Natrinai 300 – The beseeching elephant

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சுடர்த் தொடிக் கோமகள் சினந்தென, அதன் எதிர்
மடத் தகை ஆயம் கைதொழுதாஅங்கு,
உறு கால் ஒற்ற ஒல்கி, ஆம்பல்
தாமரைக்கு இறைஞ்சும் தண் துறை ஊரன்-
சிறு வளை விலை எனப் பெருந் தேர் பண்ணி, எம்
முன் கடை நிறீஇச் சென்றிசினோனே!
நீயும், தேரொடு வந்து பேர்தல் செல்லாது,
நெய் வார்ந்தன்ன துய் அடங்கு நரம்பின்
இரும் பாண் ஒக்கல் தலைவன்! பெரும் புண்
ஏஎர் தழும்பன் ஊணூர் ஆங்கண்,
பிச்சை சூழ் பெருங் களிறு போல, எம்
அட்டில் ஓலை தொட்டனை நின்மே.

Opening with ‘சுடர்த் தொடிக் கோமகள் சினந்தென’ referring to ‘the rage of a king’s daughter, who wears gleaming bangles’, the verse paints a vivid word-portrait of power’s fury. The phrase ‘ஆயம் கைதொழுதாஅங்கு’ meaning ‘the maids’ salute’ echoes the reaction of submission to the said fury. Another image of subjugation becomes evident in ‘ஆம்பல் தாமரைக்கு இறைஞ்சும்’ meaning ‘the white lily bows down to the lotus’ and we understand that heavy personification is afoot. The phrase ‘இரும் பாண் ஒக்கல் தலைவன்’ addresses someone who is ‘the leader of a family of bards’. Historical references are to be found in the words ‘ஏஎர் தழும்பன் ஊணூர்’ referring to a king named ‘Thazhumban’, which translates as ‘the scarred one’, most probably referring to battle scars, deduced from the fact the king’s name is adorned with the adjective ‘beautiful’. In this phrase, is also found reference to an ancient town by the name of ‘Oonoor’, a place known for its charity. ‘பிச்சை சூழ் பெருங் களிறு’ which means ‘a deliberating, huge elephant that seeks alms’ brings before our eyes the image of an elephant being used to beg in the streets of a town. The verse ends with ‘அட்டில் ஓலை தொட்டனை நின்மே’ meaning ‘you stand touching the palm fronds near my kitchen’ and takes us to corner of an ancient house. Let’s step into the verse and learn more!

The man and lady had been leading a married life when the man took to keeping the company of courtesans. During his relationship with the courtesan, the man leaves her to favour another courtesan. This angers the first courtesan and she refuses entry to the man’s messengers. One day, she turns to the singer-messenger, who seems to be seeking entry to her house, and says, “Seeing the princess, who wears radiant bangles, in a fit of rage, her naive maids bow down before her with folded hands. Akin to that, assailed by a strong wind, the white lily bends down before the lotus. Such are the cool shores of the lord! As a price for my little bangle, he has decorated a huge chariot and has stationed it in my front yard before he left. You, who came along in the chariot, have not parted away with him, O leader of a family of bards, who wield lutes with flawless fibres that look as if oil is streaking through! King ‘Thazhumban’, the one decked with exquisite battle wounds, rules over the town of ‘Oonoor’. Akin to a huge elephant that stands in this town, seeking alms, you are standing here, holding on to the palm fronds near my scullery!” With these words, the courtesan is refusing entry to the messenger, indicating her ire at being jilted by the man.

Time to explore the nuances! The courtesan starts by mentioning a scene in a royal household. There, a bejewelled princess is seen in a foul mood. Has the lady lost a bangle? Maybe! The reason for her rage is not presented but whatever be the reason, even if it’s an illogical one, all her poor playmates could do, was bow to her with hands folded. The courtesan refers to this scene only as a simile for how attacked by a strong gust of wind, white lilies seem to be bowing low before the mighty lotus. Yet another portrait of submission! And, why is the courtesan talking about water lilies and lotuses? Only to describe the domain of the lord, a land filled with the cool shores of lakes and ponds. The courtesan then goes on to say how the lord has left behind a chariot in her front yard, as the price for her small bangle. This expression probably indicates the claim of a man on a courtesan.

After describing what has happened this far, the courtesan turns her attention to the messenger and talks about how having come with the lord, the singer has not left with him and but seems to be standing there, waiting for something. To describe the instruments used by these singers, she talks about streaks of oil and no doubt, refers to the glowing strings of a lute. And then, with the aid of another simile, the courtesan etches the stance of the singer, as he stands there clutching on to the palm fronds near the courtesan’s cookhouse. This simile is that of an elephant standing on the streets of a town. And, what town would that be? ‘Oonoor’ comes the reply. And, who is the ruler of this land? The victor of battles many, the one who wears scars as his ornaments, the king called ‘Thazhumban’, we learn! What is an elephant doing in a street of a king’s town? Shouldn’t it be in a jungle, playing in the springs and walking with its kith and kin? The elephant is standing there, seeking alms!

A sight, thankfully becoming rare today, but something that was a common sight till recently, when elephants used to walk the streets, blessing residents and collecting food and offerings. Now, we keep talking about the elephants seeking alms, as if it’s something they decided to do! If an elephant is seeking alms instead of living in its natural habitat, it can only mean that the elephant has been put to that task by a human. Thanks to powerful legislations and the thoughtful actions of wildlife wardens and animal enthusiasts, the practice of subjecting elephants to seek alms is on the wane. But, intriguing how some unsavoury practices seemed to have lived on, for so long. As we brush through the words of these verses, we excavate facets of life, features of the land and feelings in the mind, illuminating our understanding about the past and also, helping us discover where we stand in the present!