Sangam Lit

In this episode, we perceive a moment when the heart wins over the head, as depicted in Sangam Literary work, Aganaanooru 26, penned by Paandiyan Kaanapereyil Thantha Ukkira Peruvazhuthi. The verse is situated amidst the lush fields of the ‘Marutham’ or ‘Farmlands landscape’ and sketches the nuanced changes in a woman’s life after childbirth. கூன் முள் முள்ளிக் குவிகுலைக் கழன்ற,மீன் முள் அன்ன, வெண் கால் மா மலர்பொய்தல் மகளிர் விழவு அணிக் கூட்டும்அவ் வயல் நண்ணிய வளம் கேழ் ஊரனைப்புலத்தல் கூடுமோ தோழி! அல்கல்பெருங் கதவு பொருத யானை மருப்பின்இரும்பு செய் தொடியின் ஏர ஆகி,மாக் கண் அடைய மார்பகம் பொருந்திமுயங்கல் விடாஅல் இவை’ என மயங்கி,‘யான் ஓம்’ என்னவும் ஒல்லார், தாம் மற்றுஇவை பாராட்டிய பருவமும் உளவே; இனியேபுதல்வற் தடுத்த பாலொடு தடைஇ,திதலை அணிந்த தேம் கொள் மென் முலைநறுஞ் சாந்து அணிந்த கேழ் கிளர் அகலம்வீங்க முயங்கல் யாம் வேண்டினமே;தீம் பால் படுதல் தாம் அஞ்சினரே; ஆயிடைக்கவவுக் கை நெகிழ்ந்தமை போற்றி, மதவு நடைச்செவிலி கை என் புதல்வனை நோக்கி,‘நல்லோர்க்கு ஒத்தனிர் நீயிர்; இஃதோசெல்வற்கு ஒத்தனம், யாம்’ என, மெல்ல என்மகன்வயின் பெயர்தந்தேனே; அது கண்டு,‘யாமும் காதலம், அவற்கு’ எனச் சாஅய்,சிறு புறம் கவையினனாக, உறு பெயல்தண் துளிக்கு ஏற்ற பல உழு செஞ் செய்மண் போல் நெகிழ்ந்து, அவற் கலுழ்ந்தேநெஞ்சு அறைபோகிய அறிவினேற்கே? An emotionally intricate song from the fighting fields of the farmlands. Here, the context is that the man and lady were in the midst of a love-quarrel situation involving courtesans. The man tries to gain entry to the lady’s house by trying to appease the lady’s confidante. This fine friend, citing the worry caused to the lady, refuses permission. But somehow the man seems to have appeased the lady and entered the house. When the confidante questions the lady about this, these are the lady’s words: “The white-stalked huge flowers, which fall from sharp-edged clusters of the waterthorn plant, with curving thorns, akin to fish bones, are collected by maiden, who play ‘Poythal’ games’, so as to add to the adornments of their festivities in the town of the lord, flourishing with prosperous fields! Do you think it’s possible for me to sulk with him, my friend? Declaring, ‘It’s impossible to let go of embracing these breasts, akin to the dark rings, made of iron, attached to elephant tusks that thrust against fort doors ceaselessly’, he would lie there, and even when I ask him to let go, he wouldn’t. Those were the days he celebrated me so! But now, my sweet and soft breasts, are filled with milk for my son, and dotted with pallor spots. Even if I desire to embrace his wide chest, streaked with sandalwood paste, fearing that sweet milk would splash on him, his strong arms loosened when embracing me. Noticing this, I said looking at my son in the hands of the maid with a gentle gait, ‘You have those beautiful maiden to love. Whereas, I have my son to share my love’. Saying this, I gently moved towards my son. Seeing that, saying, ‘I too love him dearly’, he leaned forward and embraced the small of my back. At that moment, like red earth that has been ploughed many times, when moist drops of the rain fall down, my heart melted and went crying to his side, abandoning me. What can I do when I have such a senseless heart?” Time to take a walk amidst the festivities of a farmland town and hear its heartbeat! The lady starts with a description of the man’s rich town, filled with lush fields, where maiden can be seen collecting white flowers of the water thorn for their festive decorations. She asks a rhetorical question to her friend rendering the statement that it’s impossible to be angry with the man. Then the lady goes on to validate this statement with a few scenes, past and present. In the past, the man was so lost in the beauty of the lady that even when she asked him to let go, he would not stop embracing her fine breasts, which he places in parallel to the dark iron rings on a battle elephant’s tusk. That was then, the lady says, and goes on to sketch the present, when she is a mother, nursing her son. At this time, the man seems to be filled with fear that the milk of the lady’s breasts would splash on his chest and seemed to loosen the embrace. Noticing this micro expression, the lady steps away to her son, declaring that the man seemed to have love only for his courtesans, but never mind, she had her son to love. Hearing this, as if repenting for his action, the man rushed and hugged her from behind, the lady says. At that very moment, her heart forgot everything and just the way red earth that has been ploughed well would melt, it too melted with tears and rushed to embrace the man, leaving her forsaken, the lady describes. She concludes by connecting back saying, ‘What can you expect from me, when I have such a foolish heart?’ A nuanced verse that tastefully brings out the timeless situation involving changes in a woman’s body after childbirth and the changes that occur in her

In this episode, we hear words of consolation rendered to a grieving heart, as portrayed in Sangam Literary work, Aganaanooru 25, penned by Ollaiyoor Thantha Boothappaandiyan. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse highlights the picturesque changes in the season of spring. நெடுங் கரைக் கான்யாற்றுக் கடும் புனல் சாஅய்,அவிர் அறல் கொண்ட விரவு மணல் அகன் துறைத்தண் கயம் நண்ணிய பொழில்தொறும், காஞ்சிப்பைந் தாது அணிந்த போது மலி எக்கர்,வதுவை நாற்றம் புதுவது கஞல,மா நனை கொழுதிய மணி நிற இருங் குயில்படு நா விளி யானடுநின்று, அல்கலும்உரைப்ப போல, ஊழ் கொள்பு கூவ,இனச் சிதர் உகுத்த இலவத்துஆங்கண்,சினைப் பூங் கோங்கின் நுண் தாது பகர்நர்பவளச் செப்பில் பொன் சொரிந்தன்ன,இகழுநர் இகழா இள நாள் அமையம்செய்தோர் மன்ற குறி” என, நீ நின்பைதல் உண்கண் பனி வார்பு உறைப்ப,வாராமையின் புலந்த நெஞ்சமொடு,நோவல், குறுமகள்! நோயியர், என் உயிர்!” என,மெல்லிய இனிய கூறி, வல்லேவருவர், வாழி தோழி! பொருநர்செல் சமம் கடந்த வில் கெழு தடக் கைப்பொதியிற் செல்வன், பொலந்தேர்த் திதியன்,இன் இசை இயத்தின் கறங்கும்கல்மிசை அருவிய காடு இறந்தோரே. One of those curious drylands verses that shirk the usual depiction of a barren summer, and instead, focus on the blooms of nature in the season of spring. Here, the lady’s confidante renders these words to the lady, as the man continues to be on mission in a faraway land. “As the heavy floods of the forest river by the tall banks recede, upon wide river shores with radiant sand, fused with many kinds of silt, flourish groves, nourished by cool ponds. The fresh pollen of Portia trees, growing in the groves, spreads on the flower-filled river sands, which wafts with the scent of many new marriages. The sapphire-hued dark cuckoo which had been pecking at mango shoots, as if it’s saying something important all day, sings aloud with its quivering beak, in its timeless tradition. As fine pollen of the buttercup flower falls from the branches upon the flowers of the silk-cotton tree, shed by swarms of bees, it appears akin to gold dust in the coral boxes of merchants. This is such a time in the season of spring, when even those, who wish to separate, would not dare to be apart, and this was the time he promised he would be back. Thinking so, with your suffering-filled kohl-streaked eyes, pouring with tears, and a heart lamenting that he’s still not back, worry not! Saying sweet and gentle words, ‘O young maiden, May my life that hurt you be filled with suffering’, he will return very soon, may you live long, my friend! The man who left to those jungles, filled with cascades descending from mountains, roaring like the sweet music of drums, proclaiming the victories of Thithiyan, the one with the golden chariot, the ruler of the Pothiyil mountains, the one renowned for the bow in his strong arms that have quelled enemies in battlefields many, will return indeed!” Let’s explore the connection between blooming flowers and the barren spread of the drylands now! The confidante starts by describing all the changes around them. Floods have receded, and the rich and mixed silt of the streams, are now peppered with the pollen of Portia trees. She talks about how the sands therein waft with the scent of happy unions, saying love’s in the air. She then points to the ceaseless call of a blue-hued cuckoo, and the falling of buttercup pollen on silk cotton flowers, and tastefully placing it in parallel to a merchant’s box made of coral, filled with gold dust. This casual simile reveals not only the perceptive power of these poets but also the trade and wealth of the thriving merchant profession in those times. Returning, we learn that all these changes are because the season of spring had arrived. It was a terrible season to be apart, the confidante acknowledges, and also recollects that the man said he would be back now. After taking the lady’s side of things thus far, the confidante assures the lady that the man would return very soon and speak appeasing words of love to the lady. She concludes with a description of the drylands he went to, where the cascades seem to be pouring down from mountains, resounding exactly like the drums of King Thithian, the ruler of Pothiyil mountains, known for his golden chariots and sturdy bows that has routed enemies many! In essence, it’s a gentle song that thoughtfully acknowledges that the reason for a person’s worry is valid, and then goes on to promise that relief is on its way. By visualising the removal of suffering, the confidante makes the present easier for the lady, and renders us a lesson in the art of consolation!

In this episode, we perceive a man’s angst, as portrayed in Sangam Literary work, Aganaanooru 24, penned by Aavoor Moolankizhaar. Set amidst the flowering bushes of the ‘Mullai’ or ‘Forest landscape’, the verse sketches the pain in parting with vivid images. வேளாப் பார்ப்பான் வாளரந் துமித்தவளை களைந்து ஒழிந்த கொழுந்தின் அன்ன,தளை பிணி அவிழா, சுரி முகப் பகன்றை,சிதரல் அம் துவலை தூவலின், மலரும்தைஇ நின்ற தண் பெயல் கடைநாள்,வயங்கு கதிர் கரந்த வாடை வைகறை,விசும்பு உரிவதுபோல், வியல் இடத்து ஒழுகி,மங்குல் மா மழை, தென் புலம் படரும்பனி இருங் கங்குலும் தமியள் நீந்தி,தம் ஊரோளே, நன்னுதல்; யாமே,கடி மதில் கதவம் பாய்தலின், தொடி பிளந்து,நுதி முகம் மழுகிய மண்ணை வெண் கோட்டு,சிறு கண் யானை நெடு நா ஒண் மணி,கழிப் பிணிக் கறைத் தோல் பொழி கணை உதைப்பு,தழங்குகுரல் முரசமொடு முழங்கும் யாமத்து,கழித்து உறை செறியா வாளுடை எறுழ்த் தோள்,இரவுத் துயில் மடிந்த தானை,உரவுச் சின வேந்தன் பாசறையேமே. The hues of the forest and the drylands fuse together in this verse, as we hear these words from the man, as he remains away from his beloved: “A member of the priestly tribe, who doesn’t perform fire rituals, cuts bangles with a sword from a conch shell and leaves behind the curving head portion. Akin to these remnants are the tightly wound, coiling buds of the rattlepod, which moistened by the drizzle of the rain shower, blooms in this month of Thai, when the last days of the cool showers are here. This is a time when the early morning’s bright rays are hid by the northern winds. Now, after pouring down on wide spaces, as if the sky has shed its skin, the dark rain clouds, move away in the southern direction. During these dark and cold nights, my maiden with a glowing forehead has been traversing all alone, in her town. As for me, all around I hear sounds many: Sounds of the long-tongued shining bells, worn by small-eyed elephants, which, after pouncing on well guarded fort walls, are left with their adornments broken, and the sharp edges of their white tusks blunted; Sounds of arrows raining down on blood stained shields, and that of roaring drums in this midnight hour. Now, as the soldiers of the army, having unsheathed swords in their strong arms, lose themselves to sleep, in this night spent at the battle encampment of the furious king, I am here, faraway from her!” Time to delve into the nuances of emotions. The man starts by curiously talking about a tribe of priests, who don’t perform ritual sacrifices, as they are expected to, but seem to be engaged in the task of cutting shell bangles from conch shells. He has mentioned this only to throw the spotlight on the remnants of the conch shell after the bangles have been cut. The top portion is placed in parallel to a rattlepod bud, which the man says is ready to bloom, for it’s the month of ‘Thai’, which falls in the contemporary January-February and it’s a time when the morning sun is hidden by mist and fog. A time when the rainclouds, after peeling open the sky and pouring down, were heading south. On such dark and cloud nights, he sees his beloved suffering all alone, and quivers in pain. He also brings before our eyes, where he is, talking about the sound of elephant bells, sound of raining arrows and roaring drums, etching his presence in a battle encampment of their king, and concludes by pointing to the sleeping soldiers with unsheathed swords all around him, highlighting his own sleeplessness and yearning for his beloved, far away. A verse that highlights the simple thought that love and pain are the very same, be it for a man or woman!

In this episode, we relish the beauty of changing seasons, as depicted in Sangam Literary work, Aganaanooru 23, penned by Orodakathu Kantharathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the anxiety of a maiden waiting for the return of her beloved. மண்கண் குளிர்ப்ப, வீசித் தண் பெயல்,பாடு உலந்தன்றே, பறைக் குரல் எழிலி;புதல்மிசைத் தளவின் இதல் முட் செந் நனைநெருங்கு குலைப் பிடவமொடு ஒருங்கு பிணி அவிழ,காடே கம்மென்றன்றே; அவல,கோடு உடைந்தன்ன கோடற் பைம் பயிர்,பதவின் பாவை முனைஇ, மதவு நடைஅண்ணல் இரலை அமர் பிணை தழீஇ,தண் அறல் பருகித் தாழ்ந்துபட்டனவே;அனையகொல் வாழி, தோழி! மனையதாழ்வின் நொச்சி, சூழ்வன மலரும்மௌவல் மாச் சினை காட்டி,அவ்அளவு என்றார், ஆண்டுச் செய் பொருளே! In this verse, although the theme is firmly set in the drylands domain signifying parting, the images we get to see are the contrasting elements of showers and flowers. The lady renders these words to her confidante, when the man is away gathering wealth: “Making all earth to cool, pouring down with moist showers, rainclouds, roaring like a drum, have ended the suffering of the land’s barrenness. The pink jasmine buds have spread atop bushes, akin to claws of quails, and along with the thick-clustered wild jasmine, have bloomed together in synchrony, making the forest entire waft with fragrance. After eating the green stalks of white glory lilies, appearing akin to broken conch shells, as well as grazing on wild grass, satiated by fullness, an esteemed male deer with a haughty gait, drinks up the cool waters in the stream, and then embracing its beautiful mate, lies down content. Remember how he said pointing to the low-hanging, dark branches of the chaste tree, and the surrounding vines of wild jasmine, the time it takes to bloom, that’s how long he would take to make the wealth he desired! Hasn’t that time come and gone, my friend? May you live long!” Let’s delight in the surprising rain shower in our walk through the drylands! The lady starts by talking about all the changes in the world around her, pointing how the rains have poured and ended the summer suffering of the land. When the showers are done, can flowers be far behind? We get to see the blooming of pink jasmine buds, an aspect of a plant, which is then connected in Sangam style to an animal part, namely a quail’s claws. Not only are the pink jasmines in bloom but so are the wild jasmines, making that forest entire fill with a delicious smell! Imagine taking a walk in those pristine woods! Returning, we find the lady sketching an image of a male deer that has fed to its full, not only on the stalks of glory lilies but also wild grass, and hunger satiated, it goes for a refreshing drink in the rain-fed, cool streams, and then embracing its mate, lies down and rests. After such scenes that would normally bring joy to a person, the lady reveals how it has only brought worry to her, for it was this time of the year the man said he would return, promising he would be back when the chaste tree and jasmine vines around it bloomed. She concludes wondering why his mission of gathering wealth is still keeping him away in this season of togetherness. Once again, the focus is on the pain of parting in the season of rains. Going beyond the oft-repeated thought, I would like to shift your attention to this beautiful way of keeping time, in the changes of the world outside, the sound of rain drops, the blooming of flower buds, and the mood of wild animals rather than the watches, schedules, to-dos and calendars of today. An era where no doubt the mindfulness of the world around was a medicine in itself!

In this episode, we hear a strong statement defending a person, as depicted in Sangam Literary work, Aganaanooru 22, penned by Veri Paadiya Kaamakanniyaar. Set amidst the cascades and slopes of the ‘Kurinji’ or ‘Mountain landscape’, the verse paints a portrait of the beliefs and rituals of those times. அணங்குடை நெடு வரை உச்சியின் இழிதரும்கணம் கொள் அருவிக் கான் கெழு நாடன்மணம் கமழ் வியல் மார்பு அணங்கிய செல்லல்இது என அறியா மறுவரற் பொழுதில்,”படியோர்த் தேய்த்த பல் புகழ்த் தடக் கைநெடு வேட் பேணத் தணிகுவள் இவள்” என,முது வாய்ப் பெண்டிர் அது வாய் கூற,களம் நன்கு இழைத்து, கண்ணி சூட்டி,வள நகர் சிலம்பப் பாடி, பலி கொடுத்து,உருவச் செந்தினை குருதியொடு தூஉய்,முருகு ஆற்றுப்படுத்த உரு கெழு நடு நாள்,ஆரம் நாற, அரு விடர்த் ததைந்தசாரற் பல் பூ வண்டு படச் சூடி,களிற்று இரை தெரீஇய பார்வல் ஒதுக்கின்ஒளித்து இயங்கும் மரபின் வயப் புலி போல,நல் மனை நெடு நகர்க் காவலர் அறியாமைதன் நசை உள்ளத்து நம் நசை வாய்ப்ப,இன் உயிர் குழைய முயங்குதொறும் மெய்ம் மலிந்து,நக்கனென் அல்லெனோ யானே எய்த்தநோய் தணி காதலர் வர, ஈண்டுஏதில் வேலற்கு உலந்தமை கண்டே? A visit to the mountains lets us overhear this conversation between the lady and her confidante, at a moment when the confidante scolds the man for leaving the lady in worry, and the lady responds with these words, as the man listens nearby: “From the fearsome peaks of mountain ranges, descend wide cascades in the rich, forest-filled mountains of the lord. As days passed without embracing his fragrant, wide chest, not knowing that this was the reason for my suffering at that time, hearing the words of wise old women, who spoke their truth saying, ‘If we pray to the great lord, who wields a tall spear in his famous strong arms that have subdued enemies many, she will be healed’, my kith and kin decided to offer a ritual. Spreading sand on the arena, adorning with garlands, singing aloud in front of the prosperous mansion, offering sacrifices, scattering exquisite red millet fused with blood all around, they sought the blessings of God Murugu. On that very midnight, with his garland spreading fragrance, wearing it densely woven with the many flowers in his mountain slopes, buzzing with bees, in the tradition of a strong male tiger that hides and bides its time on the lookout for its prey of an elephant, without the knowledge of the guards around the fine mansion of our home, to fulfil the desire of my heart, which desired for him, he came, and melting my very life, he embraced me. At that moment, didn’t I laugh out loud with my form entire, quivering, filled with ecstasy, thinking how to end this affliction of mine, it was my lover who had to come, whereas my kith and kin took so much trouble for the pointless ritual of Velan, the priest!” Time to take part in a mountain ritual and understand more! The lady starts by talking about her trysting with the man, who comes from the mountain peaks, filled with roaring cascades. For a few days, this trysting did not happen, and at that time, the lady lost her health and beauty, pining for the man. Now, not knowing the reason behind her affliction, the lady’s family, listening to the words of old women there decided that the only way to heal their daughter was to offer a ritual to appease God Murugu, who is described more in the lines of a king, who wields a spear and subdues his enemies with his strength. Next, the lady details about the events in the ritua,l where they spread out a smooth sand platform, adorn the ritual priest Velan with many garlands, sing and dance in front of their house, while offering sacrifices and spreading out millet grains mixed with blood, all in the hope God Murugu will come down and relieve the suffering of their girl. The lady recollects how that very night, not God Murugu, but her man from the mountains came down, wearing garlands, buzzing with bees, and in the manner of a tiger that hunts for an elephant, carefully hiding, the man too kept out of the sight of the guards around the lady’s home, and managed to sneak in and embrace her. At that moment, all her afflictions melted away, says the lady, and she concludes by talking about how she was filled with laughter, thinking about how the man had to come and relieve her pain, whereas her family thought it was the handiwork of Velan, the priest, and God Murugu! Hearing these words, no doubt the listening man will put all such troubles of the lady away and come seek her hand in marriage. Returning to the essence of this verse, we hear this ancient lady echo loud and clear that it is not the actions of an all-powerful God, but that of a man, her beloved, that could end her sorrow and suffering. Through this, she illuminates the philosophy of ancient Tamils, who seem to have had a clear understanding of cause and consequence. Indeed, a philosophy that has been built on the unshakeable foundation of truth and rationality!

In this episode, we perceive a path to face the fall in motivation, as depicted in Sangam Literary work, Aganaanooru 21, penned by Kaavanmullai Poothanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays an attempt to boost a flagging heart. ‘மனை இள நொச்சி மௌவல் வால் முகைத்துணை நிரைத்தன்ன, மா வீழ், வெண் பல்,அவ் வயிற்று, அகன்ற அல்குல், தைஇத்தாழ் மென் கூந்தல், தட மென் பணைத் தோள்,மடந்தை மாண் நலம் புலம்ப, சேய் நாட்டுச்செல்லல்’ என்று, யான் சொல்லவும், ஒல்லாய்,வினை நயந்து அமைந்தனைஆயின், மனை நகப்பல் வேறு வெறுக்கை தருகம் வல்லே,எழு இனி, வாழி, என் நெஞ்சே! …………………………………………………புரி இணர்மெல் அவிழ் அம் சினை புலம்ப, வல்லோன்கோடு அறை கொம்பின் வீ உகத் தீண்டி,மராஅம் அலைத்த மண வாய்த் தென்றல்,சுரம் செல் மள்ளர் சுரியல் தூற்றும்,என்றூழ் நின்ற புன் தலை வைப்பில்,பருந்து இளைப்படூஉம் பாறு தலை ஓமைஇருங் கல் விடரகத்து, ஈன்று இளைப்பட்ட,மென் புனிற்று அம் பிணவு பசித்தென, பைங் கட்செந்நாய் ஏற்றை கேழல் தாக்க,இரியற் பிணவல் தீண்டலின், பரீஇச்செங் காய் உதிர்ந்த பைங் குலை ஈந்தின்பரல் மண் சுவல முரண் நிலம் உடைத்தவல் வாய்க் கணிச்சி, கூழ் ஆர் கோவலர்ஊறாது இட்ட உவலைக் கூவல்,வெண் கோடு நயந்த அன்பு இல் கானவர்இகழ்ந்து இயங்கு இயவின் அகழ்ந்த குழி செத்து,இருங் களிற்று இன நிரை, தூர்க்கும்பெருங் கல் அத்தம் விலங்கிய காடே. We are again in the drylands and in the company of the man, who’s tussling with his heart, torn between love and duty. The words of the man to his heart in the middle of his journey through the drylands are: “Akin to white, wild jasmine buds, spreading on the young chaste tree at home, perfectly aligned, are her white teeth, which seem to attract bees many; That maiden also has a beautiful midsection, wide waist, well-decorated and low-hanging tresses, soft and delicate bamboo-like arms. Even when I said to you, ‘Let’s not let the fine beauty of that naive maiden to fade and part away to the faraway land’, you heeded me not and desired the task of gathering wealth. Now, let’s make that wife of mine smile by rendering her all kinds of wealth! So rise now, long may you live, O heart of mine! Let’s head there, where leaving beautiful branches, which bloom with delicate clusters of buds, to lament in loneliness, as if a strong man hit with a stick, flowers fall, touched by the fragrant southern breeze that has rustled through burflower trees, and as these flowers fall, they adorn the curls of warriors, who traverse the drylands, in those heat-filled, listless spaces, filled with toothbrush trees, atop which rest eagles. Here, in the nearby dark mountain ranges, perceiving its mate tire out after giving birth and yearn for meat, the male red-eyed red dog attacks a boar. Seeing this, the female boar runs away in fear and dashes against a date palm tree, making the red fruits scatter down from its green clusters, and fall upon the pebble-filled, sandy ground. When trying to break this ground with sharp-mouthed pickaxes, gruel-drinking cattleherds, finding no water sprouting therein, abandon their efforts and leave the pits covered with leaves. Thinking these are traps laid by loveless foresters, who desire their white tusks, upon paths often taken trusting no harm will befall, herds of huge elephants fill those pits with mud and stones, in those boulder-filled paths of the drylands jungle. Let’s go there right now, O heart!” Time to delve into the scenes in this barren landscape! Although it’s a long song, filled with many different frames of action, in essence, the thought conveyed here is about how a man misses his beloved as he’s traversing in the drylands and nudges his heart to keep moving. In the first segment, the man describes the beauty of his lady, talking about the confusion of bees, when seeing her teeth, for they mistake them for white jasmine buds! What a beautiful way of praising the lady’s fragrant mouth! The man goes on to describe the other exquisite attributes of his beloved such as the waist, tresses and arms and reminds his heart how he told it not to nudge him to leave her, but still to no avail, for his heart seems to have done exactly that and brought him here, and now it was languishing. So, he cheers up his heart and says they must make the lady smile by bringing her all kinds of gifts, and to do that, they have to get going through the drylands. Almost like a nature documentary with multiple episodes, the man paints many different images. First, we see flowers, nudged by fragrant southern winds, dropping down in clusters on the heads of warriors walking forth. Next, we take a glance at the oft-mentioned view of eagles resting atop toothbrush trees. Following this, we are taken to the mountains nearby, where a female red dog or dhole has just given birth, and perceiving its mate’s fatigue and hunger, the male ventures out to hunt and attack a male boar. Seeing this fight, the female boar runs in fear and dashes against a palm tree, making those red fruits fall down upon the sandy, pebble-filled path. And here, some cowherds try their lu

In this episode, we perceive a subtle plea for a change in action, as portrayed in Sangam Literary work, Aganaanooru 20, penned by Ulochchanaar. Set amidst the sands and groves of the ‘Neythal’ or ‘Coastal Landscape’, the verse vividly sketches a day in the life of Sangam maiden. பெருநீர் அழுவத்து எந்தை தந்தகொழு மீன் உணங்கல் படுபுள் ஓப்பி,எக்கர்ப் புன்னை இன் நிழல் அசைஇசெக்கர் ஞெண்டின் குண்டு அளை கெண்டி,ஞாழல் ஓங்கு சினைத் தொடுத்த கொடுங்கழித்தாழை வீழ் கயிற்று ஊசல் தூங்கிக்கொண்டல் இடு மணல் குரவை முனையின்வெண்தலைப் புணரி ஆயமொடு ஆடி,மணிப்பூம் பைந்தழை தைஇ, அணித்தகப்பல் பூங்கானல் அல்கினம் வருதல்கவ்வை நல் அணங்கு உற்ற இவ்வூர்கொடிது அறி பெண்டிர் சொல் கொண்டு, அன்னைகடி கொண்டனளே தோழி, பெருந்துறைஎல்லையும் இரவும் என்னாது, கல்லெனவலவன் ஆய்ந்த வண் பரிநிலவு மணல் கொட்கும் ஓர் தேர் உண்டு எனவே. A picturesque song, set to the music of the ocean’s waves, and here, we hear the confidante say these words to the lady, when the man arrives to tryst with the lady by day, pretending not to notice the man, but making sure he’s in earshot. The confidante’s words are: “We spend our time chasing away birds that come to peck at the drying fatty fish, which father brought from the great waters of the ocean; resting in the sweet shade of the laurel wood tree upon the sands; digging up the deep holes of the red crabs; swaying on the swings tied with ropes, made of the marshy pandanus, to the soaring branches of the screw-pine; dancing the ‘Kuravai’ on the sands brought by the eastern winds, and when tiring of that, splashing in the white-headed waves along with our playmates, and adorning ourselves with green-leaved attires, woven with exquisite blooms in the many-flowered orchard. However, possessed by the spirit of slander, the women of this town, who know nothing but evil, spread rumours, and hearing that, mother has mounted the guard for you, my friend, deciding that there is surely a chariot, adorned with speedy horses, groomed well by a charioteer, which swirls around the moon-like sands, with a resounding sound, not minding if it’s day or night in the wide seashore!” Let’s carefully step amidst the drying fish in the shade of fragrant trees and learn more! The confidante, as if talking to the lady, presents a long list of things they normally do. A sort of log for the day’s activities. First, there’s the work they are entrusted with, which is the chasing away of birds and protecting the fresh catch father brought from the seas, which have been laid out to dry! Echoing the timeless attitude of teenagers, these girls, after doing a little of what they perceive as hard work, decide it’s time to relax, and they have plenty of options, such as simply sitting in the shade of the fragrant ‘Punnai’, and then seeking some activity, digging up holes of crabs, as if they were amateur naturalists or troublemakers, depending on the beholder’s eye! After this, they decide let’s get high on the swings, tied to the screw-pine tree, with the sturdy ropes of the pandanus. Once they have had their fill of flying, they get dancing and singing the ‘Kuravai’ on the sands, and when tiring of this activity, they splash about in the waves with the playmates, that one thing the ocean never lets us tire of, be it anywhere, anytime. The confidante concludes this long list of ‘fun and more fun’ with the aspect of fashion and how they spend time, adorning themselves with the choicest of leaves, stitched with beautiful blooms. As if asking what’s there to be suspicious about these activities, the confidante continues describing incredulously how the women of their town, who seem to know nothing other than evil, and possessed by the demon of slander, had gone and said something to mother. The confidante now concludes by describing how mother has taken their words seriously and has mounted a guard around the lady’s home, deciding to catch that chariot that roves ceaselessly on those shores, by day and night, in quest of her girl! Through these words, the confidante means to tell the man that mother knows of his relationship with the lady, and going forward, trysting would be something impossible, and consequently, he should be seeking the permanent joy of a married union. In the end, it’s ‘Marry her, Marry her’ but that movie we saw in the beginning, which we can call, ‘All in a day’s work and play’, featuring the life of those maiden, was a refreshing watch indeed, infusing us with the evergreen emotions of innocent delight!

