Episode 01 - Chapter 10-Arrival in Mithila.

SITA KALYANAM

 

CHAPTER 10 – CANTO ON ARRIVAL IN MITHILA - மிதிலை காட்சிப் படலம்:

 

We saw inanimates like flags and festoons atop the glowing, glittering palaces and residences of the city of Mithila, getting excited on seeing Rama entering the city along with Sage Viswamitra and Lakshmana; flapping and waving their over-joyed welcome; as if concluding that Rama was the man uniquely fit to have the hand the darling princess of Mithila, Sita. .    “செழு மணிக் கொடிகள் என்னும் கைகளை நீட்டி அந்தக்  கடி நகர். கமலச் செங் கண் ஐயனை. ‘ஒல்லை வா’ என்று  அழைப்பது போன்றது அம்மா!”

 

Let us accompany the trio and share their sights as they go through the streets – each distinguished in a unique way. Let us savour these sights as Kamban presents them:

 

They found the countless, multi-coloured, brilliant and large flags made of cloth engulfed by dark and damp clouds (because of their height) and becoming damp themselves; also engulfed these were by the thick, cloud-like, “akhil” incense smoke from the residences. முகில் குலம் தடவும்தோறும்    நனைவன. முகிலின் சூழ்ந்த அகில்புகை கதுவும்தோறும்    புலர்வன  ஆடக் கண்டார்.

 

சொற்கலை முனிவன் உண்ட  சுடர் மணிக் கடலும். துன்னி

அல் கலந்து இலங்கு பல் மீன்  அரும்பிய வானும் போல.

வில் கலை நுதலினாரும்.   மைந் தரும். வெறுத்து நீத்த

பொன் கலன் கிடந்த மாட  நெடுந் தெருஅதனில் போனார்.

 

The streets of Mithila were littered with glittering gold ornaments that were (apparently) discarded by courting young women and men in disgust (tired of gold, or found them impediments in courting?) and the streets thus resembled the dry beds of the oceans after Sage Agasthya drank them dry, with brilliant gems and precious stones shining on the ocean floor and the night-fall sky with countless twinkling stars emerging.

 

The streets were also littered with fragrant and colourful flower garlands (apparently) thrown out by young women exhausted from love-making); the garlands still attracting  bevy of bumble bees and honey still oozing out of them on to the streets.

 

“ கை வழி நயனம் செல்ல    கண் வழி மனமும் செல்ல. ஐய நுண் இடையார் ஆடும்  ஆடக அரங்கு கண்டார்.  “ The basic skill for dancing are compressed in this line: the eyes follow the limbs (portraying events, emotions and conversations) to ensure precision and rhythmic excellence; the eyes are followed by the mind that orchestrates the dance portrayal. And the performers were young lAadies who had waists so slender , these did not seem to exist.

 

Roadside bazaars were filled with limitless gold and gems, the tail of “kavari” deer, peacock feathers, logs of “akhil” incense, elephant (ivory) tusks; it resembled (for Kamban) the two banks of the river Cauvery who brought such riches down from her origin (to the Chola country)

 

கரைகள் தோறும் பரப்பிய பொன்னி அன்ன ஆவணம் பலவும் கண்டார்

 

. ஆவணம் (aavaNam) = markets, bazaars.

 

Tails of “kavari” deer finds mention here in the Mithilaik kaatchip padalam, presumably because Videha abutted the Himalayan ranges and “kavari” deer is endogenous to the Terai woods in the Himalayan region. The tail is used as royal fans; temples also use it for fanning the deities.)

 

They also found at every window over the pleasingly architechtured palatial residences lovely faces of women that looked like so many moon rises.

 

“சாளரம் தோறும் தோன்றும்,     சந்திர உதயம் கண்டார். “சாளரம் = window.

 

 We saw Kamban’s exuberance in defining for us the beauty and joy that the women of Mithila presented. In order to be fair and even-handed, let us look at some of the exceptional metaphors used by the poet in describing the men of Mithila:

 

வெஞ் சினம் உருவிற்று என்னும்  மேனியர் (venjinam uruvitRu ennum mEniyar); .  ஈசன் கண்ணில்  நெருப்பு உறா அனங்கன் அன்னார் (eesan kaNNil neruppu uRaa anangan annar);

 

In terms of manliness, they looked like wrought from smoldering anger. And in terms of handsomeness, they resembled Manmatha, but ones that would not evoke the scorching ire from the third eye of Sankara i.e. they were like Manmadha sans the wicked design of the Love God that caused Sankara’s third eye to incinerate him. Kamban also sees these young men with their hair partially dyed with the crimson adorning the feet of the maidens they court, their heads touching these painted pretty feet for love’s favours and getting dyed crimson in the process. (Women decorated their feet and hands with what was called ¦ மறுதோன்றி – the equivalent of henna – in ancient Thamizh society. We have no corresponding information if Sanskrit literature notes this practice.)

