Sangam Lit

In this episode, we perceive a dramatic attempt at persuasion, as portrayed in Sangam Literary work, Aganaanooru 272, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the flowing cascades of the ‘Kurinji’ or ‘Mountain Landscape’ and presents a hypothetical situation and its impactful consequences. இரும் புலி தொலைத்த பெருங் கை வேழத்துப்புலவு நாறு புகர் நுதல் கழுவ, கங்குல்அருவி தந்த அணங்குடை நெடுங் கோட்டுஅஞ்சு வரு விடர் முகை ஆர் இருள் அகற்றி,மின் ஒளிர் எஃகம் செல் நெறி விளக்க,தனியன் வந்து, பனி அலை முனியான்,நீர் இழி மருங்கின் ஆர் இடத்து அமன்றகுளவியொடு மிடைந்த கூதளங் கண்ணிஅசையா நாற்றம் அசை வளி பகர,துறு கல் நண்ணிய கறி இவர் படப்பைக்குறி இறைக் குரம்பை நம் மனைவயின் புகுதரும்,மெய்ம் மலி உவகையன்; அந் நிலை கண்டு,”முருகு” என உணர்ந்து, முகமன் கூறி,உருவச் செந் தினை நீரொடு தூஉய்,நெடு வேள் பரவும், அன்னை; அன்னோ!என் ஆவது கொல்தானே பொன் எனமலர்ந்த வேங்கை அலங்கு சினை பொலியமணி நிற மஞ்ஞை அகவும்அணி மலை நாடனொடு அமைந்த நம் தொடர்பே? In this trip to the highlands, it’s scenes in the night that greets us, as we listen to these words said by the confidante to the lady, pretending not to see the man listening nearby, but making sure he’s in earshot: “To wash away its flesh-reeking, spotted face after killing a huge tiger, the long-trunked elephant arrives at night to the cascade in the mountains. Casting away the deep darkness of the clefts and caves in those formidable, fear-evoking spaces, as an iron spear, which flashes like lightning, shows the way, he comes alone, without minding the cold dew descending down. Wearing a garland of nightshade flowers woven together with wild jasmines that had been blooming in those picturesque places near flowing waters, as the moving winds scatter its stationary fragrance, he would enter our hut with hanging eaves, adjacent to a field of pepper vines around a short boulder, with his body brimming over with joy. If Mother were to see that state of his, thinking it's ‘God Murugu', she would raise her hands in prayer, would sprinkle moistened bright red millets, and worship the Tall Speared One! Alas! If that happens, what is to become of your relationship with the lord of the handsome mountain country, where the sapphire-hued peacock calls out aloud and the fully-bloomed Kino flowers glow upon the swaying branches?” Let’s walk along with the man and investigate what’s in the hearts of these mountain maiden! The confidante starts by talking about how fearsome the mountain paths are at night, mentioning how an elephant which has just killed a tiger would come to the cascades to wash its trunk. Unmindful of all this danger to his safety and not caring for the cold dew pouring down to the detriment of his health, with his spear lighting the way, the man would come walking on this very path, the confidante connects. Then she mentions the garlands of nightshades and jasmines he would be wearing and the way the wind would be spreading that scent all around the place. Walking in this manner, the man would reach the destination, which is the lady’s hut in the mountain hamlet, near a field of pepper vines, the confidante continues. Let’s make a note of this specific field and explore it in a moment. Returning, the confidante asks the lady to imagine the moment he would step inside their house. What if Mother happened to catch a glimpse of him? She predicts that Mother would think the man was the ‘Tall-speared God Murugu’ and would start worshipping him with a scattering of red millets. After saying these words, the confidante wonders what would happen to the lady’s relationship with the man if a such a thing were to happen, and concludes by describing the man’s country as a place, filled with singing peacocks and blooming Kino flowers.  An intricate attempt using the powers of visualisation to get the listening man to realise that he needs to change his dark and dangerous path of temporary trysting and take the road to the permanent joy of seeking the lady’s hand. The subtle elements here is the mention of the blooming Kino flowers, indicating it’s the auspicious season of marriage, and that scene of mother mistaking the man for Murugu is to tell the man the lady is in danger of being placed under guard, which would sound the death knell to his secret relationship with her. In short, ‘Marry her, marry her’ with a movie style delivery! Let’s revert and focus on that phrase about a field of pepper vines. This tells us the preciousness of these naturally growing spices was realised by this mention that it was intentionally cultivated in a mountain field. A matter-fact line which actually implies that these pepper corns were much sought after in faraway shores such as Greece and Rome and that those abroad were waiting to shower gold in exchange of these little black beauties! 

In this episode, we perceive an impactful attempt at changing a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 271, penned by Kaaviripoompattinathu Chenkannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse mentions intriguing aspects about the flora and fauna in this domain. பொறி வரிப் புறவின் செங் காற் சேவல்சிறு புன் பெடையொடு சேண் புலம் போகி,அரி மணல் இயவில் பரல் தேர்ந்து உண்டு,வரி மரல் வாடிய வான் நீங்கு நனந்தலைக்குறும்பொறை மருங்கின் கோட் சுரம் நீந்தி,நெடுஞ் சேண் வந்த நீர் நசை வம்பலர்செல் உயிர் நிறுத்த சுவைக் காய் நெல்லிப்பல் காய் அம் சினை அகவும் அத்தம்சென்று, நீர் அவணிர் ஆகி, நின்று தருநிலை அரும் பொருட் பிணி நினைந்தனிர்எனினே,வல்வதாக, நும் செய் வினை! இவட்கே,களி மலி கள்ளின் நல் தேர் அவியன்ஆடு இயல் இள மழை சூடித் தோன்றும்பழம் தூங்கு விடரகத்து எழுந்த காம்பின்கண் இடை புரையும் நெடு மென் பணைத் தோள்,திருந்து கோல் ஆய் தொடி ஞெகிழின்,மருந்தும் உண்டோ, பிரிந்து உறை நாட்டே? In yet another trip to this searing region, we get to see dynamic scenes, as we listen to the confidante say these words to the man, when he proposes a plan to leave in search of wealth, wishing to prepare the lady for his parting: “The red-legged male of the pigeon with specks and lines, along with its gentle little mate flies afar, and after landing on the spreading rough, river sand, chooses pebbles and eats them. Then, it sings, sitting atop the beautiful branch of a gooseberry tree, bearing many fruits, which have the power of bringing back the parting life of those wayfarers, who arrive with a searing thirst, from a faraway country, traversing vast spaces in the formidable drylands, by the side of small hills, bereft of clouds, where even the lined hemp withers. If you intend to leave to this place, pushed by that ever-changing affliction of seeking wealth, may those efforts of yours bear fruit! As for her, her soft arms are akin to the tall bamboos, with flawless nodes, that shoot up in the mountain ranges, filled with hanging fruits, around which young rain clouds dance around in the joyous town of ‘Kallil', ruled by Aviyan, who wields chariots many! So, tell me, in that land that you intend to part away to, could there be any cure to remedy the slipping away of well-etched, fine bangles from those arms of hers?” Let’s tread on those scorching spaces and learn more! The confidante starts by sketching the drylands region, and to do that, she seeks the help of a pigeon couple. First, she talks about the red-legged male pigeon and then its delicate, little mate. Note the use of the word ‘Siru’ meaning ‘small’ to describe the female pigeon. When I checked whether this was factual or the Sangam poets’ way of projecting human notions on the birds, turns out indeed the females are smaller than the males, though they may have more body mass. What a nuance captured! Returning, the confidante tells us that these two birds take off and fly for quite distance and then they land on a place with coarse, dried-up river sand. Now she mentions something that made me ask, “Really? No way. There must be some mistake!” The thing the confidante says about these pigeons is that they can be seen eating pebbles from that river sand. Now you know why I was so surprised. I was telling myself that the interpreters had got this wrong and the word ‘Paral’ should mean something else. Like some grain or some seed! Then, when I went and asked the seemingly ridiculous question, ‘Do pigeons eat pebbles?’, the internet blew my mind saying, ‘Indeed, it does!’ Apparently, pigeons do not have teeth but they need to digest the grains and seeds they eat. So, to this end, they gobble those pebbles and these stones in their stomach acts like a grinder and extracts the nutrients from their diet. The marvels of nature indeed! At the same time, I think we should also celebrate the Sangam poets for their powers of observation to note this intricate behaviour of these birds and the creativity to blend it in a song on relationships! Moving on from our pigeon tales, now the confidante tells us that the pigeons, after swallowing those pebbles, fly to the branch of a gooseberry tree and sing their songs perched there. Then turning her attention from the birds to the fruits hanging in this tree, the confidante details how these fruits have the power of bringing back the lives of those who are dying of thirst in that harsh drylands region, where even the sturdiest of plants, the hemp takes to withering away in the sweltering sun. Once again, these verses glorify the gooseberry as an elixir of life! Then, the confidante connects by telling the man if he intends to leave to such a place in search of wealth, may his endeavour succeed. And then she goes on to compares the arms of the lady to the bamboos growing in a mountain town called ‘Kallil’ ruled by Aviyan, and concludes by asking the man if he knew some medicine that could cure the slipping away of fine bangles from the lady’s arms!  With these words, the confidante intends to tell the man that the lady would lose her health and beauty in his absence and ask him to give up his idea of parting from the lady. While it’s the same ‘Don’t go, she’ll pine!’ at the core, those fascinating facts about pigeons eating pebbles and gooseberries bringing back dying lives presents to us the medicine of awe about our natural world, something that can revive and rejuvenate us, as we traverse the drylands of our day-to-day life!

In this episode, we perceive a passionate attempt at persuasion, as portrayed in Sangam Literary work, Aganaanooru 270, penned by Saakalaasanaar. The verse is situated amidst the blooming blue lilies of the ‘Neythal’ or ‘Coastal Landscape’ and etches the scenes of loneliness and lament in this domain. இருங் கழி மலர்ந்த வள் இதழ் நீலம்,புலாஅல் மறுகின் சிறுகுடிப் பாக்கத்துஇன மீன் வேட்டுவர், ஞாழலொடு மிலையும்மெல் அம் புலம்ப! நெகிழ்ந்தன, தோளே;சேயிறாத் துழந்த நுரை பிதிர்ப் படு திரைபராஅரைப் புன்னை வாங்கு சினைத் தோயும்கானல்அம் பெருந் துறை நோக்கி, இவளே,கொய் சுவற் புரவிக் கை வண் கோமான்நல் தேர்க் குட்டுவன் கழுமலத்து அன்ன,அம் மா மேனி தொல் நலம் தொலைய,துஞ்சாக் கண்ணள் அலமரும்; நீயே,கடவுள் மரத்த முள் மிடை குடம்பைச்சேவலொடு புணராச் சிறு கரும் பேடைஇன்னாது உயங்கும் கங்குலும்,நும் ஊர் உள்ளுவை; நோகோ, யானே. In this trip to the shore, we get to see familiar sights and also take a short detour to a historic town, as we listen to the confidante say these words to the man, when he arrives to tryst with the lady, by day: “Those who live in the flesh-reeking streets of the seaside hamlet, those hunters of shoals of fish, adorn themselves with thick-petaled blue lotus flowers, blooming in the vast backwaters, along with the tigerclaw flowers, in your gentle shores, O lord! Her arms have thinned away! Resounding waves filled with spraying foam, muddled by red shrimps, splash against the curving branch of the broad-trunked, laurelwood tree in the orchard-filled huge shore. As she keeps looking in the direction of that shore, the old beauty of her exquisite, dark complexion, akin to the town of ‘Kazhumalam', ruled by Kuttuvan, who wields fine chariots, a leader renowned for his generosity, having horses with swaying manes, becomes utterly ruined, and she suffers with sleepless eyes. Upon that tree, on which god resides, perched on a nest made of thorns, a small black female bird, unable to unite with its mate, laments ceaselessly in this dark midnight hour. Even at such a time, you are thinking of leaving to your town. Oh! I'm filled with anguish!” Time to take a dip in those ancient waves! The confidante starts with a description of the man’s shore, talking about how people who live in flesh-reeking streets wear the fragrant flowers of the blue lotus and the tigerclaw on their heads. Then, from the man’s place, she moves on to talk about the lady’s thinning arms, and compares the lady’s beauty to the town of ‘Kazhumalam’, ruled by the famous Chera King Kuttuvan, in the Sangam trademark style of equating beauty with a town. The confidante has mentioned that great beauty only to say it’s now becoming ruined every time the lady keeps looking in the direction of the orchard, where the waves dash against the low-hanging branch of a laurelwood tree, perhaps the spot of the lady’s tryst with the man. The confidante talks about how the lady’s eyes turn sleepless owing to all this. She mentions how without understanding all this, the man was talking about leaving to his town at night, a time when a lonely red-naped ibis would call to its mate ceaselessly and torment the lady further. The confidante concludes by declaring that she knows not what to do! The truth is the confidante knows perfectly well what is to be done and that’s for the man to give up his temporary trysting and seek the lady’s hand. This is her subtle way of portraying the lady’s precarious situation, while highlighting the lady’s love for the man. Hearing this, no doubt the man would change his ways and do the right thing. A verse which makes me want to ask, ‘Is the confidante just a companion, or a caretaker, mentor and lawyer all rolled into one?’. Lucky is the lady, to have such a friend!

