Sangam Lit

In this episode, we listen to a description of the only available course of action, as portrayed in Sangam Literary work, Aganaanooru 221, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals the situation which necessitates elopement in a lady’s life. நனை விளை நறவின் தேறல் மாந்தி,புனை வினை நல் இல் தரு மணல் குவைஇ,‘பொம்மல் ஓதி எம் மகள் மணன்’ என,வதுவை அயர்ந்தனர் நமரே; அதனால்,புதுவது புனைந்த சேயிலை வெள் வேல்,மதி உடம்பட்ட மை அணற் காளைவாங்கு சினை மலிந்த திரள் அரை மராஅத்து,தேம் பாய் மெல் இணர் தளிரொடு கொண்டு, நின்தண் நறு முச்சி புனைய, அவனொடுகழை கவின் போகிய மழை உயர் நனந்தலை,களிற்று இரை பிழைத்தலின், கய வாய் வேங்கைகாய் சினம் சிறந்து, குழுமலின் வெரீஇ,இரும் பிடி இரியும் சோலைஅருஞ் சுரம் சேறல் அயர்ந்தனென், யானே. In this trip to the drylands, we hear the confidante say these words to the lady, urging her to choose the path of elopement: “Relishing well-filtered toddy that blooms from buds, heaping sand brought from elsewhere, in front of the fine and well-etched mansion, declaring, ‘Our daughter, the girl with exquisite tresses, is about to be married’, our kin are making preparations for your wedding; And so, the bull-like, bearded young man, holding a newly sculpted leaf-edged white spear, sees eye to eye with me on this. He shall pluck soft, honey-soaked flower clusters, along with tender sprouts, from the burflower tree, with a thick trunk, brimming with curving branches, and adorn your cool and fragrant head. Along with him, you should traverse the highland spaces, without rain, where bamboos have lost their beauty, and where a tiger, with a fierce mouth, maddened by the loss of its prey of a male elephant, filled with fury, lashes out with a loud shout, and frightens the elephant’s dark mate in the drylands scrub jungle. This is what I wish for you now!” Time to walk along with this couple through that harsh domain! The confidante starts with an account of what’s happening at home right then and she zooms on to the actions of the lady’s relatives, who are getting into the festive mood by drinking toddy that’s mentioned as blooming from buds. Now, blooming from buds implies that this is honey. Are they fermenting honey into alcohol? Researching on this, I learnt the term for this alcoholic beverage, made from honey, is ‘mead’, and it’s considered to be the ‘great, great, great grand-mother’ of all liquor, and revered in many ancient cultures, be it in China, Greece, Rome or even Scandinavia! Perhaps the ‘theral’ we keep reading about in Sangam literature, is the Tamil equivalent of this ‘mead’! Returning from our revels in toddy, we find the confidante continuing what those relatives of the lady are up to, talking about how they have brought heaps of sand and spread it in front of the mansion and they are going around telling everyone that the their daughter is about to be married. A wedding is a happy occasion, is it not? But not so, for the lady, who loves another, and here, the parents are arranging a wedding with a stranger. So, the confidante had taken things into her hands and has told the man the only way forward was to elope with the lady, and he too had wholeheartedly agreed to the plan. All this, the confidante conveys to the lady and sketches an image of the drylands, which is harsh indeed, where the sounds of a tiger, which has lost its prey of a male elephant makes it bellow aloud in fury, and this startles the female elephant there. The confidante concludes by telling the lady that even so, all she wished for the lady was to leave there, along with the man, whom the confidante promises will adorn the lady’s tresses with the clusters of bur-flowers growing in that very space! And so, the confidante seems to be telling the lady, ‘Even though there’s danger in the drylands, you are in safe hands, and those will shower love and care upon you!’ By presenting both the harsh reality of the situation and positive visualisation of the future, the confidante shows the way to nudge someone in the right direction!

In this episode, we perceive pointed questions put forth, as depicted in Sangam Literary work, Aganaanooru 220, penned by Madurai Maruthan Ilanaakanaar. The verse is situated amidst the fertile seas of the ‘Neythal’ or ‘Coastal landscape’ and builds a stack of similes to present a pertinent point. ஊரும் சேரியும் உடன் இயைந்து அலர் எழ,தேரொடு மறுகியும், பணி மொழி பயிற்றியும்,கெடாஅத் தீயின் உரு கெழு செல்லூர்,கடாஅ யானைக் குழூஉச் சமம் ததைய,மன் மருங்கு அறுத்த மழு வாள் நெடியோன்முன் முயன்று அரிதினின் முடித்த வேள்வி,கயிறு அரை யாத்த காண் தகு வனப்பின்,அருங் கடி நெடுந் தூண் போல, யாவரும்காணலாகா மாண் எழில் ஆகம்உள்ளுதொறும் பனிக்கும் நெஞ்சினை, நீயேநெடும் புற நிலையினை, வருந்தினைஆயின்,முழங்கு கடல் ஓதம் காலைக் கொட்கும்,பழம் பல் நெல்லின் ஊணூர் ஆங்கண்,நோலா இரும் புள் போல, நெஞ்சு அமர்ந்து,காதல் மாறாக் காமர் புணர்ச்சியின்,இருங் கழி முகந்த செங் கோல் அவ் வலைமுடங்கு புற இறவொடு இன மீன் செறிக்கும்நெடுங் கதிர்க் கழனித் தண் சாய்க்கானத்து,யாணர்த் தண் பணை உறும் என, கானல்ஆயம் ஆய்ந்த சாய் இறைப் பணைத் தோள்நல் எழில் சிதையா ஏமம்சொல் இனித் தெய்ய, யாம் தெளியுமாறே. On our way to the coast, we take detours to perceive significant events and observe bird life, as we listen to the confidante say these words to the man, when he is about to part away after his nightly tryst with the lady: “Making the town and neighbourhood rise together in slander, you rove around in your chariot and speak humble words. In picturesque ‘Selloor’, known for its ceaseless ritual fire, vowing to end the rule of kings, who battle in wars with their elephants in musth, the tall one with a sharp sword performed a ritual, and akin to the protected tall pillar therein, tied with a rope and having exquisite beauty, is her bosom of immense beauty, which is rare and precious. You have a heart that melts every time you think of it, and you are filled with worry, as you stand afar. The roaring waves of the sea surround the town of ‘Oonoor’ known for its produce of paddy from ancient times, and akin to the dark bird there that does not know what it means to be apart from its mate, you have to place each other in your hearts and having a profound union of ceaseless love. A beautiful net with a red rod dips in the dark backwaters and gathers curved back shrimp, and schools of fish, in the cool town of ‘Saykaanam’, filled with fields of tall grain stalks. Akin to the prosperous, cool bamboo that grows here, are her thick arms with curving wrists that her playmates celebrate. So tell me the right word to make me understand how you plan to act in such a way that the fine beauty of these arms of hers, are protected, without any sign of ruin!” Let’s fish the Sangam seas and learn more! The confidante starts by mentioning how the man seems to be come often to their place and causes slander to spread about his relationship with the lady. Then, she goes on to describe a place called ‘Selloor’ and mentions how this was the venue of a ritual conducted by someone referred to as the ‘Tall one with a sword’, which other interpreters have connected to the character of Parasuraman from Hindu mythology. Apparently, this ‘tall one with a sword’ conducted a fire ritual ceremony, vowing to end the line of kings in this town and the confidante has mentioned this only to say how just like the decorated tall pillar there, the lady’s bosom was exquisite and precious. Once again, the confidante reverts to the man and notices how he yearns to embrace the lady, understanding how he is filled with angst when far. Next, she talks about another seaside town of ‘Oonoor’ and how there lives a bird here, which cannot think of a life away from its mate. From other poems from this era, we can infer the confidante is talking about the ‘Andril’ bird, most probably referring to the ‘red-naped ibis’. Now, the confidante turns to the man and says that’s how he must be with the lady. After that, the confidante ventures into the last town, a coastal town called ‘Saaykaanam’, whose seas yield shrimp and fish in abundance, and also, where fields of grains sway in the wind. Here, there are also lush bamboos, and the confidante has summoned this place to connect the bamboos here to the lady’s arms. She ends by asking the man what steps he was going to take to ensure those arms of the lady never fall into any ruin! In a nutshell, the confidante is telling the man, ‘All this coming and going along with your humble, sweet words is fine. But what are you going to do to bring lasting joy to the lady?’ Another ‘Marry her, marry her’ rendition, in which we get to tour the towns of the Sangam era!

In this episode, we perceive the worry of a mother, as depicted in Sangam Literary work, Aganaanooru 219, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches a portrait of the care and love showered on a daughter. சீர் கெழு வியன் நகர்ச் சிலம்பு நக இயலி,ஓரை ஆயமொடு பந்து சிறிது எறியினும்,‘வாராயோ!’ என்று ஏத்தி, பேர் இலைப்பகன்றை வால் மலர் பனி நிறைந்தது போல்பால் பெய் வள்ளம் சால்கை பற்றி,‘என் பாடு உண்டனைஆயின், ஒரு கால்,நுந்தை பாடும் உண்’ என்று ஊட்டி,‘பிறந்ததற்கொண்டும் சிறந்தவை செய்து, யான்நலம் புனைந்து எடுத்த என் பொலந்தொடிக் குறுமகள்அறனிலாளனொடு இறந்தனள், இனி’ என,மறந்து அமைந்து இராஅ நெஞ்சம் நோவேன்‘பொன் வார்ந்தன்ன வை வால் எயிற்றுச்செந்நாய் வெரீஇய புகர் உழை ஒருத்தல்பொரி அரை விளவின் புன் புற விளை புழல்,அழல் எறி கோடை தூக்கலின், கோவலர்குழல் என நினையும் நீர் இல் நீள் இடை,மடத் தகை மெலியச் சாஅய்,நடக்கும்கொல்? என, நோவல் யானே. In this trip to the drylands, we get to hear mother say these words, at the juncture her daughter had left her home and eloped away with the man: “In the esteemed and prosperous mansion, when she moved about with her anklets tinkling, and played by throwing the ball with her mates, fearing she would tire out, I called out, ‘Come here, my dear’ and holding a bowl, brimming with milk, appearing akin to a white flower of the rattlepod, coated with dew, I would say to her, ‘After eating one portion for me, do eat another for your father’ and feed her with care. Thinking, ‘My darling young girl, adorned in gold, on whom I showered all that was good and brought out the best in her, has now parted away with that unjust man’, my heart doesn’t want to forget her even a little. I worry not about this! Having sharp, white teeth, akin to molten gold, the wild dog roves in the drylands. Hearing its rustle nearby, frightened, a spotted male deer, turns in the direction of a sound that arises when the heat-showering summer wind blows through the cracked shell of the wood apple fruit, blooming on a rough trunk, and thinks it’s the flute of the cowherds, in that waterless, long path. Wondering how my naive and delicate girl would walk through such a place, is all I worry about!” Time to tread those scorching spaces! Mother starts by recollecting the attention and care she had bestowed on her girl, feeding her and nurturing her. Mother talks about how she would feed her daughter even if she had spent but a little energy in playing ball with her friends, worrying that she would fall tired. All the coaxing mother would do is brought out by the mention of her asking the girl to eat a little for the sake of mother and a little for the sake of father. This brings to my memory about how caregivers here, often play the game of making the food they are feeding a young child into small balls, and saying one is for mother, one is for father, one is for sister, and so on, including the whole family from grandparents to uncles and cousins, a way of entertaining and ensuring the kid gets some food in! Returning, we find mother saying how after all this care, the girl chose to leave her home and part away with the man. Yet that her girl broke her heart is not what worries her, mother says, but the thought of how she is going to walk on those harsh drylands spaces, where a deer, startled by a wild dog, mistakes the sound of wind through a wood apple as the sound of the cowherds’ flute! In essence, the verse etches the nature of a mother, who even when hurt by her daughter can think of nothing else but how she would fare, wherever she is!

