Murukan in Cilappatikaaram

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Jan 20, 2026, 8:41:11 PMJan 20

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The First International Conference On Skanda Murukan எனச் சென்னை ஆசியவியல் நிறுவனம் டிசம்பர்- 1988ல் நடநத்திய மாநாட்டில் வாசிக்கப்பெற்று; (மாநாட்டிற்கு வருகை தந்த முருகபக்தர்கள் மனம் உருகி வேண்டிக் கேட்டுக் கொண்டபடி ‘Murukan Skanda’ எனப் பெயர் மாற்றம் பெற்று…) 2009ல் Murukan- The Lord Of The Kurinji Land என்ற பெயரில் சென்னை ஆசியவியல் நிறுவனம் வெளியிட்ட நூலில் பதிப்பிக்கப்பட்ட என் கட்டுரை p.175-200 ‘Murukan in Cilapatikaram’.

List of abbreviations

aing. - Aingurunooru

akam. - Akanaanooru

cil. - Cilappatikaaram

kali. - Kalittokai

kunrak. - kunrakkuravai

kuri. - Kurinjippaattu

kuru. - Kuruntokai

L. - line / lines

mani. - Manimekalai

matu. - Maturaikkaanji

malai. - Malaipatukadaam

nar. - Narrinai

p. - page / pages

pari. - Paripaadal

patir. - Patirruppattu

patti. - Pattinappaalai

peru. - Perumpaanaarruppadai

poru. - Porunaraarruppadai

puram. - Puranaanooru

s. - song / songs

tirumuru. - Tirumurukaarruppadai

Murukan in Cilappatikaaram

Introduction

The purpose of the research paper is to give an extract of the cult of Murukan present in the epic Cilappatikaaram. There are references to the temples of Murukan present in the capitals of Cholas and Pandyas. Besides the famous temples of Lord Murukan are also mentioned in the epic. The types of the temples and the types of the icons enshrined are worthy of study. A large collection of materials based on the fine arts and folklore is present in the epic. From them the music, dance and folk songs in connection with the cult of Murukan have to be brought out. Analysis of the mythology related to the cult of Murukan present in the epic is also to be done to throw some light on the cult of Murukan prevailing in the period when the epic was written. The various names attributed to Murukan and the epithets associated with them may also help us to determine the status of the cult during that period.

The traditional descriptive approach is followed. The epic Cilappatikaaram serves as the primary source. The secondary sources are the cangam anthologies and idylls. Manimekalai; the counterpart of Cilappatikaaram is also added to them. Commentaries of the summerisers and the researches done by the 20th century scholars serve as the tertiary sources.

Names and phrases that denote Murukan

There are four names attributed to Murukan in Cilappatikaaram. They are cevvēḷ, neṭuvēḷ, aṟumuka oruvaṉ and aṟumukac cevvēḷ. He is also specified as Teyvam, Iṟaivaṉ, Kaṭavuḷ; the common names used to denote all Gods. The explanatory phrases which are used to denote Murukan are based on the weapon vel, the katambu tree and the mythological elements related to Murukan.

Cevvēḷ

The beauty of Kovalan; the hero of the epic Cilappatikaaram is compared with the beauty of Murukan.

“paṇtēytta moḻiyiṉār āyattup pārāṭṭik

kaṇṭēttum cevvēḷ eṉṟu icaipōkki” (cilap.mangala.38-39- [Women

whose speech is sweeter than music; praised Kovalan's masculine beauty among themselves. They said that in Kovalan's handsome look they could identify Murukan's personality]).

The music of velan who performed veriyaattu for cevvēḷ was heard in the Colaimalai (cilap.kaatcik.25).

Paripaatal stands parallel to Cilappatikaaram in specifying Murukan as cevvēḷ (pari.5-L.13& pari.tirattu 11-L.2).

neṭuvēḷ

Kannaki the heroine of the epic climbed up the hill called neṭuvēḷ kuṉṟam (cilap.katturai.190 [the hill where neṭuvēḷ is enshrined]).

Many cangam anthologies and idylls specify Murukan as neṭuvēḷ (pari.21-L.50; kuri.174; matu.614; peru.75; tirumuru.273; kuru.111; nar.173, 288; akam.22, 98, 120, 272, 382; puram.55). There are also instances where Murukan is called simply as vēḷ (pari.8-L.61; puram.396). It is also found with the epithets viral- (aing.250; patir.11) and av- (pari.9-L.36).

Aṟumuka oruvaṉ

When Kovalan praised the beauty of his wife Kannaki's eyes he said that it was Aṟumuka oruvaṉ who gave his vel to frame them (cilap.manaiyaram.49-52). The women of the hills also call Murukan ‘Aṟumuka oruvaṉ’ (cilap.kunrak.s.18). They also praised his six faces and twelve arms (ibid.s.9 [Aṟumuka oruvaṉ = a person with six faces]).

Paripaadal adores Murukan as having six faces and twelve arms (pari.21-L.67). ‘mūviru kayantalai’ is another term equivalent to ‘Aṟumukam’ found in paripaadal (pari.5-L.10 [mūviru = six; kayantalai = young faces]). Tirumurukaarruppadai gives a detailed description of the six faces and twelve arms (tirumuru.83-102).

Cilappatikaaram stands unique in attributing the name ‘Aṟumukac cevvēḷ’ to Murukan. The temple of Lord Murukan is referred to as ‘ Aṟumukac cevvēḷ aṇitikaḻ kōyil’ (cilap.intiravizhavu.170). The women of the hills while dancing specify Murukan as;

‘kārkkaṭappan tārem kaṭavuḷ ’ (cilap.kuntrak.s.14 [God who wears a garland of kadambu flowers which blossom in the rainy season),
‘katampuun Teyvam’ (ibid.20 [God who wears the garland of katambu flowers.]),
‘Iṟaivaṉ’ (ibid.8 [kaṭavuḷ = iṟaivaṉ = Teyvam = God]).

