Podcasts about Drylands

In this episode, we listen to words of consolation, as portrayed in Sangam Literary work, Aganaanooru 323, penned by Puranaattu Perunkotranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse renders hope to an anxious heart! இம்மென் பேர் அலர், இவ் ஊர் நம்வயின்செய்வோர் ஏச் சொல் வாட, காதலர்வருவர் என்பது வாய்வதாக,ஐய செய்ய மதன் இல சிறிய நின்அடி நிலன் உறுதல் அஞ்சி, பையத்தடவரல் ஒதுக்கம் தகைகொள இயலி,காணிய வம்மோ? கற்பு மேம்படுவி!பலவுப் பல தடைஇய வேய் பயில் அடுக்கத்து,யானைச் செல் இனம் கடுப்ப, வானத்துவயங்கு கதிர் மழுங்கப் பாஅய், பாம்பின்பை பட இடிக்கும் கடுங் குரல் ஏற்றொடுஆலி அழி துளி தலைஇக்கால் வீழ்த்தன்று, நின் கதுப்பு உறழ் புயலே! In this trip to the familiar domain, we hardly see that space, and instead take in the weather changes, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Withering away words of those in this town, who speak, spreading resounding echoes of slander against you, your lover shall return! To see this come true, go on and press down upon those beautiful, etched, delicate, little feet of yours, which fear the ground, and gently bending your form, walk on with beauty, O maiden with brimming chastity! Akin to herds of elephants that live in bamboo-filled mountain ranges, packed with plenty of jackfruit trees, dimming the radiant orb in the sky, striking down on hoods of snakes, roaring with a thundering voice, shedding drops filled with hail, pouring a huge downpour, spread storm clouds, akin to your tresses!” Let’s listen to this loving conversation between friends and learn more! The confidante starts by acknowledging how slander is spreading in town owing to the gossiping mouths of the townsfolk. This indicates that the separation between the man and the lady has happened before their marriage. The confidante continues by saying that the man would soon be back, putting an end to all the talk of the townsfolk. Then, she points to how the thundering rain clouds are looming in the skies, and compares them to both herds of elephants in lush mountain ranges, as well as the lady’s tresses, in a double-edged simile. The confidante concludes by asking the lady to put those beautiful feet of hers to use and walk on outside to see this come true! To understand these words, we have to know about the man’s promise to return when the rains arrive. The confidante is pointing to the skies and saying to her friend, ‘The rains are approaching and so will he!’. The aspect of this verse I most related to was in how the confidante tells the lady to make those feet of hers touch the ground, and keep walking to see her joy approaching her. I imagine that the lady was languishing, refusing to even get up from her bed, and this is the confidante’s way of making the lady take a walk and take in the world outside. A subtle whisper of that timeless wisdom that there’s nothing like a walk to soothe a mind in the middle of whatever crisis it may find itself in! 

In this episode, we listen to a reflection on a joyous moment, as depicted in Sangam Literary work, Aganaanooru 317, penned by Vadamothankizhaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the seasons and the changes they bring in vivid detail. “மாக விசும்பின் மழை தொழில் உலந்தென,பாஅய் அன்ன பகல் இருள் பரப்பி,புகை நிற உருவின் அற்சிரம் நீங்க,குவிமுகை முருக்கின் கூர் நுனை வை எயிற்றுநகை முக மகளிர் ஊட்டு உகிர் கடுக்கும்முதிராப் பல் இதழ் உதிரப் பாய்ந்து, உடன்மலர் உண் வேட்கையின் சிதர் சிதர்ந்து உகுப்ப,பொன் செய் கன்னம் பொலிய, வெள்ளிநுண் கோல் அறை குறைந்து உதிர்வன போல,அரவ வண்டினம் ஊதுதொறும் குரவத்துஓங்கு சினை நறு வீ கோங்கு அலர் உறைப்ப,துவைத்து எழு தும்பி, தவிர் இசை விளரிஉதைத்து விடு நரம்பின், இம்மென இமிரும்ஆன் ஏமுற்ற காமர் வேனில்,வெயில் அவிர் புரையும் வீ ததை மராஅத்துக்குயில் இடு பூசல் எம்மொடு கேட்பவருவேம்” என்ற பருவம் ஆண்டைஇல்லைகொல்?” என மெல்ல நோக்கி,நினைந்தனம் இருந்தனமாக, நயந்து ஆங்குஉள்ளிய மருங்கின் உள்ளம் போல,வந்து நின்றனரே காதலர்; நம் துறந்துஎன்னுழியதுகொல் தானே பல் நாள்அன்னையும் அறிவுற அணங்கி,நல் நுதல் பாஅய பசலை நோயே? In this trip to this domain, we hardly see the familiar spread of the land, and instead, take a ride through the changing seasons, as we listen to the confidante say these words to the lady, at a time when the man had parted away from the lady, prior to marriage, and gone in search of wealth: “The cloudy skies had ceased their duty of pouring rains and dried up, and then came the season of winter, dressed in a garment in the shade of smoke, spreading darkness even during the day. Even that passed, and upon the sharp edges of the Coral tree buds, appearing, akin to reddened nails of maiden with sharp teeth and smiling faces, honeybees with a desire to feed on flowers, pounce and make many immature petals drop down. Akin to how small rods of silver, shortened when severed, drop and decorate a golden bowl, as buzzing bees swarm around, white Tarrenna flowers in the soaring branches drop down on fragrant buttercup flowers. The intermittent noise of bees that dive and rise, echo like the ‘Vilari' tune, rising from the plucked strings of a lute, with a humming sound. In this desirable season of spring that delights animals many, burflower trees fill with flowers that appear like radiating sunlight, and cuckoos let out a huge uproar. He had said when you happen to hear that uproar, I shall be back with you. ‘Doesn't this season he promised appear there where he is too?', you had wondered about, looking outward softly. Just like how when something appears out of the blue the moment you desire and think of it, he came and stood there, that lover of yours! That which had been tormenting you for days together, revealing all to mother, that disease of pallor that had spread on your fine forehead, where did it run away now, deserting you?” Time to dive deeper into the words of these maiden! The confidante starts by talking about how first the rainy season had come and the sky had filled with huge clouds, and once their job of pouring was done, they had parted away, and she continues as follows: Next came the season of winter when the whole world seemed to be dressed in the hue of smoke, confusing everyone if it was day or night. And now, the Coral tree buds, looking like the nails of smiling women, were buzzed upon by eager bees, making their buds drop down. The bees, not content with just the coral tree flowers, turn their attention to the radiant white Tarrena flowers and make these drop down on the buttercup flowers below, and this scene is so exquisitely placed in parallel to the image of silver sticks being cut and dropped onto a golden bowl. After that expensive simile, the confidante turns to focus on the sounds around and equates the buzzing of these bees to the ‘Vilari’ tunes that hums from a lute. As if saying ‘Yes, you got it right!’, the confidante announces that this is the season of spring indeed! Now burflower trees are opening their buds and looking like little balls of sunshine, she sketches. Then the good friend recollects how the man had promised the lady that he would be back when the cuckoos sent out their loud calls in this very season and narrates how the lady had wondered whether there was no such season of spring wherever the man was. Just then, the man had appeared there, in the manner of attaining something the moment we desire it. The confidante concludes by asking with joy where that tormenting pallor that had taken residence on the lady’s forehead, snitching about her state to mother, had suddenly run away now!  A simple verse announcing the man’s arrival at the right moment, and making the lady’s heart spring forth with joy and relief. The highlight is the way this verse takes us from wherever we may be, and transports us to that moment in the past, and makes all our senses delight in the freshness of that pristine season of spring! 

In this episode, we listen to a mother’s lament, as depicted in Sangam Literary work, Aganaanooru 315, penned by Kudavayil Keerathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the thoughts of a mother at a moment of loss. ‘கூழையும் குறு நெறிக் கொண்டன; முலையும்சூழி மென் முகம் செப்புடன் எதிரின;பெண் துணை சான்றனள், இவள்’ எனப் பல் மாண்கண் துணை ஆக நோக்கி, நெருநையும்,அயிர்த்தன்றுமன்னே, நெஞ்சம்; பெயர்த்தும்,அறியாமையின் செறியேன், யானே;பெரும் பெயர் வழுதி கூடல் அன்ன தன்அருங் கடி வியல் நகர்ச் சிலம்பும் கழியாள்,சேணுறச் சென்று, வறுஞ் சுனைக்கு ஒல்கி,புறவுக் குயின்று உண்ட புன் காய் நெல்லிக்கோடை உதிர்த்த குவி கண் பசுங் காய்,அறு நூல் பளிங்கின் துளைக் காசு கடுப்ப,வறு நிலத்து உதிரும் அத்தம், கதுமென,கூர் வேல் விடலை பொய்ப்பப் போகி,சேக்குவள் கொல்லோதானே தேக்கின்அகல் இலை கவித்த புதல் போல் குரம்பை,ஊன் புழுக்கு அயரும் முன்றில்,கான் கெழு வாழ்நர் சிறுகுடியானே. In this trip to the drylands, it’s more about a mother’s inner landscape, as we listen to her say these words, when she learns of her daughter’s elopement: “Her tresses had taken to forming little curls, and her bosoms, round and soft, had blossomed with finesse. As my eyes showed me all this many times, thinking, ‘Oh! She's turning into a woman', even yesterday, my heart let out a sigh. And yet, owing to my ignorance, I failed to put her under guard. In our well-protected, wide mansion, akin to the renowned Vazhuthi's town of Koodal, without letting the ‘anklet ceremony' happen, she has left afar and would be languishing, near a dried-up spring, where fruits of the rough-trunked gooseberry tree, pecked on by pigeons, shed by hot winds, lie in heaps of green, appearing akin to marble discs that have slipped from a severed string, on that barren land. Such is the drylands space, where she has left to, hastily, with that young man, wielding a sharp spear, listening to his lies. In that bush-like, little hut in a hamlet, where forest dwellers relax in their front yard, sharing cooked flesh on wide teak leaves, would she now be resting?” Let’s listen to this mother’s cry and learn more! Mother starts by recollecting the thoughts that had gone through her head, just the previous day. Having glanced at the lady’s changing form, noting the curls in her tresses, and the blossoming of her bosoms, mother had been sighing, thinking of how her little one seemed to be becoming a woman. Even so, mother kicks herself now for not heeding these changes and doing what mothers then did, which is to keep their daughters under lock and key! Because of this oversight on mother’s part, now there’s no room for an important ceremony in a girl’s life to take place in their wealthy mansion, the ceremony of changing a girl’s anklets before her marriage, mother laments. Why because, the lady had left listening to the lies of that young man with a spear, and left to the drylands, where the springs are dried up, and even the gooseberries are pecked by pigeons, and lie on the ground, appearing like marble discs broken from a necklace string, mother explains. Then, she concludes by wondering if that precious daughter of hers would now be resting in a hamlet of foresters, where in the front yard of their huts, they would share cooked flesh on teak leaves. In the final lines, beyond all the pain and disappointment in mother’s voice, we sense a hope that strangers somewhere will be taking care of her daughter. A simple verse that echoes a mother’s love, which silently wishes well for her offspring, no matter where they are or what they have done!

In this episode, we listen to words of consolation, as portrayed in Sangam Literary work, Aganaanooru 313, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the state of the lady and the land with picture-perfect parallels. ”இனிப் பிறிது உண்டோ? அஞ்சல் ஓம்பு!” எனஅணிக் கவின் வளர முயங்கி, நெஞ்சம்பிணித்தோர் சென்ற ஆறு நினைந்து, அல்கலும்,குளித்துப் பொரு கயலின் கண் பனி மல்க,ஐய ஆக வெய்ய உயிரா,இரவும் எல்லையும் படர் அட வருந்தி,அரவு நுங்கு மதியின் நுதல் ஒளி கரப்ப,தம் அலது இல்லா நம் இவண் ஒழிய,பொருள் புரிந்து அகன்றனர்ஆயினும், அருள் புரிந்து,வருவர் வாழி, தோழி! பெரியநிதியம் சொரிந்த நீவி போலப்பாம்பு ஊன் தேம்பும் வறம் கூர் கடத்திடை,நீங்கா வம்பலர் கணை இடத் தொலைந்தோர்வசி படு புண்ணின் குருதி மாந்தி,ஒற்றுச் செல் மாக்களின் ஒடுங்கிய குரல,இல் வழிப் படூஉம் காக்கைக்கல் உயர் பிறங்கல் மலை இறந்தோரே. In this trip to this familiar region, we get to see vivid scenes, as we listen to the confidante say these words to the lady, at a time when the man continues to remain parted away: “Saying, ‘Is there anything for you to worry about anymore? Let go of your fears', he had embraced you, making your exquisite beauty flourish, and captured your heart.  Thinking about the path he now treads, all day, akin to fish that dip in water and attack each other, your eyes brim over with tears. Letting out hot sighs gently, day and night, as you worry with deep suffering, the shine of your forehead dims, akin to the moon, swallowed by a snake. Leaving you so, he has parted away, treading those dry and barren spaces where, akin to a cloth bag emptied of its treasures, the skin of snakes sags, bereft of flesh, and where after drinking up blood spilling out of wounds of wayfarers, killed by the arrows of robbers, crows call out in the subdued voices of spies, and then seek out ruined homes to rest in those soaring highlands with peaks. Forsaking you, who has no solace other than him here, even though he has left thither in search of wealth, with grace, he will return, my friend! May you live long!” Time to brave those challenging spaces yet again! The confidante starts by talking about the past when the man had won the lady over with his words, promising that there was nothing more to fear in their life, since they had united as one. In contrast to these predictions and promises, the lady now languishes, the confidante continues, because the man had left her to go in search of wealth. She talks about how the eyes of the lady appear like fighting fish submerged in water, as they brim over and shed copious tears all day. Then she mentions how the lady’s forehead has lost its shine in the manner of the moon, being swallowed by a snake, a reference to the way Sangam folks viewed a lunar eclipse. The confidante then goes on to talk about where the man has left to, describing this as a dry and arid region, where a snake would appear like a bag from which treasures have been emptied, fleshless and sinking. From the snakes, she turns to crows, which, being the omnivores they are, have taken to drinking the blood of the fallen wayfarers, reduced to that fate by the arrows of drylands’ robbers. With much nuance, the confidante describes how these crows then call out not in a bold and loud way, but quite subdued, filled to the full with that sticky food they just had, and she places this particular voice of the crows in parallel to that of spies who rove the land. Let’s return to this simile in a moment. The confidante concludes by declaring though the man had gone far, he would return to the lady soon and shower his grace. In essence, a verse which consoles a friend with a ‘Worry not’ message. Though this is a familiar theme, the similes about that fleshless snake or the voice of crows add so much finesse to these words. Now, going back to the voice of those crows, let’s imagine the character of spy! The person has to be a lizard on the wall, a chameleon in the woods, and if he were to shout about and have a loud character, their days of spying would soon be over indeed! That’s the facet so well captured by comparing their voice to that subdued voice of the crow. Be it in life or through such a body of work, though the path we take may often seem familiar, tiny treasures like this can change the mundane to memorable in a moment!

In this episode, we listen to thoughtful words of consolation, as depicted in Sangam Literary work, Aganaanooru 311, penned by Maamoolanaar. Set in the 'Paalai' or 'Drylands landscape', the verse throws the spotlight on the nature of a tribe in ancient Tamil land.

