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In this episode, we relish scenes from a paddy field and reflect on a lady’s ire, as portrayed in Sangam Literary work, Natrinai 350, penned by Paranar. The verse is situated in the agricultural regions of ‘Marutham’ and speaks in the voice of the lady to the man, refusing to allow him entry to their house.
வெண்ணெல் அரிநர் தண்ணுமை வெரீஇ,
பழனப் பல் புள் இரிய, கழனி
வாங்கு சினை மருதத் தூங்குதுணர் உதிரும்
தேர் வண் விராஅன் இருப்பை அன்ன, என்
தொல் கவின் தொலையினும் தொலைக! சார
விடேஎன்: விடுக்குவென்ஆயின், கடைஇக்
கவவுக் கை தாங்கும் மதுகைய குவவு முலை
சாடிய சாந்தினை; வாடிய கோதையை;
ஆசு இல் கலம் தழீஇயற்று;
வாரல்; வாழிய, கவைஇ நின்றோளே!
Opening with ‘வெண்ணெல் அரிநர்’ meaning ‘those who reap paddy stalks’, the song teleports us to an ancient paddy field in the harvest season. I was thrown off balance by the word ‘வெண்ணெல்’ in this phrase because it means ‘white paddy’ and it’s rather hard to associate the colour ‘white’ with brown husks of paddy. But delving deeper, I understood that this is a compact way of describing these are paddy stalks of white rice. Closely following these reapers of paddy, appears ‘தண்ணுமை’ or a ‘drum’. What’s a drum doing in the fields? Is it a harvest party? Let’s find out, in a while. ‘பழனப் பல் புள்’ is a portrait of ‘the many birds that rove in the fields’. The quintessential tree that gives this landscape its name also greets us in ‘மருதத் தூங்குதுணர்’ meaning ‘hanging flowers of the Arjuna tree’. From nature, we turn to history and meet with a chief known for his generosity and his picturesque town in ‘விராஅன் இருப்பை’. The verse then captures our attention with a rhythmic phrase ‘தொல் கவின் தொலையினும் தொலைக’ meaning ‘even if my old beauty were to fade away, let it fade away!’ Another such phrase ‘சாடிய சாந்தினை; வாடிய கோதையை’ is a sensual portrait of ‘smeared sandalwood and withered garland’. This follows with a quick glimpse of an object in ‘ஆசு இல் கலம்’ meaning ‘a stained and unclean utensil’. The verse ends with a blessing in ‘வாழிய, கவைஇ நின்றோளே’ meaning ‘long live, that girl who stood embracing you’ and beckons us into the verse.
The man and lady had been leading a married life when the man took to keeping the company of courtesans. The lady is angered by this action of the man. Hearing about her fury, intending to calm her, the man arrives at their house. To him, the lady says, “Farmers, who arrive to reap paddy stalks, beat on loud drums. Frightened by this sound, birds that feed in the fields, flutter away, making the flower clusters hanging on curved branches of the ‘marutham’ tree to drop down. Such scenes are to be found in the town of Iruppai, ruled by Viraan, who gives away chariots. Akin to this town, is my beauty. Even if this were to be ruined, so be it! I will not let you come near. If I were to let you near, I do not have the strength to prevent your arms from embracing me. Then, your chests, which have sandalwood smeared by the embrace of her round bosom and that withered garland, would touch me, which is akin to one touching a stained and used vessel. So, do not come near. May she live long, the one who embraced you!” With these words, the lady is refusing to accept the reconciliation attempt by the man, giving word to her anger about his behaviour and intentions.
Now, for the details! As the lady starts speaking, we find ourselves in the middle of a field, lush with full grown paddy stalks. Noting the maturity of their crop, the farmers arrive to reap the fruit of their hard labour. Before they take their tools out and get chopping, they are seen beating on the characteristic drums of their region. Does this have any religious significance? ‘No’ is the answer. They do that to drive away the many birds that would have taken shelter in the rich fields, full of water and food. Hearing the drums, the birds would know that soon there will be slash of sickles around them and they take to the air with their kith and kin. The fluttering of wings and perching on the branches of the ‘marutham’ tree growing by these fields causes the flowers of the tree to fall down. The lady has detailed this scene only to describe the town of ‘Iruppai’ belonging to chief Viraan. The chief is characterised as one, who gives away not mere gold and gems but entire chariots to those who come seeking to him. But, what does a generous chief and his idyllic town have got to do with the lady? The answer lies in the curious custom of comparing a lady’s beauty to ancient cities!
The lady continues saying that even if her beauty, which is magnificent like the city of Iruppai, were to vanish, so be it. She conceals her anger in the scene of birds flying away to the sound of drums within the metaphor of how the man has returned not out of love for the lady, but because of the slanderous talk that rose in town, akin to those drum beats. Then, she tells the man that she would not let him come closer, for if he were to come close, then she wouldn’t be able to prevent him from embracing her. Why is this such an abhorrent thing to her now? To explain that, she points out the smeared sandalwood paste on the man’s chest and his crushed garlands. Then, like a Sangam Sherlock Holmes, she infers that the man has been in the clasp of that courtesan. To explain how she feels, she brings forth an apt simile saying that if she were to accept the man’s embrace, it would be akin to eating off an already used plate. The lady concludes by reiterating that he should not come closer and instead should return to the courtesan, who embraced him, adding a blessing to that courtesan! This reminds me of a Tamil custom I’ve seen reflected in many movies of how, after a rant against someone, a person would surprisingly end with the words in the lines of ‘May you be well’. No doubt this custom follows the age-old tradition, echoed in this ancient verse, of finishing with words of blessing to even the perpetuator of one’s pain!
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