102 CHAPTER Si23, p. 120, AV 174), are different from the marriage gift (mulailit. diprice of woman's breasts').' In TP and IA, the love-token present is not referred to though TP mentions gifts relevant to the purarn themes (parici)5' in which kings and chieftains donate gifts to krittar (dancer), ptitlar (bard), par ruin (war bard), etc. 'Rejection of the present being a token of his love' is referred to as a sub-theme of cet:patai in A V 144.6.9_1.2. cib-K4ai the maid putting of the hero, who conies for the first time to request her to arrange a meeting with the heroine':1) Lit. 'put [him] off'; tictztai" 1:b /Mita! IP(2) IA: ing FL/vim:Fir..111 kurai nahrappittalpakeirk iravuicktiri(3). IA C and A V: iraratupiuzirrai +ftaiyurai 'gift') -4 ctlpfiai). 'natal kiirrig nirkyappititil ktlyarn pakinrktiriiramorologri(4) turais: ircaltvirmairrni kurai maruttat matial ktirm-tidakkai(N,B.) stands for the application of a term of later origin..means that some other events occur between. the 'HMO situatioliz:i.6.9..2. As seen above, there is much variation among the grammars in formulating the main situation of pisirikiyyrimgant This may signify that there are few poems which arc illustrative of a formulation by a graininar. We shall now look into each still.-pliazie of parikibrirktiParri in a different order than the one adopted by erudite works {ix+ liegin.ning with the discussion of mcqcri erzital)..6.9.2.1. Tnifqrs1 it-Fitai (to ride a palmyra horse) in the poetry.: We have at lea....4.1 ten, poems dealing, with triafat {} EIT. 14, 17, 32, 173.ce!pafai +Copyrighted rn ateriPA .1j4rKI K OTTA M 107182; }far. 146, 152, 220. 342. 377) in the earliest r.extt...i."'2 K. N'..Zvelebilraises questions about matai erritot, such " it only an imaginaryconvention of ancient Tamil poetry, or au actual cusitomr, -To what extent was it rituailizedr. and -Has the asst err convention survived in medieval and modern periods and/or did it un.4.1ergo further evolution in literature?" (I A?, pp. 2 ff.). Flowever, what we want to clarify here Li in which sequence of love events mat i ilitztai occurs,in other words, what AV' till' causes, the airash and the results of rnatai First.. we will look into the custonis.- pertinent to Matta described in the earliest texts. Kur. 173 illustrate them fairly well,When I throw cuff my shame anti mount the hopping horse made of palm stem,zied with a many-stringed garland of rightly-wrapped and fresh flowers from Lhe golden Litirasto make the hells. or its neck ring,shouting, the sort of womanwho would do this to me,making !he love-sickness that destroys Mt' grow and grfPW:the village will blame her to her face. I know what. I am doing_I too lit Et).(tr. M.S. fill i iffid D.E. Liddell. KT,The 4....-omponents ofmatal drr tal. including those depicted in .Kur. 173. are:1. the mato.' horse i ma, main) is made of paim3.-ra stems (ponoi., pcY.F.tai): in Kra.. 173:2, it is mentioned as `the animated horse made of the paLmyra stems- partai-past;-.1..-ali-Trat*inNar. 146:3. the horse h..; 'mad.e of long and large palmyra stems (nqum nutta-i-ap);2, garlands dectuate the 'horse' (Kw. cf. Kral. 138;9, 139:8 Oqand the hells hang round its neck (K r. 182:2. also. Kur. 173:2. N4r, 220;1-3); that the way these momenta were !wird as decorations was formalized i s proved by the expression, r big garland with bells i. put on "according to rules." (mapi arp per-tm tar marapu-ilKur. 182:2);3. the hero I...Tars garlands of errIkkam. flowers (Kilr. 17:1-2. Mar. 159. cf. Kat. 139:8-10); erukkayri (Calotropis gigatitea, cf. DEDR 814) is a flower which. according to M. S. Pillai, "oozes a putrid white juice..as Triocif iN treated in. six pprins of the Late ciaRsical text, Kru. (Xat s, 61,138_ 139_ 140. 141).Copyrighted material108 CHAPTER SIXShiva wears the erukkairn flowers in his dance of the destruction of the worlds, for they are the flower of the cremation ground" (KT, p. 121);4. the hero throwing of his shame (Irtzr. 