i.

Chapter- II

The Themes of Sir Walter Scott and Kalki

~
I
 Chapter- II

The Themes of Sir Walter Scott and Kalki

In her atiicle "Historical Novels" KalaK. Tawker points out under the

sub-heading 'Theme and Characters' : "Love, war and sacrifice are the basic

points dealt with in all these novels [historical novels]" (Subramanian 574).

The researcher has found that love, combats, battles, fights and adventures

are common themes in the five novels discussed in .this thesis. A detailed
' '·
analysis to justify this point is furnished below.

'Love' is one of the predominant themes in the historical novels of Scott

as well as Kalki. It is a.universal theme which appeals to all races of humanity.

As everybody knows, it is a phenomenon that can transcend geographical,

economical and social batriers. Different nationalities cannot prevent people

from falling in love with each other. Similarly language or culture cannot

stand as stumbling blocks between lovers. The fondness of men and women
ultimately leading to marriage is only one facet of love. Apati from this, we

have a mother's love for her children. Sisterly love, fraternal love, patemal
love, filial love and friendly love are other facets oflove. All these vmieties of
love are treated by Scott and Kalki in such a manner that it leaves a deep

impression in the mind of the reader.

In the Heart ofMidlothian (1818) Scott gives unprecedented importance

to 'sisterly love'. Jeanie Deans and Effie Deans, though half-sisters, show
remarkable mutual love and affection from the beginning to the end of the
 21

--r
novel. Both had lost their mothers. Jeanie acted as mother to Effie or Euphemia

Deans. Vlhen Effie was sentenced to death for murdering her own child, Jeanie's

love for Effie would not allow her to take it lying down. She knew that her

sister was innocent. So, she walked from Edinburgh to London to get the

royal pardon from Queen Caroline and George II. On her way, she met \\·ith

many perils. All these she endured for the sake of her love for her sister. Very

easily she could have saved her sister by telling a lie in the court. Vlhat was

required by the Scotch law was that the accused (Effie) should have intimated

someone about her pregnancy or her illness during pregnancy. If some one

was ready to bear witness to this then Effie would be declared not guilty. But

Jeanie's love for truth was greater. It is said that blood is thicker than water.

So, we find Jeanie giving food and even setting free hernephew 'The Vlhistler',

who had killed her sister's husband not knowing he was committing parricide.

Jeanie never felt jealous of her sister. She had remained blemishless throughout

the novel. But Effie had secret relationship with Robertson, a robber, and

became pregnant. After the royal pardon was obtained Effie eloped and married.

She becanie Lady Staunton and lived fashionably in the rich circle in London.

Still Jeanie had no envy towards Effie. Her love for her sister was so great that

she christened her daughter Euphemia, after her sister, "contrary to the wish

both ofher father [Douce Davie Deans] and husband [Reuben Butler]" (407).

Thus she remained devoted to her sister.

Effie also reciprocated Jeanie's love: She was, of course, at first angry

with Jeanie when she refused to save her from punishment by giving false

evidence. But, as she was well aware ofJeanie's character, she did not mistake

her sister. She remained grateful to Jeanie till her death. She wanted to help in
 --r

her own way the sister who had saved her from death sentence. Therefore she

helped her sister with money which was inuch useful to buy property. In her
/

capacity as Lady Staunton, Effie was able to get a commission in the anny for

her nephew David, Jeanie's son. Thus the two sisters remained an ideal example

of 'sisterly love'.

Such a kind oflove can exist between brothers and sisters. In POIJf1iyilL

Celva'!. Kalki has depicted it between the brothers Atitta Karikalan and
\..
AruJmolivannan and their sister Kuntavai, the Cola Princess. Kuntavai had

great love for Prince Aru!moli in particular. He would obey whatever his sister

said. Her words were 'Holy Scripture' (125; vol.l) to him. He was guided by

her in all his activities. "It was very painful to her [Kuntavai] to be separated

from her brother [AruJmoliJ even for a second" (126; vol.l). When she asked

him to be the head of the Cola army which went to attack Ceylon he accepted

it with great pleasure. In the selection of his bride also he was guided by his

sister. He married only \'agati who was chosen by Kuntavai. In PoiJ.IliYil1 Celval]_

'brotherly' and 'sisterly' love in the royal family is presented. It is not so

deeply depicted as in the case ofJeanie and Effie. Jeanie and Effie were actually

the daughters of a cowfeeder. They were not royal personages like Karikala~,

Arujmoli and Kuntavai.

In Civakamiyilj Capatam Kalki takes 'brotherly love' to great heights as

Scott did with 'sisterly love' in the case of Jeanie and Effie. Niikananti, alias

Nilakeci, was the elder brother of Pulikeci, the Chalukya King. Nakananti

~·
could have become the Chalukya King himself. But he sacrificed his right to
I

rule for the sake of his younger brother. He even joined the Buddhist monastery

to drive home to his brother the point that he was not interested in royal life.
 23

Before that, when the uncle of the two brothers was in search of Pulikeci,

Nakananti posed as Pulikeci. The two brothers were twins and resembled each

other in appearance. So Nakananti was captured and tmiured. For the sake of

his brother he endured this suffering. Nakananti acted as a spy to his brother. ·

He wanted Pulikeci to conquer the Pallava Kingdom also. Therefore he tried

to pass on information to him regarding the right time to attack Kanci, the

Pallava Capital. When he saw his brother lying dead after Narasimmag had

destroyed Vatapi, he took a vow to avenge his brother's death. So he assumed

the appearance ,s(Pulikeci and fought against Naracimma Pallava1_!_.

Unfortunately he was defeated. Pulik<~ci too was affectionate towards his

brother Nakananti. He was well aware of his brother's sacrifice. Hence he

was grateful also. Thus 'sisterly love' and 'brotherly love' are well portrayed.

by Scott and Kalki.

The two writers are adepts in giving due weight to 'paternal love' also.

The Cameronian cowfeeder Douce Davie Deans living near Edinburgh loved

his daughters too much. Even though he was a stem Presbyterian and was

God-fearing, at the last moment, he expected Jeanie to save his daughter Effie

by uttering falsehood in the court. This was due to his paternal love. But Jeanie

would not speak in favour of Effie who was accused of child-murder. Had

Jeanie accepted in the court that Effie had informed her of her pregnancy

Effie would have been acquitted in the court. But, as Jeanie was not inclined

to tell a lie, the court declared Effie guilty of infanticide. No sooner did he
hear about this than Davie Deans fell down unconscious. This incident is a

proof of his deep love for his daughter. He loved his first daughter Jeanie also
·~-"'
I
to a great extent. That was why he wanted Jeanie to marry Laird of
 24

Dumbiedikes, a rich man, instead of a poor teacher like Reuben Butler. The

two daughters were equally fond of their father. An incident in the court is

testimony to this. Lawyer Fairbrother was examining Jeanie with the hope

that she would make a statement in the court confessing her knowledge about

Effie's ailment and pregnancy. That would save Effie. The old father also had

a similar hope. But Jeanie ;;aid in the court, "Alack! Alack! She (Effie] never

breathed a word to me about it [ailment caused by pregnancy]" (124). This

made the old man faint. Immediately Effie cried "Let me gang to my father! ...

I have killed him!" (124). Meanwhile Jeanie "began assiduously to chafe his
( -,.

[Deans's] temples" (214). Thus filial love and affection are movingl~: exhibited.

A near similar relationship existed between Ayanar and Civakami in

Civakamiyi!J:.. Capatam. Like Deans, Ayanar was also a widower. His daughter
Civakami was the apple ofhis eye. He shuddered at the thought ofhis daughter's

marriage as he would be bereft of her love and affection when she would go

away to her husband's home. At one point even Civakami gave up the idea of

marriage as her father would become lonely. Thus they were mutually attached

to each other. This is a very good example of 'paternal love' and 'filial love'

in humble classes. For, Jeanie and Effie belonged to a humble family. Likewise,

Civakami was not a royal person but only the daughter of a sculptor. In Scott's

Kenilworth also there is one such pair of father and daughter. Heroine Amy

Robsart belonged to an ordinary family only. Her father Sir Hugh Robsart's

love for her was very deep. So, the news of his daughter's elopement gave

him a very rude shock. He became dejected. He forgot to eat. He gave up his

pastimes like hunting and sports activities. He fell sick and died soon. So we

find Scott and Kalki successfully portraying domestic love.

-·
'
 25

Love- affair or romance among the youth is also another major theme in

the historical novels of Scott and Kalki. In The Heart ofMidlothian it is love

among the simple and humble folk. The two pairs of lovers are Jeanie Deans

and Reuben Butler and Euphemia Dean·s, alias Effie, and George Robertson,

alias George Staunton. As already seen, Jeanie and Effie belonged to the family

of a cowfeeder living near Edinburgh. Reuben was a schoolmaster at Liberton

with a little income. George Robertson was a robber and a smuggler. All the

four lovers were of the lower rung of the soceity. Jeanie remained steadfast in
...
her Jove for Butler. In the beginning their love was implicit. Even though

Butler was separated from Jeanie for several years, she did not change her

mind. She appealed to Butler that their engagement should come to an end as

her sister Effie had committed a crime (infanticide). Otherwise it would bring

disgrace to him. Jeanie said, "Ye [Butler] are a man of spotless name, bred to

God's ministry, ... but ill - fame ... you sal! never learn through my means"

(133). But Butler was very firm in his love. So he retorted " ... how do you

connect your sister's guilt, if guilt there be, ... with our engagement? ... " ( 113)

Jeanie assured him that separation from him had in no way changed her Jove

for him. Butler pointed out "It's a long time- sufficient perhaps for a woman

to weary [thinking about him]" (124). To that Jeanie replied" ... not long enough

to weary a friend. The eye may wish change, but the heart never" (114). Jeanie

could have easily become the mistress of a big mansion by marrying the rich

Laird of Dumbiedikes. Once he had declared his love to Jeanie but it was

rejected as Jeanie was in love with Butler. Jeanie told Dumbiedikes, "I like

another man better than you, and I canna marry ye" (237). Thus, for the sake
c..... c. oflove, Jeanie gave up a golden opportunity of becoming a rich woman. On
I

her way to London she met her lover at Liberton. Butler was ill. Nevertheless,
 26

out oflove, he wanted her to give him "a husband's right to protect"' ( 124) lier

on the way. She declined the offer and continued her journey. Before that, she

secretly provided Butler with some gold coins out of sympathy for her sick

lover. Thus the love between Jeanie and Butler is brought out only in a few

strokes of their occasional meetings. We do not find them wooing each other

or uttering love passages. Yet the sincerity of their love is made known strongly

by the author. Later Jeanie and Butler married and remained a very happy pair

of husband and wife having given birth to two sons and a daughter.

The love between Effie and Robertson was equally eamest. It was a

clandestine one which led to her pregnancy. Though Robe1ison had already

seduced a girl named Madge Wildfire, he remained faithful to Effie till his

death. In order to set free Effie, Robertson broke into the Tolbooth. Effie

herself remarked about his love thus, "How can I help loving him, that loves

me better than body and soul baith? Here he [Robertson J put his life in a

niffer, to break the prison to let me out; ... " (192). Robertson was very much

attached to her as is seen from his words to Jeanie' "I ought to have been in

Edinburgh, trying every means to save a life [Effie's] that is dearer to me than

my own" (295). He was prepared to sacrifice his life for her sake. So he wrote

to Jeanie: "I have expressed my anxiety to repair your sister's misfortunes at

the expense of my honour - my family's honour - my own life; ... " (311 ).

