THE QUEEN AND THE PRINCE – BEAUTIFUL SANSKRIT POETRY IN NEPAL PILLAR EPIGRAPH (Post No.14,883)

Written by London Swaminathan

Post No. 14,883

Date uploaded in London –  19 August 2025

Contact – swami_48@yahoo.com

Pictures are taken from various sources for spreading knowledge.

this is a non- commercial blog. Thanks for your great pictures.

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 THE CHANGU NARAYAN PILLAR INSCRIPTION , NEPAL 464 CE

THE QUEEN AND THE PRINCE

His wife was the grand sree Rajyavatii

She was the offspring of a pure family, a Lakshmii

To his Visnu with all her virtues. And he loved her

More than life itself.

… he had shed the lustre of his fame over this whole world, but then he left

For the realm of the gods—it was peaceful like a trip

To a pleasure garden—but his wife suddenly collapsed

Wild with the fever of grief… utterly immobilised—

A woman before her separation from her husband

Was ever busy with rites and rituals and the feeding of the gods

Now this Queen Rajyavatii—called the king’s wife

But really his royal power incarnate

Was about to follow her husband,

Her thoughts fixed on the other world.

She came to her son, Prince Maanadeva, a man

Of faultless conduct, in beauty like autumn moon

And like the moon a delight to all the people

The words catching in her throat, drawing sighs

So slowly her, her face stained with tears she shed,

With deep emotion, “Your father has gone to Heaven

O my son, there is no reason for me to live,

Now that your father has passed away. My dear son,

Rule the kingdom, I will take the path,

My husband took, before the day is out.

How could I live without my husband, held back by the hope—

Which long years of mutual pleasure still arouse

Of being reunited with him, when that never could be

More than a dream or mirage? I am going “ she said

With determination. But then her broken hearted son

Touched his head to her feet in devotion and firmly spoke.

“What use would I have for pleasures, what possible joy

In living if I parted from you?

First I willgiveup my life—and only then

Can you go from this world to heaven”. These words of his

Moistened with tears  from his lotus eyes, were the cords

Of a net that trappedher like a bird. And trapped she she stayed….

Sheldon Pollock

Sheldon Pollock has translated the Sanskrit poem into English  The inscription shows Kalidasa’s influence.

This epigraph and earlier Kumara Gupta’s Sanskrit epigraphs clearly show Kalidasa’s influence over a vast area from Madhya Pradesh to Nepal. More over irt shows that Kalidasa must have lived several centuries before these poems. Tha proved Art Historian Sivaramamurti’s view that Kalidasa lived before Gupta period because we could see his influence in Gupta sculptures.

The important points to be noted here are similes used by the poet. Kalidasa used similes mostly in good auspicious context. Here similes are not missed even it is about king’s death and queen’s grief.

Around the same time, we have over 1000 Sanskrit inscriptions from Central Asia to Southeast Asia. We know that Sanskrit is spoken or understood over a vast area. Moreover, Vedic sacrifices and Vedic Gods are also mentioned in those inscriptions.

***

The Cangu Narayan Pillar Inscription is a significant ancient inscription found in Nepal, primarily documenting the reign of King Mānadeva and his lineage. It is located at the Cangu Narayan Temple, a UNESCO World Heritage site. The inscription is divided into three sections, each etched on a different side of the pillar. These sections provide insights into the political, social, and religious landscape of the Licchavi period in Nepal.  

Key aspects of the inscription: 

  • King Mānadeva’s Reign:

The inscription details King Mānavanadeva’s lineage, his mother Queen Rājyavatī, and his accomplishments. 

  • Social and Religious Context:

It sheds light on the social structure, religious beliefs, and practices of the time, including references to deities like Vishnu (Hari), Lakshmi, and the concept of sati (widow immolation). 

  • Political Events:

The inscription also records military campaigns and territorial conquests during Mānadeva’s reign, particularly his western expedition. 

