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In this episode, we partake in the flower-shower of joy depicted in Sangam Literary work, Natrinai 78, written by Keerankeeranaar, this being his only entry in Sangam poetry. The verse is set in the ‘Neythal’ landscape or the coastal regions and speaks in the voice of the confidante to the lady, conveying good tidings regarding the man’s arrival.
கோட் சுறா வழங்கும் வாள் கேழ்இருங் கழி
மணி ஏர் நெய்தல் மா மலர் நிறைய,
பொன் நேர் நுண் தாது புன்னை தூஉம்,
வீழ் தாழ் தாழைப் பூக் கமழ் கானல்,
படர் வந்து நலியும் சுடர் செல் மாலை,
நோய் மலி பருவரல் நாம் இவண் உய்கம்;
கேட்டிசின்-வாழி, தோழி!-தெண் கழி
வள் வாய் ஆழி உள் வாய் தோயினும்,
புள்ளு நிமிர்ந்தன்ன பொலம் படைக் கலி மா
வலவன் கோல் உற அறியா,
உரவு நீர்ச் சேர்ப்பன், தேர்மணிக் குரலே!
The song begins rather menacingly with ‘கோட் சுறா’ meaning ‘killer sharks’, which then give way to the glowing ‘நெய்தல்’ flowers or blue water-lilies. Interesting discovery in that, the word ‘வழங்கும்’, which I have known to be used in the meaning of ‘to provide’, occurring here with the meaning of ‘to move’. ‘வாள்’, which is the word for sword, means in this context, ‘light’! Guess those lightsabers from sci-fi movies should be called as ‘வாள் – வாள்’ in Tamil! In a lighter vein, perhaps the ancient Tamils were clairvoyant about the future of swords! From swords back to words, ‘ஆழி’ which I had known to be associated with ‘ocean’ has been used to mean a ‘wheel’ here. I was also blown away by the expression for ‘evening’ in ‘சுடர் செல் மாலை’, which translates to ‘the time when the sun bids adieu’! Bidding bye to the outer warmth of words, let’s head further within to understand the meaning and context of this song.
The man and woman have been in a relationship and he leaves to gather wealth towards their wedding. The time he promised he would be back has come and gone and the lady is in deep sorrow, pining for him. One day, the confidante hearing that the man is approaching their hamlet, runs to the lady and says, “In the vast seawaters, shining with the colour of light, roam killer sharks. On this expanse, blooms sapphire-like, dark ‘neythal’ flowers. The ‘punnai’ tree on the shore showers gold-like, fine pollen on these flowers and the ‘thaazham’ tree, hemmed by its aerial roots, sends out the fragrance of flowers all around the shore. That time of dusk when the sun bids adieu, sorrow would arrive to torment you. You are about to be saved from that affliction of pining now! Listen, my friend! May you live long! On the clear waters of the salt pan, tread those strong wheels and even if the inner wheel happens to be submerged in the wet sand, like birds soaring above, leap the chariot’s gold-adorned horses, that have never felt the whip of the charioteer. Listen, my girl and you will hear the sound of the chariot bells, heralding the arrival of the lord of the shore.” With these words, the confidante suffuses joy into the pining lady’s heart and tells her that her man will arrive any moment now.
Delving further, let’s inhale the facets of life portrayed in this verse. Every line is a painting of the natural world and at the same time, a portrayal of inner life. Starting with the depiction of killer sharks roving the sea waters by the shore, we see that it’s a metaphor for the townspeople, who are intent on attacking the reputation of the lady by spreading slander about her relationship with the man. Just a little further from such dangerous scenes, bloom the beautiful, dark water-lilies, which could be a metaphor for the lady’s eyes, surrounded by tears, missing her love. Then comes the intricate scene wherein the laurelwood trees on the shore, shower the fine pollen of their flowers which seems to fall on the water-lilies blooming beneath. The water-lilies are like open hands that receive the golden shower from up above and stands to reveal how the lady’s family will be showered by the golden offerings from the man. As we sense the fine pollen of the ‘punnai’ falling from above, let’s take a moment and understand the significance of this metaphor for it’s a study on ancient marriage customs. In the Sangam period, it was the bridegroom who was expected to pay a price for seeking the hand of the bride. And this is the reason we see the man leaving in many instances to gather wealth. He needs to offer this to the girl’s family before they will accept the man as their daughter’s groom. I wonder how and why this tradition came to be and also how in the course of two thousand years, this tradition has reversed roles such that it’s the bride’s family who are expected to pay the infamous ‘dowry’ to gain a groom. Families losing entire life savings to conduct a marriage is a thing that needs to be done away with. I believe the self-reliant men and women of today can begin and sustain a life of joy without falling into the trap of these money-related, marriage customs!
Getting back to the past from our meanderings in the present day, we inhale the fragrance of the ‘thazhai’ or the ‘screw-pine’, ‘pandanus’ tree that we have seen before too. Here, the tree is described as spreading the entire shore with its fragrance. Again, a metaphor to say that the lady’s marriage with the man thereafter, will be spoken about highly, all over the land. All the lady’s sorrows are about to end right now, the confidante declares. She paints a portrait of the man’s horses leaping like birds soaring up to the sky and pulling the chariot out of the mud and bringing the man, closer to her. Such fine horses too, that heed to the mind of their master, that they have never felt the whip lash on their bodies. We should say that he’s a fine man too, for he’s kind to the speechless beasts that serve him. The confidante, even before the incident happens, brings it before her friend’s eyes, painting a portrait of the man’s horses leaping above and snatching the sound of his chariot bells from the air. What a friend indeed, for she excels in the art of bringing joy closer to her friend’s sorrowful heart!
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