Sangam Lit

In this episode, we listen to an intricate explanation, as depicted in Sangam Literary work, Aganaanooru 236, penned by Paranar. The verse is situated amidst the flourishing paddy stalks of the ‘Marutham’ or ‘Farmlands landscape’ and refers to a renowned story of loss from those times. மணி மருள் மலர முள்ளி அமன்ற,துணி நீர் இலஞ்சிக் கொண்ட பெரு மீன்அரி நிறக் கொழுங் குறை வௌவினர் மாந்திவெண்ணெல் அரிநர் பெயர்நிலைப் பின்றை,இடை நிலம் நெரிதரு நெடுங் கதிர்ப் பல் சூட்டுப்பனி படு சாய்ப் புறம் பரிப்ப, கழனிக்கருங் கோட்டு மாஅத்து அலங்கு சினைப் புதுப் பூமயங்கு மழைத் துவலையின் தாஅம் ஊரன்காமம் பெருமை அறியேன், நன்றும்உய்ந்தனென் வாழி, தோழி! அல்கல்அணி கிளர் சாந்தின் அம் பட்டு இமைப்ப,கொடுங் குழை மகளிரின் ஒடுங்கிய இருக்கைஅறியாமையின் அழிந்த நெஞ்சின்,‘ஏற்று இயல் எழில் நடைப் பொலிந்த மொய்ம்பின்,தோட்டு இருஞ் சுரியல் மணந்த பித்தை,ஆட்டன் அத்தியைக் காணீரோ?’ எனநாட்டின் நாட்டின், ஊரின் ஊரின்,‘கடல் கொண்டன்று’ என, ‘புனல் ஒளித்தன்று’ என,கலுழ்ந்த கண்ணள், காதலற் கெடுத்தஆதிமந்தி போல,ஏதம் சொல்லி, பேது பெரிது உறலே. In this trip to this tricky domain, we get to see the usual scenes of plenty, as we hear the lady say these words to her confidante, at a time when the lady had permitted the man back to her house, after his time away with courtesans: “Having sapphire-like flowers, the water-thorn flourishes near ponds with crystal clear water. Gathering huge fish from here, harvesters of white paddy cook those striped, fleshy pieces and eat them with relish. Later, they cut tall paddy stalks and heap the stacks so densely that the land in between is invisible to the eyes, hiding the dew-covered low ground beneath in those fields, where the new flowers of a black-trunked mango tree's swaying branch, drop down and scatter, appearing like the rain's drizzle, in the town of the lord! For a while, I did not get to appreciate the greatness of his love. But I had a narrow escape, long may you live, my friend! In the manner of maiden, adorned with curving heavy earrings, those who wear exquisite, radiant sandalwood and gleaming pretty silk, with a subdued, humble stance, he had come in the middle of the night and my heart fell for him, owing to my naivety. And that's why, akin to Aathi Manthi, the one who had lost her beloved, and who went around asking in country upon country, town upon town, ‘Has anyone seen the one, who has a bull's fine gait and radiant shoulders, a fragrant head full of dense, black curls, known by the name ‘Aattan Aththi'?', as she wondered endlessly ‘Has the ocean snatched him?' or ‘Has the river hid him?', I did not have to lament and suffer with great confusion!” Time to sit back and listen to the love quarrels of this domain! The lady starts by describing the man’s land, and to do that, she brings forth the image of lush ponds, surrounded by water-thorn plants with deep blue flowers. From these ponds, harvesters catch hold of fatty fish, cook and relish them, the lady continues, and talks about how energised, those harvesters come over to the fields and do their hard work of cutting the paddy stalks and heaping the stacks. So fertile is this land that you can’t even glimpse a bit of the ground between these stacks, the lady paints, and then mentions how the blooming mango tree, on the side of the fields, showers down its flowers, confusing those around with the sensation of a drizzle. Such is the beauty and fertility of the man’s town, the lady completes. Then she goes on to talk about how one night the man had come to her in a such a humbled, subdued way that he almost appeared to her like a maiden clad in silk and adorned with sandalwood. Seeing his pleading stance, she had accepted him back, the lady says. She concludes by telling her friend that’s how she had a narrow escape from the state of Aathi Manthi, who had roamed high and low, searching for her lost husband, the handsome Aattan Aththi, wondering whether the sea had swallowed him or the river had buried him.  Most probably the confidante has asked a simple question, ‘How come you have accepted the man back?’, to which the lady has rendered this explanation of how her ignorance and compassion let her take the man back, and thus prevented her from going about searching for him, wondering where he was! It could also be a sarcastic take on the man’s meandering ways! While such tussles will come and go in the life of these townsfolk, what’s interesting here is how the story of Aathi Manthi keeps coming back to us, over and over again. She must have made a huge impression on the minds of Sangam poets, if such a person truly lived. In many ways, she seems to be the inspiration for the stellar character of ‘Kannagi’ in the Post-Sangam era epic ‘Silapathikaaram’, standing as the epitome of devotion to one’s partner!

In this episode, we listen to the angst-ridden voice of a lady, as depicted in Sangam Literary work, Aganaanooru 235, penned by Kazhaarkeeran Eyitriyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse paints a vivid portrait of the many flowers that bloom in the aftermath of the rains. அம்ம வாழி, தோழி! பொருள் புரிந்துஉள்ளார்கொல்லோ, காதலர்? உள்ளியும்,சிறந்த செய்தியின் மறந்தனர்கொல்லோ?பயன் நிலம் குழைய வீசி, பெயல் முனிந்து,விண்டு முன்னிய கொண்டல் மா மழைமங்குல் அற்கமொடு பொங்குபு துளிப்ப,வாடையொடு நிவந்த ஆய் இதழ்த் தோன்றிசுடர் கொள் அகலின் சுருங்கு பிணி அவிழ,சுரி முகிழ் முசுண்டைப் பொதி அவிழ் வான் பூவிசும்பு அணி மீனின் பசும் புதல் அணிய,களவன் மண் அளைச் செறிய, அகல் வயல்கிளை விரி கரும்பின் கணைக்கால் வான் பூமாரி அம் குருகின் ஈரிய குரங்க,நனி கடுஞ் சிவப்பொடு நாமம் தோற்றி,பனி கடி கொண்ட பண்பு இல் வாடைமருளின் மாலையொடு அருள் இன்றி நலிய,‘நுதல் இறைகொண்ட அயல் அறி பசலையொடுதொல் நலம் சிதையச் சாஅய்,என்னள்கொல் அளியள்?’ என்னாதோரே. In this trip to the drylands, we hardly get a glimpse of this harsh domain, as we listen to the lady say these words to her confidante, when her man continues to remain parted away, having left in search of wealth: “Listen my friend, may you live long! As he goes about seeking wealth, won't that lover of mine even think of me? Even when he does, burdened by the excess of his mission, will he forget to do anything about it? After pouring down aplenty on fertile lands, disliking to pour anymore, huge, dark rain clouds have migrated to the mountains. At this time, when a mere drizzle of the passing clouds remain, and as the northern winds blow, the flame-lily with exquisite petals loosens its tight buds, and blossoms akin to an earthen lamp, lit by a flame; The curled buds of the common night glory open out their white flowers decorating green bushes, akin to the stars that adorn the sky; As crabs retire to their mud holes, in wide fields, where sugarcanes spread their stalks, their thick-stemmed white flowers, appear bent akin to birds drenched in the rain; With immense fury, invoking fear, brimming with cold, the compassion-less northern winds continue to blow in this confusing evening hour and assail me with no mercy. How can he be without thinking, ‘With pallor, which reveals everything to others, residing firmly in her forehead, and her old beauty fading away, what will be the state of that pitiable one?'!” Let’s listen to the lady’s lament! She starts by beckoning her friend’s attention, wondering if thoughts of her won’t even cross the man’s mind, and even if it does, would he just ignore it owing to the burden of his work. Then, she goes on to talk about the world around her, mentioning how the rains are done and dusted, and the clouds have gone on a vacation to the mountains. In this season, flowers are blooming everywhere, first it’s the radiant flame-lily, looking like a lit earthen lamp, then it’s the common night glory or the midnapore creeper, upon the green bushes, looking like stars in the sky, and then moving further on to the fields, as crabs run inside the mud holes, the sugarcane’s bent white flowers, give an appearance of soaked white birds, shivering in the rain. The lady talks about how as if the sight of all this blooming wasn’t enough to torment her, the northern winds had joined hands too, at piling suffering upon her. The lady concludes by asking how could the man remain there, at peace, without considering the effect of all these elements, the pallor which announces her affliction to those around, and her ruined beauty, without even sparing a single moment of thought for her pitiable state! In essence, the lady says there’s beauty all around but none I can see for he is far away and it pains to think that he doesn’t think about me. Hope the expression of this angst helps the lady resolve her pain, and learn to receive the gift that we’ve been given, the one of delighting in the beauty of that blooming world around!

In this episode, we listen to a passionate request put forth, as depicted in Sangam Literary work, Aganaanooru 234, penned by Peyanaar. The verse is situated amidst the buzzing bees of the ‘Mullai’ or ‘Forest landscape’ and sketches the speed of an envisioned journey. கார் பயம் பொழிந்த நீர் திகழ் காலை,நுண் அயிர் பரந்த தண் அய மருங்கின்,நிரை பறை அன்னத்து அன்ன, விரை பரிப்புல் உளைக் கலிமா மெல்லிதின் கொளீஇய,வள்பு ஒருங்கு அமையப் பற்றி, முள்கியபல் கதிர் ஆழி மெல் வழி அறுப்ப,கால் என மருள, ஏறி, நூல் இயல்கண் நோக்கு ஒழிக்கும் பண் அமை நெடுந் தேர்வல் விரைந்து ஊர்மதி நல் வலம் பெறுந!ததர் தழை முனைஇய தெறி நடை மடப் பிணைஏறு புணர் உவகைய ஊறு இல உகள,அம் சிறை வண்டின் மென் பறைத் தொழுதிமுல்லை நறு மலர்த் தாது நயந்து ஊத,எல்லை போகிய புல்லென் மாலை,புறவு அடைந்திருந்த உறைவு இன் நல் ஊர்,கழி படர் உழந்த பனி வார் உண்கண்நல் நிறம் பரந்த பசலையள்மின் நேர் ஓதிப் பின்னுப் பிணி விடவே. In this trip to the forests, we get a tour of a transport, as we listen to the man say these words to his charioteer, when he has completed his mission and intends to return home: “At this time, when rains have poured productively and made the land flourish with water, as fine silt spreads around cool lakes, akin to geese that fly in a neat row, wield your speeding horses with sparse manes. Holding on firmly to their reins tied so gently, pressing down the many-spoked wheels, which cut across soft paths, making one confused if it's the wind, climb on to the tall chariot, which is built according to the right rules, and which moves with such speed that it escapes the eyes, hasten and ride on, O victorious charioteer! A naive female deer with a leaping trot, having had its fill of leaves, disliking any more, turns to unite with its mate and frolics without interruption, and a swarm of bees, with exquisite, soft wings, buzz around the fragrant flowers of the wild jasmine, scattering their fine pollen, in this evening hour, when the day has ended. Now, in the delightful village, so pleasant to stay amidst the forests, she would be with suffering soaring in her tear-brimming, kohl-streaked eyes, and her fine form coated with pallor. Ride on, O charioteer, so that the lightning-like tresses of my maiden will be rid of their tangles many!” Let’s fly on and hear the man’s heartbeat amidst the hoof-beat! The man starts by talking about the time of the year, and to portray it, he mentions how the rains have poured and filled the land with much water and fertility. This is a subtle note to say that the rainy season, which is usually the promised season of return, had arrived. Now he compares his horses to geese, most probably the bar-headed geese that fly in a synchronised motion, high up in the skies, and asks his charioteer to hold on to their reins and direct them, as he sits on their well-etched chariot, which the man claims has been made to perfection. The man insists that the way the charioteer rides should confuse people if it’s just a chariot or the wind, so fast and steady must its motion be that it escapes even the eyes. The man’s thoughts then turn to the lady’s fine village in the forest, in the evening hour, when deers would be uniting with joy and bees would be delighting in the wild jasmine blooms. While there’s so much joy and beauty around, the man says the lady will be standing with tears brimming over in her eyes, and her form covered in pallor, pining for him. The man concludes by urging his charioteer to hurry on, so that his beloved’s hair would be rid of all those knots and tangles!  What has the man’s return got to do with the lady’s tresses? To understand its meaning, we have to know of the tradition of Sangam maiden not adorning their tresses, not even combing them, when their man is away! No doubt those thick tresses would end up matted after such a long absence! But the moment the lady learns of the man’s homecoming, she would groom her hair and bloom again like those wild jasmines, the man predicts. Glad the women of now have come a long way from such ancient traditions, and have uncoupled the act of taking care of their appearance and well-being, from the distance to their beloved! 

In this episode, we perceive the promise of a return, as depicted in Sangam Literary work, Aganaanooru 233, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse mentions an act of ritual offering by a famous Sangam era king. அலமரல் மழைக் கண் மல்கு பனி வார, நின்அலர் முலை நனைய, அழாஅல் தோழி!எரி கவர்பு உண்ட கரி புறப் பெரு நிலம்பீடு கெழு மருங்கின் ஓடு மழை துறந்தென,ஊன் இல் யானை உயங்கும் வேனில்,மறப் படைக் குதிரை, மாறா மைந்தின்,துறக்கம் எய்திய தொய்யா நல் இசைமுதியர்ப் பேணிய உதியஞ் சேரல்பெருஞ் சோறு கொடுத்த ஞான்றை, இரும் பல்கூளிச் சுற்றம் குழீஇ இருந்தாங்கு,குறியவும் நெடியவும் குன்று தலைமணந்தசுரன் இறந்து அகன்றனர்ஆயினும், மிக நனிமடங்கா உள்ளமொடு மதி மயக்குறாஅ,பொருள்வயின் நீடலோஇலர் நின்இருள் ஐங் கூந்தல் இன் துயில் மறந்தே. In this trip to the drylands, we get to see much of this harsh domain, 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: “With your bewildered, rain-like eyes, brimming over with tears, and moistening your blossomed breasts, cry not, my friend! Feasted upon by flames, with a black surface, extends the huge land, which rain clouds have abandoned, scuttling away to other proud and fertile regions. Here, flesh-less elephants rove about in the heat of summer. Such are the drylands. King Uthiyan Cheral, had spread out great offerings of rice, celebrating his ancestors, who had commanded over a courageous army of horses, who had lived with an undying fame and an unswerving strength, and who had attained the heavens. Akin to the forms of many dark demons in a horde, which had assembled at that time, to gorge on those offerings, soar around many short and tall peaks in the drylands.  Though he has parted away thither, with his relentless heart urging him on to seek wealth, and making him confused, he is not someone, who will delay his return, forgetting the sweet sleep he has savoured on your darkness-like, five-part tresses!” Time to brave the heat of this terrain and explore on! The confidante starts by talking about the lady’s state of crying ceaselessly, pining for the man who has left. Then she goes on to describe the place to which the man has left, the land which fire has engulfed, a possible reference to wild-fire breakouts, and charred as a result. She also talks about how the rain clouds have given this land the cold shoulder, preferring to associate with other elite lands of fertility. And on such a scorched and barren land, elephants rove around with sagging skin, bereft of flesh, in the heat of summer, the confidante comments. Then to talk about how this region is surrounded by many tall and short hills, the confidante brings forth a historical reference, describing the time when a Chera King Udhiyan spread out huge offerings of food in honour of his ancestors. This, is a believable fact, for indeed many people here, are known to honour their ancestors with such offerings even to this day. However, the confidante talks about demonic figures that come to feed on these offerings, and it’s those figures she places in parallel to those tall and short hills around the scorching drylands. The confidante concludes by telling the lady though the man, yearning for wealth, nudged by his heart, and much confused, has left to such a place, he is not someone who can possibly stay there, forgetting the peaceful moments of slumber he had experienced on the lady’s tresses. Those tresses again! What is it about a Sangam maiden’s tresses that so many poets keep singing about it over and over again? Something to do with the scent of a woman and its powerful influence on attraction, no doubt! In this version of ‘Worry not, your beauty will bring the man back’, we got to say hello to a bit of fantasy fused as one with history!

In this episode, we perceive a subtle technique of persuasion, as portrayed in Sangam Literary work, Aganaanooru 232, penned by Kodimangalathu Vaathuli Narchenthanaar. The verse is situated amidst the blooming Kino trees of the ‘Kurinji’ or ‘Mountain landscape’ and describes a ritual performed in Sangam times. காண் இனி வாழி, தோழி! பானாள்,மழை முழங்கு அரவம் கேட்ட, கழை தின்,மாஅல் யானை புலி செத்து வெரீஇ,இருங் கல் விடரகம் சிலம்பப் பெயரும்பெருங் கல் நாடன் கேண்மை, இனியே,குன்ற வேலிச் சிறுகுடி ஆங்கண்,மன்ற வேங்கை மண நாட் பூத்தமணி ஏர் அரும்பின் பொன் வீ தாஅய்வியல் அறை வரிக்கும் முன்றில், குறவர்மனை முதிர் மகளிரொடு குரவை தூங்கும்ஆர் கலி விழவுக் களம் கடுப்ப, நாளும்,விரவுப் பூம் பலியொடு விரைஇ, அன்னைகடியுடை வியல் நகர்க் காவல் கண்ணி,‘முருகு’ என வேலற் தரூஉம்பருவமாகப் பயந்தன்றால், நமக்கே. In this trip to the mountains, we get to hear the confidante say these words to the lady, pretending not to notice the man, who has arrived for his tryst with the lady, but making sure he’s in earshot: “See this, my friend, may you live long! In the middle of the night, hearing the thunderous roar of the rain cloud, a huge elephant feeding on bamboos, frightened that it's a tiger, runs away trumpeting aloud, making the huge mountain range resound in the man's mountain country. In a small hamlet, fenced by peaks, the Kino tree in the village centre blooms  brightly announcing auspicious days of marriage, and shed golden flowers from sapphire-hued bud stalks, which spread on wide rocky spaces, in the front yard of mountain men, who perform ‘Kuravai' dance with mature maiden, in those spaces of festivity, filled with uproar. Akin to that, every day, spreading flowers and sacrifice, mother wishing for protection of the well-guarded, fine mansion, seeks blessings of ‘Murugu' with rituals of ‘Velan'. Your relationship with the man from the mountain country has bestowed upon us, such a time in our lives!” Time to take a trek amidst the rocky terrain and learn of the challenges in the lady’s life! The confidante starts by beckoning her friend’s attention. Then she goes on to describe the man’s mountain country, and to do that, she brings forth an image of an elephant, startled by the sound of thunder, in the middle of the night, and thinking it’s the roar of the tiger, it scuttles away trumpeting, making the entire mountain range echo in fear. After that description of the man’s mountain country, the confidante goes on to describe how the ‘Vengai’ trees are in full bloom, and they are announcing the season of weddings had arrived. As these golden flowers fell on the rocky spaces in the front yards, mountain men and women perform the ‘Kuravai’ dance with much joy. Appearing akin to that field of festivities, was their own home, the confidante continues, why because mother had decided to curry favour with God ‘Murugu’, using the professional services of ‘Velan’ the priest and seek protection for their house, and to this end, the mother had spread flowers and other sacrificial offerings. Now, the confidante connects these happenings to the lady’s relationship with the man and concludes by wondering at the state they find themselves in now. To unravel the meanings, we have to understand the reason Mother is starting her ‘Murugu’ worship was because she had noticed the changes in her beloved daughter, who is apparently happy when she’s with the man, and whenever he leaves, she falls into despair and mother’s sharp eyes have caught this. Not knowing that the man is the reason for that, she goes about seeking Murugu’s help to alleviate the lady’s symptoms, implies the confidante. This is also reflected in the scene of the elephant, mistaking thunder for a tiger,  and echoes how the lady’s family has mistaken the consequence of the man’s relationship in the lady as ‘Murugu’s ire’. All this is to nudge the man to give up his temporary trysting, take steps to reinstate the lady’s honour and seek her hand in marriage. Yet again, the confidante choreographs that seamless ‘Kuravai’ dance between nature and culture to bring about permanent joy in the lady’s life!

In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 231, penned by Madurai Eezhathu Boothan Thevanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the fame of a Pandya King and his city. ‘செறுவோர் செம்மல் வாட்டலும், சேர்ந்தோர்க்குஉறும் இடத்து உவக்கும் உதவி ஆண்மையும்,இல் இருந்து அமைவோர்க்கு இல், என்று எண்ணி,நல் இசை வலித்த நாணுடை மனத்தர்கொடு விற் கானவர் கணை இடத் தொலைந்தோர்,படு களத்து உயர்த்த மயிர்த் தலைப் பதுக்கைக்கள்ளி அம் பறந்தலைக் களர்தொறும் குழீஇ,உள்ளுநர்ப் பனிக்கும் ஊக்கு அருங் கடத்திடைவெஞ் சுரம் இறந்தனர்ஆயினும், நெஞ்சு உருகவருவர் வாழி, தோழி! பொருவர்செல் சமம் கடந்த செல்லா நல் இசை,விசும்பு இவர் வெண் குடை, பசும் பூட் பாண்டியன்பாடு பெறு சிறப்பின் கூடல் அன்ன நின்ஆடு வண்டு அரற்றும் முச்சித்தோடு ஆர் கூந்தல் மரீஇயோரே. In this trip to the drylands, we encounter some frightening images and also take a detour to a famous Sangam era city, 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: “Thinking, ‘The ability, to destroy hubris of foes, and to render aid when friends come seeking in need, does not come to those who stay at home content, nudged by his mind, filled with shame, and yearning to attain good fame, he has left to the scorching drylands, where those who have perished to arrows of men of the jungle, wielding curving bows, in battlefields, are buried with their hairy heads lifted above the ground and covered with shallow stone graves, in those vast saline spaces, where cactus spreads densely. Even though he treads upon such an inaccessible path that makes those who think about it tremble, he shall return with his heart melting, my dear friend, may you live long! Having the undying great fame of routing the attack of his enemies, and a white royal umbrella akin to the sky, rules ‘Pasumpoon Pandiyan', in his capital of ‘Koodal', having the fame of being sung about by bards many. Akin to this city, is your bee-buzzing head of tresses, adorned with flowers. He who has found sweet sleep on these tresses of yours will return indeed, without fail!” Let’s walk on those barren spaces and learn more! The confidante starts by outlining the reasons the man left in search of wealth and these are noble in nature, for he had come to the conclusion that if he wanted to slay the arrogance of his enemies and render without reservation to his friends, he cannot remain at home and do nothing, but must leave in search of wealth. So, propelled by his sense of shame, he had left to the drylands, the confidante says, and goes on to talk about the harsh nature of this domain by painting an image of the men, who had fallen to the arrows of the drylands’ robbers, buried with their hairy heads covered in stones, and mentions how such paths are frightening to even think about. Hardly words of reassurance to the anxious lady! While that may be so, the confidante continues, the man is sure to return with his heart, beating so tenderly for the lady, because he was one, who had relished sweet sleep on those tresses of the lady, which the confidante concludes by placing in parallel to the celebrated city of ‘Koodal’, ruled by a renowned king of Sangam times known by the name of ‘Pasumpoon Pandiyan’.  High praise for this city, for to be placed in parallel with a lady’s beauty, was considered the highest honour that can be endowed on a place! This city of ‘Koodal’ is none other than the city of ‘Madurai’, celebrated even in contemporary times, for being the place that reared and protected the language of Tamil over the ages. On a tangent, a question arose in my head as to why all these men in search of wealth had to go through the drylands. Why can’t they sail by the coast or trek through the mountains? When reflecting, the thought that struck me was such a barren and desolate region could be an imaginative metaphor to contrast the comfort and safety a person leaves behind, when they venture into a new place! Perhaps, it’s a subtle whisper from the past that the drylands of doubt and despair must be crossed before we can step on to the lush fields of fertility that awaits us in the future! 