Finally they married. Throughout the novel, not on a single occasion, will the

reader find Robertson and Effie courting each other. This is quite different
0
from the presentation of lovers in the other novels. In Kenilworth Amy and

Leicester met very often and expressed their love. Hereward and Bertha were

found exhibiting their love in Count Robert of Paris. Naracimman and

 27

Civakami had many love meetings.in Civakiimiyi1~ Capatam. Likewise

Kuntavai and Vantiyattevag,met a few times and declared their love modestly

Heroine Jeanie was not of royal birth. So also was heroine Amy Robsmi

in Kenilworth. She was the daughter of a knight named Sir Hugh Robsart. In

the first discussed novel love of the heroine led to marriage and subsequent

domestic happiness. Jeanie's lover Butler was an ordinary individuaL But

.. '\..
' heroine Amy's lover was of royal birth. He l;.dd received several Orders of
-.
Merit. Amy had eloped and secretly married England's Number one Earl

Leicester. Her husband loved her very much and she was happy about it. The

only discontentment in her life was Leicester had not publicly acknowledged

her as his Countess. It was because Leicester was aiming to marry Queen

Elizabeth also. Before marrying Leicester, Amy, according to her father's wish

was engaged to Edmund Tressilian. Later she eloped with Leicester. Tressilian,
like a true gentleman, did not pursue his love further. But he could not forget

Amy till he died in Virginia. Thus we find the heroine loved by two men as in

the case of Jeanie. The satne technique is employed by Kalki in Civakiimiyi'l.

Capatam. Civakami was loved by Narasimmag, and also by Nakananti.

Ironically all the three lovers got disappointed as their love did not consummate

in marriage. We find that Scott could juxtapose well both successful lovers

and disappointed lovers. Butler and Leicester were successful lovers whereas

Dumbiedikes and Tressilian were disappointed lovers. In spite of his concealed

love for Queen Elizabeth Leicester adored his wife. That was why he had
~- provided her with a palatial mansion at Cumnor-Place. She also had servants
'
at her beck and call. Strangely in this novel we find a person being loved by
 two women. Leicester, Amy's husband, was loved by Queen Elizabeth who

was unaware of his secret maniage. In Po1111iyil~ CelvanPrince Aru)mo!i was

loved by Viinati as well as by P1n1kulali though Aru]moli loved only vanati.

Amy was too young and too beautifuL She "was not above eighteen years
old" (36) and according to the innkeeper Giles Gosling "as beautiful as an

angel" (15). Therefore, naturally, Leicester fell in love with her. "Even the

villain Richard Varney described her "pretty moppet" ( 4 7), "my lord's

[Leicester's] pretty paroquet" (48), "pretty little daisy" (51). There are evidences

to prove her beauty. Hence Leicester adored Amy and manied her. She became

"the Queen of his [Leicester's] Affections" (49). Amy did not covet his royal

status and many him. Once she told him, "Do not think Amy can love thee

better in this glorious garb [of an Earl], than she did when
she gave her heart to him who wore the russet - brown cloak in the woods of

Devon" (67-68). Leicester also was very kind and affectionate to her. He felt

happy to call her "lovely Amy" (71) and "sweet Amy" (72). Leicester was

quite aware of her love for him. When Varney suggested to Leicester that
Amy should bear herself as the wife of Varney for a brief space Leicester
remarked "I cannot urge her to aught so repugnant to her noble nature ... it

would be a base requital for the Jove she bears me" (253). Similarly Amy's

love for her husband was very deep. So she said, "I love my husband- I will
love him till my latest breath- ... " (258). On another occasion she expressed

her Jove thus, " ... how could I injure that which [Leicester] I love better tJ-.an
myself?" (392). Her husband also admired her as "so lovely, so delicate, so
fond, so faithful-... " (389). Out oflove for her lord she agreed to live secluded

'-..-·. at Cumnor-Place for a temporary period of time. Her love for her husband
'
would not brook any danger to him. So, when Queen Elizabeth thundered to
 29

Leicester pointing her finger to Amy "Knowest thou this woman?" (383),

Amy embraced her knees and exclaimed, "He [Leicester] is guiltless, madam

-he is guiltless- no one can lay aught to the charge of the noble Leicester!"

(384). Thus she saved her husband from the royal wrath of Elizabeth.

Suspicion is natural among lovers. When Jeanie went to meet Robetison

in connection with Effie, Butler suspected her. Even royal people are subject

to suspicions. After all, they are also human beings. Varney, by his eloquence,

made Leicester believe that Amy was guilty of adultery and she was

Tressilian 's paramour. Leicester ordered that she be killed. Later he realised

his mistake. But then it was too late. Amy had been cunningly killed by Varney.

So Amy paid a huge price for the faithful love she bore for the noble Earl of

England. Thus Scott has ·presented in a touching manner the love Story of

Amy which is full of pathos.

The novel Count Robert ofParis places more emphasis on adventures,

fights and other heroic activities. At the same time romantic love has its own

place. There are two ideal pairs of! overs. The first pair is of course the hero,

the Count, and the herione, the Countess. The love of the Amazonian Brenhilda

for the Count was the outcome of her admiration of the Count's valour. She

had wielded her lance and defeated her suitors in the lists at the castle of

Aspramonte. Later Robert of Paris "unhorsed and unhelmed" (165) her.

Brenhilda was all admiration for Robert and married him. Their love is

presented in a noble manner. They were loyal to each other. The Count trusted

his wife and vice versa. Leicester in Kenilworth suspected Amy of infidelity.

But the Count had total confidence in his wife. When the Count was separated

from his wife by the villainy ofNicephorus he was much agitated and concerned
 30

about the safety of the Countess. He stood in the lists for a combat in order to

accept the challenge of his wife to Nicephorus and save her honour. In all

these acts he was guided by his love for his wife. As for the Countess, when

Nicephoms Briennius made love to her, ·she challenged him for a combat. She

felt proud of being the wife of Count Robert of Paris, the descendant of

Charlmagne. Briennius offered to make her the Queen if she man·ied him.

This offer did not tempt her. For all this Briennius was already married to

Emperor Alexius' learned and beautiful daughter Anna Comnena. He was

enticed by the beauty of Brenhilda. He was not ashamed of wooing another

(

man's wife. Such is the powerofCupid. Even the old hypocritical philosopher

Michael Agelastes fell in love with Brenhilda. The philosopher conspired to

do away with both Emperor Alexius and his son-in-law Nicephoms, man-y

Brenhilda and make her the Queen. Such is the influence of love. Brcnhilda

remained firm in her love towards her husband. Caesar Nicephorus asked her

to choose him for her husband and abandon the thought of the Count.

Immediately Brenhilda said: "A better than him, .. .I can never have, were I to

choose out of the Knighthood of all the world!" (286). Such was her love and
··-..-·-
faith. Like a true wife she objected to her husband going to the adventure of

Zulichium. For, her husband had to kiss the Princess there which she did not

like. She was much respected by her husband. He had confidence in her fidelity.

Thus, mutual love was at the root of the happiness of this ideal pair.

Scott presents the love affair of the second hero Hereward in an interesting

manner. It was love at first right. Hereward and Bertha got engaged to each

other accidentally. Once Hereward heard the cry of a woman in danger in the

forest of Hampton. Immediately he mshed to the spot and saved her from a
 31

wild boar. They fell in Jove with each other. Unfortunately they were separated

for a long period of time. Separation did not prevent them from cherishing

love for each other in their mind. Hereward and Betiha were Anglo-Saxons.

The Normans, under the leadership of William Rafuse, fought with the Saxons

under the leadership of Hereward's father Waltheoff and Bertha's father

Engelred in the forest of Hampton. Hereward was terribly wounded. Bertha

was taken away as a captive by the knight of Aspramonte. After several years

of separation, the two lovers accidentally met each other in Constantinople.

-'- By then Hcreward was the trusted Varangianc2,uard of Emperor Alexius and

Bertha was the personal attendant ofBrenhilda, the Countess of Paris. During

the period of her separation from Hereward, Bertha was asked to be baptized

with a new Frankish Christian name. But she refused. She would rather die or

become an exile. She had a Saxon name by which she was known to her lover

Hereward. She was living with the hope that sooner or later her lover would

identify her name and come to her. Such was the constancy of her love.

Hereward too was constant in his Jove. So, their love consummated in marriage.

Thus 'ideal love' is glorified by Scott.

--....--'.

A pemsal of the detailed analysis of the three novels presented above

will confirm the efficiency of Scott in delineating romance or love in an

attractive manner. He has the capacity to portray the love affairs of the royal

class to which Leicester, Elizabeth, Count Robert of Paris, the Countess,

Caesar Nicephoms belonged and also the love affairs of the humble classes

comprising of Jeanie Deans, Effie Deans, Reuben Butler and Amy Robsart.

Kalki too had the same knack. In Civakiimiyi/1 Capatam he portrays the romance

between Naracimma!:!_ of the Pallava royal family and Civakami, a mere dancer
 32

and daughter of a sculptor. They can be equated with Leicester and Amy. But

tl1ere is a major difference. The love of Civakami and Naracimman did not

tl-uctify whereas that of Amy and Leicester resulted in conjugal happiness.

Civakiimi 's love for Naracimman was very strong. At the same time it was not

of selfish tinge. She did not covet Queenship of the kingdom. She was prepared

to sacrifice her life if she would coni.e in the way of Naracimmag becoming

the Pallava king. She adored her sweet heart as God Himself as exemplified in

the passage: "Civakami had founded a wonderful temple in the heart and had

sanctified Mama!la Naracimmar as God of gods" (327; vol.2). Villain

' '
Nakananti tried to kill Naracimmag while the latter was courting Civakami.

This came as an excuse for Makentira Pallavag to demand Civakami to forget

his son. But she was not prepared for that. She would rather die. Such was her

deep love for Naracimman. Civakami was also subject to the weakness of a

lover. Nakananti seduced her mind by telling her that Naracimman. was a

womanizer and coward. Later Civakami realised her mistake and asked for

her lover's pardon. In Vatapi she was bold enough to make an attempt to kill

Nakananti who was her lover's enemy. She was in Vatapi for nine years as

Pulikeci 's prisoner. During this long period she cherished and nurtured her

love with great fondness. She was hoping against hope to be reunited and

married to Naracimmag. She thought: "If he [Naracimma!!] does not come to

take me [back to Kanci], what then is there in this life in the world? Why

should I live?" (32; vol.4, ch.38). To her great horror, after returning to Kanci,

she heard the shocking news that Naracimman. had married the Pavtiya

Princess. He was the father of two children too! Civakami could not give

anybody else the place she had given to Naracimma!.!. in her heart.
.__,_.
I
She was dejected and disillusioned. She needed some support for
 -·
survivaL Therefore she married the image of Lord Ekamparesvarar and became

His devotee. To Naracimman Civakami was his darling. 1-!e could not live

without her. For the sake of marrying her he was prepared to forego his

kingdom. But, when his dying father Maki~ntirm1 pleaded with him to marry

the Paptiya Princess in order to strengthen the Pallava Kingdom, he could not

say no to him. He was conscious of his filial duty. So, unwillilngly, he had to

abandon man·ying Civakami. Nevertheless the thought about Civakami was

haunting him for nine years. He felt guilty when finally Civakami married

God. He could only shed tears. This was the end of the tme love ofCivakami

and Naracimman.

Just as heroine Amy was loved by another person, called Tressilian, so

also heroine Civakami was loved by another person - villain Nakananti. For

several years he had love for his brother alone. After meeting Civakami he

fell in love with her head over heels. He was ready to give up thirty five years

of orthodox life as a Buddhist monk for her sake. He was passionately in love

with her talent and beauty as a dancer. He described her as Art goddess. He

would spend his life by witnessing her dance. He found some remarkable

resemblance between Civakami and the best painting of a woman dancer in

the Ajanta Caves. When she danced, she looked like the Ajanta painting which

became alive. N~kananti's love for Civakami was of Platonic nature. He told

his brother Pulikeci : "No! younger brother, No! In tmth, I have no liking for

Civakami, I am infatuated only with the Art goddess who has possessed her.

