10

To worry about one’s ignorance of India is as little profitable as to worry about eternity.

─ Yvonne Fitzroy, Courts and Camps in India

8:00 pm Egmore Station scene (Madras), awaiting arrival of 9:00 pm Rockfort Express (to Tiruchirapalli, a.k.a. Tiruchi, Trichy, Trichinopoly). “On the night of the 27th November the greater part of the enemy’s army crossed over from the island.” Metal pillars (main waiting room), cast-iron detail. “The Mysoreans and Marathas were distributed in parties round the walls.” Correction: plaster painted silver so as to appear metallic. “And by approaching the ditch and making other demonstrations.” Enormously active space. “Were to divert the attention of the garrison.” High-spirited crowd. “While the French battalion.” Waiting in line at ticket windows (single men); waiting on floor (women with children). “Carried out the real attack.” Author waiting for something to happen. “Which was planned as follows: ─” Glad it didn’t on reckless ride to station, with singing, shouting, gesticulating auto-rickshaw driver. “At three o’clock in the morning.” Who took the most direct route possible. “600 of the battalion were to commence the escalade.” Which in Madras means the most turns. “And the remaining 200.” Most stops. “Together with a large body of sepoys.” Most dangerous cornerings conceivable. “Were to wait at the outside of the ditch.” Weaving inside pedestrians. “Ready to cross.” Using bullock carts for blocking. “As soon as the escaladers.” Narrowly shaving policemen. “Should have gained entrance into the town.” Challenging buses, oncoming cars, overtaken scooters. But back to the station scene: “The battery was guarded by fifty sepoys.” Movie ads, pasted on walls, partly scraped off. “And some European gunners.” (A woman in red sari ─ the love interest; a golden god ─ the religious interest; 2 laughing Tamilians ─ the comic interest.) “All these were present.” A little girl, orange top, orange skirt, bouncing past. “And on the alert.” Rejoins family ─ doubtless on pilgrimage, for they too all dressed in orange. “When the rounds passed at midnight.” Other religious pilgrims, several in holy-man long hair, ash, lounge about the station floor. “And yet the event.” “Sun Shines” (ad). “Proved that.” “Rain Pours” (same ad). “Three hours after.” “No Problem.” “The greater part.” White man doubly cut off from this crowd. “Noble DOUBLE BIRD.” “Had absented themselves.” For these are salt-of-the-earth Hindus. “TARPAULINS Protect All.” “And the few who remained.” From whom. (Followed by the same information in Tamil.) (A) by race. Followed by electric fan. (B) by religion. (At corner of station.) If not also by class (caste). Other ads in yellow, black, deep red. He is cut off. Red, white and blue. “Had fallen fast asleep.” In full-color photography.

Lively in their attention to one another, they largely ignore author, leaving him free to sit and write unmolested. “Owing to the gross breach of duty.” Two chairs down, a mustachioed young man in slacks and “bush” shirt opens a Tamil paper. “The whole of the escalading party were able to cross the ditch.” Only to have it read over his shoulder immediately by a man in chair next author. “And mount the battery without causing the least alarm.” Passengers continue to arrive in unhurried way. “The sleepers.” Approach ticket counter in casual manner. “Being at once despatched with the bayonet.” Turn, converse, gesture. “The assailants began to move forward.” Read signs and schedules. “Intending not to fire.” Eventually pay (amid much discussion). “Till they were fired upon.” Turn; re-grip parcel, handbag, small suitcase. “This intention.” Leave. “Was frustrated.” Looking to left and right. “By an accident.” Threading their way through seated, sprawled, squatting, hunkering, sleeping forms that fill much of the floor space of the main hall.

“Within the battery, close to a slight wall enclosing it at the back, was a pit thirty feet deep.” Train behind author departing station. “It was not observed in the dark.” The breeze it creates wafting over his shoulder/head. “And as several of the party screamed in tumbling into it.” The smell of urine/general foulness of railroad track. “Some shots were let off.” Through-station view to street: “This was alarm sufficient.” Arriving auto-rickshaw, light glancing off plastic roof top. “All the garrison was instantly in motion.” Buses passing one another beyond. “The French.” Sign in Tamil. “Aware that concealment was now impossible.” Red letters on in-lit cream ground. “Turned the two guns which they found in the battery.” Pedestrians clustered before it. “And fired them into the town.” Ten-year-old girl. “Together with a volley of firearms.” Station waiting room. “At the same time.” Strikes ballerina pose. “Endeavoring to strike terror.” Yellow blouse. “By beating their drums.” Full, tiny-floral-patterned black skirt. “And shouting Vive le Roi!” Hair slick with tightness, jasmine flood down back.

“Captain Kilpatrick, still unable to leave his bed, gave his instructions with great coolness and precision to Lieutenant Harrison, the next in command, who not only executed them but improved upon them.” First class compartment. “And by the precaution of keeping up an incessant fire on the passage leading to the gate in the inner wall.” (Rockfort Express arrival.) “Killed the two persons who were hastening forward to burst it open with a petard.” Author in lower-berth situation. “The attack had now become almost desperate.” Yellowish light illuminating platform, arm, brown hand, large gold ring of 28-year-old leaning from outside against author’s compartment. Window opened, fans all on, passengers moving down platform: “From the ramparts and terraces commanding the battery the garrison assembled at their posts commenced a murderous fire.” Sixty-year-old man, portly, bearing luggage, water container, dressed entirely in white (white pants, white pajama top, white Nehru hat). “Which the assailants vainly endeavored to answer.” Moves past, followed by portly form in green sari. “Those who had got into the passages between the two walls.” Fat, short man in dirty white shirt, longhi lit in yellow light, toting plastic bag on plastic cord. “Clambered back into the battery.” Man in Nehru hat returns, still searching for proper berth. “With a view of effecting their escape.” Air humid but easily bearable (temperature about 70 degrees Fahrenheit). “But the want of ladders.” Other passengers entering compartment, disposing of light luggage: “Made this impossible.” Brown briefcase, orange plastic basket with lid (chrome handle). “Except by leaping down.” Bearer of latter with ash of devotion. “A perpendicular height.” Dotting center of forehead. “Of eighteen feet.” Outside door in stenciled red letters: “Into the water of the ditch.” “WARNING:” “Or onto the rock.” “TO CARRY PETROL.” “On a level with it.” “OR OTHER INFLAMMABLE MATERIAL.” “About one hundred made this desperate plunge.” “IS A FEDERAL OFFENCE.” “But the rest.” Second (third) occupant of compartment arrives: “Deterred by what these suffered.” Balding 60-year-old businessman. Rests arm on gray suitcase; studies author; arises to observe woman tripped and fallen on concrete platform outside window. “Crept into the embrasures.” Strokes knees of gray pants sympathetically. “Or any corner that gave some kind of shelter.” As the woman rubs her scraped knees. “And as soon as daylight appeared asked and obtained quarter.”

Conductor enters compartment to inspect tickets. Balding businessman presents his. As author motions toward his own pocket, he is motioned away by conductor, who has put only English name on train together with only white face. “The number who thus surrendered.” All 3 other compartment occupants now standing outside on platform. “Was three hundred and sixty.” Platform, in gray concrete, reading as rose, softly-textured carpet of light. “The number of those found killed within the works.” Light gray pillars support black, white-highlighted metal rails. “Was sixty seven.” Through them charcoal gray of track visible, adjacent railway. Vendors passing, soft drinks atop their heads. A youth goes striding by, swinging his arms, in striped gold shirt, blue backpack. “Of the hundred who took the frightful leap.” To the west (through aisle), view of gray Ambassador, parked on platform between tracks. “Few escaped.” Next to it a black-painted car also reading charcoal gray. “Without being killed.” (Like the tracks themselves.) “Or disabled.” Chrome on both vehicles brilliantly highlit in station’s artificial light. “With the exception.” Maroon-rust-colored train. “Of the two hundred.” Behind the automobiles. “Who had remained outside the ditch.” Also in the process of loading. “The whole French battalion.” “II SLEEPER-3 TIER.” “Was in a manner.” Many figures visible within. “Annihilated.” Gray-haired occupant, having returned, removes street shoes. “By this fatal assault.” Throws down pink composition sandals. “The noise of the firing.” Plastic straps. “Was heard as far as Coilady.” On whose soles are the patternings of white blotch, yellow smudge, green spot. “On being informed of the cause.” Eschewing these. “Major Lawrence reinforced the garrison.” He pulls his bare feet up onto the gray plastic seat itself. “And shortly thereafter followed with his whole force.”

“Switch on,” says occupant in longhi, taking note of author activity-intention. Light switched on, author begins to write. Sun not yet up, window gives back only compartment reflection. “Trichy town,” says conductor, sticking his head in ─ to indicate that we have not yet reached Trichy Junction but only the outskirts. Man in longhi (beige-pale blue plaid) has laid out his purple toothbrush, pink razor, white shaving brush on table before author, little bottle of aftershave lotion, from which he splashes a few drops on his face. Next he puts on trousers under his longhi, flapping the latter off. Tee-shirted, bare-footed, he stands to comb his hair in the mirror. Lights appear beside the tracks ─ single fluorescent bulbs. In the distance: a ring of horizonal lights belonging to single houses/huts. Two compartment occupants now move about, dodging one another, rustling plastic bag, coughing. The sound of the train’s horn through a still-darkened urban approach. The snapping shut of suitcase. The zipping up of tiny Dopp kit. The careful folding up of longhi, its reinsertion into travel bag.

