Sangam Lit

In this episode, we observe the transformation in a person, as depicted in Sangam Literary work, Kalithogai 130, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and sketches the effect of an evening on a maiden.

‘நயனும், வாய்மையும், நன்னர் நடுவும்,
இவனின் தோன்றிய, இவை’ என இரங்க,
புரை தவ நாடி, பொய் தபுத்து, இனிது ஆண்ட
அரைசனோடு உடன் மாய்ந்த நல் ஊழிச் செல்வம் போல்,
நிரை கதிர்க் கனலி பாடொடு பகல் செல,
கல்லாது முதிர்ந்தவன் கண் இல்லா நெஞ்சம் போல்,
பல் இருள் பரத்தரூஉம் புலம்பு கொள் மருள் மாலை

இம் மாலை,
ஐயர் அவிர் அழல் எடுப்ப, அரோ, என்
கையறு நெஞ்சம் கனன்று தீ மடுக்கும்!

இம் மாலை,
இருங் கழி மா மலர் கூம்ப, அரோ, என்
அரும் படர் நெஞ்சம் அழிவொடு கூம்பும்!

இம் மாலை,
கோவலர் தீம் குழல் இனைய, அரோ, என்
பூ எழில் உண்கண் புலம்பு கொண்டு இனையும்!

என ஆங்கு,
படு சுடர் மாலையொடு பைதல் நோய் உழப்பாளை,
குடி புறங்காத்து ஓம்பும் செங்கோலான் வியன் தானை
விடுவழி விடுவழிச் சென்றாங்கு, அவர்
தொடுவழித் தொடுவழி நீங்கின்றால் பசப்பே.

For a change, it’s the onlookers who are rendering these words, which can be translated as follows:

“Making people say with tenderness, ‘Surely, grace, truth and fairness must have been born only because of him’, analysing the right ways of uplifting, avoiding lies entirely, with goodness, ruled a great king. Akin to the wealth of good times that vanishes away with him, the sun, brimming with rays, decides to part away and end the day. Akin to the visionless heart of an uneducated old man, darkness then spreads in this lonely and confusing evening.

At this evening hour, when priests light the flame, alas! my helpless heart burns with the fire of desire;

At this evening hour, when the huge flowers in the backwaters close their buds, alas! my suffering-filled heart closes with despair;

At this evening hour, when the cowherds play on their sweet flutes, alas! my flower-like, kohl streaked eyes join in unison with loneliness;

And so, in that evening, when the sun sets, with a sorrowful disease, she suffered. Akin to a king with a red sceptre, who protects his people, by wielding his wide army, wherever, wherever he wishes, whenever, whenever her beloved touches her, fades away that pallor of hers!”

Let’s explore the nuances. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the onlookers talk about the lady’s state. First, they describe the time of the day with the simile about the passing away of a great king, who ruled with justice and goodness, and the vanishing away of all good times with his passing, to talk about the setting of the sun. Then, another philosophical simile about the mind of an uneducated person, which cannot see far, when old age arrives, and thus is filled with confusion, is brought forth to highlight the darkness of the night to come. Then, the effect of the evening on the lady is detailed, mentioning how as priests light flames, it’s the lady’s heart that burns; as flowers close, the lady’s heart too closes with sorrow; as cowherds send out the music of their flutes, the lady’s heart seems to join that song of melancholy. The same onlookers, most probably, the friends of the lady, conclude by talking about how the lady who was so ruined by an evening, without her beloved, was transformed, when he arrived. Like how a just king protects his people with his powerful army wherever he goes, whenever the man touches the lady, her pallor seemed to retreat, conclude those onlookers.

The words that spoke to me in this verse were the ones that highlighted the importance of education, by detailing how without learning, a person cannot see far and triumph over the travails of old age. This learning need not be only from the books, but it can also be from a life filled with rich experience. I was stunned by the truth and relevance of this thought after two thousand years, when studies have shown that a mentally active lifestyle, is of prime importance to put up a fight with dementia and other illnesses that attack one in the twilight years. Here’s to keeping those brain cells active and the mind’s eyes seeing far, even after the sun of youth sets in the horizon of our lives!

In this episode, we perceive the arrival of the evening with striking similes, as portrayed in Sangam Literary work, Kalithogai 129, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and sketches heartrending conversations with elements in the environment.

