Kalithogai 114 – Virtue in a wedding

Sangam Lit

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தலைவி
வாரி, நெறிப்பட்டு, இரும்புறம் தாஅழ்ந்த
ஓரிப் புதல்வன் அழுதனன் என்பவோ,
புதுவமலர் தைஇ, எமர் என் பெயரால்,
வதுவை அயர்வாரை கண்டு? “மதி அறியா
ஏழையை” என்று அகல நக்கு வந்தீயாய்! நீ
தோழி அவன் உழைச் சென்று.

தோழி
சென்று யான் அறிவேன்; கூறுக மற்று இனி.

தலைவி
‘சொல் அறியாப் பேதை! மடவை! மற்று எல்லா!
நினக்கு ஒரூஉம்; மற்று, என்று அகல் அகலும்; நீடு இன்று
நினக்கு வருவதாக் காண்பாய்’, அனைத்து ஆகச்
சொல்லிய சொல்லும் வியங்கொளக் கூறு.

தருமணல் தாழப் பெய்து இல் பூவல் ஊட்டி,
எருமைப் பெடையோடு, எமர் ஈங்கு அயரும்
பெரு மணம் எல்லாம் தனித்தே ஒழிய,
வரி மணல் முன்துறைச் சிற்றில் புனைந்த
திரு நுதல் ஆயத்தார் தம்முள் புணர்ந்த
ஒரு மணம் தான் அறியும் ஆயின் எனைத்தும்
தெருமரல் கைவிட்டு இருக்கோ, அலர்ந்த
விரிநீர் உடுக்கை உலகம் பெறினும்,
அருநெறி ஆயர் மகளிர்க்கு
இரு மணம் கூடுதல் இல் இயல்பு அன்றே?

Time to explore the nuances. The words can be translated as follows:

“Lady
Even after seeing that my kin are preparing for my wedding by stringing fresh and new flowers, after combing and straightening tresses, hanging low on both sides, will they simply say, ‘Our little boy is crying!’? Please go to his home, my friend, and scorn him saying, ‘You are a pitiable one, who knows nothing!’

Confidante
I will go thither and find out! What else should I tell him, tell me now.

Lady
Tell him, “You are an ignorant one, who does not know to speak up! A fool and everything else! It will slip away from you. It will slip far from you. You will see this happen to you’ – Say all this and much more to make him understand!

It appears as if this great wedding that my kin are about to hold, spreading fresh sand in front of the house, adding red soil, and praying to the female buffalo, might happen without him. Those who have united with their beloved in the lined sands of the shore, filled with small sand houses, built by maiden with fine foreheads, know that their wedding is over. Won’t they be startled and bewildered? Isn’t it well known that even if they were to gain the entire world with the spreading seas, it’s not in the nature of herder women with virtue to accept to be part of two weddings!”

Let’s delve into the details. The verse is situated in the context of a lady’s attempt to persuade a man to marry her. Though this theme is most commonly found in the ‘Kurinji’ or ‘Mountain landscape’, it has been grouped under the ‘Mullai’ or ‘Forest landscape’, owing to the presence of elements from the herder community. These words are said by the lady to her confidante. The lady starts in an agitated tone talking about how her family is preparing for her wedding and asks whether the man’s relatives will say, ‘Our little boy is crying!’, indirectly asking if the man she loves is but a child! She asks her confidante to go there and tell him what a fool he is. The confidante asks what more should she tell him and the lady replies saying the confidante must make him understand that he should speak up, otherwise he is going to lose the lady for sure. Then, she talks about the wedding preparations her family is carrying on with, by spreading fresh sand in front of her house, adding red soil there and then praying to the female buffalo, perhaps a fertility ritual. She talks about another place filled with sands, the river shore, where she united with her man, and declares her wedding with the man was already over, at that moment, She insists to the confidante to ask him, how will a virtuous herder woman let herself be married twice, even if the entire world is offered on a platter! The verse in addition to throwing bright light on the sky-soaring virtue of Sangam women of being true to their beloved, also subtly conveys the culture of a herder community by sketching its wedding customs!

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Sangam Lit

Kalithogai 114 – Virtue in a wedding

Sangam Lit

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தோழி
சென்று யான் அறிவேன்; கூறுக மற்று இனி.

Time to explore the nuances. The words can be translated as follows:

Confidante
I will go thither and find out! What else should I tell him, tell me now.

301 odcinków

#Society #Books #Arts #History #Philosophy #Nandini Karky

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Sangam Lit

1
Aganaanooru 138 – A case of mistaken conclusions 6:25

24 hours temu6:25

6:25

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

Sangam Lit

1
Aganaanooru 137 – Fear of the future 6:09

2 dni temu6:09

6:09

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

Sangam Lit

1
Aganaanooru 136 – Recollecting who she was then 8:13

3 dni temu8:13

8:13

In this episode, we perceive a unique technique to appease a person’s ire, as depicted in Sangam Literary work, Aganaanooru 136, penned by Vitrootru Mootheyinanaar. The verse is situated amidst the decorated mansions and bejewelled denizens of the ‘Marutham’ or ‘Farmlands landscape’ and etches the events in an ancient wedding ceremony. மைப்பு அறப் புழுக்கின் நெய்க் கனி வெண் சோறு வரையா வண்மையொடு புரையோர்ப் பேணி, புள்ளுப் புணர்ந்து இனிய ஆக, தெள் ஒளி அம் கண் இரு விசும்பு விளங்க, திங்கட் சகடம் மண்டிய துகள் தீர் கூட்டத்து, கடி நகர் புனைந்து, கடவுட் பேணி, படு மண முழவொடு பரூஉப் பணை இமிழ, வதுவை மண்ணிய மகளிர் விதுப்புற்று, பூக்கணும் இமையார் நோக்குபு மறைய, மென் பூ வாகைப் புன் புறக் கவட்டிலை, பழங் கன்று கறித்த பயம்பு அமல் அறுகைத் தழங்குகுரல் வானின் தலைப்பெயற்கு ஈன்ற மண்ணு மணி அன்ன மாஇதழ்ப் பாவைத் தண் நறு முகையொடு வெண் நூல் சூட்டி, தூ உடைப் பொலிந்து மேவரத் துவன்றி, மழை பட்டன்ன மணல் மலி பந்தர், இழை அணி சிறப்பின் பெயர் வியர்ப்பு ஆற்றி, தமர் நமக்கு ஈத்த தலைநாள் இரவின், ”உவர் நீங்கு கற்பின் எம் உயிர் உடம்படுவி! முருங்காக் கலிங்கம் முழுவதும் வளைஇ, பெரும் புழுக்குற்ற நின் பிறைநுதற் பொறி வியர் உறு வளி ஆற்றச் சிறு வரை திற” என ஆர்வ நெஞ்சமொடு போர்வை வவ்வலின், உறை கழி வாளின் உருவு பெயர்ந்து இமைப்ப, மறை திறன் அறியாள்ஆகி, ஒய்யென நாணினள் இறைஞ்சியோளே பேணி, பரூஉப் பகை ஆம்பற் குரூஉத் தொடை நீவி, சுரும்பு இமிர் ஆய்மலர் வேய்ந்த இரும் பல் கூந்தல் இருள் மறை ஒளித்தே. Though we don’t actually get to travel to the outer spaces of this domain in this verse, we get a sense of the culture here, as we listen to the man say these words to his heart, when the lady is in the midst of a fight with him, as she listens nearby: “The cooked white rice, having flawless pieces of meat, brimming with ghee, was rendered with limitless hospitality and guests were welcomed. Sounds of birds uniting echoed sweetly in the air; The beautiful dark sky shined with a clear light, and at this time, the moon and the wheel-shaped star come together in a perfect union; The wedding home was decorated and god’s praises were sung; As the thick and huge ‘panai’ drums resounded, along with ‘muzhavu’ wedding drums, the women who bathed her as part of the wedding ceremony, not blinking their flower-like eyes, quickly vanished; The delicate-bottomed forked leaves of the Lebbeck tree, with soft flowers, and the cool and fragrant buds of the huge-petaled flower, in the hue of well-washed sapphires, blossoming in the sky’s first rains, upon the wild ‘arukai’ grass, spreading in the crevices, and grazed upon by mature calves, are tied together with a white thread, and adorned on her, along with pristine clothes. Then coming together with affection, in that sand-filled pavilion, resounding with the sound of falling rain, wiping away the sweat that runs down, because of heavy jewels worn, her kith and kin rendered her to me. On the night of this first day together, saying to her, “O maiden, who is the form to my life, filled with blemish-less chastity! As you have covered your form entire with a thick attire, feeling rather hot, your crescent-moon-like forehead would be coated in beads of sweat. Letting the flowing breeze to cool it, why not remove it?”, with a desiring heart, I pulled away the cover, and there she was, shining akin to a sword, pulled out from its sheath. Without knowing how to hide herself, she was overcome with shyness and bent her head. Understanding her state, I came to her aid and removed the radiant, thick white-lily garland, which was like a foe to her, just then, spreading her thick and black, bee-buzzing tresses, filled with beautiful flowers, and with that cover of darkness, helped her hide herself!” Let’s participate in this ancient farmlands wedding and learn more! The man simply takes a walk down memory lane, recollecting the day of his wedding with his lady. He remembers the pots of rice and meat, cooked with ghee, and served to guests ceaselessly. He talks about how the sweet sounds of birds uniting resounded in the air. The man then talks about how the moon was supposed to be coming close to and uniting with a star in a wheel-shaped constellation, that day. Interpreters have identified this particular star to be ‘Rohini’, also known as the Aldebaran star, said to be the ‘eye’ of the Taurus constellation, in another astronomical classification. There have been numerous mythological stories about the connection between this star and the moon, and here too, we encounter one such belief in Sangam culture that the coming together of these two celestial bodies was an auspicious moment for a couple to begin their journey together. Returning, the man turns his attention to the wedding decorations in the home, praising god, and the resounding roar of wedding drums many. The lady was given a ceremonial bath from maiden and then she was adorned with flowers of the Arukai grass and leaves of the Vaakai tree, atop glowing clothes. After dressing the bride so, the lady’s kith and kin, wiping away the sweat, owing to wearing heavy ornaments, offered the lady to the man, and formalised their union. From these festivities, the man turns to a personal moment between him and the lady on their first night together, when he observes her covering herself in a thick attire. He seems to have pulled it away, so that the beads of sweat on the lady’s forehead would be dried by the cool breeze. As he pulled the cover apart, the lady appeared like a sword out of sheath, glowing, the man recounts. At that moment, she seemed to have been filled with shyness and without knowing how to cover herself, she had bent her head. The man seems to have come to her aid and removed the clasp of her white-lily garland and turned the darkness of her thick, black tresses as her new attire, he concludes. We know the man and lady had been fighting. The man had been trying many attempts to appease her but to no avail. He finally chooses the strategy of talking about a happy, delightful moment, in their early years, to take the lady to the past, reminding her of who she had been to the man, and make her forget the present moment of conflict. Though we do not know whether the man’s strategy worked out for him, on our part, we got to go to an ancient Tamil wedding, feast our senses with food and festivity and delight in the many glimpses of plenty and prosperity of this domain!…

Sangam Lit

1
Aganaanooru 135 – Like a besieged town 4:13

6 dni temu4:13

4:13

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

Sangam Lit

1
Aganaanooru 134 – Hasten not the horses 5:06

7 dni temu5:06

5:06

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

Sangam Lit

1
Aganaanooru 133 – The love in his words 5:57

8 dni temu5:57

5:57

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

Sangam Lit

1
Aganaanooru 132 – The dream of a bee 5:36

9 dni temu5:36

5:36

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

Sangam Lit

1
Aganaanooru 131 – To go or not to go 6:01

10 dni temu6:01

6:01

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

Sangam Lit

1
Aganaanooru 130 – Those eyes of hers 4:57

13 dni temu4:57

4:57

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

Sangam Lit

1
Aganaanooru 129 – Impossible to stay away 6:00

14 dni temu6:00

6:00

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

Sangam Lit

1
Aganaanooru 128 – Watching every step he takes 5:06

15 dni temu5:06

5:06

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

Sangam Lit

1
Aganaanooru 127 – All the wealth cannot compare 6:06

16 dni temu6:06

6:06

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

Sangam Lit

1
Aganaanooru 126 – The fate of an adamant king 6:37

17 dni temu6:37

6:37

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

Sangam Lit

1
Aganaanooru 125 – Quelling a formidable foe 6:53

20 dni temu6:53

6:53

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

Sangam Lit

1
Aganaanooru 124 – Back with the beloved 4:29

21 dni temu4:29

4:29

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

Sangam Lit

1
Aganaanooru 123 – Backwards and Forwards 4:35

22 dni temu4:35

4:35

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

Sangam Lit

1
Aganaanooru 122 – Troubles in a Tryst 6:41

23 dni temu6:41

6:41

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

Sangam Lit

1
Aganaanooru 121 – Discomfort for the Delicate 6:04

24 dni temu6:04

6:04

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

Sangam Lit

1
Aganaanooru 120 – Song of the red-naped ibis 5:17

27 dni temu5:17

5:17

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

Sangam Lit

1
Aganaanooru 119 – Sigh of a wounded elephant 6:12

28 dni temu6:12

6:12

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

Sangam Lit

1
Aganaanooru 118 – By day by night 4:16

29 dni temu4:16

4:16

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

Sangam Lit

1
Aganaanooru 117 – In the hands of another 6:25

4 weeks temu6:25

6:25

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

Sangam Lit

1
Aganaanooru 116 – Louder than a victor’s shout 6:26

4 weeks temu6:26

6:26

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

Sangam Lit

1
Aganaanooru 115 – A wish for a beloved 4:53

5 weeks temu4:53

4:53

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

Sangam Lit

1
Aganaanooru 114 – Hasten to her abode 4:10

5 weeks temu4:10

4:10

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

Sangam Lit

1
Aganaanooru 113 – Far away in the drylands 7:08

5 weeks temu7:08

7:08

In this episode, we listen to a lady’s anguished voice, as depicted in Sangam Literary work, Aganaanooru 113, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse pens detailed portraits of some historical characters in the Sangam era. நன்று அல் காலையும் நட்பின் கோடார், சென்று வழிப்படூஉம் திரிபு இல் சூழ்ச்சியின், புன் தலை மடப் பிடி அகவுநர் பெருமகன் அமர் வீசு வண் மகிழ் அஃதை போற்றி, காப்புக் கைந்நிறுத்த பல் வேல் கோசர் இளங் கள் கமழும் நெய்தல்அம் செறுவின் வளம் கெழு நல் நாடு அன்ன என் தோள் மணந்து, அழுங்கல் மூதூர் அலர் எடுத்து அரற்ற, நல்காது துறந்த காதலர், ”என்றும் கல் பொரூஉ மெலியாப் பரட்டின் நோன் அடி அகல்சூல் அம் சுரைப் பெய்த வல்சியர் இகந்தனர்ஆயினும், இடம் பார்த்துப் பகைவர் ஓம்பினர் உறையும் கூழ் கெழு குறும்பில் குவை இமில் விடைய வேற்று ஆ ஒய்யும் கனை இருஞ் சுருணைக் கனி காழ் நெடு வேல் விழவு அயர்ந்தன்ன கொழும் பல் திற்றி எழாஅப் பாணன் நல் நாட்டு உம்பர், நெறி செல் வம்பலர்க் கொன்ற தெவ்வர் எறிபடை கழீஇய சேயரிச் சில் நீர் அறுதுறை அயிர் மணற் படுகரைப் போகி, சேயர்” என்றலின், சிறுமை உற்ற என் கையறு நெஞ்சத்து எவ்வம் நீங்க, அழாஅம் உறைதலும் உரியம் பராரை அலங்கல் அம் சினைக் குடம்பை புல்லெனப் புலம் பெயர் மருங்கில் புள் எழுந்தாங்கு, மெய் இவண் ஒழியப் போகி, அவர் செய்வினை மருங்கில் செலீஇயர், என் உயிரே! A long trip to the drylands, where we are mostly meeting with royal delegates from those times, and we get to hear the lady say these words to her confidante, as the man, who went in search of wealth, remains parted away: “With an unswerving principle of never swaying from the path of friendship, even when times are not good, the Kosars, with their many speared army, supported and stabilised the rule of the great lord Akthai, who renders naive female elephants, with delicate hair, to those who come seeking to him with much joy, even in the battlefield. Akin to the Kosars’ town of ‘NeythalamCheru’, fragrant with the scent of fresh toddy, in their fine and fertile country, are my arms. After embracing that, making this uproarious, ancient town spread slander, without rendering his graces, my lover has parted away. Pannan, the one who never retreats from his mission, the one who never tires of treading on pebble-filled paths, and walks on with strong feet, resounding musically, the one who carries abundant food in bamboo bowls and delights in fleshy meat, akin to those served in festivities, wielding his well-oiled iron rod with a heavy, dark ring, would seize humped bulls and other cattle, in well-guarded forts with lots of food, belonging to his enemies, locating the same, even if they are far away. Beyond the extent of Pannan’s fine country, is a shore, forsaken by people, with fine sand and scanty water, which is reddened, because robbers who killed wayfarers, had washed their weapons there. They say he has travelled far beyond this place. Hearing this, wounded lies my helpless heart. To end its suffering, akin to how leaving its nest upon a beautiful, swaying branch of a rough-trunked tree, a bird soars to migrate afar, leaving my body here, my life should depart to the place, where he is at work! If it does, then I may be able to endure this state without tears!” Time to walk along in those barren spaces and learn more! The lady starts by talking about a king called Akthai, renowned for his generosity to bards, even in the midst of a battle, and how a clan called ‘Kosars’ protected this king, with an unswerving steadiness. She has mentioned these details only to place her own arms in parallel to the prosperous town of these Kosars, fragrant with the scent of toddy, known by the name of ‘NeythalamCheru’. After this very modest comparison by Sangam standards, the lady goes on to talk about another character called Pannan, about how he never tires from walking on pebble filled paths, how he loves to feast on fatty flesh, and how he always locates the forts of his enemies and manages to capture their cattle. Now, these details are mentioned to say that beyond the country of Pannan, there’s an abandoned river shore with very little water, that too reddened by the robbers washing their weapons, which had done their killing work on wayfarers. People have told her that it’s this dangerous path that the man, who loved embracing those beautiful arms of hers, but deserted her, leaving her a prey for the slanderous town, is now treading, the lady connects. She declares the only way to bear this suffering would be if her life were to leave her body and soar to where the man was, much like a bird leaving its nest, when it is time to migrate elsewhere! The lady concludes by saying that only in that case, she could remain without crying, conveying to us that the whole thought is a reply to the confidante’s words of consolation. Here’s an outlet for pain, which should no doubt bring a sense of calm in the lady. The question I have in this verse is about what determines a poet’s choice of a place or a historical character? Say, in this instance, would the poet be singing this verse in the presence of Akuthai or the Kosars or Pannan or none of the above? Was it a way of recording history through the sketch of these ancient personalities? Whatever be the answer, the verse does take us to a different place and time, and introduces us to certain personalities and their traits, telling us what aspects defined a person in that era!…

Sangam Lit

1
Aganaanooru 112 – Why don’t you? 4:57

5 weeks temu4:57

4:57

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

Sangam Lit

1
Aganaanooru 111 – Her dear in the drylands 4:57

5 weeks temu4:57

4:57

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

Sangam Lit

1
Aganaanooru 110 – A momentous moment 6:15

6 weeks temu6:15

6:15

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

Sangam Lit

1
Aganaanooru 109 – Beyond the dreary spaces 4:14

6 weeks temu4:14

4:14

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

Sangam Lit

1
Aganaanooru 108 – Fulfilling love’s purpose 5:26

6 weeks temu5:26

5:26

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

Sangam Lit

1
Aganaanooru 107 – As your companion 6:53

6 weeks temu6:53

6:53

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

Sangam Lit

1
Aganaanooru 106 – A pecking kingfisher 4:35

6 weeks temu4:35

4:35

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

Sangam Lit

1
Aganaanooru 105 – Delicate to Daring 5:37

7 weeks temu5:37

5:37

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

Sangam Lit

1
Aganaanooru 104 – Relief in a return 4:56

7 weeks temu4:56

4:56

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

Sangam Lit

1
Aganaanooru 103 – The sighing maiden 3:52

7 weeks temu3:52

3:52

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

Sangam Lit

1
Aganaanooru 102 – Song of the mountain maiden 5:33

7 weeks temu5:33

5:33

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

Sangam Lit

1
Aganaanooru 101 – Away in the drylands 5:55

7 weeks temu5:55

5:55

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

Sangam Lit

1
Aganaanooru 100 – Slander that resounds 5:03

8 weeks temu5:03

5:03

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

Sangam Lit

1
Aganaanooru 99 – The present of the present 4:19

8 weeks temu4:19

4:19

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

Sangam Lit

1
Aganaanooru 98 – Consequences of Current Stance 8:10

8 weeks temu8:10

8:10

In this episode, we perceive the consequences of impending events, as depicted in Sangam Literary work, Aganaanooru 98, penned by Veri Paadiya Kaamakkanniyaar. Set in the domain of the spirits, the ‘Kurinji’ or ‘Mountain landscape’, the verse portrays a subtle but striking technique of persuasion. பனி வரை நிவந்த பயம் கெழு கவாஅன், துனி இல் கொள்கையொடு அவர் நமக்கு உவந்த இனிய உள்ளம் இன்னாஆக, முனிதக நிறுத்த நல்கல் எவ்வம் சூர் உறை வெற்பன் மார்பு உறத் தணிதல் அறிந்தனள் அல்லள், அன்னை; வார்கோல் செறிந்து இலங்கு எல் வளை நெகிழ்ந்தமை நோக்கி, கையறு நெஞ்சினள் வினவலின், முதுவாய்ப் பொய் வல் பெண்டிர் பிரப்பு உளர்பு இரீஇ, ”முருகன் ஆர் அணங்கு” என்றலின், அது செத்து, “ஓவத்தன்ன வினை புனை நல் இல், பாவை அன்ன பலர் ஆய் மாண் கவின் பண்டையின் சிறக்க, என் மகட்கு” எனப் பரைஇ கூடு கொள் இன் இயம் கறங்க, களன் இழைத்து, ஆடு அணி அயர்ந்த அகன் பெரும் பந்தர், வெண் போழ் கடம்பொடு சூடி, இன் சீர் ஐது அமை பாணி இரீஇ, கைபெயரா, செல்வன் பெரும் பெயர் ஏத்தி, வேலன் வெறி அயர் வியன் களம் பொற்ப, வல்லோன் பொறி அமை பாவையின் தூங்கல் வேண்டின், என் ஆம்கொல்லோ? தோழி! மயங்கிய மையற் பெண்டிர்க்கு நொவ்வல் ஆக ஆடிய பின்னும், வாடிய மேனி பண்டையின் சிறவாதுஆயின், இம் மறை அலர் ஆகாமையோ அரிதே, அஃதான்று, அறிவர் உறுவிய அல்லல் கண்டருளி, வெறி கமழ் நெடு வேள் நல்குவனெனினே, ”செறிதொடி உற்ற செல்லலும் பிறிது” எனக் கான் கெழு நாடன் கேட்பின், யான் உயிர்வாழ்தல் அதனினும் அரிதே. Our trip to the mountains takes us on a spiritual tour, and here, we see the lady expressing these words to the confidante, pretending not to notice the man listening nearby, but making sure he’s in earshot: “In the cool and fertile hill spaces, with an irreproachable principle, he had rendered his heart sweetly to me. When his graces were absent for a while, hateful suffering takes form in me. This shall recede only when I embrace the chest of the lord of the mountains, where divine spirits reside. Knowing not this truth, mother looks at the neat rows of radiant bangles, slipping away from my arms, and with helplessness, asks around for advice. In response, those old women, skilled at lying, spread various kinds of rice, and divine saying, ‘It’s the handiwork of Murugan and he has taken possession of her’. Believing that as the truth, mother prays that, ‘In this well-decorated, fine mansion, akin to a painting, my daughter, who is akin to a doll, whose beauty has been analysed and praised by many, should regain her old, thriving state!’ As various musical instruments resound in synchrony, setting up a stage, under a wide tent, decorated for a dance, wearing white palm flowers along with burflowers, singing in a melodious, rhythmic tune, raising his hands, praising the lord’s name greatly, beautifying the arena, per mother’s request, if Velan were to sway and dance, akin to a doll in the hands of an expert puppeteer, and perform the ‘Veri’ ritual, what is to become of me, my friend? Causing anguish to those confused women, even after the dance, if my faded form does not regain its old splendour, it’s unlikely that my secret relationship won’t turn into an object of slander. On the other hand, if the great one with a tall spear, God Murugan, wafting with the fragrance of ‘Veri’ rituals, were to be moved, seeing the suffering induced by my wise man, and were to render my old beauty with grace, my lord of the forest-filled mountains would say, ‘The reason for the pain in the lady wearing neat rows of bangles seems to be something else, not me’. Hearing such words, it’s even more unlikely for me to go on living!” Let’s take in the rituals of these mountain folk and try to read the lady’s heart! She starts by talking about how the man has been trysting with her and rendering his graces. At times, when he is unable to come to her as planned, a deep suffering spreads in her, the lady explains. She adds that the only way that suffering can vanish was if she embraced her man’s chest. Without knowing this side of the story, the lady’s mother becomes worried, as she glances at her girl’s thinning arms, from which bangles are dropping down. Like most mothers, she asks around for advice, and the wise old fortune-tellers in her village spread rice and do their divining. At the end of their process, they conclude that God Murugan has taken possession of the girl and that he must be appeased. Now, mother thinks somehow she has to help her daughter regain her excellent beauty. After stating the scenario as it is, the lady launches into the hypothetical next steps, which would be the performance of the Veri ritual by the Priest Velan, who would wear palm sprouts and burflowers and dance away on a stage spread with sand, under a tent, singing loudly the praises of God Murugan, accompanied by musical instruments. The lady wonders what would be her fate if this were to happen? Why should she worry?, we may ask. She explains by stating two possible outcomes for such an event. One, even after the Veri dance ritual, the lady’s beauty does not return, much to the distress of those divining women. In that case, the lady’s relationship with the man would come out in the open and slander would spread like wildfire across the village. In Outcome Two, maybe the great God Murugan would take pity on the lady’s suffering and indeed give back her beauty. Now, if that were to happen, the lord who loves the lady would say, ‘Here I was thinking her pain and anguish was on account of being apart from me. But looks like someone else is the cause!’ The lady concludes that if at all she were to hear such a word from her man, she can no longer continue to live! In a nutshell, it’s a double bind! One outcome would cause slander to spread and the in the worse alternative, the lady’s chastity and devotion to her man would be in doubt. The lady implies to the listening man that the only way to unravel this knot was not to keep trysting but give that up and take steps towards a permanent union. Indeed, it’s a simple ‘Marry me, marry me’ theme but the highlight is the way logic and rationality is seamlessly woven into these lines of musical verse!…

Sangam Lit

1
Aganaanooru 97 – How can I stop the tears? 6:04

8 weeks temu6:04

6:04

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

Sangam Lit

1
Aganaanooru 96 – Louder than a war cry 5:48

8 weeks temu5:48

5:48

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

Sangam Lit

1
Aganaanooru 95 – How to remain here? 4:07

9 weeks temu4:07

4:07

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

Sangam Lit

1
Aganaanooru 94 – The music of her abode 4:32

9 weeks temu4:32

4:32

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

Sangam Lit

1
Aganaanooru 93 – The joy that awaits 6:56

9 weeks temu6:56

6:56

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

Sangam Lit

1
Aganaanooru 92 – Come by in the day 4:47

9 weeks temu4:47

4:47

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

Sangam Lit

1
Aganaanooru 91 – Not even for Kudanaadu 6:29

9 weeks temu6:29

6:29

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

Sangam Lit

1
Aganaanooru 90 – Hard to attain 4:44

10 weeks temu4:44

4:44

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

Sangam Lit

1
Aganaanooru 89 – The change in the child 5:54

10 weeks temu5:54

5:54

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

Sangam Lit

1
Aganaanooru 88 – Darkness Danger Discovery 5:14

10 weeks temu5:14

5:14

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

Sangam Lit

1
Aganaanooru 87 – Yesterday’s pain and tomorrow’s pleasure 4:36

10 weeks temu4:36

4:36

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

Sangam Lit

1
Aganaanooru 86 – Recollecting the wedding 8:22

10 weeks temu8:22

8:22

In this episode, we listen to recollections of a joyous event, as portrayed in Sangam Literary work, Aganaanooru 86, penned by Nallaavoor Kizhaar. Set in the prosperous towns of the ‘Marutham’ or ‘Farmlands landscape’, the verse depicts intricate customs in a Sangam era wedding. உழுந்து தலைப்பெய்த கொழுங் களி மிதவை பெருஞ் சோற்று அமலை நிற்ப, நிரை கால் தண் பெரும் பந்தர்த் தரு மணல் ஞெமிரி மனை விளக்குறுத்து, மாலை தொடரி, கனை இருள் அகன்ற கவின்பெறுகாலை; கோள் கால் நீங்கிய கொடு வெண் திங்கள் கேடு இல் விழுப் புகழ் நாள் தலைவந்தென, உச்சிக் குடத்தர், புத்தகல் மண்டையர், பொது செய் கம்பலை முது செம் பெண்டிர் முன்னவும் பின்னவும் முறை முறை தரத்தர, புதல்வற் பயந்த திதலை அவ் வயிற்று வால் இழை மகளிர் நால்வர் கூடி, ‘கற்பினின் வழாஅ, நற் பல உதவிப் பெற்றோற் பெட்கும் பிணையை ஆக!’ என, நீரொடு சொரிந்த ஈர் இதழ் அலரி பல் இருங் கதுப்பின் நெல்லொடு தயங்க, வதுவை நல் மணம் கழிந்த பின்றை, கல்லென் சும்மையர், ஞெரேரெனப் புகுதந்து, ‘பேர் இற்கிழத்தி ஆக’ எனத் தமர் தர, ஓர் இற் கூடிய உடன் புணர் கங்குல், கொடும் புறம் வளைஇ, கோடிக் கலிங்கத்து ஒடுங்கினள் கிடந்த ஓர் புறம் தழீஇ, முயங்கல் விருப்பொடு முகம் புதை திறப்ப, அஞ்சினள் உயிர்த்தகாலை, ‘யாழ நின் நெஞ்சம் படர்ந்தது எஞ்சாது உரை’ என, இன் நகை இருக்கை, பின் யான் வினவலின், செஞ் சூட்டு ஒண் குழை வண் காது துயல்வர, அகம் மலி உவகையள்ஆகி, முகன் இகுத்து, ஒய்யென இறைஞ்சியோளே மாவின் மடம் கொள் மதைஇய நோக்கின், ஒடுங்கு ஈர் ஓதி, மாஅயோளே. A long song featuring a single day’s events in the fertile farmlands. These words are said by the man to the confidante, when she refuses to allow him entry into the lady’s house, as he was returning from a courtesan’s place: “Thick and soft porridge, perfectly cooked with urad dal, and heaps of rice balls were relished; Under the huge and cool canopy with rows of pillars, fine sand was spread; Lamps were lit in the house; Garlands were hung on that beautiful morning, when the thick darkness had receded; On that flawless, famous and auspicious day, when the curving, white moon had stepped out of the influence of the wrong planets, holding pots atop their heads, and new, rounded ‘mandai’ vessels in their hands, old and virtuous women, who conduct public rituals arrived with loud sounds, and handed out different elements before and after, as per custom. Just then, four women clad in bright ornaments, with beautiful pallor-spotted bellies, who had given birth to sons, came together, and with the words, ‘Without swerving from your chastity, offering all good aid, be a loving spouse to your partner!’, blessed her by sprinkling paddy and water with moist petaled flowers, on her thick, dark tresses. After this fine ritual of wedding was over, with a loud uproar, quickly rushing in, her kith and kin offered her saying, ‘May you attain fame as a good wife’. On that fine night, in that room, where we were to unite together, curving her back, she was lying covered in her wedding attire. As I hugged her with desire and lifted her buried face, she let out a fearful sigh. When I gently inquired saying to her with a smile, ‘Whatever is in your mind, speak it all freely to me’, her face lit up with a heartfelt joy, making her bright, heavy earrings, fitted with red gems sway. She quickly bent her head in shyness, that dark-skinned maiden with neatly oiled tresses and a deer’s naive and beautiful eyes!” Let’s join in the wedding festivities in a Sangam era town! When the confidante stops the man and chides him for courting the courtesan, telling him the lady does not wish to see him in her house, the man responds in a totally opposite tone. He starts recollecting the events of his wedding. Food is foremost! And we find mention of a soft porridge, made with urad dal, sounding very close to the contemporary ‘Pongal’, a well-known Tamil breakfast item. The man also mentions how heaps of rice were being relished along with this Sangam ‘Pongal’. From food, his attention moves towards the decorations, and he talks about how tents were put up and sand was spread, and the whole place dazzled with bright lamps. It was the early morning hour, the man informs us, at the time when the darkness was being quelled by the first light. Apparently, choosing the right day was very important to these ancient folks and they seem to have waited for a day, when the moon was free from the influence of other planets. Here we find a subtle reference to the practice of studying the skies to determine a favourable time. On such a day, the rituals start with the arrival of elderly women, who have seen much in life, known for their wisdom, and they arrive there, carrying pots on their heads and bowls in their hands, and as per custom, they arranged all these things in order. Once everything was in place, four women, who had given birth to sons, stepped forward and blessed the bride, wishing that she would be a loving partner to her spouse, even as they showered paddy and sprinkled water with moist flowers on the lady’s thick tresses. The mention of paddy made me recollect how even today in Tamil weddings, it’s turmeric-coated rice kernels that’s sprinkled on the bride and groom, at the moment they tie the knot and become one before the eyes of their society. Next, after these rituals are done, the lady’s kith and kin offer her to the groom, while blessing her to attain the fame of being a good wife. All this done, the man and lady are together in a room that night, and the man finds her lying covered in her wedding garment. When he hugs her and lifts her face, she seems to let out a fearful sigh. The man gently asks the lady to speak her mind. Hearing his kind tone, the lady seems to have felt a deep joy, as smiles spread on her, and her earrings swayed. Out of shyness, she seems to have quickly bent her head down again, the man recollects, and concludes by drawing a word portrait of his dark-skinned beloved, with neat hair and a deer’s naive eyes. The question may arise as to why the man is talking about his wedding day, when the confidante was confronting him! What the man implies is that the lady was such a sweet person and she would never refuse him entry, casting the blame on the confidante for the lady’s reaction. Pushing aside these love quarrels, we can turn our attention to this cultural treasure of an acute rendering of an ancient Tamil wedding. The thing I most loved about this account was the way women are at the forefront of all the customs, blessing the couple and guiding them as they take the first step of their future together, endowing the whole event with the serenity and practicality of a feminine wisdom.…

Sangam Lit

1
Aganaanooru 85 – Remembering a promise 4:13

11 weeks temu4:13

4:13

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

Sangam Lit

1
Aganaanooru 84 – Sundered by a siege 5:03

11 weeks temu5:03

5:03

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

Sangam Lit

1
Aganaanooru 83 – So far but she’s here 5:05

11 weeks temu5:05

5:05

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

Sangam Lit

1
Aganaanooru 82 – Why am I the only one? 6:01

11 weeks temu6:01

6:01

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

Sangam Lit

1
Aganaanooru 81 – Questioning the deserting bear 5:54

11 weeks temu5:54

5:54

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

Sangam Lit

1
Aganaanooru 80 – The Path from Dark to Day 4:25

12 weeks temu4:25

4:25

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

Sangam Lit

1
Aganaanooru 79 – Stepping back after pushing in 6:00

12 weeks temu6:00

6:00

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

Sangam Lit

1
Aganaanooru 78 – The caring male elephant 7:21

12 weeks temu7:21

7:21

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

Sangam Lit

1
Aganaanooru 77 – A spear’s thrust in her tears 6:25

12 weeks temu6:25

6:25

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

Sangam Lit

1
Aganaanooru 76 – An oath to seize 5:24

12 weeks temu5:24

5:24

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

Sangam Lit

1
Aganaanooru 75 – Heart not to part 5:33

13 weeks temu5:33

5:33

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

Sangam Lit

1
Aganaanooru 74 – Melancholy of the evening 4:59

13 weeks temu4:59

4:59

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

Sangam Lit

1
Aganaanooru 73 – The reminding rain 5:51

13 weeks temu5:51

5:51

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

Sangam Lit

1
Aganaanooru 72 – The one in the wrong 7:13

13 weeks temu7:13

7:13

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

Sangam Lit

1
Aganaanooru 71 – An evening of suffering 5:40

13 weeks temu5:40

5:40

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

Sangam Lit

1
Aganaanooru 70 – Slander and Silence 6:12

14 weeks temu6:12

6:12

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

Sangam Lit

1
Aganaanooru 69 – Far but never forgotten 7:14

14 weeks temu7:14

7:14

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

Sangam Lit

1
Aganaanooru 68 – Announcing an arrival 6:40

14 weeks temu6:40

6:40

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

Sangam Lit

1
Aganaanooru 67 – Despair of the drylands 4:48

14 weeks temu4:48

4:48

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

Sangam Lit

1
Aganaanooru 66 – A child’s hold 6:41

14 weeks temu6:41

6:41

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

Sangam Lit

1
Aganaanooru 65 – A definitive decision 5:52

15 weeks temu5:52

5:52

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

Sangam Lit

1
Aganaanooru 64 – Return home to love 5:43

15 weeks temu5:43

5:43

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

Sangam Lit

1
Aganaanooru 63 – Worry about her sleep 4:53

15 weeks temu4:53

4:53

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

Sangam Lit

1
Aganaanooru 62 – Delightful memories and Dashed hopes 6:40

15 weeks temu6:40

6:40

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

Sangam Lit

1
Aganaanooru 61 – Duty Versus Beauty 5:31

15 weeks temu5:31

5:31

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

Sangam Lit

1
Aganaanooru 60 – A taste of the future 6:01

16 weeks temu6:01

6:01

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

Sangam Lit

1
Aganaanooru 59 – The care of the other 5:30

16 weeks temu5:30

5:30

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

Sangam Lit

1
Aganaanooru 58 – Flavours of absence and presence 4:34

16 weeks temu4:34

4:34

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

Sangam Lit

1
Aganaanooru 57 – Dreaming about past plenty 5:54

16 weeks temu5:54

5:54

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

Sangam Lit

1
Aganaanooru 56 – Laughing at trouble 5:55

16 weeks temu5:55

5:55

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

Sangam Lit

1
Aganaanooru 55 – On parting away 6:19

17 weeks temu6:19

6:19

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

Sangam Lit

1
Aganaanooru 54 – Ride on to sweetness 6:47

17 weeks temu6:47

6:47

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

Sangam Lit

1
Aganaanooru 53 – The love of my love 7:59

17 weeks temu7:59

7:59

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

Sangam Lit

1
Aganaanooru 52 – Don’t tell but Do tell 5:20

17 weeks temu5:20

5:20

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

Sangam Lit

1
Aganaanooru 51 – Better to be here 4:36

17 weeks temu4:36

4:36

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

Sangam Lit

1
Aganaanooru 50 – A message to her beloved 5:11

18 weeks temu5:11

5:11

In this episode, we perceive a friend’s concerned thoughts, as portrayed in Sangam Literary work, Aganaanooru 50, penned by Karuvoor Poothanchaathanaar. The verse is situated amidst the leaping waves of the ‘Neythal’ or ‘Coastal landscape’ and describes the lady’s state of lament. கடல்பாடு அவிந்து, தோணி நீங்கி, நெடு நீர் இருங் கழிக் கடுமீன் கலிப்பினும்; வெவ் வாய்ப் பெண்டிர் கௌவை தூற்றினும்; மாண் இழை நெடுந் தேர் பாணி நிற்ப, பகலும் நம்வயின் அகலானாகிப் பயின்றுவரும் மன்னே, பனி நீர்ச் சேர்ப்பன், இனியே, மணப்பருங் காமம் தணப்ப நீந்தி, ”வாராதோர் நமக்கு யாஅர்?” என்னாது, மல்லல் மூதூர் மறையினை சென்று, சொல்லின் எவனோ பாண! ”எல்லி மனை சேர் பெண்ணை மடி வாய் அன்றில் துணை ஒன்று பிரியினும் துஞ்சாகாண்” என, கண் நிறை நீர் கொடு கரக்கும், ஒண் நுதல் அரிவை, ”யான் என்செய்கோ?” எனவே. Another little trip to the seas, and here, we hear about the lady’s yearning in the voice of the confidante, as she renders these words to the bard, the man’s companion: “Shirking the task of going to the seas, being apart from the boat, even if the fish in the dark marshes, filled with copious waters, grows in abundance; Even if harsh-mouthed women spread slander, he would mind that not! Making his tall chariot, adorned with fine ornaments, wait for a long time, even if it was day, he would not part away from her. That was the custom of the lord of the cool shores then. But now, perhaps since his desire to embrace her has ebbed away, he does not come here, and doesn’t think what she means to him. That young maiden, with a shining forehead, turns to me and says, ‘The red-naped ibis, with a curved mouth, resting on the tall palmyra tree by our home, sleeps not at night, even if its mate stands a little apart from it. What am I to do? ’, as she tries to hide her tear-filled eyes from me. Why don’t you go to that ancient town, filled with abundance, and tell him about this secretly, O bard?” Time to take a dive into the seas and swim with the plentiful fish to learn what’s in the lady’s heart! The confidante starts by talking about the past, when the man would be with the lady, day in and day out, forgetting his task of fishing in the seas, forsaking his boat, and not even caring about the slander of the women in the lady’s town. Such was his craze to be with the lady then, she says. Contrasting that to his long absence now, the confidante wonders if his affection has ended and is that why he doesn’t come to visit the lady, forgetting all that the lady meant to him. Turning from the man to talk about the lady, the confidante says the lady would turn to her at night and point to the call of the red-naped ibis and tell her that those birds had such a deep bond that one would not sleep if the other stood even a little distance apart. What can she, who has been forsaken by the man, do, the lady would query to her friend, even as she tried hard to hide the tears brimming over in her eyes. Seeing her pitiable state, the confidante decides to take things in her own hands and she goes to the bard, the man’s companion, and tells him that he must go to the town, where the man lives, and share the plight of his lady discreetly. Some interpreters have seen this as a case of the man being with courtesans that usually occurs in the farmlands landscape. However, owing to the absence of any direct mention, I choose to interpret this as a time, when the man had parted away from the lady before marriage, owing to some mission or to gather wealth, and the lady wallows in this state, unable to accept his parting. At this time, the confidante chooses to intervene and convey the lady’s state to the man through the bard, so that the man would hurry up and return from his mission, and bring joy back to his beloved. The highlight of this verse is the care and concern shown by the confidante, whom I consider the epitome of a selfless friend, one who is completely present, listens to words said and unsaid, and works tirelessly to bring joy in the life of her friend. This is a character, who inspires me to think, ‘I should be that kind of friend to someone!’.…

Sangam Lit

1
Aganaanooru 49 – Like an inseparable shadow 5:51

18 weeks temu5:51

5:51

In this episode, we listen to a mother’s lament, as portrayed in Sangam Literary work, Aganaanooru 49, penned by Vannappura Kantharathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse depicts an act of elopement from the mother’s perspective. ‘கிளியும், பந்தும், கழங்கும், வெய்யோள் அளியும், அன்பும், சாயலும், இயல்பும், முன்நாள் போலாள்; இறீஇயர், என் உயிர்” என, கொடுந் தொடைக் குழவியொடு வயின்மரத்து யாத்த கடுங் கட் கறவையின் சிறுபுறம் நோக்கி, குறுக வந்து, குவவுநுதல் நீவி, மெல்லெனத் தழீஇயினேனாக, என் மகள் நன்னர் ஆகத்து இடைமுலை வியர்ப்ப, பல் கால் முயங்கினள்மன்னே! அன்னோ! விறல் மிகு நெடுந்தகை பல பாராட்டி, வறன் நிழல் அசைஇ, வான் புலந்து வருந்திய மட மான் அசா இனம் திரங்கு மரல் சுவைக்கும் காடு உடன்கழிதல் அறியின் தந்தை அல்குபதம் மிகுத்த கடிஉடை வியல் நகர், செல்வுழிச் செல்வுழி மெய்ந்நிழல் போல, கோதை ஆயமொடு ஓரை தழீஇ, தோடு அமை அரிச் சிலம்பு ஒலிப்ப, அவள் ஆடுவழி ஆடுவழி, அகலேன்மன்னே! In this visit to the drylands, mother takes the spotlight and shares these words at the juncture, when her daughter, the lady, had eloped away with the man: “She, who used to love her parrot, ball and playing beans; She, who has a nature of grace, love, kindness and all other good qualities, did not appear her usual self. Wondering, ‘What’s this? Such ruin has fallen upon my life’, akin to how a harsh-eyed cow tied to a tree, would look at its young calf, with curving thighs, I looked at the small of her back, came near her, stroked her rounded forehead, and embraced her gently, and my daughter, with beads of sweat appearing in between her beautiful bosoms, hugged me again and again, then! She walks with that strong man, as he praises her greatly, and makes her rest in the rare shade of that land, which the sky seemed to have quarrelled with, and where herds of naive deer had nothing to taste but dried-up clusters of hemp. Alas! If only I had known that she would elope away with him, then when she was here in her father’s wide mansion, filled with plenty, wherever, wherever she went, be it playing ‘orai’ games with her garlanded playmates, or running about with her neatly-set, pebble-filled anklets resounding, akin to a shadow, however, however she played, I wouldn’t have parted from thither!” Time to see the past and present of this precious daughter! Mother starts by talking about how her daughter was a young girl, who adored talking to her parrot, and playing with her ball and scattering beans as pawns in a game. Not just that, she sketches the lady as a person with all good qualities, such as kindness, compassion and affection. One day, noticing that the lady was not her usual self, mother starts worrying. To describe how she was looking at her daughter, she brings in the apt simile of a tied-up cow staring yearningly at its calf. Mother continues by saying how without saying anything, she went near her girl, stroked her forehead and hugged her. What love and care from this ancient mother! The lady too turned and hugged her with much affection, mother recollects. From that sweet memory of affection shared, mother turns to talk about how all that’s no more for the lady has eloped away with the man, who now takes her through the harsh drylands, where even deer have nothing to eat but dried-up hemp. Mother reflects on how the man must be taking her daughter with much care, helping her to rest wherever they can. In thinking well of the man, mother hides the hope that her daughter has chosen the right mate in life. Returning, we find mother saying if only she had known this would happen, she would have gone wherever the lady went, just like a faithful shadow, and whether she was playing games with her friends or running about with her anklets tinkling, there, everywhere, mother too would have followed her and not taken her eyes off her. The verse exquisitely captures the regret we feel at the loss of someone precious, which makes us think about all the things we wish we had done with them when they were around. Reading this verse, reminded me of the poem ‘When Great Trees Fall’ by Maya Angelou, about the loss of great personalities in our lives, and these lines specifically, “Our memory, suddenly sharpened, examines, gnaws on kind words unsaid, promised walks never taken.” A timeless emotion echoing in different languages from different cultures, reiterating the powerful truth about the oneness of humanity at the core!…

Sangam Lit

1
Aganaanooru 48 – Love in the mountain air 7:07

18 weeks temu7:07

7:07

In this episode, we listen to how an intricate message is conveyed, as depicted in Sangam Literary work, Aganaanooru 48, penned by Thankaal Mudakotranaar. The verse is situated amidst the soaring peaks of the ‘Kurinji’ or ‘Mountain Landscape’ and sketches the first interaction between the man and the lady. ”அன்னாய்! வாழி! வேண்டு, அன்னை! நின் மகள், ”பாலும் உண்ணாள், பழங்கண் கொண்டு, நனி பசந்தனள்” என வினவுதி. அதன் திறம் யானும் தெற்றென உணரேன். மேல் நாள், மலி பூஞ் சாரல், என் தோழிமாரோடு ஒலி சினை வேங்கை கொய்குவம் சென்றுழி, ”புலி புலி!” என்னும் பூசல் தோன்ற ஒண் செங்கழுநீர்க் கண் போல் ஆய் இதழ் ஊசி போகிய சூழ் செய் மாலையன், பக்கம் சேர்த்திய செச்சைக் கண்ணியன், குயம் மண்டு ஆகம் செஞ் சாந்து நீவி, வரிபுனை வில்லன், ஒருகணை தெரிந்துகொண்டு, ”யாதோ, மற்று அம் மா திறம் படர்?” என வினவி நிற்றந்தோனே. அவற் கண்டு, எம்முள் எம்முள் மெய்ம் மறைபு ஒடுங்கி, நாணி நின்றனெமாக, பேணி, ”ஐவகை வகுத்த கூந்தல் ஆய் நுதல் மை ஈர் ஓதி மடவீர்! நும் வாய்ப் பொய்யும் உளவோ?” என்றனன். பையெனப் பரி முடுகு தவிர்த்த தேரன், எதிர்மறுத்து, நின் மகள் உண்கண் பல் மாண் நோக்கிச் சென்றோன்மன்ற, அக் குன்று கிழவோனே. பகல் மாய் அந்திப் படுசுடர் அமையத்து, அவன் மறை தேஎம் நோக்கி, ”மற்று இவன் மகனே தோழி!” என்றனள். அதன் அளவு உண்டு கோள், மதிவல்லோர்க்கே. In this trip to the mountains, we listen to an interesting tale. Here, the lady’s confidante says these words to the lady’s foster mother, who is also her own mother, marking a turning point in the lady’s love relationship with the man: “‘O mother! may you live long! Listen to what I have to say, mother! You worry about how your girl doesn’t drink her milk, and also, how, with much suffering, pallor seems to be spreading on her. So, you are asking me about that. I too do not know the reason clearly. But let me tell you this: One day, when along with our playmates, we were walking on the flower-filled slopes, wanting to pluck flowers from the luxuriant branches of the Kino tree, hearing the shouts of ‘Tiger, Tiger’, a man, wearing a needle-threaded, fine garland of radiant red waterlilies, with beautiful petals, akin to eyes, and a head garland, with strands of jungle flame flowers hanging on one side, streaking red sandalwood paste on his wide and handsome chest, holding a decorated bow and an arrow in his hands, appeared there. Seeing us, he stood there inquiring, ‘Tell me which way did that beast go?’. Hearing this, with our modesty restraining us, we tried to hide behind each other. With gentleness, he remarked, ‘O maiden with dark and moist tresses, woven into five-part braids, and a beautiful forehead, do you know how to speak lies too?’. Gently stopping his horses from speeding up, as he sat on his chariot, he sought out the kohl-streaked eyes of your daughter again and again, and then only did he leave, that lord of the mountains! Later, at the end of the day, when the flame above bid adieu, looking in the direction he had left, she said to me, ‘He is a fine man’. Those who are sharp in the mind can ascertain the true meaning of that!” Let’s walk along with these mountain maiden, who are on a mission to pluck beautiful flowers, and listen to this tale of love. The confidante starts by remarking how the lady’s foster mother has been enquiring about the change in behaviour in the lady, in her refusing food, and in the way, she seemed to be filled with unease as evident from the pallor spreading on her form. The confidante responds saying that she does not know the exact reason for all this, however there was something that she needed to share with mother. She then goes on to talk about a day, when she, the lady and other playmates had decided to go pluck ‘Vengai’ flowers. Remember how in many verses, we have seen how these very flowers are mistaken for a tiger, given their bright yellow hue. Apparently, there seems to have been a tradition of shouting ‘Tiger, Tiger’ when plucking these flowers, in a belief that the tree would bend and shower its flowers. Most probably these young ladies were screaming these words, echoing their belief. Suddenly, hearing these shouts, thinking they were in trouble, a man wearing a red waterlily garland around his sandalwood-streaked chest and a head garland of jungle flame flowers, appeared there, bow and arrow in hand, and asked them which way the tiger had gone. Unable to answer him because of their shyness, the girls seemed to have hid behind one another. Realising that he had been fooled by their shouts, the man seems to have wondered out aloud whether these pretty maiden knew how to speak such lies. As he prepared to leave, his eyes fell on the lady’s kohl-streaked eyes, and he kept looking at her, again and again, before trotting off on his chariot, the confidante narrates. And as the final scene in her piece, she talks about how when dusk arrived, the lady looked in the direction the man had left and remarked on what a fine man he was. The confidante concludes with a piercing message to mother that those who are perceptive, will know exactly what the lady meant just then. In essence, the confidante is revealing the lady’s love for the man to her mother, who will in turn, take it to the lady’s mother, and from the lady’s mother to the rest of the family, hopefully ending in the happy marriage of the man and the lady. Beyond these curious customs of sharing about love blooming in the heart of another, the thing to be appreciated here, is the vivid narration of events and leaving the interpretation of its meaning to the audience, much in the style of a well-written play!…

Sangam Lit

1
Aganaanooru 47 – Rise up and move forward 6:20

18 weeks temu6:20

6:20

In this episode, we listen to words of encouragement, as depicted in Sangam Literary work, Aganaanooru 47, penned by Aalamberi Saaththanaar. Set in the ‘Paalai’ or ‘drylands landscape’, the verse presents a glimpse of the beauty of an ancient hill town. அழிவு இல் உள்ளம் வழிவழிச் சிறப்ப வினை இவண் முடித்தனம்ஆயின், வல் விரைந்து எழு இனி வாழிய நெஞ்சே! ஒலி தலை அலங்கு கழை நரலத் தாக்கி, விலங்கு எழுந்து, கடு வளி உருத்திய கொடி விடு கூர் எரி விடர் முகை அடுக்கம் பாய்தலின், உடன் இயைந்து, அமைக் கண் விடு நொடி கணக் கலை அகற்றும் வெம் முனை அருஞ் சுரம் நீந்தி, கைம்மிக்கு, அகன் சுடர் கல் சேர்பு மறைய, மனைவயின் ஒண் தொடி மகளிர் வெண் திரிக் கொளாஅலின், குறு நடைப் புறவின் செங் காற் சேவல் நெடு நிலை வியல் நகர் வீழ்துணைப் பயிரும் புலம்பொடு வந்த புன்கண் மாலை, ”யாண்டு உளர்கொல்?” எனக் கலிழ்வோள் எய்தி, இழை அணி நெடுந் தேர்க் கை வண் செழியன் மழை விளையாடும் வளம் கெழு சிறுமலைச் சிலம்பின் கூதளங் கமழும் வெற்பின் வேய் புரை பணைத் தோள், பாயும் நோய் அசா வீட, முயங்குகம் பலவே. Back to the drylands and we catch the man in the middle of his mission. At a moment, when he’s downcast, he turns and says these words to his heart: “Without losing faith, with more and more enthusiasm, we should finish our mission here, O heart! Rise up with much haste now, may you live long! As luxuriant-leafed, swaying bamboos brush against each other resoundingly, rising on all sides, fuelled by the fierce wind, soaring flames spread all across the clefts of the mountain range and make nodes of bamboos burst aloud. Hearing those fearsome sounds, huge herds of deer scuttle away together in these scorching spaces of the formidable drylands, which we have traversed with much hardship. As the sky’s wide flame vanishes behind the mountains, maiden wearing shining bangles light up white wicks at home, and just then, the short-gaited, red-legged male pigeon, residing in the tall and vast mansion, coos out to its loving mate in that evening time, which arrives in the company of loneliness. At this time, asking, ‘Where might he be?, she would be shedding tears! In that playground of rainclouds, the prosperous hills of ‘Sirumalai’, wafting with the scent of the three-lobed nightshade, ruled by the generous Chezhiyan, the owner of mighty jewel-clad chariots, bloom beautiful bamboos. Akin to those bamboos, are her thick arms, and if we were to finish our mission here with haste, slaying those pouncing waves of affliction, we will to get to embrace them again and again!” Glancing at the furious flames of the scrub forest from the safety of our modern lives, let’s learn more about the man’s thoughts. The man starts by nudging his heart to rise up and get going, without losing its determination. Just then, the man’s heart puts forth a gloomy question, ‘Tell me one reason why I must do that!’. In response, the man launches into a vivid description of the drylands they have walked through, talking about the fiery flames bursting out of bamboos and the scuttling away of frightened deer. He accepts to his heart that they have faced much difficulty in this journey. Then his mind turns homeward, as he is reminded of the yearning that would fill his lady’s heart, in that lonely evening hour, and how when cooing pigeons calling out to their mates, that would add to the lady’s suffering. Remembering how the lady’s arms are so much like the bamboos that grow in a hill town, ruled by the Pandya King Chezhiyan, renowned for his generosity, called as ‘Sirumalai’, a place he describes as one, where clouds come to play, and one, which is filled with a fragrance of ‘Koothalam’ flowers, the man concludes with the answer to his heart’s question saying if they finish up their mission with haste, then they would get to joyfully embrace those bamboo-like arms of the lady over and over again. A moment to note that even today a scenic hill town, close to Madurai, very much in the ancient Pandya country, is called by the name of ‘Sirumalai’, still fragrant with the scent of wild flowers and famous for its tasty hill bananas! Returning to the core of the verse, we find that this is a classic case of motivation in moments of dejection. Instead of falling apart at the challenges all around and the pain that grows with every passing moment, the man chooses to visualise the delightful future that awaits him. He knows fully well that abandoning his task midway is not going to make him happy to be with his beloved when he returns and so he declares clearly to his heart, ‘If you want that, then you must do this right now!’. A verse which reminds us that we have within, that effective fuel of visualisation, to keep us going when the going gets tough!…

Sangam Lit

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Aganaanooru 46 – Return of the truant buffalo 5:33

18 weeks temu5:33

5:33

In this episode, we listen to words of fury, as portrayed in Sangam Literary work, Aganaanooru 46, penned by Alloor Nanmullaiyaar. Set amidst the lotus-blooming fields of the ‘Marutham’ or ‘Farmlands landscape’, the verse echoes a refusal to the man’s attempt at appeasement. சேற்று நிலை முனைஇய செங் கட் காரான் ஊர் மடி கங்குலில், நோன் தளை பரிந்து, கூர் முள் வேலி கோட்டின் நீக்கி, நீர் முதிர் பழனத்து மீன் உடன் இரிய அம் தூம்பு வள்ளை மயக்கி, தாமரை வண்டு ஊது பனி மலர் ஆரும் ஊர! யாரையோ? நிற் புலக்கேம். வாருற்று, உறை இறந்து, ஒளிரும் தாழ் இருங் கூந்தல், பிறரும், ஒருத்தியை நம் மனைத் தந்து, வதுவை அயர்ந்தனை என்ப. அஃது யாம் கூறேம். வாழியர், எந்தை! செறுநர் களிறுடை அருஞ் சமம் ததைய நூறும் ஒளிறு வாட் தானைக் கொற்றச் செழியன் பிண்ட நெல்லின் அள்ளூர் அன்ன என் ஒண் தொடி நெகிழினும் நெகிழ்க; சென்றி, பெரும! நிற் தகைக்குநர் யாரோ? The quarrels of the farmlands fall on our ears again, and here, when the man returns home, after being with a courtesan, the lady’s confidante refuses entry to the lady’s home, with these words: “Disliking its state of dwelling in the mud, the red-eyed buffalo, in the dark of the night, when the town slept, severing its tight rope, breaking open the fence, made of sharp thorns, with its horns, enters a field filled with water, scares away the fish, tousles the beautiful, hollow-tubed ‘Vallai’ vines and feeds on the cool flowers of the bee-buzzing lotus in your town, O lord! Who are you to us? We shan’t quarrel with you! Akin to the long strands of rain in a downpour, shines the low-hanging, dark tresses of that maiden. Others say that you have brought this maiden home and united with her. That’s not what we want to say to you! May you live long, O lord! Even when enemies attack with their elephants in the fearsome battlefields, the great and famous Chezhiyan destroys all of them with his army, wielding shining swords. Akin to his town of Alloor, filled to the brim with heaped paddy, are her radiant bangles. Even if these are to slip away, let them. Be gone, O lord! Who is there to stop you?” Time to trace the footsteps of a buffalo in the farmlands! The confidante starts by describing the man’s town and do that she brings before our eyes, a buffalo standing in the thick mud. After a while, deciding it has had enough of being there, the buffalo breaks its rope and its fence of thorns, and makes its way to the well-watered fields, and here, it scares away the fish, entangles the vines, and then happily munches on the lotuses blooming there, the confidante elaborates. After this description, the confidante declares to the man that he is no one to them and so they have no right to sulk with him. It’s an angry statement echoing that the man’s actions of abandoning the lady for a courtesan has estranged him to them. She talks about how there’s much slander in town about the man’s involvement with a courtesan but she doesn’t want to talk about it at all. Launching into a description of King Chezhiyan, victorious in battle, and his town of Alloor, where mounds of paddy welcome every one, the confidante connects it to the lady’s bangles, and says even if those were to slip away, it does not matter, and the man can do as he pleases. The confidante concludes by asking the man to go where he wants for there was no one to stop him. In the description of the man’s town and the buffalo leaving its dwelling to go feed on the lotuses in the fields, that’s a metaphor for the man’s actions of disliking his state of being in his home, and shattering his sense of shame and modesty, and seeking the forbidden joy of being with courtesans. To me, the subtle but striking thread in this oft-repeated theme of a love quarrel is how when we want to rightfully ask someone why they did something, we need to have a connection to them, meaning they have to be somebody in our life. And here, the confidante is attacking that feeling of belonging in the man by declaring he’s no one to them and there’s no need for them to quarrel or demand things of him. This thought reiterates the profound truth that the polar opposite of love is not hate, but in reality, it’s apathy!…

Sangam Lit

1
Aganaanooru 45 – Suffering of separation 6:01

19 weeks temu6:01

6:01

In this episode, we perceive the angst of a lady, parted from her beloved, as portrayed in Sangam Literary work, Aganaanooru 45, penned by Velliveethiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a variety of similes from nature and history. வாடல் உழுஞ்சில் விளை நெற்று அம் துணர் ஆடுகளப் பறையின், அரிப்பன ஒலிப்ப, கோடை நீடிய அகன் பெருங் குன்றத்து, நீர் இல் ஆர் ஆற்று நிவப்பன களிறு அட்டு, ஆள் இல் அத்தத்து உழுவை உகளும் காடு இறந்தனரே, காதலர். மாமை, அரி நுண் பசலை பாஅய், பீரத்து எழில் மலர் புரைதல்வேண்டும். அலரே, அன்னி குறுக்கைப் பறந்தலை, திதியன் தொல் நிலை முழுமுதல் துமியப் பண்ணி, புன்னை குறைத்த ஞான்றை, வயிரியர் இன் இசை ஆர்ப்பினும் பெரிதே. யானே, காதலற் கெடுத்த சிறுமையொடு, நோய் கூர்ந்து, ஆதிமந்தி போல, பேதுற்று அலந்தனென் உழல்வென்கொல்லோ பொலந்தார், கடல் கால் கிளர்ந்த வென்றி நல் வேல், வானவரம்பன் அடல் முனைக் கலங்கிய உடை மதில் ஓர் அரண் போல, அஞ்சுவரு நோயொடு, துஞ்சாதேனே! In this trip to the drylands, we see the lady take the spotlight, as she utters these words to her confidante, when the confidante requests the lady to bear the man’s separation with grace: “As dried-up seed pods, blooming from beautiful flower clusters of the lebbeck tree, resound akin to the drums in the dance arena, in that huge and wide hill, where summer has extended for long, on the waterless, harsh and barren spaces, after felling a tall elephant, a male tiger roams around, in those paths, bereft of people any. To such a scrub jungle, that lover of mine parted away. The fine mark of pallor spreads on my dark skin and appears akin to the beautiful flowers of the ridge gourd. As for the slander that spreads, it’s louder than the sweet music of those playing on the horns, which resound in the battlefield of ‘Kurukkai’, when ‘Anni’ severed the thick trunk of the ancient laurel wood tree, worshipped by Thithiyan, and brought it down. As for me, with the suffering caused by the parting away of my beloved, as my affliction soars, akin to ‘Aathimanthi’, with utter confusion, I roam in angst. With the affliction of anxiety, akin to those within a fort, guarded by a wall, now shattered to pieces by the conqueror of battles, ‘Vanavaramban’, wearing a golden garland, wielding a fine spear, renowned for winning over foes, who came sailing with the sea winds, I sleep not!” Let’s listen to the rattling sounds of the drylands and learn more! The lady starts by describing the drylands, and to do that, she brings in the sounds of the dried-up seed pods of the ‘uzhingil’ tree, which are placed in parallel to the drums in a festival arena. From sounds, the lady turns to the sight of a dangerous, wild tiger, roaming on those barren paths, after bringing down a huge elephant. So dangerous and disturbing are the drylands, the lady implies, connecting that this is the very place the man has left to. And because of the man’s action, pallor was spreading on the lady’s skin, much like the blooming of yellow flowers on the ridge gourd plant. Then, the lady talks about the slander that’s spreading because of the man’s absence, and describes it as louder than the horns blown in the battlefield, at the moment a king named Anni, cut down the sacred tree, an ancient deity of another king named Thithiyan. We have seen the reference to the act of King Anni cutting down the ‘Punnai’ tree of Thithiyan in Natrinai 180, an event that led to many striking historic consequences, according to Sangam poets. While this sounds like a cruel act of taking out one’s enmity on a life-giving tree, from another perspective, it shows the importance accorded to these ancient, sacred trees, and how cutting down the same seemed to change the course of history then. Returning, we find the lady now equating her confused suffering to that of the character ‘Aathimanthi’, who roved far and wide, searching for her lost love. The lady concludes by talking about a fort wall, breached by the Chera King Vanavaramban, whose claim to glory is that he defeated those foreign foes who came by sea, sailing with the ocean currents, talking about how those inside the fort would be ridden with anxiety, and would not get a moment’s sleep, and such was her state too! In essence, the lady is telling her confidante, ‘It’s easy for you to ask me to chin up and brave the parting, but can’t you see how hard it’s for me to bear this separation!’. Amidst all the interesting historic references, the verse throws light on the importance of being present with one’s pain.…

Sangam Lit

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Aganaanooru 44 – Hasten the chariot homeward 6:40

19 weeks temu6:40

6:40

In this episode, we observe the eagerness of a man to return home, as depicted in Sangam Literary work, Aganaanooru 44, penned by Kudavayil Keeraththanaar. The verse is situated amidst the speeding roads of the ‘Mullai’ or ‘Forest Landscape’ and offers an account of people and places involved in an ancient battle. வந்து வினை முடித்தனன் வேந்தனும்; பகைவரும் தம் திறை கொடுத்துத் தமர் ஆயினரே; முரண் செறிந்திருந்த தானை இரண்டும் ஒன்று என அறைந்தன பணையே; நின் தேர் முன் இயங்கு ஊர்தி பின்னிலை ஈயாது, ஊர்க, பாக! ஒரு வினை, கழிய நன்னன், ஏற்றை, நறும் பூண் அத்தி, துன் அருங் கடுந் திறற் கங்கன், கட்டி, பொன் அணி வல்வில் புன்றுறை, என்று ஆங்கு அன்று அவர் குழீஇய அளப்பு அருங் கட்டூர், பருந்து படப் பண்ணி, பழையன் பட்டென, கண்டது நோனானாகி, திண் தேர்க் கணையன் அகப்பட, கழுமலம் தந்த பிணைஅல்அம் கண்ணிப் பெரும் பூட் சென்னி அழும்பில் அன்ன அறாஅ யாணர், பழம் பல் நெல்லின் பல் குடிப் பரவை, பொங்கடி படிகயம் மண்டிய பசு மிளை, தண் குடவாயில் அன்னோள் பண்புடை ஆகத்து இன் துயில் பெறவே! It’s a trip to the verdant forests but the action is elsewhere for the most part! Here, the man is saying these words to his charioteer, when returning home, after completing the task he set out to do: “The king has completed his mission; The foes have paid their tributes and have become kin to him; The drums have proclaimed that the two armies that had been in conflict with each other have now become one; Now that our work is done, wield your chariot that moves ahead speedily so that it doesn’t have to yield and lag behind any other, O charioteer! When Nannan, Ettrai, Aththi, wearing fragrant garlands, Kangan, renowned for his strength, whom enemies fear to near, Katti, and Pundrurai, skilful in archery, clad in gold, came together as one then in that boundless battlefield, making vultures soar, Pazhaiyan fought so bravely against them and perished. Unable to bear this loss, capturing Kanaiyan, renowned for his sturdy chariots, the great Chenni, clad in huge ornaments and well-woven garlands, seized the battle at Kazhumalam. Having unceasing prosperity, akin to his town of Alumpil, and also, ancient paddy growing fields, settlements of different groups of people, ponds, where elephants can dip and play, and lush green forests, is the cool town of Kudavaiyil. Ride your chariots with speed, so that I can attain sweet sleep on the chest of that virtuous maiden, akin to the town of Kudavayil!” Let’s race along with this speeding chariot and capture the essence of emotion here! The man opens by talking about how the work he came to do for his king is now over, now that the enemies have all surrendered and agreed to pay the right tributes to the king, so that they all fall under his protection. A moment to reflect on the usage of the word ‘Thamar’ meaning ‘Relatives’ to talk about how these very people, who were once enemies of the king, were now like his own people. In the usage of this word, I can perceive the subtle hint of a profound truth that even those, who are at war with us, deep within, are our own kith and kin! If the world can see this truth and embrace it, even before the first shot is fired, won’t the curse of war end? Returning back to that ancient highway, we hear the man telling his charioteer now that the drums have declared that the warring armies stand as a unified whole, he wishes for his charioteer to ride home fast, not letting any other vehicle pass them by. And to explain the why, he launches on a lengthy story of a conflict between a Chera King and a Chozha King. Many chieftains such as Nannan, Ettrai, Aththi, Kangan, Katti and Pundrurai came to the aid of the Chera King, but the brave army general of the Chozha King, Pazhaiyan fought so bravely against them, but perished in that battle. Seeing his prized general fall, maddened with fury, the Chozha King Chenni captured the Chera army general Kanaiyan and decisively won the battle at Kazhumalam, a place in the Chera domain! The man has given this historic account to etch the praise of Chenni and refer to the Chozha king’s capital town of Alumpil, whose prosperity is then linked to another town called Kudavaiyil. About Kudavaiyil, we learn that it’s a town, where agriculture has been ongoing for a long time, it’s an ancient paddy-growing hub, and that people of many different communities had come together and settled in harmony. What an egalitarian metropolis, it sounds like! Not only that, Kudavayil had ponds so huge that elephants frolic and play in them, the man adds, saying such is this town. He concludes by connecting the beauty of this town to that of his beloved and instructs his charioteer to make the chariot fly so that he can find the sweetest of sleep on his good lady’s bosom soon. At the core it’s a man’s message to his driver to speed up and beat the traffic, but within, we find so many fascinating aspects, such as the who’s who and where’s where of ancient history, and at the top of the list, the inimitable quality of Sangam poets to celebrate the towns of the era, placing them in the same plane as the much adored, flawless beauty of their maiden!…

Sangam Lit

1
Aganaanooru 43 – Rain of togetherness 5:39

19 weeks temu5:39

5:39

In this episode, we perceive a clear decision in a man’s mind, as depicted in Sangam Literary work, Aganaanooru 43, penned by Madurai Aasiriyaar Nallanthuvanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the intensity of the rainy season. கடல் முகந்து கொண்ட கமஞ் சூல் மா மழை சுடர் நிமிர் மின்னொடு வலன் ஏர்பு, இரங்கி, என்றூழ் உழந்த புன் தலை மடப் பிடி கை மாய் நீத்தம் களிற்றொடு படீஇய, நிலனும் விசும்பும் நீர் இயைந்து ஒன்றி, குறுநீர்க் கன்னல் எண்ணுநர் அல்லது கதிர் மருங்கு அறியாது, அஞ்சுவரப் பாஅய், தளி மயங்கின்றே தண் குரல் எழிலி; யாமே கொய் அகை முல்லை காலொடு மயங்கி, மை இருங் கானம் நாறும் நறு நுதல், பல் இருங் கூந்தல், மெல் இயல் மடந்தை நல் எழில் ஆகம் சேர்ந்தனம்; என்றும் அளியரோ அளியர்தாமே அளி இன்று ஏதில் பொருட்பிணிப் போகி, தம் இன் துணைப் பிரியும் மடமையோரே! We are yet again in the drylands but the usual barren landscape is no more! At a moment, when the man’s heart nudges him to leave in search of wealth, the man says these words to his heart: “The pregnant, dark rain clouds, bearing what was gathered from the oceans, along with the luminous, flashing lightning, soars with strength and then melts down, pouring on the soft-headed, naive female elephant, which had been languishing in the scorching heat, burying the elephant’s raised trunk with its downpour, even as the female plays together with the male elephant in the mud. The pouring rain links the land and sky as one. Other than those, who could calculate time using their small vessels of water, all others grew frightened, not knowing the position of the sun. Such was the force of grace rendered by the cool-voiced clouds! At such a time, as plucked jasmine petals fuse with the breeze, the dark forest wafts with a rich fragrance. Such is the scent of the forehead and thick, dark tresses of my naive maiden, with a gentle gait. As for me, I have attained her fine and beauteous bosom. Surely, deeply, deeply to be pitied are those, who attain no such grace, and at the behest of a strange affliction of seeking wealth, have the foolishness to part away from their sweet companion!” Let’s relish another rain shower, in a continuity from the previous verse! The man starts by talking about how the rain clouds, which have completed their task of gathering from the oceans, are now appearing fully pregnant and ready to go into labour anytime. As expected, these clouds rise above and along with the flash of lighting, pour down! The man turns the spotlight on the recipient of this rain shower, namely a female elephant that was languishing in the harsh summer, now dancing in the rain, raising its trunk, and delighting along with its mate. Leaving these two to rejoice, the man describes how the way the rain pours as a ceaseless, endless stream makes the sky and earth to appear as if they are fitted together. So dense is the rain that other than those ancient timekeepers, who used a water clock, no one could tell where the sun was. A moment to pause and reflect on this reference to a water-clock, which is described as a vessel containing a small amount of water, and this line is evidence that ancient water-clocks were prevalent in the Tamil regions of the Sangam era too, as has been documented in ancient Greek and Persian cultures. Returning from our meanderings in time, we find the man talking about how in this rainy season, wild jasmines fuse with the breeze and make the entire forest fragrant, and that’s exactly the scent of his beloved’s forehead and tresses, he connects. He delights in the fact that he is now united with her and concludes, by remarking that those who give up the joy of being with their companions and instead foolishly leave to seek wealth are to be much, much pitied! And so, we find the man refusing to heed to his heart nudging him to leave his love and turn towards duty. He does this by pointing out the arrival of the rains and declaring that this is a season to be one with one’s beloved. The image of the elephants playing in the rain is a metaphoric parallel to the joy of togetherness the man feels with the lady. Yet again, elements of weather, science of timekeeping, and emotions of tenderness, all infuse these words with that rich fragrance of a forest in a rain!…

Sangam Lit

1
Aganaanooru 42 – Relief of the rains 4:56

19 weeks temu4:56

4:56

In this episode, we experience a downpour of joy, as depicted in Sangam Literary work, Aganaanooru 42, penned by Kabilar. Set in the rain-soaked ranges of the ‘Kurinji’ or ‘Mountain Landscape’, the verse talks about the transformative effect of an event. மலி பெயல் கலித்த மாரிப் பித்திகத்துக் கொயல் அரு நிலைஇய பெயல் ஏர் மண முகைச் செவ் வெரிந் உறழும் கொழுங் கடை மழைக் கண், தளிர் ஏர் மேனி, மாஅயோயே! நாடு வறம் கூர, நாஞ்சில் துஞ்ச, கோடை நீடிய பைது அறு காலை, குன்று கண்டன்ன கோட்ட, யாவையும் சென்று சேக்கல்லாப் புள்ள, உள் இல் என்றூழ் வியன்குளம் நிறைய வீசி, பெரும் பெயல் பொழிந்த ஏம வைகறை, பல்லோர் உவந்த உவகை எல்லாம் என்னுள் பெய்தந்தற்றே சேண் இடை ஓங்கித் தோன்றும் உயர் வரை வான் தோய் வெற்பன் வந்தமாறே. In this little trip to the hills, we listen to these ecstatic words said by the confidante to the lady, when the man had returned, after a long hiatus, and given a specific information to pass on to the lady: “Akin to the beautiful and fragrant bud of the wild jasmine flowers, which bloom in the heavy downpour of the rainy season, so abundant that they remain hard to be plucked entirely, are your red-lined, thick-edged, rain-like, moist eyes! You art so, with a complexion, akin to a fresh sprout, O dark-skinned maiden! Imagine a harsh time, when a country turns barren with drought, and ploughs turn to sleep, when summer extends long and slow. At such a time, when the wide ponds, with shores, akin to peaks, which have been abandoned by birds, having nothing within, spreading only scorching heat, are suddenly filled by the pouring down of heavy rains, on a blessed morning hour, think of the joy that so many would experience upon seeing this. I felt as if all this joy had poured within me, when the lord of the sky-soaring peaks, far away, appearing tall with ranges many, came here, just then!” Let’s lose the umbrellas and prepare to be soaked in a mountain rain! The confidante starts by comparing the red-streaked, beautiful eyes of the lady to the ‘Pithigam’, a type of wild jasmine bud that bursts open in the rainy season. She details that these flowers are so abundant that no matter how much one tries, it’s hard to pluck them all and thus endow a sweet fragrance all around. Such beauty is placed in parallel with the lady, who also is said to have skin, like a fresh green sprout! After these descriptions of the lady’s beauty, the confidante turns to a hypothetical situation, but one experienced in other regions quite often. She talks about a harsh summer, when the land has become dry and parched, where the ploughs are sleeping, as if asking ‘What’s the point?’. In such a time, there would be nothing but empty mud beds, in what was once lush ponds, given the cold shoulder by the birds too. Just then, what if the rains decided to descend down and fill these ponds to the brim, asks the confidante, what do you think all the people there would feel! That’s exactly what she felt when the man came and gave her the news that he would claim the lady’s hand soon, the confidante concludes. The joy of people in a rainless land at the sight of a downpour is placed in parallel with the emotion experienced within. The beauty of this simile is that this is something that can be related to, even today. It’s a timeless emotion, especially in the minds of people, who live in desert-like conditions, for some part of the year, waiting for the relief of the rains. Fascinating also how the poet has weaved in the theme of rain throughout the verse, be it in the flowers, the lady’s eyes and in the emotions, and has thus, soaked us in the shower of harmony and beauty!…

Sangam Lit

1
Aganaanooru 41 – Spring’s here and I’m not there 4:32

19 weeks temu4:32

4:32

In this episode, we perceive worry about another’s pain, as portrayed in Sangam Literary work, Aganaanooru 41, penned by Kundriyanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse illustrates the sights and sounds of a season. வைகு புலர் விடியல் மை புலம் பரப்ப, கரு நனை அவிழ்ந்த ஊழுறு முருக்கின் எரி மருள் பூஞ் சினை இனச் சிதர் ஆர்ப்ப, நெடு நெல் அடைச்சிய கழனி ஏர் புகுத்து, குடுமிக் கட்டிய படப்பையொடு மிளிர, அரிகால் போழ்ந்த தெரி பகட்டு உழவர் ஓதைத் தெள் விளி புலம்தொறும் பரப்ப, கோழிணர் எதிரிய மரத்த, கவினி, காடு அணி கொண்ட காண்தகு பொழுதில், நாம் பிரி புலம்பின் நலம் செலச் சாஅய், நம் பிரிபு அறியா நலனொடு சிறந்த நல் தோள் நெகிழ, வருந்தினள்கொல்லோ மென் சிறை வண்டின் தண் கமழ் பூந் துணர் தாது இன் துவலை தளிர் வார்ந்தன்ன அம் கலுழ் மாமை கிளைஇய, நுண் பல் தித்தி, மாஅயோளே? In this little trip to the drylands, instead of barren landscapes, we perceive contrasting scenes of sprouting life. Here, the man says these words, in the middle of his journey, as he remains parted away from his beloved: “The dawn, which makes the dark night bloom, spreads its light upon the pitch-black lands; As dark buds of the Coral tree loosen their petals and appear, akin to fire, upon the flowery branches, swarms of bees buzz around; In the fields, where tall and lush paddy crops have been harvested and tied into tight bundles, as farmers enter with their ploughs and split stubbles with their strong bulls, their clear and loud calls spread all across the land; In this pleasant time, when the entire forest is adorned with the beauty of trees, blooming with thick clusters of flowers, lamenting over my parting away, losing her health, making her fine arms, which were once filled with beauty, not knowing what it was to separate from me, now thin away, won’t she, that dark-skinned maiden, with many, tiny pallor spots, spreading on her beautiful black skin, akin to how cool and fragrant pollen from flower clusters, scattered by soft-winged bees, spreads like drops of sweet honey upon sprouting leaves, be filled with sorrow?” Time to bask in the blooming joy of spring! The man starts by talking about the time of the day, the early hours of the morning, when the sun is chasing away the darkness from the lands. From this small interval of time, he moves on to depict a bigger interval of time, namely the season, and to do that, he talks about how the flowers upon the coral tree are blooming like fire, and bees, entranced, are buzzing around them. Louder than these bees are the calls of farmers, directing their strong bulls in the harvested, stubble-filled paddy fields, the man details. Explaining that this is that beautiful season of spring, in which the forest seems to be decorated with the blooms of trees many, the man turns his attention to his beloved, and thinks about how she would be feeling lonely without him, how her arms would have thinned because of this separation. He concludes thinking that his beloved maiden, who has tiny pallor spots on her dark skin, akin to fine pollen on green leaves, would be very much worried, since he had not been able to make it back to her, in this beautiful season he promised to return. A verse which etches the tenderness in the hearts of these Sangam men, who reflect on the love of their beloved, even as they are held back by the chains of work!…

Sangam Lit

1
Aganaanooru 40 – A wish for the parted heart 6:00

20 weeks temu6:00

6:00

In this episode, we listen to a lady’s lament, as portrayed in Sangam Literary work, Aganaanooru 40, penned by Kundriyanaar. Set amidst the roaring waves of the ‘Neythal’ or ‘Coastal landscape’, the verse depicts the deep yearning in the lady to be with her beloved. கானல், மாலைக் கழிப் பூக் கூம்ப, நீல் நிறப் பெருங் கடல் பாடு எழுந்து ஒலிப்ப, மீன் ஆர் குருகின் மென் பறைத் தொழுதி குவை இரும் புன்னைக் குடம்பை சேர, அசை வண்டு ஆர்க்கும் அல்குறுகாலை, தாழை தளரத் தூக்கி, மாலை அழிதக வந்த கொண்டலொடு கழி படர்க் காமர் நெஞ்சம் கையறுபு இனைய, துயரம் செய்து நம் அருளார் ஆயினும் அறாஅலியரோ அவருடைக் கேண்மை! அளி இன்மையின் அவண் உறை முனைஇ, வாரற்கதில்ல தோழி! கழனி வெண்ணெல் அரிநர் பின்றைத் ததும்பும் தண்ணுமை வெரீஇய தடந் தாள் நாரை செறி மடை வயிரின் பிளிற்றி, பெண்ணை அகமடல் சேக்கும் துறைவன் இன் துயில் மார்பில் சென்ற என் நெஞ்சே! A visit to the coast presents to us a theme usually found in the drylands, one of parting and pining. In this instance, the lady says these words to her confidante, when the man has left her to go in search of wealth: “Backwater flowers in the seashore grove close their buds; The blue-hued great ocean roars with its resounding waves; After feeding on schools of fish, flocks of soft-winged seabirds retire to their nests in the huge, spreading laurel wood trees; Swaying bees buzz aloud; Such is the suffering filled time of evening; At this time, bending the Pandanus trees, as easterly winds blow, causing endless pain, even if he has caused much sorrow, by leaving this loving heart in helplessness and not rendering his graces, may his relationship with me never cease! As those, who wish to harvest white rice in the fields, make loud noises with their ‘thannumai’ drums, startled, storks with curving legs, cry out aloud with the sound of the tightly tied ‘vayir’ instrument, and then fly away to the wide-leafed Palmyra trees in the lord’s shore! My friend, that heart of mine went to find sweet sleep on his chest. All I wish is that when my heart finds him not rendering his graces, it shouldn’t give up being there and return here!” Hearing the musical bird sounds and lifting our heads to the soaring seashore trees, let’s walk on and learn more! The lady starts with a description of the painful time of evening, when flowers along the shore are closing their buds, the ocean is resounding with its huge waves, and seabirds, after a sumptuous meal of fish, are retiring to their nests in the characteristic ‘Punnai’ trees. Why should the lady call these pleasant scenes as painful? She replies to us saying that’s because at such a time, when easterly winds had decided to aggravate her angst, the man had left her in helplessness and parted away far. Even though he’s left her in such a state, the lady wishes that no harm should come to their loving relationship. Then she describes the man’s seashore town as a place, where harvesters come beat the thannumai drum before carrying on their work, and startled, screeching like the ‘vayir’ instrument, storks take to the skies and find a palmyra tree to brood. This everyday scene is a metaphor for how the lady’s heart has left its resting spot, startled by the man’s parting away, and had flown away to where he was. The lady concludes with the wish that even if the man does not render his graces, her heart that had left, wanting to find sweet sleep on his chest, must not abandon hope and return to her! And so, here we find the blooming of good thoughts even as the darkness of loneliness closes around the lady. There’s wishing well for the future that their relationship should live long. There’s also a wish for the present in seeking persistence even if there seems to be no results in the outer world. With all this positivity, hopefully the lady would find the strength to bear the parting. Another interesting but rather subtle element in this verse is the act of beating the ‘Thannummai’ drums by farmers before harvesting. Herein, lies an act of compassion by the harvesters to chase away any animals and birds that may be residing amidst the paddy crops, so that they do not fall prey to the harvesters’ axes. Though startling to the bird, that sound made is for its own good! And likewise in life, we may be startled out of our comfort zones by certain events but it’s time’s way of nudging us to be where we ought to be!…

Sangam Lit

1
Aganaanooru 39 – The fire of separation 7:07

20 weeks temu7:07

7:07

In this episode, we hear heartfelt words of appeasement, as portrayed in Sangam Literary work, Aganaanooru 39, penned by Madurai Chenkannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse paints the inner and outer world at a particular space and time in exquisite detail. ‘ஒழித்தது பழித்த நெஞ்சமொடு வழிப் படர்ந்து, உள்ளியும் அறிதிரோ, எம்?’ என, யாழ நின் முள் எயிற்றுத் துவர் வாய் முறுவல் அழுங்க, நோய் முந்துறுத்து நொதுமல் மொழியல்; நின் ஆய் நலம் மறப்பெனோ மற்றே? சேண் இகந்து ஒலி கழை பிசைந்த ஞெலி சொரி ஒண் பொறி படு ஞெமல் புதையப் பொத்தி, நெடு நிலை முளி புல் மீமிசை வளி சுழற்றுறாஅக் காடு கவர் பெருந் தீ ஓடுவயின் ஓடலின், அதர் கெடுத்து அலறிய சாத்தொடு ஒராங்கு மதர் புலி வெரீஇய மையல் வேழத்து இனம் தலை மயங்கிய நனந் தலைப் பெருங் காட்டு, ஞான்று தோன்று அவிர் சுடர் மான்றால் பட்டென, கள் படர் ஓதி! நிற் படர்ந்து உள்ளி, அருஞ் செலவு ஆற்றா ஆர் இடை, ஞெரேரெனப் பரந்து படு பாயல் நவ்வி பட்டென, இலங்கு வளை செறியா இகுத்த நோக்கமொடு, நிலம் கிளை நினைவினை நின்ற நிற் கண்டு, ‘இன்னகை’! இனையம் ஆகவும், எம்வயின் ஊடல் யாங்கு வந்தன்று?’ என, யாழ நின் கோடு ஏந்து புருவமொடு குவவு நுதல் நீவி, நறுங் கதுப்பு உளரிய நன்னர் அமையத்து, வறுங் கை காட்டிய வாய் அல் கனவின் ஏற்று ஏக்கற்ற உலமரல் போற்றாய்ஆகலின், புலத்தியால், எம்மே! Back to the drylands, and here, the man’s back from his travels. However, his lady seems to be angry with him for parting away for so long. At this time, the man says these words to the lady: “Asking me, “Along with that heart of yours, which had cast aspersions on your avoiding travel, when you traversed those paths, did you even think once about me?”, you stand there burying your smile within your sharp teeth and red mouth. Do not speak such untrue words that cause much suffering! How can I ever forget your celebrated beauty? In those faraway spaces, as thick bamboos brushed against each other, sparks of fire scattered and fell on withered leaves, burying them in the brightness of the burning flames, and the swirling wind then spread that fire on wild grass growing thither. Seeing such a fire that seemed to have the power to swallow the forest entire, running helter-skelter, and instead of pursuing their travels, merchants many stood there, screaming in alarm, akin to how, fearing a mad tiger, a herd of elephants would move about in much confusion, in the wide spaces of that huge scrublands jungle. In such a place, when the flaming sun, shining bright, high upon the sky, had descended and faded away, O maiden with bee-swarming, fragrant tresses, when I was thinking of you, in that harsh and inaccessible drylands path, akin to a swiftly leaping and prancing doe, with your shining bangles and shy looks, you suddenly stood there, tracing circles with your toes on the ground, and I said, ‘My dearest woman with the sweetest smile, when this is my nature, how can you be angry with me so?’, caressing your uplifted eyebrows and your rounded forehead, and stroking your fragrant tresses. At that beautiful moment, I suddenly glimpsed at my empty hands and realised that this was no truth, but merely a dream, and felt a deep yearning and suffering. Without understanding all this, here you are, sulking with me!” Let’s take in the heat and fire of the scorching drylands, and at the same time, perceive the moisture in the man’s heart! The man starts by remarking how the lady is angry with him because he parted away, against the wise counsel of elders to never leave a woman in suffering, because his heart had unceasingly nudged him to leave. She seems to have asked him if even for a single moment the man had thought of her! The man seems hurt by such a question and asks her how it was even possible for him to forget her! He then goes on to talk about the drylands, and to depict the danger in this space, he brings before the lady’s eyes, the sight of bamboos brushing against each other, and causing sparks to fly and fall on the dry leaves, and then fuelled by the hot winds, spread on the wild grass, as well. The fire that was spreading seemed as if it was about to devour the forest entire, and seeing all this, the wayfarers, most of them merchants, ran madly and then grouped together in a safe spot, giving up all thought of traversing further, the man details. He places in parallel these frightened wayfarers to a herd of elephants that run around, fearing a mad and ferocious tiger, and then find safety in numbers by huddling together. After describing the nature of the place he was travelling, the man goes on to talk about how when the sun had set, and he had been thinking about the lady, suddenly she herself appeared there, looking like a female deer. He seemed to have pulled her close to him, caressed her eyebrows and forehead and stroked her hair and asked the question, ‘When I love you so much, how can you be sulking with me?’. Just then, the lady vanished and the man realised this was but a dream, and he felt such pain in his heart. Sketching this moment, the man ends with the same thought that without knowing all this, the lady seemed to be needlessly angry with him! The verse highlights how the mind is adept at conjuring something totally contrary to the truth when it is feeling dejected and negative, as in the case of this lady, who seemed to project her feelings of loneliness as the man’s apathy. Inspiring indeed is the man’s crystal clear communication to the lady, explaining where he was, and what he felt for her, no doubt causing smiles and joy to spread on his beloved!…

Sangam Lit

1
Aganaanooru 38 – The appearance of absence 5:40

20 weeks temu5:40

5:40

In this episode, we listen to how a hidden message is subtly conveyed, as portrayed in Sangam Literary work, Aganaanooru 38, penned by Vadama Vannakkan Peri Saathanaar. Set in the ‘Kurinji’ or ‘Mountain Landscape’, the verse paints picturesque images to etch the past and present. விரி இணர் வேங்கை வண்டு படு கண்ணியன், தெரி இதழ்க் குவளைத் தேம் பாய் தாரன், அம் சிலை இடவது ஆக, வெஞ் செலல் கணை வலம் தெரிந்து, துணை படர்ந்து உள்ளி, வருதல் வாய்வது, வான் தோய் வெற்பன். வந்தனன் ஆயின், அம் தளிர்ச் செயலைத் தாழ்வு இல் ஓங்கு சினைத் தொடுத்த வீழ் கயிற்று ஊசல் மாறிய மருங்கும், பாய்பு உடன் ஆடாமையின் கலுழ்பு இல தேறி, நீடு இதழ் தலைஇய கவின் பெறு நீலம் கண் என மலர்ந்த சுனையும், வண் பறை மடக் கிளி எடுத்தல்செல்லாத் தடக் குரல் குலவுப் பொறை இறுத்த கோல் தலை இருவி கொய்து ஒழி புனமும், நோக்கி; நெடிது நினைந்து; பைதலன் பெயரலன்கொல்லோ? ஐ தேய்கு ‘அய வெள் அருவி சூடிய உயர் வரைக் கூஉம் கணஃது எம் ஊர்’ என ஆங்கு அதை அறிவுறல் மறந்திசின், யானே. The mighty mountains beckon us with their lush green stories of romance. Here, the confidante says these words to the lady, while passing on a pointed message to the man, listening nearby: “Wearing a head garland of Kino flowers, swarming with bees, and a chest garland of honey-dripping, wide-petaled blue waterlilies, carrying an exquisite bow on his left and well-chosen speeding arrows, thinking about his mate, the lord of the sky-high mountains will surely come here. When he does, he will see the swing, tied with a rope on the unbending, tall branch of the luxuriant ‘Seyalai’ tree, standing still, unused; the spring, where beautiful, long-petaled blue lotuses have bloomed like eyes, appearing unshaken, since we have not dived and played in it; the millet field, with the once-thick crop ears that bent the stalks with their weight, too heavy to be carried by those naive parrots with wide wings, completely harvested, appearing barren, with just tiny stubbles; Seeing all this, he will think for long and then part away with suffering, won’t he? Let my beauty be ruined! For Alas! I forgot to remind him then and there that, ‘Atop the tall mountain clad with a picturesque, white cascade, within calling distance, is our village!’” Time to take in the flower-filled mountain springs and understand more! The confidante starts by presenting an image of the man, wearing garlands of Kino flowers on his head and a garland of blue lilies on his chest, and carrying a bow and strong arrows too. This lord of the mountains is sure to come to the mountain spaces, thinking of his love, she says, and adds that when he does so, he’s in for quite a disappointment. The familiar places, where he had trysted with his beloved, would appear different now, for instance, the swing tied to the tall Ashoka tree, the one he used to push the lady on, would be absolutely still, with no one to adorn it; Likewise, the springs, wherein he once dived and played with the lady, will now be crystal clear, without any ripples, for the lady had not been there for long; And finally, the millet fields would have only stubble for those heavy crop ears would all be harvested, the confidante elaborates. Going from one spot to another, the man’s heart is going to get heavier and heavier and he’s going to leave with dejection, she predicts. Finally, the confidante concludes with a curse upon herself for the reason she forgot to tell the man where their town was, just on that tall mountain with a white cascade, within calling distance. In essence, the confidante means to tell the listening man that the harvest was done and the lady could no longer tryst with him in all those familiar spaces. From one angle, this can be seen as an invitation to the man for a tryst by night with the lady or it could be the confidante’s way of nudging the man to turn in the direction of a permanent union with the lady. Beyond the usual chants of ‘Marry her, Marry her’, what shines in this verse, is the way the abstract quality of absence is sketched so tangibly in the appearance of places! A feeling that endures across space and time in the parting away of someone we love, and its echo on the outer world, once shared with them!…

Sangam Lit

1
Aganaanooru 37 – The season of togetherness 7:11

20 weeks temu7:11

7:11

In this episode, we perceive the distress in the lady’s heart, as depicted in Sangam Literary work, Aganaanooru 37, penned by Vitrootru Mootheyinanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a unique portrait of the season of spring. மறந்து, அவண் அமையார் ஆயினும், கறங்கு இசைக் கங்குல் ஓதைக் கலி மகிழ் உழவர் பொங்கழி முகந்த தா இல் நுண் துகள், மங்குல் வானின், மாதிரம் மறைப்ப, வைகு புலர் விடியல் வை பெயர்த்து ஆட்டி, தொழிற் செருக்கு அனந்தர் வீட, எழில் தகை வளியொடு சினைஇய வண் தளிர் மாஅத்துக் கிளி போல் காய கிளைத் துணர் வடித்து, புளிப்பதன் அமைத்த புதுக் குட மலிர் நிறை வெயில் வெரிந் நிறுத்த பயில் இதழ்ப் பசுங் குடை, கயம் மண்டு பகட்டின் பருகி, காண் வர, கொள்ளொடு பயறு பால் விரைஇ, வெள்ளிக் கோல் வரைந்தன்ன வால் அவிழ் மிதவை வாங்கு கை தடுத்த பின்றை, ஓங்கிய பருதிஅம் குப்பை சுற்றி, பகல் செல, மருதமர நிழல், எருதொடு வதியும் காமர் வேனில்மன் இது மாண் நலம் நுகரும் துணை உடையோர்க்கே! Another trip to the drylands, and in contrast to the barren landscape, here we find images depicting a scene of plenty. These are the words spoken by the lady to her confidante, when the man, who had left in search of wealth, remains parted away from her: “This is the season when the resounding music of joyous farmers calling out at dawn spreads all around; At this time, when the dawn ends the darkness of the night, these farmers separate stacks of hay and prepare to sift the unrefined paddy. The flawless, fine dust that arises then soars above like black clouds and hides all the directions in the sky; To surmount the tiredness caused by all this hard work, they pluck huge clusters of unripe mangoes, in the hue of parrots, swaying atop branches to the tune of a beautiful breeze. Chopping the unripe mangoes, they add to the fermenting, new pots, which brim over with the sour drink within. Dipping into these pots, showing their backs to the sun, using bowls made of fresh-petalled palm fronds, akin to bulls that drink water in a pond, they savour the drink to their delight. Then mixing the right amount of horse gram and milk together, they add the mixture to cooked white rice, appearing akin to silver wires, and eat it until their curving hand stops them from having more. Then, under the shade of the ‘Marutham’ trees, where paddy is heaped up, as the day journeys on, they rest with their bulls. Such is this beautiful season of spring, and even though he isn’t going to forget me and remain there forever, this is a desirable season only to those, who have companions to savour their fine beauty, right next to them!” Let’s take a refreshing break in the middle of the sweltering drylands and learn what’s in the lady’s heart! The lady starts not by describing the elements of this landscape as is frequently done, but instead focuses on the changes in her own surroundings. She describes how the lovely season of spring has arrived by narrating the activities of farmers, who can be heard waking up at dawn, and calling out the community to start their work, and even at that early hour, they can be seen doing tasks like separating bundles of hay and sifting the paddy by thrashing. The result of the latter activity is that the fine dust rises up like black clouds, and seemingly covers the sky, the lady says. So much hard work, so early in the day – That’s the life of farmers everywhere! But they do have their ways of finding relaxation, the lady explains, informing us of the details of how they prepare a drink, and then a food item. First, let’s focus on the drink, which is something made from an unripe mango, still in the colour of a parrot, happily swaying on a branch in the gentle spring breeze, perhaps thinking, ‘my time is not come yet!’. However, the farmers have other plans for they pluck clusters of these unripe mangoes and make a sour drink out of them in huge pots. Sounds familiar, right? This ancient recipe matches exactly with a drink called as ‘Aam Panna’ in Hindi, a beverage, popular in the Northern and Western parts of India, which is nothing but Green mango juice, known for its excellent health benefits, top among the benefits being, bringing coolness to the body in the heat of summer! Here’s an ancient bridge linking the North and South of this country, reminding us of the oneness of all of us! Returning, these farmers now bend their backs and drink up the cooling, health juice from the huge pots, using a vessel made of palm fronds, showing their backs to the sun, and this image is placed in parallel to bulls drinking water from a pond. A cool drink has been had and these farmers decide it’s time for some food, and so they take some healthy horse gram, milk and rice, and delight in that food until they can have no more and their hands stop them. Finally, these farmers stay and rest beneath the ‘Marutham’ trees, while letting their bulls graze. The lady ends this elaborate narration by saying such is the season of spring, and even though she knows the man is not going to abandon her, her pain is real because this is a season, meant to be enjoyed with one’s beloved, and hers was not with her, just then! What an insightful entry about a day in the life of farmers, in the season of spring, detailing their activities, their drink, their food and their rest, and telling us that even though the world outside can be exquisitely beautiful, the appreciation of the same ultimately depends on one’s inner world!…

Sangam Lit

1
Aganaanooru 36 – Louder than a battle cry 7:59

20 weeks temu7:59

7:59

In this episode, we listen to the angry words of a wife, as portrayed in Sangam Literary work, Aganaanooru 36, penned by Madurai Nakeerar. Set amidst the fish-filled ponds and blooming trees of the ‘Marutham’ or ‘Farmlands Landscape’, the verse conveys facets of nature and nuggets of history. பகுவாய் வராஅற் பல் வரி இரும் போத்துக் கொடு வாய் இரும்பின் கோள் இரை துற்றி, ஆம்பல் மெல் அடை கிழிய, குவளைக் கூம்பு விடு பல் மலர் சிதையப் பாய்ந்து, எழுந்து, அரில் படு வள்ளை ஆய் கொடி மயக்கி, தூண்டில் வேட்டுவன் வாங்க வாராது, கயிறு இடு கதச் சேப் போல, மதம் மிக்கு, நாள் கயம் உழக்கும் பூக் கேழ் ஊர! வரு புனல் வையை வார் மணல் அகன் துறை, திரு மருது ஓங்கிய விரி மலர்க் காவில், நறும் பல் கூந்தற் குறுந் தொடி மடந்தையொடு வதுவை அயர்ந்தனை என்ப. அலரே, கொய் சுவல் புரவிக் கொடித் தேர்ச் செழியன் ஆலங்கானத்து அகன் தலை சிவப்ப, சேரல், செம்பியன், சினம் கெழு திதியன், போர் வல் யானைப் பொலம் பூண் எழினி, நார் அரி நறவின் எருமையூரன், தேம் கமழ் அகலத்துப் புலர்ந்த சாந்தின் இருங்கோ வேண்மான், இயல் தேர்ப் பொருநன், என்று எழுவர் நல் வலம் அடங்க, ஒரு பகல் முரைசொடு வெண்குடை அகப்படுத்து, உரை செல, கொன்று, களம்வேட்ட ஞான்றை, வென்றி கொள் வீரர் ஆர்ப்பினும் பெரிதே! After the fixed interval, we are back to the songs from the fertile farming towns and as can be expected, the situation of love quarrel between the man and his lady is ongoing, because of the man’s relationship with a courtesan. The man returns home, seeking to appease his wife and these are the words the lady says to him: “A huge male striped Varaal fish with a wide open mouth, after eating the bait at the tip of the curving iron hook, tearing the soft leaf of a white waterlily and crushing the many flower buds of the blue waterlily, leaps and soars, tangling the beautiful interlaced ‘vallai’ vines, and then refusing to come along as the fish-hook wielding hunter pulls in, akin to a mad bull that’s being tamed with a rope, full of arrogance, churns the pond, during the morning hour in your town, flourishing with flowers, O lord! On the wide, sand-filled shores of the Vaigai river with unceasing waters, where an esteemed ‘Marutham’ tree soars in a blooming flower orchard, you united in marriage with a maiden wearing small bangles and having fragrant, thick hair, they say. As for the rumours, it seems to be louder than the uproar of the victorious soldiers, in the army of the Pandya King Chezhiyan, riding atop chariots, fluttering with flags, and pulled by horses with trimmed manes, on that day he killed the enemy warriors and claimed victory in the battle at Alangaanam, reddening the wide spaces, and conquering the great strength of the seven, namely the Chera King Cheral, Chozha King Sembiyan, the furious Thithiyan, Ezhini wielding battle-worthy elephants adorned with golden ornaments, the Lord of Erumai Oor, renowned for its distilled fine toddy, the Ruler of Venmaan, Irungo, with a honey-fragrant wide chest streaked with sandalwood, and Porunan with his capable chariots, all in just a single day, as he captured all their war drums and white royal umbrellas, making his fame spread everywhere!” Time to sit by a pond, and watch the antics of this rich male fish! The lady starts with a lengthy description of the man’s town filled with fresh flowers, where in the wee hours of the morning, a fisherman is at his work, loosening his fishing line. At this time, a freshwater murrel fish, attracted by the tasty bait on the fish hook, feeds on it, and then tries to escape, by leaping above the waters, and in the process, tears a white waterlily leaf, crushes the flower buds of the blue waterlily, messes up the ‘vallai’ vines and refuses to be pulled in by the fisherman. To portray the attitude of this fish, the lady brings in the simile of a mad bull that thrashes about, refusing to be tamed. Consequently, the fish ends up muddling the waters of that pond, she says. A lengthy description of a farmland town is bound to have hidden meanings. But we’ll come to that in just a moment! The lady continues by talking about how many people came to her and told her that the man had united together with a young maiden, in the flower orchard, on the shore of the Vaigai River, which is incidentally described as having ceaseless waters, a far cry from the sandy river beds of the said river we see today. After relaying her knowledge of the man’s actions, the lady concludes by talking about how gossip and slander is spreading all around town. To quantify the intensity of these rumours, she says this is louder than the victory shouts of the Pandya King Chezhiyan, when in a single day, at the battle of Alangaanam, he routed the armies of seven kings, namely the Chera and Chozha kings as well as five other Velir Kings such as Thithiyan, Ezhini, Erumai Ooran, Irungo and Porunan, and captured their war drums and royal umbrellas. Now would be a good time to return to the description of the leaping fish in the pond, which is a metaphor for how the bard baited the man, and he fell for his words and went preying upon a courtesan, and after that, when he left her, he disturbed the courtesan’s family, implied by the white waterlily’s leaf getting torn, and worrying the lady’s kith and kin as well, defined by the ‘Vallai’ vines around the blue waterlily buds, and in short, sent waves of disturbance through the entire town, represented by the fish’s muddying of that pond. In essence, both with the direct simile of the historical reference and with the hidden layers of metaphor of a baited fish in a pond, the lady seems to be telling the man that he has caused slander to spread in town because of his actions and thus brought much suffering to her. While the theme is the usual love-quarrels that may not be so appealing to us, what’s fascinating in this verse is the accurate depiction of a fish in the moments of being captured, which illuminates the powers of observation, and also, the interweaving of a historical incident inside a domestic situation, which reveal the remarkable creativity of these Sangam poets!…

Sangam Lit

1
Aganaanooru 35 – A prayer for her 6:38

21 weeks temu6:38

6:38

In this episode, we listen to a mother’s fervent prayer, as depicted in Sangam Literary work, Aganaanooru 35, penned by Kudavayil Keerathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse depicts the life and worship of an ancient tribe, and also, the lament and love of a mother. ஈன்று புறந்தந்த எம்மும் உள்ளாள், வான் தோய் இஞ்சி நல் நகர் புலம்ப தனி மணி இரட்டும் தாளுடைக் கடிகை, நுழை நுதி நெடு வேல், குறும் படை மழவர் முனை ஆத் தந்து, முரம்பின் வீழ்த்த வில் ஏர் வாழ்க்கை விழுத் தொடை மறவர் வல் ஆண் பதுக்கைக் கடவுட் பேண்மார், நடுகல் பீலி சூட்டி, துடிப்படுத்து, தோப்பிக் கள்ளொடு துரூஉப் பலி கொடுக்கும் போக்கு அருங் கவலைய புலவு நாறு அருஞ் சுரம் துணிந்து, பிறள் ஆயினள்ஆயினும், அணிந்து அணிந்து, ஆர்வ நெஞ்சமொடு ஆய் நலன் அளைஇ, தன் மார்பு துணையாகத் துயிற்றுகதில்ல துஞ்சா முழவின் கோவற் கோமான் நெடுந் தேர்க் காரி கொடுங்கால் முன்துறை, பெண்ணை அம் பேரியாற்று நுண் அறல் கடுக்கும் நெறி இருங் கதுப்பின் என் பேதைக்கு, அறியாத் தேஎத்து ஆற்றிய துணையே! We get to meet with the mother in this trip to the drylands, and here are her words, at the juncture when her daughter has eloped away with the man: “Thinking not of me, who gave birth and raised her, leaving the fine mansion with sky-soaring walls to lament, she has left to the formidable drylands, where small bands of ‘Mazhavars’, bearing tall spears with sharp edges, and firm necks, around which bells ring aloud, after recovering their stolen cattle at the battlefront, build stone memorials for those great and able warriors, known for their lives of ploughing with their bows, the ones, who defeated the enemies and had fallen to their death, see them as their gods and pray for their protection, by adorning their hero stones with peacock feathers, beating drums, offering along with rice wine, a sacrifice of sheep, in those flesh-reeking, deserted paths. To such a place, she has left so daringly, becoming a stranger to us. My naive daughter, who has wavy dark tresses, akin to the fine sands of the great Pennai river, in the shore of the Kodunkaal town, ruled by ‘Kaari’, the one who wields tall chariots, the king of Kovalur, where drums sleep not, was taken away to an unknown land by that companion of hers. Praising her again and again, delighting in her fine beauty, let him always offer his chest, for her to sleep sweetly!” Listening to the prayers of hero stone worshippers, let’s take a walk in the drylands and understand this mother’s heart. Mother starts by lamenting how the lady had no thought about her mother, who had given birth and raised her with much love. She says this because the lady had left their wealthy mansion and parted away to the drylands, in the company of a young man. She then talks about a tribe of people called the ‘Mazhavars’, who are skilled at the battlefield, and are adept at recovering their stolen cattle. In any war, there would be losses, and even these brave soldiers, who fought and defeated the enemy, might succumb in the battle. In memory of those great warriors, the Mazhavars erect hero stones, tie them with peacock feathers, offer rice wine and sacrifice sheep as part of their prayers to these people who lived and defended them. Why has mother seemingly forgotten her girl and started talking about a random tribe? Only to say in those deserted paths, where these Mazhavars offer their prayers and spread the scent of flesh in the air, her daughter now walks with the man. After that description of the drylands, mother mulls over how her own precious daughter had become a stranger to her because of her act of eloping away. Thinking of the beauty of her little girl, mother is reminded of the wavy tresses, which she then places in parallel to the sands on the shore of the ‘Pennai’ river in a town called ‘Kodunkaal’ ruled by the King of Kovalur, ‘Kaari’. Isn’t it interesting how history and geography are presented as a package in that description of the silt-filled sands of a river shore and the king who rules it? Returning, we find mother, after singing praises of her girl’s beauty, now concluding with a sincere wish that the man, who took away her girl, would always be loving to her, keeping her happy by celebrating her, and delighting in her beauty and most of all, offering his chest for her precious girl to attain a comforting sleep, every single day! What should we focus on? Should we speak about a mother’s love that overlooks all hurt experienced and wishes only for the welfare of her child? Should we delight in that comparison of a South Indian woman’s wavy tresses with the sand patterns of the River ‘Pennai’? Or, should we focus on those insightful anthropological details of ancestor worship, a commonality among most ancient cultures, and possibly, the origin of religion itself? Perhaps, we should simply whisper a word of gratitude to these ancient Sangam poets, who have shown us the ocean in their little drops of words!…

Sangam Lit

1
Aganaanooru 34 – Make her wish come true 5:52

21 weeks temu5:52

5:52

In this episode, we perceive the yearning in a man to return home speedily, as depicted in Sangam Literary work, Aganaanooru 34, penned by Madurai Maruthan Ilanaakanaar. Set in the rain-soaked ‘Mullai’ or ‘Forest landscape’, the verse portrays scenes in the wild and its consequences on a man’s mind. சிறு கரும் பிடவின் வெண் தலைக் குறும் புதல் கண்ணியின் மலரும் தண் நறும் புறவில், தொடுதோற் கானவன் கவை பொறுத்தன்ன இரு திரி மருப்பின் அண்ணல் இரலை செறி இலைப் பதவின் செங் கோல் மென் குரல் மறி ஆடு மருங்கின் மடப் பிணை அருத்தி, தெள் அறல் தழீஇய வார் மணல் அடைகரை, மெல்கிடு கவுள துஞ்சு புறம் காக்கும் பெருந்தகைக்கு உடைந்த நெஞ்சம் ஏமுற, செல்க, தேரே நல் வலம் பெறுந! பசை கொல் மெல் விரல், பெருந் தோள் புலைத்தி துறை விட்டன்ன தூ மயிர் எகினம் துணையொடு திளைக்கும் காப்புடை வரைப்பில், செந் தார்ப் பைங் கிளி முன்கை ஏந்தி, ”இன்று வரல் உரைமோ, சென்றிசினோர் திறத்து” என, இல்லவர் அறிதல் அஞ்சி, மெல்லென மழலை இன் சொல் பயிற்றும் நாணுடை அரிவை மாண் நலம் பெறவே. Here we are, in the cool and fragrant forests, and here, unfolds a tale of a man rushing home after finishing his mission. His words to his charioteer are: “The little white-headed bush, filled with tiny, dark wild jasmine leaves, sprouts like a garland in the cool and fragrant forest. Appearing akin to a forester, who wears leather footwear, and carries a bundle of firewood, atop his head, the esteemed male deer with huge, twisted antlers, helps its naive mate to feed on the thick-leaved bushes with red stems and soft stalks, in the spaces, where young goats play. Then, the male takes the female deer to the river shore, filled with sands, embracing the long banks, and standing, with its cheeks munching on food, and guards its sleeping mate. Seeing this generous nature of the beast, my heart breaks down in tears. So, ride fast, O efficient charioteer! Akin to the foams of white starch, let out in the river by the soft fingers of the washerwoman, with huge arms, are the pristine feathered swans, which delight joyously with their mates in our well-guarded mansion. To a green parrot with a red garland perched on her forearm, fearing that those in the home would hear her words, in a soft tone, with a child’s lisp, she would say, “If you want to say something about the one who parted away, please say that he will return today”. For me to delight in the beauty of this young maiden brimming with modesty, ride fast, O charioteer!” Savouring the fragrance of wild jasmines in bloom, let’s learn more of the man’s heart! The man starts by describing the forest around him. He talks about the wild jasmine bushes that are painting the forest with a rich scent. From these generic descriptions, the man moves to a specific scene, where he sees a male deer with huge antlers, which reminds him of the image of a man of the forest region, carrying a bundle of firewood, atop his head. The man points to how this male deer helps its female to the rich food of the bushes and then takes the mate to the comfortable river shores. Then, as the female sleeps, the male stands there guarding the female with much devotion, the man says. Seeing this scene, the man wants to shower the same love on his lady, waiting for him. He recollects the swans in their household, and connects the white feathers of these birds to the white starch that a washerwoman empties in the river shore. Next, in his mind’s eye, travelling further inside his home, the man finds his lady talking to a pet parrot on her arm, with a child-like lisp, in a soft voice, so that no one around hears, begging for the parrot to say the good word that the man will return that very day. So, to delight this young maiden by fulfilling her heart’s dearest wish, the man bids his able charioteer to hasten the horses! It’s heartwarming to perceive such loving images of the other in the minds of these lovelorn couples from the past! Stunning how those images in nature, with those wild deer, and the actions of those engaged in different work, like that forester collecting twigs or that washerwoman at work in a river shore, are brought with clarity and depth before our eyes, all with a few words! A verse that feels like a satisfying ride on a chariot, taking in the glimpses of the past, and smiling at the timeless love at the core!…

Sangam Lit

1
Aganaanooru 33 – Now is not the time to turn back 5:21

21 weeks temu5:21

5:21

In this episode, we listen to thoughtful words spoken to the heart, as depicted in Sangam Literary work, Aganaanooru 33, penned by Madurai Alakkar Gnaazhaar Makanaar Mallanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse highlights the conflict between work and love in those times. வினை நன்றாதல் வெறுப்பக் காட்டி, மனை மாண் கற்பின் வாணுதல் ஒழிய, கவை முறி இழந்த செந் நிலை யாஅத்து ஒன்று ஓங்கு உயர் சினை இருந்த, வன் பறை, வீளைப் பருந்தின் கோள் வல் சேவல் வளை வாய்ப் பேடை வரு திறம் பயிரும் இளி தேர் தீம் குரல் இசைக்கும் அத்தம் செலவு அருங்குரைய என்னாது, சென்று, அவள் மலர் பாடு ஆன்ற, மை எழில், மழைக் கண் தெளியா நோக்கம் உள்ளினை, உளி வாய் வெம் பரல் அதர குன்று பல நீந்தி, யாமே எமியம் ஆக, நீயே ஒழியச் சூழ்ந்தனைஆயின் முனாஅது வெல் போர் வானவன் கொல்லி மீமிசை, நுணங்கு அமை புரையும் வணங்கு இறைப் பணைத் தோள், வரி அணி அல்குல், வால் எயிற்றோள்வயின் பிரியாய்ஆயின் நன்றுமன் தில்ல. அன்று நம் அறியாய்ஆயினும், இன்று நம் செய்வினை ஆற்றுற விலங்கின், எய்துவைஅல்லையோ, பிறர் நகு பொருளே? Back to the drylands and here, we are following the man’s trail in the harsh landscape and listening to these words he speaks to his heart: “Emphasising how important the mission of gathering wealth was, you made me leave behind the maiden, with a shining forehead, the one who adds glory to the home, and brought me here, where upon a sturdy Ya tree, which has lost all its leaves, on a soaring high branch, a strong male killer eagle with powerful wings, cries out calling its mate with a curved beak, making that sweet sound of an ‘Ili’, resound all around the drylands. Without thinking that the journey would be harsh and formidable, you brought me here, and now, thinking of the clear gaze in her flower-like, kohl-streaked, rain-like eyes, you want to part away, leaving me, the one who came traversing across hills many, with hot stones, akin to chisel edges, all alone! Had you not separated from the one having a beautiful lined waist, shining teeth, a curving wrist and arms, akin to the slender bamboos that flourish atop the Kolli hills, ruled by the great king, with unceasing victories in the battlefield, that would have been good. Even if you couldn’t understand what our state would be then, if today you leave the mission unfinished and return, won’t you become an object of everyone’s scorn?” Even as we hear the deep voices of the winged predators in the drylands, let’s turn our attention to the whispers of the heart! The man turns to his heart and recollects how it insisted that he leave on his mission to gather wealth, leaving behind his wife. Now they were in the middle of the drylands, where a male eagle with strong wings sitting atop a leafless Ya tree was calling its mate to come close and that piercing sound was ringing everywhere, sounding like the ‘Ili’ instrument. Then, the man talks about his present and says the heart, after bringing him here, has now started thinking about the lady’s eyes and feels the urge to part away to her. The man chides his heart and says, ‘At least if you had known this earlier, we would not have separated from the lady’, whom he describes as having slender arms akin to the bamboos that grow in the Kolli hills, ruled by a victorious king. The man concludes by asking his heart that now, after bringing him all the way there, if the heart were to abandon the task of gathering wealth halfway and rush back to the lady, won’t it become the laughing stock of everyone! In essence, it’s the man who’s feeling extremely nostalgic and yearns to be back in the embrace of his lady. But to get some perspective, the man separates himself from his heart and addresses these words, thereby finding the inspiration to move forward, while acknowledging the strong force pulling him backwards. Lines that echo aloud the power of inner awareness and self-motivation that can keep us going in the harshest of situations!…

Sangam Lit

1
Aganaanooru 32 – Saying no and meaning yes 5:57

21 weeks temu5:57

5:57

In this episode, we perceive a romance brewing, as depicted in Sangam Literary work, Aganaanooru 32, penned by Nalvelliyaar. Set amidst the millet fields in the ‘Kurinji’ or ‘Mountain landscape’, the verse paints a vivid portrait of inner emotions and outer reactions. நெருநல் எல்லை ஏனல் தோன்றி, திரு மணி ஒளிர்வரும் பூணன் வந்து, புரவலன் போலும் தோற்றம் உறழ்கொள, இரவல் மாக்களின் பணிமொழி பயிற்றி, “சிறு தினைப் படு கிளி கடீஇயர், பல் மாண் குளிர் கொள் தட்டை மதன் இல புடையா, சூரரமகளிரின் நின்ற நீ மற்று யாரையோ? எம் அணங்கியோய்! உண்கு” எனச் சிறுபுறம் கவையினனாக, அதற்கொண்டு இகு பெயல் மண்ணின் ஞெகிழ்பு, அஞர் உற்ற என் உள் அவன் அறிதல் அஞ்சி, உள் இல் கடிய கூறி, கை பிணி விடாஅ, வெரூஉம் மான் பிணையின் ஒரீஇ, நின்ற என் உரத் தகைமையின் பெயர்த்து, பிறிது என்வயின் சொல்ல வல்லிற்றும்இலனே; அல்லாந்து, இனம் தீர் களிற்றின் பெயர்ந்தோன் இன்றும் தோலாவாறு இல்லை தோழி! நாம் சென்மோ. சாய் இறைப் பணைத் தோட் கிழமை தனக்கே மாசு இன்றாதலும் அறியான், ஏசற்று, என் குறைப் புறனிலை முயலும் அண்கணாளனை நகுகம், யாமே. We are back amidst the picturesque mountains, and here, we hear the lady narrate an incident to her confidante. Her words are: “Yesterday, a man adorned with wealthy ornaments, radiant with precious gems, appeared amidst the millet fields. In contrast to his appearance, akin to a benefactor, he spoke in the humble words of supplicants, saying, “O maiden, who chases away parrots, which come to steal away little millets, by rattling the ‘kulir’ and ‘thattai’ devices, without much strength, standing there, akin to a mountain spirit, who are you? You have bewitched me! I shall embrace you!”. Saying so, he hugged the small of my back. At that moment, akin to how hard mud softens in a downpour, my heart melted. Fearing that he would come to know of my state within, I spoke harsh words that didn’t come from my heart, and removed the clasp of his hand, and akin to a frightened female deer, stood away. Seeing this strong reaction of mine, he stood there, unable to say words any. Dejected, he soon parted away in the stance of a male elephant, shunned by its herd. He will come here today too, without fail. So, let’s go, my friend, to see how that man, who doesn’t know that my bamboo-like arms with curving wrists belong rightfully to him, as he tries to win my grace with much suffering, standing behind me. Let’s laugh at him resoundingly!” Craning our ears amidst the parrot screeches and rattle sounds, let’s hear the tale of this mountain maiden! The lady starts by describing what happened the previous day at the millet fields, when she was chasing away parrots. Apparently, a man who looked like a wealthy patron came there but he spoke with the humble words of a supplicant, begging from a patron. He seems to have asked who she was, the one who had stolen away his heart like a bewitching goddess, and then tried to hug her, standing behind. At that moment, to describe how she felt, the lady brings in the exquisite simile of dried-up mud becoming soft in the rain, relating to us, what a mushy mess her heart had turned into. Fearing the man would understand what she was feeling inside, the lady seems to have spoken harsh words that she did not mean at all, and removed his hands, then stepped aside, like a frightened female deer. Seeing her reaction, the man’s words dried up and he walked away in dejection, as if he were a male elephant ostracised by its herd! Relating this entire event of the previous day, the lady tells her friend that the man is sure to come and stand behind her, begging with much suffering, not knowing that she belonged to him rightfully. The lady concludes by inviting the friend to come along and laugh at the man, listening to his ignorant pleas! In essence, the lady is expressing to her confidante what she really feels about the man, and this is the first step in seeking the friend’s help in furthering her love relationship with the man. Interesting how the lady feels one thing within, but wants to hide it and says the opposite thing to the man, and consequently, it’s this outer refusal that encourages the young man to persist in his attempts to win the lady. Perhaps, it’s a reflection of an age-old natural technique, employed by the female of the species to test the sincerity of the male’s attentions!…

Sangam Lit

1
Aganaanooru 31 – No one to blame him 6:16

21 weeks temu6:16

6:16

In this episode, we perceive the fearsome nature of the region, as portrayed in Sangam Literary work, Aganaanooru 31, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse offers insights about the extent of the domain, ruled by ancient Tamil kings. நெருப்பு எனச் சிவந்த உருப்பு அவிர் மண்டிலம் புலங்கடை மடங்கத் தெறுதலின், ஞொள்கி, ”நிலம் புடைபெயர்வது அன்றுகொல், இன்று?” என, மன் உயிர் மடிந்த மழை மாறு அமையத்து, இலை இல ஓங்கிய நிலை உயர் யாஅத்து மேற் கவட்டு இருந்த பார்ப்பினங்கட்கு, கல்லுடைக் குறும்பின் வயவர் வில் இட, நிண வரிக் குறைந்த நிறத்த அதர்தொறும், கணவிர மாலை இடூஉக் கழிந்தன்ன புண் உமிழ் குருதி பரிப்பக் கிடந்தோர் கண் உமிழ் கழுகின் கானம் நீந்தி, ”சென்றார்” என்பு இலர் தோழி! வென்றியொடு வில் அலைத்து உண்ணும் வல் ஆண் வாழ்க்கைத் தமிழ் கெழு மூவர் காக்கும் மொழி பெயர் தேஎத்த பல் மலை இறந்தே. The drylands and the theme of separation seem to pop up again and again, unfailingly. In this instance, the man has parted away from the lady and the lady loses her health and beauty, pining for him. At this time, the people of the town spread slander seeing the change in her form. In response, the lady turns to her confidante and renders these words: “Reddening akin to fire, as the heat showering sun blazes, scorching the farmland crops, everything diminishes and makes one wonder, ‘Is today the day when the land loses its wealth and changes beyond recognition?’. It’s such a time when lives perish without the nourishing rains. And here, vultures swoop over those paths with diminished hue, coated by the lines of fatty flesh, brought down by the arrows, aimed by the harsh men in that barren hamlet, amidst the rocky terrain. So as to feed their younglings, waiting atop the wide branches of a tall ‘Ya’ tree, bereft of leaves any, these vultures peck away at the eyes of those, who are lying with blood spurting out of their wounds, appearing as if they are adorned with red oleander garlands. Such is that fearsome drylands, my friend, and there’s no one to say, ‘Beyond those many mountains, where people speak unknown languages, which are in the protection of the three great Kings of the Tamil land, who have the mighty tradition of winning over their enemies with their bows, and flourishing with the tributes offered, he went, leaving her behind!’.” Time for a walk in the sweltering drylands! The lady starts by talking about the harshness of the heat in the drylands, with the red sun, showering its anger on the land, killing everything fine and green, making people wonder if it’s the end of the world. Then, she points to how the paths with red soil appear reduced in their colour, because of fat lying strewn about everywhere. And how did this fat come to be? It’s the handiwork of the arrows belonging to the people of that domain, the highway robbers. From the ground, the lady points up to how vultures are swooping around this region and then she describes how these vultures dive in to peck the eyes of those lying wounded, with blood gushing out of their wounds, giving an appearance of wearing a red garland around them, and how those eyes become the food for the vulture chicks, waiting atop the tall, leafless ‘Ya’ trees. How gruesome and scary! Why would anyone want to traverse these lands?, we may ask. Exactly, replies the lady, adding that unlike you, there’s no-one here to question why the man has left to such a place in the drylands, crossing many mountains, where people speak other languages, though these lands come under the domain of the three great kings of the Tamil land, namely the Chozha, Chera and Pandya kings, adding how they subdue their enemies with the prowess of their bows and flourish in the tributes paid by the subjugated. A moment to pause and fully understand this ancient reference to the word ‘தமிழ்’ used here to denote the land ruled by the three kings. In many cultures, we find that the word used by these cultures to describe themselves is different from what the outsiders use. But here, we find that Tamil land has always been ‘Tamil’ by the people and the others uniformly. The other interesting facet is that these Chera, Chozha and Pandya kings seemed to have extended their dominion to regions, where other languages were spoken, marking the extent of the influence in the ancient world. Now returning to the crux of the verse, it’s a lady complaining that no one seems to be talking about the man, who has gone to such a horrible place, filled with dangers, leaving her behind. All they can do is blame her for losing her health and beauty. What an unfair world this is, she seems to be saying! A feeling we can truly understand, when we reflect on moments, where we have seen different standards being extended to men and women, in subtle and great ways, even today, after two thousand years!…

Sangam Lit

1
Aganaanooru 30 – A word of care 4:57

22 weeks temu4:57

4:57

In this episode, we relish intriguing similes on ancient professions, as depicted in Sangam Literary work, Aganaanooru 30, penned by Mudangi Kidantha Neduncheralaathan. The verse is situated amidst the roaring seas of the ‘Neythal’ or ‘Coastal landscape’ and relays a hidden rebuke. நெடுங் கயிறு வலந்த குறுங் கண் அவ் வலை, கடல் பாடு அழிய, இன மீன் முகந்து, துணை புணர் உவகையர் பரத மாக்கள் இளையரும் முதியரும் கிளையுடன் துவன்றி, உப்பு ஒய் உமணர் அருந் துறைபோக்கும் ஒழுகை நோன் பகடு ஒப்பக் குழீஇ, அயிர் திணி அடைகரை ஒலிப்ப வாங்கி, பெருங் களம் தொகுத்த உழவர் போல, இரந்தோர் வறுங் கலம் மல்க வீசி, பாடு பல அமைத்து, கொள்ளை சாற்றி, கோடு உயர் திணி மணல் துஞ்சும் துறைவ! பெருமை என்பது கெடுமோ ஒரு நாள் மண்ணா முத்தம் அரும்பிய புன்னைத் தண் நறுங் கானல் வந்து, ”நும் வண்ணம் எவனோ?” என்றனிர் செலினே? After ten songs, it’s time for a trip to the shore, and here, we hear the confidante speaking to the man, when he comes to tryst with the lady after a long gap. The confidante’s words are: “Wielding beautiful, small-eyed nets, tied with long ropes, diminishing the glory of the seas, gathering great schools of fish, with the joy of uniting with partners, those fisherfolk, young and old, along with their kith and kin, assemble together on the silt-filled shores, with much uproar, like the strong bulls of salt merchants, who traverse formidable shores with their study carts. Then, akin to farmers, who shower paddy in huge vessels, they fill the empty vessels of supplicants and make these brim over with their produce. Afterwards, splitting what’s left of their catch into many heaps, they shout out the prices, and finally, end their day sleeping on the peak-like sands of your shore, O lord! Will your great pride be ruined, if you were to come to this cool and fragrant orchard, filled with mastwood trees, and scattered with unrefined pearls, and ask with care, ‘How do you fare?’” Time to listen to the secret message hidden by the shouts of fishermen on the shore! The confidante turns to the man and starts by describing his land. To do that, she brings the people of this land to the fore, the fisherfolk, who have no qualms about taking the bounty of the sea, the rich catch of fish, with their well-woven, beautiful nets. She talks about how they resemble the bulls owned by another group of professionals in that landscape, namely the salt merchants, saying they use these bulls to traverse those tricky shores in their journey. The fisherfolk are sturdy and strong like the bulls as they gather together in that shore, the confidante implies. Then bringing in another group of people, the farmers, she characterises them as people, who would fill the vessels of those, who come seeking to them, with rich paddy. Just that way, these farmers of the sea, the fishermen, first give away what they have caught to those, who come seeking to them with empty vessels. From these mentions, we can infer that giving to the needy was considered as the first and foremost duty of those with any kind of wealth! Returning, we see that once charity is done, these fisherfolk take what’s left and heap the catch in little sections, and sell them, shouting out the prices. After an energetic day such as this, they rest by sleeping on the sandy shores, the confidante says, and ends the description of the man’s land. She then turns to the man and asks him whether he would fall from his great state if he came and enquired after the lady’s health, at their rich shore, filled with ‘punnai trees’ and washed-up pearls. With that pointed question, the confidante scolds the man for his absence and questions how he could be at peace after leaving the lady in such a torment. It’s a hidden message of ‘Marry her, Marry her’ yet again, but those energetic scenes of people doing their work with joy and meaning is something to smile about indeed!…

