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In this episode, we perceive the importance of play depicted in Sangam Literary work, Natrinai 68, written by Piraan Saathanaar. The poem is set in the wet mountain country of ‘Kurinji’ and speaks in the voice of the confidante to the lady, conveying the news of the lady’s confinement, in a hidden message to the man listening nearby.
‘விளையாடு ஆயமொடு ஓரை ஆடாது,
இளையோர் இல்லிடத்து இற்செறிந்திருத்தல்
அறனும் அன்றே, ஆக்கமும் தேய்ம்’ எனக்
குறு நுரை சுமந்து நறு மலர் உந்தி
பொங்கிவரு புது நீர் நெஞ்சு உண ஆடுகம்
வல்லிதின் வணங்கிச் சொல்லுநர்ப் பெறினே,
‘செல்க’ என விடுநள் மன் கொல்லோ? எல் உமிழ்ந்து
உரவு உரும் உரறும் அரை இருள் நடுநாள்,
கொடி நுடங்கு இலங்கின மின்னி,
ஆடு மழை இறுத்தன்று அவர் கோடு உயர் குன்றே.
The poem is a pleasant play in rhythm, which dances in all possible forms. Alliterations or first-letter ‘monai’ rhymes delight you in ‘ஆயமொடு – ஆடாது’, ‘இளையோர் இல்லிடத்து இற்செறிந்திருத்தல்’, ‘அறனும் அன்றே’, ‘வல்லிதின் வணங்கி’ and ‘உரவு உரும் உரறும்’. Second letter ‘ethugai’ rhymes sing in your ears with ‘விளையாடு – இளையோர்’, ‘வல்லிதின் – சொல்லுநர்’ and ‘உரவு – உரறும்’. Finally, last letter rhymes wink at you in ‘விளையாடு – ஆயமொடு’, ‘குறு – நறு’ and ‘ஆடு – கோடு’. This arrangement of different rhythmic patterns using the same words reveal within this little poem, an expert choreography of words! There’s an ancient game introduced to us here, ‘ஓரை’ and we’ll look in depth at this, shortly. A visit to this mountain country promises ‘fresh waters’ in ‘புது நீர்’ and ‘fragrant flowers’ in ‘நறு மலர்’. There’s this curious phrase ‘ஆடு மழை’ which means ‘moving rain’ and the curious thing, is that it does not signify the fall of rain from the skies to the earth but rain that moves from one place to another, in another form. Indeed, the words ‘moving rain’ is a beautiful expression for a ‘cloud’. To those of us caught in the sweltering heat of summer, this is indeed a heavenly hymn!
To understand the game further, we probe into the situation at hand. The man and lady have been in a relationship and knowing this, the parents have confined the lady to the house. The man, not knowing this, arrives at the backyard of the lady’s house, for a tryst with her. Knowing that the man is listening nearby, as if speaking to the lady, the confidante says, “If only there was someone to go tell mother, ‘Neither is it fair, nor is it good for prosperity, if youngsters are confined to their houses, without the opportunity to play the game of ‘orai’ with their playmates!’ If that person could speak to mother with conviction and strength, and also, a humble respect, she might allow us to go play in the river. Yes, in that river which gushes with a new flood, bearing tiny bubbles and rolling fragrant flowers, that arises from the tall hills of your man, which are the home of the rain clouds. Rain clouds that flash lightning like the dance of a creeper and descend with the roar of thunder during the darkness of midnight!” With these words, the confidante lets the man know that the lady is confined to the house and the only way he can get to meet her is, if he were to seek her hand in marriage.
Learning the rules of the game is one thing and actually playing it is another thing entirely. So, to truly understand this, let’s peel the layers of this poem. The game of ‘Orai’ beckons us! This was a game played in Sangam times by women living by the sea-side or along rivers. The details are sketchy but it seems to involve losing an object in the water, say, a twig, and players on the shore wait to catch a glimpse of it, bobbing up. Once a player does, she dives into the water to get hold of it, while avoiding the others who try to stop her. Then, the player who has grabbed the object swims to the other shore with it. It seems like a simple game but why does the confidante say that not letting youngsters play the game would go to the extent of destroying prosperity? Is she just saying anything and everything to justify her point? The wise confidante never does. It stems from an ancient belief about the connection between play and health. The ancients seem to have understood that games like this exercise physical abilities of these women, which serves them well for a long and healthy life. And wealth, how does it figure in the equation? Let’s take the objective of this game, which is to safeguard an object and take it ashore, while others try to pry it away. Isn’t this an excellent training for youth to instill skills in them to protect their wealth from the stealing hands of fate? So, the confidante has indeed captured the indefeasible logic.
Another stunning insight into human behaviour revealed here is that, logic alone is never enough. If you want someone to heed your words and act on it, then the expression must be with emotion and more importantly, humility and respect. With that combination, the confidante rightly assumes, mother’s heart will change and she will let them play in the fresh waters of the river. Through this, the confidante is not merely conveying the fact that the lady is confined to the house. But, in these terse words of the verse, also lie hidden, her advice for the man to come speak with mother, seeking the lady’s hand in marriage. When he speaks, he must speak with the conviction of lightning that descends from the skies but with the humility of a cloud that moves with the wind, so that, the man and the lady can joyously play together in the river of life!
what a voice! Amazing !