Sangam Lit

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

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

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

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

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

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

In this episode, we perceive surprise about the act of parting away, as depicted in Sangam Literary work, Aganaanooru 185, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the sweltering nature of this domain. எல் வளை ஞெகிழச் சாஅய், ஆயிழைநல் எழிற் பணைத் தோள் இருங் கவின் அழிய,பெருங் கையற்ற நெஞ்சமொடு நத் துறந்து,இரும்பின் இன் உயிர் உடையோர் போல,வலித்து வல்லினர், காதலர்; வாடல்ஒலி கழை நிவந்த நெல்லுடை நெடு வெதிர்கலி கொள் மள்ளர் வில் விசையின் உடைய,பைது அற வெம்பிய கல் பொரு பரப்பின்வேனில் அத்தத்து ஆங்கண், வான் உலந்துஅருவி ஆன்ற உயர்சிமை மருங்கில்,பெரு விழா விளக்கம் போல, பல உடன்இலை இல மலர்ந்த இலவமொடுநிலை உயர் பிறங்கல் மலை இறந்தோரே. A deep dive into the dreariness of this domain, as we listen to the lady say these words to her confidante, when the man has parted from her to go in search of wealth: “Making shining bangles to slip away, bamboo-like, beautiful arms, clad in well-etched jewels to lose their great beauty, leaving behind an utterly helpless heart, he has left, akin to a person, whose sweet life is made of iron! He has strength to be so, that lover of mine, the one who parted away, crossing those high mountains to traverse spaces, where the fading, thick bamboo that soars high with seeds is split and broken, by the speeding arrows of ecstatic robbers, in those scorched spaces, without a spot of green, filled with stones, during the harsh summer, when all the white cascades have dried up in the peaks of the mountains nearby, and where, akin to lamps in a great festival, only the flowers of the silk cotton bloom, bereft of leaves!” Time to tread the familiar stony paths! The lady talks about what the man’s parting had done to her, namely made her so thin that her bangles slipped away from her arms, and left her heart helpless and pining. Looking at how the man could do this, she concludes that he must be hardened, seemingly as if his life was made of iron. Then, she talks about the drylands space he treads, where bamboos are split by the careless arrows of jubilant robbers, where it’s all bleak and dry, not a spot of water, even the evergreen cascades have dried up in the hills. She concludes by describing how the silk cotton tree blooms with bright red flowers, even though it has no leaves, and appears like the lamps lit during a festivity! ‘Oh! He’s gone. How could he?’ seems to be the lament of the lady about the man’s parting. The interesting element here is the portrait of the silk cotton tree in a phase of having flowers, without any green around, one called ‘leafless blooming’, a characteristic of trees in dry, arid regions to conserve water, and even when struggling to thrive, keeping the species propagating with the blooming flowers and that invitation to pollinators. A subtle lesson on finding the moisture within to keep going and fulfilling your duty, no matter how dry and dreary the world around may seem!

In this episode, we listen to joyous words of welcome, as depicted in Sangam Literary work, Aganaanooru 184, penned by Madurai Maruthan Ilanaakanaar. The verse is situated amidst the falling flowers of the ‘Mullai’ or ‘Forest landscape’ and relays emotions that arise at the juncture of a homecoming. கடவுட் கற்பொடு குடிக்கு விளக்கு ஆகியபுதல்வற் பயந்த புகழ் மிகு சிறப்பின்நன்னராட்டிக்கு அன்றியும், எனக்கும்இனிது ஆகின்றால்; சிறக்க, நின் ஆயுள்!அருந் தொழில் முடித்த செம்மல் உள்ளமொடுசுரும்பு இமிர் மலர கானம் பிற்பட,வெண் பிடவு அவிழ்ந்த வீ கமழ் புறவில்குண்டைக் கோட்ட குறு முள் கள்ளிப்புன் தலை புதைத்த கொழுங் கொடி முல்லைஆர் கழல் புதுப் பூ உயிர்ப்பின் நீக்கி,தெள் அறல் பருகிய திரிமருப்பு எழிற் கலைபுள்ளி அம் பிணையொடு வதியும் ஆங்கண்,கோடுடைக் கையர், துளர் எறி வினைஞர்,அரியல் ஆர்கையர், விளைமகிழ் தூங்க,செல்கதிர் மழுகிய உருவ ஞாயிற்றுச்செக்கர் வானம் சென்ற பொழுதில்,கற் பால் அருவியின் ஒலிக்கும் நல் தேர்த்தார் மணி பல உடன் இயம்பசீர் மிகு குருசில்! நீ வந்து நின்றதுவே. A glimpse of many, different elements of the lush forest in this trip, as we listen to the confidante say these words to the man, when he returns home after completing his mission: “Not only to the good woman, with a god-like chastity, a veritable lamp of the household, who has the fame and excellence of bearing your child, but also to me, this is cause for delight! Long may you live! With an esteemed heart that has accomplished a hard task, you have left behind the jungle, buzzing with bees, and crossed the fragrant forest filled with fallen flowers, where white malabar jasmines have bloomed. Here, burying the dull heads of the cactus with sharp thorns and short branches, thick vines of the wild jasmine spread. Removing new flowers that have loosened and fallen from these vines, with its breath, the handsome stag with twisted antlers savours the clear water underneath, and then rests along with its spotted, beautiful mate in those spaces. At this time, when those with sickles in hand, the cleansers of weed seek and drink fine toddy and sway with ecstasy, when the sun with its diminished rays leaves the reddened sky, with the many bells on your chariot, resounding together like a mountain cascade, the way you have arrived here, O noble lord, brings forth immense joy!” Time to relish the sound of the returning chariot! The confidante sees the man at their doorstep and declares that the man has brought so much happiness not only to the lady, who has borne him a son, but also to her. We should not miss how she celebrates the lady’s chastity and portrays her as a ‘lamp of the household’, a phrase that can be heard in Tamil homes even today, calling a new bride, who enters her husband’s home thus! Returning, we see the confidante narrating the man’s journey back, talking about how he has succeeded in his mission, and has left behind forests, wafting with the scent of many fallen flowers, and where the vines of a wild jasmine cover the dull tops of cactus, and a male deer that comes to drink water nearby, scatters the fallen jasmine flowers with its breath and savours the pure, clear water. After quenching its thirst, the male deer rests peacefully with its beautiful mate, the confidante sketches. From place, she moves on to time, taking about how it’s the evening hour, when the people hard at work in the fields, those weeding with sickles, are calling it a day, and seeking the refreshment of toddy, as the sun bids bye to them and curls up in the twilight redness. The confidante has referenced this time only to say how the man had returned at this hour with his chariot bells, resounding like a cascade, and she concludes by saying the man has flooded their lives with joy because of his timely return! A verse in which every sound, word and line reverberates with delight! In the scene where the wild jasmine vines cover the dull cactus, the confidante informs the man how the lady had hidden her feelings of distress and pallor with the garment of her chastity and patience. Likewise, in the scene of the stag blowing away the fallen flowers, relishing the clear water and resting with its mate, the confidante presents an image of events to follow, such as the man slaying the pallor in the lady, relishing her old beauty and resting happily with her. Also interesting how the confidante, who always sees her as one and same as her friend, especially when in sorrow, separates herself from the lady, and conveys her personal satisfaction at the man’s return, no doubt her skilful implementation of the concept of ‘doubling the joy and halving the sorrow’! 

In this episode, we perceive the anguish of a parted heart, as portrayed in Sangam Literary work, Aganaanooru 183, penned by Karuvoor Kalingaththaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the emotional response to words of consolation. ‘குவளை உண்கண் கலுழவும், திருந்திழைத்திதலை அல்குல் அவ் வரி வாடவும்,அத்தம் ஆர் அழுவம் நத் துறந்து அருளார்சென்று சேண் இடையர் ஆயினும், நன்றும்நீடலர்” என்றி தோழி! பாடு ஆன்றுபனித் துறைப் பெருங் கடல் இறந்து, நீர் பருகி,குவவுத் திரை அருந்து கொள்ளைய குடக்கு ஏர்பு,வயவுப் பிடி இனத்தின் வயின்வயின் தோன்றி,இருங் கிளைக் கொண்மூ ஒருங்குடன் துவன்றி,காலை வந்தன்றால் காரே மாலைக்குளிர் கொள் பிடவின் கூர் முகை அலரிவண்டு வாய் திறக்கும் தண்டா நாற்றம்கூதிர் அற்சிரத்து ஊதை தூற்ற,பனி அலைக் கலங்கிய நெஞ்சமொடுவருந்துவம் அல்லமோ, பிரிந்திசினோர் திறத்தே? In this trip to the drylands, it’s more about the weather rather than the land, 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: “‘Making your blue-lily-like, kohl-streaked eyes to brim with tears, the beautiful lines on your spotted loins, adorned with well-etched ornaments, to fade, he parted away to those formidable paths in the drylands. Even though he's gone afar, he will not delay further in returning', you say to me, my friend! Dipping into the resounding huge ocean, with a cool shore, guzzling the water from the roaring waves, and brimming with excess, climbing on to the west, appearing here and there, akin to a parade of pregnant elephants, the dark herd of clouds then come together and pour down. Such a day in the season of rains has arrived, and in the evening, sharp buds of the wild jasmine shivering in the cold, open to the nudge of the bees. The irrepressible fragrance of these flowers is spread everywhere, by the winds of the cold season. Isn't it natural to worry, with a heart shaken by these circumstances, thinking about how the one who parted away, hasn't returned?” Let’s hear the roar of the rain clouds and inhale the fragrance of the jasmines! The lady starts by repeating the words of her friend who had been talking about how the man had left, causing the lady’s eyes to brim with tears and her beauty lines to fade, and how though he was far off, he would return soon to the lady’s fold. After acknowledging these words, the lady talks about how the rainy season, characterised by dark clouds, which she imaginatively connects to a herd of pregnant elephants, had come and gone, and now the wild jasmines were blooming. She concludes by relating how shaken by the scent of these flowers and the touch of the cold winds, she had no other go but to worry about the man and his absence. In all, it seems like just an expression of pining but within hides some intricate elements of therapy, such as a concerned friend and her thoughtful words, as well as acknowledgement of the lady about her friend’s act of consolation and her own expression of worrying emotions within. Aren’t these the exact elements to help overcome those seemingly impossible moments in life?

In this episode, we listen to a hidden message of persuasion, as depicted in Sangam Literary work, Aganaanooru 182, penned by Kabilar. The verse is situated amidst a scene of leaping monkeys and showering trees, in the ‘Kurinji’ or ‘Mountain Landscape’ and relays the consequences of a person’s present actions. பூங் கண் வேங்கைப் பொன் இணர் மிலைந்து,வாங்கு அமை நோன் சிலை எருத்தத்து இரீஇ,தீம் பழப் பலவின் சுளை விளை தேறல்வீளை அம்பின் இளையரொடு மாந்தி,ஓட்டு இயல் பிழையா வய நாய் பிற்பட,வேட்டம் போகிய குறவன் காட்டகுளவித் தண் புதல் குருதியொடு துயல் வர,முளவுமாத் தொலைச்சும் குன்ற நாட! அரவு எறி உருமோடு ஒன்றிக் கால் வீழ்த்துஉரவு மழை பொழிந்த பானாட் கங்குல்,தனியை வந்த ஆறு நினைந்து, அல்கலும்,பனியொடு கலுழும் இவள் கண்ணே; அதனால்,கடும் பகல் வருதல் வேண்டும் தெய்யஅதிர் குரல் முது கலை கறி முறி முனைஇ,உயர்சிமை நெடுங் கோட்டு உகள, உக்ககமழ் இதழ் அலரி தாஅய் வேலன்வெறி அயர் வியன் களம் கடுக்கும்பெரு வரை நண்ணிய சாரலானே. In this illustrative trip to this vibrant domain, we get to hear the confidante say these words to the man, who arrives for a nightly tryst with the lady: “Wearing golden clusters of the Kino tree, blooming in the picturesque place, placing a curving, sturdy bow on the shoulder, relishing nectar from sweet jackfruit slices in the company of helpers, who wield whistling arrows, followed by fierce dogs that never miss an animal's track, a mountain man who goes hunting, makes the moist bush of a wild jasmine splatter with blood, when he fells a porcupine, in the peaks of your domain, O lord! In the dark hour of midnight, when clouds, shaken by winds, pour down rain, accompanied by lightning, and thunder that ruins snakes, you walk on alone. Thinking about the path you tread so, all day, her eyes brim with tears. And so, you must come in the brightness of day here, where an old harsh-voiced monkey, disliking the bite of pepper vine leaves, leaps from the tall and long branches, and shedding and scattering fragrant petals of flowers many, making this slope of the huge mountain, appear like the arena of Velan's ‘Veri' ritual!” Time to track the scent of a porcupine in the hills! The confidante starts with a vivid portrait of the man’s country, and to do that, she zooms on to the quintessential denizen of this place – a mountain hunter, and paints a verbal sketch of the golden Kino flower garland he wears, the strong bow he carries, and his manner of enjoying the nectar of jackfruit, with his helpers. Then, she transports the listener to a particular moment, when with the help of his talented dogs, this mountain hunter has tracked a porcupine and because he has felled it, the blood from the beast splatters on the white flowers, blooming in the wild jasmine bush. After that graphic account of the man’s country, the confidante switches to talk about how the man comes walking all alone in the middle of the night, when the clouds pour and she talks of how this brings great distress to the lady, making her cry all day. So, she concludes by asking the man to come to their mountain slope, by day, a place where a leaping monkey scatters flowers of the forest on the mountain floor, making it appear like the ‘Veri’ ritual arena, where Velan does his divining dances. While this may seem like a simple request to change the meeting time, there’s much more going on here! The confidante, by talking about the blood-splattered wild jasmine bushes, brings forth a metaphor for how the man had been trysting with the lady at night and leaving her at other times, which has led to visible signs of distress in her, which in turn has invited the attention of the lady’s kin and the gossiping townsfolk. In that subtle simile about the mountain slope looking like Velan’s arena, the confidante hints that steps are being taken by the lady’s parents to arrange such a ritual, which could end up dishonouring the lady because the true reason for her affliction was not God Murugu, who was being prayed to, but that mortal man she was in love with. Next, by asking the man to come by day, the confidante actually means to tell him to come claim the lady’s hand for all to see. It’s indeed ‘Marry her, Marry her’ but encased in the ancient equivalent of today’s cryptographic encryption! 

In this episode, we perceive the resolution of a dilemma, as depicted in Sangam Literary work, Aganaanooru 181, penned by Paranar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse links a battlefield and a place of prominence in the ancient world. துன் அருங் கானமும் துணிதல் ஆற்றாய்,பின் நின்று பெயரச் சூழ்ந்தனைஆயின்,என் நிலை உரைமோ நெஞ்சே! ஒன்னார்ஓம்பு அரண் கடந்த வீங்கு பெருந் தானைஅடு போர் மிஞிலி செரு வேல் கடைஇ,முருகு உறழ் முன்பொடு பொருது களம் சிவப்ப,ஆஅய் எயினன் வீழ்ந்தென, ஞாயிற்றுஒண் கதிர் உருப்பம் புதைய ஓராங்குவம்பப் புள்ளின் கம்பலைப் பெருந் தோடுவிசும்பிடை தூர ஆடி, மொசிந்து உடன் பூ விரி அகன் துறைக் கணை விசைக் கடு நீர்க்காவிரிப் பேர் யாற்று அயிர் கொண்டு ஈண்டி,எக்கர் இட்ட குப்பை வெண் மணல்வைப்பின் யாணர் வளம் கெழு வேந்தர்ஞாலம் நாறும் நலம் கெழு நல் இசை,நான் மறை முது நூல் முக்கட் செல்வன்,ஆலமுற்றம் கவின் பெறத் தைஇயபொய்கை சூழ்ந்த பொழில் மனை மகளிர்கைசெய் பாவைத் துறைக்கண் இறுக்கும்மகர நெற்றி வான் தோய் புரிசைச்சிகரம் தோன்றாச் சேண் உயர் நல் இல்புகாஅர் நல் நாட்டதுவே பகாஅர்பண்டம் நாறும் வண்டு அடர் ஐம்பால்,பணைத் தகைத் தடைஇய காண்பு இன் மென் தோள்,அணங்குசால் அரிவை இருந்தமணம் கமழ் மறுகின் மணற் பெருங் குன்றே. In this long trip to the drylands, it’s more of a travel to other spaces, as we listen to the man say these words to his heart, in the middle of his journey through the domain, seeking wealth: “If you don't have the courage to cross this formidable and inaccessible jungle, and instead you wish to stand behind me, looking to leave, then go and tell about my state, O heart! The battle-worthy, victorious Mignili, who has a huge army that has crossed many a soaring enemy fort, crossed spears with Aay Eyinan, who fought with the courage of God Muruku, making the battlefield redden. When Aay fell in battle, preventing the heat of the sun's shining rays from touching him, a huge flock of birds flew in formation together, high up, with a thunderous uproar, hiding the sky entire. Later, these birds flew and rested in the flower-filled shore of the great River Kaveri, which brings along huge quantities of fine silt, turning them into heaps of white sand. Nearby, is a place filled with prosperity and ruled by wealthy kings, and happens to be ‘Aalamuttram', where the Three-Eyed Lord, composed the four ancient scriptures, whose abundant fame spreads around the world. In the picturesque orchards, filled with ponds here, maiden from households craft handmade statues and place on the river shore, where those birds would arrive and rest. This unfolds in the good country of Puhaar, decked with sky-soaring forts, fluttering with fish flags, whose tops cannot even be seen, so tall are the mansions! Here, with five-part, thick, braided, bee-buzzing tresses, wafting with the scent of merchants' products in the streets of Puhaar, with curving delicate arms, pleasing to the eyes, akin to bamboos, like a divine spirit, she waits for me, upon a sand hill, wafting with the scent of the fragrant streets nearby.” Time to catch the conversation between the man and his heart! The man starts with a hidden rebuke to his heart because it wants to leave the man and turn back. He does this by giving it permission to go speak about his state to his beloved. Then, he goes on a tangent, and talks about the battle between Aay Eyinan and Mignili, we have seen in other verses, repeating the victory of Mignili and the defeat of Aay Eyinan, and stressing on how birds flew in formation and prevented the sun’s rays from touching the fallen body of Aay Eyinan, indicating what a lover of birds he had been, in his lifetime. Then apparently, these birds would fly to a particular shore and rest there, which happens to be on the Kaveri river, near a famous place called Aalamuttram, with the religious significance of a God called the ‘Three-Eyed One’, interpreted as God Siva, said to be the very place, where he composed the ancient scriptures. Another marker of this river shore are the hand-made statues carved by married women. Then, the man explains this river shore is in the renowned country of Puhaar, known also as ‘Kaveripoompattinam’ or ‘Poompuhar’. And such is the fragrance of the streets, wafting with the scent of the many products sold by merchants. Not only are the birds from that battlefield resting here, but the man’s beloved, characterised by her abundant tresses , bamboo-like arms, is also waiting right there, on a sand hill, wafting with the scents of the town, yearning for his return, the man concludes.  The technique of separating the heart from oneself to find motivation in times of hardship is illustrated at the core of this verse. This natural method, which we have seen in many verses, is very much in line with modern psychological principles, which advocate a detachment from troubling thoughts and disturbing feelings and seeing them for what they are, to handle them in the right way. Yet again, this is subtle proof that the Sangam folks were masters of the mind!

In this episode, we perceive the communication of a hidden message, as portrayed in Sangam Literary work, Aganaanooru 180, penned by Karuvoor Kannampaalanaar. The verse is situated amidst the sand dunes and flower orchards of the ‘Neythal’ or ‘Coastal landscape’ and narrates an incident and its consequences. நகை நனி உடைத்தால் தோழி! தகை மிககோதை ஆயமொடு குவவு மணல் ஏறி,வீ ததை கானல் வண்டல் அயர,கதழ் பரித் திண் தேர் கடைஇ வந்து,தண் கயத்து அமன்ற ஒண் பூங் குவளைஅரும்பு அலைத்து இயற்றிய சுரும்பு ஆர் கண்ணிபின்னுப் புறம் தாழக் கொன்னே சூட்டி,நல் வரல் இள முலை நோக்கி, நெடிது நினைந்து,நில்லாது பெயர்ந்தனன், ஒருவன்; அதற்கேபுலவு நாறு இருங் கழி துழைஇ, பல உடன்புள் இறை கொண்ட முள்ளுடை நெடுந் தோட்டுத்தாழை மணந்து ஞாழலொடு கெழீஇ,படப்பை நின்ற முடத் தாட் புன்னைப்பொன் நேர் நுண் தாது நோக்கி,என்னும் நோக்கும், இவ் அழுங்கல் ஊரே. In this little trip to the seashore, we get to hear the lady say these words to her confidante, pretending not to notice the man listening nearby, but making sure he’s in earshot: “It makes me laugh out aloud, my friend! Along with my esteemed playmates, clad in garlands, I had climbed on a sand dune, and then was relaxing by building sand houses in that flower-filled orchard. Just then, a speeding, sturdy chariot stopped there. Stepping down, bringing a bee-buzzing head garland, tied tightly with buds of shining blue-lilies that had been blooming in a cool pond, a man tied it to the tresses hanging low on my back, without me seeking that. Then, he took a look at my uplifted, young bosom, stood there thinking for a long time and parted away without staying longer. After searching the flesh-reeking, dark backwaters, along with their flock, birds rest upon the spiny tall branches of the pandanus, fused with the tiger claw, standing next to the laurel-wood tree, with a curving stem, in our hamlet. Just for that unexpected moment with the man, this uproarious, slanderous town looks at me and looks at the gold-like pollen of the laurel wood tree alike!” Ready for a walk upon the pristine sands of an ancient shore? Here we go! The lady starts by remarking that something seemed ridiculously funny to her. Then she goes on to tell what that incident is, talking about how one day, she had been playing with her mates on the heaped sand in the fragrant orchards by the sea. At that time, a chariot that was whizzing by, stopped near them. A man stepped down, with a garland of blue lilies in his hand. Then, coming near the lady, he seemed to have tied it on her braids, hanging low on her back. The lady insists that she didn’t want that or ask for that. Then she talks about how the man had stood looking at her bosom, thought and sighed for a bit, and left without a word. This was all that happened, and the townsfolk are pointedly looking at me and the golden pollen of the laurel wood tree, the lady concludes. That seems like a puzzle to you, no doubt! What’s the connection between pollen and the lady and why should this make the lady laugh with exasperation? The answer lies in the association between the golden pallor spots that spread on a lady’s skin and the pollen of this tree. The lady must have got into a relationship with the man and was perhaps yearning for him when he was gone. This would result in the appearance of those spots, leading to gossip and slander in town, the lady implies. These words are said for the benefit of the man, listening nearby, to echo the troubles the lady’s facing and nudge him to seek her hand and put an end to this misery! If at all these ancient poets are to be believed, imagine what mental gymnastics those in love in that era had to go through to simply understand what was in the mind of the other! On the other hand, perhaps such contortions of the mind are something natural and needed for those in love, no matter where or when they live, with only the ‘why’ changing every time! 