In this episode, we perceive a man’s ecstatic emotions, as depicted in Sangam Literary work, Aganaanooru 230, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the blooming blue lotuses of the ‘Neythal’ or ‘Coastal Landscape’ and sketches a conversation and its consequences. ‘உறு கழி மருங்கின் ஓதமொடு மலர்ந்தசிறு கரு நெய்தற் கண் போல் மா மலர்ப்பெருந் தண் மாத் தழை இருந்த அல்குல்,ஐய அரும்பிய சுணங்கின், வை எயிற்று,மை ஈர் ஓதி, வாள் நுதல் குறுமகள்!விளையாட்டு ஆயமொடு வெண் மணல் உதிர்த்தபுன்னை நுண் தாது பொன்னின் நொண்டு,மனை புறந்தருதிஆயின், எனையதூஉம்,இம் மனைக் கிழமை எம்மொடு புணரின்,தீதும் உண்டோ, மாதராய்?’ என,கடும் பரி நல் மான் கொடிஞ்சி நெடுந் தேர்கை வல் பாகன் பையென இயக்க,யாம் தற் குறுகினமாக, ஏந்து எழில்அரி வேய் உண் கண் பனி வரல் ஒடுக்கி,சிறிய இறைஞ்சினள், தலையேபெரிய எவ்வம் யாம் இவண் உறவே. In this trip to the seas, we get to see more of the person than the land, as we listen to the man say these words to his heart, after sharing a moment with a lady: “When I said going close to her, ‘Adorning huge, eye-like flowers of the small, dark blue lotus, blooming in the fresh flood of waves, near vast backwaters, along with huge, and cool dark leaves around your waist, which is covered with beauty spots many, having sharp teeth, moist, thick black tresses, radiant forehead, art thou, O young maiden! Along with your playmates, you gather fine pollen of the laurel wood tree fallen on the white sands, and considering it as gold, you pretend play houses. If at all, you were to play houses with me by uniting with me for real, is there anything wrong, O magnificent woman?', as my skilful charioteer slowed down the speeding, fine horses tied to the tall chariot, carved with well-adorned curving seat, hiding the tears in her exquisite, kohl-streaked eyes with red lines, she bent her head a little, causing me to feel a huge suffering just then!” Let’s relish the sight of the lush seaside flowers and listen on! The man starts by describing the blue lotuses that are blooming like eyes only to say the lady is wearing the same, along with its thick leaves around her waist. After her attire, the man describes her teeth, tresses, and forehead, celebrating their beauty. Then, he goes on to mention how the lady is gathering pollen of the laurel wood tree and treating it as if it were gold, and adorning the sand house that she has built with her mates. After mentioning what the lady’s been doing thus far, the man asks her if there’s anything wrong if she were to come play houses for real with him! To this, the lady, as if sharing her consent, with tear-brimming eyes, had bent her head a little and that action had thrown the man’s heart into a flutter, he concludes!  I know! I was shocked to hear such a question put forth to a girl playing with sand houses. But we have to keep away our modern lenses and observe this interaction. Perhaps young girls were so innocent in those times that they kept playing with sand houses much into maturity. Or, the concept of age and appropriateness could have been totally different in this culture. If we were to see beyond these specifics, at the core, it’s a man proposing to a woman, and hearing her silent acceptance. If we can see that, we can relate to that timeless explosion of feelings in a person at that moment when they can see that their love is reciprocated! 

In this episode, we listen to a lady’s angst, as depicted in Sangam Literary work, Aganaanooru 229, penned by Madurai Koolavaanikan Seethalai Saathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes aspects of this domain and the arrival of a season. பகல் செய் பல் கதிர்ப் பருதி அம் செல்வன்அகல் வாய் வானத்து ஆழி போழ்ந்தென,நீர் அற வறந்த நிரம்பா நீள் இடை,கயந் தலைக் குழவிக் கவி உகிர் மடப் பிடிகுளகு மறுத்து உயங்கிய மருங்குல் பல உடன்பாழ் ஊர்க் குரம்பையின் தோன்றும் ஆங்கண்,நெடுஞ் சேண் இடைய குன்றம் போகி,பொய்வலாளர் முயன்று செய் பெரும் பொருள்நம் இன்று ஆயினும் முடிக, வல்லென,பெருந் துனி மேவல்! நல்கூர் குறுமகள்!நோய் மலிந்து உகுத்த நொசி வரல் சில் நீர்பல் இதழ் மழைக் கண் பாவை மாய்ப்ப,பொன் ஏர் பசலை ஊர்தர, பொறி வரிநல் மா மேனி தொலைதல் நோக்கி,இனையல் என்றி தோழி! சினையபாசரும்பு ஈன்ற செம் முகை முருக்கினப்போது அவிழ் அலரி கொழுதி தாது அருந்து,அம் தளிர் மாஅத்து அலங்கல் மீமிசை,செங் கண் இருங் குயில் நயவரக் கூஉம்இன் இளவேனிலும் வாரார்,‘இன்னே வருதும்’ எனத் தெளித்தோரே. In this trip to the drylands, we experience tender scenes in the scrub jungle, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left in search of wealth: “As the many-rayed handsome sun, which creates the day, splits across the wide-mouthed sky, akin to a wheel, in those endless, long paths, bereft of even a drop of water, a naive female elephant refuses to eat leaves, leaving those for its tender-headed calf, and owing to the ensuing starvation, appears with a shrunken form, looking like huts in a ruined town. To such a place, after crossing peaks across great distances, that man of lies has gone to spend his efforts on gaining wealth. My friend, when you heard my words, ‘Let him attain that great wealth promptly, even if it means he loses me', you had said to me, ‘Do not shower your anger, O young maiden, who came as a boon to your parents! Filled with affliction, shedding tear drops, hiding the pupil of your many-petalled, rain-like eyes, as a golden pallor covers you, looking at your fine, dark skin, filled with delicate lines, becoming ruined, worry not!'. Pecking and feeding on the pollen of fully bloomed flowers of the Coral tree, soaring from red buds on spreading branches, and then flying to a mango tree, with exquisite, tender sprouts, and perching on a swaying branch atop, the red-eyed black cuckoo calls out in a melodious tune in this sweet time of spring. The one who had promised that ‘I will be back soon', has not yet returned even now!” Time to take that walk through the sweltering drylands again! The lady starts by talking about the weather in the drylands, the way the sun seems to roll across the sky like a wheel and scorch the land beneath, without any pity. As a consequence, there’s not a drop of water to be had and food is hard to come by, which makes a female elephant give up its meal of leaves for the sake of its young calf, and seems to take on the appearance of a thatched hut in shambles, the lady says. Such are the scenes in the drylands, where the man has gone to gain wealth, the lady connects. Then she turns to the confidante and recollects how she had said in anger wishing the man to gain that wealth he sought even if it meant that she were to die. To this, the confidante had responded like a good friend that she is, asking the lady not to cry and worry about the changes in her form because of her pining. The lady concludes by expressing how it was impossible to accept the confidante’s consolation because spring was here, announced by the music of the content cuckoo, which had pecked on the pollen of the bright red coral flowers and was resting on the dancing branches of the mango tree, and yet the man had not returned in this sweet time of togetherness.  Spring’s not right, rainy season is not right, the cold season too, these women seem to declare, when parted from their beloved. In short, no season is acceptable to be apart, to these maiden in love! The striking moments of this oft-repeated theme is in the selflessness of that mother elephant and in the sweet song of the cuckoo in spring, evoking emotions of care and joy, beyond the boundaries of space and time!

In this episode, we listen to words of hidden persuasion, as depicted in Sangam Literary work, Aganaanooru 228, penned by Andar Magan Kuravazhuthiyaar. The verse is situated amidst the blooming blue lilies of the ‘Kurinji’ or ‘Mountain landscape’ and presents scenes from nature having a cultural significance. பிரசப் பல் கிளை ஆர்ப்ப, கல்லெனவரை இழி அருவி ஆரம் தீண்டித்தண் என நனைக்கும் நளிர் மலைச் சிலம்பில்,கண் என மலர்ந்த மா இதழ்க் குவளைக்கல் முகை நெடுஞ் சுனை நம்மொடு ஆடி,பகலே இனிது உடன் கழிப்பி, இரவேசெல்வர்ஆயினும், நன்றுமன் தில்லவான்கண் விரிந்த பகல் மருள் நிலவின்சூரல் மிளைஇய சாரல் ஆர் ஆற்று,ஓங்கல் மிசைய வேங்கை ஒள் வீப்புலிப் பொறி கடுப்பத் தோன்றலின், கய வாய்இரும் பிடி இரியும் சோலைப்பெருங் கல் யாணர்த் தம் சிறுகுடியானே. In this short little trip to the mountains, we gaze at picturesque sights, as we listen to the confidante say these words to the lady, when they are waiting for the man to arrive for his nightly tryst with the lady, pretending not to notice the man listening nearby, but making sure he’s in earshot: “Making swarms of bees resound, with an uproar, the cascade descends down the mountains, caressing the sandalwood tree in its path, and soaking it with moisture, in the fertile mountain slopes, where akin to eyes, bloom the huge-petaled blue lilies. In the wide spring amidst the rocky clefts herein, if he can play with you, pass the day together with much joy, and then leave by night, when the moon spreads on the sky, brightening it like the day, walking on those paths through the slopes, filled with jujube brushes, to his prosperous little hamlet, amidst the tall hills, where a dark female elephant with a huge mouth, mistakes the bright flowers of the Kino tree soaring amidst the boulders, for the stripes of a tiger and scuttles away in fear, that would a good thing!” Let’s soak in the gushing waterfall and learn more! The confidante starts by talking about how the cascade comes pouncing down the mountain, scattering swarms of bees, and soaking a sandalwood tree standing in its path. A moment to imagine the scent of the waters gushing in this manner! Then, the confidante continues portraying how the cascade falls down and pools into a spring, where blue-lilies are blooming in abundance. It’s this spot that’s perfect for the man to meet the lady by day, relish her sweet company, and then leave to his town by night, says the confidante. She concludes by characterising the man’s mountain village as a place, where a female elephant looks at the golden flowers of the Kino tree, mistakes it for a tiger, and runs away scared.  Looking at the words of the verse, it seems like a harmless request to change the tryst from night to day. However, by placing the image of the brightly blooming Kino flowers, the confidante subtly hints that it’s the season of weddings, and instead of choosing the temporary path of trysting, the man must take steps to claim the lady’s hand in marriage. Hope the ‘decrypter’ is functioning right in the man’s head to decipher this cryptic message, seeking a change in action. A moment to appreciate the significance a simple flower’s blooming has in the life of a Sangam maiden, talking about a time when nature and culture were fused as one!

In this episode, we perceive a wish for the welfare of another, as portrayed in Sangam Literary work, Aganaanooru 227, penned by Nakirar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches scenes from nature and history. ‘நுதல் பசந்தன்றே; தோள் சாயினவே;திதலை அல்குல் வரியும் வாடின;என் ஆகுவள்கொல் இவள்?’ என, பல் மாண்நீர் மலி கண்ணொடு நெடிது நினைந்து ஒற்றி,இனையல் வாழி, தோழி! நனை கவுள்காய் சினம் சிறந்த வாய் புகு கடாத்தொடுமுன் நிலை பொறாஅது முரணி, பொன் இணர்ப்புலிக் கேழ் வேங்கைப் பூஞ் சினை புலம்ப,முதல் பாய்ந்திட்ட முழு வலி ஒருத்தல்செந் நிலப் படு நீறு ஆடி, செரு மலைந்து,களம் கொள் மள்ளரின் முழங்கும் அத்தம்பல இறந்து அகன்றனர் ஆயினும், நிலைஇ,நோய் இலராக, நம் காதலர்! வாய் வாள்,தமிழ் அகப்படுத்த இமிழ் இசை முரசின்,வருநர் வரையாப் பெரு நாள் இருக்கை,தூங்கல் பாடிய ஓங்கு பெரு நல் இசைப்பிடி மிதி வழுதுணைப் பெரும் பெயர்த் தழும்பன்கடி மதில் வரைப்பின் ஊணூர் உம்பர்,விழு நிதி துஞ்சும் வீறு பெறு திரு நகர்,இருங் கழிப் படப்பை மருங்கூர்ப் பட்டினத்து,எல் உமிழ் ஆவணத்து அன்ன,கல்லென் கம்பலை செய்து அகன்றோரே! In this trip to the drylands, we journey on to some prosperous towns as well, as we get to hear the lady say these words to her confidante, when the man continues to remain away, having parted in search of wealth.  “Saying, ‘Her forehead is coated with pallor; Her arms are thinning away; The fine lines on her loins, covered in beauty spots, have faded; What will become of her?', with your eyes brimming over with tears, do not think a lot and worry on my behalf. May you live long, my friend! Having moist cheeks, and raging fury, with musth fluid entering its mouth, unable to bear the sight in front, with enmity, a strong male elephant pounces on the trunk of the Kino tree, with golden flowers, in the hue of a tiger. Depriving the tree of its flowers and leaving it desolate, the elephant then rolls in the mud of the red earth beneath and quenches its rage. Rising from there, akin to the shout of warriors, when they claim victory on a battlefield, the elephant roars in the drylands. Though that lover of mine has parted away, crossing many such drylands’ paths, may he remain well and without affliction! Wielding an honest sword, and having a roaring drum that has subdued all of Tamil land, showering limitlessly on supplicants in his great court, lives the famous king, having the celebrated name of ‘Thazhumban', sung about by Poet Thoongal, having a scar in the shape of an eggplant, since he was stamped by a female elephant. He rules over the prosperous town of ‘Oonoor', protected by soaring fort walls. Beyond his town, in Marungoor, filled with great, unshakeable wealth, adorned with proud and affluent mansions, and having huge backwaters and orchards, the marketplaces shine with radiant light and resound with noise. Akin to that uproar, he has caused slander to soar in town and parted away! Even so, may he journey on without any distress!” Time to brave the dangerous paths of this domain! The lady starts by acknowledging the worry in her confidante, about her lustreless forehead, thinning arms and fading beauty. She asks the confidante not to worry so much, with tear filled eyes, about her own state. Then she goes on to describe the drylands, where the man treads now, zooming on to a raging male elephant in musth, and the way it’s taking out its anger, not on a real enemy, like a tiger, but on a Kino tree, just because it has flowers in the hue of its arch rival! After dashing against the poor tree, and making its flowers shed, the elephant then rolls in glee in the red earth and roars aloud, sounding like those blood-splattered warriors, when they claim victory in the battlefront. From here, the lady takes us to the town of Oonoor, surrounded by soaring fort walls and ruled by a renowned king, ‘Thazhumban’, with many laurels to his name. To list a few, apparently his drum had subdued the whole of Tamil land. It was interesting to catch that rare glimpse the word ‘Thamizh’ in the verse. To continue on the king’s laurels, he was said to be celebrated by an ancient Tamil poet named ‘Thoongal Vaariyaar’, and lastly, he had received his name which means ‘The One with a Scar’, because he happened to be stamped upon by an elephant, and here’s my favourite part, owing to that he has a scar in the shape of an eggplant. ‘Vazhuthunai’ is the exact word used in this verse for the eggplant! I had somehow always associated eggplants with Persian and Greek cuisine. It was only today I learnt that the eggplant is native to India and has even been found in the archaeological remains of the Indus Valley Civilisation. So, I’m naturally thrilled to find this eggplant reference in Sangam literature, though the Tamils have lost the use of this particular word, and call it ‘Kathirikai’ in contemporary times. Returning from our culinary meanderings, we learn this king Thazhumban and his town of Oonor have been summoned in this verse, only to take us further afar, to the markets of the affluent town of Marungoor, said to have backwaters and long-standing wealth, as reflected from its mansions. The lady connects the loud noise in the markets of Marungoor to the slander that has risen in town, owing to the man’s relationship with the lady. This tells us that the lady’s parting with the man is happening, before her marriage to the man. The lady concludes by saying even though the man has caused that uproar and left, after swearing that he would never part away from the lady, no harm should befall him in his journey! An inspiring expression of love that overlooks the hurt caused and wishes well for the beloved!

In this episode, we listen to a firm refusal, as depicted in Sangam Literary work, Aganaanooru 226, penned by Paranar. The verse is situated in the fertile fields of the ‘Marutham’ or ‘Farmlands landscape’ and portrays a historical moment from the era. உணர்குவென் அல்லென்; உரையல் நின் மாயம்;நாண் இலை மன்ற யாணர் ஊர!அகலுள் ஆங்கண், அம் பகை மடிவை,குறுந் தொடி மகளிர் குரூஉப் புனல் முனையின்,பழனப் பைஞ் சாய் கொழுதி, கழனிக்கரந்தை அம் செறுவின் வெண் குருகு ஓப்பும்,வல் வில் எறுழ்த் தோள், பரதவர் கோமான்,பல் வேல் மத்தி, கழாஅர் முன்துறை,நெடு வெண் மருதொடு வஞ்சி சாஅய,விடியல் வந்த பெரு நீர்க் காவிரி,தொடி அணி முன்கை நீ வெய்யோளொடுமுன் நாள் ஆடிய கவ்வை, இந் நாள்,வலி மிகும் முன்பின் பாணனொடு, மலி தார்த்தித்தன் வெளியன் உறந்தை நாள் அவைப்பாடு இன் தெண் கிணைப் பாடு கேட்டு அஞ்சி,போர் அடு தானைக் கட்டிபொராஅது ஓடிய ஆர்ப்பினும் பெரிதே. In this trip to the farmlands, we venture to the source of the town’s fertility, the river shore, as we listen to the lady’s confidante say these words to the man, when he seeks entry into the lady’s house, after leaving to be in the company of a courtesan: “I shall not accept it as truth! Speak not your words of trickery; You don't have any shame, O lord of the prosperous town! In wide spaces therein, clad in leaf garments with contrasting patterns, maiden wearing small bangles, after they tire of playing in the gushing streams, take to plucking new reeds from ponds, and chasing white birds from picturesque fields, filled with globe thistles, in the river shore of Kazhaar, ruled by the many-speared ‘Maththi', the king of the fisherfolk, having strong shoulders bearing a sturdy bow, where in the early hours of dawn, the new flood of Kaveri gushes, felling the tall, white Arjuna tree, along with the Portia tree. Here, along with that maiden you desire, wearing bangles on her forearm, you had been frolicking yesterday. The slander that arose today owing to that, is resounding louder than the uproar heard, when along with Paanan, having skilful strength, Katti, who had come with a huge army to attack Uranthai, ruled by the garland-clad Thiththan Veliyan, upon hearing the sweet music of the clear ‘Kinai' drums from the king's assembly, fearfully abandoned his mission and ran away!” Let’s listen to the familiar beats of a love quarrel in this land of plenty! The confidante comes straight to the point and refuses to accept the man’s words, calling them as lies and declaring that the man was shameless. When we ask her the reason for this emphatic statement, she launches into a description of the town of Kazhaar, ruled by the great Maththi, renowned for his spears, called as the ‘King of fishermen’, and apparently one who had strong shoulders to bear bows. The chap seems to be handling both spears and arrows, a multi-faceted warrior, seems like! Anyway, returning to the river shore of Kazhaar, here we find young maiden, wearing stylish leaf garments in striking designs and playing in the stream. After a while, tired of the exertion, they walk on to the ponds, where reeds are blooming, pluck those, and then run about chasing the white birds from the fertile fields, which not only have crops, but also colourful globe thistles growing therein. After laying out a day in the life of these carefree maiden, the confidante talks about how in these very river shores of Kazhaar, the river Kaveri had gushed with much force, felling two great trees in its stride, and it was right here, where the man had been having fun with another maiden he desired, a day previous. And because of that, continues the confidante, a booming slander had risen in town, which was louder than the uproar that erupted at the moment, when a ruler named Katti, having come with another ruler named Paanan to attack the town of ‘Uranthai’, ruled by Thiththan Veliyan, just after hearing the sound of Thiththan’s Kinai drums, abandoned his idea and ran away from Uranthai! Why would an attacking ruler abandon his mission just after hearing drum beats of the enemy king? A curious story, no doubt told to extol the prowess and aura of King ‘Thiththan Veliyan’! Anyway, good to see that the confidante is not fooled by the man’s deception, calls a spade a spade, and makes the lady’s dignity reverberate like those ‘Kinai’ drums of Uranthai!

In this episode, we perceive a dilemma unfolding, as depicted in Sangam Literary work, Aganaanooru 225, penned by Eyinanthai Makanaar Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the elements of this domain with intricate similes. அன்பும், மடனும், சாயலும், இயல்பும்,என்பு நெகிழ்க்கும் கிளவியும், பிறவும்,ஒன்றுபடு கொள்கையொடு ஓராங்கு முயங்கி,இன்றே இவணம் ஆகி, நாளை,புதல் இவர் ஆடு அமை, தும்பி குயின்றஅகலா அம் துளை, கோடை முகத்தலின்,நீர்க்கு இயங்கு இன நிரைப் பின்றை வார் கோல்ஆய்க் குழல் பாணியின் ஐது வந்து இசைக்கும்,தேக்கு அமல் சோலைக் கடறு ஓங்கு அருஞ் சுரத்து,யாத்த தூணித் தலை திறந்தவைபோல்,பூத்த இருப்பைக் குழை பொதி குவி இணர்கழல் துளை முத்தின் செந் நிலத்து உதிர,மழை துளி மறந்த அம் குடிச் சீறூர்ச்சேக்குவம் கொலோ நெஞ்சே! பூப் புனைபுயல் என ஒலிவரும் தாழ் இருங் கூந்தல்,செறி தொடி முன்கை, நம் காதலிஅறிவு அஞர் நோக்கமும் புலவியும் நினைந்தே? In this trip to the drylands, we get to see some striking images, as we listen to the man say these words to his heart, when it has been nudging him to part with the lady and go in search of wealth: “Love, naivety, beauty, goodness, words that could melt the very bones and many other such attributes are all fused as one in her. Today I'm in her embrace right here; But tomorrow, I shall be elsewhere, where upon the swaying bamboos, sprouting amidst the bushes, carpenter bees have drilled narrow and exquisite holes, and through which summer winds rush through, sounding like the music of those melodious flutes, of cowherds, wielding long rods, and walking behind herds of cattle, in search of water. In that formidable drylands, soaring with forests, full of teak trees, Mahua trees sprout with branch ends, appearing like an opened-out quiver full with arrows, and have fully bloomed clusters of rounded Mahua flowers, which drop down and scatter, appearing like holed pearls on the red earth beneath. In those little hamlets there, which have forgotten the sight of a raindrop, is it possible for us to stay, O heart, as thoughts of her, who has low-hanging tresses, so thick and luxuriant like a raincloud, adorned with flowers; and a forearm decked with tight bangles, and her bewildered looks of suffering and sulking cross our minds?” Let’s walk on through this difficult landscape and extract the essence therein! The man starts by listing the abstract qualities of the lady that endear her to him, talking about her affection, innocence, good looks and noble nature. He adds another nuanced quality, which made me smile, mentioning how her words seemed to have the power to melt his bones. Imagine the tenderness he would feel when he hears those words to make such a statement! Returning, the man says, ‘Today, I’m in the embrace of such exquisiteness, but tomorrow is another story!’  Then he goes on to talk about the place, where he’ll be at the next day, the drylands, and here he first brings before our eyes, bamboos sprouting tall amidst the bushes, and then takes us closer to the said bamboos, and points to little holes, which he explains have been made by carpenter bees. It’s not just sight that he gifts us with, but he asks us to listen intently, and then we hear the sound of summer winds flowing through these holes, and the man equates this music to that of the cowherds’ fine flute. This makes me think the inventor of the flute would most probably have been inspired from one such moment of inhaling the music of the breeze through a drilled bamboo, telling us that the most exquisite art of humans have their roots in nature! Back to the verse once again, we find the man then talking about how in this drylands forest, there are teak trees and also Mahua trees, whose branch ends seem like an opened out quiver full of arrows. Only when I saw an image of a branch of this tree with flower ends, not yet bloomed, I fully comprehended the aptness of this simile. The man doesn’t stop with that one simile, but goes on to talk about how the bloomed flowers of this tree drop down and would appear like pearls gleaming on the red soil beneath. Another radiant simile! If the drylands are going to be so pretty, I’ll go there anyway, I want to say, but the man finishes this description with an image of the hamlets there, which have forgotten the meaning of rain, and we know that’s not going to be a great place to stay, especially in the sweltering summer. The man then describes the tangible beauty of the lady, talking about her cloud-like tresses and fine forearms, and concludes by wondering how on earth he’s going to remain there in the drylands, when the thoughts of her sorrow and anger come rushing to him! No doubt those thoughts will gush like the summer wind against the tiny holes of loneliness in his heart, singing in the melancholic tune of a flute from afar! 

