Sangam Lit

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!

In this episode, we listen to the heartfelt words of a man in love, as portrayed in Sangam Literary work, Aganaanooru 140, penned by Ammoovanaar. The verse is situated amidst the salt pans of the ‘Neythal’ or ‘Coastal Landscape’ and reveals fascinating aspects of commerce in the Sangam era. பெருங் கடல் வேட்டத்துச் சிறுகுடிப் பரதவர்இருங் கழிச் செறுவின் உழாஅது செய்தவெண் கல் உப்பின் கொள்ளை சாற்றி,என்றூழ் விடர குன்றம் போகும்கதழ் கோல் உமணர் காதல் மடமகள்சில் கோல் எல் வளை தெளிர்ப்ப வீசி,‘நெல்லின் நேரே வெண் கல் உப்பு’ எனச்சேரி விலைமாறு கூறலின், மனையவிளி அறி ஞமலி குரைப்ப, வெரீஇயமதர் கயல் மலைப்பின் அன்ன கண் எமக்கு,இதை முயல் புனவன் புகைநிழல் கடுக்கும்மா மூதள்ளல் அழுந்திய சாகாட்டுஎவ்வம் தீர வாங்கும் தந்தைகை பூண் பகட்டின் வருந்தி,வெய்ய உயிர்க்கும் நோய் ஆகின்றே. In this quick trip to the seas, we get to travel with traders, as we listen to the man say these words to his friend, in response to the friend’s rebuke about the man’s unbalanced behaviour: “Fisherfolk of the small hamlet, who hunt in the huge seas, harvest white salt, without ploughing the fields of the dark marshland. Announcing the price of this produce, these salt merchants, wielding a goad to speed, traverse peaks, split apart by the sun's heat. Their naive and loving daughter, shouts out, ‘White salt for paddy in the same measure', even as her few, shining bangles tinkle, relaying the exchange price in that village. A dog residing in a home, hearing that strange voice starts barking aloud. Startled, as her beautiful eyes quiver, akin to two fighting fish, they attack me with an affliction, which makes me sigh endlessly, akin to that bullock, held in reins, by her father, as he goads it to pull out the wheel lodged in a ditch, filled with aged, black slush, in the hue of smoke rising, when a mountain farmer slashes and burns to render the land arable!” Time to travel from the seas to the hills along with a caravan of salt merchants! The man starts by talking about a group of fishermen, who live by the sea, and their ways of not ploughing the land like the farmers in the fields, and yet being able to harvest something valuable, namely salt. Heaping these sacks of salt, they take on the long journey from the seas to hilly regions. The thing I most admire about these salt merchants is that they take their families along and include them in their trade. In this instance, it’s the salt merchant’s daughter, who is announcing the exchange rate of salt and paddy in a hamlet. In one of those houses, a dog on the watch out, hears this strange voice and starts barking. The young girl is startled by those furious barks and her eyes tremble with fear. The man recounts all this and concludes by informing his friend, when those eyes of the lady leaped about like fighting fish, it became a source of a painful affliction in him, something which makes the man sigh aloud, much like the bullock, which is goaded to pull out a wheel, stuck in the black mud, akin to the smoke raised by slash-and-burn mountain farmers, by that salt-selling girl’s father! In essence, the man is telling his friend that his heart too is stuck like that wheel in the mud and indirectly requests his friend to quit scolding him and start helping him, just the way we have seen the lady’s confidante help the lady many a time. Apart from the relatable bitter-sweet feeling of falling in love that this man so vividly explains with a single scene, elements that excite those who study cultures also abound in this verse. In mentioning not only the salt merchants, their travel for trade, barter specifics, challenges faced but also the mountain farmers and their ancient techniques to tame the land, the verse transports us to the past and acquaints us with the work and life of two different professionals from two varied landscapes in the Sangam era!

In this episode, we observe the anxiety soaring in a lady, as portrayed in Sangam Literary work, Aganaanooru 139, penned by Idaikkaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the picturesque changes in the land after the rains. துஞ்சுவது போல இருளி, விண் பகஇமைப்பது போல மின்னி, உறைக்கொண்டுஏறுவது போலப் பாடு சிறந்து உரைஇ,நிலம் நெஞ்சு உட்க ஓவாது சிலைத்து ஆங்கு,ஆர் தளி பொழிந்த வார் பெயற் கடை நாள்;ஈன்று நாள் உலந்த வாலா வெண் மழைவான் தோய் உயர் வரை ஆடும் வைகறை,புதல் ஒளி சிறந்த காண்பு இன் காலை,தண் நறும் படுநீர் மாந்தி, பதவு அருந்துவெண் புறக்கு உடைய திரிமருப்பு இரலை;வார் மணல் ஒரு சிறைப் பிடவு அவிழ் கொழு நிழல்,காமர் துணையொடு ஏமுற வதிய;அரக்கு நிற உருவின் ஈயல் மூதாய்பரப்பியவைபோற் பாஅய், பல உடன்நீர் வார் மருங்கின் ஈரணி திகழ;இன்னும் வாரார் ஆயின் நன்னுதல்!யாதுகொல் மற்றுஅவர் நிலையே? காதலர்கருவிக் கார்இடி இரீஇயபருவம் அன்று, அவர், ‘வருதும்’ என்றதுவே. Only the heart of this verse is situated in the drylands and the whole tends more in the direction of rainy forest landscapes, in these words said by the lady to the confidante, when the man who went in search of wealth, remains parted away: “Darkening as if closing the eyes to sleep, flashing and splitting the sky as if blinking open, clouds that climb up with water resound aloud, echoing above, startling the heart of the land beneath, endlessly thundering, and then fall as a heavy downpour in those last days of the rainy season. After giving birth, these dried-up, half-white clouds surround the sky-high, tall mountains at dawn. At this beautiful hour, when light spreads around the bushes of the forest, after drinking the cool and fragrant water, the male deer with twisted antlers and a white underside eats wild grass, and then rests along with its loving mate on one side of the spreading sands, under the thick shade of the blooming wild jasmine tree. Near them, in the hue of lac, red velvet mites crawl around, as if scattered by hand, in hordes, adorning that moist earth with much beauty. Even at this time, he returns not, O maiden with a fine forehead! What could be his state now? Didn't he promise that he would return before the arrival of that season, when rain clouds would resound with light and thunder!” Time to glimpse the sights on a rainy morning! The lady starts by talking about the world outside, bringing in relatable similes to talk about the rains. The darkening of clouds becomes the closing of eyes to sleep and the flashing of lightning is the blinking of eyes, over and over again. Then, in a striking imagery, which brought a smile, the lady talks about how the heart of land beneath trembles at the repeated sound of the resounding thunder. I imagined the land beneath as a person clutching their heart, every time thunder roared aloud! Returning, the lady says all that’s done, the clouds have poured and retired, their job of giving birth to the rains complete, and they have taken to swirling lethargically around those lofty peaks. As dawn spreads the next day, and the gentle light brightens the bushes, a male deer contently feeds on cool and plentiful water, and munches on wild grass, and takes to resting with its lovely mate in the shade of the blooming jasmine trees, even as red velvet mites run around and have the time of their life on those moist expanses.  The lady has recounted this beautiful scene not as an expression of pleasure, but in contrast to talk about how the man had promised he would be back before this rainy season and yet he hadn’t returned. She concludes by expressing her worry to her friend about his state just then! The lady is just following all the advice a modern psychologist would give a person handling something outside their control – Being acutely mindful of the world outside, being present with the pain inside and expressing all this to a trusted person! Just like how this would help many of us in our own modern troubles, hope the lady too found respite and regained the strength to trust and wait with the patience that the land does, as it waits for the rains after a long summer!

