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

நிறைந்தோர்த் தேரும் நெஞ்சமொடு, குறைந்தோர்
பயன் இன்மையின் பற்று விட்டு, ஒரூஉம்
நயன் இல் மாக்கள் போல, வண்டினம்
சுனைப் பூ நீத்து, சினைப் பூப் படர,
மை இல் மான் இனம் மருள, பையென
வெந்து ஆறு பொன்னின் அந்தி பூப்ப,
ஐயறிவு அகற்றும் கையறு படரோடு
அகல் இரு வானம் அம் மஞ்சு ஈன,
பகல் ஆற்றுப்படுத்த பழங்கண் மாலை,
காதலர்ப் பிரிந்த புலம்பின் நோதக,
ஆர் அஞர் உறுநர் அரு நிறம் சுட்டிக்
கூர் எஃகு எறிஞரின் அலைத்தல் ஆனாது,
எள் அற இயற்றிய நிழல் காண் மண்டிலத்து
உள் ஊது ஆவியின் பைப்பய நுணுகி,
மதுகை மாய்தல் வேண்டும் பெரிது அழிந்து,
இது கொல் வாழி, தோழி! என் உயிர்
விலங்கு வெங் கடு வளி எடுப்பத்
துளங்கு மரப் புள்ளின் துறக்கும் பொழுதே?

In this trip to the drylands, it’s a conversation between two friends, and there are different views as to whether the speaker is the lady or the confidante. Considering the content, I’m choosing to see these lines as words said by the lady to her confidante:

“Akin to those people without goodness, who have a heart that seeks out only those who have plenty and forsakes those who are less affluent, thinking they are of no use, bees have abandoned flowers in the spring pools and flown towards flowers on the branches; Making herds of flawless deer baffled, slowly the dusk blooms in the hue of hot, molten gold, cooling down; Accompanied by a helpless pain that destroys intelligence, yielding to the beautiful clouds in the wide, dark sky, the day gives way to the suffering-filled evening, which arrives akin to one, who throws a sharp iron spear, pointing to the precious heart of the person, already in a deep angst, lamenting about the parting away of their beloved. Akin to how breath, blown out on a perfectly etched round mirror, diminishes little by little, my strength breaks down, suffering greatly. My friend, may you live long, it appears as if my life shall desert me, akin to how birds flutter away from a swaying tree, assailed by a swirling gale!”

Let’s bask in the time of dusk and listen to this tale! The lady starts with a unique simile about certain lowly people, who prefer the company of those who are rich and abandon the friendship of those who have less. She places the actions of such people in parallel to those of bees, which have given up the flowers in the spring pools and are rushing towards the flower-clad branches of trees around. Could this be a metaphor for the man leaving the lady behind and seeking wealth? While that we cannot be sure about, perhaps this scene of bee migration is to indicate the season of spring, when flowers bloom aplenty on trees, to bring to fore, this was the man’s promised season of return. However, there was no sign of him yet!

The lady continues by adding as if the arrival of spring wasn’t enough, the sky was turning into the hue of hot gold, cooling down, sending out waves of confusion among grazing deer, heralding the arrival of evening. This evening is one, which causes so much blinding pain that dulls the mind, the lady says, and describes the act of the evening arriving when the man is away, as the act of a person, who aims a spear at a lamenting heart. Then, she talks about a relatable simile of blowing breath on a reflective surface and how it would diminish with time, and connects it with her own strength, slowly shattering down. As the final thought, the lady confides to her confidante that owing to this angst-ridden situation, she feels her life may part away from her, akin to how birds flutter away, when a storm attacks the tree they were resting on.

From the flight of those bees to these birds, the lady draws a perfect trajectory of her pain. The highlight of this verse is the thoughtful stacking up of similes to build the perfect image of the lady’s heart. Perhaps this crystal clear expression of emotions will help the lady in handling the swirling storm of separation!

In this episode, we hear the confidante’s jubilant voice, as depicted in Sangam Literary work, Aganaanooru 70, penned by Madurai Tamil Koothanaar Kaduvan Mallanaar. Set amidst the flower orchards and fish markets of the ‘Neythal’ or ‘Coastal landscape’, the verse features a joyous news and its consequences.

கொடுந் திமிற் பரதவர் வேட்டம் வாய்த்தென,
இரும் புலாக் கமழும் சிறுகுடிப் பாக்கத்துக்
குறுங் கண் அவ் வலைப் பயம் பாராட்டி,
கொழுங் கண் அயிலை பகுக்கும் துறைவன்
நம்மொடு புணர்ந்த கேண்மை முன்னே
அலர் வாய்ப் பெண்டிர் அம்பல் தூற்ற,
பலரும் ஆங்கு அறிந்தனர்மன்னே; இனியே
வதுவை கூடிய பின்றை, புதுவது
பொன் வீ ஞாழலொடு புன்னை வரிக்கும்
கானல் அம் பெருந் துறைக் கழனி மா நீர்ப்
பாசடைக் கலித்த கணைக்கால் நெய்தல்
விழவு அணி மகளிர் தழை அணிக் கூட்டும்
வென் வேற் கவுரியர் தொல் முது கோடி
முழங்கு இரும் பௌவம் இரங்கும் முன் துறை,
வெல்போர் இராமன் அரு மறைக்கு அவித்த
பல் வீழ் ஆலம் போல,
ஒலி அவிந்தன்று, இவ் அழுங்கல் ஊரே.

