In this episode, we listen to words of consolation rendered to allay the anxiety of another, as depicted in Sangam Literary work, Aganaanooru 159, penned by Aamoor Kavuthaman Saathevanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the fame and wealth of a Sangam era town.

தெண் கழி விளைந்த வெண் கல் உப்பின்
கொள்ளை சாற்றிய கொடு நுக ஒழுகை
உரனுடைச் சுவல பகடு பல பரப்பி
உமண் உயிர்த்து இறந்த ஒழிகல் அடுப்பின்,
வடி உறு பகழிக் கொடு வில் ஆடவர்
அணங்குடை நோன் சிலை வணங்க வாங்கி,
பல் ஆன் நெடு நிரை தழீஇ, கல்லென
அரு முனை அலைத்த பெரும் புகல் வலத்தர்,
கனை குரற் கடுந் துடிப் பாணி தூங்கி,
உவலைக் கண்ணியர், ஊன் புழுக்கு அயரும்
கவலை, ”காதலர் இறந்தனர்” என, நனி
அவலம் கொள்ளல்மா, காதல் அம் தோழி!

விசும்பின் நல் ஏறு சிலைக்கும் சேண் சிமை
நறும் பூஞ் சாரற் குறும் பொறைக் குணாஅது
வில் கெழு தடக் கை வெல் போர் வானவன்
மிஞிறு மூசு கவுள சிறு கண் யானைத்
தொடியுடைத் தட மருப்பு ஒடிய நூறி,
கொடுமுடி காக்கும் குரூஉகண் நெடு மதில்
சேண் விளங்கு சிறப்பின் ஆமூர் எய்தினும்,
ஆண்டு அமைந்து உறையுநர்அல்லர், நின்
பூண் தாங்கு ஆகம் பொருந்துதல் மறந்தே.

A dash of drylands and a pinch of history in this trip, where we get to listen to the confidante say these words to the lady, when the man remains parted away, having left on his mission to seek wealth:

“Taking white salt that was harvested from the clear backwaters, salt merchants journey on, shouting out the price and selling their produce. Then untying their bulls with strong napes, from the curved yokes of their carts, they let the beasts loose to graze around, as they take rest and eat around their stone stoves, which they leave behind, when parting away. Men with curving bows, and arrows, which never miss their targets, bend their sturdy bows, which seem to contain spirits within, and seize many herds of cattle, with a resounding uproar, which makes the land quiver, and then those victorious warriors sway to the sharp beats of thick-throated drums, wearing leaf garlands, and relish the meat they cook on those abandoned stone stoves in those formidable drylands paths! Don’t fall into a deep suffering, thinking that your lover has parted away to such a place, my loving friend! 

Having soaring peaks, where the sky’s white steed leaps about, and slopes filled with fragrant flowers, are the hills of ‘Kurumporai’.  To the east of these hills, is the town of Aamoor, filled with dazzling places, guarded by tall forts, under the protection of ‘Kodumudi’, who attacked and seized the bangle-clad tusks of the small-eyed elephants, around whose cheeks, bees buzz, owned by the victorious ‘Vanavan’, who wields a skilful bow in his strong hands. Even if your man were to attain this renowned town of Aamoor, whose fame spreads far and wide, he is not one remain there satisfied, forgetting the embrace of your jewel-clad bosom!”

Time to traverse those well-worn arid paths through the drylands! The confidante starts her words to the pining lady by asking her to focus on an object lying about in the drylands. This object is a stove, made of stone, and it’s one that has been abandoned by salt merchants, who had come that way, after selling their harvest of salt from the backwaters. Arriving at this spot after a long journey, they seem to have decided to give their bulls a break, and take one themselves. After loosening the yokes of the cattle, they had settled down for a meal around their stone stove. Once down, they seem to have left that stove behind and gone their way. Cut and we are back in the same spot, but after some time has elapsed. Now, we find jubilant warriors, who seem to have seized cattle, and are celebrating their victory by dancing to the beats of the drum, and settling down for a meal around that same stone stove, abandoned by those salt merchants. After this vivid description, the confidante reveals that this place is none other than the one which the man traverses now. She looks at her friend and asks the lady to worry not, thinking about the man’s travels thither. 

Then leaving the barren drylands behind, the confidante takes the lady to the soaring peaks of Kurumporai, where lightning flashes, and the scent of flowers envelops. From there, they travel east and end up in a town called ‘Aamoor’, which has tall forts and is protected by a lord named ‘Kodumudi’, who has the honour of subduing the great elephants of King Vanavan, a Chera king, and seizing their tusks. The confidante concludes by emphatically telling the lady that even if the man were to attain that celebrated town of Aamoor as his reward, the man was not a person to stay behind, settle down and forget the warm embrace of his beloved!

In essence, the confidante wishes to stress upon the lady that the man will never forsake her, no matter what the temptation is, and that he would be back the moment his mission was complete. The highlight of this verse though is the journey of that abandoned stove from the hands of salt sellers to the hands of these cattle warriors. Looking at it from another angle, I see how food is the unifying factor here, between very different groups of people, who seemingly have nothing in common. A reminder that if we look closely enough, we’ll be able to find some streak of commonality with people, no matter how far apart in space or time they are from us!

