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In this episode, we perceive the impact of separation on inner life, as depicted in Sangam Literary work, Natrinai 113, written by Ilangkeeranaar. The verse is set in the ‘Paalai’ landscape or the ‘drylands’ and speaks in the surprised voice of a man to himself, as he reflects on his parting from the lady.
உழை அணந்து உண்ட இறை வாங்கு உயர்சினைப்
புல் அரை இரத்திப் பொதிப் புறப் பசுங் காய்
கல் சேர் சிறு நெறி மல்கத் தாஅம்
பெருங் காடு இறந்தும், எய்த வந்தனவால்-
”அருஞ் செயல் பொருட் பிணி முன்னி, யாமே
சேறும், மடந்தை!” என்றலின், தான் தன்
நெய்தல் உண்கண் பைதல் கூர,
பின் இருங் கூந்தலின் மறையினள், பெரிது அழிந்து,
உதியன் மண்டிய ஒலி தலை ஞாட்பின்
இம்மென் பெருங் களத்து இயவர் ஊதும்
ஆம்பல்அம் குழலின் ஏங்கி,
கலங்கு அஞர் உறுவோள் புலம்பு கொள் நோக்கே!
The poem opens with an image of a ‘high branch’ echoed by the word ‘உயர்சினை’ of the ‘Indian jujube tree, the ‘இரத்தி’ or ‘இலந்த மரம்’, as it’s called today! ‘உழை’, the word meaning ‘work’ in contemporary Tamil, refers to a ‘deer’ here. ‘அணந்து’ which means, ’uplifted head’ tells me that this could be the root of ‘அண்ணாந்து’, that’s used to mean the same now. Yet again, seeking of wealth is characterised as an ‘affliction’ in ‘பொருட்பிணி’. ‘கூந்தலின் மறையினள்’ brings before our eyes, the striking image of ‘a girl hiding behind her tresses’. Words like ‘பைதல்’, ‘அழிந்து’, ‘ஏங்கி’, ‘கலங்கு’, ‘அஞர்’ and ‘புலம்பு’ reverberate with different shades of sadness. In the midst of all this distress, is a ‘ஞாட்பு’ or ‘battle-field’ and a ‘குழல்’ or ‘flute’. What a stunning montage! Let’s delve in to see the full story.
The man and woman have recently married and circumstances arise so as to make the man leave on a journey, parting from the lady. One day, as the man walks on his path through the drylands, he remarks to himself, “The high branches of the ‘iraththi’ tree, twisted to the side, by deer lifting their heads and tearing at the leaves, sheds its full-bodied, fleshy fruits on the stone-filled narrow path. Even though I walk on this path through this huge forest, right before my eyes appears that glance! The moment I said, “My young girl, afflicted by the desire to gather that hard-to-attain wealth, I intend to leave on a journey!”, her waterlily-like eyes filled with distress as she tried to cover her face behind her dark tresses, utterly shaken. Like the stirring music from ‘ambal’ flutes played by musicians, on that furious, sound-filled battlefield of the Chera King ‘Uthiyan’, she shed tears, filled with agony and glanced at me, in desolation.” With these words, the man expresses the intensity of love that is pulling him back as he walks on his path.
Beyond mere glances, let’s observe this work deeply, inspired by the poet himself. A moment to pause at the ‘iraththi’ tree. The tree stands there alone. But, the poem shows you more! By pointing to a twisted branch, the poem brings before our eyes, the image of a deer, lifting its head up, pulling the branch down to feed on its leaves and because of this action, the branch doesn’t break but it’s bent nevertheless. To see so much from the mere sight of a branch is testimony to the observation and inferential skills of those poets. Returning back to the poem, the man says that here is this tree that has shed its fleshy fruits on the ground beneath. This is the path he walks on. A narrow, stone-filled path through the forest. This is his reality and yet, he sees something else right before his eyes. He sees his lady at the moment he conveyed to her of his intention to leave. That moment, her dark eyes, akin to a lily, spoke of a deep sadness and to not let the man see it, she hid her face behind her flowing hair. She was the picture of utter grief and she cried…
In the sound of her cry, the man tells us a little about the history of his land. He brings before our eyes, a battle-field, thundering with rage, roaring with noises many. In this battle-field, we meet a Chera King ‘Uthiyan’, who is said to be the earliest known Chera king. The king may seem to be battling on the field like any other ruler but what sets him apart, is his strategy. He brings not only spear-wielding soldiers, but also musicians who play the ‘ஆம்பற் குழல்’ or ‘flutes with handles like a water-lily’. What is such soul-stirring music doing on the battlefield? Uthiyan’s wisdom tells him that the fury of soldiers will be calmed by the music of these flutes. Art blooms as a red rose, absorbing the bloodshed of this battlefield!
The man talks about these flutes, only to place them in parallel to the tears of the lady. Her eyes, filled with tears is the image that arises before the man’s eyes although he has travelled miles away from her. Like the man’s memory of his lady far away, this verse made the Tamil film song ‘Evano oruvan vaasikindran’ from the movie ‘Alaipayuthey’, echo in my ears. A song which speaks about the pain of separation between a young couple. The haunting music of flutes in that song and the lines,
‘அந்தக் குழலைப் போல் அழுவதற்கு
அத்தனை கண்கள் எனக்கில்லையே’
meaning,
‘to cry like that flute,
I possess not, eyes that many!’
brings a two-thousand year old Sangam poem and a twenty-first century song on the same page.
Glancing back once again, we see the opening image of the poem, a branch bent by a deer that pulled and grazed on its leaves. The branch is twisted in the memory of that deer’s tug but not broken. Likewise, the man’s heart is tugged by the memories of his lady’s distress, her flute-like tears and we understand that although bent by emotion, the man will journey on, unbroken, to fulfil his duty!
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