  • Licchavi Dynasty:

The inscription provides valuable evidence about the Licchavi dynasty, which played a crucial role in Nepali history. 

Specific details from the inscription sections:

  • East Side:

Describes King Vṛṣadeva, his virtues, and his rule, highlighting his prowess and the well-behaved nature of his sons. 

  • North Side:

Focuses on Queen Rājyavatī, her grief over her husband’s death, and her son Mānadeva’s ascension to the throne. 

  • West Side:

Narrates Mānadeva’s military expedition to the western lands, his victory over a rebellious feudatory, and his generosity towards Brahmins. 

The inscription is a crucial historical document for understanding the Licchavi period in Nepal, offering valuable information about the political, social, and religious landscape of the time. 

–subham— 

Tags- Nepal, Changu Narayan Pillar, Sanskrit, Poetry inscription, Queen and Prince,

How Goddess Meenakshi helped British Collector and King Tirumalai Nayak! 4 Miracles!! (Post No.14,844)

MADURAI KING TIRUMALAI NAYAK WITH HIS WIVES.

Written by London Swaminathan

Post No. 14,844

Date uploaded in London –  8 August 2025

Contact – swami_48@yahoo.com

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  

Madurai Meenaakshii Sundareswarar (Shiva ) temple is considered one of the wonders of the world. It is because it contains over 30,000 sculptures (stuccos) and paintings. The stone sculptures are carved with very great precision. A small mistake would have made the sculptor to restart the work again and work for many years. It had beautiful and tall towers during the visit of Tamil Miracle Boy Saint Tiru Gnana Sambandar around 600 CE. Sekkilzar of tenth century mentioned the tall towers in Peria Puranam; Sambandar mentioned just the towers. But the present structure has only one old tower built in 12th century by Sundara Pandya. Later Madurai Nayak Kings, particularly Tirumalai Nayak, and Nattukkotai Nagarathar Chettiyars added several towers and Mandapas/buildings.

The British took over the management of the temple when corruption was reported in the 18th century. There are several miracles of Goddess Meenakshi well documented in the temple records. Let us look at some miracles.

1

Peter Pandya alias Rous Peter

Rous Peter was the collector of Madurai between 1812 and 1828. He was a devotee of Madurai Goddess Meenakshi. He made lavish gifts to Madurai temple and Alagarkoil (Kalla Azakar) Vishnu temple.  He was popularly called Peter Pandya. It is said that once he shot a wild elephant and it started attacking him. Immediately he prayed to Goddess Meenakshi and fired another shot which killed the elephant. This story appeared in print.

Another popular version is that one day he was sitting in his court hall and writing a judgement during rainy season. At that time a beautiful little girl appeared before him and asked him to come out of the building. Attracted by her charm he followed her , but she disappeared. As soon as he came out of the building, it collapsed. He realised that it was Goddess Herself came and saved his life twice. As a thanksgiving he donated some jewels to the temple, and they are still used on festival days.

2

Tirumalai Nayak (1623-1659)

Tirumalai Nayak renovated the temple completely during his reign. His wife constructed Ashtasakthi Mandapam. During his reign the beautiful Pudumandapam in front of the temple was built. He showed personal interest in the development of the temple. He revived the Sengol/ sceptre Festival. This meant he was only a servant of Goddess Meenakshi who gives her golden sceptre to him to rule Her country . Since Greek ambassador Megasthenes (3rd century BCE) mentioned the Pandya queen in his book Indica, this must have started 2300 years ago.

Rev. William Taylor has recorded Nayak’s personal involvement in the administration of the temple to weed out corruption. It reports a miracle. Goddess Meenakshi (Parvati, wife of Shiva) appeared in Nayak’s dream and told him there is no care for me. Very next day he called the temple administrator and told him quietly, “for the future we ourselves will piously undertake the anointing, the purveying of offering food (prasaadam) to God, the robing of the images with garlands and flowers, lighting of the sacred lamps and the whole of the daily duties throughout the temple”. He also donated lands yielding 12,000 pons (gold coins) every year for the administration of the temple.

