Sangam Lit

In this episode, we listen to persuasive words seeking the welfare of a friend, as depicted in Sangam Literary work, Aganaanooru 150, penned by Kuruvazhuthiyaar. The verse is situated amidst the teeming fish and blooming flowers of the ‘Neythal’ or ‘Coastal Landscape’ and relays the lady’s state of mind. பின்னுவிட நெறித்த கூந்தலும், பொன்னெனஆகத்து அரும்பிய சுணங்கும், வம்பு விடக்கண் உருத்து எழுதரு முலையும் நோக்கி;‘எல்லினை பெரிது’ எனப் பல் மாண் கூறி,பெருந் தோள் அடைய முயங்கி, நீடு நினைந்து,அருங் கடிப்படுத்தனள் யாயே; கடுஞ் செலல்வாட் சுறா வழங்கும் வளை மேய் பெருந் துறை,கனைத்த நெய்தற் கண் போல் மா மலர்நனைத்த செருந்திப் போது வாய் அவிழ,மாலை மணி இதழ் கூம்ப, காலைக்கள் நாறு காவியொடு தண்ணென மலரும்கழியும், கானலும், காண்தொறும் பல புலந்து;‘வாரார்கொல்?’ எனப் பருவரும்தாரார் மார்ப! நீ தணந்த ஞான்றே! In this little boat trip to this vibrant domain, we hear these words said by the confidante to the man, when he leaves after a tryst by day with the lady: “Glancing at the well-grown, ready-to-be-braided, long and curly tresses, the pallor spots in gold budding on the bosom, and the upraised and well-formed breasts that brim over the bustier cloth,  saying ‘You have become radiant like the day’, mother rendered many praises and embraced, clasping her fully. Then, mother thought for long, and placed her under a strict guard. Speeding fish with sword-like horns traverse near the huge sea shore, where conches rove about, and here, in the evening, as the blue lotus, with its dark and thick flowers, appearing like eyes, closes its sapphire-like petals, the golden champak, moistened by this blue lotus, opens its pollen-filled buds. Then in the morning, the blue lotus blossoms with coolness, along with the red lotus, which wafts with the fragrance of toddy. Every time, she sees these scenes in the backwaters and groves, she laments a lot and wonders with angst, ‘Won’t he come back?’. This is what happens every moment you remain parted away from her, O garland-clad one!” Let’s swim along with the swordfish, and then climbing on to the shore, track the scents of the many blooming flowers! The confidante starts her address to the man by talking about how the lady’s mother had reacted to the changes in the lady’s form. Mother seems to have taken a deep look at the lady’s tresses, long and flowing, pallor spots, glowing in gold, and her blooming bosom, brimming over her cloth band, and praised the lady for her radiant beauty. After this shower of praise, mother seems to have pondered a lot and then placed the lady on a strict watch.  After rendering these words, the confidante goes on to talk about the flowers in the evening hour, a time when the blue lotus, not seeing its beloved sun, closes its petals, whereas at the same time, the golden champak opens its pollen-filled buds. Then, the confidante fast forwards to the morning hour, and points to how the same blue lotus blossoms out, in the company of the red lotus, spreading splashes of colour everywhere! The reason the confidante has talked about these flowers is to say that no matter how beautiful the backwaters and groves may appear, every moment the man is not present, the lady laments and yearns for that time when he would return. In essence, to relieve the lady’s worry, the confidante is subtly nudging the man to give up his temporary trysting and asking him to seek a permanent union with the lady!  Reading about the opening and closing of these buds, I wanted to know more about the differences in the flowers mentioned. This led me to learn about how, just like in humans, there are ‘morning larks’ and ‘evening owls’, among flowers, there are day bloomers and night bloomers, and each type has its own unique characteristics. Whereas the day bloomers like the blue and red lotus rely on the power of sight, owing to the abundant light, showered by the sun, to attract their pollinators, such as bees, the night bloomers like the golden champak, use the power of scent, to pull in their specific pollinators, such as moths! It’s interesting how this verse connects so very delicately, the opening and closing of flower buds to the lady’s delight when the man is near and her angst when he is away. Another instance of the Sangam poets superior ability of seeing one in the world and the world in one!

In this episode, we listen to words of resolve, as depicted in Sangam Literary work, Aganaanooru 149, penned by Erukkaattoor Thaayankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse showers the spotlight on prominent Sangam-era cities and the extent of their wealth. சிறு புன் சிதலை சேண் முயன்று எடுத்தநெடுஞ் செம் புற்றத்து ஒடுங்கு இரை முனையின்,புல் அரை இருப்பைத் தொள்ளை வான் பூப்பெருங் கை எண்கின் இருங் கிளை கவரும்அத்த நீள் இடைப் போகி, நன்றும்அரிது செய் விழுப் பொருள் எளிதினின் பெறினும்வாரேன் வாழி, என் நெஞ்சே! சேரலர்சுள்ளிஅம் பேரியாற்று வெண் நுரை கலங்க,யவனர் தந்த வினை மாண் நன் கலம்பொன்னொடு வந்து கறியொடு பெயரும்வளம் கெழு முசிறி ஆர்ப்பு எழ வளைஇ,அருஞ் சமம் கடந்து, படிமம் வவ்வியநெடு நல் யானை அடுபோர்ச் செழியன்கொடி நுடங்கு மறுகின் கூடற் குடாஅது,பல் பொறி மஞ்ஞை வெல் கொடி உயரிய,ஒடியா விழவின், நெடியோன் குன்றத்து,வண்டு பட நீடிய குண்டு சுனை நீலத்துஎதிர் மலர்ப் பிணையல் அன்ன இவள்அரி மதர் மழைக் கண் தெண் பனி கொளவே. A small foray into the drylands unfolds along with other fascinating voyages, as we listen to the man say these words to his heart, at a moment when it’s pressing him to part with the lady and go seek wealth: “Tiring of the comb mud, within the tall, red mound, raised with much effort by little, dull-hued termites, a bear with huge arms goes in search of the rough-trunked Mahua tree and steals its hollow, white flowers in the drylands. Traversing the winding paths herein, even if I were to attain the hard-to-get, good wealth with ease, I shan’t come with you, my heart! May you live long! Muddling the white-foamed, beautiful river called ‘Sulli Periyaaru’ in the domain of the Cheras, fine and well-etched boats of foreigners, arrive with gold and leave with pepper from the prosperous town of Musiri. Surrounding this town, creating a great uproar, waging war, the battle-worthy Chezhiyan, with a tall, fine elephant, captured the golden emblem of the city. His flag flutters high in the streets of his capital Koodal, and to the west of this city, up above, flutters a flag with a victorious mark of a many-specked peacock. In that peak of the Great One, filled with unceasing festivity, bees buzz around blue lotuses, blooming in the deep and wide springs herein. Akin to a garland woven with two blue lotuses from this place are her exquisite, rain-like eyes and leaving these to brim over with clear tears, I surely shan’t part away with you, O heart!” Let’s trace the path through this dreary domain, as seen by the man’s vision. He starts by talking about the drylands region, by bringing before our eyes, the familiar sight of a bear digging up termite comb and after having its fill, feeling discontent with it, and then venturing in the direction of the Mahua trees, to feast on its white flowers. The man says even if the wealth, which is sought out by traversing such harsh paths, something so impossible to obtain, were to be easily attainable by him, he has no thought of leaving, as nudged by his heart. Then, suddenly he leaves the drylands and transports us to a brimming river in the domain of the Cheras, to see how the waves are pushed right and left by well-etched ships arriving from foreign nations. The word used to describe these foreigners is ‘Yavanar’ and it could be a reference to the ‘Ionian Greeks’ or it could be a term for all foreign traders, be it from Rome or Egypt! Pointing to these ships, the man informs us that these bring great quantities of gold and leave with a barter of what they considered ‘Black Gold’ – Pepper, which grew bountifully in the mountains of this region. Many a historian has remarked how India was the ‘sink of precious metals’ in the ancient era, drawing the wealth from all over the world in exchange for its natural wealth of pepper. The man has mentioned all this not to give us a historic tour but to connect it to the Pandya King Chezhiyan’s siege and conquest of this city. From Musiri on the west coast, we traverse to King Chezhiyan’s capital of Koodal, also known as Madurai. Stopping not even at this wealthy city, the man continues to a hill to the west of this city, a pilgrimage site for a God, identified by his peacock flag. The reference most probably talks about God Murugan and his seat of Thiruparankundram. The reason why the man has brought us here is not to pay our respects at the holy site, but to gaze in awe at the picturesque scene of bees buzzing around blue lotuses in the springs of this hill. Finally, the man connects these blue lotuses to the lady’s eyes and concludes by declaring that it was impossible for him to leave in search of wealth, making those eyes of hers fill with tears. To summarise the long tale, the man is simply refusing to follow his heart’s nudge and go in search of wealth, for he doesn’t want to bring any sorrow to his beloved! The subtle element here is in presenting how the bear tires of one food and immed

In this episode, we perceive an alternate proposal of action, as depicted in Sangam Literary work, Aganaanooru 148, penned by Paranar. The verse is situated amidst the rocky paths of the ‘Kurinji’ or ‘Mountain landscape’ and describes an astonishing historic moment. பனைத் திரள் அன்ன பரு ஏர் எறுழ்த் தடக் கை,கொலைச் சினம் தவிரா மதனுடை முன்பின்,வண்டு படு கடாஅத்து, உயர் மருப்பு யானைதண் கமழ் சிலம்பின் மரம் படத் தொலைச்சி;உறு புலி உரறக் குத்தி; விறல் கடிந்து;சிறு தினைப் பெரும் புனம் வவ்வும் நாட!கடும் பரிக் குதிரை ஆஅய் எயினன்நெடுந் தேர் மிஞிலியொடு பொருது, களம் பட்டென,காணிய செல்லாக் கூகை நாணி,கடும் பகல் வழங்காதாஅங்கு, இடும்பைபெரிதால் அம்ம இவட்கே; அதனால்மாலை வருதல் வேண்டும் சோலைமுளை மேய் பெருங் களிறு வழங்கும்மலை முதல் அடுக்கத்த சிறு கல் ஆறே. In this little trip to the mountains, we get to hear the confidante say these words to the man, when he arrives to tryst with the lady by day: “Having a thick, beautiful, sturdy and curving trunk, akin to a palmyra tree, expressing a fierce strength with killer rage, flowing with bee-buzzing musth, and bearing upraised tusks, an elephant dashes and ruins a tree, in the cool and fragrant mountain slopes, pierces and overpowers a tiger that opposes it, and then snatches small millets in the huge fields of your land, O lord! When Aay Eyinan, the possessor of speedy horses, clashed with Mignili, the owner of tall chariots, and perished in the battlefield, unable to go visit him in the harsh time of day, an owl felt much shame. Even more than that owl’s suffering is hers, during the day. And so, you must come to that narrow, stone-filled path through the mountains, frequented by a huge elephant that comes to graze on bamboos in the grove, only in the evening hour!” Let’s tread those mountain paths at different times of the day and learn more! The confidante starts by describing the man’s mountain country, bringing into spotlight an elephant in rut, with a thick trunk and upraised tusks. This pachyderm is on a rampage, destroying a tree, most probably a Kino tree, no doubt, mistaking it for its arch enemy. Then, finding the real deal, it fights and kills a tiger, and then devours millets in the fields. After this animated portrait of a being in the man’s land, the confidante turns to history and describes an incident from the battle between two kings, Aay Eyinan and Mignili. In this clash, Aay Eyinan was killed, and at that moment, birds seemed to soar in the sky and shield Aay Eyinan from the harsh sun. The reason for this action of the birds is attributed to the nature of this king. Apparently, he was a great protector of birds, and at the moment of his death, the birds with their superior perception had arrived to pay their respects. Returning, the confidante continues by saying at that time when all the birds of this land arose to shield this bird-lover of a king, one bird was not able to come there, and that was an owl, and though it very much wanted to arrive there, owing to its inability to move about in the day, it remained where it was, filled with shame. Now, the confidante turns to the lady’s state and connects it to the angst-ridden owl, saying that the lady too is in a terrible position of being unable to see the man by day. This is possibly because of the soaring gossip in town about the lady’s relationship with the man. So, the confidante concludes by telling the man that he should choose the evening hour to come tryst with the lady, treading those narrow paths, traversed by huge, fearsome elephants, seeking bamboos to graze on! It’s a seemingly simple thought asking the man to not come by day but to come by night. However, concealed in that last line about dangerous elephants in his path, the confidante seems to be hinting that even a tryst by night would not be remain suitable and the best thing for the man to do would be to seek the lady’s hand in marriage. Even within that scene of the elephant thrashing about trees and tigers and then feasting on the millets, the confidante places a metaphor for how the man should put an end to the slander in town and then feast on the lady’s company. Leaving these concerns of that past moment aside, when we turn to that exquisite comparison of the lady’s suffering with an owl’s distress of being unable to visit that famous king in his moment of death, and perceive the kindness to birds that this king must have shown to evoke such a reaction, we can see how this oft-repeated portrait is streaked in the timeless hues of what’s best in humanity!

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Aganaanooru 147, penned by Avvaiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the aura of danger in this domain. ஓங்குமலைச் சிலம்பில் பிடவுடன் மலர்ந்தவேங்கை வெறித் தழை வேறு வகுத்தன்னஊன் பொதி அவிழாக் கோட்டு உகிர்க் குருளைமூன்று உடன் ஈன்ற முடங்கர் நிழத்த,துறுகல் விடர் அளைப் பிணவுப் பசி கூர்ந்தென,பொறி கிளர் உழுவைப் போழ் வாய் ஏற்றைஅறு கோட்டு உழை மான் ஆண் குரல் ஓர்க்கும்நெறி படு கவலை நிரம்பா நீளிடை,வெள்ளி வீதியைப் போல நன்றும்செலவு அயர்ந்திசினால் யானே; பல புலந்து,உண்ணா உயக்கமொடு உயிர் செலச் சாஅய்,தோளும் தொல் கவின் தொலைய, நாளும்பிரிந்தோர் பெயர்வுக்கு இரங்கி,மருந்து பிறிது இன்மையின், இருந்து வினைஇலனே! We witness a birth in our trip through this domain, as we listen to the lady say these words to the confidante, in response to her friend’s words about the man’s parting away: “In the slopes of the soaring hills, along with wild jasmine, the Kino tree’s bright flowers burst into bloom. As if bunches of these fragrant flowers have been grouped separately, three cubs, whose curving claws are still concealed by flesh, have been birthed by the female tiger, which stands languishing, in the shade of a corner, within a cave, amidst the boulders. Perceiving the hunger of this female, its mate with radiant specks and a huge mouth, lies in wait, intently listening to the voice of the male deer, with broken antlers, in those long and winding paths through the drylands. Akin to Velli Veethi, I wish to traverse these paths, lamenting a lot. Filled with the fatigue of starving, thinning away as if my life would leave any moment, losing the old beauty of my arms, suffering day after day because of his parting away, without any other cure, I know not what else to do!” Time to brave it all and tread the drylands path! The lady begins by describing this region, and to do that, she brings before our eyes a female tiger that has given birth to three cubs, and she places in parallel three bunches of the ‘Vengai’ tree’s bright yellow flowers, a connection oft-seen in Sangam literature. A moment to consider the choice of number three for that litter of cubs! My curiosity was piqued and I wanted to know how many cubs a tigress normally gives birth to, at a time. I learnt this figure ranged from 2 to 7, on the extreme, 2 to 4 normally, with 3 being the average number. Without the aid of modern censuses, our Sangam ancestors have zeroed in on this number, just with their observation! Returning, from the mother and the babies, the lady turns her attention to the father tiger, who understanding its mate’s tiredness and hunger, has gone hunting for a male deer in the mountains. Such are these paths filled with terror, the lady says, and yet, she says she wants to walk on these paths, in search of her beloved, just like the famous Velli Veethiyar, when she lost her husband. The lady concludes by saying as there is no other medicine for her affliction which makes her starve, thin away, and lose her beauty, this was the only thing she could think of doing! Here’s a unique lesson in healing oneself by finding a commonality with another person, who has walked the same stony path!

In this episode, we perceive a pointed refusal to entertain a request, as depicted in Sangam Literary work, Aganaanooru 146, penned by Uvarkannoor Pullankeeranaar. The verse is situated amidst the ponds and fields of the ‘Marutham’ or ‘Farmlands landscape’ and paints a portrait of rivalry in a rich town. வலி மிகு முன்பின் அண்ணல் ஏஎறுபனி மலர்ப் பொய்கைப் பகல் செல மறுகி,மடக் கண் எருமை மாண் நாகு தழீஇ,படப்பை நண்ணி பழனத்து அல்கும்கலி மகிழ் ஊரன் ஒலி மணி நெடுந் தேர்,ஒள் இழை மகளிர் சேரி, பல் நாள்இயங்கல் ஆனாதுஆயின்; வயங்கிழையார்கொல் அளியள்தானே எம் போல்மாயப் பரத்தன் வாய்மொழி நம்பி,வளி பொரத் துயல்வரும் தளி பொழி மலரின்கண்பனி ஆகத்து உறைப்ப, கண் பசந்து,ஆயமும் அயலும் மருள,தாய் ஓம்பு ஆய்நலம் வேண்டாதோளே? In this quick little trip to this lush landscape, we get to hear these words said by the lady to the bard, who has come as a messenger from the man, to resolve the lady’s ire over the man’s relationship with courtesans and help him re-enter his home: “The esteemed male buffalo, brimming with strength and sturdiness, wallows all day in the pond with dew-covered flowers, embraces a beautiful young female buffalo with naive eyes, and then approaches the village to stay in a field within the ecstatic town of the lord. As the sound of his tall chariot bells wasn’t heard for many days in the neighbourhood of women wearing radiant jewels, like me, believing that the words of that false philanderer was the truth, akin to a rain-soaked flower, swaying in the breeze, with tears moistening her chest, having eyes filled with pallor, worrying her friends and neighbours, she loses that fine beauty, nurtured by her mother. Whoever that maiden, wearing shining ornaments, may be, isn’t she to be pitied?” Let’s track that prosperous buffalo and learn more! The lady starts by describing the man’s town and do that, the familiar face of a male buffalo is etched by her. This buffalo, honoured with epithets, such as strong, sturdy and esteemed, is first seen playing about in the pond of flowers, then embracing a young female buffalo, and after all its exertions, heading to the village fields. Such a loaded description must have other meanings, for sure! Before we get to that, let’s turn back to the lady, who continues by saying the man’s chariot had not visited the community of courtesans for quite some time, and because of this, there was a young maiden, shedding tears like a rain-coated flower in a breeze, and then to the worry of all, who were near and dear to her, she seemed to be losing that fine beauty of hers. The lady concludes by saying that the poor girl deserves all their pity! In a nutshell, the answer to the bard’s question as to whether the man can come back to the house is a strict ‘no’. The lady seems to be telling the bard, ‘Go take the man to those courtesans, who are pining for him, thinking his words are so true, like I once did’. In that scene of the buffalo, the lady places an obvious metaphor for how her man seemed to be enjoying his days in the company of courtesans, seeking pleasures, and finally at night, he wants so dutifully return to his post at his home. The lady seems to put her foot down and say, ‘I’m not letting this happen. Let him go fool someone else’. Apart from these regular tussles in this land of plenty, the thing that always amuses me is how these Sangam folks had no qualms seeing their lord and leader as a buffalo!