In this episode, we listen to the rendition of a much-awaited news, as depicted in Sangam Literary work, Aganaanooru 269, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents intricate details about the custom of installing hero stones. தொடி தோள் இவர்க! எவ்வமும் தீர்க!நெறி இருங் கதுப்பின் கோதையும் புனைக!ஏறுடை இன நிரை பெயர, பெயராது,செறி சுரை வெள் வேல் மழவர்த் தாங்கியதறுகணாளர் நல் இசை நிறுமார்,பிடி மடிந்தன்ன குறும்பொறை மருங்கின்,நட்ட போலும் நடாஅ நெடுங் கல்அகல் இடம் குயின்ற பல் பெயர் மண்ணி,நறு விரை மஞ்சள் ஈர்ம் புறம் பொலியஅம்பு கொண்டு அறுத்த ஆர் நார் உரிவையின்செம் பூங் கரந்தை புனைந்த கண்ணிவரி வண்டு ஆர்ப்பச் சூட்டி, கழற் கால்இளையர் பதிப் பெயரும் அருஞ் சுரம் இறந்தோர்,தைஇ நின்ற தண் பெயல் கடை நாள்,பொலங்காசு நிரைத்த கோடு ஏந்து அல்குல்நலம் கேழ் மாக் குரல் குழையொடு துயல்வர,பாடு ஊர்பு எழுதரும் பகு வாய் மண்டிலத்துவயிர் இடைப்பட்ட தெள் விளி இயம்ப,வண்டற் பாவை உண்துறைத் தரீஇ,திரு நுதல் மகளிர் குரவை அயரும்பெரு நீர்க் கானல் தழீஇய இருக்கை,வாணன் சிறுகுடி, வணங்கு கதிர் நெல்லின்யாணர்த் தண் பணைப் போது வாய் அவிழ்ந்தஒண் செங் கழுநீர் அன்ன, நின்கண் பனி துடைமார் வந்தனர், விரைந்தே. In this trip to the drylands, we get to see intriguing sights and take a detour to a historic site, as we listen to the confidante say these words to the lady, at a time, when the man continues to remain parted away, having left in search of wealth: “Let the bangles ascend on your arms! Let the suffering cease! Let flower garlands adorn your wavy, dark tresses! After rescuing herds of cattle comprising of prize bulls, without retreating, those fearless men stood and fought against the cattle stealers, who bear thick and curving white spears. To reinstate the good fame of these warriors, near small hills, which appear akin to a seated female elephant, their young helpers wearing resounding anklets, carve on tall and natural stones, which appear as if planted there, inscribing the many names of those fearless fighters in the wide spaces, streaking fragrant paste of turmeric upon the radiant, moist stone surfaces, and adorning them with peeled bark of trees cut by arrows and garlands of woven red globe thistle flowers. Only then do they leave from those formidable drylands, where the man has left to, now. In the month of ‘Thai' when the last cool showers cease, wearing coins of gold around their uplifted waists, along with swaying, many-hued flowers and dark clusters of leaves, as clear notes of music that arises from the huge open mouth of the ‘vayir' horn instrument spreads all around the land, carving dolls of mud on the shore, maiden with fine foreheads perform the ‘Kuravai' dance in those well-watered orchards of the prosperous town of ‘Sirukudi', ruled by Vaanan. Here, amidst the curving crops of paddy blooming in the fertile fields, blooms a shining red lotus that has opened its petals. Akin to this red lotus, are your eyes, and to wipe away the tears dropping down from them, he has come, with much haste!” Let’s walk along with the wandering man through the drylands and explore on! The confidante starts with a jubilant shout, saying the lady’s bangles will not slip away anymore, and her dark days were at an end and that it was time to adorn those tresses with exquisite flowers. Then without saying why, she goes on to talk about the place where the man has left to, and to do that first she brings forth the setting of a cattle theft, and then zooms on to those warriors, who valiantly rode behind and defeated those cattle stealers and recovered the cattle. Though they won in that conflict, they were killed and in honour of their memory, their helpers would choose the perfect stones, which may seem like someone installed them there, but were actually natural, and would carve the names of those warriors, streak turmeric paste, adorn with globe thistle flowers and then only leave that place. The confidante has been describing all this to say the man had left the lady to go to such a drylands region. Then, she goes into another lengthy description of a town called ‘Sirukudi’, ruled by Vaanan, where maiden would come together and carve mud dolls in the month of ‘Thai’, which corresponds to mid-January, a time when the rains are said to cease, and those women would perform the ‘Kuravai’ dance as part of the festivities. Why has the confidante mentioned all this? Only to take us to the lush paddy fields in this prosperous town and point to a red lotus blooming there. She then compares the lady’s eyes to that particular flower and concludes by saying the man was coming there with much speed, to wipe away the dew from the lady’s lotus-like eyes!  To put it in a nutshell, the confidante’s message is ‘The man is on the way home and all your pain is about to be gone’! Wrapping this gift to the lady with those scenes of hero stone worship and celebrations in Sirukudi, the confidante also offers us the gift of travelling to a long-gone time, meeting the people who lived then and witnessing their ways of life!

In this episode, we listen to a subtle attempt at persuasion, as depicted in Sangam Literary work, Aganaanooru 268, penned by Vadama Vannakkan Peri Saathanaar. The verse is situated amidst the fragrant flowers of the ‘Kurinji’ or ‘Mountain landscape’ and presents a portrait of the delicate state of affairs. அறியாய் வாழி, தோழி! பொறி வரிப்பூ நுதல் யானையொடு புலி பொரக் குழைந்தகுருதிச் செங் களம் புலவு அற, வேங்கைஉரு கெழு நாற்றம் குளவியொடு விலங்கும்மா மலை நாடனொடு மறு இன்று ஆகியகாமம் கலந்த காதல் உண்டுஎனின்,நன்றுமன்; அது நீ நாடாய், கூறுதி;நாணும் நட்பும் இல்லோர்த் தேரின்,யான் அலது இல்லை இவ் உலகத்தானேஇன் உயிர் அன்ன நின்னொடும் சூழாது,முளை அணி மூங்கிலின் கிளையொடு பொலிந்தபெரும் பெயர் எந்தை அருங் கடி நீவி,செய்து பின் இரங்கா வினையொடுமெய் அல் பெரும் பழி எய்தினென் யானே! In this trip to the hills, there’s more of abstract feelings, as we listen to the confidante say these words to the lady, in an attempt to further the man’s relationship with the lady: “You should ponder on what I say, my friend, may you live long! As a tiger attacked an elephant, having a flower-like head, filled with lines and spots, the blood that spilled paints the mushy field red. To wipe away the stench of that flesh, the fragrance of the formidable Kino flowers, along with wild jasmines, wafts in the huge mountains of the lord. If there is a faultless love, fused with passion for him, that would be good. But if you don't seek that, pray tell me. If one were to search for the person who doesn't have any shame or the virtue of friendship, there can be no better candidate than me, in this world. Without consulting with you, who is akin to my own sweet life, and also not caring about the strict guard of our famous father, who dwells with kith and kin, abundant like the sprouts of a bamboo, I have done something which I do not regret, and I seem to have attained an unjustified blame for that!” Let’s understand the nuances here! The confidante starts with a request to her friend to reflect on what she was about to say. Then she describes the man’s mountain country as a place where the fragrance of the Kino and wild jasmine flowers removes the stench of the blood that has spilled in the attack of a tiger and elephant and mushed up the red earth beneath. Then she asks her friend if the lady feels a deep love for the man. And when the confidante sees no response from the lady, the confidante declares that she must be the only person on earth not having any sense of shame or the true feeling of friendship. She concludes by explaining that she has done a deed, without checking with the lady and not minding the strict guard of the lady’s father, but one for which she feels no regret and one she doesn’t mind the blame endowed on her without cause. To understand this complicated expression, we have to reflect on certain cultural practices. Apparently, in this era, it was the custom of the man to seek out the lady’s confidante to further his relationship with the lady, by means of arranging trysts. Some sense of modesty perhaps prevented him from approaching the lady directly. So, the confidante, understanding the lady’s interest in the man, is presenting the man’s case before the lady. She then tries to convince the lady by pretending to take responsibility for all the blame and censure in her delicate situation. In the scene of the mountain flowers removing the stench of flesh, the confidante places a metaphor for the man’s future action of marrying the lady and wiping away the slander of their secret love relationship. A verse that illustrates the influence a friend can exert in one’s life, something that is true not just two thousand years ago, in this particular culture, but even today, and mostly everywhere! 

