Episode 20: Two Swords Blessed

In this feature, we outline the chapters of The Legend of Ponnivala as we've laid them out in the animated and print series. The sub-story descriptions are those that occur in each episode, and are drawn from our Teacher's Handbook.

A lonely sister lives in her family palace with two brothers who spend all their time away on adventures. Lonely, she requests that they bring her a parrot for company. The brothers agree and have a net especially made for this purpose. But then the sister has a vision and changes her mind. She fears capturing a parrot from the enemies’ forest will lead to war.

The Lonely Sister Asks Her Brothers To Fetch Her Two Pet Birds

Meanwhile, the twin kings’ lovely little sister is lonely and begins dreaming about obtaining two magical parrots as pets. She wants her brothers to catch those “heavenly” birds for her. They will become her pets. The brothers express reservations. The parrots, though of heavenly lineage, reside well within the territory of their enemies: the hunters. The mountain territory there does not belong to them. But the brothers decide to go anyway. Then the sister changes her mind. She now realizes that the risks are too great. But the two kings have now committed to the mission and put their honor on the line.

A Treacherous Theft Yields Iron For Making a Fine Bird Net

The brothers realize that they need help to catch the parrots their sister requested. They plan on using a large iron net especially made for the purpose. But when they call the artisans and ask them to make such a net, the workmen advise the kings that they need to use especially strong "foreign iron" for this assignment. So the heroes' magical assistant is sent off to obtain the material required. Ironically, he finds some of the correct iron stored in an awkward place, at a temple that belongs to their hunter-enemies. It is located in the very same hills that the two kings plan to steal the parrots from. The heroes’ assistant soon obtains the by trickery. He carries it all back to Ponnivala in one big, magical head load. The parrot net needed is then quickly manufactured, and so is a golden cage that is designed to hold the two lovely birds.

Skilled Artisans Make a Fine Bird-Hunting Net and A Golden Bird Cage

The brothers realize that they need help to catch the requested parrots. They plan on using a large iron net especially made for the purpose. But when they call the artisans to construct this, the workmen advise the kings that they must use especially strong "foreign iron" for this delicate task. So the heroes' supernatural assistant is sent off to obtain the material needed. Ironically, he finds some of this iron near a temple associated with the hunter's palace. This temple lies in the very same hills that the two kings plan to steal the parrots from. Their assistant soon obtains the iron by trickery. He carries it all back to Ponnivala in one big, magical head load. The iron net needed is quickly completed, and so is a golden cage that will hold the lovely captives. The artisans are paid with pearls.

The Sister Blesses Her Brothers’ Swords

The two brothers are now fully committed to the hunt for two magical parrots. They make all the necessary preparations including drafting fighters from each village in the Ponnivala area. They dress for battle. The twin kings ask their sister to bless their swords and thereby ensure their success in this dangerous mission. She does so. The two men are ready to depart.

Folklore, Religion, and Good Storytelling

It’s a strange fact of modern life that we like to sanitize whatever we can to avoid offending people. This is necessary for the most part, of course, because when dealing with research and writing about another culture or belief system it’s paramount that the subject be treated fairly and sensitively.

But there’s another challenge that confronts the researcher in the presentation of folk materials: whether or not to sanitize the religious associations when discussing a story or folk tale. In many epic myths from around the world, things simply don’t happen in the story without the intervention of the gods. Can you imagine how short the Odyssey would be if Odysseus wasn’t tossed about the Mediterranean by Poseidon? Could we have a popular story like Dracula if the main character hadn’t renounced God and become a servant of evil? How short would Wagner’s “Ring” cycle be without entire operas devoted to the activities of Wotan?

OK, that last one might not be so bad.

But many of these are past traditions, and those gods are no longer worshipped (except in the case of Dracula, of course). When dealing with living traditions things get trickier. In The Legend of Ponnivala, for example, very little could happen without the intervention of divine forces. The accidental killing of sacred cows in the first generation wouldn’t lead to the cursing of an entire family line, because there would be no Shiva to become angry. Kunnutaiya wouldn’t be revived by Vishnu, because there would be no Vishnu in the story. But he wouldn’t die anyway, because there would be no Gates of Heaven for Kunnutaiya and Tamarai to journey to in the first place.

There is a big difference, however, between a sacred text like the Vedas and a folktale. For one thing, gods are frequently presented in folk tales as characters, but primarily they’re like forces of nature. Things happen because of them. Second, the other characters in the story are rarely presented with a simple moral dilemma. Instead, every move they make, and every consequence they face, is the result of a decision. These ethical dilemmas, and their reward or punishment at the hands of divine forces, are the driving force behind the lessons of folk tales. And so, even with the involvement of gods and goddesses, the tales are less about theology and more about how the human characters handle the challenges placed before them.