The pleasure that is caused in me while Civakami dances has not been caused

in any other activity" (35; vol.3, ch.42). Once he told Pulikeci, "To me Civalciimi

is thousand times better than you (34; vol.4, ch.28)". Pulikeci laid a condition
·---....-
1
 34

that Nakananti should forget his love for her to become the Chalukya King.

But Nakananti denied it and said that Chalukya Kingdom was nothing before

Civakiimi" (34; vol.4, ch.29). He was prepared to break his relationship with

his brother and leave Chalukya kingdom to live happily with Civakami" (34;

vol.4, ch.29). He also saved her from bei11g killed by Raii.calJ.i, alias Kapalikai,

who was madly in love with him. A painter had created a painting of a dancer

touching the feet of Pulikeci with her head and asking for mercy. The dancer

in this painting resembled Civakami. This enraged Nakananti and he killed

the painter. Such a painting was an insult to the best dancer Civakami. He

could not brook it. For Civakami 's sake only Nakananti did not inform Pulikeci
r '·

about Naracimmag's invasion ofVatapi. He did so, so that Civakami 's vow to

bum Vatapi would be fulfilled. Love made him betray his own country and

brother. As the jealous Kapalikai spoke ill of Civakami he made her ugly in

appearance. When Paralicoti asked Nakananti to pray to his favourite God

before dying, he said, "My favourite God is only one ... that is Civakami alone"

(31; vo1.4, ch.44). At the end of the novel Nakananti tried to kill Civakami

with a poisoned knife. For, none but he should have her. This shows his

possessive love. Thus we see a character who could do anyihing for the sake

of love. He had no lust in his mind for her physique.

Thus all the three lovers - Civakami, Naracimma!! and N~kananti were

disappointed in their love. Amy's love led her to tragic death. Civakami 's love

ended in disappointment. The love ofl\'aracimma12, Nakananti and Tressilian

was unfulfilled.

Not a day passed without Naracimmag thinking about Civakami and

vice versa. Even during his battles with the Pag!iya King and Pulikeci 's soldiers
 35

Naracimma!1_ remembered his lady love. The infom1ation about the abduction

of Civakami by Pulikeci pained his hemi. He undertook a secret mission to

Vatiipi to bring ber back to Kanci. She refused to go with him. She had taken

a vow that she would return to Kanci after he avenged Pulikeci by defeating

him and setting fire to Vatapi. For Mamallar Civahimi was "divine light"

(30; vol.3, ch.33). He was afraid that she might have died in captivity. He did

not want to live but he had to live to avenge the Chalukyas. Mamallar could

not brook the idea of surviving in the world without Civakami. Kalki writes

about what transpired in his mind : "While talking with mother and father,

listening keenly to royal affai~.~, _going fast seated on horseback, enjoying the

uniqueness of dance and song sitting in the royal Court, driving away the

enemy forces while indulging in brave war with them in battlefields with swords

and spears radiating on four sides and raising sound - somehow at the bottom

ofMamallar's heart the remembrance about Civakami continued to be there"

(31; vol.3, ch.33). "Even in his dream he thought of her" (33; vol.3, ch.33)

Naracimma!! would seek Civakami wherever she was. He talked to himself

thus:

Civakami! My darling! I will not forget you! I won't forget you in

this birth! I won't forget you in any birth. First I will wreak vengeance

on the cutthroats who separated you from me! Then I will come in search

of you. I shall pursue you to the world ofYama [the God of Death] and

ask Yamatarma Raja, 'Where is my Civakami?' I shall go to Paradise

and ask Teventira!l[the King ofHeaven], 'Where is my Civakami? There

are four very beautiful women called Rampai, Urvaci, Menakai and

Tilottamai in your world . I have only Civakami. Return her to me!

 36

Civakiimi 1 If you are not in Paradise I won't stop at that'

Pirammalokam [World ofBrahma, the God ofCreation], Vaiklli}tam [The

Abode of Lord Venkateshwara, the God of Protection], and Kailacam

[The Abode of Shiva, the God of Destruction]- wherever you are, you

cannot be separated from me! I shall come Civakami, I shall come! I

shall come very soon to your abode!" (34; vol.3, ch.33).

Naracimrnag's steadfast love for her made him assure her that he would

fulfil her vow. When Civakami told Naracimman that she would leave V~t<i:pi

only after the burning ofVatapi and the killing ofPulikeci, Naracimrnag assured
r

her, "I promise in the name of the pure love I have for you - I will fulfil your ~

vow" (3 I; vol.3, ch.54). Kalki is capable of presenting love through gentle

strokes. Mankaiyarkkaraci and PaiJ!iyau Netumarag were lovers. When the

fom1er heard of the voice of the latter in the garden her whole body was shaking.

The ground under her feet seemed to slip away. She dropped her flower basket.

He too was happy to see her. He felt happy like a blind man getting eye sight

would feel. It was a happy experience as ifhe got manna. He put some flowers

in her hand. While doing so, he took her hands and put them in his eyes as an

act of endearment. Mankaiyakkaraci felt thrilled. This is a beautiful love scene.

'Paternal love' is well portrayed by Kalki as well as by Scott. Like Sir

Hugh Robsart Ayanar felt agitated when he was separated from his daughter

Civakami who was abducted by Chalukya army to Vatapi. He appealed to

Nakananti, "If you are worried about my life send my daughter here!"

(n.p.n.; vol.3, ch.25). So Civakami was his life and darling. Ayanar further

said, "I have lost my life picture, lively sculpture!" (35; vol.3, ch.32). She was

his only support in life. This paterenallove is not uncommon to royal parents.
 37

King ''liakentiran and Queen Puvanamakatevi loved their son very much. They

always called him affectionately 'Child' though he was a gro,,·n up young

man. Makentiran took great care to protect the life of his son Naracimma]]_, his

only heir. \Vhen Naracimman-- went to fight

. with the Pantiya
.. king, Makentiran·-
~

told his anny ChiefParancoti that no danger should befall Naracimman. Further

he wanted to prevent his royal son from marrying a mere 9ancer. Therefore he

wanted Parancoti to save his son from the sharp arrow of the eye ofCivakami.

Naracimmag reciprocated the love of his parents. So, when his father asked

him to sacrifice his love for the welfare of the Pallava kingdom, out of filial

love he agreed to it. An emotional utterance ofNaracimrna£ to his father will

bring out his deep love towards his father: "I don't want the throne, nor the

empire. I want only yourself. You must live hale and healthy for a long time"

(31; vol.3, ch.57).

In Civakamiyi!I Capatam the element of romance has been presented in

all its depth by Kalki. This kind of elaborate treatment of the love theme we

do not find in Scott. So, we can assert that Kalki has overtaken his forerunner

in this aspect. It remains for us to study what kind of treatment has been given

to romance or coutihship in PO!JIJ:iYi!! CelvaJ1.

In Po!]_l];iyiJ.t Celva!!:.. Kalki has given more importance to the presentation

of history than for love. But, still, the treatment oflove has been given its due

place. There is the pmirayal of love among pure hearted people. \Ve have the

royal pairs namely the hero Aur!mo!ivarmau and Vanati, and Kuntavai, the

Cola Princess and Vantiyatteva11 a prince of erstwhile Vanar dYnasfY. The

non-royal couple is Punku!ali and Centan Amutag who later became the Queen
-.
and the King of the Cola kingdom. There is also the secret love story of a poor
 38

dumb woman called Mantakigi and the Co!a King. This Dumb Queen sacrificed

her own life to protect her former lover, the Co!a King. The love of "'antil_!i,

.
the villainess, for Pantiya
. King even made her decide to kill Karikalan,
.- the
Cola Prince. Karikalag's love for Nanti!}i is also worth mentioning. Mystery

shrouded the parentage of Nanti!)i. Even then Prince Karikalan. loved her.

Karikalan acquired fresh energy in his mind by moving with 1\"antini. He

- -
thought about her thus: "Like the fresh floods that gush in the Ka\·eri river,

some strange feeling gushed forth [in his mind]" (300; vol.l). He realised that

the eye of a woman is a net in which men are trapped (408; vol.l). In the

beginning Nanti!_li also loved him. She was so devoted to him that if she could

not many him she would do service to God (402; vol.1 ). She was his "heart
angel" (411; vol.1). When Nantigi manied Periya Pa!uvettaraiyar he felt " ... a

sharp spear ran into my chest" (412; vol.l). He was prepared to sacrifice his

kingdom for her. He told his friend Parttipentiran, "During day time she comes

to my mind. At nights she comes in dreams" (416; vol.1 ). He "will not tolerate

any one doing harm even to the nail of her little finger" (417; vol.l). Even a

brave wanior like Periya Pa!uvettaraiyar, who had crossed 55 years of age,
was not exempt from t]:le anows of Cupid. He was madly in love with NantiQi

whom he had man·ied at that age. His heart melted like wax put on fire after

hearing her words (274; vol.l). Her tears kindled his heart fire more (274;

vo1.1 ). The strong passion of a middle aged man like Periya PaJuvettaraiyar

for his young and extremely beautiful wife is excellently portayed by Kalki
when he nanates Paluvettaraiyar's thoughts thus:

Do you know how Lord Brahma [the God of Creation] made your
-
\ dignified body? He collected the flowers shed from Mantara (shoe flower)
 ---------------------------------------,

39

trees in heaven; came to Tamil Nadu and plucked and collected red lotus

flowers; put the so gathered flowers in the manna containing gold pot

kept in heaven. After inanna and the flowers got soaked and became a

jam he took it. He passed the ray~ of the white moon into the jam. He

brought the ancient PaJ.laS [musicians] and asked them to play the yal

[musical instrument]. He mixed the music of that yal. ·with the wonderful

mixture thus made Lord Brahma created your [Nantiui's] body. (280;

vol.l)

.' ,.He even threatened to kill his own younger brother if he talked ill of his

wife. Such was his love for his wife! Even a middle aged man becomes poetic

due to love. So Periya Paluvettaraiyar said, "Darling [N antigi]! This chest and

shoulders have borne the attack of several arrows and spears. The people of

the world used to praise me that I received 64 such wounds. But, if a small
thorn pricks your soft flower body, my heart will be cleft... Darling! Every

second I cannot see you is like an age to me" (275; vol.l). Yet another speech

of his bubbles with love. "My body thrills when you open your coral mouth

and call me Lord.lfl see your golden face my mind reels" (279; vol.l). Women
like N antigi too could speak endearingly thus: "Lord! Every beat of thy heart

produces echo in my heart. Every thought that rises in your heart is reflected

in my mind's mirror. If thy brows are twisted, my eyes shed tears. If thy

moustache twitches, my bowels writhe. Thus, often, our lives have become

closer to each other, ... " (280; vol.l). He regarded her as a wood nymph or a

virgin from heaven (281; vol.1). He is an ideal example of an old man cajoling
a young wife. Once he said, "My dear [Nantini]! Don't torture me by uttering
'--~-'
such cruel words!" (183; vol.3). Actually he was in a spell as he had fallen in
her net of lust. So he remembered her till his death though she was cunning.
 40