Later, from the first day of the month Thai, Eswara year, on the Makara Sankaranthi Day, he handed charge over to one Paranetha Pandaram, the son of the hereditary female lamp-lighter of the temple. This is recorded in a translation by Rev William Taylor.

3

Early Miracle recorded in Temple Document

In 1365, Kumara Kampana Udayar, a prince of the Vijayanagara Empire, invaded Madurai in Tamil Nadu after conquering many kings on his way. He sounded the death knell of the Muslim Sultanate which ruled Madurai for half a century. Ibn Batuda, the African traveller, has recorded all the atrocities done to Hindus by the Muslim sultans. Though he was a Muslim he was disgusted by the sultans massacring Hindu women and Children; he has given a graphic account of incidents which he saw with his own eyes.

When Kumara Kampana entered Madurai with his wife Queen Ganga Devi (author of Madura Vijayam in Sanskrit) he saw a miracle. Nelson gives a graphic account of the reopening of the Meenakshi temple after the elimination of Sultans:

“Kampana Udayar was taken on an appointed day to witness the reopening of the Pagoda (temple) and on his entering and approaching the shrine for the purpose of looking upon the face of God. Lo! and behold! Everything was precisely in the same condition as when the temple was first shut 48 years ago. The lamp that was lighted on that day was still burning and the sandal wood powder, the garland of flowers and the ornaments usually placed before the idol on the morning of the festival day were found to be exactly as it is .

This is not Nelson’s words. This is written in the Temple Record book called Seethala Kurippedu in old Tamil. Nelson has given a brief translation. And such a record written in the temple never exaggerates nor tell lies.

4

Fourth Miracle

My father V Santanam, freedom fighter and News Editor, Dinamani, Madurai was part of the 1963 Kumbabishekam (consecration done every 12 years) of the Madurai Temple. Then Kumbaabishekams were done in 1974 and 2009. During the last Kumbabishekam there was a controversy about the Consecration Date. A section of the temple priests was not happy about the chosen date. But it was already announced publicly. There was a big embarrassment about changing the date. At last, all the parties concerned, agreed to leave it to Goddess Meenakshi to pass a final judgement.  The modus operandi generally followed in such a dilemma, is to write YES and NO on paper bits and roll them out and put them in a pot. One from the audience of devotees is called at random, again by someone unconnected with this process, and asked to pick up ONE rolled paper bit. A little girl from the audience was called to pick up Yes or No paper bit on an auspicious day. To the surprise of all the girl picked YES paper bit. Then casually someone asked the girl her name, she said MY NAME IS MEENAAKSHI. Everyone was wonderstruck and had the hair stood on end (goosebumps, elation).

Miracles never stop. They do happen even today. My friend Siddhivinayakam on a casual telephone call from India told me how he named his baby daughter. When he was struggling with different names suggested by family members, he heard someone saying Meenakshi suddenly from unknown source. We call it Asariri, i.e. ‘not from human body’ or from an unseen person.

God Shiva and Goddess Meenakshi have been worshipped for at least 2300 years in Madurai temple. Now millions visit the temple every month.

–subham—

Tags- Madurai Temple, Goddess Meenakshi, Four miracles, Peter Pandya, Tirumalai Nayak, Kampana Udayar, Ganga Devi

Hindu Gods in Gupta Inscriptions (Post No.14,830)

Delhi Iron Pillar with Gupta inscription

Written by London Swaminathan

Post No. 14,830

Date uploaded in London –  4 August 2025

Contact – swami_48@yahoo.com

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  

Varaha Avatara in Udayagiri Caves, Gupta Period.

Kings of Gupta dynasty were great Hindus. Their rule is considered the Golden period of India. According to Chinese pilgrim and others, people slept leaving their house doors open. No theft, no robbery was reported; it was Rama Rajya. The kings called themselves Parama Bhagavatas, i.e. great followers of Lord Vishnu. But they donated liberally to all faiths. Their gold coins are in all museums of the world. British museum has displayed it at the entrance of the coin section.

