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Sangam Lit

Nandini Karky

Reflections on 2000 Year Old Tamil Poetry

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Episodes 25

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Yesterday · 5 min
Aganaanooru 338 – Praise and Perseverance
In this episode, we perceive the feelings of a person in pursuit of another, as portrayed in Sangam Literary work, Aganaanooru 338, penned by Madurai Kanakkaayanaar. The verse is situated amidst the soaring peaks of the ‘Kurinji’ or ‘Mountain Landscape’ and brings out the glory of the three great kings of ancient Tamil land. குன்று ஓங்கு வைப்பின் நாடு மீக்கூறும் மறம் கெழு தானை அரசருள்ளும், அறம் கடைப்பிடித்த செங்கோலுடன், அமர் மறம் சாய்த்து எழுந்த வலன் உயர் திணி தோள், பலர் புகழ் திருவின், பசும் பூட் பாண்டியன் அணங்குடை உயர் நிலைப் பொருப்பின் கவாஅன், சினை ஒள் காந்தள் நாறும் நறு நுதல், துணை ஈர் ஓதி மாஅயோள்வயின், நுண் கோல் அவிர் தொடி வண் புறம் சுற்ற முயங்கல் இயையாது ஆயினும், என்றும், வயவு உறு நெஞ்சத்து உயவுத் துணையாக, ஒன்னார் தேஎம் பாழ் பட நூறும் துன் அருந் துப்பின் வென் வேற் பொறையன் அகல் இருங் கானத்துக் கொல்லி போல, தவாஅலியரோ, நட்பே! அவள்வயின் அறாஅலியரோ, தூதே பொறாஅர் விண் பொரக் கழித்த திண் பிடி ஒள் வாள், புனிற்று ஆன் தரவின், இளையர் பெருமகன், தொகு போர்ச் சோழன், பொருள் மலி பாக்கத்து, வழங்கல் ஆனாப் பெருந் துறை முழங்கு இரு முந்நீர்த் திரையினும் பலவே! In this trip to the highlands, rather than the comforting hills, we get to see more of historic portraits, as we listen to the man say these words to his heart: “Of all the celebrated kings with courageous armies, who rule over domains with soaring peaks, the one who wields a sceptre that endows the right justice, is the Pandya King Pasumpoon Pandiyan, who has a form, praised by many, and sturdy arms, which never fail to soar with strength and slay the courage of his enemies in the battlefield. Akin to the radiant flame-lily that blooms bright upon its stem in his lofty ranges, where spirits roam, is the fragrant forehead of that dark-skinned maiden, crowned by moist and thick tresses. Even though I do not attain the embrace of her intricate, rounded bangles, as it curves around my thick back, remaining forever as the supporting companion for my languishing heart, may my bond with her never find its end, akin to the timeless Kolli hills, with vast and dark forests, ruled by the Chera King Poraiyan, who wields a victorious spear, and possess an unswerving strength that shatters and ruins the nations of his enemies. May the messages I send to her, never find an end, and continue on, more numerous than the waves in the roaring dark seas, around that huge shore, where movement of plentiful goods continues ceaselessly, surrounding that seaside town, ruled by the Chozha King, victorious in battles, the leader of warriors, who reclaim stolen pregnant cows, wielding a shining sword with a firm grip, which sends their foes to the skies!” Time to listen to the man’s heartbeat reverberating in the mountain ranges! He starts by mentioning that the most celebrated of kings is King Pasumpoon Pandiyan. After showering praise of this king’s sense of justice, his charismatic appearance, unending strength and courage, the man takes us to the king’s hilly domain, possibly the Pothiyil mountains, and zooms on a flame-lily growing there, in those heavenly hills, only to compare its fragrance to that of the lady’s forehead. Then, the man travels to the battle-worthy Chera King Poraiyan’s Kolli hills and wishes that his bond with the lady lives long like those hills, even though he has not been able to attain her embrace. The man then travels to the sea shore to a rich and prosperous town, known for its sea trade, possibly Kaveripoompatinam, the domain of the Chozha kings, and turns to focus on the waves dashing against the shore. He concludes by wishing that the messages he sends to the lady remain relentless like those waves on the Chozha king’s shore. A verse which packs the praise of three emperors, who ruled the ancient Tamil kingdom in perfect synchrony and kept invading forces from the north at bay from time immemorial. Seamless is the way the kings’ praise and the man’s persistence is etched here. Wishing success to this ancient lover to find joy in the company of his beloved, we can return with the satisfaction of traversing the length and breadth of this land, from the mountains of the Cheras and Pandyas, to the seas of the Chozhas!
