Podcast: Play in new window | Download
Subscribe: Apple Podcasts | Spotify | Amazon Music | Android | iHeartRadio | Email | TuneIn | RSS | More
In this episode, we take in the fragrance of feelings depicted in Sangam Literary work, Natrinai 96, written by Kokulamutranaar. Set in the shores of the ‘Neythal’ landscape, the verse speaks in the voice of the confidante to the lady, while passing on a hidden message to the man, listening nearby.
”இதுவே, நறு வீ ஞாழல் மா மலர்தாஅய்,
புன்னை ததைந்த வெண் மணல் ஒரு சிறை,
புதுவது புணர்ந்த பொழிலே; உதுவே,
பொம்மற் படு திரை நம்மோடு ஆடி,
புறம் தாழ்பு இருளிய பிறங்குகுரல் ஐம்பால்
துவரினர் அருளிய துறையே; அதுவே,
கொடுங் கழி நிவந்த நெடுங் கால் நெய்தல்
அம் பகை நெறித் தழை அணி பெறத் தைஇ,
தமியர் சென்ற கானல்” என்று ஆங்கு
உள்ளுதோறு உள்ளுதோறு உருகி,
பைஇப் பையப் பசந்தனை பசப்பே.
The poem welcomes us by showering the yellow flowers of the ‘ஞாழல்’ or ‘Senna sophera’, that envelopes us with its ‘நறு’ or ‘fragrance’. The ubiquitous ‘புன்னை’ or ‘laurelwood’ we come across in those ancient shores are said to be filled densely, as the word ‘ததைந்த’ informs us. After encountering other meanings like ‘millet stalks’ for the word ‘குரல்’, which predominantly means ‘voice’ now, it was a surprise to encounter yet another meaning for this word. Here, it means ‘woman’s hair’. Hair that speaks perhaps! Our shower of flowers is not over yet for we meet yet another, the ‘நெய்தல்’ or the ‘blue lotus’. A curious phrase ‘பகை நெறித் தழை’ makes its appearance in connection with this flower and I looked up intent seeing the word ‘பகை’ meaning ‘enmity’ in contemporary Tamil. Turns out, in this reference, it means ‘markedly different’. When you think about it, that’s what an enemy is all about. Someone so different from who one is and what one wants. Perhaps if we were to extend acceptance and tolerance to the differences in others, maybe there’s no need for enemies to be! While we are thinking about this in a philosophical tangent, someone else is doing a lot of thinking too as the rhythmic phrase ‘உள்ளுதோறு உள்ளுதோறு உருகி’ tells us. The verse finishes with a melodious flourish of the phrase ‘பைஇப் பையப் பசந்தனை பசப்பே!’
From these pocket-sized glimpses, let’s head towards the extensive meaning and context of the verse. The man and lady have been in a love relationship for a while and the man seems to show no signs of formalising the union. So, one day when he comes to tryst with the lady and waits nearby, sensing that he’s in earshot, the confidante says to the lady, “You say, “This is the place! That spot on the white sand, filled with dense punnai trees, where fragrant, huge flowers, that have fallen from the gnazal spread across too. It’s this orchard by the sea where I united with the lord for the first time. This is the place! Playing with me in the splendid sea waves, he then gathered my dark wavy tresses, lying on the back, split them into five layers and dried it with his hands. It’s this sea that’s so filled with his grace. That is the place! Taking leaves of the ‘neythal’ plant, which look different from the long stemmed flowers that rise above the salt pan, he made garments and dressed me with such beauty. It’s that shore where he then left on his own”. Saying so, you think and think with angst and slowly, you get shrouded by this affliction called pining.” With these words, the confidante passes on the message to the man that the lady is pining for him in his absence, which may lead to the spread of slander in the town and thus, he must hasten his plans of marriage with the lady.
Let’s meander into the unexplored pockets of the poem’s shore. You cannot help but notice the intimate way nature fills these ancient lives. For them, the ‘gnazhal’, ‘punnai’ and ‘neythal’ were part and parcel of their lives. We look back with wonder at how in every corner of the verse you turn, you meet with something throbbing with life. Perhaps, it’s nature that made these people so focused on the little things of life, those subtle feelings and thoughts that we push away as we hasten our pace in the modern world’s rat race! Come to think of it, a whole verse just to say the spaces all around flood the lady’s mind with the man’s memories. Be it the grove where they united for the first time, blessed by the showering of the punnai and the gnazhal trees or the sea, where the man and lady played with abandon amidst the roaring waves and where with so much love and care, he dried and tied her wet tresses or the shore, where taking fine leaves from the ‘neythal’, he made a garment and clothed the lady with taste and beauty, his thoughts flood her mind, anytime she passes that by. Let’s take two tiny detours now. One, to marvel at the thickness of the lady’s tresses that requires a five-way partition and braiding. In current times, a rare occurrence by itself, I have seen a three layered braid in women with long hair. This verse that talks about a five-layered one simply proclaims the density of the lady’s lush hair. From hair care, we take the second detour, which is shopping for garments. Again, all the fashion that was needed then, was choosing the finest of leaves from the neythal plants, readily popping their heads above the salt pan by the sea, and layering these together. A nature label with the man’s fashion signature. Special and personal, indeed!
Coming back to the verse, we find the lady filled with thoughts of the man when he’s away and slowly the affliction of pining is taking hold of her. The confidante thus alerts the man to the dangers of this being discovered and her being restrained in the house. Thereby, through this subtle message, the confidante instigates him to seek the lady’s hand in marriage. A poem that highlights the power of memories and the pull they exert over our minds!
Share your thoughts...