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In this episode, we perceive the beauty of a blue lotus, as depicted in Sangam Literary work, Ainkurunooru 181-190, situated in the ‘Neythal’ or ‘Coastal landscape’ and penned by the poet Ammoovanaar.
Here goes the Nineteenth Ten of Ainkurunooru: Ballad of the Blue Lotus
181 Making life sweet
நெய்தல் உண்கண், நேர் இறைப் பணைத் தோள்
பொய்தல் ஆடிய பொய்யா மகளிர்
குப்பை வெண் மணல் குரவை நிறூஉம்
துறை கெழு கொண்கன் நல்கின்,
உறைவு இனிது, அம்ம! இவ் அழுங்கல் ஊரே.
With kohl-streaked eyes, akin to blue lotuses, soft arms, akin to bamboos, the faultless maiden play ‘Poithal games’ and do ‘Kuravai dances’ on the heaps of white sands in the lord’s rich shores. If he renders his grace, then living would turn sweet in this uproarious town.
182 He is the one
நெய்தல் நறு மலர் செருந்தியொடு விரைஇக்
கை புனை நறுந் தார் கமழும் மார்பன்
அருந் திறல் கடவுள் அல்லன்
பெருந் துறைக் கண்டு, இவள் அணங்கியோனே.
Along with the fragrant flowers of the blue lotus, golden champak flowers are tied together in the hand-woven garland that wafts with fragrance from the lord’s chest. It’s not god almighty, but he, who seeing her in the huge shore, caused this affliction in her.
183 Evening in the morning
தண் கடல் சேர்ப்பன் பிரிந்தென, பண்டையின்
கடும் பகல் வருதி கையறு மாலை!
கொடுங்கழி நெய்தலும் கூம்பக்
காலை வரினும், களைஞரோ இலரே.
When the lord of the shores surrounded by cool seas has parted from me, just like before, you come in the harsh afternoon, spreading helplessness, O evening. Even if you were to appear in the morning to make the blue lotus in the curving backwaters close its buds, there is no one to allay my sorrow!
184 Pushed aside
நெய்தல் இருங் கழி நெய்தல் நீக்கி
மீன் உண் குருகினம் கானல் அல்கும்
கடல் அணிந்தன்று, அவர் ஊரே;
கடலினும் பெரிது, எமக்கு அவருடை நட்பே.
Pushing aside the blue lotus blooming in the dark backwaters of the coast, flocks of birds feed on fish and then rest in the groves, surrounded by seas in his town. To me, greater than the sea is his relationship!
185 Epitome of beauty
அலங்குஇதழ் நெய்தல் கொற்கை முன்துறை
இலங்கு முத்து உறைக்கும் எயிறு கெழு துவர் வாய்,
அரம் போழ் அவ் வளைக் குறுமகள்
நரம்பு ஆர்த்தன்ன தீம் கிளவியளே.
With glowing teeth, akin to the shining pearls found on the shores of Korkai, blooming with blue lotuses, filled with dancing petals; and a mouth, akin to coral; wearing beautiful shell bangles, carved with a saw, is that young maiden, whose words are as sweet as the music from the strings of the lute.
186 Ban to go
நாரை நல் இனம் கடுப்ப, மகளிர்
நீர் வார் கூந்தல் உளரும் துறைவ!
‘பொங்குகழி நெய்தல் உறைப்ப, இத் துறைப்
பல்கால் வரூஉம் தேர்’ என,
‘செல்லாதீமோ’ என்றனள் யாயே.
Akin to flocks of seabirds appear maiden, drying their dripping tresses in your shore, O lord! ’Splashing on the blue lotuses blooming in the brimming backwaters, comes a chariot often on this shore. So, don’t you go!’, said mother!
187 No to you
நொதுமலாளர் கொள்ளார் இவையே;
எம்மொடு வந்து கடல் ஆடு மகளிரும்
நெய்தல்அம் பகைத்தழைப் பாவை புனையார்;
உடலகம் கொள்வோர் இன்மையின்,
தொடலைக்கு உற்ற சில பூவினரே.
Strangers will not accept this; As for maiden, who come along with us and play in the seas, they will never adorn their dolls with anything but the leaves of blue lotuses. As there’s no one to wear them on their form, there are only a few flowers that are fit to be in a garland.
188 Esteemed eyes
இருங் கழிச் சேயிறா இனப் புள் ஆரும்
கொற்கைக் கோமான் கொற்கைஅம் பெருந் துறை
வைகறை மலரும் நெய்தல் போலத்
தகை பெரிது உடைய, காதலி கண்ணே!
Flocks of seabirds feed on shrimps in the backwaters of the huge shore in Korkai, ruled by the southern emperor. Akin to the blue lotus there that blooms there at dawn, greatness dwells in my lover’s eyes!
189 Golden blue lotuses
புன்னை நுண் தாது உறைத்தரு நெய்தல்
பொன்படு மணியின் பொற்பத் தோன்றும்
மெல்லம் புலம்பன் வந்தென,
நல்லஆயின தோழி! என் கண்ணே.