Tuesday · 6 min
Aganaanooru 337 – That day in the drylands…
In this episode, we perceive the past being summoned to resolve a problem in the present, as portrayed in Sangam Literary work, Aganaanooru 337, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches a violent scene in this domain in vivid detail. ”சாரல் யாஅத்து உயர் சினை குழைத்த மாரி ஈர்ந் தளிர் அன்ன மேனி, பேர் அமர் மழைக் கண், புலம்பு கொண்டு ஒழிய, ஈங்குப் பிரிந்து உறைதல் இனிது அன்று; ஆகலின் அவணது ஆக, பொருள்” என்று, உமணர் கண நிரை அன்ன, பல் கால் குறும்பொறை, தூது ஒய் பார்ப்பான் மடி வெள் ஓலைப் படையுடைக் கையர் வரு தொடர் நோக்கி, ”உண்ணா மருங்குல் இன்னோன் கையது பொன் ஆகுதலும் உண்டு” என, கொன்னே தடிந்து உடன் வீழ்த்த கடுங்கண் மழவர், திறன் இல் சிதாஅர் வறுமை நோக்கி, செங் கோல் அம்பினர் கைந் நொடியாப் பெயர, கொடி விடு குருதித் தூங்கு குடர் கறீஇ, வரி மரல் இயவின் ஒரு நரி ஏற்றை, வெண் பரல் இமைக்கும் கண் பறி கவலை, கள்ளி நீழல் கதறுபு வதிய, மழை கண்மாறிய வெங் காட்டு ஆர் இடை, எமியம் கழிதந்தோயே பனி இருள் பெருங் கலி வானம் தலைஇய இருங் குளிர் வாடையொடு வருந்துவள் எனவே! In this trip to this oft-treaded region, we get to see some gruesome sights, as we listen to the man say these words to his heart, at a moment when the heart is nudging him to part with the lady and go in search of wealth: “You said to me, ‘Leaving the maiden, having a complexion, akin to moist and tender sprout that blooms in the rainy season upon a tall branch of a ‘Yaa’ tree on a mountain slope, and huge, well-set, rain-like eyes, to lament in loneliness, it is not good to stay here away from her. And so, let that wealth remain where it is!’, when I was in the middle of a formidable path through the hot scrub jungle, which had forgotten rains for days many, wherein amidst the many small boulders, appearing akin to herds of bulls, wielded by salt merchants, looking at an approaching messenger-priest, carrying a white palm leaf around his waist, those weapon-clad men thinking, ‘This wretched man with a starving belly might have gold in his fold’, pointlessly kill him. Then, taking a closer look at the rag-like garment that covers the corpse, those harsh-eyed robbers, holding red-tipped arrows, snap their fingers in disappointment, and leave from there. A male fox that arrives in that path, lined with striped hemp, pulls out the intestines hanging with blood, and biting it, drags it on that long path, filled with white pebbles, flashing in the eyes, and then howls aloud, resting in the shade of the tall cacti. With those words, you left me all alone there and rushed away, because she would be worrying, assailed by the attack of the tormenting northern winds, on that dark and cold night, when the uproarious clouds have poured!” Time to brave the dangers of this challenging domain! The man starts by recollecting a past moment when his heart had turned to him and said that it was not a good idea to continue the search for wealth when the lady was languishing far away. He explains how this had happened in the middle of the drylands and he goes on to sketch that space by zooming on to a messenger-priest, walking with a palm script tied around his waist, and seeing this man approach, some highway robbers think that there was a chance the starving man was hiding some gold amidst his clothes and ended up killing him with their sharp arrows. Then when they come closer, they see that his clothes are rag-like and bereft of anything precious. So, they walk away in regret, not because they have killed a man pointlessly but that kill yielded nothing for them. Now, a fox arrives in that scene and pulls out the bleeding intestines of the corpse, and dragging it, feeds on it amidst the paths, bordered with hemp, and then finds its favourite spot under the shade of the cactus, and rests there, howling aloud. The man concludes by connecting that his heart had said those words to him in such a place in the middle of the drylands, and ran away from him, leaving him all alone, because the lady would be suffering and worrying, attacked by the northern winds! In essence, the man is recollecting a past expedition he had taken, nudged by this heart, and when in the middle of his journey, he had lost the strength to go on and felt deserted by that very heart, which seemed to run in the opposite direction homeward. With these words he intends to tell his heart that he has no wish to repeat that past mistake of leaving the lady and going in search of wealth, at the behest of his heart, only to be deserted by it, half way! Yet again, the man separates his heart from himself and renders the timeless lesson that the past is the best teacher there can be!
Monday · 7 min
Aganaanooru 336 – A retort to a rival
In this episode, we listen to an angry outburst, as portrayed in Sangam Literary work, Aganaanooru 336, penned by Paavai Kottilaar. The verse is situated amidst the lush ponds of the ‘Marutham’ or ‘Farmlands landscape’ and highlights the romantic rivalries in a rich town. குழற் கால் சேம்பின் கொழு மடல் அகல் இலைப் பாசிப் பரப்பில் பறழொடு வதிந்த உண்ணாப் பிணவின் உயக்கம் சொலிய, நாள் இரை தரீஇய எழுந்த நீர் நாய் வாளையொடு உழப்ப, துறை கலுழ்ந்தமையின், தெண் கட் தேறல் மாந்தி, மகளிர் நுண் செயல் அம் குடம் இரீஇ, பண்பின் மகிழ்நன் பரத்தைமை பாடி, அவிழ் இணர்க் காஞ்சி நீழல் குரவை அயரும் தீம் பெரும் பொய்கைத் துறை கேழ் ஊரன் தேர் தர வந்த நேர் இழை மகளிர் ஏசுப என்ப, என் நலனே; அதுவே பாகன் நெடிது உயிர் வாழ்தல் காய் சினக் கொல் களிற்று யானை நல்கல்மாறே; தாமும் பிறரும் உளர்போல் சேறல் முழவு இமிழ் துணங்கை தூங்கும் விழவின், யான் அவண் வாராமாறே; வரினே, வானிடைச் சுடரொடு திரிதரும் நெருஞ்சி போல, என்னொடு திரியானாயின், வென் வேல் மாரி அம்பின் மழைத் தோற் சோழர் வில் ஈண்டு குறும்பின் வல்லத்துப் புற மிளை, ஆரியர் படையின் உடைக, என் நேர் இறை முன்கை வீங்கிய வளையே! In this long trip to the fertile domain, we get to see many sights and also take a historic detour, as we listen to the new courtesan, say these words to herself, making sure the friends of the old courtesan, are in earshot: “Amidst the Taro plant, with thick stalks, wide leaves and tubular stems, covered in moss, lives the starving female otter, along with its young ones. So as to slay its sorrow, and bring back the day’s food, the male otter tussles with the scabbard fish, and muddies the river shore. Waiting for this cloudy water to settle, young maiden drop down their intricately etched beautiful pots, and drinking clear, filtered toddy, talk about their husbands’ nature of roving with courtesans. In the shade