Besides the terms Iṟaivaṉ, kaṭavuḷ and Teyvam the cangam anthologies and idylls use the terms Kuricil and iyavuḷ also to denote Murukan (pari.s.5-L.13, 17- L.49; kali.39; aing.243, 257; kuri.209; kuru.87; akam.13; nar.34, 251; tirumuru.274, 276). They are common terms used to denote all Gods.

The explanatory phrases used by the women of the hills to denote Murukan:

‘ālamar celvaṉ makaṉ’ (cil.kunrak.7 [son of Lord Siva who sits under the aal tree]),
‘kayilainaṉ malai iṟaimakaṉ’ (ibid.15 [son of Lord Siva who is the deity in mount Kailash]),
‘malaimakaḷ makaṉ’ (ibid.16 [son of Goddess Parvati]),
‘uravunīr mākoṉṟa vēlēnti’ (ibid.17 [He who holds the vel which demolished the mango tree in the midst of the sea]),
‘alarkaṭampaṉ’ (ibid.20 [He who dwells in the kadambu tree]),
‘kōḻic cēvaṟ koṭiyōṉ’ (cilap.uurkaan.10 [He who holds the cock flag) and
‘Veṉvēlāṉ’ (cilap. vaazhttuk. s.10 [He who holds the vel that brings victory])

are the other phrases used by the author of the epic to denote Murukan.

The explanatory phrases found in Paripaadal reveals the greatness of Murukan.

‘āytērāṉ’ (pari.8-L.64 [He who is a charioteer on a selected chariot]),
‘varai akalattavaṉ’ (ibid.86 [He who has a broad chest as a hill]),
‘ēḻulakum āḷi’ (pari.9-L.44 [He who rules over the seven worlds]),
‘iraṅku muraciṉāṉ’ (ibid.L.58 [He who has a drum that makes a loud sound]),
‘māṟaṭṭāṉ’ (pari.17-L.21 [He who destroyed the enemies]),
‘veṟikoṇṭāṉ’ (pari.18-L.14 [He on behalf of whom veriyaattu is celebrated]),
‘erumai iruntōṭṭi eḷḷīyum kāḷai’ (pari.21-L.38 [He who is smart enough to conquer yaman riding on a buffalo]).

Tirumurukaarruppadai also adores Murukan with metaphorical phrases. They describe Murukan and bring out his qualities.

‘antaṇar veṟukkai’ (tirumuru.263 [He who is the riches of brahmins]),
‘aṟintōr colmalai’ (ibid. [He who is the collection of praises uttered by the learned people]).

The name Murukan derived from the base ‘muruku’ is found in the anthologies and idylls (puram.16, 23, 299; pari.5-L.50, 8-L.81, akam.1, 59, 98, 158; poru.131; tirumuru.269).

The base word ‘muruku’ is often used to denote Murukan (matu.181,611; tirumuru.244; nar.34, 47, 225; aing.245, 247, 249, 308; kuru.362; puram.56, 259; akam.118, 181, 232; pari.8-L.65; patir.26). It is found in Manimekalai also (mani.manimekalaa.14).

The name ‘cēy’ with various epithets is very common in the classical Tamil literature (pari.5-L.13, 6-L.69, 21-L.53; kuru.1; akam.266; puram.14, 125, 209; kuri.51; peru.457; tirimuru.271). The name ‘ceyyōṉ’ is also found (puram.56).

(to be contd.)

Raju Rajendran

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Jan 21, 2026, 1:44:17 AMJan 21

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<Murukan in Cilappatikaaram> அயலார் இதை முருக்கன் இன் சிலப்பதிக்காரம் என வாசிப்பர்.

புத., 21 ஜன., 2026, 7:11 AM அன்று, kanmani tamil <kanmani...@gmail.com> எழுதியது:

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Raju M. Rajendran

kanmani tamil

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Jan 22, 2026, 9:03:41 PMJan 22

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There is also an instance where Murukaṉ is denoted as ‘neṭiyōṉ’ (akam.149). ‘iyalaṇi’ an explanatory name which means ‘natural beauty’ is found (pari.19-L.5).

Besides there are about twenty apostrophes found (pari.5-L.14, 8-L.17, 9-L.71 &82, 14-L.18, 18-L.41&42, 21-L.17; tirumuru.255-257, 260-262, 264, 268, 270, 276).

We can tabulate the various names of murukaṉ and their usages in cangam literature (Table-1)

S.No

Name

muruku

murukaṉ

ccēy

cceyyōṉ

neṭiyōṉ

vvēḷ

avvēḷ

viṟalvēḷ

neṭuvēḷ

cev

vēḷ

Aru

muka

arumukac cevvel

kuru.

✔

akam.

✔

puram.

✔

poru.

✔

aing.

✔

patir.

✔

nar.

✔

matu.

✔

kuri.

✔

peru.

✔

tirum uru.

✔

pari.

✔

cilap.

✔

.14

mani.

✔

Table 1 - Names of Murukan- Usage in classical literature

The new trend of addressing Murukaṉ as Cevvēḷ, Aṟumuka- and Aṟumukac cevvēḷ is present in Cilappatikaaram. Paripaadal; a collection of lyrics which belong to a varied range of periods give us data resembling those of Cilappatikaaram.

The names Muruku, Cēy and Vēḷ are the base forms used as such to denote murukaṉ.

Muruku = fragrance

Cēy = red complexion

vēḷ = leader in the earth

Then the names took the form of base + suffix i.e.