In this episode, we listen to an earnest request put forth to another, as depicted in Sangam Literary work, Aganaanooru 224, penned by Aavoor Moolankizhaar Makanaar Perunthalai Saathanaar. The verse is situated amidst the trotting deer of the ‘Mullai’ or ‘Forest landscape’, and sketches the nuanced elements of a chariot ride. செல்க, பாக! எல்லின்று பொழுதே‘வல்லோன் அடங்கு கயிறு அமைப்ப, கொல்லன்விசைத்து வாங்கு துருத்தியின் வெய்ய உயிரா,கொடு நுகத்து யாத்த தலைய, கடு நடை,கால் கடுப்பு அன்ன கடுஞ் செலல் இவுளி,பால் கடை நுரையின் பரூஉ மிதப்பு அன்ன,வால் வெள் தெவிட்டல் வழி வார் நுணக்கம்சிலம்பி நூலின் நுணங்குவன பாறி,சாந்து புலர் அகலம் மறுப்ப, காண்தக,புது நலம் பெற்ற வெய்து நீங்கு புறவில்,தெறி நடை மரைக் கணம் இரிய, மனையோள்ஐது உணங்கு வல்சி பெய்து முறுக்கு உறுத்ததிரிமரக் குரல் இசை கடுப்ப, வரி மணல்அலங்கு கதிர்த் திகிரி ஆழி போழ,வரும்கொல் தோழி! நம் இன் உயிர்த் துணை' என,சில் கோல் எல் வளை ஒடுக்கி, பல் கால்அருங் கடி வியல் நகர் நோக்கி,வருந்துமால், அளியள் திருந்திழைதானே. In this trip, we get to see a little of the place and more of the transport, as we listen to the man say these words to his charioteer, when returning home after a mission: “Speed on, O charioteer! The day is ending! Saying, 'The expert rider ties their reining ropes, and akin to bellows that an ironsmith pulls with pressure, sighing hotly, horses, with their heads fastened firmly to the curving yokes, having a fast trot with the speed of the wind, emit from their mouths, shiny, white foam, akin to the froth of floating cream when milk is churned, which then turns into delicate strands, akin to a spider's webs, and ruins his chest, streaked with dried-up sandalwood, in that picturesque forest, shorn of all its heat and resplendent with a new beauty. Making the leaping deer herd there scatter away startled, round spokes of the wheel split the lined earth, resounding like the music that arises, when a woman of the house pours well-dried rice and grinds it firmly in the mortar. In this manner, will that sweet life companion of mine return today, my friend?', that maiden wearing well-etched ornaments, would push away her rounded, shining bangles, and gaze many times from the well-protected, wide mansion. That pitiable maiden would be filled with worry and so we should rush on, O charioteer!” Let’s hop along on this ancient chariot and hear the trot of the man’s heartbeat! The man starts with a firm instruction to his driver, asking the chap to press on the accelerator, meaning to hasten the horses. Why because the day is nearing its end! Then, the man goes on to repeat the words of another, without revealing who that is! This person imagines how this same charioteer would have tied the horses well, and as he rides them, those horses would give out a hot sigh, like an ironsmith’s bellows, and run so fast, making foam gather around their mouths, appear like the froth that rises in the churning of milk. Considering the speed with which the horses are rushing, that foam would not stay put, but would become delicate threads, looking like spider’s webs. And these would fall on the sandalwood-streaked chest of who else, but the lord, and run it. Wonder who that person is, who is so bothered about the man’s chest! Returning, the person continues by saying all this is happening in a beautiful forest, which doesn’t seem to know the meaning of heat, implying that the rains have just poured, and blessed it with a radiant beauty. That person then transfers the gaze from the horses to the chariot and talks about how its speed would frighten the deer there, and how the wheels would move on the earth, echoing with the sound that comes when a woman of the house grinds dried rice in a mortar. Saying all this, that person turns to her friend and asks whether in this way, her man would return home that day. No prizes for guessing who the speaker is! None other than the lady of course. The interesting thing is that the man is saying the lady would be expressing these thoughts as she pushes away her slipping bangles, which have become few in number, many of them having fallen, no doubt because of the pining for her man. He also says she would keep looking out of their mansion, waiting eagerly every moment for the sound of her beloved’s arrival. The man concludes by giving the logical reason that the lady would worry if he did not make it, and so he asks his charioteer to speed on and brighten the beloved’s day! The striking element here is in the way the lady is able to visualise the man where he is, sitting in that faraway mansion. She feels the rough texture of the ropes being tied around the horses, sees the white foam on the horse’s mouth, and the delicate, almost-invisible threads from their mouth. She smells the sandalwood on her man’s chest. She hears the sound of the wheels striking the forest floor and grinding upon it. In short, she experiences the man’s travel with all her senses, or so the man says. He too is here far away, riding towards her, but he is able to feel the touch of her bangles being pushed away, the sight of her gazing eagerly out of their house. Reflecting on these words, it’s the power of visualisation that is portrayed in a nuanced manner, an effective tool that is said to make one’s dreams and goals come true. Be it an athlete dreaming of a big win, or a professional making a critical presentation, or an activist aiming for a transformation, psychologists recommend, ‘Imagine. Imagine in vivid detail. Not only the end result. But the process too, and you will find your way there!’ A supposedly modern technique of training the mind, so seamlessly employed by this couple from the pages of the past! 

In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 223, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse illustrates both the fierce nature of this domain and the gentle beauty of the lady. ‘பிரிதல் வல்லியர், இது, நத் துறந்தோர்மறந்தும் அமைகுவர்கொல்?’ என்று எண்ணி,ஆழல் வாழி, தோழி! கேழல்வளை மருப்பு உறழும் முளை நெடும் பெருங் காய்நனை முதிர் முருக்கின் சினை சேர் பெருங்கல்,காய் சினக் கடு வளி எடுத்தலின், வெங் காட்டுஅழல் பொழி யானையின் ஐயெனத் தோன்றும்நிழல் இல் ஓமை நீர் இல் நீள் இடை,இறந்தனர்ஆயினும், காதலர் நம்வயின்மறந்து கண்படுதல் யாவது புறம் தாழ்அம் பணை நெடுந் தோள் தங்கி, தும்பிஅரியினம் கடுக்கும் சுரி வணர் ஐம்பால்நுண் கேழ் அடங்க வாரி, பையுள் கெட,நன் முகை அதிரல் போதொடு, குவளைத்தண் நறுங் கமழ் தொடை வேய்ந்த, நின்மண் ஆர் கூந்தல் மரீஇய துயிலே? In this trip to the drylands, we get to see some striking images, 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: “Thinking ‘He seems to be capable of parting away from me; Would the one, who has forsaken me so, also be capable of remaining there, forgetting me?', cry not, my friend! May you live long! As the coral tree, having long and huge petals, akin to the curved horns of a male boar, extends its branch upon a huge boulder nearby, in the midst of hot winds that blow fast, it appears strikingly as if an elephant is surrounded by flames in a dry scrub jungle, in those waterless long paths, filled with shadeless toothbrush trees. Even though that lover of yours has left to such a place, how will his eyes close? Your tresses hang low on your back, having curly, five-part braids that appear akin to a swarm of bees, in a fine, rich hue, neatly oiled and combed, and ending all sorrow, tied with fine buds of wild jasmine with pollen, along with cool and fragrant flowers of blue-lily woven together, and are adorned with fragrant pastes! Indeed, how can he forget that sleep he relished on your beautiful, bamboo-like arms, resting on these tresses of yours?” Time to brave the hot winds of the drylands and explore on! The confidante starts by repeating what’s going on in the lady’s mind, talking about how she’s thinking, ‘It was unthinkable earlier that he would leave me and part away, but he seems to have done that easily. In the same way, would he also forget about me and remain there?’. Logical question, of course! But the confidante answers this question in a different way. First she acknowledges the reality that the man has indeed left to the drylands, and she sketches this place vividly, pointing to how a coral tree branch with its red, claw-like petals, which resemble a boar’s curving horns, extending upon a rock, and shaking in the hot wind, appears as if an elephant is on fire in the searing, dry atmosphere of the place. With that image and describing the drylands as shadeless and waterless, having only toothbrush trees, the confidante paints a dreary image of where the man is at. From there, she zooms on to the beauty of the lady’s tresses, highlighting how it’s long, black, thick and curly, like a swarm of bees. This simile and description brings to mind the unique hair texture of many modern Africans. Could this line possibly point to genetic similarities between people of the Sangam era with prehistoric migrant populations from Africa? Science will validate in the future, no doubt!  Returning, the confidante has been going on about the lady’s five-part braids and tresses coated with many fragrant pastes only to conclude by saying, ‘How is it humanly possibly for the man to forget the sleep he enjoyed on your arms, caressing your tresses, and remain in that forsaken place faraway?’. An effective technique of contrasting the dreariness of the drylands and the heavenliness of the lady’s beauty, to assure the lady that the man will indeed return to her. What a boost to the sinking morale of the lady to be reminded of her power to pull back the man, no matter how far he has gone! 

In this episode, we perceive a subtle technique of persuasion, as portrayed in Sangam Literary work, Aganaanooru 222, penned by Paranar. The verse is situated amidst the soaring peaks of the ‘Kurinji’ or ‘Mountain landscape’ and narrates a much talked about story from the Sangam times. வான் உற நிவந்த நீல் நிறப் பெரு மலைக்கான நாடன் உறீஇய நோய்க்கு, உன்மேனி ஆய் நலம் தொலைதலின், மொழிவென்;முழவு முகம் புலராக் கலி கொள் ஆங்கண்,கழாஅர்ப் பெருந் துறை விழவின் ஆடும்,ஈட்டு எழில் பொலிந்த ஏந்து குவவு மொய்ம்பின்,ஆட்டன் அத்தி நலன் நயந்து உரைஇ,தாழ் இருங் கதுப்பின் காவிரி வவ்வலின்,மாதிரம் துழைஇ, மதி மருண்டு அலந்தஆதிமந்தி காதலற் காட்டி,படு கடல் புக்க பாடல்சால் சிறப்பின்மருதி அன்ன மாண் புகழ் பெறீஇயர்,சென்மோ வாழி, தோழி! பல் நாள்,உரவு உரும் ஏறொடு மயங்கி,இரவுப் பெயல் பொழிந்த ஈர்ந் தண் ஆறே. In this mountain trek, we take a long detour to the shores of another riverine town, as we listen to the confidante say these words to the lady, noticing the man listening nearby, pretending not to see him, but making sure he’s in earshot: “The lord of the huge mountains, in blue hue, soaring to the skies, and brimming with forests, has rendered unto you, this affliction, which has made the fine beauty of your form fade away. That's why I'm saying this! In that place filled with much joy, where the skin of the drums dry not, in the huge shore of Kazhaar, when dancing in the festivities, seeing the beauty of Aattan Aththi, whose upright shoulders shone with much splendour,  desiring him, River Kaveri with her low-hanging tresses, took him away. Searching for him in all the directions, much confused, roved Aathi Manthi. Showing to her, where her lover was, Maruthi then stepped into the roaring ocean herself and gained the fame of being sung about. Akin to this Maruthi, let me attain great fame! Come let's go, my friend, may you live long, and search, treading upon this cool and moist path, where the night rains have poured, fused together with roaring thunder, for many days now!” Let’s scale this hill and learn more! The confidante describes the man’s domain as the blue mountains, with high peaks and dense forests. That’s all the good the confidante has to say about the man and turns to focus on how he has left the lady in a love affliction of pining for him and losing her health. Then, the confidante narrates a story about a handsome male dancer named ‘Aattan Aththi’ and how enamoured by his handsome shoulders, the River Kaveri had snatched him, when he was dancing on the shores of Kazhaar. His wife, ‘Aathi Manthi’, went around searching for her lover in all the directions, asking everyone, in a much confused state. At that time, a lady named Maruthi showed Aathi Manthi, where her husband was, and for some reason, she jumped into the ocean and gave up her life. Can’t imagine why she should do that? Did she die in some sort of rescue mission? Anyway, whatever the context, this supposedly endowed great fame on this Maruthi, describes the confidante, and connects saying that she too must attain that kind of fame and she concludes by beckoning her friend to join her in the search for the man, treading those slippery mountain paths, upon which the rains have fallen for many a day!  All this drama is for the benefit of the listening man! To tell him, ‘See how much pain you inflict on the lady with your absence. See what desperate measures we are pushed into, just to find you’ and thereby point out that the man must give up his temporary trysting and seek the lady’s hand in marriage. Hope the man gets the message and relieves the lady’s angst! Yet again I’m amazed by what measures this confidante takes to ensure the well-being of the lady! Don’t you think we should grant the confidante the fame she seeks in this verse, and endow her the title of ‘Epitome of Friendship!’?

In this episode, we listen to a description of the only available course of action, as portrayed in Sangam Literary work, Aganaanooru 221, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals the situation which necessitates elopement in a lady’s life. நனை விளை நறவின் தேறல் மாந்தி,புனை வினை நல் இல் தரு மணல் குவைஇ,‘பொம்மல் ஓதி எம் மகள் மணன்’ என,வதுவை அயர்ந்தனர் நமரே; அதனால்,புதுவது புனைந்த சேயிலை வெள் வேல்,மதி உடம்பட்ட மை அணற் காளைவாங்கு சினை மலிந்த திரள் அரை மராஅத்து,தேம் பாய் மெல் இணர் தளிரொடு கொண்டு, நின்தண் நறு முச்சி புனைய, அவனொடுகழை கவின் போகிய மழை உயர் நனந்தலை,களிற்று இரை பிழைத்தலின், கய வாய் வேங்கைகாய் சினம் சிறந்து, குழுமலின் வெரீஇ,இரும் பிடி இரியும் சோலைஅருஞ் சுரம் சேறல் அயர்ந்தனென், யானே. In this trip to the drylands, we hear the confidante say these words to the lady, urging her to choose the path of elopement: “Relishing well-filtered toddy that blooms from buds, heaping sand brought from elsewhere, in front of the fine and well-etched mansion, declaring, ‘Our daughter, the girl with exquisite tresses, is about to be married', our kin are making preparations for your wedding; And so, the bull-like, bearded young man, holding a newly sculpted leaf-edged white spear, sees eye to eye with me on this. He shall pluck soft, honey-soaked flower clusters, along with tender sprouts, from the burflower tree, with a thick trunk, brimming with curving branches, and adorn your cool and fragrant head. Along with him, you should traverse the highland spaces, without rain, where bamboos have lost their beauty, and where a tiger, with a fierce mouth, maddened by the loss of its prey of a male elephant, filled with fury, lashes out with a loud shout, and frightens the elephant's dark mate in the drylands scrub jungle. This is what I wish for you now!” Time to walk along with this couple through that harsh domain! The confidante starts with an account of what’s happening at home right then and she zooms on to the actions of the lady’s relatives, who are getting into the festive mood by drinking toddy that’s mentioned as blooming from buds. Now, blooming from buds implies that this is honey. Are they fermenting honey into alcohol? Researching on this, I learnt the term for this alcoholic beverage, made from honey, is ‘mead’, and it’s considered to be the ‘great, great, great grand-mother’ of all liquor, and revered in many ancient cultures, be it in China, Greece, Rome or even Scandinavia! Perhaps the ‘theral’ we keep reading about in Sangam literature, is the Tamil equivalent of this ‘mead’! Returning from our revels in toddy, we find the confidante continuing what those relatives of the lady are up to, talking about how they have brought heaps of sand and spread it in front of the mansion and they are going around telling everyone that the their daughter is about to be married. A wedding is a happy occasion, is it not? But not so, for the lady, who loves another, and here, the parents are arranging a wedding with a stranger. So, the confidante had taken things into her hands and has told the man the only way forward was to elope with the lady, and he too had wholeheartedly agreed to the plan. All this, the confidante conveys to the lady and sketches an image of the drylands, which is harsh indeed, where the sounds of a tiger, which has lost its prey of a male elephant makes it bellow aloud in fury, and this startles the female elephant there. The confidante concludes by telling the lady that even so, all she wished for the lady was to leave there, along with the man, whom the confidante promises will adorn the lady’s tresses with the clusters of bur-flowers growing in that very space! And so, the confidante seems to be telling the lady, ‘Even though there’s danger in the drylands, you are in safe hands, and those will shower love and care upon you!’ By presenting both the harsh reality of the situation and positive visualisation of the future, the confidante shows the way to nudge someone in the right direction!

In this episode, we perceive pointed questions put forth, as depicted in Sangam Literary work, Aganaanooru 220, penned by Madurai Maruthan Ilanaakanaar. The verse is situated amidst the fertile seas of the ‘Neythal’ or ‘Coastal landscape’ and builds a stack of similes to present a pertinent point. ஊரும் சேரியும் உடன் இயைந்து அலர் எழ,தேரொடு மறுகியும், பணி மொழி பயிற்றியும்,கெடாஅத் தீயின் உரு கெழு செல்லூர்,கடாஅ யானைக் குழூஉச் சமம் ததைய,மன் மருங்கு அறுத்த மழு வாள் நெடியோன்முன் முயன்று அரிதினின் முடித்த வேள்வி,கயிறு அரை யாத்த காண் தகு வனப்பின்,அருங் கடி நெடுந் தூண் போல, யாவரும்காணலாகா மாண் எழில் ஆகம்உள்ளுதொறும் பனிக்கும் நெஞ்சினை, நீயேநெடும் புற நிலையினை, வருந்தினைஆயின்,முழங்கு கடல் ஓதம் காலைக் கொட்கும்,பழம் பல் நெல்லின் ஊணூர் ஆங்கண்,நோலா இரும் புள் போல, நெஞ்சு அமர்ந்து,காதல் மாறாக் காமர் புணர்ச்சியின்,இருங் கழி முகந்த செங் கோல் அவ் வலைமுடங்கு புற இறவொடு இன மீன் செறிக்கும்நெடுங் கதிர்க் கழனித் தண் சாய்க்கானத்து,யாணர்த் தண் பணை உறும் என, கானல்ஆயம் ஆய்ந்த சாய் இறைப் பணைத் தோள்நல் எழில் சிதையா ஏமம்சொல் இனித் தெய்ய, யாம் தெளியுமாறே. On our way to the coast, we take detours to perceive significant events and observe bird life, as we listen to the confidante say these words to the man, when he is about to part away after his nightly tryst with the lady: “Making the town and neighbourhood rise together in slander, you rove around in your chariot and speak humble words. In picturesque ‘Selloor', known for its ceaseless ritual fire, vowing to end the rule of kings, who battle in wars with their elephants in musth, the tall one with a sharp sword performed a ritual, and akin to the protected tall pillar therein, tied with a rope and having exquisite beauty, is her bosom of immense beauty, which is rare and precious. You have a heart that melts every time you think of it, and you are filled with worry, as you stand afar. The roaring waves of the sea surround the town of ‘Oonoor' known for its produce of paddy from ancient times, and akin to the dark bird there that does not know what it means to be apart from its mate, you have to place each other in your hearts and having a profound union of ceaseless love. A beautiful net with a red rod dips in the dark backwaters and gathers curved back shrimp, and schools of fish, in the cool town of ‘Saykaanam', filled with fields of tall grain stalks. Akin to the prosperous, cool bamboo that grows here, are her thick arms with curving wrists that her playmates celebrate. So tell me the right word to make me understand how you plan to act in such a way that the fine beauty of these arms of hers, are protected, without any sign of ruin!” Let’s fish the Sangam seas and learn more! The confidante starts by mentioning how the man seems to be come often to their place and causes slander to spread about his relationship with the lady. Then, she goes on to describe a place called ‘Selloor’ and mentions how this was the venue of a ritual conducted by someone referred to as the ‘Tall one with a sword’, which other interpreters have connected to the character of Parasuraman from Hindu mythology. Apparently, this ‘tall one with a sword’ conducted a fire ritual ceremony, vowing to end the line of kings in this town and the confidante has mentioned this only to say how just like the decorated tall pillar there, the lady’s bosom was exquisite and precious. Once again, the confidante reverts to the man and notices how he yearns to embrace the lady, understanding how he is filled with angst when far. Next, she talks about another seaside town of ‘Oonoor’ and how there lives a bird here, which cannot think of a life away from its mate. From other poems from this era, we can infer the confidante is talking about the ‘Andril’ bird, most probably referring to the ‘red-naped ibis’. Now, the confidante turns to the man and says that’s how he must be with the lady. After that, the confidante ventures into the last town, a coastal town called ‘Saaykaanam’, whose seas yield shrimp and fish in abundance, and also, where fields of grains sway in the wind. Here, there are also lush bamboos, and the confidante has summoned this place to connect the bamboos here to the lady’s arms. She ends by asking the man what steps he was going to take to ensure those arms of the lady never fall into any ruin! In a nutshell, the confidante is telling the man, ‘All this coming and going along with your humble, sweet words is fine. But what are you going to do to bring lasting joy to the lady?’ Another ‘Marry her, marry her’ rendition, in which we get to tour the towns of the Sangam era!

In this episode, we perceive the worry of a mother, as depicted in Sangam Literary work, Aganaanooru 219, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches a portrait of the care and love showered on a daughter. சீர் கெழு வியன் நகர்ச் சிலம்பு நக இயலி,ஓரை ஆயமொடு பந்து சிறிது எறியினும்,‘வாராயோ!’ என்று ஏத்தி, பேர் இலைப்பகன்றை வால் மலர் பனி நிறைந்தது போல்பால் பெய் வள்ளம் சால்கை பற்றி,‘என் பாடு உண்டனைஆயின், ஒரு கால்,நுந்தை பாடும் உண்’ என்று ஊட்டி,‘பிறந்ததற்கொண்டும் சிறந்தவை செய்து, யான்நலம் புனைந்து எடுத்த என் பொலந்தொடிக் குறுமகள்அறனிலாளனொடு இறந்தனள், இனி’ என,மறந்து அமைந்து இராஅ நெஞ்சம் நோவேன்‘பொன் வார்ந்தன்ன வை வால் எயிற்றுச்செந்நாய் வெரீஇய புகர் உழை ஒருத்தல்பொரி அரை விளவின் புன் புற விளை புழல்,அழல் எறி கோடை தூக்கலின், கோவலர்குழல் என நினையும் நீர் இல் நீள் இடை,மடத் தகை மெலியச் சாஅய்,நடக்கும்கொல்? என, நோவல் யானே. In this trip to the drylands, we get to hear mother say these words, at the juncture her daughter had left her home and eloped away with the man: “In the esteemed and prosperous mansion, when she moved about with her anklets tinkling, and played by throwing the ball with her mates, fearing she would tire out, I called out, ‘Come here, my dear' and holding a bowl, brimming with milk, appearing akin to a white flower of the rattlepod, coated with dew, I would say to her, ‘After eating one portion for me, do eat another for your father' and feed her with care. Thinking, ‘My darling young girl, adorned in gold, on whom I showered all that was good and brought out the best in her, has now parted away with that unjust man', my heart doesn't want to forget her even a little. I worry not about this! Having sharp, white teeth, akin to molten gold, the wild dog roves in the drylands. Hearing its rustle nearby, frightened, a spotted male deer, turns in the direction of a sound that arises when the heat-showering summer wind blows through the cracked shell of the wood apple fruit, blooming on a rough trunk, and thinks it's the flute of the cowherds, in that waterless, long path. Wondering how my naive and delicate girl would walk through such a place, is all I worry about!” Time to tread those scorching spaces! Mother starts by recollecting the attention and care she had bestowed on her girl, feeding her and nurturing her. Mother talks about how she would feed her daughter even if she had spent but a little energy in playing ball with her friends, worrying that she would fall tired. All the coaxing mother would do is brought out by the mention of her asking the girl to eat a little for the sake of mother and a little for the sake of father. This brings to my memory about how caregivers here, often play the game of making the food they are feeding a young child into small balls, and saying one is for mother, one is for father, one is for sister, and so on, including the whole family from grandparents to uncles and cousins, a way of entertaining and ensuring the kid gets some food in! Returning, we find mother saying how after all this care, the girl chose to leave her home and part away with the man. Yet that her girl broke her heart is not what worries her, mother says, but the thought of how she is going to walk on those harsh drylands spaces, where a deer, startled by a wild dog, mistakes the sound of wind through a wood apple as the sound of the cowherds’ flute! In essence, the verse etches the nature of a mother, who even when hurt by her daughter can think of nothing else but how she would fare, wherever she is!

In this episode, we perceive an effective technique of changing a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 218, penned by Kabilar. Set amidst the pouring rain of the midnight hour in the ‘Kurinji’ or ‘Mountain landscape’, the verse etches the dangers in traversing this domain by night. ‘கிளை பாராட்டும் கடு நடை வயக் களிறுமுளை தருபு ஊட்டி, வேண்டு குளகு அருத்த,வாள் நிற உருவின் ஒளிறுபு மின்னி,பரூஉ உறைப் பல் துளி சிதறி, வான் நவின்று,பெரு வரை நளிர் சிமை அதிர வட்டித்து,புயல் ஏறு உரைஇய வியல் இருள் நடு நாள்,விறல் இழைப் பொலிந்த காண்பு இன் சாயல்,தடைஇத் திரண்ட நின் தோள் சேர்பு அல்லதை,படாஅவாகும், எம் கண்’ என, நீயும்,‘இருள் மயங்கு யாமத்து இயவுக் கெட விலங்கி,வரி வயங்கு இரும் புலி வழங்குநர்ப் பார்க்கும்பெரு மலை விடரகம் வர அரிது’ என்னாய்,வர எளிதாக எண்ணுதி; அதனால்,நுண்ணிதின் கூட்டிய படு மாண் ஆரம்தண்ணிது கமழும் நின் மார்பு, ஒரு நாள்அடைய முயங்கேம்ஆயின், யாமும்விறல் இழை நெகிழச் சாஅய்தும்; அதுவேஅன்னை அறியினும் அறிக! அலர் வாய்அம்பல் மூதூர் கேட்பினும் கேட்க!வண்டு இறை கொண்ட எரி மருள் தோன்றியொடு,ஒண் பூ வேங்கை கமழும்தண் பெருஞ் சாரல் பகல் வந்தீமே! In this adventurous trip to the mountains, we get to hear the confidante say these words to the man, when she brings the lady over for a nightly tryst: “A strong male elephant with a steady gait, one which is celebrated by its kith and kin, brings bamboo shoots for the whole herd and lets them feed contentedly, at a time when the skies flash their lightning in the hue of swords, scatter many thick drops of rain, which leap from the skies, and pour down, surrounding cool mountain peaks, as clouds resound aloud with thunder, during the darkness-drenched midnight hour. Saying, ‘Her eyes will not find any sleep unless she unities with my thick and curving arms, pleasing to the eyes, and adorned with strong ornaments', and without thinking, ‘The paths through the huge mountain ranges, where in this hour of confusing darkness, a huge tiger with swaying stripes stands in wait for wayfarers, is dangerous', you think it's easy to come here. It's also true that if even for one day, she does not get to embrace your cool and fragrant chest, adorned with a fine and intricately etched necklace, her exquisite ornaments would slip away; So, if mother would come to know of this, so be it! If the gossiping women of this uproarious town were to hear of this, so be it! Come by day, to this cool mountain slope, which wafts with the together fragrance of the fire-like flame-lilies, swarming with bees, and the radiant flowers of the Kino tree!” Time to brave the rain and leave on a midnight trek. The confidante starts by sketching an image of a male elephant, which is thoughtful and considerate to its herd and brings shoots and leaves for them to feed on and is much celebrated by the herd. After a record of that estimable being, the confidante turns her attention to the weather, which is quite stormy, bringing down heavy rain on the peaks. She says all this is happening at midnight. At this time, the man thinks about how his beloved would not find any sleep, if she did not unite with him and without caring about the danger in that mountain path, where a tiger waits to pounce on some innocent wayfarer, the man comes walking to tryst with the lady, in the confusing hour of darkness, the confidante explains. She also concedes that indeed the lady would lose her health and her jewels would slip away from her arms if at all the man did not come to meet her. After mentioning all this, as if she has come to a conclusion, she tells the man, ‘Never mind if mother comes to know of your relationship, never mind if the slanderous womenfolk in town get to know about it, but you must come to our mountain slope, wafting with the scent of both the flame-lily and the Kino flowers, only by day.’ While it may sound like a harmless request to change the time of the rendezvous, it’s a neatly-worded statement to make the man change his attitude of temporary trysting and make him seek the lady’s hand in marriage. The confidante does this in a gradual and logical manner, first appealing to the man’s sense of honour by talking about that esteemed elephant, which keeps the entire herd in mind, then she goes on to appreciate the man’s love for the lady, and his fearlessness in fulfilling his duty by her. At this point, she talks about how the lady too is worthy of his love and truly reciprocates his feelings. After all these statements, she presents it to the man as if the only logical solution is to meet by day, so as to not fear for the man’s safety. Even there, she brings in the other danger of mother knowing and the women gossiping, and through his, without telling the man, she tells him, the only way forward is to marry the lady, in front of the whole village, and be honoured like the elephant we just met. Holding the other to a high standard, acknowledging the positives, establishing the worthiness of the recipient, and nudging the concerned person to come up with the idea on their own are the nuanced steps that this master negotiator of the Sangam era takes, to bring lasting joy in her friend’s life!

