Sangam Lit

In this episode, we listen to words of angst, as depicted in Sangam Literary work, Aganaanooru 371, penned by Eyinanthai Magan Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse projects the pain in separation onto elements of nature. அவ் விளிம்பு உரீஇய விசை அமை நோன் சிலை,செவ் வாய்ப் பகழி, செயிர் நோக்கு ஆடவர்கணை இடக் கழிந்த தன் வீழ்துணை உள்ளி,குறு நெடுந் துணைய மறி புடை ஆட,புன்கண் கொண்ட திரி மருப்பு இரலைமேய் பதம் மறுத்த சிறுமையொடு, நோய் கூர்ந்து,நெய்தல்அம் படுவில் சில் நீர் உண்ணாது,எஃகு உறு மாந்தரின் இனைந்து கண்படுக்கும்,பைது அற வெம்பிய பாழ் சேர் அத்தம்,எமியம் நீந்தும் எம்மினும், பனி வார்ந்து,என்னஆம் கொல் தாமே ‘தெண் நீர்ஆய் சுனை நிகர் மலர் போன்ம்’ என நசைஇவீ தேர் பறவை விழையும்போது ஆர் கூந்தல் நம் காதலி கண்ணே? In this trip to the drylands, we get to see familiar sights, as we listen to the man say these words to his heart, in the middle of his journey through the drylands, having parted with the lady in the quest of wealth: “Wielding a sturdy bow, with taut strings, an exquisite edge and red-tipped arrows, men with unmerciful eyes, had shot and killed a female deer. Thinking of its fallen mate, as their tall and short young ones frolic around, the male deer with twisted antlers, looking around, with its listless eyes in deep sorrow, refuses to graze, and filled with affliction, doesn’t even drink up the little water, puddling in the pits of that saline land. It lies down with pain, akin to those people, who have been wounded by spears, in that moisture-less, utterly barren, doomed drylands. Even more than me, traversing this path, all alone, filled with tears, wouldn’t the eyes of my beloved, who has long, flower-clad tresses, suffer more? What would be the state of those eyes, around which thinking those are ‘flowers that bloom amidst picturesque springs with crystal waters’, bees in quest of blooms, buzz around?” Time to brave the barren spaces! The man starts by talking about how harsh-eyed robbers in the drylands have shot down a female deer with their well-etched weapons, namely a bow and arrow. Then, he shifts the focus onto the male deer which has lost its mate as it wallows in grief, even as the young kids leap about without any realisation. The deer refuses to graze or even have the little water, stagnating in a pit, the man etches, detailing the dreariness of the path he walks. The man concludes by declaring that though his suffering is great, it is nothing compared to the tearful state of the lady’s eyes, mistaken by bees for flowers that bloom in spring waters. Tender is the heart that goes beyond its suffering to reflect on the pain of another, and underscores all that is best about humanity!

In this episode, we listen to a hidden message, as depicted in Sangam Literary work, Aganaanooru 370, penned by Ammoovanaar. The verse is situated amidst the sand houses of the ‘Neythal’ or ‘Coastal Landscape’ and sketches the helplessness in the situation with vivid similes. ‘வளை வாய்க் கோதையர் வண்டல் தைஇ,இளையோர், செல்ப; எல்லும் எல்லின்று;அகல் இலைப் புன்னைப் புகர் இல் நீழல்,பகலே எம்மொடு ஆடி, இரவே,காயல் வேய்ந்த தேயா நல் இல்நோயொடு வைகுதிஆயின், நுந்தைஅருங் கடிப் படுவலும்’ என்றி; மற்று, ‘நீசெல்லல்’ என்றலும் ஆற்றாய்; ‘செலினே,வாழலென்’ என்றி ஆயின்; ஞாழல்வண்டு படத் ததைந்த கண்ணி, நெய்தல்தண் அரும் பைந் தார் துயல்வர, அந்தி,கடல் கெழு செல்வி கரை நின்றாங்கு,நீயே கானல் ஒழிய, யானேவெறி கொள் பாவையின் பொலிந்த என் அணி துறந்து,ஆடு மகள் போலப் பெயர்தல்ஆற்றேன்தெய்ய; அலர்க, இவ் ஊரே! In this trip to the seas, we encounter religious elements, as we listen to the confidante say these words to the lady, pretending not to notice the man, listening by the hedge, but making sure he’s in earshot: “After playing with sand houses, those young maiden wearing curving garlands, leave, as the day bids adieu and the night arrives. When I say to you, ‘In the thick shade of the wide-leaved laurel wood tree, after playing with me during the day, at night, if you are to remain with much affliction, at our fine, unfading home, thatched with dried grass, your father is bound to keep you under strict guard’, you relent not, and respond saying, ‘If I were to go, I shan’t live!’