Aracalāpuram, memorial stone for a cock author of digital edition Emmanuel Francis Valérie Gillet European Research Council (ERC), grant agreement no 809994 DHARMA Paris DHARMA_INSPallava00397.xml CC BY-SA 4.0 2019-2026 as per external metadata Memorial stone set up in honour of a cock, which fought for the western quarters (mēl-cēri) of a village. It is not clear whether the stone commemorates the death of the cock when fighting (as in the case of a deceased warrior) or its victorious fight.

The puḷḷi is used. There are characters of eccentric ductus: ku and k=ka (line 2).

Encoded in TEI/EpiDoc according to the DHARMA Encoding Guide for Documentary Editions, version 2

 Creation of the file on the repository

mukaiyuūru mēṟ·-cē rikuy āṭi-k= ka rukiya kōḻi

mukaiyuūru mukaiyūru mukaiyuru mukaiyuūru mēṟ·cē rikuy mēṟcē riṭuy meṟce riṭuy mēṟ·cē rikuy The syllable ku of eccentric ductus was previously read ṭu. āṭik= āṭi āṭik āṭik=

The image of the cock was engraved after it had fought on behalf of Mēṟcēri in in Mukaiyūr.

The cock, which was scarred translates as “was engraved” as he equates karukiya with karukkiya. We suggest that karukiya is the past form of karuku-tal, one of the meaning of which, according to the Madras Tamil Lexicon, is “to be scorched, scarred.” when fighting for MēṟcēriThat is, the western quarter. of Mukaiyūr.

This inscription is counted in the Pallava corpus, insofar as its date (5th century CE according to ) and provenance correspond the period and the area of the Pallava rule in northern Tamil Nadu.

A similar inscription, commemorating a victorious cock with a strikingly similar image of a cock, has been found at Intaḷūr (Pallava 401). The two inscriptions appears to be closely related: the present Aracalāpuram inscription commemorates the fighting cock of the western quarters, whereas the Intaḷūr inscription commemorates the fighting cock of the eastern quarters.

See the comments by 624-626.

Reported in .

Edited in , in , , . Edited and translated in .

This revised edition by Emmanuel Francis and Valérie Gillet, based on photos and visual documentation in .

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