In this episode, we listen to the angst-ridden voice of a lady, as depicted in Sangam Literary work, Aganaanooru 235, penned by Kazhaarkeeran Eyitriyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse paints a vivid portrait of the many flowers that bloom in the aftermath of the rains.

அம்ம வாழி, தோழி! பொருள் புரிந்து
உள்ளார்கொல்லோ, காதலர்? உள்ளியும்,
சிறந்த செய்தியின் மறந்தனர்கொல்லோ?
பயன் நிலம் குழைய வீசி, பெயல் முனிந்து,
விண்டு முன்னிய கொண்டல் மா மழை
மங்குல் அற்கமொடு பொங்குபு துளிப்ப,
வாடையொடு நிவந்த ஆய் இதழ்த் தோன்றி
சுடர் கொள் அகலின் சுருங்கு பிணி அவிழ,
சுரி முகிழ் முசுண்டைப் பொதி அவிழ் வான் பூ
விசும்பு அணி மீனின் பசும் புதல் அணிய,
களவன் மண் அளைச் செறிய, அகல் வயல்
கிளை விரி கரும்பின் கணைக்கால் வான் பூ
மாரி அம் குருகின் ஈரிய குரங்க,
நனி கடுஞ் சிவப்பொடு நாமம் தோற்றி,
பனி கடி கொண்ட பண்பு இல் வாடை
மருளின் மாலையொடு அருள் இன்றி நலிய,
‘நுதல் இறைகொண்ட அயல் அறி பசலையொடு
தொல் நலம் சிதையச் சாஅய்,
என்னள்கொல் அளியள்?’ என்னாதோரே.

In this trip to the drylands, we hardly get a glimpse of this harsh domain, as we listen to the lady say these words to her confidante, when her man continues to remain parted away, having left in search of wealth:

“Listen my friend, may you live long! As he goes about seeking wealth, won’t that lover of mine even think of me? Even when he does, burdened by the excess of his mission, will he forget to do anything about it?

After pouring down aplenty on fertile lands, disliking to pour anymore, huge, dark rain clouds have migrated to the mountains. At this time, when a mere drizzle of the passing clouds remain, and as the northern winds blow, the flame-lily with exquisite petals loosens its tight buds, and blossoms akin to an earthen lamp, lit by a flame; The curled buds of the common night glory open out their white flowers decorating green bushes, akin to the stars that adorn the sky; As crabs retire to their mud holes, in wide fields, where sugarcanes spread their stalks, their thick-stemmed white flowers, appear bent akin to birds drenched in the rain;

With immense fury, invoking fear, brimming with cold, the compassion-less northern winds continue to blow in this confusing evening hour and assail me with no mercy. How can he be without thinking, ‘With pallor, which reveals everything to others, residing firmly in her forehead, and her old beauty fading away, what will be the state of that pitiable one?’!”

Let’s listen to the lady’s lament! She starts by beckoning her friend’s attention, wondering if thoughts of her won’t even cross the man’s mind, and even if it does, would he just ignore it owing to the burden of his work. Then, she goes on to talk about the world around her, mentioning how the rains are done and dusted, and the clouds have gone on a vacation to the mountains. In this season, flowers are blooming everywhere, first it’s the radiant flame-lily, looking like a lit earthen lamp, then it’s the common night glory or the midnapore creeper, upon the green bushes, looking like stars in the sky, and then moving further on to the fields, as crabs run inside the mud holes, the sugarcane’s bent white flowers, give an appearance of soaked white birds, shivering in the rain. The lady talks about how as if the sight of all this blooming wasn’t enough to torment her, the northern winds had joined hands too, at piling suffering upon her.

The lady concludes by asking how could the man remain there, at peace, without considering the effect of all these elements, the pallor which announces her affliction to those around, and her ruined beauty, without even sparing a single moment of thought for her pitiable state! In essence, the lady says there’s beauty all around but none I can see for he is far away and it pains to think that he doesn’t think about me. Hope the expression of this angst helps the lady resolve her pain, and learn to receive the gift that we’ve been given, the one of delighting in the beauty of that blooming world around!

In this episode, we listen to a passionate request put forth, as depicted in Sangam Literary work, Aganaanooru 234, penned by Peyanaar. The verse is situated amidst the buzzing bees of the ‘Mullai’ or ‘Forest landscape’ and sketches the speed of an envisioned journey.

கார் பயம் பொழிந்த நீர் திகழ் காலை,
நுண் அயிர் பரந்த தண் அய மருங்கின்,
நிரை பறை அன்னத்து அன்ன, விரை பரிப்
புல் உளைக் கலிமா மெல்லிதின் கொளீஇய,
வள்பு ஒருங்கு அமையப் பற்றி, முள்கிய
பல் கதிர் ஆழி மெல் வழி அறுப்ப,
கால் என மருள, ஏறி, நூல் இயல்
கண் நோக்கு ஒழிக்கும் பண் அமை நெடுந் தேர்
வல் விரைந்து ஊர்மதி நல் வலம் பெறுந!
ததர் தழை முனைஇய தெறி நடை மடப் பிணை
ஏறு புணர் உவகைய ஊறு இல உகள,
அம் சிறை வண்டின் மென் பறைத் தொழுதி
முல்லை நறு மலர்த் தாது நயந்து ஊத,
எல்லை போகிய புல்லென் மாலை,
புறவு அடைந்திருந்த உறைவு இன் நல் ஊர்,
கழி படர் உழந்த பனி வார் உண்கண்
நல் நிறம் பரந்த பசலையள்
மின் நேர் ஓதிப் பின்னுப் பிணி விடவே.

