Sangam Lit

In this episode, we hear the praises of the man, as portrayed in Sangam Literary work, Kalithogai 43, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals the effect of singing about the man on the lady.

தோழி வள்ளைப் பாட்டுப் பாடத் தலைவியை அழைத்தல்
வேங்கை தொலைத்த வெறி பொறி வாரணத்து
ஏந்து மருப்பின், இன வண்டு இமிர்பு ஊதும்
சாந்த மரத்தின் இயன்ற உலக்கையால்,
ஐவன வெண் நெல் அறை உரலுள் பெய்து, இருவாம்,
ஐயனை ஏத்துவாம் போல, அணிபெற்ற
மை படு சென்னிப் பய மலை நாடனை,
தையலாய்! பாடுவாம், நாம்

தோழியின் பாடல்
தகையவர் கைச் செறித்த தாள்போல, காந்தள்
முகையின்மேல் தும்பி இருக்கும் பகை எனின்,
கூற்றம் வரினும் தொலையான், தன் நட்டார்க்குத்
தோற்றலை நாணாதோன் குன்று

தலைவியைப் பாடுமாறு தோழி வேண்டுதல்
வெருள்பு உடன் நோக்கி, வியல் அறை யூகம்,
இருள் தூங்கு இறு வரை ஊர்பு இழிபு ஆடும்
வருடைமான் குழவிய வள மலை நாடனைத்
தெருள தெரியிழாய்! நீ ஒன்று பாடித்தை

தலைவி
நுண் பொறி மான் செவி போல, வெதிர் முளைக்
கண் பொதி பாளை கழன்று உகும் பண்பிற்றே
மாறு கொண்டு ஆற்றார்எனினும், பிறர் குற்றம்
கூறுதல் தேற்றாதோன் குன்று

தோழி
புணர் நிலை வளகின் குளகு அமர்ந்து உண்ட
புணர் மருப்பு எழில் கொண்ட வரை புரை செலவின்
வயங்கு எழில் யானைப் பய மலை நாடனை
மணம் நாறு கதுப்பினாய்! மறுத்து ஒன்று பாடித்தை

தலைவி
கடுங் கண் உழுவை அடி போல வாழைக்
கொடுங் காய் குலைதொறூஉம் தூங்கும் இடும்பையால்
இன்மை உரைத்தார்க்கு அது நிறைக்கல் ஆற்றாக்கால்,
தன் மெய் துறப்பான் மலை

தோழி
என ஆங்கு
கூடி அவர் திறம் பாட, என் தோழிக்கு
வாடிய மென் தோளும் வீங்கின
ஆடு அமை வெற்பன் அளித்தக்கால் போன்றே.

Yet another verse featuring these two maiden and their songs. The words can be translated as follows:

“Confidante’s request to the lady:

Taking the tusk of a wild, spotted elephant that has killed a tiger and the wood of the bee-buzzing sandalwood tree as pestles, let’s pour the wild white rice into the bowl of the mortar and pound it, and singing as if we are praising our god, let’s praise the man from the fearsome mountains, whose peaks are surround by beautiful black clouds, O young maiden!

Confidante’s song:

Like the rings on the fingers of esteemed women, upon the buds of flame-lilies, bees lie in wait in the peak of the one, who will never be defeated even if Death attacks as his enemy, but one, who never feels shame for losing out to those he loves.

Confidante’s request asking the lady to sing:

Gazing with startled eyes at the black monkeys on wide boulders, kids of mountain goats leap down into the dark clefts of the mountain ranges in the fertile country of the lord, O maiden, wearing well-etched ornaments! Please sing something to sketch him vividly!

Lady:

Akin to the spotted ears of a deer, are the sheaths that cover the nodes of the bamboo, which shed away in the peak of the one, who never speaks ill even of those, who are his enemies, who cannot withstand his attack!

Confidante:

After feeding upon the leaves of the plum with desire, as if a beautiful hill was marching on with tusks, the handsome elephant roves in the formidable mountains of the lord, O maiden having fragrant tresses! Please sing again about him.

Lady:

Akin to the foot of a harsh-eyed tiger, the curving fruits of the plantain hang in huge clusters in the mountain of the one, who would give up his life, if he is unable to fulfil the needs of those, who express the lack in their lives, owing to suffering.

Confidante’s recollection:

And so, as we sang together of his strengths, the faded soft arms of my friend regained their health, as if the man from the mountain with swaying bamboos, had truly rendered his grace!”

Let’s explore the details. The verse is situated in the context of a man’s love relationship with a lady prior to marriage. These words contain exchanges between the lady and the man and concludes as thoughts expressed by the confidante to herself, as the man listens nearby.

The confidante starts as custom describing the pestles they are going to use. She mentions both the tusk of a killer elephant and the wood from a sandalwood tree as the pestle. These could be separate items or a fusion of these two into a single pestle. Next, we see them pouring the wild rice into the mortar so as to start pounding on it. As they do, the confidante says they should sing about the man from the mountain country, hidden in a song about their God, whom interpreters mention as ‘God Muruku’.

The confidante starts by talking about how bees resting on flame lilies seem like rings on the fingers of maiden and also, about a startled tahr, running away in the mountain clefts frightened by the sight of black monkeys on rocks. Then, to describe the qualities of the god and the man, she says the man would never see defeat even if it’s Death confronting him as the enemy while at the same time, the man would never feel shame for owning his defeat to those he loves. Then the confidante invites the lady to sing something, and the lady responds by equating the ears of spotted deer and the sheaths on bamboos that fall away in the man’s country, and to talk about his nature, she details how the man does not know to speak ill of anyone, even if they are his enemies, who are vanquished by him. The confidante then mentions a detail about an elephant walking majestically as if a hill had sprouted tusks and is marching on, in the mountains of the man, and she begs the lady to sing one more thing. The lady accepts her friend’s request and connects the foot of a tiger and the curving fruits of a plantain and etches the generosity of the man, who would want to end his life, if at all he’s unable to fulfil the needs of those who express their poverty to him. And now, the confidante concludes, recollecting this song of theirs, knowing that the man is listening nearby, by declaring how singing about the man’s country and his qualities helped the lady regain her health, as if the man had returned and endowed his graces.

The idea behind the confidante’s words is to tell the man about the lady’s state of worry regarding the delay in her marriage with the man and at the same time, convey the love she has for the man that made her bear through the time of his absence. A subtle takeaway from this verse is the health and happiness that are endowed on one by the mere act of thinking positive thoughts! 

In this episode, we perceive the lady’s trust in the man, as depicted in Sangam Literary work, Kalithogai 42, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and relates a joyous incident in the lady’s life.

வள்ளைப் பாட்டுப் பாடத் தோழி அழைக்க, தலைவி இசைதல்
‘மறம் கொள் இரும் புலித் தொல் முரண் தொலைத்த
முறம்செவி வாரணம் முன் குளகு அருந்தி,
கறங்கு வெள் அருவி ஓலின் துஞ்சும்
பிறங்கு இருஞ் சோலை நல் மலை நாடன்
மறந்தான்; மறக்க, இனி; எல்லா! நமக்குச்
சிறந்தமை நாம் நன்கு அறிந்தனம், ஆயின்; அவன் திறம்,
கொல் யானைக் கோட்டால் வெதிர் நெல் குறுவாம் நாம்,
வள்ளை அகவுவம், வா’ ‘இகுளை! நாம்
வள்ளை அகவுவம், வா’

தோழி இயற்பழித்தல்
காணிய வா வாழி, தோழி! வரைத் தாழ்பு
வாள் நிறம் கொண்ட அருவித்தே, நம் அருளா
நாணிலி நாட்டு மலை

தலைவி இயற்பட மொழிதல்
ஆர்வுற்றார் நெஞ்சம் அழிய விடுவானோ
ஓர்வு உற்று ஒரு திறம் ஒல்காத நேர்கோல்
அறம் புரி நெஞ்சத்தவன்?

தோழி
தண் நறுங் கோங்கம் மலர்ந்த வரையெல்லாம்
பொன் அணி யானை போல் தோன்றுமே நம் அருளாக்
கொன்னாளன் நாட்டு மலை

தலைவி
கூரு நோய் ஏய்ப்ப விடுவானோ? தன் மலை
நீரினும் சாயல் உடையன், நயந்தோர்க்குத்
தேர் ஈயும் வண் கையவன்

தோழி
வரைமிசை மேல் தொடுத்த நெய்க் கண் இறாஅல்
மழை நுழை திங்கள் போல் தோன்றும் இழை நெகிழ
எவ்வம் உறீஇயினான் குன்று

தலைவி
எஞ்சாது, எல்லா! கொடுமை நுவலாதி
அஞ்சுவது அஞ்சா அறனிலி அல்லன், என்
நெஞ்சம் பிணிக்கொண்டவன்

என்று யாம் பாட, மறை நின்று கேட்டனன்,
தாழ் இருங் கூந்தல் என் தோழியைக் கை கவியா,
சாயல் இன் மார்பன் சிறு புறம் சார்தர,
ஞாயிற்று முன்னர் இருள் போல மாய்ந்தது, என்
ஆயிழை மேனிப் பசப்பு!