In this episode, we perceive the angst of a lady, as portrayed in Sangam Literary work, Aganaanooru 138, penned by Ezhuvoo Pandri Naakan Kumaranaar. The verse is situated amidst the dark paths of the ‘Kurinji’ or ‘Mountain Landscape’ and etches a scene from a ritual of worship. இகுளை! கேட்டிசின், காதல் அம் தோழி!குவளை உண்கண் தெண் பனி மல்க,வறிது யான் வருந்திய செல்லற்கு அன்னைபிறிது ஒன்று கடுத்தனள்ஆகி வேம்பின்வெறி கொள் பாசிலை நீலமொடு சூடி,உடலுநர்க் கடந்த கடல் அம் தானை,திருந்துஇலை நெடு வேற் தென்னவன் பொதியில்,அருஞ் சிமை இழிதரும் ஆர்த்து வரல் அருவியின்ததும்பு சீர் இன் இயம் கறங்க, கைதொழுது,உரு கெழு சிறப்பின் முருகு மனைத் தரீஇ,கடம்பும் களிறும் பாடி, நுடங்குபுதோடும் தொடலையும் கைக்கொண்டு, அல்கலும்ஆடினர் ஆதல் நன்றோ? நீடுநின்னொடு தெளித்த நல் மலை நாடன்குறி வரல் அரைநாட் குன்றத்து உச்சி,நெறி கெட வீழ்ந்த துன் அருங் கூர் இருள்,திரு மணி உமிழ்ந்த நாகம் காந்தட்கொழு மடற் புதுப் பூ ஊதும் தும்பிநல் நிறம் மருளும் அரு விடர்இன்னா நீள் இடை நினையும், என் நெஞ்சே. It’s a walk at night through this landscape as we hear the lady say these words to her confidante, pretending not to notice the man listening nearby but making sure he’s in earshot: “O companion! Listen to me, my loveable friend! As my blue-lily-like, kohl-streaked eyes filled with clear tears, perceiving my sadness, mother decided that it was because of a different reason. Becoming worried, she arranged for a worship of ‘Murugu', known for his glorious form, inviting the god home, with folded hands, singing about his burflower trees and elephants, holding a fluttering garland of palm fronds in hand, and dancing, with the accompaniment of musical instruments, brimming over with fine notes, akin to the sound of cascades that resounds and descends from the formidable peaks of the Pothiyil mountains, ruled by the Southern King, the one who wields a tall spear and commands a sea-like army that triumphs over enemies. If this worship goes on all day, is this right? The lord of the fine mountains, who has spoken for long and clarified the future to you, comes for trysts in the middle of the night, descending from the mountain's peak, in a sharp and thick darkness that makes one lose the path, and herein a serpent, which has spit a fine jewel, looks at the bee buzzing around the new flower of the thick-petaled flame lily and mistakes its rich shine for its stone in those deadly clefts. When I think about his dangerous walk through those long paths, my heart trembles!” Let’s walk on through the mountain paths, skirting over serpents and noting the glow of the buzzing bees! The lady starts by beckoning the attention of her friend and recounts how when mother saw her tear-filled eyes, she decided that was because they had invited the ire of ‘God Murugu’ in some way and so to appease him, she arranges for the ‘Veri’ ritual. In this ritual, there’s worship with folded hands, singing about the elements that signify this God, such as his burflower tree and the elephants of his domain, and then there’s dancing to the tune of resounding musical instruments, and to etch this sound, the roaring cascades in the mountains of the victorious, battle-worthy Pandya King is called in parallel. After describing the Veri ritual, the lady asks the confidante if this goes on all day and night, is this right? Why the lady asks this question is because she’s absolutely clear her sorrow is not because of this God, but only because she worries about the man, walking in the darkness of midnight, when he comes to tryst with her every night, fearing he may lose his path, in those mountain clefts, where serpents which have spit their gems, come searching for it and mistake the buzzing bees for their sapphires! A moment to note the Sangam belief that snakes spit gems and then moved about in the light of the same! In this scene of the snake mistaking the bees for its gems, lies a metaphor for mother mistaking the lady’s anxiety about the man as God’s ire. These words are especially for the benefit of the listening man, who had clarified to the confidante that he would wed the lady soon. This is to make him realise that the situation he’s subjecting the lady to, is unbecoming of his promise, thereby nudging him to hasten the steps to seek the lady’s hand in marriage. My wonder is why don’t these people talk directly? Why doesn’t the daughter tell her mother what she’s feeling and why she’s feeling so? Why doesn’t the lady tell the man what she wishes for him to do? Perhaps that would have suited a peaceful life but not a piece of poetry that lives on to educate us about the past! As long as we are not penning poetry, don’t you think being direct is better for our complicated lives of today?

In this episode, we perceive the distress of a friend, as depicted in Sangam Literary work, Aganaanooru 137, penned by Uraiyoor Muthukooththanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse pens a portrait of places ruled by two great kings of ancient Tamil land. ஆறு செல் வம்பலர் சேறு கிளைத்து உண்டசிறு பல் கேணிப் பிடி அடி நசைஇ,களிறு தொடூஉக் கடக்கும் கான்யாற்று அத்தம்சென்று சேர்பு ஒல்லார்ஆயினும், நினக்கேவென்று எறி முரசின் விறற் போர்ச் சோழர்இன் கடுங் கள்ளின் உறந்தை ஆங்கண்,வருபுனல் நெரிதரும் இகுகரைப் பேரியாற்றுஉருவ வெண் மணல் முருகு நாறு தண் பொழிற்பங்குனி முயக்கம் கழிந்த வழிநாள்,வீ இலை அமன்ற மரம் பயில் இறும்பில்தீ இல் அடுப்பின் அரங்கம் போல,பெரும் பாழ்கொண்டன்று, நுதலே; தோளும்,தோளா முத்தின் தெண் கடற் பொருநன்திண் தேர்ச் செழியன் பொருப்பிற் கவாஅன்நல் எழில் நெடு வேய் புரையும்தொல் கவின் தொலைந்தன; நோகோ யானே. It’s a short walk in this trip to the drylands, as we listen to the confidante say these words to the lady, at a time when the lady suspects the man is going to part away from her in search of wealth: “Seeing the many small pits, from which newbie wayfarers had dug up the mud to find some drinking water, and mistaking these for its mate's footprints, with desire, a male elephant touches it and walks on disappointed, in that drylands path, extending like a wild river.  Even though he wants not to go thither, your forehead is greatly ruined, akin to the festival arena, with scattered stoves, having no hint of fire, near the little jungle, filled with trees, densely packed with leaves and flowers, on the day after the ‘pankuni' festival of togetherness, which takes place on the honey-fragrant, cool orchards, atop white sands, on the banks of that great river, brimming with copious water, in the city of Uranthai, known for its sharp and sweet toddy, ruled by the courageous Chozhas, renowned for their roaring, victorious battle drums. Whereas your arms, which were akin to the tall and exquisite bamboos in the mountains, ruled by the lord of the pearl-filled southern seas, Chezhiyan, renowned for his sturdy chariots, have now lost their old beauty! I suffer so!” Time to amble along with some elephants in the drylands! The confidante starts by sketching a scene from this harsh domain, pointing out to small, rounded pits, which she explains are tiny wells, dug by wayfarers, who are new to the game, so as to find some water amidst the mud. Why are these wayfarers said to be newcomers? Possibly because they have come unprepared without a supply of drinking water or the knowledge of more dignified ways of finding the same. As a male elephant walks that way and glimpses at these round pits, for a moment, it takes these to be the footprints of its mate, and it comes near and touches the same over and over again, smelling it and then walking away in dejection. Such is the horrid drylands, a place the man doesn’t even want to leave to, at the moment, the confidante connects.  She then turns to the lady and says, ‘In spite of that, your forehead has become listless, like an abandoned festival arena, with scattered stoves lying about, without any kindling of fire, the day after the event of Pankuni festival, celebrated with gusto, on the sands of the River Kaveri, in the Chozha capital of Uranthai, known for its sweet toddy. From the lady’s ruined forehead, the confidante moves on to the lady’s arms, and compares those to the bamboos in the Pandya King Chezhiyan’s mountains, celebrating the king as the ruler of the southern seas with an unending supply of pearls, and declaring that those arms had lost their beauty too. The confidante concludes by talking about her own suffering on seeing her friend in such a state! The use of place and people similes to underscore the lady’s state informs us about the cultural events of the Chozha country as well as the natural wealth of the Pandya country. Turning to the crux of the issue, we understand that the man hadn’t even left, and here was the lady already wallowing about his possible departure! This state of being highlights the emotion of anxiety that many of us would have felt at the prospect of some event in the future. Hope we can learn to hear the timeless whisper from these pages of the past to overcome that fear of the future by living fully and mindfully in the now!

