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In this episode, we perceive the helplessness in a lady’s voice, as depicted in Sangam Literary work, Aganaanooru 309, penned by Karuvoor Kanthapillai Saathanaar. Set in the ‘Paalai’ or ‘Drylands Landscape’, the verse details the activities of a tribe of robbers in the drylands.
வய வாள் எறிந்து, வில்லின் நீக்கி,
பயம் நிரை தழீஇய கடுங்கண் மழவர்,
அம்பு சேண் படுத்து வன்புலத்து உய்த்தென,
தெய்வம் சேர்ந்த பராரை வேம்பில்
கொழுப்பு ஆ எறிந்து, குருதி தூஉய்,
புலவுப் புழுக்கு உண்ட வான் கண் அகல் அறை,
களிறு புறம் உரிஞ்சிய கருங் கால் இலவத்து
அரலை வெண் காழ் ஆலியின் தாஅம்
காடு மிக நெடிய என்னார், கோடியர்
பெரும் படைக் குதிரை, நல் போர் வானவன்
திருந்து கழற் சேவடி நசைஇப் படர்ந்தாங்கு,
நாம் செலின், எவனோ தோழி! காம்பின்
வனை கழை உடைந்த கவண் விசைக் கடி இடிக்
கனை சுடர் அமையத்து வழங்கல் செல்லாது,
இரவுப் புனம் மேய்ந்த உரவுச் சின வேழம்
தண் பெரு படாஅர் வெரூஉம்
குன்று விலங்கு இயவின், அவர் சென்ற நாட்டே?
In this trip to the drylands, we take two different paths and encounter vivid scenes, as we listen to the lady say these words to her confidante, when the confidante expresses worry about the lady’s state, as the man continues to remain parted away:
“Killing with their sturdy swords, deflecting with their bows, those harsh-eyed robbers capture herds of cattle, and after showering their arrows to keep away those who might follow, they traverse to the harsh drylands. There, standing in the shade of the rough-trunked Neem tree, where their god resides, they kill a fatty cow, and shower its blood as their offering. Afterwards, they spread and eat its cooked flesh on a high and wide boulder, upon which a dark-stemmed silk-cotton tree, on which a male elephant has rubbed its back, showers its white seed pods, akin to hailstones. Without thinking that such a jungle is faraway, those performers travel, desiring the flawless feet of the battle-worthy King Vaanavan, who wields a huge army of horses. Why don’t I too go in that manner, my friend, to that country, through those paths that wind through the peaks, where without moving during the time when the scorching sun blazes and when the bamboo’s fine shoots are shattered by stones speeding from slingshots, a raging elephant chooses to go by night to graze in the millet fields, fearing the moist and high fences therein!”
Yet again, a trip through this challenging landscape! The lady starts by describing the drylands domain, and to do that, she focuses on its denizens, namely the robbers, who wield swords, bows and arrows, and successfully steal a huge herd of cattle. Then driving these animals to their hideout in the drylands, they first offer a sacrifice of a fat cow to their god, who is said to reside in a Neem tree. Some interpreters have identified this god to be ‘Kottravai’, the goddess of war, worshipped by people in these parts. After showering the cow’s blood, then they go on to cook its meat and eat, spreading it on the plate of a huge boulder. Later, because an elephant came and rubbed its back and shook it, a silk cotton tree sheds its white seeds on that boulder, appearing like a shower of hailstones.
After this scene by scene narrative, the lady reveals she has talked about these drylands, not the one to which her beloved has gone, but the region that performers worry not about, when they go seeking the patronage of that generous Chera King, Vanavan. The lady then turns to her friend and concludes by asking whether she too should leave like those performers, not minding the dangers of the drylands, and seek out her beloved, who walks through paths, where even elephants fear to traverse in daylight, fearing the slingshots, and come by night to graze in the millet fields.
The simple thought is ‘Isn’t it better to brave whatever dangers may come my way, and go in search of my man, rather than languish here?’. Sadly, that time and culture forbade the lady to undertake such travels, and all she could do was to fantasise about some way of being near her beloved! Reflectively, I wish to take a moment of gratitude for living in this place and time that lets a woman go where she wants and do what she dreams!