தொல் ஊழி தடுமாறி, தொகல் வேண்டும் பருவத்தால்,
பல் வயின் உயிர் எல்லாம் படைத்தான்கண் பெயர்ப்பான் போல்,
எல் உறு தெறு கதிர் மடங்கி, தன் கதிர் மாய;
நல் அற நெறி நிறீஇ உலகு ஆண்ட அரசன் பின்,
அல்லது மலைந்திருந்து அற நெறி நிறுக்கல்லா
மெல்லியான் பருவம் போல், மயங்கு இருள் தலை வர;
எல்லைக்கு வரம்பு ஆய, இடும்பை கூர், மருள் மாலை

பாய் திரைப் பாடு ஓவாப் பரப்பு நீர்ப் பனிக் கடல்!
‘தூ அறத் துறந்தனன் துறைவன்’ என்று, அவன் திறம்
நோய் தெற உழப்பார்கண் இமிழ்தியோ? எம் போலக்
காதல் செய்து அகன்றாரை உடையையோ? நீ

மன்று இரும் பெண்ணை மடல் சேர் அன்றில்!
‘நன்று அறை கொன்றனர், அவர்’ எனக் கலங்கிய
என் துயர் அறிந்தனை நரறியோ? எம் போல
இன் துணைப் பிரிந்தாரை உடையையோ? நீ

பனி இருள் சூழ்தர பைதல் அம் சிறு குழல்!
‘இனி வரின், உயரும்மன் பழி’ எனக் கலங்கிய
தனியவர் இடும்பை கண்டு இனைதியோ? எம் போல
இனிய செய்து அகன்றாரை உடையையோ? நீ

என ஆங்கு,
அழிந்து, அயல் அறிந்த எவ்வம் மேற்பட,
பெரும் பேதுறுதல் களைமதி, பெரும!
வருந்திய செல்லல் தீர்த்த திறன் அறி ஒருவன்
மருந்து அறைகோடலின் கொடிதே, யாழ நின்
அருந்தியோர் நெஞ்சம் அழிந்து உக விடினே.

The confidante takes the spotlight again, in this verse. The words can be translated as follows:

“In the past, at a moment, which appeared to be the end of time, beings of many kinds were together assembled and dispatched to the Creator by the Destroyer. Akin to this time, the radiant flame that lit up the day dimmed and made its rays fade;

After the death of a king, who ruled his land, reinstating justice with righteousness, came the rule of a weak king, unable to establish justice, making evil reign. Akin to this time, when confusing darkness raises its head, establishing the limit to the day, arrived the suffering-filled, tormenting evening.

O cool and wide seas, filled with roar of the soaring waves that cease not! Saying, ‘The lord of the shores has parted away, destroying your strength’, are you singing about those, who are suffering with affliction because of him? Or do you too have someone, who has loved you and then abandoned you, just like me?

O red-naped ibis, perched on the leaf of the palmyra tree in the town centre! Saying, ‘The lord has killed all that is good’, are you screeching, understanding the sorrow that rocks me? Or do you too have someone, who has parted away from their sweet companion, just like me?

O pretty little flute that surrounds with the music of melancholy! Saying, ‘If he comes now, the slander will be routed’, are you crooning after seeing the lonely pain that rocks me? Or do you too have someone, who has done good and then parted away, just like me?

And so, ruined, with a sorrow that everyone around knows, she is greatly tormented. You must end this angst of hers, O lord! Even more terrible than knowing the cure to a deep pain and withholding that medicine, would be your act of letting the heart of someone you love ruin away!”

Let’s explore the nuances. The verse is situated in the context of a man’s parting from a lady prior to marriage and here the confidante expresses her views to the man. Instead of talking about the land, as custom, the confidante chooses to talk about the time of the day. To describe that, she brings in two similes: One, a time when lives many are assembled together to be destroyed, making space for the new to be born again; Two, a time after the rule of a good and just king, when a weak king, takes up the mantle and is unable to subdue evil in the land. Just like how these times would be filled with darkness, the sun was dimming its rays, marking the end of the day, and setting the stage for the tormenting evening. The confidante describes how, at this time of the day, the lady turns to the roaring seas, the crying ibis and the crooning flute, and asks each of them whether they were singing knowing her plight or whether they too were loved and abandoned by someone, just the way she has been. The confidante relays this angst-ridden questions, put forth to elements of the world around by the lady, to the man, conveying her pain and affliction, declaring he must end this. She concludes with the words that if he doesn’t, his actions would be even more cruel than a doctor, who knows the cure of a pain but withholds it from those who are suffering.

