References to Elephant as Gleaned from the Sangam Literary Works: Asian

Elephants in Culture and Nature

Usha Raman1

Elephant in the narrations of Sangam poetry played a larger than life role in poets’ imagination.
It was a metaphor for describing kings’ masculinity. The possession of angry elephants by a king
showcased his strength and grandeur as the Sangam warfare depended heavily on the animal’s strength
and its ability to charge against the enemy. The size of its feet, its lazy movement, its trunk and its ivory
horns reminded the poets of many events of everyday life. Festivals were inaugurated with elephants,
Joyous occasions were announced to the public by beating the drum mounted on an elephant, Diadems
were carried on the back of these animals before it was bestowed on the beneficiary, the love-sick
heroines of Sangam poetry frequently remembered these majestic animals when they longingly
remembered their beloved. There was even an elephant temple in the sea port of Puhar, the ancient
Chola capital.

For this article I have referred to Sangam literary works of anthologies of Agam four
hundred poems and Puram four hundred poems, and kavyas of Silapadhigaram and Manimegalai. I
have referred to the original verses and the commentaries by modern authors. Through the study I have
also tried to understand the ecology of ancient Tamilnadu. Though there is normally a paucity of references
to microhistory subjects, Sangam literary works have more than covered up the everyday life of
elephants. There are plenty of references to elephants and a critical reading of these would enable a
researcher to write in detail about various aspects of the animal’s life. Sangam literary works were said
to have been written between 3rd Century B.C. and 3rd Century A.D. In these the anthologies of Agam
four hundred and Puram four hundred are secular literature. Agam talks about emotions and inner
turmoil especially emphasizing on love and the subtle emotions the hero, heroine and their relatives feel
due to two young people falling in love. The anthology of Puram four hundred is more about kings, their
prowess, their ability and willingness to make charity, their queens and in general about the political and
social life of both the royalty and the commoners. Silapadhigaram is the second century A.D., kavya
set in the background of the famous city of Puhar and the Pandya city of Madurai. It is again a secular
literature though from the time Kovalan, the hero of the story dies it becomes frequently surreal giving
it a strong tinge of mysticism. On the contrary, the narration of Manimegalai is filled with fantasy which
Silapadhigaram carefully avoids.

Through this article I have tried to trace the relations between human and non-human
animals in Ancient Tamilnadu, to understand peoples’ perception of elephants, to understand the emotions

1
Patkar-Varde College, University of Mumbai, India.

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of elephants as observed by the contemporary poets and in the process to explore another dimension
to understanding the society and beliefs of ancient Tamils. The sangam literature treats the area within
Tiruvengadam or Tirumala hills in the north, the ocean in the south, the sea in the east and the sea in the
west as broadly one cultural space with three major kingdoms namely the Cholas, the Cheras, and the
Pandyas and a host of subordinate chieftains who subdivided the area. The kings were charitable in
nature and there was a strong literary movement current during this period. The kings were constantly
warring with each other. The success or failure in a war always gave opportunity to the poets to praise
the kings. Some were genuinely, friends with kings and this is reflected in their concern expressed
through the poems addressed to the respective kings. Western Ghats run through entire north-western
and western Tamilnadu which ends near Kanyakumari. The whole mountainous region was a thick
forested area and wild animals inhabited there. Herds of elephants, wild boars and tigers are frequently
mentioned. The ferocity of male tigers and how they hid themselves in the recess of the mountains and
managed to maul the elephants and how especially, the female elephant was no match for the fierceness
of the tiger is a favourite theme in the poems of Agananuru. People lived everywhere, in the kurinji or
the mountainous region, in the Mullai or the forest region which was adjoining the mountains, the Palai
or the waste lands, and it was more populous in the Marudham or the agricultural tract and in the
Neidhal or the coastal region. While the major cities such as Madurai, or Puhar or Vanji or Musiri were
prosperous, in many regions people were poor and were constantly on the move looking for opportunity.
Despite the thick forest cover and the danger of being mauled by an abundant tiger population, people
moved frequently from coast to coast crossing the mountains either looking for jobs or for a better
urban lifestyle. Warring troops and caravans regularly crisscrossed the mountains and the innocent
maidens from the mountains frequently were lured by the urbane street smart soldiers who promised
life in cities. Some eloped with these men leading to parental agony and in all this social milieu elephant
is referred either as a metaphor or as a fellow traveler who faced similar hardships from humans and
non-humans. The bards who praised kings either travelled alone or many a times with the entire clan
looking for food and munificence from the patrons. During their travel they had plenty of opportunity to
observe herds of elephants and their behavior and this they have articulated in their poetry.

