Sangam Lit

In this episode, we perceive the remorse of a mother, as depicted in Sangam Literary work, Aganaanooru 145, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a contrast of the dreariness of this domain and the prosperity of the lady’s home. வேர் முழுது உலறி நின்ற புழற்கால், தேர் மணி இசையின் சிள்வீடு ஆர்க்கும், வற்றல் மரத்த பொற் தலை ஓதி வெயிற் கவின் இழந்த வைப்பின் பையுள் கொள, நுண்ணிதின் நிவக்கும் வெண் ஞெமை வியன் காட்டு ஆள் இல் அத்தத்து, அளியள் அவனொடு வாள்வரி பொருத புண் கூர் யானை புகர் சிதை முகத்த குருதி வார, உயர் சிமை நெடுங் கோட்டு உரும் என முழங்கும் ”அருஞ் சுரம் இறந்தனள்” என்ப பெருஞ் சீர் அன்னி குறுக்கைப் பறந்தலை, திதியன் தொல் நிலை முழு முதல் துமியப் பண்ணிய நன்னர் மெல் இணர்ப் புன்னை போல, கடு நவைப் படீஇயர்மாதோ களி மயில் குஞ்சரக் குரல குருகோடு ஆலும், துஞ்சா முழவின், துய்த்து இயல் வாழ்க்கை, கூழுடைத் தந்தை இடனுடை வரைப்பின், ஊழ் அடி ஒதுங்கினும் உயங்கும் ஐம் பாற் சிறு பல் கூந்தற் போது பிடித்து அருளாது, எறி கோல் சிதைய நூறவும் சிறுபுறம், ”எனக்கு உரித்து” என்னாள், நின்ற என் அமர்க் கண் அஞ்ஞையை அலைத்த கையே! A deep dive into this domain, as we listen to the lady’s mother say these words, at the juncture she learns of her daughter’s elopement with her man: “In the hollow trunk of a tree that has dried up from root to tip, crickets resound with the sound of chariot bells. Upon this parched tree, standing amidst a place that has lost its beauty owing to the scorching heat, a golden-headed lizard, crawls up with much suffering, in those wide spaces of the uninhabited drylands, filled with axle-wood trees. After fighting with the tiger, having sword-like stripes, the wounded elephant, with blood dripping from its crushed, spotted face, trumpets akin to thunder that resounds in the soaring peaks of tall hills. To such a formidable drylands, my poor girl has left with him, they say! In the spacious mansion of her prosperous father, where ecstatic peacocks and birds with elephantine voices, call aloud, and drums roar ceaselessly, living a life of plenty and comfort, she would feel sorrowful even if she were to miss a step and stumble. Catching hold of the garland tied tightly to her thick tresses with five-part braids, without any grace, shattering the stick, when I struck again and again, acting as if her little back was not even hers, she stood still, that daughter of mine with exquisite eyes. May these hands that made her suffer so, become utterly ruined like the ‘Laurelwood tree’ with fine and soft flower clusters, belonging to Thithiyan, when it was chopped at its trunk of many years, by the famous ‘Anni’ at the ‘Kurukkai’ battlefield!” Let’s brave the parched air of the drylands and walk on! Mother starts by describing this domain, and to do that, she brings before us, a seared tree, which seems not to have a drop of water right from its root to the tip of its topmost branch. From inside the hollows of this tree, crickets resound and a reptile, possibly the Indian golden gecko, treads upon it, with much languish. There’s sweltering heat everywhere, and not a sign of any human around. Here, after a clash with a tiger, a bleeding elephant walks about, roaring like the thunder in the mountains, mother continues. She then connects this place to her situation saying this is where her daughter had left to, with her beloved. Then, from these impossible places, she turns to describe the lady’s home, talking about her rich father, the wide mansion, where peacocks and birds, which trumpet like elephants, are to be found. A moment to ponder on what bird this might be! On searching, I learnt that it could be the Great Hornbill that has a unique, loud voice, somewhat close to an elephant’s trumpet. Possibly, the mansion had hornbills and peacocks brought in from the mountains to adorn it! Returning, mother continues by talking about how drums resound ceaselessly, possibly indicating this was the house of some lord or king, always winning at battles. Mother says that the lady lived such...

In this episode, we perceive the hope in a man’s heart, as depicted in Sangam Literary work, Aganaanooru 144, penned by Madurai Alakkar Gnaazhalaar Makanaar Mallanaar. The verse is situated amidst the blooming wild jasmines of the ‘Mullai’ or ‘Forest Landscape’ and presents dual perspectives from the home front and the battlefront. ‘’’வருதும்’ என்ற நாளும் பொய்த்தன; அரி ஏர் உண்கண் நீரும் நில்லா; தண் கார்க்கு ஈன்ற பைங் கொடி முல்லை வை வாய் வால் முகை அவிழ்ந்த கோதை பெய் வனப்பு இழந்த கதுப்பும் உள்ளார், அருள் கண்மாறலோ மாறுக அந்தில் அறன் அஞ்சலரே! ஆயிழை! நமர்” எனச் சிறிய சொல்லிப் பெரிய புலப்பினும், பனி படு நறுந் தார் குழைய, நம்மொடு, துனி தீர் முயக்கம் பெற்றோள் போல உவக்குநள் வாழிய, நெஞ்சே! விசும்பின் ஏறு எழுந்து முழங்கினும் மாறு எழுந்து சிலைக்கும் கடாஅ யானை கொட்கும் பாசறை, போர் வேட்டு எழுந்த மள்ளர் கையதை கூர் வாட் குவிமுகம் சிதைய நூறி, மான் அடி மருங்கில் பெயர்த்த குருதி வான மீனின் வயின் வயின் இமைப்ப, அமர் ஓர்த்து, அட்ட செல்வம் தமர் விரைந்து உரைப்பக் கேட்கும் ஞான்றே. A little of the forest and more of the fierce battlefield in this trip, as we listen to the man say these words to his heart, as his charioteer listens, at the moment the man’s returning home after his mission: “Saying, ‘The day he had marked for his return has turned out false; Tears stop not from these beautiful, kohl-streaked eyes with red lines; The pointed, white buds of green-vined wild jasmines have burst into bloom because of the cool rains; He thinks not of how my tresses that used to be clad in garlands, have lost their lustre; If he, who does not fear righteousness, no longer wants to render his grace to me, so be it, O maiden clad in well-etched ornaments!’, she would be expressing a little and lamenting a lot. As thunder soars in the skies and resounds aloud, standing opposite, wild battle elephants reflect that sound in equal measure in the battlefield. Here, desiring war, soldiers rise with sharp swords in hand. Blunting these sharp edges, they have scattered much blood, which gather in the pits made by hooves of horses, and twinkle hither and thither, akin to stars in the sky. O heart, may you live long! When our kin rush to her and tell her about how I quelled enemies in this battlefield and heaped wealth, she shall delight, as if crushing her dew-covered, fragrant garland, she has attained a flawless union with me!” Let’s trot along with the man on his way home through the jasmine-clad forest and listen in! The man starts by expressing the thoughts that would be passing through the head of his lady just then, about how the man was not back when he promised he would be, about the way her eyes were overflowing with tears, and how the wild jasmines have bloomed in the rains and yet her tresses cannot be adorned with garlands, owing to his absence. She may even wonder if the man’s love for her has changed and call him an unjust person, the man says aloud. He tells his heart that for sure the lady would be worrying a lot in this manner. While that may be so, the minute she hears their relatives talk about how the man vanquished enemies in that fierce battlefield, and brought back great wealth, the lady would forget all her laments and would feel the same delight she does when she attains a sweet sleep in his embrace, the man concludes. The man’s subtle way of pressing his charioteer to speed the horses and hasten home! In the thought that his actions would bring happiness to the lady in spite of the pain he has inflicted by his parting, the man echoes the same hope each of us carry, when we give up pleasures in the short run and yearn for greater things. Just like this ancient ancestor of ours, all we can do is hope, wishing that no matter how they seem now, things will turn out well in the end!

