Sangam Lit

In this episode, we perceive subtle words of persuasion, as depicted in Sangam Literary work, Aganaanooru 100, penned by Ulochanaar. The verse is situated amidst the roaring waves of the ‘Neythal’ or ‘Coastal Landscape’, and reveals the concern with the man’s current course of action. அரையுற்று அமைந்த ஆரம் நீவி,புரையப் பூண்ட கோதை மார்பினை,நல் அகம் வடுக் கொள முயங்கி, நீ வந்து,எல்லினில் பெயர்தல் எனக்குமார் இனிதே.பெருந் திரை முழக்கமொடு இயக்கு அவிந்திருந்தகொண்டல் இரவின் இருங் கடல் மடுத்தகொழு மீன் கொள்பவர் இருள் நீங்கு ஒண் சுடர்ஓடாப் பூட்கை வேந்தன் பாசறை,ஆடு இயல் யானை அணி முகத்து அசைத்தஓடை ஒண் சுடர் ஒப்பத் தோன்றும்பாடுநர்த் தொடுத்த கை வண் கோமான்,பரியுடை நல் தேர்ப் பெரியன், விரிஇணர்ப்புன்னைஅம் கானல் புறந்தை முன்துறைவம்ப நாரைஇனன் ஒலித்தன்னஅம்பல் வாய்த்த தெய்ய தண் புலர்வைகுறு விடியல் போகிய எருமைநெய்தல் அம் புது மலர் மாந்தும்கைதை அம் படப்பை எம் அழுங்கல் ஊரே! Many fascinating sights of the shore are to be found in this trip to the seas, and here, we listen to the confidante say these words to the man, when he is about to leave, after his nightly tryst with the lady: “Applying well-ground sandalwood paste and wearing a garland high upon your chest, you come here at night, embrace her fine bosom, leaving wounds in it, and then part away at daybreak. This is something pleasant to me too. Our town is a place, where on those cloud-filled nights, when other than the huge roar of the oceans, the world stands still, and fishermen in search of fatty fish traverse the dark seas, and dispel darkness with a radiant lamp, whose light is akin to the bright glow that emits from the golden ornament, adorning the face of a battle elephant, in the encampment of a great king, with a principle of never retreating, and one, which is fenced by pandanus trees, where on a cool and fresh morning, a buffalo feeds on the new flower of the blue lotus! Akin to the calls of flocks of storks arriving in the shore of Puranthai, filled with groves of laurel wood trees, ruled by the great King Periyan, renowned for his generosity, the one who has horses and fine chariots, whom singers have praised endlessly, slander resounds in this uproarious town of ours!” Time to take a walk amidst the pandanus trees of this shore and learn more! The confidante starts by sketching what the man has been doing lately, which is to arrive at the lady’s place, with his chest, streaked with sandalwood paste, and embrace her by night, and leave in the morning. This friend concedes it’s indeed a good thing. Then she goes into a lengthy description of their town, talking about how the fisherfolk traverse the seas at night, with lamps on their boats, and which glow like the golden ornament of a battle elephant. Is the confidante warning the man that there’s danger of discovery by these night fishermen? Then, she also mentions how this town is naturally fenced by pandanus trees, and when dawn breaks, a buffalo can be found savouring a newly bloomed blue lotus flower. No doubt she says this as a metaphor for the man’s secret trysting with the lady! Finally, the confidante comes to the crux of the matter and points to the loud sounds echoing from the throats of storks that arrive in the fertile port town of Puranthai, ruled by the celebrated King Periyan, and connects this noise to the rumours spreading in their town about the man’s relationship with the lady. In short, the confidante impresses upon the man that it’s time to give up his temporary trysting and choose the permanent path of happiness with the lady. In this song filled with vivid images, the line that made me smile was the reference to the buffalo munching on the blue lotus and the connection of this scene in nature to the dynamics of a relationship!

In this episode, we observe the beauty of a place, as portrayed in Sangam Literary work, Aganaanooru 99, penned by Paalai Paadiya Perunkadungo. Set in the ‘Paalai’ or ‘Drylands Landscape’, the verse sketches a word of support expressed to a beloved. வாள் வரி வயமான் கோள் உகிர் அன்னசெம் முகை அவிழ்ந்த முள் முதிர் முருக்கின்சிதரல் செம்மல் தாஅய், மதர் எழில்மாண் இழை மகளிர் பூணுடை முலையின்முகை பிணி அவிழ்ந்த கோங்கமொடு அசைஇ, நனைஅதிரல் பரந்த அம் தண் பாதிரிஉதிர்வீ அம் சினை தாஅய், எதிர் வீமராஅ மலரொடு விராஅய், பராஅம்அணங்குடை நகரின் மணந்த பூவின்நன்றே, கானம்; நயவரும் அம்ம;கண்டிசின் வாழியோ குறுமகள்! நுந்தைஅடு களம் பாய்ந்த தொடி சிதை மருப்பின்,பிடி மிடை, களிற்றின் தோன்றும்குறு நெடுந் துணைய குன்றமும் உடைத்தே! None of the dreariness of the drylands in this one, and here, we hear the man uttering these words to the lady, in the middle of their journey, after they have eloped together from the lady’s town: “Akin to the killer claws of a tiger, with sword-like stripes, are the blooming red buds of the thorny coral tree. As bees suckle honey, the mature, wilting flowers have fallen down and spread all around; Akin to the bejewelled bosoms of maiden, wearing well-etched ornaments and having exquisite beauty, are buttercup flowers that have burst out of their tight buds, and these lie around too, fused with moist wild jasmine buds, cool trumpet flowers that have been shed from a beautiful branch, and the burflower tree’s differing flowers. All this makes the forest waft with the fragrance of many flowers, akin to the divine mansions where people pray. Picturesque, it is! Do you see, O young maiden? May you live long! Akin to your father’s elephant, which has pounced on battlefields many and broken its adorning tusk rings, standing along with its mate, a short hill with a tall one for company, appears before us!” Let’s smell the fragrance of the assorted flowers and sense the emotion herein! The man points out to the lady the various flowers that are lying on the ground and in the branches around them. First to the ‘Murukkam’ tiger-claw-like flowers, and then the ‘Kongam’ buds, akin to the jewel-clad bosoms of maiden, and others like the Athiral, Paathiri and Kadamba flowers. The scent of these various flowers reminds the man of places, where people worship to spirits, no doubt by offering an assortment of flowers, much like the temples of South India, even today. The man calls out to his lady and concludes by asking her to look around at the mesmerising beauty, in the sight of the hills, one tall and one small, looking much like the battle elephant of the lady’s father, in the company of its mate. From these words, we can infer the lady comes from a wealthy and powerful household. At this time, the man understands both the mental anguish and the physical pain of the lady, and intending to take her heart away from all this distress, he calls her attention to the beauty of their present. What better way to show his love and support for the one who has left behind a world of comfort, just to be with him!

In this episode, we perceive the consequences of impending events, as depicted in Sangam Literary work, Aganaanooru 98, penned by Veri Paadiya Kaamakkanniyaar. Set in the domain of the spirits, the ‘Kurinji’ or ‘Mountain landscape’, the verse portrays a subtle but striking technique of persuasion. பனி வரை நிவந்த பயம் கெழு கவாஅன்,துனி இல் கொள்கையொடு அவர் நமக்கு உவந்தஇனிய உள்ளம் இன்னாஆக,முனிதக நிறுத்த நல்கல் எவ்வம்சூர் உறை வெற்பன் மார்பு உறத் தணிதல்அறிந்தனள் அல்லள், அன்னை; வார்கோல்செறிந்து இலங்கு எல் வளை நெகிழ்ந்தமை நோக்கி,கையறு நெஞ்சினள் வினவலின், முதுவாய்ப்பொய் வல் பெண்டிர் பிரப்பு உளர்பு இரீஇ,”முருகன் ஆர் அணங்கு” என்றலின், அது செத்து,“ஓவத்தன்ன வினை புனை நல் இல்,பாவை அன்ன பலர் ஆய் மாண் கவின்பண்டையின் சிறக்க, என் மகட்கு” எனப் பரைஇ கூடு கொள் இன் இயம் கறங்க, களன் இழைத்து,ஆடு அணி அயர்ந்த அகன் பெரும் பந்தர்,வெண் போழ் கடம்பொடு சூடி, இன் சீர்ஐது அமை பாணி இரீஇ, கைபெயரா,செல்வன் பெரும் பெயர் ஏத்தி, வேலன்வெறி அயர் வியன் களம் பொற்ப, வல்லோன்பொறி அமை பாவையின் தூங்கல் வேண்டின்,என் ஆம்கொல்லோ? தோழி! மயங்கியமையற் பெண்டிர்க்கு நொவ்வல் ஆகஆடிய பின்னும், வாடிய மேனிபண்டையின் சிறவாதுஆயின், இம் மறைஅலர் ஆகாமையோ அரிதே, அஃதான்று,அறிவர் உறுவிய அல்லல் கண்டருளி,வெறி கமழ் நெடு வேள் நல்குவனெனினே,”செறிதொடி உற்ற செல்லலும் பிறிது” எனக்கான் கெழு நாடன் கேட்பின்,யான் உயிர்வாழ்தல் அதனினும் அரிதே. Our trip to the mountains takes us on a spiritual tour, and here, we see the lady expressing these words to the confidante, pretending not to notice the man listening nearby, but making sure he’s in earshot: “In the cool and fertile hill spaces, with an irreproachable principle, he had rendered his heart sweetly to me. When his graces were absent for a while, hateful suffering takes form in me. This shall recede only when I embrace the chest of the lord of the mountains, where divine spirits reside. Knowing not this truth, mother looks at the neat rows of radiant bangles, slipping away from my arms, and with helplessness, asks around for advice. In response, those old women, skilled at lying, spread various kinds of rice, and divine saying, ‘It’s the handiwork of Murugan and he has taken possession of her’. Believing that as the truth, mother prays that, ‘In this well-decorated, fine mansion, akin to a painting, my daughter, who is akin to a doll, whose beauty has been analysed and praised by many, should regain her old, thriving state!’ As various musical instruments resound in synchrony, setting up a stage, under a wide tent, decorated for a dance, wearing white palm flowers along with burflowers, singing in a melodious, rhythmic tune, raising his hands, praising the lord’s name greatly, beautifying the arena, per mother’s request, if Velan were to sway and dance, akin to a doll in the hands of an expert puppeteer, and perform the ‘Veri’ ritual, what is to become of me, my friend? Causing anguish to those confused women, even after the dance, if my faded form does not regain its old splendour, it’s unlikely that my secret relationship won’t turn into an object of slander. On the other hand, if the great one with a tall spear, God Murugan, wafting with the fragrance of ‘Veri’ rituals, were to be moved, seeing the suffering induced by my wise man, and were to render my old beauty with grace, my lord of the forest-filled mountains would say, ‘The reason for the pain in the lady wearing neat rows of bangles seems to be something else, not me’. Hearing such words, it’s even more unlikely for me to go on living!” Let’s take in the rituals of these mountain folk and try to read the lady’s heart! She starts by talking about how the man has been trysting with her and rendering his graces. At times, when he is unable to come to her as planned, a deep suffering spreads in her, the lady explains. She adds that the only way that suffering can vanish was if she embraced her man’s chest. Without knowing this side of the story, the lady’s mother becomes worried, as she glances at her girl’s thinning arms, from which bangles are dropping down. Like most mothers, she asks around for advice, and the wise old fortune-tellers in her village spread rice and do their divining. At the end of their process, they conclude that God Murugan has taken possession of the girl and that he must be appeased. Now, mother thinks somehow she has to help her daughter regain her excellent beauty. After stating the scenario as it is, the lady launches into the hypothetical next steps, which would be the performance of the Veri ritual by the Priest Velan, who would wear palm sprouts and burflowers and dance away on a stage spread with sand, under a tent, singing loudly the praises of God Murugan, accompanied by musical instruments. The lady wonders what would be her fate if this were to happen? Why should she worry?, we may ask. She explains by stating two possible outcomes for such an event. One, even after the Veri dance ritual, the lady’s beauty does not return, much to the distress

In this episode, we listen to a lady’s lament, as portrayed in Sangam Literary work, Aganaanooru 97, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse is a medley of many fascinating elements. ”கள்ளி அம் காட்ட புள்ளி அம் பொறிக் கலைவறன் உறல் அம் கோடு உதிர, வலம் கடந்து,புலவுப் புலி துறந்த கலவுக் கழி கடு முடை,இரவுக் குறும்பு அலற நூறி, நிரை பகுத்து,இருங் கல் முடுக்கர்த் திற்றி கெண்டும்கொலை வில் ஆடவர் போல, பலவுடன்பெருந் தலை எருவையொடு பருந்து வந்து இறுக்கும்அருஞ் சுரம் இறந்த கொடியோர்க்கு அல்கலும்,இருங் கழை இறும்பின் ஆய்ந்து கொண்டு அறுத்தநுணங்கு கண் சிறு கோல் வணங்குஇறை மகளிரொடுஅகவுநர்ப் புரந்த அன்பின், கழல் தொடி,நறவு மகிழ் இருக்கை, நன்னன் வேண்மான்வயலை வேலி வியலூர் அன்ன, நின்அலர்முலை ஆகம் புலம்ப, பல நினைந்து,ஆழல்” என்றி தோழி! யாழ என்கண் பனி நிறுத்தல் எளிதோ குரவு மலர்ந்துஅற்சிரம் நீங்கிய அரும் பத வேனில்அறல் அவிர் வார் மணல் அகல்யாற்று அடைகரை,துறை அணி மருதமொடு இகல் கொள ஓங்கி,கலிழ் தளிர் அணிந்த இருஞ் சினை மாஅத்துஇணர் ததை புதுப் பூ நிரைத்த பொங்கர்,புகை புரை அம் மஞ்சு ஊர,நுகர் குயில் அகவும் குரல் கேட்போர்க்கே? In this trip to the drylands, we glimpse contrasting images and listen to the lady, say these words to her confidante, when the man, who left in search of wealth, remains parted away from her: “In the cactus scrub jungle, a beautiful spotted stag, which had lost its dried-up antlers, is attacked by a flesh-reeking tiger. After feeding, the tiger discards the stinking flesh of the carcass. Akin to robbers with a killer bow, who attack a fort at night, making those within scream, steal away the cattle, share among themselves, and sit around in the small path amidst the huge boulders, tearing and eating meat, huge-headed vultures and eagles circle around that deer carcass in the harsh drylands domain, which is where my harsh-hearted one, has left to. “Accompanying maiden with curving wrists, holding small sticks with fine notches, made by choosing and etching from the huge bamboo stalks in the forest, arrive the bards. The great lord Nannan, wearing warrior anklets, showers much affection on them in his joyous court, flowing with toddy. Akin to his town of ‘Viyaloor’ fenced by Vayalai vines, are your spreading bosoms”, you say to me, and ask me to not let these lament, by crying incessantly, thinking of too many things, my friend! Now, the bottle-flower tree has bloomed, announcing that winter has ended, and the perfect season of spring has arrived. On the banks of the wide river, filled with fine silt, adorning the shore, Marutham trees soar high, and nearby, huge-branched mango trees, wearing beautiful, tender leaves, bloom with many clusters of fresh new flowers in the dense groves, enveloped by wisps of clouds, akin to smoke. Savouring all this beauty there, a cuckoo coos. Hearing its voice, do you think it’s an easy task to stop the flowing tears from my eyes?” Time to take a whirlwind tour! The lady starts by describing the drylands region, where the man has gone to. To do that, she paints a picture of a deer carcass, which has been abandoned by a tiger, after it had killed the animal and had its fill. Around this carcass, scavenger birds are bound to circle around, and the lady says these vultures and eagles appear exactly like highway robbers sitting around in a circle, splitting their loot, and having a meal, after their successful attack of a fort the previous night. After sketching the dreary drylands, the lady then goes in another direction and talks about the beautiful town of Viyaloor, ruled by Nannan, a great patron of bards and dancing maiden. The lady reveals that it was the confidante who placed the lady’s bosoms in parallel to Nannan’s beautiful town and asked her not to bring ruin to her bosoms, by crying endlessly. Then once again, the lady turns in a different direction and starts talking about how spring was here, the bottle-flower trees had bloomed, and so had the Marutham trees on the shores of the huge river, as well as the mango trees in the grove. When there’s so much beauty in the air, the birds, nature’s bards, burst into song naturally. Now, the lady connects and concludes saying how it could be possible for anyone, who is separated from their beloved, to hear that cuckoo’s song and not shed tears. In short, the man was still away in that dreadful place and all the tender beauty of spring around is tormenting the lady. The verse stitches together a description of a place, a historic character and elements of a season vibrantly to weave the tapestry of the poignant pain of parting!

In this episode, we perceive the refusal of a request, as depicted in Sangam Literary work, Aganaanooru 96, penned by Marutham Paadiya Ilankadunko. Set amidst the lush fields and paddy mounds of the ‘Marutham’ or ‘Farmlands landscape’, the verse refers to a historic incident to sketch a domestic tussle. நறவு உண் மண்டை நுடக்கலின், இறவுக் கலித்து,பூட்டு அறு வில்லின் கூட்டுமுதல் தெறிக்கும்பழனப் பொய்கை அடைகரைப் பிரம்பின்அர வாய் அன்ன அம் முள் நெடுங் கொடிஅருவி ஆம்பல் அகல் அடை துடக்கி,அசைவரல் வாடை தூக்கலின், ஊதுஉலைவிசை வாங்கு தோலின், வீங்குபு ஞெகிழும்கழனிஅம் படப்பைக் காஞ்சி ஊர!”ஒண் தொடி ஆயத்துள்ளும் நீ நயந்துகொண்டனை” என்ப ”ஓர் குறுமகள்” அதுவேசெம்பொற் சிலம்பின், செறிந்த குறங்கின்,அம் கலுழ் மாமை, அஃதை தந்தை,அண்ணல் யானை அடு போர்ச் சோழர்,வெண்ணெல் வைப்பின் பருவூர்ப் பறந்தலை,இரு பெரு வேந்தரும் பொருது களத்து ஒழிய,ஒளிறு வாள் நல் அமர்க் கடந்த ஞான்றை,களிறு கவர் கம்பலை போல,அலர் ஆகின்றது, பலர் வாய்ப் பட்டே. In this trip to the farmlands, trouble’s brewing and we find the theme of a love-quarrel related to a courtesan reverberating in these words of the confidante to the man, when he seeks entry to the lady’s house: “As toddy bowls were washed in the waters, shrimps therein leap about in an intoxicated frenzy, akin to the snapping of a taut bow’s string, and fall inside a grain silo, on the shores of the ponds by the fields, which are filled with serrated, saw-like thorny vines of the rattan bushes, and these vines tie around the wide leaves of the moist water-lilies. When the northern winds blow about, akin to the leather of a blacksmith’s bellows, it swells and shrinks in the fertile fields of your town, filled with portia trees, O lord! They say that you have desired a young maiden, one among many courtesans, clad in radiant bangles, and united with her. When the father of Akuthai, a maiden with beautiful, radiant dark skin, shapely thighs, clad in red gold anklets, the Chozha king, having a mighty elephant army, battled with the two great emperors in the Paruvoor warfront, surrounded by fields of white paddy, and defeated them, at that time, as he triumphed with shining swords and captured the enemy elephants, akin to the uproar that rose in that battlefield, because of your actions, slander is soaring in town, spread by many tongues.” Let’s take a walk amidst the ponds and fields of the farmlands town and hear the latest! The confidante starts with a vivid description of the man’s town by mentioning how people drink up toddy in bowls and then take to washing the same in the ponds by the fields. As a result, the shrimps therein get sloshed as well and seem to snap like a bow, and leap into grain silos around. She further describes how rattan vines tie around waterlily leaves and make them rise and fall, much like an ironworker’s bellows. Note how two occupational references are subtly woven into this narrative. One, toddy flows in that farmlands, a sign of fertility and prosperity, as we have seen in many poems, and farmers and others relish the drink as they work, and wash it in the ponds nearby; Two, the matter-of-fact reference to the blacksmith’s bellows etches the fact that ironmaking was second nature to these Sangam people. Returning, leaving aside such subtle elements, the confidante comes directly to the matter at hand and mentions how some interesting news about the man has reached her ears. This was talk of the man taking a young maiden, one of the courtesans, as his preferred partner. To portray how this news is spreading around town, the confidante takes us to the battlefield of Paruvoor. Here we meet the Chozha king, surprisingly a king known as ‘Akuthai’s father’- Akuthai, being a maiden of extraordinary beauty. This dad of Akuthai is quelling the forces of the Chera and Pandya kings, and the moment he captures the enemy elephants, a huge uproar rises from the throats of his warriors. As loud as that uproar, slander had spread in town because of the man’s doings, the confidante concludes. In essence, the confidante refuses to allow the man entry to the lady’s house. Though it’s the same old theme, it’s heartening to know that even in this patriarchal society, the lady had some means at her disposal, to express her displeasure at the man’s actions!

In this episode, we listen to an anguished voice, as portrayed in Sangam Literary work, Aganaanooru 95, penned by Orodakathu Kantharathanaar. Set in the ‘Paalai’ or ‘Drylands’ landscape, the verse relays the reasons for taking a difficult decision. பைபயப் பசந்தன்று நுதலும்; சாஅய்,ஐது ஆகின்று, என் தளிர் புரை மேனியும்;பலரும் அறியத் திகழ்தரும், அவலமும்;உயிர் கொடு கழியின் அல்லதை, நினையின்எவனோ? வாழி, தோழி! பொரிகால்பொகுட்டு அரை இருப்பைக் குவிகுலைக் கழன்றஆலி ஒப்பின் தூம்புடைத் திரள் வீ,ஆறு செல் வம்பலர் நீள் இடை அழுங்க,ஈனல் எண்கின் இருங் கிளை கவரும்சுரம் பல கடந்தோர்க்கு இரங்குப என்னார்,கௌவை மேவலர்ஆகி, ”இவ் ஊர்நிரையப் பெண்டிர் இன்னா கூறுவபுரையஅல்ல, என் மகட்கு” எனப் பரைஇ,நம் உணர்ந்து ஆறிய கொள்கைஅன்னை முன்னர், யாம் என், இதற் படலே? In this trip to the drylands, we see more of the inner world and less of the outer, as we meet up with the lady, and hear her say these words to her confidante, at a time when her man has parted away to gather wealth for their wedding: “Slowly, pallor has spread on my forehead; My sprout-like form too has lost its health and is thinning away; This sorrow of mine rises for everyone to see. What could be the reason for all this other than to take my life away? Long may you live, my friend! From the rough and cracked trunks of the Mahua tree, hollow flower clusters fall down, appearing like hail stones, and these are gathered by a huge bear, which has just given birth, much to the fear of the wayfarers traversing those long paths in the drylands. Without thinking it’s natural to feel worried about those who have parted away thither, the townsfolk spread slander. Hearing this, mother says, ‘The terrible things the women folk of this town say suit not my daughter’. Though she has discovered my relationship with him, she has the principle of saying nothing about it. How can I continue to remain so, given the situation?” Time to listen to the lady’s logic! The lady starts by describing how her health was utterly lost as she was pining away and the sorrow that should be kept hidden had soared to the surface for all to see. She laments that these events make her think that her end is near. Then she talks about the drylands path where a bear, which have just given birth, seem to seek out the Mahua flowers, appearing like hail stones, and in the process threaten the life of wayfarers. Here, the man walks and without thinking it’s natural for anyone, whose beloved walks in such a fearsome place to feel sorrow, the town was spreading slander about her. Hearing that, mother had decided that this state does not suit the lady, and even after realising the situation, mother remained silent. The lady concludes by asking the confidante how she could go on, given these circumstances. In essence, the lady is describing her decision to elope away with her man, as she sees no other hope to sustain her love relationship. A moment of lucid decision-making by being mindful of the difficulty in the present and zooming on to the only path forward!