 

 A DIVINELY BEAUTIFUL MAIDEN OVER THE PALACE BALCONY:

 

 பொன்னின் சோதி. போதின்  நாற்றம். பொலிவேபோல்

தென் உண் தேனின் தீம் சுவை.    செஞ் சொற் கவி இன்பம்-

கன்னி மாடத்து உம்பரின்  மாடே. களி பேடோடு

அன்னம் ஆடும் முன்துறை  கண்டு. அங்கு. அயல் நின்றார்.

 

பொன்னின் சோதி. போதினின்  நாற்றம். பொலிவேபோல் (ponnin jOthi pOthin naatRam polivE pOl) – Like the glitter of gold, the rapturing fragrance of a just blossoming bud; தென் உண் தேனின் தீம் சுவை.    செஞ் சொற் கவி இன்பம் (then uN thEnin theemsuvai, senjchoR kavi inbam) – like the special sweetness of  honey suckled by bumble bees; the pleasure flowing from poetry composed with melting,  exceptional words, கன்னிம் மாடத்து உம்பரின்  மாடே. களி பேடோடு (kanni maadathu umparin made kaLi pEdOdu) – in the elevated terrace that is the preserve of virgin maidens, along with swan like playmates, அன்னம் ஆடும் முன்துறை  கண்டு. அங்கு. அயல் நின்றார் (annam aadum munthuRai kaNdu angu ayal nindRaar) – Sita, as the standout lead swan, frolicking with her playmates; the trio saw this arresting scene and paused in front of that terrace. Their further progress was arrested by this captivating scene.

 

 Let us see how Kamban sees and describes Sita:

 

உமையாள் ஒக்கும் மங்கையர்`   உச்சிக் கரம் வைக்கும்

கமையாள் மேனி கண்டவர்.   காட்சிக் கரை காணார்.

‘இமையா நாட்டம் பெற்றிலம்’    என்றார்; ‘இரு கண்ணால்

அமையாது’ என்றார் – அந்தர   வானத்தவர் எல்லாம்.

 

Even women with incomparable beauty like that Umadevi would involuntarily and spontaneously raise their hands in supplicated admiration as they eyed Sita; humans regretted their fate, as to why they were not blessed with eyes that would not wink (like Devas), (so that their drinking in the magnificence of Sita’s beauty would not be interrupted by the winks); and, as for the Devas, they regretted why they were not endowed with more eyes, as the two they were blessed with were woefully inadequate to keep capturing Sita’s beauty.

 

பெருந் தேன் இன் சொல் பெண் இவள்    ஒப்பாள் ஒரு பெண்ணைத்

தரும் தான்’ என்றால். நான்முகன்   இன்னும் தரலாமே?-

அருந்தா அந்தத் தேவர்  இரந்தால். அமிழ்து என்னும்

மருந்தே அல்லாது. என் இனி  நல்கும் மணி’ ஆழி?

 

If someone would ask Brahma: “Create another woman Comparable with Sita, with her beauty and speech that excelled the best of honeys, is Brahma capable at all of

accomplishing that task? Even if the divine nectar-drinking devas came to him in a collective congregation and prayed to him? The thiruppaarkadal, pregnant with countless gems, could it produce something better than

 

அனையாள் மேனி கண்டபின்.   அண்டத்து அரசு ஆளும்

வினையோர் மேவும் மேனகை  ஆதி மிளிர் வேற் கண்

இனையோர். உள்ளத்து இன்னலியோர்;   தம் முகம் என்னும்

பனி தோய் வானின் வெண்மதிக்கு  என்றும் பகல் அன்றே?

 

The divine damsels of incomparable beauty like Menaka who are so desired by the Devas led by Indra, with gleaming javelin-like eyes, when they get to Sita and her magnificently divine beauty, acquire pale, faded countenance, like the moon during mid-day.

 

Summary: Even divine maidens of incomparable beauty, like that of Uma herself, involuntarily and spontaneously raise their hands in admiring supplication when they see Sita. Humans regret the were not blessed with unblinking eyes like the Devas,

the blinks interrupting their drinking in the beauty of Sita; and as for the Devas themselves, they regretted they had only two eyes-wholly insufficient to drink in the beauty of Sita- and not more.