In this episode, we observe a person’s dilemma at the crossroads, as depicted in Sangam Literary work, Aganaanooru 19, penned by Porunthil Ilankeeranaar. The verse is situated in the ‘Paalai’ or ‘Drylands Landscape’ and relays a conversation between a man and his heart. அன்று அவண் ஒழிந்தன்றும் இலையே; வந்து நனிவருந்தினை வாழி, என் நெஞ்சே! பருந்து இருந்துஉயா விளி பயிற்றும், யா உயர், நனந்தலை,உருள் துடி மகுளியின் பொருள் தெரிந்து இசைக்கும்கடுங் குரற் குடிஞைய நெடும் பெருங் குன்றம்,எம்மொடு இறத்தலும்செல்லாய்; பின் நின்று,ஒழியச் சூழ்ந்தனைஆயின், தவிராது,செல் இனி; சிறக்க, நின் உள்ளம்! வல்லேமறவல் ஓம்புமதி, எம்மே நறவின்சேயிதழ் அனைய ஆகி, குவளைமா இதழ் புரையும் மலிர் கொள் ஈர் இமை,உள்ளகம் கனல உள்ளுதொறு உலறி,பழங்கண் கொண்ட, கலிழ்ந்து வீழ், அவிர் அறல்வெய்ய உகுதர, வெரீஇ, பையென,சில் வளை சொரிந்த மெல் இறை முன்கைபூ வீ கொடியின் புல்லெனப் போகி,அடர்செய் ஆய் அகல் சுடர் துணை ஆக,இயங்காது வதிந்த நம் காதலிஉயங்கு சாய் சிறுபுறம் முயங்கிய பின்னே! Once again, we are in the drylands and we turn from a mother’s words of worry to listen to a man speak to his heart as they traverse the harsh domain in search of wealth. The man’s words to his heart are: “On that day, in that place, you refused to stay back! You came along with me and suffer so much, my heart! May you live long! Atop the tall ‘Ya’ trees, wherein eagles perch and send out ceaseless calls, in those wide spaces, akin to the beats of the rounded ‘thudi’ drum, the harsh-voiced owl hoots too aloud, as if with meaning, and the noise echoes from the tall peaks around. Don’t come along with me anymore! If all you want to do is to stand behind and thinking of going back, then, leave without fail, right way! May you flourish! Just one thing: Those eyes of my love, which were like huge petals of the blue lotus, covered with moist eyelids, have now become filled with the heat of inner angst, and have dried up, becoming reddened like the lavanga flowers, leaving tear drops to pour out with much suffering. Feeling disheartened, gently, as those soft forearms with a few bangles appear dull and listless, akin to a creeper bereft of flowers, she stands still near the lamp she lit, made from a sheet of gold, seeing it as her only companion. When you go near that lover of ours, and embrace the worrying little back of hers, forget me not!” Let’s walk along in the hot paths of the drylands and learn more! The man starts by declaring how his heart did not stay back at home then. It had nudged him to go in search of wealth and had journeyed along to those fearsome spaces, where eagles sit atop rusting ‘Ya trees’ and owls hoot with the sound of ‘thudi’ drums, as if saying something filled with meaning. Is the man hearing his own mind’s voice in those owl’s hoots? Expressing his discontent, the man asks his heart not to come along with him any further, but instead to leave to where the lady is! At this moment, the lady appears in his mind’s eye as standing still near a lamp she has lit at home, with bangles slipping away, akin to a creeper with fallen flowers, her eyes brimming with tears. The man concludes by telling his heart that when it reaches home and embraces this beloved of his, that his heart must not forget the man! In this imaginative dissociation with his own heart, the man expresses his deep yearning to be back in the embrace of his love. The verse thus echoes the fierce conflict in a Sangam man’s mind when it comes to being with a beloved and fulfilling the responsibility of seeking wealth!

In this episode, we perceive the dangers in trysting, as depicted in Sangam Literary work, Aganaanooru 18, penned by Kabilar. Set amidst the wild streams of the ‘Kurinji’ or ‘Mountain Landscape’, the verse presents a persuasive plea for a change in action. நீர் நிறம் கரப்ப, ஊழுறுபு உதிர்ந்து,பூமலர் கஞலிய கடு வரற் கான் யாற்று,கராஅம் துஞ்சும் கல் உயர் மறி சுழி,மராஅ யானை மதம் தப ஒற்றி,உராஅ ஈர்க்கும் உட்குவரு நீத்தம்கடுங்கண் பன்றியின் நடுங்காது துணிந்து,நாம அருந் துறைப் பேர்தந்து, யாமத்துஈங்கும் வருபவோ? ஓங்கல் வெற்ப! ஒரு நாள் விழுமம் உறினும், வழி நாள்,வாழ்குவள்அல்லள், என் தோழி; யாவதும்ஊறு இல் வழிகளும் பயில வழங்குநர்நீடு இன்று ஆக இழுக்குவர்; அதனால்,உலமரல் வருத்தம் உறுதும்; எம் படப்பைக்கொடுந் தேன் இழைத்த கோடு உயர் நெடு வரை,பழம் தூங்கு நளிப்பின் காந்தள்அம் பொதும்பில்,பகல் நீ வரினும் புணர்குவை அகல் மலைவாங்கு அமைக் கண் இடை கடுப்ப, யாய்ஓம்பினள் எடுத்த, தட மென் தோளே. Back to the region brimming with the wealth of nature, a delight to traverse, and in this instance, the confidante takes the centerstage and tries to shift the man’s approach to trysting with his lady.Her words are: “Hiding the hue of water, wilted mature flowers fill the rapid, wild forest stream. Swirling against a raised rock upon which a crocodile naps, and capable of dashing against a mad elephant in musth and pulling it within its treacherous whirlpool, the wild river roars and races on. Swimming in such a river, akin to a harsh-eyed boar that knows not fear, with daring, you cross that fear-evoking shore and come here at midnight! Is this right, O lord of the high mountains? If you were to face some deep distress on any one day, the next day, my friend shall live not! Even those who traverse known paths that have no dangers whatsoever, may slip and find themselves in difficulty. And so, it’s sure we would be filled with unbearable sorrow; If you were to come at day to the grove in the tall hills around our village, filled with curving honey combs, hanging fruits and flowering flame-lilies, by day, then you will get to embrace her curving soft arms, akin to smooth bamboo stalks between nodes, flourishing in the wide mountains. Indeed then, those arms that mother has reared with much care, you will embrace!” Time to swim in these mountain streams! The confidante starts by describing a wild river that flows through. This rapid stream is completely covered by fallen flowers along the stream’s path, and it flows with such speed, dashing against rocks that crocodiles sleep on, and with a force that pulls even huge elephants in musth into its swirls. While that is so, the man seems to lack any fear whatsoever, for he comes swimming across this very stream to tryst with the lady at night, the confidante connects. What an exceptional swimmer the man must be to traverse a river that can pull a tusker within! The confidante continues saying that if at all some mishap were to fall the man’s way, the lady had no way of going on and she adds philosophically saying, even people who walk on safe paths that they have taken for a long time may slip and fall sometimes, so you don’t tell us that this is nothing to you! After declaring the risks in the current situation, the confidante seemingly gives an alternative to the man, and concludes by asking him to tryst with the lady by day in their hill groves, filled with honeycombs, fruits and flowers, promising the man that he would get to embrace the lady’s arms, reared with much love by mother. While this seems so thoughtful on the part of our girl, actually she has offered the man an impossible alternative, meaning the fear of discovery, by all those who frequent those groves, to collect honey or pluck fruits or gather flowers, is phenomenally high, and she implies that the only path of progress for the man was to transition from temporary trysting to permanent union with the lady. Through this, the confidante shows her skills in communication by presenting the problem, a seeming alternative and then, letting the person concerned come up with the true solution. A master-class in the art of subtle persuasion!

In this episode, we listen to a mother’s lament, as portrayed in Sangam Literary work, Aganaanooru 17, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the thoughts of a mother at the juncture of her daughter’s elopement. வளம் கெழு திரு நகர்ப் பந்து சிறிது எறியினும்,இளந் துணை ஆயமொடு கழங்கு உடன் ஆடினும்,”உயங்கின்று, அன்னை! என் மெய்” என்று அசைஇ,மயங்கு வியர் பொறித்த நுதலள், தண்ணென,முயங்கினள் வதியும்மன்னே! இனியே,தொடி மாண் சுற்றமும் எம்மும் உள்ளாள்,நெடு மொழித் தந்தை அருங் கடி நீவி,நொதுமலாளன் நெஞ்சு அறப் பெற்ற என்சிறு முதுக்குறைவி சிலம்பு ஆர் சீறடிவல்லகொல் செல்லத் தாமே கல்லெனஊர் எழுந்தன்ன உரு கெழு செலவின்,நீர் இல் அத்தத்து ஆர் இடை, மடுத்த,கொடுங் கோல் உமணர், பகடு தெழி தெள் விளிநெடும் பெருங் குன்றத்து இமிழ் கொள இயம்பும்,கடுங் கதிர் திருகிய, வேய் பயில், பிறங்கல்,பெருங் களிறு உரிஞ்சிய மண்அரை யாஅத்துஅருஞ் சுரக் கவலைய அதர் படு மருங்கின்,நீள் அரை இலவத்து ஊழ் கழி பல் மலர்,விழவுத் தலைக்கொண்ட பழ விறல் மூதூர்,நெய் உமிழ் சுடரின் கால் பொரச் சில்கி,வைகுறு மீனின் தோன்றும்மை படு மா மலை விலங்கிய சுரனே? The drylands call us back and we get to listen to the point of view of a mother left behind by her daughter, who has found love and has decided to leave her home, to be with her man. The mother’s words are: “In the prosperous mansion filled with every luxury, when she plays with her ball, or when she plays with the ‘Kazhangu’ beans with her young playmates, she would say, “I feel tired, Mother! My body aches”. Exhausted, my young daughter with sweat beads coating her fine forehead, would come give me a cool embrace and lie in my arms! But now, without thinking of her bangle-clad friends or me, crossing the stern guard of her famous father, my young daughter with an ancient wisdom, the one who has won the heart entire of that stranger, has left! She has left there, where with a resounding sound, making a town entire rise up in alarm, taking a journey as a huge group, upon a path in that barren domain, the salt-merchants wielding a curved stick, goad their bullocks with a clear shout that echoes all around in the tall mountain ranges beyond; where the harsh sun scorches bamboos in the hill, making huge elephants turn to peeling the trunks of the mud-smeared ‘Ya’ trees, leaving these vulnerable in those inaccessible drylands path with thorny bushes; where the tall-trunked silk cotton tree’s wilting flowers, appearing before, akin to an ancient town in the midst of festivities, lit up with lamps filled with ghee, but now caught in the hot wind’s gust, appear scanty like the stars at dawn! Are her little anklet-clad feet capable of traversing such a harsh drylands domain, surrounded by cloud-covered, tall mountains?” Let’s delve deeper into this tale! Mother starts her words by recollecting the nature of her little daughter in the past, when even after a little play with her ball or a game of ‘Kazhangu’ with her friends, she would be so exhausted that she would come complaining to her mother and give her a sweaty, cool hug. Through this, mother highlights the delicate nature of her daughter, brought up in much luxury. Then, mother comes to the present and talks about how everything has changed now, because that little gentle girl has decided to take off with a stranger, daring to cross the stern guard of her father’s home. Then, mother launches into a description of the drylands and she brings before our eyes three scenes: One, in which we hear a shout so loud that is enough to make an entire town look up alarm and we learn that the source of this shout is a call to the bullocks by salt merchants, traversing as a huge group across the drylands; Two, where we see an elephant, not having its usual food of bamboos, that being scorched by the sun, feeding on the bark of ‘Ya’ trees; And finally three, where the once-abundant flowers of the silk cotton tree, appearing like the lamps of an ancient town in the midst of festivities, had now wilted and fallen, appearing scanty like the waning stars in the morning hour! All these striking images of the drylands have been given by mother to express her worry and confusion about how the little feet of her delicate daughter would manage to cross such a harsh and formidable path! Well, we have to tell mother that love makes all things possible, and perhaps her young girl has now turned a woman, ready to cross the world with her beloved!

In this episode, we listen to a response to a denial, as portrayed in Sangam Literary work, Aganaanooru 16, penned by Saakalaasanaar. Set amidst the lush lotuses of the ‘Marutham’ or ‘Farmlands landscape’, the verse brings out the relationship dynamics in a household. நாயுடை முது நீர்க் கலித்த தாமரைத்தாதின் அல்லி அவிர் இதழ் புரையும்,மாசு இல் அங்கை, மணி மருள் அவ் வாய்,நாவொடு நவிலா நகைபடு தீம் சொல்,யாவரும் விழையும் பொலந்தொடிப் புதல்வனை,தேர் வழங்கு தெருவில், தமியோற் கண்டே!கூர் எயிற்று அரிவை குறுகினள்; யாவரும்காணுநர் இன்மையின், செத்தனள் பேணி,பொலங்கலம் சுமந்த பூண் தாங்கு இள முலை,”வருகமாள, என் உயிர்!” எனப் பெரிது உவந்து,கொண்டனள் நின்றோட் கண்டு, நிலைச் செல்லேன்,”மாசு இல் குறுமகள்! எவன் பேதுற்றனை?நீயும் தாயை இவற்கு?” என, யான் தற்கரைய, வந்து விரைவனென் கவைஇ களவு உடம்படுநரின் கவிழ்ந்து, நிலம் கிளையா,நாணி நின்றோள் நிலை கண்டு, யானும்பேணினென் அல்லெனோ மகிழ்ந! வானத்துஅணங்கு அருங் கடவுள் அன்னோள் நின்மகன் தாய் ஆதல் புரைவது ஆங்கு எனவே? The land of ‘Marutham’ with its resounding love quarrels invite us within, and in this instance, a lady responds to her man, when he denies visiting a courtesan before coming home. The lady’s words are: “With lips, akin to the inner petals of pollen-filled lotus flowers, flourishing in ancient waters, filled with otters, a flawless little palm, a mouth akin to precious gems, and sweet words that evoke laughter, not falling perfectly from the tongue, is our son, wearing golden anklets, loved by all. Seeing him playing alone in the street where chariots ply, that young maiden with sharp teeth came closer. Ascertaining that there was no one to notice her, she pulled him with love towards her young bosoms, clad with heavy gold ornaments, owing to his resemblance to you, and she said with much emotion, ‘Come to me, my life!’. Seeing her in this state, I did not turn away, but rushed to her and hugged her, saying, ‘O perfect maiden! Why are you confused and anxious? Aren’t you a mother to him as well?’. Just then, akin to how the one caught in an act of theft would stand before the one who caught them, with head bent in shame, she was scratching the ground with her toe. O lord, seeing her so, didn’t I express my care to her, declaring that she, the one akin to the bewitching, glorious goddess in the sky, was like a mother to our son, without any hesitation, right there?” Time to wade deeper in the waters of these lotus ponds! The lady starts by talking about the adorable qualities of their son to the man, mentioning how his lips were so delicate and soft like the inner petals of lotuses that bloom not in any old place but an ancient waterbody, teeming with otters. After that vivid simile, the lady dwells on the boy’s little palms, his beautiful mouth, which talks with a lisp and makes everyone laugh out aloud. Concluding that it’s natural for anyone to love this child of theirs, she moves on to a specific situation, when the boy was playing alone in the street. At this time, a young maiden notices him and comes closer. Then, she calls out to the boy and hugs him close, with endearing words. The lady explains to us that this is because that maiden clearly sees the man’s resemblance in his son. Understanding all these subtle emotions in one glance, our smart lady, without turning away, goes to the maiden and hugs her saying that she too was a mother to the young boy, implying that the lady was aware of the maiden’s relationship with her husband. A moment to reflect on how the Western coinage of the term ‘step-mother’ seems to echo in these lines, depicting a different culture and different language from the ancient past! Returning from our musings, we hear the lady’s words talking how about the young maiden stood there, like a person caught red-handed, head bent and scratching the ground with her toe. Now, the lady turns to the man, and concludes by asking him, ‘When I have gone near her, and declared that she’s like a mother to our son, why do you deny knowing her and visiting her?’ The lady’s fiery statement seems to be, “Enough with your lies! I know things as they stand and I have accepted them even before you said it aloud!”. Beyond all these love troubles and relationship dynamics of these Sangam people from the farmlands, the thing that shines through in this verse, is the depiction of that deep and natural affection people tend to feel for little children, moved by their innocent and imperfect nature that has the effortless power to shower much joy in life!

In this episode, we get to know some historical characters, as depicted in Sangam Literary work, Aganaanooru 15, penned by Maamoolanaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and portrays a mother’s wish for her daughter’s well-being. எம் வெங் காமம் இயைவது ஆயின்,மெய்ம் மலி பெரும் பூண், செம்மற் கோசர்கொம்மைஅம் பசுங் காய்க் குடுமி விளைந்தபாகல் ஆர்கைப் பறைக் கட் பீலித்தோகைக் காவின் துளுநாட்டு அன்ன,வறுங் கை வம்பலர்த் தாங்கும் பண்பின்செறிந்த சேரிச் செம்மல் மூதூர்,அறிந்த மாக்கட்டு ஆகுகதில்ல தோழிமாரும் யானும் புலம்ப,சூழி யானைச் சுடர்ப் பூண் நன்னன்பாழி அன்ன கடியுடை வியல் நகர்ச்செறிந்த காப்பு இகந்து, அவனொடு போகி,அத்த இருப்பை ஆர் கழல் புதுப் பூத்துய்த்த வாய, துகள் நிலம் பரக்க,கொன்றை அம் சினைக் குழற்பழம் கொழுதி,வன் கை எண்கின் வய நிரை பரக்கும்இன் துணைப் படர்ந்த கொள்கையொடு ஒராங்குகுன்ற வேயின் திரண்ட என்மென் தோள் அஞ்ஞை சென்ற ஆறே! Back to the drylands and here, we have a mother expressing her thoughts at the juncture of her daughter’s elopement: “If my deep desires were to come true, I would ask of only one thing: Akin to the Tulu country, ruled by the Kosars, renowned for their truthful words and rich jewels, having groves, where bunches of rounded bitter-gourd fruits, with little tufts at the ends, are eaten by feathered peacocks with drum-like eyes, let the towns she traverses be respected, ancient places with flourishing communities, comprising of people, who have the noble quality of providing for empty-handed travellers. Leaving me and her friends to lament, crossing the stern protection of this well-guarded mansion, akin to the town of Pazhi, ruled by King Nannan, renowned for his radiant jewels and adorned elephants, she has left with him to the drylands, where a sleuth of strong-armed bears, after feeding on the beautiful, new flowers of the ‘Mahua’ tree, scatter the dust on the land beneath, and rush to tear tubular fruits upon the beautiful branches of the golden shower tree, running about all around. Such is the path, where my ignorant daughter, with soft arms, akin to clustered mountain bamboos, has left away on, with the principle of following and being together with her sweet companion!” Time to explore the details in this drylands verse! The mother starts by saying if at all a mother’s wish could come true, all she wished for was one thing, and that was her daughter, should find people who have the noble quality of taking care of wayfarers, who come to their towns with nothing in their hands. She says that such a quality is found in the towns, ruled by the great Kosars, known for their truthfulness and great wealth, and also, describes their Tulu country as a place, where rounded bitter-gourds with little tufts grow. Knowing our regular supermarket bitter gourds to be long and lean, I did a search and found that indeed the wild variety of bitter gourds were exactly as pictured in the lines of this verse! Returning, mother has described the bitter gourds to talk about how peacocks in the Tulu country feed on the same- Just fine details about the land and people, which seems to have gained a noble reputation of charity and compassion in Sangam times! Why is the mother wishing her daughter so? Is the daughter travelling solo on account of her job? Well, being the Sangam era, such a wish comes from the mother only at the unfortunate event of an elopement by the lady with her man. Mother talks about how her daughter has left her friends and herself to lament, without the lady’s company, and crossed the stern guard of their home. Again, to describe the protection in their mansion, mother refers to the fortified walls of the Paazhi town, ruled by King Nannan. For the final segment, mother takes us to the drylands path, where we see bears feeding on Mahua flowers and tearing apart ‘Kondrai’ fruits, in a metaphor for how the lady has fed on the sweet relationship with the man and has brought distress to mother and her friends. Even so, mother concludes by recognising that her daughter left because she believed in being together with her beloved, fearing her parents would deny her that happiness. In essence, here’s a hurt mother, who is distressed by the actions of her daughter. Yet all that heart can think of, is that her daughter should find good people in her path! How is it easy for this mother, to wish well for another, when hurt by them? Something to ponder on and aspire for!

In this episode, we perceive a before-and-after story, as depicted in Sangam Literary work, Aganaanooru 14, penned by Okkoor Maasaathanaar. Set amidst the moist red earth of the ‘Mullai’ or ‘Forest landscape’, the verse portrays an evening hour and a much-awaited arrival. ”அரக்கத்து அன்ன செந்நிலப் பெரு வழி,காயாஞ் செம்மல் தாஅய் பல உடன்ஈயல் மூதாய் வரிப்ப, பவளமொடுமணி மிடைந்தன்ன குன்றம் கவைஇயஅம் காட்டு ஆர் இடை, மடப் பிணை தழீஇ,திரி மருப்பு இரலை புல் அருந்து உகள,முல்லை வியன் புலம் பரப்பி, கோவலர்குறும் பொறை மருங்கின் நறும் பூ அயர,பதவு மேயல் அருந்து மதவு நடை நல் ஆன்வீங்கு மாண் செருத்தல், தீம் பால் பிலிற்ற,கன்று பயிர் குரல, மன்று நிறை புகுதரும்மாலையும் உள்ளார்ஆயின், காலையாங்கு ஆகுவம்கொல்? பாண!” என்றமனையோள் சொல் எதிர் சொல்லல்செல்லேன் செவ்வழி நல் யாழ் இசையினென், பையென,கடவுள் வாழ்த்தி, பையுள் மெய்ந் நிறுத்து,அவர் திறம் செல்வேன் கண்டனென், யானேவிடு விசைக் குதிரை விலங்கு பரி முடுக,கல் பொருது இரங்கும் பல் ஆர் நேமிக்கார் மழை முழக்கு இசை கடுக்கும்,முனை நல் ஊரன், புனை நெடுந் தேரே. In this sensually rich song from the forestlands, a bard narrates to his friends an event he witnessed. His words can be translated as follows: “‘Upon the wide path spreading on red earth, akin to lac, wilting blue flowers of the ironwood trees have fallen, and around these crawl many red velvet bugs in neat rows, appearing as if coral has been fitted together with sapphires, in that jungle path, surrounded by mountains many. Here, after embracing a female deer, a stag with twisted antlers feeds on grass, and leaps about, in the wide-spread forestlands, where cowherds leave their cattle to graze and they delight in adorning themselves with the fragrant flowers in the little mounds around. After feeding well on the wild grass, those cows with a fine, strong gait, appear with their udders swollen, and so as to shower this sweet milk on their calves, bellowing aloud, they rush to the town centre in this evening hour. If he thinks not about this time of the day, what will become of me in the morning, O bard?’. Hearing these words from the lord’s wife, I stood speechless. All I could do was to play the ‘Sevvazhi’ tune on my fine lute gently, singing the praise of god, as suffering filled my form, and I decided to leave to where he was! Just then, I witnessed the sight of horses, hastened with goads, the sound of chariot wheels with spokes many hitting against the pebbles, akin to the roaring music of thunder during a downpour, and I saw the lord of the town, returning from the battlefront, atop his well-etched, tall chariot!” Time to deeply inhale the scent of falling flowers in the forestlands! The bard starts by mentioning the words he happened to hear from the lady of a house. This lady talks about the red earth of the forestlands and equates it to lac, a resin created by an insect on wood. A moment to appreciate how the rich red soil that covers 62% percent of the state of Tamil Nadu is being highlighted in this ancient verse. Returning, the lady points to how the blue flowers of the ironwood tree have fallen down and the way the red velvet mites crawl around these blue flowers makes one think of a jewel, fitted with corals and sapphire. Again, this talks about how jewellery making was second nature to the Sangam Tamils. It seems as if the availability of precious gems was a taken-for-granted thing in those times! Amidst such talk of wealth, let’s not forget the treasures of the natural world we are being gifted with – I’m talking about the ‘Moothaai’ or ‘Red velvet bugs’, referred here, which we have already seen and played with, in Natrinai 362 and Kalithogai 85! Moving on, we see the lady continuing her narration by saying in such a path, deers are frolicking about. At the same time, cows have been brought to graze by the cowherds, who have little to do, as the beings under their watch feed to their hearts’ content and these cowherds turn their attention to fashion, adorning themselves with the flowers they find around. After all that rich food, the udders of cows brim over and wanting to feed their calves, these cows return to the town centre, bellowing aloud. The entire reference has been given by the lady to talk about the evening hour, a time of immense pain for separated lovers, and she turns to the bard and asks him what could she do if the man has no thought of her at such a time and delayed his arrival, conveying her worry of how she was going to survive another morning. The bard is left speechless at these heartrending words and the only solace he could offer to the lady was to play a ‘Sevvazhi’ tune, in prayer to god, on his lute. He resolves to leave to where the man was put up and inform him about the lady’s state. Just then, he sees a vibrant scene before him of horses leaping in the air, wheels hitting against the pebbles and roaring like thunder, and at last, he catches a glimpse of the lord of that town, ret

In this episode, we listen to a thoughtful response, as depicted in Sangam Literary work, Aganaanooru 13, penned by Perunthalai Saaththanaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and paints a portrait of the pain in parting. தன் கடற் பிறந்த முத்தின் ஆரமும்,முனை திறை கொடுக்கும் துப்பின் தன் மலைத்தெறல் அரு மரபின் கடவுட் பேணி,குறவர் தந்த சந்தின் ஆரமும்,இரு பேர் ஆரமும் எழில் பெற அணியும்திரு வீழ் மார்பின் தென்னவன் மறவன் குழியில் கொண்ட மராஅ யானைமொழியின் உணர்த்தும் சிறு வரை அல்லதுவரை நிலை இன்றி இரவலர்க்கு ஈயும்,வள் வாய் அம்பின், கோடைப் பொருநன்பண்ணி தைஇய பயம் கெழு வேள்வியின்,விழுமிது நிகழ்வது ஆயினும் தெற்கு ஏர்பு,கழி மழை பொழிந்த பொழுது கொள் அமையத்து,சாயல் இன் துணை இவட் பிரிந்து உறையின்,நோய் இன்றாக செய்பொருள் வயிற்படமாசு இல் தூ மடி விரிந்த சேக்கை,கவவு இன்புறாமைக் கழிக வள வயல்,அழல் நுதி அன்ன தோகை ஈன்றகழனி நெல் ஈன் கவைமுதல் அலங்கல்நிரம்பு அகன் செறுவில் வரம்பு அணையாத் துயல்வர,புலம்பொடு வந்த பொழுது கொள் வாடை,இலங்கு பூங் கரும்பின் ஏர் கழை இருந்தவெண் குருகு நரல, வீசும்நுண் பல் துவலைய தண் பனி நாளே! The alternating shades of the drylands appear unceasingly, and in this instance, we get to hear these words, which echo what the lady’s confidante has to say, when the man informs her of his intention to part away from the lady in search of wealth: “A necklace made of pearls born from his seas; A necklace made of sandalwood, given to him by mountain dwellers, who worship that god, who never leaves his devotees in distress; the people who live in his mountains, which has the vigour to make enemies bow and pay tributes. Both these worthy necklaces adorn with beauty, the chest of the brave Southern King, favoured with wealth and prosperity. Other than those few moments, when he tames wild elephants, captured in a pit, with his words, all other moments, he spends giving away to supplicants; Such is the nature of the lord of ‘Kodai’ in the Southern King’s domain, known for his sharp-tipped arrows, by the name of ‘Panni’. This lord performs many rituals that rain prosperity on him. Even if you were to attain more wealth than that lord, at this time, when clouds climb from the south and shower copious rains, if you were to part away from your pleasant mate, may the wealth you seek come to you, without any impediment! However, know this that upon a bed, spread with flawless, pure sheet, you will lose the joy of embracing her, as the cold northern winds accompanied by lament and loneliness sway the paddy grains atop stalks with tips, akin to fire, in the fertile fields, which spread far and wide, fenced by embankments, making a white bird, atop the sugarcane stalk with shining white flowers, cry out aloud, as the cold winds scatter many tiny droplets on that moist and cold day!” Let’s delve deeper into this verse! The confidante starts with a lengthy description about a Pandya King, by mentioning how he wears a necklace made of pearls from his seas as well as a necklace of sandalwood brought by ‘Kuravars’ from the mountains in his domain, which make enemies bow down before him. However, this being a collection on inner life, the king is being talked about to refer to a lord in his domain, the ruler of ‘Kodai’. Could this be the contemporary ‘Kodaikanal’ hills that we are talking about here? Returning, we learn how this lord has the strength and talent to tame elephants on the one hand, and on the other, a ceaseless generosity to give to his supplicants. If a person has so much generosity, they must have so much wealth, and the confidante talks about how this lord performs rituals seeking wealth. Apparently, such rituals were considered fruitful then, and the confidante connects this fact to the man saying that she wishes the man gets more wealth than that lord renowned for his wealth and generosity. After what seems like a blessing, the confidante comes to how this separation will affect the lady, as it’s happening in a time when the winds climb from the south and pour with rains, and the cold northern winds bring loneliness upon the land, swaying the paddy stalks and making birds atop sugarcane stalks lament. In such a time, the man will have to miss embracing the lady, the confidante concludes. Is the confidante saying to the man, ‘Please go ahead and earn the wealth you seek!’ or is she saying, ‘Don’t part from the lady at this time in the cold season when it’s impossible to be apart’? We cannot say for sure! However, we can see that she has lucidly presented both sides of the story and has left the man to make up his mind, which is an attribute of the wise, when they attempt to help another to choose the right path!