“Not seex o’clock,” says one to another occupant, “only 5:30.” “Same time as reaching Madras,” says his collocutor. A great meeting of minds. One more stop to go. Both look at author.

“You are teaching at university?” asks one.

“Yes, in Madras,” says author. Horizonal lights multiplied into double skein as urban approach begins in earnest. Trichy is only a town of 350,000. Its outskirts sparsely industrialized. An occasional warehouse makes its appearance alongside the tracks. An interval of darkness. A single long fluorescent bulb, deployed almost vertically, illuminates an isolated public building ─ school? ─ whose red tiled roof is visible in the glow. The railway widens; we are joined by other tracks. The train begins to slow, thud-bumping more heavily and rhythmically into Trichy Junction.

“According to Sanskrit Lexicons the word Hiranyagarbha has two principal meanings. First, it is a well-known epithet of the god Brahman. Secondly, it is the name of one of the sodasamahadana, i.e., the sixteen Great Gifts which are enumerated and explained in books like the Matsaya Purana.” Transfer to Hotel Femina (6:00 am), through barely lit, emerging streets of Trichy. “Hiranyagarbha-prasuta and Hiranyagarbha-sambhuta.” Past military cavalcade. “Mean ‘born of the golden womb.’” Assembled for a minister’s arrival, on the very train I’ve taken. “In the ceremony of Hiranyagarbha-mahadama.” On in to brightly lit lobby. “The only thing to be given away.” Of the luxury hotel. “Is the golden kunda, as it is called.” Behind the counter: “Three cubits high.” A 20-foot wallpaper-photograph of a thousand tulips in bloom. “To discuss in detail.” On up marble steps. “Every function of this arcane ceremony.” To red-carpeted corridor. “Is not to our purpose.” Hallway lined at entrances to rooms with empty beer bottles. “Suffice it to say the performer utters a mantra.” Bellhop precedes author into hotel room. “In adoration of Lord Hiranyagarbha (here taken to be an avatar of Vishnu).” Turns on lights, turns on radio, turns on air-conditioner. “Thereafter, the performer enters the golden kunda (the womb, the hiranyagarbha).” Everything working, he departs. “Whereupon the priests perform the ceremonies of garbhadhana, pumsavana and simantonnayana.” Author gawking at moderne accouterments: “As they would in the case of an ordinary pregnant woman.” Blond woodwork, blond furniture, blond bed. “Then the performer.” Pink walls. “Were a new-born child.” White ceiling fan. “Wherein occur the following lines:” Pink composition marble floors.” “‘O best of gods.’” A pot of coffee makes its appearance. “‘I was previously given birth to by my mother.’” One cup down. “‘And was martya-dharman (one having the qualities of an earthly creature).’” Second cup in progress. “‘But now.’” Author drains it. “‘Owing to my rebirth from your womb.’” Takes up notebook, pen. “‘I am divya-deha.’” Ready for Trichy outing. “(Having celestial body).” Destination: Rock Fort Temple. (Quotations adapted from D.C. Sircar, Studies in the Religious Life of Ancient and Medieval India.)

Hour-long walk through Trichy, Rock Fort Temple indirect approach: through inner city streets with views of open spaces populated by goats, children at play or doing their early morning duties, roaming women scooping up animal turds one at a time into baskets; down broad avenue past Christian hospital, public high school, nursing home. City buses, half full, rumble past. Pedestrians, bicyclists ─ all on the way to work. Author continues on foot: another kilometer, 2 more, 3. The street narrows, traffic thickens: tea stall, grocery store, opening for business. He continues by instinct past turn-off to Fort (tourist attraction) in favor of step-wise descent to working-class precinct, approaching through large vegetable market, sweepers clearing refuse from previous day’s session, merchants beginning to lay out wares: baskets of (small, medium, “large”) tomatoes (some green, some red-and-green, some red). Panniers of garlic; piles of cauliflower; heaps of potatoes. Herb merchants spreading their leafy produce on pieces of cloth, settling in to passive routine.

On through market into a residential area, children here squatting beside the stoop to shit in the gutter, an old man meanwhile working to clear it of accumulated detritus. Housewives carefully sweeping the ground before their tiny houses, tinier doors, miniature thresholds. Men leaving for work. An old woman, blouseless, wrapping a thin sari about her sagging breasts so as barely to cover them. Little girls, older girls, 9- and 10-year-olds, all in school uniforms, hair of the younger ones tied in double pigtails, all setting off on foot to school.

“TRICHINOPOLY” (Walter Hamilton, Description of Hindostan, 1829): “The fortifications have been long neglected, and are crumbling to decay. The hill on which they stand is an elevated rock of sienite, common to the province, about 330 feet high, placed in a flat alluvial country, on every side of considerable extent.” No view yet of Rock Fort Temple, as author passes from working-class precinct into poverty, from poverty into slum. “On its northern and eastern side.” Concerned about his reception. “Stands the pagoda.” Quickening his pace he strides past the curious, who stand in the doorway to thatched hut, open tent to regard him, 6 or 8 forms still asleep on the floor of the latter. “Having long been the capital of a Hindoo principality, an idea prevails among the natives that much treasure is concealed somewhere.” Past large public housing project, anciently whitewashed, its lower story covered with the double mountain sunburst of the DMK. “Its locality, however, has never been ascertained.” Everywhere, fence, gate, wall covered with slogans: “WOOT CPI,” reads one. “In 1816, a petition was presented by an individual named Chelangama Nak, stating that he was the 20th descendant and heir of Vaswanada, the former Raja of the Carnatic.” Public housing gives way to a more rural setting, as the village turns agricultural. “And that treasure to an enormous amount was buried in the ancient Hindoo palaces of Trichinopoly and Madura.” Pigs. “Viz.” As they have throughout the walk. “At the first.” Rummage for edibles in the roadside piles of garbage. “Twenty-one thousand million of pagodas).” Joined here by goats and water buffalo. “At the last, rather less than ten thousand million pagodas.” Courtyards appear, animals tethered within: “To the whole of which he, Chengalama Nak, was the natural and legitimate heir.” Donkeys, milk cows. “And requesting that, research having been made for the same, it might on discovery be transferred to his custody.” Dogs everywhere. “A partial excavation was in consequence made.” A rooster struts beside the road in his magnificent plumage. “But, as may be supposed.” A gigantic Brahma bull, his horns painted baby blue, forages in the hay atop a flatbed cart. “The attempt proved abortive.”

Author re-emerges into a bus-and-auto-rickshaw-trafficked street, where tea stall provides momentary respite. “It cannot, however, be doubted.” Sitting on his notebook, atop a filthy public bench. “That a country like Hindostan.” He drinks his second cup of tea. “Into which a current of silver bullion.” A beggar appears. “Has been flowing for 2000 years.” Extends his hand. “Must contain somewhere.” Author gestures him away. “Innumerable depots.” Restaurant personnel and patrons alike discourage his entreaty. “Of hidden treasure.” He persists. “All Hindoos being hoarders.” Finally, the owner’s 12-year-old son appears with cudgel, strikes him on the leg. “But probably not so very considerable.” Beggar points to open sores; will not be discouraged. “As the arithmetic of the petitioner.” Tea stall owner gives him a piece of fried pastry. “Enabled him to specify.” Still he persists.

Modest Trichy overview, one third of the way up rock outcrop, from perch above rock-surrounding village structures. Reflection, provoked by extent and variety of architectural structures, on the purposiveness of human activity. To the north, on misty horizon, 3 gopurams, one massive (gray), one much smaller (gray-white), one smaller yet (white), all floating in a sea of palm branches. To the southwest, spire of Catholic cathedral bordering “tank,” a patch of whose water just barely visible from author’s vantage point. Cathedral in limestone with red sandstone trim, conservative rose window, modest and unimaginative ornamental work. Trichy, an 18th-century arena contested by French and British, like other sites in South India, shows the signs of an earlier Catholic presence, but rarely as a force for enlivenment or beauty, rather always as a sign of penetration and dominion. Doubtless, however, the charitable effects of this invasion are still felt. Around the tank an important market, the tops of buildings that house the shops visible ─ though not the merchant activity. The bell of a milkman audible as he makes his rounds in the near-ground village that surrounds the base of the rock fort. At the doors of its colorful facades: turquoise, yellow and pale blue; red and white stripes with bright green trim; 3 successive stories in pink, lavender, beige; stand housewives now at 10:00 am, their laundry done and hung out to dry on second-floor balconies, their gossipy voices audible from high above. An old man draws water from the corner pump.