In this episode, we listen to a prediction of pain, as portrayed in Sangam Literary work, Aganaanooru 217, penned by Kazhaarkeeran Eyitriyanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the seasonal changes in the outer world. பெய்து புறந்தந்த பொங்கல் வெண் மழை,எஃகு உறு பஞ்சித் துய்ப் பட்டன்ன,துவலை தூவல் கழிய, அகல் வயல்நீடு கழைக் கரும்பின் கணைக் கால் வான் பூக்கோடைப் பூளையின் வாடையொடு துயல்வர,பாசிலை பொதுளிய புதல்தொறும் பகன்றைநீல் உண் பச்சை நிறம் மறைத்து அடைச்சியதோல் எறி பாண்டிலின் வாலிய மலர,கோழலை அவரைக் கொழு முகை அவிழஊழ் உறு தோன்றி ஒண் பூத் தளை விட ,புலந்தொறும் குருகினம் நரல, கல்லெனஅகன்று உறை மகளிர் அணி துறந்து நடுங்க,அற்சிரம் வந்தன்று அமைந்தன்று இது என,எப்பொருள் பெறினும் பிரியன்மினோ எனச்செப்புவல் வாழியோ, துணையுடையீர்க்கேநல்காக் காதலர் நலன் உண்டு துறந்தபாழ் படு மேனி நோக்கி, நோய் பொர,இணர் இறுபு உடையும் நெஞ்சமொடு, புணர்வு வேட்டுஎயிறு தீப் பிறப்பத் திருகி,நடுங்குதும் பிரியின் யாம் கடும் பனி உழந்தே. In this trip to the drylands, we learn more about time than place, as we listen to the lady say these words to her confidante, when her friend informs her about the man’s intention to part away in search of wealth: “After pouring and gracing the land, the brimming white clouds now, appear soft and fluffy, akin to cotton, carded with steel, bereft of even a light drizzle. At this time, in the wide fields, tall stems of sugarcane sprout with thick-stalked, white flowers, and sway in the cold, northern wind, akin to summer flowers of the mountain knotgrass; White rattle-pod flowers, in all the bushes brimming with green leaves, bloom, akin to rounded pieces that hide the bluish-green hue of a leather shield; Fleshy clusters of bulging beans blossom; Mature flowers of the flame-lily sprout out; All over the land, birds call out aloud, making those women, who are separated from their spouses, to lose their beauty and tremble. Such is the cold season that has now arrived! Please go tell him, ‘This is not the right season to part, no matter what wealth you would obtain. Blessed be you!' If my lover, who has feasted on my beauty and intends to part, does not concede and render his grace, all I can do is to look at my ruined form, with the disease of pining brimming over, with a heart that breaks without any strength, wishing only to be one with him, and grind my teeth until sparks fly out, filled with suffering in this severe cold!” Time to take in the blooming flowers of the season! The lady starts by talking about the weather, mentioning how the season of rains is all done, the clouds have done their duty of pouring, and appear white and soft like carded cotton, and in the land around, sugarcane flowers are sprouting and swaying like summer flowers, as the cold northern wind blows, and not only that, flowers of the rattle-pod, beans and flame-lilies are all blooming bright. If that’s happening with the plants, the birds above are screaming their hearts out, calling to their mates, and making maiden separated from their own mates to experience a deep sorrow, the lady adds. All this tells them the cold season had arrived and this was absolutely the wrong season to part away, no matter what mounds of wealth stand to be gained, the lady says, and asks her friend to go convey this message to the man. The lady concludes by saying if the man refused to heed this voice of reason and still parted away, all she could do was to become ruined, be filled with pining and yearning and shiver so much in that cold, making her teeth grinding together to send out sparks! A graphic vision of future suffering indeed! Perhaps the man will heed her words and defer his travel. Does this mean other seasons were better to be apart? Say spring or summer? One can’t help wondering! A verse that etches how the world outside plays a critical role in human emotions, something that can be related to, irrespective of time and place!

In this episode, we perceive a woman’s fury, as depicted in Sangam Literary work, Aganaanooru 216, penned by Aiyoor Mudavanaar. The verse is situated amidst the lush river shores of the ‘Marutham’ or ‘Farmlands landscape’ and connects conflicts at home and battles in the warfront. ‘நாண் கொள் நுண் கோலின் மீன் கொள் பாண் மகள்தான் புனல் அடைகரைப் படுத்த வராஅல்,நார் அரி நறவு உண்டு இருந்த தந்தைக்கு,வஞ்சி விறகின் சுட்டு, வாய் உறுக்கும்தண் துறை ஊரன் பெண்டிர் எம்மைப்பெட்டாங்கு மொழிப’ என்ப; அவ் அலர்ப்பட்டனம்ஆயின், இனி எவன் ஆகியர்;கடல் ஆடு மகளிர் கொய்த ஞாழலும்,கழனி உழவர் குற்ற குவளையும்,கடி மிளைப் புறவின் பூத்த முல்லையொடு,பல் இளங் கோசர் கண்ணி அயரும்மல்லல் யாணர்ச் செல்லிக் கோமான்எறிவிடத்து உலையாச் செறி சுரை வெள் வேல்ஆதன் எழினி அரு நிறத்து அழுத்தியபெருங் களிற்று எவ்வம் போல,வருந்துபமாது, அவர் சேரி யாம் செலினே. In this trip to the farmlands, we get to explore the familiar theme of trouble involving a courtesan, as we hear the courtesan say these words to her friends, making sure the lady’s friends listening nearby, get to hear it: “The bard's daughter traps fish with a fine rod, tied with a thread, in the river shores. Taking the murrel fish thus captured, she roasts it on ‘Rattan' firewood, and feeds her father, who had been relishing toddy, filtered by palm fibres, in the cool shores of the lord. They say that his woman has been speaking ill of me. If I'm to be subject to this slander, so be it! Screw-pine flowers plucked by maiden playing in the seas, blue-lilies picked by farmers ploughing the fields, along with wild jasmines that bloom in the well-protected forests, are worn by many young Kosars in the city of ‘Selli', brimming with prosperity, ruled by King Aathan Ezhini. The white spear this king launches never fails to hit its target. Akin to the angst of the huge elephant, whose majestic chest is pierced by his spear, she will suffer too, if I were to go to the neighbourhood, where the lord's wife lives!” Let’s walk along the banks of the fertile fields and learn about the latest in town! The courtesan starts by talking about the lord’s town, and to capture it, she follows in the trail of a bard’s daughter, who seems to be good at fishing, for she nabs a murrel fish in the river shores, brings it home, roasts it atop rattan firewood and then takes it to her father, who has been making merry with toddy and feeds him. What a caring girl this bard has got! As if contrasting the good nature of the daughters in the man’s domain, the courtesan then talks about how the man’s wife has been backbiting her, saying whatever she wished, causing slander about the courtesan to spread. After saying this, the courtesan suddenly starts talking about flowers from diverse regions, such as the shore, the farm and the forest, namely screwpine, blue-lilies and wild jasmines respectively, to say all these are worn by the young men, who live in the region of ‘Selli’, perhaps talking about the extent of this city, ruled by Aathan Ezhini. The courtesan has mentioned this king only to refer to his unfailing spear and the way an enemy’s elephant would suffer when struck by the same. She concludes by talking about how the man’s wife and her friends, would feel the same suffering, if at all, she decided to go to where they lived. In essence, the courtesan has issued a warning to the man’s wife, expressing her confidence in the man’s affection for herself! Curious how a battle elephant is called as a witness to a cat fight in town!

In this episode, we observe an interesting technique of expressing dissent, as depicted in Sangam Literary work, Aganaanooru 215, penned by Irangukudi Kundra Naadan. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse evokes a sense of ever-present danger in this domain. விலங்கு இருஞ் சிமையக் குன்றத்து உம்பர்,வேறு பல் மொழிய தேஎம் முன்னி,வினை நசைஇப் பரிக்கும் உரன் மிகு நெஞ்சமொடுபுனை மாண் எஃகம் வல வயின் ஏந்தி,செலல் மாண்பு உற்ற நும்வயின், ‘வல்லே,வலன் ஆக!’ என்றலும் நன்றுமன் தில்லகடுத்தது பிழைக்குவதுஆயின், தொடுத்தகை விரல் கவ்வும் கல்லாக் காட்சி,கொடுமரம் பிடித்த கோடா வன்கண்,வடி நவில் அம்பின் ஏவல் ஆடவர்,ஆள் அழித்து உயர்த்த அஞ்சுவரு பதுக்கை,கூர் நுதிச் செவ் வாய் எருவைச் சேவல்படு பிணப் பைந் தலை தொடுவன குழீஇ,மல்லல் மொசிவிரல் ஒற்றி, மணி கொண்டு,வல் வாய்ப் பேடைக்குச் சொரியும் ஆங்கண்,கழிந்தோர்க்கு இரங்கும் நெஞ்சமொடுஒழிந்து இவண் உறைதல் ஆற்றுவோர்க்கே. In this trip to the drylands, we hear the confidante say these words to the man, in response to his request, asking the confidante to convey to the lady his wish to part away in search of wealth: “Beyond the radiant, huge mountain peaks, wishing to go to lands, where many other languages are spoken, with a determined heart that nudges with a desire to earn wealth, holding a well-etched spear in your right hand, you wish to part away to the drylands, where live those uneducated men, who bite their finger, if the arrow they aimed hits not the target, have the harsh nature of holding on to their curving bows ceaselessly and killing people with their sharp arrows, and then covering those corpses in fearsome, shallow graves, from where a sharp-beaked, red-mouthed, red-headed, male vulture, digs up the fresh head of a corpse, with its sharp claws, plucks the eyes, and then carries it to its strong-mouthed mate. To say to you, ‘Go on and be victorious' is only possible for those, who have the ability to live here, when their heart ceaselessly worries about the one who has parted thither!” Time to explore the fearful paths again! The confidante starts by repeating the man’s wish to part away, wanting to go to a far away land, and earn wealth. She describes how he would tread on with a spear in his hand and leave to a place, filled with highway robbers, who think not one moment before killing others with their fierce arrows. Then she mentions how they would bury the dead in shallow, stone graves. A moment to pause and see how even these thieves seemed to have had a sense of honour. They don’t cast away the bodies and leave just like that. Even though they have the harshness to kill, they show their respect for the dead by burying them in whatever manner possible. Returning, we now find the confidante telling us how their efforts have been in vain, for a red-headed vulture digs out the dead with its sharp claws, and chooses its favourite bit of the corpse’s eyeball and carries it to its mate devoutly. Ending this description of the unimaginable place the man wants to leave to, the confidante concludes by saying, there may be some who have the ability to live quietly, even as their heart worries incessantly about a person who has parted away to such a place, and only they could wish the man good luck and bid farewell on his mission, implying that the lady has no such ability. In a nutshell, the confidante is asking the man not to part away and leave on this mission, for it would be impossible for the lady to live here, in that state of anxiety about his welfare. The confidante’s way of ‘saying no, without saying no’, sketching in one stroke, the danger ahead, the man’s courage and the lady’s love! 

In this episode, we perceive the angst of a man, separated from his beloved, as portrayed in Sangam Literary work, Aganaanooru 214, penned by Vadama Vannakkan Peri Saathanaar. The verse is situated amidst the showers of the ‘Mullai’ or ‘Forest landscape’ and reverberates with the notes of melancholy. அகல் இரு விசும்பகம் புதையப் பாஅய்,பகல் உடன் கரந்த, பல் கதிர் வானம்இருங் களிற்று இன நிரை குளிர்ப்ப வீசி,பெரும் பெயல் அழி துளி பொழிதல் ஆனாது;வேந்தனும் வெம் பகை முரணி ஏந்துஇலை,விடு கதிர் நெடு வேல் இமைக்கும் பாசறை,அடு புகழ் மேவலொடு கண்படை இலனே;அமரும் நம் வயினதுவே நமர் எனநம் அறிவு தெளிந்த பொம்மல் ஓதியாங்கு ஆகுவள்கொல்தானே ஓங்குவிடைப்படு சுவற் கொண்ட பகு வாய்த் தெள் மணிஆ பெயர் கோவலர் ஆம்பலொடு அளைஇ,பையுள் நல் யாழ் செவ்வழி வகுப்ப,ஆர் உயிர் அணங்கும் தெள் இசைமாரி மாலையும் தமியள் கேட்டே? In this quick trip to the forests, it’s a soak in the rain, as we listen to the man say these words to his heart, as he sits in a battle encampment, faraway from his beloved: “Burying the huge and wide skies, shining with the many-rayed sun, clouds, appearing akin to huge herds of elephants shivering in the cold, shower ceaseless drops of rain in a heavy downpour. As for the king, with great enmity, in the battle camp, sparkling with leaf-edged, radiant, tall spears, he lies sleepless, desiring the fame of victory in the war. My beloved with shining tresses, had cleared my vision saying, ‘The battle is our responsibility, my dearest!' and bid me farewell. But now, clear bells with open mouths, around necks of huge oxen, would ring out, as cowherds gather and move the cattle with the sound of their ‘Ampal' flutes, in the melancholic  ‘Sevvazhi' tune of a fine lute. When she hears the crystal notes of this music that ravages one's life in the rainy evening hour, all alone, what will she do? How will she bear it?” Let’s take in the fragrance of petrichor and listen to the heartbeat of the rain! The man starts by talking about how the clouds have buried the sun and the sky, and appearing like herds of elephants on high, they bring down a huge shower. This is to tell us it’s the season of rains, which is usually the promised season of return to the lady. After that weather report, the man moves on to describe the attitude of his king, who is bent on victory in the battlefield and who tosses and turns, contemplating the strategies. This tells us that the end of the war is not in view! The man looks back and describes the lady’s assuring words to him, understanding that leaving her and taking part in the war was the man’s duty at the moment. He returns to the present and imagines his beloved, as she would be there, all alone, listening to the sound of cows returning home, the music of the cowherds’ flutes, all resounding in the heartrending ‘Sevvazhi’ tune. The man concludes wondering about the angst the lady would suffer, as those notes fell on her ears, in that evening hour of rains! Moving to see how a person thinks about the sorrow of their beloved, even as they are in the midst of suffering themselves. A tender song that resonates with the music of rain and pain!

In this episode, we listen to words that echo a deep trust, as portrayed in Sangam Literary work, Aganaanooru 213, penned by Thaayankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse depicts various regions and rulers in ancient Tamil land. வினை நவில் யானை விறற் போர்த் தொண்டையர்இன மழை தவழும் ஏற்று அரு நெடுங் கோட்டுஓங்கு வெள் அருவி வேங்கடத்து உம்பர்,கொய்குழை அதிரல் வைகு புலர் அலரிசுரி இரும் பித்தை சுரும்பு படச் சூடி,இகல் முனைத் தரீஇய ஏறுடைப் பெரு நிரைநனை முதிர் நறவின் நாட் பலி கொடுக்கும்வால் நிணப் புகவின் வடுகர் தேஎத்து,நிழற் கவின் இழந்த நீர் இல் நீள் இடைஅழல் அவிர் அருஞ் சுரம் நெடிய என்னாது,அகறல் ஆய்ந்தனர்ஆயினும், பகல் செலப்பல் கதிர் வாங்கிய படு சுடர் அமையத்துப்பெரு மரம் கொன்ற கால் புகு வியன் புனத்து,எரி மருள் கதிர திரு மணி இமைக்கும்வெல்போர் வானவன் கொல்லிக் குட வரைவேய் ஒழுக்கு அன்ன, சாய் இறைப் பணைத் தோள்பெருங் கவின் சிதைய நீங்கி, ஆன்றோர்அரும் பெறல் உலகம் அமிழ்தொடு பெறினும்,சென்று, தாம் நீடலோஇலரே என்றும்கலம் பெயக் கவிழ்ந்த கழல் தொடித் தடக் கை,வலம் படு வென்றி வாய் வாள் சோழர்இலங்கு நீர்க் காவிரி இழிபுனல் வரித்தஅறல் என நெறிந்த கூந்தல்,உறல் இன் சாயலொடு ஒன்றுதல் மறந்தே. A long trip through the drylands that takes us on many a detour, 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: “The courageous, warring Thondaiyars, possessing elephants, skilled in battle, rule over tall and formidable peaks, surrounded by clouds, adorned with shining, white cascades in the domain of Venkatam. Beyond this region, live the Vadugars, known for feasting on fleshy white meat, and wearing thick clusters of wild jasmine that bloom at dawn, on their thick and curly hair, causing bees to swarm around, and for the victory of seizing a huge herd of cattle in the battlefront, they render the sacrifice of well-aged toddy. In this land of the Vadugars, upon those long and winding, waterless paths, which have lost the beauty of shade, without considering that this scorching, formidable drylands is far, he wishes to part away. In the evening hour when the many-rayed sun pulls back its shine, in the wide forest space, where huge trees have been felled, inviting the wind to gush over, where radiant gems sparkle with their brilliant rays, in the victorious Vaanavan's western Kolli hills, lush and thick bamboos sprout. Akin to the perfect stalks of these bamboo, are your arms with curving wrists. He has parted away leaving its great beauty to be ruined. While that may be so, even if he were to attain the precious world of the noble along with the elixir of life, leaving you, he shall not remain there, forgetting to come unite with your sweet and slender form, adorned with wavy tresses, akin to the silt, stacked by the shining waters of the River Kaveri, in the domain of the Chozhas, having strong hands, adorned by swaying bracelets, and which are always turned upside down, giving away vessels to those who come seeking, or holding honest swords that always claim victory rightfully!” Time to brave the scorching spaces! The confidante starts by talking about where the man has left to, and do that, first she talks about the Thondaiyars, who rule over Venkatam hills and are said to have skilled battle elephants. Then she goes beyond Venkatam hills, to the region where the rugged Vadugars live, known for jasmine flowers on their curly locks of hair, and they supposedly offer toddy in sacrifice to their gods for blessing them with the victory of herds of cattle in a recent battle. Those scary, dreary spaces of theirs is exactly where the man is treading now, without any consideration, the confidante connects. Then, she talks about the lady’s arms, and to depict their beauty, she takes us to the Kolli hills of Vaanavan, where huge trees have been felled in the pursuit of agriculture, and where the winds gush in with force, in the twilight hour, and she points to the thick bamboos growing there, saying such are the lady’s arms. She has mentioned this to say the man has left these arms to be ruined and concludes by saying, even so, the man is not going to leave the lady and remain, even if he were to be offered both heaven and ambrosia, why because it’s impossible for him to forget the joy of being one with this beautiful lady, having tresses like the silt of River Kaveri, in the domain of the generous and victorious Chozhas! In essence, the core elements are that the man has left to a faraway country, the lady’s arms are pining away and yet the man is bound to return and unite with the lady. Within this oft-repeating theme, the verse brings in the nuances of various tribes and kings, domains, lifestyle and natural wealth, to paint an intricate portrait of the ancient past!

In this episode, we listen to words of disappointment, as depicted in Sangam Literary work, Aganaanooru 212, penned by Paranar. The verse is situated amidst the rugged paths of the ‘Kurinji’ or ‘Mountain landscape’ and portrays the courage and strength of a historic personality. தா இல் நல் பொன் தைஇய பாவைவிண் தவழ் இள வெயிற் கொண்டு நின்றன்ன,மிகு கவின் எய்திய, தொகுகுரல் ஐம்பால்,கிளைஅரில் நாணற் கிழங்கு மணற்கு ஈன்றமுளை ஓரன்ன முள் எயிற்றுத் துவர் வாய்,நயவன் தைவரும் செவ்வழி நல் யாழ்இசை ஓர்த்தன்ன இன் தீம் கிளவி,அணங்கு சால் அரிவையை நசைஇ, பெருங் களிற்றுஇனம் படி நீரின் கலங்கிய பொழுதில்,பெறல் அருங் குரையள் என்னாய், வைகலும்,இன்னா அருஞ் சுரம் நீந்தி, நீயேஎன்னை இன்னற் படுத்தனை; மின்னு வசிபுஉரவுக் கார் கடுப்ப மறலி மைந்துற்று,விரவு மொழிக் கட்டூர் வேண்டுவழிக் கொளீஇ,படை நிலா இலங்கும் கடல் மருள் தானைமட்டு அவிழ் தெரியல் மறப் போர்க் குட்டுவன்பொரு முரண் பெறாஅது விலங்கு சினம் சிறந்து,செருச் செய் முன்பொடு முந்நீர் முற்றி,ஓங்குதிரைப் பௌவம் நீங்க ஓட்டியநீர் மாண் எஃகம் நிறத்துச் சென்று அழுந்தக்கூர் மதன் அழியரோ நெஞ்சே! ஆனாதுஎளியள் அல்லோட் கருதி,விளியா எவ்வம் தலைத் தந்தோயே. It’s more of a history lesson in this trip to the highlands, as we hear the man say these words to his heart, at a time when he has been unable to tryst with the lady, despite repeated attempts: “Appearing akin to a statue made of tender, fine gold, and adorned with the rays of the young sun, crawling in the sky with much beauty; having luxuriant, five-part braided tresses; sharp teeth, akin to white sprouts that shoot out from the twining ‘kans grass' tubers, spreading in the ground; a red mouth; and speaking sweet and pleasant words, akin to the music of a fine ‘Chevvali' lute, played by an expert musician, is that goddess-like maiden. Desiring her, you have made me confused, akin to water, muddled by a herd of huge elephants stepping in. Without thinking that she would be hard to attain, day after day, you make me walk harsh and formidable paths and subject me to great distress. Rising high with immense strength, akin to lightning that flashes amidst rainclouds; establishing battle camps with soldiers, who speak a great variety of languages; wielding a navy that shines like the moon amidst the seas, the battle-worthy Kuttuvan, adorned with garlands brimming over with nectar, finding no worthy army to match him, with his fury soaring, crosses the great oceans with the resolve to battle, and seems to subdue the great ocean with roaring waves. May his esteemed spear pierce through you and destroy your strength, O heart! Because ceaselessly thinking about that maiden, who is not easily attainable, you have rendered unto me, an endless suffering!” The man starts by vividly describing the beauty of his beloved, mentioning how she was like a golden statue, exuding the rays of the twilight sun, how she had thick tresses, sharp teeth, red mouth and how the words that came from that mouth were much like the music of a lute played by a musician. After this, the man turns to his heart and says how it has confused him because without thinking that the lady was impossible to attain, it kept nudging him to seek her, making him walk on dangerous paths. Then, he goes on to talk about a Chera King named ‘Kuttuvan’ and how this king rose furiously like lightning in the sky and waged war against enemies beyond the seas, with an army of people who speak different languages, and it appeared as if he was subduing the roaring sea itself. This cryptic statement actually points to the routing of pirates by this Chera King and securing the seas for the trade of the ancient Tamils. After that nugget about the king, the man turns to his heart and concludes by saying, because it has been badgering him so, his heart deserved to be pierced with the spear of that great King Kuttuvan!  Curious how the man is talking as if his heart was another person, and as if piercing it will do nothing to him! Perhaps he could imply the pain he feels at not meeting his beloved was so sharp that no spear could match its power. Yet again, a unique Sangam depiction of separating the heart from oneself to experience the depth of the emotion!

