Next morning Nambi's wife discovered Valli's disappearance. The furious hunter-chief organized a party of hillmen in pursuit of the fugitives. When they reached them, they discharged their arrows at Murugan, but the divine cock of the god crowed and the hunters fell dead. Valli lamented their death, but Murugan took her along. On their way they met Narada who explained to Murugan that he should have obtained the consent of the parents. The god therefore returned and ordered Valli to resuscitate the hunters which she gladly did. Murugan then assumed his true divine shape. Amazed and awed, the hunters worshipped him and begged him to return to the hamlet to be married in accordance with the custom of the tribe.
The whole village rejoiced. The young pair was seated on a tiger-skin. Nampi placed the hand of Valli into the hand of Murugan and declared them married while Nārada assisted. At that moment, the gods appeared in the air and blessed everyone. Nampi then offered a feast - plenty of honey, millet flour and jungle fruits. After a short stay at Ceruttani (Tiruttani), Murugan and Valli returned to Skandagiri where they were welcomed by Devasena.
What is so very thrilling in this story is the fact that almost step by step its structural slots and their fillers are derived from elements of the oldest Tamil tradition. It is the classical Sangam age all over: the heroine born among the hillmen; at the age of twelve, sent to guard the millet field sitting in the paran; the appearance of the god -- i.e. the talaivan, the hero, and his attempts at immediate, clandestine love-making (kalavu); the role of the toli -- the companion of the heroine; the motif of riding the matal-horse; the kaamanoy -- love sickness of Valli due to separation; the soothesaying women, and the veri dance of the velan, arranged to appease Murugan and dispell cūr; the motif of elopment of lovers. It is quite obvious that this story is purely and totally Tamil.
I share fully the view that religious phenomena can be best understood on their own plane of reference, that they deserve to be interpreted in religious terms, and that the most fruitful approach to the study of a deity and its myths should be phenomenological and structural: an attempt to apprehend a vision of reality that persists throughout the history of a deity. However, any religious phenomenon is also a psychological, social, and historical phenomenon. A historical-evolutionary study, even a historical-evolutionary interpretation of a deity and its myths is necessary, too, at least at some preliminary stage of its investigation.