In this episode, we perceive the remorse of a mother, as depicted in Sangam Literary work, Aganaanooru 145, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a contrast of the dreariness of this domain and the prosperity of the lady’s home. வேர் முழுது உலறி நின்ற புழற்கால்,தேர் மணி இசையின் சிள்வீடு ஆர்க்கும்,வற்றல் மரத்த பொற் தலை ஓதிவெயிற் கவின் இழந்த வைப்பின் பையுள் கொள,நுண்ணிதின் நிவக்கும் வெண் ஞெமை வியன் காட்டுஆள் இல் அத்தத்து, அளியள் அவனொடுவாள்வரி பொருத புண் கூர் யானைபுகர் சிதை முகத்த குருதி வார,உயர் சிமை நெடுங் கோட்டு உரும் என முழங்கும்”அருஞ் சுரம் இறந்தனள்” என்ப பெருஞ் சீர்அன்னி குறுக்கைப் பறந்தலை, திதியன்தொல் நிலை முழு முதல் துமியப் பண்ணியநன்னர் மெல் இணர்ப் புன்னை போல,கடு நவைப் படீஇயர்மாதோ களி மயில்குஞ்சரக் குரல குருகோடு ஆலும்,துஞ்சா முழவின், துய்த்து இயல் வாழ்க்கை,கூழுடைத் தந்தை இடனுடை வரைப்பின்,ஊழ் அடி ஒதுங்கினும் உயங்கும் ஐம் பாற்சிறு பல் கூந்தற் போது பிடித்து அருளாது,எறி கோல் சிதைய நூறவும் சிறுபுறம்,”எனக்கு உரித்து” என்னாள், நின்ற என்அமர்க் கண் அஞ்ஞையை அலைத்த கையே! A deep dive into this domain, as we listen to the lady’s mother say these words, at the juncture she learns of her daughter’s elopement with her man: “In the hollow trunk of a tree that has dried up from root to tip, crickets resound with the sound of chariot bells. Upon this parched tree, standing amidst a place that has lost its beauty owing to the scorching heat, a golden-headed lizard, crawls up with much suffering, in those wide spaces of the uninhabited drylands, filled with axle-wood trees. After fighting with the tiger, having sword-like stripes, the wounded elephant, with blood dripping from its crushed, spotted face, trumpets akin to thunder that resounds in the soaring peaks of tall hills. To such a formidable drylands, my poor girl has left with him, they say! In the spacious mansion of her prosperous father, where ecstatic peacocks and birds with elephantine voices, call aloud, and drums roar ceaselessly, living a life of plenty and comfort, she would feel sorrowful even if she were to miss a step and stumble. Catching hold of the garland tied tightly to her thick tresses with five-part braids, without any grace, shattering the stick, when I struck again and again, acting as if her little back was not even hers, she stood still, that daughter of mine with exquisite eyes. May these hands that made her suffer so, become utterly ruined like the ‘Laurelwood tree’ with fine and soft flower clusters, belonging to Thithiyan, when it was chopped at its trunk of many years, by the famous ‘Anni’ at the ‘Kurukkai’ battlefield!” Let’s brave the parched air of the drylands and walk on! Mother starts by describing this domain, and to do that, she brings before us, a seared tree, which seems not to have a drop of water right from its root to the tip of its topmost branch. From inside the hollows of this tree, crickets resound and a reptile, possibly the Indian golden gecko, treads upon it, with much languish. There’s sweltering heat everywhere, and not a sign of any human around. Here, after a clash with a tiger, a bleeding elephant walks about, roaring like the thunder in the mountains, mother continues. She then connects this place to her situation saying this is where her daughter had left to, with her beloved. Then, from these impossible places, she turns to describe the lady’s home, talking about her rich father, the wide mansion, where peacocks and birds, which trumpet like elephants, are to be found. A moment to ponder on what bird this might be! On searching, I learnt that it could be the Great Hornbill that has a unique, loud voice, somewhat close to an elephant’s trumpet. Possibly, the mansion had hornbills and peacocks brought in from the mountains to adorn it! Returning, mother continues by talking about how drums resound ceaselessly, possibly indicating this was the house of some lord or king, always winning at battles. Mother says that the lady lived such a comfortable life that her only pain or suffering would come, when she happened to stumble a little when walking about. What a blessed teenager to have nothing to worry about, but a misplaced foot! Getting back on track, after these rendition of the pleasant past of the lady, mother turns her focus to something she did recently. She seems to have struck the lady so fiercely that the stick broke, but still her girl stood there as if her back did not even belong to her, unflinching, not displaying any emotion. Now, mother realises that the lady had made up her mind to leave her home with her man and that’s why she could face that, with such calm. Mother is overcome with guilt at what she has done and wishes that her hands fall to ruin, just like Thithiyan’s ‘Punnai’ tree, felled by his enemy Anni, in the ‘Kurukkai’ battlefield! Seeing with our modern eyes, it is indeed truly shocking to read that a moth

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

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

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

In this episode, we perceive the positive attitude of a lady, as portrayed in Sangam Literary work, Aganaanooru 141, penned by Nakeerar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a dual portrait of an ancient Tamil festival and a Chozha town’s prosperity. அம்ம வாழி, தோழி! கைம்மிகக்கனவும் கங்குல்தோறு இனிய; நனவும்புனை வினை நல் இல் புள்ளும் பாங்கின;நெஞ்சும் நனிபுகன்று உறையும்; எஞ்சாதுஉலகு தொழில் உலந்து, நாஞ்சில் துஞ்சி,மழை கால்நீங்கிய மாக விசும்பில்குறு முயல் மறு நிறம் கிளர, மதி நிறைந்து,அறுமீன் சேரும் அகல் இருள் நடு நாள்;மறுகு விளக்குறுத்து, மாலை தூக்கி,பழ விறல் மூதூர்ப் பலருடன் துவன்றியவிழவு உடன் அயர, வருகதில் அம்ம! துவரப் புலர்ந்து தூ மலர் கஞலி,தகரம் நாறும் தண் நறுங் கதுப்பின்புது மண மகடூஉ அயினிய கடி நகர்ப்பல் கோட்டு அடுப்பில் பால் உலை இரீஇ,கூழைக் கூந்தற் குறுந் தொடி மகளிர்பெருஞ் செய் நெல்லின் வாங்குகதிர் முறித்து,பாசவல் இடிக்கும் இருங் காழ் உலக்கைக்கடிது இடி வெரீஇய கமஞ்சூல் வெண் குருகுதீம் குலை வாழை ஓங்கு மடல் இராது;நெடுங் கால் மாஅத்துக் குறும் பறை பயிற்றும்செல் குடி நிறுத்த பெரும் பெயர்க் கரிகால்வெல் போர்ச் சோழன் இடையாற்று அன்னநல் இசை வெறுக்கை தருமார், பல் பொறிப்புலிக் கேழ் உற்ற பூவிடைப் பெருஞ் சினைநரந்த நறும் பூ நாள் மலர் உதிர,கலை பாய்ந்து உகளும், கல் சேர் வேங்கை,தேம் கமழ் நெடு வரைப் பிறங்கியவேங்கட வைப்பிற் சுரன் இறந்தோரே. In this long trip, we get to traverse not only this harsh domain, but also a prosperous ancient town, as we listen to the lady say these words to her confidante, when the confidante worries that the lady will not be able to bear with the parting of the man, who has left in search of wealth: “Listen, my friend! May you live long! Every night, the dreams are exceptionally pleasant; In real life too, in the well-etched, fine mansion, bird omens that are heard sound good; As for the heart, it too rests in a state of calm love; At the time when the mighty profession of the world diminishes and ploughs fall asleep, in that season when pouring rainclouds have departed with the wind, and in the sky, the little hare glows in a dark hue, as the full moon reaches its favourite star, in the midnight hour, amidst the expanding darkness, when all the streets are lit up and adorned with high garlands in our fertile and prosperous ancient town, at this time, hope he will return to relish the festivities, celebrated by the gathering of many! Adorning fully blossomed perfect flowers, along with sandalwood paste, on her cool and fragrant tresses, the new bride, boils milk on the many-sided stove in that rich mansion, filled with plentiful food, and then along with maiden, wearing small bangles and having short hair, pounds on paddy grains, harvested from bent stalks in the huge field, to make flattened rice. Hearing the din of this dark-stemmed pestle, startled by the loud and explosive sounds, a pregnant white bird, takes a short flight from the wide branch of a plantain tree, with sweet fruit clusters, to the tall-trunked mango tree, in the town of Idaiyaaru, ruled by the famous Chozha King Karikaalan, who has the ability to restore even a ruined town. Wanting to bring back prestigious wealth, akin to this town, he has left to the drylands, where making fragrant blooms on the huge branches of the tree, with flowers in the hue of the many-striped tiger, namely the Kino tree, soaring near a boulder, a male monkey leaps and frolics, in the honey-fragrant, tall hills of the Venkata mountain ranges!” Let’s explore the many roads leading to diverse destinations in this verse! The lady starts by talking about how her dreams are filled with pleasant scenes and even in her waking hours, all she hears are good omens from the birds. Owing to all this, her heart seems to be in a state of calm. What a refreshing change from the usual lamenting lady, who cries and cries about her sleepless eyes, thinning arms and pining heart, whom we have encountered in song after song from this domain. Next, the lady talks about a time when the work of farming takes a break, a time when the clouds are done pouring, and are on their way out. To etch another element, she talks about this, as the time when the little rabbit glows bright. On reading further, we understand that this little rabbit is the one we see in the moon, and the lady wants to say it’s the time of full moon, and so that rabbit is all the more vivid. It’s also a time, when the moon traverses and meets with a particular star, identified as ‘Karthigai’ or ‘Pleiades star cluster’. At this time, lights are lit up and garlands adorn their streets, the lady details, and she makes a wish that her man returns at least by this time, to partake in these grand festivities, when people gather together. A moment to note how the festival of ‘Karthigai’, celebrated even today in Tamilnadu, by the lighting of lamps, is an ancient custom, originating in the Sangam era. After this, the lady talks about two aspects in connection with the man. One characterises the wea

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

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

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

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

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

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

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

In this episode, we listen to a recollection of a past moment, as depicted in Sangam Literary work, Aganaanooru 133, penned by Uraiyoor Maruthuvan Damotharanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents vivid images of elements of nature and weather. குன்றி அன்ன கண்ண, குரூஉ மயிர்,புன் தாள், வெள்ளெலி மோவாய் ஏற்றைசெம் பரல் முரம்பில் சிதர்ந்த பூழி,நல் நாள் வேங்கை வீ நன்கனம் வரிப்ப,கார் தலைமணந்த பைம் புதற் புறவின்,வில் எறி பஞ்சியின் வெண் மழை தவழும்கொல்லை இதைய குறும் பொறை மருங்கில்,கரி பரந்தன்ன காயாஞ் செம்மலொடுஎரி பரந்தன்ன இலமலர் விரைஇ,பூங் கலுழ் சுமந்த தீம் புனற் கான் யாற்றுவான் கொள் தூவல் வளி தர உண்கும்;எம்மொடு வருதல் வல்லையோ மற்று?’ எனக்கொன் ஒன்று வினவினர்மன்னே தோழி!இதல் முள் ஒப்பின் முகை முதிர் வெட்சிகொல் புனக் குருந்தொடு கல் அறைத் தாஅம்மிளை நாட்டு அத்தத்து ஈர்ஞ் சுவற் கலித்தவரி மரற் கறிக்கும் மடப் பிணைத்திரிமருப்பு இரலைய காடு இறந்தோரே. In this trip to the drylands, we perceive interesting scenes, as we listen to the lady say these words to her confidante, who worries that the lady will not be able to bear the man’s separation, as he left in search of wealth: “The bearded, male white rat, with eyes, akin to rosary peas, hair with a rich hue, and short legs, kicks up dust on the rough land, filled with red pebbles, upon which the auspicious Kino flowers fall, making it appear like a ‘Veri ritual’ arena. Above such a fresh forest space, which the rains have graced, akin to carded cotton, white clouds crawl across. In these cleared forests on the side of small hills, as if charcoal was scattered, ironwood flowers bloom, and as if fire was spreading, silk cotton flowers bloom. Bearing the nectar of these flowers, flows the sweet waters of the wild river, which the sky snatches, and then renders as a sweet drizzle in the wind. ‘Accepting this as your food, are you capable of coming with me?’, he asked with fear then, my friend! He, who parted away to that drylands jungle, where the mature buds of the jungle flame, appearing akin to claws of quails, lie fallen down along with wild lime flowers from cleared forests, on the rocky surfaces of the drylands country in the ‘Milai Naadu’, where a male deer with twisted antlers unites with its naive mate, which feeds on the lined hemp, flourishing in the wet wastelands!” Time to take in the life throbbing in this domain! The lady starts by observing the actions of a white rat, which is described so vividly as having the protruding red eyes, appearing like rosary peas. This little animal is kicking up a huge dust in that land, where Kino flowers have fallen. A moment to observe that these Kino flowers are marked by the adjective ‘auspicious’ to indicate that this is the season of marriages. Perhaps, this separation had happened before the lady’s wedding to the man, and she remarks how there seems to be pressure at home to get married. Returning, we find the lady comparing this red earth on which Kino flowers are fallen to a ‘Veri’ ritual ground, possibly hinting at such occurrences at her own home. Next, from the ground below, the lady zooms to the sky above, where the white clouds appear akin to carded cotton. Why because they have done their task of pouring the rains on the forests, where the dark blue ironwood flowers are blooming like charcoal and the red flowers of the silk-cotton are blooming like fire. Now, since the rains have poured, rivers are brimming over with floods, which snatches these fallen flowers. From these gushing rivers, the skies pick up the nectar of these flowers and splash as drizzle, the lady continues. Now, she connects these elements and concludes by saying, the man had said these words to her, and then, turned to her and asked if it was possible for the lady to walk on with him, eating this drizzle from the skies as her only food, with much concern, and then he left to the drylands, where the jungle flame flowers and wild lime flowers lie scattered on the rocks, and where the male deer seeks out its naive mate, which had been feeding on the wild hemp, and unites together. What we have to infer from this song is that the lady understands and appreciates the man’s concern in taking her along with him on his journey! She perceives his true love and believes he will return to her, which is also echoed in the scene of the male deer uniting with its mate, a metaphor for the lady’s own happy union with the man. Through this, the lady hopes to reassure her friend and wait with patience, trusting in the love of her beloved!

In this episode, we relish scenes of nature’s plenty, as depicted in Sangam Literary work, Aganaanooru 132, penned by Thayankannanaar. The verse is situated amidst the bee-buzzing blooms of the ‘Kurinji’ or ‘Mountain landscape’ and puts forth a persuasive plea. ஏனலும் இறங்கு குரல் இறுத்தன; நோய் மலிந்து,ஆய்கவின் தொலைந்த, இவள் நுதலும் நோக்கிஏதில மொழியும், இவ் ஊரும்; ஆகலின்,களிற்று முகம் திறந்த கவுளுடைப் பகழி,வால் நிணப் புகவின் கானவர் தங்கைஅம் பணை மென் தோள் ஆய் இதழ் மழைக் கண்ஒல்கு இயற் கொடிச்சியை நல்கினைஆயின்,கொண்டனை சென்மோ நுண் பூண் மார்ப!துளிதலைத் தலைஇய சாரல் நளி சுனைக்கூம்பு முகை அவிழ்த்த குறுஞ் சிறைப் பறவைவேங்கை விரி இணர் ஊதி, காந்தள்தேனுடைக் குவிகுலைத் துஞ்சி, யானைஇருங் கவுட் கடாஅம் கனவும்,பெருங் கல் வேலி, நும் உறைவு இன் ஊர்க்கே. In this trip to the mountains, there’s plenty to feast our senses on, as we listen to the confidante say these words to the man, after she brings over the lady for a tryst with him: “In the millet fields, the bent crops have been harvested; As her affliction soars, her forehead has lost its old beauty; Seeing that, this town too speaks strange words; And so, please take away this sister of hunters, who feed on white meat, and possess arrows that can pierce the cheek of a male elephant; this mountain maiden, who has beautiful, bamboo-like arms, and exquisite petals of rain-like eyes, a swaying gait, and leave to that sweet town you reside in, surrounded by the fence of great hills, where because the skies have showered their raindrops, springs are brimming over with water, and here a small-winged bee, after opening a closed bud, buzzes around the pollen of the blooming golden shower flowers, and then sleeps in the honey-filled, bunched clusters of the flame-lily, and dreams about tasting the musth flowing down the dark cheeks of an elephant!” Time to swim in the springs and take a trek through these hills! The confidante starts by giving the news of the region, talking about how the harvest season is done with, implying that the lady will not be coming anymore for guarding the millet fields and chasing away parrots. Next, because of the interruptions in her tryst with the man, the lady’s forehead seems to be shedding its old beauty, the confidante mentions. She then relates owing to that, the village is abuzz with gossip about the lady. Then, she turns to describe her friend, the lady, as a sister of hunters, who like to feed on white fatty meat and who have such sharp arrows that these can pierce the thick cheeks of elephants. From her relatives, the confidante turns to shower praise on the lady and describes her as one have beautiful arms and eyes and an adorable manner of walking. It’s now she comes to the point and asks the man to take the lady and leave to his own town amidst the hills, and ends with a description of that place, lushly filled with overflowing springs and blooming flowers, where a bee takes up the task of opening buds, then moves on to the golden shower flowers, that are spreading out their petals, another indication that the harvest season is over and the marriage season was here, and that busy bee then finds its way to the bed of flame-lily clusters, and here, it lies and dreams of savouring the musth liquid, pouring from the cheek of a male elephant in rut! The confidante is simply presenting her case of ‘Marry her, marry her’ to make the man move away from temporary trysting with the lady and turn to pursuing a permanent union. In that scene of the bee that hops from flower to flower and dreams of other delights, the confidante conceals a metaphor and a criticism for the man’s focus on pursuing pleasures with the lady, instead of finding lasting joy. Here, the confidante could be pressing the man to go for elopement, when she’s talking about taking the lady away or the formal route of seeking the lady’s hand from her kith and kin. The formidable and fierce nature of the lady’s family is depicted in that description of sharp arrows. Thus, we find in a simple song on relationships, intricate details of the natural delights that excite not only the bee, but also us, and make us dream about tasting the beauty of that pristine past!

In this episode, we perceive a man’s dilemma in choosing between two worthy pursuits, as portrayed in Sangam Literary work, Aganaanooru 131, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches events and scenes from this domain. ‘விசும்பு உற நிவந்த மாத் தாள் இகணைப்பசுங் கேழ் மெல் இலை அருகு நெறித்தன்ன,வண்டு படுபு இருளிய, தாழ் இருங் கூந்தல்சுரும்பு உண விரிந்த பெருந் தண் கோதைஇவளினும் சிறந்தன்று, ஈதல் நமக்கு’ எனவீளை அம்பின் விழுத் தொடை மழவர்நாள் ஆ உய்த்த நாம வெஞ் சுரத்துநடை மெலிந்து ஒழிந்த சேண் படர் கன்றின்கடைமணி உகுநீர் துடைத்த ஆடவர்பெயரும் பீடும் எழுதி, அதர்தொறும்பீலி சூட்டிய பிறங்குநிலை நடுகல்வேல் ஊன்று பலகை வேற்று முனை கடுக்கும்வெருவரு தகுந கானம், ‘நம்மொடுவருக’ என்னுதிஆயின்,வாரேன்; நெஞ்சம்! வாய்க்க நின் வினையே. We get to see many interesting aspects of the drylands, as we listen to the man say these words to his heart: “As if the green-hued, soft leaves of the dark-trunked ‘Ikanai’ tree, which soars to the skies, are densely placed together, are her low-hanging dark tresses, swarming with bees. Thinking that more than this maiden, wearing a huge, moist garland, with blossoms wide open and inviting bees, charity is important, you say to me, ‘Come on with me, to the formidable, hot drylands, filled with fear-evoking jungles, appearing akin to an enemy king’s battlefield, dotted with spears and shields, filled with radiant hero stones amidst bushes, and which are adorned with peacock feathers, and inscribed with the name and fame of those men, who wiped away the tears flowing down the eyes of calves, which were unable to walk for a long distance, at a time when robbers with whistling arrows that fail not, had stolen the mother cows!’. I shan’t come with you, O heart! May your mission succeed!” Time to walk through those arid spaces filled with monuments of valour. The man starts by talking about the lady’s beauty, and to do that, he mentions her thick and long hair, which resembles the leaves of an unidentified tree named ‘Ikanai’, which is said to be sky-soaring and having a black trunk. Since many candidates suit the role, perhaps the tree has remain unidentified. Another subtle element is how the colour dark green of the leaves and the colour black of the lady’s tresses are seen as one and the same in this culture. Returning, we find the man mentioning how bees buzz around those beautiful tresses of the lady and also around the garlands she wears. The man now reveals why he has talked at length about the lady, when he turns to his heart and says, ‘You have been insisting to me that the joy obtained from the lady’s company is not as important as my duty of charity’. What is this duty of charity and why should be in conflict with the lady? The man then goes on to say his heart has been telling him this opinion and nudging him to travel to the fearsome drylands, which he then goes on to talk about as a place, which appears like an enemy king’s battlefield, for spears and shields are decked around memorial stones, tied with peacock feathers. Looking closely at these memorial stones, we can read the glorious things written about certain warriors, who are said to have wiped the tears of calves, left behind, when their mother cows where stolen by the bow-wielding highway robbers with unfailing arrows. Of course, wiping the tears could actually mean the physical wiping away of tears of these calves, crying for their mothers, but here, it most probably refers to how those warriors had gone in pursuit of the highway robbers, and recovered the stolen cows, victoriously, while some died in the mission, and thus got glorified on those hero stones. The man concludes by replying to his heart saying that he will not be joining it in its mission to earn wealth and wishes good luck to his heart in its journey. In essence, the man is separating himself from his heart to get some perspective as he stands at the crossroads. On one side is his love and the joy of the lady’s presence, and on the other side, is his sense of duty, which is to give unto others, for which he needs wealth, and that meant, leaving the lady. Here, the man seems to choose the side of love, and yet, he wishes well to his heart to succeed in its mission. So, it’s an open-ended conclusion, telling us the man could have remained at home or he could have followed his heart, for where can the heart go, if we don’t?