In this episode, we perceive a unique technique to appease a person’s ire, as depicted in Sangam Literary work, Aganaanooru 136, penned by Vitrootru Mootheyinanaar. The verse is situated amidst the decorated mansions and bejewelled denizens of the ‘Marutham’ or ‘Farmlands landscape’ and etches the events in an ancient wedding ceremony. மைப்பு அறப் புழுக்கின் நெய்க் கனி வெண் சோறுவரையா வண்மையொடு புரையோர்ப் பேணி,புள்ளுப் புணர்ந்து இனிய ஆக, தெள் ஒளிஅம் கண் இரு விசும்பு விளங்க, திங்கட்சகடம் மண்டிய துகள் தீர் கூட்டத்து,கடி நகர் புனைந்து, கடவுட் பேணி,படு மண முழவொடு பரூஉப் பணை இமிழ,வதுவை மண்ணிய மகளிர் விதுப்புற்று,பூக்கணும் இமையார் நோக்குபு மறைய,மென் பூ வாகைப் புன் புறக் கவட்டிலை,பழங் கன்று கறித்த பயம்பு அமல் அறுகைத்தழங்குகுரல் வானின் தலைப்பெயற்கு ஈன்றமண்ணு மணி அன்ன மாஇதழ்ப் பாவைத்தண் நறு முகையொடு வெண் நூல் சூட்டி,தூ உடைப் பொலிந்து மேவரத் துவன்றி,மழை பட்டன்ன மணல் மலி பந்தர்,இழை அணி சிறப்பின் பெயர் வியர்ப்பு ஆற்றி,தமர் நமக்கு ஈத்த தலைநாள் இரவின்,”உவர் நீங்கு கற்பின் எம் உயிர் உடம்படுவி!முருங்காக் கலிங்கம் முழுவதும் வளைஇ,பெரும் புழுக்குற்ற நின் பிறைநுதற் பொறி வியர்உறு வளி ஆற்றச் சிறு வரை திற” எனஆர்வ நெஞ்சமொடு போர்வை வவ்வலின்,உறை கழி வாளின் உருவு பெயர்ந்து இமைப்ப,மறை திறன் அறியாள்ஆகி, ஒய்யெனநாணினள் இறைஞ்சியோளே பேணி,பரூஉப் பகை ஆம்பற் குரூஉத் தொடை நீவி,சுரும்பு இமிர் ஆய்மலர் வேய்ந்தஇரும் பல் கூந்தல் இருள் மறை ஒளித்தே. Though we don’t actually get to travel to the outer spaces of this domain in this verse, we get a sense of the culture here, as we listen to the man say these words to his heart, when the lady is in the midst of a fight with him, as she listens nearby: “The cooked white rice, having flawless pieces of meat, brimming with ghee, was rendered with limitless hospitality and guests were welcomed. Sounds of birds uniting echoed sweetly in the air; The beautiful dark sky shined with a clear light, and at this time, the moon and the wheel-shaped star come together in a perfect union; The wedding home was decorated and god's praises were sung; As the thick and huge ‘panai' drums resounded, along with ‘muzhavu' wedding drums, the women who bathed her as part of the wedding ceremony, not blinking their flower-like eyes, quickly vanished; The delicate-bottomed forked leaves of the Lebbeck tree, with soft flowers, and the cool and fragrant buds of the huge-petaled flower, in the hue of well-washed sapphires, blossoming in the sky's first rains, upon the wild ‘arukai' grass, spreading in the crevices, and grazed upon by mature calves, are tied together with a white thread, and adorned on her, along with pristine clothes. Then coming together with affection, in that sand-filled pavilion, resounding with the sound of falling rain, wiping away the sweat that runs down, because of heavy jewels worn, her kith and kin rendered her to me. On the night of this first day together, saying to her, “O maiden, who is the form to my life, filled with blemish-less chastity! As you have covered your form entire with a thick attire, feeling rather hot, your crescent-moon-like forehead would be coated in beads of sweat. Letting the flowing breeze to cool it, why not remove it?”, with a desiring heart, I pulled away the cover, and there she was, shining akin to a sword, pulled out from its sheath. Without knowing how to hide herself, she was overcome with shyness and bent her head. Understanding her state, I came to her aid and removed the radiant, thick white-lily garland, which was like a foe to her, just then, spreading her thick and black, bee-buzzing tresses, filled with beautiful flowers, and with that cover of darkness, helped her hide herself!” Let’s participate in this ancient farmlands wedding and learn more! The man simply takes a walk down memory lane, recollecting the day of his wedding with his lady. He remembers the pots of rice and meat, cooked with ghee, and served to guests ceaselessly. He talks about how the sweet sounds of birds uniting resounded in the air. The man then talks about how the moon was supposed to be coming close to and uniting with a star in a wheel-shaped constellation, that day. Interpreters have identified this particular star to be ‘Rohini’, also known as the Aldebaran star, said to be the ‘eye’ of the Taurus constellation, in another astronomical classification. There have been numerous mythological stories about the connection between this star and the moon, and here too, we encounter one such belief in Sangam culture that the coming together of these two celestial bodies was an auspicious moment for a couple to begin their journey together. Returning, the man turns his attention to the wedding decorations in the home, praising god, and the resounding roar of wedding drums many. The lady was given a ceremonial bath from maiden and then she was adorned with flowers of the Arukai grass and leaves of the Vaakai tree, atop glowing clothes. After dressing the bride so, the lady’s kith and kin, wiping away the sweat, owing to wearing heavy ornaments, offered the lady to the man, and formalised their union. From these festivities, the man turns to a personal moment between him and the lady on their first night together, when he observes her covering herself in a thick attire. He seems to have pulled it away, so that the beads of sweat on the lady’s forehead would be dried by the cool breeze. As he pulled the cover apart, the lady appeared like a sword out of sheath, glowing, the man recounts. At that moment, she seemed to have been filled with shyness and without knowing how to cover herself, she had bent her head. The man seems to have come to her aid and removed the clasp of her white-lily garland and turned the darkness of her thick, black tresses as her new attire, he concludes.  We know the man and lady had been fighting. The man had been trying many attempts to appease her but to no avail. He finally chooses the strategy of talking about a happy, delightful moment, in their early years, to take the lady to the past, reminding her of who she had been to the man, and make her forget the present moment of conflict. Though we do not know whether the man’s strategy worked out for him, on our part, we got to go to an ancient Tamil wedding, feast our senses with food and festivity and delight in the many glimpses of plenty and prosperity of this domain! 