 

Even if the entire Devas congregation went to Brahma and prayed to him to create another Sita, could Brahma accomplish that at all? (Never). Could the Thirupparkadal produce anything other than divine nectar – a Sita for a change? (Never).

 

(Does Kamban forget at this point that Thirupparkadal did produce the Piratti – Sri Mahalakshmi? Does he possibly allude to the impression that Sita looked alluringly more magnificient than Pratti Herself? Or does he mean that Thirupparkadal could not

 

repeat that exceptional delivery? A point to ponder. )

 

The apsaras like Menaka with proverbial great beauty,when they happened to eye Sita in her resplendence, would have their faces pale and fade – like the moon in the sky during mid-day.

 

 It is noteworthy that Valmiki does not traverse these overwhelmingly poetic regions of Sita appearing over the kannimada Terrace when Viswamitra, Rama and Lakshmana pass by, and the resultant poetic ebullience caused by the beauty of Sita.

 

 More famous lines from Kamban when the TWO meet – let us wait with bated breath!

 

We are having some heady going forward:  all original Kamban; all unique – not to be found in any other version of the epic including the original one.

 

Before we get there, some more of Sita’s beauty presented by Kamban:

 

“…கொடி அன்னார் தன் சேர் கோலத்து இன் எழில்    காண. சத கோடி மின் சேவிக்க மின் அரசு

   என்னும்படி. நின்றாள்.” 

 

Sita’s unrivalled beauty enraptured even the several lovely maidens – playmates – around her. She stood there like an imperial empress lightning worshipped by one hundred crore lightnings.  Note Kamban’s facility with and comfort in the use of,  Sanskrit – satha kOdi (one hundred crores).

 

கொல்லும் வேலும் கூற்றமும்  என்னும் இவை எல்லாம்

வெல்லும் வெல்லும்’ என்ன  மதர்க்கும் விழி கொண்டாள்;

சொல்லும் தன்மைத்து அன்று அது;  குன்றும். சுவரும் . திண்

கல்லும். புல்லும். கண்டு உருக. பெண் கனி நின்றாள்.

 

The murderous spear, the God of Death Himself, all of these

Would be vanquished by the intoxicatingly attractive eyes of Sita;

It is indescribable. Hills of hard rock, stony walls, dense stones, even green grass, even these inanimates, would melt down at the sight of Sita, who stood like a priceless fruit.

 

இழைகளும் குழைகளும் இன்ன. முன்னமே.

மழை பொரு கண் இணை மடந்தைமாரொடும்

பழகிய எனினும். இப் பாவை தோன்றலால்.

அழகு எனும் அவையும் ஓர் அழகு பெற்றதே!

 

The ornaments women wore in their ears (kuzhaigaLum), and those they wore around their necks (izhaigaLum – string-like chains, necklaces), though these existed of yore as adornments of lovely women whose eyes challenged for their cool the chilling showers of rain, when Sita was born and these had an opportunity to be worn by her, beautiful as these were by themselves, acquired exceptional beauty because of their association with Sita.

 

அண்ணலும் நோக்கினான்: அவளும் நோக்கினாள்.

(The TWO look at each other .. the two pairs of eyes devouring each other)

 

 

எண்ண அரு நலத்தினாள் இனையள் நின்றுழி.

கண்ணொடு கண் இணை கவ்வி. ஒன்றை ஒன்று

உண்ணவும். நிலைபெறாது உணர்வும் ஒன்றிட.

அண்ணலும் நோக்கினான்: அவளும் நோக்கினாள்.

 

When Sita, beautiful beyond human imagination, stood there (in front of the terrace, and Sri Rama looked up, the two pairs of eyes locked in, and devoured each other; both virtually lost their bearings; in that one instant, Sri Rama looked up and Sita looked down – into each other’s eyes.

 

இருவரும் மாறிப் புக்கு. இதயம் எய்தினார்

 

பருகிய நோக்கு எனும் பாசத்தால் பிணித்து.

ஒருவரை ஒருவர்தம் உள்ளம் ஈர்த்தலால்.

வரி சிலை அண்ணலும் வாள் - கண் நங்கையும்.

இருவரும் மாறிப் புக்கு. இதயம் எய்தினார்.