With this in mind, how do you think researchers and storytellers should treat religious motifs in folk stories? Should the involvement of gods and godlike characters be eliminated, or celebrated as part of the mythology that informs the life of the culture the story reflects? Post your comments below.

The Meleager Story and Ponnivala

In a recent post, we discussed the similarities between The Legend of Ponnivala and the Calydonian Boar Hunt from Greek mythology. In both stories, the giant boar was sent to ravage the farmers’ land in revenge for a great insult. And in both stories, twin warriors figure very prominently in the battle (in Ponnivala they’re the heroes, while in the Illiad they’re helpers on the hunt).

There is, however, another set of curious parallels that bears some interesting discussion. One of the reasons Artemis is so insulted by Oeneus’ neglect of a sacrifice is that she is the goddess of the hunt, while he is a farmer. Although in Greek mythology these castes are not always as opposed as they can be in Indian tradition, this parallels the basic reason for the fight between Komban and the kings of Ponnivala. They have stolen a parrot, which provokes the vengeance of the forest princess Viratangal. In the war between the farmers and the hunters, Komban is a major combatant on the side of the hunters.

A similar theme occurs where Atalanta the huntress joins Meleager’s hunt (it’s her arrow that kills the boar). Despite generally accepting her skill, the other farmer/warriors of Calydon don’t trust this forest dweller. In the Roman version it’s assumed it’s because she’s a woman; in the Greek version, hero females who follow Artemis are quite common, and the aversion appears to be because of her caste as hunter. Following the hunt Atalanta is awarded the boar’s hide, which is an insult to Meleager’s farmer uncles. In the ensuing fight the uncles are killed, and their sister, Meleager’s mother, curses him and he dies.

Meleager’s death causes his sisters (called the “Meleagrids”) to weep so profusely that Artemis takes pity on them and turns two of them (Eurymede and Melanippe) into birds. This isn’t a direct parallel, but in Ponnivala the two parrots who live in Tamarai’s nose while she meditates outside Lord Shiva’s chamber also represent an avian pair that has a great deal to do with the fate of the heroes. Their separation at the hands of Ponnar and Shankar is what incites violence between the forest kingdom and the young kings.

Are there other instances in folk tales or myths when differences in occupation or social caste is an underlying force in personal or political conflict? Share your thoughts below!

Twin Warriors vs. The Giant Boar

In The Legend of Ponnivala, the twin kings Ponnar and Shankar face off against a giant boar named Komban. Komban is the offspring of a little sow who was once brought to Ponnivala as one of the royal animals. When Kunnutaiya and Tamarai set out on their journey to the Gates of Heaven to resolve the matter of their childless state with Lord Shiva, all the barren animals ask them to request a boon of children from the god on their behalf.

The pig, however, falls asleep across their path. In her rush to get moving Tamarai kicks the pig to wake her up. Indignant, the pig curses Tamarai and swears that the son she has will grow into a huge black boar that will ravage the land and kill Tamarai’s sons.

After Tamarai’s sons, the heroes Ponnar and Shankar, have grown, the land is ravaged by the great boar Komban. Komban challenges the young kings, who have stolen a parrot from the neighbouring forest kingdom. Through pitched and very dangerous combat, Komban is killed and his remains divided between the twin heroes of Ponnivala, their sister, Lord Vishnu, the heroes' allies, the little female dog who (almost) kills the boar and their First Minister.

A similar tale is read in Greek mythology in the story of Castor and Pollux. Oeneus of Calydon commits a great insult when he offers a harvest sacrifice to all of the gods except Artemis. Enraged, Artemis sends a giant boar to ravage the fields of Calydon. According to the Illiad, Oeneus calls on his son Meleager to organize a hunting party (which includes, interestingly, the twin warriors Castor and Pollux, Meleager’s cousins). The boar is killed and the meat divided. However, Meleager’s uncles are offended that he has given a greater portion to the huntress Atalanta, and after further combat Meleager kills them, which incites his own mother to curse him.

We’d love to hear your thoughts...can you think of another mythic example where a great beast (not necessarily a boar, though that would be cool) has been unleashed to exact revenge for an insult? Post your comments below.

Dr. Beck Attends Veerashaiva Samaja Meeting in Mississauga

Veerashaiva Samaja of North America Meeting in Mississauga, May 14, 2012

Organizer Vijay Aivalli addresses the audience.