The fine pollen of the laurelwood tree scatters on the blue lotus and makes it appear like a gold-studded sapphire in the gentle shores of the lord. As he has returned, happy have turned my eyes, my friend!
190 Setting aside obstacles
தண் நறு நெய்தல் தளை அவிழ் வான் பூ
வெண்ணெல் அரிநர் மாற்றினர் அறுக்கும்
மெல்லம் புலம்பன் மன்ற எம்
பல் இதழ் உண்கண் பனி செய்தோனே.
Setting aside the huge blooming flowers of the cool and fragrant blue lotus, paddy harvesters chop paddy stalks alone in the gentle shores of the lord. He is the one, who made my many-petaled, kohl-streaked eyes fill with tears!
Thus concludes Ainkurunooru 181-190. The verses are situated both in the context of a man’s love relationship with the lady, as well as a man’s married relationship with the lady involving a conflict situation about a courtesan. The unifying theme in all these verses is the presence of the flower that gives this landscape its name, ‘Neythal’ or ‘Blue lotus’. Either the lady or the confidante or the man render their voice in these verses and we shall explore the context as we go along.
Before that, let’s see how the blue lotus is employed in each verse. In one, the blue lotus becomes a silent simile for the eyes of maiden; in another, they dangle on the chest of the lord along with golden champak flowers; As an object acted upon by the evening, meaning the blue lotus closes its buds at this time of the day, they appear in a verse; Yet again, as an object that’s pushed aside by the birds as these look for fish in the backwaters, the blue lotuses make a poignant appearance. To identify the shores of Korkai, where pearls lie scattered, the blue lotuses stand up in one. In a description of how the lord’s chariot splashes water on them, these flowers make their presence felt. In another intricate description of how maiden have particular preferences about using the petals and leaves of the blue lotus in their garments, these are found. A blue lotus blooming at dawn is called in parallel to a woman’s eyes. As a picturesque image of golden pollen resting on the petals of the blue lotus, they appear in another. In the final representation, we find paddy harvesters carefully setting aside the blue lotuses blooming along with the paddy stalks and cutting only the paddy stalks.
Focusing on the intent of the speakers, in the first, the confidante informs the lady that the man is arriving to claim the lady’s hand, and in response, the lady says that if it were true, then living there in that town would turn sweet, implying that it was not so now, because of the slander that spread about her relationship with the man. In the second, the confidante reveals about the lady’s relationship with the man to the lady’s family saying it’s not god who has caused that affliction in the lady but the man she loves. In the third, the lady laments that it doesn’t matter whether the evening arrives as usual at dusk or even if it comes at dawn, for there was no one to end her sorrow, because the man had parted away from her to seek wealth for their wedding.
In the fourth, the lady remarks how to her the man’s relationship seemed greater than the sea but to him it seemed not to be so, as he was out courting with courtesans. The fifth sees the context changing prior to marriage with the man describing the one he has fallen in love with, as one, who has teeth like pearls, a mouth like coral, and that she wears shell bangles and speaks words, sweet like a lute. In the sixth, the confidante describes to the man that mother has put the lady on guard owing to rumours about the arrival of the man’s chariot in their town, and so if he wanted to be with the lady, he had to take steps to claim her hand. In the seventh, the confidante refuses the man’s gift of a leaf garment indicating that she did not find him suitable for the lady.
The eighth returns to the situation after marriage when the man has been refused entry to their home multiple times and then he decides to arrive with guests so that the lady cannot refuse him. Likewise, she shows no sign of anger towards him because of her innate hospitality, and at this time, to win her over, the man praises her eyes and says great esteem seems to rest there. In the ninth, the confidante tells the lady that she’s happy because the man has returned to claim the lady’s hand. In the last one, we travel back to the situation, prior to marriage when the confidante, speaking in the voice of the lady, says it’s the man, who has made the lady’s eyes fill with tears, revealing the lady’s relationship with the man to the lady’s family.
Turning to metaphorical elements, in the one where the seabirds push aside the blue lotus and seek the little fish in the backwaters, the confidante uses that as a metaphor for the man setting aside the lady and stooping low to seek courtesans. In the one where the man describes how flocks of seabirds feed on shrimps, he recollects his shameful behaviour of seeking courtesans and abandoning the lady and puts that image forth as an apology to the lady. In the picturesque image of the ‘punnai’ tree shedding its golden pollen on the blue lotus, the confidante imagines golden blessings of a happy married life with the man for the lotus-like lady. In the final one, which describes how harvesters of paddy carefully remove the blue lotuses growing in-between the crops so as to not harm them and then cut the paddy stalks, the confidante assures the lady’s family that the man will remove all obstacles in his path and do the needful to claim the lady’s hand. And so, this section an absolutely mixed bag of a little ‘this’ and a little ‘that’ but definitely wafting with the fragrance of a blue lotus, a delight for the senses!
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