 

As the two stood there, drinking one into the other and bound Inseparably by that strong string of mutual gravity, Sri Rama, carrying his powerful bow on his broad shoulders and

Sita, with eyes as destructive of onlookers’ resistance as a sharp sword, both exchanged their very hearts with each other, thus merging their person inseparably, indistinguishably.

 

(If Rama carried (externally) a mighty bow on his shoulders, Sita did one

better – herself had eyes as sharply powerful as a sword.)

 

நாட்டம் இரண்டும் அறிவுடம் படுத்தற்குக் கூட்டி யுரைக்கும் குறிப்புரை யாகும்… (nattam iraNdum aRivudam paduththaRkuk kootti uraikkum kuRippurai

aagum) --- Tholkaapiyam –

 

The two, engrossed in blissful love, locked in their sights, express in unison

(without spoken words) the same thoughts by those (locked) looks.

 

கண்ணோடு கண்இணை நோக்கொக்கின் வாய்ச்சொற்கள்

என்ன பயனும் இல .. ThirukkuraL.

 

Two distinct entities, engulfed in love, merge indistinguishably into one with

their eyes locked into each other; there is, then, no room for spoken

communication.

 

We noted that this part of the epic from Kamban departs from the Aadi Kavi.

 

Did Kamban take this big responsibility on his own? Or, was he inspired and

encouraged by some other precedent?

 

We also noted that none of the other renderings of the epic have ventured

into this enrapturing digression. What made Kamban bold, then?

 

It seems he might have been inspired and encouraged by what Tholkaappiyam has said about the meeting of Rama and Sita – well before the Swayamvara ceremony in Janka’s Court:

 

 V.M.Gopalakrishnamachariar, who has written an authentic but simple commentary on Kamba Ramayanam quotes an ancient Tamil poem – decidedly of pre-Kamban era, suggesting that Sri Rama and Sita did see each other before the formal ceremony and were instantly engulfed in love.

 

ஆள்வினை முடித்த வருந்தவ முனிவன், வேள்வி போற்றிய இராமனவனோடு, மிதிலை மூதூரெய்திய ஞான்றை, மதியுடம்பட்ட மாக்கட் சீதை” மதியுடம்பட்ட (madhiyudam patta) = mind in unison.

 

May be, or it was all Kamban and his startlingly original trajectory of imagination which we see everywhere in the epic.

 

The debate shall not take away the core appreciation of this part in the epic – exceptionally enrapturing poesy in expressing a humanly intractable event  and rightly celebrated universally as amongst the most remarkable and joyous poetic communications across the world (include Kalidasa, Homer, Shakespeare , all else if you will) – Jagannathan, the Lord, Creator, Sustainer and remaker of all the worlds Himself and Jagajjanani, Jagannaayaki, the Mother of the Universe, getting hopelessly bound in a very human emotion – LOVE.

 

It calls for a daring, gutsy and supremely confident author to impute a very human emotion to the Supreme Couple of this universe. Kamban invokes that licence in a seemingly overreaching measure in this part of remarkable divergence from the Aadi Kaavya. (We note that a few others, like Kalidasa (in Kumara Sambhavam)  and of more recent vintage, (11th centure) Jayadeva, (in his soul-melting Geeta Govindam - aka Ashtapathi) also sought to delve into this challenging phenomenon.)

 

பிரிந்தவர் கூடினால். பேசல் வேண்டுமோ?

 

Now, let us see how he brings us to the genesis of this drama of love – these two are not of course strangers to each other; they were the inseparable divya dampathi before they decided to descend to earth for dharma sansthaabanaartham. He takes us to that genesis in this masterful beauty:

 

மருங்கு இலா நங்கையும். வசை இல் ஐயனும்.

ஒருங்கிய இரண்டு உடற்கு உயிர் ஒன்று ஆயினார்-

கருங் கடல் பள்ளியில் கலவி நீங்கிப் போய்ப்

பிரிந்தவர் கூடினால். பேசல் வேண்டுமோ?

 

Sita, with a waist so slender that it did not seem to exist, and Rama who had absolutely

spotless conduct, became so merged into each other, it looked that the two bodies had but just one soul. Weren’t these two just a while ago found in the celestial ocean, he reclining on his serpent bed and she seated regally right on his generous chest? And since they, who were separated from that celestial Supreme Union (for the purpose of this avatara), had now come together; this overcoming passion of reunion being so engulfing, where is room for speech?

 

(The ocean is a milky one – all frothing milk but reflecting the complexion of its Supreme Resident reclining on it, it also looked dark.)