In this episode, we listen to a strong rebuttal to a reprimand, as depicted in Sangam Literary work, Aganaanooru 130, penned by Venkannanaar. The verse is situated amidst the fragrant pandanus trees of the ‘Neythal’ or ‘Coastal landscape’ and showers high praise on a land and a lady. அம்ம வாழி, கேளிர்! முன் நின்றுகண்டனிர்ஆயின், கழறலிர்மன்னோநுண் தாது பொதிந்த செங் காற் கொழு முகைமுண்டகம் கெழீஇய மோட்டு மணல் அடைகரை,பேஎய்த் தலைய பிணர் அரைத் தாழைஎயிறுடை நெடுந் தோடு காப்ப, பல உடன்வயிறுடைப் போது வாலிதின் விரீஇ,புலவுப் பொருது அழித்த பூ நாறு பரப்பின்இவர் திரை தந்த ஈர்ங் கதிர் முத்தம்கவர் நடைப் புரவி கால் வடுத் தபுக்கும்நல் தேர் வழுதி கொற்கை முன் துறைவண்டு வாய் திறந்த வாங்குகழி நெய்தற்போது புறங்கொடுத்த உண்கண்மாதர் வாள் முகம் மதைஇய நோக்கே. Another crisp trip to the seashore, where we get to relish the space with all our senses, as we listen to this unique situation, of a man, replying to the words of his friend, who admonishes him for his recent behaviour: “Listen, may you live long, my dear friend! The red-stemmed fleshy bud of the water thorn, filled with fine pollen, flourishes on the sand mounds of the shore, near a pandanus tree, with a rough trunk, branches looking like heads of ghosts, long leaves with thorns, akin to teeth protecting them, and flowers, with deep cores, spreading out with purity, waging war against the scent of flesh, and emerging victorious by spreading the fragrance of the flowers in that space, where soaring waves bring along moist and radiant pearls, which leaves scars on the feet of horses with an alluring trot in Korkai, ruled by the Pandya King Vazhuthi, who owns fine chariots many. The bee-buzzing blue lotus, blooming in the shores of this city, by the curving backwaters, would pale in comparison before the kohl-streaked eyes of her exquisite, shining face. Had you stood before and seen her divine gaze, you wouldn’t rebuke me so!” Let’s take a breezy walk on those ancient shores, brimming with flowers and bees, and learn more! The man starts to respond to the words of his friend by first blessing him. It doesn’t matter if the other had been scolding him. It’s the culture that makes the speaker bless even the one, who happens to be speaking against them! Then, the man launches into a lengthy description of a seashore, where we see water-thorn flowers blooming, pandanus trees, which are painted with words, fighting against the reeking odours of the sea with their fragrant flowers, also waves bringing along pearls and scattering these on the shore, which then goes on to leave imprints on the feet of trotting horses. We learn that this naturally prosperous place is none other than the world famous Korkai, the capital of the Pandya King Vazhuthi, renowned for the fine chariots he possesses. The man has taken us along to that distant shore, only to point out to us the exquisite blue lotuses blooming there. He then connects these flowers to the eyes of his beloved, saying those flowers would bow down in shame before the lustre of her eyes, and concludes by telling his friend that had he seen the shining face of the lady, standing before her, he wouldn’t be scolding the man so, for his behaviour, seemingly lacking in honour! Thus we understand it’s a friend who has been telling the man, ‘Bro, you are not yourself. Why are you lowering yourself so, before a mere slip of a girl? Aren’t you a worthy leader?’ and so on and so forth. The man arms himself with the sword of the lady’s beauty, and quells this dissent of his friend, saying ‘She is so worthy of all that you accuse me of doing!’. A sweet song on the timeless theme of defending love for a beloved before a concerned friend!

In this episode, we perceive the reasons outlined for a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 129, penned by Kudavayil Keeraththanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays various scenes in this harsh domain. ”உள்ளல் வேண்டும் ஒழிந்த பின்” எனநள்ளென் கங்குல் நடுங்கு துணை ஆயவர்நின் மறந்து உறைதல் யாவது? ”புல் மறைந்துஅலங்கல் வான் கழை உதிர்நெல் நோக்கி,கலை பிணை விளிக்கும் கானத்து ஆங்கண்,கல் சேர்பு இருந்த கதுவாய்க் குரம்பைத்தாழிமுதற் கலித்த கோழிலைப் பருத்திப்பொதி வயிற்று இளங் காய் பேடை ஊட்டி,போகில் பிளந்திட்ட பொங்கல் வெண் காழ்நல்கூர் பெண்டிர் அல்கற் கூட்டும்கலங்குமுனைச் சீறூர் கை தலைவைப்ப,கொழுப்பு ஆ தின்ற கூர்ம் படை மழவர்,செருப்புடை அடியர், தெண் சுனை மண்டும்அருஞ் சுரம் அரியஅல்ல; வார் கோல்திருந்து இழைப் பணைத் தோள், தேன் நாறு கதுப்பின்,குவளை உண்கண், இவளொடு செலற்கு” எனநெஞ்சு வாய் அவிழ்ந்தனர் காதலர்அம் சில் ஓதி ஆயிழை! நமக்கே. Back to the drylands and we get to meet the people and animals inhabiting this space, as we listen to the confidante render these words to the lady, as the man continues to remain parted away, after leaving in search of wealth: “Declaring with anxiety, ‘I will surely end up thinking with lament, about her after parting away’, the one who was your companion in the darkness of the night trembled. As the grass was left no more, looking at the shed grains of the swaying bamboo, the male deer calls out to its female in the jungle, where in a dilapidated hut, amidst a rocky surrounding, near a big urn, the thick-leaved cotton plant flourishes. Taking the unripe fruit of the cotton plant, with a bulging belly, a bird splits it open to feed its mate, and throws the furry white seeds, which are collected by impoverished women, to be eaten later, in that little hamlet, near a raging battlefield. Making this hamlet shout out in alarm, robbers, wearing footwear and holding sharp spears, steal and feed on their fat cows and drink from the clear springs in the formidable wastelands. ’Such places are harsh for the maiden, wearing neat rows of well-etched ornaments, having bamboo-like arms, honey-fragrant tresses, and kohl-streaked eyes, akin to blue lilies, to traverse with me’, your lover had said, expressing the truth in his heart to us, O maiden wearing exquisite ornaments and having beautiful, soft hair. How is it possible for him to forget you and stay away?” Time to brave the dangers of the drylands and explore more! The confidante starts by recollecting the words the man said before he left predicting that for sure he’s going to think about the lady and worry endlessly after he leaves. This is followed by a lengthy description of the drylands, where first we see a male deer calling out to its mate the moment it glimpses a few shed grains of the swaying bamboo, as there’s no more grass left for them to graze on. Then the focus shifts to a broken-down old hut, in a rocky space, where a cotton plant is sprouting near an urn, and a bird nabs the unripe fruit, pecks it open and feeds its mate, throwing away the white seeds. These are then collected by poor women, who have nothing else to eat in that little hamlet, which is in such a ruined state, because it’s just seen a battle break out near it. The troubles of this hamlet are not over, and any people left behind are left to scream in agony by the robbers, who come there to steal the cattle and feed on its meat, and then drink up cool waters. Two interesting facts are mentioned about this ancient tribe of people, in that they used to eat the meat of cattle, and two, their footwear is pointedly referred to, telling us that this is no commonplace occurrence. Perhaps it was an object of necessity for these robbers, when traversing those dry and harsh wastelands! Returning, we find the confidante revealing that it was the man, who has been narrating this long description of the drylands space, only to say such a domain would be hard for the delicate lady to cross along with him. She then concludes with the pointed question as to how the man, who had thought with so much care and concern, for the lady, could possibly stay away without returning. Words of consolation from this darling friend again! The subtle highlight in this narrative appears in how, be it in the depiction of the deer calling its doe or the bird feeding its hen, the care of the male towards its mate shines so brightly, letting the confidante dip her brush in the hues of these expressions, and paint the streaks of the man’s love and care on the lady’s heart!

In this episode, we listen to the beat of an anxious heart, as depicted in Sangam Literary work, Aganaanooru 128, penned by Kabilar. The verse is situated amidst the dark and rugged paths of the ‘Kurinji’ or ‘Mountain Landscape’ and presents thoughtful words to change the course of another. மன்று பாடு அவிந்து மனை மடிந்தன்றே;கொன்றோரன்ன கொடுமையோடு இன்றேயாமம் கொள வரின் கனைஇ காமம்கடலினும் உரைஇ, கரை பொழியும்மே.எவன்கொல் வாழி, தோழி! மயங்கிஇன்னம் ஆகவும், நன்னர் நெஞ்சம்என்னொடும் நின்னொடும் சூழாது, கைம்மிக்கு,இறும்பு பட்டு இருளிய இட்டு அருஞ் சிலம்பில்குறுஞ் சுனைக் குவளை வண்டு படச் சூடி,கான நாடன் வரூஉம், யானைக்கயிற்றுப் புறத்தன்ன, கல்மிசைச் சிறு நெறி,மாரி வானம் தலைஇ நீர் வார்பு,இட்டு அருங் கண்ண படுகுழி இயவின்,இருளிடை மிதிப்புழி நோக்கி, அவர்தளர்அடி தாங்கிய சென்றது, இன்றே? In this trip to the mountains, we get to closely follow someone in the middle of the night, even as we hear the lady say these words to her confidante, as her man listens nearby: “The uproar of the village common spaces has diminished and the houses therein are now at rest; When the midnight hour arrives today with the cruelty of a killer, my passion would swell and spread more than the sea, crossing the bounds of the shore. Why is it, my friend, may you live long, when we are here in this confused state, my good heart, without consulting either with me or you, leaves my control, and flies away to that little forest, covered in darkness, in that inaccessible mountain slope, where wearing the bee-buzzing blue lily, blooming in the little spring, the man of the mountains, filled with jungles, comes walking on that stone-filled, small path, akin to an elephant’s back with a rope’s imprint, where the rainy season’s sky has ended its downpour and parted away, causing the land be filled with pits and holes, and appear formidable to cross across, and that heart of mine now stands looking at how he takes step after step in that dark path, waiting to bear his feet, whenever they happen to stumble?” Ready for the mountain trek at night? Here we go. The lady starts be remarking how their bustling village full of chatter was now in a state of nil volume, and also, the people and houses entire seemed to be fast asleep. She talks about how the midnight hour was fast approaching, predicting that would be the time when her love would surge like the sea and break all bounds. Turning to her friend, as if in wonderment, she talks about how when this is her state, not minding the swirling confusion within, her heart decides to do something on its own accord, without bothering to check either with the lady or the confidante. That something is the way the heart decides to take off and fly to that narrow path in the mountains, where her lover comes walking, wearing a garland of blue-lilies from the little spring. It’s not only dark, but the rainy season having just done its work and parted, the roads are filled with pits many, the lady details. She concludes by remarking how astonishing it is that her heart was there with the man, waiting as he took step after step in the dark, intending to catch him if he were to stumble and fall! The lady’s heart seems not to be bothered about how the lady was suffering with passion and confusion in the man’s absence, and cared only about the welfare of her man, braving the dark and dangerous trek! These words are an attempt to make the man understand the anxiety the lady faces as she waits for him to arrive for their tryst and nudge him into choosing the well-lit, comfortable path of a permanent union with her. Going beyond this transient context, these words do reflect the timeless yearning of a person in love, caring about the welfare of their beloved above all else!

In this episode, we perceive a persuasive promise, as portrayed in Sangam Literary work, Aganaanooru 127, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches a noble portrait of the man. இலங்கு வளை நெகிழச் சாஅய், அல்கலும்,கலங்குஅஞர் உழந்து, நாம் இவண் ஒழியவலம் படு முரசிற் சேரலாதன்முந்நீர் ஓட்டிக் கடம்பு அறுத்து, இமயத்துமுன்னோர் மருள வணங்குவில் பொறித்து,நல் நகர் மரந்தை முற்றத்து ஒன்னார்பணி திறை தந்த பாடுசால் நன்கலம்பொன்செய் பாவை வயிரமொடு ஆம்பல்ஒன்று வாய் நிறையக் குவைஇ, அன்று அவண்நிலம் தினத் துறந்த நிதியத்து அன்னஒரு நாள் ஒரு பகற் பெறினும், வழிநாள்தங்கலர் வாழி, தோழி! செங் கோற்கருங் கால் மராத்து வாஅல் மெல் இணர்சுரிந்து வணர் பித்தை பொலியச் சூடி,கல்லா மழவர் வில் இடம் தழீஇ,வருநர்ப் பார்க்கும் வெருவரு கவலைமொழி பெயர் தேஎத்தர் ஆயினும்,பழி தீர் காதலர் சென்ற நாட்டே. We not only travel to the drylands but also get to visit the capital city of a famous king, in this instance, as we hear the lady’s confidante say these words to the lady, at a time when the man continues to remain parted away: “Leaving us to suffer with sorrow and angst day after day, making you lose your health, as your shining bangles slip away, your flawless lover, who parted away to that faraway country, where other languages are spoken, and where wearing the soft, white flower clusters of the black-trunked, red-branched burflower tree, on their thick, curly hair, adorning it, illiterate highway robbers, holding on to a bow on their sides, keep a lookout for wayfarers, in those fear-evoking paths, even if he were to obtain the fine jewels, golden statues and diamonds, which were offered as tribute in the centre of the fine city of Maranthai, by the enemies of the great Cheralathan, who owns victorious battle drums, and who sailed the oceans to sever the sacred burflower tree of his enemies, and akin to his ancestors, imprinted their clan mark of the curving bow in the Himalayas; even if that great wealth were to be heaped on an immeasurable extent of land, spread out as if it was left behind for the land to feast on; even if your lover were to get all this in one day, one hour, he shall not stay back for another day, my friend, may you live long!” Let’s catch a glimpse of the flower-clad highway robbers and learn more! The confidante’s words to the lady can be seen as a rendition of three parts. The first part focuses on where the man has left to, and she mentions that it’s a faraway place, where other languages are spoken, one filled with paths, where highway robbers, who are said to be uneducated, and are described as decorating their curly locks with burflower tree’s buds, as they stand to keep a watch for wayfarers. Since we associate flowers with softness, it’s rather hard for us to connect these fear-evoking men of the drylands and their interest in wearing flowers on their tresses. But it’s just an aspect of those times, wherein people in different regions identified themselves by wearing certain flowers of that land, a practice ingrained in the culture then. Returning, the confidante’s second part talks about a renowned Chera King Imayavaramban Neduncheralathan, who had the fame of installing their clan emblem of a bow in the distant Himalayas, underscoring the extent of his victory and fame. Apparently enemies came and heaped jewels, golden statues and diamonds by the cartloads in the centre of this king’s capital city of Maranthai. Now, the confidante’s third and final part connects these two disparate facts and concludes by saying to the lady that even if the man were to attain that wealth, heaped in Cheralathan’s Maranthai, that too even if it were spread to an extent of land denoted by the huge number of ‘Aambal’, and even if all this wealth were to come to the man within the short time of a day, an hour, even then, the man will not leave the lady to suffer and stay back in that place. In essence, though it’s wealth the man had gone in search for, once he has attained what he was looking for, the man will not be tempted by anything else, to delay his return home is the message conveyed by the confidante. By painting such a glorious image of the man, connecting him to the exploits of a famous king, the confidante hopes to bring cheer and positivity back into the pining lady’s heart. If you ask me, a friend like that is worth more than all that wealth, won by the victorious Cheralathan indeed!

In this episode, we perceive a man’s angst, as depicted in Sangam Literary work, Aganaanooru 126, penned by Nakeerar. The verse is situated amidst the gushing rivers of the ‘Marutham’ or ‘Farmlands landscape’ and relates a personal situation to a historic event. நின் வாய் செத்து நீ பல உள்ளி,பெரும் புன் பைதலை வருந்தல் அன்றியும்,மலைமிசைத் தொடுத்த மலிந்து செலல் நீத்தம்தலை நாள் மா மலர் தண் துறைத் தயங்கக்கடற்கரை மெலிக்கும் காவிரிப் பேரியாற்றுஅறல் வார் நெடுங் கயத்து அரு நிலை கலங்க,மால் இருள் நடுநாட் போகி, தன் ஐயர்காலைத் தந்த கணைக் கோட்டு வாளைக்கு,அவ் வாங்கு உந்தி, அம் சொல், பாண்மகள்,நெடுங் கொடி நுடங்கும் நறவு மலி மறுகில்பழஞ் செந் நெல்லின் முகவை கொள்ளாள்,கழங்கு உறழ் முத்தமொடு நன்கலம் பெறூஉம்பயம் கெழு வைப்பிற் பல் வேல் எவ்விநயம் புரி நன் மொழி அடக்கவும் அடங்கான்,பொன் இணர் நறு மலர்ப் புன்னை வெஃகி,திதியனொடு பொருத அன்னி போலவிளிகுவைகொல்லோ, நீயே கிளி எனச்சிறிய மிழற்றும் செவ் வாய், பெரியகயல் என அமர்த்த உண்கண், புயல் எனப்புறம் தாழ்பு இருளிய பிறங்கு குரல் ஐம்பால்,மின் நேர் மருங்குல் குறுமகள்பின்னிலை விடாஅ மடம் கெழு நெஞ்சே? In this trip to the farmlands, we listen to another side of the story in the usual love quarrel between the man and lady involving a courtesan, as we get to hear these words said by the man to his heart, as the confidante listens nearby: “O heart, thinking that your thoughts are so true, you have attained not only an immense suffering-filled sorrow; The brimming flood that descends down from the mountains sways, with huge, freshly bloomed flowers, in the cool shores, as the River Kaveri’s huge stream flows, shrinking the seashore. Muddying the precious state of the silt-filled river mouth, in the darkness of midnight, her brothers fished and brought back the thick-crested scabbard fish in the morning. Taking this catch, the bard’s daughter with a curving belly and sweet words, goes to the streets, where tall flags flutter and toddy brims over. Instead of just accepting the barter of heaps of old red paddy, she seeks and obtains fine jewels with pearls as big as molucca beans, in the prosperous expanses of the land, ruled by the many speared Evvi. Without heeding his fine and thoughtful words and standing down, desiring the laurel-wood tree with golden clusters of fragrant flowers, Anni waged war against Thithiyan. O naive and ignorant heart of mine, if you insist on bowing and standing behind that maiden, with a red mouth, akin to that of a parrot that babbles but a few words; well-set, kohl-streaked eyes, akin to a pair of fish; five-part thick tresses that descend darkly down her back, akin to a cloud in the storm; a waist, akin to lightning; then like that Anni, you are sure to lose your life too!” Time to fish in the flooding rivers and visit the rich streets of the farmland towns! The man starts by addressing his heart saying it seemed to be torturing itself with so many thoughts and believing in the truth of it all. He remarks how it seemed to be in a state of much suffering. However that was not the only thing to be worried about, the man hints. Instead of saying what else, the man goes on to talk about the prosperous land of a king named Evvi, mentioning how the River Kaveri brings a flood of freshly bloomed flowers and how fishermen gather bountiful fish from the river mouth, and take their catch home. Apparently, the task of selling this fish fell on the women of the household, and in this case, the fishermen’s sister takes it to the marketplace. There, instead of simply accepting the offered paddy in exchange for the fish, the shrewd businesswoman she is, the girl bargains for fine jewels studded with pearls as big as Molucca beans and gets it too. This is mentioned to remark on the prosperity and plenty of Evvi’s country. The man has mentioned King Evvi only to say that another ruler named Anni failed to heed the words of this good king, and instead, he went charging against a king named Thithiyan, and chopped down Thithiyan’s sacred ‘Punnai’ tree. These historic facts we have already seen in Natrinai 180 and Aganaanooru 45! What happened after this incident is revealed in the next few words of the man, when he turns to his heart and says, ‘Just the way Anni died after this incident in the hands of Thithiyan, you too will die if you continue to keep begging before that young and beautiful maiden’, implying that he was heartbroken at the constant refusal of his lady, to accept him back. These words are meant to nudge the confidante into obtaining the lady’s forgiveness for the man and her acceptance to take him back into the home. Like a river that starts in the mountains, meanders through the plains and reaches the ocean, the verse too starts with a sharp downward fall of the man’s state of mind, then swirls through the landscape of ancient rivalry between kings, and reaches the destination of bringing about a change in another’s heart. Historic moments and the heart’s beats dance a duet

