Natrinai 110 – The transformed girl

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In this episode, we marvel at the metamorphosis of a young girl, depicted in Sangam Literary work, Natrinai 110, written by Pothanaar. Set in the ‘Paalai’ landscape, the poem speaks in the voice of a foster-mother to the lady’s mother, relaying news of how the lady is faring in her husband’s home.

பிரசம் கலந்த வெண் சுவைத் தீம்பால்
விரி கதிர்ப் பொற்கலத்து ஒரு கை ஏந்தி,
புடைப்பின் சுற்றும் பூந் தலைச் சிறு கோல்,
”உண்” என்று ஓக்குபு பிழைப்ப, தெண் நீர்
முத்து அரிப் பொற்சிலம்பு ஒலிப்பத் தத்துற்று,
அரி நரைக் கூந்தற் செம் முது செவிலியர்
பரி மெலிந்து ஒழிய, பந்தர் ஓடி,
ஏவல் மறுக்கும் சிறு விளையாட்டி
அறிவும் ஒழுக்கமும் யாண்டு உணர்ந்தனள்கொல்?
கொண்ட கொழுநன் குடி வறன் உற்றென,
கொடுத்த தந்தை கொழுஞ் சோறு உள்ளாள்,
ஒழுகு நீர் நுணங்கு அறல் போல,
பொழுது மறுத்து உண்ணும் சிறு மதுகையளே!

A sweet song that begins with the word ‘பிரசம்’ meaning ‘honey’. In Natrinai 93, we have encountered the same word meaning ‘honey comb’. Another example to say that the Sangam lexicon does not differentiate between objects and their attributes. ‘தீம்பால்’ sends out the fragrance of ‘sweet milk’. These two elements bring to my mind the phrase, ‘land of milk and honey’. I have always assumed that this meant India. I learnt today that it means ‘a place of plenty and luxury’ and is actually attributed to a Biblical verse, possibly pertaining to the land of Israel. As if to add further shades to this sense of plenty, we meet ‘பொற்கலம்’ meaning ‘golden bowl’ and ‘பொற்சிலம்பு’ meaning ‘golden anklets’. With ‘முது செவிலியர்’ or ‘old helpers’, we glimpse at the women who seem to have been caretakers at the lady’s house. ‘செவிலி’ or the ‘foster mother’ is an important character in Sangam poetry, and at times, closer to the girl than even her birth mother. This poem seems to tell us there were many such helpers in an affluent household. In contrast to that image of an old helper, is the term ‘சிறு விளையாட்டி’, meaning ‘a young, playful girl’. The rhythmic phrases ‘கொண்ட கொழுநன்’ and ‘கொடுத்த தந்தை கொழுஞ் சோறு’ play a luxuriant tone in our ears. Finally, we take in a powerful word ‘மதுகையள்’, meaning ‘a strong woman’. Let’s not be satisfied with mere glimpses for meaning awaits us!

The situation is that the lady is away from her parents’ home and is now living in her husband’s place. It’s unclear as to whether this has happened after elopement or a marriage blessed by elders. The foster mother, having visited the lady in her husband’s house, reports back to the lady’s birth mother saying, “Holding a wide, sparkling golden bowl with sweet-tasting, white milk fused with honey, in one hand and a small rod with a flower-like tuft in the other, her caretakers with soft, grey hair, would bid her to eat, raising the rod in their hands. Escaping, she would hop around with those pearl-studded, golden anklets resounding, and run under the jasmine canopy, tiring out those old helpers, who would give up, unable to catch her. She was such a playful, little thing, who never heeded commands any. How then has she gained all this wisdom and discipline? For, when her husband’s home is mired in poverty, she doesn’t think about the rich food endowed by her generous father. Like fine sand under dripping water, she thrives on food only in infrequent intervals. Such a strong and wise woman, she has become!” With these words, the foster mother paints a picture of the circumstances at the man’s place and also extols the virtues of their girl, living there. 

Now, time to savour the fine elements, a little more! The poem brings forth before our eyes, two different scenes. One, from the lady’s past and another, from her present! The foster mother looks back with nostalgia at what used to be an everyday scene in their home. One of the many helpers, assigned to the girl’s care, would come to her, a golden bowl with milk and honey in one hand and a rod with a soft end, in the other. With this single portrait, the affluence of the house is vividly sketched for us. There was milk and honey for food, served in a golden bowl, that too. When things are in excess, the nature of children is not to savour it eagerly but be rather fussy about eating. Knowing this, the helper comes with a soft rod to gently threaten the girl to drink that milk. But, that playful, little thing is too smart for all of them! She runs away, with her golden anklets, fitted with pearls, echoing in the air and running all around the house, she tires out those helpers. Again, the resounding golden anklets sing to us about the luxurious lifestyle in that household. The foster mother sums up the scene by calling her, a naughty little thing, who never used to listen to them. In these words, you can hear the subtle pride in the voice of mothers, who though they may seem to complain about the naughtiness of their children, are inwardly happy about the energy and vitality, that throbs in them.

After the scene from the past, the foster mother pauses and puts forth a question, ‘How did this girl turn into someone with so much virtue?’ Then, she details why asks that question by describing the scene from the lady’s present. She says that the lady’s current household is going through a state of poverty. But, not for a moment, does the lady think about the riches of her father’s house. She even refuses to accept whatever her generous father is willing to give and wants to live with the little that her husband brings. The lady contents herself with eating only when the food is available and minds not the times she misses her meal. In an apt simile, the foster mother compares her infrequent eating to the way fine sand absorbs drops of water when it falls and dries up, the next instant. In a final salute, she praises her girl, calling her a little woman of strength. With two scenes, both involving the lady and her food, the poem creates an unforgettable movie, relaying the story of how a naughty girl turns a wise woman!