 

அந்தம் இல் நோக்கு இமை அணைகிலாமையால்.

பைந்தொடி. ஓவியப் பாவை போன்றனள்;

சிந்தையும். நிறையும். மெய்ந் நலனும். பின் செல.

மைந்தனும். முனியொடு மறையப் போயினான்.

 

Looking at Rama with an infinite, longing, look that forbade the winking of her eyelids lest she would lose sight of Rama for that blinking second, stood there – still, like a lifeless portrait; she let her mind, her (female) equipoise, natural bashfulness and restraint, her physical beauty, wander away behind the disappearing figure of Rama, who began to walk away from her following Sage Viswamitra.

 

Could a scene of separation of two beings engulfed in intense love be captured in any more stirring words than these?

 

பிறை எனும் நுதலவள் பெண்மை என் படும்?-

நறை கமழ் அலங்கலான் நயன கோசரம்

மறைதலும். மனம் எனும் மத்த யானையின்

நிறை எனும் அங்குசம் நிமிர்ந்து போயதே!

 

What of the (unique characteristics and virtues) of feminity of Sita, the lovely one with a forehead resembling the crescent! As the image of Rama with lovely, fragrant garlands adorning his most handsome chest, disappears from her eye-sight, her mind rebelled against her and her inborn feminine qualities – of bashfulness, restraint, composure, equipoise, etc. – like an elephant in the grip of “masth”, repelling the “ankusa” of control (and just ran after Rama in wild pursuit.)

 

Let us try and bring before our mind’s eyes this picture: as Rama walks away from in front of the terrace after that lightning eye-to-eye engagement with Sita, their hearts getting exchanged and there is the engulfing emotion from this reunion of the Divya Dampathi, Sita’s mind races after him totally out of her mind’s control and she stands there, still, like a lifeless pretty portrait.

 

When I try to bring this picture in these words, I am reminded of this maxim in the Nyaya Sastra: MANI KAANCHANA NYAYAM. Gems that are most lustrous and priceless, ought to be set in the best gold that there is – nothing less. I feel so inane and inadequate.

 

Kamban excels himself in these stanzas. Getting to find poetic idiom to

bring such an ‘unearthly’ and really divine phenomenon of the Supreme

Almighty Couple getting enveloped in a very human emotion like Love, has

to have Vak Saraswathi dwelling on his tongue. It seems she did.

 

 Let us have a flavour of Kalidasa (in Kumara Sambhava) and Jaya Deva in Gita Govindam aka Ashta Pathi.

 

KALIDASA (KUMARA SAMBHAVAM – CANTO VII – VERSES 75 & 77)

 

 75.  The eyes of the two, eagerly longing to see each other, which shrank back as they met, and which were withdrawn after they were steAadied a little, experienced at that moment the restraint of bashfulness.

 

77. The hair of Uma stood on ends, while Shiva had his fingers perspiring by the joining of their hands; the action of Ananga was equally divided between the two.

 

(Lord Shiva was a reluctant suitor. He hardly noticed Uma in the long years of her performing kainkarya at his court along with her mates, on the advice of her father, Parvata Raja, in order that Iswara would one day accept her as His Consort. The union between the two happens with the conniving intervention of Cupid and on prayers and persuasion from all the celestial gods who wanted the Divine Couple to beget Kumara, as the Deva Senapathi, to vanquish the asuras. Shiva was engrossed in ascetics of supreme self-control and celibacy and it was quite a challenge for the celestial gods to get him down to the idea of union with Uma.)

 

SRI JAYA DEVA’S GEETA GOVINDAM (AKA ASHTA PATHI)

 

Verse 32

 

vigalita-lajjita-jagad-avalokana-taruëa-karuëa-kåta-häse virahi-nikåntana-kunta-mukhäkåti-ketaki-danturitäçe viharati harir iha sarasa-vasante... (5)

 

Translation -  “It seems that the whole world has become shameless by the formidable influence of spring. Seeing this, the young, compassionate trees are laughing on the pretext of bursting into flower. Look! Shaped like javelins for piercing the hearts of lonely lovers, the screw-pine flowers are blossoming brightly in all directions and the directions are also overjoyed to unite with them.”