In this episode, we listen to a pointed question put to another, as portrayed in Sangam Literary work, Aganaanooru 179, penned by Koadimangalathu Vaathuli Narchenthanaar, Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the dreariness of this domain. விண் தோய் சிமைய விறல் வரைக் கவாஅன்,வெண்தேர் ஓடும் கடம் காய் மருங்கில்,துனை எரி பரந்த துன் அரும் வியன் காட்டு,சிறு கண் யானை நெடுங் கை நீட்டிவான் வாய் திறந்தும் வண் புனல் பெறாஅது,கான் புலந்து கழியும் கண் அகன் பரப்பின்விடு வாய்ச் செங் கணைக் கொடு வில் ஆடவர்நல் நிலை பொறித்த கல் நிலை அதர,அரம்பு கொள் பூசல் களையுநர்க் காணாச்சுரம் செல விரும்பினிர்ஆயின் இன் நகை,முருந்து எனத் திரண்ட முள் எயிற்றுத் துவர் வாய்,குவளை நாள் மலர் புரையும் உண்கண், இம்மதி ஏர் வாள் நுதல் புலம்ப,பதி பெயர்ந்து உறைதல் ஒல்லுமோ, நுமக்கே? In this trip to the drylands, we get to hear the confidante say these words to the man, when he conveys his intention to part away from the lady and go in search of wealth: “Adjoining those majestic mountains with sky-soaring peaks, in the scorched, stony spaces, filled with mirages, running away from the wide and formidable scrub jungle, where fire spreads rapidly, a small-eyed elephant extends its long arm and opens its wide mouth. Without receiving the satisfying gush of water, it leaves with dejection from there. In those wide spreading spaces, glory of men with curving bows and red-tipped, speeding arrows is etched on hero stones. If you wish to traverse such paths, where there is no one to end the uproarious deeds of the wicked, do you think you are capable of departing from this place and living apart, leaving the lady with a sweet smile, sharp teeth, akin to the eye of a peacock's feather, red mouth, kohl-streaked eyes, akin to freshly blossomed flowers of the blue-lily, and moon-like, shining forehead, to lament?” Time to experience the familiar heat of this land! The confidante starts with a vivid description of the place, talking first about the adjoining ranges, telling us this drylands region could be the transformation of a ‘Kurinji’ domain in the heat of summer. Here, she talks about how the heat paints mirages on the land, and fooled, an elephant comes rushing to quench its thirst and leaves in much disappointment, even as wild fires streak around. She points to the many hero stones that echo the glory and death of great warriors, detailing how these are abandoned spaces, away from the protecting hand of law, and there’s no one to quell the mischief of the wicked. After that long description, the confidante talks about the beauty of the lady, her smile, perfect teeth, red mouth, dark eyes, shining forehead, and ends by asking the man how he could even think of staying away from the lady, leaving her in suffering! To put it in a nutshell, the confidante tells the man, ‘The wealth you are searching for, is nothing but a mirage. What is real is the beauty of the lady, right next to you, and that’s all the wealth you need!’. Whether the man accepts her perspective or not, it sure echoes a timeless philosophical debate about the nature of wealth and its conflict with love!

In this episode, we perceive the trust and confidence in the actions of another, as depicted in Sangam Literary work, Aganaanooru 178, penned by Paranar. The verse is situated amidst the gushing springs of the ‘Kurinji’ or ‘Mountain landscape’ and etches a day in the life of a wild boar. வயிரத்தன்ன வை ஏந்து மருப்பின்,வெதிர் வேர் அன்ன பரூஉ மயிர்ப் பன்றிபறைக் கண் அன்ன நிறைச் சுனை பருகி,நீலத்தன்ன அகல் இலைச் சேம்பின்பிண்டம் அன்ன கொழுங் கிழங்கு மாந்தி,பிடி மடிந்தன்ன கல் மிசை ஊழ் இழிபு,யாறு சேர்ந்தன்ன ஊறு நீர்ப் படாஅர்ப்பைம் புதல் நளி சினைக் குருகு இருந்தன்ன,வண் பிணி அவிழ்ந்த வெண் கூதாளத்துஅலங்கு குலை அலரி தீண்டி, தாது உக,பொன் உரை கட்டளை கடுப்பக் காண்வர,கிளை அமல் சிறு தினை விளை குரல் மேய்ந்து,கண் இனிது படுக்கும் நல் மலை நாடனொடுஉணர்ந்தனை புணர்ந்த நீயும், நின் தோட்பணைக் கவின் அழியாது துணைப் புணர்ந்து, என்றும்,தவல் இல் உலகத்து உறைஇயரோ தோழி”எல்லையும் இரவும் என்னாது, கல்லெனக்கொண்டல் வான் மழை பொழிந்த வைகறைத்தண் பனி அற்சிரம் தமியோர்க்கு அரிது” என,கனவினும் பிரிவு அறியலனே; அதன்தலைமுன் தான் கண்ட ஞான்றினும்பின் பெரிது அளிக்கும், தன் பண்பினானே. In this illuminating trip to the mountains, we get to hear the confidante say these words to the lady, pretending not to notice the man listening nearby, but making sure he’s in earshot: “A wild boar, with upraised tusks, sharp like a diamond; dense hair, akin to bamboo roots; drinks up water from a brimming spring, akin to the eye of a drum; eats up fleshy tubers, akin to sacrificial offerings of food, from the Blue Taro, with wide leaves, in the hue of sapphires; descends carefully from atop a boulder, akin to a sleeping female elephant; moves towards green shrubs, next to cascades, appearing like river tributaries; and akin to a bird that perches on the curving branches, rests there. As the boar brushes against the swaying clusters of the white nightshade, which has loosened the tightness of its buds, pollen sheds down, making the boar appear like a touchstone, coated in gold dust. It then grazes on dense crop ears of the flourishing little millet, and rests peacefully in the fine mountain country of the lord. Overcoming your reservations, you united with him. May he render his sweet company always, never letting the bamboo-like beauty of your fine arms fade, and may you live in this world as you would in the flawless other world, my friend! Knowing that, ‘In the moist and cold season, not minding if it's day or night, dark clouds shower rains resoundingly. A dawn in such a time is hard to bear for those who are alone', he would never think of parting from you even in his dreams. And also, he has the good nature of showering even more love and grace than what you have seen before!” Time to track a wild boar in the hills! The confidante starts with a description of the man’s mountain country, and to do that, she chooses a particular animal, a wild boar, and portrays the animal and its activities with a stack of similes, comparing its pointed tusks to the sharpness of diamonds, and its fur, to knotted bamboo roots. She talks about how this boar feeds on the tubers of the Blue Taro, with sapphire-like leaves, and then steps down from a boulder, which resembles a sleeping female elephant. It goes near lush bushes, growing near cascades, and here it brushes against the white nightshade flower clusters and becomes coated in gold dust, looking like a goldsmith’s touchstone. Then, it looks for even more food amidst the millet fields and filled to the brim, rests peacefully, the confidante sketches. What a life of bliss our boar leads! The confidante turns from the man’s country and recollects how the lady decided to accept him and united with him. Then, from the past, she moves on to the future, blessing the lady to live joyously with the man, never losing the beauty of her arms. After this, it’s praise for the man saying he’s someone who would never let the lady remain alone in the cold season when the rains pour incessantly. She concludes with the words promising the lady that the man has the nature of showering even more love than the lady had seen thus far.  Why is the confidante singing these praises of the man? It’s because she knows the man has arrived there with the intention of claiming the lady’s hand, and with these words, she wishes to convey to him he’s on the right path. Even in that lengthy description of the wild boar in the man’s mountain country, the confidante places a metaphor for how the man would do all things perfectly and ensure a blissful life for him and the lady. A nuanced strategy on the part of the confidante to express trust in the man’s future behaviour, thereby inspiring him to live up to the image she has presented to the lady! She is indeed a treasure of a friend, who keeps on giving! 

In this episode, we listen to words of consolation rendered to allay anxiety, as depicted in Sangam Literary work, Aganaanooru 177, penned by Seyaloor Ilampon Saaththan Kotranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the victory of a king and the beauty of a lady. தொல் நலம் சிதையச் சாஅய், அல்கலும்,“இன்னும் வாரார்; இனி எவன் செய்கு?” எனப்பெரும் புலம்புறுதல் ஓம்புமதி சிறு கண்இரும் பிடித் தடக் கை மான, நெய் அருந்துஒருங்கு பிணித்து இயன்ற நெறி கொள் ஐம்பால்தேம் கமழ் வெறி மலர் பெய்ம்மார், காண்பின்கழை அமல் சிலம்பின் வழை தலை வாடக்கதிர் கதம் கற்ற ஏ கல் நெறியிடை,பைங் கொடிப் பாகற் செங் கனி நசைஇ,கான மஞ்ஞைக் கமஞ்சூல் மாப் பெடைஅயிர் யாற்று அடைகரை வயிரின் நரலும்காடு இறந்து அகன்றோர் நீடினர் ஆயினும்,வல்லே வருவர்போலும் வெண் வேல்இலை நிறம் பெயர ஓச்சி, மாற்றோர்மலை மருள் யானை மண்டுஅமர் ஒழித்தகழற் கால் பண்ணன் காவிரி வடவயின்நிழற் கயம் தழீஇய நெடுங் கால் மாவின்தளிர் ஏர் ஆகம் தகை பெற முகைந்தஅணங்குடை வன முலைத் தாஅய நின்சுணங்கிடை வரித்த தொய்யிலை நினைந்தே. In this trip to the drylands, we get to hear the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Ruining your old beauty, you worry day after day, saying, ‘He still has not returned. How can I bear this?”. Please stop this great lament of yours! He has left to the drylands path, filled with huge stones, sweltering in the heat of the sun's rays, which scorch the tops of laurel wood trees, in those spaces by the mountain slopes, decked with bamboos, pleasing to the eyes, where desiring the red fruit of the bitter gourd, growing on green vines, a huge, pregnant jungle peafowl, cries aloud, akin to the ‘vayir' horn on the banks of the ‘Ayiri' river. Your oil-moistened, well-tied, five-part braid is akin to the curving trunk of a huge female elephant with small eyes. Even though he is delayed, he will return soon to adorn these tresses of yours, with honey-fragrant, colourful flowers. The great Pannan, who wears warrior anklets, is renowned for changing the hue of his leaf-tipped white spear and destroying the enemy's elephants, akin to mountains, in the battlefield. To the north of his domain of the ‘Kaveri' river, there stands a tall-trunked mango tree, rendering its shade to a huge pond. Akin to a tender leaf of this tree, is your tormenting bosom. Dreaming about covering the pallor spots that spread on this beautiful bosom of yours with ‘thoyyil' paintings, he shall return soon indeed!” Let’s brave the heat and walk the drylands path to learn more! The confidante starts by describing the lady’s current state of pining for the man, worrying incessantly about how he has not returned, ruining her health. She asks the lady to give up this worry of hers, and then goes on to describe the hot drylands path, by the mountains, that the man walks, where he can hear the cry of a pregnant peahen, which he describes as sounding like a ‘vayir’ horn on the banks of a river. This is excellent material for makers of ancient musical instruments for though the ‘vayir’ is no more, the world still has peahens and it gives hope to recreate the music of the past. Returning, we find the confidante describing the lady’s thick tresses, which she equates to an elephant’s trunk! Imagine the thickness of that braid, to be characterised as such! Looks like it was a blessed time for women’s hair, without the ubiquitous chemicals and pollutants that destroy the health of many a modern woman’s locks. The confidante has mentioned that the man cannot keep away from the beauty of these tresses and that he would indeed return soon to adorn it with the choicest of fragrant and vibrant flowers. Then, the confidante goes on to talk about how King Pannan quelled his enemy’s elephants in the battlefield, reddening the leaf tip of his spears. She has summoned this king only to say the River Kaveri was part of his domain, and there was a lush mango tree, to the north of this river, by a fertile pond, and she goes on to equate the tender leaf of this particular tree to the beautiful bosom of the lady, which would no doubt torment the man, no matter where he was. With the additional promise that the man would want to return and adorn the pallor spots on the lady’s bosom with thoyyil paintings, the confidante concludes her words to her friend!  In essence, the confidante is saying, ‘How can the man forget your beauty and stay away?’.’Like a force of nature, it will pull him back to your fold’, the friend promises. The reference to a king’s exploits in the battlefield and then the trip to a mango tree in his domain was an unexpected turn of events. Intriguing to reflect on the creativity of Sangam poets, who could connect vastly disparate things like majestic valour in the tangible reality of a battlefield to intimate beauty in the tender abstraction of relationships!

In this episode, we listen to a pointed refusal to a request, as depicted in Sangam Literary work, Aganaanooru 176, penned by Marutham Paadiya Ilankadunko. The verse is situated amidst the flourishing fields of the ‘Marutham’ or ‘Farmlands landscape’ and presents a precise portrait of the other woman. கடல் கண்டன்ன கண் அகன் பரப்பின்நிலம் பக வீழ்ந்த வேர் முதிர் கிழங்கின்கழை கண்டன்ன தூம்புடைத் திரள் கால்,களிற்றுச் செவி அன்ன பாசடை மருங்கில்,கழு நிவந்தன்ன கொழு முகை இடை இடைமுறுவல் முகத்தின் பல் மலர் தயங்க,பூத்த தாமரைப் புள் இமிழ் பழனத்து,வேப்பு நனை அன்ன நெடுங் கண் நீர்ஞெண்டுஇரை தேர் வெண் குருகு அஞ்சி, அயலதுஒலித்த பகன்றை இருஞ் சேற்று அள்ளல்,திதலையின் வரிப்ப ஓடி, விரைந்து தன்நீர் மலி மண் அளைச் செறியும் ஊர! மனை நகு வயலை மரன் இவர் கொழுங் கொடிஅரி மலர் ஆம்பலொடு ஆர்தழை தைஇ,விழவு ஆடு மகளிரொடு தழூஉ அணிப் பொலிந்து,மலர் ஏர் உண்கண் மாண் இழை முன்கைக்குறுந் தொடி துடக்கிய நெடுந் தொடர் விடுத்ததுஉடன்றனள் போலும், நின் காதலி? எம் போல்புல் உளைக் குடுமிப் புதல்வற் பயந்து,நெல்லுடை நெடு நகர் நின் இன்று உறைய,என்ன கடத்தளோ, மற்றே? தன் முகத்துஎழுது எழில் சிதைய அழுதனள் ஏங்கி,வடித்தென உருத்த தித்திப் பல் ஊழ்நொடித்தெனச் சிவந்த மெல் விரல் திருகுபு,கூர்நுனை மழுகிய எயிற்றள்ஊர் முழுதும் நுவலும் நிற் காணிய சென்மே. A long song and trip to this prosperous but troubled landscape, where we get to hear the confidante, say these words to the man, when he comes seeking entry into the lady’s house, after being in the company of a courtesan for a while: “Appearing like a sea, as far as the eyes can see, spreads the land. With deep roots, akin to mature tubers that split the earth, with hollow thick stems, appearing akin to bamboos, green leaves, akin to an elephant's ears, fleshy buds, bursting in between here and there, akin to upraised stakes, are the many lotus flowers that sway here and there in between, like smiling faces. In this field, blooming with lotuses and resounding with bird songs, having tall eyes, akin to neem flowers, a water crab fearing a white bird that's searching for prey, scuttles on dark, muddy spaces, where rattle-pods have sprouted thickly, and making marks, akin to pallor spots, rushes to hide inside its water-filled mud pits. Such is your town, O lord! Wearing a fine garment of leaves and flowers, woven with thick vines of ‘vayalai' creepers, growing in the house, and radiant flowers of white lily, glowing with the beauty of dancing together with maiden at the town festival, having flower-like, beautiful, kohl-streaked eyes, and forearms, decked with fine jewels and small bangles, that lover of yours seems to have sulked with you when you happened to simply loosen your long embrace! She has been crying with yearning, ruining the painted beauty of her face, making pallor spots, akin to melted gold, spread on her form. Cracking her knuckles many, many times, she makes her delicate fingers turn red. That maiden, whose sharp teeth are blunted, now roams the town entire in search of you! Does she have the fate like the lady, to live patiently without you, after bearing and rearing your son, who has a grass-like tuft of hair, and to be shut within the expense of this grain-filled, wide mansion?” Let’s chase some field crabs and learn what’s cooking in this part of the world! The confidante starts with a long description of the man’s town, bringing before our eyes, the expansive fields, where lotuses are blooming, and she builds a stack of similes calling the bloomed lotus flowers as smiling faces, the buds standing tall as stakes, the leaves as elephant’s ears, the roots as firm and mature tubers and the land itself as the vast and spreading sea. After setting the scene, she zooms on to a particular creature there, a crab, who tall eyes are compared to neem flowers. She then depicts how this animal fears a hovering bird, looking for prey, and rushes to hide in its little mud hole. Such is your town, the confidante tells the man. No doubt she means to conceal some meaning here but we’ll get to that in a moment! Then she goes on to talk about a particular woman, a courtesan who happens to be the man’s lover. She etches the flowers and leaves that the woman wears, and how the courtesan dances exuberantly in the town festivities. Then, she describes the woman’s eyes and bejewelled forearms. After all the framing, the confidante comes to the crux and says how that courtesan had started quarrelling with the man, just because he happened to loosen his embrace. That lover of his seems to have been filled with much agony, as visible from her tears that ruined her painted beauty, the golden pallor spots and her cracking of the knuckles too many times, reddening those slender fingers. The confidante talks about how that courtesan is searching all over town, to catch hold of the man again. She contrasts the state of the lady, who after giving birth and rearing the man’s child, had to stay within their wealthy mansion, no matter where the man went or what he did, and concludes by sarcastically remarking that the courtesan has no such restrictions!  In the scene of the scuttling crab and the hovering bird, the confidante places a metaphor for how slander spread by the townsfolk had driven the man back to his home, seeking the lady’s company, and it’s not true love that has brought him there. In essence, it’s a refusal to allow the man to return back, after his escapades with the courtesan. Yet again, the natural world echoes the relationship dynamics vividly. The verse also presents the implicit societal rules in the contrasting behaviour of the lady and the courtesan, the former, characterised by patience and restraint, and the latter, by freedom and impulsiveness!

In this episode, we listen to the lament of a lady, as depicted in Sangam Literary work, Aganaanooru 175, penned by Alamperi Saaththanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the victory of a historic king and the glory of a supernatural entity. வீங்கு விளிம்பு உரீஇய விசை அமை நோன் சிலைவாங்கு தொடை பிழையா வன்கண் ஆடவர்விடுதொறும் விளிக்கும் வெவ் வாய் வாளிஆறு செல் வம்பலர் உயிர் செலப் பெயர்ப்பின்,பாறு கிளை பயிர்ந்து படுமுடை கவரும்வெஞ் சுரம் இறந்த காதலர் நெஞ்சு உணரஅரிய வஞ்சினம் சொல்லியும், பல் மாண்தெரி வளை முன்கை பற்றியும், ”வினைமுடித்துவருதும்” என்றனர் அன்றே தோழி!கால் இயல் நெடுந் தேர்க் கை வண் செழியன்ஆலங்கானத்து அமர் கடந்து உயர்த்தவேலினும் பல் ஊழ் மின்னி, முரசு எனமா இரு விசும்பில் கடி இடி பயிற்றி,நேர் கதிர் நிரைத்த நேமிஅம் செல்வன்போர் அடங்கு அகலம் பொருந்திய தார்போல்,திருவில் தேஎத்துக் குலைஇ, உரு கெழுமண் பயம் பூப்பப் பாஅய்,தண் பெயல் எழிலி தாழ்ந்த போழ்தே? In this trip to the drylands, amidst the whizzing of arrows, we get to hear the lady say these words to her confidante, when the man continues to remain parted away, after leaving in search of wealth: “Grazing the edge of the broad shoulder, lies the sturdy bow. When harsh-eyed men bend this bow and aim the arrow, they never miss their mark. Those arrows with sharp mouths, when left out, flies whistling, and end the life of wayfarers on those paths. And so, calling their kith and kin, vultures feast on that reeking flesh. Such is the scorching drylands that my lover has left to! That day, he swore a heartfelt, furious oath, as he held my forearm with many, well-etched, radiant bangles, and declared, ‘I shall return after my mission'! Wielding chariots that move like the wind, is the generous Chezhiyan. More than the spears raised in his victorious battle of Aalangkaanum, are streaks of lightning, and akin to the drums there, roars unceasing thunder in the huge, black sky. Akin to the garland on the enemy-slaying chest of God Selvan, who wields the discus with perfect spokes, a picturesque and colourful rainbow curves above. And so, making the land flower with flourish, clouds have descended down with moist rains. Wasn't this the time he said he would return, my friend?” Time to witness the action in the skies! The lady starts by painting a vivid picture of the drylands, zooming on to the highway robbers, mentioning bows hanging on their shoulders, and harp arrows that they launch, which always ends up finding their target in the chests of wayfarers, and delivering their end. What ends there becomes the feast of vultures, the lady adds, saying that’s the dreary place the man has left to. Then she recollects how the man had sworn an oath, holding her forearm, and said he would return by a specific time. The lady now turns to the confidante and points out how the skies are flashing with streaks of lightning, just like the flashes of spears raised by the victorious army of the Pandya King Chezhiyan at the Thalaiyaalangaanam battle. In other verses we have read about how this king single handedly quelled the armies of seven kings and seized victory there. Returning, the lady then points to the sound of thunder echoing and connects it to the drums in that battlefield. From this king in life and blood, the lady shifts to mention a God, referred as ‘Selvan’ here, which interpreters attribute to ‘God Thirumal’ as identified by the ‘Sudarsana chakra’ or divine discus held in his right hand, symbolising the ‘wheel of time’. Interestingly I learnt today that there has been archaeological discoveries of coins in Taxila, featuring a sixteen-spoke wheel, dating back to the 2nd century BCE, thought to reflect a belief in this very God. This poem too makes specific mention of the perfectly radiating spokes of this discus held in the hand of God ‘Selvan’.  Reverting back to the lady’s words, we learn that she has mentioned this god’s name only to draw in parallel the many-flowered garland on his chest and the radiant rainbow curving in the sky. Lightning done, thunder done, rainbow done. All checks to say that it’s the season of rains, when the clouds pour down and make the land bloom, the lady connects. She concludes by asking her friend, ‘Wasn’t this when he said he would be back, with that firm oath of his?’  With these words, the lady intends to echo her anxiety about the man’s dangerous travels and the unfulfilled promise he made. Hope the man returns the very moment to slay the sorrow in her heart. Fascinating how the verse makes us fly from the feeding vultures down on the ground to the pouring clouds in the sky, on the chariot of a king and the discus of a god!

