Podcasts about Drylands

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!

Drylands play a critical role in global ecosystems as well as the carbon cycle. We talk with ecologist Brooke Osborne about the fascinating world of biogeochemistry and dryland science. Covering 40% of the Earth's surface and hosting a third of the human population, heterogeneous drylands have low resource availability and therefore are highly sensitive to climatic changes. We discuss Brooke's ongoing research into soil carbon storage and sequestration, particularly in the context of grazing practices and land management.

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 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 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 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 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 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 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 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.

On this episode, Richard & Tyler go over their home game of Daggerheart using the Colossus Of The Drylands campaign frame.Links to Stuff & Things:https://cults3d.com/en/3d-model/game/daggerheart-western-fear-trackerhttps://www.dh-brewing.com/adversaryhttps://www.patreon.com/cw/drmapzohttps://www.daggerheart.com/downloads/https://www.daggerheart.com/thevoid/Welcome to True Strike, a podcast for tabletop nerds.Each Tuesday, listen in while two friends discuss their completely unwarranted opinions about all things tabletop. Topics vary each week from D&D and Daggerheart, to whatever TTRPG or board game they happen to be playing!Hosts: Richard Cullen/Tyler WortheySong by: WILDJOE1

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 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 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 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 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 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 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 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 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 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 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 listen to a lady's lament, as portrayed in Sangam Literary work, Aganaanooru 97, penned by Maamoolanaar. Set in the 'Paalai' or 'Drylands landscape', the verse is a medley of many fascinating elements.

In this episode, we listen to an anguished voice, as portrayed in Sangam Literary work, Aganaanooru 95, penned by Orodakathu Kantharathanaar. Set in the 'Paalai' or 'Drylands' landscape, the verse relays the reasons for taking a difficult decision.

In this episode, we perceive the joy and anticipation in returning home, as depicted in Sangam Literary work, Aganaanooru 93, penned by Madurai Kanakkaayanaar Makanaar Nakkeeranaar. Set in the 'Paalai' or 'Drylands landscape', the verse presents insightful facts about the three great empires in ancient Tamil land.

In this episode, we listen to a message of reassurance, as portrayed in Sangam Literary work, Aganaanooru 91, penned by Maamoolanaar. Set in the 'Paalai' or 'Drylands landscape', the verse sketches contrasting images of an arid domain and a fertile one.

In this episode, we listen to a mother's lament, as portrayed in Sangam Literary work, Aganaanooru 89, penned by Madurai Kaanchipulavar. Set in the 'Paalai' or 'Drylands landscape', the verse sketches the dangers of a drylands journey.

In this episode, we hear healing words rendered to a heart, as depicted in Sangam Literary work, Aganaanooru 87, penned by Madurai Peraalavaayar. Set in the 'Paalai' or 'Drylands landscape', the verse sketches a journey as it nears its end.

In this episode, we listen to a recollection of promises, as portrayed in Sangam Literary work, Aganaanooru 85, penned by Kaattoor Kizhaar Maganaar Kannanaar. The verse is situated amidst the 'Paalai' or 'Drylands landscape' and offers consolation to an anxious heart.

In this episode, we perceive an instance of love across the miles, as depicted in Sangam Literary work, Aganaanooru 83, penned by Kallaadanaar. Set in the 'Paalai' or 'Drylands landscape', the verse echoes the tender feelings in the heart of a man parted away from his beloved.

In this episode, we listen to a pointed question put forth, as depicted in Sangam Literary work, Aganaanooru 81, penned by Alamperi Saaththaanaar. The verse is situated in the 'Paalai' or 'Drylands landscape' and vividly illustrates the elements of nature in this domain.

In this episode, we perceive a man's annoyance with his heart, as portrayed in Sangam Literary work, Aganaanooru 79, penned by Kudavayil Keerathanaar. Set in the 'Paalai' or 'Drylands landscape', the verse presents a vivid account of the people and their activities in this domain.

In this episode, we hear the reasoning for a resolute decision, as portrayed in Sangam Literary work, Aganaanooru 77, penned by Maruthan Ilanaakanaar. Set in the 'Paalai' or 'Drylands landscape', the verse reveals insightful historical facts through its intriguing similes.

In this episode, we perceive the resolution of a person's anxiety, as portrayed in Sangam Literary work, Aganaanooru 75, penned by Madurai Poththanaar. The verse is situated in the 'Paalai' or 'Drylands landscape' and argues against parting away in the pursuit of wealth.

In this episode, we perceive the portrayal of shared pain, as depicted in Sangam Literary work, Aganaanooru 73, penned by Erumai Veliyanaar. The verse is situated in the 'Paalai' or 'Drylands landscape' and renders a message of hope to the lady.

In this episode, we listen to an outpouring of suffering, as depicted in Sangam Literary work, Aganaanooru 71, penned by Anthi Ilankeeranaar. Set in the 'Paalai' or 'Drylands landscape', the verse presents nuanced similes to etch the sorrow in a heart.

In this episode, we listen to words of encouragement, as depicted in Sangam Literary work, Aganaanooru 69, penned by Umattoor Kizhaar Makanaar Parankotranaar. The verse is situated in the 'Paalai' or 'Drylands landscape' and renders hope to a despairing heart.