In this episode, we perceive an expression of angst, as depicted in Sangam Literary work, Aganaanooru 267, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the scenes in the sweltering drylands with a stack of similes. நெஞ்சு நெகிழ்தகுந கூறி, அன்பு கலந்து,அறாஅ வஞ்சினம் செய்தோர், வினை புரிந்து,திறம் வேறு ஆகல் எற்று?’ என்று ஒற்றி,இனைதல் ஆன்றிசின், நீயே; சினை பாய்ந்து,உதிர்த்த கோடை, உட்கு வரு கடத்திடை,வெருக்கு அடி அன்ன குவி முகிழ் இருப்பை,மருப்புக் கடைந்தன்ன, கொள்ளை வான் பூமயிர்க் கால் எண்கின் ஈர் இனம் கவர,மை பட்டன்ன மா முக முசுவினம்பைது அறு நெடுங் கழை பாய்தலின், ஒய்யெனவெதிர் படு வெண்ணெல் வெவ் அறைத் தாஅய்,உகிர் நெரி ஓசையின் பொங்குவன பொரியும்ஓங்கல் வெற்பின் சுரம் பல இறந்தோர்தாம் பழி உடையர்அல்லர்; நாளும்நயந்தோர்ப் பிணித்தல் தேற்றா, வயங்கு வினைவாள் ஏர் எல் வளை நெகிழ்த்த,தோளே தோழி! தவறு உடையவ்வே! We get to see plenty of flora and fauna in this trip to the drylands, as we listen to the lady say these words to her confidante, at a time when the man continues to remain parted away from her, having left in search of wealth: “Saying, ‘How come the one who said the right words to make the heart melt, filled with love, and took an oath to never part away, has now turned a different person and left in search of wealth?', do not analyse and suffer ceaselessly, my friend! Upon those fear-evoking paths, pouncing on the branches, hot summer winds shed clusters of Mahua flowers, which appear akin to the paws of a wild cat, in a bright white hue, akin to powdered tusks, and these are eaten by a sleuth of furry-legged sloth bears. Since monkeys with dark faces as if painted with kohl, leap about, from tall bamboos, bereft of green, suddenly bamboo seeds drop down and spread on the hot rocks beneath, and with the noise of snapping nails, these seeds pop and fry in those highland drylands, through which the man traverses. He is not the one to be blamed; Those arms of mine, which day after day, without knowing how to bind the one it loves, lets the well-etched, sword-cut, shining bangles slip away, is the one at fault, my friend!” Time to take a hot walk on those arid paths! The lady starts by requesting her confidante not to look at her state and worry endlessly, thinking about all the promises the man made when courting the lady and how he has changed now on account of seeking wealth. Then she describes the drylands path where the man walks and to do that, she brings before our eyes, fallen Mahua flowers, nudged from the branches by the hand of the summer winds, comparing the shape of these flowers to the paws of a wild cat and their hue to powdered ivory. Then she points out how furry-legged bears feed on these flowers that have fallen down. Next, she turns her attention to drying bamboos and points out to a leaping monkey, whose face seems to be blackened with kohl, possibly a langur, and in its brisk motion, the bamboo seeds scatter and fall on the rocks below, and the moment they do, they pop and fry, so hot the weather is, the lady connects. Instant bamboo pop-corn, seems like! It’s such a path that the man walks, the lady describes. She concludes by asking her friend not to blame the man for her state, saying the real culprit is her arms which seem not to know how to bind the man to her and all they can do is to let those exquisite bangles slip away, losing their health!  Can we see this as a subtle way of taking responsibility for one’s state? Ultimately, there’s no use blaming another for how we feel, no matter how justified it may seem. Seeing this timeless truth, whether the lady rises above her pain and faces the future with confidence or not, we surely can, in the various sweltering paths of our lives!

In this episode, we listen to a pointed expression of discontent, as depicted in Sangam Literary work, Aganaanooru 266, penned by Paranar. The verse is situated amidst gushing new streams of the ‘Marutham’ or ‘Farmlands landscape’ and relays a jilted woman’s feelings. “கோடுற நிவந்த நீடு இரும் பரப்பின்அந்திப் பராஅய புதுப் புனல், நெருநை,மைந்து மலி களிற்றின் தலைப் புணை தழீஇ,நரந்தம் நாறும் குவை இருங் கூந்தல்இளந் துணை மகளிரொடு ஈர் அணிக் கலைஇ,நீர் பெயர்ந்து ஆடிய ஏந்து எழில் மழைக் கண்நோக்குதொறும் நோக்குதொறும் தவிர்விலையாகி,காமம் கைம்மிகச் சிறத்தலின், நாண் இழந்து,ஆடினை என்ப மகிழ்ந! அதுவேயாழ் இசை மறுகின் நீடூர் கிழவோன்வாய் வாள் எவ்வி ஏவல் மேவார்நெடு மிடல் சாய்த்த பசும் பூண் பொருந்தலர்அரிமணவாயில் உறத்தூர் ஆங்கண்,கள்ளுடைப் பெருஞ் சோற்று எல் இமிழ் அன்ன,கவ்வை ஆகின்றால் பெரிதே; இனி அஃதுஅவலம் அன்றுமன், எமக்கே; அயலகழனி உழவர் கலி சிறந்து எடுத்தகறங்கு இசை வெரீஇப் பறந்த தோகைஅணங்குடை வரைப்பகம் பொலிய வந்து இறுக்கும்திரு மணி விளக்கின் அலைவாய்ச்செரு மிகு சேஎயொடு உற்ற சூளே!” In this colourful trip to the farmlands, as usual, we see sparks fly between a couple, as we listen to the lady say these words to the man, when he returns home, after being in the company of courtesans: “Leaping high up to the banks, amidst the dark and vast spread of those exquisite gushing new floods, akin to a strong and skilful male elephant, holding on to the head of the raft, yesterday, along with those young companions of yours, having thick clusters of tresses, wafting with the scent of bitter orange, adorning yourself with a wet attire and accessories, you played on and on, in those waters, and every time you looked at those exquisite, rain-like eyes of theirs, roving around, with desire brimming over, and passion exceeding its bounds, losing your sense of shame, you frolicked, they say, O lord of the town!  The slander that arose because of this has become louder than the uproar at the festivities in the town of ‘Arimanavayil Urathoor', when copious toddy and ceaseless food were offered in the middle of the day, at a time when the lord of the ancient town, where the music of the lute spreads in the streets, Evvi, who wields an honest sword, ruined and routed the power of those clad in golden ornaments, those who had refused to accept his command! But even the uproar of that slander is not something that brings distress to me. Fearing the resounding beats made by farmers in the field nearby, a peacock, fluttering its wings, takes off to those fear-evoking mountain ranges, and lands in a place called ‘Alaivaai', lit by exquisite lamps, the abode of the battle-worthy Dark-skinned One. It's the memory of the oath that you had taken before this God, which happens to brings that sense of suffering in me!” Let’s listen in to this quarrel and learn more! The lady starts by coming straight to the point and talking about how the news of the man’s activities the previous day had reached her ears already. Apparently, the man had adorned himself with ancient wet-wear and jumped into the gushing new river streams along with maiden he desired, and was romping around, without any sense of shame. The lady goes on to talk about how the uproar of slander in town owing to his activities was louder than the festivities at a place, filled with toddy and much food, called ‘Arimanavayil Urathoor’, after Lord Evvi quelled those wealthy others, who refused to heed to his command. That’s a pretty common comment, made in these situations but the lady follows that up by saying to the man, ‘Even that uproar is not causing me any concern. The only thing that worries me is when I remember the oath you took in front of God Murugan, at ‘Alaivaai’, frequented by peacocks that have arrived thither, after being frightened by the drums of farmers’. What this implies is that during the time of their courtship, the man had taken an oath of being true and loyal to the lady in front of God Murugan, which is now washed away in the flood of that river he played in. The lady means to say to the man, ‘All this slander is nothing but I fear some harm may befall you for you did not keep the promise you made in front of God’. Through that reference of the peacock flying away to God’s mountain, after being frightened by the farmer’s drums, the lady places a metaphor for how the man has come to their home, only because he feared the slander that arose in town and not any true feeling of love within. This will hopefully make the man reflect on his past promises, present aberrations and change his future path. Through multiple modes, the lady expresses her dissatisfaction with the man’s behaviour and illustrates an instance of effective communication in interpersonal conflict!

In this episode, we perceive a disgruntled comparison, as depicted in Sangam Literary work, Aganaanooru 265, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse introduces an intriguing historic detail. புகையின் பொங்கி, வியல் விசும்பு உகந்து,பனி ஊர் அழற் கொடி கடுப்பத் தோன்றும்இமயச் செவ் வரை மானும்கொல்லோ?பல் புகழ் நிறைந்த வெல் போர் நந்தர்சீர் மிகு பாடலிக் குழீஇ, கங்கைநீர்முதல் கரந்த நிதியம்கொல்லோ?எவன்கொல்? வாழி, தோழி! வயங்கு ஒளிநிழற்பால் அறலின் நெறித்த கூந்தல்,குழற் குரல் பாவை இரங்க, நத்துறந்து,ஒண் தொடி நெகிழச் சாஅய், செல்லலொடுகண் பனி கலுழ்ந்து யாம் ஒழிய, பொறை அடைந்து,இன் சிலை எழில் ஏறு கெண்டி, புரையநிணம் பொதி விழுத் தடி நெருப்பின் வைத்து எடுத்து,அணங்கு அரு மரபின் பேஎய் போலவிளர் ஊன் தின்ற வேட்கை நீங்க,துகள் அற விளைந்த தோப்பி பருகி,குலாஅ வல் வில் கொடு நோக்கு ஆடவர்புலாஅல் கையர், பூசா வாயர்,ஒராஅ உருள் துடி குடுமிக் குராலொடுமராஅஞ் சீறூர் மருங்கில் தூங்கும்செந் நுதல் யானை வேங்கடம் தழீஇ,வெம் முனை அருஞ் சுரம் இறந்தோர்நம்மினும் வலிதாத் தூக்கிய பொருளே! In this trip to the drylands, we receive some vivid word portraits, as we listen to the lady say these words to the confidante, when the man continues to remain parted away, having left in search of wealth: “Brimming over like smoke, soaring in the wide sky, flowing with snow, akin to a burst of flame, appears the crimson Himalayan mountains. Would it be equal to that? Or, take the riches that the battle-worthy Nandars, having much fame, had gathered in the renowned city of Patali and then drowned in the waters of the Ganges, lost in time. Would it be equal to that? May you live long, my friend! Forsaking me, the one having wavy tresses, akin to fine slit in the shade, a voice like the flute, the one akin to a doll, he has parted away, letting my shining bangles slip away, making my eyes shed tears, filled with much sorrow, to the mountains in the scorching, formidable drylands, where after killing a fine, sturdy bull, roasting its fatty, fleshy meat in the fire, akin to demons from a fear-evoking tradition, they eat the dry meat and to quench the thirst that arises, those men with curving, sturdy bows and harsh eyes, drink crystal clear, well-aged rice liquor named ‘Thoppi'. Then, with meat-covered hands, and unclean mouths, to the tune of a tufted eagle-owl's ceaseless hooting, in the streets of the hamlet with burflower trees, they sway around and dance, close to the hills of Venkatam, where elephants with red foreheads, are to be found! What is the true worth of that wealth he seeks in these spaces, with more intent, upheld higher than me, pray tell?” Let’s brave the scary drylands and learn more! The lady starts by describing the Himalayas with a stack of similes, such as smoke and flames, and presents its soaring personality, and she asks if the wealth the man seeks is greater than these mountain ranges? From the physical wealth of a natural feature, the lady turns to man-made wealth of a certain clan of kings named ‘Nandas’, who are said to have ruled over a city named ‘Pataliputra’. Apparently, they then sank this accumulated wealth in the waters of the Ganges and it was lost for all time. Wonder what made those Nandas destroy their hard-earned wealth? In any case, the lady asks whether the wealth the man seeks is greater than this wealth of the famous Nandas.  Then, she talks of herself, calling her a doll, having a voice like that of a flute, tresses akin to the river silt in the shade. Modest lady, indeed! She turns to describe how the man has left her, ruining her health and beauty, making her filled with sorrow and suffering. And where has he left? Predictably, to the drylands, the lady adds and to sketch this space, she paints an image of highway robbers with harsh eyes and bent bows, feeding on the roasted flesh of a bull they killed, drinking rice liquor known as ‘Thoppi’, and then, without even washing their hands or mouth, dancing to the hoots of a tufted Rock Eagle-owl, in a drylands hamlet, filled with burflower trees, close to the Venkatam hills in the north. The lady concludes by pondering on the great worth of that wealth that the man has forsaken her for! In essence, the lady talks about how she cannot understand the man’s quest for wealth instead of relishing the joy of togetherness with her. A striking instance of how priorities seem to clash between the genders even two thousand years ago! 