In this episode, we listen to an angry retort to an inanimate element, as depicted in Sangam Literary work, Aganaanooru 125, penned by Paranar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse weaves in a relevant historical reference as an apt simile to echo an emotion within. அரம் போழ் அவ் வளை தோள் நிலை நெகிழ,நிரம்பா வாழ்க்கை நேர்தல் வேண்டிஇரங் காழ் அன்ன அரும்பு முதிர் ஈங்கைஆலி அன்ன வால் வீ தாஅய்,வை வால் ஓதி மைஅணல் ஏய்ப்பத்தாது உறு குவளைப்போது பிணி அவிழ,படாஅப் பைங் கண் பா அடிக் கய வாய்க்கடாஅம் மாறிய யானை போல,பெய்து வறிது ஆகிய பொங்கு செலற் கொண்மூமை தோய் விசும்பின் மாதிரத்து உழிதர,பனி அடூஉ நின்ற பானாட் கங்குல்தனியோர் மதுகை தூக்காய், தண்ணென,முனிய அலைத்தி, முரண் இல் காலை;கைதொழு மரபின் கடவுள் சான்றசெய்வினை மருங்கின் சென்றோர் வல் வரின்விரிஉளைப் பொலிந்த பரியுடை நல் மான்வெருவரு தானையொடு வேண்டு புலத்து இறுத்தபெரு வளக் கரிகால் முன்னிலைச் செல்லார்,சூடா வாகைப் பறந்தலை, ஆடு பெறஒன்பது குடையும் நன் பகல் ஒழித்தபீடு இல் மன்னர் போல,ஓடுவை மன்னால் வாடை! நீ எமக்கே. We stay back with the lady, instead of taking the tour of the drylands, in this instance, and hear her say these words to the northern winds, as her confidante listens nearby, when she learns that her man, who had parted away was on his way home to her: “Making those beautiful bangles, shaped by a saw, to slip away from the arms; Having an intention of destroying this incomplete life; Plucking white flowers, akin to hailstones from the touch-me-not tree, whose mature buds are like the ironwood tree’s seeds; Loosening the buds of the blue lily, filled with pollen, akin to the dark beard of the sharp-tailed lizard; As thick clouds, dried up after pouring down the rain, appearing akin to a strong male elephant with sleepless green eyes, wide feet and strong mouth, in whom the flow of musth has stopped, roll around in the dark and wide expanses of the sky, in the middle of the dark night, when the dew pours down, without understanding the limits of those who are lonely, even when I have no quarrel with you, you spread suffering by blowing with coolness; When the one who has parted away, worshipping his mission with folded hands and seeing it as God, returns speeding on his fine, radiant horses, with swaying manes, then akin to those kings lacking honour, who lost nine royal umbrellas on one single day, when the great and famous Karikaal Peruvalathaan arrived with his fear-evoking army, seized the lands he desired and conquered them, in the battlefield of ‘Vaagai’, you too shall run away, O cruel northern wind, turning your back to me!” Time to observe the antics of an element of the weather! The lady starts by detailing the activities of the northern winds in the cold season. First, it’s the wind’s effect on her, which is the epitome of pining, reflected in the slipping away of her bangles, and then, she makes a comment that the intention of the wind seems to end her still incomplete life, echoing the torment she feels. Then, the lady moves on to the outer effects such as, how the winds make touch-me-not white flowers drop down, and how these open out the tightly closed buds of the blue lily. There’s a striking comparison here which led me to a curious discovery. The pollen on the blue lily has been placed in parallel to the beard of a lizard, which was said to have a sharp tail. When searching for an Indian lizard with a beard, I came across an ‘Oriental Garden Lizard’, and Lo, its tail was long and ended in a sharp point. Looking closely at its neck, I found the reptile to have a serrated, scaly neck and this image turned out an exact match for the pollen-filled inner core of a blue lily. This left me with awe at the skills of these ancients in connecting disparate elements like a flower and a lizard, which stands testimony to their creativity. Returning, we see the lady continuing to detail what the northern winds are up to, by talking about the dry clouds in the sky, appearing like elephants, whose period of musth is done with, telling us this season appears after the rainy season, and most probably is the ‘Koothir Kaalam’, the ‘Cold Season’ by Sangam definition. Next, she talks about how the dew pours down ceaselessly, and the cold that envelops test the very limits of those who are lonely, and she asks the northern winds why it’s doing all this to her, when she has no fight with it! Finally, she turns to the winds and concludes by saying, ‘The moment my beloved, who has left on his mission, returns, you will run away, defeated in front of me!’. To etch this image, the lady brings in the battlefield of Vaagai, where King Karikaalan defeated not one, not two, but nine kings, and seized their royal parasols, and made them flee in fear! The beauty of this verse is the exquisite layering with unique and stunning similes, ending with that celebration of a renowned Sangam King. A moving expression by the lady on how the elements seem to turn an enemy, when h

In this episode, we listen to a man’s yearning to be back home, as depicted in Sangam Literary work, Aganaanooru 124, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the blooming jasmines and buzzing bees of the ‘Mullai’ or ‘Forest landscape’ and describes a homeward journey. ‘நன் கலம் களிற்றொடு நண்ணார் ஏந்தி,வந்து திறை கொடுத்து, வணங்கினர், வழிமொழிந்துசென்றீக’ என்பஆயின், வேந்தனும்நிலம் வருத்துறாஅ ஈண்டிய தானையொடுஇன்றே புகுதல் வாய்வது நன்றே.மாட மாண் நகர்ப் பாடு அமை சேக்கைத்துனி தீர் கொள்கை நம் காதலி இனிதுற,பாசறை வருத்தம் வீட, நீயும்மின்னு நிமிர்ந்தன்ன பொன் இயற் புனை படை,கொய்சுவல் புரவி, கை கவர் வயங்கு பரி,வண் பெயற்கு அவிழ்ந்த பைங் கொடி முல்லைவீ கமழ் நெடு வழி ஊதுவண்டு இரிய,காலை எய்த, கடவுமதி மாலைஅந்திக் கோவலர் அம் பணை இமிழ் இசைஅரமிய வியலகத்து இயம்பும்நிரை நிலை ஞாயில் நெடு மதில் ஊரே. In this familiar path through the forest, we hear the man say these words to his charioteer, when he’s about to return home, after completing his mission of aiding his king in battle: “If it becomes true that enemies would arrive with elephants and fine vessels, offer tributes, bow to the king, praise his greatness and bid farewell, then there’s a good chance that the king, along with his huge army, which torments the earth beneath, would return to his country today. That’s a good thing!  In the fine, decorated mansion, upon the well-crafted bed, lies my beloved with no notion of dislike. To delight her and to diminish my pains of the battlefield, you have to ride like a flash of lightning, wielding with firm reins, the speedy horses, having a swaying mane and fitted with a golden saddle. Dashing through the long roads, fragrant with the scent of fallen flowers of the wild jasmine, with green vines, loosened by the steady downpour, at the time, when bees buzz along, hasten, so that, as the fine music of beautiful bamboo flutes of the herders resounds around the widespread spaces, we shall reach the tall-walled town, with rows of fortified gates!” Time to trot along in the speeding chariot through the fragrant forest! The man looks at the happenings around him and declares everything looks set for the enemies to surrender to his king, offer him tributes, and bid him farewell. He declares that would be a wonderful thing because in that case the king would return with his huge army, back to his capital. The man’s mind turns to his beloved waiting patiently for him back home and he sees how she has not a bit of anger towards him. He decides that he must delight this beautiful soul, and at the same time, give him the much needed relief from the exertions of the battlefield. To this end, the man concludes by asking his charioteer to ride like the lightning through the forests, blooming with jasmines and buzzing with bees, and enter the gates of his fortified town, even as the music from the flutes of the herders spreads around that space, in the tormenting hour of twilight. In this request to express the eagerness in the man’s heart to be back home, we learn about the man’s mission to aid a king in battle, the success of that king, the mode of transport, the highways of the past, the season of flowering jasmines and the man’s rich and fortified town, implying his position as a wealthy lord and leader! Amusing how there’s so much story in these simple words, whose modern equivalent would be nothing more than a GPS location!

In this episode, we perceive the troubled mind of a man, as depicted in Sangam Literary work, Aganaanooru 123, penned by Kaveripoompattinaththu Kaarikkannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse talks about the oscillations in the midst of an endeavour. உண்ணாமையின் உயங்கிய மருங்கின்ஆடாப் படிவத்து ஆன்றோர் போல,வரை செறி சிறு நெறி நிரைபுடன் செல்லும்கான யானை கவின் அழி குன்றம்இறந்து, பொருள் தருதலும் ஆற்றாய்; சிறந்தசில் ஐங் கூந்தல் நல் அகம் பொருந்திஒழியின், வறுமை அஞ்சுதி; அழிதகவுஉடைமதி வாழிய, நெஞ்சே! நிலவு எனநெய் கனி நெடு வேல் எஃகின் இமைக்கும்மழை மருள் பல் தோல் மா வண் சோழர்கழை மாய் காவிரிக் கடல் மண்டு பெருந் துறை,இறவொடு வந்து கோதையொடு பெயரும்பெருங் கடல் ஓதம் போல,ஒன்றில் கொள்ளாய், சென்று தரு பொருட்கே. In this little trip to the drylands, we journey more into the mind rather than this domain, as we hear the man say these words to his heart, in the middle of his journey through the drylands, having parted from the lady in search of wealth: “Having the shrivelled, starving stomachs of ascetics, who bathe not, jungle elephants, along with their herd, walk on, in the small path, amidst the dense mountains, in those highlands, bereft of beauty. You seem not to be able to go there steadfastly and bring back wealth; On the other hand, you are not able to stay on the beautiful bosom of my beloved with fine, beautiful tresses, woven into five-part braids, because you fear the poverty that would ensue; You are doomed, may you live long, my heart! Having well-oiled, tall iron spears that shine like the moon, and many shields, akin to rain clouds, are the great and compassionate Chozha kings. Akin to the waves of the huge ocean, which arrives with shrimps and parts away with garlands, from their huge river shore of Kaveri, whose bed no bamboo pole can touch, you stay not firm in one place, with the sole intention of bringing back wealth!” Let’s listen to the troubles that walk along with the man through the drylands! The man starts by presenting a vivid image of elephants, walking in a herd through narrow paths amidst mountains, which are shorn of their usual beauty, no doubt owing to the scorching summer. He zooms on to how the bellies of these beasts are shrivelled up, and to etch the image, he brings in the parallel of the shrunken stomachs of ascetics, who don’t eat or bathe, but are intent on their penance. After describing the drylands with this singular image, the man accuses his heart of not going there, with determination, to earn wealth, and at the same time, not staying with his beloved lady, because it feared the lack of wealth. Because of this, his heart seemed to be behaving like the waves of the huge ocean that arrives at the river mouth of the Chozhas’ Kaveri, showering the shrimps it holds, and stealing the garlands on the shore, moving forwards and backwards, and refusing to stay in one place, the one that would make him earn wealth and return, the man concludes. A simple thought about a heart that wavers even after a decision has been taken! The man seems to be separating himself from his heart to see how he wants to go forward and earn wealth, and at the same time, remain in the joy of his beloved’s company. This seeming contradiction he projects on his heart and hopes to find the will to keep moving forward towards his goal. A relatable verse whose thought about the pendulum motion of a heart swings across time timelessly!

In this episode, we listen to a list of impediments to trysting, as depicted in Sangam Literary work, Aganaanooru 122, penned by Paranar. Set amidst the hooting owls and crowing roosters of the ‘Kurinji’ or ‘Mountain landscape’, the verse presents the problems in the present and subtly nudges a change of course. இரும் பிழி மகாஅர் இவ் அழுங்கல் மூதூர்விழவு இன்றுஆயினும் துஞ்சாது ஆகும்;மல்லல் ஆவண மறுகு உடன் மடியின்,வல் உரைக் கடுஞ் சொல் அன்னை துஞ்சாள்;பிணி கோள் அருஞ் சிறை அன்னை துஞ்சின்,துஞ்சாக் கண்ணர் காவலர் கடுகுவர்;இலங்குவேல் இளையர் துஞ்சின், வை எயிற்றுவலம் சுரித் தோகை ஞாளி மகிழும்;அர வாய் ஞமலி மகிழாது மடியின்,பகல் உரு உறழ நிலவுக் கான்று விசும்பின்அகல்வாய் மண்டிலம் நின்று விரியும்மே;திங்கள் கல் சேர்பு கனை இருள் மடியின்,இல் எலி வல்சி வல் வாய்க் கூகைகழுது வழங்கு யாமத்து அழிதகக் குழறும்;வளைக்கண் சேவல் வாளாது மடியின்,மனைச் செறி கோழி மாண் குரல் இயம்பும்;எல்லாம் மடிந்தகாலை ஒரு நாள்நில்லா நெஞ்சத்து அவர் வாரலரே; அதனால்,அரி பெய் புட்டில் ஆர்ப்பப் பரி சிறந்து,ஆதி போகிய பாய்பரி நன் மாநொச்சி வேலித் தித்தன் உறந்தைக்கல் முதிர் புறங்காட்டு அன்னபல் முட்டின்றால் தோழி! நம் களவே. It’s all about who sleeps and who doesn’t, in this trip to the mountains, where we hear the lady say these words to her confidante, before a nightly tryst, pretending not to notice the man listening nearby, but making sure he’s in earshot: “Having people, who ceaselessly delight in drinking toddy, this uproarious, ancient town sleeps not, even when there are no festivities; Even if the buzzing markets and bustling streets fall asleep, mother who speaks sharp, harsh words sleeps not; Even if mother, who is akin to a strong prison that ties one down, sleeps, with sleepless eyes, guards would roam about hither and thither; Even if those young helpers with shining spears sleep, the sharp-toothed dog, with a right-whorled tail, would bark aloud; Even if that saw-mouthed dog doesn’t bark and falls asleep, rendering the appearance of day, the moon would spread its light, standing so bright in the middle of the wide sky; Even if the moon were to disappear into the mountains and fall sleep, rendering a thick darkness, the strong-mouthed owl, which has just nabbed the house rat, would hoot, evoking terror in the midnight hour, when ghouls walk about; Even if the owl, which lives in a tree hollow, sleeps without a peep, the rooster that lives in the house would crow out with its rich voice; Even on a day, when everything falls asleep, he, who has a heart that stays not in one place, does not turn up; Lord Thithan, has fine, pouncing horses, which trot to a perfect rhythm, making their pebble-filled anklets resound, and he rules over Uranthai, surrounded by a fence of chaste trees. Akin to the dense, mountainous protective forest around Thiththan’s Uranthai, filled with obstacles many, is my secret love relationship with him, my friend!” Time to go on a midnight prowl in the mountains! The lady starts by talking about how the people in their town, who are known to relish toddy, don’t seem to sleep at all, even if there’s no excuse of a festival time. If at all, by some good grace, the town, with its busy marketplaces and streets, finally rest, their mother, who speaks sharp words, does not seem to sleep; If mother sleeps, then the guards don’t sleep and keep roaming about, doing their duty; If these guards decide it’s time to get some winks, then the dog takes their place and keeps up its loud barking; Even if the dog were to call it a day, the moon too would call the night a day and spread its bright rays, standing bang in the middle of the sky; Even if the moon decides to end its shine and settle down in the mountains, the owl, which has captured a rat, celebrates its success with a loud hoot; Even if the owl settles down without a squeak, our friend, the rooster, decides it’s time to grace the world with its resounding voice; By some glorious fortune, if at all, all these various creatures decide to render perfect silence, then that day, the man, who’s always wavering, doesn’t come here, the lady connects. She ends by saying just like the protected, stone jungle around the well-guarded town of Uranthai, ruled by Thithan, who has pouncing horses, the path of her love relationship with the man, was filled with pitfalls many! In essence, the lady is telling the man, ‘Don’t you see how many things have to go right for us to keep doing what we do?’. Hearing this angst-filled question from his beloved, the man would hopefully give up this temporary trysting and seek her hand in marriage. Beyond the usual theme of ‘Marry me, marry me’, what stays with us is the logical and lucid outlining of all the risks and dangers of the present course of action, which is the perfect fuel for the journey forward. Isn’t it a classic lesson to follow even today, whenever a wise voice within hints to us, ‘It’s time to change that path!’

In this episode, we perceive an animated reaction to a proposal, as portrayed in Sangam Literary work, Aganaanooru 121, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relates the discomfort in a journey through this domain. நாம் நகை உடையம் நெஞ்சே! கடுந் தெறல்வேனில் நீடிய வான் உயர் வழி நாள்வறுமை கூரிய மண் நீர்ச் சிறு குளத்தொடுகுழி மருங்கில் துவ்வாக் கலங்கல்கன்றுடை மடப் பிடிக் கயந்தலை மண்ணி,சேறு கொண்டு ஆடிய வேறுபடு வயக் களிறுசெங் கோல் வால் இணர் தயங்கத் தீண்டி,சொரி புறம் உரிஞிய நெறி அயல் மரா அத்துஅல்குறு வரி நிழல் அசைஇ, நம்மொடுதான் வரும் என்ப, தட மென் தோளிஉறுகண் மழவர் உருள் கீண்டிட்டஆறு செல் மாக்கள் சோறு பொதி வெண் குடைகனை விசைக் கடு வளி எடுத்தலின், துணை செத்துவெருள் ஏறு பயிரும் ஆங்கண்,கரு முக முசுவின் கானத்தானே. In this crisp trip through the drylands, we encounter many different scenes as we hear the man say these words to his heart, on hearing from the lady’s confidante that the lady intends to accompany the man, if he were to part away: “It makes me burst out laughing, O heart! As the sweltering heat of summer rained down day after day on those sky-high paths, impoverished, the tank dug up for drinking water, turns muddy, losing its moisture. In that slushy space with undrinkable water, a strong male elephant rubs mud on the soft head of its pregnant, naive mate, and then bathes in that mud. With its hue changed, it pulls the red-stalked, white clusters hesitantly and then rubs its rough and itchy back on the burflower tree, near the path. Resting under the lined shade of such a tree, the maiden with curving, soft arms, would accompany me, they say, through those paths, where after harsh-eyed highway robbers have troubled wayfarers, their white palmyra boxes holding food, would be carried away by fast-blowing winds, and would sound like a shower of arrows to a male deer, which would call out frightened, for the safety of its mate, in that jungle, filled with black-faced monkeys many!” Let’s join the man in his walk through the drylands and learn more! The man starts by saying that he has heard some really amusing words that are making him laugh out loud. Without saying what these are, the man launches into a long description of the drylands, in which first we see how the sun has scorched the moisture out of the region, in that harsh season of summer, and owing to that, tanks that had been dug up thoughtfully to provide drinking water to wayfarers had dried up, and in that slush-filled vicinity, a male elephant was cooling its pregnant mate’s head by rubbing some mud, and then, the male elephant takes care of itself by rolling in that slush with meagre moisture, after which it searches for a burflower tree trunk to rub its scratchy back against. The man connects to this scene by saying that the lady was planning to come with him, through the drylands, resting under such a burflower tree now and then, and walk on. He then goes on to describe that space as filled with paths, where highway robbers have troubled wayfarers and the lunch boxes of these travellers, made of palmyra leaves were lying scattered, only to be picked up by the hot wind. As these palmyra leaves are pushed and pulled by the hot winds, the sound that arises resembles a shower of arrows, which startles a male deer and makes it fear for the safety of its mate, and such is the jungle, filled with black faced monkeys that the lady wants to accompany him, the man concludes, explaining that this was the reason for his mirth! That the man believes that such a drylands path was no place for his delicate lady is evident from his reaction. The portrayal of the male elephant taking care of its mate by rubbing mud and the male deer startled by the seeming sound of arrows and worried about its mate’s safety are all projections of the man’s mind about his beloved’s ability to bear the dangers and discomfort of the journey through the drylands. Is this a right assessment of the lady’s ability to handle the discomfort or an underestimation of her abilities? It reminds me of the mother’s amazement at how her delicate girl is going to bear the journey through the drylands, when she hears that the girl has eloped away with her man. In both instances, love is being portrayed as fear and protectiveness. Something tells me in spite of all these worries in the minds of those who care, the lady has what it takes to brave the discomforts and take on any journey she needs to!