In this episode, we perceive an effective technique of changing a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 218, penned by Kabilar. Set amidst the pouring rain of the midnight hour in the ‘Kurinji’ or ‘Mountain landscape’, the verse etches the dangers in traversing this domain by night. ‘கிளை பாராட்டும் கடு நடை வயக் களிறுமுளை தருபு ஊட்டி, வேண்டு குளகு அருத்த,வாள் நிற உருவின் ஒளிறுபு மின்னி,பரூஉ உறைப் பல் துளி சிதறி, வான் நவின்று,பெரு வரை நளிர் சிமை அதிர வட்டித்து,புயல் ஏறு உரைஇய வியல் இருள் நடு நாள்,விறல் இழைப் பொலிந்த காண்பு இன் சாயல்,தடைஇத் திரண்ட நின் தோள் சேர்பு அல்லதை,படாஅவாகும், எம் கண்’ என, நீயும்,‘இருள் மயங்கு யாமத்து இயவுக் கெட விலங்கி,வரி வயங்கு இரும் புலி வழங்குநர்ப் பார்க்கும்பெரு மலை விடரகம் வர அரிது’ என்னாய்,வர எளிதாக எண்ணுதி; அதனால்,நுண்ணிதின் கூட்டிய படு மாண் ஆரம்தண்ணிது கமழும் நின் மார்பு, ஒரு நாள்அடைய முயங்கேம்ஆயின், யாமும்விறல் இழை நெகிழச் சாஅய்தும்; அதுவேஅன்னை அறியினும் அறிக! அலர் வாய்அம்பல் மூதூர் கேட்பினும் கேட்க!வண்டு இறை கொண்ட எரி மருள் தோன்றியொடு,ஒண் பூ வேங்கை கமழும்தண் பெருஞ் சாரல் பகல் வந்தீமே! In this adventurous trip to the mountains, we get to hear the confidante say these words to the man, when she brings the lady over for a nightly tryst: “A strong male elephant with a steady gait, one which is celebrated by its kith and kin, brings bamboo shoots for the whole herd and lets them feed contentedly, at a time when the skies flash their lightning in the hue of swords, scatter many thick drops of rain, which leap from the skies, and pour down, surrounding cool mountain peaks, as clouds resound aloud with thunder, during the darkness-drenched midnight hour. Saying, ‘Her eyes will not find any sleep unless she unities with my thick and curving arms, pleasing to the eyes, and adorned with strong ornaments’, and without thinking, ‘The paths through the huge mountain ranges, where in this hour of confusing darkness, a huge tiger with swaying stripes stands in wait for wayfarers, is dangerous’, you think it’s easy to come here. It’s also true that if even for one day, she does not get to embrace your cool and fragrant chest, adorned with a fine and intricately etched necklace, her exquisite ornaments would slip away; So, if mother would come to know of this, so be it! If the gossiping women of this uproarious town were to hear of this, so be it! Come by day, to this cool mountain slope, which wafts with the together fragrance of the fire-like flame-lilies, swarming with bees, and the radiant flowers of the Kino tree!” Time to brave the rain and leave on a midnight trek. The confidante starts by sketching an image of a male elephant, which is thoughtful and considerate to its herd and brings shoots and leaves for them to feed on and is much celebrated by the herd. After a record of that estimable being, the confidante turns her attention to the weather, which is quite stormy, bringing down heavy rain on the peaks. She says all this is happening at midnight. At this time, the man thinks about how his beloved would not find any sleep, if she did not unite with him and without caring about the danger in that mountain path, where a tiger waits to pounce on some innocent wayfarer, the man comes walking to tryst with the lady, in the confusing hour of darkness, the confidante explains. She also concedes that indeed the lady would lose her health and her jewels would slip away from her arms if at all the man did not come to meet her. After mentioning all this, as if she has come to a conclusion, she tells the man, ‘Never mind if mother comes to know of your relationship, never mind if the slanderous womenfolk in town get to know about it, but you must come to our mountain slope, wafting with the scent of both the flame-lily and the Kino flowers, only by day.’ While it may sound like a harmless request to change the time of the rendezvous, it’s a neatly-worded statement to make the man change his attitude of temporary trysting and make him seek the lady’s hand in marriage. The confidante does this in a gradual and logical manner, first appealing to the man’s sense of honour by talking about that esteemed elephant, which keeps the entire herd in mind, then she goes on to appreciate the man’s love for the lady, and his fearlessness in fulfilling his duty by her. At this point, she talks about how the lady too is worthy of his love and truly reciprocates his feelings. After all these statements, she presents it to the man as if the only logical solution is to meet by day, so as to not fear for the man’s safety. Even there, she brings in the other danger of mother knowing and the women gossiping, and through his, without telling the man, she tells him, the only way forward is to marry the lady, in front of the whole village, and be honoured like the elephant we just met. Holding the other to a high standard, acknowledging the positives, establishing the worthiness o

In this episode, we listen to a prediction of pain, as portrayed in Sangam Literary work, Aganaanooru 217, penned by Kazhaarkeeran Eyitriyanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the seasonal changes in the outer world. பெய்து புறந்தந்த பொங்கல் வெண் மழை,எஃகு உறு பஞ்சித் துய்ப் பட்டன்ன,துவலை தூவல் கழிய, அகல் வயல்நீடு கழைக் கரும்பின் கணைக் கால் வான் பூக்கோடைப் பூளையின் வாடையொடு துயல்வர,பாசிலை பொதுளிய புதல்தொறும் பகன்றைநீல் உண் பச்சை நிறம் மறைத்து அடைச்சியதோல் எறி பாண்டிலின் வாலிய மலர,கோழலை அவரைக் கொழு முகை அவிழஊழ் உறு தோன்றி ஒண் பூத் தளை விட ,புலந்தொறும் குருகினம் நரல, கல்லெனஅகன்று உறை மகளிர் அணி துறந்து நடுங்க,அற்சிரம் வந்தன்று அமைந்தன்று இது என,எப்பொருள் பெறினும் பிரியன்மினோ எனச்செப்புவல் வாழியோ, துணையுடையீர்க்கேநல்காக் காதலர் நலன் உண்டு துறந்தபாழ் படு மேனி நோக்கி, நோய் பொர,இணர் இறுபு உடையும் நெஞ்சமொடு, புணர்வு வேட்டுஎயிறு தீப் பிறப்பத் திருகி,நடுங்குதும் பிரியின் யாம் கடும் பனி உழந்தே. In this trip to the drylands, we learn more about time than place, as we listen to the lady say these words to her confidante, when her friend informs her about the man’s intention to part away in search of wealth: “After pouring and gracing the land, the brimming white clouds now, appear soft and fluffy, akin to cotton, carded with steel, bereft of even a light drizzle. At this time, in the wide fields, tall stems of sugarcane sprout with thick-stalked, white flowers, and sway in the cold, northern wind, akin to summer flowers of the mountain knotgrass; White rattle-pod flowers, in all the bushes brimming with green leaves, bloom, akin to rounded pieces that hide the bluish-green hue of a leather shield; Fleshy clusters of bulging beans blossom; Mature flowers of the flame-lily sprout out; All over the land, birds call out aloud, making those women, who are separated from their spouses, to lose their beauty and tremble. Such is the cold season that has now arrived! Please go tell him, ‘This is not the right season to part, no matter what wealth you would obtain. Blessed be you!’ If my lover, who has feasted on my beauty and intends to part, does not concede and render his grace, all I can do is to look at my ruined form, with the disease of pining brimming over, with a heart that breaks without any strength, wishing only to be one with him, and grind my teeth until sparks fly out, filled with suffering in this severe cold!” Time to take in the blooming flowers of the season! The lady starts by talking about the weather, mentioning how the season of rains is all done, the clouds have done their duty of pouring, and appear white and soft like carded cotton, and in the land around, sugarcane flowers are sprouting and swaying like summer flowers, as the cold northern wind blows, and not only that, flowers of the rattle-pod, beans and flame-lilies are all blooming bright. If that’s happening with the plants, the birds above are screaming their hearts out, calling to their mates, and making maiden separated from their own mates to experience a deep sorrow, the lady adds. All this tells them the cold season had arrived and this was absolutely the wrong season to part away, no matter what mounds of wealth stand to be gained, the lady says, and asks her friend to go convey this message to the man. The lady concludes by saying if the man refused to heed this voice of reason and still parted away, all she could do was to become ruined, be filled with pining and yearning and shiver so much in that cold, making her teeth grinding together to send out sparks! A graphic vision of future suffering indeed! Perhaps the man will heed her words and defer his travel. Does this mean other seasons were better to be apart? Say spring or summer? One can’t help wondering! A verse that etches how the world outside plays a critical role in human emotions, something that can be related to, irrespective of time and place!