Although the verse is another musical exchange between the confidante and lady, the roles are reversed here. The words can be translated as follows:

Confidante’s request to the lady:

Ending the old enmity of the huge and brave tiger, the elephant having ears like a winnow, feeds on herbs and grass in front, and sleeps in the sound of the descending, white cascade, in the huge and lush forests of the mountains, ruled by the lord. He has forgotten me; Let it be so! But we know well what he has rendered; And so, let us sing of his traits, as we pound the bamboo rice with the fierce elephant’s tusk, in a ‘vallai’ song. Come my friend, let’s sing a ‘vallai’ song together:

Confidante’s words:

Come and see, my friend, may you live long! How do the white-hued cascades descend down the mountains of the shameless one, who does not render his grace?

Lady’s response:

Will he let the heart of the one whom he loves be ruined? For he is one with a heart filled with unswerving justice, like the needle of a scale that does not bend to one side unfairly.

Confidante’s words:

How do the moist and fragrant buttercup flowers bloom all around the ranges, making it appear like an elephant, clad in golden ornaments in the mountain of the cruel one, who does not render his grace?

Lady’s response:

Will he let me be as this piercing disease tortures? He is one sweeter than the water in his mountain, one who has the generous hands to render chariots to those, who come seeking to him with desire.

Confidante’s words:

How do the honeycombs, filled with nectar, cover the hill tops, appearing like a cloud-covered moon in the mountain of the tormenting one, who made your jewels slip away?

Lady’s response:

Don’t, my friend! Don’t speak ill of him unceasingly! He is not an unjust person, who fears not what needs to be feared, the one who has captured my heart.

And so, as we sang all this, he was listening to it, hidden by the hedge. Then, gesturing my friend with dark and low-lying tresses to move away, the sweet-chested man stepped up and embraced me from behind. When he did that, akin to how darkness dissipates in front of the sun, so vanished the pallor on my beautiful, jewel-clad skin!”

Time to delve into the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and specifically at a time, when the man had parted away from the lady for a while. The words are said by the lady and the confidante, with the lady’s conclusion, for a change. The confidante starts as custom by singing about the man’s mountain country, where an elephant has fought and won over a tiger, and after feeding on the grass, was now sleeping in the sound of the waterfalls. Describing the man’s country so, the confidante requests that she and the lady should sing about the traits of the man, as they pound the bamboo rice with an elephant tusk.

Differing from the previous verses, the confidante takes the role of the ‘bad cop’ and starts wondering how the cascades can flow, the buttercups can bloom, honeycombs can cover the mountains of the man, who has shamelessly and cruelly abandoned the lady! The lady refutes each piercing insult by the confidante and declares that the man will not let her heart be ruined, he will not stay away with apathy as the love affliction torments her, and talks of him as one who is always just, sweeter than the waters of his mountains, and generous to render chariots to those who come seeking. If he’s so kind to strangers, would he forsake me, the one who loves him so?, the lady asks. Then, she relates how, as they were singing so, the man was listening to all this and then asked the confidante to move away, and came there to embrace her from behind. Just then, like how darkness instantly vanishes the moment the sun enters the scene, the pallor on her skin too vanished, when the man embraced her, the lady concludes. Here’s a sweet song, wherein we see the trust in a man’s love glow in the words of his lady!

In this episode, we perceive the prosperity of a mountain country, as portrayed in Sangam Literary work, Kalithogai 41, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals the power of words in changing a heart.

வள்ளைப் பாட்டுப் பாட, தலைவியைத் தோழி அழைத்தல்
பாடுகம், வா வாழி, தோழி! வயக் களிற்றுக்
கோடு உலக்கையாக, நல் சேம்பின் இலை சுளகா,
ஆடு கழை நெல்லை அறை உரலுள் பெய்து, இருவாம்
பாடுகம், வா வாழி தோழி! நல் தோழி! பாடுற்று
இடி உமிழ்பு இரங்கிய விரவு பெயல் நடு நாள்,
கொடி விடுபு இருளிய மின்னுச் செய் விளக்கத்து,
பிடியொடு மேயும் புன்செய் யானை
அடி ஒதுங்கு இயக்கம் கேட்ட கானவன்
நெடு வரை ஆசினிப் பணவை ஏறி,
கடு விசைக் கவணையில் கல் கை விடுதலின்,
இறு வரை வேங்கை ஒள் வீ சிதறி,
ஆசினி மென் பழம் அளிந்தவை உதிரா,
தேன் செய் இறாஅல் துளைபடப் போகி,
நறு வடி மாவின் பைந் துணர் உழக்கி,
குலையுடை வாழைக் கொழு மடல் கிழியா,
பலவின் பழத்துள் தங்கும் மலை கெழு வெற்பனைப்
பாடுகம், வா வாழி, தோழி! நல் தோழி! பாடுற்று

தலைவி
இலங்கும் அருவித்து; இலங்கும் அருவித்தே;
வானின் இலங்கும் அருவித்தே தான் உற்ற
சூள் பேணான் பொய்த்தான் மலை

தோழி
பொய்த்தற்கு உரியனோ? பொய்த்தற்கு உரியனோ?
‘அஞ்சல் ஓம்பு’ என்றாரைப் பொய்த்தற்கு உரியனோ?
குன்று அகல் நல் நாடன் வாய்மையில் பொய் தோன்றின்,
திங்களுள் தீத் தோன்றியற்று

தலைவி
இள மழை ஆடும்; இள மழை ஆடும்;
இள மழை வைகலும் ஆடும் என் முன்கை
வளை நெகிழ வாராதோன் குன்று

தோழி
வாராது அமைவானோ? வாராது அமைவானோ?
வாராது அமைகுவான் அல்லன் மலைநாடன்
ஈரத்துள் இன்னவை தோன்றின், நிழற் கயத்து
நீருள் குவளை வெந்தற்று

தலைவி
மணி போலத் தோன்றும்; மணி போலத் தோன்றும்;
மண்ணா மணி போலத் தோன்றும் என் மேனியைத்
துன்னான் துறந்தான் மலை

தோழி
துறக்குவன் அல்லன்; துறக்குவன் அல்லன்;
தொடர் வரை வெற்பன் துறக்குவன் அல்லன்
தொடர்புள் இனையவை தோன்றின், விசும்பில்
சுடருள் இருள் தோன்றியற்று

தந்தை வரைவு உடம்பட்டமையைத் தலைவிக்குத் தோழி அறிவித்தல்
என ஆங்கு
நன்று ஆகின்றால் தோழி! நம் வள்ளையுள்
ஒன்றி நாம் பாட, மறை நின்று கேட்டு அருளி,
மென் தோட் கிழவனும் வந்தனன்; நுந்தையும்
மன்றல் வேங்கைக் கீழ் இருந்து,
மணம் நயந்தனன், அம் மலைகிழவோற்கே!

Yet another song, in the format of a musical exchange between the lady and the confidante. The words can be translated as follows:

“Confidante’s request to the lady:
Let’s sing, come, my friend, may you live long! Using the tusk of a strong male elephant as the pestle, and the leaf of the fine taro as our winnow, as we pour the swaying bamboo rice into the mortar and pound, let us both sing together, come, my friend, may you live long! My good friend! When the skies shed lightning and thunder, and showered rain at midnight, in the light of the vine-like lightning streaks, an elephant grazing along with its mate, arrived at the farm fields. Hearing their footsteps pause, a mountain guard, climbing upon the loft placed atop a breadfruit tree, launched a stone from his powerful catapult. That stone scattered the radiant flowers of the ‘Kino tree’ rising atop a rock in the mountain cleft, knocked down ripe and soft breadfruits, pierced through a honeycomb, rattled the fresh green leaves of the fragrant mango, tore the fleshy leaves of plantain with fruit clusters, and then came to rest within a hanging jackfruit in the mountain-filled land of the lord. Let’s sing about him, come, my friend, may you live long! Sing, my good friend!

Lady’s words:
The cascades are flowing! The cascades are flowing! The cascades are flowing, fed by the downpour of the skies. How can this happen in the mountain of the one, who utters lies and stands not by his vow?

