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In this episode, we perceive a young man’s desperation, as depicted in Sangam Literary work, Kurunthogai 182, penned by Madal Paadiya Maathankeeranaar. The verse is situated in the mountains of ‘Kurinji’ and speaks in the voice of the man to his heart, passing on a pointed message to the lady’s confidante, listening nearby.
விழுத் தலைப் பெண்ணை விளையல் மா மடல்
மணி அணி பெருந் தார் மரபிற் பூட்டி,
வெள் என்பு அணிந்து, பிறர் எள்ளத் தோன்றி,
ஒரு நாள் மருங்கில் பெரு நாண் நீங்கி,
தெருவின் இயலவும் தருவதுகொல்லோ-
கலிழ் கவின் அசைநடைப் பேதை
மெலிந்திலள்; நாம் விடற்கு அமைந்த தூதே?
‘I have no other go’ exclaims a voice here! In the opening words ‘விழுத் தலைப் பெண்ணை’ meaning ‘the fine top of a palmyra tree’, the verse makes our eyes soar to the peaks of a green palm, where sit the oldest of fronds. And, this is what is referred to in ‘விளையல் மா மடல்’ meaning ‘huge and mature palm frond’. The phrase ‘மணி அணி பெருந் தார் மரபிற் பூட்டி’ meaning ‘bell adorned huge garland tied exactly as tradition dictated’ gives a hint about specific rules about the type of garlands used for different occasions by different people. I was startled a little on reading ‘வெள் என்பு அணிந்து’ meaning ‘wearing white bones’. Wonder who is wearing it and why! ‘பிறர் எள்ளத் தோன்றி’ details the reaction of people for this phrase means ‘making others laugh in derision’. When we glimpse at ‘பெரு நாண் நீங்கி தெருவின் இயலவும்’ meaning ‘removing every shred of shame and pulling along in the street’, we know for sure the song dwells on the theme of ‘madal eruthaal’ or ‘madal oorthal’ that we have encountered before. Ending with the words ‘நாம் விடற்கு அமைந்த தூதே’ meaning ‘the only possible messenger to be sent’, the verse intrigues our curiosity.
Bells and bones resound aloud, shouting out a message in this verse. The context reveals that the man had met the lady and fallen in love with her. As custom bade him to follow, he sought the help of the confidante to further his relationship with the lady. The confidante continued to refuse his requests. One day, as the confidante was leaving after one such refusal, the man says, as if to his heart, “From the top of a palmyra tree, taking a huge and mature frond, and tying it with a big garland, full of bells and adornments as custom dictates, then, wearing white bones and appearing so that others laugh, stepping into the street, removing all sense of shame, and pulling along the path – Is this what I must do? That lady, whose beauty brims over as she walks with a gentle sway, relents not; Is this the only messenger I can send?” With these words, the man declares that he sees no other option but to ride a palmyra horse, if the confidante would not heed to his requests to tryst with the lady.
There we go, a threat again! Let’s follow the man’s words closely to see what new elements we can gather from this version. The man starts at the very top of a palmyra tree. Here, he picks a mature and thick frond. Next, he goes on to talk about tying bell garlands to this frond. Filling the blanks in between, we know he implies that a horse has been made from that palm frond. Then he continues talking about wearing white bones around his neck. This is a new one! This far, we have seen how the man wears cactus flowers and other blooms that are not normally used as garlands when riding the palmyra horse but here, he ups the game and has decided to wear a garland of bones! Next, the man indicates the reactions of the people around saying they are sure to mock and laugh at him in the street, as he steps there, destroying all his shame, and pulls that palm frond horse adorned with bells. Why this state? It’s because the girl he loves, the one with a swaying gait and overflowing beauty, does not seem to accept his love. So, he concludes the only messenger he could send on his behalf, seems to be to ride the palmyra horse himself!
Hearing this, no doubt, the confidante will be shocked for this will mean humiliation not just for the man but the lady too in their world. Some questions rise in my head. Didn’t the lady have the choice to refuse such proposals? Must she always accept it? Or, does the conflict arise only in the confidante’s approval while the lady has already reciprocated the man’s love? Whatever that may be, every time I read verses on this theme of ‘riding a palmyra horse’, I cannot help wondering if this was a true custom or something imagined by Sangam poets, as a dramatic event to bring together the man and the lady. Jumping to the present, are we being clear about the things we do in our relationships today or will our actions make future generations wonder, just like us, why they did what they did!
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