Podcasts about Drylands

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 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 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 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 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 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.

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.