Sangam Lit

In this episode, we listen to a pointed question put forth to subtly persuade a person, as portrayed in Sangam Literary work, Aganaanooru 250, penned by Selloorkizhaar Maganaar Perumboothankotranaar. The verse is situated amidst the swaying seashore trees of the ‘Neythal’ or ‘Coastal landscape’ and recollects an incident and presents its consequences. எவன் கொல்? வாழி, தோழி! மயங்கு பிசிர்மல்கு திரை உழந்த ஒல்கு நிலைப் புன்னைவண்டு இமிர் இணர நுண் தாது வரிப்ப,மணம் கமழ் இள மணல் எக்கர்க் காண்வர,கணம் கொள் ஆயமொடு புணர்ந்து விளையாட,கொடுஞ்சி நெடுந் தேர் இளையரொடு நீக்கி,தாரன், கண்ணியன், சேர வந்து, ஒருவன்,வரி மனை புகழ்ந்த கிளவியன், யாவதும்மறு மொழி பெறாஅன் பெயர்ந்தனன்; அதற்கொண்டுஅரும் படர் எவ்வமொடு பெருந் தோள் சாஅய்,அவ் வலைப் பரதவர் கானல் அம் சிறு குடிவெவ் வாய்ப் பெண்டிர் கவ்வையின் கலங்கி,இறை வளை நெகிழ்ந்த நம்மொடுதுறையும் துஞ்சாது, கங்குலானே! In this trip to the shore, we perceive scenes of playful fun and more, as we listen to the confidante say these words to the lady, intending to persuade her to further her relationship with the man: “What could be the reason? Long may you live, my friend! Tormented by the muddled spray of the brimming waves, the swaying Laurelwood tree's bee-buzzing fine pollen scatters down, making the young sand to waft with a fragrance, amidst the picturesque mounds on the shore. Here, when we were playing together with our many mates, asking the helpers on his tall, ornamented chariot to step aside, a man wearing garlands around his neck and head, came close to us, and rendered words praising our lined sand houses. Without receiving words any in response, he parted away from there. From that moment, suffering deeply, which causes thick arms to wane, and troubled by the slander of cruel-mouthed womenfolk in this beautiful, little hamlet of the fisherfolk with exquisite nets, filled with groves by the shore, with bangles slipping away from the forearms, we remain. And so, along with us, the shore too sleeps not, in the middle of the night!” Time to take a walk on that ancient shore and learn more! The confidante starts with a question, pondering on why certain things are happening. Then, she takes us to the seashore and points to how a dancing ‘Punnai tree’, dashed against by the brimming waves, drops its fragrant pollen on the sands, imbuing it with a delicious scent. On such a pretty spread of land, the lady and herself had been playing with many other friends, the confidante recollects. Then she talks about how a man had arrived there, stopped his chariot, asked his helpers to stay a little away, and had come close to them, and praised the sand houses they had been building. Those girls overcome with their sense of shyness, did not reply to him, and he had left quietly, the confidante remembers. Then she talks about how from that moment, there had been significant changes. As we have always seen, the confidante does not separate herself from her friend. So, she says that their arms had been thinning, the womenfolk of the town had been spreading slander, and because of that, their bangles had been slipping away. What the confidante actually means is that these are the changes that are visible in the lady! The confidante concludes by remarking how the shore too does not seem to get a moment of sleep, just like them, even in the dark hour of midnight! That note about the shore sharing the plight of the lady subtly speaks about the sisterhood felt with this element of nature! To us, these words may seem rather cryptic, making us ask, ‘What is the confidante trying to say?’. To understand what she means, we have to know of a protocol that seems to be inherent in these love relationships between the man and the lady. It all starts with the man’s eyes falling on a lady, then he falls in love with her, and wins her affection in return. But the tale does not end there! Apparently, the man has to convince the lady’s confidante about his love for the lady, and if convinced, the confidante will take his message to the lady, and after getting her consent too, will arrange for those trysts, which will deepen the relationship between the man and the lady, and from there, the confidante will go on to nudge the man to marry the lady, as we have seen in songs many. Quite complicated indeed! It makes me smile to think what people in the future will have to say about our so-called ‘simple and seamless’ courting practices of today! Returning to the verse, these words are the confidante’s way of telling the lady, ‘The man seeks your company. I know that you are in love with him too. Shall we take this forward?’. Their innate sense of modesty prevents them from speaking plainly, and that’s the reason for these particular musical words that transport readers across the ages to the past, and spread the delight of the scents and sights of that pristine shore forevermore! 

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Aganaanooru 249, penned by Nakiranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the generosity of a king and the beauty of his domain. அம்ம வாழி, தோழி! பல் நாள்இவ் ஊர் அம்பல் எவனோ? வள் வார்விசி பிணித்து யாத்த அரி கோல் தெண் கிணைஇன் குரல் அகவுநர் இரப்பின், நாடொறும்பொன் கோட்டுச் செறித்து, பொலந்தார் பூட்டி,சாந்தம் புதைத்த ஏந்து துளங்கு எழில் இமில்ஏறு முந்துறுத்து, சால் பதம் குவைஇ,நெடுந் தேர் களிற்றொடு சுரக்கும் கொடும் பூண்பல் வேல் முசுண்டை வேம்பி அன்ன என்நல் எழில் இள நலம் தொலையினும், நல்கார்பல் பூங் கானத்து அல்கு நிழல் அசைஇ,தோகைத் தூவித் தொடைத் தார் மழவர்நாகு ஆ வீழ்த்து, திற்றி தின்றபுலவுக் களம் துழைஇய துகள் வாய்க் கோடைநீள் வரைச் சிலம்பின் இரை வேட்டு எழுந்தவாள் வரி வயப் புலி தீண்டிய விளி செத்து,வேறு வேறு கவலைய ஆறு பரிந்து, அலறி,உழை மான் இன நிரை ஓடும்கழை மாய் பிறங்கல் மலை இறந்தோரே. In this trip to the drylands, we also get to meet a Sangam era king, as we listen to the lady say these words to her confidante, when the confidante was upset about the lady’s state, at a time when the man continued to remain parted away, having left in search of wealth: “Listen my friend, may you live long! Why has this town been spreading slander for so many days? Carrying ‘Kinai' drums with a clear sound, tied together with a firm leather strap and drumming sticks, when those bards with a sweet voice come seeking, day after day, he would assemble before them, bulls, whose horns are covered in gold dust, and whose sandalwood-streaked, upraised, handsome humps are adorned with golden garlands, and then shower mounds of food. In addition, he would render tall chariots and elephants to those who had come seeking. Such is the nature of the many-speared Musundai, clad in curving ornaments, the ruler of Vembi. Akin to this town of Vembi, was my splendid, young beauty. Even though it's now in ruins, he renders not his grace! Residing in the swaying shade of many-flowered forests, drylands robbers wearing garlands made of peacock feathers, slay a wild cow and feast on it. The open-mouthed summer wind that enters this flesh-reeking arena, then rushes, roaring aloud, making herds of deer scatter upon many different paths, screaming in fear, thinking it's the sound of an attacking strong tiger with radiant stripes that had risen in the tall mountain slopes, seeking a prey. Such are those soaring mountains, shrouded by bamboos, that he has left me and parted away to!” Let’s march on through those scorching spaces and learn more! The lady starts with an exasperated question about why the townsfolk won’t stop spreading slander. Then, she meanders to talk about the generosity of a king named Musundai, who would give bulls, adorned with gold, lots of food, chariots and elephants to sweet-voice bards with resounding ‘Kinai’ drums. She has mentioned this king to turn our attention to the beauty of his capital town of Vembi. The lady now connects her own beauty to that of this town, and says how the man does not seem to have any compassion even when that beauty is turning to ruins. Now, we can understand why the townsfolk are gossiping. It’s an outcome of their observation of the lady’s ruined health in the man’s absence. This is also an indicator that the parting has happened at a time before the man’s marriage with the lady. Returning, the lady then concludes by painting a picture of the place where the man’s at, those wild spaces, where robbers wearing peacock feather garlands eat the meat of a wild cow, and then the summer wind rushes through that space, picking up that reeking smell of flesh, and roars through, which makes deer scatter away thinking it’s a hungry tiger on the prowl. In essence, it’s a complaint by the lady that the man has left her exposed to the harsh eyes of the town and left in search of wealth. At a time when you cannot make a call, send a message, or write a letter to the parted one, it must have been difficult to bear with parting. All that the lovers had then was the thoughts and feelings that arose, across the miles, and it’s this unseen wave of energy that roars like the summer wind, even across the ages from the pages of the past!

