46 The Tamil Epic Chintamani. [no. 3, new series,, 



struction, and Grammarians quote this work as of undoubted autho- 

 rity. 



Nacchenarkinnear of Madura, himself a man of great erudition, 

 and a commentator on three parts of Tolkappeyam, the Cural, and Sil- 

 lapadekaram, has also written note3 on Chintamani. The com- 

 ments of this author, on Chintamani and 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 Ilam- 

 bakam. 



1. The story of the hero Jivaka commences with certain par- 

 ticulars 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 as- 

 sassin who had slain the King her husband. This section called 

 Namagal Ilarabakam 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 be- 

 longing to the inhabitants. On this occasion the young hero distin- 

 guished 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 resolution not to marry any one who did not surpass her in her 



