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The Sanskrit interaction in the literary style..
115
The incident is just used by the poet to introduce the hero into the story with a suggestion regarding his valour. But in the Cc, seven verses in the Kuņamālaiyar ilampakam describe the encounter which Civakan had with the wild elephant 1 Though the incident has the significance of making Civakan and Kunamalai meet under circumstances calculated to cause love in their hearts, this has been exploited by Tēvar for a skilful delineation of the heroic sentiment.
The three battle scenes in which Civakan conquers the hunters who stole the cows of the cowherds, the kings who fought against him after the svayamvara of Kāntaruvatattai and Kattiyankāran are places in which Tēvar has evoked the sentiment of heroism by a skilful use of rhymes, alliterations and assonance. The dexterous use of weapons, the anger in the hearts of the warriors, the sternness shown in killing the enemy etc. are described in detail in such a way as to bring out the sentiment vividly.
The battle scene also gives rise to the sentiment of the odious, viz. bibhatsa. The following verse is a good example of a verse depicting this sentiment:
kuţar vāňku kuru narikal ko!u ninap pular cērrut totar rānku kata nay por ronrina toțittin to! patar tirak kon elunta paravaikal pața nākam
utana kontelukinruv uvanappulottarave.2 (The foxes which were pulling the intestines among the mud of fat, looked like the dogs which were pulling the chain The birds which took the shoulders (of the dead body) in the sky in order to be relieved from the thought of searching for food, looked like garudas up with hoodecobra.) The verses of this kind remind one of the poems in th: Paraņi literature in Tamil.
In the scene in which Vicayai gives birth to Civakan in the burial ground Tēvar scales the peak of Karuņa rasa. Her desolation is well described in the follo. wing stanza:
parra manna nakarppuramār påyal piņañc cul cuțu katal urrår illat tamiyanál otunkal ākat iünk truļal marriñ ñalam uțaijāy ni valaru marum ariyênál
erräy itu kant ēkātēy irittiyāl en in uyira. 3 Adbhuta rasa is brought into play in scenes involving magic spells and in other super natural incidents. The scene in which Nantaţtan fights with his enemies in his chariot which is flying in th: sky, the scene in which Kāntaruvatattai uses Ankamani mantra (a mantra which enables one to fly in the sky) to enable Nantatgan to go
1 Cc. vv. 977-983. 2 Cc. v, 2242. 3 Cc. v. 310. For the translation of this verse refer supra p. 12. 4 Cc. vv. 793-796.
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