“This mountain resembles the diadem of the Chola province, this temple of Hara its chief jewel, and the splendor of Samhara its splendor” (Hultzsch’s reading and translation ─ no. 33, in South Indian Inscriptions ─ of text on pilaster to the left of the panel in the upper rock-cut cave temple). Author in situ view, village-beside larger-artery street scene (seated, steps of “Cool Drinks Available Here” shop). “When King Gunabhava placed a stone figure in this wonderful stone temple on the top of the best of mountains, he made in this way Sthanu (Siva) stationary” (no. 34, on the pilaster to the right of the panel). To west of which an enormous pile of sand has been deposited at curbside. “Being afraid that the god who is fond of rivers” (no. 33). Out of a narrow alleyway. “Having perceived the Kauvery.” One at a time. “Whose waters please the eye.” Issue 2 gorgeous 110-pound girls. “Who wears a garland of gardens.” One in brilliant scarlet sari. “And who possess lovely qualities.” One in deeply saturated purple. “Might fall in love with her.” With pale violet sash. “The daughter of the mountain has, I think, left her father’s family.” One after the other. “And resides permanently.” They stand, spread their legs, lean from the waist, grasping a scoop shovel, deposit a metal dish at their feet, and fill it to overflowing. “On this mountain.” Then, discarding the shovel. “Calling the river.” Turning toward author. “The Pallava king’s beloved.” They smile, lean over once more, hoist the pan of sand in a clean and jerk motion over their heads and atop them. There is little loafing going on in this scene.

Meanwhile. “King Satrumalla built on this mountain.” Village women arrive. “A temple of Sirisa (Siva).” To purchase daily commodities. “The husband of the daughter of the king of mountains.” All bare-footed, all in distinctive rich-hued deeply-saturated saris. “In order to make his name Sirisa (i.e. the mountain dweller).” Most are also dark-skinned. “True to its meaning.” Wealthier women, many with children, pass, in pedi-cab, strolling afoot, in auto-rickshaw. “After Hara (Siva).” Businessmen on motorbikes. “Had graciously asked him:” Some with wives behind. “‘How could I, standing in a temple on earth, view the great power of the Cholas or the river Kauvery?’” Some with colleagues. “King Gunabhava.” A man in later middle age. “Who resembled Manu.” Dressed all in white. “In his manner of ruling.” Red dot on white-ashed forehead-background. “Assigned to him his mountain-temple.” Moves uphill on his wobbly bike. “Which touches the clouds.” Across the street, 2 older women. “Thus having joyfully placed on the top.” 60, 55. “A matchless stone-figure of Hara.” Take turns loading their shallow pans. “Which he caused to be executed.” With 5 bricks at a time. “That Purushottama.” Helping to adjust one another’s load. “Who bore Siva fixed in his mind.” Gracefully they make their way out of the sun. “Made the loftiness of the mountain fruitful.” Up a progressively darkening alleyway.

“Opposite to the city of Trichinopoly the Cavery separates into two branches, and forms the island of Seringham. About 13 miles to the eastward of the point of separation, the branches again approach, but the northern branch is at this point 20 feet lower than the southern” (Walter Hamilton, Description of Hindostan). Ranganathaswamy and Jambukeshwara Temple outings, 9:00 am Hotel Femina forecourt wait, chauffeured car arrival imminent. “The Seringham pagoda is situated about a mile from the western extremity of the island, at a small distance from the bank of the Coleroon.” Two other luxury hotels visible from Femina’s porch: Hotel Ramayana, its letters reading backwards on sign high atop it. “It is composed of seven square enclosures.” Hotel Galapriya, “Hotel” in green, “Galapriya” in red, name repeated below in black Tamil letters). “The walls of which are 25 feet high and 4 thick.” Rank of white Ambassadors lines Femina forecourt. To left, along one side of high-rise building (to the east of the forecourt): “These enclosures are 350 feet distant from each other.” “Ramesh / Hair Dressers,” its letters terminating in curlicues. “And each has four large gates with a high tower.” Facing into the court, 3 more shops: “Which are placed in the middle of each side of the enclosure, and opposite to the four cardinal points.” “FEMINA COSMETICS,” its copper-bordered sliding-glass doors open for business; “DELIGHT PASTRY SHOP,” not yet open for business (in fact empty); “FEMINA TOURS & TRAVELS.” “The outward wall is nearly four miles in circumference.”

“Your vehicle is ready, sir” (small brown van ready for temple trip). Early going retraces route of author’s day-before pedestrian outing. Combination of Indian streets, Indian vehicle suspension system makes in situ writing impossible. Finally, stop by Cauvery River (50 yards onto bridge): two men bathing below. “One of the Chola Kings bought from a merchant.” Two men working above on the bridge itself. “An attractive beautiful necklace.” To break up concrete floor of its sidewalk. “Of pearls.” By hand. “And presented it.” Using 6-foot metal poles. “To his beautiful queen.” With spikes on the end. “Next day the King and the Queen came to the sacred River Cauvery.” Progressively distant views of other bathers. “To take their holy baths.” River ghats. “When the Queen reached the shore.” Line the water-depleted river bed. “She found that her necklace was missing.” Sighting, on northern horizon. “Everything precious and everything costlier.” Of Srirangam pagoda. “Would be offered at the sacred feet of God Jumbanatha by the Cholas.” Back into brown van. “But the present Chola king failed.” Across the river. “He prayed to God Jumbanatha and went to Thiruvanucka with his queen.” Left turn in pagoda’s direction. “The priest who brought the holy water from the River Cauvery.” Temple approach at breakneck speed. “Poured it on the Sivalingam.” Horn- honking van aswerve. “The beautiful necklace of the queen fell round the neck of the Sivalingam.” Around-bend gopuram-appearance. “In the very presence of the royal couple.” General Srirangam frontal view. “They were overjoyed to find the necklace.” Author and driver seated together, front seat of brown van. “And left it to God Jumbanatha himself.” (In violation of normal decorum.) “To be adorned.” Driver purchasing jasmine skein through van window, which, hung over rear-view mirror, now fills van interior with its marvelous fragrance.

Garish colors of principal gopuram, arranged in even more garish combinations: pillars juxtaposed in red, yellow, pink, yellow, turquoise. Two siblings, a sister of 10, brother of 7, look through van window, observe author activity. Sri Rangam is the largest temple complex in India, its gopuram, which rises to 230 feet, also the tallest. Author proposes to descend, for walk through grounds; is advised to stay in van for another kilometer. Recommences observation. Principal gopuram topped with 12 bell-like conical spires, its portals, which rise progressively above one another, adorned with sculptural representations of Shiva Nataraja. In the first of these portals, centered above the entranceway, has been sculpted a bed with canopy, where Vishnu, in blue, lies asleep, surrounded by 4 pink pillars. Four boys, all in their school uniforms, now joined by a fifth, peer through the window, ask for author’s name, each in turn eagerly offering his own. Through the front windshield author observes lively, cool activity: a beautiful woman in white choli, pale green skirt, golden half-sari, glances to both sides, displaying both of her profiles. A barefooted boy of 12 passes, reading a Tamil paper. In blue top, yellow wrap, a peasant girl, her lacertus held by an aged grandmother, who follows half a pace behind.

Figures noted, author nods at driver, who starts up van, proceeds through portal of first gopuram, on through second, third. Having penetrated the fourth, we park van to descend, enter the temple proper. Here the tourist-devotee warms his hands before the flame, drinks scented holy water, approaches the inner sanctum, beyond whose threshold non-Hindu entrance is prohibited. Seated across from the sanctum’s portal, he once again observes its lively schemes and colors. To one side of the door, the double markings of Vishnu, the U-shapes painted in white, outlined in pale blue and black, the inner space of the U filled with bright green, inside which a red, flame-like shape. Bright yellow cloth drapes the double sculptural figures at the portal’s immediate sides, over whose lintel the name of the inner sanctum, on a black ground in white Tamil letters. Above the lintel, seated in a niche, the pale-skinned Vishnu himself, red robe, yellow leggings, his various attributes ─ conch and chakra repeated as painted motifs above ─ grasped in his 4 hands. Devotees enter and exit, a gaggle of gawky French tourists turned away, as behind author bells of the temple elephant jingle, mingling with the odor of incense, flower petal, excrement.

Entrance barred to second inner sanctum, he takes seat, ledge of outdoor courtyard, half flooded with sun, half in shade. In the bright light a 30-foot-high wall of large granite blocks, its upper reaches whitewashed, a capstone surmounted with large polychrome figures of Vishnu, Hanuman, pastel sculptural representations of the symbols of the god. A rail-thin 70-year-old devotee, bare-chested, moves slowly past, patting his cheeks. A peasant woman, dark-skinned, white choli, red patterned sari, takes seat in the shade of a small stone pavilion. A tall 60-year-old man in longhi, balancing logs in a pannier atop his head, walks across the courtyard to deposit them in a work shed, where workers are stripping bark from other logs. Two children approach author, a 9-year-old girl in red blouse, beige skirt, her 6-year-old brother, in brown shorts, dirty green shirt. The little girl continues, the little boy pauses, to look into author’s notebook. Half a dozen pigeons appear in flight, swoop through the narrow courtyard to settle atop the wall opposite.