In this episode, we listen to a pointed request, as depicted in Sangam Literary work, Aganaanooru 120, penned by Nakeeranaar. The verse is situated in the blue-lotus blooming backwaters of the ‘Neythal’ or ‘Coastal landscape’ and presents a subtle way to change a person’s course of action. நெடு வேள் மார்பின் ஆரம் போல,செவ் வாய் வானம் தீண்டி, மீன் அருந்தும்பைங் காற் கொக்கினம் நிரை பறை உகப்ப,எல்லை பைப்பயக் கழிப்பி, குடவயின்கல் சேர்ந்தன்றே, பல் கதிர் ஞாயிறுமதர் எழில் மழைக் கண் கலுழ, இவளேபெரு நாண் அணிந்த சிறு மென் சாயல்மாண் நலம் சிதைய ஏங்கி, ஆனாது,அழல் தொடங்கினளே பெரும! அதனால்கழிச் சுறா எறிந்த புண் தாள் அத்திரிநெடு நீர் இருங் கழிப் பரி மெலிந்து, அசைஇ,வல் வில் இளையரொடு எல்லிச் செல்லாது,சேர்ந்தனை செலினே சிதைகுவது உண்டோபெண்ணை ஓங்கிய வெண் மணற் படப்பைஅன்றில் அகவும் ஆங்கண்,சிறு குரல் நெய்தல் எம் பெருங் கழி நாட்டே? A scenic trip to the coast where we listen to the confidante say these words to the man, when he comes to tryst with the lady: “Akin to the garland on the chest of the Tall-speared One, grazing against the reddened twilight sky, the green-legged flock of storks, which feed on fish, spread their wings in a neat row. Slowly, slowly, diminishing the day, the many-rayed sun has reached the mountains in the west. Her beautiful, rain-like eyes fill with tears, and she, adorned with a great modesty and having a delicate, fine appearance, pines away and destroys her celebrated beauty with her ceaseless shedding of tears, O lord! And so, without taxing your mule, which is moving slowly in the vast spaces of the dark backwaters, as its legs have been wounded by the attack of backwater sharks, instead of leaving with your helpers, wielding strong bows, during the day, would anything fall to ruin, if you were stay for longer and then leave from this country, filled with vast backwaters, brimming with small-stalked blue lotuses, wherein palm trees soar upon white sands and the red-naped ibis cries aloud?” Time to take in the sounds of an evening by the sea! The confidante starts by sketching the time of the day and to do that she calls a God denoted as the ‘Tall-speared one’, most probably referring to God Murugan. She zooms on to the white flower garlands encircling his red-hued chest and says that’s exactly how the storks are rising in neat rows on the canvas of the blushing sky at dusk. Then, the confidante details the time of the day even more closely by saying that the sun has slowly drawn the curtains on the day and had gone to rest its many rays in the mountains of the west. Now, from this detailed look at the time of the day, the confidante turns her attention to the crux of the matter and points to how the lady seems to be shedding tears ceaselessly, ruining her beauty. When we ask why, instead of explaining directly, she makes us understand through her next question to the man, wherein she asks what harm would happen if at all he would defer leaving with his bow-clad helpers and his mule, which is anyway moving slowly, wounded by the attack of sharks in the backwaters, and instead stay there in the lady’s village, filled with white sands, where palm trees sprout tall, and atop which, a red-naped ibis is crying aloud! Remember how these birds were seen as an inseparable couple that even death can’t part, in the eyes of Sangam folks? Subtly evoking this profound feeling, the confidante seems to be asking the man, ‘Don’t you hear the pining of the lady in the call of that red-naped ibis?’. These words are to convey to the man how his absence seems to affect the lady so greatly, and thereby, gently nudge him to give up this now-on-now-off trysting, and instead seek the forever joy of a permanent union. A sudden thought pops up in my mind as to whether all such songs are a tool employed to tell us to go beyond the temporary and transient to the permanent and lasting, in all that we feel, think and do!

In this episode, we perceive the yearning in a lady to part away with her man, as depicted in Sangam Literary work, Aganaanooru 119, penned by Kudavayil Keeraththanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents various aspects of this domain. ”நுதலும் தோளும், திதலை அல்குலும்,வண்ணமும், வனப்பும், வரியும், வாடவருந்துவள், இவள்” எனத் திருந்துபு நோக்கி,”வரைவு நன்று” என்னாது அகலினும், அவர் வறிது,ஆறு செல் மாக்கள் அறுத்த பிரண்டை,ஏறு பெறு பாம்பின் பைந் துணி கடுப்ப,நெறி அயல் திரங்கும் அத்தம், வெறி கொள,உமண் சாத்து இறந்த ஒழி கல் அடுப்பில்நோன் சிலை மழவர் ஊன் புழுக்கு அயரும்சுரன் வழக்கு அற்றது என்னாது, உரம் சிறந்து,நெய்தல் உருவின் ஐது இலங்கு அகல் இலை,தொடை அமை பீலிப் பொலிந்த கடிகை,மடை அமை திண் சுரை, மாக் காழ் வேலொடுதணி அமர் அழுவம் தம்மொடு துணைப்ப,துணிகுவர்கொல்லோ தாமே துணிகொளமறப் புலி உழந்த வசி படு சென்னிஉறுநோய் வருத்தமொடு உணீஇய மண்டி,படி முழம் ஊன்றிய நெடு நல் யானைகை தோய்த்து உயிர்க்கும் வறுஞ் சுனை,மை தோய் சிமைய, மலைமுதல் ஆறே? A winding tour of the drylands in this one, where we hear these words spoken by the lady to her confidante, who has come with the news of the man’s intention to part away from the lady: “Without seeing with clear eyes that ‘Making her forehead, arms and spotted waist lose its light, lustre and lines, she would worry greatly’, and without deciding ‘Seeking her hand is the right way’, he intends to part away to those barren paths, cluttered with the vines of the adamant creeper, appearing akin to pieces of a snake, shot down by thunder. Near such paths in the drylands, reeking with odour, lies the stone stove, abandoned by the caravan of salt merchants, now being used by highway robbers, with curving bows, to cook their meat. Without thinking that such spaces are forsaken by all, with strength in his heart, holding a dark-tubed spear, which appears akin to a blue lotus, and is fitted firmly, with a beautiful, shining, leaf-like tip and a stem, adorned with peacock feathers, as he leaves to subdue that raging battlefield, will he dare to take me along, in that mountain path, surrounded by dark clouds, where a tall, fine elephant, attacked by a strong tiger, and wounded on its head, with much pain and sorrow, bends its legs and thrusts its trunk in vain into that dried-up spring, letting out a loud sigh?” Time to capture the essence of this desolate space. The lady starts by declaring how the man doesn’t seem to realise that she would lose her health and beauty and be thrown into the throes of depression. Why she says this is because the man seems to have no thought about seeking her hand, but instead he has decided to walk on, to aid his king and subdue the enemy in that raging battlefield. To this end, the man walks on with his sturdy spear for company, through the drylands, where one can see pieces of ‘pirandai’ vines, chopped up by wayfarers, appearing like pieces of a snake, severed by thunder. A moment to note that this is an echo of the Sangam people’s belief that thunder was snake’s arch enemy and it had this one purpose of ruining this creature! Returning, the lady moves on to other sights, bringing our attention to an abandoned, old stove, which once belonged to travelling salt merchants, now under the custody of the fear-evoking robbers, who are using the apparatus to cook their reeking meat. The lady continues her description of the drylands by talking about the plight of an elephant, wounded on its head by a fierce tiger, which has come running, panting, seeking a drop of refreshing water, and has found only a dried-up spring, and no matter how it nudges with its trunk, no water rises to quench its angst, making that gentle giant let out a loud sigh. Connecting that this is where her man walks, the lady concludes by wondering if the man would dare to take her along through such a drylands path. The lady wishes to elope away with the man, instead of falling a prey to the slander of the townsfolk, much like how the stone stove belonging to the salt merchants has fallen into the fierce hands of the highway robbers. She sketches her own state of pain and anguish by projecting these emotions on the wounded elephant in search of the succour of water. The question remains as to whether the man would concede to take the lady along through these dangerous paths or will he choose the alternate path of seeking the approval of the lady’s kith and kin to marry her. Whatever be his answer, the verse echoes how the lady has boldly decided that ‘No matter the danger, my place is by my man’s side!’.

In this episode, we perceive words of persuasion, as portrayed in Sangam Literary work, Aganaanooru 118, penned by Kabilar. The verse is situated amidst the roars of drums and tigers in the ‘Kurinji’ or ‘Mountain landscape’ and points the way forward in a subtle manner. கறங்கு வெள் அருவி பிறங்கு மலைக் கவாஅன்,தேம் கமழ் இணர வேங்கை சூடி,தொண்டகப் பறைச் சீர் பெண்டிரொடு விரைஇ,மறுகில் தூங்கும் சிறுகுடிப் பாக்கத்து,இயல் முருகு ஒப்பினை, வய நாய் பிற்பட,பகல் வரின், கவ்வை அஞ்சுதும்; இகல் கொள,இரும் பிடி கன்றொடு விரைஇய கய வாய்ப்பெருங் கை யானைக் கோள் பிழைத்து, இரீஇயஅடு புலி வழங்கும் ஆர் இருள் நடு நாள்தனியை வருதல் அதனினும் அஞ்சுதும்.என் ஆகுவள்கொல்தானே? பல் நாள்புணர் குறி செய்த புலர்குரல் ஏனல்கிளி கடி பாடலும் ஒழிந்தனள்;அளியள்தான், நின் அளி அலது இலளே! A short trip to the mountains where we hear the confidante say these words to the man: “Near the radiant mountain slopes, where white cascades resound, wearing honey-fragrant clusters of Kino flowers, they dance together with beautiful women, to the beat of ‘thondakam’ drums, in the streets of our little hamlet. Having an appearance, akin to God Murugu, followed by strong dogs, if you were to come by day, we fear the slander that would follow;  A male elephant, with a huge and curving trunk, escapes capture, and takes its dark mate and calf to safety, thereby maddening a killer tiger, which roams around with fury, in the deep darkness of midnight. If you were to come by, all alone, at that time, we fear that even more. But what is to become of her? In the millet fields with drying stalks, where you trysted together for many days, she no more sings songs to chase away parrots. She is to be pitied indeed, for she has nothing to lean on but your grace!” Let’s take in the sights of the dancing mountain folk and the fleeing elephant family and learn more! The confidante starts by saying if the man were to come by day, adorned with Kino flower clusters, appearing like God Murugan himself, when mountain men would dance along with their women, to the beat of thondakam drums, he would be discovered and slander would spread. If instead, he were to come at night, all alone, when an elephant has just escaped from the attack of a tiger, leaving the beast to fume over, and wait for another prey, that would cause even more anxiety in the lady, the confidante mentions. Then she talks about how the lady is to pitied so much because there’s going to be no more singing to chase away parrots in the millet fields, the favourite trysting spot of the man and the lady this far, and concludes by saying the lady is to be pitied for she relies on seeing the man and receiving his graces more than anything else. In a nutshell, the confidante says to the man, ‘Don’t come by night, Don’t come by day; Lady’s locked up; No more trysting for you’. Through this, she intends to convince the man that the only course of action is to seek a permanent union with the lady. Again, a clever negotiation technique by presenting the risks and losses in the present course of action, nudging another without explicitly commanding to choose the right path!

In this episode, we listen to a mother’s words of love, as portrayed in Sangam Literary work, Aganaanooru 117, penned by an anonymous poet. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse brings out the tender thoughts in a mother’s heart at the juncture of her daughter’s elopement. மௌவலொடு மலர்ந்த மாக் குரல் நொச்சியும்,அவ் வரி அல்குல் ஆயமும், உள்ளாள்,ஏதிலன் பொய்ம்மொழி நம்பி, ஏர் வினைவளம் கெழு திரு நகர் புலம்பப் போகி,வெருவரு கவலை ஆங்கண், அருள்வர,கருங் கால் ஓமை ஏறி, வெண் தலைப்பருந்து பெடை பயிரும் பாழ் நாட்டு ஆங்கண்,பொலந்தொடி தெளிர்ப்ப வீசி; சேவடிச்சிலம்பு நக இயலிச் சென்ற என் மகட்கேசாந்து உளர் வணர் குரல் வாரி, வகைவகுத்து;யான் போது துணைப்ப, தகரம் மண்ணாள்,தன் ஓரன்ன தகை வெங் காதலன்வெறி கமழ் பல் மலர் புனையப் பின்னுவிட,சிறுபுறம் புதைய நெறிபு தாழ்ந்தனகொல்நெடுங் கால் மாஅத்து ஊழுறு வெண் பழம்கொடுந் தாள் யாமை பார்ப்பொடு கவரும்பொய்கை சூழ்ந்த, பொய்யா யாணர்,வாணன் சிறுகுடி வடாஅதுதீம் நீர்க் கான்யாற்று அவிர்அறல் போன்றே? It’s more about the lady than the drylands in this trip and we hear these words spoken by the lady’s mother, after the lady has eloped away with her man: “Without thinking about the chaste tree with dark leaf clusters, upon which wild jasmine vines spread and bloom, or her playmates with beautiful, lined waists, believing in the lies of that stranger, she has left her well-etched, prosperous mansion in loneliness, and departed to that fear-evoking path, where climbing atop a black-trunked toothbrush tree, the white-headed kite calls out piteously to its mate, in the expanses of those wastelands. Here, she walks swaying her hands, making her golden bangles jangle, and the anklets on her red feet tinkle. When I used to comb her thick tresses, coated with dried sandalwood paste, split it into parts, and adorn it with flowers, she would refuse to let me apply the ‘agarwood’ paste. Now, when her esteemed lover, who has a great love just like hers, ties many different flowers, wafting with intense fragrance, on her tresses, would it hide the small of her back and descend down, appearing akin to the radiant sand on the shore of the wild river with sweet waters, which flows to the north of Vaanan’s ‘Sirukudi’, with unending fertility, filled with ponds, where tortoises with curved legs, along with their little ones, nab the fallen ripe, white fruits of the tall-trunked mango tree?” Time to hear the sad cry of a drylands kite! Mother starts by declaring how her girl didn’t spare a thought either for the ‘nochchi’ tree that she grew with love, or her dearest playmates, with whom she has spent many an hour of joy, and just believing in the false words of a strange man, she has left them all, leaving their wealthy mansion to cry in loneliness. Then, mother turns to briefly mention where the lady is walking and this happens to be drylands path, where a white-headed bird of prey, possibly a Brahminy Kite, is crying out to its mate, sitting atop a toothbrush tree. Here, mother sees her daughter walking vigorously with her bangles and anklets tinkling. Then, her mind rewinds to that past moment when she would adorn the lady’s hair with flowers and try to apply a paste referred to as ‘thakaram’, and at that moment, the lady would refuse to let her mother do that. A moment to pause and investigate this ‘thakaram’ mentioned! On researching, I learnt that this could be either a paste or an oil made from ‘agarwood’, a natural resin, which is referred to as ‘liquid gold’ for such is its worth, and apparently, this ingredient is found in many hair products, and it seems to endow numerous benefits such as providing strength and nourishment for the hair, and also controlling dandruff and lice too! These ancient mothers seem to have realised the many benefits of this wood, exploited by the cosmetic industry currently! Returning, mother’s thoughts seem to turn from the past, where she was grooming her girl’s hair, to the present, when she imagines the lady’s lover to be tying many different, fragrant flowers to the lady’s head, and she wonders if her girl’s tresses would descend down, and appear like the silty sand on the river shores, to the north of a town called ‘Sirukudi’, belonging to a lord named ‘Vaanan’, where there were many fertile ponds, and the tortoises living therein would savour the fallen fruits of the mango tree. In short, mother weaves a garland between that past moment of her caressing her daughter’s hair to this present moment, where another, the lady’s lover, has taken over. A moment of realisation in mother that her young girl was no more hers to protect, but someone whose joy has now passed on to the care of other hands!

