Sangam Lit

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Aganaanooru 249, penned by Nakiranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the generosity of a king and the beauty of his domain. அம்ம வாழி, தோழி! பல் நாள் இவ் ஊர் அம்பல் எவனோ? வள் வார் விசி பிணித்து யாத்த அரி கோல் தெண் கிணை இன் குரல் அகவுநர் இரப்பின், நாடொறும் பொன் கோட்டுச் செறித்து, பொலந்தார் பூட்டி, சாந்தம் புதைத்த ஏந்து துளங்கு எழில் இமில் ஏறு முந்துறுத்து, சால் பதம் குவைஇ, நெடுந் தேர் களிற்றொடு சுரக்கும் கொடும் பூண் பல் வேல் முசுண்டை வேம்பி அன்ன என் நல் எழில் இள நலம் தொலையினும், நல்கார் பல் பூங் கானத்து அல்கு நிழல் அசைஇ, தோகைத் தூவித் தொடைத் தார் மழவர் நாகு ஆ வீழ்த்து, திற்றி தின்ற புலவுக் களம் துழைஇய துகள் வாய்க் கோடை நீள் வரைச் சிலம்பின் இரை வேட்டு எழுந்த வாள் வரி வயப் புலி தீண்டிய விளி செத்து, வேறு வேறு கவலைய ஆறு பரிந்து, அலறி, உழை மான் இன நிரை ஓடும் கழை மாய் பிறங்கல் மலை இறந்தோரே. In this trip to the drylands, we also get to meet a Sangam era king, as we listen to the lady say these words to her confidante, when the confidante was upset about the lady’s state, at a time when the man continued to remain parted away, having left in search of wealth: “Listen my friend, may you live long! Why has this town been spreading slander for so many days? Carrying ‘Kinai’ drums with a clear sound, tied together with a firm leather strap and drumming sticks, when those bards with a sweet voice come seeking, day after day, he would assemble before them, bulls, whose horns are covered in gold dust, and whose sandalwood-streaked, upraised, handsome humps are adorned with golden garlands, and then shower mounds of food. In addition, he would render tall chariots and elephants to those who had come seeking. Such is the nature of the many-speared Musundai, clad in curving ornaments, the ruler of Vembi. Akin to this town of Vembi, was my splendid, young beauty. Even though it’s now in ruins, he renders not his grace! Residing in the swaying shade of many-flowered forests, drylands robbers wearing garlands made of peacock feathers, slay a wild cow and feast on it. The open-mouthed summer wind that enters this flesh-reeking arena, then rushes, roaring aloud, making herds of deer scatter upon many different paths, screaming in fear, thinking it’s the sound of an attacking strong tiger with radiant stripes that had risen in the tall mountain slopes, seeking a prey. Such are those soaring mountains, shrouded by bamboos, that he has left me and parted away to!” Let’s march on through those scorching spaces and learn more! The lady starts with an exasperated question about why the townsfolk won’t stop spreading slander. Then, she meanders to talk about the generosity of a king named Musundai, who would give bulls, adorned with gold, lots of food, chariots and elephants to sweet-voice bards with resounding ‘Kinai’ drums. She has mentioned this king to turn our attention to the beauty of his capital town of Vembi. The lady now connects her own beauty to that of this town, and says how the man does not seem to have any compassion even when that beauty is turning to ruins. Now, we can understand why the townsfolk are gossiping. It’s an outcome of their observation of the lady’s ruined health in the man’s absence. This is also an indicator that the parting has happened at a time before the man’s marriage with the lady. Returning, the lady then concludes by painting a picture of the place where the man’s at, those wild spaces, where robbers wearing peacock feather garlands eat the meat of a wild cow, and then the summer wind rushes through that space, picking up that reeking smell of flesh, and roars through, which makes deer scatter away thinking it’s a hungry tiger on the prowl. In essence, it’s a complaint by the lady that the man has left her exposed to the harsh eyes of the town and left in search of wealth. At a time when you cannot make a call, send a message, or write a letter to the parted one, it must...

In this episode, we listen to the narration of a curious incident involving many layers, as depicted in Sangam Literary work, Aganaanooru 248, penned by Kabilar. The verse is situated amidst the bustle of hunting in the ‘Kurinji’ or ‘Mountain landscape’ and etches a dynamic moment of human-animal interaction. நகை நீ கேளாய் தோழி! அல்கல் வய நாய் எறிந்து, வன் பறழ் தழீஇ, இளையர் எய்துதல் மடக்கி, கிளையொடு நால்முலைப் பிணவல் சொலிய கான் ஒழிந்து, அரும் புழை முடுக்கர் ஆள் குறித்து நின்ற தறுகட் பன்றி நோக்கி, கானவன் குறுகினன் தொடுத்த கூர்வாய்ப் பகழி மடை செலல் முன்பின் தன் படை செலச் செல்லாது, ‘அரு வழி விலக்கும் எம் பெருவிறல் போன்ம்’ என, எய்யாது பெயரும் குன்ற நாடன் செறி அரில் துடக்கலின், பரீஇப் புரி அவிழ்ந்து, ஏந்து குவவு மொய்ம்பின் பூச் சோர் மாலை, ஏற்று இமிற் கயிற்றின், எழில் வந்து துயல்வர, இல் வந்து நின்றோற் கண்டனள், அன்னை; வல்லே என் முகம் நோக்கி, ‘நல்லை மன்!’ என நகூஉப் பெயர்ந்தோளே. Striking scenes await us in this trip to the mountains, as we listen to the confidante say these words to the lady, pretending not to notice the man, who has arrived for his nightly tryst, but making sure he was in earshot: “Listen to this funny thing that happened last night, my friend! Chasing away strong hunting dogs, embracing its piglets, and blocking hunters from nearing, a female boar with four sagging teats then flees into the forest, along with its family. At this time, in the formidable, narrow mountain path, facing the men ahead, a brave male boar stood there. Seeing it, the leader of the hunters came near it, with his sharp-tipped arrow aimed at it. Then saying, ‘It seems to possess a great courage like me, of standing in the path of enemies and blocking them, without running away, even though the army with immense strength has retreated’, he left without shooting his arrow in the peaks of our lord of the mountains! Tugged by thick bushes, with knots severed and loosened, upon his upraised, strong shoulders, lay a garland, devoid of flowers, appearing akin to the thick rope around the hump of a bull, swaying with beauty. Seeing him come and stand near our home, mother suddenly turned to look at me, and left from there saying with a sarcastic smile, ‘What a good girl you are!’” Time to start on that hunting expedition in this rugged terrain. The confidante starts by calling her friend’s attention to something that had happened the previous night, something that was tickling her. Without saying what that is, she launches into a description of the man’s mountain country, and to do that, she first presents an image of a female boar protecting its piglets from the advancing hunters and escaping into the forest. Then she turns her attention to the mate, the male boar, which was standing in that mountain path, and with a fierce look, facing the hunters ahead. At this time, the head of the hunters comes close, with an arrow ready to be shot, and says, ‘Here’s a creature that’s just like me, refusing to retreat even when the entire army has’. Then, that hunter seems to have lowered his bow and left without harming the boar. After that intense scene from the man’s mountain country, the confidante talks about the man, and his appearance, as he arrived at their home the previous night. She talks about how his garland was tugged by the bushes in his path, and had lost the flowers, and was rather looking like the rope around a bull’s hump. The confidante concludes by saying that when the man had come in this manner, mother had caught a glimpse of him, and at that moment, she had turned to the confidante and remarked with much sarcasm, ‘Aren’t you an innocent, little girl?’. An anecdote to tell the listening man that mother had an inkling of the man’s relationship with the lady, and soon, the lady may be placed under guard, and so it was best for him to come seek the lady’s hand in marriage. In that scene of the male boar standing boldly in the path of the menacing hunters, the confidante places a metaphor to show the man that he too must...