In this episode, we observe how communication is used effectively to convey two different things to two different people, as depicted in Sangam Literary work, Aganaanooru 158, penned by Kabilar. The verse is situated amidst the slopes and fields of the ‘Kurinji’ or ‘Mountain landscape’ and portrays the intriguing way in which the confidante rises to the aid of the lady.

”உரும் உரறு கருவிய பெரு மழை தலைஇ,
பெயல் ஆன்று அவிந்த தூங்குஇருள் நடுநாள்,
மின்னு நிமிர்ந்தன்ன கனங்குழை இமைப்ப,
பின்னு விடு நெறியின் கிளைஇய கூந்தலள்,
வரை இழி மயிலின் ஒல்குவனள் ஒதுங்கி,
மிடை ஊர்பு இழிய, கண்டனென் இவள்” என
அலையல் வாழி! வேண்டு, அன்னை! நம் படப்பைச்
சூருடைச் சிலம்பில், சுடர்ப்பூ வேய்ந்து
தாம் வேண்டு உருவின் அணங்குமார் வருமே;
நனவின் வாயே போலத் துஞ்சுநர்க்
கனவு ஆண்டு மருட்டலும் உண்டே; இவள்தான்
சுடர் இன்று தமியளும் பனிக்கும்; வெருவர
மன்ற மராஅத்த கூகை குழறினும்,
நெஞ்சு அழிந்து அரணம் சேரும்; அதன்தலைப்
புலிக் கணத்தன்ன நாய் தொடர்விட்டு,
முருகன் அன்ன சீற்றத்துக் கடுந் திறல்
எந்தையும் இல்லன் ஆக,
அஞ்சுவள் அல்லளோ, இவள் இது செயலே?

This unique trip to the hills takes us in the presence of the confidante, as she says these words to mother, when the man listens nearby, hidden from view:

“Saying, “After a heavy downpour accompanied by roaring thunder, when the rains have ceased in that dark hour of midnight, when a mist of darkness pervades, akin to a lightning streak that suddenly flashes, her heavy earrings sparkled. With tresses that had escaped from the tightness of her braids, with the hesitant gait of a peacock when descending down a hill, I saw her coming down from the loft in the fields’, do not rebuke her so. May you live long! Listen to me, mother!

In the mountain slopes near our hamlet, filled with spirits many, wearing flaming flowers, those apparitions might take on any form of their choice and descend down. They could appear so real in the dreams of those who sleep and confuse them; 

As for her, she would shiver even if she was caught alone without a lamp in hand; When the owl perched atop the burflower tree in the town centre hoots aloud, terrorised, she would lose her calm and rush to find a place of safety; On top of that, when father, who has the ferocious strength and fury of God Murugan, and who roves with hunting dogs, which are like an ambush of tigers, remains at home, won’t she fear to do this?”

Time to brave the dark and walk the ups and downs of the hilly terrain! The confidante starts by asking mother not to trouble the lady. From the confidante’s words, we understand that mother had been worried that the lady has been out trysting with the man. In fact, mother had been talking about how she had glimpsed the lady, climbing down the loft in the fields, as if she were a dainty peacock, descending down the hill, and come walking, with her earrings flashing like lightning on a dark night after the rains. After repeating these words of hers, the confidante tells mother that she was mistaken, and goes on to talk about how their mountain slopes were full of spirits and that they often take human forms of their choice and rove around, adorned with flowers. After trying to impress on mother that she might have dreamt seeing the lady because of the tricks of one such spirit, which makes people believe that what they saw was the truth, when it was nothing more than a dream. 

Then, the confidante also mentions what a scaredy-cat the lady is, for she was someone who was afraid to even be alone in the dark, and would scream and rush to find someone, when she hears the owl on the bur-flower tree hooting in the middle of the night. Besides, last but not least, father, ferocious father, known to be out hunting with his fearsome dogs, was right there at home. ‘How will the lady dare to do what you think she has done?’, the confidante concludes by questioning mother!

On the one hand, this is the confidante’s way of removing any doubts in mother’s mind about the lady’s relationship with the man by pulling a fast one about wandering mountain spirits and what-not. At the same time, the confidante is saying to the listening man, ‘Do you see what kind of stories I have to weave to confuse mother and keep her from suspecting your relationship with the lady? How long do you think mother darling is going to fall for it?’. Through this, the confidante allays mother’s anxiety about the lady’s activities, and also nudges the man to conclude that his temporary trysting cannot go on and that it was time to seek the lady’s hand. A classic case of one stone, two birds! 

In this episode, we perceive a person’s alarm at the prospect of an approaching event, as depicted in Sangam Literary work, Aganaanooru 157, penned by Vempattroor Kumaranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the lady’s inability to bear with the man’s parting.

அரியற் பெண்டிர் அல்கிற் கொண்ட
பகுவாய்ப் பாளைக் குவிமுலை சுரந்த
அரி நிறக் கலுழி ஆர மாந்தி,
செரு வேட்டு, சிலைக்கும் செங் கண் ஆடவர்,
வில் இட வீழ்ந்தோர் பதுக்கை கோங்கின்
எல்லி மலர்ந்த பைங் கொடி அதிரல்
பெரும் புலர் வைகறை அரும்பொடு வாங்கி,
கான யானை கவளம் கொள்ளும்
அஞ்சு வரு நெறியிடைத் தமியர் செல்மார்
நெஞ்சு உண மொழிபமன்னே தோழி!
முனை புலம் பெயர்த்த புல்லென் மன்றத்து,
பெயல் உற நெகிழ்ந்து, வெயில் உறச் சாஅய்,
வினை அழி பாவையின் உலறி,
மனை ஒழிந்திருத்தல் வல்லுவோர்க்கே!

