7.9 billion =75840 billon blinks per day in the whole world
In numbers 75840 ,000, 000,000 PER DAY
IN SHORT
VARUNA IS THE CCTV OF THE WORLD
VARUNA IS THE SUPER SPY WITH 1000 EYES
VARUNA IS THE MOST ADVANCED SUPER COMPUTER WITH BILLIONS OF CALCULATIONS EVERY MINUTE
VARUNA IS EVERY WHERE ‘UP ABOVE THE WORLD SO HIGH’ AND BOTTOM OF THE MARIANA TRENCH IN PACIFIC OCEAN, DEEPEST POINT in ocean
VARUNA IS HUMAN AND DIVINE
VARUNA IS IN EVERY WATER DROP.
HE IS THE INVISIBLE THIRD MAN IN EVERY SECRET MEETINGS.
HE HAS THE NOOSE WHICH WILL BIND EVERYONE.
HE PUNISHES ALL THE EVIL DOERS.
HE IS IN CHARGE OF THE LAW DEPARTMENT OF THE UNIVERSE
HE IS THE CHIEF JUSTICE OF THE SUPREME COURSE OF THE UNIVERSE.
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ALL BRAHMINS WORSHIP VARUNA EVERYDAY IN THE SANDHYA VANDANA MANTRA. THEY SALUTE HIM WITH SPEACIAL MANTRA EVERY EVENING. HE IS MENTIONED IN THE BOGAZKOY INSCRIPTION DATED 1340 BCE (in Turkey)
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Here is the hymn from Atharva Veda; though there are hymns on Varuna in Rig Veda , this is the best. Not only that, it shows how powerful Hindu Gods are.
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HYMN XVI, CANTO 4, ATHARVA VEDA
On the omnipresence and omniscience of Varuna
1)The mighty Ruler of these worlds beholds as though from close
at hand,
The man who thinks he acts by stealth: all this the Gods
perceive and know.
2)If a man stands or walks or moves in secret, goes to his lying-
down or his uprising,
What two men whisper as they sit together, King Varuna knows:
he as the third is present.
3)This earth, too, is King Varuna’s possession, and the high
heaven whose ends are far asunder.
The loins of Varuna are both the oceans, and this small drop of
water, too, contains him. p. a124
4)If one should flee afar beyond the heaven, King Varuna would
still be round about him.
Proceeding hither from the sky his envoys look, thousand-eyed,
over the earth beneath them.
5)All this the royal Varuna beholdeth, all between heaven and
earth and all beyond them.
The twinklings of men’s eyelids hath he counted. As one who
plays throws dice he settles all things.
6)Those fatal snares of thine which stand extended, threefold,
O Varuna, seven by seven,
May they all catch the man who tells a falsehood, and pass un-
harmed the man whose words are truthful.
7)Varuna, snare him with a hundred nooses! Man’s watcher! let
not him who lies escape thee.
There let the villain sit with hanging belly and bandaged like a
cask whose hoops are broken.
8)Varuna sends, and drives away, diseases: Varuna is both native
and a stranger,
Varuna is celestial and is human.
9)I bind and hold thee fast with all these nooses, thou son of such
a man and such a mother.
All these do I assign thee as thy portion.
Von Roth said
There is no hymn in the whole Vedic literature which express the divine omniscience in such forcible (forceful) terms as this .
Hindus believe diseases come to one who does sinful activities in previous births. So we find diseases in this mantra.
Griffith points out that there is one statement in the Bible (Psalms 139-2-3 which can be compared to one line here in Mantra 2.
Griffith gives references in RV1-25-13; 7-87-3; 7-89-2
Mantra 7 has reference to 7,7,7=21 which is in Tamil Sangam Purananuru 166.
Six foreigners have translated this hymn:- Muir, Max Muller, Von Roth, Ludwig, Grill and Kaegi
This can be compared with Bharatiyar’s description of his poem
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Vasishtha
Brahmins worship him thrice a day in their Sandhyavandana ritual.
His wife Arundhati is worshipped by all Hindus and mentioned in 2000 year old Sangam Tamil literature many times.
Viewing Arundhati star in the night is done on the first day of a Hindu’s marriage.
Vasishtha (Sanskrit: वसिष्ठ, vasiṣṭha) is a revered Vedic sage . He is one of the Saptarishis (seven great Rishis) of India. Vasishtha is credited as the chief author of Mandala 7 of Rigveda. Vasishtha and his family are mentioned in Rigvedic verse 10.167.4, other Rigvedic mandalas and in many Vedic texts.
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POWER OF BRAHMINS IS GREATER THAN THE POWER OF RULERS: SANGAM TAMIL LITERATURE AND MAHABHARATA
The clash between the great two Vedic Rishis Vasishta and Viswamitra is a well known story. It established the supremacy of Brahmins. Both rishis/seers figure in the oldest book in the world- The Rig Veda (RV). People who are pure at heart and selfless are more powerful than the AK 47 wielding Clint Eastwoods!
This message is in both the Mahabharata, the longest epic in the world and Purananuru, the oldest anthology in 2000 year old Sangam Tamil literature.
First let us look at Mahabharata (Adi Parva, the first of the 18 Books in the Mahabharata):_
Once upon a time great king Viswamitra went out on a hunting expedition. When he and his retinue were tired, they visited the great saint Vasistha. His ashramam (House of Saints; hermitage) was in the middle of the forest. He had a beautiful cow named Nandini. It had the power of fulfilling anyone’s wishes like Kamadhenu.
Vasistha received him with great honour. He gave to Viswamitra precious jewels which were obtained from his wonder working cow Nandini. Viswamitra wondered how come this sage in the middle of the forest , could feed all his retinue and give him precious gifts. Vasishta explained that his holy cow can give anything he wished for. Viswamitra asked Vasishta to give him the cow in exchange for hundred million cows or even his kingdom. When Vasishta refused to comply with his demand Viswamitra threatened to use force. He dragged the cow and pushed it hither and thither, but she would not move. She became angry and in order to punish Viswamitra and his army, she created Pahlavas , Dravidas, Sakas,Yavanas , Kiratas and other tribes. The words of the poet Vyasa are
Shame on a Kshatriya’s strength. The strength of a Brahmins lustre is strength indeed. Determining what is strength and what is weakness, we see that, penance is the greatest strength.
This legend is found in Valmiki Ramayana as well .
Later Viswamitra went for doing Tapas(penance), but failed in first two attempts because of ego and women (Trisanku Episode and Menaka episode). When he won at the third attempt, Vasishta himself called him “Hello Mr Brahmin” (Brahma Rishi). That has become a phrase in Hindusim equal to ‘From the horse’s mouth’ in English.
The power of penance is in Purananuru, oldest portion of 2000 year old Sangam Tamil literature and later moral book Tirukkural of Tiru Valluvar
Here is the verse from Purananuru:-
Vanmiki , similar to Valmiki, the Ramayana author, has penned the verse 358 in Purananuru. Though there are very interesting information in these seven lined verse, I will highlight only one point here. If you weigh the earth and the penance, penance is so big that earth will look like an iota. Earth means earthly life that is family life, but penance is far greater than the family life. Tamil poet Vanmiki use the Sanskrit word Tavam. Tapo in Sanskrit is tamilized Tavam (P=V). here we are concerned only about the greatness of penance. It is a repetition of what is said in Mahabharat. True Brahmins are doing penance even when they are in family life. So the word Antanar is used for anyone who is inward looking, ie. God searching. Brahmin also meant the same, i.e. Brahmam seeking. So it is an echo of Mahabharata lines. Even a kshatriya like Viswamitra is called Brahmin when he competed his penance successfully.
Tiruvalluvar also elucidated the power of saints. If any one does any harm to a saint the empire will crumble like dust, he says.
“If those of rigorous penance become enraged, even Indra will crash from power and position” – Kural 899
Venthan is the Tamil word used in this couplet. It means King or Indra. Tolkaappiam used the word for Indra.
The next couplet emphasizes this point,
“Though possessed of great support, they who are exposed to the wrath of persons of exceeding penance will perish”- Kural 900.
Brahma tejo balam balam!!
Curses of Vasistha (RV 7-104)
1.Indra and Soma, burn and destroy the demon foe. Annihilate the fools, slay them and burn them up. Send downward who adds gloom to gloom. Chase them away. Pierce the voracious ones.
2.Let sin around the wicked boil like as a cauldron set amid the flames of fire. Against the foe of prayer, devourer of raw flesh, the vile fiend fierce of eye, keep your perpetual hate against cruel eyed .
My comments
This is a curse against anti god, anti -prayer gangs. The very interesting point is to throw them into cauldron in the middle of fire. Later day pictures of hell show this. Even 1400 years ago, Saivite saint Appar was thrown into a burning Lime kiln but he was saved by Lord Siva.
Another interesting point is that anti Hindu gangs were cannibals. Like Chinese eat scorpions, lizards, rats and snakes today, like the East Europeans eat horses today, there was a gang of cannibals in Vedic period. Even the Rakshasas of Sri Lanka ate human flesh. Story of Agastya show that Vatapi and Ilvalan ate human flesh. And the same story show that the forest was full of human skeletons of seers.
So the curses were thrown against the barbaric tribes.
Cruel eyed : commentators say spy or gossip mongers.
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RV.7-104-3
Indra and Soma , plunge the wicked in the depth, yes, cast them into darkness that has no support. So that none of them may ever return.
7-104-4
Hurl your deadly crushing bolt down on the wicked fiend from heaven and earth. Burn them to death
7-104-5
Let them sink without a sound.
7-104-6
Indra and Soma, I offer these prayers with wisdom. Accept my prayers; let both of you be united like two horses in the chariot.
Mantra 7
Slay the treacherous fiends; let the wicked have no bliss who evermore assails us with malignity.
Mantra 8
I pursue my way with guileless spirit; whoever accuses me with words of falsehood, may the speaker of untruth be crushed like water in the hand.
Mantra 9
Those who harm the righteous must be given to snakes or to Nirruti (Hindu goddess personifying death, decay and destruction)
Mantra 10
May he a thief or a robber, sink to destruction; both himself and offspring.
Mantra 11
May he be swept away himself and children; may all the three earths press him down beneath them.
Mantra 12
A wise man can easily distinguish the true and false.
Soma protects the true and honest
My comments
This is a good quotation. A prudent man can easily find out who is honest. Several Hindu stories in the Vikram and Vetal and Katha sarit sagara stand examples for this.
But Sayana, commentator, gives the story of Kalmashapada here. I give the story from Who is Who in the Mahabharata by Subash Mazumdar
“ Kalmashpada was a king of Ikshwaku dynasty. He once encountered Shakti, son of sage Vasistha, on a narrow forest path. The question of relative priority as to who should pass first and who should give way, led to heated argument until the king losing his temper started mercilessly whipping \shakti in a demonic raage. Thereupon Shakti collecting his spiritual strength, cursed the king would become a Rakshasa hungering for human flesh wandering the forest for 12 years.
At this juncture Visvamitra who had earlier been bested by Vaishtha and therefore wanted to please Shakti, arranged for a Rakshasa called Kinkara to enter the body of Kalmashapada. Later this curse upon the king was redoubled in force by the pronouncement of a brahmana who was erroneously served human by orders of the king.(It is in Adi Parva of Mahabharata).
The king in his rakshasa form initiated his consumption of human flesh by killing and devouring Shakti himself. Later he also killed Vaishtha’ss other sons.
Once Kalmasha pada , while in Rakshasa form, saw a brahmin couple enjoying conjugal pressure. He killed and ate the Brahmana. Thereupon the brahmana cursed that the king would also die if he ever attempted to enjoy conjugal bliss with his queen.
Years later when he wanted to kill and eat Adashyanti, widow of Shakti, Vasishta sprinkled holy water on him and the curse having ended the king expressed his lifelong indebtedness to Vasishta .
There are 25 mantras . I have covered only 12 out of 25.
To be continued……………………..
Tags- Vahana, Varuna, Vasistha, Vararuchi, Vamana, HINDU DICTIONARY IN ENGLISH AND TAMIL ; இந்து மத கலைச்சொல் அகராதி-115
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
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Words beginning with letter V
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Vachaspati Mishra
Vācaspati Miśra, c. 10th century CE, was a gṛhastha scholar from the Mithilā region in modern Bihar state (bordering Nepal). He was knowledgeable in several disciplines connected to the Dharma and is traditionally hailed as a sarva-tantra-svatantra.
The uniqueness of Vācaspati Miśra was his ability to write on almost every darśana with the perspective of an insider. This is perhaps unparalleled in the history of the Dharma. Perhaps his most well-known work is the Bhāmatī, an exposition of Adi Shankaracharya’s Brahmasūtra Bhāṣya.
Vācaspati Miśra is a colossus among the Indian philosophers. One of the great Maithila scholars of the period, Vācaspati Miśra came from a family of Mīmāṃsakas and made his fame as an authority on that topic, on which he says himself. He was, the teacher of Smārta Vardhamāna, author of Danḍaviveka.
Vācaspati Miśra’s family appears to have lived in several different villages of Mithila
Vācaspati Miśra has to his credit nine valuable treatises contributed to different orthodox systems of philosophy. On the basis of the internal evidences provided by these works, modern scholars arrange them in the following chronological order.[15]
1) Nyāyakaṇikā: This is a commentary on Vidhiviveka, a Bhāṭṭa Mīmāṃsā work of Maṇḍanamiśra.
2) Nyāyasūtroddhāra: This is a compilation of the Nyāyasūtra fixing the readings of the text of the sūtras.
3) Nyāyasūcīnibandha: This arranges the same Nyāyasūtra.
4) Nyāyavārtikatātparyaṭīkā: This work also known by its shorter and more popular name, ‘tātparyaṭīkā’, is an extensive commentary on the Nyāyavārtikā of Uddyotakara Bhāradvāja.