In this episode, we perceive a strategy for course correction, as depicted in Sangam Literary work, Aganaanooru 12, penned by Kabilar. Set amidst the squeaks and squawks of squirrels and parrots in the ‘Kurinji’ or ‘Mountain landscape’, the verse attempts to offer a new perspective to a perplexed person. யாயே, கண்ணினும் கடுங் காதலளே;எந்தையும், நிலன் உறப் பொறாஅன்; ”சீறடி சிவப்ப,எவன், இல! குறுமகள்! இயங்குதி?” என்னும்;யாமே, பிரிவு இன்று இயைந்த துவரா நட்பின்,இரு தலைப் புள்ளின் ஓர் உயிரம்மே;ஏனல்அம் காவலர் ஆனாது ஆர்த்தொறும்,கிளி விளி பயிற்றும் வெளில் ஆடு பெருஞ் சினை,விழுக் கோட் பலவின் பழுப் பயம் கொண்மார்,குறவர் ஊன்றிய குரம்பை புதைய,வேங்கை தாஅய தேம் பாய் தோற்றம்புலி செத்து, வெரீஇய புகர்முக வேழம்,மழை படு சிலம்பில் கழைபட, பெயரும்நல் வரை நாட! நீ வரின்,மெல்லியல் ஓரும் தான் வாழலளே. Once again, it’s time to visit the picturesque mountains and in this trip, we observe the confidante saying these words to the man, when he attempts to tryst with the lady: “As for mother, she loves her more dearly than her own eyes; As for father, he can’t even bear her feet to touch the ground, for he asks instantly, ‘Why do you walk about, reddening your feet, my dear little girl?’; As for me, with a sweet friendship that knows not separation, we are like a two-headed bird, with one beating life within; When the guards of millet fields unceasingly chatter, parrots talk back to them from their seats on the huge branch of the jackfruit tree, where squirrels play, decked with fruits many, whose benefit is reaped by a mountain dweller, whose hut is buried by the fallen flowers of the Kino tree. Seeing this honey-dripping sweet image, mistaking it for a tiger, an elephant with a spotted face is startled and runs towards the rain-filled mountain slopes, tearing apart and ruining the bamboos in your mountain ranges, O lord! If you come to tryst, the soft-natured maiden shan’t live anymore!” Time for our trek on these ancient mountain slopes! The confidante starts by talking about how precious the lady is to the lady’s mother, saying she is the apple of the mother’s eyes. If the mother treats her so, the father goes one step beyond and is pained when the girl even puts her feet on ground, asking why she has to go and redden it, walking hither and thither! The confidante then talks about her own relationship with the lady, saying they both are so inseparable that they are said to be a two-headed bird with one beating heart! After that portrait of the lady’s importance in all their lives, the confidante changes track and starts to talk about the man’s land, and to do that she brings forth scenes of young girls, who come to guard millet fields, chattering away loudly and parrots answering back to them, as they sit on the branches of the jackfruit tree, where squirrels play all day. From the branch of the jackfruit tree, the confidante jumps to its fruit, which she says, is relished by the ‘Kuravars’ or ‘Mountain dwellers’. Taking another leap, she moves from the people to their abode, and points to a hut, which sits below an Indian Kino tree, and in course of time, the bright yellow flowers of this tree drop down and cover the hut. What an exquisite sight, right? To us, yes, but not to an elephant, says the confidante, talking about how the animal is frightened by that image, mistaking it for a fierce tiger, and runs wildly into the bamboo forest, ruining the stalks along the way, in the man’s mountain slopes, the confidante connects. The confidante concludes saying if the man were to come to tryst with the lady at night, she’s afraid the lady won’t live anymore! What a strong message! What could be the reason for this? To unravel it, we have to explore the scene of the elephant mistaking the flower-clad hut for a tiger. Here, the confidante has placed a metaphor for how the man does not realise the goodness of the lady’s kin and he is mistakenly frightened by them, just like the elephant is frightened by the sight of those sweet flowers and consequently, destroying the health and beauty of the lady, like how the elephant ruins its good food of bamboo stalks, because of its unnecessary fear! In essence, the confidante is asking the man not to be afraid of the lady’s parents, but instead come seek her hand in marriage, for it has become too difficult for the lady to step out of her home and tryst with the man anymore. In mentioning how she and the lady are like a two-headed bird, the confidante implies they both are of the same mind, and she, in fact, speaks only for the lady’s good! A delightfully sweet verse, filled with the fruit slices of care and concern and the honey drops of a thoughtful communication!

In this episode, we listen to a parted lady’s anguish, as portrayed in Sangam Literary work, Aganaanooru 11, penned by the prolific Sangam poet Avvaiyaar. The verse is situated in the ‘Paalai’ or ‘Drylands Landscape’ and expresses the regretful words of a person in the midst of a separation. வானம் ஊர்ந்த வயங்கு ஒளி மண்டிலம்நெருப்பு எனச் சிவந்த உருப்பு அவிர் அம் காட்டு,இலை இல மலர்ந்த முகை இல் இலவம்கலி கொள் ஆயம் மலிபு தொகுபு எடுத்தஅம் சுடர் நெடுங் கொடி பொற்பத் தோன்றி,கயம் துகள் ஆகிய பயம் தபு கானம்எம்மொடு கழிந்தனர்ஆயின், கம்மென,வம்பு விரித்தன்ன பொங்கு மணற் கான் யாற்றுப்படு சினை தாழ்ந்த பயில் இணர் எக்கர்,மெய் புகுவு அன்ன கை கவர் முயக்கம்அவரும் பெறுகுவர்மன்னே, நயவர,நீர் வார் நிகர் மலர் கடுப்ப, ஓ மறந்துஅறு குளம் நிறைக்குந போல, அல்கலும்அழுதல் மேவல ஆகி,பழி தீர் கண்ணும் படுகுவமன்னே! Back to the drylands, to a situation where the man has left the lady at home and parted away on a mission. The background mentioned by many scholars is that this verse unfolds when the lady was distressed by the man’s absence and seeing the lady’s state, her confidante becomes even more distressed. At this time, in order to alleviate the sadness of her friend, the lady apparently says how she will bear with the parting until the man returns. While the speaker and listener sounds right, this supposed situation did not come through from the lines of the verse. To me, it appears as if the lady is explaining to the confidante the reason for her suffering just then. In any case, here are the words the lady says to the confidante: “The radiant orb of light that traverses the sky scorches like fire and reddens that scrub jungle with its heat. Here, the bloomed red buds of the leafless silk cotton tree appear akin to long upraised rows of shining lamps lit by joyous maiden, who celebrate together with much gusto. Ponds were losing the waters within and becoming filled with mud in that forest, bereft of benefits any. If at all he had taken me along thither, upon the sand mounds near the wild river, appearing akin to a cloth spread out, adorned by low-hanging branches, filled with flower bunches, akin to a body fitting tight against an armour, a loving embrace he would have attained from me, much to his desire! As for my eyes, akin to water-dripping, radiant flowers, they wouldn’t have unceasingly shed tears all day, akin to a barren pond being pumped with water, and those flawless eyes of mine would have found some sleep too!” Time to traverse the barren landscape of the drylands and walk further! The lady starts by talking about the burning heat of the sun, which seems to redden the scrub jungle entire, and here, upon a silk cotton tree, which has no leaves, no doubt as a consequence of that harsh summer, red flowers bloom. The sight of these red flowers in that barren landscape is placed in parallel with rows of lights lit by maiden, who come together to celebrate. That vivid simile lights up the whole poem and also throws light on the custom of lighting lamps, which seems to correspond to the festival of ‘Karthikai’ celebrated in Tamil nadu, close to the festival of ‘Deepavalli’, wherein even today, women put up rows of mud lamps in their homes. The English language describes these silk cotton tree flowers as ‘cup-like’ and this ancient Tamil verse sees the same flower as the earthen lamp lit up, telling us that languages echo not only mere words for objects but entire cultures within. Moving on, we find the lady now shifting her focus from such festivity to the barren ponds of the jungle, and she wistfully says that if only the man had taken her along, he would have attain a close embrace from her, upon the sands of the river, appearing like a spread-out cloth. A moment to reflect on the simile used here to describe that embrace! Most of the scholars have interpreted the words ‘மெய் புகுவு’ as two bodies uniting in an intercourse. But to me, this did not seem right when considering the subtle style or spirit of Sangam verses. Exploring further, I came across the word ‘மெய்யுறை’ or ‘armour’ and this made me think that it’s the way a body enters and fits tightly into an armour that is being referred here. This made perfect sense, coming from this female poet Avvaiyaar, who has been the counsellor of kings many in their wars! Returning from that interesting detour, we find the lady continuing saying not only would the man have attained a happy embrace with her but that her eyes would not be filling up like a dried-up pond, pumped with water, and she concludes by declaring that those eyes of hers would have found some sleep at least. And so, we find a lake’s worth of regret pooling in this song on the barren landscape of separation, making us wonder why the men then did not take their women along in their journeys? Wouldn’t it have made their lives so much more lively and joyous?

In this episode, we listen to persuasive words, as portrayed in Sangam Literary work, Aganaanooru 10, penned by Ammoovanaar. Set amidst the waves and sands of the ‘Neythal’ or ‘Coastal Landscape’, the verse transports us to an ancient shore. வான் கடற் பரப்பில் தூவற்கு எதிரிய,மீன் கண்டன்ன மெல் அரும்பு ஊழ்த்த,முடவு முதிர் புன்னைத் தடவு நிலை மாச் சினை,புள் இறைகூரும் மெல்லம் புலம்ப! நெய்தல் உண்கண் பைதல கலுழ,பிரிதல் எண்ணினைஆயின், நன்றும்அரிது உற்றனையால் பெரும! உரிதினின்கொண்டு ஆங்குப் பெயர்தல்வேண்டும் கொண்டலொடுகுரூஉத் திரைப் புணரி உடைதரும் எக்கர்ப்பழந் திமில் கொன்ற புது வலைப் பரதவர்மோட்டு மணல் அடைகரைக் கோட்டுமீன் கெண்டி,மணம் கமழ் பாக்கத்துப் பகுக்கும்வளம் கெழு தொண்டி அன்ன இவள் நலனே. And finally, we get to meet the fifth and final landscape of the coastal regions and the promise is that every multiple of 10 in the series of Aganaanooru poems, all the way to 400, is going to be a beach trip for Sangam travellers! Here, the lady’s confidante speaks her mind to the man, as he prepares to leave after trysting with the lady: “Facing the spray of the wide ocean, stands the ancient curving ‘laurelwood’, with soft buds appearing like the stars, and upon the dark and wide branches, birds rest in your gentle shores, O lord! Leaving her kohl-streaked eyes, akin to blue lotuses, to cry with suffering, if you think of parting away, remember this! About how you attained that rare thing with much good effort! I speak of her fine beauty, akin to the prosperous town of Thondi, wherein pushed by the eastern winds, ocean waves pounce and break sands of the shore, and here, fishermen with ancient boats and new nets, dig up a beached shark in the moist sand dunes, and share it with the people, who live in the fragrant little hamlet of theirs. You must rightfully claim such a beauty and part away with her now!” Time to soak in the salty spray of the ocean! The confidante starts by mentioning how the ‘Punnai’ tree, stands on the shore, so close to the droplets leaping from the waves, and details how the tree has star-like flowers and how birds many find an abode on its branches. This scene is in the domain of the man, the confidante connects. After talking about the man’s place, the confidante details how the man’s thought of parting is going to make the lady’s eyes shed copious tears. Instead of following that track, the man must choose to do something different, she says. Before that, in the unique Sangam style, she starts equating the lady’s beauty to the prosperous town of Thondi. To describe Thondi, the confidante talks about how fishermen with very old boats, find a beached shark and share it with all the people of their hamlet. Though it seems like a mundane scene in the shore, the description holds within a metaphor for how the man seems not to do the difficult task of seeking the lady’s hand, just like these fishermen, who do not take their boats out into the roaring waves of the wide sea and get their catch by fishing there, but rather embrace the easy thing of digging up a beached fish, and likewise, the man too was intent only on the transient pleasures of trysting. This is a hidden message, nudging the man to seek the lady’s hand, and the confidante concludes by connecting that the man must claim the lady’s beauty and part away with her rightfully. Reverting to the simile involving the lady’s beauty and a Sangam town, this comparison never fails to amaze me as I ponder on how picturesque such a town must have been, to be placed in parallel with a Sangam lady’s beauty, something that has always been described in the superlative! This, no doubt is literature’s way of hinting to students of history and archaeology, about the wealth and joy reverberating in those ancient Tamil towns!

In this episode, we perceive an exquisite moment of anticipation, as portrayed in Sangam Literary work, Aganaanooru 9, penned by Kallaadanaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and depicts the emotions in coming home to a beloved after a long separation. கொல் வினைப் பொலிந்த, கூர்ங் குறும் புழுகின்,வில்லோர் தூணி வீங்கப் பெய்தஅப்பு நுனை ஏய்ப்ப அரும்பிய இருப்பை,செப்பு அடர் அன்ன செங் குழை அகம்தோறு,இழுதின் அன்ன தீம் புழல் துய்வாய்உழுது காண் துளைய ஆகி, ஆர் கழல்பு,ஆலி வானின் காலொடு பாறி,துப்பின் அன்ன செங் கோட்டு இயவின்,நெய்த்தோர் மீமிசை நிணத்தின் பரிக்கும்அத்தம் நண்ணிய அம் குடிச் சீறூர்கொடு நுண் ஓதி மகளிர் ஓக்கியதொடி மாண் உலக்கைத் தூண்டு உரல் பாணி,நெடு மால் வரைய குடிஞையோடு இரட்டும்குன்று பின் ஒழியப் போகி, உரம் துரந்து,ஞாயிறு படினும், ”ஊர் சேய்த்து” எனாது,துனை பரி துரக்கும் துஞ்சாச் செலவின்எம்மினும், விரைந்து வல் எய்தி, பல் மாண்ஓங்கிய நல் இல் ஒரு சிறை நிலைஇ,பாங்கர்ப் பல்லி படுதொறும் பரவி,கன்று புகு மாலை நின்றோள் எய்தி,கை கவியாச் சென்று, கண் புதையாக் குறுகி,பிடிக் கை அன்ன பின்னகம் தீண்டி,தொடிக் கை தைவரத் தோய்ந்தன்றுகொல்லோநாணொடு மிடைந்த கற்பின், வாள் நுதல்,அம் தீம் கிளவிக் குறுமகள்மென் தோள் பெற நசைஇச் சென்ற என் நெஞ்சே? Back to the drylands in this verse, and in this instance, in contrast to the usual mood of sorrow in separation, we experience excitement and joy. Here, are the words rendered by a man, returning home from his mission, in the earshot of his charioteer: “Akin to the sharp and short arrowheads, skilled in their task of killing, standing tall on the edges of arrows, bulging in the quivers of bowmen, buds of the ‘Mahua’ have bloomed. Akin to copper slates, hang the red leaves all around, and within them, extend the flowers’ sweet hollow tubes, akin to butter, and appear with fuzzy holes on the surface. Loosened from their stalks, these fall with the wind, akin to hail from the sky, and land upon the coral-like red mounds of earth, and appear akin to fatty meat atop blood! In a beautiful, little hamlet within such a drylands, the sounds of maiden with fine, curly hair lifting their well-etched pestles and pounding against the mortar resound in rhythm with the hoot of the owl living in the tall mountain nearby. Even when the sun has set, disappearing behind that mountain, losing its strength, without thinking, ‘the town is far away’, we journey on ceaselessly, stopping not our speeding horse. Even faster than us, hastening with strength, that heart of mine reaches my fine home, soaring with many glories, where my lady stands still in one spot, listening intently to the sounds of the lizard, in that evening hour, when calves return home from grazing. Did it go near her with extended hands and close her eyes from behind?Did it caress her long, thick braided hair, akin to a female elephant’s trunk?Did it lose itself in those bangled hands? I wonder what that heart of mine, which desired so much for the soft arms of that young maiden of sweet and beautiful words, with a shining forehead and a flawless chastity fused with modesty, did when it saw her!” Let’s delve deeper into the verse! The man starts with a description of the drylands, and to do that, he talks about the sharp-edged flowers of the Mahua tree, looking like arrowheads, skilled in the art of killing, and the long hollow tubes of the flower, appearing akin to butter, and the way these flower clusters fall on the red earth beneath, looking like fat on blood. In Freudian style, we can infer from these similes: One, the man is returning from some war mission and two, he’s hungry and eager to savour the feast back home. Returning, the man connects how in these drylands the sounds of women pounding on their stones joins in rhythm with the hoots of owls in the nearby mountains. After describing the place, now the man turns to talk about the time of the day and says how even though the sun has bid bye to the land and retired beyond yonder mountains, he stops not his horse but speeds on. However he notes that the curious thing here is that even faster than the man and his chariot, the man’s heart has sped on to his home, and found his wife, who was standing still and listening to the good omens from the clicks of the lizards. The man wonders if his heart went on and hid the eyes of his beloved from behind or whether it caressed her long tresses, akin to an elephant’s trunk, or whether it buried its face in her bangled hands? He ends his words in utter amazement, pondering on what his heart might have done, when it reached the arms of his beloved! In the unique Sangam style, the man separates himself from his heart to express his deep yearning to be with the one he loves. It’s also a hidden nudge to his charioteer to hasten their return home. The verse brought in my mind’s eye the many scenes of reunion I have experienced and witnessed while waiting in airports and train stations. The sparkling eyes, embracing hands and even tears of joy that spill

In this episode, we perceive the dangers in trysting, as depicted in Sangam Literary work, Aganaanooru 8, penned by Perunkundroor Kizhaar. Set amidst the hills and slopes of the ‘Kurinji’ or ‘Mountain Landscape’, the verse presents the challenges in the situation and its resolution in a hidden manner. ஈயல் புற்றத்து ஈர்ம் புறத்து இறுத்தகுரும்பி வல்சிப் பெருங் கை ஏற்றைதூங்கு தோல் துதிய வள் உகிர் கதுவலின்,பாம்பு மதன் அழியும் பானாட் கங்குலும்,அரிய அல்லமன், இகுளை! ”பெரியகேழல் அட்ட பேழ்வாய் ஏற்றைபலா அமல் அடுக்கம் புலாவ ஈர்க்கும்கழை நரல் சிலம்பின்ஆங்கண், வழையொடுவாழை ஓங்கிய தாழ் கண் அசும்பில்,படு கடுங் களிற்றின் வருத்தம் சொலிய,பிடி படி முறுக்கிய பெரு மரப் பூசல்விண் தோய் விடரகத்து இயம்பும் அவர் நாட்டு,எண் அரும் பிறங்கல் மான் அதர் மயங்காது,மின்னு விடச் சிறிய ஒதுங்கி, மென்மெல,துளி தலைத் தலைஇய மணி ஏர் ஐம்பால்சிறுபுறம் புதைய வாரி, குரல் பிழியூஉ,நெறி கெட விலங்கிய, நீயிர், இச் சுரம்,அறிதலும் அறிதிரோ?” என்னுநர்ப் பெறினே. Fulfilling the promise of 2s and 8s, this verse transports us to the mountains of yore! Here, the words are spoken by the lady to her confidante, at a time when the man arrives to tryst with the lady, as the lady pretends not to notice the man, but ensuring he remains in earshot: “Desiring the comb of termites’ nests as its food, the huge-handed male bear puts its hand into those termite mounds, made of moist mud. When it does so, the sharp nail attached to its hanging skin hooks on to a snake hiding within and destroys its strength, in the darkness of the midnight hour. Crossing over at even this deadly hour is not hard for us, my friend. A wide-mouthed male tiger drags a huge male boar, killed by it, in the spaces of those hills abounding with jackfruit trees, with the smell of flesh reeking everywhere in the slopes, resounding with the swaying of bamboos. There, where drylands laurel wood trees soar along with the plantain trees, a strong male elephant slips on the slushy soil and falls into a pit. To resolve its angst, its mate bends a huge tree, and its loud sound resounds all around the ranges with sky-high peaks in the man’s mountain country. Here, without getting confused by the countless paths, where deer tread on, in the glow of the lightning, when we walk slowly, as the drops of rain drench our sapphire-like five-part braids, that has been combed so densely, hiding the small of the back, when we stand there squeezing the water out, crossing over at even that deadly hour of midnight is not hard for us, my friend, if we were to get someone who says these words with concern, “Do you know your way around this thick jungle with confusing paths?’” Time to track the scents of these many mountain beasts! The lady starts by portraying a scene from the woods, where we see a male bear trotting off in search of food and spotting a termite mound, and then, putting its hand with sagging skin to pull out the comb of those ants’ nests. In the process, a snake hiding within gets hurt and finds its strength ruined. All this happens at the midnight hour, the lady says. So, here’s a reference to the time brought out by the action of this bear. Next, she goes on to describe the place, and to do that, she brings before us two different scenes: One, where we see a male tiger dragging its kill of a male boar, making the smell of flesh waft all around the slopes; And in the next scene, wherein we see how a male elephant has slipped on the slush in a place, dense with plantain and laurel wood trees, and fallen into a low pit. It struggles unable to ascend that slippery spot, and to its aid, the elephant’s mate steps up, and tries to bend the branch of a huge tree and the uproarious sound it makes in the process resounds all over the mountains of the man’s domain, the lady connects. So time done, place done, next the lady talks about how the weather is drenching the lady’s five-part thick braids and she finishes by telling her confidante that this time and place, if at all they had someone who would ask with care and concern, whether they knew where they were going in that spot, filled with confusing paths many, then even crossing over to meet the man, at that time and place, wouldn’t be such a difficult thing! In essence, the lady is bringing forth all the dangers around trysting while at the same time, echoing her desire to meet up with the man at all odds. When she talks about the bear and the snake inside the termite mound, she expresses a metaphor for how the man has no intention of hurting her, just like the bear had no intention of attacking the snake, but that was the consequence of its action. Likewise, the lady is hurt by the man’s sporadic trysting, she implies. In the scene where the tiger drags its kill and makes its scent reek all over the mountains, the lady places it as a metaphor for how her relationship with the man is spreading slander all over their village. And in the final scene of the female elephant ben

In this episode, we look into the distraught emotions of a mother, as depicted in Sangam Literary work, Aganaanooru 7, penned by Kayamanaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and vividly portrays a scene of separation and seeking. ‘முலை முகம்செய்தன; முள் எயிறு இலங்கின;தலை முடிசான்ற; தண் தழை உடையை;அலமரல் ஆயமொடு யாங்கணும் படாஅல்;மூப்புடை முது பதி தாக்குஅணங்கு உடைய;காப்பும் பூண்டிசின்; கடையும் போகலை;பேதை அல்லை மேதைஅம் குறுமகள்!பெதும்பைப் பருவத்து ஒதுங்கினை, புறத்து” என,ஒண் சுடர் நல் இல் அருங் கடி நீவி,தன் சிதைவு அறிதல் அஞ்சி இன் சிலைஏறுடை இனத்த, நாறு உயிர் நவ்வி! வலை காண் பிணையின் போகி, ஈங்கு ஓர்தொலைவு இல் வெள் வேல் விடலையொடு, என் மகள்இச் சுரம் படர்தந்தோளே. ஆயிடை,அத்தக் கள்வர் ஆ தொழு அறுத்தென,பிற்படு பூசலின் வழிவழி ஓடி,மெய்த் தலைப்படுதல்செல்லேன்; இத் தலை,நின்னொடு வினவல் கேளாய்! பொன்னொடுபுலிப் பல் கோத்த புலம்பு மணித் தாலி,ஒலிக் குழைச் செயலை உடை மாண் அல்குல்,ஆய் சுளைப் பலவின் மேய் கலை உதிர்த்ததுய்த் தலை வெண் காழ் பெறூஉம்கல் கெழு சிறுகுடிக் கானவன் மகளே. Back to the repeating drylands but this time, it’s not a scene involving the parted man and the pining lady. The focus here is the other theme in this landscape, wherein a lady elopes with her beloved, leaving her family at a loss. Here, the lady’s foster mother, says these words, to a doe in the drylands: “Hearing the words, ‘Your breasts have blossomed; Your sharp teeth have become radiant; Your hair has grown long; You now wear moist-leaved attires; So, do not go wherever you want along with your uproarious playmates, for in this ancient town, there are many spirits that could attack you; Accept the guard around the house and don’t even step into the backyard. You are no longer a naive child but an intelligent maiden, who has come of age, my little daughter!’, fearing that we have learnt of her mistake, her secret relationship, she overcame the strict guard of our fine home with shining lamps, O doe with the fragrant breath, belonging to a herd of sweet-sounding deer! Like a deer that fleets away on seeing a net cast out, my daughter has left to the drylands with a young man wielding a victorious white spear. And here, akin to how cattle owners would chase relentlessly behind drylands robbers, who have stolen their cattle, to battle with them, I run behind her, and yet I see no sign of her. Can I ask you something? Please answer! That maiden, who wears a lone necklace, made of gold and tiger teeth, and luxuriant sedalia tree leaves as the attire around her fine waist, is the daughter of a forest dweller, who lives in a hill, filled with the soft-headed, white seeds of jackfruit clusters, relished and discarded by male monkeys! Have you seen her at all?”. Let’s delve deeper into this tale! The mother starts by reminiscing about the words she spoke to her daughter, asking her not to step out of their house, as she had come of age and was no longer a naive little girl, who could go anywhere and play to her heart’s content. The mother also seems to have spooked the girl talking about spirits and what-not! And so, her girl had gone and done what most teenagers would do, which is the opposite of what’s being asked of them! Remember the mother is speaking to a doe she meets, and she uses a simile the creature would understand, placing in parallel the way a deer would run away, when spotting a net nearby, to how her daughter had escaped from their strict guard and eloped with a young man. Then, the mother comes to her own state and equates it to the relentless pursuit of cattle-owners behind robbers, who have stolen their cattle. But to no avail, she says with a wail to the doe, and ends her words by asking if the doe has seen her girl, who is the daughter of a mountain dweller, whose domain is filled with rocky spaces, where the white seeds of jackfruits, spit out from the mouths of male monkeys, abound! A question arose in my mind about why this particular scene of a male monkey, spitting out seeds after relishing the jackfruit, to describe the mountain country! Could it be a hidden metaphor for the mother’s worry about that’s how her girl would be abandoned by the man she loves? We cannot say for sure, but the verse is nevertheless filled with elements of angst and anxiety that soars in the heart of someone who has lost something precious!