In this episode, we listen to the narration of a curious incident involving many layers, as depicted in Sangam Literary work, Aganaanooru 248, penned by Kabilar. The verse is situated amidst the bustle of hunting in the ‘Kurinji’ or ‘Mountain landscape’ and etches a dynamic moment of human-animal interaction. நகை நீ கேளாய் தோழி! அல்கல்வய நாய் எறிந்து, வன் பறழ் தழீஇ,இளையர் எய்துதல் மடக்கி, கிளையொடுநால்முலைப் பிணவல் சொலிய கான் ஒழிந்து,அரும் புழை முடுக்கர் ஆள் குறித்து நின்றதறுகட் பன்றி நோக்கி, கானவன்குறுகினன் தொடுத்த கூர்வாய்ப் பகழிமடை செலல் முன்பின் தன் படை செலச் செல்லாது,‘அரு வழி விலக்கும் எம் பெருவிறல் போன்ம்’ என,எய்யாது பெயரும் குன்ற நாடன்செறி அரில் துடக்கலின், பரீஇப் புரி அவிழ்ந்து,ஏந்து குவவு மொய்ம்பின் பூச் சோர் மாலை,ஏற்று இமிற் கயிற்றின், எழில் வந்து துயல்வர,இல் வந்து நின்றோற் கண்டனள், அன்னை;வல்லே என் முகம் நோக்கி,‘நல்லை மன்!’ என நகூஉப் பெயர்ந்தோளே. Striking scenes await us in this trip to the mountains, as we listen to the confidante say these words to the lady, pretending not to notice the man, who has arrived for his nightly tryst, but making sure he was in earshot: “Listen to this funny thing that happened last night, my friend! Chasing away strong hunting dogs, embracing its piglets, and blocking hunters from nearing, a female boar with four sagging teats then flees into the forest, along with its family. At this time, in the formidable, narrow mountain path, facing the men ahead, a brave male boar stood there. Seeing it, the leader of the hunters came near it, with his sharp-tipped arrow aimed at it. Then saying, ‘It seems to possess a great courage like me, of standing in the path of enemies and blocking them, without running away, even though the army with immense strength has retreated', he left without shooting his arrow in the peaks of our lord of the mountains! Tugged by thick bushes, with knots severed and loosened, upon his upraised, strong shoulders, lay a garland, devoid of flowers, appearing akin to the thick rope around the hump of a bull, swaying with beauty. Seeing him come and stand near our home, mother suddenly turned to look at me, and left from there saying with a sarcastic smile, ‘What a good girl you are!'” Time to start on that hunting expedition in this rugged terrain. The confidante starts by calling her friend’s attention to something that had happened the previous night, something that was tickling her. Without saying what that is, she launches into a description of the man’s mountain country, and to do that, she first presents an image of a female boar protecting its piglets from the advancing hunters and escaping into the forest. Then she turns her attention to the mate, the male boar, which was standing in that mountain path, and with a fierce look, facing the hunters ahead. At this time, the head of the hunters comes close, with an arrow ready to be shot, and says, ‘Here’s a creature that’s just like me, refusing to retreat even when the entire army has’. Then, that hunter seems to have lowered his bow and left without harming the boar. After that intense scene from the man’s mountain country, the confidante talks about the man, and his appearance, as he arrived at their home the previous night. She talks about how his garland was tugged by the bushes in his path, and had lost the flowers, and was rather looking like the rope around a bull’s hump. The confidante concludes by saying that when the man had come in this manner, mother had caught a glimpse of him, and at that moment, she had turned to the confidante and remarked with much sarcasm, ‘Aren’t you an innocent, little girl?’.  An anecdote to tell the listening man that mother had an inkling of the man’s relationship with the lady, and soon, the lady may be placed under guard, and so it was best for him to come seek the lady’s hand in marriage. In that scene of the male boar standing boldly in the path of the menacing hunters, the confidante places a metaphor to show the man that he too must face the lady’s kith and kin with courage and claim the lady’s hand. The thing that moved me the most in this verse was that transformative moment when the hunter sees himself in the boar, telling us that there can be no better mirror to our lives than nature! 

