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Introduction Page6 of 7 |
Verse 15: The Importance of Rain
W.W. It is rain that ruins, and it is rain again
that raises up those it has ruined.
W.D. Rain by its absence ruins men;
and by its existence restores them to fortune.
G.P. 'Tis rain works all: it ruin spreads, then timely aid
supplies;
as, in the happy days before, it bids the ruined rise.
K.B. It is the rain which causeth ruin and it is the rain
which, as the prop of ruined ones, doth lift them up again.
G.V. That which ruins the peasants, and, acting as succor
to the ruined peasants, revives them--all that is rain.
P.S. It is rain which ruins men; it is also rain
which lifts them up.
Verse 53, The Good Wife
W.W. What does a man lack if his wife is worthy?
And what does he possess if she is lacking worth?
W.D. If his wife be eminent (in virtue) what does (that man) not
possess? If she be without excellence, what does (he) possess?
G.P. There is no lack within the house, where wife in worth
excels,
there is no luck within the house, where wife dishonored dwells.
K.B. What is the good one lacks with one's own wife of virtuous
birth?
What is the good one hath with one's own wife devoid of worth?
G.V. What is lacking, provided the wife excels in those
accomplishments? What is there, if the wife does not do so?
P.S. With a good wife, what is lacking?
And when she is lacking, what is good?
Verse 90, Hospitality
W.W. The delicate anicham flower withers when merely smelled.
But an unwelcome look is enough to wither the heart of a guest.
W.D. As the anicham flower fades in smelling,
so fades the guest when the face is turned away.
G.P. The flower of anicha withers 'way if you do but its
fragrance inhale; if the face of the host cold welcome convey,
the guest's heart within him will fail.
K.B. Whilst soft anichcha flower doth wither away but when 'tis
smelt, a wry-faced look askance will cause one's guests to wither
and melt.
G.V. The anichcham flower will wilt on being smelled;
the guest will wilt on being merely looked at with a wry face.
P.S. The aniccam withers when smelt;
a cold look withers a guest.
Verse 92, Speaking Pleasant Words
W.W. Better than a gift given with a joyous heart
are sweet words spoken with a cheerful smile.
W.D. Sweet speech with a cheerful countenance
is better than a gift made with a joyous mind.
G.P. A pleasant word with beaming smile's preferred,
even to gifts with liberal heart conferred.
K.B. Ev'n more than gifting off with gladdened heart it is
worthwhile
to greet the guests with pleasing words along with welcome smile.
G.V. If one becomes a man of pleasant mien and sweet speech,
it is superior to giving with all one's heart.
P.S. More pleasing than a gracious gift
are sweet words heartfelt.
Verse 105, Gratitude
W.W. Help rendered another cannot be measured by the extent of
the assistance given. Its true measure is the worth of the
recipient.
W.D. The benefit itself is not the measure of the benefit;
the worth of those who have received it is its measure.
G.P. The kindly aid's extent is of its worth no measure true,
its worth is as the worth of him to whom the act you do.
K.B. No turn for help received is e'er a measure for each
measure.
It is dependent on the noble recipient's pleasure.
G.V. A reciprocal help is not to be limited to the extent of the
help
received; its extent is governed by the nobility of the character
of the recipient of the original help.
P.S. Not according to the aid but its receiver
is its recompense determined.
Verse 229, Charity
W.W. More bitter than even a beggar's bread is the meal
of the miser who hoards his wealth and eats alone.
W.D. Solitary and unshared eating for the sake of filling up
one's
own riches is certainly much more unpleasant than begging.
G.P. They keep their garners full, for self alone the board they
spread;
'tis greater pain, be sure, than begging daily bread!
K.B. Then e'en the begging far more painful is the act of one
who eats one's hoarded meal by oneself, sharing that with none.
G.V. More repugnant than begging is eating all alone
in order to make up the shortfall in the target of one's savings.
P.S. To eat alone what one has hoarded
is worse than begging.
Verse 252, Abstaining from Eating Meat
W.W. Riches cannot be found in the hands of the thriftless, nor
can compassion be found in the hearts of those who eat meat.
W.D. As those possess no property who do not take care of it,
so those possess no kindness who feed on flesh.
G.P. No use of wealth have they who guard not their estate;
no use of grace have they with flesh who hunger sate.
K.B. The blessings of the wealth are not for those who fail to
guard.
The blessings of compassion for the flesh-eaters are barred.
G.V. Profiting by wealth is not for those who do not cherish it;
profiting by charity is not for those who eat flesh.
P.S. The fruits of wealth are not for the wastrel.
Nor of grace for a meat-eater.