of the Portia tree, with fully bloomed flower clusters, they perform the ‘Kuravai’ dance, and relax by the shores, filled with huge ponds, having sweet waters, in the town of the lord! People say that those maiden, wearing well-etched ornaments, who arrived in the lord’s chariot, speak ill of my beauty. Akin to how a mahout lives a long life, only because the furious, killer elephant he wields never thinks of harming him, they do such things, owing to my grace. All this has transpired only because they and those like them joined together and took part in the drum-roaring festivities, filled with ‘Thunangai’ dances, and I happened to not go there. Had I gone there, akin to how the Caltrop flower follows the flame in the sky, he would have come behind me, mesmerised. If what I say isn’t true, then akin to the army of the Aryas, in the protected forests around the fort in the town of Vallam, guarded by many bows, ruled by the Chozhas, who wield victorious spears, rain-like arrows and raincloud-like shields, let the thick rows of bangles on my forearms with perfect wrists, shatter away!” Let’s watch the sparks fly in this land of plenty! The new courtesan starts by describing the lord’s town, and to do that, she zooms on to an otter family living amidst the Taro plants and mossy rocks. We find a female with young ones languishing in hunger. To allay its mate’s suffering, the male otter sets out to find some good food, and in the process, ends up thrashing about with a scabbard fish. That pond where all this action is unfolding, naturally becomes muddy. Now, the town’s maiden, who come there to fetch water, seeing the disturbed waves, put down their pots, decide to drink up some toddy, and indulge in a bit of husband-bashing, talking about how their men seemed to rove around with courtesans. Then, leaving them to be, these maiden sing and dance ‘Kuravai’ and relax in the shade of the Portia tree. Sounds like girlfriends partying! Returning, after that lively description of the man’s town, the new courtesan mentions how she has heard that the old courtesan and her friends had been speaking disparagingly of her beauty. The new courtesan connects the way a mahout enjoys a long life only because he is unharmed by his killer elephant to her forgiving the arrogance of that old courtesan and her group. Then, she thinks back to a festivity that recently unfolded in town with loud drums, and how she was not present at that event, while the old courtesan and her set had gone there and danced the ‘thunnagai’ dance with the man. The new courtesan says, if at all she had gone there, the man would have had eyes for no-one else, and would have followed her, exactly like how a ‘Nerunji’ flower follows the sun wherever it’s in the sky. Then, the new courtesan concludes this statement with an oath saying that if what she said wasn’t true, then let her bangles be shattered like the army of Aryas, in the hands of the mighty Chozha army at Vallam! In essence, a boast about oneself to pay back the deriding words of another! Apart from these silly fights over a man, there are two interesting nuggets in this verse. One is historic in nature, talking about the defeat of Aryan armies, meaning invasion from the north, in the hands of the South Indian Chozha kings. Another is botanical in nature, revealing the principle of ‘Heliotropism’, in which a flower follows the position of the sun in the sky. This is most vividly observed in sunflowers, and in this verse, we learn that this ‘Nerunji’ flower, also known as ‘Caltrop’, ‘Devil’s thorn’ or ‘Goatherd’ is also one such, dancing to the tune of the orb in the sky! Some light on the awe-evoking aspects of our natural world amidst a ladies’ fight!
September 17 · 6 min
Aganaanooru 335 – Sweeter than sweet water
In this episode, we perceive a person’s dilemma and decision, as depicted in Sangam Literary work, Aganaanooru 335, penned by Madurai Thaththan Kannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse delves into the flowering and fruiting process of a particular tree. இருள் படு நெஞ்சத்து இடும்பை தீர்க்கும் அருள் நன்கு உடையர்ஆயினும் ஈதல் பொருள் இல்லோர்க்கு அஃது இயையாதுஆகுதல் யானும் அறிவென்மன்னே; யானை தன் கொல் மருப்பு ஒடியக் குத்தி, சினம் சிறந்து, இன்னா வேனில் இன் துணை ஆர, முளி சினை மராஅத்துப் பொளி பிளந்து ஊட்ட, புலம்பு வீற்றிருந்த நிலம் பகு வெஞ் சுரம் அரிய அல்லமன், நமக்கே விரி தார் ஆடு கொள் முரசின் அடு போர்ச் செழியன் மாட மூதூர் மதிற்புறம் தழீஇ, நீடு வெயில் உழந்த குறியிறைக் கணைக் கால், தொடை அமை பன் மலர்த் தோடு பொதிந்து யாத்த குடை ஓரன்ன கோள் அமை எருத்தின் பாளை பற்று அழிந்து ஒழிய, புறம் சேர்பு, வாள் வடித்தன்ன வயிறுடைப் பொதிய, நாள் உறத் தோன்றிய நயவரு வனப்பின், ஆரத்து அன்ன அணி கிளர் புதுப் பூ வார் உறு கவரியின் வண்டு உண விரிய, முத்தின் அன்ன வெள் வீ தாஅய், அலகின் அன்ன அரி நிறத்து ஆலி நகை நனி வளர்க்கும் சிறப்பின், தகை மிகப் பூவொடு வளர்ந்த மூவாப் பசுங் காய் நீரினும் இனிய ஆகி, கூர் எயிற்று அமிழ்தம் ஊறும் செவ் வாய், ஒண் தொடி, குறுமகட் கொண்டனம் செலினே! In this long trip to this domain, we take a detour to an ancient town, as we listen to the man say these words to his heart, at a time when he feels the pressure to part from the lady and go seek wealth: “Even if one has the grace of wishing to allay the suffering of a dark and burdened heart, rendering unto others is not possible for those who lack wealth. Though I know this well, what’s the use? An elephant, full of fury, pierces with such force that it breaks its killer tusks, upon the trunk of a barren-branched burflower tree, and gathers the bark to feed its mate in that terrible summer. Such is the hot and arid drylands, where lament reigns supreme. Wearing long, flowery garlands and possessing victorious drums, the battle-worthy Chezhiyan rules over that ancient town, filled with soaring mansions. Embracing the walls of these mansions, stand coconut palm trees, with thick trunks bearing short nodes, drying in the extending heat. Its sprouts appear akin to many well-stitched flowers brimming in a basket, upon the branching nodes of the tree’s neck. Once the covering of the sprouts splits open, these appear akin to swords cast in a forge. Day by day, they grow in beauty and appear akin to a necklace, filled with exquisite, new flowers, and then turning to appear akin to fans, attracting bees to feed. Those white flowers, appearing akin to pearls, then grow into small fruits, in the hue of conch shells, and the shape of