In this episode, we perceive a lady’s anguish, as portrayed in Sangam Literary work, Aganaanooru 247, penned by Madurai Maruthankizhaar Maganaar Perunkannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relays the dangers of traversing this domain. மண்ணா முத்தம் ஒழுக்கிய வன முலை நல் மாண் ஆகம் புலம்பத் துறந்தோர் அருள் இலர் வாழி, தோழி! பொருள் புரிந்து, இருங் கிளை எண்கின் அழல் வாய் ஏற்றை, கருங் கோட்டு இருப்பை வெண் பூ முனையின், பெருஞ் செம் புற்றின் இருந் தலை இடக்கும் அரிய கானம் என்னார், பகை பட முனை பாழ்பட்ட ஆங்கண், ஆள் பார்த்துக் கொலை வல் யானை சுரம் கடி கொள்ளும் ஊறு படு கவலைய ஆறு பல நீந்தி, படு முடை நசைஇய பறை நெடுங் கழுத்தின் பாறு கிளை சேக்கும் சேண் சிமைக் கோடு உயர் பிறங்கல் மலை இறந்தோரே. In this trip to the drylands, we take in many sights, as we listen to the lady say these words to her confidante, when the confidante was upset about the lady’s state, at a time when the man remains parted away, having left in search of wealth: “Making those unwashed pearls drop down on the beautiful bosoms, leaving this fine and noble chest in loneliness, he has parted away. He lacks kindness, my friend! May you live long! In those spaces, a male bear, with a fuming, fire-like mouth, having many kin, after having its fill of the white flowers of the dark-trunked Mahua tree, dislikes any more, and moves to break open the top of a huge termite mound. Not considering that this is a formidable space, which has been ruined in a battle, and where a murderous elephant stands guarding the drylands, looking out for wayfarers, he has crossed these troublesome paths many, where wishing to feed on the reeking flesh, vultures with long necks fly about and return to perch on the branches in the tall peaks of the faraway mountains, and has left thither with a desire for wealth!” Let’s brave the dreariness of this domain and learn more! The lady starts by talking about her tears and she compares these to unwashed pearls. A unique simile indeed! She then talks about how those drops fall down on her bosom and all this is because the man had left her in loneliness and parted away. She declares that the man seems to have no compassion for her. Then she goes on to describe the place he has left to, and brings in the image of a male sloth bear, which after filling its tummy with the white Mahua flowers, did not seem to want anymore of that, and had turned its attention to breaking a termite mound, looking for something else to feed on. Then, she talks about how these spaces are ruined as a result of some battle some time, and it’s wild and isolated, where killer elephants seem to be on the lookout to attack any wandering humans. The final creature the lady zooms on to happens to be a roving vulture with a long neck, characterising it for its desire to feed on flesh. After painting vivid portraits of these rugged beings, the lady concludes by talking about how the man, without worrying that this is such a dangerous place, had left wishing only to embrace wealth! In the scene of the male bear having had its fill of the Mahua flowers and seeking termite mud, the lady places a metaphor for how the man had feasted on her beauty to his content and now had abandoned her, in his quest of something else. The theme seems to remain the same, ‘He’s gone leaving me in pain’. Wonder if these verses are simply telling us to express our pain to let the rain of calm fall on the dreary drylands of anxiety!

In this episode, we listen to words of refusal, as depicted in Sangam Literary work, Aganaanooru 246, penned by Paranar. The verse is situated amidst the flourishing fields of the ‘Marutham’ or ‘Farmlands landscape’ and describes a famous battle from this era. பிணர் மோட்டு நந்தின் பேழ் வாய் ஏற்றை கதிர் மூக்கு ஆரல் களவன் ஆக, நெடு நீர்ப் பொய்கைத் துணையொடு புணரும் மலி நீர் அகல் வயல் யாணர் ஊர! போது ஆர் கூந்தல் நீ வெய்யோளொடு தாது ஆர் காஞ்சித் தண் பொழில் அகல் யாறு ஆடினை என்ப, நெருநை; அலரே காய் சின மொய்ம்பின் பெரும் பெயர்க் கரிகால் ஆர்கலி நறவின் வெண்ணிவாயில், சீர் கெழு மன்னர் மறலிய ஞாட்பின் இமிழ் இசை முரசம் பொரு களத்து ஒழிய, பதினொரு வேளிரொடு வேந்தர் சாய, மொய் வலி அறுத்த ஞான்றை, தொய்யா அழுந்தூர் ஆர்ப்பினும் பெரிதே. In this trip to the fields, in addition to taking in sights of the domain, we go on a detour to an ancient battlefield, as we listen to the confidante say these words to the man, when he seeks entry into the lady’s house, after having left to be in the company of a courtesan: “The male snail with a split mouth and a coarse-skinned belly, unites with its mate, living in the deep waters of the pond, where the sharp-nosed sand-eel stands as its witness, in the brimming waters of the wide fields in your prosperous town, O lord! They say that yesterday, with the woman you desire, the one having tresses adorned with flowers, you played together in the wide river, by the cool orchards, filled with the pollen of Portia trees. The slander that soars now is louder than the unceasing uproar that arose in Azhunthoor, when King Karikalan of great renown, filled with immense prowess and fury, destroyed the strength of those famous kings – the eleven Velir kings and the other two southern emperors – and made their resounding drums to be lost in the battlefield, when they rose against him with enmity at Venni Vayil, renowned for its festivities and its toddy!” Time to listen to the tale unfolding amidst the plenty! The confidante starts with a description of a male snail uniting with its mate, in the presence of a sand-eel, amidst the overflowing waters of the fields in the lord’s town. Then she reveals how people were talking about the fact that the man had been romping around with a courtesan and playing in the river, by the shade of the Portia trees, the previous day. The confidante concludes by saying that this slander was louder and even more ceaseless than the din that arose in the town of Azhunthoor, when King Karikaalan defeated not one, not two, but eleven Velir Kings and the Chera and Pandya kings as well, when they had risen against him at Venni Vayil. In essence, this is a refusal by the confidante to allow the man to enter the lady’s house, citing his association with a courtesan. A subtle reference to the firm power a Sangam woman seems to have had in such circumstances, of preventing her husband from entering their home, even if he happened to be the wealthy lord of the prosperous town!

In this episode, we perceive a moment of clarity at the end of a dilemma, as depicted in Sangam Literary work, Aganaanooru 245, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents surprising details about a particular animal in this domain. ‘உயிரினும் சிறந்த ஒண் பொருள் தருமார் நன்று புரி காட்சியர் சென்றனர், அவர்’ என மனை வலித்து ஒழியும் மதுகையள் ஆதல் நீ நற்கு அறிந்தனைஆயின், நீங்கி, மழை பெயல் மறந்த கழை திரங்கு இயவில், செல் சாத்து எறியும் பண்பு இல் வாழ்க்கை வல் வில் இளையர் தலைவர், எல் உற, வரி கிளர் பணைத் தோள், வயிறு அணி திதலை, அரியலாட்டியர் அல்கு மனை வரைப்பில், மகிழ் நொடை பெறாஅராகி, நனை கவுள் கான யானை வெண் கோடு சுட்டி, மன்று ஓடு புதல்வன் புன் தலை நீவும் அரு முனைப் பாக்கத்து அல்கி, வைகுற, நிழல் படக் கவின்ற நீள்அரை இலவத்து அழல் அகைந்தன்ன அலங்குசினை ஒண் பூக் குழல் இசைத் தும்பி ஆர்க்கும் ஆங்கண், குறும் பொறை உணங்கும் ததர் வெள் என்பு கடுங் கால் ஒட்டகத்து அல்கு பசி தீர்க்கும் கல் நெடுங் கவலைய கானம் நீந்தி, அம் மா அரிவை ஒழிய, சென்மோ நெஞ்சம்! வாரலென் யானே. In this trip to this harsh domain, we get to glimpse at many unique sights, as we listen to the man say these words to his heart: “If you know very well that she has the strength to say, ‘Wishing to bring back that radiant thing, which has more worth than life, having the wisdom to do the right things, he has left’, and remain at home, then, parting away, you may go, O heart, to those spaces, which the rains have forsaken and where dried bamboos abound. And here, attacking merchants, who tread these paths, those men with sturdy bows live a life lacking culture. When night falls, their leader reaches the gates of homes, which belong to maiden, with thick bamboo-like arms having radiant lines, and bellies with beauty spots many, who sell filtered toddy. Not finding that drink of ecstasy, he would return home, and pointing to the white tusk, which had come from a wild elephant with moistened cheeks, he would caress the coarse-haired head of his son, playing around the house. In such a wild community, stay the night, and leave by morning, to those places, where upon the swaying branches of the silk-cotton tree, with a thick trunk, one which renders an exquisite shade, radiant flowers bloom, akin to flames fluttering, and bees buzz around like flutes. Nearby upon a short boulder, lies drying white bones, which satisfies the deep hunger of camels with fast legs. Traversing these stony, long paths in the scrub jungle, leaving that beautiful, dark-skinned maiden here, you may go, O heart! I shan’t come!” Let’s walk on and explore those barren spaces! The man starts with an ‘if clause’ to his heart. He tells his heart, ‘If you know one thing for sure, you may leave, and that is if you know the lady has the ability to remain at home and understand the logic and importance of the journey to be taken in search of wealth’. Then, he launches into a description of the place where he is asking his heart to leave, and to do that, he focuses on the denizens of the said place. First, we catch a glimpse of merchants walking here and then robbers attacking them. The man decides to zoom on the leader of this rowdy gang and follows him as he walks in the late evening hour, towards the home of toddy sellers, who happen to be women with bamboo-like arms and beautiful bellies. Here’s a subtle indicator that women had a hand in handling trade in those times. Returning, we learn that all that toddy is sold out and the man returns home, and he points to the white tusk, which he had taken for the barter, which had come from an elephant in musth, and caresses the head of his young son, as a way of inspiring the lad to aim for great things in life, like hunting down an elephant. Leaving aside the animal rights implications, let’s just appreciate this moment of bonding between a robber father and his son. The man had been telling this story only to predict that the heart would end up staying in such a community, and then in the morning,...