Confidante’s response:
Would he lie? Would he lie? Would the one who said ‘Fear not! I shall protect’ lie? If a lie can be found in the truth of the lord, who rules over the mountain-filled, fine country, it’s akin to a fire appearing within the cool moon!

Lady’s words:
Young clouds sway! Young clouds sway! Young clouds sway, day after day! How can this happen in the peak of the one, who makes the bangles on my forearms slip away by staying away?

Confidante’s response:
Would he stay away? Would he stay away? The lord, who rules over the mountains, is not one to stay away from you. If such terrible thoughts were to appear in his kind heart, it’s akin to a blue lotus, blooming in the pond waters, under a thick shade, bursting into flames!

Lady’s words:
Akin to a sapphire, it appears! Akin to a sapphire, it appears! Akin to a flawless sapphire, it appears! How can this be in the mountain of the one, who has forsaken me, for he unites not with me!

Confidante’s response:
Would he forsake you? Would he forsake you? The lord, who reigns over the mountain ranges, is not one to forsake you. If such harsh things were to unfold in your relationship with him, it’s akin to a darkness appearing in the sky’s bright flame!

Confidante’s announcement:
And so, good things have unfolded, my friend! As we sang about all this in our ‘Vallai’ song, he was listening, hidden by the hedge, and deciding to render his grace, the lord with gentle shoulders arrived here; Your father too, presiding under the Kino tree in the front yard, has decided to offer your hand in marriage to the lord of those picturesque mountains!

Let’s delve into the details. The verse is situated in the context of a man’s love relationship with a lady and specifically in the situation of persuading the man to claim the lady’s hand. Like the previous verse, the confidante and lady exchange thoughts about the man’s nature, ending with the confidante’s conclusion. The confidante starts by requesting the lady to join her in a song together, as they pound bamboo rice in a mortar with an elephant tusk pestle, while winnowing the husk with a taro leaf. As custom, the confidante starts by describing the man’s mountain country, and she does this by sketching the trajectory of a missile from a catapult. To explain clearly, in the mountain fields, one night, as thunder and lightning danced about amidst a downpour, a male elephant and its mate seemed to have decided to feast on the millet crops. Hearing their footsteps cease nearby, a mountain guard sitting atop a loft on top of a breadfruit tree, releases a stone from his catapult. The confidante says this stone first scatters the Kino tree flowers, then makes breadfruits plonk down, then pierces a honeycomb, no doubt making the nectar drop and bees buzz, then shakes up the tender mango leaves, tears apart the plantain leaves and finally comes to rest inside a huge and prickly jackfruit. While the hunter has thankfully not hit what he was aiming at, namely those hungry elephants, however, he has demonstrated the lush spread of the mountains, filled with so many trees and their rich produce. The confidante concludes saying such is the beautiful mountain country of the lord.

Now, the lady has three things to wonder about the man’s country, namely how can the cascades flow, how can the clouds surround and how can the mountains shine so blue! She asks so because the man has not been true to his word, has stayed away, and has forsaken her. In each instance, the confidante negates the lady’s assessment of the man, and says, ‘Never! What you say cannot be true, and it would be like a fire burns inside the moon, a blue lotus in the waters bursting into flames and a darkness appearing in the sun, if what you say is to be considered true’. Such is her confidence in the man and his love for the lady. The confidante now reveals such exchanges between them made the man, who was listening nearby, decide to end the lady’s suffering and fulfil the confidante’s trust. So, he had come to seek the lady’s hand in marriage and the lady’s father too, standing under the auspicious shade of their ‘Kino tree’ had said ‘yes’ to the man’s proposal to marry the lady! Yet again, we see how a combination of doubt and trust brings out the best in another. Most of all, what’s unforgettable in this verse is the dynamic depiction of the catapult’s stone taking us on a tour of the mountain country, revealing the radiant flora and sketching the aura of its plenty!

In this episode, we listen to varying narratives about a mountain country, as depicted in Sangam Literary work, Kalithogai 40, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and conveys the good tidings of a transformation.

‘அகவினம் பாடுவாம், தோழி!’ ‘அமர் கண்
நகை மொழி, நல்லவர் நாணும் நிலை போல்,
தகை கொண்ட ஏனலுள் தாழ் குரல் உரீஇ,
முகை வளர் சாந்து உரல், முத்து ஆர் மருப்பின்
வகை சால் உலக்கை வயின் வயின் ஓச்சி,
பகை இல் நோய் செய்தான் பய மலை ஏத்தி,
அகவினம் பாடுவாம், நாம்’

தோழியின் மறுமொழி
ஆய் நுதல், அணி கூந்தல், அம் பணைத் தட மென் தோள்,
தேன் நாறு கதுப்பினாய்! யானும் ஒன்று ஏத்துகு
வேய் நரல் விடரகம் நீ ஒன்று பாடித்தை

தலைவி இயற்படப் பாடாமையின் தோழி பாடுதல்
கொடிச்சியர் கூப்பி வரை தொழு கை போல்,
எடுத்த நறவின் குலை அலங்காந்தள்
தொடுத்த தேன் சோர, தயங்கும் தன் உற்றார்
இடுக்கண் தவிர்ப்பான் மலை
கல்லாக் கடுவன் கணம் மலி சுற்றத்து,
மெல் விரல் மந்தி குறை கூறும் செம்மற்றே
தொல் எழில் தோய்ந்தார் தொலையின், அவரினும்
அல்லற்படுவான் மலை

தலைவி இயற்பழித்துப் பாடுதல்
புரி விரி, புதை துதை, பூத் ததைந்த தாழ் சினைத்
தளிர் அன்ன எழில் மேனி தகை வாட, நோய் செய்தான்
அரு வரை அடுக்கம் நாம் அழித்து ஒன்று பாடுவாம்
விண் தோய் வரை, பந்து எறிந்த அயா வீட,
தண் தாழ் அருவி, அரமகளிர், ஆடுபவே
பெண்டிர் நலம் வௌவி, தண் சாரல் தாது உண்ணும்
வண்டின் துறப்பான் மலை

தோழி இயற்பட மொழிதல்
ஒடுங்கா எழில் வேழம் வீழ் பிடிக்கு உற்ற
கடுஞ்சூல் வயாவிற்கு அமர்ந்து, நெடுஞ் சினைத்
தீம் கண் கரும்பின் கழை வாங்கும் ‘உற்றாரின்
நீங்கலம்’ என்பான் மலை

தலைவன் வரைவொடு புகுந்தமையைத் தோழி தலைவிக்கு அறிவித்தல்
என நாம்,
தன் மலை பாட, நயவந்து கேட்டு, அருளி,
மெய்ம் மலி உவகையன் புகுதந்தான் புணர்ந்து ஆரா
மென் முலை ஆகம் கவின் பெற,
செம்மலை ஆகிய மலைகிழவோனே!

Another long song in the play format with an exchange of dialogues. The words can be translated as follows:

“Lady’s request
‘Let’s sing aloud, my friend. Akin to the shy stance of maiden who have beautiful eyes and speak smiling words, stand millet stalks with bent heads in our prosperous fields. Gathering these millets, placing them in the wooden mortar, made of sandalwood that grows in the mountain clefts, let’s pound the grains with well-carved pestle, made with pearl-filled elephant tusk, and sing together, about the mountain of the one, who left with a love affliction!

Confidante’s Response
O maiden having a fine forehead, beautiful and honey-fragrant tresses, exquisite, bamboo-like, soft and curving arms! You first sing in praise about his mountain clefts, filled with rustling bamboo, and then I will sing after you.

Confidante’s Song seeing Lady’s Silence
Akin to the worshipping hands of mountain maiden, are flame-lilies, filled with clusters of nectar, shedding drops of honey, as they sway in the mountains of the one, who always ends the suffering of his kin. A mountain which has the unique custom, wherein a young male monkey seeks the hand of a soft-fingered female monkey from the female’s huge troop of kin. It’s the mountain of the one who seeing the old beauty fade away in his beloved, would feel more anguish that even they do.

Lady’s Negative Response
Making the beauty of my skin, akin to the tender leaf shoots of the low hanging branches, filled with blossomed flowers, fade, he left me with an affliction. Denouncing his mountain country, let me sing something: In the sky-high hills, fatigued by throwing ball, the mountain goddesses then play in the cool and moist cascades in the country of the one, who after feeding on the beauty of women, akin to a bee in his cool mountain slopes, abandons them.

Confidante’s Positive Words
The handsome and wild male elephant, considering the sickness of its pregnant mate, tries to bend the tall branch of the sweet sugarcane in the mountains of the one, who never abandons his kin.

Confidante’s Announcement about the Man
And so,
as we sang about his mountains, listening with desire, he was filled with so much joy and with grace, he has come to unite and adorn your soft bosom with beauty, the esteemed lord of the mountains!”