Brenda gave a presentation to about 30 families at a local Catholic school in Mississauga on Mother’s Day at a meeting of the Veerashaiva Samaja of North America. She decided to show a video version of one part of The Legend of Ponnivala called "Gateway to Heaven"; a shortened 30-minute excerpt taken from Series One, Episodes 12 and 13. She chose this because it tells the story of Tamarai’s twenty one year pilgrimage to Lord Shiva’s Council Chambers high in the Himalayas. There she obtains the grant of three very special children from the great Lord himself. She also returns to Ponnivala with a pot of magical water that bestows this wonderful gift of fertility with everyone in the kingdom. All the beings in Ponnivala “capable of drinking water” get pregnant from this moistening after a long spell of barrenness.

Musical prayer to Guru Basavanna

Brenda thought it would be an especially appropriate sub-story to share on Mother’s Day. The video was well received and many people told her how much they had enjoyed the presentation and her brief comments afterwards. In her comments she stressed the correspondence between Arjuna as he prays to Shiva asking for a great weapon of war (the Pashupata) in the Mahabharata and Tamarai who stands in exactly the same spot to ask for sons! One can almost say that Arjuna shows up in this story as a female! And that instead of being given a weapon for fighting war she is gifted three children. These are her “weapon” one might say, as they allow her family line to continue to rule. Her sons will protect her family in the future and her daughter will lend them her magical power.

Yes, the women in this epic are very strong--it is a lovely and very different Mahabharata, a great legend reworked and reinterpreted through a regional lens.

Dr. Beck receives a certificate of appreciation from
event organizer Vijay Aivalli.

Vijay Aivalli was a key organizer of the event. Vijay spoke to the crowd and also presented Brenda with a certificate of appreciation and a small gift. Brenda’s talk was followed by an excellent musical prayer session addressed to Guru Basavanna a 12th century teacher, statesman and social reformer from Karnataka. The crowd was mostly made up of Kannada speakers. The scholarly author Teri Degler also spoke about the life of the female Kannada Shaiva saint Mahadevi Akka towards the end of the evening. Her talk paired nicely with Brenda’s kick-off video. The two presentations blended well together and helped to accentuate the female focus of this Mother’s Day Veerashaiva celebration. The evening ended with an excellent feast made up of authentic Kannada foods.

Episode 3: A Long Exile

In this feature, we outline the chapters of The Legend of Ponnivala as we've laid them out in the animated and print series. The sub-story descriptions are those that occur in each episode, and are drawn from our Teacher's Handbook.

A young orphan is treated badly by his clansmen and is forced to run from place to place. The mistreatment continues no matter where he goes, but the boy is a survivor. He summons his courage and has some successes. Finally he sees a new village with a fine temple on the horizon. Fresh hope rises in this orphan’s heart.

The Hero Suffers as an Abused Homeless Waif

The young orphan is sent from family to family. Each household treats him more cruelly than the last. In one home the wife is the meaner one, in another it is the husband. Some families will not have him at all. Finally the clansmen meet and decide to give him a begging bowl, asking him to beg hereafter for food.

A Child with Magical Strength

Five years pass like this while the poor child suffers in extreme poverty, sometimes working as a shepherd to earn his keep. Finally he becomes strong enough to run away. This basic theme repeats. Finally the boy sees the tower of a lovely temple in the distance. Hope for a good home rises once more in his heart. Eventually the little hero finds firewood in a forest. He ties up a huge bundle and lifts it onto his head. Lord Vishnu helps him lift this awesomely big load. A woman sees him and invites him in but when the husband begins to beat his wife the little hero is frightened and runs still further into the unknown.

Dr. Beck Attends Tamil Studies Conference, University of Toronto

Tamil Studies Conference, University of Toronto, May 11-13, 2012

Presenters (l-r) Gita Pai, Zoe Headley, and S. Ponnarasu
respond to audience questions.

Finding time in her busy schedule, Brenda was able to make it to a couple of Friday afternoon sessions of the 2012 Tamil conference in Toronto. She heard several very interesting speakers who shared a panel that focused on Royal Lineages, History, and Heritage in the Kongu area of Tamilnadu (nearby Madurai was also included). This is exactly the area covered by The Legend of Ponnivala, and so the remarks made by the three speakers (S. Ponnarasu, Zoe Headley, and Gita Pai) were of great interest. The conversation and discussion that followed centered around the importance the people of this area give to a variety of strong mythical themes they feel tie them to the past. Of course this is exactly the kind of material The Legend of Ponnivala weaves around its heroes. After the presentations, several commentators pointed out the way in which images about heritage and culture often become embedded stories. Politicized tales and very grand epithets are often used in this area to glorify the heritage and local roots of certain well-known families and their lineages. All in all, these traditions make for very colourful story telling in Kongunadu!