Sangam Lit

1
Aganaanooru 29 – Right here with you 7:26

22 weeks temu7:26

7:26

In this episode, we understand perspectives about the pursuit of wealth, as portrayed in Sangam Literary work, Aganaanooru 29, penned by Vellaadiyanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the emotions of the one who parted away and the one waiting for their return. “தொடங்கு வினை தவிரா, அசைவு இல் நோன் தாள், கிடந்து உயிர் மறுகுவதுஆயினும், இடம் படின் வீழ் களிறு மிசையாப் புலியினும் சிறந்த தாழ்வு இல் உள்ளம் தலைதலைச் சிறப்ப, செய்வினைக்கு அகன்ற காலை, எஃகு உற்று இரு வேறு ஆகிய தெரி தகு வனப்பின் மாவின் நறு வடி போல, காண்தொறும் மேவல் தண்டா மகிழ் நோக்கு உண்கண் நினையாது கழிந்த வைகல், எனையதூஉம், வாழலென் யான்” எனத் தேற்றி, பல் மாண் தாழக் கூறிய தகைசால் நல் மொழி மறந்தனிர் போறிர் எம்” எனச் சிறந்த நின் எயிறு கெழு துவர் வாய் இன் நகை அழுங்க வினவல் ஆனாப் புனைஇழை! கேள் இனி வெம்மை தண்டா எரி உகு பறந்தலை, கொம்மை வாடிய இயவுள் யானை நீர் மருங்கு அறியாது, தேர் மருங்கு ஓடி, அறு நீர் அம்பியின் நெறிமுதல் உணங்கும் உள்ளுநர்ப் பனிக்கும் ஊக்கு அருங் கடத்திடை, எள்ளல் நோனாப் பொருள் தரல் விருப்பொடு நாணுத் தளை ஆக வைகி, மாண் வினைக்கு உடம்பு ஆண்டு ஒழிந்தமை அல்லதை, மடம் கெழு நெஞ்சம் நின் உழையதுவே! It’s the drylands again but the good news is that the man’s back home. Here, he’s trying to appease the remnants of anxiety in his beloved’s heart, after he has returned to her fold. The man’s words to the lady are: “O maiden wearing well-etched ornaments, burying your sweet smile within your red mouth with shining teeth, you turn to me and ask me, ‘Having an unfaltering determination that never gives up on a task begun, even if it were to languish and lose its life, a tiger doesn’t feed on the elephant, which happened to fall on its left. Stronger than this tiger in resolution, is your unbending heart that parted away to exceedingly excel at its task of gathering wealth. Remember those fine and noble words that you spoke, with esteem and humility, consoling me, saying, ‘Akin to a fragrant green mango cut perfectly into two with an iron knife, with so much beauty, are your joyous, kohl-streaked eyes, which never lets the delight of those who see those eyes diminish. The days I spend thinking not of these eyes, are days in which I live not!’? Did you forget those words of yours when you parted away?’ Listen to me now. In those fiery wide spaces, filled with relentless heat, upon a path that has lost its beauty, walks an elephant, not knowing where to find water, and seeing a mirage, rushes to it, and then falls down with dejection, lying there like a boat stranded in a waterless spot. In such a fearsome path, which makes even those who think about it to tremble in fear, unable to bear the mockery of others, with an intention of bringing back wealth, bound by a sense of shame, to complete that noble task, it was my body that had parted away thither. Don’t you realise that my foolish heart was with you, all this while, right here?” Let’s go on and take a walk across those searing drylands and listen to this story! The man starts by revealing the question the lady had asked him. Without her usual smile, the lady seems to have asked the man whether he forgot certain words he had said to her, when he left on his mission to earn wealth in the drylands. To etch his unwavering decision to go to the drylands, the lady talks about how a tiger, no matter how famished, would never feed on an elephant that fell on its left. This depiction of a choosy tiger would no doubt make us scratch our heads! What it does it matter if the prey falls on the left or right, we may ask! But it’s just one of those quirky beliefs the Sangam people had. How they came to this conclusion would be a highly challenging but fascinating research idea! This also reminds me of a contemporary Tamil proverb involving a tiger, ‘Puli pasithaalum pul unnaathu’, meaning ‘Even if a tiger is hungry, it won’t eat grass’. At least this we can understand considering the wild cat is a pure non-vegetarian- a carnivore! In any case, the core thought here is the firmness of the decision that bends not to anything. So, the lady is talking about how with even more firmness than that tiger, the man went off to the drylands. He was the one, who had earlier told her that any day spent not looking at those split-mango-like eyes of hers was a day in which there was no life in him. Fancy words indeed! Spoken no doubt in the passion of love! Our lady has jotted them well and is now asking the man whether he forgot those words of his. In reply to this pointed question from his beloved, the man responds by first talking about the drylands, and describing it as a place, where there’s nothing but endless heat. Here, you can see elephants searching for water and lying there deceived by mirages, appearing like a mud-stranded boat, he says. After that sketch of that dreary place, the man goes on to list his reasons for leaving in search of wealth, and these include the taunts of others, his sense of duty to bring back wealth, and his discipline not to give up halfway what he started. The man concludes by saying even though the reasons were noble, it was just his outer form, his body that had left to those drylands, whereas his heart was right there, with the lady, all that time he was away! In short, the man’s response is ‘That’s just my outer shell that went thither. Hither, with you, stayed my loving heart’. No doubt these buried smiles will bloom again on the lady’s face on hearing these passionate words! The highlight to me in this verse is the subtle focus on the balance between aspects of work, such us never giving up on a task begun, and aspects of love, such as taking the time and effort to make those we love understand why we do what we do!…

Sangam Lit

1
Aganaanooru 28 – Act as if it’s true 5:15

22 weeks temu5:15

5:15

In this episode, we perceive the communication of a hidden message, as portrayed in Sangam Literary work, Aganaanooru 28, penned by the Pandya King Arivudai Nambi. The verse is situated amidst the millets fields and parrot sounds of the ‘Kurinji’ or ‘Mountain Landscape’ and persuades a person to choose the path of permanent happiness. மெய்யின் தீரா மேவரு காமமொடு எய்யாய் ஆயினும், உரைப்பல் தோழி! கொய்யா முன்னும், குரல் வார்பு, தினையே அருவி ஆன்ற பைங் கால் தோறும் இருவி தோன்றின பலவே. நீயே, முருகு முரண்கொள்ளும் தேம் பாய் கண்ணி, பரியல் நாயொடு பல் மலைப் படரும் வேட்டுவற் பெறலொடு அமைந்தனை; யாழ நின் பூக் கெழு தொடலை நுடங்க, எழுந்து எழுந்து, கிள்ளைத் தெள் விளி இடைஇடை பயிற்றி, ஆங்கு ஆங்கு ஒழுகாய்ஆயின், அன்னை, ”சிறு கிளி கடிதல் தேற்றாள், இவள்” என, பிறர்த் தந்து நிறுக்குவள்ஆயின், உறற்கு அரிது ஆகும், அவன் மலர்ந்த மார்பே. A quaint little verse from the mountains, and here, we hear the confidante say these words to the lady, pretending not to notice the man, waiting by the hedge, but making sure he’s in earshot: “Owing to your excessive passion that arises from a ceaseless union, you realise not the consequences, my friend, let me tell you about it! Even before the luxuriant stalks of millets have been harvested, from the green stems flourishing in cascade streams, grains are dropping down and stubbles have started popping up. As for you, all you care about is attaining that hunter, the one, wearing a honey-dripping garland, woven with many contrasting flowers, accompanied by speedy dogs, who walks about on hills many. If you don’t stand up, again and again, and making your flower-filled garland sway, run around, here and there, and send out clear sounds of chasing away parrots, now and then, mother will think, ‘She’s no good at scaring away even those little parrots’ and bring someone else here to do this job. If that happens, impossible indeed it would be for you, to attain his flower-like, wide chest!” Let’s walk through the fields of mountain millets, rustling many a laden stalk, and listen to these women talk! The confidante tells her friend that she’s losing sight of something important, because she’s lost in the pleasures of being with the man. To explain further, she points to how the millet crops are fully mature, and even though the harvesters have not started their work, those grains seemed to be dropping off their spots and stubbles growing up from the mud. Given this situation, if the lady continues to be thinking only about her man, who is described as a hunter, who strolls the hills wearing fragrant garlands, accompanied by speedy dogs, then there’s big trouble waiting for the lady, warns the confidante. The confidante says that if the lady does not walk, hither and thither, making noises as if she’s heartily chasing away the parrots, mother’s going to think this girl can’t do her work right and she’s going to bring someone else to chase away those parrots. The confidante concludes by telling the lady that if she doesn’t do as advised, it’s going to become really hard for her to tryst with the man and embrace his handsome chest. It’s a quirky verse, where the confidante seems to be telling the lady, whether you work or not, you need to create the impression of working! Many a modern worker in the corporate world may identify with this ancient maiden’s statement! Joking apart, we have to understand that the confidante’s message is not for the lady but for the man, listening nearby, telling him, all your trysting is going to end soon, because the harvest is nearing, and the lady will not be found in these millet fields, so he better buck up and seek her hand in marriage. We can see how such a hidden message is effective in moving another to action, for then the idea to act becomes theirs and not because someone demands it of them. A lesson to take away to our situations of negotiation and persuasion today!…

Sangam Lit

1
Aganaanooru 27 – How can he leave? 6:07

22 weeks temu6:07

6:07

In this episode, we listen to an interesting argument for allaying fear, as portrayed in Sangam Literary work, Aganaanooru 27, penned by Madurai Kanakkaayanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals the perceived power of the lady’s beauty. “கொடு வரி இரும் புலி தயங்க, நெடு வரை ஆடு கழை இரு வெதிர் கோடைக்கு ஒல்கும் கானம் கடிய என்னார், நாம் அழ, நின்றது இல் பொருட் பிணிச் சென்று இவண் தருமார், செல்ப” என்ப என்போய்! நல்ல மடவைமன்ற நீயே; வடவயின் வேங்கடம் பயந்த வெண் கோட்டு யானை, மறப் போர்ப் பாண்டியர் அறத்தின் காக்கும் கொற்கை அம் பெரும் துறை முத்தின் அன்ன நகைப் பொலிந்து இலங்கும் எயிறு கெழு துவர் வாய் தகைப்பத் தங்கலர்ஆயினும், இகப்ப யாங்ஙனம் விடுமோ மற்றே தேம் படத் தெள் நீர்க்கு ஏற்ற திரள் காற் குவளைப் பெருந்தகை சிதைத்தும், அமையா, பருந்து பட, வேத்து அமர்க் கடந்த வென்றி நல் வேல் குருதியொடு துயல்வந்தன்ன நின் அரி வேய் உண்கண் அமர்த்த நோக்கே? Yet again, we are in the drylands and the fear of parting gazes at us, with piercing eyes. The lady’s confidante says these words to the lady, at the moment when the lady worries about the man’s imminent parting away to the drylands: “You say to me, ‘Revealing the huge tiger with curving stripes, swaying bamboos in the tall ranges, pushed by the hot summer winds, bend and part in that drylands jungle. Without thinking that this is a dangerous place, leaving me to cry, afflicted by the desire of bringing back wealth, which stays not in one place, he will part away thither, they say’. You are utterly foolish indeed! Receiving as tribute, white-tusked elephants from the lords of Venkatam hills in the north, the battle-worthy Pandya kings, protect with their virtuous rule, the great port of Korkai. Akin to the pearls from this shore, with glowing smiles, shines the teeth in your red mouth. Even if these do not block and make him stay, consider your kohl-streaked eyes, which have put the great beauty, of honey-dripping, thick-stalked, blue lotuses, standing in clear waters, to shame, and not satisfied with that, appear with beautiful red lines, akin to a blood-streaked, fine spear that has won over enemies many, delighting vultures in the battlefield! How will these eyes of yours with a beautiful gaze let him leave?” Let’s skulk along with that hiding tiger and learn more of this tale! The lady’s confidante starts by repeating the words of the lady, who seems to have heard from others that the man is planning to leave on a mission to gather wealth to the drylands jungle. Two side stories here: One, a philosophical observation about wealth is made at this point about how it does not stay in one place, and the other is the description of the drylands jungle, which makes us startled by the sudden appearance of a tiger amidst the bamboos, which are pushed apart by the hot, summer winds. The lady seems to have lamented to her friend saying how the man would be parting away to such a fearsome place, leaving them to cry. After rendering the lady’s words, the confidante gives her response saying that the lady is foolish to think so. The confidante’s logic revolves around the power of the lady’s beauty. She first talks about the lady’s teeth, placed in parallel to the pearls in the port of Korkai, ruled by the just Pandiyaas, respected by the lords of faraway Venkatadam Hills, which people say refer to the contemporary Tirupathi Hills in the state of Andhra Pradesh. She says even if those pearly whites of the lady do not block him from leaving, the lady has one more weapon in her arsenal, and those are her eyes, which put blue-lotuses to shame, and have red lines, akin to the streaks of a winning spear in a battlefield. The confidante concludes by saying that it’s impossible for the man to leave the lady and part away, given the radiance of those eyes! To put it in modern parlance, it’s as if the confidante is telling the lady, ‘No way he’s gonna leave you, you dazzler!’. On a serious note, why is a woman’s beauty held in so much regard in these verses? Granted the notion of beauty is different then and now, for instance, I don’t think red-streaked eyes are considered especially beautiful in our times, the preference being for clear, bright eyes, whereas here, in many verses, the red lines of a lady’s eyes were perceived as something alluring in Sangam times! What could this be telling us about those times? A question for ophthalmologists perhaps! Beyond these curious questions, it’s heartening to note that at the core is that timeless element of a friend’s thoughtful words to comfort an anxious heart!…

Sangam Lit

1
Aganaanooru 26 – Then and Now 6:50

22 weeks temu6:50

6:50

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 மலர் பொய்தல் மகளிர் விழவு அணிக் கூட்டும் அவ் வயல் நண்ணிய வளம் கேழ் ஊரனைப் புலத்தல் கூடுமோ தோழி! அல்கல் பெருங் கதவு பொருத யானை மருப்பின் இரும்பு செய் தொடியின் ஏர ஆகி, மாக் கண் அடைய மார்பகம் பொருந்தி முயங்கல் விடாஅல் இவை’ என மயங்கி, ‘யான் ஓம்’ என்னவும் ஒல்லார், தாம் மற்று இவை பாராட்டிய பருவமும் உளவே; இனியே புதல்வற் தடுத்த பாலொடு தடைஇ, திதலை அணிந்த தேம் கொள் மென் முலை நறுஞ் சாந்து அணிந்த கேழ் கிளர் அகலம் வீங்க முயங்கல் யாம் வேண்டினமே; தீம் பால் படுதல் தாம் அஞ்சினரே; ஆயிடைக் கவவுக் கை நெகிழ்ந்தமை போற்றி, மதவு நடைச் செவிலி கை என் புதல்வனை நோக்கி, ‘நல்லோர்க்கு ஒத்தனிர் நீயிர்; இஃதோ செல்வற்கு ஒத்தனம், யாம்’ என, மெல்ல என் மகன்வயின் பெயர்தந்தேனே; அது கண்டு, ‘யாமும் காதலம், அவற்கு’ எனச் சாஅய், சிறு புறம் கவையினனாக, உறு பெயல் தண் துளிக்கு ஏற்ற பல உழு செஞ் செய் மண் போல் நெகிழ்ந்து, அவற் கலுழ்ந்தே நெஞ்சு 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 love life as a consequence. From another angle, the verse also throws light on the truth of how the heart seems to have a logic of its own and would many a time not bend to the do’s and dont’s of the head! Situations may vary, time and place may change, but such tussles between the head and the heart do continue on and on, in human lives!…

Sangam Lit

1
Aganaanooru 25 – He’ll be back 6:07

22 weeks temu6:07

6:07

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 துறைத் தண் கயம் நண்ணிய பொழில்தொறும், காஞ்சிப் பைந் தாது அணிந்த போது மலி எக்கர், வதுவை நாற்றம் புதுவது கஞல, மா நனை கொழுதிய மணி நிற இருங் குயில் படு நா விளி யானடுநின்று, அல்கலும் உரைப்ப போல, ஊழ் கொள்பு கூவ, இனச் சிதர் உகுத்த இலவத்துஆங்கண், சினைப் பூங் கோங்கின் நுண் தாது பகர்நர் பவளச் செப்பில் பொன் சொரிந்தன்ன, இகழுநர் இகழா இள நாள் அமையம் செய்தோர் மன்ற குறி” என, நீ நின் பைதல் உண்கண் பனி வார்பு உறைப்ப, வாராமையின் புலந்த நெஞ்சமொடு, நோவல், குறுமகள்! நோயியர், என் உயிர்!” என, மெல்லிய இனிய கூறி, வல்லே வருவர், வாழி தோழி! பொருநர் செல் சமம் கடந்த வில் கெழு தடக் கைப் பொதியிற் செல்வன், பொலந்தேர்த் திதியன், இன் இசை இயத்தின் கறங்கும் கல்மிசை 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!…

Sangam Lit

1
Aganaanooru 24 – Here and there 4:45

23 weeks temu4:45

4:45

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 துமித்த வளை களைந்து ஒழிந்த கொழுந்தின் அன்ன, தளை பிணி அவிழா, சுரி முகப் பகன்றை, சிதரல் அம் துவலை தூவலின், மலரும் தைஇ நின்ற தண் பெயல் கடைநாள், வயங்கு கதிர் கரந்த வாடை வைகறை, விசும்பு உரிவதுபோல், வியல் இடத்து ஒழுகி, மங்குல் மா மழை, தென் புலம் படரும் பனி 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!…

Sangam Lit

1
Aganaanooru 23 – Isn’t it time? 5:06

23 weeks temu5:06

5:06

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 நனை நெருங்கு குலைப் பிடவமொடு ஒருங்கு பிணி அவிழ, காடே கம்மென்றன்றே; அவல, கோடு உடைந்தன்ன கோடற் பைம் பயிர், பதவின் பாவை முனைஇ, மதவு நடை அண்ணல் இரலை அமர் பிணை தழீஇ, தண் அறல் பருகித் தாழ்ந்துபட்டனவே; அனையகொல் வாழி, தோழி! மனைய தாழ்வின் நொச்சி, சூழ்வன மலரும் மௌவல் 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!…

Sangam Lit

1
Aganaanooru 22 – Ritual and Rationale 6:34

23 weeks temu6:34

6:34

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 இழிதரும் கணம் கொள் அருவிக் கான் கெழு நாடன் மணம் கமழ் வியல் மார்பு அணங்கிய செல்லல் இது என அறியா மறுவரற் பொழுதில், ”படியோர்த் தேய்த்த பல் புகழ்த் தடக் கை நெடு 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 ததைந்த சாரற் பல் பூ வண்டு படச் சூடி, களிற்று இரை தெரீஇய பார்வல் ஒதுக்கின் ஒளித்து இயங்கும் மரபின் வயப் புலி போல, நல் மனை நெடு நகர்க் காவலர் அறியாமை தன் நசை உள்ளத்து நம் நசை வாய்ப்ப, இன் உயிர் குழைய முயங்குதொறும் மெய்ம் மலிந்து, நக்கனென் அல்லெனோ யானே எய்த்த நோய் தணி காதலர் வர, ஈண்டு ஏதில் 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!…

Sangam Lit

1
Aganaanooru 21 – A nudge to a falling heart 8:30

23 weeks temu8:30

8:30

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 முகைத் துணை நிரைத்தன்ன, மா வீழ், வெண் பல், அவ் வயிற்று, அகன்ற அல்குல், தைஇத் தாழ் மென் கூந்தல், தட மென் பணைத் தோள், மடந்தை மாண் நலம் புலம்ப, சேய் நாட்டுச் செல்லல்’ என்று, யான் சொல்லவும், ஒல்லாய், வினை நயந்து அமைந்தனைஆயின், மனை நகப் பல் வேறு வெறுக்கை தருகம் வல்லே, எழு இனி, வாழி, என் நெஞ்சே! …………………………………………………புரி இணர் மெல் அவிழ் அம் சினை புலம்ப, வல்லோன் கோடு அறை கொம்பின் வீ உகத் தீண்டி, மராஅம் அலைத்த மண வாய்த் தென்றல், சுரம் செல் மள்ளர் சுரியல் தூற்றும், என்றூழ் நின்ற புன் தலை வைப்பில், பருந்து இளைப்படூஉம் பாறு தலை ஓமை இருங் கல் விடரகத்து, ஈன்று இளைப்பட்ட, மென் புனிற்று அம் பிணவு பசித்தென, பைங் கட் செந்நாய் ஏற்றை கேழல் தாக்க, இரியற் பிணவல் தீண்டலின், பரீஇச் செங் காய் உதிர்ந்த பைங் குலை ஈந்தின் பரல் மண் சுவல முரண் நிலம் உடைத்த வல் வாய்க் கணிச்சி, கூழ் ஆர் கோவலர் ஊறாது இட்ட உவலைக் கூவல், வெண் கோடு நயந்த அன்பு இல் கானவர் இகழ்ந்து இயங்கு இயவின் அகழ்ந்த குழி செத்து, இருங் களிற்று இன நிரை, தூர்க்கும் பெருங் 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 luck at digging up a well, and after a while, seeing no success, they abandon those pits, covering them with leaves. These pits are spotted by astute elephants traversing that path, and these wise animals think those are traps laid by cruel foresters, who seek their tusks, and together they cover up those pits with mud and stones! The man thus concludes with this vivid sketch of the various elements of the drylands, through which he and his heart have to pass through. In this description of the drylands, I could perceive the repeated theme of falling. Flowers fall down; date fruits, pushed by the female boar, drop down and scatter; and elephants, fear falling down the imagined traps and take steps to avert the situation. To me, this seemed to project the man’s perception of how his own heart was falling down in despair, missing his beloved. This was the man’s attempt to pull his heart back on its feet and get moving! Such a situation is not something confined to the ancient past. Even in our endeavours today, we often find our hearts flagging midway and like this ancient Sangam man, all we have to do is recollect our ‘why’, the reason we chose to begin this journey, and then, find the cheer to keep going, all the way to that ‘why’!…

Sangam Lit

1
Aganaanooru 20 – From Freedom to Confinement 6:10

23 weeks temu6:10

6:10

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 தந்த கொழு மீன் உணங்கல் படுபுள் ஓப்பி, எக்கர்ப் புன்னை இன் நிழல் அசைஇ செக்கர் ஞெண்டின் குண்டு அளை கெண்டி, ஞாழல் ஓங்கு சினைத் தொடுத்த கொடுங்கழித் தாழை வீழ் கயிற்று ஊசல் தூங்கிக் கொண்டல் இடு மணல் குரவை முனையின் வெண்தலைப் புணரி ஆயமொடு ஆடி, மணிப்பூம் பைந்தழை தைஇ, அணித்தகப் பல் பூங்கானல் அல்கினம் வருதல் கவ்வை நல் அணங்கு உற்ற இவ்வூர் கொடிது அறி பெண்டிர் சொல் கொண்டு, அன்னை கடி கொண்டனளே தோழி, பெருந்துறை எல்லையும் இரவும் என்னாது, கல்லென வலவன் ஆய்ந்த வண் பரி நிலவு 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!…

Sangam Lit

1
Aganaanooru 19 – Return to her fold 4:48

23 weeks temu4:48

4:48

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 நனி வருந்தினை வாழி, என் நெஞ்சே! பருந்து இருந்து உயா விளி பயிற்றும், யா உயர், நனந்தலை, உருள் துடி மகுளியின் பொருள் தெரிந்து இசைக்கும் கடுங் குரற் குடிஞைய நெடும் பெருங் குன்றம், எம்மொடு இறத்தலும்செல்லாய்; பின் நின்று, ஒழியச் சூழ்ந்தனைஆயின், தவிராது, செல் இனி; சிறக்க, நின் உள்ளம்! வல்லே மறவல் ஓம்புமதி, எம்மே நறவின் சேயிதழ் அனைய ஆகி, குவளை மா இதழ் புரையும் மலிர் கொள் ஈர் இமை, உள்ளகம் கனல உள்ளுதொறு உலறி, பழங்கண் கொண்ட, கலிழ்ந்து வீழ், அவிர் அறல் வெய்ய உகுதர, வெரீஇ, பையென, சில் வளை சொரிந்த மெல் இறை முன்கை பூ வீ கொடியின் புல்லெனப் போகி, அடர்செய் ஆய் அகல் சுடர் துணை ஆக, இயங்காது வதிந்த நம் காதலி உயங்கு 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!…

Sangam Lit

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Aganaanooru 18 – Swimming in love’s wild river 5:30

24 weeks temu5:30

5:30

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 நீத்தம் கடுங்கண் பன்றியின் நடுங்காது துணிந்து, நாம அருந் துறைப் பேர்தந்து, யாமத்து ஈங்கும் வருபவோ? ஓங்கல் வெற்ப! ஒரு நாள் விழுமம் உறினும், வழி நாள், வாழ்குவள்அல்லள், என் தோழி; யாவதும் ஊறு இல் வழிகளும் பயில வழங்குநர் நீடு இன்று ஆக இழுக்குவர்; அதனால், உலமரல் வருத்தம் உறுதும்; எம் படப்பைக் கொடுந் தேன் இழைத்த கோடு உயர் நெடு வரை, பழம் தூங்கு நளிப்பின் காந்தள்அம் பொதும்பில், பகல் நீ வரினும் புணர்குவை அகல் மலை வாங்கு அமைக் கண் இடை கடுப்ப, யாய் ஓம்பினள் 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!…

Sangam Lit

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Aganaanooru 17 – Little feet of a delicate daughter 5:55

24 weeks temu5:55

5:55

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 என் சிறு முதுக்குறைவி சிலம்பு ஆர் சீறடி வல்லகொல் செல்லத் தாமே கல்லென ஊர் எழுந்தன்ன உரு கெழு செலவின், நீர் இல் அத்தத்து ஆர் இடை, மடுத்த, கொடுங் கோல் உமணர், பகடு தெழி தெள் விளி நெடும் பெருங் குன்றத்து இமிழ் கொள இயம்பும், கடுங் கதிர் திருகிய, வேய் பயில், பிறங்கல், பெருங் களிறு உரிஞ்சிய மண்அரை யாஅத்து அருஞ் 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 தோன்றும் மை 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!…

Sangam Lit

1
Aganaanooru 16 – Love for a child 6:07

24 weeks temu6:07

6:07

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 தாமரைத் தாதின் 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; யாவரும் காணுநர் 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 தற் கரைய, வந்து விரைவனென் கவைஇ களவு உடம்படுநரின் கவிழ்ந்து, நிலம் கிளையா, நாணி நின்றோள் நிலை கண்டு, யானும் பேணினென் அல்லெனோ மகிழ்ந! வானத்து அணங்கு அருங் கடவுள் அன்னோள் நின் மகன் 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!…

Sangam Lit

1
Aganaanooru 15 – A mother’s prayer 5:55

24 weeks temu5:55

5:55

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 கோசர் கொம்மைஅம் பசுங் காய்க் குடுமி விளைந்த பாகல் ஆர்கைப் பறைக் கட் பீலித் தோகைக் காவின் துளுநாட்டு அன்ன, வறுங் கை வம்பலர்த் தாங்கும் பண்பின் செறிந்த சேரிச் செம்மல் மூதூர், அறிந்த மாக்கட்டு ஆகுகதில்ல தோழிமாரும் யானும் புலம்ப, சூழி யானைச் சுடர்ப் பூண் நன்னன் பாழி அன்ன கடியுடை வியல் நகர்ச் செறிந்த காப்பு இகந்து, அவனொடு போகி, அத்த இருப்பை ஆர் கழல் புதுப் பூத் துய்த்த வாய, துகள் நிலம் பரக்க, கொன்றை அம் சினைக் குழற்பழம் கொழுதி, வன் கை எண்கின் வய நிரை பரக்கும் இன் துணைப் படர்ந்த கொள்கையொடு ஒராங்கு குன்ற வேயின் திரண்ட என் மென் 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!…

Sangam Lit

1
Aganaanooru 14 – Despair to Delight 7:07

24 weeks temu7:07

7:07

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 உடன் ஈயல் மூதாய் வரிப்ப, பவளமொடு மணி மிடைந்தன்ன குன்றம் கவைஇய அம் காட்டு ஆர் இடை, மடப் பிணை தழீஇ, திரி மருப்பு இரலை புல் அருந்து உகள, முல்லை வியன் புலம் பரப்பி, கோவலர் குறும் பொறை மருங்கின் நறும் பூ அயர, பதவு மேயல் அருந்து மதவு நடை நல் ஆன் வீங்கு மாண் செருத்தல், தீம் பால் பிலிற்ற, கன்று பயிர் குரல, மன்று நிறை புகுதரும் மாலையும் உள்ளார்ஆயின், காலை யாங்கு ஆகுவம்கொல்? பாண!” என்ற மனையோள் சொல் எதிர் சொல்லல்செல்லேன் செவ்வழி நல் யாழ் இசையினென், பையென, கடவுள் வாழ்த்தி, பையுள் மெய்ந் நிறுத்து, அவர் திறம் செல்வேன் கண்டனென், யானே விடு விசைக் குதிரை விலங்கு பரி முடுக, கல் பொருது இரங்கும் பல் ஆர் நேமிக் கார் 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, returning victoriously from the battlefield, riding his chariot! And thus, the mood of this verse changes from sombre to celebratory, as it traverses from the top to bottom, and ends, leaving us to imagine the ecstasy of that anxious lady, at the sight of her returning beloved!…

Sangam Lit

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Aganaanooru 13 – Wealth or Togetherness 6:28

24 weeks temu6:28

6:28

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 மலைத் தெறல் அரு மரபின் கடவுட் பேணி, குறவர் தந்த சந்தின் ஆரமும், இரு பேர் ஆரமும் எழில் பெற அணியும் திரு வீழ் மார்பின் தென்னவன் மறவன் குழியில் கொண்ட மராஅ யானை மொழியின் உணர்த்தும் சிறு வரை அல்லது வரை நிலை இன்றி இரவலர்க்கு ஈயும், வள் வாய் அம்பின், கோடைப் பொருநன் பண்ணி தைஇய பயம் கெழு வேள்வியின், விழுமிது நிகழ்வது ஆயினும் தெற்கு ஏர்பு, கழி மழை பொழிந்த பொழுது கொள் அமையத்து, சாயல் இன் துணை இவட் பிரிந்து உறையின், நோய் இன்றாக செய்பொருள் வயிற்பட மாசு இல் தூ மடி விரிந்த சேக்கை, கவவு இன்புறாமைக் கழிக வள வயல், அழல் நுதி அன்ன தோகை ஈன்ற கழனி நெல் ஈன் கவைமுதல் அலங்கல் நிரம்பு அகன் செறுவில் வரம்பு அணையாத் துயல்வர, புலம்பொடு வந்த பொழுது கொள் வாடை, இலங்கு பூங் கரும்பின் ஏர் கழை இருந்த வெண் குருகு நரல, வீசும் நுண் 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!…

Sangam Lit

1
Aganaanooru 12 – Fear not in vain 6:07

25 weeks temu6:07

6:07

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 தோற்றம் புலி செத்து, வெரீஇய புகர்முக வேழம், மழை படு சிலம்பில் கழைபட, பெயரும் நல் 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!…

Sangam Lit

1
Aganaanooru 11 – If only… 6:49

25 weeks temu6:49

6:49

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 மண்டிலம் நெருப்பு எனச் சிவந்த உருப்பு அவிர் அம் காட்டு, இலை இல மலர்ந்த முகை இல் இலவம் கலி கொள் ஆயம் மலிபு தொகுபு எடுத்த அம் சுடர் நெடுங் கொடி பொற்பத் தோன்றி, கயம் துகள் ஆகிய பயம் தபு கானம் எம்மொடு கழிந்தனர்ஆயின், கம்மென, வம்பு விரித்தன்ன பொங்கு மணற் கான் யாற்றுப் படு சினை தாழ்ந்த பயில் இணர் எக்கர், மெய் புகுவு அன்ன கை கவர் முயக்கம் அவரும் பெறுகுவர்மன்னே, நயவர, நீர் வார் நிகர் மலர் கடுப்ப, ஓ மறந்து அறு குளம் நிறைக்குந போல, அல்கலும் அழுதல் 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?…

Sangam Lit

1
Aganaanooru 10 – Fishing in life’s seas 5:15

25 weeks temu5:15

5:15

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, நன்றும் அரிது உற்றனையால் பெரும! உரிதினின் கொண்டு ஆங்குப் பெயர்தல்வேண்டும் கொண்டலொடு குரூஉத் திரைப் புணரி உடைதரும் எக்கர்ப் பழந் திமில் கொன்ற புது வலைப் பரதவர் மோட்டு மணல் அடைகரைக் கோட்டுமீன் கெண்டி, மணம் கமழ் பாக்கத்துப் பகுக்கும் வளம் 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!…

Sangam Lit

1
Aganaanooru 9 – Home is where the heart is 7:02

25 weeks temu7:02

7:02

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 பெய்த அப்பு நுனை ஏய்ப்ப அரும்பிய இருப்பை, செப்பு அடர் அன்ன செங் குழை அகம்தோறு, இழுதின் அன்ன தீம் புழல் துய்வாய் உழுது காண் துளைய ஆகி, ஆர் கழல்பு, ஆலி வானின் காலொடு பாறி, துப்பின் அன்ன செங் கோட்டு இயவின், நெய்த்தோர் மீமிசை நிணத்தின் பரிக்கும் அத்தம் நண்ணிய அம் குடிச் சீறூர் கொடு நுண் ஓதி மகளிர் ஓக்கிய தொடி மாண் உலக்கைத் தூண்டு உரல் பாணி, நெடு மால் வரைய குடிஞையோடு இரட்டும் குன்று பின் ஒழியப் போகி, உரம் துரந்து, ஞாயிறு படினும், ”ஊர் சேய்த்து” எனாது, துனை பரி துரக்கும் துஞ்சாச் செலவின் எம்மினும், விரைந்து வல் எய்தி, பல் மாண் ஓங்கிய 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 தோய்ந்தன்றுகொல்லோ நாணொடு மிடைந்த கற்பின், வாள் நுதல், அம் தீம் கிளவிக் குறுமகள் மென் 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 unchecked… All echo aloud the truth that be it in the eyes of this man from two thousand years ago, speeding on his chariot, or an astronaut, zooming back to earth on her space ship, what a delicious human emotion, homecoming is!…

Sangam Lit

1
Aganaanooru 8 – Crossing the dark and dangerous 7:26

25 weeks temu7:26

7:26

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 இறுத்த குரும்பி வல்சிப் பெருங் கை ஏற்றை தூங்கு தோல் துதிய வள் உகிர் கதுவலின், பாம்பு மதன் அழியும் பானாட் கங்குலும், அரிய அல்லமன், இகுளை! ”பெரிய கேழல் அட்ட பேழ்வாய் ஏற்றை பலா அமல் அடுக்கம் புலாவ ஈர்க்கும் கழை நரல் சிலம்பின்ஆங்கண், வழையொடு வாழை ஓங்கிய தாழ் கண் அசும்பில், படு கடுங் களிற்றின் வருத்தம் சொலிய, பிடி படி முறுக்கிய பெரு மரப் பூசல் விண் தோய் விடரகத்து இயம்பும் அவர் நாட்டு, எண் அரும் பிறங்கல் மான் அதர் மயங்காது, மின்னு விடச் சிறிய ஒதுங்கி, மென்மெல, துளி தலைத் தலைஇய மணி ஏர் ஐம்பால் சிறுபுறம் 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 bending a tree to aid its mate out of the pit, the lady places a metaphor wondering what she and her confidante should do to help the man out of his distress of temporary and transient trysting and towards the joy of a permanent union. Fascinating how time and place and the creatures of the mountain turn a friend to the lady, and allow her to express her thoughts and wishes in a subtle but striking manner! Sangam poets yet again demonstrate their extraordinary skill of juxtaposing the mind on the wild!…

Sangam Lit

1
Aganaanooru 7 – A doe in the drylands 5:40

25 weeks temu5:40

5:40

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 சிலை ஏறுடை இனத்த, நாறு உயிர் நவ்வி! வலை காண் பிணையின் போகி, ஈங்கு ஓர் தொலைவு இல் வெள் வேல் விடலையொடு, என் மகள் இச் சுரம் படர்தந்தோளே. ஆயிடை, அத்தக் கள்வர் ஆ தொழு அறுத்தென, பிற்படு பூசலின் வழிவழி ஓடி, மெய்த் தலைப்படுதல்செல்லேன்; இத் தலை, நின்னொடு வினவல் கேளாய்! பொன்னொடு புலிப் பல் கோத்த புலம்பு மணித் தாலி, ஒலிக் குழைச் செயலை உடை மாண் அல்குல், ஆய் சுளைப் பலவின் மேய் கலை உதிர்த்த துய்த் தலை வெண் காழ் பெறூஉம் கல் 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!…

Sangam Lit

1
Aganaanooru 6 – Mock not my age 7:48

26 weeks temu7:48

7:48

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 ஆங்கண் கழை நிலை பெறாஅக் காவிரி நீத்தம், குழை மாண் ஒள் இழை நீ வெய்யோளொடு, வேழ வெண் புணை தழீஇ, பூழியர் கயம் 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, எம் முதுமை 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 எம் இளமை 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 amidst the cane bushes, in a metaphor for how the man seemed to be enjoying the graces of other women, and then wanting to retire to his own home! After rendering this hidden reprimand, the lady finishes saying to the man that his false words of praise were of no use, because she knows who she is! Though it’s yet again the tussles of the farmlands filled with quarrels about courtesans, the striking elements here are self-knowledge and self-confidence. In that difficult moment, when the lady has been insulted by the man’s choice of a younger woman, she accepts what time has done to her own youth and beauty, and refuses to be swayed by false praises. Soaring tall before our eyes, the words of this Sangam lady echo a reverberating truth from those ancient skies that the most beautiful thing in a woman is her confidence!…

Sangam Lit

1
Aganaanooru 5 – The mere thought of parting 7:51

26 weeks temu7:51

7:51

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 தோன்ற வறிது 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 கானம் இறப்ப எண்ணுதிர் ஆயின் “அறத்தாறு அன்று” என மொழிந்த தொன்றுபடு கிளவி அன்ன ஆக” என்னுநள் போல, முன்னம் காட்டி, முகத்தின் உரையா, ஓவச் செய்தியின் ஒன்று நினைந்து ஒற்றி, பாவை மாய்த்த பனிநீர் நோக்கமொடு, ஆகத்து ஒடுக்கிய புதல்வன் புன் தலைத் தூ நீர் பயந்த துணை அமை பிணையல் மோயினள் உயிர்த்த காலை, மா மலர் மணி உரு இழந்த அணி அழி தோற்றம் கண்டே கடிந்தனம், செலவே ஒண்டொடி உழையம் ஆகவும் இனைவோள் பிழையலள்மாதோ, 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 decides that he is not going to part away from the lady for if she suffers so much right when he’s near her, how will she be able to even bear a moment of actual separation! The verse was a stunning instance of observation of micro-expressions and the inference of the momentous thoughts of the mind. What’s amazing to me is that the ancients seemed to have had so much time to delve so deeply into the nuances of the mind and its expressions! The way we sometimes fake a smile when sadness abounds inside, become unresponsive to the world outside and obsess over some event that is going to transpire, is all reflected so accurately in this verse from two thousand years ago, echoing the timelessness of emotions. A verse which shows us that indeed, true masters of the heart, our Sangam ancestors are!…

Sangam Lit

1
Aganaanooru 4 – Blooming in the rains 6:07

26 weeks temu6:07

6:07

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, இல்லமொடு பைங் 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 வதிந்த தாது உண் பறவை பேதுறல் அஞ்சி, மணி நா ஆர்த்த மாண் வினைத் தேரன், கறங்கு இசை விழவின் உறந்தைக் குணாது, நெடும் பெருங் குன்றத்து அமன்ற காந்தட் போது அவிழ் அலரின் நாறும் ஆய் 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!…

Sangam Lit

1
Aganaanooru 3 – To part or not to part 7:01

26 weeks temu7:01

7:01

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 அன்ன கருங் கால் ஓமைக் காண்பு இன் பெருஞ் சினைக் கடியுடை நனந்தலை, ஈன்று இளைப்பட்ட, கொடு வாய்ப் பேடைக்கு அல்குஇரை தரீஇய, மான்று வேட்டு எழுந்த செஞ் செவி எருவை வான் 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 கவரும் புல் இலை மராஅத்த அகன் சேண் அத்தம், கலம் தரல் உள்ளமொடு கழியக் காட்டி, பின் நின்று துரக்கும் நெஞ்சம்! நின் வாய் வாய்போல் பொய்ம்மொழி எவ்வம் என் களைமா கவிர் இதழ் அன்ன காண்பு இன் செவ் வாய், அம் தீம் கிளவி, ஆய் இழை, மடந்தை கொடுங் குழைக்கு அமர்த்த நோக்கம் நெடுஞ் 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 her behind and parted away. To some extent, balance is restored by verses like this one, wherein men too feel the pain in parting and express to the world that love is not just a one-way path through those dreary but dramatic drylands!…

Sangam Lit

1
Aganaanooru 2 – Sweet nectar and sleeping monkey 7:07

26 weeks temu7:07

7:07

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 குலை ஊழுறு தீம் கனி, உண்ணுநர்த் தடுத்த சாரற் பலவின் சுளையொடு, ஊழ் படு பாறை நெடுஞ் சுனை, விளைந்த தேறல் அறியாது உண்ட கடுவன் அயலது கறி வளர் சாந்தம் ஏறல்செல்லாது, நறு வீ அடுக்கத்து மகிழ்ந்து கண்படுக்கும் குறியா இன்பம், எளிதின், நின் மலைப் பல் வேறு விலங்கும் எய்தும் நாட! குறித்த இன்பம் நினக்கு எவன் அரிய? வெறுத்த ஏஎர், வேய் புரை பணைத் தோள், நிறுப்ப நில்லா நெஞ்சமொடு நின்மாட்டு, இவளும், இனையள்ஆயின், தந்தை அருங் கடிக் காவலர் சோர் பதன் ஒற்றி, கங்குல் வருதலும் உரியை; பைம் புதல் வேங்கையும் 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 a timeless treasure for our senses to savour!…

Sangam Lit

1
Aganaanooru 1 – A promise to never part 8:10

26 weeks temu8:10

8:10

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 ஓட்டிய முருகன் நற் போர் நெடு வேள் ஆவி, அறுகோட்டு யானைப் பொதினி ஆங்கண், சிறு காரோடன் பயினொடு சேர்த்திய கல் போல் பிரியலம்” என்ற சொல்தாம் மறந்தனர்கொல்லோ தோழி! சிறந்த வேய் மருள் பணைத் தோள் நெகிழ, சேய் நாட்டுப் பொலங்கல 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; யாவரும் வழங்குநர் இன்மையின், வௌவுநர் மடிய, சுரம் புல்லென்ற ஆற்ற; அலங்கு சினை நார் இல் முருங்கை நவிரல் வான் பூச் சூரல்அம் கடு வளி எடுப்ப, ஆருற்று, உடை திரைப் பிதிர்வின் பொங்கி, முன் கடல் 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 turns into an omelette, saying that’s how the weather’s now, in the Middle East. Not sure if that’s an exaggeration, or a true thing, but in any case, we have often talked about how we can make fried eggs on car bonnets in the summer, so hot that it is! The voice of this lady from our ancient past echoes the same thought, talking about how any wild paddy would become so fried that it would turn into puffed rice, like corn becoming popcorn! Returning from our food tour, we find the lady turning her attention to the pitiable state of the fearsome highway robbers, who have no one to rob in that dull and abandoned drylands. Next, she talks about the white flowers of a drumstick tree that have fallen down in hordes, pushed by a hot, harsh wind. The image of these fallen flowers, the lady compares to the foam of waves on an ocean shore, thereby transporting us to an entirely different domain, before bringing us back, and ending with the words that such is the severe nature of the place her man has parted away to! And thus, in this simple song talking about the promise of togetherness, we are left with little treasures like the existence of a whetstone industry, and the effect of the scorching sun on the land in that ancient place and time – Elements that we can identify with, even today!…

Sangam Lit

1
Kalithogai 150 – A promise to return 9:29

42 weeks temu9:29

9:29

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 தெரியலான் இயங்கு எயில் எயப் பிறந்த எரி போல, எவ்வாயும், கனை கதிர் தெறுதலின், கடுத்து எழுந்த காம்புத் தீ மலை பரந்து தலைக் கொண்டு முழங்கிய முழங்கு அழல் மயங்கு அதர் மறுகலின், மலை தலைக் கொண்டென, விசும்பு உற நிவந்து அழலும், விலங்கு அரு, வெஞ் சுரம் இறந்து தாம் எண்ணிய எய்துதல் வேட்கையால், அறம் துறந்து ஆயிழாய்! ஆக்கத்தில் பிரிந்தவர் பிறங்கு நீர் சடைக் கரந்தான் அணி அன்ன நின் நிறம் பசந்து, நீ இனையையாய், நீத்தலும் நீப்பவோ? கரி காய்ந்த கவலைத்தாய், கல் காய்ந்த காட்டகம், ‘வெரு வந்த ஆறு’ என்னார், விழுப் பொருட்கு அகன்றவர், உருவ ஏற்று ஊர்தியான் ஒள் அணி நக்கன்ன, நின் உரு 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, நின் கதுப்பு உலறும் கவினையாய், காண்டலும் காண்பவோ? ஆங்கு அரும் பெறல் ஆதிரையான் அணி பெற மலர்ந்த பெருந் தண் சண்பகம் போல, ஒருங்கு அவர் பொய்யார் ஆகுதல் தெளிந்தனம் மை 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 not named as such, interpreters have identified this God, owing to the references of holding a river in the locks of his hair, riding a bull and wearing a crescent moon on his head. After that divine tribute to the beauty of the lady, the confidante now points to the golden champak flowers, referring to how these flowers always bloom without fail. The flowers are once again connected to God Siva, said to bloom, so as to adorn this god, who is also described as On,e ruling over the Orion star. The unfailing flowering of those champak flowers, the confidante connects back to the man’s nature of upholding his promises, and concludes asking her friend, the maiden with beautiful tresses and soft words, to see this truth about her beloved and find peace. Although most of the elements of this verse point in the direction of the drylands or ‘Paalai’ region, perhaps because it has the quality of a lady’s lament, this verse has been added to the ‘Neythal’ or ‘Coastal landscape’. With this verse, we come to the end of this domain, which seemed to predominantly focus on the pain of a lady separated from her beloved and a few instances of the ‘Madal eruthal’ or ‘Riding a palm horse’ strategy employed by a man to win over his maiden. This is not only the last verse of the ‘Neythal ‘domain but also the last verse of this Kalithogai anthology of poems. Interesting how the stanzas of this verse make a reference to god to talk about the beauty of a woman or the promise of a man. This to me, echoes the profound truth that if we want to see god, we can see it in the best of what makes us, and to do that, all we need are the eyes of love!…

Sangam Lit

1
Kalithogai 149 – Past promises and present duties 5:34

42 weeks temu5:34

5:34

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 விச்சைக்கண் தப்பித்தான் பொருளேபோல், தமியவே தேயுமால், ஒற்கத்துள் உதவியார்க்கு உதவாதான்; மற்று அவன் எச்சத்துள் ஆயினும், அஃது எறியாது விடாதே காண் கேளிர்கள் நெஞ்சு அழுங்கக் கெழுவுற்ற செல்வங்கள் தாள் இலான் குடியே போல், தமியவே தேயுமால், சூள் வாய்த்த மனத்தவன் வினை பொய்ப்பின்; மற்று அவன் வாள் வாய் நன்று ஆயினும், அஃது எறியாது விடாதே காண் ஆங்கு அனைத்து, இனி பெரும! அதன் நிலை நினைத்துக் காண்: சினைஇய வேந்தன் எயிற்புறத்து இறுத்த வினை 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!…

Sangam Lit

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Kalithogai 148 – Dusk and Dawn 5:46

42 weeks temu5:46

5:46

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 நீ இன்புற்றார்க்கு இறைச்சியாய் இயைவதோ செய்தாய்மன்; அன்புற்றார் அழ, நீத்த அல்லலுள், கலங்கிய துன்புற்றார்த் துயர் செய்தல் தக்கதோ, நினக்கு? மாலை நீ கலந்தவர் காமத்தைக் கனற்றலோ செய்தாய்மன்; நலம் கொண்டு நல்காதார் நனி நீத்த புலம்பின்கண் அலந்தவர்க்கு அணங்கு ஆதல் தக்கதோ, நினக்கு? மாலை நீ எம் கேள்வற் தருதலும் தருகல்லாய்; துணை அல்லை; பிரிந்தவர்க்கு நோய் ஆகி, புணர்ந்தவர்க்குப் புணை ஆகி, திருந்தாத செயின் அல்லால் இல்லையோ, நினக்கு? என ஆங்கு ஆய் இழை மடவரல் அவலம் அகல, பாய் இருட் பரப்பினைப் பகல் களைந்தது போல, போய் அவர் மண் வௌவி வந்தனர் சேய் 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!…

Sangam Lit

1
Kalithogai 147 – Raving and Recovering 13:05

42 weeks temu13:05

13:05

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, காமம் வேறு ஒரு பாற்று ஆனதுகொல்லோ? சீறடிச் சிலம்பு ஆர்ப்ப, இயலியாள் இவள் மன்னோ, இனி மன்னும் புலம்பு ஊரப் புல்லென்ற வனப்பினாள் விலங்கு ஆக, வேல் நுதி உற நோக்கி, வெயில் உற, உருகும் தன் தோள் நலம் உண்டானைக் கெடுத்தாள் போல், தெருவில் பட்டு, ஊண் யாதும் இலள் ஆகி, உயிரினும் சிறந்த தன் நாண் யாதும் இலள் ஆகி, நகுதலும் நகூஉம்; ஆங்கே பெண்மையும் இலள் ஆகி அழுதலும் அழூஉம்: தோழி! ஓர் ஒண்ணுதல் உற்றது உழைச் சென்று கேளாமோ? தலைவி: இவர் யாவர் ஏமுற்றார் கண்டீரோ? ஓஒ! அமையும் தவறிலீர் மற்கொலோ நகையின் மிக்கதன் காமமும் ஒன்று என்ப; அம் மா புது நலம் பூ வாடியற்று, தாம் வீழ்வார் மதி மருள நீத்தக்கடை என்னையே மூசி, கதுமென நோக்கன்மின் வந்து கலைஇய கண், புருவம், தோள், நுசுப்பு, ஏஎர் சில மழைபோல் தாழ்ந்து இருண்ட கூந்தல், அவற்றை விலை வளம் மாற அறியாது, ஒருவன் வலை அகப்பட்டது என் நெஞ்சு வாழிய, கேளிர்! பலவும் சூள் தேற்றித் தெளித்தவன் என்னை முலையிடை வாங்கி முயங்கினன், நீத்த கொலைவனைக் காணேன்கொல், யான்? காணினும், என்னை அறிதிர்; கதிர் பற்றி, ஆங்கு எதிர் நோக்குவன் ஞாயிறே! எம் கேள்வன் யாங்கு உளன் ஆயினும் காட்டீமோ? காட்டாயேல், வானத்து எவன் செய்தி, நீ? ஆர் இருள் நீக்கும் விசும்பின் மதி போல, நீருள்ளும் தோன்றுதி, ஞாயிறே! அவ் வழித் தேரை தினப்படல் ஓம்பு நல்கா ஒருவனை நாடி யான் கொள்வனை, பல் கதிர் சாம்பிப் பகல் ஒழிய, பட்டீமோ செல் கதிர் ஞாயிறே! நீ அறாஅல் இன்று அரி முன்கைக் கொட்கும் பறாஅப் பருந்தின்கண் பற்றிப் புணர்ந்தான் கறாஅ எருமைய காடு இறந்தான்கொல்லோ? உறாஅத் தகை செய்து, இவ் ஊர் உள்ளான்கொல்லோ? செறாஅது உளனாயின், கொள்வேன்; அவனைப் பெறாஅது யான் நோவேன்; அவனை எற் காட்டிச் சுறாஅக் கொடியான் கொடுமையை, நீயும், உறாஅ அரைச! நின் ஓலைக்கண் கொண்டீ, மறாஅ அரைச! நின் மாலையும் வந்தன்று; அறாஅ தணிக, இந் நோய் தன் நெஞ்சு ஒருவற்கு இனைவித்தல், யாவர்க்கும் அன்னவோ காம! நின் அம்பு? கையாறு செய்தானைக் காணின், கலுழ் கண்ணால் பையென நோக்குவேன்; தாழ் தானை பற்றுவேன்; ஐயம் கொண்டு, என்னை அறியான் விடுவானேல் ஒய்யெனப் பூசல் இடுவேன்மன், யான் அவனை மெய்யாகக் கள்வனோ என்று வினவன்மின் ஊரவிர்! என்னை, எஞ்ஞான்றும் மடாஅ நறவு உண்டார் போல, மருள விடாஅது உயிரொடு கூடிற்று என் உண்கண் படாஅமை செய்தான் தொடர்பு கனவினான் காணிய, கண் படாஆயின், நனவினான், ஞாயிறே! காட்டாய் நீஆயின், பனை ஈன்ற மா ஊர்ந்து, அவன் வர, காமன் கணை இரப்பேன், கால் புல்லிக்கொண்டு கண்டோர்: என ஆங்கு, கண் இனைபு, கலுழ்பு ஏங்கினள்; தோள் ஞெகிழ்பு, வளை நெகிழ்ந்தனள்; அன்னையோ! எல்லீரும் காண்மின்; மடவரல் மெல் நடைப் பேடை துனைதர, தற் சேர்ந்த அன்ன வான் சேவல் புணர்ச்சிபோல், ஒண்ணுதல் காதலன் மன்ற அவனை வரக் கண்டு, ஆங்கு ஆழ் துயரம் எல்லாம் மறந்தனள், பேதை நகை 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 drylands’ jungle, where buffaloes that have never been milked rove? Or is he doing the wrong thing and still remains in this town? Even if he is there, I will accept him without anger; Without him by my side, I wallow in sorrow! O unfaltering king, won’t you write in that palm script of yours, the cruelty of the One with a shark flag, who showed my man to me, and punish him? O unfailing king! The evening has come in your very image! Won’t you make my unceasing disease abate? O God of love! Does your arrow pierce everyone and make them lose their hearts to another? If I were to see the one, who has left me in helplessness, with tear-filled eyes, I shall look at him gently; I will clutch his hanging attire. If he tries to walk away, filled with doubts, I shall shout uproariously, declaring he is the thief, who stole away my form! O townspeople! Question me no more! The relationship that arose because of the one, who looked into my kohl-streaked eyes, has made my life shiver and left me confused, akin to the state of those who are drinking toddy from a huge pot all the time! Whatever I have seen in my dream, if you don’t bring before my eyes, O sun! I will fall at the feet of the God of love, and beg him to wield his bow, so that my man would come riding a palmyra horse! Onlookers: And so, she yearned, with tears brimming in her eyes, with arms thinning away, and bangles slipping away! See the plight of that maiden, everyone! And then, akin to how the white swan unites with its naive mate with a gentle gait, the maiden with a glowing forehead, seeing her beloved come thither, forgot her deep sorrow, let go of her delirious laughter, with her modesty shining on her form, bent her head, and that esteemed woman of beauty united with the handsome chest of her man, with a smile!” Time to delve into the nuances. The verse is situated in the context of a man’s parting from a lady, prior to marriage, and here, the lady and the onlookers express the emotions in the situation. As custom, the onlookers begin by wondering whether love has changed its nature to make someone attain the state of those, who are intoxicated and not in their senses, speaking wrong words and doing inappropriate things! They make this comment because of the appearance and actions of the lady, who has lost her beauty, and laughs and cries for no reason. They decide to enquire to the lady and seeing them approach, the lady tries to justify her actions as a valid expression of love, stating this is what happens, when people love someone and part away, like a bee bidding bye to the flower on which it fed nectar! She describes how her heart was caught in the man’s net and now he has left away. She turns to make a plea to the sun, asking the life-giving orb to search for the man with its many rays, adding that if the sun were to say no to her request, then there was no use in the sun being up there. Interestingly, she also mocks the sun, saying that on the surface of water, the sun looks like the moon and asks it to beware, for otherwise the toad there might gobble it up! After all this delirious talk with the sun, the lady reminisces about how the man had held on to her forearm and stayed there for long, like an eagle that perches without flying away. She wonders whether the man has left to some far away place, filled with wild buffaloes, or whether he was in the same town, and was doing her the disservice of not seeing her. Even so, it’s okay, she says, and adds she will accept him without any display of fury. Then the lady complains about the god of love to the god of death. This is because it was the gold of love, who showed the man to her, and made her fall in love with him. She asks the god of death to punish the god of love for this act. She concludes by saying how the god of death has come in the form of evening. She talks about how if she sees the man in her dreams, she will hold on to him, and if at all, he walks away, she would shout for all to know that he was the thief, who stole her health and beauty. She turns to the townsfolk and asks them not to question her anymore, echoing their earlier thought about those who get sloshed saying that the man had left her in the state of the inebriated. The lady concludes by saying that she would beg the God of love and ask him to make the man come riding to her, at least on a palmyra horse! The onlookers remark on her pitiable state and then conclude by talking about how when the man arrived, the lady forgot her sorrow, gave up her mad laughter and with her old modesty returning, bent her head, and went gently near the man and embraced his chest, with the flower of a smile blooming on her face! The theme that echoes from this verse is the parallel between love and intoxication. Today’s scientists concur that love is indeed like a drug and produces all the same effects of being addicted and inebriated. Fascinating how poetry from two thousand years ago shakes hands with the science of the current era, echoing the truth that those, who see with the heart, see it first and see it best!…

Sangam Lit

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Kalithogai 146 – Suffering and Soaring 9:11

42 weeks temu9:11

9:11

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 நிலையே வரை நில்லா விழுமம் உறீஇ, நடுக்கு உரைத்து, தெறல் மாலை அரைசினும் அன்பு இன்றாம், காமம்; புரை தீர, அன்ன மென் சேக்கையுள் ஆராது, அளித்தவன் துன்னி 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; ஆயிழை கூறுப கேளாமோ, சென்று? தலைவி: ‘எல்லிழாய்! எற்றி வரைந்தானை, நாணும் மறந்தாள்’ என்று, உற்றனிர் போல வினவுதிர்! மற்று இது கேட்டீமின், எல்லீரும் வந்து வறம் தெற மாற்றிய வானமும் போலும்; நிறைந்து என்னை மாய்ப்பது ஓர் வெள்ளமும் போலும் சிறந்தவன் தூ அற நீப்ப, பிறங்கி வந்து, என்மேல் நிலைஇய நோய் ‘நக்கு நலனும் இழந்தாள், இவள்’ என்னும் தக்கவிர் போலும்! இழந்திலேன்மன்னோ மிக்க என் நாணும், நலனும், என் உள்ளமும், அக் கால் அவனுழை ஆங்கே ஒழிந்தன! உக் காண் இஃதோ உடம்பு உயிர்க்கு ஊற்றாக, செக்கர் அம் புள்ளித் திகிரி அலவனொடு, யான் நக்கது, பல் மாண் நினைந்து கரை காணா நோயுள் அழுந்தாதவனைப் புரை தவக் கூறி, கொடுமை நுவல்வீர்! வரைபவன் என்னின் அகலான் அவனை, திரை தரும் முந்நீர் வளாஅகம் எல்லாம், நிரை கதிர் ஞாயிற்றை, நாடு என்றேன்; யானும் உரை கேட்புழி எல்லாம் செல்வேன்; புரை தீர்ந்தான் யாண்டு ஒளிப்பான்கொல்லோ மற்று? மருள் கூர் பிணை போல் மயங்க, வெந் நோய் செய்யும் மாலையும் வந்து, மயங்கி, எரி நுதி யாமம் தலை வந்தன்றுஆயின், அதற்கு என் நோய் பாடுவேன், பல்லாருள் சென்று யான் உற்ற எவ்வம் உரைப்பின், பலர்த் துயிற்றும் யாமம்! நீ துஞ்சலைமன் எதிர்கொள்ளும் ஞாலம், துயில் ஆராது ஆங்கண் முதிர்பு என்மேல் முற்றிய வெந் நோய் உரைப்பின், கதிர்கள் மழுங்கி, மதியும் அதிர்வது போல் ஓடிச் சுழல்வதுமன் பேர் ஊர் மறுகில் பெருந் துயிற் சான்றீரே! நீரைச் செறுத்து, நிறைவுற ஓம்புமின் கார் தலைக்கொண்டு பொழியினும், தீர்வது போலாது, என் மெய்க் கனலும் நோய் இருப்பினும் நெஞ்சம் கனலும்; செலினே, வருத்துறும் யாக்கை; வருந்துதல் ஆற்றேன்; அருப்பம் உடைத்து, என்னுள் எவ்வம் பொருத்தி, பொறி செய் புனை பாவை போல, வறிது உயங்கிச் செல்வேன், விழுமம் உழந்து கண்டோர்: என ஆங்குப் பாட, அருள் உற்று, வறம் கூர் வானத்து வள் உறைக்கு அலமரும் புள்ளிற்கு அது பொழிந்தாஅங்கு, மற்றுத் தன் நல் 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 makes me akin to a well-made doll that lies broken, leaving me to wallow in distress! Onlookers: And as she sang so, with grace, akin to how the skies that had parched the earth, pour down to end the suffering of a singing bird, when she embraced the handsome chest of her man, the sorrow of that maiden, wearing fine jewels, came to an end!” 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 convey the feelings and thoughts in this situation. The onlookers start by remarking on the extreme nature of love that can be even more cruel than an unkind king, who is harsh to those who have been the very reason for his fame. They talk about the lady’s state, as she cries endlessly and waits sighing for the man on the chariot path. The lady seeing them explains her state as both a parched land that the skies have abandoned and a flood that overpowers her. She clarifies to them who think that her beauty is gone forever saying it has only left with the man. She echoes her state of confusion as she thinks of her past moments with the man and smiles and how seeing that people around rebuke the man for what he has done. Placing her trust in the man, the lady says that the man will not never abandon her and remarks how she has bid the sun to search everywhere for the man. She declares she’ll go wherever she hears he’s been to and so, he has nowhere to hide. Then, the pain of the evening and the night is expressed and the lady says how if she were to tell her pain to the night, the night would lose its sleep, and if she were to tell it to the moon, it would tremble, swirl and run away. The lady asks the town elders to submerge her in water for even if it pour downs, that would not be enough to end the burning of her affliction. She concludes by talking about how she lies like a broken puppet, because of the man’s parting. The onlookers get back on stage and conclude with the simile of a skylark singing for the rain and how the rains heed its message and pour down on the parched land, to talk about how the man came and ended the lady’s sorrow! Yet again, the lady cries and suffers, and in the end, the man solves her troubles. The sound of the skylark’s song and the drops of rain falling on the waiting earth are the elements that make this verse different and delightful!…

Sangam Lit

1
Kalithogai 145 – Seeking and Saving 12:10

43 weeks temu12:10

12:10

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, கண்டார்க்கு நனவினுள் உதவாது நள்ளிருள் வேறாகும் கனவின் நிலையின்றால், காமம்; ஒருத்தி உயிர்க்கும்; உசாஅம்; உலம்வரும்; ஓவாள், கயல் புரை உண்கண் அரிப்ப அரி வார, பெயல் சேர் மதி போல, வாள் முகம் தோன்ற, பல ஒலி கூந்தலாள், பண்பு எல்லாம் துய்த்துத் துறந்தானை உள்ளி, அழூஉம்; அவனை மறந்தாள்போல் 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 ஞாலத்துள் வாழ்வார்கட்கு எல்லாம் வரும் தாழ்பு, துறந்து, தொடி நெகிழ்த்தான் போகிய கானம் இறந்து எரி நையாமல், பாஅய் முழங்கி வறந்து என்னை செய்தியோ, வானம்? சிறந்த என் கண்ணீர்க் கடலால், கனை துளி வீசாயோ, கொண்மூக் குழீஇ முகந்து? நுமக்கு எவன் போலுமோ? ஊரீர்! எமக்கும் எம் கண்பாயல் கொண்டு, உள்ளாக் காதலவன் செய்த பண்பு தர வந்த என் தொடர் நோய் வேது கொள்வது போலும், கடும் பகல்? ……………………………..ஞாயிறே! எல்லாக் கதிரும் பரப்பி, பகலொடு செல்லாது நின்றீயல் வேண்டுவல்; நீ செல்லின், புல்லென் மருள் மாலைப் போழ்து இன்று வந்து என்னைக் கொல்லாது போதல் அரிதால்; அதனொடு யான் செல்லாது நிற்றல் இலேன் ஒல்லை எம் காதலர்க் கொண்டு, கடல் ஊர்ந்து, காலைநாள், போதரின் காண்குவேன்மன்னோ பனியொடு மாலைப் பகை தாங்கி, யான்? இனியன் என்று ஓம்படுப்பல், ஞாயிறு! இனி ஒள் வளை ஓடத் துறந்து, துயர் செய்த கள்வன்பால் பட்டன்று, ஒளித்து என்னை, உள்ளி பெருங் 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 என் ஆனாப் படர் மிக்க நெஞ்சு ஊரவர்க்கு எல்லாம் பெரு நகை ஆகி, என் ஆர் உயிர் எஞ்சும்மன்; அங்கு நீ சென்றீ நிலவு உமிழ் வான் திங்காள்! ஆய் தொடி கொட்ப, அளி புறம் மாறி, அருளான் துறந்த அக் காதலன் செய்த கலக்குறு நோய்க்கு ஏதிலார் எல்லாரும் தேற்றர், மருந்து வினைக் கொண்டு என் காம நோய் நீக்கிய ஊரீர்! எனைத்தானும் எள்ளினும், எள்ளலன், கேள்வன்; நினைப்பினும், கண்ணுள்ளே தோன்றும்; அனைத்தற்கே ஏமராது, ஏமரா ஆறு கனை இருள் வானம்! கடல் முகந்து, என்மேல் உறையொடு நின்றீயல் வேண்டும், ஒருங்கே நிறை வளை கொட்பித்தான் செய்த துயரால் இறை 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 என் ஆயிழை 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 Sweet One’ too! Without me knowing, that sorrow-filled heart of mine has parted away with that thief, who caused all this sorrow in me and made my bangles slip away! At this time, when the great seas roar, the groves lament, and the blue lotus in the backwaters appears with its buds buried, the time when the white moon spreads its soft rays, I wonder if my heart, after searching the skies, the land, and all the directions, would find sleep or not, with the one I seek, the creator of my sorrow? O white moon, so radiant in the sky above! I have become the big laughing stock of the townsfolk and my life stands fading away. Won’t you go there to him as my messenger? Making the exquisite bangles fall down, turning away without kindness, without grace, he abandoned me and rendered this terrible disease in me, and no one other than you has the cure! O people of the town, won’t you at least take up the task of ending my love affliction? Even if you mock me, my beloved would never do that. Whenever I think of him, he appears within my eyes; By doing that, he keeps me from losing all my senses! O skies filled with thick darkness! Dipping from the seas, you must pour unceasingly upon me, for owing to the sorrow caused by the one, who made the neat row of bangles fall down, every space of my form burns with a fiery fire! Onlookers: And she sang so, beating upon her sorrowful heart, filled with yearning. Seeing the one, who kept asking, ‘Have you seen my beloved?’, as if the god of justice himself took pity at her pain, her man returned to her. Beholding the one, who stole her sleep and thought not about her, she ran to him and embraced him, appearing like the Goddess in the heart of the Dark-skinned One, and akin to the way darkness disperses seeing the sun, so too disappeared the sorrow of the bejewelled maiden!” Let’s delve into the core. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the onlookers and lady depict the thoughts and feelings in that moment. The onlookers open the tale by talking abstractly about those, who wish to attain greatness instantly, and they connect the suffering of these people to those in love, who only see their beloved in their dreams and not for real. From abstractions, they turn to the specific and focus on the lady, who seems to be suffering in a confused state, constantly shedding tears and then laughing aloud deliriously. When they approach the lady, she asks them not to laugh at her state and remarks how it’s natural for men to leave their beloved and then return and grace them again, and this is something happening like night and day for ever. However, the torment would feel real and would happen to everyone on earth, she says, remarking on the universality of this emotion called love. Then, the lady starts her conversation with the sky and asks it to gather moisture from the sea of her tears to pour down on the man’s path through the drylands, so that it does not scorch him so! Even in the midst of all that pain, so much love shines through. Then, she tells the townsfolk, that the burning heat of their day seems like a balm to her, shivering without her beloved by her side. Next, it’s the turn of the sun to receive a request and she asks this orb to not spend all its rays in the day and leave her to the mercy of the evening. But if at all, the sun were to promise to bring the man, when it comes crossing the seas in the morning, then she would somehow bear the hatred of the evening, and wait there, praising the sun’s sweetness! After this, she talks about how her heart had left in search of the man, forsaking her and wonders whether in this time when the seas, groves and blue lotus laments for her, at least her heart would have found sleep with her beloved, far away! Next, it’s the turn of the moon to be beckoned by the lady and she asks the moon whether it would go as her messenger, to the man, declaring nobody else has the cure for the love affliction caused by the man. Finally, leaving these silent celestials, the lady turns her attention to the people around and asks them to end her suffering, praising her man for at least appearing within her eyes, whenever she thinks of him, making sure she doesn’t go fully mad. One self-aware lady, this one, sure is! As the final request, it’s back to the sky again, asking it to drench her with a downpour, so that the burning in her form will find some calm! Next, the onlookers take the centre stage and convey the good news of how the man returned, as if the god of justice himself took pity on the lady, and when she rushed to him and held him close, she seemed to appear like the Goddess of Wealth in the heart of God Thirumal. At that moment, akin to how darkness dispels when sun appears, so too the sorrow of the maiden vaporised and vanished away, they conclude. Same story, some conclusion- Why all these repetitions? This is the constant question in my heart reading these many depictions of the same emotion. Was it like a competition to select the best one portraying the theme? Or was it to stretch the human imagination to come up with new perspectives for the same old? The mystery of the ‘why’ continues on!…

Sangam Lit

1
Kalithogai 144 – Declaring and Dispelling 14:15

43 weeks temu14:15

14:15

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 மாண் நகுதரும் தன் நாணுக் கைவிட்டு, இகுதரும் கண்ணீர் துடையா, கவிழ்ந்து, நிலன் நோக்கி, அன்ன இடும்பை பல செய்து, தன்னை வினவுவார்க்கு ஏதில சொல்லி, கனவுபோல்: தெருளும் மருளும் மயங்கி வருபவள் கூறுப கேளாமோ, சென்று? தலைவி: ‘எல்லா! நீ என் அணங்கு உற்றனை? யார் நின் இது செய்தார்? நின் உற்ற அல்லல் உரை’ என, என்னை வினவுவீர்! தெற்றெனக் கேண்மின்: ஒருவன், ‘குரற்கூந்தால்! என் உற்ற எவ்வம் நினக்கு யான் உரைப்பனைத் தங்கிற்று, என் இன் உயிர்’ என்று, மருவு ஊட்டி, மாறியதற்கொண்டு, எனக்கு மருவு உழிப் பட்டது, என் நெஞ்சு எங்கும் தெரிந்து, அது கொள்வேன், அவன் உள்வழி ‘பொங்கு இரு முந்நீர் அகம் எல்லாம் நோக்கினை திங்களுள் தோன்றி இருந்த குறு முயால்! எம் கேள் இதன் அகத்து உள்வழிக் காட்டீமோ? காட்டீயாய்ஆயின், கத நாய் கொளுவுவேன்; வேட்டுவர் உள்வழிச் செப்புவேன்; ஆட்டி மதியொடு பாம்பு மடுப்பேன் மதி திரிந்த என் அல்லல் தீராய் எனின்’ என்று, ஆங்கே, உள் நின்ற எவ்வம் உரைப்ப, மதியொடு வெண் மழை ஓடிப் புகுதி; சிறிது என்னைக் கண்ணோடினாய் போறி, நீ! நீடு இலைத் தாழைத் துவர் மணற் கானலுள் ஓடுவேன்; ஓடி ஒளிப்பேன்; பொழில்தொறும் நாடுவேன்; கள்வன் கரந்திருக்கற்பாலன்கொல்? ஆய் பூ அடும்பின் அலர்கொண்டு, உதுக் காண், எம் கோதை புனைந்த வழி உதுக் காண் சாஅய் மலர் காட்டி, சால்பிலான், யாம் ஆடும் பாவை கொண்டு ஓடியுழி உதுக் காண் தொய்யில் பொறித்த வழி உதுக் காண் ‘தையால்! தேறு’ எனத் தேற்றி, அறனில்லான் பைய முயங்கியுழி அளிய என் உள்ளத்து, உயவுத் தேர் ஊர்ந்து, விளியா நோய் செய்து, இறந்த அன்பிலவனைத் தெளிய விசும்பினும் ஞாலத்தகத்தும் வளியே! எதிர்போம் பல கதிர் ஞாயிற்று ஒளி உள்வழி எல்லாம் சென்று; முனிபு எம்மை உண்மை நலன் உண்டு ஒளித்தானைக் காட்டீமோ; காட்டாயேல், மண்ணகம் எல்லாம் ஒருங்கு சுடுவேன், என் கண்ணீர் அழலால் தெளித்து பேணான் துறந்தானை நாடும் இடம் விடாயாயின் பிறங்கு இரு முந்நீர்! வெறு மணலாகப் புறங்காலின் போக இறைப்பேன்; முயலின், அறம் புணையாகலும் உண்டு துறந்தானை நாடித் தருகிற்பாய்ஆயின், நினக்கு ஒன்று பாடுவேன், என் நோய் உரைத்து புல்லிய கேளிர் புணரும் பொழுது உணரேன் எல்லி ஆக, ‘எல்லை’ என்று, ஆங்கே, பகல் முனிவேன்; எல்லிய காலை இரா, முனிவேன்; யான் உற்ற அல்லல் களைவார் இலேன் ஓஒ! கடலே! தெற்றெனக் கண்ணுள்ளே தோன்ற இமை எடுத்து, ‘பற்றுவேன்’ என்று, யான் விழிக்குங்கால், மற்றும் என் நெஞ்சத்துள் ஓடி ஒளித்து, ஆங்கே, துஞ்சா நோய் செய்யும், அறனில்லவன் ஓஒ! கடலே! ஊர் தலைக்கொண்டு கனலும் கடுந் தீயுள் நீர் பெய்தக்காலே சினம் தணியும்; மற்று இஃதோ ஈரம் இல் கேள்வன் உறீஇய காமத் தீ நீருள் புகினும், சுடும் ஓஒ! கடலே! ‘எற்றமிலாட்டி என் ஏமுற்றாள்?’ என்று, இந் நோய் உற்று அறியாதாரோ நகுக! நயந்தாங்கே இற்றா அறியின், முயங்கலேன், மற்று என்னை அற்றத்து இட்டு ஆற்று அறுத்தான் மார்பு கண்டோர்: ஆங்கு கடலொடு புலம்புவோள் கலங்கு அஞர் தீர, கெடல் அருங் காதலர் துனைதர, பிணி நீங்கி, அறன் அறிந்து ஒழுகும் அங்கணாளனைத் திறன் இலார் எடுத்த தீ மொழி எல்லாம் நல் 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 glory and tied a garland for me? Will I see that man without honour in that place, where he once distracted me by pointing to a soft flower, and then ran away with my doll? Will I see him in that place, where he etched ‘thoyyil’ paintings on me, and said, ‘O pretty maiden! Be strong!’, even as that man lacking justice embraced me? O wind present everywhere in the skies and on earth! To see the man without love, the one who has parted away, leaving me with a ceaseless disease, riding the chariot of suffering in my pitiable heart, go wherever the light of the many-rayed sun spreads! Show me the one, who has savoured my true beauty and then hid it away with hatred! If you shan’t show, I shall scorch the earth entire by scattering the fire of my tears! O radiant, roaring ocean! If you don’t give me the space to seek the one, who abandoned me without caring, I shall drain away all the water in you, with my legs, and turn you into mere sand. Do you think it’s impossible? Know that when there is a will, justice would turn a raft for me. If at all you promise to seek the man, who abandoned me, and return him to me, I shall sing a song to you, about my affliction. In those times, I spent embracing my beloved, without my knowledge when the night ended, I would cry for the night and hate the day; But now, I hate when the day ends and the dark arrives, without having anyone to slay my suffering! Alas! O Sea! When he appears so vividly within my eyes and I open the eyelids saying, ‘I will hold on to you’, he would run and hide within my heart, and there, he would afflict me with the disease that lets me sleep not, that man without justice! Alas! O Sea! Even the fierce wild fire that surrounds a town with raging heat might abate its fury, when water is showered! But this fire of passion, lit by the man without compassion, scorches even when submerged in water! Alas! O Sea! Saying, ‘Look how crazy that woman without strength has become!’, let those who know not the extent of this affliction, laugh at me! If I had known about this, when he desired me then, I would not have embraced the chest of the one, who severed my strength and left me in this state! Onlookers: And so, to end the wallowing sorrow of the one, who was lamenting to the sea, her flawless lover returned with much haste. Akin to how terrible words, spoken by immoral people, about a righteous man, who always walks the path of justice, shatter to smithereens in the council of the wise, her affliction retreated then, making the pallor on her fine forehead vanish away!” Time to explore the essence. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the onlookers and the lady express the events and emotions in the situation. The onlookers talk to each to other mentioning how the lady seems so changed, and full of angst, forgetting her sense of modesty as a woman, as she sits there shedding tears and giving bizarre replies to those who question her. They decide to go listen to her side of the story. When they ask the lady what her problem was, she talks about how the man entranced her in the beginning of their courtship, but has now disappeared! At this time, she decides to ask the rabbit in the moon about where the man is, knowing that there is no place the moon cannot behold! A moment to pause and relish this reference to the ‘moon rabbit’. On searching, I saw that this is a reference, which has strong ‘East Asian’ and ‘Native American’ origins. Now, we have a South Asian instance of this repeating thought across cultures! Returning, the lady threatens the rabbit in the moon saying if it doesn’t show her where the man is, she would send hunting dogs to pounce upon it, and a snake to eat the rabbit’s abode of the moon. And then she remarks how fearing her words, the rabbit pulled the moon and hid within the white clouds. This exchange tells us the lady is indeed in a crazed state of love! Following this, the lady declares that she too wants to run and search for the man, in all the places, where he had graced her with love, care and affection, made her smile and laugh. Next, the lady turns to the wind and seeks its help, knowing there is no place the wind cannot enter on earth, and threatens the wind too saying if it doesn’t cooperate, she would scorch the earth with the fire of her tears! Leaving the moon and the wind, she now turns to the sea and says that if the sea does not let her seek the man, she would dry up its waters with her legs. If at all the sea was scoffing at her saying, ‘That’s impossible!’, the lady replies saying, such things are very much possible for those with a strong will in their heart, for at that time, justice would become their raft in that stormy sea. Reminds me of so many phrases and idioms we have often heard, in the lines of ‘Where there’s a will…’ and ‘Faith can move mountains’. Then the lady decides to calm the sea and win it over to her side by singing the song about her affliction and talks about the days past when she didn’t want the night to end, when she was with her man, and now, when he was no where around, she didn’t want the day to end and the dark to torment her. She concludes her song by telling the sea about how the man appeared in her dream and vanished away within, letting her sleep not, even for a moment; about how wild fires around a town can be put out with water but that fire of passion in her heart would burn even when pushed within water; and about how everyone around her calls her mad and weak, declaring had she known the man would leave her thus, she might not have returned his embraces back then. Now, the onlookers seize the stage and declare how the man returned with haste to end the sorrow of this lady, who was crying her heart out to the sea. To etch the lady’s transformation, they talk about how wrong words spoken about a righteous person would be shattered in the council of the wise, and likewise, the lady’s affliction ended in that moment, and the pallor on her forehead vanished, without the slightest trace, they conclude. The verse ends up capturing the fiery passion of the lady by connecting it to the various elements of fire, water, wind and earth and builds a sturdy bridge between the inner space of the mind and the outer space of the world!…

Sangam Lit

1
Kalithogai 143 – Reflecting and Rising 11:55

43 weeks temu11:55

11:55

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 இன்று நல் நுதல் நீத்த திலகத்தள், “மின்னி மணி பொரு பசும் பொன்கொல்? மா ஈன்ற தளிரின்மேல் கணிகாரம் கொட்கும்கொல்?” என்றாங்கு அணி செல மேனி மறைத்த பசலையள், ஆனாது நெஞ்சம் வெறியா நினையா, நிலன் நோக்கா, அஞ்சா, அழாஅ, அரற்றா, இஃது ஒத்தி என் செய்தாள்கொல்?’ என்பீர்! கேட்டீமின் பொன் செய்தேன் மறையின் தன் யாழ் கேட்ட மானை அருளாது, அறை கொன்று, மற்று அதன் ஆர் உயிர் எஞ்ச, பறை அறைந்தாங்கு, ஒருவன் நீத்தான் அவனை அறை நவ நாட்டில் நீர் கொண்டு தரின், யானும் நிறை உடையேன் ஆகுவேன்மன்ற மறையின் என் மென் தோள் நெகிழ்த்தானை மேஎய், அவன் ஆங்கண் சென்று, சேட்பட்டது, என் நெஞ்சு ‘ஒன்றி முயங்கும்’ என்று, என் பின் வருதிர்; மற்று ஆங்கே, ‘உயங்கினாள்’ என்று, ஆங்கு உசாதிர்; ‘மற்று அந்தோ மயங்கினாள்!’ என்று மருடிர்; கலங்கன்மின் இன் உயிர் அன்னார்க்கு எனைத்து ஒன்றும் தீது இன்மை என் உயிர் காட்டாதோ மற்று? பழி தபு ஞாயிறே! பாடு அறியாதார்கண் கழியக் கதழ்வை எனக் கேட்டு, நின்னை வழிபட்டு இரக்குவேன் வந்தேன் என் நெஞ்சம் அழியத் துறந்தானைச் சீறுங்கால், என்னை ஒழிய விடாதீமோ என்று அழிதக மாஅந் தளிர் கொண்ட போழ்தினான், இவ் ஊரார் தாஅம் தளிர் சூடித் தம் நலம் பாடுப; ஆஅம் தளிர்க்கும் இடைச் சென்றார் மீள்தரின், யாஅம் தளிர்க்குவேம்மன் நெய்தல் நெறிக்கவும் வல்லன்; நெடு மென் தோள் பெய் கரும்பு ஈர்க்கவும் வல்லன்; இள முலைமேல் தொய்யில் எழுதவும் வல்லன்; தன் கையில் சிலை வல்லான் போலும் செறிவினான்; நல்ல பல 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 என்தலை மாலையும் வந்தன்று, இனி இருளொடு யான் ஈங்கு உழப்ப, என் இன்றிப் பட்டாய்; அருள் இலை; வாழி! சுடர்! ஈண்டு நீர் ஞாலத்துள் எம் கேள்வர் இல்லாயின், மாண்ட மனம் பெற்றார் மாசு இல் துறக்கத்து வேண்டிய வேண்டியாங்கு எய்துதல் வாயெனின், யாண்டும், உடையேன் இசை, ஊர் அலர் தூற்றும்; இவ் உய்யா விழுமத்துப் பீர் அலர் போலப் பெரிய பசந்தன நீர் அலர் நீலம் என, அவர்க்கு, அஞ்ஞான்று, பேர் அஞர் செய்த என் கண் தன் உயிர் போலத் தழீஇ, உலகத்து மன் உயிர் காக்கும் இம் மன்னனும் என் கொலோ இன் உயிர் அன்னானைக் காட்டி, எனைத்து ஒன்றும் என் உயிர் காவாதது? கண்டோர்: என ஆங்கு, மன்னிய நோயொடு மருள் கொண்ட மனத்தவள் பல் 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 ‘sevvazhi’ lute stammers; Like my light that’s lost, the day withers away; And so, akin to Death, bringing terror, arrives the evening in my world now! Leaving me to wallow in this darkness, you have forsaken me, O graceless sun! May you live long! Not attaining my beloved in this water-filled world, if my life were to end, if it is true that those, who have an honourable heart, and die a flawless death, would attain whatever they wish, however they wish, I will surely attain that glory then! As the town spreads slander, this unceasing suffering makes my eyes, akin to blue lotuses in copious waters, which caused great suffering in him back then, to now spread with pallor in the hue of ridge-gourd flowers! Why doesn’t the king, who protects all life in the land, as his own life, not show to me, the one, who is akin to my sweet life, and protect my life? Onlookers: And so, the one with a sorrowful mind, with a terrible affliction, saw the man, who had parted beyond the mountains, come bow before her feet. Just then, akin to the nations that the Southern king conquers and reigns, she flourished with sweet smiles and regained her lost beauty!” Time to delve into the core. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, both the lady and the onlookers express the emotions of the moment. In this version, the lady opens the tale by speaking the words of the others around her, who remark on the pallor of her skin, by relating it to the victory of gold over sapphire and the coating of buttercup pollen on tender mango shoots. A tangible image of the lady’s transformation! Then, these others talk about how the lady is filled with emptiness and keeps staring at the ground below, with no interest in anything, always crying, fearing and worrying. Sounds to me like a classic case of depression. However this same lady does not remain in that state, but starts speaking out her heart, talking about a mythical creature called ‘Asunam’, mentioned in many Sangam verses, which loves the sound of gentle music, but dies the instant it hears harsh beats of a drum. Just the way a hunter would lure the creature with sweet music and then beat his drums, the man had first loved her and then parted away, she says. She seeks the help of these elders to search for the man in the faraway country of nine territories and bring him back to her. Wonder which part of the world the lady is referring to! Then, the lady turns to those others and asks them not to worry about the welfare of the man for if anything were to happen to him, her life would reveal it to her, for he was her very life, she connects! A feeling that’s often repeated in love, across space and time! She pleads to the righteous sun not to show its wrath on the man for abandoning her, saying attacking him is like destroying her. She looks around at those who are happy with their mates and remarks that she too would be like them if the man returns from the drylands. Turning her attention to the many skills of the man, she delights in remembering all the sweet things he has done for her in the past. Again, as lament fills her heart, she sees elements of herself in her surroundings, in the closing of buds, the flutes of cowherds, the stuttering music of a lute, and the light that is fading in the evening. She fights with the sun for abandoning her, as the darkness of the evening surrounds. Then talks about how even death would bring her glory because of her chastity and loyalty to her love. Again, she turns to remark about how slander causes her eyes to turn the colour of ridge-gourd flowers, and ends her lament, by wondering why the king doesn’t bring back the man and protect her life. Now, the onlookers conclude the verse summarising the lady’s sorrowful state and then portraying the moment her man came and bowed before her, and to vividly sketch the lady’s transformation, they choose a political simile, stating how all the nations conquered by the Pandya king flourishes, and akin to that, the lady seemed to thrive with new born smiles and regained beauty! To me, the highlight of this verse is the expression of the intricate movements of a heart in sorrow, connecting it to space and time, travelling to the past and present, to the tangible and intangible, and somehow, soaring above the suffering of the moment!…

Sangam Lit

1
Kalithogai 142 – Lamenting and Listening 13:17

43 weeks temu13:17

13:17

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 நரம்பினும் பயன் இன்று மன்றம்ம, காமம் இவள் மன்னும் ஒள் நுதல் ஆயத்தார் ஓராங்குத் திளைப்பினும், முள் நுனை தோன்றாமை முறுவல் கொண்டு அடக்கி, தன் கண்ணினும் முகத்தினும் நகுபவள்; பெண் இன்றி யாவரும் தண் குரல் கேட்ப, நிரை வெண் பல் மீ உயர் தோன்ற, நகாஅ, நக்காங்கே, பூ உயிர்த்தன்ன புகழ் சால் எழில் உண்கண் ஆய் இதழ் மல்க அழும் தலைவி: ஓஒ! அழிதகப் பாராதே, அல்லல் குறுகினம்; காண்பாம் கனங்குழை பண்பு என்று, எல்லீரும் என் செய்தீர்? என்னை நகுதிரோ? நல்ல நகாஅலிர் மற்கொலோ யான் உற்ற அல்லல் உறீஇயான் மாய மலர் மார்பு புல்லிப் புணரப் பெறின் ‘எல்லா! நீ உற்றது எவனோ மற்று?’ என்றீரேல், ‘எற் சிதை செய்தான் இவன்’ என, ‘உற்றது இது’ என, எய்த உரைக்கும் உரன் அகத்து உண்டாயின், பைதல ஆகிப் பசக்குவமன்னோ என் நெய்தல் மலர் அன்ன கண்? கோடு வாய் கூடாப் பிறையை, பிறிது ஒன்று நாடுவேன், கண்டனென்; சிற்றிலுள் கண்டு, ஆங்கே, ஆடையான் மூஉய் அகப்படுப்பேன்; சூடிய, காணான் திரிதரும்கொல்லோ மணி மிடற்று மாண் மலர்க் கொன்றையவன்? ‘தெள்ளியேம்’ என்று உரைத்து, தேராது, ஒரு நிலையே, ‘வள்ளியை ஆக!’ என நெஞ்சை வலியுறீஇ உள்ளி வருகுவர்கொல்லோ? வளைந்து யான் எள்ளி இருக்குவேன் மற்கொலோ? நள்ளிருள் மாந்தர் கடி கொண்ட கங்குல், கனவினால், தோன்றினனாக, தொடுத்தேன்மன், யான்; தன்னைப் பையெனக் காண்கு விழிப்ப, யான் பற்றிய கையுளே, மாய்ந்தான், கரந்து கதிர் பகா ஞாயிறே! கல் சேர்திஆயின், அவரை நினைத்து, நிறுத்து என் கை நீட்டித் தருகுவைஆயின், தவிரும் என் நெஞ்சத்து உயிர் திரியா மாட்டிய தீ மை இல் சுடரே! மலை சேர்தி நீ ஆயின், பௌவ நீர்த் தோன்றிப் பகல் செய்யும் மாத்திரை, கைவிளக்காகக் கதிர் சில தாராய்! என் தொய்யில் சிதைத்தானைத் தேர்கு சிதைத்தானைச் செய்வது எவன்கொலோ? எம்மை நயந்து, நலம் சிதைத்தான் மன்றப் பனைமேல் மலை மாந் தளிரே! நீ தொன்று இவ் உலகத்துக் கேட்டும் அறிதியோ? மென் தோள் ஞெகிழ்த்தான் தகை அல்லால், யான் காணேன் நன்று தீது என்று பிற நோய் எரியாகச் சுடினும், சுழற்றி, என் ஆய் இதழ் உள்ளே கரப்பன் கரந்தாங்கே நோய் உறு வெந் நீர்: தெளிப்பின், தலைக் கொண்டு வேவது, அளித்து இவ் உலகு மெலியப் பொறுத்தேன்; களைந்தீமின் சான்றீர்! நலிதரும் காமமும் கௌவையும் என்று, இவ் வலிதின் உயிர் காவாத் தூங்கி, ஆங்கு, என்னை நலியும் விழுமம் இரண்டு கண்டோர்: எனப் பாடி, இனைந்து நொந்து அழுதனள்; நினைந்து நீடு உயிர்த்தனள்; எல்லையும் இரவும் கழிந்தன என்று எண்ணி, எல்லிரா நல்கிய கேள்வன் இவன் மன்ற, மெல்ல மணியுள் பரந்த நீர் போலத் துணிவாம் கலம் சிதை இல்லத்துக் காழ் கொண்டு தேற்றக் கலங்கிய 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 the midnight hour, as people outside kept guard, he appeared in my dream. Not knowing it’s a dream, I held on to him, and when I slowly opened my eyes, he vanished away into my hand that had held him! O sun with rays that never break away! Before you reach the mountains, reflecting on where he is, if you can stop him with your rays and bring him back to my hands, the fire in my heart, which burns on the wick of life, would be saved! O flawless sun! Before you reach the mountains, until the time you would appear upon the oceans and create the day again, won’t you render a few rays for my hand lamp, so that I can search for the one, who ruined the ‘thoyyil’ art on my arms? O sun in the mountain, in the hue of tender mango sprouts, shining above the palm tree in the town centre! Are you wondering what she’s going to do to the one, who has ruined her so, the one who showered his love and then ruined her beauty? Will she quarrel with him? Have you ever heard of such things in this world? All I can see is the esteem of the one, who made my soft arms thin away, and I can never discern his qualities as good or bad. Even if this affliction burns me and makes me wallow, I will restrain within my beautiful petals, the hot tears of this disease. For if those tears were to scatter and fall down, the earth is sure to burn! Even as I wasted away, I bore it all with restraint. The two burdens of my desire and the town’s slander pull down upon the pole of my life, and are crushing my heart. O elders! Please end my suffering! Onlookers: And singing so, with lament and sorrow, she shed tears; Thinking of him, she let out long sighs, and reminisced about the days and nights that had passed away with him. And then we saw that her beloved, who had showered his graces to her at night, had arrived. Akin to how muddled water becomes crystal clear, when some seeds are added to it, turning it into water that appears as if sapphires have been spread on the surface, the lady too regained her lost beauty, when she leaned upon the handsome chest of her man!” Let’s delve into the essence. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, both the lady and the onlookers convey the facets of the situation. The onlookers start by talking about the scenario, when people are waiting to listen to a lute recital and at the last minute, the strings of the lute break apart. Just like that, the lady’s love was lying shattered because her man was called away. They talk about how even when her friends used to laugh uproariously, she was the epitome of femininity and would refrain from laughing aloud, showing her teeth and would smile only with her eyes and face. But now, she was laughing and crying deliriously, making everyone hear her voice, they say. As a modern woman, who loves the sound of her resounding laugh, I found this version of femininity rather amusing! Returning, we now hear the lady speaking, and she asks all of them why they have come there and was that to laugh at her, declaring that they wouldn’t be laughing if she was embracing her man. These words make me think indeed she is in a delirious state, attributing incorrect emotions to the onlookers. Then, she declares her inability to express accurately what has happened to her, because the man had parted away, and then goes on to describe that in great length after that! The lady mentions how she was looking for omens and signs in the sand but could only find an inauspicious sign of the crescent moon. She talks of how at that moment she decided to arrest the moon. Then realising God Siva would search for it everywhere, she advised her heart to let the moon go and act with grace. Then comes the story of a dream, in which the man appeared and as she thought it was real and opened her eyes, he vanished away into the hands that were holding him only a moment ago! Next, she starts addressing the sun, asking the celestial orb to extend its hands before setting in the mountains and bring back the man to her, or at least share some of its rays to make a hand lamp, so that she can search high and low for her man. She promises the sun that she has no intention of quarrelling with the man and that she can never see the good and bad but only his great esteem. She talks about her strength to restrain her tears, for if it fell on earth, the land would get scorched, she declares. Isn’t this is quite the opposite of the onlookers’ initial assessment? She ends her side of the story by declaring that even though her fierce love and the town’s slander were crushing her life, she is trying to bear it all and pleads to the elders to slay her suffering. Now, the onlookers take the centre stage and talk about these laments of the lady and her sighs thinking about the man. Then, one night, the man did appear, and akin to how muddy water becomes crystal clear and blue like spread sapphires, when some seeds are added, the lady regained her languishing health as she lay upon the chest of her beloved, they conclude. In the end, a passionate expression of intense emotions and the compassionate response of those around are the twin hues in this canvas, depicting the love life of these ancients!…

Sangam Lit

1
Kalithogai 141 – A changed man 6:25

43 weeks temu6:25

6:25

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 தாம் வேட்டவை செய்து, ஆங்கு, காட்டி மற்று ஆங்கே, அறம் பொருள் இன்பம் என்று அம் மூன்றின் ஒன்றன் திறம் சேரார் செய்யும் தொழில்கள் அறைந்தன்று அணி நிலைப் பெண்ணை மடல் ஊர்ந்து, ஒருத்தி அணி நலம் பாடி வரற்கு ஓரொருகால் உள்வழியள் ஆகி, நிறை மதி நீருள் நிழல் போல், கொளற்கு அரியள் போருள் அடல் மாமேல் ஆற்றுவேன் என்னை மடல்மாமேல் மன்றம் படர்வித்தவள் வாழி, சான்றீர்! பொய் தீர் உலகம் எடுத்த கொடிமிசை மை அறு மண்டிலம் வேட்டனள் வையம் புரவு ஊக்கும் உள்ளத்தேன் என்னை இரவு ஊக்கும் இன்னா இடும்பை செய்தாள் அம்ம, சான்றீர்! கரந்தாங்கே இன்னா நோய் செய்யும்; மற்று இஃதோ பரந்த சுணங்கின் பணைத் தோளாள் பண்பு? இடி உமிழ் வானத்து, இரவு இருள் போழும் கொடி மின்னுக் கொள்வேன் என்றன்னள் வடி நாவின் வல்லார் முன் சொல் வல்லேன் என்னைப் பிறர் முன்னர்க் கல்லாமை காட்டியவள் வாழி, சான்றீர்! என்று, ஆங்கே, வருந்த மா ஊர்ந்து, மறுகின்கண் பாட, திருந்திழைக்கு ஒத்த கிளவி கேட்டு, ஆங்கே, பொருந்தாதார் போர் வல் வழுதிக்கு அருந் திறை போல, 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 the future!…

Sangam Lit

1
Kalithogai 140 – A Case for Compassion 7:15

44 weeks temu7:15

7:15

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; கொண்டது மா என்று உணர்மின்; மடல் அன்று: மற்று இவை பூ அல்ல; பூளை, உழிஞையோடு, யாத்த புன வரை இட்ட வயங்கு தார்ப் பீலி, பிடி அமை நூலொடு பெய்ம் மணி கட்டி, அடர் பொன் அவிர் ஏய்க்கும் ஆவிரங் கண்ணி: நெடியோன் மகன் நயந்து தந்து, ஆங்கு அனைய வடிய வடிந்த வனப்பின், என் நெஞ்சம் இடிய இடைக் கொள்ளும் சாயல், ஒருத்திக்கு அடியுறை காட்டிய செல்வேன்; மடியன்மின்; அன்னேன் ஒருவனேன், யான் என்னானும், ‘பாடு’ எனில், பாடவும் வல்லேன், சிறிது; ஆங்கே, ‘ஆடு’ எனில், ஆடலும் ஆற்றுகேன்; பாடுகோ என் உள் இடும்பை தணிக்கும் மருந்தாக, நன்னுதல் ஈத்த இம் மா? திங்கள் அரவு உறின், தீர்க்கலார் ஆயினும், தம் காதல் காட்டுவர், சான்றவர் இன் சாயல் ஒண்டொடி நோய் நோக்கில் பட்ட என் நெஞ்ச நோய் கண்டும், கண்ணோடாது, இவ் ஊர் தாங்காச் சினத்தொடு காட்டி உயிர் செகுக்கும் பாம்பும் அவைப் படில், உய்யுமாம் பூங் கண் வணர்ந்து ஒலி ஐம்பாலாள் செய்த இக் காமம் உணர்ந்தும், உணராது, இவ் ஊர் வெஞ் சுழிப் பட்ட மகற்குக் கரை நின்றார் அஞ்சல் என்றாலும் உயிர்ப்பு உண்டாம் அம் சீர்ச் செறிந்த ஏர் முறுவலாள் செய்த இக் காமம் அறிந்தும், அறியாது, இவ் ஊர் ஆங்க என் கண் இடும்பை அறீஇயினென்; நும்கண் தெருளுற நோக்கித் தெரியுங்கால், இன்ன மருளுறு நோயொடு மம்மர் அகல, இருளுறு கூந்தலாள் என்னை அருளுறச் 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 instances to talk about how when such people exist in the world, the people of that town even though they saw, know and understand the pain in him caused by the maiden, pretended not to see, know or understand. After these sorrowful words at their apathy, the man once again appeals to them, asking them to advise the maiden to render her grace to him, so that he would be saved too. The man concludes with the punchline that ‘Only that would be justice!’. Beyond this usual badgering, what’s interesting in this verse, is the subtle appreciation for compassion and concern in one for a fellow being’s suffering!…

Sangam Lit

1
Kalithogai 139 – Plea to the Wise 7:56

44 weeks temu7:56

7:56

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! என்றும் பிறர் நோயும் தம் நோய் போல் போற்றி, அறன் அறிதல் சான்றவர்க்கு எல்லாம் கடன் ஆனால், இவ் இருந்த சான்றீர்! உமக்கு ஒன்று அறிவுறுப்பேன்: மான்ற துளி இடை மின்னுப் போல் தோன்றி, ஒருத்தி, ஒளியோடு உரு என்னைக் காட்டி, அளியள், என் நெஞ்சு ஆறு கொண்டாள்; அதற்கொண்டும் துஞ்சேன், அணி அலங்கு ஆவிரைப் பூவோடு எருக்கின் பிணையல் அம் கண்ணி மிலைந்து, மணி ஆர்ப்ப, ஓங்கு இரும் பெண்ணை மடல் ஊர்ந்து, என் எவ்வ நோய் தாங்குதல் தேற்றா இடும்பைக்கு உயிர்ப்பாக வீங்கு இழை மாதர் திறத்து ஒன்று, நீங்காது, பாடுவேன், பாய் மா நிறுத்து யாமத்தும் எல்லையும் எவ்வத் திரை அலைப்ப, ‘மா மேலேன்’ என்று, மடல் புணையா நீந்துவேன் தே மொழி மாதர் உறாஅது உறீஇய காமக் கடல் அகப்பட்டு உய்யா அரு நோய்க்கு உயவாகும் மையல் உறீஇயாள் ஈத்த இம் மா காணுநர் எள்ளக் கலங்கி, தலை வந்து, என் ஆண் எழில் முற்றி உடைத்து உள் அழித்தரும் ‘மாண் இழை மாதராள் ஏஎர்’ என, காமனது ஆணையால் வந்த படை காமக் கடும் பகையின் தோன்றினேற்கு ஏமம் எழிநுதல் ஈத்த இம் மா அகை எரி ஆனாது, என் ஆர் உயிர் எஞ்சும் வகையினால், உள்ளம் சுடுதரும் மன்னோ முகை ஏர் இலங்கு எயிற்று இன் நகை மாதர் தகையால் தலைக்கொண்ட நெஞ்சு! அழல் மன்ற, காம அரு நோய்; நிழல் மன்ற, நேரிழை ஈத்த இம் மா ஆங்கு அதை, அறிந்தனிர் ஆயின், சான்றவிர்! தான் தவம் ஒரீஇ, துறக்கத்தின் வழீஇ, ஆன்றோர் உள் இடப்பட்ட அரசனைப் பெயர்த்து, அவர் உயர்நிலை உலகம் உறீஇயாங்கு, என் துயர் 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 lady had rendered unto his life, is his only raft, shield and shade, the man mentions! Concluding this song, he turns to those elders and talks about how wise elders, when seeing a king swerve from the righteous path of penances, would guide him in the right direction and make him attain that higher world. Like that, it was the duty of these town elders to resolve his problem and pain, the man concludes! Like the previous song, we see the man declaring his love opening with this ritual of ‘Madal Eruthal’ as the last resort to win his love. Wonder what these elders would do now? Would they trust in the man’s love and advise the lady to accept him? Would they leave it to the lady to decide? Or would they just listen to the angst of another? Indeed, what more is needed that ears that listen with concern and without judgement!…

Sangam Lit

1
Kalithogai 138 – Palmyra horse to Paradise 9:13

44 weeks temu9:13

9:13

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 கடாத்தால் தொழில் மாறித் தலை வைத்த தோட்டி கை நிமிர்ந்தாங்கு, அறிவும், நம் அறிவு ஆய்ந்த அடக்கமும், நாணொடு, வறிதாக பிறர் என்னை நகுபவும், நகுபு உடன், மின் அவிர் நுடக்கமும் கனவும் போல், மெய் காட்டி என் நெஞ்சம் என்னோடு நில்லாமை நனி வௌவி, தன் நலம் கரந்தாளைத் தலைப்படும் ஆறு எவன்கொலோ? மணிப் பீலி சூட்டிய நூலொடு, மற்றை அணிப் பூளை, ஆவிரை, எருக்கொடு, பிணித்து யாத்து, மல்லல் ஊர் மறுகின்கண் இவட் பாடும், இஃது ஒத்தன் எல்லீரும் கேட்டீமின் என்று படரும் பனை ஈன்ற மாவும் சுடர் இழை, நல்கியாள் நல்கியவை பொறை என் வரைத்து அன்றி, பூநுதல் ஈத்த நிறை அழி காம நோய் நீந்தி, அறை உற்ற உப்பு இயல் பாவை உறை உற்றது போல உக்குவிடும் என் உயிர் பூளை, பொல மலர் ஆவிரை வேய் வென்ற தோளாள் எமக்கு ஈத்த பூ உரிது என் வரைத்து அன்றி, ஒள்ளிழை தந்த பரிசு அழி பைதல் நோய் மூழ்கி, எரி பரந்த நெய்யுள் மெழுகின் நிலையாது, பை பயத் தேயும் அளித்து என் உயிர் இளையாரும், ஏதிலவரும் உளைய, யான் உற்றது உசாவும் துணை என்று யான் பாடக் கேட்டு அன்புறு கிளவியாள் அருளி வந்து அளித்தலின் ‘துன்பத்தில் துணையாய மடல் இனி இவள் பெற இன்பத்துள் இடம்படல்’ என்று, இரங்கினள் அன்புற்று, அடங்கு அருந் தோற்றத்து அருந் தவம் முயன்றோர் தம் உடம்பு 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 a doll made of salt vanishing away when rain falls, and wax melting away in oil on a flame! Rain and fire used with precision to echo the painful emotions within. The man concludes this song in front of the town, by declaring he had no one but the youngsters and strangers of this place to share his pain with. The kind maiden, who had stolen his heart, comes to hear of this, and decides to accept this man. Now, the man describes ascetics, who undertake penances unto death, and seem to drop their bodies and reach a place of joy in the higher world. He connects and concludes saying, he too gave up his palmyra horse, which had helped him in sorrow, and went on to that joyous heaven of attaining the lady he loved! After all those endless pleas for the man’s grace towards the suffering lady in the previous verses, it’s refreshing to hear a man seeking the attention and love of a lady. At least, there is equality of emotion in the understanding that both this man and that lady find themselves helpless, and are then rescued by the other. What’s interesting here are the many similes like the uncontrollable elephant, the melting salt doll, the vanishing wax in oil, and finally, that image of parting ascetics. The last image seems to touch upon a related ritual in the Jain religion, wherein those who practice this ritual fast unto death to reach the supposed place of enlightenment. While such practices are surely extreme, the connection between how those ascetics leave their body and how the man abandons his palm horse that stood by him, but is of no use anymore, is etched with perfection! Although this verse normally belongs to the ‘Kurinji’ or ‘Mountain landscape’, where love blooms, possibly it has been included in the ‘Neythal’ or ‘Coastal landscape’, to match the theme of lament, and here, we get to hear the story of the man’s fall and triumph in love!…

Sangam Lit

1
Kalithogai 137 – Fire of parting 6:16

44 weeks temu6:16

6:16

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, சேக்கையின் அழல் ஆகின்று, அவர் நக்கதன் பயனே மெல்லிய நெஞ்சு பையுள் கூர, தம் சொல்லினான் எய்தமை அல்லது, அவர் நம்மை வல்லவன் தைஇய, வாக்கு அமை கடு விசை வில்லினான் எய்தலோ இலர்மன்; ஆயிழை! வில்லினும் கடிது, அவர் சொல்லினுள் பிறந்த நோய் நகை முதலாக, நட்பினுள் எழுந்த தகைமையின் நலிதல் அல்லது, அவர் நம்மை வகைமையின் எழுந்த தொல் முரண் முதலாக, பகைமையின் நலிதலோ இலர்மன்; ஆயிழை! பகைமையின் கடிது, அவர் தகைமையின் நலியும் நோய் ‘நீயலேன்’ என்று என்னை அன்பினால் பிணித்து, தம் சாயலின் சுடுதல் அல்லது, அவர் நம்மைப் பாய் இருள் அற நீக்கும் நோய் தபு நெடுஞ் சுடர்த் தீயினால் சுடுதலோ இலர்மன்; ஆயிழை! தீயினும் கடிது, அவர் சாயலின் கனலும் நோய் ஆங்கு அன்னர் காதலராக, அவர் நமக்கு இன் உயிர் போத்தரும் மருத்துவர் ஆயின், யாங்கு ஆவதுகொல்? தோழி! எனையதூஉம் தாங்குதல் 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!…

Sangam Lit

1
Kalithogai 136 – Gamble not with her love 5:46

44 weeks temu5:46

5:46

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 அலைத்தக்கால் உவறுநீர் உயர் எக்கர் அலவன் ஆடு அளைவரித் தவல் இல் தண் கழகத்துத் தவிராது வட்டிப்பக் கவறுஉற்ற வடுவெய்க்கும் காமரு பூங்கடல் சேர்ப்ப! முத்துஉறழ் மணல் எக்கர் அளித்தக்கால், முன் ஆயம் பத்துருவம் பெற்றவன் மனம் போல நந்தியாள் அத்திறத்து நீ நீங்க அணிவாடி, அவ் ஆயம் வித்தத்தால் தோற்றான் போல், வெய்துயர் உழப்பவோ? முடத்தாழை முடுக்கருள் அளித்தக்கால் வித்தாயம் இடைத்தங்கக் கண்டவன் மனம் போல நந்தியாள் கொடைத் தக்காய் நீ ஆயின், நெறியில்லாக் கதி ஓடி உடைப்பொதி இழந்தான் போல், உறுதுயர் உழப்பவோ? நறு வீ தாழ் புன்னைக்கீழ் நயந்து நீ அளித்தக்கால் மறு வித்தம் இட்டவன் மனம் போல நந்தியாள் அறிவித்து நீ நீங்கக் கருதியாய்க்கு, அப்பொருள் சிறு வித்தம் இட்டான் போல், செறி துயர் உழப்பவோ? ஆங்கு, கொண்டு பலர் தூற்றும் கௌவை அஞ்சாய், தீண்டற்கு அருளித், திறன் அறிந்து, எழீஇப் பாண்டியம் செய்வான் பொருளினும் ஈண்டுக 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!…

Sangam Lit

1
Kalithogai 135 – Dashing against the doors 4:51

45 weeks temu4:51

4:51

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 வலம்புரி இணை திரள் மருப்பாக, எறி வளி பாகனா அயில் திணி நெடுங் கதவு அமைத்து, அடைத்து, அணி கொண்ட எயில் இடு களிறே போல் இடு மணல் நெடுங் கோட்டைப் பயில்திரை, நடு நன்னாள், பாய்ந்து உறூஉம் துறைவ! கேள்: கடி மலர்ப் புன்னைக் கீழ்க் காரிகை தோற்றாளைத் தொடி நெகிழ்ந்த தோளளாத் துறப்பாயால்; மற்று நின் குடிமைக்கண் பெரியது ஓர் குற்றமாய்க் கிடவாதோ? ஆய் மலர்ப் புன்னைக் கீழ் அணி நலம் தோற்றாளை நோய் மலி நிலையளாத் துறப்பாயால்; மற்று நின் வாய்மைக்கண் பெரியது ஓர் வஞ்சமாய்க் கிடவாதோ? திகழ் மலர்ப் புன்னைக் கீழ்த் திரு நலம் தோற்றாளை இகழ் மலர்க் கண்ணளாத் துறப்பாயால்; மற்று நின் புகழ்மைக்கண் பெரியது ஓர் புகராகிக் கிடவாதோ? என ஆங்கு, சொல்லக் கேட்டனை ஆயின், வல்லே, அணி கிளர் நெடு வரை அலைக்கும் நின் அகலத்து, மணி கிளர் ஆரம் தாரொடு துயல்வர உயங்கினள் உயிர்க்கும் என் தோழிக்கு இயங்கு 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!…

Sangam Lit

1
Kalithogai 134 – The raft of a return 6:50

45 weeks temu6:50

6:50

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 ஆங்கு கரை காணாப் பௌவத்து, கலம் சிதைந்து ஆழ்பவன் திரை 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 far have women have come from such a state of helplessness and dependancy, when we reflect on women sailors across ages, who have conquered the real storms of the seas, with their strength and intellect!…

Sangam Lit

1
Kalithogai 133 – Fruit of Virtue 5:15

45 weeks temu5:15

5:15

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 உடன் கானல் அணிந்த உயர் மணல் எக்கர்மேல், சீர் மிகு சிறப்பினோன் மரமுதல் கை சேர்த்த நீர் மலி கரகம் போல் பழம் தூங்கு முடத் தாழைப் பூ 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 தோழி நல் நுதல் நலன் உண்டு துறத்தல், கொண்க! தீம் பால் உண்பவர் கொள் கலம் வரைதல் நின்தலை வருந்தியாள் துயரம் சென்றனை 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.…

Sangam Lit

1
Kalithogai 132 – Promises of the past 7:32

45 weeks temu7:32

7:32

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 கொள முரைசு மூன்று ஆள்பவர் முரணியோர் முரண் தப, நிரை களிறு இடை பட, நெறி யாத்த இருக்கை போல் சிதைவு இன்றிச் சென்றுழிச் சிறப்பு எய்தி, வினை வாய்த்து, துறைய கலம் வாய் சூழும் துணி கடல் தண் சேர்ப்ப! புன்னைய நறும் பொழில் புணர்ந்தனை இருந்தக்கால், ‘நன்னுதால்! அஞ்சல் ஓம்பு’ என்றதன் பயன் அன்றோ பாயின பசலையால், பகல் கொண்ட சுடர் போன்றாள் மாவின தளிர் போலும் மாண் நலம் இழந்ததை? பல் மலர் நறும் பொழில் பழி இன்றிப் புணர்ந்தக்கால், ‘சின்மொழி! தெளி’ எனத் தேற்றிய சிறப்பு அன்றோ வாடுபு வனப்பு ஓடி வயக்கு உறா மணி போன்றாள் நீடு இறை நெடு மென் தோள் நிரை வளை நெகிழ்ந்ததை? அடும்பு இவர் அணி எக்கர் ஆடி நீ மணந்தக்கால், ‘கொடுங் குழாய்! தெளி’ எனக் கொண்டதன் கொளை அன்றோ பொறை ஆற்றா நுசுப்பினால், பூ வீந்த கொடி போன்றாள் மறை பிறர் அறியாமை மாணா நோய் உழந்ததை? என ஆங்கு வழிபட்ட தெய்வம்தான் வலி எனச் சார்ந்தார்கண் கழியும் நோய் கைம்மிக அணங்குஆகியது போல, பழி பரந்து அலர் தூற்ற, என் தோழி அழி 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. After these descriptions of the lady’s state, the confidante concludes by portraying how the man, who had been the god, who rendered grace, had now become the attacking sprit in the life of the lady, because of his staying away and delaying seeking the lady’s hand. Though it’s another case of ‘Marry her, marry her’, we can choose to extract that scene of the intact ships that have seen shores many and returned with success, to perceive the extent of the shipbuilding industry and the maritime trade of the ancient Tamils.…

Sangam Lit

1
Kalithogai 131 – Care of the shore 10:44

45 weeks temu10:44

10:44

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, என் திருந்திழை மென்தோள் மணந்தவன் செய்த அருந்துயர் நீக்குவேன் போல் மன், பொருந்துபு பூக்கவின் கொண்ட புகழ் சால் எழில் உண்கண், நோக்குங்கால் நோக்கின் அணங்காக்கும் சாயலாய்! தாக்கி இனமீன் இகல் மாற வென்ற சினமீன் எறிசுறா வான் மருப்பு கோத்து நெறி செய்த நெய்தல் நெடு நார்ப் பிணித்து யாத்துக் கை உளர்வின் யாழசை கொண்ட இன வண்டு இமிர்ந்து ஆர்ப்பத் தாழாது உறைக்கும் தடமலர்த் தண்தாழை வீழ் ஊசல் தூங்க பெறின். மாழை மட மான் பிணை இயல் வென்றாய்! நின் ஊசல் கடைஇ யான் இகுப்ப, நீடு ஊங்காய் தட மென்தோள் நீத்தான் திறங்கள் பகர்ந்து. தலைவி : நாணினகொல் தோழி? நாணினகொல் தோழி? இரவெலாம் நல்தோழி நாணின, என்பவை வாள் நிலா ஏய்க்கும் வயங்களி எக்கர் மேல், ஆனாப் பரிய அலவன் அளை புகூஉம், கானல் கமழ் ஞாழல் வீ ஏய்ப்பத் தோழி, என் மேனி சிதைத்தான் துறை. தோழி : மாரி வீழ் இருங்கூந்தல் மதைஇய நோக்கு எழில் உண்கண் தாழ்நீர முத்தின் தகை ஏய்க்கும் முறுவலாய்! தேயா நோய் செய்தான் திறம் கிளந்து நாம் பாடும் சேய் உயர் ஊசல் சீர் நீ ஒன்று பாடித்தை. தலைவி : பார்த்துற்றன தோழி! பார்த்துற்றன தோழி! இரவெலாம் நல் தோழி! பார்த்துற்றன என்பவை தன் துணை இல்லாள் வருந்தினாள் கொல்? என இன்துணை அன்றில் இரவின் அகவாவே, அன்று, தான் ஈர்த்த கரும்பு அணி வாட, என் மென்தோள் ஞெகிழ்த்தான் துறை. தோழி : கரைகவர் கொடுங்கழிக் கண்கவர் புள் இனம், திரை உறப் பொன்றிய புலவு மீன் அல்லதை, இரை உயிர் செகுத்து உண்ணாத் துறைவனை யாம் பாடும் அசைவரல் ஊசல் சீர் அழித்து, ஒன்று பாடித்தை. தலைவி : அருளினகொல் தோழி? அருளினகொல் தோழி? இரவெலாம் தோழி! அருளின என்பவை கணங்கொள் இடு மணல் காவி வருந்தப் பிணங்கு இரு மோட்ட திரை வந்து அளிக்கும், மணம்கமழ் ஐம்பாலார் ஊடலை ஆங்கே வணங்கி உணர்ப்பான் துறை. தோழி : என நாம், பாட மறை நின்று கேட்டனன் நீடிய வால் நீர்க் கிடக்கை வயங்கு நீர்ச் சேர்ப்பனை யான் என உணர்ந்து நீ நனி மருளத் தேன் இமிர் புன்னை பொருந்தித் தான் 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 of ours. Making you think it’s still me standing behind, leaning on the laurelwood, buzzing with bees, he pushed the swing himself that day!” Time to delve into the delicious nuances. The verse is situated in the context of the man’s parting from the lady prior to marriage. Here, the confidante and lady converse about the man and his actions. The confidante begins by pointing to the lady, the spray of the waves, and saying how it seemed as if the god of the seas was blessing her saying that it would remove the pain in the lady caused by the man’s parting. The confidante then goes on to describe in intricate detail about a swing, whose plank has been made with the bills of swordfish in a neat row, tied with the fibres of a lotus stem, and then hung from the aerial roots of a pandanus tree. She has talked about this delightful object to cheer up the lady by asking her to sit on it, promising to sway it up and down, and suggesting that they sing about the lord of the shore, as she dos so. At each point, the confidante asks the lady to sing matching the rhythm of this swaying swing, and the lady too responds readily. First, the lady talks about the crabs in the man’s shore and how they were ashamed because the man had ruined the beauty of the lady’s skin and changed it to the hue of the screw-pine flowers, and that’s why they were hurrying to hide in their holes. Next, the lady talks about how the red-naped ibis happily united with their mates, felt sad about the lady being parted from the man, for all night they refused to sing. And for the third and last request from the confidante, the lady talks about the waves and how they seemed to take great care about the red lilies, which were troubled by the sand laid down by the thick winds, and rushed to settle the mud and calm them down. All these elements are from the shore ruled by the lord, the lady connects. Hearing all this, the confidante concludes recollecting how once before when they were singing in this fashion, the man had been standing at a distance, listening, and then, came and stood behind the swing and pretending to be the confidante, he pushed the swing, much to the delightful confusion of the lady. With those words, the confidante seems to part with the hope that the man would arrive again, just like that, and bring joy to the lady. Fascinating to note the order of emotions projected on the beings and the land, for it starts with the shame of the crabs, as if accusing the man of his actions, hoping to evoke regret in him. Next, it’s the sorrow of the ibis, reflecting the lady’s painful state, intending to reach the man’s compassion, and finally, in that exquisite depiction of the waves rushing in to protect the waterlilies and save them from the torment of the wind, the aim is to appeal to the nobler emotions of the man, with the hope he would be filled with love for the lady and would rush to protect his beloved. In that last image especially, the truth that holding a person to high standards will make them rise to it, is sketched vividly. To sum it all up, the verse stands testimony to the incomparable skill of Sangam poets in weaving together the elements of the land and the emotions of the mind!…

Sangam Lit

1
Kalithogai 130 – The vanishing pallor 5:52

45 weeks temu5:52

5:52

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 ஆண்ட அரைசனோடு 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, என் கையறு நெஞ்சம் கனன்று தீ மடுக்கும்! இம் மாலை, இருங் கழி மா மலர் கூம்ப, அரோ, என் அரும் படர் நெஞ்சம் அழிவொடு கூம்பும்! இம் மாலை, கோவலர் தீம் குழல் இனைய, அரோ, என் பூ எழில் உண்கண் புலம்பு கொண்டு இனையும்! என ஆங்கு, படு சுடர் மாலையொடு பைதல் நோய் உழப்பாளை, குடி புறங்காத்து ஓம்பும் செங்கோலான் வியன் தானை விடுவழி விடுவழிச் சென்றாங்கு, அவர் தொடுவழித் 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!…

Sangam Lit

1
Kalithogai 129 – Withholding a cure 7:39

46 weeks temu7:39

7:39

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 நிறுக்கல்லா மெல்லியான் 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 திறம் நோய் தெற உழப்பார்கண் இமிழ்தியோ? எம் போலக் காதல் செய்து அகன்றாரை உடையையோ? நீ மன்று இரும் பெண்ணை மடல் சேர் அன்றில்! ‘நன்று அறை கொன்றனர், அவர்’ எனக் கலங்கிய என் துயர் அறிந்தனை நரறியோ? எம் போல இன் துணைப் பிரிந்தாரை உடையையோ? நீ பனி இருள் சூழ்தர பைதல் அம் சிறு குழல்! ‘இனி வரின், உயரும்மன் பழி’ எனக் கலங்கிய தனியவர் இடும்பை கண்டு இனைதியோ? எம் போல இனிய செய்து அகன்றாரை உடையையோ? நீ என ஆங்கு, அழிந்து, அயல் அறிந்த எவ்வம் மேற்பட, பெரும் பேதுறுதல் களைமதி, பெரும! வருந்திய செல்லல் தீர்த்த திறன் அறி ஒருவன் மருந்து அறைகோடலின் கொடிதே, யாழ நின் அருந்தியோர் 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 of lives assembled and destroyed to talk about the arrival of the dark evening, that made me wonder if the Sangam folks had some sense of the many, many events of mass extinctions, before the era of humans, where life forms were destroyed as a whole, from the trilobites and marine life, to the wiping out of the great dinosaurs that roved the land for millions of years. Scientifically speaking, it’s unlikely definitely. But the heart always knows before the mind, and that’s why poets always beat the scientists in the race for truth!…

Sangam Lit

1
Kalithogai 128 – Hope in a dream 5:51

46 weeks temu5:51

5:51

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 தாழை ஆடு கோட்டு இருந்த அசை நடை நாரை, நளி இருங் கங்குல், நம் துயர் அறியாது, அளி இன்று, பிணி இன்று, விளியாது நரலும் கானல் அம் சேர்ப்பனைக் கண்டாய் போல, புதுவது கவினினை’ என்றியாயின், நனவின் வாரா நயனிலாளனைக் கனவில் கண்டு, யான் செய்தது கேள், இனி: ‘அலந்தாங்கு அமையலென்’ என்றானைப் பற்றி, ‘என் நலம் 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 நின்ற ஊதைஅம் சேர்ப்பனை, அலைப்பேன் போலவும், ‘யாது என் பிழைப்பு?’ என நடுங்கி, ஆங்கே, ‘பேதையைப் பெரிது’ எனத் தெளிப்பான் போலவும் ஆங்கு கனவினால் கண்டேன் தோழி! ‘காண் தகக் கனவின் வந்த கானல் அம் சேர்ப்பன் நனவின் வருதலும் உண்டு’ என அனை 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……

Sangam Lit

1
Kalithogai 127 – Is that why? 6:34

46 weeks temu6:34

6:34

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 ஊத செரு மிகு நேமியான் தார் போல, பெருங் கடல் வரி மணல்வாய் சூழும் வயங்கு நீர்த் தண் சேர்ப்ப! கொடுங் கழி வளைஇய குன்று போல், வால் எக்கர், நடுங்கு நோய் தீர, நின் குறி வாய்த்தாள் என்பதோ கடும் 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 என்பதோ அறிவு 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 என்பதோ வேய் 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, தன் கரை அமல் அடும்பு அளித்தாஅங்கு உரவு 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!…

Sangam Lit

1
Kalithogai 126 – Assumptions and Revelations 5:12

46 weeks temu5:12

5:12

In this episode, we perceive picturesque images from the sea, as depicted in Sangam Literary work, Kalithogai 126, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and presents the assumptions and revelations in the mind of a parted maiden. பொன் மலை சுடர் சேர, புலம்பிய இடன் நோக்கி, தன் மலைந்து உலகு ஏத்த, தகை மதி ஏர்தர, செக்கர் கொள் பொழுதினான் ஒலி நீவி, இன நாரை முக்கோல் கொள் அந்தணர் முது மொழி நினைவார் போல், எக்கர் மேல் இறைகொள்ளும், இலங்கு நீர்த் தண் சேர்ப்ப! அணிச் சிறை இனக் குருகு ஒலிக்குங்கால், நின் திண் தேர் மணிக் குரல் என இவள் மதிக்கும்மன்; மதித்தாங்கே, உள் ஆன்ற ஒலியவாய் இருப்பக் கண்டு, அவை கானற் புள் என உணர்ந்து, பின் புலம்பு கொண்டு, இனையுமே நீர் நீவிக் கஞன்ற பூக் கமழுங்கால், நின் மார்பில் தார் நாற்றம் என இவள் மதிக்கும்மன்; மதித்தாங்கே, அலர் பதத்து அசைவளி வந்து ஒல்க, கழி பூத்த மலர் என உணர்ந்து, பின் மம்மர் கொண்டு, இனையுமே நீள் நகர் நிறை ஆற்றாள், நினையுநள் வதிந்தக்கால், தோள் மேலாய் என நின்னை மதிக்கும்மன்; மதித்தாங்கே, நனவு எனப் புல்லுங்கால், காணாளாய், கண்டது கனவு என உணர்ந்து, பின் கையற்று, கலங்குமே என ஆங்கு, பல நினைந்து, இனையும் பைதல் நெஞ்சின், அலமரல் நோயுள் உழக்கும் என் தோழி மதி மருள் வாள் முகம் விளங்க, புது நலம் ஏர்தர, பூண்க, நின் தேரே! The confidante is at it again, speaking up for her friend! The words can be translated as follows: “The flame has retired to the golden mountain, leaving the land around in loneliness. Seeing this, to brighten the dull world, the esteemed moon rises up in that red-rayed time of the day. At this time, noiselessly, a flock of sea birds rest upon the sand dunes, akin to priests, with tridents, meditating on wise words, O lord of shores brimming with cool and radiant waters! When flocks of birds with beautiful feathers call out, she would assume that it’s the sound of bells on your sturdy chariot; When she assumes so, seeing that the sounds recede and fade, she would realise that those are the seabirds, and filled with loneliness, she would feel sorrowful. When flowers soar above the waters and send out their fragrance, she would assume that it’s the scent of the garland on your chest; When she assumes so, as the swaying wind then brings the scent of flowers to her, she would realise these are blooms of the backwaters, and filled with melancholy, she would feel sorrowful. When she feels unable to restrain her heart within her huge mansion and lives in her thoughts, she would assume that you caressed her arms. When she assumes so and hugs you, thinking this is real, then not seeing you, she would realise that it was a dream and filled with helplessness, she would feel sorrowful. And so, with many such thoughts, a heart filled with sorrow, my friend laments with this suffering-filled affliction. To make her moon-like face bloom, to brighten her fresh beauty, you have to ready your horses, O lord!” Let’s explore the nuances. The verse is situated in the context of a man’s parting prior to marriage, and here, the confidante renders these words to the man. She starts with the serene image of dusk falling upon the land and a flock of sea birds resting on the sands, and she likens this image to that of priests meditating on the wisdom of the past. After this description of the man’s land, the confidante goes on to present three different scenes, wherein we see the lady mistaking the sound of birds as the bells on the man’s chariot, the fragrance of new flowers as the scent of the man’s garland, and the image of her embracing the man in her thoughts as something real. When she realises that what she heard, smelled and sensed are just the birds, blooms and a dream, she is filled with sorrow, the confidante tells the man, conveying to him, the state of the lady he loves, with these vivid images. She ends by persuading him to tie-up his horses and race towards the lady’s home, to make the lady’s face glow once again. The sights, sounds and scents and the way they are intertwined with the emotions makes this verse a delight for the senses!…

Sangam Lit

1
Kalithogai 125 – Banish the pallor 5:43

46 weeks temu5:43

5:43

In this episode, we listen to a philosophical thought about the heart, as portrayed in Sangam Literary work, Kalithogai 125, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and puts forth a heartfelt plea. ‘கண்டவர் இல்’ என, உலகத்துள் உணராதார், தங்காது தகைவு இன்றித் தாம் செய்யும் வினைகளுள், நெஞ்சு அறிந்த கொடியவை மறைப்பினும், ‘அறிபவர் நெஞ்சத்துக் குறுகிய கரி இல்லை ஆகலின்,’ வண் பரி நவின்ற வய மான் செல்வ! நன்கு அதை அறியினும், நயன் இல்லா நாட்டத்தால், ‘அன்பு இலை’ என வந்து கழறுவல்; ஐய! கேள்: மகிழ் செய் தேமொழித் தொய்யில் சூழ் இள முலை முகிழ் செய முள்கிய தொடர்பு, அவள் உண்கண் அவிழ் பனி உறைப்பவும், நல்காது விடுவாய்! இமிழ் திரைக் கொண்க! கொடியைகாண் நீ இலங்கு ஏர் எல் வளை ஏர் தழை தைஇ, நலம் செல நல்கிய தொடர்பு, அவள் சாஅய்ப் புலந்து அழ, புல்லாது விடுவாய்! இலங்கு நீர்ச் சேர்ப்ப! கொடியைகாண் நீ இன் மணிச் சிலம்பின் சில் மொழி ஐம்பால் பின்னொடு கெழீஇய தட அரவு அல்குல் நுண் வரி வாட, வாராது விடுவாய்! தண்ணந் துறைவ! தகாஅய்காண் நீ என ஆங்கு அனையள் என்று, அளிமதி, பெரும! நின் இன்று இறை வரை நில்லா வளையள் இவட்கு, இனிப் பிறை ஏர் சுடர் நுதற் பசலை மறையச் செல்லும், நீ மணந்தனை விடினே. On behalf of a friend again! The words can be translated as follows: “Thinking, ‘there’s no one to see what we are doing’, some ignorant people in the world may do certain things, without remaining in the right path and without having anyone to stop them. They would then try to hide the evil they have done. They should know that there can be no greater witness than their heart, which knows everything, O man who owns many strong and skilled horses! Even though I know this very well, because of your actions, which lack grace, I have come here to rebuke you, saying ‘You have no love!’ O lord, listen: Back then, your bond with her made the young bosoms of that maiden, with joyous words, akin to honey, bloom. But now making her kohl-streaked eyes blossom with tears, you have forsaken her, without rendering your grace, O lord of the resounding waves! Terrible, you are! Back then, your bond with her made the beauty of the maiden wearing radiant, glowing fine bangles, flourish, when you adorned her with a leaf attire. But now making her lament and cry, you have forsaken her, without rendering your embrace, O lord of the shining waters! Terrible, you are! Back then, your bond with her made you hold close the maiden of few words, having thick tresses and wearing anklets with sweet-sounding bells. But now making the fine lines on her snake-hooded loins fade, you have forsaken her, without rendering your presence, O lord of the cool shores! Terrible, you are! And so, understanding that she is in such a state, you render your grace, O lord! Without you, her bangles stay not on her wrists. The pallor that hides her glowing, crescent-moon forehead now, would vanish away forever, if only you would marry her!” Time to delve into the nuances. The verse is situated in the context of a man’s parting from a lady, prior to marriage, and here, the confidante presents her case to the man. She starts in an abstract fashion, talking about how even though people may do certain things thinking that nobody is watching them, their hearts know it and can bear the best witness. Even though she knows this truth, the confidante says she has come to state the man’s mistake openly to him. She goes on to talk about how the man made the beauty of the lady glow by being with her, by giving her the gift of leaf attires and by embracing her. But later, he left her, and because of that, the same beauty he had endowed had now waned, making the lady shed tears. The confidante calls the man a heartless person. After scolding him so, the confidante concludes by saying how the lady’s bangles never stay on her wrists, when the man is away, and if only he graces her by marrying her, the pallor on her fine forehead would be banished forever! Felt somewhat disheartened by yet another portrayal of the Sangam woman as a person, utterly dependant on her man. Looking at the past with these modern eyes, I can’t help wishing that the women then were presented as individuals, who could stand and flourish on their own. What could be the purpose in projecting women in this frail manner? At the same time, seeing from a different angle, I feel so much joy and pride about women, who have risen from such notions about them in many, many parts of the world, to conquer the world and beyond!…

Sangam Lit

1
Kalithogai 124 – An affliction that brims over 6:35

46 weeks temu6:35

6:35

In this episode, we listen to the confidante’s thoughtful request, as depicted in Sangam Literary work, Kalithogai 124, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and relates the consequences of a man’s parting. ஞாலம் மூன்று அடித் தாய முதல்வற்கு முது முறைப் பால் அன்ன மேனியான் அணி பெறத் தைஇய நீல நீர் உடை போல, தகை பெற்ற வெண் திரை வால் எக்கர்வாய் சூழும் வயங்கு நீர்த் தண் சேர்ப்ப! ஊர் அலர் எடுத்து அரற்ற, உள்ளாய், நீ துறத்தலின், கூரும் தன் எவ்வ நோய் என்னையும் மறைத்தாள்மன் காரிகை பெற்ற தன் கவின் வாடக் கலுழ்பு, ஆங்கே, பீர் அலர் அணி கொண்ட பிறை நுதல் அல்லாக்கால் இணைபு இவ் ஊர் அலர் தூற்ற, எய்யாய், நீ துறத்தலின், புணை இல்லா எவ்வ நோய் என்னையும் மறைத்தாள்மன் துணையாருள் தகை பெற்ற தொல் நலம் இழந்து, இனி, அணி வனப்பு இழந்த தன் அணை மென் தோள் அல்லாக்கால் இன்று இவ் ஊர் அலர் தூற்ற, எய்யாய், நீ துறத்தலின், நின்ற தன் எவ்வ நோய் என்னையும் மறைத்தாள்மன் வென்ற வேல் நுதி ஏய்க்கும் விறல் நலன் இழந்து, இனி, நின்று நீர் உகக் கலுழும் நெடும் பெருங் கண் அல்லாக்கால் அதனால், பிரிவு இல்லாய் போல, நீ தெய்வத்தின் தெளித்தக்கால், அரிது என்னாள், துணிந்தவள் ஆய் நலம் பெயர்தர, புரி உளைக் கலிமான் தேர் கடவுபு விரி தண் தார் வியல் மார்ப! விரைக நின் செலவே. Another plea in the voice of a friend! The words can be translated as follows: “The Elder of the First One, who measured the world in three paces, is the Milk-complexioned One. Akin to the beautiful, blue-hued attire that adorns him, the exquisite white-waved blue sea surrounds the light sands, O lord of the radiant waters! When you abandoned her, thoughtlessly, and the town spread slander with raised voices, the piercing suffering of her affliction, she hid from me. I would have known nothing of it, had not her crescent moon forehead turned into the hue of ridge gourd flowers, as she cried making her esteemed beauty fade! When you abandoned her, inconsiderately, and the town spread slander joining together, her affliction that was drowning without a raft, she hid from me. I would have known nothing of it, had not her soft arms thinned away, as her beauty, much-celebrated among companions, began to fade! When you abandoned her, inconsiderately, and the town spread slander day after day, her affliction that stood relentlessly with her, she hid from me. I would have known nothing of it, had not her huge and wide eyes shed tears that were welling within, as her beauty, similar to the edge of a victorious spear, began to fade! And so, when you swore an oath before God saying, ‘There is never ever going to be a separation’, without considering that it’s impossible, she trusted you. To return to her that excellent beauty of hers, wield your chariot, tied with thick-maned, proud horses, O man with a wide chest, wearing a blooming, cool garland, and hasten your journey!” Let’s delve into the details. The verse is situated in the context of a man’s parting prior to marriage and here the confidante says these words to the man. She starts by bringing in a mythical reference to a personality, who has measured the world entire in three paces, interpreted by scholars, as referring to the avatar of God Vishnu. Although this figure is referenced, it’s the brother of this figure the verse focuses on, saying he has a skin in the hue of milk. Apparently, the favourite colour of this mythical figure was blue and that’s the attire he wore often. The white skin of this personality hemmed at the edges of that blue attire is placed in parallel to the waves of the blue sea surrounding the white sands, in the man’s domain! After that reference to the man’s land, the confidante goes on to talk about how the man had forsaken the lady, leaving her to be ripped apart by the slander in town. Even so, the lady seems to have carefully hid her suffering from her, the confidante says, and adds that if not for the changing hue on the lady’s forehead, her waning arms, and the falling tears from her exquisite eyes, the confidante would never have known about the pain within. She continues by reminding how the man swore an oath saying he would never, ever part from his maiden, and the lady too, without realising that that’s something that can never be fulfilled, believed the man and lost her beauty now. She concludes to the man that the only way to return to the lady, her past health and beauty, was to wield his chariot and horses, with much haste, to the lady’s abode! Here, we can note the nuanced negotiation skills of the confidante, who starts by saying what a worthy candidate the lady is, for she never gave up the man before others, hiding her own suffering and pain. Next, prior promises made are brought to the fore, and finally, the positive outcome expected and the only way to achieve that are presented clearly, making us hear the trotting of the horses, and see their manes flying in the air, as the man moved by these words, takes action to end the suffering of his beloved!…