Vantiyatteva[l_ was in love with the beauty of Kuntavai. It was Jove at

first sight. In his inner heart her face was visible (116; vol.1 ). He admired her

voice thus: "What a sweet voice! After listening to her speech why should my

heart bubble like this?" (132; vol.l ). He thought about her endearingly, "\Vhen

I saw the smooth bamboo I was reminded of her [Kuntavai's] shoulders. The

kuvc:Jai (blue nelumbo) flowers which are dense in streams bear comparison

to her eyes. I had a doubt whether the pankaja (lotus) flowers can be equal to

her golden face. Will it be correct to compare her voice to the humming of

bees flying around flowers?" ( 159; vol.1 ). He was charmed by her beauty. So,

he "stood seeing Kuntavai's face flower without wir.il<:ng (348; vol.l)". Kalki

points out the purity and innocence of the lovers when he states that the love

at first sight ofVantiyattevag and Kuntavai was like the first love between the

first man and the first woman (349; vol.l ). The emotions kindled in the mind

of Vantiyattevan by the gentle smile of the young and beautiful Kuntavai is

excellently portrayed by Kalki through the words of Vantiyattevan_: "Lady!

what a good question you asked me! If I don't like you, why should your

vision from the lowest bottom of your eye make me stagger? \\Thy should the

gentle smile that plays on the edge of your lips make me so mad?" (356;

vol.l). The first touch by his lady love was exciting to Vantiyattevag as Kalki

describes:

\\Then Kuntavai handed over the palmyra leaf to Vantiyatteva~, her

fingers resembling kantal flowers touched his lucky hands. His body
•
thrilled; he felt his heart would burst. Thousands and tens of thousands

of silkworms fluttered their wings and flew before him. Thousands and
' - /
tens of thousands of cuckoo birds united and sang sweet music. Mountain
 41

sized heaps of colourful flowers fell on him and scattered on all four

directions. (362; vol.l)

For the sake oflove he would sacrifice his life. So he thought "Can there

be any reason other than Ilaiyapiratti's· [Kuntavai's] bottom most eye vision
and jasmine like smile to sacrifice life for the Cola dynasty?" (32; vol.3).

Kuntavai was similarly interested in him. She opined: "Why should this heart
which rejected several kings and bold warriors take so much interest in this

young man [Vantiyatteva~] who came here as a passer-by" (370; vol.l). The

dawning of love in her mind is beautifully described : "When Kuntavai met

Vantiyattevag her hea1i lotus, which was a bud till then, opened its petals and

bloomed" (153; vol.3).

Kuntavai 's face was charming. So Kalki comments :

He [VantiyattevaQ] forgot the world. He forgot himself. Aha! This

woman's face was not away from him even for a short time. In dream, in

reality, in storm, in rain, in the forest, in the midst of the sea this face

came after him. Neve1iheless what a wonder! Why should this woman's

facial beauty get enhanced when seen face to face? Why is the throat

choked? Why is then this fast heart beating?. (183; vol.3)

Vantiyattevag said, '"When I saw thy dignified face, I felt inebriated like

one who had drunk liquor" ( 186; vol.3). Once he remarked, ''Ifl had thousand

lives I am ready to offer all lives to you" (203; vol.3). The love between

Kuntavai and Vantiyatteva!! is presented softly through a speech. She told

I _ _ ,.,
him, "Sir, you are talented; and that too in escaping from the prison you are

talented ... But you cannot escape from one prison. I am referring to my heart
which is a prison .... " (236-37; vol.3). She loved him though he was an orphan

now. A lover's pleasant experience is described by Kalki : "Vantiyatte\·a~~

took that flower hand [Kuntavai's hand] with his two hands and touched his

eyes with them. His heart and body were elated" (238; vol.3). Kunta\·ai

promised him of her love: "This hand of mine which held your hand will not

hold any other man's hands .... (238; vol.3)". Vantiyatteva!! considered himself

lucky to have been given a place in her heart throne" (239; vo\.3). He was

always in her eyes. Kuntavai felt : " ... whether my eyes are open or closed,

whether you are before me or not, your image is always shining in my eyes"

(756; vol.5). She also expressed her concern for her lover : "If any danger

befalls your life, a princess who was born in this Cola dynasty, glmious from

ancient times, will become a widow before marriage" (769; vo1.5). Such was

the lady love's mental determination.

There is an example of one- sided love as well. In Kenilworth Tressilian 's

love for Amy was one - sided. It is now the tum of a woman in Ponnivin
-----' -
Celvafl. Vantiyattevat! was loved by another girl named Mavimekalai of royal

family. But her love was not reciprocated. Unfortunately she had a tragic death.

But her love was spotless. Amy atleast died after her love was fulfilled.

Mm;imekalai's love was unfulfilled. She died of madness caused by unrequited

love. Vantiyattevag's "smiling face appeared in her mental eye. It came in her

day dreams ; it came in her night dreams also" (53; vol.4). We understand her

true love when she lied that she had killed Atitta Karikalan. In order to save

Vantiyattevag she uttered that lie.

Just as Leicester was loved by two women Prince Aru!moFvarnla!!.. was

also loved by two women. V~nati, Kotumpalur Princess, and Punkulali, a
. -
 -B

boatwoman, were in love with him. Vanati loved Arulmoli not because he

would become the Co!a King. Her sincerity is revealed when she said, "I shall

bear the arrows that are aimed at him [Aru)moji] in my breast" (327; vol.J ).

She even made a suicide attempt when there was a rumour that her lover had

sunk into the sea. Aru]moji was also much attached to her. Therefore he told
her, "When I see the stars in the sky those sky fishes [stars Jremind me of the

light in your eyes. When the trees in the grove dance in the air and the leaYes

mstle, I hear only the sound of you laughing in your sweet voice. When the

gentle breeze falls on my body I think that you are touching me with your

fingers resembling kant:t! (Malabar glory lily) flowers and feel thrilled" (715;
vol.l).

Punkulali was very fond of Amlmoli like Vanati. Whenever the Prince
looked at her she felt : "Why should this heart beat like this? something is

choking my throat; what is it? Why should tears overflow in my eye" Ignorant

girl! Where did all your boldness go? Why should your heart, which neYer

WOlTied by seeing wavy sea and big storm, turmoil now? Why should your

eyes that have the courage to stare at the fiery eyes of the wild and ferocious

tiger become dim now?" (308; vol.2). She revealed her passion for AruJmoji

thus: "Sir, when you are near me I won't be afraid even if the sky broke and

fell" (331; vo1.2). Her love made her forget even hunger. So she said, "It is

more than two days since I ate. As long as I was with you I never felt hungry" ·

(349; vo1.2). Like a painter Kalki pictures the love in the mind of Puti.ku!ali

when she thought:

• -_J
. -
Once we [Piiiikulali and Arulmoli] were flying, flying and flying
- - .

in the open sky. Have you forgotten that? Thou leaped and caught the
 44

stars and put them in my head as ornaments. Have you forgotten that

also? You brought the full moon near my face and said 'Here! see your

golden face in this silver plate' Have you forgotten that also? On another

occasion you sank into the deep sea ; I stood with my hear1 agitated.

After some time you came out with pearls and coral, made a garland of it

and put it around my neck. Even if. you have

. forgotten that now can I

forget it? Oh king! at noon, on the banks of azure brimming lakes, in the

places where the trees, unable to bear the weight of flower bunches,

fonned ornamented bowers. On the green grass mats we spent many

days by looking at each other's face-can all this be forgotten? At tho''"',

times, the singing of hundred pairs of cuckoo perched on the branches

of trees, the humming of thousand and one thousand bees coming round

and round, crores and crores of silk worms fluttering their many coloured

wings and dancing- can I forget this on any day?. (31 0; vo1.2)

The kind words of Aru)mo!i changed her nerves into the strings of a
musical instrument that could produce divine music. Her love was intense. So

Vantiyatteva~ conm1ented : "If that woman [Punku!ali] had thousand lives

she would dedicate it all to the Prince [Aru)mo]i] ... " (200; vol.3). Like Amy

and Vanati Punku!ali did not expect any returns. She said once, "Your

[Aru)mo]i's]love is one crore times bigger to me than living in a palace and

enjoying royal comforts" (507; vol.S). Her love did not materialize·. She was
disappointed in love like Ma!_limekalai and Civakami.

The treatment of the theme oflove by Kalki is endless, For-there is yet

another male character called Pallaventira~, a Pallava Prince, who fell in love

with the beauty ofNantigi. He was like Karikalag. The parrot speech of Nantigi
 45

intoxicated him as if he had drunk liquor from a gold bowl (1 0; vol.2). He

regarded her voice as golden (19; vol.3). For the sake of love he would do

anything. He remarked, "Ifl had hundred lives I would sacrifice them to fulfil

your desire. Ifl am asked to lose this world and the next world, I am ready for

that. Ifl am asked to forgive cruel enemies I will. If I am asked to fetch the
heads of close friends, I shall do it first and then do the next thing ... " ('21;

vo1.3). So he spoke poetically : "Ask me to bring valueless coral from the

coral island beyond the seas. Ask me to fetch pearls from the bottom of the

deep sea. Ask me to ascend Meru hill and bring Sanjeevi herb. Ask me to fly
' ·~

above the clouds and pluck the stars and join them as a garland to put it around

your head._ Ask me to bring the full moon and make it into your face seeing

mitTor" (26; vol.3 ). Like a real lover he regarded her hands as "two red lotus

flowers" (28; vol.3). He was sorry he had only one life to offer for her (28;

vo1.3). All these are utterances of a young man in love. One can easily

understand the emotions of love sick young men from the character of

Pallaventiran.

Thus Kalki has discussed in an elaborate manner the influence of Cupid

on the minds oflovers belonging to various social status. As Scott deals with

filial love of Jeanie Deans and Effie Deans, Kalki also expounds filial love in

POI]I!:.iYiiJ. Celvan.. Kuntavai did not want to lead a pleasant life in Palaiyarai

while ten·ific plots were hatched in the kingdom (96; vol.3). Paluvettaraiyars,

petty kings and high officials were full of cunning and wickedness. They had

won even the docile Maturantaka!! to their side. "They may endanger the life

of the Cola King" (97; vol.2). Demon Nantigi was also telling things to them.
So Kuntavai decided to go to Thanjavur so that "We can see to it no danger
 46

befalls our dear father" (97; vo1.3). Thus Kuntavai's filial love and

responsibility are exhibited.

'Fighting' is also a common theme in the five historical novels. It is in

the form of combat or duel or fight or ba:ttle. We get an idea of the methods of

fighting or battle employed in those days. The heroism, valour and chivalry of

the characters are revealed. Even women indulged in fighting as we have it in

Count Robert of Paris. Organized battles were fought between two forces as

seen in Count Robert of Paris and CivakiimiyiiJ.. Capatam. Sometimes fights

/>(tween two groups take place as we find in The Heart of Midlothian. On

son1e occasions it is between two individuals as in Kenilworth. The purpose

of the fights is either to settle personal scores or to take revenge or to establish

one's honour or to conquer lands. It is interesting to note that both Scott and
Kalki have given vivid descriptions about these fights.

In The Heart ofMidlothian we do not find warriors or soldiers. Scott is

more concerned about the pmirayal of human relationship. So there is no

possibility for a grand battle or war or other fights. There is one fight at the
end of the novel. It has its own relevance. But for this fight a great truth would

not have been unfolded. In the parish of Knocktarlitie there were some

marauders. Donacha dhuna Dunaigh, was one of them. He was the head of a

robber gang of three or four young fellows. This Donacha had purchased Effie's

infant boy several years ago from a woman called Annaple Bailzou, who had
previously got the baby from Margaret Murdockson. The myrmidons were all

living in the mountainous region near Caird's Clove. Captain Knockdunder,

or Duncan, went with a party to capture bandit Donacha. Meanwhile Mr. Butler

and George Staunton were coming to Knocktarlitie. On the way they were
 47

attacked by Donacha's men. A fight ensued between the two pa1iies - one

headed by Duncan and the other headed by Donacha. Scott describes it in a

brief manner :

Duncan and his pmiy had not proceeded very far in the direction of

the Caird's Cove before they heard a shot, which was quickly followed

by one or two others. 'Some tamnd' villains among the roe-deer', said
Duncan; 'look sharp out, lads'.