In this episode, we perceive a woman’s fury, as depicted in Sangam Literary work, Aganaanooru 216, penned by Aiyoor Mudavanaar. The verse is situated amidst the lush river shores of the ‘Marutham’ or ‘Farmlands landscape’ and connects conflicts at home and battles in the warfront. ‘நாண் கொள் நுண் கோலின் மீன் கொள் பாண் மகள்தான் புனல் அடைகரைப் படுத்த வராஅல்,நார் அரி நறவு உண்டு இருந்த தந்தைக்கு,வஞ்சி விறகின் சுட்டு, வாய் உறுக்கும்தண் துறை ஊரன் பெண்டிர் எம்மைப்பெட்டாங்கு மொழிப’ என்ப; அவ் அலர்ப்பட்டனம்ஆயின், இனி எவன் ஆகியர்;கடல் ஆடு மகளிர் கொய்த ஞாழலும்,கழனி உழவர் குற்ற குவளையும்,கடி மிளைப் புறவின் பூத்த முல்லையொடு,பல் இளங் கோசர் கண்ணி அயரும்மல்லல் யாணர்ச் செல்லிக் கோமான்எறிவிடத்து உலையாச் செறி சுரை வெள் வேல்ஆதன் எழினி அரு நிறத்து அழுத்தியபெருங் களிற்று எவ்வம் போல,வருந்துபமாது, அவர் சேரி யாம் செலினே. In this trip to the farmlands, we get to explore the familiar theme of trouble involving a courtesan, as we hear the courtesan say these words to her friends, making sure the lady’s friends listening nearby, get to hear it: “The bard’s daughter traps fish with a fine rod, tied with a thread, in the river shores. Taking the murrel fish thus captured, she roasts it on ‘Rattan’ firewood, and feeds her father, who had been relishing toddy, filtered by palm fibres, in the cool shores of the lord. They say that his woman has been speaking ill of me. If I’m to be subject to this slander, so be it! Screw-pine flowers plucked by maiden playing in the seas, blue-lilies picked by farmers ploughing the fields, along with wild jasmines that bloom in the well-protected forests, are worn by many young Kosars in the city of ‘Selli’, brimming with prosperity, ruled by King Aathan Ezhini. The white spear this king launches never fails to hit its target. Akin to the angst of the huge elephant, whose majestic chest is pierced by his spear, she will suffer too, if I were to go to the neighbourhood, where the lord’s wife lives!” Let’s walk along the banks of the fertile fields and learn about the latest in town! The courtesan starts by talking about the lord’s town, and to capture it, she follows in the trail of a bard’s daughter, who seems to be good at fishing, for she nabs a murrel fish in the river shores, brings it home, roasts it atop rattan firewood and then takes it to her father, who has been making merry with toddy and feeds him. What a caring girl this bard has got! As if contrasting the good nature of the daughters in the man’s domain, the courtesan then talks about how the man’s wife has been backbiting her, saying whatever she wished, causing slander about the courtesan to spread. After saying this, the courtesan suddenly starts talking about flowers from diverse regions, such as the shore, the farm and the forest, namely screwpine, blue-lilies and wild jasmines respectively, to say all these are worn by the young men, who live in the region of ‘Selli’, perhaps talking about the extent of this city, ruled by Aathan Ezhini. The courtesan has mentioned this king only to refer to his unfailing spear and the way an enemy’s elephant would suffer when struck by the same. She concludes by talking about how the man’s wife and her friends, would feel the same suffering, if at all, she decided to go to where they lived. In essence, the courtesan has issued a warning to the man’s wife, expressing her confidence in the man’s affection for herself! Curious how a battle elephant is called as a witness to a cat fight in town!

In this episode, we observe an interesting technique of expressing dissent, as depicted in Sangam Literary work, Aganaanooru 215, penned by Irangukudi Kundra Naadan. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse evokes a sense of ever-present danger in this domain. விலங்கு இருஞ் சிமையக் குன்றத்து உம்பர்,வேறு பல் மொழிய தேஎம் முன்னி,வினை நசைஇப் பரிக்கும் உரன் மிகு நெஞ்சமொடுபுனை மாண் எஃகம் வல வயின் ஏந்தி,செலல் மாண்பு உற்ற நும்வயின், ‘வல்லே,வலன் ஆக!’ என்றலும் நன்றுமன் தில்லகடுத்தது பிழைக்குவதுஆயின், தொடுத்தகை விரல் கவ்வும் கல்லாக் காட்சி,கொடுமரம் பிடித்த கோடா வன்கண்,வடி நவில் அம்பின் ஏவல் ஆடவர்,ஆள் அழித்து உயர்த்த அஞ்சுவரு பதுக்கை,கூர் நுதிச் செவ் வாய் எருவைச் சேவல்படு பிணப் பைந் தலை தொடுவன குழீஇ,மல்லல் மொசிவிரல் ஒற்றி, மணி கொண்டு,வல் வாய்ப் பேடைக்குச் சொரியும் ஆங்கண்,கழிந்தோர்க்கு இரங்கும் நெஞ்சமொடுஒழிந்து இவண் உறைதல் ஆற்றுவோர்க்கே. In this trip to the drylands, we hear the confidante say these words to the man, in response to his request, asking the confidante to convey to the lady his wish to part away in search of wealth: “Beyond the radiant, huge mountain peaks, wishing to go to lands, where many other languages are spoken, with a determined heart that nudges with a desire to earn wealth, holding a well-etched spear in your right hand, you wish to part away to the drylands, where live those uneducated men, who bite their finger, if the arrow they aimed hits not the target, have the harsh nature of holding on to their curving bows ceaselessly and killing people with their sharp arrows, and then covering those corpses in fearsome, shallow graves, from where a sharp-beaked, red-mouthed, red-headed, male vulture, digs up the fresh head of a corpse, with its sharp claws, plucks the eyes, and then carries it to its strong-mouthed mate. To say to you, ‘Go on and be victorious’ is only possible for those, who have the ability to live here, when their heart ceaselessly worries about the one who has parted thither!” Time to explore the fearful paths again! The confidante starts by repeating the man’s wish to part away, wanting to go to a far away land, and earn wealth. She describes how he would tread on with a spear in his hand and leave to a place, filled with highway robbers, who think not one moment before killing others with their fierce arrows. Then she mentions how they would bury the dead in shallow, stone graves. A moment to pause and see how even these thieves seemed to have had a sense of honour. They don’t cast away the bodies and leave just like that. Even though they have the harshness to kill, they show their respect for the dead by burying them in whatever manner possible. Returning, we now find the confidante telling us how their efforts have been in vain, for a red-headed vulture digs out the dead with its sharp claws, and chooses its favourite bit of the corpse’s eyeball and carries it to its mate devoutly. Ending this description of the unimaginable place the man wants to leave to, the confidante concludes by saying, there may be some who have the ability to live quietly, even as their heart worries incessantly about a person who has parted away to such a place, and only they could wish the man good luck and bid farewell on his mission, implying that the lady has no such ability. In a nutshell, the confidante is asking the man not to part away and leave on this mission, for it would be impossible for the lady to live here, in that state of anxiety about his welfare. The confidante’s way of ‘saying no, without saying no’, sketching in one stroke, the danger ahead, the man’s courage and the lady’s love!

In this episode, we perceive the angst of a man, separated from his beloved, as portrayed in Sangam Literary work, Aganaanooru 214, penned by Vadama Vannakkan Peri Saathanaar. The verse is situated amidst the showers of the ‘Mullai’ or ‘Forest landscape’ and reverberates with the notes of melancholy. அகல் இரு விசும்பகம் புதையப் பாஅய்,பகல் உடன் கரந்த, பல் கதிர் வானம்இருங் களிற்று இன நிரை குளிர்ப்ப வீசி,பெரும் பெயல் அழி துளி பொழிதல் ஆனாது;வேந்தனும் வெம் பகை முரணி ஏந்துஇலை,விடு கதிர் நெடு வேல் இமைக்கும் பாசறை,அடு புகழ் மேவலொடு கண்படை இலனே;அமரும் நம் வயினதுவே நமர் எனநம் அறிவு தெளிந்த பொம்மல் ஓதியாங்கு ஆகுவள்கொல்தானே ஓங்குவிடைப்படு சுவற் கொண்ட பகு வாய்த் தெள் மணிஆ பெயர் கோவலர் ஆம்பலொடு அளைஇ,பையுள் நல் யாழ் செவ்வழி வகுப்ப,ஆர் உயிர் அணங்கும் தெள் இசைமாரி மாலையும் தமியள் கேட்டே? In this quick trip to the forests, it’s a soak in the rain, as we listen to the man say these words to his heart, as he sits in a battle encampment, faraway from his beloved: “Burying the huge and wide skies, shining with the many-rayed sun, clouds, appearing akin to huge herds of elephants shivering in the cold, shower ceaseless drops of rain in a heavy downpour. As for the king, with great enmity, in the battle camp, sparkling with leaf-edged, radiant, tall spears, he lies sleepless, desiring the fame of victory in the war. My beloved with shining tresses, had cleared my vision saying, ‘The battle is our responsibility, my dearest!’ and bid me farewell. But now, clear bells with open mouths, around necks of huge oxen, would ring out, as cowherds gather and move the cattle with the sound of their ‘Ampal’ flutes, in the melancholic ‘Sevvazhi’ tune of a fine lute. When she hears the crystal notes of this music that ravages one’s life in the rainy evening hour, all alone, what will she do? How will she bear it?” Let’s take in the fragrance of petrichor and listen to the heartbeat of the rain! The man starts by talking about how the clouds have buried the sun and the sky, and appearing like herds of elephants on high, they bring down a huge shower. This is to tell us it’s the season of rains, which is usually the promised season of return to the lady. After that weather report, the man moves on to describe the attitude of his king, who is bent on victory in the battlefield and who tosses and turns, contemplating the strategies. This tells us that the end of the war is not in view! The man looks back and describes the lady’s assuring words to him, understanding that leaving her and taking part in the war was the man’s duty at the moment. He returns to the present and imagines his beloved, as she would be there, all alone, listening to the sound of cows returning home, the music of the cowherds’ flutes, all resounding in the heartrending ‘Sevvazhi’ tune. The man concludes wondering about the angst the lady would suffer, as those notes fell on her ears, in that evening hour of rains! Moving to see how a person thinks about the sorrow of their beloved, even as they are in the midst of suffering themselves. A tender song that resonates with the music of rain and pain!