In this episode, we perceive a message of reassurance, as depicted in Sangam Literary work, Aganaanooru 211, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches a curious act of war. கேளாய், எல்ல! தோழி! வாலியசுதை விரிந்தன்ன பல் பூ மராஅம்பறை கண்டன்ன பா அடி நோன் தாள்திண் நிலை மருப்பின் வயக் களிறு உரிஞுதொறும்,தண் மழை ஆலியின் தாஅய், உழவர்வெண்ணெல் வித்தின் அறைமிசை உணங்கும்பனி படு சோலை வேங்கடத்து உம்பர்,மொழி பெயர் தேஎத்தர் ஆயினும், நல்குவர்குழியிடைக் கொண்ட கன்றுடைப் பெரு நிரைபிடி படு பூசலின் எய்தாது ஒழிய,கடுஞ் சின வேந்தன் ஏவலின் எய்தி,நெடுஞ் சேண் நாட்டில் தலைத்தார்ப் பட்டகல்லா எழினி பல் எறிந்து அழுத்தியவன்கண் கதவின் வெண்மணி வாயில்,மத்தி நாட்டிய கல் கெழு பனித் துறை,நீர் ஒலித்தன்ன பேஎர்அலர் நமக்கு ஒழிய, அழப் பிரிந்தோரே. In this trip to the drylands, the detour takes us to faraway shores, as we hear the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Won't you listen to this, my dearest friend? Akin to the spread of lime paste, the many-flowered burflower tree, with a wide trunk, akin to a drum,  sheds its blooms, akin to a cool rain of hailstones, when a strong and huge male elephant, with sturdy tusks, rubs against it. These flowers scatter akin to grains of white paddy spread on a rock to dry, in the cloud-covered orchards of the Venkatam Hills. The man has traversed beyond these hills, to a country, where an unknown language is spoken.  Hearing the uproar of the herd of female elephants with their calves, caught in a pit, naive Ezhini left without capturing them, and so, the king got furious and ordered Maththi to enforce his order. Maththi left to the faraway country and captured Ezhini with his army. Maththi then pulled out the teeth of this Ezhini and pressed it upon the sturdy fort door at ‘Venmani Vayil'. Akin to the roaring waves of boulder-filled cool shores nearby, slander has soared in town. He who had left us in tears, leaving the burden of slander, though far away, will indeed return and grace you soon!” Time to brave the harsh domain once again! The confidante starts by requesting her friend to listen to her. Then with a stack of similes, she depicts how the burflower tree’s flowers fall like hailstones and scatter like drying white paddy grain, when elephants rub against its drum-like trunk. She has mentioned this scene as a description of Venkatam Hills up north, which the man is currently traversing and going to a land, where an unknown language is spoken. Then, leaving the man there, the confidante starts narrating a historic incident in which apparently, a lord named Ezhini refused to capture female elephants and their calves, trapped in a pit, against the orders of a superior king. Perhaps, he was a kind-hearted soul! But as leaders with too much power are bound to do, that superior king lost his cool and asked another of his lords, Maththi to go teach this Ezhini a lesson, which the said lord did successfully. But the curious thing this Maththi seems to have done is to pull out the teeth of this Ezhini and impress it on the doors of the fort at a place called ‘Venmani Vayil’. Sounds bizarre yes, but we have already encountered one such instance, some time back in our Sangam exploration, in Natrinai 18, to be exact, wherein a King named Poraiyan does the exact same tooth-pulling to his enemy named ‘Moovan’ and imprints the said teeth on the fort doors at Thondi! Seems to have been one of those acts of war and proclaiming one’s power! Returning to this verse, we find that long reference has been made by the confidante to say that the shores near that ‘Venmani Vayil’ was filled with the roar of the oceans, and just like that, slander was soaring through their town, because the man had left the lady and gone. This tells us this separation between the man and the lady has happened before the lady’s marriage with the man. However, the confidante concludes by telling the lady that the man will indeed return soon, far though he may be! Speaking of far, the Venkatam Hills mentioned seems to have been a favourite haunt of these men, who were in search of wealth. Yet again, like a recent verse we saw, it’s the trope of ‘slander spreads’ but ‘he shall be back soon’. Indeed, nothing works to allay sorrow like the comforting words of a friend!

In this episode, we perceive a hidden technique of persuasion, as portrayed in Sangam Literary work, Aganaanooru 210, penned by Ulochchanaar. The verse is situated amidst the leaping fish of the ‘Neythal’ or ‘Coastal landscape’ and reveals the changing attitude of a person. குறியிறைக் குரம்பைக் கொலை வெம் பரதவர்எறிஉளி பொருத ஏமுறு பெரு மீன்புண் உமிழ் குருதி புலவுக் கடல் மறுப்பட,விசும்பு அணி வில்லின் போகி, பசும் பிசிர்த்திரை பயில் அழுவம் உழக்கி, உரன் அழிந்து,நிரைதிமில் மருங்கில் படர்தரும் துறைவன்,பானாள் இரவில், நம் பணைத் தோள் உள்ளி,தான் இவண் வந்த காலை, நம் ஊர்க்கானல்அம் பெருந் துறை, கவின் பாராட்டி,ஆனாது புகழ்ந்திசினோனே; இனி, தன்சாயல் மார்பின் பாயல் மாற்றி,‘கைதை அம் படு சினைக் கடுந் தேர் விலங்கச்செலவு அரிது என்னும்’ என்பதுபல கேட்டனமால் தோழி! நாமே. This swim in the seas lets us hear the confidante say these words to the lady, pretending not to notice the man listening nearby, but making sure he’s in earshot: “Attacked by the sharp spear of those harsh killer fisherfolk, who live in huts with short eaves, the formerly happy fish, shedding blood from its wounds and changing the hue of the flesh-reeking sea, akin to the bow that adorns the sky, leaps and muddles the fresh foam of the waves brimming over, and then losing its resolve, floats near the side of the huge boat, in the shores of the lord. As for him, at that time, in the dead dark of the midnight hour, thinking about your bamboo-like shoulders, when he had come here, he had praised the beauty of the grove-filled shores in our hamlet ceaselessly.  But now, giving no room for your sweet sleep on his tender chest, he says, ‘Those dense branches of the pandanus tree block my speeding chariot and make my travel here impossible'. Haven't we heard this once too often, my friend?” Let’s walk along the coast of emotions and read the waves! The confidante starts by describing the man’s shores, and to do that, she sketches an image of a fish that has been attacked by a spear, thrown by the fierce fishermen, and the way it spills its blood and reddens the sea, tries to leap like the rainbow, but soon falls without strength and limply floats near the boat. A scene with deep significance no doubt, but we will come to that shortly. Then the confidante goes on to talk about how in the beginning when the man wanted to tryst with the lady at night, he would not mind even the late hour and would come there, and praise the beauty of their shore. She concludes by contrasting how now the man seemed to be often blaming the thick branches of the pandanus tree for blocking his chariot and thus making his journey to the lady difficult! In that scene of the fish attacked by the spear, the confidante has placed a metaphor for the lady’s situation of uniting with the man, and causing the red blood of slander to spread all across town. In essence, the confidante seems to be telling the lady about the man, ‘before he was full of passion and now, only full of excuses’, so that the man listening nearby, would hear this and understand the error in his ways and seek to remedy the situation by seeking the lady’s hand. An effective technique of slaying complacency by pointing out the past fervour in the mission!

In this episode, we listen to words of assurance, as rendered in Sangam Literary work, Aganaanooru 209, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse narrates events from history to etch the lady’s situation. ”தோளும் தொல் கவின் தொலைந்தன; நாளும்அன்னையும் அருந் துயர் உற்றனள்; அலரே,பொன் அணி நெடுந் தேர்த் தென்னர் கோமான்,எழு உறழ் திணி தோள் இயல் தேர்ச் செழியன்,நேரா எழுவர் அடிப்படக் கடந்தஆலங்கானத்து ஆர்ப்பினும் பெரிது” என,ஆழல் வாழி, தோழி! அவரே,மாஅல் யானை மறப் போர்ப் புல்லிகாம்புடை நெடு வரை வேங்கடத்து உம்பர்அறை இறந்து அகன்றனர் ஆயினும், நிறை இறந்துஉள்ளார்ஆதலோ அரிதே செவ் வேல்முள்ளூர் மன்னன் கழல்தொடிக் காரிசெல்லா நல் இசை நிறுத்த வல் வில்ஓரிக் கொன்று சேரலர்க்கு ஈத்தசெவ் வேர்ப் பலவின் பயம் கெழு கொல்லி,நிலை பெறு கடவுள் ஆக்கிய,பலர் புகழ் பாவை அன்ன நின் நலனே. Once again, it’s a parade of kings in this trip to the drylands, 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: “Saying, ‘My arms have lost their old beauty; Day after day, mother too feels a deep sorrow; As for slander, it's greater than the uproar that arose at the battlefield of Aalangkaanam, in which the Southern King Cheziyan, who wields tall, swaying, golden chariots, and has strong arms, akin to a fort door's crossbar, routed his enemies seven!', do not cry my friend, may you live long! Even though, he has parted away far beyond the tall ranges of Venkatam Hills, covered with bamboos, ruled by the battle-worthy Pulli, who wields huge elephants, it would impossible for him to remain, without thinking about that beauty of yours, which is akin to the statue of that ancient goddess, celebrated by many in the prosperous Kolli hills, filled with red-rooted, rich jackfruits, the land which the king of Mullor, Kaari, who wields red spears and wears warrior anklets, killed Ori, known for his sturdy bows and celebrated for his unceasing fame, and rendered unto the Chera King!” Time to tread along in the drylands and learn more! The confidante starts by repeating the lady’s words, who seems to have been complaining that since the man left, her beauty was shot. Likewise, mother seems to be suffering greatly, she adds. This tells us that this event of separation between the man and the lady has happened before the lady’s marriage with the man. The lady goes on to add that slander too was spreading in town, and to describe its nature, she brings forth the famous battle of Thalaiyaalangkaanam, where the Pandya King Neduchezhiyan defeated not one, not two, but seven great kings in one go, and the lady says, ‘Louder than the victory shouts that arose in this battlefield are the rumours that were abuzz in town!’. After repeating these words from the lady, the confidante gently asks her friend to not cry, and then she talks about how now, the man is in a faraway country, beyond Venkatam hills, ruled by Pulli, famous for his elephants. The confidante concludes by saying, while that may be so, the man has no way of forgetting the lady’s beauty, which she compares to the the goddess statue in Kolli hills, celebrated by all, and then narrates how this land was ruled by Ori, but then came the Mullor king Kaari, who defeated Ori, and gave away the lush region of Kolli Hills to a Chera King!  The base elements are ‘slander is spreading’, ‘the man is far away’ and ‘your beauty will make him return’. But upon this foundation, multiple layers of historic characters and events soar, to inform and educate the world about the events of those times, no doubt. A verse which kindles my imagination once again, wondering about the beauty of that statue at Kolli Hills. In verse after verse, we’ve heard it compared to the exquisite beauty of the lady. If only we could glance at it! Here’s wishing some archaeological excavation someday unearths this statue, so highly regarded in the Sangam world! 

In this episode, we perceive the ecstasy of a man in love, as depicted in Sangam Literary work, Aganaanooru 208, penned by Paranar. The verse is situated amidst the flower-filled spaces of the ‘Kurinji’ or ‘Mountain landscape’ and relays historical references many. யாம இரவின் நெடுங் கடை நின்று,தேம் முதிர் சிமையக் குன்றம் பாடும்நுண் கோல் அகவுநர் வேண்டின், வெண் கோட்டுஅண்ணல் யானை ஈயும் வண் மகிழ்வெளியன் வேண்மான் ஆஅய் எயினன்,அளி இயல் வாழ்க்கைப் பாழிப் பறந்தலை,இழை அணி யானை இயல் தேர் மிஞிலியொடுநண்பகல் உற்ற செருவில் புண் கூர்ந்து,ஒள் வாள் மயங்கு அமர் வீழ்ந்தென, ‘புள் ஒருங்குஅம் கண் விசும்பின் விளங்கு ஞாயிற்றுஒண் கதிர் தெறாமை, சிறகரின் கோலி,நிழல் செய்து உழறல் காணேன், யான்’ எனப்படுகளம் காண்டல்செல்லான், சினம் சிறந்து,உரு வினை நன்னன், அருளான், கரப்ப,பெரு விதுப்புற்ற பல் வேள் மகளிர்குரூஉப் பூம் பைந் தார் அருக்கிய பூசல்,வசை விடக் கடக்கும் வயங்கு பெருந் தானைஅகுதை கிளைதந்தாங்கு, மிகு பெயல்உப்புச் சிறை நில்லா வெள்ளம் போல,நாணு வரை நில்லாக் காமம் நண்ணி,நல்கினள், வாழியர், வந்தே ஓரிபல் பழப் பலவின் பயம் கெழு கொல்லிக்கார் மலர் கடுப்ப நாறும்,ஏர் நுண், ஓதி மாஅயோளே! In this trip to this domain, we hardly get to see the mountains, for we are busy visiting a battlefield, as we listen to these words said by the man, when the lady had met him and just parted away: “For standing at his tall gates in the middle of the night and singing about his honey-soaked mountain peaks, Veliyan Veynmaan AaAy Eyinan would render esteemed, white-tusked elephants with joyous generosity to those singers, who hold fine divining rods, if they sought that from him. Such was the life of grace that this lord lead. In the Pazhi battlefield, where radiant swords clashed, when confronting Mignili, who owns ornamented elephants and adorned chariots, filled with wounds, Eyinan fell in the middle of the day. Just then, birds joining together, wishing to prevent the rays of the sun, scorching above in the sky, from touching this king's fallen form, spread their wings to form a canopy and render shade unto him. Saying, ‘I shall not go and see this sight', filled with fury, the battle-worthy Nannan refused to go to the battlefield and pay his respects. Since without any grace, he avoided coming there, the many women of the Velir clan, filled with immense anguish, tore at their fresh new flower garlands and created an uproar. At that time, Akuthai, with his mighty army, capable of winning over enmity, came there and ended their sorrow. Akin to that, in the manner of a huge flood, caused by a heavy downpour that breaks a bank of salt and gushes over, breaking the bounds of her modesty, which was restraining her, she had come here and rendered her grace unto me. May she live long, that dark-skinned maiden, having delicate, exquisite tresses that waft with the scent of flowers in the rain that bloom in the fertile Kolli hills, adorned with many jackfruit trees, ruled by King Ori!” True to his title of historian poet, Paranar stitches a series of significant events from the Sangam era. The man starts by talking about the nature of a Velir chieftain called Eyinan, describing how he would render elephants to bards, who sang about his peaks. Epitome of generosity indeed. Next, he takes us to another incident in this chief’s life, to the Paazhi battlefield, where Eyinan is waging war against a King named Mignili. Unfortunately, Eyinan is covered in wounds and falls dead on that battlefield. Now a curious thing happens! It appears as if this chief was not only kind to those bards but also to birds! For when he falls dead in the middle of the day, as the sun scorches above, the birds wishing to protect his form from the harsh rays join together and spread their wings, forming a canopy high above. What a moving sight! A testimony to the man’s greatness, no doubt! Anyone would celebrate this, however there was a Velir King named Nannan, who refused to come to the battlefield, possibly, out of envy, and see this rare sight and honour his clansman. Heartbroken because of this attitude of one of their own, the women of the clan beat their chests, tore their garlands and cried out in pain. At that moment, another clansman Akuthai rose to their aid and ended their sorrow, the man describes. Like how Akuthai ended the misery of those anguished Velir women, the lady, who has tresses as fragrant as the flowers in another king Ori’s domain of Kolli hills, had come to the man, breaking the bounds of her modesty, like how a flood would shatter and overcome a wall of salt, and she had ended the anguish of yearning with her grace, the man connects and concludes. At the core, it’s just a man in the throes of young love, exulting in the knowledge that his love was reciprocated. How seamlessly the verse stitches together this subtle, intimate moment and an uproarious, historic event, and weaves a tapestry, rich in both inner and outer life! 

In this episode, we perceive the wonder in a mother’s heart, as depicted in Sangam Literary work, Aganaanooru 207, penned by Madurai Ezhuthaalan Senthampoothanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the formidable nature of this domain. அணங்குடை முந்நீர் பரந்த செறுவின்உணங்கு திறம் பெயர்ந்த வெண் கல் அமிழ்தம்குட புல மருங்கின் உய்ம்மார், புள் ஓர்த்துப்படை அமைத்து எழுந்த பெருஞ் செய் ஆடவர்நிரைப் பரப் பொறைய நரைப் புறக் கழுதைக்குறைக் குளம்பு உதைத்த கல் பிறழ் இயவின்,வெஞ் சுரம் போழ்ந்த, அஞ்சுவரு கவலை,மிஞிறு ஆர் கடாஅம் கரந்து விடு கவுள,வெயில் தின வருந்திய, நீடு மருப்பு ஒருத்தல்பிணர் அழி பெருங் கை புரண்ட கூவல்தெண் கண் உவரிக் குறைக் குட முகவை,அறனிலாளன் தோண்ட, வெய்து உயிர்த்து,பிறைநுதல் வியர்ப்ப, உண்டனள்கொல்லோதேம் கலந்து அளைஇய தீம் பால் ஏந்திக்கூழை உளர்ந்து மோழைமை கூறவும்,மறுத்த சொல்லள் ஆகி,வெறுத்த உள்ளமொடு உண்ணாதோளே? In this trip to the drylands, we get to hear mother say these words, at a time when her daughter had eloped away with the man: “In fields that spread near divine seas, flourishes that elixir of white salt with a well-dried texture. Gathering these and intending to take it to regions in the west, biding their time for the right bird omens, organising into groups, men of efficient action traverse along with their donkeys, laden with sacks of salt on the beasts’ white backs, and tread along the stony paths, with pebbles scattered by worn-out hooves of these beasts. Through the same formidable paths in the scorching drylands, treads a male elephant, with long tusks and musth-flowing cheeks, swarming with bees, distressed by the heat, and searches for water, amidst a pit with its long and coarse trunk. From this very pit, digging up brackish water that fills only half a cup, that graceless man, renders unto her. Letting out a hot sigh, as her crescent-moon-like forehead sweats, did she drink that up? When I used to offer honey-infused sweet milk, caressing her tresses and speaking sweet words, she would say ‘no' and with dislike in her heart, would never drink that up. How could she do this now?” Let’s brave those scorching spaces once again and know more! Mother starts by describing salt fields near the shore, talking about how people there harvest this much sought-after elixir. Then, she describes these harvesters of salt are not content in keeping their produce for themselves, and wish to take it to regions in the west… this line tells us the salt-making is happening on the eastern coast of present-day South India, near the Bay of Bengal. The vehicles these men use for their journey are donkeys and the backs of these donkeys are heavily laden with sacks of salt, mother describes, and she zooms on to the worn-out hooves of these beasts of burden, and the pebbles they scatter on the stony paths. Mother ends this scene here and after an interval of time, on that same pebble-scattered, stony path, we see heavy footprints of an elephant in musth, running crazily in search of water, roving here and there, and locating a pit, it tries to gather the salty water from there. Once more, this scene with the elephant goes curtain down, and after some time, we see the man digging up the same pit to find some water for his beloved. Now mother concludes by asking how the lady was able to drink this foul liquid, adding that this girl was someone, who would refuse to drink even a portion of honeyed milk, offered with tender care and sweet words by her!  Yet again, it’s that awe that strikes many a mother, when their children seem to grow up and do never-before things independently, why because, a part of their mind will always be etched with the memory of that helpless being they held so protectively in their arms, a while ago!

In this episode, we listen to the distress of a lady, as depicted in Sangam Literary work, Aganaanooru 206, penned by Madurai Maruthan Ilanaakanaar. The verse is situated amidst scenes of wandering buffaloes in the ‘Marutham’ or ‘Farmlands landscape’ and etches the emotions of a jilted woman. என் எனப்படும்கொல் தோழி! நல் மகிழ்ப்பேடிப் பெண் கொண்டு ஆடுகை கடுப்ப,நகுவரப் பணைத்த திரி மருப்பு எருமைமயிர்க் கவின் கொண்ட மாத் தோல் இரும் புறம்,சிறு தொழில் மகாஅர் ஏறி, சேணோர்க்குத்துறுகல் மந்தியின் தோன்றும் ஊரன்,மாரி ஈங்கை மாத் தளிர் அன்னஅம் மா மேனி, ஆய்இழை மகளிர்ஆரம் தாங்கிய அலர்முலை ஆகத்துஆராக் காதலொடு தார் இடை குழைய,முழவு முகம் புலரா விழவுடை வியல் நகர்,வதுவை மேவலன் ஆகலின், அது புலந்து,அடுபோர் வேளிர் வீரை முன்துறை,நெடு வெள் உப்பின் நிரம்பாக் குப்பை,பெரு பெயற்கு உருகியாஅங்கு,திருந்துஇழை நெகிழ்ந்தன தட மென் தோளே? It’s all about the players in this trip to the farmlands, as we listen to these words said by the lady to a female dancer, who had come as a messenger from the man, seeking entry into the lady’s house, after the man had left seeking the company of courtesans: “Akin to hand gestures of a trans-feminine dancer, shaped with nuance, are the thick, curving horns of a buffalo. Climbing atop the handsome, hair-clad, dark-skinned sides of the beast, young children, always upto many little antics, appear akin to monkeys hopping on a boulder, to those faraway in the town of the lord. As for him, he only seeks to unite with those maiden, who have a beautiful, dark complexion, akin to tender sprouts of a touch-me-not tree, clad in exquisite ornaments. He intends to lie with ceaseless love, amidst the garlands adorning their necklace-clad, blooming bosoms, and remain at their festive mansion with unending drum beats. Hating this, akin to tall mounds of salt in the shores of ‘Veerai', ruled by the battle-worthy Velirs, which melt away in a huge downpour, these well-etched ornaments slip away from my curving, soft arms! How will this state of mine be talked about, my friend?” Let’s take in the lush landscape and learn more! The lady starts by making one of those rare references in Sangam literature regarding transgender persons. Here, she seems to be talking about a trans-feminine person, who performs as a dancer. The way the arms of the said dancer would be muscular but the hand gestures would be graceful, is placed in parallel with the thick but delicately curving horns of a buffalo. The buffalo has been brought into the picture by the lady to present an image of young children, who fear nothing, climbing on to the back of this buffalo, and the way they appear as monkeys jumping on a rock to those standing faraway. She renders this scene as a description of the man’s prosperous town and goes on to talk about the man’s current state of being lost in the company of courtesans, always seeking to remain at their mansions, filled with festivities. Owing to this, her ornaments were slipping away from her arms, just the way tall mounds of salt on the shores of ‘Veerai’ ruled by Velir Kings, would melt away in a heavy unexpected downpour, the lady concludes. A pictorial depiction of the man’s thoughtless actions and its consequences on the lady’s state of mind! 

In this episode, we listen to a dual expression of sadness and hope, as depicted in Sangam Literary work, Aganaanooru 205, penned by Nakirar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the prosperity of a renowned Sangam-era town. உயிர் கலந்து ஒன்றிய தொன்று படு நட்பின்செயிர் தீர் நெஞ்சமொடு செறிந்தோர் போல,‘தையல்! நின் வயின் பிரியலம் யாம்' எனப்பொய் வல் உள்ளமொடு புரிவு உணக் கூறி,துணிவு இல் கொள்கையர் ஆகி, இனியேநோய் மலி வருத்தமொடு நுதல் பசப்புபூர,நாம் அழ, துறந்தனர் ஆயினும், தாமேவாய்மொழி நிலைஇய சேண் விளங்கு நல் இசைவளம் கெழு கோசர் விளங்கு படை நூறி,நிலம் கொள வெஃகிய பொலம் பூண் கிள்ளி,பூ விரி நெடுங் கழி நாப்பண், பெரும் பெயர்க்காவிரிப் படப்பைப் பட்டினத்தன்னசெழு நகர் நல் விருந்து அயர்மார், ஏமுறவிழு நிதி எளிதினின் எய்துகதில்லமழை கால் அற்சிரத்து மால் இருள் நீங்கி,நீடுஅமை நிவந்த நிழல் படு சிலம்பில்,கடாஅ யானைக் கவுள் மருங்கு உறழஆம் ஊர்பு இழிதரு காமர் சென்னி,புலி உரி வரி அதள் கடுப்ப, கலி சிறந்து,நாட் பூ வேங்கை நறு மலர் உதிர,மேக்கு எழு பெருஞ் சினை ஏறி, கணக் கலைகூப்பிடூஉ உகளும் குன்றகச் சிறு நெறிக்கல் பிறங்கு ஆர் இடை விலங்கியசொல் பெயர் தேஎத்த சுரன் இறந்தோரே. In this trip to the drylands, we get to travel to the lady’s past and also to a Chozha town, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left in search of wealth: “Owing to a bond that extends beyond time and makes our lives fuse with each other, he had become one with me, uniting his flawless heart with mine. Then, having a heart capable of rendering lies to appease me, he had said, ‘O young maiden! I shall never part from you'. Now, losing his resolve, making the pallor of pining spread on my forehead, leaving me to cry, he had parted away! He has traversed narrow mountain paths near slopes, covered in the shade of tall bamboos, and where, akin to the cheek of an elephant in musth, cascades descend down, and akin to the lined stripes of a tiger, with joy, fragrant flowers of the Kino tree drop down, and climbing atop the soaring branches of this tree, a troop of monkeys call aloud, and he has reached the formidable, pebble-filled, difficult paths of the drylands in a land, where an unknown language is spoken! The Chozha King Killi, adorned in golden ornaments, attacked the powerful army of the prosperous Kosars, whose reputation for honesty was renowned far and wide, wishing to seize their land. The Chozhan king rules over the famous ‘Kaveri Pattinam', whose backwaters are covered with flowers, and the land is decked with fertile fields many. Even though my beloved has left me to suffer and parted away, may he attain the wealth he seeks easily, so that he can feast with delight, in our prosperous mansion, akin to Killi's Kaveripoompattinam, at this time when dew descends down like rain, and a confusing darkness spreads!” Let’s explore the difficult paths of this domain once again! The lady starts on a philosophical note about love, talking about how this bond between her and the man did not happen a few weeks or a few months back. She portrays it as a connection existing beyond time, indicating the belief of this era in destiny bringing those in love together. She talks about how they both united as one, and at this time the man had promised her he shall never part from her. However this turned out to be a lie, for the man seems to have lost that determination, and has parted away, leaving her in the midst of tears and pining, the lady details. I want to take a moment to record a nuance in this expression by the lady. Since I’m rendering this in English, I have chosen an individualistic style of expression such as, ‘The man has left ‘me’ to cry, has made ‘my’ forehead be covered in pallor’. However, the words to denote the actual expression of the lady would be, ‘The man has left ‘us’ to cry, has made ‘our’ foreheads to be covered in pallor’, as if including the confidante in her feelings. The difference between the two is in a collective representation of mental states and possessions. Though today, this collective representation of mental states is no more, the way of referring to possessions collectively still goes on. For instance, in Tamil, when talking about one’s own house or town, people reflexively use the pronoun ‘namma’ which means ‘ours’ rather than ‘en’ meaning ‘mine’! A curious cultural phenomenon of the Tamil language and culture that seems to extend beyond the centuries. Returning to the verse, we find the lady talking about where the man has left to, and he has crossed mountainous paths, a region filled with cascades, which are poetically placed in parallel to the fluid pouring down the cheeks of an elephant in musth, and a place, decked in the flowers of a Kino tree, which is placed in parallel to the stripes of a tiger. A group of monkeys are seen leaping and calling aloud from the branches of the said tree. It seems as if we are visiting the ‘Kurinji’ landscape, but this is only the beginning of the man’s journey and he soon reaches the drylands, filled with stony, barren paths that lead to a land, where one doesn’t understand the language being spoken there, the lady describes. This is to say the man has taken a long journey, far away from the comforting sounds of his own language! Then, the lady goes on to talk about King Killi, his intent of waging war against the honest Kosars and seizing their land, and about Killi’s famous town of ‘Kaveripoompattinam’, renowned for its prosperity and natural beauty. Now, the lady places this town in parallel to their wealthy mansion and she concludes by wishing that the man gains the wealth he seeks and returns soon, for now it was the painful season of winter, and the man needs to slay the confusing darkness that spreads around, with his presence! A verse that wraps time as a multi-layered gift, with the past and its promise of never parting, the present and its pain pf pining, and finally the future and the hope of togetherness! 