In this trip to the forests, we get a tour of a transport, as we listen to the man say these words to his charioteer, when he has completed his mission and intends to return home:

“At this time, when rains have poured productively and made the land flourish with water, as fine silt spreads around cool lakes, akin to geese that fly in a neat row, wield your speeding horses with sparse manes. Holding on firmly to their reins tied so gently, pressing down the many-spoked wheels, which cut across soft paths, making one confused if it’s the wind, climb on to the tall chariot, which is built according to the right rules, and which moves with such speed that it escapes the eyes, hasten and ride on, O victorious charioteer!

A naive female deer with a leaping trot, having had its fill of leaves, disliking any more, turns to unite with its mate and frolics without interruption, and a swarm of bees, with exquisite, soft wings, buzz around the fragrant flowers of the wild jasmine, scattering their fine pollen, in this evening hour, when the day has ended. Now, in the delightful village, so pleasant to stay amidst the forests, she would be with suffering soaring in her tear-brimming, kohl-streaked eyes, and her fine form coated with pallor. Ride on, O charioteer, so that the lightning-like tresses of my maiden will be rid of their tangles many!”

Let’s fly on and hear the man’s heartbeat amidst the hoof-beat! The man starts by talking about the time of the year, and to portray it, he mentions how the rains have poured and filled the land with much water and fertility. This is a subtle note to say that the rainy season, which is usually the promised season of return, had arrived. Now he compares his horses to geese, most probably the bar-headed geese that fly in a synchronised motion, high up in the skies, and asks his charioteer to hold on to their reins and direct them, as he sits on their well-etched chariot, which the man claims has been made to perfection. The man insists that the way the charioteer rides should confuse people if it’s just a chariot or the wind, so fast and steady must its motion be that it escapes even the eyes. The man’s thoughts then turn to the lady’s fine village in the forest, in the evening hour, when deers would be uniting with joy and bees would be delighting in the wild jasmine blooms. While there’s so much joy and beauty around, the man says the lady will be standing with tears brimming over in her eyes, and her form covered in pallor, pining for him. The man concludes by urging his charioteer to hurry on, so that his beloved’s hair would be rid of all those knots and tangles! 

What has the man’s return got to do with the lady’s tresses? To understand its meaning, we have to know of the tradition of Sangam maiden not adorning their tresses, not even combing them, when their man is away! No doubt those thick tresses would end up matted after such a long absence! But the moment the lady learns of the man’s homecoming, she would groom her hair and bloom again like those wild jasmines, the man predicts. Glad the women of now have come a long way from such ancient traditions, and have uncoupled the act of taking care of their appearance and well-being, from the distance to their beloved! 

In this episode, we perceive the promise of a return, as depicted in Sangam Literary work, Aganaanooru 233, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse mentions an act of ritual offering by a famous Sangam era king.

அலமரல் மழைக் கண் மல்கு பனி வார, நின்
அலர் முலை நனைய, அழாஅல் தோழி!
எரி கவர்பு உண்ட கரி புறப் பெரு நிலம்
பீடு கெழு மருங்கின் ஓடு மழை துறந்தென,
ஊன் இல் யானை உயங்கும் வேனில்,
மறப் படைக் குதிரை, மாறா மைந்தின்,
துறக்கம் எய்திய தொய்யா நல் இசை
முதியர்ப் பேணிய உதியஞ் சேரல்
பெருஞ் சோறு கொடுத்த ஞான்றை, இரும் பல்
கூளிச் சுற்றம் குழீஇ இருந்தாங்கு,
குறியவும் நெடியவும் குன்று தலைமணந்த
சுரன் இறந்து அகன்றனர்ஆயினும், மிக நனி
மடங்கா உள்ளமொடு மதி மயக்குறாஅ,
பொருள்வயின் நீடலோஇலர் நின்
இருள் ஐங் கூந்தல் இன் துயில் மறந்தே.

In this trip to the drylands, we get to see much of this harsh domain, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth:

“With your bewildered, rain-like eyes, brimming over with tears, and moistening your blossomed breasts, cry not, my friend! Feasted upon by flames, with a black surface, extends the huge land, which rain clouds have abandoned, scuttling away to other proud and fertile regions. Here, flesh-less elephants rove about in the heat of summer. Such are the drylands.

King Uthiyan Cheral, had spread out great offerings of rice, celebrating his ancestors, who had commanded over a courageous army of horses, who had lived with an undying fame and an unswerving strength, and who had attained the heavens. Akin to the forms of many dark demons in a horde, which had assembled at that time, to gorge on those offerings, soar around many short and tall peaks in the drylands. 

