The record is dated in the 4th year of the reign of Parakēsarivarman who took the head of the Pāṇḍya king and provides for the dance called Āriyakkūttu by Kīrttimaṟaikkāḍaṉ alias Tiruvēḷai-aṟaichchākkai, in the temple of Tiruviḍaimarudil. The theatrical hall where the temple servants, the merchants and the king's officer Kōyilmayilai alias Parāntaka Mūvēndavēḷāṉ met together to decide this question appears to suggest that the Āriyakkūttu dance must have been a regular dramatic performance in which dancing and singing were evidently given a prominent place. Śākkaikūttu which is referred to in some other inscriptions of the time of Rājēndra-Chōḷa was evidently another variety of a dramatic dance (see Madras Epigraphical Report for 1915, page 98, paragraph 27).
Āriyam and Tamiḻ are mentioned as the two recognised varieties of dance, in the commentary of Aḍiyārkkunallār on text lines 12-25 of Chapter III of Śilappadigāram (see Mahā. V. Swaminatha Ayyar's edition, page 63). That these must have been also accompanied by music is inferred from a reference made to these very two terms in a Tanjore inscription of Rājarāja I. (South-Indian Inscriptions, Vol. II, page 299, sections 428-492).
The king Parakēsarivarman who took the head of the Pāṇḍya king must evidently be Āditya (II.)—Karikāla, the son of Sundara-Chōḷa Parāntaka II. The name Śiṟṟiṅgaṇ-Uḍaiyāṉ Kōyilmayilai alias Parāntaka Mūvēndavēḷāṉ appears in No. 200 above. His name also occurs frequently in the records of Uttama-Chōḷa Madhurāntaka as Madhurāntaka-Mūvēndavēḷāṉ.
svasti śrī nmaṟkku yāṇṭu 4 Āvatu tiruviṭaimarutil śrīmūlastāṉa
rumāṉaṭikaḷukku Āriyakkūttāṭa śrīkā ryyam Ārāykiṉṟa Atikārikaḷ ciṟṟiṅkaṇ Uṭaiyāṉ koyilmayilai Āṉa parā
ntaka mūventaveḷārum tiṟaimūr sabhaiyārum tiruviṭaimarutil nakarattārum tevakanmikaḷum nāṭakacālaiyi
le I
vatāṉam viḷaṅkunaicceripattu Uḷpaṭa
nilaṅkoṇṭu taippūcattirunāḷil Oru kūttāṭuvatākavum tiruttum Āṭiṉa piṟṟai nāḷ tuṭaṅki mūṉṟu kūttā
ṭuvatāka
(Line 1.) Hail ! Prosperity ! In the 4th year of (the reign of) king Parakēsarivarman who took the head of the Pāṇḍya (king), the officer (adhikāri) Śiṟṟiṅgaṇudaiyāṉ Kōyil Mayilai alias Parāntaka Mūvēndavēḷāṉ, who supervises the temple affairs (śrīkārya), the members of the assembly of Tiraimūr, the merchants (nagarattār) and the temple servants (dēvakanmi) of Tiruviḍaimarudil, having assembled in the theatre-hall (nāṭaka-śālai), ordered that provision may be made for performing the (dance known as) Āriyakkūttu in the presence of the lord of the sacred Mūlasthāṉa (temple) at Tiruviḍaimarudil, to Kīrttimaṟaikkāḍaṉ alias Tiruvēḷai-Aṟaichchākkai.
Having received (one) vēli of land inclusive of the land (called) Paṉaichchēripattu in Viḷaṅguḍi which was a dēvadāna (village) of this god (he) shall, from the year opposite to this year (of reign), perform one dance (kūttu) on the sacred festival of Tai-Pūśam; shall perform three dances commencing from the day after the bathing (of the god); and shall perform three dances commencing from the day after (the festival of) Vaigāśi-Tiruvādirai. In all, he shall perform these seven dances here (i.e., in this theatre-hall) and shall receive for maintenance (koṟṟu) fourteen kalam of paddy from the treasury. If this paddy is not spent (thus), the stipulated paddy and maintenance shall be doubled, (and) from that year . . . . .
Digital edition of SII 3.202 by