Prof. Noboru Karashima

As a wrap up to the academic meetings of the day, the distinguished Professor Noboru Karashima gave a talk in the main assembly hall. His very scholarly and very interesting address was about “The Past as Known From Tamil Inscriptions.” Professor Karashima took a very detailed and highly statistical approach to the content of some 28,000 inscriptions ranging in time from the 3rd century BC to the 19th century AD. Particularly striking was the social detail relating to curses detailed in these stone and copper plate records. The consequences said to befall anyone who might wish to subvert a royal decree of a land grant, a gift of gold or the guarantee of various temple services were very severe indeed Traitors were declared as cursed to die young, to have barren wives, to be lower in status than a dog or a pig, to be cast out of the village where they lived, to have their women violated by those of very low status, to have their noses cut off, and more. It is interesting that many specifics linked to these same themes are found embedded in the Ponnivala legend too! There, several characters and communities undergo a similar loss of face, or of respect, honour, and status as a consequence of what could be called similar “social misbehaviours”; situations where someone or some group breaks accepted community norms.

Karasihma was also able to detect the loss of social power among both Vellalars and Brahmins from roughly the 13th century onward. From this point in time onward he was able to point to inscriptional traces that indicated the gradual rise in influence for various additional social groups. These were ambitious and vocal communities who slowly began to insist on their own status and rights. The groups Karashima particularly mentioned were the idangai and valangai (left hand and right hand groups, about whom Dr. Beck has written extensively). Karashima also suggested that several of these groups probably originated, at least in part, from the rising influence of various hill tribes. He also spoke of various merchant groups who began to hire ex-soldiers as guards (the Ainuruvar, Kaikolar and Vaniya Nagaram merchant guilds). Karashima linked this rise in additional social power clusters to a more general breakdown in the power of various great monarchs who had once held the area together. One could term Karashima’s paper a “tour de force.” It provided a fitting end to the scholarly day, and was of great interest to Brenda personally, since the hill tribes of the Kongu region play a vital role in bringing the heroes of the Ponnivala story to their knees toward the end of this legend (her favourite epic tale!).

Odin’s Ravens and Tamarai’s Parrots

In The Legend of Ponnivala, Queen Tamarai must do penance by sitting in meditation for twenty one years before being permitted to take counsel with Lord Shiva. During this protracted meditation, two parrots take up residence in her nose. Before Tamarai awakens the parrots are shooed away by Lord Vishnu, and seek refuge in a forest kingdom under the protection of Viratangal.

The idea of birds nesting in someone’s nose seems a bit strange to Western readers, but there’s some significance to this occurrence when Eastern alchemy is considered. It is believed that when one enters a deep state of meditation, the physical body actually becomes hollow, making a potentially suitable residence for something like a bird (if the meditation is long enough).

Birds often represent some aspect of the spirit or mind in various mythologies, and this is even more important when we realize that many species of parrots mate for life. So it is that the parrot couple, husband and wife, are symbolic of family and marital loyalty. When their bond is disrupted by the capture of the wife-bird by Tamarai’s sons, Ponnar and Shankar, a war results, bringing an end to the family dynasty.

In Norse mythology, Odin; father of the gods and ruler of Asgard; had a pair of ravens named Huginn and Muninn. Their job was to fly around the world during the day and return to Odin in the evening with news of what was happening on Earth (Midgard). Their names mean “thought” and “mind” (or “memory”) respectively, and it’s believed that they represented these aspects of Odin’s daily meditation. While the lord of gods meditated, his thought and mind ventured out to open his consciousness to the goings on of the world under his protection.

Huginn and Muninn also represent the ideas of the fylgia; a supernatural companion that takes animal form in order to accompany a person in relation to their fate or fortune; and hamingja; the personification of the good fortune of a person or family, often in shape-shifting animal form as well. This ties the connection together nicely, as the fortunes of the ruling family of Ponnivala, as well as their enemies, are intimately tied to the treatment and deeds of their close animal companions.

Are there other mythic examples of birds representing these aspects of the mind and spirit in meditation? What about other duties they may be assigned? Share your thoughts below.

1st Annual Multicultural Celebration Day at the Kawartha Heights School in Peterborough

Students receiving henna designs.

The Kawartha Heights School has a lot of students whose cultural roots lie in other countries. So they decided to heighten student appreciation of other cultures and their riches by celebrating a Multicultural Day. The event featured Native Canadians and at least 30 countries from around the world. The kids carried national flags and put on a lovely show of dress outfits worn by people in different places, as well as multicultural music and story telling. There was even some henna hand painting for those who wanted to try it. The kids had a ball and everyone was very upbeat about the event.