Though he has parted away thither, with his relentless heart urging him on to seek wealth, and making him confused, he is not someone, who will delay his return, forgetting the sweet sleep he has savoured on your darkness-like, five-part tresses!”

Time to brave the heat of this terrain and explore on! The confidante starts by talking about the lady’s state of crying ceaselessly, pining for the man who has left. Then she goes on to describe the place to which the man has left, the land which fire has engulfed, a possible reference to wild-fire breakouts, and charred as a result. She also talks about how the rain clouds have given this land the cold shoulder, preferring to associate with other elite lands of fertility. And on such a scorched and barren land, elephants rove around with sagging skin, bereft of flesh, in the heat of summer, the confidante comments.

Then to talk about how this region is surrounded by many tall and short hills, the confidante brings forth a historical reference, describing the time when a Chera King Udhiyan spread out huge offerings of food in honour of his ancestors. This, is a believable fact, for indeed many people here, are known to honour their ancestors with such offerings even to this day. However, the confidante talks about demonic figures that come to feed on these offerings, and it’s those figures she places in parallel to those tall and short hills around the scorching drylands. The confidante concludes by telling the lady though the man, yearning for wealth, nudged by his heart, and much confused, has left to such a place, he is not someone who can possibly stay there, forgetting the peaceful moments of slumber he had experienced on the lady’s tresses.

Those tresses again! What is it about a Sangam maiden’s tresses that so many poets keep singing about it over and over again? Something to do with the scent of a woman and its powerful influence on attraction, no doubt! In this version of ‘Worry not, your beauty will bring the man back’, we got to say hello to a bit of fantasy fused as one with history!

In this episode, we perceive a subtle technique of persuasion, as portrayed in Sangam Literary work, Aganaanooru 232, penned by Kodimangalathu Vaathuli Narchenthanaar. The verse is situated amidst the blooming Kino trees of the ‘Kurinji’ or ‘Mountain landscape’ and describes a ritual performed in Sangam times.

காண் இனி வாழி, தோழி! பானாள்,
மழை முழங்கு அரவம் கேட்ட, கழை தின்,
மாஅல் யானை புலி செத்து வெரீஇ,
இருங் கல் விடரகம் சிலம்பப் பெயரும்
பெருங் கல் நாடன் கேண்மை, இனியே,
குன்ற வேலிச் சிறுகுடி ஆங்கண்,
மன்ற வேங்கை மண நாட் பூத்த
மணி ஏர் அரும்பின் பொன் வீ தாஅய்
வியல் அறை வரிக்கும் முன்றில், குறவர்
மனை முதிர் மகளிரொடு குரவை தூங்கும்
ஆர் கலி விழவுக் களம் கடுப்ப, நாளும்,
விரவுப் பூம் பலியொடு விரைஇ, அன்னை
கடியுடை வியல் நகர்க் காவல் கண்ணி,
‘முருகு’ என வேலற் தரூஉம்
பருவமாகப் பயந்தன்றால், நமக்கே.

In this trip to the mountains, we get to hear the confidante say these words to the lady, pretending not to notice the man, who has arrived for his tryst with the lady, but making sure he’s in earshot:

“See this, my friend, may you live long! In the middle of the night, hearing the thunderous roar of the rain cloud, a huge elephant feeding on bamboos, frightened that it’s a tiger, runs away trumpeting aloud, making the huge mountain range resound in the man’s mountain country. In a small hamlet, fenced by peaks, the Kino tree in the village centre blooms  brightly announcing auspicious days of marriage, and shed golden flowers from sapphire-hued bud stalks, which spread on wide rocky spaces, in the front yard of mountain men, who perform ‘Kuravai’ dance with mature maiden, in those spaces of festivity, filled with uproar. Akin to that, every day, spreading flowers and sacrifice, mother wishing for protection of the well-guarded, fine mansion, seeks blessings of ‘Murugu’ with rituals of ‘Velan’. Your relationship with the man from the mountain country has bestowed upon us, such a time in our lives!”

Time to take a trek amidst the rocky terrain and learn of the challenges in the lady’s life! The confidante starts by beckoning her friend’s attention. Then she goes on to describe the man’s mountain country, and to do that, she brings forth an image of an elephant, startled by the sound of thunder, in the middle of the night, and thinking it’s the roar of the tiger, it scuttles away trumpeting, making the entire mountain range echo in fear. After that description of the man’s mountain country, the confidante goes on to describe how the ‘Vengai’ trees are in full bloom, and they are announcing the season of weddings had arrived. As these golden flowers fell on the rocky spaces in the front yards, mountain men and women perform the ‘Kuravai’ dance with much joy. Appearing akin to that field of festivities, was their own home, the confidante continues, why because mother had decided to curry favour with God ‘Murugu’, using the professional services of ‘Velan’ the priest and seek protection for their house, and to this end, the mother had spread flowers and other sacrificial offerings. Now, the confidante connects these happenings to the lady’s relationship with the man and concludes by wondering at the state they find themselves in now.