According to the Ministry of Environment, Forest and Climate Change, Government of

India, Elephant is the largest terrestrial mammal of India. Their food and water requirements are very
high and therefore their population can be supported only by forests that are under optimal conditions.
The status of elephants is the best indicator of the status of forests. Asian Elephants were distributed
over a wide area of Tigiris and Euphrates in West Asia through Persia into Indian sub-continent, and
South-East Asia. However, currently elephants are confined to Indian Subcontinent, South East Asia
and Some Asian Islands including Sri Lanka, Indonesia, and Malaysia. About 60% of the Asian Elephant
population is in India. Till about medieval times Elephants were to be found all over India but now its
distribution is confined predominantly to South India, North East, and some parts of Central India.
Within South India, Nilgiri-Eastern Ghat including Mysore, Wayanad, Nilgiri, Nilmabur, Coimbatore,
Anamalai, Anamudi, Periyar, Srivilliputur, and Rayala are the Elphant reserves1. It is believed that a

1
Government of India, “Ministry of Environment, Forest, and Climate Change,” envfor.nic.in/division/introduction-4, last
accessed on 21st June 2016

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total of 12,000 square kilometer area spanning the states of Karnataka, Tamilnadu and Andhra houses
about 6,300 elephants. Within this range Nagarhole, Bandipur, Wynaad, Mudumalai and the Nilgiri
north division have been identified as one of the five most important zones within the range for long
term conservation of the species. In the sangam period the forest near Tirumala hills were considered
as the best place to snare elephants. Pulivar elephants as they were called were considered to be best
to fight wars. But now these entire forest range has disappeared and the wild elephant population there
is almost non-existent.

Microhistory was developed in Europe in the 1970s to fill the lacunae in the study of
political events and social realities that could not be explained adequately through an existing macro
historical studies. This led to micro-historians focusing on margins of power rather than its core. This
branch of history focusses on study of the individual, intensive study of insignificant events, and the
history of everyday life. The challenge that is faced by micro historian is lack of documented sources.
Micro history makes history appealing to people who are not initiated into the subject.2 It was designed
to raise new questions and to provide new answers to existing historical issues.

Animal studies, an offshoot of microhistory, is one of the emerging areas of research in

Social Science. It questions human exceptionalism and attempts to bring out a holistic study of life
where both humans and animals interdepend on each other in an intimate way which till recently was
accepted as given. It explores their complex relations with nature, and It focuses on the participation of
non-human species in the cultural life of humans, on Man’s relationship with animals or especially a few
animals, on the socio-cultural, economical and psychological role played by these animals historically,
and it also probes how men used animals as metaphors, allegory and fables to express various emotions.
Scholars of animal studies need to concentrate on the account provided by the human actors who have
used, been closer, and who have observed the herds of animals. Some do believe that animals are not
actors but they are individuals in their own right. They also see how the animals behaved during various
known historical events3, to document its sufferings and pain and the animal’s unfortunate separation
from its mother due to human intervention and if possible to construct its day to day activities.

Of the Sangam literature Agam poetry brings out the nuances of animal emotions much
effectively as compared to others. While other contemporary literature uses the elephant as a metaphor
to describe man’s qualities, it is Agam poetry which treats the elephant as an individual and gives
detailed information on its various emotions and activities.