In this episode, we observe the anxious rumination in a man’s mind, as depicted in Sangam Literary work, Aganaanooru 174, penned by Madurai Alakkar Gnaazhaar Makanaar Mallanaar. The verse is situated amidst the pouring clouds and blooming jasmines of the ‘Mullai’ or ‘Forest Landscape’ and expresses the love and yearning in the hearts of those separated by circumstances. ”இரு பெரு வேந்தர் மாறு கொள் வியன் களத்து,ஒரு படை கொண்டு, வருபடை பெயர்க்கும்செல்வம் உடையோர்க்கு நின்றன்று விறல்” எனபூக் கோள் ஏய தண்ணுமை விலக்கிச்செல்வேம்ஆதல் அறியாள், முல்லைநேர் கால் முது கொடி குழைப்ப, நீர் சொரிந்து,காலை வானத்துக் கடுங் குரற் கொண்மூமுழங்குதொறும் கையற்று, ஒடுங்கி, நப் புலந்து,பழங்கண் கொண்ட பசலை மேனியள்,யாங்கு ஆகுவள்கொல் தானே வேங்கைஊழுறு நறு வீ கடுப்பக் கேழ் கொள,ஆகத்து அரும்பிய மாசு அறு சுணங்கினள்,நல் மணல் வியலிடை நடந்தசில் மெல் ஒதுக்கின் மாஅயோளே? This fragrant trip through the rain-soaked forests takes us in the presence of the man, as he says these words to his heart, when he remains in a battle camp: “Declaring, ‘Those who possess the wealth of courage to scatter the enemy army with one's own in the midst of a wide spreading field, where two great kings are waging war against each other, unfading would remain their glory', drums roar and floral war tributes are presented by the victorious king. Not knowing that I would rush to her, without even waiting for these tributes, that sorrowful maiden, would be feeling dislike for me, and she would curl up helplessly whenever the harsh-voiced, dark clouds resounded in the morning sky, shedding raindrops, and crushing straight-stemmed jasmine flowers blooming on mature vines. Pallor would be spreading on her form, so flawless, having beauty spots, in the hue of fragrant golden flowers of the Indian Kino tree. What would be the state of that dark-skinned maiden, whom I saw walking with short hesitant steps upon the fine sands of our wide mansion, when I left her then?” Time to travel to the battlefield and listen to the drum beat of the man’s heart! He starts by reflecting on how the king would honour his victorious acts in the battlefield of defeating the enemy army and shower tributes even as drums roar. The man says he would do his duty of fighting in the battle and bringing victory to his king but he wouldn’t wait to receive the king’s tributes because his heart would be in a rush to be back with his beloved, who would be worried that the season of promised return, the rains, had come and gone and still there was no sign of him. He imagines her curling up with pain every time the clouds roared and the rains poured. The man concludes by bringing back the image of the lady, with her fine beauty spots in the hue of yellow Kino flowers, as she was walking with hesitant steps, when he bid farewell to her, back then. A verse filled with tender longing on both sides, with the man tied by the norms of duty in a battlefield, and the lady, bound by the norms of society, to remain back at home!

In this episode, we perceive words of consolation, as portrayed in Sangam Literary work, Aganaanooru 173, penned by Mulliyoor Pothiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse highlights the wealth and glory of a Sangam king’s domain. ‘அறம் தலைப்பிரியாது ஒழுகலும், சிறந்தகேளிர் கேடு பல ஊன்றலும், நாளும்வருந்தா உள்ளமொடு இருந்தோர்க்கு இல்’ எனச்செய்வினை புரிந்த நெஞ்சினர், ‘நறு நுதல்மை ஈர் ஓதி! அரும் படர் உழத்தல்சில் நாள் தாங்கல்வேண்டும்’ என்று, நின்நல் மாண் எல் வளை திருத்தினர்ஆயின்,வருவர் வாழி, தோழி! பல புரிவார் கயிற்று ஒழுகை நோன் சுவற் கொளீஇ,பகடு துறை ஏற்றத்து உமண் விளி வெரீஇ,உழைமான் அம் பிணை இனன் இரிந்து ஓட,காடு கவின் அழிய உரைஇ, கோடைநின்று தின விளிந்த, அம் பணை, நெடு வேய்க்கண் விடத் தெறிக்கும் மண்ணா முத்தம்கழங்கு உறழ் தோன்றல, பழங் குழித் தாஅம்இன் களி நறவின் இயல் தேர் நன்னன்விண் பொரு நெடு வரைக் கவாஅன்பொன் படு மருங்கின் மலை இறந்தோரே. In this trip to the drylands in the mountains, we get to hear the confidante say these words to the lady, at a time when the man continues to remain parted away: “Deciding, ‘Living a life without swerving away from justice and bearing the many burdens of one's honourable kith and kin, are both impossible for those, who stay in comfort with a complacent heart!', the one who wished to part away on the mission of gaining wealth, said, ‘O maiden with a fragrant forehead and thick, moist tresses, you must bear the deep suffering of parting for a few days!', as he caressed your exquisite, shining bangles. Tying sturdy ropes with many thick threads to the necks of their oxen, arrive salt merchants on upraised river shores. Startled by their sharp whistles, herds of male deer along with their exquisite mates scuttle away; Making the jungle lose its beauty, the summer sun scorches. The tall and beautiful bamboos, that have dried up bereft of water, burst at the nodes, and scatter soiled seeds that appear akin to beans, which fall into old pits. The man, who has left to these mountains, which lie near the rich, golden lands in the slopes of sky-soaring peaks, belonging to Nannan, who wields fast chariots and is renowned for the sweetness of his toddy, will return to you soon, my friend, may you live long!” Time to tread those hot sands! The confidante starts by reflecting the man’s words to the lady before he had left on his mission. With much tenderness, he had consoled the lady and explained the reasons he had to undertake the journey, talking about how it was his duty to live a life of justice and to help all their kith and kin in their hour of need, and to do this, he had to leave the comfort of home and go seek wealth. He had requested the lady to bear with this pain for some time and left, the confidante reminds the lady. Then she talks about the place where the man treads now, talking about an arid region, where salt merchants traverse with their oxen, frightening the deer there with their sharp whistles, and where bamboos split open in the heat, scattering their seeds. The confidante concludes by adding that those drylands were in the vicinity of the wealthy domain, filled with gold, ruled by King Nannan, known for his swaying chariots and sweet toddy, and promises the lady that the man would return soon to her.  With those specific words about Nannan’s golden lands, the confidante hints that the man would be blessed with riches in his mission, and the lady’s days of pain were at an end. What a thoughtful friend who highlights the positive qualities of the very person, seemingly the cause of pain! By connecting the goodness of the man in the past, and the promise of his return in the future, this fine friend alleviates the lady’s misery in the present moment. The perfect recipe for reassurance indeed!

In this episode, we perceive an attempt at changing a person’s behaviour, as portrayed in Sangam Literary work, Aganaanooru 172, penned by Madurai Paalaasiriyar Nappaalanaar. The verse is situated amidst the roaring cascades and resounding slopes of the ‘Kurinji’ or ‘Mountain Landscape’ and paints vivid images of life in this domain. வாரணம் உரறும் நீர் திகழ் சிலம்பில்பிரசமொடு விரைஇய வயங்கு வெள் அருவிஇன் இசை இமிழ் இயம் கடுப்ப, இம்மெனக்கல் முகை விடர்அகம் சிலம்ப, வீழும்காம்பு தலைமணந்த ஓங்கு மலைச் சாரல்;இரும்பு வடித்தன்ன கருங் கைக் கானவன்விரி மலர் மராஅம் பொருந்தி, கோல் தெரிந்து,வரி நுதல் யானை அரு நிறத்து அழுத்தி,இகல் அடு முன்பின் வெண் கோடு கொண்டு, தன்புல் வேய் குரம்பை புலர ஊன்றி,முன்றில் நீடிய முழவு உறழ் பலவில்,பிழி மகிழ் உவகையன், கிளையொடு கலி சிறந்து,சாந்த ஞெகிழியின் ஊன் புழுக்கு அயரும்குன்ற நாட! நீ அன்பிலை ஆகுதல்அறியேன் யான்; அஃது அறிந்தனென்ஆயின்அணி இழை, உண்கண், ஆய் இதழ்க் குறுமகள்மணி ஏர் மாண் நலம் சிதைய,பொன் நேர் பசலை பாவின்றுமன்னே! In this action-packed trip to the mountains, we get to hear the confidante say these words to the man, after bringing over the lady for a tryst with him: “In the water-filled mountains, elephants trumpet; shining white cascades descend, fused with honey, resounding akin to the sweet music of instruments, making clefts and caves in the hills echo with a loud sound; bamboos crowd densely on the slopes of the soaring peaks; Here, a mountain hunter, having black hands, appearing as if cast in iron, climbs on to a blooming bur-flower tree, aims the perfect arrow and pierces the tough chest of an elephant with a lined forehead, and brings its white tusk, capable of attacking enemies with strength, and plants it to dry in front of his hut, thatched with grass. Then, from a jackfruit sprouting in his front yard, appearing akin to a drum, he extracts sweet nectar and relishes it, amidst the uproar of his joyous kith and kin, sharing with them, rice cooked with meat on the fire of sandalwood barks. Such is your domain in the mountains, O lord! I never knew that you were such a loveless person; Had I known that, I wouldn't have let the beauty of the young maiden, adorned with exquisite ornaments, having kohl-streaked, petal-like eyes, to be ruined, by the spreading of gold-like pallor on her sapphire-like skin!” Trek time! The confidante starts by bringing the mountains alive. She makes us hear the roar of elephants and the descent of cascades, flowing with the music of an orchestra. She points to the densely crowding bamboos and after giving us a sense of place, she zooms on to a person, namely a mountain hunter, who is perched atop a burflower tree. From his vantage point, he takes aim with a sharpened arrow and hits straight into the chest of an elephant. Then, coming down, he brings home the gentle giant’s tusk and plants it in front of his home. His day’s work done, the hunter delights in drinking the nectar of jackfruit juice and eating rice and meat, cooked on a sandalwood fire, in the boisterous company of his beloved kin. The confidante has mentioned all these vivid elements to represent the man’s domain. After such glowing praise for his land, the confidante arrives at the core concern and declares that she never knew the man would turn up to be such a person, lacking in love. She concludes by lamenting if only she had known, she would have never allowed the lady’s beauty to be ruined by the fair pallor that was spreading on her dark skin!  The confidante means to say to the man, ‘I thought you loved the lady. How can you make her suffer so?’. In response, he would query the reason for such an accusation and the confidante would end up revealing how his absences affected the lady and brought great suffering to her. In the opening scene of elephants trumpeting and cascades roaring, using the imagery of sound, the confidante places a metaphor for how slander is spreading through town about the relationship between the man and the lady. Then in the scene of the mountain hunter felling the elephant and bringing the trophy of its tusk home, the confidante places a wish for the man to fell the enemy of slander and claim the lady’s hand and rejoice in the permanent union, sanctioned and celebrated by the kith and kin. Thus, with the firm stones of vivid images in the outer world, the confidante paves the road to happiness in the life of the man and the lady! 

In this episode, we observe an attempt at allaying anxiety, as depicted in Sangam Literary work, Aganaanooru 171, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches vivid elements of life and wildlife in this domain. ”நுதலும் நுண் பசப்பு இவரும்; தோளும்அகல் மலை இறும்பின் ஆய்ந்து கொண்டு அறுத்தபணை எழில் அழிய வாடும்; நாளும்நினைவல்மாது அவர் பண்பு” என்று ஓவாதுஇனையல் வாழி, தோழி! புணர்வர்இலங்கு கோல் ஆய் தொடி நெகிழ, பொருள் புரிந்துஅலந்தலை ஞெமையத்து அதர் அடைந்திருந்தமால் வரைச் சீறூர் மருள் பல் மாக்கள்கோள் வல் ஏற்றை ஓசை ஓர்மார்,திருத்திக் கொண்ட அம்பினர், நோன் சிலைஎருத்தத்து இரீஇ, இடம் தொறும் படர்தலின்,கீழ்ப்படு தாரம் உண்ணா, மேற் சினைப்பழம் போற் சேற்ற தீம் புழல் உணீஇய,கருங் கோட்டு இருப்பை ஊரும்பெருங் கை எண்கின் சுரன் இறந்தோரே! In this trip to the drylands, there’s much to see even as we hear the confidante say these words to the lady, as the man, who had left in search of wealth, continues to remain parted away: “Saying ‘Let intricate spots of pallor spread on the forehead; Let arms, which are akin to well-selected bamboos in the wide mountain forests, lose their beauty and become ruined; Still, I shall not stop thinking of his nature all day, every single day!', do not suffer unceasingly, my friend, may you live long! Making your well-rounded, resplendent bangles slip away, he left to gain wealth, treading paths abounding with axle-wood trees having scorched tops, through small hamlets in the foothills of the huge mountain, where many people, tense with fear, keep watch for the sounds of a killer male bear, and wait in readiness with their well-sharpened arrows, carrying their sturdy bows on their shoulders. As they spread about hither and thither, knowing of their movements, not feeding on what has fallen down, that huge-handed bear, wishing to instead feed on flowers that taste as sweet as fruits upon high branches, crawls atop trees in those drylands. He shall return and unite with you soon!” Let’s tread on and trace the dangers of this domain! The confidante starts by repeating the lady’s words, who seems not bothered that pallor would spread on her forehead and that her bamboo-like arms would lose their beauty, and continues to wallow in the memory of the man, who had left her to seek wealth. The confidante goes on to describe where he has gone, talking about the ‘Gnemai’ trees that grow there and their burnt tops in the sweltering summer. Then, she goes on to mention people there, those living in a small town at the foothills, who are always on the lookout for dangerous male bears that could kill, and wait in all readiness with sharp arrows and sturdy bows. Knowing of their movements on land, the bear tries to outsmart them by not eating the easy pick of fallen fruits and flowers, but instead, climbs up on the Mahua tree and goes for the high branches to pluck the flowers that are said to be as sweet as the fruits. The confidante concludes by saying though the man walks through such a land, he will return soon to the lady’s fold. It’s indeed a simple reassurance from a concerned friend but what hides within are interesting aspects of intelligence and evolution in the face of animal-human conflict, something that remains a serious concern in our world today!

In this episode, we perceive an attempt to enlist a unique messenger, as portrayed in Sangam Literary work, Aganaanooru 170, penned by Madurai Kallitru Kadaiyathan Vennaakanaar. The verse is situated amidst the silent backwaters of the ‘Neythal’ or ‘Coastal landscape’ and etches exquisite scenes of life in this domain. கானலும் கழறாது; கழியும் கூறாது;தேன் இமிர் நறு மலர்ப் புன்னையும் மொழியாது;ஒரு நின் அல்லது பிறிது யாதும் இலனே;இருங் கழி மலர்ந்த கண் போல் நெய்தல்கமழ் இதழ் நாற்றம் அமிழ்து என நசைஇ,தண் தாது ஊதிய வண்டினம் களி சிறந்து,பறைஇ தளரும் துறைவனை, நீயே,சொல்லல் வேண்டுமால் அலவ! பல்கால்கைதைஅம் படுசினை எவ்வமொடு அசாஅம்கடற் சிறு காக்கை காமர் பெடையொடுகோட்டுமீன் வழங்கும் வேட்டம் மடி பரப்பின்வெள் இறாக் கனவும் நள்ளென் யாமத்துநின் உறு விழுமம் களைந்தோள்தன் உறு விழுமம் நீந்துமோ! எனவே. In this trip to the shore, we get to see the lady saying these words to an intriguing little denizen of the domain: “The seashore grove will not exhort him; The backwaters will not explain to him; The bee-buzzing fragrant laurel wood tree will not expound either; Other than you, I have no one, O crab! Desiring the wafting scent from the petals of the blue lotus, blooming like eyes in the dark backwaters, bees swarm around their cool pollen, and then brimming over with ecstasy, find themselves unable to fly. Such are the shores of the lord! Going to him, you need to tell him something. Upon the curving branch of the many-legged pandanus tree, with suffering, rests a little sea gull, along with its desirable mate, and dreams about white shrimp in the expanses, frequented by swordfish, when the fish hunt has ended, in the darkness of the midnight hour. Please go to him and ask him, ‘How can the one, who ended your sorrow at many such midnight hour, swim across through the sea of her own sorrow, caused by your parting, now?'” Ready to swim through the backwaters and eavesdrop on a conversation? Here we find the lady having a chat with a crab on the shore. She starts by lamenting to the crustacean about how neither the grove, nor the backwaters, nor the laurel wood tree is going to speak up in her defence, and tells the crab that she has no one else. What a way to make the crab feel special! Then, she describes the man’s domain by the seas and here we find bees drunk on the pollen of blue lotuses and unable to even flap their little wings, so sloshed in the sweetness of the nectar they are! Then, the lady insists to the crab that it must go to the man and remind him of how the lady had come to his rescue in the many hours of the deep darkness of night, when a sea gull dreams of feasting on shrimp, at a time when all the hunting of fish had ceased. She concludes by requesting the crab to question him about how the lady can bear her sorrow if he forgets all that she has done and continues to stay away!  Flying back to the scene of those intoxicated bees, struggling to fly, we understand that the lady has placed it as a metaphor for the man being drunk on the pleasures of temporary trysting and forgetting his duty of keeping her happy. Brimming with excessive love for the man, the lady thus expresses it to the elusive crab on the shore. The beauty of this verse is in how it highlights a human’s attempt to see a friend in an element of nature, reminding us that the world awaits with open ears and a ready shoulder, if only we can open our eyes and heart! 

In this episode, we listen to a man’s worry about his beloved, as depicted in Sangam Literary work, Aganaanooru 169, penned by Thondi Aamoor Saathanaar. Set amidst the arid spaces of the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the consequences of parting in a visual manner. மரம் தலை கரிந்து நிலம் பயம் வாட,அலங்குகதிர் வேய்ந்த அழல் திகழ் நனந்தலை,புலி தொலைத்து உண்ட பெருங் களிற்று ஒழி ஊன்கலி கெழு மறவர் காழ்க் கோத்து ஒழிந்ததை,ஞெலி கோற் சிறு தீ மாட்டி, ஒலி திரைக்கடல் விளை அமிழ்தின் கணம் சால் உமணர்சுனை கொள் தீம் நீர்ச் சோற்று உலைக் கூட்டும்சுரம் பல கடந்த நம் வயின் படர்ந்து நனிபசலை பாய்ந்த மேனியள், நெடிது நினைந்து,செல் கதிர் மழுகிய புலம்பு கொள் மாலைமெல் விரல் சேர்த்திய நுதலள், மல்கிக்கயல் உமிழ் நீரின் கண் பனி வார,பெருந் தோள் நெகிழ்ந்த செல்லலொடுவருந்துமால், அளியள், திருந்திழைதானே! A trip to the drylands filled with striking events, where we get to hear the man say these words to his heart, in the middle of his journey to seek wealth: “Scorching treetops and ruining the land's fertility, the hot sun spreads its swaying rays in those wide open spaces, where the carcass of a huge elephant that a tiger has attacked, fed on and abandoned, is carried by uproarious highway robbers on a pole, and what's left over from that, is collected by salt merchants, who travel in hordes, bearing that elixir harvested from the resounding waves of the sea. They light up a small flame with their fire rods and add this meat to the rice cooking in the sweet waters of the spring. As her heart forsakes her and rushes to me, who has crossed many such drylands, with pallor spreading on her form, ceaselessly thinking, pressing her soft fingers on her forehead, with tears spilling over from her eyes, akin to water drops spit out by a fish, her thick arms wasting away, she would be worrying deeply in that evening hour of loneliness, when the sun's rays diminish. That maiden wearing well-etched jewels is to be pitied indeed!” Let’s observe the changing scene in this domain and learn more! The man starts by describing the drylands that he has come across. He first talks about the relentless sun, burning and ruining everything in sight. Then, he points to a single spot and talks about three different events that have occurred right there. First, it’s a fight between a tiger and an elephant. The elephant loses out and is killed by the fierce tiger. After the tiger has had its fill of the beast, it abandons the carcass and walks on. Next, a bunch of highway robbers, who come there, carve out a huge portion of the meat and tying it on a pole, they carry it away. Finally, salt merchants arrive there, and of course, there’s still a lot of meat left, for it’s an elephant we are talking about. They set up camp nearby, start a fire with their fire rods, and then to the rice they are cooking in sweet spring water, they add the meat too. No spring water here, for sure. It must be something they have carried along in their carts. Thus, that huge elephant has now been fed upon by not one, not two, but three different parties in the scene.  After that vivid description, the man turns to reflect on the lady and laments to his heart that she is sure to be worried immensely, wondering about his whereabouts, as pallor spreads on her body and her arms thin away. He paints a portrait of the lady sitting there with her hands holding her feverish forehead and tears spilling out of her eyes like water from the mouth of a fish. The man concludes by echoing how his heart throbs with pity for the lady’s state. In the scene of the elephant carcass that was abandoned by the tiger, being fed on by the highway robbers and salt merchants, the man places a metaphor for how the lady’s beauty abandoned by him is now being feasted upon by pallor and pining. The pain in parting felt in the intimate spaces of the heart is illustrated with the scenes of the wide open spaces in the drylands, highlighting the Sangam poets’ expertise in seamlessly connecting the inner world and the outer!