In this episode, we observe an attempt to change a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 143, penned by Alamperi Saathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse transports us to the domain of a king’s commander. செய்வினைப் பிரிதல் எண்ணி, கைம்மிகக் காடு கவின் ஒழியக் கடுங் கதிர் தெறுதலின், நீடு சினை வறிய ஆக, ஒல்லென வாடு பல் அகல்இலை கோடைக்கு ஒய்யும் தேக்கு அமல் அடுக்கத்து ஆங்கண் மேக்கு எழுபு, முளி அரிற் பிறந்த வளி வளர் கூர் எரிச் சுடர் நிமிர் நெடுங் கொடி விடர் முகை முழங்கும் வெம் மலை அருஞ் சுரம் நீந்தி ஐய சேறும் என்ற சிறு சொற்கு இவட்கே, வசை இல் வெம் போர் வானவன் மறவன் நசையின் வாழ்நர்க்கு நன் கலம் சுரக்கும், பொய்யா வாய்வாள், புனைகழல் பிட்டன் மை தவழ் உயர் சிமைக் குதிரைக் கவாஅன் அகல் அறை நெடுஞ் சுனை துவலையின் மலர்ந்த தண் கமழ் நீலம் போல, கண் பனி கலுழ்ந்தன; நோகோ யானே. This trip offers a study in contrast when it comes to the features of the domain, as we listen to these words the confidante says to the man, at a time when he’s planning to part away from the lady, to gather wealth: “When I said to her, ‘Intending to part away on a mission to gather wealth, the lord plans to go to those formidable drylands near the sweltering mountains, where immensely ruining the beauty of the forests, the harsh sun scorches, and dries up long branches, and the hot summer winds wither many leaves and take them away, with a rustling sound, in those ranges, filled with teak trees, and here, soaring above, a fierce flame, birthed in the dried-up bushes and reared by the wind, rises tall and resounds aloud in the clefts and caves’, just hearing these few words, akin to the cool and fragrant blue lotus, which has bloomed in the spray of the wide and deep spring in the tall peak of the ‘Kuthirai’ mountains, enveloped by clouds, ruled by the army commander of the impeccable, battle-worthy King Vanavan, Pittan, who wears well-etched anklets, wields a victorious sword, and one, who renders fine vessels to those who come seeking with desire to him, her eyes filled with tears! I suffer so!” Let’s take a walk through those searing spaces and learn more! The confidante tells the man that she happened to go to the lady and tell her that he was planning to leave to the drylands. In her usual style, she presents a vivid view of the drylands, painting the drying branches, withering leaves and soaring wildfire. It was interesting to note the words used to describe this wildfire, by mentioning how it was born in the dried-up bushes but fostered and reared into a force of nature by the winds. The hidden metaphor of a child, born in a family, and raised by the world entire, to become who they become, was intriguing to note. Returning, we find the confidante continuing her narrative, telling the man that the moment she said these words, the lady’s eyes started shedding tears. To etch this image, she summons blue-lotuses, which have apparently bloomed because of the spraying water droplets from a spring nearby, and she locates this place as the domain called ‘Kuthirai mountains’, belonging to a brave commander of King Vannan, a a person named Pittan, renowned for his generosity. The confidante concludes by saying seeing those tear-filled eyes of the lady made her suffer much agony. In essence, the confidante means to tell the man that the mere thought of him leaving had reduced the lady to such a state, projecting the implied question, ‘What would befall her, if the man were to actually leave?’. The confidante has intervened on behalf of the lady and hopes to prevent the man from proceeding with his plan of parting with the lady. The lady encapsulates a deeply human sentiment of worrying about something, even before it happens – the downside of our unique powers of imagination. Curious isn’t it that it’s this same human imagination, which has made these poets perceive a child in a wildfire and connect a water-soaked flower to a tear-filled eye!