In this episode, Dr. David Eldridge of the University of New South Wales tells us what it takes to rehabilitate drylands.   Subscribe for more content on sustainable farming, market farming tips, and business insights!   Get market farming tools, seeds, and supplies at Modern Grower. Follow Modern Grower:  Instagram  Instagram Listen to other podcasts on the Modern Grower Podcast Network:  Carrot Cashflow  Farm Small Farm Smart  Farm Small Farm Smart Daily  The Growing Microgreens Podcast  The Urban Farmer Podcast  The Rookie Farmer Podcast  In Search of Soil Podcast Check out Diego's books:  Sell Everything You Grow on Amazon   Ready Farmer One on Amazon **** Modern Grower and Diego Footer participate in the Amazon Services LLC. Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com.

In this episode, we perceive the piercing pain of parting, as depicted in Sangam Literary work, Aganaanooru 305, penned by Vadama Vannakkan Peri Saathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the changes in the season and the sounds in the breeze. பகலினும் அகலாதாகி, யாமம்தவல் இல் நீத்தமொடு ஐயெனக் கழிய,தளி மழை பொழிந்த தண் வரல் வாடையொடுபனி மீக்கூரும் பைதல் பானாள்,பல் படை நிவந்த வறுமை இல் சேக்கை,பருகுவன்ன காதலொடு திருகி,மெய் புகுவன்ன கை கவர் முயக்கத்து,ஓர் உயிர் மாக்களும் புலம்புவர்மாதோ;அருளிலாளர் பொருள்வயின் அகல,எவ்வம் தாங்கிய இடும்பை நெஞ்சத்துயான் எவன் உளெனோ தோழி! தானேபராரைப் பெண்ணைச் சேக்கும், கூர்வாய்,ஒரு தனி அன்றில் உயவுக் குரல் கடைஇய,உள்ளே கனலும் உள்ளம் மெல்லெனக்கனை எரி பிறப்ப ஊதும்நினையா மாக்கள் தீம் குழல் கேட்டே? Rather than stepping onto that barren domain, we step into the lady’s heart, as we listen to her say these words to her confidante, when she receives the news that the man has parted away, in search of wealth: “Without dispersing during the day, not ceasing at night too, bringing heavy floods, rainclouds pour down and then move away slowly, ushering in the cold and moist northern winds. On one such freezing midnight hour of suffering, imagine a couple, who lies on a mattress, bereft of poverty, stacked to many levels, with love that seems like a drink to be relished, intertwined in an embrace, tied by hands of desire, and seem to be made of one life. Even they would feel lonely!  While that is so, when that man without grace any has parted away in search of wealth, at this time, with an angst-ridden heart, where sorrow has taken residence, how can I bear this, my friend? Especially, as the solitary, sharp-beaked red-naped ibis, sitting on a rough-trunked palmyra tree, kneads me with its melancholic song, and without thinking that the burning embers in my heart will burst into flames when I hear that, those thoughtless people play on their sweet flutes?” Time to let our empathy surface as we listen to this song of separation! The lady starts by talking about how the rains have poured, day in and day out, without taking a break even at night, and then decided to move away. Immediately following in their tracks, the northern winds had entered the scene, the lady adds. She declares that even a couple, inseparably intertwined in love, would feel lonely in those brief moments this northern wind assails them. Then as if saying ‘imagine my plight’, she goes on to talk about how the man has decided to leave at such a time, without thinking of the angst in her heart, which will have to host sorrow until his return. The lady concludes by telling her friend her pain is specially sharp when she hears the twin sounds of a solitary ‘Andril’ bird calling out to its mate, from atop a palmyra tree, and that of flutes being played by people, who spare no thought for the flames that erupt from the embers of her heart!  What is exquisitely beautiful in the world outside becomes extraordinarily painful, when the eyes within see it so! The only cure is for the rains of these pains to part and for the man to return like the timely northern winds, and make these sounds become the solace they truly are!

In this episode, we observe a woman’s angst, as depicted in Sangam Literary work, Aganaanooru 303, penned by Avvaiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the glory and fame of some Sangam kings and their lands. இடை பிறர் அறிதல் அஞ்சி, மறை கரந்து,பேஎய் கண்ட கனவின், பல் மாண்நுண்ணிதின் இயைந்த காமம் வென் வேல்,மறம் மிகு தானை, பசும்பூண் பொறையன்கார் புகன்று எடுத்த சூர் புகல் நனந்தலைமா இருங் கொல்லி உச்சித் தாஅய்,ததைந்து செல் அருவியின் அலர் எழப் பிரிந்தோர்புலம் கந்தாக இரவலர் செலினே,வரை புரை களிற்றொடு நன் கலன் ஈயும்உரை சால் வண் புகழ்ப் பாரி பறம்பின்நிரை பறைக் குரீஇயினம் காலைப் போகி,முடங்கு புறச் செந்நெல் தரீஇயர், ஓராங்குஇரை தேர் கொட்பின் ஆகி, பொழுது படப்படர் கொள் மாலைப் படர்தந்தாங்கு,வருவர் என்று உணர்ந்த, மடம் கெழு நெஞ்சம்!ஐயம் தெளியரோ, நீயே; பல உடன்வறல் மரம் பொருந்திய சிள்வீடு, உமணர்கண நிரை மணியின், ஆர்க்கும் சுரன் இறந்து,அழி நீர் மீன் பெயர்ந்தாங்கு, அவர்வழி நடைச் சேறல் வலித்திசின், யானே. This trip to this drylands domain is full of detours to fertile hills ruled by famous kings, as we listen to the lady say these words to her heart, when the man continues to remain parted away, having left the lady before their wedding, to go in search of wealth: “Fearing that others would come to know, I hide my heart within, akin to how those who have seen a ghost in their dream talk not about it. However, the nuanced, well-etched passion of mine resounds, akin to gushing cascades that leap from the peaks of the huge and dark ‘Kolli hills’, filled with wide spaces, which the rain clouds love and divine spirits reside, ruled by Pasumpoon Poraiyan, with a victorious spear and a courageous army. Resounding so, it spreads slander all around town. From the ‘Parambu hills', ruled by Paari, celebrated in songs many, and renowned for his generosity of rendering fine vessels and elephants, akin to hills, to those supplicants, who arrive before him, climbing those highlands with their talent as their pole, birds which spread their wings in neat rows, fly out in the morning, so as to bring red paddy crop ears with curved backs, search with precision for what they seek, and as the day diminishes, in that suffering-filled evening hour, would return back to the hills. Akin to this assured return of the birds in the evening hour, you think the one who had left, letting slander spread in town, would come back to me, O naive heart! Be rid of these thoughts! To those spaces in the drylands, filled with barren trees, where crickets chirp, akin to the sound of bells on herds of cattle, driven by salt merchants, akin to a fish that migrates from diminishing waters, I have decided to dare and go join that path he now treads!” Let’s be transported to that arid region and see the rain of love in the lady’s heart! She starts by explaining her situation, mentioning how she had tried hard to hide whatever she was feeling for the man. To etch this, she presents a unique simile, talking about how people who had seen a ghost in their dream would never talk about it to anyone. This points to a specific Sangam belief and I wonder if the reason is the fear that talking about a dream would make that come true! Though we will not know the answer to this riddle, what we can understand is that the lady had tried her best to conceal what was in her heart. While that may be so, her heart refused to heed her restraints and seemed to shout out, akin to the cascades in the divine and lush ‘Kolli hills’, ruled by the Chera King ‘Pasumpoon Poraiyan’, known for his brave army and conquering spear. So consequentially, the townsfolk saw these loud changes in the lady and spread slander about her relationship with the man, the lady adds.  Next, she starts narrating about a significant event that happened in the ‘Parambu hills’, ruled by ‘Paari’, who was renowned all over the land for his extraordinary charity to supplicants, honouring their intelligence with elephants and gifts many. This event is the act of certain birds, mentioned as parrots in other verses, and how they were trained to go search for paddy crops. and that they would leave in the morning as a huge flock, and return back to the hills in the evening, carrying those crop ears in their beaks. Why is this significant is that this was a time when Paari’s domain was laid siege by the three emperors, the Chera, Chola and Pandya kings, who put up a food blockade. This story tells us how that blockade was overcome with strategy of training these parrots. Coming to why the lady has mentioned these famous parrots is to point out to her heart that in the manner of the returning birds in the evening, the lady’s heart too was holding on to the hope that the man would return to her. The lady concludes by asking her heart to banish such thoughts and follow her, as she has dared to leave like a fish in a pond with receding waters, to that path in the drylands space, where crickets call out, amidst barren trees, like the sounds of cattle bells, belonging to salt merchants, where her man walks now! How can a fish leave a pond, no matter how much it wants to? Likewise, the lady knows it’s a futile desire to think she can go where the man is, and yet renders this wish in a nuanced way to etch the helplessness of her situation. An insightful verse that paints a person’s state in a philosophical manner, dipping the brush of poetry in the hues of history!

In this episode, we perceive a person’s state of mind, as portrayed in Sangam Literary work, Aganaanooru 301, penned by Athiyan Vinnathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse builds a stack of similes to reach the peak of a perfect and precise portrayal. ‘வறன் உறு செய்யின் வாடுபு வருந்தி,படர் மிகப் பிரிந்தோர் உள்ளுபு நினைதல்சிறு நனி ஆன்றிகம்’ என்றி தோழி!நல்குநர் ஒழித்த கூலிச் சில் பதம்ஒடிவை இன்றி ஓம்பாது உண்டு,நீர் வாழ் முதலை ஆவித்தன்னஆரை வேய்ந்த அறை வாய்ச் சகடத்து,ஊர் இஃது என்னாஅர், ஊறு இல் வாழ்க்கை,சுரமுதல் வருத்தம் மரமுதல் வீட்டி,பாடு இன் தெண் கிணை கறங்க, காண்வர,குவி இணர் எருக்கின் ததர் பூங் கண்ணிஆடூஉச் சென்னித் தகைப்ப, மகடூஉ,முளரித் தீயின் முழங்கு அழல் விளக்கத்துக்களரி ஆவிரைக் கிளர் பூங் கோதை,வண்ண மார்பின் வன முலைத் துயல்வர,செறி நடைப் பிடியொடு களிறு புணர்ந்தென்னக்குறு நெடுந் தூம்பொடு முழவுப் புணர்ந்து இசைப்ப,கார் வான் முழக்கின் நீர்மிசைத் தெவுட்டும்தேரை ஒலியின் மாண, சீர் அமைத்து,சில் அரி கறங்கும் சிறு பல் இயத்தொடுபல் ஊர் பெயர்வனர் ஆடி ஒல்லென,தலைப் புணர்த்து அசைத்த பல் தொகைக் கலப் பையர்,இரும் பேர் ஒக்கல் கோடியர் இறந்தபுன் தலை மன்றம் காணின், வழி நாள்,அழுங்கல் மூதூர்க்கு இன்னாதாகும்;அதுவே மருவினம், மாலை; அதனால்,காதலர் செய்த காதல்நீடு இன்று மறத்தல் கூடுமோ, மற்றே? In this long song with musical line after line, which takes us on a trip to the familiar drylands, we encounter a specific group of people, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, in response to the confidante’s words of consolation: “‘Akin to a dried-up field in summer, you wilt away and worry, thinking about the one, who parted away, leaving you in suffering. Can you stop doing that for at least a little while?', you ask me, my friend! Saving not even a little from the gifts their patrons bestowed upon them, consuming it all, travelling in resounding carts with thatched roofs, which appear akin to a yawning crocodile that lives in the water, they never claim any town to be theirs, and instead live a life free of impediments. They leave behind the fatigue of their travels through the drylands in the shade of the trees therein. Men among them adorn their heads with dense flower clusters of the pointed milkweed flowers, so pleasing to the eyes, and womenfolk wear garlands, which sway around their radiant and beautiful bosoms, woven with the bright and shiny Tanner's Cassia forest flowers, which appear akin to the glowing light of a blazing flame on a firebrand. As the music of their clear ‘kinai' drums resounds; As the small and long ‘thoombu' horns and the ‘muzhavu' drums unite, akin to the sight of a male elephant uniting with its mate that has an elegant gait, and send out their musical notes; As many small instruments send out short, sharp sounds in rhythm, akin to the croaks of frogs that resound upon the surface of the ponds, when the rainy skies thunder on, these men and women move across many different towns, dancing steadily, carrying many different instruments in their string bags, travelling as a huge group of people. When these performers have left a town after the festivities, and the day after, if the people of that uproarious town happen to look at the dull and listless town centre, they would feel much sadness; That's exactly what I feel in this evening hour. So, how can you think I can forget the love of my beloved even for a little while?” Let’s brave that desolate space that echoes the dejection in the heart of the protagonists and learn more! The lady starts by repeating the words of her confidante, who had felt much sadness seeing her friend wallowing in pining since the man left. The friend had compared the state of the lady to a field that’s drying up in summer, without its nourishing supply of water, and had asked the lady to stop thinking and worrying about the man at least for a short while.  After repeating this question from her friend, the lady launches into a long narrative about a group of people. First she says these people live just for today, meaning that they don’t save a thing that’s rendered to them as income for their services, and finish it all up, without a thought. Then, she turns to talk about their transport, which is a cart having a roof made of thatched grass, and tastefully, she compares these carts to yawning crocodiles. Into the mouths of these travelling crocodiles, these people jump in and traverse the harsh drylands, the lady continues. No doubt the heat and exhaustion of this domain will attack them but they have the talent of leaving behind all their troubles under the few trees they encounter, sketches the lady. That’s a remarkable trait to not carry your burdens but to leave them at the first sign of respite!  Moving on, the lady continues by describing the accessories of the men and women in this group. Apparently, the men wear head garlands of bright white and purple ‘milkweed’ flowers, whereas the women wear neck garlands of radiant ‘tanner’s cassia’ flowers, which are placed in parallel to a flame atop a firebrand, and searching for these flowers, there I found them to be a bright and radiant yellow!  From attire, the lady moves on to the music that seems to surround these people. There’s drums roaring, and another drum and horn fusing together, like elephants in union, the lady compares. Another delightful comparison is between the short, sharp sounds from certain musical instruments, and that of frogs croaking in the surface of the ponds in reply to the thundering skies. No doubt expert musicians will be able to tell which instrument makes this particular sound! With so much music in the air, how can these people remain without dancing? Indeed they do, they dance on, even as they carry their heavy instruments, and walk on through towns many, not claiming any town to be their own, and they live a life free of hurdles any, the lady describes. You can almost sense a note of envy in her voice at the carefree life of these people, who travel wherever they want, whereas she is bound to the confines of her home. So, who are they? As you must have guessed, they are performers, who go from town to town, to take part in the festivities therein.  The lady then pictures a situation, where the performers had helped the town celebrate to the full, and then taken leave to go elsewhere. When the townsfolk wake up the next day and look at that barren arena in the town centre, without all the throbbing life of the day before, they would be crestfallen, and that’s exactly what I’m feeling, the lady connects finally. She ends by asking her friend, ‘Given this situation, how do you expect me to do what you are saying, and even for a short while, forget all the warmth and love of being with my beloved?’! Fair point! With so much missing going on within, the lady no wonder declares that it’s not possible to follow what her friend says! If we can leave behind the familiar notes of pining, we can hear a resounding music in this verse, and that is the attitude and the way of life of these travelling performers. They seem to see all the world as their own, know where to leave their burdens, and to find the music even in difficult circumstances. In more ways than one, these people of the past do show us the way forward through the drylands of our own lives!