In this episode, we listen to an excited request, as depicted in Sangam Literary work, Aganaanooru 244, penned by Madurai Mallanaar. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and portrays the pleasantness of the rainy season. ”’பசை படு பச்சை நெய் தோய்த்தன்ன சேய் உயர் சினைய மாச் சிறைப் பறவை பகல் உறை முது மரம் புலம்பப் போகி, முகை வாய் திறந்த நகை வாய் முல்லை கடிமகள் கதுப்பின் நாறி, கொடிமிசை வண்டினம் தவிர்க்கும் தண் பதக் காலை வரினும், வாரார்ஆயினும், ஆண்டு அவர்க்கு இனிதுகொல், வாழி தோழி?” என, தன் பல் இதழ் மழைக் கண் நல்லகம் சிவப்ப, அருந் துயர் உடையள் இவள்’ என விரும்பிப் பாணன் வந்தனன், தூதே; நீயும் புல் ஆர் புரவி, வல் விரைந்து, பூட்டி, நெடுந் தேர் ஊர்மதி, வலவ! முடிந்தன்று அம்ம, நாம் முன்னிய வினையே! In this trip to the woodlands, we take in picturesque sights, as we listen to the man say these words to his charioteer: “A bat, having dark wings, which appear as if dipped in thick, fresh ghee, rises from the topmost branch of an ancient tree, and leaving it in loneliness, flies away, in this moist and cool time, when wild jasmine bushes have opened their buds and appear, akin to smiling teeth, having the fragrance of a new bride, as it prevents buzzing bees atop vines from fluttering away. Saying, ‘At this time, I wonder if he will return or if he won’t! Maybe only the yonder place he’s at is pleasant to him!’, as her many-petalled, rain-like eyes reddened her fine bosoms, she suffers deep sorrow. Thus said the messenger-bard who had come with intent. So, yoke the fine horses, which are grazing on grass, with much haste, and speed on the tall chariot, O charioteer, for the task we had set out to do is all done!” Time to listen to the twin beats of the hooves and the hearts! The man starts by describing the wings of a bat and mentioning how it appears as if dipped in ghee. When I took a look at an image of the bat’s wings and read about how it’s criss-crossed with many blood vessels, the simile made perfect sense. The said bat leaves its perch on a tall, ancient tree, and flies away, leaving the tree to lament in loneliness, the man says. Then he moves on to the wild jasmines that have bloomed on the bushes and compares it to two different elements, the sight of these white buds to smiling teeth and the scent of the same to the tresses of a new bride. All this he mentions only to say, it’s the cool and moist time of rains. Now he repeats the words of the lady as conveyed to him by a messenger bard. The lady seemed to be wondering whether the man would return or not, and feeling dejected and tearful about the fact that he seemed to prefer the place he’s at to his home. So, nudged by the bard’s message, the man wishes to propel his charioteer into action and concludes by asking the worthy helper to yoke the grazing horses and speed on the chariot homeward, for the work they had come to do, was done. The image of the bat leaving the tree alone is a subtext for the lady’s loneliness in the man’s absence. In these few words, we can observe the signs of the changing season, and catch the pulse of the man as he yearns to be back with his beloved. The thing that struck me in this verse is the reimagining of a bird’s wings and a bush’s blossoms by this Sangam poet, something which speaks to us of their enviable skills of observation and connection!

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Aganaanooru 243, penned by Kodiyoor Kizhaar Maganaar Neythal Thathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the attitude of the northern wind. அவரை ஆய் மலர் உதிர, துவரின வாங்கு துளைத் துகிரின் ஈங்கை பூப்ப, இறங்கு போது அவிழ்ந்த ஈர்ம் புதல் பகன்றைக் கறங்கு நுண் துவலையின் ஊருழை அணிய, பெயல் நீர் புது வரல் தவிர, சினை நேர்பு பீள் விரிந்து இறைஞ்சிய பிறங்கு கதிர்க் கழனி நெல் ஒலி பாசவல் துழைஇ, கல்லெனக் கடிது வந்து இறுத்த கண் இல் வாடை! ‘நெடிது வந்தனை’ என நில்லாது ஏங்கிப் பல புலந்து உறையும் துணை இல் வாழ்க்கை நம்வலத்து அன்மை கூறி, அவர் நிலை அறியுநம் ஆயின், நன்றுமன் தில்ல; பனி வார் கண்ணேம் ஆகி, இனி அது நமக்கே எவ்வம் ஆகின்று; அனைத்தால் தோழி! நம் தொல் வினைப் பயனே! In this trip to the drylands, we get to see more of an aspect of weather rather than the region, as we listen to the lady say these words to her confidante, as the man continues to remain parted away, having left in search of wealth: “Exquisite flowers of the bean drop down, coral-like touch-me-not flowers with curving, red holes blossom, and the rattlepod flowers bloom on moist bushes during sun down, in the fine drizzle, and adorn the town entire. At this time when new rains pour no more, branched stalks sprouting out of seeds, now bend and sway in the paddy fields. Entering these fields, with a resounding roar, it then comes and swirls around me, this unseeing northern wind! If at all the northern wind would go to him, learn of his state, and say, ‘You have come afar’, and then speak of my state, that of living without my mate, with ceaseless yearning, filled with sorrow and suffering, that would be good. However, as I stand here with tear-filled eyes, all the wind wants to do is bring torment to me! And so it is, my friend, owing to nothing but the fruit of my past deeds!” Let’s follow in the trail of the northern winds in this verse! The lady starts by listing all the flowers that have been blooming, much to the beauty of the town, and she mentions the bean flowers, the red touch-me-not flowers as well as the rattle-pod flowers. She talks about how there’s only a slight drizzle and no heavy rains seem to be pouring, indicating it’s the beginning of the cold season after the rains, a time long after the promised season of return. Then she moves on to characterise the northern winds, as it comes rushing through the paddy fields and envelopes her. She wishes the winds would go to the man, tell him that he has come too far, and talk about how the lady was languishing without his presence. But the northern wind seemed to have no mind to do any such thing and wants only to torture her, the lady says, and concludes by declaring with a helpless sigh that all this must be because she had done something wrong in the past. Herein, lies a subtle reference to the Indian concept of ‘Karma’, of attributing the misfortune of the present to some action in the past. Hope the good the lady has done brings back the man to her soon, so that they both can delight together in the blooming buds and the blowing breeze!

In this episode, we perceive an intention to change another’s course of action, as depicted in Sangam Literary work, Aganaanooru 242, penned by Peri Saathanaar. The verse is situated amidst the blooming Kino trees of the ‘Kurinji’ or ‘Mountain landscape’ and reveals the circumstances that necessitate a religious ritual. அரும்பு முதிர் வேங்கை அலங்கல் மென் சினைச் சுரும்பு வாய் திறந்த பொன் புரை நுண் தாது மணி மருள் கலவத்து உறைப்ப, அணி மிக்கு அவிர் பொறி மஞ்ஞை ஆடும் சோலை, பைந் தாட் செந் தினைக் கொடுங் குரல் வியன் புனம், செந் தார் கிள்ளை நம்மொடு கடிந்தோன் பண்பு தர வந்தமை அறியாள், ‘நுண் கேழ் முறி புரை எழில் நலத்து என் மகள் துயர் மருங்கு அறிதல் வேண்டும்’ என, பல் பிரப்பு இரீஇ, அறியா வேலற் தரீஇ, அன்னை வெறி அயர் வியன் களம் பொலிய ஏத்தி, மறி உயிர் வழங்கா அளவை, சென்று யாம், செல வரத் துணிந்த, சேண் விளங்கு, எல் வளை நெகிழ்ந்த முன் கை, நேர் இறைப் பணைத் தோள், நல் எழில் அழிவின் தொல் கவின் பெறீஇய, முகிழ்த்து வரல் இள முலை மூழ்க, பல் ஊழ் முயங்கல் இயைவதுமன்னோ தோழி! நறை கால்யாத்த நளிர் முகைச் சிலம்பில் பெரு மலை விடரகம் நீடிய சிறியிலைச் சாந்த மென் சினை தீண்டி, மேலது பிரசம் தூங்கும் சேண் சிமை வரையக வெற்பன் மணந்த மார்பே! Plenty of picturesque sights in this trip to the mountains, as we listen to the confidante say these words to the lady, pretending not to notice the man, listening nearby, but making sure he’s in earshot: “From the swaying, slender branch of the Kino tree, with blooming buds, opened by the buzzing mouths of bees, fine, golden pollen drops down on the sapphire-hued feathers, and so adorned, with dark spots, dances the peacock in the grove, near the wide fields, where amidst the green-stemmed, thick stalks of the red millet, along with us, he chased away parrots with red necks. Not knowing it’s his relationship that has rendered this to you, mother was saying, ‘I have to find the reason for the sorrow that soars in my daughter, who has the exquisite beauty of tender mango sprouts, and a fine complexion’. She plans to spread many different offerings, and summoning clueless Velan, wants to perform the ‘Veri’ ritual in the wide area, intending to sacrifice a lamb. Before such things happen, why don’t we dare to leave to that faraway place, to attain the exquisite, old beauty of your bamboo-like arms, from which, shining bangles are now slipping away. My friend, this can be done by immersing your budding young bosoms, and embracing over and over again, the fragrant chest of the lord of the mountains, whose faraway peaks brim with nectar, and in whose caves, near the huge mountain slopes, caressing the gentle branch of the small-leaved sandalwood tree nearby, hangs a comb of honey!” Time to start on that mountain trek, savouring the sights and scents of the region! The confidante starts by pointing to a Kino tree, with bright yellow flowers, and specifically to how the golden pollen from the flowers is dropping on the sapphire-like feathers of a peacock, which is dancing with delight, in the grove. Then she moves on to the millet fields near that grove, where the man had come to help the lady chase away parrots, characterised by a red garland, no doubt referring to the Indian ring-neck parakeets. After introducing the stage where the man came into the lady’s life, the confidante turns to talk about the activities of the lady’s mother. This poor woman, did not know the lady’s affliction was because of her relationship with the man, in the sense the lady was in ecstasy, when trysting with the man and was wallowing, when away from him. So, mother wants to find out the reason and her means of doing so was to summon Velan, the priest, who, according the confidante, in the manner of a famous webseries character, ‘knows nothing’! Velan would be summoned to perform the ‘Veri’ ritual by spreading many offerings and seeking God Murugu’s help in solving the lady’s sorrow. The confidante tells the lady before mother gets ahead with the plan and gets to sacrificing a poor lamb, the lady must to do something about those bangles...