In this episode, we listen to words of delight after an awaited event, as depicted in Sangam Literary work, Aganaanooru 142, penned by Paranar. Set amidst the golden flowers of the ‘Kurinji’ or ‘Mountain Landscape’, the verse depicts the generosity of a king and the courage of a commander in the battlefield. இலமலர் அன்ன அம் செந் நாவின் புலம் மீக்கூறும் புரையோர் ஏத்த, பலர் மேந் தோன்றிய கவி கை வள்ளல் நிறைஅருந் தானை வெல்போர் மாந்தரம் பொறையன் கடுங்கோப் பாடிச் சென்ற குறையோர் கொள்கலம் போல, நன்றும் உவ இனி வாழிய, நெஞ்சே! காதலி முறையின் வழாஅது ஆற்றிப் பெற்ற கறை அடி யானை நன்னன் பாழி, ஊட்டு அரு மரபின் அஞ்சு வரு பேஎய்க் கூட்டு எதிர்கொண்ட வாய் மொழி மிஞிலி புள்ளிற்கு ஏமம் ஆகிய பெரும் பெயர் வெள்ளத் தானை அதிகற் கொன்று, உவந்து ஒள் வாள் அமலை ஆடிய ஞாட்பின், பலர் அறிவுறுதல் அஞ்சி, பைப்பய, நீர்த் திரள் கடுக்கும் மாசு இல் வெள்ளிச் சூர்ப்புறு கோல் வளை செறித்த முன்கை குறை அறல் அன்ன இரும் பல் கூந்தல், இடன் இல் சிறு புறத்து இழையொடு துயல்வர, கடல் மீன் துஞ்சும் நள்ளென் யாமத்து, உருவு கிளர் ஓவினைப் பொலிந்த பாவை இயல் கற்றன்ன ஒதுக்கினள் வந்து, பெயல் அலைக் கலங்கிய மலைப் பூங் கோதை இயல் எறி பொன்னின் கொங்கு சோர்பு உறைப்ப, தொடிக்கண் வடுக்கொள முயங்கினள்; வடிப்பு உறு நரம்பின் தீவிய மொழிந்தே. There’s only a dash of this domain in this instance, as we listen to the man say these words to his heart, at a moment when he has trysted with his lady, after a long separation: “Celebrated by wise bards, who have skilled red tongues, akin to silk-cotton flowers, is the one with generous hands, exalted above all others, that conquering king with an unstoppable army, known as ‘Mantharam Poraiyan Kadunko’. Akin to the vessels of those impoverished, who return after singing about him, you shall brim over now, my heart! May you live long! Without swerving from his just path, with his talents, the great Nannan won over elephants with huge feet. In his town of ‘Paazhi’, his commander Minili, renowned for his honesty, undertook the task of feeding the insatiable and terrifying spirits of death, and routed the famous Athikan, with a flood-like army, renowned for being a protector of birds. After this, Minili, performed the ecstatic ‘Amalai’ dance, with his shining sword. Akin to the uproar that arose in the battlefield just then, slander would spread in town if they knew of our relationship. Fearing that, walking gently, wearing many neat rows of flawless silver, curving bangles on her forearms, having thick, dark tresses, akin to silt-laden sand, caressed by the river, extending and swaying beyond her slender waist, my lady love came at the dark hour of midnight, when even fish in the seas sleep, moving with a delicate gait, akin to a radiantly painted doll, which was just learning to walk, and making my honey-soaked garland of mountain flowers, tousled by the rains, shed flowers, akin to golden sparks that scatter in a smithy, she embraced me, leaving impressions of her bangles, and uttering sweet words, resounding like the well-played strings of a lute!” Let’s hear the heartbeat of this mountain man! He starts by talking about a great king, Mantharam Poraiyan Kadunko, one who was celebrated by silver-tongued bards, only here, their truthful tongues are placed in parallel to the red flowers of a silk-cotton tree. The man goes on to say how generous this king was known to be, and just like how the bowls of those who had come seeking to him would overflow, the man’s heart too was in the same state of brimming over with joy! Before telling us why, the man talks about the nature of slander that would spread in the lady’s town if her relationship with him were to be found out. To do that, he makes the verse echo with the uproar in the battlefield at the moment a commander of King Nannan, a lord named ‘Minili’ defeated the powerful Athikan and did the victory dance. Connecting this uproar to the rumours in town, the man says the lady feared that very much. This nugget tells us that the man had not been meeting the lady as much as he would like, for she...

In this episode, we perceive the positive attitude of a lady, as portrayed in Sangam Literary work, Aganaanooru 141, penned by Nakeerar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a dual portrait of an ancient Tamil festival and a Chozha town’s prosperity. அம்ம வாழி, தோழி! கைம்மிகக் கனவும் கங்குல்தோறு இனிய; நனவும் புனை வினை நல் இல் புள்ளும் பாங்கின; நெஞ்சும் நனிபுகன்று உறையும்; எஞ்சாது உலகு தொழில் உலந்து, நாஞ்சில் துஞ்சி, மழை கால்நீங்கிய மாக விசும்பில் குறு முயல் மறு நிறம் கிளர, மதி நிறைந்து, அறுமீன் சேரும் அகல் இருள் நடு நாள்; மறுகு விளக்குறுத்து, மாலை தூக்கி, பழ விறல் மூதூர்ப் பலருடன் துவன்றிய விழவு உடன் அயர, வருகதில் அம்ம! துவரப் புலர்ந்து தூ மலர் கஞலி, தகரம் நாறும் தண் நறுங் கதுப்பின் புது மண மகடூஉ அயினிய கடி நகர்ப் பல் கோட்டு அடுப்பில் பால் உலை இரீஇ, கூழைக் கூந்தற் குறுந் தொடி மகளிர் பெருஞ் செய் நெல்லின் வாங்குகதிர் முறித்து, பாசவல் இடிக்கும் இருங் காழ் உலக்கைக் கடிது இடி வெரீஇய கமஞ்சூல் வெண் குருகு தீம் குலை வாழை ஓங்கு மடல் இராது; நெடுங் கால் மாஅத்துக் குறும் பறை பயிற்றும் செல் குடி நிறுத்த பெரும் பெயர்க் கரிகால் வெல் போர்ச் சோழன் இடையாற்று அன்ன நல் இசை வெறுக்கை தருமார், பல் பொறிப் புலிக் கேழ் உற்ற பூவிடைப் பெருஞ் சினை நரந்த நறும் பூ நாள் மலர் உதிர, கலை பாய்ந்து உகளும், கல் சேர் வேங்கை, தேம் கமழ் நெடு வரைப் பிறங்கிய வேங்கட வைப்பிற் சுரன் இறந்தோரே. In this long trip, we get to traverse not only this harsh domain, but also a prosperous ancient town, as we listen to the lady say these words to her confidante, when the confidante worries that the lady will not be able to bear with the parting of the man, who has left in search of wealth: “Listen, my friend! May you live long! Every night, the dreams are exceptionally pleasant; In real life too, in the well-etched, fine mansion, bird omens that are heard sound good; As for the heart, it too rests in a state of calm love; At the time when the mighty profession of the world diminishes and ploughs fall asleep, in that season when pouring rainclouds have departed with the wind, and in the sky, the little hare glows in a dark hue, as the full moon reaches its favourite star, in the midnight hour, amidst the expanding darkness, when all the streets are lit up and adorned with high garlands in our fertile and prosperous ancient town, at this time, hope he will return to relish the festivities, celebrated by the gathering of many! Adorning fully blossomed perfect flowers, along with sandalwood paste, on her cool and fragrant tresses, the new bride, boils milk on the many-sided stove in that rich mansion, filled with plentiful food, and then along with maiden, wearing small bangles and having short hair, pounds on paddy grains, harvested from bent stalks in the huge field, to make flattened rice. Hearing the din of this dark-stemmed pestle, startled by the loud and explosive sounds, a pregnant white bird, takes a short flight from the wide branch of a plantain tree, with sweet fruit clusters, to the tall-trunked mango tree, in the town of Idaiyaaru, ruled by the famous Chozha King Karikaalan, who has the ability to restore even a ruined town. Wanting to bring back prestigious wealth, akin to this town, he has left to the drylands, where making fragrant blooms on the huge branches of the tree, with flowers in the hue of the many-striped tiger, namely the Kino tree, soaring near a boulder, a male monkey leaps and frolics, in the honey-fragrant, tall hills of the Venkata mountain ranges!” Let’s explore the many roads leading to diverse destinations in this verse! The lady starts by talking about how her dreams are filled with pleasant scenes and even in her waking hours, all she hears are good omens from the birds. Owing to all this, her heart seems to be in a state of calm. What a refreshing change from the usual lamenting lady, who cries and cries about her sleepless eyes, thinning arms and pining heart, whom we have encountered in song after song from this domain. Next, the lady talks about a time when the work of farming...

