Page:Madras journal of literature and science vol 2 new series 1857.djvu/56

46 The Tamil Epic Chintamani. [no. 3, new series. struciion, and Grammarians quote this work as of undoubted authority.

Nacchenarkinnear of Madura, himself a man of great erudition, and a commentator on three parts of Telkappeyam, the Cural, and Sillapadekaram, has also written notes on Chintamani. The comments of this author, on Chintamani andl the other works, are regarded by the Tamil Literati as unquestionable authority. The commentary of this writer composed before he had examined the claims of the Jaina theology, was not at first received by that sect. He afterwards, however, revised his commentary, conforming it to their doctrinal peculiarities, and it was thenceforth received by them as a correct exposition of his author.

The Chintamani contains three thousand one hundred and forty-five tetrastichs, and it is divided into thirteen sections called Ilambakam.

1. The story of the hero Jivaka commences with certain particulars relating to him prior to birth. When an infant, he was cherished by a Chitty, a merchant, who rescued him from the forest in which he was born; his mother having fled thither from the assassin who had slain the King her husband. This section called Namagal Ilambakam contains 408 verses.

2. The second section called Kovindiyar Ilambakam relates the early exploits of young Jivaka. It appears that a gang of free-booters attacked the city in which he dwelt, plundered it, and carried away much property, driving before them, as they retired, the cattle belonging to the inhabitants. On this occasion the young hero distinguished himself by great bravery, pursued the plunderers, and rescued the spoils they had taken. In consequence of this deed of valour, a citizen named Pasukavalam was induced to give his daughter Kovindeyar in marriage to the son of the Chitty the foster father of Jivaka. This section contains 84 stanzas.

3. The third section is named Kandarvatatteyar Ilambakam so called from the celebrated musician of the name of Tatteyar whose skill on the Indian lute or vina was almost unrivalled. She formed a revolution not to marry any one who did not surpass her in her