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In this episode, we relish references to myth and music, as depicted in Sangam Literary work, Natrinai 244, penned by Kootrankumaranaar. Set in the mountain country of ‘Kurinji’, the verse speaks in the voice of the lady to her confidante, subtly expressing her approval for the confidante’s intent to reveal the lady’s heart to her mother.
விழுந்த மாரிப் பெருந்தண் சாரல்
கூதிர்க் கூதளத்து அலரி நாறும்
மாதர் வண்டின் நயவரும் தீங்குரல்
மணம் நாறு சிலம்பின் அசுணம் ஓர்க்கும்
உயர் மலை நாடற்கு உரைத்தல் ஒன்றோ,
துயர் மருங்கு அறியா அன்னைக்கு, ‘இந்நோய்
தணியுமாறு இது’ என உரைத்தல் ஒன்றோ,
செய்யாய் ஆதலின் கொடியை தோழி!
மணி கெழு நெடு வரை அணி பெற நிவந்த
செயலை அம் தளிர் அன்ன, என்
மதன் இல் மா மெய்ப் பசலையும் கண்டே.
The verse opens with the moisture of ‘rains that have poured’ in ‘விழுந்த மாரி’. The location of the downpour is then identified as ‘பெருந்தண் சாரல்’ meaning ‘huge, cool mountain slopes’. The season has changed and the flowers are sure to give some indication. As expected, we glimpse at ‘கூதிர்க் கூதளத்து அலரி’ meaning ‘flower of the cold seasonal nightshade’. ‘கூதிர்’ referenced here is one of the six seasons in ancient Tamil land and this pertains to the ‘cold season’ that follows the rains. If flowers are blooming, can bees be far behind? Behold and hear the notes of the ‘மாதர் வண்டின் நயவரும் தீங்குரல்’ meaning ‘the enchanting, sweet voice of the exquisite bees’. From this scene brimming with reality, we are exposed to something we’ve never seen, the ‘அசுணம்’, which is said to be a mythological creature. More about this in a short while! As if all the life witnessed this far does not suffice, we also get to see the ‘செயலை’ or ‘Indian mast-wood’ tree, popularly referred to as the ‘Ashoka tree’. Ending with ‘பசலையும் கண்டே’ which means ‘seeing the affliction of pining’, the verse invites us to investigate!
The man and lady had been in a love relationship and the man seemed to be intent only on trysting with the lady. As he’s not taking steps towards formalising their union, the lady suffers in anguish. The lady’s mother is worried about the changes on the lady’s form. Seeing these developments, the confidante decides that the only course of action is to reveal the lady’s relationship with the man to the lady’s mother. Realising that this is the intent of the confidante, the lady says to her, “In the mountain slopes, cooled under the pouring rains, the ‘koothalam’ flower that blooms in the cold season, lures alluring bees with its fragrance. As these bees buzz around the flower, hearing this desirable, sweet voice, the ‘asunam’ listens intently in that fragrant mountain slope. Such is the high-lying domain of the lord. You do not take it upon you to speak to him. Neither do you go to mother, who knows not the true reason for my suffering and say, ’This is the only way that her affliction will cease!’ My beauty is akin to the leaf of a mast-wood tree that decorates the sapphire-hued mountain ranges. You see the disease of pining spread all over my beautiful form, and yet, you do nothing. You are heartless indeed, O friend!” With these words, the lady indirectly agrees with the confidante’s conclusion that it was time to convey the true state of affairs to the lady’s kith and kin.
Why can’t the lady simply say, ‘yes, go ahead’ to her friend or better still, directly talk to her parents or the man? Such questions rise in us, on the foundation of the freedom of expression we have today. Let’s look at this verse deeply from the socio-cultural reality of those times! The lady starts her conversation with the confidante by describing the mountain country of the lord and within this description, she plants a metaphorical scene. The rains have poured and cooled the mountains. The koothalam flower responds to this cue of nature and blooms in full glory. The bees, in turn, are attracted by the fragrance of these flowers and express their joy with humming, as they buzz around the blooms. The lady says hearing this sound made by the bees, the ‘asunam’ listens intently. A moment’s pause to explore what this ‘asunam’ is! Turns out that no one has discovered any living creature that matches this ancient reference. In Sangam poetry, the asunam is a creature that is mesmerised by sweet music and also curiously, one that falls dead when exposed to harsh sounds. Maybe such a creature existed two thousand years ago or it could be a figment of human imagination like the unicorn and the phoenix!
Returning to the poem, we see the ‘asunam’ pausing because it mistakes the humming of the bees as the music of the harp. This mistaken assumption is the central element in this metaphor that the lady uses to reveal how her mother has mistaken the affliction of pining in her as caused by the ire of god Murugu and thus, has started ritual preparations to appease the said god. At this time, with false anger, the lady declares to the confidante that neither is the confidante talking to the man about this, nor revealing to mother, the true reason for the lady’s suffering. This indirect approval is because custom forbade the lady to directly express her conviction to the man, to her parents, why even, to her confidante. So, in this hidden way, she expresses that the confidante is doing the right thing in revealing the lady’s true state to the man and the mother. This will ensure a conducive atmosphere at home when the man arrives with his proposal for marriage. Such social customs are so far away that they seem almost mythical to us. As we mull over how life has changed, let’s not forget to acknowledge how some things remain the same, as reflected by the poignant portrait of a creature, standing mesmerised by the power of music!
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