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In this episode, we listen to an exposition of qualities in a patron, as portrayed in Sangam Literary work, Puranaanooru 196, penned about the Pandya King Ilavanthikaippalli Thunjiya Nanmaaran by the poet Avoor Moolankizhaar. Set in the category of ‘Paadaan Thinai’ or ‘Praise’, the verse reveals the dejection and poverty of this poet.
ஒல்லுவது ஒல்லும் என்றலும், யாவர்க்கும்
ஒல்லாது இல் என மறுத்தலும், இரண்டும்,
ஆள்வினை மருங்கின் கேண்மைப் பாலே;
ஒல்லாது ஒல்லும் என்றலும், ஒல்லுவது
இல் என மறுத்தலும், இரண்டும், வல்லே
இரப்போர் வாட்டல் அன்றியும், புரப்போர்
புகழ் குறைபடூஉம் வாயில்அத்தை;
அனைத்து ஆகியர், இனி; இதுவே எனைத்தும்
சேய்த்துக் காணாது கண்டனம்; அதனால்,
நோய் இலராக நின் புதல்வர்; யானும்,
வெயில் என முனியேன், பனி என மடியேன்,
கல் குயின்றன்ன என் நல்கூர் வளி மறை,
நாண் அலது இல்லாக் கற்பின் வாள் நுதல்
மெல் இயல் குறு மகள் உள்ளிச்
செல்வல் அத்தை; சிறக்க, நின் நாளே!
After the long list of verses dealing with diverse common themes, we are back to singing praises of kings and seeking their favour. Having heard the praise of this Pandya King by many of his contemporaries, the poet goes to the court of the king hoping to earn his grace. After many days in this state, the poet says the following words to the king:
“Saying ‘I shall give’ when it’s possible to give and saying ‘I cannot give’ when it’s not possible to give – Both these are enterprising qualities of an able person. However, saying ‘I shall give’ when it’s not possible to give and saying ‘I shall not give’ when it’s possible to give – Both these are attributes that cause dismay in those who come seeking. Not only that, this way of being diminishes the good fame of those who render unto others; What is done here is akin to that; And this is something that I have never before seen anywhere; And so, may your children remain without ill health; As for me, without feeling hatred when it’s hot, or lethargic when it’s cold, I will journey back to the heap of stones representing my poverty, my home, which can only keep away the wind, thinking about my gentle-natured young lady, with a shining forehead, she, who is filled with modesty and virtue! May your days attain all fame!”
Time to delve into the nuances. The poet starts by talking about the two responses from a patron, one being when they say that would give when they can give and when they say clearly they cannot give because truly they cannot. This he calls as ideal qualities of an estimable person. On the other hand, there are people who do the opposite. That is when they cannot give, they would say they will give and when they can indeed give, they refuse to give. This combination is what frustrates anyone who comes seeking to a patron and also tarnishes the fame of that patron. The poet makes it clear why he has been talking about these abstractions by saying the latter situation is what he’s facing in this king’s court – something he has never seen before anywhere. Saying this, he adds a blessing of good health to the king’s children. Then he goes on to describe how without feeling dislike when it’s sweltering hot or sluggish when it’s cool and cloudy, he would return back to his poverty-filled home. This he will achieve by bringing the thought of his dear wife – a modest, virtuous and beautiful young maiden – to his mind, says the poet. He concludes by blessing the king, wishing for his days to be renowned.
Although the disappointment in this poet soars high in this verse, I want to focus on another subtle aspect here. It’s true the poet is going to return empty-handed to his impoverished home and his wife – a quintessential Sangam female protagonist we have encountered in many a Aham poem in Natrinai and Kurunthogai. Even so, the poet blesses the king’s children with good health and the king himself with a long and famous life. In the midst of dejection, the poet is able to rise above and still render positive words to the king. Surely, the king must have sensed the poet’s goodness and rendered whatever he wished for. Through this, the poet illustrates vividly how one can overcome negativity in one’s circumstances not by resorting to the expected negative perspective but by choosing the unexpected positive!
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