Tamil lexigon offers the various names of elephants which in itself attests to the importance
attached to the animals in the ancient Tamil life. The names include Tumbi, Karini, Tol, Sundali, Kumbi,
Karaiyadi, Kunjaram, Pakadu, Kaliru, Putkai, Kari, Matangam, Vazhuvai, Vezham, Varanam, Moy,
Umbal, Erumbi, Uva, Pongai, Tanti, Atti, Kadivai, Kayam, Nagam, Sinduram, Tungal, Nirumatam,
Pazaikkai, Val Vilangu, Nalvay, Pukarmugam, Mataalm, Dantavalam, Mrunama, Kaimma, Vayama,

2
“What is Microhistory?”, http://web.uvic.ca/vv/student/vicbrewery/content/microhistory.html , last accessed on 1 st July
2016

3
Eric Baratay, Building an Animal History, “French Thinking about Animals”, Stephanie Posthumas, (tr.), Michigan State

University Press, Michigan, https://books.google.co.in/books/animalstudies , last accessed on 2 nd July 2016

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 Asian Elephants in Culture & Nature, 2016

Manthama, Mathakayam, Ambal, Ibam, Poakam, and Kalabam4. In the following passages I have
traced the life of elephants in their various emotions and activities and have attempted to highlight
aspects of animal life which remain unnoticed by the humans.

Elephants and Kings

Rulers whether they were Chola, Chera or Pandya were described as ones being in
possession of angry killer elephants5

Pandya King Karungai Olvat Perumpeyar Vazhudi was described as among other things
the one who mounted the elephant which has the dotted trunk, fluid oozing out of its trunk, one which
wears the bell, one which has a golden casing on its face and which pounds the fort wall of the enemies6

King Karikal Chola was praised by poet Adhanar for being able to mount a male elephant
and wage war. The war elephants were always described as rutting elephants7 Kings were described
as the one who mounted on male elephants, which looked like God of Death.8

Chera king Selva Kadungo Vazhiyadhan was described by Kapilar, the poet as greatest
amongst men, and proceeds to say that his hands were capable of goading the fearless killer elephant,
who could break the Kanaya tree while riding , and who had the ability to balance the temper of such
an elephant all at the same time9.

Pandyan King Palyagasalai Mudukudimi Peruvazhudi was described by the poet as the
possessor of angry elephants10.

While describing Parambu hill after that death of King Pari, the poet Kabilar says that it
resembled the discarded spat out by the elephant after it finished chewing the food11.

While describing the prowess of Chola king Perunarkilli and his warring style, the poet
says that when he fought with his enemies, he entered their cities, took possession of their food grains,
wreaked havoc there and among other things bathed his elephants in the much guarded water bodies
in those cities12. While describing the elephants herd of Chera king Irumborai, poet Kurunkozhiyur

4
Tamil and Vedas, https://tamilandvedas.com/2012/09/30/45-words-for-elephant/ last accessed on 2 nd July 2016

5
Manickam A. (ed.), “Purananuru: Text and Commentary”, (Tamil), Poems 3, 52, 53,55, & 66 Pp. 115-118, 120-123 & 141-
142, Volume I, Chennai, 1990
6
. Ibid Purananur: Text and Commentary: Poem 3, Pp. 21-23
7
Purananuru: Text and Commentary: Poem 9, Pp. 32-33
8
Purananuru: Text and Commentary: Poem 13, Pp.38-39
9
Purananuru: Text and Commentary, Poem 14, Pp. 39-41
10
“Purananuru: Text and Commentary”, Poem 15, Pp. 41-43
11
“Purananuru: Text and Commentary”, Poem, 114, Pp. 216-217
12
Purananuru: Text and Commentary”, Poem 16, Pp. 43-45
13
“Purananuru: Text and Commentary”, poem 17, Pp. 45-49

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Kizhar says that seeing his large herd of war elephants, bees would swarm them mistaking them to be
mountains13. In the mountainous region the elephants with musth or temporin would sometimes get into
wild streams and would be washed away14 One of the poets states that when they were not in musth
the boys in the area could play with the male elephant and wash its tusk playfully.15

While describing the prowess of Pandyan Nedunchezhiyan, who Nilakanta Sastri dates at
210 A.D., who won both the Chera and the Chola kings in the battle of Talayâlangânam, and who was
credited with killing the herd of elephants of enemies with arrows in such a way that they writhed in
agony on the ground as a plough would on the field16.