In this episode, we perceive an attempt to change a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 168, penned by Kotampalathu Thunjiya Cheramaan. The verse is situated amidst the soaring peaks of the ‘Kurinji’ or ‘Mountain landscape’ and portrays the dangers of treading through this domain in the dark. யாமம் நும்மொடு கழிப்பி, நோய் மிக,பனி வார் கண்ணேம் வைகுதும்; இனியே;ஆன்றல் வேண்டும் வான் தோய் வெற்ப!பல் ஆன் குன்றில் படு நிழல் சேர்ந்தநல் ஆன் பரப்பின் குழுமூர் ஆங்கண்கொடைக் கடன் ஏன்ற கோடா நெஞ்சின்உதியன் அட்டில் போல ஒலி எழுந்து,அருவி ஆர்க்கும் பெரு வரைச் சிலம்பின்ஈன்றணி இரும் பிடி தழீஇ, களிறு தன்தூங்குநடைக் குழவி துயில் புறங்காப்ப,ஒடுங்கு அளை புலம்பப் போகி, கடுங் கண்வாள் வரி வயப் புலி கல் முழை உரற,கானவர் மடிந்த கங்குல்மான் அதர்ச் சிறு நெறி வருதல், நீயே? In this little trip to the highlands, we get to hear the confidante say these words to the man, as he prepares to leave after his nightly tryst with the lady: “After spending nights with you, full of affliction, she remains with tear-filled eyes at other times; And so, you must give it up, O lord of the sky-soaring mountains! In the shadow of a peak called ‘Pallaankundram', spreads a town called ‘Kuzhumoor', filled with fine cattle. Here, rules a king called ‘Uthiyan', the one with an unswerving heart, who has assumed the duty of charity. Akin to the uproar in his kitchen, cascades resound in the slopes of the majestic mountain ranges. Here, embracing its dark mate that has just given birth, a male elephant stands in guard of its calf with a swaying gait, even as a strong, harsh-eyed, striped tiger leaves its cozy den in the cave in loneliness, and steps out, roaring aloud amidst the mountain bamboos, in the dead dark of the night, when the mountain folk are fast asleep. Indeed, you must give up your trips through these small bushy paths, frequented by beasts many, at this hour!” It’s time for a midnight stroll through the mountains! The confidante talks about how the lady is all smiles and delight when she is with the man, during their nightly trysts, but the moment he leaves, she seems to be filled with suffering, with tears threatening to leap beyond the bounds of her eyelids. So, the confidante tells the man that he must give up something he’s been doing. Without directly telling what it is, she goes on to talk about a king named ‘Uthiyan’ and his town of ‘Kuzhumoor’, a town in the shadow of a peak called ‘Pallaankundram’, which translates as ‘the peak of cattle many’. No coincidence, the town is said to have many cattle indeed, echoing its wealth. The confidante takes us to the kitchen of this king’s palace and there’s a loud noise, lot of uproar, why because the king had sworn to uphold unceasing charity. That’s why his kitchen was always abuzz! The confidante has mentioned this fact only to place in parallel that uproar to the resounding roar of the cascades in their mountains. And here, she points to how a male elephant is embracing its female and guarding their newborn calf, even as the roar of a tiger that has left its cave resounds in the air. The confidante details how all this is happening in the middle of the night and it’s his walking in the dark amidst those narrow mountain paths that the man must give up! ‘Don’t you add angst to the lady’s heart’, the confidante seems to be telling the man, revealing how much the lady fears for the man’s safety, echoing her love for him. At the same time, telling the man that the lady cannot bear to be apart from him. In a hidden way, the confidante tells the man the only path forward was to forget this temporary trysting and seek the lady’s hand in marriage. ‘Marry her, marry her’ indeed, but interesting that we got to listen to the uproarious sounds in an ancient kitchen that never stops working, and keeps piling mounds and mounds of food, for all those who arrive at that doorstep, seeking! A capture of generosity and prosperity in one shot!

In this episode, we observe a person’s decision-making process, as portrayed in Sangam Literary work, Aganaanooru 167, penned by Kadiyaloor Uruthirankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches in detail the state of an abandoned house in this domain. வயங்கு மணி பொருத வகைஅமை வனப்பின்பசுங் காழ் அல்குல் மாஅயோளொடுவினை வனப்பு எய்திய புனை பூஞ் சேக்கை,விண் பொரு நெடு நகர்த் தங்கி, இன்றேஇனிது உடன் கழிந்தன்றுமன்னே; நாளைப்பொருந்தாக் கண்ணேம் புலம்பு வந்து உறுதரச்சேக்குவம்கொல்லோ, நெஞ்சே! சாத்து எறிந்துஅதர் கூட்டுண்ணும் அணங்குடைப் பகழிக்கொடு வில் ஆடவர் படு பகை வெரீஇ,ஊர் எழுந்து உலறிய பீர் எழு முது பாழ்,முருங்கை மேய்ந்த பெருங் கை யானைவெரிந் ஓங்கு சிறு புறம் உரிஞ, ஒல்கிஇட்டிகை நெடுஞ் சுவர் விட்டம் வீழ்ந்தென,மணிப் புறாத் துறந்த மரம் சோர் மாடத்துஎழுது அணி கடவுள் போகலின், புல்லென்றுஒழுகுபலி மறந்த மெழுகாப் புன் திணைப்பால் நாய் துள்ளிய பறைக்கட் சிற்றில்,குயில் காழ் சிதைய மண்டி, அயில் வாய்க்கூர் முகச் சிதலை வேய்ந்தபோர் மடி நல் இறைப் பொதியிலானே? We get to glimpse a striking chain of events in this trip to this domain, as we hear the man say these words to his heart: “With the dark-skinned maiden, who wears a green string woven exquisitely with shining gems of many kinds around her waist, lying on the flowery mattress laid out on a bed, etched with fine art, staying within the sky-soaring tall mansion, the whole of today has passed on pleasantly indeed! As for tomorrow, with eyes that sleep not, as loneliness arrives to torment, won't we be there, O heart? Fearing the terrors of those men with curving bows and demonic arrows, who live and eat together by attacking merchants and stealing their possessions, people had left town. In such an abandoned and arid place, ridge-gourd vines had spread around the ruins. Arriving here, a long-trunked elephant, which had just grazed on drumstick leaves, rubs its itching back against a wall, and that wall with loosened bricks falls down, pulling the ceiling too. Startled, pigeons that had been pecking about in the courtyard fly away in fear. In this space, where trees look listless, and where well-etched portraits of gods have faded, upon the uncleaned, dull platform, which had not seen divine offerings in many days, a dog suckling its young lies about in that forgotten old little house, where destroying the once-sturdy wood, termites with sharp faces, akin to spear edges, spread around. That's the place, right there, in that wide open, unprotected space, amidst that caved-in roof, where we shall arrive tomorrow, won't we, O heart?” Let’s brave the dangers of this domain and tread on! The man starts by describing how his today went so pleasantly in the company of his beloved on their comfortable bed, within the cozy expanse of their sturdy and well-etched tall mansion. After this account, he turns to his heart and says, ‘Do you know where we’ll be tomorrow?’, and then goes on to describe this very place. He takes his heart to the drylands, a place frequented by highway robbers, whose livelihood is killing and stealing from wayfarers. There used to be a town nearby, but fearing the antics of these men, the people had left that town, seeking safer spaces. Near one abandoned house in this town, an elephant, which had been feeding on the leaves of a drumstick tree arrives, wanting to scratch its itchy back. Finding a wall, it goes about doing what it came to do, but that wall, unable to bear the impact, comes falling down and pulling the roof along too. At that moment, startled the pigeons which had been pecking about lazily, flutter away in fear. In this abandoned house, the paintings of gods have lost their lustre and offerings are no more done. On that platform, where such devout rituals used to happen, now there lies a dog suckling its puppies. Not only that, the wood in these houses is being feasted upon by termites, which swarm around everywhere. The man concludes his long description of this place by saying that’s where he’ll be lying down, without a moment’s rest, filled with loneliness, if at all he followed the nudge of his heart to leave in search of wealth. In essence, by contemplating and contrasting the pleasure of his present and the horror of his future, the man comes to a decision not to part away from his beloved!

In this episode, we listen to the sarcastic words of a person, as portrayed in Sangam Literary work, Aganaanooru 166, penned by Idaiyan Nedunkeeranaar. The verse is situated amidst the river shores of the ‘Marutham’ or ‘Farmlands landscape’ and echoes the tension and rivalry in a rich town. ‘நல் மரம் குழீஇய நனை முதிர் சாடிபல் நாள் அரித்த கோஒய் உடைப்பின்,மயங்குமழைத் துவலையின் மறுகு உடன் பனிக்கும்பழம் பல் நெல்லின் வேளூர்வாயில்,நறு விரை தெளித்த நாறுஇணர் மாலை,பொறி வரி இன வண்டு ஊதல கழியும்உயர் பலி பெறூஉம் உரு கெழு தெய்வம்,புனை இருங் கதுப்பின் நீ கடுத்தோள்வயின்அனையேன்ஆயின், அணங்குக, என்!’ எனமனையோட் தேற்றும் மகிழ்நன்ஆயின்,யார்கொல் வாழி, தோழி! நெருநல்தார் பூண் களிற்றின் தலைப் புணை தழீஇ,வதுவை ஈர் அணிப் பொலிந்து, நம்மொடு,புதுவது வந்த காவிரிக்கோடு தோய் மலிர்நிறை ஆடியோரே? Here’s a dash of gods and oaths in this trip to the farmlands, as we listen to the courtesan say these words to her friend, on receiving a particular news about the man: “Saying, ‘When the measuring stick breaks a jug of toddy, which had been aged for many days, the contents would shower down, confusing people as if it's the drizzle of rainclouds, in the streets of the ancient town of Veloor, known for its heaps of paddy. At the gates of this town, striped bees fear to buzz around fragrant garlands, woven with scented buds, and fly away, seeing the huge offerings laid alongside, in front of the statue of that formidable god. O maiden with thick, flowing tresses, as you doubt, if at all I had embraced the other, let this god possess and torment me', the lord of the town had consoled his wife, I hear. If this is true, who might that be, my friend, may you live long? The one who came yesterday, akin to a garlanded elephant, and held on to the edge of the raft, and shone like the jewel of the group, and rejoiced playing with us, as the new flood of the River Kaveri brimmed over the shores?” Time to stroll into the expanse of this prosperous town and listen on! The courtesan starts by repeating the words of the man. The man seems to have described the ancient town of Veloor, by mentioning how toddy would shower as rain on its people, when a pot containing aged liquor was accidentally broken by a measuring stick. He continues by talking about how even bees don’t buzz around the garlands, offered to the mighty god at the gates of this town, in fear. The reason he had mentioned this god is to say to his wife, who was doubting his actions, that he never embraced anyone else. He reiterates his statement, telling her, that if at all, as she was suspecting, he had embraced another, he invites that god to smite him, then and there. In short, he has sworn an oath in the name of that fearsome God about his innocence before his wife. Hearing this, the courtesan shoots back to her friend saying, ‘If what the man is saying is true, then who was that person, who was life and soul of the party, yesterday, as we played and swam in the new flood of the River Kaveri, as it leaped over the banks?’ The intention of the courtesan was for these words to travel back to the lady and reinstate that the man is not so true as he claims to be and he was indeed entranced by the courtesan. Leaving behind this mere tussle over a man, let’s turn our focus to that activity of the Tamils recorded here, and that is to play in the river, when it comes rushing with fresh new waves, after the rains. No doubt the river brings the freshness of the mountains in its waves and energises the folks on the plains. A record of how this culture did not worship this life-giving river as a distant God, but saw it as a delightful companion, one which nourishes the soul!

In this episode, we perceive a mother’s angst, as portrayed in Sangam Literary work, Aganaanooru 165, penned by an anonymous poet. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse talks about the consequences of a lady’s parting away with her beloved. கயந் தலை மடப் பிடி பயம்பில் பட்டென,களிறு விளிப்படுத்த கம்பலை வெரீஇ,ஒய்யென எழுந்த செவ் வாய்க் குழவிதாது எரு மறுகின் மூதூர் ஆங்கண்,எருமை நல் ஆன் பெறு முலை மாந்தும்நாடு பல இறந்த நன்னராட்டிக்குஆயமும் அணி இழந்து அழுங்கின்று; தாயும்”இன் தோள் தாராய், இறீஇயர் என் உயிர்!” என,கண்ணும் நுதலும் நீவி, தண்ணென,தடவு நிலை நொச்சி வரி நிழல் அசைஇ,தாழிக் குவளை வாடு மலர் சூட்டி,தருமணற் கிடந்த பாவை என்அருமகளே என முயங்கினள் அழுமே! It’s all about the state of those left behind in this trip to the drylands, where we get to hear the onlookers say these words about the lady’s family, at the juncture of the lady’s elopement with her man: “As the naive female elephant with a soft head fell into a pit, the male elephant trumpets aloud. Startled by the uproar, their red-mouthed, young calf quickly rises up and runs to the ancient town, having streets coated with pollen dust, and drinks up milk from the heavy udders of the good buffalo. Crossing many such places, the esteemed maiden had parted away; And so her playmates now look listless, shorn of their beauty; As for her mother, she picks up the doll lying about in the imported sands, caresses its eyes and forehead. Then placing it upon the coolness of the swaying, lined shade of the chaste tree with curving branches, she adorns it with faded blue lilies from the urn. Embracing the doll, she sheds tears saying, ‘My dearest daughter, won't you offer your sweet arms for me to embrace? Let my life part away!'” Time to hear the uproar in the drylands. The onlookers start by relating the state of a male elephant, whose mate has fallen into a pit. Hearing its troubled cries, its young one is startled and runs away to a nearby town, where the streets are covered in pollen. Here, a mother buffalo accepts the elephant calf as its own and suckles it with kindness. The lady would have traversed many places with such scenes, the onlookers connect. Then, moving from where the lady was, they turn to talk about those she left behind, and mention how her friends are all looking sad and crestfallen. As for the lady’s mother, she goes about picking the lady’s doll lying about on the sands brought from elsewhere, and places it in the shade of the chaste tree and adorns it with blue lilies. Then embracing the doll, and seeing it as her daughter, she asks the doll to offer her arms and wishes her unbearable life would depart, conclude the onlookers. In the scene of a mother buffalo taking care of an elephant calf, parted from its family, hides the metaphor of the lady’s family hoping that the lady finds love and care in those places that she has left to. In essence, a tender verse filled with emotions of loss, lament and love for the one departed!

In this episode, we perceive a heartfelt wish throbbing in a man’s mind, as depicted in Sangam Literary work, Aganaanooru 164, penned by Madurai Tamil Koothan Naakanthevanaar. The verse is situated amidst the fragrant flowers of the ‘Mullai’ or ‘Forest landscape’ and relays the yearning in a person to be with their beloved. கதிர் கையாக வாங்கி, ஞாயிறுபைது அறத் தெறுதலின், பயம் கரந்து மாறி,விடுவாய்ப்பட்ட வியன் கண் மா நிலம்காடு கவின் எதிரக் கனை பெயல் பொழிதலின்பொறி வரி இன வண்டு ஆர்ப்ப, பல உடன்நறு வீ முல்லையொடு தோன்றி தோன்றவெறி ஏன்றன்றே வீ கமழ் கானம்.”எவன்கொல் மற்று அவர் நிலை?” என மயங்கி,இகு பனி உறைக்கும் கண்ணொடு இனைபு, ஆங்குஇன்னாது உறைவி தொல் நலம் பெறூஉம்இது நற் காலம் கண்டிசின் பகைவர்மதில் முகம் முருக்கிய தொடி சிதை மருப்பின்,கந்து கால் ஒசிக்கும் யானை,வெஞ் சின வேந்தன் வினை விடப்பெறினே! A verse in which we witness the transformation of this domain as we listen to the man say these words to his heart, as he remains at a battle encampment, in the service of his king, and parted away from his lady love: “Extending its rays as hands, the sun had seized every drop of moisture, and so, losing its green utterly, changing from its stance of fertility, the wide spreading land, became parched with cracks many. For the land to regain its state of being filled with lush green, the rains have poured heavily, and so fragrant flowers of wild jasmine along with flame-lilies have bloomed, making swarms of striped bees buzz around, spreading a rich scent across that forest of fallen flowers! At this time, worried wondering, ‘What state might he be in?', with tears pooling in her eyes, helpless, my lady remains there. Our king possesses battle elephants, which after tearing apart gates of enemy forts, now stand with ruined golden rings on their tusks and pull against the posts to which they are tied. Good times would arrive truly and my lady would attain her old beauty, if only our furious king decides to end his mission of war!” Let’s inhale that intense scent of a rain-soaked forest and learn more! The man starts by talking about how summer had come and the sun had been greedy about gathering with its many hands and gulping down every bit of water on the expanse of land. As a consequence, there was no sign of anything fertile, and the earth looked listless, all parched and thirsty. As if granting the wish of this land, the rains had arrived in the due season, and poured down, filling the forest with wild jasmines and flame-lilies, much to the excitement of bees around, the man describes. Then, in his mind’s eye, the man leaves the world around behind and visits the lady. He sees her worrying about him, wondering what he’s going through, and her eyes filled to the brim with unshed tears. He returns back to his camp and takes in the battle elephants that have done their job of smashing enemy gates quite well. and are now standing there, with broken tusk rings, shaking their posts, still seething with the remnants of fury. The man concludes by saying that good times would return in his life and his lady would regain her old beauty, if only the king decided his war was over.  Inferring from the state of the elephants, though the king had gained victories, he seemed not satisfied and perhaps, he was intent on continuing the war. This is what the man wishes would end and that in turn, he could end the suffering of his beloved. There’s a flowing beauty in the thought of this verse in how the man talks about the nature of the parched land and the effect of the pouring rains, subtly connecting to the state of his pining lady, parted from him and his hope to end her suffering! As a modern office-goer would say, ‘It’s all in the boss’ hands!’ Here’s wishing our man gets his leave of absence and returns home soon, and ends up pouring as the loving rain upon the parched earth of the lady’s heart! 

In this episode, we perceive the lady’s angst, as depicted in Sangam Literary work, Aganaanooru 163, penned by Kazhaar Keeran Eyitriyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relays heartfelt words said to an element of the weather. விண் அதிர்பு தலைஇய, விரவு மலர் குழைய,தண் மழை பொழிந்த தாழ்பெயற் கடை நாள்,எமியம் ஆக, துனி உளம் கூர,சென்றோர் உள்ளிச் சில் வளை நெகிழ,பெரு நசை உள்ளமொடு வருநசை நோக்கிவிளியும் எவ்வமொடு, ”அளியள்” என்னாதுகளிறு உயிர்த்தன்ன கண் அழி துவலைமுளரி கரியும் முன்பனிப் பானாள்,குன்று நெகிழ்ப்பு அன்ன குளிர் கொள் வாடை!எனக்கே வந்தனை போறி! புனற் கால்அயிர் இடு குப்பையின் நெஞ்சு நெகிழ்ந்து அவிழ,கொடியோர் சென்ற தேஎத்து, மடியாதுஇனையை ஆகிச் செல்மதி;வினை விதுப்புறுநர் உள்ளலும் உண்டே! In this trip to the drylands, we don’t get to see much of the domain but we hear the lady say these words to the cold northern winds, when the confidante asks her to bear with the man’s continued absence: “Quaking the skies, crushing the flowers, the moist rain clouds have poured down on this last day of the season. All alone, I stand here, with suffering soaring in my heart, thinking about the one, who parted away, even as the few bangles left too slip away, with a deeply desiring heart, looking at the path he would lovingly return, with a sorrow that seems capable of ending me. Without thinking, ‘She's to be pitied', akin to the sigh of an elephant, you spray droplets, ruining everything, during this midnight hour in this early dew season, when a lotus becomes burnt black, spreading a coldness that makes even a mountain quiver, O northern wind! You seemed to have arrived just to assail me! Akin to how the river sand is moistened by the gushing water, to make his heart fill with tenderness, why don't you depart to the place, where that cruel one treads, and without tempering yourself, being just as you are, blow thither? Perhaps that will make the one, who only desires to complete his mission, think about me! Time to experience the shivering cold in the lady’s life! The lady starts by talking about the world within and outside of her just then. Outside, we see that it’s the last day of the rains, which have made the skies tremble and drenched the flowers too. Inside her, it’s all about suffering. She spends all her time thinking of the one, who parted away, glancing over and over again at the direction he would return home, as the last few bangles on her hands slip away, indicating how much she has thinned down and lost her health. Now she turns to the northern wind and says that the wind doesn’t seem to consider how pitiable her state was, but instead, it was intent on tormenting her even more by spraying its moist droplets in that season of ‘early dew’ and spreading the kind of coldness that makes lotuses turn black and even mountains tremble! What an imagination to think that a mountain would shiver in the cold! No doubt the lady’s saying, ‘If a mighty mountain can quiver, how can I, a little human being, bear this attack!’ In any case, after accusing the wind to be targeting her specifically, the lady concludes by putting forth a request, asking the wind to go blow, where the man is, with the full force it has now, so that he would think of her and return home, instead of being only intent on his mission of seeking wealth. Here’s a creative expression, personifying a non-living entity and projecting the angst within on the action of a natural event!

In this episode, we listen to the passionate heart of a man, as portrayed in Sangam Literary work, Aganaanooru 162, penned by Paranar. The verse is situated amidst the soaring peaks and descending cascades of the ‘Kurinji’ or ‘Mountain landscape’ and reveals the beauty of a lord’s mountain country. கொளக் குறைபடாஅக் கோடு வளர் குட்டத்துஅளப்பு அரிது ஆகிய குவை இருந் தோன்றலகடல் கண்டன்ன மாக விசும்பின்அழற்கொடி அன்ன மின்னு வசிபு நுடங்ககடிதுஇடி உருமொடு கதழ்உறை சிதறி,விளிவு இடன் அறியா வான் உமிழ் நடு நாள்,அருங் கடிக் காவலர் இகழ்பதம் நோக்கி,பனி மயங்கு அசைவளி அலைப்ப, தந்தைநெடு நகர் ஒரு சிறை நின்றனென்ஆக; அறல் என அவிர்வரும் கூந்தல், மலர் எனவாள் முகத்து அலமரும் மா இதழ் மழைக் கண்,முகை நிரைத்தன்ன மா வீழ் வெண் பல்,நகை மாண்டு இலங்கும் நலம் கெழு துவர் வாய்,கோல் அமை விழுத் தொடி விளங்க வீசி,கால் உறு தளிரின் நடுங்கி, ஆனாதுநோய் அசா வீட முயங்கினள் வாய்மொழிநல் இசை தரூஉம் இரவலர்க்கு உள்ளியநசை பிழைப்பு அறியாக் கழல்தொடி அதிகன்கோள் அறவு அறியாப் பயம் கெழு பலவின்வேங்கை சேர்ந்த வெற்பகம் பொலிய,வில் கெழு தானைப் பசும் பூண் பாண்டியன்களிறு அணி வெல் கொடி கடுப்ப, காண்வரஒளிறுவன இழிதரும் உயர்ந்து தோன்று அருவி,நேர் கொள் நெடு வரைக் கவாஅன்சூரரமகளிரின் பெறற்கு அரியோளே. In this somewhat long trip to the mountains, we get to hear the man say these words to his heart, after a tryst with his lady love: “Never diminishing no matter how much is taken, having an unmeasurable depth where conches bloom, appearing with a thick darkness is the ocean! The vast skies seemed akin to glimpsing this ocean, and here, akin to a vine of flames, lightning flashed, splitting the clouds, along with roaring thunder and scattered heavy rain, with no end in sight. Such was the dark hour of midnight, shrouded in a downpour. Just then, watching for the moment the stern guards would relax, as cold and moist winds tormented me, I stood on one side of her father's tall mansion. Akin to river sand, cascaded down her tresses; Akin to flowers blooming on her shining face, were her huge-petaled, rain-like eyes; Akin to bee-buzzing buds, assembled in a row, were her white teeth; Akin to jewels, radiantly shone her exquisite red mouth; Swaying her hands and making her rounded, brilliant bangles tinkle, akin to a sprout that had grown legs, trembling, she had come to end my unceasing affliction and embraced me tight. In the mountains ruled by Athikan, who wears warrior anklets, known for his words of honesty, and having the fine fame of generosity that renders to supplicants, never leaving them in a state of unfulfilled wishes, fertile jackfruit trees, which have never known a moment of not bearing a fruit, flourish along with Kino trees. Here, akin to the victorious flag, fluttering atop elephants, owned by Pasumpoon Pandiyan, who wields an army of skilled archers, pleasing to the eyes, descend down from high, radiant cascades. Akin to the tormenting divine spirits that live in the slopes of this tall and majestic mountain range, my lady is hard to attain!” Let’s soak in the shower of the mountains and listen on! The man starts by describing the skies that appear before him just then, and to do that, he summons the deep and immeasurable seas in parallel. In this sea-like sky, lighting was flashing, thunder was roaring and the rain was pouring, with no respite, the man says. He illustrates how he was standing there, shivering in the cold, by the mansion belonging to the lady’s father, waiting for the right moment the guards would relax their watch. Fulfilling his yearning, the lady seemed to have arrived there, walking like a vine with legs, quivering. That’s not all he says about the lady, of course. He calls her tresses, black sand; Her eyes, blue-lotus flowers; Her teeth, wild jasmine buds; Her mouth, red coral jewels; He vividly records how the lady came there, with her bangles tinkling, and embraced him, putting his painful disease of yearning at ease. Then, he goes on to talk about the fertile mountain slopes of a lord named Athikan, who was known for his honesty and generosity, a place, where there were lush jackfruit trees, bursting over with fruits from every part, and radiant Kino trees as well. To describe the cascades flowing down in this mountain, the man summons another historic character, Pasumpoon Pandiyan, and specifically talks about the victorious flags fluttering atop his elephants. Returning back to Athikan’s mountain slopes, the man says this region was inhabited by female spirits, and concludes by declaring however hard it would be to attain those female spirits, it was so with his beloved too. In essence, though the man has just embraced his love, he is already pining for her! That’s the handiwork of love, especially in the blooming stage, modern psychologists would concur, remarking there’s not that much of a distance between love and addiction, symptomatically speaking! 