Muruku + an = murukaṉ

Cēy + ōn = Ceyyōṉ

where the suffixes -oon and -an are allomorphs that denote masculine singular nouns. The name neṭiyōṉ is formed from the adjective neṭumai (greatness) and the suffix -ōn. The base form /vel/ was given prefixes which explains the nature of murukaṉ.

am + vēḷ → Avvēḷ (am = beautiful)

viṟal + vēḷ → viṟalvēḷ (viṟal = valour)

neṭumai + vēḷ → neṭuvēḷ (neṭumai = greatness)

In Cilappathikaaram the way of addressing murukaṉ took a different direction while framing Cevvel from two base forms;

Cēy(v) + vēḷ → Cevvēḷ.

Likewise the way of addressing murukaṉ took a different dimension; while the mythology of the birth of Murukaṉ as one outspring from six persons came into vogue. In the name aṟumukac cevvēḷ found in Cilappatikaaram the new direction and dimension seems to mingle with each other.

Places of worship and the holy images enshrined

There were two types of temples for murukaṉ. They were Kōyil and Kōṭṭam. The author of the epic clearly differentiates Kōyil and Kōṭṭam. Kōyil is the place of worship where vedic mantras were chanted and offerings were given to the Gods through fire. Kōṭṭam is a place of worship where there was no practice of vedic traditions. Even dead bodies were taken there.

When the festival for Lord Indra began the drum from vaccirakkottam was carried by an elephant in procession. In Airaavatakkottam the festival pillar was erected. In karpakattarukkottam a flag was hoisted to indicate the arrival of the festival. Lord Indra was given the holy bath. So there were vedic mantras chanted and the holy fire lit as per the vedic tradition in the Sivan Kōyil, Balaraman Kōyil, Tirumal Kōyil, Vasavan Kōyil and Aṟumukac cevvēḷ kōyil (cilap.indiravizha. L.141-175). It means that Lord Murukaṉ was enshrined there beautifully with six faces.

Malathi was a midwife. While she was feeding a brahmin child; the child collapsed due to hiccough. Malathi was scared to face the brahmin and his wife. So she took the corpse of the baby in her hands and went to amarartaruk kōṭṭam, veḷyāṉaik kōṭṭam, nilāk kōṭṭam, uccik kiḻāṉ kōṭṭam, ūrk kōṭṭam, vēl kōṭṭam, puṟampaṇaiyāṉvāḻ kōṭṭam, nikkantak kōṭṭam, vaccirak kōṭṭam and pācaṇṭac cāttaṉ kōṭṭam. She prayed to all the Gods to give life to the dead child. All the temples visited by her were kōṭṭams and vēl kōṭṭam is one among them (cilap.kanaaththiram.11). It should be the temple where vēl the weapon of Murukaṉ was enshrined and worshipped. Drums were beaten and conch was blown announcing the sunrise in kōḻic cēvaṟ koṭiyōṉ kōṭṭam at Madurai (cilap.uurkaan.10- [temple of He who holds the flag of cock]).

A Murukaṉ Kōṭṭam is mentioned in Puranaanuuru (puram.299). Though the terms Kōyil and Kōṭṭam are not mentioned in Tirumurukaarruppadai the differences between these two types of temples are briefed clearly. Nakkiirar the author lists the Kōyils of Lord Murukaṉ. They are Alaivāy, āvinaṉkuṭi and ērakam. The explanation given for the temple at ஆலவாய் states clearly that one of the faces of Murukaṉ is watching the vēḷvi i.e. the sacrifice done through fire chanting mantras; performed by the brahmins as per the vedic tradition (tirumuru.94-96). The explanation given for āvinaṉkuṭi also has a hint of vēḷvi. Indiran who had finished hundred vēḷvis visited the temple at āvinaṉkuṭi to worship Lord Murukaṉ. This means that the temple of āvinaṉkuṭi also gives way to vedic tradition of worship. All the thirty three crores of tevars came to āvinaṉkuṭi to worship Lord Murukaṉ. They were followers of the vedic cult (ibid.160-167). The temple of ērakam is specified as the place where the brahmins who follow the practice of sacrifice through fire came to worship (ibid.181-188). So these three temples have to be considered as Kōyils as per the explanations given by Cilappatikaaram.

Then the hillocks, each town where the festival of Murukan was celebrated, places where veṟiyāṭṭu was performed, the forests, gardens, lagoons, banks of rivers, lakes, junctions of three roads or four roads or five roads...

(to be contd.)

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kanmani tamil

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Jan 29, 2026, 7:46:59 PMJan 29

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The explanation given for the temple at Alaivāy states clearly that one of the faces of Murukaṉ is watching the vēḷvi i.e. the sacrifice done through fire chanting mantras; performed by the brahmins as per the vedic tradition (tirumuru.94-96). The explanation given for āvinaṉkuṭi also has a hint of vēḷvi. Indiran who had finished hundred vēḷvis visited the temple at āvinaṉkuṭi to worship Lord Murukaṉ. This means that the temple of āvinaṉkuṭi also gives way to vedic tradition of worship. All the thirty three crores of tevars came to āvinaṉkuṭi to worship Lord Murukaṉ. They were followers of the vedic cult (ibid.160-167). The temple of ērakam is specified as the place where the brahmins who follow the practice of sacrifice through fire came to worship (ibid.181-188). So these three temples have to be considered as Kōyils as per the explanations given by Cilappatikaaram.

Then the hillocks, each town where the festival of Murukaṉ was celebrated, places where veṟiyāṭṭu was performed, the forests, gardens, lagoons, banks of rivers, lakes, junctions of three roads or four roads or five roads, putuppūṅ kaṭampu i.e. the blossoming kaṭampu tree, town halls, trees amidst town halls and symbolic pillars for worship are listed in Tirumurukaarruppadai as the places of worship of Murukaṉ (tirumuru.72-77, 192-247). This long list of places of worship is worthy to be categorised as Kōṭṭams. So there were both Kōyils and Kōṭṭams in Tamilnadu during the period of Cilapatikaaram.