In this episode, we listen to words that echo a deep trust, as portrayed in Sangam Literary work, Aganaanooru 213, penned by Thaayankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse depicts various regions and rulers in ancient Tamil land. வினை நவில் யானை விறற் போர்த் தொண்டையர்இன மழை தவழும் ஏற்று அரு நெடுங் கோட்டுஓங்கு வெள் அருவி வேங்கடத்து உம்பர்,கொய்குழை அதிரல் வைகு புலர் அலரிசுரி இரும் பித்தை சுரும்பு படச் சூடி,இகல் முனைத் தரீஇய ஏறுடைப் பெரு நிரைநனை முதிர் நறவின் நாட் பலி கொடுக்கும்வால் நிணப் புகவின் வடுகர் தேஎத்து,நிழற் கவின் இழந்த நீர் இல் நீள் இடைஅழல் அவிர் அருஞ் சுரம் நெடிய என்னாது,அகறல் ஆய்ந்தனர்ஆயினும், பகல் செலப்பல் கதிர் வாங்கிய படு சுடர் அமையத்துப்பெரு மரம் கொன்ற கால் புகு வியன் புனத்து,எரி மருள் கதிர திரு மணி இமைக்கும்வெல்போர் வானவன் கொல்லிக் குட வரைவேய் ஒழுக்கு அன்ன, சாய் இறைப் பணைத் தோள்பெருங் கவின் சிதைய நீங்கி, ஆன்றோர்அரும் பெறல் உலகம் அமிழ்தொடு பெறினும்,சென்று, தாம் நீடலோஇலரே என்றும்கலம் பெயக் கவிழ்ந்த கழல் தொடித் தடக் கை,வலம் படு வென்றி வாய் வாள் சோழர்இலங்கு நீர்க் காவிரி இழிபுனல் வரித்தஅறல் என நெறிந்த கூந்தல்,உறல் இன் சாயலொடு ஒன்றுதல் மறந்தே. A long trip through the drylands that takes us on many a detour, 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: “The courageous, warring Thondaiyars, possessing elephants, skilled in battle, rule over tall and formidable peaks, surrounded by clouds, adorned with shining, white cascades in the domain of Venkatam. Beyond this region, live the Vadugars, known for feasting on fleshy white meat, and wearing thick clusters of wild jasmine that bloom at dawn, on their thick and curly hair, causing bees to swarm around, and for the victory of seizing a huge herd of cattle in the battlefront, they render the sacrifice of well-aged toddy. In this land of the Vadugars, upon those long and winding, waterless paths, which have lost the beauty of shade, without considering that this scorching, formidable drylands is far, he wishes to part away. In the evening hour when the many-rayed sun pulls back its shine, in the wide forest space, where huge trees have been felled, inviting the wind to gush over, where radiant gems sparkle with their brilliant rays, in the victorious Vaanavan’s western Kolli hills, lush and thick bamboos sprout. Akin to the perfect stalks of these bamboo, are your arms with curving wrists. He has parted away leaving its great beauty to be ruined. While that may be so, even if he were to attain the precious world of the noble along with the elixir of life, leaving you, he shall not remain there, forgetting to come unite with your sweet and slender form, adorned with wavy tresses, akin to the silt, stacked by the shining waters of the River Kaveri, in the domain of the Chozhas, having strong hands, adorned by swaying bracelets, and which are always turned upside down, giving away vessels to those who come seeking, or holding honest swords that always claim victory rightfully!” Time to brave the scorching spaces! The confidante starts by talking about where the man has left to, and do that, first she talks about the Thondaiyars, who rule over Venkatam hills and are said to have skilled battle elephants. Then she goes beyond Venkatam hills, to the region where the rugged Vadugars live, known for jasmine flowers on their curly locks of hair, and they supposedly offer toddy in sacrifice to their gods for blessing them with the victory of herds of cattle in a recent battle. Those scary, dreary spaces of theirs is exactly where the man is treading now, without any consideration, the confidante connects. Then, she talks about the lady’s arms, and to depict their beauty, she takes us to the Kolli hills of Vaanavan, where huge trees have been felled in the pursuit of agriculture, and where the winds gush in with force, in the twilight hour, and she points to the thick bamboos growing there, saying such are the lady’s arms. She has mentioned this to say the man has left these arms to be ruined and concludes by saying, even so, the man is not going to leave the lady and remain, even if he were to be offered both heaven and ambrosia, why because it’s impossible for him to forget the joy of being one with this beautiful lady, having tresses like the silt of River Kaveri, in the domain of the generous and victorious Chozhas! In essence, the core elements are that the man has left to a faraway country, the lady’s arms are pining away and yet the man is bound to return and unite with the lady. Within this oft-repeating theme, the verse brings in the nuances of various tribes and kings, domains, lifestyle and natural wealth, to paint an intricate portrait of the ancient past!

In this episode, we listen to words of disappointment, as depicted in Sangam Literary work, Aganaanooru 212, penned by Paranar. The verse is situated amidst the rugged paths of the ‘Kurinji’ or ‘Mountain landscape’ and portrays the courage and strength of a historic personality. தா இல் நல் பொன் தைஇய பாவைவிண் தவழ் இள வெயிற் கொண்டு நின்றன்ன,மிகு கவின் எய்திய, தொகுகுரல் ஐம்பால்,கிளைஅரில் நாணற் கிழங்கு மணற்கு ஈன்றமுளை ஓரன்ன முள் எயிற்றுத் துவர் வாய்,நயவன் தைவரும் செவ்வழி நல் யாழ்இசை ஓர்த்தன்ன இன் தீம் கிளவி,அணங்கு சால் அரிவையை நசைஇ, பெருங் களிற்றுஇனம் படி நீரின் கலங்கிய பொழுதில்,பெறல் அருங் குரையள் என்னாய், வைகலும்,இன்னா அருஞ் சுரம் நீந்தி, நீயேஎன்னை இன்னற் படுத்தனை; மின்னு வசிபுஉரவுக் கார் கடுப்ப மறலி மைந்துற்று,விரவு மொழிக் கட்டூர் வேண்டுவழிக் கொளீஇ,படை நிலா இலங்கும் கடல் மருள் தானைமட்டு அவிழ் தெரியல் மறப் போர்க் குட்டுவன்பொரு முரண் பெறாஅது விலங்கு சினம் சிறந்து,செருச் செய் முன்பொடு முந்நீர் முற்றி,ஓங்குதிரைப் பௌவம் நீங்க ஓட்டியநீர் மாண் எஃகம் நிறத்துச் சென்று அழுந்தக்கூர் மதன் அழியரோ நெஞ்சே! ஆனாதுஎளியள் அல்லோட் கருதி,விளியா எவ்வம் தலைத் தந்தோயே. It’s more of a history lesson in this trip to the highlands, as we hear the man say these words to his heart, at a time when he has been unable to tryst with the lady, despite repeated attempts: “Appearing akin to a statue made of tender, fine gold, and adorned with the rays of the young sun, crawling in the sky with much beauty; having luxuriant, five-part braided tresses; sharp teeth, akin to white sprouts that shoot out from the twining ‘kans grass’ tubers, spreading in the ground; a red mouth; and speaking sweet and pleasant words, akin to the music of a fine ‘Chevvali’ lute, played by an expert musician, is that goddess-like maiden. Desiring her, you have made me confused, akin to water, muddled by a herd of huge elephants stepping in. Without thinking that she would be hard to attain, day after day, you make me walk harsh and formidable paths and subject me to great distress. Rising high with immense strength, akin to lightning that flashes amidst rainclouds; establishing battle camps with soldiers, who speak a great variety of languages; wielding a navy that shines like the moon amidst the seas, the battle-worthy Kuttuvan, adorned with garlands brimming over with nectar, finding no worthy army to match him, with his fury soaring, crosses the great oceans with the resolve to battle, and seems to subdue the great ocean with roaring waves. May his esteemed spear pierce through you and destroy your strength, O heart! Because ceaselessly thinking about that maiden, who is not easily attainable, you have rendered unto me, an endless suffering!” The man starts by vividly describing the beauty of his beloved, mentioning how she was like a golden statue, exuding the rays of the twilight sun, how she had thick tresses, sharp teeth, red mouth and how the words that came from that mouth were much like the music of a lute played by a musician. After this, the man turns to his heart and says how it has confused him because without thinking that the lady was impossible to attain, it kept nudging him to seek her, making him walk on dangerous paths. Then, he goes on to talk about a Chera King named ‘Kuttuvan’ and how this king rose furiously like lightning in the sky and waged war against enemies beyond the seas, with an army of people who speak different languages, and it appeared as if he was subduing the roaring sea itself. This cryptic statement actually points to the routing of pirates by this Chera King and securing the seas for the trade of the ancient Tamils. After that nugget about the king, the man turns to his heart and concludes by saying, because it has been badgering him so, his heart deserved to be pierced with the spear of that great King Kuttuvan! Curious how the man is talking as if his heart was another person, and as if piercing it will do nothing to him! Perhaps he could imply the pain he feels at not meeting his beloved was so sharp that no spear could match its power. Yet again, a unique Sangam depiction of separating the heart from oneself to experience the depth of the emotion!

