Kalithogai 118 – Ambushed by the evening

Sangam Lit

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Think 'Meet the Press', but gayer. This News is So Gay is a weekly LGBTQ+ reporters roundtable, featuring a rotating panel of LGBTQ+ journalists from across the country covering national hot-button queer news and views. Substantive yet entertaining, our weekly episodes will keep you in the know on all the latest news from those actually covering what's going down.

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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!

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Kalithogai 118 – Ambushed by the evening

Sangam Lit

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MP3•Źródło odcinka

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:

302 odcinków

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

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3 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!…

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

4 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!…

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Aganaanooru 135 – Like a besieged town 4:13

7 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!…

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Aganaanooru 134 – Hasten not the horses 5:06

8 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!…

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Aganaanooru 133 – The love in his words 5:57

9 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!…

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Aganaanooru 132 – The dream of a bee 5:36

10 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!…

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

11 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?…

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Aganaanooru 130 – Those eyes of hers 4:57

14 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!…

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Aganaanooru 129 – Impossible to stay away 6:00

15 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!…

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Aganaanooru 128 – Watching every step he takes 5:06

16 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!…

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Aganaanooru 127 – All the wealth cannot compare 6:06

17 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!…

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!…

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