Natrinai 111 – The triumphant return

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அத்த இருப்பைப் பூவின் அன்ன
துய்த்தலை இறவொடு தொகை மீன் பெறீஇயர்,
வரி வலைப் பரதவர் கருவினைச் சிறாஅர்,
மரன் மேற்கொண்டு மான் கணம் தகைமார்
வெந்திறல் இளையவர் வேட்டு எழுந்தாங்குத்,
திமில் மேற்கொண்டு திரைச் சுரம் நீந்தி,
வாள்வாய்ச் சுறவொடு வய மீன் கெண்டி,
நிணம் பெய் தோணியர் இகு மணல் இழிதரும்
பெருங்கழிப் பாக்கம் கல்லென
வருமே தோழி, கொண்கன் தேரே.

The poem opens with a reference to a new tree ‘இருப்பை’ or ‘இலுப்பை’ as it’s called today, pertaining to the ‘mahua’ tree. In close proximity, appears the ‘இறவு’ or ‘shrimp’. ‘கருவினைச் சிறாஅர்’ and ‘வெந்திறல் இளையவர்’ both talk about ‘youth with great strength’. Learnt a new word for ‘boat’ in ‘திமில்’ and also, that the term ‘கொண்கன்’ means both ‘the lord of the coastal region’ as well as ‘husband’, perhaps a shortened form of ‘கொண்ட கணவன்’. Walking into this ‘பாக்கம்’ or ‘seaside village’, let’s perceive the life there.

The man and woman have been in a married relationship for a while and the man has left the lady to gather wealth. In this period of separation, as the lady languishes, pining for her man, her confidante goes to the fortune tellers to seek an omen. Hearing positive words from them, she returns and says to the lady, “Intending to catch shrimp, which has a soft head like that of the drylands ‘iruppai’ flower, as well as other fish, the strong youngsters among the fisherfolk with fine nets climb on their fishing boats, like those hardy youngsters of the huntsmen clan, who climb on trees, intending to block and capture herds of deer. These young fishermen rove the wave-filled seas and capturing fish with sword-like mouths and other fish that flock around, cut up those pieces and bring back the fatty flesh in their boats. Returning to land, they spread their catch in triumph on the white sands amidst the roaring welcome of the village. My friend, this village of ours, filled with such sounds, amidst the vast backwaters, will soon resound with the echo of your lord’s chariot!” With these words, the confidante conveys that positive omen in a visually impactful manner, so as to imprint it in the mind of the pining lady and revive her.

Now, let’s savour the cultural souvenirs embedded in the song. First, is the reference to the ‘iluppai’ or the ‘mahua’ tree. Reading about this, I come away amazed at all the medicinal benefits in every part of this tree and learnt that it has been cherished by the Tamils for centuries together. Further, the tree doesn’t need much water as highlighted in the poem with the ‘drylands’ adjective as in ‘அத்த இருப்பை’. As I read on, the word ‘mahua’ rang a bell although I couldn’t immediately place it. When I read the flowers of this mahua tree are used to make an alcoholic drink and that it’s part of the cultural heritage of the Bhil tribals, then I made the connection. The wildlife guide who took us on a walk through the Kanha Tiger Reserve, located in Madhya Pradesh, mentioned the same thing about dried flowers of this tree being collected by the villagers in the surrounding areas in order to make a liquor with the same name. Thrilled to find this two thousand year old floral bridge to another region and another culture in contemporary India. Coming back to the poem, this ‘iruppai’ flower is mentioned as a simile to a shrimp, saying that both have soft, cottony heads. From there, the similes and metaphors keep stacking one after the other. Shortly, we find another simile in which the youth of the coastal region and the youth of the mountain country are placed in parallel. The action of those able-bodied, sturdy mountain youngsters, who climb on trees, awaiting the arrival of a deer herd is compared to that of young fishermen, who climb on their boats and traverse the wavy seas. Such a curious simile, in which both elements feature youth and their occupation. Is the confidante merely mentioning a similarity or is she in fact conveying that the duty of youth everywhere is to hunt and provide and therefore, it’s but a natural thing that the man is away seeking wealth? With that, she perhaps sets the base for her consoling words to the lady.

Then, the confidante details how these fishermen catch all their favourite fish, slice them up and bring back the load in their boats, and arriving amidst the celebratory shouts of their village, unload and spread that fatty fish on the white sands. While this may look like a common scene from that region, the confidante is mentioning this act, as a metaphor to the prediction that the man will return from his hunt for wealth, amidst the cheers of his kinsmen and will thus, lift up the spirits of the lady. 

Finally, the confidante ends her message by saying that soon, the air in the village will be filled with the sounds of the man’s chariot, hurrying back to the lady. What wows me, in these poems, is the confidante’s expertise in the art of consolation! Like any one of us today, she doesn’t finish off with a simple ‘it will be okay’ phrase! Just like how those youth of the mountain country and coastal regions are intent on hunting their deer and fish, our confidante too is intent on hunting down the sadness and tears in the lady and awaits the return of a smile on her face. Anyone, anywhere, anytime would be fortunate to have such a healer for a friend. Perhaps, instead of only yearning for one such friend, we can try to be one, at least to ourselves!