In this episode, we perceive the eagerness of a person to return home, as depicted in Sangam Literary work, Aganaanooru 94, penned by Nanbaloor Sirumethaaviyaar. The verse is situated amidst the flowering bushes of the ‘Mullai’ or ‘Forest landscape’ and renders the musical notes of a night. தேம் படு சிமயப் பாங்கர்ப் பம்பியகுவை இலை முசுண்டை வெண் பூக் குழைய,வான் எனப் பூத்த பானாட் கங்குல்,மறித் துரூஉத் தொகுத்த பறிப் புற இடையன்தண் கமழ் முல்லை தோன்றியொடு விரைஇ,வண்டு படத் தொடுத்த நீர் வார் கண்ணியன்,ஐது படு கொள்ளி அங்கை காய,குறு நரி உளம்பும் கூர் இருள் நெடு விளிசிறு கட் பன்றிப் பெரு நிரை கடிய,முதைப் புனம் காவலர் நினைத்திருந்து ஊதும்கருங் கோட்டு ஓசையொடு ஒருங்கு வந்து இசைக்கும்வன் புலக் காட்டு நாட்டதுவே அன்பு கலந்துஆர்வம் சிறந்த சாயல்இரும் பல் கூந்தல், திருந்திழை ஊரே! An eventful trip to the forest country, where we hear the man saying these words to his charioteer, when returning home after completing his mission: “Near the hills with honeycombs, blooms the thick-leaved midnapore creepers with white flowers close together, appearing like white stars in the midnight sky. Here, after gathering goat kids, the goatherd with a mat on his back, ties up moist and fragrant wild jasmine flowers along with flame-lilies into a water-soaked head garland, around which bees swarm, and then warming his palms in a firebrand nearby, he would remain whistling loudly in that sharp darkness, to scare away foxes. These notes merge with the sound of horns blown by the millet field guards to chase away herds of small-eyed boars, and resounds musically in that intractable, wild forest country. And herein lies the town of the lady, wearing well-etched ornaments, having thick, dark tresses, that beautiful maiden, who has become one with me in love, and who desires my company with eagerness!” Let’s ride along with the man taking in the sights of the night! The man starts by mentioning a place close to the hills, where ‘musundai’ flowers bloom, and at night time, these blooms appear as if they were the stars in the sky. In this place, a goatherd gathers all his little lambs in a pen, and then adorns himself with a flower garland made with both wild jasmines and flame lilies together, and sits there, warming his hands using a firebrand nearby, and letting out long whistles to scare away foxes intent on nabbing his lambs. These whistles rise high and blend with the sound of horns being blown by millet field guards to chase away boars and echoes musically in that forest country, the man describes, and concludes by saying this is the place where his beloved resides. The man is simply mentioning the address where his lady lives but within that, we are able to infer that this is a region where the ‘Kurinji’ and ‘Mullai’ fuse as one, meaning it’s a forest region close to the hills, where both wild jasmines and flame lilies can be found, and where both millet field guards and goatherds are within a stone’s throw of each other. The verse etches the sights of the region and also relays the musical man-made sounds that reverberate here. In some ways, it’s also making a statement about human-wildlife conflict. Interesting how rather than using the harsh methods of today such as electric fences and traps to keep away these animals from human spaces, the ancients chose to use the gentle weapon of music!

In this episode, we perceive the joy and anticipation in returning home, as depicted in Sangam Literary work, Aganaanooru 93, penned by Madurai Kanakkaayanaar Makanaar Nakkeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents insightful facts about the three great empires in ancient Tamil land. கேள் கேடு ஊன்றவும், கிளைஞர் ஆரவும்,கேள் அல் கேளிர் கெழீஇயினர் ஒழுகவும்,ஆள்வினைக்கு எதிரிய ஊக்கமொடு புகல் சிறந்து;ஆரங் கண்ணி அடுபோர்ச் சோழர்அறம் கெழு நல் அவை உறந்தை அன்னபெறல் அரு நன் கலம் எய்தி, நாடும்செயல் அருஞ் செய்வினை முற்றினம் ஆயின்; அரண் பல கடந்த, முரண் கொள் தானை,வாடா வேம்பின், வழுதி கூடல்நாள் அங்காடி நாறும் நறு நுதல்நீள் இருங் கூந்தல் மாஅயோளொடு,வரை குயின்றன்ன வான் தோய் நெடு நகர்,நுரை முகந்தன்ன மென் பூஞ் சேக்கைநிவந்த பள்ளி, நெடுஞ் சுடர் விளக்கத்து,நலம் கேழ் ஆகம் பூண் வடுப் பொறிப்ப,முயங்குகம் சென்மோ நெஞ்சே! வரி நுதல்வயம் திகழ்பு இழிதரும் வாய் புகு கடாஅத்து,மீளி மொய்ம்பொடு நிலன் எறியாக் குறுகி,ஆள் கோள் பிழையா, அஞ்சுவரு தடக் கை,கடும் பகட்டு யானை நெடுந் தேர்க் கோதைதிரு மா வியல் நகர்க் கருவூர் முன்துறைதெண் நீர் உயர் கரைக் குவைஇயதண் ஆன்பொருநை மணலினும் பலவே. In this instance, we see less of the searing drylands and more of plenty and prosperity, as we meet the man when he is returning from his mission to gather wealth and saying these words to his heart: “To protect kith and kin from adversity, to provide food in plenty to them and to transform those who are not kin as one’s kin, with the determination needed for earning wealth brimming over, we set out! Battle-worthy are the Chozhas, clad in ‘aathi’ flower garlands. Akin to their town of Uranthai, where justice shines in the fine court, we have gathered the hard-to-attain, fine riches, and completed that formidable task that we desired to do. Conquering forts many with his fierce army, is the Pandya King, clad in unfading neem garlands. Akin to his town of Koodal, whose day markets waft with fragrance, is the fine forehead of the dark-skinned maiden, with long, black tresses. In the sky-soaring, tall mansion, appearing as if carved out of a mountain, upon the soft, flower-like mattress, appearing akin to heaps of sea foam, on the high bed, in the light of the tall lamp, making fine jewels on her bosom carve scars on the chest, let’s embrace her. Come, O heart! Having lined foreheads, fearsome trunks, with musth liquid pouring down and seeping into the mouth, thundering with strength, akin to Death, pouncing on the land, and unswerving in killing the enemy, are the proud and fierce elephants, belonging to the Chera King, renowned for his tall chariots. Let us embrace her for more times than there are sands, brought by the cool ‘Aan Porunai’ river and heaped on the tall banks, brimming with clear water, in the shore of the Chera town of Karuvoor, filled with rich, huge and wide mansions.” Time to walk along with the returning man and hear his delight! The man starts by laying down the reasons he went in search of wealth and that is to ensure that no harm comes to those who are his kith and kin, to provide plenty for them, and more importantly, to make even those who are strangers as kin by rendering a heartwarming hospitality to them. A moment to pause and appreciate the noble thought in Sangam culture of extending love and compassion to those beyond one’s circle. A trait that is exemplified in the Puranaanooru lines, ‘Yaathum Oore, Yaavarum Kelir’ meaning ‘Every town is our own, and every person therein is our kin’. Returning to the verse, we find the man declaring to his heart that they had succeeded in this mission and were now returning with bountiful and precious riches, which can be placed in parallel to the capital of the Chozhas, known as ‘Uranthai’. The Chozhas are identified by their bravery in the battlefield and the ‘aathi’ flower garlands they wear, whereas the town is praised for its courts of justice. Next, the man talks about the Pandya King Vazhuthi’s town of Koodal, which is the ancient name for the contemporary Tamil city of ‘Madurai’, mentioning its fragrant markets. He then connects this fragrance to that of his beloved’s forehead. Here too we learn about the formidable army of the Pandya king and their chosen flower garlands of neem flowers. In the final segment, the man turns to talk about the Chera king Kothai’s town of Karuvoor. Before that, he describes in great detail the battle elephants of this Chera king and their fearsome presence in the battlefield. The man has mentioned the Chera town of Karuvoor only to talk about the ‘Aan Porunai’ river that flows through this town and the sands it heaps on the banks of the river shore here. He concludes by telling his heart that he would embrace his beloved for more times than there are sands on the river shores of Karuvoor. In a nutshell, the wealth the man earned is like the precious Uranthai, the beauty of his beloved is like the fragrant Koodal, an

In this episode, we perceive a technique of hidden persuasion, as depicted in Sangam Literary work, Aganaanooru 92, penned by Madurai Paalaasiriyaar Natraamanaar. The verse is situated amidst the flowing cascades and blooming flame-lilies of the ‘Kurinji’ or ‘Mountain landscape’ and relays an alternate plan of action. நெடு மலை அடுக்கம் கண் கெட மின்னி,படு மழை பொழிந்த பானாட் கங்குல்,குஞ்சரம் நடுங்கத் தாக்கி, கொடு வரிச்செங் கண் இரும் புலி குழுமும் சாரல்வாரல் வாழியர், ஐய! நேர் இறைநெடு மென் பணைத் தோன் இவளும் யானும்காவல் கண்ணினம் தினையே நாளைமந்தியும் அறியா மரம் பயில் இறும்பின்ஒண் செங் காந்தள் அவிழ்ந்த ஆங்கண்,தண் பல் அருவித் தாழ்நீர் ஒரு சிறை,உருமுச் சிவந்து எறிந்த உரன் அழி பாம்பின்திருமணி விளக்கின் பெறுகுவைஇருள் மென் கூந்தல் ஏமுறு துயிலே. An eventful trip to the mountains awaits us in this one, where we get to hear these words from the confidante to the man, when he leaves after a nightly tryst with the lady: “In the middle of the night, when blinding the eyes, lightning flashes in the tall mountain ranges, and heavy rain pours down, attacking an elephant and making it shiver, the red-eyed, huge tiger with curving stripes roars aloud. Do not come by at this time, O lord, may you live long! The lady, having perfect wrists and slender, bamboo-like arms, and I, are planning to go guard the millet fields tomorrow. If you come then, to that thick forest with trees that even monkeys know not, where bright red flame-lilies are in full blossom, where the cool, heavy cascade flows down on side, in the light of the fine gem spit out by a snake, whose strength was ruined by the fury of thunder, you will attain a pleasant sleep on her darkness-like, soft tresses!” Let’s talk a walk in those lush hills and learn more! The confidante starts by asking the man to not come when the lightning is flashing, rains are pouring, in the middle of the night, when a tiger roars after attacking an elephant. She then tells the man that she and the lady were planning to go guard the millet fields the next day and asks him to come by at that time. The confidante concludes by promising that if the man were to come then to those dense forests, with trees that even monkeys know not about, where the flame-lilies are at their peak blossom, and where the cascades are flowing so invitingly, then in the light of a gem that has been spit out by a snake, ruined by thunder, the man would find sweet sleep amidst the thick, black tresses of his beloved. First, let’s turn our attention to the two seemingly bizarre facts mentioned about snakes: One is that snakes are destroyed by the fury of thunder, and two, these snakes spit out gems. These statements portray beliefs held by Sangam people. We know not what this implies but it’s just one of those things people of a certain era are so sure about, but looks incomprehensible in hindsight. Turning to the essence of the verse, it is a refusal of nightly trysts, but the highlight is in the way the confidante delivers this rejection. It’s not ‘No and be gone’. Rather, it’s ‘No. But why don’t you?’ She offers an alternate plan. However, even within that, she conceals the danger of discovery, for people will abound in that space to pluck those flame-lilies and play in the cascades. So, ultimately the confidante is asking the man to ‘marry the lady’ but saying it in such a way that the man arrives at this conclusion himself, rather than the confidante demanding the same of him. Another effective lesson in communication for behaviour transformation!

In this episode, we listen to a message of reassurance, as portrayed in Sangam Literary work, Aganaanooru 91, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches contrasting images of an arid domain and a fertile one. விளங்குபகல் உதவிய பல் கதிர் ஞாயிறுவளம் கெழு மா மலை பயம் கெடத் தெறுதலின்,அருவி ஆன்ற பெரு வரை மருங்கில்சூர்ச் சுனை துழைஇ நீர்ப்பயம் காணாது,பாசி தின்ற பைங் கண் யானைஓய் பசிப் பிடியொடு ஒருதிறன் ஒடுங்க,வேய் கண் உடைந்த வெயில் அவிர் நனந்தலைஅரும் பொருள் வேட்கையின் அகன்றனர் ஆயினும்,பெரும் பேர் அன்பினர் தோழி!-இருங் கேழ்இரலை சேக்கும், பரல் உயர் பதுக்கைக்கடுங்கண் மழவர் களவு உழவு எழுந்தநெடுங் கால் ஆசினி ஒடுங்காட்டு உம்பர்,விசிபிணி முழவின் குட்டுவன் காப்ப,பசி என அறியாப் பணை பயில் இருக்கை,தட மருப்பு எருமை தாமரை முனையின்,முடம் முதிர் பலவின் கொழு நிழல் வதியும்,குடநாடு பெறினும் தவிரலர்மடமான் நோக்கி! நின் மாண் நலம் மறந்தே. In this trip to the drylands, we meet the confidante consoling the lady, at a time when the man had left in search of wealth and remains parted away from the lady: “The many-rayed sun that aids the day to flourish, had scorched away and made the huge and fertile mountain lose its useful cover, and the cascades too had ceased to flow in those spaces amidst the hills. Searching these erstwhile springs, inhabited by fearsome spirits, and finding no water whatsoever, the fresh-eyed elephant ends up eating moss, and then lies down with its hungry mate on one side. Although he parted away to these drylands spaces, where bamboos burst open in the blazing heat, with a desire to gain precious wealth, he is someone who has a deep love within, my friend! Beyond the region of Odungaadu, filled with tall-trunked breadfruit trees, where dark-hued stags rest amidst the high stone-filled burial mounds, where harsh-eyed warriors go about their act of ploughing by stealing, there is a town, protected by King Kuttuvan, renowned for his resounding tight drums, a place brimming with bamboos and fertile fields, where people know not the meaning of hunger, where a buffalo with curving horns, satiated with lotus flowers and wanting no more, leaves to rest in the thick shade of the curving jackfruit tree. Even if he were to attain this prosperous town known as ‘Kudanaadu’, he will not stay away, forgetting your fine beauty, O maiden with a gaze of a naive deer!” Let’s step into those scorching spaces and learn more! The confidante starts with a vivid description of a drylands space. She mentions how it’s the sun that makes the day shine, but sometimes the sun overdoes its work and as a result the lush mountains lose their fertility. From this, we infer that this ‘Paalai’ region is not a drylands region always, but a ‘Kurinji’ space modified so, in the sweltering summer. This should explain that the ‘Paalai’ landscape often seen in Sangam verses does not pertain to a permanent desert region in ancient Tamil land but possibly talk about the transformation of ‘Kurinji’ and ‘Mullai’ tracts in a particular season. Returning, the confidante continues saying how thanks to the scorching sun, the cascades have dried up, and elephants that come expectantly to those ancient springs find no water and have to be content with eating moss. The confidante connects saying though the man had seemingly abandoned the lady and left to such a place to gather wealth, he was one filled with a great love for the lady. Then, she moves on to talk about another space entirely, first mentioning a region called Odungaadu, seemingly another drylands space, where there are many breadfruit trees, where deers can be seen resting amidst the stone graves, and where the highway robbers are said to do their daily ploughing of stealing from wayfarers. That ancient Tamil land was predominantly a farming society is captured by the way the professions of every other region is seen through the lens of tending to the soil. Returning, the confidante has mentioned these facts only to talk about Kudanaadu, a town that lies beyond this region, the capital of the Chera King Kuttuvan, where people do not know the meaning of hunger, whatever be the season, and here, even a buffalo has so much to eat that it munches in plenty its favourite food of lotus flowers that it wants no more and waddles along to rest in the shade of the jackfruit tree. The confidante concludes by saying even if the man were to attain this fertile town of Kudanaadu, he will not be tempted to stay away from the beautiful, deer-like eyes of the lady. In essence, the confidante proclaims that nothing would make the man forsake his love for his lady ever. Isn’t it interesting to note that it’s wealth that the man leaves the lady for, however even though he is given that epitome of wealth, the rich town of Kudanaadu, he would not be tempted to stay away from his beloved? A picture perfect illustration of the code of ethics in the man’s wealth

In this episode, we perceive a subtle technique of persuasion, as depicted in Sangam Literary work, Aganaanooru 90, penned by Madurai Maruthan Ilanaakanaar. The verse is situated in the ‘Neythal’ or ‘Coastal landscape’ and projects how invaluable the lady is to her family. மூத்தோர் அன்ன வெண் தலைப் புணரிஇளையோர் ஆடும் வரிமனை சிதைக்கும்தளை அவிழ் தாழைக் கானல் அம் பெருந் துறை,சில் செவித்து ஆகிய புணர்ச்சி அலர் எழ,இல்வயிற் செறித்தமை அறியாய்; பல் நாள்வரு முலை வருத்தா, அம் பகட்டு மார்பின்,தெருமரல் உள்ளமொடு வருந்தும், நின்வயின்,”நீங்குக” என்று, யான் யாங்ஙனம் மொழிகோ?அருந் திறற் கடவுட் செல்லூர்க் குணாஅதுபெருங் கடல் முழக்கிற்று ஆகி, யாணர்,இரும்பு இடம் படுத்த வடுவுடை முகத்தர்,கருங் கட் கோசர் நியமம் ஆயினும்,”உறும்” எனக் கொள்குநர்அல்லர்நறு நுதல் அரிவை பாசிழை விலையே. In this little trip to the seas, we get to meet the confidante and hear her say these words to the man, as he arrives to tryst with the lady: “Having white heads of elders, waves dash against and destroy sand houses, built by the young, in those huge shores, filled with pandanus trees, brimming with blooming flowers. As news of your union fell on a few ears, slander has spread and she has been confined to her home. You know not about this! How can I come to you, who has a handsome, proud chest, which has not had the company of her young bosoms for many days, and whose heart is filled with sorrow and confusion, and say to you, “Let go of her”? On the eastern side of Selloor, known for its powerful gods, is the town of Niyamam, ruled by the fearless Kosars, who have scarred faces, carved by the slash of iron, and here, the huge ocean resounds ceaselessly, and it’s filled with endless prosperity. Even if this town of Niyamam is given as the bride price for their young girl, with a fine forehead, they wouldn’t say, ‘This is fitting’ and accept it!” Time to take a look at the unending waves in the love life of these ancients! The confidante stops the man when he arrives to tryst with the lady. She describes the shore where they live as one where waves, having the greyed hair of elders, would smash against the sand houses, etched with love by the young. That’s a subtext for what’s to follow! Continuing, the confidante talks about how some people had spread slander about the man’s union with the lady, and because of that, the lady’s parents had confined the lady home. The confidante laments that she does not have the heart to disappoint the man, who is coming there with much passion, and ask him to forget the lady. She concludes by giving the explanation that the lady’s family valued their girl so much that they would not consider even the rich and fertile town of Niyamam, east of Selloor, to be a fitting exchange for their beautiful daughter. The confidante is nudging the man to give up trysting and marry the lady, warning him that he had his work cut out. ‘Neither will you be able to see her now and if you want to win her over, you have to shower immeasurable riches on the lady’s kith and kin’, she means to say to the man. These lines clearly tell us that this society had the custom of bride price, wherein a man had to render a certain amount of wealth to the girl’s family, prior to their wedding. Curious how this practice has turned topsy turvy and in contemporary Tamil society, some families of girls are expected to pay a ‘dowry’ to the groom’s family. It would be insightful to understand how this diametrically opposite change came about over the centuries, in this particular wedding custom!

In this episode, we listen to a mother’s lament, as portrayed in Sangam Literary work, Aganaanooru 89, penned by Madurai Kaanchipulavar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the dangers of a drylands journey. தெறு கதிர் ஞாயிறு நடு நின்று காய்தலின்,உறு பெயல் வறந்த ஓடு தேர் நனந் தலை,உருத்து எழு குரல குடிஞைச் சேவல்,புல் சாய் விடரகம் புலம்ப, வரையகல் எறி இசையின் இரட்டும் ஆங்கண்,சிள்வீடு கறங்கும் சிறிஇலை வேலத்துஊழுறு விளைநெற்று உதிர, காழியர்கவ்வைப் பரப்பின் வெவ் உவர்ப்பு ஒழிய,களரி பரந்த கல் நெடு மருங்கின் விளர் ஊன் தின்ற வீங்குசிலை மறவர்மை படு திண் தோள் மலிர வாட்டி,பொறை மலி கழுதை நெடு நிரை தழீஇயதிருந்து வாள் வயவர் அருந் தலை துமித்தபடு புலாக் கமழும் ஞாட்பில், துடி இகுத்து,அருங் கலம் தெறுத்த பெரும் புகல் வலத்தர்,வில் கெழு குறும்பில் கோள் முறை பகுக்கும்கொல்லை இரும் புனம் நெடிய என்னாது,மெல்லென் சேவடி மெலிய ஏகவல்லுநள்கொல்லோ தானே தேம் பெய்துஅளவுறு தீம் பால் அலைப்பவும் உண்ணாள்,இடு மணற் பந்தருள் இயலும்,நெடு மென் பணைத் தோள் மாஅயோளே? We get an in-depth tour of the drylands in this trip and listen to the words of a mother, at a time when her daughter has eloped away with her man: “The burning rays of the sun scorches in the middle of summer, in those wide spaces, parched without any downpour, filled with mirages, and here, the male owl hoots with a soaring sound, akin to that of rocks rolling down the hills, spreading lament in those arid clefts, bereft of grass. In those spaces, crickets chirp around the small-leaved Babool tree, from which ripe pods shed down. As the white and salty layer of soil has been removed by washer-folk from that desolate spread of land, acidic soil is all that remains in that pebble-filled region. Here, after feasting on fatty meat, highway robbers with bulging bows, pounce upon those strong men with etched swords, accompanying huge paces of puffing donkeys, beasts of burden, whose strong shoulders are laden with goods. Those highway warriors chop the heads of these accompanying guards, making those spaces reek with the smell of flesh. Beating their ‘thudi’ drums, they gather those precious vessels that have been won by battle-worthy men from forts, protected by archers many, and they distribute the booty among themselves, as per their customary order. Not thinking such a dark and dangerous domain is too long to tread, making her soft, red feet suffer, she walks on. Does she even have the strength to do this? For she was one, who would refuse to heed my call to eat the sweet milk, mixed in perfect proportion with honey, and would run hither and thither on the fine sand spread under the canopy. Such was the nature of that dark-skinned maiden with long and soft, bamboo-like arms!” Let’s brave the scorching sun and explore the drylands! Mother starts with a detailed description of this region and she talks about the scorching sun, illusory mirages, hooting male owls, chirping crickets, and the withering Babool trees. Then, she makes a comment about washer-folk removing the white, salty layer of soil and leaving the land acidic and infertile. This made me pause and wonder what’s the connection between washer-folk and drylands mud. When researching, I came across the ironic fact that in ancient times, people used to wash their clothes with abrasive, salty mud, to wipe away the grime. That’s why these Sangam washer-folk are collecting their weapons of dirt destruction from this mud! Returning, mother continues talking about this region and turns her attention to the most dangerous element in any place – the people, of course! She highlights how highway robbers are chopping off the heads of soldiers accompanying donkeys carrying precious vessels and other tributes from forts captured. Those valiant soldiers, who were victors in the battlefield, fall to the arrows of these highway robbers, who then happily distribute the loot among themselves, apparently in an orderly fashion. Honour among thieves, looks like! Now mother comes to the point and says how this is the place her dear daughter was treading on, without worrying about the dangers there, and wonders from where her little girl got the strength to do this. She concludes by describing how her beautiful and delicate girl was such a fussy eater, who would refuse sweet milk and honey, and would be playfully running around, under the sand-filled tents. In essence, this is nothing but a mother’s wonder at how suddenly her offspring seems to mature and change their shades in the blink of an eye!

In this episode, we perceive a subtle message of persuasion, as depicted in Sangam Literary work, Aganaanooru 88, penned by Eezhathu Poothanthevanaar. The verse is situated amidst the swaying millet stalks of the ‘Kurinji’ or ‘Mountain landscape’ and portrays the dangers in a person’s path. முதைச் சுவற் கலித்த மூரிச் செந்தினைஓங்கு வணர்ப் பெருங் குரல் உணீஇய, பாங்கர்ப்பகுவாய்ப் பல்லிப் பாடு ஓர்த்து, குறுகும்புருவைப் பன்றி வரு திறம் நோக்கி,கடுங் கைக் கானவன் கழுதுமிசைக் கொளீஇயநெடுஞ் சுடர் விளக்கம் நோக்கி, வந்து, நம்நடுங்கு துயர் களைந்த நன்னராளன்சென்றனன்கொல்லோ தானே குன்றத்துஇரும் புலி தொலைத்த பெருங் கை யானைக்கவுள் மலிபு இழிதரும் காமர் கடாஅம்இருஞ் சிறைத் தொழுதி ஆர்ப்ப, யாழ் செத்து,இருங் கல் விடர் அளை அசுணம் ஓர்க்கும்காம்பு அமல் இறும்பில் பாம்பு படத் துவன்றி,கொடு விரல் உளியம் கெண்டும்வடு ஆழ் புற்றின வழக்கு அரு நெறியே? This tour of the mountains takes us in the presence of confidante, who is saying these words to the lady, pretending not to notice the man, who is listening nearby but making sure he is in earshot: “Desiring to eat luxuriant crop ears of the huge red millet flourishing in the ancient mountain ground, guided by the clicks of the split-mouthed lizard on its side, a young boar approaches the field. Anticipating its arrival, the harsh-eyed hunter lights up fire brands, atop his watch loft. Glimpsing the glow of this bright lamp, the good-natured lord comes here to remove your shivering sorrow. On the cheeks of the long-trunked elephant that has felled a huge tiger, descends down desirable musth, around which dark-winged swarms buzz around. Thinking this is the sound of lutes, the ‘Asunam’ living in the huge clefts of the mountain cries with pleasure. In the bamboo-filled forest, killing the serpent within, the sharp-fingered bear digs into the deep and furrowed termite mounds. Did your good man leave from here to walk on such a fear-evoking path?” Time to take a night stroll in the meandering mountain paths! The confidante describes to the lady the scene of a young boar waiting cautiously, listening to the sounds of a lizard on its side, biding its time to feed on the lush millets growing in the field. There’s a projection of human attributes on this boar in the way it’s portrayed as waiting for the good omen from the lizard to take a step forward towards its meal. Whatever be the grand plans of the boar, the hunter is prepared, and has lit up firebrands on his watch tower. This is the only light in that dark night, which guides the man to the lady’s house, and he has the good heart to come and end the lady’s suffering, the confidante remarks. Then she launches on a description of the mountain paths, and here, we find an elephant that has just felled a tiger, and from its cheeks, a thick musth liquid pours down, for it’s the time of rutting, and attracted by the scent, bees buzz around with their characteristic hum. Hearing this hum, a creature called ‘Asunam’ apparently shouts out with pleasure. To recollect, this Asunam is a mythical creature we have encountered in many Sangam verses, one which is attracted by pleasant music and dies the moment it hears harsh sounds. If such a creature existed, it would not have lasted one second in our modern world! Returning, we find the confidante continuing her description saying not only that, but there’s a bear furiously digging through a termite mound, killing a snake residing within, in that very path. She concludes by asking her friend if indeed the man was taking such a path to come visit the lady and then part away! Implying that this is a path filled not only with dread and danger, but also the fear of discovery, the confidante is urging the man to give up his temporary trysting and seek a permanent union with the lady. This subtle tone of communication, without any hint of force, appreciating the good qualities, and depicting interest in the other’s safety and welfare, is a masterclass in techniques of effective behaviour transformation!