5) Tattvasamīkṣā: It is generally believed to be a commentary on the Brahmasiddhi of Maṇḍanamiśra. But it has been recently suggested that this is also an independent Mīmāṃsa treatise of Vācaspati Miśra. This work is lost.
6) Tattvabindu: This is also an independent Bhāṭṭa Mīmāṃsa treatise of Vācaspati Miśra.
7) Sāṅkhyatattvakaumudī: This work, known briefly as Tattvakaumudī, is a brilliant commentary on the famous Sāṅkhyakārikā of Īśvarakṛṣṇa.
8) Yogatattvavaiśāradī known also by its shorter title Tattvavaiśāradī: This work is a commentary on the Pātañjalayogasūtrabhāṣya of Vyāsa.
9) Bhāmatī: The full title of this work is perhaps Śārīrakabhāṣya bhāmatī. This is the earliest known exhaustive and complete commentary on the Brahmasūtraśāṅkara-bhāṣya.
It is interesting to note that in a verse in the epilogue of the Bhāmatī Vācaspati Miśra gives a full list of his own works arranged exactly in the above order suggested by the modern researchers. In the Indian tradition Vācaspati Miśra is again perhaps the first writer to give a complete list of his works, that too in a chronological order.
Date
1. Since Vācaspati Miśra refutes Bhāskara in his Bhāmatī, he must be 10th century at earliest.
2. Vācaspati Miśra quotes Dharmottara respectfully, so must have lived a century or so after him. Since Dharmottara is 9th century C.E, Vācaspati Miśra must be 10th century C.E.
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Vaidehi
Vaidehi is an alternate name for Goddess Sita that means “princess or daughter of the Videha kingdom”. Sita’s father, King Janaka, ruled the ancient kingdom of Videha. In ancient times, people often named princesses after their home kingdom. King Janaka was also called Videha because he lived free from worldly attachments. Because he was Videha, his daughter became Vaidehi.
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Vaikuntha
Vaikuntha is the eternal celestial abode of the Hindu god Lord Vishnu and his consort Goddess Lakshmi. The word Vaikuntha translates from Sanskrit as “a place without anxiety” (vai means without, and kuntha means anxiety or distress). It exists completely outside the temporary, material universe and is free from time, fear, birth, and death.It serves as the ultimate destination for pure devotees and liberated souls who achieve moksha (salvation). Scriptures describe the realm as self-illuminated by divine energy, featuring golden palaces, jewel-studded buildings, and lush hanging gardens. Puranas and Vaishnava traditions often place Vaikuntha—also known as Vishnuloka or Param Padam—far above the material worlds in the direction of the Capricorn constellation (Makara rashi).
Vaikuntha Ekadashi is a sacred Hindu festival dedicated to Lord Vishnu, observed on the 11th lunar day of the waxing fortnight in the Tamil month of Margazhi (December–January). Devotees believe that the gateway to Lord Vishnu’s celestial abode (Vaikuntha) opens on this day, granting liberation (moksha) from the cycle of birth and death. Observing a fast on this single Ekadashi is considered equal in merit to fasting on all 23 other Ekadashis of the year. Mukkoti Ekadasi: Also known as Mukkoti Ekadasi, it is believed that three crore deities gather in Vaikunth during this auspicious occasion. The next Vaikuntha Ekadashi falls on Sunday, December 20, 2026.
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Vajasneyi
Vajasaneyi is the name of the primary mantra collection (Samhita) of the Shukla Yajurveda and the school of Vedic study founded by the ancient sage Yajnavalkya. It includes 40 chapters of verses and prayers used by priests during Vedic ritual sacrifices (yajna). The 40th chapter is the Isha Upanishad, a major philosophical text.
Vājasaneyī (वाजसनेयी).—(VĀJASANEYAS). A group of Priests. Priest Yājñavalkya was one of the disciples of Yajur Veda-group of Vyāsa. Of the line of disciples, Yājñavalkya had fifteen disciples. They were called Vājasaneyins or Vājasaneyas.
The Yajus—collection received from the god Sun were divided into fifteen groups by Yājñavalkya and given to each of his disciples. From that day onwards, his disciples became famous by the name Vājasaneyas. (Br. U 7-3-7).The name Vajasaneyi is derived from Vajasaneya, patronymic of sage Yajnavalkya, an authority and according to tradition, founder of the Vajasaneyi branch.
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Vajra
Vajra (वज्र):—[from vaj] mn. ‘the hard or mighty one’, a thunderbolt that of Indra, said to have been formed out of the bones of the Ṛṣi Dadhīca or Dadhīci and shaped like a circular discus, or in later times regarded as having the form of two transverse bolts crossing each other thus x; also applied to a thunderbolt in general or to the lightning evolved from the centrifugal energy of the circular th° of Indra when launched at a foe.
Vajra (वज्र):—It is mentioned in the Ṛgveda mostly as a weapon of Indra. It is suggested that it was originally made of stone and later of bone. a weapon shaped out of Dadhīci’s limbs by Viśvakarman for the use of Indra; with this Indra was able to break the back of the mountains. By this Vṛtra was slain. But it was of no use against Namuci.
Diamond is also called Vajra. It became Vairam in Tamil, because Brahmin women spoke Prakrit at home like women found in 2200 year old Kalidasa’s works. In other words, it is the spoken form of Sanskrit.
Vajra is the symbol of sacrifice; Dadhichi Rishi gave his own backbone to destroy the evil forces.
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Vakyapadiya
The Vākyapadīya is an ancient Sanskrit masterpiece on the philosophy of language and grammar written by the poet-grammarian Bhartṛhari around the 5th century CE. The Vakyapadiya is an ancient Sanskrit text dealing with the philosophy of language. Bhartrhari authored this book in three parts and propounds his theory of Sphotavada (sphota-vada) which understands language as consisting of bursts of sounds conveying their meaning, as opposed to the theory of Varnavada (varna-vada) which states that language is interpreted as a combination of indivdual letters.Three Books (Trikāṇḍī): Divided into Book 1 (Brahma-kāṇḍa on the spiritual reality of the word), Book 2 (Vākya-kāṇḍa on the sentence), and Book 3 (Pada-kāṇḍa on individual words and meanings). Famous verses argue that all human knowledge and awareness are fundamentally intertwined with language.
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Vala
Vala (वल).—(bala) An asura.
In the Rig Veda, Vala is a demonic rock enclosure or cave personified as an asura (demon) who traps the stolen morning light, dawn (Ushas), and radiant divine cows. Mention is made about this asura in many hymns in the Ṛgveda.
Translating to “enclosure” or “cave” in Vedic Sanskrit, Vala is described as the brother of Vrtra (the serpent of drought) and son of Tvashtr, sharing the root meaning of covering or blocking.
The god Indra—strengthened by drinking Soma and aided by divine allies like Brhaspati, Trita, and the Angiras (Angirasas) rishis—shatters Vala’s stone cavern to release the imprisoned cows (representing light rays and illumination) back to the world. While Indra typically uses his thunderbolt, certain hymns (such as RV 2.24) describe Brahmanaspati or Indra breaking open Vala using spiritual power, divine sound, and true prayer (brahman) rather than physical weapons. In esoteric and spiritual commentaries (such as those by Sri Aurobindo), Vala symbolizes the forces of darkness and the subconscious mind that block human perception from reaching the supreme truth. It is stated in Padma Purāṇa, Bhūmikhaṇḍa, how Indra killed this asura.
One day Vala went to the sea for his evening worship. Devendra saw the asura, shining with the radiance of celibacy and the divine rod and deer-hide, praying on the sea-shore. Instantly Indra cut him into two with his weapon, the thunderbolt. Vala fell down motionless
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Valmiki
Valmiki was a Maharishi, a great saint, who portended the story of Lord Rama. He is regarded as the first poet in Sanskrit language and hence, also revered as Adi Kavi. He composed the first poem, RAMAYANA, wherein he brought himself into this epic.
Interestingly, after he repented for his sins, he was initiated by the Great Sage, Narada, to meditate on the name, “Rama”, with the purpose of bringing in balance and further Spiritual upliftment to become a Saint.
The First Verse in Sanskrit
Strangely enough, the words of the first shloka were curse words from the Maharishi. One day, as he was bathing in the river Ganges, he saw a crane (kraunch) couple mating. He was extremely happy and experienced bliss seeing the birds. Suddenly, the male bird was hit by an arrow, and died. The female bird screamed in pain and died immediately. Anger came upon Valmiki and he cursed the hunter in a haste. This spontaneous curse became the first verse in Sanskrit. The curse literally meant, “Oh hunter, may you not get rest for eons, for you killed a ‘Kraunch’ from the pair, when they were in so much bliss”. After calming down, when he looked upon the curse from a higher perspective, it sparked a vision to create a Mahakavya, which is known as Ramayana.
Valmiki’s Life before Transformation as a Saint
He is said to be a robber named Ratnakkardah in his early life. He lived in a forest and his wife and children were in a town nearby. Before that, he was a soldier and he used to kill soldiers who behaved brutally towards the women of those who lost the war. That made the king and other soldiers go against him. So, he had to escape from there. Later, he became a robber and lived in a forest.
One day as sage Narada passed through the forest, Ratnakkardah threatened to kill him, if he did not give away all the wealth that he had. Narada did not get afraid, and instead asked him why he was committing such a sin. Ratnakkardah did not consider this to be a sin and justified that he was robbing others of wealth in order to take care of his family. To this, Narada questioned if his family would be willing to share the sins that he was earning while using the money from such wrong doings? Ratnakkardah had never thought about this earlier. He tied Narada to a tree and hurried home to check with his family. His family disagreed to share his sins. They said that it was his responsibility to earn for them and that they had nothing to do with how he earned the money.
Suddenly, reality dawned upon him and he realized the negative entitlement that he was generating by his actions. He ran back to Narada and pleaded him to help and save him from all the sins that he had committed.
Narada was delighted at this change and initiated him to repeat the sacred name “Rama” with his mind and soul to get uplifted. As Ratnakkardah found it difficult to pronounce the word Rama, Narada suggested him to repeat the word “mara” instead. And slowly, he was able to chant the name “Rama”.
There are a few different versions of this story, but essentially, he was initiated to chant the mantra of “Rama”. With this immense tapas he became a great saint and came to be known as Valmiki (the one who came out of an ant hill, which was formed around him during the long intense tapas). He later went on to write the epic of Ramayana.
The “RAMA” Mantra
You can notice here that the mantra “Rama” was chanted even before Lord Rama was born. Hence, you can observe this indication in many bhajans as “Ram se bada Ram ka Naam”.
अंत में निकला ये परिणाम, ये परिणाम,
राम से बड़ा राम का नाम ..
Anth mein nikala ye parinam ,Ye parinam
Ram se bada Ram Ka nam
At the end emerged this result , thus result
The name of Rama is greater than Rama
Tags- Vachaspati Mishra , Valmiki, Vala, Vajra, HINDU DICTIONARY IN ENGLISH AND TAMIL 113; இந்து மத கலைச்சொல் அகராதி-113
She was the daughter of King Janaka of Mithila and Queen Sunaina. She married Lakshmana on the exact same day that Rama married Sita. Children: Traditional texts state that Urmila and Lakshmana had two sons named Angada and Chandraketu. When Rama, Sita, and Lakshmana left for a 14-year forest exile, Urmila wished to accompany them. Lakshmana asked her to stay in Ayodhya to comfort and look after his aging parents and the grieving kingdom. According to regional folk Ramayanas and Ram-kathas (though absent in Valmiki’s original Sanskrit text), Lakshmana refused to sleep for 14 years so he could continuously guard Rama and Sita. When the Goddess of Sleep (Nidra) approached him, Urmila selflessly volunteered to sleep on his behalf so he could remain awake and fulfil his duty. This quiet act of devotion earned her immense respect as an unsung heroine of the epic. While folk tales vividly celebrate her 14-year slumber and sacrifice, foundational texts like Valmiki’s Ramayana focus more broadly on her quiet endurance and palace duties at home.
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Urvashi
Urvashi is an Apsara (nymph) in Hindu legend. She was a celestial maiden in Indra’s court and was considered the most beautiful of all the Apsaras. She became the wife of king Pururavas (Purūrávas, from purū+rávas “crying much or loudly”), an ancient chief of the lunar race. ShBr 11.5.1, and treated in Kalidasa’s drama Vikramōrvaśīyam.
Birth: There are many legends about the birth of Urvashi but the following one is most prevalent. Once the revered sages Nara-narayana was meditating in the holy shrine of Badrinath Temple situated in the Himalayas. Indra, the king of the Gods, did not want the sage to acquire divine powers through meditation and sent two apsaras to distract him. The sage struck his thigh and created a woman so beautiful that Indra’s apsaras were left matchless. This was Urvashi, named from ur, the Sanskrit word for thigh. After his meditation was complete the sage gifted Urvashi to Indra, and she occupied the pride of place in Indra’s court. Heard of the beauty of Purūravas from Nārada, when she came to the earth due to a curse of Mitra and Varuṇa, and gave enjoyment to him so long as he satisfied her two conditions—keeping her two sheep safe, and not showing himself naked before her except in sexual intercourse. When after 64 years she saw him naked one day, she left him. He looked for her and saw her at the R. Sarasvati playing with her friends. At his request she promised a day’s enjoyment with him every year. On her advice he prayed to Gandharvas, and got an Agnisthāli. Mother of six sons by Purūravas.4 Returned to Heaven.5 The Goddess enshrined at Badari.6 When she danced before Indra, she forgot her abhinaya and was cursed by Bharata to become an invisible creeper for 55 years on the earth.
Urvaśī (उर्वशी).—One of the heavenly Apsarās. She tried to seduce Arjuna when he was in the heavenly kingdom. Arjuna refused to satisfy her because he considered her the mother of the Kuru dynasty having taken Puru for her husband. Because of Arjuna’s refusal, Urvaśī cursed Arjuna to become a eunuch for one year. This curse took its effect during last year of exile of the Pāṇḍavas in the kingdom of Virāṭa; a woman from the heavenly planets who became enamoured of King Purūravā.