In this episode, we hear the reason for a refusal, as depicted in Sangam Literary work, Aganaanooru 116, penned by Paranar. The verse is situated amidst the paddy stalks and lotus blooms of the ‘Marutham’ or ‘Farmlands landscape’ and illustrates the events of a historic battle. எரி அகைந்தன்ன தாமரை இடை இடைஅரிந்து கால் குவித்த செந் நெல் வினைஞர்கள் கொண்டு மறுகும் சாகாடு அளற்று உறின்,ஆய் கரும்பு அடுக்கும் பாய்புனல் ஊர!பெரிய நாண் இலைமன்ற; ‘பொரி எனப்புன்கு அவிழ் அகன்துறைப் பொலிய, ஒள் நுதல்,நறு மலர்க்காண் வரும் குறும் பல் கூந்தல்,மாழை நோக்கின், காழ் இயல் வன முலை,எஃகுடை எழில் நலத்து, ஒருத்தியொடு நெருநைவைகுபுனல் அயர்ந்தனை’ என்ப; அதுவே,பொய் புறம் பொதிந்து, யாம் கரப்பவும், கையிகந்துஅலர் ஆகின்றால் தானே; மலர்தார்,மை அணி யானை, மறப் போர்ச் செழியன்பொய்யா விழவின் கூடற் பறந்தலை,உடன் இயைந்து எழுந்த இரு பெரு வேந்தர்கடல் மருள் பெரும் படை கலங்கத் தாக்கி,இரங்குஇசை முரசம் ஒழிய, பரந்து அவர்ஓடுபுறம் கண்ட ஞான்றை,ஆடு கொள் வியன் களத்து ஆர்ப்பினும் பெரிதே. A trip to the farmlands, which throbs against our eardrums, as we hear these words said by the confidante to the man, when he seeks entry to the lady’s house, after his tryst with a courtesan: “In the midst of lotus flowers, blazing like a fire, harvesters heap stalks of red paddy. When the cart, which roves around, bringing fresh toddy to them, gets stuck in the mud, they chop and pile beautiful stems of sugarcane in a row to heave the cart out. Such is the prosperous town of yours with pouncing streams! You have no sense of shame, O lord! They say, ‘By the wide shores, where the beechwood tree, with blooming flowers, akin to puffed rice, you were playing along with a maiden, who has a shining forehead, short and thick tresses woven with many fragrant flowers, eyes akin to tender mangoes, a beauteous bosom, adorned by a pearl strand, the one who has an intricate, fine beauty, in the brimming streams yesterday’. Even though we tried to suppress it saying it’s nothing but a lie, beyond our hold, it leaps out and spreads as slander. The courageous, battle-worthy Chezhian, who possesses dark and decorated elephants adorned with flower garlands, attacked and shattered the huge sea-like armies of the two great kings, who came together in the battlefield of Koodal, with unending festivities, and made them abandon their roaring drums and run away. At that moment, when the backs of the retreating enemies were seen, in that wide battlefield, filled with victory dances, a tumultuous shout erupted. The slander that spreads because of you is louder than that uproar!” Sparks are flying in the land of plenty again! The confidante starts by describing the man’s town as a place, where harvesters heap red paddy amidst red lotuses, which appear like a blazing fire. These lines paint the song red, hinting at the angry mood that is to follow. The confidante also talks about a roving toddy cart, which apparently goes about the fields, quenching the thirst of these hardworking harvesters. Being a slushy terrain, the carts would happen to get lodged in the mud, and to help these carts to be on their way, the harvesters seemed to chop the sugarcane stalks growing by, without a thought, and use that as a board to heave the cart out. After that seemingly random description of the man’s town, the confidante comes to the crux of the issue, and tells the man that many people were saying that the man was courting a courtesan by the river shores, having great fun with her, by playing in the stream. She claims that she and the lady’s friends tried to shush it calling it a lie, but even so, the slander was spreading. To describe the nature of this slander, the confidante traverses to the famous battlefield of Koodal, where the Pandya King Chezhiyan routed the armies of the two other great kings, namely the Chera and Chozha kings, making their armies, which had been akin to twin seas, abandon their war drums and retreat. The moment they retreated, there arose a victorious uproar on that battlefield and the man’s doings was making the slander soar louder than that uproar, the confidante connects and concludes. In that scene of sugarcane being chopped to pull out the cart from the slush, the confidante places a metaphor for how the man was ruining the beauty of the lady and climbing over her goodness, so that he could rove about and frolic with the courtesans, akin to that toddy cart! A clear ‘No’ to the man’s ‘May I come in?’, said by the confidante, on behalf of the lady. We take note of a momentous conflict between the three great rulers of ancient Tamil land, and how two of them sided against one, and in spite of that, how that one emerged the victor in the battlefield at that ancient and ageless city of Koodal, known as ‘Madurai’ in contemporary times. Yet again, the Sangam poets prove that they are masters of creativity, adept at weaving the ripples of a domestic tussle with the roar of a histori

In this episode, we perceive the pain in a lady’s heart, as depicted in Sangam Literary work, Aganaanooru 115, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the consequences of the man’s parting away. அழியா விழவின், அஞ்சுவரு மூதூர்ப்பழி இலர்ஆயினும், பலர் புறங்கூறும்அம்பல் ஒழுக்கமும் ஆகியர்; வெஞ் சொல்சேரிஅம் பெண்டிர் எள்ளினும் எள்ளுக;நுண் பூண் எருமை குட நாட்டன்ன என்ஆய்நலம் தொலையினும் தொலைக; என்றும்நோய் இலராக, நம் காதலர் வாய் வாள்எவ்வி வீழ்ந்த செருவில் பாணர்கைதொழு மரபின் முன் பரித்து இடூஉப் பழிச்சியவள் உயிர் வணர் மருப்பு அன்ன, ஒள் இணர்ச்சுடர்ப் பூங் கொன்றை ஊழுறு விளைநெற்றுஅறைமிசைத் தாஅம் அத்த நீளிடை,பிறை மருள் வான் கோட்டு அண்ணல் யானை,சினம் மிகு முன்பின், வாம் மான், அஞ்சிஇனம் கொண்டு ஒளிக்கும் அஞ்சுவரு கவலை,நன்னர் ஆய்கவின் தொலைய, சேய் நாட்டு,நம் நீத்து உறையும் பொருட்பிணிக்கூடாமையின் நீடியோரே. In this tour of the drylands, we get to hear the lady say these words to her confidante, as the man, who went in search of wealth, remains parted away. “In our formidable, ancient town, with endless festivities, even when there is no need for censure, there are many who speak behind the back and spread slander. Let those women of the village, who speak harsh words, mock at me, if they want to; Let my fine beauty, akin to Kudanaadu, ruled by Erumai, wearing intricate ornaments, be ruined, if it has to be! Akin to the resounding, curving stems of lutes, broken and thrown with worshipping, folded hands by bards, when Evvi, with a victorious sword, fell in the battlefield, mature seed pods of the radiant golden shower tree, lies scattered on the rock surfaces in the drylands path, where Anji, who possesses esteemed elephants, with crescent-moon-like, white tusks, and raging, strong horses, hides herds of cattle captured from his enemies. Traversing such a fearsome path, letting my exquisite beauty fade, he has forsaken me, departed to a faraway country, and with his affliction to seek wealth not abating, he continues to stay away. I only wish that he remains with no trace of ill health forever!” Time to walk on through fearsome drylands spaces! The lady starts by talking about her own town. Although it has a lot of good, when considering how it has existed from ancient times and how it seemed to have festivities all year though, there was one thing wrong about it and that was the presence of gossiping women, who cast aspersions, when there is no need at all. After making that statement, the lady declares that she doesn’t mind if those women were going to mock her. Also, she adds that she was not even going to worry if her beauty, which she places in parallel to a place called ‘Kudanaadu’, ruled by a lord called ‘Erumai’, fades away. After this, she goes on to describe the drylands and do that, she brings before our eyes, the seed pods of golden shower trees lying on rock surfaces, and to etch the image, she places the parallel of a scene, depicting the sorrow of bards, when their generous patron ‘Evvi’ perished in the battlefield, and they broke their fine lutes and threw the curving stems, in front of the dying king, worshipping his greatness. After connecting that element of nature with a historical reference, the lady further describes the drylands as a place where Anji, a leader is known to hide cattle he has raided from his enemies. Crossing such spaces filled with much conflict, the man has left her to seek wealth and that quest seemed to be never-ending, the lady remarks, and concludes by saying that the only thing she wished for, was whatever may happen to her, no harm should befall the man. In spite of all the pain he seems to have inflicted on her, the lady only wishes for the man’s welfare, echoing the true love that beats in her heart!

In this episode, we perceive a man’s eagerness to return to his beloved, as depicted in Sangam Literary work, Aganaanooru 114, penned by an anonymous poet. The verse is situated amidst the scattered flowers of the ‘Mullai’ or ‘Forest landscape’ and visualises a person living far away. ‘கேளாய், எல்ல! தோழி! வேலன்வெறி அயர் களத்துச் சிறு பல தாஅயவிரவு வீ உறைத்த ஈர் நறும் புறவின்,உரவுக் கதிர் மழுங்கிய கல் சேர் ஞாயிறு,அரவு நுங்கு மதியின், ஐயென மறையும்சிறு புன் மாலையும் உள்ளார் அவர்” என,நப் புலந்து உறையும் எவ்வம் நீங்க,நூல் அறி வலவ! கடவுமதி, உவக்காண்நெடுங் கொடி நுடங்கும் வான் தோய் புரிசை,யாமம் கொள்பவர் நாட்டிய நளி சுடர்வானக மீனின் விளங்கித் தோன்றும்,அருங் கடிக் காப்பின், அஞ்சு வரு, மூதூர்த்திருநகர் அடங்கிய மாசு இல் கற்பின்,அரி மதர் மழைக் கண், அமை புரை பணைத் தோள்,அணங்கு சால், அரிவையைக் காண்குவம்பொலம்படைக் கலி மாப் பூண்ட தேரே. In this quick trip to the forests, we get to hear the man say these words to his charioteer, when he is returning after his mission: “Saying, ‘Listen to me, my friend, in this moist and fragrant forest, scattered with many fallen flowers, akin to the many small flowers, Velan the priest spreads in the arena of the ‘Veri’ ritual, when the sun, with its scorching rays diminished, has reached the mountains, and is vanishing slowly, like the moon being eaten by a snake, at this time of a suffering-filled evening, he does not think about me’, she would be sulking.  Lo behold, a sky-soaring fort with tall flags fluttering, where the night guards have planted many bright lamps, glowing akin to the stars in the sky. In this well-protected, formidable ancient town, in a wealthy mansion, with a flawless chastity, having lined, exquisite rain-like eyes, well-set, bamboo-like arms, akin to a goddess, lives the young maiden. So as to see her now and end her sorrow, O charioteer, who knows to wield the reins well, hasten this chariot, tied with proud horses, adorned with golden ornaments!” Time to trot along with the man and listen to his passion speak! The man starts by imagining the words his beloved would be saying just then. She would be looking at the setting sun, in that forest, spread with many flowers, which would remind her of Velan’s arena during the ‘Veri’ ritual and she would lament that even at such a painful time, the man had no thought of her. So, the man concludes by telling his charioteer that he doesn’t want her to suffer anymore and asks him to speed up his horses to the wealthy mansion of the lady, living in a fortified ancient town, in a wealthy mansion, waiting for his return. From the words in this verse, we can infer that this parting has taken place, before the lady’s marriage to the man, with its subtle mention of ‘Veri’ rituals, and talking about where the lady lives to the charioteer, for if it was the man’s own house, wouldn’t the charioteer know the way? Hope the man reaches his loved one’s abode safe and sound! Wishing that, we can partake in the man’s tender feeling, recalling the moment most of us would have experienced, when returning home eagerly after a parting!

In this episode, we listen to a lady’s anguished voice, as depicted in Sangam Literary work, Aganaanooru 113, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse pens detailed portraits of some historical characters in the Sangam era. நன்று அல் காலையும் நட்பின் கோடார்,சென்று வழிப்படூஉம் திரிபு இல் சூழ்ச்சியின்,புன் தலை மடப் பிடி அகவுநர் பெருமகன்அமர் வீசு வண் மகிழ் அஃதை போற்றி,காப்புக் கைந்நிறுத்த பல் வேல் கோசர்இளங் கள் கமழும் நெய்தல்அம் செறுவின்வளம் கெழு நல் நாடு அன்ன என் தோள் மணந்து,அழுங்கல் மூதூர் அலர் எடுத்து அரற்ற,நல்காது துறந்த காதலர், ”என்றும்கல் பொரூஉ மெலியாப் பரட்டின் நோன் அடிஅகல்சூல் அம் சுரைப் பெய்த வல்சியர்இகந்தனர்ஆயினும், இடம் பார்த்துப் பகைவர்ஓம்பினர் உறையும் கூழ் கெழு குறும்பில்குவை இமில் விடைய வேற்று ஆ ஒய்யும்கனை இருஞ் சுருணைக் கனி காழ் நெடு வேல்விழவு அயர்ந்தன்ன கொழும் பல் திற்றிஎழாஅப் பாணன் நல் நாட்டு உம்பர்,நெறி செல் வம்பலர்க் கொன்ற தெவ்வர்எறிபடை கழீஇய சேயரிச் சில் நீர்அறுதுறை அயிர் மணற் படுகரைப் போகி,சேயர்” என்றலின், சிறுமை உற்ற என்கையறு நெஞ்சத்து எவ்வம் நீங்க,அழாஅம் உறைதலும் உரியம் பராரைஅலங்கல் அம் சினைக் குடம்பை புல்லெனப்புலம் பெயர் மருங்கில் புள் எழுந்தாங்கு,மெய் இவண் ஒழியப் போகி, அவர்செய்வினை மருங்கில் செலீஇயர், என் உயிரே! A long trip to the drylands, where we are mostly meeting with royal delegates from those times, and we get to hear the lady say these words to her confidante, as the man, who went in search of wealth, remains parted away: “With an unswerving principle of never swaying from the path of friendship, even when times are not good, the Kosars, with their many speared army, supported and stabilised the rule of the great lord Akthai, who renders naive female elephants, with delicate hair, to those who come seeking to him with much joy, even in the battlefield. Akin to the Kosars’ town of ‘NeythalamCheru’, fragrant with the scent of fresh toddy, in their fine and fertile country, are my arms. After embracing that, making this uproarious, ancient town spread slander, without rendering his graces, my lover has parted away. Pannan, the one who never retreats from his mission, the one who never tires of treading on pebble-filled paths, and walks on with strong feet, resounding musically, the one who carries abundant food in bamboo bowls and delights in fleshy meat, akin to those served in festivities, wielding his well-oiled iron rod with a heavy, dark ring, would seize humped bulls and other cattle, in well-guarded forts with lots of food, belonging to his enemies, locating the same, even if they are far away. Beyond the extent of Pannan’s fine country, is a shore, forsaken by people, with fine sand and scanty water, which is reddened, because robbers who killed wayfarers, had washed their weapons there. They say he has travelled far beyond this place. Hearing this, wounded lies my helpless heart. To end its suffering, akin to how leaving its nest upon a beautiful, swaying branch of a rough-trunked tree, a bird soars to migrate afar, leaving my body here, my life should depart to the place, where he is at work! If it does, then I may be able to endure this state without tears!” Time to walk along in those barren spaces and learn more! The lady starts by talking about a king called Akthai, renowned for his generosity to bards, even in the midst of a battle, and how a clan called ‘Kosars’ protected this king, with an unswerving steadiness. She has mentioned these details only to place her own arms in parallel to the prosperous town of these Kosars, fragrant with the scent of toddy, known by the name of ‘NeythalamCheru’. After this very modest comparison by Sangam standards, the lady goes on to talk about another character called Pannan, about how he never tires from walking on pebble filled paths, how he loves to feast on fatty flesh, and how he always locates the forts of his enemies and manages to capture their cattle. Now, these details are mentioned to say that beyond the country of Pannan, there’s an abandoned river shore with very little water, that too reddened by the robbers washing their weapons, which had done their killing work on wayfarers. People have told her that it’s this dangerous path that the man, who loved embracing those beautiful arms of hers, but deserted her, leaving her a prey for the slanderous town, is now treading, the lady connects. She declares the only way to bear this suffering would be if her life were to leave her body and soar to where the man was, much like a bird leaving its nest, when it is time to migrate elsewhere! The lady concludes by saying that only in that case, she could remain without crying, conveying to us that the whole thought is a reply to the confidante’s words of consolation.  Here’s an outlet for pain, which should no doubt bring a sense of calm in the lady. The question I have in this verse is about what determines a poet’s choice of a place or a historical character? Say, in this i

In this episode, we listen to a persuasive request, as depicted in Sangam Literary work, Aganaanooru 112, penned by Neythal Saaithuitha Aavoor Kizhaar. The verse is situated amidst the roving bears and roaring tigers in the ‘Kurinji’ or ‘Mountain landscape’ and attempts at changing a person’s path. கூனல் எண்கின் குறு நடைத் தொழுதிசிதலை செய்த செந் நிலைப் புற்றின்மண் புனை நெடுங் கோடு உடைய வாங்கி,இரை நசைஇப் பரிக்கும் அரைநாட் கங்குல்ஈன்று அணி வயவுப் பிணப் பசித்தென, மறப் புலிஒளிறு ஏந்து மருப்பின் களிறு அட்டுக் குழுமும்பனி இருஞ் சோலை, ‘எமியம்’ என்னாய்,தீங்கு செய்தனையே, ஈங்கு வந்தோயே;நாள் இடைப்படின், என் தோழி வாழாள்;தோளிடை முயக்கம் நீயும் வெய்யை;கழியக் காதலர்ஆயினும், சான்றோர்பழியொடு வரூஉம் இன்பம் வெஃகார்;வரையின் எவனோ? வான் தோய் வெற்ப! கணக் கலை இகுக்கும் கறி இவர் சிலம்பின்மணப்பு அருங் காமம் புணர்ந்தமை அறியார்,தொன்று இயல் மரபின் மன்றல் அயர,பெண் கோள் ஒழுக்கம் கண் கொள நோக்கி,நொதுமல் விருந்தினம் போல, இவள்புது நாண் ஒடுக்கமும் காண்குவம், யாமே. Plenty of scenes from the wild in this trip to the mountains, where we get to hear the confidante say these words to the man, when he arrives to tryst with the lady by night: “A pack of bears, with bent backs and short steps, desiring to eat from tall, red termite mounds, by breaking open the muddy edges, roam about in the middle of the night. At this time, since its mate, which had just given birth was wallowing in hunger, a brave tiger fells an elephant, with upraised, shining tusks, and roars aloud in that cold and dark grove. Without thinking, ‘I’m all alone’, you come here, traversing this space, doing much harm. It’s also true that my friend shan’t live, if a day passes, without you coming here. On your part, you desire embracing her arms very much; Even if it’s on account of love, the wise will never accept a pleasure that comes with censure! And so, why can’t you seek her hand, O lord of the sky-soaring mountains? In these mountain slopes, flourishing with pepper vines and grunting herds of deer, as those who do not know about your precious, secret love relationship, perform the marriage of their daughter, in the public spaces, according to ancient tradition, I shall feast my eyes on the scene, and in the manner of a visiting stranger, I will gaze at her special new shyness and relish it so!” Let’s take in the scenes of a mountain country and listen to the heart’s beat! The confidante starts by sketching the dangers of the hill country in the darkness of the night, mentioning hordes of bears roving to feed on termite mounds and a tiger roaring after killing an elephant, so as to satisfy its mate’s hunger. Inspite of all these dangers, the man comes walking in the dark to tryst with the lady and even though it’s an act of love, it’s something wrong, the confidante remarks. She talks about how the lady can’t go on even a day without the man and the man too wishes to embrace the lady. Given this situation, why can’t you seek her hand?, the confidante asks the man. Then, the confidante imagines the day when the lady’s parents would marry the lady to the man, as per their ancient tradition, and particularly, she sees herself standing at a distance, as if she doesn’t know anything about this relationship, and looking at the lady’s shyness like a stranger and smiling at the lady’s joy. Usually, we have cases of the confidante beating about the bush to convey the message of ‘Marry the lady’ to the man. Here, it’s a refreshing change to see these direct words, propelling the man to action. On a tangent, what a sweet friend she is! Not only does she care and comfort her friend, she also communicates in the perfect way to the other, with logic and compassion, presenting all sides of the story and then showing the only way forward! An inspiring lesson to help us handle the negotiations in life!

In this episode, we perceive words of consolation, as portrayed in Sangam Literary work, Aganaanooru 111, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse vividly sketches the life in this domain. உள் ஆங்கு உவத்தல் செல்லார், கறுத்தோர்எள்ளல் நெஞ்சத்து ஏஎச் சொல் நாணிவருவர் வாழி, தோழி! அரசயானை கொண்ட துகிற் கொடி போல,அலந்தலை ஞெமையத்து வலந்த சிலம்பிஓடைக் குன்றத்துக் கோடையொடு துயல்வர,மழை என மருண்ட மம்மர் பல உடன்ஓய்களிறு எடுத்த நோயுடை நெடுங் கைதொகுசொற் கோடியர் தூம்பின் உயிர்க்கும்அத்தக் கேழல் அட்ட நற் கோள்செந்நாய் ஏற்றை கம்மென ஈர்ப்ப,குருதி ஆரும் எருவைச் செஞ் செவி,மண்டு அமர் அழுவத்து எல்லிக் கொண்டபுண் தேர் விளக்கின், தோன்றும்விண் தோய் பிறங்கல் மலை இறந்தோரே. Unlike the previous verse, this one is all about a place, and we get to hear these words said by the confidante to the lady, when the man, who left in search of wealth, remains parted away: “Without being content with what he had, feeling ashamed to hear the sharp, arrow-like words, from the mocking hearts of adversaries, he has left to the drylands, where akin to the transparent, white banners adorning a royal elephant, on the parched branches of the axlewood tree, a spider weaves its web in the Odai peak. Confused thinking that these webs are rain clouds, brought by the swaying western winds, many young elephants join together and raise their tired, tall trunks and trumpet out, making a loud sound, akin to the praising musicians’ ‘thoompu’ horns. Here, as the red dog drags the fine male boar that it attacked and killed with haste, the gushing blood is guzzled by a vulture, whose red ears, appear akin to lamps, taken out to the battlefield, at the end of the day, to scan the wounds of soldiers. He, who has left to such a drylands domain, in the sky-soaring mountains far away, will return soon, my friend! May you live long!” Time to take in the fearsome sights of the drylands! The confidante starts by spelling out the reasons for the man’s journey to the drylands in search of wealth. She remarks how the man could have stayed put, being content with the wealth he already possessed, but he feared words of mockery from his detractors and that’s why he left to the drylands. From this statement, we can infer that the unwritten code in Sangam culture was that even if a man had wealth he received from his ancestors, he was expected to earn his own. Returning to the flow of the verse, the confidante then launches into a lengthy description of the drylands, where we first see spider webs atop axlewood trees and these are placed in parallel to the silver flags on top of a royal elephant. Next, some thirsty elephants coming that way think these webs are the rain clouds brought by the winds and trumpet out aloud, which sounds like the ‘thoompu’ horns of musicians, who sing praises of kings. Then, the image of a wild boar being dragged by a red dog is brought before our eyes, and the blood that gushes out is being drunk by a red-headed vulture, whose ears are then compared to the lamps taken out to the battlefield, at the end of the day, to scan and treat the wounds of soldiers. Saying, though the man has left to such a drylands beyond the hills, he will return soon, the confidante consoles her friend. Why scare the poor girl with these gory images? Not the kind of consolation we would give but perhaps it’s a Sangam notion to be present with reality and still remain with hope. The nuance of this verse lies in how scenes in a king’s life, be it in the adornment of royal elephants, the booming praises of musicians, the treatment of soldiers in a battlefield, are compared so aptly with scenes in the wild. The ways and wars of humans aren’t so much different from the confusions and conflicts of animals, the verse seems to say, with a wise nod!