In this episode, we listen to an attempt at dissuading a person from carrying out their intention, as depicted in Sangam Literary work, Aganaanooru 161, penned by Madurai Pullankannanaar. Set in the ‘Paalai’ or ‘Drylands’ landscape, the verse etches the domain’s elements and the lady’s emotions. வினைவயிற் பிரிதல் யாவது? ”வணர் சுரிவடியாப் பித்தை, வன்கண் ஆடவர்அடி அமை பகழி ஆர வாங்கி;வம்பலர்ச் செகுத்த அஞ்சுவரு கவலை,படுமுடை நசைஇய வாழ்க்கைச் செஞ் செவிஎருவைச் சேவல் ஈண்டுகிளை பயிரும்வெருவரு கானம் நீந்தி, பொருள் புரிந்துஇறப்ப எண்ணினர்” என்பது சிறப்பக்கேட்டனள்கொல்லோ தானே? தோள் தாழ்புசுரும்பு உண ஒலிவரும் இரும் பல் கூந்தல்,அம் மா மேனி, ஆய் இழை குறுமகள்சுணங்கு சூழ் ஆகத்து அணங்கு என உருத்தநல் வரல் இள முலை நனையபல் இதழ் உண்கண் பரந்தன பனிஏ. In this quick trip to the drylands, we glance at a striking bird and hear the confidante say these words to the man, at a time when he intends to part with the lady and leave on a mission to earn wealth: “How can you part away on your mission? Did she already hear about your intention to leave, desiring wealth, and traverse that formidable jungle, where harsh-eyed men with thick, curly and untameable hair, aiming their sharp-edged arrows, kill wayfarers, who happen upon those fear-evoking paths, and where having a life of desiring reeking flesh, the male of the red-eared vulture beckons its close kin with a resounding call? I say this because that young maiden, wearing well-etched ornaments, having a beautiful, dark complexion, and thick, black tresses, descending down her shoulders, around which bees buzz around, was standing there, drenching her fine and upraised young bosoms, filled with pallor spots, which torment like a divine spirit, with tears that were brimming over from her many petaled, kohl-streaked eyes!” Time to brave the fear-evoking paths through the scrub jungle! The confidante starts with a pointed question to the man, asking how he thinks he can leave on his mission. Then she goes on to the describe the place he intends to traverse so as to fulfil his mission, namely the formidable drylands path, where harsh-eyed robbers rove with their bows and arrows and have no qualms about ending the lives of wayfarers, and to feast on their flesh, the red-headed vulture beckons its kin. After this description, the confidante asks the man if the lady has already come to know that the man would part away. This is because at the moment when the confidante had gone to inform the lady about the man’s intention and secure her permission, even before she said anything, the lady was standing there, crestfallen, soaking her fine bosoms with tears, brimming over from her flower-like eyes, the confidante concludes. ‘So dangerous is your path and she’s shedding tears already. Do you really have to leave?’, the confidante means to ask the man and prevent him from pursuing his intention of parting away. In the scene of the red-headed vulture feeding on the flesh of the corpse, left behind by highway robbers, the confidante places a metaphor for how the townsfolk would feed on the lady’s health and beauty with their rumours, after the man has felled her with the arrow of his parting! Stepping aside from this frequent theme of the lady’s helplessness at the man’s parting, let’s zoom on to that bird mentioned vividly here. The Tamil description of this bird translates as ‘red-eared vulture’, though the contemporary common name is the ‘red-headed vulture’ or the ‘Pondicherry vulture’. This bird does have distant ear-like flaps on the sides of its head and seemingly the Tamils have focused on this aspect to give the bird its name. The bird apparently does not feed in a large group and just calls one other, possibly its mate, in the carrion sharing. Perhaps that’s what the verse means when it says ‘close kith and kin’. Today, I also learnt how this bird, which seems to have impressed our age-old ancestors, is much threatened by contemporary humans. It has moved into the ‘Endangered category’ mainly because of the use of a drug called ‘diclofenac’, used by vets to treat livestock. One species’ pill is another’s poison! Some remedial steps being taken are to feed diclofenac-free meat to this essential scavenger of the skies. Yet again, truly fascinating how a few lines of ancient poetry about inner life and relationships has led us to reflect on biology, ecology and opened our eyes to the world around!

In this episode, we listen to an intriguing way of communicating an awaited information, as depicted in Sangam Literary work, Aganaanooru 160, penned by Kumizhi Gnaazhalaar Nappasalaiyaar. The verse is situated amidst the sandy shores of the ‘Neythal’ or ‘Coastal landscape’ and conveys the change in the man’s manner and what it means to the lady’s life. ஒடுங்கு ஈர் ஓதி நினக்கும் அற்றோ?நடுங்கின்று, அளித்து, என் நிறை இல் நெஞ்சம்.அடும்பு கொடி சிதைய வாங்கி, கொடுங் கழிக்குப்பை வெண் மணற் பக்கம் சேர்த்தி,நிறைச் சூல் யாமை மறைத்து ஈன்று, புதைத்தகோட்டு வட்டு உருவின் புலவு நாறு முட்டைபார்ப்பு இடன் ஆகும் அளவை, பகுவாய்க்கணவன் ஓம்பும் கானல்அம் சேர்ப்பன்முள் உறின் சிறத்தல் அஞ்சி, மெல்லவாவு உடைமையின் வள்பின் காட்டி,ஏத் தொழில் நவின்ற எழில் நடைப் புரவிசெழு நீர்த் தண் கழி நீந்தலின், ஆழிநுதிமுகம் குறைந்த பொதி முகிழ் நெய்தல்,பாம்பு உயர் தலையின், சாம்புவன நிவப்ப,இர வந்தன்றால் திண் தேர்; கரவாதுஒல்லென ஒலிக்கும் இளையரொடு வல் வாய்அரவச் சீறூர் காண,பகல் வந்தன்றால், பாய்பரி சிறந்தே. This trip to the coast provides a glimpse of the teeming life in this domain and takes us in the presence of the confidante, as she says these words to the lady: “O maiden with well-set, moist tresses, is it the same for you too? My pitiable, unfulfilled heart is shivering! Ruining the beach morning glory vines by pulling it, the pregnant turtle clears the heap of white sand in the backwaters and then hides itself before laying eggs. Then it buries the flesh-reeking eggs in the shape of ivory dice. Its mate with a split open mouth guards with devotion, until these eggs turn into hatchlings, in the orchards by the picturesque seashore in the domain of the lord. Fearing that if thorny goads are used, it would leap, his horse with an elegant gait, which has learnt the art of pouncing like an arrow, is gently directed to slow down, with the hold of the bridle. Since his chariot comes striding through the cool and lush backwaters, the sharp wheels sever the blooming clusters of the blue lotus, making them wilt, and akin to the hoods of snake, these bob up in the waters. The lord's sturdy chariot used to arrive this way in the quiet of the night. But now, without any restraint, with uproarious helpers, letting our small town with strong mouths see, he arrives by day, speeding on his pouncing horses!” Time to take a dip in the cool waves of the shore and know more! The confidante starts by declaring that her heart is shell-shocked and she questions the lady if she feels the same way too. Without explaining a thing, she goes on to describe the man’s domain and to do that, first she brings in a mother turtle in the middle of laying its eggs, amidst the sand beneath the beach morning glory vines, in a well-hidden way. Later, the confidante points to us how these eggs are being guarded by the father turtle, which apparently takes care of these, until they turning into hatchlings. A moment to consider this statement about father turtles guarding eggs. In our current world, there are no instances of paternal involvement, when it comes to protecting turtle eggs. There may be a few species in which the mother offers a little protection, but that too would mostly be in the nesting stage, and after that, the baby turtles would normally have to fend for themselves, with no support from either parent. So, either the Sangam folks are mistaken in their understanding or perhaps there was some unknown species of turtle, which had this characteristic, and one, which has possibly gone extinct now. In any case, at the core, there’s the element of projecting human values on the behaviour of this animal. Returning, we find the confidante turning the spotlight from the man’s domain to the man’s actions. First, she talks about how he used to come so quietly at night, taming the intensity of his horses, and wielding his chariot silently through the waters, severing some blue lotuses in the process. Then, she concludes by contrasting this discreet way of visiting the lady to how he has now come, attracting a lot of attention from their townsfolk with gossiping mouths, led by his boisterous helpers and speeding on his horses, in the bright light of day. Now, we can connect it to the confidante’s statement about her heart stopping at this sight, and understand this is her way of telling the lady, ‘Your man has come to seek your hand. All’s well now’! Even in that scene of the male turtle guarding the eggs, the confidante hides a subtext of how the man has ensured that precious egg of the secret love relationship between him and the lady has turned into the hatching of a happy married life. In essence, the confidante has simply spiced by the story with a little drama in the beginning about her poor heart and ended with the news that’s sure to make the lady’s heart brim over with joy!

In this episode, we listen to words of consolation rendered to allay the anxiety of another, as depicted in Sangam Literary work, Aganaanooru 159, penned by Aamoor Kavuthaman Saathevanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the fame and wealth of a Sangam era town. தெண் கழி விளைந்த வெண் கல் உப்பின்கொள்ளை சாற்றிய கொடு நுக ஒழுகைஉரனுடைச் சுவல பகடு பல பரப்பிஉமண் உயிர்த்து இறந்த ஒழிகல் அடுப்பின்,வடி உறு பகழிக் கொடு வில் ஆடவர்அணங்குடை நோன் சிலை வணங்க வாங்கி,பல் ஆன் நெடு நிரை தழீஇ, கல்லெனஅரு முனை அலைத்த பெரும் புகல் வலத்தர்,கனை குரற் கடுந் துடிப் பாணி தூங்கி,உவலைக் கண்ணியர், ஊன் புழுக்கு அயரும்கவலை, ”காதலர் இறந்தனர்” என, நனிஅவலம் கொள்ளல்மா, காதல் அம் தோழி! விசும்பின் நல் ஏறு சிலைக்கும் சேண் சிமைநறும் பூஞ் சாரற் குறும் பொறைக் குணாஅதுவில் கெழு தடக் கை வெல் போர் வானவன்மிஞிறு மூசு கவுள சிறு கண் யானைத்தொடியுடைத் தட மருப்பு ஒடிய நூறி,கொடுமுடி காக்கும் குரூஉகண் நெடு மதில்சேண் விளங்கு சிறப்பின் ஆமூர் எய்தினும்,ஆண்டு அமைந்து உறையுநர்அல்லர், நின்பூண் தாங்கு ஆகம் பொருந்துதல் மறந்தே. A dash of drylands and a pinch of history in this trip, where we get to listen to the confidante say these words to the lady, when the man remains parted away, having left on his mission to seek wealth: “Taking white salt that was harvested from the clear backwaters, salt merchants journey on, shouting out the price and selling their produce. Then untying their bulls with strong napes, from the curved yokes of their carts, they let the beasts loose to graze around, as they take rest and eat around their stone stoves, which they leave behind, when parting away. Men with curving bows, and arrows, which never miss their targets, bend their sturdy bows, which seem to contain spirits within, and seize many herds of cattle, with a resounding uproar, which makes the land quiver, and then those victorious warriors sway to the sharp beats of thick-throated drums, wearing leaf garlands, and relish the meat they cook on those abandoned stone stoves in those formidable drylands paths! Don't fall into a deep suffering, thinking that your lover has parted away to such a place, my loving friend!  Having soaring peaks, where the sky's white steed leaps about, and slopes filled with fragrant flowers, are the hills of ‘Kurumporai'.  To the east of these hills, is the town of Aamoor, filled with dazzling places, guarded by tall forts, under the protection of ‘Kodumudi', who attacked and seized the bangle-clad tusks of the small-eyed elephants, around whose cheeks, bees buzz, owned by the victorious ‘Vanavan', who wields a skilful bow in his strong hands. Even if your man were to attain this renowned town of Aamoor, whose fame spreads far and wide, he is not one remain there satisfied, forgetting the embrace of your jewel-clad bosom!” Time to traverse those well-worn arid paths through the drylands! The confidante starts her words to the pining lady by asking her to focus on an object lying about in the drylands. This object is a stove, made of stone, and it’s one that has been abandoned by salt merchants, who had come that way, after selling their harvest of salt from the backwaters. Arriving at this spot after a long journey, they seem to have decided to give their bulls a break, and take one themselves. After loosening the yokes of the cattle, they had settled down for a meal around their stone stove. Once down, they seem to have left that stove behind and gone their way. Cut and we are back in the same spot, but after some time has elapsed. Now, we find jubilant warriors, who seem to have seized cattle, and are celebrating their victory by dancing to the beats of the drum, and settling down for a meal around that same stone stove, abandoned by those salt merchants. After this vivid description, the confidante reveals that this place is none other than the one which the man traverses now. She looks at her friend and asks the lady to worry not, thinking about the man’s travels thither.  Then leaving the barren drylands behind, the confidante takes the lady to the soaring peaks of Kurumporai, where lightning flashes, and the scent of flowers envelops. From there, they travel east and end up in a town called ‘Aamoor’, which has tall forts and is protected by a lord named ‘Kodumudi’, who has the honour of subduing the great elephants of King Vanavan, a Chera king, and seizing their tusks. The confidante concludes by emphatically telling the lady that even if the man were to attain that celebrated town of Aamoor as his reward, the man was not a person to stay behind, settle down and forget the warm embrace of his beloved! In essence, the confidante wishes to stress upon the lady that the man will never forsake her, no matter what the temptation is, and that he would be back the moment his mission was complete. The highlight of this verse though is the journey of that abandoned stove from the hands of salt sellers to the hands of these cattle warriors. Looking at it from another angle, I see how food is the unifying factor here, between very different groups of people, who seemingly have nothing in common. A reminder that if we look closely enough, we’ll be able to find some streak of commonality with people, no matter how far apart in space or time they are from us!

In this episode, we observe how communication is used effectively to convey two different things to two different people, as depicted in Sangam Literary work, Aganaanooru 158, penned by Kabilar. The verse is situated amidst the slopes and fields of the ‘Kurinji’ or ‘Mountain landscape’ and portrays the intriguing way in which the confidante rises to the aid of the lady. ”உரும் உரறு கருவிய பெரு மழை தலைஇ,பெயல் ஆன்று அவிந்த தூங்குஇருள் நடுநாள்,மின்னு நிமிர்ந்தன்ன கனங்குழை இமைப்ப,பின்னு விடு நெறியின் கிளைஇய கூந்தலள்,வரை இழி மயிலின் ஒல்குவனள் ஒதுங்கி,மிடை ஊர்பு இழிய, கண்டனென் இவள்” எனஅலையல் வாழி! வேண்டு, அன்னை! நம் படப்பைச்சூருடைச் சிலம்பில், சுடர்ப்பூ வேய்ந்துதாம் வேண்டு உருவின் அணங்குமார் வருமே;நனவின் வாயே போலத் துஞ்சுநர்க்கனவு ஆண்டு மருட்டலும் உண்டே; இவள்தான்சுடர் இன்று தமியளும் பனிக்கும்; வெருவரமன்ற மராஅத்த கூகை குழறினும்,நெஞ்சு அழிந்து அரணம் சேரும்; அதன்தலைப்புலிக் கணத்தன்ன நாய் தொடர்விட்டு,முருகன் அன்ன சீற்றத்துக் கடுந் திறல்எந்தையும் இல்லன் ஆக,அஞ்சுவள் அல்லளோ, இவள் இது செயலே? This unique trip to the hills takes us in the presence of the confidante, as she says these words to mother, when the man listens nearby, hidden from view: “Saying, “After a heavy downpour accompanied by roaring thunder, when the rains have ceased in that dark hour of midnight, when a mist of darkness pervades, akin to a lightning streak that suddenly flashes, her heavy earrings sparkled. With tresses that had escaped from the tightness of her braids, with the hesitant gait of a peacock when descending down a hill, I saw her coming down from the loft in the fields', do not rebuke her so. May you live long! Listen to me, mother! In the mountain slopes near our hamlet, filled with spirits many, wearing flaming flowers, those apparitions might take on any form of their choice and descend down. They could appear so real in the dreams of those who sleep and confuse them;  As for her, she would shiver even if she was caught alone without a lamp in hand; When the owl perched atop the burflower tree in the town centre hoots aloud, terrorised, she would lose her calm and rush to find a place of safety; On top of that, when father, who has the ferocious strength and fury of God Murugan, and who roves with hunting dogs, which are like an ambush of tigers, remains at home, won't she fear to do this?” Time to brave the dark and walk the ups and downs of the hilly terrain! The confidante starts by asking mother not to trouble the lady. From the confidante’s words, we understand that mother had been worried that the lady has been out trysting with the man. In fact, mother had been talking about how she had glimpsed the lady, climbing down the loft in the fields, as if she were a dainty peacock, descending down the hill, and come walking, with her earrings flashing like lightning on a dark night after the rains. After repeating these words of hers, the confidante tells mother that she was mistaken, and goes on to talk about how their mountain slopes were full of spirits and that they often take human forms of their choice and rove around, adorned with flowers. After trying to impress on mother that she might have dreamt seeing the lady because of the tricks of one such spirit, which makes people believe that what they saw was the truth, when it was nothing more than a dream.  Then, the confidante also mentions what a scaredy-cat the lady is, for she was someone who was afraid to even be alone in the dark, and would scream and rush to find someone, when she hears the owl on the bur-flower tree hooting in the middle of the night. Besides, last but not least, father, ferocious father, known to be out hunting with his fearsome dogs, was right there at home. ‘How will the lady dare to do what you think she has done?’, the confidante concludes by questioning mother! On the one hand, this is the confidante’s way of removing any doubts in mother’s mind about the lady’s relationship with the man by pulling a fast one about wandering mountain spirits and what-not. At the same time, the confidante is saying to the listening man, ‘Do you see what kind of stories I have to weave to confuse mother and keep her from suspecting your relationship with the lady? How long do you think mother darling is going to fall for it?’. Through this, the confidante allays mother’s anxiety about the lady’s activities, and also nudges the man to conclude that his temporary trysting cannot go on and that it was time to seek the lady’s hand. A classic case of one stone, two birds! 

In this episode, we perceive a person’s alarm at the prospect of an approaching event, as depicted in Sangam Literary work, Aganaanooru 157, penned by Vempattroor Kumaranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the lady’s inability to bear with the man’s parting. அரியற் பெண்டிர் அல்கிற் கொண்டபகுவாய்ப் பாளைக் குவிமுலை சுரந்தஅரி நிறக் கலுழி ஆர மாந்தி,செரு வேட்டு, சிலைக்கும் செங் கண் ஆடவர்,வில் இட வீழ்ந்தோர் பதுக்கை கோங்கின்எல்லி மலர்ந்த பைங் கொடி அதிரல்பெரும் புலர் வைகறை அரும்பொடு வாங்கி,கான யானை கவளம் கொள்ளும்அஞ்சு வரு நெறியிடைத் தமியர் செல்மார்நெஞ்சு உண மொழிபமன்னே தோழி!முனை புலம் பெயர்த்த புல்லென் மன்றத்து,பெயல் உற நெகிழ்ந்து, வெயில் உறச் சாஅய்,வினை அழி பாவையின் உலறி,மனை ஒழிந்திருத்தல் வல்லுவோர்க்கே! In this little trip to the drylands, we hear the lady say these words to her confidante, when the confidante brings news that the man intends to part away to gather wealth: “Relishing the muddy-hued, cloudy filtrate, pouring out of the tapering spouts of the pot, with a curving mouth, held on the hips of a toddy-selling woman, with intoxication and fury, uproarious red-eyed men kill wayfarers with their bows. The stone graves of those killed stand near the buttercup tree. Upon this tree, spreads the vines of the wild jasmine, which had just bloomed the previous night. At the bright and early hour of dawn, pulling the vines of this buttercup and wild jasmine flowers, a forest elephant swallows it as its ball of food in those formidable paths. My friend, you say that he will walk alone in such a path, to satisfy his heart! In the listless town centre, forsaken by people, owing to the outbreak of a battle, shrinking in the rains and fading in the sun, a well-etched female figurine would languish. To accept his parting is only possible for those, who have the ability to be in that state of that statue and remain at home!” Time to traverse the dangerous domain! The lady starts by conjuring the image of a toddy selling woman, who carries a pot on her hips. Procuring the filtrate from this seller, drylands men get sloshed and red-eyed. Full of fury, they attack wayfarers and bury them in stone graves, near the buttercup tree. On this tree, spreads a vine of wild jasmine that blossomed just the previous night. Not caring about the tenderness of these flower buds, a wild elephant pulls these vines and buttercup flowers along with it, to feed on the same in the early hour of dawn. The lady describes how the confidante has informed her that such is the dangerous path that the man will walk soon. When wars break out, people abandon their towns and rush away to a place of safety. At this time, the female figurines worshipped in the town centre would be abandoned and would shrink in the rains and fade in the sun, with no one to care for it. Only those who can be like that lifeless statue can bear with the man’s parting and remain calm at home, the lady concludes, implying she does not know the way to be so! In short, the lady tells the confidante, ‘I’m no statue to accept his parting, without any emotion’, and voices her doubts about being able to bear with what’s about to happen. Perhaps the confidante will relay this information to the man and prevent him from travelling or perhaps she will console the lady saying, ‘Girl, you have it in you. Worry not!. Whatever be the counsel and the course of action, the lady has done the right thing in expressing the anxiety within and that’s half the battle won!