“Of the Vrsnis I am Vasudeva; of the Pandavas I am Dhananjaya (winner of wealth); of the sages I am Vyasa and of the poets I am Usana”. – Bhagavad Gita 10-37
Kavi means seers, that is, one who could see or tell what is going to happen next.
Why did Krishna say that he was Usana Kavi, an ancient poet whom we did not know much? We know a lot of other Vedic seer poets, but not Usanas.
First of all let me give you some basic information: 1.Until this day we use the word ‘Kavi’ for a poet in all the major Indian languages including Tamil (Pulavar was old and Kavinjar is current). This shows that the Rig Vedic Sanskrit lives in all our hearts. Kavi is a poet and Kavitha is a poem in all Indian languages. ‘Kavi’ is in the Veda and in the Gita!
2.Usanas belonged to Kavya Gotra and in Tamil, the oldest poet Tolkappiyan is believed to be from this Gotra. And there is another poet Kappiyatru Kappiyanar of Patitru Pathu (Ten Decads) from the same Gotra.
3. This shows the antiquity of the Gita as well. Krishna mentioned one of the oldest poets of the Rig Veda! AA Macdonell and A B Keith say in their Vedic Index of Names and Subjects, “ Usanas Kavya is an ancient seer, already a half mythical figure in the Rig Veda where he is often mentioned, especially as associated with Kutsa and Indra”. Rig Veda itself is old; in fact the oldest book we know of. Usanas had become ancient to the seers of Rig Veda! But Krishna was able to appreciate it. That means Krishna lived before the collection of Rig Vedic hymns by Vyasa.
4.”Later on Usanas becomes the Purohita/Priest of the Asuras in their contests with the Gods. A Variant of his name is Kavi Usanas. He appears in the Brahmanas as a teacher also”, say the authors. This shows that there were more poets with the same name in later days. We know that Shukracharya was the Guru of Asuras. This reveals another fact that both Asuras and Suras had Brahmin teachers. Both Devas and Asuras were sons of the soil. In Tamil also we have famous names of Sangam period, Kapila, Parana, Nakkirar and Avvaiyar at various ages. All these poets have done some works in later ages in Tamil as well. So it is possible that we had other poets with the name of Usanas. But even their works are not available!! 5.Usana’s name figured as an author of Artha sastras (Books on Economics) earlier than Kautilya alias Chanakya.
References to Usanas in the Rig Veda His name occurs in seven out of ten Mandalas of the Rig Veda. His name is missing in Mandalas 2,3 and 7. We are unfortunate to lose the poems of such a popular poet. This shows how much of old Sanskrit literature was lost.
The way all the people praise him give the impression that the words Kavi and Kavya (poet and classics)– all originated from Usanas Kavya!
The following references are considered important (from Vedic Index): Rig Veda 1-51-10, 1-83-5, 1-121-12; R V 4-16-2, 6-2011, 8-23-17 R V 9-87-3, 9-97-7, 10-40-7 Probably also 1-130-9, 5-31-8, 5-34-2 Also in A V 4-29-6 (A V = Atharva Veda)
He appears as a teacher in two of the Brahmanas. Yajur Veda and Sama Veda also praise him as a great poet. Usanas’ few compositions are available in the Rig Veda: 9-87 to 89 and 8-84. As usual, the foot notes say that it is difficult to understand certain lines. Ninth Mandala of Rig Veda deals with Soma Pavamana (Soma Plant and Juice). Usana, the son of Kavi is well known for making Agni the ministrant priest and offerer of the sacrifice for Manu ( RV. 8-23-17)
He is referred to as a seer and leader of the people. By his poetic gift he is said to have discovered the secret milk of cows of Indra which was concealed ( RV. 9-87-3)
Usana is said to have increased the vigour of Indra ( RV. 1-51-10) and fashioned the thunderbolt for him for slaying Vritra( RV. 1-121-12; 5-34-2).
He is characteristically wise and soma is compared with him due to his wisdom ( RV. 9-97-7)
Indu, the well armed god, is flowing onward, who quells the curse and guards from treacherous onslaught, Father, begetter of the gods, most skilful, the buttress of the heavens and earth’s supporter Rsi and sage, the champion of the people, deft and sagacious, Usana in wisdom He had discovered even their hidden nature, the cows concealed and most mysterious title (RV 9-87-2/3)
Source books : Vedic Index of Names and Subjects Volume 1 and Bhrgus – A Syudy by Jayanti Panda, Delhi, 1984; The Rig Veda, Translated by Ralph T H Griffith.
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Usha
Ūṣā (ऊषा).—(also uṣā) Daughter of Bāṇa. Her companion was Citralekhā. Dreamt one night that she was sleeping with Aniruddha. Informed her friend of the dream but could not give Aniruddha’s name. Citralekhā drew pencil sketches of all gods and men and showed them to her one by one. Seeing Aniruddha’s she identified him. At this, Citralekhā flew through air and brought Aniruddha to her room unnoticed by others. Ūṣā was enjoying his company. The guards who got scent of this reported to Bāṇa who imprisoned Aniruddha. In course of time she married Aniruddha and went to his home with the approval of Bāṇa.*
Aniruddha (अनिरुद्ध), grandson of Kṛiṣhṇa, son of Pradhyumna was born in the race of Yadu in Dvāravatī, and became the lover of Uṣā: daughter of the Asura Bāṇa.
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Ushas
Ushas:–Goddess of the dawn in the Vedas. She is the all seeing eye of the gods. An auspicious deity heralding Surya and drives away darkness. Rig Veda describes her as a beautiful virginal figure who rides in a hundred chariots. She inspired the finest lyrical hymns in the Rig Veda. Ushas is beautiful, fresh and ever young, dressed in a red garment awakens creatures and send them off to their respective duties.
Ushas is the goddess of dawn in the Rig Veda, daughter of Dyaus Pita (Sky), and sister of Ratri (Night). She rides a golden chariot drawn by red horses or cows, banishes darkness, and wakes all life. Equivalent to Roman Aurora or Greek Eos. Most beautiful poems are found in the Vedas describing her beauty.
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Uttara
Uttarā (उत्तरा).—The daughter of King Virāṭa and the wife of Abhimanyu. Virāṭa first want Arjuna to marry his daughter, but Arjuna declined and said that his son, Abhimanyu, should marry her. Uttarā became the mother of King Parīkṣit. She prayed to Śrī Krishna to save her son, who was being attacked within her womb, and Kirshna saved him.
Also the name of a star in the sky.
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Uttara kanda
Uttara Kanda is the last Book of the great epic Ramayana and it deals with the return of Rama to Ayodhya and his coronation to the throne. The reign of Rama in Ayodhya has also been narrated in this Book along with the second ordeal of Sita. This Kanda or Book also gives a description of the birth of Lav and Kush, the two sons of Rama in the hermitage of Valmiki and the episode ends with the description of the last days of Rama in the world. After the furious war between Rama and Ravana, Ravana was ultimately killed by Rama and Vibhishana was made the king of Lanka. Then Rama met with Sita and Sita had to give an Agnipariksha before Rama could accept her since she stayed for long in another man’s home. Sita went into the burning pyre but was left unhurt and thus her faithfulness to Rama was proved. Then Rama, along with Lakshmana and Sita return to Ayodhya.
With the rising Sun, Rama taking the car Pushpaka, which was given to him by Vibhishana, stood ready to depart. Self-moving was that car, and it was very fairly painted and large; two stories it had, and windows and flags and banners and many chambers, and it also gave a melodious sound as it coursed along the airy way. Then Vibhishana asked Rama if he could do anything else for him and Rama then told him to content the monkeys and bears who have accomplished his affair with jewels and wealth, so that they could fare to their homes. He also advised him to rule as a righteous, self-controlled, and compassionate and a just collector of revenues, so that all may be attached to him. Vibhishana bestowed wealth on all the host, and Rama was taking leave of all the bears and monkeys and of Vibhishana and at that time all of them cried out in a single voice that they also would like to go with him to Ayodhya. Thus, Rama invited them gladly, and Sugriva and Vibhishana and the entire host mounted the mighty car; and the car rose up into the sky, drawn by golden geese, and sailed on its airy way, while the monkeys, bears, and rakshasas took their ease.
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Hanuman is Rewarded The monkeys stayed in the kingdom of Ayodhya more than a month, feasting on honey and well-cooked fruits and meats and roots, though it seemed to them but a moment, because of their devotion toward Rama. The time then came for them to go to their own city, and Rama embraced every one with affection and gave them goodly gifts. But Hanuman bowed and begged this boon, that he might ever be devoted to Rama alone, and that he might live on earth so long as the story of the deeds of Rama was told of amongst men. Hearing this request from Hanuman, Rama granted it and took from his own neck a jeweled chain and put it upon Hanuman. One by one the monkeys came and touched the feet of Rama,and then went their way; but they wept for sorrow of leaving him.
Ordeal of Sita Then Rama governed Ayodhya for ten thousand years; and the news once came out that Sita had conceived. Then Rama asked her if she had any longing, and she replied that she would like to visit the hermitages of the sages by the River Ganga. Rama thus granted her wish and the visit was scheduled for the next day. That very night Rama came to know from his ministers that his subjects were happy since he killed Ravana but were somewhat not pleased for he brought back Sita with him who stayed for long in the house of a different person other than her husband. At this, Rama got utterly shocked and ordered his brothers and told Lakshmana to leave Sita in the jungle and return to Ayodhya. Lakshmana thus left Sita in the hermitage of Valmiki and returned to Ayodhya.
Lava and Kusha Rama ruled his kingdom well and by that time Sita, dwelling at the hermitage of Valmiki, gave birth to two sons, and they were named Kusha and Lava; and they grew up in the forest hermitage, and Valmiki trained them with great wisdom, and he made the book of Ramayana in slokas, and gave them skill in recitation.
Sita taken home by Earth
After Rama came to know that Lava and Kusha were his sons and that Sita was living in the hermitage of Valmiki, he send message to the saint enquiring about Sita. Rama asked if Sita would like to return to Ayodhya. Then Valmiki accompanied Sita to Ayodhya and then Rama again asked Sita to prove her faithfulness towards him again. With this Sita prayed to Vasundhara to accept her since he was ever faithful to Rama. Thus a heavenly throne rose up from within the earth, borne on the heads of mighty nagas, decked in shining jewels; and the Earth stretched out her arms and welcomed Sita and placed her on the throne, and the throne sank down again.
Last Days of Rama Rama became heavy-hearted with the disappearance of Sita inside the earth before his very eyes, and the whole world seemed empty without her.. Bharata reigned in Kekaya, and Shatrughna was king of Madhu, while the sons of Lakshmana founded kingdoms of their own. Once came a yogi who called himself Time and told Rama that he was the avatar or incarnation of Lord Vishnu and that he had accomplished his goal by killing Ravana and reigning in the earth for eleven thousand years. Then he advised Rama that the time has come for his return to heaven. Rama accepted his advice and along with his brothers and several rakshasas and monkeys he went to the river Sarayu, from where Rama reached the heaven.
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Uttara kuru
Uttarakuru (उत्तरकुरु) play a mythical part in the Epic and later literature, are still a historical people in the Aitareya Brāhmaṇa, where they are located beyond the Himālaya (pareṇa Himavantam). In another passage, however, the country of the Uttara Kurus is stated by Vāsiṣṭha Sātyahavya to be a land of the gods (deva-kṣetra), but Jānaṃ-tapi Atyarāti was anxious to conquer it, so that it is still not wholly mythical.
Uttarakuru (उत्तरकुरु).—A part of the Jambūdvīpa (Island of Jambū). Mention is made in the Mahābhārata that during his conquest Arjuna had gone up to this place and carried away from there plenty of wealth. It is believed by common people that this place is inaccessible to human beings. (Mahābhārata Sabhā Parva, Chapter 28, Stanzas 7 to 20). The southern end of this place is the Nīlagiri and the Northern end Mount Meru. The inhabitants are gifted people, with trees bearing flowers and fruits, the flowers fragrant and the fruits sweet.
A particular type of tree known as Kṣīrī (milky) grows here from which milk will flow. There are also trees which will give you whatever you ask. It was the belief of ancient people that with the fruits of Kṣīrī, you could make garments and ornaments. The soil of this place contains gems and in the sand there is gold. Those who fall down from heaven live in this region. The average age of the inhabitants of this place is said to have been eleven thousand years. There is a kind of bird in this place called Bhāruṇḍa. These birds drag dead bodies away to caves. (Mahābhārata Bhīṣma Parva, Chapter 8, Stanzas 2 to 13).
to be continued…………………….
Tags- Uttarakuru, Urvashi, Uttara Kanda, Usana Kavi, HINDU DICTIONARY IN ENGLISH AND TAMIL 111; இந்து மத கலைச்சொல் அகராதி-111
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
xxxx
Purananuru wonders-64; Tamil Encyclopaedia 104, One Thousand Interesting Facts -Part 104
CAMEL FAIR IN PUSHKAR, RAJASTHAN.
Item 892
Next let us look at the wonders in SIRU PANATRUPPADAI (siru paan aatruppadai); it is one of the ten idylls (Paththup Paattu), part of Tamil Sangam Literature that is 2000 years old.
Poem was written by Nallur Naththathanaar; Lines 269.
Subject – a bard is guided by another bard to the town of Nalliakodan for getting gifts.
