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In this episode, we perceive contrasting scenes and emotions, as depicted in Sangam Literary work, Kurunthogai 353, penned by Uraiyoor Muthukootranaar. Set in the mountains of ‘Kurinji’, the verse speaks in the voice of the confidante to the lady, passing on a hidden message to the man, listening nearby.
ஆர் கலி வெற்பன் மார்பு புணை ஆக,
கோடு உயர் நெடு வரைக் கவாஅன், பகலே,
பாடு இன் அருவி ஆடுதல் இனிதே;
நிரை இதழ் பொருந்தாக் கண்ணோடு, இரவில்,
பஞ்சி வெண் திரி செஞ் சுடர் நல் இல்
பின்னு வீழ் சிறுபுறம் தழீஇ,
அன்னை முயங்கத் துயில் இன்னாதே.
‘That is sweet; this is bitter’ is the core thought herein! The opening words ‘ஆர் கலி வெற்பன்’ meaning ‘the lord from the uproarious mountains’ is an epithet for a man from the mountain country, and it’s uproarious because of the cascades that abound in that land. Speaking of cascades, we see or rather hear ‘the musical waterfall’ in ‘பாடு இன் அருவி’. Insomnia waves to us in ‘நிரை இதழ் பொருந்தாக் கண்ணோடு’ meaning ‘with eyes wherein the eyelids do not meet’. The phrase ‘பஞ்சி வெண் திரி செஞ் சுடர்’ meaning ‘a crimson flame atop a white cotton wick’ is significant, for the word ‘பஞ்சி’ , having slightly changed into ‘பஞ்சு’ is in use, after two thousand years, in the same meaning. Ending with the words ‘அன்னை முயங்கத் துயில் இன்னாதே’ meaning ‘the sleep with mother’s embrace is unenjoyable’, the verse intrigues our curiosity.
Such picturesque views from the mountain and yet there seems to be a sense of dissatisfaction! The context reveals that the man and lady were leading a love relationship and that the man was trysting with the lady by day. After a while, fearing that their secret tryst will fall in the eyes of the village folk, the man wishes to tryst with the lady by night, and with that intent, he comes to the lady’s house. Pretending not to notice him, but making sure he’s in earshot, the confidante says to the lady, “Holding the chest of the lord from the resounding hills as the raft, playing in that melodious waterfall in the mountain side with soaring peaks, during the day, is pleasant; With eyes having eyelids that do not come together, in the good home, where glows a red flame atop the white, cotton wick, as mother embraces the back, on which descends the braids, during the night, that sleep is unpleasant indeed!” With these words, the confidante informs the listening man that the lady is under strict guard during night, and so, as both day and night trysts seem not to work out, the only course of action was to seek the lady’s hand in marriage.
A curious way of declaring to the man, ‘Marry her, marry her’! The confidante presents two different scenes. One is happening during the day, near a sweet-sounding waterfall in the mountain side. Here, the lady rejoices in playing and swimming with the man’s chest as the raft, the confidante tells us. Doesn’t everything about it evoke joyous feelings, she seems to ask us! Then, the confidante cuts this scene and transitions to another one. Now, it’s dark! Well, not pitch dark, for the oil lamp’s flame casts a red glow on their fine home, she tells us. She takes us closer to the lady and shows how this maiden has her eyes wide open, even as her mother lies next to her, with her hand on the lady’s back, where her braided hair falls down. Sleepless lies the lady, the confidante concludes, adding that the lady’s emotion is the total opposite of what she experienced with the man, during the day.
‘Indeed, that may feel bitter to the lady, but that’s the bitter truth, O man’, the confidante seems to say, thereby indirectly bidding him to seek the permanent path of happiness with the lady, instead of worrying about the impediments to their togetherness by day and night. How can the man not get the message with this movie-style presentation of contrasting scenes? Truly, a sensorial verse that gives us a deep insight about a day in the life of a Sangam maiden!
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