“About half a mile to the east of Seringham, and nearer to the Cavery, is another large pagoda, named Jambikisma, but this has only one enclosure.” Author seated, within confines of second brightly-painted gopuram, mid-way down approach to third. “Pilgrims from all parts of Hindostan resort to these sites, and none comes without an offering of value.” Above his head, dome of stone pavilion under which also sit 7 pilgrims, eating rice off plantain leaves, which they have removed, along with newspaper-wrapped icons, from woven plastic baskets. “Here, as at all the great pagodas, the Brahmins live.” Tourists, other pilgrims, ordinary worshippers. “In a subordination that knows no resistance.” Amble past. “And slumber.” Tolerant of one another. “In voluptuousness that feels no want.” The pillars of the portico are filled with figures. “The state of repose.” Making the namaste gesture. “Does not appear to have been disturbed.” Mild conversation in Tamil. “Until the siege of Trichinopoly, which began about 1751.”

Third gopuram rising against sky of high cumulus clouds. “At which period.” Behind one of which the bright sun emerges onto notebook page.” “The French and their allies.” Author’s brow, flagstone pavement. “Took possession of the island and the pagodas.” Recedes again behind another cloud. “But they never attempted.” Third gopuram crowded with unusual profusion of figures: “To violate the inner enclosures of the temples.” Many-armed gods and goddesses. “Or expose this Hindoo sanctuary.” Shiva in his dancing postures. “To any greater pollution.” Scenes of mild erotica. “Than was absolutely necessary.” Palm trees lean over a nearby wall to join the scene.

Author arises to join guide, who is patiently waiting at entrance to inner space of Jambukeswara temple. “Having made his wheel of authority go as far as the golden circle.” Sudden immersion in dark. “The golden circle was surrounded by his fame.” Almost too obscure to write. “As though surrounded by the moat of the sea.” At the center of a large space. “The king, while newly wedded, still only heir apparent.” Beyond the flagstaff (hundial). “Won the brilliant goddess of victory at Sakkamakkottam by his brilliant deeds.” Sits Nandi. “And at Vayirakaram seized a strong herd of elephants.” His form draped cape-like in a piece of white cotton. “He unsheathed his sword.” A cup of oil beside him. “Showed the strength of his arm.” Wick lit within. “And spurred on his warhorse.” Immense Vijayanagar columns. “So that the king of Kantala, whose spear had a sharp point, lost his wealth.” Support the roof of the chamber, within whose recesses one looks down partly-shaded, partly-sunlit corridors. “Having thus established his fame; having put on as a garland the northern region; having stopped the prostitution of the goddess with the sweet and excellent lotus flower (Lakshmi) in the southern region; and having stopped the loneliness of the goddess of the good country whose garment is the Ponni (Kaveri) River, he then put on by right the pure royal crown of jewels, while the other kings of the earth put his feet on their heads as one large crown.” Temple elephant flaps his ears, swings his trunk. (Quotations from Paul Younger, “The Role of Landlords, Kings and Priests in the Operation of a South Indian Temple.”)

Author ─ encouraged by guide ─ having penetrated inner sanctum, only to be rejected, takes seat amidst garland weavers. “The sweet river Ponni swelled and the river of the sins of the Kali Yuga dried up.” Where 2 youths. “His sceptre.” Sit behind. “Swayed over every region.” A desk-like table. “The heavenly white light.” Filled with roses, daisies and herb-like green matter. “Of his parasol.” In the process. “Shown everywhere.” Of fashioning. “On the earth.” Large wreaths. At the edge of the porch. “And his tiger banner.” On which author sits. “Fluttered unrivalled.” The boss works. “On Mount Meru.” Admonishing author not to touch flowers. “There before him stood a row of elephants showering jewels.” Whose sweetness, fragrance swamp the area. “And which were presented as tribute to him.” A passel of lovely sari-beclad figures. “By the kings of the remote islands.” Floats by. “Of the deep sea.” None over 5 feet tall: “While beside him lay.” Young maidens and children. “The head.” Accompanying mothers, aunts, grandmother. “Of the Pandya king.” Between the weaving boys and the boss. “Being pecked by kites.” Sit 2 women.

“He was thus pleased to take his seat.” One is weaving. “On the throne of heroes.” The largest garland of all. “For a lifetime.” Exclusively of roses. “Along with the mistress.” Red and pink. “Of the whole earth.” She has just begun the pink portion. “While his valor and liberality.” Her listing voice. “Shone like the necklace he acquired in warfare.” Heard in conversation with one of the boys. “And like the flower garland.” Who snips at extravagant petals. “On his royal shoulders.” With scissors. “While all men on earth worshipped him.” Now a third voice enters. “Tyagavalli, the mistress of the earth.” That of a mature seated woman. “Was present along with him.” Who weaves at a 4-color garland. “As Uma is with Siva.”

Above all, on the wall behind, brightly-colored glass-framed paintings of grand religious scenes (inscriptions in Tamil). “So also was the mistress of the seven worlds (May she prosper, that ornament of womanhood).” The breeze picks up. “Elisai Vallabi.” Perfuming and re-perfuming author. “Who was also.” Weavers. “Joyfully.” And temple. “Seated beside him.” Vishnu enthroned, his face very modern, human, alive. “Even as Ganga too takes her seat.” An entire panoply of gods, in gold, red, and green garments, skin in blue, green, and pink, together witness the ceremony. “As the second wife of Siva.” Conversation continues, the older woman addressing the older man, a younger voice re-entering. (Quotations from Paul Younger, as he continues to translate the inscription, in the Jambukesvara temple, to the Chola king Kulottunga.)

COMBOUCONUM. A town in the Tanjore district, 23 miles N.E. of the city of Tanjore . . . This was the ancient capital of the Chola race, one of the most ancient Hindoo dynasties of which any traces have been discovered in the southern regions, and from which in later times the whole coast of Cholamundul (Coromandel) has taken its name. There are still remains indicating its ancient splendor. At present it is chiefly inhabited by Brahmins, whose habitations appear neat, and the district thriving. Some of the tanks and pagodas are very fine, but it is remarkable that almost invariably the outer gate of the pagoda is of superior dimensions to the temple itself (Walter Hamilton, Description of Hindostan).

Kumbakonam, 7:30 am non-picturesque street scene: Author, having never lost sense of direction (sun rising steadily in the East), nonetheless steps across main street (no more than twenty feet wide at that point) without noticing that he has done so, proceeds much farther south still in search of it, travels to southern outskirts of town on foot, on into suburbs, village streets, rural precinct, to river banks; returns through winding maze to point where large circle had begun; regains orientation; stops at coffee stall for caffeine ingestion prior to temple inspection. Purchases new ballpoint pen, a SECRET Campa (black on red, blue-writing). Returns to station outside stall’s woven-bamboo wall. Regarded from behind by young woman seated low porch overhung with thatch. To the north of her: a brick wall, irregular masonry fitfully whitewashed. Leading from wall to Juggernaut carriage: wooden poles, against which rests a black, red-seated bicycle. Through space above poles: a mandapam, foretemple to rising gopuram behind (not visible from author’s vantage point). Juggernaut incredibly dust-encrusted, so that wooden carvings of Ganesha are barely discernible. Continuation of brick wall in political slogans; likewise wall across from it in allée leading to temple. To the east of juggernaut: a blue truck, deeply-saturated-yellow hood, red Tamil lettering, black “TATA.” Woman standing next to author, rust sari, 55, blue-gray choli, in loud conversation; which suddenly quiets, finishes. Scene 60 degrees complete.

One-hundred-twenty-degree continuation: rust-besaried woman now across street in animated-emphatic conversation with coconut vendors, their as-yet-unpacked produce tied to the backs of 2 bicycles. A calf forages among yesterday’s discarded husks, standing in front of the 3 human figures. To the south: a bicycle rental store, its new-looking bikes lined up in uniform black, uniform green plastic seats. Bicycle store among a line of shops situated beneath thatched roof line, which leads viewer southward to white-turbaned, white-shirted, cream-longhied 90-pound 70-year-old man, who stands in front of a dozen piled lengths of new steel pipe, above which scene, atop the thatched roof of plumber’s shop, is a 5-color sign: turquoise bathroom fixtures on a creamy yellow ground; the plumber’s Tamil name in red; a muddy blue frame to the whole ad, whose other lettering in black.

“At this place there is a consecrated pond, which possesses, every twelfth year, the virtue of cleansing all who bathe in it from corporeal and spiritual impurities, although accumulated through many transmigrations. When these periods of plenary indulgence arrive, innumerable swarms collect from all points of the compass, in order to take advantage of the fortunate moment when the efficacy of the water is most intense” (Walter Hamilton).