Though the core thought is the same plea to the man to save the life of the suffering lady, there are some interesting similes hidden herein. The medicine connection struck me as something so relevant even today, when money seems to dictate the availability of cures to the needy. As if they are aware of the Hippocratic oath taken by the students of Medicine, the Sangam folks talk about the ethics of a physician, who is expected to offer all the help they can! Reversing to the very first simile of lives assembled and destroyed to talk about the arrival of the dark evening, that made me wonder if the Sangam folks had some sense of the many, many events of mass extinctions, before the era of humans, where life forms were destroyed as a whole, from the trilobites and marine life, to the wiping out of the great dinosaurs that roved the land for millions of years. Scientifically speaking, it’s unlikely definitely. But the heart always knows before the mind, and that’s why poets always beat the scientists in the race for truth!

In this episode, we listen to the events that unfolded in a dream, as depicted in Sangam Literary work, Kalithogai 128, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and reveals the subtle reasons for a transformation.

‘தோள் துறந்து அருளாதவர் போல் நின்று,
வாடை தூக்க வணங்கிய தாழை
ஆடு கோட்டு இருந்த அசை நடை நாரை,
நளி இருங் கங்குல், நம் துயர் அறியாது,
அளி இன்று, பிணி இன்று, விளியாது நரலும்
கானல் அம் சேர்ப்பனைக் கண்டாய் போல,
புதுவது கவினினை’ என்றியாயின்,
நனவின் வாரா நயனிலாளனைக்
கனவில் கண்டு, யான் செய்தது கேள், இனி:

‘அலந்தாங்கு அமையலென்’ என்றானைப் பற்றி, ‘என்
நலம் தாராயோ?’ என, தொடுப்பேன் போலவும்,
கலந்து ஆங்கே என் கவின் பெற முயங்கி,
‘புலம்பல் ஓம்பு’ என, அளிப்பான் போலவும்

‘முலையிடைத் துயிலும் மறந்தீத்தோய்’ என,
நிலை அழி நெஞ்சத்தேன் அழுவேன் போலவும்,
‘வலை உறு மயிலின் வருந்தினை, பெரிது’ என,
தலையுற முன் அடிப் பணிவான் போலவும்

கோதை கோலா, இறைஞ்சி நின்ற
ஊதைஅம் சேர்ப்பனை, அலைப்பேன் போலவும்,
‘யாது என் பிழைப்பு?’ என நடுங்கி, ஆங்கே,
‘பேதையைப் பெரிது’ எனத் தெளிப்பான் போலவும்

ஆங்கு
கனவினால் கண்டேன் தோழி! ‘காண் தகக்
கனவின் வந்த கானல் அம் சேர்ப்பன்
நனவின் வருதலும் உண்டு’ என
அனை வரை நின்றது, என் அரும் பெறல் உயிரே.

After a while, we get to hear the voice of the lady in this one. The words can be translated as follows:

“Akin to one, who has abandoned the arms of a beloved and renders not his grace, stands the stiff pandanus, now bent by the cold northern winds. The stork with a swaying gait that rests upon the dancing branches, in the pitch dark hour of midnight, without knowing of our sorrow, without grace, without care, cries out unceasingly in the groves of the lord. You ask me, ‘Why do you glow with new beauty, as if you have seen the lord of the seas?’. Listen now to what I did to the loveless one, who does not come here in real, when I saw him in a dream:

To the one who said, ‘I shan’t live apart from you’, I demanded, ‘Give me back my beauty!’ Just then, he embraced me, making my beauty return, and said ‘Let your lamenting cease!’.

Then, I cried to him with a ruined heart, asking, ‘Have you forgotten the sweet sleep between my bosom’?, and he responded saying, ‘You suffer so much, akin to a peacock caught in a net’, and bent his head before my feet.