The clash of swords was next heard, and Duncan and his myrmidons,

hastening to the spot, found Butler and Sir George Staunton's servant in

the hands of four ruffians. Sir George himselflay stretched on the ground

with his drawn sword in his hand. Duncan, who was as brave as a lion,

instanty fired his pistol at the leader of the band, unsheathed his sword,

cried out to his men, Claymore! and ran his weapon through the body of

the fellow whom he had previously wounded, who was no other than

Donacha dhuna Dunaigh himself. The other banditti were speedily

---
',-
overpowered, excepting one young lad, who made wonderful resistance
for his years, and was at length secured with difficulty.

Butler, so soon as he was liberated from the ruffians, ran to raise

Sir George Staunton, but life had wholly left him (453-54).

The fight has significance in the story. The 'young lad' mentioned in this
passage was actually the son of George Staunton. Though the court had

sentenced Effie for having killed him as a baby he was still alive. He was

known as 'The Whistler'. Unfortunately he had committed patricide by killing

 48

George Staclllton, unaware of the fact that he was his father. Perhaps Scott

wanted to do poetic justice to the character George Staunton who made Mrs.

Porteous a widow by hanging Porteous. Thus this only fight in this novel has

some relevance. The brief and curt manner in which Scott describes the fight

makes the readers feel that they are actually near the scene of fight. The tense

situation is reproduced with great ease by the author. We wJderstand that,

apart from swords, pistols were also used as weapons in the eighteenth century.

,_ In Kenilworth there are two single combats. The first one is between the

hero Edmund Tressilian and the villain Richard Varney. The second one is
between the hero and the second hero Leicester. The combat between Tressilian

and Varney throws light on the two characters. Tressilian, while returning

after meeting Amy Robsart in Cumnor-Place, met Varney. He was under the

impression that Vamey was keeping Amy as his paramour. This thought aroused

his indignation. Subsequently there was a combat. With a cry "Draw, dog, and
defend thyself' (41) that resembles a war cry Tressilian drew his sword. A

fight ensued. In the fight Varney was defeated. We understand the mastery of

the hero in fighting with the rapier. Through this combat we come to know the

weakness of the villain in fighting with the sword to compensate which he

indulged in cunning methods. Had the villain been killed in the beginning of

the novel itself the readers would not have got an opportunity to estimate the

full character of Vamey. There is a difference between this combat and the

duel in Count Robert of Paris. In Count Robert of Paris it is between two

-- -
great waniors Robert of Paris and Hereward. Both had participated in many
wars. But the combat in Kenilworth is between two individuals only. They

were not war heroes. The agitation in the mind of the combatants, the deft
 49

handling of the swords by them and the nuances in swoi·d fight are all sketched

out clearly, effectively, efficiently and realistically by Scott in the following

words:

Varney... drawing his sword ... attacked Tressilian with a vigour

which, for a moment, seemed to give him the advantage of the combat.

But this advantage lasted not long. Tressilian added to a spirit detetmined

on revenge, a hand and eye admirably well adapted to the use of the

rapier ; so that Varney, finding himself hard pressed in his turn,

endeavoured to avail himself of his superior strength, by closing with

his adversary. For this purpose, he hazarded the receiving one of

Tressilian's passes in his cloak, wrapt as it was around his am1, and ere

his adversary could extricate his rapier thus entangled, he closed with

him, shortening his own sword at the same time, with the purpose of

dispatching him. But Tressilian was on his guard, and unsheathing his

poniard, pan·ied with the blade of that weapon the home- thrust which

would otherwise have finished the combat, and, in the stmggle which
~­
,_ followed, displayed so much address, as might have confim1ed the opinion

that he drew his origin from Comwall, whose natives are such masters

in the art of wrestling, as, were the games of antiquity revived, might

enable them to challenge all Europe to the ring. Vamey, in his ill- advised

attempt, received a fall so sudden and violent, that his sword flew several

paces from his hand, and ere he could recover his feet, that of his
antagonist was pointed to his throat. (41)

. ".., .... The combat between the hero and the second hero was the result of

Leicester's misunderstanding about Tressilian. This combat is essential to the

 50

story as it led to the right understanding of Tressilian's character. Tressilian

mistook that Amy was Vamey's paramour. So he appealed to Varney's master

Leicester that Amy's marriage should be proved before Queen Elizabeth and

she must be freed. Leicester, Amy's real husband, thought that Tressilian was
accusing him. This provoked him. Already Varney had misinfonned Leicester

that Amy was Tressilian's paramour. So, as in the Middle Ages, he challenged

him for a duel saying, "Villain, draw and defend thyself!" (428). Soon they

fought with swords. This combat proved Leicester's skill in handling the rapier
better than Tressilian. After all Tressilian was not a courtier like Leicester.

c ''?or some minutes they fought with equal skill and fortune ... " (435). Soon

Leicester defeated Tressilian. Leicester put his foot on his chest and bade him

confess his villainous wrongs towards him and prepare for death. But Tressilian

had no villainy or ill-feeling towards him. He replied that he was "better

prepared for death ... " (436). This scene shows the mental courage ofTressilian

even at the point of death. At the close of the combat Leicester realised that
Tressilian was a man ofhononr and he had no illicit contact with Amy. Thns

the combat was in a way very helpful in revealing the true nature ofTressilian
-----
'- to Leicester.

Scott can change his style according to the partners in a combat. Thus,

while narrating the fight among low class people his manner of writing is

different. Michael Lambourne, a secondary villain, tried to molest Amy in her

apartment. Luckily, Lawrence, the jailor, came to protect her. This resulted in
a fight between Lawrence and Lamboume. Scott writes :

Meanwhile, Lawrence and Lamboume rolled on the floor of the

apartment, closely grappled together. Neither had, happily, opportunity
 51

to draw their daggers; but Lawrence found space enough to dash his

heavy keys across Michael's face, and Michael, in return, grasped the

turnkey so felly by the tlu·oat, that the blood gushed from nose and mouth;

so that they were both gory and filthy spectacles, when one of the other

officers of the household, attracted by the noise of the fray, entered the

room, and with some difficulty effected the separation of the combatants"

(3 73 ).

A mediator came and commented, "What the fiend lie you here for,

fighting on the floor, like two butcher's c~,r~ in the kennel of the shambles"
(3 73 ). Thus we get an idea of combat between ·J·ow class people. They did not

fight with swords. They used only their hands or daggers or sometimes whatever

was in their hands. There is horror when inferiorpeople fight. That is why the

phrase "blood gushed from nose and mouth" (373). This kind of horror is

absent in the previously mentioned combats. Scott aptly compares these inferior

combatants to "butcher's curs". Thereby the bickering nature ofLambourne

is well brought out. Thus Scott is able to present skilfully the combats among

-' gentlemen and among third-rate people.

In Count Robert of Paris the Count himself was a great warrior. The

story took place in Constantinople where there was the movement of Crusaders.

The second herci Hereward was of the Emperor's Guard. Mention is also made

about the past battles ofEmperor Alexius. Hence this novel abounds in combats

and battles. Even women were interested in militarymanouvres. The Countess,

before her maniage, wore armour, wielded her lance and defeated her suitors
in the lists at the Castle of Aspramonte. Later the Count "unhorsed and

unhelmed" (165) her and married her. These combats reveal the medieval
 52

spirit of marriage through the exhibition of one's physical might. The bravery

of the Amazons is conveyed through Brenhilda. The super might of the Count
over the other suitors is also brought out through this combat.

Another important combat is the· one between Count Robert and

Hereward. It was actual!y meant for Brenhilda and the Caesar Nicephorous

Briennius. The Count took up his wife's place and Hereward compensated the
absence ofNicephorus. Both the combatants fought bravely. The Count was

of course better than Hereward in his mititary skill. The Count refused to kill

Hereward as the latter had saved his life previously. Through this combat

Scott points out the concern of ancient warriors like the Count for the honour

of their wives. At the same time his quality of majesty and mercy is revealed

as he refused to kill Hereward. A vivid picture of the combatants is given by

Scott thus : "The circumstances seemed to argue a desperate combat ; both

[Hereward and the Count] were tall, strong and courageous, both had defensive

armour, and the fatal and desperate poniard was their only offensive weapon.

They paused, facing each other, and examined eagerly into their respective
____.......
means of defence before hazarding a blow which if it missed its attaint, would

cetiainly be fatally requitted" (255). An interesting and realistic account of

the combat is presented as follows :

The first blows were given ... in combat, as in food, the appetite
increases with the exercise. The fiercer passions began, as usual, to

• awaken with the clash of arms and the sense of.deadly blows, -some of
which were made with great fury on either side, and parried with
considerable difficulty, and not so completely but that blood flowed on

both their parts. The Greeks looked with astonishment on a single combat
 53

such as they had seldom witnessed, and held their breath as they beheld

the furious blows dealt by either warrior, and expected with each stroke

the annihilation of one or other of the combatants. As yet their strength

and agility seemed somewhat equally matched, although those who

judged with more pretension to knowledge were of opinion that Count

Robert spared putting forth some part of the military skill for which he

was celebrated; and the remark was generally made and allowed that he

had surrendered a great advantage by not insisting upon his right to fight

on horseback. On the other hand, it was the general opinion that the

gallant Varangian omitted to take advantage of one or two opportunities

afforded him by the heat of Count Robert's temper, who obviously was

incensed at the duration of the combat.

Accident at length seemed about to decide what had been hitherto

an equal contest. Count Robert, making a feint on one side of his

antagonist, struck him on the other, which was uncovered, with the edge

of his weapon, so that the Varangian reeled, and seemed in the act of

falling to the earth... (463).

We have a picturesque description of a naval battle also. At the behest of

Bertha, Godfrey, General - in - Chief of the Crusades, sent Prince Tancred

with a small squadron to go to Constantinople and make sure that the combat

between Count Robert and Nicephorus was conducted in a fair manner. Tancred

was coming in a vessel with more than-a-hundFed valiant warriors. The Grecian

Admiral discharged an artificial fire called the 'Greek fire' towards them.

·-,- Scott's description of the maritime Greek fire is alarming : "It [fire] came

flying through the air... like a winged dragon, about the thickness of hogshead,
 54

with the report of thunder and the speed of lightning, and the darkness of the
night was dispelled by this honible illumination" ( 426). Scott proves his

expertise in describing maritime battle also when he writes :

Prince Tancred bestowed upou his bark the fuJi velocity which wind

and tide and oar could enable her to obtain, and placing her in the situation

to profit by them as much as his maritime skill could direct, he drove

with the speed of lightning among the vessels of Lemnos, plying on

either side bows, crossbows, javelins, and military missilies of every

kind, with the greater advantage that the Greeks, trusting to their artificial
r •
fire, had 0mitted arming themselves with other weapons ; so that when

the valiant Crusader bore down on them with so much fury, repaying the
terrors of their fire with a storm of bolts and arrows no less formidable,

they began to feel that their own advantage was much less than they had

supposed, and that, like most other dangers, the maritime fire of the
Greeks, when undauntedly confronted, lost at least one- half of its ten·ors.

The Grecian sailors, too, when they observed the vessels approach so
near, filled with the steel - clad Latins, began to shrink from a contest to ·

be maintained hand to hand with so terrible an enemy. (428)

Scott's narration of this battle gives us a glimpse of the eleventh and

twelfth century warfare and that too a naval battle. We get acquainted with the

weapons of warfare in those days. The superiority of the Crusaders over the
Greeks in warfare is well brought out.