There’s a lot of buzz in this trip to the shores, and we find ourselves listening to these words of the confidante to the lady:

“After a successful spell of fishing, fishermen with curved boats, arrive at their flesh-reeking, small hamlets by the sea, praising the capabilities of their small-eyed, beautiful nets, and share fleshy pieces of mackerel with the village folk, in the shores of the lord. As the gossiping townsfolk spread rumours about your relationship with him, everyone came to know of it! Along with the new golden flowers of the tiger claw tree, white flowers of the laurel wood too spread open their petals, in the beautiful orchards of the great shores, and from the water-filled fields nearby, luxuriant-leafed, thick-stemmed blue lotuses are gathered by maiden to adorn their leaf garments during the festivities in the ancient seaport of Kodi, ruled by the Kauriyars, in whose shore, the ocean roars like a resounding drum. Here, when the victorious Lord Raman wanted to reflect on intricate strategies, he silenced the birds in the banyan with many aerial roots. Akin to that, now that your man has claimed your hand and the wedding is all set to happen, the slanderous noises in this uproarious town have been silenced.”

Let’s take in the twin scents of fresh flowers and fleshy fish and know more! The confidante starts by describing the man’s domain, and to do that, she brings forth fishermen out at sea, gathering a huge amount of fish, returning with satisfaction, praising their sturdy nets and finally sharing their catch with all in town. Then, from the man’s domain, the confidante moves on to the man’s relationship with the lady and how that has invited much chatter in town. This got more and more people to know about the lady’s relationship with the man, the confidante recollects. Then, leaving this spot, she goes to the ancient sea port of Kodi, possibly referring to ‘Kodikkarai’ or ‘Dhanushkodi’ in Ramanathapuram district today, and talks about how flowering trees like the ‘Nyazhal’ and ‘Punnai’ abound there, and also about how women gather blue-lotuses from fields for their festival adornments. A further fact about this region the confidante adds saying, this was ruled by the Kauriyars, another name for the Pandya Kings of yore. After these relatable descriptions about an ancient town, the confidante delves into a mythical story of how Lord Rama had come to Kodi and when he was reflecting on strategies, possibly to recover his wife Sita, birds were loudly chirping in the banyan, under which he was resting, and apparently, with a look of his eye, he silenced the birds. Just in that manner, the gossipmongers of their town too were silenced by the man’s action of claiming the lady’s hand and paving the way for the resounding sound of wedding bells, the confidante concludes. 

Although the mythical reference of superhuman powers seem out of place in the realistic narratives of Sangam era that we have most frequently seen and no conclusions can be drawn out of the same, what we can do is turn our attention to the way the verse etches the exquisite natural beauty of this ancient place by detailing the fragrant flowers blooming here, and also, the way it carves the cultural history through a depiction of the women’s fashion statement in wearing blue lotuses with their leaf attires, during the festivities of the Pandya reign. No matter our beliefs, we can always find delight in the embrace of nature and culture, irrespective of its space or time, in our brief walk on this third rock we call home!

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

ஆய்நலம் தொலைந்த மேனியும், மா மலர்த்
தகை வனப்பு இழந்த கண்ணும், வகை இல
வண்ணம் வாடிய வரியும், நோக்கி,
ஆழல் ஆன்றிசின் நீயே. உரிதினின்
ஈதல் இன்பம் வெஃகி, மேவரச்
செய் பொருள் திறவர் ஆகி, புல் இலைப்
பராரை நெல்லி அம் புளித் திரள் காய்
கான மட மரைக் கணநிரை கவரும்
வேனில் அத்தம் என்னாது, ஏமுற்று,
விண் பொரு நெடுங் குடை இயல் தேர் மோரியர்
பொன் புனை திகிரி திரிதரக் குறைத்த
அறை இறந்து அகன்றனர்ஆயினும், எனையதூஉம்
நீடலர் வாழி, தோழி! ஆடு இயல்
மட மயில் ஒழித்த பீலி வார்ந்து, தம்
சிலை மாண் வல் வில் சுற்றி, பல மாண்
அம்புடைக் கையர் அரண் பல நூறி,
நன்கலம் தரூஉம் வயவர் பெருமகன்
சுடர் மணிப் பெரும் பூண் ஆஅய் கானத்துத்
தலை நாள் அலரின் நாறும் நின்
அலர் முலை ஆகத்து இன் துயில் மறந்தே.

Back in the drylands and we catch the confidante speaking these thoughtful words to the lady:

“Perceiving your form that has lost its old beauty, your eyes that have shed their flower-like, admirable allure, your lines that are now shorn of their bright hues, don’t you cry and lose yourself in worry. Desiring to attain the rightful joy that arises from giving unto others, he has gone in search of wealth, with that confused heart of his, not minding the scorching heat of the drylands, where sour clusters of fruit from the small-leaved, thick-trunked gooseberry tree are seized by huge herds of forest deer.

The Moriyars, with swaying chariots, decked with tall royal umbrellas, soaring to the skies, so as to ensure their gold-etched strong wheels journey on without obstacles any, have made paths by reducing and shaping boulders on the way. Even if he has gone to that faraway place, he will not delay his journey, my friend, may you live long! Gathering feathers, shed by naive, dancing peacocks, they decorate around their resounding, sturdy bows, and holding intricate arrows in their hands, they shatter forts many and gather fine ornaments as tributes. Such is the nature of soldiers in the army of the great and famous King Aay, who wears huge ornaments with radiant sapphires. Akin to the fragrance of a flower on the first day of bloom in Aay’s forest, are your wide bosoms. How can he stay away, forgetting his sweet sleep on those bosoms of yours?”