In this episode, we hear healing words rendered to a heart, as depicted in Sangam Literary work, Aganaanooru 87, penned by Madurai Peraalavaayar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches a journey as it nears its end. தீம் தயிர் கடைந்த திரள் கால் மத்தம்,கன்று வாய் சுவைப்ப, முன்றில் தூங்கும்படலைப் பந்தர்ப் புல் வேய் குரம்பை,நல்கூர் சீறூர் எல்லித் தங்கி,குடுமி நெற்றி நெடு மரச் சேவல்தலைக் குரல் விடியற் போகி, முனாஅது,கடுங்கண் மறவர் கல் கெழு குறும்பின்எழுந்த தண்ணுமை இடங் கட் பாணி,அருஞ் சுரம் செல்வோர் நெஞ்சம் துண்ணென,குன்று சேர் கவலை, இசைக்கும் அத்தம்,நனி நீடு உழந்தனை மன்னே! அதனால்உவ இனி வாழிய, நெஞ்சே! மை அறவைகு சுடர் விளங்கும் வான் தோய் வியல் நகர்ச்சுணங்கு அணி வன முலை நலம் பாராட்டி,தாழ் இருங் கூந்தல் நம் காதலிநீள் அமை வனப்பின் தோளுமார் அணைந்தே. In this trip to the drylands, though there’s some suffering, all is not just about pain, and we hear the man say these words to his heart, when he’s returning home after completing his mission to earn wealth: “After churning sweet curd, letting a calf lick and taste it, the thick-stemmed rod is left in the front yard of a hut, thatched with grass, under a canopy of trees, in this impoverished, little hamlet. Staying here at night, when the tree rooster with a tufted forehead, calls out in the early hours of dawn, let’s leave from here. You have suffered greatly in those paths through the hills of the drylands, resounding with the music of ‘thannummai’ drums, wielded by harsh-eyed robbers from their rocky forts, sounds that make the hearts of those who traverse the region quiver with fear! But you can delight now, O heart, for in that flawless, sky-high, wide home, lit with bright lamps, praising the beauty of her lovely, pallor-spotted bosoms, you will soon embrace the long, bamboo-like arms of our lover, with dark and descending tresses!” Let’s extract the beat of the man’s heart amidst the drumbeats in the drylands! The man starts by painting a picture of the place, where he is spending the night. This is said to be a poor village, where huts have thatched roofs and are under the thick shade of trees. The man talks about how a curd churning staff has been left leaning in the front yard, and there, a calf was licking up the remnants of the sweet curd on the rod’s surface. Turning to his heart, the man promises that they will leave this place at the moment the rooster on the tree crows aloud and announces the dawn. As he’s sitting there and making plans for the next day, his mind rewinds to the past few days, when his heart has been going through a lot, as it traversed through the harsh drylands in the man’s company, startled every time the drum beats of the highway robbers was heard rippling through the barren paths there. The man concludes by telling his heart all that’s done with, and that it can start feeling happy for soon the heart would be by the side of his beloved in their tall, bright mansion, and praising her beauty, it can lie wrapped up in her bamboo-like arms! Yet again, this is a case of separating the heart and the man, to put an objective distance between him and his emotions. The verse vividly captures the pain in the past and contrasts it with the hope of joy in the near future. In essence, it’s the last push needed to reach the destination by employing the timeless technique of visualising the delight that awaits one there!

In this episode, we listen to recollections of a joyous event, as portrayed in Sangam Literary work, Aganaanooru 86, penned by Nallaavoor Kizhaar. Set in the prosperous towns of the ‘Marutham’ or ‘Farmlands landscape’, the verse depicts intricate customs in a Sangam era wedding. உழுந்து தலைப்பெய்த கொழுங் களி மிதவைபெருஞ் சோற்று அமலை நிற்ப, நிரை கால்தண் பெரும் பந்தர்த் தரு மணல் ஞெமிரிமனை விளக்குறுத்து, மாலை தொடரி,கனை இருள் அகன்ற கவின்பெறுகாலை; கோள் கால் நீங்கிய கொடு வெண் திங்கள்கேடு இல் விழுப் புகழ் நாள் தலைவந்தென,உச்சிக் குடத்தர், புத்தகல் மண்டையர்,பொது செய் கம்பலை முது செம் பெண்டிர்முன்னவும் பின்னவும் முறை முறை தரத்தர,புதல்வற் பயந்த திதலை அவ் வயிற்றுவால் இழை மகளிர் நால்வர் கூடி,‘கற்பினின் வழாஅ, நற் பல உதவிப்பெற்றோற் பெட்கும் பிணையை ஆக!’ என,நீரொடு சொரிந்த ஈர் இதழ் அலரிபல் இருங் கதுப்பின் நெல்லொடு தயங்க,வதுவை நல் மணம் கழிந்த பின்றை,கல்லென் சும்மையர், ஞெரேரெனப் புகுதந்து,‘பேர் இற்கிழத்தி ஆக’ எனத் தமர் தர, ஓர் இற் கூடிய உடன் புணர் கங்குல்,கொடும் புறம் வளைஇ, கோடிக் கலிங்கத்துஒடுங்கினள் கிடந்த ஓர் புறம் தழீஇ,முயங்கல் விருப்பொடு முகம் புதை திறப்ப,அஞ்சினள் உயிர்த்தகாலை, ‘யாழ நின்நெஞ்சம் படர்ந்தது எஞ்சாது உரை’ என,இன் நகை இருக்கை, பின் யான் வினவலின்,செஞ் சூட்டு ஒண் குழை வண் காது துயல்வர,அகம் மலி உவகையள்ஆகி, முகன் இகுத்து,ஒய்யென இறைஞ்சியோளே மாவின்மடம் கொள் மதைஇய நோக்கின்,ஒடுங்கு ஈர் ஓதி, மாஅயோளே. A long song featuring a single day’s events in the fertile farmlands. These words are said by the man to the confidante, when she refuses to allow him entry into the lady’s house, as he was returning from a courtesan’s place: “Thick and soft porridge, perfectly cooked with urad dal, and heaps of rice balls were relished; Under the huge and cool canopy with rows of pillars, fine sand was spread; Lamps were lit in the house; Garlands were hung on that beautiful morning, when the thick darkness had receded; On that flawless, famous and auspicious day, when the curving, white moon had stepped out of the influence of the wrong planets, holding pots atop their heads, and new, rounded ‘mandai’ vessels in their hands, old and virtuous women, who conduct public rituals arrived with loud sounds, and handed out different elements before and after, as per custom. Just then, four women clad in bright ornaments, with beautiful pallor-spotted bellies, who had given birth to sons, came together, and with the words, ‘Without swerving from your chastity, offering all good aid, be a loving spouse to your partner!’, blessed her by sprinkling paddy and water with moist petaled flowers, on her thick, dark tresses. After this fine ritual of wedding was over, with a loud uproar, quickly rushing in, her kith and kin offered her saying, ‘May you attain fame as a good wife’. On that fine night, in that room, where we were to unite together, curving her back, she was lying covered in her wedding attire. As I hugged her with desire and lifted her buried face, she let out a fearful sigh. When I gently inquired saying to her with a smile, ‘Whatever is in your mind, speak it all freely to me’, her face lit up with a heartfelt joy, making her bright, heavy earrings, fitted with red gems sway. She quickly bent her head in shyness, that dark-skinned maiden with neatly oiled tresses and a deer’s naive and beautiful eyes!” Let’s join in the wedding festivities in a Sangam era town! When the confidante stops the man and chides him for courting the courtesan, telling him the lady does not wish to see him in her house, the man responds in a totally opposite tone. He starts recollecting the events of his wedding. Food is foremost! And we find mention of a soft porridge, made with urad dal, sounding very close to the contemporary ‘Pongal’, a well-known Tamil breakfast item. The man also mentions how heaps of rice were being relished along with this Sangam ‘Pongal’. From food, his attention moves towards the decorations, and he talks about how tents were put up and sand was spread, and the whole place dazzled with bright lamps. It was the early morning hour, the man informs us, at the time when the darkness was being quelled by the first light. Apparently, choosing the right day was very important to these ancient folks and they seem to have waited for a day, when the moon was free from the influence of other planets. Here we find a subtle reference to the practice of studying the skies to determine a favourable time. On such a day, the rituals start with the arrival of elderly women, who have seen much in life, known for their wisdom, and they arrive there, carrying pots on their heads and bowls in their hands, and as per custom, they arranged all these things in order. Once everything was in place, four women, who had given birth to sons, stepped forward and blessed the bride, wishing that she would be a loving partner to her spouse, even as they showered paddy and sprinkled water with moist flowers on the lady’s thick tresses. The mention of

In this episode, we listen to a recollection of promises, as portrayed in Sangam Literary work, Aganaanooru 85, penned by Kaattoor Kizhaar Maganaar Kannanaar. The verse is situated amidst the ‘Paalai’ or ‘Drylands landscape’ and offers consolation to an anxious heart. ‘நல் நுதல் பசப்பவும், பெருந் தோள் நெகிழவும்,உண்ணா உயக்கமொடு உயிர் செலச் சாஅய்,இன்னம் ஆகவும், இங்கு நத் துறந்தோர்அறவர்அல்லர் அவர்’ எனப் பல புலந்து,ஆழல் வாழி, தோழி! ‘சாரல்,ஈன்று நாள் உலந்த மெல் நடை மடப் பிடி,கன்று பசி களைஇய, பைங் கண் யானைமுற்றா மூங்கில் முளை தருபு ஊட்டும்வென் வேல் திரையன் வேங்கட நெடு வரை,நல் நாள் பூத்த நாகு இள வேங்கைநறு வீ ஆடிய பொறி வரி மஞ்ஞைநனைப் பசுங் குருந்தின் நாறு சினை இருந்து,துணைப் பயிர்ந்து அகவும் துணைதரு தண் கார்,வருதும், யாம்’ எனத் தேற்றியபருவம்காண் அது; பாயின்றால் மழையே. In this trip to the drylands, we are left to stay back home and hear these words of the confidante said to the lady, as the man remains parted away: “Saying, ‘Even as my fine forehead spreads with pallor, my thick arms thin away, my life wallows with the suffering of not eating, he chooses to remain parted away. He’s not a just man’, and lamenting deeply, do not cry, my friend, may you live long! Remember what he said when consoling you: ‘In the mountain slopes, to end the hunger of the young calf, which had been just birthed a few days ago by the gentle-gaited, naive female, the fresh-eyed male elephant gathers tender sprouts of bamboo, and feeds the young one in the tall mountains of Venkatam, ruled by Thiraiyan, who wields a victorious spear. Here, amidst the fragrant fallen flowers of a young Kino tree, when a peacock with spots and specks dances, calling to its mate, sitting on the fragrant branch of a moist and green wild lime tree, I will arrive and be by her side, in that moist and cool season of rains!’. Lo behold, those clouds spreading yonder! That season of rains approaches!” Time to play the waiting game with these maiden! The confidante starts by mentioning how the lady had been feeling let down by her man, as he decided to part away and has left her to lose her health and beauty. Asking her friend to wipe her tears, the confidante reminds the lady about the man’s promise. When he was leaving, the man had detailed a place in the north, amidst the hills of Venkatam, which was said to be ruled by Thiraiyan, and here, he brings forth the poignant scene of a father elephant feeding tender bamboo shoots to a recently-born young calf. After mentioning the place, the man had talked about a specific time, and this was just when the peacocks dance, amidst the Kino flowers, and call to their mates sitting on the wild lime trees. This time is the season of rains, and when that approaches, he would be by the lady’s side, the man had said. The confidante reminds the lady of this, and points to the clouds gathering at a far distance, and says, ‘If the rains are here, can he be far behind?’. Nothing like a friend to bring cheer to a heart by recollecting the positive past and reiterating the hopeful future! 

In this episode, we listen to an anguished heart, as depicted in Sangam Literary work, Aganaanooru 84, penned by Madurai Ezhuththaalan. The verse is situated in the fragrant forests of the ‘Mullai’ or ‘Forest landscape’ and compares the abodes of two parted lovers. மலைமிசைக் குலைஇய உரு கெழு திருவில்பணை முழங்கு எழிலி பௌவம் வாங்கி,தாழ் பெயற் பெரு நீர், வலன் ஏர்பு, வளைஇ,மாதிரம் புதைப்பப் பொழிதலின், காண்வரஇரு நிலம் கவினிய ஏமுறுகாலைநெருப்பின் அன்ன சிறு கட் பன்றி,அயிர்க்கட் படாஅர்த் துஞ்சு, புறம் புதைய,நறு வீ முல்லை நாள் மலர் உதிரும்புறவு அடைந்திருந்த அரு முனை இயவின்சீறூரோளே, ஒண்ணுதல்! யாமே,எரி புரை பல் மலர் பிறழ வாங்கி,அரிஞர் யாத்த அலங்கு தலைப் பெருஞ் சூடுகள் ஆர் வினைஞர் களம்தொறும் மறுகும்தண்ணடை தழீஇய கொடி நுடங்கு ஆர் எயில்அருந் திறை கொடுப்பவும் கொள்ளான், சினம் சிறந்து,வினைவயின் பெயர்க்கும் தானை,புனைதார் வேந்தன் பாசறையேமே! We are back in the earthy forest domain, and here, we get to hear these words from the man: “Painting above the hills, a colourful and captivating rainbow, the clouds, roaring like drums, shower down the great waters they had gathered at the ocean, by climbing on the right, and encircling, burying everything with a downpour, making the land look exquisite to the eyes. In this delightful time, when a wild boar, with small eyes, akin to fire, sleeps on the fine sand, amidst a little drizzle, covering its rear, fragrant flowers of the wild jasmine fall down in the forest, winding through which a road leads to the little hamlet, where resides my beloved, the maiden with a radiant forehead! Cutting down many flowers, akin to flames, grain harvesters, who delight in fine toddy, tie huge heaps of paddy, and leave them swaying in many fields, in the moist farmlands. Ruling over this rich land, stands a well-guarded fort, fluttering with flags, and even though rich tributes are offered by them, refusing them, with his fury fuming, the garlanded king puts his army to work, and at his battle encampment is where I am!” Let’s relish the rich rain of this region and learn more! The man renders a poetic view of the actions of a raincloud, as it seems to paint the hills with the radiant hues of a rainbow, and pour down the water it had collected from the ocean, by climbing high and surrounding the region. At this time, the land looks so captivating to the eyes, remarks the man, and then zooms on to a wild boar sleeping peacefully in these woods, even as the falling flowers of the wild jasmine hide its back. The man has mentioned these details to say this is where his lady lives, in a little hamlet, near the forest. Then, he comes to his own situation and talks about a fertile farmland village, and the scene of paddy harvesters heaping bundles of paddy by the side of their fields, something mentioned to talk about how fertile and prosperous this farmland region is.As can be expected, around such rich farmlands, there’s a fort and a king to rule over the fort. Even though this king extends a peace flag and promises to give a rich tribute, for some reason, his enemy king, the one wearing garlands on his chest, refuses to heed to their appeasement, and remains intent on launching war, the man describes, and concludes by connecting that’s where he is, right now, in the encampment of the raging enemy king! In a nutshell, the man is complaining about his separation from his beloved, even after the promised season of return, simply because his king sees no reason to end the war. Yet another vivid illustration of how war brings misery to the good-hearted, and if you ask me, be it then or now, shouldn’t that be reason enough to shun war and bring hearts together?

In this episode, we perceive an instance of love across the miles, as depicted in Sangam Literary work, Aganaanooru 83, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the tender feelings in the heart of a man parted away from his beloved. வலம் சுரி மராஅத்துச் சுரம் கமழ் புது வீச்சுரி ஆர் உளைத் தலை பொலியச் சூடி,கறை அடி மடப் பிடி கானத்து அலற,களிற்றுக் கன்று ஒழித்த உவகையர், கலி சிறந்து,கருங் கால் மராஅத்துக் கொழுங் கொம்பு பிளந்து,பெரும் பொளி வெண் நார் அழுந்துபடப் பூட்டி,நெடுங் கொடி நுடங்கும் நியம மூதூர்,நறவு நொடை நல் இல் புதவுமுதற் பிணிக்கும்கல்லா இளையர் பெருமகன் புல்லிவியன் தலை நல் நாட்டு வேங்கடம் கழியினும்,சேயர் என்னாது, அன்பு மிகக் கடைஇ,எய்த வந்தனவால்தாமே நெய்தல்கூம்பு விடு நிகர் மலர் அன்னஏந்து எழில் மழைக் கண் எம் காதலி குணனே. In this trip to the drylands, we get to see some interesting characters and hear these words said by the man to his heart, in the middle of his journey: “Radiantly adorning their curly, mane-like hair with fragrant, new flowers of the right-whorled, drylands burflower tree, making a naive female elephant, with thick legs like a pounding pestle, scream aloud in the forest, they steal away a male elephant calf. Laughing with joy at their success, with pride, they break the thick branch of a black-trunked burflower tree, and tear a thick cluster of its white bark, so as to make a sturdy rope to tie the calf securely. Then, they bring it over to an ancient town, filled with flag-fluttering markets, and tie it at the entrance of a fine house that sells toddy. These men are none other than the unlearned youth, who are led by Pulli. And even though we have crossed Lord Pulli’s wide-spreading, fine country of Venkatam, without thinking that’s so faraway, brimming over with love, my beloved’s exquisite, rain-like eyes, akin to bright, blooming twin flowers of a blue lotus, have come right here!” Time to track a band of hunters in the drylands! The man starts by describing certain men in this domain by talking about their thick and curly hair and the way they adorn it with burflower tree’s blooms. After putting on that equivalent of the modern tie, these men set about their jobs, which is to steal a young elephant calf, leaving the mother to suffer and scream. Not minding the mother elephant’s pain, they seem to be intent at amplifying their joy, and to do that, first they tear some thick fibres from the burflower tree’s branch to make a strong rope to bind the calf securely, and then they set off to an ancient town, with the flags of great houses fluttering around, and they step inside the market and locate the very place they are looking for – a shop that sells toddy, and here, they tie the elephant calf to the entrance. We can imagine the intentions of these boys, described as ‘unlearned’, implying they have no education, and are skilled only in their job of hunting, and perhaps, drinking! ‘An elephant calf for a toddy cup’ seems to be their motto! In any case, these hunting young men are said to be ruled by the Lord Pulli, and the man connects this description to his narrative by saying, at that moment, they had crossed even the northern domain ruled by this Pulli, and even so, without thinking it’s too far away, his dear lady’s exquisite eyes have followed him thither! In essence, the man’s saying, ‘I’ve come so far away, and yet, her eyes are here!’, reflecting his feelings of missing his beloved as he journeys on, in those dreary paths. A feeling, which anyone can relate to, beyond space and time, for what could give greater comfort than musing on a beloved’s presence when separated from them!

In this episode, we delight in musical sounds many, as depicted in Sangam Literary work, Aganaanooru 82, penned by Kabilar. The verse is situated amidst the bee-buzzing cascades of the ‘Kurinji’ or ‘Mountain landscape’ and reveals the hidden emotions of a lady. ஆடு அமைக் குயின்ற அவிர் துளை மருங்கின்கோடை அவ் வளி குழலிசை ஆக,பாடு இன் அருவிப் பனி நீர் இன் இசைதோடு அமை முழவின் துதை குரல் ஆக,கணக் கலை இகுக்கும் கடுங் குரற் தூம்பொடு,மலைப் பூஞ் சாரல் வண்டு யாழ் ஆக,இன் பல் இமிழ் இசை கேட்டு, கலி சிறந்து,மந்தி நல் அவை மருள்வன நோக்க,கழை வளர் அடுக்கத்து, இயலி ஆடு மயில்நனவுப் புகு விறலியின் தோன்றும் நாடன்உருவ வல் விற் பற்றி, அம்பு தெரிந்து,செருச் செய் யானை செல் நெறி வினாஅய்,புலர் குரல் ஏனற் புழையுடை ஒரு சிறை,மலர் தார் மார்பன், நின்றோற் கண்டோர்பலர்தில், வாழி தோழி! அவருள்,ஆர் இருட் கங்குல் அணையொடு பொருந்தி,ஓர் யான் ஆகுவது எவன்கொல்,நீர் வார் கண்ணொடு, நெகிழ் தோளேனே? In this picturesque trip to the mountains, we find ourselves in the presence of the lady, sharing these words to her confidante: “The beautiful summer breeze that flows within the holes of the swaying bamboos turns into the music of flutes; The sweet sounds of the resounding cascades, flowing with cool water, turns into the dense music of a variety of drums; The grunts of male deers turn into the sharp music of the ‘thoombu’ horns; The buzzing of bees, amidst the mountain blooms, turn into the music of lutes; As monkeys sit around together, looking on with bewilderment, hearing the many notes of such a sweet music, filled with ecstasy, peacocks sway and dance, in the bamboo-filled mountain slopes, appearing akin to dancing maiden, who enter an arena of festivities. Such are the scenes in the mountain domain of the lord. He had come here, holding on to his strong and beautiful bow, and a clutch of arrows, inquiring about the path of the elephant, which he had shot at. Just then, near the entrance of the millet field blooming with thick crop clusters, there were many, who stood and looked at this lord, with a wide chest, garlanded by flowers. Long may you live, my friend! Among all those, how come I am the only one, lying in bed, in the dead dark of the night, with eyes, shedding tears and arms, thinning away?!” Time to relish a treat for the eyes and ears in this hilly domain! The lady starts by describing how various elements of nature turn into instruments of music. First, it’s the breeze flowing through the holes of bamboos, which turns into flutes; Next, the roaring cascades become the drums; The unique grunts of male deers turn into ‘Thoombu’ horns, and as the last aspect, the buzzing of bees become the music of lutes. When there’s so much music resounding, shouldn’t it be honoured with dance? ‘Indeed yes!’, say the peacocks, and spread out their bright plumes, as the monkeys sit around like the audience. The entire scene has a close resemblance to the performance of ‘dancing maiden’ in a town’s festivities, the lady adds, and connects these as events unfolding in the mountain country of the lord. Then she goes on to narrate a particular incident involving this lord, as he had come close to their village one day, holding a bow, and inquiring about the path an elephant he had just shot had taken. At that moment, there were many young maiden, who stood and watch him, standing by the side of the millet fields, the lady details, and ends with a question as to how only she was affected by that sight in a such a way, that every night, as she lay in bed, tears poured from her eyes and her arms thinned away! This is no mere question but a statement of fact about the lady’s love for her man, which she is subtly revealing to her confidante. This is the first step in a series of revelations, by which the lady’s love moves up the ladder from the confidante to the confidante’s mother, and from her, to the lady’s mother, and finally to the lady’s family, hoping for their acceptance of a permanent union between the man and the lady. Beyond these cultural subtleties, the stunning aspect of this verse is the perfect synchrony of music and nature, doubling the healing capabilities of these two superpowers, and offering a visual and auditory treat, the kind that modern audiences witness, when two talented performers create sparks together on the same screen!