173, 182; cf. Koi. 138) proceeds through the streets of the noisy village with his matal 'horse' (Kur. 32, 173, 182 Nat. 146; d Kai. 61, 141); also, sometimes., with a group of children following after him (Nor. 220). Then, according to Kw-, 173, he mounts the 'horse' and shouts, This is what such a woman did [to mer(innal ceytatu itti);5. the villagers respond to him, saying, This man is the husband of the fine lady" (naliog karpruiD Ravi Kur. 14) and they "Mame her (i.e+ the heroine) to her face" (mutt raiirry at* i nutreaurn irottfir;'Cur. 173).There are ten poems dealing with moat frutal: in nine poems, apart from Kur. 17, the speaker (kuiTu) is the hero, and the listener (ketprir) is also the hero or his hearty The colophon states that in Kyr. 17, the hero speaks to the maid;When love is ripe beyond bearing and goes to seed,men will ride even palmyra stems Eike horses; will wear on their h.each the reeking cones of the erukkam bud like flowers; will draw to items olives the gossip of the streets;and will do worse_"(tr. A- K, Rarnanujan, IL, p 27)hi spite of what the colophon says, the poem makes no 2nention of the speaker and the listener, so, according to the dam tradition, either the hero or the maid may he presumed to be the speaker. If we consider the maid to be the addresser in the poem, the most probable situation is that she tells the heroine of rnen's nature so as to induce her to accept the hero's request to have a meeting, that is, icurai rutyaffrittaLIf, on the other hand, we consider the hero to be the addresser hi KIM. 17, as mentioned by the colophon, the addressee is the maid, which may also be inferred from other evidence. In _Kur. 173, for example, the hero who is in two minds about riding a palmyra horse says to himself, 'As I have considered in that manner, I will proceed in thisSZIO niy in .NErr 148 among the ten poems, dom the hr:rn. explicitly say to his heart, which has inclined to Is tat "0 deluded heart (nriicura), fearing the black-coloured lady" (IL l0-11).61 'worse', in the original ipiritum dkupal (`they [who ride on a maial horse) would become the nit hell' [thing] CVS annotates on it Gaying that ;Dili to'ciatataikurive varsipdytar (to leap from a muuntain to hill hitmelf).Copyr igh led rn ateri alPA JPr KiITTAM 109manner (Le. ride the -horse')."55 In Kur. 32 also, he hesitates about whether to mount the raafal horse and says to himself, "If I should appear in the streets with the tna!al horse and proclaim openly [our love], it would mean a blame. But if I should live away from her life [without her] itself would be filled with fabehoo-d."56InNar. 152,L he says in perplexity, "What would become of me [after riding the rnaat horsers7 The motivation in these poems is the hero's hesitation as to whether he should undertake meat irutal or not. In contrast, in Nur. 17, the spea.ker (i.e. the hero) tells about men's nature, but not about his hesitation about mounting the matal horse, so naturally he does not have to tell himself this. Hence the only suitable addressee appears to be the maid..Tradition says that when the hero speaks to the maid about ma a1 E-rritai. he is 'threatening the maid" to arrange a meeting with the heroine,m but this interpretation is doubtful since the act of 'threatening the maid (i.e. indirectly threatening the heroine)# seems to be quite inappropriate to the poems within the range of aintirilai (mutual, proper love). In this connection, we will look into the theme of at i1 ertitaiin its three aspects, i.e. its causes, its aims and its results.6.9.2.1.1. Causes for riding the ma!at horse: Grarnma.rs tell us that the maid's refusal of the hero's request to arrange a meeting causes him to ride the map! horse. Only !Cur, "182 in which the hero says to his heart, "Should the messenger we (i.e. the hero and his heart) sent make us ride the Frugal horser." hints at the connection between the maid refusing the hero's request and his mounting the inatai horse.Nan 152, on the other hand, ascribes, in a lovely phrase, the reason for the hero riding the ?root horse to love passion (kamam) and gossip (afar); "Love passion gave [me] a naafi horse, and gossip gave [me] en.1.171-ti garlands bound with [a few other] flower.." 