In this episode, we listen to a confession, as portrayed in Sangam Literary work, Aganaanooru 110, penned by Ponthai Pasalaiyaar. The verse is situated amidst the waves and sands of the ‘Neythal’ or ‘Coastal Landscape’ and narrates a significant event on the shore. அன்னை அறியினும் அறிக; அலர்வாய்அம் மென் சேரி கேட்பினும் கேட்க;பிறிது ஒன்று இன்மை அறியக் கூறி,கொடுஞ் சுழிப் புகாஅர்த் தெய்வம் நோக்கி,கடுஞ் சூள் தருகுவன், நினக்கே; கானல்தொடலை ஆயமொடு கடல் உடன் ஆடியும்,சிற்றில் இழைத்தும், சிறு சோறு குவைஇயும்,வருந்திய வருத்தம் தீர, யாம் சிறிதுஇருந்தனமாக, எய்த வந்து,‘தட மென் பணைத் தோள் மட நல்லீரே!எல்லும் எல்லின்று; அசைவு மிக உடையேன்;மெல் இலைப் பரப்பின் விருந்து உண்டு, யானும் இக்கல்லென் சிறுகுடித் தங்கின் மற்று எவனோ?’என மொழிந்தனனே, ஒருவன். அவற் கண்டு,இறைஞ்சிய முகத்தெம் புறம் சேர்பு பொருந்தி,‘இவை நுமக்கு உரிய அல்ல; இழிந்தகொழு மீன் வல்சி’ என்றனம், இழுமென. ‘நெடுங் கொடி நுடங்கும் நாவாய் தோன்றுவகாணாமோ?’ எனக் காலின் சிதையா,நில்லாது பெயர்ந்த பல்லோருள்ளும்என்னே குறித்த நோக்கமொடு, ‘நன்னுதால்!ஒழிகோ யான்?’ என அழிதகக் கூறி,யான் ‘பெயர்க’ என்ன, நோக்கி, தான் தன்நெடுந் தேர்க் கொடிஞ்சி பற்றிநின்றோன் போலும் இன்றும் என் கட்கே. There’s less of place and more of people in this trip to the seas, and we get to hear these words, spoken by the lady, to the foster mother: “Even if mother comes to know, let her! Even if those with gossiping mouths in this beautiful hamlet were to hear, let them! Promising you that there’s nothing else, I will swear to you a fierce oath in front of the God of Puhaar, renowned for its swirling waves. With playmates, wearing garlands of flowers from the groves, we had been bathing in the sea, building small houses, pretending to cook food, and sitting there, relaxing after our exertions. At this time, coming close to us, a man said, ‘O good, naive maiden, having curving, soft, bamboo-like arms, the day has ended; I’m filled with fatigue; May I partake in the feast you have spread on these soft leaves, and stay back in this uproarious, little hamlet?’. Seeing him, with bent heads, we hid behind each other’s backs, and said softly, ‘These are not fit for you. For this is made of the fatty fish, thrown down by the waves’. Many there ran away without waiting, after flattening the sand houses with their feet, shouting, ‘Lo behold! Ships with tall flags fluttering are appearing. Shall we go see?’. Among all of them, he focussed his attention on me, and piteously said, ‘O maiden with a fine forehead! Shall I leave?’. When I replied, ‘Please go’, the way he stood there, holding on to the seat of his tall chariot, remains in my eyes even today!” Let’s play along in the shore and learn more! Though there are varying interpretations about whether the speaker is the confidante or the lady, to me, the voice of the lady sounds as more fitting the context. The lady starts by saying she doesn’t mind if her birth mother were to come to know of this, a statement that should tell us that the lady found this foster mother more approachable, when it came to talking about sensitive things. Next, the lady also declares that she doesn’t care if the gossipmongers of the town hear about this. She is also prepared to solemnly swear before the God of a place called ‘Puhaar’, also known as ‘Kaveripoompattinam’, an ancient but now sunken harbour on the Coromandel coast, where many underwater archaeological excavations are ongoing to unearth the significance of this place, much renowned in the ancient world. Returning, after declaring these opening statements, the lady launches into a tale of what happened one day at the shore, when she was playing with her mates, building sand houses, and pretend playing as cooks. Just then, a man had approached them and asked whether he too could join in that feast they had spread on soft leaves. Feeling shy, the girls bent their heads and hid behind each other and said that the food was not fit to be had by the man, since it was made of fish, thrown by the sea, perhaps implying these are beached fish, and not freshly caught. Then, distracted by the appearance of tall ships with fluttering flags, the girls seem to have run away, razing their sand houses. Just then, the man seems to have pointedly looked at the lady and asked with sorrowful eyes whether he should leave. When the lady replied he should, he seemed to have stood there, by his chariot, looking deeply into her eyes. The lady concludes by declaring that that image of the man standing there, looking at her, was frozen in her mind’s eye! This is a case of revealing the relationship to the foster mother, who would then take it to the birth mother, who would take it to the extended family, and thus pave the way for the lady’s marriage with the man. The highlight in this verse is the timeless capture of how long after the event, a certain expression – a look, a smile, a word, from a special person,

In this episode, we perceive the dangers in a journey, as depicted in Sangam Literary work, Aganaanooru 109, penned by Kadunthodai Kaavinaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relays an indirect message of motivation. பல் இதழ் மென் மலர் உண்கண், நல் யாழ்நரம்பு இசைத்தன்ன இன் தீம் கிளவி,நலம் நல்கு ஒருத்தி இருந்த ஊரேகோடு உழு களிற்றின் தொழுதி ஈண்டிக்காடு கால்யாத்த நீடு மரச் சோலைவிழை வெளில் ஆடும் கழை வளர் நனந்தலை,வெண் நுனை அம்பின் விசை இட வீழ்ந்தோர்எண்ணு வரம்பு அறியா உவல் இடு பதுக்கைச்சுரம் கெழு கவலை கோட்பால் பட்டென,வழங்குநர் மடிந்த அத்தம் இறந்தோர்,கைப்பொருள் இல்லைஆயினும், மெய்க் கொண்டுஇன் உயிர் செகாஅர் விட்டு அகல் தப்பற்குப்பெருங் களிற்று மருப்பொடு வரி அதள் இறுக்கும்அறன் இல் வேந்தன் ஆளும்வறன் உறு குன்றம் பல விலங்கினவே. In the previous trip to the drylands, we saw how a journey to be taken was visualised. In contrast, now the journey that has been taken is described in these words by the man, speaking to his heart, in the middle of his travel through the drylands, to seek wealth: “With kohl-streaked eyes, akin to a many-petalled, soft flower, speaking sweet words, akin to the music from the string of a fine lute, is the one, who renders her beauty to me.  The wide spaces we have crossed are where herds of elephants kill with their tusks; where mating squirrels play around in the dense groves with tall trees; where those who fell to the speed of the white-tipped arrows are heaped in countless pebble-filled graves; where, fearing that people would be killed in these deadly paths, wayfarers avoid on principle; where, if by chance, a person traverses this path, with nothing in their hands, and if the robbers let them leave without ending their lives, as penalty, the ruler of those robbers, the one who lacks justice, demands a huge elephant’s tusk and striped skin of a tiger, in those arid, dreary peaks. Beyond such places many, is the town, where my beloved lives!” Let’s take a daring walk through the drylands! The man starts by reflecting on the beauty, sweetness and love of his beloved and he thinks about where her town is. When he does that, images of ruthless elephants, countless stone-graves, and uninhabited paths that he has crossed flashes before his mind. He remarks how in these spaces, normally people avoid knowing that there is a high chance of being killed by the robbers, and if in case, an unknowing person does walk through that path, and if that person has nothing worth in their hands, and the robbers let the man leave with his life, then the leader of this group would be so furious that he would demand those robbers to bring him elephant’s tusk and tiger’s skin as penalty. Such is the harsh nature of the people there, the man depicts, and concludes by saying his dearest’s town is beyond such places many, which the man has traversed. In a nutshell, the man is telling his heart, you may think of the lady, but we have crossed so many dangers to come here, and there is no point in turning back, and that the only way is the way forward! Sounds like a much-needed message for all of us, in our different journeys through life!

In this episode, we perceive a hidden attempt at persuasion, as depicted in Sangam Literary work, Aganaanooru 108, penned by Thankaal Porkollanaar. The verse is situated in the bee-buzzing hills of the ‘Kurinji’ or ‘Mountain Landscape’ and depicts the dangers in trysting. புணர்ந்தோர் புன்கண் அருளலும் உணர்ந்தோர்க்குஒத்தன்றுமன்னால்! எவன்கொல்? முத்தம்வரைமுதல் சிதறியவை போல், யானைப்புகர் முகம் பொருத புது நீர் ஆலிபளிங்கு சொரிவது போல் பாறை வரிப்ப,கார் கதம்பட்ட கண் அகன் விசும்பின்விடுபொறி ஞெகிழியின் கொடி பட மின்னி,படு மழை பொழிந்த பானாட் கங்குல்,ஆர் உயிர்த் துப்பின் கோள் மா வழங்கும்இருளிடைத் தமியன் வருதல் யாவதும்அருளான் வாழி, தோழி! அல்கல்விரவுப் பொறி மஞ்ஞை வெரீஇ, அரவின்அணங்குடை அருந் தலை பை விரிப்பவைபோல்,காயா மென் சினை தோய நீடிப்பல் துடுப்பு எடுத்த அலங்கு குலைக் காந்தள்அணி மலர் நறுந் தாது ஊதும் தும்பிகை ஆடு வட்டின் தோன்றும்மை ஆடு சென்னிய மலைகிழவோனே. The elements put up quite a show in this trip to the mountains, where we hear the confidante say these words to the lady, pretending not to notice the man listening nearby, but making sure he’s in earshot: “To remove the suffering of those they love is the duty of the wise, isn’t it? Then why doesn’t he? Frightened by the spotted peacock, the snake’s divine and fearsome hood spreads out. Akin to that, as the ironwood tree’s slender branch grazes on it, clusters of the flame-lily, akin to a many-oared boat, sways. And to feed on the fragrant pollen of those beautiful flowers, bees, appearing like dice played by hand, swarm around, in those hills, whose heads are covered in clouds, in the domain of the lord! On the elephant’s spotted face, appearing as if pearls have been scattered on a hill top, fresh hail stones dash against and then spread on the rocks, like scattered marbles, when furious clouds in the wide sky, flash vines of lightning, akin to a sparking fire brand, and heavy rain pours down in the middle of the night. At such a time, when killer animals roam, with a desire to feed on precious lives, in the dark, alone he comes. How is this rendering grace, my friend? May you live long!” Time to take a walk in the dark through the ups and downs of a hill! The confidante starts with a declarative statement that the foremost duty of those who say they love another is to avoid causing pain to them, and do all it takes to end any suffering on their part. She nails it, indeed! But it’s not to muse on the nature of love that the confidante says these words. She reveals the reason by saying that the man does not seem to be doing that. After launching into a description of his mountain country, with layered similes depicting ironwood trees, flame lilies and buzzing bees, the confidante details how the man has been coming to see the lady in the dead dark of the night, when carnivorous animals are on the prowl, looking out for a prey, and this is a time when the rains pour down, with hail stones as well, with angry clouds punching each other and sending sparks of fury in the form of lightning flashes. The confidante concludes by wondering how this can be seen as thoughtful rendering of grace by the lord of the mountains towards the lady.  In essence, it’s the confidante’s way of pointing to the man that he has been trysting for too long, instead of taking steps towards a permanent union with the lady. Without directly saying it to his face, the confidante appeals to his sense of justice in a seemingly secret conversation with her friend. The highlight of this verse though are the many stunning similes, such as a scattering of pearls on a rocky surface to etch the image of the spots on an elephant’s face. This matter-of-fact accessing of precious elements of the sea talks about how these ornaments were to be found ubiquitously in that domain. Other interesting similes are the many-oared boat for a flame-lily’s flower clusters, stressing on the culture’s ship-building sensitivities. And finally, it’s not all work or wealth, there’s also representation of play, as echoed by the comparison of a buzzing bee to dice in a game. Thus, aspects of life in the Sangam era gently shine in these similes, much like the confidante’s subtle attempt at changing the man’s path! 

In this episode, we listen to a message of acceptance, as portrayed in Sangam Literary work, Aganaanooru 107, penned by Kaaviripoompattinathu Kaarikkannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse visualises the journey ahead for a couple. நீ செலவு அயரக் கேட்டொறும், பல நினைந்து,அன்பின் நெஞ்சத்து, அயாஅப் பொறை மெலிந்தஎன் அகத்து இடும்பை களைமார், நின்னொடுகருங் கல் வியல் அறைக் கிடப்பி, வயிறு தின்றுஇரும் புலி துறந்த ஏற்றுமான் உணங்கல்,நெறி செல் வம்பலர் உவந்தனர் ஆங்கண்,ஒலிகழை நெல்லின் அரிசியொடு ஓராங்குஆன் நிலைப் பள்ளி அளை பெய்து அட்டவால் நிணம் உருக்கிய வாஅல் வெண் சோறுபுகர் அரைத் தேக்கின் அகல் இலை மாந்தும்கல்லா நீள் மொழிக் கத நாய் வடுகர்வல் ஆண் அரு முனை நீந்தி, அல்லாந்து,உகு மண் ஊறு அஞ்சும் ஒரு காற் பட்டத்துஇன்னா ஏற்றத்து இழுக்கி, முடம் கூர்ந்து,ஒரு தனித்து ஒழிந்த உரனுடை நோன் பகடுஅம் குழை இருப்பை அறை வாய் வான் புழல்புல் உளைச் சிறாஅர் வில்லின் நீக்கி,மரை கடிந்து ஊட்டும் வரைஅகச் சீறூர்மாலை இன் துணைஆகி, காலைப்பசு நனை நறு வீப் பரூஉப் பரல் உறைப்ப,மண மனை கமழும் கானம்துணை ஈர் ஓதி என் தோழியும் வருமே. We pass through different scenes in this trip to the drylands as we get to hear the confidante say these words to the man: “Hearing about your wish to take her away with you, pondering a lot, with a loving heart, seeing how my bosom had thinned away with the pain of this unbearable burden, wanting to end my suffering, she has agreed to come with you. Spreading on the wide space of a black boulder, after eating to its full, a huge tiger abandons a stag’s meat. Seeing this dried-up carcass, wayfarers passing through feel much joy. Taking rice that came from paddy grains of luxuriant stalks, adding together the thick curd that came from the community of cattle herders, and the fatty meat of the carcass, they cook the rice, and then spread the food on the spotted-trunked teak tree’s wide leaf and savour the same, in those formidable spaces, belonging to the Vadugars, who possess hunting dogs, and speak an unknown language from long ago. She will traverse through such a drylands domain with you. With much sorrow lies a once-strong bull that has been forsaken to live alone, owing to its broken leg, when it slipped on a dangerous slope. As it fears to tread a narrow path with loose sand, little boys with scanty tufts of hair, with their bows, bring down a beautiful cluster of flowers, with hollow tubes, from the Mahua tree, and after chasing away the deer that comes to munch on it, they bring it to the bull and feed it, in those little hamlets by the hills. Staying as your sweet companion in these hamlets in the evening, then, during the day, as fragrant, fresh flowers drop down on dense rocks, through that forest, wafting with the scent of a house of wedding festivities, as your mate, my friend, the maiden with moist tresses, shall walk on!” Time to trail this couple through the drylands! The confidante starts by giving a message the man had been waiting to hear, and that is acceptance on behalf of the lady to elope away with the man. The confidante talks about how the lady took pity on the confidante, caught between the two, and worrying about where this was going, and offered her decision to leave with the man. Then, the confidante goes on to sketch two different places, the first being a scorching space, where a tiger had left behind a deer carcass, after feeding on it. When wayfarers come that way, they are delighted to find some good food, and they prepare a unique ‘Paalai Biriyani’ by cooking that meat, along with rice, and some thick curd. Then, placing this food on the biodegradable plate of a teak leaf, they savour it. A moment to note how humans are also much like the scavenger birds, who have no qualms about eating what they did not work for! Let’s return to this thought in a moment.  The confidante has mentioned that harsh drylands space to be the domain of a tribe of people called ‘Vadugars’, who are said to speak an old language, but not a developed one, possibly meaning that this language had no script of its own, unlike Tamil. Next, these nuggets have been mentioned by the confidante to talk about how the lady will bravely cross such spaces with the man.  Next, the confidante takes us to a little town with kind-hearted boys, who bring down flower clusters of the Mahua, and take it carefully to feed a bull that has broken its leg, slipping on a slope, as it went to drink water. In such a town, the lady will rest with the man at night, the confidante connects, and concludes by saying, in the morning, the lady would wake up and walk on through the forests, which smell like a house filled with wedding festivities, thanks to the flowers that fall and spread on the rocks beneath. In short, wherever you take her, the lady shall follow and be your sweet companion, the confidante conveys to the man. Returning to that scene of wayfarers relishing food hunted by the tiger, the confidante places this scene as a metaphor for the man, choos

In this episode, we observe the fury of a scorned woman, as depicted in Sangam Literary work, Aganaanooru 106, penned by Alangudi Vanganaar. The verse is situated amidst the fertile fields of the ‘Marutham’ or ‘Farmlands Landscape’ and reflects the sparks of rivalry in a rich town. எரி அகைந்தன்ன தாமரைப் பழனத்து,பொரி அகைந்தன்ன பொங்கு பல் சிறு மீன்,வெறி கொள் பாசடை, உணீஇயர், பைப்பயப்பறை தபு முது சிரல் அசைபு வந்து இருக்கும்துறைகேழ் ஊரன் பெண்டு தன் கொழுநனைநம்மொடு புலக்கும் என்ப நாம் அதுசெய்யாம்ஆயினும், உய்யாமையின்,செறிதொடி தெளிர்ப்ப வீசி, சிறிது அவண்உலமந்து வருகம் சென்மோ தோழி!ஒளிறு வாட் தானைக் கொற்றச் செழியன்வெளிறு இல் கற்பின் மண்டு அமர் அடுதொறும்களிறு பெறு வல்சிப் பாணன் எறியும்தண்ணுமைக் கண்ணின் அலைஇயர், தன் வயிறே. In this visit to the farmlands, we receive a unique perspective in the usual love-quarrel situation, as we hear a courtesan, say these words to her friend, as the lady’s friends listen nearby: “In the field, where a lotus blooms, akin to a flame, many little fish leap about, akin to grains, when roasted, amidst the thick, green leaves. To feed on them, slowly, very slowly, an old kingfisher, with broken wings, hops thither, in the lord’s town with a prosperous river shore. They say that the lord’s woman connects me to her husband and speaks disparagingly, even though I haven’t done anything at all. Tinkling these neat rows of bangles, let’s go there and roam around a little, come, my friend! Akin to how a bard beats on the eye of the ‘thannummai drum’, when he receives an elephant as his reward, after the conquest of every battle in a flawless fashion, by the victorious Chezhiyan, with an army of shining swords, let her beat upon her stomach and lament!” Let’s take in the sights of blooming lotuses and burning hearts in this one! The courtesan starts by describing the lord’s town, and she mentions lotuses blazing like a fire in the field and amidst the thick green leaves, little fish leap about like puffed rice. Wanting to feed on these little fish, an old kingfisher, whose wings don’t seem to work like before, hops on to that spot, with soft steps, says the courtesan. Then, she turns to the matter at hand, and talks about how people had told her that the lord’s wife has been speaking ill of the courtesan, suspecting of a liaison between the man and the courtesan. All this when I haven’t even done a thing, the courtesan remarks, and then turns to her friend and says we must go to the street where she lives and walk around, tinkling our bangles. The courtesan concludes with the reason for the same saying then the lady will beat upon her stomach, much like the bards’ beating on the drums, when they receive gifts of elephants from the victorious Chezhiyan, after the king’s success in the battlefield! In short, a verse that simply wants to taunt another! Even in the scene of the man’s town, that’s not a mere description, but a metaphor for the situation, wherein the little leaping fish are the courtesans, and the aged kingfisher with ruined wings is none other than the lady, who is bashing up the courtesans. By symbolising the lady as an old kingfisher, the courtesan is mocking at the lady’s age and echoing the pride in her own youth. All this bickering over a man! Perhaps that’s what you can expect when he holds the power and the purse in that prosperous town?