In this episode, we listen to a pointed question put forth, as depicted in Sangam Literary work, Aganaanooru 81, penned by Alamperi Saaththaanaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and vividly illustrates the elements of nature in this domain. நாள் உலா எழுந்த கோள் வல் உளியம்ஓங்குசினை இருப்பைத் தீம் பழம் முனையின்,புல் அளைப் புற்றின் பல் கிளைச் சிதலைஒருங்கு முயன்று எடுத்த நனை வாய் நெடுங் கோடு,இரும்பு ஊது குருகின், இடந்து, இரை தேரும்மண் பக வறந்த ஆங்கண், கண் பொரக்கதிர் தெற, கவிழ்ந்த உலறுதலை நோன் சினைநெறி அயல் மராஅம் ஏறி, புலம்பு கொளஎறி பருந்து உயவும் என்றூழ் நீள் இடைவெம் முனை அருஞ் சுரம் நீந்தி சிறந்தசெம்மல் உள்ளம் துரத்தலின், கறுத்தோர்ஒளிறு வேல் அழுவம் களிறு படக் கடக்கும்மா வண் கடலன் விளங்கில் அன்ன எம்மை எழில் உண்கண் கலுழஐய! சேறிரோ, அகன்று செய் பொருட்கே? In this trip to the drylands, the region appears in a hypothetical question put forth by the confidante to the man, as detailed in these words: “Rising up and setting out on its daily stroll, a bear, adept at claiming its food, feeds on the sweet fruits of the Mahua tree with soaring branches, and when it starts disliking this food, the bear moves towards a termite mound with many small hollows, built by the effort of many families of white ants, working together. Nearing the wet-mouthed, tall mound, akin to an ironsmith blowing through the nozzle of the bellows, the bear breathes within, and gathers its food. In those barren places, where the earth is split into cracks, and where the sun scorches the eyes, climbing upon the upturned, dried-up branch of the burflower tree, growing near the path, a lonely eagle sits with suffering. Such is the heat-soaked, long paths of the fiery and formidable drylands. The lady’s dark and beautiful kohl-streaked eyes are akin to the town of ‘Vilangil’ ruled by the great and strong Kadalan, who overcomes shining spears of his enemies with his army of elephants in the battlefield. To traverse those drylands, pushed by your esteemed heart, O lord, are you going to leave to earn that wealth to be made faraway, making those exquisite eyes of hers shed tears?” Let’s attempt a walk through the sun-swept paths of the drylands and learn more! The confidante starts by describing the drylands region, and to do that, she follows the activities of a sloth bear, that has risen from its rest, and is setting out on its daily activities. The first stop of the bear happens to be a Mahua tree, with dried-up leaves, and the bear manages to collect some fruits on a tall branch. After having its fill and wanting no more of the fruit, the bear navigates to its next food place, which is a termite mound, built by the concerted effort of many groups of ants, the confidante details. Here, akin to a blacksmith blowing into the bellows, the bear too breathes into the termite mound to clear the ants and feed on its tasty snack of termite comb. In a such a place there’s nothing but heat, the confidante continues, now turning her focus to a lonely eagle, perched on top of a bur flower tree. Saying how the earth is all cracked up and the burning heat scorches the eyes, the confidante sums up this place as one dry and dreary place to be! Then, she goes on to describe how the lady’s eyes are like the famous town of ‘Vilangil’ ruled by a victorious King Kadalan, known for his army of elephants. The confidante concludes by asking the man, whether he was going to make those beautiful eyes of the lady shed tears, by leaving her and parting away to those drylands, so as to earn wealth. A question with which she expects to move the man and make him put off his plans of parting away. The interesting elements of this verse are the metaphors seamlessly placed in the narrative. For instance, in the scene of the bear tiring of the Mahua tree fruits and moving towards the termite mound, the confidante places a metaphor for the man, relishing the lady’s company, and then as if done with that, moving towards seeking wealth. In the image of the lonely eagle, sitting in suffering in the middle of the drylands, the confidante predicts that’s going to be the precise future of the man, if he so decides to leave the lady. Thus, a verse comprising of a simple question, ‘Are you really going to part away and make her cry?’, is elevated by its elegant description of the dynamics of emotions through the actions of elements in nature!

In this episode, we perceive an indirect technique of persuasion, as depicted in Sangam Literary work, Aganaanooru 80, penned by Marunkoor Kizhaar Perunkannanaar. The verse is situated amidst the trees and vines of the ‘Neythal’ or ‘Coastal landscape’ and sketches a well-etched portrait of an ancient shore. கொடுந் தாள் முதலையொடு கோட்டுமீன் வழங்கும்இருங் கழி இட்டுச் சுரம் நீந்தி, இரவின்வந்தோய்மன்ற தண் கடற் சேர்ப்ப!நினக்கு எவன் அரியமோ, யாமே? எந்தைபுணர் திரைப் பரப்பகம் துழைஇத் தந்தபல் மீன் உணங்கற் படுபுள் ஓப்புதும்முண்டகம் கலித்த முதுநீர் அடைகரைஒண் பல் மலர கவட்டு இலை அடும்பின்செங் கேழ் மென் கொடி ஆழி அறுப்ப,இன மணிப் புரவி நெடுந் தேர் கடைஇ,மின் இலைப் பொலிந்த விளங்கு இணர் அவிழ் பொன்தண் நறும் பைந் தாது உறைக்கும்புன்னைஅம் கானல், பகல் வந்தீமே. In this quick trip to the seas, we meet with the confidante and hear her say these words to the man, when he comes to tryst with the lady, by night: “Traversing narrow paths through the huge backwaters, frequented by crocodiles having curving legs and sharks as well, you have been coming here in the dark of the night, O lord of the cool seas! It shouldn’t be that difficult to see us! Wielding your tall chariot, resounding with the sound of bells, tied on your horses, with your chariot wheels, cutting the slender, red-hued vines of the beach morning glory, having many radiant flowers and twin-lobed leaves, on the shores of those ancient waters, densely filled with water-thorn bushes, to that beautiful orchard filled with laurel wood trees, with resplendent leaves and radiant flower clusters, showering cool, fresh, fragrant, golden pollen, if you were to come by day, you can easily find us, chasing away birds that come near the heaps of fish that father brought from his hunt in the wide seas, filled with foaming waves!” Ready for a swim with sharks and crocodiles? Here we go! The confidante starts by pointing out how the man has been coming in the deadly hour of night through a dangerous path in the backwaters, teeming with crocodiles and sharks too, to meet with the lady. Then she asks the man why take all this risk and come at such a time through such a place. It’s not very hard to meet the lady, she adds. The confidante then describes the man’s tall chariot and horses tied to it, resounding with bells many, and concludes by telling him, if at all the man decided to come by day, wielding his chariot, cutting the red vines of the beach morning glory, blooming alongside the water thorn, on the shores, heading towards the beautiful orchard of ‘Punnai’ trees with shining leaves, white flowers and golden pollen, then the man could easily see the lady, for she would be right there, chasing away the birds that come to steal away from the heap of fish that father brought from his hunt in the seas. In essence, the confidante tells the man to come claim the lady at a time when she would be in the company of many others. This is another way of telling the man to give up his temporary trysting and ‘Marry her, marry her’! The highlight of this verse is the way the words delight both the naturalist and the anthropologist in each of us, with its vivid portrait of the various dimensions of life on a coastal landscape from another era!

In this episode, we perceive a man’s annoyance with his heart, as portrayed in Sangam Literary work, Aganaanooru 79, penned by Kudavayil Keerathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a vivid account of the people and their activities in this domain. தோட் பதன் அமைத்த கருங் கை ஆடவர்கனை பொறி பிறப்ப நூறி, வினைப் படர்ந்து,கல்லுறுத்து இயற்றிய வல் உவர்ப் படுவில்,பார் உடை மருங்கின் ஊறல் மண்டியவன் புலம் துமியப் போகி, கொங்கர்படு மணி ஆயம் நீர்க்கு நிமிர்ந்து செல்லும்சேதா எடுத்த செந் நிலக் குரூஉத் துகள்அகல் இரு விசும்பின் ஊன்றித் தோன்றும்நனந்தலை அழுவம், நம்மொடு துணைப்ப,‘வல்லாங்கு வருதும்’ என்னாது, அல்குவரவருந்தினை வாழி, என் நெஞ்சே! இருஞ் சிறைவளை வாய்ப் பருந்தின் வான் கட் பேடை,ஆடுதொறு கனையும் அவ் வாய்க் கடுந் துடிக்கொடு வில் எயினர் கோட் சுரம் படர,நெடு விளி பயிற்றும் நிரம்பா நீள் இடை,கல் பிறங்கு அத்தம் போகி,நில்லாப் பொருட் பிணிப் பிரிந்த நீயே. In this tour of the drylands, the man has left the lady and parted in search of wealth and we catch him saying these words to his heart in the middle of his journey: “Carrying food bundles on their shoulders, men with huge, dark hands, set out on their task of shattering rocks, spreading dense sparks, to build a sturdy well, in that harsh and brackish land. Near the spaces where the hard ground was broken by them, where water springs forth, owing to the splitting open of the rocky surface, bells-clad cattle, belonging to the Kongars, rushes with eager, upraised heads. Just then, the red dust scattered by the these tawny hued cows, soar to the wide expanse of the sky, in that vast spreading drylands domain. Without thinking that you should accompany me and keep on going with determination, I see you stepping back, filled with worry. May you live long, my heart! Here, the huge-winged, curved-mouthed eagle’s white-eyed female, seeing robbers, with curving bows, come dancing as they beat their harsh-sounding ‘thudi’ drums, having beautiful mouths, sends out a long call in the deserted long and barren paths of this rocky drylands. Weren’t you the one who decided to part away and come here, caught in the affliction of seeking transient wealth?” Let’s get ready for an in-depth exploration of the drylands! The man starts by describing the dreary world around him. He first talks about some professionals, who have set out with their lunch packs from home, knowing very well they have a hard task before them. This hard task is to shatter the rocky ground and dig a well to find good water in that terrible rocky land. As they hit the ground, friction makes sparks fly, notes the man. When humans are so intent on something, many a time they find what they are looking for and after much effort, water springs forth, and the scent of this fresh elixir draws out the grazing cattle of the Kongars, and as the herd of tawny cows rushes there, the red dust covers the sky, the man illustrates. At this point, the man pauses and goes inward, talking to his heart saying, ‘Without thinking I must continue steadily with him, you are languishing in worry, in memory of her’. After that statement, he moves to the outer world a second time and points to the sound of a screeching call, made by a roving predator female bird, at the moment it sees highway robbers, marching on, beating their ‘thudi’ drums, swaying to the beat, as they enter that region. Why does the female call so? Just to say to its mate, ‘These harsh men are out and about, they will surely attack and kill innocent wayfarers. So be ready to feast to your full’. An image painted to project the fear-evoking expanse of this region, where death roams in a frenzy. After this illustration of the outer world, the man concludes by stepping within once again and reminding his heart that it was the one, who had sent him on this mad quest for wealth, something that never stays still in one place. In a nutshell, the man is accusing his heart of pushing him on this path and deserting him midway. This separation between oneself and one’s heart is to be aware and bring to fore, the doubts and despair that has started cropping up in one’s mission. That image of men boring the rocky ground to bring sweet water forth is no doubt a vision of inspiration to keep on at one’s task, no matter the obstacles in the world or in the mind!

In this episode, we perceive a thoughtful intervention on behalf of another, as portrayed in Sangam Literary work, Aganaanooru 78, penned by Madurai Nakeeranaar. Set amidst the honeycombs and flame-lilies of the ‘Kurinji’ or ‘Mountain Landscape’, the verse highlights events in the life of a famous Sangam King. ‘நனந்தலைக் கானத்து ஆளி அஞ்சி,இனம் தலைத்தரூஉம் எறுழ் கிளர் முன்பின்,வரி ஞிமிறு ஆர்க்கும், வாய் புகு கடாத்து,பொறி நுதற் பொலிந்த வயக் களிற்று ஒருத்தல்இரும் பிணர்த் தடக் கையின், ஏமுறத் தழுவ,கடுஞ்சூல் மடப் பிடி நடுங்கும் சாரல்,தேம் பிழி நறவின் குறவர் முன்றில்,முந்தூழ் ஆய் மலர் உதிர, காந்தள்நீடு இதழ் நெடுந் துடுப்பு ஒசிய, தண்ணெனவாடை தூக்கும் வருபனி அற்சிரம்,நம் இல் புலம்பின், தம் ஊர்த் தமியர்என் ஆகுவர்கொல் அளியர்தாம்?’ என,எம் விட்டு அகன்ற சில் நாள், சிறிதும்,உள்ளியும் அறிதிரோ ஓங்குமலைநாட! உலகுடன் திரிதரும் பலர் புகழ் நல் இசைவாய்மொழிக் கபிலன் சூழ, சேய் நின்றுசெழுஞ் செய்ந் நெல்லின் விளைகதிர் கொண்டு,தடந் தாள் ஆம்பல் மலரொடு கூட்டி,யாண்டு பல கழிய, வேண்டுவயிற் பிழையாது,ஆள் இடூஉக் கடந்து, வாள் அமர் உழக்கி,ஏந்துகோட்டு யானை வேந்தர் ஓட்டிய,கடும் பரிப் புரவிக் கை வண் பாரிதீம் பெரும் பைஞ் சுனைப் பூத்ததேம் கமழ் புது மலர் நாறும் இவள் நுதலே? Our trip to the mountains takes us in the presence of the confidante, who is rendering these words to the man, who has stayed away from the lady for a while, during the days of their courtship: “In your soaring mountain peaks, fearing the ‘aali’ in the widespread jungle, a strong bull elephant with a spotted head, gathers its herd around it and offers protection with its shining strength, as striped bees buzz around, and musth flows inside its mouth. This strong male extends its huge, coarse and curved trunk, and hugs with love, its naive and pregnant mate, which was shivering in the slopes, wherein on the front yards of mountain folk, who distill sweet nectar from honeycombs, beautiful flowers of the bamboo lie scattered. O lord of the soaring peaks, at this time when, making the long-petalled, tall stems of flame lilies break, cool northern winds blow in this early dew season, announcing the arrival of winter, as you left her and stayed away for a few days, did you even think a little and try to understand wondering, ‘What might happen to the one, who is alone in her village, without me for company? Isn’t she to be pitied?’! With the support of the great Kabilan, a poet of truthful words, who has the great fame of being praised by many who travel the world entire, the king obtained lush stalks of paddy crop growing far away, along with flowers of the white-lily with curving stalks, and even when days many passed, not giving up his stance, with much determination, crossed all the tribulations, and attacked those sword-wielding soldiers, chasing away the great rulers on their elephants with upraised tusks. Such was the greatness of King Paari, renowned for his generosity and speedy horses. Akin to a honey-fragrant, new flower that has just bloomed in the fresh and sweet springs in Paari’s land, is the scent of her forehead. Did you even think about its state a little?” Taking in that majestic huddle of the gentle mountain giants, let’s walk on and learn more! The confidante starts by describing the man’s country and to do that she talks about how a male elephant offers its protection to its entire herd by huddling together and standing strong. The focus then shifts to the particular care this elephant gives to its pregnant mate, by hugging it close with its huge trunk, to ease the fear of a creature called ‘aali’. Some interpreters say this could be a lion and others connect it to a mythical creature, with the body of a lion and the trunk of an elephant. This could be a case of the ancients projecting their fantastical beliefs on elements of nature. The male elephant’s caring concern for its mate could be a metaphor placed by the confidante to say how he must take care of the lady. Returning, we find the confidante continuing her description of the mountains, talking about the people, there, who enjoy their work of distilling sweet toddy from honeycombs and how on their front yards, bamboo flowers lie scattered everywhere, painting a picturesque portrait of the man’s land. From place, the confidante switches to time, and talks about how the cool northern winds have landed in their domain, breaking stems of flame-lilies, and declaring the harsh winter was about to arrive. At this time, which is a period of distress for separated lovers, the man had chosen to stay away from the lady, the confidante explains, and questions him about whether he considered the lady’s state even a little. She then launches into a long report on King Paari, making sure to accord praise on poet Kabilar for the latter’s support to the king. The tale about how the king managed to procure paddy crops, growing far away, probably with the use of trained parrots in his mountain country, and thereby survived the blockade

In this episode, we hear the reasoning for a resolute decision, as portrayed in Sangam Literary work, Aganaanooru 77, penned by Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals insightful historical facts through its intriguing similes. ”நல் நுதல் பசப்பவும், ஆள்வினை தரீஇயர்,துன் அருங் கானம் துன்னுதல் நன்று” எனப்பின்னின்று சூழ்ந்தனை ஆயின், நன்று இன்னாச்சூழ்ந்திசின் வாழிய, நெஞ்சே! வெய்துறஇடி உமிழ் வானம் நீங்கி, யாங்கணும்குடி பதிப்பெயர்ந்த சுட்டுடை முது பாழ்,கயிறு பிணிக் குழிசி ஓலை கொண்மார்,பொறி கண்டு அழிக்கும் ஆவணமாக்களின்,உயிர் திறம் பெயர, நல் அமர்க் கடந்ததறுகணாளர் குடர் தரீஇ, தெறுவர,செஞ் செவி எருவை, அஞ்சுவர இகுக்கும்கல் அதர்க் கவலை போகின், சீறூர்ப்புல் அரை இத்திப் புகர் படு நீழல்எல் வளி அலைக்கும், இருள் கூர் மாலை,வானவன் மறவன், வணங்குவில் தடக் கை,ஆனா நறவின் வண் மகிழ் பிட்டன்பொருந்தா மன்னர் அருஞ் சமத்து உயர்த்ததிருந்துஇலை எஃகம் போல,அருந் துயர் தரும், இவள் பனி வார் கண்ணே. Back again in the drylands and here we hear the man say these words to his heart: “If you say, ‘Even if pallor spreads on her fine forehead, for the sake of earning wealth through your determined effort, you should leave to the formidable forest’, standing behind me, you are doing a great wrong to me. May you live long, my heart! Everywhere, there would be nothing but heat, and thundering clouds, nowhere in sight. In those spaces, people have migrated elsewhere, leaving behind ancient ruins that are pointed out. Akin to those public election officials, who check the seal and then unseal, to pull out the inscribed palm leaves from the pot, tied with ropes, the red-headed vulture pulls out the intestines of brave warriors, who had crossed many a battlefield, but who were lying there, with their life, parted away. Such are the scenes from the fear-evoking, pebble-filled paths, and if I were to traverse these drylands, in those hamlets, surrounded by the spotted shade of dull-trunked fig trees, hot winds would assail me in the darkness-filled evening. Akin to the sharp-edged spear, raised against enemies in a fierce battle, belonging to the Chera King Vanavan’s commander Pittan, who wields a curving bow in his strong hands, known for his delight in ceaseless toddy, her eyes pouring with tears, would render endless pain in me!” Time to take a walk amidst the spotted shade of those drylands trees and learn more! The man starts by declaring to his heart, which had been pressing him to leave the lady and go earn wealth, that it was nudging the man in the wrong direction. He then goes on to talk about those drylands spaces, where there’s only heat and more heat, a place, which people have abandoned a long time ago, and there are nothing but ancient ruins. Imagine an archaeologist’s delight in discovering these ancient ruins pointed out in this ancient verse! Returning, we hear the man declaring that there would be nothing in this space but dull-trunked fig trees with few leaves, offering only a scarce shade and no protection against the hot winds. The man specifically points to the image of a vulture swooping down and pulling the intestines of a dead warrior, and to etch this, he brings in the simile of public officials, who pull out palm leaves from a pot tied with ropes. This matter-of-fact simile offers a unique window to the politics of the Sangam era. Here’s democracy in action! Those palm leaves were said to be inscribed with the names of the leaders for village councils and those public officials are the equivalent of the Election Commission, and they break the seal and pull out the palm leaves to declare the winner of that poll. Elated to find mention of democratic ideas, even in the midst of those monarchies of the Sangam times. It’s clearly an instance of decentralisation of power and effective rule at the grassroots, even under the reign of a king. Returning, the man concludes by saying just like the enemies of the Chera king, who would suffer because of the spear, wielded by the king’s commander, Pittan, he too would be pained by the thought of the lady’s tear-filled eyes, if at all he were to leave to those drylands at his heart’s behest! In essence, this is a clear-cut refusal to leave the lady and go in search of wealth. It’s interesting how those few words about inscribed palm leaves in a pot, casually employed about what was probably a routine event in the past, and that too, only as a reference for something else, excites us so much, telling us we can never predict which aspect of what we do will turn out to be of interest to our future generations!

In this episode, we listen to a maiden’s oath, as portrayed in Sangam Literary work, Aganaanooru 76, penned by Paranar. Set amidst the resounding drums of the ‘Marutham’ or ‘Farmlands landscape’, the verse brings out the rivalry between women in the rich domain of ancient towns. மண் கனை முழவொடு மகிழ் மிகத் தூங்க,தண் துறை ஊரன் எம் சேரி வந்தெனஇன் கடுங் கள்ளின் அஃதை களிற்றொடுநன் கலன் ஈயும் நாள் மகிழ் இருக்கைஅவை புகு பொருநர் பறையின், ஆனாது,கழறுப என்ப, அவன் பெண்டிர்; ”அந்தில்,கச்சினன், கழலினன், தேம் தார் மார்பினன்,வகை அமைப் பொலிந்த, வனப்பு அமை தெரியல்,சுரியல் அம் பொருநனைக் காண்டிரோ? என,ஆதிமந்தி பேதுற்று இனைய,சிறை பறைந்து உரைஇச் செங்குணக்கு ஒழுகும்அம் தண் காவிரி போல,கொண்டு கை வலித்தல் சூழ்ந்திசின், யானே. A trip to the farmlands takes us bang in the middle of a fight between a courtesan and a lady, over the lady’s husband, and these are the words said by the courtesan, in the earshot of the lady’s friends: “In rhythm with the mud-smeared drums, spreading joy, we danced. Seeing this, the lord of the cool river shores came to our colony. Hearing this, akin to the ceaseless sounds of drums, belonging to those entering the happy atmosphere, in the court of King Akuthai, known for his sharp and sweet toddy, and his rendering of elephants and fine vessels many, she has been scolding me without a pause, they say, about the lord’s woman; Akin to the beautiful and cool Kaveri that floods over banks and rushes steadily to the east, which made Aathi Manthi roam with much bewilderment, asking around, ‘The one wearing a cloth around him, the one adorned with anklets, the one, who has a honey-fragrant chest, ornamented with neatly arranged, radiant and exquisite garlands, the one with curly hair – That handsome lord of mine, have anyone of you seen him?’, I swear I shall pull him by his hands and envelope him all around.” Amidst the pomp and festivities of a town, let’s catch some sparks flying. The courtesan reflects on how along with other colleagues, she had been simply been doing her job of spreading joy, by dancing to the beat of the drums in the town. The courtesan continues by saying, because he was so impressed by this performance, the lord of the town, the lady’s husband, seemed to have paid a visit to this courtesan’s house. For this ordinary event, the lady seemed to have said many harsh words about her, the courtesan relates, connecting to how endlessly the lady has been berating her to the ceaseless drums that keep roaring in the court of King Akuthai, who keeps those who come seeking to him in high spirits, with his offering of toddy and elephants as well. The connection between the two is that both seem to be going on without a pause, the courtesan implies. Then, she talks about an event that was probably common knowledge then, about how a lady named ‘Aathi Manthi’ went about in search of her husband, describing what he was wearing and how he was looking, asking everyone if they had seen him. The courtesan explains this was because the cool and gushing River Kaveri, which has a steady path to the eastern sea, had breached its banks and seized Aathi Manthi’s husband. The courtesan connects this historical event with her own situation, and concludes by saying, that like the Kaveri River, she too would seize the lady’s husband and make him her own! Here’s a clear cut case of two women fighting over a man, as we have frequently seen in the rich expanses of the farmland towns. Sad indeed the state, wherein wealth accumulates, in the hands of a few, a few men at that, leading to this state of affairs, where the women seem to be defined by the affection of the man towards them. A moment of gratitude for our own time and space, where women can pursue their own paths to self-fulfilment and joy, regardless of the men in their life, and a wish for women world over to experience this very emotion of self-assurance!