While describing the generosity of king Vel Aye, poet Mudamosiyar says that he gave
elephants as gifts to the bards who sung in praise of him that his elephants sheds were empty and wild
peacocks occupied such sheds17. The same poet with concern says that as the ruler was constantly
gifting elephants to the bards, the female elephants should give birth to ten calves at a time to fill the
void. 18 When he crosses the forest he spotted a herd of elephants which remind him of king Vel Aye
and he wonders whether the forest sung in praise of the king to have gotten such a large herd.19 Even
poor bards requested for a gift of elephants from the kings. One of the even asked for a tusker with the
face shield and got it20. The kings at times gave the ivory pearls as gifts to the women21

Description of Elephant

Male elephants will have dots22 as their ears are equated with black palm23 since they keep
banging enemies’ forts their cheeks are covered with dust. Their necks are rounded with metal collar.24In
the wasteland near forests the forest dwellers dig pits looking for water. During dry season when the
water too dries up the pit gets filled with leaves. The tuskers, which come looking for water, think
humans dug these pits to snare them25 In the hot sun when clouds gather suddenly to break into a
convection rain the herd feels very happy as their bodies cool down26

War and Elephants

Emperors who went to war had the service of the chieftains under them. Their flags along
with the imperial flag were tied on their respective elephants and the tall-unfurled flags appeared like
14
Agananuru: Poem 18
15
“Purananuru: Text and Commentary”, Poem 94, Pp. 184-185
16
“Purananuru: Text and Commentary”, Poem, 18, Pp. 49-52
17
“Purananuru: Text and Commentary”, Poem 127, Pp.238-239
18
“Purananuru: Text and Commentary”, Poem 130, Pp. 242-244
19
“Purananuru: Text and Commentary”, Poem 131, P - 244
20
“Purananuru: Text and Commentary”, Poem 161, Pp. 303-307
21
“Purananuru: Text and Commentary”, Poem 170, Pp. 323-325
22
“Purananuru: Text and Commentary”, Poem 119, Pp. 224-225
23
“Purananuru: Text and Commentary”, Poem 340, Pp. 233-234
24
“Purananuru: Text and Commentary”, Poem 387, Pp. 329-332
25
Agananuru: Poem 21
26
Agananuru: Poem 214

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they were mopping the sky27. The war drums were sounded so loud and the angry male elephants
walked behind thundering their presence through trumpeting28. The young male war elephants were
always described to be oozing out musth and being very aggressive and this condition of theirs was
considered conducive to fight enemies. The male elephants were goaded in the forefront of the battlefield
to expand the space and behind which the infantry would follow to wage the war.29 They were trained
to hide stones within the folds of their neck, which they could hurl at the enemy.30 The haughty elephants
would bang the enemy’s fort with such force that their tusks would get blunt in the act.31 The tusks were
covered with iron rings to enable them to attack the enemy fort without much difficulty.32Broken tusks
of the male elephants were an indication of their participation in the war33. With their force they even
broke open the doors made of bullet-wood’s (Mimusops Elengi) bark34 When the rulers won the war
they seized the gold from the enemy’s elephant’s face shield called Kimburi 35and gifted it to the poets
who praised the king on his prowess.36 The fierce ones strong as death, during war, threw men to the
ground without missing their marks37 In war expert throwers of spears targeted the war-trained male
elephants to kill them38. Pachyderms were praised for their bravery, for not running away from the
battlefield.39

Elephant and masculinity

Chola king Nedunkilli’s territory was besieged by rival claimant Nalankilli. Instead of
defending his territory the former had shut himself within the fort. Poet Kovur Kizhar pointed out to him
that it was cowardice and quoted how all those who depended on him suffered due to his inaction. One
of the consequences he cites was the tuskers not being able to freely take bath in the water bodies with
the female elephants, and they not being able to eat ghee laden rice and they trying to break free of the
rope with which they were tied (perhaps out of shame and were waiting to offer war to the enemy)40.