6 Kur. 17 (see the above translation) also indicates that the hero will resort to natal'if love passion in beyond hound" (kama ofine). The factthat the hero resorts to mat& ertttal when his love passion reaches a climax and cannot be endured any longer is referred to in all nine poems (except K. 182), which deal with the may21 affair. According to Nakkirar, the tnaid's persistent refusal of the hero1s request is the55. dirikw utiarntainistivin ifikuad insfacqu Limit ierrenat gurralum putive.ectiaivarin.87 riliL14 a&w Oen k Pi-51 R. Balakrishna Mudaliyar, The Golden AnZhadogv, Vol. 1. p. xvii; Sp. l,j r7 Tat, p. VP, K. V.Zvelebii, LCAF, p. 17; etc.59 aid na.4421 tunitutta trifuriat amainia.40 j. 1 Lratttair MILITLUM I !Milian, alare M.1 fili psi Ersekkiii aisr tanianre,piriiiiiCur. ighted rri aleri Eli110 ClIA.FIER SINreason why his love passion increases to an unbearable level. The nine poems, however, in contrast with Nakkirar, do not even allude to the maid's refusal of the hero's requests as being a cause of the increase of his love passion. Here it may occur to us that karn.arn denotes not only love/desire itself but also the object of the love/desire both in Sanskrit and in Tamil, Hence the object of the hero's love, that is, the heroine herself or her existence itself, could bring about the increase of his love passion. This is mentioned clearly in Kul'. 173 (see the above translation): in this imaginative poem, the hero mounts the !natal horse and shouts, This is what such a woman did (to mer (inns{ ceyeatti itu). One may speculate that the heroine has treated the hero badly, as is mentioned by the translators of the poem (KT, p. 120), but there are no texts about. pre-marital lore wherein the heroine treats the hero b.adly. The formulation -`the beroine's ill-treatment of the hero and the hero's threat due to does not Iie within the range of aintit.uri (mutual, proper love). What the hero indicates is that the heroine is a supremely attractive girl, who makes him suffer from love passion. Hence, simply because she is an attractive and lovely girl, she is 'blamed' by the hero and will also be blamed by the village" (see tr. of it 173).Thus, in the texts, there are two separate causes for mato1 erutal: L. the maid refusing the request of the hero (Kur. 182);2- the increase of the hero's love passion either caused by the heroine, or simply caused by her existence (nine poems other than Kur. 182).6.9.2.1-2. Aims of riding the map,21 horse: Trazlitionally, the aim of mounting the 'horse' is said to be 'to threaten the maid to arrange a meeting with the heroine', which is termed tut gat ktirru, According to h. V. Zvekbil, this threat will induce the piirila to arrange more meetings with his sweetheart, out of fear that he would actually perform this degrading custom., revealing the clandestine affair to the public" (LCAP, p. 22).'If a meeting with the heroine is achieved through TriMal how-ever, it would be the union with the heroine because of the 'threat' of the hero. An union of that kind seems to be more suitable for the genre pertintirpaai (lit. 'hig-genre'-, i.e. the improper love TL) than for airy tkiai the proper, mutual love). In TP 54, pertintirAai is defined:61 Zvelehil describes pciiiivirkaWrrn after a model (which, unlike the reference by Zvelebili is not derived from TP), in which the love events proceed as;rnaliyulempiciN r-erparai rnarai [hum] 10 iiisrai ruktidivii kttraiConsequently, irnia!al Limo. must I>e 'the threat to arrange "a meetinel, because it would be the 'arse meeting through the aid of the maid_ However., he mixes the mu del with another model rzpresented by the colophons, where the hero, having enjoyed the meetings with the aid of the maid, refers to mall]: eruial in order to threaten her 1.43. arraage 'room meetings'.Cur. ighted rri aleri EliPA Ar K I KIR K 7' TA Xi 111N.ugge.sted from foi4r pail4al-erutai or 1110111,11t-ing tip a hifirt-e made thf palm ste.nis. of either the toteror t.hc lady-love having passed the stage of youth, the state of completely forgntting oneself throng h extreme fiaq.,..ion anti [heir uniiin in that mime. methods Lir viffienrel.