When she raised this question with Vairum, though, he told her that her knowledge of history and human nature is flawed and incomplete, and that people who take dowries these days are opportunists and not to be trusted. And, as Sivakami observes Baskaran and his family, she finds herself, a little grudgingly, coming to believe that the family is honourable and the match a good one.
Which makes her feel all the odder when Vairum confronts her, late in the afternoon of the third day. The main hall is full of relatives and guests, napping and gossiping, passing the time between meals and major ceremonies. She herself is lying down, in the pantry, her head on her wooden pillow. She hasn’t the energy she once had, and the effort of making the sweets, which she insisted on, has tired her, as has the stream of people coming to pay their respects, and the instructions she has sent out with Janaki, Kamalam and Gayatri, each time the bride has come in to change her clothes and eat.
She feels she has just closed her eyes, when she senses a presence, breathing above her. Her mind flashes briefly-is it a dream?-to the semi-opaque figure she used to see by the river. The last time she saw it was the day she got the news of Thangam’s illness. Then she opens her eyes: Vairum stands over her, black-diamond eyes snapping, nostrils flared. His hair fans like a dark halo around his mottled face, as much white now as brown.
He thunders softly at her, “You asked your brothers to warn Goli off from Dhoraisamy’s family? You are spreading rumours about this family?”
Sivakami sits up, feeling frail and uncertain. She had felt so competent when she wrote the letter.
“You will go to any lengths to protect that man, won’t you?” Vairum is in a fury.
Sivakami opens her mouth to respond-she wasn’t protecting Goli, she was protecting Janaki. “What if Dhoraisamy broke it off, when they learned…”
“You think I didn’t know Goli would try to milk them? I briefed them as soon as they agreed. They contracted with you and me, who are beyond reproach as far as they are concerned. They would never hold Janaki’s father against her. And you spread rumours. About them. Which reflects badly on me. You can’t just tell the truth about him, can you? That would be a blow to your pride.” He looks ugly. “If only your pride extended to me.” He thumps his chest with what sounds like a sob, and runs, so like a little boy, upstairs.
Sivakami can’t follow him-the main hall is full of relatives-and she doesn’t even know how to answer. She must talk to him, as soon as the wedding is done. She couldn’t be prouder of him. Isn’t that obvious? He is what she always wanted him to be. And she is ashamed of Goli-that’s why she took this step. Has she made the mistake she feared others would make, all those many years ago, thinking Vairum too hard to be hurt?
Janaki thought the costume changes were fun, as were the ceremonies, which felt a little like play-acting. She is a bit embarrassed by the grandeur and finery, but also excited: these are harbingers of her new life. And she is mature enough to appreciate her in-laws’ classiness. They didn’t even ask for a dowry, she thinks with pleasure-they were happy to get her and didn’t need a bribe.
As the ceremonies wind to a close on the third night, Janaki sits with Baskaran on the dais at the end of the Brahmin quarter nearest the temple and wonders, not for the first time this weekend, where her father is. She thinks back to the last time she saw him, the only time since her mother’s death. He looked like a wraith, she thought-his hair nearly white, his eyes red, his clothes baggy and ghostlike.
As the sun begins to set, a chaotic figure runs hopping and gliding through the attendees of the wedding, from the other end of the Brahmin quarter-Padmavati, the witch’s sister-in-law. She streaks past the dais, and toward the temple, her clothes creased and bunched, food on her chin, trailing a yeasty smell of confinement in her wake. A moment later, the witch’s husband dashes frantically along the same path. When he reaches the dais, he asks Vairum, “Did you see her? My sister. Which way did she go?”
He points toward the temple, where Padmavati has achieved the top and begun shouting. First children, then other curious parties, crane and creep out to see what is happening. She has begun to tell a familiar story: the Tale of an Anklet, a Tamil classic. At least a third of the wedding’s guests move out to listen to her. Her brother figures out how to get onto the temple roof and tries to apprehend her. She runs to the opposite side, lifts her rumpled sari and starts masturbating for the crowd, shouting at her brother to keep away. He chases her and pushes her hands and sari down, but she slips out of his grasp and shoves him over the edge of the roof. The temple is only about nine feet high, but the wind is knocked out of him and he gives up.
Padmavati returns to her tale:
“I,” she declaims, “am Kannagi, the innocent daughter of a Thiruchi merchant, married to Kovalan, the handsome son of another merchant. At a festival some time back, Kovalan met Madhavi, a fish-eyed courtesan, and forgetting his faithful wife, went to live with her. Then they fought and he returned, but he had spent our entire fortune and I offered up to him my ankle bracelets, the thickest and best of my ornaments. ‘Come,’ I said, ‘let us go to Madurai and make our fortune anew.’ So now we go,” Padmavati grins evilly and marches around the perimeter of the temple. “But when we arrive in Madurai, new misfortunes are afoot. One of the queen’s ankle bracelets has been stolen and my husband, trying to sell one of mine, is accused. He is brought before the inattentive king and killed for a thief. I am waiting,” Padmavati sinks sideways to her knees, batting her lashes caricaturedly. “Where is my husband? I go and follow and hear of my husband’s destiny. I have fought and scratched my way into the king’s court: ‘What did your wife’s anklet contain?’ I challenged him. ‘Pearls,’ the queen tells me. ‘A city ruled by an unjust king is doomed to misery,’ I tell the king, and break mine open, from which gems roll and scatter. The queen faints; the king faints, too. ‘May Madurai burn!’ I scream. ‘My happiness is ended!’ ”
From within her sari, the witch’s sister-in-law withdraws a scythe and a bottle of kerosene. She douses herself while the crowd watches, still confused as to what she intends.
At that point in the story, the legendary Kannagi, that paragon of faith and chastity, cuts off her left breast and the city of Madurai bursts spontaneously into a cleansing flame, but Padmavati strikes a match on her scythe and sets herself on fire instead.
The crowd bursts into shouts and runs, but by the time they have fetched water and medics to the rooftop, the witch’s miserable sister-in-law is dead.
This doesn’t seem like a very good omen for a wedding, but Janaki is determined not to think that way. What has shaken her more than anything was the mention of the seductress who lured away a husband and made him spend on her the money he should have lavished, if judiciously, on his faithful wife. I hate stories like that. She is unable, however, to keep herself from wondering what becomes of the courtesan.
34. Madras, the City by the Sea 1942
SEVERAL MONTHS LATER, Vairum comes to fetch Janaki and Kamalam to Madras for a holiday. It is his final wedding gift to Janaki. Though she is well brought up, he wants to encourage Janaki to be more worldly, not only in her habits and tastes, but in her comportment.