Desertification is one of the greatest environmental challenges of our time—but what is it, and why should we care? In this solo episode of Information Entropy, Mitchell explores the science behind desertification, explaining why it isn't simply deserts expanding but the gradual degradation of once-productive land. Discover how climate change, overgrazing, deforestation, unsustainable agriculture, and water scarcity are transforming ecosystems around the world. The episode also examines the environmental and human consequences of land degradation, from biodiversity loss and food insecurity to migration and climate impacts, before exploring the solutions that are helping restore damaged landscapes, including regenerative agriculture, sustainable grazing, water harvesting, and the ambitious Great Green Wall initiative. Whether you're interested in climate science, ecology, or the future of our planet, this episode offers an accessible look at one of the most pressing environmental issues facing humanity. In this episode: What desertification really is Why drylands are so vulnerable The role of climate change and human activity Environmental and societal impacts How degraded landscapes can be restored Why protecting drylands matters for everyone

In this episode, we perceive the thing that seems impossible to forget, as depicted in Sangam Literary work, Aganaanooru 299, penned by Eyinanthai Makanaar Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the emotions of a person at the moment they receive a particular news. எல்லையும் இரவும், வினைவயின் பிரிந்தமுன்னம், முன் உறுபு அடைய உள்ளியபதி மறந்து உறைதல் வல்லினம் ஆயினும்,அது மறந்து உறைதல் அரிது ஆகின்றே கடு வளி எடுத்த கால் கழி தேக்கிலைநெடு விளிப் பருந்தின் வெறி எழுந்தாங்கு,விசும்பு கண் புதையப் பாஅய், பல உடன்அகல் இடம் செல்லுநர் அறிவு கெடத் தாஅய்,கவலை கரக்கும் காடு அகல் அத்தம்,செய் பொருள் மருங்கின் செலவு தனக்கு உரைத்தென,வைகு நிலை மதியம் போல, பையென,புலம்பு கொள் அவலமொடு, புதுக் கவின் இழந்தநலம் கெழு திருமுகம் இறைஞ்சி, நிலம் கிளையா,நீரொடு பொருத ஈர் இதழ் மழைக் கண்இகுதரு தெண் பனி ஆகத்து உறைப்ப,கால் நிலைசெல்லாது, கழி படர்க் கலங்கி,நா நடுக்குற்ற நவிலாக் கிளவியொடு,அறல் மருள் கூந்தலின் மறையினள்,’ திறல் மாண்டுதிருந்துகமாதோ, நும் செலவு’ என வெய்து உயிரா,பருவரல் எவ்வமொடு அழிந்தபெரு விதுப்புறுவி பேதுறு நிலையே. It’s more about the inner world, in this trip to this domain, as we listen to the man say these words to his heart, in the middle of his journey through the drylands: “Having left in search of wealth, with a heart that ceaselessly thinks of the past, day and night, it may be possible to remain here, forgetting one's town, but it's impossible to be so, forgetting that particular moment! Dried leaves from the teak tree, severed from stems by the harsh winds, rise high, and appearing akin to a flock of screeching kites, spread around, hiding the skies. Then these leaves drop down, confusing wayfarers, and preventing them from finding their way, in those drylands, filled with wide jungles. When I spoke to her, expressing my intention to journey thither, in pursuit of wealth, akin to the fading moon at the moment of dawn, slowly, with the thought of loneliness attacking her, her exquisite face lost its new beauty. She bent down, and stroked the land with her toe, as her moist, petaled, rain-like eyes battled with the brimming tears, and losing, shed those clear drops upon her bosom. Her feet wouldn't stand steady and with anxiety brimming over, her tongue started quivering. Hiding herself in her river-sand-like tresses, with unclear words, she said, ‘May this journey of yours attain success and flawless perfection', even as she sighed hotly. The confused state of that maiden, devastated by deep pain and shaken by sorrow, flashes before me, and that is what is impossible for me to forget even now!” Let’s keep in pace with this man through the drylands and listen to the echo of his heartbeat! The man starts by declaring that as he goes on his mission in the pursuit of wealth, it was quite possible to forget one’s town and the familiar ways of life. But whatever he does, he’s unable to forget that one thing, the man adds. He then describes the drylands, where there’s nothing but dried leaves, torn from the teak trees, and the way these rise up, looking like kites with a loud call, hiding the skies, and then these plop down and hide the paths that guide wayfarers to their destination, leaving them in confusion. The man talks about how he had mentioned that he was leaving to those drylands spaces to the lady and goes on to etch the lady’s reactions in intricate detail. He compares the way the lady’s face changed at that moment to how the moon loses its glow when the sun raises its head at dawn. With her luminous beauty lost, the lady seems to have bent her head down, scraped the ground beneath with her toe, and though her rain-like eyes tried to contain her swelling tears, it broke the barrier and split on her bosom. He recollects how the lady was unable to even stand steadily, and hiding herself behind her long, river-sand-like tresses, the lady seems to have spoken in a mumble, wishing him success for his journey, while sighing with sadness. The man concludes by saying it’s exactly this image of his beloved in pain that he’s unable to forget, no matter how far he’s walked on towards his mission. The man etches that relatable feeling of how some scenes remain alive as if they are mountains in our mind, which nothing can shake or shatter. Like this man from the past, all we can do is acknowledge their presence and find our way through them or around them! 

In this episode, we perceive a promise rendered to a person, as portrayed in Sangam Literary work, Aganaanooru 295, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse details the nature of the spaces traversed by wayfarers in this formidable domain. நிலம் நீர் அற்று நீள் சுனை வறப்ப,குன்று கோடு அகைய, கடுங் கதிர் தெறுதலின்,என்றூழ் நீடிய வேய் படு நனந்தலை,நிலவு நிற மருப்பின் பெருங் கை சேர்த்தி,வேங்கை வென்ற வெரு வரு பணைத் தோள்ஓங்கல் யானை உயங்கி, மதம் தேம்பி,பல் மர ஒரு சிறைப் பிடியொடு வதியும்கல்லுடை அதர கானம் நீந்தி,கடல் நீர் உப்பின் கணம் சால் உமணர்உயங்கு பகடு உயிர்ப்ப அசைஇ, முரம்பு இடித்துஅகல் இடம் குழித்த அகல் வாய்க் கூவல்ஆறு செல் வம்பலர் அசை விட ஊறும்,புடையல் அம் கழற் கால் புல்லி குன்றத்து,நடை அருங் கானம் விலங்கி, நோன் சிலைத்தொடை அமை பகழித் துவன்று நிலை வடுகர்,பிழி ஆர் மகிழர், கலி சிறந்துஆர்க்கும்மொழி பெயர் தேஎம் இறந்தனர்ஆயினும்,பழி தீர் மாண் நலம் தருகுவர்மாதோமாரிப் பித்திகத்து ஈர் இதழ் புரையும்அம் கலுழ் கொண்ட செங் கடை மழைக் கண்,மணம் கமழ் ஐம்பால் மடந்தை! நின்அணங்கு நிலைபெற்ற தட மென் தோளே. In this trip to this familiar region, we get to see sweltering scenes, as we listen to the confidante say these words to the lady, when the man continues to remain parted away: “The land had lost all its moisture, even wide springs have dried up, branches on hills are set ablaze, owing to the scorching attack of the harsh rays, in those bamboo-filled, wide spaces, where the heat extends unceasingly. Here, even a towering elephant, with a thick, long trunk, which had won over a tiger, languishes in musth, and rests with its mate, on the side of many dried-up trees. Crossing such stony, scrub jungles, groups of merchants, carrying salt from the seas, hastening their sighing, tired bulls, dig up wide-mouthed wells, in those barren spaces, which spouts succour for those wayfarers, who traverse those paths. Such are the peaks ruled by ‘Pulli', clad in resounding warrior anklets, and even when your lover has crossed these formidable jungles spaces, where Vadugars, who shower speeding arrows from sturdy bows, and rejoice in the taste of toddy, spending their time in revelries, and even if he has reached to such lands, where other tongues are spoken, he's sure to return that flawless, fine beauty of your divine, curving soft arms, O young maiden, having red-streaked, rain-like eyes, brimming with beauty, akin to the moist petals of the rainy season's wild jasmines and fragrant, five-part tresses!” Time to take a long walk through this fearsome region! The confidante starts by talking about the arid nature of the drylands, where there’s not a drop of water, even deep springs are dead, and branches catch fire out of nowhere. Explaining all this as the result of the blazing heat, the confidante shows how even a mighty elephant, which had won over a tiger, is made to bow before the fierceness of this heat. She then turns to talk about how wise salt merchants, who rove the land selling their harvest from the seas, join together and dig up wells, that serve as the only source to quench the searing thirst of wayfarers crossing these paths. She mentions how even if the man had crossed such spaces and reached the peaks of Pulli, heard the revels of the Vadugars, who wield bows and arrows and love their drink, and even if the man goes beyond to lands, where other languages are spoken, the man would surely return the beauty of his beloved that he seems to have stolen. The confidante concludes by praising the beauty of the lady’s rain-like eyes and her fragrant tresses! In short, a message of hope to a pining friend! Amidst this promise, the highlight is the mention of those salt merchants, who exert their efforts so that all those who come after them can enjoy a drop of oasis in that desert. That’s the shining beacon of humanity that spreads its light across the centuries through the pages of this poetry!

In this episode, we perceive the angst of a woman at the turn of events, as depicted in Sangam Literary work, Aganaanooru 293, penned by Kaavanmullai Poothanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the desolate spaces of this domain in detail. இலை ஒழித்து உலறிய புன் தலை உலவைவலை வலந்தனைய ஆக, பல உடன்சிலம்பி சூழ்ந்த புலம் கெடு வைப்பின்,துகில் ஆய் செய்கைப் பா விரிந்தன்னவெயில் அவிர்பு நுடங்கும் வெவ் வெங் களரி,குயிற் கண் அன்ன குரூஉக் காய் முற்றி,மணிக் காசு அன்ன மால் நிற இருங் கனி,உகாஅய் மென் சினை உதிர்வன கழியும்வேனில் வெஞ் சுரம் தமியர் தாமேசெல்ப என்ப தோழி! யாமே,பண்பு இல் கோவலர் தாய் பிரித்து யாத்தநெஞ்சு அமர் குழவி போல, நொந்து நொந்து,இன்னா மொழிதும் என்ப;என் மயங்கினர்கொல், நம் காதலோரே? In this trip to the drylands, we get to see the usual sights of abandonment, as we listen to the lady say these words to her confidante, when she learns of her man’s intention to part away so as to seek wealth: “Upon a parched, dull-headed tree, which has dried up, losing all its leaves, akin to a spun net, spiders have woven their cobwebs in those wastelands. Akin to the spread of threads on a loom when stitching a garment, the sun's rays shimmer in that sweltering drylands space.  Small, young fruits of the toothbrush tree in the shape of a cuckoo's eyes mature and turn into dark purple fruits, appearing akin to precious gems, and these fall from the soft branches of the tree, in the heat of summer in those arid spaces. They say he's going to part away alone thither, my friend! About me, they say that in the manner of a young calf, which desires to be with its mother, but is separated by herders, lacking culture, I will suffer and suffer, and speak many disparaging things. Why did that lover of mine fall prey to such an illusion?” Time to take a walk through these formidable spaces again! The lady starts by talking about the drylands, and to do that she focuses on the cobwebs spun around a dried-up tree, as if a net has been cast upon it. Then she turns her attention to the scorching sun’s rays and places that in parallel to the threads in a loom at a weaver’s place. The similes continue and she equates the fruits of the toothbrush tree, first to a cuckoo’s eyes when unripe and then to precious gems when ripe. She mentions how these lie scattered in the heat of the summer. All these facets have been recorded to say that’s where the man is heading, all alone, according to the townsfolk. Then she mentions how these same townsfolk are saying that now the lady will cry and wallow like a calf separated from its mother by those cruel cattle herders. The lady concludes by wondering why the man had become so confused and chose this path that leads nowhere! Other than the usual lament about a man parting away, the essence of this verse lies in its picture perfect similes to capture both the spread of the land and the suffering of the mind!

In this episode, we perceive the sorrowful situation of a person parted from his beloved, as depicted in Sangam Literary work, Aganaanooru 291, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the challenging spaces of this domain in vivid detail. வானம் பெயல் வளம் கரப்ப, கானம்உலறி இலை இலவாக, பல உடன்ஏறுடை ஆயத்து இனம் பசி தெறுப்ப,கயன் அற வறந்த கோடையொடு நயன் அறப்பெரு வரை நிவந்த மருங்கில், கொடு வரிப்புலியொடு பொருது சினம் சிறந்து, வலியோடுஉரவுக் களிறு ஒதுங்கிய மருங்கில், பரூஉப் பரல்,சிறு பல் மின்மினி கடுப்ப, எவ்வாயும்நிறைவன இமைக்கும் நிரம்பா நீள் இடைஎருவை இருஞ் சிறை இரீஇய, விரி இணர்த்தாது உண் தும்பி முரல் இசை கடுப்ப,பரியினது உயிர்க்கும் அம்பினர், வெருவரஉவலை சூடிய தலையர், கவலைஆர்த்து, உடன் அரும் பொருள் வவ்வலின், யாவதும்சாத்து இடை வழங்காச் சேண் சிமை அதரசிறியிலை நெல்லித் தீம் சுவைத் திரள் காய்உதிர்வன தாஅம் அத்தம் தவிர்வு இன்று,புள்ளி அம் பிணை உணீஇய உள்ளி,அறு மருப்பு ஒழித்த தலைய, தோல் பொதி,மறு மருப்பு இளங் கோடு அதிரக் கூஉம்சுடர் தெற வருந்திய அருஞ் சுரம் இறந்து, ஆங்குஉள்ளினை வாழிய, நெஞ்சே! போது எனப்புலம் கமழ் நாற்றத்து இரும் பல் கூந்தல்,நல் எழில் மழைக் கண், நம் காதலிமெல் இறைப் பணைத்தோள் விளங்கும் மாண் கவினே. In this trip to the drylands, we get scene after scene of images, as we listen to the man say these words to his heart, in the middle of his journey, after having parted from the lady, so as to earn wealth: “As the skies have refrained from rendering the prosperity of rain showers, the forest has dried up and appears bereft of leaves. Herds of cattle with bulls many are tormented by deep hunger, as the harsh summer winds blow, drying up ponds in those wide spaces near the tall ranges. Here, after forcefully attacking a tiger with curving stripes furiously, the strong male elephant treads along, and in its footprints, thick pebbles shine, akin to many little fireflies, glittering and scattering their light in all directions. In those deserted long paths, frightening a huge-winged vulture, with the music of bees that buzz around when feeding on the pollen of blossoming flowers, arrows streak past with much speed, from bows of those men wearing frightening head garlands. As they rove those paths and steal away precious belongings, merchants avoid those spaces. In those paths near the peaks, the small-leaved gooseberry's thick clusters of sweet fruits drop and scatter. Wishing for their spotted, beautiful mates to feed on these fruits, with heads bereft of old antlers, quaking the new antlers bumping up from behind the skin, the male deers call out, in those formidable spaces, scorched by the sun. Even after coming here, you are thinking about the radiant beauty of our beloved, who has thick, dark tresses that waft with the fragrance of flowers across the land, exquisite, rain-like eyes and bamboo-like arms with soft wrists! Long may you live, O heart!” Time to take a trek through that arid scrub jungle and listen to the man’s heartbeat! He starts with a lengthy description of this space, where we see that there’s no rain, no leaves, cattle suffering with hunger, hot winds tormenting the land and so on. From the land, the man shifts the lens to focus on fighting animals, an elephant and a tiger in specific, and the former giant seems to emerge victorious and as it walks away with a sense of accomplishment, in those spots where it presses down on its pillar-like legs, pebbles seem to glitter like fireflies in the harsh light of the sweltering sun, the man sketches. Then, he zooms on the humans in this space, and to do that, he focuses on the arrows flying from the hands of highway robbers and the way they frighten vultures, with a sound of bees buzzing that too. The man talks about how these robbers are so scary and steal away precious belongings that merchants avoid those paths at all costs. He then zooms on to a gooseberry tree and the way it drops its sweet fruits, the only source of succour in those arid spaces. Upon seeing the same, male deers want their mates to feed on the same and call out with much love, making their newly sprouting antlers to tremble in the effort, the man sketches with precision. He has given this description only to say that he has seen those sights, crossed all those scenes, and arrived there, and even after coming that far, all his heart seemed to do was to think about his beautiful, beloved maiden with flower-like tresses, rain-like eyes and bamboo-like arms! A note of disbelief rings aloud in the voice of the man as he separates himself from his heart and sees how he’s unable to take the lady off his mind, even though he’s firmly set on the path of seeking wealth! A precise portrait of the timeless war between the heart and the mind, between being in the comfort of love and leaving for the sake of ambition!