 

 Verse 49* räsolläsa-bhareëa vibhrama-bhåtäm räsolläsa-bhareëa vibhrama-bhåtäm äbhéra-väma-bhruväm äbhéra-väma-bhruväm abhyarëaà parirabhya nirbharam uraù premändhayä rädhayä sädhu tvad-vadanaà sudhä-mayam iti vyähåtya géta-stuti- vyäjäd udbhaöa-cumbitaù smita-manohäré hariù pätu vaù

 

Translation -  Rädhä was blinded by love for Kannaiya and enchanted to the point of bewilderment. In this condition, she became utterly shameless. Directly before the attractive eyes of the other rAadiant gopi maidens, who were overwhelmed with love in the räsa-léelä, Rädhä tightly embraced Kånnaiya’s chest. Singing his praises, “O my sweetheart, how handsome is your lotus face. What an incomparable mine of abundant nectar,” she engaged him in a delightful kiss. On witnessing the intensity of her love, Kåñnaiya expressed the rhapsody within his heart with a charming chuckle. O Sri Kannnaiya, may you bestow auspiciousness for all.

 

(Many of us would have these mellifluent words ringing in their ears if they had attended Sri Radha Madhava Kalyanam festivals.)

 

We would drink more from this extremely luscious font from Kamban as we go along and reach the marriage hall for the Grandest of Celestial Weddings.

 

(I had managed, with decent ability I presume, to do this delightful albeit extremely daunting task of presenting Kamban to this knowledgeable group, with the task components limited to selection, transliterating/translating/paraphrasing and drawing inspirational references wherever appropriate. The format and time horizon demanded that the presenter used his commonsense discretion in executing the first part of this task – selection. I found it reasonably manageable thus far. But in the current facet of Kamban’s presentation of the epic, I find that “Hop, Skip and Jump” extremely tricky – well beyond my limited abilities. I seek the forbearance of the Group, just while we traverse this particular facet with the poet leaving me absolutely no chance to ‘hop, skip or jump’; I find it absolutely compelling that I present all or most of the verses in the following remaining part of this canto.)

 

As Rama slowly merges into the horizon, Sita is hopelessly afflicted by what is known in Sanskrit as viraha – pangs of separation from the loved one. Kamban makes us feel the pain ourselves along with the piratti.

 

மால் உற வருதலும். மனமும் மெய்யும். தன்

நூல் உறு மருங்குல்போல். நுடங்குவாள்; நெடுங்

கால் உறு கண் வழிப் புகுந்த காதல் நோய்.

பால் உறு பிரை என. பரந்தது எங்குமே.

 

 As the pangs, heightened by the separation from Rama, after that lightning encounter of love’s reunion, punish both the body and mind (of Sita), she flails unable, like her extremely slender (like a thread, as it were) waist flails in bearing her around.

 

The affliction called Love, that entered her through her lovelydark and large eyes, spread through her body and soul entirely, as a drop of sour buttermilk dropped in a pan of milk, spreads through the entire milk, thoroughly.

 

நோம்; உறும் நோய் நிலை நுவலகிற்றிலள்;

ஊமரின். மனத்திடை உன்னி. விம்முவாள்;

காமனும். ஒரு சரம் கருத்தின் எய்தனன்-

வேம் எரிஅதனிடை விறகு இட்டென்னவே.

 

(Sita) suffers from deeply-hurting pain of the love-smite; like a mute, couldn’t express her pain, keeps brooding  and sobs, sighs. Manmatha the Love God, choose, out of his five darts, the one made of lotus flower which exacerbates Sita’s agony by invAading her mind and making it overwhelmed by the all-pervasive thought of separation from her loved one.

 

சுழலிடு கூந்தலும்    துகிலும் சோர்தர. தழல் இடு வல்லியே    போல. சாம்பினாள்.

 

The abundant, curly tresses falling (unkempt) about her and her dress dropping off (due to her physical emaciation), she collapsed like a tender creeper laid over burning coals.

 

 தழங்கிய கலைகளும். நிறையும். சங்கமும்.

மழுங்கிய உள்ளமும். அறிவும். மாமையும்.

இழந்தவள் - இமையவர் கடைய. யாவையும்

வழங்கிய கடல் என - வறியள் ஆயினாள்.

 

 She lost her waist belt (mEghalai), (as her body’s girth melted away), lost

 

her mental equipoise, lost her bangles made of conch shells slipping out of her wrists, she lost even her agonizing mind, her smartness, the glowing rosy flush of her body that turned to a pale pallor, she lost every one of those and resembled the great milky ocean that yielded everything that the Gods wished from it when they churned it, and looked barren thereafter.