. In this manner, akin to the goddess of the sea, wearing a head garland woven with bee-buzzing screw-pine flowers, along with a swaying, fresh garland of moist and precious blue lotuses, if you are to remain at the shore, during this evening hour, leaving you here in the orchard, akin to a dancing maiden, who has performed the possessed ‘Veri’ ritual, casting away my radiant beauty, I cannot part away. Let this town spread slander, if it wants to!” Let’s listen to the words of this friend on a mission! The confidante starts by pointing out how the lady’s playmates after playing on the sands, building sand houses and sand dolls, have called it a day and gone home. She elaborates that night was arriving and she had told the lady that if after playing during the day with much joy, possibly in the company of the man, if the lady were to go home and spend her evening languishing in their home, then her father was sure to forbid her from going out and put her under a strict guard. To these words, the lady pays no heed and says that if she were to leave now, she cannot go on living, the confidante says. Then she sketches the way the lady was standing there on the shore, akin to a sea goddess, clad in flower garlands, shining in the light of dusk, refusing to come home. The confidante concludes by declaring it was impossible for her, to part away, like a worn out ‘Veri’ female dancer, and in a note of desperation, declares she cares not what gossip may coast through the town! In essence, the lady’s deep love for the man and wish to be with him, day and night, is proclaimed by the confidante, along with the dangers of being put under guard and slander spreading in town. All this to nudge the man to ‘Marry her, Marry her’. What’s interesting in this verse is the portrayal of the lady as the ‘sea goddess’ and the confidante as ‘the devotee seeking a boon’! The extent of responsibility and care the confidante shows for the lady’s life and happiness truly etches her as the abiding symbol of friendship, across space and time!

In this episode, we listen to a mother’s lament, as portrayed in Sangam Literary work, Aganaanooru 369, penned by Nakeerar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse differentiates two types of wedding ceremonies in the Sangam era. கண்டிசின் மகளே! கெழீஇ இயைவெனை:ஒண் தொடி செறித்த முன்கை ஊழ் கொள்பு,மங்கையர் பல பாராட்ட, செந் தார்க்கிள்ளையும் தீம் பால் உண்ணா; மயில் இயல்சேயிழை மகளிர் ஆயமும் அயரா;தாழியும் மலர் பல அணியா; கேழ் கொளக்காழ் புனைந்து இயற்றிய வனப்பு அமை நோன் சுவர்ப்பாவையும் பலி எனப் பெறாஅ; நோய் பொர,இவை கண்டு, இனைவதன்தலையும், நினைவிலேன்,கொடியோள் முன்னியது உணரேன், ‘தொடியோய்!இன்று நின் ஒலி குரல் மண்ணல்’ என்றதற்கு,எற் புலந்து அழிந்தனளாகி, தற் தகக்கடல்அம் தானை கை வண் சோழர்,கெடல் அரு நல் இசை உறந்தை அன்ன,நிதியுடை நல் நகர்ப் புதுவது புனைந்து,தமர் மணன் அயரவும் ஒல்லாள், கவர்முதல்ஓமை நீடிய உலவை நீள் இடை,மணி அணி பலகை, மாக் காழ் நெடு வேல்,துணிவுடை உள்ளமொடு துதைந்த முன்பின்அறியாத் தேஎத்து அருஞ் சுரம் மடுத்தசிறியோற்கு ஒத்த என் பெரு மடத் தகுவி,‘சிறப்பும் சீரும் இன்றி, சீறூர்நல்கூர் பெண்டின் புல் வேய் குரம்பைஓர் ஆ யாத்த ஒரு தூண் முன்றில்ஏதில் வறு மனைச் சிலம்பு உடன் கழீஇ,மேயினள்கொல்?’ என நோவல் யானே. In this trip to the drylands, we spend more time back home rather than out in the domain, as we listen to the lady’s foster mother say these words to her daughter, who’s also the lady’s confidante, at the juncture of the lady’s elopement with the man: “Look at this, my daughter! What’s the point of my close bond with her? Even when many women, wearing neat rows of shining bangles on their forearms as tradition dictates, coax and praise, the red-garlanded parrot refuses to drink up its sweet milk; Her mates, adorned in red ornaments, with the appearance of peacocks, do not partake in play; The pots do not adorn themselves with flowers; The goddesses etched on the sturdy wall, with deep colours, and decorated with pearl strands, refuse to accept any offerings; Looking at all this, my affliction brims over. As if that wasn’t enough, my thoughts torment me about not understanding what was in the mind of that cruel girl, when I said to her, ‘O maiden adorned with bangles! I shall perform the ritual bath on your luxuriant tresses today’, and she seemed to be heartbroken and angry at me. In tandem with her status, she refuses to wear new clothes in her prosperous, fine mansion, akin to the indestructible, famous town of ‘Uranthai’, ruled by the generous Chozhas, who lead a victorious navy, and get married with the blessings of her kin. Instead, walking through that barren, long path, filled with ‘Toothbrush trees’ having forked trunks, along with her suitable young man, holding a sapphire-studded shield and tall spear with a sturdy stem, with an emboldened heart and courageous strength, my greatly naive girl treads unknown nations through harsh drylands. As for me, thinking, ‘Without any fame or glory, in an empty and barren thatched hut of an impoverished woman in a small hamlet, where there’s but a single cow tied to a pillar in the front yard, she is determined to undertake her anklet removal ritual and marry him’, I suffer endlessly!” Time to hear a mother’s words of angst! Those who are unaware may wonder as to why the lady has a foster mother. It should be understood that the word ‘foster mother’ does not have the contemporary connotation of a social welfare scheme. Rather, in that era, a woman’s confidante joined the