Sangam Lit

1
Kalithogai 123 – A mind of its own 5:33

47 weeks temu5:33

5:33

In this episode, we perceive the actions of a troubled heart, as portrayed in Sangam Literary work, Kalithogai 123, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and presents a portrait of a maiden, parted from her beloved. கருங் கோட்டு நறும் புன்னை மலர் சினை மிசைதொறும் சுரும்பு ஆர்க்கும் குரலினோடு, இருந் தும்பி இயைபு ஊத, ஒருங்குடன் இம்மென இமிர்தலின், பாடலோடு அரும் பொருள் மரபின் மால் யாழ் கேளாக் கிடந்தான் போல், பெருங் கடல் துயில் கொள்ளும் வண்டு இமிர் நறுங் கானல் காணாமை இருள் பரப்பி, கையற்ற கங்குலான், மாணா நோய் செய்தான்கண் சென்றாய்; மற்று அவனை நீ காணவும் பெற்றாயோ? காணாயோ? மட நெஞ்சே! கொல் ஏற்றுச் சுறவினம் கடி கொண்ட மருள் மாலை, அல்லல் நோய் செய்தான்கண் சென்றாய்; மற்று அவனை நீ புல்லவும் பெற்றாயோ? புல்லாயோ? மட நெஞ்சே! வெறி கொண்ட புள்ளினம் வதி சேரும் பொழுதினான், செறி வளை நெகிழ்த்தான்கண் சென்றாய்; மற்று அவனை நீ அறியவும் பெற்றாயோ? அறியாயோ? மட நெஞ்சே! என ஆங்கு எல்லையும் இரவும் துயில் துறந்து, பல் ஊழ் அரும் படர் அவல நோய் செய்தான்கண் பெறல் நசைஇ, இருங் கழி ஓதம் போல் தடுமாறி, வருந்தினை அளிய என் மடம் கெழு நெஞ்சே! The voice of a lady missing her man echoes aloud! The words can be translated as follows: “On all the branches of the fragrant, black-trunked laurel wood tree, along with the voice of humming honeybees, black bees buzz together in a resounding rhythm, near the huge ocean, which appears asleep, akin to God Thirumal, who lies down listening to the song of a lute that comes from a glorious tradition, in those bee buzzing fragrant backwaters! In a time of utter despair when the unseeing darkness spreads, you left to be with the one who gave me this relentless affliction. Did you get to see him? Or did you not see him? O foolish heart! In an evening filled with confusion, when killer male sharks rove around fiercely, you left to be with the one who gave me this sorrowful affliction. Did you get to embrace him? Or did you not embrace him? O foolish heart! In an hour when birds flying in neat rows retire to their nests, you left to be with the one who made my well-fitting bangles slip away. Did you get to perceive him? Or did you not perceive him? O foolish heart! And so, forgetting sleep both in the day and night, wishing to attain the man, who has endowed me with this affliction of utter suffering for many days, akin to the sea waves that ebbs and flows in the dark backwaters, you worry ceaselessly, O pitiable, naive heart of mine!” Let’s explore the nuances. The verse is situated in the context of a man’s parting from the lady, prior to marriage. Here, the lady speaks to her heart and conveys her inner state. She starts by sketching the characteristic tree of this landscape – The ‘Punnai’ or ‘Indian laurel wood tree’ known for its prolific uses. Here, the branches of the tree are highlighted with the sense of sound, making us hear the buzzing of honeybees and black bees in unison, thereby letting us infer the presence of the bright-hued and fragrant flowers therein. As this is happening near the sleeping seas, the lady connects that image to the image of God Thirumaal, sleeping to the sound of traditional song from a lute. Then, the lady addresses her heart and remarks about how it went in search of the man, in that pitch darkness, in that evening when sharks rove, in that hour when birds fly towards their nests, seeking him, who had left her, with an unceasing and sorrowful affliction that made her bangles slip away. She asks her heart whether it succeeded in seeing, embracing and being with the man. The lady concludes saying her heart, which keeps rushing to the man and returning to her, akin to a flood in the backwaters that recedes and soars, is a naive thing, much to be pitied! In this verse, we can observe the oft-repeated custom in Sangam poetry of separating the heart from oneself. We can understand how the ancients saw the heart as a separate being, with a mind of its own, not always under the control of whom it belongs to!…

Sangam Lit

1
Kalithogai 122 – A heart caught between 5:33

47 weeks temu5:33

5:33

In this episode, we perceive the confused heart of a lady, as depicted in Sangam Literary work, Kalithogai 122, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and reveals an impossible situation in a person’s life. ‘கோதை ஆயமும் அன்னையும் அறிவுற, போது எழில் உண்கண் புகழ் நலன் இழப்ப, காதல் செய்து அருளாது துறந்தார்மாட்டு, ஏது இன்றி, சிறிய துனித்தனை; துன்னா செய்து அமர்ந்தனை; பலவும் நூறு அடுக்கினை; இனைபு ஏங்கி அழுதனை; அலவலை உடையை’ என்றி தோழீ! கேள், இனி: மாண் எழில் மாதர் மகளிரோடு அமைந்து, அவன் காணும் பண்பு இலன் ஆதல் அறிவேன்மன்; அறியினும், பேணி அவன் சிறிது அளித்தக்கால், என் நாண் இல் நெஞ்சம் நெகிழ்தலும் காண்பல் இருள் உறழ் இருங் கூந்தல் மகளிரோடு அமைந்து, அவன் தெருளும் பண்பு இலன் ஆதல் அறிவேன்மன்; அறியினும், அருளி அவன் சிறிது அளித்தக்கால், என் மருளி நெஞ்சம் மகிழ்தலும் காண்பல் ஒள் இழை மாதர் மகளிரோடு அமைந்து, அவன் உள்ளும் பண்பு இலன் ஆதல் அறிவேன்மன்; அறியினும், புல்லி அவன் சிறிது அளித்தக்கால், என் அல்லல் நெஞ்சம் மடங்கலும் காண்பல் அதனால், யாம நடு நாள் துயில் கொண்டு ஒளித்த காம நோயின் கழீஇய நெஞ்சம் தான் அவர்பால் பட்டதாயின், நாம் உயிர் வாழ்தலோ நகை நனி உடைத்தே. The evening’s gone and the verse has turned abstract! The words can be translated as follows: “‘Revealing to your garlanded playmates and your mother by making your beautiful, flower-like, kohl-streaked eyes lose their beauty, after loving you, he had parted away without grace, unreasonably. So, you are a little angry; You sit and ponder upon his shortcomings, coming up with hundreds of flaws; And then with suffering and yearning, you shed tears. Such is your sorrow’, you declare to me, my friend! Listen to me now. Courting those maiden with esteemed beauty, he has no desire to come see me. I know this very well. Even though I do, whenever he happens to show a little care and affection, behold how my shameless heart melts for him! Courting those maiden with black tresses akin to darkness, he has no way of understanding me. I know this very well. Even though I do, whenever he happens to show a little grace and love, behold how my confused heart delights in him! Courting those maiden wearing radiant ornaments, he has no reason to think of me. I know this very well. Even though I do, whenever he happens to embrace me a little, behold how my tormented heart simmers down for him! And so, if my heart has utterly forsaken me and has parted away to him, leaving me in the clutches of a love affliction that lets me sleep not even in the dark hour of midnight, then the fact that I live on is something to be laughed at!” Time to delve into the details. The verse is situated in the context of a man’s parting from a lady prior to marriage and the lady expresses her emotions in this one. She starts by repeating the words said by her confidante, commenting on how the man had parted away, leaving the lady’s beauty to fade, and thereby revealing their relationship to her playmates and mother, adding how the lady was perpetually mulling over the man’s flaws and then crying about him. In response to this comment about her outer state, the lady talks about her inner state to her confidante, mentioning how the man seemed to be courting beautiful maiden with dark tresses and radiant ornaments, and how even though she knows of this, whenever he happens to come by and show a little love or grace, she forgets everything and melts in love. The lady blames her heart for this state, concluding with the words that if it has decided to take sides with the man in this manner, then one can only laugh at the fact that the lady was still alive! The dejection in the lady’s mind about conflicting feelings for the man is evident from this verse. Whether the man really was courting other women or whether these were the suspicions rising in the lady’s mind because he had parted away without saying anything is a moot point. In any case, the way the mind and heart seem to be at loggerheads when in love can be inferred from this timeless expression from the ancient past!…

Sangam Lit

1
Kalithogai 121 – Lashing wave and thrashing fish 6:04

47 weeks temu6:04

6:04

In this episode, we hear a passionate plea on behalf of a friend, as portrayed in Sangam Literary work, Kalithogai 121, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and depicts the state of a maiden with elements of nature. ஒண் சுடர் கல் சேர, உலகு ஊரும் தகையது, தெண் கடல் அழுவத்துத் திரை நீக்கா எழுதரூஉம், தண் கதிர் மதியத்து அணி நிலா நிறைத்தர, புள்ளினம் இரை மாந்திப் புகல் சேர, ஒலி ஆன்று, வள் இதழ் கூம்பிய மணி மருள் இருங் கழி பள்ளி புக்கது போலும் பரப்பு நீர்த் தண் சேர்ப்ப! தாங்கருங் காமத்தைத் தணந்து நீ புறம் மாற, தூங்கு நீர் இமிழ் திரை துணையாகி ஒலிக்குமே உறையொடு வைகிய போது போல், ஒய்யென நிறை ஆனாது இழிதரூஉம், நீர் நீந்து கண்ணாட்கு வாராய் நீ புறம் மாற, வருந்திய மேனியாட்கு ஆர் இருள் துணையாகி அசைவளி அலைக்குமே கமழ் தண் தாது உதிர்ந்து உக, ஊழ் உற்ற கோடல் வீ இதழ் சோரும் குலை போல, இறை நீவு வளையாட்கு இன் துணை நீ நீப்ப, இரவினுள் துணையாகி, தன் துணைப் பிரிந்து அயாஅம் தனிக் குருகு உசாவுமே ஒண் சுடர் ஞாயிற்று விளக்கத்தான், ஒளி சாம்பும் நண்பகல் மதியம் போல், நலம் சாய்ந்த அணியாட்கு என ஆங்கு எறி திரை தந்திட, இழிந்த மீன் இன் துறை மறி திரை வருந்தாமல் கொண்டாங்கு, நெறி தாழ்ந்து, சாயினள் வருந்தியாள் இடும்பை பாய் பரிக் கடுந் திண் தேர் களையினோ இடனே. The pain of a lady takes precedence in this one! The words can be translated as follows: “As the radiant flame reaches the mountain, the one with a quality of roving over the world entire, the cool-rayed, beautiful moon rises from the southern ocean, pushing aside the waves, and fills the sky. As bird flocks eat their food and retire to their nests, resounding around, and thick and luscious petals close their buds in the sapphire-hued darkness, it appears as if the dark coast has gone to sleep in your domain, O lord of the cool, spreading seas! As you stayed away leaving her with an unbearable desire, the waves, brimming over the dancing waters resound as the only companion of the maiden, with eyes that flow down with tears, incapable of stopping, akin to a flower filled with dewdrops! As you visited not and stayed away, the pitch black darkness, even as it tormented her faded beauty, became the only companion of the maiden, whose bangles slip away from her wrist, akin to flowers of the flame lily, when the end is near, as their clusters droop down, shedding cool and fragrant pollen. As you abandoned your sweet companion, the song of the solitary bird, parted away from its mate at night, became the only companion of the maiden, whose beauty has faded, akin to the moon in the middle of the day, shorn of its light, owing to the brightness of the radiant rays of the sun! And so, akin to how a thrashing fish, thrown onto the sands of the shore by the waves, is quickly recovered without much pain by a returning wave, this is the time and place to end the suffering of the one, who worries and fades because of your actions, by wielding towards her, your sturdy chariot with leaping horses!” 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 speaks to the man on behalf of the lady. She begins in the customary way of describing an evening, when the sun is down and the moon is up, birds are in their nests and flowers are closing their buds, giving an appearance of an entire land mass in deep slumber. The confidante then addresses the man and tells him how because he abandoned her and stayed away in his town, without trysting with her, the lady suffered with only the roaring waves, the spreading darkness and a singing bird, keeping her company, even as her eyes brimmed over with tears like a flower dripping with dew, her bangles slipped away like the pollen shedding from a drooping flame-lily and her beauty fading like the colour of the moon in the middle of a day, bright with the sun’s rays. Now, she comes to the core of her message and tells the man just the way a fish that was thrown by a wave, and which is thrashing about, fighting for its life, is quickly saved by that returning wave, the man too must direct his chariot and horses to the lady’s abode, and save her that very moment. Finally, it’s good to see actual elements of the sea in this series on the coastal domain. Especially, the last simile about a thrashing fish on the sands of the shore vividly illustrates the pain of the lady through piercing words!…

Sangam Lit

1
Kalithogai 120 – Before and After 7:36

47 weeks temu7:36

7:36

In this episode, we infer emotions from intricate similes about human nature, as depicted in Sangam Literary work, Kalithogai 120, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and brings forth the transformation at the cusp of an event. அருள் தீர்ந்த காட்சியான், அறன் நோக்கான், நயம் செய்யான், வெருவுற உய்த்தவன் நெஞ்சம் போல், பைபய இருள் தூர்பு, புலம்பு ஊர, கனை சுடர் கல் சேர உரவுத் தகை மழுங்கித் தன் இடும்பையால் ஒருவனை இரப்பவன் நெஞ்சம் போல், புல்லென்று, புறம் மாறிக் கரப்பவன் நெஞ்சம் போல், மரம் எல்லாம், இலை கூம்ப தோற்றம் சால் செக்கருள் பிறை நுதி எயிறாக, நால் திசையும் நடுக்குறூஉம் மடங்கல் காலை, கூற்று நக்கது போலும், உட்குவரு கடு மாலை! மாலை நீ உள்ளம் கொண்டு அகன்றவர் துணை தாராப் பொழுதின்கண், வெள்ள மான் நிறம் நோக்கிக் கணை தொடுக்கும் கொடியான் போல், அல்லற்பட்டு இருந்தாரை அயர்ப்பிய வந்தாயோ? மாலை நீ ஈரம் இல் காதலர் இகந்து அருளா இடன் நோக்கி, போர் தொலைந்து இருந்தாரைப் பாடு எள்ளி நகுவார் போல், ஆர் அஞர் உற்றாரை அணங்கிய வந்தாயோ? மாலை நீ கந்து ஆதல் சான்றவர் களைதாராப் பொழுதின்கண், வெந்தது ஓர் புண்ணின்கண் வேல் கொண்டு நுழைப்பான் போல், காய்ந்த நோய் உழப்பாரைக் கலக்கிய வந்தாயோ? என ஆங்கு, இடன் இன்று அலைத்தரும் இன்னா செய் மாலை, துனி கொள் துயர் தீரக் காதலர் துனைதர மெல்லியான் பருவத்து மேல் நின்ற கடும் பகை ஒல்லென நீக்கி, ஒருவாது காத்து ஆற்றும் நல் இறை தோன்ற, கெட்டாங்கு இல்லாகின்றால் இருளகத்து ஒளித்தே. Descriptions of an evening and its impact on parting continue in this series of ‘coastal’ domain songs. The verse can be translated as follows: “A person who has an appearance utterly lacking in compassion; One who does not abide by justice; One who does not do good by others; One who causes fear in the heart of others; Akin to the heart of this person, darkness envelopes slowly. Making the town brim with loneliness, the thick-rayed sun reaches the mountain. Akin to the heart of one, who has lost his old greatness, and because of his suffering, pleads to another, the trees have turn listless. Then, akin to the heart of a miser, who hides his wealth, the trees appear with closed and drooping leaves. As the crescent moon climbs looking like the teeth of the impressive red sky, appearing as if Death was having a good laugh, making all four directions tremble, like the end of time, arrives the fear-inducing, stern evening! “O evening, in a time, when my companion, who has parted away with my heart, has not yet returned, akin to a cruel man, who aims an arrow at a deer caught in the floods, have you come to torment the tortured? O evening, seeing that my lover lacking kindness has parted away, without rendering his grace, akin to those who mock and laugh at others defeated in a war, have you come to agonise the anguished? O evening, in a time when the wise one, who is my pillar, has not yet ended my suffering, akin to one, who stabs a fire-burn wound with a spear, have you come to overwhelm the oppressed?” And so, without finding elsewhere to go, the evening brought great distress to the lady. But the moment her strong and determined lover arrived as her companion and ended her sorrow, akin to how the fierce enemies of a weak king, who had laid siege, thinking it’s the right time, are scattered away, when a strong king appears and supports the other king, utterly ruined turns the evening, which scuttles and hides in fear in the heart of the darkness!” Let’s delve into the details. The verse is situated in the context of a man’s parting prior to marriage and here, a narrator remarks on the effect of an evening on a lady. The narrator starts by describing the arrival of an evening. To do that, the natures of individuals are brought to the fore. The first description is about the heart of a compassion-less, unjust, unkind, fear-evoking person, and this is placed in parallel to darkness that spreads in that time of the day. Then, the heart of a person, who is reduced to a state of begging to another, is placed in parallel to how the trees start looking dull, without their life-giving sun. One more heart simile appears and now it’s the heart of a miser, who hides the plenty he has, and this is placed in parallel to the drooping trees with closed leaves in that dark hour. To add another simile, the crest moon is presented as the teeth on the red sky’s face and this image is connected to the laughing face of Death that seems raise its head, as the evening enters the scene. Seeing the arrival of the evening, the lady describes how like a hunter aiming his arrow at a deer thrashing in the floods, like people who mock and laugh at those others, who have lost in a battle, like one who takes a spear and pierces it through a burn wound, the evening seems to assail and assault her agony that is brimming over, because her man is not beside her. After rendering these words of the lady, the narrator brings forth yet another simile of the way the enemies of a weak king, who had gathered around, thinking this is the right time to attack, are routed and ruined utterly, when a strong king rises in support of the besieged king. Likewise, when the man arrived as the companion to the lady and ended her suffering, the evening seemed to run and hide in fear, the narrator concludes. Although the verse lacks any tangible connection to the sea or other coastal elements, the verse etches the contrast of emotions before and after the arrival of the man, and also, presents a string of fascinating similes to connect human nature and the time of the day. Marvellous indeed is the creativity of these Sangam poets who are able to see subtle connections between all things in life!…

Sangam Lit

1
Kalithogai 119 – Not just an evening 6:43

48 weeks temu6:43

6:43

In this episode, we perceive a lady’s pain, as portrayed in Sangam Literary work, Kalithogai 119, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and highlights the happenings of an evening. அகன் ஞாலம் விளக்கும் தன் பல் கதிர் வாயாகப் பகல் நுங்கியது போலப் படு சுடர் கல் சேர, இகல் மிகு நேமியான் நிறம் போல இருள் இவர, நிலவுக் காண்பது போல அணி மதி ஏர்தர, கண் பாயல் பெற்ற போல் கணைக் கால மலர் கூம்ப, தம் புகழ் கேட்டார் போல் தலை சாய்த்து மரம் துஞ்ச, முறுவல் கொள்பவை போல முகை அவிழ்பு புதல் நந்த, சிறு வெதிர்ங் குழல் போலச் சுரும்பு இமிர்ந்து இம்மென, பறவை தம் பார்ப்பு உள்ள, கறவை தம் பதிவயின் கன்று அமர் விருப்பொடு மன்று நிறை புகுதர, மா வதி சேர, மாலை வாள் கொள, அந்தி அந்தணர் எதிர்கொள, அயர்ந்து செந் தீச் செவ்அழல் தொடங்க வந்ததை வால் இழை மகளிர் உயிர் பொதி அவிழ்க்கும் காலை ஆவது அறியார், மாலை என்மனார் மயங்கியோரே. A crisp little song after a long time! The words can be translated as follows: “The sun, which illuminates the wide world with the many rays spelt out from its mouth, then swallows that very day it made and retires to the mountains; Akin to the hue of the war-worthy one with a discus, darkness shrouds; To shed some light and make the world see, the beautiful moon soars in the skies. Akin to eyes that have attained sleep, the thick-stemmed flowers close their buds; Akin to those, who have heard their praise fall on their ears, bending their heads, trees sleep; Akin to spreading smiles, buds bloom lusciously on the bushes; Akin to music from small bamboo flutes, bees resound around; Birds count their young ones; Cows rush towards their hamlets, to attend to their calves with love; Animals return to their lairs; Dusk spreads with light, bearing a sword; Priests welcome the twilight; Red lamps are lit up with red flames; Not realising this is a time that has come to end the lives of maiden wearing radiant jewels, those confused people seem to say it’s just an evening!” Let’s delve into the details. The verse is situated in the context of a man’s parting from a lady, prior to marriage. These words are rendered by a lady revealing the state of her mind. The lady starts by listing the changes in the outer world unfolding before her eyes. First, she talks about the sun, which was showering rays and lighting up the world all day, now taking up the task of swallowing those very rays and hitting the bed in the mountain. As a consequence, darkness starts spreading and the colour of this darkness is etched with a simile of a dark-skinned god holding a discus in hand, possibly referring to God Thirumaal. Seeing darkness raise its head, the moon decides to do its bit and shows its face in the high skies. From the skies, the lady then flies to the earth beneath and talks about how flowers are closing their buds like eyes that have found sweet sleep. She also mentions trees bending their heads and resting, in the manner of people who have heard themselves praised. A moment to pause and note this subtle comment about a reaction to appreciation. This highlights how the ancients would exhibit humility when they receive a praise. In the West, in societies where individualism is prized, an appreciation is expected to be met and received with confidence. However, in many eastern cultures, there’s a refusal to accept praise, wherein often the recipient would deflect the same outwardly, saying, ‘Oh, it’s nothing. I cannot accept your praise’ and so on. It’s this subtle difference we can observe in this simile between trees at night and people receiving praise. Returning, the lady then turns to the flowers blooming like smiles on the bushes and bees buzzing like bamboo flutes around them. She points to birds that have returned to their nests and are checking on their chicks, and cows, rushing homeward to be with their dear calves. That time of twilight seems to her as holding a sword. She then goes to also talk about priests welcoming this time of the day, with verses, and red lamps being lit up. Both are traditions followed till this day in temples and homes in Tamilnadu, a practice to welcome the twilight hour. Now, after listing all the events around here, the lady declares that this is not just a time of the day, this is something that has come to claim the life of maiden, who are parted away from their beloved. She concludes with scorn about people who call this sword-bearing, killing entity as just a harmless ‘evening’. Through these words, we realise the pain of separation that pierces the heart of the lady. At the same time, we have been transported to another time and place to perceive something so well-known to us, the setting of the sun, through the eyes of another!…

Sangam Lit

1
Kalithogai 118 – Ambushed by the evening 8:16

48 weeks temu8:16

8:16

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Kalithogai 118, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and sketches the words rendered to an evening. வெல் புகழ் மன்னவன், விளங்கிய ஒழுக்கத்தால் நல் ஆற்றின் உயிர் காத்து, நடுக்கு அற, தான் செய்த தொல் வினைப் பயன் துய்ப்ப, துறக்கம் வேட்டு எழுந்தாற்போல் பல் கதிர் ஞாயிறு பகல் ஆற்றி மலை சேர, ஆனாது கலுழ் கொண்ட உலகத்து, மற்று அவன் ஏனையான் அளிப்பான் போல், இகல் இருள் மதி சீப்ப, குடை நிழல் ஆண்டாற்கும் ஆளிய வருவாற்கும் இடை நின்ற காலம் போல், இறுத்தந்த மருள் மாலை! மாலை நீ தூ அறத் துறந்தாரை நினைத்தலின், கயம் பூத்த போது போல் குவிந்த என் எழில் நலம் எள்ளுவாய்; ஆய் சிறை வண்டு ஆர்ப்ப, சினைப் பூப் போல் தளை விட்ட காதலர்ப் புணர்ந்தவர் காரிகை கடிகல்லாய் மாலை நீ தையெனக் கோவலர் தனிக் குழல் இசை கேட்டு பையென்ற நெஞ்சத்தேம் பக்கம் பாராட்டுவாய்; செவ்வழி யாழ் நரம்பு அன்ன கிளவியார் பாராட்டும் பொய் தீர்ந்த புணர்ச்சியுள் புது நலம் கடிகல்லாய் மாலை நீ தகை மிக்க தாழ் சினைப் பதி சேர்ந்து புள் ஆர்ப்ப, பகை மிக்க நெஞ்சத்தேம் புன்மை பாராட்டுவாய்; தகை மிக்க புணர்ச்சியார், தாழ் கொடி நறு முல்லை முகை முகம் திறந்தன்ன, முறுவலும் கடிகல்லாய் என ஆங்கு மாலையும் அலரும் நோனாது, எம்வயின் நெஞ்சமும் எஞ்சும்மன் தில்ல எஞ்சி, உள்ளாது அமைந்தோர் உள்ளும், உள் இல் உள்ளம், உள்உள் உவந்தே. The familiar three-step format of Kalithogai greets us in this verse that echoes a lady’s pain. The words can be translated as follows: “Akin to how a king, renowned for his victory and his protecting of lives, with righteousness and virtue, without any regrets, nudged by the good deeds he has done in his life, rises with intention to the heavens, the many-rayed sun, after fulfilling its duties of the day reaches the mountain. Akin to how another one guides the world that is now deeply distressed by the king’s parting, the spreading darkness is dispersed by the rising moon. Akin to that period of time that stands between the one, who ruled in the shade of his glorious royal umbrella, and the one who follows him, is this confusing hour of evening, which brings much agony! O evening! You mock at my exquisite beauty that has now vanished, akin to a flower in a pond that has closed its buds, owing to the ceaseless memory of the one, who parted away, ruining me entirely! But you never seem to disturb the beauty of others, akin to a wide-open flower on a leafy branch, around which bees with beautiful wings buzz around, when they are united with their lovers! O evening! You relish the sorrow that soars in the hearts of those who listen to the resounding music of the solitary flute in the hands of a cowherd! But you never seem to disturb the fresh beauty of maiden with words, akin to the strings of a lute’s ‘chevvazhi’ melody, when they are relishing a faultless, perfect union with their beloved! O evening! You relish the emptiness that envelopes the hearts of those who are filled with agony, when birds call out aloud, uniting with their pairs on the fine, low hanging branches. But you never seem to disturb the smiles of those, akin to the blooming of wild jasmines on low hanging vines, when they are in a blessed union with those they love! And so, my heart seems to find its joy by thinking about the one who thinks not about me. Will my thoughtless heart continue to remain so within, bearing the assault of the evening hour and the spreading slander?” Let’s delve into the details. The verse is situated in the context of a man’s parting from a lady prior to marriage and the lady expresses her emotions at this juncture. The lady begins by talking about a famous and much respected king, who has won many battles and has guarded the people of his land in all the right ways. There will come a moment when his life would end and he would naturally rise to the heavens because of all the good deeds he has done in his life. The lady connects this moment to the sun setting in the mountains after accomplishing all its duties of the day, filling the world with life and energy. An insightful parallel that talks about the importance of the sun to life as we know it! Returning, next the lady connects the moon, which disperses the soaring darkness a little, to the king who will succeed that famous ruler, and do what he can, to end the tears of the mourning subjects. There is a sliver of time filled with bewilderment between the first ruler and the next, between the setting of the sun and the rising of the moon, and that is the evening hour, the lady connects. She directs her words to this evening hour, and talks about how it seems to mock and ruin her beauty, as she keeps thinking about the man who parted away, which seems to delight in her sorrow that heightens listening to the music of a cowherd’s flute, and also, seems to feel happy about the emptiness in her heart, when she hears birds around uniting merrily with their mates. She compares how the evening seems to have no power whatsoever on those who are happily united with their beloved. The lady concludes by wondering if her heart, which has remained within her, thinking about the man, will continue to remain so, now that the evening hour and the slander in town is attacking her, with such fury! The verse made me wonder in what way is this connected to the coastal landscape, for we hear not the roar of the oceans or see the gliding fish. On reflection, I understood it’s the theme of ‘lamenting’ that has made this song be categorised as belonging to this domain. Here, we see how an evening hour, a flute’s music, flowers blooming, birds chirping, elements which we consider joyous and serene, brings so much pain to this ancient lady in love, parted from her beloved. This echoes to us the truth of how the world within us can dominate the world outside, projecting inner shades and moods and changing the outer world’s very reality. A nudge to pay attention and to guard that inner world with the care of that righteous king, for everything has its beginning right here!…

Sangam Lit

1
Kalithogai 117 – Jasmines from the heart 6:07

50 weeks temu6:07

6:07

In this episode, we listen to the words of a lovelorn man, as portrayed in Sangam Literary work, Kalithogai 117, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and portrays an expression of interest in a conversation between a couple. தலைவன் மாண உருக்கிய நன் பொன் மணி உறீஇ, பேணித் துடைத்தன்ன மேனியாய்! கோங்கின் முதிரா இள முகை ஒப்ப, எதிரிய தொய்யில் பொறித்த வன முலையாய்! மற்று, நின் கையது எவன்? மற்று உரை தலைவி கையதை சேரிக் கிழவன் மகளேன் யான்; மற்று இஃது ஓர் மாதர்ப் புலைத்தி விலையாகச் செய்தது ஓர் போழின் புனைந்த வரிப் புட்டில்….. தலைவன் ……..புட்டிலுள் என் உள? காண் தக்காய்! எற் காட்டிக் காண் தலைவி காண், இனி: தோட்டார் கதுப்பின் என் தோழி அவரொடு காட்டுச் சார்க் கொய்த சிறு முல்லை மற்று இவை தலைவன் முல்லை இவை ஆயின் முற்றிய கூழையாய்! எல்லிற்று போழ்து ஆயின், ஈதோளிக் கண்டேனால்; ‘செல்’ என்று நின்னை விடுவேன், யான்; மற்று எனக்கு மெல்லியது ஓராது அறிவு. A short and simple song in the conversational format. The words can be translated as follows: “ Man As if highly valuable fine gold and sapphires have been melted and fused together with much care, glows your skin, O maiden! Akin to the immature, young buds of the buttercup, are your bosoms, etched with ‘thoyyil’ paintings! What is that you are holding in your hand? Tell me. Lady I’m the daughter of this village’s headman. What I hold in my hand is a lined basket, made from palm fronds, by a weaver woman, to be sold, but one she gave me as a gift! Man O maiden, pleasing to the eyes! What is there within the basket? Show it to me! Lady See now! These are little wild jasmines that were spreading in the forest that I plucked along with my friend having flower-filled tresses. Man O maiden with thick tresses! I can see these are wild jasmines and that the night is here. When I look around at this place, I should say, ‘go’, and let you leave. But what can I do when my mind is weak and frail and refuses to let me to?” Time to explore the nuances. The verse is situated in the category of excessive love expressed by a person. These words are exchanged by the man and the lady. The man opens the scene by approaching the lady and praising her for her exquisite complexion which seems to him, as if pure gold and dazzling sapphires have been blended and polished to perfection. Then, he equates her bosom on which ‘thoyyil’ paintings have been drawn to the buds of a buttercup flower. After these high praises, he asks the lady what she is holding in her hand. The lady replies that she is holding a little basket, woven from palmyra leaves. This was actually made for sale by a weaver woman, but because the lady happened to the village chief’s daughter, that worker had given it to the lady, with much affection, she adds. The man questions her further asking what is inside that basket. The lady responds by opening the basket and showing him that those were the wild jasmine flowers that she had plucked along with her friends. Seeing those jasmine flowers, the man decides to show the lady, the blooms of love in his heart, and he concludes by saying, ‘Yes, what’s there are jasmines, the time now is night and this place is so dark and dense. I should let you go. That would be the right thing. However, my mind doesn’t want to let you go. Please tell me what should I do!’. The words are intended to express the man’s brimming love for the lady and win her heart. Whether the lady accepted the man or not is left to the imagination of the reader, like an open-ended movie with varying interpretations! With this verse that speaks the truth of a heart, we come to the end of verses situated in the ‘Mullai’ or ‘Forest landscape. In most of these few songs in this domain, the focus was on bull taming by young men of this domain and the celebration of that courage by young maiden through their ‘Kuravai’ dances. The facets about love among workers, rather than a man and a woman, who had nothing else to do, but be a lord and lady of a domain, was a refreshing break in perspective. Now, it’s time to bid bye to these men, battling the bulls, and maiden, looking starry-eyed at them, and journey on to our next and last landscape in Kalithogai!…

Sangam Lit

1
Kalithogai 116 – Anger and Acceptance 5:49

50 weeks temu5:49

5:49

In this episode, we perceive a conflict between a lady and a man, as depicted in Sangam Literary work, Kalithogai 116, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and portrays the relentlessness of a man’s pursuit. தலைவி பாங்கரும் பாட்டங்கால் கன்றொடு செல்வேம்; எம் தாம்பின் ஒரு தலை பற்றினை, ஈங்கு எம்மை முன்னை நின்றாங்கே விலக்கிய எல்லா! நீ என்னை ஏமுற்றாய்! விடு! தலைவன் விடேஎன்! தொடீஇய செல்வார்த் துமித்து, எதிர் மண்டும் கடு வய நாகு போல் நோக்கித் தொழு வாயில் நீங்கிச் சினவுவாய் மற்று. தலைவி நீ நீங்கு! கன்று சேர்ந்தார்கண் கத ஈற்று ஆ சென்றாங்கு வன்கண்ணள் ஆய்வரல் ஓம்பு. தலைவன் யாய் வருக, ஒன்றோ பிறர் வருக, மற்று நின் கோ வரினும், இங்கே வருக, தளரேன் யான் நீ அருளி நல்க பெறின். தலைவி நின்னை யான் சொல்லினவும் பேணாய்; நினைஇக கனைபெயல் ஏற்றின் தலை சாய்த்து, எனையதூஉம் மாறு எதிர்கூறி மயக்குப் படுகுவாய்! கலத்தொடு யாம் செல்வுழி நாடிப் புலத்தும் வருவையால் நாணிலி நீ! A song depicting a conversation between a couple! The words can be translated as follows: “ Lady When I’m going to the dense grove nearby, with the calf, you catch hold of one end of the cattle tether, and standing in front, you block me! Are you crazy? Let me go! Man I won’t let you go! You are free to be furious with me, akin to a strong and fast young bull that shakes away those who come near to touch it, as it leaps out of the barn’s entrance! Lady You should leave! Akin to how a cow that has just birthed a calf would go menacingly towards those who come near its young one, my harsh-eyed mother is on her way! Save yourself! Man Let mother come! Let any other come! Even if your king wants, let him come! I shall remain steadfast, until you render your grace! Lady Whatever I say, you don’t listen to me! Standing there, akin to a buffalo that stands in the midst of a downpour, slanting its head, you have something to say in response to what I say. You confuse me no end! O Shameless one, when I go with the milking vessel to the field, seeking me, will you come there too?” Let’s explore the details. The verse is situated in the context of love among workers and these words are spoken between a herder man and a herder lady. The lady starts by stating that the man was standing there, blocking her path, and pulling the rope of the calf, she was taking to graze in the grove nearby, she asks him if he had gone mad, and demands that he let her go. The man refuses and says he gives her permission to be as mad as a young bull in a barn, one which won’t let anyone come near it, and runs out of the barn with much fury. Catching on to his ‘young bull’ simile, the lady decides to repay him in kind by talking about how her mother was coming there, in the stance of a young cow, which has just delivered a calf, when it pounces towards someone, who decided to go near her young one. A furious mother is a force of nature, the lady seems to tell the man! But the man is unperturbed, for he says, ‘Let your mother come, let anyone else who wants to come come here, why even if your king wants to come here with his army, let him, I won’t budge from here!’. The lady responds by bringing forth yet another simile, where she paints a picture of a buffalo standing in a downpour, without moving, simply slanting its head. This is one of those similes that had me cracking up, for it reminded me of an oft-used, familiar phrase in contemporary Tamil, which goes, ‘எருமை மாட்டு மேல மழை பெஞ்சமாதிரி’, meaning ‘akin to rain that pours on a buffalo’ to talk about how there’s no effect of one’s words on the person listening in front. A favourite line of Tamil parents, when talking to their teenagers! It’s fascinating to see such a phrase used in light conversations in Tamil land be a part of a classical verse two thousand years ago! Returning, our lady is mad that the man is acting like that buffalo not responding to the downpour of her refusals. Finally, she ends with a question, asking the man whether he will shamelessly come following her when she goes to the fields with a milking vessel later! The last line is also meant to be a cryptic way of inviting the man to another, more favourable trysting spot. Yet again, the similes from this land talking about the animals and the life therein, delight us, and make us perceive the love that blooms in these wild spaces of the past!…

Sangam Lit

1
Kalithogai 115 – Angst and Assurance 6:04

50 weeks temu6:04

6:04

In this episode, we perceive the fearful stance of the lady, as portrayed in Sangam Literary work, Kalithogai 115, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and sketches a domestic scene and its consequences in the life of the lady. தலைவி தோழி! நாம் காணாமை உண்ட கடுஙகள்ளை, மெய்கூர நாணாது சென்று நடுங்க உரைத்தாங்குக், கரந்ததூஉம் கையொடு கோட்பட்டாம் கண்டாய், நம் புல்லினத்து ஆயர் மகன்சூடி வந்ததோர் முல்லை ஒரு காழும் கண்ணியும், மெல்லியால்! கூந்தலுள் பெய்து முடித்தேன் மன் தோழி! யாய் வெண்ணெய் உரைஇ விரித்த கதுப்போடே, அன்னையும் அத்தனும் இல்லரா யாய் நாண, அன்னை முன் வீழ்ந்தன்று அப் பூ; அதனை வினவலும் செய்யாள், சினவலும் செய்யாள், நெருப்புக் கை தொட்டவர் போல விதிர்த்திட்டு, நீங்கிப் புறங்கடை போயினாள்; யானும் என் சாந்து உளர் கூழை முடியா நிலம் தாழ்ந்த பூங்கரை நீலம் தழீஇத் தளர்பு ஒல்கிப் பாங்கரும் கானத்து ஒளித்தேன்; தோழி …………………… அதற்கு எல்லா! ஈங்கு எவன் அஞ்சுவது? அஞ்சல் – அவன் கண்ணி நீ புனைந்தாய் ஆயின் நமரும் அவன்கண் அடைசூழ்ந்தார் நின்னை; அகல்கண் வரைப்பில் மணல் தாழப் பெய்து, திரைப்பில் வதுவையும் ஈங்கே அயர்ப; அதுவேயாம் அல்கலும் சூழ்ந்த வினை. A simple verse relaying a problem and its solution as well! The words can be translated as follows: “ Lady My dear friend, akin to how someone, after drinking strong toddy without others knowing, starts shivering, and then, without shame, owns up their act before others, I have been caught redhanded with that which I was hiding! This is how it happened: Taking a jasmine strand from the head garland worn by the son of the goatherds, I tied that within my tresses. When I came home, foster mother untied my hair to rub it with ghee. At this time, both mother and father were at home too. Making foster mother confused, before her, fell a flower from that strand. Neither did she query me about it nor did she get angry about it. Akin to someone who has touched fire, she stood up, shaking her hands, and left from there to step into the backyard. As for me, without tying up my tresses, covered with dried-up sandalwood paste, pulling up my blue attire, with a floral border hanging low, taking unsteady steps, I ran to hide in the dense grove nearby! Confidante Hey dear! Why do you fear? Fear not! Knowing that you tied his garland in your tresses, our kin have decided to offer you to him; In the wide open spaces of the front yard, spreading sands and covering with a canopy, they are making arrangements for your wedding; That’s the thing we wished they would do, every single day!” Time to delve into the details. The verse is situated in the context of revealing a lady’s relationship with the man to her kin. Though the theme comes from the young love phase of the mountain landscape, elements of life from the herder’s community places the same in this forest domain. These words are spoken by the lady and her confidante. The lady starts the conversation with an interesting simile. She paints the portrait of a person who has gone and secretly drunk up some strong liquor. Later, when they start shivering because of its side effects, they will be pushed to a state of shamelessly owning up their act of getting sloshed. That’s what happened to her, she says, and then elaborates by relating to her friend, an incident at home. Apparently, the lady had tied a jasmine flower strand from the head garland of her beloved, the son of goatherds. Later, when she was at home, her foster mother, wanting to do some hair grooming, had opened out the tresses of the lady, and that jasmine strand fell down just then. Without getting angry, without incessant questioning, the foster mother seemed to have simply got up, shaking her hand as if she had touched fire and moved out into the backyard. On top of this, the lady’s mother and father were also at home, just then, the lady says. Shocked by the incident, the lady seems to have run out, tresses loose, holding her favourite attire of a blue skirt with a floral pattern, and hidden in the grove nearby. Hearing all this, the confidante tells her not to fear at all, for the lady’s parents, understanding their girl’s heart, had decided to wed her to that young man, and at the moment, they were making preparations to spread the sand and tie the tent to conduct the wedding- the very thing the lady and confidante had dreamt about, for long. The joy we feel, when those around us understand and fulfil our heart’s desires, even before we ask for the same, is evident in the verse. Incidentally, it’s also a feeling, which can be felt in equal measure, when we do something like that for someone we love!…

Sangam Lit

1
Kalithogai 114 – Virtue in a wedding 5:08

50 weeks temu5:08

5:08

In this episode, we perceive a lady’s anxious state, portrayed in Sangam Literary work, Kalithogai 114, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and sketches the agony of a lady, as momentous events unfold before her. தலைவி வாரி, நெறிப்பட்டு, இரும்புறம் தாஅழ்ந்த ஓரிப் புதல்வன் அழுதனன் என்பவோ, புதுவமலர் தைஇ, எமர் என் பெயரால், வதுவை அயர்வாரை கண்டு? “மதி அறியா ஏழையை” என்று அகல நக்கு வந்தீயாய்! நீ தோழி அவன் உழைச் சென்று. தோழி சென்று யான் அறிவேன்; கூறுக மற்று இனி. தலைவி ‘சொல் அறியாப் பேதை! மடவை! மற்று எல்லா! நினக்கு ஒரூஉம்; மற்று, என்று அகல் அகலும்; நீடு இன்று நினக்கு வருவதாக் காண்பாய்’, அனைத்து ஆகச் சொல்லிய சொல்லும் வியங்கொளக் கூறு. தருமணல் தாழப் பெய்து இல் பூவல் ஊட்டி, எருமைப் பெடையோடு, எமர் ஈங்கு அயரும் பெரு மணம் எல்லாம் தனித்தே ஒழிய, வரி மணல் முன்துறைச் சிற்றில் புனைந்த திரு நுதல் ஆயத்தார் தம்முள் புணர்ந்த ஒரு மணம் தான் அறியும் ஆயின் எனைத்தும் தெருமரல் கைவிட்டு இருக்கோ, அலர்ந்த விரிநீர் உடுக்கை உலகம் பெறினும், அருநெறி ஆயர் மகளிர்க்கு இரு மணம் கூடுதல் இல் இயல்பு அன்றே? Time to explore the nuances. The words can be translated as follows: “ Lady Even after seeing that my kin are preparing for my wedding by stringing fresh and new flowers, after combing and straightening tresses, hanging low on both sides, will they simply say, ‘Our little boy is crying!’? Please go to his home, my friend, and scorn him saying, ‘You are a pitiable one, who knows nothing!’ Confidante I will go thither and find out! What else should I tell him, tell me now. Lady Tell him, “You are an ignorant one, who does not know to speak up! A fool and everything else! It will slip away from you. It will slip far from you. You will see this happen to you’ – Say all this and much more to make him understand! It appears as if this great wedding that my kin are about to hold, spreading fresh sand in front of the house, adding red soil, and praying to the female buffalo, might happen without him. Those who have united with their beloved in the lined sands of the shore, filled with small sand houses, built by maiden with fine foreheads, know that their wedding is over. Won’t they be startled and bewildered? Isn’t it well known that even if they were to gain the entire world with the spreading seas, it’s not in the nature of herder women with virtue to accept to be part of two weddings!” Let’s delve into the details. The verse is situated in the context of a lady’s attempt to persuade a man to marry her. Though this theme is most commonly found in the ‘Kurinji’ or ‘Mountain landscape’, it has been grouped under the ‘Mullai’ or ‘Forest landscape’, owing to the presence of elements from the herder community. These words are said by the lady to her confidante. The lady starts in an agitated tone talking about how her family is preparing for her wedding and asks whether the man’s relatives will say, ‘Our little boy is crying!’, indirectly asking if the man she loves is but a child! She asks her confidante to go there and tell him what a fool he is. The confidante asks what more should she tell him and the lady replies saying the confidante must make him understand that he should speak up, otherwise he is going to lose the lady for sure. Then, she talks about the wedding preparations her family is carrying on with, by spreading fresh sand in front of her house, adding red soil there and then praying to the female buffalo, perhaps a fertility ritual. She talks about another place filled with sands, the river shore, where she united with her man, and declares her wedding with the man was already over, at that moment, She insists to the confidante to ask him, how will a virtuous herder woman let herself be married twice, even if the entire world is offered on a platter! The verse in addition to throwing bright light on the sky-soaring virtue of Sangam women of being true to their beloved, also subtly conveys the culture of a herder community by sketching its wedding customs!…

Sangam Lit

1
Kalithogai 113 – Recollect and Regain 5:46

50 weeks temu5:46

5:46

In this episode, we listen to a intriguing conversation, as depicted in Sangam Literary work, Kalithogai 113, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and presents hidden layers in the relationship between a man and his lady. தலைவன் நலமிக நந்திய நயவரு தட மென்தோள், அலமரல் அமர் உண்கண், அம் நல்லாய்! நீ உறீஇ உலமரல் உயவு நோய்க்கு உய்யும் ஆறு உரைத்துச் செல். தலைவி பேர் ஏமுற்றார் போல முன் நின்று விலக்குவாய் யார்? எல்லா! நின்னை அறிந்ததூஉம் இல்வழி? தலைவன் தளிர் இயால்! என் அறிதல் வேண்டின், பகை அஞ்சாப் புல்லினத்து ஆயர் மகனேன், மற்று யான். தலைவி ஒக்கும் மன். புல்லினத்து ஆயனை நீ ஆயின், குடம் சுட்டு நல் இனத்து ஆயர் எமர். தலைவன் எல்லா! நின்னொடு சொல்லின் ஏதமோ இல்லை மன். தலைவி ஏதம் அன்று எல்லை வருவான் விடு. தலைவன் விடேன். உடம்பட்டு நீப்பார் கிளவி மடம் பட்டு, மெல்லிய ஆதல் அறியினும், மெல்லியால்! நின் மொழி கொண்டு யானோ விடுவேன், மற்று என் மொழி கொண்டு என் நெஞ்சம் ஏவல் செயின்? தலைவி நெஞ்சு ஏவல் செய்யாது என நின்றாய்க்கு, எஞ்சிய காதல் கொள் காமம் கலக்குற ஏதிலார் பொய்ம் மொழி தேறுவது என்? தலைவன் தெளிந்தேன், தெரி இழாய் யான்! பல்கால் யாம் கான் யாற்று அவிர் மணல் தண் பொழில் அல்கல் அகல் அறை ஆயமொடு ஆடி, முல்லை குருந்தொடு முச்சி வேய்ந்து எல்லை இரவுற்றது; இன்னும் கழிப்பி; அரவுற்று உருமின் அதிரும் குரல் போல் பொருமுரண் நல் ஏறு நாகுடன் நின்றன, பல் ஆன் இனநிரை நாம் உடன் செலற்கே. Like the previous verse, this too is another tryst between a determined man and a reluctant lady! The words can be translated as follows: “ Man O beautiful maiden, glowing with allure, are your soft and curved arms, and those huge and fighting kohl-streaked eyes! Tell me the way to abate this suffering-filled disease you have caused in me. Lady Like a crazed person, you stand before me and block me! Who are you? I have never seen you before! Man O maiden, akin to a tender sprout! If you have to know who I am, I’m the son of goat herders, who are fearless of foes! Lady That sounds right. If you are the son of goat herders, my kin are cattle herders, who gather pots of milk! Man I hope there’s nothing wrong in conversing with you. Lady Nothing wrong. I will come tomorrow. Let go of me. Man I won’t! O gentle maiden, although I know the words of those who seem to agree but wish to part away are shallow, with naivety, I want to accept your words and let you go, but what can I do, when my heart commands me not to listen to my own words? Lady Saying my heart does not let me, you stand there, then why do you accept those falsehoods of those, who confuse you with remnants of their love and desire? Man I’m clear now, O maiden wearing well-etched jewels! Many a time, on the spreading sands by the wild river, in the cool shade of the grove, on the wide boulders, we have played together with your playmates, wearing woven garlands of wild jasmine and wild lime on our heads, until it became dark. When we delayed further, akin to the roar of thunder that startles snakes, the fighting bulls that stood with the cows bellowed, waiting for us to leave together!” Let’s explore the details. The verse is situated in the context of forbidden love between a man and a lady. The words are exchanged between a herder girl and a herder man. The man opens the scene by asking a maiden to show the way to cure his love affliction. The lady responds by asking who he is, for she has never seen him before and why is he blocking her path. The man replies by saying to her, ‘If you really want to know, I’m the son of goat herds’. As if introducing her, in response, she says, ‘I’m the daughter of cowherds’. The man queries innocently asking if there was anything wrong in talking to her, to which the lady says, ‘Nothing wrong. Let me go. I will come tomorrow’. But the man persists saying although he believes her words, which are most probably lies, and let her go, his heart is not letting him to. The lady asks why he believes in those so-called lies. The man responds by recollecting a time they both spent together in the groves, until it became dark, and all the fighting bulls that they had brought to graze, had started roaring like thunder, as if telling them, ‘Come on. Let’s get going home’. Through this last account by the man, we understand that the lady already knows the man and is simply pretending not to know him, perhaps because her kin have forbidden their union. The man tries to regain her love by reminiscing about the good times they had spent together. Nostalgia is indeed the stream of water that makes the seed of love sprout with gusto!…

Sangam Lit

1
Kalithogai 112 – Risk and Reward 5:45

50 weeks temu5:45

5:45

In this episode, we perceive a lady’s change of stance, portrayed in Sangam Literary work, Kalithogai 112, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and etches the determined pursuit of a man. தலைவி யார் இவன், என்னை விலக்குவான்? ‘நீர்உளர் பூந்தாமரைப் போது தந்த விரவுத் தார்க் கல்லாப் பொதுவனை நீ மாறு நின்னொடு சொல்லல் ஓம்பு’ என்றார் எமர். தலைவன் எல்லா! ‘கடாஅய கண்ணால் கலைஇய நோய் செய்யும் நடாஅக் கரும்பு அமன்ற தோளாரைக் காணின் விடாஅல் ஓம்பு’ என்றார் எமர். தலைவி கடாஅயார் நல்லாரைக் காணின் விலக்கி நயந்து அவர் பல்லிதழ் உண்கண்ணும் தோளும் புகழ் பாட நல்லது கற்பித்தார் மன்ற நுமர், பெரிதும் வல்லர் எமர் கண் செயல். தலைவன் ஓஒ வழங்காப் பொழுது நீ கன்று மேய்ப்பாய் போல் வழங்கல் அறிவார் உரையாரேல் எம்மை இகழ்ந்தாரே அன்றோ எமர்? தலைவி ஒக்கும் அறிவல் யான் எல்லா, விடு; தலைவன் விடேன் யான்; என் நீ குறித்தது இருங்கூந்தால் நின்னை என் முன் நின்று சொல்லல் ஓம்பு என்றமை அன்றி அவனை நீ புல்லல் ஓம்பு என்றது உடையரோ, மெல்ல முயங்கு நின் முள் எயிறு உண்கும் தலைவி (தன் நெஞ்சிடம்) எவன் கொலோ? மாயப் பொதுவன் உரைத்த உரை எல்லாம் வாயாவது ஆயின், தலைப்பட்டாம்; பொய்யாயின், சாயல் இன் மார்பில் கமழ்தார் குழைத்த நின் ஆயிதழ் உண்கண் பசப்பத் தட மென்தோள் சாயினும் ஏஎர் உடைத்து. Another one in the light conversational format! The words can be translated as follows: “ Lady Who is he, the one stopping me? ‘Do not talk to that unwise herder man wearing a garland of mixed flowers, the one, who gave those lotus flowers blooming in the water!’ – So said, my kin! Man Hey dear! ‘Do not let go if you see the one with bewitching eyes, she who disturbs and renders an affliction, the one with sugarcane painted, beautiful arms!’ – So said, my kin! Lady The kin of yours have taught you well indeed, saying if you see those with bewitching eyes, stop them, and flatter their many-petalled, kohl-streaked eyes with songs many! If they are so capable, why don’t they approach my kin? Man Oh! If my kin know that you will take the calves grazing in this place at a time when no-one is about and then don’t tell me about that, wouldn’t that mean they don’t care about me? Lady That sounds about right. I know all about it! Let me go now! Man I won’t! O maiden with thick tresses, what did you just tell me now? Your kin said ‘Do not stand before him and talk to him’. Did they say, ‘Do not embrace him!’? So, hug me gently so that I can savour the nectar of your sharp teeth! Lady (To her heart) What shall I do? If the words rendered by this deceptive herder becomes true, I will be saved; But if it were to become false, the beautiful petaled, kohl-streaked eyes that has now decided to crush the garland worn on the sweet chest, would become coated with pallor, and these curving soft arms would thin away. Even so, they would remain beautiful!” Let’s delve into the details. The verse is situated in the context of forbidden love between a man and a lady. The words are exchanged between a herder girl and a herder man. The lady opens the scene by wondering who was this chap, who was blocking her path, and then she says, ‘Isn’t he the one my folks have asked me not to talk to?’. Hearing this, the man says, ‘Is that what your folks have said to you? Do you know what mine have said to me? Never let go if I see someone as beautiful as you are, cross my path’. To this, she responds with scorn, ‘Oh! They have taught you well to sing and praise the beautiful maiden who cross your path. They seem very wise. Why don’t they come and talk to my kin?’. The man answers this tangentially saying, ‘Only if they don’t advise me so, I’d think they care not about me at all!’ The lady dismisses his words and prepares to leave but the man refuses to let her go saying, ‘Hey listen! All your folks said was don’t talk to me. Did they say don’t embrace me? Come on then, what’s stopping you from coming close to me?’. The lady is now resigned to her fate and concludes saying to her heart, ‘If the love and promise the chap gives me is to come true, then I’ll be saved. If he’s going to deceive me and vanish away, then my eyes will be filled with pallor and my arms will thin away. But even then, they will still be beautiful!’. This last line reveals to us that the lady is ready to take the risk of furthering her relationship with this man, who has relentlessly pursued her. A verse which reveals to us how the perceptions and opinions of a family in Sangam times, affect two people in love!…

Sangam Lit

1
Kalithogai 111 – Reject and Revert 6:18

50 weeks temu6:18

6:18

In this episode, we listen to a lady’s plea to a friend, as depicted in Sangam Literary work, Kalithogai 111, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and sketches the petition and dismissal of a man’s requests. தீம்பால் கறந்த கலம் மாற்றிக், கன்றெல்லாம் தாம்பின் பிணித்து, மனைநிறீஇ, யாய் தந்த பூங்கரை நீலம் புடைதாழ மெய்அசைஇ, பாங்கரும் முல்லையும் தாய பாட்டங்கால் – தோழி! நம் புல்லினத்து ஆயர் மகளிரோடு எல்லாம் ஒருங்கு விளையாட, அவ்வழி வந்த குருந்தம்பூங் கண்ணிப் பொதுவன் மற்று என்னை “முற்றிழை ஏஎர் மட நல்லாய்! நீ ஆடும் சிற்றில் புனைகோ சிறிது?” என்றான்; “எல்லா! நீ ‘பெற்றேம் யாம்’ என்று பிறர் செய்த இல் இருப்பாய், கற்றது இலை மன்ற காண்” என்றேன்; “முற்றிழாய்! தாதுசூழ் கூந்தல் தகைபெறத் தைஇய கோதை புனைகோ நினக்கு?” என்றான்; “எல்லா! நீ ஏதிலார் தந்த பூக்கொள்வாய் நனி மிகப் பேதையை மன்ற பெரிது” என்றேன்; “மாதராய்! ஐய பிதிர்ந்த சுணங்குஅணி மென்முலை மேல் தொய்யில் எழுதுகோ மற்று?” என்றான்; “யாம் பிறர் செய்யுறம் நோக்கி இருத்துமோ? நீ பெரிது மையலை மாதோ விடுக” என்றேன்; தையலாய்! சொல்லிய ஆறு எல்லாம் மாறுமாறு யான் பெயர்ப்ப, அல்லாந்தான் போலப் பெயர்ந்தான், அவனை நீ ஆயர் மகளிர் இயல்பு உரைத்து, எந்தையும் யாயும் அறிய உரைத்தீயின் யான் உற்ற நோயும் களைகுவை மன். An account of a past conversation! The words can be translated as follows: “After placing vessels with sweet milk within, I tied the calves with ropes. Leaving them in the house, wearing a blue attire with a floral border, hanging low, swaying my form, I went to the grove filled with toothbrush trees and wild jasmine vines. My friend, I was playing together with the daughters of goatherds there. Just then, a herder man came that way, wearing a garland of wild lime flowers. He said, “O beautiful maiden, wearing radiant jewels, shall I carve a little sand home for you to play with?”. I replied, “Hey you! Only you will live in the homes of others, thinking ‘I’ve got it. What more do I want? You know not what’s right!”. He said, “O beautiful maiden wearing flawless jewels, shall I weave a garland to adorn with much beauty, your pollen-filled, fine tresses?”. I replied, “Hey you! Only you will accept the flowers given by a stranger. Your foolishness is great indeed!” He said, “O pretty maiden, on your soft bosom, on which beauty spots spread so alluringly, shall I etch ‘thoyyil’ paintings?. I replied, “Do you think I’m waiting for someone to come do this for me? You are in some delusion. Leave me alone!” O young maiden! Whatever he said, I rejected repeatedly, and he parted away with much disappointment. If you will go to him and talk about the true nature of herder maiden, and let my father and mother know about this, you will vanquish my affliction too!” Let’s explore the details. The verse is situated in the context of revealing a lady’s relationship with a man to the lady’s kin. Although this theme is mostly found in the ‘Kurinji’ or ‘Mountain landscape’, the setting of a herder community situates it in the ‘Mullai’ or ‘Forest Landscape’. The words are said by a lady to her confidante. The lady begins by talking about her activities on the day before. She presents the scene of how she milked the cows, brought those brimming vessels, and placed them within her home. Next, she ties up the calves, making sure they don’t scoot off, and then she mentions that she wore a blue attire with a floral design in the border, hanging low. This mention of an attire with varying patterns tells us the weaving industry was thriving well in that time and place. Returning to the lady, she says after that, with a little hop and dance, she went out to the grove filled with toothbrush trees and jasmine vines, to play with other young girls, daughters of goatherds. As she was playing there, a young man seems to have approached her and put forth three requests: First, he asks whether he could build a little sand home for her to play with; Next, whether he could weave a garland to adorn her tresses; And last, whether he could draw ‘thoyyil’ paintings on the lady’s beautiful bosom. To each of these requests, the lady replies with, ‘Only you will be content with a home that someone else builds for them, not me; only you will accept flowers from a stranger, not me; and finally, about the ‘thoyyil’ question, she asks him whether he thought she was waiting for someone to come and paint her bosom’. She scolds the man for his delusion and asks him to leave. This series of exchanges the lady shares with her confidante and tells her, ‘That day, I cheekily retorted to him and made him leave so disappointed. But now, my heart has changed. So, please go to him and tell him this is how herder girls will talk, rejecting at first, and also wishing to accept their men only after they tame the bulls. You also please reveal my love for him to my father and mother. Only this will resolve the love affliction in my heart’! Quite a mission for the lady’s friend! The verse highlights how the mind can look at something one way in the beginning and totally change course after a while, especially when it comes to the matters of the heart!…

Sangam Lit

1
Kalithogai 110 – Love that struggles to wait 6:00

51 weeks temu6:00

6:00

In this episode, we perceive a conversation between a lovelorn man and his beloved, as portrayed in Sangam Literary work, Kalithogai 110, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and presents elements that echo the soul of this land. தலைவி கடி கொள் இருங் காப்பில் புல்லினத்து ஆயர் குடிதொறும் நல்லாரை வேண்டுதி எல்லா! இடு தேள் மருந்தோ, நின் வேட்கை? தொடுதரத் துன்னி, தந்தாங்கே, நகை குறித்து, எம்மைத் திளைத்தற்கு எளியமாக் கண்டை; “அளைக்கு எளியாள் வெண்ணெய்க்கும் அன்னள்” எனக் கொண்டாய் தலைவன் ஒண்ணுதால்! ஆங்கு நீ கூறின், அனைத்தாக; நீங்குக அச்சத்தான் மாறி, அசைவினான் போத்தந்து, நிச்சம் தடுமாறும், மெல் இயல் ஆய்மகள்! மத்தம் பிணித்த கயிறு போல், நின் நலம் சுற்றிச் சுழலும் என் நெஞ்சு விடிந்த பொழுதினும் இல்வயின் போகாது, கொடுந் தொழுவினுள் பட்ட கன்றிற்குச் சூழும் கடுஞ்சூல் ஆ நாகு போல், நிற் கண்டு, நாளும், நடுங்கு அஞர் உற்றது என் நெஞ்சு எவ்வம் மிகுதர, எம் திறத்து, எஞ்ஞான்றும், நெய் கடை பாலின் பயன் யாதும் இன்றாகி, கை தோயல் மாத்திரை அல்லது செய்தி அறியாது அளித்து என் உயிர் தலைவி அன்னையோ? மன்றத்துக் கண்டாங்கே, ‘சான்றார் மகளிரை இன்றி அமையேன்’ என்று இன்னவும் சொல்லுவாய்; நின்றாய்; நீ சென்றீ; எமர் காண்பர்; நாளையும் கன்றொடு சேறும் புலத்து. Another short conversational verse! The words can be translated as follows: “ Lady Hey you! In all the houses upon the fresh and fragrant vast spaces, where goatherds live, you seek beautiful women! Is your desire like a scorpion’s sting that must be cured immediately? Just because I came close and let you touch me, seeing my smile, you have decided I’m easy to get together with, thinking ‘She readily offers the buttermilk, why won’t she do the same with butter?’! Man O maiden with a radiant forehead! If that’s what you think about me, let it be so! I will leave. O soft-natured herder girl, with fear, it moves away, but then overcome with desire, it comes near, and akin to rope around a churning rod, around your beauty, twists and turns, this heart of mine! Even when it’s daybreak, instead of stepping out, a cow that has delivered its first calf, will remain within, close to its young one in the barn. Akin to that, seeing you, day after day, trembles in torment, this heart of mine! As suffering brims over beyond my ability to bear every day, akin to milk that is of no use when it has been used to make butter, without anything else, but the memory of touching you with my hands, pitifully laments this life of mine! Lady Is that so? Right at the moment you see someone, you declare you cannot be without that woman from a good family, saying all this and stand here waiting. Please go away! My kin will see us. Tomorrow, I will come with the calf to the fields!” Time to explore the nuances. The verse is situated in the context of love among workers and these words are exchanged by a herder man and a herder lady. The lady starts the scene by remarking on the man’s desire to be with women, asking if it is a scorpion’s sting that requires immediate attention. She describes how she just came close to him and let him touch her but he seems to have taken it as a license to get together with her. To explain his thought process, she talks about how the man thinks just because he’s got buttermilk easily from her, he’ll get butter too. In their own way, the ancients are talking about the critical concept of consent in intimate relationships. Returning, we find the man replying that if that’s how the lady feels, he would leave. But then goes on to pen his state of suffering with three parallels: One, a rope around a churning rod that moves this way and that way, around this herder girl; Two, how a cow that has delivered its first calf won’t leave the side of its young one, even when it’s daybreak and time to go grazing; Three, the useless state of milk after butter has been taken from it, the man connects to his life that pines to be with the lady. Hearing all this, the lady asks incredulously how he can want to be with someone the moment he sees them, and that too in the town centre. She tells him one of her kin might see her and leaves with the cryptic message that she would be in the fields the following day with her calf, hinting to the man he may find success in his prospects to be with her if he comes the next day. Beyond the brimming romance in these lines, what’s striking is the stack of similes that etch the various elements of this land. It’s fascinating how the poets root their poems so strongly in a particular domain and create art that is the perfect fusion of love and life in a land!…

Sangam Lit

1
Kalithogai 109 – A mesmerising maiden 8:12

51 weeks temu8:12

8:12

In this episode, we listen to a heart’s outpouring, as portrayed in Sangam Literary work, Kalithogai 109, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and etches the mesmerising beauty of a maiden. கார் ஆரப் பெய்த கடி கொள் வியன் புலத்துப் பேராது சென்று, பெரும் பதவப் புல் மாந்தி, நீர் ஆர் நிழல குடம்சுட்டு இனத்துள்ளும், போர் ஆரா ஏற்றின் பொரு நாகு இளம் பாண்டி தேர் ஊர செம்மாந்தது போல் மதைஇனள் பேர் ஊரும் சிற்றூரும் கௌவை எடுப்பவள் போல், மோரோடு வந்தாள் தகை கண்டை; யாரோடும் சொல்லியாள் அன்றே வனப்பு பண்ணித் தமர் தந்து, ஒரு புறம் தைஇய கண்ணி எடுக்கல்லாக் கோடு ஏந்து அகல் அல்குல் புண் இல்லார் புண்ணாக நோக்கும்; முழு மெய்யும் கண்ணளோ? ஆயர் மகள் இவள்தான் திருத்தாச் சுமட்டினள், ஏனைத் தோள் வீசி, வரிக் கூழ வட்டி தழீஇ, அரிக் குழை ஆடல் தகையள்; கழுத்தினும் வாலிது நுண்ணிதாத் தோன்றும் நுசுப்பு இடை தெரியா ஏஎர் இருவரும் தத்தம் உடை வனப்பு எல்லாம் இவட்கு ஈத்தார்கொல்லோ? படை இடுவான்மன் கண்டீர், காமன் மடை அடும் பாலொடு கோட்டம் புகின் இவள் தான், வருந்த நோய் செய்து இறப்பின் அல்லால், மருந்து அல்லள் ‘யார்க்கும் அணங்காதல் சான்றாள்’ என்று, ஊர்ப் பெண்டிர், ‘மாங்காய் நறுங் காடி கூட்டுவேம்; யாங்கும் எழு நின் கிளையொடு போக’ என்று தத்தம் கொழுநரைப் போகாமல் காத்து, முழு நாளும், வாயில் அடைப்ப வரும். After the downpour of long, long songs in this Mullai landscape, a gentle drizzle in this one! The words can be translated as follows: “Without leaving the fresh and fragrant wide spaces, where the rains had poured copiously, feeding on the thick and tall scutch grass in the moist shade, along with the herd of cows that yield pots of milk, grazes the war-like, young one of a bull that never ceases fighting. Akin to how this young bull would stride with pride when tied for the first time to a chariot, walks on this young maiden. Making all the great towns and little hamlets spread rumours, see how she comes walking, selling buttermilk. It is said that her beauty has no equal! On one side, she wears a garland, woven and presented to her by her kin, around her lined and lifted wide hips, destroying even those without desire. It’s not just her eyes that captivate one, her entire form seems to be a collection of eyes, in that herder’s daughter! As for her, she places a huge head pad that does not fit, and swaying her arms, holding a basket full of rice, she comes walking, with her dangling earrings dancing. Even more alluring and slender than her neck, appears her slim waist. Have those two heavenly maiden given away all their exquisite beauty to her? If she enters the temple of Kama, the God of love, with a pot of milk as offering, seeing her, he is sure to drop down his bow, stunned! She is one who is sure to part away, condemning me with a fatal affliction, but she won’t become the cure! The womenfolk of the town thinking, ‘What a terror she is!’, will decide, ‘Let’s choose tender mango pickle as our side dish’ and tell the maiden, ‘Please leave elsewhere with your kin to sell your wares’ and will prevent their husbands from stepping out, the entire day, by shutting their gates!” Let’s delve into the details. The verse is situated, like the previous one, in the context of love between workers, and these words are said by a herder man about a buttermilk-selling young maiden. The man first talks about the gait of this lady, equating it to an element of that land – a young bull, born to a fighter bull, in the moment this bull is tied to a cart and sent out on its first mission. The pride many young people feel when they start to work and the assurance it renders to them is captured in this simile. This young girl too is out on the streets, selling buttermilk, creating an uproar in towns, big and small, the man tell us, adding ‘Oh! That beauty of hers has no equal!’. He describes how a garland she wears around her waist seems to devastate even ascetics who have no desire. As one of the things she carries, he talks about a load pad, called as ‘summaadu’, which I have seen women in rural parts of Tamilnadu use till this day. It’s a rolled piece of cloth, used to carry heavy pots and vessels on the head. The man remarks how that doesn’t fit the lady at all, perhaps it’s too big for her, or maybe not fashionable enough! The other thing she’s holding is a basket of rice and this simple object echoes the economics of that era, depicting a barter system of exchanging buttermilk and rice, a transfer of products between the ‘Mullai’ or ‘Forest Landscape’ and the ‘Marutham’ or ‘Farmlands Landscape’. The man continues describing the lady’s dangling earrings and then goes on to talk about her slim waist. He mentions two heavenly maiden, whom he names not, but possibly referring to the mythological Urvasi and Ramba, goddesses known for their divine beauty, wondering if they have decided to donate all their beauty to this maiden! In the same vein, he says when this lady enters the temple of the God of love, Kama, to give a pot of milk as offering, the god himself would be so overcome that he would drop his bow in confusion! Jitters to gods themselves – What a maiden! Joking apart, this nugget tells us that the ancient Tamils had built temples to worship the God of Love, and the people had the practice of offering milk to the deity, a tradition which is continued across Tamil nadu to this day, to other Gods in other temples. Returning, the man ends with a reaction for the maiden that made me burst out laughing every time I read it. He says this is the reaction that arises in the other married women in that town, who realise what a danger this lady is, and decide they are not going to buy buttermilk from this maiden, thinking it’s better to eat their rice with a dash of mango pickle than having her walking about their streets. Also, as an extra caution, until she’s gone, they decide to lock up their husbands all day within their homes ! A hyperbole to sketch this ancient woman’s allure, no doubt, but the verse also captures vividly a person’s mindset, when in the throes of passion, which makes them see the significant other as someone so beautiful, divine and out of this world! Isn’t that what love is all about?…

Sangam Lit

1
Kalithogai 108 – A war of words 13:30

51 weeks temu13:30

13:30

In this episode, we see sparks fly in a couple’s conversation, as conveyed in Sangam Literary work, Kalithogai 108, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and reveals interesting perspectives about work in ancient times. தலைவன் இகல் வேந்தன் சேனை இறுத்த வாய் போல அகல் அல்குல், தோள், கண், என மூவழிப் பெருகி, நுதல், அடி, நுசுப்பு, என மூவழிச் சிறுகி, கவலையால் காமனும் படை விடு வனப்பினோடு, அகலாங்கண் அளை மாறி, அலமந்து, பெயருங்கால், ‘நகை வல்லேன் யான்’ என்று என் உயிரோடு படை தொட்ட இகலாட்டி! நின்னை எவன் பிழைத்தேன், எல்லா! யான்? தலைவி அஃது அவலம் அன்று மன ஆயர் எமர் ஆனால், ஆய்த்தியேம் யாம் மிக காயாம்பூங் கண்ணிக் கருந் துவர் ஆடையை மேயும் நிரை முன்னர்க் கோல் ஊன்றி நின்றாய், ஓர் ஆயனை அல்லை; பிறவோ அமரருள் ஞாயிற்றுப் புத்தேள் மகன்? தலைவன் அதனால் வாய்வாளேன்: ‘முல்லை முகையும் முருந்தும் நிரைத்தன்ன பல்லும் பணைத் தோளும், பேர் அமர் உண்கண்ணும், நல்லேன் யான்’ என்று, நலத்தகை நம்பிய சொல்லாட்டி! நின்னொடு சொல் ஆற்றுகிற்பார் யார்? தலைவி சொல்லாதி! தலைவன் நின்னைத் தகைத்தனென்! தலைவி ………………………….. அல்லல் காண்மன்! மண்டாத கூறி, மழ குழக்கு ஆகின்றே, கண்ட பொழுதே கடவரைப் போல, நீ பண்டம் வினாய படிற்றால் தொடீஇய, நிற் கொண்டது எவன் எல்லா! யான்? தலைவன் கொண்டது: அளை மாறிப் பெயர்தருவாய், அறிதியோ? அஞ் ஞான்று, தளவ மலர் ததைந்தது ஓர் கானச் சிற்றாற்று அயல், இள மாங்காய் போழ்ந்தன்ன கண்ணினால், என் நெஞ்சம் களமாக் கொண்டு ஆண்டாய்; ஓர் கள்வியை அல்லையோ? தலைவி நின் நெஞ்சம் களமாக்கொண்டு யாம் ஆள, எமக்கு எவன் எளிதாகும்? புனத்துளான் என்னைக்குப் புகா உய்த்துக் கொடுப்பதோ? இனத்துளான் எந்தைக்குக் கலத்தொடு செல்வதோ? தினைக் காலுள் யாய் விட்ட கன்று மேய்க்கிற்பதோ? தலைவன் அனைத்து ஆக வெண்ணெய்த் தெழி கேட்கும் அண்மையால், சேய்த்து அன்றி, அண்ணணித்து ஊர் ஆயின், நண்பகல் போழ்து ஆயின், கண் நோக்கு ஒழிக்கும் கவின் பெறு பெண் நீர்மை மயில் எருத்து வண்ணத்து மாயோய்! மற்று இன்ன வெயிலொடு எவன் விரைந்து சேறி? உதுக்காண்: பிடி துஞ்சு அன்ன அறை மேல, நுங்கின் தடி கண் புரையும் குறுஞ் சுனை ஆடி, பனிப் பூந் தளவொடு முல்லை பறித்து, தனி காயாந் தண் பொழில், எம்மொடு வைகி, பனிப் படச் செல்வாய், நும் ஊர்க்கு தலைவி இனிச் செல்வேம் யாம் மா மருண்டன்ன மழைக் கண் சிற்றாய்த்தியர் நீ மருட்டும் சொற்கண் மருள்வார்க்கு உரை அவை: ஆ முனியா ஏறு போல், வைகல் பதின்மரைக் காமுற்றுச் செல்வாய்; ஓர் கட்குத்திக் கள்வனை; நீ எவன் செய்தி பிறர்க்கு? யாம் எவன் செய்தும் நினக்கு? தலைவன் கொலை உண்கண், கூர் எயிற்று, கொய் தளிர் மேனி, இனை வனப்பின் மாயோய்! நின்னின் சிறந்தார் நில உலகத்து இன்மை தெளி; நீ வருதி; மலையொடு மார்பு அமைந்த செல்வன் அடியைத் தலையினால் தொட்டு உற்றேன் சூள் தலைவி ஆங்கு உணரார் நேர்ப; அது பொய்ப்பாய் நீ; ஆயின் தேம் கொள் பொருப்பன் சிறுகுடி எம் ஆயர் வேந்து ஊட்டு அரவத்து, நின் பெண்டிர் காணாமை, காஞ்சித் தாது உக்கன்ன தாது எரு மன்றத்துத் தூங்கும் குரவையுள் நின் பெண்டிர் கேளாமை, ஆம்பற் குழலால் பயிர் பயிர் எம் படப்பைக் காஞ்சிக்கீழ்ச் செய்தேம் குறி Finally, we have bid farewell to the bull taming arena, and now, find ourselves taking in the lush spaces of the forest domain. The words can be translated as follows: “ Man Akin to a great king’s army that has laid siege, with your wide loins, arms and eyes that are expansive and forehead, feet and waist that are slender, possessing a beauty that makes even the God of love aim his arrows at you, after selling curd in those far away places, as you move bewitchingly, when you walk on, as if saying, ‘I can kill with my smile’, you seem to shower weapons on my very life, O hostile maiden! What wrong did I do to you, my dear? Lady What’s wrong in selling curd? My people are herders and I’m a herder woman; As for you, you stand there, leaning on a stick in front of a grazing herd, wearing a dark red attire and a garland of ironwood flowers. But I don’t think you are a herder man! Could you be the godly son of the sun from the heavens? Man That is why I stand speechless! O maiden, who believes in the greatness of her beauty saying, ‘Having teeth like jasmine buds and palm sprouts neatly placed, bamboo-like arms, wide kohl-streaked eyes, beautiful, I am!’, you are so skilled in words, who can even talk to you? Lady So, don’t talk! Man I shall block you from leaving! Lady Behold my sorry state! Blabbering words like a child, you are throwing a tantrum, and akin to a creditor, who sees one of the debtors and asks questions about all the things they are carrying, so that they can seize them, you are speaking to me. What is that I have taken from you? Tell me please. Man Don’t you know what you have taken? One day, when returning after selling curd, near a small, wild stream, surrounded by pink jasmine flowers, with your eyes, akin to split tender mangoes, you stole away my heart! Aren’t you that thieving maiden? Lady What would I gain by stealing your heart and reigning over it? Will it carry food to my brother working in the field? Will it carry a vessel to my father who’s herding? Or will it hold the calf that mother let out amidst the millet stubble and take it grazing? Man Yes! It can do it all that! O dark-skinned maiden, in the hue of a peacock’s neck, with an arresting feminine nature that prevents others from looking at anything else! You live in a village not far but so close that one can hear their churning of buttermilk here. It’s noon now. Why do you have to hurry there in this hot sun? Look over there! There’s a rock in the shape of a sleeping elephant, with a small cascade, akin to juice gushing out of a palm fruit. After playing in the waterfall, plucking cool pink jasmine flowers and resting with me in the moist shade of the ironwood tree, you can go by evening to your village! Lady Is that all? I will leave now. To those young herder girls, with rain-like eyes, with a gaze of startled deer, who will melt for your seducing words, go on and say all this! You are one, who goes after ten women a day, akin to a stud bull! You are like a thief, who steals from someone even when they have their eyes wide open! What good have you done for others? And what must I do for you? Man With killer, kohl-streaked eyes, sharp teeth, tender sprout like skin, you are so beautiful, O dark-skinned maiden! Know that there’s no one better than you in this wide world! Please trust and come near me. Touching the feet of the Great One with a mountain-like chest with my head, I will swear an oath! Lady Only those who know not about you will come with you; You are sure to falsify that oath; However, I have decided to tryst with you. Such that your other women, in the middle of the uproarious celebrations of the herders in our little village, praising the victory of the King, who rules over the honey-filled mountains, don’t see you, and such that your other women, who are doing the ‘Kuravai’ dance in the town centre, filled with dust of cow dung, akin to the pollen of the Portia tree, don’t hear you, come on then, to the spot below the Portia tree in my village, softly playing the ‘aambal’ flute!” Let’s explore the nuances. In all the Sangam ‘Aham’ songs we have seen thus far, there was one memorable exception recently, a conversation between a hunchback and a dwarf. This verse too lies in that exceptional context of love between workers or the supporting characters. These words are exchanged by a curd-selling lady and a herder man. The scene begins with the man talking to this lady, remarking about how she seems to be returning after selling curd and milk in faraway places, and mentioning that she seems to be killing him with her perfect beauty. The lady catches hold of his statement about her selling curd, thinking he’s mocking her working role and replies to him saying there’s nothing wrong in selling curd, because I come from a family of cowherds. She adds, ‘You are standing there, in front of a grazing herd, leaning on a stick, but you do not seem like an ordinary herder man. Are the son of the sun himself?’, in a mocking tone. ‘Yes, you are right, that’s why I don’t have the words to speak to you’, he says, and adds that no one can win that lady in the war of words. The lady gives him a word punch with ‘So, don’t talk!’ and prepares to leave. The man blocks her from doing so. She wonders what she has gotten herself into and comments on the man’s behaviour, equating him to a stubborn child and a creditor who asks a debtor many questions about what he’s carrying so that he may recover his loan, and she connects by asking the man what she has taken from him. To this, the man replies that one day, when returning from selling curd, she stole his heart near a little stream, implying their prior relationship. The lady answers this by asking what use is his heart wondering whether it can carry food to her brother, working in the fields, or go give a vessel to her father, herding cattle, or take the calf mother sent out, grazing amidst the millet stubble, conveying to us, all the tasks that she does for her family, in addition to selling curd. The man responds with ‘Sure, but forget all that and answer me this. Your village is so close that I can hear them churning the buttermilk right here. It’s noon and so hot! Why don’t we go play in the little cascade nearby, pluck some flowers and rest in the shade of the tree. Then, you can go home in the evening’. Brimming with ideas, our boy here! The lady responds saying, other naive herder girls may fall for these words, but not her, making us understand that she is mad at him, because she suspects that he has been with other maiden. In fact, she calls him a mating bull, which never tires of the cows, for he seems to want ten women a day. Fireworks in her eyes, no doubt! To this, the man replies, ‘Don’t you think that way! There’s no one like you. I’ll swear on the God with a mountain-like chest!’. The lady responds saying ‘Truly only foolish people will trust in your words. You are sure to lie’. But at this moment, she seems to have a change of heart and tells him that she has decided to tryst with him, and mentions a spot near a Portia tree in her village, and asks him to come playing softly on a flute, making sure his other maiden don’t hear or see him, amidst their Kuravai dance and celebration of their king, revealing once again her suspicions about the man’s courting other maiden. An interesting conversation that sheds subtle light on this woman of the past and the pride she took in her work of selling curd and helping her family. A hurrah for this ancient ancestor, who seems to have lived life, not pining for a man but going about and doing her work with independence and confidence!…

Sangam Lit

1
Kalithogai 107 – On garlands and good news 7:33

51 weeks temu7:33

7:33

In this episode, we listen to an amusing conversation, as portrayed in Sangam Literary work, Kalithogai 107, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and paints both the confusion and the relief in the mind of a lady. தலைவி எல்லா! இஃதொன்று கூறு – குறும்பு இவர் புல்லினத் தார்க்கும், குடம் சுட்டவர்க்கும், எம் கொல் ஏறு கோடல் குறை எனக் கோவினத்தார் பல் ஏறு பெய்தார் தொழூஉ தொழுவத்து, சில்லைச் செவி மறைக் கொண்டவன் சென்னிக் குவி முல்லை கோட்டம் காழ் கோட்டின் எடுத்துக்கொண்டு ஆட்டிய ஏழை இரும்புகர் பொங்க, அப் பூ வந்து என் கூழையுள் வீழ்ந்தன்று மன் அதனைக் கெடுத்தது பெற்றார் போல் கொண்டு யான் முடித்தது, கேட்டனள் என்பவோ யாய்? இஃதொன்று கூறு தோழி கேட்டால் எவன் செய்ய வேண்டுமோ? மற்றிகா அவன் கண்ணி அன்றோ அது? தலைவி பெய் போது அறியாத் தன் கூழையுள் ஏதிலான் கை புனை கண்ணி முடித்தாள் என்று யாய் கேட்பின் செய்வது இல் ஆகுமோ மற்று? இஃதொன்று கூறு தோழி எல்லாத் தவறும் அறும்; தலைவி ஓஒ அஃது அறும் ஆறுமாறு? தோழி ஆயர் மகன் ஆயின், ஆயமகள் நீ ஆயின், நின் வெய்யன் ஆயின், அவன் வெய்யை நீ ஆயின், அன்னை நோதக்கதோ இல்லை மன்; …….. தலைவி ………………………………. நின் நெஞ்சம் அன்னை நெஞ்சு ஆகப் பெறின்! தோழி அன்னையோ! ஆயர் மகனையும் காதலை கைம்மிக, ஞாயையும் அஞ்சுதி ஆயின், அரிது அரோ, நீ உற்ற நோய்க்கு மருந்து தலைவி மருந்து இன்று யான் உற்ற துயர் ஆயின், எல்லா! வருந்துவேன் அல்லனோ யான்? தோழி வருந்தாதி! மண்ணி மாசற்ற நின் கூழையுள் ஏறு அவன், கண்ணி தந்திட்டது எனக் கேட்டுத் ‘திண்ணிதாத் தெய்வ மால் காட்டிற்று இவட்கு’ என, நின்னை அப் பொய் இல் பொதுவற்கு கொடை சூழ்ந்தார் தந்தையோடு ஐயன்மார் எல்லாம் ஒருங்கு. After those long, long songs on bull taming, we witness one in a light, conversational style! The words can be translated as follows: “ Lady Hey dear! Wish to speak to you about something: To goatherds, who rove the mountain villages, and the cowherds, who gather pots of milk, the cattle owners announced, ‘Our killer bulls are ready for the fight’, and let in many bulls into the arena. In that arena, as a man captured a bull by its ears, marked with dots, the wild jasmine flowers on his curving head garland got caught in the horns of the bull. Shaking it, when the poor huge tawny bull leaped, those flowers flew and fell near my tresses! I picked it up instantly like one who had found a long lost thing, and tied it tightly. Won’t mother ask about it? Tell me what to do! Confidante Isn’t it his garland? What do think we should do? Lady If mother sees my tresses, which had not any flowers, and notices that I have tied the well-etched garland of a stranger, won’t she be furious? Isn’t there anything we can do? Please tell me! Confidante All that’s worrying you will soon end. Lady Oh! In what way, will it end? Confidante He’s a herder’s son and you are a herder’s daughter. You love him and he loves you. What is there for mother to lament about? Lady How I wish your heart was mother’s heart! Confidante Is that so? Your love for that herder’s son brims over. At the same time, you fear mother. If that’s the case, isn’t it hard to find a cure for your affliction? Lady If my sorrow has no cure, my dear friend, won’t I suffer so much? Confidante Don’t you worry! Hearing that the bull threw his garland on your flawless, perfect tresses, your father and brothers have together declared that it’s a crystal clear sign from the gods and have decided to offer you in marriage to that honest herder!” Time to delve into the details. The verse is situated in the context of bull taming and its significance in the married life of the man and lady and these words are exchanged between the lady and her confidante. The lady starts by narrating an incident that happened in the midst of the bull taming festivities. Without going into lengthy discussions on all the bulls and players, the lady zooms on to one particular herder, who’s holding a tawny bull by its ears, and just then, his wild jasmine garland gets caught in the horns of the said bull. The bull twists and turns to shake him off, and in the process, the garland flies and falls near her, says the lady. She describes how she grabbed it, like a person who had lost something long ago and has found it. She seems to have tied it tightly in her tresses. With much worry, the lady asks her confidante what will mother say if she sees this. The confidante decides to play with the lady and says, ‘Why what have you got to worry about?’. The lady replies that mother knows I went with no flowers in my tresses and now I return wearing the garland of a stranger, and won’t this make her mad. The confidante cryptically answers that whatever the lady is worrying about will be no consequence. Hearing this, the lady presses her, asking how will that happen. Quite logically, the confidante says you both belong to the tribe of herders and you both are in love. When that’s true, why should mother crib about this?, she asks. The lady replies, ‘Oh my goodness, I wish mother had your good heart!’. To this, the confidante laughingly remarks to the lady saying there’s so much love in you for your man, and so much fear for mother. If this is the case, where can we go for the cure. The lady, with a sad face, asks whether this fate of suffering is to be hers. That’s the cue for the confidante to stop her teasing and give the lady the good news that the lady’s family have accepted the man, hearing that the bull threw his garland to their girl, taking it as a sign from the gods! An adorable conversation that not only reveals facets about sport, faith, love and marriage of the ancients but also highlights the warmth and joy that unfolds, when two girl friends have a heart to heart conversation, then or now!…

Sangam Lit

1
Kalithogai 106 – Courage in the everyday 10:57

51 weeks temu10:57

10:57

In this episode, we perceive the practical aspects of bull taming, as portrayed in Sangam Literary work, Kalithogai 106, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and reveals the value of courage in a man, as seen from the eyes of their beloved maiden. ஏறு கோடல் கழுவொடு சுடு படை சுருக்கிய தோற்கண், இமிழ் இசை மண்டை உறியொடு, தூக்கி, ஒழுகிய கொன்றைத் தீம் குழல் முரற்சியர், வழூஉச் சொற் கோவலர், தத்தம் இன நிரை பொழுதொடு தோன்றிய கார் நனை வியன் புலத்தார் அவ்வழி, நீறு எடுப்பவை, நிலம் சாடுபவை, மாறு ஏற்றுச் சிலைப்பவை, மண்டிப் பாய்பவையாய் துளங்கு இமில் நல் ஏற்றினம் பல களம் புகும் மள்ளர் வனப்பு ஒத்தன தாக்குபு தம்முள் பெயர்த்து ஒற்றி, எவ் வாயும், வை வாய் மருப்பினான் மாறாது குத்தலின், மெய் வார் குருதிய ஏறு எல்லாம் பெய் காலைக் கொண்டல் நிரை ஒத்தன அவ் ஏற்றை, பிரிவு கொண்டு, இடைப் போக்கி, இனத்தோடு புனத்து ஏற்றி, இரு திறனா நீக்கும் பொதுவர் உரு கெழு மா நிலம் இயற்றுவான் விரி திரை நீக்குவான் வியன் குறிப்பு ஒத்தனர் அவரை, கழல உழக்கி, எதிர் சென்று சாடி, அழல் வாய் மருப்பினால் குத்தி, உழலை மரத்தைப் போல் தொட்டன ஏறு தொட்ட தம் புண் வார் குருதியால் கை பிசைந்து, மெய் திமிரி, தங்கார் பொதுவர் கடலுள் பரதவர் அம்பி ஊர்ந்தாங்கு, ஊர்ந்தார் ஏறு ஏறு தம், கோலம் செய் மருப்பினால் தோண்டிய வரிக் குடர் ஞாலம் கொண்டு எழூஉம் பருந்தின் வாய் வழீஇ, ஆலும் கடம்பும் அணிமார் விலங்கிட்ட மாலை போல் தூங்கும் சினை குரவை ஆடுதல் ஆங்கு, தம் புல ஏறு பரத்தர உய்த்த தம் அன்பு உறு காதலர் கை பிணைந்து, ஆய்ச்சியர் இன்புற்று அயர்வர் தழூஉ முயங்கிப் பொதிவேம்; முயங்கிப் பொதிவேம்; முலை வேதின் ஒற்றி, முயங்கிப் பொதிவேம் கொலை ஏறு சாடிய புண்ணை எம் கேளே! பல் ஊழ் தயிர் கடையத் தாஅய புள்ளி மேல் கொல் ஏறு கொண்டான் குருதி மயக்குறப் புல்லல் எம் தோளிற்கு அணியோ? எம் கேளே! ஆங்கு, போர் ஏற்று அருந் தலை அஞ்சலும், ஆய்ச்சியர் காரிகைத் தோள் காமுறுதலும், இவ் இரண்டும் ஓராங்குச் சேறல் இலவோ? எம் கேளே! ‘கொல் ஏறு கொண்டான், இவள் கேள்வன்’ என்று, ஊரார் சொல்லும் சொல் கேளா, அளை மாறி யாம் வரும் செல்வம் எம் கேள்வன் தருமோ? எம் கேளே தென்னன் வாழ்க பாடுதல் ஆங்க, அருந் தலை ஏற்றொடு காதலர்ப் பேணி, சுரும்பு இமிர் கானம் நாம் பாடினம் பரவுதும் ஏற்றவர் புலம் கெடத் திறை கொண்டு, மாற்றாரைக் கடக்க, எம் மறம் கெழு கோவே! A song that’s different from the previous series of bull taming verses in a significant way. The words can be translated as follows: “ Bull Taming Along with the cattle prod, a kindling stick is tied within a draw-string leather bag and food bowls that bang against each other hang on the hoops. Carrying all this and playing on the sweet flute, made from a long and dried-up pod of the golden shower tree, the herders known for their quirky diction, walked on to the wide forest spaces, moistened by the seasonal rains, along with their herds of cattle. In that place, some bulls that were used to stirring up the dust, muddied the moistened ground now, some bellowed with hostility and some crouched to pounce on their opponents. Those sturdy bulls with radiant humps appeared with the handsome quality of warriors entering the battlefield. They attacked each other and pushed them apart, and since sharp horns had pierced ceaselessly, the blood that poured from their bodies made the bulls resemble a gathering of clouds, pouring with rain. The herders there, who separated those bulls, created spaces in between, moved them to the meadows into two groups, appeared akin to the One, who created the vast and expansive land with immense thoughtfulness by separating the roaring waves. In that process, the bulls scattered the herders by pouncing from behind, attacking them from the front, stabbing them with their fire-like horns and made the herders appear like wooden doors with holes in them. Rubbing away the pouring blood from the wounds made by these piercing bulls, shaking their bodies, the herders keep moving, akin to fishermen riding their boats in the seas. The lined intestines pulled out by the well-adorned horns of the bulls are carried away by birds of prey in the sky. The image of those intestines hanging from the bird’s mouth appears akin to a branch on which hangs a glowing garland, left there to adorn the spirits residing in the banyan and the burflower! Kuravai Dancing: And so, holding the hands of their lovers after they have left the bulls to graze in the meadows, the maiden dance together with them, embracing with joy. “All those wounds on my beloved made by those killer bulls, with an embrace, let me bury; with an embrace, let me bury; Caressing with the warmth of my bosom, with an embrace, let me bury! My love’s wounds! On those spots that have spread on my arms when churning the curd, when the blood of the one who tamed the bull fuses together as we embrace, doesn’t that adorn my arms so? My love’s embrace! And so, fearing the frightening head of the battling bull and desiring the picturesque arms of a herder maiden never ever go together, would they? Oh my love! Won’t my love render me much more wealth than I earn by selling curd, when I hear the townsfolk praise him saying, ‘Her lover tamed a killer bull’? Oh my love! Praising the King: And so, guarding our beloved and the precious bulls, let’s sing and pray to the bee-buzzing forest, wishing that our courageous king gathers tributes, ruining the land of his opponents, and conquers his enemies forever and ever!” Time to explore the nuances. The verse is situated in the context of bull taming and its relevance to winning the hand of a maiden and these words are rendered by a narrator, depicting the events and conversations that unfold in this landscape. First, we perceive the objects that are carried by a herder in the forests, and these are, as expected, a cattle prod, to keep those animals in check, a kindling stick for those freezing evenings, and then, food bowls to make a meal on the go. Food for the stomach taken care of, but what about the food for the soul? For this, these clever herders turn the dried-up pods of the golden shower tree into flutes rendering sweet music. The scene changes and now we see these herders walking with their cattle towards the moistened grounds of the forest. Then, we hear an account of the bulls getting into a fierce fight with each other, appearing like some warriors in the field. As they gore the bodies of each other, they seem to look like clouds, pouring with rain. Now, the herders intervene and try to push the cattle apart, separate the fighting groups, and this is connected to the interesting simile of a creator, who decides to carve land amidst the roaring seas and pushes apart the waves. Even though there’s a creator myth in this belief, what I liked about it was the understanding that the oceans preceded land in the timeline of the world. Now, the bulls are mad at the herders and pounce at them with rage, piercing them with their horns, but the herders don’t seem to mind it at all, and rubbing away the blood pouring from their wounds, they keep walking on, with their cattle, appearing like fishermen in a boat, riding on the sea. A gory image of intestines pulled out from the men and picked up by an eagle or a vulture is connected to a divine element – a garland placed on trees like the banyan and the burflower, which we have read in an earlier verse that the bull tamers pray to! After summing those scenes of bull taming, the narrator moves on to give an account of the Kuravai dance of maiden and the content of their songs. The maiden vow to heal the wounds of their men, who have bravely defended against the bulls, with the warmth of their embraces. They delight in the fusing of the white spots on their forms, which has appeared owing to their churning of curd, an important occupation for women of this landscape, and the blood gushing from the bull tamers. There’s no way love for a herder daughter and fear for a bull can go hand in hand, they declare. The dancers also talk about how the greatest wealth for a herder woman is to hear the townsfolk praise her beloved for his prowess in taming a bull. Finally, the maiden end their dance by pledging to protect their bulls and their men, and praying to the forest, wishing for their king’s forever victory! The striking aspect of this verse is in the fact that the bull taming happens in the real world. As we saw in the beginning, the skills of the men in controlling those bulls was not just for sport or to win the hand of their beloved maiden, this was something much-needed in their everyday life. Not only for glory or love, do these men dare to fight the bulls but for their very livelihood! Wouldn’t it be the right thing if exams and education in the modern era, rather than testing memory or recall, trains the students for exactly what they need in their lives, like our ancient ancestors in that wild arena?…

Sangam Lit

1
Kalithogai 105 – Victory in an arena 12:59

51 weeks temu12:59

12:59

In this episode, we perceive conflict and triumph in a bull taming arena, as depicted in Sangam Literary work, Kalithogai 105, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and reveals happy tidings in the lady’s life. தோழி ‘அரைசுபடக் கடந்துஅட்டு ஆற்றின் தந்த முரைசுகெழு முது குடி முரண்மிகு செல்வற்குச் சீர் மிகு சிறப்பினோன் தொல் குடிக்கு உரித்து எனப் பார் வளர் முத்தமொடு படு கடல் பயந்த ஆர் கலி உவகையர் ஒருங்கு உடன் கூடித் தீது இன்று பொலிக என தெய்வக் கடி அயர்மார், வீவு இல் குடிப் பின் இருங்குடி ஆயரும், தா இல் உள்ளமொடு துவன்றி ஆய்பு உடன் வள் உருள் நேமியான் வாய் வைத்த வளை போலத் தெள்ளிதின் விளங்கும் சுரி நெற்றிக் காரியும், ஒரு குழையவன் மார்பில் ஒள் தார் போல் ஒளி மிகப் பொரு அறப் பொருந்திய செம் மறு வெள்ளையும், பெரும் பெயர் கணிச்சியோன் மணி மிடற்று அணி போல இரும் பிணர் எருத்தின் ஏந்து இமில் குராலும், அணங்கு உடை வச்சிரத்தோன் ஆயிரம் கண் ஏய்க்கும் கணம் கொள் பல் பொறிக் கடும் சினப் புகரும், வேல்வலான் உடைத் தாழ்ந்த விளங்கு வெண்துகில் ஏய்ப்ப வாலிது கிளர்ந்த வெண்கால் சேயும், கால முன்பின் பிறவும் சால மடங்கலும் கணிச்சியும் காலனும் கூற்றும், தொடர்ந்து செல் அமையத்து துவன்று உயிர் உணீஇய உடங்கு கொட்பன போல் புகுத்தனர் தொழூஉ அவ்வழி, கார் எதிர் கலி ஒலி கடி இடி உருமின் இயம் கறங்க, ஊர்பு எழு கிளர்பு உளர் புயல் மங்குலின் நறை பொங்க, நேர் இதழ் நிரை நிரை நெறி வெறிக் கோதையர் அணி நிற்பச் சீர் கெழு சிலை நிலைச் செயிர் இகல் மிகுதியின், சினப் பொதுவர் தூர்பு எழு துதை புதை துகள் விசும்பு உற எய்த ஆர்பு உடன் பாய்ந்தார் அகத்து மருப்பில் கொண்டும், மார்பு உற தழீஇயும், எருத்து இடை அடங்கியும், இமில் இறப் புல்லியும், தோள் இடைப் புகுதந்தும், துதைந்து பாடு ஏற்றும், நிரைபு மேல் சென்றாரை நீள் மருப்பு உறச் சாடிக் கொள இடம் கொள விடா நிறுத்தன ஏறு கொள்வாரைக் கொள்வாரைக் கோட்டுவாய் சாக் குத்திக் கொள்வார் பெறாஅக் குரூஉச் செகில் காணிகா செயிரின் குறை நாளால் பின் சென்று சாடி உயிர் உண்ணும் கூற்றமும் போன்ம் பாடு ஏற்றவரைப் படக் குத்திச் செங்காரிக் கோடு எழுந்து ஆடும் கண மணி காணிகா நகை சால் அவிழ்பதம் நோக்கி நறவின் முகை சூழும் தும்பியும் போன்ம் இடைப் பாய்ந்து எருத்தத்துக் கொண்டானோடு எய்தி மிடைப் பாயும் வெள் ஏறு கண்டைகா, வாள் பொரு வானத்து அரவின் வாய் கோட்பட்டுப் போதரும் பால் மதியும் போன்ம் ஆங்க ஏறும் பொதுவரும் மாறுற்று மாறா இரு பெரு வேந்தரும் இகலி கண்ணுற்ற பொரு களம் போலும் தொழூஉ தோழி தன்னிடம் வெல் புகழ் உயர்நிலைத் தொல் இயல் துதை புதை துளங்கு இமில் நல் ஏறு கொண்ட பொதுவன் முகன் நோக்கிப் பாடு இல ஆயமகள் கண் தோழி தலைவியிடம் நறு நுதால்! என் கொல் ஐங்கூந்தல் உளரச் சிறு முல்லை நாறியதற்கு குறு மறுகி, ஒல்லாது உடன்று எமர் செய்தார் அவன் கொண்ட கொல் ஏறு போலும் கதம்? நெட்டிரும் கூந்தலாய்! கண்டை, இஃது ஓர் சொல் கோட்டு இனத்து ஆயர் மகனொடு யாம் பட்டதற்கு எம் கண் எமரோ பொறுப்பர்; பொறாதார் தம் கண் பொடிவது எவன்? தலைவி ஒண்ணுதால்! இன்ன உவகை பிறிது யாது யாய் என்னைக் கண் உடைக் கோலள் அலைத்ததற்கு, என்னை மலர் அணி கண்ணிப் பொதுவனோடு எண்ணி, அலர் செய்துவிட்டது இவ் ஊர்? ஒன்றிப் புகர் இனத்து ஆயமகற்கு, ஒள் இழாய்! இன்று எவன் என்னை எமர் கொடுப்பது, அன்று அவன் மிக்குத் தன் மேல் சென்ற செங்காரிக் கோட்டு இடைப் புக்கக்கால் புக்கது என் நெஞ்சு? தோழி என, பாடு இமிழ் பரப்பு அகத்து அரவணை அசைஇய ஆடு கொள் நேமியான் பரவுதும், ‘நாடு கொண்டு இன் இசை முரசின் பொருப்பன், மன்னி அமைவரல் அருவி ஆர்க்கும் இமையத்து உம்பரும் விளங்குக’ எனவே. The march of the bulls and the herders continues on. The words can be translated as follows: “‘Winning over kings many and claiming their treasures as per tradition, with roaring drums, rules the prosperous and strong king from an ancient clan. Let the pearls that thrive in his land and all the riches endowed by the roaring seas come together with joy and flourish forever, without any adversity’ – Wishing so, those people from the huge tribe of herdsmen, descendants of that undying clan, pray and surrender to God, with flawless hearts, seeking with much fervour. Akin to the conch that the One with the powerful discus places on his mouth, glows the white whorl on the forehead of the black bull; Akin to the radiant and matchless garland on the One with a single earring, appears the red spot on the white bull; Akin to the beautiful, sapphire-hued neck of the Famous One with an axe, is the dark and coarse neck of the tawny bull with an uplifted hump; Akin to the thousand eyes of the furious One with a thunderbolt, appear the numerous spots on the brown bull with much fury; Akin to the white attire that hangs low on the One, skilled with the spear, are the white legs of the red bull; And many such bulls, with the strength of Death, were let inside the arena, appearing akin to Fire, Axe, Fate and Death that follow one after the other continuously, intending to devour lives at the end of time! In that place, as drums roared, akin to uproarious and resounding thunder in the downpour of the rainy season; as incense soared, akin to clouds that rise and rove on the high skies; as maiden stood beautifully, wearing fragrant garlands filled with perfect rows of flowers; the furious young herdsmen, filled with much courage, shouting uproariously, making the dust rise, hiding the close forms within, pounced inside the arena, with much gusto! Holding on to the horns, embracing with their chests, pressing against the necks, bending the humps, letting the bulls enter between their arms, standing close together, they accepted the danger. As for the bulls, they attacked those who came close to them by piercing with their horns and gave no way for the men to hold on to them. Behold that red bull that stabs to death, whoever tries to seize it, and stands with no one to capture it, akin to Death that chases with rage at the end of one’s days and devours life! Behold the thick bells, dancing above the horns of the red-black bull that gores who dares to come before it, looking like honeybees that surround a bright flower, waiting for the time the flower open its buds, to savour the honey! Behold the white bull that pounces high to the platform to shake off the man, who leaped in-between and holds on to its neck, appearing akin to the milky moon that moves in the white sky, when caught in the mouth of the snake! And so, the arena, where the bulls and herders face and fight again and again, appears akin to a battlefield, where two great kings clash with much rage! Confidante (To herself) The eyes of this herder’s daughter move not away from the face of that herder, born in ancient clan, and who has risen with his victory, as he captures the shining hump of the fine bull, amidst the shrouding dust of the arena. Confidante(To Lady) O maiden with a fragrant forehead! When drying your thick and beautiful tresses, sensing that it smelt of a little jasmine, didn’t our kin become bewildered and act with much fury, akin to the bull that he has seized. Why was that so? O maiden with flowing tresses! There’s another thing too! Our kin may accept that you were together with the son of the herders of the horned buffalo, but those others with disapproving eyes won’t ever accept it. Why is that so? Lady O maiden with a shining forehead! When mother spoke with anger to me, her eyes like a beating stick, this town spread slander about me and the herder wearing a beautiful head garland. What could bring more joy to me? Won’t our kin offer my hand to the son of herders with tawny bulls many today, for didn’t he leap with courage between the horns of the red-black bull that pounced on him, making my heart leap along to him? Confidante And so, praying to the One, with a victorious discus, lying on the bed of a snake in the middle of the roaring seas, wishing that the fame of the great king with resounding drums, who wins over lands many, echo even beyond the cascade-echoing mountains of the Himalayas!” Time to delve into the nuances. The verse is situated in the context of bull taming to win the hand of a beloved and the words are spoken by the confidante and the lady. The confidante starts with an account of how the herders start their festivities by wishing well for their king from the dynasty identified by the pearls that abound in their land, referring to the Pandya Kings of the South, the ruler of the three seas. Then, as in the previous verse, the worthy opponents in the bull taming are introduced. The bulls are identified by a certain physical feature and connecting that with the accessory of Gods or mythological characters such as Thirumaal, Balaraman, Siva, Indiran and Murugan. The way the bulls enter the arena appears as if they are the various elements of Death that follow one after the other and strike a person at the end of their life. The sounds and scene of the arena that we have become much familiar with, are presented here. We have drums roaring, incense spreading, maiden watching and the men gearing up! The struggle between the equally placed bulls and men is highlighted, and then the confidante calls attention to the different coloured bulls and sketches their actions in that arena, connecting to similes in mythology or nature, and she concludes by depicting the arena like a battlefield, where two powerful and great kings are clashing. From these generic scenes, the confidante turns to the personal and notes how the lady’s eyes are not moving away from one man, who happens to be taming a bull. She then asks the lady about certain events that happened a while ago, about how the lady’s kin suspected the lady when her tresses smelt of jasmines. Innocently, she asks why that was so, and as if answering that question herself, she talks about how the lady’s kin would accept the lady’s relationship with the man but not those townsfolk, who spread slander. The lady replies to this saying that she’s happy indeed for that slander connecting her to the man, because the man had succeeded in taming the great red bull and her kin would have no objection to marrying her to the man, to whom her heart belonged. The confidante concludes as custom by praying that the fame of the Pandya King resounds even beyond the northern ranges of the Himalayas! And thus, we note how the public becomes the personal in this verse that brings out the events of a bull taming arena and the emotions in the heart of a lady, who triumphs in love, as her man triumphs over a bull!…

Sangam Lit

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Kalithogai 104 – Soaring above slander 14:43

51 weeks temu14:43

14:43

In this episode, we listen to a detailed account of bull taming events, as portrayed in Sangam Literary work, Kalithogai 104, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and echoes a lady’s pride in her beloved’s conquest in the arena. மலி திரை ஊர்ந்து தன் மண் கடல் வௌவலின், மெலிவு இன்றி, மேல் சென்று, மேவார் நாடு இடம்பட, புலியொடு வில் நீக்கி, புகழ் பொறித்த கிளர் கெண்டை, வலியினான் வணக்கிய, வாடாச் சீர்த் தென்னவன் தொல் இசை நட்ட குடியொடு தோன்றிய நல் இனத்து ஆயர், ஒருங்கு தொக்கு எல்லாரும் வான் உற ஓங்கிய வயங்கு ஒளிர் பனைக்கொடிப் பால் நிற வண்ணன் போல் பழி தீர்ந்த வெள்ளையும், பொரு முரண் மேம்பட்ட பொலம் புனை புகழ் நேமித் திரு மறு மார்பன் போல் திறல் சான்ற காரியும், மிக்கு ஒளிர் தாழ் சடை மேவரும் பிறை நுதல் முக்கண்ணான் உருவே போல் முரண் மிகு குராலும், மா கடல் கலக்குற மா கொன்ற மடங்காப் போர் வேல் வல்லான் நிறனே போல் வெரு வந்த சேயும், ஆங்கு அப் பொரு வரும் பண்பினவ்வையும், பிறவும் உருவப் பல் கொண்மூக் குழீஇயவை போல புரிபு புரிபு புகுத்தனர், தொழூஉ அவ் வழி, ‘முள் எயிற்று ஏஎர் இவளைப் பெறும், இது ஓர் வெள் ஏற்று எருத்து அடங்குவான் ஒள்ளிழை வாருறு கூந்தல் துயில் பெறும், வை மருப்பின் காரி கதன் அஞ்சான் கொள்பவன் ஈர் அரி வெரூஉப் பிணை மான் நோக்கின் நல்லாட் பெறூஉம், இக் குரூஉக் கண் கொலை ஏறு கொள்வான். வரிக் குழை வேய் உறழ் மென் தோள் துயில் பெறும், வெந் துப்பின் சேஎய் சினன் அஞ்சான் சார்பவன்’ என்று ஆங்கு அறைவனர், நல்லாரை, ஆயர் முறையினால் நாள்மீன் வாய் சூழ்ந்த மதி போல், மிடைமிசைப் பேணி நிறுத்தார் அணி அவ் வழி, பறை எழுந்து இசைப்ப, பல்லவர் ஆர்ப்ப, குறையா மைந்தர் கோள் எதிர் எடுத்த நறை வலம் செய விடா இறுத்தன ஏறு அவ் ஏற்றின் மேல் நிலை மிகல் இகலின், மிடை கழிபு இழிபு, மேற்சென்று, வேல் நுதி புரை விறல் திறன் நுதி மருப்பின் மாறு அஞ்சான், பால் நிற வெள்ளை எருத்தத்துப் பாய்ந்தானை நோனாது குத்தும் இளங் காரித் தோற்றம் காண் பால் மதி சேர்ந்த அரவினைக் கோள் விடுக்கும் நீல் நிற வண்ணனும் போன்ம் இரிபு எழுபு அதிர்பு அதிர்பு இகந்து உடன் பலர் நீங்க, வரி பரிபு இறுபு இறுபு குடர் சோரக் குத்தி, தன் கோடு அழியக் கொண்டானை ஆட்டித் திரிபு உழக்கும் வாடா வெகுளி எழில் ஏறு கண்டை, இஃது ஒன்று வெரு வரு தூமம் எடுப்ப, வெகுண்டு திரிதரும் கொல் களிறும் போன்ம் தாள் எழு துணி பிணி இசை தவிர்பு இன்றித் தலைச் சென்று, தோள் வலி துணி பிணி, துறந்து இறந்து எய்தி, மெய் சாய்ந்து, கோள் வழுக்கித் தன் முன்னர் வீழ்ந்தான்மேல் செல்லாது, மீளும் புகர் ஏற்றுத் தோற்றம் காண் மண்டு அமருள் வாள் அகப்பட்டானை, ‘ஒவ்வான்’ எனப் பெயரும் மீளி மறவனும் போன்ம் ஆங்க, செறுத்து அறுத்து உழக்கி ஏற்று எதிர் நிற்ப, மறுத்து மறுத்து மைந்தர் சார, தடி குறை இறுபு இறுபு தாயின கிடப்ப, இடி உறழ் இசையின் இயம் எழுந்து ஆர்ப்ப பாடு ஏற்றுக் கொள்பவர், பாய்ந்து மேல் ஊர்பவர், கோடு இடை நுழைபவர், கோள் சாற்றுபவரொடு புரிபு மேல் சென்ற நூற்றுவர் மடங்க, வரி புனை வல்வில் ஐவர் அட்ட பொரு களம் போலும் தொழூஉ தொழுவினுள் கொண்ட ஏறு எல்லாம் புலம் புக, தண்டாச் சீர், வாங்கு எழில், நல்லாரும் மைந்தரும், மல்லல் ஊர் ஆங்கண் அயர்வர் தழூஉ தோழி அழைத்தல் பாடுகம், வம்மின் பொதுவன் கொலை ஏற்றுக் கோடு குறி செய்த மார்பு தலைவி நெற்றிச் சிவலை நிறை அழித்தான் நீள் மார்பில், செற்றார் கண் சாய, யான் சாராது அமைகல்லேன்; பெற்றத்தார் கவ்வை எடுப்ப, அது பெரிது உற்றீயாள் ஆயர் மகள் தொழீஇஇ! ஒருக்கு நாம் ஆடும் குரவையுள், நம்மை அருக்கினான் போல் நோக்கி, அல்லல் நோய் செய்தல், ‘குரூஉக் கண் கொலை ஏறு கொண்டேன் யான்’ என்னும் தருக்கு அன்றோ ஆயர் மகன்? தோழி நேரிழாய்! கோள் அரிதாக நிறுத்த கொலை ஏற்றுக் காரி கதன் அஞ்சான் பாய்ந்த பொதுவற்கே, ஆர்வுற்று, எமர் கொடை நேர்ந்தார் அலர் எடுத்த ஊராரை உச்சி மிதித்து ஆங்கு, தொல் கதிர்த் திகிரியாற் பரவுதும் ஒல்கா உரும் உறழ் முரசின் தென்னவற்கு ஒரு மொழி கொள்க, இவ் உலகு உடன்! எனவே. We walk on in the series of long songs about bull taming! The words can be translated as follows: “As the brimming waves of the sea rose and stole away his land, without losing heart, moving north, laying siege to the enemy lands therein, removing the tiger and bow symbols, installing the famous sign of the fish, the Southern King, with ceaseless glory, conquered with his strength. From his ancient and famous heritage, came the good tribe of herders, who have all come together, with one mind now. A flawless, white bull, akin to the Milk-hued One with a sky-high, shining palmyra on his flag; A black bull known for its immense ability, akin to the One, who holds the Lady of Wealth in his chest, and wields famous, well-etched golden discus that has seen success in many a battlefield; A tawny bull, filled with much hostility, akin to the form of the Three-Eyed One, who has radiant, low-hanging tresses and carries atop a crescent moon; A fearless red bull, in the hue of the Speared One, who waged a raging war with the demon, who muddled the dark seas and took the form of a mango tree; And many more that are similar in nature to these bulls stood, as if many different-shaped clouds had assembled together, and these were let into the arena with much cheer. In that place, with drums beating, they declared: ’The one who holds on to the neck of the white bull will get the beautiful maiden with thorn-like teeth; The one who captures the black bull, not fearing its fury, will attain sweet sleep in the flowing tresses of the maiden wearing shining jewels; The one who conquers the tawny bull with murderous eyes, will claim the beautiful woman with the gaze of frightened deer in her two eyes; The one who holds on to the red bull, with much strength, not scared about its rage, will attain good sleep on the bamboo-like soft arms of the maiden wearing lined earrings;’ Announcing thus, as per the custom of the herders, akin to the stars that surround the white moon, they made those maiden assemble with care upon the raised platforms. In that field, as drums soared with their beats and many roared aloud, the bulls, not letting the incense spread around, leaped to face the faultless young men’s attack. With enmity brimming towards those bulls, leaving the platform, there comes a man, who fears not the sharp-edged horn, full of strength and ability, akin to a spear, and leaps onto the neck of the milk-hued, white bull. See how the young black bull ceaselessly stabs him, akin to how the Blue-hued One pounced on the Snake that was trying to swallow the Moon. Making many rise and leave with much shock, breaking bones and tearing intestines, pierced the bull and twisted and turned to lose the one, who was holding on, ruining its horns. See the scene of how this bull’s rage ceases not, akin to how a killer male elephant would shake and turn in fear, when sensing the fumes of a medicinal smoke. Rising famously with strength and determination, without avoiding, heading straight, the man who leaped on a bull but then finding that his strong arms had failed him, lets go and his body slants and slips away and makes him fall before the bull. See the scene of how that spotted bull moves away, without trampling him, akin to how a Death-like warrior in the battlefield steps away from a warrior captured by his sword, deciding the other is not his equal. And thus, even as the bulls pierced, severed and tormented, facing them, refusing to give up, the young men assembled. Flesh was torn and lay scattered all about, the drums roared like thunder and sent out their music in that arena, with those who accept this state of torment, those who leap and hold on, those who pounce in between the horns, and those who swore oaths about their conquest. The arena appeared like a battlefield where the Five, skilled in the art of their lined bows, subdued the Hundred, with their power! As the bulls in the arena leave to graze, the beautiful maiden with exquisite and unceasing beauty, relax and embrace their young men in that prosperous town. Confidante’s Call: Come let us sing in praise of the chest of the herder, marked by the horn of the killer bull! Lady: I will not stay away from the chest of the one, who destroyed the red forehead of the bull, even if the eyes of others widen in disapproval. Even if those owners of cattle raise slander, this herder daughter will not mind it at all. O my friend, who tells me everything! In this dance of ‘Kuravai’ that we are going to do, when he looks with such love and causes suffering within, isn’t that son of herders doing that because of his pride that declares, ‘I won over the killer bull with murderous eyes!’? Confidante: O maiden wearing well-etched jewels! Facing the hard-to-capture, murderous black bull, not fearing its fury, pounced a herder man. With love, our kin have decided to offer your hand to him, stepping on the heads of the townsfolk, who raised slander about you! And so, praying to the One, who has the discus spreading with ancient rays, let’s wish that the world entire upholds the word of the Southern King with roaring drums!” Let’s look at the highlights of this song. The verse is situated in the context of bull taming by the man to win the hand of the lady. These words are spoken by the confidante and the lady. In a change from the previous verses, instead of mentioning the flowers of the region, the confidante offers us a history lesson about the Pandya kings and how the seas stole away their land, perhaps referring to ancient Tsunamis, that stole the cities on the coastline, and about how this king did not lose his heart but went on to capture the lands north, belonging to the Chozhas and Cheras, removed their insignia and installing his flag fluttering with the fish symbol. From that ancient heritage, the tribe of herders arose, narrates the confidante, talking about how they have come together in the bull taming arena, now. Following this, the players in the field are introduced. Each bull is identified by its colour and its connection to a God. The way the bulls stand together seemed to the confidante, as if many-shaped clouds had descended there. Then, she narrates how the herders announce about the conquest of each bull and the prize of the maiden that will follow. Without naming names, in Sangam Aham tradition, the maiden are identified with their physical features and the bulls by their colour. After these details, the arena and the events therein are described, with scenes such as a man capturing a white bull and another dark bull attacking him, connecting that to mythological elements. Another scene of a bull shaking off a rider is likened to how an elephant would twist and turn when sensing the fumes of a medicinal smoke. This is followed by a rather striking scene in which a bull pushes a man off its back but seeing him fallen before it, does not trample the man but steps away, and this noble act of the beast is placed in parallel to a warrior, who does not engage with another warrior captured in the battlefield, thinking the other is not his equal. The gory scenes of the arena is brought alive, with a simile connecting it to the battle mentioned in Mahabaratha, between the Kauravas and Pandavas. At the end of all this, the bulls leave to graze and the maiden leave with the men, to relax and dance in the town. At this time, the confidante calls the lady and their friends to sing and dance the ‘Kuravai’, praising the man who won over the bull. The lady just then talks about how people raised slander about her and the young man, but today he has conquered the bull and looks at her with pride and love, declaring that no hostile looks from those people can make her stay away from him. To these furious words of the lady, the confidante renders the assurance that the lady’s kin have agreed to offer the lady’s hand in marriage to that young man, who captured the bull valiantly, and by doing that, they were dismissing the slander of the townsfolk. She concludes by asking the dancers to pray to Thirumaal, the one with the ancient discus, seeking that the word of the Pandya king is celebrated everywhere! Another long account that narrates the relevance of bull taming to that ancient society, offering glimpses of mythological beliefs, historical events and cultural elements!…

Sangam Lit

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Kalithogai 103 – A field of love and war 15:29

52 weeks temu15:29

15:29

In this episode, we perceive dynamic scenes from a bull taming arena, as portrayed in Sangam Literary work, Kalithogai 103, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and relays the importance accorded to courage and determination in an ancient culture. மெல் இணர்க் கொன்றையும், மென் மலர்க் காயாவும், புல் இலை வெட்சியும், பிடவும், தளவும், குல்லையும், குருந்தும், கோடலும், பாங்கரும் கல்லவும் கடத்தவும் கமழ் கண்ணி மலைந்தனர் பல ஆன் பொதுவர் கதழ் விடை கோள் காண்மார் முல்லை முகையும் முருந்தும் நிரைத்தன்ன பல்லர், பெரு மழைக் கண்ணர், மடம் சேர்ந்த சொல்லர், சுடரும் கனங் குழைக் காதினர், நல்லவர் கொண்டார் மிடை அவர் மிடை கொள மணி வரை மருங்கின் அருவி போல அணி வரம்பு அறுத்த வெண் காற் காரியும், மீன் பூத்து அவிர் வரும் அந்தி வான் விசும்பு போல் வான் பொறி பரந்த புள்ளி வெள்ளையும், கொலைவன் சூடிய குழவித் திங்கள் போல் வளையுபு மலிந்த கோடு அணி சேயும், பொரு முரண் முன்பின் புகல் ஏறு பல பெய்து அரிமாவும், பரிமாவும், களிறும், கராமும், பெரு மலை விடரகத்து, ஒருங்கு உடன் குழீஇ, படு மழை ஆடும் வரையகம் போலும் கொடி நறை சூழ்ந்த தொழூஉ தொழுவினுள் புரிபு புரிபு புக்க பொதுவரைத் தெரிபு தெரிபு குத்தின ஏறு ஏற்றின் அரி பரிபு அறுப்பன, சுற்றி, எரி திகழ் கணிச்சியோன் சூடிய பிறைக்கண் உருவ மாலை போல, குருதிக் கோட்டொடு குடர் வலந்தன தோழி தலைவிக்குக் காட்டல் கோட்டொடு சுற்றிக் குடர் வலந்த ஏற்றின் முன், ஆடி நின்று, அக் குடர் வாங்குவான், பீடு காண் செந் நூற் கழி ஒருவன் கைப் பற்ற, அந் நூலை முந் நூலாக் கொள்வானும் போன்ம் இகுளை! இஃது ஒன்று கண்டை; இஃது ஒத்தன்: கோட்டினத்து ஆயர் மகன் அன்றே மீட்டு ஒரான் போர் புகல் ஏற்றுப் பிணர் எருத்தில் தத்துபு, தார் போல் தழீஇயவன்? இகுளை! இஃது ஒன்று கண்டை; இஃது ஒத்தன்; கோவினத்து ஆயர் மகன் அன்றே ஓவான் மறை ஏற்றின் மேல் இருந்து ஆடி, துறை அம்பி ஊர்வான் போல் தோன்றுமவன்? தொழீஇஇ! காற்றுப் போல வந்த கதழ் விடைக் காரியை ஊற்றுக் களத்தே அடங்கக் கொண்டு, அட்டு, அதன் மேல் தோன்றி நின்ற பொதுவன் தகை கண்டை ஏற்றெருமை நெஞ்சம் வடிம்பின் இடந்து இட்டு, சீற்றமொடு ஆர் உயிர் கொண்ட ஞான்று, இன்னன்கொல் கூற்று என உட்கிற்று, என் நெஞ்சு இகுளை! இஃது ஒன்று கண்டை; இஃது ஒத்தன்: புல்லினத்து ஆயர் மகன் அன்றே புள்ளி வெறுத்த வய வெள் ஏற்று அம் புடைத் திங்கள் மறுப் போல் பொருந்தியவன்? ஓவா வேகமோடு உருத்துத் தன்மேல் சென்ற சேஎச் செவி முதற் கொண்டு, பெயர்த்து ஒற்றும் காயாம்பூங் கண்ணிப் பொதுவன் தகை கண்டை மேவார் விடுத்தந்த கூந்தற் குதிரையை வாய் பகுத்து இட்டு, புடைத்த ஞான்று, இன்னன்கொல் மாயோன் என்று உட்கிற்று என் நெஞ்சு ஆங்கு, இரும் புலித் தொழுதியும் பெருங் களிற்றினமும் மாறுமாறு உழக்கியாங்கு உழக்கி, பொதுவரும் ஏறு கொண்டு, ஒருங்கு தொழூஉ விட்டனர் விட்டாங்கே மயில் எருத்து உறழ் அணி மணி நிலத்துப் பிறழ பயில் இதழ் மலர் உண்கண் மாதர் மகளிரும் மைந்தரும் மைந்து உற்றுத் தாது எரு மன்றத்து அயர்வர் தழூஉ கொல் ஏற்றுக் கோடு அஞ்சுவானை மறுமையும் புல்லாளே ஆய மகள் அஞ்சார் கொலை ஏறு கொள்பவர் அல்லதை, நெஞ்சிலார் தோய்தற்கு அரிய உயிர் துறந்து நைவாரா ஆய மகள் தோள் வளியர் அறியா உயிர், காவல் கொண்டு, நளிவாய் மருப்பு அஞ்சும் நெஞ்சினார் தோய்தற்கு எளியவோ ஆய மகள் தோள்? விலை வேண்டார், எம் இனத்து ஆயர் மகளிர் கொலை ஏற்றுக் கோட்டிடை, தாம் வீழ்வார் மார்பின் முலையிடைப் போல புகின் ஆங்கு, குரவை தழீஇ, யாம் மரபுளி பாடி, தேயா விழுப் புகழ்த் தெய்வம் பரவுதும் மாசு இல் வான் முந்நீர்ப் பரந்த தொல் நிலம் ஆளும் கிழமையொடு புணர்ந்த எம் கோ வாழியர், இம் மலர் தலை உலகே! What a long, long song that takes us right in the middle of a fierce fight! The words can be translated as follows: “With soft clusters of the golden shower, delicate flowers of the Ironwood, small-leaved jungle flame, flowers of the wild jasmine, pink jasmine, wild basil, wild lime, flame-lily and the toothbrush tree, found in the mountains and in the forests, the herdsmen, owners of many oxen, wove and wore fragrant head garlands. To watch them seize the bulls, came those beautiful maiden with teeth, akin to jasmine buds and white palm sprouts, with eyes like the rain, words filled with naivety and ears dangling with shining, heavy earrings, and sat on the tall platforms. As they sat upon the platforms, in the field beneath, appeared: Akin to a cascade pouring down from the sapphire-hued mountains, the white-legged black bull with beauty exceeding bounds; Akin to the bright sky at dusk when star clusters bloom, the white bull with bright spots; Akin to the child moon adorning the head of the Destroyer, the bull with curving horns; and many other such bulls, known for their strength and fighting. To see them assembled there in that field surrounded by the smoke of incense, seemed as if lions, horses, elephants and crocodiles had gathered together in a huge mountain cleft, above which dark clouds had descended. Within the field, with passions soaring, entered the herdsmen; sensing them, pierced the oxen; What was severed by the sharp horns of the oxen curled around, and those intestines around the blood-stained horns appeared, as if a garland had been placed around the crescent moon of the One with a burning, bright axe. (To the Lady) Standing before the bull that had curled his intestines around its horns, swaying, a man takes it and puts it back within him. Behold that proud strength of his! This appears as if one person is holding a spool of red thread in his hand and another is pulling those threads to weave it as a three-stranded string! My friend! You must see this! There’s one man, the son of the horned buffalo herders, who without letting go, leaps on to the neck of an attacking killer bull, and hangs there embracing, like a garland! My friend! You must see this! There’s one man, the son of the cow herders, who without giving up, sways on top of the bull with spots, and moves as if he’s riding a boat in the shore! How you are looking at the field without blinking your eyes! See the greatness of how one herdsman fought and subdued the attacking black bull that pounced like the wind into the arena, and stands tall above it! My heart trembles thinking this is how it must have been when the One, filled with rage, placed his feet upon the heart of the One, riding the buffalo, known as Death, and took his life! My friend! You must see this! There’s one man, the son of goat herders, who sits upon the spotted, strong white bull, looking akin to the inseparable black spot on the moon! See the greatness of how one herdsman wearing a head garland of ironwood flowers, holding on to the red ears of the bull that pounced upon him with ceaseless speed, breaks it and tames it. My heart trembles thinking this is how it must have been, when the Dark-skinned One, split and broke apart the mouth of a maned horse, sent by his enemies! And so, akin to how an ambush of tigers and a parade of elephants fight against each other, again and again, the herdsmen fought with the bulls and conquered them and left the field together. After they left, as the sapphire flowers in the hue of peacocks’ necks rolled upon the ground, the gentle maiden with many-petaled, kohl-streaked eyes along with their young men relaxed and danced embracing in the pollen-filled town centre. Even in the next birth, a herder daughter would never embrace a man, who fears the horns of a killer bull; The arms of herders’ daughters wouldn’t be sad to even give up the life, rather than embrace the courage-less those, who cannot tame and subdue killer bulls without fear! Are the arms of the herders’ daughters so inferior to embrace those, who fear the curving horns of a bull, and want to protect their life at any cost, without considering that life is but a breath? Even a bride price will not be sought, if to claim the hand of our herder daughters, the men pounce in between the horns of killer bulls, as if leaping between the bosoms of those they love! And so, embracing in a ‘Kuravai’ dance, let us sing about our tradition, and pray to the gods with unceasing fame, wishing that our king, who rightfully rules this ancient land, surrounded by the three flawless white seas, may live long in this vast world of ours!” Let’s delve into the essence of this verse. The verse is situated in the context of bull taming to win the hand of a beloved and the words are spoken by the confidante, describing the scenes in a bull fighting arena and talking specifically to her friend, the lady. The confidante starts as custom by remarking on a long list of flowers worn by the herdsmen as they arrive to fight with the bulls and to watch them conquer the bulls, the maiden too had come and were sitting on the tall platforms raised for them. Then, the confidante portrays each bull that arrives on to the scene with descriptive similes: A cascade pouring down the dark surface of a mountain, for a black bull with white legs; twilight sky with star clusters for a white bull, filled with spots; the crescent moon on the head of God Siva, referred to as the ‘Killing God’, to talk about another bull with curving horns. After the individual similes, collectively she portrays all the bulls standing there, with dust soaring and incense filling the grounds, with an image of lions, horses, elephants and crocodiles in a mountain cleft surrounded by dark rain clouds. This simile sounds so like a scene from the movie ‘The Lion King’! After setting the scene, the confidante moves into the thick of the action and describes how the men leap on the bulls and the bulls pierce them, pulling out their guts, and for the sight of the intestines hanging around the horns of a bull, she comes up with another simile, a garland around the moon of the God Siva, whom we just saw. From these generic descriptions, the confidante decides to point to the lady the scenes unfolding before her, and calls her friend’s attention to one man who is bravely putting back the intestines gored by a bull, back into his body. The very scene is mind-boggling and now I know where Indian cinema gets its unbelievable, beyond-physics ideas for its action scenes! Kidding apart, we see the confidante celebrating this man’s fearlessness! She goes on pointing to her friend, talking about one man after the other, who are holding on to the bull, riding atop and standing tall over it, and in each case, she gives relevant similes for a hanging garland, a person riding a boat, and a mythological one of God Siva killing Death, riding a buffalo! She continues in this vein, talking about another man, who would not let go of a white bull, and to describe this, she connects that scene of the dark-skinned man on the white bull to the black spot on the moon, a forever simile that is my favourite in this long list of comparisons. Another mythological simile of God Thirumaal, known as Maayon, splitting open the mouth of a horse sent by his enemies is offered to describe how another herder is splitting open the mouth of a bull and subduing it! The confidante sums up the whole scene between the herders and the bulls as a fight between tigers and elephants and concludes the scene with the herders conquering the bulls. After the end of these festivities, the maiden join along with the herders and perform ‘Kuravai’ dances in the town centre, says the confidante. Following this, a series of lines depicting the nature of herders’ daughters is penned, perhaps indicating the content of those ‘Kuravai’ songs. These lines talk about how these women would never marry a man who fears the bulls; they would rather die than embrace anyone who cannot tame the bulls; how they look down upon those who seek to protect their lives and fear to face the bulls; and finally, how the herder fathers would not even seek a bride price or dowry, if only their son-in-laws would embrace the bulls with the same passion as they embrace the maiden they love! The confidante concludes by telling the lady that they should sing of their proud culture in these ‘Kuravai’ dances, and pray to God that their king, who rules this ancient land surrounded by the three seas, lives forever and ever! As I was traversing the lines of this verse, the feeling I got was as if I was listening to an ancient commentator of a bull fight. With such style and precision, the poet has sketched the field, the players and the emotions soaring therein, that reminds one of the rousing sports commentary, so familiar to our modern ears! From commentary, the verse traverses to culture and tells us that to these ancients, courage was much more important than precious life itself. In a nutshell, a Sangam song that has given us a bird’s eye view of their sports and war, art and love, all fused together as one, making us time travel to another era and see what’s different and what remains the same!…