In this episode, we perceive a person’s worry about another, as portrayed in Sangam Literary work, Aganaanooru 289, penned by Eyinanthai Magan Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse renders intricate aspects about the cultural beliefs and practices of the ancients. சிலை ஏறட்ட கணை வீழ் வம்பலர்உயர் பதுக்கு இவர்ந்த ததர் கொடி அதிரல்நெடு நிலை நடுகல் நாட் பலிக் கூட்டும்சுரனிடை விலங்கிய மரன் ஓங்கு இயவின்,வந்து, வினை வலித்த நம்வயின், என்றும்,தெருமரல் உள்ளமொடு வருந்தல் ஆனாது,நெகிழா மென் பிணி வீங்கிய கை சிறிதுஅவிழினும், உயவும் ஆய் மடத் தகுவிசேண் உறை புலம்பின் நாள் முறை இழைத்ததிண் சுவர் நோக்கி, நினைந்து, கண் பனி,நெகிழ் நூல் முத்தின், முகிழ் முலைத் தெறிப்ப,மை அற விரிந்த படை அமை சேக்கைஐ மென் தூவி அணை சேர்பு அசைஇ,மையல் கொண்ட மதன் அழி இருக்கையள்பகுவாய்ப் பல்லி படுதொறும் பரவி,‘நல்ல கூறு’ என நடுங்கி,புல்லென் மாலையொடு பொரும்கொல் தானே? In this trip to this difficult domain, though we do encounter scenes from the land, it’s more of a journey inside the mind, as we listen to the man say these words to his heart, as he parts from his lady and ventures on a mission to seek wealth: “Wayfarers, who have fallen to arrows that were aimed from bows, are covered with raised stone graves, and upon this, spreads closely intertwined vines of the wild jasmine. Flowers of these spreading vines are gathered for daily offerings rendered to tall hero stones in that drylands domain, along paths bereft of trees, where I have arrived, with the intention of earning wealth. Thinking about me always, with a confused heart, she would be wallowing in endless worry. That naive maiden, who would become anxious even if my hands that had been holding her gently loosen a little, would now be gazing at the sturdy wall, upon which the days I have spent apart from her would be marked. Then filled with sorrow, the dew of her eyes would scatter on her blooming bosoms, akin to pearls that break away from a string. Lying on that flawless, wide bed, upon a mattress filled with beautiful, soft feathers, with confusion brimming over, she would be losing her strength. Every time a split-mouthed lizard made a sound, she would tremble saying, ‘Speak of good things!' and keep fighting with that listless evening hour, won't she?” Time to take in the scenes of desolation in the drylands! The man starts by describing the place he’s at, and to do that, he talks about the death of innocent wayfarers, who have fallen to the arrows of highway robbers. Though they kill, these robbers have the custom of burying those dead under make-shift stone graves, and upon these stone graves, wild jasmine vines spread, the man adds. He then mentions how those who are coming to worship hero stones also installed in such places, would collect these wild jasmine flowers to bring them as offerings for their ancestor worship. All these facets have been recorded to say that the man has arrived to such a place, dry and parched, without the shade of trees, nudged by his heart to go seeking wealth. From his position, the man’s mind flies to the abode of his beloved, where he sees her wallowing in misery, missing him. The man recollects how this was a person who would suffer so much if the man so much as loosened the hold of her hand even a little. Now that he is so far away, the lady would be looking at a wall, marked with lines, signifying the days since the man had parted, the man visualises. At that moment, he sees the tears in her eyes dropping down and scattering like pearls from a string. He pictures her lying on their well-etched bed, upon a mattress made of soft feathers, and yet without any sleep or rest, suffering ceaselessly. The man concludes with the final portrait of how the lady would be pleading to the house lizard to render good omens about the man’s arrival, every time it opens its mouth and makes a click sound, as the lady would be fighting against the attack of the evening hour. Here, the prevalence of hero stone worship with offerings, drawing lines on a wall to mark a person’s absence and seeking the comfort of lizard omens are etched to talk about how people responded to death and parting in those times. The verse tells how sometimes we can see the plight of another in such a vivid manner even when we can’t see our own state, right before us! The eyes of love see far indeed!

with Brad Lancaster & Andrew MillisonIn this Episode - What begins as a simple effort to redirect stormwater becomes a powerful story of ecological restoration, community organizing, and policy change. Brad Lancaster and Andrew Millison discuss how a grassroots, initially "pre-legal" water harvesting project transformed neighborhoods in Tucson, inspired new city policies, and is now influencing communities across the Southwest. They explore how small interventions can create lasting cultural shifts, why regenerative change requires generations of stewardship, and how anyone can become a catalyst for positive change in their own community.Our Guests: Brad is the author of the books Rainwater Harvesting for Drylands and Beyond, the creator of HarvestingRainwater.com, and co-founder of Neighborhood Foresters.org. These converge through his neighborhood's rain-irrigated native food forestry efforts in downtown Tucson, AZ. Their work has planted over 1,800 native food-bearing trees and thousands of multi-use understory plants solely watered by the 1.25 million gallons of stormwater they planted in streetside- and in-street rain gardens. Andrew Millison is an educator and founder of Oregon State University's Permaculture Design program. He has travelled the Earth documenting impactful stories of land regeneration on his popular YouTube channel, which boasts over 100 million video views. In his 30-year career in Permaculture, he has designed and consulted on numerous projects throughout the world.Key TopicsStreet-side water harvestingBrad LancasterAndrew MillisonTucson neighborhood restorationCommunity-led ecological designRainwater harvestingUrban heat island mitigationNative food forestsWater policy reformRegenerative community developmentGreen infrastructureEarth Repair FundNeighborhood stewardshipPermaculture designKey Questions AnsweredHow did an illegal curb cut become a model for public policy?A neighborhood experiment redirecting street runoff into planted basins demonstrated measurable environmental and community benefits. Those results convinced city officials to legalize and eventually promote the practice, creating a model now spreading to other cities.What problems does street-side water harvesting solve?It reduces flooding, cools neighborhoods, slows traffic, supports native ecosystems, grows food, increases biodiversity, improves walkability, and strengthens neighborhood relationships—all using rainwater that previously became waste.Why is community participation more important than infrastructure?Infrastructure creates opportunity, but long-term success depends on residents becoming active stewards. Cultural change happens when people continually care for and improve the systems they've created together.How has Tucson changed over the past 30 years?What was once a hot, barren streetscape has become a shaded urban forest filled with native plants, birds, pedestrians, cyclists, and community gathering spaces.Why focus on native plants?Native species require less irrigation, survive harsh conditions, support local wildlife, and create resilient landscapes that continue thriving even when maintenance decreases.What does "pre-legal" mean?Rather than breaking rules for the sake of rebellion, Brad describes testing practical solutions before regulations existed. Successful demonstrations then became the basis for changing policy.How do you convince government agencies to support innovation?By solving their existing problems—flooding, crime, heat, traffic, maintenance costs—and collaborating with receptive allies inside government rather than making demands.When does a project become a cultural movement?When it measurably improves people's daily lives, inspires widespread participation, changes public policy, and motivates others to adapt the ideas within their own communities.Why did Andrew Millison choose to document this story?Because it represents a proven, decades-long example of regenerative change that others can replicate, offering practical hope instead of theoretical solutions.What mindset shift do the speakers hope listeners experience?To begin seeing neighborhoods as living watersheds full of opportunities for regeneration, rather than fixed infrastructure that cannot be improved.Episode HighlightsA neighborhood experiment in harvesting street runoff evolved into city-approved infrastructure and inspired policy changes beyond Tucson.Water harvesting became a catalyst for cooling neighborhoods, restoring wildlife habitat, calming traffic, and building stronger communities.Native food forests transformed once-barren public rights-of-way into productive community commons.Brad Lancaster explains how changing policy requires collaboration, persistence, and demonstrating successful models.Andrew Millison shares why documenting proven regenerative projects creates hope and motivates action.The discussion explores how infrastructure can become a tool for cultural transformation.Both guests emphasize that regenerative work is lifelong, requiring continual community participation rather than one-time projects.Listeners are encouraged to identify their own community's "acupuncture point"—the small intervention capable of creating widespread positive change.ResourcesWatch the documentaryFundraising documentary on Brad Lancaster's Tucson water harvesting projectLearn Rainwater HarvestingHarvestingRainwater.comSupport the ProjectEarth Repair Fund crowdfunding campaignExplore Native Urban ForestryNeighborhoodForesters.orgLearn PermacultureOregon State University Permaculture ProgramBooksRainwater Harvesting for Drylands and Beyond by Brad LancasterYouTubeAndrew MillisonBrad LancasterPodcast Show Notes Visit www.urbanfarm.org/TucsonWaterHarvesting for the show notes on this episode, and access to our full podcast library! Need a little bit of advice or just a feedback on your design for your yard or garden?The Urban Farm Team is offering consults 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 or choose one of the senior members of our Urban Farm team 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.

In this episode, we listen to the lament of a lonely heart, as depicted in Sangam Literary work, Aganaanooru 287, penned by Kudavayil Keerathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a vivid portrait of the pain in parting. தொடி அணி முன்கைத் தொகு விரல் குவைஇ,படிவ நெஞ்சமொடு பகல் துணை ஆக,நோம்கொல்? அளியள் தானே! தூங்கு நிலை,மரை ஏறு சொறிந்த, மாத் தாட் கந்தின்சுரை இவர் பொதியில் அம் குடிச் சீறூர்நாட் பலி மறந்த நரைக் கண் இட்டிகை,புரிசை மூழ்கிய பொரி அரை ஆலத்துஒரு தனி நெடு வீழ் உதைத்த கோடைதுணைப் புறா இரிக்கும் தூய் மழை நனந்தலை,கணைக் கால் அம் பிணை ஏறு புறம் நக்க,ஒல்கு நிலை யாஅத்து ஓங்கு சினை பயந்தஅல்குறு வரி நிழல் அசையினம் நோக்க,அரம்பு வந்து அலைக்கும் மாலை,நிரம்பா நீள் இடை வருந்துதும் யாமே. In this trip to this familiar domain, we perceive scenes of emptiness, as we listen to the man say these words to his heart, in the middle of his journey through the drylands, in search of wealth: “Bringing together the fingers of her bangle-clad arms, with fasting rituals on her mind, and only the day as her company, won't she be languishing? She is to be pitied indeed! There stands a dark, thick post, where a swaying male black buck has rubbed its back, amidst the blooming bottle gourd vines, in that beautiful hamlet, where a sacrificial offering was forgotten, and empty, stands the altar. A rough-trunked banyan has buried the walls and the hot northern winds kick a lone, long aerial root, which shoos away a mating pigeon couple beneath, in those rainless, wide spaces. A male deer licks the back of its beautiful, thick-legged mate, in the shade of the soaring branches of the Yaa tree, and as I stay in this suffering-filled, spotted shade and look on, misery arrives to torment in this evening hour and makes me lament in this endless, long drylands path!” Let’s walk along with the man and listen to his song of melancholy! The man starts by thinking about what his beloved would be doing right then, and the image of her praying and fasting, worrying about him, comes to his mind and he feels much pity for her. Then, he looks at the world around him. He sees a broken column, where a black buck has rubbed on; a forgotten, empty altar; a banyan burying the once-sturdy walls, and a gush of northern winds, shaking the banyan’s aerial root and making the cooing pigeons beneath to flutter away. His eyes finally rest on the way a male deer is licking the back of its female to cool it down, in the spotted, not-enough shade of a ‘Yaa tree’. Amidst all this desolation, this scene of tenderness makes the man break down and cry about his lonely state to his heart.  The montage of images tells us this is a ruined town, once prosperous and bustling, but now abandoned, perhaps due to some war or famine. As he finds this empty, forsaken space around him reflect his own state of mind, the man gives expression to the sorrow within. The aspect to be celebrated about Sangam Literature is the equality it endows on both men and women when it comes to expressing their emotions. The man feels no qualms in talking about his pain and missing his beloved, in songs many, many, and this echoes in the culture of Tamils even today, where unlike a common notion in many other cultures, which say, ‘Boys shouldn’t cry’, here we can find grown men giving way to their emotions and breaking down in sorrow. An instance of the memory of culture extending beyond the centuries!

In this episode, we listen to the sharing of a happy news, as depicted in Sangam Literary work, Aganaanooru 285, penned by Kaaviripoompattinathu Karikannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the dynamic scenes in this domain. ”ஒழியச் சென்மார், செல்ப” என்று, நாம்அழி படர் உழக்கும் அவல நெஞ்சத்துஎவ்வம் இகந்து சேண் அகல, வை எயிற்றுஊன் நசைப் பிணவின் உறு பசி களைஇயர்,காடு தேர் மடப் பிணை அலற, கலையின்ஓடு குறங்கு அறுத்த செந்நாய் ஏற்றைவெயில் புலந்து இளைக்கும் வெம்மைய, பயில் வரிஇரும் புலி வேங்கைக் கருந் தோல் அன்னகல் எடுத்து எறிந்த பல் கிழி உடுக்கைஉலறு குடை வம்பலர் உயர் மரம் ஏறி,ஏறு வேட்டு எழுந்த இனம் தீர் எருவைஆடு செவி நோக்கும் அத்தம், பணைத் தோள்குவளை உண்கண் இவளும் நம்மொடுவரூஉம் என்றனரே, காதலர்;வாராய் தோழி! முயங்குகம் பலவே. In this trip to the drylands, we take in scenes of vivid action, as we listen to the confidante say these words to the lady: “Thinking, ‘Leaving you to lament here, he will part away', we were with angst-ridden hearts, languishing in suffering. Making that anxiety to part away afar, that lover of yours, who had been intending to leave to the drylands, where, wanting to allay the deep desire for flesh, in its sharp-toothed mate, a male red dog bites on the very thigh that the male deer uses to flee, leaving its naive female to search and scream in the jungle, and then suffers in the sweltering heat in this place, where having clothes tattered in many places, akin to the many-striped, radiant skin of the huge tiger, owing to the attack of highway robbers, wayfarers with dry umbrellas, climb on a high tree, and look up at the scene of a roving, lone vulture that has parted away from its flock, and rises high in search of a prey, has told me, ‘Let that maiden with bamboo-like arms and kohl-streaked, blue-lily-like eyes, come along with me!' Come on, my friend! Let's embrace over and over!” Time to tune in to the chat between these besties! The confidante starts by narrating the worry that had been plaguing them about the man’s imminent parting away from the lady. Then the confidante tells her friend that the man’s words had chased that worry far, far away. She then goes on to describe the drylands, and to do that, she sketches a montage of scenes. First, we see a female red dog languishing in hunger, and seeing the suffering of its mate, the male goes on a hunt, and it finds a huge male deer, and just as the deer is about to run away, the red dog delivers a fatal bite on the thigh of this deer, and brings it down. Next, the scene changes to echo the plight of the female deer, crying out for its mate in the forest. From these wild beings, the confidante turns to sketch the wild nature of robbers, who attack wayfarers and make their clothes torn and appear like the striped skin of the tiger. The confidante continues talking about how these wayfarers can be seen climbing on a tree, intending on saving themselves, and completes this portrait of the drylands, with the eyes of these wayfarers zooming in on a red-headed vulture, soaring in the skies above, in search of a prey. The confidante connects all this by saying this is where the man had intended to leave, and he had told the confidante that he plans to take the lady along. The confidante concludes by jumping in joy as she conveys this news and calls her dear friend so that they could hug and bid farewell to each other. Those vivid images of the conflict between the red dog and the deer in the drylands talk about the tug of war between being with love and leaving for wealth in a subtle manner. The highlight in this verse though is the closing image of the lady and the confidante hugging each other with tears, and preparing to part from each other. A tender bitter-sweet moment between friends!

