In those days, the arts of music and dance flourished abundantly in the Chola land. Dance and drama grew together, hand in hand. The city of Thanjai especially gave rise to many distinguished artists of the dramatic arts. The devout Shaivite poet, Karuvur Thevar, who lived in those days, sang of Thanjai, encircled by ginger gardens, in his verses:

“Where peacocks with lightning-shaped brows Perform in the drama halls, In ginger-girt Thanjai, they learn their arts.”

(*Ginger refers to the fort walls encircling the city.)

Thus does one of his songs describe it. The presence of many drama halls in Thanjai city was a sign of the flourishing dramatic arts there. Of all these drama halls, the finest was within the emperor’s own palace. Artists who invented and staged new dramas lived in Thanjai. Previously, it was customary to adapt stories from the epics and puranas into plays. But for some time now, the dramatists of Thanjai had turned their attention to a new field and found success: they began to dramatize the lives of famous historical heroes. They even staged the heroic tales of those who lived just before their own time.

Where else could such heroes be found as those born in the Chola dynasty? Thus, they dramatized and performed the histories of Chola kings such as Karikala Valavan, Vijayalaya Chola, and Parantaka Deva.

During the Navaratri festival, for three days in the emperor’s palace, plays depicting the heroic histories of Chola kings were performed. Opposite the wondrously decorated drama hall, in the palace courtyard bathed in moonlight, thousands of people gathered to witness the plays. A special section, adorned with pearl-studded, painted pillars beneath a canopy of blue silk, was arranged for the royal women to sit. Beneath this, the queens, princesses, and their intimate companions sat and watched the performances. At such times, Nandini always came and sat close by Princess Kundavai. Though some of the other women disliked this, they kept their feelings to themselves and bore it in silence. Nothing else could be done. Who would dare to become the target of the wrath of Periya Pazhuvettarayar and the Young Queen of Pazhuvur? When even the Young Princess herself showed such respect and honor to that proud woman, what could others do?

Of the three plays about the kings of the Chola dynasty, the third—Parantaka Devar Natakam—shone the brightest. It was on that day, after witnessing the play, that a certain murmur began to stir and grow among the people.

Until then, among the line of Chola kings who had ruled the land, Sundara Chozhar’s grandfather, the illustrious Kopparakesari Parantaka, stood out for his valor and glory. He ruled for about forty-six years. During his reign, the Chola Empire expanded far and wide. His command extended from the land of Lanka to the banks of the Tungabhadra River. Many wars were fought; great victories were won. He earned the title “Kopparakesari Varman, Conqueror of Madurai and Lanka.” He covered the Chittrambalam at Thillai Chidambaram with gold and won eternal fame. In the final years of his life, a few defeats befell him and the empire shrank. But his heroic fame never diminished. In the north, at Thakkolam, a final great battle was fought against Kannaradevan, a king who had marched with a vast army like the ocean from the twin regions.

In this war, Parantaka’s eldest son, Rajaditya—the greatest of warriors ever seen in this land of Bharata—led the army. He routed Kannaradevan’s forces and, atop his elephant, gave up his life and ascended to the hero’s heaven. His arrow-pierced body was brought back to the city just as it was. It was taken to the palace. The Emperor Parantaka and his queens, placing the body of the great hero who had given his life to protect the nation among them, wept torrents of tears. From behind the curtain, a disembodied voice proclaimed: “Grieve not! Grieve not! Prince Rajaditya has not died; he lives, shining like a temple in the heart of every Chola subject!” With this final scene, the play ended.

The people delighted and marveled at this drama, filled with heroic deeds from the previous generation. The reason for the stir that arose among the audience was this: in the great wars of Parantaka Devar’s time, two minor kings had been his steadfast allies. One was the prince of Kodumbalur; the other, the chieftain of Pazhuvur. Both were bound to the Chola dynasty by ties of kinship—by giving and taking daughters in marriage. Both had aided Parantaka like two hands. It was impossible to say which was the right hand and which the left. Parantaka Chozhar cherished and honored them both, as he would his own two eyes. Of the two eyes... How can one truly say what is exalted and what is lowly? The great elder of the Pazhuvettaraiyar clan, who now wield authority, was once the supporter of Paranthaka. His name was Pazhuvettaraiyar Kandan Amudhanar. The father of the valiant Kodumbalur chieftain who lost his life in Eezham—who is, in fact, Vanathi’s grandfather—was the Kodumbalur petty king who aided Paranthaka Devar.

Those who staged the play about Paranthaka Devar had taken great care not to depict any difference in rank or status between these two minor kings. They had acted in such a way that the valor and fame of both would shine equally. They made it a point to show that Paranthaka Devar honored both these warriors with equal distinction.

Yet, it soon became apparent that the audience did not share such impartiality. Among them, some were revealed to be of the Kodumbalur faction, while others favored Pazhuvur. When the valorous deeds of the Kodumbalur chief were enacted on stage, a section of the audience erupted in cheers. When the Pazhuvur hero appeared, another group responded with their own shouts. At first, this rivalry was minor; but gradually, it grew in intensity. In the midst of the play, the audience’s cry of “Navalo! Naval!” rose up and echoed in