Time to explore the nuances. The verse is situated in the context of the man’s love relationship with the lady, prior to marriage and specifically on persuading the man to seek the lady’s hand. The words are spoken by the lady and the confidante, as the man listens nearby. The lady begins by requesting the confidante that as they pound the millets in a sandalwood mortar with an elephant tusk pestle, they should sing about the man, who seems to have caused a love affliction in the lady. The confidante heartily agrees and asks the lady to sing first, saying she will go next. However, the lady remains silent and so the confidante starts by talking about the flame-lilies that look like maiden’s hands in the man’s country, and personifies a male monkey by depicting it as seeking the hand of a female monkey to the female’s family. This is the confidante’s projection of the man’s course of action on these elements of the wild. She keeps reiterating that the man is someone, who always ends the suffering of those close to him and if he sees the beauty of those whom he loves fade, he would feel even more anguish than them.

The lady responds in a negative note, singing about how the man made the beauty of her skin fade and she wonders how mountain goddesses could play happily in the cascades of this man’s mountain country, for he seems to be someone, who simply abandons those he loves. To this, the confidante responds with another personification of a male elephant bringing sweet sugarcane stalks to allay the sickness and suffering of its pregnant mate. A positive assurance that the man will render what the lady seeks. And soon enough, the confidante concludes by relating how hearing all these things, the man was filled with so much joy about his love of the lady and has decided to come claim her hand. To put it in a nutshell, the confidante and the lady have been playing the role of ‘Good cop, bad cop’ and have nabbed the man to do what they wish to be done!

In this episode, we listen to an animated conversation, as depicted in Sangam Literary work, Kalithogai 39, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches the events around revealing a lady’s love to her kin.

‘காமர் கடும் புனல் கலந்து எம்மோடு ஆடுவாள்,
தாமரைக்கண் புதைத்து, அஞ்சித் தளர்ந்து, அதனோடு ஒழுகலான்,
நீள் நாக நறுந் தண் தார் தயங்கப் பாய்ந்து, அருளினால்,
பூண் ஆகம் உறத் தழீஇப் போத்தந்தான் அகன் அகலம்
வரு முலை புணர்ந்தன என்பதனால், என் தோழி
அரு மழை தரல் வேண்டின் தருகிற்கும் பெருமையளே

அவனும்தான், ஏனல் இதணத்து அகிற் புகை உண்டு இயங்கும்
வான் ஊர் மதியம் வரை சேரின், அவ் வரை,
“தேனின் இறால்” என, ஏணி இழைத்திருக்கும்
கான் அகல் நாடன் மகன்

சிறுகுடியீரே! சிறுகுடியீரே!
வள்ளி கீழ் வீழா; வரைமிசைத் தேன் தொடா;
கொல்லை குரல் வாங்கி ஈனா மலை வாழ்நர்
அல்ல புரிந்து ஒழுகலான்
காந்தள் கடி கமழும், கண் வாங்கு, இருஞ் சிலம்பின்
வாங்கு அமை மென் தோட் குறவர் மட மகளிர்
தாம் பிழையார், கேள்வர்த் தொழுது எழலால், தம் ஐயரும்
தாம் பிழையார் தாம் தொடுத்த கோல்’

என ஆங்கு,
அறத்தொடு நின்றேனைக் கண்டு, திறப்பட
என்னையர்க்கு உய்த்து உரைத்தாள், யாய்
அவரும் தெரி கணை நோக்கி, சிலை நோக்கி, கண் சேந்து,
ஒரு பகல் எல்லாம் உருத்து எழுந்து, ஆறி,
‘இருவர்கண் குற்றமும் இல்லையால்’ என்று,
தெருமந்து சாய்த்தார் தலை
தெரியிழாய்! நீயும் நின் கேளும் புணர,
வரை உறை தெய்வம் உவப்ப, உவந்து
குரவை தழீஇ யாம் ஆட, குரவையுள்
கொண்டுநிலை பாடிக்காண்

தலைவியின் மறுமொழி
நல்லாய்!
நல் நாள் தலைவரும் எல்லை, நமர் மலைத்
தம் நாண் தாம் தாங்குவார், என் நோற்றனர்கொல்?
புன வேங்கைத் தாது உறைக்கும் பொன் அறை முன்றில்,
நனவில் புணர்ச்சி நடக்குமாம் அன்றோ?
நனவில் புணர்ச்சி நடக்கலும், ஆங்கே
கனவில் புணர்ச்சி கடிதுமாம் அன்றோ?

தோழி கூற்று
விண் தோய் கல் நாடனும் நீயும் வதுவையுள்
பண்டு அறியாதீர் போல் படர்கிற்பீர்மன் கொலோ?
பண்டு அறியாதீர் போல் படர்ந்தீர் பழங் கேண்மை
கண்டு அறியாதேன் போல் கரக்கிற்பென்மன் கொலோ?
மை தவழ் வெற்பன் மண அணி காணாமல்
கையால் புதை பெறூஉம் கண்களும் கண்களோ?

தலைவியின் மறுமொழி
என்னை மன் நின் கண்ணால் காண்பென்மன், யான்

மீண்டும் தோழி உரைத்தல்
நெய்தல் இதழ் உண்கண் நின் கண் ஆக, என் கண் மன!
என ஆங்கு,
நெறி அறி செறி குறி புரி திரிபு அறியா அறிவனை முந்துறீஇ,
தகை மிகு தொகை வகை அறியும் சான்றவர் இனமாக,
வேய் புரை மென் தோட் பசலையும், அம்பலும்,
மாயப் புணர்ச்சியும், எல்லாம் உடன் நீங்க,
சேய் உயர் வெற்பனும் வந்தனன்;
பூ எழில் உண் கணும் பொலிகமா, இனியே!

A unique format containing multiple exchanges between two women! The words can be translated as follows:

“In the picturesque, gushing stream, she was playing with all of us. Suddenly, she was pulled by the current, and closing her lotus-like eyes, with fear, she lost control and was floating away. Just then, making his moist and fragrant garland woven with ironwood flowers sway, he leapt and rendering his grace, he enveloped her bejewelled bosom and brought her to safety. Since his wide chest embraced her bosom, now my friend has attained the pride of bringing down precious rain, if she so wishes.

To tell more about him: From upraised lofts in the millet fields, agarwood smoke rises. If the sky-high moon reaches the mountains there, thinking that the moon enveloped by the smoke is a honeycomb, they would mount a ladder to fetch the nectar in the forest-filled wide mountain country of theirs and he is the son of this country’s lord!

O people of the little hamlet! O people of the little hamlet! Tubers will not sprout underneath anymore; Honeycombs will not cover the mountain tops anymore; Stalks of millets will not flourish anymore; All because those who are living in this mountain have done a wrong deed. In this wide mountain valley, capturing the eyes of all, bloom the fragrant flame-lilies, and only because the naive mountain maiden with gentle, curving arms never miss their virtue in honouring their husbands, their kin never miss the mark, when they aim their arrows!

I said all this clearly, standing with virtue, to my mother, and she too expressed it to your mother. When your mother in turn took it to your father and brothers, they spent an entire day, with reddened eyes, gazing at their bows and their speeding arrows, and then finally calmed down, and rose to say, ‘No fault to be found in them both’, and nodded their heads in assent, O maiden wearing well-etched ornaments! For you and your love to be united, delighting the god that resides in the hills, let us embrace and perform the ‘Kuravai’ dance and sing about our state within!

Lady’s Response:

O good maiden! Until the good day arrives, those who can bear their shame in our hill, what penance did they do? Upon the golden-hued front yard, where the Indian Kino tree sheds its pollen, won’t I unite with him for real? When it happens for real, won’t my dreams of togetherness with him fade?

Confidante’s Words:

At the time of the wedding, will you and the man from the sky-high mountains pretend to not know each other in the past? If you pretend not to know each other in the past, should I too be as if I do not know your old relationship? Are those eyes, which cover themselves, without relishing the wedding joy shining on the face of the mountain lord, to be called eyes?

Lady’s Response:

I will take in the sight of my lord through your eyes!

Confidante’s Conclusion:

Let your blue-lotus-like, petalled, kohl-streaked eyes turn into my eyes!

And so,

When, understanding the right path, finding the right day, the man who knows not to make mistakes, arrives along with knowledgeable people, the pallor on your bamboo-like arms, the gossip and all the illusory togetherness will vanish. For the lord of the high mountains is about to arrive. May your flower-like, kohl-streaked eyes shine with joy now!”