It was believed that Murukaṉ dwells in the flowered kaṭampu trees. The tree blossoms during the rainy season. There was also the practice of garlanding Murukaṉ with the kaṭampu flowers. References to Murukaṉ associated with the flowers of kaṭampu are already dealt with in this paper (refer: Names and phrases that denote Murukaṉ). alarkaṭampaṉ is a similar phrase found in both Cilappatikaaram and Manimekalai (cilap.kunrak.11& mani.palikkarai.49). Details of Murukaṉ associated with the kaṭampu flowers are found in the eight anthologies and ten idylls (tirumuru.10-11, 225-249; matu.613-614; kuru.3, 87; pari.6-L.55, 19-L.2; kali.101; akam.138). There was the practice of garlanding the kaṭampu tree and worshipping it as Murukaṉ (kali.106; pari.17-L.2-3; kuri.174-177). The flowers were worn by velan who performed the ritual veṟiyāṭṭu (akam.98, 382).

Botanists name this tree wendlandia notaniana (Mathew,K.M.- Illustrations on the flora of the carnatic series- p.349). It's also called wendldndia thyrsoidia by another school of scientists. The kaṭampu flowers are said to be pale yellow in colour with remarkable fragrance (Gamble,J.S.- Flora of the presidency of Madras- p.588). This fact coincides with the term naṟuṅkaṭampu (nar.34 [naṟu = fragrant]). The phrase uruḷiṇark kaṭampu (pari.5-L.81, 21-L.10 [the kaṭampu flowers which resemble the wheel and axle of a chariot]) can be explained on the basis of the type of corolla and androecium of the flowers. They have a tubular corolla with epipetalous stamens which is the reason for the garland of kaṭampu after woven; resembling the wheel and axle of a chariot.

vēl the weapon of Murukaṉ was enshrined and worshipped in Kōṭṭams. It is a very common factor to find the references of Murukaṉ associated with his vēl. Vēlkōṭṭam where the vēl was enshrined for worship is mentioned before. ceṅkōṭu the hill where Murukaṉ was worshipped is referred also as Veṉvēlāṉ kuṉṟu (cilap.vaazhttu.s.10- [Hills where He who holds the vēl victoriously is enshrined]). Kovalan the hero of the epic while praising the beauty of his wife Kannaki's eyes explained that they resembled the weapon of Murukaṉ i.e. vēl.

“aṟumuka oruvaṉ…

añcuvaru neṭuvēl oṉṟuniṉ mukattuc

ceṅkaṭai maḻaikkaṇ iraṇṭā īttatu” (cilap.manaiyaram.49-52 [The uncomparable great vēl

which frightens the enemies was donated by Murukaṉ to frame your dark eyes with red edges]).

Murukaṉ who holds the vēl was worshipped in centil, ceṅkōṭu, veṇkuṉṟu and ērakam (cilap.kunrak.s.8). He who has the bright and leaf shaped great vēl dwells in neṭuvēḷ kuṉṟam (cilap. Katturai.189). Because of his vēl; Murukaṉ is addressed as vēlēnti (cilap.kunrak.s.7). Anthologies call Murukaṉ as vēlaṉ, vēlōy, vēlavaṉ as he is holding the weapon vēl (tirumuru.61, 111, 265; kuri.51-53; kali.27, 104, 105; pari.14-L.18). The weapon is described as being bright and leaf shaped (akam.59).

There were Murukaṉ temples in centil, ceṅkōṭu, veṇkuṉṟu and ērakam. The women of the hills sang and danced in praise of those four temple towns. The hill ceṅkōṭu is given various names viz. neṭuvēḷ kuṉṟam, veṉvēlāṉ kuṉṟu and mañcucūḻ cōlaimalai in Cilappatikaaram (cilap.katturai.195, kunrak.s.3, kaatcik.7-8, varantaru.53-59, vaazhttuk.s.10). A series of events mentioned in the story of Kannaki is said to have happened here. The famous temple of Murukaṉ in centil is mentioned in the anthologies also (puram.55; akam.266). The appearance of Murukaṉ there is described in detail in Tirumurukaarruppadai (tirumuru.109-125). He is sitting on the elephant with six faces and twelve arms. The other name used for this town is alaivāy; as it is situated on the sea shore (alai = waves). Tirumurukaarruppadai speaks in praise of ērakam also. Details about the Murukan temple there have been discussed already.

The present name for the temple town centil is tiruccentūr. Even now Murukaṉ enshrined there is called Centllaandavar. The hill ceṅkōṭu has been identified at present in the Curuli hills which is a part of the stretch of Palani hills (Raakavaiyangaar,Mu.- Ceran Cenguttuvan- p.91 footnote; Govindarajan,C.- ‘Kannaki Kottam’- Tamizharacu- August 1972). The place is called Vengaikkaanal now. It is very near to the place of origin of the rivers Vaikai and Periyaar. veṇkuṉṟu is a small hillock with two cave temples 80kms. from Chennai. The hillock is called tavaḷakiri now (tavalam = white i.e. venmai; Giri = kunru = hill). The village adjoining the hillock is called veṇkuṉṟu. There are many controversial ideas regarding ērakam as Swamimalai (pattup.part-I p.92; Raasamaanikkanaar,Maa.- Pattuppaattaaraaycci-p.130; cilap.Arumpatauraiyum Adiyaarkkunallaar uraiyum-p.512).

Arts related to the cult of Murukan

Some dances and music related to the cult of Murukaṉ are found in Cilappatikaaram. Both dance and music are paired in each art related to the cult.

kuṉṟakkuravai

It is a group dance; the subject of which is love and victorious deeds. It is an akakkūttu and falls under the category potuviyal. It is a vinōtakkūttu performed by the women of the hills. It is a varikkūttu and a part of it resembles a vacaikkūttu also. The performance as a whole is an iyalpukkūttu.