In this episode, we listen to a loving wish, as depicted in Sangam Literary work, Aganaanooru 283, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the transformation of a dreary place into a delightful one. நல் நெடுங் கதுப்பொடு பெருந் தோள் நீவி,நின் இவண் ஒழிதல் அஞ்சிய என்னினும்,செலவு தலைக்கொண்ட பெரு விதுப்பு உறுவிபல் கவர் மருப்பின் முது மான் போக்கி,சில் உணாத் தந்த சீறூர்ப் பெண்டிர்திரிவயின் தெவுட்டும் சேண் புலக் குடிஞைப்பைதல் மென் குரல் ஐது வந்து இசைத்தொறும்,போகுநர் புலம்பும் ஆறே ஏகுதற்குஅரிய ஆகும் என்னாமை, கரி மரம்கண் அகை இளங் குழை கால்முதல் கவினி,விசும்புடன் இருண்டு, வெம்மை நீங்க,பசுங் கண் வானம் பாய் தளி பொழிந்தென,புல் நுகும்பு எடுத்த நல் நெடுங் கானத்து,ஊட்டுறு பஞ்சிப் பிசிர் பரந்தன்னவண்ண மூதாய் தண் நிலம் வரிப்ப,இனிய ஆகுக தணிந்தேஇன்னா நீப்பின் நின்னொடு செலற்கே. In this trip to the drylands, we observe how this formidable land changes colours, as we listen to the confidante say these words to the man, conveying the lady’s acceptance to elope away with him: “I was fearing about how she would remain here, without you, the one, who caresses her fine, long tresses, and thick arms. But she's gone a step ahead and is anxious to leave on a journey with you, to paths, where chasing old deer with branching antlers, womenfolk from small hamlets gather meagre grains, and as they rove around, an owl's sorrow-filled, soft voice arrives to torment tenderly, making wayfarers to lament as they walk on. So that these paths are not difficult for her to traverse, let those scorched trees bloom with tender sprouts on the many nodes of their trunks, with much beauty. For the heat to recede, may the skies darken, and may those guardians of fertility shower drops beneath, making blades of grass raise their heads in the fine, vast jungle, and akin to dyed cotton specks that spread around, let the bright-hued, red velvet mites decorate the moist lands. Let it all become cool and pleasant during this sorrow-endowing journey of hers, with you!” Time to walk on through the angst-ridden domain! The confidante starts by revealing her worry about the lady remaining there, if her loving man were to leave. But, her friend had decided something else and was intent on eloping with the man, she says, and then goes on to describe those places, where womenfolk on the lookout for anything to bring for their families, chase away grazing deer, and collect whatever little grains they can find in the scrub jungle. At this time, an owl hooting in soft voice would fall on their ears and would fill all wayfarers with much sorrow, the confidante details. Then, she makes a heartfelt wish so that the path the gentle lady was planning to traverse was not so impossible for her, seeking that the scorched trees should start blooming, the skies should start raining, blades of grass should start sprouting, and the entire spread of the land should be covered in red velvet mites, which come to the surface, only to greet the rains. The confidante concludes by saying indeed the lady’s parting away was going to bring much sadness to her and the lady’s family, but even so, she wishes the lady must have a pleasant time on her journey with the man. What a wonderful creature is this confidante, who only wishes well for her beloved friend! If there was ever a soul, who only lives for the welfare of another, I’m sure it’s this character etched in verse after verse in Sangam Literature. An eternal epitome of friendship, whose personality we can try to emulate in our own relationships with others, for a better and more positive world! 

Welcome to Wyllin's Gulch!Join us as we check out Daggerheart and give the Colossus of the Drylands campaign frame a go.Lore Master: IzziPlayers: Cuba as Blue Belly Bill, Adam as Ash Reddick, Amanda as Kitswizzle Wingdings, and D as HelveticaContent Warnings: Mention of suicideJoin our Patreon to get fun perks and early access to the podcast/VODs: ⁠⁠⁠⁠⁠https://www.patreon.com/dicedragonsguild⁠⁠⁠⁠⁠We've got MERCH: ⁠⁠⁠⁠⁠⁠https://tinyurl.com/ddgmerch⁠⁠⁠⁠⁠--MUSIC & SFX--"Combative Strings" and "Battlefield Gulch II", as well as additional music & SFX from Monument Studios via Fantasy+ ⁠⁠⁠⁠⁠(⁠⁠⁠⁠⁠⁠⁠⁠https://www.fantasy-plus.com/)⁠⁠⁠⁠⁠ Royalty-Free License. Music by Alexandre Miller - The Boy King of Idaho (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/artist/0WvWTz5TPYOuoZ77e2iIX8?si=bhT8sX2gS_e8huPQnWd81Q⁠⁠⁠⁠⁠) Licensed under the Creative Commons 3.0: By Attribution license.Music & Ambient sounds by Michael Ghelfi. Please support him at his Patreon (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/MichaelGhelfi⁠⁠⁠⁠⁠) and like and subscribe to his YouTube channel (⁠⁠⁠⁠⁠   / @michaelghelfistudios  ⁠⁠⁠⁠⁠)"Smoking Gun", "Cowboy Sting", "Pennsylvania Rose" by Kevin MacLeod (⁠⁠⁠⁠⁠incompetech.com⁠⁠⁠⁠⁠) Licensed under Creative Commons: By Attribution 4.0 License ⁠⁠⁠⁠http://creativecommons.org/licenses/by/4.0/⁠⁠⁠⁠ "Two Guns, One Destiny" by Shane Ivers (⁠⁠⁠⁠silvermansound.com⁠⁠⁠⁠), licensed under CC BY 4.0"Banjos, Unite!" by Alexander Nakarada is under a Creative Commons BY-SA 3.0 license (⁠⁠⁠⁠https://www.creatorchords.com⁠⁠⁠⁠)Select sound effects from ⁠⁠⁠⁠ZapSplat.com⁠⁠⁠⁠ (⁠⁠⁠⁠⁠https://www.zapsplat.com⁠⁠⁠⁠⁠)

In this episode, we listen to the lady’s angst, as depicted in Sangam Literary work, Aganaanooru 281, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse mentions historical facts to etch this story of separation. செய்வது தெரிந்திசின் தோழி! அல்கலும்,அகலுள் ஆண்மை அச்சு அறக் கூறியசொல் பழுது ஆகும் என்றும் அஞ்சாது,ஒல்கு இயல் மட மயில் ஒழித்த பீலி,வான் போழ் வல் வில் சுற்றி, நோன் சிலைஅவ் வார் விளிம்பிற்கு அமைந்த நொவ்வு இயல்கனை குரல் இசைக்கும் விரை செலல் கடுங் கணைமுரண் மிகு வடுகர் முன்னுற, மோரியர்தென் திசை மாதிரம் முன்னிய வரவிற்குவிண்ணுற ஓங்கிய பனி இருங் குன்றத்து,ஒண் கதிர்த் திகிரி உருளிய குறைத்தஅறை இறந்து, அவரோ சென்றனர்பறை அறைந்தன்ன அலர் நமக்கு ஒழித்தே. In this trip to the drylands, we go a history detour, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left in search of wealth: “Analyse and tell me what I should do, my friend! Day after day, staying right here, he spoke words many to remove my fears utterly. Not worrying that those words would become false now, he has left beyond those boulders, broken apart by the Mauryas, wanting to seize the lands to the south, when they marched on and tunnelled through the sky-soaring, dark, dew-covered peaks, so as to make their white-rayed wheels roll on, led by the belligerent Vadugars, who, picking up the feathers dropped by a naive peacock, with a swaying gait, tied those long stems around the sturdy bows, fitted with taut straps, from which with a deep sound, speeding arrows rush ahead. He has left beyond those boulders, leaving us to shoulder all alone, this slander, that resounds akin to the roar of drums!” Time to tread upon those stony surfaces and explore on! The lady starts by asking her confidante what she should do, now that the man had falsified his promises of never parting from her and had left to the drylands. She describes the place where the man’s at by mentioning the rocks that were cut across to make way for the chariots of the northern Mauryas, when they came south, intending to conquer these lands, in the company of the Vadugars, who wield sturdy bows and speedy arrows. The lady concludes by lamenting how the man had left to this place, leaving her all alone to face the slander in town, which seems to echo aloud like a thundering drum. That slander is on the rise is indication that the separation has happened before marriage between the man and the lady. The verse renders a history lesson about the incursion of northern rulers into the southern region of India, two thousand years ago. At the core is a heart, disappointed by broken promises. Hope it heals with the return of the man, speeding back to the lady, like the arrows of those Vadugars!

In this episode, we listen to words of lament, as depicted in Sangam Literary work, Aganaanooru 275, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the emotions of a Sangam mother at the juncture of her daughter’s elopement. ஓங்கு நிலைத் தாழி மல்கச் சார்த்தி,குடை அடை நீரின் மடையினள் எடுத்தபந்தர் வயலை, பந்து எறிந்து ஆடி,‘இளமைத் தகைமையை வள மனைக் கிழத்தி!பிதிர்வை நீரை வெண் நீறு ஆக’ என,யாம் தற் கழறுங் காலை, தான் தன்மழலை இன் சொல், கழறல் இன்றி,இன் உயிர் கலப்பக் கூறி, நன்னுதல்பெருஞ் சோற்று இல்லத்து ஒருங்கு இவண் இராஅள்,ஏதிலாளன் காதல் நம்பி,திரள் அரை இருப்பைத் தொள்ளை வான் பூக்குருளை எண்கின் இருங் கிளை கவரும்வெம் மலை அருஞ் சுரம், நம் இவண் ஒழிய,இரு நிலன் உயிர்க்கும் இன்னாக் கானம்,நெருநைப் போகிய பெரு மடத் தகுவிஐது அகல் அல்குல் தழை அணிக் கூட்டும்கூழை நொச்சிக் கீழது, என் மகள்செம் புடைச் சிறு விரல் வரித்தவண்டலும் காண்டிரோ, கண் உடையீரே? In this trip to the drylands, we take in a few familiar sights and listen to the outpouring of sorrow from the mother, at a time when her daughter had eloped away with the man: “Amidst the bushes of vayalai vines that she had reared by pouring water, collected with a tightly woven palmyra bowl from a tall and brimming urn, seeing her playing with a ball, I had scolded her saying, ‘O young and naive maiden of this prosperous mansion! You seem to be roaming around without a care. You are sure to be doomed!'. At this time, without any anger, she rendered her child-like, sweet words that made my sweet life melt away with joy. But that maiden with a fine forehead, without choosing to remain in this mansion, with copious food to share, has trusted in the love of a stranger, and leaving me to languish here, has left to a formidable drylands in the scorching mountains, where clusters of white flowers from the thick-trunked Mahua tree are stolen by huge sleuths of bear cubs. That maiden with great naivety, who has left yesterday to the terrible scrub jungle around which the huge land sighs in suffering, using her reddened little fingers, had built a sand house under the chaste tree, which used to render fine leaves to adorn her wide and uplifted loins. Those who have eyes, won't you see this work of art left behind by that daughter of mine!” Time to listen to this expression of grief! Mother starts like mothers often do, recollecting a past moment with their beloved offspring. She remembers how one day the lady had been playing near the vayalai bushes that the lady herself had reared with much love, pouring water for it every day using a palmyra bowl. A moment to note the use of biodegradable material of palm leaves to stitch baskets with such skill that they seem to even hold water! Something we should perhaps learn from the descendants of these basket weavers in the remote villages of Tamil Nadu. Returning, Mother talks about how her girl had been playing with a ball amidst these bushes and this seems to have angered Mother, who had admonished her for roaming around without a care. There seems to be a hidden implication in mother’s tone that the girl had matured and she had no business to be playing around in this manner. In any case, mother remembers how her daughter showed no anger for that scolding and spoke so sweetly in a child-like tone, which made mother’s heart melt away. But that same girl, believing in some stranger’s promise of love, had left to the drylands, where bear cubs roam about gathering white Mahua flowers, Mother says. She concludes by asking all around her to take a look at the sand house her daughter had made under the chaste tree, near the house, and perceive the pain that throbs in her heart! A verse that talks about the poignant feelings, which arise when one glimpses at the places and things, resounding with memories of a parted one. A desk, a pair of spectacles, a ‘Bullet’ motorbike, a letter that arrives late… The objects may change in different spaces and different times, but they all proclaim the indelible presence of a person, even in that moment of their absence! 

In this episode, we listen to words of angst, as depicted in Sangam Literary work, Aganaanooru 273, penned by Avvaiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse employs an exquisite metaphor to etch a person’s state. விசும்பு விசைத்து எழுந்த கூதளங் கோதையின்,பசுங் கால் வெண் குருகு வாப் பறை வளைஇ,ஆர்கலி வளவயின் போதொடு பரப்ப,புலம் புனிறு தீர்ந்த புது வரல் அற்சிரம்,நலம் கவர் பசலை நலியவும், நம் துயர்அறியார்கொல்லோ, தாமே? அறியினும்,நம் மனத்து அன்ன மென்மை இன்மையின்,நம்முடை உலகம் உள்ளார்கொல்லோ?யாங்கு என உணர்கோ யானே? வீங்குபுதலை வரம்பு அறியாத் தகை வரல் வாடையொடுமுலையிடைத் தோன்றிய நோய் வளர் இள முளைஅசைவுடை நெஞ்சத்து உயவுத் திரள் நீடி,ஊரோர் எடுத்த அம்பல் அம் சினை,ஆராக் காதல் அவிர் தளிர் பரப்பி,புலவர் புகழ்ந்த நாண் இல் பெரு மரம்நில வரை எல்லாம் நிழற்றி,அலர் அரும்பு ஊழ்ப்பவும் வாராதோரே. In this trip to the drylands, we don’t get to see any of the familiar sights, and instead, take a detour to the realm of the inner landscape, as we listen to the lady say these words to the confidante, at a time when the man continues to remain parted away, having left in search of wealth: “Akin to a garland of nightshade flowers thrown at the sky, green-legged white birds bend their spreading wings to soar above the uproarious seas, and then settle down among the blooming flowers, in this season of early dew, when the land is done with the task of birthing new crops. At this time, as I waste away, owing to the affliction of pining that steals away health and beauty, does he not know about my sorrow? Even if he knows, not having the gentleness in my heart, perhaps he does not give a thought about my world! What should I think about all this? As this esteemed cold northern wind swells, not understanding its limits, this disease that has bloomed in my bosom sprouts up as a young shoot, and as the sorrow of my heart continues on, thickens its stem, spreads as a beautiful branch, owing to the gossip of the townsfolk, blooms as the tender leaves of unfulfilled love, soars as a shameless huge tree, celebrated by poets, spreading its shade all across the land. Even as the buds of slander upon this tree of suffering bloom, spreading their petals open, he still returns not!” Let’s listen to this lady’s lament and learn more! She starts by describing the seasonal changes around her. She first calls our attention to the white birds flying high and paints them as garlands thrown against the sky. Anyone who has watched the ‘V formation’ of birds in the sky would agree what an apt simile this is! Next, she talks about how the land is all done with birthing of the winter crops, relaying how it was now the early dew season. The lady talks about how the promised season is gone and she suffers endlessly and wonders if the man does not realise this, and even if he does, maybe he does not have her gentle heart to do something about it. She laments asking how is it possible to bear this lack of response from the man. Then reverting back to the season, the lady says, one visitor is sure to arrive without fail at this time, and that’s the cold, northern winds, and talks about how this makes the seed of pining in her heart, shoot up as a tender sprout. Then, as the water of sorrow keeps coursing through her, the stems of this sprout thicken into a trunk. To help it further, winds of gossip swirl around town and make the trunk spread into a branch, and here unfulfilled love sprouts out as the lush green leaves and what was a little shoot, now stands like a shameless tree of suffering, for all to see, spreading its shade far and wide, the lady sketches, and concludes by saying even when the flowers of slander bloom bright on this tree, the man was nowhere to be seen! The prowess of this prolific poet in converting the abstract emotions of the mind into tangible elements of the world can be sensed in that flowing imagery of a seed and sprout turning into that tree of suffering. Perhaps all these songs on separation exist only to teach the world the art of healing by expressing what’s within! 