In this episode, we perceive an attempt at persuading another, as portrayed in Sangam Literary work, Aganaanooru 156, penned by Aavoor Moolankizhaar. The verse is situated amidst the lush fields of the ‘Marutham’ or ‘Farmlands landscape’ and talks about the wealth and faith in this domain. முரசுடைச் செல்வர் புரவிச் சூட்டும்மூட்டுறு கவரி தூக்கியன்ன,செழுஞ் செய் நெல்லின் சேயரிப் புனிற்றுக் கதிர்மூதா தின்றல் அஞ்சி, காவலர்பாகல் ஆய்கொடிப் பகன்றையொடு பரீஇ,காஞ்சியின் அகத்து, கரும்பு அருத்தி, யாக்கும்தீம் புனல் ஊர! திறவிதாகக்குவளை உண்கண் இவளும் யானும்கழனி ஆம்பல் முழுநெறிப் பைந் தழை,காயா ஞாயிற்றாக, தலைப்பெய,”பொய்தல் ஆடிப் பொலிக!” என வந்து,நின் நகாப் பிழைத்த தவறோ பெரும!கள்ளும் கண்ணியும் கையுறையாகநிலைக் கோட்டு வெள்ளை நால்செவிக் கிடாஅய்நிலைத்துறைக் கடவுட்கு உளப்பட ஓச்சி,தணி மருங்கு அறியாள், யாய் அழ,மணி மருள் மேனி பொன் நிறம் கொளலே? This is one of those rare songs where though the landscape is defined in one way, the theme tends in a totally different direction. Here, we listen to the confidante say these words to the man, when she brings over the lady for a tryst with him: “Appearing akin to the lifted yak-fur fans, fastened to heads of horses, belonging to wealthy lords with victorious drums, are the tender, red-streaked stalks of paddy in the fertile fields. Fearing that an old bull would feed on and ruin these stalks, guards pluck beautiful vines of bitter gourd along with the rattlepod, and using that, tie the bull to the trunk of a portia tree, and feed it sugarcane stems in your town, filled with sweet streams, O lord! When I had come with her, who has exquisite kohl-streaked eyes, akin to lush blue lilies, adorned in attires of green leaves and flawless flowers of field lilies, when the sun was not scorching, so that we could play in the pond and delight, we made the mistake of smiling at you, O lord! Even after offering toddy and garlands, along with a white male goat with hanging ears and sturdy horns as sacrifice, to the god who guards the river shore, with the right chants from the heart, seeing no relief whatever, her mother cries, as her sapphire-hued skin continues to be covered in a golden hue!” Let’s take a stroll on the banks of the town’s fields and river shore and learn more! The confidante starts by describing the man’s fertile farm town, and to do that, she compares the lush paddy crop to the uplifted yak-fur fans tied to the horses of the wealthy. These yak-fur fans were quite the rage in the ancient world, known by the Tamil term ‘Saamaram’, and it was also used as a manual fan in the royal courts. Returning, we see how the paddy stalks look lush and tender, and no doubt, wanting to protect their crop, fearing that the old cow in their farm would run amok and ruin the stalks, the guards tie up the animal using cords of bitter gourd and rattlepod and distract it with sugarcane stalks. After that description of the man’s rich riverine town, the confidante turns to the past and declares the lady and herself had made the mistake of smiling at the man, when they had come to bathe in the pond, at a time when the sun was not raging yet. The confidante then ends with the explanation for this cryptic statement saying that the lady’s mother had done offerings to the river god with toddy, garlands and even a strong ram, but there seemed to be no respite to the golden-hued pallor spreading on the shining dark skin of the lady. While the lady was happy when the man came around, she was pining for him whenever he left, leading to the attack of pallor and the consequence of mother’s worry, implies the confidante. This statement about offering to a river god would remind us of the ‘Veriyattam’ scenes in the Kurinji landscape, where a girl’s problems were attributed to ‘God Murugu’ and he is appeased with offerings and prayer. In this landscape, a river God takes the role of ‘Murugu’. As in those situations we have seen many a time, God is of no help, when the cure is in the hands of the man. The confidante understands this well and by subtly revealing the situation at hand, she nudges the man to let go of the temporary trysting and choose the path of a permanent union with the lady. In that metaphor of tying the old cow and preventing it from feeding on the tender paddy stalks, the confidante places a metaphor for her hope that the man would bind the mouths of the slanderous townsfolk and offer them the sweet sugarcane of a happy wedding with the lady. Lands may change, Gods may change, yet the confidante remains the steadfast friend who knows what’s what and what needs to be done for the happiness of all concerned! If you ask me, a friend like that is the true God in one’s life!

In this episode, we perceive a moment of understanding of another’s motivation, as portrayed in Sangam Literary work, Aganaanooru 155, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the nature of this domain with a striking simile. “அறன்கடைப் படாஅ வாழ்க்கையும், என்றும்பிறன்கடைச் செலாஅச் செல்வமும், இரண்டும்பொருளின் ஆகும், புனையிழை!” என்று, நம்இருள் ஏர் ஐம்பால் நீவியோரேநோய் நாம் உழக்குவம்ஆயினும், தாம் தம்செய் வினை முடிக்க, தோழி! பல்வயின்பய நிரை சேர்ந்த பாண் நாட்டு ஆங்கண்நெடு விளிக் கோவலர் கூவல் தோண்டியகொடு வாய்ப் பத்தல் வார்ந்து உகு சிறு குழி,நீர் காய் வருத்தமொடு சேர்விடம் பெறாதுபெருங் களிறு மிதித்த அடியகத்து, இரும் புலிஒதுங்குவன கழிந்த செதும்பல் ஈர் வழி,செயிர் தீர் நாவின் வயிரியர் பின்றைமண் ஆர் முழவின் கண்ணகத்து அசைத்தவிரல் ஊன்று வடுவின் தோன்றும்மரல் வாடு மருங்கின் மலை இறந்தோரே. In this trip to the drylands, we hear the lady say these words to her confidante, after the man had parted away from her, in search of wealth: “Saying, “To live a life, without erring in justice, and to have the prosperity, ensuring never to seek in the house of another, both are possible only by seeking wealth, O maiden, wearing well-etched ornaments!”, he caressed my beautiful, five-part tresses, in the hue of darkness. In the ‘Paan' country, having many different breeds of useful cattle, cowherds, known for their long whistles, have dug up wells, and with their curved-mouth vessels, draw and pour out water in the little pits. Seeing those dried pits, bereft of water, with much sadness, not finding a spot to rest and refresh, a huge elephant walks away. Stepping on the footprints of that elephant, a tiger treads through those moist and muddy spaces, leaving marks, which appear akin to impressions, made by the fingers of perfect-tongued ‘Vayiriyar' musicians, on the vibrating skin of mud-streaked drums, hanging on their backs, in those mountains, where even the sturdy hemp fades. It's to such a place that he has left to, and even if I were to languish, owing to this affliction of parting, let him complete his intended mission, my friend!” Time for another walk through this formidable landscape! The lady starts by explaining the reasons the man had given to her before he parted away, speaking of how it was important to live a life of justice and have prosperity so that they never have to go seeking in another’s abode, and this was possible only with wealth. He had said this with much tenderness, caressing her tresses and left away, the lady describes. Then, she moves on to talk about where he’s gone and this happens to be a place in the country of ‘Paanan’, known for its tribe of cowherds and their diverse cattle. To take care of these beings in the sweltering summer, the cowherds had dug up wells and were known to pour water into little pits. Knowing the presence of these comforts, wild animals such as elephants used to arrive there, but such was the heat at that time that these pits were all dried up and that elephant would walk away in disappointment. Later a tiger which comes there, tracks the footprints of the elephant and walks away, leaving its own footmarks upon that muddy space. This, the lady connects to the impressions of the drummers’ fingers on the clay-coated leather of their drums, and concludes by declaring that the man had left to such a desolate place, where even the sturdy hemp bushes cannot sustain, and no matter how much she suffers, she sends out a wish for him to complete the mission he set out to accomplish! Thus, we see the lady, going beyond her own pain, and understanding the man’s motivation and importance of doing what he has to do. No better cure in that moment of languishing about one’s condition than to see the situation from the eyes of the other!

In this episode, we perceive the eagerness of a man to return home, as depicted in Sangam Literary work, Aganaanooru 154, penned by Pothumpil Pullaalankanniyaar. The verse is situated amidst the falling jasmines and blooming glory-lilies of the ‘Mullai’ or ‘Forest landscape’ and etches the vibrant beauty of a land after the rains. படு மழை பொழிந்த பயம் மிகு புறவின்நெடு நீர் அவல பகுவாய்த் தேரைசிறு பல் இயத்தின் நெடு நெறிக் கறங்க,குறும் புதற் பிடவின் நெடுங் கால் அலரிசெந் நிலமருங்கின் நுண் அயிர் வரிப்ப,வெஞ் சின அரவின் பை அணந்தன்னதண் கமழ் கோடல் தாது பிணி அவிழ,திரி மருப்பு இரலை தெள் அறல் பருகிக்காமர் துணையொடு ஏமுற வதிய,காடு கவின் பெற்ற தண் பதப் பெரு வழி;ஓடுபரி மெலியாக் கொய்சுவற் புரவித்தாள் தாழ் தார் மணி தயங்குபு இயம்பஊர்மதி வலவ! தேரே சீர் மிகுபுநம் வயிற் புரிந்த கொள்கைஅம் மா அரிவையைத் துன்னுகம், விரைந்தே. This trip to the forests is based on the familiar theme of a man returning after completing his mission and here, we hear the man say these words to his charioteer, on his way back home to the lady: “In the fertile forests, where heavy rains have poured, from the deep pools of water, toads with mouths wide open, croak aloud, akin to many small musical instruments along those long paths; Long-stemmed wild jasmine buds from short bushes drop down on the fine sand of red ground beneath and decorate it with artistic patterns; Appearing akin to furious snakes, which have their hoods raised, cool and fragrant glory-lilies spread open their tight, pollen-filled buds; The male deer with twisted antlers relishes the clear waters and then resides with joy along with its desirable mate; Such is the cool, great road, surrounded by the blessed beauty of the forest. O charioteer! Always speeding and never slowing, ride on the horses with trimmed manes, making bells tied low on their feet to sway and resound, and hasten the chariot towards the abode of that beautiful, dark-skinned lady, who has an esteemed principle of perfect love for me!” Time to speed along with the man on those ancient roads! The man starts by depicting the world around him in much detail. He talks of the rain-washed forests and the consequence of toads croaking like musical instruments from those deep pools of water. Then his eyes fall on the wild jasmine flowers that have dropped down from their bushes and he admires the decorations these flowers make on the red soil of the forest, no doubt reminding him of the ‘kolam’ or patterns drawn in front of homes with rice powder. From these gentle flowers, he turns to a fiery, floral neighbour, a radiant glory-lily, which seems to him like a furious snake, staring with its hood, raised high. After this, he takes in a male deer with twisted antlers and sees the animal feeding on clear waters and then lying down with its loveable mate. The man summarises all these aspects by remarking on the exquisite beauty of the forest after the rains. He concludes by asking his charioteer to speed on the horses and ride their chariot swiftly to the lady, who waits with much love for the man!  Here, we see the man declare how beautiful the outer world had turned because of the shower of rains, and at the same time, he understands this is no time to linger and celebrate this beauty, for someone awaits him, with much yearning and distress, as the season of his promised return had arrived. The man seems to recharge himself with an observation of his environment and with the rejuvenation gained, turns his attention to his ultimate destination. To me, this seems to say that no matter how far we want to go, we have to begin right where we are, drawing our strength and focus from the here and now! 

In this episode, we listen to the anguished words of a mother, as depicted in Sangam Literary work, Aganaanooru 153, penned by Cheraman Ilanguttuvan. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse muses on the transformation of a young girl. நோகோ யானே; நோதகும் உள்ளம்;அம் தீம் கிளவி ஆயமொடு கெழீஇ,பந்துவழிப் படர்குவள் ஆயினும், நொந்து நனி,வெம்பும்மன், அளியள்தானே இனியே,வன்கணாளன் மார்புஉற வளைஇ,இன் சொற் பிணிப்ப நம்பி, நம் கண்உறுதரு விழுமம் உள்ளாள், ஒய்யெனத்தெறு கதிர் உலைஇய வேனில் வெங் காட்டு,உறு வளி ஒலி கழைக் கண் உறுபு தீண்டலின்,பொறி பிதிர்பு எடுத்த பொங்கு எழு கூர் எரிப்பைது அறு சிமையப் பயம் நீங்கு ஆர் இடைநல் அடிக்கு அமைந்தஅல்ல; மெல் இயல்வல்லுநள்கொல்லோ தானே எல்லிஓங்கு வரை அடுக்கத்து உயர்ந்த சென்னிமீனொடு பொலிந்த வானின் தோன்றி,தேம் பாய்ந்து ஆர்க்கும் தெரி இணர்க் கோங்கின்கால் உறக் கழன்ற கள் கமழ் புது மலர்கை விடு சுடரின் தோன்றும்மை படு மா மலை விலங்கிய சுரனே? In this trip to the hot drylands, we get to hear the mother say these words, at the juncture she learns that her daughter has eloped away with her beloved: “I'm hurting; My heart suffers; Joining together with her playmates, who render sweet and beautiful words, even when she used to lightly move around, playing with her ball, she would feel fatigued and distressed. Isn't she to be pitied, now that the harsh-eyed man had embraced her close to his chest and said sweet words many, and believing that, without thinking of the angst-ridden sorrow she inflicts on us, she has parted away to the searing forest, which the summer sun burns with its scorching rays, and as hot winds dash against and caress lush bamboos, sparks fly about and huge flames soar high in those mountains, lacking any vegetation, leaving those long paths, bereft of any comfort, making these unsuitable for the treading of fine feet! In the peaks of soaring mountain ranges, appearing like the star-studded sky, buttercup trees' flower clusters are buzzed around by bees, and their new flowers, wafting with the scent of toddy, break apart in the breeze and appear, akin to sparks that scatter when a hand kindles a lamp. Has my gentle-natured girl become capable now of crossing such a harsh drylands, amidst those huge cloud-enveloped hills?” Let’s brave the fiery drylands and learn more! Mother starts by declaring that she’s in much pain. She thinks back to how her girl would fuss and cry after just playing ball with her playmates. But now, that delicate girl had fallen for the words of a man, and trusting him, she had left to the harsh drylands, where the summer sun throws its weight about, making sparks fly from bamboos, destroying anything green, thus leaving those paths unfit for use. Mother further talks about how the buttercup tree, bereft of leaves, but filled with flowers looks like the night sky, dotted with stars, and at the moment, the winds raid the branches, those flowers fall down and appear akin to sparks that fly out, when a lamp is kindled by hand. Mother concludes by wondering from where her daughter gained the strength to traverse such a long and formidable path! At the core, it’s the timeless surprise that pops in the minds of parents, when taking in the dramatic changes in their children, whom they once held in their hands as helpless beings, utterly dependant on them for everything, but who have suddenly sprouted wings and taken to bold new skies on their own!

In this episode, we perceive beauty from the lens of a man in love, as depicted in Sangam Literary work, Aganaanooru 152, penned by Paranar. The verse is situated amidst the orchards and peaks of the ‘Kurinji’ or ‘Mountain landscape’ and presents a glimpse of history through its mention of prominent people and places. நெஞ்சு நடுங்கு அரும் படர் தீர வந்து,குன்றுழை நண்ணிய சீறூர் ஆங்கண்செலீஇய பெயர்வோள் வணர் சுரி ஐம்பால்நுண் கோல் அகவுநர்ப் புரந்த பேர் இசை,சினம் கெழு தானை, தித்தன் வெளியன்,இரங்குநீர்ப் பரப்பின் கானல்அம் பெருந் துறை,தனம் தரு நன் கலம் சிதையத் தாக்கும்சிறு வெள் இறவின் குப்பை அன்னஉறு பகை தரூஉம் மொய்ம் மூசு பிண்டன்முனை முரண் உடையக் கடந்த வென் வேல்,இசை நல் ஈகைக் களிறு வீசு வண் மகிழ்,பாரத்துத் தலைவன், ஆர நன்னன்ஏழில் நெடு வரைப் பாழிச் சிலம்பில்களி மயிற் கலாவத்தன்ன தோளேவல் வில் இளையர் பெருமகன் நள்ளிசோலை அடுக்கத்துச் சுரும்பு உண விரிந்தகடவுட் காந்தளுள்ளும், பல உடன்இறும்பூது கஞலிய ஆய்மலர் நாறி,வல்லினும், வல்லார்ஆயினும், சென்றோர்க்குச்சால் அவிழ் நெடுங் குழி நிறைய வீசும்,மாஅல் யானை ஆஅய் கானத்துத்தலையாற்று நிலைஇய சேயுயர் பிறங்கல்வேய் அமைக் கண் இடை புரைஇ,சேய ஆயினும், நடுங்கு துயர் தருமே. In this long trip through the mountains, we travel to many different regions in ancient Tamil land, as we listen to these words said by the man, after his tryst with the lady: “After coming here to end the deep suffering that makes my heart quiver, she parts away to her little hamlet, amidst the hills. Her thick and curly tresses, worn as a five-part braid, are akin to the feathers of a dancing peacock in the slopes of Paazhi, situated amidst the picturesque mountain ranges, in the domain of Nannan, clad in sandalwood garlands, the leader of ‘Paaram', renowned for his immense charity of rendering elephants with joy on supplicants, and his victorious spear, which crossed the battlefront and won over Pindan, swarming around him, with a deep enmity, akin to small, white shrimps that attacks, destroying fine ships, bringing great wealth in the huge shores of Kaanaalam, near the roaring expanse of the seas, ruled by ‘Thithan Veliyan', possessing a huge, furious army, and having the great fame of rendering his patronage to bards holding intricate rods. As for her arms, they waft with the scent of the divine flame lily, blooming to be fed upon by bees, and the scent of many other beautiful flowers flourishing in the mountain orchards of the great lord Nalli, who wields an army of young men, skilled in archery. Indeed, those arms are akin to the slender and smooth stems between nodes of bamboos, flourishing in the forests amidst the tall mountains of 'Thalaiyaaru', ruled by Aay, possessing huge elephants, known for his copious rendering of fine cooked rice, making bowls of supplicants, who seek him, brim over, whether they possess great abilities or whether they don't. Those tresses and arms of hers, even though they be far, render a quivering suffering in me!” Time to explore ancient places and rendezvous with rulers to understand the song in the man’s heart! He starts by talking about how the lady had come to allay his yearning to be with her and had now parted away to her village in the hills. He then goes on to talk about the lady’s tresses. To put it in a nutshell, he says these thick and curly locks are very much like the feathers of a peacock in ‘Paazhi’, a mountainous region ruled by ‘Nannan’, with his capital at Paaram. Though that’s the destination, there are many outer roads that lead here. For instance, the man talks about the swarming shrimps surrounding the wealth-laden ships arriving at the harbour of ‘Kaanalam’, ruled by Thithan Veliyan. This mention of swarming shrimps is made to place in parallel the way Nannan surrounded the army of Pindan and scored a resounding victory over him. That’s the road that leads to Nannan’s slopes and the dancing peacocks, summoned in parallel to the lady’s exquisite tresses.  Next, the man’s mind turns to the lady’s slender arms and these are said to waft with the scent of flame-lilies and other beautiful flowers blooming in the mountain orchards of ‘Nalli’. Not only that, those arms are akin to the smooth spaces between the nodes of bamboos in the hills of ‘Thalaiyaaru’, ruled by ‘Aay’. Thus, five different kings have been called to the court of the man’s mind, to depict the beauty of his beloved. The man mentions the fame of each of these kings, such as Nannan’s generosity of showering elephants, Thithan’s greatness in rendering his patronage to bards, Nalli’s army of men with skilful bows, and Aay’s charity of making the bowls of his supplicants brim over with rice, regardless of their talent. He concludes by saying how those tresses and arms of the lady torment him, even when they have parted away and gone afar! It’s just a man musing on his beloved and feeling the pain of being apart from her, but this poet weaves the beauty of a nameless person with the history of the prominent and renders a crash course on connecting the disparate with creativity! 

In this episode, we perceive the core reason for the man’s parting, as portrayed in Sangam Literary work, Aganaanooru 151, penned by Kavanmullai Bootharathanaar. Set in the ‘Paalai’ or ‘Drylands landscape, the verse presents a vivid portrait of this domain. தம் நயந்து உறைவோர்த் தாங்கி, தாம் நயந்துஇன் அமர் கேளிரொடு ஏமுறக் கெழீஇ,நகுதல் ஆற்றார் நல்கூர்ந்தோர் என,மிகு பொருள் நினையும் நெஞ்சமொடு அருள் பிறிதுஆபமன் வாழி, தோழி! கால் விரிபுஉறுவளி எறிதொறும் கலங்கிய பொறி வரிக்கலைமான் தலையின் முதல்முதற் கவர்த்தகோடல்அம் கவட்ட குறுங் கால் உழுஞ்சில்தாறு சினை விளைந்த நெற்றம், ஆடுமகள்அரிக் கோற் பறையின், ஐயென ஒலிக்கும்பதுக்கைத்து ஆய செதுக்கை நீழல்,கள்ளி முள் அரைப் பொருந்தி, செல்லுநர்க்குஉறுவது கூறும், சிறு செந் நாவின்மணி ஓர்த்தன்ன தெண் குரல்கணி வாய் பல்லிய காடு இறந்தோரே! In this trip to the drylands, we perceive plenty of striking images and associations, as we listen to the lady say these words to her confidante, after the man has parted away in search of wealth: “He lacks the ability to delight with and remain joyfully together with his pleasant kith and kin, protecting those who love him, and loving them in return, for he thinks of those, who are impoverished, and goaded by his heart, which wishes to earn much wealth, he forgets his grace and loses sympathy! Long may he live, my friend! In those wide spaces, where hot and strong winds blow forcefully, the branches of the short-trunked Lebbeck tree, akin to twisted antlers, bursting out for the first time from the head of a male deer, with dispersed dots and spots, shake with seed pods, akin to the pebble-filled sticks used to play on drums by dancing maiden, and resound with a sharp sound, near the hollow stone graves, in the diminished shade of those wild spaces, where holding on to the thorny trunks of cactuses, expressing right things to wayfarers, clear voices of fortune-telling lizards with short, red tongues tinkle, akin to bells. It is to such a scrub jungle, he has parted away to!” Let’s walk on through those hot and arid spaces and understand the emotions expressed therein! The lady starts by talking about the man’s nature and remarks how he seems utterly incapable of simply laughing and remaining happy with those who love him. This is because his mind takes in the pitiable state of those who are impoverished and who come seeking to him. In order to alleviate their suffering, the man had decided to leave in search of wealth, the lady relates, talking about how he seems not to have any pity for her own state. Then, she goes on to describe the place he has left to and talks of the fiery winds, of how the branches of the Lebbeck tree, which she connects with the antlers of a male deer, shakes and the seed pods on that tree, resound like the drum sticks of dancing maiden, and of how lizards perched on trunks of cactuses, send out noises, that seem to announce the fortunes of wayfarers traversing that path! The lady thus visualises in her mind’s eye, the desolate space the man walks, and attributes his reason for parting away to his noble nature of caring for the poor. In the process, the man has forgotten the ‘poor me’, the lady seems to say. The verse highlights the timeless conflict that often arises in an individual’s balancing act between serving the wider society and caring for those close at home! 