Time for a gooseberry treat in the drylands! The confidante starts by asking the lady not to lament over the lady’s diminished beauty, as reflected in her skin and eyes, owing to the man’s parting away. She talks about how he has left in search of wealth only because he has the noble aim of rendering to those, who come seeking to him, reiterating the Sangam belief that people went in search for wealth, not for their personal gain, but for the purpose of compassion and charity. Describing how the man can now be found in the hot drylands, she mentions that the only available food there are sour gooseberries and even those are snatched away by hordes of deer.

Then, changing track she goes on to talk about the ‘Moriyars’, most probably referring to the ‘Mauryas’, who ruled North India between the 4th and the 2nd century BCE. After mentioning their striking chariots with huge royal umbrellas, the confidante remarks on how the Mauryas used to shatter and reduce mountain boulders in their path, so as to keep moving on their wheels. Let’s return to this detail in a short while. The confidante has referred to these kings only to say that even if the man had gone to those faraway places, where the Mauryas are known to have paved paths, the man shall not delay his return. As an argument for her statement, the confidante goes on to talk about another king, Aay, detailing on the valour of his soldiers, and their skill in archery and extracting tributes from foes, turning specifically to the forests in this king’s domain. Here, she zooms on to the fragrance of a flower that has just bloomed in this celebrated forest, and equates it to the fragrance of the lady’s bosom, and concludes by saying the man could not possibly stay away for long, forsaking his sleep on the lady’s bosom. 

With glowing praise and a warm understanding, the confidante hopes to allay the lady’s anxiety. Returning to that historic reference of the Mauryas, which have already seen in Puranaanooru 175, this line offers a hint of the road-building capabilities of this clan of kings, by talking about how they wouldn’t let even mountains stop them in their conquest of other regions, shattering rocks and paving roads. Other historians such as the Greek Megasthenes concur with this statement in his description of the roads built by the Maurya kings in his ancient text ‘Indika’. It is said that these kings came as far south as Northern Karnataka, but never conquered the ancient Tamil regions ruled by the Chera, Chozha and Pandya kings, and were to said to have good trade relationship with these southern rulers. Gratifying to see how these splashes of history on various canvases paint a rich and layered sketch of the diverse regions in ancient India!

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.

”அன்னாய்! வாழி, வேண்டு அன்னை! நம் படப்பைத்
தண் அயத்து அமன்ற கூதளம் குழைய,
இன் இசை அருவிப் பாடும் என்னதூஉம்
கேட்டியோ! வாழி, வேண்டு அன்னை! நம் படப்பை
ஊட்டியன்ன ஒண் தளிர்ச் செயலை
ஓங்கு சினைத் தொடுத்த ஊசல், பாம்பு என,
முழு முதல் துமிய உரும் எறிந்தன்றே;
பின்னும் கேட்டியோ?” எனவும் அஃது அறியாள்,
அன்னையும் கனை துயில் மடிந்தனள். அதன்தலை
மன் உயிர் மடிந்தன்றால் பொழுதே காதலர்
வருவர்ஆயின், ”பருவம் இது” எனச்
சுடர்ந்து இலங்கு எல் வளை நெகிழ்ந்த நம்வயின்
படர்ந்த உள்ளம் பழுது அன்றாக,
வந்தனர் வாழி, தோழி! அந்தரத்து
இமிழ் பெயல் தலைஇய இனப் பல கொண்மூத்
தவிர்வு இல் வெள்ளம் தலைத்தலை சிறப்ப,
கன்று கால் ஒய்யும் கடுஞ் சுழி நீத்தம்
புன் தலை மடப் பிடிப் பூசல் பல உடன்
வெண் கோட்டு யானை விளி படத் துழவும்
அகல் வாய்ப் பாந்தட் படாஅர்ப்
பகலும் அஞ்சும் பனிக் கடுஞ் சுரனே.

In this tour of the hills, we get to meet the lovers intending to tryst, and hear these words of the confidante to the lady:

“When I said, ‘Mother, may you live long. Listen! Crushing the nightshade flowers blooming in the cool pits in our village, the sweet-sounding cascades flow down and resound. Do you hear that even a little? May you live long, mother! Listen! Thinking the swing, which has been tied to the soaring branches of the ‘Seyalai’ tree with shining leaves having the appearance of being painted with red lac, is a snake, thunder descends and severs the huge trunk. Do you hear that at least?’, mother did not even heed my words and was in a deep sleep. Not only that, it’s a time when all beings resort to rest. 

As the glowing, radiant bangles slipping away from your hand declares this is the ‘perfect time’ for your beloved to come, without falsifying it, with a heart that seeks you, he has come, my friend, may you live long! From the skies, thick clouds resounding with thunder, pour down heavy rain, and without obstacles any, floods swell and pull an elephant calf by its legs into a swirling whirlpool, making the soft-haired, naive female elephants roar out aloud together, and the white-tusked male elephants call aloud and search around, in this cold and harsh jungle with thick bushes, teeming with wide-mouthed snakes. Traversing such a place, which people fear to cross even in the middle of the day, he has come here, my friend!”