Here are the wonders or unique things from this book:
Mahabharata’s Bhima is mentioned because of his skill in cooking;
Ramayana’s Lanka is mentioned along with Mavilanka, a small town;
For the first time all the Last Seven Philanthropists listed together;
For the first time camel is mentioned;
New dream miracle reported-Nalliayakkodan’s dream of Lord Muruga led to his victory;
Doors of kings always open to Brahmins, Poets and Bards
Monkeys are kept by salt vendors, as their own children;
New type of Anthathi is used; word- word Anthathi;
Naga mystery continues with Puram verse of Perun Chitran;
Madurai city’s link with Tamil language reconfirmed;
Tamil’s belief in Moon devoured by Snake during eclipse is repeated;
Boy soldiers, Laughing Ghouls, usual description of Body Parts of Woman from Head to Foot is also found;
Great three Cities of Chera, Pandya and Choza kings are portrayed.
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Item 893- Atharvana Veda Echo-Tamil Line one
Foreigners called earth as Fatherland where male dominance and male chauvinism is seen.
Hindus are the one who called the earth MOTHER EARTH. We see it in the most famous Ode to Earth in the Atharvana Veda. The hymn is called Bhumi Sukta or Prithvi Sukta.
Here the poet in the very first line said Mother Earth. Hindus named all the rivers after women; Hindus named all the good virtues after women.
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Item 894- Word Anthathi – lines 21, 22
Anthathi is a Sanskrit word that means End- Beginning.
The last word of the previous line or previous stanza will be the beginning of the next line.
Elsewhere in Sangam poems we see Anthaathi just in few lines.
In the devotional poems of middle Ages of Tamil literature we see 100 stanzas anthathi hymns.
Here in lines 21, 22 we see words used twice consequently.
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Item 895-MullaiFlower linked to Chastity
Strange custom of Tamils is linking MULLAI flowers with chastity; Mullai is a kind of Jasmine.
Here poet links Mullai flowers with virtuous woman. We see it in other Sangam Poems as well;
Narrinai- 142;Akananuru – 274;
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Item 896- monkeys as pets- lines 56-61
Poet Naththathhanar depicts an interesting scene of a female monkey playing with the rattle. Salt vendors keep monkeys as pets. They are treated like their own sons or daughters, says the poet. The rattle that is used by the monkey, we can guess,it is from one of the babies of the salt vendor.
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Item 897- Madurai -seat of Tamil Sangam- lines 66-67
We know that at least forty poets are from Madurai city in Tamil Sangam poetry, much higher than other towns. That is a proof for Third Tamil Academy located in Madurai. Here poet confirms Tamil Link with Madurai.
Poet described the lotus as DIVINE LOTUS. Hindus only knew the reason.
All the Hindu goddesses, especially Lakshmi and Sarasvati, Gods Brahma and Vishnu, are associated with lotus flower. India also declared it as the National Flower of India.
திருமுகம் அவிழ்ந்த தெய்வத் தாமரை,
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Item 899-Strange link between Lord Shiva and Choza Kings! Lines 81-82
Throughout Tamil devotional poems Lord Shiva is praised for destroying three hanging fortresses of Demons/Asuras by laughing; I always described it as the destruction of Three space stations in the sky by laser rays from Shiva’s third eye. But why the poet linked it with a Choza king is not explained properly. We know that Chozas migrated from North West India where Sibi race ruled once upon a time; Here also poet called the Choza as SEMBIAN which is derived from Sanskrit SIBI=SAIBHYA=SEMBIYA.
The connection between Lod Shiva and Choza needs more explanation, which is lacking in the commentaries. Both are depicted as destroying Three Hanging Castles!
Here we get details of seven great chieftains who were famous for their munificence, generosity, compassion and love towards animals.
Bekan gave his clothes to a peacock (thinking that it is shivering in cold);
Pari (paari) gave his chariot to a Mullai (jasminium) creeper for support (thinking that it is struggling without a post to climb)
Kari (kaari) gifted horses (to bards);
Ay Andiran gave a rare cloth given by snake Neela Naagam to Lord Siva under Banyan Tree;
(I have some comments ;see below)
Athikan (Athiyamaan Anji) gave a rare black gooseberry (which lengthens life) to poetess Avvai;
Nalli donated lot of wealth (as charity);
Ori gave lands to dancers and singers;
This is the first reference to Seven generous men together grouped as the Great Seven
From this we know this poet lived later than many Sangam poets who praised the seven people separately.
Probably a gap of 200 years.
My comments :
Neela naakam is not a snake; it may be the name of a Naga leader who weaves very fine cloths.
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Item 901- Ramayana Lanka and New Maavilanka- lines 110-120
Capital of chieftain Nalliyakkodan was Maavilanka
Poet says his town is Maavi Lanka which is similar to the old and famous Lanka (of Ravana).
Hindus of Tamil Nadu were well versed in Hindu epics Ramayana and Mahabharata (we are going to see Bhima soon)
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Item 902-OVIYAR clan is Mysterious Naga Clan
Oviyar in today’s Tamil is a painter; but in the poem he is a man from Naga clan; we have about 20 Naga poets in Sangam corpus; they may be from North India or Sri Lanka; Ceylon/Sri Lanka was a Naga Island. We have Naga names in Mahavamsa and Gupta inscriptions. So their origin is still an unsolved mystery. OVIYAR hear meant who has Snake tattoos on their bodies. Puram 176 where this chieftain is praised is also a Naga poet. We have another poet named Perun Chitran in Purananuru. He used same words in his poem; Perum Chitran is Maha Chitran meaning Great Painter; it means he is also a poet with big snake tattoo on his body or a great Naga clan leader. In short Oviyar is misunderstood and misinterpreted. Neela Naakam is also a Naga Chief (see seven Generous Men above)
Last but not the least , Nalliya KODAN is similar to great snake KAARKODAN in Sanskrit books. Karkodan is also depicted as man and snake.
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Item 903- CAMEL! in Tamil literature! Line 154
For the first time Sangam Age, Tamils hear about camel in this poem; Tamils must have already seen it, because the poet used it as a simile. It is compared to the woods washed by the waves; the logs lying on the sea shore looked like the back of a sleeping camel.
Sanskrit word Ushta for camel is changed to Ottakam in Tamil. It is a desert animal found in Rajasthan deserts. So, Tamils must have imported them from Rajasthan.
to be continued………….
Tags. Purananuru wonders-64; Tamil Encyclopaedia 104, One Thousand Interesting Facts -Part 104 , item 903, camel, Ramayana Lanka, Naga Mystery
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
xxxx
Mlechas=Barbarians
Purananuru wonders-63; Tamil Encyclopaedia 103, One Thousand Interesting Facts -Part 103
Mullaippattu (mullaippaattu) is one of the Ten Idylls called Paththuppaattu; these ten books are part of 2000 year old Sangam Tamil literature. It has 103 lines and the author is Napputhan.
Mullaipattu means jungle idyll; Mullai means the landscape of forest area. Mullai is also the kind of jasmine flower found there. According to Tamil convention, separation (temporary) of husband and wife is discussed. This element is contained in lines 1-28 and 104-127. Some scholars think it is about Pandya king Neduncheziyan and others think it is about one of the Chief commanders who went out to take part in a battle.
First let me list the wonders in the book.
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Item 882- List of Wonders
Milechca and Yavana are mentioned. Sanskrit word Milechcha is used for the first time. Yavana is found in other books as well.
Asareeri , word from sky or voice from some unknown source is in the book.
Use of Hour Glass by ancient Tamils found in the book.
Seven storey mansion shows ancient aechitecture.
Lakshmi, Vishnu and his Vamana/Trivikrama Avatar is in the very beginning of the work.
Elephant training and Sanskrit instructions to it are mentioned.
Tri Dhandi saint is also mentioned , which is in Kalittokai as well.
Other similes and matters referred to are in other Sangam books as well. Nothing special
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Item 883 -Lakshmi and Vishnu
Tolkappiam (kaappiyam) mentioned Vishnu (maayon) as the god of Mullai area. So the poet begins the poem mentioning Vishnu with wheel and disc in his hands along with Lakshmi. He is in the form of one who measured the expanse of earth. This is about Vamana cum Tri Vikrama Avatar of Vishnu. Among the ten Avatars (incarnations of Vishnu) this is the one mentioned by all the Vaishnavite poets. Even Tiru Valluvar (Kural 610) could not miss it. It is mentioned from Rig Veda to Alvar hymns.
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Item 884- Strong belief in Omens- Lines 12-23
When the woman who was temporarily separated from her husband was distressed; old women who are soothsayers go out with rice and flowers for praying. At the time a cowherd woman was telling the distressed calves that your mother (cows) will return soon. Having heard this the old women report it to separated woman her husband would return soon. The worry of any woman whose husband is a soldier, or a commander or king is the safe return from the battlefield. So the cowherd’s words to the calves are taken as good omen. This type of good or bad words coming from unknown or unexpected source is called Asareeri- without body/human being)- voice. Hindu scriptures down to Tamil Periya Puranam and Tiru Vilayadam Puranam have anecdotes saying “a voice from the heaven said X Y Z”. we have no such report from other cultures. This is typically Hindu.
Tamil word used by the poet is Vaay Pul= Mouth Bird/Sakunam; sakunam is omen coming from Sanskrit word for bird.
Flight of birds is used as good or bad omen by the Hindus until this day. Though Romans used it 2000 years ago they don’t use it anymore. Tamil Panchangams (almanacs) have it in the first few pages.
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Item 885- Sanskrit language to train Elephants- lines 29-36
We have Asva Shastra (Horse Manuals) and Gaja Shastra (Elephant Manuals) only in Sanskrit. Ancient Tamils mastered it or Sanskrit knowing people are invited from North India to train the elephants. Here the poet mentioned it and added what was given to elephants. We know it is usually fed with sugarcane, certain types of grass, rice, ghee etc. but here the poet added liquorice with it. Regarding elephants trained by Aryans (Sanskrit knowing people from North India) is mentioned in Akam. Verse 276 and Malaipadukadam poem.
In the other parts of the world, we get a stronger proof. Kikkuli’s horse manual dated 1350 BCE in the cuneiform clay tablets from Turkey has Sanskrit instructions in the horse training. Moreover the very name of Turkey is derived from Sanskrit word Turaga for horse.
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Item 886 -Tri Dhandi- Brahmins/sages
Vaishnavite sages or saints carry triple staff unlike other Saivite Sankaracharyas. Here the poet, while describing the army camp, compared it to the Triple Staff covered with saffron coloured cloth.
Triple staff= Tri Dhanda= Muk Kol in Tamil= three wooden sticks are tied together and carried by the Vaishnavite ascetics. They are supposed to have purity in Thought, Word and Deed; in Sanskrit it is called Mano, Vak, Kaya purity. That is repeated 1000 times in Hindu scriptures. Kalittokai also has two mentions of Tri Dhandi.
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Mlechas= barbarians.
Item 887- lines – girls in Army Camps- lines 45-49
Ancient heroines are introduced here by the poet. They protected the army camps with swords in their hands. They filled oil in oil lamps which converted the night to daytime. Their belts, their hair style etc are also described. We get more details of the Yavana Lamps, that is statues of women holding lamps in their hands, from another idyll called Nedu Nal Vaadai (lines 101-103). They are called Yavana lamps. The girls doing army camp duty were Hindu girls, because their bangles are also mentioned. Girls accompanying kings to the battlefield are mentioned in Kalidasa’s Sakuntalam play as well.
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Item 888-use of Water clock- lines 55-58
Water clock is coined as Kuru Neerk Kannal in Tamil. Unlike other parts of the world where sand was used, ancient Hindus used water in a bowl. They announced time for the public by ringing the bell; they also wished kings great victory ; we see all positive messages. Water clock is portrayed in Akam verse 43.
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Item 889- Yavana constructions in the Army Camps- lines 59-63
While describing the Yavanas who set up camps and decorate them with tiger pendants poet portrayed their appearance:
These men are armed with whips and there were harsh, they wore bulging dress, their limbs were strong and they had fierce appearance.
Tamils did not have contacts with Greeks, but Roman contacts are confirmed by enormous coin hoards found throughout India and cross references by Roman writers. Yavanas are referred to in Ramayana and Mahabharata too. It is a confusing term because the term was used for Greeks, Romans and Arabs in course of time. Probably people coming via North West India or by sea were referred to. Elsewhere their gold, their wine and special type of lamps are praised, but their disgusting habits are criticised. Pathiruppathu says how Chera king treated them as criminals and punished.
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Item 890 -Mlechas-line 66
We have only one reference in the whole Tamil literature for Milechchar.
Poet says they were working as guards. They could not speak and they used only gestures.
The same description is in Sanskrit books as well.
Very important point is no community of India is dubbed as Mlechas. It is about foreign barbarians. Bharatiyar made it very clear in his poems
Mleccha (म्लेच्छ) refers to “persons whose language is not intelligible”. The word is used throughout Dharmaśāstra literature such as the Manusmṛti. ( see the Manubhāṣya verse 7.149)
It makes it clear they spoke a foreign language. All other books show him as barbarians who did not follow Hindu customs.
Mleccha (म्लेच्छ).—A tribe of people of ancient India. This tribe was born from the tail of the celestial cow Nandinī, kept by Vasiṣṭha for sacrificial purposes when there was a fight between Viśvāmitra and Vasiṣṭha. Mahābhārata gives the following information regarding them.
The mlecchas who sprang up from the tail of the celestial cow Nandinī sent the army of Viśvāmitra flying in terror. (Śloka 38, Chapter 174, Ādi Parva). (See full article at Story of Mleccha from the Puranic encyclopaedia by Vettam Mani)
Mleccha is used for one who is impure, dirty or uncultured. It is derived from the root mlich~mlech, meaning to speak indistinctly .
Mleccha (म्लेच्छ) were wild ferocious tribes whose acts of violence caused vast devastations and destructions, struck terror in the social life of the country. They are said to have been repulsed and destroyed by lord Śiva.
Mleccha.—(EI 22), name applied to the Muhammadans and other foreigners; cf. Mleccheśvara (EI 32). Note: mleccha is defined in the “Indian epigraphical glossary” as it can be found on ancient inscriptions
Mleccha (म्लेच्छ).—m.