In this episode, we listen to persuasive words seeking the welfare of a friend, as depicted in Sangam Literary work, Aganaanooru 150, penned by Kuruvazhuthiyaar. The verse is situated amidst the teeming fish and blooming flowers of the ‘Neythal’ or ‘Coastal Landscape’ and relays the lady’s state of mind. பின்னுவிட நெறித்த கூந்தலும், பொன்னெனஆகத்து அரும்பிய சுணங்கும், வம்பு விடக்கண் உருத்து எழுதரு முலையும் நோக்கி;‘எல்லினை பெரிது’ எனப் பல் மாண் கூறி,பெருந் தோள் அடைய முயங்கி, நீடு நினைந்து,அருங் கடிப்படுத்தனள் யாயே; கடுஞ் செலல்வாட் சுறா வழங்கும் வளை மேய் பெருந் துறை,கனைத்த நெய்தற் கண் போல் மா மலர்நனைத்த செருந்திப் போது வாய் அவிழ,மாலை மணி இதழ் கூம்ப, காலைக்கள் நாறு காவியொடு தண்ணென மலரும்கழியும், கானலும், காண்தொறும் பல புலந்து;‘வாரார்கொல்?’ எனப் பருவரும்தாரார் மார்ப! நீ தணந்த ஞான்றே! In this little boat trip to this vibrant domain, we hear these words said by the confidante to the man, when he leaves after a tryst by day with the lady: “Glancing at the well-grown, ready-to-be-braided, long and curly tresses, the pallor spots in gold budding on the bosom, and the upraised and well-formed breasts that brim over the bustier cloth, saying ‘You have become radiant like the day', mother rendered many praises and embraced, clasping her fully. Then, mother thought for long, and placed her under a strict guard. Speeding fish with sword-like horns traverse near the huge sea shore, where conches rove about, and here, in the evening, as the blue lotus, with its dark and thick flowers, appearing like eyes, closes its sapphire-like petals, the golden champak, moistened by this blue lotus, opens its pollen-filled buds. Then in the morning, the blue lotus blossoms with coolness, along with the red lotus, which wafts with the fragrance of toddy. Every time, she sees these scenes in the backwaters and groves, she laments a lot and wonders with angst, ‘Won't he come back?'. This is what happens every moment you remain parted away from her, O garland-clad one!” Let’s swim along with the swordfish, and then climbing on to the shore, track the scents of the many blooming flowers! The confidante starts her address to the man by talking about how the lady’s mother had reacted to the changes in the lady’s form. Mother seems to have taken a deep look at the lady’s tresses, long and flowing, pallor spots, glowing in gold, and her blooming bosom, brimming over her cloth band, and praised the lady for her radiant beauty. After this shower of praise, mother seems to have pondered a lot and then placed the lady on a strict watch. After rendering these words, the confidante goes on to talk about the flowers in the evening hour, a time when the blue lotus, not seeing its beloved sun, closes its petals, whereas at the same time, the golden champak opens its pollen-filled buds. Then, the confidante fast forwards to the morning hour, and points to how the same blue lotus blossoms out, in the company of the red lotus, spreading splashes of colour everywhere! The reason the confidante has talked about these flowers is to say that no matter how beautiful the backwaters and groves may appear, every moment the man is not present, the lady laments and yearns for that time when he would return. In essence, to relieve the lady’s worry, the confidante is subtly nudging the man to give up his temporary trysting and asking him to seek a permanent union with the lady! Reading about the opening and closing of these buds, I wanted to know more about the differences in the flowers mentioned. This led me to learn about how, just like in humans, there are ‘morning larks’ and ‘evening owls’, among flowers, there are day bloomers and night bloomers, and each type has its own unique characteristics. Whereas the day bloomers like the blue and red lotus rely on the power of sight, owing to the abundant light, showered by the sun, to attract their pollinators, such as bees, the night bloomers like the golden champak, use the power of scent, to pull in their specific pollinators, such as moths! It’s interesting how this verse connects so very delicately, the opening and closing of flower buds to the lady’s delight when the man is near and her angst when he is away. Another instance of the Sangam poets superior ability of seeing one in the world and the world in one!

In this episode, we listen to words of resolve, as depicted in Sangam Literary work, Aganaanooru 149, penned by Erukkaattoor Thaayankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse showers the spotlight on prominent Sangam-era cities and the extent of their wealth. சிறு புன் சிதலை சேண் முயன்று எடுத்தநெடுஞ் செம் புற்றத்து ஒடுங்கு இரை முனையின்,புல் அரை இருப்பைத் தொள்ளை வான் பூப்பெருங் கை எண்கின் இருங் கிளை கவரும்அத்த நீள் இடைப் போகி, நன்றும்அரிது செய் விழுப் பொருள் எளிதினின் பெறினும்வாரேன் வாழி, என் நெஞ்சே! சேரலர்சுள்ளிஅம் பேரியாற்று வெண் நுரை கலங்க,யவனர் தந்த வினை மாண் நன் கலம்பொன்னொடு வந்து கறியொடு பெயரும்வளம் கெழு முசிறி ஆர்ப்பு எழ வளைஇ,அருஞ் சமம் கடந்து, படிமம் வவ்வியநெடு நல் யானை அடுபோர்ச் செழியன்கொடி நுடங்கு மறுகின் கூடற் குடாஅது,பல் பொறி மஞ்ஞை வெல் கொடி உயரிய,ஒடியா விழவின், நெடியோன் குன்றத்து,வண்டு பட நீடிய குண்டு சுனை நீலத்துஎதிர் மலர்ப் பிணையல் அன்ன இவள்அரி மதர் மழைக் கண் தெண் பனி கொளவே. A small foray into the drylands unfolds along with other fascinating voyages, as we listen to the man say these words to his heart, at a moment when it’s pressing him to part with the lady and go seek wealth: “Tiring of the comb mud, within the tall, red mound, raised with much effort by little, dull-hued termites, a bear with huge arms goes in search of the rough-trunked Mahua tree and steals its hollow, white flowers in the drylands. Traversing the winding paths herein, even if I were to attain the hard-to-get, good wealth with ease, I shan't come with you, my heart! May you live long!  Muddling the white-foamed, beautiful river called ‘Sulli Periyaaru' in the domain of the Cheras, fine and well-etched boats of foreigners, arrive with gold and leave with pepper from the prosperous town of Musiri. Surrounding this town, creating a great uproar, waging war, the battle-worthy Chezhiyan, with a tall, fine elephant, captured the golden emblem of the city. His flag flutters high in the streets of his capital Koodal, and to the west of this city, up above, flutters a flag with a victorious mark of a many-specked peacock.  In that peak of the Great One, filled with unceasing festivity, bees buzz around blue lotuses, blooming in the deep and wide springs herein. Akin to a garland woven with two blue lotuses from this place are her exquisite, rain-like eyes and leaving these to brim over with clear tears, I surely shan't part away with you, O heart!” Let’s trace the path through this dreary domain, as seen by the man’s vision. He starts by talking about the drylands region, by bringing before our eyes, the familiar sight of a bear digging up termite comb and after having its fill, feeling discontent with it, and then venturing in the direction of the Mahua trees, to feast on its white flowers. The man says even if the wealth, which is sought out by traversing such harsh paths, something so impossible to obtain, were to be easily attainable by him, he has no thought of leaving, as nudged by his heart. Then, suddenly he leaves the drylands and transports us to a brimming river in the domain of the Cheras, to see how the waves are pushed right and left by well-etched ships arriving from foreign nations. The word used to describe these foreigners is ‘Yavanar’ and it could be a reference to the ‘Ionian Greeks’ or it could be a term for all foreign traders, be it from Rome or Egypt!  Pointing to these ships, the man informs us that these bring great quantities of gold and leave with a barter of what they considered ‘Black Gold’ – Pepper, which grew bountifully in the mountains of this region. Many a historian has remarked how India was the ‘sink of precious metals’ in the ancient era, drawing the wealth from all over the world in exchange for its natural wealth of pepper. The man has mentioned all this not to give us a historic tour but to connect it to the Pandya King Chezhiyan’s siege and conquest of this city. From Musiri on the west coast, we traverse to King Chezhiyan’s capital of Koodal, also known as Madurai. Stopping not even at this wealthy city, the man continues to a hill to the west of this city, a pilgrimage site for a God, identified by his peacock flag. The reference most probably talks about God Murugan and his seat of Thiruparankundram. The reason why the man has brought us here is not to pay our respects at the holy site, but to gaze in awe at the picturesque scene of bees buzzing around blue lotuses in the springs of this hill. Finally, the man connects these blue lotuses to the lady’s eyes and concludes by declaring that it was impossible for him to leave in search of wealth, making those eyes of hers fill with tears.  To summarise the long tale, the man is simply refusing to follow his heart’s nudge and go in search of wealth, for he doesn’t want to bring any sorrow to his beloved! The subtle element here is in presenting how the bear tires of one food and immediately seeks the next, in the beginning, which could be a hidden implication that wealth-seeking is all about jumping from one thing to the next, never content, with no end to desire! Interesting also to note how the core concept of wealth is approached from many angles, such as the difficult wealth the man must seek, the golden wealth that arrives from foreign shores to Musiri, the natural wealth of pepper growing here, the wealth of Musiri brought to the city of Koodal by the warring King Chezhiyan and the natural wealth of the blue lotuses in the hills of Thiruparunkundram – Something that makes us muse on what wealth could mean to us! Though the man doesn’t want to begin a journey, he has taken us on an insightful one, showing us the splendour of those ancient Sangam places, bustling with trade and worship, etching the renown of this part of the world in that period of time!

In this episode, we perceive an alternate proposal of action, as depicted in Sangam Literary work, Aganaanooru 148, penned by Paranar. The verse is situated amidst the rocky paths of the ‘Kurinji’ or ‘Mountain landscape’ and describes an astonishing historic moment. பனைத் திரள் அன்ன பரு ஏர் எறுழ்த் தடக் கை,கொலைச் சினம் தவிரா மதனுடை முன்பின்,வண்டு படு கடாஅத்து, உயர் மருப்பு யானைதண் கமழ் சிலம்பின் மரம் படத் தொலைச்சி;உறு புலி உரறக் குத்தி; விறல் கடிந்து;சிறு தினைப் பெரும் புனம் வவ்வும் நாட!கடும் பரிக் குதிரை ஆஅய் எயினன்நெடுந் தேர் மிஞிலியொடு பொருது, களம் பட்டென,காணிய செல்லாக் கூகை நாணி,கடும் பகல் வழங்காதாஅங்கு, இடும்பைபெரிதால் அம்ம இவட்கே; அதனால்மாலை வருதல் வேண்டும் சோலைமுளை மேய் பெருங் களிறு வழங்கும்மலை முதல் அடுக்கத்த சிறு கல் ஆறே. In this little trip to the mountains, we get to hear the confidante say these words to the man, when he arrives to tryst with the lady by day: “Having a thick, beautiful, sturdy and curving trunk, akin to a palmyra tree, expressing a fierce strength with killer rage, flowing with bee-buzzing musth, and bearing upraised tusks, an elephant dashes and ruins a tree, in the cool and fragrant mountain slopes, pierces and overpowers a tiger that opposes it, and then snatches small millets in the huge fields of your land, O lord! When Aay Eyinan, the possessor of speedy horses, clashed with Mignili, the owner of tall chariots, and perished in the battlefield, unable to go visit him in the harsh time of day, an owl felt much shame. Even more than that owl's suffering is hers, during the day. And so, you must come to that narrow, stone-filled path through the mountains,  frequented by a huge elephant that comes to graze on bamboos in the grove, only in the evening hour!” Let’s tread those mountain paths at different times of the day and learn more! The confidante starts by describing the man’s mountain country, bringing into spotlight an elephant in rut, with a thick trunk and upraised tusks. This pachyderm is on a rampage, destroying a tree, most probably a Kino tree, no doubt, mistaking it for its arch enemy. Then, finding the real deal, it fights and kills a tiger, and then devours millets in the fields. After this animated portrait of a being in the man’s land, the confidante turns to history and describes an incident from the battle between two kings, Aay Eyinan and Mignili. In this clash, Aay Eyinan was killed, and at that moment, birds seemed to soar in the sky and shield Aay Eyinan from the harsh sun. The reason for this action of the birds is attributed to the nature of this king. Apparently, he was a great protector of birds, and at the moment of his death, the birds with their superior perception had arrived to pay their respects.  Returning, the confidante continues by saying at that time when all the birds of this land arose to shield this bird-lover of a king, one bird was not able to come there, and that was an owl, and though it very much wanted to arrive there, owing to its inability to move about in the day, it remained where it was, filled with shame. Now, the confidante turns to the lady’s state and connects it to the angst-ridden owl, saying that the lady too is in a terrible position of being unable to see the man by day. This is possibly because of the soaring gossip in town about the lady’s relationship with the man. So, the confidante concludes by telling the man that he should choose the evening hour to come tryst with the lady, treading those narrow paths, traversed by huge, fearsome elephants, seeking bamboos to graze on! It’s a seemingly simple thought asking the man to not come by day but to come by night. However, concealed in that last line about dangerous elephants in his path, the confidante seems to be hinting that even a tryst by night would not be remain suitable and the best thing for the man to do would be to seek the lady’s hand in marriage. Even within that scene of the elephant thrashing about trees and tigers and then feasting on the millets, the confidante places a metaphor for how the man should put an end to the slander in town and then feast on the lady’s company. Leaving these concerns of that past moment aside, when we turn to that exquisite comparison of the lady’s suffering with an owl’s distress of being unable to visit that famous king in his moment of death, and perceive the kindness to birds that this king must have shown to evoke such a reaction, we can see how this oft-repeated portrait is streaked in the timeless hues of what’s best in humanity!

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Aganaanooru 147, penned by Avvaiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the aura of danger in this domain. ஓங்குமலைச் சிலம்பில் பிடவுடன் மலர்ந்தவேங்கை வெறித் தழை வேறு வகுத்தன்னஊன் பொதி அவிழாக் கோட்டு உகிர்க் குருளைமூன்று உடன் ஈன்ற முடங்கர் நிழத்த,துறுகல் விடர் அளைப் பிணவுப் பசி கூர்ந்தென,பொறி கிளர் உழுவைப் போழ் வாய் ஏற்றைஅறு கோட்டு உழை மான் ஆண் குரல் ஓர்க்கும்நெறி படு கவலை நிரம்பா நீளிடை,வெள்ளி வீதியைப் போல நன்றும்செலவு அயர்ந்திசினால் யானே; பல புலந்து,உண்ணா உயக்கமொடு உயிர் செலச் சாஅய்,தோளும் தொல் கவின் தொலைய, நாளும்பிரிந்தோர் பெயர்வுக்கு இரங்கி,மருந்து பிறிது இன்மையின், இருந்து வினைஇலனே! We witness a birth in our trip through this domain, as we listen to the lady say these words to the confidante, in response to her friend’s words about the man’s parting away: “In the slopes of the soaring hills, along with wild jasmine, the Kino tree's bright flowers burst into bloom. As if bunches of these fragrant flowers have been grouped separately, three cubs, whose curving claws are still concealed by flesh, have been birthed by the female tiger, which stands languishing, in the shade of a corner, within a cave, amidst the boulders. Perceiving the hunger of this female, its mate with radiant specks and a huge mouth, lies in wait, intently listening to the voice of the male deer, with broken antlers, in those long and winding paths through the drylands. Akin to Velli Veethi, I wish to traverse these paths, lamenting a lot. Filled with the fatigue of starving, thinning away as if my life would leave any moment, losing the old beauty of my arms, suffering day after day because of his parting away, without any other cure, I know not what else to do!” Time to brave it all and tread the drylands path! The lady begins by describing this region, and to do that, she brings before our eyes a female tiger that has given birth to three cubs, and she places in parallel three bunches of the ‘Vengai’ tree’s bright yellow flowers, a connection oft-seen in Sangam literature. A moment to consider the choice of number three for that litter of cubs! My curiosity was piqued and I wanted to know how many cubs a tigress normally gives birth to, at a time. I learnt this figure ranged from 2 to 7, on the extreme, 2 to 4 normally, with 3 being the average number. Without the aid of modern censuses, our Sangam ancestors have zeroed in on this number, just with their observation!  Returning, from the mother and the babies, the lady turns her attention to the father tiger, who understanding its mate’s tiredness and hunger, has gone hunting for a male deer in the mountains. Such are these paths filled with terror, the lady says, and yet, she says she wants to walk on these paths, in search of her beloved, just like the famous Velli Veethiyar, when she lost her husband. The lady concludes by saying as there is no other medicine for her affliction which makes her starve, thin away, and lose her beauty, this was the only thing she could think of doing! Here’s a unique lesson in healing oneself by finding a commonality with another person, who has walked the same stony path!

In this episode, we perceive a pointed refusal to entertain a request, as depicted in Sangam Literary work, Aganaanooru 146, penned by Uvarkannoor Pullankeeranaar. The verse is situated amidst the ponds and fields of the ‘Marutham’ or ‘Farmlands landscape’ and paints a portrait of rivalry in a rich town. வலி மிகு முன்பின் அண்ணல் ஏஎறுபனி மலர்ப் பொய்கைப் பகல் செல மறுகி,மடக் கண் எருமை மாண் நாகு தழீஇ,படப்பை நண்ணி பழனத்து அல்கும்கலி மகிழ் ஊரன் ஒலி மணி நெடுந் தேர்,ஒள் இழை மகளிர் சேரி, பல் நாள்இயங்கல் ஆனாதுஆயின்; வயங்கிழையார்கொல் அளியள்தானே எம் போல்மாயப் பரத்தன் வாய்மொழி நம்பி,வளி பொரத் துயல்வரும் தளி பொழி மலரின்கண்பனி ஆகத்து உறைப்ப, கண் பசந்து,ஆயமும் அயலும் மருள,தாய் ஓம்பு ஆய்நலம் வேண்டாதோளே? In this quick little trip to this lush landscape, we get to hear these words said by the lady to the bard, who has come as a messenger from the man, to resolve the lady’s ire over the man’s relationship with courtesans and help him re-enter his home: “The esteemed male buffalo, brimming with strength and sturdiness, wallows all day in the pond with dew-covered flowers, embraces a beautiful young female buffalo with naive eyes, and then approaches the village to stay in a field within the ecstatic town of the lord. As the sound of his tall chariot bells wasn't heard for many days in the neighbourhood of women wearing radiant jewels, like me, believing that the words of that false philanderer was the truth, akin to a rain-soaked flower, swaying in the breeze, with tears moistening her chest, having eyes filled with pallor, worrying her friends and neighbours, she loses that fine beauty, nurtured by her mother. Whoever that maiden, wearing shining ornaments, may be, isn't she to be pitied?” Let’s track that prosperous buffalo and learn more! The lady starts by describing the man’s town and do that, the familiar face of a male buffalo is etched by her. This buffalo, honoured with epithets, such as strong, sturdy and esteemed, is first seen playing about in the pond of flowers, then embracing a young female buffalo, and after all its exertions, heading to the village fields. Such a loaded description must have other meanings, for sure! Before we get to that, let’s turn back to the lady, who continues by saying the man’s chariot had not visited the community of courtesans for quite some time, and because of this, there was a young maiden, shedding tears like a rain-coated flower in a breeze, and then to the worry of all, who were near and dear to her, she seemed to be losing that fine beauty of hers. The lady concludes by saying that the poor girl deserves all their pity! In a nutshell, the answer to the bard’s question as to whether the man can come back to the house is a strict ‘no’. The lady seems to be telling the bard, ‘Go take the man to those courtesans, who are pining for him, thinking his words are so true, like I once did’. In that scene of the buffalo, the lady places an obvious metaphor for how her man seemed to be enjoying his days in the company of courtesans, seeking pleasures, and finally at night, he wants so dutifully return to his post at his home. The lady seems to put her foot down and say, ‘I’m not letting this happen. Let him go fool someone else’. Apart from these regular tussles in this land of plenty, the thing that always amuses me is how these Sangam folks had no qualms seeing their lord and leader as a buffalo!