hailstones. These bloom little by little, and what was once esteemed flowers, turn into unripe green fruits, which contains a delicious essence within. Sweeter than the taste of that water, is the elixir that springs forth amidst the sharp teeth in her red mouth. Those harsh drylands will not be hard to traverse if at all I were to take along that bangle-clad young maiden with me!” Let’s walk along through those spaces and find the way out of the maze in the man’s mind! He starts by making a philosophical statement about the importance of earning wealth for those who wish to end the suffering of others. From there, he takes us to the drylands and reveals how it’s sweltering and water is hard to come by, by pointing to a male elephant furiously attacking a burflower tree, just to peel off a bark to somehow allay its mate’s thirst. After that harsh portrait of the region, the man takes us in the presence of a victorious king, Chezhiyan, and then, off to his capital city, an ancient place, where mansions soar to the skies. The man turns his attention to a coconut palm tree that grows here, and takes us through the seasons, from when the tree just put out its white sprouts, to the opening of those sprouts, the forming of small, white, hail-stone-like tender outgrowths and then onward to the green ripe fruit of these trees. That rather long description, filled with many similes, is only to say the sweet water in those fruits cannot compare to the elixir that springs in the lady’s mouth. The man concludes by declaring that if he were to take that young lady along, then the drylands would not be hard to traverse! Even as he says it, the man knows that it’s an impossibility, and he would never subject his beloved to the suffering of that domain. In short, it’s the man’s ‘No’ to the nudge of his heart to part from the lady and go in search of wealth. The thing to be amazed about in this verse, is the time and effort taken by this poet to observe the various stages of this tree’s transformation and expressing those observations with rich similes. Here’s an ancient ancestor, wearing the hat of a poet-botanist, telling us not to be confused by the contrasting voices within us, pointing out that even a sensitive writer can happily co-exist with the serious scientist!
September 16 · 5 min
Aganaanooru 334 – Ride on without a pause
In this episode, we listen to a man’s passionate command, as portrayed in Sangam Literary work, Aganaanooru 334, penned by Madurai Koothanaar. The verse is situated amidst the showering rainclouds of the ‘Mullai’ or ‘Forest Landscape’ and resounds with the yearning to be back home. ஓடா நல் ஏற்று உரிவை தைஇய ஆடு கொள் முரசம் இழுமென முழங்க, நாடு திறை கொண்டனம்ஆயின் பாக! பாடு இமிழ் கடலின் எழுந்த சும்மையொடு பெருங் களிற்றுத் தடக் கை புரையக் கால் வீழ்த்து, இரும் பிடித் தொழுதியின் ஈண்டுவன குழீஇ, வணங்கு இறை மகளிர் அயர்ந்தனர் ஆடும் கழங்கு உறழ் ஆலியொடு கதழ் உறை சிதறி, பெயல் தொடங்கின்றால், வானம்; வானின் வயங்கு சிறை அன்னத்து நிரை பறை கடுப்ப, நால்கு உடன் பூண்ட கால் நவில் புரவிக் கொடிஞ்சி நெடுந் தேர் கடும் பரி தவிராது, இன மயில் அகவும் கார் கொள் வியன் புனத்து, நோன் சூட்டு ஆழி ஈர் நிலம் துமிப்ப, ஈண்டே காணக் கடவுமதி பூங் கேழ்ப் பொலிவன அமர்த்த உண்கண், ஒலி பல் கூந்தல் ஆய் சிறு நுதலே! In this trip to the lush forests, we get to see the weather in action, as we listen to the man say these words to his charioteer, when he’s returning home after a mission of war: “As the victorious drum, woven with the skin of a handsome bull that retreats not, roars like thunder, we have claimed tributes of subdued nations, O charioteer! Soaring with the bundle gathered from the singing seas, appearing like a huddle of dark female elephants, sending down cloudbursts, akin to trunks of huge male elephants, and scattering hailstones, akin to ‘kazhangu’ beans that maiden with curving wrists play and delight in, along with thick rain, the sky has begun its downpour; Akin to the flight of an ordered row of swans, with radiant feathers, flying in that sky, let the four yoked, wind-like horses tied to the decorated tall chariot, speed on, without any pause, such that the sharp edges of the wheels split apart the moist earth of this wide, rain-soaked forest, filled with calls of peacocks. Ride on so that I get to see right away my beloved’s flower-like, radiant, well-set, kohl-streaked eyes, thick and luxuriant tresses and that beautiful, little forehead!” Time to trot along the speeding chariot and listen to the man’s heartbeat! The man starts by talking about his successful mission, winning the war, and he does this by mentioning how the war drum had pronounced the victory and that they had received the offerings of conquered enemies. A nuance to be noted about the drum is in how it’s described as being made with the skin of a brave bull that does not know the meaning of retreating. This tells us much meaning was seen even in the choice of leather for a king’s war drum. When we head back, we see that the man has turned his focus from their past events to the present and points to how the clouds have gathered, looking like a herd of female elephants, and how these send down bursts of rain, akin to a male elephant’s trunk. There’s also mention of hailstones, which are compared to ‘molucca beans’ that young maiden love to play with. In short, the rains have begun! The man now issues the command to his charioteer to make the four horses tied to their chariot to fly like the neatly ordered row of swans that fly on and on, without needing a break. Though the man uses the word ‘Annam’, which is associated with ‘swan’ in contemporary Tamil, probably he’s referring to the ‘Bar-headed geese’, known to fly ceaselessly and even sighted crossing the tallest peaks of the Himalayas. Also, in this verse, we find out the number of horses that were usually tied to a chariot in those times, and in this particular case, those four happen to be a dazzling white! Returning, the man explains that he has asked his charioteer to wield the chariot so speedily, splitting the wet earth as its zooms past the rain-clothed forest, filled with the sounds of peacocks calling to their mates, because he wishes to relish the beautiful eyes, tresses and forehead of the lady, as soon as possible! In essence, the verse has that simple core of ‘Speed on the horses, my man’ and yet shines within the complex emotions of both the anxiety and anticipation in a homecoming!