The stride of the male elephant was said to be leisurely and majestic and the bells tied to
their thick neck sounding rhythmically to their stride, their eyes shimmering with anger and the tusk
being very long. They ooze out odorous temporin, which drips to the ground and being surrounded by
buzzing bees, which attempt to drink it41. Elephants with wide feet and long legs were considered

27
“Purananuru: Text and Commentary”, Poem, 38, Pp. 91-93
28
“Purananuru: Text and Commentary”, Poem 79, Pp.165-166
29
“Purananuru: Text and Commentary”, Poem 26, Pp. 68-70
30
“Purananuru: Text and Commentary”, Poem 30, Pp. 76-77
31
“Purananuru: Text and Commentary”, Poem 31, Pp. 77-79
32
Op cit. Agananuru: Poem- 26
33
Vaidehi Herbert, (ed), “Agananuru: Text and Commentary, Poem 1, https://sangamtranslationsbyvaidehi.com/ettuthokai-
akananuru-1-100 , last accessed on 02nd July 2016
34
“Purananuru: Text and Commentary”, Poem 97, Pp. 188-191
35
“Purananuru: Text and Commentary”, Poem 377, Pp. 305-308
36
“Purananuru: Text and Commentary”, Poem 126, Pp.235-238
37
Op cit. Agananuru: 93
38
Agananuru: Poem 216
39
Agnanuru: Poem 100
40
“Purananuru: Text and Commentary”, Poem 44, Pp. 102-104
41
“Purananuru: Text and Commentary”, Poem 22, Pp. 58-61

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sought after and they were tied to the trunk of sturdier trees so, that they didn’t run away from their
shed42.

The art of taming the elephant

Agam poetry talks about how in the bamboo-filled mountain slopes a male elephant was
caught in the slippery mud hole near thriving banana plantain and the female broke and threw a big tree
to help him step out and to end his misery43. People who wished to catch wild elephants would first dig
a pit and spread over it thin sticks, and over that would spread sand to make it appear like earth. The
elephants, which walked over it got trapped into the pit and they would then be caught with the aid of
trained elephants.44 The Pandyan kings got the white-tusked elephants from the Venkadam hills.45 It
was considered dangerous for a novice to go before a wild elephant in captivity46 and Kings were
praised for possessing well trained elephants. Pandyan General by name Panni was said to have spent
time regularly to train wild elephants47. Agam poetry talks about the hero of the poem witnessed a few
uneducated men caught a young male elephant in the forest while his naïve mother with legs like pounding
mortar screamed, and they later tied him to the door of a house with a thick rope where liquor was
sold48. When the elephant got the musth and went on a rampage it was difficult for people and even its
rider to control it. Manimegalai describes one such scene wherein the Chola royal elephant by name
Kâlavegam went on a rampage in the city of Puhar when it was about to be ravaged by a hurricane, it
scared everyone on the streets as the animal appeared like a moving blue hillock. It was then goaded
and brought under control by the crown prince Udayakumara49.

Elephants’ eating habits

Elephants eat bamboo50 , they strip of the trunks of yâ tree in the mountainous region to eat
and thereby leaving a trace of mud on the trees while doing so51. Agam poetry describes about a bull
elephant with green eyes bringing tender sprouts of bamboo to his naïve female which just gave birth in
the Venkadam Hills.52 The bull elephants that protected its heard gave the sprout to the herd and ate
the leaves53 At the same time people were afflicted with an eating disorder called “Yaanai thee noi”
wherein the afflicted person atr enormous quantities of food and still felt unsatisfied54

