Kamam Meaning In Tamil Poetry 5i4a16

Katal and Kamam There are two words "kâtal" and "kamam" in Tamil, the meanings of which are worth defining. "kâtal" has been employed in Akam poetry, to denote the kindness between all sorts of relatives including the husband and wife. (Ain 195, Nar 241, 237, An 275, 310) Now its meaning has gradually enlarged to express all kinds of love, like love of God, love of language, love of country and love of humanity. "Kâtal" implied the mental attachment between the being that loves and the object of love. This word relates merely to mind, irrespective of physical . This is plain from the use of 'kâtalan' and 'kâtali' for the hero and heroine. The use of these to denote lovers is very appropriate, as mental union is the chief characteristic of Ahattinai. The word 'kâmam' is now understood to mean a reckless indulgence of the sexual impulse. In the Sangam era, normal physical ion was meant by `kàmam' (An 23). The physical union of the lovers is called `kâmakknttam' by Tolkappiyar (Tol 1037). Later, after the Kalabari rule, 'kâmam' came to denote a sense of degradation. Love is a compound of two distinct elements, mental and physical. There is no one word in Tamil denoting these

two elements. 'Kâtal' simply means attachment and 'kâmam' ion. "Katar kâmam kamattuc cirantatu Viruppô rottu meryuru punarcci." (Pari 9) Finding no word to express the two essentials of Akam theme, Kunrampûtanar has cleverly coined a new phrase 'katarkamam' (Pari 6, Nar 389) by combining the two related words 'kâtal' and kâmam'. The second line clearly gives the meaning of the phrase, as ‘bodily union based on mutual liking.’ The Value of sexual love Akam classics do not treat directly of the mental union of lovers; for it is the play of destiny, but they fully describe the sexual aspects of those who are united in hearts. In other words, the purport of Ahattinai is to show the varying sexual phenomena of the mutual lovers. The stress in Akam poetry that the hero and heroine should unite in heart has a motive behind; only then, their sexual life will be happy and perfect. Thus the emphasis on the physical pleasure should be noted by readers of Akam literature. In no Sangam poem ion or kâmam is despised. It is true that the male companion or Pânkan derides the new course of his friend as he hears of it from him. The companion's intention is not to belittle the physical ion but to onish the hero, not to be misled in the

name of love; for kâmam will blind a lover to direct his erotic thought towards a person who does not realize its value. "Nbtak kanCe kâmam yâvatum Nanrena vunârAr mâttum Cenre nirkum perumpë taimaittë" (Kurun; 78) "Payaninru manramma kâmam" (Kali; 142)

"Kanavin nilaiyinrâr kâmam"

(Do: 145)

"Araicinum anpinrâm kâmam"

(Do; 146)

Thus a disappointed heroine of Peruntinai whose husband parts from her shortly after marriage criticizes ion as futile, illusive and cruel, bringing out the enhanced value of sensuality.

The Impulse in Women A literature, the object of which is the treatment of sexual behaviours of human beings, cannot but show respect for women in general. Indeed in the Sangam epoch, there was no superiority or inferiority of sexes. The Tamils regarded man and woman as two different rational beings. They entrusted the management of the family and the bringing up of children to woman, while work outside came to be the responsibility of man. Monogamy and chastity were strictly ened on woman for, the uninterrupted continuation of family life and for the procreation of good and pure progeny. Thus society

depended upon the consciousness of women of their responsibility for its stability and existence. This dependence would be a farce, if the parents forced their own 'choice of bridegrooms upon their daughters. Therefore society gave freedom to women to select their lifepartners and compelled others finally to consent to their choice. Kalavu poems are illustrative of the freedom enjoyed by women in matters of sex. We have already seen how the parents, the neighbours, the sages and the hero bowed their heads in reverence to the noble quality of chastity. We have also seen that a girl after her association with a youth keeps her loyalty at all costs, even disregarding her parents and experiencing any amount of hardships Therefore the main figure in Ahattinai around which all other figures revolve, and the chief quality to which all other qualities are attached are the heroine and her chastity. Her loyalty and sense of duty are vividly portrayed in Marutam poems, when the husband seeks pleasure in the company of prostitutes. Her resentful heart is said to become soft at the touch of the lewd lord, like the soil wearing away when it rains (An 26). To the request of the maid that she should cease quarrelling with the dissolute hero, the wife replies that she has no time left to do so, as she is fully engaged in entertaining guests.' When the maid speaks ill of the hero, the matron who cannot tolerate any innuendo about her lord intelligently retorts

