Translation:Tolkappiyam/Residual aspect

by Tolkappiyar

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Source in Tamil

Note

The serial number at the end denotes the verse in the part of the literature

Translation

Example to the verse, cited by Elamburanar, an interpreter to the literature ‘Tolkappiyam’ who belongs to 11th century A.D. and others is given indented star-mark.

This chapter deals with the subject matters of residuals in the previous two chapters.

Basic notes to follow

Some kind of principles followed by in clandestine love and wedded life period are revealed in this chapter.

Theme in poem

1. Inferring subject matter is one and the same even if the poem sung in different music but with the same syllabic sequence, the learned says. (1)

Monologue etc.

1. Hero and heroine thought and speak themselves leaving aside true knowledge by six senses; revealing the pain and bliss on their passion of union-love rising through eight-fold emotions. They speak with their heart as others of worldly beings are having feeling and sense and they are defying their utterance while they are answering or doing nothing from their part. They speak by words of similes and hinted-metaphor. (2)
2. They also dream in their style above. (3)
3. Mother also feel, speak and dream as above. (4)
4. Feminine feelings are common to four relating people (heroine, maid-friend, foster-mother and mother) of personal love. (5)
5. Soul feelings of intimacy, modesty and ignorance of world’s trend are three feminine qualities that are common to the four women noted above. (6)
6. The heroine being alone without her beloved speaks to her withered completion and leaned arms as they are doing so knowing her anguish. (7)
7. The heroine does not blame the hero but blame her despaired body and soul during her partial separation. (8)
8. She speaks with her thought while she is in lonesome place. (9)
9. She always speaks in her innocence where she is not in the brim of love-feelings and longing for union with him. (10)
10. The maid-fried [thoo’zi] does not reveal her heroine’s clandestine love any time to other person. She forwards to her foster-mother when it is ripped. (11)
11. The ripped moods of revelation are seven as, when her lady is humiliated, - to adorn her lady before her foster mother, - to reveal her lady’s passion, - to explain position of her lady, - if her mother asks about the lady (heroine), - in critical position, and the foster-mother happened to see him with her (hero with heroine). (12)
12. Maid-fried expresses by word of mouth about her lady’s clandestine love only in critical position. However the foster-mother will read on her (heroine) behavior. (13)
13. Humility [se’r’ivu], feeling satisfaction [n”ir’aivu], perfection [se’mmai], speak more [se’ppu], knowledge of happenings [ar’ivu] and Excellencies are qualities of feminine gender. (14)

Wedding signals

1. Heroine’s signals to hero that she wants to marry him (that she does not want to meet him in clandestine love) are - pointing the peril of route, time of hero coming to meet her and her free-less position tightened by her parents in fortress, - feeling herself for the past connection between them, - afraid of his safety, - diverting him of approaching her, - requesting him not to come to meet her, - speaking enjoyment of result being adverse, - etc. (15)
2. Speaking the worldly procedure to be followed beyond passionate mating is also a marriage signal of heroine to hero. (16)

Hero

1. The hero may come to meet heroine riding a horse, mounting on an elephant or horse-chariot. (17)

Some procedures followed

1. Things that do not have eating capacity some times are spoken that they have eaten something. (18)

Ye! My heart! Fetch my eyes together with you, because they are eating me to see him. (Example to 18)

1. The heroine will accept his (hero’s) thought of earning wealth in the concept of being aware of value of wealth that provide kindness, virtue, bliss, prestige etc. to their future life, and earning-less life will end in opprobrium. (19)
2. To defy the willingness if the heroine to come along with him in his Endeavour, he explain route of aired track. (20)
3. The poems should follow the themes of learned ancestors. (21)
4. Even it is spoken as natural habit of earning by way of wrong Endeavour, it is damnable. (22)
5. Blamable earnings are humiliated. (23)

Some words of usage

1. Hello [e’llaa] is a common word of vocative case used in both masculine and feminine genders. (24)
2. The word of first person plural is used in singular that which denotes intimacy. (25)
3. Word belonging to one gender will be used in other gender in love affairs. (26)
4. Lust is common to all living beings. (27)
5. Concubine relation is common to all people of four land track. (28)
6. The heroine insists the hero to marry her or elopement along with him in order to establish her privilege, - as there are cases of leaving woman by man, - in fear of whispering campaign of gossip of budding stage and fruiting stage will flourish their clandestine love, - while her parents watching her relation. (29)
7. While speaking their grievances pitying blooms. (30)
8. Husband will fall on below his dignity before his wife while she is in feigned dislike with him. During that time the wife stands in pride of dignity. (31)
9. In this context husband praises his wife’s sublime. (32)

Hinting metaphor [ir’aicci]

1. Hinting metaphor based on life materials of land track will speaks on track habits. (33)
2. It is a kind of reading of subject abstraction from the spoken materials. (34)
3. Abstraction of kindness inferred from the spoken materials of aired land (spoken by heroine) is also an indication of signal that she wants to accompany with him during his (hero’s) departure. (35)

Some indications

1. Hero’s praising heroine in clandestine love course is a sign of separation that he had already decided. (36)
2. Wife praising the concubine is also a kind of love quarrel. (37)
3. Wife reads his (husband’s) mind by praising his concubine. (38)
4. During love mating there will be no words of praising. It appears in the part of concubine. If it appears it is a kind of love quarrel that indicates her intention not to leave her in future. (39)
5. Time of future will be said that it has elapsed by her (heroine’s) extreme innocence, distress and awe. (40)
6. The maid-friend of heroine will stop away the hero praying for unification. She advices him of life’s troths, says folly words, plead him earnestly. (41)
7. Hero speaks words in his pride of conscience, wavering mind and doubtful mind when he has a chance meeting his lover (heroine) for the first time. (42)
8. Maid friend of heroine will always stand in steady position protecting her lady from falling in love of unwanted. It is her duty also. (43)
9. Words of excellence, she (maid-friend) will express counseling. (44)
10. As a mediator she will also utter her words. (45)

More kinds of words

1. Words of auspicious, inauspicious, metaphorical, etc. are also used to convey meaning. (48)
2. Four kinds of emotional words; expressing anger, innocence, pinning and begging are used to highlight the expression. (49)
3. Usages of vocative expression [annai] mother and [e’nnai] my mother, will appear in both vocal and writing forms says the learned. (50)
4. Sense of comparison [oppu], fright [uruvu], dislike [ve’r’uppu], woman’s behavior of chastity [kar’ppu], admiration of beauty [e’zil], complexion [saayal], modesty [n”aan’am], innocence [madan], pain [n’’oo’y], eager [ve’tkai], enjoyment [n’’ugarvu] are some of the words only to be mended without sight. (51)
5. But there is no world Here or Upper without these senses of feelings. (52)