-(tr. P.S.Slibrahrmanya Sastri. p. Xi)In spite of the twiny arguments 4.o far promulgated, there reltrain. some points to be clarified, One of them is the difference between the irintal affair in perrintiFjoai, mentioned in TF 54, and that of aintirgaL The ditference is u.$11aliv miderstoml in the following IrVAV! -Tire mere reference to resort to such are act; ii,e. rifling a mate horse, the author) by a lover is made in Aintikrai: but the actual riding is treated in Peruntinar (T L. p, 40),Whether the hero, howcver. merely refers (Le. threatens) to mount the !Flint fil horse or actually rides it, the union with the heroine which resulth from it should he termed. 'the union through the threat by the hero', Consequently, there is no difference hit-tweeu the mere referencernatol ir-Friztal and actually riding the -horse'. as far as the d.egra.dlug, inappropriate act L. ton reed. Hence, when the theme regarding the m4201 affair is within the range of appropriate love faintir.mi). the 'threat' does not effect the union with the heroine or, more probably, the hero doe' 2i not even threaten the maid with trultal Both these alternatives differ from the opinion of the savants. but correspond well to what the actual poets s describe; in nine poein.s Out Of til-bn treating the theme troN1 cniteri the hero speaks to hitn.self or hi r-.; heat (not to the maid), so, accordingly, dloe;...i not have any effect. on Ike maid_There mill remains one poem, _Kiln 17, to be considered_ If the maid '3.,L; speaking of men's nature in it, it hai nothing to do with irhe hero threatening the maid to arrange a rnecting. Bin, if it i24 tie hero addressing the maid. and if we follow tilt! formulation that the hero refers to ritarril Endaf in nrcier to induce the maid ir() arrange a meeting, the poem nmst he trea.ting the thorn+. of 'threat' and would hence fall into the range of peruntir,rai. in which case. we have to abandon thefor i.trid find as new one; for example, f. lie' hero intetui$ to ridethe horse a a last resort in order to reveal his clandestine affairwith the heroine to the public, he-cause his love passiOR ha-.%1 1)14'411Ille'Unendurable,The new formulation .ippears to be -quite reasonable_ What the hero, the heroine, and the maid regard a the most desirable state of affairs is that the clan.destine affair between the hero and the heroine should reinai.0 "unknown to the public' (kirtarm.) until after their marriage liab been arranged by their parents. and that r hey should h.licornr. finallyCopyr igh led m ateri al112 f.:}1 ['TER SIX`known to the public' (karpiz) as husband and wife in a 'proper' way. That is why they fear the relation of their clandestine affair, either through gossip (see 6.14. izaraivti vitkai and 6.15. vary iuti kapital) or by the heroine and the maid (see 6.19. arattotu niiai). For the same reason, they finally resort to elopement (see 6.20.. tiOrspaku). The hero may hesitate about riding the ina!ai horse for the same reason. In Kur. 14, the hero knows that the village would accept him saying This man is the husband of the fine woman" (naltiq katyavan Ivan), if he were to mount the 'horse'. However, he wants to be admitted through an appropriate, graceful procedure and not because of such a degrading act as mayal erutaLOnly if we consider that the riding of the rnafial horse is the revelation of the clandestine affair, due on the side of the hero to his unendurable love-passion, cart We understand why, in all nine poems concerning the theme in question, the hero's perplexity about. ;natal Enda' is described: he hesitates riot because matai erutai would mean to threaten' both the maid and the heroine, but b-ecause it would reveal his secret affair with the heroine. .Kur. 14 supports the view that the aim of riding the