Podcasts about kurinji

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

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

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

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

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

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

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

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

In this episode, we perceive the consequences of impending events, as depicted in Sangam Literary work, Aganaanooru 98, penned by Veri Paadiya Kaamakkanniyaar. Set in the domain of the spirits, the 'Kurinji' or 'Mountain landscape', the verse portrays a subtle but striking technique of persuasion.

In this episode, we perceive a technique of hidden persuasion, as depicted in Sangam Literary work, Aganaanooru 92, penned by Madurai Paalaasiriyaar Natraamanaar. The verse is situated amidst the flowing cascades and blooming flame-lilies of the 'Kurinji' or 'Mountain landscape' and relays an alternate plan of action.

In this episode, we perceive a subtle message of persuasion, as depicted in Sangam Literary work, Aganaanooru 88, penned by Eezhathu Poothanthevanaar. The verse is situated amidst the swaying millet stalks of the 'Kurinji' or 'Mountain landscape' and portrays the dangers in a person's path.

In this episode, we delight in musical sounds many, as depicted in Sangam Literary work, Aganaanooru 82, penned by Kabilar. The verse is situated amidst the bee-buzzing cascades of the 'Kurinji' or 'Mountain landscape' and reveals the hidden emotions of a lady.

In this episode, we perceive a thoughtful intervention on behalf of another, as portrayed in Sangam Literary work, Aganaanooru 78, penned by Madurai Nakeeranaar. Set amidst the honeycombs and flame-lilies of the 'Kurinji' or 'Mountain Landscape', the verse highlights events in the life of a famous Sangam King.

In this episode, we perceive a subtle technique of persuasion, as depicted in Sangam Literary work, Aganaanooru 72, penned by Erumai Veliyanaar Makanaar Kadalanaar. Set amidst the resounding hills of the 'Kurinji' or 'Mountain landscape', the verse sketches the life in this land on one rainy night.

In this episode, we listen to a friend's encouraging words, as depicted in Sangam Literary work, Aganaanooru 68, penned by Oottiyaar. The verse is situated amidst the flowing cascades of the 'Kurinji' or 'Mountain Landscape' and portrays a daring aspect of the man's personality.

In this episode, we listen to the angst of unfulfilled expectations, as portrayed in Sangam Literary work, Aganaanooru 62, penned by Paranar. Set amidst the soaring peaks and descending cascades of the 'Kurinji' or 'Mountain Landscape', the verse reiterates the presence of a renowned man-made structure in those times.

In this episode, we listen to a lady's angst-filled voice, as portrayed in Sangam Literary work, Aganaanooru 58, penned by Madurai Panda Vaanikan Ilanthevanaar. The verse is situated in the soaring peaks of the 'Kurinji' or 'Mountain Landscape' and relays a subtle message seeking to change a person's heart.

In this episode, we perceive how a message is discreetly conveyed, as depicted in Sangam Literary work, Aganaanooru 52, penned by Nochi Niyamankizhaar. Set amidst the towering boulders and flowering trees of the 'Kurinji' or 'Mountain landscape', the verse talks about the technique of presenting a dilemma to echo the seriousness of a situation.

In this episode, we listen to how an intricate message is conveyed, as depicted in Sangam Literary work, Aganaanooru 48, penned by Thankaal Mudakotranaar. The verse is situated amidst the soaring peaks of the 'Kurinji' or 'Mountain Landscape' and sketches the first interaction between the man and the lady.

In this episode, we experience a downpour of joy, as depicted in Sangam Literary work, Aganaanooru 42, penned by Kabilar. Set in the rain-soaked ranges of the 'Kurinji' or 'Mountain Landscape', the verse talks about the transformative effect of an event.

In this episode, we listen to how a hidden message is subtly conveyed, as portrayed in Sangam Literary work, Aganaanooru 38, penned by Vadama Vannakkan Peri Saathanaar. Set in the 'Kurinji' or 'Mountain Landscape', the verse paints picturesque images to etch the past and present.

In this episode, we perceive a romance brewing, as depicted in Sangam Literary work, Aganaanooru 32, penned by Nalvelliyaar. Set amidst the millet fields in the 'Kurinji' or 'Mountain landscape', the verse paints a vivid portrait of inner emotions and outer reactions.

In this episode, we perceive the communication of a hidden message, as portrayed in Sangam Literary work, Aganaanooru 28, penned by the Pandya King Arivudai Nambi. The verse is situated amidst the millets fields and parrot sounds of the 'Kurinji' or 'Mountain Landscape' and persuades a person to choose the path of permanent happiness.

In this episode, we hear a strong statement defending a person, as depicted in Sangam Literary work, Aganaanooru 22, penned by Veri Paadiya Kaamakanniyaar. Set amidst the cascades and slopes of the 'Kurinji' or 'Mountain landscape', the verse paints a portrait of the beliefs and rituals of those times.