In this episode, we listen to the agony in a lady’s heart, as depicted in Sangam Literary work, Aganaanooru 135, penned by Paranar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse connects a historic event to a person’s state of mind. திதலை மாமை தளிர் வனப்பு அழுங்க,புதல் இவர் பீரின் எதிர் மலர் கடுப்பப்பசலை பாய்ந்த நுதலேன் ஆகி,எழுது எழில் மழைக் கண் கலுழ, நோய் கூர்ந்து,ஆதிமந்தியின் அறிவு பிறிதுஆகி,பேதுற்றிசினே காதல்அம் தோழி!காய்கதிர் திருகலின் கனைந்து கால் கடுகி,ஆடுதளிர் இருப்பைக் கூடு குவி வான் பூ,கோடு கடை கழங்கின், அறைமிசைத் தாஅம்காடு இறந்தனரே, காதலர்; அடுபோர்,வீயா விழுப் புகழ், விண் தோய் வியன் குடை,ஈர் எழு வேளிர் இயைந்து ஒருங்கு எறிந்தகழுவுள் காமூர் போலக்கலங்கின்றுமாது, அவர்த் தெளிந்த என் நெஞ்சே. It’s a brief foray into the drylands and a deeper trek into the lady’s mind in this one, as we listen to the lady express these words to her confidante, when the man remains parted away: “Making my exquisite dark complexion filled with pale specks, akin to a tender sprout, lose its beauty, akin to ridge gourd flowers on a bush, pallor has spread on my forehead. As my rain-like eyes, with a beauty that invites to be sketched, shed tears, with my affliction soaring, akin to Aathimanthi, who lost her senses, I stand troubled and confused, my loving friend! Owing to the attack of the scorching sun, shaken by heavy winds, pointed white flowers of the Mahua tree, with swaying sprouts, spread atop rocks, akin to dice drilled from conch shells, in the drylands scrub jungle, and that lover of mine has left to this place; And so, akin to how the town of Kaamoor, ruled by Kazhuvul, renowned for his victory in wars, unswerving great fame and sky-soaring parasol of his reign, when that town was attacked together by fourteen Velir kings, fell into disarray, stands troubled my heart that had hoped he wouldn't part away!” Let’s walk on through sweltering drylands and catch a glimpse of the quivering heart! The lady starts by talking about how her exquisite beauty is all gone and she seems to behaving like the famous character Aathi Manthi, who had utterly lost her head. We have come across this person in many other poems, which talks about her deep suffering when her beloved was swept away by a river. When we ask with concern why the lady is so, she explains that’s because her man had left to the scorching drylands, where the flowers of the Mahua tree lie scattered like dice made of conch shells, upon the rocks. The lady concludes by saying because she is unable to bear the parting, she feels exactly like the town of Kaamoor, ruled by a great king Kazhuvul, when it faced the coordinated attack of fourteen Velir kings- So utterly devastated! Nothing but an expression of deep sorrow felt in parting! Hope this brings some respite to the suffering lady. Moving beyond this oft-repeated theme, such verses make me wonder if these pointed outpourings of the heart were the Sangam poets’ way of sharing historic knowledge, in a striking manner, with the people of then and the future!

In this episode, we listen to the thoughtful words of a man, as depicted in Sangam Literary work, Aganaanooru 134, penned by Seethalai Saaththanaar. The verse is situated on the radiant red earth of the ‘Mullai’ or ‘Forest Landscape’ and paints a picturesque portrait of this lush land in the rains. வானம் வாய்ப்பக் கவினி கானம்கமஞ் சூல் மா மழை கார் பயந்து இறுத்தென,மணி மருள் பூவை அணி மலர் இடைஇடை,செம் புற மூதாய் பரத்தலின், நன் பலமுல்லை வீ கழல் தாஅய், வல்லோன்செய்கை அன்ன செந் நிலப் புறவின்;வாஅப் பாணி வயங்கு தொழிற் கலிமாத்தாஅத் தாள் இணை மெல்ல ஒதுங்க,இடி மறந்து, ஏமதி வலவ! குவிமுகைவாழை வான் பூ ஊழுறுபு உதிர்ந்தஒழிகுலை அன்ன திரிமருப்பு ஏற்றொடுகணைக் கால் அம் பிணைக் காமர் புணர் நிலைகடுமான் தேர் ஒலி கேட்பின்,நடுநாட் கூட்டம் ஆகலும் உண்டே. A delightful trip into the forests, in these words of the man to his charioteer, on his return home, after completing a mission: “As the skies had rendered their grace, the forest has turned picturesque. As huge and pregnant clouds have brought in the rainy season and stayed behind, amidst the exquisite, sapphire-like ironwood flowers, the crimson-backed red velvet bugs crawl around, and many, fine flowers of the wild jasmine loosen from their stalks and fall down, upon this red-earthed forest, akin to an expert's painting. So that the leaping feet of these speeding, proud horses move softly, do not goad them, O charioteer! For if the male deer with twisted antlers, in the shape of the empty fruit cluster of a banana tree, whose closed buds of white flowers have reached ripeness and fallen down, and the thick-legged beautiful female deer hear the sound of our chariot, with speeding horses, their desirable state of union in the middle of the night would be disturbed!” Let’s trot along with the man through the rain-washed roads and learn more! The man starts by focusing on how the rains have poured, and as we know, when rains pour, the earth smiles, and brings great beauty to the face of the land. The rainy season had stepped in, reeled in by the clouds, and because of their handiwork, dark-blue ironwood flowers were blooming, and in between the dark blue blooms, red velvet bugs were frolicking about, making the wild jasmine flowers fall down. The whole scene before him seems like the artwork of an expert painter, says the man. This makes me yearn to see the paintings of that era, which would have surely been a much-earlier artistic predecessor of the famous 19th century landscape paintings. Returning, we find the man now turning to his charioteer and asking him specifically not to goad the horses to make them fly fast, instead to ensure they run softly. This is a curious request indeed! In song after song, we have only seen the man ask his charioteer to hasten the horses, fly like the wind, so that he can embrace his lady. What could be the reason for this man’s change of stance? He reveals that to us by concluding if the charioteer were to rush fast, the sound of the speeding chariot might disturb the joyful union of a male deer and its mate at midnight. In an interesting coincidence, that very male deer and its mate that the lady in the previous verse predicted her man would see and return back to her, leap into this verse in one of those rare continuums in this anthology. The man’s wish to not disturb the deer echoes the immense love brimming over in his heart to be united with his beloved, wanting not to bring that pain to any other life. What a caring and considerate human he is! Such thoughtfulness is indeed the need of the hour and this ancient ancestor truly inspires us to welcome not just other humans but all other forms of life in our loving circle of care!