42
Ibid Purananur: Text and Commentary : Poem 57, Pp.125-126
43
Agananuru: Poem 8
44
Op cit., Purananuru poem 17
45
Op cit. Agananuru: Poem 27, Venkadam hills is modern Tirupati in the state of Seemandhra
46
Seethalai Sathanar, “Manimegalai” K.Kadhiresan (ed.), (Tamil), Sri Selva Nilayam Publicatins, Chennai, 2012, P-72
47
Agananuru: Poem 13
48
Agananuru: Poem: 83
49
Manimegalai Pp. 27-28
50
“Purananuru: Text and Commentary”, Poem 73, Pp. 155-156
51
Agananuru: Poem 17
52
Agananuru: Poem 85
53
Agananuru: Poem 218
54
Manimegalai: Ulaga Aravi Pukka Kaadhai, P-94

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Elephants in agony

In the kuthalam falls during monsoon an elephant calf was dragged into the whirlpool of
uncontrollable flood, the female elephant trumpeted and created an uproar and the male elephants with
lifted white tusks gathered together and trumpeted helplessly55.

Elephants to enforce punishments

Chola King Killivalavan captured Malayamaan territory and enslaved his two children. He
then proceeded to kill them by making an elephant trample their head. Kovur Kizhar the poet established
the innocence of the children and saved them from death.56

Elephant in popular art during Sangam Period

Stories from epics were enacted frequently during Sangam period. The most popular one
was “Alliyam Koothu” or Alliyam dance-drama which was based on a story from Bhagavatam in
which Kamsa, the adversarial uncle of Krishna invited the latter to a wrestling contest and at the
entrance of the venue had arranged to keep a rutting elephant called “Kuvalayapita”. It was trained to
hurl Krishna into air once he got closer. But Krishna anticipated what was imminent and instead hurled
the elephant by its trunk and broke its tusk holding which he danced around the arena, which made all
other wrestlers tremble with fear57. In Puhar, the chief danseuse Madhavi did this piece as one among
the eleven themes she chose during her performance58

Analogy of Elephant while expressing love

One of the love poems of Aham describes the love sick heroine yearning for the company
of the hero who had gone to distant land and hopes that he would see male elephant bending and
breaking the tall ya tree for pidi, the female elephant to eat and remember her.59 In another poem the
hero remembers the gait in heroine’s happy countenance and compares it with Poolivar elephants that
loved playing in the ponds.60 The love sick hero who was separated from his beloved was said to have
been sighing like a male elephant which got separated from its herd61

55
Agananuru: Poem 68
56
“Purananuru: Text and Commentary”, Poem 46, Pp. 105-107
57
“Purananuru: Text and Commentary”, Poem 33, Pp. 81-83
58
Ilango Adigal, “Silapadhikaram”, S.V. Subramanian (ed), (Tamil), Gangai Book House, Chennai, 2004, Pp. 72-75
59
Op. cit. Agananuru: Poem 58, https://karkanirka.org/2009/07/25/akam59/ last accessed on 03 rd July 2016
60
Ibid, Agananuru: Poem 6
61
Agananuru: Poem 32
62
Op. cit. Silapadhikaram, P-6
63
Silapadhikaram, Pp. 31-36

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Elephants in ceremonial events

When Kovalan and Kannagi, the hero and heroine of Silapadhikaram, the second century
A. D. Kavya, were betrothed their parents announced their impending marriage to the city dwellers by
mounting bejeweled women on the back of an elephant and made them break the news. In the entire
city.62

In Puhar, the coastal capital of the Sangam Cholas, during the time of Emperor
Thirumâvalavan or Karikal Chola in the 2nd century A.D., the danseuse who was chosen as the chief
royal performer was given the title Talaikol which originally was the stem of the royal parasol of the
enemy kings he defeated. Roughly about 5 feet was cut from the stem and it was cased with a variety
of gold sheet called sâmbunadham and at regular intervals studded with precious stones. In the royal
palace it was offered obeisance as it was personified as Jayanta, son of Lord Indra. On an auspicious
day, Talaikol was anointed with water brought from sacred rivers and was garlanded. It was then
carried by the royal elephant which was adorned with gold facial casing, on its trunk. The king along
with his ministers, purohit, military commander, royal envoy, chief of espionage followed it to the
accompaniment of royal drum beat and to the tune of musical instruments. The procession ended at the
hall where the danseuse was to perform. It was then handed over to the chief poet who placed it on
stage where everyone could see it. If the danseuse during her arangetram (the first public performance)
performed exceptionally well, she was felicitated and designated as the Talaikol of the country and was
given many rewards63