To unravel the meanings, we have to understand the reason Mother is starting her ‘Murugu’ worship was because she had noticed the changes in her beloved daughter, who is apparently happy when she’s with the man, and whenever he leaves, she falls into despair and mother’s sharp eyes have caught this. Not knowing that the man is the reason for that, she goes about seeking Murugu’s help to alleviate the lady’s symptoms, implies the confidante. This is also reflected in the scene of the elephant, mistaking thunder for a tiger,  and echoes how the lady’s family has mistaken the consequence of the man’s relationship in the lady as ‘Murugu’s ire’. All this is to nudge the man to give up his temporary trysting, take steps to reinstate the lady’s honour and seek her hand in marriage. Yet again, the confidante choreographs that seamless ‘Kuravai’ dance between nature and culture to bring about permanent joy in the lady’s life!

In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 231, penned by Madurai Eezhathu Boothan Thevanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the fame of a Pandya King and his city.

‘செறுவோர் செம்மல் வாட்டலும், சேர்ந்தோர்க்கு
உறும் இடத்து உவக்கும் உதவி ஆண்மையும்,
இல் இருந்து அமைவோர்க்கு இல், என்று எண்ணி,
நல் இசை வலித்த நாணுடை மனத்தர்
கொடு விற் கானவர் கணை இடத் தொலைந்தோர்,
படு களத்து உயர்த்த மயிர்த் தலைப் பதுக்கைக்
கள்ளி அம் பறந்தலைக் களர்தொறும் குழீஇ,
உள்ளுநர்ப் பனிக்கும் ஊக்கு அருங் கடத்திடை
வெஞ் சுரம் இறந்தனர்ஆயினும், நெஞ்சு உருக
வருவர் வாழி, தோழி! பொருவர்
செல் சமம் கடந்த செல்லா நல் இசை,
விசும்பு இவர் வெண் குடை, பசும் பூட் பாண்டியன்
பாடு பெறு சிறப்பின் கூடல் அன்ன நின்
ஆடு வண்டு அரற்றும் முச்சித்
தோடு ஆர் கூந்தல் மரீஇயோரே.

In this trip to the drylands, we encounter some frightening images and also take a detour to a famous Sangam era city, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth:

“Thinking, ‘The ability, to destroy hubris of foes, and to render aid when friends come seeking in need, does not come to those who stay at home content, nudged by his mind, filled with shame, and yearning to attain good fame, he has left to the scorching drylands, where those who have perished to arrows of men of the jungle, wielding curving bows, in battlefields, are buried with their hairy heads lifted above the ground and covered with shallow stone graves, in those vast saline spaces, where cactus spreads densely. Even though he treads upon such an inaccessible path that makes those who think about it tremble, he shall return with his heart melting, my dear friend, may you live long! Having the undying great fame of routing the attack of his enemies, and a white royal umbrella akin to the sky, rules ‘Pasumpoon Pandiyan’, in his capital of ‘Koodal’, having the fame of being sung about by bards many. Akin to this city, is your bee-buzzing head of tresses, adorned with flowers. He who has found sweet sleep on these tresses of yours will return indeed, without fail!”

Let’s walk on those barren spaces and learn more! The confidante starts by outlining the reasons the man left in search of wealth and these are noble in nature, for he had come to the conclusion that if he wanted to slay the arrogance of his enemies and render without reservation to his friends, he cannot remain at home and do nothing, but must leave in search of wealth. So, propelled by his sense of shame, he had left to the drylands, the confidante says, and goes on to talk about the harsh nature of this domain by painting an image of the men, who had fallen to the arrows of the drylands’ robbers, buried with their hairy heads covered in stones, and mentions how such paths are frightening to even think about. Hardly words of reassurance to the anxious lady! While that may be so, the confidante continues, the man is sure to return with his heart, beating so tenderly for the lady, because he was one, who had relished sweet sleep on those tresses of the lady, which the confidante concludes by placing in parallel to the celebrated city of ‘Koodal’, ruled by a renowned king of Sangam times known by the name of ‘Pasumpoon Pandiyan’. 

High praise for this city, for to be placed in parallel with a lady’s beauty, was considered the highest honour that can be endowed on a place! This city of ‘Koodal’ is none other than the city of ‘Madurai’, celebrated even in contemporary times, for being the place that reared and protected the language of Tamil over the ages.

On a tangent, a question arose in my head as to why all these men in search of wealth had to go through the drylands. Why can’t they sail by the coast or trek through the mountains? When reflecting, the thought that struck me was such a barren and desolate region could be an imaginative metaphor to contrast the comfort and safety a person leaves behind, when they venture into a new place! Perhaps, it’s a subtle whisper from the past that the drylands of doubt and despair must be crossed before we can step on to the lush fields of fertility that awaits us in the future! 

In this episode, we perceive a man’s ecstatic emotions, as depicted in Sangam Literary work, Aganaanooru 230, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the blooming blue lotuses of the ‘Neythal’ or ‘Coastal Landscape’ and sketches a conversation and its consequences.