In this episode, we perceive a lady’s anguish, as portrayed in Sangam Literary work, Aganaanooru 247, penned by Madurai Maruthankizhaar Maganaar Perunkannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relays the dangers of traversing this domain. மண்ணா முத்தம் ஒழுக்கிய வன முலைநல் மாண் ஆகம் புலம்பத் துறந்தோர்அருள் இலர் வாழி, தோழி! பொருள் புரிந்து,இருங் கிளை எண்கின் அழல் வாய் ஏற்றை,கருங் கோட்டு இருப்பை வெண் பூ முனையின்,பெருஞ் செம் புற்றின் இருந் தலை இடக்கும்அரிய கானம் என்னார், பகை படமுனை பாழ்பட்ட ஆங்கண், ஆள் பார்த்துக்கொலை வல் யானை சுரம் கடி கொள்ளும்ஊறு படு கவலைய ஆறு பல நீந்தி,படு முடை நசைஇய பறை நெடுங் கழுத்தின்பாறு கிளை சேக்கும் சேண் சிமைக்கோடு உயர் பிறங்கல் மலை இறந்தோரே. In this trip to the drylands, we take in many sights, as we listen to the lady say these words to her confidante, when the confidante was upset about the lady’s state, at a time when the man remains parted away, having left in search of wealth: “Making those unwashed pearls drop down on the beautiful bosoms, leaving this fine and noble chest in loneliness, he has parted away. He lacks kindness, my friend! May you live long! In those spaces, a male bear, with a fuming, fire-like mouth, having many kin, after having its fill of the white flowers of the dark-trunked Mahua tree, dislikes any more, and moves to break open the top of a huge termite mound. Not considering that this is a formidable space, which has been ruined in a battle, and where a murderous elephant stands guarding the drylands, looking out for wayfarers, he has crossed these troublesome paths many, where wishing to feed on the reeking flesh, vultures with long necks fly about and return to perch on the branches in the tall peaks of the faraway mountains, and has left thither with a desire for wealth!” Let’s brave the dreariness of this domain and learn more! The lady starts by talking about her tears and she compares these to unwashed pearls. A unique simile indeed! She then talks about how those drops fall down on her bosom and all this is because the man had left her in loneliness and parted away. She declares that the man seems to have no compassion for her. Then she goes on to describe the place he has left to, and brings in the image of a male sloth bear, which after filling its tummy with the white Mahua flowers, did not seem to want anymore of that, and had turned its attention to breaking a termite mound, looking for something else to feed on. Then, she talks about how these spaces are ruined as a result of some battle some time, and it’s wild and isolated, where killer elephants seem to be on the lookout to attack any wandering humans. The final creature the lady zooms on to happens to be a roving vulture with a long neck, characterising it for its desire to feed on flesh. After painting vivid portraits of these rugged beings, the lady concludes by talking about how the man, without worrying that this is such a dangerous place, had left wishing only to embrace wealth!  In the scene of the male bear having had its fill of the Mahua flowers and seeking termite mud, the lady places a metaphor for how the man had feasted on her beauty to his content and now had abandoned her, in his quest of something else. The theme seems to remain the same, ‘He’s gone leaving me in pain’. Wonder if these verses are simply telling us to express our pain to let the rain of calm fall on the dreary drylands of anxiety!

In this episode, we listen to words of refusal, as depicted in Sangam Literary work, Aganaanooru 246, penned by Paranar. The verse is situated amidst the flourishing fields of the ‘Marutham’ or ‘Farmlands landscape’ and describes a famous battle from this era. பிணர் மோட்டு நந்தின் பேழ் வாய் ஏற்றைகதிர் மூக்கு ஆரல் களவன் ஆக,நெடு நீர்ப் பொய்கைத் துணையொடு புணரும்மலி நீர் அகல் வயல் யாணர் ஊர!போது ஆர் கூந்தல் நீ வெய்யோளொடுதாது ஆர் காஞ்சித் தண் பொழில் அகல் யாறுஆடினை என்ப, நெருநை; அலரேகாய் சின மொய்ம்பின் பெரும் பெயர்க் கரிகால்ஆர்கலி நறவின் வெண்ணிவாயில்,சீர் கெழு மன்னர் மறலிய ஞாட்பின்இமிழ் இசை முரசம் பொரு களத்து ஒழிய,பதினொரு வேளிரொடு வேந்தர் சாய,மொய் வலி அறுத்த ஞான்றை,தொய்யா அழுந்தூர் ஆர்ப்பினும் பெரிதே. In this trip to the fields, in addition to taking in sights of the domain, we go on a detour to an ancient battlefield, as we listen to the confidante say these words to the man, when he seeks entry into the lady’s house, after having left to be in the company of a courtesan: “The male snail with a split mouth and a coarse-skinned belly, unites with its mate, living in the deep waters of the pond, where the sharp-nosed sand-eel stands as its witness, in the brimming waters of the wide fields in your prosperous town, O lord! They say that yesterday, with the woman you desire, the one having tresses adorned with flowers, you played together in the wide river, by the cool orchards, filled with the pollen of Portia trees. The slander that soars now is louder than the unceasing uproar that arose in Azhunthoor, when King Karikalan of great renown, filled with immense prowess and fury, destroyed the strength of those famous kings – the eleven Velir kings and the other two southern emperors – and made their resounding drums to be lost in the battlefield, when they rose against him with enmity at Venni Vayil, renowned for its festivities and its toddy!” Time to listen to the tale unfolding amidst the plenty! The confidante starts with a description of a male snail uniting with its mate, in the presence of a sand-eel, amidst the overflowing waters of the fields in the lord’s town. Then she reveals how people were talking about the fact that the man had been romping around with a courtesan and playing in the river, by the shade of the Portia trees, the previous day. The confidante concludes by saying that this slander was louder and even more ceaseless than the din that arose in the town of Azhunthoor, when King Karikaalan defeated not one, not two, but eleven Velir Kings and the Chera and Pandya kings as well, when they had risen against him at Venni Vayil. In essence, this is a refusal by the confidante to allow the man to enter the lady’s house, citing his association with a courtesan. A subtle reference to the firm power a Sangam woman seems to have had in such circumstances, of preventing her husband from entering their home, even if he happened to be the wealthy lord of the prosperous town!