September 15 · 6 min
Aganaanooru 333 – One message is all I seek…
In this episode, we listen to words of yearning, as depicted in Sangam Literary work, Aganaanooru 333, penned by Kallaadanar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays a consolation rendered along with its response. ”யாஅ ஒண் தளிர் அரக்கு விதிர்த்தன்ன நின் ஆக மேனி அம் பசப்பு ஊர, அழிவு பெரிது உடையையாகி, அவர்வயின் பழி தலைத்தருதல் வேண்டுதி; மொழி கொண்டு தாங்கல் ஒல்லுமோ மற்றே; ஆங்கு நின் எவ்வம் பெருமை உரைப்பின்; செய் பொருள் வயங்காதுஆயினும் பயம் கெடத் தூக்கி, நீடலர் வாழி, தோழி! கோடையில், குருத்து இறுபு உக்க வருத்தம் சொலாது, தூம்புடைத் துய்த் தலை கூம்புபு திரங்கிய, வேனில், வெளிற்றுப் பனை போலக் கை எடுத்து, யானைப் பெரு நிரை வானம் பயிரும் மலை சேண் இகந்தனர்ஆயினும், நிலை பெயர்ந்து, நாள் இடைப்படாமை வருவர், நமர்” என, பயம் தரு கொள்கையின் நயம் தலைதிரியா நின் வாய் இன் மொழி நல் வாயாக வருவர் ஆயினோ நன்றே; வாராது, அவணர் காதலர்ஆயினும், இவண் நம் பசலை மாய்தல் எளிதுமன் தில்ல சென்ற தேஎத்துச் செய் வினை முற்றி, மறுதரல் உள்ளத்தர் எனினும், குறுகு பெரு நசையொடு தூது வரப்பெறினே. In this trip to this formidable domain, we catch a glimpse of the punishing heat, 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: “‘Akin to a scattering of lac on the radiant sprouts of an ‘aacha’ tree, upon your form, exquisite pallor has spread. Filled with immense suffering, you wish to heap the blame upon his head. If he were to hear these words, would it be possible for him to bear it? If the depth of your suffering is mentioned to him, even if his mission to earn wealth is incomplete, he would consider your woe as more important, and letting all his efforts be ruined, he shan’t delay even one more moment. Long may you live, my friend! Assailed by summer winds, losing all its tender fronds, with sorrow not leaving its form, extending its fuzzy-headed, hollow dried-up top, stands a young palmyra tree. Akin to that tree, raising their trunks, a huge herd of elephants, call out to the skies during the sweltering summer. Crossing mountains many with such scenes, though he has gone afar, he will change his mind and return without a delay of too many days!’ So you say unto me, my friend! If these sweet words of yours, spoken on a principle of rendering aid, without causing any harm, come true and he does return, that would be good. But if at all, he does not return, and continues to stay there, there’s one way to easily vanquish this pallor that spreads, and that is to receive in my hands the message he sends with great love, speaking of how he is about finish his mission in the country he left to, and is desirous of returning home soon!” Let’s brave those arid spaces and learn more! The lady begins by repeating the words the confidante had been speaking to her just then. The good friend had pointed out to the lady how pallor was spreading on her skin in the manner of lac splashed on the dark green leaves of the ‘Yaa’ tree, and had said the lady was intending to blame the man for it and was hoping to send word to him. If that were to happen, the man would abandon his mission halfway and return to the lady, the confidante had been saying. Then the confidante describes the drylands space where the man has left to, and to do that, she talks about a frond-less palm tree, standing only with its hollow trunk extending skyward. Akin to that, elephants raise their trunks to the sky and seemingly call out for the rains to pour and end their searing thirst in summer. The confidante had finished her words to the lady saying that the man though so far, will return soon without delay. Now, the lady takes over and says, if at all the confidante’s sweet words were to come true, well and good. But if not, and the man intends to stay longer, all that he had to do to allay the lady’s suffering was to send one message stating that this mission would be soon complete and that he wished most of all to get back to her, the lady concludes. In essence, the lady says to the confidante, ‘I can see that you don’t want a messenger to be sent to the man, speaking of my sorrow. At least can’t he send me a messenger saying he would soon be back?’ A sliver of hope from his side is all I ask, the lady seems to say! Fascinating how we take such communication for granted, two thousand years later. If a beloved is travelling afar, today we get to not only receive those messages, but can talk to them and even see them on a screen, no matter how far across the globe they have gone. If we can put ourselves in the place of this Sangam-era maiden, we will know what a life of privilege we lead, just by being alive in the here and now!