In this episode, we perceive the resolution of a person’s anxiety, as portrayed in Sangam Literary work, Aganaanooru 75, penned by Madurai Poththanaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and argues against parting away in the pursuit of wealth. “அருள் அன்று ஆக, ஆள்வினை, ஆடவர்பொருள்” என வலித்த பொருள் அல் காட்சியின்மைந்து மலி உள்ளமொடு துஞ்சல் செல்லாது,எரி சினம் தவழ்ந்த இருங் கடற்று அடைமுதல்கரி குதிர் மரத்த கான வாழ்க்கை,அடு புலி முன்பின், தொடு கழல் மறவர்தொன்று இயல் சிறுகுடி மன்று நிழற் படுக்கும்அண்ணல் நெடு வரை, ஆம் அறப் புலர்ந்தகல் நெறிப் படர்குவர்ஆயின் நல் நுதல்,செயிர் தீர் கொள்கை, சில் மொழி, துவர் வாய்,அவிர் தொடி முன்கை, ஆய்இழை, மகளிர்ஆரம் தாங்கிய அலர் முலை ஆகத்து,ஆராக் காதலொடு தாரிடைக் குழையாதுசென்று படு விறற் கவின் உள்ளி, என்றும்இரங்குநர் அல்லது, பெயர்தந்து, யாவரும்தருநரும் உளரோ, இவ் உலகத்தான்?” என-மாரி ஈங்கை மாத் தளிர் அன்னஅம் மா மேனி, ஐது அமை நுசுப்பின்,பல் காசு நிரைத்த, கோடு ஏந்து அல்குல்;மெல் இயல் குறுமகள்! புலந்து பல கூறிஆனா நோயை ஆக, யானேபிரியச் சூழ்தலும் உண்டோ,அரிது பெறு சிறப்பின் நின்வயினானே?” In this trip to the drylands, it’s all in the mind and here we hear the man saying these words to the lady, when she has been worrying about the man leaving her to go in search of wealth: “Thinking, ’Setting aside all grace, earning wealth is the foremost duty of men’, pressed by a situation lacking substance, with a determined and strong heart, without any slackening, if men were to leave to those pebble-filled paths in the drylands, where a blazing fire spreads through the huge jungle, where the scorching heat has rendered trees leafless, where leading a wild life, with the strength of killer tigers, anklet-clad warriors sleep in the shade of the town centre of their ancient small hamlet, amidst those esteemed high mountains, utterly bereft of moisture, those men can only feel sorrowful about the lost great beauty of their women, having fine foreheads, flawless principles, few words, red mouth, forearms with bangles slipping away, fine jewels, radiant necklaces on the spreading bosom, filled with their ceaseless love, wallowing because of their uncrushed garlands. But is there anyone among them, who could return that lost beauty back to them? And so, my gentle-natured, young maiden, with a beautiful, black skin, akin to the dark leaves of the touch-me-not bush in the rainy season, with a slender waist, hip adorned with gold-coined ornaments, and upraised loins, making you say many sulking words, filling you with a ceaseless disease, will I choose to part away from your precious, hard-to-attain splendour?” Let’s take a walk through those moisture-less drylands! The man starts by talking about the philosophy of men, who go in search of wealth. They think it’s their first and foremost duty and that there can be no room for grace or kindness to those at home. Consider that these men decide to set out on their missions to the drylands, with such a firm resolution, the man continues. They will find themselves in the midst of a blazing jungle, filled with forest fires, where men lead a wild life, sleeping where they can, where trees are utterly leafless and there’s not a drop to drink. While they are here, their beloved would have their arms thinning and bangles slipping away, and they would be filled with so much love, but their men would be far away and unable to come to their aide. And so, all their beauty would be lost. When those men who went in search of wealth return, all they can do is shed tears for the lost beauty of their women, but can they bring it back, the man reflects. Because of these deep reflections, the man decides not to leave his beloved maiden with much beauty, whose black skin is described to be in the shade of dark green leaves, an indicator that this culture does not differentiate between the hues of green, blue and black. The man concludes by asking the lady how he would have the heart to part away from her rare and splendid goodness! The essence of this verse is the man telling the lady, ‘There’s nothing to worry, dear. I’m not parting away.’ The clear arguments with which the heart’s subtle fears are banished away speaks about the ingrained logic of these ancients!

In this episode, we perceive the inability to accept assurance from another, as depicted in Sangam Literary work, Aganaanooru 74, penned by Madurai Kavuniyan Boothathanaar. The verse is situated amidst the fragrant flowers of ‘Mullai’ or ‘Forest Landscape’ and illustrates an overpowering element in the life of the lady, one evening. வினை வலம்படுத்த வென்றியொடு மகிழ் சிறந்து,போர் வல் இளையர் தாள் வலம் வாழ்த்த,தண் பெயல் பொழிந்த பைதுறு காலை,குருதி உருவின் ஒண் செம் மூதாய்பெரு வழி மருங்கில் சிறு பல வரிப்ப,பைங் கொடி முல்லை மென் பதப் புது வீவெண் களர் அரிமணல் நன் பல தாஅய்,வண்டு போது அவிழ்க்கும் தண் கமழ் புறவில்,கருங் கோட்டு இரலைக் காமர் மடப் பிணை“திண் தேர் வலவ! கடவு” எனக் கடைஇ,இன்றே வருவர்; ஆன்றிகம் பனி” என,வன்புறை இன் சொல் நன் பல பயிற்றும்நின் வலித்து அமைகுவென்மன்னோ அல்கல்புன்கண் மாலையொடு பொருந்தி, கொடுங் கோற்கல்லாக் கோவலர் ஊதும்வல் வாய்ச் சிறு குழல் வருத்தாக்காலே! In this trip to the forests, we take in familiar elements of nature and hear these words, said by the lady to her confidante, when the man remains parted away from her: “‘Having completed his mission successfully, with much joy brimming over, as his battle worthy aides praise his strength and effort, on this lush green morning, when cool showers have poured, as shining red velvet mites in the hue of blood tread in many small rows on the side of the great roadways, as new, soft-textured flowers of the wild jasmine from green vines lie scattered about, on the white, saline, silt-filled sand, in that cool and fragrant forest, where bees make buds bloom, glancing at the loveable, naive mate of the black-antlered male deer, commanding ‘O charioteer, speed on this sturdy chariot!’, he would return this very day. So let’s give up our angst’, you say, rendering sweet and comforting words many to me. Indeed, hearing your assurance, I would have remained at peace, if only on this suffering-filled evening, the little flute with a firm end, played on by those illiterate cattle herds with curving rods, did not torment me so!” Time to race behind red velvet mites in the lush green forest! The lady starts on a positive note remarking about the man successfully finishing his task, returning with much glory, riding through the forest roads, wafting with the fragrance of fresh rains and the sight of red velvet mites out and about, wild jasmines blooming and scattering. She specifically focuses on the man’s vision falling on a female deer standing there, looking wide-eyed, and at that moment, she hears the man command his charioteer to speed up. This is a subtle reference to how that deer would remind the man of his beloved, waiting for him back home, with those innocent doe-eyes, urging him to rush back. Now, we learn that these are the words the confidante has been saying thus far to the lady, asking her to worry not, and assuring that the man would return the very day. The lady concludes by declaring that such comforting words would surely have given her peace, if only the strains of the cattle herds’ flutes did not pain her so much on that evening! The lady brings to fore how the mind has a way of latching on to some sorrowful element at times, refusing to heed the comfort of those around. Knowing what brings sorrow is half the battle won, and hopefully, expressing the same to those kind ears will sustain the lady, until her man arrives at her side!

In this episode, we perceive the portrayal of shared pain, as depicted in Sangam Literary work, Aganaanooru 73, penned by Erumai Veliyanaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and renders a message of hope to the lady. பின்னொடு முடித்த மண்ணா முச்சிநெய் கனி வீழ் குழல் அகப்படத் தைஇ;வெருகு இருள் நோக்கியன்ன கதிர் விடுபுஒரு காழ் முத்தம் இடைமுலை விளங்க,வணங்குறு கற்பொடு மடம் கொளச் சாஅய்,நின் நோய்த் தலையையும் அல்லை; தெறுவர‘என் ஆகுவள்கொல், அளியள்தான்?’ என,என் அழிபு இரங்கும் நின்னொடு யானும்ஆறு அன்று என்னா வேறு அல் காட்சிஇருவேம் நம் படர் தீர வருவதுகாணிய வம்மோ காதல்அம் தோழி!கொடி பிணங்கு அரில இருள் கொள் நாகம்மடி பதம் பார்க்கும், வயமான் துப்பின்,ஏனல் அம் சிறுதினைச் சேணோன் கையதைப்பிடிக் கை அமைந்த கனல் வாய்க் கொள்ளிவிடு பொறிச் சுடரின் மின்னி, அவர்சென்ற தேஎத்து நின்றதால், மழையே. We are back in the drylands but there’s no sign of this barren region, for the action is focussed on the lady and the confidante back home, and we hear the confidante saying these words to the lady: “O maiden, with an undecorated hair knot behind, bundling together your oiled, falling tresses carelessly; wearing a pearl necklace, which emits a glow, akin to a wild cat staring in the dark, shining between your bosoms; having a goddess-like, fierce chastity, and a naive nature, you have lost your health; Your worry is not only on your account; But you are confused greatly thinking, ‘What will happen to her? Isn’t she pitiable indeed?’ and feel sorrowful for my pain. What we both are feeling isn’t any different! However that’s not the way to be! Let’s now go and see how both our suffering is about to end, my loveable friend! With the alertness of a tiger that bides its time for the moment when a dark and huge elephant, striding amidst the twining vines and bushes, feels fatigue, a guard protecting the little millets from a loft in the field, would shake the burning firebrand, held in his hand, with a handle. Akin to the sparks of this firebrand, flashing with lightning, rain clouds have gathered together in that faraway country he is in!” As a surprise, this verse takes us into the desolate drylands in the hearts of those separated and not the physical space. The confidante starts by penning a portrait of the lady and first she calls attention to the her long hair that has been tied in a knot behind without much thought or care. This is to highlight the fact that Sangam women cared not about their appearance when their men were separated from them. To recollect, we have seen instances wherein the lady wouldn’t even wash her hair when her beloved was away, possibly making a statement that her beauty existed solely for the man to savour. However, the lady seems to be wearing a pearl necklace and the confidante equates the glow of the pearls on the lady’s black skin to the eyes of a wild cat, glimmering in the dark. From outer appearances, the confidante moves on to the lady’s personality and glorifies her chastity and naivety, saying that has however led to the lady losing her health, owing to the man’s absence. The confidante declares that it’s not only about her own state the lady is worried about, but about the sorrow of the confidante, who is anxious about the lady. It’s a vicious cycle of worrying about the other, worrying about the other! They both are the same, the confidante declares, and says this is not the path they should take but instead focus on how their great sorrow is about to end. Rather cryptically, the confidante talks about the way a tiger would wait for the time an elephant tires out and loses its guard amidst the bushes, and equates that to the alertness of a forester, watching guard over a field of little millets, and then zooms on to the firebrand in the guard’s hands, and the sparks that fly out as he shakes the same at some meandering animal. She concludes by equating those sparks to the flashes of lightning in the sky, announcing the arrival of the rains in the land the man is traversing. In essence, the confidante is saying the man is going to perceive the rainclouds and recollect his promise to the lady to be back at this time. When he does that, he will rush back to you, ending your sorrow, and with that, mine too, the confidante implies. The beauty of this verse is the portrait of pain shared between these two epitomes of friendship, demonstrating empathy and its therapy!

In this episode, we perceive a subtle technique of persuasion, as depicted in Sangam Literary work, Aganaanooru 72, penned by Erumai Veliyanaar Makanaar Kadalanaar. Set amidst the resounding hills of the ‘Kurinji’ or ‘Mountain landscape’, the verse sketches the life in this land on one rainy night. இருள் கிழிப்பது போல் மின்னி, வானம்துளி தலைக்கொண்ட நளி பெயல் நடுநாள்,மின்மினி மொய்த்த முரவு வாய்ப் புற்றம்பொன் எறி பிதிரின் சுடர வாங்கி,குரும்பி கெண்டும் பெருங்கை ஏற்றைஇரும்பு செய் கொல் எனத் தோன்றும் ஆங்கண்,ஆறே அரு மரபினவே; யாறேசுட்டுநர்ப் பனிக்கும் சூருடை முதலைய;கழை மாய் நீத்தம் கல் பொருது இரங்க,”அஞ்சுவம் தமியம்” என்னாது, மஞ்சு சுமந்து,ஆடுகழை நரலும் அணங்குடைக் கவாஅன்,ஈர் உயிர்ப் பிணவின் வயவுப் பசி களைஇய,இருங் களிறு அட்ட பெருஞ் சின உழுவைநாம நல்லராக் கதிர்பட உமிழ்ந்தமேய் மணி விளக்கின் புலர ஈர்க்கும்வாள் நடந்தன்ன வழக்கு அருங் கவலை,உள்ளுநர் உட்கும் கல் அடர்ச் சிறு நெறி,அருள் புரி நெஞ்சமொடு எஃகு துணையாகவந்தோன் கொடியனும் அல்லன்; தந்தநீ தவறு உடையையும் அல்லை; நின்வயின்ஆனா அரும் படர் செய்தயானே, தோழி! தவறு உடையேனே. It’s a thrilling ride through the hills this time, and we hear these words said by the lady to her confidante, pretending not to see the man, as he listens nearby, but making sure he’s in earshot: “As if tearing the darkness, the sky flashes and brings down a heavy downpour during the midnight hour. Fireflies swarm around a termite mound with a broken mouth, akin to sparks scattering about, when hot iron is welded. As a male bear with huge hands, hunts for the ants’ comb within, it appears akin to an ironsmith, working on his wares. In such a place, the path is hard to traverse; As for the river, it is filled with fearsome crocodiles that make those who even ponder about them quiver in fear; Floods gush on, submerging bamboo oars and dash against rocks and roar; Enveloped by clouds, swaying bamboos resound in those fear-evoking mountain slopes, where, to end the hunger of its mate that has just given birth, a huge and furious male tiger, having felled a huge boar, drags the blood-covered corpse, in the light of a sparkling sapphire, spit out by a cobra, in that formidable path. This small mountain path, rendering a feeling of walking on swords, is one that makes those who think about it tremble. Without thinking ‘I’m alone and I should be afraid’, with only a spear for company, the one who came walking down such a path to grace me is not the one who is at fault. You, who brought him to this trysting spot, is not to be blamed either; Indeed, it’s me, the one who has given a lot of trouble to you, who’s in the wrong!” Time for a mountain jungle safari and that too amidst a downpour in the dark! The lady starts by giving a vivid account of the path that the man takes to meet with her. First, it’s time for a weather report, and as can be expected in these high places, rains are pelting down and lightning flashes in the midnight sky. Next, from the sky, as we fly to the earth, we land near a termite mound, and around this we see some sparks flying off welded iron, and find out that those are actually fireflies. Extending the iron-smithery simile, the blacksmith is also seen hitting the rods, and on closer inspection, we find it’s an Indian Sloth bear that’s putting its huge hands inside the termite mounds to get its favourite food of ants and termites’ mush! For us, watching from the safe distance of a few thousand years, might be fascinating, but to the one travelling the path, this is something fear-evoking, the lady reminds us. From the bear in the mountain path, we move on to crocodiles in the gushing river, no doubt, full of floods, because of the pouring rain. Any attempt at sailing is routed by the ferocity of the river that buries bamboo poles and roars as it dashes against rocks many. Adding to the menacing sounds, are the tall bamboos swaying in the gusty winds, enveloped by dense clouds. As if the weather was not trouble enough, here a tiger, determined to end the hunger of its mate, which has just given birth to its cub, drags a wild boar that it has killed. This happens in the light of a sapphire, spit out by a cobra, the lady says, echoing the Sangam belief that snakes spit out gems. In short, this is a terrifying place to be walking about, one which feels as if walking on swords, and the mere thought of which sends tremors in the mind, the lady explains. Here, without any fear, the man comes walking with just a spear, because he wants to render his grace to the lady. She says he cannot be the one who can be called cruel or made to feel he’s at fault. Neither is the confidante, who coordinated the trysting between the man, and but it’s she herself to be blamed for all the trouble she has given her friend, the lady concludes. By removing the blame from the man’s side and assuming all responsibility, the lady gently makes the man understand her deep angst, fearing for his safety, and nudges him to give up

In this episode, we listen to an outpouring of suffering, as depicted in Sangam Literary work, Aganaanooru 71, penned by Anthi Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents nuanced similes to etch the sorrow in a heart. நிறைந்தோர்த் தேரும் நெஞ்சமொடு, குறைந்தோர்பயன் இன்மையின் பற்று விட்டு, ஒரூஉம்நயன் இல் மாக்கள் போல, வண்டினம்சுனைப் பூ நீத்து, சினைப் பூப் படர,மை இல் மான் இனம் மருள, பையெனவெந்து ஆறு பொன்னின் அந்தி பூப்ப,ஐயறிவு அகற்றும் கையறு படரோடுஅகல் இரு வானம் அம் மஞ்சு ஈன,பகல் ஆற்றுப்படுத்த பழங்கண் மாலை,காதலர்ப் பிரிந்த புலம்பின் நோதக,ஆர் அஞர் உறுநர் அரு நிறம் சுட்டிக்கூர் எஃகு எறிஞரின் அலைத்தல் ஆனாது,எள் அற இயற்றிய நிழல் காண் மண்டிலத்துஉள் ஊது ஆவியின் பைப்பய நுணுகி,மதுகை மாய்தல் வேண்டும் பெரிது அழிந்து,இது கொல் வாழி, தோழி! என் உயிர்விலங்கு வெங் கடு வளி எடுப்பத்துளங்கு மரப் புள்ளின் துறக்கும் பொழுதே? In this trip to the drylands, it’s a conversation between two friends, and there are different views as to whether the speaker is the lady or the confidante. Considering the content, I’m choosing to see these lines as words said by the lady to her confidante: “Akin to those people without goodness, who have a heart that seeks out only those who have plenty and forsakes those who are less affluent, thinking they are of no use, bees have abandoned flowers in the spring pools and flown towards flowers on the branches; Making herds of flawless deer baffled, slowly the dusk blooms in the hue of hot, molten gold, cooling down; Accompanied by a helpless pain that destroys intelligence, yielding to the beautiful clouds in the wide, dark sky, the day gives way to the suffering-filled evening, which arrives akin to one, who throws a sharp iron spear, pointing to the precious heart of the person, already in a deep angst, lamenting about the parting away of their beloved. Akin to how breath, blown out on a perfectly etched round mirror, diminishes little by little, my strength breaks down, suffering greatly. My friend, may you live long, it appears as if my life shall desert me, akin to how birds flutter away from a swaying tree, assailed by a swirling gale!” Let’s bask in the time of dusk and listen to this tale! The lady starts with a unique simile about certain lowly people, who prefer the company of those who are rich and abandon the friendship of those who have less. She places the actions of such people in parallel to those of bees, which have given up the flowers in the spring pools and are rushing towards the flower-clad branches of trees around. Could this be a metaphor for the man leaving the lady behind and seeking wealth? While that we cannot be sure about, perhaps this scene of bee migration is to indicate the season of spring, when flowers bloom aplenty on trees, to bring to fore, this was the man’s promised season of return. However, there was no sign of him yet! The lady continues by adding as if the arrival of spring wasn’t enough, the sky was turning into the hue of hot gold, cooling down, sending out waves of confusion among grazing deer, heralding the arrival of evening. This evening is one, which causes so much blinding pain that dulls the mind, the lady says, and describes the act of the evening arriving when the man is away, as the act of a person, who aims a spear at a lamenting heart. Then, she talks about a relatable simile of blowing breath on a reflective surface and how it would diminish with time, and connects it with her own strength, slowly shattering down. As the final thought, the lady confides to her confidante that owing to this angst-ridden situation, she feels her life may part away from her, akin to how birds flutter away, when a storm attacks the tree they were resting on. From the flight of those bees to these birds, the lady draws a perfect trajectory of her pain. The highlight of this verse is the thoughtful stacking up of similes to build the perfect image of the lady’s heart. Perhaps this crystal clear expression of emotions will help the lady in handling the swirling storm of separation!

In this episode, we hear the confidante’s jubilant voice, as depicted in Sangam Literary work, Aganaanooru 70, penned by Madurai Tamil Koothanaar Kaduvan Mallanaar. Set amidst the flower orchards and fish markets of the ‘Neythal’ or ‘Coastal landscape’, the verse features a joyous news and its consequences. கொடுந் திமிற் பரதவர் வேட்டம் வாய்த்தென,இரும் புலாக் கமழும் சிறுகுடிப் பாக்கத்துக்குறுங் கண் அவ் வலைப் பயம் பாராட்டி,கொழுங் கண் அயிலை பகுக்கும் துறைவன்நம்மொடு புணர்ந்த கேண்மை முன்னேஅலர் வாய்ப் பெண்டிர் அம்பல் தூற்ற,பலரும் ஆங்கு அறிந்தனர்மன்னே; இனியேவதுவை கூடிய பின்றை, புதுவதுபொன் வீ ஞாழலொடு புன்னை வரிக்கும்கானல் அம் பெருந் துறைக் கழனி மா நீர்ப்பாசடைக் கலித்த கணைக்கால் நெய்தல்விழவு அணி மகளிர் தழை அணிக் கூட்டும்வென் வேற் கவுரியர் தொல் முது கோடிமுழங்கு இரும் பௌவம் இரங்கும் முன் துறை,வெல்போர் இராமன் அரு மறைக்கு அவித்தபல் வீழ் ஆலம் போல,ஒலி அவிந்தன்று, இவ் அழுங்கல் ஊரே. There’s a lot of buzz in this trip to the shores, and we find ourselves listening to these words of the confidante to the lady: “After a successful spell of fishing, fishermen with curved boats, arrive at their flesh-reeking, small hamlets by the sea, praising the capabilities of their small-eyed, beautiful nets, and share fleshy pieces of mackerel with the village folk, in the shores of the lord. As the gossiping townsfolk spread rumours about your relationship with him, everyone came to know of it! Along with the new golden flowers of the tiger claw tree, white flowers of the laurel wood too spread open their petals, in the beautiful orchards of the great shores, and from the water-filled fields nearby, luxuriant-leafed, thick-stemmed blue lotuses are gathered by maiden to adorn their leaf garments during the festivities in the ancient seaport of Kodi, ruled by the Kauriyars, in whose shore, the ocean roars like a resounding drum. Here, when the victorious Lord Raman wanted to reflect on intricate strategies, he silenced the birds in the banyan with many aerial roots. Akin to that, now that your man has claimed your hand and the wedding is all set to happen, the slanderous noises in this uproarious town have been silenced.” Let’s take in the twin scents of fresh flowers and fleshy fish and know more! The confidante starts by describing the man’s domain, and to do that, she brings forth fishermen out at sea, gathering a huge amount of fish, returning with satisfaction, praising their sturdy nets and finally sharing their catch with all in town. Then, from the man’s domain, the confidante moves on to the man’s relationship with the lady and how that has invited much chatter in town. This got more and more people to know about the lady’s relationship with the man, the confidante recollects. Then, leaving this spot, she goes to the ancient sea port of Kodi, possibly referring to ‘Kodikkarai’ or ‘Dhanushkodi’ in Ramanathapuram district today, and talks about how flowering trees like the ‘Nyazhal’ and ‘Punnai’ abound there, and also about how women gather blue-lotuses from fields for their festival adornments. A further fact about this region the confidante adds saying, this was ruled by the Kauriyars, another name for the Pandya Kings of yore. After these relatable descriptions about an ancient town, the confidante delves into a mythical story of how Lord Rama had come to Kodi and when he was reflecting on strategies, possibly to recover his wife Sita, birds were loudly chirping in the banyan, under which he was resting, and apparently, with a look of his eye, he silenced the birds. Just in that manner, the gossipmongers of their town too were silenced by the man’s action of claiming the lady’s hand and paving the way for the resounding sound of wedding bells, the confidante concludes. Although the mythical reference of superhuman powers seem out of place in the realistic narratives of Sangam era that we have most frequently seen and no conclusions can be drawn out of the same, what we can do is turn our attention to the way the verse etches the exquisite natural beauty of this ancient place by detailing the fragrant flowers blooming here, and also, the way it carves the cultural history through a depiction of the women’s fashion statement in wearing blue lotuses with their leaf attires, during the festivities of the Pandya reign. No matter our beliefs, we can always find delight in the embrace of nature and culture, irrespective of its space or time, in our brief walk on this third rock we call home!