‘உறு கழி மருங்கின் ஓதமொடு மலர்ந்த
சிறு கரு நெய்தற் கண் போல் மா மலர்ப்
பெருந் தண் மாத் தழை இருந்த அல்குல்,
ஐய அரும்பிய சுணங்கின், வை எயிற்று,
மை ஈர் ஓதி, வாள் நுதல் குறுமகள்!
விளையாட்டு ஆயமொடு வெண் மணல் உதிர்த்த
புன்னை நுண் தாது பொன்னின் நொண்டு,
மனை புறந்தருதிஆயின், எனையதூஉம்,
இம் மனைக் கிழமை எம்மொடு புணரின்,
தீதும் உண்டோ, மாதராய்?’ என,
கடும் பரி நல் மான் கொடிஞ்சி நெடுந் தேர்
கை வல் பாகன் பையென இயக்க,
யாம் தற் குறுகினமாக, ஏந்து எழில்
அரி வேய் உண் கண் பனி வரல் ஒடுக்கி,
சிறிய இறைஞ்சினள், தலையே
பெரிய எவ்வம் யாம் இவண் உறவே.

In this trip to the seas, we get to see more of the person than the land, as we listen to the man say these words to his heart, after sharing a moment with a lady:

“When I said going close to her, ‘Adorning huge, eye-like flowers of the small, dark blue lotus, blooming in the fresh flood of waves, near vast backwaters, along with huge, and cool dark leaves around your waist, which is covered with beauty spots many, having sharp teeth, moist, thick black tresses, radiant forehead, art thou, O young maiden! Along with your playmates, you gather fine pollen of the laurel wood tree fallen on the white sands, and considering it as gold, you pretend play houses. If at all, you were to play houses with me by uniting with me for real, is there anything wrong, O magnificent woman?’, as my skilful charioteer slowed down the speeding, fine horses tied to the tall chariot, carved with well-adorned curving seat, hiding the tears in her exquisite, kohl-streaked eyes with red lines, she bent her head a little, causing me to feel a huge suffering just then!”

Let’s relish the sight of the lush seaside flowers and listen on! The man starts by describing the blue lotuses that are blooming like eyes only to say the lady is wearing the same, along with its thick leaves around her waist. After her attire, the man describes her teeth, tresses, and forehead, celebrating their beauty. Then, he goes on to mention how the lady is gathering pollen of the laurel wood tree and treating it as if it were gold, and adorning the sand house that she has built with her mates. After mentioning what the lady’s been doing thus far, the man asks her if there’s anything wrong if she were to come play houses for real with him! To this, the lady, as if sharing her consent, with tear-brimming eyes, had bent her head a little and that action had thrown the man’s heart into a flutter, he concludes! 

I know! I was shocked to hear such a question put forth to a girl playing with sand houses. But we have to keep away our modern lenses and observe this interaction. Perhaps young girls were so innocent in those times that they kept playing with sand houses much into maturity. Or, the concept of age and appropriateness could have been totally different in this culture. If we were to see beyond these specifics, at the core, it’s a man proposing to a woman, and hearing her silent acceptance. If we can see that, we can relate to that timeless explosion of feelings in a person at that moment when they can see that their love is reciprocated! 

In this episode, we listen to a lady’s angst, as depicted in Sangam Literary work, Aganaanooru 229, penned by Madurai Koolavaanikan Seethalai Saathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes aspects of this domain and the arrival of a season.

பகல் செய் பல் கதிர்ப் பருதி அம் செல்வன்
அகல் வாய் வானத்து ஆழி போழ்ந்தென,
நீர் அற வறந்த நிரம்பா நீள் இடை,
கயந் தலைக் குழவிக் கவி உகிர் மடப் பிடி
குளகு மறுத்து உயங்கிய மருங்குல் பல உடன்
பாழ் ஊர்க் குரம்பையின் தோன்றும் ஆங்கண்,
நெடுஞ் சேண் இடைய குன்றம் போகி,
பொய்வலாளர் முயன்று செய் பெரும் பொருள்
நம் இன்று ஆயினும் முடிக, வல்லென,
பெருந் துனி மேவல்! நல்கூர் குறுமகள்!
நோய் மலிந்து உகுத்த நொசி வரல் சில் நீர்
பல் இதழ் மழைக் கண் பாவை மாய்ப்ப,
பொன் ஏர் பசலை ஊர்தர, பொறி வரி
நல் மா மேனி தொலைதல் நோக்கி,
இனையல் என்றி தோழி! சினைய
பாசரும்பு ஈன்ற செம் முகை முருக்கினப்
போது அவிழ் அலரி கொழுதி தாது அருந்து,
அம் தளிர் மாஅத்து அலங்கல் மீமிசை,
செங் கண் இருங் குயில் நயவரக் கூஉம்
இன் இளவேனிலும் வாரார்,
‘இன்னே வருதும்’ எனத் தெளித்தோரே.

In this trip to the drylands, we experience tender scenes in the scrub jungle, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left in search of wealth:

“As the many-rayed handsome sun, which creates the day, splits across the wide-mouthed sky, akin to a wheel, in those endless, long paths, bereft of even a drop of water, a naive female elephant refuses to eat leaves, leaving those for its tender-headed calf, and owing to the ensuing starvation, appears with a shrunken form, looking like huts in a ruined town. To such a place, after crossing peaks across great distances, that man of lies has gone to spend his efforts on gaining wealth.