Let’s sharpen our hearing amidst the striking sounds of the mountains and perceive the story here! The confidante starts by telling to the lady how she asked mother, whether mother had heard the sounds of the cascades pouring down in their backyard, making a mush of the wild jasmines blooming beneath. Not stopping with that one question, the confidante continues by asking mother, if mother had heard thunder, as it fell down and struck an ‘Ashoka tree’, chopping its trunk, all because the thunder thought the swing tied to the branches of the tree was a snake. A moment to pause and recollect that the Sangam folks held a belief that thunder had something against the snakes and it was the life ambition of thunder to destroy every serpent in sight and that’s why the confidante attributes so much thought on the part of the thunder in its natural act of roaring amidst a lightning shower. Returning, rather comically, not only did mother not hear the cascade or the thunder, she did not even hear the confidante’s question, for she was sound asleep. Now we know that our good friend was not merely testing mother’s hearing capabilities like some ear doctor, but was simply seeing if mother was awake or asleep. Having got a positive confirmation that mother was conked out, the confidante heads to her friend and conveys the news, adding that not only mother, all living beings seemed to be at rest. 

The confidante then highlights how the lady’s bangles were on the verge of slipping away, pining for the man’s presence, and seemed to be shouting out, ‘This is the time for him to come’. As if hearing this wish, the man had indeed come there, the confidante says. She then goes on to sketch the conditions of their surroundings just then, talking about the pouring rains and the swelling floods, which had pulled an elephant calf into the whirlpool, making the female elephants to cry aloud and the male elephants to search around. As if the sounds were not scary enough, there was the rusting of huge-mouthed snakes in the forest bushes as well, the confidante says, and concludes by declaring that such was the fear-evoking place, which a person would fear to cross even in broad daylight, that the man had crossed and come to grace the lady with his love. In a nutshell, it’s the confidante giving her dear friend the much-awaited news, ‘All clear and he’s here!’.

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

யான் எவன் செய்கோ? தோழி! பொறி வரி
வானம் வாழ்த்தி பாடவும், அருளாது
உறை துறந்து எழிலி நீங்கலின், பறைபு உடன்,
மரம் புல்லென்ற முரம்பு உயர் நனந்தலை,
அரம் போழ் நுதிய வாளி அம்பின்,
நிரம்பா நோக்கின், நிரயம் கொண்மார்,
நெல்லி நீளிடை எல்லி மண்டி,
நல் அமர்க் கடந்த நாணுடை மறவர்
பெயரும் பீடும் எழுதி, அதர்தொறும்
பீலி சூட்டிய பிறங்கு நிலை நடுகல்
வேல் ஊன்று பலகை வேற்று முனை கடுக்கும்
மொழி பெயர் தேஎம் தருமார், மன்னர்
கழிப் பிணிக் கறைத்தோல் நிரை கண்டன்ன
உவல் இடு பதுக்கை ஆள் உகு பறந்தலை,
”உரு இல் பேஎய் ஊராத் தேரொடு
நிலம் படு மின்மினி போல, பல உடன்
இலங்கு பரல் இமைக்கும்” என்ப நம்
நலம் துறந்து உறைநர் சென்ற ஆறே!

A trip to the drylands and here it’s all about the place! The lady says these words in response to the confidante, who asks her to bear with grace, the man’s parting from the lady, in pursuit of wealth.

“What can I do, my friend? Though the spotted, striped skylark sings praising the skies, without rendering its graces of showering down raindrops, the clouds part away heartlessly. Losing their leaves, trees appear listless in those pebble-filled high and wide spaces. In the dark of the night, wielding arrows with split edges, shaped by saws, with eyes focused on their targets, many left to recover their cattle, and won those battles but perished in the fight. Amidst those paths, filled with gooseberry trees, appearing akin to a battlefield, inscribed with the name and fame of those honourable warriors, hero stones abound between the bushes, adorned radiantly with peacock feathers. Akin to heaps of blackened shields tied with ropes, belonging to the armies of kings, who wish to conquer other lands, where different languages are spoken, appear stone graves in the vast spaces, without people any. Many say, ‘Akin to fireflies flitting on land, twinkle those shining pebbles, amidst the formless, deceiving mirages’ about the path that the one, who abandoned my beauty, traverses now!”

Let’s get walking through the scorching drylands with the man! The lady starts by responding to her confidante that she is unable to help her response of despair and anxiety. Then she goes on to say why describing in detail, the rain-less, leaf-less, shade-less spaces, where the man treads. She also mentions about hero stones being put up in these places for warriors, who perished in their battles to recover their cattle, and how these are adorned with peacock feathers. Then, she talks about shallow stone graves of wayfarers buried there, appearing like blackened shields of conquering kings. As the final image, she mentions how those dry, blistering places are filled with mirages, and shining pebbles that spread everywhere seem like fireflies, flitting about on the land. ‘So dreadful is the place my beloved walks and how do you expect me to be calm and composed?’, the lady concludes to her confidante. A simple verse that talks about the pain one feels on behalf of another. The lady no doubt is in the comfort of her wealthy home, but still she feels the distress and despair of her man so faraway. That empathy is perhaps the guiding beacon for those in love!