In this episode, we listen to the heartfelt words of a man in love, as portrayed in Sangam Literary work, Aganaanooru 140, penned by Ammoovanaar. The verse is situated amidst the salt pans of the ‘Neythal’ or ‘Coastal Landscape’ and reveals fascinating aspects of commerce in the Sangam era. பெருங் கடல் வேட்டத்துச் சிறுகுடிப் பரதவர் இருங் கழிச் செறுவின் உழாஅது செய்த வெண் கல் உப்பின் கொள்ளை சாற்றி, என்றூழ் விடர குன்றம் போகும் கதழ் கோல் உமணர் காதல் மடமகள் சில் கோல் எல் வளை தெளிர்ப்ப வீசி, ‘நெல்லின் நேரே வெண் கல் உப்பு’ எனச் சேரி விலைமாறு கூறலின், மனைய விளி அறி ஞமலி குரைப்ப, வெரீஇய மதர் கயல் மலைப்பின் அன்ன கண் எமக்கு, இதை முயல் புனவன் புகைநிழல் கடுக்கும் மா மூதள்ளல் அழுந்திய சாகாட்டு எவ்வம் தீர வாங்கும் தந்தை கை பூண் பகட்டின் வருந்தி, வெய்ய உயிர்க்கும் நோய் ஆகின்றே. In this quick trip to the seas, we get to travel with traders, as we listen to the man say these words to his friend, in response to the friend’s rebuke about the man’s unbalanced behaviour: “Fisherfolk of the small hamlet, who hunt in the huge seas, harvest white salt, without ploughing the fields of the dark marshland. Announcing the price of this produce, these salt merchants, wielding a goad to speed, traverse peaks, split apart by the sun’s heat. Their naive and loving daughter, shouts out, ‘White salt for paddy in the same measure’, even as her few, shining bangles tinkle, relaying the exchange price in that village. A dog residing in a home, hearing that strange voice starts barking aloud. Startled, as her beautiful eyes quiver, akin to two fighting fish, they attack me with an affliction, which makes me sigh endlessly, akin to that bullock, held in reins, by her father, as he goads it to pull out the wheel lodged in a ditch, filled with aged, black slush, in the hue of smoke rising, when a mountain farmer slashes and burns to render the land arable!” Time to travel from the seas to the hills along with a caravan of salt merchants! The man starts by talking about a group of fishermen, who live by the sea, and their ways of not ploughing the land like the farmers in the fields, and yet being able to harvest something valuable, namely salt. Heaping these sacks of salt, they take on the long journey from the seas to hilly regions. The thing I most admire about these salt merchants is that they take their families along and include them in their trade. In this instance, it’s the salt merchant’s daughter, who is announcing the exchange rate of salt and paddy in a hamlet. In one of those houses, a dog on the watch out, hears this strange voice and starts barking. The young girl is startled by those furious barks and her eyes tremble with fear. The man recounts all this and concludes by informing his friend, when those eyes of the lady leaped about like fighting fish, it became a source of a painful affliction in him, something which makes the man sigh aloud, much like the bullock, which is goaded to pull out a wheel, stuck in the black mud, akin to the smoke raised by slash-and-burn mountain farmers, by that salt-selling girl’s father! In essence, the man is telling his friend that his heart too is stuck like that wheel in the mud and indirectly requests his friend to quit scolding him and start helping him, just the way we have seen the lady’s confidante help the lady many a time. Apart from the relatable bitter-sweet feeling of falling in love that this man so vividly explains with a single scene, elements that excite those who study cultures also abound in this verse. In mentioning not only the salt merchants, their travel for trade, barter specifics, challenges faced but also the mountain farmers and their ancient techniques to tame the land, the verse transports us to the past and acquaints us with the work and life of two different professionals from two varied landscapes in the Sangam era!