With a garland as a rod, I hit that lord of the shores, wafting with cold winds, as he stood there pleading. He responded asking with a shiver, ‘What is my mistake?’ and then spoke to me, removing my fears, and declaring, ‘You don’t seem to understand because of your great ignorance!’

And so, all this I saw in a dream, my friend. Thinking, ‘The lord of the shores, who appeared in that beautiful dream, will come in reality too’, waiting for his arrival, remains my precious life!”

Time to delve into the details. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the lady renders these words to her confidante. The lady begins by talking about the land of the lord, where a pandanus tree, which was standing stiff and straight like a person who had abandoned their beloved, was bent by the swaying winds, and upon this tree, a stork rested and cried out aloud, causing pain in the hearts of the parted.

After describing the man’s land so, the lady repeats the question her confidante just asked her, wondering why there seemed to be a glow on the lady’s face when the man had not come by at all. To this, the lady replies saying that she saw the man in the dream and demanded that he give back her beauty and he hugged the lady and tried to calm her. When she persisted and questioned him about why he came no more and savoured sweet sleep with her, he understood her state, likening it to that of a peacock caught in a net, and bent low before her. When the lady pretended to be angry and hit him with a garland as a rod, the man asked with a quiver, ‘What is my mistake?’, and tried to make her understand his love and her ignorance. Repeating all this to her friend, the lady tells her friend that her life believes that all this that happened in a dream will happen for real too and that’s why it seemed to be holding on, with hope. The verse relays the power of these incomprehensible but integral part of human life called dreams, that has fascinated poets and scientists for centuries many! Do we dream what we want in life, or do dreams reflect what has happened in life, or is it all nothing but random sparks in a sleeping organ? The mystery goes on…

In this episode, we hear piercing words rendered to persuade a person, as portrayed in Sangam Literary work, Kalithogai 127, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and attempts to change the man’s heart.

தெரி இணர் ஞாழலும், தேம் கமழ் புன்னையும்,
புரி அவிழ் பூவின கைதையும், செருந்தியும்,
வரி ஞிமிறு இமிர்ந்து ஆர்ப்ப, இருந் தும்பி இயைபு ஊத
செரு மிகு நேமியான் தார் போல, பெருங் கடல்
வரி மணல்வாய் சூழும் வயங்கு நீர்த் தண் சேர்ப்ப!

கொடுங் கழி வளைஇய குன்று போல், வால் எக்கர்,
நடுங்கு நோய் தீர, நின் குறி வாய்த்தாள் என்பதோ
கடும் பனி அறல் இகு கயல் ஏர் கண் பனி மல்க,
இடும்பையோடு இனைபு ஏங்க, இவளை நீ துறந்ததை?

குறி இன்றிப் பல் நாள், நின் கடுந் திண் தேர் வரு பதம் கண்டு,
எறி திரை இமிழ் கானல், எதிர்கொண்டாள் என்பதோ
அறிவு அஞர் உழந்து ஏங்கி, ஆய் நலம் வறிதாக,
செறி வளை தோள் ஊர, இவளை நீ துறந்ததை?

காண் வர இயன்ற இக் கவின் பெறு பனித் துறை,
யாமத்து வந்து, நின் குறி வாய்த்தாள் என்பதோ
வேய் நலம் இழந்த தோள் விளங்குஇழை பொறை ஆற்றாள்,
வாள் நுதல் பசப்பு ஊர, இவளை நீ துறந்ததை?

அதனால்,
இறை வளை நெகிழ்ந்த எவ்வ நோய் இவள் தீர,
‘உரவுக் கதிர் தெறும்’ என ஓங்கு திரை விரைபு, தன்
கரை அமல் அடும்பு அளித்தாஅங்கு
உரவு நீர்ச் சேர்ப்ப! அருளினை அளிமே.

The confidante’s voice resounds among the waves of this shore again! The words can be translated as follows:

“The tigerclaw with radiant clusters, the laurel wood wafting with the fragrance of honey, the pandanus with flowers breaking open and blossoming, and the golden champak makes the striped bees buzz aloud and the black bees to join in unison, in the grove upon the striped sands around which the great ocean surrounds, akin to the garland of the Battle-worthy One with a discus, in your domain, O lord of the cool and bright seas!