In this episode, we perceive a message of reassurance, as depicted in Sangam Literary work, Aganaanooru 211, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches a curious act of war. கேளாய், எல்ல! தோழி! வாலியசுதை விரிந்தன்ன பல் பூ மராஅம்பறை கண்டன்ன பா அடி நோன் தாள்திண் நிலை மருப்பின் வயக் களிறு உரிஞுதொறும்,தண் மழை ஆலியின் தாஅய், உழவர்வெண்ணெல் வித்தின் அறைமிசை உணங்கும்பனி படு சோலை வேங்கடத்து உம்பர்,மொழி பெயர் தேஎத்தர் ஆயினும், நல்குவர்குழியிடைக் கொண்ட கன்றுடைப் பெரு நிரைபிடி படு பூசலின் எய்தாது ஒழிய,கடுஞ் சின வேந்தன் ஏவலின் எய்தி,நெடுஞ் சேண் நாட்டில் தலைத்தார்ப் பட்டகல்லா எழினி பல் எறிந்து அழுத்தியவன்கண் கதவின் வெண்மணி வாயில்,மத்தி நாட்டிய கல் கெழு பனித் துறை,நீர் ஒலித்தன்ன பேஎர்அலர் நமக்கு ஒழிய, அழப் பிரிந்தோரே. In this trip to the drylands, the detour takes us to faraway shores, as we hear the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Won’t you listen to this, my dearest friend? Akin to the spread of lime paste, the many-flowered burflower tree, with a wide trunk, akin to a drum,  sheds its blooms, akin to a cool rain of hailstones, when a strong and huge male elephant, with sturdy tusks, rubs against it. These flowers scatter akin to grains of white paddy spread on a rock to dry, in the cloud-covered orchards of the Venkatam Hills. The man has traversed beyond these hills, to a country, where an unknown language is spoken.  Hearing the uproar of the herd of female elephants with their calves, caught in a pit, naive Ezhini left without capturing them, and so, the king got furious and ordered Maththi to enforce his order. Maththi left to the faraway country and captured Ezhini with his army. Maththi then pulled out the teeth of this Ezhini and pressed it upon the sturdy fort door at ‘Venmani Vayil’. Akin to the roaring waves of boulder-filled cool shores nearby, slander has soared in town. He who had left us in tears, leaving the burden of slander, though far away, will indeed return and grace you soon!” Time to brave the harsh domain once again! The confidante starts by requesting her friend to listen to her. Then with a stack of similes, she depicts how the burflower tree’s flowers fall like hailstones and scatter like drying white paddy grain, when elephants rub against its drum-like trunk. She has mentioned this scene as a description of Venkatam Hills up north, which the man is currently traversing and going to a land, where an unknown language is spoken. Then, leaving the man there, the confidante starts narrating a historic incident in which apparently, a lord named Ezhini refused to capture female elephants and their calves, trapped in a pit, against the orders of a superior king. Perhaps, he was a kind-hearted soul! But as leaders with too much power are bound to do, that superior king lost his cool and asked another of his lords, Maththi to go teach this Ezhini a lesson, which the said lord did successfully. But the curious thing this Maththi seems to have done is to pull out the teeth of this Ezhini and impress it on the doors of the fort at a place called ‘Venmani Vayil’. Sounds bizarre yes, but we have already encountered one such instance, some time back in our Sangam exploration, in Natrinai 18, to be exact, wherein a King named Poraiyan does the exact same tooth-pulling to his enemy named ‘Moovan’ and imprints the said teeth on the fort doors at Thondi! Seems to have been one of those acts of war and proclaiming one’s power! Returning to this verse, we find that long reference has been made by the confidante to say that the shores near that ‘Venmani Vayil’ was filled with the roar of the oceans, and just like that, slander was soaring through their town, because the man had left the lady and gone. This tells us this separation between the man and the lady has happened before the lady’s marriage with the man. However, the confidante concludes by telling the lady that the man will indeed return soon, far though he may be! Speaking of far, the Venkatam Hills mentioned seems to have been a favourite haunt of these men, who were in search of wealth. Yet again, like a recent verse we saw, it’s the trope of ‘slander spreads’ but ‘he shall be back soon’. Indeed, nothing works to allay sorrow like the comforting words of a friend!

In this episode, we perceive a hidden technique of persuasion, as portrayed in Sangam Literary work, Aganaanooru 210, penned by Ulochchanaar. The verse is situated amidst the leaping fish of the ‘Neythal’ or ‘Coastal landscape’ and reveals the changing attitude of a person. குறியிறைக் குரம்பைக் கொலை வெம் பரதவர்எறிஉளி பொருத ஏமுறு பெரு மீன்புண் உமிழ் குருதி புலவுக் கடல் மறுப்பட,விசும்பு அணி வில்லின் போகி, பசும் பிசிர்த்திரை பயில் அழுவம் உழக்கி, உரன் அழிந்து,நிரைதிமில் மருங்கில் படர்தரும் துறைவன்,பானாள் இரவில், நம் பணைத் தோள் உள்ளி,தான் இவண் வந்த காலை, நம் ஊர்க்கானல்அம் பெருந் துறை, கவின் பாராட்டி,ஆனாது புகழ்ந்திசினோனே; இனி, தன்சாயல் மார்பின் பாயல் மாற்றி,‘கைதை அம் படு சினைக் கடுந் தேர் விலங்கச்செலவு அரிது என்னும்’ என்பதுபல கேட்டனமால் தோழி! நாமே. This swim in the seas lets us hear the confidante say these words to the lady, pretending not to notice the man listening nearby, but making sure he’s in earshot: “Attacked by the sharp spear of those harsh killer fisherfolk, who live in huts with short eaves, the formerly happy fish, shedding blood from its wounds and changing the hue of the flesh-reeking sea, akin to the bow that adorns the sky, leaps and muddles the fresh foam of the waves brimming over, and then losing its resolve, floats near the side of the huge boat, in the shores of the lord. As for him, at that time, in the dead dark of the midnight hour, thinking about your bamboo-like shoulders, when he had come here, he had praised the beauty of the grove-filled shores in our hamlet ceaselessly. But now, giving no room for your sweet sleep on his tender chest, he says, ‘Those dense branches of the pandanus tree block my speeding chariot and make my travel here impossible’. Haven’t we heard this once too often, my friend?” Let’s walk along the coast of emotions and read the waves! The confidante starts by describing the man’s shores, and to do that, she sketches an image of a fish that has been attacked by a spear, thrown by the fierce fishermen, and the way it spills its blood and reddens the sea, tries to leap like the rainbow, but soon falls without strength and limply floats near the boat. A scene with deep significance no doubt, but we will come to that shortly. Then the confidante goes on to talk about how in the beginning when the man wanted to tryst with the lady at night, he would not mind even the late hour and would come there, and praise the beauty of their shore. She concludes by contrasting how now the man seemed to be often blaming the thick branches of the pandanus tree for blocking his chariot and thus making his journey to the lady difficult! In that scene of the fish attacked by the spear, the confidante has placed a metaphor for the lady’s situation of uniting with the man, and causing the red blood of slander to spread all across town. In essence, the confidante seems to be telling the lady about the man, ‘before he was full of passion and now, only full of excuses’, so that the man listening nearby, would hear this and understand the error in his ways and seek to remedy the situation by seeking the lady’s hand. An effective technique of slaying complacency by pointing out the past fervour in the mission!

In this episode, we listen to words of assurance, as rendered in Sangam Literary work, Aganaanooru 209, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse narrates events from history to etch the lady’s situation. ”தோளும் தொல் கவின் தொலைந்தன; நாளும்அன்னையும் அருந் துயர் உற்றனள்; அலரே,பொன் அணி நெடுந் தேர்த் தென்னர் கோமான்,எழு உறழ் திணி தோள் இயல் தேர்ச் செழியன்,நேரா எழுவர் அடிப்படக் கடந்தஆலங்கானத்து ஆர்ப்பினும் பெரிது” என,ஆழல் வாழி, தோழி! அவரே,மாஅல் யானை மறப் போர்ப் புல்லிகாம்புடை நெடு வரை வேங்கடத்து உம்பர்அறை இறந்து அகன்றனர் ஆயினும், நிறை இறந்துஉள்ளார்ஆதலோ அரிதே செவ் வேல்முள்ளூர் மன்னன் கழல்தொடிக் காரிசெல்லா நல் இசை நிறுத்த வல் வில்ஓரிக் கொன்று சேரலர்க்கு ஈத்தசெவ் வேர்ப் பலவின் பயம் கெழு கொல்லி,நிலை பெறு கடவுள் ஆக்கிய,பலர் புகழ் பாவை அன்ன நின் நலனே. Once again, it’s a parade of kings 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, ‘My arms have lost their old beauty; Day after day, mother too feels a deep sorrow; As for slander, it’s greater than the uproar that arose at the battlefield of Aalangkaanam, in which the Southern King Cheziyan, who wields tall, swaying, golden chariots, and has strong arms, akin to a fort door’s crossbar, routed his enemies seven!’, do not cry my friend, may you live long! Even though, he has parted away far beyond the tall ranges of Venkatam Hills, covered with bamboos, ruled by the battle-worthy Pulli, who wields huge elephants, it would impossible for him to remain, without thinking about that beauty of yours, which is akin to the statue of that ancient goddess, celebrated by many in the prosperous Kolli hills, filled with red-rooted, rich jackfruits, the land which the king of Mullor, Kaari, who wields red spears and wears warrior anklets, killed Ori, known for his sturdy bows and celebrated for his unceasing fame, and rendered unto the Chera King!” Time to tread along in the drylands and learn more! The confidante starts by repeating the lady’s words, who seems to have been complaining that since the man left, her beauty was shot. Likewise, mother seems to be suffering greatly, she adds. This tells us that this event of separation between the man and the lady has happened before the lady’s marriage with the man. The lady goes on to add that slander too was spreading in town, and to describe its nature, she brings forth the famous battle of Thalaiyaalangkaanam, where the Pandya King Neduchezhiyan defeated not one, not two, but seven great kings in one go, and the lady says, ‘Louder than the victory shouts that arose in this battlefield are the rumours that were abuzz in town!’. After repeating these words from the lady, the confidante gently asks her friend to not cry, and then she talks about how now, the man is in a faraway country, beyond Venkatam hills, ruled by Pulli, famous for his elephants. The confidante concludes by saying, while that may be so, the man has no way of forgetting the lady’s beauty, which she compares to the the goddess statue in Kolli hills, celebrated by all, and then narrates how this land was ruled by Ori, but then came the Mullor king Kaari, who defeated Ori, and gave away the lush region of Kolli Hills to a Chera King! The base elements are ‘slander is spreading’, ‘the man is far away’ and ‘your beauty will make him return’. But upon this foundation, multiple layers of historic characters and events soar, to inform and educate the world about the events of those times, no doubt. A verse which kindles my imagination once again, wondering about the beauty of that statue at Kolli Hills. In verse after verse, we’ve heard it compared to the exquisite beauty of the lady. If only we could glance at it! Here’s wishing some archaeological excavation someday unearths this statue, so highly regarded in the Sangam world!