In this episode, we perceive a lady’s angst, as portrayed in Sangam Literary work, Aganaanooru 241, penned by Kaavanmullai Poothanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches this difficult terrain in much detail. ‘துனி இன்று இயைந்த துவரா நட்பின் இனியர் அம்ம, அவர்’ என முனியாது நல்குவர் நல்ல கூறினும், அல்கலும், பிரியாக் காதலொடு உழையர் ஆகிய நமர்மன் வாழி, தோழி! உயர்மிசை மூங்கில் இள முளை திரங்க, காம்பின் கழை நரல் வியல் அகம் வெம்ப, மழை மறந்து அருவி ஆன்ற வெருவரு நனந்தலை, பேஎய் வெண் தேர் பெயல் செத்து ஓடி, தாஅம் பட்ட தனி முதிர் பெருங் கலை புலம் பெயர்ந்து உறைதல் செல்லாது, அலங்குதலை விருந்தின் வெங் காட்டு வருந்தி வைகும் அத்த நெல்லித் தீஞ் சுவைத் திரள் காய் வட்டக் கழங்கின் தாஅய், துய்த் தலைச் செம் முக மந்தி ஆடும் நல் மர மருங்கின் மலை இறந்தோரே! In this trip to the drylands, there’s much to be seen, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left in search of wealth: “You say, ‘That lover of yours is a kind person, having not even a dot of dislike and possessing a deep, undying love’, and speaking many such good words, you promise that he would render his grace. Yet, the one who used to be together with me, with a love that never wants to part away, is elsewhere, my friend, may you live long! Atop the hills, where tender sprouts of the bamboo shrivel, and those wide spaces, which resound with the swaying of bamboo stalks, swelter. In those barren spaces, which the rains have forgotten and cascades have abandoned, an old, huge stag, with much thirst, rushes towards a mirage, thinking it’s the rain flowing, then disappointed, does not leave that place and move elsewhere, but sits there with sorrow in that scorching scrub jungle, where the mirage extends on, and here, taking a thick cluster of seeds from the sweet gooseberry that blooms in the drylands, and treating them like circular beans used as dice, the soft-headed red-faced monkey plays on, amidst the fine trees, which grow on the sides of the highlands, and it is to such a place that he has parted away to!” Let’s visit this challenging landscape and learn more! The lady starts by repeating the confidante’s words. Apparently, the friend had been cheering up the lady talking about the man’s deep love for her. The lady then talks about how the words are so sweet and kind, but she’s unable to accept that, as the man, who has always together with her, was now faraway. She then goes to talk about that place where the man’s at, in graphic detail. She points to the withering bamboo sprouts, the sweltering rocks of this region, and mentions the rains have deserted the place for long, making the land forget the meaning of a cascade. From these elements of land, she turns to the actions of elements of nature, and points to a stag, rushing towards something, only to find it’s nothing but a mirage, and having its thirst unquenched, helpless it sits there, not knowing where to go, and meanwhile, in the hills nearby, monkeys seem to pick seeds of sweet gooseberries, and play with them, as if they were mollucca beans used by humans as dice. The lady concludes by saying that’s how far the man had gone, implying it was impossible for her to accept her confidante’s consoling words about the man. The curious element here is how vividly the lady is able to see the place that she has never been to! This is poetic license, of course, but even there, there’s a grain of truth, echoing the inexplicable connectedness in the shared consciousness of those in love!

In this episode, we listen to words seeking a change in a person’s path, as depicted in Sangam Literary work, Aganaanooru 240, penned by Ezhooppandri Naagan Kumaranaar. The verse is situated amidst the swirling waves of the ‘Neythal’ or ‘Coastal landscape’ and describes the activities of the denizens at night. செவ் வீ ஞாழற் கருங் கோட்டு இருஞ் சினைத் தனிப் பார்ப்பு உள்ளிய தண் பறை நாரை மணிப் பூ நெய்தல் மாக் கழி நிவப்ப, இனிப் புலம்பின்றே கானலும்; நளி கடல் திரைச் சுரம் உழந்த திண் திமில் விளக்கில் பல் மீன் கூட்டம் என்னையர்க் காட்டிய, எந்தையும் செல்லுமார் இரவே; அந்தில் அணங்குடைப் பனித் துறை கைதொழுது ஏத்தி, யாயும் ஆயமோடு அயரும்; நீயும், தேம் பாய் ஓதி திரு நுதல் நீவி, கோங்கு முகைத்தன்ன குவிமுலை ஆகத்து, இன் துயில் அமர்ந்தனைஆயின், வண்டு பட விரிந்த செருந்தி வெண் மணல் முடுக்கர், பூ வேய் புன்னை அம் தண் பொழில், வாவே தெய்ய, மணந்தனை செலற்கே. Plenty of intriguing images in this trip to the shores, as we listen to the confidante say these words to the man, who arrives for a nightly tryst with the lady: “Thinking about its chick that’s all alone on the long branch of the black-trunked screw-pine tree with red flowers, a seabird with moist wings, flies above the dark backwaters, filled with sapphire-hued flowers of the blue lotus, leaving the groves to be deserted. In the light of the sturdy boat, which has swirled through the brimming waves of the drylands-like sea, showing schools of fish he has captured to my brothers, my father walks about at night; At that time, celebrating the god-like, cool shores, my mother worships along with her mates; As for you, if you wish to caress the fine forehead of the maiden with honey-flowing tresses, and yearn to find sweet sleep upon her bosoms, akin to buttercup buds, then come on over to the corner of the white sands, where the bee-buzzing golden champak tree stands, in the cool shores, filled with flowering laurel wood trees, to embrace her and part away!” Let’s take a seat on the sands and watch the scenes unfold! The confidante starts by describing the groves, which appear abandoned, as a seabird flies away, thinking about its chick, left alone in a nest. Then she goes on to talk about how the lady’s father moves about during the night, returning from his fish hunt, and showing the catch to the lady’s brothers. At this time, the lady’s mother too is thanking the seas for the catch and performing worship along with her mates. In short, the whole of the lady’s family is out and about, the confidante implies, and concludes by telling the man that it would be better if he came by day to the groves full of ‘Punnai’ trees, to a particular spot near a bee-buzzing ‘Cherunthi tree’, if he intended to savour the lady’s company. It seems like the confidante is telling the man there’s danger of discovery at night, and so come by day. However, there’s even more danger during day for the townsfolk would see, and slander would rise, the confidante knows, and she is silently sowing the seeds for the man to change his attitude of temporary trysting and come seek the lady’s hand in marriage. ‘Not by night, not by day too, but for the man to be beside the lady for all time’ seems to be the eternal quest of the confidante!