In this episode, we observe the anxiety soaring in a lady, as portrayed in Sangam Literary work, Aganaanooru 139, penned by Idaikkaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the picturesque changes in the land after the rains. துஞ்சுவது போல இருளி, விண் பக இமைப்பது போல மின்னி, உறைக்கொண்டு ஏறுவது போலப் பாடு சிறந்து உரைஇ, நிலம் நெஞ்சு உட்க ஓவாது சிலைத்து ஆங்கு, ஆர் தளி பொழிந்த வார் பெயற் கடை நாள்; ஈன்று நாள் உலந்த வாலா வெண் மழை வான் தோய் உயர் வரை ஆடும் வைகறை, புதல் ஒளி சிறந்த காண்பு இன் காலை, தண் நறும் படுநீர் மாந்தி, பதவு அருந்து வெண் புறக்கு உடைய திரிமருப்பு இரலை; வார் மணல் ஒரு சிறைப் பிடவு அவிழ் கொழு நிழல், காமர் துணையொடு ஏமுற வதிய; அரக்கு நிற உருவின் ஈயல் மூதாய் பரப்பியவைபோற் பாஅய், பல உடன் நீர் வார் மருங்கின் ஈரணி திகழ; இன்னும் வாரார் ஆயின் நன்னுதல்! யாதுகொல் மற்றுஅவர் நிலையே? காதலர் கருவிக் கார்இடி இரீஇய பருவம் அன்று, அவர், ‘வருதும்’ என்றதுவே. Only the heart of this verse is situated in the drylands and the whole tends more in the direction of rainy forest landscapes, in these words said by the lady to the confidante, when the man who went in search of wealth, remains parted away: “Darkening as if closing the eyes to sleep, flashing and splitting the sky as if blinking open, clouds that climb up with water resound aloud, echoing above, startling the heart of the land beneath, endlessly thundering, and then fall as a heavy downpour in those last days of the rainy season. After giving birth, these dried-up, half-white clouds surround the sky-high, tall mountains at dawn. At this beautiful hour, when light spreads around the bushes of the forest, after drinking the cool and fragrant water, the male deer with twisted antlers and a white underside eats wild grass, and then rests along with its loving mate on one side of the spreading sands, under the thick shade of the blooming wild jasmine tree. Near them, in the hue of lac, red velvet mites crawl around, as if scattered by hand, in hordes, adorning that moist earth with much beauty. Even at this time, he returns not, O maiden with a fine forehead! What could be his state now? Didn’t he promise that he would return before the arrival of that season, when rain clouds would resound with light and thunder!” Time to glimpse the sights on a rainy morning! The lady starts by talking about the world outside, bringing in relatable similes to talk about the rains. The darkening of clouds becomes the closing of eyes to sleep and the flashing of lightning is the blinking of eyes, over and over again. Then, in a striking imagery, which brought a smile, the lady talks about how the heart of land beneath trembles at the repeated sound of the resounding thunder. I imagined the land beneath as a person clutching their heart, every time thunder roared aloud! Returning, the lady says all that’s done, the clouds have poured and retired, their job of giving birth to the rains complete, and they have taken to swirling lethargically around those lofty peaks. As dawn spreads the next day, and the gentle light brightens the bushes, a male deer contently feeds on cool and plentiful water, and munches on wild grass, and takes to resting with its lovely mate in the shade of the blooming jasmine trees, even as red velvet mites run around and have the time of their life on those moist expanses. The lady has recounted this beautiful scene not as an expression of pleasure, but in contrast to talk about how the man had promised he would be back before this rainy season and yet he hadn’t returned. She concludes by expressing her worry to her friend about his state just then! The lady is just following all the advice a modern psychologist would give a person handling something outside their control – Being acutely mindful of the world outside, being present with the pain inside and expressing all this to a trusted person! Just like how this would help many of us in our own modern troubles, hope the lady too found respite and regained the strength to trust...

In this episode, we perceive the angst of a lady, as portrayed in Sangam Literary work, Aganaanooru 138, penned by Ezhuvoo Pandri Naakan Kumaranaar. The verse is situated amidst the dark paths of the ‘Kurinji’ or ‘Mountain Landscape’ and etches a scene from a ritual of worship. இகுளை! கேட்டிசின், காதல் அம் தோழி! குவளை உண்கண் தெண் பனி மல்க, வறிது யான் வருந்திய செல்லற்கு அன்னை பிறிது ஒன்று கடுத்தனள்ஆகி வேம்பின் வெறி கொள் பாசிலை நீலமொடு சூடி, உடலுநர்க் கடந்த கடல் அம் தானை, திருந்துஇலை நெடு வேற் தென்னவன் பொதியில், அருஞ் சிமை இழிதரும் ஆர்த்து வரல் அருவியின் ததும்பு சீர் இன் இயம் கறங்க, கைதொழுது, உரு கெழு சிறப்பின் முருகு மனைத் தரீஇ, கடம்பும் களிறும் பாடி, நுடங்குபு தோடும் தொடலையும் கைக்கொண்டு, அல்கலும் ஆடினர் ஆதல் நன்றோ? நீடு நின்னொடு தெளித்த நல் மலை நாடன் குறி வரல் அரைநாட் குன்றத்து உச்சி, நெறி கெட வீழ்ந்த துன் அருங் கூர் இருள், திரு மணி உமிழ்ந்த நாகம் காந்தட் கொழு மடற் புதுப் பூ ஊதும் தும்பி நல் நிறம் மருளும் அரு விடர் இன்னா நீள் இடை நினையும், என் நெஞ்சே. It’s a walk at night through this landscape as we hear the lady say these words to her confidante, pretending not to notice the man listening nearby but making sure he’s in earshot: “O companion! Listen to me, my loveable friend! As my blue-lily-like, kohl-streaked eyes filled with clear tears, perceiving my sadness, mother decided that it was because of a different reason. Becoming worried, she arranged for a worship of ‘Murugu’, known for his glorious form, inviting the god home, with folded hands, singing about his burflower trees and elephants, holding a fluttering garland of palm fronds in hand, and dancing, with the accompaniment of musical instruments, brimming over with fine notes, akin to the sound of cascades that resounds and descends from the formidable peaks of the Pothiyil mountains, ruled by the Southern King, the one who wields a tall spear and commands a sea-like army that triumphs over enemies. If this worship goes on all day, is this right? The lord of the fine mountains, who has spoken for long and clarified the future to you, comes for trysts in the middle of the night, descending from the mountain’s peak, in a sharp and thick darkness that makes one lose the path, and herein a serpent, which has spit a fine jewel, looks at the bee buzzing around the new flower of the thick-petaled flame lily and mistakes its rich shine for its stone in those deadly clefts. When I think about his dangerous walk through those long paths, my heart trembles!” Let’s walk on through the mountain paths, skirting over serpents and noting the glow of the buzzing bees! The lady starts by beckoning the attention of her friend and recounts how when mother saw her tear-filled eyes, she decided that was because they had invited the ire of ‘God Murugu’ in some way and so to appease him, she arranges for the ‘Veri’ ritual. In this ritual, there’s worship with folded hands, singing about the elements that signify this God, such as his burflower tree and the elephants of his domain, and then there’s dancing to the tune of resounding musical instruments, and to etch this sound, the roaring cascades in the mountains of the victorious, battle-worthy Pandya King is called in parallel. After describing the Veri ritual, the lady asks the confidante if this goes on all day and night, is this right? Why the lady asks this question is because she’s absolutely clear her sorrow is not because of this God, but only because she worries about the man, walking in the darkness of midnight, when he comes to tryst with her every night, fearing he may lose his path, in those mountain clefts, where serpents which have spit their gems, come searching for it and mistake the buzzing bees for their sapphires! A moment to note the Sangam belief that snakes spit gems and then moved about in the light of the same! In this scene of the snake mistaking the bees for its gems, lies a metaphor for mother mistaking the lady’s anxiety about the man as God’s ire. These words are especially for the...