matal horse is not 'threat' but 'revelation'. Therein, the hero says, *Alt I could get the lady and, after getting [her], let the village know';62 this means that the aim of mounting the 'horse' is not to get the heroine [bymeans of the threat] but to announce to the public that she is his.Finally, it should be admitted that the poetical situation of Nut.17 also suits our new formulation of ma fail ertital; therein the hero, in desperation due to love-passion, explains tnen's nature (cf, a marker -pa in the original, denoting non-past, epicene plural) to the maid in order to make her understand the reason why he has to resort to #oltoL This new explanation of the poem agrees with what TP describes about the maid affair; TP 109;21-2 runs, the heroine speaks) when she hears of the feigned attempt of the hero's riding the mayit horse, and when the maid [having heard of it] in desperation removes her tears.' 646.9.2.1.3. Results of riding the palmyra. horse: In all ten poems dealing with the 'natal affair, the hero imagines himself mounting the mafai horse. Hence no poem describes him actually mounting it. Thus, arivaiyaip perukaiii smnta rd c, perry-dam a:6.16dd laming iyrare.^ The rials1 'horse' was mark of sharp pabnyra branches, pop according. to Ka138-141, they cut through the erogenous unk-$ or the man when he mounted it, Though riding the map.' 'horse' is a highly conventionalized behaviour within the atom framework, it may be compared, int pointed out by IC, V.Zvelebil, to other prevailing customs such as -hook-swinging, piercing one's tongue or cheek,' with 5M111 I spears, needles and other sharp objects etc., described frequently enough in anthropologicaJ and ethnographic accounts" (LOAF, p. 24)-6,1 pay Hai aNtra ma#ah a rt fl Lai srw gob kalpyfir LS! Clippinlivit-Cur. ighted rri alai EliPA kir I YIS K T M 113in this respect, the opinion held by the erudite scholiasts that a meeting with the heroine comes true because the hero threa.tems to resort to inatfal Erdal is not supported by the poems.We shall now examine when in the kalium course the theme concerning mat occurs in the texts. That the hero comes to meet theheroine frequently is know from some poems, as e.g. Kur. 176; therethe heroine says, He did not come just on one day or on two days.But [formerly] he came on many days and softened my good heart with humble words, and afterwards he went away." In Nur. 230, too, the frequent visits by the hero are inferred from the words of the maid, when she says for some days he has not deemed to come" .661 If, bearing in mind the frequency of the hero's visit, we reread the ten poems treating the moitat affair carefully, it seems tenable that it occurs at a rather late stage in the course of clandestine love, which differs entirely from what the commentators and Na.mpi describe. Although none of the ten poems mentions explicitly that the matal affair occurs at a late stage in ka?atitt, Nan 152 provides evidence that it does. Therein, the hero says, "Love passion (k amain) gave [mei a Tricqat horse, and gossip (War) gave fine] an Enikku garland". Only in the course of the lovers' meetings, may their secret relationship become the topic of gossip of the village. In fact, all grammars treat the gossip (afar) as a theme occurring in the late stage of the kiliauti course (see 6A5). Hence, we may safely say that the matai event is supposed to occur at a late stage during clandestine love.Summing up, we can point out the following characteristics of inwa!al Brutal;1. the hero could finally resort to ma tat eival, when his love passion reached a climax in the course of his meetings with the heroine;2. rnatal irtstai is a means used by the hero to reveal the clandestine love between him and the heroine;3. it has nothing to do with a Lthreat' (i.e. threatening the maid). Thus it is proved that among the formulations concerning the ma a1 affair mentioned in 6.9.1.6, the one given by TI agrees with what is actu.ally mentioned in. the poems. There may he the reasons why the later