woman’s household and helped the woman raise her children. This foster mother would take care of all of the lady’s daily needs and grooming, and also, her daughter would end up being the lady’s best friend. With that context established, we can listen to what this foster mother has to say. The foster mother starts by asking her daughter, the lady’s confidante, what’s the use of having a close bond with the lady thus far. Then she goes on to talk about all the changes that have happened in the house. At the moment, the parrot was refusing to drink its milk, even when many maiden coax it, the lady’s playmates refuse to play any more, even pots are refusing to flower, and as for the goddesses etched on the walls in bright colours, they were saying no to the offerings. Seeing the dreary transformation of their home, the foster mother says she’s sad but even more than that, her thoughts keep jumping back to the moment when she offered to wash the lady’s hair and that made the lady angry and depressed. This may confuse you as to why the lady should get so mad about a mere hair wash, like a stubborn toddler or a sprightly puppy! The reason is that was a ceremonial hair wash for a young woman, ready for marriage.  This must have made alarm bells ring in the lady’s mind, for off she went with her beloved young man, wielding a shield and spear, and daring to walk through the barren drylands. The foster mother says how the lady doesn’t seem to want to get married in her wealthy mansion, which is placed in parallel to the rich city of Uranthai, ruled by the sea-faring Chozhas, wearing new clothes and receiving the blessings of her relatives. Instead, the lady seems to only want to get married, removing her anklets, without any pomp or splendour, in an impoverished hut in some remote village, where there’s only one cow tied to the front yard, the foster mother declares, and concludes that this makes her ache enormously! This is the angst of a person who sees what could have been. Though we have seen this theme many times, the verse records the value of a girl in her home and also subtle markers of wealth and poverty in those times!

In this episode, we listen to a hidden message of persuasion, as portrayed in Sangam Literary work, Aganaanooru 368, penned by Madurai Maruthan Ilanaakanaar. The verse is situated amidst the soaring trees of the ‘Kurinji’ or ‘Mountain landscape’ and describes the surprising nature of spreading slander. தொடுதோற் கானவன் சூடுறு வியன் புனம்,கரி புறம் கழீஇய பெரும் பாட்டு ஈரத்து,தோடு வளர் பைந் தினை நீடு குரல் காக்கும்ஒண் தொடி மகளிர்க்கு ஊசலாகஆடு சினை ஒழித்த கோடு இணர் கஞலியகுறும்பொறை அயலது நெடுந் தாள் வேங்கை,மட மயிற் குடுமியின் தோன்றும் நாடன்உயர் வரை மருங்கின் காந்தள் அம் சோலைக்குரங்கு அறிவாரா மரம் பயில் இறும்பில்,கடி சுனைத் தெளிந்த மணி மருள் தீம் நீர்பிடி புணர் களிற்றின் எம்மொடு ஆடி,பல் நாள் உம்பர்ப் பெயர்ந்து, சில் நாள்கழியாமையே வழிவழிப் பெருகி,அம் பணை விளைந்த தேக் கட் தேறல்வண்டு படு கண்ணியர் மகிழும் சீறூர்எவன்கொல் வாழி, தோழி! கொங்கர்மணி அரை யாத்து மறுகின் ஆடும்உள்ளி விழவின் அன்ன,அலர் ஆகின்று, அது பலர் வாய்ப் பட்டே? In this trip to the highlands, we get to see many picturesque scenes, as we listen to the confidante say these words to the lady, as they wait for a tryst by day, pretending not to see the man nearby, but making sure he’s earshot: “In the wide field, burnt and cleared by a forester, clad in leather slippers, the black surfaces are washed clean by the moisture of a heavy downpour, and here, the blooming green millets, with long stalks and luxuriant petals, are protected by maiden, clad in shining bangles. The tall-trunked Kino tree, near the small hill, extends its swaying branch, filled with flower clusters, as the swing for those maiden, and appears akin to the crest of a naive peacock, in the mountains of the lord! In those soaring spaces of his, filled with picturesque groves of flame-lilies, with the dense jungle of soaring trees, which even monkeys know not about, amidst the clear, sapphire-like, sweet waters of the remote spring, akin to a male elephant uniting with its mate, he had played with you, for many days. Then, when it has only been a few days, when he parted away elsewhere, something has brimmed over in this hamlet, wherein people clad in bee-buzzing garlands delight in the sweet toddy that blooms in the beautiful palmyra tree! How is this possible, my friend, may you live long! Akin to the ‘Ulli’ festival, wherein the ‘Kongars’ tie bells to their waists and dance in the streets, so loud the slander spreads here, echoing across mouths many!” Let’s take that mountain trek and learn the spread of the land and the mind! The confidante starts by going to a past activity of mountain folk, clearing the trees by their slash and burn methods. A curious