Let’s delve into the details. The verse is situated in the context of a love relationship between the man and the lady, prior to marriage, and specifically on revealing the lady’s love relationship to her family. Both the confidante and the lady render their voices in this verse. The confidante starts the conversation by narrating the scene when the lady and man had met. The lady was playing in the river with her friends when suddenly she lost control and was pulled by the current. Just then, a young man leapt into the water, rescued her, hugging her jewel-clad bosom close to his chest. The confidante declares that because they both were united so, her friend, the lady had acquired the pride and power of bringing down rain whenever she so wished. This statement may be difficult to understand for many but what it implies is, the moment the lady was embraced by the man, she had accepted him as her partner for life and thereby assumed an aura of chastity, which had the power of making it rain as per one’s wish. People from the western world would be puzzled thinking ‘Should making it rain be considered a noble quality?’ Well, in a land, which looks up to the sky and its rains for the prospering of its wealth, it sure was considered a noble trait! 

Returning, the confidante continues her tale and now turns to talk about who the man was. She says he comes from a mountain country, where seeing the moon amidst the agarwood smoke that rises from the lofts on the millet fields, they would think it was a honeycomb and would place a ladder to go fetch that honey. The metaphorical implication of this description is that the man comes from a land where they would dare to even bring the moon to their home.

Next, the confidante goes on to tell all the bad things that are going to happen in their mountain village, saying tubers will not grow anymore, honeycombs will not spread anymore and stalks of millet will not flourish either. All because the people had done one wrong deed. She reminds the listeners that men of the mountain never miss their marks only because their maiden were such chaste women, who never failed to worship their partners! At this time, she reveals she has been saying these words to none other than her mother, who happens to be the friend of the lady’s mother. We then see a communication relay between the confidante’s mother and the lady’s mother, and thereafter, between the lady’s mother and the lady’s father and brothers. When the men receive the news, they feel angered at first, reddened their eyes become, and they sit pondering over it for a day, and then realise there’s no mistake on the part of the lady and the man. This tells us that the lady’s family had refused the man, when he came seeking the lady’s hand, and the confidante is solving that issue by revealing the lady’s relationship with the man. Narrating all this to the lady, the confidante invites her to perform a ‘Kuravai’ dance of prayer wishing for the happy union of the man and the lady.

As they are dancing, the lady asks, how can those who said no to the man bear their shame till the day comes? She imagines how she would unite with the man for real, in their front yard, where the Kino tree sheds its pollen. She asks would that really happen, and when that happens, will all her dreams of being with him vanish, replaced by the real? The confidante teases the lady asking whether the man and the lady would pretend not to know each other, and whether she too should pretend not to know about their past? Then she further pulls the lady’s legs saying, can the eyes which do not enjoy the sight of the man in his wedding glory be called eyes, implying if the lady is going to sit with her eyes bent, not daring to look up, how will she see the man and his joy? To that question, the lady replies that she would see the joy in the man with her friend’s eyes, and the confidante too agrees to let her eyes be the lady’s on that joyous occasion.

The confidante concludes these exchanges by summing up how the right things are happening and soon the man will find the auspicious day to come marry the lady, along with all the wise elders, and that will make the lady’s pallor and the town’s rumours disappear. The confidante ends with a blessing for the lady’s eyes to shine with joy for the man would be there soon, to be united with the lady!

In this verse, we witness a play-style narrative, with flashback, dialogues and dance. We also infer how doing right by love was considered critical for the well-being of many aspects of their entire world, such as their plants, produce and their prosperity. But most of all, we understand the role of the confidante in guiding the lady and her family in the right path that leads to both the lady’s happiness and justice to them all, according to their principles of life. In a subtle way, the role of women as peace-makers and joy-bringers is highlighted and this makes me think, our warring world could surely use more of this ‘she’ power!

In this episode, we perceive intriguing similes that capture the lady’s changing state, as portrayed in Sangam Literary work, Kalithogai 38, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and relates the success of the confidante’s initiative.

இமைய வில் வாங்கிய ஈர்ஞ் சடை அந்தணன்
உமை அமர்ந்து உயர்மலை இருந்தனனாக,
ஐ இரு தலையின் அரக்கர் கோமான்
தொடிப் பொலி தடக் கையின் கீழ் புகுத்து, அம் மலை
எடுக்கல்செல்லாது உழப்பவன் போல
உறு புலி உரு ஏய்ப்பப் பூத்த வேங்கையைக்
கறுவு கொண்டு, அதன் முதல் குத்திய மத யானை
நீடு இரு விடர் அகம் சிலம்பக் கூய், தன்
கோடு புய்க்கல்லாது, உழக்கும் நாட! கேள்:

ஆர் இடை என்னாய் நீ அரவு அஞ்சாய் வந்தக்கால்,
நீர் அற்ற புலமே போல் புல்லென்றாள், வைகறை,
கார் பெற்ற புலமே போல், கவின் பெறும்; அக் கவின்
தீராமல் காப்பது ஓர் திறன் உண்டேல், உரைத்தைக்காண்

இருள் இடை என்னாய் நீ இரவு அஞ்சாய் வந்தக்கால்,
பொருளில்லான் இளமை போல் புல்லென்றாள், வைகறை,
அருள் வல்லான் ஆக்கம் போல் அணி பெறும்; அவ் அணி
தெருளாமல் காப்பது ஓர் திறன் உண்டேல், உரைத்தைக்காண்

மறம் திருந்தார் என்னாய் நீ மலையிடை வந்தக்கால்,
அறம் சாரான் மூப்பே போல் அழிதக்காள், வைகறை,
திறம் சேர்ந்தான் ஆக்கம் போல் திருத்தகும்; அத் திருப்
புறங்கூற்றுத் தீர்ப்பது ஓர் பொருள் உண்டேல், உரைத்தைக்காண்

என ஆங்கு,
நின் உறு விழுமம் கூறக் கேட்டு,
வருமே, தோழி! நல் மலை நாடன்
வேங்கை விரிவு இடம் நோக்கி,
வீங்கு இறைப் பணைத் தோள் வரைந்தனன் கொளற்கே.

A mix of mythology and nature in this one! The words can be translated as follows:

“As the one, who bent the Himalayas like a bow, the noble one with moist braids, along with his companion Umai, rested upon the mountain, the lord of the demons, known for his ten heads, thrust his strong arms, adorned with warrior bracelets, under the mountain, and unable to pull them out, suffered in agony there. Akin to that, seeing the ‘Kino tree’ that has bloomed with flowers, appearing like a fierce tiger, maddened, a wild elephant in musth pierces the tree’s trunk, and unable to pull out its tusk, suffers, trumpeting aloud, making the wide valleys of the long and dark mountains resound. Such is your country, O lord! Please listen to what I have to say:

Thinking not about the dangers of the path, fearing not the snakes that rove, you come here. She, who was lifeless like a land bereft of water, in the morning, becomes beautiful, like a land on which rain has fallen. If there is a way to protect that beauty without fading away, please tell me now!

Thinking not about the darkness of the path, fearing not the night without light, you come here. She, who was lifeless like the youth of an impoverished man, in the morning, becomes plentiful, like the wealth of a generous man. If there is a way to protect that plenty without fading away, please tell me now!

Thinking not about the dangerous men of the path, traversing mountains many, you come here. She, who was lifeless like the old age of a man without virtue, in the morning, becomes prosperous, like the wealth of a skilled man. If there is a way to protect that prosperity without letting it diminish away, please tell me now!

And so, listening to the suffering that goes through you, the man of the fine mountains has decided to come, my friend, in the time when Kino flowers open out their buds, to claim the hand of the one with thick wrists and bamboo-like arms!”

Time to explore the nuances. The verse is situated in the context of the love relationship between the man and lady, prior to marriage, and speaks in the voice of the confidante, initially to the man and then concludes to the lady. The confidante decides to render a lesson in mythology, and she talks about a noble person, who was so powerful that he could bend the Himalayas like a bow. Another thing about this person is that he had moist braids of hair, and that he resided with his companion named ‘Umai’ in the mountains. These details have made many interpreters conclude that this is a reference to God Siva, whose abode is said to be in the Himalayas, with the ‘moist braid’ reference talking about how he holds the River Ganges in his tuft of hair. Umai or ‘Umaiyal’ as she’s called now is the name endowed to the consort of this God, also known as ‘Parvathi’. The confidante continues the class in mythology by talking about how a ten-headed lord of the demons, identified as Raavanan from Ramayana, decides to uproot the Himalayas and even manages to place his hands under the mountain, but just because the great God stayed upon the mountain, he was not able to dislodge it and neither could he pull his hands out. The confidante ends this narrative, depicting the roaring cries by the demon lord. From there, the confidante leaves to a mountain country, where a mad elephant in musth sees a flowering ‘Vengai’ tree, and mistakes it for a tiger, and in anger, thrusts its tusk into the trunk of the tree. Then, unable to pull it out, it trumpets aloud, making the hills and valleys around resound with its pain. The roaring of this elephant in the mountains and that demon lord is placed in parallel. Why is she talking about the roaring of the elephant? Only to describe the man’s mountain country so. After the salutation, the confidante asks the man to listen to her words.