(-cchaḥ) 1. The generic term for a barbarian or foreigner; that is, for one speaking any language but Sanskrit, and not subject to the usual Hindu institutions. 2. A sinner, a criminal. 3. Indistinct or barbarous speech. E. mlecch to speak inarticulately, aff. ghañ .
In later Tamil poems Muslims were called Mlechas.
Greatest of the modern age Tamil poets, Subramanya Bharatiyar use it for Anti Hindu Muslims.
மகாகவி சுப்பிரமணிய பாரதியார் தனது பாடல்களில் “மிலேச்சர்” என்ற சொல்லைப் பயன்படுத்தியுள்ளார். பண்டைய தமிழ் மற்றும் சமஸ்கிருத இலக்கியங்களில், வேற்று நாட்டவர்கள் அல்லது அந்நியர்களைக் குறிக்க ‘மிலேச்சர்’ என்ற சொல் பயன்படுத்தப்பட்டது.
பாரதியின் பாடல்களில் இச்சொல் இடம்பெறும் முக்கிய இடங்கள்:
பாரத மாதா நவரத்தின மாலை: பாரதியார் தனது “பாரத மாதா நவரத்தின மாலை” என்ற பாடலில், பாரத தேவியின் பெருமைகளைப் பாடும்போது பின்வருமாறு குறிப்பிடுகிறார்:
“வேத நூல் பழிக்கும் வெளித்திசை மிலேச்சர் பாதமும் பொறுப்பளோ பாரத தேவி?” (இதன் பொருள்: நமது நாட்டின் வேதங்களையும் பண்பாட்டையும் பழிக்கும் அந்நியர்களின் ஆதிக்கத்தை அல்லது அவர்களின் பாதங்களை பாரத மாதா பொறுத்துக் கொள்ள மாட்டாள் என்பதாகும்).
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சத்ரபதி சிவாஜி தனது சைனியத்திற்கு உரைத்தது: சிவாஜியின் வீர வரலாற்றைப் பாடும் “சத்ரபதி சிவாஜி” என்ற பாடலில், மிலேச்சர்களின் (அந்நிய ஆட்சியாளர்களின்) கொடுங்கோன்மையை வீழ்த்தியதை பாரதி விவரிக்கிறார்:
“வீரர் வாழ்த்த மிலேச்சர் தம் தீயகோல் வீழ்த்தி வென்ற சிவாஜியின் வெற்றியும்…”
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Item 891- Very Tall Buildings- line 86- Copied Kalidasa?
Here the woman or the queen is shown as living in a seven storied mansion.
Though the poem is about forest landscape we have to Imagin a town with tall buildings .
In Tamil the word seven and eight can be interpreted differently.
Eight is EN in Tamil which means number as well; in the same way EZU means constructed, erected as well.
But it means a tall building in this poem.
When we look at other descriptions such as windows, gates that allow free flow of wind etc we can conclude tall buildings existed in ancient Tamil Nadu.
Copied from Kalidasa?
In the Meghaduta, Kalidasa beautifully compares passing monsoon clouds to the magnificent seven-storied palaces (Saptabhumi) of the ancient, wealthy city of Ujjain (his presumed home). According to traditional Indian architectural treaties like the Manasara, a saptabhumi is a majestic seven-tiered structure featuring elaborate pavilions, balconies, and intricate pillars.
Naulakha Palace (Bihar): A historic seven-storeyed old palace structure located in Rajnagar, Madhubani. It holds significant local history linked to a shrine where the goddess Durga is traditionally said to have blessed Kalidasa with his legendary poetic genius.
To be continued……………………………..
Tags- Mlechcha and Yavana, Purananuru wonders-63, Tamil Encyclopaedia 103, One Thousand Interesting Facts -Part 103 , Elephant language, Seven Storied building, Asareeri, voice from sky, barbarian, Tridhandi, Three staff, Mukkol
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
xxxx
Word beginning with letter U
Udayana
One of the oldest romantic stories in the world. It is the Love Story of Udayana and Vasavadtta.
Udayana (उदयन).—A renowned king of the Candravaṃśa (Lunar dynasty).
Udayana (उदयन) is the name of the King of Vatsa, according to the Kathāsaritsāgara, chapter 9. He was born to Mṛgāvatī (the wife of King Sahasrānīka) while she was taking refuge at the hermitage of Jamadagni. Accordingly,
“And some days after the blameless one (Mṛgāvatī) gave birth to a charmingly beautiful son… At that moment a voice was heard from heaven: ‘An august king of great renown has been born, Udayana by name, and his son shall be monarch of all the Vidyādharas.’” King Udayana of Vatsa is the legendary ancient Indian monarch whose romance with Princess Vasavadatta is celebrated as one of India’s earliest secular love stories.
His story is used or mentioned by various authors. Playwrights Bhasa, Kalidasa, Harsha and many others mentioned him.
Udayana grew up with exceptional talents, including mastery of the lute (veena) and a unique ability to tame wild elephants through music. King Pradyota of Ujjayini wanted Udayana’s elephant-taming secrets and lured him into a trap using a mechanical wooden elephant, holding him prisoner. Imprisoned in the capital, Udayana was assigned to teach the lute to Pradyota’s daughter, Vasavadatta. The two fell deeply in love and eventually eloped on a swift elephant back to Udayana’s capital, Kaushambi. Fearing the king had grown soft, Udayana’s ministers faked Vasavadatta’s death in a fire to push him into a politically advantageous marriage with Padmavati, princess of Magadha. The truth was later revealed, reuniting the family. His life inspired classic Sanskrit masterpieces, most notably Svapnavasavadattam by the ancient playwright Bhasa.
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Udhdhava
Uddhava (उद्धव).—A learned disciple of Bṛhaspati and confidential friend of Lord Kṛṣṇa in Dvārakā.A member of the Yadu dynasty. In Mathurā and Dvārakā he is Kṛṣṇa’s dearmost friend. In Śrīmad Bhāgavatam, he is called hari-dāsa, the most dear servant of Śrī Hari.
Uddhavagītā refers to one of the sixty-four Gītās commonly referred to in Hindu scriptures.—Gītā is the name given to certain sacred writings in verse (often in the form of a dialogue) which are devoted to the exposition of particular religious and theosophical doctrines. When Kṛṣṇa was taken by Akrūra to Maṭhurā, Uddhava was implored by the citizens of Gokula to go and fetch him. On seeing the destruction of the Yādavas to be inevitable, he went to Kṛṣṇa and asked him what to do; whereupon he was told to go to Badarikāśrama to practise penance and to secure heaven. He is the subject of two short poems, उद्धवदूत (uddhavadūta) and उद्धवसंदेश (uddhavasaṃdeśa).
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Uluka
English word OWL is derived from Sanskrit ULUKA for owl. In 2000 year old Sangam Tamil literature a few poets are named AANTHAI meaning owl. Owl is considered very intelligent and so used as emblem in many institutions in London. Greek coins have owl prominently displayed.
1) Ulūka (उलूक):—is in all the Vedas and Panini’s sutras.
2) Name of Indra,
3) of a Muni (in the [Vāyu-purāṇa] enumerated together with Kaṇāda, but perhaps identical with him, as the Vaiśeṣika system is called Aulūkya-darśana in the [Sarvadarśana-saṃgraha])
4) of a Nāga, [Suparṇādhyāya]
5) of a king of the Ulūkas
6.Ulūka (उलूक).—The son of Śakuni. (Mahābhārata Udyoga Parva, Chapter 57, Stanza 25). In the Bhārata Battle Ulūka was sent as a messenger to the camp of the Pāṇḍavas by Duryodhana. Arjuna defeated Ulūka in the Mahabharata war. Later in a fight between Sahadeva and Ulūka , Sahadeva killed Ulūka.
Ulūka (उलूक) is a Sanskrit word referring to the biird “owl”. The meat of this animal is part of the māṃsavarga (‘group of flesh’), which is used throughout Ayurvedic literature. It is part of the sub-group named prasaha, refering to animals “who take their food by snatching”. It was classified by Caraka in his Carakasaṃhitā sūtrasthāna (chapter 27), a classical Ayurvedic work. Caraka defined such groups (vargas) based on the dietic properties of the substance.
Ulūka (उलूक) (lit. “one which makes shrill outcry”) is mentioned in Mṛgapakṣiśāstra (Mriga-pakshi-shastra) or “the ancient Indian science of animals and birds” by Hamsadeva, containing the varieties and descriptions of the animals and birds seen in the Sanskrit. These birds [viz., Ulūka] are enumerated in almost several Smṛtis in context of specifying the expiations for killing them and their flesh being used as a dietary article to give satisfaction to the manes (Pitṛs) in Śrāddha rites. These are elaborated especially in the Manusmṛti, Parāśarasmṛti [chapter VI], Gautamasmṛti [chapter 23], Śātātapasmṛti [II.54-56], Uśānasmṛti [IX.10-IX.12], Yājñavalkyasmṛti [I.172-I.175], Viṣṇusmṛti [51.28-51.29], Uttarāṅgirasasmṛti [X.16].
Panchatantra stories has a full story on the fight between the crows and owls. Seeing such an incident Asvattama set fire to the tents of the Pandavas on the last day of the war. In Panchatantra story crows eliminate their enemis owls by setting fire to theirs nests. Thus it is linked to religious stories.
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Ulupi
Ulūpī (उलूपी).—A Nāga princess. She was the daughter of the serpent Kauravya. While one day she was bathing in the Ganges, she happened to see Arjuna, and being enamoured of his handsome form, she managed to have him conveyed to her home, the Pātāla, and there induced him to take her as his wife, which he, after considerable hesitation, consented to do. She bore him a son named Irāvat. When Arjuna’s head was cut off by Babhruvāhana’s arrow, it was with her assistance that he was restored to life; Once Arjuna happened to enter the palace in which Dharmaputra was living with Pāñcālī. As a result, Arjuna had to go on a pilgrimage for a year for violating the agreed rules. Arjuna reached Gaṅgādvāra. When he got down into the river Gaṅgā, he saw Ulūpī the daughter of Nāgarāja (King of the serpents). She fell in love with Ajuna. But he told her that Dharmaputra had imposed on him celibacy for twelve months and that it was not right to marry in the meantime. Ulūpī argued with Arjuna and convinced him that it was not wrong to marry her. Arjuna married her. A son named Irāvān was born to her. Later in her life Ulūpī reached Hastināpura with Babhruvāhana and Citrāṅgadā. As soon as she reached there she greeted Kuntī, Draupadī and Subhadrā. She gave them various kinds of presents. Ulūpī served Gāndhārī too. When the Pāṇḍavas began the ‘great departure’ (Mahāprasthāna) Ulūpī entered the River Ganges. Citrāṅgadā went to Maṇalūr pura near modern Madurai in Tamil Nadu. This story links Pandyas and Pandavas indirectly.
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Uma
First Sanskrit name of a Goddess to appear in Sangam Tamil Literature; though other names such as Laksmi, Sarasvati, Durga are mentioned they are in Tamil . Upanishads also mentioned Uma.
Name of the daughter of Himavat and Menā, and wife of Śiva; Kālidāsa thus derives the name :उ मेति (u meti) (oh do not, scil. practise penance) मात्रा तपसो निषिद्धा पश्चादुमाख्यां सुमुखी जगाम (mātrā tapaso niṣiddhā paścādumākhyāṃ sumukhī jagāma) Kumārasambhava 1.26; उमावृषाङ्कौ (umāvṛṣāṅkau) R.3.23.
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Upanishad
Upaniṣad (उपनिषद्) refers to “sitting near devotedly”.—The fourth and final portion of the Vedas, expounding the secret, philosophical meaning of the Vedic hymns. The Upaniṣads are a collection of profound texts which are the source of Vedānta and have dominated Indian thought for thousands of years. They are philosophical chronicles of seers expounding the nature of God, soul and cosmos, exquisite renderings of the deepest Hindu thought.
Shankara’s commentaries established these texts as the primary canon for the Advaita Vedanta
Aitareya Upanishad (connected to the Rigveda)
(connected to the Rigveda)
Brihadaranyaka Upanishad (connected to the Yajurveda)
Chandogya Upanishad (connected to the Samaveda)
Isha Upanishad (also called Isavasya)
Katha Upanishad
Kena Upanishad
Mandukya Upanishad
Mundaka Upanishad
Prashna Upanishad
Taittiriya Upanishad
These are the true , original Upanishads. Others are added later imitating original Upanishads
Upaniṣad (उपनिषद्).—The four Vedas are Ṛk, Yajus, Sāma and Atharva. Each of these four has a Brāhmaṇa (a treatise relating to prayer and sacrificial ceremony). Next come the Āraṇyakas (forest texts—writings meant for the forest-dwelling hermit) as appendices to the Brāhmaṇas. Then come the Upaniṣads as appendices to the Āraṇyakas. These four classes of literary works (the Vedas, the Brāhmaṇas, the Āraṇyakas and the Upaniṣads) constitute the Vedic literature proper. The Āraṇyakas and the Upaniṣads are inseparably connected with each other. The Upaniṣads are called Vedāntas (the end of the Vedas). The bulk of these Vedāntas belong to different periods anterior to the Later Vedic Period. The students begin the study of Upaniṣads only after having completed the study of the Mantras (Vedic hymns) and the Brāhmaṇas (the ritual).
There are a large number of Upaniṣads. The most important among them are 108 in number.
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Uparichara
Once Vasu built a hermitage and began to perform penance in accordance with the advice of Indra. When the penance became too severe Indra appeared and gave him an Flying chariot. Since then Vasu used to travel through air in the chariot. So he got the name ‘Uparicaravasu’ (Vasu, who travels above). (Mahābhārata, Ādi Parva, Chapter 63).
Indra gave Vasu a garland (Vaijayantīmālā) which would never fade, and gave a boon that, so long as he wore that garland, he would not receive any wound. He was given a bamboo stick (Veṇudaṇḍa) and was instructed to fix that rod on the earth and celebrate the festival of Indra. Vasu celebrated the festival of Indra and from that day onwards the festival of Indra came to be celebrated in the world. Ancient Tamils also celebrated Indra Festival.