In this episode, we observe the yearning to be back home, as depicted in Sangam Literary work, Aganaanooru 204, penned by Madurai Kaamakani Nappaalathanaar. The verse is situated amidst the buzzing bees of the ‘Mullai’ or ‘Forest landscape’ and relays the emotions at the end of a mission. உலகு உடன் நிழற்றிய தொலையா வெண்குடை,கடல் போல் தானை, கலிமா, வழுதிவென்று அமர் உழந்த வியன் பெரும் பாசறைச்சென்று, வினை முடித்தனம்ஆயின், இன்றேகார்ப் பெயற்கு எதிரிய காண்தகு புறவில்,கணம் கொள் வண்டின் அம் சிறைத் தொழுதிமணம் கமழ் முல்லை மாலை ஆர்ப்ப,உதுக்காண் வந்தன்று பொழுதே; வல் விரைந்து,செல்க, பாக! நின் நல் வினை நெடுந் தேர்வெண்ணெல் அரிநர் மடி வாய்த் தண்ணுமைபல் மலர்ப் பொய்கைப் படு புள் ஓப்பும்காய் நெல் படப்பை வாணன் சிறுகுடித்தண்டலை கமழும் கூந்தல்,ஒண் தொடி மடந்தை தோள் இணை பெறவே. In addition to visiting the fragrant forests, we also take a detour to visit a famous Sangam town, as we listen to the man say these words to his charioteer, after completing his mission of war: “Having a flawless, white royal umbrella that renders shade to the world entire, a sea-like army, and proud horses, the Pandya King has won the war with determined efforts, and we have completed our mission in this wide and expansive battle-camp. Right now, in that picturesque forest, which has been showered by clouds of the rainy season, swarms of beautiful bees buzz around fragrant wild jasmines in the evening hour. Lo behold! That time has come! Hasten, O charioteer, and wield your well-crafted, decorated, tall chariot! Those who harvest paddy beat on the ‘thannumai drums', having a folded leather cover, to chase away birds, heading from many flowered groves, from those fertile fields with ripe paddy grains, in the town of ‘Sirukudi', ruled by ‘Vaanan'. That young maiden with shining bangles, has tresses that waft with the scent of the moist orchards in Vaanan's Sirukudi! Rush on, O charioteer, so that I can embrace her arms soon!” Time to speed along with this traveller through the forests! The man starts by talking about how he had come to serve his king, a scion of the Pandya dynasty, who had extended the shade of his rule to the world entire. An exaggeration, no doubt, but we can read it as ‘world as they knew it’! This King had claimed victory in the battlefield and so the man’s mission was complete. While that was good news, the season of rains, which was his promised season of return, had already arrived and was make the forests smile with wild jasmines, inviting the bees in the evening hour. At this time, the man asks his charioteer to speed on and take him to his lady, whose tresses he places in parallel to the many-flowered, moist orchards in the town of ‘Sirukudi’, ruled by ‘Vaanan’, a place filled with lush paddy fields, where people used beat their drums to chase away birds that came to raid ripe grains. The man concludes by telling his charioteer that he wished for nothing more than embracing his beloved’s arms as soon as possible! In essence, it’s a ‘take me home, right now’ message, celebrating the beauty of the lady and acknowledging the changing seasons. That moment of reunion that a person who had parted away yearns for, that’s something that’s a constant across the ages, and across the miles of this world! These words from the past seem to tell us, ‘No matter how great a mission we have accomplished, nothing can match the joy of being back in the presence of love’!

In this episode, we perceive the angst and yearning in a mother’s voice, as portrayed in Sangam Literary work, Aganaanooru 203, penned by Kabilar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse resonates with the wishes throbbing in a sorrowful heart. ‘உவக்குநள்ஆயினும், உடலுநள்ஆயினும்,யாய் அறிந்து உணர்க’ என்னார், தீ வாய்அலர் வினை மேவல் அம்பற் பெண்டிர்,‘இன்னள் இனையள், நின் மகள்’ என, பல் நாள்எனக்கு வந்து உரைப்பவும், தனக்கு உரைப்பு அறியேன்,‘நாணுவள் இவள்’ என, நனி கரந்து உறையும்யான் இவ் வறு மனை ஒழிய, தானே,‘அன்னை அறியின், இவண் உறை வாழ்க்கைஎனக்கு எளிது ஆகல் இல்’ என, கழற் கால்மின் ஒளிர் நெடு வேல் இளையோன் முன்னுற,பல் மலை அருஞ் சுரம் போகிய தனக்கு, யான்அன்னேன் அன்மை நன் வாயாக,மான் அதர் மயங்கிய மலைமுதல் சிறு நெறிவெய்து இடையுறாஅது எய்தி, முன்னர்ப்புல்லென் மா மலைப் புலம்பு கொள் சீறூர்,செல் விருந்து ஆற்றி, துச்சில் இருத்த,நுனை குழைத்து அலமரும் நொச்சிமனை கெழு பெண்டு யான் ஆகுகமன்னே! Plenty of talking in this trip to the drylands, as we get to hear the lady’s mother say these words, at the juncture of her daughter’s elopement with the man: “Without thinking, ‘Whether she's going to be happy about it or whether she's going to be angry about it, let her mother learn of it herself!', those back-biting, slanderous women, who love to spread rumours with their cruel mouths, came to me and said, ‘Such is the nature of your daughter', over many, many days. Thinking that, ‘It will make her feel ashamed', I said nothing to my daughter, and kept it well hidden. Leaving me alone in this barren house, thinking, ‘If mother comes to know, the life I've been leading with him will not be possible for me anymore', she has left to the formidable drylands, crossing mountains many, with that young man, wearing warrior anklets and holding a radiant, tall spear, leading ahead. To tell the truth that I'm not such a person who is opposed to her, traversing the small, confusing mountain paths, where beasts roam, without any ruin coming to me, I should go ahead of them, reach the isolated hamlet in that barren, tall mountain, and to make them a fine feast, and let them rest for the night, I should enter that hut, surrounded by chaste trees, whose edges sway with tender sprouts, and become the lady of that household!” Let’s follow along through the scorching spaces and learn more! Mother starts by recollecting what had happened. It all started with the womenfolk of their hamlet, who were known to gossip and spread slander. Without remaining quiet with the thought, ‘When the time comes, let her find it out herself’, they had come to the lady’s mother and spoke about the lady’s relationship with the man. While this was so, mother seems to have refrained from talking about it directly with her daughter, worrying that her girl would feel much shame and distress. While mother was holding back so, the lady seems to have understood that something was amiss. Deciding if mother had indeed come to know of her relationship with the man, then she would forbid it, the lady had left to go far through the drylands, in the company of her lover, the one clad in warrior anklets and holding a shining spear in hand. After this account of what’s happened, mother comes to the present and declares, ‘I’m not opposed to her love and happiness’. ‘To make her understand this, I should somehow rush through those barren mountain paths, without any harm befalling me, and overtake them, and find that isolated mountain village that they would pass through, and going there, I should prepare a feast for the two of them and ensure they have a good rest before they continue their travels. This I can do, if I can somehow transform into the lady of that house, surrounded by chaste trees, with swaying branches of new sprouts’, mother concludes, dreaming! Something that shines so brightly in this verse is the nature of a mother’s heart. No matter how hurt by the actions of her girl, the mother wants the best for her child and all that that that child loves. Epitome of love indeed! Another thought that struck me was that everything that has happened in this instance is because of communication or its absence! Unwanted communication on the part of those gossiping womenfolk, mother not speaking out to her girl when she should have, and the lady, assuming mother was against her, and leaving without a word. A verse that reiterates the importance of speaking the right words to the right person at the right time! 

In this episode, we perceive an attempt at persuasion, as portrayed in Sangam Literary work, Aganaanooru 202, penned by Aavoor Moolankizhaar Kannanaar. The verse is situated amidst the flowering trees of the ‘Kurinji’ or ‘Mountain landscape’ and sketches striking similes using the colours of nature. வயங்கு வெள் அருவிய குன்றத்துக் கவாஅன்,கயந் தலை மடப் பிடி இனன் ஏமார்ப்ப,புலிப் பகை வென்ற புண் கூர் யானைகல்லகச் சிலம்பில் கை எடுத்து உயிர்ப்பின்,நல் இணர் வேங்கை நறு வீ கொல்லன்குருகு ஊது மிதி உலைப் பிதிர்வின் பொங்கி,சிறு பல் மின்மினி போல, பல உடன்மணி நிற இரும் புதல் தாவும் நாட!யாமே அன்றியும் உளர்கொல் பானாள்,உத்தி அரவின் பைத் தலை துமிய,உர உரும் உரறும் உட்கு வரு நனந்தலை,தவிர்வு இல் உள்ளமொடு எஃகு துணையாக,கனை இருள் பரந்த கல் அதர்ச் சிறு நெறிதேராது வரூஉம் நின்வயின்ஆர் அஞர் அரு படர் நீந்துவோரே? In this trip to the mountains, dynamic images await us as we listen to the confidante say these words to the man, when the man is about to part away after a nightly tryst with the lady: “In the mountain slopes, filled with radiant white cascades, after winning over the enmity of a tiger and making its herd proud, a male elephant, covered in wounds, lies along with its soft-headed, naive mate. As it raises its trunk and lets out a loud sigh in the rocky highlands domain, fine and fragrant flower clusters of the Kino tree nearby, soar akin to sparks that rise, when a blacksmith blows into his bellows, while stepping on the pedal of the furnace treadle. And then, appearing akin to many, small fireflies, these flowers bunch together and scatter on sapphire-hued, dark bushes in your mountains, O lord! In the dead dark of the night, when the hooded head of the spotted snake is severed by roaring thunder in those wide spaces, with an unrelenting heart, with only a spear for company, through that small and stony path, densely packed with darkness, without any concern, you walk to arrive here. Could there be anyone, who experiences a great suffering than her, as she worries about you?” Let’s get going on the mountain trek! The confidante starts by describing the man’s country, and to do that, she paints an image of a male elephant, which has defeated an attacking tiger, much to the pride of its herd, and was now resting next to its mate. At the moment, when this elephant raises its trunk and lets out a sigh, the flowers in the Kino tree nearby, seem to soar in the sky, like sparks from a blacksmith’s bellows, and then pulled by inevitable gravity, fall down and settle on the dark bushes, akin to swarming fireflies, the confidante details. Then, she goes on to talk about the dangerous path the man takes at night, walking in the dead darkness, when according to their belief, thunder and lightning struck and severed the heads of snakes, with only a spear for company, through a tiny, stony path, and without worrying about a thing, he comes intent on his tryst with the lady. The confidante concludes by declaring that there’s no one, who would feel a greater sorrow than the lady, because she’s filled with anxiety about the man’s safety, as he continues to take this walk night after night! It’s the confidante’s way of telling the man, ‘It’s all well and good that you put so much effort to come here. But the lady is worried about you. Isn’t it your duty to put her heart at rest?’ In the scene of the victorious male elephant resting with its mate, the confidante places a metaphor for how the man had overcome difficulties many to be in the company of his beloved. Also, in the scene of the elephant’s sigh, causing the Kino flowers to rise and scatter, the confidante places another intricate metaphor for how the man’s actions was causing slander to spread in town, about his relationship with the lady. In essence, the confidante’s telling the man it’s time to marry the lady. ‘Marry her, Marry her’ indeed. but doesn’t that exquisite montage of an elephant’s sigh, spark-like Kino flowers soaring in the sky, and like a swarm of fireflies, spreading on the sapphire-hued bushes, linger so deliciously in the mind’s eyes? 

In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 201, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals aspects of Pandya and Chozha kingdoms. அம்ம, வாழி தோழி! ‘பொன்னின்அவிர் எழில் நுடங்கும் அணி கிளர் ஓடைவினை நவில் யானை விறற் போர்ப் பாண்டியன்புகழ் மலி சிறப்பின் கொற்கை முன்துறை,அவிர்கதிர் முத்தமொடு வலம்புரி சொரிந்து,தழை அணிப் பொலிந்த கோடு ஏந்து அல்குல்பழையர் மகளிர் பனித் துறைப் பரவ,பகலோன் மறைந்த அந்தி ஆர் இடை,உரு கெழு பெருங் கடல் உவவுக் கிளர்ந்தாங்கு,அலரும் மன்று பட்டன்றே; அன்னையும்பொருந்தாக் கண்ணள், வெய்ய உயிர்க்கும்’ என்றுஎவன் கையற்றனை, இகுளை? சோழர்வெண்ணெல் வைப்பின் நல் நாடு பெறினும்,ஆண்டு அமைந்து உறைநர்அல்லர் முனாஅதுவான் புகு தலைய குன்றத்துக் கவாஅன்,பெருங் கை எண்கின் பேழ்வாய் ஏற்றைஇருள் துணிந்தன்ன குவவு மயிர்க் குருளைத்தோல் முலைப் பிணவொடு திளைக்கும்வேனில் நீடிய சுரன் இறந்தோரே. In this trip to the drylands, we take a detour to the Pandya and Chozha country, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left to earn wealth to claim the lady’s hand in marriage: “Listen my friend, may you live long! You say to me, ‘Wearing well-etched head ornaments made of gold that glow resplendently, battle elephants of the victorious Pandya king stand proudly, near the shores of Korkai, celebrated for its immense fame, as daughters of pearl-divers, wearing leaf attires around their radiant, striped uplifted waists, spread sparkling pearls and right-whorled conch shells on those cool shores, at that precious time when the sun sets. Akin to how the formidable, huge ocean there would rise high with a roar, slander does soar around town. Hearing this, with sleepless eyes, mother keeps sighing loudly'. Worrying so, don't feel so helpless, my dearest! Even if he were to attain the fine country of the Chozhas, which yield unceasing mounds of white paddy, he is not someone who will stay there, content. Indeed the one, who has left to the drylands with a prolonged summer, near the slopes of the mountains with sky-soaring peaks, where a male sloth bear with huge hands and a fierce mouth, frolics with its coarse-haired cub, which looks like a bundle of darkness, and its mate with skinny breasts, will not stay away for anything!” Time to explore the scorching drylands path! The confidante starts by inviting the lady’s attention and repeating the worry running through the lady’s mind. To do that, she zooms on to ornamented battle elephants belonging to the Pandya kings, victorious in war, as they stand near the shore of the famous town of Korkai. Here, the daughters of pearl divers are performing a special ceremony, by spreading pearls and conch-shells, possibly a festival of gratitude for the king’s victories in the battlefield. This happens at dusk, and at this time, the seas nearby would rise high and roar, the confidante details, and connects it to the slander that was similarly soaring in town about the lady’s relationship with the man. The lady was worried because Mother had heard these rumours and was lying sleepless, sighing ceaselessly. Now, the confidante asks her friend not to feel so anxious and helpless and she promises that the man who had left to the drylands, would not stay there, even if he were to be given the country of the Chozhas, known for its unceasing yield of paddy. The confidante concludes with a description of the place, where the man has left, talking about how in that scorched domain, where summer does not want to part, a male sloth bear finds the means to frolic with its cub and mate! In the scene of the sloth bear family, the confidante places a metaphor for how the man would soon return and rejoice with his beloved. Yet again, the message we recently encountered, about how no amount of wealth would keep away a man from the lady he loves, echoes aloud. But here, the context differs, and we are presented with a bonus gift of intriguing images that echo the glory and prosperity of ancient Tamil kingdoms!

In this episode, we perceive the communication of a nuanced message as depicted in Sangam Literary work, Aganaanooru 200, penned by Ulochchanaar. The verse is situated amidst the shining sands of the ‘Neythal’ or ‘Coastal landscape’ and conveys an awaited news. நிலாவின் இலங்கு மணல் மலி மறுகில்,புலால் அம் சேரி, புல் வேய் குரம்பை,ஊர் என உணராச் சிறுமையொடு, நீர் உடுத்து,இன்னா உறையுட்டுஆயினும், இன்பம்ஒரு நாள் உறைந்திசினோர்க்கும், வழி நாள்,தம் பதி மறக்கும் பண்பின் எம் பதிவந்தனை சென்மோ வளை மேய் பரப்ப!பொம்மற் படு திரை கம்மென உடைதரும்மரன் ஓங்கு ஒரு சிறை பல பாராட்டி,எல்லை எம்மொடு கழிப்பி, எல் உற,நல் தேர் பூட்டலும் உரியீர்; அற்றன்று,சேந்தனிர் செல்குவிர்ஆயின், யாமும்எம் வரை அளவையின் பெட்குவம்;நும் ஒப்பதுவோ? உரைத்திசின் எமக்கே. Pleasant scenes of the seashore greet us in this trip, as we listen to the confidante say these words to the man, who had relayed his interest in trysting with the lady through the confidante: “Having streets filled with abundant sands that shine like the moon, our beautiful little hamlet, surrounded by water, wafting with the scent of flesh, and having huts, thatched with grass, may have a smallness that does not make it fit to be called a town. Though it may not have houses, comfortable enough to reside, for those who live there just for a day, it would endow so much joy, that would make them forget their own town the next day. Why don't you come to this hamlet of ours, O lord of the seashore, which is filled with roving sea snails? Rendering praises many, you could spend the day on these shores, filled with soaring trees, where radiant waves resound with a roar, and when the day ends, you could yoke your fine chariot and depart; If you don't want that and wish to stay here, we will shower our care as best as we can. Is this agreeable to you? Pray tell!” Let’s get ready to dip our feet in the salty waters and take in the spread of the heart! The confidante starts with a description of the lady’s village, talking about the streets with moon-like sands, thatched huts, and brimming with the scent of fleshy fish. She accepts with humility that it’s indeed a small place that may not deserve to be called a town, perhaps hinting at the prosperous place where the man comes from. She adds that it may not have luxurious places, worthy enough for the lord to stay. While it may be so, it’s also true that anyone, who has been there for a day, would feel so much joy that they would forget their own town, the confidante describes. With that praise for their humble town, the confidante invites the man to spend the day, rejoicing in the roaring shores and soaring trees. Later, when the sun sets, the man could leave in his chariot, if he so chose; however, if he wished to stay, even that was fine and they would extend their hospitality to the best of their ability, the confidante declares and concludes by asking him if this worked out well for him! The stage of the relationship when this conversation is unfolding is the thing of interest here! It’s at a time, when the man has seen the lady and fallen in love with her. He tries to further his relationship by seeking the confidante’s favour. The confidante tests to see if the lady reciprocates the man’s feelings. After she has received positive vibes from her friend, the confidante returns back to the man, and conveys this, through the said words. In a nutshell, the confidante is telling the man that the lady has agreed for a tryst with him, and whether it is by day or by night, it was fine by the lady. No doubt the man would be jubilant after hearing these words he has been yearning to hear! To me, the highlight of this verse is the perfect balance between humility and pride about the place where they live that the confidante echoes in her words. Through this simple song, the confidante teaches us the right way to have an understanding about anything in life is to accept its weaknesses and celebrate its strengths!

In this episode, we listen to a clear decision made after moments of deliberation, as depicted in Sangam Literary work, Aganaanooru 199, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the dreariness and dangers in this domain. கரை பாய் வெண் திரை கடுப்ப, பல உடன்,நிரை கால் ஒற்றலின், கல் சேர்பு உதிரும்வரை சேர் மராஅத்து ஊழ் மலர் பெயல் செத்து,உயங்கல் யானை நீர் நசைக்கு அலமர,சிலம்பி வலந்த வறுஞ் சினை வற்றல்அலங்கல் உலவை அரி நிழல் அசைஇ,திரங்குமரல் கவ்விய கையறு தொகுநிலை,அரம் தின் ஊசித் திரள் நுதி அன்ன,திண் நிலை எயிற்ற செந்நாய் எடுத்தலின்,வளி முனைப் பூளையின் ஒய்யென்று அலறியகெடுமான் இன நிரை தரீஇய, கலையேகதிர் மாய் மாலை ஆண் குரல் விளிக்கும்கடல் போல் கானம் பிற்பட, ‘பிறர் போல்செல்வேம்ஆயின், எம் செலவு நன்று’ என்னும்ஆசை உள்ளம் அசைவின்று துரப்ப,நீ செலற்கு உரியை நெஞ்சே! வேய் போல்தடையின மன்னும், தண்ணிய, திரண்ட,பெருந் தோள் அரிவை ஒழிய, குடாஅது,இரும் பொன் வாகைப் பெருந்துறைச் செருவில்,பொலம் பூண் நன்னன் பொருது களத்து ஒழிய,வலம் படு கொற்றம் தந்த வாய் வாள்,களங்காய்க் கண்ணி நார் முடிச் சேரல்இழந்த நாடு தந்தன்னவளம் பெரிது பெறினும், வாரலென் யானே. We encounter many different scenes in this trip to the drylands, as we get to hear the man say these words to his heart, at a moment when his heart was pressing him to part in search of wealth: “As strong winds dash against them, mature flowers of the burflower tree growing in the ranges, drop down and scatter on the rocky surfaces, akin to white waves that leap on shores. Thinking it's rain that's falling down, tired elephants, filled with fierce thirst, arrive and return disappointed. Resting under the sparse shade of parched trees, whose dried branches are covered with cobwebs, the helpless herd of deer, which feeds on thick hemp bushes, move around. With sharp and fierce teeth, akin to the edges of a saw, a red dog attacks them. Escaping, akin to flowers of mountain knotgrass that fly in the wind, screaming, the deer herd scatter in different directions. In the evening hour, when the sun has set, the male deer's voice calls out aloud, calling them all together. Wanting me to traverse such a sea-like scrub jungle, you say to me, ‘If you leave like others, your journey will be good', with a heart that ceaselessly yearns for wealth, you nudge me to part away, O heart! As for me, leaving behind the young maiden with arms that are thick, rounded and curving like fine bamboos, I shall not part, even if I were to attain as much wealth as that in the great country, which the Chera King ‘Kalangaai Kanni Naar Mudi Cheral', lost and then reclaimed with immense victory, wielding his courageous sword, in the great western battlefield of ‘Perunthurai', filled with golden lebbeck trees, when he defeated Nannan, clad in gold jewels, and routed him in the battlefield!” Time for a walk in those barren spaces! The man starts by describing the region where his heart expects him to leave, talking about how thirsty elephants mistake the falling flowers of the burflower tree as rain, as these cover the rocky surfaces like waves on the shore. Then, he moves to another group of animals, a herd of deers which are already languishing in the heat, finding only the shade of cobweb-covered, parched trees, and the hardy food of hemp. Their troubles are further worsened by the attack of a red dog, and the family scatters away helter-skelter, and in the evening hour, the piteous voice of the male, trying to bring together its herd, can be heard, says the man. This is the place you are asking me to leave too, looking at all others around, filled with yearning for wealth in your heart, the man says to his heart! Interesting to note how the man sees his heart as having a heart of its own! Returning, the man starts narrating the historic battle between Chera King Naarmudi Cheral and King Nannan, in the battlefield of Perunthurai, where Naarmudi Cheral defeated Nannan and won back the country he had lost. The man now comes to the point and says even if he were to get wealth as much as that can be found in the country that Naarmudi Cheral lost and reclaimed, he was sure he did not want to part away from his beloved! In essence, in the struggle between being with a beloved and going in search of wealth, love has triumphed for the moment! 

