In this episode, we perceive the absolute trust in a patron’s protection, as portrayed in Sangam Literary work, Puranaanooru 397, penned about the Chozha King Kulamuttrathu Thunjiya Killivalavan by the poet Erukkattoor Thaayankannanaar. The verse is situated in the category of ‘Paadaan Thinai’ or ‘Praise’ and describes in detail the moments of meeting between the ruler and supplicant.

வெள்ளியும் இரு விசும்பு ஏர்தரும்; புள்ளும்
உயர் சினைக் குடம்பைக் குரல் தோற்றினவே;
பொய்கையும் போது கண் விழித்தன; பைபயச்
சுடரும் சுருங்கின்று, ஒளியே; பாடு எழுந்து
இரங்குரல் முரசமொடு வலம்புரி ஆர்ப்ப,
இரவுப் புறங்கண்ட காலைத் தோன்றி,
‘எஃகு இருள் அகற்றும் ஏமப் பாசறை,
வைகறை அரவம் கேளியர்! பல கோள்
செய் தார் மார்ப! எழுமதி துயில்’ என
தெண் கண் மாக் கிணை தெளிர்ப்ப ஒற்றி,
நெடுங் கடைத் தோன்றியேனே; அது நயந்து,
‘உள்ளி வந்த பரிசிலன் இவன்’ என,
நெய்யுறப் பொரித்த குய்யுடை நெடுஞ் சூடு,
மணிக் கலன் நிறைந்த மணம் நாறு தேறல்,
பாம்பு உரித்தன்ன வான் பூங் கலிங்கமொடு,
மாரி அன்ன வண்மையின் சொரிந்து,
வேனில் அன்ன என் வெப்பு நீங்க,
அருங் கலம் நல்கியோனே; என்றும்,
செறுவில் பூத்த சேயிதழ்த் தாமரை,
அறு தொழில் அந்தணர் அறம் புரிந்து எடுத்த
தீயொடு விளங்கும் நாடன், வாய் வாள்
வலம் படு தீவின் பொலம் பூண் வளவன்;

எறி திரைப் பெருங் கடல் இறுதிக்கண் செலினும்,
தெறு கதிர்க் கனலி தென் திசைத் தோன்றினும்,
‘என்?’ என்று அஞ்சலம், யாமே; வென் வேல்
அருஞ் சமம் கடக்கும் ஆற்றல் அவன்
திருந்து கழல் நோன் தாள் தண் நிழலேமே.

Yet another poet praises this much-celebrated Chozha king. The poet’s words can be translated as follows:

“Venus was ascending on the dark and vast sky; Birds in their nests perched on tall branches were voicing out aloud; Flowers in the ponds were opening their eyes; Slowly, the moon was dimming its light; Music was soaring as the thundering drums and right-whorled conches resounded; Appearing on such a morning that had seen the rear of the night, I sang, ‘Listen to the sounds of dawn that scatters away the remaining darkness in this well-guarded encampment, O lord, wearing a well-woven garland with many flower-knots, Arise from your sleep!’ I sang so, as I beat on the skin of my clear-eyed huge ‘kinai’ drum, appearing at his tall gates. Liking that very much, he said, ‘Here’s a supplicant who has come seeking my grace’, and rendered under to me hot meat, well-fried with spices and copious ghee, along with fragrant toddy brimming over from a gem-studded bowl, as well as white floral cloth with a texture, akin to snake skin. All this, he showered upon me with a rain-like generosity and ended my summer-like poverty by this offering of rare and precious gifts.

Forever with red-leaved lotuses blooming in the mud, and the fire that is born from the just prayers of priests, who perform six duties, shines this land, and he is the ruler of this domain, the one with the victorious sword who conquered islands many and adorned himself with their gold, the great Valavan. Even if the huge ocean with roaring waves is in its final days and even if the sun with its scattering rays appears in the south, saying ‘What?’ we shall never fear. For we are the ones, who live in the cool shade of his powerful feet, adorned with well-etched anklets, and he is one, who has the power to conquer any battlefield with the skill of his white spear!”

Let’s delve into the details. The poet begins by sketching vividly the world outside when he went seeking this patron. He talks about Venus rising in the sky, birds singing their morning songs from their nests, and how the moon was turning down the dial on its brightness. Just then, drums and conches resounded in what could be a tradition of waking up kings. The poet says, on such a morning, which was seeing the night walk away, he appeared at the gates of this king and woke him up by playing on his kinai drum and singing aloud, asking the king to listen to the sounds of dawn that was chasing away the last of the darkness left. Let’s make a note of these elements of the morning and return to it shortly. 

Hearing the song and drums of this poet, the king seems to have liked it very much and reflected on how the supplicant had come to him with hope. To fulfil the wishes of this hopeful person seeking his graces, the king rendered unto him, food in the form of ghee-fried, hot meat, drink in the form of toddy in a gem-studded bowl and clothing in the form a floral garment that seemed like snake skin, so well-stitched and soft, the poet details. He talks about how the plentiful raindrops of the king’s generosity fell on the parched and barren summer of his poverty. That image captures the joy and delight of a land looking to the skies for relief from the harsh heat of summer and etches the elevated place rains occupy in the psyche of the people of this region. 

Returning, the poet then describes the land of this ruler as one with lotuses forever blooming and the fire of justice kept alive by priests. He portrays the king as one who won islands and adorned himself with their gold. Although the poet says not which island, this stands testimony to the power of the Chozha navy in Sangam times. Finally, the poet concludes with the words that even if the oceans end and the sun rises in the south, they will feel no fear or worry because they remain at ease in the shade of this wining king’s protection. Unshakeable trust indeed! 

Interesting how the poet does not say ‘even if the sun rises in the west’, which is what we normally say to talk about the world going topsy-turvy. Perhaps, the poet is a little more practical and prefers to go halfway to the south rather than all the way to the west! Returning to the moments of the morning this poet met the king, I was struck by all the music in the air just then. Drums are resounding, conches are being blown, and the poet too is playing on his Kinai drum. Even as he plays, he tells the king to listen to the sounds of the dawn. He doesn’t say ‘feel the morning breeze’ or ‘taste your morning beverage’ or ‘smell the fragrance in the air’. The sense in focus here is sound! Tangentially, this made me think of the practice in the Hindu religion to wake up sleeping gods with music and mantras. The similarity in a bard’s waking up a king and priests’ waking up gods, employing music as their tool, struck me as a significant element of culture, whose causality and connection should be reflected upon!