September 14 · 6 min
Aganaanooru 332 – As it was on the first day
In this episode, we perceive words of praise, as portrayed in Sangam Literary work, Aganaanooru 332, penned by Kabilar. The verse is situated amidst the bamboo-filled slopes of the ‘Kurinji’ or ‘Mountain landscape’ and expresses the satisfaction in a person’s heart. முளை வளர் முதல மூங்கில் முருக்கி, கிளையொடு மேய்ந்த கேழ் கிளர் யானை, நீர் நசை மருங்கின் நிறம் பார்த்து ஒடுங்கிய, பொரு முரண் உழுவை தொலைச்சி, கூர் நுனைக் குருதிச் செங் கோட்டு அழி துளி கழாஅ, கல் முகை அடுக்கத்து மென்மெல இயலி, செறு பகை வாட்டிய செம்மலொடு, அறு கால் யாழ் இசைப் பறவை இமிர, பிடி புணர்ந்து, வாழை அம் சிலம்பில் துஞ்சும் நாடன் நின் புரை தக்க சாயலன் என, நீ அன்பு உரைத்து அடங்கக் கூறிய இன் சொல் வாய்த்தன வாழி, தோழி! வேட்டோர்க்கு அமிழ்தத்து அன்ன கமழ் தார் மார்பின் வண்டு இடைப் படாஅ முயக்கமும், தண்டாக் காதலும், தலை நாள் போன்மே! In this trip to the hills, we get to see some dynamic scenes in the wild, as we listen to the lady say these words to the confidante, pretending not to notice the man listening nearby but making sure, he’s in ear shot: “After grazing on bamboo stalks filled with tender sprouts, along with its herd, a bright-hued elephant, with much thirst, goes towards a spring. There, catching a glimpse of a stalking tiger, the elephant attacks with ferocity and kills the tiger. Then, it washes the blood-coated, sharp edge of its tusks in the pouring rains, and with the pride of subduing its enemy, walks gently amidst the rocky mountain ranges. As six-legged bees buzz around, with the music of a lute, the male elephant unites with its mate, and then sleeps contentedly, in the plantain-filled mountain slopes of the lord’s country. You had spoken those beautiful words, filled with much love to me, back then, saying ‘He’s the perfect person, who will bring joy and glory to you’. Those have turned out to be true, my friend, may you live long! He pulls me so close to that fragrant garland-clad chest of his, which is akin to elixir to those who love him, that not even a little bee can fly through in between us. Even today, such is his unceasing love, exactly the same as on the first day!” Time to take the trek through this radiant highlands! The lady starts with a description of the man’s mountain country, and to do that, she zooms on to a male elephant that had been munching on bamboo stalks. After its meal, thirst hits the elephant and it goes in search of water. Near the water hole, it finds a tiger that had been waiting to attack it, and with much rage, the elephant attacks and kills the tiger. Then it washes its red-stained tusks in the pouring rains, and following that, it walks with the pride of having quelled its enemy, so as to find its mate, and then, as bees buzz around, with the sweet music of a lute, the male elephant finds a rejuvenating sleep in the company of its beloved, the lady says. After that scene of a little action, a little drama, and a little romance to describe the man’s abode, the lady turns to her friend and says how the words the confidante had spoken in the past had come true, and these were specifically about how the confidante had recommended the man’s good nature to the lady, and furthered the relationship between the man and the lady, after the man had successfully won the confidante’s confidence in this regard. The lady concludes by talking about how the man embraces her, with such warmth and passion even then, which seems unchanged from the day it was, when they both first met. Words every person in love wishes to hear, and no doubt the listening man would be on cloud nine, hearing such glowing praise from his beloved’s lips. In the scene of the elephant vanquishing the tiger, and sleeping contentedly with its mate, as bees buzz around, the lady places a metaphor for her hope in how the man would quell the gossip spreading around town, and render the sweet sleep of a happy married life with her. With that key of admiration and love, the man would no doubt unlock this hidden message and seek the lady’s hand in marriage promptly! The verse is filled with so many layers of admirable emotions, such as the lady’s gratitude to the confidante for supporting her love relationship in the past, praise for the man’s unwavering love in the present, and trust in that future the man will render unto the lady. A whisper from the past saying, ‘If you want to change you future, shower the path you tread on today, with the flowers of positivity’!
September 12 · 5 min
Aganaanooru 331 – Treading the sword’s edge
In this episode, we perceive the angst-filled voice of a lady, as depicted in Sangam Literary work, Aganaanooru 331, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands Landscape’, the verse presents an instance of the dynamics between the flora, fauna and human life in this domain. நீடு நிலை அரைய செங் குழை இருப்பை, கோடு கடைந்தன்ன, கொள்ளை வான் பூ, ஆடு பரந்தன்ன, ஈனல் எண்கின் சேடு சினை உரீஇ உண்ட மிச்சில் பைங் குழைத் தழையர் பழையர் மகளிர் கண் திரள் நீள் அமைக் கடிப்பின் தொகுத்து, குன்றகச் சிறுகுடி மறுகுதொறும் மறுகும் சீறூர் நாடு பல பிறக்கு ஒழிய சென்றோர் அன்பு இலர் தோழி! என்றும், அருந் துறை முற்றிய கருங் கோட்டுச் சீறியாழ்ப் பாணர் ஆர்ப்ப, பல் கலம் உதவி, நாளவை இருந்த நனை மகிழ்த் திதியன், வேளிரொடு பொரீஇய கழித்த வாள் வாய் அன்ன வறுஞ் சுரம் இறந்தே! In this trip to the drylands, we get to see familiar characters, and also encounter a historic one on a detour, as we listen to the lady say these words to the confidante, when the man has parted with the lady, to go in search of wealth: “Upon tall-trunked Mahua trees, with red leaf clusters, bloom numerous white flowers, appearing in the hue of powdered tusks. Grazing around in the manner of herds of sheep, female bears with their cubs feed on these white flowers. Maiden, wearing garments made of fresh green leaves, daughters of drylands folks, collect what’s left of those Mahua flowers, inside long bamboo poles with many nodes, and sell these amidst the many streets of those mountain hamlets. Crossing many such villages in many different countries, the one who left is bereft of love, my friend. As bards, experts in their field, play on their dark-stemmed small lutes ceaselessly, rendering many gifts unto them, Thithiyan delights in his court, amidst the flowing toddy. Akin to the edge of the sword that this king unsheathed and raised in his battle with the Velirs, are those barren drylands he has left to!” Time to brave the dangers of this domain! The lady starts by zooming onto a Mahua tree, and describes them as having tall trunks and red leaves. When I saw that mention of red clusters, I was intrigued because I had assumed that this Indian trees was a vivid green. After searching to ascertain this truth, found that indeed the new leaves of the Mahua tree, when sprouting in the middle of summer, specifically in the months of April and May, start out in reddish-brown hue, and in just a couple of weeks, they turn into their characteristic velvet green. That’s the time frame the lady has captured these trees in! Returning, we find that the lady has turned her attention from the leaves to the unique white flowers of the tree, whose colour she places in parallel to powdered tusks. Then, she talks about how female bears and their newborns feed on these flowers and whatever’s left is then collected by daughters of drylands folk, who take these flowers, stuff them inside bamboo pipes, and sell them in the many streets of mountain hamlets. The lady explains that she has mentioned these scenes only to say that the man has crossed many such villages and left to the drylands, which she then compares to the battle sword, raised against the Velirs, by King Thithiyan, who is known for his immense generosity to bards and others in his day court, where he delights and shares the pleasures of fine toddy. The lady concludes by declaring that the man seems to have no love in his heart! The essence of the verse lies in the scene of King Thithiyan, who is pleasing and generous, but at the same time, he’s formidable and unforgiving in the battlefield, and here, the lady places a metaphor for how the man had been kind and loving in courtship to her and had now rendered the cruelty of parting away from her. Fascinating how the verse weaves in the special patterns of nature, commerce and history amidst the familiar threads of a lady’s lament for her parted beloved!
