Kalithogai 9 – Born here for another elsewhere

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‘எறித்தரு கதிர் தாங்கி ஏந்திய குடை நீழல்,
உறித் தாழ்ந்த கரகமும், உரை சான்ற முக்கோலும்,
நெறிப்படச் சுவல் அசைஇ, வேறு ஓரா நெஞ்சத்துக்
குறிப்பு ஏவல் செயல் மாலைக் கொளை நடை அந்தணீர்!
வெவ் இடைச் செலல் மாலை ஒழுக்கத்தீர்; இவ் இடை,
என் மகள் ஒருத்தியும், பிறள் மகன் ஒருவனும்,
தம்முளே புணர்ந்த தாம் அறி புணர்ச்சியர்;
அன்னார் இருவரைக் காணிரோ? பெரும!’

‘காணேம் அல்லேம்; கண்டனம், கடத்திடை;
ஆண் எழில் அண்ணலோடு அருஞ் சுரம் முன்னிய
மாண் இழை மடவரல் தாயிர் நீர் போறிர்…

பல உறு நறுஞ் சாந்தம் படுப்பவர்க்கு அல்லதை,
மலையுளே பிறப்பினும், மலைக்கு அவைதாம் என் செய்யும்?
நினையுங்கால், நும் மகள் நுமக்கும் ஆங்கு அனையளே

சீர் கெழு வெண் முத்தம் அணிபவர்க்கு அல்லதை,
நீருளே பிறப்பினும், நீர்க்கு அவைதாம் என் செய்யும்?
தேருங்கால், நும் மகள் நுமக்கும் ஆங்கு அனையளே

ஏழ் புணர் இன் இசை முரல்பவர்க்கு அல்லதை,
யாழுளே பிறப்பினும், யாழ்க்கு அவைதாம் என் செய்யும்?
சூழுங்கால், நும் மகள் நுமக்கும் ஆங்கு அனையளே

என ஆங்கு
இறந்த கற்பினாட்கு எவ்வம் படரன்மின்;
சிறந்தானை வழிபடீஇச் சென்றனள்;
அறம் தலைபிரியா ஆறும் மற்று அதுவே.

After that long sequence of parting away pains, now there’s a change of pace! The words can be translated as follows:

“‘In the shade of an upraised umbrella, that blocks the burning rays, with a pitcher hanging on a low rope, and an esteemed trident placed in the proper manner on the shoulder, you walk with a heart that sees no distractions, having unswerving principles and morals of controlling the senses, O priest! You have the custom of walking through these scorching spaces. In such a place, tread a daughter of mine and a son of another woman. They had a secret relationship, now revealed to all. Did you see them anywhere, O noble priest?’

‘It’s not that they were not seen. They were indeed seen in the midst of the drylands. Along with an esteemed young man, having handsome allure, a maiden wearing well-carved ornaments was treading the harsh drylands. You seem to be the mother of this maiden!’

Even though the much fragrant sandalwood is born in the mountain, other than being of use to those who adorn themselves with it, what could it possibly do for the mountain? When you think about it, your daughter too is like that to you!

Even though the splendid white pearls are born in the seas, other than being of use to those who wear it, what could it possibly do for the seas? When you reflect on it, your daughter too is like that to you!

Even though the fine music of the seven strings is born in the lute, other than being of use to those who play upon it, what could it possibly do for the lute? When you analyse it, your daughter too is like that to you!

And so, don’t you worry on account of this chaste maiden, who parted away. For she has chosen to follow the path of her good man. And that is indeed the only path of righteousness!'”

Time to delve into the nuances. The verse is situated in the context of a lady’s eloping with the man she loves from her parental home. On learning about the lady’s elopement, her mother tries to follow the lady into the drylands and this verse is a dialogue between the mother and a person mother encounters. She begins by describing to us who that person is, and to do that, she talks about the umbrella he holds in his hands, protecting himself from the scorching sun of the drylands, whose handiwork we have seen in song after song. Next she describes the object he is carrying, a pitcher for water, again sensible option for the drylands, and lastly, a trident. Though this sounds to be a ritualistic artefact, much respected as the words that follow indicate, it’s possible the object had some functional use to that wayfarer. From the outer aspects, the mother turns to describe his inner virtue of not heeding to any distractions and who had unwavering morals in place. Sounds like mother has chanced upon an ascetic, for she addresses him as a noble priest. After this salutation, mother arrives at the matter at hand and asks the person if he had come across a woman and a man walking in those parts. She says that woman was her daughter and she says that this young maiden had a love relationship with the man she was walking with.

To mother’s question, the priest renders the answer that indeed he has seen them. Describing the man as being very handsome and the maiden as one wearing well-etched ornaments, he talks of how these two were crossing the drylands. It’s now this priest turns to mother and offers her three similes to explain mother’s state. He describes the sandalwood, pearls and music, and declare though these are born in the mountains, seas and lute respectively, these cannot do anything for the place of their birth, and are meant only for those who use them by applying that sandalwood paste, or adorn themselves with the pearls or play that music. Likewise, he declares the daughter of this mother too is meant to add goodness in the life of another. With the words that the mother shouldn’t worry about her daughter, who has left with the young man, the priest concludes with the convincing words that this girl has chosen the right path by following the man she loves.

And so, we see the clarity of thought in this noble monk, who stands by the young girl, who has eloped away with her love. Most of all, he counsels the mother to let go of her attachment to her daughter, and delight in the fact, that like the sandalwood, pearls and lute, the young maiden is about to add fragrance, beauty and music in the life of another. A verse which reminds me of the 19th century poet Kahlil Gibran’s words that echo the very core of this two thousand year old song to a mother:

‘You are the bows from which your children as living arrows are sent forth.
The archer sees the mark upon the path of the infinite,
and He bends you with His might that His arrows may go swift and far.
Let your bending in the archer’s hand be for gladness;
For even as He loves the arrow that flies, so He loves also the bow that is stable.’