In this episode, we listen to the narration of a unique intervention, as depicted in Sangam Literary work, Aganaanooru 66, penned by Selloor Kosikan Kannanaar. Set amidst the wealthy streets of the ‘Marutham’ or ‘Farmlands landscape’, the verse celebrates the presence of a child at a home.

”இம்மை உலகத்து இசையொடும் விளங்கி,
மறுமை உலகமும் மறு இன்று எய்துப,
செறுநரும் விழையும் செயிர் தீர் காட்சிச்
சிறுவர்ப் பயந்த செம்மலோர்” எனப்
பல்லோர் கூறிய பழமொழி எல்லாம்
வாயே ஆகுதல் வாய்த்தனம் தோழி!
நிரை தார் மார்பன் நெருநல் ஒருத்தியொடு
வதுவை அயர்தல் வேண்டி, புதுவதின்
இயன்ற அணியன், இத் தெரு இறப்போன்
மாண் தொழில் மா மணி கறங்க, கடை கழிந்து,
காண்டல் விருப்பொடு தளர்பு தளர்பு ஓடும்
பூங் கண் புதல்வனை நோக்கி, ”நெடுந் தேர்
தாங்குமதி, வலவ!” என்று இழிந்தனன். தாங்காது,
மணி புரை செவ் வாய் மார்பகம் சிவணப்
புல்லி, ”பெரும! செல் இனி, அகத்து” எனக்
கொடுப்போற்கு ஒல்லான் கலுழ்தலின், ”தடுத்த
மாநிதிக் கிழவனும் போன்ம்” என, மகனொடு
தானே புகுதந்தோனே; யான் அது
படுத்தனென் ஆகுதல் நாணி, இடித்து, ”இவற்
கலக்கினன் போலும், இக் கொடியோன்” எனச் சென்று
அலைக்கும் கோலொடு குறுக, தலைக்கொண்டு
இமிழ் கண் முழவின் இன் சீர் அவர் மனைப்
பயிர்வன போல வந்து இசைப்பவும், தவிரான்,
கழங்கு ஆடு ஆயத்து அன்று நம் அருளிய
பழங் கன்ணோட்டமும் நலிய,
அழுங்கினன்அல்லனோ, அயர்ந்த தன் மணனே.

It’s the farmlands and though the theme dwells around the conflict between the man and the lady owing to relations with courtesans, here we hear the lady recollect a recent incident to her confidante, and remark on its inferences about the man’s gracious behaviour:

“Many have quoted the proverbial statement, ‘Those great people, who have borne children, having a blemish-less appearance relished even by enemies, will surely live with fame in this life, and attain the next life without any trouble’. I realised how true these words are, my friend! Yesterday, the lord, adorned with many garlands on his chest, desiring a union with another woman, wore a new and shining attire, and prepared to leave our street. As the finely etched bells of his horse resounded and he crossed the gate, with a wish of seeing his father, with toddling steps, my flower-eyed son rushed towards him. Seeing him, the man said, ‘Stop the chariot, O charioteer’ and got down. Without pausing, he lifted his son, and pressing the child’s red mouth, akin to coral, on his chest, he held him close, and said to the child, ‘My noble lord! Go inside the home now’. The child, refusing to heed this request, started crying. And so, the great lord with much wealth, stopped by his son, entered our home, carrying him. Thinking the blame for the child’s action would fall on me, with shame, I scolded the child, ‘This little terror has muddled the lord’s plans’ and went near him with a rod. The lord embraced his son and pulled him away. Just then, even though sweet sounds of the resounding drum, inviting him to their home, fell on his ears, the lord avoided going thither, and with the same old thoughtful eyes with which he graced me, when playing with  ‘Kazhangu beans’ with my friends back then, he gave up the thought of parting away for his desired union!”

Time to tackle the love troubles in this rich region! The lady starts by quoting a proverb from those times which talks about how those people who have adorable children are sure to live gloriously in this life, and not only that, the next eternal life is guaranteed for them, as well. Saying she had thought it to be a mere old saying but recently realised that it was perfectly true. Then the lady goes on to describe how on a previous day, the man had wanted to leave for his rendezvous with a courtesan, and had stepped out of his home, adorned with garlands and new accessories. As he was leaving out of the gate, with the bells on his horse tinkling, the man’s young son, playing on the street, had come running to see his dear daddy. Spotting the child, the man asked his charioteer to hold on and he got down. He lifted the child and held the toddler close to his chest. Then remembering his appointment, the man turned to the boy and said, ‘Why don’t you go inside the home now?’ As all children do, the boy refused and started crying. So, the man stepped inside his home.

Observing all this, the lady thought she was going to be blamed for the boy’s actions and came there scolding the child, and brandishing a rod. The man seemed to have pulled away the child from her reach and hugged him. The lady concludes by saying that even though the drums roared from the house of the courtesan, inviting him there, the man did not heed that, and with the same love and care in his eyes he had had, when he first looked at the lady, as she was playing with her mates back in the day, he gave up his prior plans of uniting with the courtesan, and remained at home with her and her son. Thus, with his tiny fingers and little arms, the innocent child seems to have done the magic trick of binding his strong and powerful father to their home, so effortlessly.

The nuanced highlight of this verse is the way the lady is able to perceive the love the man had for her in their days of courtship, after the years have passed, under unlikely circumstances, in the actions of the man towards their son. Perhaps a promise that true love, felt and lost, could once again be found, if we care to see with different eyes! 