Sangam Lit

1
Kalithogai 102 – Fought and Won 8:22

52 weeks temu8:22

8:22

In this episode, we listen to an account of a jubilant bull taming, as depicted in Sangam Literary work, Kalithogai 102, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and sketches the determination of a young man to win the one he loves. தலைவன் கண் அகன் இரு விசும்பில் கதழ் பெயல் கலந்து, ஏற்ற தண் நறும் பிடவமும், தவழ் கொடித் தளவமும், வண்ண வண் தோன்றியும், வயங்கு இணர்க் கொன்றையும், அன்னவை பிறவும், பல் மலர் துதைய, தழையும் கோதையும் இழையும் என்று இவை தைஇயினர், மகிழ்ந்து, திளைஇ விளையாடும் மட மொழி ஆயத்தவருள் இவள் யார் உடம்போடு என் உயிர் புக்கவள் இன்று? பாங்கன் ஓஒ! இவள், ‘பொரு புகல் நல் ஏறு கொள்பவர் அல்லால், திரு மா மெய் தீண்டலர்’ என்று, கருமமா, எல்லாரும் கேட்ப, அறைந்து அறைந்து, எப்பொழுதும் சொல்லால் தரப்பட்டவள் தலைவன் ‘சொல்லுக!’ சுற்றத்தார் ‘பாணியேம்’ என்றார்; ‘அறைக’ என்றார் பாரித்தார், மாணிழை ஆறாகச் சாறு சாற்றுள் பெடை அன்னார் கண் பூத்து, நோக்கும் வாய், எல்லாம் மிடை பெறின், நேராத் தகைத்து தகை வகை மிசைமிசைப் பாயியர், ஆர்த்து உடன் எதிர்எதிர் சென்றார் பலர் கொலை மலி சிலை செறி செயிர் அயர் சினம் சிறந்து, உருத்து எழுந்து ஓடின்று மேல் எழுந்தது துகள்; ஏற்றனர் மார்பு; கவிழ்ந்தன மருப்பு; கலங்கினர் பலர் அவருள், மலர் மலி புகல் எழ, அலர் மலி மணி புரை நிமிர் தோள் பிணைஇ எருத்தோடு இமிலிடைத் தோன்றினன்; தோன்றி, வருத்தினான்மன்ற அவ் ஏறு ஏறு எவ்வம் காணா எழுந்தார் எவன்கொலோ ஏறு உடை நல்லார் பகை? மடவரே, நல் ஆயர் மக்கள் நெருநை, அடல் ஏற்றெருத்து இறுத்தார்க் கண்டும், மற்று இன்றும், உடல் ஏறு கோள் சாற்றுவார்! ஆங்கு, இனி தண்ணுமைப் பாணி தளராது எழூஉக பண் அமை இன் சீர்க் குரவையுள், தெண் கண்ணி, திண் தோள், திறல் ஒளி மாயப் போர், மா மேனி, அம் துவர் ஆடைப் பொதுவனோடு, ஆய்ந்த முறுவலாள் மென் தோள் பாராட்டி, சிறுகுடி மன்றம் பரந்தது உரை! Another song detailing the events around a bull fight. The words can be translated as follows: “ Man : Accepting and fusing with the abundant downpour from the vast and huge sky, the cool and fragrant wild jasmines, pink jasmines on the spreading vines, the colourful flame-lilies, sparking clusters of the golden shower, and many other such flowers have bloomed. Wearing leaf garments, garlands and ornaments adorned with these flowers, with joy, the herder maiden with naive words play together. Among them, who might she be, the one who has bewitched me with her form and has become one with my life now? Friend: Oh! She is the one, who has been announced in the earshot of many, accompanied by the beating of drums, with the words, ‘Other than the one who subdues the fiery, fight-loving, fine bull, no one can touch her dark and divine form’! Man: So, tell them! Lady’s Kin: Saying ‘There shall be no delay’, they said to the announcers, ‘Beat the drums’, calling for the festivities, paving the path to attain the maiden wearing precious jewels. In the festival, tall lofts many were built with thought, for the maiden to watch with their eyes shining. To pounce upon the many different bulls, with enthusiasm, many men went and stood facing them. In the manner of bows that do the task of killing, filled with fury, the bulls too leaped and ran towards them. Dust scattered; Chests awaited; Horns pierced; Anguished, were so many; Among them, one man, with his garland, full of flowers swaying, held on to the bull’s hump with his sapphire-hued hands; And there, pinning it down, he caused anguish to that bull. Those who owned the bull rose up, unable to bear the sight of its suffering. Why should they be so furious? Aren’t they foolish to let the strong herder men fight with their bulls, after seeing someone subdue an attacking bull yesterday? And now, with the beats of the ‘thannummai’ drum soaring unceasingly, singing perfect tunes of the ‘Kuravai’, praising the union of the maiden with a gentle smile and soft arms with the herder man, wearing a beautiful red attire upon his dark skin, the one with a shining garland and strong arms that fought with radiant strength, let’s dance and celebrate in the town centre of our little hamlet!” Time to delve into the details. The verse is situated in the context of bull taming to win the hand of a beloved and the words are spoken by the man, his friend and the lady’s relatives in this one. The man opens the scene by remarking on the beautiful maiden, who have gathered to play, wearing the flowers that have bloomed in the rain such as the wild jasmines, pink jasmines, flame-lilies and golden shower as their attire, garlands and ornaments. What fragrant accessories indeed! Looking at all of them, the man points to the girl who has captured his heart and asks his friend who she is. The friend informs the man that she is the daughter of a herder, who has announced that he would give her hand only to the man who tames their bull. The man accepts the challenge and asks his friend to inform them. Hearing his proposal, they too agree to start the festivities for the bull taming immediately, calling their drummer to announce it all around. This is followed by an account by the lady’s kin, of what happened in the festivities, where tall platforms were installed for women to watch the proceedings without any fear of getting hurt, and down below, the men stood facing the bulls and the bulls too, were intent on their role of killing and attacking. In montage shots, the scene is brought alive and we see the dust of the arena soaring to the skies in one, the wide chests of men awaiting their fate, the bulls racing towards them and dipping their horns; the torment and tears of many. Continuing that racy scene, one man’s successful subduing of his bull is brought to the fore and the anguish of those who owned the bull is depicted too. Questions are raised about why they should be angry because isn’t it a good thing that a worthy man is winning over the bull! The presence of strong men, who have brought down fierce bulls is highlighted, depicting how it was an ingrained custom in those days. The lady’s kin end by calling for a celebration in their village, filled with dance to the tune of beating drums, for the gentle maiden has found the perfect match in the strong and handsome herder man! The joy that the world feels in a happy union can be sensed in this ancient verse. A feeling that lives on, even in the cynical world of today, where many of us would have felt the joy in witnessing a wedding and seeing the coming together of two hearts in love!…

Sangam Lit

1
Kalithogai 101 – A fight for love 12:26

52 weeks temu12:26

12:26

In this episode, we perceive the ancient Tamil custom of taming a bull, as portrayed in Sangam Literary work, Kalithogai 101, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and conveys the connection of this ancient custom to the lady’s life. தளி பெறு தண் புலத்துத் தலைப் பெயற்கு அரும்பு ஈன்று, முளி முதல் பொதுளிய, முட் புறப் பிடவமும்; களி பட்டான் நிலையே போல் தடவுபு துடுப்பு ஈன்று, ஞெலிபு உடன் நிரைத்த ஞெகிழ் இதழ்க் கோடலும்; மணி புரை உருவின காயாவும்; பிறவும்; அணி கொள மலைந்த கண்ணியர் தொகுபு உடன், மாறு எதிர்கொண்ட தம் மைந்துடன் நிறுமார் சீறு அரு முன்பினோன் கணிச்சி போல் கோடு சீஇ, ஏறு தொழூஉப் புகுத்தனர், இயைபுடன் ஒருங்கு அவ் வழி, முழக்கு என, இடி என, முன் சமத்து ஆர்ப்ப வழக்கு மாறு கொண்டு, வருபு வருபு ஈண்டி நறையொடு துகள் எழ நல்லவர் அணி நிற்ப, துறையும் ஆலமும் தொல் வலி மராஅமும் முறையுளி பராஅய், பாய்ந்தனர், தொழூஉ மேற் பாட்டு உலண்டின் நிறன் ஒக்கும் புன் குருக் கண் நோக்கு அஞ்சான் பாய்ந்த பொதுவனைச் சாக் குத்தி, கோட்டிடைக் கொண்டு, குலைப்பதன் தோற்றம் காண் அம் சீர் அசைஇயல் கூந்தற் கை நீட்டியான் நெஞ்சம் பிளந்து இட்டு, நேரார் நடுவண், தன் வஞ்சினம் வாய்த்தானும் போன்ம் சுடர் விரிந்தன்ன சுரி நெற்றிக் காரி விடரி அம் கண்ணிப் பொதுவனைச் சாடி, குடர் சொரியக் குத்தி, குலைப்பதன் தோற்றம் காண் படர் அணி அந்தி, பசுங் கட் கடவுள் இடரிய ஏற்று எருமை நெஞ்சு இடந்து இட்டு, குடர் கூளிக்கு ஆர்த்துவான் போன்ம் செவி மறை நேர் மின்னும் நுண் பொறி வெள்ளைக் கதன் அஞ்சான் பாய்ந்த பொதுவனைச் சாடி, நுதி நுனைக் கோட்டால் குலைப்பதன் தோற்றம் காண் ஆர் இருள் என்னான் அருங் கங்குல் வந்து, தன் தாளின் கடந்து அட்டு, தந்தையைக் கொன்றானைத் தோளின் திருகுவான் போன்ம் என ஆங்கு அணி மாலைக் கேள்வற் தரூஉமார், ஆயர் மணி மாலை ஊதும் குழல் (தலைவனிடம்) கடாஅக் களிற்றினும் கண்ணஞ்சா ஏற்றை விடாஅது நீ கொள்குவை, ஆயின்; படாஅகை ஈன்றன, ஆய மகள் தோள் (தலைவியிடம்) பகலிடக் கண்ணியன், பைதற் குழலன், சுவல்மிசைக் கோல் அசைத்த கையன், அயலது கொல் ஏறு சாட இருந்தார்க்கு, எம் பல் இருங் கூந்தல் அணை கொடுப்பேம் யாம் ‘கோளாளர் என் ஒப்பார் இல்’ என நம் ஆனுள், தாளாண்மை கூறும் பொதுவன் நமக்கு, ஒரு நாள், கேளாளன் ஆகாமை இல்லை; அவற் கண்டு வேளாண்மை செய்தன கண் ஆங்கு, ஏறும் வருந்தின; ஆயரும் புண் கூர்ந்தார்; நாறு இருங் கூந்தற் பொதுமகளிர் எல்லாரும் முல்லைஅம் தண் பொழில் புக்கார், பொதுவரோடு, எல்லாம் புணர் குறிக் கொண்டு. The first step into this new domain of the forest gives us immense insights about the culture there. The words can be translated as follows: “After the first shower upon the fertile, moist land graced by the rains, new buds burst forth on the previously dried-up stems of the thorny wild jasmine; Akin to the state of a drunken person, sways the oar-like buds, which bloom into wide petals, akin to rows of fire, in the flame-lily; Akin to sapphires, bloom the ironwood flowers; With these blooms and many others, exquisite garlands are woven and worn on the head by men, preparing themselves for the fight to proclaim their strength. Akin to the axe of the Furious First One are the sharps horns on the bulls, let out together in the arena. Resounding like drums, like thunder, one after the other, accepting the challenge of the competition, young men arrived there. On one side, with fragrant dust on their heads spilling over, stood beautiful maiden. After worshipping the shore, the banyan and the ancient, strong burflower tree, as per tradition, the men leaped into the field. Fearing not the piercing eyes of a bull with sharp horns, in the hue of a silk worm, pounced a young man. See the scene of how the bull kills and mutilates him with its horns! It’s akin to how amidst the enemies assembled, the one avenged his mad rage by tearing apart the chest of the other, who had touched the beautiful, swaying tresses of his beloved! With a mark, akin to a flame spreading its rays, on its forehead, is a black-hued bull. See how it gores the young man wearing a mountain flower garland, and stabs him, ripping out his guts and ruins him entire! It’s akin to how, at the end of time, the God with green eyes, would split the chest of the One, riding the buffalo, and throw out his intestines for the spirits to feast upon! Fearing not the fury of the white bull with intricate, shining spots behind its ears, pounced a young man. See the scene of how the bull mangles him with the sharp tip of its horn! It’s akin to how not minding the pitch darkness, arriving in the middle of the night, the one who, with his mighty strength, attacked the other, who had killed his father, and twisted the other’s head out of his neck! Even so, the note of the flute that rings aloud in this sapphire-evening rises as a good omen to render the beloved, adorned with a beautiful garland. (To the man) If you can hold on to that bull with fearless eyes, more furious than a rutting elephant, that will yield you the fluttering flag of victory, the arms of the herder’s daughter! (To the lady) ‘O men with a head garland of morning flowers, men with a sweet flute, men who sway with a rod on the shoulders, we shall marry our girl with thick dark tresses only to the one who tames our killer bull!’ announce our kin! Saying, ’There is no herder equal to me to tame you’ to our bull, there is your beloved man, who declares his strength. He is sure to become your husband one day, for seeing him, your eyes have spoken their love! And now, the bulls are tired and the herders are filled with wounds. All the women with fragrant dark tresses have retired to the cool and moist groves, brimming with wild jasmines, along with their herders, paying heed to their signals to come together!” Let’s explore the nuances. The verse is situated in the context of bull taming in a herders community, who predominate this landscape, and the words are said by the lady’s confidante, both to the man and the lady. The confidante starts with a fragrant discussion of the flowers that bloom in this land, presenting to us the thorny wild jasmine, the fire-like flame lily, and the sapphire-hued ironwood flowers. She connects saying how the herders take these and many other flowers and weave them into a head garland. Apparently, this gentle and aesthetic action is the first step before a fight about to unfold. Who are they fighting? As their opponents, stand bulls with horns said be as sharp as the axe of God Siva, who is referred to here, not with this name, but as the ‘First One’, known for his fury. We witnessed the sensory element of scent with those fragrant flowers. Now, sound is sketched for us, in the tone of drums and thunder and so appear the young men ready to fight with the bulls, says the confidante. Don’t we need a rapt audience for this important fight? Sure enough, young maiden stand on one side, wafting with the fragrance of sandalwood on their heads. The confidante tells us how these young men worship not any Gods, but the elements of land like the river shore and elements of nature like the banyan tree and the burflower tree. My respect for these ancient ancestors soared a little with this note! Returning, it’s time for some gore and horror, decides the confidante! She goes on to talk about how one ash-hued bull is stabbing a young man, another black bull is pulling out the intestines of another, and how a white bull is mangling up a man with its horns. In graphic detail, the confidante etches the scene and to add to the effect, she connects each of these scenes to mythological events that modern interpreters see it as pointing to the actions of Bhima in the Mahabharata, avenging the insult to his wife Draupadi, the prophecy of how God Siva would kill the God of Death himself at the end of time, and finally, the story of Ashwathama avenging his father’s death. We have no proof whether these references are to these myths or other stories told in the past of these Sangam people. But the core idea is to show how the scenes are filled with terror, with the bulls taking the upper hand. After relaying so much bad news, the confidante shifts track and declares there’s the sound of the flute that’s heard and that is a good omen for the lady to unite with her beloved. Then, she turns to the man and encourages him to hold on to the bull till the end so that he can win the lady. To the lady, she talks about how the lady’s kin had announced that they would give their daughter only to the man who would tame their bull. She tells the lady that the man is sure to declare to the bull that there’s no one else who can tame it, and will one day, become her man, for today, the lady’s eyes were speaking so much love to him. The confidante concludes by detailing the end of the fight when the bulls are tired and the herders are hurt, and their plan to heal their wounds is to meet up with their beloved maiden in the groves around, and the women, understanding the intent of these men, to tryst are seen moving thither. The lady too is being nudged by the confidante to meet with her beloved in the trysting spot through this final reference! A verse which etches the scenes of this ancient custom, which the Tamils uphold to this day. Though I have used the term ‘Bull taming’, the actual translation of the Tamil word ‘Eru thazhuval’ means ‘Embracing a bull’. It’s fascinating that those ancient herders said to the young men then, ‘You need to embrace the bull before you can embrace our girl’, in that meaningful metaphor for a marriage, which soars above all its challenges with strength, patience and perseverance!…

Sangam Lit

1
Kalithogai 100 – Living true to the praise 8:16

52 weeks temu8:16

8:16

In this episode, we perceive the intersection of different aspects of life, as portrayed in Sangam Literary work, Kalithogai 100, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and pleads for a king’s kindness. ஈண்டு நீர்மிசைத் தோன்றி இருள் சீக்கும் சுடரே போல், வேண்டாதார் நெஞ்சு உட்க, வெரு வந்த கொடுமையும், நீண்டு தோன்று உயர் குடை நிழல் எனச் சேர்ந்தார்க்குக் காண் தகு மதி என்னக் கதிர் விடு தண்மையும், மாண்ட நின் ஒழுக்கத்தான், மறு இன்றி, வியன் ஞாலத்து யாண்டோரும் தொழுது ஏத்தும் இரங்கு இசை முரசினாய்! ‘ஐயம் தீர்ந்து யார்கண்ணும் அருந் தவ முதல்வன் போல் பொய் கூறாய்’ என நின்னைப் புகழ்வது கெடாதோதான் நல்கி நீ தெளித்த சொல் நசை எனத் தேறியாள் பல் இதழ் மலர் உண்கண் பனி மல்கக் காணுங்கால்? ‘சுரந்த வான் பொழிந்தற்றா, சூழ நின்று யாவர்க்கும் இரந்தது நசை வாட்டாய்’ என்பது கெடாதோதான் கலங்கு அஞர் உற்று, நின் கமழ் மார்பு நசைஇயாள் இலங்கு கோல் அவிர் தொடி இறை ஊரக் காணுங்கால்? ‘உறை வரை நிறுத்த கோல், உயிர் திறம் பெயர்ப்பான் போல், முறை செய்தி’ என நின்னை மொழிவது கெடாதோதான் அழி படர் வருத்த, நின் அளி வேண்டிக் கலங்கியாள் பழி தபு வாள் முகம் பசப்பு ஊரக் காணுங்கால்? ஆங்கு தொல் நலம் இழந்தோள், நீ துணை எனப் புணர்ந்தவள் இன் உறல் வியன் மார்ப! ‘இனையையால்; கொடிது’ என, நின்னை யான் கழறுதல் வேண்டுமோ, என்னோர்கள் இடும்பையும் களைந்தீவாய் நினக்கே? Another verse in the exact same sentiment of the previous one, making a plea to a king on behalf of a maiden! The words can be translated as follows: “Akin to the flame that soars above the seas ending the darkness, you shower harshness to spread fear in the hearts of foes, and akin to the pleasant moon that renders its cool rays, you render compassion to those who come seeking the towering shade of your tall umbrella. Since you are one with such estimable qualities that are flawless, everyone in this wide world worship and praise you, O lord with resounding drums! Won’t the praise rendered to you, ‘Without a doubt, akin to the First One, renowned for his penances, he would never lie to anyone’ become false when one sees the many-petaled-flower-like, kohl-streaked eyes of the lady, who trusted your words to be those of love and grace, fill with tears? Won’t the words, ‘Akin to the shower from the skies, you render with generosity to all those who surround you seeking’ become false when one sees the radiant and rounded bangles on the lady, who filled with tormenting sorrow, desires your fragrant chest, slip away from the wrist? Won’t the words said about you, ‘Akin to One, who renders death and the rightful end to everyone’s days of life, with an unswerving sceptre, you render the right justice’ become false when one sees the faultless, shining face of the lady, who tormented by deep suffering, wishes for your grace, become covered in pallor? And so, the one who has lost her old beauty, the one whom you united with as your companion must attain your sweet embraces, O man with a wide chest! Should I even say ‘Such is the situation filled with cruelty’ and chide you, O lord, when you are one who has ended the distress of countless others?” Let’s explore the nuances. The verse is situated in the context of a love that brims over and brings suffering. As in the case of the previous verse, these are words said to a king, referring to his domestic life, spoken by the lady’s confidante. The confidante starts by portraying the nature of the king’s rule, talking about how he can be the harsh sun, when it comes to inciting fear in his enemies and how he can be the cool moon, when showering with compassion to those who come seeking. She also mentions how everyone praises and worships the king. Then, she takes the three-step Kalithogai path to ask the king, won’t the words of praise about his truthfulness, generosity and justice become falsified when one takes in the tear-streaked eyes, slipping bangles, pallor-covered face of the lady, who suffers seeking the love and grace of the king. Interesting to see the similes employed for each of the king’s qualities: For his truthfulness, a God called as the First One, whom some interpreters think refers to God Siva, is referred; For the king’s generosity, the much used simile of a rain shower that ends the thirst of a land is employed; and for justice, the most interesting simile of Death, which renders its judgement to all the people at the end of their days of life, without bias, has been used. Through this, we understand the perspective of Sangam people about death, seeing it as a deserved and righteous end to a person’s life. Returning, the confidante, after appealing to the king’s honour in being true to his fame, talks about how it’s essential for the lady to attain the king’s grace and ends with a piercing question of whether there was any need for her to even talk and rebuke the king, the person who has destroyed the distress of many, many people in his land! Fascinating to see this confluence of the political and personal in the life of an ancient ruler, bringing together the realms of outer and inner life. With this slice of life, we come to the end of verses in Kalithogai that are situated in the ‘Marutham’ or ‘Farmlands’ landscape. While most of the verses dealt with the in-house fighting between the man and the lady over the courtesan, there have been some intriguing exceptions like that portrait of love between a dwarf and a hunchback, and these final verses taking a holistic view of different dimensions in life. Even in the songs of the love quarrel, we have witnessed the spellbinding creativity in connecting disparate elements. Now, it’s time to say bye to the quarrelling couple, surrounded by the plenty of this landscape, and journey on to the next domain!…

Sangam Lit

1
Kalithogai 99 – Caring for the near and dear 6:31

1 year temu6:31

6:31

In this episode, we hear a passionate speech in support of another, as depicted in Sangam Literary work, Kalithogai 99, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and puts forth a plea to a king. நறவினை வரைந்தார்க்கும் வரையார்க்கும், அவை எடுத்து, அற வினை இன்புறூஉம் அந்தணர் இருவரும் திறம் வேறு செய்தியின் நூல் நெறி பிழையாது, குழவியைப் பார்த்து உறூஉம் தாய் போல், உலகத்து மழை சுரந்து அளித்து ஓம்பும் நல் ஊழி யாவர்க்கும் பிழையாது வருதல் நின் செம்மையின் தர, வாய்ந்த இழை அணி கொடித் திண் தேர், இன மணி யானையாய்! அறன் நிழல் எனக் கொண்டாய், ஆய் குடை; அக் குடைப் புற நிழற்கீழ்ப் பட்டாளோ, இவள்? இவண் காண்டிகா பிறை நுதல் பசப்பு ஊரப் பெரு விதுப்பு உற்றாளை! பொய்யாமை நுவலும், நின் செங்கோல்; அச் செங்கோலின் செய் தொழில் கீழ்ப் பட்டாளோ, இவள்? இவண் காண்டிகா காம நோய் கடைக்கூட்ட வாழும் நாள் முனிந்தாளை! ஏமம் என்று இரங்கும், நின் எறி முரசம்; அம் முரசின் ஏமத்து இகந்தாளோ, இவள்? இவண் காண்டிகா வேய் நலம் இழந்த தோள் கவின் வாட இழப்பாளை! ஆங்கு நெடிது சேண் இகந்தவை காணினும், தான் உற்ற வடுக் காட்ட கண் காணாதற்றாக, என் தோழி தொடி கொட்ப நீத்த கொடுமையைக் கடிது என உணராமை கடிந்ததோ நினக்கே? Moving away from those imaginative love quarrels, we step into a new domain of pleading for a person! The words can be translated as follows: “To those who abstained from toddy and to those who did not, showing the path of righteousness are the two high priests. Never swerving from the truth to do something different from what is penned in the book by these two, akin to a mother who delights in her child, the good fate of having rains at the right time has been accorded because of your goodness, O lord with an adorned sturdy chariot, fluttering with a flag, and having elephants, resounding with many, many bells! Your umbrella stands as a beautiful shade of justice; Is she standing outside that shade? Won’t you look at her, as pallor spreads on her crescent-moon forehead and she suffers tremendously? Your sceptre speaks declaring truth; Does she not deserve a space in its domain? Won’t you look at her, as her love affliction exceeds and makes her detest her days of life? Your drum resounds proclaiming protection; Has she regressed to a state where she cannot claim its protection? Won’t you look at her as her arms lose their bamboo-like beauty and leave her in ruin? And so, akin to how the eyes can see very far but cannot see the scars inflicted on them, you are unable to see the harsh cruelty that makes her bangles loosen. How can you be rebuked for this ignorance?” Let’s explore the details. The verse is situated in the context of a love that exceeds its bounds and suffers anguish. As it addresses a king, it seems to contains elements of ‘Puram’ or ‘outer life’. However, the namelessness of the ruler leaves it in the domain of ‘Aham’ or ‘inner life’ literature. The words are spoken by the lady’s confidante to the man, who happens to be the king of the land. The confidante starts by talking about the flawless rule of this king, who never swerves from the prescribed code in the book of ethics, penned by priests, who remain the guide to all people, regardless of who they are, and how owing to this, the rains pour without fail in the land, according much prosperity. She also describes the king as the owner of sturdy chariots and adorned elephants. Then, applying the three-step format of Kalithogai, the confidante talks about how the king’s umbrella, sceptre and drum proclaim justice, truth and protection to all his people and she asks if the lady was someone who was outside the domain of these aspects of rule. She pleads to the king to pay attention to the lady’s state of ruin. The confidante talks about how the eyes can see even far away but when a wound happens to the eyes themselves, they are unable to see that, and connects this truth to the king’s attitude of protecting his entire land but not paying attention to the pain of his own lady and concludes wondering how to make the king realise this ignorance of his! Looking at the verse from the lens of the present, we can see that the core truth talks about the case of a person, who may be wise, patient and knowledgeable in their chosen line of work, but may not have those estimable qualities in their personal lives. A nudge from the past to bring out the best in us not only in the wider sphere of work but also in the intimate world of our love and family!…

Sangam Lit

1
Kalithogai 98 – A river bathing ritual fight 9:19

1 year temu9:19

9:19

In this episode, we perceive the practice of bathing in the fresh waters of a river, as portrayed in Sangam Literary work, Kalithogai 98, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and portrays an element of the land in a new light. தலைவி: யாரை நீ எம் இல் புகுதர்வாய்? ஓரும் புதுவ மலர் தேரும் வண்டே போல், யாழ வதுவை விழவு அணி வைகலும் காட்டினையாய், மாட்டு மாட்டு ஓடி, மகளிர் தரத் தரப், பூட்டு மான் திண் தேர் புடைத்த மறுகு எல்லாம் பாட்டு ஆதல் சான்ற நின் மாயப் பரத்தைமை காட்டிய வந்தமை கைப்படுத்தேன், பண்டு எலாம் கேட்டும் அறிவேன் மன் யான். தலைவன்: தெரி கோதை அம் நல்லாய்! தேறீயல் வேண்டும்; பொரு கரை வாய் சூழ்ந்த பூ மலி வையை வருபுனல் ஆடத் தவிர்ந்தேன்; பெரிது என்னைச் செய்யா மொழிவது எவன்? தலைவி: ஓஒ! புனல் ஆடினாய் எனவும் கேட்டேன்; புனல் ஆங்கே நீள் நீர் நெறி கதுப்பு வாரும் அறல் ஆக, மாண் எழில் உண்கண் பிறழும் கயல் ஆகக், கார் மலர் வேய்ந்த கமழ் பூம்பரப்பு ஆக , நாணுச் சிறை அழித்து நன்பகல் வந்த அவ் யாணர் புதுப் புனல் ஆடினாய், முன் மாலைப் பாணன் புணை ஆகப் புக்கு, ஆனாது அளித்து அமர் காதலோடு அப் புனல் ஆடி, வெளிப்படு கவ்வையை யான் அறிதல் அஞ்சிக் குளித்து ஒழுகினாய் எனவும் கேட்டேன்; குளித்து ஆங்கே போர்த்த சினத்தான் புருவத் திரை இடா, ஆர்க்கும் ஞெகிழத்தான் நன் நீர் நடை தட்பச் சீர்த் தக வந்த புதுப் புனல் நின்னைக் கொண்டு, ஈர்த்து உய்ப்பக் கண்டார் உளர்; ஈர்த்தது உரை சால் சிறப்பின் நின் நீர் உள்ளம் வாங்கப், புரை தீர் புதுப் புனல் வெள்ளத்தின் இன்னும் கரை கண்டதூஉம் இலை தலைவன்: நிரை தொடீஇ! பொய்யா வாள் தானைப் புனை கழல் கால் தென்னவன், வையைப் புதுப் புனல் ஆடத் தவிர்ந்ததைத் தெய்வத்தின் தேற்றித் தெளிப்பேன்; பெரிது என்னைச் செய்யா மொழிவது எவன்? தலைவி: மெய்யதை மல்கு மலர் வேய்ந்த மாயப் புதுப் புனல் பல் காலும் ஆடிய செல்வுழி, ஒல்கிக் களைஞரும் இல்வழிக் கால் ஆழ்ந்து தேரோடு இள மணலுள் படல் ஓம்பு, முளை நேர் முறுவலார்க்கு ஓர் நகை செய்து. Another imaginative comparison in this verse! The words can be translated as follows: “ Lady: O man stepping into my home! Who are you? Akin to a bee that keeps searching ceaselessly for new flowers, you exude your wedding-like, festive adornments every day and run around hither and thither, to attain more and more women. In all the streets, where your sturdy chariot tied with horses strides through, the talk is all about you! I see how you have come here, proclaiming your famous betrayal of seeking courtesans. Even though I heard all about it previously, I didn’t understand then! Man: O maiden as beautiful as a garland of well-chosen flowers, know this well! I was delayed because I stayed back to bathe in the flower-filled, fresh waters of the Vaigai river, which surrounds and lays siege to its shores. Why do you keep talking about things I have not done? Lady: Is that so? I did hear about your bathing in the stream! There, in that stream, long and wavy tresses were heaped black sand, esteemed and exquisite eyes were leaping fish, well-tied flowers worn on the head were blooms gushing down the stream in the rainy season. Breaking the barriers of shame, came that prosperous fresh stream in the middle of the day, and of course, you bathed in it, with the bard as your raft in those early evening hours! I also heard of how showering your endless grace, you bathed in that stream with much love, and then fearing that I would come to know of the spreading slander, how you tried to hide it too. When you did that, with rage rising, raising eyebrows like waves, anklets resounding ceaselessly, that new stream roared and blocked you from turning onto the right path, and pulled you within, say those who have seen this. That which pulled you within captured your esteemed heart, and still, it has not risen from the flawless fresh flood of that stream and reached the shore! Man: O maiden wearing well-etched bangles! In the domain of the Southern King, wearing well-etched warrior anklets and having an undefeated army of swords, flows the Vaigai, and I was delayed as I was bathing in the river’s fresh waters. I will swear this upon God to make you understand. Why do you keep talking about things I have not done? Lady: Indeed, it is true! But do take care when you journey on that path again and again to bathe in the bewitching fresh new stream, brimming with woven flowers, for there might be no one to save you, when your chariot wheels get stuck in the slushy mud, making those with bud-like smiles burst out laughing!” Time to delve into the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. Here the man and lady are in conversation, with the lady acting as the primary speaker. The lady starts by asking the man in anger who was he to enter her home, and describes how he runs around like a bee seeking maiden day after day and it’s all talk about his behaviour in the streets that his chariot strides upon. The man, as expected, denies everything and says that he was delayed for all this while only because he was bathing in the fresh waters of the River Vaigai. Now, the lady talks about how she knows all about that river the man was bathing in and goes on to describe a courtesan’s tresses as the river’s black sand, her eyes as the fish jumping about in it, her flowers as the rain-swept blooms from the mountains that fill a river after a downpour. She extends the simile taking about how the man bathed with much love in that stream, with the bard as his raft, implying the help rendered by this helper to bring the man and the courtesan together. She continues saying how the man suddenly came to his senses and feared the lady may come to know of this. Seeing the changes in the man, that courtesan, with her eyebrows moving up and down like waves and anklets roaring, rose as the bewitching stream and pulled the man back in, and from that time, he has not been able to escape the clutches and come ashore, the lady connects in a perfect parallel. As a response to this, the man says that he would swear on God to prove that he was only bathing in the River Vaigai that adorns the domain of the conquering Pandya King. Not paying any heed to his words, the lady concludes by asking him to take care when he goes on that path again and again to bathe in that fresh stream, for one day, making maiden around laugh aloud, the man’s chariot wheels may get stuck in the slush, with no one to save him! Though it is again the same bickering between the man and the lady with one saying ‘No, I didn’t’ and the other ‘Yes, you did’, what’s stunning here is the creativity and imagination of this poet who connects disparate elements such as river stream and a woman with perfection. Each element of this comparison sounds true and natural in this context. In the past few songs, the act of seeing something entirely different in a quail fight, riding horses, parading on elephants and even bathing in a river stream seems to tell us the profound truth that all life is connected in spirit!…

Sangam Lit

1
Kalithogai 97 – On parading an elephant 7:35

1 year temu7:35

7:35

In this episode, we perceive a scoffing retort, as depicted in Sangam Literary work, Kalithogai 97, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and connects the characteristics of a woman and an elephant. தலைவி அன்னை கடுஞ் சொல் அறியாதாய் போல, நீ என்னைப் புலப்பது ஒறுக்குவென்மன் யான் சிறுகாலை இற் கடை வந்து, ‘குறி செய்த அவ் வழி என்றும் யான் காணேன் திரிதர, எவ் வழிப் பட்டாய்?’ சமனாக இவ் எள்ளல் தலைவன் முத்து ஏர் முறுவலாய்! நம் வலைப் பட்டது ஓர் புத்தியானை வந்தது; காண்பான் யான் தங்கினேன் தலைவி ஒக்கும் அவ் யானை வனப்பு உடைத்தாகலும் கேட்டேன்: அவ் யானை தான் சுண்ண நீறு ஆடி, நறு நறா நீர் உண்டு ஒள் நுதல் யாத்த திலக அவிர் ஓடை, தொய்யில் பொறித்த வன முலை வான் கோட்டு, தொய்யகத் தோட்டி, குழை தாழ் வடி மணி, உத்தி பொறித்த புனை பூண் பருமத்து முத்து ஏய்க்கும் வெண் பல் நகை திறந்து, நல் நகர் வாயில் கதவ வெளில் சார்ந்து, தன் நலம் காட்டி, தகையினால், கால் தட்டி வீழ்க்கும், தொடர் தொடராக வலந்து; படர் செய்யும் மென் தோள் தடக் கையின் வாங்கி, தற் கண்டார் நலம் கவளம் கொள்ளும்; நகை முக வேழத்தை இன்று கண்டாய் போல் எவன் எம்மைப் பொய்ப்பது, நீ? எல்லா! கெழீஇ, தொடி செறித்த தோள் இணை, தத்தித் தழீஇக் கொண்டு, ஊர்ந்தாயும் நீ குழீஇ அவாவினால், தேம்புவார் இற் கடை ஆறா, உவா அணி ஊர்ந்தாயும் நீ மிகாஅது சீர்ப்பட உண்ட சிறு களி ஏர் உண்கண் நீர்க்கு விட்டு, ஊர்ந்தாயும் நீ சார்ச்சார் நெறி தாழ் இருங் கூந்தல் நின் பெண்டிர் எல்லாம் சிறு பாகராகச் சிரற்றாது, மெல்ல, விடாஅது நீ எம் இல் வந்தாய்; அவ் யானை கடாஅம் படும்; இடத்து ஓம்பு. The comparison series continues! The words can be translated as follows: “Lady: In the early hours of dawn, she came here and said, ‘I did not see him anywhere near the trysting spot. I have roamed everywhere, where is he?’. Acting as if you know not these harsh words spoken to me, you mock and disrespect me. I lament this state! Man: O maiden with a pearl-like smile! Hearing that a new elephant has been caught in our net, to see that, I stayed back! Lady: That sounds about right! I too heard that it was an elephant brimming with beauty. That elephant was playing in the heap of aromatic powder, drinking fragrant toddy, wearing a radiant ornament that adorned its shining forehead, having the beautiful tusks of ‘thoyyil’ painted bosoms, and on it, was the ‘thoyakkam’ ornament as its goad, bells hanging low as its ears, and a well-carved golden ornament with a imprinted pendant. That elephant supposedly opened its white teeth, akin to pearls, and leaning on the doors of its fine mansion, displaying its fine beauty, with its esteemed quality, had the ability of making others stumble before it. Continuously swirling around, spreading suffering, bending its trunk of soft arms, it feeds on the ‘rice ball’ beauty of those who behold it. So, why do you lie to me saying you saw that bright-faced elephant just today? My dear! Holding on to her bangle-clad arms and embracing her, didn’t you ride her aplenty? Spreading ceaseless distress in those who are filled with love for you, in front of their doors, didn’t you parade her aplenty? Making the kohl-streaked eyes of maiden, who have drunk just a little toddy within limits, cry a little, didn’t you ride her aplenty? Without enraging the maiden with low-hanging, dark tresses in many, many abodes, for whom you are the little mahout, you have come silently to my home. That elephant of yours may start rutting in rage. So, go on and appease it!” Time to delve into the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. Here, the man and lady converse with each other, with the lady’s emotions taking the forefront. The lady talks about how a courtesan had visited the lady’s home and declared that the man had not appeared at the marked trysting spot and had asked the lady where he was, speaking harsh words. The lady accuses the man of not caring about the distressing situation the lady was in. To these angry words, the man says that he had been away, tending to a new elephant that had been caught. Hearing this, the lady launches into a tirade, mentioning how she knows all about that beautiful elephant, and goes on to place in parallel, the features of an elephant and the adornments of a courtesan. An excellent exercise in imagination where the lady rethinks the ears of the elephant as the hanging earrings on the courtesan, tusk as the bosom, trunk as the arms and so on. She extends the metaphor saying the elephant had the prowess to make people stumble before it, and equates the ‘rice ball’ food of the elephant to the beauty and joy of those who behold its beauty. She asks the man not to fool her saying he had just met with the elephant, for she knows that the man had been with her for a while, and that he has caused pain in others by parading her, made the eyes of others who cry, not because of their excess toddy, but because of the pain the man inflicted by his courting with this courtesan. The lady concludes by saying how he has sneaked off to the lady’s home silently, and that elephant might learn of his act and become furious, and so, the man must leave her and go calm his darling elephant! Yet again, we perceive the sarcasm in the lady’s reply. A verse which made me muse on how the proverbial ‘elephant in the room’ ever present in the life of a Sangam man from the ‘Marutham’ or ‘Farmlands landscape’ is always the other woman, a courtesan vying for the man’s attention, of whom the man doesn’t want to talk about and the lady can’t stop talking about!…

Sangam Lit

1
Kalithogai 96 – On riding a horse 8:46

1 year temu8:46

8:46

In this episode, we listen to an imaginative response to a dishonest explanation, as portrayed in Sangam Literary work, Kalithogai 96, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and renders a comparative study of women and horses. தலைவி ‘ஏந்து எழில் மார்ப! எதிர் அல்ல, நின் வாய்ச் சொல்; பாய்ந்து ஆய்ந்த தானைப் பரிந்து ஆனா மைந்தினை; சாந்து அழி வேரை; சுவல் தாழ்ந்த கண்ணியை; யாங்குச் சென்று, ஈங்கு வந்தீத்தந்தாய்?’ தலைவன் ‘கேள் இனி: ஏந்தி எதிர் இதழ் நீலம் பிணைந்தன்ன கண்ணாய்! குதிரை வழங்கி வருவல்’ தலைவி அறிந்தேன், குதிரைதான்; பால் பிரியா ஐங்கூந்தற் பல் மயிர்க் கொய் சுவல், மேல் விரித்து யாத்த சிகழிகைச் செவ் உளை, நீல மணிக் கடிகை வல்லிகை யாப்பின் கீழ் ஞால் இயல் மென் காதின் புல்லிகைச் சாமரை, மத்திகைக் கண்ணுறையாகக் கவின் பெற்ற உத்தி ஒரு காழ், நூல் உத்தரியத் திண் பிடி, நேர் மணி நேர் முக்காழ்ப் பல்பல கண்டிகை, தார் மணி பூண்ட தமனிய மேகலை, நூபுரப் புட்டில், அடியொடு அமைத்து யாத்த வார் பொலம் கிண்கிணி ஆர்ப்ப இயற்றி, நீ காதலித்து ஊர்ந்த நின் காமக் குதிரையை, ஆய் சுதை மாடத்து அணி நிலா முற்றத்துள் ஆதிக் கொளீஇ, அசையினை ஆகுவை, வாதுவன்; வாழிய, நீ! சேகா! கதிர் விரி வைகலில், கை வாரூஉக் கொண்ட மதுரைப் பெரு முற்றம் போல, நின் மெய்க்கண் குதிரையோ வீறியது? கூர் உகிர் மாண்ட குளம்பினது; நன்றே கோரமே வாழி! குதிரை வெதிர் உழக்கு நாழியால் சேதிகைக் குத்திக் குதிரை உடல் அணி போல, நின் மெய்க்கண் குதிரையோ கவ்வியது? சீத்தை! பயம் இன்றி ஈங்குக் கடித்தது; நன்றே வியமமே வாழி! குதிரை மிக நன்று, இனி அறிந்தேன், இன்று நீ ஊர்ந்த குதிரை; பெரு மணம் பண்ணி, அறத்தினில் கொண்ட பருமக் குதிரையோ அன்று; பெரும! நின் ஏதில் பெரும் பாணன் தூது ஆட, ஆங்கே ஓர் வாதத்தான் வந்த வளிக் குதிரை; ஆதி உரு அழிக்கும், அக் குதிரை; ஊரல், நீ; ஊரின், பரத்தை பரியாக, வாதுவனாய் என்றும் மற்று அச் சார்த் திரி; குதிரை ஏறிய செல். The ire and fire of the lady continues! The words can be translated as follows: “ Lady: O man with an upraised handsome chest! Your words don’t seem to fit the situation; O man with unceasing strength, your clothes are crumpled and torn, your sandalwood is smudged by your sweat, your head garland is hanging low by your shoulders. Where did you go, before coming here? Man: Listen to me now. O maiden with eyes, akin to two perfectly similar blue-lilies woven together, I was out riding a horse. Lady: I know well about that horse! It has unseparated, five layered braids of thick tresses falling low on the neck’s nape, and these are gathered in a tight bun upon its red mane, a necklace of blue sapphires as its halter, swaying below, ear ornaments as tassels around its gentle ears, and it wears a beautiful ornament as its eye-protector, a cloth with a sturdy grip above, perfect gems stitched together in a three strand garland around its neck, and around its hooves, a golden tinkling anklet, well-fitted. Making these many jewels resound, you rode that desirable horse of yours with love, in that well-plastered mansion on the night of the beautiful moon, making it trot in the ‘Aadhi’ horse routine. Such a talented horseman, you are! May you live long! O warrior! In the early morning, when the sun spreads its rays, akin to how the great streets of Madurai are cleaned with hand brooms, did the horse leave these lines on your form? Its hooves seem to have sharp nails. What a fine horse! May it live long! Akin to the colourful adornments made on the horse’s form with a bamboo measure, did the horse bite you and leave these marks on your form? Deplorable one! How could it bite in all those places without any fear? Unbelievable! Long may that horse live! Excellent this is! Now, I know the horse that you rode! It’s not the one you married with great celebration and the one hold rightfully, O lord! As the bard who fulfils your every command went as a messenger, believing your words, akin to the wind, came that horse! It’s one that will ruin your old handsome form! So, ride it not! If you want to ride it still, then leave from here and let that courtesan be your horse and you, as the horse-rider, and may you carry on with this horse-riding of yours forever and ever!” Let’s explore the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. This is a conversation between the lady and the man, with the lady’s words and emotion in the spotlight. The lady starts by remarking on the torn clothes and the low-hanging garland of the man and asks him where he has been. In response, the man says he had been out, riding a horse. The lady retorts that she sure knows the horse he’s talking about and goes on to list all the jewels worn by a courtesan as the adornments and accessories on a horse, talking about the woman’s tresses as the horse’s mane, a necklace of blue sapphires as the halter, ear ornaments as tassels around the horse’s ear, a beautiful ornament as the eye protector, a well-stitched attire as its saddle and so on. She talks about how the man rode the horse not out in the open, but at night, in a mansion, making it perform a horse-taming routine that they refer to as ‘Aadhi’. She mockingly lauds the man as a great horseman, and asks him, if the lines on his handsome body were made by that horse, wondering if the horse had nails on its hooves, and then she asks him, if the bite marks all over his body, were left by the horse too. The lady adds that this is no rightful horse belonging to the man, the one he married, but rather one lured by the words of the bard, who went to her as the man’s messenger. She advises the man not to ride and if he insisted that he must, then she asks him to carry on with riding with the courtesan all he wants, but make sure to leave her and go away! Another verse which reveals the creativity of Sangam poets in connecting the qualities of disparate things. The perfectly stitched stack of similes for the horse and a woman is incredible to behold. In a tangent, this verse reminded me of a quote I had read, attributed to the motorcycle racer, Valentino Rossi: “The most important thing is to have a good relationship with the bike… you have to understand what she wants. I think of a motorcycle as a woman, and I know that sounds silly, but it’s true.” Vehicles that one rides may change, but in this verse, we smile to see how this Tamil Sangam poet and that Italian racer nod in agreement, across the centuries!…

Sangam Lit

1
Kalithogai 95 – The quail fight quarrel 8:06

1 year temu8:06

8:06

In this episode, we perceive fighting over the truth, as depicted in Sangam Literary work, Kalithogai 95, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and renders details about quail fights in ancient times. தலைவி நில், ஆங்கு; நில், ஆங்கு; இவர்தரல் எல்லா! நீ நாறு இருங் கூந்தலார் இல் செல்வாய், இவ் வழி, ஆறு மயங்கினை போறி! நீ வந்தாங்கே மாறு இனி, நின் ஆங்கே நின் சேவடி சிவப்ப தலைவன் செறிந்து ஒளிர் வெண் பல்லாய்! யாம் வேறு இயைந்த குறும்பூழ்ப் போர் கண்டேம்; அனைத்தல்லது, யாதும் அறிந்ததோ இல்லை, நீ வேறு ஓர்ப்பது தலைவி குறும்பூழ்ப் போர் கண்டமை கேட்டேன், நீ என்றும்; புதுவன ஈகை வளம் பாடி, காலின் பிரியாக் கவி கைப் புலையன் தன் யாழின் இகுத்த செவி சாய்த்து, இனி இனிப் பட்டன ஈகைப் போர் கண்டாயும் போறி; மெய் எண்ணின், தபுத்த புலர்வில் புண் ஊரவர் கவ்வை உளைந்தீயாய், அல்கல் நின் தாரின்வாய்க் கொண்டு முயங்கி, பிடி மாண்டு, போர் வாய்ப்பக் காணினும் போகாது கொண்டு, ஆடும் பார்வைப் போர் கண்டாயும் போறி; நின் தோள் மேலாம் ஈரமாய்விட்டன புண் கொடிற்றுப் புண் செய்யாது, மெய்ம் முழுதும் கையின் துடைத்து, நீ வேண்டினும் வெல்லாது கொண்டு, ஆடும் ஒட்டிய போர் கண்டாயும் போறி; முகம்தானே கொட்டிக் கொடுக்கும் குறிப்பு தலைவன் ஆயின், ஆயிழாய்! அன்னவை யான் ஆங்கு அறியாமை போற்றிய, நின் மெய் தொடுகு தலைவி ‘அன்னையோ! மெய்யைப் பொய் என்று மயங்கிய, கை ஒன்று அறிகல்லாய் போறிகாண், நீ தலைவன் நல்லாய்! பொய் எல்லாம் ஏற்றி, தவறு தலைப்பெய்து, கையொடு கண்டாய்; பிழைத்தேன்; அருள், இனி’ தலைவி அருளுகம் யாம் யாரேம், எல்லா! தெருள அளித்து, நீ பண்ணிய பூழ் எல்லாம் இன்னும் விளித்து, நின் பாணனோடு ஆடி அளித்தி விடலை நீ நீத்தலின் நோய் பெரிது ஏய்க்கும் நடலைப்பட்டு, எல்லாம் நின் பூழ். Reverting from the striking exception in the previous verse, we are back to in-house fighting! The words can be translated as follows: “ Lady: Stay there, stay right there! Do not come here! It looks like you lost your way when going to the home of those maiden with dark and fragrant tresses and came here instead! Go back the way you came from, reddening your fine feet! Man: O maiden with perfect, shining teeth! I was elsewhere watching a ‘quail fight’. Other than that, I know not what you are talking about! Lady: Indeed, I so heard about your watching the quail fight! I heard all about how as the one, who keeps singing new praises about your endless generosity, that inseparable bard of yours played on the lute, you, slanting your head, watched the fight of newly caught quails! Those wounds on the form are still not healed indeed! Without giving a thought about the slander in town, you held them close to your garland and embraced them, and watched the quail fight, and even that was not enough for you, for it appears as if you watched the fight of the decoys used to bait the quails as well; Behold how your arms are filled with moist wounds! Taking care to not wound your cheeks, caressing your entire form with the hands, even if you plead, not winning, as those quails fought so closely, it’s clear you were watching it intently; Your face reveals it without a doubt! Man: If you say so, O maiden wearing well-etched jewels. I will swear on your form that I know not of what things you speak of! Lady: Is that so? As if you are someone who doesn’t know how to confuse me saying a lie is the truth! Man: O beautiful maiden! You saw through my lies and found out the mistakes I made. Render me your grace! Lady: Who am I, to render my grace to you, O lord? The quails that you celebrated and offered generously to are calling out to you! Leave with that bard of yours and render your grace to them. If you were to forsake them, feeling betrayed, the affliction would soar in all those quails of yours!” Let’s explore the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. Here, the words are exchanged by the man and the lady. The lady starts by stopping the man in his tracks, asking him if he had lost his way when going to the house of the courtesans. The man declares that the lady was mistaken and he was just away watching a quail fight. The lady catches hold of his mention of a quail fight and says how she heard all about it, and about how the man watched his quails fight over him, as he listened to the bard’s praises, and how those quails seem to have left their wounds on his form. She continues talking about how he held those quails close and watched the endless fight of the quails and the decoys, and adds that those quails would not win and end the fight even if he begged them to. All this was evident from the scars on his arms, chest and cheek, the lady says. By now, it’s clear that the lady is not talking about quails but those women the man has been with. Still, the man pretends innocence and says he’ll swear on her. The lady replies saying he is someone adept at presenting a lie as the truth. Now, it’s total surrender on the part of the man saying, yes indeed, he was doing what she says and asks her to forgive and render her love. To which, the lady angrily replies that she is no one to him and asks him to leave to those quails, who are calling out to him, and wishes that he does not let them feel betrayed by his presence at the lady’s home! Yet again, the same fiery sparks from the lady about the man’s behaviour unfold here. But within this repeating theme, we learn of the practice of quail fights in the Sangam era. This reminds us of ‘rooster fighting’ that has been prevalent since ancient times, spreading from the Indus Valley to Greek and Roman civilisations. Perhaps, this was the origin for the practice of betting still active in many sports of today. From quails and roosters, it’s players on the field fighting it out in the present and the continuity of this custom tells us there is something ingrained in human nature, which makes them want to watch a fight!…

Sangam Lit

1
Kalithogai 94 – A unique duet of love 12:28

1 year temu12:28

12:28

In this episode, we perceive a unique love story, as portrayed in Sangam Literary work, Kalithogai 94, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the coming together journey of two striking personalities. குறளன் என் நோற்றனைகொல்லோ நீருள் நிழல் போல் நுடங்கிய மென் சாயல் ஈங்கு உருச் சுருங்கி இயலுவாய்! நின்னோடு உசாவுவேன்; நின்றீத்தை கூனி அன்னையோ! காண் தகை இல்லாக் குறள் நாழிப் போழ்தினான், ஆண்தலைக்கு ஈன்ற பறழ் மகனே நீ! எம்மை, ‘வேண்டுவல்’ என்று விலக்கினை; நின் போல்வார் தீண்டப் பெறுபவோ மற்று? குறளன் மாண்ட எறித்த படை போல் முடங்கி மடங்கி, நெறித்துவிட்டன்ன நிறை ஏரால் என்னைப் பொறுக்கல்லா நோய் செய்தாய்; பொறீஇ நிறுக்கல்லேன்; நீ நல்கின் உண்டு, என் உயிர் கூனி குறிப்புக் காண் வல்லுப் பலகை எடுத்து நிறுத்தன்ன கல்லாக் குறள! கடும் பகல் வந்து எம்மை, ‘இல்லத்து வா’ என, மெய் கொளீஇ, எல்லா! நின் பெண்டிர் உளர்மன்னோ? கூறு குறளன் நல்லாய்! கேள்: உக்கத்து மேலும் நடு உயர்ந்து வாள் வாய கொக்கு உரித்தன்ன கொடு மடாய்! நின்னை யான் புக்கு அகலம் புல்லின், நெஞ்சு ஊன்றும்; புறம் புல்லின், அக்குளுத்து; புல்லலும் ஆற்றேன்; அருளீமோ, பக்கத்துப் புல்லச் சிறிது கூனி ‘போ, சீத்தை! மக்கள் முரியே! நீ மாறு, இனி; தொக்க மரக் கோட்டம் சேர்ந்து எழுந்த பூங் கொடி போல, நிரப்பம் இல் யாக்கை தழீஇயினர், எம்மைப் புரப்பேம் என்பாரும் பலரால்; பரத்தை என் பக்கத்துப் புல்லீயாய் என்னுமால்; தொக்க உழுந்தினும் துவ்வா, குறு வட்டா! நின்னின் இழிந்ததோ, கூனின் பிறப்பு?’ குறளன் கழிந்து ஆங்கே, “யாம் வீழ்தும்” என்று தன் பின் செலவும், உற்றீயாக் கூனி குழையும் குழைவு காண் கூனி யாமை எடுத்து நிறுத்தற்றால், தோள் இரண்டும் வீசி, யாம் வேண்டேம் என்று விலக்கவும், எம் வீழும் காமர் நடக்கும் நடை காண் குறளன் கவர் கணைச் சாமனார் தம்முன் செலவு காண் கூனி ஓஒ! காண் குறளன் நம்முள் நகுதல் தொடீஇயர், நம்முள் நாம் உசாவுவம்; கோன் அடி தொட்டேன் கூனி ஆங்கு ஆக! சாயல் இன் மார்ப! அடங்கினேன்; ‘ஏஎ! பேயும் பேயும் துள்ளல் உறும்’ எனக் கோயிலுள் கண்டார் நகாமை வேண்டுவல்; தண்டாத் தகடு உருவ! வேறாகக் காவின் கீழ்ப் போதர்; அகடு ஆரப் புல்லி முயங்குவேம் துகள் தபு காட்சி அவையத்தார் ஓலை முகடு காப்பு யாத்துவிட்டாங்கு. A verse which introduces characters we have never before seen in Sangam Literature. The words can be translated as follows: “ Dwarf : What penance did you do, for me to see you here, O maiden, who appears with a shrunken form, akin to a shadow fluttering within the water? Wait and heed my words! Hunchback : Oh, is that so? You, who appears short and unfit for the eyes and seems like the little one of an ‘Aandalai’ owl, born at an inauspicious time! And you have stopped me saying that you desire me. Can someone like you even touch me? Dwarf : Akin to the blade of a tiller plough, bent, deformed and twisted, with your brimming beauty, you inflicted in me a terrible affliction; I can’t bear it any longer. If you render your grace, my life will go on! Hunchback : Look at him talk! You naive dwarf, who appears as if a gambling board was placed upright! In this harsh time of noon, you come here and pull my hand, asking me to come to your home. Don’t you have any other women? Tell me! Dwarf: O good maiden, listen! Above your waist, with your back upraised, you appear bent like a skinned stork! If I were to embrace you from the front, my chest would hurt; If I were to embrace you from the back, I would feel tickled. It’s no easy task to embrace you. But still, why don’t you let me embrace you a little on your side? Hunchback: Be gone! You lowly half-man! Give up this thought of yours! Akin to a flower-filled vine that reaches out and spreads on the branch of a tree, there are many, who love my form and yearn to embrace me, and you want to embrace me on the side, O deplorable one! You, who is not even higher than a ‘ulunthu’ crop, O stubby cretin! Is my hunchback shape worse than your form? Dwarf to his heart: Even though I go near her and tell her that I have fallen for her, look at the way the hunchback moves away and stands shrunken there! Hunchback: Even though I say no and push him away, as if a tortoise was held upright, swaying his arms, look at the way the one who desires me strides like the god of love! Dwarf: Indeed, see the stride of Saman, the younger brother of the god, who wields those arrows of love. Hunchback: What a sight! Dwarf: Let’s find the right place for us to unite together. I will not laugh at you. I swear by the king’s feet! Hunchback: Let it be so, O man with a handsome chest! I’m appeased! All I ask is that those in the temple should not laugh at us saying, ‘Hey! Look at those two ghosts frolicking together’! O man with an undiminished golden form! Let’s go down to the grove, and akin to how a minister with flawless wisdom would place a protective seal upon the palm letters, let’s embrace tightly till our desires are fulfilled!” Time to delve into the nuances. All the verses we have seen thus far talk about the relationship between the man and the lady, the principal, nameless protagonists of Sangam ‘Aham’ literature. For the first time, we get to see the love between the supporting characters, the people who work for the protagonists. This verse is situated in the context of a love relationship between a dwarf and a hunchback and since it contains elements of quarrel and sulking, perhaps this verse has been placed under the ‘Marutham’ or ‘Farmlands’ landscape. Let’s dive into the words of these characters that tell this different tale. A dwarf referred by the Tamil word ‘Kuralan’ is the initial speaker. Note how the term for this short person contains the same core as the celebrated book of the Tamils from the Post Sangam era – ‘Thirukural’ – The book of two-line couplets, filled with philosophy! Returning, we find the dwarf calling out to a girl with a hunchback saying to her that she, the deformed one, must have done some good deeds because he happened to see her there. He asks her to listen to him. The hunchback girl is offended deeply and she calls him unfit for the eyes, looking like an owlet born at the wrong time. She asks him angrily how can he even touch her. The dwarf continuous comparing the girl to a curved blade of a plough, and even though she is so, she has left a love affliction in him and he seeks her grace. The girl is still affronted, and compares him to a gambling board placed upright, and asks him how dare he pull her hand, asking her to come to him. The dwarf still doesn’t get the message and continues talking about the girl’s form, saying it looks like a stork that has been skinned, and goes on to talk about how it would be impossible for him to embrace her in the front, because his chest would hurt, and from the back too, for he would feel tickled. While that may be so, he asks her to let him embrace her on the side. Like any self-respecting woman, the girl is offended, and calls him a half-man, and tells him there are many who want her for who she is, and here he is, with his hunchback form, insulting her! The dwarf seems to get the drift and laments to his heart about how even though he says he has fallen for the girl, she seems so affronted. The hunchback too, talks about how he keeps coming back to her, even though she pushes him away, and remarks how he walks about like a god of love. The dwarf hears the comment, and says, yes, he is indeed the younger brother of the god of love. In response, the girl says what a sight it was. Now, the dwarf says that they should find a good place to be together and promises in the name of the king that he shall not laugh at her anymore. That’s the word the girl seems to have been waiting for and she calls him with admiring words and says, ‘Yes, All I want is not to have people in this temple laugh at us and talk about two ghosts getting together’. She concludes by offering her acceptance to the dwarf’s proposal and says they should go to the grove and embrace each other tightly, just the way a seal holds tight the palm letters from a wise counsel’s hand! After seeing more than thousand five hundred verses, which only talk about the perfect and pristine beauty of the man and the lady, here in a riveting exception, we find the poet talking about the love between two characters with defects. The unique Sangam style of comparing a person’s appearance to varied elements, we find here too, not to talk about how exceptional and flawless the trait is, but rather the opposite, to talk about the flaws. While the initial few exchanges seem all about body shaming, it’s actually a way to convey the reality of these characters, whom we would otherwise assume to be the perfect beings that we have become used to. Two aspects fascinated me in this rendition: One, is in the confidence that shines in the personality of the dwarf and the hunchback, regardless of the so-called defects in their appearance. Two, the moment love blooms is not when one boasts about oneself, as the dwarf does in the beginning, or when one belittles the other, calling out their inadequacies, but it appears in the moment when respect for the other is born. The moment the dwarf says he would never laugh at the hunchback, is when the hunchback accepts his offer of love. No matter who we are or where we are, this striking Sangam verse should tell us the foundation of a strong love is confidence in one self and respect for the other!…

Sangam Lit

1
Kalithogai 93 – Being with gods 8:31

1 year temu8:31

8:31

In this episode, we perceive a sarcastic response to a dubious explanation, as depicted in Sangam Literary work, Kalithogai 93, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches an animated conversation. தலைவி வண்டு ஊது சாந்தம் வடுக் கொள நீவிய, தண்டாத் தீம் சாயற் பரத்தை வியல் மார்ப! பண்டு, இன்னை அல்லைமன்; ஈங்கு எல்லி வந்தீய, கண்டது எவன்? மற்று உரை தலைவன் நன்றும் தடைஇய மென் தோளாய்! கேட்டீவாயாயின் உடன் உறை வாழ்க்கைக்கு உதவி உறையும் கடவுளர்கண் தங்கினேன் தலைவி சோலை மலர் வேய்ந்த மான் பிணை அன்னார் பலர், நீ கடவுண்மை கொண்டு ஒழுகுவார் அவருள், எக் கடவுள்? மற்று அக் கடவுளைச் செப்பீமன் தலைவன் முத்து ஏர் முறுவலாய்! நாம் மணம் புக்கக்கால், “இப் போழ்து போழ்து” என்று அது வாய்ப்பக் கூறிய அக் கடவுள், மற்று அக் கடவுள் தலைவி அது ஒக்கும் நா உள் அழுந்து தலை சாய்த்து நீ கூறும் மாயமோ; கைப்படுக்கப்பட்டாய் நீ; கண்டாரை வாயாக யாம் கூற வேட்டீவாய்! கேள், இனி: பெறல் நசை வேட்கையின் நின் குறி வாய்ப்ப, பறி முறை நேர்ந்த நகாராக, கண்டார்க்கு இறு முறை செய்யும் உருவொடு, நும் இல், செறி முறை வந்த கடவுளைக் கண்டாயோ? நறுந் தண் தகரமும் நானமும் நாறும் நெறிந்த குரற் கூந்தல் நாள் அணிக்கு ஒப்ப, நோக்கின் பிணி கொள்ளும் கண்ணொடு, மேல் நாள், நீ பூப் பலி விட்ட கடவுளைக் கண்டாயோ? ஈர் அணிக்கு ஏற்ற ஒடியாப் படிவத்துச் சூர் கொன்ற செவ்வேலாற் பாடி, பல நாளும், ஆராக் கனை காமம் குன்றத்து நின்னொடு மாரி இறுத்த கடவுளைக் கண்டாயோ? கண்ட கடவுளர் தம்முளும், நின்னை வெறி கொள் வியல் மார்பு வேறாகச் செய்து, குறி கொளச் செய்தார் யார்? செப்பு: மற்று யாரும் சிறு வரைத் தங்கின் வெகுள்வர், செறு தக்காய்! தேறினேன்; சென்றீ நீ செல்லா விடுவாயேல், நல் தார் அகலத்துக்கு ஓர் சார மேவிய நெட்டிருங் கூந்தற் கடவுளர் எல்லார்க்கும் முட்டுப்பாடு ஆகலும் உண்டு. Yet again, we hear the lady and the man in conversation about events that transpired. The words can be translated as follows: “ Lady : O man with a wide chest, streaked with the lines of bee-buzzing sandalwood, desiring courtesans with an unceasing sweet nature! You were not like this previously! You have come here late at night. Where have you been and what did you see? Pray tell me! Man : O maiden with soft and curving arms! It’s good that you ask! I was staying in the company of gods, who render counsel for our marital life. Lady: Those many others, akin to female deers, wearing garlands of flowers from groves, you seem to see as gods! Of them, which god did you see? Tell me about that god of yours! Man: O maiden with a smile of pearls! The god I was with was the god who said, ‘This is the perfect time’, when we wanted to get married. Lady: That seems totally believable! The way you pressed your tongue within and bent your head tells me that I have caught you red-handed with your lies! You wish to hear about those whom you really saw from me. So listen now: With desire brimming over, to be there for the marked tryst, the one with mature and straight teeth, with a beauty that could devour those who see, the one, who so rightfully came to your home – Is that the god you saw? Having thick and straight tresses, wafting with the scent of the fragrant and cool ‘milkwood’ along with musk, adorned fresh every day, who could tie you down with one look of her eyes, the one whom you showered with flowers as your offerings the previous day – Is that the god you saw? Celebrating the red-speared god, who conquered the demon with a formidable dual form, they stayed for many days with a profound passion in ‘Kundram’ along with you, in the rainy season – Is that the god you saw? Among the gods you saw, who is the one who made those marks on your fragrant, wide chest? Tell me. Also, if you were to stay elsewhere for a little while, won’t they be angry, you who incites my fury! I’m clear now! Please leave. If you don’t, that would be an encumbrance for all those gods with long tresses, who together desire to embrace your garlanded wide chest!” Let’s delve into the details. The verse is situated in the context of a love quarrel between a man and lady, owing to the man’s seeking of courtesans. Here, the lady and man are in conversation. The lady starts by remarking on the sandalwood streaked on the man’s chest, full of signs of his courting of courtesans. She mentions how he has arrived late at night to their home and asks him where he has been. To this question, the man says he was with people of god, who are known to render wise counsel for a happy, married life. The irony of it! The lady immediately gets the drift and says, you seem to think beautiful maiden are people of god, and asks him pointedly which of them he saw. The man tries to mollify her by reminding her of that ascetic who had marked the auspicious time for their wedding and tells her that’s whom he was with. The lady replies, ‘Yes, absolutely. I totally believe you’, noting the micro expressions on the man’s face, such as pressing his tongue and bending his head to one side. Knowing him so well, the lady comes to the conclusion that he’s just lying, and then she goes on to sketch the ‘gods’ the man was supposed to have been with, mentioning maiden with mature teeth who came rightfully to the man’s home, other maiden with thick and fragrant tresses on whom the man had rendered offerings of flowers, as if to a real god, and then interestingly about maiden the man had met in a place called ‘Kundram’, where they sang praises of God Murugan and delighted with the man. This reference hints at the practice of maiden, who spend their life in a temple, worshipping a deity and performing arts, supported by wealthy patrons. Returning, we find the lady questioning the man asking which of those god people left their mark on his chest, and in anger, she asks the man to leave immediately to them, for the gods might be angry, if he showered his attention elsewhere, even for a little while. A verse which reveals a wide variety of elements such as micro expressions and their meanings, the effective use of sarcasm in conveying emotion as well as references to socio-religious practices of the past!…

Sangam Lit

1
Kalithogai 92 – Desire in a dream 14:10

1 year temu14:10

14:10

In this episode, we listen to the narration of a dream, as portrayed in Sangam Literary work, Kalithogai 92, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and presents a fused portrait of dream and reality. தலைவன் புன வளர் பூங் கொடி அன்னாய்! கழியக் கனவு எனப்பட்டது ஓர் காரிகை நீர்த்தே: முயங்கிய நல்லார் முலை இடை மூழ்கி, மயங்கி, மற்று ஆண்டு ஆண்டுச் சேறலும் செல்லாது, உயங்கி இருந்தார்க்கு உயர்ந்த பொருளும்; அரிதின் அறம் செய்யா ஆன்றோர் உலகும் உரிதின் ஒருதலை எய்தலும் வீழ்வார்ப் பிரிதலும் ஆங்கே புணர்தலும் தம்மில் தருதல் தகையாதால் மற்று நனவினால் போலும், நறுநுதால்! அல்கல் கனவினால் சென்றேன் கலி கெழு கூடல் வரை உறழ் நீள் மதில் வாய் சூழ்ந்த வையைக் கரை அணி காவினகத்து தலைவி உரை இனி தண்டாத் தீம் சாயல் நெடுந்தகாய்! அவ் வழிக் கண்டது எவன் மற்று நீ? தலைவன் கண்டது உடன் அமர் ஆயமொடு அவ் விசும்பு ஆயும் மட நடை மா இனம், அந்தி அமையத்து, இடன் விட்டு இயங்கா இமையத்து ஒரு பால், இறை கொண்டு இருந்தன்ன நல்லாரைக் கண்டேன், துறை கொண்டு உயர் மணல்மேல் ஒன்றி நிறைவதை தலைவி ஓர்த்தது இசைக்கும் பறை போல், நின் நெஞ்சத்து வேட்டதே கண்டாய் கனா தலைவன் கேட்டை விரையல் நீ; மற்று வெகுள்வாய்! தலைவி உரை தலைவன் ஆண்டு இதுவாகும், இன் நகை நல்லாய்! பொதுவாக தாம் கொடி அன்ன தகையார் எழுந்தது ஓர் பூங் கொடி வாங்கி, இணர் கொய்ய, ஆங்கே சினை அலர் வேம்பின் பொருப்பன் பொருத முனை அரண் போல உடைந்தன்று, அக் காவில் துனை வரி வண்டின் இனம் மற்று ஆங்கே நேர் இணர் மூசிய வண்டு எல்லாம் அவ் வழிக் காரிகை நல்லார் நலம் கவர்ந்து உண்ப போல் ஓராங்கு மூச, அவருள், ஒருத்தி, செயல் அமை கோதை நகை ஒருத்தி, இயல் ஆர் செருவில் தொடியொடு தட்ப; ஒருத்தி, தெரி முத்தம் சேர்ந்த திலகம் ஒருத்தி, அரி மாண் அவிர் குழை ஆய் காது வாங்க; ஒருத்தி, வரி ஆர் அகல் அல்குல் காழகம் ஒருத்தி, அரி ஆர் ஞெகிழத்து அணி சுறாத் தட்ப: ஒருத்தி, புலவியால் புல்லாதிருந்தாள், அலவுற்று வண்டினம் ஆர்ப்ப, இடை விட்டுக் காதலன் தண் தார் அகலம் புகும் ஒருத்தி, அடி தாழ் கலிங்கம் தழீஇ, ஒரு கை முடி தாழ் இருங் கூந்தல் பற்றி, பூ வேய்ந்த கடி கயம் பாயும், அலந்து ஒருத்தி, கணம் கொண்டு அவை மூச, கை ஆற்றாள், பூண்ட மணம் கமழ் கோதை பரிபு கொண்டு, ஓச்சி, வணங்கு காழ் வங்கம் புகும் ஒருத்தி, இறந்த களியான் இதழ் மறைந்த கண்ணள், பறந்தவை மூசக் கடிவாள், கடியும் இடம் தேற்றாள் சோர்ந்தனள் கை ஆங்க, கடி காவில் கால் ஒற்ற, ஒல்கி ஒசியாக் கொடி கொடி தம்மில் பிணங்கியவை போல், தெரியிழை ஆர்ப்ப மயங்கி இரிவுற்றார், வண்டிற்கு வண்டலவர்; கண்டேன் யான் தலைவி நின்னை நின் பெண்டிர் புலந்தனவும், நீ அவர் முன் அடி ஒல்கி உணர்த்தினவும், பல் மாண் கனவின் தலையிட்டு உரையல்; சினைஇ யான் செய்வது இல் என்பதோ? கூறு தலைவன் பொய் கூறேன் அன்ன வகையால் யான் கண்ட கனவு தான் நல் வாயாக் காண்டை நறுநுதால்! ‘பல் மாணும் கூடிப் புணர்ந்தீர்! பிரியன்மின்; நீடிப் பிரிந்தீர்! புணர் தம்மின்’ என்பன போல, அரும்பு அவிழ் பூஞ் சினைதோறும் இருங் குயில் ஆனாது அகவும் பொழுதினான், மேவர, நான்மாடக்கூடல் மகளிரும் மைந்தரும் தேன் இமிர் காவில் புணர்ந்திருந்து ஆடுமார், ஆனா விருப்போடு அணி அயர்ப, காமற்கு வேனில் விருந்து எதிர்கொண்டு. A long, long song! Possibly the longest, we’ve seen thus far in Sangam Lit! The words can be translated as follows: “ Man: O maiden, akin to a flower-filled vine in a forest! A fleeting dream is a thing of beauty! After burying oneself in between the bosoms of those beautiful women embraced, wanting to reunite again and again, attaining wealth for those, who stay without effort in one place, and rightfully reaching the higher world for those, who rarely do acts of righteousness, are dreams, whose nature is to make one part away from their beloved, unite with someone else, and then bring them back to their beloved! As if it were real, O maiden with a fragrant forehead! I travelled to the uproarious Koodal in a dream, enclosed by mountain-like long walls, and went to a beautiful grove on the shores of the River Vaigai. Lady: So tell me, O esteemed lord, with an unceasingly sweet countenance! What did you see there? Man: What I saw was this: Along with their beautiful playmates, akin to swans, with a naive gait that roves the high skies, and then at twilight, comes to settle down, without moving, on one side of the Himalayas, there were beautiful maiden filling the high sand dunes by the shores! Lady: Akin to a drum that resounds with what is thought within, whatever your heart desired you have seen as a dream, it seems like! Man: Do not be hasty to judge. First listen, then you can get angry! Lady: Speak! Man: This is what happened there, O maiden with a sweet smile! Women, who were like vines themselves, stood up, bent a vine and plucked flowers. Just then, akin to a fort, attacked by a furious Pandya king, clad in neem flowers, the striped bees in the grove, which were feeding nectar from the flowers, scattered, and started buzzing around the women there, as if wanting to feed on their beauty. Among those women, the garland ornament of one woman got caught in the swaying bangles, fighting with the bees, on the hands of another woman; the radiant pearl in the forehead ornament of one woman was pulled by the shining, heavy earrings on the beautiful ears of another woman; the attire worn around the lined, wide loins of one woman got caught in the well-etched, exquisite, shark-shaped anklets of another woman; One woman, who was sulking and avoiding embraces, startled by the resounding bees, jumped to embrace the cool, garlanded chest of her lover; One woman, holding the attire hanging down to her feet in one hand, and with the other hand, holding on to her dark tresses hanging low, filled with fear, jumped into the flower-filled pond; One woman, as the bees swarmed around in a huge cluster, unable to chase them away with her hands, took the fragrant garland she was wearing and tried to shoo them away and then entered under an upturned boat to hide there; One woman, who had too much toddy to drink, with eyelids closed, tried to aimlessly move her hands as the bees fluttered around, and exhausted her hands; And so, in that flower-filled grove, akin to how vines lie all tangled together when the breeze blows forcefully, those maiden wearing well-etched jewels were bewildered by the ceaseless buzzing of the bees. This is what I saw there. Lady: The truth is that your women were sulking with you, and that you fell at their feet to appease them. Do not adorn this with all these stories and present it to me as if it were a dream! Is it because you think I can achieve nothing with my anger? Tell me! Man: I lie not! It’s truly a dream that I saw. Wasn’t the scene beautiful, O maiden with a fragrant forehead? As if shouting out, ‘Unite together and love! Separate not! Those who have been separated for long, unite together’, the black cuckoo seems to be singing ceaselessly upon the flower-blooming branches. It’s that season that approaches, the time when women and men adorn themselves with much desire and gather together in the four pavilions of Koodal and unite together in the bee-buzzing groves to celebrate the God of love, who offers the feast of spring!” Let’s explore the nuances. The verse is situated in the context of a love quarrel between a man and a lady, owing to the man’s seeking of courtesans. These words are exchanged between the man and the lady, with the man as the principal speaker. The man starts by talking about what dreams are and to do that, he mentions the desire of those who want to embrace again and again after an intimate encounter, then attaining wealth without effort and reaching the heavens without doing righteous acts. He connects these elements saying all these things are possible in the dreams and it’s an act which seemingly takes one away from one’s beloved, makes them unite with others and then brings the person back to their beloved. Perhaps, the man is justifying his wandering with courtesans by talking about it as a dream to his lady. After that introduction about dreams, the man tells the lady that he had a dream, where he went to Koodal, and saw a scene in a forest, by the shores of the River Vaigai, a dream so real. The lady then asks him to narrate the dream to her! He replies saying he saw many beautiful women sitting on the shores of the river sand. The lady immediately says sharply to him, ‘You know the drum doesn’t speak anything other than what is in the mind of the drummer. Like that, whatever you desire, you seem to have seen in your dream’. Let’s note this intricate thought, and come back to it, a little later. Returning, we find the man saying ‘Don’t jump to conclusions. Listen to me. Then, you can get angry, if you must’. So, the lady asks him to go on. And then the man talks about how those women got up to pluck some flowers from a vine, and at that moment, the bees that was delighting in the nectar, immediately rose high and started swarming around them. In that ruckus, the ornaments of some women got tangled in the ornaments of other women, the clothes of some gets caught in the anklets of others and so on. There was a woman, who was fighting with her husband and when the bees attacked, she immediately sought the refuge of his cool chest, forgetting her sulking; Then there was another woman jumping into the waters to avoid the bees, another one shooing the bees with her garland and running to hide under a boat, and then there was a tipsy maiden, who was brandishing her arms this way and that way, her eyes closed, and she tired out her hands. And so, they were all lying entangled, losing their fight to the bees, the man tells the lady. The lady sarcastically responds, ‘Your courtesans are fighting with you and you were falling at their truth. That’s the core truth. This you are dressing up as a dream and serving it to me’. To this accusation, the man replies, ‘No, no, no… This is no lie. It’s truly a dream. Maybe we would see it for real too.’ He explains that last line saying, even as they speak the cuckoos sing aloud in the branches as if calling all lovers to unite, because the beautiful season has arrived, and if the man and lady were to travel to Koodal, they would surely see men and women gathering together with joy, to celebrate the festival in honour of the God of love, for blessing them with the beautiful season of spring. From his dream, the man takes the lady to a future reality and tries to win her heart. Whether he succeeded or not, we know not, but what’s undeniably true is that this is a verse that etches a dream like no other. Returning to the thought of the lady, who said ‘Whatever you desire, you dream’, isn’t that a profound understanding of human nature, preceding Freud, who said the same thing, and the science of psychoanalysis, by two thousand years? A strong statement to say the study of human mind must start from the Sangam era, for these ancient creations delve into the reality of the human mind in poetic words but with a scientist’s skill!…

Sangam Lit

1
Kalithogai 91 – Sarcasm and Surrender 7:05

1 year temu7:05

7:05

In this episode, we listen to a conflict-ridden conversation, as depicted in Sangam Literary work, Kalithogai 91, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and traces how the lady’s words turn from scoffing to submission. தலைவி அரி நீர் அவிழ் நீலம், அல்லி, அனிச்சம், புரி நெகிழ் முல்லை, நறவோடு அமைந்த தெரி மலர்க் கண்ணியும் தாரும் நயந்தார் பொரு முரண் சீறச் சிதைந்து, நெருநையின் இன்று நன்று என்னை அணி தலைவன் அணை மென் தோளாய்! செய்யாத சொல்லிச் சினவுவது ஈங்கு எவன், ஐயத்தால் என்னைக் கதியாதி; தீது இன்மை தெய்வத்தான் கண்டீ தெளிக்கு தலைவி மற்றது, அறிவல், யான் நின் சூள்; அனைத்தாக நல்லார் செறி தொடி உற்ற வடுவும், குறி பொய்த்தார் கூர் உகிர் சாடிய மார்பும், குழைந்த நின் தாரும், ததர் பட்ட சாந்தமும், சேரி அரி மதர் உண் கண்ணார் ஆராக் கவவின், பரிசு அழிந்து யாழ நின் மேனி கண்டு, யானும் செரு ஒழிந்தேன்; சென்றீ, இனி தலைவன் தெரியிழாய்! தேற்றாய் சிவந்தனை காண்பாய், நீ தீது இன்மை ஆற்றின் நிறுப்பல் பணிந்து தலைவி அன்னதேல், ஆற்றல் காண்: வேறுபட்டாங்கே கலுழ்தி; அகப்படின், மாறுபட்டாங்கே மயங்குதி; யாது ஒன்றும் கூறி உணர்த்தலும் வேண்டாது; மற்று நீ மாணா செயினும், மறுத்து, ஆங்கே நின்வயின் காணின் நெகிழும் என் நெஞ்சு ஆயின், என் உற்றாய், பேணாய் நீ பெட்பச் செயல்? Another verse depicting the lady’s fury and the man’s denial. The words can be translated as follows: “ Lady : With blue lotuses that had bloomed in the beautiful pond, lilies, red pimpernels, fully blossomed wild jasmines and lavanga flowers, the strands of your garlands, which were woven in striking hues, after encountering the great fury of those who desire you has now become ruined, and yet, adorns you so much better than yesterday! Man: O maiden with soft arms! Why do you say things I’ve not done and then get furious with me? Do not vent your anger because of your suspicions! I will show you that I’m faultless by swearing before God. Lady: I know very well about your oaths! I can see clearly the marks made by the bangles of those beautiful women, the scratches of sharp nails, made in anger, by those with whom you missed your trysts, your crumpled garlands and smeared sandalwood, because of the endless embraces of those maiden, with flower-like, kohl-streaked eyes in the neighbourhood. When I take in your form that has lost its previous state, I too lose my anger utterly. Go on then! Man: O maiden with well-etched ornaments! You are reddened with fury, not understanding. Until you believe, I will show you that I’m faultless with absolute humility. Lady: If you can do that, you are talented indeed! When I oppose you, you cry; When I believe you, you immediately hanker after those others; You don’t have to say anything to make me understand. For even when you do wrong unto me, ignoring it, my heart melts the moment it sees you. So, what is the need for you to act with so humility to appease me?” Time to delve into the details. The verse is situated in the category of a love quarrel between a man and a lady, owing to the man’s seeking of courtesans. The words here are rendered by the lady and the man to each other. The lady starts by listing flowers such as blue lotuses, lilies, red pimpernels, wild jasmines and lavanga flowers to talk about the constituents of the man’s garland. Then she says that exquisite garland has become ruined by the fury of those, who desired the man, and was jilted by him. Still, it was making him look so handsome, the lady adds sarcastically. To this, the man replies that the lady seemed to be getting angry with him for no reason. He asks her not to vent her anger because of mere doubts, and declares he would swear an oath before God to prove his innocence. The lady replies with scorn that she knows all about his great oaths. When she can clearly see the marks of the bangles of other maiden, the scratches of their nails in anger, when he missed trysting with them, the tattered garland and smudged sandalwood, right way, her anger was put off and she was all at ease, she adds, and asks him to leave to where he came from. To this, the man says the lady simply doesn’t understand and now he has no other go but to beg and plead with her to prove that he has done nothing wrong. The lady responds saying when she opposes him, he starts pleading, but the moment she accepts him, the man’s heart seems to forget her and go seeking after other women. She concludes with a sigh that no matter what wrong things the man does to her, the moment her heart sees him, it seems to melt away and run to his side, and if that’s the case, why should the man ever beg to her! In this verse, the sarcastic words of the lady are full of fire in the beginning, but then in the end, yet again, we see an instance of the lady’s aversion to the man debasing himself before her. No matter what wrong he does, she doesn’t seem to want to see him lowered before her! As for the man, his weapons to appease his lady are swearing oaths and saying that he would fall at her feet. Beyond these inferences in the dynamics of this relationship, the one striking aspect is the line about how a loving heart seems to melt when seeing a beloved even if they been wronged by the other. A subtle sketch of the inexplicable power of love to forgive and forget!…

Sangam Lit

1
Kalithogai 90 – Truly seen or dream scene 6:52

1 year temu6:52

6:52

In this episode, we observe the trajectory of a conflict, as depicted in Sangam Literary work, Kalithogai 90, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and etches a tale of denial and acceptance. தலைவி கண்டேன், நின் மாயம் களவு ஆதல்; பொய்ந் நகா, மண்டாத சொல்லித் தொடாஅல்; தொடீஇய நின் பெண்டிர் உளர்மன்னோ ஈங்கு? தலைவன் ஒண்தொடி! நீ கண்டது எவனோ தவறு? தலைவி கண்டது நோயும் வடுவும் கரந்து, மகிழ் செருக்கி, பாடு பெயல் நின்ற பானாள் இரவில் தொடி பொலி தோளும், முலையும், கதுப்பும், வடிவு ஆர் குழையும், இழையும், பொறையா ஒடிவது போலும் நுசுப்போடு, அடி தளரா, ஆராக் கவவின் ஒருத்தி வந்து அல்கல் தன் சீர் ஆர் ஞெகிழம் சிலம்ப, சிவந்து, நின் போர் ஆர் கதவம் மிதித்தது அமையுமோ? ஆயிழை ஆர்க்கும் ஒலி கேளா, அவ் எதிர் தாழாது எழுந்து நீ சென்றது அமையுமோ? மாறாள் சினைஇ, அவள் ஆங்கே, நின் மார்பில் நாறு இணர்ப் பைந் தார் பரிந்தது அமையுமோ? ‘தேறு நீ; தீயேன் அலேன்’ என்று மற்று அவள் சீறடி தோயா இறுத்தது அமையுமோ? கூறு இனி; காயேமோ யாம்? தலைவன் தேறின், பிறவும் தவறு இலேன் யான்; அல்கல் கனவுகொல் நீ கண்டது? தலைவி ‘கனை பெயல் தண் துளி வீசும் பொழுதில் குறி வந்தாள் கண்ட கனவு’ என, காணாது, மாறு உற்று பண்டைய அல்ல, நின் பொய்ச் சூள், நினக்கு; எல்லா! நின்றாய்; நின் புக்கில் பல தலைவன் மென் தோளாய்! நல்கு, நின் நல் எழில் உண்கு தலைவி ஏடா! குறை உற்று நீ எம் உரையல்! நின் தீமை பொறை ஆற்றேம் என்றல் பெறுதுமோ, யாழ நிறை ஆற்றா நெஞ்சு உடையேம்? Another conversation between the man and the lady with added elements in this one! The words can be translated as follows: “ Lady I have seen the secret relationship that you have been trying to hide! So, do not speak lies and do not touch me, saying odious words! Don’t you have many other women to embrace? Man: O maiden wearing shining bangles! What fault do you see in me? Lady: What I saw was this: Hiding the affliction within and the slander that arose, outwardly pretending to be happy, one night, when it was pouring heavily, bangles shining on her hands, as her bosom, tresses, and beautiful heavy earrings and many other jewels weighed her down, and a thin waist that appeared as if might break, with a delicate walk, desiring your endless embraces, a woman came here. With her exquisite anklets resounding and her feet reddening, didn’t she stand there, kicking your sturdy doors? Isn’t that enough? Hearing the sounds made by that maiden wearing well-etched jewels, didn’t you immediately rise and go to her, without any delay? Isn’t that enough? Just then, didn’t that strange woman, with much fury, tear apart the fragrant clusters of the fresh garland on your chest? Isn’t that enough? Didn’t you say to her ‘Don’t be angry. I have done no wrong’, clasping her small feet so tightly? Isn’t that enough? Pray tell whether I should be angry about all this or not! Man: If you think well, I have done no wrong. Perhaps, it was a dream that you saw that night! Lady: Saying, ‘In that time when there was a heavy down pour as cool drops scattered, the scene of the woman arriving here was a dream you had’, you hide what happened in the past and swear false oaths to me. Do not stand here. There are many houses that you can go to! Man: O maiden with soft arms! Please render me your grace for me to relish! Lady: Hey! Do not try to beseech me with such a plea! How can I ever remain firmly saying, ‘I cannot accept your wrongdoing’, when my heart refuses to stand strong with me?” Let’s explore the details. The verse is situated in the context of a love quarrel between a man and a lady, owing to the man’s seeking of courtesans. These words depict a conversation between the man and the lady. As what has become custom in these past few verses, the lady opens by asking the man not to touch her, speaking lies for she knows all about his secret relationship. The man questions so innocently asking what fault she found in him. Then the lady goes into a long tale of how one night, during a heavy downpour that too, a courtesan, adorned with many jewels and filled with desire, came to the man’s home and kicked his door, and how the man rushed to her side hearing the noise, and how that woman tore his garland in anger, and then, how the man fell down and hugging her feet, declaring he had done no wrong. Quite a drama, the lady narrates, and she asks the man if she shouldn’t be angry about such a thing. To this, the man replies, ‘You should consider it carefully. Maybe what you think you saw was a dream!’. The lady replies in anger that he was trying to hide the past saying it was a dream and asks him to leave to the houses of those courtesans. Then the man humbles himself so and with much pleading asks the lady to forget all this and render her love. Maybe it’s time for the curtain to fall or maybe the lady realises the futility of the situation that she tells him, ‘Don’t look at me with such sadness and beg to me’ and concludes saying that no matter how much she wants to say no to him and keep away, the cursed heart of hers wouldn’t let her be so! The highlight of this verse is in how the man questions the lady’s reality by saying it could be a dream. And this made me ponder on the wonder of human perception, asking ‘What do we see? How do we see what we see? How do others see what we saw? What is the ultimate truth or does something like that even exist?’…

Sangam Lit

1
Kalithogai 89 – Pleading and conceding 5:03

1 year temu5:03

5:03

In this episode, we perceive sparks fly in a domestic quarrel, as portrayed in Sangam Literary work, Kalithogai 89, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and relates a heated exchange between a couple. தலைவி யார் இவன்? எம் கூந்தல் கொள்வான்? இதுவும் ஓர் ஊராண்மைக்கு ஒத்த படிறு உடைத்து; எம் மனை வாரல்; நீ வந்தாங்கே மாறு தலைவன் என் இவை, ஓர் உயிர்ப் புள்ளின் இரு தலையுள் ஒன்று போர் எதிர்ந்தற்றாப் புலவல்? நீ கூறின், என் ஆர் உயிர் நிற்கும் ஆறு யாது? தலைவி ஏஎ! தெளிந்தேம் யாம் காயாதி, எல்லாம் வல் எல்லா பெருங் காட்டுக் கொற்றிக்குப் பேய் நொடித்தாங்கு, வருந்தல் நின் வஞ்சம் உரைத்து தலைவன் மருந்து இன்று மன்னவன் சீறின், தவறு உண்டோ? நீ நயந்த, இன்னகை! தீதோ இலேன் தலைவி மாண மறந்து உள்ளா நாணிலிக்கு இப் போர் புறம் சாய்ந்து காண்டைப்பாய் நெஞ்சே! உறழ்ந்து இவனைப் பொய்ப்ப விடேஎம் என நெருங்கின், தப்பினேன் என்று அடி சேர்தலும் உண்டு! We continue hearing the same comic-book style ‘Wham-bham’ within a home! The words can be translated as follows: “Lady: Who is he? Why does he touch my tresses? It has the deceit of a great performance! Come not to my house! Return the way you came from! Man: What is this? Akin to how, in a bird with two heads, when one head fights with the other, you quarrel with me? If you speak so, there can be no way for my precious life to remain! Lady: Hey! I know everything! Do not make me angry! Akin to how a ghost maiden puts forth riddles to the all-knowing Goddess Kottri in the huge forest, do not tire yourself, speaking lies to me! Man: Can you blame anyone, if a king gets furious for no reason? O maiden with a sweet smile, I have done no wrong you accuse me of! Lady: O heart, if we corner him with more rebuke, wanting to pierce through all his lies, he might fall at the feet saying, ‘I have done a mistake’! So, please consider forgetting everything and surrendering to this thoughtless and shameless man in this fight!” Let’s delve into the details. The verse is situated in the context of a love quarrel between a man and a lady, owing to the man’s seeking of courtesans. These words are an exchange between the man and the lady. The lady starts by exclaiming who could be this person, who was touching her tresses, and she declares that this seems like a big performance, full of deceit on the part of the man and asks him to leave to where he came from, meaning the courtesan’s house. The man asks her how is it even possible for her to fight with him, with an interesting example of a two-headed bird, in which one head fights with the other. He adds that if she continues speaking so, he can’t go on. To this, the lady replies angrily that she knows everything and the man needn’t play with words the way a ghost maiden would try to put riddles to the omniscient forest goddess! The man sighs at this point and says who is at fault if the king flares up for no reason and continues to insist that he has done nothing wrong. The lady then talks to her heart and tells it that if they were to keep pressing the man and pushing him to a corner, to reveal his lies, he might fall at the feet and own that he made a mistake, and concludes saying, that it’s better to forgive and accept this man, thoughtless and shameless though he is! The final line indicates some aversion in the lady to see the man in the state, where he falls at her feet. Rather than seeing him so bent and broken, the lady feels it’s better to forgive him! Not the best of reasoning, however these past verses reveal how the man and the lady come to a point of closure at the end of their quarrelling!…

Sangam Lit

1
Kalithogai 88 – Fearing the swearing 6:07

1 year temu6:07

6:07

In this episode, we observe the inferences of a lady’s perceptive eyes, as depicted in Sangam Literary work, Kalithogai 88, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and etches the quarrelling and conflict in a household. தலைவி ஒரூஉ; கொடி இயல் நல்லார் குரல் நாற்றத்து உற்ற முடி உதிர் பூந் தாது மொய்ம்பின ஆக, தொடிய, எமக்கு நீ யாரை? பெரியார்க்கு அடியரோ ஆற்றாதவர்? தலைவன் கடியர் தமக்கு யார் சொல்லத் தக்கார் மாற்று? தலைவி வினைக்கெட்டு, வாய் அல்லா வெண்மை உரையாது. கூறு நின் மாயம் மருள்வாரகத்து தலைவன் ஆயிழாய்! நின் கண் பெறின் அல்லால், இன் உயிர் வாழ்கல்லா என்கண் எவனோ, தவறு? தலைவி இஃது ஒத்தன்! புள்ளிக் களவன் புனல் சேர் பொதுக்கம் போல், வள் உகிர் போழ்ந்தனவும், வாள் எயிறு உற்றனவும், ஒள் இதழ் சோர்ந்த நின் கண்ணியும், நல்லார் சிரறுபு சீறச் சிவந்த நின் மார்பும், தவறாதல் சாலாவோ? கூறு தலைவன் ‘அது தக்கது; வேற்றுமை என்கண்ணோ ஓராதி; தீது இன்மை தேற்றக் கண்டீயாய் தெளிக்கு தலைவி இனித் தேற்றேம் யாம் தேர் மயங்கி வந்த தெரி கோதை அம் நல்லார் தார் மயங்கி வந்த தவறு அஞ்சி, போர் மயங்கி, நீ உறும் பொய்ச் சூள் அணங்கு ஆகின், மற்று இனி யார் மேல் விளியுமோ கூறு. In the same style as the previous verse, continues this one too, in a conversational style. The words can be translated as follows: “Lady: Step aside! With pollen from flowers that have dropped from the luxuriant tresses of maiden, who are akin to vines, covering your shoulders, you have come here. Why do you touch me? Who are you to me? Is it the fate of those who are weak to be slaves to the strong? Man: Who can even answer the words of those who are so harsh? Lady: Leaving aside your work, you don’t have to come here and say lies, full of nothing. Go say that to those who will fall for your falsehoods! Man: O maiden wearing well-etched ornaments! Unless I attain the grace of your eyes, I cannot live. What could be the fault in me? Lady: Some man he is! Those marks of sharp nails and shining teeth, akin to the imprints of a spotted crab on the sands of a river shore, and your garland with those once-glowing petals now faded, on your chest, reddened, as those beautiful maiden hit you with fury, all stand testimony to your wrong-doing! Man: Do not see me differently. I will make it clear to you that I have done nothing wrong. Lady: I seek no clarity anymore. As you hurried here on your chariot, you have come wearing the garland of those women. Fearing the mistake of misplaced garlands and the quarrel that will follow, you might swear a false oath and if that angers the spirits, upon whom will ruin befall? Tell me now!” Time to delve into the details. The verse is situated in the context of a love-quarrel between a man and a lady, owing to the man’s seeking of courtesans. These words are spoken by the lady and the man to each other. The lady starts by asking the man to move away, describing how he has come there, covered in pollen, which, she infers, has come from the flowers on the tresses of courtesans. She angrily asks him to avoid touching her, and laments whether she has no other go but to bow low before the strength of this man. The man replies saying no one can answer to those who are so harshly set in their thoughts, and the lady responds saying he need not try saying any words of untruth. That will not work with her. To this, the man takes a humble stance and says, unless he gets the grace of the lady’s eyes, he cannot live. When I’m such a person, how can you think I’m at fault, he asks. ‘How dare he?’, fumes the lady! ‘Can’t I see the marks of those maiden’s nails and teeth on his reddened chest, akin to the claw prints of a crab on a river shore? Aren’t these enough to shout out all the wrong he’s done?’, she adds. The man asks her not to look at him in that manner and he calls her close saying he can explain everything. Just then, the lady declares that she needs no explanations, for if in the course of that, the man happens to swear a false oath to hide his mistake of wearing the courtesan’s garland, then ruin would fall on her head. With those final words, the lady actually gives in and accepts the man, fearing the effect of a false oath. The importance given to speaking the truth when swearing an oath and how its consequences in angering the heavenly spirits not only affect the speaker but also the listener are some of the inferences we can make of perceptions in Sangam society. It’s interesting how this belief in being true to an oath and the consequences of heavenly fury continues even in this twenty-first century too, as can be witnessed in a court of law, during a testimony, when a person swears upon a holy book of their choice, promising to speak ‘the truth, the whole truth, and nothing but the truth!’…

Sangam Lit

1
Kalithogai 87 – Sulk and Soothe 4:25

1 year temu4:25

4:25

In this episode, we encounter an animated exchange between the lady and the man, as depicted in Sangam Literary work, Kalithogai 87, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches a situation of domestic conflict. தலைவி ஒரூஉ நீ; எம் கூந்தல் கொள்ளல் யாம் நின்னை வெரூஉதும் காணுங்கடை தலைவன் தெரியிழாய்! செய் தவறு இல்வழி, யாங்குச் சினவுவாய், மெய் பிரிந்து, அன்னவர்மாட்டு? தலைவி ஏடா! நினக்குத் தவறு உண்டோ? நீ வீடு பெற்றாய் இமைப்பின் இதழ் மறைபு ஆங்கே கெடுதி; நிலைப் பால் அறியினும், நின் நொந்து நின்னைப் புலப்பார் உடையர் தவறு தலைவன் அணைத் தோளாய்! தீயாரைப் போல, திறன் இன்று உடற்றுதி; காயும் தவறு இலேன் யான் தோழி மான் நோக்கி! நீ அழ நீத்தவன் ஆனாது நாணிலன்ஆயின், நலிதந்து அவன்வயின் ஊடுதல் என்னோ, இனி? தலைவி நெஞ்சொடு கூறல் ‘இனி யாதும் மீக்கூற்றம் யாம் இலம்’ என்னும் தகையது காண்டைப்பாய், நெஞ்சே! பனி ஆனாப் பாடு இல் கண் பாயல் கொள. A rare short song amidst the Kalithogai verses. The words can be translated as follows: “Lady: You step aside! Do not caress my tresses. I’m scared when I see you! Man: O maiden wearing well-etched ornaments! Why are you angry with me when I have done nothing wrong in the manner of parting away for the sake of those others? Lady: Hey you! Is there anything that would appear a fault in your eyes? You abandoned me in the blink of an eye and parted away thither. Even after knowing your true nature, those who lament about you and sulk with you are the ones at fault! Man: O maiden with soft arms! As if I were a bad person, you get so furious with me when I have done nothing wrong. Confidante: O maiden with a deer’s gaze! If he, who parted away, leaving you in tears, is someone who is shameless, what is the point of suffering and sulking on account of his behaviour now? Lady to her heart: Heed, o heart! ‘There is nothing more to be said’ is the worthy conclusion now! Why don’t you let my sleepless eyes, pouring with endless tears, sleep a little?” Let’s explore the details. The verse is situated in the context of a love-quarrel between a man and a lady, owing to the man’s seeking of courtesans. These words are a series of exchanges between the lady and the man with an intervention by the lady’s confidante. The lady starts by asking the man to move aside and not touch her tresses, and the man asks her why she was so angry when he had not gone to the courtesans or done anything wrong. The lady scornfully replies that nothing would be wrong in the man’s eyes. The only wrong would be in those, who attempt to sulk and quarrel with him, knowing his true nature. The man continues pretending that he has done nothing wrong. Seeing these back and forth exchanges, the confidante tells the lady if the man is so shameless, what is the use of sulking with him. Hearing this, the lady turns to her heart and says that a conclusion has been reached that there is no point in saying anything more, and she begs her heart to find a way to bring sleep to her tear-filled, sleepless eyes! In short, the verse echoes the common occurrence of accusations, denials and eventual acceptance!…

Sangam Lit

1
Kalithogai 86 – To be and not be 8:34

1 year temu8:34

8:34

In this episode, we listen to advice offered by a mother to her young son, as portrayed in Sangam Literary work, Kalithogai 86, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and contrasts the positive and negative qualities of a man. தலைவி மை படு சென்னி மழ களிற்று ஓடை போல், கை புனை முக்காழ் கயந் தலைத் தாழ, பொலம் செய் மழுவொடு வாள் அணி கொண்ட நலம் கிளர் ஒண் பூண் நனைத்தரும் அவ் வாய் கலந்து கண் நோக்கு ஆர, காண்பு இன் துகிர்மேல் பொலம் புனை செம்பாகம் போர் கொண்டு இமைப்ப, கடி அரணம் பாயா நின் கை புனை வேழம், தொடியோர் மணலின் உழக்கி, அடி ஆர்ந்த தேரை வாய்க் கிண்கிணி ஆர்ப்ப, இயலும் என் போர் யானை, வந்தீக, ஈங்கு! செம்மால்! வனப்பு எலாம் நுந்தையை ஒப்பினும், நுந்தை நிலைப் பாலுள் ஒத்த குறி என் வாய்க் கேட்டு ஒத்தி; கன்றிய தெவ்வர்க் கடந்து களம் கொள்ளும் வென்றிமாட்டு ஒத்தி, பெரும! மற்று ஒவ்வாதி, ‘ஒன்றினேம் யாம்’ என்று உணர்ந்தாரை, நுந்தை போல், மென் தோள் நெகிழ விடல் பால் கொளல் இன்றி, பகல் போல், முறைக்கு ஒல்காக் கோல் செம்மை ஒத்தி, பெரும! மற்று ஒவ்வாதி, கால் பொரு பூவின் கவின் வாட, நுந்தைபோல், சால்பு ஆய்ந்தார் சாய விடல் வீதல் அறியா விழுப் பொருள் நச்சியார்க்கு ஈதல்மாட்டு ஒத்தி, பெரும! மற்று ஒவ்வாதி, மாதர் மென் நோக்கின் மகளிரை, நுந்தைபோல், நோய் கூர நோக்காய் விடல் ஆங்க திறன் அல்ல யாம் கழற, யாரை நகும், இம் மகன் அல்லான் பெற்ற மகன்? மறை நின்று, தாம் மன்ற வந்தீத்தனர் தலைவன் : ‘ஆயிழாய்! தாவாத எற்குத் தவறு உண்டோ? காவாது ஈங்கு ஈத்தை, இவனை யாம் கோடற்கு’ தலைவி ……………………………………..சீத்தை; யாம் கன்றி அதனைக் கடியவும், கை நீவி, குன்ற இறு வரைக் கோண்மா இவர்ந்தாங்கு, தந்தை வியல் மார்பில் பாய்ந்தான் அறன் இல்லா அன்பிலி பெற்ற மகன். The lady’s voice continues to ring aloud and the words can be translated as follows: “Akin to the ornament hanging on the black head of a bull elephant, the well-etched, three-stranded chain dangles on your tender head. Along with the axe made of gold, a sword too hangs on that exquisite, shining jewel, moistened by your sweet mouth, a sight that is an insatiable delight for my eyes to behold! On an alluring coral platform, in the stance of an attack but never actually pouncing on a guarded fort, partly made of gold, stands the elephant, handmade for you. As you pull it along, you muddle the sand houses made by maiden wearing bangles, and move, as anklets in the shape of a toad’s mouth resound. My dear battle elephant, come to me! My little lord! In your handsome appearance, though you are like your father, when it comes to lasting qualities, please listen to my words and follow course. In overcoming furious enemies, seizing the battlefield and claiming victory, be like your father; However, don’t be like your father, in making the soft arms of those who believe they are one with him, thin away! In rendering justice, without favouring any one side, akin to the swivel in a yoke, which slants not, be like your father! However, don’t be like your father, in bringing sorrow to those, who believe in his greatness, akin to how a flower’s beauty fades, when plucked by the wind! In offering with generosity to all those, who come seeking wealth to him, without ever refusing, be like your father! However, don’t be like your father, in abandoning and bringing suffering to women, who have a gentle and beautiful gaze! As I chide mentioning all these wrong qualities, who are you smiling at, O son, the offshoot of the wrong-doer? Oh! All this time he was hiding away, and now he has come before us! Man: O maiden wearing well-etched ornaments! Why these accusations on me, who has done no wrong? Give him to me, for me to hold and rejoice! Lady: O unworthy one! Even as I stop him in anger, pushing away my hand, akin to a tiger cub that leaps at the base of a mountain, he has pounced on his father’s wide chest, the unjust son of this loveless man!” Time to delve into the nuances. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans, and in this verse, the lady expresses her thoughts to her young son, as the man listens by. As in the previous verse, the lady starts by talking about the adornments on the little boy, a three-stranded gold chain on his head like the face ornament of an elephant, and then about the necklace he wears, made of gold, with pendants in the shape of an axe and a sword. She talks about how the little boy’s drool drenches these golden ornaments and how that’s such a sweet sight for her to see. Then, she mentions how the boy is pulling a golden elephant on a coral platform and messing up the sand houses made by little girls. She also sketches for us, the tinkling sound of the boy’s anklets. The striking aspect of this description is in how the lady calls her son as ‘a battle elephant’! Mothers are known to cuddle with their little ones, referring to them by different animal names and it makes me smile to see this timeless quality reflecting in this Sangam mother. Returning, we find the mother telling her boy, that indeed he looks as handsome as his father. However, the boy must take care to follow mama’s advice when it came to other qualities, she says. Then, in that three-step format, she elaborates on the ways the boy must be like his father and the ways to not be like his father. The qualities that the boy must follow in the footsteps of his father are, in attaining victory over enemies in a battlefield, in rendering justice without partiality, and offering charity ceaselessly to those who come seeking to him. At the same time, the mother says the boy must never be like his father, in thinning the arms of women who love him, in bringing sorrow and forsaking them. As she’s saying these words sternly to the boy, she notices the boy smiling. She wonders who he’s smiling at, only to turn and find her man walking towards her, and she exclaims how all these days the man has been hiding his face and now he comes there. To his angry wife, the man tries to say that he has done nothing wrong and asks her to let him hold his little son. To this, the lady replies saying even if I were to stop this little brat, like a tiger cub pouncing on huge mountain, the boy jumps on the father’s chest. So unjust is the son of her loveless man, she concludes. Apart from the anger of the lady well expressed and her wisdom of seeing the right and wrong in her man, the highlight here is the unconditional love and jubilant joy, a young child feels for their parent, especially the one less frequently seen, etched vividly in the last few lines of this verse!…

Sangam Lit

1
Kalithogai 85 – Drink up the milk 6:58

1 year temu6:58

6:58

In this episode, we listen to a mother’s words to her child, as depicted in Sangam Literary work, Kalithogai 85, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and paints a portrait of the adornments on a child, in an affluent household. காலவை, சுடு பொன் வளைஇய ஈர் அமை சுற்றொடு பொடி அழற் புறம் தந்த செய்வுறு கிண்கிணி உடுத்தவை, கைவினைப் பொலிந்த காசு அமை பொல்ங் காழ்; மேல் மை இல் செந் துகிர்க் கோவை; அவற்றின் மேல் தைஇய, பூந் துகில், ஐது கழல் ஒரு திரை கையதை, அலவன் கண் பெற அடங்கச் சுற்றிய பல உறு கண்ணுள் சில கோல் அவிர் தொடி பூண்டவை, எறியா வாளும் எற்றா மழுவும் செறியக் கட்டி, ஈர்இடைத் தாழ்ந்த, பெய் புல மூதாய்ப் புகர் நிறத் துகிரின் மை அற விளங்கிய ஆன் ஏற்று அவிர் பூண் சூடின, இருங் கடல் முத்தமும், பல் மணி, பிறவும், ஆங்கு ஒருங்கு உடன் கோத்த உருள் அமை முக் காழ்; மேல் சுரும்பு ஆர் கண்ணிக்குச் சூழ் நூலாக, அரும்பு அவிழ் நீலத்து ஆய் இதழ் நாண, சுரும்பு ஆற்றுப்படுத்த மணி மருள் மாலை ஆங்க அவ்வும் பிறவும் அணிக்கு அணியாக, நின் செல்வுறு திண் தேர்க் கொடுஞ் சினைக் கைப்பற்றிப் பைபயத் தூங்கும் நின் மெல் விரற் சீறடி நோதலும் உண்டு; ஈங்கு என் கை வந்தீ, செம்மால்! நின் பால் உண்ணிய பொய் போர்த்துப் பாண் தலை இட்ட பல வல் புலையனைத் தூண்டிலா விட்டுத் துடக்கி, தான் வேண்டியார் நெஞ்சம் பிணித்தல் தொழிலாத் திரிதரும் நுந்தைபால் உண்டி சில நுந்தை வாய் மாயச் சூள் தேறி, மயங்கு நோய் கைமிக, பூ எழில் உண்கண் பனி பரப்ப, கண் படா ஞாயர்பால் உண்டி சில அன்னையோ! யாம் எம் மகனைப் பாராட்ட, கதுமெனத் தாம் வந்தார், தம் பாலவரோடு; தம்மை வருக என்றார் யார்கொலோ ஈங்கு? என் பால் அல் பாராட்டு உவந்தோய்! குடி உண்டீத்தை; என் பாராட்டைப்பாலோ சில செருக் குறித்தாரை உவகைக் கூத்தாட்டும் வரிசைப் பெரும் பாட்டொடு எல்லாம் பருகீத்தை தண்டுவென் ஞாயர் மாட்டைப் பால். A mother’s words to her son are presented here and can be translated as follows: “On the feet, you wear well-etched, tinkling anklets, made from fine gold powder, rendered by the flames, with hot gold, stringed into a two-stranded chain. Around your neck, you wear a hand-crafted chain of gold coins, and a flawless, red coral necklace. Upon that, is an exquisite garment that is delicate and loose-fitting, full of creases. On your hands, you wear many bangles with intricate patterns containing the design of crab’s eyes. You also wear jewels, tightly fitted with swords that do not attack, and axes that do not fell, and dangling between, is a perfect pendant in the shape of a bull, in the hue of the red velvet bugs that appear in the rainy season. Shining bright are the pearls of the huge sea and many sapphires, all stringed together with a rounded three-stranded chain. Putting the budding blue lotus that makes the bees swarm around to shame, is the sapphire garland, calling out to bees! And so, as all these adornments add beauty to your beauty, you walk on, holding on to the curving handles of your sturdy, rolling chariot. As you move slowly, you gentle-toed feet might hurt; Come to my hands, little lord, and drink up your milk! In the company of bards shrouded in lies, he extends crafty baits and attains the hearts of those he desires. This seems to be the primary occupation of your father. For his sake, drink a little milk; Believing the false oaths of your father, with the disease of affliction soaring, tears flow from the flower-like, kohl-streaked eyes of your other mothers; For their sake, drink a little milk; Goodness! As I’m praising my son, suddenly he has come here, with his entourage. Who has invited him here now? You have drunk a little milk with delight, hearing my praises. Why don’t you drink a little for my sake? You always make those who are angry with you, dance with delight. As I sing your praises so, drink up all the milk, for the sake of your other mothers, and render me my peace.” Time to delve into the nuances. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. Here, the lady renders these words to her son. The lady starts by making a detailed description of all the jewels her young son is wearing. Gold anklets, chain of gold coins, a coral necklace, bangles with many intricate patterns, containing crabs-eyes designs, pendants in the shape of a sword, an axe and an ox, that too in the colour of red velvet bugs are all to be found. Then, there are pearls and sapphires stranded in a gold chain, with sapphires looking like a blue lotus and inviting bees around. Then, the lady talks about how the boy pushes his chariot as he learns to walk with his tiny feet. This reference made me wonder, ‘Isn’t that too much jewels for a little child to bear?’! If these Sangam folks are adorning their tender children with so much, imagine how much of excess wealth must have rolled about in these farmlands. With all that money flowing around, no wonder the man goes courting whoever he desires. And this is the exact thought the lady brings forth next, even as she invites her son to drink some milk for the sake of his roving father; Then, she asks the boy to drink some milk for the sake of courtesans, who believe in his father and suffer later because of that. At this moment, the man suddenly enters his home with his retinue, and the lady scornfully asks, ‘Who has called him there?’ She turns her attention back to her child, and bids him to drink up some milk for her sake and then finish the entire bowl for the sake of the other mothers and give her some peace. In the previous verses, the milk reference indicated a situation of breastfeeding, but here the mother seems to have turned to cow’s milk and is venting her sorrow on her man’s activities through these words, beckoning her son to drink up milk. Yet again, the way a child becomes the solace for a Sangam woman, forsaken by her husband, who seeks other women, is the essence to be extracted here!…

Sangam Lit

1
Kalithogai 84 – The one at fault 8:54

1 year temu8:54

8:54

In this episode, we perceive the lady’s ire, as portrayed in Sangam Literary work, Kalithogai 84, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the inferences in the lady’s mind about the intentions of courtesans. தலைவி தோழியை வினாவுதல் உறு வளி தூக்கும் உயர் சினை மாவின் நறு வடி ஆர் இற்றவை போல் அழிய, கரந்து யான் அரக்கவும், கை நில்லா வீங்கிச் சுரந்த என் மெல் முலைப் பால் பழுதாக நீ நல் வாயில் போத்தந்த பொழுதினான், ‘எல்லா! கடவுட் கடி நகர்தோறும் இவனை வலம் கொளீஇ வா’ என, சென்றாய் விலங்கினை ஈரம் இலாத இவன் தந்தை பெண்டிருள் யார் இல் தவிர்ந்தனை? கூறு தோழி நீருள் அடை மறை ஆய் இதழ்ப் போதுபோல் கொண்ட குடைநிழல் தோன்றும் நின் செம்மலைக் காணூஉ, ‘இவன் மன்ற யான் நோவ உள்ளம் கொண்டு, உள்ளா மகன் அல்லான் பெற்ற மகன்’ என்று அகல்நகர் வாயில் வரை இறந்து போத்தந்து, தாயர் தெருவில் தவிர்ப்பத் தவிர்ந்தனன்; மற்று, அவர் தம்தம் கலங்களுள், ‘கையுறை’ என்று இவற்கு, ஒத்தவை ஆராய்ந்து, அணிந்தார்….. தலைவி …………………………………………. ‘பிறன் பெண்டிர் ஈத்தவை கொள்வானாம், இஃது ஒத்தன்; சீத்தை, செறு தக்கான் மன்ற பெரிது’ தலைவி புதல்வனொடு புலந்து உரைத்தல் சிறு பட்டி; ஏதிலார் கை, எம்மை எள்ளுபு நீ தொட்ட, மோதிரம் யாவோ? யாம் காண்கு அவற்றுள் நறா இதழ் கண்டன்ன செவ் விரற்கு ஏற்பச் சுறா ஏறு எழுதிய மோதிரம் தொட்டாள் குறி அறிந்தேன்; ‘காமன் கொடி எழுதி, என்றும் செறியாப் பரத்தை இவன் தந்தை மார்பில் பொறி ஒற்றிக்கொண்டு ஆள்வல்’ என்பது தன்னை அறீஇய செய்த வினை அன்னையோ? இஃது ஒன்று முந்தைய கண்டும், எழுகல்லாத என் முன்னர், வெந்த புண் வேல் எறிந்தற்றா, இஃது ஒன்று தந்தை இறைத் தொடி மற்று இவன் தன் கைக்கண் தந்தார் யார், எல்லாஅ! இது? ‘இஃது ஒன்று என் ஒத்துக் காண்க, பிறரும் இவற்கு’ என்னும் தன் நலம் பாடுவி, தந்தாளா நின்னை, ‘இது தொடுக’ என்றவர் யார் தலைவி தன் நெஞ்சு அழிந்து கூறுதல் அஞ்சாதி; நீயும் தவறிலை; நின் கை இது தந்த பூ எழில் உண்கண் அவளும் தவறிலள்; வேனிற் புனல் அன்ன நுந்தையை நோவார் யார்? மேல் நின்றும் எள்ளி, இது இவன் கைத் தந்தாள் தான் யாரோ? என்று வினவிய நோய்ப்பாலேன் யானே தவறுடையேன்! Yet another song in the same scenario of the lady waiting for her son to return home. The words can be translated as follows: “ Lady to her Confidante: When a strong wind attacks a fragrant tender green mango on a high branch, straining its twig, the fruit’s milk spills over. Akin to that, even when I tried to rub it away and hide it, beyond the control of my hands, my breasts swelled up and the milk flowed down in waste. That’s the state you had left me in. When you parted away from our gates, I told you, ‘Dear! Take him for a round around the temples of gods and be back’. But you failed to do just that! Among the women that his compassionless father courts, whose house did you stay back in, for so long? Please tell me. Confidante’s Response: Akin to a pretty flower filled with pollen that is hidden by leaves in the water, under the shade of an umbrella, walked your esteemed son. Seeing him, saying ‘He is the son borne by the thoughtless man, who stole away our hearts and cares not about us anymore’, they came out of the gates of their huge houses. As these mothers stopped him, he was unable to walk away, and they too, selecting the right ornament, made him wear it, saying it was their gift to him! Lady’s exclamation: How can he accept the offerings of those other women? What thoughtlessness! He deserves my anger greatly! Lady’s words to her son: You little devil! Where is the ring that a stranger’s hand gave, so as to mock me? Show me! Suiting those red fingers, appearing akin to the petals of the lavanga flowers, is this ring in the shape of a shark that she has given you. I understand the message that she has sent through this! She means to say, ’Through this symbol etched on the flag of the God of love, I declare that it’s me who will reside in the heart of the lord and reign there forever’. This is the thought that she wants me to know! Are you such a person to bring this to me? After seeing this and when I haven’t still recovered, akin to throwing a spear on a sore wound, I see the bangle that usually dangles on father’s wrist, now on his arm. Who gave it, my dear? Saying, ‘Let’s see if the desire the man feels for me, he could ever see in others’, singing the praises of her own beauty, did she give it to you, asking you to take it? Lady’s lament: Don’t be scared. You are not at fault! She, with kohl-streaked, flower-like eyes, who gave it in your hands, is not at fault either! As for your father, who is akin to a stream in spring, who can even blame him? The only one at fault, is the one who asked ‘Who is the one who stood above mocking and then gave this in the boy’s hands?’ – That would be me!” Time to delve into the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. These words are a conversation between the lady and confidante, predominantly in the voice of the lady. She starts as in the case of these previous verses talking about how the confidante had delayed returning home, after leaving with the boy for some temple visits around. The lady, being a breastfeeding mother, suffered much, owing to her breasts swelling up and flowing with milk akin to the secretion from a tender mango fruit hanging in a high branch, when a strong wind shakes it. The lady asks the confidante to whose house she had taken her son. The confidante relates how seeing the boy in the streets, the man’s courtesans had come out of their houses, declaring this is the son of the man who never thought of them. Though angry with the father, they showered gifts many on the boy. Hearing this, the lady gets mad asking how the boy can accept these gifts from those strangers. Looking at a ring in the shape of a shark, she decides the courtesan who gave it to the boy wants to say that she is the one, who rules in the heart of the man forever, because the symbol is the one on the flag of the god of love. Next, she talks about how she’s not even recovered from that attack, when like a spear thrown on a sore wound, she spots a bangle that usually is found on the father’s wrist. This makes her so angry because she infers that the courtesan had sent it through the boy to tell the lady the man thought her so special to give her his own bangle. After her shouts and laments in this manner, seeing that her son had gotten a little scared, she calms him asking him not to worry, and concludes saying the boy is not at fault. Neither is the courtesan who gave those things to him. Likewise, who can ever stay mad at the boy’s father, she says. So, the only one at fault is her, who asked such question to the boy, the lady concludes. The final statement echoes the helplessness the lady feels in this moment of betrayal. A fine point is that even though those courtesans lament that the man does not think of them, the lady thinks they are so fine and happy. What we can infer is none of the women find any happiness in this farmlands landscape, where the man roves like a bee from one woman to another, living a life of pleasure without consequences!…

Sangam Lit

1
Kalithogai 83 – Spear through a sore wound 8:18

1 year temu8:18

8:18

In this episode, we perceive the angst of the lady, as depicted in Sangam Literary work, Kalithogai 83, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and reveals the consequences of the man’s actions on the lady. தலைவி பெருந் திரு நிலைஇய வீங்கு சோற்று அகல் மனை, பொருந்து நோன் கதவு ஒற்றிப் புலம்பி யாம் உலமர, இளையவர் தழூஉ ஆடும் எக்கர் வாய் வியன் தெருவின் விளையாட்டிக்கொண்டு வரற்கு எனச் சென்றாய், உளைவு இலை; ஊட்டலென் தீம் பால் பெருகும் அளவெல்லாம் நீட்டித்த காரணம் என்? தோழி கேட்டீ பெரு மடற் பெண்ணைப் பிணர்த் தோட்டுப் பைங் குரும்பைக் குட வாய்க் கொடிப் பின்னல் வாங்கி, தளரும் பெரு மணித் திண் தேர்க் குறுமக்கள் நாப்பண், அகல் நகர் மீள்தருவானாக, புரி ஞெகிழ்பு நீல நிரைப் போது உறு காற்கு உலைவன போல், சாலகத்து ஒல்கிய கண்ணர், ‘உயர் சீர்த்தி ஆல் அமர் செல்வன் அணி சால் மகன் விழாக் கால்கோள்’ என்று ஊக்கி, கதுமென நோக்கி, திருந்துஅடி நூபுரம் ஆர்ப்ப இயலி, விருப்பினால், கண்ணும், நுதலும், கவுளும், கவவியார்க்கு ஒண்மை எதிரிய அம் கையும், தண் எனச் செய்வன சிறப்பின் சிறப்புச் செய்து, ‘இவ் இரா எம்மொடு சேர்ந்து சென்றீவாயால், செம்மால்! நலம் புதிது உண்டு உள்ளா நாணிலி செய்த புலம்பு எலாம் தீர்க்குவேம் மன்’ என்று இரங்குபு, வேற்று ஆனாத் தாயர் எதிர்கொள்ள, மாற்றாத கள்வனால் தங்கியது அல்லால், கதியாதி, ஒள்ளிழாய்! யான் தீது இலேன் தலைவி எள்ளலான், அம் மென் பணைத் தோள் நுமர் வேய்ந்த கண்ணியோடு எம் இல் வருதியோ? எல்லா! நீ தன் மெய்க்கண் அம் தீம் சொல் நல்லார் அணிந்த கலம் காட்டி, முந்தை இருந்து மகன் செய்த நோய்த்தலை வெந்த புண் வேல் எறிந்தற்றால், வடுவொடு தந்தையும் வந்து நிலை. Another conversation between the lady and the confidante around the man’s courting of courtesans. The words can be translated as follows: “ Lady : In this wide mansion, where the abundant rice cooking within echoes its great state of wealth, leaving me to hold on to the well-fitted, sturdy door and lament with angst, what was the reason that made you delay returning with my son, to the extent of making my breasts swell with the sweet milk that I wanted to feed him with? You had said that you would just take him out through the arena with sands spread out for youngsters, to embrace and dance, to the street for some play! Confidante: Listen to me! In the street, where little children had become tired playing by pulling the matted, green, pot-like fruits of the palmyra tree with long fronds, with tight ropes, riding in a strong chariot, resounding with clear bells, strode your son to come back to the wide mansion. At this time, women, who had eyes, akin to blue lilies with loosened petals, swaying in the wind, stood by their windows looking outside. Thinking, ’This must be the statue of the esteemed and adorned son of the god, who abode by a banyan, coming on a ritual round during the festival time’, suddenly they rushed out, making the anklets on their well-etched feet resound. Seeing the boy instead, with affection, they caressed his eyes, forehead and cheeks and holding his beautiful hand, they made him feel special with their cool grace. Then they asked him to stay with them, and if at all, he did that, they would let go of their lament over the shameless man, the boy’s father, who had devoured their fresh beauty, and then abandoned them, without a thought. As they pleaded so, seeing these other mothers, because of this little thief, who couldn’t say no, I had to stay there. So, do not be furious with me, O maiden wearing radiant jewels. I did nothing wrong! Lady: Showing much disrespect to me, how can you come to our home wearing the garlands woven by those maiden with beautiful, soft and bamboo-like arms? My dear! Amidst the pain that the son inflicts on me, previously by wearing jewels rendered by those women, who speak sweet and beautiful words, akin to a spear piercing a sore wound, the father’s state of arriving here with scars of embrace inflicts even more!” Let’s explore the nuances. The verse is situated in the context of a love quarrel between the man and the lady, owing the man’s seeking of courtesans. These words are said by the lady to her confidante and son, while the man arrives at the end of the conversation, and listens nearby. Seeing the events in the previous verse, we had inferred this must be an affluent society. In this verse, we get evidence for our conclusion, in the lady’s description of her home as a place, where wealth overflowed, and there was always copious rice being made to distribute to guests who arrived. Then, turning to the matter at hand, the lady questions her friend asking why the confidante had delayed bringing back the lady’s son home, making the lady lament and wait by the door, when the confidante had said that she was only going to take the boy to play in the streets for a short while. The delay had made the lady’s breasts swell with milk she wanted to feed the boy, and it was flowing in waste, the lady details. To this question, the confidante relates how the boy was going in his chariot through the streets, where little children were playing rolling green palm fruits. Hearing the bell sounds of the chariot, courtesans inside a house seemed to have thought that this was sound of a temple chariot. Running outside, they discover that it’s not the god’s statue but the lord’s son and they shower their affection on the little boy, touching his forehead and cheeks and holding his little hand. They ask him to spend a little time with them, so that they can forget the pain of suffering the boy’s father had inflicted on them, by being with them and then, abandoning them later. The boy, unable to say no, to these ladies, agreed to step inside and that’s why I was delayed, the confidante says, adding she couldn’t do anything and that she was not at fault. Hearing this, the lady angrily asks the boy how could come there so cooly wearing the jewels those maiden had given him. Just then, she notices the boy’s father entering their home and the lady concludes by declaring that atop the pain inflicted by the boy, the father, who arrived home with scar wounds of being intimate with other women, was inflicting even more torture, just the way a spear that is thrown at a sore wound would feel! Amidst the usual scenario of the lady’s pain and anger at her son for entertaining the wishes of courtesans that we have been seeing in the past few verses, what’s striking her is the expression ‘வெந்த புண் வேல் எறிந்தற்றா’ meaning ‘Akin to throwing a spear at a sore wound’ and this exact expression is a commonly used phrase, even in contemporary Tamil, talking about a continuity in linguistic tradition for over two thousand years!…

Sangam Lit

1
Kalithogai 82 – Venture not anymore 7:27

1 year temu7:27

7:27

In this episode, we listen to a lady’s admonition to her son, as portrayed in Sangam Literary work, Kalithogai 82, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the man’s infidelity. தலைவி ஞாலம் வறம் தீரப் பெய்ய, குணக்கு ஏர்பு, காலத்தில் தோன்றிய கொண்மூப் போல், எம் முலை பாலொடு வீங்கத் தவ நெடிதாயினை; புத்தேளிர் கோட்டம் வலம் செய்து இவனொடு புக்க வழி எல்லாம் கூறு தோழி கூறுவேன்; மேயாயே போல வினவி, வழிமுறைக் காயாமை வேண்டுவல் யான் தலைவி காயேம். தோழி மடக் குறு மாக்களோடு ஓரை அயரும் அடக்கம் இல் போழ்தின்கண், தந்தை காமுற்ற தொடக்கத்துத் தாயுழைப் புக்காற்கு, அவளும் மருப்புப் பூண் கையுறையாக அணிந்து, ‘பெருமான், நகைமுகம் காட்டு!’ என்பாள் கண்ணீர் சொரி முத்தம் காழ் சோர்வ போன்றன; மற்றும், வழிமுறைத் தாயுழைப் புக்காற்கு, அவளும் மயங்கு நோய் தாங்கி, மகன் எதிர் வந்து, முயங்கினள் முத்தினள் நோக்கி, நினைந்தே, ‘நினக்கு யாம் யாரேம் ஆகுதும்?’ என்று, வனப்பு உறக் கொள்வன நாடி அணிந்தனள், ஆங்கே, ‘அரி மதர் உண்கண் பசப்ப நோய் செய்யும் பெருமான் பரத்தைமை ஒவ்வாதி’ என்றாள்; அவட்கு இனிதாகி விடுத்தனன் போகித் தலைக் கொண்டு நம்மொடு காயும் மற்று ஈது ஓர் புலத் தகைப் புத்தேள் இல் புக்கான்….. தலைவி …… அலைக்கு ஒரு கோல் தா; நினக்கு அவள் யார் ஆகும்? எல்லா! வருந்தி யாம் நோய் கூர, நுந்தையை என்றும் பருந்து எறிந்தற்றாகக் கொள்ளும்; கொண்டாங்கே, தொடியும் உகிரும் படையாக நுந்தை கடியுடை மார்பின் சிறு கண்ணும் உட்காள், வடுவும் குறித்தாங்கே செய்யும். விடு, இனி; அன்ன பிறவும், பெருமான் அவள்வயின் துன்னுதல் ஓம்பி, திறவது இல் முன்னி, நீ ஐயம் இல்லாதவர் இல் ஒழிய, எம் போலக் கையாறு உடையவர் இல் அல்லால் செல்லல்; அமைந்தது இனி நின் தொழில். Yet again, this is a conversation revealing aspects of the ‘farmlands’ lifestyle. The words can be translated as follows: “ Lady: Akin to the seasonal cloud that rises from the east, wanting to pour down, so as to end the thirst of the world, making my breasts swollen with milk, you have delayed in returning. After taking a round in the temple of the gods, tell me all the places that you went with him! Confidante: I shall tell you. All I request is that after asking with so much interest, you shouldn’t get angry with me! Lady: I shan’t! Confidante: During those unrestrained times, when he used to play with young and foolish people, games of ‘orai’, there was a woman his father desired initially. To her home, your son went, and she offered the boy, an ornament, made of ivory as a gift, and made him wear it, saying, ‘O lord, show me your smiling face’, with tears dropping down, akin to pearls, scattering from a broken strand. After that, he went to the home of the other mother. She too, concealing her suffering, came before your son, embraced and kissed him, asking ‘Who could I be to you?’. Then, wanting to see him adorned, she dressed him with more ornaments, saying to him, ‘Making kohl-streaked eyes with red lines fill with pallor, do not seek courtesans like your father’. Saying sweet things to her, he took leave, and after that, he went to the house of a new woman, who is full of ire towards us! Lady: Bring me a rod to strike him right now! Who is she to you, my dear son? Making me filled with sorrow and affliction, like an eagle, she pounces and flies away with your father. With her bangles and nails as her weapons, she wounds and leaves scars on his chest. Don’t do this anymore! My dear, do not go to the homes of these women, wondering if your father is there. It’s better not to go to any other home other than ours with a worrying woman like me. Let this be the last time you do such things!” Let’s delve into the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. Here, a conversation between the lady and her confidante unfolds, around the activities of the lady’s son, while the man listens nearby. The lady first asks the confidante, where she had taken her son after a temple visit, leaving her breasts to ache, swollen with milk, like a rain cloud that arrives to quench the thirst of the arid land. She asks her friend to relate to her all the places that she took her son to. The confidante agrees with a forewarning that the lady should not get mad. The lady too promises that and then the confidante goes on to say, how the lady’s son visited the house of a woman that the man had courted in his young and unrestrained days, and there, the woman seems to have given gifts of ivory ornaments to the child, with tears dropping down like pearls from her eyes, as she invited the boy to smile. Next, the boy seems to have gone to the house of the other woman the man married and she too, was filled with suffering. This woman asks the boy about their relationship, and like the other woman, she too gives jewels to the boy and advises him not to be like his promiscuous father. Finally, the boy seems to have gone to the house of a new woman, who was known to have much malice towards the lady. Hearing this, the lady’s anger soars and she asks for a rod to strike the child. Then cooling down, she talks about how that woman had stolen away her husband and asks her son to no longer visit the homes of such women. It’s better for him to remain close to her at their home, the lady concludes. By tracing the trail of the little boy’s footsteps, the man’s many relationships and the way he abandons them without a care is highlighted. There’s no dearth of wealth anywhere and even such forsaken women seem to be able to shower wealth on the man’s son. All this points to an affluent society, where power and wealth seems to be concentrated in the hands of a few men, resulting in a less than ideal lifestyle for the women concerned!…