In Kalki 's Civakamiyi!l Capatam the story centres around two great

kings. Makentirag, the Pallava King, and Pulikeci, the Chalukya King. They
were opposed to each other. Hence war was unavoidable. The causes ofbattle,
 55

preparations for battle, the actual battle and the aftermath ofbattle are minutely

narrated by Kalki like Scott. Kalki does this as if he was in the battlefield
..
witnessing the battle. There lies Kalki's greatness! We get acquainted with the

methods of war, tactics used in war, weapons brandished, the misery caused

to waniors as well as to the public. This elaborate picture of war activities is

not seen in Scott's works. Kall<i also mentions about spying activities before

and during war. But t:t this is absent in Scott.

Having come to know about the glory of Kanci, the Capital city of the

Pallava Kingdom, Pulikeci planned to lay siege to Kanci castle and capture it.
- ('. '·
He was assisted by Ganga King Turvinltan. Nakananti, Pulikeci's brother,

went in the guise of a Buddhist monk and acted as his spy. Pulikeci's am1y

was three times bigger than Pallava army. Moreover its elephantry consisted

of 15,000 elephants. He himselflooked majestic and cruel like Yamatam1a~,

the God of Death (219; vol.l ). Parancoti, the Pallava Army General, defended

Kanci castle by various arrangements. Kalki writes in detail about this. The

moat around Kanci castle was filled with crocodiles. Soldiers inside and outside

the castle were ready with spears and stones to attack the Chalukya army.
Here is a beautiful description of a war scene by Kalki : "Thousands and

thousands of war elephants stood in rows like black hills. The tents erected in

the midst of those black hills looked like white sand hills. Like the ants that

surround places strewn with sugar, lakhs and lakhs of soldiers were seen close

to each other in some places ... " (212; vol.l). Kalki points out the efficiency of
Pallava army in the following words : "The army of Ganga country was.three ___________ _

times bigger than the Pallava army headed by Mamallar. Yet, Mamallar's bold

army fell on Ganga army like thunder that falls unexpectedly" (359; vol.2).
Naracimmag's bravery is brought out thus : "When Mamallar [Naracimma~]
 56

waded through the enemies and brandished his sword in the battlefield ... It

[sword] did not look like a sword. It rotated and shone like the wheel in Lord

Tirumal's hand! From that sword, every second, hundreds and hundreds of

lightnings shone. Each lightning chopped off each enemy's head". (300; vo1.2)

Kalki continues his account of the battle. As planned already, Pulikeci

laid the siege to Kal1ci for nearly eight months. But his soldi"ers could not

break into Kanci castle because of its fortifications--deep moat full of

crocodiles, traps near the castle wall and archers raining arrows from the top

of walls. The atrocities of a king disappointed in war is also depicted by Kalki.

As Pulikeci 's dream of conquering Kanci failed, he ordered his men to bum

down villages and towns, amputate sculptors, destroy their sculpture, take

men and women as captives and do all kinds of disaster. In the battle that

ensued the Pallava King was wounded with a poisoned knife. There was another

battle at Curamaram. Here is a passage to explain the methods of war and

military tactics employed by the Pallava atmy :

As soon as V~tapi soldiers surrounded Kanci fort, they tried to

capture the fmi by attacking the fort rudely as they did in Vaijayanti city.

Innumerable soldiers of the infantry tried to swim across the moat from

the four sides of the fort at the same time. The arrows that rained from
secret places in the huge walls of the fort and the crocodiles in the moat

sent them to the world of the dead. Those soldiers, who by chance crossed

the moat and reached the other bank, were caught in the invisible traps

and struggled. Here and there, in the terrific struggle that took place

-~--
between the elephants that descended in to the moat and the crocodiles
in the moat the water in the moat tumed reddish.
 57

After failing in the first attempt, they silted the moat opposite the

fmt and tried to make the elephants dash the gates of the fon. The huge

elephants uprooted very big tr.ees around Kan~i and put them in the moilt

and silted them. But, this work did not take place that easily. The an·ows

sent speedily by Pallava soldiers from the niches in the secret places at

the entrance of the fmt attacked the eyes and the hidden parts in the body

of the elephants. The elephants screamed, returned and caused damage

to the Chalukya force.

After much persistence the moats opposite the castle entrances

were silted. When the elephants hit the castle doors, the outer doors

shattered. But, behind the outer doors an unexpected surprise was awaiting

the elephants. In the newly formed inner doors hundreds of spear points

were fitted. The Vatapi elephants which hit their heads against these

spear points trumpeted terribly and ran crushing the infantry behind them.

Very big logs were brought and they shattered the doors fitted with spear

points. After these doors were shattered, behind these doors were seen a

thick wall constructed with pieces of rock and lime which blocked the

castle entrance". (30; vol.3, ch.l)

Kalki mentions other difficulties faced by the warring am1ies : "For the

V~tapi am1y... there was scarcity even of drinking water" (31; vol.3, ch.l ).

Wonderful achievements were also performed at the time of war. Pulikeci

wanted to meet the Pag!iya king Jayantavarma PalJ!iyag_ to get food supply for

Chalukya soldiers. He had to cross the river Ko!Jitam. To the surprise of

Pa!}!iyan a bridge of elephants was arranged as seen in the passage : "They

·---
had formed a wonderful bridge by making the elephants stand in a row across
 58

the river [Ko]!itam] and placing and joining wooden planks on their back"

(35; vol.3, ch.2). The magnitude ofPulikeci's army is alarming. "When Pulikeci

sta1ied from Vatapi he had five lakh soldiers and fifteen thousand elephants"

(34; vol.3, ch.7). As Pulikeci was thwarted in his attempt to capn1re Kal1ci he

took revenge indirectly. The following account brings out the horror of war.
Pulikeci 's plan was :

Some fifty thousand well built soldiers of the [Chalukya] army must

be asked to stay back. They must divide themselves into groups, loot, set

fire to and destroy villages and towns situated within a radius of four
r ·.

miles around Kanci. Th-:ymust capture all beautiful women, kill young

men, slaughter old people and take vengeance in all possible ways. Mainly

sculptures and sculpture halls, wherever they are found, must be

demolished. If sculptors are found, their one leg and one hand must be

chopped off.

After giving these cruelly harsh commands the Vatapi Emperor...

joumeyed (n.p.n.; vol.3, ch.22).

Yet another passage to potiray the devastation of war is here:

From one place to another place the Chalukyas had set fire to the

huts, hay stacks and fields ready for harvest. It was full of ash wherever

one looked. It looked as if the Pallava land had changed into a very big
graveyard. In some villages houses caught fire and were buming. Here

and there arose the wailing of people ... while listening to the people talk

about the chopping of the leg and hand of sculptors, capturing of young
 59

women, torturing of cattle ... it looked as ifMamallar's chest would burst.

(31; vol.3, ch.31)

The horror of war is continued in another passage :

Pulikeci's army was proceeding towards Vatapi ... On its way it

turned all the places into graveyard and desert. Villages and cities were
plundered. People who tried to safeguard their houses and prope1iies

were either mercilessly murdered or hacked. Houses, huts and hay stacks

were set on fire. Banks of lakes were cut off.

t'. ' ·

-
On the one hand, out of hunger, and on the other hand, out of frenzy
to wreak vengeance, Chalukya soldiers were committing all these terriffic

atrocities. They incited the elephants also to do such sabotage as if what

they did was not sufficient.

The war elephants which were hungry and violent destroyed the

green groves on their way. They crushed crop fields. They pulled and

threw away the roof of houses and kindled and strewed hay stacks. (30;

vo1.3, ch.3 8). . . ~~~~""'"~I! lllir

PhD2270

Kalki gives a beautiful picture of the various participants in war and

weapons used in war :

If one stands on the hill and looks to the North one will see elephants,

elephants and elephants as far as eyes can reach! There cannot be so

many elephants in this world. This sight will raise in the mind of the

viewers [the question] whether the assemblage of all these elephants at

 60

one place will not make the earth drift. Such was the presence of elephants

up to a limitless distance.

If one turns towards the East, one will feel like telling that there are

no creatures other than horses. All are high breed horses; they have arrived

by ships at Mamallapuram port from Arab country and Persian island -

white coloured, shining black coloured, red coloured with white dots ...

On the Southem side, as long as eyes could see, there were horse

drawn chariots, bullock yoked carts, load bearing bulls, camels and wild

donkeys.

In carts grain bags, cloth bags, knives, shields, swords, javelins,

spears, triple pointed javelins, bows ... and other strange weapons, very

thick ropes, rope-ladders, hooks, cutting knives, spades, buming torches,

incense sticks were ananged in order... Further, many weapons ... were

being heaped like mountains ... If one tums to the West, my Goodness! ...

Innuri1erable soldiers were standing like a swarm of flies (30; vol.4, ch.2).

Here, one is reminded of the comparison of the innumerable fallen angels

lying in Hell to a swarm of locusts in Milton's Paradise Lost Book One.

People of yore took pride when their kings made war preparations. They

gave a warm send off to the warrior - King with great grandeur and gaiety.
This we find in the following passage :

[The night before Narasimma Pallava!!.started from Kanci to attack

 61

V~tapi] Kanci people were turning night into day. Of the five lakh people
living in Kaiici city nobody slept that night excepting infants.

Throughout the city street lights were shining brightly. Elephantry,

cavalry, infantry and white horse yoked chariots were stationed in rows.
In view of the occasion of the Emperor's departure for war next morning,

city dwellers remained awake throughout the night and decorated the

streets and door steps ... People hung plantain trees, brownish tender

coconut bunches, hangings, curtains and coconut flower with the

integument covering in it - in all places. On the top of each house they

flew flags with bull picture.

Women painted the walls of pials. Opposite their houses they drew

strange pictures with white powdered flour. Mostly war scenes were seen

in those pictures ... (30; vol.4, ch.8).

The same hectic activities were going on in the King's palace. Apati

~~
from the usual decorations, other activities were as follows : "They applied
I·'

ghee and polished swords and javelins so that their brightness made the eyes

dazzle" (30; vol.4, ch.8).

We find the horror of war in another passage :

"For three days and nights the horrible war took place.

Thousands and tens of thousands of soldiers were hacked with

swords, struck with javelins and they fell dead on the battleground.
 62

The corpses of soldiers who reached Paradise after their brave death

in the battlefield-their lifeless b8dies-were lying heaped on the battlefield

with their legs and hands amputated.

Here and there the carcasses of dead elephants looked like black

hillocks. Corpses of men and carcasses of horses were lying mixed up.

The pitiable groans of men in death throes, the tenific trumpeting

of elephants and the sad neighing of horses rose in a huge wail intolerable

to the ear.

Blood rivers gushed forth in all four directions from the battlefield.

The floating of the amputated legs and hands ofwaniors in those blood

rivers was an unbearable horrible sight (30-31; vol.4, ch.30).

The readers get an idea about the principles of warfare in those days in

another passage. General Parailcoti told King Narasimma~,

Lord! I have ordered that children and women should not be caused

suffering on any account. I have ordered that those of men who opposed

must be killed, those who sunendered must be captured. I have ordered

that all houses in V~tapi without any exception should be burnt to ashes.

I have told that all those who try to put out the fire should be killed. I

have ordered that those citizens who try to run away from the city should

be allowed to go but they should not be allowed to take away anything.

