The various dimensions of love – Part II – Despondency
Dear all,
Bharathiyar could bring in wide range of emotions in his relationships with கண்ணன் and கண்ணம்மா. This week picked another பாரதியார் song that conveys love, frustration and even anger. He writes as a woman falling in love with கண்ணன். The woman falls deeply in love with கண்ணன், but is getting increasingly annoyed with the lack of any response from him. She then sends her close friend to find out what he has in mind and even threatens to expose him for his deception.
We have commonly heard and read about the five stages of grief – i.e. the sequence of emotions a person undergoes in grief. The five stages being Denial, Anger, Bargain, Depression and Acceptance.
பாரதி beautifully expresses the evolution of these emotions in this song by a woman who is distressed by her unfulfilled love.
The song is from the movie தெய்வத்தின் தெய்வம். Music by the great G. Ramanathan and elegantly rendered by S. Janaki. Can’t blame you if you get reminded of the song “சிங்கார வேலனே தேவா” – since they both share a common voice and raaga Abheri (This song is a raagamalika with one of the raagas being Abheri). Note how GR used three raagas for three emotions – Genius stuff. Listen to the opening வீணை and the flute that gently eases you into SJs singing – அருமை!
I have on purpose included a charanam that is not used in the movie song, to showcase the imaginative way in which பாரதி brings out the evolution of these emotions.
கண்ணன் மனநிலையைத் தங்கமே தங்கம் அடி தங்கமே தங்கம்
கண்டுவர வேணுமடி தங்கமே தங்கம்
எண்ணம் உரைத்துவிடில் தங்கமே தங்கம் – பின்னர்
ஏதெனிலும் செய்வமடி தங்கமே தங்கம்!
Her longing for him and her exasperation conveyed by the lines – “எண்ணம் உரைத்துவிடில் தங்கமே தங்கம் – பின்னர் ஏதெனிலும் செய்வமடி தங்கமே தங்கம்”
(If he atleast speaks his mind, we can then plan our next move – almost as if she is fed up).
It’s common to hear guitar played at a high speed. The solo வீணை pieces in the first interlude and at the end leave you wonder struck.
The next paragraph is not in the movie but a compelling one – Look at the anger (Anger stage of grief) with which she addresses him.
“சொன்ன மொழிதவறு மன்னவனுக்கே –எங்கும்
தோழமை இல்லையடி தங்கமே தங்கம் (For a king who doesn’t keep up his word, it is difficult to find companionship)
என்ன பிழைகளிங்கு கண்டிருக்கிறான்?–அவை யாவும் தெளிவுபெறக் கேட்டுவிடடீ
(What flaws did he find in me? Please ask him clearly. Look at the use of the word “தெளிவுபெறக்” – a command to her friend that is impactful – She demands her friend to ask the questions in a manner that is very clear to கண்ணன் and also to understand and revert with his responses clearly – a no nonsense, matter of fact approach).
In the next Charanam (used in the movie) she threatens to expose his actions. She is tormented by her fond memories and now uses blackmail in an effort to bargain (Bargain stage of grief) and get what she wants.
ஆற்றங்கரை அதனில் முன்னம் ஒருநாள் – எனை
அழைத்துத் தனி இடத்தில் பேசியதெல்லாம்
தூற்றி நகர் முரசு சாற்றுவேன் என்றே
சொல்லி வருவையடி தங்கமே தங்கம்!
( If he does not give me a suitable reply, I will go around the town disparaging him – “ தூற்றி நகர் முரசு சாற்றுவேன்” – what a line? – gives a stern warning).
Now going to the last Charanam of the song. She accepts the fact he may never reciprocate (acceptance stage of her grief):
“நேர முழுதிலும் அப்பாவி தன்னையே – உள்ளம் நினைந்து மறுகுதடி தங்கமே தங்கம்
தீர ஒருசொல் இன்று கேட்டு வந்திட்டால்
பின்பு தெய்வம் இருக்குதடி தங்கமே தங்கம்!”
( I Keep pining for him all the time- If he finally declares his intentions once for all, I can at least take shelter in god).
As if imagining yourself as a woman and so vividly expressing the emotions that stem from her vexation is not tough enough, பாரதி goes through a sequence of emotions that have been so well described by psychologists.
Wonder if he had read about it or just intuitively was able to feel it and express it!!. Either way it shows his intellect and erudition.
மகா கவி என்றும் ம(ங்)கா கவி!!!
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