Sangam Lit

1
Kalithogai 81 – Storming and calming 9:31

1 year temu9:31

9:31

In this episode, we listen to a striking interaction between the man and the lady, as depicted in Sangam Literary work, Kalithogai 81, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and reveals the man’s attempts at allaying the lady’s ire. புதல்வனை நோக்கித் தலைவி கூறுதல் மை அற விளங்கிய மணி மருள் அவ் வாய் தன் மெய் பெறா மழலையின் விளங்கு பூண் நனைத்தர, பொலம் பிறையுள் தாழ்ந்த புனை வினை உருள் கலன், நலம் பெறு கமழ் சென்னி, நகையொடு துயல்வர, உரு எஞ்சாது இடை காட்டும் உடை கழல் அம் துகில் அரி பொலி கிண்கிணி ஆர்ப்பு ஓவா அடி தட்ப, பாலோடு அலர்ந்த முலை மறந்து, முற்றத்துக் கால் வல் தேர் கையின் இயக்கி, நடை பயிற்றா, ஆல் அமர் செல்வன் அணி சால் பெரு விறல் போல, வரும் என் உயிர்! பெரும! விருந்தொடு கைதூவா எம்மையும் உள்ளாய், பெருந் தெருவில் கொண்டாடி ஞாயர் பயிற்ற, திருந்துபு நீ கற்ற சொற்கள் யாம் கேட்ப, மருந்து ஓவா நெஞ்சிற்கு அமிழ்தம் அயின்றற்றா, பெருந்தகாய்! கூறு, சில தோழியை நோக்கித் தலைவி கூறிய செய்தி எல்லிழாய்! சேய் நின்று நாம் கொணர்ந்த பாணன் சிதைந்து, ஆங்கே வாய் ஓடி, ‘ஏனாதிப்பாடியம்’ என்றற்றா, ‘நோய் நாம் தணிக்கும் மருந்து’ எனப் பாராட்ட, ஓவாது அடுத்து அடுத்து, ‘அத்தத்தா!’ என்பான் மாண வேய் மென் தோள் வேய்த்திறம் சேர்த்தலும், மற்று, இவன் வாயுள்ளின் போகான்அரோ தலைவன் கேட்ப, தோழியை நோக்கித் தலைவி உரைத்தல் உள்ளி உழையே ஒருங்கு படை விடக் கள்ளர் படர்தந்தது போல, தாம் எம்மை எள்ளுமார் வந்தாரே ஈங்கு தலைவன் ஏதப்பாடு எண்ணி, புரிசை வியல் உள்ளோர் கள்வரைக் காணாது, ‘கண்டேம்’ என்பார் போல, சேய் நின்று, செய்யாத சொல்லிச் சினவல்; நின் ஆணை கடக்கிற்பார் யார்? தலைவி அதிர்வு இல் படிறு எருக்கி, வந்து என் மகன்மேல், முதிர் பூண் முலை பொருத ஏதிலாள் முச்சி உதிர் துகள் உக்க நின் ஆடை ஒலிப்ப எதிர் வளி நின்றாய்; நீ செல் தலைவன் இனி, ‘எல்லா! யாம் தீதிலேம்’ என்று தெளிப்பவும், கைந்நீவி யாதொன்றும் எம்கண் மறுத்தரவு இல்லாயின், மேதக்க எந்தை பெயரனை யாம் கொள்வேம், தாவா விருப்பொடு கன்று யாத்துழிச் செல்லும் ஆ போல் படர் தக, நாம். We are back to the conversational style of Kalithogai verses. The words can be translated as follows: “ Lady to her son : With his beautiful mouth, akin to a flawless gem, he babbles with a lisp, words without any meaning. As he does so, his radiant jewels become moistened. The golden crescent hanging from a well-etched round jewel upon his fragrant and handsome head dangles down. Extending beyond his form, showing his hip, the loose attire he wears block his feet that resound ceaselessly with his anklets filled with pebble-like stones. Forgetting the swelling breast filled with milk, pulling the well-made toy chariot, learning to walk, comes my life, akin to the great one, who sits under the banyan, the son of the strong and decorated lord! My dear! Without leaving you to think about me ,who was held up with making a feast for the guests, in the huge street, your foster mothers taught you. When I hear those words that you learnt so well from them, that would be like ambrosia to my heart, the cure to my relentlessly worrying heart, O esteemed one! Why don’t you say a few? Lady to her confidante: O maiden wearing radiant jewels, the bard, who was brought here from a great distance, ran away with his mouth, and said the word ‘Enaathi Paadiyam’. As I praised my son saying that ‘He was the cure for my disease’, unceasingly he kept saying ‘Athatha’. Even as I buried him in my soft, bamboo-like shoulders, no other words seemed to come out of the little one’s mouth! Lady saying to her confidante, when the man was in earshot: Strategising how to destroy an entire army, the band of thieves surround. Akin to that, to make me the laughing stock, he has come here now. Man: As means of protection, those within the fort, even when they don’t see the thieves, shout out ‘We have seen them’. Like that, standing far away, you talk about things I never did and become furious. Who can even disobey your orders? Lady: Without any hesitation, with cunning, you have come to see my son. But I can see the pollen, fallen from the head of those strange women, scattered all over your attire, as you stand before me amidst the breeze. Please leave! Man: Even though I have said, ‘Dear one, there’s no wrong I have done’, caressing your hands, if you do not respond in the right manner, all I can do is to rush towards the little one, who bears the glorious name of my father, and hold our son, akin to a cow, returning from its grazing, rushing towards its calf tied up, with boundless love.” Let’s delve into the details. The verse is situated in the context of a love quarrel between a man and a lady, owing to the man’s seeking courtesans. The words here are said initially by the lady, who talks to her son and her confidante, and then the conversation takes a turn and dwells between the man and the lady. As we have been seeing in the past few verses, the lady happens to celebrate the beauty and adornments of her infant son, in the beginning, talking about his jewel-like mouth, adorable prattle, the jewels on his head dangling and the anklets on his feet resounding. She mentions how the boy seemed to have forgotten his mother’s milk-filled breast, as he was busy pulling and playing with his toy chariot and learning to walk. From this line, we can infer how Sangam children were breastfed for a long time till the child could walk and talk. Next, the lady mentions how women, who could be the equivalent of today’s nannies, would teach the boy new words, even as the lady was busy with preparing a feast for guests, who had come home. The lady turns to her son and requests him to speak a few words, saying those words are like an elixir to her ears and are the only cure for her worrying heart. At this point, the lady turns to her confidante and conveys the news that the bard who had visited their home earlier had mentioned a particular place, when asked where he had been, and the lady thus knows, the man has been visiting the neighbourhood of the courtesans in the bard’s company. Next, she turns to her son’s words that she had sought from him and tells her confidante, no matter how much love she poured on the boy, the boy only kept referring only to his father. Then, noticing the man had entered their home, the lady says to the confidante, while the man is in earshot, saying how he had arrived home, after making a mockery of her, just the way a band of thieves decide on the strategic time to destroy an army. The man replies to this accusation saying how even where there were no thieves, those in the fort would shout ‘thief, thief’, like that, the lady seems to be accusing him of things he has never done. The lady replies to this asking, ‘Is that so? Then how come I can see the pollen of other women fallen on your robe?’ The man concludes possibly wringing his hands in despair, saying even though he has repeatedly said he has not done anything wrong, if the lady could not understand it, all he could do was to rush and carry his son, with the feeling of a grazing cow rushing to its tethered calf with love brimming over. A verse which provides insights about the rearing of children in the Sangam era, amidst the usual conflict between the wandering man and the worrying lady!…

Sangam Lit

1
Kalithogai 80 – Sweet child of mine 6:49

1 year temu6:49

6:49

In this episode, we perceive the lady’s affection for her son, as portrayed in Sangam Literary work, Kalithogai 80, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and conveys a hidden message. நயம் தலை மாறுவார் மாறுக; மாறா, கயந் தலை மின்னும் கதிர் விடு முக் காழ், பயந்த எம் கண் ஆர யாம் காண நல்கி திகழ் ஒளி முத்து அங்கு அரும்பாகத் தைஇப் பவழம் புனைந்த பருதி சுமப்ப, கவழம் அறியா நின் கை புனை வேழம் புரி புனை பூங் கயிற்றின் பைபய வாங்கி, அரி புனை புட்டிலின் ஆங்கண் ஈர்த்து, ஈங்கே வருக! எம் பாக மகன்! கிளர் மணி ஆர்ப்ப ஆர்ப்பச் சாஅய்ச் சாஅய்ச் செல்லும் தளர் நடை காண்டல் இனிது; மற்று, இன்னாதே, ‘உளம்’ என்னா நுந்தைமாட்டு எவ்வம் உழப்பார் வளை நெகிழ்பு யாம் காணுங்கால் ஐய! காமரு நோக்கினை, ‘அத்தத்தா’ என்னும் நின் தே மொழி கேட்டல் இனிது; மற்று, இன்னாதே, உய்வு இன்றி நுந்தை நலன் உணச் சாஅய்ச் சாஅய்மார் எவ்வ நோய் யாம் காணுங்கால் ஐய! ‘திங்கட் குழவி, வருக!’ என, யான் நின்னை அம்புலி காட்டல் இனிது; மற்று, இன்னாதே, நல்காது நுந்தை புறம் மாறப்பட்டவர் அல்குல் வரி யாம் காணுங்கால் ஐய! எம் காதில் கனங் குழை வாங்கி, பெயர்தொறும், போது இல் வறுங் கூந்தல், கொள்வதை, நின்னை யாம் ஏதிலார் கண் சாய நுந்தை வியல் மார்பில் தாது தேர் வண்டின் கிளை பட, தைஇய கோதை பரிபு ஆட காண்கும். Here, the verse flows in a slightly different format from the usual three-step Kalithogai that we have become familiar with! The words can be translated as follows: “Let those whose affection has changed remain away! But for these unchanging eyes of mine to see and delight, come here, with the three-stranded, bright and shining ornament upon your soft head, pulling gently your handmade elephant that has never eaten a ball of rice, placed on a coral-studded platform with radiant pearls attached, akin to buds, with a well-etched, soft rope, making the pebbles in your anklets resound, my elephant-tamer son! Making clear bells resound again and again, your stumbling, faltering toddler walk is sweet to see. But what is unpleasant is to see how another declares that ‘I alone remain in his heart’ and yearns for your father, letting her bangles slip away! My dear! Seeing me with loving eyes, you mumble words with a lisp. Hearing those honey-sweet words is pleasant! But what is unpleasant is to see the pain of affliction in those, who pretend to suffer, so as to delight in the beauty of your father, without any respite! My dear! When I show you the moon upon the sky, calling you with love as my moon-child, that is pleasant! But what is unpleasant is to see the fading lines on the loins of those, who have been forsaken without grace by your father! My dear! I let you take the heavy earrings on my ears and part away, and to hold on to my flowerless, dry tresses, so as to see you pluck and tear the garland, around which bees which seek pollen buzz, upon your father’s wide chest, so that his eyes seek not those strangers!” Time to delve into the nuances. The verse is situated in the context of a love quarrel between a man and a lady, owing to the man’s seeking of courtesans. In an unusual rendition, the lady says these words to her toddler son, while the man remains listening nearby. The lady starts by calling her toddler son, who is wearing a bright ornament on his forehead and playing with a toy elephant on a coral and pearl-studded platform. She mentions how the anklets on his baby legs resound aloud as he pulls the soft rope and walks to her. She tells her son that those whose love is changed can remain away but the love in her is unwavering. This is said to take a dig at the listening man, who has been away courting courtesans and just now, enters his home. The lady then tells her son that his toddling walk, his honey-sweet words with a lisp, and showing that moon-child the moon, are all such sweet things to her, but what is unpleasant is to hear the talk of women who declare they alone inhabit the man’s heart, see the pain of affliction in courtesans who seek her husband without respite and to take in the fading beauty of those who have been abandoned by the boy’s father. Good thing the child can’t understand these words! Any case, these are meant to pierce like arrows in the ears of the listening man. The lady says to the child that she never minds the little one, plucking away her earrings or pulling her dry, flowerless hair. These are unadorned because the man is not at home. It’s not as if he’s away on a mission to gain wealth or fight a war, but perhaps the lady is simply following the Sangam tradition of not adorning herself, when her man is away, no matter the reason. Returning, we find the lady concluding with the words that she hopes her son would pluck away the garland on his father’s chest as he plays with him, and thereby making the man forget his other women and remain there delighting in the joy of the bliss at home. Yet again, we see the powerful impact of the presence of a little child in the life of this Sangam couple!…

Sangam Lit

1
Kalithogai 79 – Embrace not the little one 6:13

1 year temu6:13

6:13

In this episode, we listen to a lady’s words of rebuke to her man, as depicted in Sangam Literary work, Kalithogai 79, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and spotlights moments of affection. புள் இமிழ் அகல் வயல் ஒலி செந்நெல் இடைப் பூத்த முள் அரைத் தாமரை முழு முதல் சாய்த்து, அதன் வள் இதழ் உற நீடி, வயங்கிய ஒரு கதிர், அவை புகழ் அரங்கின்மேல் ஆடுவாள் அணி நுதல் வகை பெறச் செரீஇய வயந்தகம் போல், தோன்றும் தகை பெறு கழனி அம் தண் துறை ஊர! கேள்: அணியொடு வந்து ஈங்கு எம் புதல்வனைக் கொள்ளாதி; மணி புரை செவ் வாய் நின் மார்பு அகலம் நனைப்பதால்; ‘தோய்ந்தாரை அறிகுவேன், யான்’ என, கமழும் நின் சாந்தினால் குறி கொண்டாள் சாய்குவள் அல்லளோ? புல்லல் எம் புதல்வனை; புகல் அகல் நின் மார்பில் பல் காழ் முத்து அணி ஆரம் பற்றினன் பரிவானால்; மாண் இழை மட நல்லார் முயக்கத்தை நின் மார்பில் பூணினால் குறி கொண்டாள் புலக்குவள் அல்லளோ? கண்டே எம் புதல்வனைக் கொள்ளாதி; நின் சென்னி வண்டு இமிர் வகை இணர் வாங்கினன் பரிவானால்; ‘நண்ணியார்க் காட்டுவது இது’ என, கமழும் நின் கண்ணியால் குறி கொண்டாள் காய்குவள் அல்லளோ? என ஆங்கு பூங் கண் புதல்வனைப் பொய் பல பாராட்டி, நீங்காய் இகவாய் நெடுங் கடை நில்லாதி; ஆங்கே அவர் வயின் சென்றீ அணி சிதைப்பான் ஈங்கு எம் புதல்வனைத் தந்து. An adorable player enters this oft-repeated scene! The words can be translated as follows: “In the wide fields, resounding with bird sounds, amidst the luxuriant red paddy, blooms a lotus upon a spiny stem. Bending its entire stem, a paddy stalk touches the thick petals of the lotus, appearing akin to a head-ornament well-set on the beautiful forehead of one, who dances on a famous stage, lauded by many, in the esteemed fields of your beautiful and moist shore, O lord. Listen: Do not come here, wearing radiant ornaments, to embrace our son! If his red mouth, akin to a precious jewel, moistens your chest, won’t the one, who has declared ‘I will know if someone embraces you’, seeing the imprint upon the fragrant sandalwood on your chest, worry because of that? Do not hold my son close to you. If he catches hold of the many-stranded pearl necklace on your much-celebrated chest and breaks it, won’t the one, seeing the imprint of an embrace by a beautiful woman wearing well-etched jewels, upon your ornaments, sulk because of that? Do not carry my son, even if he comes to you with love! If he gets hold of the many flowered clusters upon your head, buzzing with bees, and tears it, won’t the one, who will think ’this shows who has been with him’, seeing the imprint on your head-garland, burn because of that? And so, saying falsehoods many, do not stand there parting not from my son with flower-like eyes. Our son is sure to mess up your beauty. Go there and be with them, giving my son back to me!” Time to delve into the nuances. The verse is situated in the context of a love quarrel between a man and the lady, owing to the man’s seeking courtesans, and these words are said by the lady to the man. The lady, as tradition dictates, begins with a description of the man’s town, and the image she chooses for this one, is of a paddy stalk bending low and touching a lotus that has bloomed in the fields. This makes her think of a dangling head ornament called as ‘vayanthagam’ on the forehead of a dancer on a celebrated stage. After praising the man’s cool river shores, the lady turns to the matter at hand, which is asking the man not to carry their son, hold him or embrace him. She says this because the little fellow might moisten the man’s chest with his drool, pluck and break the man’s pearl necklace, and tear the man’s head garland. What’s the big deal if that happens? The lady answers that saying the courtesan, from whose house the man has arrived, might see the imprints of the little boy’s handiwork and mistake the smudged sandalwood, broken pearls and torn flowers, as caused by the embrace of other maiden wearing radiant jewels! She concludes asking the man not to keep standing there, hugging their little son, but instead hand over that bundle of joy back to her, and asks him to get back to his pretty maiden to continue his adventures with them! A Sangam lady’s ire at her man’s amorous actions with other women are revealed in this scene, but leaving aside the usual quarrelling between them, we can delight in the scenes of bonding between a man and his son!…

Sangam Lit

1
Kalithogai 78 – Reflection on the return 7:27

1 year temu7:27

7:27

In this episode, we listen to the lady’s perspective on the man’s thoughts, as portrayed in Sangam Literary work, Kalithogai 78, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and reflects the lady’s clarity and perception. பல் மலர்ப் பழனத்த பாசடைத் தாமரை இன்மலர் இமிர்பு ஊதும் துணை புணர் இருந்தும்பி, உண்துறை உடைந்த பூப் புனல் சாய்ப்பப் புலந்து ஊடிப், பண்பு உடை நல் நாட்டுப் பகை தலைவந்தென, அது கைவிட்டு அகன்று ஒரீஇக் காக்கிற்பான் குடை நீழல் பதி படர்ந்து இறைகொள்ளும் குடி போலப், பிறிதும் ஒரு பொய்கை தேர்ந்து அலமரும் பொழுதினான், மொய் தப இறை பகை தணிப்ப அக் குடி பதிப் பெயர்ந்தாங்கு நிறை புனல் நீங்க வந்து அத்தும்பி அம் மலர்ப் பறை தவிர்பு அசைவிடூஉம் பாய் புனல் நல் ஊர! நீக்குங்கால் நிறம் சாய்ந்து புணருங்கால் புகழ் பூத்து, நாம் கொண்ட குறிப்பு இவள் நலம் என்னும் தகையோ தான், எரி இதழ் சோர்ந்து உக ஏதிலார்ப் புணர்ந்தமை கரி கூறும் கண்ணியை ஈங்கு எம் இல் வருவதை? சுடர் நோக்கி மலர்ந்து ஆங்கே படின் கூம்பும் மலர் போல் என் தொடர் நீப்பின் தொகும் இவள் நலம் என்னும் தகையோ தான், அலர் நாணிக் கரந்த நோய் கைம்மிகப் பிறர் கூந்தல் மலர் நாறும் மார்பினை ஈங்கு எம் இல் வருவதை? பெயின் நந்தி வறப்பின் சாம் புலத்திற்குப் பெயல் போல் யான் செலின் நந்திச் செறின் சாம்பும் இவள் என்னும் தகையோ தான், முடி உற்ற கோதை போல் யாம் வாட, ஏதிலார் தொடி உற்ற வடுக் காட்டி ஈங்கு எம் இல் வருவதை? ஆங்க, ஐய அமைந்தன்று அனைத்து ஆகப் புக்கீமோ, வெய்யாரும் வீழ்வாரும் வேறு ஆகக் கையின் முகை மலர்ந்தன்ன முயக்கில் தகை இன்றே, தண் பனி வைகல் எமக்கு. It’s the lady’s voice that resounds again in these words, which can be translated as follows: “A black bee that has happily mated with its companion, buzzes around the sweet flower of the lotus, having thick green leaves in the field, filled with many flowers. When there’s a breach in the river banks and waters gush in to ruin the flower-filled pond, leaving that behind, akin to the people of a country, who leave their cultured and good land, owing to an enemy attack, and traverse to live under the protective shade of a king, the bee searches for yet another pond with much suffering. And akin to those people who return to their old country, when their king destroys those enemies, as flood waters recede, that black bee returns to its old lotus flower and rests there, without flying away, in your town with flowing streams, O lord! Do you come back here to our home, wearing a garland with worn-out petals, bearing testimony to your being with strangers, because you think, ‘When I part away, her radiance is gone, and when I return, it blooms again. Her beauty is mine to command!’? Do you come here to our home, with your chest, wafting with the fragrance of flowers worn in the tresses of others, as this disease brims over in me, owing to the shame of slander, because you think, ‘Akin to a flower that blooms when the sun rises, and closes its buds when the sun sets, when I part away, I transform that beauty of hers!’? Do you come here to our home, showing the imprints of the bangles worn by strangers, as I fade akin to a garland removed from the tresses, because you think, ‘Akin to the rain that makes the arid land flourish when it pours down, if I go to her, she will thrive and prosper!’? And so, let it all remain so. Please don’t stay here, causing distress to whom you love and who love you. Akin to a flower bud that’s pried open with the hands, for me, who has lived apart from you, day after day, in this cold and moist season, there’s no joy in your embraces now!” Time to delve into the nuances. The verse is situated in the context of a love-quarrel between a man and a lady, owing to the man’s seeking of courtesans and these words are rendered by the lady to the man. Although it’s the same lotus and bee scenario to depict the town, the lady layers it with an apt and unique simile. She talks about how the bee, which was happily playing on that lotus flower in the pond, seeing it ruined because of the arrival of the flood waters, owing to a breach in the river shore, leaves that pond and goes in search of another pond. To sketch this journey, the lady talks about the people of a country forsaking it, when enemies arrive and migrating to live under the shade of another king. Like those people who return to their old land, with much joy, when those enemies have been vanquished by their king, the bee too returns to its old pond to seek its old flower, when the flood waters recede, the lady connects. Such is the beautiful town of the man, she details. Then, she asks the man whether he comes home bearing signs of being with other maiden, wearing a garland of faded petals, wafting with the scent of flowers worn by them and bearing the imprints of their bangles, because he thinks with much arrogance that the lady’s beauty is under his command, for it fades when he leaves, and flourishes when he returns. To explain his mind, the lady asks him whether he considers their situation similar to how a flower opens its buds when the sun rises and closes it when it sets, as well as how a parched land thrives when it rains and dries up otherwise. Then, she tells him, ‘Let it be so in your mind. But don’t wait here too long, bringing worry to those women whom you seek and those who seek you’. In a final poetic simile, she talks about how his embraces are joyless and give the same feeling of forcing open a flower, as she remembers how she was lonely all those days of the cold season. And thus, the lady calls out the man for his attention elsewhere and declares that she is not fooled by his coming there. A verse which yet again echoes the same conflict situation between the man and the lady but one which expands our minds by offering us that bouquet of similes to illustrate the the lay of the land and the mind.…

Sangam Lit

1
Kalithogai 77 – Enemy called the heart 5:37

1 year temu5:37

5:37

In this episode, we perceive the lady’s loss owing to the man’s actions, as portrayed in Sangam Literary work, Kalithogai 77, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the lady’s state of despair. இணை இரண்டு இயைந்து ஒத்த முகை நாப்பண், பிறிது யாதும் துணை இன்றித் தளை விட்ட தாமரை தனி மலர்; திரு முகம் இறைஞ்சினள், வீழ்பவற்கு இனைபவள் அரி மதர் மழைக் கண் நீர் அலர் முலை மேல் தெறிப்ப போல், தகை மலர்ப் பழனத்த புள் ஒற்ற ஒசிந்து ஒல்கி மிக நனி சேர்ந்த அம் முகை மிசை அம் மலர் அக இதழ்த் தண் பனி உறைத்தரும் ஊர! கேள்! தண் தளிர்த் தகை பூத்த தாது எழில் நலம் செலக் கொண்டு நீ மாறிய கவின் பெறல் வேண்டேன் மன் உண்டாதல் சாலா என் உயிர் சாதல் உணர்ந்து நின் பெண்டு எனப் பிறர் கூறும் பழி மாறப் பெறுகற்பின்; பொன் எனப் பசந்த கண் போது எழில் நலம் செலத் தொல் நலம் இழந்த கண் துயில் பெறல் வேண்டேன் மன் நின் அணங்கு உற்றவர் நீ செய்யும் கொடுமைகள் என் உழை வந்து நொந்து உரையாமை பெறுகற்பின்; மாசு அற மண்ணுற்ற மணி ஏசும் இருங்கூந்தல் வீ சேர்ந்து வண்டு ஆர்க்கும் கவின் பெறல் வேண்டேன் மன் நோய் சேர்ந்த திறம் பண்ணி நின் பாணன் எம் மனை நீ சேர்ந்த இல் வினாய் வாராமை பெறுகற்பின்; ஆங்க, கடைஇய நின் மார்பு தோயலம் என்னும், இடையும் நிறையும் எளிதோ, நின் காணின் கடவுபு கை தங்கா நெஞ்சு என்னும் தம்மோடு உடன் வாழ் பகை உடையார்க்கு? We are back to the farmlands without any confusion to listen to these words of the lady, which can be translated as follows: “In between two similar flowers, without any other support, a single lotus flower bud sprouts. Attacked by birds in the flower-filled field, it bends down and sheds water drops on those lotus flowers close to it, akin to how the tears from the beautiful, rain-like eyes of a maiden, her pretty face bent down, worrying about her beloved, would splash on her wide breasts. Such are the beautiful flowers with wide petals coated with dew in your town, O lord! Listen to me now: If only others don’t censure me saying ‘She’s his woman’, a time when I feel my life slipping away, I wouldn’t wish to regain the old beauty of mine, akin to the beauty of pollen on moist leaves, that you stole away! If only others don’t speak about the atrocities you do to those who are bewitched by you, I wouldn’t wish to attain the lost sweet sleep in my eyes that have taken on a golden pallor, losing its old beauty! If only your bard does not come to my home and question about the house that you have left to, singing sorrowful tunes many, I wouldn’t wish to attain the old, bee-buzzing beauty of my flower-clad black tresses, shining like a flawless sapphire! And so, is it easy to stay away from embracing your chest by quarrelling with you, when one has an enemy that lives within them – The one called the heart that leaps to you, out of my control!” Let’s delve into the nuances. The verse is situated in the context of a love-quarrel between the man and the lady, owing to the man’s seeking of courtesans and these words are rendered by the lady to the man. The lady starts as usual with a description of the man’s town, and in this edition, we see a lush pond and there, specifically, a bent lotus bud shedding its dew on the nearby lotus flowers, which the lady connects to a maiden shedding tears on her bosom, saddened by the actions of her beloved. The lady talks about how the town mocks her calling her the wife of the man who doesn’t stay faithful, how the courtesans the man abandons come complaining to her, and how the man’s bard, wishing to attain the man’s graces, comes seeking to the lady’s home, inquiring to whose house the man has left to. All these make the beauty of her complexion, her eyes and her tresses fade away and the lady is left with no choice but to wish for this beauty to be regained. She concludes by capturing an enemy inside her called her heart, which seems not to let her quarrel and stay away from the man, in spite of all his actions against her. A verse which establishes the havoc the man’s escapades unleash to the health and beauty of the lady, and yet portrays her state of being unable to do anything about it. Helplessness as an emotion is etched clearly in these words from the past!…

Sangam Lit

1
Kalithogai 76 – Past acts and future hope 6:31

1 year temu6:31

6:31

In this episode, we perceive elements of a different landscape appearing in the farmlands domain, as portrayed in Sangam Literary work, Kalithogai 76, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the lady’s way of revealing her relationship with the man to her friend. புனை இழை நோக்கியும் புனல் ஆடப் புறம் சூழ்ந்தும், அணி வரி தைஇயும், நம் இல் வந்து வணங்கியும், நினையுபு வருந்தும் இந்நெடுந்தகை திறத்து இவ் ஊர் இனையள் என்று எடுத்து ஓதற்கு அனையையோ நீ என வினவுதி ஆயின், விளங்கு இழாய்! கேள் இனி! செவ்விரல் சிவப்பு ஊரச் சேண் சென்றாய் என்று அவன் பௌவ நீர்ச் சாய்க் கொழுதிப் பாவை தந்தனைத்தற்கோ, கௌவை நோய் உற்றவர் காணாது கடுத்த சொல் ஒவ்வா என்று உணராய், நீ ஒரு நிலையே உரைத்ததை? ஒடுங்கி யாம் புகல் ஒல்லேம் பெயர்தர அவன் கண்டு நெடுங்கய மலர் வாங்கி, நெறித்துத் தந்தனைத்தற்கோ விடுந்தவர் விரகு இன்றி எடுத்த சொல் பொய் ஆகக் கடிந்ததும் இலையாய், நீ கழறிய வந்ததை? வரி தேற்றாய் நீ என வணங்கு இறை அவன் பற்றித், தெரி வேய்த் தோள் கரும்பு எழுதித் தொய்யில் செய்தனைத்தற்கோ புரிபு நம் ஆயத்தார் பொய் ஆக எடுத்த சொல் உரிது என உணராய், நீ உலமந்தாய் போன்றதை? என ஆங்கு, அரிது இனி ஆய் இழாய்! அது தேற்றல் புரிபு ஒருங்கு, அன்று நம் வதுவையுள் நமர் செய்வது இன்று ஈங்கே, தான் நயந்து இருந்தது இவ் ஊர் ஆயின் எவன் கொலோ, நாம் செயற்பாலது இனி? An instance of what can be described as ‘a confusion of core theme’, meaning that a verse situated in the ‘Marutham’ or ‘Farmlands landscape’ seems to echo elements of the ‘Kurunji’ or ‘Mountains landscape’. The words can be translated as follows: “‘Gazing at the well-etched ornaments, accompanying when playing in the stream, painting beautiful lines of art, and arriving home and bowing with respect, are the acts of that esteemed man. This town declares with slander that you are his mate. Is this true?’, you ask me, worrying incessantly! Listen to me now: All he did was, one day, seeing how my red fingers can become redder, because I was working for a long time, he plucked the reeds by the salty waters and rendered me a doll made of it. Yet, without understanding the truth, you too repeat the harsh words of those who have the affliction of gossiping! All he did was, one day, seeing how I was hesitant to go further and was returning back, leapt into the waters, plucked that flower in the deep pond and gave it to me. Yet, without scolding them and declaring their words as false, you blabber the words of those who slander without kindness! All he did was, one day, seeing how I didn’t know how to draw the ‘thoyyil’ lines, he held on to my bamboo-like arms and painted a sugarcane on that. Yet, without perceiving that they speak not the truth, you ask full of sorrow about those words rendered by our playmates. And so, it’s really difficult to make you understand, O maiden wearing well-etched ornaments! Whatever should happen, when my family weds him to me with love, if this town decides, has already happened here and now, what should I do?” Let’s explore the details. The verse is situated in the context of a man’s love relationship with the lady, prior to marriage and involves a situation of a friendly quarrel between the lady and the confidante. The confidante repeats the words of the townsfolk, who are spreading gossip about the lady and the man, saying how he was looking at the lady’s jewels, was found in her company in the stream and was even painting lines of art on her, and the confidante asks the lady with much worry and anxiety whether this is true. The lady explains this talk by brushing away the acts of the man as something anyone would do. For instance, because her hands were red trying to cut the reeds, the man helped her cut it and made a doll for her with it. Then because she decided not to pluck the flower far away in the huge pond and was returning back, the man leapt into the pond and brought the flower she had desired. Finally, one day, the lady seems to have been making a mess of the ‘thoyyil’ paintings and the man seems to have stepped in to help her, ending up drawing a sugarcane pattern on her arms. ‘These are normal things, aren’t they?’, the lady seems to ask her confidante and scolds her for repeating the thoughtless words of others. Finally, she gives up trying to make the confidante understand, and concludes saying, all the thoughts that should arise when the man finally marries me with our family’s blessing, the townsfolk seemed to be thinking right away. In this verse, the elements of ‘Marutham’ or ‘Farmlands landscape’ appears in the shape of the quarrel and sulking between the lady and the confidante. Other than this, it’s all about the lady revealing her relationship with the man to the confidante. Out of her shyness, she dismisses the actions of the man in his special attention to her. In the final lines, she places her hope that one day, she will be married to the man. Thus, in that roundabout technique of communication between these Sangam maiden, by giving an explanation for past interactions with the man and hinting about the hope for her future with him, in a nutshell, the lady reveals to the confidante, her relationship with the man!…

Sangam Lit

1
Kalithogai 75 – The fate to forego anger 6:20

1 year temu6:20

6:20

In this episode, we perceive the reasons for the lady’s restraint, as depicted in Sangam Literary work, Kalithogai 75, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and highlights the man’s crafty nature. நீர் ஆர் செறுவில் நெய்தலொடு நீடிய நேர் இதழ் ஆம்பல் நிரை இதழ் கொண்மார் சீர் ஆர் சேயிழை ஒலிப்ப, ஓடும் ஓரை மகளிர் ஓதை வெரீஇ எழுந்து, ஆரல் ஆர்கை அம் சிறைத் தொழுதி உயர்ந்த பொங்கர் உயர் மரம் ஏறி, அமர்க்கண் மகளிர் அலப்பிய அந்நோய் தமர்க்கு உரைப்பன போல், பல் குரல் பயிற்றும் உயர்ந்த போரின் ஒலி நல் ஊரன் புதுவோர் புணர்தல் வெய்யன் ஆயின் வதுவை நாளால் வைகலும், அஃது யான் நோவேன் தோழி! நோவாய் நீ என என் பார்த்து உறுவோய்! கேள் இனித் தெற்றென! “எல்லினை வருதி, எவன் குறித்தனை? எனச் சொல்லாதிருப்பேன் ஆயின், ஒல்லென விரி உளைக் கலி மான் தேரொடு வந்த விருந்து எதிர்கோடலின் மறப்பல்” என்றும் “வாடிய பூவொடு வாரல் எம் மனை!” என ஊடி இருப்பேன் ஆயின், நீடாது அச்சு ஆறு ஆக உணரிய வருபவன் பொய்ச் சூள் அஞ்சிப் புலவேன் ஆகுவல்; “பகல் ஆண்டு அல்கினை பரத்த!” என்று யான் இகலியிருப்பேன் ஆயின், தான் தன் முதல்வன் பெரும் பெயர் முறையுளிப் பெற்ற புதல்வன் புல்லிப் பொய்த் துயில் துஞ்சும்; ஆங்க, விருந்து எதிர்கொள்ளவும் பொய்ச் சூள் அஞ்சவும், அரும் பெறல் புதல்வனை முயங்கக் காணவும் ஆங்கு அவிந்து ஒழியும், என் புலவி தாங்காது, அவ் அவ் இடத்தான் அவை அவை காணப் பூங்கண் மகளிர் புனை நலம் சிதைக்கும் மாய மகிழ்நன் பரத்தைமை நோவென் தோழி, கடன் நமக்கு எனவே. It’s the lady speaking yet again! The words can be translated as follows: “‘To pluck the blue lotus and the long-leaved water-lily with perfect petals in the water-filled fields, maiden run around with their well-etched, exquisite jewels resounding. Startled by the noise made by these maiden playing ‘Orai’ games, a herd of birds with beautiful feathers fly high and climb onto the tall branches of a towering tree, and then relay the affliction, caused by those maiden with pretty eyes, to their kin, with repeated resounding calls, akin to the sounds of a war in the lord’s fine town. The lord is one who wishes to keep the company of different women and keeps uniting with them day after day. This brings great grief to me, O friend. How can you be unaffected by this?’ – So you ask me! Listen to me well: I want to ask him, ‘You are returning in the morning. Where were you?’ But I don’t do that! Why because I forget that when I see the guests he brings home, with much uproar, on his chariot tied with a speedy horse having a thick mane! I want to sulk with him saying, ‘Do not come to my home with these faded flowers’. But I don’t do that! Why because I’m filled with fear that he who returns will start to swear false oaths many! I want to rebuke him saying, ‘All day you were with those other women’. But I don’t do that! Why because he would be pretending to be asleep, hugging his son, who, following the illustrious tradition, has gained the great name of his father! And so, facing new guests, fearing false oaths, seeing him embrace our precious son, this anger of mine remains not firm and melts away instantly. It seems like it’s my fate to see in all those places, all those things showing how he ruins the etched beauty of maiden with flower-like eyes and yet not express my suffering about the deceptive lord’s seeking of courtesans!” Time to delve into the details. The verse is situated in the context of a love-quarrel between the man and the lady, owing the man’s seeking of courtesans. These words are said by the lady to her confidante. As custom, the lady starts with a description of the man’s town, and here, we find maiden running around with their jewels jingling, as they pluck the blue lotuses and lilies, and play ‘orai’ games as well. Startled by all the ruckus created by them, birds fly high to the branches of a tall tree and lament about their atrocity to their kin, with the repeated piercing songs. Sound is the defining element of this description. Then, the lady tells us it’s the confidante who has been saying these words about the man’s town to tell the lady how the confidante was very much affected by the man’s actions and asks the lady how come the lady seemed so calm and without anger any, at the man. To this, the lady replies how she really wants to chide the man about his staying away at other places and coming home with a tattered garland and faded flowers. But she doesn’t do that because the man either comes home with guests many and owing to her innate hospitality, the lady forgets to be angry with the man, or the man starts swearing false oaths, which the lady fears would lead some catastrophe for their family, or the man would pretend to be fast asleep near their son, the claimant of the illustrious family name, belonging to the man’s father. The lady concludes saying because of these reasons, she is not able to hold fast to her anger, and it seems like she has no other way to express her angst about the man’s seeking courtesans. A rather interesting verse, which provides insight into all the ways the man cunningly finds his way back to the lady’s house, without inviting her ire!…

Sangam Lit

1
Kalithogai 74 – Flower-hopping bee 5:11

1 year temu5:11

5:11

In this episode, we listen to the sharp censure of the lady, as portrayed in Sangam Literary work, Kalithogai 74, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and vividly sketches the man’s infidelity. பொய்கைப் பூ புதிது உண்ட வரி வண்டு கழி பூத்த நெய்தல் தாது அமர்ந்து ஆடிப், பாசடைச் சேப்பினுள் செய்து இயற்றியது போல வயல் பூத்த தாமரை மை தபு கிளர் கொட்டை மாண் பதி படர்தரூஉம், கொய்குழை அகை காஞ்சித் துறை அணி நல் ஊர! அன்பு இலன் அறன் இலன் எனப்படான் என ஏத்தி, நின் புகழ் பல பாடும் பாணனும் ஏமுற்றான்; நஞ்சு உயிர் செகுத்தலும் அறிந்து உண்டாங்கு அளி இன்மை கண்டு நின் மொழி தேறும் பெண்டிரும் ஏமுற்றார்; முன்பகல் தலைக்கூடி நன்பகல் அவள் நீத்துப் பின்பகல் பிறர்த் தேரும் நெஞ்சமும் ஏமுற்றாய்; என ஆங்கு, கிண்கிணி மணித் தாரொடு ஒலித்து ஆர்ப்ப, ஒண்தொடிப் பேர் அமர்க் கண்ணார்க்கும் படுவலை இது என, ஊரவர் உடன் நகத் திரிதரும் தேர் ஏமுற்றன்று நின்னினும் பெரிதே. A rather crisp verse in this series of the lady bashing the man. The words can be translated as follows: “Feeding on the fresh flowers in the pond, the striped bee journeys to the blue lotus blooming in the backwaters. After relishing the pollen of the blue lotus, it takes flight to rest on the glowing centre of a faultless and esteemed pink lotus bud with green leaves, blooming in the field, appearing like an etched sculpture, in the shores filled with Portia trees, which keep sprouting even as maidens pluck ceaselessly, in your picturesque, fine town, O lord! Upholding you as one, whom no one can say, ‘He is without love, he is without fairness’, the bard who keeps singing your praises is senseless. Akin to knowing fully well that it’s poison and still drinking it up, even after sensing your lack of grace, those women, who keep trusting your words, are senseless too. Uniting with one in the forenoon, abandoning her at noon, and seeking another in the afternoon, that heart of yours is senseless too! And so, resounding with strings of tinkling bells, as a net to trap maiden with shining bangles and big, pretty eyes, the chariot of yours that roams around, inviting the mockery of the townsfolk, is even more senseless than you!” Let’s delve into the details. The verse is situated in the context of a love-quarrel between a man and a lady, owing to the man’s seeking of courtesans. These words are said by the lady to the man. The lady begins by describing a man’s town, and to do that, she trails behind a bee that was relishing the nectar of a flower in the pond, and then flies off to roll in the bed of pollen on a blue lotus, in the backwaters nearby. From there, it then journeys to the exquisite and radiant heart of a pink lotus growing in a field. Such is the lush land of the man’s town, with vibrant shores, where the Portia trees keep rendering their flowers, no matter how many are plucked away. Such praise for the man’s land but he’s not so lucky here! First, the man’s bard, who keeps singing the man’s praises, gets the brickbat, and the lady says he must be crazy to say that the man is so full of love and justice. Next hit are the courtesans the man courts and the lady calls them crazy for accepting the man, inspite of all his falsehoods, just the way someone would drink a thing, knowing fully well that it’s poison. Third in line to get knocked down is the man himself, for being with one woman in the morning, forsaking her at noon, and then searching for another in the afternoon. The lady concludes by sketching a picture of the man’s chariot as a vessel, which roams as a trap for beautiful maiden, inviting the ridicule of the town, and that is even crazier than the man! Starting from the scene of the bee jumping flower to flower, the lady clearly lays the groundwork for this portrait of her promiscuous man, telling the world that she cannot be fooled by his pretences of love!…

Sangam Lit

1
Kalithogai 73 – Foolproof vision 6:10

1 year temu6:10

6:10

In this episode, we observe the perceptive eyes of the lady, as depicted in Sangam Literary work, Kalithogai 73, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and talks about the deceptive actions of the man. அகன் துறை அணி பெற, புதலொடு தாழ்ந்த பகன்றைப் பூ உற நீண்ட பாசடைத் தாமரை, கண் பொர ஒளி விட்ட வெள்ளிய வள்ளத்தான், தண் கமழ் நறுந் தேறல் உண்பவள் முகம் போல, வண் பிணி தளை விடூஉம் வயல் அணி நல் ஊர! ‘நோதக்காய்’ என நின்னை நொந்தீவார் இல்வழி, ‘தீது இலேன் யான்’ எனத் தேற்றிய வருதிமன் ஞெகிழ் தொடி இளையவர் இடை முலைத் தாது சோர்ந்து, இதழ் வனப்பு இழந்த நின் கண்ணி வந்து உரையாக்கால்? கனற்றி நீ செய்வது கடிந்தீவார் இல்வழி, ‘மனத்தில் தீது இலன்’ என மயக்கிய வருதிமன் அலமரல் உண்கண்ணார் ஆய் கோதை குழைத்த நின் மலர் மார்பின் மறுப்பட்ட சாந்தம் வந்து உரையாக்கால்? என்னை நீ செய்யினும், உரைத்தீவார் இல்வழி, முன் அடிப் பணிந்து, எம்மை உணர்த்திய வருதிமன் நிரை தொடி நல்லவர் துணங்கையுள் தலைக் கொள்ள, கரையிடைக் கிழிந்த நின் காழகம் வந்து உரையாக்கால்? என ஆங்கு மண்டு நீர் ஆரா மலி கடல் போலும் நின் தண்டாப் பரத்தை தலைக்கொள்ள, நாளும் புலத் தகைப் பெண்டிரைத் தேற்றி; மற்று யாம்எனின், தோலாமோ, நின் பொய் மருண்டு? The lady voices her thoughts with conviction in this one. The words can be translated as follows: “Adorning the wide shores, near the low-hanging rattle pod flowers on bushes, the lotus flower with huge leaves lets go of its tightness and opens its petals, akin to the face of a maiden, who savours the cool and fragrant toddy from a silver vessel, glowing with a blinding radiance, in the field-filled, fine town of yours, O lord! There is no one at home to chide you for doing the wrong thing. When you come here trying to console me with the words ‘I have done nothing wrong’, I might have believed that if your garland, which has lost the beauty of its petals, because the flowers therein have shed their pollen on the bosom of maiden wearing bangles that slip away, had not told me otherwise! There is no one at home to rebuke you for your wrong-doings. When you come here trying to confuse me with the words ‘I have no evil in my heart’, I might have believed that if the sandalwood on your wide chest, which has become smeared, because you had embraced the beautiful garlands of those maiden with dancing, kohl-streaked eyes, had not told me otherwise! There is no one at home to say the right words whatever you may do. When you come here trying to make me understand with much humility, I might have believed that if the cloth you wear, which has become torn at the edges, because you had danced the ‘thunangai’ with those beautiful maiden wearing rows of bangles, had not told me otherwise! And so, akin to the brimming ocean that stays the same no matter how many streams pour in their copious waters, your desire to be with courtesans seems to have no end; You may be able to convince and cheer up those courtesans, who are sulking with you. Do you think I can be conquered, after seeing the truth of your lies?” Let’s explore the nuances. The verse is situated in the context of a love-quarrel between the man and the lady, owing to the man’s seeking courtesans, and speaks in the voice of the lady to her man. The lady renders a crisp description of the man’s town, talking again about a lotus flower, blooming near the rattlepod bushes, and glowing like the face of a maiden, who has had tasty toddy to drink from a silver bowl. Then, the lady turns to the man and remarks how there was no-one in their home to correct his wrong-doings and set him on the right path. She then narrates how the man tries to convince her with words, claiming that he has done nothing wrong, with so much humility. She piercingly remarks she might have taken these words to be true if the flowers on his garland had not lost their glow, shedding pollen on other women; if the sandalwood on his chest did not appear smeared, owing to his embracing other women, and if his cloth was not torn because he had been dancing with those courtesans. The lady remarks how like an ocean that never gets filled no matter how many rivers pour into it, the man’s want for courtesans seemed to have no end, and she concludes with the sharp message that the man may fool the courtesans with his charming words, but she can look through his deception. A verse which hints that the seeking of courtesans by the man was not a practice that was accepted as normal and some elders or wise people did indeed advise against that course of action, the absence of whom the lady laments in this verse. Another song where the subtle signs on the man’s exterior reveals his clandestine ways of pleasure-seeking to the piercing eyes of the lady!…

Sangam Lit

1
Kalithogai 72 – The signs of others 8:10

1 year temu8:10

8:10

In this episode, we listen to an anguished question, as depicted in Sangam Literary work, Kalithogai 72, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and provides insight about the prominent workers in a town setting. இணைபட நிவந்த நீல மென் சேக்கையுள், துணை புணர் அன்னத்தின் தூவி மெல் அணை அசைஇ, சேடு இயல் வள்ளத்துப் பெய்த பால் சில காட்டி, ஊடும் மென் சிறு கிளி உணர்ப்பவள் முகம் போல, புது நீர புதல் ஒற்றப் புணர் திரைப் பிதிர் மல்க, மதி நோக்கி அலர் வீத்த ஆம்பல் வால் மலர் நண்ணி, கடி கயத் தாமரைக் கமழ் முகை, கரை மாவின் வடி தீண்ட, வாய் விடூஉம் வயல் அணி நல் ஊர! கண்ணி, நீ கடி கொண்டார்க் கனைதொறும், யாம் அழ, பண்ணினால் களிப்பிக்கும் பாணன் காட்டு என்றானோ ‘பேணான்’ என்று உடன்றவர் உகிர் செய்த வடுவினான், மேல் நாள், நின் தோள் சேர்ந்தார் நகை சேர்ந்த இதழினை? நாடி நின் தூது ஆடி, துறை செல்லாள், ஊரவர் ஆடை கொண்டு ஒலிக்கும், நின் புலைத்தி காட்டு என்றாளோ கூடியார் புனல் ஆடப் புணை ஆய மார்பினில் ஊடியார் எறிதர ஒளி விட்ட அரக்கினை? வெறிது நின் புகழ்களை வேண்டார் இல் எடுத்து ஏத்தும் அறிவுடை அந்தணன் அவளைக் காட்டு என்றானோ களி பட்டார் கமழ் கோதை கயம்பட்ட உருவின்மேல் குறி பெற்றார் குரற் கூந்தற் கோடு உளர்ந்த துகளினை? என ஆங்கு செறிவுற்றேம், எம்மை நீ செறிய; அறிவுற்று, அழிந்து உகு நெஞ்சத்தேம்; அல்லல் உழப்ப; கழிந்தவை உள்ளாது, கண்ட இடத்தே, அழிந்து நிற் பேணிக் கொளலின் இழிந்ததோ இந் நோய் உழத்தல் எமக்கு? As in the previous song, though some interpreters consider this as the rendition of a concubine, I can only hear the lady’s voice in these words, which can be translated as follows: “Upon a blue mattress with many layers, filled with the feathers of a swan that had happily united with its mate, placing soft pillows and bringing a well-crafted vessel with little milk, a lady feeds her delicate little parrot that was sulking with her. Akin to her blooming face, with bushes caressed by fresh waters, with the spray showering from the waves, near the flowers of a white water-lily that has bloomed facing the moon, a fragrant lotus bud blooms open, when a swaying tender mango fruit grazes against it, in the field-filled town of yours, O lord! Did your bard, who delights you with his songs in the houses of those whom you seek, leaving me to cry, ask you to show to me, the wounds made by the nails of those who decided that you don’t care for them anymore and the marks of those whom you united with, the next day, as they smiled and left imprints of their lips on your arms? Did your washerwoman, who became a messenger for you, shirking her duty of going to the river-shore to wash the clothes of the townsfolk, ask you to show to me, the marks of the glowing red lacquer thrown by those sulking with you, because you let other women in the stream play with your handsome chest as their raft? Did that wise priest, who sings and upholds your praises needlessly in the homes of those who care not, ask you to show to me, the pollen that had shed from the thick tresses of the maiden, who attained your grace, as you caressed her hair, when she embraced you with delight and mangled her fragrant garland? And so, I attained your grace when you united with me back then. Now, understanding it all, my heart breaks in sorrow; Even though I suffer so, not thinking about what has happened, whenever I see you, I break down and accept you. Isn’t this more disgraceful than suffering with that pain?” Time to delve into the nuances. The verse is situated in the context of a love-quarrel between the man and the lady, owing to the man’s seeking courtesans, and speaks in the voice of the lady to her man. The lady starts as custom, with a description of the man’s town, where she first talks about a woman, who is placing pillows on blue mattress made with the feathers of a swan. The nuanced point I noticed here was the mention that this swan was one, which had happily mated with its companion. This made me think of the advertising tag I have seen: ‘Milk from Happy Cows’, and also about a monitoring device to note the stress levels of pigs, raised for their meat. Like the scientific food researchers of today, the Sangam folks too seem to have believed that one’s sleep would be peaceful if the feathers came from a happy swan! Returning, we find the lady setting up the pillows on this bed and bringing a bowl of milk so as to feed her pet parrot that had been angry with her for some reason. Imagine how her face would glow with love and care! Just that way, a lotus flower had bloomed open because a tender mango fruit that was hanging low over it, caressed it, the lady says, and connects this scene to the man’s town. Then, she goes on to talk about three different people in this town: the bard, who sings in the houses of the women the man desires; the washerwoman, who sometimes turns a messenger for the man, instead of carrying out her usual duties of washing clothes for the townsfolk; and a priest, who sings praises of the man’s goodness in places they don’t care about it, meaning the lady’s home. She asks the man if the bard, the washerwoman and the priest asked him to show the signs of his being with other women, such as the scars made by courtesans he had angered and the imprints of the ones who has smiled on his arms; the marks of red lacquer thrown by some courtesans angered because the man played with other courtesans in the river stream, and finally, the pollen that had fallen on the man’s shoulders from the tresses of the courtesans he embraced. The lady concludes saying, even though all this is true, and she suffers so, whenever she sees the man, she accepts him and wonders aloud if that isn’t more disgraceful than the pain of suffering the man leaves her with! Apart from the usual cries of the lady about the man’s infidelity, in this verse, we get a tiny glimpse of the different professions in an agricultural town, such as the bard, the priest and the washerwoman, and how they all seem to be dependant on the grace of the man, for in addition to their professional duties, they seem to take up the additional ones of celebrating the man and acting as his messenger. Another instance of the power, wealth and influence in the hands of this man of the town!…

Sangam Lit

1
Kalithogai 71 – Debunking false oaths 6:29

1 year temu6:29

6:29

In this episode, we perceive a lady’s fury at her man, as depicted in Sangam Literary work, Kalithogai 71, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the lady’s disappointment in the words of the man’s supporters. விரி கதிர் மண்டிலம் வியல் விசும்பு ஊர்தர, புரி தலை தளை அவிழ்ந்த பூ அங்கண் புணர்ந்து ஆடி, வரி வண்டு வாய் சூழும் வளம் கெழு பொய்கையுள் துனி சிறந்து இழிதரும் கண்ணின் நீர் அறல் வார, இனிது அமர் காதலன் இறைஞ்சித் தன் அடி சேர்பு, நனி விரைந்து அளித்தலின் நகுபவள் முகம் போல பனி ஒரு திறம் வார, பாசடைத் தாமரைத் தனி மலர் தளை விடூஉம் தண் துறை நல் ஊர! ‘ஒரு நீ பிறர் இல்லை, அவன் பெண்டிர்’ என உரைத்து, தேரொடும் தேற்றிய பாகன் வந்தீயான்கொல் ஓர் இல் தான் கொணர்ந்து உய்த்தார் புலவியுள் பொறித்த புண் பாரித்துப் புணர்ந்த நின் பரத்தைமை காணிய? ‘மடுத்து அவன் புகுவழி மறையேன்’ என்று யாழொடும் எடுத்துச் சூள் பல உற்ற பாணன் வந்தீயான்கொல் அடுத்துத் தன் பொய் உண்டார்ப் புணர்ந்த நின் எருத்தின்கண் எடுத்துக்கொள்வது போலும் தொடி வடுக் காணிய? ‘தணந்தனை’ எனக் கேட்டு, தவறு ஓராது, எமக்கு நின் குணங்களைப் பாராட்டும் தோழன் வந்தீயான்கொல் கணங்குழை நல்லவர் கதுப்பு அறல் அணைத் துஞ்சி, அணங்கு போல் கமழும் நின் அலர் மார்பு காணிய? என்று, நின் தீரா முயக்கம் பெறுநர்ப் புலப்பவர் யார்? நீ வரு நாள் போல் அமைகுவம் யாம்; புக்கீமோ! மாரிக்கு அவாவுற்றுப் பீள் வாடும் நெல்லிற்கு, ஆங்கு, ஆராத் துவலை அளித்தது போலும், நீ ஓர் யாட்டு ஒரு கால் வரவு. Many interpreters have chosen to see this verse as said by a concubine or a mistress to the man. However, there is no distinguishing element to say that these words are not spoken by the lady, but rather by another woman, who is angered by the other courtesans the man is seeing. So, I chose to see this as the lady’s rendition to the man. The words can be translated as follows: “As the sun with its spreading rays soars on the sky, seeing a flower let go of the tightness of its petals, feeding on its nectar, a striped bee buzzes around in that prosperous pond. Akin to the face of a woman, filled with sorrow and shedding tears copiously, which suddenly smiles, when her sweet lover pleads to her and takes refuge at her feet, with dew on one side, a lotus flower with thick leaves, suddenly glows when the rays of the sun fall upon it, in the cool shores of your fine town, O lord! ‘You are the only one! He doesn’t keep the company of any other women’, said that charioteer, swearing on the chariot. Why isn’t he here to see your appearance of having united with a courtesan, whom he brought to the house, as evident from the scars they left on you, when sulking with you? ‘I know all the places he goes to. I will not hide it from you’, said that bard, swearing oaths many on his lute. Why isn’t he here to see the imprints of the bangles on your neck, when embracing those who accept your many lies? Even when I complained, ‘He has left me’, not seeing your faults, that friend of yours kept praising your good nature. Why isn’t he here to see your wide chest, fragrant like the scent of spirit maiden, because you slept embracing the black tresses of those wearing heavy earrings? And so, why should I be angry with those, who savour your endless embraces? I will calm myself on that rare day you do come. You may leave now! Upon a crop of paddy that yearns with desire for a downpour, akin to a spray of scarce drizzle that renders, is your once-in-a-year arrival here!” Let’s explore the details. The verse is situated in the context of a love-quarrel between the man and the lady, owing to man’s seeking of courtesans, and these words are said by the lady to the man. The lady starts by describing a lush pond in the man’s town, where a lotus flower can be seen with dew drops on its petals, and when the sun soars high in the sky, it shines with a special radiance, inviting the bees around. For this image, the lady renders an apt simile of the crying face of a woman, which lights up into a smile, when her beloved comes back to her, pleading at her feet. Then, the lady goes on to say how the man’s charioteer, bard and friend all swore to her that the man wouldn’t visit other women, wouldn’t go anywhere else and was full of good qualities. She asks the man why they were not there to see the obvious signs of the man being with other women, such as the scars from the wounds they inflicted on him in anger, the imprints of their bangles on his neck, and the fragrance of their tresses on the man’s chest. She concludes saying what’s the use of being angry with those women who enjoy the man’s embraces. Rather, she should learn to be at peace with herself, and says the man’s rare coming and going was just like a little drizzle that falls on a paddy field that’s waiting for a downpour. A verse which illustrates how the man’s friends and helpers rise to his defence, but they can do nothing before the perceptive eyes of the lady, who sees her man for who he is!…

Sangam Lit

1
Kalithogai 70 – A wake-up call 6:31

1 year temu6:31

6:31

In this episode, we listen to many sounds that arise in a town, as depicted in Sangam Literary work, Kalithogai 70, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and portrays the formidable foes of sleep. மணி நிற மலர்ப் பொய்கை, மகிழ்ந்து ஆடும் அன்னம் தன் அணி மிகு சேவலை அகல் அடை மறைத்தென, கதுமென காணாது கலங்கி, அம் மடப் பெடை மதி நிழல் நீருள் கண்டு, அது என உவந்து ஓடி, துன்னத் தன் எதிர் வரூஉம் துணை கண்டு, மிக நாணி, பல் மலரிடைப் புகூஉம் பழனம் சேர் ஊர! கேள்: நலம் நீப்பத் துறந்து எம்மை, நல்காய் நீ விடுதலின், பல நாளும் படாத கண், பாயல் கொண்டு இயைபவால்; துணை மலர்க் கோதையார் வைகலும் பாராட்ட, மண மனைத் ததும்பும் நின் மண முழ வந்து எடுப்புமே அகல நீ துறத்தலின், அழுது ஓவா உண்கண், எம் புதல்வனை மெய் தீண்ட, பொருந்துதல் இயைபவால்; நினக்கு ஒத்த நல்லாரை நெடு நகர்த் தந்து, நின் தமர் பாடும் துணங்கையுள் அரவம் வந்து எடுப்புமே வாராய் நீ துறத்தலின், வருந்திய எமக்கு, ஆங்கே நீர் இதழ் புலராக் கண் இமை கூம்ப இயைபவால்; நேர் இழை நல்லாரை நெடு நகர்த் தந்து, நின் தேர் பூண்ட நெடு நல் மான் தெள் மணி வந்து எடுப்புமே என ஆங்கு மெல்லியான் செவிமுதல் மேல்வந்தான் காலை போல், எல்லாம் துயிலோ எடுப்புக நின் பெண்டிர் இல்லின் எழீஇய யாழ் தழீஇ, கல்லா வாய்ப் பாணன் புகுதராக்கால்! In this verse, the confidante speaks in the voice of the lady. The words can be translated as follows: “In a sapphire-hued pond, a swan that was frolicking, suddenly when not seeing its handsome mate, because it was hidden by a huge leaf, becomes anxious. Such is the naivety of that female! Seeing the shadow of the moon in the water, thinking that its beloved is there, it rushes with joy thither, and then seeing its true mate appear in front of it, with much shame, hides behind the many flowers in your town, filled with fields, O lord! Listen: Making my beauty fade, when you abandoned me, without rendering your grace, my eyes that hadn’t seen sleep for days many, would have closed and rested. But the sounds of women, wearing garlands with flower pairs, singing your praises ceaselessly, arising from the joyous home, proclaim your union and woke me up with a start! As you forgot me for long, my kohl-streaked eyes that cried endlessly, after feeling the caress of my son, would have closed and rested; But when you brought the women you desire to the tall mansion and danced the ‘thunangai’ with them, those sounds woke me up with a start! When you had forsaken me by not coming here, I was filled with worry. These eyelids of mine which would never dry up may have closed and rested. But when you brought the women, wearing well-etched ornaments, to the tall mansion, the sounds of the tinkling bells on your fine horses tied to your chariot woke me up with a start! And so, like the sounds of a mighty king arriving which falls on the ears of a weak one, such things wake me up from sleep. Let it be so! As long as that foolish bard, who played the strings in the abodes of your women, does not enter this home!” Time to delve into the details. The verse is situated in the context of a love-quarrel between the man and the lady, owing to the man’s seeking of courtesans and these words are rendered by the confidante, in the voice of the lady, to drive home a sharp message to the man. The confidante starts by sketching the man’s town, and like the previous verse, she resorts to the scene of two swans in a pond, but the difference is, now, it’s night, and when the female swan looks up, it’s unable to see its mate as the other was hidden by a huge leaf. Startled, it looks around here and there, and then spots the shadow of the moon in the pond. Thinking that the reflection is its mate, the swan rushes towards it and then when it sees its real mate appear before it, it buries its head amidst the flowers that bloom. Here’s a classic case of projecting human emotions on animals, a favourite trope of poets, especially poets from this era. After sketching the man’s town so, the confidante, speaking in the voice of the lady, talks about how although there was a slight possibility of her sleepless, crying eyes finding sleep, when she embraced her son or when overcome by the lack of sleep and the tiredness of crying, but that possibility was obliterated when sounds of the courtesan’s singing praises of the man, sounds of the man dancing with them in the mansion, and the sounds of the bells on the man’s horses, as he took the courtesans to a tall mansion, fell on the lady’s ears. The confidante in the voice of the lady concludes saying, ‘Yes, these sounds do fall on my ears and wake me up. I can bear with all that, but one thing I can’t bear is if the bard, who plays on lutes in the homes of those courtesans, decides to come here to our home’. It’s a case of the confidante refusing entry to the man into the lady’s home. The hedonistic lifestyle in a farmland town is highlighted in this verse, which rings with the sounds of the man’s pleasure-seeking and the lady’s pain!…

Sangam Lit

1
Kalithogai 69 – Seeing through deception 5:45

1 year temu5:45

5:45

In this episode, we listen to the sharp words of a lady, as depicted in Sangam Literary work, Kalithogai 69, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the man’s activities with courtesans. போது அவிழ் பனிப் பொய்கை, புதுவது தளைவிட்ட தாது சூழ் தாமரைத் தனி மலர்ப் புறம் சேர்பு காதல் கொள் வதுவை நாள், கலிங்கத்துள் ஒடுங்கிய மாதர் கொள் மான் நோக்கின் மடந்தை தன் துணையாக, ஓதுடை அந்தணன் எரி வலம் செய்வான் போல், ஆய் தூவி அன்னம் தன் அணி நடைப் பெடையொடு மேதகத் திரிதரூஉம் மிகு புனல் நல் ஊர! தெள் அரிச் சிலம்பு ஆர்ப்ப, தெருவின்கண் தாக்கி, நின் உள்ளம் கொண்டு, ஒழித்தாளைக் குறை கூறிக் கொள நின்றாய் துணிந்தது பிறிதாக, ‘துணிவிலள் இவள்’ என, பணிந்தாய் போல் வந்து, ஈண்டுப் பயனில மொழிவாயோ? பட்டுழி அறியாது, பாகனைத் தேரொடும் விட்டு, அவள் வரல் நோக்கி, விருந்து ஏற்றுக்கொள நின்றாய் நெஞ்சத்த பிறவாக, ‘நிறையிலள் இவள்’ என, வஞ்சத்தான் வந்து, ஈங்கு வலி அலைத்தீவாயோ? இணர் ததை தண் காவின், இயன்ற நின் குறி வந்தாள் புணர்வினில் புகன்று, ஆங்கே புனலாடப் பண்ணியாய் தருக்கிய பிறவாக, ‘தன் இலள் இவள்’ என, செருக்கினால் வந்து, ஈங்குச் சொல் உகுத்தீவாயோ? என ஆங்கு தருக்கேம், பெரும! நின் நல்கல்; விருப்புற்றுத் தாழ்ந்தாய் போல் வந்து, தகவில செய்யாது, சூழ்ந்தவை செய்து, மற்று எம்மையும் உள்ளுவாய் வீழ்ந்தார் விருப்பு அற்றக்கால். A down to earth rendition by the lady! The words can be translated as follows: “In a cool pond where flowers are blooming, around a pollen-filled, newly-sprouted lotus flower, a white-feathered swan along with its mate, with an alluring gait, roves around entrancingly, akin to a man who, on his wedding day, one filled with love, walks around a fire, as a priest renders verses, along with a naive maiden, with a deer-like adorable gaze, as his companion. Such is your town, filled with copious waters, O lord! With the clear sounds of the anklets resounding, she attacked you on the street and stole your heart. Later when she abandoned you, you had the courage to go pleading to her. While that is so, thinking, ‘She has no courage’, as if you have been humbled, you have come here to render useless words! Without knowing where she went, you sent your charioteer behind her and awaited her return, with a heart waiting to accept the feast she offers. While that is so, thinking, ‘She has no resolve’, with cunning, you have come here to destroy my strength! In the moist and cool orchard filled with flower clusters, when she came to the trysting spot you marked, you united with her and played in the river too. While that is so, thinking, ‘She has no mind of her own’, with arrogance, you have come here to shower your words! And so, your graces will never go to my head; As if you have come with desire, much humbled, you don’t have to do great things here. I know fully well that you will think of me only when your affections for those, whom you roam around with desire, vanishes away!” Let’s delve into the details. The verse is situated in the context of a love-quarrel between a man and a lady, owing to the man’s seeking courtesans and these words are rendered by the lady to the man. The lady, as custom, starts with a description of the man’s town, and to illustrate that, sketches a pond where a swan and its mate are roving around a lotus flower filled with pollen. This image the lady places in parallel to the way a man and woman walk around the fire, as a priest renders verses, on their wedding day. Next, the lady informs the man that she knows all about his escapades chasing after a courtesan who left him, sending his charioteer to search for her and meeting with the courtesan at the trysting spot and playing in the river streams. While all these are true, the man seemed to think the lady lacked courage, resolve and a mind of her own, for that’s why he has come there, pretending to be humbled and saying pointless words to shake her strength. The lady concludes that his attention is not going to go to her head, because she’s clear the man would come to her only when his desire for being with courtesans has taken a back seat! The perceptive eye of the lady is evident here for she is able to look through the man’s pretences. Whether her life changes markedly because of this understanding is debatable, but heartening to see this subtle sketch of clarity and confidence in this Sangam lady!…

Sangam Lit

1
Kalithogai 68 – Illusory relationship 8:21

1 year temu8:21

8:21

In this episode, we perceive the anguished questions in the mind of the lady, as portrayed in Sangam Literary work, Kalithogai 68, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the illusory nature of the man’s relationship. பொது மொழி பிறர்க்கு இன்றி முழுது ஆளும் செல்வர்க்கு மதி மொழி இடல் மாலை வினைவர் போல், வல்லவர் செது மொழி சீத்த செவி செறு ஆக, முது மொழி நீரா, புலன் நா உழவர் புது மொழி கூட்டுண்ணும், புரிசை சூழ், புனல் ஊர! ‘ஊரன் மன் உரன் அல்லன் நமக்கு’ என்ன, உடன் வாளாது, ஓர் ஊர் தொக்கு இருந்த நின் பெண்டிருள் நேராகி, களையா நின் குறி வந்து எம் கதவம் சேர்ந்து அசைத்த கை வளையின்வாய் விடல் மாலை மகளிரை நோவேமோ ‘கேள் அலன், நமக்கு அவன்; குறுகன்மின்’ என, மற்று எம் தோளொடு பகைபட்டு நினை வாடு நெஞ்சத்தேம்? ‘ஊடியார் நலம் தேம்ப, ஒடியெறிந்து, அவர்வயின் மால் தீர்க்கும் அவன் மார்பு’ என்று எழுந்த சொல் நோவேமோ முகை வாய்த்த முலை பாயக் குழைந்த நின் தார் எள்ள, வகை வரிச் செப்பினுள் வைகிய கோதையேம்? சேரியால் சென்று, நீ சேர்ந்த இல் வினாயினன், தேரொடு திரிதரும் பாகனைப் பழிப்பேமோ ஒலி கொண்ட சும்மையான் மண மனை குறித்து, எம் இல், ‘பொலிக’ எனப் புகுந்த நின் புலையனைக் கண்ட யாம்? என ஆங்கு நனவினான் வேறாகும் வேளா முயக்கம் மனை வரின், பெற்று உவந்து, மற்று எம் தோள் வாட, ‘இனையர்’ என உணர்ந்தார் என்று ஏக்கற்று, ஆங்கு, கனவினான் எய்திய செல்வத்து அனையதே. It’s the lady lament yet again! The words can be translated as follows: “Without ever saying the land belongs to others, there rule mighty kings, who extend their dominion over all land. Such kings act in accordance with the knowledgeable words of advisors. Akin to these wise people, weeding out unnecessary words, with ears as fields, ancient words of wisdom as water, tongue as plough, poets till and harvest new verses together, in your town, surrounded by forts and flowing with streams, O lord! Saying, ‘The lord of the town renders no support to us’, your courtesans talk among themselves. Do you think I too am like those women, who are equal in number to the people of an entire town? Should I begrudge the woman, who minds not these words, and comes here to strike against my door with her hands, to announce her arrival with the sound of her bangles? Saying, ‘He has no connection with me. Do not come here’, I send her away, and then, suffer with languishing arms and a heart that fades with memories of you! Should I begrudge the words of the town that rises saying , ‘He makes the beauty of those who love him fade away, akin to a tree felled at the root, and he leaves to end the angst of other women’! As your garland, which embraced the bosoms of others, akin to buds, laughs at me, am I to become a garland that it is concealed within a decorative box? Should I blame your charioteer who roams with his chariot inside the quarters of courtesans, asking which is the house that you are at? Hearing the uproarious loud sounds at my house, thinking this is the house, where the man’s happily married, the bard renders a blessing upon it to flourish! What should I say to this? And so, at times, in reality, when you come home and render your loveless embraces, I’m delighted even by that. At all other times, my arms fade and worry that others would see the way you are with me. That’s why, to me, embracing your chest is akin to the wealth that is gained in a dream!” Let’s delve into the nuances. The verse is situated in the context of a love-quarrel between the man and the lady, owing to the man’s seeking of courtesans, and these words are rendered by the lady to the man. She starts with a rather interesting description of the man’s town, saying it’s a place, where poets are known to harvest verses, with their tongue as the plough, their ears as the field, and the wisdom of ancients as their water, weeding out all that’s unnecessary. For these poets, she stacks another simile of ministers, who counsel conqueror kings. A neat metaphor for that work of the poets in line with the theme of this ‘Marutham’ or ‘Farmlands’ region. Next, she goes on to talk about the courtesans in the man’s life and the way they bicker over him, and renders a comparative statistic saying the number of courtesans the man has is equivalent to the number of people in a town! Is that an angry exaggeration or an astute observation? Then, she talks about how one of these courtesans dares to come home and knock at her door, thinking the man is within, announcing that she’s there by the sound of her bangles. The lady then talks about how she sends away the woman saying the lord is no relation to her, and then she laments about how people in town talk about the man’s conduct of going away to other women. She then wonders if she’s to fade and wither like a garland kept concealed in a box, while the man’s garland, which embraced other women, laughs at her in mockery! She then brings the sight of the man’s charioteer who knocks on different houses in the neighbourhood of the courtesans to see where the man is, highlighting his promiscuity. She also nods her head in disbelief about the action of a bard, who renders a blessing on her house, thinking the man is happily married and lives there, as if to say, what is he even thinking! In conclusion, the lady mentions how the man comes home at times and she declares that embracing him is just like the wealth that a person earns in their dream, lost when the eyes wake open! A verse which made me ponder upon the connection between the land and the nature of the people therein. Here’s a fertile land, which yields plenty, and plenty into the pockets of a few men, who possess it all. Since there’s much wealth, there would be strife and war inherent here. In the wars and conflicts that follow, many men are lost. Of the few that remain, there would result in immense wealth and power accumulation in the hands of these few. This would inevitably result in the social prevalence of many women seeking the shade of that one with plenty. And so, we see direct evidence of how a land-owning agricultural society transforms into a patriarchy and becomes detrimental to the worth of women!…

Sangam Lit

1
Kalithogai 67 – The heart’s betrayal 6:32

1 year temu6:32

6:32

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Kalithogai 67, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and echoes a feeling of betrayal in the lady. கார் முற்றி, இணர் ஊழ்த்த கமழ் தோட்ட மலர் வேய்ந்து, சீர் முற்றி, புலவர் வாய்ச் சிறப்பு எய்தி, இரு நிலம் தார் முற்றியது போல, தகை பூத்த வையை தன் நீர் முற்றி, மதில் பொரூஉம் பகை அல்லால் நேராதார் போர் முற்று ஒன்று அறியாத புரிசை சூழ் புனல் ஊரன் நலத்தகை எழில் உண்கண் நல்லார் தம் கோதையால் அலைத்த புண் வடு காட்டி அன்பு இன்றி வரின் எல்லா! புலப்பென் யான் என்பேன்மன்? அந் நிலையே, அவற் காணின், கலப்பென் என்னும், இக் கையறு நெஞ்சே கோடு எழில் அகல் அல்குற் கொடி அன்னார் முலை மூழ்கி, பாடு அழி சாந்தினன், பண்பு இன்றி வரின் எல்லா! ஊடுவென் என்பேன்மன்? அந் நிலையே, அவற் காணின், கூடுவென் என்னும், இக் கொள்கை இல் நெஞ்சே இனிப் புணர்ந்த எழில் நல்லார் இலங்கு எயிறு உறாஅலின், நனிச் சிவந்த வடுக் காட்டி, நாண் இன்றி வரின் எல்லா! துனிப்பென் யான் என்பேன்மன்? அந் நிலையே, அவற் காணின், தனித்தே தாழும், இத் தனி இல் நெஞ்சே என ஆங்கு, பிறை புரை ஏர் நுதால்! தாம் எண்ணியவை எல்லாம் துறைபோதல் ஒல்லுமோ தூ ஆகாது ஆங்கே அறை போகும் நெஞ்சு உடையார்க்கு? Here, we hear the lady’s thoughts about her distressful situation! The words can be translated as follows: “In the peak of the rainy season, when flower clusters have fallen down and adorned with fragrance, the Vaigai river attains its full splendour, making poets pen praises, and appears as if it’s garlanding the huge land. When its waters brim over, it attacks the walls. Other than this enmity, that fort knows not what it means to be in a siege. Such is the town of the lord, surrounded by streams! If he were to come here, without love, showing imprints of garlands, worn by beautiful maiden with exquisite kohl-streaked eyes, my friend, I thought that I should fight with him. However, when it sees him, this helpless heart of mine nudges me to unite with him! If he were to come here, without graciousness, with the sandalwood on his chest wiped away in embracing the bosom of maiden with a vine-like waist and wide loins, my friend, I thought I should sulk with him. However, when it sees him, this unprincipled heart of mine nudges me to become one with him! If he were to come here, without shame, showing the deep red scars, made by the shining teeth of those beautiful maiden that he united with desire, my friend, I thought that I should hate him. However, when it sees him, this heart of mine which lacks individuality, stoops low to embrace him! And so, O maiden with a beautiful, crescent-like forehead, is it possible for those to achieve what they want if they have a heart that stands not firm and abandons them so?” Let’s explore the details. The verse is situated in the context of a love-quarrel situation between the man and the lady, because of the man’s seeking courtesans. These words are rendered by the lady to the confidante. Apparently, the man had returned from the courtesans and though the lady refused entry many times, he made it back to his home and then left from there. At this time, the confidante scolds the lady for not keeping him away because of his conduct. In response, the lady conveys her point of view. She starts by describing the Vaigai river in the rainy season when it’s adorned by the fallen flowers. She describes how the gush and flow of the river makes poets pen their verses with gusto, and sketches the way the river garlands the spread of that land. To talk about the copious waters, she mentions how the waves rise and strike against the fort walls. Other than this surge, that fort has never seen the siege of another army, she continues, talking about the power and strength of that town, which is the one ruled by her man. Then, in the usual three-step format of Kalithogai verses, the lady talks about how she had decided to quarrel, sulk and be mad at the man, if he returned home showing signs of being with the courtesans such as the imprints of their garlands, wiped-out sandalwood on his chest or scars of their teeth on his skin. They do sound a bit like Lady-Draculas! Joking apart, we see the lady saying how all her decisions to be angry and aloof with the man failed miserably because, the moment it saw the man, her heart made her want to unite with him. She concludes by asking the confidante how can those who want to do certain things be able to accomplish them if they have hearts that fail them so, at the crucial moment. A verse which depicts the very relatable feeling of how no matter how much our minds command and dictate about things in life, be it in keeping away from certain foods, gadgets or even relationships, at times, we find ourselves unable to hold strong, because the heart does seem to sway to a different tune!…

Sangam Lit

1
Kalithogai 66 – Forgotten home and furious lady 7:45

1 year temu7:45

7:45

In this episode, we perceive the ire of a lady towards her man, as portrayed in Sangam Literary work, Kalithogai 66, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the escapades of the man with courtesans. வீங்கு நீர் அவிழ் நீலம் பகர்பவர் வயற் கொண்ட ஞாங்கர் மலர் சூழ்தந்து, ஊர் புகுந்த வரி வண்டு, ஓங்கு உயர் எழில் யானைக் கனை கடாம் கமழ் நாற்றம் ஆங்கு அவை விருந்து ஆற்ற, பகல் அல்கி, கங்குலான், வீங்கு இறை வடு கொள, வீழுநர்ப் புணர்ந்தவர் தேம் கமழ் கதுப்பினுள் அரும்பு அவிழ் நறு முல்லை பாய்ந்து ஊதி, படர் தீர்ந்து, பண்டு தாம் மரீஇய பூம் பொய்கை மறந்து, உள்ளாப் புனல் அணி நல் ஊர! அணை மென் தோள் யாம் வாட, அமர் துணைப் புணர்ந்து நீ, ‘மண மனையாய்’ என வந்த மல்லலின் மாண்பு அன்றோ பொதுக் கொண்ட கவ்வையின் பூ அணிப் பொலிந்த நின் வதுவை அம் கமழ் நாற்றம் வைகறைப் பெற்றதை? கனலும் நோய்த் தலையும், ‘நீ கனங் குழையவரொடு புனல் உளாய்’ என வந்த பூசலின் பெரிது அன்றோ தார் கொண்டாள் தலைக் கோதை தடுமாறிப் பூண்ட நின் ஈரணி சிதையாது, எம் இல் வந்து நின்றதை? தணந்ததன் தலையும், ‘நீ தளரியலவரொடு துணங்கையாய்’ என வந்த கவ்வையின் கடப்பு அன்றோ ஒளி பூத்த நுதலாரோடு ஓர் அணிப் பொலிந்த நின் களி தட்ப வந்த இக் கவின் காண இயைந்ததை? என ஆங்கு, அளி பெற்றேம்; எம்மை நீ அருளினை; விளியாது வேட்டோர் திறத்து விரும்பிய நின் பாகனும், ‘நீட்டித்தாய்’ என்று, கடாஅம் கடுந் திண் தேர்; பூட்டு விடாஅ நிறுத்து. Here we are enter new territory with this verse, and in this first step into the fertile agricultural towns, we listen to the lady’s voice. The words can be translated as follows: “Enticed by blue lotuses in copious waters that have been plucked by sellers, a striped bee parts from its home and buzzes around flowers blooming in the fields nearby and enters inside town. There, it feasts on the fragrance of musth, oozing copiously from a tall and handsome elephant, resting there by day. Then at night, as maiden unite with their beloved, leaving imprints of bangles on their thick wrists, the bee buzzes around the fragrant jasmine buds, glowing on their honey-fragrant tresses. Feeding so, ending its desire, the bee thinks not about the flower-filled pond that it called as home in the past, in your good town, filled with flowing streams, O lord! Hasn’t the news, that leaving my soft arms to fade, you had left to unite with your desirable mate, and were living with her at her home, attained complete glory, when I take in the scent of your slanderous and fragrant union with those flower-clad common maiden, at dawn? Hasn’t the uproar, that arose, when leaving me in a fever, filled with suffering, you were playing in the stream with maiden wearing heavy earrings, been exceeded, when depicting how in confusion you took to wearing her head garland around your shoulders and how she took your neck garland, reflecting both your fused forms so clearly, you stand here in my home? Hasn’t the gossip, that arrived, when after leaving me, you were dancing ‘thunangai’ with those maiden, akin to tender shoots, been surpassed, when I can see the beauty of your state, brimming with ecstasy, echoing your inseparable union with those maiden having radiant foreheads? And so, saying these words, I have attained your attention; You have showered your grace too; But tarry no more, for your charioteer, intending to take you to those whom you desire ceaselessly, thinking, ‘He won’t be long here’, stands there holding the reins of your fast and sturdy chariot, without even untying the horses!” Time to explore the nuances. The verse is situated in the context of a man’s parting from his lady after marriage, seeking the company of courtesans. The words here are rendered by the lady to her man. The lady starts by sketching the activities of a bee to describe the man’s town. She talks about how the bee leaves the copious waters of its pond and travels along with the sellers of blue-lotuses, buzzes around flowers in the field and enters inside town. Then, all day, it delights in buzzing around the musth juices flowing from an elephant. At night, it journeys inside the homes of maiden delighting with their beloved and buzzes around the jasmine buds in their tresses. In this fashion, this bee completely forgets its home of the pond, the lady describes, to talk about the man’s town. There is a significance to this description, which we will explore in a short while. The lady then talks about how the man can stayed for long in a courtesan’s home, played in the stream with her and danced the thunangai too. She had heard news about all this, but the state of the man as he stood there before her at dawn, wafting with the scent of his union with the courtesan, with exchanged garlands, and full of ecstasy of having enjoyed the courtesan’s company, seemed to transcend the glory of that slanderous news that reached her. The lady concludes saying to the man, ‘Yes, you have come here, heard these words, and rendered your grace. Now, don’t delay any longer. For I can see how your charioteer is waiting to take you back to the courtesans, thinking ‘my lord will not take long at his home’, as clearly evident from the way he stands all ready, reins in hand, without even letting the horses to graze!’ A verse brimming with sarcasm, reflecting the fury of a woman scorned. The description of the bee buzzing everywhere and forgetting its home is a clear metaphor for the man forsaking the lady’s home and seeking the delights of being with courtesans. Here is the first glimpse of the ‘Sulk’ country, where the man, the lord of the fertile town, owner of many riches, parts away from his beloved wife to seek the pleasures of courtesans, and then comes back at times to be showered with her wrath!…

Sangam Lit

1
Kalithogai 65 – A trap for a tiger 9:34

1 year temu9:34

9:34

In this episode, we listen to a curious incident that unfolded one night, as portrayed in Sangam Literary work, Kalithogai 65, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and attempts to convey the gravity of the situation in an indirect manner. திருந்திழாய்! கேளாய், நம் ஊர்க்கு எல்லாம் சாலும் பெரு நகை! அல்கல் நிகழ்ந்தது: ஒருநிலையே மன்பதை எல்லாம் மடிந்த இருங் கங்குல், அம் துகில் போர்வை அணிபெறத் தைஇ், நம் இன் சாயல் மார்பன் குறி நின்றேன் யான் ஆக தீரத் தறைந்த தலையும், தன் கம்பலும், காரக் குறைந்து, கறைப்பட்டு வந்து, நம் சேரியின் போகா முட முதிர் பார்ப்பானை, தோழி! நீ போற்றுதி என்றி அவன் ஆங்கே, பாரா, குறழா, பணியா, ‘பொழுது அன்றி யார் இவண் நின்றீர்?’ எனக் கூறி, பையென, வை காண் முது பகட்டின் பக்கத்தின் போகாது ‘தையால்! தம்பலம் தின்றியோ?’ என்று, தன் பக்கு அழித்து ‘கொண்டீ’ எனத் தரலும் யாது ஒன்றும் வாய்வாளேன் நிற்ப, கடிது அகன்று கைமாறி, ‘கைப்படுக்கப்பட்டாய், சிறுமி! நீ மற்று யான் ஏனைப் பிசாசு; அருள்; என்னை நலிதரின், இவ் ஊர்ப் பலி நீ பெறாஅமல் கொள்வேன்’ எனப் பலவும் தாங்காது வாய் பாடி நிற்ப முது பார்ப்பான் அஞ்சினன் ஆதல் அறிந்து, யான் எஞ்சாது, ஒரு கை மணல் கொண்டு மேல் தூவக் கண்டே, கடிது அரற்றிப் பூசல் தொடங்கினன் ஆங்கே, ஒடுங்கா வயத்தின், கொடுங் கேழ், கடுங்கண், இரும் புலி கொண்மார் நிறுத்த வலையுள் ஓர் ஏதில் குறு நரி பட்டற்றால்! காதலன் காட்சி அழுங்க, நம் ஊர்க்கு எலாஅம் ஆகுலம் ஆகி விளைந்ததை என்றும் தன் வாழ்க்கை அதுவாகக் கொண்ட முது பார்ப்பான் வீழ்க்கைப் பெருங் கருங் கூத்து. In this verse, formats we have seen before are eschewed and a simple story narrative is employed. The words can be translated as follows: “O maiden wearing well-etched ornaments, listen! This is something that will evoke a lot of laughter around town. It happened last night. At a time when it appeared as if all humanity had perished, in the darkness of the night, wrapping myself in a beautiful blanket, I was waiting at the trysting spot to meet with my man, the one with a handsome chest. Just then, there appeared that old and lame priest, having a head bereft of hair and wearing tattered and stained clothes, the one who does not leave from our community. He’s the one whom you have warned me about, many times. He caught a glimpse of me, bent his head and asked, ‘Who are you standing here, at this late hour? Just like how an old bull when spotting a stack of hay, doesn’t budge from the spot, he stood there, so still. He then said to me, ‘O young maiden! Do you want some betel leaves to chew?’, offering his pouch and pressing me to take it. I just stood there speechless. Then, he quickly changed tactics and shouted, ‘You have got yourself trapped, O little girl! You seem like a spirit that has descended in this form. As for me, I’m your mate. So, render your grace. If you don’t and decide to distress me, I will steal away the offerings given to you by this town’. In this manner, he was blabbering words many mindlessly. I understood that the old priest was scared and deciding to make use of his fear, I grasped a fistful of sand and sprinkled it on him. At that time, he started shouting aloud and created an uproar. To me, it seemed as if in a net that was spread by hunters to trap a huge tiger with boundless strength, curving stripes and fierce eyes, a cunning little fox was caught instead. All this made me miss seeing my lover; Such seems to be the story of that old priest’s life, always stirring up a roaring ruckus and bringing about great distress to lovers in our town!” Let’s explore the details. The verse is situated in the context of the man’s love relationship with the lady prior to marriage and speaks in the voice of the lady to her confidante, as the man listens nearby. The lady starts by narrating an incident to her friend saying this is going to make everyone in town laugh aloud. She goes on to talk about how this was late last night. It seemed to her that all the people of the town had gone and died, for so still it was. Wearing a blanket around her, she was walking to the trysting spot to meet the man. At this time, out of the blue, there came an old priest with a bald head and tattered clothes, who had stuck to their town and wouldn’t leave from it. The lady pauses the story to remark how the confidante had told her about this old priest many times asking her to beware. Continuing the story, the lady tells us how that old priest had spotted the lady and asked who was it roaming at that deadly hour? To comment on his stance, the lady talks about the scene where an old bull has caught sight of a stack of hay. It won’t budge even a bit and that’s how the old priest was behaving too, she says. The old priest first tries to befriend the lady offering her betel leaves to chew. When the lady says nothing in response and she stands there so quietly, the old priest declares aloud to the lady, ‘O little girl, you are in my trap. I know that you are a female spirit who has taken on this form. Don’t you recognise me? I’m your good mate! If you don’t render your grace, I’ll steal the offerings given to you by these townspeople’. The lady talks about how the old man was blabbering so, but somehow she could sense there was some fear in him. So, she decides to shock him by throwing a handful of sand at him. This makes the old priest scream in terror and wake up the whole town. To sum up the situation, the lady yet again brings an apt simile of a fox caught in a net laid for a tiger, implying her disappointment in not seeing the man but having to deal with the antics of this old priest! The lady concludes saying the old priest seems to have no other work other than spoil the joy of trysting lovers in their town. Interpreters believe that the whole story is a figment of the lady’s imagination and she has cooked up this tall tale to tell the listening man what dangers she might face, if the man persists in his path of temporary trysting. She indirectly nudges him to let go of these visits and instead, seek the path to permanent happiness by marrying her. Even as the lady talks about the tiger trap and the fox, her words are a hidden trap for the man! It’s a case of ‘Marry me, marry me’ but showcased in a rather different style of building a believable story. Thus far, the dangers we have seen in trysting were some wild animals roving the path, the challenging road in the darkness and the danger of discovery. In this verse, a new danger is outlined, that of being cornered by a stranger, and no doubt this will push the man to avoid putting the lady in such a precarious situation. Reminds me of the stories we sometimes say to nudge someone to give up their wrong ways! With this verse, we come to the end of Kalithogai verses situated in the ‘Kurinji’ or ‘Mountains landscape’. In these set of verses, we have seen a wide variety of situations such as love blooming, winning the confidence of the confidante, revealing relationship to relatives and trysting as well. The gamut of emotions in the early stages of love has been captured with dialogue and story in these past verses. Now, it’s time to bid bye to these young lovers in the lush mountainside and journey on to yet another landscape!…

Sangam Lit

1
Kalithogai 64 – The golden treasure 7:29

1 year temu7:29

7:29

In this episode, we listen to a playful conversation between a man and lady in love, as depicted in Sangam Literary work, Kalithogai 64, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and etches an attempt to reconcile a disgruntled person. தலைவன் அணி முகம் மதி ஏய்ப்ப, அம் மதியை நனி ஏய்க்கும், மணி முகம், மா மழை, நின் பின் ஒப்ப, பின்னின்கண் விரி நுண் நூல் சுற்றிய ஈர் இதழ் அலரி அரவுக்கண் அணி உறழ் ஆரல் மீன் தகை ஒப்ப, அரும் படர் கண்டாரைச் செய்து, ஆங்கு இயலும் விரிந்து ஒலி கூந்தலாய்! கண்டை; எமக்குப் பெரும் பொன் படுகுவை பண்டு தலைவி ஏஎ, எல்லா! மொழிவது கண்டை, இஃது ஒத்தன்; தொய்யில் எழுதி இறுத்த பெரும் பொன் படுகம்; உழுவது உடையமோ யாம்? தலைவன் உழுதாய்! சுரும்பு இமிர் பூங் கோதை அம் நல்லாய்! யான் நின் திருந்து இழை மென் தோள் இழைத்த, மற்று இஃதோ, கரும்பு எல்லாம் நின் உழவு அன்றோ? ஒருங்கே துகள் அறு வாள் முகம் ஒப்ப மலர்ந்த குவளையும், நின் உழவு அன்றோ? இகலி முகை மாறு கொள்ளும் எயிற்றாய்! இவை அல்ல, என் உழுவாய் நீ, மற்று இனி தலைவி எல்லா! நல் தோள் இழைத்த கரும்புக்கு நீ கூறு; முற்று எழில் நீல மலர் என உற்ற, இரும்பு ஈர் வடி அன்ன உண்கட்கும், எல்லாம், பெரும் பொன் உண்டு என்பாய்! இனி தலைவன் நல்லாய்! இகுளை! கேள்: ஈங்கே தலைப்படுவன், உண்டான் தலைப்பெயின், வேந்து கொண்டன்ன பல தலைவி ‘ஆங்கு ஆக!’ தலைவன் ‘அத் திறம் அல்லாக்கால், வேங்கை வீ முற்று எழில் கொண்ட சுணங்கு அணி பூண் ஆகம் பொய்த்து ஒருகால் எம்மை முயங்கினை சென்றீமோ, முத்து ஏர் முறுவலாய்! நீ படும் பொன் எல்லாம் உத்தி எறிந்துவிடற்கு’ An exchange of ‘I did that for you’ and ‘You did what?’ by the man and lady! The words can be translated as follows: “Man Your beautiful face is akin to the moon; Akin to the dark clouds that surround that beautiful moon, framing your sapphire-radiant face, are your tresses that fall behind; Upon those falling tresses, the moist-petaled flowers in the garland, stitched together with a long and thin string, appears akin to the exquisite patterns on a snake’s skin, in the shape of shining stars in the sky; All this induces a deep suffering in those who behold you, O maiden with swaying, luxuriant, thick tresses! Don’t forget that you have obtained a golden treasure from me! Lady: Hey, look at this! Such words from this man! The only treasure I attained were the thoyyil paintings you did on my arms! Did I get the pleasure of your embrace? Man: You have attained it indeed, O maiden wearing bee-buzzing flower garland! Doesn’t the pleasure shine on your perfect and delicate soft shoulders, where I drew sugarcane patterns? Doesn’t it glow in the flawless, bright face, whose eyes bloom like blue lilies? O maiden with teeth that compete with jasmine buds! What other pleasure do you seek now? Lady: Hey! Maybe you are right about the sugarcane paintings etched on my fine arms! But will you claim that my beautiful, blue-lily-like, kohl-streaked eyes, which now appear like a tender mango sliced in two, have attained this golden treasure from you? Man: O beautiful and young maiden! Listen, if I were to attain you, I will reap the benefits of a king, who attains the services of a skilled person! Lady: So shall it be! Man: O maiden with a smile, akin to shining pearls, when your anger subsides, with your jewel-clad bosom decked with beautiful spots, akin to Kino flowers, at least render me a fake embrace, so that you can throw away that golden treasure of pallor that has spread upon you!” Let’s explore the details. The verse is situated in the context of a man’s love relationship with a lady prior to marriage and describes a conversation between the man and the lady, during the trysting phase of their relationship. The man had parted away from the lady after trysting for a while and this conversation unfolds when he returns to her. He starts by praising the face, tresses and flower adornments on the lady, placing them in parallel to the moon, the clouds and stars in the sky, and declares all this causes distress in the beholder, for having to take in so much beauty! Then, he reminds the lady that she has obtained a golden treasure from him in the past. The lady scoffs at this and says to the man, the only thing I have attained from you are the thoyyil paintings on my arms, and yet, you talk so much! The man replies saying indeed, your arms glowed, and your blue-lily-like eyes glowed, because of me. To this, the lady says ‘Yes, you made my arms glow by drawing sugarcane patterns on them but will you accept the responsibility for the gold-like pallor that spreads in my eyes?’. The man talks about how if the lady’s father accepts him, he would attain the satisfaction of a king, who has won over a capable person. And the lady hopes and wishes that this will come true. The man concludes with the words that the lady should at least render him a fake embrace once she has gotten over her anger, so as to shed that gold-like pallor that spreads on her skin. And so we see how the entire verse is a play on the words ‘golden treasure’, implying the good the man did in the past, as well as the pallor he caused in the lady by parting away. Yet again, I’m impressed by the importance rendered to this minor conversation between two young people in love. But then I’m reminded of all the love songs that have been written and continue to be written in languages many, many, across space and time, and smile in understanding to see this timeless theme of love, echoing from these pages of the past!…

Sangam Lit

1
Kalithogai 63 – A hidden acceptance 6:53

1 year temu6:53

6:53

In this episode, we perceive an exchange of words to unearth the truth, as depicted in Sangam Literary work, Kalithogai 63, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches the confidante’s attempts at bringing together the man and the lady. தோழி நோக்குங்கால், நோக்கித் தொழூஉம், பிறர் காண்பார் தூக்கு இலி; தூற்றும் பழி எனக் கை கவித்துப் போக்குங்கால், போக்கு நினைந்து இருக்கும்; மற்று நாம் காக்கும் இடம் அன்று, இனி எல்லா! எவன் செய்வாம்? பூக்குழாய்! செல்லல் அவனுழைக் கூஉய்க் கூஉய் விரும்பி யான் விட்டேனும் போல்வல்; என் தோள்மேல் கரும்பு எழுது தொய்யிற்குச் செல்வல்; ‘ஈங்கு ஆக இருந்தாயோ?’ என்று ஆங்கு இற அவன் நின் திருந்துஅடிமேல் வீழ்ந்து இரக்கும், நோய் தீர்க்கும் மருந்து நீ ஆகுதலான் தலைவி இன்னும், கடம் பூண்டு, ஒருகால் நீ வந்தை உடம்பட்டாள் என்னாமை என் மெய் தொடு தோழி இஃதோ? அடங்கக் கேள்: நின்னொடு சூழுங்கால், நீயும் நிலம் கிளையா, என்னொடு நிற்றல் எளிது அன்றோ? மற்று அவன் தன்னொடு நின்று விடு. Another little conversational piece between the confidante and the lady. The words can be translated as follows: “ Confidante : When I turn and look at him, he too would look up and plead to me; He doesn’t seem to care that others would see; When I bid him away with hand gestures to indicate that others would censure such actions, he doesn’t have the heart to leave; There is no way to be rid of him anywhere, my friend. What can we do? O maiden wearing flower-like earrings, let’s go where he is, and I’ll pretend to keep calling your name with affection. Then I’ll say I’m stepping away to carve ‘Thoyyil paintings’ with sugarcane patterns on my arms. After I leave, you come there saying, ‘Hey, are you there?’. At this time, he will fall at your perfect feet and plead to you, for you are the only cure for his affliction! Lady : It seems to me as if you have given him a promise that ‘I would accept him’. If this is not true, swear on my form! Confidante : Oh! Is that so? Listen fully. When I was saying these words, you seemed to be drawing patterns on the ground with your toes. Isn’t it easy for you to show that you agree me with me, in this wordless way? So, go and do the same with him!” Time to delve into the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and narrates a conversation between the confidante and the lady about the man’s advances. The confidante starts by talking about the persistent manner in which the man followed her around, seeking to win her confidence. She mentions how he seemed not to care about whether others would see and start spreading slander. Even when she would shoo him away, he wouldn’t budge, and asks the lady what they are to do. Then, continuing, the confidante hatches a plan saying that she will go ahead to the spot, where the man awaits and will pretend to call for the lady repeatedly. Then she would declare that she’s off to do some thoyyil painting on her arms. At that time, the lady should come walking there, seeking out the confidante. When she does, the man would fall at her feet and plead for her grace because the lady was the only cure for the disease that devours him, the confidante declares. Hearing this, the lady with seeming anger asks if the confidante had promised the man that she would make the lady agree to the man’s request. The confidante replies saying, ‘Cool down, my friend! I was observing you when I was complaining about the man. You didn’t say anything to show his presence was against your liking. You were simply bending your head down and drawing patterns on the sand with your toe. So, I took it as if you have accepted my idea. Now, just go and stand near him and do this same thing and all will be well’. With a laugh, the confidante concludes these words. Even though the lines are few, this verse was so confusing to comprehend because there are so many hidden layers here. First question would be, why is the man approaching the confidante rather than the lady to express his love? The answer to that is that curious Sangam tradition, according to the poets then, that the man needs to win the favour of the lady’s confidante to further his love relationship with the lady. Next question, why does the confidante hatch that elaborate plan, involving intricate screenplay and dialogue, to make the lady and man meet? To understand this, we have to know that it was considered immodest for a woman to seek out a man and that’s why the confidante wants to pretend that the lady is not coming there to meet the man but the man suddenly happens to be where they were. Finally, in reply to the lady’s angry question, the confidante reveals that she knows about the prior relationship of the lady and the man, as she caught it from the subtle gesture of the lady, drawing patterns on the sand with her feet, head bent. So, ultimately she tells her friend, ‘Enough with the act. Go on and end the suffering of the man’. What a complicated world it seems like! Yet, the impressive thing here is that extreme focus on minute gestures and observations of people around, talking about the mindfulness in such a culture, which in turn hints at the treasure of mental health that these ancients no doubt called their own!…

Sangam Lit

1
Kalithogai 62 – Laying siege on love 6:37

1 year temu6:37

6:37

In this episode, we perceive the transformation in a lady’s heart, as portrayed in Sangam Literary work, Kalithogai 62, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches the manner in which the man wins over the lady’s reservations against him. தலைவி ஏஎ இஃது ஒத்தன் நாண் இலன் தன்னொடு மேவேம் என்பாரையும் மேவினன் கைப்பற்றும் தலைவன் ‘மேவினும், மேவாக்கடையும், அஃது எல்லாம் நீ அறிதி; யான் அஃது அறிகல்லேன்; பூ அமன்ற மெல் இணர் செல்லாக் கொடி அன்னாய்! நின்னை யான் புல் இனிது ஆகலின், புல்லினென்’ எல்லா! தலைவி தமக்கு இனிது என்று, வலிதின் பிறர்க்கு இன்னா செய்வது நன்று ஆமோ மற்று?’ தலைவன் சுடர்த் தொடீ! போற்றாய் களை, நின் முதுக்குறைமை; போற்றிக் கேள்! வேட்டார்க்கு இனிது ஆயின் அல்லது நீர்க்கு இனிது என்று உண்பவோ, நீர் உண்பவர்? செய்வது அறிகல்லேன்; யாது செய்வேன்கொலோ ஐ வாய் அரவின் இடைப்பட்டு, நை வாரா ‘மை இல் மதியின் விளங்கும் முகத்தாரை வௌவிக் கொளலும் அறன்’ எனக் கண்டன்று தலைவி ‘அறனும் அது கண்டற்றாயின், திறன் இன்றி, கூறும் சொல் கேளான், நலிதரும்; பண்டு நாம் வேறு அல்லம் என்பது ஒன்று உண்டால்; அவனொடு மாறு உண்டோ, நெஞ்சே! நமக்கு? A rare dialogue between the man and the lady! The words can be translated as follows: “ Lady : Hey! This man here is a shameless one! Even when one refuses to embrace him, he grasps their hand and pulls them into an embrace! Man : Whether you want to embrace or don’t want to embrace, all that only you know; I know not about that, O maiden, akin to an unfading, slender vine, filled with thick flower clusters! Because it was sweet for me to embrace you, I embraced you! Lady : Just because it is sweet to you, is it right to do something forcibly that brings distress to the other? Man : O maiden wearing radiant bangles! Set aside your words of wisdom, and listen to me carefully! Do those who drink water drink it because they are thirsty or because it’s sweet for the water to be drunk up? I know not what to do! Like a person trapped by a five-headed snake, I’m filled with sorrow! What else should I do, when I know the truth that says, ‘It is virtuous to steal away the one, who has a face akin to a flawless moon!’? Lady : Virtue has declared it so; He too seems to not heed whatever words I render and continues to suffer so; Maybe it is true that in some past he and I were united as one! How can we continue to be in conflict with him, O heart?” Let’s delve into the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and depicts a conversation between the man and the lady. The lady opens the scene by expressing shock that the man seemed to be forcibly pulling her into an embrace, even though she had been refusing his advances. To this, the man replies saying he has no knowledge of what transpires inside the head of the lady, about whether she wants to embrace him or not. All he knows is that it was the sweetest thing for him to embrace her. Now, the lady questions this statement asking him whether he would go and do something unpleasant to another just because it was sweet to him. The man seems to answer the lady, who has a valid point, with sarcasm, saying that she should let go of these words of wisdom and listen to what he has to say. As if cornering her, he asks whether one who drinks water drinks it because the water would feel it so sweet to be drunk up or because it’s sweet for them to quench their thirst. He then declares he feels like a person caught in the gaze of a five-headed snake with no escape. All he knows is the truth he has read that it’s an act of virtue to steal one, who has a face like a moon without any flaws. At this point, the lady becomes resigned to her fate and says to her heart, ‘Looks like what he does is the virtuous thing, and also, whatever I say, he keeps pursuing me. Could it be that we are united by destiny? If that’s the case, there’s no point in continuing to oppose him!’ Thus, in this verse, we observe a transformation from refusal to acceptance on the part of the lady because she is convinced by the words of the man and his persistence in pursuing her. This sort of forcible advance is a rarity in Sangam verses, where the man usually waits and yearns for the lady’s acceptance, watching carefully for signs of change in her. The man’s argument supporting his actions, using that simile of water being drunk up may have convinced the lady then, but to us, the descendants of the twenty-first century, this does not ring true. Today, the undeniable truth is that a woman is not like that lifeless water, without a say, but rather, she’s a man’s equal in every way!…

Sangam Lit

1
Kalithogai 61 – All I seek is her grace 10:02

1 year temu10:02

10:02

In this episode, we listen to an interesting conversation between three people, as depicted in Sangam Literary work, Kalithogai 61, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals the man’s situation and the confidante’s support. தலைவன் வருகை கண்டு, தோழி தலைவியை நோக்கிக் கூறுதல் எல்லா! இஃது ஒத்தன் என் பெறான்? கேட்டைக் காண்: செல்வம் கடைகொள, சாஅய், சான்றவர் அல்லல் களை தக்க கேளிருழைச் சென்று, சொல்லுதல் உற்று, உரைகல்லாதவர் போல பல் ஊழ் பெயர்ந்து என்னை நோக்கும்; மற்று யான் நோக்கின், மெல்ல இறைஞ்சும் தலை தலைவன் எதிர் சென்று, அவனை நோக்கித் தோழி வினாவுதல் எல்லா! நீ முன்னத்தான் ஒன்று குறித்தாய்போல் காட்டினை; நின்னின் விடாஅ நிழல் போல் திரிதருவாய்! என், நீ பெறாதது? ஈது என்? தலைவன் சொல்லின், மறாதீவாள் மன்னோ, இவள்? செறாஅது ஈதல், இரந்தார்க்கு ஒன்று, ஆற்றாது வாழ்தலின், சாதலும் கூடுமாம் மற்று தோழி இவள் தந்தை காதலின் யார்க்கும் கொடுக்கும், விழுப் பொருள்; யாது, நீ வேண்டியது? தலைவன் பேதாய்! பொருள் வேண்டும் புன்கண்மை ஈண்டு இல்லை; யாழ மருளி மட நோக்கின் நின் தோழி என்னை அருளீயல் வேண்டுவல், யான் தலைவன் நீங்கிய பின்னர், தோழி தலைவியொடு உசாவுதல் “அன்னையோ?” மண்டு அமர் அட்ட களிறு அன்னான்தன்னை ஒரு பெண்டிர் அருளக் கிடந்தது எவன்கொலோ?’ தலைவி ஒண்தொடீ! நாண் இலன் மன்ற இவன் ஆயின், ஏஎ! தோழி ‘பல்லார் நக்கு எள்ளப்படு மடல்மா ஏறி, மல்லல் ஊர் ஆங்கண் படுமே, நறும் நுதல் நல்காள் கண்மாறிவிடின்’ எனச் செல்வானாம் எள்ளி நகினும் வரூஉம்; இடைஇடைக் கள்வர் போல் நோக்கினும் நோக்கும்; குறித்தது கொள்ளாது போகாக் குணன் உடையன், எந்தை தன் உள்ளம் குறைபடாவாறு. For the first time, we perceive a three-directional conversation though it’s the confidante dominating the narrative on the whole! The words can be translated as follows: “ Seeing the man approach, Confidante says to the Lady: Hey you! Look at that man standing there! What does he want? He seems to be in much plight! Seeing their wealth diminish, feeling pain, the wise would approach their kin to end their state of suffering, but would end up standing there, intending to speak but unable to express words any. Just like them, he keeps looking at me silently many, many times. When I turn to look at him, he slowly bends his head down. Facing the man, Confidante says to him: Hey you! You appear as if you want to tell me something, and roam around me just the way your shadow parts not from you. What is that you seek? Why do you behave so? Man: If I tell that, will she render that without fail? When another seeks something, one should render charity without any reservations. If they cannot do that, it’s better to die than live so. Confidante: Her father is such a person, who would give with affection, whatever anyone asks; What is that you want? Man: O naive maiden! I am not in a lowly state to seek wealth from others; All I ask is for your friend, with a bewildered and naive gaze, to render her grace to me. After the man leaves, Confidante discusses with the lady: Oh! Is that what he wants? A man, who is akin to a fierce battle elephant, seems to seek the grace of a woman. How is this possible? Lady: O maiden wearing shining bangles! He sure seems to be a man without any shame! Confidante: He says, “Making many in this fertile town mock and laugh, I would climb on a palmyra horse and announce it, if that beautiful maiden with a fragrant forehead renders not’. Even if we mock and laugh, he would be back for sure. When he does, he would keep stealing glances at you, every now and then; He seems to have a nature of never letting go what he sets his mind on; He is sure to render enough to satisfy father’s heart!” Let’s delve into the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and depicts a conversation involving the man, the confidante and the lady. The scene opens with the confidante observing the man coming towards where she and the lady were and she turns to tell the lady about how the man seemed to be in a desperate and helpless situation. She talks about how this reminds her of the way when people who have been affluent lose their wealth and then to ease their suffering, they would go with the intention of seeking help from their relatives, but in their presence, they would be unable to open their mouths and ask what they want. This relatable situation is presented as a simile for how the man stands wordlessly before her, not once not twice but many, many times, the confidante describes and tells the lady every time she would turn to look at the man, he would avert his eyes and look down. So now, the confidante decides to take the matter in her hands and asks the man, ‘What’s up? I know you want to tell me something, for you are roaming behind me like how a shadow separates not from you. What do you want?’ A moment to relish the choice of simile again. This made me think of a line in a Tamil movie, where a young girl who is being pursued by a guy asks him, ‘Are you going to keep following me like the Vodafone puppy?’ Now, the image of the ‘Vodafone puppy’ comes from an advertisement of a Phone network, depicting a dog following a girl wherever she goes, and that’s how strong the network is, that phone company implies. This is an information that is relevant only to a small geographic region and a small slice of time. But even after two thousand years, we are able to relate to this simile of a shadow that parts not from us. Unless humanity travels to a planetary system, where the sun or suns work differently, this simile can live on with meaning. That’s the power of great writing, I think! Returning, the man replies to the confidante’s question with another question, ‘If I tell what is that I want, will your friend grant it?’ He then continues with an observation that one should render charity without any questions and it’s better to die if one can’t. Strong case he’s putting up in his favour! The confidante pretending not to understand tells him, ‘Sure, the lady’s father is such a person known for his ceaseless generosity. Ask anything you want’. Hearing this, the man scoffs at her suggestion, saying ‘I don’t have to beg for any object from anyone. I lack not in wealth. All I seek is the grace of your friend’s face’. He says these words and leaves the place. The confidante then marvels at how this man who has the strength and power of a battle elephant seems to seek so meekly the lady’s grace. As if she doesn’t get the message, the lady says, ‘He seems to act with no shame’. Hard one to convince indeed! To this, the confidante responds with the consequences of the lady’s refusal saying the man would climb on a palmyra horse and declare his love, even if everyone laughs, and whatever they do, he’s going to keep returning and take furtive glances at the lady. She concludes saying this man seems to be someone who would never take ‘no’ for an answer and would be relentless in his pursuit of a goal, and also, someone who would render enough to make the lady’s father happy. The last statement may confuse people of the current era because the contemporary practice of a man receiving wealth and gifts from a lady’s family during their wedding was non-existent in the Sangam era, and the roles were in fact reversed, in that the system of bride-price of the man offering wealth to the lady’s family was the custom practiced. In effect, the confidante summarises the man’s nature as persevering and portrays him as an affluent person, who would meet the approval of the lady’s parents, thereby hinting to her friend that she should think about favouring the man and rendering her love. A verse which reveals motivations and perceptions of Sangam men and women in their youth and in love!…

Sangam Lit

1
Kalithogai 60 – Pleading for the man 8:52

1 year temu8:52

8:52

In this episode, we listen to an animated conversation between two women, as portrayed in Sangam Literary work, Kalithogai 60, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and presents a situation, where the confidante pleads the man’s case in the court of the lady’s mind! தோழி சுணங்கு அணி வன முலை, சுடர் கொண்ட நறு நுதல், மணம் கமழ் நறுங் கோதை மாரி வீழ் இருங் கூந்தல், நுணங்கு எழில், ஒண் தித்தி, நுழை நொசி மட மருங்குல், வணங்கு இறை வரி முன்கை, வரி ஆர்ந்த அல்குலாய்! ‘கண் ஆர்ந்த நலத்தாரை, கதுமென, கண்டவர்க்கு உள் நின்ற நோய் மிக, உயிர் எஞ்சு துயர் செய்தல் பெண் அன்று, புனையிழாய்!’ எனக் கூறி தொழூஉம்; தொழுதே, கண்ணும் நீராக நடுங்கினன், இன் நகாய்! என் செய்தான் கொல்லோ இஃது ஒத்தன் தன்கண் பொருகளிறு அன்ன தகை சாம்பி உள்உள் உருகுவான் போலும் உடைந்து? தலைவி தெருவின்கண் காரணம் இன்றிக் கலங்குவார்க் கண்டு, நீ, வாரணவாசிப் பதம் பெயர்த்தல், ஏதில நீ நின்மேல் கொள்வது எவன்? தோழி ‘அலர்முலை ஆய்இழை நல்லாய்! கதுமென, பேர் அமர் உண்கண் நின் தோழி உறீஇய ஆர் அஞர் எவ்வம் உயிர் வாங்கும்; மற்று இந் நோய் தீரும் மருந்து அருளாய், ஒண்தொடீ! நின் முகம் காணும் மருந்தினேன்’ என்னுமால்; நின் முகம் தான் பெறின் அல்லது, கொன்னே மருந்து பிறிது யாதும் இல்லேல், திருந்திழாய்! என் செய்வாம்கொல், இனி நாம்? தலைவி பொன் செய்வாம்! ஆறு விலங்கித் தெருவின்கண் நின்று ஒருவன் கூறும் சொல் வாய் எனக் கொண்டு, அதன் பண்பு உணராம், ‘தேறல் எளிது’ என்பாம் நாம் தோழி ‘ஒருவன் சாம் ஆறு எளிது’ என்பாம், மற்று தலைவி சிறிது, ஆங்கே ‘மாணா ஊர் அம்பல் அலரின் அலர்க’ என, நாணும் நிறையும் நயப்பு இல் பிறப்பு இலி தோழி பூண் ஆகம் நோக்கி இமையான், நயந்து, நம் கேண்மை விருப்புற்றவனை, எதிர் நின்று, நாண் அடப் பெயர்த்த நயவரவு இன்றே. A change of pace to a dialogue-oriented format in this verse! The words rendered can be translated as follows: “ Confidante: With beautiful bosom decked with beauty spots, flame-like fragrant forehead, dark tresses akin to descending clouds, adorned with a fragrant garland, a slender waist, filled with radiant and intricate pallor spots, a curving and lined forearm, loins with exquisite lines, you are, O maiden! Saying to me, ’O maiden wearing well-etched ornaments, it isn’t feminine nature to be unmindful of the deep suffering that arises in a person, tormenting their very life, when they behold the exquisite beauty of the woman’s form before them suddenly’, he pleaded to me. When he pleaded, his eyes filled with tears and he trembled with emotion, O maiden with a beautiful smile. Do you know what else he did? He seemed to have the majesty of a battle elephant. But he stood there with moist eyes, showing how he was anguished and broken deep within! Lady: Seeing someone who cries for no reason in the street, akin to those in the city of Varanasi, who take up the pain of others, why do you burden yourself with the feelings of a stranger? Confidante: Saying, ‘O beautiful maiden with a blooming bosom and well-etched ornaments! Instantly, your friend’s beautiful, big, kohl-streaked eyes caused great suffering and drained out my life entire. However, you are not kind to render the cure for this deadly affliction, O maiden wearing radiant bangles. And that cure is to see her face’. So he pleaded to me. He thinks other than attaining the grace of your face, there is no other cure, O maiden wearing well-carved ornaments! What shall we do now? Lady: Nought, we shall do now! Straying from the normal, a man stands on the street and speaks something. Taking that as the truth, without realising its true nature, you seem to tell me, ‘It’s better to understand him’. Confidante: So, should I say, ‘It’s better to let him die’? Lady: There’s also the concern of how slander will rise in town because of our acceptance. However, he doesn’t have the goodness to even think a little about that. He won’t die! Confidante: Gazing at your beautiful form, adorned with jewels, without taking his eyes away, with desire, he seeks your relationship. It’s not good nature to shamelessly move away from such a person, without rendering your grace!” Time to delve into the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and depicts a discussion between the confidante and the lady. The confidante starts by praising the lady’s beauty, no doubt echoing the words said by the man to her about the lady’s beauty. He seems to have complained to the confidante about how when he looked at the lady, he felt a deep affliction rise in him, bewitched by her presence, and remarked that it’s not becoming for the lady’s femininity if she did not care about that. Then, she goes on to etch in detail the way he stood there, tearful, quivering with feeling, and tells the lady that the man, who was like an elephant, was reduced to this state, after falling in love with the lady and not seeing her reciprocate his feeling. When the confidante finishes this statement, the lady remarks with apathy, asking her friend why she should bother about some person on the street, who was shedding tears for no reason. Did the confidante think that she was a person from the town of Varanasi, where people were known to take up the pain and burden of others? This simile seems to depict an ancient understanding in Sangam society about religious beliefs in the northern part of the subcontinent. Moving on, the confidante continues her case saying how the man said the only cure for his deep suffering was seeing affection on the lady’s face, and the confidante asks the lady what they should do. The lady in turn sarcastically asks the confidante, ‘Should we do exactly as he asks?’, implying they should do nothing. She remarks he’s not behaving in a normal manner and he’s speaking random stuff and the confidante seems to support him and asks the lady to understand him. To this, the confidante pointedly asks the lady should she just let him die. And to that, the lady points out how the man seems not to care about the slander that would rise in their town if they accept him and declares that he will not die for sure. The confidante has the last word, advising her friend saying it was not a just thing to disregard the emotions of someone, who sought her out with so much love. And thus, we witness an interesting exchange between two women and understand the role of a confidante in bringing together the man and the lady and make love bloom in their lives. Whether such a depiction is rooted in the reality of Sangam culture or whether it ha been imaginatively created to present the timeless conflict in a woman’s heart when accepting a man’s advances is something fascinating to ponder upon!…

Sangam Lit

1
Kalithogai 59 – Penances in vain 7:48

1 year temu7:48

7:48

In this episode, we listen to a man’s attempt to convince a maiden, as depicted in Sangam Literary work, Kalithogai 59, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and informs us about certain customs of penances undertaken by Sangam women. தளை நெகிழ் பிணி நிவந்த பாசடைத் தாமரை முளை நிமிர்ந்தவை போலும் முத்துக் கோல் அவிர் தொடி, அடுக்கம் நாறும் அலர் காந்தள் நுண் ஏர் தண் ஏர் உருவின் துடுப்பு எனப் புரையும் நின் திரண்ட நேர் அரி முன்கை, சுடர் விரி வினை வாய்ந்த தூதையும் பாவையும் விளையாட, அரி பெய்த அழகு அமை புனை வினை ஆய் சிலம்பு எழுந்து ஆர்ப்ப, அம் சில இயலும் நின் பின்னு விட்டு இருளிய ஐம்பால் கண்டு, என் பால என்னை விட்டு இகத்தர, இறந்தீவாய்! கேள், இனி: மருளி, யான் மருள் உற, ‘ “இவன் உற்றது எவன்?” என்னும் அருள் இலை இவட்கு’ என அயலார் நிற் பழிக்குங்கால், வை எயிற்றவர் நாப்பண், வகை அணிப் பொலிந்து, நீ தையில் நீர் ஆடிய தவம் தலைப்படுவாயோ? உருளிழாய்! ‘ “ஒளி வாட, இவன் உள் நோய் யாது?” என்னும் அருள் இலை இவட்கு’ என அயலார் நிற் பழிக்குங்கால், பொய்தல மகளையாய், பிறர் மனைப் பாடி, நீ எய்திய பலர்க்கு ஈத்த பயம் பயக்கிற்பதோ? ஆய்தொடி! ‘ “ஐது உயிர்த்து, இவன் உள் நோய் யாது?” என்னும் நோய் இலை இவட்கு’ என நொதுமலர் பழிக்குங்கால், சிறு முத்தனைப் பேணி, சிறு சோறு மடுத்து, நீ நறு நுதலவரொடு நக்கது நன்கு இயைவதோ? என ஆங்கு, அனையவை உளையவும், யான் நினக்கு உரைத்ததை இனைய நீ செய்தது உதவாயாயின், சேயிழாய்! செய்ததன் பயம் பற்று விடாது; நயம் பற்று விடின் இல்லை நசைஇயோர் திறத்தே. The man is still crying his heart out! The words can be translated as follows: “Akin to a lotus bud, rising above its green leaves, relaxing its tight fold and blossoming above, are the pearl-studded, golden bangles on your hands that appear in the delicate form of moist flame-lilies that spread fragrance in the mountains; Akin to oars are your thick, perfect and straight forearms; Upon these arms, you carry bright and wide, well-carved pots and dolls, so as to play with them, and making your exquisite, well-etched anklets resound, you walk gently before me. As I see your dark, five-layered tresses swaying behind when you walk past, my sense and skill slips away from me! Listen to me now: When strangers shower blame upon you saying, ‘She doesn’t have the grace to enquire with concern about what has happened to that man, who seems bewildered’, would there be any use in the penance you do by bathing in the cool waters in the month of ‘Thai’, in the company of many maiden with beautiful, sharp teeth, glowing with an assortment of jewels? When strangers shower blame upon you saying, ‘She doesn’t have the grace to enquire about what could be the affliction in this man, which makes his radiance fade’, O maiden wearing a circular head ornament, would there be any benefit in your act of rendering to many others, by playing the role of a woman begging and singing in the mansions of others? When strangers shower blame upon you saying, ‘She doesn’t have the grace to enquire about what could be the affliction in this man, which makes him sigh with so much distress’, O maiden wearing exquisite bangles, would there be any good that would come in your laughing, playful actions of protecting and caring for a small doll and pretending to feed food to it, along with maiden having fragrant foreheads? And so, even after I have spoken all these words out of the angst in my heart, you still do not render your grace to me, O maiden wearing well-etched ornaments. Such an act will not be without consequence, for if you are without kindness, such penances of yours will bear no benefit to those whom you love.” Let’s delve into the details. The verse is situated in the context of the man’s love relationship with his lady, prior to marriage, and speaks in the voice of the man to the lady. The man starts as usual talking about the lady’s beauty and adornments, remarking on her pearl-studded bangles, her flame-lily-like fingers and her oar-like forearms. A moment to reflect how a man is described in terms of the country he rules over, whereas a woman is described in terms of her beauty. This hints of a patriarchal order in that culture. Returning, the man remarks about certain pots and dolls the lady seems to be carrying, the significance of which, we will see in a short while. He speaks of how his intellect seems to melt away seeing her walk past him, and beckons her to listen to his words. The man proceeds in the familiar three-step format to remark how the world would blame and caste aspersions on the lady for not being concerned about the man’s confusion, about the affliction in him, which makes him lose his joy and makes him sigh with pain. If they do that, what will be the use of the rituals of penance the lady undertakes in the Tamil month of ‘Thai’, the contemporary period between Jan 15th and Feb 15th, the time when she bathes in the cool river waters along with many other maiden, when she plays the role of a woman singing at the house of others and renders the charity she gained to the needy, and then does rituals with a doll, tending to it and feeding it, along with other maiden. All these activities remind one of contemporary religious practices followed by certain groups of women in the Tamil month of ‘Margazhi’, which falls between December 15 and Jan 15, when these women sing at temples and offer penances. Though there are differences, the core remains that it’s women undertaking this penance for the welfare of the people they love. This is what the man concludes with saying, if the lady does not heed to him and she continues snub his advances, this would lead to people’s blame and ire, which in turn, would result in those penances she does having no effect on the welfare of those she loves. Yet again, the man says to the lady, ‘You must reciprocate my love’, but in this version we get to learn of certain cultural practices followed by women in the Sangam era for the well-being of their future spouses, a custom that seems to have an echo in other cultural traditions, arising in this region!…

Sangam Lit

1
Kalithogai 58 – The fault of her kin 7:26

1 year temu7:26

7:26

In this episode, we listen to a man’s angst, as depicted in Sangam Literary work, Kalithogai 58, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and depicts an ancient strategy employed to win love. வார் உறு வணர் ஐம்பால், வணங்கு இறை நெடு மென் தோள், பேர் எழில் மலர் உண்கண், பிணை எழில் மான் நோக்கின், கார் எதிர் தளிர் மேனி, கவின் பெறு சுடர் நுதல், கூர் எயிற்று முகை வெண் பல், கொடி புரையும் நுசுப்பினாய்! நேர் சிலம்பு அரி ஆர்ப்ப, நிரை தொடிக் கை வீசினை, ஆர் உயிர் வௌவிக்கொண்டு அறிந்தீயாது இறப்பாய்! கேள்: உளனா, என் உயிரை உண்டு, உயவு நோய் கைம்மிக, இளமையான் உணராதாய்! நின் தவறு இல்லானும், களைநர் இல் நோய் செய்யும் கவின் அறிந்து, அணிந்து, தம் வளமையான் போத்தந்த நுமர் தவறு இல் என்பாய் நடை மெலிந்து, அயர்வு உறீஇ, நாளும் என் நலியும் நோய் மடமையான் உணராதாய்! நின் தவறு இல்லானும், இடை நில்லாது எய்க்கும் நின் உரு அறிந்து, அணிந்து, தம் உடைமையால் போத்தந்த நுமர் தவறு இல் என்பாய் அல்லல் கூர்ந்து அழிவுற, அணங்காகி அடரும் நோய் சொல்லினும் அறியாதாய்! நின் தவறு இல்லானும், ஒல்லையே உயிர் வௌவும் உரு அறிந்து, அணிந்து, தம் செல்வத்தால் போத்தந்த நுமர் தவறு இல் என்பாய் என ஆங்கு ஒறுப்பின், யான் ஒறுப்பது நுமரை; யான் மற்று இந் நோய் பொறுக்கலாம் வரைத்து அன்றிப் பெரிதாயின், பொலங்குழாய்! மறுத்து இவ் ஊர் மன்றத்து மடல் ஏறி, நிறுக்குவென் போல்வல் யான், நீ படு பழியே. The man continues to be in the spotlight. The words can be translated as follows: “With five-layered, wavy, flowing tresses, curving forearm, long and soft arms, exquisite, flower-like kohl-streaked eyes, gaze of a beautiful female deer, complexion of a new sprout in the rains, an alluring, glowing forehead, sharp bud-like white teeth, a waist akin to a vine, you are, O maiden! As those well-set anklets resound, swaying your bangle-clad arms, you seem to walk on, without realising that you are stealing away my precious life! Listen to me: Leaving just a bit of life to say that I exist, you have devoured all the rest of it, and rendered a deep disease of affliction in me. You know not of all this, owing to your youth. Though it’s not your fault, knowing about your beauty, which would spread an affliction no one can cure, adorning you with jewels, because of their prosperity, your kin sent you out. Can you claim they are not at fault? Making my gait lack spirit, filled with exhaustion, you have rendered this deep suffering to me. You know not of all this, owing to your naivety. Though it’s not your fault, knowing about your form, which ceaselessly torments, adorning you with jewels, because of their wealth, your kin sent you out. Can you claim they are not at fault? Ruining me with a soaring pain, you have rendered this disease that torments like a spirit. You understand not of all this, even when it’s spoken out. Though it’s not your fault, knowing about your form, which steals a life instantly, adorning you with jewels, because of their affluence, your kin sent you out. Can you claim they are not at fault? And so, if I have to chide someone, it’s your kin; Besides, if this affliction exceeds the limits of my ability to bear it, O maiden wearing golden earrings, I will have to climb on a ‘palmyra horse’ in this town centre and declare my suffering, and when I do, you will have to face the blame!” Time to explore the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage and speaks in the voice of the man to the lady. The man starts as usual praising the different aspects of the lady’s beauty such as her tresses, arms, eyes, complexion, forehead, teeth and waist. He talks about her resounding anklets and the way she walks swaying her hands, and tells her she does not realise that as she walks on, she’s stealing away the man’s life. Then, citing three different ways in which he is suffering, the man says that the lady is not to be blamed. The blame should fall on her kin, for sending her out, so adorned, without realising the effect she would have on him. He blames the lady’s relatives and decides when his suffering exceeds a limit, he will have no other go but to climb on a ‘palmyra horse’ and declare his love for the lady to the town entire, and when he does that, blame will fall on her, the man concludes. A verse in which the man talks of immense suffering. The words used and the extreme anguish depicted reminds one of the same emotions expressed by the lady when the man parts away from her on a mission. Now, the gender roles are reversed and we see the man hard at work trying to win the lady’s love by expressing his state of suffering. And in the conclusion, we come across the concept of ‘Madal eruthal’ that we have seen in many other ‘Aham’ songs. When nothing else works, this was the final step taken by a man to declare his love, and was considered as not a honourable thing for the man or the lady. In most of these verses, this act is said only a threat, and perhaps, through that, the man intends to change the heart of the lady he woos. These are notions and traditions of the past, which have evolved for reasons, unfathomable to us. The only thing of relevance we can extract from this verse is the way the man shies not from talking of his suffering and pain, standing against many implicit beliefs of modern generations, as symbolised by the phrase ‘Boys don’t cry’. The echo from the pages of this ancient book reiterates the timeless truth that expression of emotions is independent of gender!…

Sangam Lit

1
Kalithogai 57 – Her beauty and her power 9:00

1 year temu9:00

9:00

In this episode, we listen to a long list of praises, as depicted in Sangam Literary work, Kalithogai 57, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals both the glory of a king and the power of a maiden. வேய் எனத் திரண்ட தோள், வெறி கமழ் வணர் ஐம்பால், மா வென்ற மட நோக்கின், மயில் இயல் தளர்பு ஒல்கி ஆய் சிலம்பு அரி ஆர்ப்ப, அவிர் ஒளி இழை இமைப்ப, கொடி என, மின் என, அணங்கு என, யாது ஒன்றும் தெரிகல்லா இடையின்கண் கண் கவர்பு ஒருங்கு ஓட, வளமை சால் உயர் சிறப்பின் நுந்தை தொல் வியல் நகர் இளமையான் எறி பந்தொடு இகத்தந்தாய்! கேள், இனி: பூந் தண் தார், புலர் சாந்தின், தென்னவன் உயர் கூடல், தேம் பாய அவிழ் நீலத்து அலர் வென்ற அமர் உண்கண், ஏந்து கோட்டு எழில் யானை ஒன்னாதார்க்கு அவன் வேலின், சேந்து நீ இனையையால்; ஒத்ததோ? சின்மொழி! பொழி பெயல் வண்மையான் அசோகம் தண் காவினுள், கழி கவின் இள மாவின் தளிர் அன்னாய்! அதன் தலை, பணை அமை பாய் மான் தேர் அவன் செற்றார் நிறம் பாய்ந்த கணையினும், நோய் செய்தல் கடப்பு அன்றோ? கனங்குழாய்! வகை அமை தண் தாரான் கோடு உயர் பொருப்பின்மேல், தகை இணர் இள வேங்கை மலர் அன்ன சுணங்கினாய்! மத வலி மிகு கடாஅத்து அவன் யானை மருப்பினும் கதவவால் தக்கதோ? காழ் கொண்ட இள முலை என ஆங்கு, இனையன கூற, இறைஞ்சுபு நிலம் நோக்கி, நினையுபு நெடிது ஒன்று நினைப்பாள் போல், மற்று ஆங்கே துணை அமை தோழியர்க்கு அமர்த்த கண்ணள், மனை ஆங்குப் பெயர்ந்தாள், என் அறிவு அகப்படுத்தே. It’s the man speaking his heart out again! The words can be translated as follows: “With rounded arms, akin to bamboo, fragrant and curving five-layered thick tresses, eyes akin to that of a deer, a swaying, graceful walk like that of a peacock, as well-etched anklets resounded, as ornaments shone spreading light, making one wonder in utter confusion, ’Is it a vine?’, ‘Is it a lightning?’ or ‘Is it a devouring spirit?’, your waist bended so slenderly, captivating the eyes, as you came out of the wide and prosperous mansion of your esteemed and famous father, brimming with youth, holding a ball! Listen to me! Wearing moist flower garlands upon his chest streaked with sandalwood, rules the king of the south. In his renowned capital of Koodal, blooms blue-lilies, filled with nectar. Your kohl-streaked, beautiful eyes win over those picturesque flowers. The spear of this king, which torments the handsome, battle-elephants with uplifted tusks, belonging to his foes, and you, are the same. Is this befitting, O maiden who speaks sparse words? With a generosity, akin to a downpour, having Ashoka trees in his grove, is this king. Akin to an enticing young mango leaf therein, you are, O beautiful maiden! On top of that, more than the arrows that pounce on his enemies, wielding chariots and leaping horses, you cause affliction. Isn’t this utterly cruel, O maiden wearing golden earrings? Wearing many different cool garlands is the king. Akin to the esteemed flower clusters of the Kino tree that grows on the slopes of his high mountain peaks, are your beauty spots, O maiden! With more rage than the tusk of his wild and mad elephant, in a state of musth, appears your young bosom, swaying with pearl strands. Is this right, O maiden? And so, as I said these words, bending down and looking at the ground beneath, as if thinking for long about something, then turning her eyes towards her playmates, who were around, she left to go inside her mansion, holding my mind in her grasp!” Time to delve into the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and speaks in the voice of the man to the lady. The man starts by vividly sketching the appearance of a maiden, as she stepped out of a rich mansion, holding a ball in hand. He talks of her bamboo arms, thick hair, deer-like eyes and peacock’s gait. Adding sensorial elements, the man mentions the tinkling of her anklets and the way her golden ornaments glinted in the light. Then, he seems to spend extra time on her waist, which makes him wonder if it’s a vine, so slender it is, or is it a lightning, so brightly it captivates, or could it be a fearsome spirit that torments. After saying these words to the lady, who had come out of her father’s rich mansion just then, the man asks her three questions in that familiar format. In each case, he talks about the famous king of the south, referring to a Pandya King. In the first, he talks about the capital of this king, Koodal, which is another name for ‘Madurai’, known to us all. The man has mentioned Koodal to talk about the blue-lilies that bloom there, saying the lady’s eyes defeat those blue-lilies with their exquisite beauty. Next, the man talks about the king’s spear and how it devours the enemy elephants, connecting back to the lady, saying that’s how she seemed to attack the man. In the second, the groves of the generous Pandya king, filled with Ashoka trees, are highlighted, and then a mango tree, growing there, is zoomed upon, to sketch a tender leaf sprouting on it, and the man connects it with the complexion of the lady. Then, turning to those fierce elements, the man talks about the arrows of the king, which slay enemies, and declares even more than those arrows, the lady causes suffering in him. In the third, we are taken to the mountain slopes of the Pandya king, to gaze at the flower clusters of the Kino tree growing there, only to be brought back in the lady’s presence, to say that’s how her beauty spots appear. Once again, turning to elements of power, the man talks about the rage of this Pandya king’s mad elephants in musth or rutting, and says the lady’s bosom seems to have more rage than those elephants. He ends each of these instances asking her if this is right on her part! Then, he concludes saying how the lady did not respond to any of his words, but just looked down for a long while, gazed at her playmates around and then left inside her home, taking the man’s heart and mind along with her. And so, we see that this is a sketch of love at first sight, and within this well-known theme, we have perceived the picturesque beauty of a king’s country, taking in the flowers and the trees that bloom there, as well as the power the king holds, in the form of his spears, arrows and elephants, before which foes don’t stand a chance. And all this is said as a simile to a woman’s beauty and the effect on a person smitten by her. Through this, we witness once again the unique creativity of Sangam poets, who are able to blend the disparate and present a cohesive perspective of vastly different domains, that of love and war!…

