Natrinai 271 – Let Death be put to death

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இரும் புனிற்று எருமைப் பெருஞ் செவிக் குழவி
பைந் தாது எருவின் வைகு துயில் மடியும்
செழுந் தண் மனையோடு எம் இவண் ஒழிய,
செல் பெருங் காளை பொய்ம் மருண்டு, சேய் நாட்டுச்
சுவைக் காய் நெல்லிப் போக்கு அரும் பொங்கர்
வீழ் கடைத் திரள் காய் ஒருங்குடன் தின்று,
வீ சுனைச் சிறு நீர் குடியினள், கழிந்த
குவளை உண்கண் என் மகள் ஓரன்ன,
செய் போழ் வெட்டிய பொய்தல் ஆயம்
மாலை விரி நிலவில் பெயர்பு புறங்காண்டற்கு,
மா இருந் தாழி கவிப்ப,
தா இன்று கழிக, எற் கொள்ளாக் கூற்றே.

The poem evokes feelings of motherliness instantly, as it opens with ‘இரும் புனிற்று எருமை’ meaning ‘a buffalo that has recently given birth’. The child of the said buffalo is described as ‘பெருஞ் செவிக் குழவி’ or ‘big-eared calf’. The phrase ‘பைந் தாது எருவின் வைகு துயில் மடியும்’ describes the life led by this calf ‘resting and sleeping on a bed of fresh pollen’. ‘செல் பெருங் காளை’ talks about a ‘big bull that accompanies’. We understand that this phrase is no animal reference when we see the following words ‘பொய்ம் மருண்டு’ meaning ‘believing its lies’. I have never met a bull that lies! That is an inimitable capability of a human, isn’t it? Soon after, our taste buds tingle with the reference to ‘சுவைக் காய் நெல்லி’ meaning ‘the tasty fruit of a gooseberry tree’ in combination with ‘வீ சுனைச் சிறு நீர்’ meaning ‘little water from a dried-up spring’. A sour-sweet combination that no one, who knows it, can forget! ‘பொய்தல் ஆயம்’ talks about ‘young playmates who are at pretend-play games’. An intriguing phrase ‘மா இருந் தாழி’ meaning ‘huge, dark urn’ conceals within, the culture of a civilisation that used to bury its dead in urns. The verse finishes with ‘எற் கொள்ளாக் கூற்றே’ meaning ‘Death which wouldn’t take me’. Propelled by that dramatic cue, let’s learn more!

The man and lady had been leading a love relationship when circumstances arose wherein the lady’s parents were considering proposals from strangers to marry their daughter. Understanding this irremediable danger to their love relationship, the man and lady elope to the man’s village. After learning that her daughter has left her home with the man and disheartened by the slanderous words of the village-folk, the mother says, “A big-eared calf, birthed recently by its mother buffalo, rests and sleeps on a bed of fresh pollen in our rich and cool mansion. Leaving us here, trusting the false promises of that bull-like man, who was with her, she has gone to a faraway country on a deserted path filled with gooseberry trees. Gathering the fallen cluster of these gooseberries, she eats them and drinks some water from a dried-up spring, that daughter of mine with kohl-streaked eyes akin to blue waterlilies! Like how her young playmates indulging in ‘poythal’ games, wherein they play with tender palm fronds in the evening spread of moonlight, would despair when the moon fades away, I too feel now that she has left me. Leaving my body to be covered in a huge, dark urn, Death did not take me before this happened. Let Death be subject to death in that urn!” With these words, the mother is expressing the inconsolable grief in her heart at her daughter’s parting away from her. 

Now, let’s unlock this rich verse and collect the treasures it hides within! The mother brings before our eyes the serene image of a newly birthed calf resting on a cool and fragrant bed of pollen, having a peaceful sleep. And, where is this happening? The mother replies saying this is a scene to be seen in her family’s cool and rich mansion. She says even a buffalo calf is sleeping on a bed of flowers in their house. But what about her precious daughter? The mother describes that listening to the false words of a bull-like man, her daughter is now walking on an uninhabited path in some faraway land. Mothers seem to have some respect for their future son-in-laws for she does address him as a strong bull! Coming back to the path, where the lady is walking with the man, gooseberry trees are lying fallen on the ground there. Hunger attacking their tummies, the lady and man gather the only thing they could find. Those gooseberries lying about! They eat all they can. Imagine the feeling of sourness flooding their tongues! They look around for water and find just a tiny bit of it in an almost dead spring. They slurp up what water they can and walk on. The mother imagines this scene and thinks of her daughter who grew up in the luxury of relishing milk and honey whenever she so wanted, now subject to this state of penury!

After describing her daughter’s state thus, the mother then sketches a simile to describe how she feels. She mentions the lady’s young friends, who are seen playing in the moonlight with tender palm fronds. Perhaps, they are building little houses and pretending to be mothers there! After mentioning this scene, the mother says just how these girls would feel when the moon disappears during their play, her heart feels the same dejection at her daughter’s parting away. At that moment, she turns fierily to ‘Kootruvan’, the symbol of Death and declares that since Death did not take her earlier and spare her this pain, Death must be put to death in a huge, dark burial urn. Expressing the angst within will no doubt, bring relief to this mother’s broken heart. 

At this moment, let’s turn our attention to an object of interest mentioned here. The reference to this burial urn is something that is tangible in our times. Sites of urn burials have been found in many regions such as Adichanallur, Kuvalakarai, Mandapam in Tamilnadu and Ramakkalmedu, Puzhpakandam in Kerala, to name but a few sites. With modern scientific advances in forensic archaeology and specifically, in forensic facial reconstruction, I hope we can someday put a face to many a Sangam mother and her kith and kin, whom we know of, from these ancient words!