In this episode, we perceive the ire of a lady, as depicted in Sangam Literary work, Aganaanooru 6, penned by Paranar. Set amidst the lush fields and ponds of the ‘Marutham’ or ‘Farmlands landscape’, the verse portrays a strong reaction to an affront. அரி பெய் சிலம்பின் ஆம்பல் அம் தொடலை,அரம் போழ் அவ் வளைப் பொலிந்த முன்கை,இழை அணி பணைத் தோள் ஐயை தந்தை,மழை வளம் தரூஉம் மா வண் தித்தன்,பிண்ட நெல்லின் உறந்தை ஆங்கண்கழை நிலை பெறாஅக் காவிரி நீத்தம்,குழை மாண் ஒள் இழை நீ வெய்யோளொடு,வேழ வெண் புணை தழீஇ, பூழியர்கயம் நாடு யானையின் முகன் அமர்ந்தாஅங்கு,ஏந்து எழில் ஆகத்துப் பூந் தார் குழைய,நெருநல் ஆடினை, புனலே; இன்று வந்து,”ஆக வன முலை அரும்பிய சுணங்கின்,மாசு இல் கற்பின், புதல்வன் தாய்!” என,மாயப் பொய்ம்மொழி சாயினை பயிற்றி, எம்முதுமை எள்ளல்; அஃது அமைகும் தில்ல!சுடர்ப் பூந் தாமரை நீர் முதிர் பழனத்து,அம் தூம்பு வள்ளை ஆய் கொடி மயக்கி,வாளை மேய்ந்த வள் எயிற்று நீர்நாய்,முள் அரைப் பிரம்பின் மூதரில் செறியும்,பல் வேல் மத்தி, கழாஅர் அன்ன எம்இளமை சென்று தவத் தொல்லஃதே;இனிமை எவன் செய்வது, பொய்ம்மொழி எமக்கே? We get to traverse ‘Marutham’ landscape for the first time in Aganaanooru, and we receive a promise that every song that ends in 6, will feature these farmlands. In this instance, a man has offended a lady by choosing to be with courtesans, and here, the lady renders these words to him, when he returns to her, seeking her grace: “Wearing pebble-filled anklets and a garland of pink water-lilies, having forearms, adorned with conch shell bangles, cut with a saw, and bamboo-like arms, shining with ornaments, lives a maiden named ‘Aiyai’, whose father is the immensely generous ‘Thithan’, who renders wealth unto others, akin to a rain shower, in his town of Uranthai, heaped with mounds of paddy! In this town, where River Kaveri gushes with abundant waters, which never lets even the sturdiest of bamboo oars to stay steady, along with your desired one, wearing heaving earrings and shining ornaments, holding on to a white reed raft, crumpling the flower garland that was adorning your handsome chest, with the joy of elephants that take a dip in the ponds of the Poozhiyars, you played in the river stream yesterday; Today, you come here, and say to me, “You are one with beautiful pallor spots, adorning your handsome breasts; one with flawless chastity; the mother of my son!”. You render these illusory praises as if you are humbled. Don’t you mock at my mature age! I have accepted it for what it is! The beauty of my youth, is akin to the town of Kazhaar, ruled by the many-speared ‘Maththi’, wherein after shaking the beautiful vines of the hollow-tubed ‘Vallai’ creepers, amidst water-filled fields, adorned with flaming lotuses, an otter with sharp teeth, which was preying on scabbard fish, then rests amidst the stalks of the thorny-stemmed cane bushes. I know fully well that this youth of mine has forsaken me long ago! So what good can your falsehood do to me?!” Time to take a longer walk amidst the fertile vistas of ponds and paddy! The lady in this verse begins her statement by curiously talking about another lady, a princess named ‘Aiyai’, describing her ornaments and garlands. But, the focus quickly shifts to this princess’ father, a ruler named ‘Thithan’, and his immense generosity. This, not being ‘Puranaanooru’, this king too is not of much relevance in this verse, for the spotlight moves again to the town of ‘Uranthai’ that this king rules over. Even ‘Uranthai’, with its mounds of paddy, does not retain our attention for long, and instead the River Kaveri that gushes with much force through this town is brought before our eyes. Is it a song about the beauty of this ancient river? I can listen to that all day long! No, says the lady, and points to a pair playing in the waters, one, a handsome man wearing a garland on his chest, and the other, his desired maiden, adorned with beautiful ornaments. This pair apparently is the man and his courtesan, who were having a romp in the wild waters of the Kaveri, and the lady tastefully places in parallel the image of this duo, with a couple of elephants frolicking in the pond of the Poozhiyars, a clan renowned for the wealth of their white goats that we have seen in Natrinai and Kurunthogai! The lady elaborates that the man was in such a joyous state with another woman only yesterday, and today, he has come so humbly praising the lady as one with much beauty, calling her the mother of his son. As if saying ‘Stop right there’, the lady asks the man not to render falsehoods about her beauty and mock at her maturing age. She then goes on to tell him that she has accepted that she has grown old, and her youth which echoed a beauty, akin to the fertile town of ‘Kazhaar’, ruled by Mathi’, had long left her. To talk about this ancient town, she mentions an otter that feeds on scabbard fish in the lush fields by day, and then retires to sleep ami

In this episode, we relish the micro-elements of expressed emotions, as depicted in Sangam Literary work, Aganaanooru 5, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and etches a striking portrait of an anxious heart. அளி நிலை பொறாஅது அமரிய முகத்தள்,விளி நிலை கொள்ளாள், தமியள், மென்மெல,நலம் மிகு சேவடி நிலம் வடுக் கொளாஅ,குறுக வந்து, தன் கூர் எயிறு தோன்றவறிது அகத்து எழுந்த வாய் அல் முறுவலள்,கண்ணியது உணரா அளவை, ஒண்ணுதல்,வினை தலைப்படுதல் செல்லா நினைவுடன் முளிந்த ஓமை முதையல்அம் காட்டு,பளிங்கத்து அன்ன பல் காய் நெல்லி,மோட்டு இரும் பாறை, ஈட்டு வட்டு ஏய்ப்ப,உதிர்வன படூஉம் கதிர் தெறு கவாஅன்,மாய்த்த போல மழுகு நுனை தோற்றி,பாத்தியன்ன குடுமிக் கூர்ங் கல்,விரல் நுதி சிதைக்கும் நிரை நிலை அதர,பரல் முரம்பு ஆகிய பயம் இல் கானம்இறப்ப எண்ணுதிர் ஆயின் “அறத்தாறுஅன்று” என மொழிந்த தொன்றுபடு கிளவிஅன்ன ஆக” என்னுநள் போல,முன்னம் காட்டி, முகத்தின் உரையா,ஓவச் செய்தியின் ஒன்று நினைந்து ஒற்றி,பாவை மாய்த்த பனிநீர் நோக்கமொடு,ஆகத்து ஒடுக்கிய புதல்வன் புன் தலைத்தூ நீர் பயந்த துணை அமை பிணையல்மோயினள் உயிர்த்த காலை, மா மலர்மணி உரு இழந்த அணி அழி தோற்றம்கண்டே கடிந்தனம், செலவே ஒண்டொடிஉழையம் ஆகவும் இனைவோள்பிழையலள்மாதோ, பிரிதும் நாம் எனினே! Back to the drylands again but we get to witness the echoes of beating heart in this poem, vividly sketched by the profilic poet-king, whose verses we have encountered many a time in the other collections. Here are the words rendered by a man to his heart, at a moment when he must decide whether or not to part away from his wife: “With a distant face that is not receptive to the grace rendered, without heeding my call, feeling isolated, walking so gently so as to leave no imprints of her beautiful feet on the land beneath, coming close by, showing her sharp teeth, she smiled an empty smile, bereft of truthful joy. Even before I realised that I intended to part, the maiden with a shining forehead was already showing how she disagreed with my parting away on a mission. As if saying to me, “If you want to part away to that ancient forest with dried-up toothbrush trees, where marble-like gooseberry fruits lie scattered on wide, hard rocks, as if those are pawns collected for play; If you want to leave to those wide spaces, where the sun’s rays scorch, and where, as if shaped with a blade, segments of sharp-edged stones appear in rows and tear apart toe-ends of travellers, in those pebble-filled, useless scrub jungle, you are just proving that the age-old saying, ‘Parting away is an act of injustice’, is nothing but empty words, she expressed all this on her face, without words any. Constantly thinking about this one thing, she stood like a painting, with brimming tears, hiding her pupils. As she bent to smell the well-woven garland of waterlilies, plucked from the pure waters, adorning the head of her son, whom she held tightly on her bosom, she let out a sad sigh, and in that moment, those huge flowers lost their sapphire-hues. Seeing the ruined form of those flowers, I decided to put away my parting. For if my maiden wearing shining bangles suffers so much when I’m right next to her, how will she survive if I were to truly part away?” Let’s go deeper into this scrub jungle of emotions! Taking a different route, the man in this verse starts by talking not about the drylands, where he’s usually expected to go, but instead on the expressions of his beloved. He talks about how distant she seems, how she is so lost that she doesn’t heed the call of her name, and when she comes close to him, walking so softly without any footprints, as if it would hurt the earth otherwise, she would give him a smile that he knows fully well is not her true, joyous smile. The man understands that all these effects are because the lady already senses that the man intends to leave even before the man himself has had that thought. After this, comes a vivid description of the drylands, and we get to see toothbrush trees again, as well as fallen gooseberries, which seem like small marbles or pawns that little children have collected to play with. The other striking element here are the effect of erosion on the rocky paths, that have turned these into sharp edges, waiting to gore the toes of travellers. The man connects these drylands to the thoughts of the lady, who seem to be saying to him, if you want to go there leaving me, you are not heeding the wise words of the ancients, who said ‘parting from a beloved is an act of injustice’. The man then paints a picture of the lady as one who’s constantly obsessing over the thought that the man would leave, and she stands frozen like a painting, with tears brimming in her eyes. At this time, she bends down to smell the flowers on the head of her son, whom she holds close to her bosom, and as she does so, she lets out a sigh and the sadness of that sigh makes the blue hue of the flowers vanish and wilts them away. Seeing this moment, the man deci

In this episode, we perceive the blooming beauty of a forest in the rains, as portrayed in Sangam Literary work, Aganaanooru 4, penned by Kurungudi Maruthanaar. Set amidst the blooms of the ‘Mullai’ or ‘Forest Landscape’, the verse conveys a message of hope. முல்லை வைந் நுனை தோன்ற, இல்லமொடுபைங் காற் கொன்றை மென் பிணி அவிழ,இரும்பு திரித்தன்ன மா இரு மருப்பின்,பரல் அவல் அடைய, இரலை தெறிப்ப,மலர்ந்த ஞாலம் புலம்பு புறக்கொடுப்ப,கருவி வானம் கதழ் உறை சிதறி,கார் செய்தன்றே, கவின் பெறு கானம்.குரங்கு உளைப் பொலிந்த கொய்சுவற் புரவி,நரம்பு ஆர்த்தன்ன, வாங்கு வள்பு அரிய,பூத்த பொங்கர்த் துணையொடு வதிந்ததாது உண் பறவை பேதுறல் அஞ்சி,மணி நா ஆர்த்த மாண் வினைத் தேரன்,கறங்கு இசை விழவின் உறந்தைக் குணாது,நெடும் பெருங் குன்றத்து அமன்ற காந்தட்போது அவிழ் அலரின் நாறும்ஆய் தொடி அரிவை! நின் மாண் நலம் படர்ந்தே. And now, we encounter our first song in the ‘Mullai’ landscape and we receive the promise that every verse ending with the number 4, totalling 40, is going to take us on a forest trail. As we have seen in many other collections, this landscape dwells on the theme of patient waiting and in this instance, the confidante can be heard rendering these words to the lady, who is pining away, parted from her beloved: “The wild jasmine blooms with sharp-tipped buds; Along with the clearing nut tree, the green-trunked golden shower opens out its delicate buds; A stag with dark antlers, akin to twisted iron, arrives at the pebble-filled puddles and then leaps about; The blooming land turns its back on its listless loneliness; All because the elements of the sky come together and scatter drops uproariously, and adorn the forests with the exquisite beauty of the rains. As he pulls the harness around his speeding horses with a curving mane to hasten them, thinking that it might disturb the honeybees, resting with their mates in the blooming flower orchards, he silences the tongues of bells in his well-etched chariot! He will, for sure, recollect the esteemed beauty of yours, akin to the fragrance of a flame-lily, opening its buds in the tall and huge hill to the east of Uranthai, a city roaring with the sounds of festivity, O maiden wearing fine ornaments, and come to you!” Time to travel deeper into the woods! The confidante begins by etching the picturesque changes that happen in the forest, such as the blooming of jasmines, blossoming of the golden-shower tree, the leaping about of stags around water-filled puddles, echoing the joy of the earth at having been blessed with the showers of the sky. In short, it’s the onset of the rainy season, which no doubt is also the promised season of the man’s return. After this alluring narration of the seasonal changes in nature, the confidante turns to present a slice of the man’s nature, saying he’s someone who would silence his chariot bells, thinking that it might disturb the bees resting with their mates in the flower orchards. Now the confidante turns the spotlight on the lady’s beauty and to do that, she talks about the fragrance of flame-lilies blooming in a hill to the east of ‘Uranthai’, the renowned capital of the Cholas, which is also decked in the uproarious sounds of festivities, no doubt celebrating the many victories of its rulers. A moment to pause and wonder if the hill being referred here to the east of Uranthai is the region currently known as ‘Malaikottai’ in the Tiruchirapalli district. Granted the vegetation is sparse and there’s no chance of a flame-lily blooming here now, but it’s quite possible two thousand years ago, this hill was covered with thick vegetation! Returning from our meanderings, we understand that the glimpse of this city and the hill to its east has been given, only to connect the lady’s beauty to the blooming flame-lilies there, and the confidante finishes her statement saying that the man will surely remember his lady and hasten his return to her! In this verse, the confidante relays a message of consolation in an intricate way. She talks about the outer changes in the world, a harbinger of how the lady’s world too is going to bloom with the man’s arrival so, and then she talks about the considerate and compassionate nature of the man, who has concern even for the tiny bees, and as if asking how can such a person forget you and your yearning, the confidante consoles the lady with the promise of his return. And yet again, a Sangam verse leaves us in awe when we contemplate the way it employs the understanding of human nature and the power of words to bring hope and positivity to a saddened heart!

In this episode, we perceive the striking shades of inner conflict , as portrayed in Sangam Literary work, Aganaanooru 3, penned by Eyinanthai Makanaar Ilankeeranaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and sketches a man’s dilemma in his quest for wealth. இருங் கழி முதலை மேஎந்தோல் அன்னகருங் கால் ஓமைக் காண்பு இன் பெருஞ் சினைக்கடியுடை நனந்தலை, ஈன்று இளைப்பட்ட,கொடு வாய்ப் பேடைக்கு அல்குஇரை தரீஇய,மான்று வேட்டு எழுந்த செஞ் செவி எருவைவான் தோய் சிமைய விறல் வரைக் கவாஅன்,துளங்கு நடை மரையா வலம் படத் தொலைச்சி,ஒண் செங் குருதி உவற்றி உண்டு அருந்துபு,புலவுப் புலி துறந்த கலவுக் கழி கடு முடை,கொள்ளை மாந்தரின் ஆனாது கவரும்புல் இலை மராஅத்த அகன் சேண் அத்தம்,கலம் தரல் உள்ளமொடு கழியக் காட்டி,பின் நின்று துரக்கும் நெஞ்சம்! நின் வாய்வாய்போல் பொய்ம்மொழி எவ்வம் என் களைமாகவிர் இதழ் அன்ன காண்பு இன் செவ் வாய்,அம் தீம் கிளவி, ஆய் இழை, மடந்தைகொடுங் குழைக்கு அமர்த்த நோக்கம்நெடுஞ் சேண் ஆர் இடை விலங்கும் ஞான்றே? As promised, every other song, the odd numbered ones, are taking us to the drylands and in this particular song, the descriptions are so vivid, and seem like a nature documentary is playing out on paper. Here are the words spoken by the man to his heart, at the juncture when his heart pushes him to part away so as to seek wealth: “Akin to the scaly skin of a crocodile in the salty backwaters, spreads the huge branch of the alluring, dark-trunked toothbrush tree. Upon this branch in that fearsome, wide space, rests a female bird with a curved beak, exhausted after giving birth. So as to bring good food for this young mother, its mate, the red-headed male vulture, which had been lying down in confusion, stands up and soars towards the sky-high peaks of the mountain ranges. In the slopes, it spots a mountain goat with a swaying gait, which has been attacked and killed by a tiger, which has then drunk up the radiant, red blood of the mountain goat with relish. The male vulture then ceaselessly steals the smelling flesh of this carcass, abandoned by the flesh-reeking tiger, akin to highway robbers, in that wide and faraway drylands, filled with dull-leaved burflower trees! O heart, you stand behind me and nudge me, pointing to those drylands, asking me to travel thither and bring back wealth! How will these truth-like falsehoods from your mouth save me from my suffering, at that moment, when the beautiful eyes, set in perfect proportion to the heavy earrings, belonging to my naive maiden, wearing well-etched ornaments, and having red lips, akin to coral tree petals that render beautiful and sweet words, appear before me and block me in that long and winding, formidable path in the drylands?” Time to delve into the nuances. The man starts with an intricate description of the drylands. First, we get to see the skin of a saltwater crocodile in the backwaters. Wait a minute, isn’t this the drylands? Why are we talking about the backwaters that are out of place here? Only to bring that striking image from another landscape as a parallel to the bark on the branch of a toothbrush tree that stands in these very drylands. A moment to reflect on the crocodiles referred! I learnt that though saltwater crocodiles were present in huge numbers in both Tamilnadu and Kerala. They were hunted to extinction around the 1930s and now all we have are the mugger or marsh freshwater crocodiles in these regions. By comparing the skin of a crocodile and the bark of a toothbrush tree, the Sangam poets bring flora and fauna together, representing the oneness of life. Moving on, the toothbrush tree has been brought to our attention to spotlight a tired mother vulture that has just given birth. Next to it, we see its mate, a male vulture with red ears. It has been lying there, not knowing what to do. It decides it must do something for its mate and so it stands up and soars in search of food. Roving the skies, on the mountain slopes, the keen-eyed vulture spots a mountain goat being felled by a tiger. The tiger then drinks up the blood and leaves the spoils behind, upon which our vulture scavenges and takes back the loot, like the thieving denizens of that drylands, the man describes. The man now turns to his heart and says that it has been pestering him to go to these drylands and beyond to bring back wealth. However, his past experiences make him turn to his heart and ask how can it even help him when the beautiful eyes of his lady appear in the middle of his journey and torment him! Saying so, the man decides not to venture forth, parting with the lady. In the description of the female vulture and its caring mate, the man places a metaphor for his own intention of providing for his lady and bringing back wealth for their happy life. At the same time, he’s conflicted because the pain of parting with her was too much for him to bear on a prior journey and he knows the same will follow him this time too. We have seen countless songs wherein the Sangam woman laments that the man has left

In this episode, we delve into the art of conveying a nuanced message, as depicted in Sangam Literary work, Aganaanooru 2, penned by Kabilar. Set among the rocks and boulders of the ‘Kurinji’ or ‘Mountain landscape’, the verse reveals the sensory delights of this land. கோழிலை வாழைக் கோள் முதிர் பெருங் குலைஊழுறு தீம் கனி, உண்ணுநர்த் தடுத்தசாரற் பலவின் சுளையொடு, ஊழ் படுபாறை நெடுஞ் சுனை, விளைந்த தேறல்அறியாது உண்ட கடுவன் அயலதுகறி வளர் சாந்தம் ஏறல்செல்லாது,நறு வீ அடுக்கத்து மகிழ்ந்து கண்படுக்கும்குறியா இன்பம், எளிதின், நின் மலைப்பல் வேறு விலங்கும் எய்தும் நாட! குறித்த இன்பம் நினக்கு எவன் அரிய?வெறுத்த ஏஎர், வேய் புரை பணைத் தோள்,நிறுப்ப நில்லா நெஞ்சமொடு நின்மாட்டு,இவளும், இனையள்ஆயின், தந்தைஅருங் கடிக் காவலர் சோர் பதன் ஒற்றி,கங்குல் வருதலும் உரியை; பைம் புதல்வேங்கையும் ஒள் இணர் விரிந்தன;நெடு வெண் திங்களும் ஊர்கொண்டன்றே. Now, it’s the turn of the mountains to feature in Aganaanooru and I learnt that we can expect every poem ending in 2 or 8, totalling 80 poems, to transport us to the lush mountains of ancient Tamil land. Evidence of the mathematical rigour in the arrangement of these verses, I spoke about earlier! Here are the words that are rendered by the lady’s confidante to the man, when he comes to tryst with the lady: “Huge fruit clusters in the luxuriant-leaved plantain, which have reached their natural destiny of ripeness, along with slices of jackfruit growing on the slopes, which satiate those who savour them because of their extreme sweetness, fall on age-old rocks and fuse with the wide springs. Such a delicate nectar is relished unknowingly by a male monkey, which then intoxicated, climbs not the sandalwood tree covered in pepper vines nearby, but instead sleeps with content, on the slopes filled with fragrant flowers. Such pleasures unsought for, are available so effortlessly to the many animals in your land, O lord! If that is so, how will a pleasure that you seek be hard to attain for you? She, the one with overflowing beauty and bamboo-like, thick arms, has a heart that refuses to heed any obstacle and rushes to you. Such is her love for you! However, you need to watch out for those moments of fatigue in her father’s stern guards to come meet her at night; For now, amidst the green leaves of the Kino tree, bright flowers have bloomed, and the full, white moon too is out on the prowl!” Let’s delve into the details. The confidante starts by talking about the man’s land, and to do that, she brings before our eyes, the image of the lush fruits, not only from a mountain plantain, but also the slices of a jackfruit that people fear because of their extreme sweetness. Imagine those delectable flavours! The pulp and nectar of both these fruits fall and dash against some rocks that have been standing there for eternity and then find their way to the springs and streams gushing nearby. A male monkey arrives near the stream and drinks up the water unknowingly and becomes so intoxicated by the sweetness that it doesn’t want to climb the sandalwood tree with pepper vines. But instead, it curls up for a good sleep amidst the flowers of the valley. The confidante has brought forth such a delicate narration to simply say such unimagined and unexpected pleasures are so easily to be found by even the animals of the man’s domain. She wonders when this is true, how will the lord of this domain, the man, be thwarted from a pleasure he seeks willingly! As if answering her rhetorical question, the confidante talks about how the lady reciprocates the man’s love steadfastly and that the lady’s heart heeds no one in its journey to be by the man’s side. While all may seem so gung-ho, the confidante introduces a thorn in her narrative, saying while these things seemed to be in the man’s favour, the man will still have to bide his time and wait for that rare moment when the guards that the lady’s father had assembled around their house, felt fatigue. The confidante ends her words by stating how the full moon was out in the blue skies, and the Kino trees were in full bloom, shedding the glow of their bright flowers, as well! Through that finishing note, the confidante stresses how the man will be easily discovered in the light of the full moon, by the watchful guards around the lady’s home, thereby dissuading the man’s hidden hope of trysting by night. In her reference to the blooming Kino flowers, the confidante mentions that it’s the harvest season, and also, the season of marriages in their culture. Further, in that exquisite description of the sleeping monkey, the confidante places a metaphor for how the man seemed only intent on relishing the pleasures with the lady and it was now time to put some effort in climbing the sandalwood tree of a married union. Thus, in exquisite Sangam style, elements of nature are woven together intricately with the dynamics of relationship and responsibility and presented as

I’m delighted to begin our exploration of Aganaanooru, a collection of four hundred verses of poetry, arranged with precision, to echo the inner life of ancient Tamils. In this episode, we perceive the emotions of a lady, parted away from her man, as depicted in Sangam Literary work, Aganaanooru 1, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands’ landscape, the verse depicts intricate elements of land and love with equal finesse. ”வண்டு படத் ததைந்த கண்ணி, ஒண் கழல்,உருவக் குதிரை மழவர் ஓட்டியமுருகன் நற் போர் நெடு வேள் ஆவி,அறுகோட்டு யானைப் பொதினி ஆங்கண்,சிறு காரோடன் பயினொடு சேர்த்தியகல் போல் பிரியலம்” என்ற சொல்தாம்மறந்தனர்கொல்லோ தோழி! சிறந்தவேய் மருள் பணைத் தோள் நெகிழ, சேய் நாட்டுப்பொலங்கல வெறுக்கை தருமார் நிலம் பக,அழல் போல் வெங்கதிர் பைது அறத் தெறுதலின்,நிழல் தேய்ந்து உலறிய மரத்த; அறை காய்பு,அறுநீர்ப் பைஞ் சுனை ஆம் அறப் புலர்தலின்,உகு நெல் பொரியும் வெம்மைய; யாவரும்வழங்குநர் இன்மையின், வௌவுநர் மடிய,சுரம் புல்லென்ற ஆற்ற; அலங்கு சினைநார் இல் முருங்கை நவிரல் வான் பூச்சூரல்அம் கடு வளி எடுப்ப, ஆருற்று,உடை திரைப் பிதிர்வின் பொங்கி, முன்கடல் போல் தோன்றல காடு இறந்தோரே? At the word go, the thing that struck me about this collection of verses was its perfect organisation. The poems in specific landscapes have been placed in specific positions with mathematic rigour. For instance, the first song we are exploring is a song from the ‘Paalai’ landscape, and I learnt that every odd-numbered song in this collection, totalling 200, is going to be from the same drylands domain. What about the other landscapes? That we’ll explore as we encounter each one! Here’s a translation of the first poem in this long series of drylands songs, wherein a lady speaks her heart to her confidante, saying: “‘Renowned for the head garland, swarming with bees, and radiant anklets, which he wears, and the ‘Mazhavars’, with their handsome horses, whom he routed, is the God-Murugan-like, battle-worthy, tall-speared ‘Aavi’, the ruler of ‘Pothini’, a land known for its battle elephants with neatly shaped tusks. Akin to a whetstone assembled together with a strong glue by a young stone-worker in this land, we shan’t part’, he said! Has he forgotten that, my friend?  Making my fine, thick, bamboo-like arms to wither away, so as to return with an abundance of gold ornaments from a faraway country, he left to that place, where splitting the earth beneath, fire-like hot rays of the sun clear the land of anything green, leaving trees with fading shadows, rocks that scorch, fresh springs with sweet waters to dry up without any respite, and the paddy falling down from the stalks to become fried and turn into puffed rice. Seeing no travellers around, even the waylaying robbers feel deprived in this listless-looking drylands path. From the swaying branches of the fibre-less drumstick tree, the withering, white flowers, severed by the hot and harsh winds, spread around and resound, akin to the spray of the breaking waves in the ocean’s front. Such is the drylands jungle, where he parted away to!” Time to delve deeper into the nuances. The lady segments her words into three different sections. She first brings forth the promise made by the man and rather than simply saying he said that he would never ever part from me, she goes on to talk about a leader named ‘Aavi’ who was the ruler of ‘Pothini’, which some scholars say refer to the contemporary ‘Pazhani Hills’ of Tamil Nadu. This ruler is portrayed as a fine warrior, who has worn over the Mazhavars, owners of sturdy horses. But it’s not the leader the lady wants to focus on and rather turns her attention to the land he rules over, and here too, she zooms on to a particular professional, a stone-worker, and further, on an efficient whetstone that this person assembles using a stone base, a strong glue and possibly a sturdy handle. Why the lady talks about this object of industry is to bring in parallel the inseparability of the glued-together stone and handle to the promise of the man, who said they would be together so, never separating! After rendering the promise made by the man, the lady shifts to talk about the reason why he broke that promise and parted away, and that’s simply because the man wants to return with great wealth from a faraway land, and in this process, he makes the lady’s health fade. After this, the lady comes to the third and final part of her rendition, and brings before our eyes, the place where the man has left to. This is a place where the scorching rays of the sun vanquish anything green, and thereby, make the trees to lose the luxury of their thick shadows. Further, the rocks are burning away, springs are drying away and the paddy that’s falling down instantly becomes puffed rice! This reference reminded me of a video I recently saw, of a woman opening her window and extending a frying pan with a raw egg, and in minutes, that raw egg t

In this episode, we listen to the consoling words of the confidante, as depicted in Sangam Literary work, Kalithogai 150, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and portrays trust in the goodness and compassion of a person. அயம் திகழ் நறுங் கொன்றை அலங்கல் அம் தெரியலான்இயங்கு எயில் எயப் பிறந்த எரி போல, எவ்வாயும்,கனை கதிர் தெறுதலின், கடுத்து எழுந்த காம்புத் தீமலை பரந்து தலைக் கொண்டு முழங்கிய முழங்கு அழல்மயங்கு அதர் மறுகலின், மலை தலைக் கொண்டென,விசும்பு உற நிவந்து அழலும், விலங்கு அரு, வெஞ் சுரம் இறந்து தாம் எண்ணிய எய்துதல் வேட்கையால்,அறம் துறந்து ஆயிழாய்! ஆக்கத்தில் பிரிந்தவர்பிறங்கு நீர் சடைக் கரந்தான் அணி அன்ன நின் நிறம்பசந்து, நீ இனையையாய், நீத்தலும் நீப்பவோ? கரி காய்ந்த கவலைத்தாய், கல் காய்ந்த காட்டகம்,‘வெரு வந்த ஆறு’ என்னார், விழுப் பொருட்கு அகன்றவர்,உருவ ஏற்று ஊர்தியான் ஒள் அணி நக்கன்ன, நின்உரு இழந்து இனையையாய், உள்ளலும் உள்ளுபவோ? கொதித்து உராய்க் குன்று இவர்ந்து, கொடிக் கொண்ட கோடையால்,‘ஒதுக்கு அரிய நெறி’ என்னார், ஒண் பொருட்கு அகன்றவர்,புதுத் திங்கட் கண்ணியான் பொன் பூண் ஞான்று அன்ன, நின்கதுப்பு உலறும் கவினையாய், காண்டலும் காண்பவோ? ஆங்குஅரும் பெறல் ஆதிரையான் அணி பெற மலர்ந்தபெருந் தண் சண்பகம் போல, ஒருங்கு அவர்பொய்யார் ஆகுதல் தெளிந்தனம்மை ஈர் ஓதி மட மொழியோயே! It’s the confidante’s voice we hear again, but this time, she works her charm on the lady. The words can be translated as follows: “Akin to the flame that was shot to burn the hanging forts by the One, wearing a beautiful garland, woven with the flowers of the golden shower, blooming near the waters, as the thick rays of the sun tormented all the time, a wild fire shot up with fury in the bamboos, and spread across the mountains. The roaring heat in the bewildering jungle paths, rose from the mountains and soared till the skies, scattering the animals in that harsh and scorching drylands! Leaving thither with the desire of attaining what he wanted, he seems to have let go of righteousness, O maiden wearing well-etched jewels, so as to go in search of wealth. But would he want to forsake you utterly, making you suffer and causing pallor to spread on your radiant hue, akin to the One, who holds the abundant river in the locks of his hair? In those burnt and scorched forking paths amidst the dry jungles in the mountain, without considering ‘This is a fearsome path’, he parted away to gain wealth. But would he want to think that you would suffer so much, losing your form, in the glowing complexion of the One, who rides a handsome bull? To those peaks, where the scorching summer sun has planted its flag, without considering, ‘This is a path to be avoided’, he parted away to earn wealth. But would he want to see the withering of your lush, dark tresses, hanging low, akin to the golden ornaments worn by the One, who wears a head garland of the crescent moon? And so, akin to how the huge and cool golden champak flowers, which adorn the First One, who rules over the precious Aathirai star, blooms without fail in the right time, he too would never fail in his words. Know this and be at peace, O maiden with thick, moist tresses and naive, sweet words!” Time to delve into the details. The verse is situated in the context of a man’s parting from his lady, after marriage, to seek wealth. Here, the confidante comforts her friend, as the lady wallows because of the separation. Curiously, the confidante begins her words not by describing the man’s domain by the sea or even the time of the day, as has been the custom in these past songs, but instead focuses on the place, to which the man has left, which is the drylands. She sketches the scorching heat of this region, where bamboos burst aflame and wild fires spread throughout, dispersing animals and confusing the wayfarers. To etch the heat of this land, the confidante presents the mythological reference of a God, who aims a flaming arrow at the hanging forts of the demons. Looking back to the very first Kalithogai verse, after the God’s praise, Kalithogai 2, we would find the same reference to God Siva, burning the three forts of the demons. Returning back to the reality of the drylands, the confidante connects how the man had left to such a place, seemingly without a sense of justice, just following his own ambition, without thinking how fearsome those scorched paths would be, without deciding to avoid those paths where the burning summer sun reigned with terror, all because the man wanted to earn wealth. At the same time, the confidante asks her friend whether the lady thought the man would utterly abandon her, making pallor spread on her form, lose her health and glow and wither her thick tresses. In each of these sentences, the confidante elevates the beauty of the lady by comparing it with references to God Siva, placing in parallel with the lady’s qualities, his radiant hue, his glowing complexion and the golden ornaments that hang low on his chest. Although the God is n

In this episode, we perceive abstractions on ethics in human behaviour, as portrayed in Sangam Literary work, Kalithogai 149, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and puts forth a well-thought-out plea! நிரை திமில் களிறாக, திரை ஒலி பறையாக,கரை சேர் புள்ளினத்து அம் சிறை படையாக,அரைசு கால் கிளர்ந்தன்ன உரவு நீர்ச் சேர்ப்ப! கேள்: கற்பித்தான் நெஞ்சு அழுங்கப் பகர்ந்து உண்ணான் விச்சைக்கண்தப்பித்தான் பொருளேபோல், தமியவே தேயுமால்,ஒற்கத்துள் உதவியார்க்கு உதவாதான்; மற்று அவன்எச்சத்துள் ஆயினும், அஃது எறியாது விடாதே காண் கேளிர்கள் நெஞ்சு அழுங்கக் கெழுவுற்ற செல்வங்கள்தாள் இலான் குடியே போல், தமியவே தேயுமால்,சூள் வாய்த்த மனத்தவன் வினை பொய்ப்பின்; மற்று அவன்வாள் வாய் நன்று ஆயினும், அஃது எறியாது விடாதே காண் ஆங்குஅனைத்து, இனி பெரும! அதன் நிலை நினைத்துக் காண்:சினைஇய வேந்தன் எயிற்புறத்து இறுத்தவினை வரு பருவரல் போல,துனை வரு நெஞ்சமொடு வருந்தினள் பெரிதே. After a long time, we get to hear the wise voice of the lady’s confidante in this one! The words can be translated as follows: “With rows of ships as elephants, roar of waves as drums, rout of birds with exquisite wings, gathering on the shore, as soldiers, akin to a king readying for a battle, appears the sea in your domain, O lord! Listen: Akin to the wealth of one, who has missed learning in life, the one who leaves the heart of his teacher to suffer, by not sharing his food with him, will be ruined inevitably; When a man does not help the one, who helped him when in suffering, that act will not spare him, even after his death! Akin to the livelihood of one, who does not make any effort, even prosperous wealth gathered by making the heart of kin suffer, will be ruined inevitably; When a man who swore an oath from his heart fails in his action, that act will not spare him, even if he wields a formidable sword! Such is the truth now, O lord! Consider the consequences! Akin to the suffering that soars by the act of a furious king, who has laid siege to their fort, with an angst-filled heart, she languishes greatly!” Let’s explore the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and here the confidante speaks to the man on behalf of the lady. Returning to the old custom of describing the man’s land, the confidante sketches the ships there as elephants, the birds adorning the shores with their bright wings as soldiers and the thundering roar of the waves as the sound of drums and connects how the seas around the man’s domain appear like a king preparing for war. Then, she talks about certain elements that are doomed to be ruined and these are the wealth of a person, who is uneducated, and the livelihood of a person, who takes no effort, and these are placed in parallel to the inevitable ruin of the man, who does not share his food with his teacher, and the one, who has gathered wealth by making the heart of his relatives suffer. Then, the confidante connects these abstractions to the situation wherein a man does not return the help rendered to him and when a man fails to fulfil his oath, and describes how even if this man bears a fierce sword, and even after his death, that act will not spare him ever. With those words, the confidante reminds the man of how the lady had saved him from suffering in the early days of their courtship and how the man had sworn oaths many to win the lady over. Through this, the confidante subtly warns that the same fate awaits the man, if he forgets the help rendered and the oaths sworn. Changing tracks, the confidante concludes by talking about how the lady suffers greatly, like the people in a fort, which has been laid siege to, by a furious enemy king. Intriguing to observe the flow of thought in this verse, which starts with praise for the man’s land, and then enters the domain of explaining what’s right and wrong, appealing to the man’s sense of justice, and finally, ends knocking on the door of the man’s compassion, by painting a portrait of that pining lady. Such situations may not be relevant in our lives, but the art of negotiation in these ancient words sure glows with a timeless truth!

