In this episode, we perceive an attempt at persuading another, as portrayed in Sangam Literary work, Aganaanooru 156, penned by Aavoor Moolankizhaar. The verse is situated amidst the lush fields of the ‘Marutham’ or ‘Farmlands landscape’ and talks about the wealth and faith in this domain.

முரசுடைச் செல்வர் புரவிச் சூட்டும்
மூட்டுறு கவரி தூக்கியன்ன,
செழுஞ் செய் நெல்லின் சேயரிப் புனிற்றுக் கதிர்
மூதா தின்றல் அஞ்சி, காவலர்
பாகல் ஆய்கொடிப் பகன்றையொடு பரீஇ,
காஞ்சியின் அகத்து, கரும்பு அருத்தி, யாக்கும்
தீம் புனல் ஊர! திறவிதாகக்
குவளை உண்கண் இவளும் யானும்
கழனி ஆம்பல் முழுநெறிப் பைந் தழை,
காயா ஞாயிற்றாக, தலைப்பெய,
”பொய்தல் ஆடிப் பொலிக!” என வந்து,
நின் நகாப் பிழைத்த தவறோ பெரும!
கள்ளும் கண்ணியும் கையுறையாக
நிலைக் கோட்டு வெள்ளை நால்செவிக் கிடாஅய்
நிலைத்துறைக் கடவுட்கு உளப்பட ஓச்சி,
தணி மருங்கு அறியாள், யாய் அழ,
மணி மருள் மேனி பொன் நிறம் கொளலே?

This is one of those rare songs where though the landscape is defined in one way, the theme tends in a totally different direction. Here, we listen to the confidante say these words to the man, when she brings over the lady for a tryst with him:

“Appearing akin to the lifted yak-fur fans, fastened to heads of horses, belonging to wealthy lords with victorious drums, are the tender, red-streaked stalks of paddy in the fertile fields. Fearing that an old bull would feed on and ruin these stalks, guards pluck beautiful vines of bitter gourd along with the rattlepod, and using that, tie the bull to the trunk of a portia tree, and feed it sugarcane stems in your town, filled with sweet streams, O lord! When I had come with her, who has exquisite kohl-streaked eyes, akin to lush blue lilies, adorned in attires of green leaves and flawless flowers of field lilies, when the sun was not scorching, so that we could play in the pond and delight, we made the mistake of smiling at you, O lord! Even after offering toddy and garlands, along with a white male goat with hanging ears and sturdy horns as sacrifice, to the god who guards the river shore, with the right chants from the heart, seeing no relief whatever, her mother cries, as her sapphire-hued skin continues to be covered in a golden hue!”

Let’s take a stroll on the banks of the town’s fields and river shore and learn more! The confidante starts by describing the man’s fertile farm town, and to do that, she compares the lush paddy crop to the uplifted yak-fur fans tied to the horses of the wealthy. These yak-fur fans were quite the rage in the ancient world, known by the Tamil term ‘Saamaram’, and it was also used as a manual fan in the royal courts. Returning, we see how the paddy stalks look lush and tender, and no doubt, wanting to protect their crop, fearing that the old cow in their farm would run amok and ruin the stalks, the guards tie up the animal using cords of bitter gourd and rattlepod and distract it with sugarcane stalks. After that description of the man’s rich riverine town, the confidante turns to the past and declares the lady and herself had made the mistake of smiling at the man, when they had come to bathe in the pond, at a time when the sun was not raging yet. The confidante then ends with the explanation for this cryptic statement saying that the lady’s mother had done offerings to the river god with toddy, garlands and even a strong ram, but there seemed to be no respite to the golden-hued pallor spreading on the shining dark skin of the lady.

While the lady was happy when the man came around, she was pining for him whenever he left, leading to the attack of pallor and the consequence of mother’s worry, implies the confidante. This statement about offering to a river god would remind us of the ‘Veriyattam’ scenes in the Kurinji landscape, where a girl’s problems were attributed to ‘God Murugu’ and he is appeased with offerings and prayer. In this landscape, a river God takes the role of ‘Murugu’. As in those situations we have seen many a time, God is of no help, when the cure is in the hands of the man. The confidante understands this well and by subtly revealing the situation at hand, she nudges the man to let go of the temporary trysting and choose the path of a permanent union with the lady. In that metaphor of tying the old cow and preventing it from feeding on the tender paddy stalks, the confidante places a metaphor for her hope that the man would bind the mouths of the slanderous townsfolk and offer them the sweet sugarcane of a happy wedding with the lady. Lands may change, Gods may change, yet the confidante remains the steadfast friend who knows what’s what and what needs to be done for the happiness of all concerned! If you ask me, a friend like that is the true God in one’s life!