In this episode, we listen to words of encouragement, as depicted in Sangam Literary work, Aganaanooru 69, penned by Umattoor Kizhaar Makanaar Parankotranaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and renders hope to a despairing heart. ஆய்நலம் தொலைந்த மேனியும், மா மலர்த்தகை வனப்பு இழந்த கண்ணும், வகை இலவண்ணம் வாடிய வரியும், நோக்கி,ஆழல் ஆன்றிசின் நீயே. உரிதினின்ஈதல் இன்பம் வெஃகி, மேவரச்செய் பொருள் திறவர் ஆகி, புல் இலைப்பராரை நெல்லி அம் புளித் திரள் காய்கான மட மரைக் கணநிரை கவரும்வேனில் அத்தம் என்னாது, ஏமுற்று,விண் பொரு நெடுங் குடை இயல் தேர் மோரியர்பொன் புனை திகிரி திரிதரக் குறைத்தஅறை இறந்து அகன்றனர்ஆயினும், எனையதூஉம்நீடலர் வாழி, தோழி! ஆடு இயல்மட மயில் ஒழித்த பீலி வார்ந்து, தம்சிலை மாண் வல் வில் சுற்றி, பல மாண்அம்புடைக் கையர் அரண் பல நூறி,நன்கலம் தரூஉம் வயவர் பெருமகன்சுடர் மணிப் பெரும் பூண் ஆஅய் கானத்துத்தலை நாள் அலரின் நாறும் நின்அலர் முலை ஆகத்து இன் துயில் மறந்தே. Back in the drylands and we catch the confidante speaking these thoughtful words to the lady: “Perceiving your form that has lost its old beauty, your eyes that have shed their flower-like, admirable allure, your lines that are now shorn of their bright hues, don’t you cry and lose yourself in worry. Desiring to attain the rightful joy that arises from giving unto others, he has gone in search of wealth, with that confused heart of his, not minding the scorching heat of the drylands, where sour clusters of fruit from the small-leaved, thick-trunked gooseberry tree are seized by huge herds of forest deer. The Moriyars, with swaying chariots, decked with tall royal umbrellas, soaring to the skies, so as to ensure their gold-etched strong wheels journey on without obstacles any, have made paths by reducing and shaping boulders on the way. Even if he has gone to that faraway place, he will not delay his journey, my friend, may you live long! Gathering feathers, shed by naive, dancing peacocks, they decorate around their resounding, sturdy bows, and holding intricate arrows in their hands, they shatter forts many and gather fine ornaments as tributes. Such is the nature of soldiers in the army of the great and famous King Aay, who wears huge ornaments with radiant sapphires. Akin to the fragrance of a flower on the first day of bloom in Aay’s forest, are your wide bosoms. How can he stay away, forgetting his sweet sleep on those bosoms of yours?” Time for a gooseberry treat in the drylands! The confidante starts by asking the lady not to lament over the lady’s diminished beauty, as reflected in her skin and eyes, owing to the man’s parting away. She talks about how he has left in search of wealth only because he has the noble aim of rendering to those, who come seeking to him, reiterating the Sangam belief that people went in search for wealth, not for their personal gain, but for the purpose of compassion and charity. Describing how the man can now be found in the hot drylands, she mentions that the only available food there are sour gooseberries and even those are snatched away by hordes of deer. Then, changing track she goes on to talk about the ‘Moriyars’, most probably referring to the ‘Mauryas’, who ruled North India between the 4th and the 2nd century BCE. After mentioning their striking chariots with huge royal umbrellas, the confidante remarks on how the Mauryas used to shatter and reduce mountain boulders in their path, so as to keep moving on their wheels. Let’s return to this detail in a short while. The confidante has referred to these kings only to say that even if the man had gone to those faraway places, where the Mauryas are known to have paved paths, the man shall not delay his return. As an argument for her statement, the confidante goes on to talk about another king, Aay, detailing on the valour of his soldiers, and their skill in archery and extracting tributes from foes, turning specifically to the forests in this king’s domain. Here, she zooms on to the fragrance of a flower that has just bloomed in this celebrated forest, and equates it to the fragrance of the lady’s bosom, and concludes by saying the man could not possibly stay away for long, forsaking his sleep on the lady’s bosom. With glowing praise and a warm understanding, the confidante hopes to allay the lady’s anxiety. Returning to that historic reference of the Mauryas, which have already seen in Puranaanooru 175, this line offers a hint of the road-building capabilities of this clan of kings, by talking about how they wouldn’t let even mountains stop them in their conquest of other regions, shattering rocks and paving roads. Other historians such as the Greek Megasthenes concur with this statement in his description of the roads built by the Maurya kings in his ancient text ‘Indika’. It is said that these kings came as far south as Northern Karnataka, but never conquered the ancient Tamil regions ruled by the Chera, Chozha and

In this episode, we listen to a friend’s encouraging words, as depicted in Sangam Literary work, Aganaanooru 68, penned by Oottiyaar. The verse is situated amidst the flowing cascades of the ‘Kurinji’ or ‘Mountain Landscape’ and portrays a daring aspect of the man’s personality. ”அன்னாய்! வாழி, வேண்டு அன்னை! நம் படப்பைத்தண் அயத்து அமன்ற கூதளம் குழைய,இன் இசை அருவிப் பாடும் என்னதூஉம்கேட்டியோ! வாழி, வேண்டு அன்னை! நம் படப்பைஊட்டியன்ன ஒண் தளிர்ச் செயலைஓங்கு சினைத் தொடுத்த ஊசல், பாம்பு என,முழு முதல் துமிய உரும் எறிந்தன்றே;பின்னும் கேட்டியோ?” எனவும் அஃது அறியாள்,அன்னையும் கனை துயில் மடிந்தனள். அதன்தலைமன் உயிர் மடிந்தன்றால் பொழுதே காதலர்வருவர்ஆயின், ”பருவம் இது” எனச்சுடர்ந்து இலங்கு எல் வளை நெகிழ்ந்த நம்வயின்படர்ந்த உள்ளம் பழுது அன்றாக,வந்தனர் வாழி, தோழி! அந்தரத்துஇமிழ் பெயல் தலைஇய இனப் பல கொண்மூத்தவிர்வு இல் வெள்ளம் தலைத்தலை சிறப்ப,கன்று கால் ஒய்யும் கடுஞ் சுழி நீத்தம்புன் தலை மடப் பிடிப் பூசல் பல உடன்வெண் கோட்டு யானை விளி படத் துழவும்அகல் வாய்ப் பாந்தட் படாஅர்ப்பகலும் அஞ்சும் பனிக் கடுஞ் சுரனே. In this tour of the hills, we get to meet the lovers intending to tryst, and hear these words of the confidante to the lady: “When I said, ‘Mother, may you live long. Listen! Crushing the nightshade flowers blooming in the cool pits in our village, the sweet-sounding cascades flow down and resound. Do you hear that even a little? May you live long, mother! Listen! Thinking the swing, which has been tied to the soaring branches of the ‘Seyalai’ tree with shining leaves having the appearance of being painted with red lac, is a snake, thunder descends and severs the huge trunk. Do you hear that at least?’, mother did not even heed my words and was in a deep sleep. Not only that, it’s a time when all beings resort to rest. As the glowing, radiant bangles slipping away from your hand declares this is the ‘perfect time’ for your beloved to come, without falsifying it, with a heart that seeks you, he has come, my friend, may you live long! From the skies, thick clouds resounding with thunder, pour down heavy rain, and without obstacles any, floods swell and pull an elephant calf by its legs into a swirling whirlpool, making the soft-haired, naive female elephants roar out aloud together, and the white-tusked male elephants call aloud and search around, in this cold and harsh jungle with thick bushes, teeming with wide-mouthed snakes. Traversing such a place, which people fear to cross even in the middle of the day, he has come here, my friend!” Let’s sharpen our hearing amidst the striking sounds of the mountains and perceive the story here! The confidante starts by telling to the lady how she asked mother, whether mother had heard the sounds of the cascades pouring down in their backyard, making a mush of the wild jasmines blooming beneath. Not stopping with that one question, the confidante continues by asking mother, if mother had heard thunder, as it fell down and struck an ‘Ashoka tree’, chopping its trunk, all because the thunder thought the swing tied to the branches of the tree was a snake. A moment to pause and recollect that the Sangam folks held a belief that thunder had something against the snakes and it was the life ambition of thunder to destroy every serpent in sight and that’s why the confidante attributes so much thought on the part of the thunder in its natural act of roaring amidst a lightning shower. Returning, rather comically, not only did mother not hear the cascade or the thunder, she did not even hear the confidante’s question, for she was sound asleep. Now we know that our good friend was not merely testing mother’s hearing capabilities like some ear doctor, but was simply seeing if mother was awake or asleep. Having got a positive confirmation that mother was conked out, the confidante heads to her friend and conveys the news, adding that not only mother, all living beings seemed to be at rest.  The confidante then highlights how the lady’s bangles were on the verge of slipping away, pining for the man’s presence, and seemed to be shouting out, ‘This is the time for him to come’. As if hearing this wish, the man had indeed come there, the confidante says. She then goes on to sketch the conditions of their surroundings just then, talking about the pouring rains and the swelling floods, which had pulled an elephant calf into the whirlpool, making the female elephants to cry aloud and the male elephants to search around. As if the sounds were not scary enough, there was the rusting of huge-mouthed snakes in the forest bushes as well, the confidante says, and concludes by declaring that such was the fear-evoking place, which a person would fear to cross even in broad daylight, that the man had crossed and come to grace the lady with his love. In a nutshell, it’s the confidante giving her dear friend the much-awaited news, ‘All clear and he’s here!’

In this episode, we listen to a frustrated response, as portrayed in Sangam Literary work, Aganaanooru 67, penned by Noy Paadiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse depicts the dreary state of the place the man traverses. யான் எவன் செய்கோ? தோழி! பொறி வரிவானம் வாழ்த்தி பாடவும், அருளாதுஉறை துறந்து எழிலி நீங்கலின், பறைபு உடன்,மரம் புல்லென்ற முரம்பு உயர் நனந்தலை,அரம் போழ் நுதிய வாளி அம்பின்,நிரம்பா நோக்கின், நிரயம் கொண்மார்,நெல்லி நீளிடை எல்லி மண்டி,நல் அமர்க் கடந்த நாணுடை மறவர்பெயரும் பீடும் எழுதி, அதர்தொறும்பீலி சூட்டிய பிறங்கு நிலை நடுகல்வேல் ஊன்று பலகை வேற்று முனை கடுக்கும்மொழி பெயர் தேஎம் தருமார், மன்னர்கழிப் பிணிக் கறைத்தோல் நிரை கண்டன்னஉவல் இடு பதுக்கை ஆள் உகு பறந்தலை,”உரு இல் பேஎய் ஊராத் தேரொடுநிலம் படு மின்மினி போல, பல உடன்இலங்கு பரல் இமைக்கும்” என்ப நம்நலம் துறந்து உறைநர் சென்ற ஆறே! A trip to the drylands and here it’s all about the place! The lady says these words in response to the confidante, who asks her to bear with grace, the man’s parting from the lady, in pursuit of wealth. “What can I do, my friend? Though the spotted, striped skylark sings praising the skies, without rendering its graces of showering down raindrops, the clouds part away heartlessly. Losing their leaves, trees appear listless in those pebble-filled high and wide spaces. In the dark of the night, wielding arrows with split edges, shaped by saws, with eyes focused on their targets, many left to recover their cattle, and won those battles but perished in the fight. Amidst those paths, filled with gooseberry trees, appearing akin to a battlefield, inscribed with the name and fame of those honourable warriors, hero stones abound between the bushes, adorned radiantly with peacock feathers. Akin to heaps of blackened shields tied with ropes, belonging to the armies of kings, who wish to conquer other lands, where different languages are spoken, appear stone graves in the vast spaces, without people any. Many say, ‘Akin to fireflies flitting on land, twinkle those shining pebbles, amidst the formless, deceiving mirages’ about the path that the one, who abandoned my beauty, traverses now!” Let’s get walking through the scorching drylands with the man! The lady starts by responding to her confidante that she is unable to help her response of despair and anxiety. Then she goes on to say why describing in detail, the rain-less, leaf-less, shade-less spaces, where the man treads. She also mentions about hero stones being put up in these places for warriors, who perished in their battles to recover their cattle, and how these are adorned with peacock feathers. Then, she talks about shallow stone graves of wayfarers buried there, appearing like blackened shields of conquering kings. As the final image, she mentions how those dry, blistering places are filled with mirages, and shining pebbles that spread everywhere seem like fireflies, flitting about on the land. ‘So dreadful is the place my beloved walks and how do you expect me to be calm and composed?’, the lady concludes to her confidante. A simple verse that talks about the pain one feels on behalf of another. The lady no doubt is in the comfort of her wealthy home, but still she feels the distress and despair of her man so faraway. That empathy is perhaps the guiding beacon for those in love!

In this episode, we listen to the narration of a unique intervention, as depicted in Sangam Literary work, Aganaanooru 66, penned by Selloor Kosikan Kannanaar. Set amidst the wealthy streets of the ‘Marutham’ or ‘Farmlands landscape’, the verse celebrates the presence of a child at a home. ”இம்மை உலகத்து இசையொடும் விளங்கி,மறுமை உலகமும் மறு இன்று எய்துப,செறுநரும் விழையும் செயிர் தீர் காட்சிச்சிறுவர்ப் பயந்த செம்மலோர்” எனப்பல்லோர் கூறிய பழமொழி எல்லாம்வாயே ஆகுதல் வாய்த்தனம் தோழி!நிரை தார் மார்பன் நெருநல் ஒருத்தியொடுவதுவை அயர்தல் வேண்டி, புதுவதின்இயன்ற அணியன், இத் தெரு இறப்போன்மாண் தொழில் மா மணி கறங்க, கடை கழிந்து,காண்டல் விருப்பொடு தளர்பு தளர்பு ஓடும்பூங் கண் புதல்வனை நோக்கி, ”நெடுந் தேர்தாங்குமதி, வலவ!” என்று இழிந்தனன். தாங்காது,மணி புரை செவ் வாய் மார்பகம் சிவணப்புல்லி, ”பெரும! செல் இனி, அகத்து” எனக்கொடுப்போற்கு ஒல்லான் கலுழ்தலின், ”தடுத்தமாநிதிக் கிழவனும் போன்ம்” என, மகனொடுதானே புகுதந்தோனே; யான் அதுபடுத்தனென் ஆகுதல் நாணி, இடித்து, ”இவற்கலக்கினன் போலும், இக் கொடியோன்” எனச் சென்றுஅலைக்கும் கோலொடு குறுக, தலைக்கொண்டுஇமிழ் கண் முழவின் இன் சீர் அவர் மனைப்பயிர்வன போல வந்து இசைப்பவும், தவிரான்,கழங்கு ஆடு ஆயத்து அன்று நம் அருளியபழங் கன்ணோட்டமும் நலிய,அழுங்கினன்அல்லனோ, அயர்ந்த தன் மணனே. It’s the farmlands and though the theme dwells around the conflict between the man and the lady owing to relations with courtesans, here we hear the lady recollect a recent incident to her confidante, and remark on its inferences about the man’s gracious behaviour: “Many have quoted the proverbial statement, ‘Those great people, who have borne children, having a blemish-less appearance relished even by enemies, will surely live with fame in this life, and attain the next life without any trouble’. I realised how true these words are, my friend! Yesterday, the lord, adorned with many garlands on his chest, desiring a union with another woman, wore a new and shining attire, and prepared to leave our street. As the finely etched bells of his horse resounded and he crossed the gate, with a wish of seeing his father, with toddling steps, my flower-eyed son rushed towards him. Seeing him, the man said, ‘Stop the chariot, O charioteer’ and got down. Without pausing, he lifted his son, and pressing the child’s red mouth, akin to coral, on his chest, he held him close, and said to the child, ‘My noble lord! Go inside the home now’. The child, refusing to heed this request, started crying. And so, the great lord with much wealth, stopped by his son, entered our home, carrying him. Thinking the blame for the child’s action would fall on me, with shame, I scolded the child, ‘This little terror has muddled the lord’s plans’ and went near him with a rod. The lord embraced his son and pulled him away. Just then, even though sweet sounds of the resounding drum, inviting him to their home, fell on his ears, the lord avoided going thither, and with the same old thoughtful eyes with which he graced me, when playing with ‘Kazhangu beans’ with my friends back then, he gave up the thought of parting away for his desired union!” Time to tackle the love troubles in this rich region! The lady starts by quoting a proverb from those times which talks about how those people who have adorable children are sure to live gloriously in this life, and not only that, the next eternal life is guaranteed for them, as well. Saying she had thought it to be a mere old saying but recently realised that it was perfectly true. Then the lady goes on to describe how on a previous day, the man had wanted to leave for his rendezvous with a courtesan, and had stepped out of his home, adorned with garlands and new accessories. As he was leaving out of the gate, with the bells on his horse tinkling, the man’s young son, playing on the street, had come running to see his dear daddy. Spotting the child, the man asked his charioteer to hold on and he got down. He lifted the child and held the toddler close to his chest. Then remembering his appointment, the man turned to the boy and said, ‘Why don’t you go inside the home now?’ As all children do, the boy refused and started crying. So, the man stepped inside his home. Observing all this, the lady thought she was going to be blamed for the boy’s actions and came there scolding the child, and brandishing a rod. The man seemed to have pulled away the child from her reach and hugged him. The lady concludes by saying that even though the drums roared from the house of the courtesan, inviting him there, the man did not heed that, and with the same love and care in his eyes he had had, when he first looked at the lady, as she was playing with her mates back in the day, he gave up his prior plans of uniting with the courtesan, and remained at home with her and her son. Thus, with his tiny fingers and little arms, the innocent child seems to have done the magic trick of binding his strong and powerful father t

In this episode, we hear news of a much-awaited decision, as depicted in Sangam Literary work Aganaanooru 65, penned by Maamoolanaar. Set amidst the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the change in a person’s mind and its joyous consequences. உன்னம் கொள்கையொடு உளம் கரந்து உறையும்அன்னை சொல்லும் உய்கம்; என்னதூஉம்ஈரம் சேரா இயல்பின் பொய்ம்மொழிச்சேரிஅம் பெண்டிர் கௌவையும் ஒழிகம்;நாடு கண் அகற்றிய உதியஞ்சேரற்பாடிச் சென்ற பரிசிலர் போலஉவ இனி வாழி, தோழி! அவரே,பொம்மல் ஓதி! நம்மொடு ஒராங்குச்செலவு அயர்ந்தனரால் இன்றே மலைதொறும்மால் கழை பிசைந்த கால் வாய் கூர் எரி,மீன் கொள் பரதவர் கொடுந் திமில் நளி சுடர்வான் தோய் புணரிமிசைக் கண்டாங்கு,மேவரத் தோன்றும் யாஅ உயர் நனந்தலைஉயவல் யானை வெரிநுச் சென்றன்னகல் ஊர்பு இழிதரும் புல் சாய் சிறு நெறி,காடு மீக்கூறும் கோடு ஏந்து ஒருத்தல்ஆறு கடிகொள்ளும் அருஞ் சுரம்; ‘பணைத் தோள்,நாறு ஐங் கூந்தல், கொம்மை வரி முலை,நிரை இதழ் உண்கண், மகளிர்க்குஅரியவால்’ என அழுங்கிய செலவே! This time, the theme dwells on a future travel to the drylands, and here, we hear the confidante excitedly sharing some news to the lady: “May you escape from the words of mother, who knowing well what’s in your heart, keeps it within her mind and says something else; May you be rid of the slander spread by women in our village, full of lies, lacking even a bit of compassion; May you live long with much happiness, like the supplicants, who sing praises of King Udhiyan Cheral, the one who widened the limits of his domain! All through the hills, as bamboos brush against each other, fuelled by the wind, sharp flames that soar, shine like bright lamps, atop curving boats of fishermen, sailing amidst the sky-soaring waves. Walking up and down those dull and small paths, amidst those rocky and hilly spaces, filled with barren Yaa trees, feels like walking on the back of a famished elephant. Such is the formidable drylands jungle, where huge and terrifying, tusked male elephants stand in guard along the many paths. He had previously said that such a place would be impossible to traverse for maiden with bamboo-like arms, fragrant and beautiful tresses, upraised and lined bosoms, thick-petalled and kohl-streaked eyes. But today, he has seen eye to eye with us, and has decided that you should go along with him, O maiden with thick tresses!” Time to imagine an imminent walk through the barren paths! The confidante starts by jubilantly declaring to the lady that her friend was soon going to escape mother’s seemingly innocent but pointed words, for she knew the lady’s situation but refused to reveal what was in her mind. Next prediction was about how the lady will be rid of the dreadful rumours spread by the gossiping village women, who had no kindness in their hearts, and as the third and final forecast, the confidante declares that the lady is going to live happily forever, like those who sing praises of the great Chera King Udhiyan, known for the empire he expanded. After sharing all these fortune cookies, the confidante goes on to describe the formidable drylands, where the winds fan the fire of dry bamboos in friction, and these fiery flames are placed in parallel with objects of another landscape- the lamps on the boats of fishermen. Then the confidante talks about hilly, rocky paths, filled with dry Yaa trees, and how walking on these paths would be like walking on the back of an elephant that has not had food for long. Such scenes of despair and danger fill these drylands and that’s why the man had been saying, there was no way the lady with her delicate qualities was going to be able to traverse it, the confidante explains. She notes with elation that somehow the man had seen sense and changed his mind, now deciding to take the lady and elope away with her the very day. In essence, it’s the confidante telling the lady, the situation is dire here, the man has agreed to our request that you should elope with him, and so get ready and go on. The thing that interests me the most is what made the man change his mind. It’s not like the lady developed those abilities overnight. Perhaps he has seen that the risk of taking the lady through the drylands is worth facing rather than the danger of leaving her amidst slander and suffering. It is indeed such moments of lucid decision making, which spurs us to action, that ends up defining the course of our lives, many a time!

In this episode, we perceive a man’s fervent wish, as depicted in Sangam Literary work, Aganaanooru 64, penned by Aarkkaadu Kizhaar Makanaar Vellai Kannathanaar. The verse is situated amidst the moist red lands of the ‘Mullai’ or ‘Forest Landscape’ and sketches the yearning to return home after a mission. களையும் இடனால் பாக! உளை அணிஉலகு கடப்பன்ன புள் இயற் கலி மாவகை அமை வனப்பின் வள்பு நீ தெரிய,தளவுப் பிணி அவிழ்ந்த தண் பதப் பெரு வழி,ஐது இலங்கு அகல் இலை நெய் கனி நோன் காழ்வெள் வேல் இளையர் வீங்கு பரி முடுக,செலவு நாம் அயர்ந்தனம்ஆயின், பெயலகடு நீர் வரித்த செந் நிலமருங்கின்,விடு நெறி ஈர் மணல், வாரணம் சிதர,பாம்பு உறை புற்றத்து ஈர்ம் புறம் குத்தி,மண்ணுடைக் கோட்ட அண்ணல் ஏஎறுஉடன் நிலை வேட்கையின் மட நாகு தழீஇ,ஊர்வயின் பெயரும் பொழுதில், சேர்பு உடன்,கன்று பயிர் குரல, மன்று நிறை புகுதரும்ஆ பூண் தெண் மணி ஐது இயம்பு இன் இசைபுலம்பு கொள் மாலை கேட்டொறும்கலங்கினள் உறைவோள் கையறு நிலையே. The fragrant forests reveal the passion in the man’s heart as he renders these words to his charioteer, when returning home after completing his mission: “It’s time to slay it, O charioteer! Wield those exquisite reins that you know so well, tied around the neck of the proud horse, with a swaying mane, which moves, akin to a bird that traverses the world entire. On the huge road, filled with moisture, where wild jasmines have burst in bloom, and where young aides, holding victorious spears, with beautiful, radiant, wide leaf edges, and well-oiled, smooth and sturdy stems, walk on, hasten the horses so that we overtake them! We should put our mind to our speedy return. On the red land paved with lines, owing to the heavy downpour on the side of the chariot’s path, birds peck around on the wet mud. Dashing against the side of termite mounds, where snakes reside, the esteemed bull becomes covered in mud, and wanting to be together with its mate forever, it embraces the naive young cow in the village. When returning thither from their grazing, the cattle, call out together to their calves, and rush to the village centre, with the sound of their clear bells, rising in a sweet music in that loneliness-filled evening. Whenever she hears this, she would lament and suffer. And so, we should hasten and end this state of helplessness of the one, who tearfully resides back home!” Let’s listen to this song set in rhythm to the tinkling of cow bells. The man starts by saying to the charioteer it was time to change something. Without saying what it is, he goes on to describe the horse running ahead, with its dancing mane, and he compares the movement of this animal to a bird that crosses the world. A moment to pause and reflect on this mention of migration in birds, which traverse thousands of kilometres, and in fact, journey from pole to pole, region to region, as documented by modern science. That a poet from two thousand years ago makes this observation, from one corner of the earth, without knowing so much about other parts of the world, is something deeply perceptive, and goes on to show the scientific thinking of these ancients. Returning, the man tells his charioteer to wield the reins firmly and ride with speed, so that they overtake the young aides on foot, carrying spears. He describes the red soil of the forest, and how lines seem to be carved on it by the pouring rains, and here, forest fowl are seen pecking around, and bulls are coated with red mud, as they dash against termite mounds, where snakes lie sleeping. As a projection of the man’s mind, these bulls are seen embracing their mates in the village. And when evening falls, huge herds of cattle return after their grazing, crying out for their calves, with their bells tinkling, and this is the music that would fall on the lady’s ears and fill her with a deep melancholy, says the man. He concludes by telling his charioteer that they must rush home and slay this state of suffering of his beloved. The verse once again echoes the timeless theme of that burning urgency to be back in the company of love when the work that tore apart the lovers is done with! Take away the speeding chariot and the still forest, and if you place a sailor, a pilot, an astronaut in the scene, you can hear the same heartbeat of this Sangam man in each one of them at the end of their voyage!