In this episode, we perceive the distress of a friend, as depicted in Sangam Literary work, Aganaanooru 137, penned by Uraiyoor Muthukooththanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse pens a portrait of places ruled by two great kings of ancient Tamil land. ஆறு செல் வம்பலர் சேறு கிளைத்து உண்ட சிறு பல் கேணிப் பிடி அடி நசைஇ, களிறு தொடூஉக் கடக்கும் கான்யாற்று அத்தம் சென்று சேர்பு ஒல்லார்ஆயினும், நினக்கே வென்று எறி முரசின் விறற் போர்ச் சோழர் இன் கடுங் கள்ளின் உறந்தை ஆங்கண், வருபுனல் நெரிதரும் இகுகரைப் பேரியாற்று உருவ வெண் மணல் முருகு நாறு தண் பொழிற் பங்குனி முயக்கம் கழிந்த வழிநாள், வீ இலை அமன்ற மரம் பயில் இறும்பில் தீ இல் அடுப்பின் அரங்கம் போல, பெரும் பாழ்கொண்டன்று, நுதலே; தோளும், தோளா முத்தின் தெண் கடற் பொருநன் திண் தேர்ச் செழியன் பொருப்பிற் கவாஅன் நல் எழில் நெடு வேய் புரையும் தொல் கவின் தொலைந்தன; நோகோ யானே. It’s a short walk in this trip to the drylands, as we listen to the confidante say these words to the lady, at a time when the lady suspects the man is going to part away from her in search of wealth: “Seeing the many small pits, from which newbie wayfarers had dug up the mud to find some drinking water, and mistaking these for its mate’s footprints, with desire, a male elephant touches it and walks on disappointed, in that drylands path, extending like a wild river. Even though he wants not to go thither, your forehead is greatly ruined, akin to the festival arena, with scattered stoves, having no hint of fire, near the little jungle, filled with trees, densely packed with leaves and flowers, on the day after the ‘pankuni’ festival of togetherness, which takes place on the honey-fragrant, cool orchards, atop white sands, on the banks of that great river, brimming with copious water, in the city of Uranthai, known for its sharp and sweet toddy, ruled by the courageous Chozhas, renowned for their roaring, victorious battle drums. Whereas your arms, which were akin to the tall and exquisite bamboos in the mountains, ruled by the lord of the pearl-filled southern seas, Chezhiyan, renowned for his sturdy chariots, have now lost their old beauty! I suffer so!” Time to amble along with some elephants in the drylands! The confidante starts by sketching a scene from this harsh domain, pointing out to small, rounded pits, which she explains are tiny wells, dug by wayfarers, who are new to the game, so as to find some water amidst the mud. Why are these wayfarers said to be newcomers? Possibly because they have come unprepared without a supply of drinking water or the knowledge of more dignified ways of finding the same. As a male elephant walks that way and glimpses at these round pits, for a moment, it takes these to be the footprints of its mate, and it comes near and touches the same over and over again, smelling it and then walking away in dejection. Such is the horrid drylands, a place the man doesn’t even want to leave to, at the moment, the confidante connects. She then turns to the lady and says, ‘In spite of that, your forehead has become listless, like an abandoned festival arena, with scattered stoves lying about, without any kindling of fire, the day after the event of Pankuni festival, celebrated with gusto, on the sands of the River Kaveri, in the Chozha capital of Uranthai, known for its sweet toddy. From the lady’s ruined forehead, the confidante moves on to the lady’s arms, and compares those to the bamboos in the Pandya King Chezhiyan’s mountains, celebrating the king as the ruler of the southern seas with an unending supply of pearls, and declaring that those arms had lost their beauty too. The confidante concludes by talking about her own suffering on seeing her friend in such a state! The use of place and people similes to underscore the lady’s state informs us about the cultural events of the Chozha country as well as the natural wealth of the Pandya country. Turning to the crux of the issue, we understand that the man hadn’t even left, and here was the lady already...