mention here is of these mountain men as being clad in slippers, perhaps to protect themselves from the heat of the burning forest! Then, the confidante mentions how the rains pour down and cleanse the blackened surfaces, and further on, how millets grow abundantly in that field. From the millets, she turns to focus on maiden, who guard those millet fields, and then jumps to their play things, the swings that hang from a branch of the Kino tree, filled with blooming flower clusters, and appearing like a crest atop a peacock’s head. This stitching of images is simply to describe the man’s mountain country. After that address drop, the confidante moves on to mention the activities of the man along with the lady, playing together like an elephant couple, in the well-protected, sweet springs, deep in the jungle, with trees that even the all-knowing monkeys know nothing about. Then, the confidante talks about how it has only been a few days since the man left the lady, and went on other tasks, and within that interval, so much slander had spread in their town, where people are known to delight in toddy. That slander was so much louder than the Ulli festival of the Kongars, who tie bells to their waists and dance about in the streets, the confidante concludes! An attempt to tell the listening man that his absences create disturbances in the lady, which causes slander to spread and bring more trouble to the lady, thereby nudging him to give up his temporary trysting and seek the permanent path of happiness by claiming her hand. Beyond this usual theme of ‘Marry her, marry her’, what’s interesting in this verse is to reflect on those picturesque spaces available for a couple to meet and get to know each other. What better place to lay the foundation of one’s love than in the presence of the gushing waters of a spring, the rustling leaves of trees, in the comforting lap of nature?

In this episode, we listen to a lady’s angst-ridden thoughts, as depicted in Sangam Literary work, Aganaanooru 367, penned by Paranar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches a scene of wait and watch at the boundary of the tamed and wild.  இலங்கு சுடர் மண்டிலம் புலம் தலைப்பெயர்ந்து,பல் கதிர் மழுகிய கல் சேர் அமையத்து,அலந்தலை மூதேறு ஆண் குரல் விளிப்ப,மனை வளர் நொச்சி மா சேர்பு வதிய,முனை உழை இருந்த அம் குடிச் சீறூர்,கருங் கால் வேங்கைச் செஞ் சுவல் வரகின்மிகு பதம் நிறைந்த தொகு கூட்டு ஒரு சிறை,குவி அடி வெருகின் பைங் கண் ஏற்றைஊன் நசைப் பிணவின் உயங்கு பசி களைஇயர்,தளிர் புரை கொடிற்றின், செறி மயிர் எருத்தின்,கதிர்த்த சென்னிக் கவிர்ப் பூ அன்னநெற்றிச் சேவல் அற்றம் பார்க்கும்புல்லென் மாலையும், இனிது மன்றம்மநல் அக வன முலை அடையப் புல்லுதொறும்உயிர் குழைப்பன்ன சாயல்,செயிர் தீர், இன் துணைப் புணர்ந்திசினோர்க்கே. In this trip to the drylands, we perceive intense scenes, as we listen to the lady say these words to the confidante, when the man continues to remain parted away, having left in search of wealth: “As the radiant, flaming orb, migrating away, traverses to the mountains, diminishing its rays, an anxious, old male deer sends out its call, and near the chaste tree, which grows near houses, herds of deer come together and rest, in that beautiful, little hamlet near a jungle fort. Here, upon the red earth with black-trunked Kino trees, blooms millets. Standing on one side of the silo containing these abundant millet grains, wishing to end the exhausted hunger of its mate, yearning for flesh, a green-eyed male cat with pointed feet stands biding its time, to nab the rooster with cheeks, akin to tender sprouts, a neck covered in thick hair, and a comb atop its upright neck, akin to a Coral tree flower cluster, in this listless evening hour. Even this dull time, would turn sweet for those, who have the good fortune to be one with their flawless, sweet mate, feeling as if life’s melting every time their fine, decorated bosom is embraced!” Time to take a walk in the scrub jungle! The lady starts by talking about the time of the day, when the sun sets in the western mountains. She mentions how at that time, a worried male deer would send out a call and its herd of deer would group around the chaste tree, growing near a house in the village by the fort. She mentions how upon this red earth, millets bloom in abundance, and how the people of that village heap the grains in a silo. Standing near one such silo, a green-eyed jungle cat, wanting to end the hunger of its mate, waits to seize a rooster, roving around in that evening hour. The lady concludes by declaring that even such a dull time would turn pleasant to someone who had their mate to embrace. Another declaration of ‘I’m lost without him’ by the pining lady. The evening, the night, the rainy season, spring all seem to torment the parted, according to the Sangam poets!