Five sons named Bṛhadratha, Kuśāmba (Maṇivāhana), Mavella, Yadu and Rājanya were born to him.
The river Śuktimatī flowed through the capital city of Vasu. Once the great hill Kolāhala grew amorous of Śuktimatī and caught hold of her. Uparicaravasu got angry at this and kicked the mountain which was split into two and Śuktimatī flowed out of the gap. Still two children were born to the great hill by Śuktimatī. The river was pleased at the freedom accorded by the king and placed the two children at the feet of the king. They grew up. The son became general of the army and the daughter Girikā became the wife of the king.
One day the king decided to go to hunt. On the same day his wife had her monthly course. Still without changing his programme he started for the forest. Even after entering the forest the thought of his wife lingered in his mind. The forest was in full bloom as it was Spring. Seeing this the king grew amorous and sat under a tree. A mild breeze was blowing. Instantly the king had seminal flow. He collected the semen in the leaf of a tree and sent it to the queen through an eagle. Thinking that to be some food, another eagle got near and a quarrel arose. The semen fell in the river Yamunā. A fish named Adrikā swallowed it. (See under Adrikā). A fisherman caught hat fish. He got a male child and a female child from the stomach of the fish. That girl is the famous Satyavatī Matsyagandhā who became the queen of Śantanu. The fisherman gave the boy he got from the fish to king Uparicaravasu.
(iv). Once a controversy arose between Indra and the hermits, whether cow-slaughter during sacrifices, was desirable. At this time Uparicaravasu happened to come there. As he was a man of truth, he was asked to make a decision. Uparicaravasu stood on the side of Indra and gave his opinion in favour of slaughter. The hermits who were against cow-slaughter got angry and cursed Uparicaravasu to go down to the world of Pātāla (netherworld). (Matsya Purāṇa, Chapter 152).This story is seen with slight difference in Mahābhārata Śānti Parva, Chapters 322-324.
To be continued………………………………
Tags– Uparichara ,Udayana 109HINDU DICTIONARY IN ENGLISH AND TAMIL 109; இந்து மத கலைச்சொல் அகராதி-109
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this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
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Purananuru wonders-62; Tamil Encyclopaedia 102, One Thousand Interesting Facts -Part 102
The next book we are going to see is Kurinchip Pattu (pronunciation- kurinjip paattu), one of the Ten Idylls ( Paththup Paattu) in Sangam Tamil Literature. It is a 261 lines long poem. It is a love poem. Kurichip pattu means mountain song; Tamils called the mountain landscape as Kurinchi; Kurinchi is the name of a plant and its flowers blossom once in 12 years. Kurinchi blossom itself is a natural wonder. Tamils visit Nilgris and Kodaikanal to see the once in 12 year flowering.
Subject of the poem
A mother sees her daughter pine away day by day and is distressed, not knowing the causes. She consults soothsayers and makes offerings to gods for her daughter’s cure. A girl friend of the maiden knows the real cause and keeps it a secret. The girl fell in love with a man she met in the millet field. The poem described the meeting of the hero and the heroine in the natural surroundings.
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First, let me list the wonders in it:
It was written by the Brahmin poet KAPILAR who contributed highest number of poems to Sangam Tamil Literature;
He changed the mind of a North Indian Musician who criticised Tamil language and made him a Tamil poet!
To impress him Kapilar imitated Kalidasa’s poems; Rev G U Pope said that the poem was an imitation of Kalidasa, whose Rtu Samharam and Sakuntalam have beautiful description of Nature.
Biggest wonder is Kapilar listed 99 flowers at one go; it is not found in any other literature.
Reference to Sun God with a Chariot pulled by Seven Horses, worship of many gods; belief in rebirth;
Reference to the custom of Tamil women arranging their hair into five separate braids; it is seen in some parts of Burma and Iraq; in the absence of any painting or sculptures some scholars think it is five different hair styles.
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Item 872 –Flower Wonder
The biggest wonder in Kurinchip Paattu is the list of 99 flowers at one go! Though Kalidasa, a Pre-Sangam Age poet and Valmiki also used as many flowers but not in one place in a poem.
Few of the flowers have Sanskrit names and few of the flowers are not satisfactorily identified; yet it shows the interest and knowledge of botany in Sangam Age.
Attracted to the flowers that were there, with desire, we collected the flowers of red kānthal with thick leaves, white āmpal, delicate anicham, kuvalai from cool ponds, kurinji, vetchi, chenkoduvēri, sweet mango, manichikai, unthoozh with fragrant clusters of flowers, koovilam, flame-like erulam, sulli, kooviram, vadavanam, vākai, kudasam with white flowers, eruvai, seruvilai, and karuvilai with gem-colored flowers, payini, vāni, kuravam with many clusters of flowers, pasumpidi, vakulam, kāyā with many clusters of flowers, āvirai with open blossoms, vēral, sooral, small poolai, small and fragrant kanni, kurukilai, marutham, kōngam with open blossoms, pōngam, thilakam, honey-fragrant pāthiri, cherunthi, athiral, large cool chenbakam, karanthai, kulavi, flourishing fragrant mango, thillai, pālai, mullai that has spread on rocks, kullai, pidavam, siru mārōdam, banana, valli, neythal flowers with long stems, coconut, thalavam, lotus with thorns on its stems, gnāzhal, wild jasmine, cool fragrant kokudi, sedal, chemmal, small chengurali, kōdal, kaithai, mature naruvalai, kānji, sapphire-colored clusters of neythal flowers, pānkar, marām, thanakkam with clusters, eengai, ilavam, kondrai, adampu, perfect āthi, avarai with long vines, pakandrai, palāsam, pindi with clusters of blossoms, vanji, large pithikam, sinthuvāram, thumpai, thulāi, flame-like thōndri, nanthi, naravam, fragrant punnākam, pāram, peeram, fresh kurukkathi, āram, kāzhvai, fragrant punnai, narantham, nākam, nallirul nāri, kuruntham, vēngai and vermilion-hued thick, beautiful, red, wild puzhaku, that were washed by the rains, and piled them on a wide, clean boulder.
(Translation of Vaidehi Herbert is used; thanks)
My comments:
Anicham is not identified but guessed what it was; now not seen in any part of the world. Many of the flowers are not seen in other books of Sangam literature. Few are from Sanskrit literature that existed before Sangam Age.
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Item 873 -New Poet Made
Yaaz Brahma Dutt was a North Indian musician and Aryan chieftain, who was an expert in playing Yaaz (lyre, lute); he criticised Tamil language. Kapilar being a Brahmin , taught him Tamil via Sanskrit. He impressed him and in course of time Yaaz Brahma Dutt became a Tamil Poet! That Brahma Dutt composed a poem in Tamil and, compilers included it in the Sangam corpus (see Kuruntokai 184)! This is really a wonder because within a short time a poet was created in the language which he was not speaking.
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Item 874 -Many Gods Worship
Lines 1 to 8 give vital information about Hindu religion followed by the Sangam Age Tamils 2000 years ago. A friend of a women was consoling a mother whose daughter was love sick. That friend said that the mother worshipped MANY DIFFERENT GODS using flowers and fragrant materials. This is a severe blow to Anti Hindu Dravidians who projected Tamils as a No Faith Gang!
Using soothsayers is also mentioned.
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Item 875 Rebirth
Lines 23 to 26 show Tamil girl’s strong belief in REBIRTH
Heroine worries about her parent’s mis understanding of her ‘sickness’ and says “if I can’t get him as my husband in this birth I will get him in my next birth”.
There is a golden saying as well; if jewels are broken, they can be repaired, but if one’s character is ruined , cannot be set right.
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Item 876 – Another Wordsworth
Kapilar described the beautiful Kurinchi landscape in lines 31- 61, that is before listing the 99 flowers. The girl/heroine said where and when she fell in love. That was the place full of birds, waterfalls, bathing in crystal clear water etc. here we are reminded of William Wordsworth and his Daffodils!
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Item 877 -Film Director of Indian Love Films!
107-127 a handsome man appeared
Here Kapilar, like a Tamil or Hindi film director , suddenly introduces appearance of some big hounds. When the girls got scared, the owner of the hounds appear and pacify the scared ladies and use the opportunity to talk to them and praise their beautiful faces. He asked whether they (heroine and her friends) saw the animal that escaped from him. He controlled the barking hunting dogs.
Another scene is introduced now . an angry elephant entered the fields to eat the millets. The girls ran towards the young man hugged him. He gave him full protection and praised girl, who is the heroine of the poem. Then, his country with natural spots is described.
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Item 878
Dances -Lines 186-199
Here we come across different dances. Dancing girls’ rope walking adventures is mentioned.
Poet compared the peacock to the dancing girl who did rope walking- line 194.
Young man’s promise to marry that girl and provide wedding feast;
Sun riding a chariot with seven horses Line 215 ; mountain god’s worship;
Love at first sight; Meetings of lovers were done more often;
Heroine worried about the safety of her lover b coming via forest route;
Delay in marriage made her lovesick.
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Item 879 Peacocks drink Liquor!
People indulged in ‘honey sweet toddy’. The peacocks too drank it, only they drank the home made variety, mistaking it for water.
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Item 880- Water used for swearing.
Hindus use water while giving away donations. They also use water for making promises or taking oaths. Here is an interesting reference to the custom of swearing with water taken in hand by the one who makes the oath. Lines 210-213
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Item 881 Nineteen Sanskrit words!
J V Chelliah (year 1946) says, “There are 261 lines in the poem, containing 1440 words of which 22 are not Tamil words. Nineteen are of Sanskrit origin, four are common to Tamil and Sanskrit and three are provincial words”.
My comments: even among the 99 flowers there are Sanskrit names; few examples Asoka, Palaasam, Tilakam, Bahulam (Vakulam) etc.
Apart from these wonders usual things like Nagaratna (cobra Jewel) in/ line 221, women lighting lamps in the evening, brahmins performing religious rites/ line 223, worship of Lord Muruga/Skanda, Gods residing caves, feast, pearl from elephant tusk/ line 36, body of women like flowers and birds are also mentioned.
To be continued……………………
Tags – Kurichippattu, Kapilar, 99 flowers, Yaz Brahmdutt, Kalidas, Purananuru wonders-62; Tamil Encyclopaedia 102, One Thousand Interesting Facts -Part 102
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
xxxx
PART 106
T words continued……………..
Turvasu
Younger son of Yayati and Devayani. Like his elder brother Yadu, he too declined to exchange his youth for his father’s pre mature old age caused by the curse of Shukracharya. For not obeying him, Yayati cursed that his descendants would rule over sinful population and would be annihilated completely.
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Twashta
A virtuous Brahmana who created a three headed son called Vishwaroopa who was killed by Indra out of envy. Twashta then created another son Vritrasura to take revenge against Indra. That Brahmin was also killed by Indra; because he killed a Brahmin, Indra went to many shrines for purification which is in Sanskrit Puranas and Tamil Temple Puranas called Sthala Puranas (sthala= holy spot). Vritrasura has another interpretation; it is the drought which Indra/rain killed.
This episode exposes foreign “scholars” who hide that Vritra was a Brahmin or completely ignore this incident as it had not happened. The same “scholars” create mountain out of a mole in the episode of Krishna denying food meant for Indra in the Govardhana Hill Lifting Episode.
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Tyagaraja (1767-1847)
Great musician and composer who was born in Tiruvarur in Tamil Nadu. His Kritis/compositions in Telugu and Sanskrit are sung in all Carnatic Music Concerts until this day. His compositions are mostly on Lord Rama. He is regarded as one of the “trinities” of Carnatic music composers, along with Muthuswami Dikshitar and Syama Sastri. He was a devotee of Rama. Tyagaraja started his musical training under Sri Sonti Venkataramanayya at an early age. He started his musical career at the age of 13. His Samadhi is in Thiruvaiyaru in Tamil Nadu. To this day, a commemorative music festival called the Tyagaraja Aaradhana is held at Thiruvaiyaru in the months of January to February every year. Scholars and musicians generally agree that roughly 700 to 730 songs have survived and are sung or documented today. Legend suggests Tyagaraja composed 24,000 songs (matching the number of verses in the Valmiki Ramayana). He is believed to have recited the Rama Nama 96 crore (960 million) times. Saint Tyagaraja experienced visions of Lord Rama through his intense devotion, spiritual penance, and musical compositions.
Gems from Tyagaraja:
Pancharatna Kritis: The “Five Gems” set in master Ghana ragas (Nata, Arabhi, Varali, Sri, and Gowla) stand as monumental pillars of Carnatic composition. Musical Operas: He wrote groundbreaking narrative works like [Prahlada Bhakti Vijayam and Nauka Charitram] using a rich sequence of ragas. He composed accessible, choral, and devotional pieces meant for group singing and daily temple rituals. He pioneered anagata eduppu, writing songs where the lyrics start dynamically after the primary beat (sama) rather than directly on it. The Jagadanandakaraka kriti by Saint Tyagaraja contains 108 names of Lord Rama. Historical accounts and traditions state that Tyagaraja and Syama Sastri met. Syama Sastri was the oldest of the Trinity of Carnatic music. He often travelled to Thiruvaiyaru to visit Tyagaraja at his home, and the two masters discussed music and sang together. Syama Sastri also sent his son, Subbaraya Sastri, to study music under Tyagaraja. He explicitly signed his name—usually as “Tyagaraja” or variants like “Tyagarajuni”—typically in the final charanam (stanza) of his compositions
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Tulsi
Most scared plant for Vaishnavites like Bilva (vilvam in Tamil) for Saivites.