In this episode, we perceive the angst of a lady, as portrayed in Sangam Literary work, Aganaanooru 264, penned by Umbarkkaattu Ilankannanaar. The verse is situated amidst the blooming white flowers of the ‘Mullai’ or ‘Forest landscape’ and sketches the suffering in being apart from a beloved. மழை இல் வானம் மீன் அணிந்தன்ன,குழை அமல் முசுண்டை வாலிய மலர,வரி வெண் கோடல் வாங்கு குலை வான் பூப்பெரிய சூடிய கவர் கோல் கோவலர்,எல்லுப் பெயல் உழந்த பல் ஆன் நிரையொடு,நீர் திகழ் கண்ணியர், ஊர்வயின் பெயர்தர,நனி சேண்பட்ட மாரி தளி சிறந்து,ஏர்தரு கடு நீர் தெருவுதொறு ஒழுக,பேர் இசை முழக்கமொடு சிறந்து நனி மயங்கி,கூதிர் நின்றன்றால், பொழுதே! காதலர்நம் நிலை அறியார் ஆயினும், தம் நிலைஅறிந்தனர்கொல்லோ தாமே ஓங்கு நடைக்காய் சின யானை கங்குல் சூழ,அஞ்சுவர இறுத்த தானைவெஞ் சின வேந்தன் பாசறையோரே? In this trip to the forest, we encounter a rainy and cold climate, as we listen to the lady say these words to the confidante, in response to the confidante’s request to the lady to bear with the man’s parting: “Akin to stars that fill a cloud-less sky, thick-leaved, white flowers of the midnapore creeper have blossomed. Wearing huge, bent flower clusters of the striped, white glory lilies, cowherds with forked sticks, along with their herd of many cows that had suffered in the day's rain, with water dripping from their garlands, move towards the town. Rain clouds that have traversed a great distance pour down their shower, and so, exquisite floods of gushing water flows through the streets. With a huge, musical roar, a little confused, the day appears in this time of the cold season. At this time, if my lover does not understand my state, at least does he understand his own, as he resides there, in the battle camp of the furious king, surrounded by raging elephants and a fear-evoking army in the middle of the night?” Time to soak in the rain of melancholy! The lady starts with a striking comparison between the midnapore flowers and the stars on a crystal-clear sky, bereft of clouds. You need to look at a picture of these flowers to relish the aptness of this simile. Returning, the lady points to the denizens of this space, cowherds who can be seen wearing white glory lilies on their heads, and wielding sturdy rods, so as to direct their huge herd of cattle back home, after a day of grazing in the rain. Far away, the rains are pouring with relish and the streets are overflowing with water, as the skies beat their drums, and in short, it’s the cold season, which arrives after the rainy season, the promised season of return, the lady details. She turns her attention to the man, who is presently at the battle-camp of the king, intent on war, surrounded by soldiers and elephants in the midnight hour, and concludes by wondering whether the man, who does not seem to care for her state, would at least care about his own! The lady possibly means to ask if the man is aware of the consequences of her suffering and even losing her life in this long separation. Yet again, we perceive a simple time in life, when parting seems to be the greatest challenge in a relationship! In a way, sad to see this portrayal of a woman having nothing to do but to be focused on where her man was and what he is doing. Glad the modern times have endowed more agency for women to make something of their lives, no matter where their partners may be! 

In this episode, we listen to words of angst, as portrayed in Sangam Literary work, Aganaanooru 263, penned by Karuvoor Kannampaalanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals a mother’s emotion in the midst of discomforting news. தயங்கு திரைப் பெருங் கடல், உலகு தொழத் தோன்றி,வயங்கு கதிர் விரிந்த, உரு கெழு மண்டிலம்கயம் கண் வறப்பப் பாஅய், நல் நிலம்பயம் கெடத் திருகிய பைது அறு காலை,வேறு பல் கவலைய வெருவரு வியன் காட்டு,ஆறு செல் வம்பலர் வரு திறம் காண்மார்,வில் வல் ஆடவர் மேல் ஆள் ஒற்றி,நீடு நிலை யாஅத்துக் கோடு கொள் அருஞ் சுரம்கொண்டனன் கழிந்த வன்கண் காளைக்கு,அவள் துணிவு அறிந்தனென்ஆயின், அன்னோ!ஒளிறு வேல் கோதை ஓம்பிக் காக்கும்வஞ்சி அன்ன என் வள நகர் விளங்க,இனிதினின் புணர்க்குவென் மன்னோ துனி இன்றுதிரு நுதல் பொலிந்த என் பேதைவரு முலை முற்றத்து ஏமுறு துயிலே! We tread through this terrain, seeing familiar sights, as we listen to the mother say these words when she hears of her daughter’s elopement with the man: “Rising in the swaying waves of the huge ocean, as the world entire worships, spreading its radiant rays, the glowing orb then pounces on the fine land, dries up the ponds and routs the land's prosperity, in this suffering-filled time of summer. At this time, in the formidable, wide jungle, filled with many forked paths, so as to spot the arriving wayfarers, men with strong and sturdy bows, hide above in the branches of the towering Yaa trees in the drylands. Alas! If only I had known she would dare to part away with that harsh-eyed, bull-like man, I would have let them become united happily in my prosperous mansion, which is akin to Vanji, guarded by shining-speared Kothai, so that without any pain, he could attain sweet sleep on the blossoming bosoms of my naive girl, with a fine forehead” Time to brave the scorching sun and tread on this domain! Mother starts by talking about the sun, the way it rises from the ocean such that all the land worships it. Let’s pause for a moment and let this comment sink in. It’s a well-known fact that many ancient cultures worshipped the sun, first and foremost. For instance, take the Egyptians and the Incans. Both built temples and structures many to this celestial entity! Here we find an intuitive understanding of this truth in ancient Tamil culture. They may not have met the Egyptians, they surely did not meet the Incans, but still the sun is an entity the world will revere across the ages and spaces is a fact sensed here.  Moving on, Mother has mentioned the sun only to talk about how it scorches during the peak of summer just then and dries up all the ponds and the fertile fields. At this time, in the drylands, those highway robbers would lie in wait to pounce on innocent wayfarers, hiding in tall Yaa trees, she describes, and connects that’s where the lady has now left with the man. Then she concludes by lamenting if only she had understood the extent of the lady’s love for the man and her daring to leave with him to the drylands, she would have saved them all the trouble and would have married them, right there in her prosperous mansion, which she compares to the city of Vanji, guarded by Kothai, and says she would have let the man enjoy sweet sleep on her lady’s bosom! It seems to be a case of ‘If only’! I wonder why the confidante and the lady did not read mother’s emotions right and rushed into the elopement plan. However, it’s true we can never say how people will react until they actually do! Perhaps, understanding this change of heart, the man and lady will return home to the mother’s care, as we saw just a few verses ago. While that may be, this is indeed a well-etched expression of regret!

In this episode, we perceive the ecstasy of a person in love, as depicted in Sangam Literary work, Aganaanooru 262, penned by Paranar. The verse is situated amidst the splashing cascades of the ‘Kurinji’ or ‘Mountain landscape’ and presents a historic incident in vivid detail. முதை படு பசுங் காட்டு அரில் பவர் மயக்கி,பகடு பல பூண்ட உழவுறு செஞ் செய்,இடு முறை நிரம்பி, ஆகு வினைக் கலித்து,பாசிலை அமன்ற பயறு ஆ புக்கென,வாய் மொழித் தந்தையைக் கண் களைந்து, அருளாது,ஊர் முது கோசர் நவைத்த சிறுமையின்,கலத்தும் உண்ணாள், வாலிதும் உடாஅள்,சினத்தின் கொண்ட படிவம் மாறாள்,மறம் கெழு தானைக் கொற்றக் குறும்பியன்,செரு இயல் நல் மான் திதியற்கு உரைத்து, அவர்இன் உயிர் செகுப்பக் கண்டு சினம் மாறியஅன்னிமிஞிலி போல, மெய்ம் மலிந்து,ஆனா உவகையேம் ஆயினெம் பூ மலிந்துஅருவி ஆர்க்கும் அயம் திகழ் சிலம்பின்நுண் பல துவலை புதல்மிசை நனைக்கும்வண்டு படு நறவின் வண் மகிழ்ப் பேகன்கொண்டல் மா மலை நாறி,அம் தீம் கிளவி வந்தமாறே. In this trip to the hills, we get to see plenty of dynamic sights and also take a historic detour, as we listen to the man say these words to his heart, after his successful tryst with the lady: “From the deep and dense jungle, chopping away the intertwined vines, with many yoked bulls, they turned it into cultivable land, scattering the right amount of manure and made it bloom because of their efforts. Into this field, where crops had sprouted with fresh green leaves, a cow had entered and grazed. As a punishment, the owner of that cow, her truthful father was blinded without grace by those ancient leaders known as ‘Kosars'. Distraught seeing their pettiness, without eating any food, and not adorning herself with clean, white clothes, with rage, she took on a vow and did ceaseless penance. News of her state reached the victorious chief of the hill hamlets, the battle-worthy Thithiyan, who wields fine horses. Only when this chief ended the lives of those Kosars, her fury abated. Akin to that proud daughter Anni Mignili,  I too, felt my body brim over with unceasing joy, at that moment when my maiden with sweet words, fragrant akin to the cloud-covered dark hills, brimming over with flowers, resounding with cascades, whose many fine sprinkling droplets moisten bushes all around, a land ruled by the generous Bekan, renowned for his bee-buzzing toddy, came near me!” Let’s tread on those rugged paths and learn more! The man starts by describing the agricultural process of taming a jungle undergrowth and making it a cultivable land, employing oxen, manure and all the hard work it entails. He says this is due to the effort of some leaders from an ancient clan, the Kosars. Now, the Kosars seemed to have had a strong sense of possession over those fields, the man continues, for one day, just because a cow entered those fields with lush green leaves and grazed on it, these Kosars went and punished the owner, by blinding his eyes. Another verse, Aganaanooru 256, where we recently learnt about this ancient punishment of blinding using slaked lime comes to mind. Returning, the man turns to talk about what happened to the daughter of this man, who was punished for letting his cows loose. That maiden seems to be become enraged at the pettiness of the Kosars’ sense of justice and she gave up eating and wearing proper clothes and took on a frenzied penance. Hearing of her plight, a chieftain of the hills by the name of Thithiyan seems to have waged war against the Kosars and killed them. When she learned of it, that girl, Anni Mignili started shivering with emotion, and felt ecstatic joy, the man describes. Note that feeling, that exact feeling, the man says, and concludes by saying that’s what he felt when his beloved lady, who had the fragrance of the generous patron Bekan’s picturesque cloud-covered hills, came to him! In essence, we are hearing the words of a man in love, reliving the joy of meeting his beloved and seeing his love reciprocated! One is a woman, who is fulfilled by revenge, and the other is a man, who is fulfilled by love. The highlight is in how this ancient poet find the threads that link such different individuals, beyond age, gender, situation and time, united just by an expression of emotion at a particular moment!