"It is not graceful for us who are burdened with manifold duties of household." "Itumar revanô tôli Tirumanaip palkatam pûnta Perumutu pentire mâkiya namakké" (Ku 181)

Sex-education Tamil scholars of different schools have unanimously expressed the view that there is no place in Ahattinai for the treatment of love relating to heavenly or supernatural or imaginary beings. In the ninth Paripâtal, the envious quarrel between the two wives of Lord Murugan, the deity of Kurinci region is picturesquely related. But this mythological description is outside Akam. Akam poetry is a poetry of human sexual love. It is purposely devised for the realistic portrayal of the sexual life of human beings. The entry of the elements of mythological and legendary .characters into the subject matter of Ahattinai is carefully prohibited by Tolkippiyar and the Sangam poets. In dealing with the sexual impulse of mankind too, Akam poetry eschews love-aspects which are abnormal, irregular or peculiar to individuals. In fine, the theme of Akam literature is the simple course of love common to the ordinary people of all times. No love theme is adopted merely for the sake of poetry and interesting themes which may vitiate the aim are completely omitted. The Tamil genius found in poetry a proper and easy medium for initiating the youths in the art of love. In doing so,

Sangam poets picture emotionally all normal sexual aspects relating to human psychology based on biology and sociology. They do not touch upon the anatomical and physiological details, lest poetry should become a manual. Perfect sexual enjoyment is the key-note of the treatment of love in Akam poetry. Literary legislation, natural description, poetic imagination etc., have this end in view.

Monogamy Monogamy is the only kind of marriage recognised in Ahattinai: (Kali; 114) Thus Nalluruttiranâr expresses in plain the greatness of the institution of monogamy. The shocking nature of 'rival proposal’ should be viewed from the monogamous angle. The heroine's expression of constant fear of the hero's life, when he comes through the dangerous path in the darkness during the secret course, or when he has to traverse the desert to earn wealth in the married state should also be viewed from this angle.

Separation The sexual behaviours or uripporul of Ahattinai are of five kinds viz., union, separation, patience, suffering and sulking. The latter four aspects are mainly described to make the union of separated lovers more ardent and

pleasurable. Though unbroken intimacy will not affect the mutuality of the young couples, it will certainly blunt the keenness and freshness of their ion. To take the hero away from the heroine, various kinds of separation are dealt with in Akam classics. In the class of poems relating to the theme 'vinai murriya talaivan pâkarku uraittatu ( the hero's speech to the charioteer, after the completion of the -work) the hero's fresh enthusiasm to meet his beloved at home is vividly brought out. A lady' who experiences an intense pleasure on the night on which the hero returns, suddenly feels the day-break on hearing the cock crowing. She childishly thinks that the advent of dawn is due to its cry and curses it to become the prey of the wild cat: " Katunavaip patiiyarb niyé netunir Yânar ùranotu vatinta Ema intuyil etuppi yôyé" (Kurun: 107) Like uninterrupted association, sudden separation and prolonged absence too will be disastrous to the normal sexual course of married couples. This aspect is brought out in poems of Peruntinai by Nallantuvanâr.