 

காதொடும் குழை பொரு கயற் கண் நங்கைதன்

பாதமும் கரங்களும் அனைய பல்லவம்

தாதொடும் குழையொடும் அடுத்த. தண் பனிச்

சீத நுண் துளி. மலர் அமளிச் சேர்த்தினார்.

 

 Sita, with her large eyes that resembled lolling fish and with lashes so long that they touched her ear-rings, with her tender feet and hands, was gently carried (by

her mates) to a carefully tended, tender and cool bed made of gentle shoots and cool and petals of fragrant blossoms, sprinkled with ice-cold water (to make her blisteringly

hot body cool a bit.)

 

கம்பம் இல் கொடு மனக் காம வேடன் கை

அம்பொடு சோர்வது ஓர் மயிலும் அன்னவள்.

வெம்புறு மனத்து அனல் வெதுப்ப. மென் மலர்க்

கொம்பு என. அமளியில் குழைந்து சாய்ந்தனள்.

 

 Like a frail and beautiful peacock that is felled by a cruel hunter, with an undeterred and cruel mind shooting with a sharp dart, Sita collapsed (on to the bed prepared by her mates) her body flailing, with her mind smouldering with the pangs of love, as a slender, flower-laden sprig.

 

 அருகில் நின்று அசைக்கின்ற ஆலவட்டக் கால்

எரியினை மிகுத்திட. இழையும். மாலையும்.

கரிகுவ. தீகுவ. கனல்வ. காட்டலால்.

உருகு பொற் பாவையும் ஒத்துத் தோன்றினாள்.

 

The “Aalavatta” fans with which the maids fanned Sita for cooling her smouldering inside and fever-bound body, only succeeded in aggravating the burn (of Love’s agony); as a consequence, the necklaces, chains as well as the floral garlands that she wore evidenced that they began to scorch, simmer and smoulder. She thus resembled a beautiful statue made of gold beginning to melt down under extreme heat.

 

Spread-eagled on her tender, cooled, petals-filled bed, agonizing with the overwhelming fever of Love, Sita begins to rant (as if in feverish delirium):

 

அல்லினை வகுத்தது ஓர் அலங்கற் காடு’ எனும்;

‘வல் எழு ; அல்லவேல். மரகதப் பெருங்

கல்’ எனும். ‘இரு புயம்’ ; ‘கமலம் கண்’ எனும்;

‘வில்லொடும் இழிந்தது ஓர் மேகம்’ என்னுமால்.

 

 (Rama’s thick hair) a flower-clad, dark forest, made of darkness Itself;

His two rock-strong shoulders were either granite pillars or huge rocks of emerald;

His eyes were lotuses – nothing else!

What descended with a bow was nothing but a huge, dark, raincloud!

 

(This Love-driven hyperbole attributed to separated lovers is one of the scintillating hallmark of poesy – Thamizh or Sanskrit.)

 

 ‘நெருக்கி உள் புகுந்து. அரு நிறையும் பெண்மையும்

உருக்கி. என் உயிரொடு    உண்டு போனவன்

பொருப்பு உறழ் தோள்  புணர் புண்ணியத்தது

கருப்பு வில் அன்று; அவன் காமன் அல்லனே!

 

Storming into me and demolishing my resolve and my feminine attrubutes altogether, and fleeing after he devoured my very life, the impressive bow that had the great fortune of adorning His hill-like shoulders, was not, I daresay, made of (sugar)cane. He

was not Manmatha, the Love God. (though he resembled him.)

 

 ‘பெண்வழி நலனொடும். பிறந்த நாணொடும்.

எண்வழி உணர்வும். நான் எங்கும் காண்கிலேன்-

மண்வழி நடந்து. அடி வருந்தப் போனவன்.

கண்வழி நுழையும் ஓர் கள்வனே கொலாம்?

 

கண்வழி நுழையும் ஓர் கள்வனே கொலாம்

 

I can’t find, any more, my feminine attributes, the bashfulness that was inborn with me, the worldly knowledge that I had gained;

the One that walked the earthen path (to my terrace),

and who left from there with His feet straining,

who could that be?

Wasn’t he a thief who has burgled me, entering me through my eyes?

 

 ‘இந்திர நீலம் ஒத்து இருண்ட குஞ்சியும்.

சந்திர வதனமும். தாழ்ந்த கைகளும்;

சுந்தர மணி வரைத் தோளுமே. அல;

முந்தி. என் உயிரை. அம் முறுவல் உண்டதே!

 

முந்தி. என் உயிரை. அம் முறுவல் உண்டதே!