Then, the confidante goes on to describe how the man minds not the dangers, the darkness and the highway robbers in his path through the mountains, at night, filled with snakes, for he intends to visit the lady. Because of this, the lady who was dull and barren, like a land without water, the youth of a poor person, and the last days of a virtueless person, changes utterly and becomes like a rain-washed land, like the riches of the generous and the wealth of the skilful respectively. In short, the man’s coming endows the lady with beauty, ecstasy and immense joy. Now, the confidante tells the man, ‘All that’s fine. But tell me a way so that her beauty doesn’t have to fade away!’ After narrating these words the confidante had previously said to the man, she concludes with the joyous news to the lady that the man has seen the truth of the confidante’s words and the suffering in the lady’s heart and so he has decided to come claim the hand and marry the lady, in the time of the Vengai tree’s flowering!

A verse which is a clear case of ‘Marry her, marry her’ and in that, we get to tread on a bridge between mythology and nature that we have been seeing now and then in Kalithogai verses. We also learn the preferred season of marriage in this prosperous land, and that’s exactly the time, when the bright yellow flowers that so angered the elephant, opens out its buds and announces the arrival of auspicious times!

In this episode, we perceive a unique strategy in communication, as depicted in Sangam Literary work, Kalithogai 37, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and narrates an incident that unfolded in the millet fields.

கய மலர் உண்கண்ணாய்! காணாய்: ஒருவன்
வய மான் அடித் தேர்வான் போல, தொடை மாண்ட
கண்ணியன் வில்லன், வரும்; என்னை நோக்குபு,
முன்னத்தின் காட்டுதல் அல்லது, தான் உற்ற
நோய் உரைக்கல்லான் பெயரும்மன், பல் நாளும்;
பாயல் பெறேஎன், படர் கூர்ந்து, அவன்வயின்
சேயேன்மன் யானும் துயர் உழப்பேன்; ஆயிடைக்
கண் நின்று கூறுதல் ஆற்றான், அவனாயின்;
பெண் அன்று, உரைத்தல், நமக்காயின்; ‘இன்னதூஉம்
காணான் கழிதலும் உண்டு’ என்று, ஒரு நாள், என்
தோள் நெகிழ்பு உற்ற துயரால் துணிதந்து, ஓர்
நாண் இன்மை செய்தேன்: நறுநுதால்! ஏனல்
இனக் கிளி யாம் கடிந்து ஓம்பும் புனத்து அயல்,
ஊசல் ஊர்ந்து ஆட, ஒரு ஞான்று வந்தானை,
‘ஐய! சிறிது என்னை ஊக்கி’ எனக் கூற,
‘தையால்! நன்று! என்று அவன் ஊக்க, கை நெகிழ்பு
பொய்யாக வீழ்ந்தேன், அவன் மார்பின்; வாயாச் செத்து,
ஒய்யென ஆங்கே எடுத்தனன் கொண்டான்; மேல்
மெய் அறியாதேன் போல் கிடந்தேன்மன்; ஆயிடை
மெய் அறிந்து ஏற்று எழுவேனாயின், மற்று ஒய்யென,
‘ஒண்குழாய்! செல்க’ எனக் கூறி விடும் பண்பின்
அங்கண் உடையன் அவன்.

We enter the new domain of the hills, where love is in the first stages of blooming. The words can be translated as follows:

“O maiden with kohl-streaked eyes, akin to pond flowers! Consider this: A man, wearing a fine, well-woven, flower garland, holding a bow, who appeared to be tracking footprints of a tiger, arrived here; He looked at me, and other than subtle signs that I could perceive, he refrained from speaking about the love affliction in him and parted away in this manner, for many days; Without getting any sleep, filled with worry, I felt sadness for the state of this stranger; However, he still wouldn’t express what was in him; And being a woman, it was not right for me to speak it out aloud either; Thinking, ‘If this goes on, he might even end his life’, one day, deciding to relieve the suffering that had made my arms thin away, with boldness, I did a shameless thing, O maiden with a fragrant forehead! When I went to chase away the flock of parrots from the millet field, and took a moment to sway on the swings there, I asked him who arrived there, ‘O lord, can you push this swing for me?’. He said, ‘O young maiden, I will do this good thing’, and pushed me on the swing. At that moment, pretending that I lost my grip, I fell on his chest; Thinking that it was true, he held me safely on his chest. As if I was unconscious, I lay there upon him for a while. Had I risen up from that state, he would have immediately said, ‘O maiden wearing radiant earrings! Please leave now’. Such was the thoughtful nature he seemed to have!”

Time to explore the nuances. The verse is situated in the context of a man’s love relationship with the lady, prior to marriage, and speaks in the voice of the confidante to the lady. The confidante talks about an incident involving a man, whom she had noticed passing by where they lived. She describes him as someone wearing a flower garland and holding a bow. She also notes that he seemed to be tracking some wild animal, possibly a tiger. The confidante talks about how this man kept looking in her direction and appeared to want to say something, but he wouldn’t express it, and went away, looking as if he had some angst in him. This went on for many days. She talks about how this affected her, and how his worry seemed to become contagious, and she too, lost her sleep. The confidante talks about how it was wrong as a woman to openly ask him about anything. To break this vicious cycle and worrying that the man may even take his life, the confidante decides to do something she calls as a ‘shameless thing’. It’s common knowledge that these maiden from the mountains have the work of chasing away parrots from millet fields. So, as the confidante was doing this, that man came by, and she asked him to push the swing that was put up nearby, and he too readily agreed. When he was pushing the confidante on the swing, she pretended to slip off from the swing and fell on his chest. Thinking it was true, the man held her safe. She says that she lay there pretending to be unconscious for if at all, she had opened her eyes, he would have immediately asked her to leave, for someone might see. Such was the good and thoughtful nature he had, the confidante concludes.

This was a rendition that gave me quite some trouble understanding the context! Is the confidante talking about her love interactions with some person? Although she too is a young maiden like the lady, we have never explored her story of love in any of the verses. Is she talking in the voice of the lady like she often does, seeing them both as one? For this situation, it seemed to me as highly inappropriate. Then, reading different interpretations and thinking more about it, I understood that this was a technique to get the lady to open up about her love relationship with the man. The confidante knows that such events happened between the lady and the man, because the man has been approaching her, trying to win her confidence. So, the confidante becomes a master storyteller to craft this imaginary story about her and another man, so that her friend will open up, and reveal the contents of her heart and her feelings about the man, which she was rather shy to disclose on her own volition. Apparently, this was an important stage in the love relationship between the man and the lady, for only with the confidante’s blessing, they could progress to the next stage of trysting!

Curious customs of the past indeed, filled with a lot of implied rules such as ‘women must not be the first to express their feelings to men’, ‘women’s sense of shame would prevent them from talking about their love relationship to even their close friends’, and so on. In an equal world, all this seems amusing, and it’s liberating to see that in our time, both men and women have the freedom to express their love to each other and also talk to others around them about their feelings of love for someone! While we cannot exactly appreciate all this roundabout ways to get a friend speaking, the verse does present a valid truth about communication in that, we cannot expect another to open up if we appear to be closed ourselves. Establishing trust and reciprocity seem to be the subtle inferences that we can take away from this ancient communication between two women!

In this episode, we perceive the anxiety of the lady, as portrayed in Sangam Literary work, Kalithogai 36, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals troubling questions in the lady’s mind.

‘கொடு மிடல் நாஞ்சிலான் தார் போல், மராத்து
நெடுமிசைச் சூழும் மயில் ஆலும் சீர,
வடி நரம்பு இசைப்ப போல் வண்டொடு சுரும்பு ஆர்ப்ப,
தொடி மகள் முரற்சி போல் தும்பி வந்து இமிர்தர,
இயன் எழீஇயவை போல, எவ் வாயும் இம்மென,
கயன் அணி பொதும்பருள் கடி மலர்த் தேன் ஊத,
மலர் ஆய்ந்து வயின் வயின் விளிப்ப போல் மரன் ஊழ்ப்ப,
இருங் குயில் ஆல, பெருந் துறை கவின் பெற,
குழவி வேனில் விழவு எதிர்கொள்ளும்
சீரார் செவ்வியும், வந்தன்று;
வாரார், தோழி! நம் காதலோரே

பாஅய்ப் பாஅய்ப் பசந்தன்று, நுதல்;
சாஅய்ச் சாஅய் நெகிழ்ந்தன, தோள்
நனி அறல் வாரும் பொழுது என, வெய்ய
பனி அறல் வாரும், என் கண்

மலையிடைப் போயினர் வரல் நசைஇ, நோயொடு
முலையிடைக் கனலும், என் நெஞ்சு
காதலின் பிரிந்தார்கொல்லோ? வறிது, ஓர்
தூதொடு மறந்தார்கொல்லோ? நோதக,
காதலர் காதலும் காண்பாம்கொல்லோ?
துறந்தவர் ஆண்டு ஆண்டு உறைகுவர்கொல்லோ? யாவது?’