In this episode, we listen to a mother’s lament, as depicted in Sangam Literary work, Aganaanooru 63, penned by Karuvoor Kannam Pullanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the journey of a maiden in the mind’s eye of her mother. கேளாய்; வாழியோ! மகளை! நின் தோழி,திரு நகர் வரைப்பகம் புலம்ப, அவனொடுபெரு மலை இறந்தது நோவேன்; நோவல்கடுங்கண் யானை நெடுங் கை சேர்த்தி,முடங்கு தாள் உதைத்த பொலங் கெழு பூழிபெரும் புலர் விடியல் விரிந்து, வெயில் எறிப்ப,கருந் தாள் மிடற்ற செம் பூழ்ச் சேவல்சிறு புன் பெடையொடு குடையும் ஆங்கண்,அஞ்சுவரத் தகுந கானம் நீந்தி,கன்று காணாது, புன் கண்ண, செவி சாய்த்து,மன்று நிறை பைதல் கூர, பல உடன்கறவை தந்த கடுங் கால் மறவர்கல்லென் சீறூர் எல்லியின் அசைஇமுதுவாய்ப் பெண்டின் செது காற் குரம்பைமட மயில் அன்ன என் நடை மெலி பேதைதோள் துணையாகத் துயிற்றத் துஞ்சாள்,”வேட்டக் கள்வர் விசியுறு கடுங் கண்சேக் கோள் அறையும் தண்ணுமைகேட்குநள்கொல்?” எனக் கலுழும் என் நெஞ்சே. Elopement’s in the air in this trip to the drylands and we hear these words of the lady’s mother to the lady’s confidante: “Listen, may you live long, my girl! I worry not that your friend left with him beyond the huge mountains, leaving this wealthy mansion in loneliness. Let me tell you what I worry about. A harsh-eyed elephant, bending its legs, and using its long trunk, kicks up the golden dust. As the great dawn arrives and the sun scorches, the male black-necked red quail, along with its delicate, little mate pecks around, in the fearsome scrub jungle. Traversing such a place, she would come at night to an uproarious hamlet, where robbers have tied stolen cows many, in the town centre, and those herds, bending their ears, with sorrowful eyes, not seeing their calves, would be crying out in suffering. Here, my naive daughter, who has a gentle gait like a peacock, would rest in a wise old woman’s rickety hut. That she would not be able to sleep, even when he offers her his shoulder, because she would be frightened by the hunting robbers’ resounding beats on their ‘thannumai drums’, as they seize cattle, worries this heart of mine, shedding tears!” Time to take a walk amidst the swirling dust of the scorching drylands! Mother starts by clarifying to the lady’s confidante that her pain, sorrow and anxiety was not about the fact that the lady had left them. and gone with the man, beyond the mountains. Mother imagines the place where the girl walks at the moment through the barren, blistering expanses of the scrub forest, where an elephant kicks up dust and quails peck around, looking for some food, some moisture. Mother continues saying crossing such spaces, the lady would come to a little hamlet, which happens to be the abode of robbers, who have just stolen cows, and these cows stand there, sending out sorrowful cries, missing their calves. A subtext for mother’s yearning! Next, mother visualises that her daughter would be resting in an old woman’s hut, and even though her man would offer his strong shoulder, the girl would find no rest, for she would be startled by the beating of the robber’s drums, as a mark of their successful cattle hunt. This is the precise thing that wrings her heart and tears up her eyes, mother concludes. The highlight of this verse is no matter how this woman was hurt by the actions of her daughter, she seems to be more concerned about her child’s welfare. That’s a mother for you, the verse seems to say, with a wise smile!

In this episode, we listen to the angst of unfulfilled expectations, as portrayed in Sangam Literary work, Aganaanooru 62, penned by Paranar. Set amidst the soaring peaks and descending cascades of the ‘Kurinji’ or ‘Mountain Landscape’, the verse reiterates the presence of a renowned man-made structure in those times. அயத்து வளர் பைஞ்சாய் முருந்தின் அன்னநகைப் பொலிந்து இலங்கும் எயிறு கெழு துவர் வாய்,ஆகத்து அரும்பிய முலையள், பணைத்தோள்,மாத்தாள் குவளை மலர் பிணைத்தன்னமாஇதழ் மழைக்கண், மாஅயோளொடுபேயும் அறியா மறை அமை புணர்ச்சிபூசல் துடியின் புணர்பு பிரிந்து இசைப்பக்கரந்த கரப்பொடு நாம் செலற்கு அருமையின்,கடும் புனல் மலிந்த காவிரிப் பேரியாற்றுநெடுஞ்சுழி நீத்தம் மண்ணுநள் போல,நடுங்கு அஞர் தீர முயங்கி நெருநல்ஆகம் அடைதந்தோளே, வென்வேல்களிறு கெழு தானைப் பொறையன் கொல்லிஒளிறு நீர் அடுக்கத்து வியல் அகம் பொற்பக்கடவுள் எழுதிய பாவையின்,மடவது மாண்ட மாஅயோளே. Treading through the hills, we listen to the man’s yearning at a time, when his expected tryst with the lady did not come through: “Akin to flower buds of the whitehead spike sedge grass that grows in watery spaces, shines her teeth, adorned with smiles in her red mouth. With budding bosoms, bamboo-like arms, huge-petaled rain-like eyes, akin to two blue lotuses, with black stems, intertwined together, is that dark-skinned maiden. At a time, not known even to ghosts, I united with her in secret. Still they have spread slander about our union, with the uproar of ‘thudi’ drums, by assembling together and going separate ways. So, it has become rare for us to come together! Knowing this, yesterday, as if she was swimming in the long, swirling whirlpools in the huge flood of the River Kaveri, brimming with copious waters, ending the shivering suffering within, she embraced me again and again, and lay on my chest, without moving away. Such were the actions of my dark-skinned maiden, resplendent in her naivety, the one, who looks like the goddess statue, carved to add glory to those wide spaces, with radiant waters flowing down the Kolli hills, by Poraiyan, renowned for his army of elephants and his victorious spears!” It’s all about a lady’s qualities in this one! The man starts by describing his beloved saying she has smiling teeth, akin to particular sedge grass, which I learnt was the ‘whitehead spike sedge’, also called ‘white water sedge’, to indicate the watery spaces it abounds, as illustrated by the first two words of this Tamil verse. Yet again, impressed by the connection between the common modern English name and the ancient Tamil descriptor of this plant! Returning, we find the man next talking about the lady’s red mouth, her blooming bosoms, her arms, akin to bamboo, and those eyes, which are not only rain-like, but are also akin to two huge-petaled blue lotuses threaded together. The man talks about how he and the lady united at a time that even ghosts know not about, implying it could be in dead secret, in the darkest hour, when even the ghosts would want to get some sleep! But even more perceptive than those ghosts, were the slander-spreading folk of their town, who have been sharing gossip about them, and that’s why meeting the lady has become a rare thing, the man explains. He thinks back to how realising this, the lady had embraced him over and over, as if she was dipping in the brimming floods of the River Kaveri, and would not even part away from his chest for a very long time. He sighs thinking about the past, and concludes, by placing the lady’s appearance, in parallel with the statue of a goddess in the Kolli hills, built by King Poraiyan, known to have a victorious army of elephants and soldiers with spears! The repeated reference to this structure in many verses, and that too, in parallel with the beauty of a woman, makes me think this was a much-celebrated work of art in Sangam times. Just like the Mona Lisa, Statue of Liberty, the Pyramids, the Great Wall of China and the Taj Mahal to us, for whom the world has shrunk, this statue of the Kolli Goddess was to the people of ancient Tamil land. Wonder how such a celebrated structure lost its battle to time! The other interesting aspect that can be unearthed from the actions of the lady with the man the previous day is the timeless fact that when we get a feeling that something is going to become rare, often an urgency to relish it to the full soars within, whenever it becomes available! And likewise, reframing taken-for-granted things in our life as something precious and something which could be lost at any time, is the perfect recipe to rekindle our appreciation for the same!

In this episode, we listen to a friend’s encouraging words, as depicted in Sangam Literary work, Aganaanooru 61, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape”, the verse highlights some historic personalities and their renowned towns. “நோற்றோர்மன்ற தாமே கூற்றம்கோளுற விளியார், பிறர் கொள விளிந்தோர்” எனத்தாள் வலம்படுப்பச் சேட் புலம் படர்ந்தோர்நாள் இழை நெடுஞ் சுவர் நோக்கி, நோய் உழந்துஆழல் வாழி, தோழி! தாழாது,உரும் எனச் சிலைக்கும் ஊக்கமொடு பைங் கால்வரி மாண் நோன் ஞாண் வன் சிலைக் கொளீஇ,அரு நிறத்து அழுத்திய அம்பினர் பலருடன்அண்ணல் யானை வெண் கோடு கொண்டு,நறவு நொடை நெல்லின் நாள் மகிழ் அயரும்கழல் புனை திருந்துஅடிக் கள்வர் கோமான்மழ புலம் வணக்கிய மா வண் புல்லிவிழவுடை விழுச் சீர் வேங்கடம் பெறினும்,பழகுவர்ஆதலோ அரிதே முனாஅதுமுழவு உறழ் திணி தோள் நெடு வேள் ஆவிபொன்னுடை நெடு நகர்ப் பொதினி அன்ன நின்ஒண் கேழ் வன முலைப் பொலிந்தநுண் பூண் ஆகம் பொருந்துதல் மறந்தே. This trip to the drylands takes us in the presence of a lady, who is parted away from her man, and we get to hear these words of the lady’s confidante to her friend: “Saying, ‘Blessed are those, who do not lose their lives to the God of Death for no reason, but instead to others in battle’, he left to a faraway land to bring home victory, with his determined efforts. Seeing the marks of the days he has been away on the tall wall, do not cry, wallowing in a deep suffering, my friend, may you live long! With unceasing thunderous roars, holding on to the green-edged, striped strong bows with fine threads, having an army of men capable of showering arrows on the chests of foes, possessing white tusks of esteemed elephants, bartering toddy for paddy, the great leader of the robbers, the strong and mighty Pulli, wearing well-etched, perfect warrior anklets, the one, who defeated the clan of Mazhavars, spends happy days many, in the festivities-filled, fertile land of Venkatam. Your bosom, decked with fine jewels many, is akin to the huge, gold-filled town of Pothini, ruled by the famous Neduvel Aavi, who has arms akin to strong drums. Even if your man were to attain all of Pulli’s Venkatam, it would be hard for him to stay away, forgetting your shining bosom!” Let’s walk along with the man through those barren lands and understand his mission! The confidante starts by remembering the words of the man, who seems to think that dying by natural causes was not as noble as dying in the battlefield. With those words, he had left to some faraway land, determined to return with victory. If someone leaves with such words, it may fill them with the fiery confidence needed to face the battle, but what about the one at home? No doubt this makes the lady suffer deeply with anxiety, wondering when the man will return and if he will return. As she sits at home, looking at the wall with the marks of the days he has spent away from her, her confidante does what all good friends do, which is to comfort the other. This blessed soul asks the lady to imagine that the man were to attain a town as prosperous as Venkatam, ruled by the famous leader of the robbers, Pulli, known for his army of men, well-versed in archery, and for his possession of white tusks, barter of toddy for paddy, and one who spends happy days in that fertile town in his domain. The confidante concludes by saying even if such a thing were to happen, it would be impossible for the man to stay away from the lady’s bosoms, which she places in parallel to another gold-rich town of Pothini, ruled by Aavi, who is said to have arms as thick as drums! In essence, the confidante says to the lady that no matter how much wealth the man attains, it would surely not be more precious to him than the lady’s beauty. A verse which reiterates that though wealth and duty were prime concerns, love and beauty were no less important in the minds of these ancient folks, and most of their dilemmas seemed to revolve around the conflict of these two timeless pursuits of humans!

In this episode, we listen to an account of mother’s nature, as portrayed in Sangam Literary work, Aganaanooru 60, penned by Kudavaayil Keerathanaar. Set amidst the roaring waves of the ‘Neythal’ or ‘Coastal landscape’, the verse etches a unique instance of persuasive communication. பெருங் கடற் பரப்பில் சேயிறா நடுங்க,கொடுந் தொழில் முகந்த செங் கோல் அவ் வலைநெடுந் திமில் தொழிலொடு வைகிய தந்தைக்கு,உப்பு நொடை நெல்லின் மூரல் வெண் சோறுஅயிலை துழந்த அம் புளிச் சொரிந்து,கொழுமீன் தடியொடு குறுமகள் கொடுக்கும்திண் தேர்ப் பொறையன் தொண்டி அன்ன எம்ஒண் தொடி ஞெமுக்காதீமோ தெய்ய;”ஊதை ஈட்டிய உயர் மணல் அடைகரை,கோதை ஆயமொடு வண்டல் தைஇ,ஓரை ஆடினும் உயங்கும் நின் ஒளி” எனக்கொன்னும் சிவப்போள் காணின், வென் வேற்கொற்றச் சோழர் குடந்தை வைத்தநாடு தரு நிதியினும் செறியஅருங் கடிப் படுக்குவள், அறன் இல் யாயே. In this seaside vacation of ours, we hear the lady’s confidante saying these words to the man, when he comes to the lady’s home to tryst by day: “Making red shrimp in the vast sea quiver by throwing an exquisite net, fitted with red rods, for the severe task of capturing fish, on a tall boat, immersed in his profession, stands father. For him, with the paddy, got in barter for salt, his young daughter cooks and serves hot white rice, along with delicious tamarind curry, made with ‘ayilai’ fish, and also fleshy pieces of fatty fish, in the town of Thondi, ruled by ‘Poraiyan’, renowned for his sturdy chariots. Akin to the beauty of this town is the lady, and pray, do not press her shining bangles with force, and leave imprints. Saying, ‘On the shores, piled with towering heaps of sand, brought by the northerly winds, with your garlanded friends, even if you build sand houses or play ‘orai’ games, your glow might fade’, mother would get angry for no reason. If she were to see these imprints on the lady’s hands, even more than the protection put up in Kudanthai, around the tributes of all those nations, under the rule of royal white umbrella of the Chozhas, she would put up a stern guard around the lady. Such is the nature of this unjust mother!” Time to take in the wafting scent of sour fish curry in the seashore! The confidante starts by describing a girl’s father, intent at his work in the sea, standing on a tall boat. He seems to be making shrimp shiver by throwing his well-stitched net, fitted with red rods. When this father returns home, his young daughter has a tasty meal prepared. Even before this fisherman came home with the catch, the women of the family have bartered their salt for paddy and have prepared a hot meal of cooked white rice. Then, on this white rice, that young girl adds a tamarind curry made of Indian mackerel fish, and also, places fleshy pieces of fish on the side. A moment to pause and relish how this very preparation of fish in tamarind curry and fish fry is a staple in many Tamil homes, even today. Returning, we learn that the confidante has mentioned this meal only to say that this is happening in the prosperous port town of Thondi, ruled by the famous Poraiyan. And as we have seen in many instances, when a prosperous town is mentioned, it would in most cases be, to place it in parallel with the beauty of the lady. Thus, this confidante refers to her friend, and instructs the man to avoid pressing the lady’s bangles and leaving visible imprints. She goes on to say why because the lady’s mother is a person who would get angry for meaningless things and say that the lady shouldn’t even play ‘Orai games’ in the sands with her friends because her beauty may fade. And if at all mother catches a glimpse of these marks, then the lady would be put under a strict guard, stricter than the one around the tributes received from many nations in the Chozha capital of Kudanthai, the confidante concludes. In essence, the confidante is conveying the message of ‘Marry her, marry her’ to the man, to make him let go of the temporary trysting with the lady, by revealing the danger of discovery. The highlights of this verse however, are the description of Thondi’s ceaseless wealth and tasteful food, that subtle point about how the women of the household did some trading on their own by bartering salt to put food on the table, and finally, the huge wealth of the Chozhas in their capital, as illustrated by the heaps of tributes they have received from the nations under their rule, talking about the power and fame of these ancient Tamil kings. Indeed, the confidante has cooked a fine meal with places and people to cure the man of his inaction and energise him to move in the direction of permanent happiness!

In this episode, we listen to a subtle message of consolation, as depicted in Sangam Literary work, Aganaanooru 59, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse refers to mythological elements to depict aspects of parting. தண் கயத்து அமன்ற வண்டு படு துணை மலர்ப்பெருந் தகை இழந்த கண்ணினை, பெரிதும்வருந்தினை, வாழியர், நீயே! வடாஅதுவண் புனல் தொழுநை வார் மணல் அகன் துறை,அண்டர் மகளிர் தண் தழை உடீஇயர்மரம் செல மிதித்த மாஅல் போல,புன் தலை மடப் பிடி உணீஇயர், அம் குழை,நெடு நிலை யாஅம் ஒற்றி, நனை கவுள்படி ஞிமிறு கடியும் களிறே தோழி!சூர் மருங்கு அறுத்த சுடர் இலை நெடு வேல்,சினம் மிகு முருகன் தண் பரங்குன்றத்து,அந்துவன் பாடிய சந்து கெழு நெடு வரை,இன் தீம் பைஞ் சுனை ஈரணிப் பொலிந்ததண் நறுங் கழுநீர்ச் செண் இயற் சிறுபுறம்தாம் பாராட்டிய காலையும் உள்ளார்வீங்கு இறைப் பணைத் தோள் நெகிழ, சேய் நாட்டுஅருஞ் செயற் பொருட்பிணி முன்னி, நப்பிரிந்து, சேண் உறைநர் சென்ற ஆறே. Our visit to the drylands takes us in the presence of the confidante, who says these words to the lady, when she wallows in separation from the man, who has left in search of wealth: “With your eyes, losing their great beauty, akin to twin flowers forever buzzed around by bees, abounding in cool ponds, you worry a lot, my friend, may you live long! In the North, where the forceful ‘Thozhunai’ gushes, upon the wide shores filled with its sands, to help the daughters of cow herders wear their attires of cool leaves, the Lord Maal bent the tree branch, by stepping on it. Akin to that, to help its naive mate with soft hair feed on the beautiful cluster of leaves, the bull elephant with its cheeks, moist with the flow of musth, swarming with flies, bends the soaring Ya tree. He thinks not of the times when he delighted in the knots of tresses on your back, adorned with the moist and scented blue lilies, from the fresh and fragrant springs, in the cool hills of ‘Parangkundram’, filled with sandalwood trees, which has been sung about by Anthuvan, the resting abode of the furious Lord Murugan, who holds a leaf-edged, tall spear, after he routed the demons. In the traversed path of the one, who parted away and left to a faraway country to gain that hard-to-attain wealth of a distant land, he shall glimpse upon the scene of the male elephant bending the branch for its mate!” It’s all about a pair of pachyderms in this one! The confidante starts by portraying how the glow of the lady’s eyes is lost, because of her worry. And then she turns to talk about the path, where the man walks in a distant land, and here we see a male elephant, deeply distressed by the flow of musth, still taking care of its mate, through its action of bending the branch of Ya tree for its mate to feed on. This caring action is placed in parallel to a mythological tale that happens in the North of India, by the ‘Thozhunai’ river, identified as the contemporary River Yamuna, where Lord Thirumaal bends a branch for the daughters of cow herders to adorn themselves with their leaf garments. Then, the confidante brings in another such reference talking about the hills of Thiruparankundram, the resting abode of Lord Murugan, after his fight with the demons, and specifically about the red waterlilies blooming here, and how these used to adorn the lady’s hair, and how the man used to worship the sight and scent of the same. Now he doesn’t think of all that, but has just gone on this mission to attain wealth in some far-off country, the confidante says, and concludes by connecting that even here, the man will see that caring action of the elephant. Although it appears as if the confidante is taking the lady’s side and regretting that the man has parted away, in that image of the loving male elephant taking care of its mate, the confidante places a hope that the man will be moved by the scene, and will soon, return to the lady’s fold. Even in this conversation between the confidante and the lady, in the way this friend bends the narrative to feed hope to the lady’s heart about the man’s return, we can see the same love and care between those elephants in the drylands!

In this episode, we listen to a lady’s angst-filled voice, as portrayed in Sangam Literary work, Aganaanooru 58, penned by Madurai Panda Vaanikan Ilanthevanaar. The verse is situated in the soaring peaks of the ‘Kurinji’ or ‘Mountain Landscape’ and relays a subtle message seeking to change a person’s heart. இன் இசை உருமொடு கனை துளி தலைஇ,மன் உயிர் மடிந்த பானாட் கங்குல்,காடு தேர் வேட்டத்து விளிவு இடம் பெறாஅது,வரி அதள் படுத்த சேக்கை, தெரி இழைத்தேன் நாறு கதுப்பின் கொடிச்சியர் தந்தை,கூதிர், இல் செறியும் குன்ற நாட! வனைந்து வரல் இள முலை ஞெமுங்க, பல் ஊழ்விளங்கு தொடி முன்கை வளைந்து புறம் சுற்ற,நின் மார்பு அடைதலின் இனிது ஆகின்றேநும் இல் புலம்பின் நும் உள்ளுதொறும் நலியும்தண்வரல் அசைஇய பண்பு இல் வாடைபதம் பெறுகல்லாது இடம் பார்த்து நீடி,மனைமரம் ஒசிய ஒற்றிப்பலர் மடி கங்குல், நெடும் புறநிலையே. In this little trip to the mountains, we hear the lady speaking her heart to the man, when he returns to tryst with her, after a long interval. “With the sweet music of thunder echoing, as the heavy showers pour down, in the middle of the dark night, when all lives on earth seek rest, the fathers of mountain maiden, having honey-fragrant tresses and well-chosen ornaments, wishing to track and hunt in the forest, but finding no place to sleep there, turn to the striped tiger-skin beds in their homes, during this cold season, in your peaks, O lord! Pressing my sketched and etched young bosoms, and twisting my forearms clad in radiant bangles around the back, I have attained your chest now. Sweeter than this is my state of waiting for you, for a long time, when the compassionless, moist northern winds blew, as I lamented about your absence and lost my health every time I thought about you, and not attaining your warmth at the right time, I extended my hand and pulled a branch of the tree at home, making it fall apart, in that night, when many others slept!” Time to get soaked in the rain showers of the mountains! The lady starts by describing the man’s mountain country as one, where thundershowers are pouring down, and a time of the day, when all lives seek rest. At this time, there are some people, the fathers of mountain maiden, who seek to track and hunt animals. Since it’s pouring heavily, they find no place to sleep in the forest, and hence return home to their tiger-skin beds in the land of the lord, the lady describes. Then she goes on to talk about the state of how the man is embracing her bosom by twisting her hands around and pressing his chest, and concludes by saying this is not as sweet as her state during the long time she was waiting for him, anticipating his warmth, in that harsh cold season, when the northern winds tormented her, as she extended her arm to pull and break a branch of the tree at home, even as all those around her slept in peace. The lady impresses on the man in a subtle manner that the pain of parting in his absence was too great to bear. In the scene of the mountain men seeking their homes without finding a place to sleep, the lady places a metaphor for how the man sought her only when he wanted to tryst and was not taking the right steps to seek a permanent union with her. Here’s a unique way of expressing distress in the behaviour of another, without explicitly saying so, and gently nudging the other towards the right path.

In this episode, we listen to the man’s reflection about his beloved, as portrayed in Sangam Literary work, Aganaanooru 57, penned by Nakeerar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the yearning and suffering in parting. சிறு பைந் தூவிச் செங் காற் பேடைநெடு நீர் வானத்து, வாவுப் பறை நீந்தி,வெயில் அவிர் உருப்பொடு வந்து, கனி பெறாஅது,பெறு நாள் யாணர் உள்ளி, பையாந்து,புகல் ஏக்கற்ற புல்லென் உலவைக்குறுங் கால் இற்றிப் புன் தலை நெடு வீழ்இரும் பிணர்த் துறுகல் தீண்டி, வளி பொர,பெருங் கை யானை நிவப்பின் தூங்கும்குன்ற வைப்பின் என்றூழ் நீள் இடை,யாமே எமியம்ஆக, தாமேபசு நிலா விரிந்த பல் கதிர் மதியின்பெரு நல் ஆய் கவின் ஒரீஇ, சிறு பீர்வீ ஏர் வண்ணம் கொண்டன்றுகொல்லோகொய் சுவற் புரவிக் கொடித் தேர்ச் செழியன்முதுநீர் முன்துறை முசிறி முற்றி,களிறு பட எருக்கிய கல்லென் ஞாட்பின்அரும் புண் உறுநரின் வருந்தினள், பெரிது அழிந்து,பானாட் கங்குலும் பகலும்ஆனாது அழுவோள் ஆய் சிறு நுதலே? In the drylands, we meet the man in the middle of his journey, lamenting to his heart through these words: “The red-legged bat having small, slender wings, leaps and traverses the vast expanse of the sky and descends down, burning in the scorching heat. Without finding fruits any, filled with sorrow, it recollects those days of plenty in the past, and yearns to find them again, as it hangs down the dull and dry short-legged ‘Ittri’ tree. The thick and dark aerial roots of the tree fall on a small boulder and as a hot breeze blows, lifts up and sways, appearing akin to the huge trunk of an elephant, in those heat-filled long paths amidst the hilly spaces. I’m left all alone here! Will her forehead, which has the appearance of being spread with the many rays of the milk moon, shed its beauty, and take up the hue of the ridge gourd’s falling flowers? When the great Chezhiyan, who rides atop chariots, fluttering with flags, pulled by horses with dancing manes, laid siege to the ancient port of Musiri, and waged war, killing elephants many, with an uproarious sound, many of those who were wounded wallowed in suffering. Akin to these wounded, would she be greatly ruined too, and in the middle of the dark night and in the middle of the day, remain crying ceaselessly? What might be the state of her fine, little forehead?” Let’s follow the flight of a bat in the drylands and trace the trajectory of the man’s heart! The man starts by talking about a little female bat flying about in the heat of the drylands and not finding any fruit to savour. He then talks about how the bat dreams of better days, when it had plenty to feed on, as it hangs on a short-trunked ‘Ittri’ tree. I was surprised to learn that the English name of this tree is actually ‘Indian Bat Fig Tree’. Stunned by how a two thousand year old verse connects this tree and this animal, as does its modern name. Incidentally, the tree is called so because it’s the bat that helps in the tree’s propagation by spreading its seeds. The ancients seemed to have made the connection through their powers of observation long before modern science. Returning to the tree, we find the man talking about its aerial roots, hanging low over a boulder and whenever the wind blows, lifts up, making it appear as if an elephant is lying there and lifting its trunk. Imagine the mindful presence that registers such minute elements! From these outer events in the drylands, the man turns to his own lonely state and he thinks about whether the forehead of his beloved would have lost its moon-like glow and take on the hue of ridge-gourd flowers, the prominent Sangam symptom of pining. He then refers to the historic incident when the Pandya King laid siege to the famous port of Musiri, which is referred as ‘ancient’ in those ancient times. Here, when the king felled elephants, the wounded let out uproarious cries, wallowing in deep angst. He wonders if his beloved too would be crying in that manner, and concludes worrying about the fading of her beauty because of his parting away. The verse intricately fuses the man’s nostalgia with the bat’s yearning for the past and the lady’s pining with the wounded soldiers’ pain, offering us a shot with the perfect blend of nature, history and psychology!

