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Old Tamil Kings and Chieftains as Described in Sangam Literature

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Vacek J.

Cracow Indological Studies

2013

vol. 15: Text History and Society as Depicted in Indian Literature and Art. Part II. ŚRAVYA. Poetry & Prose

325-354

Old Tamil Sangam literature can offer some very concrete information about a number of local kings and chieftains (Pāri, Ōri, Āy, Naḷḷi, Pēkaṉ etc.) and occasionally also their relations with the three great dynasties Pāṇṭya, Cōḻa and Cēra. The three dynasties use special symbols, which are partly derived from nature: tiger (puli) – the emblem of the Cōḻa Kings; fish (mīṉ) – the symbol of the Pāṇṭyas. The Western Cēras use a ‘military’ symbol, viz. the bow (vil). Kings and chieftains (vēḷir) are referred to on various occasions; they fulfil various roles, among other things also that of ‘sponsors’ of the poets. References to chieftains and other ‘political’ figures in Sangam literature are made with regard to war and partly other social functions as can be seen in the standard formulas appearing with these figures. The paper sums up some of the roles of the castes according to the Poruḷatikāram of the Tolkāppiyam grammar and then deals with the ‘positive’ attributes of kings and chieftains. For example, they possess strong or quick bows (val vil, 33x), long lances (neṭu vēl, 29x) or sharp lances (kūr vēl, 10x), (great) moving chariots (iyal tēr, 21x) or strong chariots (tēr vaṇ, 8x), and strong horses (mā vaṇ, 11x) or big horses (neṭu mā, 5x). Their hands are wide (taṭam kai, 46x) and liberal (kai vaṇ, 18x) and they perform victorious battles (vel pōr, 36x) and good battles (nal pōr, 7x). They have a reputation for liberality (vaṇ pukaḻ, 5x), in fact, they experience joy in liberality (vaṇ makiḻ, 14x). They enjoy excellence (cīr keḻu, 14x), abundant fame (urai cāl, 19x) or great fame (name) (peru peyar, 36x). There are also negative attributes. The paper will document some selected ‘qualifications’ of the ‘men of war’.

Funkcjonowanie fragmentów Modlitwy Pańskiej w tekstach poetyckich późnego średniowiecza

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Masłej D.

Slavia Occidentalis

2017

issue 74/1

87-101

The goal of the article is to provide a description of grammar and vocabulary-related differences in the fragments of Our Father in Polish medieval songs (until the 16th century). The fragments introduced into the texts are processed to varying degrees, from being quoted, to modified or involving a free reference to the Pater Noster. Modification was the most frequently employed form. There were four major types of modifications: lexical exchange, change in word order, adding an element and removing an element. This also indicated the reasons for introducing the changes: some of them stem from the way in which the excerpts were introduced into the text (formal changes), some are intentional (application of specific forms) and affected the form of the artistic song (rhyme, rhythm, phonaesthetics). The lack of stability of the adopted fragments is also related to the way song operated as an oral form, making it vulnerable to a variety of transpositions. At the same time, however, with all these modifications, one element remained unchanged: the expression from evil which became one of the “theological and poetic formulas” used in Polish religious poetry of the Middle Ages.

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1 Cracow Indological Studies

1 Slavia Occidentalis

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1 2013

1 Masłej D.

1 Vacek J.

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Old Tamil Kings and Chieftains as Described in Sangam Literature

Funkcjonowanie fragmentów Modlitwy Pańskiej w tekstach poetyckich późnego średniowiecza