“நீள் இடைப் படுதலும் ஒல்லும்; யாழ நின்,
வாள் இடைப்படுத்த வயங்கு ஈர் ஓதி!
நாள் அணி சிதைத்தலும் உண்டு” என நய வந்து,
கேள்வி அந்தணர் கடவும்
வேள்வி ஆவியின் உயிர்க்கும், என் நெஞ்சே’

The same two players discussing the man’s absence! The words can be translated as follows:

“Akin to the garland on the one with fierce strength, holding a plough, atop the burflower tree, peacocks surround and sing together harmoniously; Akin to the music that arises from the strings of a lute, bees and beetles resound aloud; Akin to the sound of bangles on dancing maiden, black bees hum around; Akin to the sound of many musical instruments, loudly echoing everywhere, in the groves adorned with ponds, honeybees buzz around the blossomed flowers; As if analysing and deciding which flower is for whom and then inviting them close, trees bloom to the brim with flowers, many, many; The black cuckoo calls out aloud; The huge river shore becomes adorned with beauty; Young spring is here and the time of festivals, when everyone rejoices, has arrived; However, that lover of mine, hasn’t retuned, my friend!

Pallor spread little by little and has covered my forehead entire; Ill health spread little by little and has thinned my arms fully; Thinking this is the time when streams trickle past huge mounds of sand, my eyes shed tears plenty;

Wishing for the one, who went to the mountains to return, my heart burns, filled with affliction, within my bosom; Has my lover left me? Did he forget to even send a message? Will I ever get to see the love of my lover, who has made me suffer so? Will the one who abandoned me decide to live wherever he left to? What is to happen?

‘It is common for people to traverse long paths and stay apart, O maiden, wearing moist and shining tresses, trimmed with steel, and it’s common for them to stay beyond the promised day. However, this does cause ruin to your good beauty!’ – Saying these words, akin to smoke that rises from ritual pits, tended to by wise priests, my heart lets out a huge sigh!”

Let’s delve into the details. The verse is situated in the context of the man’s parting after marriage and speaks in the worried voice of the lady initially followed by the confidante’s response. The lady starts by talking about spring, mentioning peacocks singing atop burflower trees, many kinds of bees and the sounds they make, which she equates to music from lute strings, dancing maidens’ bangles and assorted musical instruments. A tree is personified to be calling everyone around to come and adorn themselves with its flowers, the lady sketches. The prominent bird of the season, the black cuckoo is sending out its notes in the air and the river shore seems to bedecked with much beauty. All this signifies the arrival of spring, the lady says. A moment to pause and savour the word used for ‘spring’ here – ‘குழவி வேனில்’ is the phrase employed and to translate it verbatim that would be ‘baby summer’. I smiled to see how time is sketched as a person, especially in the nuance of how spring holds all the adorable qualities of an infant that everyone wants to cuddle. Extending this simile, only later does this cute ‘baby summer’ mature and torment with sweltering heat, like teens and adults, I guess!

Returning from our musings, we find the lady complaining about her pallor-coated forehead, thinning arms and tearful eyes. Then, she starts putting forth questions one after the other, wondering if the man has left her forever, why didn’t he send her even a single message, would she ever see and sense his love again or would he decide to live wherever he left to! Questions arising out of a feeling of utter dependancy on another, in a moment of despair and helplessness. Usually, we find the confidante consoling and cheering the lady, but here she remarks although it’s common for men to part away and stay beyond their promised day of return, that doesn’t change the fact that her friend’s beauty was getting utterly ruined. Seeing this, the confidante expresses how her heart is letting out a sigh that appears like the smoke atop a ritual fire-pit. And here, through the confidante’s words, we see a case of empathy that feels as one with the emotions of another.

Also, with this verse, we come to the end of poems situated in the ‘Paalai’ or ‘Drylands’ landscape. Interesting how every verse, with a single exception, spoke about a man’s parting away after marriage, and that one exception alone dealt with emotions around an elopement. In the last few, we have been seeing multiple repetitions of the same theme of ‘spring’s here, but he’s not’. Which makes me wonder how a poet decides they are done writing the segment? Why didn’t this poet stop with the previous song or the one before? Interesting to think about who made these choices and why! In any case, it’s time to bid bye to this land and this poet and venture ahead to explore the emotions and expressions of yet another landscape!

In this episode, we observe how the passage of time was perceived, as depicted in Sangam Literary work, Kalithogai 35, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and narrates the changes in spring.

‘மடியிலான் செல்வம் போல் மரன் நந்த, அச் செல்வம்
படி உண்பார் நுகர்ச்சி போல் பல் சினை மிஞிறு ஆர்ப்ப;
மாயவள் மேனி போல் தளிர் ஈன, அம் மேனித்
தாய சுணங்கு போல் தளிர்மிசைத் தாது உக;
மலர் தாய பொழில் நண்ணி மணி நீர கயம் நிற்ப,
அலர் தாய துறை நண்ணி அயிர் வரித்து அறல் வார;
நனி எள்ளும் குயில் நோக்கி இனைபு உகு நெஞ்சத்தால்,
துறந்து உள்ளார் அவர்’ எனத் துனி கொள்ளல் எல்லா! நீ

‘வண்ண வண்டு இமிர்ந்து, ஆனா வையை வார் உயர் எக்கர்,
தண் அருவி நறு முல்லைத் தாது உண்ணும் பொழுதன்றோ
கண் நிலா நீர் மல்கக் கவவி, நாம் விடுத்தக்கால்,
ஒண்ணுதால்! நமக்கு அவர் “வருதும்” என்று உரைத்ததை?

மல்கிய துருத்தியுள் மகிழ் துணைப் புணர்ந்து, அவர்,
வில்லவன் விழவினுள் விளையாடும் பொழுதன்றோ
“வலன் ஆக, வினை!” என்று வணங்கி, நாம் விடுத்தக்கால்,
ஒளியிழாய்! நமக்கு அவர் “வருதும்” என்று உரைத்ததை?

நிலன் நாவில் திரிதரூஉம் நீள் மாடக் கூடலார்
புலன் நாவில் பிறந்த சொல் புதிது உண்ணும் பொழுது அன்றோ
பல நாடு நெஞ்சினேம் பரிந்து, நாம் விடுத்தக்கால்,
சுடரிழாய்! நமக்கு அவர் “வருதும்” என்று உரைத்ததை?

என ஆங்கு,
உள்ளுதொறு உடையும் நின் உயவு நோய்க்கு உயிர்ப்பாகி,
எள் அறு காதலர் இயைதந்தார் புள் இயல்
காமர் கடுந் திண் தேர்ப் பொருப்பன்
வாய்மை அன்ன வைகலொடு புணர்ந்தே.

The lady worries and the confidante consoles! The words can be translated as follows:

“Akin to the wealth of one who is never idle, trees flower; Akin to those who feed on that wealth, without any effort on their part, bees resound around many branches; Akin to the skin of a dark-skinned maiden, tender shoots shine; Akin to pallor spots on this skin, upon the leaves, pollen falls; Near the groves, blooming with flowers, stand sapphire-hued ponds, and near the banks, on which fallen flowers are scattered, weaving patterns on the sand, streams flow; Looking at the cuckoo that seems to be mocking a lot, with a heart full of angst, thinking about he, who has parted without a thought, don’t you be sorrowful, my friend!

‘Colourful bees resound and the unceasing Vaigai flows through tall sand dunes; It’s the time when fragrant jasmines by cool cascades are feasted upon for their pollen. Back then, as tears flowed beyond the control of my eyes, when I bid farewell to him, O maiden with a shining forehead, wasn’t this the time he said he would return?

Embracing one’s pleasant companion on a little river island, it’s the time to play and rejoice in the ‘Villavan festival’. Back then, when wishing that his mission be successful, when I bid farewell to him, O maiden wearing shining jewels, wasn’t this the time he said he would return?