grammarians and the commentators exhibit the following formuiation:cihmoi)inatneriktirru)( ma NI tfilak.ku) pknot mayappittal)ItigainOne reason is that the theme Triatal ertital has developed into a vigor-ous genre in both erotic and religious (b.hakt) poetry" (K. V. Zvelebil,65 Drama, v instal!" *rte pal n 1 %rants pataira oh pay irri E-4 naftriatneficam rackiitga putisrai pohyrini," tii ntifitIA4 earims afirine,Copyrighted material114 CHAPTER SIXLCAP, p. 26 and ff.), so that later savants may have derived their formulations from the developed theories and from texts of late origin. Another reason may have been their penchant for the more dramatic ziiruations and hence the above formulation may have satisfied their taste.6.9.2.2. irontupim3irraf in the poems.. The hero's approach to the maid for help (irantupipnirral) is the first pha.se in all kinds of ptinkiyirktitOrrn (i.e. the first pdrikigirkilyarn or any subsequent pcirikiyirkilf4am). Hence, there are also two kinds of the bero's entreaty to be found, i.e, the first entreaty and the subsequent ones, as seen in 6.8.2.2 and 6.8.2.3: there Ak. 380 and Nar. 213 are cited as illustrations of the hero's first entreaty, and all other poems referring to the hero's request are regarded as poems describing his entreaty during the subsequent phases. As for the frequency of the hero's approach to the maid for help. Kur. 29 may be cited as a good example; in it the maid persuades the heroine to accept the hero's request, saying:Think of his tottureci look, my friendhis color had changed,as every day he comes meekly down omir street,opening his mouth but rarelyto say sweet wordN.His standing so longbehind memeans he expects something,like the women who sing thewith their white-Lipped rods,who stood behind Ate, with hissweet liquor, to receivean innocent female elephant.a a gift.(tr. M. S. Falai and D. E, hidden. KT p. 12.5)None of the poems dealing with the hero's request, however, mentions anything about the results of such request.6.9.2,3. The maid's refusal of the hero's entreaty (cetikafai or kurni trico-uttai): According to the prevalent formulation regarding this phase, the hero's entreaty (kirrai) is refused once by the maid; then it is not until the reference by the hero to resort to maim erg that the maid accepts his request. However, all poems treating mat initat disagree with this formulation, since math errata is not the result of the maid's refusal of the hero's request. Hence, the phase in question may be regarded as an event separate from mi4a1Cur. ighted rri alaiPAJOUYJR ffirr TA M 115There are two kinds of refusal by the maid: the refusal of the hero's first requelit (eqpia44), and the refusal of his re.qupst.s ii gen,cral (korai martittai). Though no texts explicitly describe e e- !pa-0i, the commentators and the lop oz writers state that some poetess treat it. Among those poems, Nor. 45 is most freytently referred to as an example of irit.44ai; OP maid says to the hero:"She is the daughter of the fibh.ernien [tribe]. who cast nets for catching fish in the blue-colored big ocean, (residing] in a beautiful s.mall village- near sea-groves, while you are the. beloved, sari of the wealthy man, having fast chariots, of the old town with the [big] street where high flags wave. Whet is the meaning of our fresh bermity [you prai:se] for us. whose engagr.i.clerit i t (3 :sway' t.} 4{. flies from the. pieces of fat shark cut to be driecr" And the stench of the raw fish floats in the air. [Thereforcl plelew. keep voursPlf away [from LIS]. Our petty but good life bred by the y a cloes not resemble you [at all]. Besides.. we also have great person aniong our relative...(tr. .Author)Marti. and Nacc. cite this poem as an example of the following passage of 717, which seem.s to represent 4-...eqw*ti. (see 6.9.1.2): -"when tilt. maid turns hack the hero on L beseeching herlj by describing his greatness ( TP kuraiyurariku etiriya kilavismai merraiwtrop perumaiyiT peparppin).67 The text apparently contritt.