My friend, when you heard my words, ‘Let him attain that great wealth promptly, even if it means he loses me’, you had said to me, ‘Do not shower your anger, O young maiden, who came as a boon to your parents! Filled with affliction, shedding tear drops, hiding the pupil of your many-petalled, rain-like eyes, as a golden pallor covers you, looking at your fine, dark skin, filled with delicate lines, becoming ruined, worry not!’.

Pecking and feeding on the pollen of fully bloomed flowers of the Coral tree, soaring from red buds on spreading branches, and then flying to a mango tree, with exquisite, tender sprouts, and perching on a swaying branch atop, the red-eyed black cuckoo calls out in a melodious tune in this sweet time of spring. The one who had promised that ‘I will be back soon’, has not yet returned even now!”

Time to take that walk through the sweltering drylands again! The lady starts by talking about the weather in the drylands, the way the sun seems to roll across the sky like a wheel and scorch the land beneath, without any pity. As a consequence, there’s not a drop of water to be had and food is hard to come by, which makes a female elephant give up its meal of leaves for the sake of its young calf, and seems to take on the appearance of a thatched hut in shambles, the lady says. Such are the scenes in the drylands, where the man has gone to gain wealth, the lady connects. Then she turns to the confidante and recollects how she had said in anger wishing the man to gain that wealth he sought even if it meant that she were to die. To this, the confidante had responded like a good friend that she is, asking the lady not to cry and worry about the changes in her form because of her pining. The lady concludes by expressing how it was impossible to accept the confidante’s consolation because spring was here, announced by the music of the content cuckoo, which had pecked on the pollen of the bright red coral flowers and was resting on the dancing branches of the mango tree, and yet the man had not returned in this sweet time of togetherness. 

Spring’s not right, rainy season is not right, the cold season too, these women seem to declare, when parted from their beloved. In short, no season is acceptable to be apart, to these maiden in love! The striking moments of this oft-repeated theme is in the selflessness of that mother elephant and in the sweet song of the cuckoo in spring, evoking emotions of care and joy, beyond the boundaries of space and time!

In this episode, we listen to words of hidden persuasion, as depicted in Sangam Literary work, Aganaanooru 228, penned by Andar Magan Kuravazhuthiyaar. The verse is situated amidst the blooming blue lilies of the ‘Kurinji’ or ‘Mountain landscape’ and presents scenes from nature having a cultural significance.

பிரசப் பல் கிளை ஆர்ப்ப, கல்லென
வரை இழி அருவி ஆரம் தீண்டித்
தண் என நனைக்கும் நளிர் மலைச் சிலம்பில்,
கண் என மலர்ந்த மா இதழ்க் குவளைக்
கல் முகை நெடுஞ் சுனை நம்மொடு ஆடி,
பகலே இனிது உடன் கழிப்பி, இரவே
செல்வர்ஆயினும், நன்றுமன் தில்ல
வான்கண் விரிந்த பகல் மருள் நிலவின்
சூரல் மிளைஇய சாரல் ஆர் ஆற்று,
ஓங்கல் மிசைய வேங்கை ஒள் வீப்
புலிப் பொறி கடுப்பத் தோன்றலின், கய வாய்
இரும் பிடி இரியும் சோலைப்
பெருங் கல் யாணர்த் தம் சிறுகுடியானே.

In this short little trip to the mountains, we gaze at picturesque sights, as we listen to the confidante say these words to the lady, when they are waiting for the man to arrive for his nightly tryst with the lady, pretending not to notice the man listening nearby, but making sure he’s in earshot:

“Making swarms of bees resound, with an uproar, the cascade descends down the mountains, caressing the sandalwood tree in its path, and soaking it with moisture, in the fertile mountain slopes, where akin to eyes, bloom the huge-petaled blue lilies. In the wide spring amidst the rocky clefts herein, if he can play with you, pass the day together with much joy, and then leave by night, when the moon spreads on the sky, brightening it like the day, walking on those paths through the slopes, filled with jujube brushes, to his prosperous little hamlet, amidst the tall hills, where a dark female elephant with a huge mouth, mistakes the bright flowers of the Kino tree soaring amidst the boulders, for the stripes of a tiger and scuttles away in fear, that would a good thing!”

Let’s soak in the gushing waterfall and learn more! The confidante starts by talking about how the cascade comes pouncing down the mountain, scattering swarms of bees, and soaking a sandalwood tree standing in its path. A moment to imagine the scent of the waters gushing in this manner! Then, the confidante continues portraying how the cascade falls down and pools into a spring, where blue-lilies are blooming in abundance. It’s this spot that’s perfect for the man to meet the lady by day, relish her sweet company, and then leave to his town by night, says the confidante. She concludes by characterising the man’s mountain village as a place, where a female elephant looks at the golden flowers of the Kino tree, mistakes it for a tiger, and runs away scared. 

Looking at the words of the verse, it seems like a harmless request to change the tryst from night to day. However, by placing the image of the brightly blooming Kino flowers, the confidante subtly hints that it’s the season of weddings, and instead of choosing the temporary path of trysting, the man must take steps to claim the lady’s hand in marriage. Hope the ‘decrypter’ is functioning right in the man’s head to decipher this cryptic message, seeking a change in action. A moment to appreciate the significance a simple flower’s blooming has in the life of a Sangam maiden, talking about a time when nature and culture were fused as one!

