Podcast: Play in new window | Download
Subscribe: Apple Podcasts | Spotify | Amazon Music | Android | iHeartRadio | TuneIn | RSS | More
In this episode, we learn about ancient social customs and cultural festivals, as depicted in Sangam Literary work, Natrinai 234, penned by an anonymous poet. Set in the mountain country of ‘Kurinji’, the verse speaks in the voice of the lady’s mother to the lady’s father, when the man arrives to seek the lady’s hand in marriage accompanied by elders and family.
சான்றோர் வருந்திய வருத்தமும் நுமது
வான் தோய்வு அன்ன குடிமையும் நோக்கித்
திரு மணி வரன்றும் குன்றம் கொண்டு இவள்
வரு முலை ஆகம் வழங்கினோ நன்றே
அஃது ஆன்று
அடை பொருள் கருதுவிர் ஆயின் குடையொடு
கழுமலம் தந்த நல் தேர்ச் செம்பியன்
பங்குனி விழவின் உறந்தையொடு
உள்ளி விழவின் வஞ்சியும் சிறிதே.
The poem opens with ‘சான்றோர் வருந்திய வருத்தமும்’ meaning ‘the troubles taken by the wise elders’. The phrase ‘வான் தோய்வு’ declares something as ‘reaching up to the skies’ and we then learn that this something is ‘குடிமை’ or ‘ancestral lineage’. When we encounter ‘வரு முலை ஆகம் வழங்கினோ’ meaning ‘offer her bosom in exchange’, we understand the conversation centres around what is known as ‘breast price’ or ‘bride price’, the custom of offering the girl’s family, compensation for marrying the girl. Let’s explore more about this shortly. Thereafter, an ancient Chola king ‘செம்பியன்’ makes an appearance along with two cities ‘உறந்தை’ and ‘வஞ்சி’, decorated in the gaiety of ‘பங்குனி விழவு’ and ‘உள்ளி விழவு’, two age-old festivals. Time to know more about this cultural extravaganza of a poem!
The man and lady have been in a love relationship and the man understands it’s time to formalise the union. Therefore, he arrives at the lady’s house carrying precious jewels, accompanied by elders to seek the blessings of the lady’s kith and kin. The lady’s foster-mother has been informed about the lady’s preference for the man by the lady’s confidante. This foster-mother, in turn, has told the lady’s birth-mother about the situation. When the man’s family arrives at their home, the lady’s mother turns to her husband and says, “Although your ancestral glory is sky high, considering the troubles of these esteemed elders, it would be good if you accept their hill, which showers sapphires, as the ‘bride price’ and offer our girl in marriage. But, if you insist on assessing the equivalent price for her, even the city of ‘uranthai’, famous for its ‘panguni’ festival, the capital of the Chola king Chembiyan, who defeated foes many at Kalumalam, and the city of ‘vanji’, famous for its ‘ulli’ festival, will be deemed inadequate!” With these words, the lady’s mother, understanding her daughter’s prior relationship with the man, insists to her husband to accept the man’s bride price and offer their daughter in marriage.
Now, to delve into this treasure trove of ancient culture! The poem stems from a core of a socio-cultural practice called ‘bride price’, a custom practised even today in many cultures in Sub-Saharan Africa. This custom could possibly be seen as a remnant of the African origins of the Sangam people. In India, this ancient practice of ‘bride price’ does not exist anymore and in the past centuries, has been replaced by its reverse, in which the girl’s family pay a ‘dowry’ to the man marrying their daughter. Some studies indicate that this ancient ‘bride price’ should not be seen as ‘buying the girl’ but is actually a token paid for the irredeemable debt the man owes to the girl’s family for raising her.
In this verse, the lady’s mother pays due tribute to the family glory of her husband saying that it touches the skies. And, with her kind heart, she also talks about the trouble the man’s family and the elders have taken in coming over to their house and pays them the due respect. She then puts in her recommendation that the lady’s father, should accept the hill on the man’s mountain country, which she remarks as a peak that scatters sapphires, as the fit ‘bride price’ for their girl and offer her in marriage to the man. This scattering of gems is a possible reference to the precious gems that the man has brought to offer to the lady’s family. Then, knowing her husband’s mind well, she tells him not to be too finicky about the right price for their girl, only because even the celebrated cities of ‘Uranthai’ and ‘Vanji’ cannot stand up to the glory of their girl!
In other Natrinai poems, we have seen this literary tradition of comparing a lady’s beauty to a city and here again, in an indirect manner, the same scale of comparison is being used. To understand a little more about those glorious places, let’s look closer at the description. The city of ‘Uranthai’ is the ancient capital of the early Cholas, now referred by the name ‘Uraiyur’, in the Tiruchirapalli district of Tamilnadu. Two roads lead out of the city of ‘Uranthai’ in this verse. One is the connection with the Chola King ‘Chembiyan’, who is said to be the founder of the early Chola Kingdom, and there’s mention of how he defeated his many enemies in the battle of ‘Kalumalam’. The other branch leading out of ‘Uranthai’ is mention of a ‘Panguni festival’. ‘Panguni’ is the name of a Tamil month and falls around mid-March to mid-April. Apparently, the festival referred here is an ancient version of Lovers’ day, where men and women gathered by the river, on the full moon day of this month, with a wish that their love for each other will be everlasting.
Now, we turn our attention to the other city ‘Vanji’, known today as ‘Karur’ in the district with the same name in Tamilnadu. This ‘Vanji’ was the ancient capital of the Cheras and the festival mentioned in association with this city is the ‘Ulli’ festival. This festival involves male dancers of the ancient ‘Kongar’ tribe tying heavy bells, weighing more than 3 kilos, above their ankles and dancing with an uproarious sound. This festival is said to be found even today in the remote regions of the ‘Kongu belt’ in Tamilnadu. The curious facet I learnt is how similar this ‘Ulli’ dance is to the ‘Morris’ dance in England. This is an ancient dance of the Celts, who were the original inhabitants of England, and is said to have ‘Moorish’ origins. This ‘Morris dance’, too, involves tying bells around the legs and dancing rhythmically. I stand stunned at the power of this single verse that has taken us from Sangam times to Sub-Saharan Africa and to the shores of England, yet another subtle tribute to the oneness of humanity.