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

உன்னம் கொள்கையொடு உளம் கரந்து உறையும்
அன்னை சொல்லும் உய்கம்; என்னதூஉம்
ஈரம் சேரா இயல்பின் பொய்ம்மொழிச்
சேரிஅம் பெண்டிர் கௌவையும் ஒழிகம்;
நாடு கண் அகற்றிய உதியஞ்சேரற்
பாடிச் சென்ற பரிசிலர் போல
உவ இனி வாழி, தோழி! அவரே,
பொம்மல் ஓதி! நம்மொடு ஒராங்குச்
செலவு அயர்ந்தனரால் இன்றே மலைதொறும்
மால் கழை பிசைந்த கால் வாய் கூர் எரி,
மீன் கொள் பரதவர் கொடுந் திமில் நளி சுடர்
வான் தோய் புணரிமிசைக் கண்டாங்கு,
மேவரத் தோன்றும் யாஅ உயர் நனந்தலை
உயவல் யானை வெரிநுச் சென்றன்ன
கல் ஊர்பு இழிதரும் புல் சாய் சிறு நெறி,
காடு மீக்கூறும் கோடு ஏந்து ஒருத்தல்
ஆறு கடிகொள்ளும் அருஞ் சுரம்; ‘பணைத் தோள்,
நாறு ஐங் கூந்தல், கொம்மை வரி முலை,
நிரை இதழ் உண்கண், மகளிர்க்கு
அரியவால்’ என அழுங்கிய செலவே!

This time, the theme dwells on a future travel to the drylands, and here, we hear the confidante excitedly sharing some news to the lady:

“May you escape from the words of mother, who knowing well what’s in your heart, keeps it within her mind and says something else; May you be rid of the slander spread by women in our village, full of lies, lacking even a bit of compassion; May you live long with much happiness, like the supplicants, who sing praises of King Udhiyan Cheral, the one who widened the limits of his domain!

All through the hills, as bamboos brush against each other, fuelled by the wind, sharp flames that soar, shine like bright lamps, atop curving boats of fishermen, sailing amidst the sky-soaring waves. Walking up and down those dull and small paths, amidst those rocky and hilly spaces, filled with barren Yaa trees, feels like walking on the back of a famished elephant. Such is the formidable drylands jungle, where huge and terrifying, tusked male elephants stand in guard along the many paths. He had previously said that such a place would be impossible to traverse for maiden with bamboo-like arms, fragrant and beautiful tresses, upraised and lined bosoms, thick-petalled and kohl-streaked eyes. But today, he has seen eye to eye with us, and has decided that you should go along with him, O maiden with thick tresses!”

Time to imagine an imminent walk through the barren paths! The confidante starts by jubilantly declaring to the lady that her friend was soon going to escape mother’s seemingly innocent but pointed words, for she knew the lady’s situation but refused to reveal what was in her mind. Next prediction was about how the lady will be rid of the dreadful rumours spread by the gossiping village women, who had no kindness in their hearts, and as the third and final forecast, the confidante declares that the lady is going to live happily forever, like those who sing praises of the great Chera King Udhiyan, known for the empire he expanded. 

After sharing all these fortune cookies, the confidante goes on to describe the formidable drylands, where the winds fan the fire of dry bamboos in friction, and these fiery flames are placed in parallel with objects of another landscape- the lamps on the boats of fishermen. Then the confidante talks about hilly, rocky paths, filled with dry Yaa trees, and how walking on these paths would be like walking on the back of an elephant that has not had food for long. Such scenes of despair and danger fill these drylands and that’s why the man had been saying, there was no way the lady with her delicate qualities was going to be able to traverse it, the confidante explains. She notes with elation that somehow the man had seen sense and changed his mind, now deciding to take the lady and elope away with her the very day. 

In essence, it’s the confidante telling the lady, the situation is dire here, the man has agreed to our request that you should elope with him, and so get ready and go on. The thing that interests me the most is what made the man change his mind. It’s not like the lady developed those abilities overnight. Perhaps he has seen that the risk of taking the lady through the drylands is worth facing rather than the danger of leaving her amidst slander and suffering. It is indeed such moments of lucid decision making, which spurs us to action, that ends up defining the course of our lives, many a time! 

In this episode, we perceive a man’s fervent wish, as depicted in Sangam Literary work, Aganaanooru 64, penned by Aarkkaadu Kizhaar Makanaar Vellai Kannathanaar. The verse is situated amidst the moist red lands of the ‘Mullai’ or ‘Forest Landscape’ and sketches the yearning to return home after a mission.

களையும் இடனால் பாக! உளை அணி
உலகு கடப்பன்ன புள் இயற் கலி மா
வகை அமை வனப்பின் வள்பு நீ தெரிய,
தளவுப் பிணி அவிழ்ந்த தண் பதப் பெரு வழி,
ஐது இலங்கு அகல் இலை நெய் கனி நோன் காழ்
வெள் வேல் இளையர் வீங்கு பரி முடுக,
செலவு நாம் அயர்ந்தனம்ஆயின், பெயல
கடு நீர் வரித்த செந் நிலமருங்கின்,
விடு நெறி ஈர் மணல், வாரணம் சிதர,
பாம்பு உறை புற்றத்து ஈர்ம் புறம் குத்தி,
மண்ணுடைக் கோட்ட அண்ணல் ஏஎறு
உடன் நிலை வேட்கையின் மட நாகு தழீஇ,
ஊர்வயின் பெயரும் பொழுதில், சேர்பு உடன்,
கன்று பயிர் குரல, மன்று நிறை புகுதரும்
ஆ பூண் தெண் மணி ஐது இயம்பு இன் இசை
புலம்பு கொள் மாலை கேட்டொறும்
கலங்கினள் உறைவோள் கையறு நிலையே.