In this little trip to the drylands, we hear the lady say these words to her confidante, when the confidante brings news that the man intends to part away to gather wealth:

“Relishing the muddy-hued, cloudy filtrate, pouring out of the tapering spouts of the pot, with a curving mouth, held on the hips of a toddy-selling woman, with intoxication and fury, uproarious red-eyed men kill wayfarers with their bows. The stone graves of those killed stand near the buttercup tree. Upon this tree, spreads the vines of the wild jasmine, which had just bloomed the previous night. At the bright and early hour of dawn, pulling the vines of this buttercup and wild jasmine flowers, a forest elephant swallows it as its ball of food in those formidable paths. My friend, you say that he will walk alone in such a path, to satisfy his heart! In the listless town centre, forsaken by people, owing to the outbreak of a battle, shrinking in the rains and fading in the sun, a well-etched female figurine would languish. To accept his parting is only possible for those, who have the ability to be in that state of that statue and remain at home!”

Time to traverse the dangerous domain! The lady starts by conjuring the image of a toddy selling woman, who carries a pot on her hips. Procuring the filtrate from this seller, drylands men get sloshed and red-eyed. Full of fury, they attack wayfarers and bury them in stone graves, near the buttercup tree. On this tree, spreads a vine of wild jasmine that blossomed just the previous night. Not caring about the tenderness of these flower buds, a wild elephant pulls these vines and buttercup flowers along with it, to feed on the same in the early hour of dawn. The lady describes how the confidante has informed her that such is the dangerous path that the man will walk soon. When wars break out, people abandon their towns and rush away to a place of safety. At this time, the female figurines worshipped in the town centre would be abandoned and would shrink in the rains and fade in the sun, with no one to care for it. Only those who can be like that lifeless statue can bear with the man’s parting and remain calm at home, the lady concludes, implying she does not know the way to be so!

In short, the lady tells the confidante, ‘I’m no statue to accept his parting, without any emotion’, and voices her doubts about being able to bear with what’s about to happen. Perhaps the confidante will relay this information to the man and prevent him from travelling or perhaps she will console the lady saying, ‘Girl, you have it in you. Worry not!. Whatever be the counsel and the course of action, the lady has done the right thing in expressing the anxiety within and that’s half the battle won!

In this episode, we perceive an attempt at persuading another, as portrayed in Sangam Literary work, Aganaanooru 156, penned by Aavoor Moolankizhaar. The verse is situated amidst the lush fields of the ‘Marutham’ or ‘Farmlands landscape’ and talks about the wealth and faith in this domain.

முரசுடைச் செல்வர் புரவிச் சூட்டும்
மூட்டுறு கவரி தூக்கியன்ன,
செழுஞ் செய் நெல்லின் சேயரிப் புனிற்றுக் கதிர்
மூதா தின்றல் அஞ்சி, காவலர்
பாகல் ஆய்கொடிப் பகன்றையொடு பரீஇ,
காஞ்சியின் அகத்து, கரும்பு அருத்தி, யாக்கும்
தீம் புனல் ஊர! திறவிதாகக்
குவளை உண்கண் இவளும் யானும்
கழனி ஆம்பல் முழுநெறிப் பைந் தழை,
காயா ஞாயிற்றாக, தலைப்பெய,
”பொய்தல் ஆடிப் பொலிக!” என வந்து,
நின் நகாப் பிழைத்த தவறோ பெரும!
கள்ளும் கண்ணியும் கையுறையாக
நிலைக் கோட்டு வெள்ளை நால்செவிக் கிடாஅய்
நிலைத்துறைக் கடவுட்கு உளப்பட ஓச்சி,
தணி மருங்கு அறியாள், யாய் அழ,
மணி மருள் மேனி பொன் நிறம் கொளலே?

This is one of those rare songs where though the landscape is defined in one way, the theme tends in a totally different direction. Here, we listen to the confidante say these words to the man, when she brings over the lady for a tryst with him:

“Appearing akin to the lifted yak-fur fans, fastened to heads of horses, belonging to wealthy lords with victorious drums, are the tender, red-streaked stalks of paddy in the fertile fields. Fearing that an old bull would feed on and ruin these stalks, guards pluck beautiful vines of bitter gourd along with the rattlepod, and using that, tie the bull to the trunk of a portia tree, and feed it sugarcane stems in your town, filled with sweet streams, O lord! When I had come with her, who has exquisite kohl-streaked eyes, akin to lush blue lilies, adorned in attires of green leaves and flawless flowers of field lilies, when the sun was not scorching, so that we could play in the pond and delight, we made the mistake of smiling at you, O lord! Even after offering toddy and garlands, along with a white male goat with hanging ears and sturdy horns as sacrifice, to the god who guards the river shore, with the right chants from the heart, seeing no relief whatever, her mother cries, as her sapphire-hued skin continues to be covered in a golden hue!”