September 11 · 4 min
Aganaanooru 330 – Have you not told him yet?
In this episode, we listen to a curious recommendation to consider another’s proposal, as portrayed in Sangam Literary work, Aganaanooru 330, penned by Ulochanaar. The verse is situated amidst the swaying boats of the ‘Neythal’ or ‘Coastal Landscape’ and resounds in the rhythm of unsaid words of love. கழிப் பூங் குற்றும், கானல் அல்கியும், வண்டற் பாவை வரி மணல் அயர்ந்தும், இன்புறப் புணர்ந்தும், இளி வரப் பணிந்தும், தன் துயர் வெளிப்படத் தவறி, நம் துயர் அறியாமையின், அயர்ந்த நெஞ்சமொடு செல்லும், அன்னோ; மெல் அம் புலம்பன்! செல்வோன் பெயர் புறத்து இரங்கி, முன் நின்று, தகைஇய சென்ற என் நிறை இல் நெஞ்சம் எய்தின்றுகொல்லோ தானே? எய்தியும், காமம் செப்ப, நாண் இன்றுகொல்லோ? உதுவ காண், அவர் ஊர்ந்த தேரே; குப்பை வெண் மணற் குவவுமிசையானும், எக்கர்த் தாழை மடல்வயினானும், ஆய் கொடிப் பாசடும்பு பரிய ஊர்பு இழிபு, சிறுகுடிப் பரதவர் பெருங் கடல் மடுத்த கடுஞ் செலல் கொடுந் திமில் போல, நிவந்து படு தோற்றமொடு இகந்து மாயும்மே! In this trip to the seas, we take in the sights on the shore, as we listen to the confidante say these words to the lady, at a time when the man had won the confidence of the confidante and had entrusted the task of furthering his relationship with the lady over to her: “Plucking flowers in the backwaters, resting in the groves, carving sand dolls on striped sands, coming together joyously, humbling himself deeply, he displays his suffering, and not understanding your suffering, he leaves with a languishing heart! Alas! The state of that lord of the gentle shores! Melting with kindness, seeing the retreating back of the one who parts away, did your barren heart that dashed and stood before him, not succeed in blocking him? Even if it did block him, did its sense of modesty prevent it from speaking of its passion? Lo behold! The chariot he rides, amidst the heaped white sands, streaking over pandanus leaves, and severing beautiful vines of the beach morning glory, akin to those speeding, curving boats, belonging to fishermen of little hamlets, traversing in the huge seas, looms large and vanishes out of sight!” Let’s surf those pristine waves and find the hidden treasures in those hearts! The confidante starts by talking about how the man has been repeatedly coming over to them, humbling himself from his noble position and partaking in the joyous activities of the lady such as plucking flowers and playing in the sands. Then she points out how his yearning for the lady is evident for all to see but he doesn’t know that the lady too reciprocates the same in full measure. The confidante pointedly asks the lady if the lady’s heart that was running ahead, as he was leaving, did not manage to block him, and even if it did, did it not speak what was within, owing to its shyness? Then the confidante beckons the lady and points to the man’s chariot, as it leaves sadly, and compares it to the vision of fishermen’s boats that seem so large at first and then seem to vanish in a glance! The confidante means to nudge the lady out of her shyness and accept the man’s proposal, saying don’t let him vanish away from your sight forever! Reminds me of a similar situation in an English novel, Pride and Prejudice, written by Jane Austen, set in the early 1800s. There too, a friend advises another that more openness is needed in expressing one’s feelings, so as to not leave the object of one’s affection in the lurch! Here’s a song proclaiming the timeless truth about the influence that friends seem to have in romantic relationships, regardless of space and time!
September 10 · 4 min
Aganaanooru 329 – How can he part away?