In this episode, we listen to a lady’s conversation with an evening, as depicted in Sangam Literary work, Kalithogai 148, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and echoes the emotions of a parted maiden. தொல் இயல் ஞாலத்துத் தொழில் ஆற்றி, ஞாயிறு,வல்லவன் கூறிய வினை தலை வைத்தான்போல்,கல் அடைபு, கதிர் ஊன்றி, கண் பயம் கெடப் பெயர;அல்லது கெடுப்பவன் அருள் கொண்ட முகம் போல,மல்லல் நீர்த் திரை ஊர்பு, மால் இருள் மதி சீப்ப;இல்லவர் ஒழுக்கம் போல், இருங் கழி மலர் கூம்ப;செல்லும் என் உயிர்ப் புறத்து இறுத்தந்த மருள் மாலை! மாலை நீஇன்புற்றார்க்கு இறைச்சியாய் இயைவதோ செய்தாய்மன்;அன்புற்றார் அழ, நீத்த அல்லலுள், கலங்கியதுன்புற்றார்த் துயர் செய்தல் தக்கதோ, நினக்கு? மாலை நீகலந்தவர் காமத்தைக் கனற்றலோ செய்தாய்மன்;நலம் கொண்டு நல்காதார் நனி நீத்த புலம்பின்கண்அலந்தவர்க்கு அணங்கு ஆதல் தக்கதோ, நினக்கு? மாலை நீஎம் கேள்வற் தருதலும் தருகல்லாய்; துணை அல்லை;பிரிந்தவர்க்கு நோய் ஆகி, புணர்ந்தவர்க்குப் புணை ஆகி,திருந்தாத செயின் அல்லால் இல்லையோ, நினக்கு? என ஆங்குஆய் இழை மடவரல் அவலம் அகல,பாய் இருட் பரப்பினைப் பகல் களைந்தது போல,போய் அவர் மண் வௌவி வந்தனர்சேய் உறை காதலர் செய் வினை முடித்தே. Those long songs of lament have ended finally and here’s a crisp comment to the time of the day. The words can be translated as follows: “After performing its ancient mission for the land, the sun, as if getting ready for the task assigned by the Skilled One, retreats to the mountains, folding its rays and making the eyes lose the boon of sight. Akin to the gracious face of one, who ends evil, traversing the brimming waves of the ocean, arrived the moon, dispelling darkness. Akin to the attitude of those, who do not have wealth to give, the flowers in the dark backwaters closed their buds; Thus, the bewildering evening too has come to assail my life that’s fading away! O evening! You do all the right things to those, who are happily united; Is it right on your part to shower sorrow on those who are in distress, when their beloved has parted away and left them in tears? O evening! You add to the heat of passion in those, who are together; Is it right on your part to shower terror on those who are in angst, when the one who savoured their beauty, has parted away and left them with loneliness? O evening! You don’t fulfil the task of bringing back my beloved; You are no companion to me; You become the affliction in those, who are parted, but the raft for those sailing together in love. Is it right on your part to act so unfairly? And so, to end the suffering of the naive maiden, wearing beautiful jewels, akin to how the day arrives to scatter the spreading darkness, the one who had gone to capture the land of his enemies, her beloved, who had been far away, after completing his mission, returned to her!” Let’s explore the nuances. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the lady and the onlookers express the emotions herein. The lady starts by commenting on the sun’s forever task of creating the day. Then, she talks about how as if the god of love asked the sun to get going, the orb was parting away to the mountains. Just then, with the face of a person, who wants to right a wrong thing, the moon arrived there, she says. Adding another simile, the lady points to how the flowers are closing their buds, like the behaviour of those, who have no wealth to give unto those, who come seeking. Such is the nature of the evening, which has come there to take her life, says the lady. Then, in the old three-step Kalithogai format, the lady remarks on the nature of the evening to add joy, to raise the passion and become a raft to those who are in the state of being united with their beloved but at the same time, it torments, tortures and terrifies those, who are away from their beloved, and she ends by questioning why the evening was so unfair in this manner. Summarising these laments of the lady, the onlookers conclude talking about how the man who had gone away on a mission of war, succeeded in it, and came back to the lady, like the day and dispelled the darkness of sorrow in the lady. Interesting how the verse starts with the day ending and the sun parting away, and ends with the day beginning and the sun of the lady’s life, shining bright on her face!

In this episode, we listen to a lady’s pleas to the world around, as portrayed in Sangam Literary work, Kalithogai 147, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and narrates the torment of a lady and the resolution of her travails. கண்டோர்:ஆறு அல்ல மொழி தோற்றி, அற வினை கலக்கிய,தேறு கள் நறவு உண்டார் மயக்கம்போல், காமம்வேறு ஒரு பாற்று ஆனதுகொல்லோ? சீறடிச்சிலம்பு ஆர்ப்ப, இயலியாள் இவள் மன்னோ, இனி மன்னும்புலம்பு ஊரப் புல்லென்ற வனப்பினாள் விலங்கு ஆக,வேல் நுதி உற நோக்கி, வெயில் உற, உருகும் தன்தோள் நலம் உண்டானைக் கெடுத்தாள் போல், தெருவில் பட்டு,ஊண் யாதும் இலள் ஆகி, உயிரினும் சிறந்த தன்நாண் யாதும் இலள் ஆகி, நகுதலும் நகூஉம்; ஆங்கேபெண்மையும் இலள் ஆகி அழுதலும் அழூஉம்: தோழி! ஓர்ஒண்ணுதல் உற்றது உழைச் சென்று கேளாமோ? தலைவி:இவர் யாவர் ஏமுற்றார் கண்டீரோ? ஓஒ!அமையும் தவறிலீர் மற்கொலோ நகையின்மிக்கதன் காமமும் ஒன்று என்ப; அம் மாபுது நலம் பூ வாடியற்று, தாம் வீழ்வார்மதி மருள நீத்தக்கடை என்னையே மூசி, கதுமென நோக்கன்மின் வந்துகலைஇய கண், புருவம், தோள், நுசுப்பு, ஏஎர்சில மழைபோல் தாழ்ந்து இருண்ட கூந்தல், அவற்றைவிலை வளம் மாற அறியாது, ஒருவன்வலை அகப்பட்டது என் நெஞ்சுவாழிய, கேளிர்! பலவும் சூள் தேற்றித் தெளித்தவன் என்னைமுலையிடை வாங்கி முயங்கினன், நீத்தகொலைவனைக் காணேன்கொல், யான்?காணினும், என்னை அறிதிர்; கதிர் பற்றி,ஆங்கு எதிர் நோக்குவன் ஞாயிறே! எம் கேள்வன்யாங்கு உளன் ஆயினும் காட்டீமோ? காட்டாயேல்,வானத்து எவன் செய்தி, நீ?ஆர் இருள் நீக்கும் விசும்பின் மதி போல,நீருள்ளும் தோன்றுதி, ஞாயிறே! அவ் வழித்தேரை தினப்படல் ஓம்புநல்கா ஒருவனை நாடி யான் கொள்வனை,பல் கதிர் சாம்பிப் பகல் ஒழிய, பட்டீமோசெல் கதிர் ஞாயிறே! நீ அறாஅல் இன்று அரி முன்கைக் கொட்கும்பறாஅப் பருந்தின்கண் பற்றிப் புணர்ந்தான்கறாஅ எருமைய காடு இறந்தான்கொல்லோ?உறாஅத் தகை செய்து, இவ் ஊர் உள்ளான்கொல்லோ?செறாஅது உளனாயின், கொள்வேன்; அவனைப்பெறாஅது யான் நோவேன்; அவனை எற் காட்டிச்சுறாஅக் கொடியான் கொடுமையை, நீயும்,உறாஅ அரைச! நின் ஓலைக்கண் கொண்டீ,மறாஅ அரைச! நின் மாலையும் வந்தன்று;அறாஅ தணிக, இந் நோய்தன் நெஞ்சு ஒருவற்கு இனைவித்தல், யாவர்க்கும்அன்னவோ காம! நின் அம்பு? கையாறு செய்தானைக் காணின், கலுழ் கண்ணால்பையென நோக்குவேன்; தாழ் தானை பற்றுவேன்;ஐயம் கொண்டு, என்னை அறியான் விடுவானேல்ஒய்யெனப் பூசல் இடுவேன்மன், யான் அவனைமெய்யாகக் கள்வனோ என்று வினவன்மின் ஊரவிர்! என்னை, எஞ்ஞான்றும்மடாஅ நறவு உண்டார் போல, மருளவிடாஅது உயிரொடு கூடிற்று என் உண்கண்படாஅமை செய்தான் தொடர்பு கனவினான் காணிய, கண் படாஆயின்,நனவினான், ஞாயிறே! காட்டாய் நீஆயின்,பனை ஈன்ற மா ஊர்ந்து, அவன் வர, காமன்கணை இரப்பேன், கால் புல்லிக்கொண்டு கண்டோர்:என ஆங்கு,கண் இனைபு, கலுழ்பு ஏங்கினள்;தோள் ஞெகிழ்பு, வளை நெகிழ்ந்தனள்;அன்னையோ! எல்லீரும் காண்மின்; மடவரல்மெல் நடைப் பேடை துனைதர, தற் சேர்ந்தஅன்ன வான் சேவல் புணர்ச்சிபோல், ஒண்ணுதல்காதலன் மன்ற அவனை வரக் கண்டு, ஆங்குஆழ் துயரம் எல்லாம் மறந்தனள், பேதைநகை ஒழிந்து, நாணு மெய் நிற்ப, இறைஞ்சி,தகை ஆகத் தையலாள் சேர்ந்தாள் நகை ஆக,நல் எழில் மார்பனகத்து. Yet another long song of pining and pleading! The words can be translated as follows: “Onlookers: Akin to the intoxication of those, who have savoured clear toddy that makes them speak unsuitable words and impedes them from doing righteous acts, has love taken on a different nature now? Wasn’t she one, who used to move about, making anklets on her small feet resound? But now, filled with loneliness, she has lost her beauty. She, who arrested her man with her eyes, akin to spear tips, now melts in the scorching sun. Looks like she has lost the one, who savoured the beauty of her arms, for she roves in the streets, forgoing food, forgoing the sense of modesty greater than her life, and laughs out aloud; Forgoing her femininity, she cries too! My friend, shall we go and listen to what has happened to the maiden with the shining forehead? Lady: Have you come here asking, ‘Who is this? Has she lost her senses?’ Don’t you know that there is nothing wrong in excessive laughter and that is also an expression of love? Akin to how bees seek a new flower and then part away, leaving the bloom to fade, when the beloved leaves, the one in love is left in bewilderment. Don’t swarm around and look piercingly at me! Without knowing how to seek something in return for my eyes that fused with his, my eyebrows, waist and tresses that descend, akin to rain clouds, my heart too got caught in his net! Long may my beloved live! Swearing oaths many, he rendered clarity and won me over; Will I get to see that murderer, who embraced my bosom close, and then vanished away? If I were to see him, then you will understand my state! Holding on to your rays, I will look, O sun! Won’t you show me where my lover is? If you can’t, what is the use of you being in the sky? Akin to the moon in the sky that dispels the deep darkness, you appear on the surface of water! Run away and protect yourself, for otherwise the toad in the water may feed on you! Before I can seek and capture the one, who has left me, without rendering his grace, do not fold your many rays and end the day, O moving sun! Unceasingly, holding on to my forearm covered in fine hair, akin to an eagle that flies away not, he stayed and united with me. Has he now left to the drylan

In this episode, we perceive the soaring suffering in a lady, as depicted in Sangam Literary work, Kalithogai 146, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and echoes the state of a pining woman. கண்டோர்:உரை செல உயர்ந்து ஓங்கி, சேர்ந்தாரை ஒரு நிலையேவரை நில்லா விழுமம் உறீஇ, நடுக்கு உரைத்து, தெறல் மாலைஅரைசினும் அன்பு இன்றாம், காமம்; புரை தீர,அன்ன மென் சேக்கையுள் ஆராது, அளித்தவன்துன்னி அகல, துறந்த அணியளாய்,நாணும் நிறையும் உணர்கல்லாள், தோள் ஞெகிழ்பு,பேர் அமர் உண்கண் நிறை மல்க, அந் நீர் தன்,கூர் எயிறு ஆடி, குவிமுலைமேல் வார்தர,தேர் வழி நின்று தெருமரும்; ஆயிழைகூறுப கேளாமோ, சென்று? தலைவி:‘எல்லிழாய்! எற்றி வரைந்தானை, நாணும் மறந்தாள்’ என்று,உற்றனிர் போல வினவுதிர்! மற்று இதுகேட்டீமின், எல்லீரும் வந்து வறம் தெற மாற்றிய வானமும் போலும்;நிறைந்து என்னை மாய்ப்பது ஓர் வெள்ளமும் போலும்சிறந்தவன் தூ அற நீப்ப, பிறங்கி வந்து,என்மேல் நிலைஇய நோய்‘நக்கு நலனும் இழந்தாள், இவள்’ என்னும்தக்கவிர் போலும்! இழந்திலேன்மன்னோமிக்க என் நாணும், நலனும், என் உள்ளமும்,அக் கால் அவனுழை ஆங்கே ஒழிந்தன! உக் காண் இஃதோ உடம்பு உயிர்க்கு ஊற்றாக,செக்கர் அம் புள்ளித் திகிரி அலவனொடு, யான்நக்கது, பல் மாண் நினைந்துகரை காணா நோயுள் அழுந்தாதவனைப்புரை தவக் கூறி, கொடுமை நுவல்வீர்! வரைபவன் என்னின் அகலான் அவனை,திரை தரும் முந்நீர் வளாஅகம் எல்லாம்,நிரை கதிர் ஞாயிற்றை, நாடு என்றேன்; யானும்உரை கேட்புழி எல்லாம் செல்வேன்; புரை தீர்ந்தான்யாண்டு ஒளிப்பான்கொல்லோ மற்று? மருள் கூர் பிணை போல் மயங்க, வெந் நோய் செய்யும்மாலையும் வந்து, மயங்கி, எரி நுதியாமம் தலை வந்தன்றுஆயின், அதற்கு என் நோய்பாடுவேன், பல்லாருள் சென்றுயான் உற்ற எவ்வம் உரைப்பின், பலர்த் துயிற்றும்யாமம்! நீ துஞ்சலைமன்எதிர்கொள்ளும் ஞாலம், துயில் ஆராது ஆங்கண்முதிர்பு என்மேல் முற்றிய வெந் நோய் உரைப்பின்,கதிர்கள் மழுங்கி, மதியும் அதிர்வது போல்ஓடிச் சுழல்வதுமன் பேர் ஊர் மறுகில் பெருந் துயிற் சான்றீரே!நீரைச் செறுத்து, நிறைவுற ஓம்புமின்கார் தலைக்கொண்டு பொழியினும், தீர்வதுபோலாது, என் மெய்க் கனலும் நோய்இருப்பினும் நெஞ்சம் கனலும்; செலினே,வருத்துறும் யாக்கை; வருந்துதல் ஆற்றேன்;அருப்பம் உடைத்து, என்னுள் எவ்வம் பொருத்தி,பொறி செய் புனை பாவை போல, வறிது உயங்கிச்செல்வேன், விழுமம் உழந்து கண்டோர்:என ஆங்குப் பாட, அருள் உற்று,வறம் கூர் வானத்து வள் உறைக்கு அலமரும்புள்ளிற்கு அது பொழிந்தாஅங்கு, மற்றுத் தன்நல் எழில் மார்பன் முயங்கலின்,அல்லல் தீர்ந்தன்று, ஆயிழை பண்பே. The story of the lady’s sorrow and salvation continues. The words can be translated as follows: “Onlookers:Even more loveless than a king, who causes limitless suffering to the very people, who have been the reason for his rise to fame, and makes them tremble with his harsh words and even ends their life, is this affliction of love! As the one, who rendered his grace flawlessly upon a bed filled with swan feathers, parted away, giving up her adornments, without feeling any shyness or satisfaction, with her arms thinning away, with her huge and beautiful eyes filling with tears, which drop down upon her sharp teeth and then pour down on the mounds of her bosom, she stands sighing in the chariot way! Shall we go and listen to what the maiden wearing well-etched jewels has to say? Lady:Saying ‘O maiden wearing radiant jewels, you have forgotten your shyness, pining for the one, who parted away’, as if with concern, you question me! All of you come here and listen to this: Akin to the skies that have deserted the land and made it parched and akin to a flood that soars and drowns me within, appears this disease that has laid siege on me, after the esteemed man had parted away. You declare, ‘She has utterly lost her beauty and health’, speaking as if you are wise! I have not lost it! My fine modesty, beauty and my heart have only left, at that time to that place, along with him. Look here! Seeing me smile thinking about the one, who has submerged me in this shoreless suffering, as I look at the spotted crabs and am reminded of his chariot wheels, you say a lot of terrible things about the man and rebuke his cruelty! Whatever you say, the one who was one with me will not abandon me, for I have asked the sun, brimming with rays to search for him in all the shores, around which the wave-filled oceans soar! I will go to all the places that they say he’s been to. So tell me, where can that flawless one hide? To turn me into a bewildered doe, the evening that causes this burning disease has arrived and the night that scorches like the tip of the flame is about to arrive too. If I speak of my sorrow to the night that makes many sleep, the night would lose its sleep! Standing upon this land, if I talk about this severe disease that lets me sleep not, dimming its rays, the moon would tremble, swirl and run away! In the streets of the big town, O wise elders, who sleep with peace! You should protect me, by blocking water and filling it all around me, for even if the rains pour down heavily, this disease that burns my form abates not! When he’s here, the heart’s on fire and when he parts, suffers my form; I have no way to bear my suffering; The surging pain breaks the fort of my defences and m

In this episode, we perceive the fire in a lady’s heart, as portrayed in Sangam Literary work, Kalithogai 145, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and depicts the conversations of a pining woman in love. கண்டோர்:‘துனையுநர் விழை தக்க சிறப்புப்போல், கண்டார்க்குநனவினுள் உதவாது நள்ளிருள் வேறாகும்கனவின் நிலையின்றால், காமம்; ஒருத்திஉயிர்க்கும்; உசாஅம்; உலம்வரும்; ஓவாள்,கயல் புரை உண்கண் அரிப்ப அரி வார,பெயல் சேர் மதி போல, வாள் முகம் தோன்ற,பல ஒலி கூந்தலாள், பண்பு எல்லாம் துய்த்துத்துறந்தானை உள்ளி, அழூஉம்; அவனைமறந்தாள்போல் ஆலி நகூஉம்; மருளும்; தலைவி:‘சிறந்த தன் நாணும் நலனும் நினையாது,காமம் முனைஇயாள், அலந்தாள்’ என்று, எனைக் காண,நகான்மின்; கூறுவேன், மாக்காள்! மிகாஅது,மகளிர் தோள் சேர்ந்த மாந்தர் துயர் கூர நீத்தலும்,நீள் சுரம் போகியார் வல்லை வந்து அளித்தலும்,ஊழ் செய்து, இரவும் பகலும்போல், வேறாகி,வீழ்வார்கண் தோன்றும்; தடுமாற்றம் ஞாலத்துள்வாழ்வார்கட்கு எல்லாம் வரும் தாழ்பு, துறந்து, தொடி நெகிழ்த்தான் போகிய கானம்இறந்து எரி நையாமல், பாஅய் முழங்கிவறந்து என்னை செய்தியோ, வானம்? சிறந்த என்கண்ணீர்க் கடலால், கனை துளி வீசாயோ,கொண்மூக் குழீஇ முகந்து? நுமக்கு எவன் போலுமோ? ஊரீர்! எமக்கும் எம்கண்பாயல் கொண்டு, உள்ளாக் காதலவன் செய்தபண்பு தர வந்த என் தொடர் நோய் வேதுகொள்வது போலும், கடும் பகல்? ……………………………..ஞாயிறே!எல்லாக் கதிரும் பரப்பி, பகலொடுசெல்லாது நின்றீயல் வேண்டுவல்; நீ செல்லின்,புல்லென் மருள் மாலைப் போழ்து இன்று வந்து என்னைக்கொல்லாது போதல் அரிதால்; அதனொடு யான்செல்லாது நிற்றல் இலேன் ஒல்லை எம் காதலர்க் கொண்டு, கடல் ஊர்ந்து, காலைநாள்,போதரின் காண்குவேன்மன்னோ பனியொடுமாலைப் பகை தாங்கி, யான்?இனியன் என்று ஓம்படுப்பல், ஞாயிறு! இனி ஒள் வளை ஓடத் துறந்து, துயர் செய்தகள்வன்பால் பட்டன்று, ஒளித்து என்னை, உள்ளிபெருங் கடல் புல்லென, கானல் புலம்ப,இருங் கழி நெய்தல் இதழ் பொதிந்து தோன்ற,விரிந்து இலங்கு வெண் நிலா வீசும் பொழுதினான்,யான் வேண்டு ஒருவன், என் அல்லல் உறீஇயான்;தான் வேண்டுபவரோடு துஞ்சும்கொல், துஞ்சாது?வானும், நிலனும், திசையும், துழாவும் என்ஆனாப் படர் மிக்க நெஞ்சு ஊரவர்க்கு எல்லாம் பெரு நகை ஆகி, என்ஆர் உயிர் எஞ்சும்மன்; அங்கு நீ சென்றீநிலவு உமிழ் வான் திங்காள்! ஆய் தொடி கொட்ப,அளி புறம் மாறி, அருளான் துறந்த அக்காதலன் செய்த கலக்குறு நோய்க்கு ஏதிலார்எல்லாரும் தேற்றர், மருந்து வினைக் கொண்டு என் காம நோய் நீக்கிய ஊரீர்!எனைத்தானும் எள்ளினும், எள்ளலன், கேள்வன்;நினைப்பினும், கண்ணுள்ளே தோன்றும்; அனைத்தற்கேஏமராது, ஏமரா ஆறு கனை இருள் வானம்! கடல் முகந்து, என்மேல்உறையொடு நின்றீயல் வேண்டும், ஒருங்கேநிறை வளை கொட்பித்தான் செய்த துயரால்இறை இறை பொத்திற்றுத் தீ கண்டோர்:எனப் பாடி,நோயுடை நெஞ்சத்து எறியா, இனைபு ஏங்கி,‘யாவிரும் எம் கேள்வற் காணீரோ?’ என்பவட்கு,ஆர்வுற்ற பூசற்கு அறம்போல, ஏய்தந்தார்;பாயல் கொண்டு உள்ளாதவரை வரக் கண்டு,மாயவன் மார்பில் திருப்போல் அவள் சேர,ஞாயிற்று முன்னர் இருள்போல மாய்ந்தது என்ஆயிழை உற்ற துயர். The lament of the lady continues on. The words can be translated as follows: “Onlookers:Akin to the state of those, who suffer wanting esteem immediately, is the state of those in passion, who seek their beloved in dreams, which dissipate in the dead darkness of the night and serve not in reality. Here is a woman, who sighs, who inquires and who roves around listlessly. Unceasingly, her fish-like, kohl-streaked eyes, shed tears, akin to a cascade, and her shining face appears, akin to the moon in a downpour. That maiden with thick, luxuriant tresses, letting go of all her good qualities, thinks about the one, who abandoned her, and cries with sorrow; And then, as if she forgot all about him, she laughs out aloud! In such a state of utter confusion, is she! Lady:Saying, ‘Without heeding her excellent sense of modesty and beauty, filled with love affliction, she wallows and suffers’, do not laugh seeing my state. I will tell you a little truth, O people! For men, who united with the arms of their women, to leave them with suffering and part away, and for those, who parted away to those vast drylands to return and grace their women, akin to night and day, has been happening forever and ever, and even so, this would torment those in love. This confusion and bewilderment will come for sure to all those who live upon this earth! O skies, how can you be in this dried-up state? Why don’t you ask your herd of clouds to gather from the sea of my tears, and shed a heavy downpour, resounding with thunder, so that the drylands jungle, through which the one, who made me fall and then went away, forsaking me, doesn’t burn like fire? O people of this town! I don’t how it appears to you! But to me, one shivering because I’m away from my beloved, the one, who has stolen away my sleep, and rendered unto me an unceasing affliction, this scorching day is like a heat balm! O sun, don’t spend all your rays in the day and part away, please stay! If you are to leave, that listless, confusing evening is sure to come and seize my life. It would be hard for me not to part away with it! But if you tell me that you will surely make me see my beloved, when you come crossing the seas, in the morning, then I can try to bear the cold evening’s enmity! I shall praise you as ‘The Sw