In this episode, we perceive words about a person’s state of mind, as depicted in Sangam Literary work, Aganaanooru 366, penned by Kudavayil Keerathanaar. The verse is situated amidst the lush paddy fields of the ‘Marutham’ or ‘Farmlands landscape’ and presents a unique scene of conflict between people from two different professions. தாழ் சினை மருதம் தகை பெறக் கவினியநீர் சூழ் வியன் களம் பொலிய, போர்பு அழித்து,கள் ஆர் களமர் பகடு தலை மாற்றி,கடுங் காற்று எறிய, போகிய துரும்பு உடன்காயல் சிறு தடிக் கண் கெடப் பாய்தலின்,இரு நீர்ப் பரப்பின் பனித் துறைப் பரதவர்தீம் பொழி வெள் உப்புச் சிதைதலின், சினைஇ,கழனி உழவரொடு மாறு எதிர்ந்து, மயங்கி,இருஞ் சேற்று அள்ளல் எறி செருக் கண்டு,நரை மூதாளர் கை பிணி விடுத்து,நனை முதிர் தேறல் நுளையர்க்கு ஈயும்பொலம் பூண் எவ்வி நீழல் அன்ன,நலம் பெறு பணைத் தோள், நல் நுதல் அரிவையொடு,மணம் கமழ் தண் பொழில் அல்கி, நெருநைநீ தற் பிழைத்தமை அறிந்து,கலுழ்ந்த கண்ணள், எம் அணங்கு அன்னாளே. In this trip to the land of plenty, we see nerves flare and sparks fly, as we listen to the confidante say these words to the man, when he returns after courting a courtesan, seeking entry into the lady’s house: “In that water-enveloped, wide field, adorned by Arjuna trees, with low lying branches, blooming with beauty, spreading haystacks, those farmers, who delight in fine toddy, let bulls stomp around to thresh their grain. As fierce winds blow, the husk flies and spreads around the drying patches in the salt pan. As their fine, white salt gets ruined because of this, the fishermen, who live on the cool shores of the huge ocean, become furious, and rise up in anger against farmers in the field. Seeing the conflict bursting out in the battleground of that dark, muddy field, wise men with greying hair, separate the fighting parties, and offer well-aged nectar to the fisherfolk in the town of ‘Neezhal’, ruled by ‘Evvi’, clad in golden ornaments. Akin to the beauty of this town, are the beautiful, bamboo-like arms of that maiden having a fine forehead, with whom you rested along, in the cool and fragrant shores yesterday. Knowing that you wronged her thus, the eyes of the one, who’s akin to a spirit, brim over with tears!” Let’s explore this prosperous domain and learn more! The confidante starts with a detailed description of a place, where first we see a wide field, with the characteristic trees of this landscape. Here, farmers are threshing their harvested paddy grain by letting bulls walk through. At this time, a speedy wind blows through and because of this, the husk flies and settles on the fields of the salt pan nearby. It’s one of those rare mentions of both ‘Marutham’ or ‘Farmlands’ and ‘Neythal’ or ‘Coastal’ landscape occurring close to each other! Returning, the fisherfolk, who are involved in the complementary work of making salt, get mad seeing their produce ruined. So, they head to the fields and pick up a fight with the farmers. Arriving at that conflict-ridden spot, wise old men separate the fighting folks and calm the newcomers by giving them sweet, filtered nectar, the confidante etches, mentioning that this is happening in the town of ‘Neezhal’, ruled by Evvi. Why this long description of this coast-farm city? Only to say, akin to the beauty of this city was the arms of the courtesan, the man had been spending time in the cool shores the previous day. The confidante concludes by saying that the lady had come to know of the man’s meandering with the courtesan, and that, much wounded, she had been wallowing in tears!  In essence, the confidante is telling the man that there’s no hope of reconciliation at the moment since the lady was mad and sad about the man’s actions! Apart from the usual rivalries, what’s striking in this verse is that scene of conflict between fishermen and farmers, and more importantly, the sweet resolution enacted by wise old members of the society, which present a vivid slice of life from the ancient past!

