Podcast: Play in new window | Download
Subscribe: Apple Podcasts | Spotify | Amazon Music | Android | iHeartRadio | TuneIn | RSS | More
In this episode, we glimpse at both nature and culture through the lens of relationship, as depicted in Sangam Literary work, Kurunthogai 7, penned by Perumpathumanaar. Set in the drylands of ‘Paalai’, the verse speaks in the voice of wayfarers, who happen to come across a couple in their journey.
வில்லோன் காலன கழலே; தொடியோள்
மெல் அடி மேலவும் சிலம்பே; நல்லோர்
யார்கொல்? அளியர்தாமே-ஆரியர்
கயிறு ஆடு பறையின், கால் பொரக் கலங்கி,
வாகை வெண் நெற்று ஒலிக்கும்
வேய் பயில் அழுவம் முன்னியோரே.
Feet, feet everywhere in the beat of this little verse! First shot at ‘வில்லோன் காலன’ meaning ‘on the feet of the young man, holding a bow’. When we peer down to see the object pointed to, we learn that it’s a ‘கழல்’ referring to ‘anklets worn by warriors’. Next, we hear its echo in ‘மெல் அடி மேலவும்’ meaning ‘above her gentle feet’ and turning there, take in the jewellery called as ‘சிலம்பு’ or ‘anklets worn by a woman’, made famous by the ‘Post-Sangam’ epic ‘Silapathikaaram’, which revolves around this very object. The word ‘அளியர்தாமே’ talks about the tender look of kindness rendered to someone for it means ‘they deserve sympathy’. Following this, appears a word ‘ஆரியர்’, which has become loaded with meaning in contemporary times because of the ‘Aryan-Dravidian’ theories on the Indian population. However, here it simply refers to the nomadic tribes of people, perhaps from the north of ancient Tamil land, who ‘performed on tight ropes to the sound of drum beats’ as witnessed in the words ‘கயிறு ஆடு பறையின்’. The phrase ‘வாகை வெண் நெற்று’ refers to ‘the white seedpods of the lebbeck tree’, about which we will explore in a while. Ending with the words ‘அழுவம் முன்னியோரே’ meaning ‘those who are walking through the scrubland forest’, the verse transports us to an ancient path through the drylands.
When there are lush mountains and idyllic coastal villages, why leave them to traverse these harsh paths? It must be about a journey, which inevitably, involves giving up the familiar good to go towards something better! In this journey, the wayfarers perceive a man and lady in the path before them and after observing them, say, “At the feet of the man wielding a bow, are warrior’s anklets; Above the soft feet of the lady wearing bangles, are a maiden’s anklets; Who could be these good people? They are to be pitied! Akin to the drum sounds of ‘Aariyars’, who dance to that beat on tightropes, shaken by the wind, the white seedpods of the ‘vaagai’ tree resound, in this bamboo-filled drylands forest that this couple are traversing through!” With these words, the wayfarers surmise that the man and lady had eloped away, and sympathise with them, for the harsh turn of events in their young life.
Here’s a verse that talks about the meanings hidden in objects! The wayfarers first talk about the man, who’s holding a bow and wearing warrior’s anklets. These tell us two things about this man – one, he comes from a wealthy family, and two, he’s bent on protecting his lady. Then, they talk about the lady, who’s wearing bangles, and also, anklets on her soft feet. Now, the softness of the lady’s feet reveals that she is a young girl, who has not seen much of the world. The jewellery on the feet of this lady however is the most significant object here, for it tells the wayfarers that the lady is unmarried. As we have seen in Natrinai 279, the anklet removal ceremony is an important ritual in Sangam weddings and the fact, the lady here is walking with these anklets reveals that the happy event has not yet happened in her life. Nevertheless, that the lady is happy can be inferred from the bangles on her hands that do not slip away and fall. The wayfarers however focus on the harshness of their journey and look at them with compassion.
To describe an aspect of the path they are walking through, the wayfarers employ an interesting simile. They zoom on the scene of nomadic performers, who dance on tightropes, to the beat of drums below. Before we move to balance the other side of the simile, let’s linger in the sight of these tightrope walkers and the sound of drums. Not just two thousand years earlier, even today in many Indian towns, these tightrope walkers can be seen. I learnt today that these performers come from an ethnic group called ‘Dom’ or ‘Dombari’ and their very name is connected to the ‘drums’ that are an essential part of their performance, mentioned in this verse as well. A contemporary thing of concern is how ‘Dombaris’, who live a nomadic life, are now threatened by State laws such as those in Maharastra that seek a permanent address for obtaining benefits.
Returning to the verse, the drum beats of these nomadic performers are placed in parallel to the sound made by the white seedpods of the ‘vaagai’ tree, whose flowers Sangam kings victorious in battle were known to wear. Incidentally, the tree has some curious names such as ‘Shak Shak tree’ as it’s called in West Indies and South America, for the sound it makes. The other such name is ‘woman’s tongue tree’, no doubt named so, by a man! On a serious note, fascinating how the sound of these seedpods has kindled the imagination of listeners across time and space in different ways and yet unites humankind in that innate yearning to observe and express the beauty that nature is!
Informative 👍