In this episode, we perceive the ecstasy of a man in love, as depicted in Sangam Literary work, Aganaanooru 208, penned by Paranar. The verse is situated amidst the flower-filled spaces of the ‘Kurinji’ or ‘Mountain landscape’ and relays historical references many. யாம இரவின் நெடுங் கடை நின்று,தேம் முதிர் சிமையக் குன்றம் பாடும்நுண் கோல் அகவுநர் வேண்டின், வெண் கோட்டுஅண்ணல் யானை ஈயும் வண் மகிழ்வெளியன் வேண்மான் ஆஅய் எயினன்,அளி இயல் வாழ்க்கைப் பாழிப் பறந்தலை,இழை அணி யானை இயல் தேர் மிஞிலியொடுநண்பகல் உற்ற செருவில் புண் கூர்ந்து,ஒள் வாள் மயங்கு அமர் வீழ்ந்தென, ‘புள் ஒருங்குஅம் கண் விசும்பின் விளங்கு ஞாயிற்றுஒண் கதிர் தெறாமை, சிறகரின் கோலி,நிழல் செய்து உழறல் காணேன், யான்’ எனப்படுகளம் காண்டல்செல்லான், சினம் சிறந்து,உரு வினை நன்னன், அருளான், கரப்ப,பெரு விதுப்புற்ற பல் வேள் மகளிர்குரூஉப் பூம் பைந் தார் அருக்கிய பூசல்,வசை விடக் கடக்கும் வயங்கு பெருந் தானைஅகுதை கிளைதந்தாங்கு, மிகு பெயல்உப்புச் சிறை நில்லா வெள்ளம் போல,நாணு வரை நில்லாக் காமம் நண்ணி,நல்கினள், வாழியர், வந்தே ஓரிபல் பழப் பலவின் பயம் கெழு கொல்லிக்கார் மலர் கடுப்ப நாறும்,ஏர் நுண், ஓதி மாஅயோளே! In this trip to this domain, we hardly get to see the mountains, for we are busy visiting a battlefield, as we listen to these words said by the man, when the lady had met him and just parted away: “For standing at his tall gates in the middle of the night and singing about his honey-soaked mountain peaks, Veliyan Veynmaan AaAy Eyinan would render esteemed, white-tusked elephants with joyous generosity to those singers, who hold fine divining rods, if they sought that from him. Such was the life of grace that this lord lead. In the Pazhi battlefield, where radiant swords clashed, when confronting Mignili, who owns ornamented elephants and adorned chariots, filled with wounds, Eyinan fell in the middle of the day. Just then, birds joining together, wishing to prevent the rays of the sun, scorching above in the sky, from touching this king’s fallen form, spread their wings to form a canopy and render shade unto him. Saying, ‘I shall not go and see this sight’, filled with fury, the battle-worthy Nannan refused to go to the battlefield and pay his respects. Since without any grace, he avoided coming there, the many women of the Velir clan, filled with immense anguish, tore at their fresh new flower garlands and created an uproar. At that time, Akuthai, with his mighty army, capable of winning over enmity, came there and ended their sorrow. Akin to that, in the manner of a huge flood, caused by a heavy downpour that breaks a bank of salt and gushes over, breaking the bounds of her modesty, which was restraining her, she had come here and rendered her grace unto me. May she live long, that dark-skinned maiden, having delicate, exquisite tresses that waft with the scent of flowers in the rain that bloom in the fertile Kolli hills, adorned with many jackfruit trees, ruled by King Ori!” True to his title of historian poet, Paranar stitches a series of significant events from the Sangam era. The man starts by talking about the nature of a Velir chieftain called Eyinan, describing how he would render elephants to bards, who sang about his peaks. Epitome of generosity indeed. Next, he takes us to another incident in this chief’s life, to the Paazhi battlefield, where Eyinan is waging war against a King named Mignili. Unfortunately, Eyinan is covered in wounds and falls dead on that battlefield. Now a curious thing happens! It appears as if this chief was not only kind to those bards but also to birds! For when he falls dead in the middle of the day, as the sun scorches above, the birds wishing to protect his form from the harsh rays join together and spread their wings, forming a canopy high above. What a moving sight! A testimony to the man’s greatness, no doubt! Anyone would celebrate this, however there was a Velir King named Nannan, who refused to come to the battlefield, possibly, out of envy, and see this rare sight and honour his clansman. Heartbroken because of this attitude of one of their own, the women of the clan beat their chests, tore their garlands and cried out in pain. At that moment, another clansman Akuthai rose to their aid and ended their sorrow, the man describes. Like how Akuthai ended the misery of those anguished Velir women, the lady, who has tresses as fragrant as the flowers in another king Ori’s domain of Kolli hills, had come to the man, breaking the bounds of her modesty, like how a flood would shatter and overcome a wall of salt, and she had ended the anguish of yearning with her grace, the man connects and concludes. At the core, it’s just a man in the throes of young love, exulting in the knowledge that his love was reciprocated. How seamlessly the verse stitches together this subtle, intimate moment and an uproarious, historic event, and weaves a tapestry, rich in both inner and outer life!

In this episode, we perceive the wonder in a mother’s heart, as depicted in Sangam Literary work, Aganaanooru 207, penned by Madurai Ezhuthaalan Senthampoothanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the formidable nature of this domain. அணங்குடை முந்நீர் பரந்த செறுவின்உணங்கு திறம் பெயர்ந்த வெண் கல் அமிழ்தம்குட புல மருங்கின் உய்ம்மார், புள் ஓர்த்துப்படை அமைத்து எழுந்த பெருஞ் செய் ஆடவர்நிரைப் பரப் பொறைய நரைப் புறக் கழுதைக்குறைக் குளம்பு உதைத்த கல் பிறழ் இயவின்,வெஞ் சுரம் போழ்ந்த, அஞ்சுவரு கவலை,மிஞிறு ஆர் கடாஅம் கரந்து விடு கவுள,வெயில் தின வருந்திய, நீடு மருப்பு ஒருத்தல்பிணர் அழி பெருங் கை புரண்ட கூவல்தெண் கண் உவரிக் குறைக் குட முகவை,அறனிலாளன் தோண்ட, வெய்து உயிர்த்து,பிறைநுதல் வியர்ப்ப, உண்டனள்கொல்லோதேம் கலந்து அளைஇய தீம் பால் ஏந்திக்கூழை உளர்ந்து மோழைமை கூறவும்,மறுத்த சொல்லள் ஆகி,வெறுத்த உள்ளமொடு உண்ணாதோளே? In this trip to the drylands, we get to hear mother say these words, at a time when her daughter had eloped away with the man: “In fields that spread near divine seas, flourishes that elixir of white salt with a well-dried texture. Gathering these and intending to take it to regions in the west, biding their time for the right bird omens, organising into groups, men of efficient action traverse along with their donkeys, laden with sacks of salt on the beasts’ white backs, and tread along the stony paths, with pebbles scattered by worn-out hooves of these beasts. Through the same formidable paths in the scorching drylands, treads a male elephant, with long tusks and musth-flowing cheeks, swarming with bees, distressed by the heat, and searches for water, amidst a pit with its long and coarse trunk. From this very pit, digging up brackish water that fills only half a cup, that graceless man, renders unto her. Letting out a hot sigh, as her crescent-moon-like forehead sweats, did she drink that up? When I used to offer honey-infused sweet milk, caressing her tresses and speaking sweet words, she would say ‘no’ and with dislike in her heart, would never drink that up. How could she do this now?” Let’s brave those scorching spaces once again and know more! Mother starts by describing salt fields near the shore, talking about how people there harvest this much sought-after elixir. Then, she describes these harvesters of salt are not content in keeping their produce for themselves, and wish to take it to regions in the west… this line tells us the salt-making is happening on the eastern coast of present-day South India, near the Bay of Bengal. The vehicles these men use for their journey are donkeys and the backs of these donkeys are heavily laden with sacks of salt, mother describes, and she zooms on to the worn-out hooves of these beasts of burden, and the pebbles they scatter on the stony paths. Mother ends this scene here and after an interval of time, on that same pebble-scattered, stony path, we see heavy footprints of an elephant in musth, running crazily in search of water, roving here and there, and locating a pit, it tries to gather the salty water from there. Once more, this scene with the elephant goes curtain down, and after some time, we see the man digging up the same pit to find some water for his beloved. Now mother concludes by asking how the lady was able to drink this foul liquid, adding that this girl was someone, who would refuse to drink even a portion of honeyed milk, offered with tender care and sweet words by her! Yet again, it’s that awe that strikes many a mother, when their children seem to grow up and do never-before things independently, why because, a part of their mind will always be etched with the memory of that helpless being they held so protectively in their arms, a while ago!

In this episode, we listen to the distress of a lady, as depicted in Sangam Literary work, Aganaanooru 206, penned by Madurai Maruthan Ilanaakanaar. The verse is situated amidst scenes of wandering buffaloes in the ‘Marutham’ or ‘Farmlands landscape’ and etches the emotions of a jilted woman. என் எனப்படும்கொல் தோழி! நல் மகிழ்ப்பேடிப் பெண் கொண்டு ஆடுகை கடுப்ப,நகுவரப் பணைத்த திரி மருப்பு எருமைமயிர்க் கவின் கொண்ட மாத் தோல் இரும் புறம்,சிறு தொழில் மகாஅர் ஏறி, சேணோர்க்குத்துறுகல் மந்தியின் தோன்றும் ஊரன்,மாரி ஈங்கை மாத் தளிர் அன்னஅம் மா மேனி, ஆய்இழை மகளிர்ஆரம் தாங்கிய அலர்முலை ஆகத்துஆராக் காதலொடு தார் இடை குழைய,முழவு முகம் புலரா விழவுடை வியல் நகர்,வதுவை மேவலன் ஆகலின், அது புலந்து,அடுபோர் வேளிர் வீரை முன்துறை,நெடு வெள் உப்பின் நிரம்பாக் குப்பை,பெரு பெயற்கு உருகியாஅங்கு,திருந்துஇழை நெகிழ்ந்தன தட மென் தோளே? It’s all about the players in this trip to the farmlands, as we listen to these words said by the lady to a female dancer, who had come as a messenger from the man, seeking entry into the lady’s house, after the man had left seeking the company of courtesans: “Akin to hand gestures of a trans-feminine dancer, shaped with nuance, are the thick, curving horns of a buffalo. Climbing atop the handsome, hair-clad, dark-skinned sides of the beast, young children, always upto many little antics, appear akin to monkeys hopping on a boulder, to those faraway in the town of the lord. As for him, he only seeks to unite with those maiden, who have a beautiful, dark complexion, akin to tender sprouts of a touch-me-not tree, clad in exquisite ornaments. He intends to lie with ceaseless love, amidst the garlands adorning their necklace-clad, blooming bosoms, and remain at their festive mansion with unending drum beats. Hating this, akin to tall mounds of salt in the shores of ‘Veerai’, ruled by the battle-worthy Velirs, which melt away in a huge downpour, these well-etched ornaments slip away from my curving, soft arms! How will this state of mine be talked about, my friend?” Let’s take in the lush landscape and learn more! The lady starts by making one of those rare references in Sangam literature regarding transgender persons. Here, she seems to be talking about a trans-feminine person, who performs as a dancer. The way the arms of the said dancer would be muscular but the hand gestures would be graceful, is placed in parallel with the thick but delicately curving horns of a buffalo. The buffalo has been brought into the picture by the lady to present an image of young children, who fear nothing, climbing on to the back of this buffalo, and the way they appear as monkeys jumping on a rock to those standing faraway. She renders this scene as a description of the man’s prosperous town and goes on to talk about the man’s current state of being lost in the company of courtesans, always seeking to remain at their mansions, filled with festivities. Owing to this, her ornaments were slipping away from her arms, just the way tall mounds of salt on the shores of ‘Veerai’ ruled by Velir Kings, would melt away in a heavy unexpected downpour, the lady concludes. A pictorial depiction of the man’s thoughtless actions and its consequences on the lady’s state of mind!