Priya Govindarajan narrates the Ponnivala story for students.

Our role came in the story telling. Priyadharshini Govindarajan comes from a local family with roots in South India. She worked with us for about two years as an animation artist that helped us to develop our 26 episode animation series. Priya is also a mother of two young boys who attend the Kawartha Heights School. She volunteered to read parts of the Ponnivala story to kids in one of the school rooms. Kids cycled in and out of the room to hear her every twenty minutes, so that most everyone had a chance to hear the stories at some point during the day.


Priya started each session by telling the story in Tamil for about ten minutes. The idea was to expose kids to the sound of a very different language and let them enjoy some of the rhythms and expressions used, before switching to English to explain more thoroughly what was happening. She told a different story for each session and each presentation was accompanied by the projection of pages from our graphic novel series onto a big screen in front of the kids. This way everyone could enjoy the graphics even if they did not understand all the words.

A KHS student enjoying one of our graphic novels.

The kids seemed delighted with the format and with the stories. Afterwards many kids picked up the comic books and started reading them on their own. Where the kids were of different ages and skill levels the older ones--the better readers--read to their “partners.” The best news of all came when the Principal of the school came into the room and told us that she wanted to order the entire set of 26 novels for her school library, as she could see how the kids were enjoying these booklets! Of course we will be happy to provide these. Kawartha Heights is to become the first elementary-middle school in Canada to adapt our materials!

This is a forward-looking school, emphasizing the need for peace between cultures and between nations. Their initiative is to be commended we hope others will follow suit. It was a well planned event and fun was had by all, even by the many friends and parents who also attended the celebration!

~ Dr. Brenda Beck

Dr. Beck giving her presentation to the Multicultural Celebration Day assembly at
Kawartha Heights School in Peterborough, ON.

Naming a Legend

Although there is no "real" place in India called "Ponnivala," we have chosen to use this poetic name to refer to our retelling of this ancient Tamil epic. But how did we arrive at this title?

Traditionally our story is known by the name "The Elder Brothers' Story," which refers to the brothers Ponnar and Shankar, who are the elder brothers of a third triplet: their sister Tangal. The story, however, is vast, and includes the history of the land in which these hero-brothers were born, and their lineage from the founding of their family line with their grandparents Kolatta and Aryanacci.

"Ponnivala" is our unique way of shortening the Tamil word Ponnivalanadu to make it more accessible to English speakers. Deep in the interior of Tamilnadu lies a plain called Kongunadu, through which the Kaveri River flows. Because Ponni is another poetic name for this beautiful river, we've translated the meaning as "The Land Where The Golden Kaveri River Flows."

What Is The Legend of Ponnivala?

The Legend of Ponnivala is a vast epic story, once widely celebrated in the Kongu region of South India. It is a gem of Tamil storytelling, and a tale normally sung by bards. The Sophia Hilton Foundation of Canada, in association with Soft Science, has produced a twenty-six episode animated DVD series with accompanying print and digital comic books and teaching guides.

The colours and character designs in these short graphic novels present the reader with a new style that is not Manga, not Disney, and not Bollywood. Instead, each page draws inspiration from authentic, traditional Indian folk art. Akin to a regional Mahabharata, this significant and hitherto largely unknown folk epic describes life in medieval South India. Because of the legend’s authenticity, depth, and extensive social significance, this story can be enjoyed at many levels. Building on 45 years of scholarship by Dr. Brenda Beck, it is anticipated that all 26 comic books will hold the interest of kids, families, and even attract academic scholars. In fact, one elementary school student from New Jersey wrote:

I read the entire set of books in 3 days.
The Legend Of Ponnivala was a very interesting, happy, and fascinating story.
I liked the book titled 'The Book Of Fate' the most.
My favorite character was Tamarai. Your stories are excellent.
Thank you for the books.
~ Janani S. (2nd grade), Metuchen, NJ

Locally the epic is known as the Annanmar Kathai, or "The Elder Brothers' Story," and is named for the principal characters of the third generation, the twin brothers Ponnar and Shankar. Like all good folk epics, Ponnivala takes place in the real world, with locations and landmarks that still exist today. Yet its great age (easily over 500 years old) provides a remarkable insight into the society and culture of medieval India, especially as played out in the Kongu region of Tamilnadu.

New releases planned for 2012 include Tamil, Hindi, and French language versions, and “Ponnivala Parcheesi," an educational game intended to provide teachers with fresh comparative material, for use in the classroom or lecture theatre.

These comics (and their video counterparts) provide viewers with a fresh and informative folk perspective on South Asia’s pre-colonial history. The material also has great mythological and cultural appeal.