Let’s take a stroll on the banks of the town’s fields and river shore and learn more! The confidante starts by describing the man’s fertile farm town, and to do that, she compares the lush paddy crop to the uplifted yak-fur fans tied to the horses of the wealthy. These yak-fur fans were quite the rage in the ancient world, known by the Tamil term ‘Saamaram’, and it was also used as a manual fan in the royal courts. Returning, we see how the paddy stalks look lush and tender, and no doubt, wanting to protect their crop, fearing that the old cow in their farm would run amok and ruin the stalks, the guards tie up the animal using cords of bitter gourd and rattlepod and distract it with sugarcane stalks. After that description of the man’s rich riverine town, the confidante turns to the past and declares the lady and herself had made the mistake of smiling at the man, when they had come to bathe in the pond, at a time when the sun was not raging yet. The confidante then ends with the explanation for this cryptic statement saying that the lady’s mother had done offerings to the river god with toddy, garlands and even a strong ram, but there seemed to be no respite to the golden-hued pallor spreading on the shining dark skin of the lady.

While the lady was happy when the man came around, she was pining for him whenever he left, leading to the attack of pallor and the consequence of mother’s worry, implies the confidante. This statement about offering to a river god would remind us of the ‘Veriyattam’ scenes in the Kurinji landscape, where a girl’s problems were attributed to ‘God Murugu’ and he is appeased with offerings and prayer. In this landscape, a river God takes the role of ‘Murugu’. As in those situations we have seen many a time, God is of no help, when the cure is in the hands of the man. The confidante understands this well and by subtly revealing the situation at hand, she nudges the man to let go of the temporary trysting and choose the path of a permanent union with the lady. In that metaphor of tying the old cow and preventing it from feeding on the tender paddy stalks, the confidante places a metaphor for her hope that the man would bind the mouths of the slanderous townsfolk and offer them the sweet sugarcane of a happy wedding with the lady. Lands may change, Gods may change, yet the confidante remains the steadfast friend who knows what’s what and what needs to be done for the happiness of all concerned! If you ask me, a friend like that is the true God in one’s life!

In this episode, we perceive a moment of understanding of another’s motivation, as portrayed in Sangam Literary work, Aganaanooru 155, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the nature of this domain with a striking simile.

“அறன்கடைப் படாஅ வாழ்க்கையும், என்றும்
பிறன்கடைச் செலாஅச் செல்வமும், இரண்டும்
பொருளின் ஆகும், புனையிழை!” என்று, நம்
இருள் ஏர் ஐம்பால் நீவியோரே
நோய் நாம் உழக்குவம்ஆயினும், தாம் தம்
செய் வினை முடிக்க, தோழி! பல்வயின்
பய நிரை சேர்ந்த பாண் நாட்டு ஆங்கண்
நெடு விளிக் கோவலர் கூவல் தோண்டிய
கொடு வாய்ப் பத்தல் வார்ந்து உகு சிறு குழி,
நீர் காய் வருத்தமொடு சேர்விடம் பெறாது
பெருங் களிறு மிதித்த அடியகத்து, இரும் புலி
ஒதுங்குவன கழிந்த செதும்பல் ஈர் வழி,
செயிர் தீர் நாவின் வயிரியர் பின்றை
மண் ஆர் முழவின் கண்ணகத்து அசைத்த
விரல் ஊன்று வடுவின் தோன்றும்
மரல் வாடு மருங்கின் மலை இறந்தோரே.

In this trip to the drylands, we hear the lady say these words to her confidante, after the man had parted away from her, in search of wealth:

“Saying, “To live a life, without erring in justice, and to have the prosperity, ensuring never to seek in the house of another, both are possible only by seeking wealth, O maiden, wearing well-etched ornaments!”, he caressed my beautiful, five-part tresses, in the hue of darkness. In the ‘Paan’ country, having many different breeds of useful cattle, cowherds, known for their long whistles, have dug up wells, and with their curved-mouth vessels, draw and pour out water in the little pits. Seeing those dried pits, bereft of water, with much sadness, not finding a spot to rest and refresh, a huge elephant walks away. Stepping on the footprints of that elephant, a tiger treads through those moist and muddy spaces, leaving marks, which appear akin to impressions, made by the fingers of perfect-tongued ‘Vayiriyar’ musicians, on the vibrating skin of mud-streaked drums, hanging on their backs, in those mountains, where even the sturdy hemp fades. It’s to such a place that he has left to, and even if I were to languish, owing to this affliction of parting, let him complete his intended mission, my friend!”

Time for another walk through this formidable landscape! The lady starts by explaining the reasons the man had given to her before he parted away, speaking of how it was important to live a life of justice and have prosperity so that they never have to go seeking in another’s abode, and this was possible only with wealth. He had said this with much tenderness, caressing her tresses and left away, the lady describes. Then, she moves on to talk about where he’s gone and this happens to be a place in the country of ‘Paanan’, known for its tribe of cowherds and their diverse cattle. To take care of these beings in the sweltering summer, the cowherds had dug up wells and were known to pour water into little pits. Knowing the presence of these comforts, wild animals such as elephants used to arrive there, but such was the heat at that time that these pits were all dried up and that elephant would walk away in disappointment. Later a tiger which comes there, tracks the footprints of the elephant and walks away, leaving its own footmarks upon that muddy space. This, the lady connects to the impressions of the drummers’ fingers on the clay-coated leather of their drums, and concludes by declaring that the man had left to such a desolate place, where even the sturdy hemp bushes cannot sustain, and no matter how much she suffers, she sends out a wish for him to complete the mission he set out to accomplish!