I have said that our soldiers must bring from v;tapi city whatever things

they can and half of the things each brings will be returned to them (34;

vol.4, ch.36).
 63

Other war activities continue : "That midnight the burning of Vatapi

started ... Pallava soldiers threw info the city lighted torches and sulphur
explosives. As these torches whizzed past they were inflamed by the wind and

they set fire to the places quickly OJ). which they felL Sulphur explosives

exploded here and there and spread fire ... That night ... in Vatapi city, wherein

lived lakhs and lakhs of people, fire was kindled in 0ll fonr directions and it

stmied burning" (33; vol.4, ch.39). The readers are reminded of the maritime

fire in Count Robert of Paris. There is an interesting presentation of the

)-.
celebration of victory in war : "Drums were beaten; conches were blo\vn;

slogans were shouted" (n.p.n.; vol.4, ch.32).

Thus one finds Scott and Kalki analysing the war subject in a detailed,
elaborate and interesting manner. Of the two writers, Kalki is more informative

and descriptive.

Adventure is also a theme common to all the five historical novels. By

adventure we mean a 'heroic deed'. Adventure is a "strange or unusal

happening, especially an exciting or dangerous journey or activity" (Hornby 14).

Nom1ally only men indulge in such deeds. In Scott and Kalki we find women

also undertaking adventures. These adventures reveal the calibre of the

characters and their fmiitude to withstand any kind of and any number of

difficulties in order to achieve their goaL

In The Heart of Midlothian the heroine Jeanie met with several

misadventures rather. She was walking all the way from Edinburgh to go to

London. On the way, near Gunnerby Hill, she was exposed to highway robbery.

Two ruffians named Frank Levitt and Tom met her in a menacing manner.
 64

'"Stand and deliver', said one of them, ... The other 1min said, 'your money...

or your life! (260)". Tom told her, ''\Ve' have every farthing you have got, or

we will strip you to the skin .... " (260). Tom even tried to seize her. Very cleverly

Jeanie produced the 'pass' paper of Jim Ratcliffe, a notorious thief. Ratcliffe

was a friend of the two highwaymen. Finally they took her to a barn. There

was an old woman named Meg Murdockson. Her daughter Madge Wildfire, a

maniac, was also there. Jeanie had to spend the night in the barn in the company

of the two strange women and the highwaymen. The old woman wanted to

prevent Jeanie from saving Effie's life because if Effie escaped hanging, she

would malTy Robertson who might otherwise matTY Madge. She wanted Effie
to hang. This would satisfy her desire for revenge upon Effie's lover Robetison.

The next morning Madge took out Jeanie for a walk in the woodland. From
the lunatic (Madge) Jeanie learnt that she had been seduced by her sister's

love Robertson. They went to a church in the nearby hamlet and here at last

Jeanie got herself relieved of Madge (260-85). Thus ended her nightmarish

adventure with the highwaymen and two odd women. She continued her jouney

to London. This adventure is a proof of the heroine's undaunted and unperturbed

heroic zeal to go ahead with her aim. The incident also gives us an idea about

highway robbery in those days.

There is another misadventure in which another lady was involved. It

was Effie's turn now. Lady Staunton (Effie) was a great lover of Nature.

Wbile staying at the Manse with Jeanie, she spent much time wandering among

the sutTounding hills in the company of Jeanie's son David. On one of these

excursions she went to see a cascade guided by David. They were standing on

the shelf of rock. Suddenly Lady Staunton called out to David for she was
 65

falling. David caught hold of her. But he was only fourteen years old. Her·

situation became really perilous. She screamed in terror. A young lad appeared

and lowered a ladder of twisted osiers from the rock above. The readers read

this narration holding their breath. Finally, Lady Staunton and David ascended

the ladder and were standing on a platform of rock. Soon an old man joined
them. The young man and the old man were actually robbers. As they had

seen a purse in her hand they started chasing her. Fortunately, a gamekeeper

of the Duke appeared. The bandits stopped on seeing him. The gamekeeper

escorted Lady Staunton and David to the Manse ( 434-38). Scott himself calls

it an 'adventure' (438). There is a note of irony in this adventure. For, the

young caird was none but her own son of which she was not aware. The same
fellow later killed her husband who was his father also.

In Kenilworth men characters indulge in adventures. Through these

adventures they express their daring nature. Not only the hero but also the

hero's companions undertake adventures. The hero Edmund Tressilian

undertook an adventurous trip to Cumnor-Place to find out the secret about

the lady who was confined there. This led to the revelation that the lady was

none but Amy whom he was searching for. This adventure gave him a chance

to show the villain Varney his physical strength through a combat. Wayland

Smith, the hero's companion, was also adventurous. He had learnt only how

to cure horse's illness. He took a great risk when he gave medicine to Sri

Hugh Robsart and the Earl of Sussex who otherwise would have died. Again,

in the disguise of a pedlar, he helped Amy to. escape. from.. Cumnor-Place and
reach Kenilwmih castle safely. He had to play a hide and seek game with

Varney who was chasing them. Also he had to tell cock and bull stories to
 66

make others believe that he was a juggler and Amy was his sister. In all this he

risked his own life. Another minor character named Walter Raleigh is also

adventurous. He had the guts to present himself before Queen Elizabeth and

lay his cloak on the moist ground so that she could cross that spot without

mud splashing on her dress. This adventure later won him the favour of Queen
Elizabeth. There is no surprise in the hero and Raleigh being adventurous as

they had the spirit of a warrior. But the adventurous spirit of Smith is quite

singular. For, a man who cannot wield any weapon needs much fortitude to be

adventurous. Smith had it.

The stOI"/ of Count Robert ofParis itself is about a great adventure. The

rulers of the West, under the leadership of Godfrey ofBouillon, Duke of Lower

Lorraine, marched "to regian the holy places of Palestine and the blessed

Sepulchre itself' (341) from the infidels. The Count, his Amazonian wife

Brenhilda, and the second hero Hereward were great adventurers. The Count

took great pride in his knight errantry. When some of the Crusaders paid homage

to Emperor Alexius, the haughty and bold Count refused to do so. He even

insulted the Emperor by occupying his throne. After several adventures in

Constantinople the Count and the Countess went to Palestine. At the battle of

Dorylaeum the Count was desperately wounded (480-81). But his "heroic

Countess ... enjoyed the great satisfaction of mounting the walls ofJerusalem ... "
(481 ). Philosopher Agelastes narrated to the Count and the Countess the story

of the Princess who remained a "victim of pain and sorcery" ( 171) in the rich

island of Zulichium. A knight named Artavan de Hautlieu tried to free her

from her death like sleep . He kissed her and immediately she was changed
. -,...· into a fiery dragon which "sailed out at a side window" (177). "The Princess",
 67

he [Agelastes] said, "is still supposed to abide her doom in the island of

Zulichium, and several knights have···undertaken the adventure, ... the spell
remaining unachieved ... and if you say the word you may be tomorrow on the

road to the castle of enchantment" (177). The Count immediately agreed to go

to Zulichium to save the Princess in spite of the great danger involved in it.
This shows his thirst ·for adventme. Fame and honour were dear to him.

Emperor Alexius had planned to win the Count and the Countess to his
side. He intended to attract them with his display of wealth and by causing a

scare by showing the lions of Solomon. In the palace the Count and the So.untess

were given a dinner in the banquet-room. When the Count entered the banquet-
room, "Alexius made the signal that the ceremonial of the grand reception

should immediately commence. Instantly the lions of Solomon, ... raised their

heads, ... " (224). The Count "conceived the bellowing of these automata to be
the actual annunication of immediate assault" (224). The danger was worihy

of his courage. "He [Count] strode to the nearst lion, ... and said, ... 'How now,

dog!' At the same time he [Count] struck the figure with his clenched fist and

steel gauntlet with so much force that its head burst, and the steps and carpet

of the throne was covered with wheels, springs and other machinery, which

had been the means of producing its mimic terrors" (225). This incident proves
his adventurous spirit.

On other occasions the Count had to fight with a tiger and an ape. At the
banquet hosted by Emperor Alexius the Count was prevailed upon to take
wine. Actually it "was a drugged potion" (239). Later, by some trickery he

was removed from his bed room while asleep and imprisoned in a dungeon of
the Blacquemal Palace. In his bed room a tiger suddenly sprang towards his
 68

bed side. The Count lit a torch with a flint and match. Then he sprang from his
bed. He "seized on a massive wooden stool" (238) and discharged it marking

at the eyes of the animal. "The skull of the tiger was fractured and the animal

rolled in the agony of death" (238).

In his cell the Count was later approached by a "specimen of that gigantic

species of ape ... The Count, undaunted, threatened his enemy with a club [a
fragment of the bedstead]. Sylvan, the ape, seemed about to strike the Cmsader

[Count] with a torch. Count Robert sttuck the ape on the left temple. He drew

his poniard and cut the animals's paw severely. The ape went backwards with

a deep wailing and melancholy cry" (248). The Count was moved. He applied

balsam and dressed the wounded hand. Out of gratitude the animal kissed the

feet of the knight. The Count said, "Fear nothing, poor creature. I am thy

protector" (252). This shows the Count to be a tme knight. His adventurous

spirit had not killed his mercy for the suffering.

The heroine Brenhilda also was adventurous. She was the only daughter

of the Knight of Aspramonte. Hence, naturally, she had the qualities of a knight

in her. Even in her young days she had taste for "martial amusements" (309).

This Amazon defeated numerous suitors in the lists with her lance. She was

prepared to hold the lists against the Caesar and even "against all the Grecian

empire" (287) to protect her honour. She was an adventuress. Therefore she

participated in the Cmsade along with her husband. The heroic Countess

"enjoyed the great satisfaction of mounting the walls of Jerusalem, and in so

far discharging her own vows and those of her husband" (481 ).

Hereward, the second hero, also had the adventurous spirit of a knight.
 He had saved Bertha from a viild boar in Hampton forest. Like a true knight

he took the place ofNicephours in the combat against the Count. The Count

was a better wanior than he. Yet he was unmoved. Bertha, Hereward's lady

love, was daring as a young girl. She went for boar hunting. She was a bold

. squire of the adventuress Brenhilda. Thus Scott presents the theme of adventure

in a thrilling manner.

Kalki was equally interested like Scott in recounting adventures. In

Civakamiyi!J:. Capatam King Makentiravarma~1_ himself indulged in adventures.

~-
He went in the disguise of a horesman and dared to meet his dead enemy King

Pulikeci. The second hero Parancoti was adventurous and chivalrous. When

an elephant tried to attack the heroine he hurled his short javelin and diver1ed

its attention. To his great shock the elephant started chasing him. But he gave

it a slip and escaped. On the orders ofKing Makentirag the spy chiefCatrukJ.!al1_
had to disguise himself as a woman and join the band of women taken as

captives by Pulikeci's soldiers in order to bring back Civakami to Kailci. It

was a risky one. For, had Pulikeci's men discovered the truth he would have

been killed. Again Mamallag, Parancoti, Catruk11ag, Spy Kuq.totara!!,

Charioteer Ka111_1apiraJ2 and Acuvapalar, Ka11r_rapira!!.'s father, disguised

themselves with beard and moustache and left for Vitapi to bring back

Civakami. Catrukgag entered Vatapi city in the disguise of a bangle vendor.

This is similar to Wayland Smith meeting Amy Robsart in the guise of a dealer

in women's needs. On a new moon night Naracimman and Para'iicoti entered

V:itapi in disguise. All these three had taken great risk. It was like entering the
lion's den itself.

In PO!}IJ:iYi!!: Celvan the second hero Vantiyattevan took part in many

 70

adventurous activities which exhibit his daring nature and chiYarly.

Vantiyatteva~! tried to enter the mansion of Campuvaraiyar of Katampi.ir on

horesback. But he was prevented from doing so by spear bearing soldiers.

Immediately Vantiyattevag drew out his sword and brandished it so quickly

that they all fell back. He attacked them like lightning and entered the castle.