Kumbakonam, 8:00 am Sri Sarangapani Swami Temple formal approach, through mandapam up allée to gopuram. “Loss and gain come not without cause” (Thiruvalluvar). “It is the ornament of the wise to preserve evenness of mind (under both).” Dirt before houses already swept, sprinkled with water, marked in chalk, mostly in star-shapes. A used refrigerator store: half a dozen machines out front, in white, light green, light blue. “Those who know not how to act agreeably to the world.” Mid-way up the allée: house front painted with political slogan (the palm of a hand), plastered with double photos of Indira Gandhi/her son Rajiv. “Though they have learnt many things are still ignorant.” Sound of chants issuing from the house. Two-thirds of the way up allée: ETO Agent (Economic Transport Organization). Devotee in red shawl, white dhoti, Vishnu “U” on forehead approaches, passes. Gopuram now towers overhead. “If a man has the power to abstain from falsehood.” Mildly erotic scenes: “To abstain from falsehood (I say).” Large-breasted woman embraces reclining god. “Then.” As Saraswati plays the veena. “Though he practice no other virtue.” She too seated on the couch. “(Yea) though he practice no other virtue.” Figures of elephants, demons, gods and goddesses. “It will be with him.” Pigeons flapping in and out among these dramatic postures, whose pastel colors have all faded.

Author to station, 3/4 of the way up allée. To his left: “SRI MAHESH ELECTRONICS.” To his right: a pile of discarded flowers, palm leaves, egg shells. Before him: entranceway to the temple, through which part of a second gopuram visible, its figures painted in much livelier reds, yellows, greens, blues. Two stately guardians, scythe-like swords drawn, address the entering pilgrim. “Unusually great is the female simplicity of your maid.” A very pretty, contemplative, 13-year-old girl. “Whose beauty fills my eyes.” Her long blue skirt and white blouse equally dirty. “And whose shoulders resemble the bamboo.” Passes by author, ignoring him. Author to final station, 10 yards from gopuram entrance, eyes directed upward. “Is the jeweled female a celestial?” A pigeon stands on the shoulder of a naked maid. “A choice peahen?” Points finger at another more buxom beauty. “Or a human being?” Who displays her rear end to viewer. “My mind is perplexed.” The first maid modestly covers her pudendum. To her right an even larger woman, breasts thrust forward, pudendum bared, brazenly regards the viewer. A calf steps to the pile of garbage to nibble at discarded flowers.

Author entering portal encounters beautiful 19-year-old maiden. “What (I ask) is the value of a song, if it be not fit to sing?” Who looks deeply into author’s eyes. “What (I ask) is the value of eyes, in which there is no kindness?” (Thiruvalluvar). Asks author to take off his shoes. Handed cowboy boots, she smiles, passing them to her sister, who sits behind counter, face covered with the yellow cosmetic/medicinal powder (tumeric) worn in South India.

Author seated, stone ledge. “That man.” Reverse shot of gopuram passageway. “Never experiences sorrow.” Boot-taking sisters sitting on floor of its portal. “Who does not seek for pleasure.” Author counting its 11 tiers. “And who considers trouble to be natural.” Two little boys, also at play in the portal, now enter courtyard, one in bead necklace, one with a primitive toy, fashioned of wood. Palm trees abut the base of the gopuram, their branches leading the eye westward to a small Vishnu shrine, its dome in flesh color, its walls in yellow, its entranceway in columns of green and mauve. A sweeper noisily finishes sweeping out the courtyard, kicking his bucket ahead of him at every 2 paces, under which rhythmic motif the deep-throated cooing of pigeons, the middle-register chants of devotees exiting the temple proper, toward which the author now advances.

“Kindly visit Oppiliyappan Koil, alias Thenthiruppathi, three miles east of this town.” As author records advertisement, the little boys return from the inner sanctum, where they had wandered. “Kindly visit Swamimala, 5 kilometers west of Kumbakonam.” Behind the advertisements, on the walls of a temple porch, brilliantly-colored murals. “It is one of the six Padai Veedu where Lord Murugan is presiding under different names.” The little boys, 3 and 4, make the namaste gesture to one of the mural figures, then playfully prostrate themselves on the concrete, kicking their feet and giggling. Meanwhile a priest arrives to open the doors to the shrine, above whose lintel the words “Alwars Sannidhi” have been painted. As author again transcribes, a rank of several dozen pilgrims enters through the gopuram portal and files behind him, men in white suits, women in conservative saris. The elderly priest emerges from the door of the temple, stands arms akimbo, bare from the waist up, white cord traversing his chest and shoulder, white and yellow Vishnu forehead markings. To either side of him, murals in honor/adoration of Vishnu. To the right, a 6-armed representative in blue flesh-tones stands at the center of a 6-pointed star, the star encircled, then framed, its larger circumference filled in its corners with 2 angels and 2 seated goddesses. To the right, a 4-armed Vishnu enthroned in a regal arch of gold, 2 standing female figures, one in red, one in green sari to either side, as above angels with baskets of flowers strew their petals on the scene below. At either end of the porch, 2 more murals: Garuda (Vishnu’s vehicle), and Hanuman (the monkey god), the latter in brilliant green flesh-tones, shimmering rower’s tights, a mountain held aloft in his left hand.

Author seated, temple’s forehall, whose Chola pillars have been painted turquoise, lintels in pale orange, ceiling in pale violet. At once a quietude and brio pervade this chamber, through which are exiting file ─ it now appears ─ of North Indian pilgrims. Two figures lie asleep on the flagstones, half hidden by pillars whose faces are adorned with images of the flautist Krishna-Vishnu. “The Dipika indicates the following list of jewels required for propitiation of the nine grahas (celestial bodies):” At the chamber’s mid-point, beneath an inverted yellow lotus. “Vaidurya (cat’s eye) for the Sun.” An electric light, beneath which in turn, on the floor, a colorful mandala. Along one side of the darkened chamber. “Nila (sapphire).” Flows alleyway of subdued light. “For the Moon.” As a temple wall abuts the passageway at a distance of 10 feet. The white-shirted pale-gray-dhotied North Indian men continue to exit, followed by their wives, in delicately-patterned pastel saris. Two priests pass discussing their mid-morning tea. An old woman, in brilliant scarlet sari. “Manikya (ruby) for Mars.” Pauses above author, regarding his activity with stern visage. Above all: Vishnu, reclined in his blue skin. “Padma (puspa) raga (topaz) for Mercury.” Regal golden headdress, reclined on a feathered couch. “Mukta (pearl) for Jupiter.” Two pigeons flap onto new perches. “Vajra (diamond) for Venus.” On either side of Vishnu. Author, completing page. “Mila (sapphire) for Saturn.” Approaches temple entrance, ranged on either side with multiple images of priests, gods, attendant women. Now crosses threshold. “Gomeda (jacinth) for Rahu.” Of inner shrine. “Marakata (emerald) for Ketu.” To face 2 monumental images of Vishnu, his progress observed by 24-year-old priest, Vishnu markings on his forehead. Circumambulates the central carriage-like altar (its base adorned with stone wheels) to take seat in the temple apse, whose pale-blue-whitewashed wall is covered with bright blue Tamil legends. Here the light grows progressively brighter as the eye is led out through a forest of pillars.

“Sri Sarangapani Swami/Northern Gate” reads another sign, on the face of the altar block, from within which issues the sound of cymbals. Eyes grown accustomed to the darkness, author now discerns a portal at the top of a short flight of stairs. At the entrance 3 magnificent statuary figures in niches: Krishna at his flute, blackened marble highlighted with touches of gold and red, applied (in a fireburst) to forehead, to wrist, to back of flute-holding hand, to elbow, navel, feet; Vishnu, borne aloft by another male figure, Ganesha in attendance; Vishnu enthroned, his form draped with white cotton cloth, a flared cobra surmounting his head. Author climbs stair, enters inner sanctum, receives benediction. (List of stones and corresponding grahas from D.C. Sircar, Studies.)

Flower and fruit received at inner sanctum, wrapped by boot-attendant in newsprint, accompanies author, who mounts city bus for 5-minute ride to Dharasuram, Airavatesvara Temple and the coeval Ammarcoil Shrine, “in style and dimensions” (Archaeological Survey of India) “commensurate with the main temple, indicating the growing status of the separate shrine concept.” Trudge through dusty village to apparently vacant shrine, where Yam Sangar, 13, Yamar Motilarnari, 12, Yenari Segai, 8, make sudden appearance, offering their services to guide ignorant author, who pauses for establishing shot of ocher sandstone gopuram rising against green deciduous foliage/gray cloud-intermittent blue-gray sky background. Tugged at the sleeve by Yam and his henchmen, author enters precinct, bathed in rapid-fire Tamil explanation of Ammarcoil’s descent from Tanjavur, performance accompanied by many gestures, many assertions of veracity, Yamar, Yenari meanwhile offering alternate versions, author finding it difficult to get a written word in edgewise. Now deaf-mute arrives, to explain through gesture iconography of the gopuram. Mute lions, their mouths open, surmounted by sandstone courses, isolated figures in their niches, all to culminate in flamed spikes, a lithic floral display.