Thus, we see the lady, going beyond her own pain, and understanding the man’s motivation and importance of doing what he has to do. No better cure in that moment of languishing about one’s condition than to see the situation from the eyes of the other!

In this episode, we perceive the eagerness of a man to return home, as depicted in Sangam Literary work, Aganaanooru 154, penned by Pothumpil Pullaalankanniyaar. The verse is situated amidst the falling jasmines and blooming glory-lilies of the ‘Mullai’ or ‘Forest landscape’ and etches the vibrant beauty of a land after the rains.

படு மழை பொழிந்த பயம் மிகு புறவின்
நெடு நீர் அவல பகுவாய்த் தேரை
சிறு பல் இயத்தின் நெடு நெறிக் கறங்க,
குறும் புதற் பிடவின் நெடுங் கால் அலரி
செந் நிலமருங்கின் நுண் அயிர் வரிப்ப,
வெஞ் சின அரவின் பை அணந்தன்ன
தண் கமழ் கோடல் தாது பிணி அவிழ,
திரி மருப்பு இரலை தெள் அறல் பருகிக்
காமர் துணையொடு ஏமுற வதிய,
காடு கவின் பெற்ற தண் பதப் பெரு வழி;
ஓடுபரி மெலியாக் கொய்சுவற் புரவித்
தாள் தாழ் தார் மணி தயங்குபு இயம்ப
ஊர்மதி வலவ! தேரே சீர் மிகுபு
நம் வயிற் புரிந்த கொள்கை
அம் மா அரிவையைத் துன்னுகம், விரைந்தே.

This trip to the forests is based on the familiar theme of a man returning after completing his mission and here, we hear the man say these words to his charioteer, on his way back home to the lady:

“In the fertile forests, where heavy rains have poured, from the deep pools of water, toads with mouths wide open, croak aloud, akin to many small musical instruments along those long paths; Long-stemmed wild jasmine buds from short bushes drop down on the fine sand of red ground beneath and decorate it with artistic patterns; Appearing akin to furious snakes, which have their hoods raised, cool and fragrant glory-lilies spread open their tight, pollen-filled buds; The male deer with twisted antlers relishes the clear waters and then resides with joy along with its desirable mate; Such is the cool, great road, surrounded by the blessed beauty of the forest. O charioteer! Always speeding and never slowing, ride on the horses with trimmed manes, making bells tied low on their feet to sway and resound, and hasten the chariot towards the abode of that beautiful, dark-skinned lady, who has an esteemed principle of perfect love for me!”

Time to speed along with the man on those ancient roads! The man starts by depicting the world around him in much detail. He talks of the rain-washed forests and the consequence of toads croaking like musical instruments from those deep pools of water. Then his eyes fall on the wild jasmine flowers that have dropped down from their bushes and he admires the decorations these flowers make on the red soil of the forest, no doubt reminding him of the ‘kolam’ or patterns drawn in front of homes with rice powder. From these gentle flowers, he turns to a fiery, floral neighbour, a radiant glory-lily, which seems to him like a furious snake, staring with its hood, raised high. After this, he takes in a male deer with twisted antlers and sees the animal feeding on clear waters and then lying down with its loveable mate. The man summarises all these aspects by remarking on the exquisite beauty of the forest after the rains. He concludes by asking his charioteer to speed on the horses and ride their chariot swiftly to the lady, who waits with much love for the man! 

Here, we see the man declare how beautiful the outer world had turned because of the shower of rains, and at the same time, he understands this is no time to linger and celebrate this beauty, for someone awaits him, with much yearning and distress, as the season of his promised return had arrived. The man seems to recharge himself with an observation of his environment and with the rejuvenation gained, turns his attention to his ultimate destination. To me, this seems to say that no matter how far we want to go, we have to begin right where we are, drawing our strength and focus from the here and now! 

In this episode, we listen to the anguished words of a mother, as depicted in Sangam Literary work, Aganaanooru 153, penned by Cheraman Ilanguttuvan. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse muses on the transformation of a young girl.

நோகோ யானே; நோதகும் உள்ளம்;
அம் தீம் கிளவி ஆயமொடு கெழீஇ,
பந்துவழிப் படர்குவள் ஆயினும், நொந்து நனி,
வெம்பும்மன், அளியள்தானே இனியே,
வன்கணாளன் மார்புஉற வளைஇ,
இன் சொற் பிணிப்ப நம்பி, நம் கண்
உறுதரு விழுமம் உள்ளாள், ஒய்யெனத்
தெறு கதிர் உலைஇய வேனில் வெங் காட்டு,
உறு வளி ஒலி கழைக் கண் உறுபு தீண்டலின்,
பொறி பிதிர்பு எடுத்த பொங்கு எழு கூர் எரிப்
பைது அறு சிமையப் பயம் நீங்கு ஆர் இடை
நல் அடிக்கு அமைந்தஅல்ல; மெல் இயல்
வல்லுநள்கொல்லோ தானே எல்லி
ஓங்கு வரை அடுக்கத்து உயர்ந்த சென்னி
மீனொடு பொலிந்த வானின் தோன்றி,
தேம் பாய்ந்து ஆர்க்கும் தெரி இணர்க் கோங்கின்
கால் உறக் கழன்ற கள் கமழ் புது மலர்
கை விடு சுடரின் தோன்றும்
மை படு மா மலை விலங்கிய சுரனே?