In this episode, we perceive a wish for the welfare of another, as portrayed in Sangam Literary work, Aganaanooru 227, penned by Nakirar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches scenes from nature and history.

‘நுதல் பசந்தன்றே; தோள் சாயினவே;
திதலை அல்குல் வரியும் வாடின;
என் ஆகுவள்கொல் இவள்?’ என, பல் மாண்
நீர் மலி கண்ணொடு நெடிது நினைந்து ஒற்றி,
இனையல் வாழி, தோழி! நனை கவுள்
காய் சினம் சிறந்த வாய் புகு கடாத்தொடு
முன் நிலை பொறாஅது முரணி, பொன் இணர்ப்
புலிக் கேழ் வேங்கைப் பூஞ் சினை புலம்ப,
முதல் பாய்ந்திட்ட முழு வலி ஒருத்தல்
செந் நிலப் படு நீறு ஆடி, செரு மலைந்து,
களம் கொள் மள்ளரின் முழங்கும் அத்தம்
பல இறந்து அகன்றனர் ஆயினும், நிலைஇ,
நோய் இலராக, நம் காதலர்! வாய் வாள்,
தமிழ் அகப்படுத்த இமிழ் இசை முரசின்,
வருநர் வரையாப் பெரு நாள் இருக்கை,
தூங்கல் பாடிய ஓங்கு பெரு நல் இசைப்
பிடி மிதி வழுதுணைப் பெரும் பெயர்த் தழும்பன்
கடி மதில் வரைப்பின் ஊணூர் உம்பர்,
விழு நிதி துஞ்சும் வீறு பெறு திரு நகர்,
இருங் கழிப் படப்பை மருங்கூர்ப் பட்டினத்து,
எல் உமிழ் ஆவணத்து அன்ன,
கல்லென் கம்பலை செய்து அகன்றோரே!

In this trip to the drylands, we journey on to some prosperous towns as well, as we get to hear the lady say these words to her confidante, when the man continues to remain away, having parted in search of wealth. 

“Saying, ‘Her forehead is coated with pallor; Her arms are thinning away; The fine lines on her loins, covered in beauty spots, have faded; What will become of her?’, with your eyes brimming over with tears, do not think a lot and worry on my behalf. May you live long, my friend!

Having moist cheeks, and raging fury, with musth fluid entering its mouth, unable to bear the sight in front, with enmity, a strong male elephant pounces on the trunk of the Kino tree, with golden flowers, in the hue of a tiger. Depriving the tree of its flowers and leaving it desolate, the elephant then rolls in the mud of the red earth beneath and quenches its rage. Rising from there, akin to the shout of warriors, when they claim victory on a battlefield, the elephant roars in the drylands. Though that lover of mine has parted away, crossing many such drylands’ paths, may he remain well and without affliction!

Wielding an honest sword, and having a roaring drum that has subdued all of Tamil land, showering limitlessly on supplicants in his great court, lives the famous king, having the celebrated name of ‘Thazhumban’, sung about by Poet Thoongal, having a scar in the shape of an eggplant, since he was stamped by a female elephant. He rules over the prosperous town of ‘Oonoor’, protected by soaring fort walls. Beyond his town, in Marungoor, filled with great, unshakeable wealth, adorned with proud and affluent mansions, and having huge backwaters and orchards, the marketplaces shine with radiant light and resound with noise. Akin to that uproar, he has caused slander to soar in town and parted away! Even so, may he journey on without any distress!”

Time to brave the dangerous paths of this domain! The lady starts by acknowledging the worry in her confidante, about her lustreless forehead, thinning arms and fading beauty. She asks the confidante not to worry so much, with tear filled eyes, about her own state. Then she goes on to describe the drylands, where the man treads now, zooming on to a raging male elephant in musth, and the way it’s taking out its anger, not on a real enemy, like a tiger, but on a Kino tree, just because it has flowers in the hue of its arch rival! After dashing against the poor tree, and making its flowers shed, the elephant then rolls in glee in the red earth and roars aloud, sounding like those blood-splattered warriors, when they claim victory in the battlefront. From here, the lady takes us to the town of Oonoor, surrounded by soaring fort walls and ruled by a renowned king, ‘Thazhumban’, with many laurels to his name. To list a few, apparently his drum had subdued the whole of Tamil land. It was interesting to catch that rare glimpse the word ‘Thamizh’ in the verse.

To continue on the king’s laurels, he was said to be celebrated by an ancient Tamil poet named ‘Thoongal Vaariyaar’, and lastly, he had received his name which means ‘The One with a Scar’, because he happened to be stamped upon by an elephant, and here’s my favourite part, owing to that he has a scar in the shape of an eggplant. ‘Vazhuthunai’ is the exact word used in this verse for the eggplant! I had somehow always associated eggplants with Persian and Greek cuisine. It was only today I learnt that the eggplant is native to India and has even been found in the archaeological remains of the Indus Valley Civilisation. So, I’m naturally thrilled to find this eggplant reference in Sangam literature, though the Tamils have lost the use of this particular word, and call it ‘Kathirikai’ in contemporary times.

