Natrinai 104 – Flight of the Kili

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In this episode, we perceive the nuanced expression of intention, portrayed in Sangam Literary work, Natrinai 104, written by Peri Saathanaar. Set in the mountain country of ‘Kurinji’, the verse speaks in the anguished voice of the lady to her confidante, passing on a hidden message to the man listening nearby.

பூம் பொறி உழுவைப் பேழ் வாய்ஏற்றை
தேம் கமழ் சிலம்பின் களிற்றொடு பொரினே,
துறுகல் மீமிசை, உறுகண் அஞ்சாக்
குறக் குறுமாக்கள் புகற்சியின் எறிந்த
தொண்டகச் சிறு பறைப் பாணி அயலது
பைந் தாள் செந்தினைப் படு கிளி ஓப்பும்
ஆர் கலி வெற்பன் மார்பு நயந்து உறையும்
யானே அன்றியும் உளர்கொல்-பானாள்,
பாம்புடை விடர ஓங்கு மலை மிளிர,
உருமு சிவந்து எறியும் பொழுதொடு, பெரு நீர்
போக்கு அற விலங்கிய சாரல்,
நோக்கு அருஞ் சிறு நெறி நினையுமோரே?

Marrying beauty with strength, the verse opens with the words ‘பூம் பொறி உழுவை’ meaning ‘tiger with beautiful stripes’. This far, I had known that the word ‘சிலம்பு’ means ‘an anklet worn by women’, made famous by the Tamil epic ‘Silapathikaaram’. Here, I learnt a new meaning for this word as in ‘mountain slope’. The phrase ‘குறக் குறுமாக்கள்’ that we encountered earlier too, brings to mind, a bunch of ‘naughty children’, with an unfettered, exuberant spirit. Through the words, ‘தொண்டகச் சிறு பறை’, we glimpse at some little musical instrument in the hands of these kids. A ‘parrot’ makes its presence felt with the word ‘கிளி’. Learnt a new word for ‘midnight’ in ‘பானாள்’, which can be expanded as ‘பாதி நாள்’ or ‘half of a day’, signifying the darker half of the day. A blaze of fury hits us in the phrase ‘உருமு சிவந்து எறியும்’ meaning ‘lighting rages on’. The growling sound in the word ‘உரும்’ does justice to the rumbling of thunder from a rain-coated sky.

Turning away from these sounds in the air, let’s look at the inner life portrayed here. The man and lady have been in a love relationship for a while. The confidante has been helping the man tryst with the lady. One day, when the man arrives to meet with her, knowing that he’s nearby, the lady tells her confidante, “A male tiger with beautiful stripes and a huge mouth wages war on a bull elephant near the honey-smelling mountain slope. To see this fight, the children of the mountain folk climb atop a rock and with no fear whatsoever, play on the ‘thondaka’ drum in their hands. This loud sound strikes on the ears of a ‘kili’ feeding on the tender stalks of red millet in the field nearby and it flutters away in fear.  Our lord comes from a mountain filled with such a din.  At midnight, lighting up the high mountains, where snakes hide, thunder strikes with fury. It’s a time when a huge flood makes the crossing impossible and yet the lord comes walking on this small, treacherous path in the mountains. Could there be anyone more selfish than me, who desires the embrace of his chest, in spite of these dangers many?” With these words, the lady intends to stress on the distress in her heart at the dangers in the man’s path and to lead him subtly, in the direction of seeking a formal union with her. 

Time to relish the nuances of this sound and light show! The atmosphere of the verse reverberates with sounds many. First is the raging fight between the tiger and the elephant. The trumpeting, roaring as well as the shivering of the natural world around can be sensed, right at the beginning. While the world around trembles in fear at the fight of these powerful beasts, children there are unaware of dangers any and climb on to a rock nearby to have a glimpse of this fight. There’s a well-known Tamil proverb which says “இளம் கன்று பயம் அறியாது” meaning ‘the young calf knows not fear’ and this is highlighted in the scene of these little kids, who not only climb on rocks to view this dangerous fight but also start playing on their little drums, the ‘thondaka siru parai’ called as ‘kudukuduppai’ in contemporary language. The ‘parai’, a type of percussion instrument, seems to have an inextricable bond with the Tamils, with each of their lands, having a unique drum. The ‘thondaka parai’ we encounter here is said to be the one for the mountain country of ‘Kurinji’. Coming back to the joyous sounds arising from the hands of our naughty kids, we see this evoking a different feeling on something nearby. There’s a field, filled with the stalks of red millets and a parrot is seen to be pecking away at it, enjoying the delicacy. All this until it hears the rattling sound of the ‘parai’! It instantly takes to the air, foregoing its meal, fearing for life. Hold on to that image of the parrot fluttering away, in fright. The lady details this entire scene as a description of the man’s land as one characterised by these loud sounds. She then expresses her worry about this lord of the mountains braving lightning storms, snake-filled slopes and flooding streams to be with her. She scolds herself for wanting his embrace even though he walks in such a path, stacked with dangers many. 

Returning to the scene from the natural world, the clash between the tiger and the elephant could be a metaphor for the love relationship between the man and the lady whereas the loud noise at the hands of the mountain children could symbolise the spreading of rumours about their relationship and consequently, the fluttering away of the parrot in the millet field could be an indication of the frailness of the lady’s life, that will part away, if she does not unite with the man she loves. The lady thus weaves the precariousness of her situation within the description of this natural scene. Then, she goes on to take the blame on herself for wanting the man’s presence, not minding the obstacles in his path. She hopes to impress upon him, her love and at the same time, the need for him to find a lasting solution by seeking her hand in marriage. Seeing the elaborate ways needed to convey a simple message makes me reflect on the freedom we have in expressing our thoughts and intentions. A freedom that we don’t always realise we have!