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In this episode, we perceive the life depicted in Sangam literary work, Natrinai 37, written by Peri Saathanaar, set in the ‘Paalai’ landscape or the drylands. The verse talks in the words of the lady’s confidante to the man, warning of the distress looming in the horizon of the lady’s mind.
பிணங்கு அரில் வாடிய பழ விறல்நனந் தலை,
உணங்குஊண் ஆயத்து ஓர் ஆன் தெள் மணி
பைய இசைக்கும் அத்தம், வை எயிற்று
இவளொடும் செலினோ நன்றே; குவளை
நீர் சூழ் மா மலர் அன்ன கண் அழ,
கலை ஒழி பிணையின் கலங்கி, மாறி
அன்பிலிர் அகறிர் ஆயின், என் பரம்
ஆகுவது அன்று, இவள் அவலம்-நாகத்து
அணங்குடை அருந் தலை உடலி, வலன் ஏர்பு,
ஆர்கலி நல் ஏறு திரிதரும்
கார் செய் மாலை வரூஉம் போழ்தே.
Reflecting the theme of separation, the poem talks about ‘வாடிய’ meaning ‘dried up’ , ‘கண் அழ’ meaning ‘as the eyes tear up’, ‘கலங்கி’ meaning ‘disturbed’, ‘இவள் அவலம்’ meaning ‘her sad state’ and finally ‘கார் செய் மாலை’ meaning ‘an evening in the rainy season.’ Delving deep into the many shades of distress, the poem paints a poignant picture of the pain in parting from a loved one. As I was reading, the word ‘பைய’ gently called out to me. This means ‘slowly’ and it made me feel happy to remember that this ancient word is still being used in the same meaning in the musical Tamil dialects of Madurai and Tirunelveli regions. We meet again the favourite type of girl for ‘Paalai’ poets – the ‘வை எயிற்று’ or the sharp toothed one. Even sharp tongues, we can embrace with love, but sharp teeth? Wonder what those poets meant!
Moving into the substance of the verse, we find that the man intends to leave seeking wealth, before his wedded union with the lady. He turns to the lady’s confidante and asks her to take care of the lady in his absence. To which, the lady’s confidante says, “O lord, you intend to leave for those wide open spaces that have existed from ancient times, filled with matted, dried up bushes, where you can hear the clear bells of a lonely cow that roams there in search of food. If you will let your sharp-toothed lady accompany you on this travel, that will be the right thing. On the other hand, if you turn out to be someone without love and part from her, akin to the distressed doe that parts from her stag, her eyes will rain with pain, looking like the Kuvalai flower, blooming amidst water. The burden of her pain is beyond me to bear. The pain of the lady, which soars immeasurably during those evenings in the rainy season, wherein a thunderbolt from up above strikes a snake and severs its head.”
Taking in the different elements of this life depicted in words, we find three instances of animal life and one instance of a plant life being packed tightly into this terse verse. First, is the lonely cow, the sound of whose bells can be heard distinctly. Why is it a lonely cow? Perhaps it’s described so to depict the dryness of the region. For, if it was a herd of cows grazing, it would mean a lush landscape. But, this is a different world. So, perhaps, the strength of the herd is sparse and maybe, the rare cow roams about here and there, feeding on dried up leaves. Then we encounter the line ‘கலை ஒழி பிணை’ which means ‘the doe separated from the male buck.’ I wonder why the black buck was called as ‘கலை’ which also means ‘art’! So much mystery in word origins and evolutions! Coming to the last animal, it’s a snake and here a curious cultural belief is revealed. The ancient Tamils believed that thunder strikes snakes and cuts off their heads. I tried to search to find some connection between snakes and thunder. But, the only link seemed to be that snakes come out in the open when it rains, meaning their activity increases during the rainy season. They are driven out of their pits even, by the water that floods during rains. But from here to the severing of heads by thunder, I’m not sure of the path that leads to this thought. I read that we would encounter many more instances of this belief as we travel along through Sangam literature and perhaps along the way, we will trace the truth of this belief. Coming to the flower depicted, it’s the fragrant water lily surrounded by water, which is brought forth as an exquisite simile to the lady’s tear-filled eyes. Be it though bounded by tears, the beauty of the eyes shines like the lily still, the poem seems to say.
Finally, I wish to focus on how the lady’s confidante insists that the man should take the lady along, even on the path of scarcity – a space filled with drying bushes and starving cows. In it, there seems to be an understanding of what the heart truly yearns for – not merely the material comforts in abundance and luxury but the feeling of being with the one you love!
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