ing not  from  honour towards the  husband who gave  liberty; at the intense  love
which  created  sorrow  at his separation; at the time of pleasure and pain; at  the
despised state  of  the husband who wanted to be present at the ceremony of the
childbirth and who was   grieved  at  heart  for not being allowed to do so; at the
mercy shown at the time of the return  of her husband who had gone to the house
of  his parmours  for  enjoying  their  fresh  beauty  describing  her loneliness and
refusing  admission; at the act of begging her husband to speak to her sisters while
bowing  to  him who is in the habit of  saying  with  his parmour; at  the  act  of
sending him away when he is not in a mood of getting cut; at the end of  the play
which  the  parmour (who had married him) had with her son joyfully; being good at
heart,  at his action of wishing to dispel her sorrow by his appearance in this house,
without being seen by her, when some grand function takes place; while approaching
him despising  the  son  for   they  say that  the  sons  resemble fathers; at the
propriety of pointing out his fault,  when  he joined the party of his friends without
fearing the harm of those  who are  cruel  to  her; at the nobility of the wife who
wished the action of his falling down at her  feet to be seen by the sisters in love;
when the parmour of vanity thought of the son who is  wearing beautiful ornaments
and who is being respected and loved by the mother; while holding the  son to  her
as  though he we imprisoned; while allowing him to go to him (father); while   taking
traditional  vow   of   harmful   nature;   on   themes   where    love-lorn  ladies
(‘Kamakkilaththiyar’)  are  extolled  to  such  an  extent as to end it bitterness; on
themes  where  the maid speaks of the bad conduct of the lover; on many themes
where the lady,  without  deviating  from  faultless  virtue, is in the state of hating,
fondling, separating and loving the lord and on themes of varied nature that the go-bet-