In Koodal, filled with tall mansions, it’s the time when people savour the new and good words born from the tongues of poets. Back then, as my heart thought about many things, when I bid farewell to him, O maiden wearing radiant ornaments, wasn’t this the time he said he would return?

And so, saying all this, you lament whenever you think about the past. As the cure of this love affliction in you, with the truth of that king, who has an alluring sturdy chariot with the speed of a bird, your faultless lover is about to return on the promised day!”

Let’s explore the details. The verse is situated in the context of the man’s parting from the lady after marriage and starts in the voice of the confidante, expresses thoughts of the lady, and once again, concludes with the words of the confidante. In the first section, the changes in spring are highlighted, such as the flowering of trees, which are placed in parallel to the wealth of those who know not the meaning of laziness. Next, the image of bees buzzing around these flowers is placed in parallel to people who enjoy that wealth of others, with no hard work on their part; The bees are getting bad publicity because of this simile! Moving on, the richness of the leaves is equated to the dark skin of maiden and the pollen falling on the same to the pallor spots on the dark skin. You also get to see ponds and banks scattered with flowers, in spring!

Describing all this, the confidante requests the lady not to feel sad every time she hears the cuckoo sing, thinking about the man who parted away. Just then, the lady conveys her point of view by mentioning how it was the time when the Vaigai flows with gusto, the time of the Villavan festival, when lovers are meant to be together, and also, the time in Koodal, when poets come together to pen new verses to delight the people there. Then, she thinks back to the past and asks her friend, when I bid bye to the man, with my eyes shedding tears beyond my control, as I wished him success, and as my heart thought of so many things, didn’t he promise to be back by now? The confidante replies to this angst-ridden question by telling her just like a king, who was renowned for his bird-like chariot and the truth of his words, the man was sure to keep his word and would return before the promised day.

The most interesting element that can be extracted from this verse is the mention of poets penning verses, a sort of self tagging, in the city of Koodal, which is also known by the name of ‘Madurai’. Apparently, this happens in the season of spring. This reminds of many a character from the novels of P.G.Wodehouse, who wax poetic about this very season in the cold corners of England. Perhaps these poets, across space and time, universally felt that spring was the perfect time to pen and share their verses, when new things bloom and love was surely in the air!

In this episode, we observe abstract traits projected on a person’s state of mind, as portrayed in Sangam Literary work, Kalithogai 34, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and hints about virtues considered right and wrong in the Sangam era.

‘மன் உயிர் ஏமுற, மலர் ஞாலம் புரவு ஈன்று,
பல் நீரால் பாய் புனல் பரந்து ஊட்டி, இறந்த பின்,
சில் நீரால் அறல் வார, அகல் யாறு கவின் பெற,
முன் ஒன்று தமக்கு ஆற்றி முயன்றவர் இறுதிக்கண்
பின் ஒன்று பெயர்த்து ஆற்றும் பீடுடையாளர் போல்,
பல் மலர் சினை உக, சுரும்பு இமிர்ந்து வண்டு ஆர்ப்ப,
இன் அமர் இளவேனில் இறுத்தந்த பொழுதினான்

விரி காஞ்சித் தாது ஆடி இருங் குயில் விளிப்பவும்,
பிரிவு அஞ்சாதவர் தீமை மறைப்பென்மன்; மறைப்பவும்,
கரி பொய்த்தான் கீழ் இருந்த மரம் போலக் கவின் வாடி,
எரி பொத்தி, என் நெஞ்சம் சுடும்ஆயின், எவன் செய்கோ?

பொறை தளர் கொம்பின்மேல் சிதரினம் இறை கொள,
நிறை தளராதவர் தீமை மறைப்பென்மன்; மறைப்பவும்,
முறை தளர்ந்த மன்னவன் கீழ்க் குடி போலக் கலங்குபு,
பொறை தளர்பு பனி வாரும் கண்ஆயின், எவன் செய்கோ?

தளை அவிழ் பூஞ் சினைச் சுரும்பு யாழ் போல இசைப்பவும்,
கொளை தளராதவர் தீமை மறைப்பென்மன்; மறைப்பவும்,
கிளை அழிய வாழ்பவன் ஆக்கம் போல் புல்லென்று,
வளை ஆனா நெகிழ்பு ஓடும் தோள்ஆயின், எவன் செய்கோ?’

என ஆங்கு,
நின்னுள் நோய் நீ உரைத்து அலமரல்; எல்லா! நாம்
எண்ணிய நாள்வரை இறவாது, காதலர்
பண்ணிய மாவினர் புகுதந்தார்
கண் உறு பூசல் கை களைந்தாங்கே.

Same actors and same premise herein! The words can be translated as follows:

“Delighting all life and protecting this widespread land, gushing streams spread and fed plentiful water. After that time had passed, the reduced water flows in small streams by the river sands. Beautifying this river, akin to those with honour who recollect the person, who did something good to them in the past, and later when they are in distress, repays them by doing good to them, the branches shed many flowers on the river, and bees buzz around. During such a time, when the pleasant and picturesque spring has arrived…

When the black cuckoo immerses in the pollen of wide open flowers of the portia tree and calls out aloud, I can try to hide the cruelty of the one who fears not this separation. Even when I do, akin to a tree, under whom a man, who rendered a false witness stayed, losing beauty, burnt by the flame within, when my heart burns, what am I to do?

When the bees swarm around the sagging branches laden with heavy flowers, I can try to hide the cruelty of the one, who is unswerving in his determination. Even when I do, akin to people, who are under the reign of an unjust king, crying, unable to hold the weight of the moisture within, when my eyes overflow with tears, what am I to do?

When the honeybees resound like a lute around the flower-laden branches with fully bloomed petals, I can try to hide the cruelty of the one, who sways not from his principles. Even when I do, akin to the wealth of one, who prospers at the ruin of his kin, becoming lifeless, when my arms let my bangles to slip away ceaselessly, what am I to do?

And so, saying all this about the affliction within you, worry not, my friend! Without delaying it beyond the days we had counted, your lover has mounted on his adorned horse and has arrived to wipe away the angst of your eyes with his hands!”

Let’s explore the details. The verse is situated in the context of the man’s parting from the lady after marriage and starts in the voice of the lady and concludes in the voice of the confidante. The lady starts as usual by talking about spring. She remembers how the rivers were gushing in full force, possibly talking about the winter rains of Tamilnadu and their effect on the waterbodies. In time, as spring approaches, this reduces and now water flows in smaller streams. Over these streams, branches of trees shed their beautiful flowers and for this natural event, the lady brings in an exquisite simile, where she talks of the generosity of a person who had received something good from another in a time of need, and later, when seeing the other person in distress, they offer them good things to resolve their state. She implies that the trees had received the bounty of the rivers gushing flow, and now, when those rivers were diminished, the trees were paying back by adorning the rivers with flowers that bloom on them. Extraordinary connection to a noble human trait with this element of nature!

Returning, we find the lady saying, ‘Indeed, spring has come and the bees are buzzing around the branches’. At this time, when cuckoos dance around the pollen of the portia tree, bees swarm around heavy branches and buzz like lutes, even though she tries to hide the pain inflicted on her by the man who parted away from her, firm in his resolve, she is unable to do that. Once again, she narrates her helplessness in controlling her emotions with three relevant similes. The first features a man staying under a tree and she informs us that this is a man, who had given false witness, and because of this, the tree would lose its beauty and fade, and just like that her heart too is burnt from within. In the second, the miserable people under an unjust ruler are highlighted, and she says, like them, she would cry, for her eyes would be unable to bear the burden of that pain. Finally, she talks about a man who seems to have great wealth but he has attained that at the ruin of his relatives, and she adds, just like that wealth, her arms lose their health and bangles slip away. In short, no matter how much she tries to hide her pain, these events reveal her suffering to the world. Hearing all this, the confidante as usual, asks her not to worry, for the man was arriving even before the day they had calculated, and at the very moment, he was rushing on his horse to wipe away his lady’s sorrow.

Through this verse, we get a sense of ethics and virtues of importance in the Sangam era. The first is repaying goodness to one and echoes an ingrained sense of gratitude; The other three, by talking about the absence of these qualities, reveal to us, their importance in the minds of these people. These are, never ever giving false witness for this human act seemed to have the power to even burn a tree, according to Sangam perception; The next is ruling with compassion and empathy over one’s subjects and considering that this was written by a poet-king, we can be sure he practiced what he penned. The final one talks about the importance of including one’s kin in the success of one’s life, and seems to talk about how no person is an island and our victory should be shared with those, who are there in our life, and never at the cost of their well-being. And thus, although it’s the exact same situation of the lady complaining, and confidante consoling, we are given to understand timeless truths of what makes someone a person of honour and virtue!