We pass through the forecourt to view it from the top of steps to the sanctum; author, having left his hand-held boots at base of the stair, concerned about their possible disappearance. Enters temple to confront double images in blackened stone, Yam meanwhile relieves him of flowers/fruit to eat latter, place former on image of Vishnu. Ganesha, draped in white sari, remains unmolested. “Nandi!” yells Yenari, touching his brow, the image itself, author’s writing arm, in effort to make author desist from activity. Yam meanwhile insists on one-rupee donation for the deity (Amman), dressed in brilliant-green-trimmed red sari, yellow wrap. Instructs author on how to stuff rupee note through grating, behind which fire is burning in shallow incense dish. More shouting, more tugging, deaf-mute iterating single syllable: “Nay, nay. Nay, nay, nay. Nay, nay.” Author, in propitiatory gesture, pays off guides in return for silence.

“AIRAVATESVARA TEMPLE” (Archaeological Survey): “One of the four stately all-stone main temple structures (mukyavimanas) erected by the imperial Cholas, the others to be found at Thanjavur, Gangakondacholapuram, and Tribhuvanam, and named originally Rajarajaccuram after its builder Raja Raja II (reg. 1150-1173 AD), the structure introduces many innovations.

“Firstly.” Two goats, one black, one black-and-white, graze on grass at author’s above-courtyard level. “The main temple, though facing east.” Now black goat approaches author, a little red string tied about her neck. “Has a pillared hall adjacent to its mahamandapa.” Little boy approaches, stands close to author. “Approached only from the southern pradakshina court by an ornate flight of steps.” Looks wistfully into author’s eyes. “Rising from the eastern and the western sides.” Finally extends open palm. “Laid in a projection of the mandapa.” Author deposits change. “And designed as a chariot.” Community elder joins us. “Drawn by horses and elephants.” Looks into notebook; decides this is not his field of expertise.

“Secondly.” Two bicycles pointed in opposite directions, both balanced carefully against a pile of rocks. “The substantial balipitha itself is outside the high-walled and cloistered first prakara.” A lovely 17-year-old. “And behind the Nandi Pavilion.” Passes, in red top. “And its top could be approached by an ornate balustraded set of steps.” Magenta sari. “Whose tread-stones emit musical notes.” Coral-colored floral arrangement. “Of varying pitch.” In her hair.

“Thirdly, the rise of the vimana.” Ancient priest-guide. “In five talas.” From court below. “Follows in its design the steep profile of Thanjavur.” Attempting to lure author into his confines. “But has only karnakutas, even on the last tala.” Author arises to seek instruction. “Instead of the usual bull cognizance.”

“As one enters the Airavatesvara temple at Darasuram,” says C. Sivaramamurti, in his Chola Temples, “one finds a large gopura, the upper portion of which is completely lost but the form of which may be imagined from the complete second (inner) gopura.” “Devendran, Durgadevi, Sridevi, Agastyadevar, Agnidevar, Rati” (icons originally found in the Darasuram gopuram). “The larger prakara-wall all around the temple.” “Kamadevan, Yamunadevi, Daksaprajapati, Nivritti-Sakti, Pratishtha-Sakti, Vidyasakti” (from K.V. Raman, “Gopura Sculptures from Vriddhagiri-Svara Temple”). “Decorated with couchant bulls at intervals.” “Santi-Sakti, Santyatita-Sakti, Periyadevar, Sri Nandikesvarar, Varunan, Brahmani.” “Is in continuation of the second gopura.” “Vaishnavi, Rudra, Hrillekhadevi, Vayu, Nagaraja, Mahasasta.” “Supporting the gopura.” “Chandran, Vaisravana, Tumburu-Naradar, Gangadevi, Adichandesvarar, Isanadevar.” “Are pillars in a row.” “Visvakarma, Sarasvati, Kshetrapalar, Subrahmanya, Suryadevar, Padmanidhi.” “Which have some fine carvings of lovely apsarases, Siva-ganas and other motifs.”

Ancient guide points to later fifteenth- and sixteenth-century additions over entrance portal in brick and stucco (granite structure Chola, brick and mortar later). Strikes musical steps (musical theme related to Shiva’s presence, his Nataraja activity). Together we enter prakara. Archaeological Society of India activity (dismantling, reconstruction) explained, including system of numbering stones. Guide tells celestial crocodile story (Makkara, sword and shield emerging out of its mouth; warrior who bears them escaping into temple). Longhi-attired commentator illuminating inside courtyard friezes of dancers large and miniature, dancing dwarfs (ganas), eyes attentive to author’s interest. Commentates male and female figures; yarli (combination of lion and elephant); celestials (naked) mounted on the back of yarli, bearing sword and shield.

Ardhanari (nod from author), “one side Siva, one side Parvati” (recognition noted), its unusual features indicated. Nagaraja, Saint Agastya, in their niches. Author, testing guide, indicates personal icon, deposited on edge by devotee: “Subrahmanian, second son of Siva, beneath him hills.” Guide recounts story: Mt. Kailash, Naruda, the ripe mango fruit: Subrahamanian’s victory over Ganesh (peacock vs. mouse). Ganesh a “clever celestial,” says guide. Said Ganesh: “My mother and father are the world” (circumambulating them, G. circumambulates the “world,” thereby winning the wager). “Subrahmanian gets down from peacock, finds out he has lost” (Shiva having pronounced Ganesha the winner).

“The temple shrine proper” (Archaeological Survey of India) “is erected on a basal udapitha approximately 23 x 63 square meters (the Amman shrine also has an udapitha and rises to a height of about 23 meters). The sanctum, however, is nirandhara (or lacking ambulatory passage), followed by an ardha-mandapa, fashioned as a chariot hall (it is also called the raja-gambhiran-mandapam). The statuary of the walls include some unique syncretizations of the divinities, like an eight-handed, three-faced Ardhanarisvara, Hara-Pitamaha, etc., consistent with the impact of Deccani concepts on the local cults.”

Guide enters encyclopedic recitation phase: Surya, Agni, Indra, Brahma, all explained. Vishnu, Shiva. Author’s pen bobbing. “You know the Greek story: Cupido.” Head nodding. “Siva is sitting on the Nandi, meditating Kama, with sugarcane bow.” Guide pointing. “Arrow of flower.” White beard in accompaniment. “Sent arrow at Siva.” Hand detailing story. “Arrow stuck at the face.” Author nodding. “At sight of Siva’s eye in the forehead, Kama fell down dead. Siva gave her life again.” A second priest, from the stage above, looks down on scene of instruction, through brown plastic glass frames. Asks ancient guide for a candle. Guide continues with Markandeya-explication: “Fated to death at age of sixteen; devotee of Siva; every day sits before the lingam and worships; Yama came; set a noose around neck of the devotee; embraced lingam (Markandeya); Siva appeared; kicked the god of death down.” “Everyone knows the story of Markandeya ─ how Yama, not knowing that Siva is the death of death, lost his wit and in anger committed the fault of binding Isvara [=Shiva] to his devotee Markandeya with his noose. Thus Yama lost his life, though at the request of the gods he was revived and given back his station. But Yama, thus revived, kept thinking about the evil he had committed against Shiva and was sad. At Naruda’s urging he went to Tiruvanmiyur and performed Tapas after setting up his staff (dandam, Sk. danda) in a suitable place near where the Vedas had worshipped. He worshipped Shiva, imagining his staff to be the image of the god. At length Shiva appeared and offered him a boon. ‘Lord,’ said Yama, ‘may I never again feel egoism (akanthai). I will never again touch your devotees. Please reside in the linga which is my staff, which I have set up here. May those who bathe in this tank and see this linga be free from disease.’ Shiva agreed. Yama remained there several days and celebrated festivals in honor of Shiva, the god with the staff in his hand (Dandapanik-kadaval).” ─ R. Visvanathan, Tiruvanmiyur Stalapurana-vacanam.) Concluding remarks on Vishnu, Vayu, Chandra (“facing west for Moon”). On to Virabhadra, Kalabhairava (3-headed Shiva standing in a mood of ferocity).

Return to subject of ganas: “With white colored eye and green belly” ─ guide turning to frieze ─ “they are ‘latter’ paintings.” Emphasis on “sitting.” Sanctum sanctorum explained, fuller version by our guide referred to (cf. Michael Minster’s archaeological study of Dharasuram). “Here the life histories of 63 Saivite Saints.” Three representative saints and their histories commentated; a representation of the temple at Chidambaram noted. Author tiring. Guide has mounted a course of stone to explain Shiva and Ramapa ─ “The putting out of eyes.” “From the second eye the blood came.” Guide towering over author, who notices he has one foot in lotus trough. “Which in a few days of his worship was given salvation.” Guide now squatting above. “This was just like Abraham.” Inserts “joke”: “first eye-donor.” As author writes, Shiva and the banyan tree explained; Dakshina-murthi; Chin Mudra (“You see the right hand?”). Further clarification elicited. Guide: “God is the thumb; man, the forefinger. Man wants close union.” Pride (little finger), illusion (ring finger), egoism (middle finger). “If you free yourself . . .”