In this episode, we perceive a moment of clarity at the end of a dilemma, as depicted in Sangam Literary work, Aganaanooru 245, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents surprising details about a particular animal in this domain. ‘உயிரினும் சிறந்த ஒண் பொருள் தருமார்நன்று புரி காட்சியர் சென்றனர், அவர்’ எனமனை வலித்து ஒழியும் மதுகையள் ஆதல்நீ நற்கு அறிந்தனைஆயின், நீங்கி,மழை பெயல் மறந்த கழை திரங்கு இயவில்,செல் சாத்து எறியும் பண்பு இல் வாழ்க்கைவல் வில் இளையர் தலைவர், எல் உற,வரி கிளர் பணைத் தோள், வயிறு அணி திதலை,அரியலாட்டியர் அல்கு மனை வரைப்பில்,மகிழ் நொடை பெறாஅராகி, நனை கவுள்கான யானை வெண் கோடு சுட்டி,மன்று ஓடு புதல்வன் புன் தலை நீவும்அரு முனைப் பாக்கத்து அல்கி, வைகுற,நிழல் படக் கவின்ற நீள்அரை இலவத்துஅழல் அகைந்தன்ன அலங்குசினை ஒண் பூக்குழல் இசைத் தும்பி ஆர்க்கும் ஆங்கண்,குறும் பொறை உணங்கும் ததர் வெள் என்புகடுங் கால் ஒட்டகத்து அல்கு பசி தீர்க்கும்கல் நெடுங் கவலைய கானம் நீந்தி,அம் மா அரிவை ஒழிய,சென்மோ நெஞ்சம்! வாரலென் யானே. In this trip to this harsh domain, we get to glimpse at many unique sights, as we listen to the man say these words to his heart: “If you know very well that she has the strength to say, ‘Wishing to bring back that radiant thing, which has more worth than life, having the wisdom to do the right things, he has left', and remain at home, then, parting away, you may go, O heart, to those spaces, which the rains have forsaken and where dried bamboos abound. And here, attacking merchants, who tread these paths, those men with sturdy bows live a life lacking culture. When night falls, their leader reaches the gates of homes, which belong to maiden, with thick bamboo-like arms having radiant lines, and bellies with beauty spots many, who sell filtered toddy. Not finding that drink of ecstasy, he would return home, and pointing to the white tusk, which had come from a wild elephant with moistened cheeks, he would caress the coarse-haired head of his son, playing around the house. In such a wild community, stay the night, and leave by morning, to those places, where upon the swaying branches of the silk-cotton tree, with a thick trunk, one which renders an exquisite shade, radiant flowers bloom, akin to flames fluttering, and bees buzz around like flutes. Nearby upon a short boulder, lies drying white bones, which satisfies the deep hunger of camels with fast legs. Traversing these stony, long paths in the scrub jungle, leaving that beautiful, dark-skinned maiden here, you may go, O heart! I shan't come!” Let’s walk on and explore those barren spaces! The man starts with an ‘if clause’ to his heart. He tells his heart, ‘If you know one thing for sure, you may leave, and that is if you know the lady has the ability to remain at home and understand the logic and importance of the journey to be taken in search of wealth’. Then, he launches into a description of the place where he is asking his heart to leave, and to do that, he focuses on the denizens of the said place. First, we catch a glimpse of merchants walking here and then robbers attacking them. The man decides to zoom on the leader of this rowdy gang and follows him as he walks in the late evening hour, towards the home of toddy sellers, who happen to be women with bamboo-like arms and beautiful bellies. Here’s a subtle indicator that women had a hand in handling trade in those times.  Returning, we learn that all that toddy is sold out and the man returns home, and he points to the white tusk, which he had taken for the barter, which had come from an elephant in musth, and caresses the head of his young son, as a way of inspiring the lad to aim for great things in life, like hunting down an elephant. Leaving aside the animal rights implications, let’s just appreciate this moment of bonding between a robber father and his son. The man had been telling this story only to predict that the heart would end up staying in such a community, and then in the morning, it would leave to a place, where silk-cotton trees were in full bloom, and their flowers would appear like spots of flames atop the branches. When we are delighting, ‘Oh! What a pretty sight!’, the man turns our attention to some white bones lying scattered on nearby rocks. Remember how some merchants got attacked in the beginning of this tale? Perhaps all the scavengers have had their fill and only the drying, white bones of those dead merchants are left. Now the man talks about something fascinating. He says a camel would come that way and feed on those bones to allay its burning hunger. Here lies not one but two things that stunned me no end! My first question was, ‘What is a camel doing in South India?’. Next question, okay maybe there’s some reason that there are camels, but aren’t they herbivores and why is this verse saying they are eating bones? Surely the Sangam folk must have got their animals mixed up! Turns out they have not! Though it’s true that camels are not native to Tamil land, it shows evidence of trade with other regions, and it seems like a sound idea of those merchants to bring this animal with steady legs for their journeys through the drylands. Next, coming to the bones, I learnt that camels do eat bones and assorted other things like leather and skin, whenever their calcium and phosphorus levels dip down. Apparently, it’s a phenomenon called ‘osteophagia’. As it is these animals are wandering about desert landscapes and guess it makes sense that these animals have to make do with what they get and not be strict about their vegan diets!  Back from our consorting with camels, we see that the man has been talking to his heart, asking it to leave to such arid landscapes, leaving the lady, and concluding that he was not planning on accompanying his heart. In essence, a clear decision in favour of staying at home, against the nudge of his heart, which was pushing him to part with the lady. This is yet another case of the man separating his heart from himself! What is the heart if not a part in the man’s mind, which was provoking him to choose a different path? This demarcation of the man and his heart in two thousand year old poem makes me connect the same principle to modern psychological techniques like ‘Internal Family Systems’, which ask the ‘Self’ in the mind to separate from the emotional parts to truly understand what’s going on in the psyche! A valuable lesson in dealing with dilemmas, as sensed intuitively by our ancestors with their deep understanding of the human mind!  

In this episode, we listen to an excited request, as depicted in Sangam Literary work, Aganaanooru 244, penned by Madurai Mallanaar. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and portrays the pleasantness of the rainy season. ”’பசை படு பச்சை நெய் தோய்த்தன்னசேய் உயர் சினைய மாச் சிறைப் பறவைபகல் உறை முது மரம் புலம்பப் போகி,முகை வாய் திறந்த நகை வாய் முல்லைகடிமகள் கதுப்பின் நாறி, கொடிமிசைவண்டினம் தவிர்க்கும் தண் பதக் காலைவரினும், வாரார்ஆயினும், ஆண்டு அவர்க்குஇனிதுகொல், வாழி தோழி?” என, தன்பல் இதழ் மழைக் கண் நல்லகம் சிவப்ப,அருந் துயர் உடையள் இவள்’ என விரும்பிப்பாணன் வந்தனன், தூதே; நீயும்புல் ஆர் புரவி, வல் விரைந்து, பூட்டி,நெடுந் தேர் ஊர்மதி, வலவ!முடிந்தன்று அம்ம, நாம் முன்னிய வினையே! In this trip to the woodlands, we take in picturesque sights, as we listen to the man say these words to his charioteer: “A bat, having dark wings, which appear as if dipped in thick, fresh ghee, rises from the topmost branch of an ancient tree, and leaving it in loneliness, flies away, in this moist and cool time, when wild jasmine bushes have opened their buds and appear, akin to smiling teeth, having the fragrance of a new bride, as it prevents buzzing bees atop vines from fluttering away. Saying, ‘At this time, I wonder if he will return or if he won't! Maybe only the yonder place he's at is pleasant to him!', as her many-petalled, rain-like eyes reddened her fine bosoms, she suffers deep sorrow. Thus said the messenger-bard who had come with intent.  So, yoke the fine horses, which are grazing on grass, with much haste, and speed on the tall chariot, O charioteer, for the task we had set out to do is all done!” Time to listen to the twin beats of the hooves and the hearts! The man starts by describing the wings of a bat and mentioning how it appears as if dipped in ghee. When I took a look at an image of the bat’s wings and read about how it’s criss-crossed with many blood vessels, the simile made perfect sense. The said bat leaves its perch on a tall, ancient tree, and flies away, leaving the tree to lament in loneliness, the man says. Then he moves on to the wild jasmines that have bloomed on the bushes and compares it to two different elements, the sight of these white buds to smiling teeth and the scent of the same to the tresses of a new bride. All this he mentions only to say, it’s the cool and moist time of rains. Now he repeats the words of the lady as conveyed to him by a messenger bard. The lady seemed to be wondering whether the man would return or not, and feeling dejected and tearful about the fact that he seemed to prefer the place he’s at to his home. So, nudged by the bard’s message, the man wishes to propel his charioteer into action and concludes by asking the worthy helper to yoke the grazing horses and speed on the chariot homeward, for the work they had come to do, was done. The image of the bat leaving the tree alone is a subtext for the lady’s loneliness in the man’s absence. In these few words, we can observe the signs of the changing season, and catch the pulse of the man as he yearns to be back with his beloved. The thing that struck me in this verse is the reimagining of a bird’s wings and a bush’s blossoms by this Sangam poet, something which speaks to us of their enviable skills of observation and connection!