In this episode, we listen to a narration of events that unfolded, as depicted in Sangam Literary work, Aganaanooru 261, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse subtly sketches a moment of love. கானப் பாதிரிக் கருந் தகட்டு ஒள் வீவேனில் அதிரலொடு விரைஇ, காண்வர,சில் ஐங் கூந்தல் அழுத்தி, மெல் இணர்த்தேம் பாய் மராஅம் அடைச்சி, வான் கோல்இலங்கு வளை தெளிர்ப்ப வீசி, சிலம்பு நகச்சில் மெல் ஒதுக்கமொடு மென்மெல இயலி, ‘நின்அணி மாண் சிறுபுறம் காண்கம்; சிறு நனிஏகு’ என, ஏகல் நாணி, ஒய்யெனமா கொள் நோக்கமொடு மடம் கொளச் சாஅய்,நின்று தலை இறைஞ்சியோளே; அது கண்டு,யாம் முந்துறுதல் செல்லேம், ஆயிடைஅருஞ் சுரத்து அல்கியேமே இரும் புலிகளிறு அட்டுக் குழுமும் ஓசையும், களி பட்டுவில்லோர் குறும்பில் ததும்பும்,வல் வாய்க் கடுந் துடிப் பாணியும் கேட்டே. In this familiar walk through the drylands, we encounter an interesting scene, as we listen to the man say these words to the confidante, about his travels with the lady through the drylands, on returning to the lady’s village, after their marriage: “When I heard the roar of the huge tiger, after it attacked a male elephant and killed it, and the sharp beats of the strong-mouthed drums resounding from the hill hamlets, echoing the revelries of the bowmen, I said to her, ‘Tying together the shining trumpet flowers with dark petals, blooming in the scrub jungle, along with summer wild jasmines, in a picturesque manner, wear on your exquisite tresses, and adding on the gentle clusters of the bee-buzzing burflowers, swaying your hands and making those white, rounded, shining bangles to tinkle, and with those anklets resounding, taking small, soft steps, gently walk so that I can get to see the small of your back, so pleasing to my eyes. Please do walk on, a little ahead'. Feeling shy to walk ahead, quickly, with a look of a delicate deer, filled with naivety, she bent her head down. Seeing that, without proceeding further, right there, in that drylands, we stayed back then!” Time to sneak in closer to hear those romantic words! The context is as sweet as the content in this one. A while ago, the lady and the man had eloped away, owing to the lady’s kith and kin refusing to accept their relationship. After traversing the harsh drylands, the man and lady had married in the man’s village. Later, the lady’s parents were appeased and invited the couple back home. At this time, the confidante, who had been of great help for the man’s relationship with the lady, in the style of a modern friend, must have asked the man, ‘Begin from the beginning and tell me everything, leaving nothing at all’! The man obliged her with these words, and started sharing about a moment, when he was in the middle of the drylands with the lady, when he heard two sharp sounds – One, of a tiger’s proud roar after killing an elephant, and the other, the sharp drum beats of mountain folk, who were at their evening revelries, drinking and dancing. He suddenly realises that the lady walking slowly behind would feel startled if she caught those sounds, and so he asks her to adorn her hair with trumpet flowers, wild jasmines and burflowers and step ahead, swaying her hands, tinkling her bangles and anklets, so that he could admire her beautiful back. Hearing this, the maiden was overcome with shyness, and she stopped there, looking like a deer, bending her head and standing, not knowing what to do. The man concludes by telling the confidante that was the end of their travel that day and they had to stop right there, and rest in the middle of the drylands.  I can hear the peals of laughter that would have risen from the confidante, as the man narrated this story. Curiously, these words of the man from this ancient piece of Tamil literature, asking the lady to step ahead so that he could admire her, reminded me of a scene in the English novel ‘Pride and Prejudice’, and the words of that famous fictional character, Lord Darcy, who says to Caroline Bingley, when she asks him to join Elizabeth Bennet and herself, who were walking ahead: “Either you are in each other’s confidence and have secret affairs to discuss, or you are conscious that your figures appear to be at the greatest advantage by walking. If the first, I should get in your way. If the second, I can admire you, much better from here”. Absolutely different cultures, different characters but the same thread of human experience! Beyond these amusing words of admiration about a lady’s walk, at the core of this verse is the man’s sense of the world around, his attention to the lady’s anxiety, and his quick thinking to distract her with compliments, echoing aloud the thoughtfulness and kindness in his personality, the right ingredients for a long-lasting, loving relationship! 

In this episode, we listen to a troubled conversation, as depicted in Sangam Literary work, Aganaanooru 260, penned by Mosi Karaiyanaar. The verse is situated amidst the blooming backwaters of the ‘Neythal’ or ‘Coastal landscape’ and paints a vivid portrait of a shore at sunset. மண்டிலம் மழுக, மலை நிறம் கிளர,வண்டினம் மலர் பாய்ந்து ஊத, மீமிசைக்கண்டற் கானல் குருகினம் ஒலிப்ப,திரை பாடு அவிய, திமில் தொழில் மறப்ப,கரை ஆடு அலவன் அளைவயின் செறிய,செக்கர் தோன்ற, துணை புணர் அன்றில்எக்கர்ப் பெண்ணை அக மடல் சேர,கழி மலர் கமழ் முகம் கரப்ப, பொழில் மனைப்புன்னை நறு வீ பொன் நிறம் கொளாஅ,எல்லை பைப்பயக் கழிப்பி, எல் உற,யாங்கு ஆகுவல்கொல் தானே? நீங்காது,முது மரத்து உறையும் முரவு வாய் முது புள்கதுமெனக் குழறும், கழுது வழங்கு அரை நாள்,நெஞ்சு நெகிழ் பருவரல் செய்தஅன்பிலாளன் அறிவு நயந்தேனே. It’s a scenic trip to the seas, as we listen to the words of the confidante followed by the response of the lady, as the man listens nearby, at a time when the lady had been waiting for long for the man to arrive for their nightly tryst: “‘The sun's radiance reduces and the mountains get lit by the hues of dusk; Bees pounce on flowers, buzzing around; Atop the Pandanus trees in the backwaters, birds call out aloud; The roar of the waves diminishes and boats lie about, forgetting their work; Crabs playing on the shore rush to rest in their burrows; As dusky skies loom ahead, the red-naped ibis, wishing to mate, flies atop to the tall branches of the palm tree on the sands; Flowers blooming in the backwaters close their buds; The fragrant flowers of the laurelwood blooming in the decorated mansion, take on a golden hue, and the day gently recedes, little by little, ushering in the night. At this time what will become of her?’ ‘Unceasingly, as the old bird with a wide open mouth, residing in the ancient tree, cries out, in an alarming tone, as ghosts roam about in this midnight hour, I seem to only desire the presence of that loveless one, who has inflicted this heartrending affliction on me!'” Let’s take a stroll on the shore and tune in to the voices of these girls amidst the roar of the waves! This is an unusual verse in the Aganaanooru series for apparently it’s the only one in which both the confidante and the lady speak, for it’s usually said only in the voice of one or the other. Such a conversational style we have seen previously only in the Kalithogai verses. Time to move on from style to content! The confidante starts by describing all the changes in the world around them, bringing to fore, the setting sun, radiant mountains in the west, buzzing bees, cawing birds, roaring waves, and boats, resting without a thought about work. The favourite bird of the shore, the red-naped ibis, makes its appearance atop palm trees, with a desire to unite with its mate; Then, flowers closing their buds, and laurel wood trees dropping golden pollen are all sketched, illustrating how the day is fading away and the night is stepping in. After this long description leading to the night’s arrival, the confidante wonders what will happen to the lady. Why is the confidante worried? The answer lies in the lady’s answer to her, talking about how a bird with a split open mouth, sitting on ancient tree, post probably an owl, hoots aloud and how ghosts roam about. In this distressing, dark hour, all she yearns for is the arrival of the one, lacking love for her, the one who has won over her heart, the lady concludes. In essence, it’s a bit of theatrics by the confidante and the lady to impress upon the man that these meetings and partings are taking a toll on the lady’s heart and to nudge him in the right path of seeking the lady’s hand! While the core is an oft-repeated theme, the twilight song does delight by splashing its hues and painting a picturesque portrait on our hearts!

In this episode, we listen to words of persuasion, as portrayed in Sangam Literary work, Aganaanooru 259, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals the role of a confidante in directing the love life of the lady. வேலும் விளங்கின; இளையரும் இயன்றனர்;தாரும் தையின; தழையும் தொடுத்தன;நிலம் நீர் அற்ற வெம்மை நீங்கப்பெயல் நீர் தலைஇ, உலவை இலை நீத்துக்குறு முறி ஈன்றன, மரனே; நறு மலர்வேய்ந்தன போலத் தோன்றி, பல உடன்தேம் படப் பொதுளின பொழிலே; கானமும்,நனி நன்று ஆகிய பனி நீங்கு வழி நாள்,பால் எனப் பரத்தரும் நிலவின் மாலைப்போது வந்தன்று, தூதே; நீயும்கலங்கா மனத்தை ஆகி, என் சொல்நயந்தனை கொண்மோ நெஞ்சு அமர் தகுவி!தெற்றி உலறினும், வயலை வாடினும்,நொச்சி மென் சினை வணர் குரல் சாயினும்,நின்னினும் மடவள் நனி நின் நயந்தஅன்னை அல்லல் தாங்கி, நின் ஐயர்புலி மருள் செம்மல் நோக்கி,வலியாய் இன்னும்; தோய்கம், நின் முலையே! In this trip to the drylands, it’s all about the changes around, as we listen to the confidante say these words to the lady, at a time when the lady is confined to the house and prevented from trysting with the man: “Spears are glowing; Helpers are making preparations to part; Garlands are being tied; Leaf adornments are being stringed; For the land to be rid of its arid heat, bereft of water, rains have poured down, and shedding the dried-up leaves, trees have yielded tender sprouts; Many fragrant flowers have appeared, akin to decorations, brimming over with honey in the groves; The forest has turned exquisite as cold days have receded. In this evening hour, when the moon spreads on the sky like milk, came a message; Letting go of your confusions, you must heed my words with love, O maiden who resides in my heart! Even if the flower bushes on the raised front yard withers, even if the vayalai vines dry up, even if the bent sprouts on the gentle branches of the chaste tree fade, the one who is even more innocent than you, your mother will bear with that sorrow. As for your brothers with their tiger-like proud stance, they will handle it all. So, find the courage and leave. Let me embrace your bosom before you part!” Let’s listen to these passionate words from a friend! The confidante starts by talking about how the man is making preparations to leave, with spears shining, workers buzzing about, tying garlands and other leaf adornments. Is this going to be a song about the man’s parting away? Let’s find out! The confidante then mentions about how the harshness of summer was routed by the rains, and then tender sprouts and fragrant flowers have bloomed. Then came the cold season and that too parted away. She goes on to mention about how a messenger had come in the evening hour, and she bids her friend to not reel in confusion but listen and do as she says. Then she offers strength to the lady asking her not to worry about her innocent mother, for mother will somehow bear with the loss, even if the shrubs and vines on the front yard becomes parched with the lady’s parting. The confidante also promises that the lady’s brothers would manage the loss for they are known to have a proud stance. She concludes by asking her friend to embolden herself and leave with the man, after embracing her one last time! As we can clearly see this is a song on elopement, with the man realising that his love relationship with the lady cannot go on, owing to the hostility of the lady’s kin, and the realisation that the only path forward was eloping with the lady. To this end, he approaches the confidante and the good friend agrees to his plan and persuades the lady to take the next bold step in her life. A verse that seems to echo the timeless truth that the words of a friend have great power in changing a person’s life!