Sangam Lit

1
Kalithogai 56 – Wooing with words 8:58

1 year temu8:58

8:58

In this episode, we listen to the words of a man in love, as depicted in Sangam Literary work, Kalithogai 56, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and expresses admiration for a lady. ஊர்க்கால் நிவந்த பொதும்பருள், நீர்க் கால், கொழு நிழல் ஞாழல் முதிர் இணர் கொண்டு, கழும முடித்து, கண் கூடு கூழை சுவல்மிசைத் தாதொடு தாழ, அகல் மதி தீம் கதிர் விட்டது போல, முகன் அமர்ந்து, ஈங்கே வருவாள் இவள் யார் கொல்? ஆங்கே, ஓர் வல்லவன் தைஇய பாவைகொல்? நல்லார் உறுப்பு எலாம் கொண்டு இயற்றியாள்கொல்? வெறுப்பினால், வேண்டு உருவம் கொண்டதோர் கூற்றம்கொல்? ஆண்டார், கடிது, இவளைக் காவார் விடுதல்: கொடி இயல், பல் கலை, சில் பூங் கலிங்கத்தள் ஈங்கு, இது ஓர் நல்கூர்ந்தார் செல்வ மகள்! இவளைச் சொல்லாடிக் காண்பேன், தகைத்து நல்லாய்! கேள்: ஆய் தூவி அனம் என, அணி மயில் பெடை என, தூது உண் அம் புறவு என, துதைந்த நின் எழில் நலம் மாதர் கொள் மான் நோக்கின் மட நல்லாய்! நிற் கண்டார்ப் பேதுறூஉம் என்பதை அறிதியோ? அறியாயோ? நுணங்கு அமைத் திரள் என, நுண் இழை அணை என, முழங்கு நீர்ப் புணை என, அமைந்த நின் தட மென் தோள் வணங்கு இறை, வால் எயிற்று, அம் நல்லாய்! நிற் கண்டார்க்கு அணங்காகும் என்பதை அறிதியோ? அறியாயோ? முதிர் கோங்கின் முகை என, முகம் செய்த குரும்பை என, பெயல் துளி முகிழ் என, பெருத்த நின் இள முலை மயிர் வார்ந்த வரி முன்கை மட நல்லாய்! நிற் கண்டார் உயிர் வாங்கும் என்பதை உணர்தியோ? உணராயோ? என ஆங்கு, பேதுற்றாய் போலப் பிறர் எவ்வம் நீ அறியாய், யாது ஒன்றும் வாய்வாளாது இறந்தீவாய்! கேள், இனி: நீயும் தவறு இலை; நின்னைப் புறங்கடைப் போதர விட்ட நுமரும் தவறு இலர்; நிறை அழி கொல் யானை நீர்க்கு விட்டாங்கு, ‘பறை அறைந்தல்லது செல்லற்க!’ என்னா இறையே தவறு உடையான். Ending the long standing domination of the confidante and lady, the man speaks out his heart in this verse. The words can be translated as follows: “Plucking mature flower clusters of the tigerclaw tree that renders a thick shade, fed by streams, in the groves of the town, and tying them tightly on the strands of the hair, letting the tresses hang upon the shoulders, scattering flower pollen around, the maiden, with a face akin to the full moon spreading its rays, comes here. Who might she be? Is she a statue carved by a skilled sculptor? Was she crafted with the features of the best and the beautiful? Or is she the God of Death who has taken on this desirable form, out of hate for me? Isn’t it terrible that her parents have left her go freely without restraining her at home. On her waist, akin to a vine, she wears a well-crafted attire with a floral design. She must be the precious daughter of a wealthy couple, who sought the boon of a child for long. Let me stop her and win her over with my words! O beautiful maiden, listen: Akin to a swan with white feathers, akin to a pretty peahen, akin to an alluring pigeon that feeds on pollen, is your brimming beauty; With desirable eyes like that of a deer, you are, O naive and beautiful maiden! Do you know or not that these can befuddle those who see you? Akin to an intricate bamboo cluster, akin to a soft pillow, akin to a raft in the roaring waters, are your thick, soft arms; With curving wrists and shining teeth, you are, O alluring and beautiful maiden! Do you know or not that these can terrorise those who see you? Akin to the mature flower of the buttercup, akin to a fresh, blooming palm fruit, akin to a bubble amidst the pouring rain, has blossomed your young bosom; With soft hair and gentle lines on your forearm, you are, O naive and beautiful maiden! Do you know or not that these can usurp the lives of those who see you? And so, akin to someone confused, without understanding the suffering of others, without saying anything in response, you move away. Listen now! The mistake is not yours; The mistake is not with your kin, who let you go outside, either; The one at fault is the king of this land, who has not sent out a messenger before you, drumming, akin to how he announces the arrival of a mad and murderous battle elephant to the townsfolk, when it’s taken for a bath in the river!” Let’s explore the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage and speaks in the voice of the man to the lady. Initially, the man talks to himself describing the lady before him, talking about her flower-clad tresses, full-moon face and wondering whether she’s real or a statue carved by a skilful artisan and whether all the best things in the most beautiful women were chosen to be part of her. In a tangent, he wonders if this female form of the lady before him could be Death himself, who has taken that bewitching form out of hatred for the man! Then he chides the lady’s parents for letting her out of the house, and remarks she seems like a much-adored daughter of an affluent couple. Instead of just muttering to himself, the man decides to stop the lady and express his love in words. So, he calls out to her, and in that three-step Kalithogai format, talks about her beauty that seems like that of a swan, a peahen and a pigeon; her arms that are like a bamboo cluster, a comforting pillow and a saving raft amidst the resounding waves; and her bosom that are like a buttercup flower, palm fruit and a bubble in a downpour. He mentions other assorted aspects of her beauty like deer-like eyes, shining teeth and alluring forearms, and asks her whether the lady was aware that she had the power to bewilder, to terrorise and even take away the lives of those, who glanced at her! And even though he says these words, the maiden seemed to have turned to walk away and the man declares that she has no understanding of the pain she causes in others. However, the fault was not that of hers or her parents. Rather the fault lies with an entirely different person, and he is the king of the land, for like the way this king announces the arrival of a mad elephant, when it’s taken for a bath in the river, he has not taken steps to announce the danger of this enchanting woman to those who see her, the man concludes. If you think about it, the man is calling the lady, a wild elephant! Such a comparison may not be looked at favourably today and the man may find himself lifted by a metaphorical elephant trunk and thrown into the dumpster of unrequited love. Joking apart, in essence, this verse is an ecstatic outpouring of a man, who puts his beloved on a sky-high pedestal, extolling her beauty, and trying to win her heart with his words of admiration!…

Sangam Lit

1
Kalithogai 55 – An incident of intimacy 9:05

1 year temu9:05

9:05

In this episode, we listen to an account of a lady’s first meeting with a man, as portrayed in Sangam Literary work, Kalithogai 55, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals an incident to the confidante. மின் ஒளிர் அவிர் அறல் இடை போழும் பெயலேபோல், பொன் அகை தகை வகிர் வகை நெறி வயங்கிட்டு, போழ் இடை இட்ட கமழ் நறும் பூங் கோதை, இன் நகை, இலங்கு எயிற்று, தேம் மொழி துவர்ச் செவ் வாய், நன்னுதால்! நினக்கு ஒன்று கூறுவாம்; கேள், இனி: ‘நில்’ என நிறுத்தான்; நிறுத்தே வந்து, நுதலும் முகனும், தோளும், கண்ணும், இயலும், சொல்லும், நோக்குபு நினைஇ, ‘ஐ தேய்ந்தன்று, பிறையும் அன்று; மை தீர்ந்தன்று, மதியும் அன்று; வேய் அமன்றன்று, மலையும் அன்று; பூ அமன்றன்று, சுனையும் அன்று; மெல்ல இயலும், மயிலும் அன்று; சொல்லத் தளரும், கிளியும் அன்று’ என ஆங்கு, அனையன பல பாராட்டி, பையென, வலைவர் போல, சோர் பதன் ஒற்றி, நெஞ்சு நெகிழ்ந்த செவ்வி காணூஉப் புலையர் போல, புன்கண் நோக்கி, தொழலும் தொழுதான்; தொடலும் தொட்டான்; காழ் வரை நில்லாக் கடுங் களிறு அன்னோன் தொழூஉம்; தொடூஉம்; அவன் தன்மை ஏழைத் தன்மையோ இல்லை, தோழி! The lady continues to wield the microphone in this one! The words can be translated as follows: “Akin to streaks of lightning that spreads in between black clouds, wearing gold with flame-like splendour, shaped in many different ways, upon your wavy tresses, along with strands of a fragrant flower garland, having a sweet smile, shining teeth, and red mouth that renders honey-sweet words, you are, O maiden with a fine forehead! I wish to say something to you; Please listen: Saying ‘Stop’, he prevented me from walking on; Coming near me, he looked at my forehead, face, arms, eyes, gait and words, and then with much thought, he described each saying, ‘The beautiful thing fades not, and so, it’s not the crescent; It has not any blemish, and so, it’s not the moon; They are like bamboos, but there’s no mountain; They are like flowers, but there’s no spring; The walk is slow and gentle with grace, but there walks not a peacock; The words come hesitantly, but there speaks not a parrot’. And so, he praised me with many such words, and swiftly, akin to a hunter, who lay traps, he bided for the right time, waiting for the moment my heart would melt in his favour, and akin to a helper, looking at my distressed eyes, he folded his hands with respect. And then, he touched me; The man, who was thus acting, akin to mad elephant that is not arrested by a goad, worshipped and touched me. But in his nature, there was no semblance of ignorance, my friend!” Time to explore the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage and the words are rendered by the lady to her confidante. The lady starts by praising the adornments of the confidante, comparing the many golden jewels she wears on her hair to lightning streaks, spreading amidst dark clouds, mentioning also the strands of flower garlands she wears. Seems like these Sangam ladies put considerable effort into their hairdos! Returning, we see praise for the confidante continuing, with words about her smile, her teeth and her sweet words. After that glowing tribute to her friend, the lady informs the confidante that she has something to say to her, and requests her to listen intently. Relating an incident that happened between her and the man, the lady talks about how the man stopped her when she was going her way, and then coming close to her, looked at her and praised her forehead in a unique way, saying although it was crescent-like, it never fades, and then looking at her face, ‘even though it shone like the moon, it had no blemish’; Turning to her arms, he seems to have said that those were like bamboos and yet there was no mountain in sight; Now gazing at her eyes, he declared these were flowers indeed, but there was no spring around; Talking about her walk, he says it was gentle and graceful but this was no peacock, and about her talk, he mentions how hesitant and sweet it sounded, but this was no parrot either. In short, the man uses the same similes we have heard many times for the lady’s appearance but he says that in a different way. Following this flow of praise, the man seemed to have taken the stance of a hunter, who had laid a trap and was waiting for the right opportunity, that being when the lady’s heart would melt in his favour. After that, seeing the distressed look in her eyes, caused by shyness, the man seems to have taken the stance of a helper who bows low in respect, with folded hands in an Indian greeting before the lady. Following this, he seems to have touched the lady. About this behaviour of touching her, the lady says this is the act of a mad elephant that is not held back by a goad. ‘But even so, it was not out of ignorance the man was acting so, but out of love for me’, the lady concludes. To us, who are listening to this account two thousand years later, it may be surprising as to why the lady is revealing these intimate moments to her confidante. The possible context is that the man had sought the help of the confidante to further his relationship with the lady, while the lady has thus far not revealed her prior meeting with the man to her friend. Now, the lady decides it’s time to talk of this incident and how she kept her shyness and modesty as the man approached her then, and ends with a note of understanding about his love for her. This way, the lady gives her permission to the confidante to help the man in his requests for trysting and taking this relationship further. Indeed, it’s a complicated way of dealing with one’s love relationships that would appear bizarre to us in this time and age. However, within these words, subtly hides the important concept of consent in intimacy. The code of conduct in a man’s relationship with a woman in that Sangam culture can be sensed here. It was acceptable for a man to approach a woman and praise her beauty. The lady in question seems to have given no clear acceptance for the same, and in that age, this has been attributed to the innate shyness of the lady. However, it was considered inappropriate for the man to touch the lady without her approval, and this can be sensed in the portrayal of this act as that of a mad elephant. That the lady later forgives him and is able to perceive his love is another angle of the story. But the core here is the delicate balance between attaining intimacy and behaving in the right manner that has been outlined two thousand years ago, by this society. A timeless aspect to reflect upon and be mindful of, in intimate relationships, anytime anywhere!…

Sangam Lit

1
Kalithogai 54 – Fame of a friend 5:08

1 year temu5:08

5:08

In this episode, we hear the lady speaking her truth, as depicted in Sangam Literary work, Kalithogai 54, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and seeks the help of a friend. “கொடியவும் கோட்டவும் நீர் இன்றி நிறம் பெற, பொடி அழல் புறந்தந்த பூவாப் பூம் பொலன் கோதை, தொடி செறி யாப்பு அமை அரி முன்கை, அணைத் தோளாய்! அடி உறை அருளாமை ஒத்ததோ, நினக்கு?” என்ன, நரந்தம் நாறு இருங் கூந்தல் எஞ்சாது நனி பற்றி பொலம் புனை மகரவாய் நுங்கிய சிகழிகை, நலம் பெறச் சுற்றிய குரல் அமை ஒரு காழ் விரல் முறை சுற்றி, மோக்கலும் மோந்தனன்; நறாஅ அவிழ்ந்தன்ன என் மெல் விரற் போது கொண்டு, செறாஅச் செங் கண் புதைய வைத்து, பறாஅக் குருகின் உயிர்த்தலும் உயிர்த்தனன்; தொய்யில் இள முலை இனிய தைவந்து, தொய்யல் அம் தடக் கையின், வீழ் பிடி அளிக்கும் மையல் யானையின் மருட்டலும் மருட்டினன் அதனால், அல்லல் களைந்தனன், தோழி! நம் நகர் அருங் கடி நீவாமை கூறின், நன்று’ என நின்னொடு சூழ்வல், தோழி! ‘நயம் புரிந்து, இன்னது செய்தாள் இவள்’ என, மன்னா உலகத்து மன்னுவது புரைமே. The lady gets the spotlight in this one! The words can be translated as follows: “O maiden, wearing a golden garland, designed with flowers that bloom not, as if declaring that those on vines and branches could attain their hue, not with water, but with fire and ashes; having a beautiful forearm, decked with neat rows of bangles, and soft arms! Won’t you render the grace to me of residing at your feet?’, he said! Holding my dark tresses tightly, wafting with the fragrance of sweet orange flowers, and then taking a strand of a flower stalk, adorned with beauty around a hair knot, held by a golden clasp with a fish-mouth design, he twirled it around his fingers and smelt it; Grasping my soft fingers, akin to bloomed ‘Lavanga’ flowers, he pressed it on his passionate red eyes and sighed like a blacksmith’s bellows; Touching my young bosom adorned with thoyyil paintings, akin to an enticing male elephant that renders its grace to its beloved female, he caressed me. And so, my suffering ended, my friend! I think that it would be good if you can reveal this truth to those in our well-protected mansion. If you do so, the fame that ‘with kindness, she did this great thing’ will live long in this changing world!” Time to delve into the details. The verse is situated in the context of a man’s love relationship with the lady, prior to marriage and around the theme of revealing the lady’s relationship to her kin. The words are uttered by the lady to her confidante. Without any descriptions of the mountain country that we have come to expect, the lady starts narrating the man’s words to her, describing her golden ornaments, bangles and her delicate arms as he sought the grace of living at her feet forever. Then, the lady goes on to talk about how took a flower from her fragrant tresses and inhaled its scent, held the lady’s fingers and pressed it to his eyes, even as he sighed like an ironworker’s bellows, and how he caressed the lady, just the way a male elephant would render its love to its mate. Relating all these events that unfolded between her and the man, the lady says because of that, her suffering of being away from the man ended. Now, she requests the confidante to go to her family and reveal her relationship with the man, so that they do not go ahead with their plan of marrying the lady to a stranger, who had come seeking her hand. The lady concludes with a blessing to her friend that if she were to do that, the friend’s fame would live unchangingly in this world, where everything changes. A verse which goes on to show that the precious role of friends in one’s life remains a constant across space and time.…

Sangam Lit

1
Kalithogai 53 – From languishing to flourishing 7:17

1 year temu7:17

7:17

In this episode, we perceive the lady’s state in the man’s absence, as depicted in Sangam Literary work, Kalithogai 53, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and appeals to the man’s kindness to remedy a distressing situation. வறன் உறல் அறியாத வழை அமை நறுஞ் சாரல் விறல் மலை வியல் அறை, வீழ் பிடி உழையதா, மறம் மிகு வேழம், தன் மாறுகொள் மைந்தினான், புகர் நுதல் புண் செய்த புய் கோடு போல, உயர் முகை நறுங் காந்தள் நாள்தோறும் புதிது ஈன, அயம் நந்தி அணிபெற, அருவி ஆர்த்து இழிதரும் பய மழை தலைஇய பாடு சால் விறல் வெற்ப! மறையினின் மணந்து, ஆங்கே மருவு அறத் துறந்தபின், இறை வளை நெகிழ்பு ஓட, ஏற்பவும் ஒல்லும்மன் அயல் அலர் தூற்றலின், ஆய் நலன் இழந்த கண்; கயல் உமிழ் நீர் போல, கண் பனி கலுழாக்கால்? இனிய செய்து அகன்று, நீ இன்னாதாத் துறத்தலின், ‘பனி இவள் படர்’ என பரவாமை ஒல்லும்மன் ஊர் அலர் தூற்றலின், ஒளி ஓடி, நறு நுதல் பீர் அலர் அணி கொண்டு, பிறை வனப்பு இழவாக்கால்? ‘அஞ்சல்’ என்று அகன்று, நீ அருளாது துறத்தலின், நெஞ்சு அழி துயர் அட, நிறுப்பவும் இயையும்மன் நனவினால் நலம் வாட, நலிதந்த நடுங்கு அஞர் கனவினால் அழிவுற்று கங்குலும் அரற்றாக்கால்? என ஆங்கு, விளியா நோய் உழந்து ஆனா என் தோழி, நின் மலை முளிவுற வருந்திய முளை முதிர் சிறு தினை தளி பெறத் தகைபெற்றாங்கு, நின் அளி பெற நந்தும், இவள் ஆய் நுதற் கவினே. Another plea by the confidante on behalf of the lady! The words can be translated as follows: “In the wide and spreading, fragrant mountain slopes, filled with lush laurel wood trees, that know not the meaning of drought, a male elephant, full of strength and courage, was resting along with its beloved female. Seeing a rival male elephant arriving there, it attacks the newcomer’s spotted face and scars the same. Akin to its tusk pulled out from the skin of the foe, the tall and fragrant flame-lily blooms anew day after day, near the ponds, adorning the space with much beauty, in the song-worthy mountains, where cascades resound and descend, and clouds surround, in your country, O lord! After trysting with her in secret, when you abandoned her, maybe she could have accepted that the bangles on her wrist would slip away. But when neighbours spread slander, making her fine beauty fade, and when her eyes shed tears, akin to water that spouts out of a fish, what can she do? After doing sweet things, when you did the harsh thing of forsaking her, maybe they could have remained without offering sacrifices to gods so as to remedy the suffering of their child. But when the town spreads slander, making her lose her radiance, and when her fragrant forehead takes the hue of ridge-gourd flowers, losing its crescent-moon glow, what can they do? After saying ‘fear not’, when you parted away and deserted her, without your grace, she could have prevented the deep sorrow that destroys her heart. But when owing to reality, her health fades, and further, she trembles and laments because of her dreams at night, what can she do? And so, my friend suffered because of that unending disease. Akin to sprouting little millets in your mountain, which were languishing owing to the lack of water, but later rises up when it rains, her fine forehead will glow with beauty, when it attains your grace!” Let’s explore the nuances. The verse is situated in the context of a man’s love relationship, prior to marriage, and the words are rendered by the confidante to the man, when he had parted away temporarily from the lady. The confidante starts with a description of the mountain country, and in this edition, instead of the common trope of an elephant and tiger fighting, here we see one male elephant, which was resting with its female, attacking another rival elephant that arrives on the scene. Taking the action sequence further, the confidante describes how akin to the blood-soaked red tip of this elephant’s tusk when it pulls the same out of the rival’s face, flame-lilies burst all over the moist and lush mountains of the man. Then, she goes on to talk about how the man had trysted and relished the lady’s company for a while and then abandoned her. At this time, the lady suffered so much that she could not accept her bangles slipping away as her eyes shed tears, that the family could not help making sacrifices to heal the state of the lady, who had lost her radiance, and that the lady had no way of checking the sorrow in her heart because not only the reality of parting with the man but also the troubling dreams made her tremble and lose her health. Stating all these terrible effects, the confidante advises the man on the right course of action, saying like the once-languishing millet crops in his mountain would rise up with exuberance, when the rains pour, the lady’s beauty too would return when it receives the shower of the man’s grace. In short, it’s again ‘Marry her, marry her’ by sketching the importance of the man’s presence in the lady’s life! While it’s impossible to relate to the state of this languishing lady in her man’s absence, the image that we can relate to, is that of the withering millet crops that sprout up with a smile when the rains fall, telling us to focus on those aspects of our life that are languishing, and contemplate on that one thing they need to make them bloom with a flourish once again!…

Sangam Lit

1
Kalithogai 52 – The future wished for 6:56

1 year temu6:56

6:56

In this episode, we listen to an argument for seeking an alternative path, as depicted in Sangam Literary work, Kalithogai 52, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches the danger of discovery to a man intent on trysting by night. முறம் செவி மறைப் பாய்பு முரண் செய்த புலி செற்று, மறம் தலைக்கொண்ட நூற்றுவர் தலைவனைக் குறங்கு அறுத்திடுவான் போல், கூர் நுதி மடுத்து, அதன் நிறம் சாடி முரண் தீர்ந்த நீள் மருப்பு எழில் யானை, மல்லரை மறம் சாய்த்த மால் போல், தன் கிளை நாப்பண், கல் உயர் நனஞ் சாரல், கலந்து இயலும் நாட! கேள்: தாமரைக் கண்ணியை, தண் நறுஞ் சாந்தினை, நேர் இதழ்க் கோதையாள் செய்குறி நீ வரின், ‘மணம் கமழ் நாற்றத்த மலை நின்று பலி பெறூஉம் அணங்கு’ என அஞ்சுவர், சிறுகுடியோரே ஈர்ந் தண் ஆடையை, எல்லி மாலையை, சோர்ந்து வீழ் கதுப்பினாள் செய்குறி நீ வரின், ஒளி திகழ் ஞெகிழியர், கவணையர், வில்லர், ‘களிறு’ என ஆர்ப்பவர், ஏனல் காவலரே ஆர மார்பினை, அண்ணலை, அளியை, ஐது அகல் அல்குலாள் செய்குறி நீ வரின், ‘கறி வளர் சிலம்பில் வழங்கல் ஆனாப் புலி’ என்று ஓர்க்கும், இக் கலி கேழ் ஊரே என ஆங்கு விலங்கு ஓரார், மெய் ஓர்ப்பின், இவள் வாழாள்; இவள் அன்றி, புலம் புகழ் ஒருவ! யானும் வாழேன்; அதனால், பொதி அவிழ் வைகறை வந்து, நீ குறை கூறி, வதுவை அயர்தல் வேண்டுவல், ஆங்கு, புதுவை போலும் நின் வரவும், இவள் வதுவை நாண் ஒடுக்கமும், காண்குவல் யானே. We are back to the three-step format and the context of a confidante’s plea! The words can be translated as follows: “Angered by a tiger that pounced and attacked it, hidden because of its winnow-like ears, a handsome elephant with long tusks, akin to the strong and righteous one, who tore apart the thigh of the one, who was the chief of the hundred, piercing with its sharp ends, stabbed the chest of the hostile tiger and ended its enmity, and akin to the towering lord, who vanquished the ‘Mallars’, standing tall amidst its herd, it roves around in the wide slopes of your high mountains, O lord! Listen: Wearing a lotus garland, streaked with cool and fragrant sandalwood, when you come to tryst with the maiden, adorned with an exquisite-petaled flower garland, the people of the little hamlet, filled with fear, might mistake that fragrant scent as belonging to the fearsome mountain spirit that seeks a sacrifice. Wearing a cold and dripping attire, adorned with an evening garland, when you come to tryst with the maiden, with low-hanging thick tresses, people carrying radiant firebrands, catapults and bows, who guard the millet fields, might mistake you for an elephant and shout out in a frenzy. Wearing sandalwood on your chest, with a noble attitude and with grace, when you come to tryst with the maiden, having a wide and beautiful waist, the people of this uproarious town might mistake you as a tiger that has entered the pepper-flourishing mountain slopes. And when people see that it’s not an animal or a spirit that has come there and know the truth, she would not live; Without her, O man with a deep intellect, I shan’t live either. And so, come here at dawn, when flowers blossom, and stating your claim, seek her hand in marriage. I so wish to see you come here as if you were a stranger to her, and make her blush in shyness on the day of her wedding!” Let’s delve into the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage and around the theme of trysting. The words are rendered by the confidante to the man. The confidante begins by etching the man’s mountain country with that favourite trope of an elephant fighting with a tiger and vanquishing it. What’s unique in this instance of the repeating reference is the concept of a ‘blind spot’ that we can infer from this verse, in the image of how the elephant was not able to see the tiger behind it, because of its huge, winnow-like ears. Through this minute description, the poet brings out a deep dynamism to the scene, where the tiger, with cunning, hides behind the elephant and pounces on it. There are some mythical references as well in the image of a strong warrior tearing apart the thigh of another, who is said to be the leader of the hundred. Other interpreters have chosen to see this description as signifying the tale of Bheema and Duryodhana in the Epic Mahabaratha. Returning, we see the confidante relating to the man the situation of the townsfolk mistaking his fragrance, his wet appearance and manner of walking, as that of a fearsome spirit, or a ravaging elephant or a dangerous tiger. Because of this, a huge furore may rise and he may be found out in his secret tryst with the lady. If that happens, the lady cannot bear the shame and she will lose her life, the confidante says, adding so will she. So, instead of paving the way for these terrible consequences, the man must instead seek the lady’s hand to her family, the confidante advises, with a final note, filled with wishfulness, desiring to see the man walk like a stranger to the lady and the lady bending her head low in shyness, on that day they come together as one before the world. By painting these vivid images of the future she wishes for, the confidante makes a strong case to the man, and yet again teaches us the principles of persuasion!…

Sangam Lit

1
Kalithogai 51 – Antics of a scamp 5:15

1 year temu5:15

5:15

In this episode, we listen to a fascinating incident in the life of the lady, as portrayed in Sangam Literary work, Kalithogai 51, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches a delightful moment of love’s blooming. சுடர்த்தொடீஇ! கேளாய்! தெருவில் நாம் ஆடும் மணற் சிற்றில் காலின் சிதையா, அடைச்சிய கோதை பரிந்து, வரி பந்து கொண்டு ஓடி, நோ தக்க செய்யும் சிறு பட்டி, மேல் ஓர் நாள், அன்னையும் யானும் இருந்தேமா, ‘இல்லிரே! உண்ணு நீர் வேட்டேன்’ என வந்தாற்கு, அன்னை, ‘அடர் பொற் சிரகத்தால் வாக்கி, சுடரிழாய்! உண்ணு நீர் ஊட்டி வா’ என்றாள்: என, யானும் தன்னை அறியாது சென்றேன்; மற்று என்னை வளை முன்கை பற்றி நலிய, தெருமந்திட்டு, ‘அன்னாய்! இவனொருவன் செய்தது காண்’ என்றேனா, அன்னை அலறிப் படர்தர, தன்னை யான், ‘உண்ணு நீர் விக்கினான்’ என்றேனா, அன்னையும் தன்னைப் புறம்பு அழித்து நீவ, மற்று என்னைக் கடைக்கண்ணால் கொல்வான் போல் நோக்கி, நகைக் கூட்டம் செய்தான், அக் கள்வன் மகன். Such a different style from all the verses we have seen thus far. The words can be translated as follows: “O maiden wearing radiant bangles! Listen to me! When we used to play on the streets, there was one little rascal, who would kick away our sand houses, pull out the flower garlands that adorned our tresses and then run away with our striped ball, making us suffer so. Later, one day, when I was at home with mother, we heard a voice call out, ‘O people at this home, would you give me some water to drink?’. Mother, hearing this, said to me, ‘O maiden wearing radiant jewels, pour some water in a thick golden bowl and go give it to that person to drink’. Without knowing who it was, I went out to do what she asked me. Just then, that old rascal caught hold of my bangle-clad arm tightly, and startled me so. I shouted out, ‘O mother! See what he’s doing!’. Mother came out screaming with worry, and I told her quickly, ‘He started having hiccups, when he was drinking water’. When mother rushed to rub his back, he looked at me, from the corner of his eye, as though he would kill me, and then, that daring thief smiled with so much love and joy!” Time to delve into the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and the words are uttered by the lady to her confidante. Without much ado, the lady dives straight into the core, relating how when they were young girls playing on the street, an impish little boy would kick away the sand castles they had built, would pull out their head garlands and then scoot off with the ball they used to play with. No doubt the confidante would have nodded her head, remembering that little scamp. Then, the lady moves to the recent past, when she was at home with her mother and a male voice was heard outside asking for a little water. Mother, full of kindness, seems to have asked her girl to go give water to that person, that too in a golden bowl. The lady too, innocently seems to have gone out to do her mother’s bidding. Just then, she saw that the person before her was none other than that old scamp, who had troubled them in play. When she handed the water, he seems to have pulled her hand and she instinctively shouted calling mother to come see what that person was doing. Mother seems to have come running outside, worrying what’s up. To save him, the lady changed the story and told mother that he had started having severe hiccups and that’s why she called mother. Again, believing her daughter, mother seems to have gone to rub the back and aid the poor, hiccuping man. The lady concludes with the image of how this man, looked at her from the corner of his eye, as though he was about to kill her and then burst into a smile, full of joy and love for her! One of the best narrative verses I have read thus far. It made me burst into a big smile too, reliving this adorable story of love’s antics and the innocent joys of that delightful time in one’s life!…

Sangam Lit

1
Kalithogai 50 – Protect with your kind heart 6:16

1 year temu6:16

6:16

In this episode, we listen to the confidante’s counsel, as portrayed in Sangam Literary work, Kalithogai 50, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and argues for a protective attitude towards the lady. வாங்குகோல் நெல்லொடு வாங்கி, வருவைகல், மூங்கில் மிசைந்த முழந்தாள் இரும் பிடி, தூங்கு இலை வாழை நளி புக்கு, ஞாங்கர் வருடை மட மறி ஊர்வு இடைத் துஞ்சும் இருள் தூங்கு சோலை, இலங்கு நீர் வெற்ப! அரவின் பொறியும் அணங்கும் புணர்ந்த உரவு வில்மேல் அசைத்த கையை, ஓராங்கு நிரைவளை முன்கை என் தோழியை நோக்கி, படி கிளி பாயும் பசுங் குரல் ஏனல் கடிதல் மறப்பித்தாய்ஆயின், இனி நீ நெடிது உள்ளல் ஓம்புதல் வேண்டும்; இவளே பல் கோட் பலவின் பயிர்ப்பு உறு தீம் கனி அல்கு அறைக் கொண்டு ஊண் அமலைச் சிறுகுடி நல்கூர்ந்தார் செல்வ மகள் நீயே, வளியின் இகல் மிகும் தேரும், களிறும் தளியின் சிறந்தனை வந்த புலவர்க்கு அளியொடு கைதூவலை அதனால், கடு மா கடவுறூஉம் கோல் போல், எனைத்தும் கொடுமை இலையாவது அறிந்தும், அடுப்பல் வழை வளர் சாரல் வருடை நன் மான் குழவி வளர்ப்பவர் போல, பாராட்டி, உழையின் பிரியின், பிரியும், இழை அணி அல்குல் என் தோழியது கவினே. A verse that varies from the usual three-step Kalithogai format! The words can be translated as follows: “Bending the curving stalk, filled with grains, at dawn, the huge female elephant with drum-like feet feeds on the bamboo, and then enters the plantain grove, filled with hanging leaves, and there, amidst the frolicking young kids of mountain goats, sleeps in those dark groves, fed by radiant rivers, in your mountain, O lord! Carrying a bow, with snake-like spots, one which torments those who stand in opposition, on your swaying hands, you gazed at my friend, wearing well-set bangles on her forearms, and made her forget her task of chasing away parrots that pounce on the lush stalks of the millet fields then! Now, you need to think deeply about how to protect and care for her. As for her, she is the precious daughter of a wealthy couple, who sought the boon of a child for long, in this little hamlet with plentiful food, where people relish the sticky flesh of the fruit that drops from the many-branched jackfruit tree upon a boulder! As for you, you possess chariots that speed faster than the wind, and sturdy elephants, and even more than the rains, you shower your generosity upon poets, who come seeking to you. And so, knowing that you have not even the tiny shred of cruelty that makes one wield a whipping rod on a speeding horse, I ask you to take good care of my friend, akin to those who raise the young one of a mountain goat in the tree-filled slopes. If you part away from her, the beauty of my friend, adorned with a bejewelled waist, will part away too!” Let’s explore the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and the words are uttered by the confidante to the man. The confidante first describes the man’s country as a place where the elephant feeds on a grain-filled bamboo stalk and then sleeps in the plantain grove amidst the frolicking young ones of mountain goats. Then, she recollects how the man arrived one day with a bow in hand and seeing the lady, slowly worked his charm and made her forget the task of chasing parrots from her father’s millet fields. The confidante then brings the man back to the present, asking him to think about how he would protect the lady. To stress on her message, the confidante talks about the lady’s background, as a child born after many years to a couple seeking the boon of having children, to say how precious she is, and then talks about the lady’s hamlet as a lush place with plentiful food, where jackfruits fall on mountain boulders and are collected, without any pain or effort, and relished by the mountain folk. She also praises the worthy nature of the man, talking about his possessions of chariots and elephants, but more importantly, his immense generosity to poets and those who come seeking to him. And then, describing the man as one who wouldn’t even wield his whip on his horse, so kind he was, the confidante asks him to take good care of the lady, just the way the people would take care of an abandoned kid of a mountain goat. For if he does not do that and parts away, the lady’s health and beauty too would part away, she concludes. The confidante is saying these words when the man has been absent from his trysting for a while and insists that he take better care of the lady. The striking element of this verse is the way advice is offered, by talking about the goodness of both parties involved and presenting the case of why it’s important to do what’s being said. Even though the verse revolves around domestic issues of the heart, it teaches a valuable lesson in the art of negotiation!…

Sangam Lit

1
Kalithogai 49 – Come not at night 7:27

1 year temu7:27

7:27

In this episode, we perceive clear arguments mentioned to persuade a person, as portrayed in Sangam Literary work, Kalithogai 49, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals the dangers in a tryst by night. கொடுவரி தாக்கி வென்ற வருத்தமொடு நெடு வரை மருங்கின் துஞ்சும் யானை, நனவில் தான் செய்தது மனத்தது ஆகலின், கனவில் கண்டு, கதுமென வெரீஇ, புதுவதாக மலர்ந்த வேங்கையை ‘அது’ என உணர்ந்து, அதன் அணி நலம் முருக்கி, பேணா முன்பின் தன் சினம் தணிந்து, அம் மரம் காணும் பொழுதின் நோக்கல் செல்லாது, நாணி இறைஞ்சும் நல் மலை நல் நாட! போது எழில் மலர் உண்கண் இவள்மாட்டு நீ இன்ன காதலை என்பதோ இனிது மற்று இன்னாதே, மின் ஓரும் கண் ஆக, இடி என்னாய், பெயல் என்னாய், இன்னது ஓர் ஆர் இடை, ஈங்கு நீ வருவதை இன்புற அளித்தனை இவள்மாட்டு நீ இன்ன அன்பினை என்பதோ இனிது மற்று இன்னாதே, மணம் கமழ் மார்பினை, மஞ்சு இவர் அடுக்கம் போழ்ந்து, அணங்குடை ஆர் இடை, ஈங்கு நீ வருவதை இருள் உறழ் இருங் கூந்தல் இவள்மாட்டு நீ இன்ன அருளினை என்பதோ இனிது மற்று இன்னாதே, ஒளிறு வேல் வலன் ஏந்தி, ‘ஒருவன் யான்’ என்னாது, களிறு இயங்கு ஆர் இடை, ஈங்கு நீ வருவதை அதனால் இரவின் வாரல், ஐய! விரவு வீ அகல் அறை வரிக்கும் சாரல், பகலும் பெறுவை, இவள் தட மென் தோளே. A different style of insisting to the man ‘Marry her, marry her’! The words can be translated as follows: “After attacking the tiger with curving lines and winning over it, the exhausted elephant sleeps in the slopes of the tall mountains. Seeing the imprint of what it did in its conscious state as a dream, it suddenly rises with agitation. Then seeing a ‘Kino tree’, blooming with fresh flowers, thinking it’s that enemy standing there, it destroys the fine beauty of the tree with its mighty strength. After its rage has abated, whenever it comes by that ruined tree, without looking at it, with a head bowed in shame, the elephant wanders away in the fine mountain county of yours, O lord! That you have so much love towards her, the one with kohl-streaked eyes, having the beauty of a blossomed flower, is sweet indeed. But you coming here, as lightning streaks across the sky, on that formidable path, without minding the thunder or the downpour, is very much distressing! That you have so much affection towards her so as to render your sweet graces is sweet indeed. But you coming here, with a fragrant chest, penetrating through the mountains, surrounded by clouds on that formidable path, where fearsome spirits roam about, is very much distressing! That you have so much kindness towards her, the one with black tresses akin to darkness, is sweet indeed. But you coming here, bearing a radiant spear in your right hand, all alone, on that formidable path, where elephants rove around, is very much distressing! And so, come not at night, O lord! In this wide mountain slope, spreading with fallen flowers, may you delight in her soft and curving arms in the day too!” Time to explore the nuances. The verse is situated in the context of the man’s love relationship with the lady, prior to marriage, specifically around the theme of trysting and these words are rendered by the confidante to the man. The confidante starts by describing the man’s mountain country with an interesting scene. What has transpired is something we have seen in many verses and that’s a fight between the tiger and the elephant. In this case, the elephant emerges victorious and after that exhausting ordeal, is resting in the mountain slopes. Suddenly, seeing whatever it had been doing for real a while ago in a dream, the elephant rises up with fury and then spotting a Kino tree with bright yellow flowers, mistaking it to be a tiger, the elephant dashes against it, destroys it in a moment of passion, and then afterwards, whenever it comes on that path with this ruined tree, it would not even dare to look at the tree, and walk away, head bowed in shame. After that dynamic scene to describe the man’s country, the confidante mentions how sweet it is of the man to render his love, kindness and grace to the lady but doing that in the dark hour of night, walking on a path that was filled with the dangers of heavy downpours, fearsome sprits and roving elephants was a thing of concern. So, she requests the man not to tryst at night and instead find the way to delight in the lady’s company even during the day. Through this, she nudges the man to give up temporary trysting and instead seek the permanent path of happiness by claiming the lady’s hand. The highlight of this verse is that modern understanding of a dream that we can perceive from this verse. A dream is not considered as something sent by the Gods or an event that foretells the future. Rather the clear understanding that what we see in a dream is nothing more than a reenactment of whatever has happened in reality, especially the more dramatic events of our life, is seen in this verse from two thousand years ago! Going further, that act of ruin done in a moment of passion, and later, the regret that comes because of this, all projected on the actions of that animal, engraves the nuanced understanding of the human mind by the people of the Sangam era!…

Sangam Lit

1
Kalithogai 48 – Lady’s angst 7:02

1 year temu7:02

7:02

In this episode, we perceive the lady’s state of angst, as depicted in Sangam Literary work, Kalithogai 48, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and seeks a resolution for the lady’s suffering. ஆம் இழி அணி மலை அலர் வேங்கைத் தகை போல, தே மூசு, நனை கவுள், திசை காவல் கொளற்கு ஒத்த, வாய் நில்லா வலி முன்பின், வண்டு ஊது புகர் முகப் படு மழை அடுக்கத்த, மா விசும்பு ஓங்கிய, கடி மரத் துருத்திய, கமழ் கடாம் திகழ்தரும் பெருங் களிற்றினத்தொடு, வீங்கு எருத்து எறுழ் முன்பின் இரும் புலி மயக்குற்ற இகல் மலை நல் நாட! வீழ்பெயற் கங்குலின் விளி ஓர்த்த ஒடுக்கத்தால், வாழும் நாள் சிறந்தவள் வருந்து தோள் தவறு உண்டோ தாழ் செறி கடுங் காப்பின் தாய் முன்னர், நின் சாரல் ஊழ் உறு கோடல் போல், எல் வளை உகுபவால்? இனைஇருள் இது என ஏங்கி, நின் வரல் நசைஇ, நினை துயர் உழப்பவள் பாடு இல் கண் பழி உண்டோ ‘இனையள்’ என்று எடுத்து அரற்றும் அயல் முன்னர், நின் சுனைக் கனை பெயல் நீலம் போல், கண் பனி கலுழ்பவால்? பல் நாளும் படர், அட பசலையால் உணப்பட்டாள், பொன் உரை மணி அன்ன, மாமைக்கண் பழி உண்டோ இன் நுரைச் செதும்பு அரற்றும் செவ்வியுள், நின் சோலை மின் உகு தளிர் அன்ன, மெலிவு வந்து உரைப்பதால்? என ஆங்கு பின் ஈதல் வேண்டும், நீ பிரிந்தோள் நட்பு என நீவிப் பூங் கண் படுதலும் அஞ்சுவல்; தாங்கிய அருந் துயர் அவலம் தூக்கின், மருங்கு அறிவாரா மலையினும் பெரிதே. The confidante’s at it again, pleading for the lady’s cause. The words can be translated as follows: “Thinking that it’s the image of Kino flowers that blooms on the picturesque hill with descending cascades, honey bees swarm around the moist cheeks of elephants in a herd that are worthy of guarding the cardinal directions, with a strength that makes it impossible for opponents to stand in confrontation, with fragrant musth adorning them, in the mountain ranges surrounded by clouds, soaring to the skies, with dense forests amidst the flowing rivers; This is the animal, which the huge tiger with a thick neck and immense strength keeps fighting with, in your fine mountain country, O lord! Amidst the pouring rains at night, the fine maiden lives only to hear the sound of your signal. What mistake did her languishing arms do, for before the strict guard of her mother, who has locked her firmly within, akin to the mature petals of the flame-lily in your mountain slopes, they seem to shed away those shining bangles? Amidst the agonising darkness, yearning for you to arrive there, the maiden suffers in sorrow because of you. What sin did her sleepless eyes commit, for before the neighbours, who spread slander about her relationship with you, akin to a blue lily in a heavy downpour in your mountain springs, they seem to shed tears? For many days, as suffering spread, consumed by pallor, the maiden’s skin appeared as if gold dust had been sprinkled on sapphires. What sin did her dark-skinned form commit, for in the season with foaming and resounding waters, akin to a pale leaf in your groves, echoing her state aloud, it seems to lose its health? And so, you must render your grace to the one, whom you parted away from. I worry that her flower-like eyes will never find sleep. If one analyses the sorrow and angst that she bears, it is indeed greater than a limitless mountain!” Let’s delve into the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage and the words are uttered by the confidante to the man. The confidante starts by describing the man’s country by bringing forth images of bees mistaking the spots on powerful elephants as Kino flowers, tigers seeking to fight with these elephants, descending cascades, dense groves and flowing rivers. Then, she goes on to take about the lady’s state mentioning how the lady seemed to live only for the sound of the man’s trysting signal at night, amidst the darkness and the downpour, even as her mother locked her within and put her on a strict guard, and as the townsfolk spread slander about the lady’s relationship with the man. The confidante then details the consequences of this state on the lady’s health and appearance, stating how her bangles are slipping away like the mature petals of the flame lily withering away, how her eyes are filled with tears like the blue-lilies, drenched in a downpour in the man’s mountain springs, and how her sapphire-like dark skin seemed to coated with the gold dust of pallor, appearing like a pale leaf, in the water-fed groves of the man’s country. And in each case, she asks the man what sin did the arms, the eyes and the skin of the lady do, to suffer such a fate! Finally, she asks the man to return to the lady and alleviate her suffering and concludes with the thought that the lady’s suffering is greater than a mountain, spreading tall and wide, without any limits. While it may seem like a mountain is being made out of a mole-hill, perhaps such events and emotions were of crucial importance in those ancient times. Was it such a peaceful, content time and place that the tremors of a woman’s mind, who has only parted away from her love, would be showcased as an earth-shattering event? A repeating question that we keep encountering in our journey through this age!…

Sangam Lit

1
Kalithogai 47 – Confidante’s dilemma 7:04

1 year temu7:04

7:04

In this episode, we perceive the confusions in the mind of the confidante, as depicted in Sangam Literary work, Kalithogai 47, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and presents the confidante’s attempts to resolve the man’s quandary. ஒன்று, இரப்பான் போல் எளிவந்தும் சொல்லும்; உலகம் புரப்பான் போல்வது ஓர் மதுகையும் உடையன்; வல்லாரை வழிபட்டு ஒன்று அறிந்தான் போல், நல்லார்கண் தோன்றும் அடக்கமும் உடையன்; இல்லோர் புன்கண் ஈகையின் தணிக்க வல்லான் போல்வது ஓர் வன்மையும் உடையன்; அன்னான் ஒருவன் தன் ஆண்தகை விட்டு, என்னைச் சொல்லும் சொல், கேட்டீ சுடரிழாய்! பல் மாணும்; ‘நின் இன்றி அமையலேன் யான்’ என்னும் அவன் ஆயின், அன்னான் சொல் நம்புண்டல் யார்க்கும் இங்கு அரிதுஆயின், என் உற்ற பிறர்க்கும் ஆங்கு உளகொல்லோ? நறுநுதால்! ‘அறியாய் நீ; வருந்துவல் யான்’ என்னும் அவன் ஆயின், தமியரே துணிகிற்றல் பெண்டிர்க்கும் அரிதுஆயின், அளியரோ, எம் போல ஈங்கு இவன் வலைப்பட்டார்; ‘வாழலேன், யான்’ என்னும் ‘நீ நீப்பின்’ அவன் ஆயின், ‘ஏழையர்’ எனப் பலர் கூறும் சொல் பழி ஆயின், சூழுங் கால், நினைப்பது ஒன்று அறிகலேன், வருந்துவல்; சூழுங்கால், நறுநுதால்! நம்முளே சூழ்குவம் அவனை, நாண் அட, பெயர்த்தல் நமக்கும் ஆங்கு ஒல்லாது; “பேணினர்” எனப்படுதல் பெண்மையும் அன்று; அவன் வௌவினன் முயங்கும் மாத்திரம் வா எனக் கூறுவென் போலக் காட்டி, மற்று அவன் மேஎவழி மேவாய், நெஞ்சே! Being a song on confusions, it’s rather confusing! The words can be translated as follows: “As if he’s begging something, he appears with much humility, when he speaks; At the same time, he seems to have the kind of strength that can protect the entire world; As if he’s followed the guidance of the wise and learnt things in life, he appears with modesty that is seen only in the noble; At the same time, he seems to have the kind of ability that can abate the suffering of the impoverished with his immense generosity; Listen to the words, such a man speaks to me, repeatedly, letting go of his manly power, O maiden wearing radiant jewels! ‘Without her, I cannot live’, says he! It’s hard for anyone to believe these words of such a person. Would any one else have felt the suffering I feel now, O maiden with a fragrant forehead! ‘She doesn’t know. But I suffer so’, says he! It’s hard for women to dare to decide on their own. To be pitied are those like me, who have been caught in his web! ‘I shan’t live, if she parts away’, says he! There may be blame from many of being naive. When I ponder over it, I don’t know what to think! I’m filled with worry! Let’s think about this together, O maiden with a fragrant forehead! It’s true that shame stops us from going to him; Letting it go just like that isn’t right either. It’s not feminine to give in to his words on the other hand; But he does seem to have taken a vow to embrace you. Let me point to him a false place, and ask him to come there. That way, I would appear to fulfil his wish, O heart!” Let’s explore the details. The verse is situated in the context of the man’s love relationship with the lady, prior to marriage, and specifically, on the theme of the man winning the confidence of the confidante. The words are uttered by the confidante, and for the most part, she speaks to the lady, and in the concluding words to herself. The first section of the confidante’s words are easy to grasp in that they depict how the man approached her with much humility while she could see that he was someone with the strength to protect the whole world. He also had that calm and restrained quality that comes from following the guidance of the wise. To top it all, he seemed to have the wealth and generosity to end the suffering of the poor. In short, a perfect Sangam gentleman! After describing him so, the confidante talks about how he never thought of his power and superiority but kept repeating some words to the confidante, as if he was begging her. Now she talks about how he lamented that he cannot live without the lady, and that he suffers so without her and that he won’t live if the lady refuses to accept him. Now, the confidante talks about her pitiable state of being caught in this web, and certain beliefs of the time such as ‘women are naive and they cannot come to any decision of their own’. Then, she invites the lady to think it over with her and she goes back and forth with her thoughts supporting the man, and at the same time, declaring the shame in accepting him just like that. Finally, getting no response from the lady, decides to tell him a wrong trysting spot, so that she would appear to fulfil his dear wish of embracing the lady, but not actually do anything, owing to the lady’s lack of response! This whole monologue would definitely seem confusing to us, because we do not know the intentions and motivations of these characters from another era. However, we can understand that the defining characteristics here are the shyness in the lady regarding revealing the truth of her relationship with the man and the confidante’s persistent attempts to overcome the same. In the end, the confidante hopes that lady will accept the truth, overcoming her innate modesty, and thereby, help the confidante further her relationship with the man through trysting. It makes me smile to think that some of our confusions too would seem bizarre to people of another time! While that may be so, like change, confusions too seem a constant in human life!…

Sangam Lit

1
Kalithogai 46 – Being the messenger bee 9:44

1 year temu9:44

9:44

In this episode, we perceive the lady’s angst, as portrayed in Sangam Literary work, Kalithogai 46, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and narrates the thoughts revolving around a missed rendezvous. வீயகம் புலம்ப, வேட்டம் போகிய மாஅல் அம் சிறை மணி நிறத் தும்பி, வாய் இழி கடாத்த வால் மருப்பு ஒருத்தலோடு ஆய் பொறி உழுவை தாக்கிய பொழுதின், ‘வேங்கை அம் சினை’ என விறற் புலி முற்றியும், பூம் பொறி யானைப் புகர் முகம் குறுகியும், வலி மிகு வெகுளியான் வாள் உற்ற மன்னரை நயன் நாடி நட்பு ஆக்கும் வினைவர் போல், மறிதரும் அயம் இழி அருவிய அணி மலை நல் நாட! ஏறு இரங்கு இருள் இடை இரவினில் பதம் பெறாஅன், மாறினென் எனக் கூறி மனம் கொள்ளும் தான் என்ப கூடுதல் வேட்கையான், குறி பார்த்து, குரல் நொச்சிப் பாடு ஓர்க்கும் செவியோடு பைதலேன் யான் ஆக அருஞ் செலவு ஆர் இடை அருளி, வந்து அளி பெறாஅன், வருந்தினென் எனப் பல வாய்விடூஉம் தான் என்ப நிலை உயர் கடவுட்குக் கடம் பூண்டு, தன்மாட்டுப் பல சூழும் மனத்தோடு பைதலேன் யான் ஆக கனை பெயல் நடு நாள் யான் கண் மாற, குறி பெறாஅன், புனையிழாய்! என் பழி நினக்கு உரைக்கும், தான் என்ப துளி நசை வேட்கையான் மிசை பாடும் புள்ளின், தன் அளி நசைஇ ஆர்வுற்ற அன்பினேன் யான் ஆக என ஆங்கு, கலந்த நோய் கைம்மிக, கண் படா என்வயின் புலந்தாயும் நீ ஆயின், பொய்யானே வெல்குவை இலங்கு தாழ் அருவியோடு அணி கொண்ட நின் மலைச் சிலம்பு போல், கூறுவ கூறும், இலங்கு ஏர் எல் வளை, இவளுடை நோயே. Here’s an interesting attempt at persuading the man! The words can be translated as follows: “Making flowers lament, letting go of its desire, sapphire-hued bees with large, beautiful wings, surround a male elephant, with a shining white tusk and musth pouring from its mouth, and a tiger having alluring spots as they fight against each other. Buzzing around the strong tiger, thinking that it’s an alluring branch of the ‘Indian Kino tree’, and nearing the spotted face of the elephant, mistaking it for the pollen of flowers, akin to wise and good people, who seek out the virtue in the minds of warring kings, who clash with force and fury, wishing to turn them into friends, the bees buzz back and forth between the fighting beasts in your picturesque mountain country, filled with descending cascades, O lord! “As I suffered with great pain, listening for the sound of a falling chaste tree flower, awaiting the signal, with much desire, he would come walking in the thick darkness of the night, as thunder descends, and not attaining the joy of union, he would say, ‘The lady has changed’ and feel disappointed! As I suffered with great pain, with my heart pondering on many things, awaiting him, making vows to great gods above, he would come graciously upon the formidable and challenging path, and not attaining my graces, he would say, ‘The lady has made me distressed’, and speak of much sorrow! As I seek with deep love the graces he would endow, akin to a bird that sings above, desiring a drop of the rain, he would come amidst the heavy downpour at midnight, and as I stood at another place, not succeeding at his tryst, he would say to you, ‘The lady is to be blamed’, O maiden wearing well-etched ornaments!” And so, As the affliction that has fused as one in her becomes unbearable, I could not sleep at all. At least with a lie of blaming and disparaging me, win her heart, O lord. For akin to the echoing slopes in your adorned mountain, flowing with radiant cascades, that maiden wearing shining and beautiful bangles will reflect only what you say, and so her affliction too, will recede away!” Let’s delve into the details. The verse is situated in the context of a man’s love relationship with his lady prior to marriage, and speaks in the voice of the confidante to the man containing the thoughts expressed by the lady to the confidante earlier. As custom, the confidante starts with a description of the man’s mountain country, and here, she presents a dynamic image and a profound simile. The scene she shows to us is that of an elephant in musth, fighting with a tiger. While these two powerful animals may seem like the protagonists of this scene, the confidante shifts the focus to the beautiful, sapphire-hued bees. Instead of going about their usual task of feeding on the nectar of real flowers, these bees seem to have got distracted by the sight of the tiger and had mistaken the animal of a branch of the flower-filled Kino tree, and on the other side, seeing the spotted face of the elephant, they think that it’s the pollen of flowers! Confused, they seem to move back and forth between the two clashing beasts, and for this scene, the confidante presents a simile of wise people, possibly poets and philosophers of that age, who would turn messengers between two warring kings, trying to calm their ire, bridge their gaps, and find friendship even. The confidante uses the image of bees buzzing between the beasts to describe the man’s mountain country. Then, the confidante starts rendering the words said by the lady to her about the man. Apparently, the lady had been waiting to tryst with the man at night. But, for various reasons such as the wrong signal or the wrong place, that trysting did not happen. Because of this, the lady worries that the man would blame her, and talk of how much sorrow the lady has brought to him, even as she herself is tormented by the pain of not meeting him. Taking this message to the man, the confidante asks him to utter a falsehood saying the reason for that missed tryst was the confidante herself. If he were to say that, the lady would echo that as the truth, like the man’s mountain slopes, and soon the lady’s illness would recede, the confidante concludes. While the statements expressed here do not appear so at all, this is a rather interesting technique by the confidante to persuade the man to marry the lady. Why because the man’s honour will prevent him from saying such a lie to the lady and understanding the lady’s love and her suffering, when she does not see him, the man would choose to seek the permanent path of happiness and take steps to claim the lady’s hand. That’s the bullseye our confidante is aiming for! And like the bees that buzz back and forth between the elephant and the tiger, it’s the confidante fluttering between the two lovers to make their life one of joy. Returning to that exquisite simile of wise messengers who go back and forth between warring kings so as to cultivate understanding in-between each other and give up the hateful act of war, it’s heartening to know that even two thousand years ago, in a world all about honour and victory, there were people who stood for peace! And today, like many, I wish for people and nations to embody the qualities of this beautiful bee mentioned in this verse, so as to be a bridge between the warring countries in the Middle East and Europe, so that soon, peace shall come to be!…

Sangam Lit

1
Kalithogai 45 – Piercing words 8:02

1 year temu8:02

8:02

In this episode, we listen to words that bring about transformation, as portrayed in Sangam Literary work, Kalithogai 45, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and relays good tidings to the lady. விடியல் வெங் கதிர் காயும் வேய் அமல் அகல் அறை, கடி சுனை கவினிய காந்தள் அம் குலையினை, அரும் மணி அவிர் உத்தி அரவு நீர் உணல் செத்து, பெரும் மலை மிளிர்ப்பன்ன காற்றுடைக் கனை பெயல் உருமுக் கண்ணுறுதலின், உயர் குரல் ஒலி ஓடி, நறு வீய நனஞ் சாரல் சிலம்பலின், கதுமென, சிறுகுடி துயில் எழூஉம் சேண் உயர் விறல் வெற்ப! கால் பொர நுடங்கல கறங்கு இசை அருவி நின் மால் வரை மலி சுனை மலர் ஏய்க்கும் என்பதோ புல் ஆராப் புணர்ச்சியால் புலம்பிய என் தோழி பல் இதழ் மலர் உண்கண் பசப்ப, நீ சிதைத்ததை? புகர் முகக் களிறொடு புலி பொருது உழக்கும் நின் அகல் மலை அடுக்கத்த அமை ஏய்க்கும் என்பதோ கடை எனக் கலுழும் நோய் கைம்மிக, என் தோழி தடையின திரண்ட தோள் தகை வாட, சிதைத்ததை? சுடர் உற உற நீண்ட சுரும்பு இமிர் அடுக்கத்த விடர் வரை எரி வேங்கை இணர் ஏய்க்கும் என்பதோ? யாமத்தும் துயிலலள் அலமரும் என் தோழி காமரு நல் எழில் கவின் வாட, சிதைத்ததை? என ஆங்கு, தன் தீமை பல கூறிக் கழறலின், என் தோழி மறையில் தான் மருவுற மணந்த நட்பு அருகலான், பிறை புரை நுதல்! அவர்ப் பேணி நம் உறை வரைந்தனர், அவர் உவக்கும் நாளே. Another case of the confidante sketching the situation to the man. The words can be translated as follows: “Blocking the pleasant rays of the early morning sun, bamboos spread densely in the wide spaces, where adding beauty to the fragrant spring therein, blooms the flame-lily. Mistaking the flower clusters as a gem-spotted, lined hood of a snake drinking water, as if toppling the huge mountain, along with winds and a heavy downpour, thunder roars as clouds dash against each other, making that loud sound echo all around the fragrant, wide mountain slopes. Startled by this sudden sound, those sleeping in the little hamlets sit up awake in the lofty, soaring victorious mountain of yours! My friend laments for togetherness with you that never diminishes in warmth. Is it because her many-petaled, flower-like, kohl-streaked eyes are like the flowers that bloom in the brimming pond of your towering hill, where even when winds blow forcefully, without swaying from their path, resounding cascades descend, that you made pallor spread on it and ruined it so? My friend cries thinking it’s the end as her love affliction becomes unmanageable. Is it because her thick and curving arms are like the bamboos in your wide mountain ranges, where a tiger attacks and agitates an elephant with a spotted face, that you made it fade and ruined it so? My friend sleeps not even at midnight filled with suffering. Is it because her desirable, fine beauty is like the flame-like flower clusters of the ‘Kino’ tree in your wide mountain, where hills soar as if they are about to touch the sun and where bees buzz around, that you made it fade and ruined it so? And so, as I spoke of many such terrible wrongs he has done and chided him so, he decided to make his secret trysting with you scarce, O maiden with a crescent-like forehead, and instead came seeking your hand to our kin. They too welcomed him and decided on a day that would bring great joy to him!” Time to delve into the nuances. The verse is situated in the context of a man’s love relationship with his lady prior to marriage. These words are uttered by the confidante to the lady, comprising within the words the confidante spoke to the man earlier. The confidante starts by describing the man’s mountain country as one filled with dense bamboo stalks that prevent the passing through of the gentle rays of the sun, and there, flame-lilies bloom near the picturesque springs. Seeing this flame-lily near the water and mistaking it to be a hooded snake about to take a sip, thunder roars so loudly that it makes the people living in the villages sit up startled, says the confidante. This is just to describe the man’s mountain country but within this description, we see how thunder is personified as having anger against a snake and this echoes the belief in Sangam people about the ingrained enmity between snakes and thunder that we have seen in many other songs. Also, we can note this interesting quirk in Sangam poets of focusing more on the sound aspect, which is thunder, rather than the flashier aspect of a lightning in this weather phenomenon. Returning, the confidante continues with further depictions of the man’s country in her three layered format talking about the steady cascades descending town, mountains where tigers and elephants clash uproariously and were the hills were so tall they seem to touch the sun. Then, she asks the man whether his lack of grace to the lady was because the lady’s eyes were like the flowers in the ponds of his domain, the lady’s arms were like the bamboos growing there, and her beauty was like that of the fire-like Kino flowers. She means to ask whether the man thought how dare the lady be so beautiful as his country and that’s why he made the lady’s beauty fade and ruined it so! Another way of conveying to the man the distress in the lady’s heart and nudging him in the right direction. The confidante continues by saying that after hearing all this, the man decided that he should cease his secret trysting and instead seek the lady’s hand. When he did that, the lady’s kin accepted his request and have even decided on a wedding day that would bring great joy to the man, the confidante concludes. And thus, the confidante relays the success of her mission in changing the man’s mind, thereby bringing lasting joy to the lady. A friend, who is indeed a fortune to have in one’s life!…

Sangam Lit

1
Kalithogai 44 – Become the cure 6:26

1 year temu6:26

6:26

In this episode, we listen to a passionate plea, as depicted in Sangam Literary work, Kalithogai 44, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and etches the virtue of the lady. கதிர் விரி கனை சுடர்க் கவின் கொண்ட நனஞ் சாரல் எதிரெதிர் ஓங்கிய மால் வரை அடுக்கத்து, அதிர் இசை அருவி தன் அம் சினை மிசை வீழ, முதிர்இணர் ஊழ் கொண்ட முழவுத்தாள் எரிவேங்கை, வரி நுதல் எழில் வேழம் பூ நீர் மேல் சொரிதர, புரி நெகிழ் தாமரை மலர் அம் கண் வீறு எய்தி திரு நயந்து இருந்தன்ன தேம் கமழ் விறல் வெற்ப! தன் எவ்வம் கூரினும், நீ செய்த அருள் இன்மை என்னையும் மறைத்தாள், என் தோழி அது கேட்டு, நின்னை யான் பிறர் முன்னர்ப் பழி கூறல் தான் நாணி, கூரும் நோய் சிறப்பவும் நீ செய்த அருள் இன்மை சேரியும் மறைத்தாள், என் தோழி அது கேட்டாங்கு, ‘ஓரும் நீ நிலையலை’ எனக் கூறல் தான் நாணி நோய் அட வருந்தியும், நீ செய்த அருள் இன்மை ஆயமும் மறைத்தாள், என் தோழி அது கேட்டு, மாய நின் பண்பு இன்மை பிறர் கூறல் தான் நாணி, என ஆங்கு இனையன தீமை நினைவனள் காத்தாங்கு அனை அரும் பண்பினான் நின் தீமை காத்தவள் அரும் துயர் ஆர் அஞர் தீர்க்கும் மருந்து ஆகிச் செல்கம், பெரும! நாம் விரைந்தே We’re back to the three-step format of Kalithogai seen in many previous verses. The words can be translated as follows: “Basking with beauty in the dense, spreading rays of the sun, are the wide slopes, surrounded by soaring peaks on all sides. From these peaks, descend the resounding cascades and these fall atop beautiful branches with mature, flower clusters of the flame-like ‘Kino’ tree with a drum-like trunk. As handsome elephants with lined foreheads shower water on the flowers, lotuses blooming from the buds, appear with the exquisite greatness in the image of wealth and prosperity in the honey-fragrant, victorious mountain of yours, O lord! Even though her suffering soared, my friend hid your lack of grace from me, feeling shame worrying that if I heard of that, I would say words blaming you in front of others. Even though her affliction peaked, my friend hid your lack of grace from the neighbours, feeling shame worrying that if they heard of that, they would say that you don’t have a clear and stable mind. Even though she was pained by this affliction, my friend hid your lack of grace from her playmates, feeling shame worrying that if they heard of that, they would say that you lack virtue and truth. And so, she is such a person, who thought of all these ills that would befall you, and owing to her precious virtue, protected you from censure and blame. O lord, becoming the cure for her deep sorrow and immense suffering, we must go to her with haste!” Let’s delve into the details. The verse is situated in the context of a man’s love relationship with his lady, prior to marriage, and these words are uttered by the confidante to the man. The confidante starts with a glowing description of the man’s country, where the sun’s rays blanket the slopes with a pleasant warmth amidst the soaring peaks on all sides, and here, stands a ‘Kino’ tree by a cascade, whose water splashes on the flowers blooming on the tree. Nearby, elephants spray water on these golden, fire-like flowers, and a lotus flower too blooms, endowing the entire place with an image of exuberant wealth. Such is the man’s mountain, the confidante says. From the man’s country, she shifts her focus to the lady’s situation and talks about how even though the lady suffers immensely with her love affliction, she hides it from her close friend, the confidante, the neighbours around and her dear playmates, worrying that if the man’s lack of grace is known, the confidante would blame him for his lack of responsibility, the neighbours would censure him for his lack of stability and the friends would mock his lack of truth. Saying this, the confidante insists that the man should understand such a noble virtue of the lady, who disguises her pain so that no insult shall come the man’s way, and concludes by asking him to become the cure for the lady’s suffering. As the man had been interested only in trysting with the lady and had not taken any steps towards their marriage, the confidante conveys the lady’s pain and nudges him to choose the permanent path of happiness by seeking the lady’s hand. It’s yet another song of ‘marry her, marry her’ but one in which we take in a picturesque scene in the mountains and perceive a persuasive argument that appeals to a person’s emotions and points them in the right direction!…

Sangam Lit

1
Kalithogai 43 – Transformed by thoughts 8:52

1 year temu8:52

8:52

In this episode, we hear the praises of the man, as portrayed in Sangam Literary work, Kalithogai 43, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals the effect of singing about the man on the lady. தோழி வள்ளைப் பாட்டுப் பாடத் தலைவியை அழைத்தல் வேங்கை தொலைத்த வெறி பொறி வாரணத்து ஏந்து மருப்பின், இன வண்டு இமிர்பு ஊதும் சாந்த மரத்தின் இயன்ற உலக்கையால், ஐவன வெண் நெல் அறை உரலுள் பெய்து, இருவாம், ஐயனை ஏத்துவாம் போல, அணிபெற்ற மை படு சென்னிப் பய மலை நாடனை, தையலாய்! பாடுவாம், நாம் தோழியின் பாடல் தகையவர் கைச் செறித்த தாள்போல, காந்தள் முகையின்மேல் தும்பி இருக்கும் பகை எனின், கூற்றம் வரினும் தொலையான், தன் நட்டார்க்குத் தோற்றலை நாணாதோன் குன்று தலைவியைப் பாடுமாறு தோழி வேண்டுதல் வெருள்பு உடன் நோக்கி, வியல் அறை யூகம், இருள் தூங்கு இறு வரை ஊர்பு இழிபு ஆடும் வருடைமான் குழவிய வள மலை நாடனைத் தெருள தெரியிழாய்! நீ ஒன்று பாடித்தை தலைவி நுண் பொறி மான் செவி போல, வெதிர் முளைக் கண் பொதி பாளை கழன்று உகும் பண்பிற்றே மாறு கொண்டு ஆற்றார்எனினும், பிறர் குற்றம் கூறுதல் தேற்றாதோன் குன்று தோழி புணர் நிலை வளகின் குளகு அமர்ந்து உண்ட புணர் மருப்பு எழில் கொண்ட வரை புரை செலவின் வயங்கு எழில் யானைப் பய மலை நாடனை மணம் நாறு கதுப்பினாய்! மறுத்து ஒன்று பாடித்தை தலைவி கடுங் கண் உழுவை அடி போல வாழைக் கொடுங் காய் குலைதொறூஉம் தூங்கும் இடும்பையால் இன்மை உரைத்தார்க்கு அது நிறைக்கல் ஆற்றாக்கால், தன் மெய் துறப்பான் மலை தோழி என ஆங்கு கூடி அவர் திறம் பாட, என் தோழிக்கு வாடிய மென் தோளும் வீங்கின ஆடு அமை வெற்பன் அளித்தக்கால் போன்றே. Yet another verse featuring these two maiden and their songs. The words can be translated as follows: “ Confidante’s request to the lady : Taking the tusk of a wild, spotted elephant that has killed a tiger and the wood of the bee-buzzing sandalwood tree as pestles, let’s pour the wild white rice into the bowl of the mortar and pound it, and singing as if we are praising our god, let’s praise the man from the fearsome mountains, whose peaks are surround by beautiful black clouds, O young maiden! Confidante’s song : Like the rings on the fingers of esteemed women, upon the buds of flame-lilies, bees lie in wait in the peak of the one, who will never be defeated even if Death attacks as his enemy, but one, who never feels shame for losing out to those he loves. Confidante’s request asking the lady to sing: Gazing with startled eyes at the black monkeys on wide boulders, kids of mountain goats leap down into the dark clefts of the mountain ranges in the fertile country of the lord, O maiden, wearing well-etched ornaments! Please sing something to sketch him vividly! Lady: Akin to the spotted ears of a deer, are the sheaths that cover the nodes of the bamboo, which shed away in the peak of the one, who never speaks ill even of those, who are his enemies, who cannot withstand his attack! Confidante: After feeding upon the leaves of the plum with desire, as if a beautiful hill was marching on with tusks, the handsome elephant roves in the formidable mountains of the lord, O maiden having fragrant tresses! Please sing again about him. Lady: Akin to the foot of a harsh-eyed tiger, the curving fruits of the plantain hang in huge clusters in the mountain of the one, who would give up his life, if he is unable to fulfil the needs of those, who express the lack in their lives, owing to suffering. Confidante’s recollection: And so, as we sang together of his strengths, the faded soft arms of my friend regained their health, as if the man from the mountain with swaying bamboos, had truly rendered his grace!” Let’s explore the details. The verse is situated in the context of a man’s love relationship with a lady prior to marriage. These words contain exchanges between the lady and the man and concludes as thoughts expressed by the confidante to herself, as the man listens nearby. The confidante starts as custom describing the pestles they are going to use. She mentions both the tusk of a killer elephant and the wood from a sandalwood tree as the pestle. These could be separate items or a fusion of these two into a single pestle. Next, we see them pouring the wild rice into the mortar so as to start pounding on it. As they do, the confidante says they should sing about the man from the mountain country, hidden in a song about their God, whom interpreters mention as ‘God Muruku’. The confidante starts by talking about how bees resting on flame lilies seem like rings on the fingers of maiden and also, about a startled tahr, running away in the mountain clefts frightened by the sight of black monkeys on rocks. Then, to describe the qualities of the god and the man, she says the man would never see defeat even if it’s Death confronting him as the enemy while at the same time, the man would never feel shame for owning his defeat to those he loves. Then the confidante invites the lady to sing something, and the lady responds by equating the ears of spotted deer and the sheaths on bamboos that fall away in the man’s country, and to talk about his nature, she details how the man does not know to speak ill of anyone, even if they are his enemies, who are vanquished by him. The confidante then mentions a detail about an elephant walking majestically as if a hill had sprouted tusks and is marching on, in the mountains of the man, and she begs the lady to sing one more thing. The lady accepts her friend’s request and connects the foot of a tiger and the curving fruits of a plantain and etches the generosity of the man, who would want to end his life, if at all he’s unable to fulfil the needs of those who express their poverty to him. And now, the confidante concludes, recollecting this song of theirs, knowing that the man is listening nearby, by declaring how singing about the man’s country and his qualities helped the lady regain her health, as if the man had returned and endowed his graces. The idea behind the confidante’s words is to tell the man about the lady’s state of worry regarding the delay in her marriage with the man and at the same time, convey the love she has for the man that made her bear through the time of his absence. A subtle takeaway from this verse is the health and happiness that are endowed on one by the mere act of thinking positive thoughts!…

Sangam Lit

1
Kalithogai 42 – Radiant rays of trust 7:29

1 year temu7:29

7:29

In this episode, we perceive the lady’s trust in the man, as depicted in Sangam Literary work, Kalithogai 42, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and relates a joyous incident in the lady’s life. வள்ளைப் பாட்டுப் பாடத் தோழி அழைக்க, தலைவி இசைதல் ‘மறம் கொள் இரும் புலித் தொல் முரண் தொலைத்த முறம்செவி வாரணம் முன் குளகு அருந்தி, கறங்கு வெள் அருவி ஓலின் துஞ்சும் பிறங்கு இருஞ் சோலை நல் மலை நாடன் மறந்தான்; மறக்க, இனி; எல்லா! நமக்குச் சிறந்தமை நாம் நன்கு அறிந்தனம், ஆயின்; அவன் திறம், கொல் யானைக் கோட்டால் வெதிர் நெல் குறுவாம் நாம், வள்ளை அகவுவம், வா’ ‘இகுளை! நாம் வள்ளை அகவுவம், வா’ தோழி இயற்பழித்தல் காணிய வா வாழி, தோழி! வரைத் தாழ்பு வாள் நிறம் கொண்ட அருவித்தே, நம் அருளா நாணிலி நாட்டு மலை தலைவி இயற்பட மொழிதல் ஆர்வுற்றார் நெஞ்சம் அழிய விடுவானோ ஓர்வு உற்று ஒரு திறம் ஒல்காத நேர்கோல் அறம் புரி நெஞ்சத்தவன்? தோழி தண் நறுங் கோங்கம் மலர்ந்த வரையெல்லாம் பொன் அணி யானை போல் தோன்றுமே நம் அருளாக் கொன்னாளன் நாட்டு மலை தலைவி கூரு நோய் ஏய்ப்ப விடுவானோ? தன் மலை நீரினும் சாயல் உடையன், நயந்தோர்க்குத் தேர் ஈயும் வண் கையவன் தோழி வரைமிசை மேல் தொடுத்த நெய்க் கண் இறாஅல் மழை நுழை திங்கள் போல் தோன்றும் இழை நெகிழ எவ்வம் உறீஇயினான் குன்று தலைவி எஞ்சாது, எல்லா! கொடுமை நுவலாதி அஞ்சுவது அஞ்சா அறனிலி அல்லன், என் நெஞ்சம் பிணிக்கொண்டவன் என்று யாம் பாட, மறை நின்று கேட்டனன், தாழ் இருங் கூந்தல் என் தோழியைக் கை கவியா, சாயல் இன் மார்பன் சிறு புறம் சார்தர, ஞாயிற்று முன்னர் இருள் போல மாய்ந்தது, என் ஆயிழை மேனிப் பசப்பு! Although the verse is another musical exchange between the confidante and lady, the roles are reversed here. The words can be translated as follows: Confidante’s request to the lady: Ending the old enmity of the huge and brave tiger, the elephant having ears like a winnow, feeds on herbs and grass in front, and sleeps in the sound of the descending, white cascade, in the huge and lush forests of the mountains, ruled by the lord. He has forgotten me; Let it be so! But we know well what he has rendered; And so, let us sing of his traits, as we pound the bamboo rice with the fierce elephant’s tusk, in a ‘vallai’ song. Come my friend, let’s sing a ‘vallai’ song together: Confidante’s words: Come and see, my friend, may you live long! How do the white-hued cascades descend down the mountains of the shameless one, who does not render his grace? Lady’s response: Will he let the heart of the one whom he loves be ruined? For he is one with a heart filled with unswerving justice, like the needle of a scale that does not bend to one side unfairly. Confidante’s words: How do the moist and fragrant buttercup flowers bloom all around the ranges, making it appear like an elephant, clad in golden ornaments in the mountain of the cruel one, who does not render his grace? Lady’s response: Will he let me be as this piercing disease tortures? He is one sweeter than the water in his mountain, one who has the generous hands to render chariots to those, who come seeking to him with desire. Confidante’s words: How do the honeycombs, filled with nectar, cover the hill tops, appearing like a cloud-covered moon in the mountain of the tormenting one, who made your jewels slip away? Lady’s response: Don’t, my friend! Don’t speak ill of him unceasingly! He is not an unjust person, who fears not what needs to be feared, the one who has captured my heart. And so, as we sang all this, he was listening to it, hidden by the hedge. Then, gesturing my friend with dark and low-lying tresses to move away, the sweet-chested man stepped up and embraced me from behind. When he did that, akin to how darkness dissipates in front of the sun, so vanished the pallor on my beautiful, jewel-clad skin!” Time to delve into the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and specifically at a time, when the man had parted away from the lady for a while. The words are said by the lady and the confidante, with the lady’s conclusion, for a change. The confidante starts as custom by singing about the man’s mountain country, where an elephant has fought and won over a tiger, and after feeding on the grass, was now sleeping in the sound of the waterfalls. Describing the man’s country so, the confidante requests that she and the lady should sing about the traits of the man, as they pound the bamboo rice with an elephant tusk. Differing from the previous verses, the confidante takes the role of the ‘bad cop’ and starts wondering how the cascades can flow, the buttercups can bloom, honeycombs can cover the mountains of the man, who has shamelessly and cruelly abandoned the lady! The lady refutes each piercing insult by the confidante and declares that the man will not let her heart be ruined, he will not stay away with apathy as the love affliction torments her, and talks of him as one who is always just, sweeter than the waters of his mountains, and generous to render chariots to those who come seeking. If he’s so kind to strangers, would he forsake me, the one who loves him so?, the lady asks. Then, she relates how, as they were singing so, the man was listening to all this and then asked the confidante to move away, and came there to embrace her from behind. Just then, like how darkness instantly vanishes the moment the sun enters the scene, the pallor on her skin too vanished, when the man embraced her, the lady concludes. Here’s a sweet song, wherein we see the trust in a man’s love glow in the words of his lady!…

Sangam Lit

1
Kalithogai 41 – Trajectory of prosperity 10:57

1 year temu10:57

10:57

In this episode, we perceive the prosperity of a mountain country, as portrayed in Sangam Literary work, Kalithogai 41, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals the power of words in changing a heart. வள்ளைப் பாட்டுப் பாட, தலைவியைத் தோழி அழைத்தல் பாடுகம், வா வாழி, தோழி! வயக் களிற்றுக் கோடு உலக்கையாக, நல் சேம்பின் இலை சுளகா, ஆடு கழை நெல்லை அறை உரலுள் பெய்து, இருவாம் பாடுகம், வா வாழி தோழி! நல் தோழி! பாடுற்று இடி உமிழ்பு இரங்கிய விரவு பெயல் நடு நாள், கொடி விடுபு இருளிய மின்னுச் செய் விளக்கத்து, பிடியொடு மேயும் புன்செய் யானை அடி ஒதுங்கு இயக்கம் கேட்ட கானவன் நெடு வரை ஆசினிப் பணவை ஏறி, கடு விசைக் கவணையில் கல் கை விடுதலின், இறு வரை வேங்கை ஒள் வீ சிதறி, ஆசினி மென் பழம் அளிந்தவை உதிரா, தேன் செய் இறாஅல் துளைபடப் போகி, நறு வடி மாவின் பைந் துணர் உழக்கி, குலையுடை வாழைக் கொழு மடல் கிழியா, பலவின் பழத்துள் தங்கும் மலை கெழு வெற்பனைப் பாடுகம், வா வாழி, தோழி! நல் தோழி! பாடுற்று தலைவி இலங்கும் அருவித்து; இலங்கும் அருவித்தே; வானின் இலங்கும் அருவித்தே தான் உற்ற சூள் பேணான் பொய்த்தான் மலை தோழி பொய்த்தற்கு உரியனோ? பொய்த்தற்கு உரியனோ? ‘அஞ்சல் ஓம்பு’ என்றாரைப் பொய்த்தற்கு உரியனோ? குன்று அகல் நல் நாடன் வாய்மையில் பொய் தோன்றின், திங்களுள் தீத் தோன்றியற்று தலைவி இள மழை ஆடும்; இள மழை ஆடும்; இள மழை வைகலும் ஆடும் என் முன்கை வளை நெகிழ வாராதோன் குன்று தோழி வாராது அமைவானோ? வாராது அமைவானோ? வாராது அமைகுவான் அல்லன் மலைநாடன் ஈரத்துள் இன்னவை தோன்றின், நிழற் கயத்து நீருள் குவளை வெந்தற்று தலைவி மணி போலத் தோன்றும்; மணி போலத் தோன்றும்; மண்ணா மணி போலத் தோன்றும் என் மேனியைத் துன்னான் துறந்தான் மலை தோழி துறக்குவன் அல்லன்; துறக்குவன் அல்லன்; தொடர் வரை வெற்பன் துறக்குவன் அல்லன் தொடர்புள் இனையவை தோன்றின், விசும்பில் சுடருள் இருள் தோன்றியற்று தந்தை வரைவு உடம்பட்டமையைத் தலைவிக்குத் தோழி அறிவித்தல் என ஆங்கு நன்று ஆகின்றால் தோழி! நம் வள்ளையுள் ஒன்றி நாம் பாட, மறை நின்று கேட்டு அருளி, மென் தோட் கிழவனும் வந்தனன்; நுந்தையும் மன்றல் வேங்கைக் கீழ் இருந்து, மணம் நயந்தனன், அம் மலைகிழவோற்கே! Yet another song, in the format of a musical exchange between the lady and the confidante. The words can be translated as follows: “ Confidante’s request to the lady : Let’s sing, come, my friend, may you live long! Using the tusk of a strong male elephant as the pestle, and the leaf of the fine taro as our winnow, as we pour the swaying bamboo rice into the mortar and pound, let us both sing together, come, my friend, may you live long! My good friend! When the skies shed lightning and thunder, and showered rain at midnight, in the light of the vine-like lightning streaks, an elephant grazing along with its mate, arrived at the farm fields. Hearing their footsteps pause, a mountain guard, climbing upon the loft placed atop a breadfruit tree, launched a stone from his powerful catapult. That stone scattered the radiant flowers of the ‘Kino tree’ rising atop a rock in the mountain cleft, knocked down ripe and soft breadfruits, pierced through a honeycomb, rattled the fresh green leaves of the fragrant mango, tore the fleshy leaves of plantain with fruit clusters, and then came to rest within a hanging jackfruit in the mountain-filled land of the lord. Let’s sing about him, come, my friend, may you live long! Sing, my good friend! Lady’s words : The cascades are flowing! The cascades are flowing! The cascades are flowing, fed by the downpour of the skies. How can this happen in the mountain of the one, who utters lies and stands not by his vow? Confidante’s response: Would he lie? Would he lie? Would the one who said ‘Fear not! I shall protect’ lie? If a lie can be found in the truth of the lord, who rules over the mountain-filled, fine country, it’s akin to a fire appearing within the cool moon! Lady’s words: Young clouds sway! Young clouds sway! Young clouds sway, day after day! How can this happen in the peak of the one, who makes the bangles on my forearms slip away by staying away? Confidante’s response: Would he stay away? Would he stay away? The lord, who rules over the mountains, is not one to stay away from you. If such terrible thoughts were to appear in his kind heart, it’s akin to a blue lotus, blooming in the pond waters, under a thick shade, bursting into flames! Lady’s words: Akin to a sapphire, it appears! Akin to a sapphire, it appears! Akin to a flawless sapphire, it appears! How can this be in the mountain of the one, who has forsaken me, for he unites not with me! Confidante’s response: Would he forsake you? Would he forsake you? The lord, who reigns over the mountain ranges, is not one to forsake you. If such harsh things were to unfold in your relationship with him, it’s akin to a darkness appearing in the sky’s bright flame! Confidante’s announcement: And so, good things have unfolded, my friend! As we sang about all this in our ‘Vallai’ song, he was listening, hidden by the hedge, and deciding to render his grace, the lord with gentle shoulders arrived here; Your father too, presiding under the Kino tree in the front yard, has decided to offer your hand in marriage to the lord of those picturesque mountains! Let’s delve into the details. The verse is situated in the context of a man’s love relationship with a lady and specifically in the situation of persuading the man to claim the lady’s hand. Like the previous verse, the confidante and lady exchange thoughts about the man’s nature, ending with the confidante’s conclusion. The confidante starts by requesting the lady to join her in a song together, as they pound bamboo rice in a mortar with an elephant tusk pestle, while winnowing the husk with a taro leaf. As custom, the confidante starts by describing the man’s mountain country, and she does this by sketching the trajectory of a missile from a catapult. To explain clearly, in the mountain fields, one night, as thunder and lightning danced about amidst a downpour, a male elephant and its mate seemed to have decided to feast on the millet crops. Hearing their footsteps cease nearby, a mountain guard sitting atop a loft on top of a breadfruit tree, releases a stone from his catapult. The confidante says this stone first scatters the Kino tree flowers, then makes breadfruits plonk down, then pierces a honeycomb, no doubt making the nectar drop and bees buzz, then shakes up the tender mango leaves, tears apart the plantain leaves and finally comes to rest inside a huge and prickly jackfruit. While the hunter has thankfully not hit what he was aiming at, namely those hungry elephants, however, he has demonstrated the lush spread of the mountains, filled with so many trees and their rich produce. The confidante concludes saying such is the beautiful mountain country of the lord. Now, the lady has three things to wonder about the man’s country, namely how can the cascades flow, how can the clouds surround and how can the mountains shine so blue! She asks so because the man has not been true to his word, has stayed away, and has forsaken her. In each instance, the confidante negates the lady’s assessment of the man, and says, ‘Never! What you say cannot be true, and it would be like a fire burns inside the moon, a blue lotus in the waters bursting into flames and a darkness appearing in the sun, if what you say is to be considered true’. Such is her confidence in the man and his love for the lady. The confidante now reveals such exchanges between them made the man, who was listening nearby, decide to end the lady’s suffering and fulfil the confidante’s trust. So, he had come to seek the lady’s hand in marriage and the lady’s father too, standing under the auspicious shade of their ‘Kino tree’ had said ‘yes’ to the man’s proposal to marry the lady! Yet again, we see how a combination of doubt and trust brings out the best in another. Most of all, what’s unforgettable in this verse is the dynamic depiction of the catapult’s stone taking us on a tour of the mountain country, revealing the radiant flora and sketching the aura of its plenty!…

Sangam Lit

1
Kalithogai 40 – Traits of his mountains 8:10

1 year temu8:10

8:10

In this episode, we listen to varying narratives about a mountain country, as depicted in Sangam Literary work, Kalithogai 40, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and conveys the good tidings of a transformation. ‘அகவினம் பாடுவாம், தோழி!’ ‘அமர் கண் நகை மொழி, நல்லவர் நாணும் நிலை போல், தகை கொண்ட ஏனலுள் தாழ் குரல் உரீஇ, முகை வளர் சாந்து உரல், முத்து ஆர் மருப்பின் வகை சால் உலக்கை வயின் வயின் ஓச்சி, பகை இல் நோய் செய்தான் பய மலை ஏத்தி, அகவினம் பாடுவாம், நாம்’ தோழியின் மறுமொழி ஆய் நுதல், அணி கூந்தல், அம் பணைத் தட மென் தோள், தேன் நாறு கதுப்பினாய்! யானும் ஒன்று ஏத்துகு வேய் நரல் விடரகம் நீ ஒன்று பாடித்தை தலைவி இயற்படப் பாடாமையின் தோழி பாடுதல் கொடிச்சியர் கூப்பி வரை தொழு கை போல், எடுத்த நறவின் குலை அலங்காந்தள் தொடுத்த தேன் சோர, தயங்கும் தன் உற்றார் இடுக்கண் தவிர்ப்பான் மலை கல்லாக் கடுவன் கணம் மலி சுற்றத்து, மெல் விரல் மந்தி குறை கூறும் செம்மற்றே தொல் எழில் தோய்ந்தார் தொலையின், அவரினும் அல்லற்படுவான் மலை தலைவி இயற்பழித்துப் பாடுதல் புரி விரி, புதை துதை, பூத் ததைந்த தாழ் சினைத் தளிர் அன்ன எழில் மேனி தகை வாட, நோய் செய்தான் அரு வரை அடுக்கம் நாம் அழித்து ஒன்று பாடுவாம் விண் தோய் வரை, பந்து எறிந்த அயா வீட, தண் தாழ் அருவி, அரமகளிர், ஆடுபவே பெண்டிர் நலம் வௌவி, தண் சாரல் தாது உண்ணும் வண்டின் துறப்பான் மலை தோழி இயற்பட மொழிதல் ஒடுங்கா எழில் வேழம் வீழ் பிடிக்கு உற்ற கடுஞ்சூல் வயாவிற்கு அமர்ந்து, நெடுஞ் சினைத் தீம் கண் கரும்பின் கழை வாங்கும் ‘உற்றாரின் நீங்கலம்’ என்பான் மலை தலைவன் வரைவொடு புகுந்தமையைத் தோழி தலைவிக்கு அறிவித்தல் என நாம், தன் மலை பாட, நயவந்து கேட்டு, அருளி, மெய்ம் மலி உவகையன் புகுதந்தான் புணர்ந்து ஆரா மென் முலை ஆகம் கவின் பெற, செம்மலை ஆகிய மலைகிழவோனே! Another long song in the play format with an exchange of dialogues. The words can be translated as follows: “ Lady’s request ‘Let’s sing aloud, my friend. Akin to the shy stance of maiden who have beautiful eyes and speak smiling words, stand millet stalks with bent heads in our prosperous fields. Gathering these millets, placing them in the wooden mortar, made of sandalwood that grows in the mountain clefts, let’s pound the grains with well-carved pestle, made with pearl-filled elephant tusk, and sing together, about the mountain of the one, who left with a love affliction! Confidante’s Response O maiden having a fine forehead, beautiful and honey-fragrant tresses, exquisite, bamboo-like, soft and curving arms! You first sing in praise about his mountain clefts, filled with rustling bamboo, and then I will sing after you. Confidante’s Song seeing Lady’s Silence Akin to the worshipping hands of mountain maiden, are flame-lilies, filled with clusters of nectar, shedding drops of honey, as they sway in the mountains of the one, who always ends the suffering of his kin. A mountain which has the unique custom, wherein a young male monkey seeks the hand of a soft-fingered female monkey from the female’s huge troop of kin. It’s the mountain of the one who seeing the old beauty fade away in his beloved, would feel more anguish that even they do. Lady’s Negative Response Making the beauty of my skin, akin to the tender leaf shoots of the low hanging branches, filled with blossomed flowers, fade, he left me with an affliction. Denouncing his mountain country, let me sing something: In the sky-high hills, fatigued by throwing ball, the mountain goddesses then play in the cool and moist cascades in the country of the one, who after feeding on the beauty of women, akin to a bee in his cool mountain slopes, abandons them. Confidante’s Positive Words The handsome and wild male elephant, considering the sickness of its pregnant mate, tries to bend the tall branch of the sweet sugarcane in the mountains of the one, who never abandons his kin. Confidante’s Announcement about the Man And so, as we sang about his mountains, listening with desire, he was filled with so much joy and with grace, he has come to unite and adorn your soft bosom with beauty, the esteemed lord of the mountains!” Time to explore the nuances. The verse is situated in the context of the man’s love relationship with the lady, prior to marriage and specifically on persuading the man to seek the lady’s hand. The words are spoken by the lady and the confidante, as the man listens nearby. The lady begins by requesting the confidante that as they pound the millets in a sandalwood mortar with an elephant tusk pestle, they should sing about the man, who seems to have caused a love affliction in the lady. The confidante heartily agrees and asks the lady to sing first, saying she will go next. However, the lady remains silent and so the confidante starts by talking about the flame-lilies that look like maiden’s hands in the man’s country, and personifies a male monkey by depicting it as seeking the hand of a female monkey to the female’s family. This is the confidante’s projection of the man’s course of action on these elements of the wild. She keeps reiterating that the man is someone, who always ends the suffering of those close to him and if he sees the beauty of those whom he loves fade, he would feel even more anguish than them. The lady responds in a negative note, singing about how the man made the beauty of her skin fade and she wonders how mountain goddesses could play happily in the cascades of this man’s mountain country, for he seems to be someone, who simply abandons those he loves. To this, the confidante responds with another personification of a male elephant bringing sweet sugarcane stalks to allay the sickness and suffering of its pregnant mate. A positive assurance that the man will render what the lady seeks. And soon enough, the confidante concludes by relating how hearing all these things, the man was filled with so much joy about his love of the lady and has decided to come claim her hand. To put it in a nutshell, the confidante and the lady have been playing the role of ‘Good cop, bad cop’ and have nabbed the man to do what they wish to be done!…

Sangam Lit

1
Kalithogai 39 – From love to marriage 13:20

1 year temu13:20

13:20

In this episode, we listen to an animated conversation, as depicted in Sangam Literary work, Kalithogai 39, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches the events around revealing a lady’s love to her kin. ‘காமர் கடும் புனல் கலந்து எம்மோடு ஆடுவாள், தாமரைக்கண் புதைத்து, அஞ்சித் தளர்ந்து, அதனோடு ஒழுகலான், நீள் நாக நறுந் தண் தார் தயங்கப் பாய்ந்து, அருளினால், பூண் ஆகம் உறத் தழீஇப் போத்தந்தான் அகன் அகலம் வரு முலை புணர்ந்தன என்பதனால், என் தோழி அரு மழை தரல் வேண்டின் தருகிற்கும் பெருமையளே அவனும்தான், ஏனல் இதணத்து அகிற் புகை உண்டு இயங்கும் வான் ஊர் மதியம் வரை சேரின், அவ் வரை, “தேனின் இறால்” என, ஏணி இழைத்திருக்கும் கான் அகல் நாடன் மகன் சிறுகுடியீரே! சிறுகுடியீரே! வள்ளி கீழ் வீழா; வரைமிசைத் தேன் தொடா; கொல்லை குரல் வாங்கி ஈனா மலை வாழ்நர் அல்ல புரிந்து ஒழுகலான் காந்தள் கடி கமழும், கண் வாங்கு, இருஞ் சிலம்பின் வாங்கு அமை மென் தோட் குறவர் மட மகளிர் தாம் பிழையார், கேள்வர்த் தொழுது எழலால், தம் ஐயரும் தாம் பிழையார் தாம் தொடுத்த கோல்’ என ஆங்கு, அறத்தொடு நின்றேனைக் கண்டு, திறப்பட என்னையர்க்கு உய்த்து உரைத்தாள், யாய் அவரும் தெரி கணை நோக்கி, சிலை நோக்கி, கண் சேந்து, ஒரு பகல் எல்லாம் உருத்து எழுந்து, ஆறி, ‘இருவர்கண் குற்றமும் இல்லையால்’ என்று, தெருமந்து சாய்த்தார் தலை தெரியிழாய்! நீயும் நின் கேளும் புணர, வரை உறை தெய்வம் உவப்ப, உவந்து குரவை தழீஇ யாம் ஆட, குரவையுள் கொண்டுநிலை பாடிக்காண் தலைவியின் மறுமொழி நல்லாய்! நல் நாள் தலைவரும் எல்லை, நமர் மலைத் தம் நாண் தாம் தாங்குவார், என் நோற்றனர்கொல்? புன வேங்கைத் தாது உறைக்கும் பொன் அறை முன்றில், நனவில் புணர்ச்சி நடக்குமாம் அன்றோ? நனவில் புணர்ச்சி நடக்கலும், ஆங்கே கனவில் புணர்ச்சி கடிதுமாம் அன்றோ? தோழி கூற்று விண் தோய் கல் நாடனும் நீயும் வதுவையுள் பண்டு அறியாதீர் போல் படர்கிற்பீர்மன் கொலோ? பண்டு அறியாதீர் போல் படர்ந்தீர் பழங் கேண்மை கண்டு அறியாதேன் போல் கரக்கிற்பென்மன் கொலோ? மை தவழ் வெற்பன் மண அணி காணாமல் கையால் புதை பெறூஉம் கண்களும் கண்களோ? தலைவியின் மறுமொழி என்னை மன் நின் கண்ணால் காண்பென்மன், யான் மீண்டும் தோழி உரைத்தல் நெய்தல் இதழ் உண்கண் நின் கண் ஆக, என் கண் மன! என ஆங்கு, நெறி அறி செறி குறி புரி திரிபு அறியா அறிவனை முந்துறீஇ, தகை மிகு தொகை வகை அறியும் சான்றவர் இனமாக, வேய் புரை மென் தோட் பசலையும், அம்பலும், மாயப் புணர்ச்சியும், எல்லாம் உடன் நீங்க, சேய் உயர் வெற்பனும் வந்தனன்; பூ எழில் உண் கணும் பொலிகமா, இனியே! A unique format containing multiple exchanges between two women! The words can be translated as follows: “In the picturesque, gushing stream, she was playing with all of us. Suddenly, she was pulled by the current, and closing her lotus-like eyes, with fear, she lost control and was floating away. Just then, making his moist and fragrant garland woven with ironwood flowers sway, he leapt and rendering his grace, he enveloped her bejewelled bosom and brought her to safety. Since his wide chest embraced her bosom, now my friend has attained the pride of bringing down precious rain, if she so wishes. To tell more about him: From upraised lofts in the millet fields, agarwood smoke rises. If the sky-high moon reaches the mountains there, thinking that the moon enveloped by the smoke is a honeycomb, they would mount a ladder to fetch the nectar in the forest-filled wide mountain country of theirs and he is the son of this country’s lord! O people of the little hamlet! O people of the little hamlet! Tubers will not sprout underneath anymore; Honeycombs will not cover the mountain tops anymore; Stalks of millets will not flourish anymore; All because those who are living in this mountain have done a wrong deed. In this wide mountain valley, capturing the eyes of all, bloom the fragrant flame-lilies, and only because the naive mountain maiden with gentle, curving arms never miss their virtue in honouring their husbands, their kin never miss the mark, when they aim their arrows! I said all this clearly, standing with virtue, to my mother, and she too expressed it to your mother. When your mother in turn took it to your father and brothers, they spent an entire day, with reddened eyes, gazing at their bows and their speeding arrows, and then finally calmed down, and rose to say, ‘No fault to be found in them both’, and nodded their heads in assent, O maiden wearing well-etched ornaments! For you and your love to be united, delighting the god that resides in the hills, let us embrace and perform the ‘Kuravai’ dance and sing about our state within! Lady’s Response : O good maiden! Until the good day arrives, those who can bear their shame in our hill, what penance did they do? Upon the golden-hued front yard, where the Indian Kino tree sheds its pollen, won’t I unite with him for real? When it happens for real, won’t my dreams of togetherness with him fade? Confidante’s Words : At the time of the wedding, will you and the man from the sky-high mountains pretend to not know each other in the past? If you pretend not to know each other in the past, should I too be as if I do not know your old relationship? Are those eyes, which cover themselves, without relishing the wedding joy shining on the face of the mountain lord, to be called eyes? Lady’s Response: I will take in the sight of my lord through your eyes! Confidante’s Conclusion : Let your blue-lotus-like, petalled, kohl-streaked eyes turn into my eyes! And so, When, understanding the right path, finding the right day, the man who knows not to make mistakes, arrives along with knowledgeable people, the pallor on your bamboo-like arms, the gossip and all the illusory togetherness will vanish. For the lord of the high mountains is about to arrive. May your flower-like, kohl-streaked eyes shine with joy now!” Let’s delve into the details. The verse is situated in the context of a love relationship between the man and the lady, prior to marriage, and specifically on revealing the lady’s love relationship to her family. Both the confidante and the lady render their voices in this verse. The confidante starts the conversation by narrating the scene when the lady and man had met. The lady was playing in the river with her friends when suddenly she lost control and was pulled by the current. Just then, a young man leapt into the water, rescued her, hugging her jewel-clad bosom close to his chest. The confidante declares that because they both were united so, her friend, the lady had acquired the pride and power of bringing down rain whenever she so wished. This statement may be difficult to understand for many but what it implies is, the moment the lady was embraced by the man, she had accepted him as her partner for life and thereby assumed an aura of chastity, which had the power of making it rain as per one’s wish. People from the western world would be puzzled thinking ‘Should making it rain be considered a noble quality?’ Well, in a land, which looks up to the sky and its rains for the prospering of its wealth, it sure was considered a noble trait! Returning, the confidante continues her tale and now turns to talk about who the man was. She says he comes from a mountain country, where seeing the moon amidst the agarwood smoke that rises from the lofts on the millet fields, they would think it was a honeycomb and would place a ladder to go fetch that honey. The metaphorical implication of this description is that the man comes from a land where they would dare to even bring the moon to their home. Next, the confidante goes on to tell all the bad things that are going to happen in their mountain village, saying tubers will not grow anymore, honeycombs will not spread anymore and stalks of millet will not flourish either. All because the people had done one wrong deed. She reminds the listeners that men of the mountain never miss their marks only because their maiden were such chaste women, who never failed to worship their partners! At this time, she reveals she has been saying these words to none other than her mother, who happens to be the friend of the lady’s mother. We then see a communication relay between the confidante’s mother and the lady’s mother, and thereafter, between the lady’s mother and the lady’s father and brothers. When the men receive the news, they feel angered at first, reddened their eyes become, and they sit pondering over it for a day, and then realise there’s no mistake on the part of the lady and the man. This tells us that the lady’s family had refused the man, when he came seeking the lady’s hand, and the confidante is solving that issue by revealing the lady’s relationship with the man. Narrating all this to the lady, the confidante invites her to perform a ‘Kuravai’ dance of prayer wishing for the happy union of the man and the lady. As they are dancing, the lady asks, how can those who said no to the man bear their shame till the day comes? She imagines how she would unite with the man for real, in their front yard, where the Kino tree sheds its pollen. She asks would that really happen, and when that happens, will all her dreams of being with him vanish, replaced by the real? The confidante teases the lady asking whether the man and the lady would pretend not to know each other, and whether she too should pretend not to know about their past? Then she further pulls the lady’s legs saying, can the eyes which do not enjoy the sight of the man in his wedding glory be called eyes, implying if the lady is going to sit with her eyes bent, not daring to look up, how will she see the man and his joy? To that question, the lady replies that she would see the joy in the man with her friend’s eyes, and the confidante too agrees to let her eyes be the lady’s on that joyous occasion. The confidante concludes these exchanges by summing up how the right things are happening and soon the man will find the auspicious day to come marry the lady, along with all the wise elders, and that will make the lady’s pallor and the town’s rumours disappear. The confidante ends with a blessing for the lady’s eyes to shine with joy for the man would be there soon, to be united with the lady! In this verse, we witness a play-style narrative, with flashback, dialogues and dance. We also infer how doing right by love was considered critical for the well-being of many aspects of their entire world, such as their plants, produce and their prosperity. But most of all, we understand the role of the confidante in guiding the lady and her family in the right path that leads to both the lady’s happiness and justice to them all, according to their principles of life. In a subtle way, the role of women as peace-makers and joy-bringers is highlighted and this makes me think, our warring world could surely use more of this ‘she’ power!…

Sangam Lit

1
Kalithogai 38 – The path to permanent joy 8:39

1 year temu8:39

8:39

In this episode, we perceive intriguing similes that capture the lady’s changing state, as portrayed in Sangam Literary work, Kalithogai 38, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and relates the success of the confidante’s initiative. இமைய வில் வாங்கிய ஈர்ஞ் சடை அந்தணன் உமை அமர்ந்து உயர்மலை இருந்தனனாக, ஐ இரு தலையின் அரக்கர் கோமான் தொடிப் பொலி தடக் கையின் கீழ் புகுத்து, அம் மலை எடுக்கல்செல்லாது உழப்பவன் போல உறு புலி உரு ஏய்ப்பப் பூத்த வேங்கையைக் கறுவு கொண்டு, அதன் முதல் குத்திய மத யானை நீடு இரு விடர் அகம் சிலம்பக் கூய், தன் கோடு புய்க்கல்லாது, உழக்கும் நாட! கேள்: ஆர் இடை என்னாய் நீ அரவு அஞ்சாய் வந்தக்கால், நீர் அற்ற புலமே போல் புல்லென்றாள், வைகறை, கார் பெற்ற புலமே போல், கவின் பெறும்; அக் கவின் தீராமல் காப்பது ஓர் திறன் உண்டேல், உரைத்தைக்காண் இருள் இடை என்னாய் நீ இரவு அஞ்சாய் வந்தக்கால், பொருளில்லான் இளமை போல் புல்லென்றாள், வைகறை, அருள் வல்லான் ஆக்கம் போல் அணி பெறும்; அவ் அணி தெருளாமல் காப்பது ஓர் திறன் உண்டேல், உரைத்தைக்காண் மறம் திருந்தார் என்னாய் நீ மலையிடை வந்தக்கால், அறம் சாரான் மூப்பே போல் அழிதக்காள், வைகறை, திறம் சேர்ந்தான் ஆக்கம் போல் திருத்தகும்; அத் திருப் புறங்கூற்றுத் தீர்ப்பது ஓர் பொருள் உண்டேல், உரைத்தைக்காண் என ஆங்கு, நின் உறு விழுமம் கூறக் கேட்டு, வருமே, தோழி! நல் மலை நாடன் வேங்கை விரிவு இடம் நோக்கி, வீங்கு இறைப் பணைத் தோள் வரைந்தனன் கொளற்கே. A mix of mythology and nature in this one! The words can be translated as follows: “As the one, who bent the Himalayas like a bow, the noble one with moist braids, along with his companion Umai, rested upon the mountain, the lord of the demons, known for his ten heads, thrust his strong arms, adorned with warrior bracelets, under the mountain, and unable to pull them out, suffered in agony there. Akin to that, seeing the ‘Kino tree’ that has bloomed with flowers, appearing like a fierce tiger, maddened, a wild elephant in musth pierces the tree’s trunk, and unable to pull out its tusk, suffers, trumpeting aloud, making the wide valleys of the long and dark mountains resound. Such is your country, O lord! Please listen to what I have to say: Thinking not about the dangers of the path, fearing not the snakes that rove, you come here. She, who was lifeless like a land bereft of water, in the morning, becomes beautiful, like a land on which rain has fallen. If there is a way to protect that beauty without fading away, please tell me now! Thinking not about the darkness of the path, fearing not the night without light, you come here. She, who was lifeless like the youth of an impoverished man, in the morning, becomes plentiful, like the wealth of a generous man. If there is a way to protect that plenty without fading away, please tell me now! Thinking not about the dangerous men of the path, traversing mountains many, you come here. She, who was lifeless like the old age of a man without virtue, in the morning, becomes prosperous, like the wealth of a skilled man. If there is a way to protect that prosperity without letting it diminish away, please tell me now! And so, listening to the suffering that goes through you, the man of the fine mountains has decided to come, my friend, in the time when Kino flowers open out their buds, to claim the hand of the one with thick wrists and bamboo-like arms!” Time to explore the nuances. The verse is situated in the context of the love relationship between the man and lady, prior to marriage, and speaks in the voice of the confidante, initially to the man and then concludes to the lady. The confidante decides to render a lesson in mythology, and she talks about a noble person, who was so powerful that he could bend the Himalayas like a bow. Another thing about this person is that he had moist braids of hair, and that he resided with his companion named ‘Umai’ in the mountains. These details have made many interpreters conclude that this is a reference to God Siva, whose abode is said to be in the Himalayas, with the ‘moist braid’ reference talking about how he holds the River Ganges in his tuft of hair. Umai or ‘Umaiyal’ as she’s called now is the name endowed to the consort of this God, also known as ‘Parvathi’. The confidante continues the class in mythology by talking about how a ten-headed lord of the demons, identified as Raavanan from Ramayana, decides to uproot the Himalayas and even manages to place his hands under the mountain, but just because the great God stayed upon the mountain, he was not able to dislodge it and neither could he pull his hands out. The confidante ends this narrative, depicting the roaring cries by the demon lord. From there, the confidante leaves to a mountain country, where a mad elephant in musth sees a flowering ‘Vengai’ tree, and mistakes it for a tiger, and in anger, thrusts its tusk into the trunk of the tree. Then, unable to pull it out, it trumpets aloud, making the hills and valleys around resound with its pain. The roaring of this elephant in the mountains and that demon lord is placed in parallel. Why is she talking about the roaring of the elephant? Only to describe the man’s mountain country so. After the salutation, the confidante asks the man to listen to her words. Then, the confidante goes on to describe how the man minds not the dangers, the darkness and the highway robbers in his path through the mountains, at night, filled with snakes, for he intends to visit the lady. Because of this, the lady who was dull and barren, like a land without water, the youth of a poor person, and the last days of a virtueless person, changes utterly and becomes like a rain-washed land, like the riches of the generous and the wealth of the skilful respectively. In short, the man’s coming endows the lady with beauty, ecstasy and immense joy. Now, the confidante tells the man, ‘All that’s fine. But tell me a way so that her beauty doesn’t have to fade away!’ After narrating these words the confidante had previously said to the man, she concludes with the joyous news to the lady that the man has seen the truth of the confidante’s words and the suffering in the lady’s heart and so he has decided to come claim the hand and marry the lady, in the time of the Vengai tree’s flowering! A verse which is a clear case of ‘Marry her, marry her’ and in that, we get to tread on a bridge between mythology and nature that we have been seeing now and then in Kalithogai verses. We also learn the preferred season of marriage in this prosperous land, and that’s exactly the time, when the bright yellow flowers that so angered the elephant, opens out its buds and announces the arrival of auspicious times!…

Sangam Lit

1
Kalithogai 37 – A conversation on love 8:33

1 year temu8:33

8:33

In this episode, we perceive a unique strategy in communication, as depicted in Sangam Literary work, Kalithogai 37, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and narrates an incident that unfolded in the millet fields. கய மலர் உண்கண்ணாய்! காணாய்: ஒருவன் வய மான் அடித் தேர்வான் போல, தொடை மாண்ட கண்ணியன் வில்லன், வரும்; என்னை நோக்குபு, முன்னத்தின் காட்டுதல் அல்லது, தான் உற்ற நோய் உரைக்கல்லான் பெயரும்மன், பல் நாளும்; பாயல் பெறேஎன், படர் கூர்ந்து, அவன்வயின் சேயேன்மன் யானும் துயர் உழப்பேன்; ஆயிடைக் கண் நின்று கூறுதல் ஆற்றான், அவனாயின்; பெண் அன்று, உரைத்தல், நமக்காயின்; ‘இன்னதூஉம் காணான் கழிதலும் உண்டு’ என்று, ஒரு நாள், என் தோள் நெகிழ்பு உற்ற துயரால் துணிதந்து, ஓர் நாண் இன்மை செய்தேன்: நறுநுதால்! ஏனல் இனக் கிளி யாம் கடிந்து ஓம்பும் புனத்து அயல், ஊசல் ஊர்ந்து ஆட, ஒரு ஞான்று வந்தானை, ‘ஐய! சிறிது என்னை ஊக்கி’ எனக் கூற, ‘தையால்! நன்று! என்று அவன் ஊக்க, கை நெகிழ்பு பொய்யாக வீழ்ந்தேன், அவன் மார்பின்; வாயாச் செத்து, ஒய்யென ஆங்கே எடுத்தனன் கொண்டான்; மேல் மெய் அறியாதேன் போல் கிடந்தேன்மன்; ஆயிடை மெய் அறிந்து ஏற்று எழுவேனாயின், மற்று ஒய்யென, ‘ஒண்குழாய்! செல்க’ எனக் கூறி விடும் பண்பின் அங்கண் உடையன் அவன். We enter the new domain of the hills, where love is in the first stages of blooming. The words can be translated as follows: “O maiden with kohl-streaked eyes, akin to pond flowers! Consider this: A man, wearing a fine, well-woven, flower garland, holding a bow, who appeared to be tracking footprints of a tiger, arrived here; He looked at me, and other than subtle signs that I could perceive, he refrained from speaking about the love affliction in him and parted away in this manner, for many days; Without getting any sleep, filled with worry, I felt sadness for the state of this stranger; However, he still wouldn’t express what was in him; And being a woman, it was not right for me to speak it out aloud either; Thinking, ‘If this goes on, he might even end his life’, one day, deciding to relieve the suffering that had made my arms thin away, with boldness, I did a shameless thing, O maiden with a fragrant forehead! When I went to chase away the flock of parrots from the millet field, and took a moment to sway on the swings there, I asked him who arrived there, ‘O lord, can you push this swing for me?’. He said, ‘O young maiden, I will do this good thing’, and pushed me on the swing. At that moment, pretending that I lost my grip, I fell on his chest; Thinking that it was true, he held me safely on his chest. As if I was unconscious, I lay there upon him for a while. Had I risen up from that state, he would have immediately said, ‘O maiden wearing radiant earrings! Please leave now’. Such was the thoughtful nature he seemed to have!” Time to explore the nuances. The verse is situated in the context of a man’s love relationship with the lady, prior to marriage, and speaks in the voice of the confidante to the lady. The confidante talks about an incident involving a man, whom she had noticed passing by where they lived. She describes him as someone wearing a flower garland and holding a bow. She also notes that he seemed to be tracking some wild animal, possibly a tiger. The confidante talks about how this man kept looking in her direction and appeared to want to say something, but he wouldn’t express it, and went away, looking as if he had some angst in him. This went on for many days. She talks about how this affected her, and how his worry seemed to become contagious, and she too, lost her sleep. The confidante talks about how it was wrong as a woman to openly ask him about anything. To break this vicious cycle and worrying that the man may even take his life, the confidante decides to do something she calls as a ‘shameless thing’. It’s common knowledge that these maiden from the mountains have the work of chasing away parrots from millet fields. So, as the confidante was doing this, that man came by, and she asked him to push the swing that was put up nearby, and he too readily agreed. When he was pushing the confidante on the swing, she pretended to slip off from the swing and fell on his chest. Thinking it was true, the man held her safe. She says that she lay there pretending to be unconscious for if at all, she had opened her eyes, he would have immediately asked her to leave, for someone might see. Such was the good and thoughtful nature he had, the confidante concludes. This was a rendition that gave me quite some trouble understanding the context! Is the confidante talking about her love interactions with some person? Although she too is a young maiden like the lady, we have never explored her story of love in any of the verses. Is she talking in the voice of the lady like she often does, seeing them both as one? For this situation, it seemed to me as highly inappropriate. Then, reading different interpretations and thinking more about it, I understood that this was a technique to get the lady to open up about her love relationship with the man. The confidante knows that such events happened between the lady and the man, because the man has been approaching her, trying to win her confidence. So, the confidante becomes a master storyteller to craft this imaginary story about her and another man, so that her friend will open up, and reveal the contents of her heart and her feelings about the man, which she was rather shy to disclose on her own volition. Apparently, this was an important stage in the love relationship between the man and the lady, for only with the confidante’s blessing, they could progress to the next stage of trysting! Curious customs of the past indeed, filled with a lot of implied rules such as ‘women must not be the first to express their feelings to men’, ‘women’s sense of shame would prevent them from talking about their love relationship to even their close friends’, and so on. In an equal world, all this seems amusing, and it’s liberating to see that in our time, both men and women have the freedom to express their love to each other and also talk to others around them about their feelings of love for someone! While we cannot exactly appreciate all this roundabout ways to get a friend speaking, the verse does present a valid truth about communication in that, we cannot expect another to open up if we appear to be closed ourselves. Establishing trust and reciprocity seem to be the subtle inferences that we can take away from this ancient communication between two women!…

Sangam Lit

1
Kalithogai 36 – Expression and Empathy 8:09

1 year temu8:09

8:09

In this episode, we perceive the anxiety of the lady, as portrayed in Sangam Literary work, Kalithogai 36, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals troubling questions in the lady’s mind. ‘கொடு மிடல் நாஞ்சிலான் தார் போல், மராத்து நெடுமிசைச் சூழும் மயில் ஆலும் சீர, வடி நரம்பு இசைப்ப போல் வண்டொடு சுரும்பு ஆர்ப்ப, தொடி மகள் முரற்சி போல் தும்பி வந்து இமிர்தர, இயன் எழீஇயவை போல, எவ் வாயும் இம்மென, கயன் அணி பொதும்பருள் கடி மலர்த் தேன் ஊத, மலர் ஆய்ந்து வயின் வயின் விளிப்ப போல் மரன் ஊழ்ப்ப, இருங் குயில் ஆல, பெருந் துறை கவின் பெற, குழவி வேனில் விழவு எதிர்கொள்ளும் சீரார் செவ்வியும், வந்தன்று; வாரார், தோழி! நம் காதலோரே பாஅய்ப் பாஅய்ப் பசந்தன்று, நுதல்; சாஅய்ச் சாஅய் நெகிழ்ந்தன, தோள் நனி அறல் வாரும் பொழுது என, வெய்ய பனி அறல் வாரும், என் கண் மலையிடைப் போயினர் வரல் நசைஇ, நோயொடு முலையிடைக் கனலும், என் நெஞ்சு காதலின் பிரிந்தார்கொல்லோ? வறிது, ஓர் தூதொடு மறந்தார்கொல்லோ? நோதக, காதலர் காதலும் காண்பாம்கொல்லோ? துறந்தவர் ஆண்டு ஆண்டு உறைகுவர்கொல்லோ? யாவது?’ “நீள் இடைப் படுதலும் ஒல்லும்; யாழ நின், வாள் இடைப்படுத்த வயங்கு ஈர் ஓதி! நாள் அணி சிதைத்தலும் உண்டு” என நய வந்து, கேள்வி அந்தணர் கடவும் வேள்வி ஆவியின் உயிர்க்கும், என் நெஞ்சே’ The same two players discussing the man’s absence! The words can be translated as follows: “Akin to the garland on the one with fierce strength, holding a plough, atop the burflower tree, peacocks surround and sing together harmoniously; Akin to the music that arises from the strings of a lute, bees and beetles resound aloud; Akin to the sound of bangles on dancing maiden, black bees hum around; Akin to the sound of many musical instruments, loudly echoing everywhere, in the groves adorned with ponds, honeybees buzz around the blossomed flowers; As if analysing and deciding which flower is for whom and then inviting them close, trees bloom to the brim with flowers, many, many; The black cuckoo calls out aloud; The huge river shore becomes adorned with beauty; Young spring is here and the time of festivals, when everyone rejoices, has arrived; However, that lover of mine, hasn’t retuned, my friend! Pallor spread little by little and has covered my forehead entire; Ill health spread little by little and has thinned my arms fully; Thinking this is the time when streams trickle past huge mounds of sand, my eyes shed tears plenty; Wishing for the one, who went to the mountains to return, my heart burns, filled with affliction, within my bosom; Has my lover left me? Did he forget to even send a message? Will I ever get to see the love of my lover, who has made me suffer so? Will the one who abandoned me decide to live wherever he left to? What is to happen? ‘It is common for people to traverse long paths and stay apart, O maiden, wearing moist and shining tresses, trimmed with steel, and it’s common for them to stay beyond the promised day. However, this does cause ruin to your good beauty!’ – Saying these words, akin to smoke that rises from ritual pits, tended to by wise priests, my heart lets out a huge sigh!” Let’s delve into the details. The verse is situated in the context of the man’s parting after marriage and speaks in the worried voice of the lady initially followed by the confidante’s response. The lady starts by talking about spring, mentioning peacocks singing atop burflower trees, many kinds of bees and the sounds they make, which she equates to music from lute strings, dancing maidens’ bangles and assorted musical instruments. A tree is personified to be calling everyone around to come and adorn themselves with its flowers, the lady sketches. The prominent bird of the season, the black cuckoo is sending out its notes in the air and the river shore seems to bedecked with much beauty. All this signifies the arrival of spring, the lady says. A moment to pause and savour the word used for ‘spring’ here – ‘குழவி வேனில்’ is the phrase employed and to translate it verbatim that would be ‘baby summer’. I smiled to see how time is sketched as a person, especially in the nuance of how spring holds all the adorable qualities of an infant that everyone wants to cuddle. Extending this simile, only later does this cute ‘baby summer’ mature and torment with sweltering heat, like teens and adults, I guess! Returning from our musings, we find the lady complaining about her pallor-coated forehead, thinning arms and tearful eyes. Then, she starts putting forth questions one after the other, wondering if the man has left her forever, why didn’t he send her even a single message, would she ever see and sense his love again or would he decide to live wherever he left to! Questions arising out of a feeling of utter dependancy on another, in a moment of despair and helplessness. Usually, we find the confidante consoling and cheering the lady, but here she remarks although it’s common for men to part away and stay beyond their promised day of return, that doesn’t change the fact that her friend’s beauty was getting utterly ruined. Seeing this, the confidante expresses how her heart is letting out a sigh that appears like the smoke atop a ritual fire-pit. And here, through the confidante’s words, we see a case of empathy that feels as one with the emotions of another. Also, with this verse, we come to the end of poems situated in the ‘Paalai’ or ‘Drylands’ landscape. Interesting how every verse, with a single exception, spoke about a man’s parting away after marriage, and that one exception alone dealt with emotions around an elopement. In the last few, we have been seeing multiple repetitions of the same theme of ‘spring’s here, but he’s not’. Which makes me wonder how a poet decides they are done writing the segment? Why didn’t this poet stop with the previous song or the one before? Interesting to think about who made these choices and why! In any case, it’s time to bid bye to this land and this poet and venture ahead to explore the emotions and expressions of yet another landscape!…

Sangam Lit

1
Kalithogai 35 – Truthfulness of a king 7:45

1 year temu7:45

7:45

In this episode, we observe how the passage of time was perceived, as depicted in Sangam Literary work, Kalithogai 35, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and narrates the changes in spring. ‘மடியிலான் செல்வம் போல் மரன் நந்த, அச் செல்வம் படி உண்பார் நுகர்ச்சி போல் பல் சினை மிஞிறு ஆர்ப்ப; மாயவள் மேனி போல் தளிர் ஈன, அம் மேனித் தாய சுணங்கு போல் தளிர்மிசைத் தாது உக; மலர் தாய பொழில் நண்ணி மணி நீர கயம் நிற்ப, அலர் தாய துறை நண்ணி அயிர் வரித்து அறல் வார; நனி எள்ளும் குயில் நோக்கி இனைபு உகு நெஞ்சத்தால், துறந்து உள்ளார் அவர்’ எனத் துனி கொள்ளல் எல்லா! நீ ‘வண்ண வண்டு இமிர்ந்து, ஆனா வையை வார் உயர் எக்கர், தண் அருவி நறு முல்லைத் தாது உண்ணும் பொழுதன்றோ கண் நிலா நீர் மல்கக் கவவி, நாம் விடுத்தக்கால், ஒண்ணுதால்! நமக்கு அவர் “வருதும்” என்று உரைத்ததை? மல்கிய துருத்தியுள் மகிழ் துணைப் புணர்ந்து, அவர், வில்லவன் விழவினுள் விளையாடும் பொழுதன்றோ “வலன் ஆக, வினை!” என்று வணங்கி, நாம் விடுத்தக்கால், ஒளியிழாய்! நமக்கு அவர் “வருதும்” என்று உரைத்ததை? நிலன் நாவில் திரிதரூஉம் நீள் மாடக் கூடலார் புலன் நாவில் பிறந்த சொல் புதிது உண்ணும் பொழுது அன்றோ பல நாடு நெஞ்சினேம் பரிந்து, நாம் விடுத்தக்கால், சுடரிழாய்! நமக்கு அவர் “வருதும்” என்று உரைத்ததை? என ஆங்கு, உள்ளுதொறு உடையும் நின் உயவு நோய்க்கு உயிர்ப்பாகி, எள் அறு காதலர் இயைதந்தார் புள் இயல் காமர் கடுந் திண் தேர்ப் பொருப்பன் வாய்மை அன்ன வைகலொடு புணர்ந்தே. The lady worries and the confidante consoles! The words can be translated as follows: “Akin to the wealth of one who is never idle, trees flower; Akin to those who feed on that wealth, without any effort on their part, bees resound around many branches; Akin to the skin of a dark-skinned maiden, tender shoots shine; Akin to pallor spots on this skin, upon the leaves, pollen falls; Near the groves, blooming with flowers, stand sapphire-hued ponds, and near the banks, on which fallen flowers are scattered, weaving patterns on the sand, streams flow; Looking at the cuckoo that seems to be mocking a lot, with a heart full of angst, thinking about he, who has parted without a thought, don’t you be sorrowful, my friend! ‘Colourful bees resound and the unceasing Vaigai flows through tall sand dunes; It’s the time when fragrant jasmines by cool cascades are feasted upon for their pollen. Back then, as tears flowed beyond the control of my eyes, when I bid farewell to him, O maiden with a shining forehead, wasn’t this the time he said he would return? Embracing one’s pleasant companion on a little river island, it’s the time to play and rejoice in the ‘Villavan festival’. Back then, when wishing that his mission be successful, when I bid farewell to him, O maiden wearing shining jewels, wasn’t this the time he said he would return? In Koodal, filled with tall mansions, it’s the time when people savour the new and good words born from the tongues of poets. Back then, as my heart thought about many things, when I bid farewell to him, O maiden wearing radiant ornaments, wasn’t this the time he said he would return? And so, saying all this, you lament whenever you think about the past. As the cure of this love affliction in you, with the truth of that king, who has an alluring sturdy chariot with the speed of a bird, your faultless lover is about to return on the promised day!” Let’s explore the details. The verse is situated in the context of the man’s parting from the lady after marriage and starts in the voice of the confidante, expresses thoughts of the lady, and once again, concludes with the words of the confidante. In the first section, the changes in spring are highlighted, such as the flowering of trees, which are placed in parallel to the wealth of those who know not the meaning of laziness. Next, the image of bees buzzing around these flowers is placed in parallel to people who enjoy that wealth of others, with no hard work on their part; The bees are getting bad publicity because of this simile! Moving on, the richness of the leaves is equated to the dark skin of maiden and the pollen falling on the same to the pallor spots on the dark skin. You also get to see ponds and banks scattered with flowers, in spring! Describing all this, the confidante requests the lady not to feel sad every time she hears the cuckoo sing, thinking about the man who parted away. Just then, the lady conveys her point of view by mentioning how it was the time when the Vaigai flows with gusto, the time of the Villavan festival, when lovers are meant to be together, and also, the time in Koodal, when poets come together to pen new verses to delight the people there. Then, she thinks back to the past and asks her friend, when I bid bye to the man, with my eyes shedding tears beyond my control, as I wished him success, and as my heart thought of so many things, didn’t he promise to be back by now? The confidante replies to this angst-ridden question by telling her just like a king, who was renowned for his bird-like chariot and the truth of his words, the man was sure to keep his word and would return before the promised day. The most interesting element that can be extracted from this verse is the mention of poets penning verses, a sort of self tagging, in the city of Koodal, which is also known by the name of ‘Madurai’. Apparently, this happens in the season of spring. This reminds of many a character from the novels of P.G.Wodehouse, who wax poetic about this very season in the cold corners of England. Perhaps these poets, across space and time, universally felt that spring was the perfect time to pen and share their verses, when new things bloom and love was surely in the air!…

Sangam Lit

1
Kalithogai 34 – Honour and dishonour 9:25

1 year temu9:25

9:25

In this episode, we observe abstract traits projected on a person’s state of mind, as portrayed in Sangam Literary work, Kalithogai 34, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and hints about virtues considered right and wrong in the Sangam era. ‘மன் உயிர் ஏமுற, மலர் ஞாலம் புரவு ஈன்று, பல் நீரால் பாய் புனல் பரந்து ஊட்டி, இறந்த பின், சில் நீரால் அறல் வார, அகல் யாறு கவின் பெற, முன் ஒன்று தமக்கு ஆற்றி முயன்றவர் இறுதிக்கண் பின் ஒன்று பெயர்த்து ஆற்றும் பீடுடையாளர் போல், பல் மலர் சினை உக, சுரும்பு இமிர்ந்து வண்டு ஆர்ப்ப, இன் அமர் இளவேனில் இறுத்தந்த பொழுதினான் விரி காஞ்சித் தாது ஆடி இருங் குயில் விளிப்பவும், பிரிவு அஞ்சாதவர் தீமை மறைப்பென்மன்; மறைப்பவும், கரி பொய்த்தான் கீழ் இருந்த மரம் போலக் கவின் வாடி, எரி பொத்தி, என் நெஞ்சம் சுடும்ஆயின், எவன் செய்கோ? பொறை தளர் கொம்பின்மேல் சிதரினம் இறை கொள, நிறை தளராதவர் தீமை மறைப்பென்மன்; மறைப்பவும், முறை தளர்ந்த மன்னவன் கீழ்க் குடி போலக் கலங்குபு, பொறை தளர்பு பனி வாரும் கண்ஆயின், எவன் செய்கோ? தளை அவிழ் பூஞ் சினைச் சுரும்பு யாழ் போல இசைப்பவும், கொளை தளராதவர் தீமை மறைப்பென்மன்; மறைப்பவும், கிளை அழிய வாழ்பவன் ஆக்கம் போல் புல்லென்று, வளை ஆனா நெகிழ்பு ஓடும் தோள்ஆயின், எவன் செய்கோ?’ என ஆங்கு, நின்னுள் நோய் நீ உரைத்து அலமரல்; எல்லா! நாம் எண்ணிய நாள்வரை இறவாது, காதலர் பண்ணிய மாவினர் புகுதந்தார் கண் உறு பூசல் கை களைந்தாங்கே. Same actors and same premise herein! The words can be translated as follows: “Delighting all life and protecting this widespread land, gushing streams spread and fed plentiful water. After that time had passed, the reduced water flows in small streams by the river sands. Beautifying this river, akin to those with honour who recollect the person, who did something good to them in the past, and later when they are in distress, repays them by doing good to them, the branches shed many flowers on the river, and bees buzz around. During such a time, when the pleasant and picturesque spring has arrived… When the black cuckoo immerses in the pollen of wide open flowers of the portia tree and calls out aloud, I can try to hide the cruelty of the one who fears not this separation. Even when I do, akin to a tree, under whom a man, who rendered a false witness stayed, losing beauty, burnt by the flame within, when my heart burns, what am I to do? When the bees swarm around the sagging branches laden with heavy flowers, I can try to hide the cruelty of the one, who is unswerving in his determination. Even when I do, akin to people, who are under the reign of an unjust king, crying, unable to hold the weight of the moisture within, when my eyes overflow with tears, what am I to do? When the honeybees resound like a lute around the flower-laden branches with fully bloomed petals, I can try to hide the cruelty of the one, who sways not from his principles. Even when I do, akin to the wealth of one, who prospers at the ruin of his kin, becoming lifeless, when my arms let my bangles to slip away ceaselessly, what am I to do? And so, saying all this about the affliction within you, worry not, my friend! Without delaying it beyond the days we had counted, your lover has mounted on his adorned horse and has arrived to wipe away the angst of your eyes with his hands!” Let’s explore the details. The verse is situated in the context of the man’s parting from the lady after marriage and starts in the voice of the lady and concludes in the voice of the confidante. The lady starts as usual by talking about spring. She remembers how the rivers were gushing in full force, possibly talking about the winter rains of Tamilnadu and their effect on the waterbodies. In time, as spring approaches, this reduces and now water flows in smaller streams. Over these streams, branches of trees shed their beautiful flowers and for this natural event, the lady brings in an exquisite simile, where she talks of the generosity of a person who had received something good from another in a time of need, and later, when seeing the other person in distress, they offer them good things to resolve their state. She implies that the trees had received the bounty of the rivers gushing flow, and now, when those rivers were diminished, the trees were paying back by adorning the rivers with flowers that bloom on them. Extraordinary connection to a noble human trait with this element of nature! Returning, we find the lady saying, ‘Indeed, spring has come and the bees are buzzing around the branches’. At this time, when cuckoos dance around the pollen of the portia tree, bees swarm around heavy branches and buzz like lutes, even though she tries to hide the pain inflicted on her by the man who parted away from her, firm in his resolve, she is unable to do that. Once again, she narrates her helplessness in controlling her emotions with three relevant similes. The first features a man staying under a tree and she informs us that this is a man, who had given false witness, and because of this, the tree would lose its beauty and fade, and just like that her heart too is burnt from within. In the second, the miserable people under an unjust ruler are highlighted, and she says, like them, she would cry, for her eyes would be unable to bear the burden of that pain. Finally, she talks about a man who seems to have great wealth but he has attained that at the ruin of his relatives, and she adds, just like that wealth, her arms lose their health and bangles slip away. In short, no matter how much she tries to hide her pain, these events reveal her suffering to the world. Hearing all this, the confidante as usual, asks her not to worry, for the man was arriving even before the day they had calculated, and at the very moment, he was rushing on his horse to wipe away his lady’s sorrow. Through this verse, we get a sense of ethics and virtues of importance in the Sangam era. The first is repaying goodness to one and echoes an ingrained sense of gratitude; The other three, by talking about the absence of these qualities, reveal to us, their importance in the minds of these people. These are, never ever giving false witness for this human act seemed to have the power to even burn a tree, according to Sangam perception; The next is ruling with compassion and empathy over one’s subjects and considering that this was written by a poet-king, we can be sure he practiced what he penned. The final one talks about the importance of including one’s kin in the success of one’s life, and seems to talk about how no person is an island and our victory should be shared with those, who are there in our life, and never at the cost of their well-being. And thus, although it’s the exact same situation of the lady complaining, and confidante consoling, we are given to understand timeless truths of what makes someone a person of honour and virtue!…

