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In this episode, we perceive the passion throbbing in the heart of a mountain youth, as portrayed in Sangam Literary work, Natrinai 204, penned by Mallanaar. Set in the mountain country of ‘Kurinji’, the verse speaks in the anguished voice of the man to his heart, while intending the message to be overhead by the lady’s confidante.
‘தளிர் சேர் தண் தழை தைஇ நுந்தை
குளிர்வாய் வியன் புனத்து எல்பட வருகோ?
குறுஞ்சுனைக் குவளை அடைச்சி நாம் புணரிய
நறுந்தண் சாரல் ஆடுகம் வருகோ?
இன் சொல் மேவலைப்பட்ட என் நெஞ்சு உணக்
கூறு இனி மடந்தை நின் கூர் எயிறு உண்கு’ என
யான் தன் மொழிதலின், மொழி எதிர் வந்து
தான் செய் குறியில் இனிய கூறி,
ஏறு பிரி மடப் பிணை கடுப்ப வேறுபட்டு
உறு கழை நிவப்பின் சிறுகுடிப் பெயரும்
கொடிச்சி செல் புறம் நோக்கி,
விடுத்த நெஞ்சம் விடல் ஒல்லாதே.
As the poem opens, the words ‘தளிர் சேர் தண் தழை தைஇ’ meaning ‘a dress made of cool leaves merged with shoots’ turns the focus onto the costume department. The high fashion of those times becomes evident. Simply natural and so, naturally simple! Seeing the word ‘குளிர்’ in ‘குளிர்வாய்’, at first, I thought that it was referring to the ‘coolness’ of the mountains, in connection to the word’s contemporary meaning, but later learnt that the ancients tended to use the word ‘தண்’ to refer to ‘coolness’ and that, ‘குளிர்’ here pertains to a device used by mountain farmers to chase away parrots from their millet fields. The alliteratively alluring ‘குறுஞ்சுனைக் குவளை’ refers to the ‘blue lilies growing in narrow mountain springs’. The quaint phrase ‘கூர் எயிறு உண்கு’ translates as ‘I shall eat your sharp teeth’. Don’t be alarmed imagining the girl to be a female Dracula and the boy, as the one who will eat her teeth. The expression is curious but it simply refers to the romantic act of kissing on the lips. However, in Sangam times, this expression was not confined to romantic relationships and there are instances of a mother or father saying these words to their child, as we have seen in other Natrinai poems. ‘ஏறு’ refers to a ‘male deer’ and shortly thereafter appears the mate, a ‘young doe’ in ‘மடப் பிணை’. Turning from fauna to flora, we see ‘உறு கழை’ ‘abundant bamboo’ that seems to flourish in the hill country. Let’s turn our focus to the meaning intertwining these images!
The man had met the lady in the mountains and fell in love with her. He has met with her a few times and desires to get to know her better. As was the custom of the time, he needs to secure the friendship of the lady’s confidante to progress in his relationship with the lady. One day, seeing the confidante walk ahead, as if speaking to his heart, the man says, “ ‘Wearing an attire of leaves twined with shoots, you arrive with your father’s ‘kulir’ device to scare away parrots in the wide millet fields. Shall I come to that spot as the day starts? Wearing blue lilies plucked from narrow springs, you united with me in the fragrant and cool mountain slopes. Shall I come to that spot to play with you, as before? To calm my throbbing heart that seeks to hear a sweet word from you, please speak, O innocent maiden. I shall savour the sweetness of your sharp teeth.’ When I spoke these words to her, in response, she took me to the trysting spot she preferred and said sweet words to me. Then, akin to the young female deer that parts away from its mate, she moved away from me. Looking at the back of that mountain girl, who was walking towards her bamboo-filled small village, high up in the mountains, I realised that my heart that bid bye to her then, can never let her go!” With these words, the man conveys to the confidante that he has already begun the relationship with the lady and that the confidante understanding this, must help him secure the lady’s affections.
Now, for the nuances in this verse! With the reference to the lady’s attire made of leaves and her preference for wearing blue lilies on her hair, the external appearance of a Sangam lady is etched in our minds. The man narrates a conversation he had with the lady, for the benefit of the listening confidante. He seems to be querying the lady about whether he should tryst with her in the millet fields where she arrives carrying a device to chase off parrots or in the cool mountain slopes, where they had played together in the cascades. Both these references are to tell the confidante pointedly that the lady is not unknown to the man. Then, he openly declares the state of his pounding heart, waiting for a word from the lady. Thankfully, for the welfare of his heart, she seems to have answered his query and taking him to a spot of her choice, she has showered sweet words to him. As she turns to leave after this, the man is reminded of a doe parting from its mate. Looking at her form fading away before him, as she treads forth to her village, he realises an ironic fact that though his heart has bid farewell to the lady just then, it can never forget her and let her go away!
The man’s words are said to convey the strength of his love for the lady and to tell the confidante that the lady is no stranger to him. Apparently, it was the custom then for the lady to hide such passionate feelings from everyone around her. So, the confidante would have no clue about what was going through her mind and the only way to understand is, through hidden messages such as this. This poem makes me wonder at the role of the confidante, who does not just seem to be a friend to share some fun and laughter with, but almost a guardian of the lady, who decides whether or not to let the lady’s romantic interests progress. A friend, of the same age as the lady, who is always portrayed as ‘naive and innocent’, is entrusted with such a task. I cannot help but wonder at how the confidante develops the wisdom that is required for this role. Can a deep affection and concern for another be enough to grant this wisdom? Well, the Sangam world seems to think so and we part away, pondering on the trust and responsibility endowed on that young girl, the lady’s confidante!
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