Is it because she answered your call to tryst, so as to end your tormenting affliction, upon the white sands that are heaped like peaks on the curving backwaters, that you have abandoned her, making her yearn with sorrow and suffering, even as her eyes brim over with tears, appearing akin to fish swimming in a cold, wild stream?

Is it because she welcomed you, hearing your fast and sturdy chariot arrive, even though many days had passed by without trysting, in the groves resounding with leaping waves, that you have abandoned her, making her tight bangles slip away from her arms, even as she yearns and suffers in limitless sorrow that scorches her fine beauty?

Is it because she answered your call to tryst, in these pleasing, picturesque, cool shores, at night, that you have abandoned her, making pallor spread on her shining forehead, even as her arms which have lost their bamboo-like beauty struggle, unable to bear the burden of her radiant jewels?

And so, to end her suffering-filled disease that makes her bangles slip away, akin to how the roaring seas rush in, thinking that the fierce rays of the sun will scorch the beach morning glory vines on the shore and renders their grace, O lord of the resounding waves, render your grace to her!”

Let’s delve into the nuances. The verse is situated in the context of the man’s parting from the lady prior to marriage, and here, the confidante pleads to the man on behalf of the lady. As custom, the confidante starts with a description of the man’s land, where the sea surrounds the white sands, filled with groves of trees with fragrant flowers such as the tigerclaw, laurel wood, pandanus and the golden champak. To etch this image, the confidante brings in a mythical reference to the garland that surrounds the God, who was called upon in battles many, the One who has a discus in hand, possibly referring to God Vishnu. After this description, the confidante asks the man whether he has abandoned the lady so easily because she always answered his call to tryst upon the white sands, always welcomed him even when many days had passed without meeting and was always ready to tryst with him even at night. After the lady had been so receptive to his requests, now she has been left in a state of pining, with bangles slipping and tears brimming, the confidante accuses the man. She concludes by asking him to have the thoughtfulness of the sea waves that rush to cool the beach morning glory vines thinking these would be scorched by the sun otherwise, and likewise asking him grace the lady and end her deep suffering.

In the image of waves rushing to the aid of the vines, we see the literary device of personification on the natural actions of an element of the land. Also, in the repeated questions the confidante asks the man, she seems to be asking him indirectly how he could be so thankless and thoughtless, in the face of the lady’s love, employing the core of the idiom, ‘Familiarity breeds contempt’, and intends to bring shame and regret in the man’s mind! Yet another ‘marry her, marry her’, that we are able to relate to a relevant thought in another language, in another culture, echoing the universality of human emotions!

In this episode, we perceive picturesque images from the sea, as depicted in Sangam Literary work, Kalithogai 126, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and presents the assumptions and revelations in the mind of a parted maiden.

பொன் மலை சுடர் சேர, புலம்பிய இடன் நோக்கி,
தன் மலைந்து உலகு ஏத்த, தகை மதி ஏர்தர,
செக்கர் கொள் பொழுதினான் ஒலி நீவி, இன நாரை
முக்கோல் கொள் அந்தணர் முது மொழி நினைவார் போல்,
எக்கர் மேல் இறைகொள்ளும், இலங்கு நீர்த் தண் சேர்ப்ப!

அணிச் சிறை இனக் குருகு ஒலிக்குங்கால், நின் திண் தேர்
மணிக் குரல் என இவள் மதிக்கும்மன்; மதித்தாங்கே,
உள் ஆன்ற ஒலியவாய் இருப்பக் கண்டு, அவை கானற்
புள் என உணர்ந்து, பின் புலம்பு கொண்டு, இனையுமே

நீர் நீவிக் கஞன்ற பூக் கமழுங்கால், நின் மார்பில்
தார் நாற்றம் என இவள் மதிக்கும்மன்; மதித்தாங்கே,
அலர் பதத்து அசைவளி வந்து ஒல்க, கழி பூத்த
மலர் என உணர்ந்து, பின் மம்மர் கொண்டு, இனையுமே

நீள் நகர் நிறை ஆற்றாள், நினையுநள் வதிந்தக்கால்,
தோள் மேலாய் என நின்னை மதிக்கும்மன்; மதித்தாங்கே,
நனவு எனப் புல்லுங்கால், காணாளாய், கண்டது
கனவு என உணர்ந்து, பின் கையற்று, கலங்குமே

என ஆங்கு,
பல நினைந்து, இனையும் பைதல் நெஞ்சின்,
அலமரல் நோயுள் உழக்கும் என் தோழி
மதி மருள் வாள் முகம் விளங்க,
புது நலம் ஏர்தர, பூண்க, நின் தேரே!