In this episode, we listen to a mirthful tale, as depicted in Sangam Literary work, Aganaanooru 56, penned by Madurai Aruvai Vaanikan Ilavettanaar. Set amidst the blooming lilies and bubbling ponds of the ‘Marutham’ or ‘Farmlands landscape’, the verse presents a unique technique of refusing a request. நகை ஆகின்றே தோழி! நெருநல்மணி கண்டன்ன துணி கயம் துளங்க,இரும்பு இயன்றன்ன கருங் கோட்டு எருமை,ஆம்பல் மெல் அடை கிழிய, குவளைக்கூம்பு விடு பல் மலர் மாந்தி, கரையகாஞ்சி நுண் தாது ஈர்ம் புறத்து உறைப்ப,மெல்கிடு கவுள அல்குநிலை புகுதரும்தண் துறை ஊரன் திண் தார் அகலம்வதுவை நாள் அணிப் புதுவோர்ப் புணரிய,பரிவொடு வரூஉம் பாணன் தெருவில்புனிற்றாப் பாய்ந்தெனக் கலங்கி, யாழ் இட்டு,எம் மனைப் புகுதந்தோனே. அது கண்டுமெய்ம்மலி உவகை மறையினென் எதிர்சென்று,”இம் மனை அன்று; அஃது உம் மனை” என்றஎன்னும் தன்னும் நோக்கி,மம்மர் நெஞ்சினோன் தொழுது நின்றதுவே. It’s a tour of the farmlands, and as expected, we listen to the ripples of a love quarrel involving a courtesan, through these words of the lady to her confidante: “It makes me laugh so much, my friend! Muddling the crystal clear waters of the pond, appearing akin to sapphire, a black-horned buffalo, whose horns appear as if cast with iron, tearing the delicate leaves of the white waterlily, feeds on the blue waterlily’s blooming buds, and then with its moist back, covered with the fine pollen of the portia tree on the shore, with a masticating lower jaw, enters its shed in the cool shores of the lord. Yesterday, the bard, who always comes with the caring thought of uniting new maiden, clad in ornaments, with the garlanded, wide chest of the lord, startled by the pouncing of a cow, which had just given birth, dropped his lute, and rushed into our house. Seeing that, hiding the mirth that was brimming over within, I stood before him and said, ‘This isn’t the house you seek; There, over there, is your preferred place’. Looking back and forth, with a distressed heart, he stood before me, in a humble stance, with his hands folded!” Time to trail behind that jaunty buffalo and learn more! The lady starts by talking about how one incident made her laugh so much. Instead of telling what it is, the lady launches into a description of the man’s town, where we get to see a black buffalo, whose horns are mentioned to be so solid, looking as if made of iron, and this buffalo, decides it wants to feed on the lilies in the pond, and not caring about tearing the leaves of the white lily, goes for the young buds of the blue waterlily. And when satisfied, the buffalo, with its back covered in the pollen of the portia tree, growing on the shore, walks back, slowly moving its lower jaw, no doubt displaying the digestive process we have learnt about in our biology classes, the one called rumination, wherein bovine animals bring back the cud and chew it over and over again. This buffalo, at the end of its escapade, returns slowly to its shed at home, the lady describes. Then she goes on to talk about how the bard, whom she mentions sarcastically as having the noble aim of uniting the lord with many new women, was walking down their street, and suddenly a cow, which had just given birth, with its motherly instincts on an edge, seemed to have pounced on him. Shocked by the charge, the bard had dropped his lute and rushed into the first house in sight, which happened to be the lady’s home. Seeing this, hiding her laughter, with a serious face, the lady seemed to have gone in front of him and said, ‘You’ve got the wrong address. You must be searching for the courtesan’s house, over there’. Hearing this, ashamed and with a guilty look, the bard took on an apologetic stance, with his hands folded, and this is the incident that made her laugh so much, the lady concludes. Returning to the scene of the buffalo having a jolly feast in the pond, that’s a metaphor for the man’s escapades with the courtesans, and the buffalo’s walk back to the shed, is the man seeking permission to the lady to return home. These words are the lady’s refusal to her confidante to allow the man back home. Though it’s the same old theme of the meandering man, the aspect I would like to focus on here is how even in such a society, where wealth and status resided in the hands of men, who seemed to have done what they pleased, the woman still had the power and strength to refuse the lord of the town, showing she was the queen of her abode!

In this episode, we perceive the intricate emotions of a mother, as depicted in Sangam Literary work, Aganaanooru 55, penned by Maamoolanaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and presents a momentous historic event from the Sangam era. காய்ந்து செலற் கனலி கல் பகத் தெறுதலின்,ஈந்து குருகு உருகும் என்றூழ் நீள் இடை,உளி முக வெம் பரல் அடி வருத்துறாலின்,விளி முறை அறியா வேய் கரி கானம்,வயக் களிற்று அன்ன காளையொடு என் மகள்கழிந்ததற்கு அழிந்தன்றோஇலெனே! ஒழிந்து யாம்ஊது உலைக் குருகின் உள் உயிர்த்து, அசைஇ,வேவது போலும் வெய்ய நெஞ்சமொடுகண்படை பெறேன், கனவ ஒண் படைக்கரிகால் வளவனொடு வெண்ணிப் பறந்தலைப்பொருது புண் நாணிய சேரலாதன்அழி கள மருங்கின் வாள் வடக்கிருந்தென,இன்னா இன் உரை கேட்ட சான்றோர்அரும் பெறல் உலகத்து அவனொடு செலீஇயர்,பெரும்பிறிது ஆகியாங்கு பிரிந்து இவண்காதல் வேண்டி, எற் துறந்துபோதல்செல்லா என் உயிரொடு புலந்தே. This journey to the drylands features a mother’s lament, on learning that her daughter has eloped away with the man: “The scorching sun, traversing the sky, splits even mountains, with its harsh rays, and makes birds flying, melt in sorrow, in those heat-spreading, long paths! In this jungle, ablaze with burning bamboos, where chisel-like, hot pebbles torment the feet, making people know not where they will stumble, with a strong bull of man, akin to a towering elephant, my daughter walks on! I worry not that this happened! Ruined, I sigh, like an ironsmith’s bellows, and when I move, feel like I’m burning up, and as for my despairing heart, it finds no sleep at all. After clashing against Chozha King Karikaalan and his radiant army, in the battlefield of Venni, the Chera King Cheralaathan, felt ashamed about a forceful wound and decided to give up his life, by sitting facing the north, in that ruinous battlefield. Hearing this bitter-sweet news, noble and wise men, left to that hard-to-attain higher world and perished along with him. Akin to that, with my girl, who parted away for the sake of love, leaving me behind, that my life does not part away, is the only thing I lament about!” Let’s brave the heat and tread through the drylands! Mother starts by describing this harsh landscape, where the sun burns, and brings out equal sorrow in the huge mountains and in tiny birds, with its piercing heat. She further talks about the burning bamboos and the pebbles on the ground, which pierce feet with the sharpness of a chisel, making people stumble and fall everywhere. Explaining that she has described this place in all its fearsome detail to say this is where her dear daughter has eloped with her love. A question arises as to why these young lovers are always running through the drylands? Can’t they find green and shaded forests for their escapades? Or does their path seem so in the mind of the lamenting kith and kin? Content with just asking and not wanting the answers, let’s move on and listen to what mother has to say. She continues by declaring the fact her daughter has left is not a thing of worry for her at all, even though she sighs like an ironsmith’s bellows, and cannot find a single moment of sleep. Then she goes on to describe a historic event that we have encountered in Puranaanooru 65 and 66, talking about how a Chera King Cheralaathan gave up his life by fasting unto death, just because the spear of his enemy, the Chozhan Karikaalan, pierced with much force, and came out of his back. Feeling ashamed about the wound on his back, and giving no excuses, he decides to end his life in the battlefield of Venni. Hearing this incident, which is curiously described as both pleasant and unpleasant, no doubt because it talks of a noble virtue and the death of a much loved king at the same time, many other wise men gave their life along with his king, says Mother. Now she connects to this historic incident and declares just like how those wise men gave their life when the Chera king died, she laments that her own life was not leaving her, even when her precious daughter has forsaken her and eloped away! In essence, it’s mother crying out aloud and explaining clearly that her sorrow is so unbearable that she prefers death. Hearing these words, we may feel this is an exaggerated style of talking about one’s sorrow but such declarations should be seen as a nudge to modern societies, to openly and boldly talk about the depth of our feelings, instead of suppressing the same. A verse which echoes the timeless truth that expression of emotion is the path to emerge out of the scorching drylands of suffering!

In this episode, we listen to a man’s fervent plea, as portrayed in Sangam Literary work, Aganaanooru 54, penned by Matroor Kizhaar Makanaar Kotrankotranaar. Set amidst the showers and flowers of the ‘Mullai’ or ‘Forest landscape’, the verse etches exquisitely the urge to return home to a loved one. விருந்தின் மன்னர் அருங்கலம் தெறுப்ப,வேந்தனும் வெம்பகை தணிந்தனன். தீம் பெயற்காரும் ஆர்கலி தலையின்று. தேரும்ஓவத்தன்ன கோபச் செந் நிலம்,வள் வாய் ஆழி உள் உறுபு உருள,கடவுக. காண்குவம் பாக! மதவு நடைத்தாம்பு அசை குழவி வீங்குசுரை மடிய,கனைஅல்அம் குரல காற் பரி பயிற்றி,படு மணி மிடற்ற பய நிரை ஆயம்கொடு மடி உடையர் கோற் கைக் கோவலர்கொன்றைஅம் குழலர் பின்றைத் தூங்க,மனைமனைப் படரும் நனை நகு மாலை,தனக்கென வாழாப் பிறர்க்கு உரியாளன்பண்ணன் சிறுகுடிப் படப்பை நுண் இலைப்புன் காழ் நெல்லிப்பைங் காய் தின்றவர்நீர் குடி சுவையின் தீவிய மிழற்றி,”முகிழ் நிலாத் திகழ்தரும் மூவாத் திங்கள்!பொன்னுடைத் தாலி என் மகன் ஒற்றி,வருகுவைஆயின், தருகுவென் பால்” என,விலங்கு அமர்க் கண்ணள் விரல் விளி பயிற்றி,திதலை அல்குல் எம் காதலிபுதல்வற் பொய்க்கும் பூங்கொடி நிலையே. Back in the lush forest amidst the rains, and in this one, we encounter the familiar theme of a man urging his charioteer to rush homeward, with these words: “When those new kings showered their precious tributes, the furious enmity of our king was appeased. The sweet shower of the rainy reason also falls with a loud roar. On this red earth, where velvet bugs, akin to a painting, scurry about, making impressions of the wide wheels, rolling them firmly, ride on, O charioteer! Accompanied by their herders, who hold curved sticks in their hands, and have flutes, made of the golden shower tree’s seed pods, hanging on their backs, so as to feed their calves, which have a delightful gait, now tied with ropes to posts, and let their bulging udders deflate, letting out sweet-sounding grunts, walking with much haste, with their bells resounding loudly, herds of cattle rush home, in the evening hour, when buds bloom. The one who lives not for himself but for the sake of others, is the noble ‘Pannan’, and he rules over the town of ’Sirukudi’. When those who taste this town’s green gooseberry with small seeds, from the thin-leafed tree, and then drink water afterwards, they would feel an exquisite sweetness on their tongues. Speaking with such a sweetness, my lady with radiant, beautiful eyes would say, ‘O budding, young moon, shining so luminously, if you will come close to my son, who wears a golden necklace, I will feed you milk’, gesturing with her fingers, so delicately. Let’s go see this state of my beloved, akin to a flower vine, having a delicate waist, adorned with beauty spots, as she says these tall tales to my son!” Let’s run behind those red velvet bugs that pop up in the rain and learn about the man’s state of mind! The man starts by saying how his mission is complete, now that the king is no longer in a warring mood, as the enemy kings have paid their tributes to his satisfaction. Besides, the rainy season was announcing its arrival with the loud roars and gentle showers. As we have seen in many earlier verses, when the first rains fall, these red velvet bugs scurry about, exploring the world outside, and the man points to how these bugs look like paintings on the red soil, and asks his charioteer to ride firmly, leaving the impressions of wheels, and rush homeward. Then, he goes on to talk about how it’s the evening time, when cows that have gone grazing, with their herdsmen holding sticks and carrying flutes made of hollow seed pods, are in a rush to get back home to feed their calves and release the bulging pressure of their udders. Here, the man places a sweet subtext by projecting his burning urge to be back with his beloved on the emotion of those cows seeking out their calves at the end of the day. The man, then seemingly digresses, and talks about a noble leader by the name of ‘Pannan’, a person who was apparently renowned for his life of serving others, and mentions that the name of this leader’s town is ‘Sirukudi’. Continuing, the man brings before our eyes the moment when a person would eat a gooseberry fruit from this town and then drink water afterwards. As those who have had this experience will know very well, our tasteless water turns so deliciously sweet just then. This is what the man wants to draw as a parallel to his lady’s voice, as she calls out to the moon to come play with her son, and if the moon did, she would feed the moon too, she says, in playful voice, to entertain her son. The man connects back and concludes by saying to his charioteer that he dearly wants to listen to these stories that his wife would be telling his son, asking him to rush on, homeward! Though it’s an emotion we have encountered many a time, it’s interesting how the verse is stitched with the yearning of animals, the fame of historic characters, timeless experiences of relish

In this episode, we listen to a lady’s response to her friend’s consolation, as depicted in Sangam Literary work, Aganaanooru 53, penned by Seethalai Saathanaar. Set amidst the ‘Paalai’ or ‘Drylands landscape’, the verse offers intricate insights about elements of both nature and culture. அறியாய், வாழி தோழி! இருள் அறவிசும்புடன் விளங்கும் விரை செலல் திகிரிக்கடுங் கதிர் எறித்த விடுவாய் நிறைய,நெடுங் கால் முருங்கை வெண் பூத் தாஅய்,நீர் அற வறந்த நிரம்பா நீள் இடை,வள் எயிற்றுச் செந்நாய் வருந்து பசிப் பிணவொடுகள்ளிஅம் காட்ட கடத்திடை உழிஞ்சில்உளூன் வாடிய சுரிமூக்கு நொள்ளைபொரி அரை புதைத்த புலம்பு கொள் இயவின்,விழுத் தொடை மறவர் வில் இட வீழ்ந்தோர்எழுத்துடை நடுகல் இன் நிழல் வதியும்அருஞ் சுரக் கவலை நீந்தி, என்றும்,”இல்லோர்க்கு இல்” என்று இயைவது கரத்தல்வல்லா நெஞ்சம் வலிப்ப, நம்மினும்பொருளே காதலர் காதல்;”அருளே காதலர்” என்றி, நீயே. In this short trip to the drylands, we get to meet the lady, when the man has parted away, leaving her to lament, and when the confidante tries to console the lady, the lady says these words to her: “You don’t know the truth, my friend, may you live long! The fast-moving, darkness-destroying orb that glows in the sky spreads its harsh rays and leaves the barren land with cracks many. Filling these fissures, the tall-trunked drumstick tree’s white flowers fall and spread all around the waterless, arid paths. Here, a sharp-teethed red dog walks on, along with its mate, filled with the suffering of hunger, passing by the cactus scrub jungle, where snails with curving shells, whose inner flesh is under duress, burrow themselves, upon the lebbeck tree’s spotted trunk in those deserted paths. The red dog and its mate find the only place to rest in the sweet shade of the inscribed hero-stones, built in the memory of those great warriors, who fell to the arrows of foes. On such a formidable drylands path, he walks on, urged by his heart that cannot bear to say no to those who come seeking to him. Beyond me, my lover’s true love is wealth. And here you are, saying that my lover will render his grace to me!” Time to journey along with the man on those dried-up paths with shrivelled trees! The lady starts by making a firm declaration to her confidante that she doesn’t know the real thing, even as she blesses her. You have to admire this Sangam tradition of rendering a blessing to the listener, whenever one opposes their thought or says something against them. Isn’t it an effective technique to appease the negative reaction in them? Returning, we find the lady presenting us with a detailed description of the drylands, where there are the known elements, like the burning sun and barren land, but also new additions to pique our interest. First, she talks about how the white flowers of the drumstick tree wither and cover the cracks in the arid soil, then she moves on to a pair of red dogs or dholes, the Indian wild dogs. Projecting human qualities, the lady mentions how the female dhole is filled with hunger and the male is wandering, worrying about how to provide food and rest for its mate. Next, the lady’s eyes falls on the cactus abounding in that scrub jungle, and also on a ‘Uzhinjil’ or ‘Vaagai’ tree. She zooms on to the spotted, cracked-up trunk of the said tree, and here, she points to snails sticking on the surface, saying their inner flesh is under much stress. When I read this, I said, ‘Wait a minute. Aren’t snails always found in wet places? I personally remember meeting these creatures, teeming after the showers, but not so much in the summers!’ On doing some research, I came across this fascinating detail that much like bears in the cold regions that take up ‘hibernation’ to conserve their heat in winter, these little cousins in the tropical world take up what is known as ‘aestivation’ to conserve their moisture in the dry summers. Apparently, the snails seal their shells with a film, thus protecting the soft flesh within from drying up, and burrow themselves in the mud or on trees. Truly these Sangam poets are the original naturalists! What precise observation in these lines about the behaviour of this little animal, which can be so easily overlooked! Returning, we find the red dogs, walking on, panting, and finally seeing with relief, some hero stones, which the lady says, has been put up for great soldiers, who fought well and fell to the arrows of enemies. Here, the red dog and its mate find their only shade in this dried-up, forsaken place and rest there. The lady says such is the path the man walks now, all because he doesn’t know how to refuse those who come seeking to him, and concludes by declaring the man loves not her, but only wealth, and without realising this, the confidante was going on about how the man will return and shower his grace on the lady. In essence, here we find an instance of the lady refusing the confidante’

In this episode, we perceive how a message is discreetly conveyed, as depicted in Sangam Literary work, Aganaanooru 52, penned by Nochi Niyamankizhaar. Set amidst the towering boulders and flowering trees of the ‘Kurinji’ or ‘Mountain landscape’, the verse talks about the technique of presenting a dilemma to echo the seriousness of a situation. ”வலந்த வள்ளி மரன் ஓங்கு சாரல்,கிளர்ந்த வேங்கைச் சேண் நெடும் பொங்கர்ப்பொன் நேர் புது மலர் வேண்டிய குறமகள்இன்னா இசைய பூசல் பயிற்றலின்,“ஏ கல் அடுக்கத்து இருள் அளைச் சிலம்பின்ஆ கொள் வயப் புலி ஆகும் அஃது” எனத் தம்மலை கெழு சீறூர் புலம்ப, கல்லெனச்சிலையுடை இடத்தர் போதரும் நாடன்நெஞ்சு அமர் வியல் மார்பு உடைத்து என அன்னைக்குஅறிவிப்பேம்கொல்? அறியலெம்கொல்? எனஇருபாற் பட்ட சூழ்ச்சி ஒருபால்சேர்ந்தன்று வாழி, தோழி! யாக்கைஇன் உயிர் கழிவதுஆயினும், நின் மகள்ஆய்மலர் உண்கண் பசலைகாம நோய் எனச் செப்பாதீமே. The mountains beckon, and in this one, we hear the lady say these words to her confidante, pretending not to notice the man, standing nearby, but making sure he’s in earshot: “In the tree-filled mountain slopes, ‘Valli’ creepers twirl around the luxuriant Kino trees. Desiring the new, fresh flowers, akin to gold, on the tall and far branches of the Kino tree, a mountain maiden sends out fear-evoking shouts. Hearing this shout of ’tiger, tiger’, deciding that ‘from this mountain range, decked with huge boulders, and filled with dark caves, a strong tiger has come to steal away our cattle’, the foresters with their bows, leave their little hamlet, surrounded by hills, in loneliness, and shouting loudly, move towards the place, where the shouts arose, in the mountains of our lord! I was in a dilemma wondering if we should tell or not tell mother that the one in my heart is that man with a wide chest. I have come to a conclusion about that, my friend! Even if my sweet life were to part from my body, pray do not tell that the reason for the pallor spreading on the flower-like, kohl-streaked eyes of your daughter is a love affliction!” Let’s take a walk amidst the lush green mountain slopes, decked with wild flowers, and learn more! The lady starts by describing the man’s country as one, densely filled with trees, and where vines twirl around towering Kino trees. A young mountain maiden, living here, wishing to pluck the fresh new flowers, glowing like gold, on a tall branch, sends out the shout of ‘Tiger, Tiger’. A moment to remember that the Sangam maiden had this belief that shouting so, would make the Kino tree bend and shower its flowers in fear! However, the shout has a different kind of effect, for some hunters living in a hamlet nearby think this must be the tiger that has come to snatch their cattle, and they desert their village and run towards the place where the shout came from. Such scenes are to be found in the man’s mountains, the lady connects. Then, she talks about how she has been debating whether or not to tell mother about her love for the man and says she has reached a conclusion. She ends by asking her confidante not to reveal that the reason for the pallor spreading in her eyes was her love affliction with the man, even if her life were to part away. So, we infer that the lady’s words are not about not telling something to mother but about telling something to the man. The listening man is expected to be moved by the loyalty and love of his lady and come seek her hand in marriage, preventing further pain and suffering in his beloved! Are such manipulations right? Was it the reality of those times or are these the imaginative writing by poets done to express different kinds of emotions to their listeners? Leaving behind such unanswered questions, we can focus on the fact that we have received another undoubtably priceless gift of reflecting on the richness of the physical world and the cultural beliefs of those people of the past!

In this episode, we perceive a clear response to a dilemma, as depicted in Sangam Literary work, Aganaanooru 51, penned by Perunthevanaar. Set in the ‘Paalai’ or ‘Drylands Landscape’, the verse portrays the conflict between being with a beloved and parting away to earn wealth. ஆள் வழக்கு அற்ற சுரத்திடைக் கதிர் தெற,நீள் எரி பரந்த நெடுந் தாள் யாத்து,போழ் வளி முழங்கும், புல்லென் உயர்சினை,முடை நசை இருக்கைப் பெடை முகம் நோக்கி,ஊன் பதித்தன்ன வெருவரு செஞ் செவிஎருவைச் சேவல் கரிபு சிறை தீய,வேனில் நீடிய வேய் உயர் நனந்தலை,நீ உழந்து எய்தும் செய்வினைப் பொருட் பிணிபல் இதழ் மழைக் கண் மாஅயோள்வயின்பிரியின் புணர்வதுஆயின் பிரியாது,ஏந்து முலை முற்றம் வீங்க, பல் ஊழ்சேயிழை தெளிர்ப்பக் கவைஇ, நாளும்மனைமுதல் வினையொடும் உவப்ப,நினை மாண் நெஞ்சம்! நீங்குதல் மறந்தே. In this trip to the drylands, it’s all in the mind and the man says these words to his heart which has been pestering him to leave the lady and go in search of wealth: “In those deserted paths of the drylands, where the rays spread the heat, as the splitting hot wind roars, upon the dried-up, tall branch of a scorched, thick-trunked ‘Ya’ tree, sits a female red-headed vulture sitting there, yearning for meat. Looking at the face of its mate, a fearsome, male red-headed vulture, having ear flaps, akin to hanging pieces of flesh, making its black wings burn, roves about, in those wide spaces, filled with bamboos, during that unending summer. O my noble heart, with much hardship and suffering, the task of earning wealth, by parting away from the dark-skinned maiden, with many-petalled, rain-like eyes, may provide you with the wealth you seek. However, you should think of not parting from her, but instead embrace her many times, making her upraised bosom swell and those well-etched ornaments tinkle, and focus on fulfilling the responsibilities in the home with much joy!” Time to take a hot walk amidst the searing drylands! The man starts by imagining what his journey in the drylands will look like, and talks about the desolate paths, where no one treads, where there’s nothing but heat, heat and more heat. Here, a red-headed vulture, strikingly sketched with its red ear flaps, placed in parallel with hanging pieces of meat, takes a look at the face of its female, sitting atop a dried-up ‘Ya’ tree branch, and decides it must go fetch some meat from somewhere, and takes to the skies, making its black wings burn. In such a place, where summer has decided to put up its legs and overstay its welcome, he is expected to traverse, the man says, and connects that has been the wish of his heart. He accepts that such a challenging journey might bring the wealth desired. Taking the alternate track, the man concludes by advising his heart to stop thinking about parting with the lady but instead be in the moment and relish embracing her and delight in the responsibilities at home! We can observe a classic case of decision-making in this verse, where the man visualises both alternatives and decides firmly in favour of one. Reminds me of a ‘Pros’ and ‘Cons’ list many of us may have attempted, when standing at the crossroads of our life!