Season and Time It is fully recognized by Akam poets that the season of the year and time of day have their influence of the sexual instinct. It is true that the allotment of land and time to each sexual behaviour in Akam grammar is artificial. Some poets, as shown in the fifth chapter, have described

all sexual topics, in one and the same landscape. Yet the appropriateness of such allotment to a particular mood is not questionable. Lovers will really enjoy an unrelaxed embrace without fatigue, if the pleasant night of the cold season, the period fixed for kuriiici is available (Kurun 270). There are innumerable subtle references in Akam poetry to the technique of love making, a know ledge of which will be useful for men and women to augment the pleasure of union. The use of flowers-and sandal paste is frequently mentioned in poems. of union as an effective stimulant of sexual joy.. That the Tamil society had perfectly understood the unrestrained influence of smell on sex is evident from the custom of wearing only a few broken flowers by wives in separation (Nar 42) Témpây yonpû narumpala ataicciya Knntal mellanait tufici "

(Akam: 308)

" Konkumukait tanna kuvimulai ydkattu Intuyil amarntanai " (Akam: 240)

Sexual Impulse of Man and Woman The fragrant tresses and growing breasts of the girl serving as a soft pillow for the hero in a happy mood are mentioned in the above lines. Sangam poets describe the sexual impulse of man and woman and their thought and speech on the basis of their distinct characteristics. (Nar; 94)

A ionate girl of the clandestine course tells her maid that when agitated by sexual impulse it is fitting for a man to disclose his urge in words, but her feminine modesty does not allow her to do so and that the hero who does not by himself understand the feelings of those who are smitten by his broad chest is not a gentleman. It is always the hero who is described as starting the lovemaking in Akam poems. As soon as he meets the lass in the millet field or in the sea shore or on the street, he begins to make some inquiry. When the girl and her maid are reticent, he pours out voluptuously pleasing words: (Akam; 48) The hero, at the sight of the companion voluntarily discloses his new experience and plainly begs his friend to help him to meet his beloved again. It is the hero who showers words full of sexual significance on his lady, before and after the physical joy. All these expressions point to the masculine .characteristic of forwardness and taking the initiative in sexual conduct. The hero attracts his lady at all times by his alluring speech, just as she attracts him by her lovely movements. On the other hand, modesty colours the sexual feeling of women. The heroine does not voluntarily let out her association with the hero even to her bosom friend, the maid. The maid too dares not to ask the girl about her gloom. She tries to guess it indirectly. The fear of the

mother to question her daughter has been described before. There are nearly 30 poems dealing with a theme in which the maid who consents to the request of the hero intimates it to the heroine. In all these lyrics, the maid cautiously proceeds to inform the girl how the hero approaches her and expresses his desire to her. The reason for the maid's prudence is that the heroine will become more shy to think that her secret course is discovered by the maid and that it is her own modesty that has induced her lover to reveal their love to the maid. (Kali; 47) In this way, the maid impresses upon the girl the eagerness of the hero for a meeting. A woman wishes at heart that her husband should infer her sexual urge, in spite of her prudery and that her modesty should be availed by him, as a means of intensifying the joy of the sexual act. The sexual life of inexperienced young couples will be marred for ever, if the lover misconceives the ive attitude of his girl as frigidity and coldness, and his entreaties to her as disgraceful to his manhood. In Kali. 128 Nallantuvanâr reveals the desire of a girl that her lover should submit himself to every humiliating act during sexual enjoyment. In Kurincippâttu, Kapilar describes the delight of a girl of the mountain region, when the youth embraced her, paying no regard to her modesty.

He stood still there not daring her to touch. She prompted by her modesty and fear Attempted flight, but he prevented this And where he stood he clasped her to his breast. A fine insight into the subtle feelings of his wife is necessary for the husband to make sexual life a success. A contented sexual life is the index of the happy blend of many fine qualities. Discontent and lack of sexual enjoyment will impair the happiness of married life. A wife criticises the separation of her husband in the pursuit of wealth in the prime of youthfulness as the discarding of feeling and affection (Kurn 20) Tolkâppiyar, the great Tamil grammarian and sexologist finds in Aintinai, bliss, wealth and virtue (Tol 1037) Sexual life is a part of spiritual life and sexual education is a part of soul-education. All these citations and explanations will corroborate the statement that the aim of Ahattinai and the composition of Akam literature of the Sangam Age is the enlightenment of men and women in matters of sex.