In this episode, we listen to words of passion, as portrayed in Sangam Literary work, Aganaanooru 198, penned by Paranar. The verse is situated amidst the soaring peaks of the ‘Kurinji’ or ‘Mountain landscape’ and echoes the beating heart of man in love. கூறுவம்கொல்லோ? கூறலம்கொல்?’ எனக்கரந்த காமம் கைந்நிறுக்கல்லாது,நயந்து நாம் விட்ட நல் மொழி நம்பி,அரை நாள் யாமத்து விழு மழை கரந்துகார் விரை கமழும் கூந்தல், தூ வினைநுண் நூல் ஆகம் பொருந்தினள், வெற்பின்இள மழை சூழ்ந்த மட மயில் போல,வண்டு வழிப் படர, தண் மலர் வேய்ந்து,வில் வகுப்புற்ற நல் வாங்கு குடைச் சூல்அம் சிலம்பு ஒடுக்கி அஞ்சினள் வந்து,துஞ்சு ஊர் யாமத்து முயங்கினள், பெயர்வோள்,ஆன்ற கற்பின் சான்ற பெரியள்,அம் மா அரிவையோ அல்லள்; தெனாஅதுஆஅய் நல் நாட்டு அணங்குடைச் சிலம்பில்,கவிரம் பெயரிய உரு கெழு கவாஅன்,ஏர் மலர் நிறை சுனை உறையும்சூர்மகள்மாதோ என்னும் என் நெஞ்சே! This trip to the highlands is all about reverence, and we get to hear the man say these words, after a tryst by night with his lady: “The hidden love within me, about which I was deliberating, ‘Should I tell? Should I not?' failed to heed my shackles, and so, I sent good words to her with much desire. Trusting in these words, in the midnight hour, waiting for the pouring rain to cease, having tresses fragrant with the scent of rain, wearing an intricate attire made of fine threads that enveloped her, akin to a naive peacock descending down from a cloud-covered mountain, clad in moist, well-woven flowers, which were swarming with bees, adorned with exquisite anklets with hollow tubes, curving akin to a bow, taking care to silence the sound of the said anklets, with fear she came walking, and when the town entire was sleeping in that hour, she embraced me and parted away. That great woman, who shines with her deep chastity, is not just a beautiful, dark-skinned young maiden; In the southern lands, in the fearsome mountain slopes, in the fine country of ‘Aay', called as ‘Kaviram', there are formidable mountain ranges, filled with picturesque flowers and brimming springs. My heart says she is surely a heavenly maiden from thither!” Let’s go on that midnight trek in the mountains and learn more! The man starts by reminiscing about the past when he was hesitating about expressing his love for the lady. Beyond all bounds of logic, his love seemed to brim over and he had sent word about the promise of his affections to the lady, and she too had come there to him, in the middle of the night, at a time when there was a break in the rains, with her moist, flower-decked hair, wearing a dainty attire, and taking care to still the sound of her exquisite anklets, embraced him and left from there, the man describes. Now the man reflects on this noble and chaste maiden and concludes by saying that his heart was convinced that she was no ordinary maiden but surely a goddess, the one who is said to reside in the ‘Kaviram’ mountain ranges in Chieftain Aay’s domain! That feeling of awe and admiration, inevitable elements in the first stages of love, seems to resonate in this mountain song from long ago. So many songs and poems over the ages have echoed this very bewilderment about a beloved – Am I dreaming? Is this life real? Is the other person merely human or could they be an angel in disguise? – A sentiment oft-heard from those in the throes of love, no matter the place or time!

In this episode, we listen to words of consolation, as depicted in Sangam Literary work, Aganaanooru 197, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the domain with a heartwarming simile. மா மலர் வண்ணம் இழந்த கண்ணும்,பூ நெகிழ் அணையின் சாஅய தோளும்,நன்னர் மாக்கள் விழைவனர் ஆய்ந்ததொல் நலம் இழந்த துயரமொடு, என்னதூஉம்இனையல் வாழி, தோழி! முனை எழமுன்னுவர் ஓட்டிய முரண் மிகு திருவின்,மறம் மிகு தானை, கண்ணன் எழினிதேம் முது குன்றம் இறந்தனர் ஆயினும்,நீடலர் யாழ, நின் நிரை வளை நெகிழதோள் தாழ்பு இருளிய குவை இருங் கூந்தல்மடவோள் தழீஇய விறலோன் மார்பில்புன் தலைப் புதல்வன் ஊர்பு இழிந்தாங்கு,கடுஞ்சூல் மடப் பிடி தழீஇய வெண் கோட்டுஇனம்சால் வேழம், கன்று ஊர்பு இழிதர,பள்ளி கொள்ளும் பனிச் சுரம் நீந்தி,ஒள் இணர்க் கொன்றை ஓங்கு மலை அத்தம்வினை வலியுறூஉம் நெஞ்சமொடுஇனையர் ஆகி, நப் பிரிந்திசினோரே. In this trip to this domain, we get to hear the confidante say these words to the lady, at a time when the man remains parted away, having left in search of wealth: “Your eyes, akin to dark flowers, have lost their hue; Akin to a pillow that has lost its plumpness, your arms have thinned; The beauty of yours, celebrated by your good friends, have lost the old state! With the sorrow of realising all this, do not suffer ceaselessly, my friend, may you live long!  The one, who parted away, making your neat row of bangles slip away, left to the terrifying drylands, which makes one shiver, where akin to the scene in a home, when upon the chest of a strong man, lying down embracing his naive woman, with darkness-like, thick tresses that fall beneath her arms, his young son, with coarse hair, crawls down, on the body of a male elephant, one of a herd, having white tusks, which had been embracing its naive and fully pregnant mate, its calf would climb up and descend down. Indeed, he has parted away, without any grace, with a heart that was pressing him to go on his mission through the drylands, near the soaring mountains, filled with golden shower trees, having radiant flowers. Always chasing away those who dared to rise in opposition, Kannan Ezhini rises with furious strength, wielding a courageous army. Even though your man has crossed the honey-covered, ancient peaks of his, he shan't delay any longer!” Time to tread the scorching spaces again! The confidante starts by describing how the lady’s eyes, her arms and her beauty had lost their old state. After acknowledging these changes, the confidante asks the lady to not keep worrying so. Then, she describes the drylands path where the man is traversing, and to do that, she zooms on to a scene in a home, where a little boy would be crawling on the chest of his father, as that man lies embracing his wife with long tresses. Then, the confidante connects this scene to that of a male elephant and its pregnant mate and the way, an elephant calf would be playing, climbing on its father’s back and rolling down. Doesn’t seem like a scary place to me! In any case, that’s how the confidante says this place is, and talks about how the man walks through these lands, crossing highlands with golden shower trees, and walking beyond the peaks of a courageous king named ‘Kannan Ezhini’. The confidante ends by saying while all that is true, the man wouldn’t dream of staying there one moment longer than necessary and would be back soon with the lady.  That scene with the bonding elephant family must be the confidante’s way of projecting the image of future happiness the lady is going to experience once the man returns. Utilising the effective techniques of acknowledging the pain of the present, and visualising the pleasure of the future, this expert ‘psychologist’ of Sangam times heals her languishing friend!

In this episode, we perceive a woman’s anger, as portrayed in Sangam Literary work, Aganaanooru 196, penned by Paranar. The verse is situated amidst the uproarious streets of the ‘Marutham’ or ‘Farmlands landscape’ and contrasts the nature of men and women. நெடுங் கொடி நுடங்கும் நறவு மலி பாக்கத்து,நாள் துறைப்பட்ட மோட்டு இரு வராஅல்துடிக்கண் கொழுங் குறை நொடுத்து, உண்டு ஆடி,வேட்டம் மறந்து, துஞ்சும் கொழுநர்க்குப் பாட்டிஆம்பல் அகல் இலை, அமலை வெஞ் சோறுதீம் புளிப் பிரம்பின் திரள்கனி பெய்து,விடியல் வைகறை இடூஉம் ஊர!தொடுகலம் குறுக வாரல் தந்தைகண் கவின் அழித்ததன் தப்பல், தெறுவர,ஒன்றுமொழிக் கோசர்க் கொன்று, முரண் போகிய,கடுந் தேர்த் திதியன் அழுந்தை கொடுங் குழைஅன்னிமிஞிலியின் இயலும்நின் நலத் தகுவியை முயங்கிய மார்பே. In this quick, little trip to this domain, we see interesting sights and get to hear the lady say these words to the man, when he returns home after being with the courtesan: “In those streets, fluttering with tall flags and brimming with fragrant toddy, after selling the drum-eye-like, fatty pieces of the murrel fish ,with huge bellies, caught during the day at the shore, they drink and dance, and then forgetting the next day's hunt, the men sleep on. For these husbands of theirs, daughters of bards, spread hot, cooked rice on wide leaves of the water lily, and pour sweet-sour curry of the thick tamarind fruit, and serve them in the early hours of the morning in your town, O lord! For the mistake of ruining the health of her father's eyes, with fury, she killed the Kosars, who are men of their word, with the aid of 'Thithiyan', who wields speeding chariots, in the town of Azhunthai, and quenched her enmity. Like this Anni Mignili, who wears curving heavy earrings, that woman, you deem so fitting for you, walks around with pride. I shall not touch the chest of yours that she has embraced! Come not near me!” Time to see the exuberant and emotional sights of the farmlands! The lady starts by describing the man’s town, and to do that, she zooms on to the men of the town, who catch murrel fish in the river shores, sell these in the evening markets, where flags flutter with flourish. Then, they procure the abundant toddy, eat, drink and make merry, and retire to their homes. So tired out by these exertions they are, that they sleep on, forgetting the next day’s work. Waking them up, their loving wives serve them a tasty meal of cooked rice and sweet-sour curry of tamarind, the lady details. Could this be hangover medicine?  Returning, after describing the man’s town, we find the lady switching gears and talking about a historic event, wherein a lady named Anni Mignili was furious because the tribe of Kosars had hurt her father, and to take revenge, she seeks the aid of a king called ‘Thithiyan’ and in the town of ‘Azhunthai’, kills the Kosars. Just the way that lady walked about, content and proud, at the successful fulfilment of her wish, the man’s courtesan moves around, the lady connects, and concludes by telling him that she has no wish of touching the man’s chest, which had been embraced by the said courtesan and asks him to move away from her.  As we can clearly see, the lady’s ire is on fire! She’s angered about how the courtesan has won over her husband, as projected by the simile of Anni Mignili’s vengeful victory. In the description of the men and the women of the man’s town, the lady intends to place a metaphor for how the men seemed to forget their duty in their pleasure-intent revels, whereas their wives were the epitome of chastity, who fulfilled their duties without fail, and connects to the contrast of her man’s pleasure-seeking and her own duty-mindedness. Interesting how society and history lend their hands to sculpt the scene of this intimate tussle at home! 

In this episode, we listen to a mother’s yearning words, as depicted in Sangam Literary work, Aganaanooru 195, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals the questions that arise in a Sangam mother’s heart at the moment of her daughter’s elopement. ”அருஞ் சுரம் இறந்த என் பெருந் தோட் குறுமகள்திருந்துவேல் விடலையொடு வரும்” என, தாயே,புனை மாண் இஞ்சி பூவல் ஊட்டி,மனை மணல் அடுத்து, மாலை நாற்றி,உவந்து, இனிது அயரும் என்ப; யானும்,மான் பிணை நோக்கின் மட நல்லாளைஈன்ற நட்பிற்கு அருளான் ஆயினும்,இன் நகை முறுவல் ஏழையைப் பல் நாள்,கூந்தல் வாரி, நுசுப்பு இவர்ந்து, ஓம்பியநலம் புனை உதவியும் உடையன்மன்னே;அஃது அறிகிற்பினோ நன்றுமன் தில்ல;அறுவை தோயும் ஒரு பெருங் குடுமி,சிறு பை நாற்றிய பல் தலைக் கொடுங் கோல்,ஆகுவது அறியும் முதுவாய் வேல!கூறுகமாதோ, நின் கழங்கின் திட்பம்;மாறா வருபனி கலுழும் கங்குலில்,ஆனாது துயரும் எம் கண் இனிது படீஇயர்,எம் மனை முந்துறத் தருமோ?தன் மனை உய்க்குமோ? யாது அவன் குறிப்பே? It’s more about the dunes of the mind in this trip to the drylands, as we listen to the lady’s mother say these words, at a time when the lady has left with the man, seeing no other way to sustain her love relationship: “They say that thinking my daughter with beautiful, thick arms, who parted away to the formidable drylands, will come home, with the young man carrying a well-etched spear, his mother, spreads red mud on the well-adorned, outer walls of their house, scatters fresh sands in front of the home, decorates the spaces by hanging garlands, and goes about many such tasks with much joy. Even if he does not honour me for having given birth to that naive, good woman, with the gaze of a female deer, he should know that it was me, who cared for that helpless, young girl, with a fine smile, for many days, by combing her tresses, carrying her on my hips, and rendering all I could to enhance her beauty. If he understands this, it will be good.  O wise Velan, clad in white cloth, having a huge tuft, carrying a many-spoked, curving rod, from which hangs a small bag, you are someone who knows what is about to transpire! Won't you tell me, seeing the spread of your beans, will he render sweet sleep to my eyes, which cease not from crying, filled with suffering, on this dark night, by bringing her first to my home? Or will he take her to his? Pray tell me, what his mind seeks!” Time to pause and listen to another’s angst! Mother starts by talking about another mother, and this happens to be the man’s mother, about whom the lady’s mother had received some news, saying she was getting ready to welcome her son and the lovely maiden he had chosen as his mate. To this end, she was spreading red mud on their walls, scattering fine sand in front of the house, and tying garlands everywhere. In short , it’s going to be one joyous welcome for the couple, who had eloped and are traversing a harsh domain just then. The lady’s mother continues by saying, ‘All that’s well and fine. But that man should consider it was me who had brought his beloved to this world, and even if he doesn’t care about that, he should have some gratitude for all those days I took care of my girl, when she was a helpless little thing, and I made sure she grew up with much health and beauty’. After this declaration of her predominance in the lady’s life, mother turns to Velan, who is performing some divining with his Molucca beans, and concludes, by asking him, whether the man would do the honour of bringing the lady to her house and slay the sleeplessness and suffering of her eyes or will the man take the lady to his own house.  Didn’t the lady just leave her own house because she thought her mother and relatives were against her love relationship with the man? What would make her return? Perhaps it’s a depiction of a state of mind that we all go through, when things have gone too far in the opposite direction, and yet we cling on to the possibility that we can go back to being how we were! Seeing it from another angle, perhaps like the lady’s mother mentions, the man might think of the lady’s parents and all that they have done for the lady and what they must be going through, and might bring back the lady and seek their approval for their marriage. I know, a slim sliver of a possibility, and that’s exactly what mother’s clinging on, dreaming about clasping her precious daughter back in her arms, somehow! A classic case of ‘hope against hope’! 

In this episode, we perceive the arrival of a particular season, as depicted in Sangam Literary work, Aganaanooru 194, penned by Idaikkaadanaar. The verse is situated amidst the millet fields of the ‘Mullai’ or ‘Forest landscape’ and echoes the disappointment in a person’s heart. பேர் உறை தலைஇய பெரும் புலர் வைகறை,ஏர் இடம் படுத்த இரு மறுப் பூழிப்புறம் மாறு பெற்ற பூவல் ஈரத்து,ஊன் கிழித்தன்ன செஞ் சுவல் நெடுஞ் சால்,வித்திய மருங்கின் விதை பல நாறி,இரலை நல் மானினம் பரந்தவைபோல்,கோடுடைத் தலைக்குடை சூடிய வினைஞர்,கறங்கு பறைச் சீரின் இரங்க வாங்கி,களை கால் கழீஇய பெரும் புன வரகின்கவைக் கதிர் இரும் புறம் கதூஉ உண்ட,குடுமி நெற்றி, நெடு மாத் தோகைகாமர் கலவம் பரப்பி, ஏமுறக்கொல்லை உழவர் கூழ் நிழல் ஒழித்தவல் இலைக் குருந்தின் வாங்குசினை இருந்து,கிளி கடி மகளிரின் விளி படப் பயிரும்கார்மன் இதுவால் தோழி! ”போர் மிகக்கொடுஞ்சி நெடுந் தேர் பூண்ட, கடும் பரி,விரிஉளை, நல் மான் கடைஇவருதும்” என்று அவர் தெளித்த போழ்தே. We return to the forests and take in images of farming, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left her for a mission of war: “In this morning hour that has dispelled the deep darkness, when huge raindrops have fallen down, the land which had been split by the imprint of the plough, scattering dust on both sides, where the mud had been turned upside down in the moistened ground, appearing like torn red flesh, the long furrows in the red soil, which had been planted with many seeds, have now bloomed forth. Appearing as if herds of male deer are moving around, farmers wearing hats with pointed antler tips, pull out the weeds, in sync to the beat of resounding drums, amidst the blooming Kodo millet fields. Eating from the dark-backed, flourishing crop ears, a long peacock with a crested forehead, spreads its feathers, and flies to the branch of a solitary wild lemon tree with thick leaves, left uncut by farmers of this forest land, to serve as the shade for their afternoon meal. Sitting there, with the sound, akin to that made by maiden chasing parrots, the peacock calls aloud, in this rainy season. Isn't this the season, my friend, that he talked about in his words of consolation, when he left to fight in the war saying, ‘I will rush back in the decorated tall chariot, yoked with fast and fine horses with spreading manes, and be here, when that season arrives'?” Let’s tread on the vibrant red soil of the forests and unearth the beating heart beneath! The lady starts by talking about the time of the day, saying it’s dawn and the rains have just done pouring. She then talks about the red soil, which has been tamed with much difficulty by these forest farmers, using rugged ploughs, and tearing the land, as if cutting open a piece of meat. Then, she talks about how they had planted many seeds in these furrows and all their hard labour had borne fruit and the crops had risen up. However, weeds do abound and these farmers had been hard at work, wearing hats which made them seem like male deer. Wonder why they went for such an elaborate headgear! The other interesting thing about them is that, as they worked, drums were played and they did their hard work, keeping in tune with the beat of those drums, the lady describes. After all this care, the millets would no doubt flourish and it’s not just the farmers who benefit, but a peacock that loads up on the laden crop ears, and then, content, flies to the top of a single wild lime tree, left uncut by those farmers. And why did they spare the tree? Just making sure they had a spot to sit under and eat, in the afternoon soon! This peacock flies to the top of the tree, and seems to make the exact sounds of maiden chasing away parrots in the nearby mountains, the lady details. These vivid images have been presented by the lady to portray how the season of rains had arrived. And why is she worried? Because the man had promised that he would return by this season when he had left to fight his king’s war, but still there was no sign of him. It’s a simple statement declaring, ‘The rains are here, but he is not!’. However, this core is wrapped up in the striking images of people, animals, birds, land and agriculture, a gift which magically transports us to another time, another space!

In this episode, we listen to the declaration of a decision, as depicted in Sangam Literary work, Aganaanooru 193, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse contrasts the two paths that looms ahead in the mind’s eye. கான் உயர் மருங்கில் கவலை அல்லதுவானம் வேண்டா வில் ஏர் உழவர்பெரு நாள் வேட்டம், கிளை எழ வாய்த்த,பொரு களத்து ஒழிந்த குருதிச் செவ் வாய்,பொறித்த போலும் வால் நிற எருத்தின்,அணிந்த போலும் செஞ் செவி எருவை;குறும் பொறை எழுந்த நெடுந் தாள் யாஅத்துஅருங் கவட்டு உயர்சினைப் பிள்ளை ஊட்ட,விரைந்து வாய் வழுக்கிய கொழுங் கண் ஊன் தடிகொல் பசி முது நரி வல்சி ஆகும்சுரன் நமக்கு எளியமன்னே; நல் மனைப்பல் மாண் தங்கிய சாயல், இன் மொழி,முருந்து ஏர் முறுவல், இளையோள்பெருந் தோள் இன் துயில் கைவிடுகலனே. In this trip to the drylands, we get to see striking images and listen to the man say these words to his heart, as it nudges him to leave the lady and go in search of wealth: “Seeking only isolated paths amidst highland scrub jungles, those farmers, who plough with a bow and look not to the skies, join together with their band and hunt down a huge bounty. From those spaces which has seen their attack, drinking up the flowing blood, rises a red-mouthed, red-headed vulture, having a white neck, as if painted with spots, and red ears, as if sculpted and adorned. It flies towards the tall trunked Ya tree growing on the short mound, where its young one is nestled on an intricate spot of a long branch. As it feeds the little one, a thick, fatty piece of meat slips quickly from the mouth, and becomes the food for an old fox with a murderous hunger, roving beneath. Traversing such a drylands domain is easy indeed for me; However, I shan't let go of my sweet sleep on the thick arms of the young maiden, with smiling teeth, akin to the eye of a peacock's feather, the one who speaks sweet words and has many esteemed features, the one who adorns my good home!” Time to step on those scary, sweltering spaces again! The man paints a vivid picture of the drylands, and to do that, he zooms on to the denizens of this domain, namely the highway robbers, and he calls them, ‘farmers with a bow’ and ‘hunters of men’. In portraying the profession of this tribe, he brings in two others and says how these men look not to the skies for their succour, like the farmers and plough on with their bows, and have no qualms about hunting their own kind. After that nuanced portrait, the man turns to the characteristic bird of this land, a red-headed vulture, and describes its spotted white neck, and hanging red ears, in much detail. Drinking up the blood flowing in those spaces, with a red mouth, this vulture flies to its young one, nestled atop a ‘Ya’ tree and as it feeds the chick, a fleshy piece of meat falls down and is quickly gulped down by a roving, hungry old fox, the man describes. He ends this depiction by saying to go and cross such a space was nothing difficult for him. He continues and concludes by saying however, something else was impossible for him, and that was the thought of parting away from his precious beloved, with a beautiful smile and sweet words, the one who is the jewel of his home. A statement which declares that parting away from a loved one is even more difficult to fathom and is a thing of fear than even the scariest, goriest of places. The timeless priorities of a heart in love flows like a stream through the lines of this verse, across the years and miles, to that ocean called ‘being human’. 

In this episode, we perceive words of hidden persuasion, as portrayed in Sangam Literary work, Aganaanooru 192, penned by Pothumpil Kizhaan Venkannanaar. The verse is situated amidst the lush millet fields of the ‘Kurinji’ or ‘Mountain landscape’ and presents intriguing images of wild life from this domain. மதி இருப்பன்ன மாசு அறு சுடர் நுதல்பொன் நேர் வண்ணம் கொண்டன்று; அன்னோ!யாங்கு ஆகுவள்கொல் தானே? விசும்பின்எய்யா வரி வில் அன்ன பைந் தார்,செவ் வாய் சிறு கிளி சிதைய வாங்கி,பொறை மெலிந்திட்ட புன் புறப் பெருங் குரல்வளை சிறை வாரணம் கிளையொடு கவர,ஏனலும் இறங்குபொறை உயிர்த்தன; பானாள்நீ வந்து அளிக்குவை எனினே மால் வரைமை படு விடரகம் துழைஇ, ஒய்யெனஅருவி தந்த அரவு உமிழ் திரு மணிபெரு வரைச் சிறுகுடி மறுகு விளக்குறுத்தலின்,இரவும் இழந்தனள்; அளியள் உரவுப் பெயல்உரும் இறை கொண்ட உயர்சிமைப்பெரு மலைநாட! நின் மலர்ந்த மார்பே. In this vibrant trip to the mountains, we get to hear the confidante say these words to the man when he arrives for a tryst with the lady: “Akin to the shining moon, is her flawless, glowing forehead, and now it has taken on a golden hue. Alas! What will become of her? Having a fresh band, akin to the sky's striped bow that launches not arrows, and a red beak, the little parrot plucks from the tall, coarse crop ears, ruining it, and then unable to bear the weight, drops down the seeds, leaving these for the flock of wild hens with curving wings to peck on. The millet fields have now birthed such an yield of crops, bent over by its weight. If we consider that you will come grace in the middle of the night, she has lost the night too, because glowing gems, spit by snakes, which have been brought down by resounding cascades that have stirred within dark caves, before coming down those high mountains, lights up the streets of our little hamlet in the huge ranges. She's to be pitied indeed, O lord of the soaring peaks in the huge mountains, filled with heavy downpours, accompanied by roaring thunder, for she has no way of embracing your wide, blooming chest!” Time to trek on those mountains of yore! The confidante starts with a bang, coming right to the crux of the issue, talking about how normally the lady’s forehead would glow like the moon, without flaws any. However, at the moment it was coated in a golden hue. ‘Having a golden hue is a good thing, isn’t it?’, one might ask with the lens of this fairness-obsessed, modern world. The fact of this particular past is somewhat different and the lady’s dark skin taking on a golden hue implied that the disease of pining had afflicted her and that pallor had covered her head. So, it was by no means, a good news. After lamenting the state the lady is in, the confidante turns to remark about the state of her father’s millet fields. These were brimming with so much yield that a parrot, which is said to have a rainbow-like neck band and red beak, would come and raid those crop ears, and bite a big one. Later, unable to carry that weight, the parrot would drop it down, leaving the scattered millet grains to be feasted upon by clucking wild hens. A moment to relish the imagery of the ‘sky’s bow that never aims arrows’, in other words, a rainbow on a parrot’s neck. Searching I found this could most probably refer to the ‘Indian Ringnecked Parrot’, also called as the ‘Rose-Ringed Parakeet’, one that has a dark blue to pink band around its neck. Moving on, there must be further, hidden significance for this image, which we will see in a moment, but outwardly the confidante says this, only to highlight the crops have grown so much that it’s time for the harvest, and because it’s time for harvest, the lady would no longer visit the fields, an event that had previously been so conducive for her trysts by day with the man. The confidante continues the line of thought by saying to the man, ‘If you are thinking, day tryst is not possible. So, I’ll come by night, then think again’. She explains this is because their streets are lit up by the sparkles of the many gems, spit by snakes, which have brought down by cascades from the dark caves of the mountains. This tells the man that there was a danger of discovery by night too. Here again, the confidante echoes that familiar belief of Sangam folks that snakes had the ability to spit gems. I’m wondering what’s the origin of this bizarre belief? Could it be that those regions were so rich in precious gems, and quite close to the surface too, that these were revealed by the slithering movement of snakes, and somehow people associated the two? Just a theory! But imagine the kind of wealth that was strewn about in that ancient land, if at all this was true!  Returning, we find the confidante clarifying to the man that nightly tryst was thus not possible. She concludes by expressing sorrow that the lady seemed to have no way to embrace the man’s chest, day or night. In that scene of the ring-necked parrot dropping the millet grains and leaving it to be pecked on by wild hens, the confidante implies that the man had been intent only on trysting, and not carrying his relationship with the lady to its end of marriage, and he had left that to become an object of slander among the womenfolk of their town. Through this, the confidante intends to make the man see the error of his ways, learn that the lady had been confined within her house owing to these effects, realise that she was in much suffering and understand that the only way forward was to seek the lady’s hand. All these inner transformations in the man the worthy confidante achieves even as she treats us to the dynamic wild life that teems in these mountains of the past! Like those brimming crop ears, even this song seems to bend with its delightful weight of carrying so much in a few lines and leaves us with the thought, ‘Isn’t it our duty to stay the course and carry on, so as to finish what we have begun?’