Sangam Lit

1
Kalithogai 33 – A mocking world 7:33

1 year temu7:33

7:33

In this episode, we perceive how the changes in the season affects the lady, as portrayed in Sangam Literary work, Kalithogai 33, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals an intricate truth about perception. ‘வீறு சால் ஞாலத்து வியல் அணி காணிய யாறு கண் விழித்த போல், கயம் நந்திக் கவின் பெற, மணி புரை வயங்கலுள் துப்பு எறிந்தவை போல, பிணி விடு முருக்கு இதழ் அணி கயத்து உதிர்ந்து உக, துணி கய நிழல் நோக்கித் துதைபு உடன் வண்டு ஆர்ப்ப, மணி போல அரும்பு ஊழ்த்து மரம் எல்லாம் மலர் வேய, காதலர்ப் புணர்ந்தவர் கவவுக் கை நெகிழாது, தாது அவிழ் வேனிலோ வந்தன்று; வாரார், நம் போது எழில் உண்கண் புலம்ப நீத்தவர்! எரி உரு உறழ இலவம் மலர, பொரி உரு உறழப் புன்கு பூ உதிர, புது மலர்க் கோங்கம் பொன் எனத் தாது ஊழ்ப்ப, தமியார்ப் புறத்து எறிந்து எள்ளி, முனிய வந்து, ஆர்ப்பது போலும் பொழுது; என் அணி நலம் போர்ப்பது போலும் பசப்பு நொந்து நகுவன போல் நந்தின, கொம்பு; நைந்து உள்ளி உகுவது போலும், என் நெஞ்சு; எள்ளி, தொகுபு உடன் ஆடுவ போலும், மயில்; கையில் உகுவன போலும், வளை; என் கண் போல் இகுபு அறல் வாரும் பருவத்தும் வாரார்; மிகுவது போலும், இந் நோய் நரம்பின் தீம் குரல் நிறுக்கும் குழல் போல் இரங்கு இசை மிஞிறொடு தும்பி தாது ஊத தூது அவர் விடுதரார் துறப்பார்கொல்? நோதக, இருங் குயில் ஆலும் அரோ.’ என ஆங்கு, புரிந்து நீ எள்ளும் குயிலையும், அவரையும், புலவாதி நீல் இதழ் உண்கணாய்! நெறி கூந்தல் பிணி விட, நாள் வரை நிறுத்துத் தாம் சொல்லிய பொய் அன்றி, மாலை தாழ் வியன் மார்பர் துனைதந்தார் கால் உறழ் கடுந் திண் தேர் கடவினர் விரைந்தே. The lady and the confidante are at it again, discussing the man’s absence! The words can be translated as follows: “Like a river that opens its eyes to see the spreading beauty of this majestic world, adding absolute beauty to the pond, looking as if a coral has been thrown into a sapphire-hued vessel, the ‘Indian coral tree’ flower petals that have abandoned ties to their twigs lie scattered on the pond. Looking at their shadows at the crystal clear waters of the pond, bees buzz around; Bursting with buds akin to gems, all trees blossom; Those who are united with their beloved loosen not their embraces; And so, the season of spring that showers pollen has arrived, but the one who parted away, making my flower-like, kohl-streaked eyes shed tears, has not returned! Akin to fire, the silk-cotton tree blooms; Akin to puffed rice, the beechwood flowers bloom; The new flowers of the buttercup tree shed pollen akin to gold; As if it is mocking at the backs of those who are alone, bringing hatred, resounding comes the evening; And so my excellent beauty is enveloped by pallor! As if they are teasing and laughing at me, the branches are filled with flowers; Seeing this, my heart worries and suffers; The peacocks seem to mock at me and dance together; My bangles seem to slip away from my hands; Akin to the streaks of tears from my eyes, streams flow in this season and yet he hasn’t come; This affliction soars beyond measure; Akin to how the flute keeps in tune with the sweet notes of the lute, with resounding music, bees and beetles feed on pollen, and yet, he sends not even a message. Will he abandon me? Lo! Making me ache, the black cuckoos call out aloud! And so, saying all this, don’t lament about those mocking cuckoos and your man, O maiden with blue-petaled, flower-like, kohl-streaked eyes! To loosen your wavy hair, to not falsify the promise he gave about the day he would return, your companion, who wears a low hanging garland upon his chest, comes riding his wind-like, sturdy and speedy chariots with much haste.” Time to explore the details. The verse is situated in the context of the man’s parting from the lady after marriage and starts in the voice of the lady and ends in the voice of the confidante. The lady, is still in the same mood she has been in the past few verses, wherein she notes how spring has come but her man hasn’t. In this verse, we are given to understand that in this season of spring, coral tree flowers lie scattered on ponds, bees buzz around and anyone who’s blessed to be with their beloved makes sure not to loosen the grip of their embrace. Next, the lady talks about the flowering of the silk-cotton tree, like fire, that of the beechwood tree, like puffed rice and that of the buttercup tree, like gold. She remarks how the evening time seems to be mocking at her. And this feeling of teasing and laughing at her, she also sees in the branches brimming with flowers and the dance of peacocks. Owing to all this, her bangles slip away and tears flow like streams. Yet, of no avail! Even as bees and beetles match their resounding like the playing of a flute and a lute, the man does not send any message, the lady laments, and just as she hears a cuckoo sing, that seems to drive a deeper wedge into her heart! Hearing all this, our good confidante asks the lady not to hate the cuckoo or her lover, and informs the lady that the man wanting to fulfil his promise to the lady, was at the moment rushing back on his chariot, riding like the wind! With that cheerful and positive message, the confidante concludes her words. The point I would like to zoom on to in this verse is the way the lady seems to think that all those natural events in the world around her seemed to be happening only to mock at her and this tells us something profound about perception. Sangam Lit makes us witness the truth of the statement: ‘We see the world not as it is, but as who we are’!…

Sangam Lit

1
Kalithogai 32 – The season that cures 6:47

1 year temu6:47

6:47

In this episode, we observe the changes that accompanies the season of spring, as portrayed in Sangam Literary work, Kalithogai 32, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and concludes with a message of joy. எஃகு இடை தொட்ட, கார்க் கவின் பெற்ற ஐம்பால் போல் மை அற விளங்கிய, துவர் மணல் அது; அது ஐதாக நெறித்தன்ன அறல் அவிர் நீள் ஐம்பால் அணி நகை இடையிட்ட ஈகை அம் கண்ணி போல், பிணி நெகிழ் அலர் வேங்கை விரிந்த பூ வெறி கொள துணி நீரால், தூ மதி நாளால் அணி பெற ஈன்றவள் திதலை போல் ஈர் பெய்யும் தளிரொடும், ஆன்றவர் அடக்கம் போல் அலர்ச் செல்லாச் சினையொடும், வல்லவர் யாழ் போல வண்டு ஆர்க்கும் புதலொடும், நல்லவர் நுடக்கம் போல் நயம் வந்த கொம்பொடும், உணர்ந்தவர் ஈகை போல் இணர் ஊழ்த்த மரத்தொடும், புணர்ந்தவர் முயக்கம் போல் புரிவுற்ற கொடியொடும் நயந்தார்க்கோ நல்லைமன், இளவேனில்! எம் போல? பசந்தவர் பைதல் நோய் பகை எனத் தணித்து, நம் இன் உயிர் செய்யும் மருந்தாகி, பின்னிய காதலர் எயிறு ஏய்க்கும் தண் அருவி நறு முல்லைப் போது ஆரக் கொள்ளும் கமழ் குரற்கு என்னும் தூது வந்தன்றே தோழி! துயர் அறு கிளவியோடு: அயர்ந்தீகம் விருந்தே. The season of spring seems to be an integral part of these verses from the drylands domain of late. The words can be translated as follows: “Akin to five-layered tresses with the beauty of rainclouds and enhanced with the touch of steel, spreads the black and shining sand; Akin to tightly braided tresses adorned with beauty by a golden strand, upon the river sand, lies scattered flowers of bright, fully-bloomed Kino flowers that have loosened their ties, spreading their fragrance. At this time, when the clear waters are adorned by the pure white moon above, akin to the pallor spots of a woman who has give birth, with moist tenderness appears the shoots, akin to the humility of the wise, are branches that do not flower, akin to the lute of the skilled, are bee-buzzing bushes; Akin to the dance of fine women, are the branches filled with allure; Akin to the charity of the empathetic, are the trees that shed their pollen; Akin to the union of lovers, are the entangled vines; You are good to all, who welcome you with love, O spring! But what about people like me? In people like you, in whom the pallor of suffering spreads, abating the enemy of disease, the season becomes the cure that creates a good life. For, saying, ‘Akin to the teeth of lovers, are the fragrant wild jasmines that bloom by the cool cascades. Pluck those flowers for her fragrant tresses’, a message has come, my friend, with words that slay sorrow! Let’s go prepare a feast!” Let’s delve into the details. The verse is situated in the context of a man’s parting from his lady after marriage and starts in the voice of the lady and concludes in the voice of the confidante. The lady starts by talking about the changes in spring, when the black sands shine with the beauty of five-layered tresses, which have been cut with steel. Interpreters have used the word ‘scissors’ for the word ‘எஃகு’ used here. Possibly, it was a steel instrument used for enhancing hair in the Sangam era. Moving on, the lady extends that tresses-sand simile by talking about a golden jewel garland atop those tresses and equating it to the fallen flowers of the Indian Kino tree, which spread fragrance everywhere. Following this, the lady starts mentioning further changes in spring and uses the unique Sangam technique of comparing people’s traits to elements of nature. First, it is the pallor spots on a the skin of a woman, who has just given birth, and this is equated to tender mango shoots. Next, the humility of the wise, who keep things to themselves and never say or do things when inappropriate, is described and placed in parallel with branches that still do not flower, for the time is not right yet; We get to hear the lute sounds of skilled artisans in the buzzing of bees; We get to see the dance of good maiden, in the swaying branches; We get to sense the generosity of those who are truly compassionate in the trees that shed their pollen upon the ground; Tangled bushes talk about lovers’ embrace. With such beauty, the spring brings joy to those who love it, but what about me?, asks the lady. To her question, the confidante replies even for people like you, who are parted from their love, and in whom, pallor spreads, this season has become the cure. Why I say this is because a message has come, asking you to adorn your fragrant tresses with the jasmine buds blooming near the cascades, implying the man is to return soon, the confidante explains, and concludes with a cheerful nudge to the lady that they should go prepare a feast for the man who’s returning. Interesting details about practical elements such as hairstyling and abstract elements such as human traits are woven together in this verse on a man’s return home to his beloved in the promised season of spring!…

Sangam Lit

1
Kalithogai 31 – The tormenting weather 7:47

1 year temu7:47

7:47

In this episode, we perceive a poignant question and its resounding response, as depicted in Sangam Literary work, Kalithogai 31, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and presents a dual portrait of anxiety and consolation. ‘கடும் புனல் கால் பட்டுக் கலுழ் தேறிக் கவின் பெற, நெடுங் கயத்து அயல் அயல் அயிர் தோன்ற, அம் மணல் வடுத்து ஊர வரிப்ப போல் ஈங்கை வாடு உதிர்பு உக, பிரிந்தவர் நுதல் போலப் பீர் வீய, காதலர்ப் புணர்ந்தவர் முகம் போலப் பொய்கை பூப் புதிது ஈன, மெய் கூர்ந்த பனியொடு மேல் நின்ற வாடையால், கையாறு கடைக்கூட்டக் கலக்குறூஉம் பொழுதுமன் “பொய்யேம்” என்று, ஆயிழாய்! புணர்ந்தவர் உரைத்ததை மயங்கு அமர் மாறு அட்டு, மண் வௌவி வருபவர், தயங்கிய களிற்றின்மேல், தகை காண விடுவதோ பயங் கெழு பல் கதிர் பால் போலும் பொழுதொடு, வயங்கு இழை தண்ணென, வந்த இவ் அசை வாடை? தாள் வலம்பட வென்று, தகை நன் மா மேல்கொண்டு, வாள் வென்று வருபவர் வனப்பு ஆர விடுவதோ நீள் கழை நிவந்த பூ நிறம் வாடத் தூற்றுபு, தோள் அதிர்பு அகம் சேர, துவற்றும் இச் சில் மழை? பகை வென்று திறை கொண்ட பாய் திண் தேர் மிசையவர் வகை கொண்ட செம்மல் நாம் வனப்பு ஆர விடுவதோ புகை எனப் புதல் சூழ்ந்து, பூ அம் கள் பொதி செய்யா முகை வெண் பல் நுதி பொர, முற்றிய கடும் பனி?’ என ஆங்கு, வாளாதி, வயங்கிழாய்! ‘வருந்துவள் இவள்’ என, நாள் வரை நிறுத்துத் தாம் சொல்லிய பொய் அன்றி, மீளி வேல் தானையர் புகுதந்தார் நீள் உயர் கூடல் நெடுங் கொடி எழவே. Another sequence that portrays the lady’s worry and the confidante’s resolution. The words can be translated as follows: “The speeding river splits into smaller streams, clearing the stagnant muddiness and adding beauty, and near these huge waterbodies, sand gets deposited and ripples spread on that sand, upon which lies scattered the withered touch-me-not flowers. Akin to the foreheads of those, who are parted from their beloved, fade the flowers of the ridge-gourd and akin to the faces of those, who have united with their beloved, the lotuses in the pond bloom. This was the season promised, when coldness twists our forms and the northern winds soar above. O, maiden wearing well-etched ornaments, my lover had declared that ‘I will not fail in my promise’. However… Will this swaying northern wind that makes shining ornaments cool to touch, which blows at this time when the flourishing, milk-like rays of the moon scatters around, allow me to see the glorious sight of he, who will return, atop a swaying elephant, conquering land, after killing the enemy in the bewildering battlefield? Will this drizzle of a rain that makes my shoulders quiver and retreat within my home, which falls above the tall sugarcane stalks making the flowers fade, allow me to relish the beauty of he, who will come, atop his glorious fine horse, winning swords, after triumphing over, with his effort and strength? Will this severe cold that makes the buds of my white teeth that conceal not the flower’s nectar within, chatter, which envelops like a fog around the bushes, allow me to savour the beauty of the esteemed lord, who will return, on his pouncing and sturdy chariot, claiming victory, after winning over the enemies and collecting their tributes? Saying all these words, worry not, O maiden wearing glowing ornaments! Thinking, ‘worried will she be’, as he counted the days that passed, to ensure that his promise does not become false, akin to the God of Death, along with an army of spears, he has returned, making tall flags soar above the vast and noble city of Koodal!” Time to explore the nuances. The verse is situated in the context of a man’s parting from his lady and speaks initially in the voice of the lady and concludes with the confidante’s comments. The lady starts by describing the season that man promised he would return, and do that, she talks about how the wild river would now slow down and split into many streams, depositing rich sand along the way and upon this sand, touch-me-not flowers would lie scattered. The season when the ridge-gourd flowers, akin to the pallor-spotted forehead of a maiden separated from her beloved, wither and fall off, but lotuses, akin to the faces of maiden when they are united with their beloved, has bloomed upon ponds many. In short, this season was that of spring and the man seems to have vouched that he would not fail in his promise. While that was so, the lady wonders about the season in-between, asking if the northern wind that makes her ornaments cool, the drizzle that makes her shoulders quiver, the cold that makes her teeth chatter would have the kindness to allow her to remain, so as to witness the triumphant return of the man atop an elephant or his fine horse or his chariot, after conquering the enemies with his strength and bringing home their tributes. In essence, she totally trusts in the triumphant return of her man in the promised season and worries only about whether she has the strength to bear with these elements around that torment her in the man’s absence. As always, our wise confidante rises to the occasion, asking the lady not to worry so, for the man too had the lady in his mind and knew she can’t bear his parting for too long. So, there he was returning to the lady, surrounded by men with spears, a victorious march back home, which makes the flags flutter high in the fine city of Koodal! A verse in which the weather and seasons are integral characters. It also narrates the absolute trust of the lady in her man’s victory, even as she doubts her own ability to bear with the parting. A word to this sister from the ancient past: ‘Have no doubt about your strength to bear with anything the world may throw. It’s so in you!’…

Sangam Lit

1
Kalithogai 30 – He cannot remain away 6:53

1 year temu6:53

6:53

In this episode, we perceive the support rendered by a bard, as depicted in Sangam Literary work, Kalithogai 30, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and sketches the prior acts of the man. ‘அருந்தவம் ஆற்றியார் நுகர்ச்சி போல், அணி கொள விரிந்து ஆனாச் சினை தொறூஉம், வேண்டும் தாது அமர்ந்து ஆடி, புரிந்து ஆர்க்கும் வண்டொடு, புலம்பு தீர்ந்து எவ் வாயும், இருந் தும்பி, இறை கொள எதிரிய வேனிலான் துயில் இன்றி யாம் நீந்த, தொழுவை அம் புனல் ஆடி, மயில் இயலார் மரு உண்டு, மறந்து அமைகுவான்மன்னோ ‘வெயில் ஒளி அறியாத விரி மலர்த் தண் காவில் குயில் ஆலும் பொழுது’ எனக் கூறுநர் உளராயின் பானாள் யாம் படர் கூர, பணை எழில் அணை மென் தோள் மான் நோக்கினவரோடு மறந்து அமைகுவான்மன்னோ ‘ஆனாச் சீர்க் கூடலுள் அரும்பு அவிழ் நறு முல்லை, தேன் ஆர்க்கும் பொழுது’ எனத் தெளிக்குநர் உளராயின் உறல் யாம் ஒளி வாட, உயர்ந்தவன் விழவினுள் விறல் இழையவரோடு விளையாடுவான்மன்னோ ‘பெறல் அரும் பொழுதோடு, பிறங்கு இணர்த் துருத்தி சூழ்ந்து, அறல் வாரும், வையை’ என்று அறையுநர் உளராயின்’ என ஆங்கு, தணியா நோய் உழந்து ஆனாத் தகையவள் தகை பெற, அணி கிளர் நெடுந் திண் தேர் அயர்மதி பணிபு நின் காமர் கழல் அடி சேரா நாமம் சால் தெவ்வரின் நடுங்கினள் பெரிதே. After a long time, we are hearing the voice of a person other than the confidante and the lady and it happens to be a bard! The words can be translated as follows: “‘With the ever-present joy found in those who have achieved hard penance, blacks bees buzz obtaining their food, relishing pollen plenty that they were yearning for, on flowers that open their petals, adorning all the branches with beauty, delighting in the end of their sorrow. Such is the season of spring that has arrived. As I tossed without sleep, he played in the lush waters of the river, inhaling scents of those who appear like peacocks, back then. Can he forget that and stay away if some one were to go to him and say, ‘It’s the time when, in the moist grove with fully-bloomed flowers that know not about sunlight, cuckoos sing’? As suffering spread in me at midnight, he was in the embrace of those who have bamboo-like, delicate arms, and the gaze of a deer, back then. Can he forget that and stay away if some one were to go to him and clarify, ‘It’s the time when, in Koodal of unending fame, around fragrant jasmine buds, bees buzz’? As I, his wife, faded away, the noble man was playing in the festival with women clad in exquisite jewels, back then. Can he forget that and stay away if some one were to go to him and declare, ‘It’s the time when, in the Vaigai, causing many sand islets, streams gush’?’ Saying these words, with a disease that abates not, she suffers. To render grace to that gracious one, ride on your tall and sturdy chariot, adorned with beauty, for akin to how the foes, who do not bow before your feet, quiver when they hear your name, she shivers in worry tremendously!” Time to explore the nuances. The verse is situated in the context of the man’s parting from the lady and here, a bard renders the words of the lady and his concluding thoughts to the man, who is to be found in a battle encampment. The bard conveys through the lady’s words that the season of spring was there, wherein bees were in the state of those, who had obtained deep bliss through their penance. The bees were in that state of ‘Nirvana’ because all the branches had bursted with flowers and pollen, the very thing they wanted! Now the lady continues by remembering how when she was lying sleepless the man used to enjoy himself, playing in the waters, inhaling the scents and embracing the bamboo-like arms of courtesans. Now, we get a taste of ‘Marutham’ or ‘Farmlands’ in this verse situated in the drylands. The lady has recollected these events to say that back then, the man was like that, and now if someone were to go and tell him that the cuckoos were singing in moist groves, bees were buzzing in Koodal and streams were flowing making many sand islets in the Vaigai, the man would recollect his joyous times with those maiden and return home instantly. This seems to be a strategy of the lady wherein she declares, ‘Maybe he has forgotten me but he is sure to not have forgotten his dear courtesans!’. The bard takes these words of the lady to the man and nudges him to ride his chariot and be back with her soon. He concludes with a sharp simile that the lady seems to tremble without the man’s presence akin to how the foes of this noble man do, when they hear his name. The last line informs us the man is in a battlefield, and also, the lady’s words about his affection for courtesans is meant to shock the man and divert his thoughts towards the lady. Thinking tangentially, why should a lady lament for such a man if the statements about his courting courtesans are true? Was her life so irrevocably tied to the presence of the man or is that the narrative the poets wished to depict? If they do, what was the inner motive? Sangam Lit continues to raise questions about these intricate facets of a culture’s intention!…

Sangam Lit

1
Kalithogai 29 – Sweet words 7:10

1 year temu7:10

7:10

In this episode, we perceive a message of good tidings, as portrayed in Sangam Literary work, Kalithogai 29, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and talks about the many elements that bring anxiety to the lady in the man’s absence. ‘தொல் எழில் வரைத்து அன்றி வயவு நோய் நலிதலின், அல்லாந்தார் அலவுற ஈன்றவள் கிடக்கை போல், பல் பயம் உதவிய பசுமை தீர் அகல் ஞாலம் புல்லிய புனிறு ஒரீஇப் புது நலம் ஏர்தர; வளையவர் வண்டல் போல், வார் மணல் வடுக் கொள; இளையவர் ஐம்பால் போல், எக்கர் போழ்ந்து அறல் வார; மா ஈன்ற தளிர்மிசை, மாயவள் திதலை போல், ஆய் இதழ்ப் பல் மலர் ஐய கொங்கு உறைத்தர; மே தக இளவேனில் இறுத்தந்த பொழுதின்கண் சேயார்கண் சென்ற என் நெஞ்சினை சின்மொழி! நீ கூறும் வரைத்து அன்றி, நிறுப்பென்மன்! நிறை நீவி, வாய் விரிபு பனி ஏற்ற விரவுப் பல் மலர் தீண்டி, நோய் சேர்ந்த வைகலான், வாடை வந்து அலைத்தரூஉம் போழ்து உள்ளார் துறந்தார்கண் புரி வாடும் கொள்கையைச் சூழ்பு ஆங்கே சுடரிழாய்! கரப்பென்மன்! கைநீவி வீழ் கதிர் விடுத்த பூ விருந்து உண்ணும் இருந் தும்பி யாழ் கொண்ட இமிழ் இசை இயல் மாலை அலைத்தரூஉம் தொடி நிலை நெகிழ்த்தார்கண் தோயும் என் ஆர் உயிர் வடு நீங்கு கிளவியாய்! வலிப்பென்மன்! வலிப்பவும், நெடு நிலா, திறந்து உண்ண, நிரை இதழ் வாய் விட்ட கடி மலர் கமழ் நாற்றம், கங்குல் வந்து, அலைத்தரூஉம்’ என ஆங்கு, வருந்தினை வதிந்த நின் வளை நீங்க, சேய் நாட்டுப் பிரிந்து செய் பொருட் பிணி பின் நோக்காது ஏகி, நம் அருந் துயர் களைஞர் வந்தனர் திருந்து எயிறு இலங்கு நின் தேமொழி படர்ந்தே. The confidante changes the mood of the verse with her concluding statement. The words can be translated as follows: “As the sickness in pregnancy tormented, losing her old beauty, making the family much worried, appeared a woman. Akin to her state after she has given birth, when the distressing labour is done, the wide lands with fields that have prospered plentifully but which had lost their fertility, have regained their health and beauty; Akin to the sand houses of young girls, the river sands have filled up with fallen flowers; Akin to the five-part braid of young maiden, the sands have split in waves along the shore; Akin to the pallor spots of a dark-skinned maiden, the pollen of many beautiful flowers have spread atop the new shoots of the mango tree; Such are the changes enacted by the season of spring that has arrived at this time; O maiden who speaks sparse words! The heart of mine, which laments about the man who lives far apart, I can bring that under perfect control, even more than the bounds you ask for! But even when I do, caressing the many scattered, bloomed and moist flowers in this evening time when affliction brims, the northern winds torment me so! O maiden who wears radiant ornaments! The fading changes in my form owing to my heart dwelling around the man, who thinks not about me, I can hide! But even when I do, feeding on the flowers that have been touched by the falling rays of the sun in this evening, the black bees that resound with the sound of lutes torment me so! O maiden who renders perfect words! The precious life of mine that seems to revolve around the one who has made my bangles slip away, I can subdue! But, even when I do, as the faraway moon glows and bees pierce open and the flowers spread out their wide petals at night, the fragrance of these fine flowers torment me so! Saying all this, you worried and made your bangles slip away. The one who parted away to a strange country in search of wealth, without thinking about you, has now come to end your great sorrow, thinking about the honey-like words from your perfect, shining teeth!” Let’s delve into the details. The verse is situated in the context of the man’s parting after marriage and speaks in the voice of the lady initially with the confidante’s concluding words. The lady presents various similes to talk about the advent of spring, such as how the fields have turned lush following their period of drought, much like how a pregnant woman regains her lost health, after the birth of her child; river sands being decked with flowers and pollen like the sand houses of girls; wavy sands on the shore shining like a maiden’s five-part braid, and pollen of many different flowers falling on the green leaves of a mango tree, like the pallor-spotted complexion of a dark-skinned woman. So, it’s again the theme of ‘Spring’s here. But he’s not’. As if replying to prior words of the confidante asking her to be strong, the lady says she can try to control her heart, hide the changes in her form and even subdue the quivering of her life, all affected by the man who had parted away. But even when she does so, the northern winds, the buzzing black bees and the fragrance of flowers that soar in the evening attack her and make her lose her resolve. Quoting these words of the lady, the confidante says, ‘you were so worried but now, the man arrives to end your sorrow’, thinking only about the sweet words the lady speaks. This statement is probably said with a laugh for the lady’s words lamenting about the man are hardly sweet! But the highlight of the verse is the message of hope for a worrying heart!…

Sangam Lit

1
Kalithogai 28 – Worry not 6:59

1 year temu6:59

6:59

In this episode, we listen to a lady’s lament and a confidante’s consolation, as portrayed in Sangam Literary work, Kalithogai 28, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and narrates the seasonal changes in spring. ‘பாடல் சால் சிறப்பின் சினையவும், சுனையவும் நாடினர் கொயல் வேண்டா, நயந்து தாம் கொடுப்ப போல், தோடு அவிழ் கமழ் கண்ணி தையுபு புனைவார்கண் தோடுறத் தாழ்ந்து, துறை துறை கவின் பெற, செய்யவள் அணி அகலத்து ஆரமொடு அணி கொள்பு, தொய்யகம் தாழ்ந்த கதுப்புப் போல் துவர் மணல் வையை வார் அவிர் அறல், இடை போழும் பொழுதினான் விரிந்து ஆனா மலராயின், விளித்து ஆலும் குயிலாயின், பிரிந்து உள்ளார் அவராயின், பேதுறூஉம் பொழுதாயின், அரும் படர் அவல நோய் ஆற்றுவள் என்னாது வருந்த, நோய் மிகுமாயின் வணங்கிறை! அளி என்னோ? புதலவை மலராயின், பொங்கரின வண்டாயின், அயலதை அலராயின், அகன்று உள்ளார் அவராயின், மதலை இல் நெஞ்சொடு மதனிலள் என்னாது நுதல் ஊரும் பசப்பாயின் நுணங்கிறை! அளி என்னோ? தோயின அறலாயின், சுரும்பு ஆர்க்கும் சினையாயின், மாவின தளிராயின், மறந்து உள்ளார் அவராயின், பூ எழில் இழந்த கண் புலம்பு கொண்டு அமையாது பாயல் நோய் மிகுமாயின் பைந்தொடி! அளி என்னோ?’ என ஆங்கு, ஆயிழாய்! ஆங்கனம் உரையாதி; சேயார்க்கு நாம் தூது மொழிந்தனம் விடல் வேண்டா; நம்மினும் தாம் பிரிந்து உறைதல் ஆற்றலர், பரிந்து எவன் செய்தி வருகுவர் விரைந்தே. It’s the same duo of maidens in conversation here! The words can be translated as follows: “Flowers, worthy of being sung in a song, are endowed with affection by the low hanging branches to those who adorn themselves with fragrant flower garlands containing blooming petals, giving no reason for them to search for these flowers in branches and springs. These branches adorn the river shores with such allure. Akin to how a necklace beautifies the wide chest of the goddess, flows the river Vaigai, amidst the salty red sands, akin to tresses that have descended out of their ‘thoyyagam’ clasp. Such is the season of spring! The flowers have bloomed, the cuckoos have sent out their calls, and yet he, who is parted from me, thinks not that in this confusing time, she will suffer because of the terrible affliction and that disease will soar in her, O maiden with curving forearms! What can his grace do? The bushes have flowered, bees have started buzzing in the groves, and slander has spread among the neighbours, and yet, if he who lives apart from me, thinks not that her heart will lack the strength and support, and that pallor would spread on her forehead, O maiden with swaying arms! What can his grace do? The sands have become soaked, the branches have started buzzing with bees, and the mango tree has sprouted new leaves, and yet, if he has forgotten me, making my flower-like eyes lose their beauty and suffer in loneliness, as this disease brims over, O maiden wearing new bangles! What can his grace do? Do not say all this, O maiden wearing well-etched ornaments! Let’s not send a messenger to the one who lives far away; Even more than you, he cannot bear to be apart. What’s the use of worrying? He will be back soon!” Let’s explore the details. The verse is situated in the context of the man’s parting after marriage and speaks in the voice of the lady initially, followed by the concluding words of the confidante. The lady starts by talking about the exquisite branches of flowering trees that hang low over the Vaigai river, offering their blooms to those who want to make flower garlands, without any need for searching in faraway trees or springs. And the river too flows like a necklace on the chest of a goddess, a creative way of illustrating the geographic concept of ‘river meandering’. Once again, the river sands are equated to the tresses of women that have escaped a clasp mentioned as ‘thoyyagam’, possibly the rubber bands or hair pins of the Sangam era! The lady has mentioned these elements of land to inform how the season of spring has arrived, and she continues by talking about all the changes such as the blooming of flowers, buzzing of bees, singing by cuckoos, slander from neighbours, soaking of river sands, sprouting of mango trees, and so on, mentioning the exuberant expressions of nature as this season enters the fold. She adds yet the man does not think about how love affliction, pallor and the disease of loneliness would spread in her, and he remains far away. So, she asks the same question wondering what good can his grace do later when he returns. Hearing this, the confidante asks her not to speak so, and declares the man is someone who cannot bear to be apart from the lady and advises that there’s no use in worrying, concluding that he’ll be back soon. The confidante’s good sense echoes in these words and instead of running out of patience for this lamenting lady, who seems so helpless without her man, we can instead admire the persistent portrayal of sense and sensibility in the psyche of the confidante!…

Sangam Lit

1
Kalithogai 27 – A return in time 8:25

1 year temu8:25

8:25

In this episode, we perceive pertinent similes to describe a person’s state of mind, as portrayed in Sangam Literary work, Kalithogai 27, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals the thoughtfulness of the man. ‘ஈதலில் குறை காட்டாது, அறன் அறிந்து ஒழுகிய தீதிலான் செல்வம் போல், தீம் கரை மரம் நந்த; பேதுறு மட மொழி, பிணை எழில் மான் நோக்கின் மாதரார் முறுவல் போல், மண மௌவல் முகை ஊழ்ப்ப; காதலர்ப் புணர்ந்தவர் கதுப்புப் போல், கழல்குபு தாதொடும் தளிரொடும், தண் அறல் தகை பெற; பேதையோன் வினை வாங்க, பீடு இலா அரசன் நாட்டு, ஏதிலான் படை போல, இறுத்தந்தது, இளவேனில் நிலம் பூத்த மரமிசை நிமிர்பு ஆலும் குயில் எள்ள, நலம் பூத்த நிறம் சாய, நம்மையோ மறந்தைக்க; கலம் பூத்த அணியவர் காரிகை மகிழ் செய்ய, புலம் பூத்து, புகழ்பு ஆனாக் கூடலும் உள்ளார்கொல்? கல்மிசை மயில் ஆல, கறங்கி ஊர் அலர் தூற்ற, தொல் நலம் நனி சாய, நம்மையோ மறந்தைக்க; ஒன்னாதார்க் கடந்து அடூஉம், உரவு நீர் மா கொன்ற, வென் வேலான் குன்றின்மேல் விளையாட்டும் விரும்பார்கொல்? மை எழில் மலர் உண்கண் மரு ஊட்டி மகிழ் கொள்ள, பொய்யினால் புரிவுண்ட நம்மையோ மறந்தைக்க; தைஇய மகளிர் தம் ஆயமோடு அமர்ந்து ஆடும் வையை வார் உயர் எக்கர் நுகர்ச்சியும் உள்ளார்கொல்?’ என ஆங்கு, நோய் மலி நெஞ்சமோடு இனையல், தோழி! ‘நாம் இல்லாப் புலம்பாயின், நடுக்கம் செய் பொழுதாயின், காமவேள் விழவாயின், ‘கலங்குவள் பெரிது’ என, ஏமுறு கடுந் திண் தேர் கடவி, நாம் அமர் காதலர் துணை தந்தார், விரைந்தே. The lady’s confusion and the confidante’s consolation are combined in this rendition. The words can be translated as follows: “Akin to the wealth of a flawless man, who knows the path of justice and who leaves nothing amiss in his generosity, the trees on the sweet shore flourish; Akin to the smiles of women, who have the beautiful eyes of a female deer and who entice men with their naive words, the fragrant wild jasmine buds bloom; Akin to the tresses of those who have united with their lovers, with fallen pollen and leaves, the cool river shores shine; Akin to the armies of enemy kings, arriving in the country of a king without honour, guided by a foolish counsel, the season of spring lays siege around me! Cuckoos sing with joy, atop the trees that prosper, and seem to mock me, as the beauty of my skin fades, and so, he might have forgotten me; But won’t he at least think of Koodal, with unceasing fame, where the land blooms with plenty, and those who are clad in brilliant jewels await to endow pleasures many. Peacocks, atop the hill, cry, while the uproarious town spreads slander, as my old beauty diminishes greatly, and so, he might have forgotten me; But won’t he at least desire the games he used to play upon the hill belonging to the white-speared one, who vanquished his enemies in battle and destroyed the demon in the form of a mango tree amidst the salty waters. Eyes, akin to flowers, kohl-streaked, he delighted and caused awe in them with his falsehoods and made me fall for him, and now, he might have forgotten me. But won’t he at least remember the happy times upon the high sands of the Vaigai river, where he sat and played with well-adorned maiden and their playmates? Saying all this, do not suffer with an afflicted heart, O friend! Thinking, ‘She would be lonely without me, and it would become a time of great anxiety, for the festival of ‘Kamavel’ is around the corner’ and ‘She would be in immense sorrow’, with worry, he climbed upon his sturdy chariot and rode it here with much speed, to render his fine company to you!” Time to explore the nuances. The verse is situated in the context of the man’s parting from the lady after marriage, and here, the confidante initially speaks in the voice of the lady and concludes with her own words. Speaking as the lady, she reveals how the season of spring has caused distress using a cascade of exquisite similes: The trees that bloom in this season are said to flourish like a just man’s wealth, who is generous without reservation; The wild jasmine buds are said to bloom like the smiles of maiden who entice men with their sweet words; The river sands spread and glow with shed pollen and leaves, much like the tousled tresses of those who have united with their beloved. The final one is the most intriguing of all, where the lady talks about how this season of spring lays siege around her, exactly like the army of enemy kings, who have no qualms in invading the country of a king without honour and who has no wise counsel to guide them in the right path. There’s politics and strategy concealed within this comment about a woman’s state of mind! Next, the lady seems to talk about how , making the cuckoo mock at her, and the peacock cry and the village folk gossip, and after winning her over, and as her beauty fades, perhaps it’s natural for the man to forget her. But how could he forget their city of Koodal, where plenty of courtesans are awaiting to endow joys in that famous place; the peak of white-speared king, a possible reference to God Murugu, and the mythical stories of his vanquishing demons and others in the sea, for that place seems to be where the man has spent joyful moments in play, and finally, she asks how the man could forget the sands of the River Vaigai, where he played delightfully with the bejewelled courtesans and their playmates. In short, the lady seems to say, ‘It’s fine he’s forgotten me. How can he forget all these other things he does in this city of ours and why isn’t he back yet?’. Since this is situated in ‘Paalai’ or ‘Drylands’ signifying the theme of separation, the lady seems to be in this mood. If at all the same song is in ‘Marutham’ or ‘Farmlands landscape’, she’s sure to shower her ire on the man for doing the very same things. In any case, the confidante negates all these unnecessary worrying on the part of the lady and declares that the man is expected anytime now, for he thought that the lady cannot bear to be apart from him, at this particular time, for the festival of Kamavel was fast approaching. This made me imagine a worker in Dubai rushing home to be with his family in Cochin for Ramzan; a worker in London wishing to be with her husband in New York for Christmas; And a worker in Canberra flying to be with their children in Calcutta for Diwali and thrilled me to see this reflection of an ancient emotion in the modern world of today!…

Sangam Lit

1
Kalithogai 26 – In the season of spring 6:16

1 year temu6:16

6:16

In this episode, we listen to the questions in the mind of a lady, as depicted in Sangam Literary work, Kalithogai 26, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and concludes with a reassuring message. ‘ஒரு குழை ஒருவன் போல், இணர் சேர்ந்த மராஅமும், பருதி அம் செல்வன் போல், நனை ஊழ்த்த செருந்தியும், மீன் ஏற்றுக் கொடியோன் போல், மிஞிறு ஆர்க்கும் காஞ்சியும், ஏனோன் போல், நிறம் கிளர்பு கஞலிய ஞாழலும், ஆன் ஏற்றுக் கொடியோன் போல், எதிரிய இலவமும், ஆங்கு, தீது தீர் சிறப்பின் ஐவர்கள் நிலை போல, போது அவிழ் மரத்தொடு பொருகரை கவின் பெற, நோ தக வந்தன்றால், இளவேனில் மே தக பல் வரி இன வண்டு புதிது உண்ணும் பருவத்து, தொல் கவின் தொலைந்த என் தட மென் தோள் உள்ளுவார் ஒல்குபு நிழல் சேர்ந்தார்க்கு உலையாது காத்து ஓம்பி, வெல் புகழ் உலகு ஏத்த, விருந்து நாட்டு உறைபவர் திசை திசை தேன் ஆர்க்கும் திருமருதமுன்துறை, வசை தீர்ந்த என் நலம் வாடுவது அருளுவார் நசை கொண்டு தம் நீழல் சேர்ந்தாரைத் தாங்கி, தம் இசை பரந்து, உலகு ஏத்த, ஏதில் நாட்டு உறைபவர் அறல் சாஅய் பொழுதோடு, எம் அணி நுதல் வேறாகி, திறல் சான்ற பெரு வனப்பு இழப்பதை அருளுவார் ஊறு அஞ்சி நிழல் சேர்ந்தார்க்கு உலையாது காத்து ஓம்பி, ஆறு இன்றிப் பொருள் வெஃகி அகன்ற நாட்டு உறைபவர்’ என, நீ தெருமரல் வாழி, தோழி! நம் காதலர், பொரு முரண் யானையர் போர் மலைந்து எழுந்தவர் செரு மேம்பட்ட வென்றியர்; ‘வரும்’ என வந்தன்று, அவர் வாய்மொழித் தூதே. The confidante has the final say in this verse! The words can be translated as follows: “‘Like the incomparable ear ornament of the one, are the flower clusters of the burflower tree; Like the esteemed sun, are the flower buds of the golden champak tree; Like the one who has an upraised flag with a fish emblem, are the bee-buzzing portia trees; Like the other one, are the bright flower clusters of the tigerclaw trees; Like the one who has an upraised flag with an oxen emblem, are the flowers of the silk-cotton tree; Akin to the state of the flawless and famous five kings, bloom the flowers of the tree on the shore. Adorning them with such beauty, the season of spring has arrived! In this season when the many-lined bees savour fresh honey, will he think about my delicate, curving arms that have lost their old beauty? Protecting those who have attained his shade, for the world to celebrate his fame, he who lives in the strange country! In this place called ‘Thirumaruthamunthurai’, where bees buzz in all directions, will he grace my faultless fine beauty? Sheltering those who have attained his shade with hope and desire, for the world to spread his fame, he who lives in the enemy country! In this time when the river flow is reduced, will he grace my beautiful forehead and prevent it from losing its splendid, great beauty? Defending those who attain his shade, desiring not wealth that comes in unrighteous ways, he who lives in that wide country!’ Saying so, don’t you be confused! May you live long, my friend! Your lover, who soared against enemies arriving with huge elephants, and won them over in those battles, will return soon, says the messenger, bringing the good word from him!” Let’s explore the details. The verse is situated in the context of the man’s parting from his lady after marriage and here, the confidante expresses the thoughts of the lady and concludes with a final message. She starts by speaking in the voice of the lady, and in the first section, there’s mention of many nameless entities, talking about their earrings and flags. This is the kind of information that is local and not easily accessible across centuries. Some interpreters have tried to connect these references to mythical and religious figures, but I prefer to focus on the core elements these lines are describing, which are the many different flowers that bloom in the season of spring. A powerful reminder that myths and stories vanish away in time but nature is indeed timeless. Returning, the lady has referred to the season of spring, a place called ‘Thirumaruthathurai’, possibly the Madurai on the banks of Vaigai, and the time when rivers flow with reduced intensity, only to wonder if the man will think of her curving arms, faultless beauty and fine forehead, as he’s engaged in protecting and guarding others in a faraway country. Quoting the lady this far, the confidante asks her not to worry anymore because the victorious man, who has been conquering enemies on elephants had sent word that he will return soon through a messenger. In short, words of consolation to a worrying heart!…

Sangam Lit

1
Kalithogai 25 – Changing nature 9:35

1 year temu9:35

9:35

In this episode, we perceive striking similes on human nature, as depicted in Sangam Literary work, Kalithogai 25, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and talks about the state of the lady in the event of the man’s parting away. வயக்குறு மண்டிலம் வடமொழிப் பெயர் பெற்ற முகத்தவன் மக்களுள் முதியவன் புணர்ப்பினால் ‘ஐவர்’ என்று உலகு ஏத்தும் அரசர்கள் அகத்தரா, கை புனை அரக்கு இல்லைக் கதழ் எரி சூழ்ந்தாங்கு, களி திகழ் கடாஅத்த கடுங் களிறு அகத்தவா, முளி கழை உயர் மலை முற்றிய முழங்கு அழல் ஒள் உரு அரக்கு இல்லை வளிமகன் உடைத்துத் தன் உள்ளத்துக் கிளைகளோடு உயப் போகுவான் போல, எழு உறழ் தடக் கையின் இனம் காக்கும் எழில் வேழம், அழுவம் சூழ், புகை அழல் அதர்பட மிதித்துத் தம் குழுவொடு புணர்ந்து போம், குன்று அழல் வெஞ் சுரம் இறத்திரால், ஐய! மற்று இவள் நிலைமை கேட்டீமின்: மணக்குங்கால் மலர் அன்ன தகையவாய், சிறிது நீர் தணக்குங்கால், கலுழ்பு ஆனாக் கண் எனவும் உள அன்றோ சிறப்புச் செய்து உழையராப் புகழ்பு ஏத்தி, மற்று அவர் புறக்கொடையே பழி தூற்றும் புல்லியார் தொடர்பு போல்? ஈங்கு நீர் அளிக்குங்கால் இறை சிறந்து, ஒரு நாள் நீர் நீங்குங்கால், நெகிழ்பு ஓடும் வளை எனவும் உள அன்றோ செல்வத்துள் சேர்ந்தவர் வளன் உண்டு, மற்று அவர் ஒல்கத்து நல்கிலா உணர்விலார் தொடர்பு போல்? ஒரு நாள் நீர் அளிக்குங்கால் ஒளி சிறந்து, ஒரு நாள் நீர் பாராட்டாக்கால், பசக்கும் நுதல் எனவும் உள அன்றோ பொருந்திய கேண்மையின் மறை உணர்ந்து, அம் மறை பிரிந்தக்கால் பிறர்க்கு உரைக்கும் பீடிலார் தொடர்பு போல்? என ஆங்கு, யாம் நிற் கூறுவது எவன் உண்டு? எம்மினும் நீ நற்கு அறிந்தனை, நெடுந் தகை! வானம் துளி மாறு பொழுதின், இவ் உலகம் போலும் நின் அளி மாறு பொழுதின், இவ் ஆயிழை கவினே. The confidante’s thoughtful persuasion is sketched here! The words can be translated as follows: “The eldest son of the one, who has the name of the radiant sun in the northern language, and who lacks eyes like the sun, even as the united ‘Five’, great kings celebrated by the world, were within, set fire to the well-carved mansion made of lacquer. Akin to how the soaring flames surrounded the house, when mad elephants in musth were caught within, raging flames burst around on the thorny bamboos in the tall mountains. Akin to how the son of the wind broke apart the radiant lacquer mansion and parted away with his beloved kin, a handsome elephant with a club-like trunk protects its herd, by guiding them through the smoke-filled dense forest, trampling on the ground and making a path, taking its kin to safety in the hot and flaming high drylands. If you want to go thither, O lord, listen to her state now: There are some unkind people, who worship and praise someone, when they are close by, and speak ill of the person, when the other turns their back. Akin to their nature, when you embrace her, it blooms like a flower, and when you separate a little, it fills with tears – Those eyes of hers! There are some ungrateful people, who feed on the prosperity of someone, who is wealthy, and then forsakes them when the other incurs poverty. Akin to their nature, when you shower your grace here, it stands firm on her forearms, and when you part away, it slips and falls – Those bangles of hers! There are some unprincipled people, who learn the secrets of friends they are close with, and then reveal those secrets to others when they part ways with those friends. Akin to their nature, when you grace her one day, they glow with brightness, and when you don’t praise her another day, it spreads with pallor – That forehead of hers! And so, what more can I say to you? You know much more than I do, O esteemed lord! Akin to this land that changes its nature when the drops from the skies changes, so too, the beauty of this maiden, wearing well-etched ornaments, changes, when your grace changes!” Time to delve into the nuances. The verse is situated in the context of the man’s parting from his lady after marriage and the confidante renders these words to the man, when he conveys his intent to leave. The confidante starts with a curious reference to an incident mentioned in the Epic Mahabharata, the one involving Duryodhana, who is not named here but described as the eldest son of the person, whose name means ‘sun’ in the Northern language. This said person is set to have built a palace made of easily inflammable lacquer and then invited his celebrated cousins, the ‘famed five’ or ‘Pandavas’ as they are called in the epic, to live there. When they are within, this Duryodhana sets fire to the palace and flames soar all around. Why is the confidante talking about some event said to have happened elsewhere? Only to connect the furious flames that soar atop the bamboos on the hill, where a herd of elephants are locked in, like those five kings. In that epic story, the son of the wind god, known by the name of ‘Bheema’, who has phenomenal strength, breaks apart the doors, and finds a path to lead his brothers and others to safety. Likewise, in a parallel, one strong elephant stamps out the fire, and finds a path to guide its herd out. This parallel narration of events in a myth and nature, is used to describe the nature of the drylands the man wants to travel to. After that dramatic story, the confidante comes to the core of the matter and asks the man to understand the lady’s state if he parts away. To do that, she presents three similes that talk about the nature of certain people, such as a person, who praises in front of the other and gossips about them when the other’s back is turned; a person, who enjoys the wealth of another and then avoids them when the other is in poverty; and also, a person, who gathers the secrets of a friend and then spills those secrets to others when they part ways with that friend. Just like the changing nature of these lowly people are the lady’s eyes, which bloom when the man is near and fade when he is far; the lady’s bangles, which are firm when the man is near and fall when he is far; and the lady’s forehead, which glows when he is near and pales when he is far, the confidante says. She concludes by declaring that the man sure knows more about this than her. She adds that he should consider how the lady’s beauty varies with the presence or absence of the man’s grace, just like how the land changes its shades with the presence or absence of the raindrops from the skies. Thus, in this layered verse, we are given illustrations of human nature that are relatable even now. We are still shocked and disappointed when people act in the mean, ungrateful and indiscreet manner described above. And this reaction is something that is true anywhere and anytime. Capturing this essence shows how the poets have understood the timelessness and universality of certain elements. While we cannot understand the pining lady’s misery and despair at the parting away of her man, it’s astonishing that we can grasp these elements of human nature, after two thousand or more years, no matter who we are or where we live!…

Sangam Lit

1
Kalithogai 24 – Words in a dream 5:45

1 year temu5:45

5:45

In this episode, we perceive the lady’s inferences about the man’s course of action, as portrayed in Sangam Literary work, Kalithogai 24, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and sketches a dream study. ‘நெஞ்சு நடுக்குறக் கேட்டும், கடுத்தும், தாம் அஞ்சியது ஆங்கே அணங்காகும்’ என்னும் சொல் இன் தீம் கிளவியாய்! வாய் மன்ற: நின் கேள் புதுவது பல் நாளும் பாராட்ட, யானும், ‘இது ஒன்று உடைத்து’ என எண்ணி, அது தேர, மாசு இல் வண் சேக்கை மணந்த புணர்ச்சியுள், பாயல் கொண்டு என் தோள் கனவுவார், ‘ஆய் கோல் தொடி நிரை முன் கையாள் கையாறு கொள்ளாள், கடி மனை காத்து, ஓம்ப வல்லுவள்கொல்லோ இடு மருப்பு யானை இலங்கு தேர்க்கு ஓடும் நெடு மலை வெஞ் சுரம் போகி, நடு நின்று, செய் பொருள் முற்றும் அளவு?’ என்றார்; ஆயிழாய்! தாம் இடை கொண்டது அதுவாயின், தம் இன்றி யாம் உயிர் வாழும் மதுகை இலேமாயின், ‘தொய்யில் துறந்தார் அவர்’ என, தம்வயின், நொய்யார் நுவலும் பழி நிற்ப, தம்மொடு போயின்று, சொல், என் உயிர். The lady’s imaginative mind is highlighted here! The words can be translated as follows: “The saying ‘Whatever makes the heart quiver with fear, when hearing about it or suspecting the same, is sure to turn true and cause great suffering’ is the absolute truth, O maiden who speaks sweet words! Listen to this: As he took to praising me for many days, I thought, ‘There’s something behind this’. That became crystal clear when one night after our union on the fine and flawless bed, he slept on my arms and had a dream, in which he said, ‘Does the maiden, wearing well-etched neat row of bangles on her forearms, have the ability to take care of our good home, without feeling helpless, when I leave to the tall mountains in the hot drylands, wherein an elephant with a sharp tusk runs towards a shining mirage? Will she stand firm with a balanced mind, till I finish my mission of earning wealth?’. O maiden wearing exquisite ornaments, if that’s what he has in his mind, then I don’t have the strength to live anymore. Tell him that when compassionless others blame and exclaim, ‘The man has forsaken her ‘thoyyil’ painted arms’, it too shall part away with him, this life of mine!” Let’s explore the nuances. The verse is situated in the context of the man’s parting from his lady after marriage and the lady says these words to her confidante. She starts by commenting on the truth of a common saying, ‘Whatever you fear will unfold and afflict you’. She continues by describing why she thinks so. The lady tells her confidante about how she noted marked changes in the man, in the way he kept praising the lady for every little thing. She suspected that something was afoot. Fulfilling her fears, one night, the man seems to slept on her arms, and in his dreams, muttered wondering if the lady had the strength to bear his parting, as he prepared to leave to the drylands, where elephants rush towards mirages, and would she hold the home front with strength until he returns. It’s amazing to see such clarity in words muttered in sleep. But let’s grant this licence to our poet, for the sake of coherence! Returning, we see the lady shocked hearing these words and she declares to her confidante that if this is the true intention of the man’s mind, then she does not have the strength to go on. She concludes by asking her confidante to inform the man that she sure cannot hear the blame of the townsfolk about how the man abandoned her painted arms, and that her life is sure to part away with him! Setting aside the helpless stance of this lady, we can zoom on to that interesting saying in the beginning. These words sound very close to the concept of a ‘self-fulfilling prophecy’. Centuries apart, cultures apart, how do these connections in philosophy occur? In a subtle way, the verse also showcases the powers of observation and focus on minute things in relationships, which talk about a mindful society back then!…

Sangam Lit

1
Kalithogai 23 – Feelings of forsakenness 5:43

1 year temu5:43

5:43

In this episode, we listen to the lady’s feelings of despair, as depicted in Sangam Literary work, Kalithogai 23, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and vividly sketches the shades of abandonment. இலங்கு ஒளி மருப்பின் கைம்மா உளம்புநர், புலம் கடி கவணையின், பூஞ் சினை உதிர்க்கும் விலங்கு மலை வெம்பிய போக்கு அரு வெஞ் சுரம் தனியே இறப்ப, யான் ஒழிந்திருத்தல் நகுதக்கன்று, இவ் அழுங்கல் ஊர்க்கே: இனி யான், உண்ணலும் உண்ணேன்; வாழலும் வாழேன் தோள் நலம் உண்டு துறக்கப்பட்டோர் வேள் நீர் உண்ட குடை ஓரன்னர் நல்குநர் புரிந்து நலன் உணப்பட்டோர் அல்குநர் போகிய ஊர் ஓரன்னர் கூடினர் புரிந்து குணன் உணப்பட்டோர் சூடினர் இட்ட பூ ஓரன்னர் என ஆங்கு, யானும் நின்னகத்து அனையேன்; ஆனாது, கொலை வெங் கொள்கையொடு நாய் அகப்படுப்ப, வலைவர்க்கு அமர்ந்த மட மான் போல, நின் ஆங்கு வரூஉம் என் நெஞ்சினை என் ஆங்கு வாராது ஓம்பினை கொண்மே. The lady comes to the spotlight as she tries to convince the man to take her along. The words can be translated as follows: “The field guards, wanting to chase away an elephant with bright and shining tusks, pelt stones with their slings and end up shedding flowers from branches in those radiant mountains. Those lush lands have been scorched to become a formidable drylands and you intend to part away alone, leaving me behind. This would become a laughable thing for this uproarious town. And so, I intend not to eat or live anymore! Those whose beauty has been savoured and abandoned, are akin to the palm leaf bowls, discarded by those who have had their fill of water. Those whose beauty has been savoured with grace and abandoned, are akin to a town whose inhabitants have left to live elsewhere. Those whose health has been savoured and then abandoned, are akin to flowers thrown away after use. And so, I too seem to have lost value to you. Akin to how a naive deer is captured by hunters, when surrounded by murderous hunting dogs, my heart seems to want to only come along with you, leaving me behind. So, take it and protect it well!” Let’s delve into the details. The verse is situated in the context of the man’s parting from the lady after marriage and it’s the lady speaking these words to the man. She starts with a description of a once-prosperous place in the mountains, where field guards wanting to chase away elephants throw stones and these end up shedding flowers from branches. But now, this lush land had turned a drylands, and the man intended to leave there, leaving behind the lady, and somehow the lady says this is going to make her an object of ridicule among the townspeople. I’m clueless as to why! Was it a shameful thing to go in search of wealth, leaving behind your wife? Returning, we find the lady declaring that she’s neither going to eat nor live, if the man were to persist in his decision. Following this, she sketches three different scenarios – a bowl made of palm leaf, discarded after a thirsty person had drunk from it, a town where the inhabitants live no more, and flowers, thrown away after use. And that’s exactly, the state of those who have been loved and left behind, the lady says, declaring that she too seems to have lost her use to the man. While that may be so, like a deer captured by hunting dogs, which has to leave with the hunters, her heart too surrounded by these feelings, seems to want to leave with the man, forsaking the lady. The lady concludes her statement asking the man to take care of her heart that is no longer hers! Yet again, we see a portrayal of the woman as someone who cannot go on without her man. Leaving aside this outdated notion, I would like to zoom on to something subtle mentioned here: A cup made of palm leaves, from which people used to drink water. Imagine the intricate craftsmanship of that vessel to help people drink up with shedding a drop. Also, even when discarded how that vessel hurts not the earth, unlike the ubiquitous plastic and paper cups of our generation that chokes the landfills and oceans. Here’s to reviving some thoughtful inventions of the past, so that we do not let the earth we live on, feel abandoned like the lady in this verse!…

Sangam Lit

1
Kalithogai 22 – Then and Now 7:29

1 year temu7:29

7:29

In this episode, we observe a unique technique of persuasion, as portrayed in Sangam Literary work, Kalithogai 22, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and depicts the changing stance of the man. உண் கடன் வழிமொழிந்து இரக்குங்கால் முகனும், தாம் கொண்டது கொடுக்குங்கால் முகனும், வேறாகுதல் பண்டும் இவ் உலகத்து இயற்கை; அஃது இன்றும் புதுவது அன்றே புலனுடை மாந்திர்! தாய் உயிர் பெய்த பாவை போல, நலன் உடையார் மொழிக்கண் தாவார்; தாம் தம் நலம் தாது தேர் பறவையின் அருந்து, இறல் கொடுக்குங்கால், ஏதிலார் கூறுவது எவனோ, நின் பொருள் வேட்கை? நறு முல்லை நேர் முகை ஒப்ப நிரைத்த செறி முறை பாராட்டினாய்; மற்று, எம் பல்லின் பறி முறை பாராட்டினையோ? ஐய! நெய் இடை நீவி மணி ஒளி விட்டன்ன ஐவகை பாராட்டினாய்; மற்று, எம் கூந்தல் செய்வினை பாராட்டினையோ? ஐய! குளன் அணி தாமரைப் பாசரும்பு ஏய்க்கும் இள முலை பாராட்டினாய்; மற்று, எம் மார்பில் தளர் முலை பாராட்டினையோ? ஐய! என ஆங்கு, அடர் பொன் அவிர் ஏய்க்கும் அவ் வரி வாட, சுடர் காய் சுரம் போகும் நும்மை யாம் எங்கண் படர் கூற நின்றதும் உண்டோ? தொடர் கூர, துவ்வாமை வந்தக்கடை? An instance of a reminder about the past to resolve a crisis in the present! The words can be translated as follows: “The face one has when seeking a loan with many words of praise and the face one has when returning that loan is different indeed. From times ancient, this is the nature of the world; This is not a new phenomenon today, O knowledgeable man! Akin to how a mother protects the daughter she brought to life, those who are righteous do not change their words; After relishing her beauty, akin to a bee that feeds on pollen, you wish to part away today. What can I, as a stranger, say about your desire for wealth? O lord! You praised her close-set teeth, akin to a row of fragrant wild jasmine buds then; But when those teeth have fallen out and are replaced by new teeth now, do you praise them? O lord! You praised her five-part braid, groomed with oil and glowing with the radiance of sapphires back then; But now, do you decorate and praise them? O lord! You praised her young breasts, akin to fresh lotus buds that adorn a pond; But when they sag a little now, do you praise them? And so, ruining the beautiful lines on her body, akin to thick sheets of gold spread out, you intend to leave to the drylands, scorched by the sun. What can I say about this suffering? This fate that has arrived to interrupt your togetherness?” Time to delve into the nuances. The verse is set in the context of the man’s parting from his lady after marriage and the confidante renders these words to the man. In a different style, the confidante begins not by sketching the drylands but by conveying a philosophical thought about debt. She says the face of person, who gets a loan by saying humble words, praising the other, and the face of a person when they return that loan is totally different. She means to say that when people want something, they seem to act with much regard for the other and when the deed is done, that same care and respect is gone. She declares that this is an old truth of the world, telling us that the custom of loans has been there, for a long, long time. Returning, she reverts to another simile involving the manner in which a mother protects her daughter consistently all through life. Like that, righteous people always remain true to their words, she says. Then, she reminds the man about how he used to buzz around the lady like a bee, savouring her beauty, and now, he seems intent on parting with her to go in search of wealth. In the customary three-step approach, the confidante continues by talking about the man’s behaviour during courtship; The way he used to celebrate the lady’s bud-like neat row of teeth, her well-oiled thick tresses and her lotus bud-like young breasts. She turns to him and says, while that was so, now he does not seem to be praising her permanent teeth or decorating her hair or celebrating her breasts that have sagged a little. A moment to process this accusation! I was startled when I understood that the man was praising the lady’s milk teeth, and now, the confidante is accusing him of not caring for the lady, when those teeth have fallen and permanent teeth have grown in place! We have already encountered a similar situation in Kurunthogai 337, when we understood that marriage happens early in the life of these girls. Setting aside our notions of the right age for marriage, let’s accept this as an uncomfortable historic truth. Moving on, the confidante concludes her statement by declaring her helplessness at the man’s thought to abandon the lady and make her beauty fade, so as to traverse the sweltering drylands in the pursuit of wealth. The point the confidante seems to be making is simply this: When the man was in courtship, he was all praise for the lady, but now, after he has won her over, in a short while, he seemed to change shades and become someone else. This is the exact circumstance that the confidante opened this verse with, the changing face of a person, who is seeking a loan, and who is returning the loan. Through these references, the confidante intends to evoke the man’s sense of honour and make him protect his lady and remain true to his words always, like a mother’s unwavering love for her children, all through life!…

Sangam Lit

1
Kalithogai 21 – Stance of wealth 5:26

1 year temu5:26

5:26

In this episode, we perceive the changing stance of the man, as portrayed in Sangam Literary work, Kalithogai 21, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and depicts the nature of wealth. ‘பால் மருள் மருப்பின், உரல் புரை பாவு அடி, ஈர் நறுங் கமழ் கடாஅத்து, இனம் பிரி ஒருத்தல் ஆறு கடி கொள்ளும் வேறு புலம் படர்ந்து, பொருள்வயிற் பிரிதல் வேண்டும்’ என்னும் அருள் இல் சொல்லும், நீ சொல்லினையே; நன்னர் நறு நுதல் நயந்தனை நீவி, நின்னின் பிரியலன், அஞ்சல் ஓம்பு’ என்னும் நன்னர் மொழியும் நீ மொழிந்தனையே: அவற்றுள் யாவோ வாயின? மாஅல் மகனே! ‘கிழவர் இன்னோர்’ என்னாது, பொருள்தான், பழ வினை மருங்கின் பெயர்பு பெயர்பு உறையும்; அன்ன பொருள்வயிற் பிரிவோய் நின் இன்று இமைப்புவரை வாழாள் மடவோள் அமைக் கவின் கொண்ட தோள் இணை மறந்தே. Again, the confidante renders her refusal to the man’s plans. The words can be translated as follows: “With tusks as white as milk, huge feet akin to pestles, and flowing with moist and fragrant musth, a male elephant separated from its herd guards the path in that faraway land. Now, you say these words without grace, ‘I wish to part away thither, for the sake of wealth’; Caressing her fragrant forehead with love, back then, you said those fine words to her, ‘I shall never ever part away from you. Fear not!’. Of these two, which is true, O confused man? Without ever declaring, ‘So-and-so is my forever leader’, wealth keeps switching loyalties, owing to the nature of a person’s old deeds. For the sake of this wealth, you wish to part away from this naive maiden, forgetting the companionship of her arms with etched beauty, she who cannot live without you, even for the blink of an eye!” Let’s delve into the details. The verse is situated in the context of the man’s parting after marriage and speaks in the voice of the confidante to the man. She starts by describing the land where the man intends to travel. To do that, she sketches the image of a lone male elephant, with milk-white tusks, and pestle-like feet, separated from its herd, in the state of musth or heat. In short, a dangerous elephant, not in control of itself. The confidante connects this animal to the drylands saying this animal can be seen seizing the path where the man intends to part away to. She turns to him and says that he has declared his intention to leave to this very path now. Recollecting his time of courtship with the lady, the confidante mentions how he had promised he would never part from the lady. Seems like these Sangam chaps will say anything to win their girl! Returning, the confidante now holds it against him, and asks him, which of these statements is the truth. After that piercing question, the confidante goes on to talk about the nature of wealth. Wealth is not a loyal servant, who will remain with one person till the end, she declares. It’s something that will keep changing depending on one’s deeds. She turns to the man and asks why he should go in search of something so transient as this wealth, leaving behind the delicate lady, who cannot bear to be apart from the man, even for a single moment! Yet again, the lady is portrayed as if the man were her breath, and if he were to part, it would be the end! The striking facet of this verse though is the confidante’s depiction of the nature of wealth and how it varies depending on one’s deeds. In this statement, lies the seed of the quintessential Indian concept of Karma. While in a religious context, this invokes past births, to put it in a relatable way, this philosophy declares that ‘whatever we do, be it good or bad, it will have an influential effect on our lives ultimately’. And thus, through this simple verse, we come to understand the subtleties of the Sangam people’s philosophical orientations!…

Sangam Lit

1
Kalithogai 20 – The together deer 7:13

1 year temu7:13

7:13

In this episode, we perceive the lady’s persuasive words, as portrayed in Sangam Literary work, Kalithogai 20, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and etches the value of togetherness. பல் வளம் பகர்பு ஊட்டும் பயன் நிலம் பைது அற, செல் கதிர் ஞாயிறு செயிர் சினம் சொரிதலின், தணிவு இல் வெங் கோடைக்குத் தண் நயந்து அணி கொள்ளும் பிணி தெறல் உயக்கத்த பெருங் களிற்றினம் தாங்கும் மணி திகழ் விறல் மலை வெம்ப, மண் பக, துணி கயம் துகள் பட்ட தூங்கு அழல் வெஞ் சுரம் ‘கிளி புரை கிளவியாய்! நின் அடிக்கு எளியவோ, தளி உறுபு அறியாவே, காடு?’ எனக் கூறுவீர்! வளியினும் வரை நில்லா வாழு நாள், நும் ஆகத்து அளி என, உடையேன் யான்; அவலம் கொண்டு அழிவலோ? ‘ஊறு நீர் அமிழ்து ஏய்க்கும் எயிற்றாய்! நீ உணல் வேட்பின், ஆறு நீர் இல’ என, அறன் நோக்கிக் கூறுவீர்! யாறு நீர் கழிந்தன்ன இளமை, நும் நெஞ்சு என்னும் தேறு நீர், உடையேன் யான்; தெருமந்து ஈங்கு ஒழிவலோ? ‘மாண் எழில் வேய் வென்ற தோளாய்! நீ வரின், தாங்கும் மாண் நிழல் இல, ஆண்டை மரம்’ எனக் கூறுவீர்! நீள் நிழல் தளிர் போல நிறன் ஊழ்த்தல் அறிவேன்; நும் தாள் நிழல் கைவிட்டு யான் தவிர்தலைச் சூழ்வலோ? என ஆங்கு, ‘அணை அரும் வெம்மைய காடு’ எனக் கூறுவீர்! கணை கழிகல்லாத கல் பிறங்கு ஆர் இடை, பணை எருத்து எழில் ஏற்றின் பின்னர்ப் பிணையும் காணிரோ? பிரியுமோ, அவையே? The lady takes the spotlight in this verse. The words can be translated as follows: “Drying up the productive land with much prosperity that fed many, the hastening rays of the sun scatter seething rage. In this hot summer lacking compassion, desiring coolness, wanting to overcome the deep affliction that surrounds, herds of elephants ascend the sapphire-hued, strong mountains but even those mountains swelter in the heat. The earth is parched, dust covers the once-clear pond and flames hang around in the hot drylands. You say to me, ‘O maiden, who speaks akin to a parrot! Would it be easy for your feet to tread upon that drylands jungle that knows not what rain is?’. However, the days of one’s life is more uncertain than the fleeting wind. I see your heart as the source of my grace; Should I be destroyed by despair here? You say to me, ‘O maiden, who sheds nectar in your mouth! To quench your thirst, the rivers there have no water’. However, youth fades away, akin to the flow of river water. I see your heart as the source of my water. Should I be ruined by suffering here? You say to me, ‘O maiden, who has exquisite arms that win over even bamboos! If you are to come with me, the trees there offer no shade’. However, I will lose my colour, akin to a shrub growing in a thick shade; I see your feet as the source of my shade. Should I be scorched by separation here? Even when I say all this, you say, ’The drylands jungle would be unbearably hot for you!’. In that formidable path, filled with rocks, so dense that arrows cannot pierce through, haven’t you seen the fine male deer with a thick neck being followed by its female? Do they ever separate?” Time to delve into the nuances. The verse is set in the context of the man’s parting from his lady after marriage. When he conveys his intent to the lady, she replies to him with these words. The lady starts with a searing description of the drylands, talking about how the once-fertile land has turned barren because of the sun’s harsh rays. This tells us that there was no separate desert or drylands tract in Sangam times, but only climate-induced variation in these hills, forests or farmlands. Returning, next she talks about how elephants seeking coolness attempt to climb to higher altitudes but even these hills have not been spared by the summer’s heat. In a crisp portrait, she talks about how the earth is broken and parched, only dust spreads over the once-lush ponds and wild fires tease the air in that drylands. After sketching the drylands so, the lady talks about how the man insists that her feet will not be able to bear the heat of the drylands, how there would be no water to quench her thirst and how the trees would have no shade to offer, in his attempt to dissuade the lady from accompanying him to the drylands. To these declarations, the lady responds that the days of life fleet away like the wind, youth like flowing water and that she was sure to lose her health and beauty, as pallor spreads on her, like that on a plant growing in the shade of a huge tree. She emphatically says to the man that he is her source of grace, her elixir and her shade, and that she was not ready to suffer alone without him. As the final punch, she takes him to those drylands paths, so dense and formidable and points to the scene of a female deer following its male, and ends with the piercing question, as to whether these deers ever separate! Although it’s again a song of ‘Take me with you’, the sensory images of a breeze brushing past, river water gushing by, a shrub in the shade and the together deer are etched in our minds vividly, echoing the truth of how the world around us can show the way for the inner journey of our hearts!…

Sangam Lit

1
Kalithogai 19 – Ask not about me 6:29

1 year temu6:29

6:29

In this episode, we perceive the confidante’s disappointment in the man’s decision, as depicted in Sangam Literary work, Kalithogai 19, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and depicts the consequences of the man’s parting. செவ்விய தீவிய சொல்லி, அவற்றொடு பைய முயங்கிய அஞ்ஞான்று, அவை எல்லாம் பொய்யாதல் யான் யாங்கு அறிகோ மற்று? ஐய! அகல் நகர் கொள்ளா அலர் தலைத் தந்து, பகல் முனி வெஞ் சுரம் உள்ளல் அறிந்தேன்; மகன் அல்லை மன்ற, இனி செல்; இனிச் சென்று நீ செய்யும் வினை முற்றி, ‘அன்பு அற மாறி யாம் உள்ளத் துறந்தவள் பண்பும் அறிதிரோ?’ என்று, வருவாரை என் திறம் யாதும் வினவல்; வினவின், பகலின் விளங்கு நின் செம்மல் சிதைய, தவல் அருஞ் செய் வினை முற்றாமல், ஆண்டு ஓர் அவலம் படுதலும் உண்டு. The confidante employs the voice of the lady to prevent the man from going ahead with his plan. The words can be translated as follows: “Saying the right and sweet things, you passed your days in a gentle embrace then. How could I know that all that would turn to be falsehoods, O lord? Spreading slander that even this vast town cannot bear, you intend to leave to the hot drylands, swamped by the rage of the seething sun; You are not a honourable man, for sure! So, go now. But, when you are in the midst of the task you set out to do, to those who travel thither, do not enquire about my state asking, ‘Do you know how the one, whom I abandoned without love, is doing now?’ If you ask so, ruining your esteem, akin to the shining sun, this great and important task that cannot wait, may incur the disrepute of being left incomplete!” Let’s explore the nuances. The verse is situated in the context of the man’s parting from the lady, after marriage. Even after the confidante’s repeated attempts at dissuading him, the man was intent on leaving the lady to pursue his mission. Understanding this, the confidante speaks to him, assuming the voice of the lady, to drive home her perspective. We hear the lady’s voice recollecting how the man used to say the perfect words to win her heart and had spent his days in her embrace during the past. She laments that she didn’t realise all that was false now. This makes me wonder what these men said to their ladies when in courtship! Is it ‘never ever will I part away from you’, ‘every day of my life I will be only right next to you’? Even the idea of making such promises seems bizarre. Returning, the confidante in the lady’s voice says how slander is spreading in town because the man’s parting away to the drylands. As to why the town must gossip if the man is leaving the lady to pursue a mission or seek wealth, will forever remain a puzzle to me. The confidante goes to the extent of calling the man ‘a person without honour’, just because of his intention to leave! Then, as if accepting his decision, in the lady’s voice, the confidante says to the man, ‘Sure, go now, but don’t you ask others from our town about how I’m faring when you are in the midst of your mission’. Without explicitly saying why the man shouldn’t ask that question, the confidante says, if the man happens to ask that question, then he may have to abandon that great task midway, bringing disrepute to his glowing honour as a leader. Thereby, she implies that the man will hear the news of the lady’s end as the answer to his question. Yet again, this lady is presented as a vulnerable being, like a dry and dead twig that will break in a moment, in the man’s absence. The thing is, it’s not even the understandable grief that arises, because of an irreversible parting that we are talking about here, like death, or a journey to some faraway land, where the return is not assured. Just a parting to another place, where there’s even chance of meeting people from the lady’s town, is projected with so much drama. Seeing with our modern eyes, in a time when women live, work, travel, even to space and beyond, on their own, such depictions are hard to accept. Even in that ancient era in the Sangam tradition, this could be a fixed theme that poets had to write about, with little connection to reality. In any case, glad to have progressed to live in a time and land, where such descriptions of a fragile woman have no place! At the same time, my heart goes out to the women in Afghanistan today, whose freedoms are being unimaginably curtailed in the hands of the misguided proponents of patriarchy! Hope these mothers, sisters and daughters, along with others like them in some other parts of the world, will break free from the shackles of this male-dominated oppression that goes on even in this twenty-first century!…

Sangam Lit

1
Kalithogai 18 – On togetherness 4:50

1 year temu4:50

4:50

In this episode, we listen to the confidante’s plea to the man, as depicted in Sangam Literary work, Kalithogai 18, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and portrays the irreplaceable importance of togetherness. அரும் பொருள் வேட்கையின் உள்ளம் துரப்ப, பிரிந்து உறை சூழாதி ஐய! விரும்பி நீ, என் தோள் எழுதிய தொய்யிலும், யாழ நின் மைந்துடை மார்பில் சுணங்கும், நினைத்துக் காண்: சென்றோர் முகப்பப் பொருளும் கிடவாது; ஒழிந்தவர் எல்லாரும் உண்ணாதும் செல்லார்; இளமையும் காமமும் ஓராங்குப் பெற்றார் வளமை விழைதக்கது உண்டோ? உள நாள், ஒரோஒ கை தம்முள் தழீஇ, ஒரோஒ கை ஒன்றன் கூறு ஆடை உடுப்பவரேஆயினும், ஒன்றினார் வாழ்க்கையே வாழ்க்கை; அரிதுஅரோ, சென்ற இளமை தரற்கு! The confidante refuses the man’s request in a different style. The words can be translated as follows: “As your heart pushes you with desire for wealth, you want to part away. Don’t think of doing that, O lord! Seeing the ‘thoyyil patterns’ you painted with love on my arms, and the beauty spots that appeared on me when I embraced your strong chest, reconsider your decision; Wealth does not lie in waiting for those who part away to collect; Those who do not pursue it are not doomed to the fate of starving either; When youth and love lies together in one’s hands, does wealth even compare? In the days of one’s life, even if they have to be, with one hand, embracing each other, and with the other hand, wearing a small piece of cloth each, split from a single piece, this life of togetherness is what’s true life. It’s impossible, isn’t it, to regain lost youth?” Time to delve into the details. The verse is situated in the context of the man’s parting from the lady after marriage, with the intent of seeking wealth. When he conveys this to the confidante, she says these words to the man, and in a few lines, she speaks using the lady’s voice as well. The confidante talks about how the man’s heart is nudging him to go seek wealth. She asks him to not indulge in that sort of thinking. Speaking in the lady’s voice now, she says he should focus on the beautiful art patterns he drew with love on her arms and also observe the beauty spots that appeared when he embraced the lady. In short, he should focus not on some faraway, abstract thing, but be present in the present with the lady. Following this, the confidante continues saying that’s no easy task to gather wealth, and also, those who don’t part away in such pursuits don’t end up starving either. This tells us that the man has enough in life already. Returning, we see the confidante continuing by asking would anyone who has both youth and love ever think of leaving that and going in search of wealth. She then portrays an impoverished couple, who embrace each other with one hand, and with the other hand, hold on to a sparse cloth to cover themselves. She says even such a life without wealth or possessions but in togetherness is what can be called a true and meaningful life. The confidante concludes with the declaration that lost youth can never be brought back! And yet again, with these emphatic words, the confidante intends to make the man give up his journey. The core thought this ancient verse presents to us is that togetherness in youth beats the pursuit of wealth in the race of life!…

Sangam Lit

1
Kalithogai 17 – The perfect cure 7:30

1 year temu7:30

7:30

In this episode, we perceive picturesque similes employed to persuade a person, as depicted in Sangam Literary work, Kalithogai 17, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and presents the power of the right words at the right time. படை பண்ணிப் புனையவும், பா மாண்ட பல அணை புடை பெயர்ந்து ஒடுங்கவும், புறம் சேர உயிர்ப்பவும், ‘உடையதை எவன் கொல்?’ என்று ஊறு அளந்தவர்வயின் நடை செல்லாய், நனி ஏங்கி நடுங்கற்காண் நறுநுதால்! ‘தொல் எழில் தொலைபு இவள் துயர் உழப்ப, துறந்து நீ, வல் வினை வயக்குதல் வலித்திமன்; வலிப்பளவை, நீள் கதிர் அவிர் மதி நிறைவு போல் நிலையாது, நாளினும் நெகிழ்பு ஓடும் நலன் உடன் நிலையுமோ? ஆற்றல் நோய் அட, இவள் அணி வாட, அகன்று நீ, தோற்றம் சால் தொகு பொருள் முயறிமன்; முயல்வளவை, நாற்றம் சால் நளி பொய்கை அடை முதிர் முகையிற்குக் கூற்று ஊழ் போல் குறைபடூஉம் வாழ்நாளும் நிலையுமோ? வகை எழில் வனப்பு எஞ்ச, வரை போக வலித்து நீ, பகை அறு பய வினை முயறிமன்; முயல்வளவை, தகை வண்டு புதிது உண்ணத் தாது அவிழ் தண் போதின் முகை வாய்த்த தடம் போலும் இளமையும் நிலையுமோ?’ என ஆங்கு, பொருந்தி யான் தான் வேட்ட பொருள்வயின் நினைந்த சொல், திருந்திய யாக்கையுள் மருத்துவன் ஊட்டிய மருந்து போல், மருந்து ஆகி, மனன் உவப்ப பெரும் பெயர் மீளி பெயர்ந்தனன் செலவே. The confidante’s ‘no’ said with much imagery! The words can be translated as follows: “Saying, ‘Refining and readying weapons, moving away and lying afar on the fine bed with many pillows, sighing when embraced from behind, he acts differently’, and wondering, ‘What could be in his mind?’, like those who mull over problems to come, unable to be normal, don’t you tremble and quiver, O maiden with a fragrant forehead! ‘Making her lose her old beauty, leaving her to wallow in sorrow, you intend to leave her and go fulfil your duties of strength; Strong indeed, you are! If you be so, akin to how the long-rayed, blooming, full moon, does not remain so, day by day, the beauty of hers will desert her. Will it remain till you return?’ ‘Making the disease of affliction invade her, as her beauty fades, you intend to move away from her and try to gather that outwardly esteemed wealth; If you do so, akin to how a mature bud amidst the leaves in a fragrant, wide pond meets death, time will diminish her days. Will these remain till you return?’ ‘Making her many different qualities of beauty vanish, you intend to part away to the mountains and try to fulfil your duties of quelling your enemies; If you do so, akin to the waters of a pond filled with buds, to eat whose cool pollen, many bees arrive, over time, her beauty too will recede. Will it remain till you return?’ Saying all these, the thoughtful and meaningful words that I rendered with relevance, akin to the perfect medicine given to the suffering body by the healer, it became a cure for him. And so, making your heart delight, the great and famous lord set aside his journey!” Let’s explore the details. The verse is situated in the context of the man’s parting from the lady after marriage. Within this verse, the thoughts of the lady, words of the confidante to the man are presented in the cover voice of the confidante. At first, the confidante relays the words the lady just told her, about how the man seemed to be preparing his weapons, and then, lying away from her on the bed, and also, sighing whenever the lady embraced him. Noticing these subtle gestures, the lady has become worried and asks the confidante what he could be thinking. The confidante asks her not to worry at all, and then goes on to convey her conversation with the man. The confidante, in the three-step approach, talks to the man mentioning about how he intends to leave the lady and part away to fight a battle, win over the wealth and subdue his enemies. She puts forth three pertinent questions then. One, won’t the lady’s beauty fade like how the full moon wanes? Two, won’t time diminish the days of the lady like how a bloomed bud finds its end in the hands of death? Three, won’t the lady’s beauty recede like the waters of a pond, now so lush, as the time parted increases? In each case, she asks the man whether the lady’s life and beauty will remain till he comes back. She concludes to the lady that because she said these well-thought-out words of substance, like how the perfect medicine given by a doctor cures the patiently instantly, the man too was cured of his intention to leave on his mission, and making the lady happy, he had decided to give up his journey. We can’t help noticing how the confidante pats herself on her back for her perfect words to persuade the man! The highlight of this verse is the sequence of striking similes that denote the lack of permanence, used to indicate the importance of being present and content. Also, through the last simile, fascinating to know about the medicine people of Sangam times and their perfect cures for conditions then! Unfortunate that owing to the passing of time, we will never know what these perfect cures are. In the race against time, science has lost and poetry has won, presenting another argument for the power and permanence of words and emotions!…

Sangam Lit

1
Kalithogai 16 – Seeking the grace of gods 7:57

1 year temu7:57

7:57

In this episode, we perceive the deep love in the lady for the man who has parted away, as portrayed in Sangam Literary work, Kalithogai 16, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals nuanced perspectives about seeking the help of gods. பாடு இன்றிப் பசந்த கண் பைதல பனி மல்க, வாடுபு வனப்பு ஓடி வணங்கு இறை வளை ஊர, ஆடு எழில் அழிவு அஞ்சாது, அகன்றவர்திறத்து, இனி நாடுங்கால், நினைப்பது ஒன்று உடையேன்மன்? அதுவும்தான் தொல் நலம் தொலைபு, ஈங்கு, யாம் துயர் உழப்பத் துறந்து, உள்ளார், துன்னி, நம் காதலர், துறந்து ஏகும் ஆர் இடை, ‘கல்மிசை உருப்பு அறக் கனை துளி சிதறு!’ என, இன் இசை எழிலியை இரப்பவும் இயைவதோ? புனையிழாய்! ஈங்கு நாம் புலம்புற, பொருள் வெஃகி, முனை என்னார் காதலர் முன்னிய ஆர் இடை, ‘சினை வாடச் சிறக்கும் நின் சினம் தணிந்தீக!’ என, கனை கதிர்க் கனலியைக் காமுறல் இயைவதோ? ஒளியிழாய்! ஈங்கு நாம் துயர் கூர, பொருள்வயின், அளி ஒரீஇக் காதலர் அகன்று ஏகும் ஆர் இடை, ‘முளி முதல் மூழ்கிய வெம்மை தீர்ந்து உறுக!’ என, வளி தரும் செல்வனை வாழ்த்தவும் இயைவதோ? என ஆங்கு, செய் பொருட் சிறப்பு எண்ணிச் செல்வார்மாட்டு, இனையன தெய்வத்துத் திறன் நோக்கி, தெருமரல் தேமொழி! ‘வறன் ஓடின் வையகத்து வான் தரும் கற்பினாள் நிறன் ஓடிப் பசப்பு ஊர்தல் உண்டு’ என, அறன் ஓடி விலங்கின்று, அவர் ஆள்வினைத் திறத்தே. The man’s gone and it’s the confidante’s mission to heal the sorrowful lady! The words can be translated as follows: “Making my sleepless, pallor-filled eyes well with the tears of suffering, my beauty to fade and vanish as my bangles slip away from my forearms, he left without fearing the ruin to my beauty. When I consider his situation now, I think I could do one thing. And that is: Making my old beauty to be lost, without considering that I would wallow in sorrow, the lover of mine left, desiring wealth, forsaking me. Would it be right if I pleaded to the sweet-voiced clouds upon the path he walks, saying, ‘May you scatter your rain drops abundantly to subdue the heat atop the rocky terrain!’? O maiden wearing well-etched ornaments, leaving me to lament here, the lover of mine left, desiring wealth, without considering the many obstacles on the way. Would it be right if I ask with sweetness to the thick-rayed sun atop the path he walks, saying, ‘May your fury that withers branches subside!’? O maiden wearing radiant ornaments, leaving me in deep misery here, the lover of mine left, desiring wealth, without a shred of grace. Would it be right if I praise the lord of the winds that blow upon the path, he walks, saying, ‘May you spread without the heat that burns bushes!’? Thinking so about the man who left considering only the greatness of gaining wealth, you don’t have to be confused about seeking the grace of these gods, O honey-voiced maiden. Saying, ’On the woman of such chastity, who can make rains pour upon the earth when parched, pallor would spread, ruining the beauty of her skin’, the god of justice ran with haste and removed all the impediments in his mission to seek wealth.” Time to explore the nuances. The verse is situated in the context of the man’s parting from his lady after marriage, with the intent of seeking wealth. In this verse, there’s a nested structure of words said by the lady, which are repeated and concluded in the confidante’s voice. At first, we hear the lady repeating in different ways how the man’s parting way has affected her, with the core thought that it has made her beauty vanish and her bangles to slip away. She projects the man as someone who did not consider how she would suffer and thought only about his mission to seek wealth. Even with so much thoughtlessness on his part, the lady cannot stop thinking of him and wonders what she could do to make his journey bearable. In the three-tiered approach that we have become accustomed to, in Kalithogai, she wonders if she should ask the clouds to pour down their drops so that the rocks he walks on, will be cooler and pleasant; if she should ask the sun to not spread its rays so furiously so that the branches can survive with their leaves and save her beloved from the heat; and finally, if she should ask the wind to blow without the heat that burns bushes so that the man’s walk might be a little cooler and pleasant. The confidante repeats these words and tells the lady that there’s no need to be worried and confused about seeking the help of all these gods. A moment to pause here and note that the lady’s confusion was because of the implied fact that it was not considered right for a woman to plead even to the gods for anything, such was their chastity to their husbands! Returning, the confidante remarks on this very quality of the lady, saying her chastity was such that she had the power to make the rains pour on parched earth if she so wanted. And the confidante says that it’s not only her, who thinks so, but the god of justice, who understanding this truth and fearing that pallor would spread on such a chaste lady, had gone and helped the man in every way, removing all hindrances in his path, so that he can finish his mission promptly and return to his noble wife! A unique verse that reveals the dynamics of a relationship between a married woman and the gods in Sangam times. That’s why even though there’s so much sorrow and suffering on account of the missing man, we don’t see prayers and requests put forth to heavenly entities in Sangam literature, unlike the later eras, when religion dominated these matters in the hearts of separated lovers. Husband above all, even god, seems to be the motto of these Sangam women, according to the words of these ancient poets!…

Sangam Lit

1
Kalithogai 15 – Purpose of parting away 8:05

1 year temu8:05

8:05

In this episode, we listen to strong arguments against parting away, as portrayed in Sangam Literary work, Kalithogai 15, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and sketches a vivid portrait of the drylands’ denizens. அரி மான் இடித்தன்ன, அம் சிலை வல் வில் புரி நாண், புடையின், புறம் காண்டல் அல்லால் இணைப் படைத் தானை அரசோடு உறினும் கணைத் தொடை நாணும் கடுந் துடி ஆர்ப்பின், எருத்து வலிய எறுழ் நோக்கு இரலை மருப்பின் திரிந்து மறிந்து வீழ் தாடி, உருத்த கடுஞ் சினத்து, ஓடா மறவர், பொருள் கொண்டு புண் செயின் அல்லதை, அன்போடு அருள் புறம் மாறிய ஆர் இடை அத்தம் புரிபு நீ புறம் மாறி, போக்கு எண்ணி, புதிது ஈண்டிப் பெருகிய செல்வத்தான் பெயர்த்தரல் ஒல்வதோ செயலை அம் தளிர் ஏய்க்கும் எழில் நலம்; அந் நலம் பயலையால் உணப்பட்டுப் பண்டை நீர் ஒழிந்தக்கால்? பொய் அற்ற கேள்வியால், புரையோரைப் படர்ந்து, நீ மை அற்ற படிவத்தான் மறுத்தரல் ஒல்வதோ தீம் கதிர் மதி ஏய்க்கும் திருமுகம்; அம் முகம், பாம்பு சேர் மதி போல, பசப்பு ஊர்ந்து தொலைந்தக்கால்? பின்னிய தொடர் நீவி, பிறர் நாட்டுப் படர்ந்து, நீ மன்னிய புணர்ச்சியான் மறுத்தரல் ஒல்வதோ புரி அவிழ் நறு நீலம் புரை உண் கண் கலுழ்பு ஆனா, திரி உமிழ் நெய்யே போல், தெண் பனி உறைக்குங்கால்? என ஆங்கு, அனையவை போற்றி, நினைஇயன நாடிக் காண்; வளமையோ வைகலும் செயலாகும்; மற்று இவள் முளை நிரை முறுவலார் ஆயத்துள் எடுத்து ஆய்ந்த இளமையும் தருவதோ, இறந்த பின்னே? Another one by the confidante saying no! The words can be translated as follows: “Akin to a lion’s roar, is the sound that arises when the strings of their sturdy bows, made from the beautiful ‘Silai’ wood, are pulled in aim. Even if it’s a king and his accompanying army, who hear this roar, they would show their backs and retreat. Those men would consider it a shame to actually shoot their arrows. Their loud thudi drums resound aloud; Known for their strong necks, sharp looks and beards that twist and turn akin to a stag’s antlers; Filled with boundless fury, they never desert their station; Those highway robbers take wealth and give wounds in return. Such is the formidable drylands, where there’s no space for love and grace! With a deep desire, you have changed tracks, and are thinking about leaving away to attain new wealth. Her exquisite beauty is akin to a ‘Ashoka’ tree’s leaf shoot. Will this beauty, which will be devoured by pallor when you part away, be brought back to their old state, by the wealth you earn? Seeking those who are wise, you intend to part away to attain through true listening, flawless knowledge. Her lovely face is akin to the moon that sheds sweet rays; Will that face, which will spread with pallor, akin to how a celestial snake devours the moon, be brought back to its old state, by the knowledge you gain? Letting go of your deep togetherness, you intend to go to other countries and attain great friendships. Her kohl-streaked eyes are akin to the fully-bloomed, fragrant blue lotuses. Will those eyes, that will shed tears, akin to drops of oil from a wick, be brought back to their old state, by these friendships you win? And so, realising all this, decide what you should do; Attaining prosperity can be done any day; But can her beauty that stands out amidst her bosom friends be attained again, after it has vanished away?” Time to delve into the details. The verse is situated in the context of the man’s parting from his lady after marriage. When he conveys his intent to the confidante, she replies to him with these thoughts. As customary in most renditions, the confidante starts with a picture of the drylands. To talks about its nature, she turns to the tribe who reside there. They happen to be the highway robbers denoted by the term ‘Maravar’, which has later come to mean ‘warriors’. The confidante talks about how these men with the mere pull of their bow strings, send out a roar like that of a lion, and even if it’s a king’s army that was approaching, on hearing this, they would turn their backs and scuttle in fear. Such is the power they wield that these robbers consider it a shame to actually launch their arrows against their foes. They have the quality of giving in exchange, searing wounds for the stolen wealth of wayfarers, the confidante details. Moving on to their physical features, she talks about their strong necks, their piercing looks and the way their beards lie all matted and twisted like a deer’s antlers. After painting that vivid picture, the confidante says this is a place where there’s no room for any of the softer emotions in life, adding that it’s through such a drylands path, the man wants to leave. Then follows the three-step questioning by the confidante. In the first, the confidante describes how the man intends to go in search of wealth, in the second, for knowledge, and in the third, for friendships. So, we can infer that the man must have told generically about his mission, without giving further details and she fits in all possibilities for such a journey then. Next, we see the confidante declaring that no matter for what purpose he leaves, would that purpose be able to return the beauty and health of the lady that’s sure to vanish away in the man’s absence. The confidante summarises the situation saying prosperity can be gained any day, any where, but youth and beauty, once lost, cannot be brought back! The confidante extinguishes the spark in the man to pursue other things in life yet again. So curious to know if such conversations actually happened in the life of people then or are these the figments of poets’ imagination! In any case, through this verse, we learn that these journeys mentioned in Sangam literature, were not only for earning wealth, but also for the sake of attaining knowledge, similar to our educational pursuits abroad, as well as expanding trade ties, similar to our attending conferences to widen our network today!…

Sangam Lit

1
Kalithogai 14 – Seek not the other wealth 6:07

1 year temu6:07

6:07

In this episode, we listen to the confidante’s admonition about parting away, as portrayed in Sangam Literary work, Kalithogai 14, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals the man’s stance then and now. ‘அணை மருள் இன் துயில் அம் பணைத் தட மென் தோள், துணை மலர் எழில் நீலத்து ஏந்து எழில் மலர் உண் கண், மண மௌவல் முகை அன்ன மா வீழ் வார் நிரை வெண் பல், மணம் நாறு நறு நுதல், மாரி வீழ் இருங் கூந்தல், அலர் முலை ஆகத்து, அகன்ற அல்குல், சில நிரை வால் வளை, செய்யாயோ!’ என, பல பல கட்டுரை பண்டையின் பாராட்டி, இனிய சொல்லி, இன்னாங்குப் பெயர்ப்பது, இனி அறிந்தேன், அது துனி ஆகுதலே ‘பொருள் அல்லால் பொருளும் உண்டோ?’ என, யாழ நின் மருளி கொள் மட நோக்கம், மயக்கப்பட்டு அயர்த்தாயோ? ‘காதலார் எவன் செய்ப, பொருள் இல்லாதார்க்கு?’ என, ஏதிலார் கூறும் சொல் பொருளாக மதித்தாயோ? செம்மையின் இகந்து ஒரீஇப் பொருள் செய்வார்க்கு, அப் பொருள் இம்மையும் மறுமையும் பகையாவது அறியாயோ? அதனால், எம்மையும் பொருளாக மதித்தீத்தை; நம்முள் நாம் கவவுக் கை விடப் பெறும் பொருட் திறத்து அவவுக் கைவிடுதம்; அது மனும் பொருளே. The confidante’s back in spotlight, giving a piece of her mind to the man. The words can be translated as follows: “Akin to a pillow, are those bamboo-like, curving, soft arms rendering sweet sleep to me; Akin to twin flowers of the beautiful blue lotus are your splendid, flower-like, kohl-streaked eyes. Akin to the buds of the fragrant wild jasmine that make bees swoon are your perfect, white teeth; Wafting with fragrance is your fine forehead; Akin to a cover of rainclouds are your black tresses; You have a beautiful bosom and wide hips and wear a few rows of white bangles; Such is your impeccable beauty! – Saying many, many such words in the past, you praised her and expressed sweet things. But now you chase her towards sorrow. I understand that it must be because of the lack of love in you. Did you forget the truth, confused by your foolish notion that ’There is nothing more important than wealth?’ Did you pay heed to the word of strangers who said, ‘How will those who have love remain true to those who posses not wealth?’ Did you not understand that those who earn wealth leaving the path of righteousness will find that their wealth turns a foe in this life and the next? And so, may you respect her as wealth too; Give up the desire for this wealth that makes you abandon your togetherness; That is lasting wealth!” Let’s explore the nuances. The verse is situated in the context of the man’s parting from his lady after marriage, with an intent to seek wealth. When he expresses his intent to the lady’s confidante, she replies to him with these heated words. She starts by listing all the praises the man decked on the lady when they were in courtship. About her arms, eyes, teeth, tresses and so on. He seemed to find all his joy just by dwelling on the beauty of the lady then. Saying this, the confidante arrives at the present and says that now he wants to leave, and this is sure to leave the lady in sorrow. Such a change in the man must be because of the absence of true love in him, the confidante declares. She then starts poring over the reasons why the man wants to go in search of wealth. Is he thinking that there is nothing more than wealth in this world? Is he listening to the foolish words of strangers that ‘Even loved ones will not respect those who have no wealth’? Did he not know that no matter how much wealth you earn, by moving away from the right path, that will only torment you as a foe in this life and the next? Hinting that’s the exact thing the man’s doing now, moving from the path of righteousness by leaving his beloved in sorrow. So, the confidante concludes that the man should understand that the lady is his real wealth and that he should give up searching for this other wealth that separates them both, adding only that is lasting wealth in one’s life. Yet again, a man is thwarted from his mission to seek wealth, this time by reminding him of his past devotion to his lady, in contrast to current apathy. Moving beyond this repeating theme, we can appreciate the core truth of this verse that ultimately, the people in our lives are our true wealth!…

Sangam Lit

1
Kalithogai 13 – Behold the terrible drylands 7:54

1 year temu7:54

7:54

In this episode, we perceive a detailed account on the drylands, as depicted in Sangam Literary work, Kalithogai 13, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and presents a glimpse of the lady’s protected life. செரு மிகு சின வேந்தன் சிவந்து இறுத்த புலம் போல, எரி மேய்ந்த கரி வறல்வாய், புகவு காணாவாய், பொரி மலர்ந்தன்ன பொறிய மட மான், திரி மருப்பு ஏறொடு தேர் அறற்கு ஓட, மரல் சாய மலை வெம்ப, மந்தி உயங்க, உரல் போல் அடிய உடம்பு உயங்கு யானை, ஊறு நீர் அடங்கலின், உண் கயம் காணாது, சேறு சுவைத்து, தம் செல் உயிர் தாங்கும் புயல் துளி மாறிய, போக்கு அரு, வெஞ் சுரம் எல்வளை! எம்மொடு நீ வரின், யாழ நின் மெல் இயல் மே வந்த சீறடி, தாமரை அல்லி சேர் ஆய் இதழ் அரக்குத் தோய்ந்தவை போல, கல் உறின், அவ் அடி கறுக்குந அல்லவோ? நலம் பெறும் சுடர்நுதால்! எம்மொடு நீ வரின், இலங்கு மாண் அவிர் தூவி அன்ன மென் சேக்கையுள் துலங்கு மான் மேல் ஊர்தித் துயில் ஏற்பாய், மற்று ஆண்டை விலங்கு மான் குரல் கேட்பின், வெருவுவை அல்லையோ? கிளி புரை கிளவியாய்! எம்மொடு நீ வரின், தளி பொழி தளிர் அன்ன எழில் மேனி தகை வாட, முளி அரில் பொத்திய முழங்கு அழல் இடை போழ்ந்த வளி உறின், அவ் எழில் வாடுவை அல்லையோ? என ஆங்கு, அனையவை காதலர் கூறலின், ‘வினைவயிற் பிரிகுவர்’ எனப் பெரிது அழியாதி, திரிபு உறீஇ; கடுங் குரை அருமைய காடு எனின், அல்லது, கொடுங்குழாய்! துறக்குநர்அல்லர் நடுங்குதல் காண்மார், நகை குறித்தனரே. An intriguing verse containing nested conversations! The words can be translated as follows: “Akin to a field burnt in anger by a furious, battle-worthy king, scorched by heat, burnt and dried-up, bereft of any food, is the drylands. Here, with spots, akin to puffed rice, a naive deer, along with its male having branching antlers, runs towards a mirage. The hemp fades and withers in the heat; Monkeys tire out. The exhausted elephant, having a pestle-like feet, not finding a pond to drink from, as all the water that springs forth has dried-up, tastes the slush and tries to hold on to its life in the hot drylands, where clouds have forgotten to shower raindrops anymore! O maiden wearing shining bangles! If you come with me, your little feet that has only tread on soft ground, akin to the intricate, inner petals of a lotus being dipped in lacquer, will turn dark if they tread on hot stones, won’t they? O maiden with a glowing forehead! If you come with me, you, who attains sweet sleep upon a soft mattress, akin to the shining and splendid feathers of a swan, placed on a bed with a lion’s feet, will be startled when you hear the lion’s roar there, won’t you? O maiden with a talk like a parrot! If you come with me, your beautiful skin, akin to a leaf sprout soaked in fresh rain, will fade, in the clutch of the hot winds that rise between the flames of the wild fire, bursting upon the thorny bushes, and lose its fine beauty, won’t it? And so, because your lover said all these things, do not worry greatly and feel ruined thinking that ‘He’s going to part away on a mission’. He said such terrible things about the harsh drylands forest, O maiden wearing curving ornaments, not because he wants to part from you but just to have a laugh, seeing you shudder!” Time to explore the nuances. The verse is situated in the context of a man’s parting from his lady, after marriage. It has an intricate structure, containing words by the man to the lady, said as a summary and conclusion by the confidante to the lady. First, we hear the voice of the man speaking to the lady, as he describes the drylands to her. He compares the state of the drylands to a field burnt by an enraged king. Owing to all that heat and having nothing to eat, a deer and its mate rush towards a mirage. Even the sturdy hemp is dying, sprightly monkeys are now languishing and an elephant quenches its severe thirst, not in any pond, but the meagre slush on the ground. Such is the drylands that the rains have forsaken, tells the man. Next, in reply to the lady’s request that he should take her long, he offers three points for the lady to ponder upon. Talking about how the lady’s feet has only ever touched soft sands, he declares they would turn red, burnt by the heat of the stones in the drylands, if she were to come with him. The simile he uses to describe the change in her feet is fascinating, for he equates the change to lotus petals when dipped in lacquer. While lacquer in contemporary times refers to the chemical varnish used in painting, the lacquer here refers to a red resin from trees, which has been used since antiquity in endowing a red colour to artefacts, and goes by the name ‘arakku’ in Tamil and ‘lac’ in English. Returning from these meanderings, we hear the man next talking about how the lady sleeps on a soft mattress upon a bed with legs designed in the shape of a lion’s feet. He tells her how she would jump in fear, when she actually hears the roar of the lion if she were to come with him to the drylands. Finally, he talks about how her beautiful skin, now like a leaf sprout that has danced in the rain, will fade and burn, as hot winds from wild fires blow all around her, if she were to accompany the man to the drylands. Now, the confidante lets us know she has been repeating the words said by the man to the lady. She turns to the lady and asks her not to worry at all on account of all these words, and reveals that the man has said them not because he was going to leave the lady and go towards the drylands, but only to have a good laugh, seeing the shuddering of his beloved. Quite the prankster, this man! A verse which offers a change of pace from the seriousness of these verses situated in the theme of separation, and tells us that humans will always make space for lightness and laughter in their lives, no matter when and where!…

Sangam Lit

1
Kalithogai 12 – Youth and Wealth 7:02

1 year temu7:02

7:02

In this episode, we perceive the battle between seeking wealth and being with a beloved, as depicted in Sangam Literary work, Kalithogai 12, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and stresses on the importance of love during youth. இடு முள் நெடு வேலி போல, கொலைவர் கொடுமரம் தேய்த்தார் பதுக்கை நிரைத்த கடு நவை ஆர் ஆற்று, அறுசுனை முற்றி, உடங்கு நீர் வேட்ட உடம்பு உயங்கு யானை கடுந் தாம் பதிபு, ஆங்குக் கை தெறப்பட்டு, வெறி நிரை வேறாகச் சார்ச்சாரல் ஓடி, நெறி மயக்குற்ற நிரம்பா நீடு அத்தம் சிறு நனி நீ துஞ்சி ஏற்பினும், அஞ்சும் நறுநுதல் நீத்துப் பொருள்வயிற் செல்வோய்! உரனுடை உள்ளத்தை; செய் பொருள் முற்றிய வளமையான் ஆகும் பொருள் இது என்பாய்! இளமையும் காமமும் நின் பாணி நில்லா இடை முலைக் கோதை குழைய முயங்கும் முறை நாள் கழிதல் உறாஅமைக் காண்டை கடை நாள் இது என்று அறிந்தாரும் இல்லை போற்றாய் பெரும! நீ, காமம் புகர்பட வேற்றுமைக் கொண்டு, பொருள்வயிற் போகுவாய்! கூற்றமும் மூப்பும் மறந்தாரோடு ஓராஅங்கு மாற்றுமைக் கொண்ட வழி. Back to the confidante and her convincing! The words can be translated as follows: “Like long thorn fences, appear leaf-covered stone graves for those, who were slain by the curving bows of murderous men, laid in many rows, in that harsh and formidable path. Reaching a dried-up spring nearby, yearning for water, the thirsty and fatigued herd of elephants, press their trunks with haste, and scorched by the heat, maddened, they run in different directions, muddling the paths in that limitless, long drylands domain. You want to go thither, for the sake of wealth, leaving behind the maiden with fragrant forehead, who starts worrying even if you sleep for a little longer than usual. A daring heart you do possess! You tell me that the way to attain prosperity is to earn wealth! However, will youth and desire obey your command? See that you do not waste away those good days when you embrace her, rumpling the garland lying between her bosom! There’s no one who knows their last day in life! You do not seem to understand that, O lord! Shirking your duty to love, with a differing heart, you intend to go in search of wealth! That’s the wrong path of those who have forgotten the role of ageing and death!” Let’s explore the nuances. The verse is situated in the context of the man’s parting from his lady after marriage. When he expresses his intention of parting to seek wealth to the confidante, she voices her thoughts so. Starting in the customary position, the confidante paints a stark picture of the drylands. She talks of how victims of highway robbers are laid under stone graves, covered with leaves, and how these seem to appear like long thorn fences. So many rows of these graves are to be seen there, implying that death is a permanent resident of these parts. Next, from death, she moves on to danger, talking about how a herd of elephants seeking water desperately, reach an almost dried-up spring, and in haste or maybe because of muscle memory, put out their trunks, which get seared in the heat of the ground. This makes these elephants trumpet aloud in pain and rush in different directions, disturbing the paths laid through these drylands. The confidante probably talks about this to say the man is surely going to get lost in his travels! Now, she turns to him and says, ‘This is the place you want to go too. So daring you are indeed! Have you forgotten how delicate your lady is, for even if you sleep a little longer, she starts panicking about it?’. Sounds like this young maiden suffers from insecurity and paranoia! Returning, the confidante takes on a lawyer’s role and presents her case, starting with the man’s argument to earn wealth saying only that can bring prosperity for his happy, married life with the lady. While that may be so, will youth and desire wait patiently obeying your order?, asks the confidante. She means to say that if he’s gone for long, these time-bound elements will fade. She seems to think a day spent by the man without embracing the lady is a day wasted! Next, the confidante says a powerful and timeless truth, in the words that no-one knows when they are going to die. With that powerful reminder, she declares to the man that he’s choosing the wrong path if he is going to disregard the influence of age and death in one’s life! We can understand that the confidante is intent on stopping the man from leaving but is it not true that love can conquer time? Maybe the confidante is taking quite the practical approach saying that if the man’s gone, then youth will go and so will passion! Which makes me wonder if the man was taking years-long journey, maybe sailing to other countries? Or maybe the confidante makes such a big deal of even a few days or months of parting? Different time. Different priorities. However, we can reflect on that powerful statement in this verse, ‘No one knows their last day’ and make the most of our every day in every way!…

Sangam Lit

1
Kalithogai 11 – In the shade of a beloved 8:21

1 year temu8:21

8:21

In this episode, we perceive scenes of kindness in the wild, as depicted in Sangam Literary work, Kalithogai 11, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and presents insights about the purpose of seeking wealth. ‘அரிதாய அறன் எய்தி அருளியோர்க்கு அளித்தலும், பெரிதாய பகை வென்று பேணாரைத் தெறுதலும், புரிவு அமர் காதலின் புணர்ச்சியும் தரும்’ என, பிரிவு எண்ணிப் பொருள்வயிற் சென்ற நம் காதலர் வருவர்கொல்; வயங்கிழாஅய்! வலிப்பல், யான்; கேஎள், இனி: ‘அடி தாங்கும் அளவு இன்றி, அழல் அன்ன வெம்மையால், கடியவே, கனங் குழாஅய், காடு’ என்றார்; ‘அக் காட்டுள், துடி அடிக் கயந்தலை கலக்கிய சின்னீரைப் பிடி ஊட்டி, பின் உண்ணும், களிறு’ எனவும் உரைத்தனரே ‘இன்பத்தின் இகந்து ஒரீஇ, இலை தீந்த உலவையால், துன்புறூஉம் தகையவே காடு’ என்றார்; ‘அக் காட்டுள், அன்பு கொள் மடப் பெடை அசைஇய வருத்தத்தை மென் சிறகரால் ஆற்றும், புறவு’ எனவும் உரைத்தனரே ‘கல் மிசை வேய் வாடக் கனை கதிர் தெறுதலான், துன்னரூஉம் தகையவே காடு’ என்றார்; ‘அக் காட்டுள், இன் நிழல் இன்மையான் வருந்திய மடப் பிணைக்குத் தன் நிழலைக் கொடுத்து அளிக்கும், கலை’ எனவும் உரைத்தனரே என ஆங்கு இனை நலம் உடைய கானம் சென்றோர் புனை நலம் வாட்டுநர்அல்லர்; மனைவயின் பல்லியும் பாங்கு ஒத்து இசைத்தன; நல் எழில் உண்கணும் ஆடுமால், இடனே. A verse brimming with expressions of love! The words can be translated as follows: “‘To attain the rare virtue of giving to those who are gracious; To conquer immense enmity by defeating foes; To obtain a lasting union with true love;’ he explained were the reasons for parting away in search of wealth. He will return soon, O maiden wearing radiant jewels; I say this with conviction; Listen to me now: He said, ‘Beyond the limits that the feet can bear, the heat scorches with intensity. So harsh is the drylands forest, O lady clad in thick ornaments’. He also said, ‘Within that forest, seeing a little puddle of water, muddled by the tender-headed elephant calf with a drum-like feet, the male elephant first feeds its female and then drinks from it’. He said, ‘Making one forget all joy, with branches bereft of leaves, with a sorrowful quality is the drylands forest’. He also said, ‘Within that forest, seeing the suffering of its loving, naive female, the male pigeon caresses it with its soft wings’. He said, ‘Atop the hill, as the sweltering rays wither the bamboos, with a formidable quality is the drylands forest’. He also said, ‘Within that forest, seeing the distress of its naive female, owing to the lack of a sweet shade, the male deer offers its own shade to it, with grace’. And so, the one who went to the drylands forest with such a kind beauty, would not be one to distress my etched beauty. Listen, the lizard at home seems to call in agreement. My fine and beautiful kohl-streaked left eye twitches too!” Time to explore the nuances. The verse continues to be situated in the context of a man’s parting from his lady after marriage, with an intent of seeking wealth. In most verses, we have seen thus far, the man was seeking permission to leave. In this one, he has already left, and we hear the lady’s voice render thoughts about his parting to her confidante. The lady begins by indicating the reasons the man offered for this difficult parting between them. He seems to have told her, to have the rare honour of giving unto good people, for ending enmity in one’s life, and finally, even for having a long and happy union with the lady, wealth was crucial. And that’s why he had to take the decision of parting away from her for a while. Logical words, told with kindness, rendering purpose to his journey. Recollecting his words, the lady says that he is going to return to her soon. To explain why, the lady once again reminisces about the words the man used to describe the place he was travelling to. Indeed, it was so harsh with heat that no feet could bear, it was so sorrowful with its image of branches standing still without leaves, and also, it was so unapproachable because the heat was so intense that even the sturdy bamboos atop the hill were burnt. While he painted such a stark picture of the drylands forest, he also said other things about it. Such as that scene, where there’s a small puddle of muddled water. A male elephant that chances upon it, doesn’t gulp it down in an instant but waits for its female to have its fill and then drinks from it. Another scene where a female pigeon is much distressed by the heat and its male waves its gentle wings as a fan to cool its mate. And finally, in a stunning, unforgettable image, a male deer seeing the suffering of its female in the heat of that harsh drylands without a drop of shade, offers its own shade to lovingly care for its beloved! Painting these scenes that the man spoke about, the lady is convinced that seeing such love in the places he traverses, the man will not have the heart to harm her own health by staying away long. Just the moment she says, she hears the lizard’s sound from her home and her left eye starts twitching as well, all good omens that can only mean the man is about to come home to her! A verse that overflows with the joy of kindness! In this verse, it’s always the male offering its protection to the female and this is somewhat coded in human behaviour too, with the ‘Ladies and children first’ policy in moments of calamity, and occasionally, chivalry too! However, in these times, moving beyond these gender segregation of roles, what shines through as the core of this verse is the portrait of kindness in the harshest of environments. Even today, be it in war zones around the world and when events of natural disaster strikes, there are always stories of astonishing kindness to be found. In its own way, this ancient verse tells us that no matter the darkness, all it takes is a little spark of kindness to brighten that world with hope!…

Sangam Lit

1
Kalithogai 10 – A tree in the drylands 8:54

1 year temu8:54

8:54

In this episode, we listen to arguments against parting away, as depicted in Sangam Literary work, Kalithogai 10, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and portrays a place using human qualities. “வறியவன் இளமை போல் வாடிய சினையவாய்ச் சிறியவன் செல்வம் போல் சேர்ந்தார்க்கு நிழல் இன்றி யார் கண்ணும் இகந்து செய்து இசை கெட்டான் இறுதி போல், வேரொடு மரம் வெம்ப விரி கதிர் தெறுதலின், அலவுற்றுக் குடி கூவ ஆறு இன்றிப் பொருள் வெஃகிக் கொலை அஞ்சா வினைவரால் கோல் கோடியவன் நிழல் உலகு போல் உலறிய உயர் மர வெஞ்சுரம் இடை கொண்டு பொருள் வயின் இறத்தி நீ எனக் கேட்பின், உடைபு நெஞ்சு உக ஆங்கே ஒளிஓடற்பாள் மன்னோ, படை அமை சேக்கையுள் பாயலின் அறியாய் நீ புடை பெயர்வாய் ஆயினும், புலம்பு கொண்டு இனைபவள்? முனிவு இன்றி முயல் பொருட்கு இறத்தி நீ எனக் கேட்பின், பனிய கண்படல் ஒல்லா படர்கூர்கிற்பாள் மன்னோ, நனி கொண்ட சாயலாள் நயந்து நீ நகை ஆகத் துனி செய்து நீடினும், துறப்பு அஞ்சிக் கலுழ்பவள்? பொருள் நோக்கிப் பிரிந்து நீ போகுதி எனக் கேட்பின், மருள் நோக்கம் மடிந்து ஆங்கே மயல்கூர்கிற்பாள் மன்னோ, இருள் நோக்கம் இடையின்றி ஈரத்தின் இயன்ற நின் அருள் நோக்கம் அழியினும், அவலம் கொண்டு அழிபவள்?” என ஆங்கு, “வினை வெஃகி நீ செலின், விடும் இவள் உயிர்” எனப் புனை இழாய்! நின் நிலை யான் கூறப், பையென, நிலவு வேல் நெடுந்தகை நீள் இடைச் செலவு ஒழிந்தனனால், செறிக நின் வளையே. The confidante is back doing what she does best! The words can be translated as follows: “Akin to the youth of an impoverished man, is the faded branch; Akin to the wealth of a miserly man, it offers no shade to those who come seeking; Akin to the final days of one, who has lost his fame doing wrong deeds to everyone, even the roots of the tree are parched in the scorching rays of the sun; Akin to a land in the shade of a cruel king’s sceptre, who has murderous men to do his bidding, greedy for wealth, where’s there no justice and people scream in misery, is the hot drylands with shrivelled, tall trees! If she hears that you wish to part away thither, breaking your togetherness, with a broken heart, won’t her beauty and glow vanish away? Isn’t she one who worries and laments, even when you move away a little unintentionally, when lying with her on your well-built bed? If she hears that you wish to part away thither, lacking any regret, with tear-filled eyes, won’t her sleep abandon her? Isn’t she one who fears the separation and tears up, even when to tease that delicate maiden a little, you delay coming to her side? If she hears that you wish to part away thither, wanting to gather wealth, with utter confusion and won’t her spirit diminish? Isn’t she one who feels ruined, even when your gracious looks to her, bereft of any darkness, full of love, changes for a moment? And so, as I said, ‘If you leave desiring your mission, it’s her life that will part away’, speaking of your state, O maiden, wearing etched ornaments, slowly, the great lord with a moon-like spear gave up his journey through the long drylands path. So, let them remain firm, those bangles of yours!” Let’s explore the details. The verse is situated in the context of the man’s parting from his lady, after marriage. When he expresses his intent of seeking wealth to the confidante, she counsels him against it and then relays the success of her efforts to the lady. The confidante begins by sketching the harshness of the drylands through its representative member, a tree therein. To talk about the faded branch of this tree, she calls in parallel the youth of someone who lacks wealth, implying the ancients thought that this was a period of joy and pleasure, and for that, wealth was essential. Next, to depict the nature of this tree that gives no shade to anyone, no doubt because of its withered leaves, the confidante calls in parallel wealth of a miser, of no use to those who come seeking. Following this, the confidante dives deep and reaches the roots of the said tree, which one would expect to have some moisture, but she says even those roots are parched, like the last days of someone who has done only evil to others. Finally, the entire lifeless drylands is depicted as a land, ruled by a cruel and greedy king, who steals away his people’s wealth, leaving them in agony. And so, the dreariness of this landscape is etched in our minds by these mini-portraits of various human lives. Then, the confidante employs the customary three-step presentation talking about how the lady would be shattered if she hears that the man wants to part away to seek wealth. To present her case, the confidante reminds the man about how the lady would suffer even if the man moves away a little, without realising, when sleeping together in their bed, about how the lady would tear up when the man, just for joke, delays coming to her side, and about how the lady would feel devastated, when the man’s gracious look to her changes for even a moment. With all these words and the final punch that the lady would die if he left, the confidante succeeds in dissuading the man from taking up his journey, and this, she conveys to the lady, saying that now there was no need for the lady’s bangles to slip away! What a frail depiction of the lady these ancient poets seem to present! Is that the way the male poets thought of the women then? For it seems rather bizarre to imagine that women of any age should be so utterly and fatally dependent on the men of their lives! And this was indeed an age when some women were penning poetry and advising kings. So, could it be a tradition that dictated these themes to be expressed in verse for some reason of theirs? While there are more questions to ponder, the verse also presents clear insights about how the Sangam people thought a life should be. Through those similes for the drylands, we understand they thought youth should be blessed with wealth, wealth should be shared with all, a person should do good to everyone in their life, and finally, a king should be one, full of kindness for his people, ruling them with a nurturing and protective spirit. What a place is not describes how a person should be, in these unique words!…

Sangam Lit

1
Kalithogai 9 – Born here for another elsewhere 8:42

1 year temu8:42

8:42

In this episode, we perceive a profound philosophy, as portrayed in Sangam Literary work, Kalithogai 9, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and presents the consoling words said to an anxious heart. ‘எறித்தரு கதிர் தாங்கி ஏந்திய குடை நீழல், உறித் தாழ்ந்த கரகமும், உரை சான்ற முக்கோலும், நெறிப்படச் சுவல் அசைஇ, வேறு ஓரா நெஞ்சத்துக் குறிப்பு ஏவல் செயல் மாலைக் கொளை நடை அந்தணீர்! வெவ் இடைச் செலல் மாலை ஒழுக்கத்தீர்; இவ் இடை, என் மகள் ஒருத்தியும், பிறள் மகன் ஒருவனும், தம்முளே புணர்ந்த தாம் அறி புணர்ச்சியர்; அன்னார் இருவரைக் காணிரோ? பெரும!’ ‘காணேம் அல்லேம்; கண்டனம், கடத்திடை; ஆண் எழில் அண்ணலோடு அருஞ் சுரம் முன்னிய மாண் இழை மடவரல் தாயிர் நீர் போறிர்… பல உறு நறுஞ் சாந்தம் படுப்பவர்க்கு அல்லதை, மலையுளே பிறப்பினும், மலைக்கு அவைதாம் என் செய்யும்? நினையுங்கால், நும் மகள் நுமக்கும் ஆங்கு அனையளே சீர் கெழு வெண் முத்தம் அணிபவர்க்கு அல்லதை, நீருளே பிறப்பினும், நீர்க்கு அவைதாம் என் செய்யும்? தேருங்கால், நும் மகள் நுமக்கும் ஆங்கு அனையளே ஏழ் புணர் இன் இசை முரல்பவர்க்கு அல்லதை, யாழுளே பிறப்பினும், யாழ்க்கு அவைதாம் என் செய்யும்? சூழுங்கால், நும் மகள் நுமக்கும் ஆங்கு அனையளே என ஆங்கு இறந்த கற்பினாட்கு எவ்வம் படரன்மின்; சிறந்தானை வழிபடீஇச் சென்றனள்; அறம் தலைபிரியா ஆறும் மற்று அதுவே. After that long sequence of parting away pains, now there’s a change of pace! The words can be translated as follows: “‘In the shade of an upraised umbrella, that blocks the burning rays, with a pitcher hanging on a low rope, and an esteemed trident placed in the proper manner on the shoulder, you walk with a heart that sees no distractions, having unswerving principles and morals of controlling the senses, O priest! You have the custom of walking through these scorching spaces. In such a place, tread a daughter of mine and a son of another woman. They had a secret relationship, now revealed to all. Did you see them anywhere, O noble priest?’ ‘It’s not that they were not seen. They were indeed seen in the midst of the drylands. Along with an esteemed young man, having handsome allure, a maiden wearing well-carved ornaments was treading the harsh drylands. You seem to be the mother of this maiden!’ Even though the much fragrant sandalwood is born in the mountain, other than being of use to those who adorn themselves with it, what could it possibly do for the mountain? When you think about it, your daughter too is like that to you! Even though the splendid white pearls are born in the seas, other than being of use to those who wear it, what could it possibly do for the seas? When you reflect on it, your daughter too is like that to you! Even though the fine music of the seven strings is born in the lute, other than being of use to those who play upon it, what could it possibly do for the lute? When you analyse it, your daughter too is like that to you! And so, don’t you worry on account of this chaste maiden, who parted away. For she has chosen to follow the path of her good man. And that is indeed the only path of righteousness!'” Time to delve into the nuances. The verse is situated in the context of a lady’s eloping with the man she loves from her parental home. On learning about the lady’s elopement, her mother tries to follow the lady into the drylands and this verse is a dialogue between the mother and a person mother encounters. She begins by describing to us who that person is, and to do that, she talks about the umbrella he holds in his hands, protecting himself from the scorching sun of the drylands, whose handiwork we have seen in song after song. Next she describes the object he is carrying, a pitcher for water, again sensible option for the drylands, and lastly, a trident. Though this sounds to be a ritualistic artefact, much respected as the words that follow indicate, it’s possible the object had some functional use to that wayfarer. From the outer aspects, the mother turns to describe his inner virtue of not heeding to any distractions and who had unwavering morals in place. Sounds like mother has chanced upon an ascetic, for she addresses him as a noble priest. After this salutation, mother arrives at the matter at hand and asks the person if he had come across a woman and a man walking in those parts. She says that woman was her daughter and she says that this young maiden had a love relationship with the man she was walking with. To mother’s question, the priest renders the answer that indeed he has seen them. Describing the man as being very handsome and the maiden as one wearing well-etched ornaments, he talks of how these two were crossing the drylands. It’s now this priest turns to mother and offers her three similes to explain mother’s state. He describes the sandalwood, pearls and music, and declare though these are born in the mountains, seas and lute respectively, these cannot do anything for the place of their birth, and are meant only for those who use them by applying that sandalwood paste, or adorn themselves with the pearls or play that music. Likewise, he declares the daughter of this mother too is meant to add goodness in the life of another. With the words that the mother shouldn’t worry about her daughter, who has left with the young man, the priest concludes with the convincing words that this girl has chosen the right path by following the man she loves. And so, we see the clarity of thought in this noble monk, who stands by the young girl, who has eloped away with her love. Most of all, he counsels the mother to let go of her attachment to her daughter, and delight in the fact, that like the sandalwood, pearls and lute, the young maiden is about to add fragrance, beauty and music in the life of another. A verse which reminds me of the 19th century poet Kahlil Gibran’s words that echo the very core of this two thousand year old song to a mother: ‘You are the bows from which your children as living arrows are sent forth. The archer sees the mark upon the path of the infinite, and He bends you with His might that His arrows may go swift and far. Let your bending in the archer’s hand be for gladness; For even as He loves the arrow that flies, so He loves also the bow that is stable.’…

Sangam Lit

1
Kalithogai 8 – Desire not fading wealth 7:26

1 year temu7:26

7:26

In this episode, we listen to reflections on the nature of wealth, as portrayed in Sangam Literary work, Kalithogai 8, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and ponders on the question of what is lasting wealth. நடுவு இகந்து ஒரீஇ நயன் இல்லான் வினை வாங்க, கொடிது ஓர்த்த மன்னவன் கோல் போல, ஞாயிறு கடுகுபு கதிர் மூட்டிக் காய் சினம் தெறுதலின், உறல் ஊறு கமழ் கடாத்து ஒல்கிய எழில் வேழம், வறன் உழு நாஞ்சில் போல், மருப்பு ஊன்றி நிலம் சேர, விறல் மலை வெம்பிய போக்கு அரு வெஞ் சுரம் சொல்லாது இறப்பத் துணிந்தனிர்க்கு ஒரு பொருள் சொல்லுவது உடையேன்; கேண்மின், மற்று ஐஇய! வீழுநர்க்கு இறைச்சியாய் விரல் கவர்பு இசைக்கும் கோல் ஏழும் தம் பயன் கெட, இடை நின்ற நரம்பு அறூஉம் யாழினும் நிலை இல்லாப் பொருளையும் நச்சுபவோ? மரீஇத் தாம் கொண்டாரைக் கொண்டக்கால் போலாது, பிரியுங்கால் பிறர் எள்ள, பீடு இன்றிப் புறம் மாறும் திருவினும் நிலை இல்லாப் பொருளையும் நச்சுபவோ? புரை தவப் பயன் நோக்கார் தம் ஆக்கம் முயல்வாரை வரைவு இன்றிச் செறும் பொழுதில், கண் ஓடாது உயிர் வௌவும் அரைசினும் நிலை இல்லாப் பொருளையும் நச்சுபவோ? என ஆங்கு நச்சல் கூடாது பெரும! இச் செலவு ஒழிதல் வேண்டுவல், சூழின், பழி இன்று மன்னவன் புறந்தர வரு விருந்து ஓம்பி, தன் நகர் விழையக் கூடின், இன் உறல் வியன் மார்ப! அது மனும் பொருளே. Here’s an intellectual discourse on the nature of wealth to persuade a person to change their path! The verse can be translated as follows: “Akin to a king’s sceptre, which doles out cruelty, straying far away from the fair path of justice, as dictated by a compassionless subordinate, the sun spreads its rays with much haste and scorches the land with fury. Here, a once-handsome elephant, fragrant with musth and swarming with bees, now starved and thirsty, bends down to the land leaning on its tusk, looking like a plough, in that victorious mountain that has now burnt down to become an inaccessible hot drylands domain. To such a place, you dare to leave without even telling us. I wish to tell you one thing. Listen, O lord! A lute’s music spreads ecstasy in those who listen. Even more unstable than a lute, whose middle string is broken, making all seven strings lose their purpose, is fading wealth. Why do you desire it so? When it arrives in the hands of someone, it makes them celebrated, and when it parts away, it leaves them to the scorn of others. Such is the dishonourable nature of fame that keeps changing its face. Even more unstable than this fame is fading wealth. Why do you desire it so? Without understanding the noble intentions of those who worked for his benefit, in a moment of boundless anger, without even blinking his eye, a king takes away a person’s life. Even more unstable than such a king is fading wealth. Why do you desire it so? And so, you shouldn’t desire it, O lord! You need to abandon this journey. If you think about it, the pleasant state of being as one with her, who desires to stand with you, her lord, beside her, and offer feasts of hospitality in her home, O lord with a wide chest, only that can be stable wealth!” Let’s explore the details. The verse is situated in the context of a man’s parting from his lady, after marriage. When the lady’s confidante realises the man’s intention of parting away without telling them, she says these words to him. The confidante begins by placing in parallel the scorching, punishing heat of the drylands and the rule of a cruel king, who simply listens to the words of his unkind subordinates and strays away from the fair path of justice. Coming from the pen of this poet- king, this holds special value. The confidante describes the drylands so, where a once-handsome and wild elephant now bows low, searching for a few drops of water in that parched land, and as it presses its tusk into the ground, it looks like a plough. She continues saying this is where the man wants to go, that too without even telling the lady. Deciding to give him a few choice words, she starts to talk about the nature of wealth. Again, in the three-step style of Kalithogai, she goes on to compare wealth with a lute, whose middle string is broken, fame which brings glory to a person when it arrives and scorn when it parts, and finally, another king reference, one, who is so blinded by rage that he does not stop to consider the merit or the good deeds of the person in front but orders them to be instantly executed. In all three cases, the confidante concludes even more unstable than these three elements, is the state of wealth, which is fleeting. She advises the man not to hanker after wealth and tells him that the state of being with the lady and making her fulfil her only wish of being hospitable to the world in her home, is what can be considered true and forever wealth. ‘There can be nothing more precious than togetherness’ is the perspective put forth with precision in this verse from the past!…

Sangam Lit

1
Kalithogai 7 – Wealth versus Life 8:10

1 year temu8:10

8:10

In this episode, we listen to a piercing question put forth, as portrayed in Sangam Literary work, Kalithogai 7, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and narrates the consequences of the man’s preparations to part away. வேனில் உழந்த வறிது உயங்கு ஓய் களிறு வான் நீங்கு வைப்பின் வழங்காத் தேர் நீர்க்கு அவாஅம் கானம் கடத்திர், எனக் கேட்பின், யான் ஒன்று உசாவுகோ ஐய! சிறிது? நீயே, செய் வினை மருங்கில் செலவு, அயர்ந்து, யாழ நின் கை புனை வல் வில் ஞாண் உளர்தீயே; இவட்கே, செய்வு உறு மண்டிலம் மையாப்பது போல், மை இல் வாள் முகம் பசப்பு ஊரும்மே நீயே, வினை மாண் காழகம் வீங்கக் கட்டி, புனை மாண் மரீஇய அம்பு தெரிதியே; இவட்கே, சுனை மாண் நீலம் கார் எதிர்பவை போல், இனை நோக்கு உண்கண் நீர் நில்லாவே நீயே, புலம்பு இல் உள்ளமொடு பொருள்வயிற் செலீஇய, வலம் படு திகிரி வாய் நீவுதியே; இவட்கே, அலங்கு இதழ்க் கோடல் வீ உகுபவை போல், இலங்கு ஏர் எல் வளை இறை ஊரும்மே என நின், செல் நவை அரவத்தும் இனையவள் நீ நீப்பின், தன் நலம் கடைகொளப்படுதலின், மற்று இவள் இன் உயிர் தருதலும் ஆற்றுமோ முன்னிய தேஎத்து முயன்று செய் பொருளே? We continue to be in the domain of a confidante’s persuasion, asking the man not to part away. The verse can be translated as follows: “In that place, which the clouds have abandoned, a fatigued elephant, which has lost its strength in the heat of summer, seeks with desire the illusory water in the mirage. You want me to tell her that such is the forest you wish to cross. Before that, can I ask you about a little something, O lord? When you, with thoughts about your journey to gather wealth, stroke the strings of your strong hand-carved bow, akin to the well-made moon shrouded by clouds, her flawless, shining face becomes covered with pallor! When you, tying the well-stitched glove with a bulge on your hand, check the strength of the well-carved arrow, akin to blue-lilies in the springs facing the rains, in her kohl-streaked eyes, the tears stop not! When you, wanting to part away to gather wealth with no worry in your heart, rub the mouth of your victorious chariot wheel, akin to the falling flowers of a white glory lily plant with swaying petals, her beautiful and shining bangles cross past her wrists and slip away! And so, she feels so much distress just seeing your preparations to part away. If you actually do part away and her health and life ends utterly, will her sweet life be brought back by the wealth you gain, with much effort in that country you are parting away to?” Let’s explore the details. The verse is situated in the context of a man’s parting away from his lady, after marriage, with an intention to seek wealth. When the man conveys this intention to the lady’s confidante, she says these words to him. The confidante, following the custom of describing the drylands, now paints a picture of how a thin and tired elephant, confused by its thirst and starvation, in that place which has not seen rains in ages, mistakes a mirage for water, and tries to drink up the nothingness. Such is the arid spread of the drylands, where the man says he wants to leave, the confidante relates. Now she turns to him and says, ‘You want me to go tell this to the lady. Before I do that, I have something to ask you.’ Following the three-step playbook of narrating incidents we have seen thus far in Kalithogai, the confidante presents three scenes in the man’s household in quick succession. First, we see the man testing his well-made bow, checking how taut the strings are. The lady happens to catch a glimpse, and just like how clouds cover the face of the radiant moon, pallor shrouds her glowing face, seeing this, the confidante says. Scene 2, the man is now wearing a glove which bulges over his hand and he holds the arrow in it, testing his comfort with his weapon. As in the previous case, when the lady happens to see this, like how water droplets shed unceasingly from blue-lilies in the rain, the lady’s eyes unceasingly shed tears. Final scene, the man is now cleaning his chariot wheels and perhaps rubbing it with some oil. And now, just the way the flowers of a white glory lily fall away in time, the lady’s bangles slip away and fall! Instantaneous slimming treatment for Sangam ladies seems to be to get an inkling of their husbands’ parting away! Returning, the confidante remarks to the man, ‘You are just making preparations and already she’s under so much stress. Tell me something: If you do part away and she dies, will the wealth you gain, by your going away, bring her back?’ Again, this appears to be a severe threat of life loss to prevent the man from doing what he wants to do! A moment to connect back to the first image of that elephant rushing to quench its thirst in a mirage. Now, we understand the confidante has sketched that scene to imply the futility of the man’s quest for wealth. He will not find the satisfaction he’s looking for, for all will be lost when the lady’s lost! Which brings us to the question of why did the Sangam folks give so much importance to this common occurrence of parting. When you compare this with most of the classics from this period, those seem to dwell on heroism, war and fantastical journeys of men. But Sangam literature dwells on the domestic domain of togetherness and love. Could this be because this was a settled society in which migration and war was alien, something that happened because of recent changes to their world? Could this be why they focused so much on this taken-for-granted event of parting away? Questions to ponder upon when understanding the history and society of these ancient people!…