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

Welcome to Wyllin's Gulch!Join us as we check out Daggerheart and give the Colossus of the Drylands campaign frame a go.Lore Master: IzziPlayers: Cuba as Blue Belly Bill, Adam as Ash Reddick, Amanda as Kitswizzle Wingdings, and D as HelveticaContent Warnings: Mention of suicideJoin our Patreon to get fun perks and early access to the podcast/VODs: ⁠⁠⁠⁠https://www.patreon.com/dicedragonsguild⁠⁠⁠⁠We've got MERCH: ⁠⁠⁠⁠⁠https://tinyurl.com/ddgmerch⁠⁠⁠⁠--MUSIC & SFX--"Combative Strings" and "Battlefield Gulch II", as well as additional music & SFX from Monument Studios via Fantasy+ ⁠⁠⁠⁠(⁠⁠⁠⁠⁠⁠https://www.fantasy-plus.com/)⁠⁠⁠⁠ Royalty-Free License. Music by Alexandre Miller - The Boy King of Idaho (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/artist/0WvWTz5TPYOuoZ77e2iIX8?si=bhT8sX2gS_e8huPQnWd81Q⁠⁠⁠⁠) Licensed under the Creative Commons 3.0: By Attribution license.Music & Ambient sounds by Michael Ghelfi. Please support him at his Patreon (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/MichaelGhelfi⁠⁠⁠⁠) and like and subscribe to his YouTube channel (⁠⁠⁠⁠   / @michaelghelfistudios  ⁠⁠⁠⁠)"Smoking Gun", "Cowboy Sting", "Pennsylvania Rose" by Kevin MacLeod (⁠⁠⁠⁠incompetech.com⁠⁠⁠⁠) Licensed under Creative Commons: By Attribution 4.0 License ⁠⁠⁠http://creativecommons.org/licenses/by/4.0/⁠⁠⁠ "Two Guns, One Destiny" by Shane Ivers (⁠⁠⁠silvermansound.com⁠⁠⁠), licensed under CC BY 4.0"Banjos, Unite!" by Alexander Nakarada is under a Creative Commons BY-SA 3.0 license (⁠⁠⁠https://www.creatorchords.com⁠⁠⁠)Select sound effects from ⁠⁠⁠ZapSplat.com⁠⁠⁠ (⁠⁠⁠⁠https://www.zapsplat.com⁠⁠⁠⁠)

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

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

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

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

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

Welcome to Wyllin's Gulch!Join us as we check out Daggerheart and give the Colossus of the Drylands campaign frame a go.Lore Master: IzziPlayers: Cuba as Blue Belly Bill, Adam as Ash Reddick, Amanda as Kitswizzle Wingdings, and D as HelveticaContent Warnings: Mention of suicideJoin our Patreon to get fun perks and early access to the podcast/VODs: ⁠⁠⁠https://www.patreon.com/dicedragonsguild⁠⁠⁠We've got MERCH: ⁠⁠⁠⁠https://tinyurl.com/ddgmerch⁠⁠⁠--MUSIC & SFX--"Combative Strings" and "Battlefield Gulch II", as well as additional music & SFX from Monument Studios via Fantasy+ ⁠⁠⁠(⁠⁠⁠⁠https://www.fantasy-plus.com/)⁠⁠⁠ Royalty-Free License. Music by Alexandre Miller - The Boy King of Idaho (⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/artist/0WvWTz5TPYOuoZ77e2iIX8?si=bhT8sX2gS_e8huPQnWd81Q⁠⁠⁠) Licensed under the Creative Commons 3.0: By Attribution license.Music & Ambient sounds by Michael Ghelfi. Please support him at his Patreon (⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/MichaelGhelfi⁠⁠⁠) and like and subscribe to his YouTube channel (⁠⁠⁠   / @michaelghelfistudios  ⁠⁠⁠)"Smoking Gun", "Cowboy Sting", "Pennsylvania Rose" by Kevin MacLeod (⁠⁠⁠incompetech.com⁠⁠⁠) Licensed under Creative Commons: By Attribution 4.0 License ⁠⁠http://creativecommons.org/licenses/by/4.0/⁠⁠ "Two Guns, One Destiny" by Shane Ivers (⁠⁠silvermansound.com⁠⁠), licensed under CC BY 4.0"Banjos, Unite!" by Alexander Nakarada is under a Creative Commons BY-SA 3.0 license (⁠⁠https://www.creatorchords.com⁠⁠)Select sound effects from ⁠⁠ZapSplat.com⁠⁠ (⁠⁠⁠https://www.zapsplat.com⁠⁠⁠)

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

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

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

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

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

Welcome to Wyllin's Gulch!Join us as we check out Daggerheart and give the Colossus of the Drylands campaign frame a go.Lore Master: IzziPlayers: Cuba as Blue Belly Bill, Adam as Ash Reddick, Amanda as Kitswizzle Wingdings, and D as HelveticaContent Warnings: Mention of suicideJoin our Patreon to get fun perks and early access to the podcast/VODs: ⁠⁠https://www.patreon.com/dicedragonsguild⁠⁠We've got MERCH: ⁠⁠⁠https://tinyurl.com/ddgmerch⁠⁠--MUSIC & SFX--"Combative Strings" and "Battlefield Gulch II", as well as additional music & SFX from Monument Studios via Fantasy+ ⁠⁠(⁠⁠https://www.fantasy-plus.com/)⁠⁠ Royalty-Free License. Music by Alexandre Miller - The Boy King of Idaho (⁠⁠⁠⁠https://open.spotify.com/artist/0WvWTz5TPYOuoZ77e2iIX8?si=bhT8sX2gS_e8huPQnWd81Q⁠⁠) Licensed under the Creative Commons 3.0: By Attribution license.Music & Ambient sounds by Michael Ghelfi. Please support him at his Patreon (⁠⁠⁠⁠https://www.patreon.com/MichaelGhelfi⁠⁠) and like and subscribe to his YouTube channel (⁠⁠   / @michaelghelfistudios  ⁠⁠)"Smoking Gun", "Cowboy Sting", "Pennsylvania Rose" by Kevin MacLeod (⁠⁠incompetech.com⁠⁠) Licensed under Creative Commons: By Attribution 4.0 License ⁠http://creativecommons.org/licenses/by/4.0/⁠ "Two Guns, One Destiny" by Shane Ivers (⁠silvermansound.com⁠), licensed under CC BY 4.0"Banjos, Unite!" by Alexander Nakarada is under a Creative Commons BY-SA 3.0 license (⁠https://www.creatorchords.com⁠)Select sound effects from ⁠ZapSplat.com⁠ (⁠⁠https://www.zapsplat.com⁠⁠)

In this episode, Dr. David Eldridge of the University of New South Wales talks about the effects lichens have on drylands.   Subscribe for more content on sustainable farming, market farming tips, and business insights!   Get market farming tools, seeds, and supplies at Modern Grower. Follow Modern Grower:  Instagram  Instagram Listen to other podcasts on the Modern Grower Podcast Network:  Carrot Cashflow  Farm Small Farm Smart  Farm Small Farm Smart Daily  The Growing Microgreens Podcast  The Urban Farmer Podcast  The Rookie Farmer Podcast  In Search of Soil Podcast Check out Diego's books:  Sell Everything You Grow on Amazon   Ready Farmer One on Amazon **** Modern Grower and Diego Footer participate in the Amazon Services LLC. Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com.

Welcome to Wyllin's Gulch!Join us as we check out Daggerheart and give the Colossus of the Drylands campaign frame a go.Lore Master: IzziPlayers: Cuba as Blue Belly Bill, Adam as Ash Reddick, Amanda as Kitswizzle Wingdings, and D as HelveticaContent Warnings: Mention of suicideJoin our Patreon to get fun perks and early access to the podcast/VODs: ⁠https://www.patreon.com/dicedragonsguild⁠We've got MERCH: ⁠⁠https://tinyurl.com/ddgmerch⁠--MUSIC & SFX--"Combative Strings" and "Battlefield Gulch II", as well as additional music & SFX from Monument Studios via Fantasy+ ⁠(https://www.fantasy-plus.com/)⁠ Royalty-Free License. Music by Alexandre Miller - The Boy King of Idaho (⁠https://open.spotify.com/artist/0WvWTz5TPYOuoZ77e2iIX8?si=bhT8sX2gS_e8huPQnWd81Q⁠) Licensed under the Creative Commons 3.0: By Attribution license.Music & Ambient sounds by Michael Ghelfi. Please support him at his Patreon (⁠https://www.patreon.com/MichaelGhelfi⁠) and like and subscribe to his YouTube channel (⁠   / @michaelghelfistudios  ⁠)"Smoking Gun", "Cowboy Sting", "Pennsylvania Rose" by Kevin MacLeod (⁠incompetech.com⁠) Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Two Guns, One Destiny" by Shane Ivers (silvermansound.com), licensed under CC BY 4.0"Banjos, Unite!" by Alexander Nakarada is under a Creative Commons BY-SA 3.0 license (https://www.creatorchords.com)Select sound effects from ZapSplat.com (⁠https://www.zapsplat.com⁠)

In this episode, Dr. David Eldridge of the University of New South Wales shares his work on drylands: what they are and their role in the ecosystem.   Subscribe for more content on sustainable farming, market farming tips, and business insights!   Get market farming tools, seeds, and supplies at Modern Grower. Follow Modern Grower:  Instagram  Instagram Listen to other podcasts on the Modern Grower Podcast Network:  Carrot Cashflow  Farm Small Farm Smart  Farm Small Farm Smart Daily  The Growing Microgreens Podcast  The Urban Farmer Podcast  The Rookie Farmer Podcast  In Search of Soil Podcast Check out Diego's books:  Sell Everything You Grow on Amazon   Ready Farmer One on Amazon **** Modern Grower and Diego Footer participate in the Amazon Services LLC. Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com.

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Aganaanooru 249, penned by Nakiranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the generosity of a king and the beauty of his domain. அம்ம வாழி, தோழி! பல் நாள்இவ் ஊர் அம்பல் எவனோ? வள் வார்விசி பிணித்து யாத்த அரி கோல் தெண் கிணைஇன் குரல் அகவுநர் இரப்பின், நாடொறும்பொன் கோட்டுச் செறித்து, பொலந்தார் பூட்டி,சாந்தம் புதைத்த ஏந்து துளங்கு எழில் இமில்ஏறு முந்துறுத்து, சால் பதம் குவைஇ,நெடுந் தேர் களிற்றொடு சுரக்கும் கொடும் பூண்பல் வேல் முசுண்டை வேம்பி அன்ன என்நல் எழில் இள நலம் தொலையினும், நல்கார்பல் பூங் கானத்து அல்கு நிழல் அசைஇ,தோகைத் தூவித் தொடைத் தார் மழவர்நாகு ஆ வீழ்த்து, திற்றி தின்றபுலவுக் களம் துழைஇய துகள் வாய்க் கோடைநீள் வரைச் சிலம்பின் இரை வேட்டு எழுந்தவாள் வரி வயப் புலி தீண்டிய விளி செத்து,வேறு வேறு கவலைய ஆறு பரிந்து, அலறி,உழை மான் இன நிரை ஓடும்கழை மாய் பிறங்கல் மலை இறந்தோரே. In this trip to the drylands, we also get to meet a Sangam era king, as we listen to the lady say these words to her confidante, when the confidante was upset about the lady’s state, at a time when the man continued to remain parted away, having left in search of wealth: “Listen my friend, may you live long! Why has this town been spreading slander for so many days? Carrying ‘Kinai' drums with a clear sound, tied together with a firm leather strap and drumming sticks, when those bards with a sweet voice come seeking, day after day, he would assemble before them, bulls, whose horns are covered in gold dust, and whose sandalwood-streaked, upraised, handsome humps are adorned with golden garlands, and then shower mounds of food. In addition, he would render tall chariots and elephants to those who had come seeking. Such is the nature of the many-speared Musundai, clad in curving ornaments, the ruler of Vembi. Akin to this town of Vembi, was my splendid, young beauty. Even though it's now in ruins, he renders not his grace! Residing in the swaying shade of many-flowered forests, drylands robbers wearing garlands made of peacock feathers, slay a wild cow and feast on it. The open-mouthed summer wind that enters this flesh-reeking arena, then rushes, roaring aloud, making herds of deer scatter upon many different paths, screaming in fear, thinking it's the sound of an attacking strong tiger with radiant stripes that had risen in the tall mountain slopes, seeking a prey. Such are those soaring mountains, shrouded by bamboos, that he has left me and parted away to!” Let’s march on through those scorching spaces and learn more! The lady starts with an exasperated question about why the townsfolk won’t stop spreading slander. Then, she meanders to talk about the generosity of a king named Musundai, who would give bulls, adorned with gold, lots of food, chariots and elephants to sweet-voice bards with resounding ‘Kinai’ drums. She has mentioned this king to turn our attention to the beauty of his capital town of Vembi. The lady now connects her own beauty to that of this town, and says how the man does not seem to have any compassion even when that beauty is turning to ruins. Now, we can understand why the townsfolk are gossiping. It’s an outcome of their observation of the lady’s ruined health in the man’s absence. This is also an indicator that the parting has happened at a time before the man’s marriage with the lady. Returning, the lady then concludes by painting a picture of the place where the man’s at, those wild spaces, where robbers wearing peacock feather garlands eat the meat of a wild cow, and then the summer wind rushes through that space, picking up that reeking smell of flesh, and roars through, which makes deer scatter away thinking it’s a hungry tiger on the prowl. In essence, it’s a complaint by the lady that the man has left her exposed to the harsh eyes of the town and left in search of wealth. At a time when you cannot make a call, send a message, or write a letter to the parted one, it must have been difficult to bear with parting. All that the lovers had then was the thoughts and feelings that arose, across the miles, and it’s this unseen wave of energy that roars like the summer wind, even across the ages from the pages of the past!

