AKAM 260

Tiṇai:

Neytal

Author:

MISSING IN VMS MS ((mōcik karaiyaṉār)RAJAM)

Translation:

V. M. Subramanya Ayyar (1975) [IFP, unpublished]

Original MS location:

IFP Library [TA LIT-CL 180 (1)(2)(3)]

Original data entry (VYAPTI format):

Ramya (1999-2000, IFP)

HTML conversion, text revising & editing:

jlc

Date of last revision:

2002/10/14

Table of contents (by lines):

(1-10) description of the happenings at the end of the day

(10-11) the companion's anxiety for talaivi's condition

(12-15) talaivi's reply to her friend's anxious remarks

Colophon(s):

MISSING IN VMS MS ((iravukkuṟikkaṇ talaimakaṉ ciṟaippuṟamāka, tōḻiyāl col eṭukkappṭṭu, talaimakaḷ colliyatu)RAJAM)

Syntactical link:

see below

Difficult words:

see below

Variant readings:

see below

Notes:

see below

:

• The mountain is bathed in the yellow rays of the sun and is bright (1).
• Swarms of bees dart into flowers and hum (2);
• flocks of crane settle on the fragrant screw-pine in the sea-shore garden and make a great noise (3)
• The crabs that are running in the sand hide themselves in their holes in the earth (4)
• The waves have stopped making roaring noise fishing boats have forgotten their work of being used for catching fish (5)
• The sky has changed into crimson red (6);
• The aṉṟil which is always in the company of its female (6)
• returns and perches on the inside of the leaf of palmyra which is growing in the mound of fine sand (7);
• The flowers in the back waters close their fragrant petals (8)
• The fragrant flowers in the back waters close their fragrant petals (8)
• The fragrant flowers of the mast-wood tree (9)
• which grows in the home-garden (8)
• blossom and are bright like gold (9);
• The sun (1)
• having ended the day gradually (10)
• has diminished in its severity of heat.
• If the night arrives, (10)
• what will be the fate of talaivi ? (11)
• (thus the companion began the conversation).
• The talaivi replied : "At midnight when the demons start to roam about (13)
• the old rock-horned owl which has a broken beak and is always residing in the old tree (12)
• without leaving it even for a short time, (11)
• suddently cries (13);
• that talaivaṉ who is without affection towards me (15)
• inflicted on me a grief to make my heart melt (14)
• I believed his skilful words (15).

மலை நிறம் கிரை(1), வண்டினம் மலர் பாய்ந்து ஊதக்(2), குருகினம் ஒலிப்ப(3), அலவன் அளை வயின் செறியத்(4), திரைபாடு அவியத், திமில் தொழில் மறப்பச்(5), செக்கர் தோன்ற அன்றில்(6) பெண்ணை அகமடல் சேர(7) மலர் முகம் கரப்பப்(8), புன்னை நறுவீபொன்நிறம் கொள்ள(9) எல்லை பைபயக் கழிப்பி(10), மண்டிலம் மழுக(1) எல்லுபறத்(10) தான் யாங்கு ஆடுவள் கொல்(11) (என்று தோழி உரைப்பக்) கழுது வழங்கு அரை நாள்(13) பருவரல் செய்த(14) அரின்பிலாளன் அறிந்தேன்(15) (எனத்தலைவி கூறினாள்).

கண்டல்

- mangrove.

குருகினம்

- flock of cranes.

முரவுவாய்

- broken beak, making noise.

குழற

- to cry.

கூகை

- rock-horned owl.

எக்கர்

- mound of fine sand.

கழிப்ப

- having spent.

சொல் எடுக்கப்பட்டு

- having initiated the talk.

தாழை

- fragrant screw-pine.

தது மென்

- quickly.

அகமடல்

- inside of the leaf.

அளை

- hole in the earth.

Special notes:- From மலைநிறம் கிளர to புன்னை பொன்னிறம் கொளாஅ are what happen at sunset. மண்டிலம்(1) எல்லை கழிப்பி(10) மழுக is the prose order. மழுக need not be added after கழிப்பி(10) would be the prose order. The companion remarked "what will the fate of talaivi?," taking pity for the talaivi's inability to bear the grief. Even before she could finish her words, talaivi replied, "I had mistaken the deceitful words of talaivaṉ." She was of the opition that the friend's sympathy for talaivi's grief was of no use, as she was solely responsible for believing talaivaṉ's words, on account of her own ignorance.

Some editors have published the line beginning "திரைபாடவிய (line 5) as the 4th line, and the fourth line beginning with the words கரையாடலவன்' as the fifth line. But C.W. Tāmōtaram Pillai has correctly published this stanza. Moreover Pērāciriyar and Nacciṉārkkiṉiyar in the chapter on prosody (cūtram, 921) have quoted the lines, beginning "கண்டற் கானல்' and "கரையாடலவன்' as illustration for alliteration at the beginning of the lines. Therefore, it should be the correct order of these lines.

The first three lines have been quoted in the commentary on prosody, cūtram 78, by Pērāciriyar to illustrate that an idea can be conveyed by two cīrs, three cīrs and four cīrs.