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In this episode, we appreciate the ingenuity in moving another to action, as portrayed in Sangam Literary work, Natrinai 122, written by Sengkannanaar. Set in the ‘Kurinji’ landscape of mountain country, the verse speaks in the voice of the confidante to the lady, conveying a layered message to the man, listening nearby.
இருங் கல் அடுக்கத்து என்னையர் உழுத
கருங் கால் செந்தினை கடியுமுண்டென;
கல்லக வரைப்பில் கான் கெழு சிறுகுடி
மெல் அவல் மருங்கின் மௌவலும் அரும்பின;
”நரை உரும் உரறும் நாம நள் இருள்
வரையக நாடன் வரூஉம் என்பது
உண்டுகொல்? அன்றுகொல்? யாதுகொல் மற்று?” என
நின்று, மதி வல் உள்ளமொடு மறைந்தவை ஆடி,
அன்னையும் அமரா முகத்தினள்; நின்னொடு
நீயே சூழ்தல் வேண்டும்-
பூ வேய் கண்ணி!-அது பொருந்துமாறே.
As we near the poem, the first sight that greets us, is the ‘இருங் கல் அடுக்கம்’ meaning ‘slope of the huge mountains’. The word ‘என்னையர்’, which expands as ‘என் ஐயர்’, meaning ‘elder to me’, is reflected in contemporary language in ‘தம் ஐயன்’ contracted as ‘தமையன்’ or ‘one’s elder brother’. In the mountain slopes, our ancient brothers seem to be knee deep in cultivation of ‘கருங் கால் செந்தினை’ meaning ‘black-stemmed, red millets’. The phrase ‘கல்லக வரைப்பில்’ meaning ‘in the boundaries of the mountain ranges’ yields the word ‘வரைப்பு’, which has transformed in modern times as ‘வரப்பு’ or a border that separates one farmer’s field from another’s and is the reason for much strife in agricultural communities. Further on, in that mountain country, the gentle fragrance of ‘மௌவல்’ or ‘tree jasmine’ tickles our olfactory glands. Then, the word ‘நரை’ catches our attention. In current-day lingo, this word means the ‘grey in one’s hair’ and I learnt that there is another meaning for this word, which is ‘greatness’. This hints to me about the respect accorded to age in ancient Tamil society. Returning back, we learn ‘நரை’ comes in association with ‘உரும்’ meaning ‘thunder’ and ‘இருள்’ meaning ‘darkness’. Putting things together, we understand that in this context, ‘நரை’ refers to ‘a white streak in the sky’ and in other words ‘lightning’. Fascinating how so many layers of imagery is packed into a single word in this poem. Let’s move on to understand the expanse of the verse.
The man and lady in this mountain country have been in a love relationship for a while. Their relationship bloomed when the millet crops were planted and the lady had been given the task of protecting the fields from preying birds. Days pass by and the confidante observes that the man is not keen on formalising his union with the lady. So, one day, seeing him arrive to tryst with the lady, pretending to not notice him but making sure he’s in earshot, she says to the lady, “In the slopes of the huge mountains, the black-stemmed, red millets, sowed by our brothers, have been harvested. Within the boundaries of the mountains, by the forests, there’s a small hamlet in the fertile valley and there, wild jasmine creepers have opened their buds. ‘The midnight darkness roars with thunder, hemmed by a white streak in the mountain country of the lord. They say he visits here. Is it true? Is it false? Or is it something else?’ So ponders mother, with her strong and intelligent mind. She tries to discern the truth, without letting others know of her intention, as understood from her impenetrable face. O maiden with flower-like eyes, you need to analyse this well and see if this is the right course of action!” With these words, the confidante conveys multiple facts about the lady’s current situation and subtly urges the man to seek her hand in marriage.
Now, let’s plumb into the depths of this verse and understand the layers behind the confidante’s words. The first piece of information pertains to the fact that the red millets sowed by their brothers have been reaped. From this, we understand the farming of crops in the mountain country was carried out by men and not women, as we have seen in poems of ‘Marutham’ or ‘agricultural lands’. Perhaps this was a hard-to-tame land and that’s why this role was assumed by men. Apart from this division of labour that we find interesting, the relevant fact that the confidante wants to convey to the man then, is that the lady is not free to meet with him during the day, as the harvest is done and thereby, she will be confined to her house. The second image is that of jasmine buds blooming in the small villages, adjacent to the forests of the mountain ranges and this is to say, there’s a change in the season. Consequently, the third facet talks about the dark, night sky hemmed by streaks of lightning and roaring with thunder. This is to stress on the dangers in the path at night during the rainy season and thereby say, the nightly trysts with the lady would be difficult too. Finally, the darkest image is that of mother, who has a stiff, impenetrable face and she seems to be probing with her sharp mind about the truth behind the man’s trysts with her daughter. Presenting all these disconcerting images, the confidante says to the lady that she must analyse and decide whether to continue her relationship with the man.
With the stacked images of harvested crop, blooming jasmine, thundering sky, pondering mother and deliberating lady, the confidante intends to sow the seeds of fear in the man’s mind at the possibility of losing his relationship with the lady. Thereby, she intends to reap a quick harvest of a wedded union between the man and her friend. Praise be to the confidante’s wise and caring mind!
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