In this episode, we perceive a lady’s anguish, as portrayed in Sangam Literary work, Aganaanooru 247, penned by Madurai Maruthankizhaar Maganaar Perunkannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relays the dangers of traversing this domain. மண்ணா முத்தம் ஒழுக்கிய வன முலைநல் மாண் ஆகம் புலம்பத் துறந்தோர்அருள் இலர் வாழி, தோழி! பொருள் புரிந்து,இருங் கிளை எண்கின் அழல் வாய் ஏற்றை,கருங் கோட்டு இருப்பை வெண் பூ முனையின்,பெருஞ் செம் புற்றின் இருந் தலை இடக்கும்அரிய கானம் என்னார், பகை படமுனை பாழ்பட்ட ஆங்கண், ஆள் பார்த்துக்கொலை வல் யானை சுரம் கடி கொள்ளும்ஊறு படு கவலைய ஆறு பல நீந்தி,படு முடை நசைஇய பறை நெடுங் கழுத்தின்பாறு கிளை சேக்கும் சேண் சிமைக்கோடு உயர் பிறங்கல் மலை இறந்தோரே. In this trip to the drylands, we take in many sights, as we listen to the lady say these words to her confidante, when the confidante was upset about the lady’s state, at a time when the man remains parted away, having left in search of wealth: “Making those unwashed pearls drop down on the beautiful bosoms, leaving this fine and noble chest in loneliness, he has parted away. He lacks kindness, my friend! May you live long! In those spaces, a male bear, with a fuming, fire-like mouth, having many kin, after having its fill of the white flowers of the dark-trunked Mahua tree, dislikes any more, and moves to break open the top of a huge termite mound. Not considering that this is a formidable space, which has been ruined in a battle, and where a murderous elephant stands guarding the drylands, looking out for wayfarers, he has crossed these troublesome paths many, where wishing to feed on the reeking flesh, vultures with long necks fly about and return to perch on the branches in the tall peaks of the faraway mountains, and has left thither with a desire for wealth!” Let’s brave the dreariness of this domain and learn more! The lady starts by talking about her tears and she compares these to unwashed pearls. A unique simile indeed! She then talks about how those drops fall down on her bosom and all this is because the man had left her in loneliness and parted away. She declares that the man seems to have no compassion for her. Then she goes on to describe the place he has left to, and brings in the image of a male sloth bear, which after filling its tummy with the white Mahua flowers, did not seem to want anymore of that, and had turned its attention to breaking a termite mound, looking for something else to feed on. Then, she talks about how these spaces are ruined as a result of some battle some time, and it’s wild and isolated, where killer elephants seem to be on the lookout to attack any wandering humans. The final creature the lady zooms on to happens to be a roving vulture with a long neck, characterising it for its desire to feed on flesh. After painting vivid portraits of these rugged beings, the lady concludes by talking about how the man, without worrying that this is such a dangerous place, had left wishing only to embrace wealth!  In the scene of the male bear having had its fill of the Mahua flowers and seeking termite mud, the lady places a metaphor for how the man had feasted on her beauty to his content and now had abandoned her, in his quest of something else. The theme seems to remain the same, ‘He’s gone leaving me in pain’. Wonder if these verses are simply telling us to express our pain to let the rain of calm fall on the dreary drylands of anxiety!

In this episode, we perceive a moment of clarity at the end of a dilemma, as depicted in Sangam Literary work, Aganaanooru 245, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents surprising details about a particular animal in this domain. ‘உயிரினும் சிறந்த ஒண் பொருள் தருமார்நன்று புரி காட்சியர் சென்றனர், அவர்’ எனமனை வலித்து ஒழியும் மதுகையள் ஆதல்நீ நற்கு அறிந்தனைஆயின், நீங்கி,மழை பெயல் மறந்த கழை திரங்கு இயவில்,செல் சாத்து எறியும் பண்பு இல் வாழ்க்கைவல் வில் இளையர் தலைவர், எல் உற,வரி கிளர் பணைத் தோள், வயிறு அணி திதலை,அரியலாட்டியர் அல்கு மனை வரைப்பில்,மகிழ் நொடை பெறாஅராகி, நனை கவுள்கான யானை வெண் கோடு சுட்டி,மன்று ஓடு புதல்வன் புன் தலை நீவும்அரு முனைப் பாக்கத்து அல்கி, வைகுற,நிழல் படக் கவின்ற நீள்அரை இலவத்துஅழல் அகைந்தன்ன அலங்குசினை ஒண் பூக்குழல் இசைத் தும்பி ஆர்க்கும் ஆங்கண்,குறும் பொறை உணங்கும் ததர் வெள் என்புகடுங் கால் ஒட்டகத்து அல்கு பசி தீர்க்கும்கல் நெடுங் கவலைய கானம் நீந்தி,அம் மா அரிவை ஒழிய,சென்மோ நெஞ்சம்! வாரலென் யானே. In this trip to this harsh domain, we get to glimpse at many unique sights, as we listen to the man say these words to his heart: “If you know very well that she has the strength to say, ‘Wishing to bring back that radiant thing, which has more worth than life, having the wisdom to do the right things, he has left', and remain at home, then, parting away, you may go, O heart, to those spaces, which the rains have forsaken and where dried bamboos abound. And here, attacking merchants, who tread these paths, those men with sturdy bows live a life lacking culture. When night falls, their leader reaches the gates of homes, which belong to maiden, with thick bamboo-like arms having radiant lines, and bellies with beauty spots many, who sell filtered toddy. Not finding that drink of ecstasy, he would return home, and pointing to the white tusk, which had come from a wild elephant with moistened cheeks, he would caress the coarse-haired head of his son, playing around the house. In such a wild community, stay the night, and leave by morning, to those places, where upon the swaying branches of the silk-cotton tree, with a thick trunk, one which renders an exquisite shade, radiant flowers bloom, akin to flames fluttering, and bees buzz around like flutes. Nearby upon a short boulder, lies drying white bones, which satisfies the deep hunger of camels with fast legs. Traversing these stony, long paths in the scrub jungle, leaving that beautiful, dark-skinned maiden here, you may go, O heart! I shan't come!” Let’s walk on and explore those barren spaces! The man starts with an ‘if clause’ to his heart. He tells his heart, ‘If you know one thing for sure, you may leave, and that is if you know the lady has the ability to remain at home and understand the logic and importance of the journey to be taken in search of wealth’. Then, he launches into a description of the place where he is asking his heart to leave, and to do that, he focuses on the denizens of the said place. First, we catch a glimpse of merchants walking here and then robbers attacking them. The man decides to zoom on the leader of this rowdy gang and follows him as he walks in the late evening hour, towards the home of toddy sellers, who happen to be women with bamboo-like arms and beautiful bellies. Here’s a subtle indicator that women had a hand in handling trade in those times.  Returning, we learn that all that toddy is sold out and the man returns home, and he points to the white tusk, which he had taken for the barter, which had come from an elephant in musth, and caresses the head of his young son, as a way of inspiring the lad to aim for great things in life, like hunting down an elephant. Leaving aside the animal rights implications, let’s just appreciate this moment of bonding between a robber father and his son. The man had been telling this story only to predict that the heart would end up staying in such a community, and then in the morning, it would leave to a place, where silk-cotton trees were in full bloom, and their flowers would appear like spots of flames atop the branches. When we are delighting, ‘Oh! What a pretty sight!’, the man turns our attention to some white bones lying scattered on nearby rocks. Remember how some merchants got attacked in the beginning of this tale? Perhaps all the scavengers have had their fill and only the drying, white bones of those dead merchants are left. Now the man talks about something fascinating. He says a camel would come that way and feed on those bones to allay its burning hunger. Here lies not one but two things that stunned me no end! My first question was, ‘What is a camel doing in South India?’. Next question, okay maybe there’s some reason that there are camels, but aren’t they herbivores and why is this verse saying they are eating bones? Surely the Sangam folk must have got their animals mixed up! Turns out they have not! Though it’s true that camels are not native to Tamil land, it shows evidence of trade with other regions, and it seems like a sound idea of those merchants to bring this animal with steady legs for their journeys through the drylands. Next, coming to the bones, I learnt that camels do eat bones and assorted other things like leather and skin, whenever their calcium and phosphorus levels dip down. Apparently, it’s a phenomenon called ‘osteophagia’. As it is these animals are wandering about desert landscapes and guess it makes sense that these animals have to make do with what they get and not be strict about their vegan diets!  Back from our consorting with camels, we see that the man has been talking to his heart, asking it to leave to such arid landscapes, leaving the lady, and concluding that he was not planning on accompanying his heart. In essence, a clear decision in favour of staying at home, against the nudge of his heart, which was pushing him to part with the lady. This is yet another case of the man separating his heart from himself! What is the heart if not a part in the man’s mind, which was provoking him to choose a different path? This demarcation of the man and his heart in two thousand year old poem makes me connect the same principle to modern psychological techniques like ‘Internal Family Systems’, which ask the ‘Self’ in the mind to separate from the emotional parts to truly understand what’s going on in the psyche! A valuable lesson in dealing with dilemmas, as sensed intuitively by our ancestors with their deep understanding of the human mind!  

Welcome to Wyllin's Gulch!Join us as we check out Daggerheart and give the Colossus of the Drylands campaign frame a go.Lore Master: IzziPlayers: Cuba as Blue Belly Bill, Adam as Ash Reddick, Amanda as Kitswizzle Wingdings, and D as Helvetica- Join our Patreon to get fun perks and early access to the podcast/VODs: ⁠https://www.patreon.com/dicedragonsguild⁠- We've got MERCH: ⁠⁠https://tinyurl.com/ddgmerch⁠--MUSIC & SFX--- Music by Monument Studios via Fantasy+ ⁠(https://www.fantasy-plus.com/)⁠. - Music by Alexandre Miller - The Boy King of Idaho (⁠https://open.spotify.com/artist/0WvWTz5TPYOuoZ77e2iIX8?si=bhT8sX2gS_e8huPQnWd81Q⁠) Licensed under the Creative Commons 3.0: By Attribution license. - Music & Ambient sounds by Michael Ghelfi. Please support him at his Patreon (⁠https://www.patreon.com/MichaelGhelfi⁠) and like and subscribe to his YouTube channel (⁠   / @michaelghelfistudios  ⁠)- "Smoking Gun", "Cowboy Sting", and "Pennsylvania Rose" by Kevin MacLeod (⁠incompetech.com⁠) Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/- "Two Guns, One Destiny" by Shane Ivers (silvermansound.com), licensed under CC BY 4.0- "Banjos, Unite!" by Alexander Nakarada is under a Creative Commons BY-SA 3.0 license (https://www.creatorchords.com)- Sound Effects from ZapSplat.com (⁠https://www.zapsplat.com⁠)

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Aganaanooru 243, penned by Kodiyoor Kizhaar Maganaar Neythal Thathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the attitude of the northern wind. அவரை ஆய் மலர் உதிர, துவரினவாங்கு துளைத் துகிரின் ஈங்கை பூப்ப,இறங்கு போது அவிழ்ந்த ஈர்ம் புதல் பகன்றைக்கறங்கு நுண் துவலையின் ஊருழை அணிய,பெயல் நீர் புது வரல் தவிர, சினை நேர்புபீள் விரிந்து இறைஞ்சிய பிறங்கு கதிர்க் கழனிநெல் ஒலி பாசவல் துழைஇ, கல்லெனக்கடிது வந்து இறுத்த கண் இல் வாடை!‘நெடிது வந்தனை’ என நில்லாது ஏங்கிப்பல புலந்து உறையும் துணை இல் வாழ்க்கைநம்வலத்து அன்மை கூறி, அவர் நிலைஅறியுநம் ஆயின், நன்றுமன் தில்ல;பனி வார் கண்ணேம் ஆகி, இனி அதுநமக்கே எவ்வம் ஆகின்று;அனைத்தால் தோழி! நம் தொல் வினைப் பயனே! In this trip to the drylands, we get to see more of an aspect of weather rather than the region, as we listen to the lady say these words to her confidante, as the man continues to remain parted away, having left in search of wealth: “Exquisite flowers of the bean drop down, coral-like touch-me-not flowers with curving, red holes blossom, and the rattlepod flowers bloom on moist bushes during sun down, in the fine drizzle, and adorn the town entire. At this time when new rains pour no more, branched stalks sprouting out of seeds, now bend and sway in the paddy fields. Entering these fields, with a resounding roar, it then comes and swirls around me, this unseeing northern wind! If at all the northern wind would go to him, learn of his state, and say, ‘You have come afar', and then speak of my state, that of living without my mate, with ceaseless yearning, filled with sorrow and suffering, that would be good. However, as I stand here with tear-filled eyes, all the wind wants to do is bring torment to me! And so it is, my friend, owing to nothing but the fruit of my past deeds!” Let’s follow in the trail of the northern winds in this verse! The lady starts by listing all the flowers that have been blooming, much to the beauty of the town, and she mentions the bean flowers, the red touch-me-not flowers as well as the rattle-pod flowers. She talks about how there’s only a slight drizzle and no heavy rains seem to be pouring, indicating it’s the beginning of the cold season after the rains, a time long after the promised season of return. Then she moves on to characterise the northern winds, as it comes rushing through the paddy fields and envelopes her. She wishes the winds would go to the man, tell him that he has come too far, and talk about how the lady was languishing without his presence. But the northern wind seemed to have no mind to do any such thing and wants only to torture her, the lady says, and concludes by declaring with a helpless sigh that all this must be because she had done something wrong in the past. Herein, lies a subtle reference to the Indian concept of ‘Karma’, of attributing the misfortune of the present to some action in the past. Hope the good the lady has done brings back the man to her soon, so that they both can delight together in the blooming buds and the blowing breeze!

In this episode, we perceive a lady’s angst, as portrayed in Sangam Literary work, Aganaanooru 241, penned by Kaavanmullai Poothanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches this difficult terrain in much detail. ‘துனி இன்று இயைந்த துவரா நட்பின்இனியர் அம்ம, அவர்’ என முனியாதுநல்குவர் நல்ல கூறினும், அல்கலும்,பிரியாக் காதலொடு உழையர் ஆகியநமர்மன் வாழி, தோழி! உயர்மிசைமூங்கில் இள முளை திரங்க, காம்பின்கழை நரல் வியல் அகம் வெம்ப, மழை மறந்துஅருவி ஆன்ற வெருவரு நனந்தலை,பேஎய் வெண் தேர் பெயல் செத்து ஓடி,தாஅம் பட்ட தனி முதிர் பெருங் கலைபுலம் பெயர்ந்து உறைதல் செல்லாது, அலங்குதலைவிருந்தின் வெங் காட்டு வருந்தி வைகும்அத்த நெல்லித் தீஞ் சுவைத் திரள் காய்வட்டக் கழங்கின் தாஅய், துய்த் தலைச்செம் முக மந்தி ஆடும்நல் மர மருங்கின் மலை இறந்தோரே! In this trip to the drylands, there’s much to be seen, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left in search of wealth: “You say, ‘That lover of yours is a kind person, having not even a dot of dislike and possessing a deep, undying love', and speaking many such good words, you promise that he would render his grace. Yet, the one who used to be together with me, with a love that never wants to part away, is elsewhere, my friend, may you live long! Atop the hills, where tender sprouts of the bamboo shrivel, and those wide spaces, which resound with the swaying of bamboo stalks, swelter. In those barren spaces, which the rains have forgotten and cascades have abandoned, an old, huge stag, with much thirst, rushes towards a mirage, thinking it's the rain flowing, then disappointed, does not leave that place and move elsewhere, but sits there with sorrow in that scorching scrub jungle, where the mirage extends on, and here, taking a thick cluster of seeds from the sweet gooseberry that blooms in the drylands, and treating them like circular beans used as dice, the soft-headed red-faced monkey plays on, amidst the fine trees, which grow on the sides of the highlands, and it is to such a place that he has parted away to!” Let’s visit this challenging landscape and learn more! The lady starts by repeating the confidante’s words. Apparently, the friend had been cheering up the lady talking about the man’s deep love for her. The lady then talks about how the words are so sweet and kind, but she’s unable to accept that, as the man, who has always together with her, was now faraway. She then goes to talk about that place where the man’s at, in graphic detail. She points to the withering bamboo sprouts, the sweltering rocks of this region, and mentions the rains have deserted the place for long, making the land forget the meaning of a cascade. From these elements of land, she turns to the actions of elements of nature, and points to a stag, rushing towards something, only to find it’s nothing but a mirage, and having its thirst unquenched, helpless it sits there, not knowing where to go, and meanwhile, in the hills nearby, monkeys seem to pick seeds of sweet gooseberries, and play with them, as if they were mollucca beans used by humans as dice. The lady concludes by saying that’s how far the man had gone, implying it was impossible for her to accept her confidante’s consoling words about the man. The curious element here is how vividly the lady is able to see the place that she has never been to! This is poetic license, of course, but even there, there’s a grain of truth, echoing the inexplicable connectedness in the shared consciousness of those in love!