Returning from our culinary meanderings, we learn this king Thazhumban and his town of Oonor have been summoned in this verse, only to take us further afar, to the markets of the affluent town of Marungoor, said to have backwaters and long-standing wealth, as reflected from its mansions. The lady connects the loud noise in the markets of Marungoor to the slander that has risen in town, owing to the man’s relationship with the lady. This tells us that the lady’s parting with the man is happening, before her marriage to the man. The lady concludes by saying even though the man has caused that uproar and left, after swearing that he would never part away from the lady, no harm should befall him in his journey! An inspiring expression of love that overlooks the hurt caused and wishes well for the beloved!

In this episode, we listen to a firm refusal, as depicted in Sangam Literary work, Aganaanooru 226, penned by Paranar. The verse is situated in the fertile fields of the ‘Marutham’ or ‘Farmlands landscape’ and portrays a historical moment from the era.

உணர்குவென் அல்லென்; உரையல் நின் மாயம்;
நாண் இலை மன்ற யாணர் ஊர!
அகலுள் ஆங்கண், அம் பகை மடிவை,
குறுந் தொடி மகளிர் குரூஉப் புனல் முனையின்,
பழனப் பைஞ் சாய் கொழுதி, கழனிக்
கரந்தை அம் செறுவின் வெண் குருகு ஓப்பும்,
வல் வில் எறுழ்த் தோள், பரதவர் கோமான்,
பல் வேல் மத்தி, கழாஅர் முன்துறை,
நெடு வெண் மருதொடு வஞ்சி சாஅய,
விடியல் வந்த பெரு நீர்க் காவிரி,
தொடி அணி முன்கை நீ வெய்யோளொடு
முன் நாள் ஆடிய கவ்வை, இந் நாள்,
வலி மிகும் முன்பின் பாணனொடு, மலி தார்த்
தித்தன் வெளியன் உறந்தை நாள் அவைப்
பாடு இன் தெண் கிணைப் பாடு கேட்டு அஞ்சி,
போர் அடு தானைக் கட்டி
பொராஅது ஓடிய ஆர்ப்பினும் பெரிதே.

In this trip to the farmlands, we venture to the source of the town’s fertility, the river shore, as we listen to the lady’s confidante say these words to the man, when he seeks entry into the lady’s house, after leaving to be in the company of a courtesan:

“I shall not accept it as truth! Speak not your words of trickery; You don’t have any shame, O lord of the prosperous town! In wide spaces therein, clad in leaf garments with contrasting patterns, maiden wearing small bangles, after they tire of playing in the gushing streams, take to plucking new reeds from ponds, and chasing white birds from picturesque fields, filled with globe thistles, in the river shore of Kazhaar, ruled by the many-speared ‘Maththi’, the king of the fisherfolk, having strong shoulders bearing a sturdy bow, where in the early hours of dawn, the new flood of Kaveri gushes, felling the tall, white Arjuna tree, along with the Portia tree. Here, along with that maiden you desire, wearing bangles on her forearm, you had been frolicking yesterday. The slander that arose today owing to that, is resounding louder than the uproar heard, when along with Paanan, having skilful strength, Katti, who had come with a huge army to attack Uranthai, ruled by the garland-clad Thiththan Veliyan, upon hearing the sweet music of the clear ‘Kinai’ drums from the king’s assembly, fearfully abandoned his mission and ran away!”

Let’s listen to the familiar beats of a love quarrel in this land of plenty! The confidante comes straight to the point and refuses to accept the man’s words, calling them as lies and declaring that the man was shameless. When we ask her the reason for this emphatic statement, she launches into a description of the town of Kazhaar, ruled by the great Maththi, renowned for his spears, called as the ‘King of fishermen’, and apparently one who had strong shoulders to bear bows. The chap seems to be handling both spears and arrows, a multi-faceted warrior, seems like!

Anyway, returning to the river shore of Kazhaar, here we find young maiden, wearing stylish leaf garments in striking designs and playing in the stream. After a while, tired of the exertion, they walk on to the ponds, where reeds are blooming, pluck those, and then run about chasing the white birds from the fertile fields, which not only have crops, but also colourful globe thistles growing therein. After laying out a day in the life of these carefree maiden, the confidante talks about how in these very river shores of Kazhaar, the river Kaveri had gushed with much force, felling two great trees in its stride, and it was right here, where the man had been having fun with another maiden he desired, a day previous. And because of that, continues the confidante, a booming slander had risen in town, which was louder than the uproar that erupted at the moment, when a ruler named Katti, having come with another ruler named Paanan to attack the town of ‘Uranthai’, ruled by Thiththan Veliyan, just after hearing the sound of Thiththan’s Kinai drums, abandoned his idea and ran away from Uranthai!

Why would an attacking ruler abandon his mission just after hearing drum beats of the enemy king? A curious story, no doubt told to extol the prowess and aura of King ‘Thiththan Veliyan’! Anyway, good to see that the confidante is not fooled by the man’s deception, calls a spade a spade, and makes the lady’s dignity reverberate like those ‘Kinai’ drums of Uranthai!