Tulsi [तुलसी] in the Hindi language is the name of a plant identified with Ocimum tenuiflorum from the Lamiaceae (Mint) family. It is kept in a raised place called Mandap at the back of the house in open space. Hindus, particularly women worship it every day. The plant has good medicinal properties. Krishna is said to have great respect for this plant. There are many stories to show how Krishna valued it. Tulasi is also referred to as Vrinda, Brinda. The forested area of Tulasi plants where Krishna grew up has for this reason been called V/Brindavan. Tulsi refers to the plant basil.
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Tulsi Vivah
Tulasi Vivah festival is usually observed on the 11th Day after the Full Moon of the bright fortnight of the month of Karthika. Vivah means wedding, marriage.
Women clean the area around the Tulasi plant or place the pot on a decorated rangoli base. They construct a small wedding canopy (mandap) using sugarcane stalks, banana leaves, and marigold flowers. Tulasi plant is the Bride; women bathe the Tulasi plant and drape a red or yellow sari or red cloth around it. Adorn the plant with vermilion (kumkum), turmeric (haldi), bangles, and ornaments. Bridegroom is Vishnu and he is represented by a Shaligram (fossil with marks like Vishnu Chakra/wheel). So, a shaligram stone (representing Lord Vishnu) or an idol of Lord Krishna/Vishnu is placed next to the plant, dressing the idol in traditional yellow garments and a crown. After lighting oil lamps and incense sticks, Lord Ganesha is invoked to remove obstacles before starting the main worship. The Union: Tie a sacred cotton thread (mauli) or garland between the Tulasi plant and the Shaligram/Vishnu idol to symbolize the marital knot. Family members act as parents to perform the symbolic Kanyadaan (giving away the bride) while priests or participants chant Vedic mantras and wedding hymns. Shower flowers and vermilion-mixed rice over the divine couple, perform the Mangal Aarti, and offer seasonal fruits, sweets, and jaggery as bhog before distributing prasad to family and friends. They celebrate it to quicken the marriages in the family. It signals the official opening of the auspicious Hindu wedding season.
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Tulsidhas
Goswami Tulsidas composed the epic poem Ramcharitmanas in the 16th century to retell the sacred story of Lord Rama in the vernacular Awadhi dialect of Hindi language. Goswami Tulsidas (1543?–1623), was a poet-saint and devoted follower of Rama. He spread bhakti movement across northern India by bringing the ancient story into the hearts and daily lives of ordinary households. Ramcharitmanas (Devanagari: रामचरितमानस rāmacaritamānasa), is an epic poem in seven cantos.The word Ramcharitmanas literally means “Lake of the deeds of Rama”. It is considered one of the greatest works of Hindu literature. Most scholars identify his birthplace as Rajapur, a village on the banks of the Yamuna River in the Chitrakoot district of Uttar Pradesh . He died in Varanasi (specifically near Assi Ghat), Uttar Pradesh, India
The ‘Hanuman Chalisa was composed by the saint; the hymn is a timeless ode recited by millions of Hindus every day. It is believed that an ailing Tulsidas composed it and helped Tulsidas regain his health. It has 40 verses.
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Tolkappiar and Tolkappiam (kaappiyam)
Tolkappiyam (or Tolkaappiam) is the most ancient extant Tamil grammar text and the oldest surviving Tamil book. Authored by the sage Tolkaappiyar, it serves not only as a comprehensive manual on linguistics but also as a unique guide to the social, cultural life of ancient Tamil Nadu. The text is composed of approximately 1,612 condensed aphoristic verses called Sutras. It is systematically divided into three major sections (adhikarams), each containing exactly nine chapters: Ezhuthadhikaram (Phonology and Orthography). Solladhikaram (Morphology and Syntax), Poruladhikaram splits literature and life into two distinct categories:Akam (Interior): Deals with the subjective emotions of love, courtship, and marital life. Puram (Exterior): Focuses on objective public virtues, heroism, governance, social conduct, and warfare.
Controversies
The exact age remains a subject of heavy debate among scholars. Traditional views tie it to the mythical Second Sangam period (ranging from 1st millennium BCE or earlier), while modern consensus places its earliest layers between the 3rd century BCE and 1st century BCE, with updates settling around the 5th century CE. But the last section called Porul Adhikaram is a alter addition.
The Author: Tradition identifies Tolkappiyar as one of the twelve core disciples of the legendary Sage Agastya.. Only two things are known about the book and the author. The Paayiram (Intro) says it was approved by a Brahmin teacher of Athankodu who was well versed in Four Vedas. Paayiram was composed by his classmate Panamparanaar. Next information comes from most famous Tamil commentator Nacchinarkiniyar of Madurai, a Brahmin of Bharadvaja Gotra. He says Tolkappiar’s name was Trunadumagni Rishi and he clashed with his Guru Agastya and was cursed by him. In turn Tolkappiar also cursed him and his grammar Agastyam disappeared because of this. The clash was on a stupid matter. Agastya asked his disciple Tolkappiar to bring his wife Lopamudra (both names are in the last section of Rig Veda) from Vidharba in modern Madhya Pradesh. When they approached Madurai, river Vaigai was in floods. Just to cross the river safely Tolkappiar took a pole and asked Lopamudra to hold one end of the pole. Tolkappiar brought her safely across the river by holding the other end. When Agastya came to know about it he was angry and cursed him.
If one believes in this story ,it is a proof that Tamil existed at the time of Rig Veda.
Controversy about the book
Tolkappiar and modern version of Tolkappaim (his book) existed in different times. The modern version is from Fifth Century CE which is proved by the word Adhikaaram; this word is used throughout Tirukkural and Tamil epic SilappaDIKAARAM. So, we can conclude all these books were reacted at the same time by Tamil Academy (Sanagam or by a team of Tamil Scholars.
The book is not the original version is known by his expressions, ‘They say’, ‘It is said’ by at least 300 times. This journalistic cliché shows it is a compilation and not his original.
Strangely, Tolkappiam mentioned Vedic Gods Indra and Varuna as Tamil Gods. Thouh, he mentioned Vishnu, Skanda/Muruga, Kali/Kotravai, Balarama etc. he never mentioned Lord Siva!
Other facts like Tolkappiar using Manu Smriti’s Eight Types of Marriages and Bharata Muni’s Eight Types of Sentiments or moods, reference to Vedic pronunciation etc show the book was compiled later. No reference to book or the author is in 2000 year old Sangam Literature. Some contents of Tolkappiam may be older than Sangam literature. Even the word KAAPPIYA in the name of the book and the name of the author is still debated without an agreeable solution. Kaappiya is the name of the most famous Gotra in the Rig Veda. Lord Krishna in the Bhagavad Gita also praised the Usanas Rishi of Kappiya Gotra. Words like Kavi, Kavithai, Kaavya (poet, poem) are derived from the mysterious poet of Rig Veda Ucanas Kavi.
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Tiruvasagam
Saivite hymn authored by mysterious saint Manikavasagar (maanikka vaasagar); his date is still debated; why he was not included in the great list of 63 Saivite Saints, absence of his reference to other three Tevara Moovar, vice versa the absence of their reference to Manikavasagar etc remain unsolved mysteries in Tamil Devotional literature. But his superb hymns, 658 verses under 51 chapters (3295 lines), will move anyone. Even Reverend Dr G U Pope who came to spread Christianity in Tamil Nadu was so moved that he spent his life in Translating this hymn, and Tirukkural and other ancient Tamil poem. Author Manikavasagar’s life was full of clashes with the Pandya king and the Buddhist scholars from Sri Lanka. My long research placed him before the time of Tevara Moovar. He must have lived around fifth century CE.
His hymns, full of compassion, on Lord Shiva are sung in Mohana Raga. It is said that even stones will melt when one sings his hymns.
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Tirumurai – Please see Tevaram
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Tiru mular and Tiru Manthiram
Great Saivite saint. He is one of the 63 Nayanamars (naayanmaaras) sung in Periya Puranam and one of the 18 Siddhas (Tamil Mystics). His work TIRUMANTHIRAM in Tamil consists of 3000 poems dealing with Saiva Siddhanta, Sakta and Vedanta- a rare combination. The contents of the book dealing with Devi, Tantras, Mantras and Yantras, reference to Siva Linga (which is absent in Tevaram & Tiruvasagam etc), and his Non-Tamil expressions, his style, use of Sanskrit words – all place him in 8th or ninth century CE. He travelled from Kashmir and saw a dead body of a cow herd and the cows longing for him. Immediately he used one of the Eight Mystic Powers called Ashta Maa Siddhi, and entered the body of the cowherd to the delight of the cows. This happened in Aaduthurai in Tamil Nadu. The samadhi of the saint is located within the ancient temple in Thiruvavaduthurai, Tamil Nadu
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Tiru Valluvar and Tirukkural
london swaminathan with Valluvar statue in London University.
The most famous poet of Tamil Nadu who authored TIRUKKURAL which consists of 1330 couplets dealing with Dharma Artha Kama (Virtue, Wealth and Sex). In the contents he also deals with asceticism and Moksha (liberation of soul). He was a staunch Hindu and summarised all the Hindu thoughts in the briefest poems called Kural. His reference to Hindu Gods Indra, Yama, Vamana Avatar, Krishna Avatar, Lakshmi, her elder siter, Brahma, Siva (indirectly) show him as a master of Hindu scriptures. His knowledge in Sanskrit is also evident in his indirect references to BhagavadGita, Manu smriti, Artha Shastra and Pancha Tantra. In addition to reference to Hindu Gods, he ued Sanskrit words in about 600 couplets out of 1330. Tiru Valluvar was a staunch supporter Vegetarianism
Tamils placed his book in the post Sangam group of 18 Minor poems. He belonged to Fifth Century CE, but Tamil fanatics gave him a new date 31 BCE to shut the mouth of Christians who started comparing his couplets with Bible. Hundred year old Tirukkural books show him as a man born to high and low class woman and man with six siblings. Modern books wiped out those facts and portrayed him differently. Political Tamils are doing it to every ancient Tamil author including Tolkappiar..
Tirukkural is one of the greatest contributions of India to the world. Though he begins with ten couplets on God with Feet and Head (God with a form). Most of what he said is applicable to honest human beings in any part of the world. Still it is not out of controversy. He refers to slavish wife and attributes supernatural powers to such women. Like Kalidasa he also portrayed Kings as Gods and attributed supernatural harvest happening in his kingdom. English people who saw the third part of his book on Love and Sex were appaleed in the beginning and hid it from the light of the world. They did not realise that sex was not a taboo to Hindus.
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Trayambhaka (Three Eyed)
God with Three Eyes is Lord Siva. This Vedic reference to Lord Siva is in the earliest part of Sangam tamil Literature. But oldest book Tolkaappiam completely ignored him. Traymabaka is the name of one of the 12 Jyotir Linga shrines in India, located from Rameswaram to Himalayas. Lord Siva used his Laser Eye to burn Manmatha (God of Love) and three hanging Space Stations of three demons. Siva’s attributes are put in Tamil by Appar and Sambndar around 600 CE
Tamils proved Siva and Rudra are one and the same, countering foreign mischiefs.
Trayambakeswar /Trimbakeshwar Shiva Temple (श्री त्र्यंबकेश्वर ज्योतिर्लिंग मंदिर) in Nashik district of Maharashtra. It is 28 kilometres from Nashik city.
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Tri siras- see Twasta.
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Turaga /Turkey
Turaga means horse. Turkey was the land of horses in Vedic days. All the best kind of horses were brought to Turkey by Vedic Hindus and trained by them. This is proved by the Kikkuli manual with Sanskrit instructions found in Turkey. The manual is dated around 1400 BCE.
A Brief Introduction to the Kikkuli Text
The Kikkuli Text is a Late Bronze Age (ca. 1350 B.C.) set of instructions for training and conditioning horses. It is connected to Kikkuli, who identifies himself as a Mitannian “master horse trainer.” The text survives on clay tablets written in Hittite cuneiform and found at the Hittite capital of Ḫattuša (modern Boğazköy, Turkey). While the main language of the tablets is Hittite, the text also preserves specialized technical terms, including numbers and training vocabulary, that reflect knowledge transferred from the Mitanni and Hurrian world into the Hittite court.
Mitannian was a Hindu Kingdom ruling areas in Turkey, Syria, Iraq and Iran . All the names of the kings were in pure Sanskrit. There we have Dasaratha, Pratardhana etc. found Iin Ramayana and Vishnu Sahasra namam.
Horse manual with Sanskrit words in cuneiform clay tablets in Turkey.
To be continued………………………
Tags – Kikkuli, , Turvasu, Twashta, HINDU DICTIONARY IN ENGLISH AND TAMIL, part 106; இந்து மத கலைச்சொல் அகராதி-106
Pictures are taken from various sources for spreading knowledge.
this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
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part 61
Item 854
The next book we are going to see is Nedu Nal Vaadai, one of the Ten Idylls ( Paththup Paattu) in Sangam Tamil Literature.
First let me list the wonders in it:
Vaastu shaastra in Sangam literature;
Zodiac in poem;
Reference to stars Rohini, Uttara;
Gajalakshmi figure ;
Thaali = Mangala Sutra;
Full description of Queen’s Bed with elephant tusks;
Mattress with feathers of Swan that were shed during mating;
Yavana lamp;
Women won’t put on ornaments when husband is away;
White umbrella and Valampuri Chank (conch) as in Kalidasa books;
Description of Army Camp as in Mahabharata.
Women using their swelling breasts to warm Veena Strings!
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Item 855
Name of the book: Nedu= long; Nal=good; Vaadai= Northerly, cold wind.
(Vadai is fried spicy doughnut; vAAdai is hated cold northerly wind in India).
Author : Brahmin poet Nakkirar who is the author of Tiru Murugu Aatruppadai as well.
Subject: how queen suffered because of Pandya King Neduncheziyan’s absence/separation; he was in battle field.
Length of the poem- 188 lines.
Strange thing: no mention of the name of the king; only from famous commentator Nachchinarrkiniyar, we know it was Nedunchezian; and Tamils know that there were two Nedunchezians. So, a bit of little confusion.
