Chapter 5: Village Song

Between a mother and her daughter (the "honey child").

To the wild forest — where champa buds bloom, koil sings and lotus lilies glisten, and the fairy-folk call her.

Because the fairy-folk (nature) are calling her — she is drawn to the freedom and beauty of nature more than to marriage.

As a beautiful place with champa buds blowing, koil-haunted river-isles, glistening lotus lilies, and the calling voices of the fairy-folk.

It means the joys of married and worldly life — bridal songs, cradle songs (lullabies) and sandal-scented leisure.

Both have cadences of sorrow mixed with joy. Happiness is 'the laughter of the sun today'; sorrow is 'the wind of death tomorrow'.

The forest notes sound far sweeter than the bridal and cradle songs, so the girl prefers the forest.

No, the appeal has no effect. The girl finds the call of the fairy-folk / nature irresistible and cannot stay.

The mother reminds her of jewels, her loving mother, her waiting lover, bridal robes and cakes. But the girl wants to go because nature's music is sweeter and the fairy-folk call her — she wishes to stay free like a child.

Jewels, a loving mother, a waiting lover, bridal robes and bridal cakes — the pleasures of married life.

Champa buds, singing koil, glistening lotus lilies and the call of the fairy-folk — the beauty and freedom of nature.

Because joy today ('laughter of the sun') is followed by sorrow tomorrow ('wind of death') — worldly life mixes happiness with pain.

Sarojini Naidu.

going–blowing ; fed you–wed you ; glisten–listen ; pleasure–leisure.

Worldly pleasures — bridal and cradle songs, sandal-scented leisure — are attractive but carry hidden sorrow. Nature's pleasures — champa flowers, singing koil, lotus lilies, forest streams and fairy-folk — are pure, free and 'far sweeter'. The girl chooses nature over marriage.

She is innocent, free-spirited and deeply drawn to nature. She rejects jewels, marriage and worldly comforts, wishing to remain a carefree child amid the beauty of the forest.

Because it uses simple language, everyday rural imagery (forest, koil, champa, loom, hearth), a song-like recitative form, and presents the simple joys and sorrows of common village life.

ଚୁଲି।

"Mother mine".