There is a chapter named kuṉṟakkuravai in Cilappatikaaram. The women of the hills perform a group dance in that chapter. As they are common folk who belong to a community lower than the brahmins, kshatriyas and vysyas the dance performed by them is a vinōtakkūttu. The dances are classified on the basis of various strategies by the early grammarians. Adiyaarkkunallaar in his commentary on araṅkēṟṟukātai mentions seven twin types of dances. The twins cāntikkūttu and vinōtakkūttu are one among them. They were categorised on the basis of the clan of people who perform them. Early grammarians who laid down the rules for dances quoted by Adiyaarkkunallaar have said that iḻikulattōr i.e. the people of the lower community only perform dances like kuravai, tōlpāvai (dance of the dolls made from the skins of animals) etc. and they are the items of vinōtakkūttu. (cilap. Arumpatavuraiyum Adiyaarkkunallaar uraiyum- p.80-90).

There was no king or his kith and kin to witness the dance. So it is a potuviyal item. The twin dances vēttiyal and potuviyal are differentiated on the basis of the audience. Those which are performed for the common folk are categorised as potuviyal (ibid.).

All the songs of kuṉṟakkuravai are composed in Tamil. So it is an iyalpukkūttu. The twin dances iyalpukkūttu and tēcikkūttu are not explained in detail by Adiyaarkkunallaar. But we have to come to a conclusion that the classification is based on the diction of the songs sung during the dances. As tēcikam means words which do not have a Tamil origin (Kazhakat Tamizhakaraati-p.571); dances accompanied by Tamil songs without foreign words are called iyalpukkūttu . The words of Tamil origin are called iyarcol (iyal + col = iyaṟcol; col = word).

The twins varikkūttu and variccāntikkūttu are differentiated according to the folk and classical elements present in the dances. Adiyaarkkunallaar the commentator states clearly that kuravai is a varikkūttu. It is mentioned as one among the varikkūttus listed in an old anonymous song quoted by him. It gives many varieties that fall under folklore accompanied by songs (cilap. Arumpatavuraiyum Adiyaarkkunallaar uraiyum- p.80-90). There are many folk elements present in the songs of kuṉṟakkuravai to prove the fact that it is a performance art of varikkūttu. The following songs deal with love. The women took bath in the spring of the hills and started dancing kuravai.

“eṟṟoṉṟum kāṇēm pulattal avarmalaik

kaṟṟīṇṭi vanta putuppuṉal

kaṟṟīṇṭi vanta putuppuṉal maṟṟaiyārar

uṟṟāṭiṉ nōm tōḻi neñcaṉṟē” (cilap.kunrak.s.4- [Friend! The waters of the spring descend

flowing from the rocks in the hills of my lover. I found no reason to be in a tiff with this water. If others enjoy bathing in this spring my heart aches.])

“eṉṉoṉṟum kāṇēm pulattal avarmalaip

poṉṉāṭi vanta putuppuṉal

poṉṉāṭi vanta putuppuṉal maṟṟaiyār

muṉṉāṭiṉ nōm tōḻi neñcaṉṟē” (ibid.5- [Friend! The waters of the spring reach here after

crossing the valuables on this hill. I found no reason to be in a tiff with this water. If somebody else bathe before myself; my heart aches.])

“yātoṉṟum kāṇēm pulattal avarmalaip

pōtāṭi vanta putuppuṉal

pōtāṭi vanta putuppuṉal maṟṟaiyār

mītāṭiṉ nōm tōḻi neñcaṉṟē” (ibid.6 [Friend! The waters of the spring come running with

the blossoms of the hill. I find no reason to be in a tiff with this water. If someone else bathe in the fragrant water flowing; my heart aches.])

(to be contd.)

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Those three songs talk about the same matter repeatedly three times using different words. This is a character found in folklore and hence this specific dance is a varikkūttu. The rhythm of the songs reveal that it can be sung in the kummi tune - a folk tune which is still in practice. During the festive occasions ladies in the countryside stood around and performed kummi accompanied by a kummi song. The action in kummi is to clap the hands according to the rhythm. The difference between kummi and kuravai lies in the action of clapping. In kuravai the ladies didn't clap; but they joined hands and went around according to the rhythm. The way in which they joined hands is also explained by the early grammarians. The technical term used is ‘kaṟkaṭakak kai kōttu’ (cilap. Arumpatavuraiyum Adiyaarkkunallaar uraiyum- p.441). The equivalent term used by the summeriser is ‘naṇṭukkai’ (kaṭakam = naṇṭu = crab; kai = hand; kōttu = stringing). He adds that while joining hands in that fashion; the central finger and the ring finger face oneself. Holding each others’ hands in the style of the limbs of the crab is quite a natural way in practice.

The specific kaalaiyaar koyil kummi tune is apt to be sung for these three songs. The rhythm is;

taṉṉaṉṉa ṉātiṉam taṉṉaṉṉa ṉātiṉam

taṉṉaṉṉa ṉātiṉam taṉṉāṉē (2nd time-chorus)

taṉṉaṉṉa ṉātiṉam taṉṉaṉṉa ṉātiṉam

taṉṉaṉṉa ṉātiṉam taṉṉāṉē (2nd time-chorus)

Then the women started singing in praise of Murukaṉ's heroic deed of slaughtering the cūraṉ.

“cīrkeḻu centilum ceṅkōṭum veṇkuṉṟum

ērakamum nīṅkā iṟaivaṉkai vēlaṉṟē

pārirum pauvattiṉ uḷpukkup paṇṭorunāḷ

cūrmā taṭinta cuṭarilaiya veḷvēlē” (cilap.kunrak.8 [Once upon a

time it's the vēl that is bright and leaf shaped in the hands of the Lord who dwells in the meritorious centil, ceṅkōṭu, veṇkuṉṟu and ērakam; went into the sea that surrounds the world to demolish the cūraṉ in the form of a mango tree.]). The matter is dealt in two more songs using different words, epithets and explanatory phrases. Thus there are two types of songs; one that deals with love and the other that deals with the heroic deed.