In this episode, we listen to a man’s lament, as depicted in Sangam Literary work, Aganaanooru 239, penned by Eyinanthai Magan Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the circumstances of the departed and the one left behind. அளிதோதானே; எவன் ஆவதுகொல்? மன்றும் தோன்றாது; மரனும் மாயும் ‘புலி என உலம்பும் செங் கண் ஆடவர், ஞெலியொடு பிடித்த வார் கோல் அம்பினர், எல் ஊர் எறிந்து, பல் ஆத் தழீஇய விளி படு பூசல் வெஞ் சுரத்து இரட்டும் வேறு பல் தேஎத்து ஆறு பல நீந்தி, புள்ளித் தொய்யில், பொறி படு சுணங்கின், ஒள் இழை மகளிர் உயர் பிறை தொழூஉம் புல்லென் மாலை, யாம் இவண் ஒழிய, ஈட்டு அருங்குரைய பொருள்வயிற் செலினே, நீட்டுவிர் அல்லிரோ, நெடுந்தகையீர்?’ என, குறு நெடும் புலவி கூறி, நம்மொடு நெருநலும் தீம் பல மொழிந்த சிறு நல் ஒருத்தி பெரு நல் ஊரே! In this trip to the drylands, we hear the loud sounds in this domain, as we listen to the man say these words to his heart, when he has parted from the lady and is on a journey to seek wealth: “Isn’t this a pitiable state? What will happen now? Saying ‘Those red-eyed men, who roar like a tiger, holding firebrands and wielding long and thick arrows, attack towns at night, and capture many a cattle. Their shouts resound uproariously in the hot drylands. Crossing paths in this region that will take you through many other lands, leaving me here all alone in the dull evening hour, when maiden wearing radiant ornaments, painted with ‘thoyyil art’, having many pallor spots, will worship the crescent moon up high, if you leave now to gain that hard-to attain wealth, won’t you end up delaying your return too, O esteemed lord?’, picking up small and big quarrels, a fine, young maiden said many sweet words yesterday. Alas! The town centre of her great town appears not and the trees therein fade away from my sight too!” Time to tread those dangerous spaces and learn more! The man starts by remarking on the state of affairs and wondering what would happen. Then he starts to repeat the words of someone. This person talks about the drylands, where one can hear the shouts of robbers, after they have set fire to huts in the middle of the night and seized the cows in that town. The person continues saying how the man will cross many such paths through the sweltering drylands and go to faraway lands. At that point, the person contrasts the man’s state to how they will be left behind, all lonely and full of worry, in the evening hour, when other women take to worshipping the crescent moon. At this point, we know the person speaking is none other than the lady. She ends by wondering if the man on his quest for inaccessible wealth will take too much time to return. The man reveals that the lady had said these words to him the previous day, picking quarrels with him for leaving her so, but somehow even those words of sulking had appeared so sweet in his ears. He concludes by lamenting that now the town centre and trees of his beloved maiden’s town were no longer in sight, indicating he had traversed far away from the radius of his beloved’s presence! That the man calls it the lady’s town is a subtle indicator that this separation is happening before his marriage with the lady! A verse that throws the spotlight on a so-called rugged man, who has to set out into the world, and zooms on to his yearning for the sweet comfort of his beloved. A beat from the past echoing aloud, ’emotions have no gender’!

In this episode, we perceive a subtle technique of persuasion, as depicted in Sangam Literary work, Aganaanooru 238, penned by Kabilar. The verse is situated amidst the scent of flame-lilies in the ‘Kurinji’ or ‘Mountain landscape’ and sketches a tiger’s midnight hunt in vivid detail. மான்றமை அறியா மரம் பயில் இறும்பின், ஈன்று இளைப்பட்ட வயவுப் பிணப் பசித்தென, மட மான் வல்சி தரீஇய, நடு நாள், இருள் முகைச் சிலம்பின், இரை வேட்டு எழுந்த பணை மருள் எருத்தின் பல் வரி இரும் போத்து, மடக் கண் ஆமான் மாதிரத்து அலற, தடக் கோட்டு ஆமான் அண்ணல் ஏஎறு, நனந்தலைக் கானத்து வலம் படத் தொலைச்சி, இருங் கல் வியல் அறை சிவப்ப ஈர்க்கும் பெருங் கல் நாட! பிரிதிஆயின், மருந்தும் உடையையோ மற்றே இரப்போர்க்கு இழை அணி நெடுந் தேர் களிறொடு என்றும் மழை சுரந்தன்ன ஈகை, வண் மகிழ், கழல் தொடித் தடக் கை, கலிமான், நள்ளி நளி முகை உடைந்த நறுங் கார் அடுக்கத்து, போந்தை முழு முதல் நிலைஇய காந்தள் மென் பிணி முகை அவிழ்ந்து அலர்ந்த தண் கமழ் புது மலர் நாறும் நறு நுதற்கே? In this trip to the mountains, we get to see plenty of dynamic scenes, as we listen to the confidante say these words to the man, when he arrives for his nightly tryst with the lady: “In the jungle where trees knowing not separation are fused so densely together, as its exhausted mate, which had just given birth was suffering with hunger, intending to bring it the meat of a naive deer, at midnight, through the slopes with dark caves, treads a huge male tiger, with a neck, akin to a palmyra trunk, and having many stripes, intent on hunting prey. At this time, as a wild cow with innocent eyes cries out from the distance, the tiger attacks a majestic bull with curving horns, and kills it on the right side, in that vast jungle. Then the tiger pulls the carcass, painting the wide boulders of the huge hills red, in your great mountain country, O lord! Having a charity, which makes him render with joy, ornamented, tall chariots, along with elephants, to those who come seeking, akin to the showering rain, wearing thick ornaments on his curving arms and wielding proud horses, rules Nalli. In the fragrant, dark mountain ranges of his domain, filled with flowering buds, near the trunk of a tall palm tree, stands a flame-lily. Akin to the moist and fragrant new flower that blooms from gentle buds, her forehead wafts with a delectable scent. If you wish to part away from her, pray tell if you have the cure for the affliction that would befall upon her fine forehead!” Let’s brave the midnight hour and start on a mountain trek! The confidante starts with a description of the man’s mountain country, where we see a tiger wanting to allay the hunger of its mate, stepping out with the intent of killing a deer. But instead of a deer, it finds a wild bull. As a wild cow screams in alarm, it fells the animal and drags it to its abode, painting the mountains red. From this vivid tale, the confidante moves on to render a portrait sketch of a king name Nalli, renowned for his generosity to supplicants, not just giving them food or jewels, but entire ornamented chariots and elephants apparently. The confidante then moves on from the king to his domain of the tall hills, where many flowers bloom, and in particular, she zooms on to a flame-lily, near the trunk of a palm tree, and connects the fragrance of this flower to the lady’s forehead. Then she predicts that if the man were to part away as he wishes to, a deep affliction would fall on this forehead, and she concludes by asking the man if he had the right cure for that malady. In essence, the confidante is asking the man not to part away and bring suffering to the lady, but rather seek the lady’s hand in marriage. In the scene of the tiger, wanting to hunt for a deer, returning with the better offering of a wild bull, the confidante places a metaphor to depict how the man would be better off, seeking the lady’s hand by applying to her kith and kin, rather than parting away to earn wealth, and leaving her in misery. With scenes from the wild and events from a royal...

In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 237, penned by Thaayankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the wealth and prosperity of a Sangam era town. புன் காற் பாதிரி அரி நிறத் திரள் வீ நுண் கொடி அதிரலொடு நுணங்கு அறல் வரிப்ப, அரவு எயிற்று அன்ன அரும்பு முதிர் குரவின் தேன் இமிர் நறுஞ் சினைத் தென்றல் போழ, குயில் குரல் கற்ற வேனிலும் துயில் துறந்து இன்னா கழியும் கங்குல்’ என்று நின் நல் மா மேனி அணி நலம் புலம்ப, இனைதல் ஆன்றிசின் ஆயிழை! கனைதிறல் செந் தீ அணங்கிய செழு நிணக் கொழுங் குறை மென் தினைப் புன்கம் உதிர்த்த மண்டையொடு, இருங் கதிர் அலமரும் கழனிக் கரும்பின் விளை கழை பிழிந்த அம் தீம் சேற்றொடு, பால் பெய் செந்நெற் பாசவல் பகுக்கும் புனல் பொரு புதவின், உறந்தை எய்தினும், வினை பொருளாகத் தவிரலர் கடை சிவந்து ஐய அமர்த்த உண்கண் நின் வை ஏர் வால் எயிறு ஊறிய நீரே. It’s more about the weather and less about the place in this trip to the drylands, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Saying, ‘Thin-stalked, lined trumpet flowers in bright hues, along with wild jasmine flowers, blooming on tender vines, drop down on the fine sand, drawing floral patterns. The gentle breeze cuts across the bee-buzzing, fragrant branch of the bottle flower tree, with buds akin to a snake’s teeth. Such is this time of spring that rings with the sound of cuckoos’ voices. At this time, sleepless, my nights fade away with suffering’, making your fine, dark skin’s exquisite beauty languish, worry not, O maiden wearing well-etched ornaments! Thick and fatty pieces of flesh, roasted in dense red flames, are placed together with tender millet rice in a curving bowl. Then, the juice extracted from the sweet slush of fine sugarcane stalks, which have bloomed in the fertile fields, with tall stalks of paddy, is mixed with milk, and fused with flattened, red rice. These are offered to those who come to Uranthai, where brimming river floods dash against the dam gates. Even if he were to attain this Uranthai, just for the sake of gaining wealth, he shall never give up savouring the nectar that springs up, amidst your sharp and white teeth, O maiden with beautiful, well-set, kohl-streaked eyes, with reddened edges!” Time to inhale the essence of spring and learn more! The confidante starts by repeating the lamenting words of the lady. The lady had been looking at the blooming trumpet and wild jasmine flowers that seem to be decorating the land beneath with floral designs. Then she feels the breeze dashing across a branch of the bottle-flower tree and hears the cuckoo’s call. All natural events for it’s the time of spring, but instead of bringing joy, it leaves me sleepless and brings me great suffering, the lady had said to the confidante. To this, the confidante asks the lady to let go of her angst. Then she launches into a description of a famous town in the Sangam era, known as Uranthai. To talk about its significance, she turns to the food that’s offered in this town, to those who arrive there. It’s a delicious combination of well-cooked, fatty pieces of meat, with millet rice on the savoury side, and to satisfy the sweet tooth, it was a dessert of flattened red rice and milk fused with sugarcane juice. If such food of plenty is to be found then water must be abundant and indeed, the rivers perennially keep dashing against the dam gates, brimming over, the confidante paints a picture. She has mentioned Uranthai only to say to the lady that the man wouldn’t dream of giving up the taste of the nectar that pools amidst the lady’s sharp teeth, in short, a taste of the lady’s kiss, even if he were to attain this prosperous city as his own. Yet again, it’s a message of ‘Not even for that, not even for this, will he forget you’. However, in the expanse of this verse, we received the double bonanza of delighting in the scents and sounds of spring as well as tasting...