In this episode, we listen to a recollection of a past moment, as depicted in Sangam Literary work, Aganaanooru 133, penned by Uraiyoor Maruthuvan Damotharanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents vivid images of elements of nature and weather. குன்றி அன்ன கண்ண, குரூஉ மயிர்,புன் தாள், வெள்ளெலி மோவாய் ஏற்றைசெம் பரல் முரம்பில் சிதர்ந்த பூழி,நல் நாள் வேங்கை வீ நன்கனம் வரிப்ப,கார் தலைமணந்த பைம் புதற் புறவின்,வில் எறி பஞ்சியின் வெண் மழை தவழும்கொல்லை இதைய குறும் பொறை மருங்கில்,கரி பரந்தன்ன காயாஞ் செம்மலொடுஎரி பரந்தன்ன இலமலர் விரைஇ,பூங் கலுழ் சுமந்த தீம் புனற் கான் யாற்றுவான் கொள் தூவல் வளி தர உண்கும்;எம்மொடு வருதல் வல்லையோ மற்று?’ எனக்கொன் ஒன்று வினவினர்மன்னே தோழி!இதல் முள் ஒப்பின் முகை முதிர் வெட்சிகொல் புனக் குருந்தொடு கல் அறைத் தாஅம்மிளை நாட்டு அத்தத்து ஈர்ஞ் சுவற் கலித்தவரி மரற் கறிக்கும் மடப் பிணைத்திரிமருப்பு இரலைய காடு இறந்தோரே. In this trip to the drylands, we perceive interesting scenes, as we listen to the lady say these words to her confidante, who worries that the lady will not be able to bear the man’s separation, as he left in search of wealth: “The bearded, male white rat, with eyes, akin to rosary peas, hair with a rich hue, and short legs, kicks up dust on the rough land, filled with red pebbles, upon which the auspicious Kino flowers fall, making it appear like a ‘Veri ritual' arena. Above such a fresh forest space, which the rains have graced, akin to carded cotton, white clouds crawl across. In these cleared forests on the side of small hills, as if charcoal was scattered, ironwood flowers bloom, and as if fire was spreading, silk cotton flowers bloom. Bearing the nectar of these flowers, flows the sweet waters of the wild river, which the sky snatches, and then renders as a sweet drizzle in the wind. ‘Accepting this as your food, are you capable of coming with me?', he asked with fear then, my friend! He, who parted away to that drylands jungle, where the mature buds of the jungle flame, appearing akin to claws of quails, lie fallen down along with wild lime flowers from cleared forests, on the rocky surfaces of the drylands country in the ‘Milai Naadu', where a male deer with twisted antlers unites with its naive mate, which feeds on the lined hemp, flourishing in the wet wastelands!” Time to take in the life throbbing in this domain! The lady starts by observing the actions of a white rat, which is described so vividly as having the protruding red eyes, appearing like rosary peas. This little animal is kicking up a huge dust in that land, where Kino flowers have fallen. A moment to observe that these Kino flowers are marked by the adjective ‘auspicious’ to indicate that this is the season of marriages. Perhaps, this separation had happened before the lady’s wedding to the man, and she remarks how there seems to be pressure at home to get married. Returning, we find the lady comparing this red earth on which Kino flowers are fallen to a ‘Veri’ ritual ground, possibly hinting at such occurrences at her own home. Next, from the ground below, the lady zooms to the sky above, where the white clouds appear akin to carded cotton. Why because they have done their task of pouring the rains on the forests, where the dark blue ironwood flowers are blooming like charcoal and the red flowers of the silk-cotton are blooming like fire. Now, since the rains have poured, rivers are brimming over with floods, which snatches these fallen flowers. From these gushing rivers, the skies pick up the nectar of these flowers and splash as drizzle, the lady continues. Now, she connects these elements and concludes by saying, the man had said these words to her, and then, turned to her and asked if it was possible for the lady to walk on with him, eating this drizzle from the skies as her only food, with much concern, and then he left to the drylands, where the jungle flame flowers and wild lime flowers lie scattered on the rocks, and where the male deer seeks out its naive mate, which had been feeding on the wild hemp, and unites together. What we have to infer from this song is that the lady understands and appreciates the man’s concern in taking her along with him on his journey! She perceives his true love and believes he will return to her, which is also echoed in the scene of the male deer uniting with its mate, a metaphor for the lady’s own happy union with the man. Through this, the lady hopes to reassure her friend and wait with patience, trusting in the love of her beloved!

In this episode, we relish scenes of nature’s plenty, as depicted in Sangam Literary work, Aganaanooru 132, penned by Thayankannanaar. The verse is situated amidst the bee-buzzing blooms of the ‘Kurinji’ or ‘Mountain landscape’ and puts forth a persuasive plea. ஏனலும் இறங்கு குரல் இறுத்தன; நோய் மலிந்து,ஆய்கவின் தொலைந்த, இவள் நுதலும் நோக்கிஏதில மொழியும், இவ் ஊரும்; ஆகலின்,களிற்று முகம் திறந்த கவுளுடைப் பகழி,வால் நிணப் புகவின் கானவர் தங்கைஅம் பணை மென் தோள் ஆய் இதழ் மழைக் கண்ஒல்கு இயற் கொடிச்சியை நல்கினைஆயின்,கொண்டனை சென்மோ நுண் பூண் மார்ப!துளிதலைத் தலைஇய சாரல் நளி சுனைக்கூம்பு முகை அவிழ்த்த குறுஞ் சிறைப் பறவைவேங்கை விரி இணர் ஊதி, காந்தள்தேனுடைக் குவிகுலைத் துஞ்சி, யானைஇருங் கவுட் கடாஅம் கனவும்,பெருங் கல் வேலி, நும் உறைவு இன் ஊர்க்கே. In this trip to the mountains, there’s plenty to feast our senses on, as we listen to the confidante say these words to the man, after she brings over the lady for a tryst with him: “In the millet fields, the bent crops have been harvested; As her affliction soars, her forehead has lost its old beauty; Seeing that, this town too speaks strange words; And so, please take away this sister of hunters, who feed on white meat, and possess arrows that can pierce the cheek of a male elephant; this mountain maiden, who has beautiful, bamboo-like arms, and exquisite petals of rain-like eyes, a swaying gait, and leave to that sweet town you reside in, surrounded by the fence of great hills, where because the skies have showered their raindrops, springs are brimming over with water, and here a small-winged bee, after opening a closed bud, buzzes around the pollen of the blooming golden shower flowers, and then sleeps in the honey-filled, bunched clusters of the flame-lily, and dreams about tasting the musth flowing down the dark cheeks of an elephant!” Time to swim in the springs and take a trek through these hills! The confidante starts by giving the news of the region, talking about how the harvest season is done with, implying that the lady will not be coming anymore for guarding the millet fields and chasing away parrots. Next, because of the interruptions in her tryst with the man, the lady’s forehead seems to be shedding its old beauty, the confidante mentions. She then relates owing to that, the village is abuzz with gossip about the lady. Then, she turns to describe her friend, the lady, as a sister of hunters, who like to feed on white fatty meat and who have such sharp arrows that these can pierce the thick cheeks of elephants. From her relatives, the confidante turns to shower praise on the lady and describes her as one have beautiful arms and eyes and an adorable manner of walking. It’s now she comes to the point and asks the man to take the lady and leave to his own town amidst the hills, and ends with a description of that place, lushly filled with overflowing springs and blooming flowers, where a bee takes up the task of opening buds, then moves on to the golden shower flowers, that are spreading out their petals, another indication that the harvest season is over and the marriage season was here, and that busy bee then finds its way to the bed of flame-lily clusters, and here, it lies and dreams of savouring the musth liquid, pouring from the cheek of a male elephant in rut! The confidante is simply presenting her case of ‘Marry her, marry her’ to make the man move away from temporary trysting with the lady and turn to pursuing a permanent union. In that scene of the bee that hops from flower to flower and dreams of other delights, the confidante conceals a metaphor and a criticism for the man’s focus on pursuing pleasures with the lady, instead of finding lasting joy. Here, the confidante could be pressing the man to go for elopement, when she’s talking about taking the lady away or the formal route of seeking the lady’s hand from her kith and kin. The formidable and fierce nature of the lady’s family is depicted in that description of sharp arrows. Thus, we find in a simple song on relationships, intricate details of the natural delights that excite not only the bee, but also us, and make us dream about tasting the beauty of that pristine past!