Gupta inscriptions frequently depict and refer to various Hindu deities, particularly Vishnu and Lakshmi, alongside other gods and goddesses. The Gupta period saw a flourishing of Hindu art and iconography, solidifying the forms of many deities that are still recognized today. Vishnu is prominently featured, with inscriptions often associating Gupta rulers with him and emphasizing their role as his representatives on Earth.

Here’s a more detailed look:

•          Vishnu:

Gupta rulers often identified themselves with Vishnu. For example, an inscription from Govindnagar, Mathura, refers to a pillar dedicated to Vishnu. Vishnu’s boar avatar, Varaha, is also depicted in the Udayagiri caves, showcasing his importance.

•          Lakshmi:

The goddess Lakshmi, often associated with wealth and prosperity, is also frequently depicted in Gupta art and inscriptions. She is sometimes shown as Rajya-Lakshmi, associated with kingship and the coronation ritual, highlighting her role in legitimizing the ruler’s authority.

•          Other Deities:

Besides Vishnu and Lakshmi, other deities found in Gupta inscriptions and art include:

•          Karttikeya (Skanda Kumara, Mahasena): The god of war, often depicted with a peacock.

•          Shiva: Depicted with his mount, Nandi, and associated with the Udayagiri caves.

•          Brahma: The creator god, also found in the Udayagiri caves.

•          Adityas, Agni, Vayu, Vasus, Rudras, Rishis: Various deities and sages from the Vedic tradition are also represented.

In the Gupta epigraphs, the exploits of a king equalled to those of Indra . it is seen in inscriptions of Samudra Gupta and Mathura stone inscription of Chandra Gupta. Tamils also called the king, Indra. Tolkappiam named Indra as King, Venthan in Tamil.

In the Kusana and Gupta sculptures, Varuna is represented  as riding a crocodile and bearing a noose, pasa, of chastisement. He is also mentioned in the Mathura stone inscription. The Mathura pillar inscription of Chandragupta II is an important historical document from the Gupta period in ancient India. It records the installation of two Shiva Lingas by Udita Acharya in the “year 61 following the era of the Guptas”. This corresponds to approximately 380 CE, though some scholars like Harry Falk suggest a date of 388 CE. The inscription is found on a pillar in Mathura and is also known as the Lakulisa Mathura Pillar Inscription.

Neither Kalidasa nor Sangam Tamil poets mentioned the world Linga. But both have praised Linga shaped Kaliash. This shows Kalidasa lived before Sangam or Gupta age.

Kalidasa refers to the deity Surya having seven horses, all green in colour harnessed to his chariot—haridasva-Raghu 3-22.

Oldest Post- Vedic reference to Vishnu is in Panini’s Ashtadhyayi 4-3-98

An ambassador of the Indo Greek king Antialklidas named Heliodorus called himself bhagavata and erected a Garuda pillar in Besnagar in second century BCE.

Imperial Guptas called themselves Parama Bhagavatas according to Gadhwa stone inscription of Chandra Gupta II. Gupta coins also had the title paramabhagavatas.

This also shows Kalidasa lived long before the Guptas. A court poet always follows the state religion. But Kalidasa was associated with Vikramaditya of first century BCE and he praised Shiva sky high as Jagadguru in Kumarasambhavam and Parents of the Earth in Raghuvamsa.

A four armed Vishnu figure carved on a panel at Udayagiri is dated in the Gupta era 82, i.e. 400 CE.

Allahabad pillar inscription of Samudra Gupta mentioned Vishnugopa of Kanchi

****

Vishnu in Delhi Iron Pillar Inscription

The king in Delhi Iron Pillar is now generally identified with the Gupta King Chandragupta II. This identification is based on several points:

The script and the poetic style of the inscription, which point to a date in the late fourth or early fifth century CE: the Gupta period.