In this episode, we perceive a person’s bewilderment, as depicted in Sangam Literary work, Aganaanooru 329, penned by Uraiyoor Muthukoothanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the unpleasant nature of this domain. பூங் கணும் நுதலும் பசப்ப, நோய் கூர்ந்து, ஈங்கு யான் வருந்தவும், நீங்குதல் துணிந்து, வாழ்தல் வல்லுநர் ஆயின், காதலர் குவிந்த குரம்பை அம் குடிச் சீறூர், படு மணி இயம்பப் பகல் இயைந்து, உமணர் கொடு நுகம் பிணித்த செங் கயிற்று ஒழுகைப் பகடு அயாக் கொள்ளும் வெம் முனைத் துகள் தொகுத்து, எறி வளி சுழற்றும் அத்தம், சிறிது அசைந்து, ஏகுவர்கொல்லோ தாமே பாய் கொள்பு, உறு வெரிந் ஒடிக்கும் சிறு வரிக் குருளை நெடு நல் யானை நீர் நசைக்கு இட்ட கை கறித்து உரறும் மை தூங்கு இறும்பில், புலி புக்கு ஈனும் வறுஞ் சுனை, பனி படு சிமையப் பல் மலை இறந்தே? In this trip to this domain, we get to see plenty of sights, as we listen to the lady say these words to the confidante, when the confidante informs her about the man’s intention to part away, in search of wealth: “As my flower-like eyes and forehead spread with pallor, as this affliction soars, leaving me to lament here, thinking himself capable of parting from me and living apart, will he go to those beautiful hamlets with thatched huts, wherein moving during the day, with their bells resounding, bulls of salt merchants tied to curving ends of carts’ yokes with red ropes, pull with much effort, in those hot and dry spaces, scattering dust, which the wind swirls all around? In those hamlets, will he rest a little, and then crossing many dew-covered hills, will he traverse those harsh drylands, filled with barren springs, which tigers enter to give birth, and where a tiny striped tiger cub leaps about, and stretching its back, bites upon the trunk that a tall elephant extends in thirst, and then roars aloud, in those dark scrub jungles?” Let’s step onto those dry and dusty spaces and search for the moisture of emotions! The lady starts by describing her state of pallor and pining, filled to the core with lament and anxiety, if the man were to leave away. Then she wonders how he thinks of himself as capable of parting away from her, and concludes wondering if he will dare to go to those hamlets in the drylands, where bulls of salt merchants, the original travellers, kick dust around, which is carried by the swirling hot winds and showered everywhere, and whether the man would rest there a little, and then go onward, crossing many peaks, to those drylands, where the springs have all become parched, and turned into breeding grounds for tigers, and from where, a little tiger cub, leaps up and bites the trunk of an elephant, which comes there, yearning for water! In essence, the lady is baffled how the man can even think of leaving the joy of being together and go to those dreary spaces. It seems as if the lady is asking that age-old question, ‘How can the other even think of doing something like this?’ A moment of striking realisation that the beloved, who was seen thus far as being of one mind with oneself, wishes to take a path of their own!
September 9 · 4 min
Aganaanooru 328 – Had I known…
In this episode, we listen to hidden words of persuasion, as depicted in Sangam Literary work, Aganaanooru 328, penned by Madurai Panda Vaanikan Ilanthevanaar. The verse is situated amidst the rain-soaked darkness of the 'Kurinji' or 'Mountain Landscape' and projects a person's wish on the elements of nature.
September 8 · 5 min
Aganaanooru 327 – The nudge to part away
In this episode, we perceive an anguished question put forth, as portrayed in Sangam Literary work, Aganaanooru 327, penned by Marunkoorpaakai Saathan Poothanaar. Set in the 'Paalai' or 'Drylands Landscape', the verse presents a vivid portrait of this domain.
September 7 · 4 min
Aganaanooru 326 – Those spear-like eyes of hers
In this episode, we listen to a pointed refusal, as portrayed in Sangam Literary work, Aganaanooru 326, penned by Paranar. The verse is situated in the lush fields of the 'Marutham' or 'Farmlands Landscape' and dwells on the appeal of a courtesan.
September 4 · 6 min
Aganaanooru 325 – Dilemmas and Decisions
In this episode, we perceive a lady's situation in the midst of a dilemma, as depicted in Sangam Literary work, Aganaanooru 325, penned by Maamoolanaar. Set in the 'Paalai' or 'Drylands landscape', the verse mentions the respect and admiration rendered unto a Sangam-era king.
September 3 · 5 min
Aganaanooru 324 – A feast is certain
In this episode, we listen to joyous voices foreseeing an awaited arrival, as depicted in Sangam Literary work, Aganaanooru 324, penned by Okkoor Maasaathiyaar. The verse is situated amidst the rain-soaked flowers of the 'Mullai' or 'Forest Landscape' and sketches the trajectory of a speeding chariot.
September 2 · 4 min
Aganaanooru 323 – Step out and See
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!
September 1 · 5 min
Aganaanooru 322 – Yearning for the unattainable
In this episode, we listen to words of despair, as depicted in Sangam Literary work, Aganaanooru 322, penned by Paranar. The verse is situated amidst the falling cascades and soaring peaks of the 'Kurinji' or 'Mountain Landscape' and reveals the unique qualities of a king's domain.
August 28 · 5 min
Aganaanooru 320 – Remember the oath taken
In this episode, we perceive an emphatic attempt to change a person's path, as depicted in Sangam Literary work, Aganaanooru 320, penned by Madurai Koolavaanikan Seethalai Saathanaar. The verse is situated amidst the leaping waves of the 'Neythal' or 'Coastal Landscape' and sketches scenes of wild life and human life on this domain in vibrant detail.
August 27 · 5 min
Aganaanooru 319 – On a maiden’s strength
In this episode, we listen to words that attempt to dissuade a person from a course of action, as depicted in Sangam Literary work, Aganaanooru 319, penned by Erukkaattoor Thaayankannanaar. Set in the 'Paalai' or 'Drylands Landscape', the verse etches the qualities of the lady and the land.
August 26 · 5 min
Aganaanooru 318 – Don’t but if you have to…
In this episode, we listen to a pointed message to persuade a person, as portrayed in Sangam Literary work, Aganaanooru 318, penned by Kabilar. The verse is situated amidst the singing cascades of the 'Kurinji' or 'Mountain Landscape' and depicts the dangers of a tryst by night.

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