In this episode, we perceive a man’s dilemma in choosing between two worthy pursuits, as portrayed in Sangam Literary work, Aganaanooru 131, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches events and scenes from this domain. ‘விசும்பு உற நிவந்த மாத் தாள் இகணைப்பசுங் கேழ் மெல் இலை அருகு நெறித்தன்ன,வண்டு படுபு இருளிய, தாழ் இருங் கூந்தல்சுரும்பு உண விரிந்த பெருந் தண் கோதைஇவளினும் சிறந்தன்று, ஈதல் நமக்கு’ எனவீளை அம்பின் விழுத் தொடை மழவர்நாள் ஆ உய்த்த நாம வெஞ் சுரத்துநடை மெலிந்து ஒழிந்த சேண் படர் கன்றின்கடைமணி உகுநீர் துடைத்த ஆடவர்பெயரும் பீடும் எழுதி, அதர்தொறும்பீலி சூட்டிய பிறங்குநிலை நடுகல்வேல் ஊன்று பலகை வேற்று முனை கடுக்கும்வெருவரு தகுந கானம், ‘நம்மொடுவருக’ என்னுதிஆயின்,வாரேன்; நெஞ்சம்! வாய்க்க நின் வினையே. We get to see many interesting aspects of the drylands, as we listen to the man say these words to his heart: “As if the green-hued, soft leaves of the dark-trunked ‘Ikanai' tree, which soars to the skies, are densely placed together, are her low-hanging dark tresses, swarming with bees. Thinking that more than this maiden, wearing a huge, moist garland, with blossoms wide open and inviting bees, charity is important, you say to me, ‘Come on with me, to the formidable, hot drylands, filled with fear-evoking jungles, appearing akin to an enemy king's battlefield, dotted with spears and shields, filled with radiant hero stones amidst bushes, and which are adorned with peacock feathers, and inscribed with the name and fame of those men, who wiped away the tears flowing down the eyes of calves, which were unable to walk for a long distance, at a time when robbers with whistling arrows that fail not, had stolen the mother cows!'. I shan't come with you, O heart! May your mission succeed!” Time to walk through those arid spaces filled with monuments of valour. The man starts by talking about the lady’s beauty, and to do that, he mentions her thick and long hair, which resembles the leaves of an unidentified tree named ‘Ikanai’, which is said to be sky-soaring and having a black trunk. Since many candidates suit the role, perhaps the tree has remain unidentified. Another subtle element is how the colour dark green of the leaves and the colour black of the lady’s tresses are seen as one and the same in this culture. Returning, we find the man mentioning how bees buzz around those beautiful tresses of the lady and also around the garlands she wears. The man now reveals why he has talked at length about the lady, when he turns to his heart and says, ‘You have been insisting to me that the joy obtained from the lady’s company is not as important as my duty of charity’. What is this duty of charity and why should be in conflict with the lady? The man then goes on to say his heart has been telling him this opinion and nudging him to travel to the fearsome drylands, which he then goes on to talk about as a place, which appears like an enemy king’s battlefield, for spears and shields are decked around memorial stones, tied with peacock feathers. Looking closely at these memorial stones, we can read the glorious things written about certain warriors, who are said to have wiped the tears of calves, left behind, when their mother cows where stolen by the bow-wielding highway robbers with unfailing arrows. Of course, wiping the tears could actually mean the physical wiping away of tears of these calves, crying for their mothers, but here, it most probably refers to how those warriors had gone in pursuit of the highway robbers, and recovered the stolen cows, victoriously, while some died in the mission, and thus got glorified on those hero stones. The man concludes by replying to his heart saying that he will not be joining it in its mission to earn wealth and wishes good luck to his heart in its journey. In essence, the man is separating himself from his heart to get some perspective as he stands at the crossroads. On one side is his love and the joy of the lady’s presence, and on the other side, is his sense of duty, which is to give unto others, for which he needs wealth, and that meant, leaving the lady. Here, the man seems to choose the side of love, and yet, he wishes well to his heart to succeed in its mission. So, it’s an open-ended conclusion, telling us the man could have remained at home or he could have followed his heart, for where can the heart go, if we don’t?