In this episode, we perceive a portrait of disappointment, as depicted in Sangam Literary work, Aganaanooru 258, penned by Paranar. The verse is situated amidst the dark and dangerous paths of the ‘Kurinji’ or ‘Mountain landscape’ and etches the failure of a mission and its emotional consequences. நன்னன் உதியன் அருங் கடிப் பாழி,தொல் முதிர் வேளிர் ஓம்பினர் வைத்தபொன்னினும் அருமை நன்கு அறிந்தும், அன்னோட்துன்னலம்மாதோ எனினும், அஃது ஒல்லாய்தண் மழை தவழும் தாழ் நீர் நனந்தலைக்கடுங் காற்று எடுக்கும் நெடும் பெருங் குன்றத்துமாய இருள் அளை மாய் கல் போல,மாய்கதில் வாழிய, நெஞ்சே! நாளும்,மெல் இயற் குறுமகள் நல் அகம் நசைஇ,அரவு இரை தேரும் அஞ்சுவரு சிறு நெறி,இரவின் எய்தியும் பெறாஅய் அருள் வரப்புல்லென் கண்ணை புலம்பு கொண்டு, உலகத்துஉள்ளோர்க்கு எல்லாம் பெரு நகையாக,காமம் கைம்மிக உறுதர,ஆனா அரு படர் தலைத்தந்தோயே! In this trip to the mountains, it’s all about midnight travels, as we listen to the man say these words to his heart, at a time when he is unable to meet with the lady, during a planned tryst by night: “Knowing fully well that she's harder to attain than the gold, secured by the ancient clan of Velirs, in the well-guarded town of ‘Paazhi', ruled by Nannan Uthiyan, and even when I said it would be impossible to go near her, you heeded not! In those wide spaces filled with descending cascades and enveloped by moist rainclouds, in those tall and huge peaks, where harsh winds blow, in a cave filled with a confusing darkness, akin to a precious stone that is lost, may you be doomed. Long may you live, O heart! Day after day, desiring the fine bossom of the gentle-natured young maiden, you traverse fearsome narrow paths frequented by snakes in search of prey, in the darkness of night, and yet, not attaining her grace, with dull eyes, you are filled with lament. Thus, becoming an object of great ridicule to those in the world, with your passion exceeding bounds, you have brought a ceaseless great suffering upon me!” Let’s explore the nuances in this mountain song! The man starts by declaring how his heart had the knowledge that the lady was extremely hard to attain, harder even than that gold that had given accumulated and protected by an ancient tribe of Velirs, in the town of ‘Paazhi’, now ruled by Nannan Uthiyan. Even though his heart had this knowledge and even though the man had said there’s no way to go near the lady, the heart still refused to accept these words. He talks about how it kept roving in the small paths, where snakes crawl about, in the scary darkness, and yet its valiant efforts were of no avail, because the lady was not to be seen, and as a result, the heart had become an object of scorn and had brought suffering to him, the man says, and concludes with a curse that his heart must get lost like a gem in a dark cave in the tall mountains, even as he wishes it a long life! The last line must have sounded quirky, no doubt, but those are the words of the man as he says ‘May you be ruined’ and ‘Long may you live’! The possible explanation for this is it was Sangam custom to always bless the person being addressed, and this seems to have this amusing consequence in this instance of an expression of anger! The core of this verse is putting a distance between oneself and one’s heart so as to gain perspective, and it vividly sketches a moment when things do not go one’s way, and the reflection of what led one there!

In this episode, we perceive an expression of awe, uttered to a beloved, as depicted in Sangam Literary work, Aganaanooru 257, penned by Uraiyoor Maruthuvan Thaamotharanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the dangers of traversing this domain. வேனிற் பாதிரிக் கூனி மா மலர்நறை வாய் வாடல் நாறும் நாள், சுரம்,அரி ஆர் சிலம்பின் சீறடி சிவப்ப,எம்மொடு ஓர் ஆறு படீஇயர், யாழ நின்பொம்மல் ஓதி பொதுள வாரி,அரும்பு அற மலர்ந்த ஆய் பூ மராஅத்துச்சுரும்பு சூழ் அலரி தைஇ, வேய்ந்த நின்தேம் பாய் கூந்தல் குறும் பல மொசிக்கும்வண்டு கடிந்து ஓம்பல் தேற்றாய், அணி கொளநுண் கோல் எல் வளை தெளிர்க்கும் முன்கைமெல் இறைப் பணைத் தோள் விளங்க வீசி,வல்லுவைமன்னால் நடையே கள்வர்பகை மிகு கவலைச் செல் நெறி காண்மார்,மிசை மரம் சேர்த்திய கவை முறி யாஅத்து,நார் அரை மருங்கின் நீர் வரப் பொளித்து,களிறு சுவைத்திட்ட கோதுடைத் ததரல்கல்லா உமணர்க்குத் தீ மூட்டு ஆகும்,துன்புறு தகுவன ஆங்கண், புன் கோட்டுஅரில் இவர் புற்றத்து அல்கு இரை நசைஇ,வெள் அரா மிளிர வாங்கும்பிள்ளை எண்கின் மலைவயினானே. In this trip through the much frequented region, we get to see interesting sights, as we listen to the man say these words to the lady, at a time when the lady has eloped away with him, and they are in the middle of the drylands: “Traversing the drylands on a day, when the fragrance of the honey-filled, faded flowers of the summer Trumpet flower tree, with huge, bent blossoms, wafts around, reddening your fine feet, adorned with pebble-filled anklets, you have come with me, to walk on this lonely path, closely combing your radiant tresses, and adorning it with the exquisite flowers of the burflower tree, which stands bereft of buds, having bloomed entirely. At this time, you don't even know how to chase away the many little bees swarming around your honey-fragrant tresses. Our travels take us through this mountain, where to help wayfarers find the right way amidst the many paths filled with the danger of robbers, high on top, twigs are stacked on a ‘Ya' tree, whose thick trunk is torn apart by a male elephant, seeking the moisture within, and the broken barks then serve as firewood for illiterate salt merchants, who pass that way. Such spaces abound with trouble, where seeking the food that is to be found within the mounds amidst bushes with drying branches, young bear cubs dig in, making white snakes within to twist and turn. As you sway your bamboo-like arms with soft wrists, and forearms adorned with tinkling, fine-stemmed, radiant bangles, and walk on, I wonder how you have become capable of doing this daring deed!” Let’s walk along the formidable paths and eavesdrop on this couple’s conversation! The man starts by describing how the lady is walking along with him through the drylands, during the hot summer, when the flowers of the trumpet flower tree have faded and are exuding this old fragrance through the scrub jungle. He describes the lady as wearing burflowers on her tresses and etches her innocence by saying how she seems not even capable of chasing away the bees that are laying siege on her fragrant head. Then he goes on to talk about the mountain, they are traversing, and here, we find an instance of care for strangers. People who have walked that way previously, wanting to guide those who come after, stack twigs on Ya trees, letting the followers know that this is the right path amidst all those fearsome ones, filled with attacking highway robbers. The man then zooms on to one such ‘Ya’ tree and points out how its bark has been torn off by an elephant to taste the moisture inside and how those chewed barks later come to serve as firewood for travelling salt merchants. These salt merchants sure have had no time to sit and read, for the man describes them as ‘uneducated’. Interesting qualifier for these ubiquitous sellers of the Sangam era! Perhaps their learning is through the experiences of their travels rather than knowledge from books.  Returning, after that portrait, the man goes on to visualise how bear cubs are on and about, digging up termite mounds, in search of their favourite food, and in their attempts make the snakes hiding within to roll about hither and thither. After painting what a harsh and dangerous place this is, the man then concludes by looking at his beloved and wondering how she has dared to take this difficult journey along with him.  In my eyes, I see the young maiden struggling to walk, unused to the harshness of her surroundings and this is the man’s way of encouraging her to walk on, by admiring her decision to take this journey. Nothing like a shot of positivity to nudge someone to scale those peaks!

In this episode, we perceive a sharp refusal, as portrayed in Sangam Literary work, Aganaanooru 256, penned by Madurai Tamizh Koothanaar Kaduvan Mallanaar. The verse is situated amidst the blooming lilies of the ‘Marutham’ or ‘Farmlands landscape’, and depicts an anecdote about an act of justice in those times. பிணங்கு அரில் வள்ளை நீடு இலைப் பொதும்பில்மடி துயில் முனைஇய வள் உகிர் யாமைநொடி விடு கல்லின் போகி, அகன்துறைப்பகுவாய் நிறைய, நுங்கின் கள்ளின்நுகர்வார் அருந்து மகிழ்பு இயங்கு நடையொடுதீம் பெரும் பழனம் உழக்கி, அயலதுஆம்பல் மெல் அடை ஒடுங்கும் ஊர!பொய்யால்; அறிவென், நின் மாயம். அதுவேகையகப்பட்டமை அறியாய்; நெருநைமை எழில் உண்கண் மடந்தையொடு வையைஏர் தரு புதுப் புனல் உரிதினின் நுகர்ந்து,பரத்தை ஆயம் கரப்பவும், ஒல்லாதுகவ்வை ஆகின்றால், பெரிதே; காண்தகத்தொல் புகழ் நிறைந்த பல் பூங் கழனி,கரும்பு அமல் படப்பை, பெரும் பெயர்க் கள்ளூர்,திரு நுதற் குறுமகள் அணி நலம் வவ்வியஅறனிலாளன் ‘அறியேன்’ என்றதிறன் இல் வெஞ் சூள் அறி கரி கடாஅய்,முறி ஆர் பெருங் கிளை செறியப் பற்றி,நீறு தலைப்பெய்த ஞான்றை,வீறு சால் அவையத்து ஆர்ப்பினும் பெரிதே. We get to see plenty of picturesque scenes from the farmlands, as we listen to the confidante say these words to the man, who has returned after courting with a courtesan, seeking entry into the lady’s house: “Disliking its curled-up sleep amidst the long-leaved bushes of the rough and twisted ‘Vallai' vines, a tortoise with sharp nails, crosses pebbles that resound aloud, and reaches the river shore. There, filling its split mouth to the full, by feasting on the drops that spill around those who are relishing the toddy of palm fruit, it proceeds with a swaying gait, muddles the huge and pleasant fields, and takes cover within the soft leaves of white lilies nearby, in your town, O lord! Don't you utter lies! I know well about your tricks! You know not that you have been caught red-handed. Yesterday, along with the maiden having painted, kohl-streaked eyes, you delighted so rightfully in the exquisite, fresh stream of the Vaigai river. Even though the mates of that courtesan tried to hide the incident, relentlessly it has risen as a huge slander; In the town of Kalloor, celebrated for its good name, having ancient, picturesque and famous fields, filled with flowers, and soaring stems of sugarcane, an unjust man, had stolen the decorated beauty of a young maiden, having a fine forehead, and then denied knowing her. After investigating this unfair, harsh pledge with those who knew of their relationship, they tied him to the branches of a huge tree with sprouts, and poured slaked lime upon his head, causing a loud uproar in that esteemed assembly. Louder than that, is the slander you've caused in town, O lord!” Let’s tread in the footsteps of the waddling tortoise and listen to this intriguing tale! The confidante starts by painting a picture of the man’s town, and to do that, she brings a field tortoise into the frame. We catch this little creature, at a moment when it has grown tired of relishing a sweet sleep amidst the bushes of the ‘Vallai’ vines, and then sets out amidst the screeching pebbles, and reaches the shore of the gushing river. No doubt, this shore is a place of revels, where people delight in the toddy of palm fruit, and drops slosh about around them. Our wandering tortoise gulps these drops and with an intoxicated gait of a drunk, heads towards the fields, and seeking out the soft-leaves of a lily, conceals itself there, the confidante sketches. Seems like the confidante is projecting the man’s behaviour on this tortoise in his town!  Then, she comes to the crux of the matter and asks the man not to go on with his lies, and details how his secretive actions of the previous day in the company of the courtesan, playing in the gushing stream of the river, had become common knowledge in town, even though the courtesan’s friends had tried to hush it up. From here, the confidante takes us on a visit to an ancient and famous town by the name of ‘Kalloor’, and here, a huge injustice has been uncovered, that of a man denying knowing a maiden, with whom he had had a secret love relationship. The townsfolk, had investigated the crime and got the reports from those who knew what had happened and pronounced a verdict. That unjust man was to be tied to the branches of a tree, and something called as ‘neeru’ was to be poured on his head. The confidante emphasises on the uproar that this incident caused in that town and equates it to their current situation, saying the slander the man’s actions had aroused was louder than that commotion.  As for us, let’s investigate what this ingredient named as ‘neeru’ could be! Looking at the many meanings, it could first of all, be just water, but I doubt that a water wash is a punishment for anyone other than stubborn toddlers. Next, the word could mean ‘holy ash’. Again, just applying holy ash is not going to make the man repent. And so, the right meaning of the word should be ‘slaked lime’. When I researched about whether there was any recorded mentions of punishments by pouring slaked lime, I learnt that indeed there was, in Ancient Persia, an act that would end up blinding the one who was punished, and is referred by the term ‘Abacination’. Shocking punishment indeed! But goes to show how much importance these ancients endowed on the honour of their women. Quite a shift from that serene scene of the wandering tortoise to the enactment of justice on an erring human!