In this trip to the hot drylands, we get to hear the mother say these words, at the juncture she learns that her daughter has eloped away with her beloved:

“I’m hurting; My heart suffers; Joining together with her playmates, who render sweet and beautiful words, even when she used to lightly move around, playing with her ball, she would feel fatigued and distressed. Isn’t she to be pitied, now that the harsh-eyed man had embraced her close to his chest and said sweet words many, and believing that, without thinking of the angst-ridden sorrow she inflicts on us, she has parted away to the searing forest, which the summer sun burns with its scorching rays, and as hot winds dash against and caress lush bamboos, sparks fly about and huge flames soar high in those mountains, lacking any vegetation, leaving those long paths, bereft of any comfort, making these unsuitable for the treading of fine feet! In the peaks of soaring mountain ranges, appearing like the star-studded sky, buttercup trees’ flower clusters are buzzed around by bees, and their new flowers, wafting with the scent of toddy, break apart in the breeze and appear, akin to sparks that scatter when a hand kindles a lamp. Has my gentle-natured girl become capable now of crossing such a harsh drylands, amidst those huge cloud-enveloped hills?”

Let’s brave the fiery drylands and learn more! Mother starts by declaring that she’s in much pain. She thinks back to how her girl would fuss and cry after just playing ball with her playmates. But now, that delicate girl had fallen for the words of a man, and trusting him, she had left to the harsh drylands, where the summer sun throws its weight about, making sparks fly from bamboos, destroying anything green, thus leaving those paths unfit for use. Mother further talks about how the buttercup tree, bereft of leaves, but filled with flowers looks like the night sky, dotted with stars, and at the moment, the winds raid the branches, those flowers fall down and appear akin to sparks that fly out, when a lamp is kindled by hand. Mother concludes by wondering from where her daughter gained the strength to traverse such a long and formidable path!

At the core, it’s the timeless surprise that pops in the minds of parents, when taking in the dramatic changes in their children, whom they once held in their hands as helpless beings, utterly dependant on them for everything, but who have suddenly sprouted wings and taken to bold new skies on their own!

In this episode, we perceive beauty from the lens of a man in love, as depicted in Sangam Literary work, Aganaanooru 152, penned by Paranar. The verse is situated amidst the orchards and peaks of the ‘Kurinji’ or ‘Mountain landscape’ and presents a glimpse of history through its mention of prominent people and places.

நெஞ்சு நடுங்கு அரும் படர் தீர வந்து,
குன்றுழை நண்ணிய சீறூர் ஆங்கண்
செலீஇய பெயர்வோள் வணர் சுரி ஐம்பால்
நுண் கோல் அகவுநர்ப் புரந்த பேர் இசை,
சினம் கெழு தானை, தித்தன் வெளியன்,
இரங்குநீர்ப் பரப்பின் கானல்அம் பெருந் துறை,
தனம் தரு நன் கலம் சிதையத் தாக்கும்
சிறு வெள் இறவின் குப்பை அன்ன
உறு பகை தரூஉம் மொய்ம் மூசு பிண்டன்
முனை முரண் உடையக் கடந்த வென் வேல்,
இசை நல் ஈகைக் களிறு வீசு வண் மகிழ்,
பாரத்துத் தலைவன், ஆர நன்னன்
ஏழில் நெடு வரைப் பாழிச் சிலம்பில்
களி மயிற் கலாவத்தன்ன தோளே
வல் வில் இளையர் பெருமகன் நள்ளி
சோலை அடுக்கத்துச் சுரும்பு உண விரிந்த
கடவுட் காந்தளுள்ளும், பல உடன்
இறும்பூது கஞலிய ஆய்மலர் நாறி,
வல்லினும், வல்லார்ஆயினும், சென்றோர்க்குச்
சால் அவிழ் நெடுங் குழி நிறைய வீசும்,
மாஅல் யானை ஆஅய் கானத்துத்
தலையாற்று நிலைஇய சேயுயர் பிறங்கல்
வேய் அமைக் கண் இடை புரைஇ,
சேய ஆயினும், நடுங்கு துயர் தருமே.

In this long trip through the mountains, we travel to many different regions in ancient Tamil land, as we listen to these words said by the man, after his tryst with the lady:

“After coming here to end the deep suffering that makes my heart quiver, she parts away to her little hamlet, amidst the hills.