Two beauties strolling through courtyard, blue/red saris, latter with baby in arms, former (dark blue in light blue overwrap) about 18. “You see here the animals” ─ guide ─ “the details in very good condition.” “Between the age of seven and ten” (Alexander Dow) “the children are, by their parents, given away in marriage” (“A Dissertation Concerning the Customs, Manners, Language, Religion and Philosophy of the Hindoos”). More comparative mythology: Jesus and the transformation of water into wine/its Hindu parallel. “He was living nearby. One day he went to the shopkeeper, asked for oil; shopkeeper gave him [being a Jain] no oil.” To either side. “Go to the tank.” Of the story being glossed. “Fill water.” Two hieratic figures: lion within serpent, dancing female, similarly disposed. Author seeks explanation. “Just decoration,” says guide. “Here you see the celestial coming out of the head of the animal,” he says by way of diverting attention/continuing train of thought.

“The young pair is brought together, in order to contract an intimacy with one another” (Alexander Dow). “You see the holy woman devotee climb-bing the holy mountain Kailash to worship Siva, climb-bing not by foot but by hand.” Author joined by 2 young Indians who examine notebook, listen to guide, compare relationship of account with received text. “She has such an extreme devotion to Siva.” Both stand back a step to examine author himself. “She is one of 63 devotees of Siva. Only woman.” Guide glances at author. Corrects himself: “Two. Another woman.” Author raises eyebrows. “Who is other woman? Pusadi Mardevi Mangayarkarashi.” Author satisfied.

“But when they approach the years of puberty” (Alexander Dow). Lingodbhava. “They carefully separate them.” “Thees is story of Siva proving that he is greatest of 3.” Guide to station above, pointing out Brahma, Vishnu, Shiva, as author and shorter Indian man look on from below. “Till the female produces signs of womanhood.” “Visnu said, ‘I am bigger than you.’ . . . Then aerial woice came . . . .” Indian man, green-black-yellow plaid longhi. “Brahma took the form of hausa (bird), Vishnu took the form of boar. . . .” “She then is taken from her parents.” “To find the form of the fire; proud of themselves; if you were humble.” “To cohabit with her husband.” “None of you bigger; myself the biggest of the 3.” “Nor is she ever permitted to visit them.” “‘Don’t be proud, be humble,’ he taught them.” Guide turning to new scene: “The life of a saint, a fisherman, catching fish in the ocean every day.” Indian man, white shirt, carefully plastered hair, losing interest, wanders away. “One day Siva tested him.” Story proceeding (“A golden fish offered to Siva; came home empty-handed; Adipattar”). Moral: “Siva gave him salvation.”

“You see 5 types of window.” Author concentrating on main thrust of temple spire. “You see monkey picks lice from head of lady. . . . You see 1-2-3-4-5 jugglers.” Explanation follows (inventiveness the substance). More sculptural detail: gargoyles-on-water passage. “All around the main shrine” ─ C. Sivaramamurti ─ “paved with granite slabs, and a low wall . . . of the same material.” “Here you see various types of instrument.” “The existence of outlets for water.” “Walking at time of pregnancy.” “Shows that it was intended to be a sort of pleasant water-receptacle.” Lady as fertility symbol, hand touching plant. “To give the idea.” Her foot touching another plant. “Of a pool surrounding the temple in spring.” Guide: “Showing fertility of country.” “And to keep the atmosphere cool in summer.” Guide: “Salabamjaka.” “A number of circular rings with low rims, carved out of stone.” “Under rule of Raja Raja II.” “Appear to have been lamps” (Sivaramamurthi).

“Sixty-three saints like Bible story” ─ guide moving quickly from scene to scene. “This is Durga” ─ blackened, red-besaried (emerald trim), sculptural form spotted (highlighted) with touches of gold ─ “killing buffalo-headed demon.” “Saint here” ─ “Name of saint?” (repeating author’s question), “Cheramon” ─ “and Sundara, other saint” (volunteering information). Guide’s brown hand on unpainted sculpture: “River Kauveri parted and gave way” (Durga above in full color, dignity, looking on). Brown hand now on image of river as it parts ─ “by this gap,” finger tracing it. “Then they went to Siva temple and worshipped him.”

Guide, his back to author, again in conversation with priest above (priest sitting with arm on knee). “Jonah was swallowed” ─ guide returning to task at hand, priest remaining in superior posture. “Similarly a child was swallowed by crocodile, and a child came out after 3 years.” “How do you explain that?” ─ author. Guide retells story. Priest now suspiciously regarding author activity. Remarks on it to guide (in Tamil). “Amma” (yes), says guide, noting as well that author has no camera. Priest scrutinizes author activity ─ guide covering priest’s activity with details of crocodile child-loss ─ as author faces down priest, who gives up, returns to inner sanctum. “The crocodile came out of the water,” guide concludes. “The mother receiving the child and went home happily.” He sits on his haunches, wipes spittle from corner of mouth, having finished this phase of his commentary. Author, at bottom of notebook page, also ready for brief respite.

“Beyond the gopura” (Archaeological Survey) “is a large bali-pitha.” Seven, 8 schoolgirls suddenly appear. “With beautiful lotus-petal decorations.” Cautiously eavesdrop, as guide recommences with Nandi-commentation. “Towards one side of it, just behind the large Nandi.” Defer to author, who through gesture encourages them to attend to guide’s exposition. Guide asks girls in Tamil for time of day. Two enter into discussion of sculptural motif, as author deliberately gives way. Girls all rather plain, though still graceful, colorful, feminine. Guide points to niches: “More than 10 empty,” says he, “All in Thanjavur Museum.” Girls suddenly disperse, wander off, disappear. “Just behind the large Nandi” (Archaeological Survey) “is a quaint standing dwarf.” As more sitting dwarfs are pointed out. “Siva-gana blowing a conch.” Author recalls/records balletic passage of girls. “Which, together with the bull is a fine artistic product.” Past inner sanctum on toward dancing porch.

At guide’s suggestion he and author turn up stairway to inner shrine. As we mount steps, author asks for ontology of Siva-gana. “In all Siva temples,” says guide. Author steps to lingam, deserted by guide, who returns down steps to conversation with 4 of the many girls who have now entered courtyard. Author presented with ash by priest in brown glasses, latter’s white locks streaming. Turns to exit. Witnesses appearance of 5 new girls in yellow, pale green, olive, blue, school-color light blue-green. His feet on courtyard floor, notebook held to his belly, he records entrance of 2 more girls (pale violet, red), as they together note their role as object of registration, move gracefully past, author waiting for guide’s return. Birds above the courtyard, perched on ledges, are chirping loudly.

Guide, returned, resumes outdoor frieze commentation. “The celestial is sitting on the back of the lion.” Distracted by priest at entrance to inner sanctum, guide looks up. “Dance pose,” “dance pose,” he reiterates, “sword and shield,” “3 dwarfs,” he adds mechanically. Suddenly he mounts steps, confers briefly, descends with enormous key, tucking it inside his longhi, still holding, in his other hand, a second, smaller key. Laughing girls’ voices, as they spread throughout the courtyard, regroup for study, overlay voice of commentation. Two girls ─ yellow-with-pale-violet, red-with-magenta ─ step to author’s side. “I’ll show you 2 mischievous ganas,” says guide. Girls glance at author, who entreats guide to speak in Tamil, which he proceeds to do.

Guide much more lively in Tamil. Girls even more interested. New frieze of ganas in Tamil explication, girls giving assent to mythic import, reaching out slender fingers to caress sculptural detail. Here 2 scholarly tourists appear, look into author’s notebook to observe process. One, in white crewcut, looks into author’s face as well, leaning back in authoritative posture to do so. Turns away, as author looks at him, guide meanwhile engaging in “meaningful” discourse with half a dozen girls. “Um,” they respond in chorus, “Um.” Then suddenly break out into independent conversations, ignoring his on-going comment. Crewcut in self-important discourse with 3 girls, refining points that guide has made.

“The pillars in the various parts of the temple” (Archaeological Survey) “show the transitional stages.” We have arrived at the dancing hall. “From the early to the later Chola art.” “There are 32 in this temple,” says guide. “In shaft as well as corbel.” Guide accompanied by 2 older male tourists, a third falling in behind. “American,” whispers guide. “American,” the 2 in front repeat. “This hall, the name of this hall Rajagambira Mandapa,” says guide, even he beginning to tire.

“Hundred-pillared Hall,” he says, amidst multiple-girl appearance, including one beauty. “The wealth of him who” (Thiruvalluvar). We have come full circle. “Regardless of his manliness.” Red sari. “Devotes himself.” Hands on back. “To his wife’s feminine nature.” Of purple sari. “Will cause great shame.” Eight-year-old girl, arms folded, stands before author. “To all men.” Smiles. “And to himself.” “Saints sitting in posture of yogas” (guide) ─ we are looking at the ceiling of the mandapam. “Dancers surrounded by various types of design” ─ guide growing wearier and wearier. Author directs his attention to the form of the ouroboros embracing dancers, for one last feat of explication. Exhorts him to explain in Tamil. He does, to audience of male tourists, girls in saris, wide-eyed 8-year-old, who all respond with comprehension. Guide, unsatisfied, shifts agenda to Parvati, Agni. “Some of the niche-sculptures evince the influence of the idiom of the later Chalyukas of Kalyana.” Older girls again attentive. “A fact otherwise attested by the inscribed dvarpala figure.” Likewise little girl. “Brought to the temple by the royal builder from Kalyana.” Older males losing interest. “As a war trophy.” Parvati, in a circle of fire, requesting that Shiva marry her. Older girls. “Prayer before the hymn.” In appreciation. “Siva and Parvati after marriage.” Sympathy.