In this episode, we listen to a unique tale of parting, as portrayed in Sangam Literary work, Aganaanooru 255, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the yearning in a heart, torn apart by the hand of fate. உலகு கிளர்ந்தன்ன உரு கெழு வங்கம்புலவுத் திரைப் பெருங் கடல் நீர் இடைப் போழ,இரவும் எல்லையும் அசைவு இன்று ஆகி,விரை செலல் இயற்கை வங்கூழ் ஆட்ட,கோடு உயர் திணி மணல் அகன் துறை நீகான்மாட ஒள் எரி மருங்கு அறிந்து ஒய்ய,ஆள் வினைப் பிரிந்த காதலர் நாள் பலகழியாமையே, அழி படர் அகல,வருவர்மன்னால் தோழி! தண் பணைப்பொரு புனல் வைப்பின் நம் ஊர் ஆங்கண்,கருவிளை முரணிய தண் புதல் பகன்றைபெரு வளம் மலர அல்லி தீண்டி,பலவுக் காய்ப் புறத்த பசும் பழப் பாகல்கூதள மூதிலைக் கொடி நிரைத் தூங்க,அறன் இன்று அலைக்கும் ஆனா வாடைகடி மனை மாடத்துக் கங்குல் வீச,‘திருந்துஇழை நெகிழ்ந்து பெருங் கவின் சாய,நிரை வளை ஊருந் தோள்’ என,உரையொடு செல்லும் அன்பினர்ப் பெறினே. It’s an oft-repeated trip to the drylands but we perceive nothing familiar in this journey, 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: “As if the land rises to stand tall, a formidable ship splits the waters of the flesh-reeking huge seas, and be it day or night, finds no rest. As the strong essence of nature nudges it ahead with speed, seeking that wide shore, filled with brimming sands, soaring like a peak, the captain directs the ship knowingly towards the glow of a radiant light on high ground. Upon this ship, the lover parted away on a mission to gain wealth. At this time, in our town with moist fields, watered by flooding streams, caressing the petals of fertile flowers blooming on the blue rattle-pod, amidst the cool and moist bushes, differing in appearance from the blue pea flowers, and shaking the bitter-melon vines, hanging with ripe fruits, appearing akin to a jackfruit, along with the vines of the three-lobed nightshade, having no justice whatsoever, the ceaseless tormenting northern winds then enters our well-guarded mansion in the middle of the night. That lover of mine would return promptly, without wasting too many days, and make this deep suffering end, my friend, if only we were to find a kind person, who would take the message, ‘The well-etched ornaments of your maiden are falling down, as her great beauty fades, and her neat row of bangles are slipping away from her arms'! If only!” Let’s sail along in the sea of separation and learn more! The lady starts by presenting a portrait of a soaring ship, one that’s coasting along the waves of the sea, teeming with life. She then zooms on to the captain of that ship, and the way he’s intently guiding the vessel, nudged by the ever-present winds of nature, to a destination in his mind, a shore filled with sands, soaring high above. The lady talks about how this ship thinks not about taking any rest, be it day or night, and keeps sailing, hoping to catch a glimpse of the light on high, no doubt implying an ancient lighthouse, inviting ships to its harbour. After that vivid account of a ship’s journey, the lady reveals her beloved is on that ship, and he had left in search of wealth.  Leaving the sailing lover on the swaying ship, the lady turns the camera on her surroundings in their fertile farmland town and we catch a glimpse of another unseen essence of nature, the cold, northern winds, entering and touching the core of blue rattle-pod flowers, shaking the vines of bitter melons and nightshades, and finally stepping into the lady’s mansion, in the middle of the night, holding torture tools in its many hands. The lady concludes by declaring her suffering would end and the man would return without much delay if there was some kind person who could take the message to the man that his beloved lady was wasting away, her ornaments falling down, and her bangles slipping away, as she pined for him! Though at the core, it’s the same old theme of wishing for a messenger to convey pain to the faraway beloved, the matchless aspect of this verse is the portrait of a man’s travel by sea to earn wealth. We have seen hundreds of songs on parting, where the man walks on through the dreary drylands, scorching in the sun’s glare, filled with wild animals and inhabited by highway robbers. This is the first and perhaps the only song in Sangam literature that talks about a man’s journey on a ship to gain wealth. This ties so neatly with recent archaeological discoveries about Tamil traders, leaving their imprints in countries, as far away as Egypt. Even though it’s but one, it’s a precious one that portrays the poignant pain of a beloved left at land, yearning for that sailor in the sea! 

In this episode, we listen to the ecstatic words of a person, as depicted in Sangam Literary work, Aganaanooru 254, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the blooming jasmines of the ‘Mullai’ or ‘Forest landscape’ and sketches the emotions in a homecoming. ‘நரை விராவுற்ற நறு மென் கூந்தற்செம் முது செவிலியர் பல பாராட்ட,பொலன் செய் கிண்கிணி நலம் பெறு சேவடிமணல் மலி முற்றத்து நிலம் வடுக் கொளாஅ,மனை உறை புறவின் செங் காற் சேவல்துணையொடு குறும் பறை பயிற்றி, மேல் செல,விளையாடு ஆயத்து இளையோர்க் காண்தொறும்நம்வயின் நினையும் நல் நுதல் அரிவைபுலம்பொடு வதியும் கலங்கு அஞர் அகல,வேந்து உறு தொழிலொடு வேறு புலத்து அல்கி,வந்து வினை முடித்தனம்ஆயின், நீயும்,பணை நிலை முனைஇய, வினை நவில் புரவிஇழை அணி நெடுந் தேர் ஆழி உறுப்ப,நுண் கொடி மின்னின், பைம் பயிர் துமிய,தளவ முல்லையொடு தலைஇ, தண்ணெனவெறி கமழ் கொண்ட வீ ததை புறவின்நெடி இடை பின் படக் கடவுமதி, என்று யான்சொல்லிய அளவை, நீடாது, வல்லென,தார் மணி மா அறிவுறாஅ,ஊர் நணித் தந்தனை, உவகை யாம் பெறவே! In this trip to the woodlands, we take in familiar scenes that rush past, as we listen to the man say these words to his charioteer, at a moment when he’s returning home to the lady, after having parted with her to work on a mission: “As many experienced old caretakers, having fragrant, soft tresses, interspersed with greys, pamper, young ones amidst the playmates, wearing golden, tinkling anklets on their beautiful feet, leaving marks on the sand-filled front yard, run around, making the red-legged male pigeon residing at home, and cuddling with its mate, to spread its short wings and flutter away above. Seeing these sights, that young maiden with a fine forehead, would think of me, and be filled with lament. To end her state of suffering, at this time, when my task in this foreign land, taken at the behest of the king, is complete, I asked you to tie the battle-worthy horses, which hate to remain in the stables, to the bejewelled, tall chariot, and rotating its wheels, with the speed of vine-like lightning, chopping shrubs on the path, striding through the fragrant forest, blooming with wild jasmines and pink jasmines, filled with fallen flowers, and leaving that long and winding path behind, and ride on. Even before I finished my words, without waiting, with much speed, making those horses clad in garlands understand, you have brought me so close to the town, making me attain much joy!” Let’s listen to the duet of the man’s heartbeat and the horses’ hoofbeat! The man starts by talking about his lady’s state, and to do that, he paints a picture of many old women, with the stamp of wisdom in the hue of grey on their fragrant tresses, who have the task of taking care of the lady and her playmates. As they pamper, in the front yard, the lady’s many playmates would be running about, making the cuddling pigeons scuttle away, the man imagines. He infers that the lady would be reminded of the man when she sees those pigeons in the air, and as a result, would be filled with much worry. Considering all this, the man wanting to return to her with much speed, now that his mission for the king is all done, had said to his charioteer to rush homeward, with the sturdy horses and decorated chariot, chopping the shrubs on the way, and leaving behind the scene of a forest filled with blooming white and pink jasmines. The man concludes by saying how even before he finished those words, the charioteer understanding his heart and wielding the horses with much skill, had brought the man so close to the lady’s town, and thus made him feel a deep happiness!  In essence, this is appreciation for the work of a subordinate, who has exceeded expectations. A feeling we can relate to, even two thousand years later, when we share a word of praise for a job well done. Indeed, it’s an ecstatic instance, with ripples many, in the life of the giver and the receiver. A verse that seems to nudge us to find ways to express gratitude for the many blessings endowed by the people in our lives!