The inscription describes the king as a devotee of the God Vishnu, and records the erection of a dhvaja (“standard”, or pillar) of Vishnu, on a hill called Viṣṇupada (“hill of the footprint of Viṣṇu”).  Other Gupta inscriptions also describe Chandragupta II as a Bhagavata (devotee of Vishnu). The names of the places mentioned in the inscription are also characteristic of the Gupta Era. For example, Dakṣiṇa Jalanidhi (the Indian Ocean) and Vaṅga (the Bengal region).

The short name ‘Candra’ is inscribed on the archer-type gold coins of Chandragupta II, while his full name and titles appear in a separate, circular legend on the coin.

A royal seal of Chandragupta’s wife Dhruvadevi contains the phrase Śrī Viṣṇupada-svāmī Nārāyaṇa (“Nārāyaṇa, the lord of the illustrious Viṣṇupada”).

***

Surya -Sun god

Kumara Gupta’s Mandasor stone inscription and Bandhuvarma mentioned the repairs to a sun temple.

Kalidasa mentioned Surya with the word Savita in Rtu Samhara. God Surya is in the Rig Veda where ten hymns are addressed to him .  Adi Sankara made it as one of the six faiths (shan matha) of Hindus. It is called Sauram. Surya became Solar in European languages is a well-known fact.

The tradition preserved in the Bhavishya Purana that the first sun temple was built in Sindhu on the Chandrabhaga by Samba, , son of Krishna by Jambavati . she brought Maga priests from Sakadvipa. Varahamihira also mentioned that Maga- Sakadvipa Brahmanas should be appointed as priests in sun temples- Brhat Samhita 60-19.

Even today Sun cult is followed by millions of Brahmins in their daily ritual of Sandhyavandana and Surya Namaskar . And surya is associated with lord Vishnu in the Vedas.

Kalidasa refers to a temple containing an image of the  Sun deity and mentions people returning from that shrine, at the feet of which, obviously the feet of the image, –paadamuulam—their attendance was required-Vik 5-4

A sun temple standing in Multan on the bank of the Chandrahaga river—chenab—was seen by Chinese pilgrim Huen Tsang. The same temple which was seen by Alberuni four hundred years later was destroyed by Aurangzeb in the 17th century. The temple built by Samba, Krishna’s son must have existed for thousands of years in Multan.

Gupta Kings and their Dates:

Gupta

(c. 240 – c. 280)

Ghatotkacha

(c. 280–319)

Chandragupta I

(c. 319–335)

Kacha

(c. 335)

Samudragupta

(c. 335–375)

(Ramagupta)

(c. 375)

Chandragupta II

(380–415)

Kumaragupta I

(415–455)

Skandagupta

(455–467)

Purugupta

(467–473)

Kumaragupta II

(473–476)

Budhagupta

(476–495)

Narasimhagupta

(495–530)

(Bhanugupta)

(c. 510)

Vainyagupta

(c. 507)

Kumaragupta III

(c. 530 – c. 540)

Vishnugupta

(540–550)

The Sanchi inscription of Chandragupta II is an epigraphic record documenting a donation to the Buddhist establishment at Sanchi in the reign of king Chandragupta II (circa CE 375–415). It is dated year 93 in the Gupta era.

Art historian C Sivaramamurty in his book  EPIGRAPHICAL ECHOS OF KALIDASA gives a long list of inscriptions where influence of Kalidasa is very evident. He placed Kalidasa before the Gupta era, saying literature comes first and then paintings and sculptures follow it.  Sangam Age poets also proved it correct by using 200++ imageries of Kalidasa in their poems.

–subham—

Tags- Gupta inscriptions, Hindu Gods, Delhi Iron Pillar, Allahabad, Mandasor, Mathura

WALKING KUMBHAMELA! MILLIONS OF HINDUS MARCH TO HOLY GANGA RIVER.