In this episode, we perceive a unique technique to appease a person’s ire, as depicted in Sangam Literary work, Aganaanooru 136, penned by Vitrootru Mootheyinanaar. The verse is situated amidst the decorated mansions and bejewelled denizens of the ‘Marutham’ or ‘Farmlands landscape’ and etches the events in an ancient wedding ceremony. மைப்பு அறப் புழுக்கின் நெய்க் கனி வெண் சோறு வரையா வண்மையொடு புரையோர்ப் பேணி, புள்ளுப் புணர்ந்து இனிய ஆக, தெள் ஒளி அம் கண் இரு விசும்பு விளங்க, திங்கட் சகடம் மண்டிய துகள் தீர் கூட்டத்து, கடி நகர் புனைந்து, கடவுட் பேணி, படு மண முழவொடு பரூஉப் பணை இமிழ, வதுவை மண்ணிய மகளிர் விதுப்புற்று, பூக்கணும் இமையார் நோக்குபு மறைய, மென் பூ வாகைப் புன் புறக் கவட்டிலை, பழங் கன்று கறித்த பயம்பு அமல் அறுகைத் தழங்குகுரல் வானின் தலைப்பெயற்கு ஈன்ற மண்ணு மணி அன்ன மாஇதழ்ப் பாவைத் தண் நறு முகையொடு வெண் நூல் சூட்டி, தூ உடைப் பொலிந்து மேவரத் துவன்றி, மழை பட்டன்ன மணல் மலி பந்தர், இழை அணி சிறப்பின் பெயர் வியர்ப்பு ஆற்றி, தமர் நமக்கு ஈத்த தலைநாள் இரவின், ”உவர் நீங்கு கற்பின் எம் உயிர் உடம்படுவி! முருங்காக் கலிங்கம் முழுவதும் வளைஇ, பெரும் புழுக்குற்ற நின் பிறைநுதற் பொறி வியர் உறு வளி ஆற்றச் சிறு வரை திற” என ஆர்வ நெஞ்சமொடு போர்வை வவ்வலின், உறை கழி வாளின் உருவு பெயர்ந்து இமைப்ப, மறை திறன் அறியாள்ஆகி, ஒய்யென நாணினள் இறைஞ்சியோளே பேணி, பரூஉப் பகை ஆம்பற் குரூஉத் தொடை நீவி, சுரும்பு இமிர் ஆய்மலர் வேய்ந்த இரும் பல் கூந்தல் இருள் மறை ஒளித்தே. Though we don’t actually get to travel to the outer spaces of this domain in this verse, we get a sense of the culture here, as we listen to the man say these words to his heart, when the lady is in the midst of a fight with him, as she listens nearby: “The cooked white rice, having flawless pieces of meat, brimming with ghee, was rendered with limitless hospitality and guests were welcomed. Sounds of birds uniting echoed sweetly in the air; The beautiful dark sky shined with a clear light, and at this time, the moon and the wheel-shaped star come together in a perfect union; The wedding home was decorated and god’s praises were sung; As the thick and huge ‘panai’ drums resounded, along with ‘muzhavu’ wedding drums, the women who bathed her as part of the wedding ceremony, not blinking their flower-like eyes, quickly vanished; The delicate-bottomed forked leaves of the Lebbeck tree, with soft flowers, and the cool and fragrant buds of the huge-petaled flower, in the hue of well-washed sapphires, blossoming in the sky’s first rains, upon the wild ‘arukai’ grass, spreading in the crevices, and grazed upon by mature calves, are tied together with a white thread, and adorned on her, along with pristine clothes. Then coming together with affection, in that sand-filled pavilion, resounding with the sound of falling rain, wiping away the sweat that runs down, because of heavy jewels worn, her kith and kin rendered her to me. On the night of this first day together, saying to her, “O maiden, who is the form to my life, filled with blemish-less chastity! As you have covered your form entire with a thick attire, feeling rather hot, your crescent-moon-like forehead would be coated in beads of sweat. Letting the flowing breeze to cool it, why not remove it?”, with a desiring heart, I pulled away the cover, and there she was, shining akin to a sword, pulled out from its sheath. Without knowing how to hide herself, she was overcome with shyness and bent her head. Understanding her state, I came to her aid and removed the radiant, thick white-lily garland, which was like a foe to her, just then, spreading her thick and black, bee-buzzing tresses, filled with beautiful flowers, and with that cover of darkness, helped her hide herself!” Let’s participate in this ancient farmlands wedding and learn more! The man simply takes a walk down memory lane, recollecting the day of his wedding with his lady. He remembers the pots of rice and meat, cooked with ghee, and served to guests ceaselessly. He talks about how the sweet sounds of birds uniting resounded in the air. The man then...

In this episode, we listen to the agony in a lady’s heart, as depicted in Sangam Literary work, Aganaanooru 135, penned by Paranar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse connects a historic event to a person’s state of mind. திதலை மாமை தளிர் வனப்பு அழுங்க, புதல் இவர் பீரின் எதிர் மலர் கடுப்பப் பசலை பாய்ந்த நுதலேன் ஆகி, எழுது எழில் மழைக் கண் கலுழ, நோய் கூர்ந்து, ஆதிமந்தியின் அறிவு பிறிதுஆகி, பேதுற்றிசினே காதல்அம் தோழி! காய்கதிர் திருகலின் கனைந்து கால் கடுகி, ஆடுதளிர் இருப்பைக் கூடு குவி வான் பூ, கோடு கடை கழங்கின், அறைமிசைத் தாஅம் காடு இறந்தனரே, காதலர்; அடுபோர், வீயா விழுப் புகழ், விண் தோய் வியன் குடை, ஈர் எழு வேளிர் இயைந்து ஒருங்கு எறிந்த கழுவுள் காமூர் போலக் கலங்கின்றுமாது, அவர்த் தெளிந்த என் நெஞ்சே. It’s a brief foray into the drylands and a deeper trek into the lady’s mind in this one, as we listen to the lady express these words to her confidante, when the man remains parted away: “Making my exquisite dark complexion filled with pale specks, akin to a tender sprout, lose its beauty, akin to ridge gourd flowers on a bush, pallor has spread on my forehead. As my rain-like eyes, with a beauty that invites to be sketched, shed tears, with my affliction soaring, akin to Aathimanthi, who lost her senses, I stand troubled and confused, my loving friend! Owing to the attack of the scorching sun, shaken by heavy winds, pointed white flowers of the Mahua tree, with swaying sprouts, spread atop rocks, akin to dice drilled from conch shells, in the drylands scrub jungle, and that lover of mine has left to this place; And so, akin to how the town of Kaamoor, ruled by Kazhuvul, renowned for his victory in wars, unswerving great fame and sky-soaring parasol of his reign, when that town was attacked together by fourteen Velir kings, fell into disarray, stands troubled my heart that had hoped he wouldn’t part away!” Let’s walk on through sweltering drylands and catch a glimpse of the quivering heart! The lady starts by talking about how her exquisite beauty is all gone and she seems to behaving like the famous character Aathi Manthi, who had utterly lost her head. We have come across this person in many other poems, which talks about her deep suffering when her beloved was swept away by a river. When we ask with concern why the lady is so, she explains that’s because her man had left to the scorching drylands, where the flowers of the Mahua tree lie scattered like dice made of conch shells, upon the rocks. The lady concludes by saying because she is unable to bear the parting, she feels exactly like the town of Kaamoor, ruled by a great king Kazhuvul, when it faced the coordinated attack of fourteen Velir kings- So utterly devastated! Nothing but an expression of deep sorrow felt in parting! Hope this brings some respite to the suffering lady. Moving beyond this oft-repeated theme, such verses make me wonder if these pointed outpourings of the heart were the Sangam poets’ way of sharing historic knowledge, in a striking manner, with the people of then and the future!