In this episode, we listen to an intricate explanation, as depicted in Sangam Literary work, Aganaanooru 236, penned by Paranar. The verse is situated amidst the flourishing paddy stalks of the ‘Marutham’ or ‘Farmlands landscape’ and refers to a renowned story of loss from those times. மணி மருள் மலர முள்ளி அமன்ற, துணி நீர் இலஞ்சிக் கொண்ட பெரு மீன் அரி நிறக் கொழுங் குறை வௌவினர் மாந்தி வெண்ணெல் அரிநர் பெயர்நிலைப் பின்றை, இடை நிலம் நெரிதரு நெடுங் கதிர்ப் பல் சூட்டுப் பனி படு சாய்ப் புறம் பரிப்ப, கழனிக் கருங் கோட்டு மாஅத்து அலங்கு சினைப் புதுப் பூ மயங்கு மழைத் துவலையின் தாஅம் ஊரன் காமம் பெருமை அறியேன், நன்றும் உய்ந்தனென் வாழி, தோழி! அல்கல் அணி கிளர் சாந்தின் அம் பட்டு இமைப்ப, கொடுங் குழை மகளிரின் ஒடுங்கிய இருக்கை அறியாமையின் அழிந்த நெஞ்சின், ‘ஏற்று இயல் எழில் நடைப் பொலிந்த மொய்ம்பின், தோட்டு இருஞ் சுரியல் மணந்த பித்தை, ஆட்டன் அத்தியைக் காணீரோ?’ என நாட்டின் நாட்டின், ஊரின் ஊரின், ‘கடல் கொண்டன்று’ என, ‘புனல் ஒளித்தன்று’ என, கலுழ்ந்த கண்ணள், காதலற் கெடுத்த ஆதிமந்தி போல, ஏதம் சொல்லி, பேது பெரிது உறலே. In this trip to this tricky domain, we get to see the usual scenes of plenty, as we hear the lady say these words to her confidante, at a time when the lady had permitted the man back to her house, after his time away with courtesans: “Having sapphire-like flowers, the water-thorn flourishes near ponds with crystal clear water. Gathering huge fish from here, harvesters of white paddy cook those striped, fleshy pieces and eat them with relish. Later, they cut tall paddy stalks and heap the stacks so densely that the land in between is invisible to the eyes, hiding the dew-covered low ground beneath in those fields, where the new flowers of a black-trunked mango tree’s swaying branch, drop down and scatter, appearing like the rain’s drizzle, in the town of the lord! For a while, I did not get to appreciate the greatness of his love. But I had a narrow escape, long may you live, my friend! In the manner of maiden, adorned with curving heavy earrings, those who wear exquisite, radiant sandalwood and gleaming pretty silk, with a subdued, humble stance, he had come in the middle of the night and my heart fell for him, owing to my naivety. And that’s why, akin to Aathi Manthi, the one who had lost her beloved, and who went around asking in country upon country, town upon town, ‘Has anyone seen the one, who has a bull’s fine gait and radiant shoulders, a fragrant head full of dense, black curls, known by the name ‘Aattan Aththi’?’, as she wondered endlessly ‘Has the ocean snatched him?’ or ‘Has the river hid him?’, I did not have to lament and suffer with great confusion!” Time to sit back and listen to the love quarrels of this domain! The lady starts by describing the man’s land, and to do that, she brings forth the image of lush ponds, surrounded by water-thorn plants with deep blue flowers. From these ponds, harvesters catch hold of fatty fish, cook and relish them, the lady continues, and talks about how energised, those harvesters come over to the fields and do their hard work of cutting the paddy stalks and heaping the stacks. So fertile is this land that you can’t even glimpse a bit of the ground between these stacks, the lady paints, and then mentions how the blooming mango tree, on the side of the fields, showers down its flowers, confusing those around with the sensation of a drizzle. Such is the beauty and fertility of the man’s town, the lady completes. Then she goes on to talk about how one night the man had come to her in a such a humbled, subdued way that he almost appeared to her like a maiden clad in silk and adorned with sandalwood. Seeing his pleading stance, she had accepted him back, the lady says. She concludes by telling her friend that’s how she had a narrow escape from the state of Aathi Manthi, who had roamed high and low, searching for her lost husband, the handsome Aattan Aththi, wondering whether the sea had swallowed him or the river had buried him. Most probably the confidante has...

In this episode, we listen to the angst-ridden voice of a lady, as depicted in Sangam Literary work, Aganaanooru 235, penned by Kazhaarkeeran Eyitriyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse paints a vivid portrait of the many flowers that bloom in the aftermath of the rains. அம்ம வாழி, தோழி! பொருள் புரிந்து உள்ளார்கொல்லோ, காதலர்? உள்ளியும், சிறந்த செய்தியின் மறந்தனர்கொல்லோ? பயன் நிலம் குழைய வீசி, பெயல் முனிந்து, விண்டு முன்னிய கொண்டல் மா மழை மங்குல் அற்கமொடு பொங்குபு துளிப்ப, வாடையொடு நிவந்த ஆய் இதழ்த் தோன்றி சுடர் கொள் அகலின் சுருங்கு பிணி அவிழ, சுரி முகிழ் முசுண்டைப் பொதி அவிழ் வான் பூ விசும்பு அணி மீனின் பசும் புதல் அணிய, களவன் மண் அளைச் செறிய, அகல் வயல் கிளை விரி கரும்பின் கணைக்கால் வான் பூ மாரி அம் குருகின் ஈரிய குரங்க, நனி கடுஞ் சிவப்பொடு நாமம் தோற்றி, பனி கடி கொண்ட பண்பு இல் வாடை மருளின் மாலையொடு அருள் இன்றி நலிய, ‘நுதல் இறைகொண்ட அயல் அறி பசலையொடு தொல் நலம் சிதையச் சாஅய், என்னள்கொல் அளியள்?’ என்னாதோரே. In this trip to the drylands, we hardly get a glimpse of this harsh domain, as we listen to the lady say these words to her confidante, when her man continues to remain parted away, having left in search of wealth: “Listen my friend, may you live long! As he goes about seeking wealth, won’t that lover of mine even think of me? Even when he does, burdened by the excess of his mission, will he forget to do anything about it? After pouring down aplenty on fertile lands, disliking to pour anymore, huge, dark rain clouds have migrated to the mountains. At this time, when a mere drizzle of the passing clouds remain, and as the northern winds blow, the flame-lily with exquisite petals loosens its tight buds, and blossoms akin to an earthen lamp, lit by a flame; The curled buds of the common night glory open out their white flowers decorating green bushes, akin to the stars that adorn the sky; As crabs retire to their mud holes, in wide fields, where sugarcanes spread their stalks, their thick-stemmed white flowers, appear bent akin to birds drenched in the rain; With immense fury, invoking fear, brimming with cold, the compassion-less northern winds continue to blow in this confusing evening hour and assail me with no mercy. How can he be without thinking, ‘With pallor, which reveals everything to others, residing firmly in her forehead, and her old beauty fading away, what will be the state of that pitiable one?’!” Let’s listen to the lady’s lament! She starts by beckoning her friend’s attention, wondering if thoughts of her won’t even cross the man’s mind, and even if it does, would he just ignore it owing to the burden of his work. Then, she goes on to talk about the world around her, mentioning how the rains are done and dusted, and the clouds have gone on a vacation to the mountains. In this season, flowers are blooming everywhere, first it’s the radiant flame-lily, looking like a lit earthen lamp, then it’s the common night glory or the midnapore creeper, upon the green bushes, looking like stars in the sky, and then moving further on to the fields, as crabs run inside the mud holes, the sugarcane’s bent white flowers, give an appearance of soaked white birds, shivering in the rain. The lady talks about how as if the sight of all this blooming wasn’t enough to torment her, the northern winds had joined hands too, at piling suffering upon her. The lady concludes by asking how could the man remain there, at peace, without considering the effect of all these elements, the pallor which announces her affliction to those around, and her ruined beauty, without even sparing a single moment of thought for her pitiable state! In essence, the lady says there’s beauty all around but none I can see for he is far away and it pains to think that he doesn’t think about me. Hope the expression of this angst helps the lady resolve her pain, and learn to receive the gift that we’ve been given, the one of delighting in the beauty of that blooming world around!