In this episode, we listen to a lady’s outpouring to the elements of the world around, as portrayed in Sangam Literary work, Kalithogai 144, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and paints a portrait of a parted woman’s pain. கண்டோர்:நன்னுதாஅல்! காண்டை: நினையா, நெடிது உயிரா,என் உற்றாள்கொல்லோ? இஃது ஒத்தி பல் மாண்நகுதரும் தன் நாணுக் கைவிட்டு, இகுதரும்கண்ணீர் துடையா, கவிழ்ந்து, நிலன் நோக்கி,அன்ன இடும்பை பல செய்து, தன்னைவினவுவார்க்கு ஏதில சொல்லி, கனவுபோல்:தெருளும் மருளும் மயங்கி வருபவள்கூறுப கேளாமோ, சென்று? தலைவி:‘எல்லா! நீ என் அணங்கு உற்றனை? யார் நின் இது செய்தார்?நின் உற்ற அல்லல் உரை’ என, என்னைவினவுவீர்! தெற்றெனக் கேண்மின்: ஒருவன்,‘குரற்கூந்தால்! என் உற்ற எவ்வம் நினக்கு யான்உரைப்பனைத் தங்கிற்று, என் இன் உயிர்’ என்று,மருவு ஊட்டி, மாறியதற்கொண்டு, எனக்குமருவு உழிப் பட்டது, என் நெஞ்சுஎங்கும் தெரிந்து, அது கொள்வேன், அவன் உள்வழி ‘பொங்கு இரு முந்நீர் அகம் எல்லாம் நோக்கினைதிங்களுள் தோன்றி இருந்த குறு முயால்!எம் கேள் இதன் அகத்து உள்வழிக் காட்டீமோ?காட்டீயாய்ஆயின், கத நாய் கொளுவுவேன்;வேட்டுவர் உள்வழிச் செப்புவேன்; ஆட்டிமதியொடு பாம்பு மடுப்பேன் மதி திரிந்தஎன் அல்லல் தீராய் எனின்’என்று, ஆங்கே, உள் நின்ற எவ்வம் உரைப்ப, மதியொடுவெண் மழை ஓடிப் புகுதி; சிறிது என்னைக்கண்ணோடினாய் போறி, நீ! நீடு இலைத் தாழைத் துவர் மணற் கானலுள்ஓடுவேன்; ஓடி ஒளிப்பேன்; பொழில்தொறும்நாடுவேன்; கள்வன் கரந்திருக்கற்பாலன்கொல்?ஆய் பூ அடும்பின் அலர்கொண்டு, உதுக் காண், எம்கோதை புனைந்த வழிஉதுக் காண் சாஅய் மலர் காட்டி, சால்பிலான், யாம் ஆடும்பாவை கொண்டு ஓடியுழிஉதுக் காண் தொய்யில் பொறித்த வழிஉதுக் காண் ‘தையால்! தேறு’ எனத் தேற்றி, அறனில்லான்பைய முயங்கியுழி அளிய என் உள்ளத்து, உயவுத் தேர் ஊர்ந்து,விளியா நோய் செய்து, இறந்த அன்பிலவனைத்தெளிய விசும்பினும் ஞாலத்தகத்தும்வளியே! எதிர்போம் பல கதிர் ஞாயிற்றுஒளி உள்வழி எல்லாம் சென்று; முனிபு எம்மைஉண்மை நலன் உண்டு ஒளித்தானைக் காட்டீமோ;காட்டாயேல், மண்ணகம் எல்லாம் ஒருங்கு சுடுவேன், என்கண்ணீர் அழலால் தெளித்து பேணான் துறந்தானை நாடும் இடம் விடாயாயின்பிறங்கு இரு முந்நீர்! வெறு மணலாகப்புறங்காலின் போக இறைப்பேன்; முயலின்,அறம் புணையாகலும் உண்டுதுறந்தானை நாடித் தருகிற்பாய்ஆயின், நினக்கு ஒன்றுபாடுவேன், என் நோய் உரைத்து புல்லிய கேளிர் புணரும் பொழுது உணரேன்எல்லி ஆக, ‘எல்லை’ என்று, ஆங்கே, பகல் முனிவேன்;எல்லிய காலை இரா, முனிவேன்; யான் உற்றஅல்லல் களைவார் இலேன் ஓஒ! கடலே! தெற்றெனக் கண்ணுள்ளே தோன்ற இமை எடுத்து,‘பற்றுவேன்’ என்று, யான் விழிக்குங்கால், மற்றும் என்நெஞ்சத்துள் ஓடி ஒளித்து, ஆங்கே, துஞ்சா நோய்செய்யும், அறனில்லவன் ஓஒ! கடலே! ஊர் தலைக்கொண்டு கனலும் கடுந் தீயுள்நீர் பெய்தக்காலே சினம் தணியும்; மற்று இஃதோஈரம் இல் கேள்வன் உறீஇய காமத் தீநீருள் புகினும், சுடும் ஓஒ! கடலே! ‘எற்றமிலாட்டி என் ஏமுற்றாள்?’ என்று, இந் நோய்உற்று அறியாதாரோ நகுக! நயந்தாங்கேஇற்றா அறியின், முயங்கலேன், மற்று என்னைஅற்றத்து இட்டு ஆற்று அறுத்தான் மார்பு கண்டோர்:ஆங்குகடலொடு புலம்புவோள் கலங்கு அஞர் தீர,கெடல் அருங் காதலர் துனைதர, பிணி நீங்கி,அறன் அறிந்து ஒழுகும் அங்கணாளனைத்திறன் இலார் எடுத்த தீ மொழி எல்லாம்நல் அவையுள் படக் கெட்டாங்கு,இல்லாகின்று, அவள் ஆய் நுதல் பசப்பே. Another flood of emotions from the lady’s perspective! The words can be translated as follows: “Onlookers:O maiden with a fine forehead! Look at this! What has happened to make her think so deep and sigh for long? She has become a woman, who has let go of her modesty, to the ridicule of others around, as she sits there, without wiping away her pouring tears, her head bent, looking down at the ground, tormented by such pain within, and gives strange answers to those who question her. As if in a dream, she sometimes appears with clarity, and at other times, with confusion. Shall we go listen to what she has to say? Lady:You say to me, ‘Hey dear! Why are you filled with affliction? Who did this to you? Tell us what your suffering is!’ Listen intently! A man said, ‘O maiden with thick tresses! I’m happy that my sweet life decided to remain with me, until I could come and tell about my suffering to you’. He thus came close to me, entranced me, and then went away. Since the day it got entranced thus, my heart keeps seeking him. I shall go everywhere, following it, and find the place where he is! ‘O little rabbit in the moon! You can see the length and breadth of this land, surrounded by the leaping, wide oceans! Can you show me the place where my beloved is? If you don’t, I shall incite wild dogs to hunt you down! I shall tell hunters where you are! And also, to make you suffer some more, I shall let out a snake to eat the moon, if you do not end my suffering that makes me lose my senses!’ – And so, as I express the sorrow within to you, taking the moon along, you run and hide within those white clouds! Don’t you even care a little to look at my state, before you leave? I too shall run within groves filled with long-leaved pandanus, standing on the salty sands; I shall run and hide; I shall go search in all the orchards to see if that thief is waiting therein.Will I see him in that place, where he took the beautiful flowers of the beach morning gl

In this episode, we listen to a lady’s heartfelt wish, as portrayed in Sangam Literary work, Kalithogai 143, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and paints the sorrow and smile of a woman. தலைவி:‘அகல் ஆங்கண், இருள் நீங்கி, அணி நிலாத் திகழ்ந்த பின்,பகல் ஆங்கண் பையென்ற மதியம் போல், நகல் இன்றுநல் நுதல் நீத்த திலகத்தள், “மின்னிமணி பொரு பசும் பொன்கொல்? மா ஈன்ற தளிரின்மேல்கணிகாரம் கொட்கும்கொல்?” என்றாங்கு அணி செலமேனி மறைத்த பசலையள், ஆனாதுநெஞ்சம் வெறியா நினையா, நிலன் நோக்கா,அஞ்சா, அழாஅ, அரற்றா, இஃது ஒத்திஎன் செய்தாள்கொல்?’ என்பீர்! கேட்டீமின் பொன் செய்தேன் மறையின் தன் யாழ் கேட்ட மானை அருளாது,அறை கொன்று, மற்று அதன் ஆர் உயிர் எஞ்ச,பறை அறைந்தாங்கு, ஒருவன் நீத்தான் அவனைஅறை நவ நாட்டில் நீர் கொண்டு தரின், யானும்நிறை உடையேன் ஆகுவேன்மன்ற மறையின் என்மென் தோள் நெகிழ்த்தானை மேஎய், அவன் ஆங்கண்சென்று, சேட்பட்டது, என் நெஞ்சு ‘ஒன்றி முயங்கும்’ என்று, என் பின் வருதிர்; மற்று ஆங்கே,‘உயங்கினாள்’ என்று, ஆங்கு உசாதிர்; ‘மற்று அந்தோமயங்கினாள்!’ என்று மருடிர்; கலங்கன்மின்இன் உயிர் அன்னார்க்கு எனைத்து ஒன்றும் தீது இன்மைஎன் உயிர் காட்டாதோ மற்று? பழி தபு ஞாயிறே! பாடு அறியாதார்கண்கழியக் கதழ்வை எனக் கேட்டு, நின்னைவழிபட்டு இரக்குவேன் வந்தேன் என் நெஞ்சம்அழியத் துறந்தானைச் சீறுங்கால், என்னைஒழிய விடாதீமோ என்று அழிதக மாஅந் தளிர் கொண்ட போழ்தினான், இவ் ஊரார்தாஅம் தளிர் சூடித் தம் நலம் பாடுப;ஆஅம் தளிர்க்கும் இடைச் சென்றார் மீள்தரின்,யாஅம் தளிர்க்குவேம்மன் நெய்தல் நெறிக்கவும் வல்லன்; நெடு மென் தோள்பெய் கரும்பு ஈர்க்கவும் வல்லன்; இள முலைமேல்தொய்யில் எழுதவும் வல்லன்; தன் கையில்சிலை வல்லான் போலும் செறிவினான்; நல்லபல வல்லன் தோள் ஆள்பவன் நினையும் என் உள்ளம்போல், நெடுங் கழி மலர் கூம்ப;இனையும் என் நெஞ்சம்போல், இனம் காப்பார் குழல் தோன்ற;சாய என் கிளவிபோல், செவ்வழி யாழ் இசை நிற்ப;போய என் ஒளியேபோல், ஒரு நிலையே பகல் மாய;காலன்போல் வந்த கலக்கத்தோடு என்தலைமாலையும் வந்தன்று, இனி இருளொடு யான் ஈங்கு உழப்ப, என் இன்றிப் பட்டாய்;அருள் இலை; வாழி! சுடர்!ஈண்டு நீர் ஞாலத்துள் எம் கேள்வர் இல்லாயின்,மாண்ட மனம் பெற்றார் மாசு இல் துறக்கத்துவேண்டிய வேண்டியாங்கு எய்துதல் வாயெனின்,யாண்டும், உடையேன் இசை, ஊர் அலர் தூற்றும்; இவ் உய்யா விழுமத்துப்பீர் அலர் போலப் பெரிய பசந்தனநீர் அலர் நீலம் என, அவர்க்கு, அஞ்ஞான்று,பேர் அஞர் செய்த என் கண் தன் உயிர் போலத் தழீஇ, உலகத்துமன் உயிர் காக்கும் இம் மன்னனும் என் கொலோஇன் உயிர் அன்னானைக் காட்டி, எனைத்து ஒன்றும்என் உயிர் காவாதது? கண்டோர்:என ஆங்கு,மன்னிய நோயொடு மருள் கொண்ட மனத்தவள்பல் மலை இறந்தவன் பணிந்து வந்து அடி சேர,தென்னவற் தெளித்த தேஎம் போல,இன் நகை எய்தினள், இழந்த தன் நலனே. The long songs, featuring the lament of the lady, continue on. The words can be translated as follows: “Lady: Saying, ‘Akin to the moon that dispels darkness in the wide spaces and shines with beauty and brightness, and then appears dull and listless as day arrives, her fine forehead has lost its radiance. Has gold won over in the battle with shining sapphires? Has the yellow pollen of the buttercup shed upon the tender mango shoot?’, you declare that the maiden has lost her beauty and pallor shrouds her form, and with a ceaseless emptiness, she stares at the ground below, filled with fears, tears and laments, and wonder, ‘What has she done?’. If you ask me that, I can only say, ‘Nought, have I done!’ Akin to how a hunter would play a hidden lute to lure a creature, and then without grace, full of betrayal, would seize its life, by beating the drum, a man graced me and then parted away. If you can search for him in the nation of nine and bring him back to me, I will be filled with joy. Secretly searching for the one, who has made my soft arms thin away, wanting to bring him back, my heart has left. You come behind me saying, ‘He will return and embrace you’. I say to you, ‘Do not worry that she’s heartbroken’ and ‘Do not be anxious that she’s confused’. Fear not, for he is like my very life, and if something bad had happened to him, won’t my life reveal it to me? O sun, who destroys all evil! Hearing that you shower your enmity on those, who tread not on the righteous path, I have come pleading to you, requesting you to not show your fury on the one, who parted from me, ruining my heart, for if you do, it’s me that you will destroy! Devastating me, in this time of the day when the sun appears, akin to tender mango shoots, the people of this town wear those shoots and relish their good health and beauty. Those shoots will sprout on me too, if the one who went to the drylands, where sal trees sprout, returns back to me! He is one, who is an expert in extracting blue lotuses; He is also one, who can etch those sugarcanes on my long and soft arms; He can paint thoyyil art on my young bosoms; Like the god of love, he can aim his bow at others and stay back with restraint; He’s a man of many skills, the one who rules over my arms! Akin to my heart that thinks of him, the flowers in the backwaters close their buds; Like my suffering heart, resounds the flutes of those who guard the herd; Like my confused words, the music of the ‘sevvazh

In this episode, we hear the long lament of a lady, as depicted in Sangam Literary work, Kalithogai 142, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and intricately etches the state of mind of a pining woman. கண்டோர்:புரிவுண்ட புணர்ச்சியுள் புல் ஆரா மாத்திரை,அருகுவித்து ஒருவரை அகற்றலின், தெரிவார்கண்,செய நின்ற பண்ணினுள் செவி சுவை கொள்ளாது,நயம் நின்ற பொருள் கெடப் புரி அறு நரம்பினும்பயன் இன்று மன்றம்ம, காமம் இவள் மன்னும்ஒள் நுதல் ஆயத்தார் ஓராங்குத் திளைப்பினும்,முள் நுனை தோன்றாமை முறுவல் கொண்டு அடக்கி, தன்கண்ணினும் முகத்தினும் நகுபவள்; பெண் இன்றியாவரும் தண் குரல் கேட்ப, நிரை வெண் பல்மீ உயர் தோன்ற, நகாஅ, நக்காங்கே,பூ உயிர்த்தன்ன புகழ் சால் எழில் உண்கண்ஆய் இதழ் மல்க அழும் தலைவி:ஓஒ! அழிதகப் பாராதே, அல்லல் குறுகினம்;காண்பாம் கனங்குழை பண்புஎன்று, எல்லீரும் என் செய்தீர்? என்னை நகுதிரோ?நல்ல நகாஅலிர் மற்கொலோ யான் உற்றஅல்லல் உறீஇயான் மாய மலர் மார்புபுல்லிப் புணரப் பெறின் ‘எல்லா! நீ உற்றது எவனோ மற்று?’ என்றீரேல், ‘எற் சிதைசெய்தான் இவன்’ என, ‘உற்றது இது’ என,எய்த உரைக்கும் உரன் அகத்து உண்டாயின்,பைதல ஆகிப் பசக்குவமன்னோ என்நெய்தல் மலர் அன்ன கண்? கோடு வாய் கூடாப் பிறையை, பிறிது ஒன்றுநாடுவேன், கண்டனென்; சிற்றிலுள் கண்டு, ஆங்கே,ஆடையான் மூஉய் அகப்படுப்பேன்; சூடிய,காணான் திரிதரும்கொல்லோ மணி மிடற்றுமாண் மலர்க் கொன்றையவன்?‘தெள்ளியேம்’ என்று உரைத்து, தேராது, ஒரு நிலையே,‘வள்ளியை ஆக!’ என நெஞ்சை வலியுறீஇ உள்ளி வருகுவர்கொல்லோ? வளைந்து யான்எள்ளி இருக்குவேன் மற்கொலோ? நள்ளிருள்மாந்தர் கடி கொண்ட கங்குல், கனவினால்,தோன்றினனாக, தொடுத்தேன்மன், யான்; தன்னைப்பையெனக் காண்கு விழிப்ப, யான் பற்றியகையுளே, மாய்ந்தான், கரந்து கதிர் பகா ஞாயிறே! கல் சேர்திஆயின்,அவரை நினைத்து, நிறுத்து என் கை நீட்டித்தருகுவைஆயின், தவிரும் என் நெஞ்சத்துஉயிர் திரியா மாட்டிய தீ மை இல் சுடரே! மலை சேர்தி நீ ஆயின்,பௌவ நீர்த் தோன்றிப் பகல் செய்யும் மாத்திரை,கைவிளக்காகக் கதிர் சில தாராய்! என்தொய்யில் சிதைத்தானைத் தேர்கு சிதைத்தானைச் செய்வது எவன்கொலோ? எம்மைநயந்து, நலம் சிதைத்தான்மன்றப் பனைமேல் மலை மாந் தளிரே! நீதொன்று இவ் உலகத்துக் கேட்டும் அறிதியோ?மென் தோள் ஞெகிழ்த்தான் தகை அல்லால், யான் காணேன்நன்று தீது என்று பிற நோய் எரியாகச் சுடினும், சுழற்றி, என்ஆய் இதழ் உள்ளே கரப்பன் கரந்தாங்கேநோய் உறு வெந் நீர்: தெளிப்பின், தலைக் கொண்டுவேவது, அளித்து இவ் உலகு மெலியப் பொறுத்தேன்; களைந்தீமின் சான்றீர்!நலிதரும் காமமும் கௌவையும் என்று, இவ்வலிதின் உயிர் காவாத் தூங்கி, ஆங்கு, என்னைநலியும் விழுமம் இரண்டு கண்டோர்:எனப் பாடி,இனைந்து நொந்து அழுதனள்; நினைந்து நீடு உயிர்த்தனள்;எல்லையும் இரவும் கழிந்தன என்று எண்ணி, எல்லிராநல்கிய கேள்வன் இவன் மன்ற, மெல்லமணியுள் பரந்த நீர் போலத் துணிவாம்கலம் சிதை இல்லத்துக் காழ் கொண்டு தேற்றக்கலங்கிய நீர்போல் தெளிந்து, நலம் பெற்றாள்,நல் எழில் மார்பனைச் சார்ந்து. A new series of songs on the lady’s suffering in the midst of parting and the onlookers’ perspective unfolds here. The words can be translated as follows: “Onlookers:When embraces in a desirable union are disrupted as one person is called away, making the meeting together rare, it’s akin to how without attaining the joy of savouring the song, crafted by skilled artisans, shattering the instrument, the strings of a lute break apart. Even more than those broken strings, her love lies shattered, without a purpose. She, the one, who, even when her playmates with shining foreheads got around and laughed joyously, she would restrain herself in such a way that the edges of her teeth show not, and smile only with her eyes and face. But now, lacking femininity, making everyone around hear her moist voice, showing her neat row of white teeth, she laughs aloud deliriously, even as her esteemed and beautiful kohl-streaked eyes, looking like flowers that have come to life, shed tears from their etched petals! Lady:Alas! Thinking, ‘Without minding that it will hurt, let’s go near her and see the nature of the maiden wearing heavy earrings’, all of you have come here! To do what? Is it to laugh at me? You won’t be laughing at me if I get to embrace the deceptive, flowerlike chest of the one, who created this suffering in me! If you ask me, ‘Dear, what is that which happened to you? How did he bring ruin to you?’, and if at all I had the strength of will to say, ‘This is what happened’, do you think my eyes, akin to blue lotus flowers, will be filled with suffering and spread with pallor? When searching for signs in the little sand house, I caught a glimpse of the crescent moon, whose curved mouth doesn’t come together, when I wished for some other sign. So, immediately, I detained the moon within my attire. Then, I asked myself, ‘Won’t the one, with the sapphire-hued neck, adorned with a garland of exquisite golden shower flowers, who wears the moon on his head, search for it everywhere?’. Turning to my heart, I said, ‘Let’s see this clearly’ and even though my heart was not appeased, I gave strength to it and stressed, saying, ‘May you have the grace to do this!’ and sent away that moon! Will he come thinking about me? Will this state change and will I get to laugh with him again? In

In this episode, we perceive the transformation in a man, as portrayed in Sangam Literary work, Kalithogai 141, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and sketches the success story of a man’s mission. அரிதினின் தோன்றிய யாக்கை புரிபு தாம்வேட்டவை செய்து, ஆங்கு, காட்டி மற்று ஆங்கே,அறம் பொருள் இன்பம் என்று அம் மூன்றின் ஒன்றன்திறம் சேரார் செய்யும் தொழில்கள் அறைந்தன்றுஅணி நிலைப் பெண்ணை மடல் ஊர்ந்து, ஒருத்திஅணி நலம் பாடி வரற்கு ஓரொருகால் உள்வழியள் ஆகி, நிறை மதிநீருள் நிழல் போல், கொளற்கு அரியள் போருள்அடல் மாமேல் ஆற்றுவேன் என்னை மடல்மாமேல்மன்றம் படர்வித்தவள் வாழி, சான்றீர்! பொய் தீர் உலகம் எடுத்த கொடிமிசைமை அறு மண்டிலம் வேட்டனள் வையம்புரவு ஊக்கும் உள்ளத்தேன் என்னை இரவு ஊக்கும்இன்னா இடும்பை செய்தாள் அம்ம, சான்றீர்! கரந்தாங்கே இன்னா நோய் செய்யும்; மற்று இஃதோபரந்த சுணங்கின் பணைத் தோளாள் பண்பு? இடி உமிழ் வானத்து, இரவு இருள் போழும்கொடி மின்னுக் கொள்வேன் என்றன்னள் வடி நாவின்வல்லார் முன் சொல் வல்லேன் என்னைப் பிறர் முன்னர்க்கல்லாமை காட்டியவள் வாழி, சான்றீர்! என்று, ஆங்கே,வருந்த மா ஊர்ந்து, மறுகின்கண் பாட,திருந்திழைக்கு ஒத்த கிளவி கேட்டு, ஆங்கே,பொருந்தாதார் போர் வல் வழுதிக்கு அருந் திறைபோல, கொடுத்தார் தமர். One more in the series of songs about the man pleading for the lady! The words can be translated as follows: “Man:In this rare to attain human life, people live on, doing whatever pleases them. Of the three virtues, namely justice, wealth and pleasure, when one is not attained by a person, there are certain tasks they resort to. And, primary among them, is climbing onto a decorated palmyra horse and singing about the fine beauty of a maiden. Just once she entered within me, and now, akin to the shadow of the full moon on water, she has become hard to attain. That maiden has made me, the one who has fought in wars many, mounted on a victorious horse, to now climb on a mere palmyra horse and ride it to the town centre. May she live long, O wise elders! Hard to attain like the flawless orb that soars above this faultless world is the maiden I love. Behold that maiden, who has now rendered to me, the one wants to protect the world entire, the terrible suffering of pleading before others, O wise elders! By abstaining from me, she has inflicted me with an unbearable affliction. Is this fitting the good nature of this town’s maiden, with spreading pallor spots and bamboo-like arms? Akin to saying that I can capture the flash of lightning that splits the darkness in the skies that resound with thunder, she has become impossible to reach. That maiden has made me, one who is capable of holding my own before those who speak with perfect tongues, to now show my foolishness before others. May she live long, O wise elders! Onlookers:And so, as he rode the horse with angst, and sang in the streets about the maiden, wearing well-etched jewels, hearing these words, akin to how enemies rendered copious tributes, fearing the battle-worthy Vazhuthi, the kin of that maiden offered her in marriage to the man!” Let’s delve into the details. The verse is situated in the context of the man’s love relationship with the lady, prior to marriage, and here, the man tells his side of the story, followed by the conclusion of the onlookers. The man starts by talking about human lives and how there are certain specific actions that people undertake when they are denied even one of the three facets of life, such as justice, wealth or pleasure. Then, he talks about how one such desperate action is the act of climbing on to a palmyra horse to sing about the beauty of a maiden. Then, he goes on to say how the lady has become rare to attain like the shadow of the moon in water, like the sun that soars above the world, and a flash of lightning in the dark, echoing skies. He mentions how he used to be someone who fought in wars riding a fiery horse, who wished to render with generosity to the world around, and one who shone with intelligence and skill even in the company of great men with perfect tongues. But now, after meeting the lady, he was reduced to one, who had to climb on an illusory symbol of failure – a palmyra horse and had to beg to others, exposing his foolishness before the townspeople. Now, the onlookers take the centre stage and say that when the man went about singing so, in the streets, the lady’s kin heard about it, and just the way, the enemies of the Pandya King would rush to surrender, and offer gifts and tributes to the king, when he lays siege to them, they too immediately rendered the hand of their girl in marriage to the man. Looks like the man got what he wanted. But is that something the lady too wanted? Is anyone asking that question in that age? Isn’t it interesting how something we would dismiss today as a mad man’s outpouring has been taken so seriously by the people around? And this tells us, without a doubt that what seems so important to the people of an era is rarely seen the same way in the eyes of

In this episode, we listen to the man’s angst-ridden words, as depicted in Sangam Literary work, Kalithogai 140, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and portrays an instance of passionate persuasion. கண்டவிர் எல்லாம் கதுமென வந்து, ஆங்கே,பண்டு அறியாதீர் போல நோக்குவீர்; கொண்டதுமா என்று உணர்மின்; மடல் அன்று: மற்று இவைபூ அல்ல; பூளை, உழிஞையோடு, யாத்தபுன வரை இட்ட வயங்கு தார்ப் பீலி,பிடி அமை நூலொடு பெய்ம் மணி கட்டி,அடர் பொன் அவிர் ஏய்க்கும் ஆவிரங் கண்ணி: நெடியோன் மகன் நயந்து தந்து, ஆங்கு அனையவடிய வடிந்த வனப்பின், என் நெஞ்சம்இடிய இடைக் கொள்ளும் சாயல், ஒருத்திக்குஅடியுறை காட்டிய செல்வேன்; மடியன்மின்;அன்னேன் ஒருவனேன், யான்என்னானும், ‘பாடு’ எனில், பாடவும் வல்லேன், சிறிது; ஆங்கே,‘ஆடு’ எனில், ஆடலும் ஆற்றுகேன்; பாடுகோஎன் உள் இடும்பை தணிக்கும் மருந்தாக,நன்னுதல் ஈத்த இம் மா? திங்கள் அரவு உறின், தீர்க்கலார் ஆயினும்,தம் காதல் காட்டுவர், சான்றவர் இன் சாயல்ஒண்டொடி நோய் நோக்கில் பட்ட என் நெஞ்ச நோய்கண்டும், கண்ணோடாது, இவ் ஊர் தாங்காச் சினத்தொடு காட்டி உயிர் செகுக்கும்பாம்பும் அவைப் படில், உய்யுமாம் பூங் கண்வணர்ந்து ஒலி ஐம்பாலாள் செய்த இக் காமம்உணர்ந்தும், உணராது, இவ் ஊர் வெஞ் சுழிப் பட்ட மகற்குக் கரை நின்றார்அஞ்சல் என்றாலும் உயிர்ப்பு உண்டாம் அம் சீர்ச்செறிந்த ஏர் முறுவலாள் செய்த இக் காமம்அறிந்தும், அறியாது, இவ் ஊர் ஆங்கஎன் கண் இடும்பை அறீஇயினென்; நும்கண்தெருளுற நோக்கித் தெரியுங்கால், இன்னமருளுறு நோயொடு மம்மர் அகல,இருளுறு கூந்தலாள் என்னைஅருளுறச் செயின், நுமக்கு அறனுமார் அதுவே. Another case of a man pleading to the townsfolk! The words can be translated as follows: “Those of you, who have arrived here promptly, seem to be looking at this, as if you have never seen this before. Please understand that this is a horse before you, not just palm fronds, and these are not flowers, but a garland, made of strands of mountain knot grass and love vines tied together, with swaying peacock feathers shed in the mountain forests, on a long string, adorned with bells, and thick golden flowers of the matura tea tree. With the beauty of a statue, etched by a sculptor, who has been graced by the blessing of the Tall One’s son, was her appearance that laid siege to my heart. I wish to tell you that I have become a slave to this maiden. Do not feel sorry that I have become one such person. If you ask me to sing, I shall sing. If you ask me to dance a little, I can dance too. Let me go on to render a song about this horse, rendered by the maiden with a fine forehead, as the cure for my inner affliction. If the snake swallows the moon, even though they cannot remedy the situation, the nature of wise people is to show their concern. Even after seeing the affliction of my heart, which has been attacked by the look of the maiden wearing shining bangles, pretending not to see, remains this town! If a snake that expresses uncontrollable rage and takes a life is captured, wise people may even let it live, owing to their compassion. Even after knowing about this love disease caused by the maiden with flower-like eyes and curving, luxuriant, five-layered tresses, pretending not to know, remains this town! If a man is caught in a wild whirlpool, those who stand on the shore, even though they cannot do anything, if they say ‘Don’t fear’, it’s possible that he would be saved. Even after understanding this love disease, caused by that maiden with beautiful teeth and perfect smile, pretending not to understand, remains this town! And so, I have made you understand the suffering in me; If you look at this with clarity, you would make the maiden with tresses, akin to darkness, render her grace, and make this bewildering affliction scatter away. That would be the righteous thing for you to do too!” Let’s explore the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and here, he appeals to the people of the lady’s town. The man starts by addressing the group, who have gathered before him, and tells them that he stands there, not on a bunch of palm leaves, but on a horse, wearing flowers shunned by normal people. Why because he is smitten by a maiden with such beauty that stole away his heart. He declares he has become a slave to that maiden and tells them he wishes to sing a song about that palmyra horse rendered by that maiden. He goes on to depict a certain belief in those times about the moon being swallowed by a snake, possibly referring to a lunar eclipse or some such celestial event. In that situation, the man says even though the people below can’t do anything, they express concern for the moon. Likewise, wise people might let a snake that killed others live, because of their kindness. In the third instance, he mentions a man caught in a whirlpool at sea, and those at shore, who might not be able to save him, but even if they shout out, ‘Don’t fear’, somehow that person might be redeemed. The man connects that he has mentioned these three instance