In this episode, we listen to a frustrated response, as portrayed in Sangam Literary work, Aganaanooru 67, penned by Noy Paadiyaar. Set in the 'Paalai' or 'Drylands landscape', the verse depicts the dreary state of the place the man traverses.

In this episode, we hear news of a much-awaited decision, as depicted in Sangam Literary work Aganaanooru 65, penned by Maamoolanaar. Set amidst the 'Paalai' or 'Drylands landscape', the verse portrays the change in a person's mind and its joyous consequences.

In this episode, we listen to a mother's lament, as depicted in Sangam Literary work, Aganaanooru 63, penned by Karuvoor Kannam Pullanaar. Set in the 'Paalai' or 'Drylands landscape', the verse sketches the journey of a maiden in the mind's eye of her mother.

In this episode, we listen to a friend's encouraging words, as depicted in Sangam Literary work, Aganaanooru 61, penned by Maamoolanaar. Set in the 'Paalai' or 'Drylands landscape'', the verse highlights some historic personalities and their renowned towns.

In this episode, we listen to a subtle message of consolation, as depicted in Sangam Literary work, Aganaanooru 59, penned by Madurai Maruthan Ilanaakanaar. Set in the 'Paalai' or 'Drylands landscape', the verse refers to mythological elements to depict aspects of parting.

In this episode, we listen to the man's reflection about his beloved, as portrayed in Sangam Literary work, Aganaanooru 57, penned by Nakeerar. Set in the 'Paalai' or 'Drylands landscape', the verse echoes the yearning and suffering in parting.

In this episode, we perceive the intricate emotions of a mother, as depicted in Sangam Literary work, Aganaanooru 55, penned by Maamoolanaar. The verse is situated in the 'Paalai' or 'Drylands landscape' and presents a momentous historic event from the Sangam era.

In this episode, we listen to a lady's response to her friend's consolation, as depicted in Sangam Literary work, Aganaanooru 53, penned by Seethalai Saaththanaar. Set amidst the 'Paalai' or 'Drylands landscape', the verse offers intricate insights about elements of both nature and culture.

In this episode, we listen to a mother's lament, as portrayed in Sangam Literary work, Aganaanooru 49, penned by Vannappura Kantharanthanaar. Set in the 'Paalai' or 'Drylands landscape', the verse depicts an act of elopement from the mother's perspective.

In this episode, we perceive the angst of a lady, parted from her beloved, as portrayed in Sangam Literary work, Aganaanooru 45, penned by Velliveethiyaar. Set in the 'Paalai' or 'Drylands landscape', the verse presents a variety of similes from nature and history.

In this episode, we perceive a clear decision in a man's mind, as depicted in Sangam Literary work, Aganaanooru 43, penned by Madurai Aasiriyaar Nallanthuvanaar. Set in the 'Paalai' or 'Drylands landscape', the verse portrays the intensity of the rainy season.

In this episode, we perceive worry about another's pain, as portrayed in Sangam Literary work, Aganaanooru 41, penned by Kundriyanaar. Set in the 'Paalai' or 'Drylands landscape', the verse illustrates the sights and sounds of a season.

A Rosie On The House ReplayIn this episode of Rosie on the House, Romey Romero and Farmer Greg welcome Brad Lancaster, a renowned expert in water harvesting. They discuss Brad's journey in water harvesting starting from his childhood in Tucson, the practices he developed over the years, and the techniques mentioned in his book. Brad elaborates on practical methods to harvest rainwater efficiently in urban settings, including the creation of basins, curb cuts, and the use of rain gardens. He shares his experiences from global travel, particularly from Zimbabwe and Saudi Arabia, which influenced his work and techniques. Brad also highlights the profound community and ecological benefits of rainwater harvesting, such as creating food forests, improving local climates, and revitalizing neighborhoods. The episode underscores the importance of making the most out of minimal rainfall, even in desert areas, and offers practical advice for homeowners and communities. Brad Lancaster is the author of Rainwater Harvesting for Drylands and Beyond Volumes one and two. The creator of harvestingrainwater.com and is co-founder of neighborhoodforesters.org. He and his brother's family amazingly harvest about 100 Thousand gallons of rainwater each year in Tucson on an eighth of an acre urban lot and adjoining right away where just 11 inches of rain falls each year. This harvested rainwater is then turned into living air, conditioners of food bearing shade trees and understory plants, not just at home, but throughout his neighborhood where he and his neighbors have expanded the harvest To millions of gallons of stormwater each year, helping recharge the hydrology for all by giving back more than we take.Visit www.UrbanFarm.org/893-Rosie for the show notes and links on this episode!Need a little bit of advice or just a feedback on your design for your yard or garden?The Urban Farm Team is offering cohttps:///nsults over the phone or zoom. Get the benefits of a personalized garden and yard space analysis without the cost of trip charges. You can chat with Greg, Janis or Ray to get permaculture based feedback.Click HERE to learn more!*Disclosure: Some of the links in our podcast show notes and blog posts are affiliate links and if you go through them to make a purchase, we will earn a nominal commission at no cost to you. We offer links to items recommended by our podcast guests and guest writers as a service to our audience and these items are not selected because of the commission we receive from your purchases. We know the decision is yours, and whether you decide to buy something is completely up to you.