Vivid description of four herbs in a Tamizh kaappiyam attracts our attention. The kaappiyam is ‘Raamaavataaram” composed by Kambar (fondly known as the Kambaraamaayanam); and the description is given by Jaambavaan to Hanuman.
One to enliven the dead—
One to refix body parts that
Are torn and shred---
One to remove weapons---
And another redeem the original form---
Jaambavaan urges Hanuman to rush to the Sanjeevi hill and bring forth the herbs, so that all the fallen and slain Vaanaraa warriors (of course, including the human Lakshmanaa) could be revived.
Hanuman leaps out northward to a long journey, searching all the while for the Sanjeevi hill.
However, we too jump hither and thither, searching for avenues of such medical and scientific information.
And it is indeed a matter of intense curiosity and joy that Tamizh literature abounds with such information.
One is surprised at the kind of TRAUMA MANAGEMENT that the ancient Tamizh-s practised.
A key factor in the lives of ancient Tamizh-s was ‘battle' and performance therein.
Heroic deeds were hailed in toto, and the Sangam literature has numerous such deeds to enumerate.
Running parallel to deeds of heroism, is the undercurrent of bedside and emergency medical practice.
Puranaanooru
Puranaanooru (the four hundred of objectivity) describes several battle scenes. It talks of fresh wounds and wounds that had bits of weapons stuck in themselves.
These wounds were treated with viscous applications (similar to ointments of today) and were stuffed with soaked cotton.
When bits and pieces of weaponry got stuck in injuries (as arrows and swords and javelins caused the wounds, small broken bits of the pointed ends of weapons got into them), they were removed using swords and knives.
Small niches were made in the wounds and the immersed pieces removed.
Cotton soaked in medicinal emulsions were used to seal open wounds.
When wounds were many, the individual was made to lie on terracotta stretches that were smeared with emulsions.
Seevagachinthamani, one of the five perunkaappiyam-s, goes to say so: The wounds were large like caverns; balls of emulsion were placed inside these; and when they were larger, rolls of cloth were also placed along with the balls so as to maintain it soft and to control bleeding.
Pathitru-p-paththu is a book on the Cheraa kings. It consists of hundred verses, sung by ten poets ( ten verses each) and is in praise of ten Chera rajaah-s.
As the book talks about the valour of the kings, information on their battle-field strategies and wound management are also found.
The fifth part runs thus:
The scar on his chest. . scar of glory. .
The scar made by long sutures. .
Wrought by needles of silver glow
Dug and drawn like the fish of cool water
Down and up as it goes. . . .
The sequence is a kind of a recap. This particular king had gone to the battle-field earlier; and there, had sustained injuries on his chest. One such injury was long and deep. It was sutured.
In the process of keeping the borders of the wound together, a needle that shone like silver (or a silver needle) was put in and drawn out. The movements of the needle being taken up and down, looked like a shiny fish jump in and out of water.
The description is awesome. It talks of the instrument used; of the type of treatment accorded; the style of implementing the treatment (or method); the speed and technique by which it was carried out.
‘Velloosi' could probably indicate that the needle was shiny, but also can mean that the needle was made of silver. As the fish cut through the stretch of water, the sharp edged needle did so.
The efficacy of the treatment is vouched by the fact that the long, bright and shiny scar of the Chera king adds charm to him.
A verse in puranaanooru (verse 281 – kaanchi thinai – thodaa kaanchi-th thurai – theenkani iravamodu vembu manai-ch cheree-i ) by a poet named Arisil kizhaar warrants special attention.
A particular warrior who had been helping the king is now wounded. He has been brought to the camp by some women.
They are aware of his strength and courage. It is their duty and desire to give him necessary medical help.
And so, what do they do? They nurse his wound with an emulsified paste. They disperse tiny seeds of white mustard with stalks of lilies.
They burn incense at a comfortable distance inside the dwelling. They have already kept bunches of leaves of neem and jasminus, in the sills and shades of the tent.
To the background of harmonious music from instruments, they also sing.
The tent should probably be made a model of combination therapies. Why so? Because it offered Medical and surgical treatment – in terms of trauma care
Supplementary therapy – in terms of incense and cologne
Preventive measures – in terms of disinfectants
Mental rejuvenation – in terms of music and support
It is not any exaggeration, if only the tent could be ranked a place of TRAUMA CARE, DISASTER HANDLING, REHABILITATIVE SUPPORT and also a centre of ACUTE EMERGENCY MANAGEMENT.
Techniques
It is also pertinent to note that the captions of some of the books of old Tamizh literature are based on drug practices or techniques.
Books of the didactic eighteen (or the eighteen books of justice or the eighteen of lower count – pathinen keezh-k kanakku) are classic examples. Amongst these eighteen are ELAADHI, SIRUPANCHA MOOLAM, THRI KADUKAM. What do these captions indicate?
ELAADHI – Elam + aadhi – meaning elam (cardamom) and others; elaadhi is actually a drug; a drug made out of a combination of elam, lavangam (clove), siru naaval poo (eugenia), milagu (pepper), thippili (piper longum) and sukku (dried ginger); the drug ‘elaadhi' is a panacea for bodily ailments; as it has six components, each verse in the book elaadhi has six important facts told; these six facts serve a panacea for mental and societal ailments.
SIRU PANCHA MOOLAM – this again indicates a combination drug; a drug made of five different roots (moolam – root); kandankaththiri (solanum xanthocarpum), siru vazhu thunai (cleone), siru malli (gymnema), peru malli (hiptage) and nerunji (tribulus) are the five; the roots of these five are mixed to formulate the drug; each verse of this book pours out five salient aspects of life and living.
THRI KADUKAM – Sukku (dried ginger), milagu (pepper) and thippili are three medicinal products; a combination of these three have been widely used by the ancient Tamizhs to keep away diseases; thri kaduga choornam is used even today; as is seen in the preceeding two books, each verse of thrikadugam gives out three important tenets of virtue.
These captions are not mere names. Their very use in didactic literature denotes the meaning associated with them and also the familiarity of these.