In this episode, we perceive thoughtful words of consolation, as depicted in Sangam Literary work, Aganaanooru 253, penned by Nakeerar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse illustrates the fame of a leader in capturing cattle. ”வைகல்தோறும் பசலை பாய, என்மெய்யும் பெரும்பிறிது ஆகின்று, ஒய்யென;அன்னையும் அமரா முகத்தினள்; அலரே,வாடாப் பூவின் கொங்கர் ஓட்டி,நாடு பல தந்த பசும் பூட் பாண்டியன்பொன் மலி நெடு நகர்க் கூடல் ஆடியஇன் இசை ஆர்ப்பினும் பெரிதே; ஈங்கு யான்சில நாள் உய்யலென் போன்ம்” எனப் பல நினைந்து,ஆழல் வாழி, தோழி! வடாஅது,ஆர் இருள் நடு நாள் ஏர் ஆ உய்ய,பகை முனை அறுத்துப் பல் இனம் சாஅய்,கணம்சால் கோவலர் நெடு விளிப் பயிர் அறிந்து,இனம் தலைத் தரூஉம் துளங்கு இமில் நல் ஏற்றுத்தழூஉப் பிணர் எருத்தம் தாழப் பூட்டியஅம் தூம்பு அகல் அமைக் கமஞ்செலப் பெய்ததுறு காழ் வல்சியர் தொழு அறை வௌவி,கன்றுடைப் பெரு நிரை மன்று நிறை தரூஉம்நேரா வன் தோள் வடுகர் பெரு மகன்,பேர் இசை எருமை நல் நாட்டு உள்ளதைஅயிரி யாறு இறந்தனர்ஆயினும், மயர் இறந்துஉள்ளுபதில்ல தாமே பணைத் தோள்,குரும்பை மென் முலை, அரும்பிய சுணங்கின்,நுசுப்பு அழித்து ஒலிவரும் தாழ் இருங் கூந்தல்,மாக விசும்பின் திலகமொடு பதித்ததிங்கள் அன்ன நின் திரு முகத்து,ஒண் சூட்டு அவிர் குழை மலைந்த நோக்கே. In this long trip to the drylands, we get to see more of an event rather than the place, 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, ‘As pallor spreads day after day, my body seems to be losing its life, little by little; As for mother, she has a troubled look on her face; As for slander, that resounds louder than the sweet-sounding uproar in the streets of ‘Koodal', filled with gold-brimming, tall mansions, when its king Pasumpoon Pandiyan, who had conquered countries many, drove away the Kongars, clad in undying flowers of gold; It appears as if I shan't live for more than a few days!', thinking about too many things, cry not, my friend, may you live long! In the north, capturing cattle in the deep darkness of midnight, ruining battlefronts many and causing groups to decline, the lord of the Vadugars, who has unparalleled, strong shoulders, known by the famous name of ‘Erumai', would drive towards his town centre, sturdy oxen with radiant humps and coarse necks, which knowing the specific loud whistle of their many herders, would round up their herd, and bring them to the barns, built with the beautiful stems of wide bamboos, and filled with copious food, stealing them along with huge herd of cows with calves. In this leader's fine country, flows the ‘Ayiri' river. Even though the man has gone beyond this river, indeed he cannot help but reflect, beyond all his confusion, on your bamboo-like arms, your soft bosoms, akin to palm fruits, dotted with beauty spots, low-hanging, thick, long tresses that make the waist vanish, your exquisite face, akin to the moon, which is a radiant dot on the cloud-filled skies, adorned with shining heavy earrings, and most of all, your attacking eyes!” Time to walk on through the drylands and learn more! The confidante starts by repeating the recent words of the lady, lamenting on her fading beauty, mother’s disturbance, and the slander that’s spreading in town, owing to all this. To describe the slander, a historic incident involving Pasumpoon Pandiyan’s routing of the Kongars and the resulting jubilation that arose in the city of Koodal is brought forth in comparison to the soaring gossip in town. This tells us that the parting between the man and lady had transpired before the man’s wedding to the lady and that’s why the slander has risen, owing to the changes in the young maiden. After repeating the lady’s anxious words, the confidante asks her friend not to cry thinking on these lines. Then the confidante launches into a long description of how a Sangam-era leader of the Vadugars, a chief who goes by the name ‘Erumai’, would capture bulls, cows and calves, stealing them from prosperous barns and bring them to his town centre. The exploits of this chieftain have been outlined to point out a river named ‘Ayiri’ that flows in his domain, and to say the man is presently travelling beyond this river. How does the confidante know of this? Has she put a tracker on the man? Kidding apart, the confidante after presenting the exact location of the man, then tells the lady that it would be impossible for the man to not think of the lady’s many beautiful attributes, and concludes with the confirmation that the man would return soon to the lady’s fold. Another assurance, another consolation, and we journey on, taking in the new sights of kings and captures in that era!

In this episode, we listen to an account of an impossible situation, as depicted in Sangam Literary work, Aganaanooru 252, penned by Nakkannaiyaar. The verse is situated amidst the dark and dangerous ranges of the ‘Kurinji’ or ‘Mountain Landscape’ and etches an exquisite simile to capture an intricate emotion. இடம் படுபு அறியா வலம் படு வேட்டத்துவாள் வரி நடுங்கப் புகல்வந்து, ஆளிஉயர் நுதல் யானைப் புகர் முகத்து ஒற்றி,வெண் கோடு புய்க்கும் தண் கமழ் சோலைப்பெரு வரை அடுக்கத்து ஒரு வேல் ஏந்தி,தனியன் வருதல் அவனும் அஞ்சான்;பனி வார் கண்ணேன் ஆகி, நோய் அட,எமியேன் இருத்தலை யானும் ஆற்றேன்;யாங்குச் செய்வாம்கொல் தோழி! ஈங்கைத்துய் அவிழ் பனி மலர் உதிர வீசித்தொழில் மழை பொழிந்த பானாட் கங்குல்,எறி திரைத் திவலை தூஉம் சிறு கோட்டுப்பெருங் குளம் காவலன் போல,அருங் கடி அன்னையும் துயில் மறந்தனளே? In this little trip to the mountains, we get to meet the wild beasts of the land, as we listen to the lady say these words to her confidante, pretending not to notice the man listening nearby, but making sure he’s in earshot: “Making a tiger with sword-like stripes, one which knows not to fell its prey on the left and always hunts it down on the right, to quiver, with a desire to kill, a ferocious lion pounces on the spotted face of an elephant with an upraised forehead, and tears apart its white tusks, in the cool and fragrant orchard, amidst the tall mountain ranges. Treading through such a space with a single spear, he comes alone without any fear; With tears pouring down from my eyes, with the affliction of love attacking me, I too cannot bear to be apart from him; What are we to do, my friend? Making the touch-me-not's dew-covered flowers with fuzzy petals to drop down, rain clouds gush and pour in the midnight hour. At this time, when the soaring waves spray and spread their droplets in that huge pond with a weak bank, akin to the one who stands in guard there, mother too has put up a protective watch and has forgotten the meaning of sleep now!” Let’s brave the storm clouds and the roving beasts, and listen to the lady’s heartbeat! The lady starts by introducing a tiger, one which is so flawless in its skill of killing that it never hunts a prey on the left and always finishes it on the right. Apparently, this was a big deal to the ancients, as we have heard this obsession over right-side-killing in more than one song! After presenting a portrait of such a valorous tiger, the lady relates a scene which seems to make even this brave tiger quiver in fear, and that’s the scene of an animal she calls as ‘Aali’ attacking an elephant and tearing out its tusks. This ‘Aali’ is a mythical creature depicted in Hindu temples with the composite parts of many animals. However, in this instance, it’s interpreted as a lion. Though today there are no lions in the state of Tamil Nadu and they are confined to the state of Gujarat, perhaps this was a time when the lions roved freely in the South too.  Returning, the lady has mentioned the attack only to depict the dangerous path the man walks, with only a spear for company, in the dead darkness of the night, without a drop of fear in his heart. As if saying he may not fear for his safety, but she does, the lady talks about how though tears pour down her eyes, she too cannot bear the thought of being apart from him. After relating the state of mind of the man and herself, the lady turns to depict a third person in this scene, and that’s the state of her mother, who keeps a watchful eye on her daughter, much like how a guard would watch an ebbing pond with a thin bank and though it’s the midnight hour, would forget to seek the calming refuge of sleep. The lady concludes by asking her friend what was the man and herself to do in such a difficult situation! In essence, the lady is telling the man that mother was aware that something’s up and so there’s danger of discovery and the only course of action for the man was to seek the lady’s hand in marriage. With that nuanced depiction and comparison with a person who stands guard around a tank with a weak bank on a rainy night, the verse paints the strokes of anxiety and insomnia with expert hands! Timeless emotions have a way of speaking across the ages indeed!

In this episode, we hear words of consolation, as depicted in Sangam Literary work, Aganaanooru 251, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relates a significant historic incident involving hostilities between the north and south of ancient India. தூதும் சென்றன; தோளும் செற்றும்;ஓதி ஒண் நுதல் பசலையும் மாயும்;வீங்கு இழை நெகிழச் சாஅய், செல்லலொடுநாம் படர் கூரும் அருந் துயர் கேட்பின்,நந்தன் வெறுக்கை எய்தினும், மற்று அவண்தங்கலர் வாழி, தோழி! வெல் கொடித்துனை கால் அன்ன புனை தேர்க் கோசர்தொல் மூதாலத்து அரும் பணைப் பொதியில்,இன் இசை முரசம் கடிப்பு இகுத்து இரங்க,தெம் முனை சிதைத்த ஞான்றை, மோகூர்பணியாமையின், பகை தலைவந்தமா கெழு தானை வம்ப மோரியர்புனை தேர் நேமி உருளிய குறைத்தஇலங்கு வெள் அருவிய அறை வாய் உம்பர்,மாசு இல் வெண் கோட்டு அண்ணல் யானைவாயுள் தப்பிய, அருங் கேழ் வயப் புலிமா நிலம் நெளியக் குத்தி, புகலொடுகாப்பு இல வைகும் தேக்கு அமல் சோலைநிரம்பா நீள் இடைப் போகி,அரம் போழ் அவ் வளை நிலை நெகிழ்த்தோரே. In this trip to the familiar drylands, we take a detour to observe the path of hostile armies, 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: “Messengers have gone thither; Thinning arms shall recover; Pallor that spreads on the shining forehead, hemmed by tresses, shall disappear; If he hears of the deep sorrow that spreads in you, making you lose your health and causing your thick ornaments to slip away, even if he were to attain the wealth of Nandan, he will not choose to remain there! May you live long, my friend! Wielding wind-like, well-etched chariots, fluttering with victorious flags, the Kosars ruined the battlefields of enemies, as the sweet-sounding drums thundered and roared amidst the common grounds, spreading with the thick branches of the ancient banyan tree. At this time, as Mokoor refused to submit to them, the Mauryas arrived with their huge armies to rout the enmity, and to ensure the wheels of their etched chariots roll on, they carved paths through mountains, flowing with shining, white cascades. Beyond those mountain paths, a strong tiger, with a radiant hue, which had previously escaped the attack of an esteemed elephant with flawless white tusks, is now gored, making the wide land to break apart into pits, and where that elephant, removed from its protective herd, now resides with arrogance, amidst the jungle interspersed with teak trees. Though he has left to these uninhabited long paths, making your beautiful shell bangles, carved by a saw, slip away, he shall stay not there and shall return to you soon!” Time to take a stroll amidst those barren spaces and learn more! The confidante opens the conversation by talking about how their messengers have left to where the man was, and because of that the sad happenings in the lady’s life, such as her thinning arms and spreading pallor, would be reversed. The confidante says this because she’s convinced that once the man hears of the lady’s sorrowful state, even if one were to tempt him with as much wealth as someone then named ‘Nandan’, he would not choose to remain where he was. Then she goes on to describe where the man is at now, and to do that, she talks of how the Mauryas had waged war on the south, and the Kosars had chosen to rise in their support. At this time, the Tamil king of Mokoor refused to accept their subjugation. To quell this dissent, the Mauryas themselves had decided to come south, and to do that, they carved paths through the mountains so that their chariots could roll on unimpeded. Now the confidante connects saying the man walks beyond those carved mountainous paths, and here a tiger is attacked by the sharp tusk of an elephant, which roves alone, without its herd. The confidante concludes with the words that though the man had gone to such far places, making the saw-cut, shell bangles of the lady to slip away, he would not remain there for long, and would be back in the lady’s fold.  The striking thing in this verse is the mention of the conflict between kings in the north and south of India, even in ancient times. Though the details are sketchy and the focus seems to be more on the roads laid by the Mauryas to come south, it does give a hint of the hostilities of the past. Another subtle reference here is to the saw-cut, shell bangles, in a taken for granted away, but this has current-day implications in the excavation of many such bangles from both the Indus Valley sites in Gujarat as well as Sangam era sites such as Vembakottai in Tamil Nadu, revealing the presence of a nuanced industry to produce decorated bangles from conch shells. Yet again, simple words of consolation throw the spotlight on significant events around trade and war in the ancient world!

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!’?