 

“Indira Neelam” is a very precious gem – dark in colour – that finds frequent references in old Thamizh literature and verses. I am unable to figure out what is the corresponding modern term for it. It wasn’t his dark, long and abundant lustrous tresses that resembled in colour the precious gem of “Indira Neelam’; it wasn’t his lovely, handsome face that resembled a glowing full moon; it wasn’t his long hands (that reached below his knees);  it wasn’t the most handsome, glittering, hills-like, strong shoulders; (I am sure these were not the offenders). Even without giving me a reprieve, what devoured my very life, was that (all-conquering) SMILE.

 

 I don’t know about the Group; honestly, I am unable to retrieve myself from this melting pathos. I am also beginning to get concerned and angry for all the anguish and agony that my thaayaar, the piratti, is being put through.

 

For the lovelorn, even normally joyous and comforting Nature and her transitions, cause misery and pain. As the sun sets and night arrives, the engulfing darkness frightens and agonises Sita thus:

 

ஆலம் உலகில் பரந்ததுவோ?    ஆழி கிளர்ந்ததே? அவர்தம்

நீல நிறத்தை எல்லோரும்    நினைக்க. அதுவாய் நிரம்பியதோ?

காலன் நிறத்தை அஞ்சனத்தில்   கலந்து குழைத்து. காயத்தின்

மேலும் நிலத்தும். மெழுகியதோ?-  விளைக்கும் இருளாய் விளைந்ததுவே!

 

Did the most poisonous of all poisons, Aala kaala (that the churning of Thiruppaarkadal yielded which Lord Shiva took in to stave off disaster for the worlds) spread through the whole world? Did the dark oceans rise and cover the whole land? Did everyone in this Universe at once thought of the complexion of Sri Rama and the world was filled with that hue? Did someone mix dark eye liner with the complexion of Yama, the God of Death, and painted the whole of the sky ( காயத்தின் = ஆகாயத்தின்) and over

all of land? Even as she complains and rants about the enveloping darkness, Sita couldn’t help thinking about her Love – Sri Rama; she thinks that the whole Universe thinks with her about His complexion and it is thus the worlds are covered by his dark complexion.

 

We would stay with Kamban for just one more verse of his pouring out Sita’s agony and pain of separation from her Loved One:

 

தாயரின் பரி சேடியர். தாது உகு

வீ. அரித் தளிர். மெல்அணை. மேனியில்

காய் எரிக் கரியக் கரிய. கொணர்ந்து.

ஆயிரத்தின் இரட்டி அடுக்கினார்.

 

மேனியில் காய் எரிக் கரியக் கரிய. கொணர்ந்து.

 

Sita’s maids, caring for and tending to her more lovingly than her mother, kept on renewing her cool and tender bed repeatedly with tender and fragrant pollen-yielding flowers, as each bed got scorched with Sita’s smoldering heat one after the other: they thus changed more than two thousands of such flower beds for her – with no relief for her.

 

மேனியில் காய் எரிக் கரியக் கரிய. கொணர்ந்து

Reminds us of patients with high (delirious) fever being given cold packs that need to be changed every minute as the body heat absorbs the pack's cold so quickly. The flower beds scorched with Sita's fever and had to changed every few moments. மேனியில் காய் எரிக் கரியக் கரிய. கொணர்ந்து

 

Two thousand beds of tender flowers!  The fever that Sita had to endure ought to have scalded everything around her.

 

Kamban says that the maids were more caring and loving than Sita’s mother. Who was Sita’s mother? Sita was found as King Janaka was tilling the earth and is regarded as the daughter of Mother Earth – Bhooma Devi; though the epic would trace her back to Thirupparkadal – adorning the broad vanamala-clad chest of Sri Bhagavan. Being the daughter of Sri Bhooma Devi is often cited as the reason for her monumental patience and compassion. Sita’s earthly mother, King Janaka’s queen, was Queen Sunaina. We don’t see Sunaina anywhere in this agonizing travails of Sita in her private chambers, being tended to by her maids.

 

Let us travel some more with this fever of separation – the same Divine Couple again – in Jaya Deva’s Geeta Govinda:

 

Verse 21

 

kandarpa-jvara-saàjvarätura-tanor äçcaryam asyäç ciraà cetaç candana-candramaù kamaliné-cintäsu santämyati kintu klänti-vaçena çétalatanuà tväm ekam eva priyaà dhyäyanté rahasi sthitä katham api kñéëä kñaëa&agra