THIS IS LIKE KUMBHAMELA ON THE MOVE; IT BEATS THE KERALA SABARIMALA AYYAPPA YATRA, PANDHARPUR HOLY YATRA IN MAHARASHTRA AND GIRI PRADAKSHINA IN TAMIL NADU AND ADHRA PRADESH 

How Kanwar Yatra is helping with the consolidation of Hindu Society

July 22, 2025 HINDU POST

कांवड़ यात्राः सामाजिकआर्थिकआध्यात्मिक और वैज्ञानिक दृष्टिकोण

July 23, 2025

FROM THE HINDU POST

The Kanwar Yatra is a significant annual pilgrimage in India, where millions of devotees, known as Kanwariyas, travel—often barefoot—to collect holy water from the Ganges River and offer it to Lord Shiva. The Kanwar Yatra is a pilgrimage undertaken by devotees of Lord Shiva, known as Kanwariyas, during the Hindu month of Shravan (July–August).

The Yatra is inspired by the legend of Samudra Manthan (churning of the ocean), where Lord Shiva drank the poison (halahala) to save the universe. To cool him down, devotees began offering Ganga water to Shiva lingams.

Another legend involves Ravana, the demon king of Lanka, who is said to have carried Ganga water in a kanwar to offer to Lord Shiva in Kailash.

Pilgrims carry kanwars—decorated slings made of bamboo—on their shoulders, with pots filled with holy water from the Ganges River, which they offer to Shiva temples, especially the Shiva lingam at places like Haridwar, Gaumukh, and Sultanganj.

This religious and social event has grown in scale and visibility over the years and plays a notable role in the consolidation of Hindu society. Here’s a detailed look at how it contributes to that process:

Cultural and Religious Consolidation

1.     Shared Religious Identity – The Kanwar Yatra reinforces a collective Hindu identity by bringing together people from diverse regions, castes, and economic backgrounds under a common spiritual cause.

Example:
A Kanwariya from Uttar Pradesh walking alongside one from Bihar or Delhi creates a sense of unity that transcends regional and linguistic differences.

2.     Revival of Rituals and Traditions – The Yatra revives and sustains ancient Vedic traditions, especially those associated with Shaivism (worship of Lord Shiva), reinforcing cultural continuity.

Social Cohesion and Community Building

1.     Volunteerism and Seva (Service) – Local communities often set up free food stalls (langars), medical camps, and resting places for Kanwariyas. This fosters a spirit of service and mutual support.

Example:
In cities like Haridwar and Meerut, thousands of volunteers—many of them youth—participate in organizing logistics, which strengthens community bonds.

2.     Intergenerational Participation – Families often participate together, passing down values and traditions to younger generations, which helps preserve cultural heritage.

Political and Organizational Mobilization

1.     Grassroots Mobilization – The Yatra is often supported by local religious and cultural organizations, which use it as a platform to engage with the public and promote Hindu values.

Example:
Organizations like the VHP (Vishwa Hindu Parishad) and local temple committees often provide logistical support, which helps them build networks and influence.

2.     Symbol of Hindu Assertion
In a pluralistic society, the Kanwar Yatra has become a visible assertion of Hindu identity in public spaces, especially in urban areas.

Digital and Media Amplification

1.     Social Media and Cultural Narratives – The Yatra is widely shared on platforms like Instagram, YouTube, and Facebook, where videos of Kanwariyas dancing, chanting, and performing rituals go viral. This digital presence helps spread awareness and pride in Hindu traditions.

Example:
Hashtags like #KanwarYatra and #HarHarMahadev trend during the season, creating a virtual community of devotees.

Challenges and Criticism
While the Yatra plays a unifying role, it also faces criticism for traffic disruptions, noise, and occasional clashes. However, many state governments have taken steps to manage these issues through better planning and infrastructure. On the other hand, most of the criticism is spread by highly biased and anti-Hindu brigade, who are always at horns with the Hindus.