In this episode, we listen to words of admonishment, as portrayed in Sangam Literary work, Aganaanooru 365, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a study in contrast of barrenness and beauty. அகல் வாய் வானம் மால் இருள் பரப்ப,பகல் ஆற்றுப்படுத்த பையென் தோற்றமொடுசினவல் போகிய புன்கண் மாலை,அத்த நடுகல் ஆள் என உதைத்தகான யானைக் கதுவாய் வள் உகிர்,இரும் பனை இதக்கையின், ஒடியும் ஆங்கண்,கடுங்கண் ஆடவர் ஏ முயல் கிடக்கை,வருநர் இன்மையின் களையுநர்க் காணாஎன்றூழ் வெஞ் சுரம் தந்த நீயேதுயர் செய்து ஆற்றாயாகி, பெயர்பு, ஆங்குஉள்ளினை வாழிய, நெஞ்சே! வென் வேல்மா வண் கழுவுள் காமூர் ஆங்கண்,பூதம் தந்த பொரி அரை வேங்கைத்தண் கமழ் புது மலர் நாறும்அம் சில் ஓதி ஆய் மடத் தகையே. In this trip to this harsh domain, we get to see familiar sights, as we listen to the man say these words to his heart, in the middle of his journey through the drylands: “As darkness spreads in the wide sky, the day crosses over, and with a listless appearance, filled with fury, the suffering-filled evening arrives. At this time, thinking that a hero stone in the middle of the drylands is a person, a jungle elephant kicks it, causing its huge toe nail to break, appearing akin to a palm fruit’s shell. In such a place, harsh-eyed men, who wait, intent on showering their arrows, find no wayfarers to end their impoverishment. You have brought me to such a barren, scorching space, and not satisfied with the sorrow you’ve rendered thus far in coming here, now you are also thinking about that naive and noble maiden with beautiful tresses, which have the fragrance of the moist, new flowers blooming upon that Kino tree, with a parched trunk, on which resides a spirit, in the town of Kaamoor, ruled by the strong and courageous Kazhuvul, who wields a victorious spear! Long may you live, my heart!” Time to brave the formidable paths! The man starts by sketching the time of the day and talks about how a dull evening seems to arrive, pushing aside the daylight in the sky, and at this time, not seeing very clearly, an elephant seems to mistake a memorial stone in the middle of the drylands for a person standing there, and gives it a kick, only to find its nail tearing apart in the impact. This is equated aptly to the torn shell of a palm fruit or ice apple, called as ‘nungu’ in contemporary Tamil. From the time of the day, the man moves on to talk about the place, and he mentions how the prominent denizens of this domain, the highway robbers, seem to lie in wait for wayfarers, but their wait only ends in disappointment for no one dares to come through those scorching spaces. The man turns to his heart and points out how it has brought him to such a place where even those harsh-eyed robbers are to be pitied, and concludes by saying as if the heart had not caused enough trouble, now it was thinking about the lady, the scent of whose tresses is akin to the flowers of a particular Kino tree, favoured by spirits, in the town of Kaamoor, ruled by Kazhuvul. Indeed, it’s the familiar theme of separating one’s heart from oneself and trying to overcome the despair of the situation.  On a tangent, what struck me in this verse is the way this poet remembers a particular Kino tree, in a specific town, and its features. Doesn’t it seem like these poets had a unique bonding with the trees they encountered in their travels, as if they were on first name basis with them? I conclude that it’s only by living such a life, characterised by a deep awareness of all the elements of nature around, that these poets have attained their extraordinary powers of expression! 

In this episode, we listen to a lady’s lament, as portrayed in Sangam Literary work, Aganaanooru 364, penned by Madurai Maruthankizhaar Maganaar Perunkannanaar. The verse is situated amidst the blooming trees of the ‘Mullai’ or ‘Forest Landscape’ and sketches the picturesque changes in the season of rains. மாதிரம் புதையப் பாஅய், கால் வீழ்த்து,ஏறுடைப் பெரு மழை பொழிந்தென, அவல்தோறுஆடு களப் பறையின் வரி நுணல் கறங்க,ஆய் பொன் அவிர் இழை தூக்கியன்னநீடு இணர்க் கொன்றை கவின் பெற காடு உடன்சுடர் புரை தோன்றிப் புதல் தலைக் கொளாஅ,முல்லை இல்லமொடு மலர, கல்லபகு வாய்ப் பைஞ் சுனை மா உண மலிர,கார் தொடங்கின்றே காலை; காதலர்வெஞ் சின வேந்தன் வியன் பெரும் பாசறை,வென்றி வேட்கையொடு நம்மும் உள்ளார்;யாது செய்வாம்கொல்? தோழி! நோதகக்கொலை குறித்தன்ன மாலைதுனைதரு போழ்தின், நீந்தலோ அரிதே! In this trip to this moist landscape, we get to see pleasant sights, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left her on a mission of war: “Spreading in a such a way as to bury all sense of direction, descending down, along with thunder, huge rain clouds have poured down. Striped toads in many pits resound akin to drums in a festivity. As if exquisite, radiant ornaments are hung down, the golden shower tree with long clusters makes the forest glow with beauty. Akin to lamps, the flame-lily blooms atop bushes, and along with wild jasmines, the clearing nut tree too blooms. All the wide-mouthed, fresh springs in the mountains fill up for animals to savour.  