In this episode, we listen to the thoughtful words of a man, as depicted in Sangam Literary work, Aganaanooru 134, penned by Seethalai Saaththanaar. The verse is situated on the radiant red earth of the ‘Mullai’ or ‘Forest Landscape’ and paints a picturesque portrait of this lush land in the rains. வானம் வாய்ப்பக் கவினி கானம் கமஞ் சூல் மா மழை கார் பயந்து இறுத்தென, மணி மருள் பூவை அணி மலர் இடைஇடை, செம் புற மூதாய் பரத்தலின், நன் பல முல்லை வீ கழல் தாஅய், வல்லோன் செய்கை அன்ன செந் நிலப் புறவின்; வாஅப் பாணி வயங்கு தொழிற் கலிமாத் தாஅத் தாள் இணை மெல்ல ஒதுங்க, இடி மறந்து, ஏமதி வலவ! குவிமுகை வாழை வான் பூ ஊழுறுபு உதிர்ந்த ஒழிகுலை அன்ன திரிமருப்பு ஏற்றொடு கணைக் கால் அம் பிணைக் காமர் புணர் நிலை கடுமான் தேர் ஒலி கேட்பின், நடுநாட் கூட்டம் ஆகலும் உண்டே. A delightful trip into the forests, in these words of the man to his charioteer, on his return home, after completing a mission: “As the skies had rendered their grace, the forest has turned picturesque. As huge and pregnant clouds have brought in the rainy season and stayed behind, amidst the exquisite, sapphire-like ironwood flowers, the crimson-backed red velvet bugs crawl around, and many, fine flowers of the wild jasmine loosen from their stalks and fall down, upon this red-earthed forest, akin to an expert’s painting. So that the leaping feet of these speeding, proud horses move softly, do not goad them, O charioteer! For if the male deer with twisted antlers, in the shape of the empty fruit cluster of a banana tree, whose closed buds of white flowers have reached ripeness and fallen down, and the thick-legged beautiful female deer hear the sound of our chariot, with speeding horses, their desirable state of union in the middle of the night would be disturbed!” Let’s trot along with the man through the rain-washed roads and learn more! The man starts by focusing on how the rains have poured, and as we know, when rains pour, the earth smiles, and brings great beauty to the face of the land. The rainy season had stepped in, reeled in by the clouds, and because of their handiwork, dark-blue ironwood flowers were blooming, and in between the dark blue blooms, red velvet bugs were frolicking about, making the wild jasmine flowers fall down. The whole scene before him seems like the artwork of an expert painter, says the man. This makes me yearn to see the paintings of that era, which would have surely been a much-earlier artistic predecessor of the famous 19th century landscape paintings. Returning, we find the man now turning to his charioteer and asking him specifically not to goad the horses to make them fly fast, instead to ensure they run softly. This is a curious request indeed! In song after song, we have only seen the man ask his charioteer to hasten the horses, fly like the wind, so that he can embrace his lady. What could be the reason for this man’s change of stance? He reveals that to us by concluding if the charioteer were to rush fast, the sound of the speeding chariot might disturb the joyful union of a male deer and its mate at midnight. In an interesting coincidence, that very male deer and its mate that the lady in the previous verse predicted her man would see and return back to her, leap into this verse in one of those rare continuums in this anthology. The man’s wish to not disturb the deer echoes the immense love brimming over in his heart to be united with his beloved, wanting not to bring that pain to any other life. What a caring and considerate human he is! Such thoughtfulness is indeed the need of the hour and this ancient ancestor truly inspires us to welcome not just other humans but all other forms of life in our loving circle of care!

In this episode, we listen to a recollection of a past moment, as depicted in Sangam Literary work, Aganaanooru 133, penned by Uraiyoor Maruthuvan Damotharanaar. Set in the 'Paalai' or 'Drylands landscape', the verse presents vivid images of elements of nature and weather.

In this episode, we relish scenes of nature's plenty, as depicted in Sangam Literary work, Aganaanooru 132, penned by Thayankannanaar. The verse is situated amidst the bee-buzzing blooms of the 'Kurinji' or 'Mountain landscape' and puts forth a persuasive plea.

In this episode, we perceive a man's dilemma in choosing between two worthy pursuits, as portrayed in Sangam Literary work, Aganaanooru 131, penned by Madurai Maruthan Ilanaakanaar. Set in the 'Paalai' or 'Drylands landscape', the verse sketches events and scenes from this domain.

In this episode, we listen to a strong rebuttal to a reprimand, as depicted in Sangam Literary work, Aganaanooru 130, penned by Venkannanaar. The verse is situated amidst the fragrant pandanus trees of the 'Neythal' or 'Coastal landscape' and showers high praise on a land and a lady.

In this episode, we perceive the reasons outlined for a person's course of action, as depicted in Sangam Literary work, Aganaanooru 129, penned by Kudavayil Keeraththanaar. Set in the 'Paalai' or 'Drylands landscape', the verse portrays various scenes in this harsh domain.

In this episode, we listen to the beat of an anxious heart, as depicted in Sangam Literary work, Aganaanooru 128, penned by Kabilar. The verse is situated amidst the dark and rugged paths of the 'Kurinji' or 'Mountain Landscape' and presents thoughtful words to change the course of another.

In this episode, we perceive a persuasive promise, as portrayed in Sangam Literary work, Aganaanooru 127, penned by Maamoolanaar. Set in the 'Paalai' or 'Drylands landscape', the verse sketches a noble portrait of the man.

In this episode, we perceive a man's angst, as depicted in Sangam Literary work, Aganaanooru 126, penned by Nakeerar. The verse is situated amidst the gushing rivers of the 'Marutham' or 'Farmlands landscape' and relates a personal situation to a historic event.