In this episode, we listen to a dual expression of sadness and hope, as depicted in Sangam Literary work, Aganaanooru 205, penned by Nakirar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the prosperity of a renowned Sangam-era town. உயிர் கலந்து ஒன்றிய தொன்று படு நட்பின்செயிர் தீர் நெஞ்சமொடு செறிந்தோர் போல,‘தையல்! நின் வயின் பிரியலம் யாம்’ எனப்பொய் வல் உள்ளமொடு புரிவு உணக் கூறி,துணிவு இல் கொள்கையர் ஆகி, இனியேநோய் மலி வருத்தமொடு நுதல் பசப்புபூர,நாம் அழ, துறந்தனர் ஆயினும், தாமேவாய்மொழி நிலைஇய சேண் விளங்கு நல் இசைவளம் கெழு கோசர் விளங்கு படை நூறி,நிலம் கொள வெஃகிய பொலம் பூண் கிள்ளி,பூ விரி நெடுங் கழி நாப்பண், பெரும் பெயர்க்காவிரிப் படப்பைப் பட்டினத்தன்னசெழு நகர் நல் விருந்து அயர்மார், ஏமுறவிழு நிதி எளிதினின் எய்துகதில்லமழை கால் அற்சிரத்து மால் இருள் நீங்கி,நீடுஅமை நிவந்த நிழல் படு சிலம்பில்,கடாஅ யானைக் கவுள் மருங்கு உறழஆம் ஊர்பு இழிதரு காமர் சென்னி,புலி உரி வரி அதள் கடுப்ப, கலி சிறந்து,நாட் பூ வேங்கை நறு மலர் உதிர,மேக்கு எழு பெருஞ் சினை ஏறி, கணக் கலைகூப்பிடூஉ உகளும் குன்றகச் சிறு நெறிக்கல் பிறங்கு ஆர் இடை விலங்கியசொல் பெயர் தேஎத்த சுரன் இறந்தோரே. In this trip to the drylands, we get to travel to the lady’s past and also to a Chozha town, 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: “Owing to a bond that extends beyond time and makes our lives fuse with each other, he had become one with me, uniting his flawless heart with mine. Then, having a heart capable of rendering lies to appease me, he had said, ‘O young maiden! I shall never part from you’. Now, losing his resolve, making the pallor of pining spread on my forehead, leaving me to cry, he had parted away! He has traversed narrow mountain paths near slopes, covered in the shade of tall bamboos, and where, akin to the cheek of an elephant in musth, cascades descend down, and akin to the lined stripes of a tiger, with joy, fragrant flowers of the Kino tree drop down, and climbing atop the soaring branches of this tree, a troop of monkeys call aloud, and he has reached the formidable, pebble-filled, difficult paths of the drylands in a land, where an unknown language is spoken! The Chozha King Killi, adorned in golden ornaments, attacked the powerful army of the prosperous Kosars, whose reputation for honesty was renowned far and wide, wishing to seize their land. The Chozhan king rules over the famous ‘Kaveri Pattinam’, whose backwaters are covered with flowers, and the land is decked with fertile fields many. Even though my beloved has left me to suffer and parted away, may he attain the wealth he seeks easily, so that he can feast with delight, in our prosperous mansion, akin to Killi’s Kaveripoompattinam, at this time when dew descends down like rain, and a confusing darkness spreads!” Let’s explore the difficult paths of this domain once again! The lady starts on a philosophical note about love, talking about how this bond between her and the man did not happen a few weeks or a few months back. She portrays it as a connection existing beyond time, indicating the belief of this era in destiny bringing those in love together. She talks about how they both united as one, and at this time the man had promised her he shall never part from her. However this turned out to be a lie, for the man seems to have lost that determination, and has parted away, leaving her in the midst of tears and pining, the lady details. I want to take a moment to record a nuance in this expression by the lady. Since I’m rendering this in English, I have chosen an individualistic style of expression such as, ‘The man has left ‘me’ to cry, has made ‘my’ forehead be covered in pallor’. However, the words to denote the actual expression of the lady would be, ‘The man has left ‘us’ to cry, has made ‘our’ foreheads to be covered in pallor’, as if including the confidante in her feelings. The difference between the two is in a collective representation of mental states and possessions. Though today, this collective representation of mental states is no more, the way of referring to possessions collectively still goes on. For instance, in Tamil, when talking about one’s own house or town, people reflexively use the pronoun ‘namma’ which means ‘ours’ rather than ‘en’ meaning ‘mine’! A curious cultural phenomenon of the Tamil language and culture that seems to extend beyond the centuries. Returning to the verse, we find the lady talking about where the man has left to, and he has crossed mountainous paths, a region filled with cascades, which are poetically placed in parallel to the fluid pouring down the cheeks of an elephant in musth, and a place, decked in the flowers of a Kino tree, which is placed in parallel to the stripes of a tiger. A group of monkeys are seen leaping and calling aloud from the bran

In this episode, we observe the yearning to be back home, as depicted in Sangam Literary work, Aganaanooru 204, penned by Madurai Kaamakani Nappaalathanaar. The verse is situated amidst the buzzing bees of the ‘Mullai’ or ‘Forest landscape’ and relays the emotions at the end of a mission. உலகு உடன் நிழற்றிய தொலையா வெண்குடை,கடல் போல் தானை, கலிமா, வழுதிவென்று அமர் உழந்த வியன் பெரும் பாசறைச்சென்று, வினை முடித்தனம்ஆயின், இன்றேகார்ப் பெயற்கு எதிரிய காண்தகு புறவில்,கணம் கொள் வண்டின் அம் சிறைத் தொழுதிமணம் கமழ் முல்லை மாலை ஆர்ப்ப,உதுக்காண் வந்தன்று பொழுதே; வல் விரைந்து,செல்க, பாக! நின் நல் வினை நெடுந் தேர்வெண்ணெல் அரிநர் மடி வாய்த் தண்ணுமைபல் மலர்ப் பொய்கைப் படு புள் ஓப்பும்காய் நெல் படப்பை வாணன் சிறுகுடித்தண்டலை கமழும் கூந்தல்,ஒண் தொடி மடந்தை தோள் இணை பெறவே. In addition to visiting the fragrant forests, we also take a detour to visit a famous Sangam town, as we listen to the man say these words to his charioteer, after completing his mission of war: “Having a flawless, white royal umbrella that renders shade to the world entire, a sea-like army, and proud horses, the Pandya King has won the war with determined efforts, and we have completed our mission in this wide and expansive battle-camp. Right now, in that picturesque forest, which has been showered by clouds of the rainy season, swarms of beautiful bees buzz around fragrant wild jasmines in the evening hour. Lo behold! That time has come! Hasten, O charioteer, and wield your well-crafted, decorated, tall chariot! Those who harvest paddy beat on the ‘thannumai drums’, having a folded leather cover, to chase away birds, heading from many flowered groves, from those fertile fields with ripe paddy grains, in the town of ‘Sirukudi’, ruled by ‘Vaanan’. That young maiden with shining bangles, has tresses that waft with the scent of the moist orchards in Vaanan’s Sirukudi! Rush on, O charioteer, so that I can embrace her arms soon!” Time to speed along with this traveller through the forests! The man starts by talking about how he had come to serve his king, a scion of the Pandya dynasty, who had extended the shade of his rule to the world entire. An exaggeration, no doubt, but we can read it as ‘world as they knew it’! This King had claimed victory in the battlefield and so the man’s mission was complete. While that was good news, the season of rains, which was his promised season of return, had already arrived and was make the forests smile with wild jasmines, inviting the bees in the evening hour. At this time, the man asks his charioteer to speed on and take him to his lady, whose tresses he places in parallel to the many-flowered, moist orchards in the town of ‘Sirukudi’, ruled by ‘Vaanan’, a place filled with lush paddy fields, where people used beat their drums to chase away birds that came to raid ripe grains. The man concludes by telling his charioteer that he wished for nothing more than embracing his beloved’s arms as soon as possible! In essence, it’s a ‘take me home, right now’ message, celebrating the beauty of the lady and acknowledging the changing seasons. That moment of reunion that a person who had parted away yearns for, that’s something that’s a constant across the ages, and across the miles of this world! These words from the past seem to tell us, ‘No matter how great a mission we have accomplished, nothing can match the joy of being back in the presence of love’!