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Aganaanooru 243, penned by Kodiyoor Kizhaar Maganaar Neythal Thathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the attitude of the northern wind. அவரை ஆய் மலர் உதிர, துவரினவாங்கு துளைத் துகிரின் ஈங்கை பூப்ப,இறங்கு போது அவிழ்ந்த ஈர்ம் புதல் பகன்றைக்கறங்கு நுண் துவலையின் ஊருழை அணிய,பெயல் நீர் புது வரல் தவிர, சினை நேர்புபீள் விரிந்து இறைஞ்சிய பிறங்கு கதிர்க் கழனிநெல் ஒலி பாசவல் துழைஇ, கல்லெனக்கடிது வந்து இறுத்த கண் இல் வாடை!‘நெடிது வந்தனை’ என நில்லாது ஏங்கிப்பல புலந்து உறையும் துணை இல் வாழ்க்கைநம்வலத்து அன்மை கூறி, அவர் நிலைஅறியுநம் ஆயின், நன்றுமன் தில்ல;பனி வார் கண்ணேம் ஆகி, இனி அதுநமக்கே எவ்வம் ஆகின்று;அனைத்தால் தோழி! நம் தொல் வினைப் பயனே! In this trip to the drylands, we get to see more of an aspect of weather rather than the region, as we listen to the lady say these words to her confidante, as the man continues to remain parted away, having left in search of wealth: “Exquisite flowers of the bean drop down, coral-like touch-me-not flowers with curving, red holes blossom, and the rattlepod flowers bloom on moist bushes during sun down, in the fine drizzle, and adorn the town entire. At this time when new rains pour no more, branched stalks sprouting out of seeds, now bend and sway in the paddy fields. Entering these fields, with a resounding roar, it then comes and swirls around me, this unseeing northern wind! If at all the northern wind would go to him, learn of his state, and say, ‘You have come afar', and then speak of my state, that of living without my mate, with ceaseless yearning, filled with sorrow and suffering, that would be good. However, as I stand here with tear-filled eyes, all the wind wants to do is bring torment to me! And so it is, my friend, owing to nothing but the fruit of my past deeds!” Let’s follow in the trail of the northern winds in this verse! The lady starts by listing all the flowers that have been blooming, much to the beauty of the town, and she mentions the bean flowers, the red touch-me-not flowers as well as the rattle-pod flowers. She talks about how there’s only a slight drizzle and no heavy rains seem to be pouring, indicating it’s the beginning of the cold season after the rains, a time long after the promised season of return. Then she moves on to characterise the northern winds, as it comes rushing through the paddy fields and envelopes her. She wishes the winds would go to the man, tell him that he has come too far, and talk about how the lady was languishing without his presence. But the northern wind seemed to have no mind to do any such thing and wants only to torture her, the lady says, and concludes by declaring with a helpless sigh that all this must be because she had done something wrong in the past. Herein, lies a subtle reference to the Indian concept of ‘Karma’, of attributing the misfortune of the present to some action in the past. Hope the good the lady has done brings back the man to her soon, so that they both can delight together in the blooming buds and the blowing breeze!

In this episode, we perceive an intention to change another’s course of action, as depicted in Sangam Literary work, Aganaanooru 242, penned by Peri Saathanaar. The verse is situated amidst the blooming Kino trees of the ‘Kurinji’ or ‘Mountain landscape’ and reveals the circumstances that necessitate a religious ritual. அரும்பு முதிர் வேங்கை அலங்கல் மென் சினைச்சுரும்பு வாய் திறந்த பொன் புரை நுண் தாதுமணி மருள் கலவத்து உறைப்ப, அணி மிக்குஅவிர் பொறி மஞ்ஞை ஆடும் சோலை,பைந் தாட் செந் தினைக் கொடுங் குரல் வியன் புனம்,செந் தார் கிள்ளை நம்மொடு கடிந்தோன்பண்பு தர வந்தமை அறியாள், ‘நுண் கேழ்முறி புரை எழில் நலத்து என் மகள் துயர் மருங்குஅறிதல் வேண்டும்’ என, பல் பிரப்பு இரீஇ,அறியா வேலற் தரீஇ, அன்னைவெறி அயர் வியன் களம் பொலிய ஏத்தி,மறி உயிர் வழங்கா அளவை, சென்று யாம்,செல வரத் துணிந்த, சேண் விளங்கு, எல் வளைநெகிழ்ந்த முன் கை, நேர் இறைப் பணைத் தோள்,நல் எழில் அழிவின் தொல் கவின் பெறீஇய,முகிழ்த்து வரல் இள முலை மூழ்க, பல் ஊழ்முயங்கல் இயைவதுமன்னோ தோழி!நறை கால்யாத்த நளிர் முகைச் சிலம்பில்பெரு மலை விடரகம் நீடிய சிறியிலைச்சாந்த மென் சினை தீண்டி, மேலதுபிரசம் தூங்கும் சேண் சிமைவரையக வெற்பன் மணந்த மார்பே! Plenty of picturesque sights in this trip to the mountains, as we listen to the confidante say these words to the lady, pretending not to notice the man, listening nearby, but making sure he’s in earshot: “From the swaying, slender branch of the Kino tree, with blooming buds, opened by the buzzing mouths of bees, fine, golden pollen drops down on the sapphire-hued feathers, and so adorned, with dark spots, dances the peacock in the grove, near the wide fields, where amidst the green-stemmed, thick stalks of the red millet, along with us, he chased away parrots with red necks. Not knowing it's his relationship that has rendered this to you, mother was saying, ‘I have to find the reason for the sorrow that soars in my daughter, who has the exquisite beauty of tender mango sprouts, and a fine complexion'. She plans to spread many different offerings, and summoning clueless Velan, wants to perform the ‘Veri' ritual in the wide area, intending to sacrifice a lamb. Before such things happen, why don't we dare to leave to that faraway place, to attain the exquisite, old beauty of your bamboo-like arms, from which, shining bangles are now slipping away. My friend, this can be done by immersing your budding young bosoms, and embracing over and over again, the fragrant chest of the lord of the mountains, whose faraway peaks brim with nectar, and in whose caves, near the huge mountain slopes, caressing the gentle branch of the small-leaved sandalwood tree nearby, hangs a comb of honey!” Time to start on that mountain trek, savouring the sights and scents of the region! The confidante starts by pointing to a Kino tree, with bright yellow flowers, and specifically to how the golden pollen from the flowers is dropping on the sapphire-like feathers of a peacock, which is dancing with delight, in the grove. Then she moves on to the millet fields near that grove, where the man had come to help the lady chase away parrots, characterised by a red garland, no doubt referring to the Indian ring-neck parakeets. After introducing the stage where the man came into the lady’s life, the confidante turns to talk about the activities of the lady’s mother. This poor woman, did not know the lady’s affliction was because of her relationship with the man, in the sense the lady was in ecstasy, when trysting with the man and was wallowing, when away from him. So, mother wants to find out the reason and her means of doing so was to summon Velan, the priest, who, according the confidante, in the manner of a famous webseries character, ‘knows nothing’! Velan would be summoned to perform the ‘Veri’ ritual by spreading many offerings and seeking God Murugu’s help in solving the lady’s sorrow. The confidante tells the lady before mother gets ahead with the plan and gets to sacrificing a poor lamb, the lady must to do something about those bangles slipping away from her arms. The confidante concludes by advising the lady to take the bold step to go to where the man lives, to his tall mountains, where honey combs brush against sandalwood trees, and embrace him over and over again! The confidante implies that the man was the sole reason for the lady’s state, and through these pointed words, nudges the man to protect the lady’s honour by seeking her hand in marriage. In the scene of the golden pollen dropping down on the blue feathers of the peacock and making it dance with delight, the confidante places a metaphor for how only the constant grace of the man towards the lady would bring lasting joy to her. Amidst scenes of nature and culture, we get to delight with all our senses, the immense and immeasurable beauty of the mountains! 