In this episode, we listen to a strong rebuttal to a reprimand, as depicted in Sangam Literary work, Aganaanooru 130, penned by Venkannanaar. The verse is situated amidst the fragrant pandanus trees of the ‘Neythal’ or ‘Coastal landscape’ and showers high praise on a land and a lady. அம்ம வாழி, கேளிர்! முன் நின்றுகண்டனிர்ஆயின், கழறலிர்மன்னோநுண் தாது பொதிந்த செங் காற் கொழு முகைமுண்டகம் கெழீஇய மோட்டு மணல் அடைகரை,பேஎய்த் தலைய பிணர் அரைத் தாழைஎயிறுடை நெடுந் தோடு காப்ப, பல உடன்வயிறுடைப் போது வாலிதின் விரீஇ,புலவுப் பொருது அழித்த பூ நாறு பரப்பின்இவர் திரை தந்த ஈர்ங் கதிர் முத்தம்கவர் நடைப் புரவி கால் வடுத் தபுக்கும்நல் தேர் வழுதி கொற்கை முன் துறைவண்டு வாய் திறந்த வாங்குகழி நெய்தற்போது புறங்கொடுத்த உண்கண்மாதர் வாள் முகம் மதைஇய நோக்கே. Another crisp trip to the seashore, where we get to relish the space with all our senses, as we listen to this unique situation, of a man, replying to the words of his friend, who admonishes him for his recent behaviour: “Listen, may you live long, my dear friend! The red-stemmed fleshy bud of the water thorn, filled with fine pollen, flourishes on the sand mounds of the shore, near a pandanus tree, with a rough trunk, branches looking like heads of ghosts, long leaves with thorns, akin to teeth protecting them, and flowers, with deep cores, spreading out with purity, waging war against the scent of flesh, and emerging victorious by spreading the fragrance of the flowers in that space, where soaring waves bring along moist and radiant pearls, which leaves scars on the feet of horses with an alluring trot in Korkai, ruled by the Pandya King Vazhuthi, who owns fine chariots many. The bee-buzzing blue lotus, blooming in the shores of this city, by the curving backwaters, would pale in comparison before the kohl-streaked eyes of her exquisite, shining face. Had you stood before and seen her divine gaze, you wouldn't rebuke me so!” Let’s take a breezy walk on those ancient shores, brimming with flowers and bees, and learn more! The man starts to respond to the words of his friend by first blessing him. It doesn’t matter if the other had been scolding him. It’s the culture that makes the speaker bless even the one, who happens to be speaking against them! Then, the man launches into a lengthy description of a seashore, where we see water-thorn flowers blooming, pandanus trees, which are painted with words, fighting against the reeking odours of the sea with their fragrant flowers, also waves bringing along pearls and scattering these on the shore, which then goes on to leave imprints on the feet of trotting horses. We learn that this naturally prosperous place is none other than the world famous Korkai, the capital of the Pandya King Vazhuthi, renowned for the fine chariots he possesses. The man has taken us along to that distant shore, only to point out to us the exquisite blue lotuses blooming there. He then connects these flowers to the eyes of his beloved, saying those flowers would bow down in shame before the lustre of her eyes, and concludes by telling his friend that had he seen the shining face of the lady, standing before her, he wouldn’t be scolding the man so, for his behaviour, seemingly lacking in honour! Thus we understand it’s a friend who has been telling the man, ‘Bro, you are not yourself. Why are you lowering yourself so, before a mere slip of a girl? Aren’t you a worthy leader?’ and so on and so forth. The man arms himself with the sword of the lady’s beauty, and quells this dissent of his friend, saying ‘She is so worthy of all that you accuse me of doing!’. A sweet song on the timeless theme of defending love for a beloved before a concerned friend!

In this episode, we perceive the reasons outlined for a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 129, penned by Kudavayil Keeraththanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays various scenes in this harsh domain. ”உள்ளல் வேண்டும் ஒழிந்த பின்” எனநள்ளென் கங்குல் நடுங்கு துணை ஆயவர்நின் மறந்து உறைதல் யாவது? ”புல் மறைந்துஅலங்கல் வான் கழை உதிர்நெல் நோக்கி,கலை பிணை விளிக்கும் கானத்து ஆங்கண்,கல் சேர்பு இருந்த கதுவாய்க் குரம்பைத்தாழிமுதற் கலித்த கோழிலைப் பருத்திப்பொதி வயிற்று இளங் காய் பேடை ஊட்டி,போகில் பிளந்திட்ட பொங்கல் வெண் காழ்நல்கூர் பெண்டிர் அல்கற் கூட்டும்கலங்குமுனைச் சீறூர் கை தலைவைப்ப,கொழுப்பு ஆ தின்ற கூர்ம் படை மழவர்,செருப்புடை அடியர், தெண் சுனை மண்டும்அருஞ் சுரம் அரியஅல்ல; வார் கோல்திருந்து இழைப் பணைத் தோள், தேன் நாறு கதுப்பின்,குவளை உண்கண், இவளொடு செலற்கு” எனநெஞ்சு வாய் அவிழ்ந்தனர் காதலர்அம் சில் ஓதி ஆயிழை! நமக்கே. Back to the drylands and we get to meet the people and animals inhabiting this space, as we listen to the confidante render these words to the lady, as the man continues to remain parted away, after leaving in search of wealth: “Declaring with anxiety, ‘I will surely end up thinking with lament, about her after parting away', the one who was your companion in the darkness of the night trembled. As the grass was left no more, looking at the shed grains of the swaying bamboo, the male deer calls out to its female in the jungle, where in a dilapidated hut, amidst a rocky surrounding, near a big urn, the thick-leaved cotton plant flourishes. Taking the unripe fruit of the cotton plant, with a bulging belly, a bird splits it open to feed its mate, and throws the furry white seeds, which are collected by impoverished women, to be eaten later, in that little hamlet, near a raging battlefield. Making this hamlet shout out in alarm, robbers, wearing footwear and holding sharp spears, steal and feed on their fat cows and drink from the clear springs in the formidable wastelands. 'Such places are harsh for the maiden, wearing neat rows of well-etched ornaments, having bamboo-like arms, honey-fragrant tresses, and kohl-streaked eyes, akin to blue lilies, to traverse with me', your lover had said, expressing the truth in his heart to us, O maiden wearing exquisite ornaments and having beautiful, soft hair. How is it possible for him to forget you and stay away?” Time to brave the dangers of the drylands and explore more! The confidante starts by recollecting the words the man said before he left predicting that for sure he’s going to think about the lady and worry endlessly after he leaves. This is followed by a lengthy description of the drylands, where first we see a male deer calling out to its mate the moment it glimpses a few shed grains of the swaying bamboo, as there’s no more grass left for them to graze on. Then the focus shifts to a broken-down old hut, in a rocky space, where a cotton plant is sprouting near an urn, and a bird nabs the unripe fruit, pecks it open and feeds its mate, throwing away the white seeds. These are then collected by poor women, who have nothing else to eat in that little hamlet, which is in such a ruined state, because it’s just seen a battle break out near it. The troubles of this hamlet are not over, and any people left behind are left to scream in agony by the robbers, who come there to steal the cattle and feed on its meat, and then drink up cool waters. Two interesting facts are mentioned about this ancient tribe of people, in that they used to eat the meat of cattle, and two, their footwear is pointedly referred to, telling us that this is no commonplace occurrence. Perhaps it was an object of necessity for these robbers, when traversing those dry and harsh wastelands! Returning, we find the confidante revealing that it was the man, who has been narrating this long description of the drylands space, only to say such a domain would be hard for the delicate lady to cross along with him. She then concludes with the pointed question as to how the man, who had thought with so much care and concern, for the lady, could possibly stay away without returning. Words of consolation from this darling friend again! The subtle highlight in this narrative appears in how, be it in the depiction of the deer calling its doe or the bird feeding its hen, the care of the male towards its mate shines so brightly, letting the confidante dip her brush in the hues of these expressions, and paint the streaks of the man’s love and care on the lady’s heart! 

In this episode, we listen to the beat of an anxious heart, as depicted in Sangam Literary work, Aganaanooru 128, penned by Kabilar. The verse is situated amidst the dark and rugged paths of the 'Kurinji' or 'Mountain Landscape' and presents thoughtful words to change the course of another.

In this episode, we perceive a persuasive promise, as portrayed in Sangam Literary work, Aganaanooru 127, penned by Maamoolanaar. Set in the 'Paalai' or 'Drylands landscape', the verse sketches a noble portrait of the man.