To celebrate his triumph over the Pala king Mahepala of East India, Rajendra created a liquid pillar of victory (jalamaya-stambha) in his new capital at Gangakondacholapuram, “the city of the Chola, the bringer of the Ganga.” In a great irrigation tank, now in ruins, the waters of the Ganga were poured from pots brought by the vassal-kings as the only tribute demanded by the emperor, who then assumed the title Gangakondachola, “the Chola king who brought the Ganga.” As thanksgiving, he erected a large temple in honor of Siva, also known as the Brihadesvara, at his capital (C. Sivaramamurti).

Author arrival, Gangakondacholapuram, temple antechamber youth gaggle standing about him as he scribbles, all 18-21 years old. Site Supervisor appearance, “MIRACLE” in red on white jacket, beige slacks, heavy-sole flaps made of composition. Gracious offer of assistance to only tourist at temple site, only passenger to descend Kumbokonam bus.

“After the death of Rajaraja I, the sceptre passed to his worthy son, Rajendra I, who had shared the burden of government with the former during the closing years of his reign. . . . He proved a chip of [sic] the old block, and by his military valor and administrative talents he raised the Chola Empire to the pinnacle of glory. Already in the time of his father Rajendra I had won renown as a warrior by his successful attacks . . . . He had . . . carried his arms across the Tungabhadra right into the heart of the Calukya territory. A few years after coming to the throne . . . he annexed the whole of Ceylon, its northern part having been previously conquered by Rajaraja I. The following year he re-asserted the Chola supremacy over the kings of Kerala and the Pandyan country, and appointed his son, Jatavarman Sundara, Viceroy of these territories with the title Chola-Pandya. [Next] he directed his arms towards the North, and his armies marched triumphantly as far as the Ganges and the dominions of Mahipala, the Ganda sovereign. We are told in the Tirumalai . . . inscription that Rajendra I subjugated Odda-Visaya (Orissa); Kosalainadu (Southern Kosala); Dharmapala of Tandabutti (Danda-bhukti, probably the districts of Balasore and a portion of Midnapore); Ranasura of Takkanaladam (South Radha); Govindacandra of Vangaladesa (Eastern Bengal); Mahipala, the Pala ruler . . . ; Uttira-Ladam (North Radha). The northern conquests constituted an audacious campaign, and to commemorate it he adopted the title Gangakonda” (Ramashankar Tripathi, History of Ancient India).

Tour underway, Site Supervisor leading author, youth gaggle into totally darkened (windowless) temple interior. “The Egyptians were a race at once so immersed in astronomical pursuits.” Recounts fantastic legend of the temple’s subterranean connection with temple at Chidambaram. “And so grossly addicted to that species of symbolical worship.” No dissenting voices from youth gaggle. “Which is the one principal source of mythology.” Who, it turns out, are teachers at the local school. “That the reader will not be greatly astonished to find on the original Egyptian zodiac, engraved in this volume, the eight Dii Majores of that superstitious nation” (Thomas Maurice). “Recognized by the symbolical animals respectively assigned them in their hieroglyphic system of theology” (“Preface” to his History of Hindostan, 1795). Chola details pointed out by light of flashlight, Nayak stucco additions. “Natural air cooling,” says guide, “single stone pillars,” “115 feet.” We are standing within the completely hollow gopuram (“no supporting,” i.e., no cross-structure whatsoever). “But the invasion,” says Ramashankar Tripathi, “did not yield any permanent results.”

Out into daylight (roof over third story). “Nor were the Chola monarch’s achievements limited to land only.” View over sea of palm trees. “He possessed a powerful fleet, which gained successes across the Bay of Bengal.” Prakara surrounding garden-kept interior. “It is said that he vanquished Samgramavijayot-Tungavarman, and conquered Kataha or Kadaram and other places in Farther India.” Cannon tower to southeast, miniature village of Gangakonda beyond. Gardener, in blue tank top, shorts, adjusting hose. Reverse shot of gopuram, embellished at this level with heroic statues of Shiva, Ganesha, Parvati; of Rajendra and his wife in courtship posture. “After this almost uninterrupted career of conquest and aggrandisement, Rajendra I sheathed his sword” (Tripathi).

Return to inner recesses. “But the European astronomer can scarcely fail of being both surprised and gratified, while he contemplates the novel asterisms of the Indian zodiac.” Second story pitch black, single beam of Site Supervisor conducting author, youth gaggle. “Also engraved for public inspection in this volume.” Down massive, railing-less stairs. “In which the planets are personified.” Light beam directed to perilous 4-foot overhang. “Are designated as carried round their orbits on animals.” Author breathing sigh of relief on return to first story. “To express their tardy or rapid revolutions.”

Here we re-encounter more massive figures. “In the mukha-mandapa” (Sivaramamurthi) “the walls on the east, on either side, are decorated with carvings representing Siva in different aspects of anugraha (favor), such as Vishnuanugrahamurti (bestowing grace on Visnu who worships him with his lotus eye), Ravananugrahamurti (blessing Ravana who is penitent after having raised Mount Kailasa), Devyanugrahamurti (bestowing grace on Devi who worships the linga), Kalyanasundaramurti (giving forth for his marriage attended by his bhuta-ganas, goblins, and the marriage itself with all the incidental rejoicing and merry-making), Markandeyanugrahamurti (blessing his devotee Markandeya by rescuing him from Yama) and Chanderanugrahamurti (blessing Chandara, who did not refrain from cutting off his father’s legs for having interfered with his worship of Shiva and bathed the linga with the milk of cows in his care). “Thence to Navagrahas, where worship of the 9-planet god is in progress, a single flame lit on the altar, the figure of the planets and their vehicles oiled, blackened almost beyond recognition, white cotton wrap serving as a skirt, its table, viewed by author from above, as he descends the last half-story, strewn with petals. “Thus the Sun,” says Thomas Maurice, “is mounted on a lion, to mark the ardor and fierceness of his beam.” Window opened behind display allows entrance of disturbingly bright shaft of light. “The Moon on an antelope, to denote the rapidity of her progress.” Nonetheless the chamber remains deeply cast in shadow. “Mercury on a hawk, a bird whose soaring wing explores the highest region of ether, while its undazzled eye gazes steadfastly on the orb of day, shining in meridian splendor.” “His subsequent reign, however, was not entirely peaceful” (Tripathi). “Mars, armed with a sabre.” “Revolts occurred in Kerala and the Pandya realm.” “Is borne on a warhorse through the heavens.” “But they were effectively suppressed by the crown prince Rajadhiraja.” “Venus, the radiant harbinger as well of the opening as the closing day, is mounted on a camel, an animal patient and indefatigable, that pursues his unwearied journey over trackless deserts and burning sands, early and late, before the sun rises, and after it has declined.” Author, guide, youth gaggle emerge into slanting shadows of late-afternoon light. “Jupiter rides on a boar, a slow and sluggish animal, the emblem of his tedious revolution.” Youth gaggle offering to help author ascend his bus to Chidambaram. “And Saturn measures round the circumference of his vast orbit.” Author accepts offer. “Exalted on the back of a heavy, unwieldy elephant.”

“Your attention, please” ─ 11:10 announcement to passengers awaiting 11:00 am train ─ “The Chidambaram-Madras express will be arriving in 10 minutes.” Breeze relieving late-morning late-winter heat. Strains of traditional music issuing from loudspeaker, traffic sparse. A young male goat (black) awaits mother, sister. Mother (black-and-white) arrives to lead them across double tracks to opposite platform, where they now stand about a recently arrived freight train. Sister (white) jumps up onto one of 2 green-backed benches supported by pink concrete stanchions. Reclines, sitting on her legs, as brother, mother forage among the rather unpromising remains of produce scattered on the platform.

An unshaven man in his 60s, white longhi, pink shirt, red towel over his shoulder, flaps past in worn chappals, his unkempt white hair, white beard in strong contrast with swarthy skin. Five girls, all in their late teens, early twenties, suddenly appear, mostly in black saris. “Your attention, please.” All unusually skinny. “Train #145 will arrive in the next 2 minutes.” Two of them have nipples but really no breasts. (Author later learns they were probably transvestites.) Train’s arrival signaled by bell. Its maroon engine looms into view, yellow markings. Author settled, train departing, 2 colorful temple spires visible to west.

11: Bangalore, Mysore, Somnathpur, Mysore, Belur, Halebid, Mysore, Bangalore