In this episode, we perceive the angst and yearning in a mother’s voice, as portrayed in Sangam Literary work, Aganaanooru 203, penned by Kabilar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse resonates with the wishes throbbing in a sorrowful heart. ‘உவக்குநள்ஆயினும், உடலுநள்ஆயினும்,யாய் அறிந்து உணர்க’ என்னார், தீ வாய்அலர் வினை மேவல் அம்பற் பெண்டிர்,‘இன்னள் இனையள், நின் மகள்’ என, பல் நாள்எனக்கு வந்து உரைப்பவும், தனக்கு உரைப்பு அறியேன்,‘நாணுவள் இவள்’ என, நனி கரந்து உறையும்யான் இவ் வறு மனை ஒழிய, தானே,‘அன்னை அறியின், இவண் உறை வாழ்க்கைஎனக்கு எளிது ஆகல் இல்’ என, கழற் கால்மின் ஒளிர் நெடு வேல் இளையோன் முன்னுற,பல் மலை அருஞ் சுரம் போகிய தனக்கு, யான்அன்னேன் அன்மை நன் வாயாக,மான் அதர் மயங்கிய மலைமுதல் சிறு நெறிவெய்து இடையுறாஅது எய்தி, முன்னர்ப்புல்லென் மா மலைப் புலம்பு கொள் சீறூர்,செல் விருந்து ஆற்றி, துச்சில் இருத்த,நுனை குழைத்து அலமரும் நொச்சிமனை கெழு பெண்டு யான் ஆகுகமன்னே! Plenty of talking in this trip to the drylands, as we get to hear the lady’s mother say these words, at the juncture of her daughter’s elopement with the man: “Without thinking, ‘Whether she’s going to be happy about it or whether she’s going to be angry about it, let her mother learn of it herself!’, those back-biting, slanderous women, who love to spread rumours with their cruel mouths, came to me and said, ‘Such is the nature of your daughter’, over many, many days. Thinking that, ‘It will make her feel ashamed’, I said nothing to my daughter, and kept it well hidden. Leaving me alone in this barren house, thinking, ‘If mother comes to know, the life I’ve been leading with him will not be possible for me anymore’, she has left to the formidable drylands, crossing mountains many, with that young man, wearing warrior anklets and holding a radiant, tall spear, leading ahead. To tell the truth that I’m not such a person who is opposed to her, traversing the small, confusing mountain paths, where beasts roam, without any ruin coming to me, I should go ahead of them, reach the isolated hamlet in that barren, tall mountain, and to make them a fine feast, and let them rest for the night, I should enter that hut, surrounded by chaste trees, whose edges sway with tender sprouts, and become the lady of that household!” Let’s follow along through the scorching spaces and learn more! Mother starts by recollecting what had happened. It all started with the womenfolk of their hamlet, who were known to gossip and spread slander. Without remaining quiet with the thought, ‘When the time comes, let her find it out herself’, they had come to the lady’s mother and spoke about the lady’s relationship with the man. While this was so, mother seems to have refrained from talking about it directly with her daughter, worrying that her girl would feel much shame and distress. While mother was holding back so, the lady seems to have understood that something was amiss. Deciding if mother had indeed come to know of her relationship with the man, then she would forbid it, the lady had left to go far through the drylands, in the company of her lover, the one clad in warrior anklets and holding a shining spear in hand. After this account of what’s happened, mother comes to the present and declares, ‘I’m not opposed to her love and happiness’. ‘To make her understand this, I should somehow rush through those barren mountain paths, without any harm befalling me, and overtake them, and find that isolated mountain village that they would pass through, and going there, I should prepare a feast for the two of them and ensure they have a good rest before they continue their travels. This I can do, if I can somehow transform into the lady of that house, surrounded by chaste trees, with swaying branches of new sprouts’, mother concludes, dreaming! Something that shines so brightly in this verse is the nature of a mother’s heart. No matter how hurt by the actions of her girl, the mother wants the best for her child and all that that that child loves. Epitome of love indeed! Another thought that struck me was that everything that has happened in this instance is because of communication or its absence! Unwanted communication on the part of those gossiping womenfolk, mother not speaking out to her girl when she should have, and the lady, assuming mother was against her, and leaving without a word. A verse that reiterates the importance of speaking the right words to the right person at the right time!

In this episode, we perceive an attempt at persuasion, as portrayed in Sangam Literary work, Aganaanooru 202, penned by Aavoor Moolankizhaar Kannanaar. The verse is situated amidst the flowering trees of the ‘Kurinji’ or ‘Mountain landscape’ and sketches striking similes using the colours of nature. வயங்கு வெள் அருவிய குன்றத்துக் கவாஅன்,கயந் தலை மடப் பிடி இனன் ஏமார்ப்ப,புலிப் பகை வென்ற புண் கூர் யானைகல்லகச் சிலம்பில் கை எடுத்து உயிர்ப்பின்,நல் இணர் வேங்கை நறு வீ கொல்லன்குருகு ஊது மிதி உலைப் பிதிர்வின் பொங்கி,சிறு பல் மின்மினி போல, பல உடன்மணி நிற இரும் புதல் தாவும் நாட!யாமே அன்றியும் உளர்கொல் பானாள்,உத்தி அரவின் பைத் தலை துமிய,உர உரும் உரறும் உட்கு வரு நனந்தலை,தவிர்வு இல் உள்ளமொடு எஃகு துணையாக,கனை இருள் பரந்த கல் அதர்ச் சிறு நெறிதேராது வரூஉம் நின்வயின்ஆர் அஞர் அரு படர் நீந்துவோரே? In this trip to the mountains, dynamic images await us as we listen to the confidante say these words to the man, when the man is about to part away after a nightly tryst with the lady: “In the mountain slopes, filled with radiant white cascades, after winning over the enmity of a tiger and making its herd proud, a male elephant, covered in wounds, lies along with its soft-headed, naive mate. As it raises its trunk and lets out a loud sigh in the rocky highlands domain, fine and fragrant flower clusters of the Kino tree nearby, soar akin to sparks that rise, when a blacksmith blows into his bellows, while stepping on the pedal of the furnace treadle. And then, appearing akin to many, small fireflies, these flowers bunch together and scatter on sapphire-hued, dark bushes in your mountains, O lord! In the dead dark of the night, when the hooded head of the spotted snake is severed by roaring thunder in those wide spaces, with an unrelenting heart, with only a spear for company, through that small and stony path, densely packed with darkness, without any concern, you walk to arrive here. Could there be anyone, who experiences a great suffering than her, as she worries about you?” Let’s get going on the mountain trek! The confidante starts by describing the man’s country, and to do that, she paints an image of a male elephant, which has defeated an attacking tiger, much to the pride of its herd, and was now resting next to its mate. At the moment, when this elephant raises its trunk and lets out a sigh, the flowers in the Kino tree nearby, seem to soar in the sky, like sparks from a blacksmith’s bellows, and then pulled by inevitable gravity, fall down and settle on the dark bushes, akin to swarming fireflies, the confidante details. Then, she goes on to talk about the dangerous path the man takes at night, walking in the dead darkness, when according to their belief, thunder and lightning struck and severed the heads of snakes, with only a spear for company, through a tiny, stony path, and without worrying about a thing, he comes intent on his tryst with the lady. The confidante concludes by declaring that there’s no one, who would feel a greater sorrow than the lady, because she’s filled with anxiety about the man’s safety, as he continues to take this walk night after night! It’s the confidante’s way of telling the man, ‘It’s all well and good that you put so much effort to come here. But the lady is worried about you. Isn’t it your duty to put her heart at rest?’ In the scene of the victorious male elephant resting with its mate, the confidante places a metaphor for how the man had overcome difficulties many to be in the company of his beloved. Also, in the scene of the elephant’s sigh, causing the Kino flowers to rise and scatter, the confidante places another intricate metaphor for how the man’s actions was causing slander to spread in town, about his relationship with the lady. In essence, the confidante’s telling the man it’s time to marry the lady. ‘Marry her, Marry her’ indeed. but doesn’t that exquisite montage of an elephant’s sigh, spark-like Kino flowers soaring in the sky, and like a swarm of fireflies, spreading on the sapphire-hued bushes, linger so deliciously in the mind’s eyes?

In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 201, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals aspects of Pandya and Chozha kingdoms. அம்ம, வாழி தோழி! ‘பொன்னின்அவிர் எழில் நுடங்கும் அணி கிளர் ஓடைவினை நவில் யானை விறற் போர்ப் பாண்டியன்புகழ் மலி சிறப்பின் கொற்கை முன்துறை,அவிர்கதிர் முத்தமொடு வலம்புரி சொரிந்து,தழை அணிப் பொலிந்த கோடு ஏந்து அல்குல்பழையர் மகளிர் பனித் துறைப் பரவ,பகலோன் மறைந்த அந்தி ஆர் இடை,உரு கெழு பெருங் கடல் உவவுக் கிளர்ந்தாங்கு,அலரும் மன்று பட்டன்றே; அன்னையும்பொருந்தாக் கண்ணள், வெய்ய உயிர்க்கும்’ என்றுஎவன் கையற்றனை, இகுளை? சோழர்வெண்ணெல் வைப்பின் நல் நாடு பெறினும்,ஆண்டு அமைந்து உறைநர்அல்லர் முனாஅதுவான் புகு தலைய குன்றத்துக் கவாஅன்,பெருங் கை எண்கின் பேழ்வாய் ஏற்றைஇருள் துணிந்தன்ன குவவு மயிர்க் குருளைத்தோல் முலைப் பிணவொடு திளைக்கும்வேனில் நீடிய சுரன் இறந்தோரே. In this trip to the drylands, we take a detour to the Pandya and Chozha country, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left to earn wealth to claim the lady’s hand in marriage: “Listen my friend, may you live long! You say to me, ‘Wearing well-etched head ornaments made of gold that glow resplendently, battle elephants of the victorious Pandya king stand proudly, near the shores of Korkai, celebrated for its immense fame, as daughters of pearl-divers, wearing leaf attires around their radiant, striped uplifted waists, spread sparkling pearls and right-whorled conch shells on those cool shores, at that precious time when the sun sets. Akin to how the formidable, huge ocean there would rise high with a roar, slander does soar around town. Hearing this, with sleepless eyes, mother keeps sighing loudly’. Worrying so, don’t feel so helpless, my dearest! Even if he were to attain the fine country of the Chozhas, which yield unceasing mounds of white paddy, he is not someone who will stay there, content. Indeed the one, who has left to the drylands with a prolonged summer, near the slopes of the mountains with sky-soaring peaks, where a male sloth bear with huge hands and a fierce mouth, frolics with its coarse-haired cub, which looks like a bundle of darkness, and its mate with skinny breasts, will not stay away for anything!” Time to explore the scorching drylands path! The confidante starts by inviting the lady’s attention and repeating the worry running through the lady’s mind. To do that, she zooms on to ornamented battle elephants belonging to the Pandya kings, victorious in war, as they stand near the shore of the famous town of Korkai. Here, the daughters of pearl divers are performing a special ceremony, by spreading pearls and conch-shells, possibly a festival of gratitude for the king’s victories in the battlefield. This happens at dusk, and at this time, the seas nearby would rise high and roar, the confidante details, and connects it to the slander that was similarly soaring in town about the lady’s relationship with the man. The lady was worried because Mother had heard these rumours and was lying sleepless, sighing ceaselessly. Now, the confidante asks her friend not to feel so anxious and helpless and she promises that the man who had left to the drylands, would not stay there, even if he were to be given the country of the Chozhas, known for its unceasing yield of paddy. The confidante concludes with a description of the place, where the man has left, talking about how in that scorched domain, where summer does not want to part, a male sloth bear finds the means to frolic with its cub and mate! In the scene of the sloth bear family, the confidante places a metaphor for how the man would soon return and rejoice with his beloved. Yet again, the message we recently encountered, about how no amount of wealth would keep away a man from the lady he loves, echoes aloud. But here, the context differs, and we are presented with a bonus gift of intriguing images that echo the glory and prosperity of ancient Tamil kingdoms!