In this episode, we listen to a man’s lament, as depicted in Sangam Literary work, Aganaanooru 239, penned by Eyinanthai Magan Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the circumstances of the departed and the one left behind. அளிதோதானே; எவன் ஆவதுகொல்?மன்றும் தோன்றாது; மரனும் மாயும்‘புலி என உலம்பும் செங் கண் ஆடவர்,ஞெலியொடு பிடித்த வார் கோல் அம்பினர்,எல் ஊர் எறிந்து, பல் ஆத் தழீஇயவிளி படு பூசல் வெஞ் சுரத்து இரட்டும்வேறு பல் தேஎத்து ஆறு பல நீந்தி,புள்ளித் தொய்யில், பொறி படு சுணங்கின்,ஒள் இழை மகளிர் உயர் பிறை தொழூஉம்புல்லென் மாலை, யாம் இவண் ஒழிய,ஈட்டு அருங்குரைய பொருள்வயிற் செலினே,நீட்டுவிர் அல்லிரோ, நெடுந்தகையீர்?’ என,குறு நெடும் புலவி கூறி, நம்மொடுநெருநலும் தீம் பல மொழிந்தசிறு நல் ஒருத்தி பெரு நல் ஊரே! In this trip to the drylands, we hear the loud sounds in this domain, as we listen to the man say these words to his heart, when he has parted from the lady and is on a journey to seek wealth: “Isn't this a pitiable state? What will happen now? Saying ‘Those red-eyed men, who roar like a tiger, holding firebrands and wielding long and thick arrows, attack towns at night, and capture many a cattle. Their shouts resound uproariously in the hot drylands. Crossing paths in this region that will take you through many other lands, leaving me here all alone in the dull evening hour, when maiden wearing radiant ornaments, painted with ‘thoyyil art', having many pallor spots, will worship the crescent moon up high, if you leave now to gain that hard-to attain wealth, won't you end up delaying your return too, O esteemed lord?', picking up small and big quarrels, a fine, young maiden said many sweet words yesterday. Alas! The town centre of her great town appears not and the trees therein fade away from my sight too!” Time to tread those dangerous spaces and learn more! The man starts by remarking on the state of affairs and wondering what would happen. Then he starts to repeat the words of someone. This person talks about the drylands, where one can hear the shouts of robbers, after they have set fire to huts in the middle of the night and seized the cows in that town. The person continues saying how the man will cross many such paths through the sweltering drylands and go to faraway lands. At that point, the person contrasts the man’s state to how they will be left behind, all lonely and full of worry, in the evening hour, when other women take to worshipping the crescent moon. At this point, we know the person speaking is none other than the lady. She ends by wondering if the man on his quest for inaccessible wealth will take too much time to return. The man reveals that the lady had said these words to him the previous day, picking quarrels with him for leaving her so, but somehow even those words of sulking had appeared so sweet in his ears. He concludes by lamenting that now the town centre and trees of his beloved maiden’s town were no longer in sight, indicating he had traversed far away from the radius of his beloved’s presence! That the man calls it the lady’s town is a subtle indicator that this separation is happening before his marriage with the lady! A verse that throws the spotlight on a so-called rugged man, who has to set out into the world, and zooms on to his yearning for the sweet comfort of his beloved. A beat from the past echoing aloud, ’emotions have no gender’!

In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 237, penned by Thaayankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the wealth and prosperity of a Sangam era town. புன் காற் பாதிரி அரி நிறத் திரள் வீநுண் கொடி அதிரலொடு நுணங்கு அறல் வரிப்ப,அரவு எயிற்று அன்ன அரும்பு முதிர் குரவின்தேன் இமிர் நறுஞ் சினைத் தென்றல் போழ,குயில் குரல் கற்ற வேனிலும் துயில் துறந்துஇன்னா கழியும் கங்குல்’ என்று நின்நல் மா மேனி அணி நலம் புலம்ப,இனைதல் ஆன்றிசின் ஆயிழை! கனைதிறல்செந் தீ அணங்கிய செழு நிணக் கொழுங் குறைமென் தினைப் புன்கம் உதிர்த்த மண்டையொடு,இருங் கதிர் அலமரும் கழனிக் கரும்பின்விளை கழை பிழிந்த அம் தீம் சேற்றொடு,பால் பெய் செந்நெற் பாசவல் பகுக்கும்புனல் பொரு புதவின், உறந்தை எய்தினும்,வினை பொருளாகத் தவிரலர் கடை சிவந்துஐய அமர்த்த உண்கண் நின்வை ஏர் வால் எயிறு ஊறிய நீரே. It’s more about the weather and less about the place in this trip to the drylands, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Saying, ‘Thin-stalked, lined trumpet flowers in bright hues, along with wild jasmine flowers, blooming on tender vines, drop down on the fine sand, drawing floral patterns. The gentle breeze cuts across the bee-buzzing, fragrant branch of the bottle flower tree, with buds akin to a snake's teeth. Such is this time of spring that rings with the sound of cuckoos' voices. At this time, sleepless, my nights fade away with suffering', making your fine, dark skin's exquisite beauty languish, worry not, O maiden wearing well-etched ornaments! Thick and fatty pieces of flesh, roasted in dense red flames, are placed together with tender millet rice in a curving bowl. Then, the juice extracted from the sweet slush of fine sugarcane stalks, which have bloomed in the fertile fields, with tall stalks of paddy, is mixed with milk, and fused with flattened, red rice. These are offered to those who come to Uranthai, where brimming river floods dash against the dam gates. Even if he were to attain this Uranthai, just for the sake of gaining wealth, he shall never give up savouring the nectar that springs up, amidst your sharp and white teeth, O maiden with beautiful, well-set, kohl-streaked eyes, with reddened edges!” Time to inhale the essence of spring and learn more! The confidante starts by repeating the lamenting words of the lady. The lady had been looking at the blooming trumpet and wild jasmine flowers that seem to be decorating the land beneath with floral designs. Then she feels the breeze dashing across a branch of the bottle-flower tree and hears the cuckoo’s call. All natural events for it’s the time of spring, but instead of bringing joy, it leaves me sleepless and brings me great suffering, the lady had said to the confidante. To this, the confidante asks the lady to let go of her angst. Then she launches into a description of a famous town in the Sangam era, known as Uranthai. To talk about its significance, she turns to the food that’s offered in this town, to those who arrive there. It’s a delicious combination of well-cooked, fatty pieces of meat, with millet rice on the savoury side, and to satisfy the sweet tooth, it was a dessert of flattened red rice and milk fused with sugarcane juice. If such food of plenty is to be found then water must be abundant and indeed, the rivers perennially keep dashing against the dam gates, brimming over, the confidante paints a picture. She has mentioned Uranthai only to say to the lady that the man wouldn’t dream of giving up the taste of the nectar that pools amidst the lady’s sharp teeth, in short, a taste of the lady’s kiss, even if he were to attain this prosperous city as his own. Yet again, it’s a message of ‘Not even for that, not even for this, will he forget you’. However, in the expanse of this verse, we received the double bonanza of delighting in the scents and sounds of spring as well as tasting the culinary delights of a town from the pages of the past!

In this episode, we listen to the angst-ridden voice of a lady, as depicted in Sangam Literary work, Aganaanooru 235, penned by Kazhaarkeeran Eyitriyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse paints a vivid portrait of the many flowers that bloom in the aftermath of the rains. அம்ம வாழி, தோழி! பொருள் புரிந்துஉள்ளார்கொல்லோ, காதலர்? உள்ளியும்,சிறந்த செய்தியின் மறந்தனர்கொல்லோ?பயன் நிலம் குழைய வீசி, பெயல் முனிந்து,விண்டு முன்னிய கொண்டல் மா மழைமங்குல் அற்கமொடு பொங்குபு துளிப்ப,வாடையொடு நிவந்த ஆய் இதழ்த் தோன்றிசுடர் கொள் அகலின் சுருங்கு பிணி அவிழ,சுரி முகிழ் முசுண்டைப் பொதி அவிழ் வான் பூவிசும்பு அணி மீனின் பசும் புதல் அணிய,களவன் மண் அளைச் செறிய, அகல் வயல்கிளை விரி கரும்பின் கணைக்கால் வான் பூமாரி அம் குருகின் ஈரிய குரங்க,நனி கடுஞ் சிவப்பொடு நாமம் தோற்றி,பனி கடி கொண்ட பண்பு இல் வாடைமருளின் மாலையொடு அருள் இன்றி நலிய,‘நுதல் இறைகொண்ட அயல் அறி பசலையொடுதொல் நலம் சிதையச் சாஅய்,என்னள்கொல் அளியள்?’ என்னாதோரே. In this trip to the drylands, we hardly get a glimpse of this harsh domain, as we listen to the lady say these words to her confidante, when her man continues to remain parted away, having left in search of wealth: “Listen my friend, may you live long! As he goes about seeking wealth, won't that lover of mine even think of me? Even when he does, burdened by the excess of his mission, will he forget to do anything about it? After pouring down aplenty on fertile lands, disliking to pour anymore, huge, dark rain clouds have migrated to the mountains. At this time, when a mere drizzle of the passing clouds remain, and as the northern winds blow, the flame-lily with exquisite petals loosens its tight buds, and blossoms akin to an earthen lamp, lit by a flame; The curled buds of the common night glory open out their white flowers decorating green bushes, akin to the stars that adorn the sky; As crabs retire to their mud holes, in wide fields, where sugarcanes spread their stalks, their thick-stemmed white flowers, appear bent akin to birds drenched in the rain; With immense fury, invoking fear, brimming with cold, the compassion-less northern winds continue to blow in this confusing evening hour and assail me with no mercy. How can he be without thinking, ‘With pallor, which reveals everything to others, residing firmly in her forehead, and her old beauty fading away, what will be the state of that pitiable one?'!” Let’s listen to the lady’s lament! She starts by beckoning her friend’s attention, wondering if thoughts of her won’t even cross the man’s mind, and even if it does, would he just ignore it owing to the burden of his work. Then, she goes on to talk about the world around her, mentioning how the rains are done and dusted, and the clouds have gone on a vacation to the mountains. In this season, flowers are blooming everywhere, first it’s the radiant flame-lily, looking like a lit earthen lamp, then it’s the common night glory or the midnapore creeper, upon the green bushes, looking like stars in the sky, and then moving further on to the fields, as crabs run inside the mud holes, the sugarcane’s bent white flowers, give an appearance of soaked white birds, shivering in the rain. The lady talks about how as if the sight of all this blooming wasn’t enough to torment her, the northern winds had joined hands too, at piling suffering upon her. The lady concludes by asking how could the man remain there, at peace, without considering the effect of all these elements, the pallor which announces her affliction to those around, and her ruined beauty, without even sparing a single moment of thought for her pitiable state! In essence, the lady says there’s beauty all around but none I can see for he is far away and it pains to think that he doesn’t think about me. Hope the expression of this angst helps the lady resolve her pain, and learn to receive the gift that we’ve been given, the one of delighting in the beauty of that blooming world around!

A Rosie On The House ReplayThis episode explores practical, low-cost strategies for reusing household gray water to irrigate landscapes. Brad Lancaster shares decades of experience designing regenerative water systems in dryland environments, emphasizing simple gravity-fed solutions over complex infrastructure. The conversation highlights how homeowners can dramatically reduce water use by “stacking functions” and capturing water already on-site. By pairing gray water with rainwater harvesting, households can meet most or all of their irrigation needs. Brad Lancaster runs a successful permaculture consulting design and education business in Tucson, Arizona. He's focused on integrated and sustainable approaches to landscape design, planning and living. Growing up in a dryland environment, water harvesting has long been one of his specialties and a true passion. He's the author of the Permaculture Bible for Water Harvesting, Rainwater Harvesting for Drylands and Beyond, Volumes One and Two. And he has just released new color versions, revised and expanded of both of them.Key TopicsGray water (definition and household sources)Difference between gray water and black waterBrad Lancaster (water harvesting expert)Rainwater harvesting systemsGravity-fed irrigation designSoil as a living filtration systemMulch basins and infiltration strategiesLaundry-to-landscape systemsOutdoor shower gray water reuseWater conservation in dryland climatesArizona gray water regulations (13 guidelines)Soap and detergent impacts (salt vs liquid)Planting water before plants (design philosophy)Evapotranspiration and passive coolingKey Questions AnsweredWhat is gray water and how much of household water does it represent?Gray water is lightly used water from showers, sinks, bathtubs, and washing machines. It represents a significant portion of household water use—nearly equal to outdoor irrigation demand—making it a major opportunity for reuse.Is gray water safe to use in the landscape?Yes, when basic guidelines are followed. Avoid toxins, prevent pooling, and distribute water across multiple areas. Soil biology naturally filters the water, making it safe for fruit trees and many landscape plants.How can homeowners start using gray water cheaply and easily?Simple systems like redirecting a washing machine hose or using an outdoor shower can send water directly to plants using gravity. No pumps, tanks, or complex filtration systems are needed.What soaps and products should be used with gray water systems?Liquid soaps are preferred over powdered detergents because they contain fewer salt-based fillers. Avoid chlorine bleach and opt for hydrogen peroxide alternatives to protect soil health.Why shouldn't gray water be stored in tanks?Stored gray water quickly turns septic due to organic matter, creating odor and health issues. It's best used immediately by directing it into soil systems.How does combining gray water and rainwater maximize impact?Together, they can meet nearly all irrigation needs for a landscape, especially with low-water-use plants. This reduces reliance on municipal water and increases resilience.What does “plant the water first” mean?Design the landscape to capture and infiltrate water using basins and contours before planting. This ensures plants receive consistent moisture naturally.Where should plants be placed in a water-harvesting landscape?Higher water-use plants should be placed near water sources like roofs or gray water outlets. Trees should be positioned for shade and cooling benefits, especially on east and west sides of buildings.Episode HighlightsGray water is “perennial water”—it flows daily as long as you live in your homeYou've already paid for this water—reuse it instead of sending it to the sewerA simple laundry system can irrigate multiple trees by rotating a drain hoseSoil acts as a living sponge and filter, outperforming mechanical systemsOutdoor showers can double as irrigation systems and cooling zones for animalsAvoid overcomplication—gravity systems are cheaper, more reliable, and effectiveCapturing both rainwater and gray water can eliminate most irrigation needsWater harvesting landscapes create cooler microclimates and support biodiversityCalls to Action & ResourcesBrad Lancaster Resources — https://www.harvestingrainwater.comYouTube Channel — Search “Brad Lancaster water harvesting”Books — Rainwater Harvesting for Drylands and Beyond (Volumes 1 & 2)Visit www.UrbanFarm.org/980 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 consults 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.