Suddenly, more than fifty soldiers surrounded him. But Vantiyattevan was not

perturbed (33-36; vol.l). This incident proves his adventurous attitude and

brave nature.

Vantiyattevag's
r .
adventure near Aricilaru proves his chivalry. At the

suggestion of Kuntavai, 'the f1iends of Kuntavai put an imitation crocodile at

the foot of a tree. Then they cried "Crocodile! Crocodile!" in order to change

the timid nature ofVantai and make her a brave woman. Vantiyat:tevar1_ heard

the cry. He thought that the women were in real trouble. Immediately he hurled

his spear which struck the crocodile. To his surpirse no blood flowed out.
Only plantain fibre and cotton 'came out of the hole in its body ( 116-22, 130-

33; vol.l). This incident is an evidence of his chivalry.

There is yet another incident to prove the daring nature of Vantiyatteva!!_.

Vantiyatteva!!: followed the palanquin can·ied from Ka!ampur to Thanjavur.

He suspected that Prince Maturantakan was inside it. He played a ploy. He

dashed the palanquin with his horse. But he cried that the palanquin bearers

were dashing the palanquin against his horse. To his surprise he saw Nantigi

peeping out of the palanquin. He was immediately surrounded by spear bearing

soldiers. But he remained firm and unmoved (161-163; vol.l).

The young blood of Vantiyattevan made him fear nothing. Another

 71

adventure ofhis proves this point. One day Vantiyattevag and spy ALvarkka!iyan_
went near an Aiya!Jar temple. Suddenly they saw a man coming out of a hole
•'·

in the earth stealthily and walking into the temple. He was I!tJmpagkari, one

of the conspirators against the. Cola royal family. Immediately Vantiyatteva!l

wanted to go through the hole from which he came and find out where it led

to. Alvarkkatiyan
- . ··- wamed him of the danger .involved in it. The adventurous
spirit of Vantiyattevag made him ignore it. So he descended into the hole.

Meanwhile Alvarkkatiya[J_hid himselfbehind the bamboo forest. Vantiyatteva12

went through the tunneL There were steps. When he ascended the steps the
J
tunnel closed all of a sudden. He realised that he had entered a hunting hall

where he found hundreds and hundreds of animals hunted and preserved by

Campuvaraiyar. He twisted an elephant's ivory tusk. Its ear moved. There was

a big hole in the wall. To his surprise he saw a black beautiful girl standing

and staring at him. He took off his hand from the tusk. Suddenly the hole and

the girl disappeared (39-40; vo1.4). The girl was MaJ!imekalai who had fallen

in love with Vantiyattevag. He pushed a crocodile. A hole in the wall showed

him steps going down. He hid himself behind a monkey figure. He heard an
-r· .... owl hooting. I!Umpagkari shouted like an owL Soon Ravitacan and other

conspirators came. Vantiyattevag ran towards the elephant figure and turned

its ivory tusk. A way was found in the walL He entered through that circular

hole. His body was half caught in the hole. He cried for help. Princess

Manimekalai was there. He hid himself in a treasure house of musical

instruments. From there he escaped to the top ofKa!ampiir palace. There he

took hold of a bamboo and descended. He walked near the huge walL Then he

climbed the wall with the help of a bamboo. He wanted to jump down. But a

dog was waiting to pounce on him. A conspirator named Tevara!all aimed a

 72

javelin at him. But very deftly Vantiyatteva!1_ took hold of the ja,·elin and jumped

down the wall. A figure came from behind Tevara!a1: and hit him on his head.

It was none but the'spy Alvarkka!iya1~. He bound the dog with wild climbers.

Vantiyattevm1_ and Al_varkka!iyal} bound the unconscious Te,·ara!an_ with wild

climbers. Then they walked quickly near the huge wall. They reached the
entrance of Ka!amp.ur palace. Campuvaraiyar sent two horsemen to catch them.

But the two pretended to be ghosts and slapped the two soldiers, necked them

down and escaped by climbing their horses (55-90; vol.4 ). This is an elaborate

account of the joint adventure of two characters. Both characters exhibited

remarkable valour, alerines and calmness of mind. They showed their .cleverness

by escaping from a dangerous situation. The presentation of such adventures

makes the novel more interesting. The readers get an idea of the tunnels in

and around palaces in those days.

There is yet another adventure of Vantiyatteva!_l: which is quite thrilling.

The King designate Atitta Karikala!]._ was assassinated at Ka!ampur.

Campuvaraiyar deliberately found Vantiyattevag guilty and tied him to the
.
legs of a cot in the room where Karkalan's dead body was lying. The room

was locked outside. There was fire in the adjoining room. Vantiyatte.va!! dragged

himself along with the cot towards the doors. Fire was leaping through the

gap in between the doors. He held the rope tying his hand over the fire. It
caught fire. His skin was also burnt by the fire. But he tolerated it. At last the

rope burned and he freed himself from the binding ropes. He wanted to hand

over the dead body of Karikalag to his grandfather Malaiyaman. His dead

body should be given a royal cremation. Vantiyattevag_put the dead body on

his shoulders and went to the ceiling of the palace. Then he descended with
 73

the help of a ladder. A conspirator named I!umpagkari confronted him. But

Vantiyattevar1_ gulled him saying that he was a disciple of Saint Ka)amuka, his

leader (341-50; vol.4). But for his boldness the dead body of Atitta!l <vould

have been bumt by fire. Not only that. Even Vantiyattevan would have been

charred to death. Had such a thing happened his love for the hero's sister

Kuntavai would have become meaningless.

Another adventure of Vantiyatteval! is a proof of his presence of mind

and cleverness. Vantiyattevag was accused of assassinating Atitta Karikalag

andf imprisoned
·,,
in the underground prison of Thanjavur fort. He was in a
separate· cell. That night some stones fell from the wall and a hole appeared.

Kamttiruma!!, alias 'Mad Man', jumped into his cell through that hole. They

planned to escape from the prison. Spy Pinakapani came there with Chief
Minister Aniruttar's signet ring. They overpowered him and took his ring.

They showed the ring to the gatekeeper and escaped from the prison. Two

guards chased them. But they climbed over a huge wall, jumped into a garden

and escaped (473-85; vol.5).

Once Vantiyattevag mistook that Aru!mo!i was going by ship and wanted

.
to save him. Only after reaching the ship he came to know that Amlmoli was
-
not there. Unfortunately some Arabs bound his hands and legs. This was the
result of his adventure, or rather misadventure.

Prince Aru!moJivarma!! was also adventurous. The most daring of his

adventures was his attempt to save Vantiyatteva!! from a burning ship. AmJmoJi

was travelling by ship. He was anxiously looking for his friend Vantiyatteva!l

who was in another ship. That ship was struck by thunder and it caught fire.
 74

The sea was quite turbulent. AruJmoli wanted to save his friend. Immediately

a boat was lowered from his ship. Unmindful of the huge and mighty waves

Aru]nwl.i got into the boat and reached the burning ship. He jumped into the

sea. He was tossed by the waves. Nevertheless, he reached the burning ship

and went to the deck. He and Vantiyatteva"!_Jjumped into the sea and they were
pushed by the waves towards the boat. They got into the boat. The above

incident is a sample of the adventurous and bold nature of Am]moli (405-11;

vol.2).

The following account of the adventure of the hero Amlmoli speaks

'·
('' . -
about his selfless nature. The reade~s admire the I'rince for the risk taken by

him to help others. One day he left Nakappa!!inam Buddha Vihar. He was

going in a boat along a channel. Suddenly a storm started raging in the sea
near Nakappa~!inam. The sea became turbulent. The Vihar was flooded. The

Chief Buddhist Monk was in the Vihar. He had to be saved. So he asked the

boatman to row the boat back to Nakappa~inam Buddha Vihar. The surging

sea had surrounded the Vihar. The water level was going up. He jumped into

the water. Water level came up to his chest. He did not mind it. He found the

Chief Monk sitting inside the water holding the feet of the statue of Lord

Buddha. He forcibly lifted him and put him in his boat and thus saved his life.

This adventure is quite befitting a prince. His benevolence is revealed through

this incident.

Piinkulaii, though awoman,hada.masculine spirit .. Being a boatwoman,

naturally she was bold and adventurous. Once she killed a leopard with the
tail of a particular fish. This is understood from the following conversation

between her and Vantiyattevag : "What weapon is this? what is it made of?"
 75

asked Vantiyattevm~. "This is the tail of a fish! When a leopard inhabiting this

porch tried to pounce on me I killed it by beating it with this," said Piinku!ali

(46; vol.2).

Pu1ikula!i called herselfCarnuttirakumari (Daughter of the Oceen). She

agreed to take Vanti yattevag in her boat from Ko!ikkarai to Ceylon. She rowed

the boat singlehanded across the sea. In the mid-sea Vantiyaitevag_ suspected

Puilkulali. He thought that she was going to immerse him into the sea. He

jumped into the sea to escape from her. But he was unable to swim and his

condition became critical. Immediately Punkulalijumped into the sea and gave

him a punch on his face. He became unconscious. She lifted him and put him

in her boat and took him to Ceylon safely. Thus, in spite of being a woman,

she braved the sea to save Vantiyattevag. Finally she took him to Naka island
in Ceylon (49-70; vo1.2). This incident shows her adventurous spirit.

Once Punkulali took shelter on Piita island in Ceylon while there was a

whirlwind in the sea. She came to know that a ship caught fire in the mid-sea

and had sunk. Immediately she wanted to save some of the people who might

have been thrown into the sea from that ship. Unmindful of the danger to her

life she set out to the sea rowing her boat with her iron hands. She was even

prepared to sacrifice her life to save the sailors. To her surprise she saw Prince

Arulmoli and Vantiyattevan floating on the sea holding a wooden log. They
got into her boat. Thus Punkulali saved their lives because of her daring and

adventurous nature.

Punkulali was involved in an adventure with villain Ravitacan. Ravitacan

chased her to know about the whereabouts of Prince Arulmoli. Deliberately

she ran towards a quicksand. Then, suddenly she stopped and moved four or
 76

five feet away from the quicksand. Ravitacan, who came in a hot chase after

her, continued to run on the quicksand and was caught in it (64-67; vol.3).

This is one of her adventures.

On another occasion Ptni.kulali risked her own life to save the heroine

Vanati. Once day the river Kaveri was heavily flooded. Vanati was carried

away by the waters and she landed on the roof of an astrologer's hous·e. Soon

the roofbegan to float. A boat came along in the flood. Immediately Piinkulali
jumped into the flood waters to board the boat (122-30; vol.5). The floating

roof dashed against the root of a tree and was shattered. But Vanati climbed

the branches of the tree and sat there. Meanwhile Piinkulali 's boat in which

she came to save Vanati was drifting away in the floods. To save herself

PiiiikuLali jumped into the flood water. At that time a crocodile came to swallow

her. Further she was caught in a whirlpool. Vanati held her by her hand and
tried to lift her up to the tree. Piinkulai was hanging in between the branches

and the flood. Any moment she would fall into the open mouth of the crocodile.

At that moment, Prince AruJmoli came there on an elephant. The elephant

took Piinkulali by its trunk and put her on the river bank. Thus she was saved.

In the same manner the elephant saved Vanati (161-69; vol.5). The above

incident is one of the exciting and dangerous adventures of Piillkulali.

Thus the themes oflove, fighting and adventure are given due importance

both by Scott and Kalki. These three elements are very essential to make the

reading of the five novels more lively and interesting. Otherwise they would

be very prosaic. The rich imagination of the two writers in delineating these

themes is quite commendable. Scott and Kalki also display their knowledge

of various techniques of fighting, combat and battle.

..
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