Sangam Lit

1
Kalithogai 6 – Take me along 4:57

1 year temu4:57

4:57

In this episode, we perceive the immense love in a lady, as depicted in Sangam Literary work, Kalithogai 6, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals the determination in the mind of a young woman. மரையா மரல் கவர, மாரி வறப்ப வரை ஓங்கு அருஞ் சுரத்து ஆர் இடைச் செல்வோர், சுரை அம்பு, மூழ்கச் சுருங்கி, புரையோர் தம், உள் நீர் வறப்பப் புலர் வாடு நாவிற்கு தண்ணீர் பெறாஅத் தடுமாற்று அருந் துயரம் கண்ணீர் நனைக்கும் கடுமைய, காடு என்றால், என், நீர் அறியாதீர் போல இவை கூறல்? நின் நீர அல்ல, நெடுந் தகாய்! எம்மையும், அன்பு அறச் சூழாதே, ஆற்றிடை நும்மொடு துன்பம் துணையாக நாடின், அது அல்லது இன்பமும் உண்டோ, எமக்கு? A crisp verse depicting the harshness of the drylands region. The verse can be translated as follows: “As the clouds have dried up, wild oxen devour the hemp leaves that alone remain. Those who traverse such formidable paths of the drylands in the soaring mountain, soon sense hollow-stemmed arrows plunging into them. Even those bowmen, with such a harsh and flawed nature, find their mouths going dry, without any moisture. The terrible sorrow of not finding any water makes them shed tears, which is the only moisture that falls on that hard and arid jungle. You say all this about that land, without understanding my nature. This is not befitting your nature, O noble lord. Without thinking about abandoning me, bereft of love, if you take me along with you in those paths, as the companion for your suffering, what more joy can there be, for me?” Time to delve into the details. The verse is situated in the context of a man’s parting from his lady, after marriage. Here, the words are said by the lady to the man when he expresses his intent to part away to seek wealth. The lady starts by talking about how a wild ox, finding nothing else to eat, devours the hemp leaves, which are the only green things still surviving. On doing a little research, learnt that once established these hemp plants can withstand severe drought conditions, which explains why our wild cow has chosen to feed on this plant. The lady continues by talking about how the rains have failed and those who traverse those drylands soon find themselves dead, thanks to the sharp arrows of the highway robbers. What brutal souls they seem to be, but even they find themselves with their throats dried up and not finding even a bit of water, shedding tears because of their extreme thirst. These tears are the only moisture that falls on that arid land, the lady narrates. She continues by revealing that all these words were actually said by the man about the place where he’s heading to. At this time, she scolds him saying he does not understand her nature if he thinks this can dissuade her and that this was not right on his part. She concludes by putting her request that he take her along with him in this difficult journey and declares no matter what suffering comes their way, there can be no greater joy than being with him! And so, we see how the lady employs a unique strategy of persuading the man to give up or delay his journey by asking him to take her along. Through these words, the love of the lady falls as the rejuvenating rain on the dry and arid land of the man’s intention to seek wealth!…

Sangam Lit

1
Kalithogai 5 – The mirror to the within 6:49

1 year temu6:49

6:49

In this episode, we perceive an effort of persuasion, as portrayed in Sangam Literary work, Kalithogai 5, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and narrates the state of the lady if the man were to part away. பாஅல் அம் செவிப் பணைத் தாள் மா நிரை மாஅல் யானையொடு மறவர் மயங்கித் தூறு அதர்பட்ட ஆறு மயங்கு அருஞ் சுரம் இறந்து, நீர் செய்யும் பொருளினும், யாம் நுமக்குச் சிறந்தனம் ஆதல் அறிந்தனிர்ஆயின், நீள் இரு முந்நீர் வளி கலன் வௌவலின் ஆள்வினைக்கு அழிந்தோர் போறல் அல்லதை, கேள் பெருந் தகையோடு எவன் பல மொழிகுவம்? நாளும் கோள் மீன் தகைத்தலும் தகைமே கல்லெனக் கவின் பெற்ற விழவு ஆற்றுப்படுத்த பின், புல்லென்ற களம் போலப் புலம்பு கொண்டு அமைவாளோ? ஆள்பவர் கலக்குற அலைபெற்ற நாடு போல், பாழ்பட்ட முகத்தோடு, பைதல் கொண்டு அமைவாளோ? ஓர் இரா வைகலுள், தாமரைப் பொய்கையுள் நீர் நீத்த மலர் போல, நீ நீப்பின், வாழ்வாளோ? என ஆங்கு பொய்ந் நல்கல் புரிந்தனை புறந்தரல் கைவிட்டு, எந் நாளோ, நெடுந் தகாய்! நீ செல்வது, அந் நாள் கொண்டு இறக்கும், இவள் அரும் பெறல் உயிரே. The confidante is at it again, saying ‘Don’t go’ to the man. The verse can be translated as follows: “Along with huge herds of rutting elephants, having thick legs and prominent ears, highway robbers too rove amidst the bushes, ruining the paths in the muddled drylands. More than the wealth you gain going thither, to make you understand that she is more special, other than being in the state of those whose great efforts are ruined, because their ship in the huge and dark ocean is seized by a storm, what else can I say to convince you, O noble man! Only the omens of the day and the stars should stop you! Akin to a listless festival ground, where the uproarious and prosperous festivities have ended, lamenting, will she be? Akin to a country that is disturbed by the very person who rules it, with a ruined face, suffering, will she be? Akin to a lotus flower in a pond, wherein the water has been drained within a night, if you part, will she live? And so, after rendering your false graces, if you show your back, let go of her hand and leave one day, O respected lord, on that very day you leave, it too shall part, that precious life of hers!” Let’s explore the nuances. The verse is situated in the context of a man’s parting from the lady after marriage, wanting to seek wealth. When he informs the confidante of his intention, she replies to him with these words. First, the image of the drylands as a dangerous place is brought forth, where rutting elephants and ruthless robbers roam. They hide in the bushes and seem to make new paths, confusing the travellers who pass that away. The confidante connects this description saying this is where the man wants to go and if he does not realise that much more than the wealth he can attain, the lady is more important to him, she doesn’t know what to say to him other than wallow in that exact state of those seafarers, who have lost all their ware because their ship is caught in a storm. A moment to pause and note this matter-of-fact simile. That the Tamils were an ancient seafaring nation, with trade in the stormy waters of the Arabian sea, Bay of Bengal and Indian ocean, is evident from this observation. We have to understand that this is no ordinary poet but a Chera King, and no doubt he knows about the trade and commerce of his land. It’s unique how this facet of outer life is used to reflect the inner emotions in a domestic sphere. Returning, we find the confidante putting her trust in omens of the day and the position of the stars to stop the man from going on his journey. She also wonders what will happen to the lady if the man continued to be intent on leaving, and brings forth three distinctive similes to portray the lady’s state. One, is a festival ground where the fun and celebration is done; Two, a country disturbed by its own ruler; Three, a lotus flower in a pond whose water has been drained overnight. Each of these three ruined states echo the lamenting, suffering state of the lady, the confidante tells the man, if he were to leave. She ends with the final punch that if the man were to leave one day, in spite of all these words she has rendered, then that will be the day the lady’s life parts away too. What a threat the confidante makes to the man! We cannot help but observe how the lady has been projected as a frail creature who has no way of bearing the man’s separation. Perhaps this was only to showcase the deep love of the lady for her man in the Sangam era. Still, seeing with our modern eyes, it’s a fact of life that a woman should bear the separation of her man for the sake of work and vice versa. What’s interesting and timeless though in this verse is the depiction of scenes in the world to show what is seen by the heart!…

Sangam Lit

1
Kalithogai 4 – Exuberant Expressions 8:25

1 year temu8:25

8:25

In this episode, we observe the intricate interactions between the man and the lady, as portrayed in Sangam Literary work, Kalithogai 4, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and depicts the dangers in a journey to seek wealth. வலி முன்பின், வல்லென்ற யாக்கை, புலி நோக்கின் சுற்றமை வில்லர், சுரி வளர் பித்தையர், அற்றம் பார்த்து அல்கும் கடுங்கண் மறவர் தாம் கொள்ளும் பொருள் இலர்ஆயினும், வம்பலர் துள்ளுநர்க் காண்மார் தொடர்ந்து, உயிர் வௌவலின், புள்ளும் வழங்காப் புலம்பு கொள் ஆர் இடை, வெள் வேல் வலத்திர் பொருள் தரல் வேட்கையின், உள்ளினிர் என்பது அறிந்தனள், என் தோழி ‘காழ் விரி கவை ஆரம் மீ வரும் இள முலை போழ்து இடைப்படாஅமல் முயங்கியும் அமையார், என் தாழ் கதுப்பு அணிகுவர், காதலர்; மற்று, அவர் சூழ்வதை எவன்கொல்? அறியேன்!’ என்னும் ‘முள் உறழ் முளை எயிற்று அமிழ்து ஊறும் தீ நீரைக் கள்ளினும் மகிழ்செயும் என உரைத்தும் அமையார், என் ஒள் இழை திருத்துவர், காதலர்; மற்று, அவர் உள்ளுவது எவன்கொல்? அறியேன்!’ என்னும் ‘நுண் எழில் மாமைச் சுணங்கு அணி ஆகம் தம் கண்ணொடு தொடுத்தென நோக்கியும் அமையார், என் ஒள் நுதல் நீவுவர், காதலர்; மற்று, அவர் எண்ணுவது எவன்கொல்? அறியேன்!’ என்னும் என ஆங்கு, ‘கழி பெரு நல்கல் ஒன்று உடைத்து’ என, என் தோழி அழிவொடு கலங்கிய எவ்வத்தள்; ஒரு நாள், நீர், பொழுது இடைப்பட நீப்பின், வாழ்வாளோ? ஒழிக இனி, பெரும! நின் பொருட் பிணிச் செலவே. Another verse wherein a man is requested to put off his journey. The words can be translated as follows: “With immense strength, sturdy bodies, eyes of a tiger, tightly-tied bows, curly, thick locks of hair, are those harsh-eyed robbers, who bide their time. Even if the wayfarers possess not the things that they can steal, just to see them suffer, the robbers would give chase and take those lives. And so, not even birds fly near that lonely, long drylands path. But the fact that you, holding a white spear on your right, intend to go thither to gather wealth, has been discovered by my friend! For she said, ‘Even after he had unceasingly embraced my young breasts, above which a wide necklace studded with gems moves about, he was not satisfied. For he took to adorning my untied tresses, that lover of mine. What could he be thinking? I know not!’ For she said, ‘Even after he had declared that the sweet nectar that springs forth from my thorn-like teeth is something that delights him even more than toddy, he was not satisfied. For he took to correcting the position of my shining jewels, that lover of mine. What could he be thinking? I know not!’ For she said, ‘Even after he had looked at the tiny, beautiful dark-skinned spots upon my beautiful bosom, for a long time, without even moving his gaze, he was not satisfied. For he took to caressing my shining forehead, that lover of mine. What could he be thinking? I know not!’ And so, my friend later concluded that ‘All these exuberant expressions of love must be for a reason’ and was greatly distressed by the sorrow it evoked. Even if you part away for a single day, will she live? Let go, O lord, this journey to gather wealth!” Time to delve into the details. Yet another verse set in the context of a man’s parting from a lady, after marriage, with the intention of seeking wealth. Here, the confidante speaks these words to the man. She starts by depicting the danger in the drylands path to which the man intends to leave, and to do that, she presents a detailed portrait of the people who dominate this region namely the highway robbers. She etches their outer appearance, talking about their strong bodies, eyes that seem to pierce like a tiger’s, and their thick, curly hair. They can be seen carrying well-tied bows on their body. Next, to give a slice of their inner nature, she talks about how even though the wayfarers these robbers meet may not happen to have anything of value to them, the robbers would still chase them and kill them, just to see the fear of these travellers. This is a rather sadistic depiction of this tribe by the confidante, for we have seen these very people building stone graves for the lives they have taken, in other verses. Could these people have so much evil in them to kill for no reason and yet the good nature to respect the dead? A question to ponder upon. Returning, the confidante continues saying such is the terrible nature of those robbers, that even birds fear to go their way, but the man seems to want to go and cross such a dangerous path with the intention of gathering wealth. She adds that not only that, the lady seems to have discovered this fact, without the man telling her so. Then, the confidante goes on to reveal the three different ways in which the lady has arrived at this conclusion. In each, the man performs an action of endearment, such as embracing the lady, relishing the nectar of her mouth, and looking at the lady’s beautiful skin. Even after each of these actions, he seemed not to be content, for he went on to do something more, such as tying the lady’s tresses, adjusting her jewels and caressing her forehead. So she adds one and one together and decides that all his extra attention is because the man intends to part away from her. Even thinking about this possibility has distressed the lady so much, the confidante tells the man, and declares that the lady cannot even bear a single day’s separation from her man, and bids him to give up his journey in search of wealth. The highlight of this verse is in the subtle expressions of love in a relationship and the hidden meanings that are perceived. Beyond the usual message of ‘Don’t leave the lady’, what’s striking here is the time and attention the couple seem to have given each other. Every movement, every gesture, why even every breath seems to have been noted and this sheds light on the quality of relationships in a more relaxed world!…

Sangam Lit

1
Kalithogai 3 – Seeing her in nature 7:53

1 year temu7:53

7:53

In this episode, we listen to a conversation about the man’s parting, as portrayed in Sangam Literary work, Kalithogai 3, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals the impact of nature on human emotions. அறன் இன்றி அயல் தூற்றும் அம்பலை நாணியும், வறன் நீந்தி நீ செல்லும் நீள் இடை நினைப்பவும் இறை நில்லா வளை ஓட, இதழ் சோர்பு பனி மல்க, பொறை நில்லா நோயோடு புல்லென்ற நுதல் இவள் விறல் நலன் இழப்பவும், வினை வேட்டாய்! கேஎள், இனி: ‘உடை இவள் உயிர் வாழாள், நீ நீப்பின்’ என, பல இடைகொண்டு யாம் இரப்பவும், எம கொள்ளாய்ஆயினை; கடைஇய ஆற்றிடை, நீர் நீத்த வறுஞ் சுனை, அடையொடு வாடிய அணி மலர் தகைப்பன ‘வல்லை நீ துறப்பாயேல், வகை வாடும் இவள்’ என, ஒல் ஆங்கு யாம் இரப்பவும், உணர்ந்தீயாய் ஆயினை; செல்லு நீள் ஆற்றிடை, சேர்ந்து எழுந்த மரம் வாட, புல்லு விட்டு இறைஞ்சிய பூங்கொடி தகைப்பன ‘பிணிபு நீ விடல் சூழின், பிறழ்தரும் இவள்’ என, பணிபு வந்து இரப்பவும், பல சூழ்வாய்ஆயினை; துணிபு நீ செலக் கண்ட ஆற்றிடை, அம் மரத்து அணி செல, வாடிய அம் தளிர் தகைப்பன என ஆங்கு யாம் நிற் கூறவும் எம கொள்ளாய்ஆயினை; ஆனாது இவள்போல் அருள் வந்தவை காட்டி, மேல் நின்று மெய் கூறும் கேளிர் போல், நீ செல்லும் கானம் தகைப்ப, செலவு. Yet again, we perceive the confidante’s efforts to stop the man from parting away. The verse can be translated as follows: “Feeling ashamed thinking about the unjust town’s gossip that would follow, and worrying about the long and winding path you would walk on to cross the drylands, her bangles, refusing to stay on her forearms, would slip away, and her petal-like eyes would fill with fatigue and pool with tears. This unbearable affliction would make her forehead lack lustre and she would lose her great beauty. Even after knowing all this, you are still focused on your task. Listen to me now: Saying ‘If you part, she who thinks of you as her life, will live no more’, even though I plead in many different ways, you accept it not; In that path you will cross, upon a dried-up pond, bereft of water, a string of beautiful flowers, which have faded along with the leaves, will stop you. Saying, ‘If you part away so soon, her many beautiful qualities will fade’, even though I plead in the proper manner, you understand it not; In the long path you will travel to, as a soaring tree fades, the flower-filled vines, which have let go of their hold and fallen down listlessly, will stop you. Saying, ‘If you part letting go of your hold, she will part with her life’, even though I plead with humility, you still are considering your journey; In that path that you dare to leave to, the leaves, which have faded, making the tree’s beauty perish, will stop you. You heed not these many words I have rendered to you. However, unceasingly showing you scenes that will appear like her, in the manner of elders, who speak the truth with authority, the forest you traverse to, will stop your journey!” Let’s explore the nuances. Like the previous verse, this too is set in the context of a man’s parting from his lady after marriage. Here, the words are rendered by the confidante to the man. She starts by listing the different kinds of distress that would fall upon the lady if the man happens to part away. The very first thing she says is that the town would gossip. What’s there to gossip if the man leaves on a mission after his marriage? Perhaps they would think the man has abandoned the woman he married! In any case, the worry about these rumours and the worry about the man’s travel would make the lady’s bangles slip away, eyes well with tears, fade the lustre of her forehead and in short, lose her exquisite beauty. The confidante turns to the man and says even though he knows very well about all this, he still wants to leave. Now, she starts putting forth her arguments to him. In both the verses of Kalithogai we have seen thus far, there’s the same structure, with an introduction of context, and then three different ways of putting forth a point, followed by a conclusion. In the middle portion containing three different segments, the confidante talks about how she has pleaded to the man saying the lady will lose her beauty and will even lose her life, if the man parts away. And yet in all three cases, he refuses to understand it, accept it and continues to make plans for his travel. At this juncture, the confidante visualises three different scenes in the drylands path he will travel to: One, a dried-up pond where a string of once-beautiful flowers lie faded; Two, where flowering vines which were twirling around a tree, wither away and fall to the ground, and lie there listlessly; And three, the leaves which used to adorn the tree, lie scorched and dried up. Now, the confidante concludes with the words that even though the man listens not to the many words she has said to him, such scenes will appear and remind him of his lady’s state, and will block him from even taking a single step towards his mission, just the way wise elders would advise one from a position of authority and clarity. A verse which demonstrates the truth that we see the world not as it is, but as who we are! Undoubtedly, the man’s worry about the lady will come back with force, when he’s journeying through the harsh drylands seeing those withering sights around him. And with wisdom, the confidante predicts that the man will feel it’s not just the outer world in such a state of ruin but rather it’s his beloved. In a tangent, the verse shows the deep influence that nature has on the people of the Sangam era, and their awareness and understanding of this timeless truth!…

Sangam Lit

1
Kalithogai 2 – The notes of a lute 11:12

1 year temu11:12

11:12

In this episode, we hear the jubilant voice of the lady’s confidante, as depicted in Sangam Literary work, Kalithogai 2, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and ponders on the question of what is true wealth. தொடங்கற்கண் தோன்றிய முதியவன் முதலாக, அடங்காதார் மிடல் சாய, அமரர் வந்து இரத்தலின், மடங்கல் போல், சினைஇ, மாயம் செய் அவுணரைக் கடந்து அடு முன்பொடு, முக்கண்ணான் மூஎயிலும் உடன்றக்கால், முகம் போல ஒண் கதிர் தெறுதலின், சீறு அருங் கணிச்சியோன் சினவலின் அவ் எயில் ஏறு பெற்று உதிர்வன போல், வரை பிளந்து, இயங்குநர் ஆறு கெட விலங்கிய அழல் அவிர் ஆர் இடை மறப்பு அருங் காதல் இவள் ஈண்டு ஒழிய, இறப்பத் துணிந்தனிர், கேண்மின் மற்று ஐஇய! ‘தொலைவு ஆகி, இரந்தோர்க்கு ஒன்று ஈயாமை இழிவு’ என, மலை இறந்து செயல் சூழ்ந்த பொருள் பொருள் ஆகுமோ நிலைஇய கற்பினாள், நீ நீப்பின் வாழாதாள், முலை ஆகம் பிரியாமை பொருளாயின் அல்லதை? ‘இல் என, இரந்தோர்க்கு ஒன்று ஈயாமை இழிவு’ என, கல் இறந்து செயல் சூழ்ந்த பொருள் பொருள் ஆகுமோ தொல் இயல் வழாஅமைத் துணை எனப் புணர்ந்தவள் புல் ஆகம் பிரியாமை பொருளாயின் அல்லதை? ‘இடன் இன்றி, இரந்தோர்க்கு ஒன்று ஈயாமை இழிவு’ என, கடன் இறந்து செயல் சூழ்ந்த பொருள் பொருள் ஆகுமோ வடமீன் போல் தொழுது ஏத்த வயங்கிய கற்பினாள் தட மென் தோள் பிரியாமை பொருளாயின் அல்லதை? என, இவள் புன் கண் கொண்டு இனையவும், பொருள்வயின் அகறல் அன்பு அன்று, என்று யான் கூற, அன்புற்று, காழ் வரை நில்லாக் கடுங் களிற்று ஒருத்தல் யாழ் வரைத் தங்கியாங்கு, தாழ்பு, நின் தொல் கவின் தொலைதல் அஞ்சி, என் சொல் வரைத் தங்கினர், காதலோரே. Just like Ainkurunooru, the previous Sangam Literary collection we encountered, Kalithogai too is grouped by the landscape, with all the poems therein being sung by the same poet. For this ‘Paalai’ or ‘drylands landscape’, a Chera King, who has contributed immensely to the Sangam corpus, dons the role of the wordsmith. It’s heartening to know that in the Sangam era, there lived a king, who cared not about outer conquests and expansion that would inscribe his name in history, but gave his time to studying inner life and the exposition of emotions through poetry. The poet-king’s words can be translated as follows: “With the Elder, who appeared before the beginning, at the fore, the immortals pleaded to slay the strength of the unruly. And so, like a lion, with fury, he conquered those deceptive demons with his immense skill, and with his three eyes, he burnt their three forts. Akin to the way his face glowed at that moment, burns the sun with its shining hot rays, and akin to how those forts shatter in the rising rage of the one, who wields the powerful battle-axe, mountains break apart and ruin the paths of travellers in the ire of the sun. Such is the drylands path, where you dare to part, leaving her to suffer here with her love that knows not how to forget. Listen to what I have to say! Thinking, ‘It’s a dishonour not to render something to those who come and plead owing to their poverty’, you wish to gather wealth crossing mountains many. But can that be considered wealth? She is one with unswerving chastity, the one who will perish if you part away. What else can be wealth other than the state of not parting away from her tender bosom? Thinking, ‘It’s a dishonour not to render something to those who come pleading saying they have nothing’, you wish to gather wealth crossing rocky hills many. But can that be considered wealth? She is one who united with you, seeing you as her companion, as per the ancient custom. What else can be wealth other than the state of not parting away from her soft bosom? Thinking, ‘It’s a dishonour not to render something to those who come pleading saying they have nowhere to go’, you wish to gather wealth crossing jungles many. But can that be considered wealth? She is one with a chastity, worthy of being worshipped, akin to the northern star. What else can be wealth other than the state of not parting away from her soft and curving arms? As I said to him, ‘Leaving her to suffer with dull eyes, if you leave for the sake of wealth, that is not love’, filled with love, akin to a mad, male elephant that is stopped, not even by a goad, but that which is calmed by a lute, bending from his stance, fearing that your old beauty would be lost, he paid heed to my word and stayed back, that lover of yours!” Time to delve into the details. The verse revolves around the context of a man’s parting from his lady after marriage, and is expressed in the words of the confidante to the lady and within this outer margin, contains conversations of the confidante with the man. The confidante starts by sketching God Siva we encountered in the previous verse of invocation. Looking back at the first verse, perhaps this verse was the inspiration for that invocation, which is said to be added at a later stage. Without naming the god mentioned as Siva, the verse talks about the circumstances that lead to this god’s burning of the fort of the demons. Apparently, taking the Elder, the Creator God, as their leader, a bunch of immortals seemed to have sought the help of this God to quell the arrogance of the demons. So, this god, described as one having three eyes, an attribute assigned to God Siva, burns the three forts of the demons and wins over them. The confidante has rendered this lengthy, mythical description only to say just the way the God’s face glowed as he burnt those forts, the sun scorches the drylands, and just the way the God’s battle axe broke the forts, the sun breaks apart mountains and impedes the travel of the wayfarers. Describing this drylands path, the confidante connects saying this is exactly where the man planned to go. Following this clarification of context, the confidante describes how she speaks about the reasons for the man’s decision to leave. Though she says it in three different ways, ultimately the man wants to part away, only because he cannot bear to say ‘no’ to those who come seeking to him, out of their poverty, with nowhere to go. She establishes that his journey is not for selfish reasons, but for the act of rendering to others. Then, she puts the question to him asking if what he gains can be considered wealth at all. So, what is wealth, he may ask her, and readily she gives the answer that true wealth lies in the man not parting away from the noble, chaste, trusting lady, and living in her embrace. After narrating all these words about wealth she said to the man, the confidante delivers the final punch to him saying if he leaves, then his love is not love. Hearing these words, like a mad elephant that could not be tamed even by a powerful goad, which then stands still hearing the notes of a lute, the man too retreated, bent from his resolve, and decided to stay back, concludes the confidante, conveying the joyous news that the man will not part from the lady. Through this verse, the poet presents the dilemma between earning wealth and being with a beloved, and argues in a way such that love triumphs. Within these lines, hides the intricate art of negotiation, wherein we see how the confidante presents her case, first by acknowledging the man’s noble intentions in seeking wealth, and then raising a doubt by asking a question. She presents the criticality of choosing that path she recommends by describing the lady’s virtues and the lady’s inability to bear with the man’s parting. Finally, with that exquisite simile of the elephant and the lute, she ends with the lesson that it’s not harsh and punitive whipping rod, such as insults, anger and shouting, that would make someone change their mind, but the gentle notes of a calm appeal to reason. A lesson that shows the way to subdue all those wild elephants in our minds and lives!…

Sangam Lit

1
Kalithogai 1 – The Furious and the Serene 7:56

1 year temu7:56

7:56

In this episode, we perceive the roles of a god and his consort, as depicted in Sangam Literary work, Kalithogai 1, penned by an anonymous poet. Kalithogai is a collection of musical verses in the ‘Aham’ or ‘Inner life’ classification of Sangam Literature. This first verse is a prayer song, believed to be added to this collection at a later period. ஆறு அறி அந்தணர்க்கு அரு மறை பல பகர்ந்து, தேறு நீர் சடைக் கரந்து, திரிபுரம் தீ மடுத்து, கூறாமல் குறித்ததன் மேல் செல்லும் கடுங் கூளி மாறாப் போர், மணி மிடற்று, எண் கையாய்! கேள், இனி: படு பறை பல இயம்ப, பல் உருவம் பெயர்த்து நீ, கொடுகொட்டி ஆடுங்கால், கோடு உயர் அகல் அல்குல், கொடி புரை நுசுப்பினாள் கொண்ட சீர் தருவாளோ? மண்டு அமர் பல கடந்து மதுகையால் நீறு அணிந்து, பண்டரங்கம் ஆடுங்கால், பணை எழில் அணை மென் தோள், வண்டு அரற்றும் கூந்தலாள் வளர் தூக்குத் தருவாளோ? கொலை உழுவைத் தோல் அசைஇ, கொன்றைத் தார் சுவல் புரள, தலை அங்கை கொண்டு, நீ காபாலம் ஆடுங்கால், முலை அணிந்த முறுவலாள் முன் பாணி தருவாளோ? என ஆங்கு பாணியும், தூக்கும், சீரும், என்று இவை மாண் இழை அரிவை காப்ப, ஆணம் இல் பொருள் எமக்கு அமர்ந்தனை ஆடி. Here’s an invocation song that contains many mythical details about God Siva and his companion Goddess. The verse can be translated as follows: “You offered precious scriptures to priestly scholars, who had attained the path of righteousness; You hid clear waters in your matted braids; You set the land of ‘Tripuram’ on fire; You are one who transcends the limits of words; You waged a fearsome battle with your army that knows not retreat; O lord with a sapphire neck and eight arms, listen to what I have to say! When drums many resound, taking many different forms, as you perform the ‘Kodukatti’ dance, will she, the one with uplifted, wide loins, and a waist, akin to a vine, render the final ‘seer’ beat? Crossing many fierce battlefields with strength, as you perform the ‘Paandarangam’ dance, adorned with ash, will she, the one with beautiful, bamboo-like soft arms and bee-buzzing tresses, render the growing, intermittent ’thookku’ beat? When the skin of the killer tiger you wear sways and the golden shower garland twirls around your shoulders, as you perform the ‘Kapaalam’ dance, holding a head in your palm, will she, the one with smiles, akin to wild jasmines, render the initial ‘paani’ beat? And so, with the initial, intermittent and final beats, as the maiden with well-etched ornaments protects, on us, who have no one to love, you render your grace, dancing. “ Let’s explore the details presented in this verse. The fact is that there was no tradition of starting a collection of verses with a prayer song in Sangam times, for they preferred to delve into the facets of inner life without much ado. And so, although we have not yet entered the actual doors of Kalithogai, this verse can be imagined as the opening of the outer gate that people from a later era have constructed to protect their ideology of a supreme power. Delving into the verse, the words are addressed to God Siva, and offers insights about this god. The first note is about how he gave the scriptures to priests, who were on the path of righteousness. The parallel from another religion that strikes me now is how according to the Old Testament, God was supposed to have given the Ten commandments to Moses. Returning to the God in this verse, then there’s an account of how he holds the waters of the Ganges in his matted locks of hair. The third mythical story is about how this God burnt down the land of the demons called as ‘Tripuram’. This description ends with the familiar sketch of this God having a sapphire-hued neck and eight arms, which we notice especially in the dancing version called ‘Nataraja’. After the description, the poet beckons the god to listen to him and then describes three kinds of dance performed by the celestial warrior. These are ‘Kodukatti’, in which God Siva takes many forms and dances as drums resound, then the ‘Paandarangam’, in which he dances smeared with the ash of the demons, whom he conquered, and finally, the ‘Kapaalam’, in which he dances holding the head of the vanquished in his palm, as a golden shower flower garland, swirls around his shoulders, and the tiger skin he wears sways around. What the poet adds to these dances is the unique aspect here! The poet describes the Goddess consort of this God as having a vine-like waist, bamboo-like arms, bee-buzzing tresses and a smile like that of blooming wild jasmines. The thing to note here is how the description of this mythical, celestial entity matches that of the lady, or the female protagonist of Sangam literature, whom we have met with in many, many Aham verses. After this earthy description, the poet asks if this Goddess is the one who keeps the initial, intermittent and final beats as this great God dances away, and ends in wonder about the love rendered by this God on the worshippers, amidst his fury and rampage in the battlefield. And so, we see how God and his consort are modelled on the lines of the man and his lady, wherein one, brimming with fury and a sense of duty, while the other is the epitome of peace and calm, the protector and healer. It is in the perfect duet of this masculine and feminine that the world revolves in the rhythm of balance, implies this invocation song at the beginning of our journey into Kalithogai, an uproarious and spirited celebration of love!…

Sangam Lit

1
Ainkurunooru 491-500: Ripples of the Return 12:41

1 year temu12:41

12:41

In this episode, we perceive the celebration in the man’s return home, as portrayed in Sangam Literary work, Ainkurunooru 491-500, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Fiftieth Ten of Ainkurunooru: Ripples of the Return 491 Beauty back to you கார் எதிர் காலை யாம், ஓவின்று நலிய, நொந்து நொந்து உயவும் உள்ளமொடு, வந்தனெம் மடந்தை, நின் ஏர் தர விரைந்தே. In this time, when the rains were approaching, worrying unceasingly, with a heart that ached and ached, I have come here, O naive maiden, with much haste, to render your beauty back to you. 492 Racing against the rains நின்னே போலும் மஞ்ஞை ஆல, நின் நன்னுதல் நாறும் முல்லை மலர, நின்னே போல மா மருண்டு நோக்க, நின்னே உள்ளி வந்தனென் நன்னுதல் அரிவை, காரினும் விரைந்தே. Just like you, the peacock dances; Just like your fine forehead, the wild jasmine blooms; Just like you, the deer looks with startled eyes; And so, thinking just of you, I came here, O maiden with a shining forehead, racing against the rains! 493 Arrived with the rains ஏறு முரண் சிறப்ப, ஏறு எதிர் இரங்க, மாதர் மான் பிணை மறியொடு மறுகக், கார் தொடங்கின்றே காலை, நேர் இறை முன்கை, நின் உள்ளி யாம் வரவே. As bulls bellow with force, as thunder resounds in response, as the beautiful female deer along with its calf leaps about, it’s now the time, when the rains begin, after I have arrived thinking of you, O maiden wearing etched bangles on your forearms! 494 As you wished வண்டு தாது ஊதத், தேரை தெவிட்டத், தண் கமழ் புறவின் முல்லை மலர, இன்புறுத்தன்று பொழுதே, நின் குறி வாய்த்தனம், தீர்க இனி படரே. As bees buzz around pollen, as toads croak, as the cool and fragrant wild jasmine blooms in the forest, beautiful is this time. Knowing your heart, I have arrived as you wished, and so let your suffering cease! 495 Sweet turns the forest செந்நில மருங்கில் பல் மலர் தாஅய்ப், புலம்பு தீர்ந்து இனியவாயின புறவே, பின்னிருங் கூந்தல் நன்னலம் புனைய, உள்ளுதொறும் கலிழும் நெஞ்சமொடு, முள் எயிற்று அரிவை, யாம் வந்தமாறே. Upon the red earth, many flowers bloom and letting go of its lament, sweet turns the forest. This is because, with a heart that shed tears every time I thought of you, O young maiden with thorn-like teeth, to adorn your braided dark tresses with beauty, I have arrived here! 496 Flowers for her tresses மா புதல் சேர, வரகு இணர் சிறப்ப, மா மலை புலம்பக் கார் கலித்து அலைப்பப், பேரமர்க்கண்ணி, நின் பிரிந்து உறைநர் தோள் துணையாக வந்தனர், போது அவிழ் கூந்தலும் பூ விரும்புகவே. As deer find refuge in the bushes, as millet clusters prosper, leaving the huge mountains in loneliness, rains resound and roar with waves. O maiden with huge and beautiful eyes, the one, who was parted away from you, has returned to become the companion for your arms. May your tresses hanging low, without adornments, wear flowers with desire now! 497 Rains and the Return குறும் பல் கோதை கொன்றை மலர, நெடுஞ்செம் புற்றம் ஈயல் பகர, மாபசி மறுப்பக் கார் தொடங்கின்றே, பேரியல் அரிவை, நின் உள்ளிப் போர் வெங்குருசில் வந்தமாறே. Making many small garlands of the golden shower bloom, termites to part away from their tall, red mounds, and animals to forget their hunger, the rains have begun, O maiden with an admirable nature, because the lord, who loves battles, has thought of you and returned! 498 He has arrived தோள் கவின் எய்தின, தொடி நிலை நின்றன, நீள் வரி நெடுங்கண் வாள் வனப்பு உற்றன, ஏந்து கோட்டு யானை வேந்து தொழில் விட்டென, விரைசெலல் நெடுந்தேர் கடைஇ, வரையக நாடன் வந்தமாறே. Arms have regained their beauty; Bangles have retained their position; Huge eyes with long lines have attained the brightness of swords; All because the king, who wields elephants with uplifted tusks, has ended his war mission, and riding his tall chariot, with great speed, the lord of the mountains has arrived! 499 Thinking of her worries பிடவம் மலரத், தளவம் நனையக், கார் கவின் கொண்ட கானம் காணின், வருந்துவள் பெரிதென, அருந்தொழிற்கு அகலாது வந்தனரால் நம் காதலர், அம் தீம் கிளவி, நின் ஆய் நலம் கொண்டே. Thinking that she will worry immensely, if she sees the forest attain the beauty of the rains that make wild jasmines bloom and pink jasmines soak, without parting for other challenging missions, he has returned, that lover of yours, O woman with sweet words, bringing back your excellent beauty! 500 Transformation of her eyes கொன்றைப் பூவின் பசந்த உண்கண், குன்றக நெடுஞ் சுனைக் குவளை போலத் தொல் கவின் பெற்றன இவட்கே, வெல்போர் வியன் நெடும் பாசறை நீடிய வயமான் தோன்றல், நீ வந்தமாறே. O lord, who appears like a strong tiger, the one who had been delayed at the wide and spreading battle camp of the winning king, the kohl-streaked eyes that had spread with the pallor of the golden shower flowers, have attained their old beauty, akin to the blue lily in the wide mountain spring, just because you have returned! So concludes Ainkurunooru 491-500. All the verses are situated in the context of a man’s post-marital relationship with the lady. The unifying theme of the songs is the joyous moment when the man has returned and reunited with the lady. In the first, the man expresses his feelings of worry as he saw that the rains were approaching and how that made him travel with great speed, so as to give back the beauty of the lady that was lost with his parting away. In the second, the man describes how all the elements of nature on his path, be it a peacock or the blooming jasmines or a startled deer, everything reminded him of his lady and that’s why he rushed to her, wanting to beat the rains in that race against time. In the third, the man says the rains have begun, making bulls bellow, thunder roar and deer romp, after he had arrived, telling us he has won the race with the rains. In the fourth, the man says to the lady that knowing that she wished for his arrival before the rains more than anything else, he made it there to slay her suffering and now the world feels so beautiful to savour, as sounds of bees buzzing, toads croaking, and the scent of wild jasmines echo that the rains are here. The fifth sees the man celebrating the beauty of the forest again, wherein flowers bloom upon the red earth and the domain gives up its lament about the dry season and welcomes the rains, and it feels so sweet only because he is back and one with the lady. The confidante takes the speaker’s spotlight in the next five. In the sixth, she points to the changes in the world around, such as deer hiding in the bushes, millets raising their heads with delight, and making all life leave the mountains, leaving it in loneliness, because the rains were there. There is no cause for worry in the lady though, as the man was back and now the tresses, which the lady had abandoned without care, can delight in wearing flowers again. The confidante once again highlights how Sangam women avoided adorning themselves in the time their man was away. Returning, in the seventh, the confidante offers other instances of the effect of rains, such as the blooming of the golden shower, the parting away of termites from their mounds, and also, the forgetting of hunger by animals, as they shiver in the cold of the season, seeking protection from the elements. The confidante seems to say in this one that the rains have begun only because the man has returned, thinking of the lady. The eighth sees the confidante turning her attention from the changes in the outer world to the appearance of her friend and remarks how the lady’s arms have become beautiful, the bangles are not slipping away, and her eyes are bright once again, and this is only because the man had finished the king’s mission victoriously and was back with her. In the ninth, the confidante celebrates the man’s thoughtfulness in considering how the lady would worry if she saw the rains arrive and moisten the jasmines, for he returned to the lady, bringing back her beauty in time. In the final verse, the confidante addresses the man directly, calling him a tiger and remarking how he had been delayed at the king’s battle camp, and concludes with the words that the lady’s eyes, which had spread with pallor in the colour of golden shower flowers, have now transformed to seem like a cool and fragrant blue lily in a mountain spring, just because the man was back. And so we see how the man seems to be the custodian of the lady’s beauty, taking it away with him, when he goes, and bringing it back, when he returns. The essence of this section is the inner and outer transformation in a person’s return to their beloved. On that sweet note of a reunion amidst the lush and blooming spread of this domain, verses on the ‘Mullai’ or ‘Forest landscape’ ends, a section where the focus was not on intricate metaphors but rather a direct depiction of the emotions in parting and togetherness, in the bond and the joy of love. These verses echo to us that it’s not only earth-shattering moments of history that need to be sung about and celebrated, but the simple truth that even the simple joys of a family life have lasting value in linking generations, across space and time.…

Sangam Lit

1
Ainkurunooru 481-490: Hasten the Horses 10:29

1 year temu10:29

10:29

In this episode, we perceive the urgency in the man’s command to his charioteer, as portrayed in Sangam Literary work, Ainkurunooru 481-490, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Forty Ninth Ten of Ainkurunooru: Hasten the Horses 481 End the affliction சாய்இறைப் பணைத்தோள் அவ்வரி அல்குல் சேயிழை மாதரை உள்ளி நோய்விட முள் இட்டு ஊர்மதி வலவ! நின் புள்இயல் கலிமாப் பூண்ட தேரே. Thinking of the maiden, adorned with etched ornaments, having fine lines on her waist and beautiful curves on her bamboo-like arms, love affliction spreads in me. To end this, O charioteer, apply your thorny goad and speedily ride this chariot, tied with your bird-like, proud horses! 482 Lose not a day தெரியிழை அரிவைக்குப் பெரு விருந்தாக, வல் விரைந்து கடவுமதி பாக, வெள்வேல் வென்று அடு தானை வேந்தனொடு நாளிடைச் சேப்பின், ஊழியின் நெடிதே. As a great feast for the maiden, wearing well-etched ornaments, with much speed, ride on, O charioteer, for even if a day is spent with the king, who commands a white-speared, conquering army, it would seem longer than an eon! 483 Rush on homeward ஆறு வனப்பு எய்த அலர் தாயினவே, வேந்து விட்டனனே, மா விரைந்தனவே, முன்னுறக் கடவுமதி பாக, நன்னுதல் அரிவை தன்னலம் பெறவே. Making the path picturesque, flowers spread everywhere. The king too has given leave, the horses are hastening. Make them go even faster, O charioteer, so that the maiden with a fine forehead will regain her beauty! 484 Make up for lost time வேனில் நீங்கக் கார்மழை தலைஇக் காடுகவின் கொண்டன்று பொழுது பாடுசிறந்து கடியக் கடவுமதி பாக நெடிய நீடினம் நேரிழை மறந்தே. As summer withdrew, and the rains arrived, the forest has attained its beauty. At this time, adding glory to your work, with speed, ride on, O charioteer, for I have spent a long time, forgetting that maiden wearing fine ornaments! 485 Cease the sorrow அரும்படர் அவலம் அவளும் தீரப் பெருந்தோள் நலம்வர யாமும் முயங்க ஏமதி வலவ தேரே மாருண்டு உகளும் மலரணிப் புறவே. To make the deep suffering and sorrow in her cease, so that her long arms attain their beauty for me to embrace, ride the chariot, O charioteer, in this flower-adorned forest, where startled deer leap away! 486 Say no more to suffering பெரும்புன் மாலை ஆனாது நினைஇ அரும்படர் உழைத்தல் யாவது என்றும் புல்லி ஆற்றாப் புரையோள் காண வள்பு தெரிந்து ஊர்மதி வலவ! நின் புள் இயல் கலி மாப் பூண்ட தேரே. The deep suffering of thinking endlessly in the long and angst-filled evening will be no more! So that I can see that flawless maiden, who endows unceasing pleasure in her embrace, put your whip to use, O charioteer, and ride the chariot, tied with your bird-like, proud horses! 487 Delight her heart இதுமன் பிரிந்தோர் உள்ளும் பொழுதே செறிதொடி உள்ளம் உவப்ப மதியுடை வலவ ஏமதி தேரே. For parted lovers, this is the time that makes one think of the faraway beloved! Delighting the heart of the maiden, wearing well-etched bangles, hasten this chariot, O intelligent charioteer! 488 Slay the worry கருவி வானம் பெயல் தொடங்கின்றே பெருவிறல் காதலி கருதும் பொழுதே விரி உளை நன்மாப் பூட்டிப் பருவரல் தீரக் கடவுமதி தேரே. The skies, in accompaniment of clouds and thunder, have begun their downpour. This is the time that my esteemed lover will think of me and worry. And so, to end her deep suffering, tie the fine horses with swaying manes and hasten the chariot! 489 Pull on the reins அம் சிறை வண்டின் அரியினம் மொய்ப்ப, மென்புல முல்லை மலரும் மாலைப் பையுள் நெஞ்சின் தையல் உவப்ப, நுண் புரி வண் கயிறு இயக்கி, நின் வண் பரி நெடுந்தேர் கடவுமதி விரைந்தே. Making the colony of bees with beautiful wings buzz around, the soft-earthed forest blooms in this evening, the time when the young maiden will worry with an anxious heart. To delight her, pull on the intricately twisted, strong reins, and ride your strong horses, tied to the tall chariot, with much haste! 490 Ride on with speed அம் தீம் கிளவி தான் தர எம் வயின் வந்தன்று மாதோ காரே, ஆவயின் ஆய்தொடி அரும் படர் தீர, ஆய் மணி நெடுந்தேர் கடவுமதி விரைந்தே. To give to me that beautiful and sweet-voiced maiden, the rains have arrived, behold! To slay the deep suffering of the maiden, adorned with beautiful bangles, ride the tall chariot, adorned with beautiful bells, with much haste! So concludes Ainkurunooru 481-490. All the verses are situated in the context of a man’s parting from the lady, after marriage. The unifying theme of all the songs is that these occur at that moment, when the man is done with his mission and cannot bear to wait even a moment longer to see his beloved, and so, he urges his charioteer to ride with great speed. The charioteer is referred to in different ways. In a few instances, he’s praised for his horses that are described as flying like birds, so fast they go, that their hooves seem not to touch the earth. In some cases, the man advises the charioteer to use his thorny goad and whip to nudge the horses, although there’s no need to do that, since these horses are leaping already. However, these remarks are to express the urgency in the man’s heart to reach the maiden without any delay. The charioteer’s intelligence is praised by the man in one, a reward strategy to push the worker to perform, no doubt! The intricate twists on the reins the charioteer holds and the tinkling bells on the chariot are the other elements regarding the charioteer highlighted here. Turning to the intent of the speaker, and in this case, the man, in every case, he urges the charioteer to ride with great speed and take the man to his beloved lady, slightly varying the reason in each. In the first, the man talks of the love affliction that spreads in him, thinking of the lady, and to end that, the charioteer must ride fast, he says. In the second, it’s because even a single day spent fighting with the king would appear like an entire eon to the lady, who’s back home thinking of him, and for him as well, missing her. In the third, flowers are spreading everywhere, the king has given leave and so it was time to rush home. In the fourth, there’s a tinge of guilt in the man, who feels he has been too involved in his mission, and so, he has forgotten his lady for a long while, and decides to make up for all the time that’s been lost. In the fifth, the speedy ride is to make the lady’s suffering end and for the man to embrace her. In the sixth, the man wishes to do away with evenings without his beloved’s company and wishes to see her instantly. In the seventh, the man perceives it’s the rainy season, a time when lovers miss their beloved the most and so wishes to avoid pain in the lady and decides to delight her heart. In the eighth too, he talks about rains and thunder, and says he needs to end the lady’s suffering. In the ninth, he focuses on the bee-buzzing evening hour, when the lady would no doubt worry about him and he wishes to bring joy to her. The final one sees the man declaring that the rains had arrived and he must do all he can to end the pain in his beloved, and so, he urges his charioteer to make haste and take him home. If the man was living in the current century, he would have to spend all that wealth he has earned on speeding tickets, I’m sure! Joking apart, this collection captures that relatable feeling that anyone in love, who has been parted from their beloved for a long while, would feel, at the moment when they journey towards them. The longing of the loved one and the anticipation of the moment of reunion turns this travel into a journey, filled with excitement like no other! Wishing you safe travels from the twenty-first century, O Sangam man on a speeding chariot! We see what you see and feel what you feel!…

Sangam Lit

1
Ainkurunooru 471-480: Ballad of the Bearer Bard 11:04

1 year temu11:04

11:04

In this episode, we perceive the role of bard as a messenger of love, as depicted in Sangam Literary work, Ainkurunooru 471-480, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Forty Eighth Ten of Ainkurunooru: Ballad of the Bearer Bard 471 Here he comes in support எல் வளை நெகிழ, மேனி வாட, பல் இதழ் உண்கண் பனி அலைக் கலங்க, துறந்தோன் மன்ற, மறம் கெழு குருசில்; அது மற்று உணர்ந்தனை போலாய் இன்னும் வருதி; என் அவர் தகவே? As shining bangles slip away, skin fades in lustre and moisture muddles those many-petaled, kohl-streaked eyes, he abandoned her, that lord brimming with bravery! You seem not to realise this state of hers for yet you come! What greatness he has! 472 The Promised season is here கை வல் சீறியாழ்ப் பாண! நுமரே செய்த பருவம் வந்து நின்றதுவே; எம்மின் உணரார்ஆயினும், தம்வயின் பொய் படு கிளவி நாணலும் எய்யார் ஆகுதல், நோகோ யானே. O bard, who wields the small lute with skilled hands! The season your lord promised to return is here! Even if he does not share our feelings, at least he should feel shame for the false words he rendered but he doesn’t feel that too! It pains me a lot! 473 Don’t you forget me too பலர் புகழ் சிறப்பின் நும் குருசில் உள்ளிச் செலவு நீ நயந்தனைஆயின், மன்ற இன்னா அரும் படர் எம்வயின் செய்த பொய்வலாளர் போல கை வல் பாண! எம் மறவாதீமே. To reach your estimable lord, whose has the fame of being praised by many, if you are about to take up this journey, like that man of lies, who seems to have showered ceaseless suffering on me, don’t you forget me too, O skilled bard! 474 The bard’s good mind மை அறு சுடர் நுதல் விளங்க, கறுத்தோர் செய் அரண் சிதைத்த செரு மிகு தானையொடு கதழ் பரி நெடுந் தேர் அதர் படக் கடைஇச் சென்றவர்த் தருகுவல் என்னும்; நன்றால் அம்ம, பாணனது அறிவே! The bard says, ‘To make the flawless, radiant forehead glow, I shall go and bring back the one, who went to destroy well-built forts of foes with his proud army, riding his swift horses, tied to his tall chariot, rushing past paths many!’ It’s fine indeed, this bard’s mind! 475 Kindness of the bard தொடி நிலை கலங்க வாடிய தோளும் வடி நலன் இழந்த என் கண்ணும் நோக்கி, பெரிது புலம்பினனே, சீறியாழ்ப் பாணன்; எம் வெங் காதலொடு பிரிந்தோர் தம்மோன் போலான்; பேர் அன்பினனே. Looking at my faded arms, from which bangles slip away, and my eyes, which have lost their fine beauty, he lamented a lot, that bard, who wields the small lute. He’s not like the man, who parted away with my love; He seems to have great kindness. 476 Loveless evening கருவி வானம் கார் சிறந்து ஆர்ப்ப, பருவம் செய்தன பைங் கொடி முல்லை; பல் ஆன் கோவலர் படலைக் கூட்டும் அன்பு இல் மாலையும் உடைத்தோ அன்பு இல் பாண! அவர் சென்ற நாடே? The skies in accompaniment of clouds and thunder resound with rains, the green vines of the wild jasmine burst into seasonal bloom and the cowherds herd their many cattle back into the shed in this loveless evening. Won’t there be one such, O loveless bard, in the country he left to? 477 Companion to her heart பனி மலர் நெடுங் கண் பசலை பாய, துனி மலி துயரமொடு அரும் படர் உழப்போள் கையறு நெஞ்சிற்கு உயவுத் துணை ஆக, சிறு வரைத் தங்குவைஆயின், காண்குவை மன்னால் பாண! எம் தேரே. As pallor spreads in those cool, flower-like, huge eyes, with a deep sorrow, she wallows in suffering. As a kind companion to her helpless heart, if you could stay there for a little while, you will see, O bard, the arrival of my chariot! 478 What more did she say? ‘நீடினம்’ என்று கொடுமை தூற்றி, வாடிய நுதலள் ஆகி, பிறிது நினைந்து, யாம் வெங் காதலி நோய் மிகச் சாஅய், சொல்லியது உரைமதி நீயே முல்லை நல் யாழ்ப் பாண! மற்று எமக்கே? Saying, ‘He prolonged the return’, she would have cursed my cruelty and become one with the faded forehead. Thinking about me endlessly, my desirable lover would have been greatly afflicted and lost her health. Please tell me all she said, O bard, who wields the fine lute of the forest! 479 Sweetness of her words சொல்லுமதி பாண! சொல்லுதோறு இனிய நாடு இடை விலங்கிய எம்வயின், நாள்தொறும், அரும் பனி கலந்த அருள் இல் வாடை தனிமை எள்ளும் பொழுதில், பனி மலர்க் கண்ணி கூறியது எமக்கே. Please tell me, O bard! In this time, when I am separated by many countries, and tormented endlessly, by the hard and cold, compassionless northern winds, which laugh at my loneliness, whatever you say about the words of the maiden, with moist, flower-like eyes- That rings with lasting sweetness! 480 No more a bard நினக்கு யாம் பாணரேம் அல்லேம்; எமக்கு நீயும் குருசிலை அல்லை மாதோ நின் வெங் காதலி தன் மனைப் புலம்பி, ஈர் இதழ் உண்கண் உகுத்த பூசல் கேட்டும் அருளாதோயே! I’m no bard of yours! You’re no lord of mine! For you seem not to render your grace, even after hearing about the suffering of your desirable lover, as she laments in her home and sheds tears from the moist petals of her kohl-streaked eyes! So concludes Ainkurunooru 471-480. All the verses are situated in the context of the man’s post marital relationship with his lady and in the situation where he’s parted away from her. The unifying theme of all the songs is that these words are about a bard, who acts as a messenger between the parted. The speakers happen to be the lady’s confidante, the lady, the man and the bard himself. The bard is referred mostly as the one who wields the small lute, and in one instance, as the wielder of the ‘mullai yazh’ or the ‘forestlands lute’. While his skill is mentioned in a few verses, the spotlight is on the message he bears. In the first and the second, it’s the confidante saying these words to the bard. In the first, she highlights the lady’s distressed state because the man left her, brimming with bravery to battle. Then, with sarcasm, she talks about the greatness of this lord, who could leave his lady so, and wonders how dare the bard come there, bringing the man’s message. In the second, she declares that the promised season of return was there but there was no sign of the man, and asks, even if he does not have any feelings like the lady, at least shouldn’t he have the shame that the words he rendered to the lady, saying he would never part away, have turned false now? We see how the confidante is exceptionally harsh to the man and through this, she conveys her love and support to the suffering lady that there is someone to speak for her and care for her welfare. In the third to sixth verses, the lady takes the matter in her own hands and expresses her emotions to the bard. In the third, she asks the bard, who has promised to take her message to the lord, not to forget her when he goes there, in the manner of the man. In the fourth, she celebrates the bard’s good mind which promises to bring back the man to end her suffering. In the fifth, she celebrates the bard’s kindness, as he feels empathy for her faded state at the man’s parting. She contrasts his concerned behaviour with the seemingly loveless actions of the man, who is away from her. In the seventh, she wonders if there’s no suffering-filled evening at all, in the country where the man has parted away to. Verses seven to ten see the action moving to the battle camp, where the man is engaged in his mission. In the seventh to ninth, the man addresses the bard and he asks the bard to be a good companion to the lady and soon he promises his chariot will be there, in the seventh. In the eighth, the man accepts how the lady would be hurt and angry at him for leaving her, but presses the bard to say whatever she said. In the ninth, the man declares whatever words the bard speaks about the lady, rings so sweet in his ears, as he remains far away from her and tormented by the northern winds. In the final one, the bard says to the man, ‘Enough is enough. If you don’t care for the state of the lady and don’t return, I can no longer be in your service’, and hands his resignation letter, expressing how much he values the welfare of the lady and stressing that love comes before duty to the man. Thus, in this curious section, focusing on the man’s separation from the lady, the spotlight falls on the different ways a message is received, highlighting the challenging role of a messenger, especially in love.…

Sangam Lit

1
Ainkurunooru 461-470: Consolation of the Confidante 12:45

1 year temu12:45

12:45

In this episode, we listen to hopeful words rendered to an anxious heart, as portrayed in Sangam Literary work, Ainkurunooru 461-470, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Forty Seventh Ten of Ainkurunooru: Consolation of the Confidante 461 He cannot remain apart வான் பிசிர்க் கருவியின் பிடவு முகை தகைய, கான் பிசிர் கற்ப, கார் தொடங்கின்றே; இனையல் வாழி, தோழி; எனையதூஉம் நிற் துறந்து அமைகுவர்அல்லர், வெற்றி வேந்தன் பாசறையோரே. Owing to the drops from the sky, accompanied by clouds and thunder, buds of the wild jasmine bloomed, and as the forest wafts with the scent of rain, the season has begun; Worry not, my friend, may you live long! He is not someone who can be apart from you even for a short while, the one who is at the battle camp of the victorious king! 462 Rains in the wrong ஏதில பெய்ம் மழை கார் என மயங்கிய பேதைஅம் கொன்றைக் கோதை நிலை நோக்கி, எவன் இனி, மடந்தை! நின் கலிழ்வே? நின்வயின் தகை எழில் வாட்டுநர் அல்லர், முகை அவிழ் புறவின் நாடு இறந்தோரே. Seeing the strange rain that falls for no reason, the foolish golden shower tree thinks, ‘The rainy season is here’ and opens its buds. Seeing the garland-like blossom of its flowers, why do you cry now, O naive maiden? He is not someone, who will cause harm to your exquisite beauty, the one who parted away to the forest lands where buds bloom! 463 Flowers for the tresses புதல்மிசை நறு மலர் கவின் பெறத் தொடரி, நின் நலம் மிகு கூந்தல் தகை கொளப் புனைய வாராது அமையலோ இலரே; நேரார் நாடு படு நன்கலம் தரீஇயர், நீடினர் தோழி! நம் காதலோரே. Taking fragrant flowers blooming on the bush and making it into a garland to add esteem to your beautiful tresses, he shall surely come; He prolongs his return only to bring fine ornaments from the country of the foes, that lover of yours! 464 Winter is here கண் எனக் கருவிளை மலர, பொன் என இவர் கொடிப் பீரம் இரும் புதல் மலரும் அற்சிரம் மறக்குநர் அல்லர் நின் நல் தோள் மருவரற்கு உலமருவோரே. Akin to eyes, the bluebell vine blooms, akin to gold, the spreading dark bushes of ridge gourd vines bloom in this winter season. He is not one to forget that this season has arrived, the one who yearns with great pain to embrace your beautiful arms! 465 Foes are finished நீர் இகுவன்ன நிமிர் பரி நெடுந் தேர், கார் செய் கானம் கவின் பட, கடைஇ, மயங்கு மலர் அகலம் நீ இனிது முயங்க, வருவர், வாழி, தோழி! செரு வெங் குருசில் தணிந்தனன் பகையே. Akin to descending cascades, sturdy horses tied to tall chariots leave behind the beauty of the flourishing forest in the rains and arrive, so that you can sweetly embrace his intoxicating, wide chest, may you live long, my friend! For the foes of the war-loving king are conquered! 466 Messenger of Kings வேந்து விடு விழுத் தொழில் எய்தி, ஏந்து கோட்டு அண்ணல் யானை அரசு விடுத்து, இனியே எண்ணிய நாளகம் வருதல் பெண் இயல் காமர் சுடர் நுதல் விளங்கும் தே மொழி அரிவை! தெளிந்திசின் யானே. Accepting the honourable mission of the great king, he travelled to another king, who wields esteemed elephants with uplifted tusks. He has taken leave from this king now and will return on the promised day that we await. O honey-voiced maiden, on whose glowing forehead, shines the epitome of femininity, I know this very well! 467 Message of his prompt return புனை இழை நெகிழச் சாஅய், நொந்துநொந்து இனையல் வாழியோ இகுளை! ‘வினைவயின் சென்றோர் நீடினர் பெரிது’ என: தங்காது நம்மினும் விரையும் என்ப, வெம் முரண் யானை விறல் போர் வேந்தே. Making the adorned ornaments slip away, you lose your health and worry unceasingly, saying, ‘The man who left on a mission delayed his return’, O young maiden, may you live long! Without staying back, he will hurry and return even before we expect. So say those who come from the conquering king with furious battle elephants! 468 He will come with the rains வரி நுணல் கறங்க, தேரை தெவிட்ட, கார் தொடங்கின்றே காலை; இனி, நின் நேர் இறைப் பணைத் தோட்கு ஆர் விருந்து ஆக, வடி மணி நெடுந் தேர் கடைஇ, வருவர் இன்று, நம் காதலோரே. As the striped frogs croak, as toads grunt, the season of rains has begun; Now, to become the excellent feast for your long, bamboo-like arms, climbing on to the tall chariot adorned with bells, he will come today, that lover of yours! 469 Watch the rains bring the man பைந் தினை உணங்கல் செம் பூழ் கவரும் வன்புல நாடன் தரீஇய, வலன் ஏர்பு அங்கண் இரு விசும்பு அதிர, ஏறொடு பெயல் தொடங்கின்றே வானம்; காண்குவம்; வம்மோ, பூங் கணோயே! The red quail steals the drying millet grains in the water-scarce lands of the lord. To bring him to you, climbing on to the right upon the wide spaces there and making it quiver with thunder, the skies have begun their downpour; Come, let’s go see that, O lady with flower-like eyes! 470 How can he remain so? இரு நிலம் குளிர்ப்ப வீசி, அல்கலும் அரும் பனி அளைஇய அற்சிரக் காலை உள்ளார், காதலர், ஆயின், ஒள்ளிழை! சிறப்பொடு விளங்கிய காட்சி மறக்க விடுமோ, நின் மாமைக் கவினே? Making the vast lands cool down, winds blow, and even during the day, harsh dew pours in this time of winter. If that lover of yours does not think of you now at this time, O maiden wearing glowing ornaments, will the memory of your dark-skinned beauty that’s etched in his mind let him remain so? So concludes Ainkurunooru 461-470. All the verses are situated in the context of a man’s post-marital relationship with his lady, and specifically at a time when he’s parted from her on a king’s mission. The unifying theme of all the songs is that these are said by the confidante to console the lady, who worries that the man has not returned even as the rainy season had arrived. This section can be seen as the finale of the trilogy around the man’s parting away to the battlefield. In the first part (441-450), we saw the man’s perspective as he misses the lady at the battlefield; in the second part (451-460), we perceived the lady’s pining as the man remains away from her; and in this one, we see the lady’s confidante cheering up the lady and promising that all will be well soon. In the first, the confidante remarks that indeed the rainy season had arrived as indicated by the blooming of the wild jasmine, but the lady need to have no worry because the man is someone who loves the lady so much that he cannot be away from her. Here, the man’s love for the lady is highlighted to bring hope to the lady. In the second, the confidante tells the lady that the rains that have fallen are not the seasonal ones but it’s some random downpour and the golden shower tree was fooled by this, and so the lady shouldn’t worry seeing its blooming flowers. Yet again, the confidante expresses trust in the man’s nature of never causing harm to the lady in any way and promises he would be back before the ‘real’ rains. Whether the lady believed these words of the confidante or not, we have to appreciate the love of this friend and her intention in cheering her friend at all cost. In the third, the confidante says the man will surely be back to adorn the lady’s tresses with the flowers that will bloom in the rainy season, and that his delay is only because he was in act of collecting fine things from the enemy country to bring back to the lady. Promise of a fragrant and golden future is the strategy here! The fourth sees the confidante promising the lady that the man cannot forget the lady now that the winter season had arrived, and when he looks at bluebell vines, he would think of the lady’s eyes and when he sees the ridge gourd’s golden flowers, it will remind him of the pallor that would spread on the lady and nudge him to rush back to her. In the fifth, the confidante says the king’s enemies are conquered, and so the man will rush back to embrace the lady, hurrying past rain-washed forests. The sixth offers us interesting details about the role of the man as a messenger between kings and how it was an honourable position. Fulfilling these duties, the man will return on the promised day, the confidante says to the lady. In the seventh, the confidante speaks of the message received from the king’s camp that the man will return sooner than expected and there was no need for the lady to worry about the man not returning in time. In the eighth, the confidante dwells on the rainy season, announced by the croaks of toads and frogs, and says soon the man’s chest will become the feast for the lady’s arms. In the ninth too, the confidante does not shy away in announcing that the rains have started and instead says to the lady that they have begun their magic, only to bring the man to the lady soon. Finally, in the tenth, the confidante talks about the winter season, when dew pours even in the day, and asks the lady that even if the man doesn’t think of the lady, would the etched image of the lady’s beauty let him remain there, forgetting her! The confidante’s compassionate nature comes to the fore even as she heaps her trust in the man’s love for the lady, and also, on the power of the lady’s beauty. The various techniques this confidante uses are a manual for those who are in the profession of healing minds and offering wise counsel. Her wisdom, kindness and selfless devotion to another’s welfare etch her as the most fascinating character in the pages of Sangam literature!…

Sangam Lit

1
Ainkurunooru 451-460: Tears from the Homefront 12:34

1 year temu12:34

12:34

In this episode, we perceive the yearning of the lady, as depicted in Sangam Literary work, Ainkurunooru 451-460, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Forty Sixth Ten of Ainkurunooru: Tears from the Homefront 451 He cannot return கார் செய் காலையொடு கையறப் பிரிந்தோர் தேர்தரு விருந்தில் தவிர்குதல் யாவது, மாற்றரும் தானை நோக்கி ஆற்றவும் இருத்தல், வேந்தனது தொழிலே? How can he, who is parted away on this day in the rainy season, leaving me in helplessness, arrive in his chariot, relish the feast and stay here, if, considering his army that cannot be conquered, the king’s wish happens to be to remain there? 452 Collecting taxes and spreading pallor வறந்த ஞாலம் தளிர்ப்ப வீசிக் கறங்குரல் எழிலி கார் செய்தன்றே, பகை வெங்காதலர் திறைதரு முயற்சி, மென் தோள் ஆய் கவின் மறையப் பொன் புனை பீரத்து அலர் செய்தன்றே. Making the dried-up land cool down, the rainy season has arrived with winds and clouds having thundering voices. My lover, who has won the king’s enemies, is now in the midst of collecting taxes, and owing to this, my slender arms have lost their alluring beauty and pallor spreads on them, in the hue of golden-hued, ridge gourd flowers. 453 Chariot remains away அவல்தொறும் தேரை தெவிட்ட, மிசைதொறும் வெங்குரல் புள்ளினம் ஒலிப்ப, உதுக்காண், கார் தொடங்கின்றால் காலை, அதனால் நீர் தொடங்கினவால் நெடுங்கண், அவர் தேர் தொடங்கின்றால் நம் வயினானே. In all the puddles, frogs croak, and everywhere above, birds resound with their desirable voices. Look! This is a day when the rainy season has begun, and so, my huge eyes have begun shedding tears, as his chariot has not started its journey towards us! 454 Wild jasmine and the rains தளவின் பைங்கொடி தழீஇப், பையென நிலவின் அன்ன நேர் அரும்பு பேணிக் கார் நயந்து எய்தும் முல்லை, அவர் தேர் நயந்து உறையும், என் மாமைக் கவினே. Embracing the pink jasmine, blooming on green vines, slowly, akin to the moon, white buds of the wild jasmine spread, knowing that its loving rainy season had arrived. Akin to that, is my dark-skinned beauty that will bloom only when his loving chariot arrives. 455 Retiring war drums and Resounding rain clouds அரசு பகை தணிய, முரசு படச் சினைஇ, ஆர் குரல் எழிலி கார் தொடங்கின்றே, அளியவோ அளிய தாமே, ஒளி பசந்து மின் இழை ஞெகிழச் சாஅய்த் தொன்னலம் இழந்த என் தட மென்தோளே. As the king’s enemies were vanquished, drums have ceased roaring, and the rainy season heralded by the rainclouds with a resounding voice has begun. Aren’t they to be pitied? These curving, soft arms of mine that have lost their old beauty and glow, as pallor spreads and shining ornaments slip away! 456 Won’t he recollect his promise? உள்ளார் கொல்லோ தோழி, வெள் இதழ் பகல் மதி உருவின் பகன்றை மாமலர் வெண்கொடி ஈங்கை பைம் புதல் அணியும் அரும் பனி அளைஇய கூதிர், ஒருங்கு இவண் உறைதல் தெளித்து அகன்றோரே? The light-petaled, huge rattlepod flower, akin to the moon during the day, adorns the green bush of the twisted acacia with white vines, in this winter season, with extreme cold. Won’t he think, my friend, of me staying all alone here, at this time, the one who parted away with promises? 457 Unable to forget பெய் பனி நலிய உய்தல் செல்லாது, குருகினம் நரலும் பிரிவருங் காலைத், துறந்து அமைகல்லார் காதலர், மறந்து அமைகல்லாது, என் மடங்கெழு நெஞ்சே. Unable to bear the pouring dew, flocks of birds resound aloud in this season when it’s unbearable to be apart. At this time, my lover cannot remain apart from me, and my heart filled with naivety, cannot remain without thinking of him. 458 Golden pallor in the eyes துணர்க்காய்க் கொன்றைக் குழற்பழம் ஊழ்த்தன, அதிர் பெயற்கு எதிரிய சிதர் கொள் தண் மலர், பாணர் பெருமகன் பிரிந்தென, மாண் நலம் இழந்த என் கண் போன்றனவே. The tubular fruit clusters of the golden shower, akin to the tresses of maiden, matures in the thunderous downpour and the cool flowers drop down, appearing like my eyes, which have lost their fine beauty, as the lord of the bards parted away. 459 Ending pallor with an embrace மெல் இறைப் பணைத்தோள் பசலை தீரப் புல்லவும் இயைவது கொல்லோ, புல்லார் ஆர் அரண் கடந்த சீர் கெழு தானை வெல்போர் வேந்தனொடு சென்ற நல் வயல் ஊரன் நறும் தண் மார்பே? To make the pallor that spreads on my soft, bamboo-like arms to vanish, is it at all possible to embrace the cool and fragrant chest of the lord, who rules over the town with prosperous fields, the one who went along with the conquering king and his famous army to seize the formidable forts of foes? 460 Swirling northern winds பெருஞ்சின வேந்தனும் பாசறை முனியான், இருங்கலி வெற்பன் தூதும் தோன்றா, ததை இலை வாழை முழு முதல் அசைய, இன்னா வாடையும் அலைக்கும், என் ஆகுவென் கொல், அளியென் யானே? The furious king seems not to hate the battle camp still and the lord of the huge mountains seems not to send any messenger. Shaking the plantain tree with dense leaves from top to bottom, the terrible northern winds blow. What is to become of me? I am to be pitied indeed! So concludes Ainkurunooru 451-460. All the songs are set in the context of a man’s post-marital relationship with his lady, and revolve around the situation of the man’s parting away to aid his king in warfare. The unifying theme of all these verses is that all are uttered by the lady back home, seeing that the man had not returned from his war mission even as the rainy season has arrived at her door, tormenting her. In the previous ten, we saw how the man was away in the battlefield and lamenting that he was not able to return to his lady as promised. The next set of ten seems to be a sequel to the first, where we see the lady echoing his emotions of the pain in being apart at this time. The lady addresses her confidante in all the verses, lamenting about her situation. In the first, she declares that the man cannot return anytime soon because the king seems to want to remain there. In the second, she describes how the rainy season had arrived, and even though the actual battle is over, the man was still engaged collected taxes from the foes so that he was not able to return to her, and owing to this, pallor seemed to spread on her skin, in the hue of the golden flowers of the ridge gourd. Curious to understand how medicine would see these many descriptions of this symptom of pallor, spreading on the skin of these Sangam maiden. Was it only a phenomenon on this particular people at that particular time or do we have parallels in different cultures at different times? After all, pining for a loved one is a timeless and universal emotion and wonder how its manifestation changes over space and time! Returning, in the third, the lady hears the croaking frogs and the crying birds in the rainy season and talks about how her eyes are shedding tears because there’s no sign of the man’s chariot heading home. In the fourth, the pink jasmine blooms on vines, and close to it, the wild jasmine spreads its white buds only because its love, the rainy season, had appeared. Likewise, she adds her beauty too would bloom only when the man’s chariot appears. In the fifth, the lady laments how though the drums have ceased now and the foes were finished, the rainy season came ahead of the man’s return, and because of this, her arms had thinned away and ornaments were slipping away. In the sixth, the lady tells us how the seasons have graduated from the rainy season to the winter, when the rattepod is said to bloom like the moon around a touch-me-not bush nearby. She wonders if the man won’t think of her at all, at this time. In the seventh, the lady says as the dew pours and the birds cry, her heart cannot forget the man, whom she knows cannot stay away from her. The eighth sees the theme of pallor returning, and now, attacking the eyes of the lady, making them golden-hued again, like the flowers of the golden shower tree. The interesting detail here is the description of the tube-like black fruits of this tree and placing them in parallel to a woman’s tresses. A testimony to the immense imagination of these ancients! In the ninth, the lady wonders if it would be possible to embrace the man to end her pallor, even as she describes his mission of helping the king vanquish his enemies and seize their forts. The last one sees the lady expressing how the king seems to not feel any dislike towards his battle camp, even after being there for so long, and there seemed to be no message from the man. While this was so, the seasons were prompt in their torment, for the northern winds were shaking the plantain tree from root to tip, and seemingly, the lady too. And so, in this series, we understand that the pain of parting afflicts not only the man but the lady too, and while he can distract himself by immersing himself in his work, she seems to remain at home, dwelling only on him. Perhaps an indication that this lady perceives the pain of parting with even more intensity!…

Sangam Lit

1
Ainkurunooru 441-450: Heartbeats from the battlefield 12:25

1 year temu12:25

12:25

In this episode, we listen to the laments of the man, as portrayed in Sangam Literary work, Ainkurunooru 441-450, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Forty Fifth Ten of Ainkurunooru: Heartbeats from the Battlefield 441 Her words ஐய ஆயின, செய்யோள் கிளவி; கார் நாள் உருமொடு கையறப் பிரிந்தென, நோய் நன்கு செய்தன எமக்கே; யாம் உறு துயரம் அவள் அறியினோ நன்றே. Gentle and beautiful are the words of my flawless maiden; In this day in the rainy season that resounds with thunder, as I’m parted from her helplessly, it renders much affliction in me; It would be good if she knows of the sorrow I feel! 442 Mother of my son பெருஞ் சின வேந்தன் அருந் தொழில் தணியின், விருந்து நனி பெறுதலும் உரியள்மாதோ இருண்டு தோன்று விசும்பின் உயர்நிலை உலகத்து அருந்ததி அனைய கற்பின், குரும்பை மணிப் பூண் புதல்வன் தாயே. If this hard mission of the raging king ends, she will attain a fine feast; the woman, with the chastity of ‘Arunthathi’ who resides in the heavens above the dark-hued skies; the mother of my son, adorned with ornaments, appearing like palm fruits. 443 Flight on the chariot நனி சேய்த்து என்னாது, நற்றேர் ஏறிச் சென்று, இலங்கு நிலவின் இளம் பிறை போலக் காண்குவெம் தில்ல, அவள் கவின் பெறு சுடர் நுதல் விண் உயர் அரண் பல வௌவிய மண்ணுறு முரசின் வேந்து தொழில் விடினே. Without hesitating that it’s too far away, climbing on the fine chariot, I shall instantly see the young crescent of the shining moon, her beautiful and radiant forehead, if the king, who has conquered many sky-soaring forts, with drums on the ground echoing aloud, ends his mission! 444 King’s enmity பெருந் தோள் மடவரல் காண்குவெம் தில்ல நீள் மதில் அரணம் பாய்ந்தெனத் தொடி பிளந்து வைந் நுதி மழுகிய தடங் கோட்டு யானை, வென் வேல், வேந்தன் பகை தணிந்து, இன்னும் தன் நாட்டு முன்னுதல் பெறினே. The white-speared king wields an elephant, whose protective covering has broken and the sharp end of its curving tusk has become blunt because it pounced on the long-walled fort. If this king’s enmity towards his foes ceases, and he thinks about returning to his own country, then I shall see the long-armed, naive maiden! 445 Oscillating heart புகழ் சால் சிறப்பின் காதலி புலம்பத் துறந்து வந்தனையே, அரு தொழில் கட்டூர் நல் ஏறு தழீஇ நாகு பெயர் காலை உள்ளுதொறும் கலிழும் நெஞ்சம்! வல்லே எம்மையும் வர இழைத்தனையே! Making my esteemed lover lament, you left her and came here, O heart! Now you cry every time you think about the sight of the fine bull embracing its mate and parting away, as you stay in this well-protected battle camp! It was you who pressed me to come here with haste! 446 Sight of fragrant tresses முல்லை நாறும் கூந்தல் கமழ் கொள நல்ல காண்குவம், மாஅயோயே! பாசறை அருந் தொழில் உதவி, நம் காதல் நல் நாட்டுப் போதரும் பொழுதே. O dark-skinned maiden, I will relish the sight of those tresses, wafting with the fragrance of wild jasmines, the moment I return to our adorable, fine country, after I complete rendering my aid in this mission at the battle camp! 447 Season of the pink jasmine பிணி வீடு பெறுக, மன்னவன் தொழிலே! பனி வளர் தளவின் சிரல் வாய்ச் செம் முகை, ஆடு சிறை வண்டு அவிழ்ப்ப, பாடு சான்ற; காண்கம், வாணுதலே! If my ties to the king’s mission ends, then now when the pink jasmine blooms in the cold and its red bud appears like the bill of a kingfisher, making bees flutter their wings, I shall get to see the song-worthy maiden with a radiant forehead! 448 Face to Face தழங்குரல் முரசம் காலை இயம்ப, கடுஞ் சின வேந்தன் தொழில் எதிர்ந்தனனே; மெல் அவல் மருங்கின் முல்லை பூப்பப் பொங்கு பெயல் கனை துளி கார் எதிர்ந்தன்றே; அம் சில் ஓதியை உள்ளுதொறும், துஞ்சாது அலமரல் நாம் எதிர்ந்தனமே. As the resounding drums echoed in the morning, the furious king stood face to face in his mission; In the soft and gentle pits, making wild jasmine bloom, the rainy season unfolds as rising clouds scatter rain drops; Whenever I think of that maiden with soft and gentle tresses, unable to sleep, I stand face to face with anxiety! 449 Ready to Ride முரம்பு கண் உடையத் திரியும் திகிரியொடு பணை நிலை முணைஇய வயமாப் புணர்ந்து, திண்ணிதின் மாண்டன்று தேரே; ஒண்ணுதல் காண்குவம், வேந்து வினை விடினே. Waiting to be tied with the strong horse that hates to remain in this yoked state, with wheels that can break apart pebbles on the path, awaits my sturdy chariot, ready to leave. I shall get to see my maiden with a shining forehead, if the king’s mission ends. 450 End of the Sighs முரசு மாறு இரட்டும் அருந் தொழில் பகை தணிந்து நாடு முன்னியரோ பீடு கெழு வேந்தன்; வெய்ய உயிர்க்கும் நோய் தணிய, செய்யோள் இளமுலைப் படீஇயர், என் கண்ணே! When this difficult war mission, resounding with the voice of drums, ends, and the proud and mighty king decides to return to his country, this affliction that makes me sigh will abate, and my eyes will find sleep on the young bosom of my flawless maiden! So concludes Ainkurunooru 441-450. All the verses are situated in the context of a man’s post-marital relationship with his lady. The unifying theme of all the songs is that all are words expressing the man’s helplessness as he’s held up in the king’s mission of war, while the season he promised to return to the lady has arrived. Most of these songs are solitary laments by the man in the battle camp, uttering these words to himself. In the first, the man receives a message from the lady about being in a state of affliction, missing him, since the rainy season had arrived. He describes how much pain these words induce in him and wishes that the lady learns how much he misses her and worries about her. In the second, he compares his wife to a symbol of chastity called ‘Arunthathi’ and refers to her as the mother of his son, saying that she would get the feast of seeing him, if the king’s war mission ends. Again in the third, he says wistfully, if only the king’s work of conquering forts ends, in an instant, he would fly off on his chariot to see his maiden’s glowing forehead. In the fourth, the man describes in detail the kind of war the king wages, with his elephants blunting their tusks in the ramming of enemy forts. For a moment, it feels like we are back in Puranaanooru! But the man pulls us into the world of ‘Agam’ or ‘Inner life’, when he talks about how he would get to see his maiden if the king’s enmity towards his foes abates. In the fifth, the man talks to his heart, as if it were a separate entity, and blames it for making him leave his lover and journey with haste to this battlefield, but now whenever it sees the sweet sight of bulls embracing their mates and retiring in the evening hour, it seemed to wallow in sorrow and want to go back to her! In the sixth, the man thinks about the lady’s fragrant tresses and says he would see it if his work for the king ends. In the seventh, the rainy season had arrived making the pink jasmines open their red buds, called in parallel to a kingfisher’s bill, an instance of the plant-animal connections that Sangam poets are adept at. Saying this season has arrived, the man once again indicates if the king’s mission ends, he can get to see his maiden, who is worthy of songs being penned for her. Much love throbs in this heart, we see! The eighth sees the man contrasting the way the king stands facing his enemies in the morning with the way he stands facing anxiety at night, when thoughts of the lady don’t let him get a moment’s sleep, now that the wild jasmines are blooming and the rainy season had arrived. In the ninth, the man details about how ready his horse and chariot are, to fly to the lady the moment the king’s mission ends. The intricate note here is about how his horse hates to be tied to the stable in the battle camp, and thereby subtly hints at his own state of being yoked to fulfil the king’s mission. In the final one, the man declares if only the king decides to return to his own country, ending this war, then he will get to stop sighing and finally find sleep on the bosom of his perfect wife! In these verses, we see how a man is being pulled apart in two directions, one by the fierce horse of his duty towards his king, and the other, by the gentle horse of his love for his lady. The highlight here is the importance given to expressing emotions. Just because this man is a noble and brave warrior, he does not swallow his tears and face the battlefield without any feeling. His human side is revealed by his missing of his woman and that’s a beautiful thing to learn from these verses that regardless of gender, emotions need to find an outlet. The other facet I admired is how all these songs are not about any historical character of prominence, some king or queen, but rather about a nameless man and his feelings for his lady, something that anyone, anytime can relate to, and through this, we can infer the value accorded by these ancient people on all humans, regardless of position or power!…

Sangam Lit

1
Ainkurunooru 431-440: Ode to the Flowering Forest 8:19

1 year temu8:19

8:19

In this episode, we perceive the effect of the rains on a domain, as depicted in Sangam Literary work, Ainkurunooru 431-440, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Forty Fourth Ten of Ainkurunooru: Ode to the Flowering Forest 431 Sapphire Peacocks நன்றே, காதலர் சென்ற ஆறே! அணி நிற இரும் பொறை மீமிசை மணி நிற உருவின தோகையும் உடைத்தே. Good is the path the lover traverses! For there, atop the bright-hued, huge hill, sapphire-hued peacocks can be seen! 432 Golden Garlands நன்றே, காதலர் சென்ற ஆறே! சுடு பொன் அன்ன கொன்றை சூடி, கடி புகுவனர்போல் மள்ளரும் உடைத்தே. Good is the path the lover traverses! For there, wearing golden shower flowers, akin to melted gold, appearing like people heading to a wedding, strong young men can be seen! 433 Moist Earth நன்றே, காதலர் சென்ற ஆறே! நீர்ப்பட எழிலி வீசும் கார்ப் பெயற்கு எதிரிய கானமும் உடைத்தே. Good is the path the lover traverses! For there, as clouds scatter the water within, the forest, which gracefully accepts this downpour of the rainy season, can be seen! 434 Leaping in the rain நன்றே, காதலர் சென்ற ஆறே! மறியுடை மான்பிணை உகள, தண் பெயல் பொழிந்த இன்பமும் உடைத்தே. Good is the path the lover traverses! For there, as a female deer with a fawn leaps about, the joy in a cool downpour can be seen! 435 Flowers galore நன்றே, காதலர் சென்ற ஆறே! நிலன் அணி நெய்தல் மலர, பொலன் அணி கொன்றையும் பிடவமும் உடைத்தே. Good is the path the lover traverses! For there, as the blue lotus that adorns the land blooms, gold-like golden shower and wild jasmine flowers can be seen! 436 Wild lime flowers நன்றே, காதலர் சென்ற ஆறே! நன் பொன் அன்ன சுடர் இணர்க் கொன்றையொடு மலர்ந்த குருந்துமார் உடைத்தே. Good is the path the lover traverses! For there, along with the fine, gold-like, glowing flower clusters of the golden shower, the flowering of the wild lime can be seen! 437 Jasmines in the Hail நன்றே, காதலர் சென்ற ஆறே! ஆலித் தண் மழை தலைஇய, வாலிய மலர்ந்த முல்லையும் உடைத்தே. Good is the path the lover traverses! For there, receiving the shower of the cool rain of hailstones, the wild jasmine, which blooms so brightly, can be seen! 438 Endowing Pleasure நன்றே, காதலர் சென்ற ஆறே! பைம் புதல் பல் பூ மலர, இன்புறத் தகுந பண்புமார் உடைத்தே. Good is the path the lover traverses! For there, as green bushes bloom with many flowers , the quality of endowing pleasure can be seen! 439 Villages of Cowherds நன்றே, காதலர் சென்ற ஆறே! குருந்தங் கண்ணிக் கோவலர் பெருந் தண் நிலைய பாக்கமும் உடைத்தே. Good is the path the lover traverses! For there, the huge and cool villages of cowherds, who wear wild lime flower garlands, can be seen! 440 Flame lily in the Rain shower நன்றே, காதலர் சென்ற ஆறே! தண் பெயல் அளித்த பொழுதின் ஒண் சுடர்த் தோன்றியும் தளவமும் உடைத்தே. Good is the path the lover traverses! For there, in that time when the cool shower pours down, the radiant, fire-like flame lily and pink jasmine flowers can be seen! So concludes Ainkurunooru 431-440. All the verses are set in the context of the man’s post-marital relationship with his lady and specifically in the situation of his parting away from her to complete a mission. The unifying theme of all these verses is that these describe the transformation of the forest after the rains have fallen. Every verse is uttered by the confidante to the lady in a situation when the lady reveals her anxiety about the harshness of the man’s path, and the confidante allays her suffering with these good words. In every verse, the confidante assures the lady that the path the man treads will be perfectly fine. In the first, she showcases blue-hued peacocks dancing on the hill. In the second, the confidence of seeing strong young men is presented, and these men are said to be wearing golden shower flowers and looking as if they are journeying to a wedding event, giving us information that people attending weddings in that era liked to wear golden shower flowers, which incidentally happens to be the very flower whose flowering signifies the start of the harvest season in the mountains as well as the auspicious time for a wedding. Returning to the forest, in the third, the confidante reveals that ecstatic confluence of the rains and the forest soil. In the fourth, she points to a deer and a fawn leaping about and spreading joy there. In the fifth, a bouquet of flowers such as the blue lotus, golden shower and wild jasmine are blooming on the land. In the sixth, along with the gold-like golden shower, the wild lime tree bursts open brightly with its flowers. In the seventh, the pouring down of hail seems to knock on the petals of the wild jasmines and makes them bloom. The eighth reveals how all the green bushes decide to paint themselves in the hues of many flowers. In the ninth, the assurance of finding many villages of cowherds, identified by their wild lime garlands, is offered. In the final one, the confidante concludes with the sight of the fire-like flame lilies blooming in the cool rain, in the company of pink jasmine flowers that too! In short, without much adornment, the confidante talks about all the beauty that awaits to enrich the eyes of the travelling man. She thereby highlights her sweet nature of offering the right consolation for the lady’s anxiety. Imagine what a beautiful world it would be, if everyone had a friend like this confidante!…

Sangam Lit

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Ainkurunooru 421-430: Assorted Allusions 12:31

1 year temu12:31

12:31

In this episode, we listen to various perspectives on parting away, as depicted in Sangam Literary work, Ainkurunooru 421-430, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Forty Third Ten of Ainkurunooru: Assorted Allusions 421 Scuttling hare மாலை வெண் காழ் காவலர் வீச, நறும் பூம் புறவின் ஒடுங்கு முயல் இரியும் புன்புல நாடன் மட மகள் நலம் கிளர் பணைத் தோள் விலங்கின, செலவே. In the evening, when a guard throws his white stick, the hare hiding in the fragrant, flower-filled forest scuttles away in the soft lands of the lord. She is his daughter, and her beautiful, bamboo-like arms have prevented the travel! 422 Make haste கடும் பரி நெடுந் தேர்க் கால் வல் புரவி, நெடுங் கொடி முல்லையொடு தளவமலர் உதிர, விரையுபு கடைஇ நாம் செல்லின், நிரை வளை முன்கை வருந்தலோ இலளே. If we wield the horse with strong legs, tied to the tall chariot, speedily, making the wild jasmine with tall vines along with the pink jasmine shed their flowers, and journey on with haste, the maiden, wearing rows of bangles on her forearms, will worry not! 423 Brimming with tears மா மழை இடியூஉத் தளி சொரிந்தன்றே; வாள் நுதல் பசப்பச் செலவு அயர்ந்தனையே; யாமே நிற் துறந்து அமையலம்; ஆய் மலர் உண்கணும் நீர் நிறைந்தனவே. The dark rainclouds resounding with thunder have poured down, and yet, you intend to take up a journey that will spread pallor on the maiden’s glowing forehead. She cannot live apart from you, for those beautiful, flower-like, kohl-streaked eyes are already brimming with tears. 424 Crying for the breast புறவு அணி நாடன் காதல் மட மகள் ஒள் நுதல் பசப்ப நீ செலின், தெண் நீர்ப் போது அவிழ் தாமரை அன்ன நின் காதல்அம் புதல்வன் அழும், இனி முலைக்கே. She is the loving young daughter of the lord, who rules over the picturesque forest domain. Making her glowing forehead spread with pallor, if you leave, your loving son, akin to a blooming lotus in the clear waters, will end up crying, yearning for her sweet breast! 425 A speedy ride புன் புறப் பேடை சேவல் இன்புற மன்னர் இயவரின் இரங்கும் கானம் வல்லை நெடுந் தேர் கடவின், அல்லல் அரு நோய் ஒழித்தல் எமக்கு எளிதே. To make its dull-hued mate happy, the male bird cries out in the forest, resounding like the instruments played by the king’s musicians. If you ride the tall chariot speedily, it will be easy for me to end that suffering-filled disease of love! 426 War no more வென் வேல் வேந்தன் அருந் தொழில் துறந்து, இனி, நன்னுதல்! யானே செலவு ஒழிந்தனெனே! முரசு பாடு அதிர ஏவி, அரசு படக் கடக்கும் அருஞ் சமத்தானே. The white-speared king has let go of that hard task of war now, O maiden with a beautiful forehead, and so, I won’t have to travel to that harsh battlefield to conquer enemy kings, commanding war drums to resound aloud. 427 A voided travel பேர் அமர் மலர்க் கண் மடந்தை! நீயே கார் எதிர் பொழுது என விடல் ஒல்லாயே; போருடை வேந்தன், ‘பாசறை வாரான் அவன்’ எனச் செலவு அழுங்கினனே. O naive maiden with huge and beautiful flower-like eyes! You did not concede to let me go in this time when the rainy season is expected. The warring king too decided, ‘He will not come to the battlefield’, and voided my travel! 428 Mission to protect the maiden தேர் செலவு அழுங்க, திருவில் கோலி, ஆர் கலி எழிலி சோர் தொடங்கின்றே; வேந்து விடு விழுத் தொழில் ஒழிய, யான் தொடங்கினனால், நிற் புறந்தரவே. Preventing the chariot from travelling, the blessed rainbow arches and uproarious clouds have started to pour down. Setting aside the mission assigned by the king, I have begun the task of protecting you. 429 Give me leave பல் இருங் கூந்தல்! பசப்பு நீ விடின், செல்வேம் தில்ல யாமே செற்றார் வெல் கொடி அரணம் முருக்கிய கல்லா யானை வேந்து பகை வெலற்கே. O maiden with thick, dark tresses! If you let go of your pallor, I will be able to go thither to win over the enemies of our king, who wields wild elephants that shatter forts of foes, fluttering with flags of victory! 430 Cry not நெடும் பொறை மிசைய குறுங் கால் கொன்றை அடர் பொன் என்னச் சுடர் இதழ் பகரும் கான் கெழு நாடன் மகளே! அழுதல் ஆன்றிசின்; அழுங்குவல் செலவே. O daughter of the lord, who rules over the mountains, filled with forests, wherein short-legged golden shower trees soar atop tall mounds and their glowing petals shine like gold discs! Cry not, I shall avoid my travel! So concludes Ainkurunooru 421-430. All the verses are set in the context of a man’s post-marital relationship with his lady. The unifying theme of these songs is the rendition of perspectives by various speakers around the core of a man’s parting away from a lady, to complete a mission. The speakers include the man’s companions, the man, and the confidante, and they express a thought revealing the connection between the man’s parting away and the lady’s emotions. The forest lands and rains make an appearance here and there and we’ll capture this, as we note the intent of the speakers in each verse. In the first, the man’s companions observe how the man has not left his home for many days. They then describe the man’s wife as the daughter of a lord, whose domain is the forest, where guards, possibly cowherds, throw their stick at the end of the day, signalling their work is done, and unintentionally, a hare hiding in the bush is startled and runs away in fear. After the lengthy description to talk about the lady, they say that her arms were the reason that the man has set aside his travel. In the second, we encounter the familiar scenario of a man asking his charioteer to wield the horses, such that the wild jasmine flowers on the way scatter and fall, such should be the speed. This is to prevent worry from soaring in the heart of his lady. That the jasmines have bloomed indicate it’s the rainy season, which is his promised season of return, and the man wants to go home as soon as possible to avert further pain in the lady. In the third and fourth, it’s the confidante speaking to the man, and the third sees her pointing to how the rains have arrived and yet the man was thinking of leaving the lady. She declares to him that the lady cannot bear the separation for now, just worrying that he might leave, her eyes were already brimming with tears. In the fourth, she talks about how if the man leaves, the man’s son, whom she describes as a blooming lotus in clear waters, will be left in a state of crying for his mother’s breast, implying that the lady will be no more. What a threat to keep the man from travelling! In the fifth, we are back to the man hastening the charioteer and asking him to ride home fast to the forest, where a male bird is crying like the king’s musicians to make its mate happy. In the rest of the verses, it’s the man speaking directly to the lady. In the sixth, the lady worries that the man is going to leave her again and part at any moment, and the man assures her that his king is not at war at the moment and so he does not have to travel to the battlefield. In the seventh, the man talks about how the lady would not let him leave in the rainy season and somehow the king too decided that the enemy is not going to battle with him in this season, and so, the man had no plans of leaving, he assures the lady. In the eighth, the man talks about how because the rainbow revealed its face and the rainclouds poured down, he had decided not to carry on the king’s mission but to fulfil his mission of protecting the lady at home. The ninth sees the man seeking the lady’s permission to go and fulfil his duty to his king and conquer the king’s enemies, and all he asks is that the lady let go of her pallor. Is it something in her hands though? In the final verse, the man describes the lady as the daughter of a lord, who rules over the mountains with golden shower trees, and asks her not to cry, and assures her that he will not travel, parting away from her. In this section, there are couple of metaphorical references, which are unusual for this landscape, usually filled with direct descriptions of emotions. In the description of the hare scuttling away when a guard throw his stick, that scene stands as a metaphor for how like the hare, which is startled even though it was not the intention of the guard, the lady too feels needless worry that the man’s actions imply that he is going to part away from her soon. Likewise, in the description of the man’s son as a blooming lotus in clear waters, the confidante implies that if the man were to leave, that would be like plucking that lotus from the waters, making it wilt, hinting that the man’s son will suffer likewise, losing his mother. Even in this mixed bag of perspectives, there is unity of thought with all verses revolving around the pain a man’s parting seems to inflict upon a woman in Sangam times!…

Sangam Lit

1
Ainkurunooru 411-420: This Time This Place 11:39

1 year temu11:39

11:39

In this episode, we listen to joyous words about the arrival of a season, as portrayed in Sangam Literary work, Ainkurunooru 411-420, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Forty Second Ten of Ainkurunooru: This Time This Place 411 Rains have begun ஆர் குரல் எழிலி அழிதுளி சிதறிக் கார் தொடங்கின்றால், காமர் புறவே; வீழ்தரு புதுப்புனல் ஆடுகம் தாழ் இருங் கூந்தல்! வம்மதி, விரைந்தே. Rainclouds with a resounding voice have scattered huge drops and begun the rainy season in the picturesque forest. Let’s play in the falling, fresh stream, O maiden with dark and low-lying tresses. Come quickly! 412 Flowers galore காயா, கொன்றை, நெய்தல், முல்லை, போது அவிழ் தளவமொடு பிடவு, அலர்ந்து கவினிப் பூ அணி கொண்டன்றால் புறவே பேர் அமர்க்கண்ணி! ஆடுகம், விரைந்தே. Trees like Ironwood, Golden shower, Blue lotus, Wild jasmine have opened their flower buds, as have the vines like pink jasmine and wild jasmine. These have bloomed with beauty and adorned the forest, O maiden with huge, beautiful eyes. Let’s play. Come quickly! 413 A forest like you நின் நுதல் நாறும் நறுந் தண் புறவில் நின்னே போல மஞ்ஞை ஆல, கார் தொடங்கின்றால் பொழுதே பேர் இயல் அரிவை! நாம் நயத்தகவே. In the cool and fragrant forest that smells like your forehead, a peacock dances just like you, in this season, when the rains have begun, O maiden with adorable traits, for us to rejoice! 414 Fertile turns the Forest புள்ளும் மாவும் புணர்ந்து இனிது உகள, கோட்டவும் கொடியவும் பூப் பல பழுனி மெல் இயல் அரிவை! கண்டிகும் மல்லல் ஆகிய மணம் கமழ் புறவே. As birds and animals unite with joy and leap about, and as flowers on branches and vines mature and bloom, O maiden with a gentle nature, see how this fragrant forest has turned so fertile! 415 This is it இதுவே, மடந்தை! நாம் மேவிய பொழுதே; உதுவே, மடந்தை! நாம் உள்ளிய புறவே; இனிது உடன் கழிக்கின், இளமை இனிதால் அம்ம, இனியவர்ப் புணர்வே! This is the one, O naive maiden, the season we were waiting for! That is the one, O naive maiden, the forest we were thinking about! Youth becomes a time of sweetness when spent together in the union of the beloved! 416 Like the elephant போது ஆர் நறுந் துகள் கவினிப் புறவில் தாது ஆர்ந்து, களிச் சுரும்பு அரற்றும் காமர் புதலின், மடப் பிடி தழீஇய, மாவே; சுடர்த் தொடி மடவரல் புணர்ந்தனம், யாமே! In the picturesque forest, filled with the fragrant pollen of flowers, feeding on nectar, the delighted bees resound around the desirable bushes. O elephant, you have embraced your naive mate. I too have united with my naive maiden wearing glowing bangles! 417 Welcome home கார் கலந்தன்றால் புறவே; பல உடன் ஏர் பரந்தனவால் புனமே; ஏர் கலந்து தாது ஆர் பிரசம் மொய்ப்ப, போது ஆர் கூந்தல் முயங்கினள், எம்மே. The forest has welcomed the rainy season; It has attained many adornments in its groves; As honey-drinking bees buzz around with beauty, the woman having flower-filled tresses embraced me! 418 Skylark’s thirst வானம்பாடி வறம் களைந்து, ஆனாது அழி துளி தலைஇய புறவில், காண்வர வானர மகளோ நீயே மாண் முலை அடைய முயங்கியோயே? Slaying the thirst of the skylark, unceasingly huge drops have fallen on the forest. There, appearing as a heavenly maiden, you embraced me with your esteemed bosom! 419 In the animals around உயிர் கலந்து ஒன்றிய செயிர் தீர் கேண்மைப் பிரிந்துறல் அறியா, விருந்து கவவி, நம் போல் நயவரப் புணர்ந்தன கண்டிகும் மடவரல்! புறவின் மாவே. With life fusing as one in that faultless bond, which knows not separation, embracing anew, akin to us, with love, they too have united. O naive maiden, look at those animals in the forest! 420 Beauty of the forest பொன் என மலர்ந்த, கொன்றை; மணி எனத் தேம் படு காயா மலர்ந்த; தோன்றியொடு நன்னலம் எய்தினை, புறவே! நின்னைக் காணிய வருதும், யாமே வாள் நுதல் அரிவையொடு ஆய் நலம் படர்ந்தே. Like gold, the golden shower has bloomed in you; Like sapphire, the bee-buzzing ironwood has bloomed in you; Along with the flame-lily too, you have attained an exquisite quality, O forest! I will come to see you, with the maiden having a shining forehead, to delight in your fine beauty! So concludes Ainkurunooru 411-420. All the verses are set in the context of a post-marital relationship between the man and the lady. The unifying theme of all the verses is that these are words uttered by the man celebrating the rainy season that has arrived in their forest domain, echoing the satisfaction that he was able to return to the lady as promised before the arrival of this season. As mentioned, the man is the speaker in every one of these verses and he addresses the lady directly, or utters these words to other entities, in her presence. Almost every song here talks about the changes in the forest that announce the arrival of the rains. Let’s take a look at this aspect first. Thundering clouds are heard and seen scattering huge raindrops in one, and in another, a long list of trees and vines open their buds and blossom together, welcoming their beloved guest called the rains. A peacock is seen dancing because the rains are here, and then all the birds and animals as well as the flowers on trees and vines are at their happiest, turning the forest into a fertile heaven. There’s also mention of bees buzzing around these blooming flowers and an elephant lovingly uniting with its mate with love. In another intricate one, a skylark gets the spotlight saying the rains have poured to end the starvation and thirst of this bird. Another scene shows that the season animals prefer to unite is this very rainy season. In the final depiction, as the rains arrive, golden shower trees bloom with their golden flowers, and the ironwood trees bloom with their sapphire-hued flowers and together with the flame-lilies too, they endow so much beauty on the soft forest! Having seen the rains wave their magic wand on the forest, let’s turn our attention to the words the man says to the lady. In the first, the man invites the lady to come play with him in the fresh streams that gush because of the new rains. In the second too, he invites the lady to play, pointing to the many flowers that have bloomed in the forest. In the third, he places the forest in parallel to the lady’s forehead and says both waft with the same scent, and then adds how a peacock dances in the forest with the same delicate beauty of the lady. The fourth sees the man pointing to the lady scenes around him of birds and animals delighting with their mates, and flowers bursting into bloom everywhere, turning that forest so fertile. In the fifth, the man rejoices about the rainy season and their forest domain and turns philosophical as he talks about how youth turns into something forever pleasant if spent in the company of those we love. In the sixth, the man addresses an elephant and says, ‘As bees buzz around the flowers of the bush, you relish the company of your mate. So do I, with my bangle-clad maiden’. He possibly says these words in the presence of the lady, so that she feels much joy. In the seventh, the man says that like the rainy season, which was welcomed by the forest, he too was welcomed with the embrace of his beloved. In the eighth, the man takes a mystical tone and says that the lady seemed to take the appearance of a heavenly maiden and embraced him, when he was returning homeward. In the ninth, the man points to the animals around him and tells the lady how they seem to untie as one, in a flawless togetherness, just like them. The final verse sees the man addressing the forest, and saying that he would visit it, along with his loving woman, to relish with her, the beauty the forest has attained because of the rains. In verse after verse, we see the joy the rains endow on the forest and here echoes the subtext that the arrival of the man has endowed the same joy on the waiting lady. The timeless bond between the rains and the earth is reflected in the love between the man and the lady here! Looking deeply, we realise that at the core, these verses are a declaration of joy about being in this place, this moment – A celebration of the here and now, something all of us can do more with!…

Sangam Lit

1
Ainkurunooru 401-410: Music of Togetherness 11:41

1 year temu11:41

11:41

In this episode, we listen to the sweet reminiscences of the lady’s foster mother, as portrayed in Sangam Literary work, Ainkurunooru 401-410, situated in the ‘Mullai’ or ‘Forest landscape’ and penned by the poet Peyanaar. Thus blooms the Forty First Ten of Ainkurunooru: The Music of Togetherness 401 Hard to obtain மறி இடைப்படுத்த மான் பிணை போல, புதல்வன் நடுவணன் ஆக, நன்றும் இனிது மன்ற அவர் கிடக்கை; முனிவு இன்றி நீல் நிற வியலகம் கவைஇய ஈனும், உம்பரும், பெறலருங்குரைத்தே. Akin to a fawn lying between a male deer and its mate, with the son in the middle, the way they were lying together was so pleasant to see. Such a flawless state, is hard to obtain here, in this world, surrounded by the blue-hued wide space, and in the world above. 402 Like a bard’s strings புதல்வற் கவைஇய தாய் புறம் முயங்கி நசையினன் வதிந்த கிடக்கை, பாணர் நரம்பு உளர் முரற்கை போல, இனிதால்; அம்ம! பண்புமார் உடைத்தே. The way he was embracing with love, the back of the mother, who was hugging the son, has the same, sweet nature of music from the plucked strings of bards! 403 The sight of his son புணர்ந்த காதலியின் புதல்வன் தலையும் அமர்ந்த உள்ளம் பெரிது ஆகின்றே அகன் பெருஞ் சிறப்பின் தந்தை பெயரன் முறுவலின் இன் நகை பயிற்றி, சிறு தேர் உருட்டும் தளர்நடை கண்டே. Seeing the son of the one he united with; the offspring, who will claim the name of his greatly esteemed father, his heart feels a great love, as the boy, with a sweet, little smile, pushes his toy chariot, with a wobbling gait! 404 Embracing her வாள் நுதல் அரிவை மகன் முலை ஊட்ட, தான் அவள் சிறுபுறம் கவையினன் நன்றும் நறும் பூந் தண் புறவு அணிந்த, குறும் பல் பொறைய நாடுகிழவோனே. As the maiden with a radiant forehead suckled her son at her breast, he embraced the small of her back sweetly, that lord of the country, filled with many little mounds, adorned with cool and fragrant, flower-filled forests! 405 Light of the home ஒண் சுடர்ப் பாண்டில் செஞ் சுடர் போல, மனைக்கு விளக்கு ஆயினள் மன்ற கனைப் பெயல் பூப் பல அணிந்த வைப்பின் புறவு அணி நாடன் புதல்வன் தாயே. Akin to the red glow of the bright ‘paandil lamp’, she became the light of the home, that mother of the lord’s son, in whose domain, adorned with forests, bloom many picturesque flowers, amidst the heavy downpour! 406 Playing son மாதர் உண்கண் மகன் விளையாட, காதலித் தழீஇ இனிது இருந்தனனே தாது ஆர் பிரசம் ஊதும் போது ஆர் புறவின் நாடு கிழவோனே. As the adorable son with kohl-streaked eyes played, embracing his lover, he was there, full of joy, that lord of the country, where honey-seeking bees buzz around the flower-filled forest. 407 Music of the embrace நயந்த காதலித் தழீஇ, பாணர் நயம் படு முரற்கையின் யாத்த பயன் தெரிந்து, இன்புறு புணர்ச்சி நுகரும் மென் புல வைப்பின் நாடு கிழவோனே. Embracing his beloved, he would relish the fine music of the bard’s strings and then attain the sweet union with her, that lord of the country, filled with soft tracts of forests. 408 Delight in the son பாணர் முல்லை பாட, சுடர் இழை வாள் நுதல் அரிவை முல்லை மலைய, இனிது இருந்தனனே, நெடுந்தகை துனி தீர் கொள்கைத் தன் புதல்வனொடு பொலிந்தே. As the bards sang the ‘mullai’ tune, along with the young maiden wearing glowing jewels, having a shining forehead and adorned with a ‘wild jasmine’ garland, the great lord with flawless principles, was there with much joy, delighting in his young son! 409 A three-fold embrace புதல்வற் கவைஇயினன் தந்தை; மென் மொழிப் புதல்வன் தாயோ இருவரும் கவைஇயினள் ; இனிது மன்ற அவர் கிடக்கை; நனி இரும் பரப்பின் இவ் உலகுடன் உறுமே. The father embraced his son; As for the soft-spoken mother of the son, she embraced them both; So sweet was this scene of their togetherness, equal in greatness to this entire world with its huge and spreading lands! 410 An evening scene மாலை முன்றில் குறுங்கால் கட்டில் மனையோள் துணைவி ஆக, புதல்வன் மார்பின் ஊரும் மகிழ்நகை இன்பப் பொழுதிற்கு ஒத்தன்று மன்னே மென் பிணித்து அம்ம பாணனது யாழே! It’s evening, and in the front yard, there lies a short-legged cot. He lies on this, with his wife as his sweet companion and son crawling on his chest. The ecstatic joy and laughter that rise here at this sweet time can be said to be perfectly in tune with an intricately-tied bard’s lute! So concludes Ainkurunooru 401-410. With this set of verses, we have entered the last domain of the forest landscape, and the verses we have seen so far situated in this domain deal with the patient waiting of the lady, when her husband has parted away on a mission to earn wealth or win a war. Turning to this particular section, all the verses are set in the context of a man’s married life with his lady. The unifying theme of all these verses is that these are uttered by the lady’s foster mother, and in most cases, to the lady’s birth mother, after a visit to the lady’s marital home. As for references to land, these are very few and generic in description, such as a country, where there are little hills filled with forests, where heavy rains pour and assorted flowers bloom, making bees buzz around them. These lands are characterised as ‘soft’ and this echoes in the scenes that each of these verses reveal. There’s a perfect coherence and unity of emotion in all the verses because each one depicts a happy scene involving the man and the lady, and in most cases, their son, a toddler. We can see the foster mother’s smiling face and sense her joy as she recollects the happy life of the girl she raised, as she says these words to the girl’s mother. In the first, she draws a parallel to a scene where a baby deer is lying in between a male deer and its mate, and says that’s how the man and lady were lying together, with their young son in the middle and such a state of joy is hard to find on earth and heaven, the foster mother says. In the second, she paints a picture of how the lady was embracing her son, and at that time, the man came and embraced the lady from behind and this makes the foster mother hear the music of a bard’s strings just then. In the third, there’s an intricate note about how the man’s son will claim the respectable name of the man’s father, a practice followed in many Indian communities till this day, where the grandson is named after his grandfather, sometimes to the embarrassment of these modern youngsters! From these ancient words, we can understand that this is an age-old practice, a living tradition. Returning, here, the foster mother sees the joy in the man’s eyes, as he watches his young son, push his toy cart and toddle about. In the fourth, the man embraces his wife from behind as the lady suckles their young son. In the fifth, the foster mother describes the lady as the light of the man’s home, shining radiantly like a ‘paandil lamp’, a sentiment echoed even today! In the sixth, the man embraces his wife and watches his son play. Here’s an intricate mention of how the boy’s eyes are kohl-streaked, indicating that this was something mothers did to their young children then. In the seventh, the man is described as enjoying the music of strings and the pleasant union with his wife, all dwelling in the domain of pleasure. The eighth sees the man, praised by the foster mother as someone having laudable principles, and describes him as watching his son with delight, even as bards sing the ‘mullai’ tune and his wife sits near him wearing a ‘mullai’ or ‘wild jasmine’ garland. In the ninth, the father hugs his son and the mother hugs them both and the foster mother describes this scene as being as great as this entire world when it comes to its value. In the final verse, the foster mother speaks to herself as she takes in the scene one evening, of the man lying with his wife by his side on a cot in their front yard, as their son crawls on the man’s chest, and she says the laughter and joy there is in the exact melody of a well-tied lute. In these verses, there’s a repeated association of a lute’s strings with family’s togetherness. The timeless joy that brims over, when watching young children explore their world with play, is perfectly captured in the musical words of these ancient verses!…

Sangam Lit

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Ainkurunooru 391-400: Return of the Daughter 17:00

1 year temu17:00

17:00

In this episode, we perceive joyful scenes of homecoming, as depicted in Sangam Literary work, Ainkurunooru 391-400, situated in the ‘Paalai’ or ‘Drylands landscape’ and penned by the poet Othalaanthaiyaar. Thus spreads the Fortieth Ten of Ainkurunooru: Return of the Daughter 391 A feast for crows மறு இல் தூவிச் சிறு கருங் காக்கை! அன்புடை மரபின் நின் கிளையோடு ஆரப் பச்சூன் பெய்த பைந் நிண வல்சி பொலம் புனை கலத்தில் தருகுவென் மாதோ; வெஞ்சின விறல் வேல் காளையொடு அம்சில் ஓதியை வரக் கரைந்தீமே. O little black crow with flawless feathers! With much affection, I shall give the food of fresh meat with plenty of fat, in a well-etched, golden bowl, for you to eat with your kin, if you will caw aloud and make that maiden with beautiful, soft hair come here, along with that furious, bull-like young man, with a conquering spear! 392 No place for sorrow வேய் வனப்பு இழந்த தோளும், வெயில் தெற ஆய்கவின் தொலைந்த நுதலும், நோக்கிப் பரியல் வாழி, தோழி! பரியின், எல்லை இல் இடும்பை தரூஉம் நல் வரை நாடனொடு வந்தமாறே. Looking at my arms that have lost their beauty of being bamboo-like, and my forehead that has lost its exquisite glow because of the scorching heat, do not feel sorrowful, my friend! If you feel sad, that will render endless suffering in this time of my return with the lord of the fine mountain country! 393 Is she back? துறந்ததற் கொண்டு துயர் அடச் சாஅய், அறம் புலந்து பழிக்கும் அளைகணாட்டி! எவ்வ நெஞ்சிற்கு ஏமம் ஆக வந்தனளோ நின் மட மகள் வெந்திறல் வெள் வேல் விடலை முந்துறவே? As she left you, losing your health because of the great sorrow, you used to rebuke those who spoke of its justice, O woman with eyes brimming with tears! As comfort for that suffering heart, did she come back, that naive daughter of yours, following the young man with the victorious, white spear, ahead of her? 394 She is back மாண்பு இல் கொள்கையொடு மயங்கு துயர் செய்த அன்பு இல் அறனும் அருளிற்று மன்ற; வெஞ் சுரம் இறந்த அம் சில் ஓதி, பெரு மட மான் பிணை அலைத்த சிறு நுதல் குறுமகள் காட்டிய வம்மே. Owing to our principle lacking esteem, rendering crippling sorrow, the act of justice without love happened; But that act has rendered its grace to me today, for the maiden with beautiful, soft hair, who left to the hot drylands, the one who can put a huge, naive female deer to shame, that young maiden with a small forehead, has returned. 395 Crossing the drylands முளி வயிர்ப் பிறந்த, வளி வளர் கூர் எரிச் சுடர் விடு நெடுங் கொடி விடர் முகை முழங்கும் இன்னா அருஞ் சுரம் தீர்ந்தனம்; மென்மெல ஏகுமதி வாழியோ, குறுமகள்! போது கலந்து கறங்கு இசை அருவி வீழும், பிறங்கு இருஞ் சோலை, நம் மலை கெழு நாட்டே. Sharp and glowing flames born amidst the dried-up bamboo and kindled by the wind, spread like a tall vine, amidst the caves and clefts of the harsh and imposing drylands, and we have crossed it; Walk on slowly, O young maiden, may you live long! For we have arrived here, where mixed with flowers, resounding with music, cascades fall in our fine mountain country, filled with huge and prosperous groves. 396 Reaching the town புலிப் பொறி வேங்கைப் பொன் இணர் கொய்து நின் கதுப்பு அயல் அணியும் அளவை, பைபயச் சுரத்திடை அயர்ச்சியை ஆறுகம் மடந்தை! கல் கெழு சிறப்பின் நம் ஊர் எல் விருந்து ஆகிப் புகுகம், நாமே. Akin to the spots of the tiger are the golden flower clusters of the ‘Kino tree’. Plucking this, I shall adorn your swaying dark tresses. Slowly let go of the fatigue of crossing the drylands, O naive maiden! For we will soon enter our town, known for its mountains, and savour the midday feast. 397 A message for the companions ‘கவிழ் மயிர் எருத்தின் செந்நாய் ஏற்றை குருளைப் பன்றி கொள்ளாது கழியும் சுரம் நனி வாராநின்றனள்’ என்பது முன்னுற விரைந்த நீர் மின் இன் நகை முறுவல் என் ஆயத்தோர்க்கே. Hurrying forward, please say to my sweet and smiling companions in town, ‘She’s crossing the drylands, where the male red dog with hanging hair on its neck lets the pregnant pig go free without killing it!’ 398 The town’s lament ‘புள்ளும் அறியாப் பல் பழம் பழுனி, மட மான் அறியாத் தட நீர் நிலைஇ, சுரம் நனி இனிய ஆகுக!’ என்று நினைத்தொறும் கலிழும் என்னினும் மிகப் பெரிது புலம்பின்று தோழி! நம் ஊரே. Even more than me, who shed tears every time I thought of you, this town of ours lamented tremendously, my friend, wishing, ‘May it fruit with many ripe fruits that birds know not about, and may there be plenty of waterholes that naive deer know not about, and let the drylands become pleasant’! 399 Demand for a wedding ‘நும் மனைச் சிலம்பு கழீஇ அயரினும், எம் மனை வதுவை நல் மணம் கழிக’ எனச் சொல்லின் எவனோ மற்றே வென் வேல், மை அற விளங்கிய கழல்அடி, பொய் வல் காளையை ஈன்ற தாய்க்கே? Shall we say, ‘Even if you have performed the ceremony of removing the anklets in your home, let the good marriage ceremony happen in our home!’, to the mother of that bull-like young man, skilled in lies, wearing flawless, glowing anklets on his feet, the one with the victorious spear? 400 Season of spring மள்ளர் அன்ன மரவம் தழீஇ, மகளிர் அன்ன ஆடுகொடி நுடங்கும் அரும் பதம் கொண்ட பெரும் பத வேனில், ‘காதல் புணர்ந்தனள் ஆகி, ஆய் கழல் வெஞ் சின விறல் வேல் காளையொடு இன்று புகுதரும்’ என வந்தன்று, தூதே. The rare quality of having a vine, akin to a gentle maiden, wrapping around a burflower tree, akin to a strong young man, and swaying with joy, happens in the perfect season of spring. Saying, ‘She, who united with love with that young and furious, bull-like man, wearing well-etched anklets and holding a victorious spear, will come home today’, a messenger has come here! So concludes Ainkurunooru 391-400. All the verses are set in the context of a post-marital situation. The unifying theme of all the verses is that they happen in the situation when the lady who had eloped away with her man, returns after marriage to her natal home. The words are uttered by various actors within the bounds of this background. Here’s another section whose focus is on the emotions of the subjects. This set of verses is the finale in this trilogy of tens, with the first part, verses 371-380, dwelling on the mother’s sorrow because of the lady’s eloping away, and the second part, verses 381-390, rendering the reflections of those who met this eloping couple in the drylands. The journey of love comes a full circle in this section with the lady returning home, happily married to her beloved. Let’s turn to the intent of the speakers in each of these verses. In the first, the lady’s mother speaks to a little crow, promising a delicious feast of fatty meat, for the bird and its huge flock, if only the bird would caw aloud and make the man and lady return home. To understand this statement of the mother, we have to know that it was a superstitious belief that cawing of crows brought guests home. Even today, in many Tamil homes, people say, ‘The crow is cawing. Someone is going to come home’. Reflecting on how this belief would have come about, could it be because crows gather around whenever guests are home, as there would be plenty of food for them to peck on from the leftovers? Maybe somehow, this association of guests and cawing of crows would have later morphed, mistaking cause and consequence! Anyway, the thing to note here is the expectant heart of this mother, who hopes fervently that her daughter will come back home to her. In the second verse, it’s the lady saying these words to her confidante, who is expressing sadness at how the lady looks tired and seemingly lacking in her beauty and glow. The lady says to her friend, ‘All this is just because I walked in the scorching heat of the drylands. Please do not make a huge issue of this temporary discomfort, because otherwise people home might think that I’m not happy with my man’. The confidante’s concern for her friend, the lady’s thinking about the perception of others and her protectiveness over the man are all subtle nuances depicted in this intricate scene. In the third, people of the village gather at the lady’s home and talk to the lady’s mother saying how she had felt so heartbroken and in fact, scolded anyone who had dared to say that the lady had done the right thing. Now, they ask the mother whether the girl, who had left home, had come back with her young man, bringing the much-needed comfort to her mother. The close bond between the villagers and they way they take part in the joy and sorrow of each other’s families is evident from this narrative. Perhaps as a reply to the third verse, in the fourth, the lady’s mother tells the villagers how the lady had done something just but that something had lacked in love towards her family, because they had forbade her wedding. But still, the lady had made amends by returning home with the young man and showered the mother with love and grace. In this verse, the mother talks about how the lady would put a deer to shame, a unique way of showcasing her daughter’s beauty and gentleness. In the fifth, it’s the man’s voice we hear speaking to the lady. Both of them have started the journey from his home after marriage and are making their way to the lady’s home, crossing the inevitable drylands. The man informs the lady that they are done with the hardest part of their journey, the crossing of the scorching drylands, where wildfire spreads. Now they have entered the mountain country, where cascades gush with flowers many. He thus cheers the lady that their tiring journey is about to end and that the lady will be soon reunited with her parents. In the sixth too, the man speaks to the lady, asking her to wear Kino flowers and walk slowly, trying to let go of the fatigue of crossing the drylands, for they were about to enter the lady’s town for the midday feast. Perhaps he wants to make a good impression on the lady’s family and that’s why he asks the lady to fresh up with flowers and feel energetic as they head home. In the seventh, the lady requests some travellers she meets in the drylands to rush home before her and inform her good friends that she has crossed the drylands and is returning home to be with them. The eighth sees the lady back home and when the lady asks her confidante how did she bear with the loss when the lady eloped away, the confidante says something beautiful about the people of the village. She says even more than her, who was crying every time thoughts of the lady crossed her mind, the village people felt even more worry on behalf of the lady. They prayed that the drylands would bloom with fruits that birds knew not about, and also, have plenty of waterholes that deer knew not about, so that their dear girl would have a pleasant journey even in that harsh landscape. It’s heartwarming to see the love they feel for a daughter of their village and how they wish well for her, wherever she is. In the ninth, it’s the lady’s mother speaking. She is informed that the ceremony of removing the anklets, an important part of a woman’s wedding, and something usually done at the lady’s home, has happened at the man’s house. The mother says, ‘Even if that is over, at least let the man and lady have a wedding ceremony at their house’, and wishes for the messengers to put this request to the man’s mother. It’s curious how even today two ceremonies happen in many cases in inter-caste and inter-religious weddings in India, one for the bride’s family and other, for the groom’s! In the final verse, it’s the lady’s mother who speaks again, talking about how it was the season of spring, when a vine, placed in parallel to a woman, wraps around a burflower tree, placed in parallel to a man. She has remarked about the season saying that is why their daughter too felt the gush of love for the man and eloped with him. She’s not to be blamed at all. She concludes with the words to her family that a message has come in about the lady’s return home with her beloved. What an exquisite collection of verses exploring intricate emotions that swell up in a challenging reunion! So much of goodness and love wafts from these verses, like the fragrance of flowers. With this section, we come to the end of our exploration of the ‘Paalai’ or ‘Drylands landscape’ and although I was fearing it would be dull and dry, it turned out to be surprisingly stunning, so vivid in its clear organisation of events pertaining to this domain. Indeed, there was much sorrow of separation but also the joy of reunion and a plethora of emotions in between. It’s time to bid farewell to these characters we have met and got to know in the expanse of this harsh landscape and walk on to our next domain!…

Sangam Lit

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Ainkurunooru 381-390: Portraits of the Parted Pair 15:01

1 year temu15:01

15:01

In this episode, we perceive the observations of travellers, as depicted in Sangam Literary work, Ainkurunooru 381-390, situated in the ‘Paalai’ or ‘Drylands landscape’ and penned by the poet Othalaanthaiyaar. Thus spreads the Thirty Ninth Ten of Ainkurunooru: Portraits of the Parted Pair 381 Inseparable lovers பைங் காய் நெல்லி பல உடன் மிசைந்து, செங் கால் மராஅத்த வரி நிழல் இருந்தோர் யார்கொல், அளியர் தாமே வார் சிறைக் குறுங் கால் மகன்றில் அன்ன உடன் புணர் கொள்கைக் காதலோரே? They eat many green gooseberry fruits and rest in the lined shade of the red-trunked burflower tree. Who might they be, for pitiable indeed they are! Akin to the long-winged, short-legged red-naped ibis, they seem to be lovers with the virtue of inseparability! 382 Bane of mothers புள் ஒலிக்கு அமர்த்த கண்ணள், வெள் வேல் திருந்து கழல் காளையொடு அருஞ் சுரம் கழிவோள், எல்லிடை அசைந்த கல்லென் சீறூர்ப் புனை இழை மகளிர்ப் பயந்த மனை கெழு பெண்டிர்க்கு நோவுமார் பெரிதே. The maiden, whose eyes startle at the sound of birds, has left behind the harsh drylands with the young, bull-like man, wearing etched anklets. Then they rested at night in that uproarious little town, making the matrons of prosperous homes, the mothers of maiden wearing well-etched ornaments, worry a lot. 383 Finding joy in her actions கோள் சுரும்பு அரற்றும் நாள் சுரத்து அமன்ற நெடுங் கால் மராஅத்துக் குறுஞ் சினை பற்றி, வலம் சுரி வால் இணர் கொய்தற்கு நின்ற மள்ளன் உள்ளம் மகிழ் கூர்ந்தன்றே பைஞ்சாய்ப் பாவைக்கும் தனக்கும் அம் சாய் கூந்தல் ஆய்வது கண்டே. Bees that savour honey resounded aloud around the small branch of tall-trunked burflower tree during the daytime in the drylands. To pluck from the right-whorled, bright flower clusters on this branch, the brave young man bent it and felt his heart brim with joy seeing the maiden with beautiful, soft tresses separate the flowers for her and her sedge doll! 384 Message to my companions சேட் புலம் முன்னிய அசை நடை அந்தணிர்! நும் ஒன்று இரந்தனென் மொழிவல்; எம் ஊர், ‘யாய் நயந்து எடுத்த ஆய்நலம் கவின ஆர் இடை இறந்தனள்’ என்மின் நேர் இறை முன்கை என் ஆயத்தோர்க்கே. O priests, who walk with swaying gaits to faraway lands, I wish to plead to you about something. And that is to go to my town and say to my companions, who wear rows of bangles on their forearms, ‘With the exquisite beauty, with which mother raised her, still intact, she has crossed the formidable drylands path’! 385 Message to my mother ‘கடுங்கண் காளையொடு நெடுந் தேர் ஏறி, கோள் வல் வேங்கைய மலை பிறக்கு ஒழிய, வேறு பல் அருஞ் சுரம் இறந்தனள் அவள்’ எனக் கூறுமின் வாழியோ! ஆறு செல் மாக்கள்! நல் தோள் நயந்து பாராட்டி, எற் கெடுத்து இருந்த அறன் இல் யாய்க்கே. Please say, ‘With the harsh-eyed, young bull-like man, climbing on a tall chariot, leaving behind mountains filled with murderous tigers, and traversing many other harsh drylands, she has crossed over’! May you live long, O people treading this path! Say these words to the one who always delighted in my beautiful arms, and the one, who spoilt me, that unjust mother of mine! 386 Daughter in the drylands புன்கண் யானையொடு புலி வழங்கு அத்தம் நயந்த காதலன் புணர்ந்து சென்றனளே நெடுஞ் சுவர் நல் இல் மருண்ட இடும்பை உறுவி! நின் கடுஞ் சூல் மகளே. Small-eyed elephants and tigers rove in the drylands. With her lover, she has left thither, O woman from a tall-walled fine mansion, filled with confusion and suffering; That daughter you bore in your womb has crossed over! 387 In his company ‘அறம் புரி அரு மறை நவின்ற நாவின் திறம் புரி கொள்கை அந்தணிர்! தொழுவல்’ என்று ஒண்டொடி வினவும் பேதைஅம் பெண்டே! கண்டனெம் அம்ம, சுரத்திடை அவளை இன் துணை இனிது பாராட்ட, குன்று உயர் பிறங்கல் மலை இறந்தோளே. O naive woman, wearing shining bangles, saying, ‘O priests, with strong principles, with tongues that chant precious scriptures, I bow to you’, you question us. Yes, we did see her in the midst of the drylands. As her sweet companion took great care of her, she crossed the radiant mountain with soaring peaks. 388 Path of the Parted நெருப்பு அவிர் கனலி உருப்புச் சினம் தணியக் கருங் கால் யாத்து வரி நிழல் இரீஇ, சிறு வரை இறப்பின், காண்குவை செறிதொடிப் பொன் ஏர் மேனி மடந்தையொடு வென் வேல் விடலை முன்னிய சுரனே. As the sun scorched, akin to fire, letting the flaming fury of the heat subside, they rested in the lined shade of the black-trunked ‘Aacha tree’. If you cross that small mountain, you will come across the drylands, which the maiden wearing well-etched bangles, and a skin, akin to gold, and her young man with a white spear, crossed on. 389 State of her feet ‘செய் வினைப் பொலிந்த செறி கழல் நோன் தாள் மை அணல் காளையொடு பைய இயலி, பாவை அன்ன என் ஆய்தொடி மடந்தை சென்றனள்!’ என்றிர், ஐய! ஒன்றினவோ, அவள் அம் சிலம்பு அடியே! You say, ‘Walking slowly with the young and determined, bull-like man having a black beard, clad in tight, shining, well-etched warrior anklets, that doll-like, naive maiden wearing beautiful bangles left’, O good sir! Did her beautiful feet, clad in anklets, touch the ground? 390 Seen in his company நல்லோர் ஆங்கண் பரந்து கைதொழுது பல் ஊழ் மறுகி வினவுவோயே! திண் தோள் வல்வில் காளையொடு கண்டனெம் மன்ற சுரத்திடை, யாமே. O woman, you run hither and thither and question all the good people there, with folded hands! We did see her in the company of the strong armed, young, bull-like man, skilled with his bow, in the midst of the drylands. So concludes Ainkurunooru 381-390. All the verses are set in the context of a man’s love relationship with a lady, prior to marriage, and specifically in the situation of elopement of this couple. The unifying theme of all the songs is that these are statements about the couple, who have eloped away, from the perspective of those who saw them in the drylands. Most of these words are uttered by travellers, with a few being said by the lady or the lady’s foster mother to those travellers. In this section, it’s difficult to separate the land and the protagonists as they are intricately tied together in these observations. So, let’s head straight to the speakers and their intentions. In the first, a traveller wonders who this couple, who are eating gooseberry fruits and resting in the shade of a burflower tree, might be. Looking closely at them, this person says they seem to have the quality of an ‘andril’ bird mentioned in Sangam literature as a symbol of inseparable togetherness. In Kurunthogai 160, we debated and discovered that this bird most probably points to the ‘Red-naped ibis’, which is found all over India and have the quality of always being found in pairs. Perhaps this is the reason why the Sangam folks chose these birds to talk about the intimacy and inseparability of these ancient lovers. While this seems to be a mere observation about two people, looking closer, we can sense the empathy in this traveller about their challenging circumstances and their deep love. In the second, a traveller talks about the lady and man and mentions them to be resting in a little town at the edge of the drylands. The gentle nature of the lady is sketched in the way her eyes startle at the sound of birds, while the man’s strong personality is portrayed by symbolising him as a sturdy bull. This traveller makes an intricate observation about the mothers in that town where the pair are resting for the night. They are the mothers of young maidens and they seem to be in a lot of worry. Perhaps these mothers are thinking about the mother of this young maiden who has eloped and are sympathising with her sorrow or they are worried that their own daughters may inflict them with the similar pain of eloping with a young man. In the third, is a sweet observation by a traveller about the interaction between the man and lady in the drylands. Seeing a tall burflower tree, resounding with bees, the man seems to have read the mind of his lady and held down a branch for her to pluck flowers from. After she plucked those flowers, the lady was busy separating one group of flowers for her and one group for her doll, made of sedge grass. Seeing this, the man’s heart was filled with joy, says this traveller. To think of this maiden as someone still playing with dolls jolts us indeed. But this is a repeated reference of maiden holding on to their dolls even when they have parted away with men! In the fourth, the lady takes the spotlight and requests some priests she meets on the way to pass on a message to her playmates that she was doing well, and that her beauty was intact, even as she traverses the drylands with the man. The lady thinks back about her friends with affection and knowing that they will worry in her absence and passes on this message to the travelling priests. In the fifth, the lady passes on a message to her mother this time, describing how the mother had forbidden the lady’s relationship with the man and calling mother as ‘unjust’. Though there seems to be a bit of anger on the part of the lady, she wants the traveller to pass on the good message to her mother that her daughter has crossed the drylands safely with her man. In the sixth, travellers address the lady’s birth mother by making a note of her suffering-filled state and inform her that the daughter she bore in her womb had crossed the dangerous drylands, where elephants and tigers rove. In the seventh, the travellers address the lady’s foster mother, who has followed the daughter she raised, trying to find her there. They say to this mother that they saw the lady in the middle of the drylands, and also mention how well the man took care of the lady, and together, they had crossed over. In the eighth too, these travellers inform the foster mother that the lady and man were seen resting in the shade of an ‘Aacha’ tree in the drylands and they point to a hill ahead and say, if you cross that, you will find the place where they were. Thereby, these travellers tell the foster mother that the lady is long gone and there was no use in pursuing her. In the ninth, the foster mother questions the travellers asking whether they saw the beautiful feet of the lady touch the hot ground, wondering how the delicate maiden was able to bear the scorching heat of the place. In the final verse, the travellers remark about the way the foster mother runs everywhere, asking all good people about her daughter with hands folded, and inform her they had indeed seen the man and the lady in the midst of the drylands. And so we see that this is a section with intricate descriptions about both the man and the lady and their travel through the harsh drylands. Moving indeed is the empathy expressed by the various actors such as the travellers about the state of the man, and the lady, the lady’s thought about informing her playmates and mother, and ultimately, a mother’s beating heart about the welfare of her daughter. In short, this is a poignant collection of verses talking about the journey of love!…

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