In this episode, we perceive a lady’s angst, as portrayed in Sangam Literary work, Aganaanooru 241, penned by Kaavanmullai Poothanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches this difficult terrain in much detail. ‘துனி இன்று இயைந்த துவரா நட்பின்இனியர் அம்ம, அவர்’ என முனியாதுநல்குவர் நல்ல கூறினும், அல்கலும்,பிரியாக் காதலொடு உழையர் ஆகியநமர்மன் வாழி, தோழி! உயர்மிசைமூங்கில் இள முளை திரங்க, காம்பின்கழை நரல் வியல் அகம் வெம்ப, மழை மறந்துஅருவி ஆன்ற வெருவரு நனந்தலை,பேஎய் வெண் தேர் பெயல் செத்து ஓடி,தாஅம் பட்ட தனி முதிர் பெருங் கலைபுலம் பெயர்ந்து உறைதல் செல்லாது, அலங்குதலைவிருந்தின் வெங் காட்டு வருந்தி வைகும்அத்த நெல்லித் தீஞ் சுவைத் திரள் காய்வட்டக் கழங்கின் தாஅய், துய்த் தலைச்செம் முக மந்தி ஆடும்நல் மர மருங்கின் மலை இறந்தோரே! In this trip to the drylands, there’s much to be seen, 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: “You say, ‘That lover of yours is a kind person, having not even a dot of dislike and possessing a deep, undying love', and speaking many such good words, you promise that he would render his grace. Yet, the one who used to be together with me, with a love that never wants to part away, is elsewhere, my friend, may you live long! Atop the hills, where tender sprouts of the bamboo shrivel, and those wide spaces, which resound with the swaying of bamboo stalks, swelter. In those barren spaces, which the rains have forgotten and cascades have abandoned, an old, huge stag, with much thirst, rushes towards a mirage, thinking it's the rain flowing, then disappointed, does not leave that place and move elsewhere, but sits there with sorrow in that scorching scrub jungle, where the mirage extends on, and here, taking a thick cluster of seeds from the sweet gooseberry that blooms in the drylands, and treating them like circular beans used as dice, the soft-headed red-faced monkey plays on, amidst the fine trees, which grow on the sides of the highlands, and it is to such a place that he has parted away to!” Let’s visit this challenging landscape and learn more! The lady starts by repeating the confidante’s words. Apparently, the friend had been cheering up the lady talking about the man’s deep love for her. The lady then talks about how the words are so sweet and kind, but she’s unable to accept that, as the man, who has always together with her, was now faraway. She then goes to talk about that place where the man’s at, in graphic detail. She points to the withering bamboo sprouts, the sweltering rocks of this region, and mentions the rains have deserted the place for long, making the land forget the meaning of a cascade. From these elements of land, she turns to the actions of elements of nature, and points to a stag, rushing towards something, only to find it’s nothing but a mirage, and having its thirst unquenched, helpless it sits there, not knowing where to go, and meanwhile, in the hills nearby, monkeys seem to pick seeds of sweet gooseberries, and play with them, as if they were mollucca beans used by humans as dice. The lady concludes by saying that’s how far the man had gone, implying it was impossible for her to accept her confidante’s consoling words about the man. The curious element here is how vividly the lady is able to see the place that she has never been to! This is poetic license, of course, but even there, there’s a grain of truth, echoing the inexplicable connectedness in the shared consciousness of those in love!