The fragrant forests reveal the passion in the man’s heart as he renders these words to his charioteer, when returning home after completing his mission:

“It’s time to slay it, O charioteer! Wield those exquisite reins that you know so well, tied around the neck of the proud horse, with a swaying mane, which moves, akin to a bird that traverses the world entire. On the huge road, filled with moisture, where wild jasmines have burst in bloom, and where young aides, holding victorious spears, with beautiful, radiant, wide leaf edges, and well-oiled, smooth and sturdy stems, walk on, hasten the horses so that we overtake them! We should put our mind to our speedy return. 

On the red land paved with lines, owing to the heavy downpour on the side of the chariot’s path, birds peck around on the wet mud. Dashing against the side of termite mounds, where snakes reside, the esteemed bull becomes covered in mud, and wanting to be together with its mate forever, it embraces the naive young cow in the village. When returning thither from their grazing, the cattle, call out together to their calves, and rush to the village centre, with the sound of their clear bells, rising in a sweet music in that loneliness-filled evening. Whenever she hears this, she would lament and suffer. And so, we should hasten and end this state of helplessness of the one, who tearfully resides back home!”

Let’s listen to this song set in rhythm to the tinkling of cow bells. The man starts by saying to the charioteer it was time to change something. Without saying what it is, he goes on to describe the horse running ahead, with its dancing mane, and he compares the movement of this animal to a bird that crosses the world. A moment to pause and reflect on this mention of migration in birds, which traverse thousands of kilometres, and in fact, journey from pole to pole, region to region, as documented by modern science. That a poet from two thousand years ago makes this observation, from one corner of the earth, without knowing so much about other parts of the world, is something deeply perceptive, and goes on to show the scientific thinking of these ancients. 

Returning, the man tells his charioteer to wield the reins firmly and ride with speed, so that they overtake the young aides on foot, carrying spears. He describes the red soil of the forest, and how lines seem to be carved on it by the pouring rains, and here, forest fowl are seen pecking around, and bulls are coated with red mud, as they dash against termite mounds, where snakes lie sleeping. As a projection of the man’s mind, these bulls are seen embracing their mates in the village. And when evening falls, huge herds of cattle return after their grazing, crying out for their calves, with their bells tinkling, and this is the music that would fall on the lady’s ears and fill her with a deep melancholy, says the man. He concludes by telling his charioteer that they must rush home and slay this state of suffering of his beloved.

The verse once again echoes the timeless theme of that burning urgency to be back in the company of love when the work that tore apart the lovers is done with! Take away the speeding chariot and the still forest, and if you place a sailor, a pilot, an astronaut in the scene, you can hear the same heartbeat of this Sangam man in each one of them at the end of their voyage!

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

கேளாய்; வாழியோ! மகளை! நின் தோழி,
திரு நகர் வரைப்பகம் புலம்ப, அவனொடு
பெரு மலை இறந்தது நோவேன்; நோவல்
கடுங்கண் யானை நெடுங் கை சேர்த்தி,
முடங்கு தாள் உதைத்த பொலங் கெழு பூழி
பெரும் புலர் விடியல் விரிந்து, வெயில் எறிப்ப,
கருந் தாள் மிடற்ற செம் பூழ்ச் சேவல்
சிறு புன் பெடையொடு குடையும் ஆங்கண்,
அஞ்சுவரத் தகுந கானம் நீந்தி,
கன்று காணாது, புன் கண்ண, செவி சாய்த்து,
மன்று நிறை பைதல் கூர, பல உடன்
கறவை தந்த கடுங் கால் மறவர்
கல்லென் சீறூர் எல்லியின் அசைஇ
முதுவாய்ப் பெண்டின் செது காற் குரம்பை
மட மயில் அன்ன என் நடை மெலி பேதை
தோள் துணையாகத் துயிற்றத் துஞ்சாள்,
”வேட்டக் கள்வர் விசியுறு கடுங் கண்
சேக் கோள் அறையும் தண்ணுமை
கேட்குநள்கொல்?” எனக் கலுழும் என் நெஞ்சே.

Elopement’s in the air in this trip to the drylands and we hear these words of the lady’s mother to the lady’s confidante:

“Listen, may you live long, my girl! I worry not that your friend left with him beyond the huge mountains, leaving this wealthy mansion in loneliness. Let me tell you what I worry about. A harsh-eyed elephant, bending its legs, and using its long trunk, kicks up the golden dust. As the great dawn arrives and the sun scorches, the male black-necked red quail, along with its delicate, little mate pecks around, in the fearsome scrub jungle. Traversing such a place, she would come at night to an uproarious hamlet, where robbers have tied stolen cows many, in the town centre, and those herds, bending their ears, with sorrowful eyes, not seeing their calves, would be crying out in suffering. Here, my naive daughter, who has a gentle gait like a peacock, would rest in a wise old woman’s rickety hut. That she would not be able to sleep, even when he offers her his shoulder, because she would be frightened by the hunting robbers’ resounding beats on their ‘thannumai drums’, as they seize cattle, worries this heart of mine, shedding tears!”