In this episode, we listen to a passionate request put forth, as depicted in Sangam Literary work, Aganaanooru 234, penned by Peyanaar. The verse is situated amidst the buzzing bees of the ‘Mullai’ or ‘Forest landscape’ and sketches the speed of an envisioned journey. கார் பயம் பொழிந்த நீர் திகழ் காலை, நுண் அயிர் பரந்த தண் அய மருங்கின், நிரை பறை அன்னத்து அன்ன, விரை பரிப் புல் உளைக் கலிமா மெல்லிதின் கொளீஇய, வள்பு ஒருங்கு அமையப் பற்றி, முள்கிய பல் கதிர் ஆழி மெல் வழி அறுப்ப, கால் என மருள, ஏறி, நூல் இயல் கண் நோக்கு ஒழிக்கும் பண் அமை நெடுந் தேர் வல் விரைந்து ஊர்மதி நல் வலம் பெறுந! ததர் தழை முனைஇய தெறி நடை மடப் பிணை ஏறு புணர் உவகைய ஊறு இல உகள, அம் சிறை வண்டின் மென் பறைத் தொழுதி முல்லை நறு மலர்த் தாது நயந்து ஊத, எல்லை போகிய புல்லென் மாலை, புறவு அடைந்திருந்த உறைவு இன் நல் ஊர், கழி படர் உழந்த பனி வார் உண்கண் நல் நிறம் பரந்த பசலையள் மின் நேர் ஓதிப் பின்னுப் பிணி விடவே. In this trip to the forests, we get a tour of a transport, as we listen to the man say these words to his charioteer, when he has completed his mission and intends to return home: “At this time, when rains have poured productively and made the land flourish with water, as fine silt spreads around cool lakes, akin to geese that fly in a neat row, wield your speeding horses with sparse manes. Holding on firmly to their reins tied so gently, pressing down the many-spoked wheels, which cut across soft paths, making one confused if it’s the wind, climb on to the tall chariot, which is built according to the right rules, and which moves with such speed that it escapes the eyes, hasten and ride on, O victorious charioteer! A naive female deer with a leaping trot, having had its fill of leaves, disliking any more, turns to unite with its mate and frolics without interruption, and a swarm of bees, with exquisite, soft wings, buzz around the fragrant flowers of the wild jasmine, scattering their fine pollen, in this evening hour, when the day has ended. Now, in the delightful village, so pleasant to stay amidst the forests, she would be with suffering soaring in her tear-brimming, kohl-streaked eyes, and her fine form coated with pallor. Ride on, O charioteer, so that the lightning-like tresses of my maiden will be rid of their tangles many!” Let’s fly on and hear the man’s heartbeat amidst the hoof-beat! The man starts by talking about the time of the year, and to portray it, he mentions how the rains have poured and filled the land with much water and fertility. This is a subtle note to say that the rainy season, which is usually the promised season of return, had arrived. Now he compares his horses to geese, most probably the bar-headed geese that fly in a synchronised motion, high up in the skies, and asks his charioteer to hold on to their reins and direct them, as he sits on their well-etched chariot, which the man claims has been made to perfection. The man insists that the way the charioteer rides should confuse people if it’s just a chariot or the wind, so fast and steady must its motion be that it escapes even the eyes. The man’s thoughts then turn to the lady’s fine village in the forest, in the evening hour, when deers would be uniting with joy and bees would be delighting in the wild jasmine blooms. While there’s so much joy and beauty around, the man says the lady will be standing with tears brimming over in her eyes, and her form covered in pallor, pining for him. The man concludes by urging his charioteer to hurry on, so that his beloved’s hair would be rid of all those knots and tangles! What has the man’s return got to do with the lady’s tresses? To understand its meaning, we have to know of the tradition of Sangam maiden not adorning their tresses, not even combing them, when their man is away! No doubt those thick tresses would end up matted after such a long absence! But the moment the lady learns of the man’s homecoming, she would groom her hair and bloom again like those wild jasmines, the man predicts. Glad the women of now have...

In this episode, we perceive the promise of a return, as depicted in Sangam Literary work, Aganaanooru 233, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse mentions an act of ritual offering by a famous Sangam era king. அலமரல் மழைக் கண் மல்கு பனி வார, நின் அலர் முலை நனைய, அழாஅல் தோழி! எரி கவர்பு உண்ட கரி புறப் பெரு நிலம் பீடு கெழு மருங்கின் ஓடு மழை துறந்தென, ஊன் இல் யானை உயங்கும் வேனில், மறப் படைக் குதிரை, மாறா மைந்தின், துறக்கம் எய்திய தொய்யா நல் இசை முதியர்ப் பேணிய உதியஞ் சேரல் பெருஞ் சோறு கொடுத்த ஞான்றை, இரும் பல் கூளிச் சுற்றம் குழீஇ இருந்தாங்கு, குறியவும் நெடியவும் குன்று தலைமணந்த சுரன் இறந்து அகன்றனர்ஆயினும், மிக நனி மடங்கா உள்ளமொடு மதி மயக்குறாஅ, பொருள்வயின் நீடலோஇலர் நின் இருள் ஐங் கூந்தல் இன் துயில் மறந்தே. In this trip to the drylands, we get to see much of this harsh domain, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “With your bewildered, rain-like eyes, brimming over with tears, and moistening your blossomed breasts, cry not, my friend! Feasted upon by flames, with a black surface, extends the huge land, which rain clouds have abandoned, scuttling away to other proud and fertile regions. Here, flesh-less elephants rove about in the heat of summer. Such are the drylands. King Uthiyan Cheral, had spread out great offerings of rice, celebrating his ancestors, who had commanded over a courageous army of horses, who had lived with an undying fame and an unswerving strength, and who had attained the heavens. Akin to the forms of many dark demons in a horde, which had assembled at that time, to gorge on those offerings, soar around many short and tall peaks in the drylands. Though he has parted away thither, with his relentless heart urging him on to seek wealth, and making him confused, he is not someone, who will delay his return, forgetting the sweet sleep he has savoured on your darkness-like, five-part tresses!” Time to brave the heat of this terrain and explore on! The confidante starts by talking about the lady’s state of crying ceaselessly, pining for the man who has left. Then she goes on to describe the place to which the man has left, the land which fire has engulfed, a possible reference to wild-fire breakouts, and charred as a result. She also talks about how the rain clouds have given this land the cold shoulder, preferring to associate with other elite lands of fertility. And on such a scorched and barren land, elephants rove around with sagging skin, bereft of flesh, in the heat of summer, the confidante comments. Then to talk about how this region is surrounded by many tall and short hills, the confidante brings forth a historical reference, describing the time when a Chera King Udhiyan spread out huge offerings of food in honour of his ancestors. This, is a believable fact, for indeed many people here, are known to honour their ancestors with such offerings even to this day. However, the confidante talks about demonic figures that come to feed on these offerings, and it’s those figures she places in parallel to those tall and short hills around the scorching drylands. The confidante concludes by telling the lady though the man, yearning for wealth, nudged by his heart, and much confused, has left to such a place, he is not someone who can possibly stay there, forgetting the peaceful moments of slumber he had experienced on the lady’s tresses. Those tresses again! What is it about a Sangam maiden’s tresses that so many poets keep singing about it over and over again? Something to do with the scent of a woman and its powerful influence on attraction, no doubt! In this version of ‘Worry not, your beauty will bring the man back’, we got to say hello to a bit of fantasy fused as one with history!