In this episode, we perceive a mother’s shock, as depicted in Sangam Literary work, Aganaanooru 105, penned by Thaayankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse depicts the unlikely journey of a young girl through a challenging terrain. அகல் அறை மலர்ந்த அரும்பு முதிர் வேங்கைஒள் இலைத் தொடலை தைஇ, மெல்லெனநல் வரை நாடன் தற்பாராட்டயாங்கு வல்லுநள்கொல் தானே தேம் பெய்து,மணி செய் மண்டை தீம் பால் ஏந்தி,ஈனாத் தாயர் மடுப்பவும் உண்ணாள்,நிழற் கயத்தன்ன நீள் நகர் வரைப்பின்எம்முடைச் செல்வமும் உள்ளாள், பொய்ம் மருண்டு,பந்து புடைப்பன்ன பாணிப் பல் அடிச்சில் பரிக் குதிரை, பல் வேல் எழினிகெடல் அருந் துப்பின் விடுதொழில் முடிமார்,கனை எரி நடந்த கல் காய் கானத்துவினை வல் அம்பின் விழுத் தொடை மறவர்தேம் பிழி நறுங் கள் மகிழின், முனை கடந்து,வீங்கு மென் சுரைய ஏற்றினம் தரூஉம்முகை தலை திறந்த வேனிற்பகை தலைமணந்த பல் அதர்ச் செலவே? In this trip to the drylands, it’s the lady’s mother we get to meet and hear her say these words, when she learns that her daughter has eloped away with the man: “Listening to the praises of the man from the fine mountains, who wears a garland with shining leaves and blooming flowers of the ‘Indian Kino tree’, which grows by a wide rock, she went away with him. She was one, who would refuse to drink the honey-infused, sweet milk, brought to her in a bowl, studded with precious gems, by her foster mother. Without giving a thought to the wealth and comfort in our tall mansion, which is akin to a pond in a shade, listening to his lies, she has left to the drylands, where intending to finish the mission, assigned to them by the many-speared Ezhini, who wields horses, which trot in the style of a ball bouncing on land, warriors with indestructible strength, holding well-etched, strong bows and arrows that miss not their mark, delight in the sweet and fragrant toddy, amidst the burning rocks of the scrub jungle, after winning in the battle, and capturing herds of cattle with soft and bulging udders. To traverse the many paths of such a place, filled with conflicts, in the harsh summer, which can burst open even the rocks, how did she find the strength?” Time to follow the man and lady into the searing drylands! Mother starts by describing the man as a lord of the mountains, who wears Kino garlands. She says this man must have showered praises on her daughter, whom she describes as we have so often heard, as a fussy eater, who would refuse even milk and honey, offered in a gem-studded bowl by a foster mother. A moment to pause and reflect on the phrase ‘Eena Thaayar’ used here! The word literally translates as ‘the mother who has not given birth’, implying that the lady’s mother had other women, who took care of the child entirely. Here’s a reference to a nanny in Sangam times, underlining the affluence in those households. This nanny was not someone, who just did her job and got paid for it. In many instances, we see this foster mother as being mother-like in all respects, that it’s hard to differentiate, whether it’s the birth mother or the foster mother speaking. It’s in rare verses like this, which by the direct mention of the mother, who raises the child, informs us about these interesting facts on child care in the Sangam era. Returning to the flow, we find mother lamenting how the lady did not seem to care about how much wealth and comfort was there in their home, which she then places in parallel to not only a cool pond, but one that is under a sweet shade. What a pleasant place that would be and so is their abode, mother describes! The lady had left all this to go to the drylands. To describe this place, mother brings in the scene of the brave warriors, who following the command of their leader Ezhini, had gone to battle and captured fine herds of cattle and were now delighting uproariously in drinking sweet toddy, sitting by the paths of that dreary land. Mother concludes by wondering from where her gentle girl could have got the strength to cross such a terrible land, wrought with dangers, that too in the middle of a summer that could make even rocks burst out in the heat! Yet again, we witness how a child remains the delicate one, needing protection, in the mother’s eyes. A timeless testimony to the parents’ surprise at the delicate little being they once held in their hands, having grown into an independent human, with a bold mind of their own! 

In this episode, we listen to words of a joyous welcome, as depicted in Sangam Literary work, Aganaanooru 104, penned by Madurai Maruthan Ilanaakanaar. The verse is situated amidst the flowering bushes of the ‘Mullai’ or ‘Forest Landscape’ and portrays a friend’s delight. வேந்து வினை முடித்தகாலை, தேம் பாய்ந்துஇன வண்டு ஆர்க்கும் தண் நறும் புறவின்வென் வேல் இளையர் இன்புற, வலவன்வள்பு வலித்து ஊரின் அல்லது, முள் உறின்முந்நீர் மண்டிலம் ஆதி ஆற்றாநல் நால்கு பூண்ட கடும் பரி நெடுந் தேர்,வாங்குசினை பொலிய ஏறி; புதலபூங் கொடி அவரைப் பொய் அதள் அன்னஉள் இல் வயிற்ற, வெள்ளை வெண் மறி,மாழ்கியன்ன தாழ் பெருஞ் செவிய,புன் தலைச் சிறாரோடு உகளி, மன்றுழைக்கவை இலை ஆரின் அம் குழை கறிக்கும்சீறூர் பல பிறக்கு ஒழிய, மாலைஇனிது செய்தனையால் எந்தை! வாழிய!பனி வார் கண்ணள் பல புலந்து உறையும்ஆய் தொடி அரிவை கூந்தற்போது குரல் அணிய வேய்தந்தோயே! It’s a happy tour of the forests in this trip and we hear these words said by the confidante to the man, when he returns home to the lady: “After the king completed his mission, as swarms of bees suckling honey buzzed aloud in the cool and fragrant forest, as helpers holding white spears delighted, you climbed on to the tall chariot, and adorned the seat in the shape of a curving branch. The four fine horses tied to your speedy chariot seemed to leap in such a way that if only the charioteer didn’t restrain them with his reins, there wouldn’t be enough space for them to cross in this entire world, surrounded by the three seas. Passing by many a small hamlet, where a starving, little white goat, having drooping, huge ears and nothing within its stomach, and skin, akin to seedless bean pods spreading on the bushes, prances about with dull-haired little boys and munches on the clusters of the two-lobed ‘Indian Kanchan’ tree, with such speed, you have arrived and done much good on this evening, O lord! May you live long! With tears streaking down her eyes, the young maiden wearing beautiful bangles, was anxious and in much distress, but now you have come thither, bringing these flower stalks to adorn her tresses!” Let’s climb on that chariot and take in the fleeting scenes of the lush forests! The confidante starts by remarking on the man’s successful completion of his mission to aid his king in battle. As the king obtained the results he desired, he gave leave to his worthy warriors and their helpers. As the bees echoed the joy in their hearts, the man started his journey homeward by climbing atop his chariot, whose horses were so speedy and leaped as if the entire earth would be encompassed within the spread of their hooves, the confidante describes. Then she talks about how the man passed by many hamlets, where starving goat kids were happy now, for the flowers were blooming, and there was plenty of tasty leaves to much on in the ‘Aar’ or ‘Aathi’ tree, and it was the right time to play with the young children. With these scenes of innocent joy as the subtext, the confidante concludes by saying how the man had done much good by arriving that evening, for the lady had been dejected, but all that was about to be wiped away in the gesture of the man adorning the lady’s tresses with fresh flowers!  In these words, we can sense a medley of emotions such as relief, delight and satisfaction in the voice of the confidante. What a joy homecoming can be, is brought out in the few words of this verse. More importantly, I admire the confidante’s selfless interest in the welfare of her friend and the true heart that sees her friend’s happiness as her own. To have, or better still, to be such as friend is indeed a thing to aspire to! 

In this episode, we listen to the lament of a lady, as depicted in Sangam Literary work, Aganaanooru 103, penned by Kaaviripoompattinathu Chenkannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the pain caused by the man’s parting away. நிழல் அறு நனந்தலை, எழால் ஏறு குறித்தகதிர்த்த சென்னி, நுணங்கு செந் நாவின்,விதிர்த்த போலும் அம் நுண் பல் பொறி,காமர் சேவல் ஏமம் சேப்ப;முளி அரில் புலம்பப் போகி, முனாஅதுமுரம்பு அடைந்திருந்த மூரி மன்றத்து,அதர் பார்த்து அல்கும் ஆ கெழு சிறுகுடி,உறையுநர் போகிய ஓங்கு நிலை வியல் மனை,இறை நிழல் ஒரு சிறைப் புலம்பு அயா உயிர்க்கும்வெம் முனை அருஞ் சுரம் நீந்தி; தம்வயின்ஈண்டு வினை மருங்கின் மீண்டோர்மன் என,நள்ளென் யாமத்து உயவுத்துணை ஆகநம்மொடு பசலை நோன்று, தம்மொடுதானே சென்ற நலனும்நல்கார்கொல்லோ, நாம் நயந்திசினோரே? More of the drylands here, and we hear the lady say these words to her confidante, as the man remains parted away: “In those spaces, bereft of shade, an alluring male quail, with many beautiful little spots, appearing like sprinkled drops, having a small, red tongue and a crested head, marked by a bird of prey, wanting a safer place, rushes away from the thorny bushes, and runs towards a small hamlet, with cattle, to the town centre in the harsh land, and rests under an abandoned, soaring, wide mansion, looking at the path behind, in the shade of the roof, alone, letting out deep sighs, in that harsh and scorching drylands, to which he has left on account of fulfilling his task, leaving behind only pallor as my company in the dark dead of the night. Won’t the one I desire, he, who took away my beauty, render it back to me?” Time to run along with a quail in the drylands! The lady starts by describing the scene where a little male quail that has fallen in the radar of a swooping scavenger bird, knowing the danger heading its way, rushes away from the bushes in the open ground and runs towards an ancient town, bereft of inhabitants, and rests sighing under the eaves of an abandoned mansion. Saying this is where the man treads now, the lady talks about how he seems to have stolen her health and beauty when he left and given her only the company of pallor in the middle of the night. She wonders sighing like that quail about whether and when the man would return what he took away from her! Yet again, another song which talks about the helplessness of the lady without her man by her side. All these repeated songs about the woman’s dependence on the man makes me wonder what is the purpose behind them? What was the philosophy that made these Sangam poets pen verse after verse in the same theme? While we may not have clearcut answers to these questions, the thing to do is to feel grateful for the fact that the world has moved in a direction, where a woman does not need to let her love for another, hinder her enjoyment of all that life has to offer!

In this episode, we listen to an attempt at persuasion, as depicted in Sangam Literary work, Aganaanooru 102, penned by Madurai Ilampaalaasiriyan Chenthan Koothanaar. The verse is situated amidst the lush millet fields of the ‘Kurinji’ or ‘Mountain Landscape’ and portrays the consequences of the man’s delay in seeking the lady’s hand. உளைமான் துப்பின், ஓங்கு தினைப் பெரும் புனத்துக்கழுதில், கானவன் பிழி மகிழ்ந்து வதிந்தென;உரைத்த சந்தின் ஊரல் இருங் கதுப்புஐது வரல் அசைவளி ஆற்ற, கை பெயரா,ஒலியல் வார் மயிர் உளரினள், கொடிச்சிபெரு வரை மருங்கில் குறிஞ்சி பாட;குரலும் கொள்ளாது, நிலையினும் பெயராது,படாஅப் பைங் கண் பாடு பெற்று, ஒய்யெனமறம் புகல் மழ களிறு உறங்கும் நாடன்;ஆர மார்பின் அரி ஞிமிறு ஆர்ப்ப,தாரன், கண்ணியன், எஃகுடை வலத்தன்,காவலர் அறிதல் ஓம்பி, பையெனவீழாக் கதவம் அசையினன் புகுதந்து,உயங்கு படர் அகலம் முயங்கி, தோள் மணந்து,இன் சொல் அளைஇ, பெயர்ந்தனன் தோழி!இன்று எவன்கொல்லோ கண்டிகும் மற்று அவன்நல்காமையின் அம்பல் ஆகி,ஒருங்கு வந்து உவக்கும் பண்பின்இருஞ் சூழ் ஓதி ஒண் நுதற் பசப்பே? Picturesque sights await us in this trip to the mountains, where we get to hear the lady say these words to the confidante, pretending not to notice the man, listening nearby, but making sure he’s in earshot: “With the strength of a lion, sitting on a loft, atop a huge millet field with soaring crops, the mountain man relishes his toddy and remains there; As the breeze sways by with beauty, his mountain maiden dries her thick, dark tresses, spread with sandalwood oils, by running her fingers through her locks, and sings the ‘Kurinji’ song in those mountain spaces; Listening to this song, without eating the crops, without moving away from there, attaining sleep in those sleepless, green eyes, the brave, young elephant lies down and rests in the mountains of the lord. With his sandalwood-streaked chest, swarming with bees, wearing a garland and head garland, holding a spear in his right hand, taking care to prevent guards from hearing his approach, softly, opening the unbolted door, he entered within, embraced with desire my spreading chest, held on to my arms, said sweet words and then left me, my friend! But since he does not render his grace now, slander has risen, and on my shining forehead, surrounded by dark tresses that wish only to render joy, pallor has spread. How can I bear this now?” Time to go on that mountain trek at night and read the minds! The lady starts with a nuanced description of the man’s mountain country, talking first about a mountain dweller, who guards the millet fields sitting on a loft above the fields. Forgetting his duties, he seems to be relishing sweet toddy and lost in that pleasure. While this is happening on one side, his mate, the mountain maiden, dries her thick tresses in the wind, and sings a song, which echoes across the mountain clefts. Hearing this song, a young male elephant forgets about eating the crops, does not move away from there, but instead lies down and sleeps at peace, the lady sketches. Let’s return to this interesting scene in a moment. Then, the lady goes on to talk about the way the man comes at night, wearing his garlands and holding a spear, stealthily avoiding the lookout of the guards, and then enters the unbolted door to embrace the lady, say sweet words and leave. While this is such a joyous thing, when he does not come, pallor coats my forehead and slander spreads in town, the lady says and concludes asking her confidante, how she could go on in this manner. In the image of the toddy-drinking mountain dweller, the lady places a metaphor for the man’s actions of wanting only to enjoy the pleasures of trysting and his forgetting of his duties. In the scene of the mountain maiden singing her song thinking about her man, the lady talks about her own changes because of the man’s relationship; Finally, in the unintended consequence of the elephant sleeping to the maiden’s song, the lady talks about how it’s the town’s folk who seem to be alert to her changes and are dropping all their work to spread gossip about her. In short, the one for whom the lady’s heart sings that song seems not to pay heed, the lady implies, connecting to the man’s interest in temporary trysting and not in the permanent union with her. Though it’s the same theme of ‘Marry me, marry me’, the verse leaves us with exquisite glimpses of life in the mountain country.

In this episode, we perceive the distress in separation, as portrayed in Sangam Literary work, Aganaanooru 101, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse vividly depicts the people and events of this arid land. அம்ம வாழி, தோழி! ”இம்மைநன்று செய் மருங்கில் தீது இல்” என்னும்தொன்றுபடு பழமொழி இன்று பொய்த்தன்றுகொல்?தகர் மருப்பு ஏய்ப்பச் சுற்றுபு, சுரிந்தசுவல் மாய் பித்தை, செங் கண் மழவர்வாய்ப் பகை கடியும் மண்ணொடு கடுந் திறல்தீப் படு சிறு கோல் வில்லொடு பற்றி,நுரை தெரி மத்தம் கொளீஇ நிரைப் புறத்துஅடி புதை தொடுதோல் பறைய ஏகி,கடி புலம் கவர்ந்த கன்றுடைக் கொள்ளையர்,இனம் தலைபெயர்க்கும் நனந்தலைப் பெருங் காட்டு,அகல் இரு விசும்பிற்கு ஓடம் போல,பகலிடை நின்ற பல் கதிர் ஞாயிற்றுஉருப்பு அவிர்பு உளரிய சுழன்று வரு கோடை,புன் கால் முருங்கை ஊழ் கழி பல் மலர்,தண் கார் ஆலியின், தாவன உதிரும்பனி படு பல் மலை இறந்தோர்க்குமுனிதகு பண்பு யாம் செய்தன்றோஇலமே! It’s all about the dread of the drylands in this one and we get to hear the lady say these words to the confidante, after the man had left in search of wealth and continues to remain parted away: “Listen, my friend! May you live long! It appears as if that ancient proverb, which says, ‘If you only do good in this life, no evil shall befall you’ has become false today. The red-eyed Mazhavars, with their long, curling locks of hair, hiding their necks, akin to the horns of a ram, holding termite mud in their mouths to quell that enemy called cough, carrying a small fire rod capable of kindling a huge fire, along with a bow, steal churning rods with foam lines. Then those bandits, with their slippers masking the sound of their foot steps, stealthily capture herds of cattle, along with their calves, from well-guarded spaces, and then move the herds to other places in that spreading, huge scrub jungle, where appearing like a raft on the wide sky, the many-rayed sun spreads its heat and scorches during the day, making the many flowers of the dull stemmed drumstick tree, wither down, akin to hail in the cool, rainy season. Such is the harsh and hilly region, which makes one shiver, that the man has left too. We have done nothing hateful to him ever!” Let’s brave the heat and take a walk in the drylands to learn more! The lady starts with an abstract statement about a well-known proverb seemingly becoming false. This said proverb is the one which says that no harm shall come to a person, who only does good in this life. Instead of saying what she means by that, the lady launches into a detailed description of the drylands, by sketching a portrait of the robbers called as ‘Mazhavars’. Their curly hair is placed in parallel to the ram’s horns, in a striking simile.  Then there’s a rather curious mention of these men, having termite mud in their mouths, so as to quell an enemy of the mouth. This enemy of the mouth is nothing other than the respiratory issues, such as cough, sneeze and so on. Obviously the robbers do not want to give away their discreet approach just before nabbing their goods, and that’s why they are taking so much care to prevent any disturbances in their throats. Like me, you may wonder, all that’s fine but termite mud, what’s that got to do with arresting a cough? On researching, a scientific article enlightened me about how termites have been used for long in south Indian traditional medicine as a treatment for asthma and other respiratory diseases by indigenous tribes such as the Irulas, Panniyars, Kannikaarar, etc. Felt amazed by how this subtle line in a two thousand year old poetry connects to the medicine of indigenous tribes even today. Returning, we find these robbers seizing the curd-churning rods and then stealthily approaching the sheds of these cattle, with their slippers masking their footsteps. With such precautions, they succeed at their attempt in stealing away the cattle and the calves, and move these herds to other places in that scrub jungle, where the sweltering heat makes the drumstick tree shed its flowers, like hail in the rainy season. Such a vivid description of the drylands has been given by the lady to say this is where the man is walking now. She concludes by declaring that she has done nothing wrong to the man, connecting back to her opening statement, implying even though she has done only good, the harm of separation has befallen on her. Yet again, it’s the theme of separation but this verse shines as an anthropologist’s delight, in linking the humans of the past and present!