Every year at Puhar the festival of Indra was celebrated. As Indra was the Lord of East,
his worship was very popular amongst the sangam cholas. Inauguration of the festival was done with
people gathering at the temple of Vajrayudham, thunderbolt, the weapon of Lord Indra. Valluvan who
belonged to the ancient lineage mounted the festival drum on to an elephant and in a procession took it
to the temple of Iravatam64, the elephant of Indra and announced it to the general public the opening of
the festival. They then moved to the temple of karpagatharu, the wish fulfilling tree, and hoisted the
festival flag which had the emblem of iravatam on it. Similarly, when the festival closed after a month,
the flag was downed and the closure was announced at the temple of Iravatam65.

Elephants in popular myths

King Sembiyan (Shibi of Shibi Jataka) saved the dove from the hawk by giving his own
flesh, which he weighed on the ivory balance, was said to be the ancestor of the Chola king Killivalavan.66

Elephant as a Metaphor

While describing the anger of Athigaman, the ruler of Thagadur, during war the poetess
Avvaiyar compares him to an angry elephant, which just fought with a tiger67. The besotted hero of
64
Manimegalai Pp. 3-11
65
Silapadhikaram, Pp. 56-59
66
Op cit. “Purananuru: Text and Commentary”, Poem 37, Pp. 93-94
67
“Purananuru: Text and Commentary”, Poem 100, Pp. 196-197

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Agam poetry while thinking of the heroine compares her braid to the elephant’s trunk68 At the same
time a worried mother while describing the man who bewitched her daughter and who wished to take
her with him compares him with a tiger taking down an elephant.69 Agam poetry is replete with examples
of how tiger stalks and kills tired elephants among tangled vines and bushes70 and how hearing its roar
the elephants tremble71 and especially so the female which was no match for the fearsome felines72.
The hero of another poem describes his wasted efforts in trying to find work by explaining the way a
proud elephant during summer would run to mirage looking for water and when it could not find it,
would lie down with sorrow looking like a boat without water73. Agam poetries abound with descriptions
of how the male elephant with green eyes searched for water and not seeing it, ate moss, and lied down
with his hungry female, their strength sapped74. Another poem describes how the aged male elephant
looking for water broke out with sweat as the harsh sun scorched its tired body75 It also talks about the
bull elephant lifting its trunk and heaving a sign of relief after it successfully fought a tiger, notwithstanding
it wounds, it made the female and the herd happy76and whenever it spotted a vengai (Petrocarpus-
Indicus or Mahogany) tree the bull elephant got into a rage and presumed it to have been a tiger and
tried to rip it apart77.

Elephants played a significant role and they were game changers in the history of South
Asia. These animals decided the fate of warfare, they bestowed prestige on the king who possessed
them. The possessor of angry, trained war elephants was considered as an alpha male and winning
over an elephant in musth was the epitome of masculinity. It is in this background with an understanding
of the social fabric where it played a significant role, the cultural context in which was revered, its
moods, and agonies and the popular metaphors and analogies lead to beginning of understanding the
domesticated animals’ issues which in turn would lead to a holistic study of history.

68
Op cit., Agananuru: Poem 9
69
Ibid Agananuru: Poem 22
70
Agananuru: Poem 88
71
Agnanuru: Poem 92
72
Agananuru Poem 221
73
Agananuru: Poem 28
74
Agananuru: Poem 91
75
Agananuru: Poem 207
76
Agananuru: Poem 202
77
Agananuru: Poem 227

270