In this episode, we perceive a man’s plea to the wise, as portrayed in Sangam Literary work, Kalithogai 139, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and depicts the suffering of a man, smitten by love. சான்றவிர், வாழியோ! சான்றவிர்! என்றும்பிறர் நோயும் தம் நோய் போல் போற்றி, அறன் அறிதல்சான்றவர்க்கு எல்லாம் கடன் ஆனால், இவ் இருந்தசான்றீர்! உமக்கு ஒன்று அறிவுறுப்பேன்: மான்றதுளி இடை மின்னுப் போல் தோன்றி, ஒருத்தி,ஒளியோடு உரு என்னைக் காட்டி, அளியள், என்நெஞ்சு ஆறு கொண்டாள்; அதற்கொண்டும் துஞ்சேன்,அணி அலங்கு ஆவிரைப் பூவோடு எருக்கின்பிணையல் அம் கண்ணி மிலைந்து, மணி ஆர்ப்ப,ஓங்கு இரும் பெண்ணை மடல் ஊர்ந்து, என் எவ்வ நோய்தாங்குதல் தேற்றா இடும்பைக்கு உயிர்ப்பாகவீங்கு இழை மாதர் திறத்து ஒன்று, நீங்காது,பாடுவேன், பாய் மா நிறுத்து யாமத்தும் எல்லையும் எவ்வத் திரை அலைப்ப,‘மா மேலேன்’ என்று, மடல் புணையா நீந்துவேன்தே மொழி மாதர் உறாஅது உறீஇயகாமக் கடல் அகப்பட்டுஉய்யா அரு நோய்க்கு உயவாகும் மையல்உறீஇயாள் ஈத்த இம் மா காணுநர் எள்ளக் கலங்கி, தலை வந்து, என்ஆண் எழில் முற்றி உடைத்து உள் அழித்தரும்‘மாண் இழை மாதராள் ஏஎர்’ என, காமனதுஆணையால் வந்த படைகாமக் கடும் பகையின் தோன்றினேற்கு ஏமம்எழிநுதல் ஈத்த இம் மா அகை எரி ஆனாது, என் ஆர் உயிர் எஞ்சும்வகையினால், உள்ளம் சுடுதரும் மன்னோமுகை ஏர் இலங்கு எயிற்று இன் நகை மாதர்தகையால் தலைக்கொண்ட நெஞ்சு!அழல் மன்ற, காம அரு நோய்; நிழல் மன்ற,நேரிழை ஈத்த இம் மா ஆங்கு அதை,அறிந்தனிர் ஆயின், சான்றவிர்! தான் தவம்ஒரீஇ, துறக்கத்தின் வழீஇ, ஆன்றோர்உள் இடப்பட்ட அரசனைப் பெயர்த்து, அவர்உயர்நிலை உலகம் உறீஇயாங்கு, என்துயர் நிலை தீர்த்தல் நும்தலைக் கடனே. It’s again the theme of trying to win over a maiden by seeking the help of the townsfolk as the last resort! The words can be translated as follows: “O wise elders, may you live long, O wise elders! If it’s true that it’s the duty of wise people to see the adversity of others as one’s own and seek the path of justice, then I wish to say something to you, O wise elders, who are here! Akin to a dazzling lightning, amidst a downpour, a maiden appeared and revealed her radiant form to me, and then, that precious one stole away my heart. I haven’t slept since! Wearing this beautiful garland of swaying matura tea tree flowers, tied together with strands of milkweed flowers, as bells resound, crawling on a horse, made from the fronds of a huge and soaring palmyra tree, ceasing the trot of my leaping horse, I shall sing a song, without missing anything, as an exhalation of this suffering-filled disease, beyond my ability to bear, caused by the maiden wearing heavy ornaments! As I wallow amidst the waves of sorrow, by day and night, hoping that I will rise above, I swim with this palmyra horse as my raft, caught in this ocean of love affliction, rendered by that maiden with honey-sweet words, who does not accept me. In this ceaseless, terrible disease, my only aid is this horse, offered to me by the maiden, who has made me bewitched. As I’m left confused, much to the amusement and laughter of others, coming before me and destroying the fort walls of my manly beauty in its entirety, proceeding to create havoc within, that maiden wearing fine jewels and shining with resplendent beauty, arrived in the form of an army that comes to attack on the command of the love god. For me facing the fire of this passion’s enmity, the only protection is this horse, rendered to me by the maiden with a graceful forehead. Burning endlessly, making my precious life quiver and burn, suffers my heart, stolen by the esteem of the maiden with a sweet smile and bud-like, shining teeth! Amidst the heat of this terrible love affliction, as my only shade stands this horse, rendered to me by the maiden with perfect jewels! And so, if you have understood all about this, O wise elders, akin to how when seeing a king give up his penances and move away from his path to heaven, great elders around him would rescue him and set him on the right path to ensure he attains that higher world, it is your foremost duty to end my state of sorrow!” Time to delve into the details. The verse is situated in the context of the man’s love relationship with the lady, prior to marriage, and here, the man makes an appeal to the town elders. He starts by invoking the sense of duty in the wise people to see others’ distress as their own and then goes on to talk about how a maiden appeared like a lightning, and stole away his heart in a flash, and then left him wallowing. He tells them how he has decided to sing about his state, wearing those flowers others avoid, stepping off from his proud horse and climbing on to this palmyra horse, declaring this is the only outlet for the deep suffering in him caused by the love affliction for the lady. He then goes on to describe himself as struggling in the sea of affliction, destroyed from within in the attack of that maiden on the command from the god of love and also burnt by the scorching rays of the love disease. In each of these scenarios, that palmyra horse, which the

In this episode, we listen to a man’s story of winning over his love, as depicted in Sangam Literary work, Kalithogai 138, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and portrays a public ritual, undertaken as the last resort by young men in love. எழில் மருப்பு எழில் வேழம் இகுதரு கடாத்தால்தொழில் மாறித் தலை வைத்த தோட்டி கை நிமிர்ந்தாங்கு,அறிவும், நம் அறிவு ஆய்ந்த அடக்கமும், நாணொடு,வறிதாக பிறர் என்னை நகுபவும், நகுபு உடன்,மின் அவிர் நுடக்கமும் கனவும் போல், மெய் காட்டிஎன் நெஞ்சம் என்னோடு நில்லாமை நனி வௌவி,தன் நலம் கரந்தாளைத் தலைப்படும் ஆறு எவன்கொலோ? மணிப் பீலி சூட்டிய நூலொடு, மற்றைஅணிப் பூளை, ஆவிரை, எருக்கொடு, பிணித்து யாத்து,மல்லல் ஊர் மறுகின்கண் இவட் பாடும், இஃது ஒத்தன்எல்லீரும் கேட்டீமின் என்று படரும் பனை ஈன்ற மாவும் சுடர் இழை,நல்கியாள் நல்கியவைபொறை என் வரைத்து அன்றி, பூநுதல் ஈத்தநிறை அழி காம நோய் நீந்தி, அறை உற்றஉப்பு இயல் பாவை உறை உற்றது போலஉக்குவிடும் என் உயிர் பூளை, பொல மலர் ஆவிரை வேய் வென்றதோளாள் எமக்கு ஈத்த பூஉரிது என் வரைத்து அன்றி, ஒள்ளிழை தந்தபரிசு அழி பைதல் நோய் மூழ்கி, எரி பரந்தநெய்யுள் மெழுகின் நிலையாது, பை பயத்தேயும் அளித்து என் உயிர் இளையாரும், ஏதிலவரும் உளைய, யான்உற்றது உசாவும் துணை என்று யான் பாடக் கேட்டுஅன்புறு கிளவியாள் அருளி வந்து அளித்தலின்‘துன்பத்தில் துணையாய மடல் இனி இவள் பெறஇன்பத்துள் இடம்படல்’ என்று, இரங்கினள் அன்புற்று,அடங்கு அருந் தோற்றத்து அருந் தவம் முயன்றோர் தம்உடம்பு ஒழித்து உயர் உலகு இனிது பெற்றாங்கே. A song which breaks the usual three-step Kalithogai format, and in a rare occurrence, makes us hear the man’s voice and his side of the story. The words can be translated as follows: “Owing to the flowing of musth, a handsome elephant with handsome tusks, changes track and refuses to heed the hand, which places the goad on its head. Like this, my sense, and modesty, guided by this sense, along with shame, heed not to me, making me the laughing stock of everyone. All this came about, when, with a smile, akin to the flash of lightning, akin to a dream, she appeared, and artfully captured my heart that refused to stay with me, and then she disappeared and hid her beauty from me. I wondered what could be the way for me to attain her? On a thread tied with sapphire-hued peacock feathers, stringing together the flowers of the mountain knotgrass, matura tea tree and milkweed, I went to the streets of the prosperous town and said, ‘Hear ye everyone! Listen to this man sing a song about her!’ ‘This horse made from the spreading fronds of the palmyra tree, has been rendered to me by that maiden wearing radiant jewels – a burden beyond my bearing ability. Now, I wallow in the gift of this debilitating love affliction, caused by the maiden, with a flower-like forehead, and akin to a doll made of salt, lying on a salt pan, that melts away, when touched by rain, my life fades. These flowers of the matura tea tree and milkweed are the flowers rendered to me, by the maiden with arms that wins over bamboos – a response beyond my bearing ability. Now, I drown in the gift of this suffering-filled disease, caused by the maiden, wearing shining jewels, and akin to a piece of wax dropped in an oil set on a flame, my life vanes. Youngsters and strangers of this town are my only considerate companions!’ As I sang so, that maiden, who speaks affectionate words, decided to shower her grace. As she rendered her concern with affection, I said, ‘O palm horse, you were my mate in sorrow, but now after attaining her, you are not needed in the joy that is to follow’, and became like those, with a wild, unkempt appearance, who undertake impossible penances, and then leave their form behind, to reach the higher world of happiness!”. Let’s delve into the nuances. The verse is situated in the context of the man’s love relationship with the lady, prior to marriage, and here, the man narrates to his friends, the story of how he won over the lady. He starts by talking about what happened when he caught a glimpse of the lady for the first time. Even as she appeared, she seems to have instantly stolen his heart, and at that moment, like how a mad elephant in musth refuses to heed to its mahout’s direction, his intelligence, modesty and shyness seem to have completely deserted him. This made him forget his honour and only wonder about how he could attain the lady, who seemed to have disappeared from his life. Then he decides that there’s no other go but to do the ritual of ‘Madal eruthal’ or ‘Madal ooruthal’, in which a man climbs on a horse made from palmyra fronds, wearing flowers that everyone shuns, and appeal to the townsfolk, expressing the love within for a maiden. So, this man seems to have gone to the town of that lady and sang about how the lady had gifted this palmyra horse and those flower strands and how he was swimming and drowning in the sea of this love affliction. The man brings forth two evocative similes to describe his state, talking about

In this episode, we perceive the burning angst of a lady, as portrayed in Sangam Literary work, Kalithogai 137, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and paints a picture of pain, born out of pleasure. அரிதே, தோழி! நாண் நிறுப்பாம் என்று உணர்தல்;பெரிதே காமம்; என் உயிர் தவச் சிறிதே;பலவே யாமம்; பையுளும் உடைய;சிலவே, நம்மோடு உசாவும் அன்றில்;அழல் அவிர் வயங்கு இழை ஒலிப்ப, உலமந்து,எழில் எஞ்சு மயிலின் நடுங்கி, சேக்கையின்அழல் ஆகின்று, அவர் நக்கதன் பயனே மெல்லிய நெஞ்சு பையுள் கூர, தம்சொல்லினான் எய்தமை அல்லது, அவர் நம்மைவல்லவன் தைஇய, வாக்கு அமை கடு விசைவில்லினான் எய்தலோ இலர்மன்; ஆயிழை!வில்லினும் கடிது, அவர் சொல்லினுள் பிறந்த நோய் நகை முதலாக, நட்பினுள் எழுந்ததகைமையின் நலிதல் அல்லது, அவர் நம்மைவகைமையின் எழுந்த தொல் முரண் முதலாக,பகைமையின் நலிதலோ இலர்மன்; ஆயிழை!பகைமையின் கடிது, அவர் தகைமையின் நலியும் நோய் ‘நீயலேன்’ என்று என்னை அன்பினால் பிணித்து, தம்சாயலின் சுடுதல் அல்லது, அவர் நம்மைப்பாய் இருள் அற நீக்கும் நோய் தபு நெடுஞ் சுடர்த்தீயினால் சுடுதலோ இலர்மன்; ஆயிழை!தீயினும் கடிது, அவர் சாயலின் கனலும் நோய் ஆங்குஅன்னர் காதலராக, அவர் நமக்குஇன் உயிர் போத்தரும் மருத்துவர் ஆயின்,யாங்கு ஆவதுகொல்? தோழி! எனையதூஉம்தாங்குதல் வலித்தன்று ஆயின்,நீங்கரிது உற்ற அன்று அவர் உறீஇய நோயே. For a change, it’s the lady’s voice that echoes in this verse. The words can be translated as follows: “It’s impossible, my friend, to hope that modesty will hold me back; This disease of love is huge; The ability of my life to bear that is too small; The nights are many; Filled with suffering too; In some, the red-naped ibis join together in my sorrow; The consequence of my relationship with him is to be filled with suffering, losing beauty and shivering like a peacock, to toss and turn on the bed that seems like a fire, making my flame-like, radiant jewels resound! Making suffering soar in my gentle heart, he aimed only with his words; He aimed not with a well-built bow, made by the hands of a skilled artisan, which sends arrows with much speed. O maiden wearing radiant jewels, the disease born from his words is more painful than the one caused by a bow! Starting with a smile, and extending into a relationship, because of his esteem, came this affliction. He made me afflicted not because of an enmity that arose from separation in the ancient past! O maiden wearing radiant jewels, the affliction born from his esteem is more painful than the one caused by his enmity! Saying, ‘Without you, I cannot be’, he tied me with his love, and with his gentle nature, he has burnt me; He burnt not with the fire from tall lamp, which completely routs pitch darkness and deep sorrow! O maiden wearing radiant jewels, the burning pain born from his gentle nature is more painful than the one caused by fire! And so, if such is the nature of my lover, and if he, the one who makes my sweet life part away, is the only doctor, who can cure me, what can I do, my friend? I see no way to bear this pain, as this disease he has rendered me, is indeed impossible to destroy!” Time to delve into the nuances. The verse is situated in the context of the man’s parting from a lady, prior to marriage, and the lady expresses her pain to her confidante, as the man listens nearby. The lady starts by declaring that it would be really hard to control her emotions, as the confidante advises, since her love brims over, and the man is not to be found, and all she can do is toss and turn on her bed that seems to have transformed into a fire, as she hopes for the consolation in the song of the red-naped ibis, which falls on her ears on a few nights. Then, she declares how the man had aimed his arrow of love, had fallen in love with her and attacked her with an affliction, owing to his esteemed nature, and how he had tied her up, and burnt her, because of his gentle character. She remarks to her friend that it’s not a sharp arrow, aimed from a well-made bow, or an attack because of an enmity that arose from the past, or a burning with a bright flame. And yet, his words aimed at her had caused more pain than that bow, his esteemed character had wrought more devastation than his enmity and his gentle, loving character had inflicted more pain than a raging fire. The lady then tells her friend that such is the nature of her beloved and if he is the cause and cure of her pain, what could she do, and concludes by declaring there’s no way to pear this pain of separation, ‘Impossible’ is the word that seems to ring through this verse. It’s ultimately an expression of angst in a heart, and perhaps sharing what’s within would bring peace therein, if not anything from anywhere else!

In this episode, we observe the changing stance of the lady’s joy, as depicted in Sangam Literary work, Kalithogai 136, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and showcases the sport of gambling in the Sangam era. இவர் திமில் எறி திரை ஈண்டி வந்து அலைத்தக்கால்உவறுநீர் உயர் எக்கர் அலவன் ஆடு அளைவரித்தவல் இல் தண் கழகத்துத் தவிராது வட்டிப்பக்கவறுஉற்ற வடுவெய்க்கும் காமரு பூங்கடல் சேர்ப்ப! முத்துஉறழ் மணல் எக்கர் அளித்தக்கால், முன் ஆயம்பத்துருவம் பெற்றவன் மனம் போல நந்தியாள்அத்திறத்து நீ நீங்க அணிவாடி, அவ் ஆயம்வித்தத்தால் தோற்றான் போல், வெய்துயர் உழப்பவோ? முடத்தாழை முடுக்கருள் அளித்தக்கால் வித்தாயம்இடைத்தங்கக் கண்டவன் மனம் போல நந்தியாள்கொடைத் தக்காய் நீ ஆயின், நெறியில்லாக் கதி ஓடிஉடைப்பொதி இழந்தான் போல், உறுதுயர் உழப்பவோ? நறு வீ தாழ் புன்னைக்கீழ் நயந்து நீ அளித்தக்கால்மறு வித்தம் இட்டவன் மனம் போல நந்தியாள்அறிவித்து நீ நீங்கக் கருதியாய்க்கு, அப்பொருள்சிறு வித்தம் இட்டான் போல், செறி துயர் உழப்பவோ? ஆங்கு,கொண்டு பலர் தூற்றும் கௌவை அஞ்சாய்,தீண்டற்கு அருளித், திறன் அறிந்து, எழீஇப்பாண்டியம் செய்வான் பொருளினும்ஈண்டுக இவள் நலம், ஏறுக தேரே. The confidante is at it again, seeking the man’s grace. The words can be translated as follows: “As swaying boats ply, soaring waves dash against the sand dunes, and pour salty water in the nesting holes, where crabs play, making them run to and fro, marking lines that resemble imprints in the well-worn gambling floor, where dices are rolled repeatedly and unceasingly, in the shores of your alluring seas, O lord! Upon sand dunes that resemble pearl heaps, since you rendered your grace, akin to the mind of one, who sees a ten on the dice rolled in a game, she was filled with delight. But when you leave her, making her beauty fade, akin to one, who lost the game rolling lesser numbers, is she to suffer with a burning sorrow? In the small spaces near the curving pandanus, since you rendered your grace, akin to the mind of one, who sees the exact numbers he needs to win, she was filled with delight. But if you are generous no more, akin to one, who played with no restraint and lost his entire bundle of money, is she to suffer with a melting sorrow? Under the laurel wood tree, with low-hanging, fragrant flowers, since you rendered your grace, akin to the mind of one, who won multiple games, she was filled with delight. But if you intend to announce your parting away, akin to one, who rolled a small count and lost his very first game, is she to suffer with intense sorrow? And so, you seem not to worry about the slander being spread by many. By rendering your grace to unite with her, even beyond the wealth attained by one, who puts intense effort, knowing its value, you will render beauty and health unto her. Climb on your chariot right away!” Time to delve into the details. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the confidante speaks to the man. She starts with a unique description of the man’s shores by bringing forth the image of lines left behind by crabs running about on the sands and she places this in parallel to the scars and imprints on a much-used gambling floor. She then talks about how back then because the man united with her upon the sands, between the pandanus trees, and under the laurel wood trees, the lady was filled with so much joy like the mind of a gambler, who wins a ten, who sees the numbers he wants, and who wins game after game. But when the man parts away from the lady, she is filled with sorrow and becomes like the gambler, who rolls small numbers when he wants something big, like the one who loses all recklessly, and the one who is devastated by his very first gamble. After this vivid commentary on the lady’s changing state, the confidante bids the man to rush to the lady, and if he does so, he would shower beauty and health that surpasses in quantity to the wealth attained by one with their hard work. Interesting how the verse portrays so many examples from the world of gambling in the beginning but for the finishing touch, turns to the importance of working hard, stating that nothing can equal the wealth that this brings! A whisper from the past about the risk and loss in gambling, which humans seem to delight in, till this day, in the well-worn paths of casinos around the world!

In this episode, we listen to an appeal to a person’s sense of honour, as depicted in Sangam Literary work, Kalithogai 135, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and portrays a lady’s state in the midst of parting. துணை புணர்ந்து எழுதரும் தூ நிற வலம்புரிஇணை திரள் மருப்பாக, எறி வளி பாகனாஅயில் திணி நெடுங் கதவு அமைத்து, அடைத்து, அணி கொண்டஎயில் இடு களிறே போல் இடு மணல் நெடுங் கோட்டைப்பயில்திரை, நடு நன்னாள், பாய்ந்து உறூஉம் துறைவ! கேள்: கடி மலர்ப் புன்னைக் கீழ்க் காரிகை தோற்றாளைத்தொடி நெகிழ்ந்த தோளளாத் துறப்பாயால்; மற்று நின்குடிமைக்கண் பெரியது ஓர் குற்றமாய்க் கிடவாதோ? ஆய் மலர்ப் புன்னைக் கீழ் அணி நலம் தோற்றாளைநோய் மலி நிலையளாத் துறப்பாயால்; மற்று நின்வாய்மைக்கண் பெரியது ஓர் வஞ்சமாய்க் கிடவாதோ? திகழ் மலர்ப் புன்னைக் கீழ்த் திரு நலம் தோற்றாளைஇகழ் மலர்க் கண்ணளாத் துறப்பாயால்; மற்று நின்புகழ்மைக்கண் பெரியது ஓர் புகராகிக் கிடவாதோ? என ஆங்கு,சொல்லக் கேட்டனை ஆயின், வல்லே,அணி கிளர் நெடு வரை அலைக்கும் நின் அகலத்து,மணி கிளர் ஆரம் தாரொடு துயல்வரஉயங்கினள் உயிர்க்கும் என் தோழிக்குஇயங்கு ஒலி நெடுந் திண் தேர் கடவுமதி விரைந்தே. Passionate words from the confidante! The words can be translated as follows: “With a pair of embracing, white-hued conches joined together as tusks, the furious wind as the mahout, akin to elephants that attack the closed, tall gates, fitted with spears, waves roar, leap and dash against the tall towers of sand dunes at midnight in your shores, O lord! Listen: If you forsake the one, who lost her beauty to you, under the laurel wood tree with fragrant flowers, and leave her with arms, from which bangles slip away, won’t that become a huge blemish on the honour of your family? If you forsake the one, who lost her fine beauty to you, under the laurel wood tree with exquisite flowers, and leave her in a state, wherein affliction brims over, won’t that become a huge stain of deception in your honesty? If you forsake the one, who lost her esteemed beauty to you, under the laurel wood tree with radiant flowers, and leave her with eyes that lose to the beauty of flowers, won’t that become a huge infamy in the tale of your fame? And so, you heard what I had to say! Now, making the sapphire-filled necklace and garland on your chest, which shames the picturesque, tall mountains, sway, to breathe life into my wallowing friend, ride your tall and sturdy chariots, resounding with bells, with much haste!” Let’s delve into the details. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the confidante addresses the man for the sake of the lady. She starts with an exquisite metaphor, wherein the waves of the sea are portrayed as battle elephants, barging against fort doors, and the metaphor extends intricately to match the conch shells with the elephant’s tusks, the roaring wind as the mahout, who rides the elephant, and the sand dunes on the shore as the towering forts. Now, the confidante turns to the man and asks him if he abandons the lady after uniting with her under the laurel wood tree, in a state, where her bangles slip away, affliction brims over and her beauty fades, wouldn’t that be a blot, stain and mark on his family’s name, reputation of honesty, and the spread of his fame? With these sharp words, the confidante asks the man to head straight to the lady, hastening his tall chariot! While dwelling on the same core, the verse delighted with its imaginative depiction of the immediate elements of the land with a scene from a faraway battlefield and also with that subtle subtext of the confidante’s attack on the doors of the man’s heart, with her fiery plea!

In this episode, we perceive the pain of a parted lady, as depicted in Sangam Literary work, Kalithogai 134, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and depicts the empathy, shown by the elements of the land. மல்லரை மறம் சாய்த்த மலர்த் தண் தார் அகலத்தோன்,ஒல்லாதார் உடன்று ஓட, உருத்து, உடன் எறிதலின்,கொல் யானை அணி நுதல் அழுத்திய ஆழி போல்,கல் சேர்பு ஞாயிறு கதிர் வாங்கி மறைதலின்,இருங் கடல் ஒலித்து ஆங்கே இரவுக் காண்பது போல,பெருங் கடல் ஓத நீர் வீங்குபு கரை சேர,போஒய வண்டினால் புல்லென்ற துறையவாய்,பாயல் கொள்பவை போல, கய மலர் வாய் கூம்ப,ஒருநிலையே நடுக்குற்று, இவ் உலகெலாம் அச்சுற,இரு நிலம் பெயர்ப்பு அன்ன, எவ்வம் கூர் மருள் மாலை தவல் இல் நோய் செய்தவர்க் காணாமை நினைத்தலின்,இகல் இடும் பனி தின, எவ்வத்துள் ஆழ்ந்து, ஆங்கே,கவலை கொள் நெஞ்சினேன் கலுழ் தர, கடல் நோக்கி,அவலம் மெய்க் கொண்டது போலும் அஃது எவன்கொலோ? நடுங்கு நோய் செய்தவர் நல்காமை நினைத்தலின்,கடும் பனி கைம்மிக, கையாற்றுள் ஆழ்ந்து, ஆங்கே,நடுங்கு நோய் உழந்த என் நலன் அழிய, மணல் நோக்கி,இடும்பை நோய்க்கு இகுவன போலும் அஃது எவன்கொலோ? வையினர் நலன் உண்டார் வாராமை நினைத்தலின்,கையறு நெஞ்சினேன் கலக்கத்துள் ஆழ்ந்து, ஆங்கே,மையல் கொள் நெஞ்சொடு மயக்கத்தால், மரன் நோக்கி,எவ்வத்தால் இயன்ற போல், இலை கூம்பல் எவன் கொலோ? என ஆங்குகரை காணாப் பௌவத்து, கலம் சிதைந்து ஆழ்பவன்திரை தரப் புணை பெற்று, தீது இன்றி உய்ந்தாங்கு,விரைவனர் காதலர் புகுதர,நிரை தொடி துயரம் நீங்கின்றால் விரைந்தே. Here, the lady and the onlookers are rendering these thoughts! The words can be translated as follows: “The One, wearing a moist flower garland, who destroyed the strength of enemy warriors, making his enemies scuttle away in fear, with rage, threw a discus that tore the fine forehead of a killer elephant. Akin to that, the sun settled in the mountains, retracting its rays, making the huge sea resound, sensing the arrival of night. As the flood of the huge seas swells and reaches the sands, forsaken by the parting bees, the shores look listless; As if about to attain sleep, the flowers in the pond close their buds. Akin to how the balance is disturbed when lands are torn apart at the end of time, making the world entire shiver in fear, arrives the suffering-filled evening of terror! Thinking about how the one, who rendered this ceaseless disease, does not see me, as this cold season, which spews enmity eats me away, sinking in suffering, as my worried heart sheds tears, the sea looks at me and appears as if it has embraced my state of sorrow. Why is that so? Thinking about how the one, who rendered this terrible disease, does not render his grace, as this intense cold season crosses its bounds, sinking in helplessness, as my beauty fades because of this terrible disease, the sands look at me and appear as if they are melting away, seeing my disease of despair. Why is that so? Thinking about how the one, who relished my beauty and then stayed away, does not come to me, as I became one with a helpless heart, sinking in worry, as my heart that desires him becomes bewildered, the tree looks at me and appears as if it is moved by my suffering and closes its leaves. Why is that so? And so, akin to how one, caught in a flood, unable to see the shores, thrashing after his ship is ruined, catches hold of a raft, brought by the waves, and is saved in the nick of time, as her lover, who came hurrying entered thither, the sorrow of the maiden, wearing rows of bangles, parted away in haste!” Let’s delve into the details. The verse is situated in the context of the man’s parting away from the lady, prior to marriage, and here, the lady expresses her emotions followed by an observation of the onlookers. The lady begins by describing the arrival of the evening with a mythological reference of a god, making his enemy warriors scatter, and throwing a discus that lands on the forehead of a battle elephant, possibly referring to God Thirumaal. The act of the discus, vanishing into an elephant’s head, is placed in parallel to the setting of the sun in the mountain, which then makes the sea swell, the bees to leave the shores, and flowers to close their buds. The lady concludes this description by comparing the arrival of the evening to the end of the world. Then, she talks about how the seas, sands and trees seem to understand her pain of parting from the man in this terrible season of cold, and seem to shed tears on the shore, erode away because of the waves, and close their buds. She wonders at the compassion of these elements in the outer world and the apathy of her beloved. The onlookers conclude this narration of the lady’s pain by describing the scene where a shipwrecked sailor, thrashing in the ocean, with no shore in sight, finally catches glimpse of a plank and holds on to it for dear life, and they compares this to the way the lady’s sorrow vanished, when the man hurried and returned to her. Yet again, the man is portrayed as the saviour of the lady, who is lost at sea in her very home, without him. Heartening to see how

In this episode, we hear words of advice rendered, as depicted in Sangam Literary work, Kalithogai 133, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and lists the meaning of virtuous qualities. மா மலர் முண்டகம் தில்லையோடு ஒருங்கு உடன்கானல் அணிந்த உயர் மணல் எக்கர்மேல்,சீர் மிகு சிறப்பினோன் மரமுதல் கை சேர்த்தநீர் மலி கரகம் போல் பழம் தூங்கு முடத் தாழைப்பூ மலர்ந்தவை போல, புள் அல்கும் துறைவ! கேள்: ‘ஆற்றுதல்’ என்பது ஒன்று அலந்தவர்க்கு உதவுதல்;‘போற்றுதல்’ என்பது புணர்ந்தாரைப் பிரியாமை;‘பண்பு’ எனப்படுவது பாடு அறிந்து ஒழுகுதல்;‘அன்பு’ எனப்படுவது தன் கிளை செறாஅமை;‘அறிவு’ எனப்படுவது பேதையார் சொல் நோன்றல்;‘செறிவு’ எனப்படுவது கூறியது மறாஅமை;‘நிறை’ எனப்படுவது மறை பிறர் அறியாமை;‘முறை’ எனப்படுவது கண்ணோடாது உயிர் வௌவல்;‘பொறை’ எனப்படுவது போற்றாரைப் பொறுத்தல்; ஆங்கு அதை அறிந்தனிர் ஆயின், என் தோழிநல் நுதல் நலன் உண்டு துறத்தல், கொண்க!தீம் பால் உண்பவர் கொள் கலம் வரைதல்நின்தலை வருந்தியாள் துயரம்சென்றனை களைமோ; பூண்க, நின் தேரே! A crisp verse containing a plea from the confidante! The words can be translated as follows: “The water-thorn with dark-hued flowers and the milky mangrove join hands to adorn the tall sand dunes of the seashore grove. Here, akin to the water-brimming pots tied by hand to trees by the Famous One, hang the fruits of the pandanus, and upon these, akin to flowers blooming, birds perch in your domain, O lord. Listen: ‘Generosity’ is helping one who is suffering;‘Integrity’ is not forsaking the one who was embraced;‘Dignity’ is understanding what’s right and acting in accordance;‘Affinity’ is not disliking one’s kin;‘Perception’ is bearing with the words of the ignorant;‘Perfection’ is not forgetting what one promised;‘Confidentiality’ is hiding what others shouldn’t know;‘Impartiality’ is not hesitating to seize the life of the known wrong-doer;‘Tranquility’ is bearing with those who show no care or respect; And so, if you understand all these, O lord, you should know that after savouring the beauty of my friend’s fine forehead, forsaking her, is akin to the act of the person, who after drinking up sweet milk casts away the vessel it came in. To destroy the despair of the she who is depressed about your actions, ready your chariot now!” Time to delve into the details. The verse is situated in the context of the man’s parting from the lady before marriage, and here, the confidante says these words to the man, on the lady’s behalf. The confidante starts by describing the man’s land, and to do that, she talks about how the flowers of the water-thorn and milky mangrove adorn the seashore sands, and in this spread, stands a pandanus tree, whose fruits she connects to the mythical reference of water pots being brought by a celebrated god and tied to the trees. Then, she talks about how, as if flowers have bloomed, birds have come to rest upon these fruits. Concluding this narration about the land, the confidante goes on to list the meaning of being generous, true, virtuous, caring, intelligent, careful, just and patient, in crisp one-liners. Then, she turns to the man and says he is sure to know all this, and likewise, he should one that after being with the lady, leaving her is like the careless, thoughtless act of a person, who gulps down sweet milk and throws away the vessel it came in with disdain. The confidante concludes by urging the man to rush to the lady in his chariot and end the worry of that maiden! Yet again, the confidante seeks the man’s return to the lady and his seeking of her hand. At the same time, she leaves us with a clear picture of abstract values upheld in Sangam times, which ring with relevance even today.