Then the girls sang and laughed at their mother's ignorance. Without knowing the affair of her daughter; she proceeded arranging for vēlaṉ veṟiyāṭṭu. There are four songs sung with the same theme.

“āyvaḷai nallāy itunakai yākiṉṟē

māmalai veṟpaṉ nōytīrkka varum vēlaṉ

varumāyiṉ vēlaṉ maṭavaṉ avaṉiṟ

kurukupeyark kuṉṟam koṉṟāṉ maṭavaṉ” (ibid.12-[O!

my confidante wearing selected bangles! Isn't it a comedy?! Vēlaṉ will be coming to cure my illness caused by my lover who lives in the huge hills. If vēlaṉ comes he is foolish. If he is going to be haunted by Murukaṉ; then Murukaṉ is more foolish than vēlaṉ.]).

Usage of words of rebuke is a common factor found in folklore. The ladies call both Murukaṉ and vēlaṉ as maṭavaṉ i.e. fool. So we have got another reason to determine kuṉṟakkuravai as a folk-art and hence a varikkūttu. Besides the satirical comment of the women about Murukaṉ and vēlaṉ gives chances to admit that a part kuṉṟakkuravai belongs to the category vacaikkūttu It was also called nakaikkūttu alias vitūṣakak kūttu. Both the terms vacai and vitūṣaka- hints at the sense of humour in that type of dance. Besides it has been stated that in vacaikkūttu the dancer should be able to caricature the appearances of various things. Therefore the humour caused in vacaikkūttu was due to the satirical element present in it (cilap. Arumpatavuraiyum Adiyaarkku nallaar uraiyum-p.80-90).

Then the subject of their songs turn to a prayer wishing their love success.

kayilainaṉ malaiyiṟai makaṉainiṉ matinutal

mayiliyal maṭavaral malaiyartam makaḷār

ceyalaiya malarpurai tiruvaṭi toḻutēm

ayalmaṉam oḻiaruḷ avarmaṇam eṉavē (cilap.kunrak.16- [Oh, the son

of the Lord who dwells in Kailash! We worship the lotus-like feet of your wife Valli who belongs to the clan of kuravar; the lady with the elegance of peacock and moon-like forehead; to bestow good wishes to marry my lover and to stop any alliance with other men.). There are three songs in the same theme with different epithets and phrases. Thus kuṉṟakkuravai proves to be a performing folk art related to the cult of Murukaṉ.

kuṭaikkūttu and tuṭikkūttu

Matavi performed eleven types of dances in the city Pukaar during the festival for Indran. Two among them are kuṭaikkūttu and tuṭikkūttu. These are puṟakkūttus and they fall under the category potuviyal. They are variccāntikkūttus related to the mythology of Murukaṉ slaughtering the cūraṉ. They had specific songs, specific orchestra and specific make-up for the dancer.

The strategy lying behind the twins akakkūttu and puṟakkūttu is the subject matter treated in akam and puṟam which form the major divisions in the songs of the cangam age. Dances which deal with war, victory and benevolence comprise puṟakkūttu.

“...mākkaṭal naṭuvaṇ

nīrttirai araṅkattu nikarttu muṉṉiṉṟa

cūrttiṟaṅ kaṭantōṉ āṭiya tuṭiyum

paṭaivīḻttu avuṇar paiyuḷ eytak

kuṭaivīḻttu avarmuṉ āṭiya kuṭaiyum” (cilap.kadalaadu.49-53 -

[Amidst the great sea in the beach of an islet which served as a stage; he who competed with the equivalent opponent cūraṉ danced tuṭi. The army of acuras being won over by Murukaṉ were subjected to suffer. Their kuṭai was broken down. He performed the dance of kuṭai in front of them.]).

The author of the epic continues that Matavi had specific make-up for these dances. Tuṭi is a type of drum. It was usually beaten in the battles to evoke the feelings of valour. The dance of Murukaṉ for the drum beats of tuṭi is called tuṭikkūttu. The esteemed kuṭai (umbrella) of the enemy was broken down. When He danced with that kuṭai in his hand it is called kuṭaikkūttu. As these dances deal with war and victory they are puṟakkūttus. The people of Pukaar saw Matavi's dance. So they belong to the potuviyal category. Matavi was a professional dancer. She studied and practiced the art from the age of 5to12 systematically. araṅkēṟṟam the first show of performance before the king was also over. So these dances performed by her were classical in nature. Hence they're variccāntikkūttus.

Ilangovadikal also states that these dances have to be performed either in an erect posture or in a seated posture (cilap.arangerru.14-15 - p.80- 90). The difference between kuṭaikkūttu and tuṭikkūttu mentioned by the early grammarians is that tuṭikkūttu has to be danced in the seated posture. There are fields yet to be studied regarding these dances. āriyakkūttu comprises the various dances performed related to the mythic stories of the Aryans. tamiḻkkūttu refers to the dances which are based on the Tamil mythic stories. Does the story of Murukaṉ slaughtering the cūraṉ belong to the Aryan mythology or Tamil mythology or a combination of both? Depending on the answer they can be categorised either as āriyakkūttu or tamiḻkkūttu or a different one. The social status of Matavi; a kaṇikai i.e. courtesan was above the iḻikulam i.e. lower community. So these two dances have to be categorised as cāntikkūttu.

vēlaṉpāṇi and veṟiyāṭṭu

veṟiyāṭṭu is a ritual based art performed by the common people to know the reason for the ill health of the people and cure them. A place was arranged to perform veṟiyāṭṭu. The person who sang and performed veṟiyāṭṭu was called vēlaṉ. It was believed that he would be haunted by the holy spirit of Murukaṉ during the performance. It is a vinōtakkūttu and falls under the category potuviyal. It is one among the items of varikkūttu.