Her thick and curly tresses, worn as a five-part braid, are akin to the feathers of a dancing peacock in the slopes of Paazhi, situated amidst the picturesque mountain ranges, in the domain of Nannan, clad in sandalwood garlands, the leader of ‘Paaram’, renowned for his immense charity of rendering elephants with joy on supplicants, and his victorious spear, which crossed the battlefront and won over Pindan, swarming around him, with a deep enmity, akin to small, white shrimps that attacks, destroying fine ships, bringing great wealth in the huge shores of Kaanaalam, near the roaring expanse of the seas, ruled by ‘Thithan Veliyan’, possessing a huge, furious army, and having the great fame of rendering his patronage to bards holding intricate rods.

As for her arms, they waft with the scent of the divine flame lily, blooming to be fed upon by bees, and the scent of many other beautiful flowers flourishing in the mountain orchards of the great lord Nalli, who wields an army of young men, skilled in archery. Indeed, those arms are akin to the slender and smooth stems between nodes of bamboos, flourishing in the forests amidst the tall mountains of ’Thalaiyaaru’, ruled by Aay, possessing huge elephants, known for his copious rendering of fine cooked rice, making bowls of supplicants, who seek him, brim over, whether they possess great abilities or whether they don’t.

Those tresses and arms of hers, even though they be far, render a quivering suffering in me!”

Time to explore ancient places and rendezvous with rulers to understand the song in the man’s heart! He starts by talking about how the lady had come to allay his yearning to be with her and had now parted away to her village in the hills. He then goes on to talk about the lady’s tresses. To put it in a nutshell, he says these thick and curly locks are very much like the feathers of a peacock in ‘Paazhi’, a mountainous region ruled by ‘Nannan’, with his capital at Paaram. Though that’s the destination, there are many outer roads that lead here. For instance, the man talks about the swarming shrimps surrounding the wealth-laden ships arriving at the harbour of ‘Kaanalam’, ruled by Thithan Veliyan. This mention of swarming shrimps is made to place in parallel the way Nannan surrounded the army of Pindan and scored a resounding victory over him. That’s the road that leads to Nannan’s slopes and the dancing peacocks, summoned in parallel to the lady’s exquisite tresses. 

Next, the man’s mind turns to the lady’s slender arms and these are said to waft with the scent of flame-lilies and other beautiful flowers blooming in the mountain orchards of ‘Nalli’. Not only that, those arms are akin to the smooth spaces between the nodes of bamboos in the hills of ‘Thalaiyaaru’, ruled by ‘Aay’. Thus, five different kings have been called to the court of the man’s mind, to depict the beauty of his beloved. The man mentions the fame of each of these kings, such as Nannan’s generosity of showering elephants, Thithan’s greatness in rendering his patronage to bards, Nalli’s army of men with skilful bows, and Aay’s charity of making the bowls of his supplicants brim over with rice, regardless of their talent. He concludes by saying how those tresses and arms of the lady torment him, even when they have parted away and gone afar! It’s just a man musing on his beloved and feeling the pain of being apart from her, but this poet weaves the beauty of a nameless person with the history of the prominent and renders a crash course on connecting the disparate with creativity! 

In this episode, we perceive the core reason for the man’s parting, as portrayed in Sangam Literary work, Aganaanooru 151, penned by Kavanmullai Bootharathanaar. Set in the ‘Paalai’ or ‘Drylands landscape, the verse presents a vivid portrait of this domain.

தம் நயந்து உறைவோர்த் தாங்கி, தாம் நயந்து
இன் அமர் கேளிரொடு ஏமுறக் கெழீஇ,
நகுதல் ஆற்றார் நல்கூர்ந்தோர் என,
மிகு பொருள் நினையும் நெஞ்சமொடு அருள் பிறிது
ஆபமன் வாழி, தோழி! கால் விரிபு
உறுவளி எறிதொறும் கலங்கிய பொறி வரிக்
கலைமான் தலையின் முதல்முதற் கவர்த்த
கோடல்அம் கவட்ட குறுங் கால் உழுஞ்சில்
தாறு சினை விளைந்த நெற்றம், ஆடுமகள்
அரிக் கோற் பறையின், ஐயென ஒலிக்கும்
பதுக்கைத்து ஆய செதுக்கை நீழல்,
கள்ளி முள் அரைப் பொருந்தி, செல்லுநர்க்கு
உறுவது கூறும், சிறு செந் நாவின்
மணி ஓர்த்தன்ன தெண் குரல்
கணி வாய் பல்லிய காடு இறந்தோரே!

In this trip to the drylands, we perceive plenty of striking images and associations, as we listen to the lady say these words to her confidante, after the man has parted away in search of wealth:

“He lacks the ability to delight with and remain joyfully together with his pleasant kith and kin, protecting those who love him, and loving them in return, for he thinks of those, who are impoverished, and goaded by his heart, which wishes to earn much wealth, he forgets his grace and loses sympathy! Long may he live, my friend! In those wide spaces, where hot and strong winds blow forcefully, the branches of the short-trunked Lebbeck tree, akin to twisted antlers, bursting out for the first time from the head of a male deer, with dispersed dots and spots, shake with seed pods, akin to the pebble-filled sticks used to play on drums by dancing maiden, and resound with a sharp sound, near the hollow stone graves, in the diminished shade of those wild spaces, where holding on to the thorny trunks of cactuses, expressing right things to wayfarers, clear voices of fortune-telling lizards with short, red tongues tinkle, akin to bells. It is to such a scrub jungle, he has parted away to!”

