MangoSeason- Story Behind Verses-6
Mangoes are not just fruits; they are a cultural emblem. The earliest mention of mangoes in India dates back to around 2000 BCE, with references found in ancient texts and scriptures such as the Vedas and Puranas. They are revered in ancient scriptures, celebrated in literature, and woven into rituals that span thousands of years.
Mango season today falls in late May, high summer, when the fruit ripens and the streets are suddenly filled with a huge variety of mangoes from all over the country. The leaves of the mango are auspicious for Hindus, and are hung across doorways for any special occasion and in temples. Sanskrit poetry tends to celebrate the fragrant mango flower more than the fruit or the leaves and as a result it is vasanta not grīṣma that is the season of the mango. Vasanta starts as the mango tree puts forth buds and sprouts which gradually turn into a golden blossom as the season reaches its height.
अङ्कुरिते पल्लविते कोरकिते विकसिते च सहकारे।
अङ्कुरितः पल्लवितः कोरकितो विकसितश्च मदनो ऽसौ॥
aṅkurite pallavite korakite vikasite ca sahakāre |
aṅkuritaḥ pallavitaḥ korakito vikasitaś ca madano 'sau ||
This verse, found in the Sadūktikarṇāmṛtam (in the section on Spring/Vasanta), describes the simultaneous flowering of the mango tree and the awakening of love (Madana/Kāma).
(The Saduktikarṇāmṛta (1205 AD) is a major Sanskrit subhāṣita (anthology of poetry) compiled by Śrīdharadāsa during the Sena dynasty in Bengal.)
अङ्कुरित (Ankurita): Sprouted / Germinated
पल्लवित (Pallavita): Spread with new tender leaves (foliage)
कोरकित (Korakita): Budded
विकसित (Vikasita): Bloomed / Flowered
सहकार (Sahakara): A fragrant species of Mango tree
मदन (Madana): Kamadeva (the God of Love) or Desire/Passion
आम्रे पल्लविते स्थित्वा कोकिला मधुरस्वरम् ।
चुकूज कामिनां चित्तम् आकर्षन्तीव दूतिका ॥
“As the mango flowers swell, put forth sprouts, bud and blossom, love, too, swelled, sprouted, budded and blossomed” (Sadūktikarṇāmṛtam, 13th c)
The dark green leaves, with fragrant buds and blossoms attract the swarms of humming bees and singing cuckoo birds. The relationship of Mango tree laden with blossoms and Cuckoo bird is that of a lover and the beloved.
The secret of Cuckoo’s melodious voice is associated with the sweet fragrance of mango blossoms and honey laden mango fruits.
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The verse uses the blossoming of the mango tree—a symbol of the arrival of Spring (Vasanta)—to mirror the awakening and intense growth of romantic longing or desire in a person's heart. The stages of the tree's growth (sprout to flower) directly correspond to the stages of love's intensification
āmre pallavite sthitvā kokilā madhurasvaram |
cukūja kāmināṃ cittam ākarṣantīva dūtikā |
आम्रे: In the mango trees (from आम्र, meaning mango).
पल्लविते: Blooming or flowering (from पल्लव, meaning sprout or shoot).
स्थित्वा: Having stood (from स्थित, meaning to stand).
कोकिला: Cuckoo (a bird symbolizing love and longing).
मधुरस्वरम्: With a sweet voice (from मधुर, meaning sweet, and स्वर, meaning sound or voice).
चुकूज: Sang or called (past form of the verb from चुकूज, derived from the root associated with calling).
कामिनां: Of lovers (from कामिन्, meaning a lover or one who desires).
चित्तम्: Heart or mind (from चित्त, meaning the seat of emotion or consciousness).
आकर्षन्तीव: Appearing to attract (from आकर्षण, meaning to attract).
दूतिका: Like a messenger (from दूतक, meaning emissary or messenger).
"Standing amidst the blossoming mango trees, the cuckoo sings sweetly, enchanting the hearts of lovers like a messenger."
This shloka can be found in various poetic texts of Sanskrit literature, often used in contexts celebrating nature, love, and the beauty of spring. It can serve as a metaphor in romantic poetry or a description of the idyllic and romantic scenery, highlighting how nature influences human emotions.
The shloka paints a vivid picture of a cuckoo singing sweetly while perched on blossoming mango trees. The imagery evokes a serene and romantic atmosphere as the bird's melodious song captivates the hearts of lovers. Here, the cuckoo symbolizes not just nature’s beauty but also serves as a metaphor for a messenger of love and longing, subtly connecting the natural world with human emotions. The reference to the mango trees, known for their sweet fruit and fragrant flowers, suggests the freshness of spring and the joys of love.
Additionally, the cuckoo is often associated with the arrival of the monsoon and romantic feelings in Indian poetry. Thus, the verse connects the beauty of nature with the emotional experiences of love, indicating how the environment influences human feelings and relationships. This verse is significant as it encapsulates the relationship between nature and love, emphasizing how the beauty of the natural world can inspire and evoke deep emotional responses.
Royal Fruit Drama
Sanskrit poets turn the mango season into a royal fruit drama. Its authorship is not attributed to any specific historical or ancient poet; it is generally considered a modern narrative poem ( Sanskrit subhashita) composed by Sanskrit lovers
त्रपाश्यामं जम्बु स्फुटितहृदयं दाडिमफलं
सशूलं संधत्ते हृदयमतिमानेन पनसम् |
अभूदन्तस्तोयं तरुशिरसिजं लाङ्गलिफलं
समायाते चूते जगति फलराजे रसमये ||
This beautiful Sanskrit verse uses personification to describe how other fruits feel "jealous" or "inferior" now that the Mango (the King of Fruits) has arrived.
The poet attributes human emotions to fruits to explain their physical characteristics:
"The Rose Apple (Jambu) has turned dark (purple) out of shame; the Pomegranate (Dadima) has literally burst its heart open (the cracking of a ripe pomegranate); The Jackfruit (Panasa) is covered in thorns because its heart is filled with excessive pride; and the Coconut (Langali/Nariyal), appearing at the top of the tree, has turned into water inside. All this happened because the juicy Mango, the King of Fruits, has arrived in the world." [1]
Jambu (Rose Apple): Its dark purple color is wittily described as "turning blue/dark with shame" (Trāpāśyāmaṃ) because it cannot compete with the mango's beauty.
Dadima (Pomegranate): It is so heartbroken by the mango's superiority that its heart has physically "split open" (Sphuṭitahṛdayaṃ), revealing its seeds.
Panasa (Jackfruit): Its thorny exterior is described as "thorns of pride" (Saśūlaṃ), as it tries to act tough despite being overshadowed.
Narikela/Langali (Coconut): Growing high up, it has become "liquefied with fear or anxiety" (Abhūdantastoyaṃ), referring to the coconut water inside.
When the succulent mango arrives, the jamun turns black with shame, the pomegranate's heart (dana) bursts, the jackfruit becomes thorny and proud, and the coconut brings forth water (tears) and even the coconut melts!
This Sanskrit verse poetically describes the jealousy and shame of other fruits (jamun, pomegranate, jackfruit, coconut) at the arrival of the mango (the king of fruits)
Conclusion: Once the Chuta (Mango), the juicy king of the fruit kingdom, makes its grand entrance, no other fruit can hold its ground!
Sanskrit literature, particularly in descriptions of spring (Vasanta), portrays the mango tree (Sahakara or Rasala) as the king of trees, symbolizing love, sweetness, and beauty.
(Pic Credit- Google images)