Such is the hour when the rainy season has begun. At this time, that lover of mine, who’s at the wide battle camp of the furious king, with his intention focused on victory, has no thought about me. What should I do, my friend? When the evening hour arrives beside me with much haste, as if intent on murder, it would be impossible to prevail over!” Let’s soak in the rain of emotion! The lady starts by talking vividly about how the rains have showered, and as a consequence, toads are croaking, akin to festival drums, the golden shower tree is all ablaze, as if adorned with hanging ornaments, flame-lilies seem to light up with lamps, and as if all these splendours were not enough, the wild jasmines and clearing nut tree flowers have bloomed in synchrony. Further, to render relief to all thirsting animals, the watering holes in the mountain paths were brimming over. After stating that everything was blooming in the season of rains, the lady explains that her state was in contrast, for her lover was locked in a king’s battle, and so intent on victory was he that he had no thought about her. She concludes by wondering what she would do, when the murderous evening hour arrived and stood beside her! Reading these lines, it occurred to me how these poets have visualised a woman as a vine that would collapse if not for the sturdy support of her beloved.  Moving beyond the lady’s sorrow which no doubt the man would soon allay, it was a sensory delight to hear the toads croaking, see the dangling golden shower clusters, inhale the fragrance of the wild jasmines, taste the cool mountain springs and sense the magic that the rains seem to cast upon the earth!

In this episode, we listen to words of hope rendered to a languishing heart, as portrayed in Sangam Literary work, Aganaanooru 363, penned by Madurai Pon Sey Kollan Vennaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse details the activities of the denizens in this domain. நிரை செலல் இவுளி விரைவுடன் கடைஇ,அகல் இரு விசும்பில் பகல் செலச் சென்று,மழுகு சுடர் மண்டிலம் மா மலை மறைய,பொழுது கழி மலரின், புனையிழை! சாஅய்அணை அணைந்து இனையை ஆகல், கணை அரைப்புல் இலை நெல்லிப் புகர் இல் பசுங் காய்கல் அதர் மருங்கில் கடு வளி உதிர்ப்ப,பொலம் செய் காசின் பொற்பத் தாஅம்அத்தம் நண்ணி, அதர் பார்த்து இருந்தகொலை வெங் கொள்கைக் கொடுந் தொழில் மறவர்ஆறு செல் மாக்கள் அரு நிறத்து எறிந்தஎஃகு உறு விழுப்புண் கூர்ந்தோர் எய்திய,வளை வாய்ப் பருந்தின், வள் உகிர்ச் சேவல்கிளை தரு தெள் விளி கெழு முடைப் பயிரும்இன்னா வெஞ் சுரம் இறந்தோர், முன்னியசெய் வினை வலத்தர் ஆகி, இவண் நயந்து,எய்த வந்தனரே தோழி! மை எழில்துணை ஏர் எதிர் மலர் உண்கண்பிணை ஏர் நோக்கம் பெருங் கவின் கொளவே. In this trip to this formidable domain, we witness harsh scenes, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Wielding horses in a neat row with much speed, as that diminishing flame traverses the huge and wide sky in the course of the day and vanishes into the dark mountains, akin to a flower at dusk, do not fade and fall upon your bed with suffering, O maiden wearing well-etched jewels! Flawless, fresh fruits of the thick-trunked, small-leaved gooseberry tree, are scattered by strong winds upon rocky paths, and appear akin to shining golden coins, in those drylands paths. Keeping a lookout here, those men, who are in the harsh line of work with a heartless policy of killing, aim their spears at the hearts of wayfarers. Those who fall to the wounds of these spears, are spotted by a male vulture with curving bills and sharp claws, which sends out a clear call to summon its flock so as to feed on the flesh, in that hot and hostile drylands. He who traversed thither, has attained success in his mission of gaining wealth, and with much passion for you, he arrives soon, my friend, to claim the great beauty of your kohl-streaked, dark and beautiful eyes, akin to twin flowers tied together, with the gaze of a naive, female deer!” Time to brave the dangers of the scrub jungle! The confidante starts by asking the lady not to fade like a flower bud at the end of the day, when the sun, after riding its chariot across the sky, leaves to rest in the mountains. Then she presents a description of the drylands, first starting with yellow gooseberry fruits, scattered by the wind, appearing like gold coins. Incidentally, the name of the poet who penned this verse has the descriptor ‘Pon Sey Kollan’ which translates to ‘Goldsmith’. Sounds like a goldsmith, who penned poetry in his spare time! Someone who perhaps doesn’t have to worry about the age-old maxim, ‘No money to be made in art!’.  Returning, we find the confidante continuing that description from the shining image of fallen gooseberries to the harsh scenes of killing of wayfarers by highway robbers, and then vultures feeding on the flesh of the fallen. After establishing the horrors of the domain the man had left to, the confidante concludes by declaring he’s done with his mission of gaining wealth, and he returns with much passion to claim the beauty of the lady’s flower-like eyes with a deer-like gaze. Yet again, these are a friend’s words of cheer to a crestfallen heart! These Sangam poets make it sound as if the women then had no other job other than waiting for their men. It’s hard to believe that this and only this was the preoccupation of every woman who lived then. For we do have female poets like ‘Avvaiyaar’ and ‘Vella Veethiyaar’, penning exquisite poetry. So, at least they are proof that women did other things other than to just wait for their beloved. Perhaps this was a standard format of penning poetry, like a template, and it was upto each poet to add their unique touch. Thankful for every glimpse of a tree, a flower, a bird, an animal, a human way of life and aspect of culture that manages to emerge from this beaten-to-death theme of a woman pining! 