We have omitted the third part of the Tirukural from this
translation for several reasons. Firstly, as monks, the section
was too sensual to allow our involvement in the translation.
Secondly, the book is designed in large part to engage and
interest youth and children, and this section seemed
inappropriate for them. Thirdly, it frankly seemed less relevant
to modern life and experience, being an ingenuous romantic
dialog. Finally, these last twenty-five chapters are so much out
of character with the rest of the book that we even wondered
whether they might be the work of another author. The structure,
language and approach is completely different from all that has
preceded it. Even the subtlety of thought is not nearly so great.
There is also a logic that says that Tiruvalluvar wrote 108
chapters because of the auspiciousness and meaning of the number
108 in Hindu tradition. The names of God are 108. The number of
beads on a mala for the performance of japa, repetition of God's
name, are 108. Note that 108 adds up to nine, so auspicious in
Hindu numerology, and 1,080, the total of all the verses in the
first two sections of the work, does as well, providing a
built-in mystical blessing. That he would have composed 108
chapters is a logical assumption, and that the style changes so
radically is, to us, a further negative indication.
This last section, called Kamatupal in Tamil, deals with passion
and love. Chapters 109 to 115 are about a young man and a maiden
who fall in love and flee into the forest to live, without
benefit of a formal marriage. Chapters 116 to 133 are about their
life as man and wife, about the pains of their temporary
separations, about the merits of feminine wiles and coyness and
the pangs of jealousy. All the verses are the spoken words of one
of four characters, the man, his lover and their two intimate
friends.
To give readers a sense of the 25 chapters not included in this
book, here is a selection of verses from the translation by our
friend, Tiru G. Vanmikanathan.
1081 "(He to himself on seeing her for the first time) Is
she a nymph? Or a rare kind of peacock? Or woman with heavy
earrings? Sorely perplexed is my soul."
1167 "(She to her lady-in-waiting who said that one should
swim across the sea of passion with self-restraint as a float) I
have swum about in the cruel sea of passion and cannot find the
shore. Even at midnight, I am all by myself."
1261 "(She, out of eager desire to meet him again) My eyes
have lost their luster and have become weak watching for his
coming; my fingers are worn out going over the markings on the
wall keeping tally on the days that have passed since his
departure."
1114-5 "(He to her lady-in-waiting after leaving the
bedroom) I told her 'I love you more than anyone else.' She
immediately went into the sulks, crying, 'More than whom? More
than whom?' I told her, 'I will never leave you in this life.' At
once her eyes filled with tears for fear that I may desert her in
other lives."
1171 "(She to her lady-in-waiting, who said: 'Your eyes have
lost their beauty through weeping ; you should control
yourself.') Is it not through these eyes showing my lover to me
that I suffer this unremitting illness? Why do they weep
now?"
1172 "These collyrium-painted eyes which looked on (my lover
that day) without inquiring (into the consequences), why do they
now suffer torture without realising (their fault)?"
1173 "These were the eyes that rushed to see (my lover that
day); today they themselves weep. This is laughable."
1174 "After bringing upon me this unbearable interminable
malady, these collyrium-painted eyes have so dried up that they
can no longer weep."
1175 "My eyes which caused this love-sickness which the sea
cannot match, now suffer torment without closing in sleep."
1176 "Oh, it is delightful indeed that these eyes which
caused these diseases in me have themselves come to this
state."
1177 "Let these eyes which longingly and meltingly looked
unceasingly at my lover (that day) suffer and suffer (today) and
become bereft of tears in them."
1179 "(She to L.i.W., who said: 'You should compose
yourself, and your eyes should close in sleep.') If he does not
come, they will not sleep; and, even if he comes, they will not
sleep (for fear of his going away): in either case, the eyes
undergo unendurable suffering."
1211 "(She to L.i.W. on dreaming of a messenger to her
husband) How shall I entertain the dream which has come bearing a
message from my husband?"
Oddly, it is traditional in Hindu architecture to have licentious
images in view as one approaches a temple. It was explained to
me, as a wondering young man, that to stimulate the sexual nature
through thought in turn heightened the quality of worship. This
means that once stimulated a little upon entering the temple,
that same energy would pass up the spine during worship and quiet
the mind. All this was explained to me by Tiru Kandiah Chettiar,
who adopted me into his family during my 1949 stay in Sri Lanka.
He told me that this was also done in certain books, like the
Tirukural. It was, he explained, a literary tradition to add a
sensual last chapter to a book, perhaps centuries after the book
was written, to capture readers. He said that some scholars and
elders postulate that the section on love was added to the
Tirukural, with many sensual verses, to bring readers into the
weaver's more serious subjects.
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