In this episode, we perceive the dangers in trysting, as depicted in Sangam Literary work, Aganaanooru 18, penned by Kabilar. Set amidst the wild streams of the 'Kurinji' or 'Mountain Landscape', the verse presents a persuasive plea for a change in action.

In this episode, we perceive a strategy for course correction, as depicted in Sangam Literary work, Aganaanooru 12, penned by Kabilar. Set amidst the squeaks and squawks of squirrels and parrots in the 'Kurinji' or 'Mountain landscape', the verse attempts to offer a new perspective to a perplexed person.

In this episode, we perceive the dangers in trysting, as depicted in Sangam Literary work, Aganaanooru 8, penned by Perunkundroor Kizhaar. Set amidst the hills and slopes of the 'Kurinji' or 'Mountain Landscape', the verse presents the challenges in the situation and its resolution in a hidden manner.

In this episode, we delve into the art of conveying a nuanced message, as depicted in Sangam Literary work, Aganaanooru 2, penned by Kabilar. Set among the rocks and boulders of the 'Kurinji' or 'Mountain landscape', the verse reveals the sensory delights of this land.

In this episode, we listen to a curious incident that unfolded one night, as portrayed in Sangam Literary work, Kalithogai 65, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and attempts to convey the gravity of the situation in an indirect manner.

In this episode, we listen to a playful conversation between a man and lady in love, as depicted in Sangam Literary work, Kalithogai 64, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and etches an attempt to reconcile a disgruntled person.

In this episode, we perceive an exchange of words to unearth the truth, as depicted in Sangam Literary work, Kalithogai 63, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and sketches the confidante's attempts at bringing together the man and the lady.

In this episode, we perceive the transformation in a lady's heart, as portrayed in Sangam Literary work, Kalithogai 62, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and sketches the manner in which the man wins over the lady's reservations against him.

In this episode, we listen to an interesting conversation between three people, as depicted in Sangam Literary work, Kalithogai 61, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and reveals the man's situation and the confidante's support.

In this episode, we listen to an animated conversation between two women, as portrayed in Sangam Literary work, Kalithogai 60, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and presents a situation where the confidante pleads the man's case in the court of the lady's mind!

In this episode, we listen to a man's attempt to convince a maiden, as depicted in Sangam Literary work, Kalithogai 59, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and informs us about certain customs of penances undertaken by Sangam women.

In this episode, we listen to a man's angst, as depicted in Sangam Literary work, Kalithogai 58, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and depicts an ancient strategy employed to win love.

In this episode, we listen to a long list of praises, as depicted in Sangam Literary work, Kalithogai 57, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and reveals both the glory of a king and the power of a maiden.

In this episode, we listen to the words of a man in love, as depicted in Sangam Literary work, Kalithogai 56, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and expresses admiration for a lady.

In this episode, we listen to an account of a lady's first meeting with a man, as portrayed in Sangam Literary work, Kalithogai 55, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and reveals an incident to the confidante.

In this episode, we hear the lady speaking her truth, as depicted in Sangam Literary work, Kalithogai 54, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and seeks the help of a friend.

In this episode, we perceive the lady's state in the man's absence, as depicted in Sangam Literary work, Kalithogai 53, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and appeals to the man's kindness to remedy a distressing situation.

In this episode, we listen to an argument for seeking an alternative path, as depicted in Sangam Literary work, Kalithogai 52, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and sketches the danger of discovery to a man intent on trysting by night.

In this episode, we listen to a fascinating incident in the life of the lady, as portrayed in Sangam Literary work, Kalithogai 51, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and sketches a delightful moment of love's blooming.

In this episode, we listen to the confidante's counsel, as portrayed in Sangam Literary work, Kalithogai 50, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and argues for a protective attitude towards the lady.

In this episode, we perceive clear arguments mentioned to persuade a person, as portrayed in Sangam Literary work, Kalithogai 49, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and reveals the dangers in a tryst by night.

In this episode, we perceive the lady's state of angst, as depicted in Sangam Literary work, Kalithogai 48, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and seeks a resolution for the lady's suffering.

In this episode, we perceive the confusions in the mind of the confidante, as depicted in Sangam Literary work, Kalithogai 47, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and presents the confidante's attempts to resolve the man's quandary.

In this episode, we perceive the lady's angst, as portrayed in Sangam Literary work, Kalithogai 46, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and narrates the thoughts revolving around a missed rendezvous.

In this episode, we listen to words that bring about transformation, as portrayed in Sangam Literary work, Kalithogai 45, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and relays good tidings to the lady.

In this episode, we listen to a passionate plea, as depicted in Sangam Literary work, Kalithogai 44, penned by Kabilar. The verse is situated in the ‘Kurinji' or ‘Mountains landscape' and etches the virtue of the lady.