In this episode, we listen to words seeking a change in a person’s path, as depicted in Sangam Literary work, Aganaanooru 240, penned by Ezhooppandri Naagan Kumaranaar. The verse is situated amidst the swirling waves of the ‘Neythal’ or ‘Coastal landscape’ and describes the activities of the denizens at night. செவ் வீ ஞாழற் கருங் கோட்டு இருஞ் சினைத்தனிப் பார்ப்பு உள்ளிய தண் பறை நாரைமணிப் பூ நெய்தல் மாக் கழி நிவப்ப,இனிப் புலம்பின்றே கானலும்; நளி கடல்திரைச் சுரம் உழந்த திண் திமில் விளக்கில்பல் மீன் கூட்டம் என்னையர்க் காட்டிய,எந்தையும் செல்லுமார் இரவே; அந்தில்அணங்குடைப் பனித் துறை கைதொழுது ஏத்தி,யாயும் ஆயமோடு அயரும்; நீயும்,தேம் பாய் ஓதி திரு நுதல் நீவி,கோங்கு முகைத்தன்ன குவிமுலை ஆகத்து,இன் துயில் அமர்ந்தனைஆயின், வண்டு படவிரிந்த செருந்தி வெண் மணல் முடுக்கர்,பூ வேய் புன்னை அம் தண் பொழில்,வாவே தெய்ய, மணந்தனை செலற்கே. Plenty of intriguing images in this trip to the shores, as we listen to the confidante say these words to the man, who arrives for a nightly tryst with the lady: “Thinking about its chick that's all alone on the long branch of the black-trunked screw-pine tree with red flowers, a seabird with moist wings, flies above the dark backwaters, filled with sapphire-hued flowers of the blue lotus, leaving the groves to be deserted. In the light of the sturdy boat, which has swirled through the brimming waves of the drylands-like sea, showing schools of fish he has captured to my brothers, my father walks about at night; At that time, celebrating the god-like, cool shores, my mother worships along with her mates; As for you, if you wish to caress the fine forehead of the maiden with honey-flowing tresses, and yearn to find sweet sleep upon her bosoms, akin to buttercup buds, then come on over to the corner of the white sands, where the bee-buzzing golden champak tree stands, in the cool shores, filled with flowering laurel wood trees, to embrace her and part away!” Let’s take a seat on the sands and watch the scenes unfold! The confidante starts by describing the groves, which appear abandoned, as a seabird flies away, thinking about its chick, left alone in a nest. Then she goes on to talk about how the lady’s father moves about during the night, returning from his fish hunt, and showing the catch to the lady’s brothers. At this time, the lady’s mother too is thanking the seas for the catch and performing worship along with her mates. In short, the whole of the lady’s family is out and about, the confidante implies, and concludes by telling the man that it would be better if he came by day to the groves full of ‘Punnai’ trees, to a particular spot near a bee-buzzing ‘Cherunthi tree’, if he intended to savour the lady’s company. It seems like the confidante is telling the man there’s danger of discovery at night, and so come by day. However, there’s even more danger during day for the townsfolk would see, and slander would rise, the confidante knows, and she is silently sowing the seeds for the man to change his attitude of temporary trysting and come seek the lady’s hand in marriage. ‘Not by night, not by day too, but for the man to be beside the lady for all time’ seems to be the eternal quest of the confidante!

In this episode, we listen to a man’s lament, as depicted in Sangam Literary work, Aganaanooru 239, penned by Eyinanthai Magan Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the circumstances of the departed and the one left behind. அளிதோதானே; எவன் ஆவதுகொல்?மன்றும் தோன்றாது; மரனும் மாயும்‘புலி என உலம்பும் செங் கண் ஆடவர்,ஞெலியொடு பிடித்த வார் கோல் அம்பினர்,எல் ஊர் எறிந்து, பல் ஆத் தழீஇயவிளி படு பூசல் வெஞ் சுரத்து இரட்டும்வேறு பல் தேஎத்து ஆறு பல நீந்தி,புள்ளித் தொய்யில், பொறி படு சுணங்கின்,ஒள் இழை மகளிர் உயர் பிறை தொழூஉம்புல்லென் மாலை, யாம் இவண் ஒழிய,ஈட்டு அருங்குரைய பொருள்வயிற் செலினே,நீட்டுவிர் அல்லிரோ, நெடுந்தகையீர்?’ என,குறு நெடும் புலவி கூறி, நம்மொடுநெருநலும் தீம் பல மொழிந்தசிறு நல் ஒருத்தி பெரு நல் ஊரே! In this trip to the drylands, we hear the loud sounds in this domain, as we listen to the man say these words to his heart, when he has parted from the lady and is on a journey to seek wealth: “Isn't this a pitiable state? What will happen now? Saying ‘Those red-eyed men, who roar like a tiger, holding firebrands and wielding long and thick arrows, attack towns at night, and capture many a cattle. Their shouts resound uproariously in the hot drylands. Crossing paths in this region that will take you through many other lands, leaving me here all alone in the dull evening hour, when maiden wearing radiant ornaments, painted with ‘thoyyil art', having many pallor spots, will worship the crescent moon up high, if you leave now to gain that hard-to attain wealth, won't you end up delaying your return too, O esteemed lord?', picking up small and big quarrels, a fine, young maiden said many sweet words yesterday. Alas! The town centre of her great town appears not and the trees therein fade away from my sight too!” Time to tread those dangerous spaces and learn more! The man starts by remarking on the state of affairs and wondering what would happen. Then he starts to repeat the words of someone. This person talks about the drylands, where one can hear the shouts of robbers, after they have set fire to huts in the middle of the night and seized the cows in that town. The person continues saying how the man will cross many such paths through the sweltering drylands and go to faraway lands. At that point, the person contrasts the man’s state to how they will be left behind, all lonely and full of worry, in the evening hour, when other women take to worshipping the crescent moon. At this point, we know the person speaking is none other than the lady. She ends by wondering if the man on his quest for inaccessible wealth will take too much time to return. The man reveals that the lady had said these words to him the previous day, picking quarrels with him for leaving her so, but somehow even those words of sulking had appeared so sweet in his ears. He concludes by lamenting that now the town centre and trees of his beloved maiden’s town were no longer in sight, indicating he had traversed far away from the radius of his beloved’s presence! That the man calls it the lady’s town is a subtle indicator that this separation is happening before his marriage with the lady! A verse that throws the spotlight on a so-called rugged man, who has to set out into the world, and zooms on to his yearning for the sweet comfort of his beloved. A beat from the past echoing aloud, ’emotions have no gender’!