In this episode, we perceive a subtle technique of persuasion, as portrayed in Sangam Literary work, Aganaanooru 232, penned by Kodimangalathu Vaathuli Narchenthanaar. The verse is situated amidst the blooming Kino trees of the ‘Kurinji’ or ‘Mountain landscape’ and describes a ritual performed in Sangam times. காண் இனி வாழி, தோழி! பானாள், மழை முழங்கு அரவம் கேட்ட, கழை தின், மாஅல் யானை புலி செத்து வெரீஇ, இருங் கல் விடரகம் சிலம்பப் பெயரும் பெருங் கல் நாடன் கேண்மை, இனியே, குன்ற வேலிச் சிறுகுடி ஆங்கண், மன்ற வேங்கை மண நாட் பூத்த மணி ஏர் அரும்பின் பொன் வீ தாஅய் வியல் அறை வரிக்கும் முன்றில், குறவர் மனை முதிர் மகளிரொடு குரவை தூங்கும் ஆர் கலி விழவுக் களம் கடுப்ப, நாளும், விரவுப் பூம் பலியொடு விரைஇ, அன்னை கடியுடை வியல் நகர்க் காவல் கண்ணி, ‘முருகு’ என வேலற் தரூஉம் பருவமாகப் பயந்தன்றால், நமக்கே. In this trip to the mountains, we get to hear the confidante say these words to the lady, pretending not to notice the man, who has arrived for his tryst with the lady, but making sure he’s in earshot: “See this, my friend, may you live long! In the middle of the night, hearing the thunderous roar of the rain cloud, a huge elephant feeding on bamboos, frightened that it’s a tiger, runs away trumpeting aloud, making the huge mountain range resound in the man’s mountain country. In a small hamlet, fenced by peaks, the Kino tree in the village centre blooms brightly announcing auspicious days of marriage, and shed golden flowers from sapphire-hued bud stalks, which spread on wide rocky spaces, in the front yard of mountain men, who perform ‘Kuravai’ dance with mature maiden, in those spaces of festivity, filled with uproar. Akin to that, every day, spreading flowers and sacrifice, mother wishing for protection of the well-guarded, fine mansion, seeks blessings of ‘Murugu’ with rituals of ‘Velan’. Your relationship with the man from the mountain country has bestowed upon us, such a time in our lives!” Time to take a trek amidst the rocky terrain and learn of the challenges in the lady’s life! The confidante starts by beckoning her friend’s attention. Then she goes on to describe the man’s mountain country, and to do that, she brings forth an image of an elephant, startled by the sound of thunder, in the middle of the night, and thinking it’s the roar of the tiger, it scuttles away trumpeting, making the entire mountain range echo in fear. After that description of the man’s mountain country, the confidante goes on to describe how the ‘Vengai’ trees are in full bloom, and they are announcing the season of weddings had arrived. As these golden flowers fell on the rocky spaces in the front yards, mountain men and women perform the ‘Kuravai’ dance with much joy. Appearing akin to that field of festivities, was their own home, the confidante continues, why because mother had decided to curry favour with God ‘Murugu’, using the professional services of ‘Velan’ the priest and seek protection for their house, and to this end, the mother had spread flowers and other sacrificial offerings. Now, the confidante connects these happenings to the lady’s relationship with the man and concludes by wondering at the state they find themselves in now. To unravel the meanings, we have to understand the reason Mother is starting her ‘Murugu’ worship was because she had noticed the changes in her beloved daughter, who is apparently happy when she’s with the man, and whenever he leaves, she falls into despair and mother’s sharp eyes have caught this. Not knowing that the man is the reason for that, she goes about seeking Murugu’s help to alleviate the lady’s symptoms, implies the confidante. This is also reflected in the scene of the elephant, mistaking thunder for a tiger, and echoes how the lady’s family has mistaken the consequence of the man’s relationship in the lady as ‘Murugu’s ire’. All this is to nudge the man to give up his temporary trysting, take steps to reinstate the lady’s honour and seek her hand in marriage. Yet again, the confidante...

In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 231, penned by Madurai Eezhathu Boothan Thevanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the fame of a Pandya King and his city. ‘செறுவோர் செம்மல் வாட்டலும், சேர்ந்தோர்க்கு உறும் இடத்து உவக்கும் உதவி ஆண்மையும், இல் இருந்து அமைவோர்க்கு இல், என்று எண்ணி, நல் இசை வலித்த நாணுடை மனத்தர் கொடு விற் கானவர் கணை இடத் தொலைந்தோர், படு களத்து உயர்த்த மயிர்த் தலைப் பதுக்கைக் கள்ளி அம் பறந்தலைக் களர்தொறும் குழீஇ, உள்ளுநர்ப் பனிக்கும் ஊக்கு அருங் கடத்திடை வெஞ் சுரம் இறந்தனர்ஆயினும், நெஞ்சு உருக வருவர் வாழி, தோழி! பொருவர் செல் சமம் கடந்த செல்லா நல் இசை, விசும்பு இவர் வெண் குடை, பசும் பூட் பாண்டியன் பாடு பெறு சிறப்பின் கூடல் அன்ன நின் ஆடு வண்டு அரற்றும் முச்சித் தோடு ஆர் கூந்தல் மரீஇயோரே. In this trip to the drylands, we encounter some frightening images and also take a detour to a famous Sangam era city, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Thinking, ‘The ability, to destroy hubris of foes, and to render aid when friends come seeking in need, does not come to those who stay at home content, nudged by his mind, filled with shame, and yearning to attain good fame, he has left to the scorching drylands, where those who have perished to arrows of men of the jungle, wielding curving bows, in battlefields, are buried with their hairy heads lifted above the ground and covered with shallow stone graves, in those vast saline spaces, where cactus spreads densely. Even though he treads upon such an inaccessible path that makes those who think about it tremble, he shall return with his heart melting, my dear friend, may you live long! Having the undying great fame of routing the attack of his enemies, and a white royal umbrella akin to the sky, rules ‘Pasumpoon Pandiyan’, in his capital of ‘Koodal’, having the fame of being sung about by bards many. Akin to this city, is your bee-buzzing head of tresses, adorned with flowers. He who has found sweet sleep on these tresses of yours will return indeed, without fail!” Let’s walk on those barren spaces and learn more! The confidante starts by outlining the reasons the man left in search of wealth and these are noble in nature, for he had come to the conclusion that if he wanted to slay the arrogance of his enemies and render without reservation to his friends, he cannot remain at home and do nothing, but must leave in search of wealth. So, propelled by his sense of shame, he had left to the drylands, the confidante says, and goes on to talk about the harsh nature of this domain by painting an image of the men, who had fallen to the arrows of the drylands’ robbers, buried with their hairy heads covered in stones, and mentions how such paths are frightening to even think about. Hardly words of reassurance to the anxious lady! While that may be so, the confidante continues, the man is sure to return with his heart, beating so tenderly for the lady, because he was one, who had relished sweet sleep on those tresses of the lady, which the confidante concludes by placing in parallel to the celebrated city of ‘Koodal’, ruled by a renowned king of Sangam times known by the name of ‘Pasumpoon Pandiyan’. High praise for this city, for to be placed in parallel with a lady’s beauty, was considered the highest honour that can be endowed on a place! This city of ‘Koodal’ is none other than the city of ‘Madurai’, celebrated even in contemporary times, for being the place that reared and protected the language of Tamil over the ages. On a tangent, a question arose in my head as to why all these men in search of wealth had to go through the drylands. Why can’t they sail by the coast or trek through the mountains? When reflecting, the thought that struck me was such a barren and desolate region could be an imaginative metaphor to contrast the comfort and safety a person leaves...

In this episode, we perceive a man’s ecstatic emotions, as depicted in Sangam Literary work, Aganaanooru 230, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the blooming blue lotuses of the ‘Neythal’ or ‘Coastal Landscape’ and sketches a conversation and its consequences. ‘உறு கழி மருங்கின் ஓதமொடு மலர்ந்த சிறு கரு நெய்தற் கண் போல் மா மலர்ப் பெருந் தண் மாத் தழை இருந்த அல்குல், ஐய அரும்பிய சுணங்கின், வை எயிற்று, மை ஈர் ஓதி, வாள் நுதல் குறுமகள்! விளையாட்டு ஆயமொடு வெண் மணல் உதிர்த்த புன்னை நுண் தாது பொன்னின் நொண்டு, மனை புறந்தருதிஆயின், எனையதூஉம், இம் மனைக் கிழமை எம்மொடு புணரின், தீதும் உண்டோ, மாதராய்?’ என, கடும் பரி நல் மான் கொடிஞ்சி நெடுந் தேர் கை வல் பாகன் பையென இயக்க, யாம் தற் குறுகினமாக, ஏந்து எழில் அரி வேய் உண் கண் பனி வரல் ஒடுக்கி, சிறிய இறைஞ்சினள், தலையே பெரிய எவ்வம் யாம் இவண் உறவே. In this trip to the seas, we get to see more of the person than the land, as we listen to the man say these words to his heart, after sharing a moment with a lady: “When I said going close to her, ‘Adorning huge, eye-like flowers of the small, dark blue lotus, blooming in the fresh flood of waves, near vast backwaters, along with huge, and cool dark leaves around your waist, which is covered with beauty spots many, having sharp teeth, moist, thick black tresses, radiant forehead, art thou, O young maiden! Along with your playmates, you gather fine pollen of the laurel wood tree fallen on the white sands, and considering it as gold, you pretend play houses. If at all, you were to play houses with me by uniting with me for real, is there anything wrong, O magnificent woman?’, as my skilful charioteer slowed down the speeding, fine horses tied to the tall chariot, carved with well-adorned curving seat, hiding the tears in her exquisite, kohl-streaked eyes with red lines, she bent her head a little, causing me to feel a huge suffering just then!” Let’s relish the sight of the lush seaside flowers and listen on! The man starts by describing the blue lotuses that are blooming like eyes only to say the lady is wearing the same, along with its thick leaves around her waist. After her attire, the man describes her teeth, tresses, and forehead, celebrating their beauty. Then, he goes on to mention how the lady is gathering pollen of the laurel wood tree and treating it as if it were gold, and adorning the sand house that she has built with her mates. After mentioning what the lady’s been doing thus far, the man asks her if there’s anything wrong if she were to come play houses for real with him! To this, the lady, as if sharing her consent, with tear-brimming eyes, had bent her head a little and that action had thrown the man’s heart into a flutter, he concludes! I know! I was shocked to hear such a question put forth to a girl playing with sand houses. But we have to keep away our modern lenses and observe this interaction. Perhaps young girls were so innocent in those times that they kept playing with sand houses much into maturity. Or, the concept of age and appropriateness could have been totally different in this culture. If we were to see beyond these specifics, at the core, it’s a man proposing to a woman, and hearing her silent acceptance. If we can see that, we can relate to that timeless explosion of feelings in a person at that moment when they can see that their love is reciprocated!