-:; the high-born nature of the hero with the low-born iia.ture of the heroine. However, if the text is rea.d earEfully, it rould be denlonstrated that it hints at tin.- feigned rejection of the maid: because, in spite of the contrast emphasized in the first half of the text, the maid. as if contradicting }mrself, says at tibe end, -.1,VE. also have great lifirtion:s DEDR 2747 -grea.tuess, excellencv., superiority, lio.wer. haughtiness, great person as king. god.N-14.).dern .Nchi.darr, frcti,u,!ritly try to raccr 111,- 114,-3-ary conirmtiortm heirtranslations of the ciasHical poPsns. In rhe 10.1t.winit translation ni Afar. 45, ihe translator ovcr-stre.s.sri, the ailTerc.rwe bc.LWC4'71 tkr lwro's birth acrd k h Iu TI' 112 and it; rommentairips.4.kar hero, lhe lady who IN the. utjei.:t Qf your p.L.L.s.i.una.te love is a. girl w.ho Conics Gil tint 12-rrtily r,t fiskyrmen who reside. in Cho- small bahit:iiion situate-A in the rnidgt a fnrcst and whose oil-ri1l-J.16mi 7K Lo to .s nrk i for eat(hing fishcsWhitr 1.11117 ell.)11'11 or I kr: hille (111)1111.C.'e!"K VirtOriukIN 11kgin, the 11.41211/4 ortrrrar41; on 1-5c..1h side', cif the Irkrig qtrts .41114. mrtroprili,..and enjoyment can you haw.. or hope to derive whole engagcrincn.Lis to scare away the flies thai he round 1,Hr SaltI IrliS11 kept iii tht:' front fur being dried. You. cai vxpert here HO S.105:4401 Arn,11. or fragrance except prrhisTIE the 4101 e!lt ablri 411:114.11 of the. lirYing Lecp yoursdi at i. distance frLoin LIS; for you, eannnt hroak this ease name.ating supl chat 4171aIliite,, from LN Our Liu cti.n never favourably 4:iimparf! with your noble. and dignified on r_ Rich men we too haw in abuilfiarier among Mir uvin kith Lill.(tr, S. Var;-Idar.i.ja lyer, p_ 15.1)Copyrighted Fri aleri al116 c[rAPTER sixhero") among our relatives", and she also speaks of "our petty but good life". This last part may imply that the maid is in a sulky mood, and hence the poem seems to depict kurai mizruitai (the maid's refusal of the hero's request in general) rather than eqpia!ai,"As for carat Taaruttai, Kur, 298 cited above may be an example, since in it the frequent approach of the hero to the maid is referred to: that means that the poem also alludes to her refusal of his request. There are few poems which explicitly depict the situation, because it. may have been logically required by the commentators and colophon writers as the sub-phase introducing 'natal ertital, and because the other types of refusal are treated by them as separate items, such as the refusal of the request for a day-tryst' (termed pakaricuri maruttal) and 'the refusal of the night-tryst' (irouti.A46-uri martitta1).6.9.2.4, The acceptance of the hero's request and the actual meeting: The poems required as examples of the themes must illustrate that: the hero's request is the first one or, at least, is expressed in the earliest stage of the kattatni course; the maid accepts the request of the herothis theme is termed kurai natal in the colophons); subsequently, the maid makes the heroine accept the request (termed karai navappittat finally, the actual meeting takes place.Ktir. 81 may be cited a.s a good illustration of these events; in it the maid addresses the hero asShe accepted my wordWhen 1 told her what you said. and, hidden in a spotamong fresh, wet branches114ai trees, sh.e losther young virginity.She is so lonely!you must, think of her:look there,to our small, good villagewhere palm trees hang low,Mid where the seawith waves that smell of fish appears like the moonlight, arid the forest grove appears like darkness-(tr. M. S. Pillai and D.E. Ludden KT 59)In the poem, the request of the hero is implied by the expression, yourOne may recognize the close relation hip between TI' 112:7-S anti Na*. 45, though i t is not sure wh.ether the grammar ( TP) had influence on the poem (Mar, 45) or vice versa- we collect such examples as Nay, 45, WC CO1,11 id 'Come to a conclusion about the relationship.Cur. ighted rri alai EliJ'AJC/NI Yin K UT TA M 117word" (flitl col); she. having ac