In this episode, we perceive a man's angst, as depicted in Sangam Literary work, Aganaanooru 126, penned by Nakeerar. The verse is situated amidst the gushing rivers of the 'Marutham' or 'Farmlands landscape' and relates a personal situation to a historic event.

In this episode, we listen to an angry retort to an inanimate element, as depicted in Sangam Literary work, Aganaanooru 125, penned by Paranar. Set in the 'Paalai' or 'Drylands landscape', the verse weaves in a relevant historical reference as an apt simile to echo an emotion within.

In this episode, we listen to a man's yearning to be back home, as depicted in Sangam Literary work, Aganaanooru 124, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the blooming jasmines and buzzing bees of the 'Mullai' or 'Forest landscape' and describes a homeward journey.

In this episode, we perceive the troubled mind of a man, as depicted in Sangam Literary work, Aganaanooru 123, penned by Kaveripoompattinaththu Kaarikkannanaar. Set in the 'Paalai' or 'Drylands landscape', the verse talks about the oscillations in the midst of an endeavour.

In this episode, we listen to a list of impediments to trysting, as depicted in Sangam Literary work, Aganaanooru 122, penned by Paranar. Set amidst the hooting owls and crowing roosters of the 'Kurinji' or 'Mountain landscape', the verse presents the problems in the present and subtly nudges a change of course.

In this episode, we perceive an animated reaction to a proposal, as portrayed in Sangam Literary work, Aganaanooru 121, penned by Madurai Maruthan Ilanaakanaar. Set in the 'Paalai' or 'Drylands landscape', the verse relates the discomfort in a journey through this domain.

In this episode, we listen to a pointed request, as depicted in Sangam Literary work, Aganaanooru 120, penned by Nakeeranaar. The verse is situated in the blue-lotus blooming backwaters of the 'Neythal' or 'Coastal landscape' and presents a subtle way to change a person's course of action.

In this episode, we perceive the yearning in a lady to part away with her man, as depicted in Sangam Literary work, Aganaanooru 119, penned by Kudavayil Keeraththanaar. Set in the 'Paalai' or 'Drylands landscape', the verse presents various aspects of this domain.

In this episode, we perceive words of persuasion, as portrayed in Sangam Literary work, Aganaanooru 118, penned by Kabilar. The verse is situated amidst the roars of drums and tigers in the 'Kurinji' or 'Mountain landscape' and points the way forward in a subtle manner.

In this episode, we listen to a mother's words of love, as portrayed in Sangam Literary work, Aganaanooru 117, penned by an anonymous poet. Set in the 'Paalai' or 'Drylands landscape', the verse brings out the tender thoughts in a mother's heart at the juncture of her daughter's elopement.

In this episode, we hear the reason for a refusal, as depicted in Sangam Literary work, Aganaanooru 116, penned by Paranar. The verse is situated amidst the paddy stalks and lotus blooms of the 'Marutham' or 'Farmlands landscape' and illustrates the events of a historic battle.

In this episode, we perceive the pain in a lady's heart, as depicted in Sangam Literary work, Aganaanooru 115, penned by Maamoolanaar. Set in the 'Paalai' or 'Drylands landscape', the verse sketches the consequences of the man's parting away.

In this episode, we perceive a man's eagerness to return to his beloved, as depicted in Sangam Literary work, Aganaanooru 114, penned by an anonymous poet. The verse is situated amidst the scattered flowers of the 'Mullai' or 'Forest landscape' and visualises a person living far away.

In this episode, we listen to a lady's anguished voice, as depicted in Sangam Literary work, Aganaanooru 113, penned by Kallaadanaar. Set in the 'Paalai' or 'Drylands landscape', the verse pens detailed portraits of some historical characters in the Sangam era.

In this episode, we listen to a persuasive request, as depicted in Sangam Literary work, Aganaanooru 112, penned by Neythal Saaithuitha Aavoor Kizhaar. The verse is situated amidst the roving bears and roaring tigers in the 'Kurinji' or 'Mountain landscape' and attempts at changing a person's path.

In this episode, we perceive words of consolation, as portrayed in Sangam Literary work, Aganaanooru 111, penned by Paalai Paadiya Perunkadunko. Set in the 'Paalai' or 'Drylands landscape', the verse vividly sketches the life in this domain.

In this episode, we listen to a confession, as portrayed in Sangam Literary work, Aganaanooru 110, penned by Ponthai Pasalaiyaar. The verse is situated amidst the waves and sands of the 'Neythal' or 'Coastal Landscape' and narrates a significant event on the shore.

In this episode, we perceive the dangers in a journey, as depicted in Sangam Literary work, Aganaanooru 109, penned by Kadunthodai Kaavinaar. Set in the 'Paalai' or 'Drylands landscape', the verse relays an indirect message of motivation.

In this episode, we perceive a hidden attempt at persuasion, as depicted in Sangam Literary work, Aganaanooru 108, penned by Thankaal Porkollanaar. The verse is situated in the bee-buzzing hills of the 'Kurinji' or 'Mountain Landscape' and depicts the dangers in trysting.

In this episode, we listen to a message of acceptance, as portrayed in Sangam Literary work, Aganaanooru 107, penned by Kaaviripoompattinathu Kaarikkannanaar. Set in the 'Paalai' or 'Drylands landscape', the verse visualises the journey ahead for a couple.

In this episode, we observe the fury of a scorned woman, as depicted in Sangam Literary work, Aganaanooru 106, penned by Alangudi Vanganaar. The verse is situated amidst the fertile fields of the 'Marutham' or 'Farmlands Landscape' and reflects the sparks of rivalry in a rich town.

In this episode, we perceive a mother's shock, as depicted in Sangam Literary work, Aganaanooru 105, penned by Thaayankannanaar. Set in the 'Paalai' or 'Drylands landscape', the verse depicts the unlikely journey of a young girl through a challenging terrain.

In this episode, we listen to words of a joyous welcome, as depicted in Sangam Literary work, Aganaanooru 104, penned by Madurai Maruthan Ilanaakanaar. The verse is situated amidst the flowering bushes of the 'Mullai' or 'Forest Landscape' and portrays a friend's delight.

In this episode, we listen to the lament of a lady, as depicted in Sangam Literary work, Aganaanooru 103, penned by Kaaviripoompattinathu Chenkannanaar. Set in the 'Paalai' or 'Drylands landscape', the verse describes the pain caused by the man's parting away.

In this episode, we listen to an attempt at persuasion, as depicted in Sangam Literary work, Aganaanooru 102, penned by Madurai Ilampaalaasiriyan Chenthan Koothanaar. The verse is situated amidst the lush millet fields of the 'Kurinji' or 'Mountain Landscape' and portrays the consequences of the man's delay in seeking the lady's hand.

In this episode, we perceive the distress in separation, as portrayed in Sangam Literary work, Aganaanooru 101, penned by Maamoolanaar. Set in the 'Paalai' or 'Drylands landscape', the verse vividly depicts the people and events of this arid land.

In this episode, we perceive subtle words of persuasion, as depicted in Sangam Literary work, Aganaanooru 100, penned by Ulochanaar. The verse is situated amidst the roaring waves of the 'Neythal' or 'Coastal Landscape', and reveals the concern with the man's current course of action.