In this episode, we perceive the remorse of a mother, as depicted in Sangam Literary work, Aganaanooru 145, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a contrast of the dreariness of this domain and the prosperity of the lady’s home. வேர் முழுது உலறி நின்ற புழற்கால்,தேர் மணி இசையின் சிள்வீடு ஆர்க்கும்,வற்றல் மரத்த பொற் தலை ஓதிவெயிற் கவின் இழந்த வைப்பின் பையுள் கொள,நுண்ணிதின் நிவக்கும் வெண் ஞெமை வியன் காட்டுஆள் இல் அத்தத்து, அளியள் அவனொடுவாள்வரி பொருத புண் கூர் யானைபுகர் சிதை முகத்த குருதி வார,உயர் சிமை நெடுங் கோட்டு உரும் என முழங்கும்”அருஞ் சுரம் இறந்தனள்” என்ப பெருஞ் சீர்அன்னி குறுக்கைப் பறந்தலை, திதியன்தொல் நிலை முழு முதல் துமியப் பண்ணியநன்னர் மெல் இணர்ப் புன்னை போல,கடு நவைப் படீஇயர்மாதோ களி மயில்குஞ்சரக் குரல குருகோடு ஆலும்,துஞ்சா முழவின், துய்த்து இயல் வாழ்க்கை,கூழுடைத் தந்தை இடனுடை வரைப்பின்,ஊழ் அடி ஒதுங்கினும் உயங்கும் ஐம் பாற்சிறு பல் கூந்தற் போது பிடித்து அருளாது,எறி கோல் சிதைய நூறவும் சிறுபுறம்,”எனக்கு உரித்து” என்னாள், நின்ற என்அமர்க் கண் அஞ்ஞையை அலைத்த கையே! A deep dive into this domain, as we listen to the lady’s mother say these words, at the juncture she learns of her daughter’s elopement with her man: “In the hollow trunk of a tree that has dried up from root to tip, crickets resound with the sound of chariot bells. Upon this parched tree, standing amidst a place that has lost its beauty owing to the scorching heat, a golden-headed lizard, crawls up with much suffering, in those wide spaces of the uninhabited drylands, filled with axle-wood trees. After fighting with the tiger, having sword-like stripes, the wounded elephant, with blood dripping from its crushed, spotted face, trumpets akin to thunder that resounds in the soaring peaks of tall hills. To such a formidable drylands, my poor girl has left with him, they say! In the spacious mansion of her prosperous father, where ecstatic peacocks and birds with elephantine voices, call aloud, and drums roar ceaselessly, living a life of plenty and comfort, she would feel sorrowful even if she were to miss a step and stumble. Catching hold of the garland tied tightly to her thick tresses with five-part braids, without any grace, shattering the stick, when I struck again and again, acting as if her little back was not even hers, she stood still, that daughter of mine with exquisite eyes. May these hands that made her suffer so, become utterly ruined like the ‘Laurelwood tree' with fine and soft flower clusters, belonging to Thithiyan, when it was chopped at its trunk of many years, by the famous ‘Anni' at the ‘Kurukkai' battlefield!” Let’s brave the parched air of the drylands and walk on! Mother starts by describing this domain, and to do that, she brings before us, a seared tree, which seems not to have a drop of water right from its root to the tip of its topmost branch. From inside the hollows of this tree, crickets resound and a reptile, possibly the Indian golden gecko, treads upon it, with much languish. There’s sweltering heat everywhere, and not a sign of any human around. Here, after a clash with a tiger, a bleeding elephant walks about, roaring like the thunder in the mountains, mother continues. She then connects this place to her situation saying this is where her daughter had left to, with her beloved.  Then, from these impossible places, she turns to describe the lady’s home, talking about her rich father, the wide mansion, where peacocks and birds, which trumpet like elephants, are to be found. A moment to ponder on what bird this might be! On searching, I learnt that it could be the Great Hornbill that has a unique, loud voice, somewhat close to an elephant’s trumpet. Possibly, the mansion had hornbills and peacocks brought in from the mountains to adorn it! Returning, mother continues by talking about how drums resound ceaselessly, possibly indicating this was the house of some lord or king, always winning at battles. Mother says that the lady lived such a comfortable life that her only pain or suffering would come, when she happened to stumble a little when walking about. What a blessed teenager to have nothing to worry about, but a misplaced foot!  Getting back on track, after these rendition of the pleasant past of the lady, mother turns her focus to something she did recently. She seems to have struck the lady so fiercely that the stick broke, but still her girl stood there as if her back did not even belong to her, unflinching, not displaying any emotion. Now, mother realises that the lady had made up her mind to leave her home with her man and that’s why she could face that, with such calm. Mother is overcome with guilt at what she has done and wishes that her hands fall to ruin, just like Thithiyan’s ‘Punnai’ tree, felled by his enemy Anni, in the ‘Kurukkai’ battlefield! Seeing with our modern eyes, it is indeed truly shocking to read that a mother would cane her daughter so, but possibly those times were such that something like this wasn’t given much thought! What’s relatable though is how we are overcome with guilt about an incident, where we have been harsh to another, when we later realise what the other had been going through. That’s the moment we need to make amends and hope for their forgiveness. Reversing to the past, let’s part by wishing this ancient mother’s cry of repentance reaches the ears of her daughter and reminds her of a mother’s undying love in the faraway drylands! 

In this episode, we perceive the hope in a man’s heart, as depicted in Sangam Literary work, Aganaanooru 144, penned by Madurai Alakkar Gnaazhalaar Makanaar Mallanaar. The verse is situated amidst the blooming wild jasmines of the ‘Mullai’ or ‘Forest Landscape’ and presents dual perspectives from the home front and the battlefront. ‘''வருதும்’ என்ற நாளும் பொய்த்தன;அரி ஏர் உண்கண் நீரும் நில்லா;தண் கார்க்கு ஈன்ற பைங் கொடி முல்லைவை வாய் வால் முகை அவிழ்ந்த கோதைபெய் வனப்பு இழந்த கதுப்பும் உள்ளார்,அருள் கண்மாறலோ மாறுக அந்தில்அறன் அஞ்சலரே! ஆயிழை! நமர்” எனச்சிறிய சொல்லிப் பெரிய புலப்பினும்,பனி படு நறுந் தார் குழைய, நம்மொடு,துனி தீர் முயக்கம் பெற்றோள் போலஉவக்குநள் வாழிய, நெஞ்சே! விசும்பின்ஏறு எழுந்து முழங்கினும் மாறு எழுந்து சிலைக்கும்கடாஅ யானை கொட்கும் பாசறை,போர் வேட்டு எழுந்த மள்ளர் கையதைகூர் வாட் குவிமுகம் சிதைய நூறி,மான் அடி மருங்கில் பெயர்த்த குருதிவான மீனின் வயின் வயின் இமைப்ப,அமர் ஓர்த்து, அட்ட செல்வம்தமர் விரைந்து உரைப்பக் கேட்கும் ஞான்றே. A little of the forest and more of the fierce battlefield in this trip, as we listen to the man say these words to his heart, as his charioteer listens, at the moment the man’s returning home after his mission: “Saying, ‘The day he had marked for his return has turned out false; Tears stop not from these beautiful, kohl-streaked eyes with red lines; The pointed, white buds of green-vined wild jasmines have burst into bloom because of the cool rains; He thinks not of how my tresses that used to be clad in garlands, have lost their lustre; If he, who does not fear righteousness, no longer wants to render his grace to me, so be it, O maiden clad in well-etched ornaments!', she would be expressing a little and lamenting a lot. As thunder soars in the skies and resounds aloud, standing opposite, wild battle elephants reflect that sound in equal measure in the battlefield. Here, desiring war, soldiers rise with sharp swords in hand. Blunting these sharp edges, they have scattered much blood, which gather in the pits made by hooves of horses, and twinkle hither and thither, akin to stars in the sky. O heart, may you live long! When our kin rush to her and tell her about how I quelled enemies in this battlefield and heaped wealth, she shall delight, as if crushing her dew-covered, fragrant garland, she has attained a flawless union with me!” Let’s trot along with the man on his way home through the jasmine-clad forest and listen in! The man starts by expressing the thoughts that would be passing through the head of his lady just then, about how the man was not back when he promised he would be, about the way her eyes were overflowing with tears, and how the wild jasmines have bloomed in the rains and yet her tresses cannot be adorned with garlands, owing to his absence. She may even wonder if the man’s love for her has changed and call him an unjust person, the man says aloud. He tells his heart that for sure the lady would be worrying a lot in this manner. While that may be so, the minute she hears their relatives talk about how the man vanquished enemies in that fierce battlefield, and brought back great wealth, the lady would forget all her laments and would feel the same delight she does when she attains a sweet sleep in his embrace, the man concludes.  The man’s subtle way of pressing his charioteer to speed the horses and hasten home! In the thought that his actions would bring happiness to the lady in spite of the pain he has inflicted by his parting, the man echoes the same hope each of us carry, when we give up pleasures in the short run and yearn for greater things. Just like this ancient ancestor of ours, all we can do is hope, wishing that no matter how they seem now, things will turn out well in the end!

In this episode, we observe an attempt to change a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 143, penned by Alamperi Saathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse transports us to the domain of a king’s commander. செய்வினைப் பிரிதல் எண்ணி, கைம்மிகக்காடு கவின் ஒழியக் கடுங் கதிர் தெறுதலின்,நீடு சினை வறிய ஆக, ஒல்லெனவாடு பல் அகல்இலை கோடைக்கு ஒய்யும்தேக்கு அமல் அடுக்கத்து ஆங்கண் மேக்கு எழுபு,முளி அரிற் பிறந்த வளி வளர் கூர் எரிச்சுடர் நிமிர் நெடுங் கொடி விடர் முகை முழங்கும்வெம் மலை அருஞ் சுரம் நீந்தி ஐயசேறும் என்ற சிறு சொற்கு இவட்கே,வசை இல் வெம் போர் வானவன் மறவன்நசையின் வாழ்நர்க்கு நன் கலம் சுரக்கும்,பொய்யா வாய்வாள், புனைகழல் பிட்டன்மை தவழ் உயர் சிமைக் குதிரைக் கவாஅன்அகல் அறை நெடுஞ் சுனை துவலையின் மலர்ந்ததண் கமழ் நீலம் போல,கண் பனி கலுழ்ந்தன; நோகோ யானே. This trip offers a study in contrast when it comes to the features of the domain, as we listen to these words the confidante says to the man, at a time when he’s planning to part away from the lady, to gather wealth: “When I said to her, ‘Intending to part away on a mission to gather wealth, the lord plans to go to those formidable drylands near the sweltering mountains, where immensely ruining the beauty of the forests, the harsh sun scorches, and dries up long branches, and the hot summer winds wither many leaves and take them away, with a rustling sound, in those ranges, filled with teak trees, and here, soaring above, a fierce flame, birthed in the dried-up bushes and reared by the wind, rises tall and resounds aloud in the clefts and caves', just hearing these few words, akin to the cool and fragrant blue lotus, which has bloomed in the spray of the wide and deep spring in the tall peak of the ‘Kuthirai' mountains, enveloped by clouds, ruled by the army commander of the impeccable, battle-worthy King Vanavan, Pittan, who wears well-etched anklets, wields a victorious sword, and one, who renders fine vessels to those who come seeking with desire to him, her eyes filled with tears! I suffer so!” Let’s take a walk through those searing spaces and learn more! The confidante tells the man that she happened to go to the lady and tell her that he was planning to leave to the drylands. In her usual style, she presents a vivid view of the drylands, painting the drying branches, withering leaves and soaring wildfire. It was interesting to note the words used to describe this wildfire, by mentioning how it was born in the dried-up bushes but fostered and reared into a force of nature by the winds. The hidden metaphor of a child, born in a family, and raised by the world entire, to become who they become, was intriguing to note. Returning, we find the confidante continuing her narrative, telling the man that the moment she said these words, the lady’s eyes started shedding tears. To etch this image, she summons blue-lotuses, which have apparently bloomed because of the spraying water droplets from a spring nearby, and she locates this place as the domain called ‘Kuthirai mountains’, belonging to a brave commander of King Vannan, a a person named Pittan, renowned for his generosity. The confidante concludes by saying seeing those tear-filled eyes of the lady made her suffer much agony.  In essence, the confidante means to tell the man that the mere thought of him leaving had reduced the lady to such a state, projecting the implied question, ‘What would befall her, if the man were to actually leave?’. The confidante has intervened on behalf of the lady and hopes to prevent the man from proceeding with his plan of parting with the lady. The lady encapsulates a deeply human sentiment of worrying about something, even before it happens – the downside of our unique powers of imagination. Curious isn’t it that it’s this same human imagination, which has made these poets perceive a child in a wildfire and connect a water-soaked flower to a tear-filled eye! 

In this episode, we listen to words of delight after an awaited event, as depicted in Sangam Literary work, Aganaanooru 142, penned by Paranar. Set amidst the golden flowers of the ‘Kurinji’ or ‘Mountain Landscape’, the verse depicts the generosity of a king and the courage of a commander in the battlefield. இலமலர் அன்ன அம் செந் நாவின்புலம் மீக்கூறும் புரையோர் ஏத்த,பலர் மேந் தோன்றிய கவி கை வள்ளல்நிறைஅருந் தானை வெல்போர் மாந்தரம்பொறையன் கடுங்கோப் பாடிச் சென்றகுறையோர் கொள்கலம் போல, நன்றும்உவ இனி வாழிய, நெஞ்சே! காதலிமுறையின் வழாஅது ஆற்றிப் பெற்றகறை அடி யானை நன்னன் பாழி,ஊட்டு அரு மரபின் அஞ்சு வரு பேஎய்க்கூட்டு எதிர்கொண்ட வாய் மொழி மிஞிலிபுள்ளிற்கு ஏமம் ஆகிய பெரும் பெயர்வெள்ளத் தானை அதிகற் கொன்று, உவந்துஒள் வாள் அமலை ஆடிய ஞாட்பின்,பலர் அறிவுறுதல் அஞ்சி, பைப்பய,நீர்த் திரள் கடுக்கும் மாசு இல் வெள்ளிச்சூர்ப்புறு கோல் வளை செறித்த முன்கைகுறை அறல் அன்ன இரும் பல் கூந்தல்,இடன் இல் சிறு புறத்து இழையொடு துயல்வர,கடல் மீன் துஞ்சும் நள்ளென் யாமத்து,உருவு கிளர் ஓவினைப் பொலிந்த பாவைஇயல் கற்றன்ன ஒதுக்கினள் வந்து,பெயல் அலைக் கலங்கிய மலைப் பூங் கோதைஇயல் எறி பொன்னின் கொங்கு சோர்பு உறைப்ப,தொடிக்கண் வடுக்கொள முயங்கினள்;வடிப்பு உறு நரம்பின் தீவிய மொழிந்தே. There’s only a dash of this domain in this instance, as we listen to the man say these words to his heart, at a moment when he has trysted with his lady, after a long separation: “Celebrated by wise bards, who have skilled red tongues, akin to silk-cotton flowers, is the one with generous hands, exalted above all others, that conquering king with an unstoppable army, known as ‘Mantharam Poraiyan Kadunko'. Akin to the vessels of those impoverished, who return after singing about him, you shall brim over now, my heart! May you live long! Without swerving from his just path, with his talents, the great Nannan won over elephants with huge feet. In his town of ‘Paazhi', his commander Minili, renowned for his honesty, undertook the task of feeding the insatiable and terrifying spirits of death, and routed the famous Athikan, with a flood-like army, renowned for being a protector of birds. After this, Minili, performed the ecstatic ‘Amalai' dance, with his shining sword. Akin to the uproar that arose in the battlefield just then, slander would spread in town if they knew of our relationship. Fearing that, walking gently, wearing many neat rows of flawless silver, curving bangles on her forearms, having thick, dark tresses, akin to silt-laden sand, caressed by the river, extending and swaying beyond her slender waist, my lady love came at the dark hour of midnight, when even fish in the seas sleep, moving with a delicate gait, akin to a radiantly painted doll, which was just learning to walk, and making my honey-soaked garland of mountain flowers, tousled by the rains, shed flowers, akin to golden sparks that scatter in a smithy, she embraced me, leaving impressions of her bangles, and uttering sweet words, resounding like the well-played strings of a lute!” Let’s hear the heartbeat of this mountain man! He starts by talking about a great king, Mantharam Poraiyan Kadunko, one who was celebrated by silver-tongued bards, only here, their truthful tongues are placed in parallel to the red flowers of a silk-cotton tree. The man goes on to say how generous this king was known to be, and just like how the bowls of those who had come seeking to him would overflow, the man’s heart too was in the same state of brimming over with joy!  Before telling us why, the man talks about the nature of slander that would spread in the lady’s town if her relationship with him were to be found out. To do that, he makes the verse echo with the uproar in the battlefield at the moment a commander of King Nannan, a lord named ‘Minili’ defeated the powerful Athikan and did the victory dance. Connecting this uproar to the rumours in town, the man says the lady feared that very much. This nugget tells us that the man had not been meeting the lady as much as he would like, for she had been avoiding seeing him owing to her fear. But just a while ago, she had come walking like a doll, and making the golden flowers of his rain-soaked garland scatter, she had embraced him tightly, leaving imprints of her bangles on him. Not only that, she had ended by speaking words as sweet as the music of lutes, the man concludes. Since this event occurred, that’s the reason his heart is brimming over, we understand. A record of a relatable feeling that many of us would have felt when a much awaited meeting goes on better than our expectations! Situations may change, reasons may differ, but emotions remain the same!

In this episode, we perceive the positive attitude of a lady, as portrayed in Sangam Literary work, Aganaanooru 141, penned by Nakeerar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a dual portrait of an ancient Tamil festival and a Chozha town’s prosperity. அம்ம வாழி, தோழி! கைம்மிகக்கனவும் கங்குல்தோறு இனிய; நனவும்புனை வினை நல் இல் புள்ளும் பாங்கின;நெஞ்சும் நனிபுகன்று உறையும்; எஞ்சாதுஉலகு தொழில் உலந்து, நாஞ்சில் துஞ்சி,மழை கால்நீங்கிய மாக விசும்பில்குறு முயல் மறு நிறம் கிளர, மதி நிறைந்து,அறுமீன் சேரும் அகல் இருள் நடு நாள்;மறுகு விளக்குறுத்து, மாலை தூக்கி,பழ விறல் மூதூர்ப் பலருடன் துவன்றியவிழவு உடன் அயர, வருகதில் அம்ம! துவரப் புலர்ந்து தூ மலர் கஞலி,தகரம் நாறும் தண் நறுங் கதுப்பின்புது மண மகடூஉ அயினிய கடி நகர்ப்பல் கோட்டு அடுப்பில் பால் உலை இரீஇ,கூழைக் கூந்தற் குறுந் தொடி மகளிர்பெருஞ் செய் நெல்லின் வாங்குகதிர் முறித்து,பாசவல் இடிக்கும் இருங் காழ் உலக்கைக்கடிது இடி வெரீஇய கமஞ்சூல் வெண் குருகுதீம் குலை வாழை ஓங்கு மடல் இராது;நெடுங் கால் மாஅத்துக் குறும் பறை பயிற்றும்செல் குடி நிறுத்த பெரும் பெயர்க் கரிகால்வெல் போர்ச் சோழன் இடையாற்று அன்னநல் இசை வெறுக்கை தருமார், பல் பொறிப்புலிக் கேழ் உற்ற பூவிடைப் பெருஞ் சினைநரந்த நறும் பூ நாள் மலர் உதிர,கலை பாய்ந்து உகளும், கல் சேர் வேங்கை,தேம் கமழ் நெடு வரைப் பிறங்கியவேங்கட வைப்பிற் சுரன் இறந்தோரே. In this long trip, we get to traverse not only this harsh domain, but also a prosperous ancient town, as we listen to the lady say these words to her confidante, when the confidante worries that the lady will not be able to bear with the parting of the man, who has left in search of wealth: “Listen, my friend! May you live long! Every night, the dreams are exceptionally pleasant; In real life too, in the well-etched, fine mansion, bird omens that are heard sound good; As for the heart, it too rests in a state of calm love; At the time when the mighty profession of the world diminishes and ploughs fall asleep, in that season when pouring rainclouds have departed with the wind, and in the sky, the little hare glows in a dark hue, as the full moon reaches its favourite star, in the midnight hour, amidst the expanding darkness, when all the streets are lit up and adorned with high garlands in our fertile and prosperous ancient town, at this time, hope he will return to relish the festivities, celebrated by the gathering of many! Adorning fully blossomed perfect flowers, along with sandalwood paste, on her cool and fragrant tresses, the new bride, boils milk on the many-sided stove in that rich mansion, filled with plentiful food, and then along with maiden, wearing small bangles and having short hair, pounds on paddy grains, harvested from bent stalks in the huge field, to make flattened rice. Hearing the din of this dark-stemmed pestle, startled by the loud and explosive sounds, a pregnant white bird, takes a short flight from the wide branch of a plantain tree, with sweet fruit clusters, to the tall-trunked mango tree, in the town of Idaiyaaru, ruled by the famous Chozha King Karikaalan, who has the ability to restore even a ruined town. Wanting to bring back prestigious wealth, akin to this town, he has left to the drylands, where making fragrant blooms on the huge branches of the tree, with flowers in the hue of the many-striped tiger, namely the Kino tree, soaring near a boulder, a male monkey leaps and frolics, in the honey-fragrant, tall hills of the Venkata mountain ranges!” Let’s explore the many roads leading to diverse destinations in this verse! The lady starts by talking about how her dreams are filled with pleasant scenes and even in her waking hours, all she hears are good omens from the birds. Owing to all this, her heart seems to be in a state of calm. What a refreshing change from the usual lamenting lady, who cries and cries about her sleepless eyes, thinning arms and pining heart, whom we have encountered in song after song from this domain.  Next, the lady talks about a time when the work of farming takes a break, a time when the clouds are done pouring, and are on their way out. To etch another element, she talks about this, as the time when the little rabbit glows bright. On reading further, we understand that this little rabbit is the one we see in the moon, and the lady wants to say it’s the time of full moon, and so that rabbit is all the more vivid. It’s also a time, when the moon traverses and meets with a particular star, identified as ‘Karthigai’ or ‘Pleiades star cluster’. At this time, lights are lit up and garlands adorn their streets, the lady details, and she makes a wish that her man returns at least by this time, to partake in these grand festivities, when people gather together. A moment to note how the festival of ‘Karthigai’, celebrated even today in Tamilnadu, by the lighting of lamps, is an ancient custom, originating in the Sangam era. After this, the lady talks about two aspects in connection with the man. One characterises the wealth he’s searching for, and to do that, the lady brings in the simile of a fertile town of Idaiyaaru, ruled by the famous Chozha King Karikaalan, and when depicting this town, she presents a rather interesting domestic scene, wherein a new bride, who has come to live in the rich mansion of her husband, adorns her hair with flowers and sandalwood paste, and then boils milk in a stove with many divisions, implying that multiple food items can be cooked at the same time, and the house too is sketched as one with an unceasing supply of foods. This bride then joins together with many other maiden and pounds paddy. Hearing the loud and repeated sounds of this pestle, a pregnant white bird is startled and takes off, from a short plantain tree to a tall mango tree, perhaps in an attempt to put some distance between itself and its tormentors. Such is the fertility of this town and my man wants to bring back wealth that’s equal in stature to this town, the lady explains.  The next aspect she dwells on is where the man has gone to, to attain such a wealth and she informs us this is to a drylands in the extent of the Venkata hills, identified as ‘Tirupathi’ in Contemporary Andhra Pradesh, and she describes this place, as one filled with Kino trees, with bright yellow flowers in the hue of tiger stripes, and talks about how a male monkey leaps about, making this tree’s flowers fall. The lady concludes with this image of falling yellow flowers, perhaps as a wish that it should rain gold on the man, in his journey to seek wealth, so that he would return in time for the festival of lights, and she promises to her confidante that she would bear well with the parting until this time! What a patient and thoughtful lady, who understands and perseveres, in spite of her pain of parting! No wonder the lady has pleasant dreams and hears good omens, for it’s only with the brush of hope and positivity, can we change the scene in the canvas of our present!