Cilappatikaaram specifies the vēlaṉpāṇi heard in the Colaimalai where Cenguttuvan came with his wife to enjoy the beauty of nature (cilap.kaatcik.25). The women of the hills sang among themselves that their mother is arranging for veṟiyāṭṭu.

“iṟaivaḷai nallāy itunakai yākiṉṟē

kaṟivaḷar taṇcilampaṉ ceytanōy tīrkka

aṟiyāḷmaṟ ṟaṉṉai alarkaṭampaṉ eṉṟē

veṟiyāṭal tāṉvirumpi vēlaṉvaru keṉṟāḷ” (cilap.kunrak.11- [My friend with bangles in the

forehands! Isn't it a comedy?! While the reason for my illness is my lover who belongs to the cool hills; where pepper grows in plenty; my mother thinks that it is due to Lord Murukaṉ who dwells in the flowered kaṭampu tree that I'm ill. So she calls vēlaṉ with the aim of performing veṟiyāṭṭu.]).

Here the vēlaṉ who is expected to perform veṟiyāṭṭu belongs to the clan of kuravars who lived in the hills; a community lower than the brahmins, kshatriyas and vysyas. So veṟiyāṭṭu is a vinōtakkūttu. Neither the king nor his relatives were expected to witness it. Only the public who lived in the hills indulge in the ritual. So veṟiyāṭṭu falls under the category potuviyal. As it is a ritual performed by the common people it is a segment of folklore invariably. The anonymous song quoted by Adiyaarkkunallaar (cilap.Arumpatavuraiyum Adiyaarkkunallaar uraiyum- p.80-90) refers to vēlaṉpāṇi as kantaṉpāṭṭu (kantaṉ = vēlaṉ; pāṭṭu = pāṇi). Hence it's inferred that veṟiyāṭṭu is one among the variety of varikkūttus.

Tirumurukaarruppadai speaks about the appearance of vēlaṉ elaborately (tirumuru.190-216). Not only vēlaṉ but women were also haunted by the holy spirit of Murukaṉ (tirumuru.241; puram.259; kuru.366; patti.154-158). Perfumes, flowers, grains and goats were offered to Murukaṉ (nar.47; puram.366; pari.17-L.2-3; tirumuru.222-2249; akam.22, 232, 242, 272, 292; kuru.53, 262, 263). The place specified for veṟiyāṭṭu was decorated with new sand (aing.248, 249; akam.22, 38, 98, 382). An orchestra with songs was arranged for the performance (akam.22, 38, 98, 138, 382; patti.154-158; matu.610-615). The practice of determining a doubtful matter with the use of numerology based கழங்கு preceded veṟiyāṭṭu (nar.47; aing.245-250, 248; akam.195). The dance named kuravai proceeded veṟiyāṭṭu (matu.610-615). Ladies who fell in love; when subjected to veṟiyāṭṭu call Murukaṉ a fool satirically (nar.34). There are plenty of stray references too in the cangam poetry about this veṟiyāṭṭu (nar.251, 273, 351; kuru.111, 360; aing.241-250; akam.59,114, 182, 388; kuri.174; pari.5-L.14-15, 9-L.44; malai.149-150).

(to be contd.)

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Mythology related to Murukaṉ

The mythology of Murukaṉ occurring in Cilappatikaaram deals with Murukaṉ’s birth, His childhood, His wife Valli and His heroic deed of slaughtering the cūraṉ.

Murukaṉ’s birth

Murukaṉ was born as the son of Lord Siva. Six esteemed ladies delivered children on the flower beds in the lake caravaṇam and those six children became Murukaṉ. His righteous mother is Goddess Parvati.

Instances of the parents of Lord Murukaṉ are already dealt in this paper (refer: Names and phrases that denote Murukaṉ). The lake caravaṇam and the six ladies who delivered and fed Murukaṉ are praised by the women of the hills during their performance of kuṉṟakkuravai.

“caravaṇap pūmpaḷḷiyaṟait tāymār aṟuvar

tirumulaip pāluṇṭāṉ” (cilap. kuṉṟakkuravai- s.10- [He was delivered on the flower beds in

the lake by the caravaṇam esteemed six ladies. They fed Him gloriously.]).

The term ālamar celvaṉ for Lord Siva; the father of Murukaṉ is found in the epic Manimekalai and the cangam poetry (kali.81, 83; tirumuru.256; mani.malarvanam.144). His mother is denoted by the same term malaimakaḷ besides koṟṟavai and paḻaiyōḷ in Tirumurukaarruppadai (tirumuru.257-259). Paripaadal gives a detailed account of the lake caravaṇam and the six ladies who delivered Him (pari.5-L.44, 8-L.12-16, 9-L.3-7). Lake caravaṇam was in the Himalayas filled with the blue waters. Murukaṉ was born on the lotus flowers there. The six rishis accepted with their respective wives who wish to bear Murukaṉ in their womb. They gave birth to six children who became Murukaṉ. Tirumurukaarruppadai talks about how the God of Agni bears the valuable product delivered by Lord Siva in his hands so that six Rishis’ wives could conceive Murukaṉ and deliver six children i.e. Murukaṉ.

Murukaṉ’s childhood

Murukaṉ has a cock flag. His vehicle is mayil.

Reference to the cock flag of Murukaṉ is already mentioned (refer: places of worship and the holy images enshrined). His vehicle mayil is praised by the women of the hills as nīlappaṟavai (cilap.kunrak.s.14 [nīlam = blue; paṟavai = bird).