Time to take a walk amidst the swirling dust of the scorching drylands! Mother starts by clarifying to the lady’s confidante that her pain, sorrow and anxiety was not about the fact that the lady had left them. and gone with the man, beyond the mountains. Mother imagines the place where the girl walks at the moment through the barren, blistering expanses of the scrub forest, where an elephant kicks up dust and quails peck around, looking for some food, some moisture. Mother continues saying crossing such spaces, the lady would come to a little hamlet, which happens to be the abode of robbers, who have just stolen cows, and these cows stand there, sending out sorrowful cries, missing their calves. A subtext for mother’s yearning! Next, mother visualises that her daughter would be resting in an old woman’s hut, and even though her man would offer his strong shoulder, the girl would find no rest, for she would be startled by the beating of the robber’s drums, as a mark of their successful cattle hunt. This is the precise thing that wrings her heart and tears up her eyes, mother concludes. The highlight of this verse is no matter how this woman was hurt by the actions of her daughter, she seems to be more concerned about her child’s welfare. That’s a mother for you, the verse seems to say, with a wise smile!

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.

அயத்து வளர் பைஞ்சாய் முருந்தின் அன்ன
நகைப் பொலிந்து இலங்கும் எயிறு கெழு துவர் வாய்,
ஆகத்து அரும்பிய முலையள், பணைத்தோள்,
மாத்தாள் குவளை மலர் பிணைத்தன்ன
மாஇதழ் மழைக்கண், மாஅயோளொடு
பேயும் அறியா மறை அமை புணர்ச்சி
பூசல் துடியின் புணர்பு பிரிந்து இசைப்பக்
கரந்த கரப்பொடு நாம் செலற்கு அருமையின்,
கடும் புனல் மலிந்த காவிரிப் பேரியாற்று
நெடுஞ்சுழி நீத்தம் மண்ணுநள் போல,
நடுங்கு அஞர் தீர முயங்கி நெருநல்
ஆகம் அடைதந்தோளே, வென்வேல்
களிறு கெழு தானைப் பொறையன் கொல்லி
ஒளிறு நீர் அடுக்கத்து வியல் அகம் பொற்பக்
கடவுள் எழுதிய பாவையின்,
மடவது மாண்ட மாஅயோளே.

Treading through the hills, we listen to the man’s yearning at a time, when his expected tryst with the lady did not come through:

“Akin to flower buds of the whitehead spike sedge grass that grows in watery spaces, shines her teeth, adorned with smiles in her red mouth. With budding bosoms, bamboo-like arms, huge-petaled rain-like eyes, akin to two blue lotuses, with black stems, intertwined together, is that dark-skinned maiden. At a time, not known even to ghosts, I united with her in secret. Still they have spread slander about our union, with the uproar of ‘thudi’ drums, by assembling together and going separate ways. So, it has become rare for us to come together! Knowing this, yesterday, as if she was swimming in the long, swirling whirlpools in the huge flood of the River Kaveri, brimming with copious waters, ending the shivering suffering within, she embraced me again and again, and lay on my chest, without moving away. Such were the actions of my dark-skinned maiden, resplendent in her naivety, the one, who looks like the goddess statue, carved to add glory to those wide spaces, with radiant waters flowing down the Kolli hills, by Poraiyan, renowned for his army of elephants and his victorious spears!”

It’s all about a lady’s qualities in this one! The man starts by describing his beloved saying she has smiling teeth, akin to particular sedge grass, which I learnt was the ‘whitehead spike sedge’, also called ‘white water sedge’, to indicate the watery spaces it abounds, as illustrated by the first two words of this Tamil verse. Yet again, impressed by the connection between the common modern English name and the ancient Tamil descriptor of this plant! Returning, we find the man next talking about the lady’s red mouth, her blooming bosoms, her arms, akin to bamboo, and those eyes, which are not only rain-like, but are also akin to two huge-petaled blue lotuses threaded together. The man talks about how he and the lady united at a time that even ghosts know not about, implying it could be in dead secret, in the darkest hour, when even the ghosts would want to get some sleep! But even more perceptive than those ghosts, were the slander-spreading folk of their town, who have been sharing gossip about them, and that’s why meeting the lady has become a rare thing, the man explains. He thinks back to how realising this, the lady had embraced him over and over, as if she was dipping in the brimming floods of the River Kaveri, and would not even part away from his chest for a very long time. He sighs thinking about the past, and concludes, by placing the lady’s appearance, in parallel with the statue of a goddess in the Kolli hills, built by King Poraiyan, known to have a victorious army of elephants and soldiers with spears!

The repeated reference to this structure in many verses, and that too, in parallel with the beauty of a woman, makes me think this was a much-celebrated work of art in Sangam times. Just like the Mona Lisa, Statue of Liberty, the Pyramids, the Great Wall of China and the Taj Mahal to us, for whom the world has shrunk, this statue of the Kolli Goddess was to the people of ancient Tamil land. Wonder how such a celebrated structure lost its battle to time! The other interesting aspect that can be unearthed from the actions of the lady with the man the previous day is the timeless fact that when we get a feeling that something is going to become rare, often an urgency to relish it to the full soars within, whenever it becomes available! And likewise, reframing taken-for-granted things in our life as something precious and something which could be lost at any time, is the perfect recipe to rekindle our appreciation for the same!