Let’s walk on through those hot and arid spaces and understand the emotions expressed therein! The lady starts by talking about the man’s nature and remarks how he seems utterly incapable of simply laughing and remaining happy with those who love him. This is because his mind takes in the pitiable state of those who are impoverished and who come seeking to him. In order to alleviate their suffering, the man had decided to leave in search of wealth, the lady relates, talking about how he seems not to have any pity for her own state. Then, she goes on to describe the place he has left to and talks of the fiery winds, of how the branches of the Lebbeck tree, which she connects with the antlers of a male deer, shakes and the seed pods on that tree, resound like the drum sticks of dancing maiden, and of how lizards perched on trunks of cactuses, send out noises, that seem to announce the fortunes of wayfarers traversing that path!

The lady thus visualises in her mind’s eye, the desolate space the man walks, and attributes his reason for parting away to his noble nature of caring for the poor. In the process, the man has forgotten the ‘poor me’, the lady seems to say. The verse highlights the timeless conflict that often arises in an individual’s balancing act between serving the wider society and caring for those close at home! 

In this episode, we listen to persuasive words seeking the welfare of a friend, as depicted in Sangam Literary work, Aganaanooru 150, penned by Kuruvazhuthiyaar. The verse is situated amidst the teeming fish and blooming flowers of the ‘Neythal’ or ‘Coastal Landscape’ and relays the lady’s state of mind.

பின்னுவிட நெறித்த கூந்தலும், பொன்னென
ஆகத்து அரும்பிய சுணங்கும், வம்பு விடக்
கண் உருத்து எழுதரு முலையும் நோக்கி;
‘எல்லினை பெரிது’ எனப் பல் மாண் கூறி,
பெருந் தோள் அடைய முயங்கி, நீடு நினைந்து,
அருங் கடிப்படுத்தனள் யாயே; கடுஞ் செலல்
வாட் சுறா வழங்கும் வளை மேய் பெருந் துறை,
கனைத்த நெய்தற் கண் போல் மா மலர்
நனைத்த செருந்திப் போது வாய் அவிழ,
மாலை மணி இதழ் கூம்ப, காலைக்
கள் நாறு காவியொடு தண்ணென மலரும்
கழியும், கானலும், காண்தொறும் பல புலந்து;
‘வாரார்கொல்?’ எனப் பருவரும்
தாரார் மார்ப! நீ தணந்த ஞான்றே!

In this little boat trip to this vibrant domain, we hear these words said by the confidante to the man, when he leaves after a tryst by day with the lady:

“Glancing at the well-grown, ready-to-be-braided, long and curly tresses, the pallor spots in gold budding on the bosom, and the upraised and well-formed breasts that brim over the bustier cloth,  saying ‘You have become radiant like the day’, mother rendered many praises and embraced, clasping her fully. Then, mother thought for long, and placed her under a strict guard.

Speeding fish with sword-like horns traverse near the huge sea shore, where conches rove about, and here, in the evening, as the blue lotus, with its dark and thick flowers, appearing like eyes, closes its sapphire-like petals, the golden champak, moistened by this blue lotus, opens its pollen-filled buds. Then in the morning, the blue lotus blossoms with coolness, along with the red lotus, which wafts with the fragrance of toddy. Every time, she sees these scenes in the backwaters and groves, she laments a lot and wonders with angst, ‘Won’t he come back?’. This is what happens every moment you remain parted away from her, O garland-clad one!”

Let’s swim along with the swordfish, and then climbing on to the shore, track the scents of the many blooming flowers! The confidante starts her address to the man by talking about how the lady’s mother had reacted to the changes in the lady’s form. Mother seems to have taken a deep look at the lady’s tresses, long and flowing, pallor spots, glowing in gold, and her blooming bosom, brimming over her cloth band, and praised the lady for her radiant beauty. After this shower of praise, mother seems to have pondered a lot and then placed the lady on a strict watch. 

After rendering these words, the confidante goes on to talk about the flowers in the evening hour, a time when the blue lotus, not seeing its beloved sun, closes its petals, whereas at the same time, the golden champak opens its pollen-filled buds. Then, the confidante fast forwards to the morning hour, and points to how the same blue lotus blossoms out, in the company of the red lotus, spreading splashes of colour everywhere! The reason the confidante has talked about these flowers is to say that no matter how beautiful the backwaters and groves may appear, every moment the man is not present, the lady laments and yearns for that time when he would return. In essence, to relieve the lady’s worry, the confidante is subtly nudging the man to give up his temporary trysting and asking him to seek a permanent union with the lady! 

Reading about the opening and closing of these buds, I wanted to know more about the differences in the flowers mentioned. This led me to learn about how, just like in humans, there are ‘morning larks’ and ‘evening owls’, among flowers, there are day bloomers and night bloomers, and each type has its own unique characteristics. Whereas the day bloomers like the blue and red lotus rely on the power of sight, owing to the abundant light, showered by the sun, to attract their pollinators, such as bees, the night bloomers like the golden champak, use the power of scent, to pull in their specific pollinators, such as moths! It’s interesting how this verse connects so very delicately, the opening and closing of flower buds to the lady’s delight when the man is near and her angst when he is away. Another instance of the Sangam poets superior ability of seeing one in the world and the world in one!