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In this episode, we observe the delight of a young man, at the prospect of meeting his beloved, as depicted in Sangam Literary work, Kurunthogai 62, penned by Siraikudi Aanthaiyaar. The verse is situated in the mountains of ‘Kurinji’ and speaks in the voice of the man to his heart, expressing his exuberance, when recollecting his prior union with the lady.
கோடல், எதிர் முகைப் பசு வீ முல்லை,
நாறு இதழ்க் குவளையொடு இடையிடுபு விரைஇ,
ஐது தொடை மாண்ட கோதை போல,
நறிய நல்லோள் மேனி
முறியினும் வாய்வது; முயங்கற்கும் இனிதே.
A ‘flower-storm’ swirls around us in this verse! Starting with the flower ‘கோடல்’ referring to the ‘white glory lilies’ and then, moving on to ‘முல்லை’, the ubiquitous ‘wild jasmine’, and ending with the ‘நாறு இதழ்க் குவளை’, meaning ‘the blue-lilies with fragrant petals’, a heady scent wafts throughout. The phrase ‘ஐது தொடை மாண்ட கோதை’ talks about ‘a garland that has been gloriously stitched together, making it an artefact of beauty’! From flowers, the spotlight falls on ‘the leaf sprout’ in ‘முறி’. Ending with the words ‘முயங்கற்கும் இனிதே’ meaning ‘it’s pleasant to embrace’, the verse invites us into this song, one filled with tenderness!
What could be embracing these flowers and leaves? The context reveals that the man had met the lady and fallen in love with her. Reciprocating his feelings, the lady unites with him for the first time at their trysting spot. After a few days, the man arrives at the same spot, wishing to be with her again. At this time, the man says to his heart, “Akin to a beautiful garland, strung together by interspersing buds of white glory lily and fresh wild jasmine along with fragrant-petaled blue lilies, is the fragrance of that good girl’s form; It’s softer than tender leaves and an ecstasy to embrace!” With these words, the man dwells on the beauty of the lady and expresses his joy about being in her presence.
A trio of flowers and a tender lady! The man begins by mentioning the ‘white glory lily’, a flower in the same family as the ‘flame-lily’ or ‘Kaanthal’, but with white petals. Then, he mentions the wild jasmine flowers, and says that these two flowers are intermingled with the fragrant-petaled blue lilies. These three flowers are not left lying around but stringed together in an aesthetically-crafted garland, the man adds. This floral object has been mentioned to place it in parallel to the scent from the good lady’s form. Then, leaving these transient flowers aside, the man turns to the tender green leaves sprouting and says that’s how soft the lady’s skin is. He completes his words by saying that she’s perfect to be embraced!
Youth and its fixation with love is rendered, no doubt, in this verse! However, I’d like to focus on something different and that is, that garland made of three flowers. As we have seen in many poems, the life of ancient Tamils seem to be filled with numerous flowers. They seemed to have taken a special pleasure in combining various flowers and expressing their creativity in weaving impressive garlands. It’s the simile for a woman’s fragrance in this verse that has revealed the celebration of these graceful, little things by our ancestors! Turning to the tender leaves mentioned, I have always felt that one of the greatest joys in life is to see a tree sprouting leaves from its dark branches. Like a baby’s hand, these sprouts emerge and wave to us in the season of spring! That tender beauty of sprouting leaf buds has been captured in its comparison with the softness of the lady’s skin. A verse that leaves us with not just the image of a joyous embrace between a man and a lady, but seems to envelop us in the elixir-like beauty of nature!
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