In this episode, we perceive a decision in the making, as depicted in Sangam Literary work, Aganaanooru 191, penned by Orodakathu Kantharathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relays a sense of protection and care. அத்தப் பாதிரித் துய்த் தலைப் புது வீஎரி இதழ் அலரியொடு இடை பட விரைஇ,வெண்தோட்டு தொடுத்த வண்டு படு கண்ணி,தோல் புதை சிரற்று அடி, கோலுடை உமணர்ஊர் கண்டன்ன ஆரம் வாங்கி,அருஞ் சுரம் இவர்ந்த அசைவு இல் நோன் தாள்திருந்து பகட்டு இயம்பும் கொடு மணி, புரிந்து அவர்மடி விடு வீளையொடு, கடிது எதிர் ஓடி,ஓமை அம் பெருங் காட்டு வரூஉம் வம்பலர்க்குஏமம் செப்பும் என்றூழ் நீள் இடை,அரும் பொருள் நசைஇ, பிரிந்து உறை வல்லி,சென்று, வினை எண்ணுதிஆயின், நன்றும்,உரைத்திசின் வாழி என் நெஞ்சே! ”நிரை முகைமுல்லை அருந்தும் மெல்லிய ஆகி,அறல் என விரிந்த உறல் இன் சாயல்ஒலி இருங் கூந்தல் தேறும்” என,வலிய கூறவும் வல்லையோ, மற்றே? We perceive some interesting sights in this trip to the drylands, as we listen to the man, say these words to his heart, at a time when his heart is nudging him to part away from the lady, and go in search of wealth: “Bee-swarming garlands, woven with new, coarse-haired trumpet flowers from the drylands, in the hue of fire, interspersed with white flowers of the pandanus, are worn by salt merchants, who hold on to rods and wear leather slippers that resound when walking, and they arrive in huge groups, as if seeing a town entire, directing their wagons through the formidable drylands. The sound of loud bells that resound as their wield their bulls, moving with a determined effort that knows no fatigue, along with their long whistles, rushes in the opposite direction, and conveys a message of protection to those new travellers, who are treading the huge jungles, filled with toothbrush trees. If you wish to traverse those scorching long paths, desiring for that hard-to-attain wealth, and think you have the strength to live apart, and are contemplating parting away, that's good, my heart! Long may you live! But you have to go and tell her, “O gentle maiden, who wears fully bloomed wild jasmine flowers on your dark, luxuriant tresses, soft to touch, spreading like black sand, you have to console yourself!” Do you have the strength to speak such strong words, O heart?” Let’s take in the sights and sounds of the sweltering drylands! The man starts by bringing before our eyes, garlands, worn by a specific group of people, the salt merchants, and these are said to be woven both with flowers of the coast, from where these salt merchants are coming, namely the white, pandanus flowers, as well as the flowers of the drylands that they are treading, the red, trumpet flowers. Then, attention is drawn to the kind of footwear these merchants wear, and the sounds these make, as well as the rods they are carrying in their hands. He talks about how seeing a group of them was like seeing a town entire. After focusing on the vision of their appearance, the man turns his attention to the sounds they emit, such as the loud bells on their sturdy bulls that know no tiredness, as well as their way of communicating through long whistles. He has mentioned these sounds to say that hearing their sounds was the only source of comfort for the anxious wayfarers crossing the drylands jungle and these sounds relayed to them the presence of a group of people, who will extend their protection in a moment of trouble. After depicting the sense of danger in the drylands in this manner, the man now turns to his heart and asks, ‘Is this where you want me to leave? You think you can live apart from the lady and go towards this mission?’. He answers himself, saying to his heart, ‘Well and good. But there’s something you must do. And that is you must go and tell this news to the beautiful, delicate lady with jasmine-clad, silt-like tresses and ask her to console herself. The man ends by asking his heart whether it had the strength to go speak such painful words to the lady. Another case of separating the heart from oneself to gain some perspective. Here, the man tends towards not leaving in search of wealth as he wishes not to bring pain to his beloved. Even though there are notes of danger and anxiety, the tone that rises above it all is the sense of caring for one another, be it in the way the sounds of the salt merchants comfort the troubled wayfarers or the man’s empathy for the lady’s pain at his parting. In a way, the verse echoes a core philosophy that the social wealth that arises out of this thoughtfulness and care for others, is of much greater value than even mounds of material wealth! 

In this episode, we perceive a curious way of revealing something, as depicted in Sangam Literary work, Aganaanooru 190, penned by Ulochchanaar. The verse is situated amidst the playful waves of the ‘Neythal’ or ‘Coastal landscape’ and narrates a non-incident. திரை உழந்து அசைஇய நிரைவளை ஆயமொடுஉப்பின் குப்பை ஏறி, எல் பட,வரு திமில் எண்ணும் துறைவனொடு, ஊரேஒரு தன் கொடுமையின் அலர் பாடும்மே;அலமரல் மழைக் கண் அமர்ந்து நோக்காள்;அலையல் வாழி! வேண்டு, அன்னை! உயர்சிமைப்பொதும்பில், புன்னைச் சினை சேர்பு இருந்தவம்ப நாரை இரிய, ஒரு நாள்,பொங்கு வரல் ஊதையொடு புணரி அலைப்பவும்,உழைக்கடல் வழங்கலும் உரியன்; அதன்தலைஇருங் கழிப் புகாஅர் பொருந்தத் தாக்கிவயச் சுறா எறிந்தென, வலவன் அழிப்ப,எழில் பயம் குன்றிய சிறை அழி தொழிலநிரைமணிப் புரவி விரைநடை தவிர,இழுமென் கானல் விழு மணல் அசைஇ,ஆய்ந்த பரியன் வந்து, இவண்மான்ற மாலைச் சேர்ந்தன்றோ இலனே! In this trip to the restoring seashore, we get to hear the confidante say these words to the lady’s foster mother: “Tired out from playing in the waves along with playmates, wearing neat rows of bangles, climbing upon the salty sand heaps, as the day ends, young maiden would count approaching ships in the shores of the lord. This town of ours, owing to its matchless cruelty, spreads slander about him. Your girl did not cast her darting, rain-like eyes on him; So torture her not, mother! May you live long! Listen! In the orchards with soaring tree tops, on the branch of a laurel wood tree, a stork that had flown from far away was resting. Making it screech aloud and scatter away, one day, as the sea waves were tossing and turning, pushed by the cold winds, the lord came riding by the shore; At this time, near the river mouth in the backwaters, his horses were attacked by a shark. Owing to this, the charioteer stopped and removed the yokes of those horses, clad with many bells, which had lost their health and speed, and made them rest there. Until, the time in the late evening, when resoundingly, making the fine sands of the shore quiver, new horses were brought thither, the man stayed here; But you should know that he united not with her!” Time to surf the turbulent waves of this shore! The confidante starts by describing the man’s shore, talking about a place where maiden enjoy playing in the shores all day and then count the ships arriving to their shore by evening. A subtle reference to the prosperous sea trade in the man’s domain! Returning, we see how the confidante turns her attention to the issue in their own town, the way the townsfolk were spreading slander about her friend’s relationship with the man, reiterating that the lady had never looked at him with her rain-like eyes. She requests mother not to torment lady because of this gossip. Then, she goes on to talk about a day, when the man had been going through their town by the shore, when a shark had attacked and wounded his horses. Owing to this mishap, the man’s charioteer had stopped the chariot, removed the horses from their yokes and made them rest. Till the time, fresh horses were brought, the man had stayed on the sands of their shore, the confidante explains and concludes by saying, this was all and the man and the lady never came together.  On the surface, it seems like simple supportive words, vouching for a friend’s behaviour. However, we need to understand the dynamics of communication in these poems. Here, the confidante is saying one thing, and meaning another thing, in fact the exact opposite. Through this, she intends to reveal to the lady’s foster mother, who happens to be her own mother, about how the lady did look at the man with her beautiful eyes and how the man too fell in love with the lady, and had been frequenting their shores. In this roundabout way, by telling something did not happen, she tells mother that it indeed did happen. This information would supposedly be uncoded by the lady’s foster mother, and then taken to the lady’s mother and the entire family, setting the stage for the man to come and seek the lady’s hand. A bizarre way of revealing information indeed, something which makes me wonder what particular thing we do now would evoke the same reaction, some two thousand years later!

In this episode, we listen to a mother’s words of angst, as depicted in Sangam Literary work, Aganaanooru 189, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the immeasurable pain in losing something precious. பசும் பழப் பலவின் கானம் வெம்பி,விசும்பு கண் அழிய, வேனில் நீடி,கயம் கண் அற்ற கல் ஓங்கு வைப்பின்நாறு உயிர் மடப் பிடி தழைஇ, வேறு நாட்டுவிழவுப் படர் மள்ளரின் முழவு எடுத்து உயரி,களிறு அதர்ப்படுத்த கல் உயர் கவாஅன்வெவ் வரை அத்தம் சுட்டி, பையென,வயலை அம் பிணையல் வார்ந்த கவர்வுற,திதலை அல்குல் குறுமகள் அவனொடுசென்று பிறள் ஆகிய அளவை, என்றும்படர் மலி எவ்வமொடு மாதிரம் துழைஇ,மனை மருண்டு இருந்த என்னினும், நனை மகிழ்நன்னராளர் கூடு கொள் இன் இயம்தேர் ஊர் தெருவில் ததும்பும்ஊர் இழந்தன்று, தன் வீழ்வு உறு பொருளே. In this trip to the drylands, we get to hear a mother say these words, at a time when her daughter had left their home and eloped away with the man: “The forest, which used to have fresh fruits, hanging from the jackfruit tree, is parched dry. With nothing to cover the skies, the summer sun scorches. In those stony spaces, where the ponds have lost their cover of water, a male elephant embraces its sighing, naive mate, and walks on stony slopes of highlands, akin to warriors carrying their drums, seeking to attend festivities in a faraway country. Daring to go to such a formidable place, slowly walks my young girl with spotted waist, with ‘vayalai' vines covering her thighs, along with him. She has become a stranger to us. Still, more than me, who is filled with suffering for all time, after searching in all directions, and arriving confused to this home, this town, which is brimming with the sweet music of the good people, delighting in toddy, in the roads with the ceaseless sound of chariots, has lost a much adored treasure!” Let’s follow along in the trail of the daughter through the drylands. Mother starts by visualising the path the lady walks, an arid scrub jungle with dried-up jackfruit trees, scorching sun, a place where elephants tread the stony spaces. Describing that the lady had decided to walk such a path with the man, mother talks about how the lady had become a stranger to them. At this time, the suffering of being apart from her daughter torments mother after her fruitless search. Even in that moment of pain, she looks around at the town, renowned for its joyous celebrations and ceaseless sound of chariots plying on their roads, and declares that the town had indeed lost its most precious treasure. One can empathise with mother recollecting a time of loss, when all the joy and wealth of the world seems to vanish in a single moment, and all that can be seen by the mind’s eye are the parched drylands all around. Hoping with someone’s care and love, those barren trees that the eyes see will bloom again!

In this episode, we perceive a curious technique of persuading another, as portrayed in Sangam Literary work, Aganaanooru 188, penned by Veerai Veliyan Thithanaar. The verse is situated amidst the blooming Kino trees of the ‘Kurinji’ or ‘Mountain Landscape’ and hides a throbbing heart amidst the drum beats of thunder. பெருங் கடல் முகந்த இருங் கிளைக் கொண்மூ!இருண்டு உயர் விசும்பின் வலன் ஏர்பு வளைஇ,போர்ப்பு உறு முரசின் இரங்கி, முறை புரிந்துஅறன் நெறி பிழையாத் திறன் அறி மன்னர்அருஞ் சமத்து எதிர்ந்த பெருஞ் செய் ஆடவர்கழித்து எறி வாளின், நளிப்பன விளங்கும்மின்னுடைக் கருவியை ஆகி, நாளும்கொன்னே செய்தியோ, அரவம்? பொன் எனமலர்ந்த வேங்கை மலி தொடர் அடைச்சி,பொலிந்த ஆயமொடு காண்தக இயலி,தழலை வாங்கியும், தட்டை ஓப்பியும்,அழல் ஏர் செயலை அம் தழை அசைஇயும்,குறமகள் காக்கும் ஏனல்புறமும் தருதியோ? வாழிய, மழையே! A sound and light show awaits us in this quick trip to the mountains, as we listen to the confidante say these words to a rain cloud, when the man listens nearby, as he pretends not to notice him: “O rain cloud, after gathering from the great seas along with a huge group of your kin, you climb on the right and envelop the dark, high sky. Then, resounding, akin to a war drum covered in leather, you descend down, accompanied by flashes of lightning, which are akin to swords, pulled out of the sheaths, by brave warriors, who rise up in the furious battlefield, in aid of their discerning king, who with his rightful rule, never sways from the path of justice.  That which you do all day, is it just futile uproar? Weaving a garland of brimming Kino flowers that have bloomed, akin to gold, along with her radiant playmates, wearing the beautiful red leaves of the ‘Ashoka' tree, akin to fire, the young mountain maiden walks around, so pleasing to the eyes, flapping her ‘thazhalai' device and shaking her ‘thattai' rattle device. Won't you shower upon that millet field she so protects? May you live long, O rain cloud!” Let’s listen closely to the subtle sounds of emotion amidst the din of a mountain shower! The confidante starts by talking to a cloud, mentioning its past of joining along with its relatives and drinking up from the oceans of the world. Then, those clouds seemed to have arrived there, and were resounding with thunder. This sound, the confidante places in parallel to the roar of war drums. Then, she moves on to the other eye-catching element that always accompanies or precedes this sound, namely lightning, and to visualise this, she brings forth the unsheathed swords of warriors in the battlefield, and not just any warriors but those who rise in support of a just and discerning king. Sound check, light check! The confidante now comes to the centre-piece and asks the rain cloud, if all this is just a useless show. Then she goes on to describe the lady, who along with her playmates, wearing garlands of fully-bloomed Kino flowers, and ‘Seyalai’ tree leaves, was walking around, swaying her rattle and other musical instruments, so as to chase away the parrots and protect the millet fields. The confidante concludes by questioning the raincloud whether at all it had any plans of showering on that millet field the lady was protecting. While this may seem like random, playful words said to a raincloud, each one reverberates with a hidden meaning. First, let’s note how the confidante casually remarks about the Kino flower garlands that the lady wears. This is to tell the man that the auspicious time of the year, when the harvest was done and marriage plans were set in motion, had begun, for Kino flowers marked this transition in their lives. The confidante intends to convey to the man that he had been thinking only about the temporary pleasures of trysting, spreading fleeting moments of joy in the lady’s life, akin to lightning. This had led to the thunderous uproar of slander to spread in town. With her pointed question to the cloud as to whether it would only flash and dazzle or whether it would provide the useful effect of watering the millet fields with its rain shower, the confidante nudges the man to take concrete steps to bring forth the useful end of a happy married life with the lady. And thus we see, beneath the layer of simple words, lies a complex meaning, intending to change the heart of a person and the life of a couple. While we may prefer direct and blunt communication in our modern world, don’t you think there is a thoughtful melody of affection in the subtle aesthetics of this ancient poetry?

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Aganaanooru 187, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a stack of similes to sketch this landscape. தோள் புலம்பு அகலத் துஞ்சி, நம்மொடுநாள் பல நீடிய கரந்து உறை புணர்ச்சிநாண் உடைமையின் நீங்கி, சேய் நாட்டுஅரும் பொருள் வலித்த நெஞ்சமொடு ஏகி,நம் உயர்வு உள்ளினர் காதலர் கறுத்தோர்தெம் முனை சிதைத்த, கடும் பரிப் புரவி,வார் கழற் பொலிந்த வன்கண் மழவர்பூந் தொடை விழவின் தலை நாள் அன்ன,தரு மணல் ஞெமிரிய திரு நகர் முற்றம்புலம்புறும்கொல்லோ தோழி! சேண் ஓங்குஅலந்தலை ஞெமையத்து ஆள் இல் ஆங்கண்,கல் சேர்பு இருந்த சில் குடிப் பாக்கத்து,எல் விருந்து அயர, ஏமத்து அல்கி,மனை உறை கோழி அணல் தாழ்பு அன்னகவை ஒண் தளிர கருங்கால் யாஅத்துவேனில் வெற்பின் கானம் காய,முனை எழுந்து ஓடிய கெடு நாட்டு ஆர் இடை,பனை வெளிறு அருந்து பைங் கண் யானைஒண் சுடர் முதிரா இளங் கதிர் அமையத்து,கண்படு பாயல் கை ஒடுங்கு அசை நிலைவாள் வாய்ச் சுறவின் பனித் துறை நீந்தி,நாள் வேட்டு எழுந்த நயன் இல் பரதவர்வைகு கடல் அம்பியின் தோன்றும்மை படு மா மலை விலங்கிய சுரனே? In this long and winding path through the drylands domain, we get to hear the lady say these words to her confidante, at a time, when the man had parted away from her, to go in search of wealth: “Slaying the loneliness of my arms, he had slept here for many days, in a state of clandestine union with me. On account of his honour, and with a heart that yearned for the precious wealth to be gained in a faraway country, that lover of mine parted away, thinking of my welfare. After destroying enemies in furious battles, harsh-eyed warriors, clad in sturdy anklets, wielding speeding horses, celebrate the festival of flowers. Akin to the first day of these celebrations, shines the front yard of our wealthy mansion, spread with sands from afar. Won't it now turn lonely, my friend? In those uninhabited, faraway spaces, filled with dried-up axle-wood trees, spotting tiny hamlets by the hills, to eat the day's food, in a protected spot, he stays for a while, and then he continues onward to those scrub jungles, where the summer's heat scorches the black-stemmed ‘Ya' trees, having dried black sprouts, akin to the hanging beards of house hens, and he walks on those formidable paths through the ruined lands, where people have fled owing to endless battles, where after feeding on the palmyra fronds, a green-eyed elephant closes its eyes and rests, without a sliver of movement, in the morning hour, filled with tender rays, when the sun scorches not, and appears akin to a boat, sailing in the swaying sea, wielded by fisherfolk, intent on their day's hunt, as they traverse those cool shores, frequented by sword-mouthed fish. Such are the drylands he traverses near huge, cloud-covered mountains now!” Let’s brave this dreary domain and learn more! The lady starts by mentioning how the man had been in a secret love relationship with her for long. But realising the importance of seeking her hand, he had left in search of wealth, she adds. She compares the sand-filled front yard of their mansion to the festivities of victorious warriors, and depicts that now that the man had left, it’s going to turn bleak and lifeless. Then, she goes on to visualise the path the man walks, talking about the dried up axle-wood trees, the scrub-jungles, where the hanging sprouts on ‘Ya’ trees, appear like the black beards of house hens, where people have fled the region, owing to the battles that arose there, where an elephant sleeps appearing like the boat of fisherfolk in the morning sun. In much detail, the lady concludes by visualising how the man would try desperately to find a protected spot to have his day’s meal and trudge on through the endless expanse of the drylands, to win the wealth, seeking to uphold the welfare of his beloved. The thought that came to me when reading and reflecting is that timeless sense of how the pain of those we love seems so vivid and tangible, no matter how far apart in space they may be!

In this episode, we listen to the distressed response to an accusation, as depicted in Sangam Literary work, Aganaanooru 186, penned by Paranar. The verse is situated amidst the lush lotus-filled ponds of the ‘Marutham’ or ‘Farmlands landscape’ and portrays the beauty and wealth of an ancient town. வானம் வேண்டா வறன்இல் வாழ்க்கைநோன் ஞாண் வினைஞர் கோள் அறிந்து ஈர்க்கும்மீன் முதிர் இலஞ்சிக் கலித்த தாமரைநீர்மிசை நிவந்த நெடுந் தாள் அகல் இலைஇருங் கயம் துளங்க, கால் உறுதொறும்பெருங் களிற்றுச் செவியின் அலைக்கும் ஊரனொடுஎழுந்த கௌவையோ பெரிதே; நட்பே,கொழுங் கோல் வேழத்துப் புணை துணையாகப்புனல் ஆடு கேண்மை அனைத்தே; அவனே,ஒண் தொடி மகளிர் பண்டை யாழ் பாட,ஈர்ந் தண் முழவின் எறிகுணில் விதிர்ப்ப,தண் நறுஞ் சாந்தம் கமழும் தோள் மணந்து,இன்னும் பிறள் வயினானே; மனையோள்எம்மொடு புலக்கும் என்ப; வென் வேல்,மாரி அம்பின், மழைத்தோற் பழையன்காவிரி வைப்பின் போஒர் அன்ன, என்செறிவளை உடைத்தலோ இலெனே; உரிதினின்யாம் தன் பகையேம்அல்லேம்; சேர்ந்தோர்திரு நுதல் பசப்ப நீங்கும்கொழுநனும் சாலும், தன் உடன் உறை பகையே. We go on a trip full of twists and turns as we listen to the words of a courtesan, said in the earshot of the lady’s friends, conveying a pointed message about the man to the lady: “Leading a life without any poverty, one that seeks not the favour of the skies, fisherfolk pull their sturdy nets woven with strong threads, knowing the catch is caught, in the ponds, brimming with fish. The tall-stalked, wide leaf of the flourishing lotus that floats atop the waters of the dark pond, flutters, when touched by the wind, akin to the swaying ear of a huge elephant, in the town of the lord. The rumours that have risen about my relationship with him is huge indeed; Whereas the extent of his affection for me is only akin to the act of holding on to a raft of thick-stemmed reeds, when playing in the river stream; As maiden wearing shining bangles sing along to the tune of the ancient lute, as moist and cool drums are struck with sticks, the man's shoulders, wafting with the scent of cool and fragrant sandalwood, would now be embracing another woman, he's entranced with. They say his wife is furious with me; Akin to the town of Po-or, watered by the gushing Kaveri, ruled by Palaiyan, renowned for his cloud-like shields, rain-like arrows and white spears, are my beautiful bangles. I have not broken my bangles in anger; Honestly, I'm not her enemy; The one who parts away, leaving the fine foreheads of those he united to be filled with pallor, that rich lord is the right person to be called as the enemy, one within her own abode!” Time to fish in the ponds of this lush landscape! The courtesan starts with a description of the man’s town, and to do that, she brings forth a certain community of people, whom she describes as leading a life that does not know poverty, for they are fisherfolk and they don’t have to depend on the skies for their wealth and prosperity, a statement which implicitly contrasts them with another group of people in that landscape, those who follow the occupation of farming. After that philosophical statement about their work, the courtesan zooms on to the sturdy nets in their hands and the way they are hauling the fish by pulling their nets out of the ponds. She describes these ponds as brimming with water, filled with lotus flowers and leaves, whose movement in the breeze, she specifically places in parallel with that of the swaying ears of a huge elephant.  After that picturesque description of the man’s town, the courtesan turns her attention to the man himself and describes how gossip about her relationship with him had spread all around town. But in reality, the way the man had treated her was nothing more than how someone would hold on to a raft, made of strong reeds, when playing in the gushing river stream, and then abandoning it, once they are done with their play. She reveals how at the very moment the man was enjoying the company of some other courtesan, embracing her and dancing to the songs of the maiden, accompanied by the music of ancient lutes.  The courtesan goes on to talk about what she has just heard, about how the man’s wife, was mad at her, when he was romping around elsewhere. She then describes a rich and handsome town, one called ‘Po-or’, ruled by a chieftain named Pazhaiyan, renowned for his battle-efficient army of spears, arrows and shields. She has summoned this town only to place it in parallel to her own bangles. She talks about how the lady’s anger had not made her break those bangles of hers in oath and fury. The courtesan concludes by pointing out that the real enemy of the lady was not her, but the lady’s own husband, the lord of the town! A perfect illustration of a place where men are few, and where power and wealth accumulates in their very hands. The striking aspect of this verse is the way it tells us to pause in our moments of anger and consider who is to be blamed truly. Often, we avoid blaming ourselves or those close to us, and instead direct the anger at those others, whom we think are the cause of our troubles! Just the way this courtesan points out, it would bring great clarity to ponder on the question, ‘Who is the enemy here?’