Paripaadal explains in detail about how Murukaṉ had his cock and mayil. God Agni pleased to see the valour of the child Murukaṉ; created the cock from his body and presented it to Murukaṉ. He held the cock in his hands (pari.5-L.55-60; 64-68). Indran the king of the heavenly aboard (corkkam) was amazed to see the valour of the child Murukaṉ and created the mayil from a part of his body and presented it to Murukaṉ. He held the mayil also in his hands. The cock served as his flag too (pari.17-L.48-49). The cock flag was erected in places where Murukaṉ was worshipped (tirumuru.38-39; 217-220; 227-249). He was called by the name of his flag too . There is an account of how Murukaṉ had his mayil is dealt in Puranaanuuru also (puram.56). Tirumurukaarruppadai seems to be unique in saying that mayil serves as his flag (tirumuru.122).

Valli- the wife of Murukaṉ

Valli His wife belongs to the clan of kuṟavar.

The women of the hills worshipped both Murukaṉ and Valli. They sang that when Murukaṉ appeared before them Valli would accompany Him (cilap.kunrak.s.15-18) and compared the heroine with Valli (ibid.L.3).

Paripaadal says that Murukaṉ loved the flower- like damsel Valli. It explains that Murukaṉ married her and she is a lady of the kuṟavar clan (pari.14-L.22: 9-L.8,67). Tirumurukaarruppadai talks about Valli sitting beside Murukaṉ as His wife (tirumuru.101-102; 175-176).

Table- 2

Mythological elements found in classical literature

Name	Killing cūraṉ	Pinimukam	krauñcam	mayil	cock	Father Siva	Mother Parvati	six mo thers	caravaṇam	Valli
peru.	✔
nar.										✔
matu.	✔
patir.	✔	✔
kuru.	✔	✔
akam.	✔	✔
puram.		✔		✔
kali.	✔					✔
tirumuru.	✔	✔	✔	✔	✔	✔	✔	✔		✔
pari.	✔	✔	✔	✔	✔	✔	✔	✔	✔	✔
cilap.	✔	✔	✔	✔	✔	✔	✔	✔	✔	✔
mani.				✔			✔

Murukaṉ slaughtering the cūraṉ

Lord Murukaṉ fought with the cūraṉ riding on his elephant piṇimukam. The battle took place after He demolished and crossed the hill krauñcam. Then He went into the sea and reached an islet where He killed the cūraṉ with His vēl; thereby brought down the power of avuṇar (the clan of cūraṉ).

His battle with cūraṉ is dealt repeatedly in Cilappatikaaram (cilap.kunrak.s.7-10, 12; kadalaadu.49-53; katturai.188-189), hymns of the anthologies, idylls and Manimekalai without contradictions (pari.5-L.7, 9-L.70-71, 11-L17-18, 17-L.21-49, 18-L.1-4, 21-L.8,66; tirumuru.45-46, 59-62, 275-276; matu.181-182; peru.457-458; kuru.1; patir.11; akam.59; kali.27, 93, 104; mani.manimekalaa.13-15). Paripaadal gives a logical explanation that Murukaṉ laid a road to cross the hill krauñcam by cutting it down with the vēl (pari.5-L.9-10).

On tabulating the above mentioned mythological elements found in the anthologies, idylls and the twin epics it is evident that the occurrence of them attains a new dimension in Cilappatikaaram, Paripaadal and Tirumurukaarruppadai (refer: Table-2). The mythology of Murukaṉ’s birth, His cock flag, His vehicle mayil, His wife Valli and the destruction of the hill krauñcam are the later elements which mingle with the cult of Murukaṉ.

Conclusion

Addressing Murukaṉ as cevvēḷ, aṟumuka oruvaṉ and aṟumukac cevvēḷ is a turning point found in Cilappatikaaram. There were two types of temples for Murukaṉ. The figure of Murukaṉ with six faces was enshrined in Kōyils where vedic tradition was followed. There were also Kōṭṭams where vēl was enshrined, the hillocks, veṟiyāṭu kalam, forests, gardens, lagoons, banks of rivers, lakes, junctions of three roads or four roads or five roads, town halls, trees amidst town halls, townships and symbolic pillars for worship where the festival of Murukaṉ was celebrated without vedic traditions. The tradition of worshipping the blossoming kaṭampu tree as Murukaṉ was prevalent even in the days of Cilappatikaaram. There were famous Murukaṉ temples in centil, ceṅkōṭu, veṇkuṉṟu and ērakam. kuṉṟakkuravai, vēlaṉpāṇi and veṟiyāṭṭu were the folk-arts related to the cult of Murukaṉ. They were performed by the common folk; for the common folk and were ritual based. kuṭaikkūttu and tuṭikkūttu were classical dances performed for the common folk. On the basis of specific strategies we are able to categorise kuṉṟakkuravai under vinōtakkūttu, potuviyal, varikkūttu, vacaikkūttu, iyalpukkūttu akakkūttu and puṟakkūttu. veṟiyāṭṭu can be categorised under vinōtakkūttu, varikkūttu and potuviyal. Tuṭikkūttu and kuṭaikkūttu can be categorised as cāntikkūttu, variccāntikkūttu, puṟakkūttus and potuviyal. The field yet to be studied regarding kuṭaikkūttu and tuṭikkūttu is whether the mythology of Murukaṉ slaughtering the cūraṉ belongs to Aryan mythology or Tamil mythology or a combination of both. The mythological elements in connection with Murukaṉ attains a new dimension in Cilappatikaaram, Paripaadal and Tirumurukaarruppadai. The mythology of Murukaṉ’s birth, His cock flag, His mayil vehicle, His wife Valli and the destruction of the hill krauñcam were the later elements that mingle with the cult of Murukaṉ. Paripaadal seems to be parallel with Cilappatikaaram in every aspect.

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Raasamaanikkanaar, Maa.- Pattuppaattaaraaycci- Ist edition- 1970- Cennaip palkalaikkazhakat tamizhtturai veliyeedu, Chennai.

Raakavaiyangaar,Mu.- Ceran Cenguttuvan- 6th edition- 1974- Pazhaniyappaa brothers, Trichy.

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