Lines 29, 30 – Streets were as broad as rivers and with tall buildings.
It is guessed the poet is talking about the great Madurai city, capital of Pandya Kingdom.
Madurai is the only planned city in the whole of India 2000 years ago which we knew from another Sangam book called Paripaatal.
Whenever the poets describe tall buildings they say Seven Storied Buildings; but here poet said only mansion.
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Item 856
Gods in the houses!
Lines 36 to 44 show what Hindu women did in the evenings in ancient Madurai.
We know from these lines and from line 578 in Maduraik Kaanchi, another Sangam book, every house has a prayer room or prayer place. There was a god before which Hindu women lighted lamps and offered paddy and flowers around sunset. Even today Tamil Hindu women do it. This gives a severe blow to anti Hindu political Dravidians!
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Item 857 two linguistic points:
In Sanskrit literature, poets say Aho Raatri= Day (and) Night; in Tamil, poets say Iravum Pahalum= Night(and) Day (line 47).
Both Iravu and Pahal are Sanskrit words but in Tamiized form.
I am writing this because South Indians and North Indians changed direction of writing at one time. In the Indus Valley, scholars believe that they wrote from Right to left. But now in India, we write from left to right.
This is seen in many other places as well
Tamils say Lava Kusa (sons of Rama); north Indians say Kusa Lava.
This is a subject for research. Hindus always give respect for Right hand; they are still Rightists! If anyone use left hand to receive anything, it is disrespect; in temples, it is blasphemy.
Mothers force their children to use right hand from the birth.
Another linguistic point here is the poet used PITHI (line 40) for a kind of jasmine flower. But in modern Tamil it is called PICHCHI.
This shows T=S. I have been showing it in all my linguistic articles.
English pronounce TION as SION (E.g. Condition, education and hundreds of such words)
Again, I use this to say all ancient languages can be traced back to Tamil and Sanskrit.
Again, I emphasize there is no Dravidian or Aryan language in India. One language split it into two, and thousands of years gap in time and location,changed them
Example : French spoken in Indian ocean island countries.
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Item 858– round stone from Himalayas
வடவர்தந்தவான்கேழ்வட்டம் -51
Very interesting line is 51 where we come across north Indian, round, grinding stone for south Indian sandal!
Poet deliberately used it to emphasize the unity of India.
In Purananuru book, we saw southern pothiyam compared to north Indian Himalayas.
Here also poet refers to Himalayas which is confirmed by Tamil epic Silappadikaram 4-37-8
Commentators showed it. What a wonderful unity 2000 years ago!
Just to grind south Indian sandal and other spices, they imported Himalayan stones, round in shape.
This also shows the pilgrimage. Tamils bring Ganges water even today from North Indian holy spots.( I also did bring Ganga Jal from Haridwar).
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Item 859 Breast for warming Veena
Verey interesting and strange habit of lute players.
When the cold windblows in winter, women warmed the strings of the lute by rubbing them against their breasts! Strange indeed! Poet was a keen observer!
He says,
Fair dancing girls to keep their songs in tune
With small and dark stemmed Ayaz on which they play
Warm the sweet toned strings made useless by the cold
By rubbing them upon their swelling breasts….
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Item 860 -VAASTU SHASSTRA-
Lines 76-80
The broad sun travelling in its western course
Its widespread rays diffuse everywhere
And shadows cast by two poles planted straight
Do not incline at noon tide either way.
Then architects with care compute tapes
And note the quarters where the gods reside
They mansions build befitting noted kings…..
Because all the ancient Tamil kings were Hindus, they followed Shilpa Shastra and Vastu Shastra to build temples and palaces. They were very different from other parts of the world.
In Vastu, they have different Gods managing or controlling different directions. If the builders want to set up Treasury then they do it in Kubera Direction (North).
Ancient Hindu Palaces like Mysore Palace, Tirumalai Nayak Mahal in Madurai were all constructed following Vastu rules.
For the measurements, they plant two sticks straight and see that no shadows cast at noon. That means 100 % straight. Then they use threads or strings as tapes for the measurement. In Sanskrit, Sutra. Egyptian Pyramid Builders also used Sutra (String or rope).
நூலறி புலவர் நுண்ணிதின் கயிறிட்டு
தே எம் கொண்டு தெய்வம் நோக்கி 76/77
Play on words : Nuul = Suutra; both in Tamil and Sanskrit it has two meanings =thread and book.
If you say one who knows Nuul= Suutra, it means one who knows to handle plumbing line and one who knows scriptures (Vaaastu Shasstra books etc). Once again, it shows that both languages have the same source.
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Item 861 -Zodiac and Stars
Though we have indirect reference to Zodiac in Purananuru, here we see poet himself refers to Aries (goat sign). He refers also to Rohini star and Uttara star. This shows the knowledge of astronomy in ancient Tamil Nadu.
Line 82 – Uttara nakshatra
Uttaram is beam in Tamil; poet plays on words following Kalidasa.
Rohini – line 163;
Mesha rasi – goat sign- line 160;
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Item 862- Gaja Lakshmi Lines 81-83
Gaja Lakshmi is also in another Sangam book Kalittokai 44.
When I went to palatial houses in Chettinadu, Karaikkudi areas in Tamil Nau and Mysore Palace in Karnataka I noticed Gaja Lakshmi sculpted on doors. It is a symbol of wealth. Goddess Lakshmi is in the centre and two elephants on either side pour water on her.
This shows flow of water; even in British library in London, they have set up big fountain of flowing water.
You can notice that wherever there are big fountains at the entrance, those places doing roaring business.
Gaja Lakshmi was found from Denmark to Sri Lanka . Gaja Lakshmi is in Sri Suktam, part of Vedas.
Following three Sangam books referred to Gajalakshmi also found in Gundestrup Cauldron in Denmark)
குறிஞ்சிக் கலி- Kurichik Kali in Kalittokai.
வரிநுதல் எழில் வேழம் பூநீர் மேல் சொரிதரப்,
புரிநெகிழ் தாமரை மலரங்கண் வீறு எய்தித்,
திரு நயந்து இருந்தன்ன தேங்கமழ் விறல் வெற்ப! (கலி.44-8-5/7)
மதுரைக் காஞ்சி Maduraik Kaanchi
விண் உற ஓங்கிய பல் படைப் புரிசை
தொல் வலி நிலை இய அணங்குடை நெடி நிலை(352-353)
நெடுநல்வாடை Nedun al Vaadai
ஐயவி அப்பிய நெய் அணி நெடு நிலை
வென்று எழு கொடியொடு வேழம் சென்று புக
குன்று குயின்றன்ன ஓங்கு நிலை வாயில்
திருநிலை பெற்ற தீது தீர் சிறப்பின் (86-89)
Gajalakshmi’s figures have travelled from the Himalayas to the southern most part of Sri Lanka. It is in the form of old coins, lamps, wooden figures, idols and stone sculptures. It has travelled fromIndia to Denmark !! We have Gajalakshmi figure carved in to Gundestrup silver Cauldron. Now it is in Copenhagen. When they dug up a marshy area in Jutland , Denmark in 1891 they recovered a big silver vessel which is dated to second century BC. A very interesting fact about this vessel is that there is a god surrounded by animals like we see in the Indus valley seal (For more details please read my article Vishnu in Indus Valley Seal) The earliest reference to Gajalakshmi is in Sri Suktam of the Vedas:
“Laksmir –divyair-gajendrair-manigana-kasithai: snabitha hemakumbhair nithyam sa pathma hastha”
(Holding a lotus in hand she is bathed by water from the gem studded golden pot by the celestial elephants)
The above is from my article posted here in 2012.
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Item 863- sanctum sanctorum
Now we have Garbha Grihas (Karu Arai) in temples ;Temple is compared to human body and the sanctum sanctorum is called Garbha Griha (womb) This has been there from Sangam days.
Here the queen’s private inner chamber is called Karu Arai
English word core = Tamil Karu.
Garbhagriha – line 114;
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Item 864 Dasa Naanku 10 X 4=40 in Sanskrit
In Line 115 we find a strange Sanskrit word Dasa=10; naanku=4;
When the poet wanted to tell us that the queen’s bed had tusk decoration and those ivory objects came from 40 year old elephant, he used it. It is interesting to note the age of the elephant.
There is a linguistic point as well: D becomes R in the lines.
It is shown as an example for distorting or corrupting Sanskrit words by poets.
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Item 865 Yavana Lamps
Yavana- we have at least five refences in Sangam literature including Purananuru in addition to intro in Pathitruppaththu.
Yavana made lamps – lines 101-102.
Yavana is a confusing word; in Sangam literature it meant Romans from Italy. But later it is used for Greeks.
But I have a big question. Did Yavana mean carpenters from North west India?
The reason is I could not find Yavana lamps in Greek and Roman sculptures.
Yavana is found in Mahabharat and Valmiki Ramyana too.
By the middle of 15th century, it meant Arab merchants( also called Sonakar).
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Item 866 Mating Swans shed Feathers!
Swan feathers – 131-133
Poet Nakkirar has described Queen’s bed, her mattress and pillows in minute details.
Someone must draw a picture of it.
Nakkirar added one more interesting detail. Quen’s mattress and pillows had swan feathers which shed them during sexual intercourse/mating because of body heat.
Use of swan feather in bedding is already in Kalidasa who lived before Sangam age.
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Item 867- Mangala Sutra of Hindu Women!
Thaali = mangala sutra = 136/37
Very often bad women who want to be in magazines write that Tamil women did not wear Thaali or Mangala Suutra during Sangam Age. They were proved wrong by commentators who lived 700 years ago. They have clearly mentioned Thaali worn by Tamil Hindu women. I wrote on these many years ago quoting famous writers.
Puram 177, Nedu Nal Vaadai 136/7 and Tamil epic Silappadikaram, their commentators said it.
பெண்கள் தாலி :–புறம்127, சிலப்பதிகாரம் 1-47, 4-50 தமிழர்களுக்கு தாலி உண்டு:–ம.பொ.சி
தமிழர்கள் திருமணத்தில் தாலி கட்டும் வழக்கத்தைக் கடைப்பிடித்தனரா என்று அவ்வப்போது விவாதங்கள் எழுகின்றன.
தமிழர்கள் திருமணத்தில் தாலி கட்டும் வழக்கத்தைக் கடைப்பிடித்தனர் என்று பல தமிழ் அறிஞர்கள் கூறுகின்றனர். இதற்கு முடமோசியாரின் புறநானூற்றுப் பாடலையும் சிலப்பதிகார வரிகளுக்கு அடியார்க்கு நல்லார் எழுதிய உரையையும் அவர்கள் எடுத்துக் காட் டுகின்றனர்.
இந்தியப் பண்பாடும் தமிழரும் பக்கம் 297/298 ஆசிரியர் எஸ்.ராமகிருஷ்ணன் (மதுரை எஸ். ஆர்.கே). தமிழர் நாகரீகமும் பண்பாடும் பக்கம் 51, ஆசிரியர் ஆ.தட்சிணாமூர்த்தி, பூண்டி, தஞ்சாவூர்.
“ஈகை அரிய இழை அணி மகளிர்” —
(ஆய் அண்டிரனின் மனைவியர் அணிந்திருந்த மங்கல சூத்திரம் பற்றி முடமோசியார் புறம் 127ல் பாடிய வரிகள்)
(கண்ணகி பற்றி இளங்கோ அடிகள் (இதுவும் தாலி என்பது எஸ். ஆர். கே.யின் வாதம்.
. நல்லாவுர் கிழார் குறிப்பிடும் ” வால் இழை மகளிர்” என்பதும் தாலியே என்று அவர் வாதாடுகிறார்.
கி.பி. 10ஆம் நூற்றாண்டில்தான் தாலி இடம்பெற்றது என்று மா. இராச மாணிக்கனார் கூறுவார்.
ம.பொ.சிவஞான கிராமணியார், பேராசிரியர் வீரபத்திரன் ஆகியோர் சங்க காலத்திலேயே தாலி இருந்ததாக வாதிடுகின்றனர்.
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Item 868
Applying starch to clothes is mentioned here.
134/35- starch to clothes.
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Item 868 Gold Rings
143/44- finger ring in fish mouth shape.
Queen wore a finger ring shaped like a fish mouth.
Interesting thing is we have found such rings in Tamil Nadu and other places.
They are also known as Makara Mothiram.
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Item 869
White umbrella is mentioned throughout Kalidasa works and Tamil literature
184- white umbrella
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Item 869 – Queen without decoration
Hindu women dress their hai , body etc only when their husbands are around. If they hang their hair without plaits or hair bun something went wrong is the meaning. Here we have a full description of the queen in desperation because her husband was in the battle field.
Her friends even prayed to Goddess Durga for her husband’s safe and quick return.
Tamil lines-136-147
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Item 870 King in the Army tents
In Mahabharata also we see that after the battle finished , during sun set each leader went to the battle ground or tents of soldiers and treated the wounded soldiers. They consoled some and they boosted confidence in others.
Here also poet Nakkirar described it. Lines 168-177
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Item 871 Sanskrit words
Saalekam for window is from Jhaalakam in Sanskrit.
Deivam, Dasam,Rohini, Uttaram, Mesham, Gaja Lakshmi, Yavana are also mentioned in Sanskrit or its Tamil translation.
Saalekam – 125 Jalakam in Sanskrit
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At the end of commentary, we find the following:
Brahmin of Bharadwaja gotra Naccinarkiniyar, teacher in Madurai, finishing the commentary on Nedunal vaadai written by Nakkiranar, son of Maduraik kanakkaayanaar on Pandyan Neduncheziyan .
But Purapporul Veba Malai says it is about Talai aalankaanaththu seru vendra Nedun chezian
–subham—
Tags- Thali, Mangala Sutra, Vastu Shastra, Thali, Zodiac! Purananuru wonders-61; Tamil Encyclopaedia 101, Item 871
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