In this episode, we listen to a hidden message of persuasion, as portrayed in Sangam Literary work, Aganaanooru 362, penned by Velli Veethiyaar. The verse is situated amidst the spraying cascades of the ‘Kurinji’ or ‘Mountain Landscape’ and describes the dangers of a tryst by night. பாம்புடை விடர பனி நீர் இட்டுத் துறைத்தேம் கலந்து ஒழுக, யாறு நிறைந்தனவே;வெண் கோட்டு யானை பொருத புண் கூர்ந்து,பைங் கண் வல்லியம் கல் அளைச் செறிய,முருக்கு அரும்பு அன்ன வள் உகிர் வயப் பிணவுகடி கொள, வழங்கார் ஆறே; ஆயிடைஎல்லிற்று என்னான், வென் வேல் ஏந்தி,நசை தர வந்த நன்னராளன்நெஞ்சு பழுதாக, வறுவியன் பெயரின்,இன்று இப்பொழுதும் யான் வாழலெனே;எவன்கொல்? வாழி, தோழி! நம் இடை முலைச்சுணங்கு அணி முற்றத்து ஆரம் போலவும்,சிலம்பு நீடு சோலைச் சிதர் தூங்கு நளிப்பின்இலங்கு வெள் அருவி போலவும்,நிலம் கொண்டனவால், திங்கள் அம் கதிரே! In this trip to the highlands, we get to see the usual sights, as we listen to the confidante say these words to the lady, speaking in the voice of the lady, pretending not to notice the man listening nearby, but making sure he’s in earshot: “From the mountain peaks, filled with snakes, cool water flows through the narrow shores, fused with honey, making the river brim over; After fighting with a white-tusked elephant, nursing its wounds, the green-eyed, strong male tiger rests in the mountain cleft, protecting its tired mate with sharp claws, akin to Coral tree buds, in that path, which wayfarers avoid; Without considering the dangers of such a place and that it’s the dark hour of night, carrying a white spear, with desire, the good and noble man would arrive here. If he were to return empty-ended, with a broken heart, I have to give up my life, this very instant. What to do? Long may you live, my friend! Akin to the necklace that lies between our pallor-spotted bosoms, is the radiant, white cascade, and akin to the way it spreads moist drops all through the groves in the mountains, the rays of the moon shower upon the land!” Time to take that night trek through the mountains. The confidante speaks in the voice of the lady, and starts by talking about how water gushes down from the mountains, filled with flowers and the nectar of honeycombs, making the river overflow. The confidante adds that in a path nearby, a tiger rests after a fight with an elephant, even as it protects its mate, picturesquely placing its sharp claws in parallel to the coral tree buds. She continues by saying so dangerous is that path that wayfarers stay away from it, and yet the man, without caring about the predators, which wait to attack, or the dark hour of the midnight, comes walking with just his spear for company, hoping to tryst with the lady. This is where we find out the confidante us speaking in the voice of the lady for she says, if at all he were to return disappointed, then she wouldn’t live another moment. The confidante means the lady wouldn’t live another moment, and by extension, herself. The confidante concludes by pointing out how the moon’s rays spread all around the land, just like the white cascade amidst the mountains, which is like a necklace amidst their bosoms, spreads moist drops all over the mountain groves.  These words are to impress upon the listening man the pain and suffering the lady goes through every time the man doesn’t get to tryst with her. To avoid such frequent angst, the confidante subtly nudges the man to choose the path of permanent happiness by marrying the lady. Moving beyond the usual ‘Marry her, Marry her’ theme, we find the striking aspect of this verse in the way the similes are stacked by comparing the necklace on the bosom to the cascade amidst the mountains, and then the spray of that cascade upon all the groves in the mountain to the moonlight that brightens the land! To add to this stack of similes, like that moonlight that brightens the spread of the land, these words from the past seem to shower their glow upon the acres of time!