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In this episode, we observe changing scenes around an element of the seashore, as portrayed in Sangam Literary work, Ainkurunooru 141-150, situated in the ‘Neythal’ or ‘Coastal landscape’ and penned by the poet Ammoovanaar.
Thus flows the Fifteenth Ten of Ainkurunooru: Tigerclaw Tales
141 Scattered droplets
எக்கர் ஞாழல் செருந்தியொடு கமழத்
துவலைத் தண் துளி வீசிப்
பசலை செய்தன பனி படு துறையே.
As the tigerclaw in the sands along with the golden champak wafts fragrance, cool droplets scatter in the mist-filled seashore, spreading pallor in me.
142 Resting birds
எக்கர் ஞாழல் இறங்கு இணர்ப் படு சினைப்
புள் இறை கூரும் துறைவனை
உள்ளேன் தோழி! படீஇயர் என் கண்ணே!
On the tigerclaw in the sands with bent flower-filled branches, birds arrive and rest in the shore of the lord. I shall not think of him anymore. Let my eyes sleep!
143 Changing circumstances
எக்கர் ஞாழல் புள் இமிழ் அகன் துறை,
இனிய செய்த; நின்று, பின்
முனிவு செய்த இவள் தட மென் தோளே.
By the tigerclaw in the wide shores, resounding with the call of birds, the soft and curved arms of hers seemed to render joy back then. But later, they seem to render distress!
144 Solitary sleep
எக்கர் ஞாழல் இணர் படு பொதும்பர்த்
தனிக் குருகு உறங்கும் துறைவற்கு
இனிப் பசந்தன்று என் மாமைக் கவினே.
On the tigerclaw in the sands of the groves, filled with flower clusters, a solitary bird sleeps in the shore of the lord. Thinking of him, my dark-skinned beauty has attained pallor.
145 Ending pallor
எக்கர் ஞாழல் சிறியிலைப் பெருஞ் சினை
ஓதம் வாங்கும் துறைவன்
மாயோள் பசலை நீக்கினன், இனியே!
A tigerclaw in the sands, with small leaves and huge branches, stands on the wave-filled shore of the lord. He has banished the pallor of the dark-skinned maiden now.
146 Sweetening beauty
எக்கர் ஞாழல் அரும்பு முதிர் அவிழ் இணர்
நறிய கமழும் துறைவற்கு
இனியமன்ற என் மாமைக் கவினே.
A tigerclaw in the sands, with mature flower clusters, wafts fragrance in the shore of the lord. Sweet turns my dark-skinned beauty, just for him.
147 Price for attire
எக்கர் ஞாழல் மலர் இல் மகளிர்
ஒண் தழை அயரும் துறைவன்
‘தண் தழை விலை’ என நல்கினன், நாடே.
Seeing the tigerclaw in the sands, without flowers, women gather its shining leaves as attire in the shores of the lord. As the price for your cool leaf attire, he offered a nation entire.
148 Brimming branches
எக்கர் ஞாழல் இகந்து படு பெருஞ் சினை
வீ இனிது கமழும் துறைவனை
நீ இனிது முயங்குமதி, காதலோயே!
On the tigerclaw in the sands, the huge branches brim over with flowers and drop down, spreading fragrance in the shore of the lord. Embrace him well and delight, O loving friend!
149 Spread not suffering
எக்கர் ஞாழல் பூவின் அன்ன
சுணங்கு வளர் இள முலை மடந்தைக்கு
அணங்கு வளர்த்து, அகறல் வல்லாதீமோ!
Akin to the flowers of the tigerclaw in the sands, are the spots on the budding, young breasts of the lady. May you not spread suffering over her and depart away!
150 Crashing waves
எக்கர் ஞாழல் நறு மலர்ப் பெருஞ் சினைப்
புணரி திளைக்கும் துறைவன்
புணர்வின் இன்னான்; அரும் புணர்வினனே.
Against the tigerclaw in the sands, with fragrant flowers on huge branches, crash the waves in the shore of the lord. He only brings pain even in our rare moments of togetherness!
So concludes Ainkurunooru 141-150. The unifying theme of all these songs is an image of the ‘Gnazhal tree’, commonly known as ‘Cassia tree’ or ‘Tigerclaw tree’. These songs occur either in the context of a secret love relationship, prior to marriage, between the man and the lady, or in the context of married relationship and conflict involving a courtesan. The speakers in the different songs are either the lady or the confidante and words are rendered to each other or the man, in a few cases.
The specialty of this section is that constantly repeating image of the tigerclaw tree. In one, we smell its fragrance in fusion with the flowers of the golden champak. In a few others, birds rest on its flower-filled branches and resound aloud. One verse speaks of a solitary bird asleep on this tree, which is a metaphor for the man not seeking the lady’s hand in marriage and preferring to sleep alone after his trysting. In another, waves surround the tree, which is said to have small leaves and huge branches and the aspect of the waves surrounding the tree is another metaphor for the man using the counsel of elders to convince the opposition of the lady’s family. Flowers spread fragrance in one and in another striking verse, women see the tree bereft of flowers and gather the leaves to wear as their attire. In yet another one, flowers brim over from the branches. In one, the flowers of the tigerclaw are described as similes to the spots that appear on a lady’s young breasts. In the final one, waves crash against the tigerclaw tree, talking about how the man’s relationship with courtesans has hindered and troubled the man’s happy married life.
In the first, the lady speaks to the confidante and says how the mood of the seashore affects her own mood and spreads pallor, as the man continues to delay seeking her hand. In the second one, the lady responds to the repeated attempts of the confidante to cheer her up, in a similar situation as the first, by saying, ‘Okay, I won’t think of him anymore. Wish my eyes would close.’ In the third, the confidante talks to the man contrasting how once upon a time the lady’s beauty seemed to give him joy but now, it only evokes dislike in him, as a commentary on his behaviour of seeking courtesans. In the fourth, the one with the solitary bird on the tigerclaw tree, the lady laments that it’s because of the man that her form has attained pallor. The fifth shows us a change of mood where the confidante praises the man for removing the pallor in the lady, implying he has come seeking her hand and won the approval of her kin.
The sixth is said by the lady about how her beauty turns bright, because of the man, implying the positive turn of events. In the seventh, the confidante describes how the man seemed to give his entire country as ‘bride price’ or an offering to the lady’s family. The eighth sees the confidante blessing the lady for a happy life with the man. In the ninth, the confidante becomes an advisor and counsels the man not to make the lady suffer by parting away after marriage. In the final one, things have not gone the way the confidante predicted and the lady is distressed by the man’s relationship with courtesans and refuses to permit him entry to their home. Thus, so many changing scenes such as courtship, seeking a lady’s hand, marriage and then conflict is carved on the sands of an ancient shore, wherein stands a forever fragrant ‘Gnazhal’ tree!
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