In this episode, we perceive a subtle technique of persuasion, as depicted in Sangam Literary work, Aganaanooru 238, penned by Kabilar. The verse is situated amidst the scent of flame-lilies in the ‘Kurinji’ or ‘Mountain landscape’ and sketches a tiger’s midnight hunt in vivid detail. மான்றமை அறியா மரம் பயில் இறும்பின்,ஈன்று இளைப்பட்ட வயவுப் பிணப் பசித்தென,மட மான் வல்சி தரீஇய, நடு நாள்,இருள் முகைச் சிலம்பின், இரை வேட்டு எழுந்தபணை மருள் எருத்தின் பல் வரி இரும் போத்து,மடக் கண் ஆமான் மாதிரத்து அலற,தடக் கோட்டு ஆமான் அண்ணல் ஏஎறு,நனந்தலைக் கானத்து வலம் படத் தொலைச்சி,இருங் கல் வியல் அறை சிவப்ப ஈர்க்கும்பெருங் கல் நாட! பிரிதிஆயின்,மருந்தும் உடையையோ மற்றே இரப்போர்க்குஇழை அணி நெடுந் தேர் களிறொடு என்றும்மழை சுரந்தன்ன ஈகை, வண் மகிழ்,கழல் தொடித் தடக் கை, கலிமான், நள்ளிநளி முகை உடைந்த நறுங் கார் அடுக்கத்து,போந்தை முழு முதல் நிலைஇய காந்தள்மென் பிணி முகை அவிழ்ந்து அலர்ந்ததண் கமழ் புது மலர் நாறும் நறு நுதற்கே? In this trip to the mountains, we get to see plenty of dynamic scenes, as we listen to the confidante say these words to the man, when he arrives for his nightly tryst with the lady: “In the jungle where trees knowing not separation are fused so densely together, as its exhausted mate, which had just given birth was suffering with hunger, intending to bring it the meat of a naive deer, at midnight, through the slopes with dark caves, treads a huge male tiger, with a neck, akin to a palmyra trunk, and having many stripes, intent on hunting prey.  At this time, as a wild cow with innocent eyes cries out from the distance, the tiger attacks a majestic bull with curving horns, and kills it on the right side, in that vast jungle. Then the tiger pulls the carcass, painting the wide boulders of the huge hills red, in your great mountain country, O lord! Having a charity, which makes him render with joy, ornamented, tall chariots, along with elephants, to those who come seeking, akin to the showering rain, wearing thick ornaments on his curving arms and wielding proud horses, rules Nalli. In the fragrant, dark mountain ranges of his domain, filled with flowering buds, near the trunk of a tall palm tree, stands a flame-lily. Akin to the moist and fragrant new flower that blooms from gentle buds, her forehead wafts with a delectable scent. If you wish to part away from her, pray tell if you have the cure for the affliction that would befall upon her fine forehead!” Let’s brave the midnight hour and start on a mountain trek! The confidante starts with a description of the man’s mountain country, where we see a tiger wanting to allay the hunger of its mate, stepping out with the intent of killing a deer. But instead of a deer, it finds a wild bull. As a wild cow screams in alarm, it fells the animal and drags it to its abode, painting the mountains red. From this vivid tale, the confidante moves on to render a portrait sketch of a king name Nalli, renowned for his generosity to supplicants, not just giving them food or jewels, but entire ornamented chariots and elephants apparently. The confidante then moves on from the king to his domain of the tall hills, where many flowers bloom, and in particular, she zooms on to a flame-lily, near the trunk of a palm tree, and connects the fragrance of this flower to the lady’s forehead. Then she predicts that if the man were to part away as he wishes to, a deep affliction would fall on this forehead, and she concludes by asking the man if he had the right cure for that malady. In essence, the confidante is asking the man not to part away and bring suffering to the lady, but rather seek the lady’s hand in marriage. In the scene of the tiger, wanting to hunt for a deer, returning with the better offering of a wild bull, the confidante places a metaphor to depict how the man would be better off, seeking the lady’s hand by applying to her kith and kin, rather than parting away to earn wealth, and leaving her in misery. With scenes from the wild and events from a royal court, the confidante nudges the man to take the right steps to bring permanent joy to her beloved friend!

In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 237, penned by Thaayankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the wealth and prosperity of a Sangam era town. புன் காற் பாதிரி அரி நிறத் திரள் வீநுண் கொடி அதிரலொடு நுணங்கு அறல் வரிப்ப,அரவு எயிற்று அன்ன அரும்பு முதிர் குரவின்தேன் இமிர் நறுஞ் சினைத் தென்றல் போழ,குயில் குரல் கற்ற வேனிலும் துயில் துறந்துஇன்னா கழியும் கங்குல்’ என்று நின்நல் மா மேனி அணி நலம் புலம்ப,இனைதல் ஆன்றிசின் ஆயிழை! கனைதிறல்செந் தீ அணங்கிய செழு நிணக் கொழுங் குறைமென் தினைப் புன்கம் உதிர்த்த மண்டையொடு,இருங் கதிர் அலமரும் கழனிக் கரும்பின்விளை கழை பிழிந்த அம் தீம் சேற்றொடு,பால் பெய் செந்நெற் பாசவல் பகுக்கும்புனல் பொரு புதவின், உறந்தை எய்தினும்,வினை பொருளாகத் தவிரலர் கடை சிவந்துஐய அமர்த்த உண்கண் நின்வை ஏர் வால் எயிறு ஊறிய நீரே. It’s more about the weather and less about the place 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, ‘Thin-stalked, lined trumpet flowers in bright hues, along with wild jasmine flowers, blooming on tender vines, drop down on the fine sand, drawing floral patterns. The gentle breeze cuts across the bee-buzzing, fragrant branch of the bottle flower tree, with buds akin to a snake's teeth. Such is this time of spring that rings with the sound of cuckoos' voices. At this time, sleepless, my nights fade away with suffering', making your fine, dark skin's exquisite beauty languish, worry not, O maiden wearing well-etched ornaments! Thick and fatty pieces of flesh, roasted in dense red flames, are placed together with tender millet rice in a curving bowl. Then, the juice extracted from the sweet slush of fine sugarcane stalks, which have bloomed in the fertile fields, with tall stalks of paddy, is mixed with milk, and fused with flattened, red rice. These are offered to those who come to Uranthai, where brimming river floods dash against the dam gates. Even if he were to attain this Uranthai, just for the sake of gaining wealth, he shall never give up savouring the nectar that springs up, amidst your sharp and white teeth, O maiden with beautiful, well-set, kohl-streaked eyes, with reddened edges!” Time to inhale the essence of spring and learn more! The confidante starts by repeating the lamenting words of the lady. The lady had been looking at the blooming trumpet and wild jasmine flowers that seem to be decorating the land beneath with floral designs. Then she feels the breeze dashing across a branch of the bottle-flower tree and hears the cuckoo’s call. All natural events for it’s the time of spring, but instead of bringing joy, it leaves me sleepless and brings me great suffering, the lady had said to the confidante. To this, the confidante asks the lady to let go of her angst. Then she launches into a description of a famous town in the Sangam era, known as Uranthai. To talk about its significance, she turns to the food that’s offered in this town, to those who arrive there. It’s a delicious combination of well-cooked, fatty pieces of meat, with millet rice on the savoury side, and to satisfy the sweet tooth, it was a dessert of flattened red rice and milk fused with sugarcane juice. If such food of plenty is to be found then water must be abundant and indeed, the rivers perennially keep dashing against the dam gates, brimming over, the confidante paints a picture. She has mentioned Uranthai only to say to the lady that the man wouldn’t dream of giving up the taste of the nectar that pools amidst the lady’s sharp teeth, in short, a taste of the lady’s kiss, even if he were to attain this prosperous city as his own. Yet again, it’s a message of ‘Not even for that, not even for this, will he forget you’. However, in the expanse of this verse, we received the double bonanza of delighting in the scents and sounds of spring as well as tasting the culinary delights of a town from the pages of the past!

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!