The Kanwar Yatra is more than a religious journey—it’s a cultural phenomenon that strengthens Hindu social fabric through shared faith, community service, and public expression of devotion. As it continues to evolve, it remains a powerful example of how religious traditions can foster unity and identity in a diverse society.

—SUBHAM—-

TAGS- KANWAR YATRA, HINDU POST, BENEFITS, HINDU CONSOLIDATION, PICTURES

Tolkappian on Women in Business Trips!

tolkappian katturai

Written by London Swaminathan
Post no. 1192; Dated 24th July 2014.

Tolkappian was a great genius. Unlike other grammar works of the world, he added one more chapter to the usual grammar topics. The uniqueness of Tolkappiam lies in this last chapter called Porul Adikaram where he deals with the themes of literature. It gives lot of information about Tamil’s view of life, way of life, values in life and rules to write various themes in life. The most interesting point is his instructions about matters concerning sex.

Hindus have been following certain rules from the Vedic times. Though Sringara Rasa is dealt with in literature by poets like Kalidasa, explicit sex is not dealt with. Only in books like ‘Kamasutra’ of Vatsyayana we come across such things as explicit sex. It is not meant to be read by the common folks. It is probably meant for sexologists or psychologists who can advise youths in matters of sex. They can solve problems concerning sex.

Tolkappian , author of the oldest Tamil book Tolkappiam, advises people regarding topics on love.
Tamils have divided their literature into two parts Akam and Puram; Akam poems are about love and family life. Puram poems are about war, kings, death, values, poets’ lives, beliefs and generosity and philanthropy of kings and chieftains.

The first and foremost rule in Akam (love) poems is that you should never reveal the identity of the people involved. No name is found in Akam verses (Porul Adikaram Sutra-1000).

Tolkappiar says that wives are banned from foreign travel. When husbands go on travel for business, war or delivering messages, wives can’t accompany them.

Likewise when kings go on war expeditions, queen should not accompany the king (Porul Adikaram 1121). But musicians and dancers are allowed to travel with them. One of the powerful Tamil kings Senguttuvan took 102 dancing girls with him when he went to the Himalalayas to fetch a stone for Kannaki’s statue. But he left his wife at Vanji, the capital of Chera country (Kerala in South India).

cheran senguttuvan

Cheran Senguttuvan going in procession with Kannaki statue.

Mullaippattu and Nedunal vadai, two Sangam books, have vivid scenes of the camps in the battlefields. There we see women with swords guarding the camps, but not the queens or the wives of the army commanders. Some women were used to maintain the camps. Karpiyal section of Tolkappiyam has the rules for women in the camps.

Whenever some Tamil novels or films with explicit sex come out, big controversies erupt. People who oppose them quote ethics. People who justify them say that they are showing the real world. But yet whether it is real or artificial, fiction or fact, there are some norms to follow (Porul: 999):

Nataka vazakkinum ulakiyal vazakkinum
Patal Sandra pulaneri vazakkam (999)

In this sutra ‘pulaneri vazakkam’ is explained as only that is good, self controlled and cultured can be reported in writing.

Tolkaapiyar , in another sutra (couplet), talks about women’s virtues:
For the modesty and the simplicity in the act of love belong to the feminine nature, her amorousness will be known only by gesture and environment in accordance with the code of love.
Kamam thinaiyir kannindru varuum
Nanum madanum penmaiya (Porul -1054)
Even in the modern Western world, it is men who propose to women and not vice verse.

Please read my earlier posts on Tolkappiyam:—

Tolkappian – A Genius — posted by me on 12 September 2012
Did Tolkappian copy from Sanskrit Books? – posted by me on 10 September 2012
Who was Tolkappiar? posted by me on 9 September 2012
Agni in Tolkappiam – posted on 31 March 2014.
Indra in the Oldest tamil Book — posted on 14th June 2013
Vedic God Varuna in Oldest Tamil Book — posted on July 8, 2013
Four Tamil articles on the Age of Tolkappiam are posted in the blog.

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