In this episode, we listen to an argument put forth to persuade a person, as portrayed in Sangam Literary work, Kalithogai 132, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and presents insightful images from an ancient seashore. உரவு நீர்த் திரை பொர ஓங்கிய எக்கர்மேல்,விரவுப் பல் உருவின வீழ் பெடை துணையாக,இரை தேர்ந்து உண்டு, அசாவிடூஉம் புள்ளினம் இறை கொளமுரைசு மூன்று ஆள்பவர் முரணியோர் முரண் தப,நிரை களிறு இடை பட, நெறி யாத்த இருக்கை போல்சிதைவு இன்றிச் சென்றுழிச் சிறப்பு எய்தி, வினை வாய்த்து,துறைய கலம் வாய் சூழும் துணி கடல் தண் சேர்ப்ப! புன்னைய நறும் பொழில் புணர்ந்தனை இருந்தக்கால்,‘நன்னுதால்! அஞ்சல் ஓம்பு’ என்றதன் பயன் அன்றோபாயின பசலையால், பகல் கொண்ட சுடர் போன்றாள்மாவின தளிர் போலும் மாண் நலம் இழந்ததை? பல் மலர் நறும் பொழில் பழி இன்றிப் புணர்ந்தக்கால்,‘சின்மொழி! தெளி’ எனத் தேற்றிய சிறப்பு அன்றோவாடுபு வனப்பு ஓடி வயக்கு உறா மணி போன்றாள்நீடு இறை நெடு மென் தோள் நிரை வளை நெகிழ்ந்ததை? அடும்பு இவர் அணி எக்கர் ஆடி நீ மணந்தக்கால்,‘கொடுங் குழாய்! தெளி’ எனக் கொண்டதன் கொளை அன்றோபொறை ஆற்றா நுசுப்பினால், பூ வீந்த கொடி போன்றாள்மறை பிறர் அறியாமை மாணா நோய் உழந்ததை? என ஆங்குவழிபட்ட தெய்வம்தான் வலி எனச் சார்ந்தார்கண்கழியும் நோய் கைம்மிக அணங்குஆகியது போல,பழி பரந்து அலர் தூற்ற, என் தோழிஅழி படர் அலைப்ப, அகறலோ கொடிதே. Yet again, a plea on behalf of a friend. The words can be translated as follows: “Upon the soaring sand dunes, assailed by waves of the spreading sea, after choosing and feeding upon their prey, with their loving mates, rest herds of birds in many different forms. Akin to rows of battle elephants, belonging to the one, who rules over the drums three, and who utterly ruins the strength of his enemies, placed in perfect intervals, are the ships, which have completed their missions, without any ruin whatsoever, and won over fame wherever they went, adorning the cool shores of your domain, O lord of the shining seas! After you embraced her in the shade of the laurel wood tree, you promised to her saying ‘O maiden with a fine forehead! Fear not!’. Isn’t that what has caused the maiden to lose her esteemed beauty, akin to a tender mango shoot, and be covered in pallor, appearing like the glow of a lamp during the day? After you flawlessly embraced her in the many-flowered, fragrant grove, you cheered her saying, ‘O maiden of few words! Understand and be clear’. Isn’t that what has endowed the state, wherein the rows of bangles slip away from the slender, curving, soft arms of that maiden, whose beauty has faded and ruined, akin to an unpolished sapphire? After playing in the fine sands covered with beach morning glory vines, you hugged her and said, ‘O maiden wearing curving earrings! Understand and be clear’. Isn’t that because she accepted that as your pledge that has now made her suffer with this unceasing disease, which she hides from the knowledge of others, making that maiden, whose has a slender waist, unable to bear the burden of her jewels, now become like a vine, bereft of flowers? And so, akin to how a god worshipped as one’s strength, transforms to become the attacking spirit, making the affliction of the worshipper get out of hand, causing slander and blame to spread around, it’s terrible of you to part away, leaving my friend in this deep despair!” Let’s delve into the details. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the confidante renders these words to the man. She begins by describing his shores, where on one side, seabirds are resting with their mates on sand dunes, after choosing from the bounty of prey and feeding to their full. To depict the scene on the other side of the shore, an image of neat rows of battle elephants of a king, who is said to extended his dominion over drums three, possibly referring to a Pandya King, who had extended his power in the Chera and Chozha countries as well, is put forth. This simile of rows of elephants, separated by intervals, has been employed to talk about the ships that have returned from their missions, without even a scratch, fully intact, after sailing in faraway seas, and earning esteem and praise wherever their sails fluttered. Returning, we find the confidante moving towards the crux of the matter by reminding the man about the promises and clarifications he gave the lady as he united with her in the shade of the laurel wood tree, in the seashore grove and in the spreading sands filled with morning glory vines. The lady accepted and trusted in all these words and now because the man seems to have forgotten those promises and parted away, she finds herself in a state, where pallor covers her, her bangles slip away and the disease of affliction soars so much, even as the lady tries to hide it from all others, intending to protect her man. Her beauty, which was exquisite before, has now become a lamp lit during the day, an unpolished sapphire and a vine, whose flowers have abandoned it. A

In this episode, we perceive stunning images from an ancient seashore, as portrayed in Sangam Literary work, Kalithogai 131, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and sketches the dynamics in the relationship between the man and the lady. தோழி:பெருங்கடல் தெய்வம் நீர் நோக்கித் தெளித்து, என்திருந்திழை மென்தோள் மணந்தவன் செய்தஅருந்துயர் நீக்குவேன் போல் மன், பொருந்துபுபூக்கவின் கொண்ட புகழ் சால் எழில் உண்கண்,நோக்குங்கால் நோக்கின் அணங்காக்கும் சாயலாய்! தாக்கிஇனமீன் இகல் மாற வென்ற சினமீன்எறிசுறா வான் மருப்பு கோத்து நெறி செய்தநெய்தல் நெடு நார்ப் பிணித்து யாத்துக் கை உளர்வின்யாழசை கொண்ட இன வண்டு இமிர்ந்து ஆர்ப்பத்தாழாது உறைக்கும் தடமலர்த் தண்தாழைவீழ் ஊசல் தூங்க பெறின். மாழை மட மான் பிணை இயல் வென்றாய்! நின் ஊசல்கடைஇ யான் இகுப்ப, நீடு ஊங்காய் தட மென்தோள்நீத்தான் திறங்கள் பகர்ந்து. தலைவி:நாணினகொல் தோழி? நாணினகொல் தோழி?இரவெலாம் நல்தோழி நாணின, என்பவைவாள் நிலா ஏய்க்கும் வயங்களி எக்கர் மேல்,ஆனாப் பரிய அலவன் அளை புகூஉம்,கானல் கமழ் ஞாழல் வீ ஏய்ப்பத் தோழி, என்மேனி சிதைத்தான் துறை. தோழி:மாரி வீழ் இருங்கூந்தல் மதைஇய நோக்கு எழில் உண்கண்தாழ்நீர முத்தின் தகை ஏய்க்கும் முறுவலாய்!தேயா நோய் செய்தான் திறம் கிளந்து நாம் பாடும்சேய் உயர் ஊசல் சீர் நீ ஒன்று பாடித்தை. தலைவி:பார்த்துற்றன தோழி! பார்த்துற்றன தோழி!இரவெலாம் நல் தோழி! பார்த்துற்றன என்பவைதன் துணை இல்லாள் வருந்தினாள் கொல்? எனஇன்துணை அன்றில் இரவின் அகவாவே,அன்று, தான் ஈர்த்த கரும்பு அணி வாட, என்மென்தோள் ஞெகிழ்த்தான் துறை. தோழி:கரைகவர் கொடுங்கழிக் கண்கவர் புள் இனம்,திரை உறப் பொன்றிய புலவு மீன் அல்லதை,இரை உயிர் செகுத்து உண்ணாத் துறைவனை யாம் பாடும்அசைவரல் ஊசல் சீர் அழித்து, ஒன்று பாடித்தை. தலைவி:அருளினகொல் தோழி? அருளினகொல் தோழி?இரவெலாம் தோழி! அருளின என்பவைகணங்கொள் இடு மணல் காவி வருந்தப்பிணங்கு இரு மோட்ட திரை வந்து அளிக்கும்,மணம்கமழ் ஐம்பாலார் ஊடலை ஆங்கேவணங்கி உணர்ப்பான் துறை. தோழி:என நாம்,பாட மறை நின்று கேட்டனன் நீடியவால் நீர்க் கிடக்கை வயங்கு நீர்ச் சேர்ப்பனையான் என உணர்ந்து நீ நனி மருளத்தேன் இமிர் புன்னை பொருந்தித்தான் ஊக்கினன் அவ் ஊசலை வந்தே. We encounter our first long song in this series on the coastal landscape, comprising of an animated conversation. The words can be translated as follows: “Confidante:Splashing its water on you, the great god of the sea seems to bless you saying, ‘I will remove the deep suffering caused by the one, who embraced your soft arms clad with perfect jewels’, O maiden having flower-like, esteemed, beautiful, kohl-streaked eyes, and an appearance that bewitches those who behold you! Tying together the white bills of many swordfish, which have attacked and won over many other kinds of fish, in neat rows, a plank has been tied together with the long stems of the blue lotus, and to make a swaying swing, this has been placed on the aerial roots of the cool pandanus trees with huge flowers, around which unceasingly bees of many kinds buzz around, akin to a hand-held lute. O maiden, with a gaze, akin to a young, naive deer, as you sit upon this swing and I rock you up and down for a long time, share about the qualities of the one, who abandoned your curving, gentle arms! Lady:Didn’t they felt ashamed, my friend? Didn’t they feel ashamed? All night, they felt ashamed, my friend, those crabs that ceaselessly skip about the radiant sands, akin to the white moon, as they rushed into their holes, in the shores of the one, who ruined my form, and turned it into the hue of the falling flowers of the fragrant screw-pine! Confidante:O maiden with rain-like, thick tresses, beautiful, kohl-streaked eyes, with an exquisite gaze, and a smile, akin to the glow of pearls in the deep waters! Matching the rhythm of this swing that flies afar, why don’t you render a stanza in this song we are singing together about the qualities of the one, who rendered this unending affliction in you? Lady:They saw and felt sorrowful, my friend! They saw and felt sorrowful! All night, they felt sorrowful, my friend! Did they think, I was worrying without my companion, that those red-naped ibises with sweet mates refrained from singing all night, in the shores of the one, who painted sugarcane patterns on my soft arms, and then made their beauty fade away. Confidante:O maiden! Matching the rhythm of this swaying swing, render one more thought in this song we are singing about the lord of the shore, where the picturesque sea birds, which adorn the shores of the curving backwaters, feed only on the fish that are battered by the waves and brought to the shore, and would never prey upon the living! Lady:Didn’t they grace and protect, my friend? Didn’t they grace and protect? All night, they rendered their grace, my friend, as the thick sand that flew in with the wind troubled the red lilies, the waves rushed to flatten the rising levels of mud and protected with grace, in the shore of the one, who bows low and resolves the sulking of the maiden, having fragrant, five-layered tresses therein. Confidante:And so, once before, the lord of the shores. brimming with white waves, stood there hiding, listening to such a song o

In this episode, we observe the transformation in a person, as depicted in Sangam Literary work, Kalithogai 130, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and sketches the effect of an evening on a maiden. ‘நயனும், வாய்மையும், நன்னர் நடுவும்,இவனின் தோன்றிய, இவை’ என இரங்க,புரை தவ நாடி, பொய் தபுத்து, இனிது ஆண்டஅரைசனோடு உடன் மாய்ந்த நல் ஊழிச் செல்வம் போல்,நிரை கதிர்க் கனலி பாடொடு பகல் செல,கல்லாது முதிர்ந்தவன் கண் இல்லா நெஞ்சம் போல்,பல் இருள் பரத்தரூஉம் புலம்பு கொள் மருள் மாலை இம் மாலை,ஐயர் அவிர் அழல் எடுப்ப, அரோ, என்கையறு நெஞ்சம் கனன்று தீ மடுக்கும்! இம் மாலை,இருங் கழி மா மலர் கூம்ப, அரோ, என்அரும் படர் நெஞ்சம் அழிவொடு கூம்பும்! இம் மாலை,கோவலர் தீம் குழல் இனைய, அரோ, என்பூ எழில் உண்கண் புலம்பு கொண்டு இனையும்! என ஆங்கு,படு சுடர் மாலையொடு பைதல் நோய் உழப்பாளை,குடி புறங்காத்து ஓம்பும் செங்கோலான் வியன் தானைவிடுவழி விடுவழிச் சென்றாங்கு, அவர்தொடுவழித் தொடுவழி நீங்கின்றால் பசப்பே. For a change, it’s the onlookers who are rendering these words, which can be translated as follows: “Making people say with tenderness, ‘Surely, grace, truth and fairness must have been born only because of him’, analysing the right ways of uplifting, avoiding lies entirely, with goodness, ruled a great king. Akin to the wealth of good times that vanishes away with him, the sun, brimming with rays, decides to part away and end the day. Akin to the visionless heart of an uneducated old man, darkness then spreads in this lonely and confusing evening. At this evening hour, when priests light the flame, alas! my helpless heart burns with the fire of desire; At this evening hour, when the huge flowers in the backwaters close their buds, alas! my suffering-filled heart closes with despair; At this evening hour, when the cowherds play on their sweet flutes, alas! my flower-like, kohl streaked eyes join in unison with loneliness; And so, in that evening, when the sun sets, with a sorrowful disease, she suffered. Akin to a king with a red sceptre, who protects his people, by wielding his wide army, wherever, wherever he wishes, whenever, whenever her beloved touches her, fades away that pallor of hers!” Let’s explore the nuances. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the onlookers talk about the lady’s state. First, they describe the time of the day with the simile about the passing away of a great king, who ruled with justice and goodness, and the vanishing away of all good times with his passing, to talk about the setting of the sun. Then, another philosophical simile about the mind of an uneducated person, which cannot see far, when old age arrives, and thus is filled with confusion, is brought forth to highlight the darkness of the night to come. Then, the effect of the evening on the lady is detailed, mentioning how as priests light flames, it’s the lady’s heart that burns; as flowers close, the lady’s heart too closes with sorrow; as cowherds send out the music of their flutes, the lady’s heart seems to join that song of melancholy. The same onlookers, most probably, the friends of the lady, conclude by talking about how the lady who was so ruined by an evening, without her beloved, was transformed, when he arrived. Like how a just king protects his people with his powerful army wherever he goes, whenever the man touches the lady, her pallor seemed to retreat, conclude those onlookers. The words that spoke to me in this verse were the ones that highlighted the importance of education, by detailing how without learning, a person cannot see far and triumph over the travails of old age. This learning need not be only from the books, but it can also be from a life filled with rich experience. I was stunned by the truth and relevance of this thought after two thousand years, when studies have shown that a mentally active lifestyle, is of prime importance to put up a fight with dementia and other illnesses that attack one in the twilight years. Here’s to keeping those brain cells active and the mind’s eyes seeing far, even after the sun of youth sets in the horizon of our lives!

In this episode, we perceive the arrival of the evening with striking similes, as portrayed in Sangam Literary work, Kalithogai 129, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and sketches heartrending conversations with elements in the environment. தொல் ஊழி தடுமாறி, தொகல் வேண்டும் பருவத்தால்,பல் வயின் உயிர் எல்லாம் படைத்தான்கண் பெயர்ப்பான் போல்,எல் உறு தெறு கதிர் மடங்கி, தன் கதிர் மாய;நல் அற நெறி நிறீஇ உலகு ஆண்ட அரசன் பின்,அல்லது மலைந்திருந்து அற நெறி நிறுக்கல்லாமெல்லியான் பருவம் போல், மயங்கு இருள் தலை வர;எல்லைக்கு வரம்பு ஆய, இடும்பை கூர், மருள் மாலை பாய் திரைப் பாடு ஓவாப் பரப்பு நீர்ப் பனிக் கடல்!‘தூ அறத் துறந்தனன் துறைவன்’ என்று, அவன் திறம்நோய் தெற உழப்பார்கண் இமிழ்தியோ? எம் போலக்காதல் செய்து அகன்றாரை உடையையோ? நீ மன்று இரும் பெண்ணை மடல் சேர் அன்றில்!‘நன்று அறை கொன்றனர், அவர்’ எனக் கலங்கியஎன் துயர் அறிந்தனை நரறியோ? எம் போலஇன் துணைப் பிரிந்தாரை உடையையோ? நீ பனி இருள் சூழ்தர பைதல் அம் சிறு குழல்!‘இனி வரின், உயரும்மன் பழி’ எனக் கலங்கியதனியவர் இடும்பை கண்டு இனைதியோ? எம் போலஇனிய செய்து அகன்றாரை உடையையோ? நீ என ஆங்கு,அழிந்து, அயல் அறிந்த எவ்வம் மேற்பட,பெரும் பேதுறுதல் களைமதி, பெரும!வருந்திய செல்லல் தீர்த்த திறன் அறி ஒருவன்மருந்து அறைகோடலின் கொடிதே, யாழ நின்அருந்தியோர் நெஞ்சம் அழிந்து உக விடினே. The confidante takes the spotlight again, in this verse. The words can be translated as follows: “In the past, at a moment, which appeared to be the end of time, beings of many kinds were together assembled and dispatched to the Creator by the Destroyer. Akin to this time, the radiant flame that lit up the day dimmed and made its rays fade; After the death of a king, who ruled his land, reinstating justice with righteousness, came the rule of a weak king, unable to establish justice, making evil reign. Akin to this time, when confusing darkness raises its head, establishing the limit to the day, arrived the suffering-filled, tormenting evening. O cool and wide seas, filled with roar of the soaring waves that cease not! Saying, ‘The lord of the shores has parted away, destroying your strength’, are you singing about those, who are suffering with affliction because of him? Or do you too have someone, who has loved you and then abandoned you, just like me? O red-naped ibis, perched on the leaf of the palmyra tree in the town centre! Saying, ‘The lord has killed all that is good’, are you screeching, understanding the sorrow that rocks me? Or do you too have someone, who has parted away from their sweet companion, just like me? O pretty little flute that surrounds with the music of melancholy! Saying, ‘If he comes now, the slander will be routed’, are you crooning after seeing the lonely pain that rocks me? Or do you too have someone, who has done good and then parted away, just like me? And so, ruined, with a sorrow that everyone around knows, she is greatly tormented. You must end this angst of hers, O lord! Even more terrible than knowing the cure to a deep pain and withholding that medicine, would be your act of letting the heart of someone you love ruin away!” Let’s explore the nuances. The verse is situated in the context of a man’s parting from a lady prior to marriage and here the confidante expresses her views to the man. Instead of talking about the land, as custom, the confidante chooses to talk about the time of the day. To describe that, she brings in two similes: One, a time when lives many are assembled together to be destroyed, making space for the new to be born again; Two, a time after the rule of a good and just king, when a weak king, takes up the mantle and is unable to subdue evil in the land. Just like how these times would be filled with darkness, the sun was dimming its rays, marking the end of the day, and setting the stage for the tormenting evening. The confidante describes how, at this time of the day, the lady turns to the roaring seas, the crying ibis and the crooning flute, and asks each of them whether they were singing knowing her plight or whether they too were loved and abandoned by someone, just the way she has been. The confidante relays this angst-ridden questions, put forth to elements of the world around by the lady, to the man, conveying her pain and affliction, declaring he must end this. She concludes with the words that if he doesn’t, his actions would be even more cruel than a doctor, who knows the cure of a pain but withholds it from those who are suffering. Though the core thought is the same plea to the man to save the life of the suffering lady, there are some interesting similes hidden herein. The medicine connection struck me as something so relevant even today, when money seems to dictate the availability of cures to the needy. As if they are aware of the Hippocratic oath taken by the students of Medicine, the Sangam folks talk about the ethics of a physician, who is expected to offer all the help they can! Reversing to the very first simile

In this episode, we listen to the events that unfolded in a dream, as depicted in Sangam Literary work, Kalithogai 128, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and reveals the subtle reasons for a transformation. ‘தோள் துறந்து அருளாதவர் போல் நின்று,வாடை தூக்க வணங்கிய தாழைஆடு கோட்டு இருந்த அசை நடை நாரை,நளி இருங் கங்குல், நம் துயர் அறியாது,அளி இன்று, பிணி இன்று, விளியாது நரலும்கானல் அம் சேர்ப்பனைக் கண்டாய் போல,புதுவது கவினினை’ என்றியாயின்,நனவின் வாரா நயனிலாளனைக்கனவில் கண்டு, யான் செய்தது கேள், இனி: ‘அலந்தாங்கு அமையலென்’ என்றானைப் பற்றி, ‘என்நலம் தாராயோ?’ என, தொடுப்பேன் போலவும்,கலந்து ஆங்கே என் கவின் பெற முயங்கி,‘புலம்பல் ஓம்பு’ என, அளிப்பான் போலவும் ‘முலையிடைத் துயிலும் மறந்தீத்தோய்’ என,நிலை அழி நெஞ்சத்தேன் அழுவேன் போலவும்,‘வலை உறு மயிலின் வருந்தினை, பெரிது’ என,தலையுற முன் அடிப் பணிவான் போலவும் கோதை கோலா, இறைஞ்சி நின்றஊதைஅம் சேர்ப்பனை, அலைப்பேன் போலவும்,‘யாது என் பிழைப்பு?’ என நடுங்கி, ஆங்கே,‘பேதையைப் பெரிது’ எனத் தெளிப்பான் போலவும் ஆங்குகனவினால் கண்டேன் தோழி! ‘காண் தகக்கனவின் வந்த கானல் அம் சேர்ப்பன்நனவின் வருதலும் உண்டு’ எனஅனை வரை நின்றது, என் அரும் பெறல் உயிரே. After a while, we get to hear the voice of the lady in this one. The words can be translated as follows: “Akin to one, who has abandoned the arms of a beloved and renders not his grace, stands the stiff pandanus, now bent by the cold northern winds. The stork with a swaying gait that rests upon the dancing branches, in the pitch dark hour of midnight, without knowing of our sorrow, without grace, without care, cries out unceasingly in the groves of the lord. You ask me, ‘Why do you glow with new beauty, as if you have seen the lord of the seas?’. Listen now to what I did to the loveless one, who does not come here in real, when I saw him in a dream: To the one who said, ‘I shan’t live apart from you’, I demanded, ‘Give me back my beauty!’ Just then, he embraced me, making my beauty return, and said ‘Let your lamenting cease!’. Then, I cried to him with a ruined heart, asking, ‘Have you forgotten the sweet sleep between my bosom’?, and he responded saying, ‘You suffer so much, akin to a peacock caught in a net’, and bent his head before my feet. With a garland as a rod, I hit that lord of the shores, wafting with cold winds, as he stood there pleading. He responded asking with a shiver, ‘What is my mistake?’ and then spoke to me, removing my fears, and declaring, ‘You don’t seem to understand because of your great ignorance!’ And so, all this I saw in a dream, my friend. Thinking, ‘The lord of the shores, who appeared in that beautiful dream, will come in reality too’, waiting for his arrival, remains my precious life!” Time to delve into the details. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the lady renders these words to her confidante. The lady begins by talking about the land of the lord, where a pandanus tree, which was standing stiff and straight like a person who had abandoned their beloved, was bent by the swaying winds, and upon this tree, a stork rested and cried out aloud, causing pain in the hearts of the parted. After describing the man’s land so, the lady repeats the question her confidante just asked her, wondering why there seemed to be a glow on the lady’s face when the man had not come by at all. To this, the lady replies saying that she saw the man in the dream and demanded that he give back her beauty and he hugged the lady and tried to calm her. When she persisted and questioned him about why he came no more and savoured sweet sleep with her, he understood her state, likening it to that of a peacock caught in a net, and bent low before her. When the lady pretended to be angry and hit him with a garland as a rod, the man asked with a quiver, ‘What is my mistake?’, and tried to make her understand his love and her ignorance. Repeating all this to her friend, the lady tells her friend that her life believes that all this that happened in a dream will happen for real too and that’s why it seemed to be holding on, with hope. The verse relays the power of these incomprehensible but integral part of human life called dreams, that has fascinated poets and scientists for centuries many! Do we dream what we want in life, or do dreams reflect what has happened in life, or is it all nothing but random sparks in a sleeping organ? The mystery goes on…

In this episode, we hear piercing words rendered to persuade a person, as portrayed in Sangam Literary work, Kalithogai 127, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and attempts to change the man’s heart. தெரி இணர் ஞாழலும், தேம் கமழ் புன்னையும்,புரி அவிழ் பூவின கைதையும், செருந்தியும்,வரி ஞிமிறு இமிர்ந்து ஆர்ப்ப, இருந் தும்பி இயைபு ஊதசெரு மிகு நேமியான் தார் போல, பெருங் கடல்வரி மணல்வாய் சூழும் வயங்கு நீர்த் தண் சேர்ப்ப! கொடுங் கழி வளைஇய குன்று போல், வால் எக்கர்,நடுங்கு நோய் தீர, நின் குறி வாய்த்தாள் என்பதோகடும் பனி அறல் இகு கயல் ஏர் கண் பனி மல்க,இடும்பையோடு இனைபு ஏங்க, இவளை நீ துறந்ததை? குறி இன்றிப் பல் நாள், நின் கடுந் திண் தேர் வரு பதம் கண்டு,எறி திரை இமிழ் கானல், எதிர்கொண்டாள் என்பதோஅறிவு அஞர் உழந்து ஏங்கி, ஆய் நலம் வறிதாக,செறி வளை தோள் ஊர, இவளை நீ துறந்ததை? காண் வர இயன்ற இக் கவின் பெறு பனித் துறை,யாமத்து வந்து, நின் குறி வாய்த்தாள் என்பதோவேய் நலம் இழந்த தோள் விளங்குஇழை பொறை ஆற்றாள்,வாள் நுதல் பசப்பு ஊர, இவளை நீ துறந்ததை? அதனால்,இறை வளை நெகிழ்ந்த எவ்வ நோய் இவள் தீர,‘உரவுக் கதிர் தெறும்’ என ஓங்கு திரை விரைபு, தன்கரை அமல் அடும்பு அளித்தாஅங்குஉரவு நீர்ச் சேர்ப்ப! அருளினை அளிமே. The confidante’s voice resounds among the waves of this shore again! The words can be translated as follows: “The tigerclaw with radiant clusters, the laurel wood wafting with the fragrance of honey, the pandanus with flowers breaking open and blossoming, and the golden champak makes the striped bees buzz aloud and the black bees to join in unison, in the grove upon the striped sands around which the great ocean surrounds, akin to the garland of the Battle-worthy One with a discus, in your domain, O lord of the cool and bright seas! Is it because she answered your call to tryst, so as to end your tormenting affliction, upon the white sands that are heaped like peaks on the curving backwaters, that you have abandoned her, making her yearn with sorrow and suffering, even as her eyes brim over with tears, appearing akin to fish swimming in a cold, wild stream? Is it because she welcomed you, hearing your fast and sturdy chariot arrive, even though many days had passed by without trysting, in the groves resounding with leaping waves, that you have abandoned her, making her tight bangles slip away from her arms, even as she yearns and suffers in limitless sorrow that scorches her fine beauty? Is it because she answered your call to tryst, in these pleasing, picturesque, cool shores, at night, that you have abandoned her, making pallor spread on her shining forehead, even as her arms which have lost their bamboo-like beauty struggle, unable to bear the burden of her radiant jewels? And so, to end her suffering-filled disease that makes her bangles slip away, akin to how the roaring seas rush in, thinking that the fierce rays of the sun will scorch the beach morning glory vines on the shore and renders their grace, O lord of the resounding waves, render your grace to her!” Let’s delve into the nuances. The verse is situated in the context of the man’s parting from the lady prior to marriage, and here, the confidante pleads to the man on behalf of the lady. As custom, the confidante starts with a description of the man’s land, where the sea surrounds the white sands, filled with groves of trees with fragrant flowers such as the tigerclaw, laurel wood, pandanus and the golden champak. To etch this image, the confidante brings in a mythical reference to the garland that surrounds the God, who was called upon in battles many, the One who has a discus in hand, possibly referring to God Vishnu. After this description, the confidante asks the man whether he has abandoned the lady so easily because she always answered his call to tryst upon the white sands, always welcomed him even when many days had passed without meeting and was always ready to tryst with him even at night. After the lady had been so receptive to his requests, now she has been left in a state of pining, with bangles slipping and tears brimming, the confidante accuses the man. She concludes by asking him to have the thoughtfulness of the sea waves that rush to cool the beach morning glory vines thinking these would be scorched by the sun otherwise, and likewise asking him grace the lady and end her deep suffering. In the image of waves rushing to the aid of the vines, we see the literary device of personification on the natural actions of an element of the land. Also, in the repeated questions the confidante asks the man, she seems to be asking him indirectly how he could be so thankless and thoughtless, in the face of the lady’s love, employing the core of the idiom, ‘Familiarity breeds contempt’, and intends to bring shame and regret in the man’s mind! Yet another ‘marry her, marry her’, that we are able to relate to a relevant thought in another language, in another culture, echoing the universality of human emotions!