The confidante is at it again, speaking up for her friend! The words can be translated as follows:

“The flame has retired to the golden mountain, leaving the land around in loneliness. Seeing this, to brighten the dull world, the esteemed moon rises up in that red-rayed time of the day. At this time, noiselessly, a flock of sea birds rest upon the sand dunes, akin to priests, with tridents, meditating on wise words, O lord of shores brimming with cool and radiant waters!

When flocks of birds with beautiful feathers call out, she would assume that it’s the sound of bells on your sturdy chariot; When she assumes so, seeing that the sounds recede and fade, she would realise that those are the seabirds, and filled with loneliness, she would feel sorrowful.

When flowers soar above the waters and send out their fragrance, she would assume that it’s the scent of the garland on your chest; When she assumes so, as the swaying wind then brings the scent of flowers to her, she would realise these are blooms of the backwaters, and filled with melancholy, she would feel sorrowful.

When she feels unable to restrain her heart within her huge mansion and lives in her thoughts, she would assume that you caressed her arms. When she assumes so and hugs you, thinking this is real, then not seeing you, she would realise that it was a dream and filled with helplessness, she would feel sorrowful.

And so, with many such thoughts, a heart filled with sorrow, my friend laments with this suffering-filled affliction. To make her moon-like face bloom, to brighten her fresh beauty, you have to ready your horses, O lord!”

Let’s explore the nuances. The verse is situated in the context of a man’s parting prior to marriage, and here, the confidante renders these words to the man. She starts with the serene image of dusk falling upon the land and a flock of sea birds resting on the sands, and she likens this image to that of priests meditating on the wisdom of the past. After this description of the man’s land, the confidante goes on to present three different scenes, wherein we see the lady mistaking the sound of birds as the bells on the man’s chariot, the fragrance of new flowers as the scent of the man’s garland, and the image of her embracing the man in her thoughts as something real. When she realises that what she heard, smelled and sensed are just the birds, blooms and a dream, she is filled with sorrow, the confidante tells the man, conveying to him, the state of the lady he loves, with these vivid images. She ends by persuading him to tie-up his horses and race towards the lady’s home, to make the lady’s face glow once again. The sights, sounds and scents and the way they are intertwined with the emotions makes this verse a delight for the senses!

In this episode, we listen to a philosophical thought about the heart, as portrayed in Sangam Literary work, Kalithogai 125, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and puts forth a heartfelt plea.

‘கண்டவர் இல்’ என, உலகத்துள் உணராதார்,
தங்காது தகைவு இன்றித் தாம் செய்யும் வினைகளுள்,
நெஞ்சு அறிந்த கொடியவை மறைப்பினும், ‘அறிபவர்
நெஞ்சத்துக் குறுகிய கரி இல்லை ஆகலின்,’
வண் பரி நவின்ற வய மான் செல்வ!
நன்கு அதை அறியினும், நயன் இல்லா நாட்டத்தால்,
‘அன்பு இலை’ என வந்து கழறுவல்; ஐய! கேள்:

மகிழ் செய் தேமொழித் தொய்யில் சூழ் இள முலை
முகிழ் செய முள்கிய தொடர்பு, அவள் உண்கண்
அவிழ் பனி உறைப்பவும், நல்காது விடுவாய்!
இமிழ் திரைக் கொண்க! கொடியைகாண் நீ

இலங்கு ஏர் எல் வளை ஏர் தழை தைஇ,
நலம் செல நல்கிய தொடர்பு, அவள் சாஅய்ப்
புலந்து அழ, புல்லாது விடுவாய்!
இலங்கு நீர்ச் சேர்ப்ப! கொடியைகாண் நீ

இன் மணிச் சிலம்பின் சில் மொழி ஐம்பால்
பின்னொடு கெழீஇய தட அரவு அல்குல்
நுண் வரி வாட, வாராது விடுவாய்!
தண்ணந் துறைவ! தகாஅய்காண் நீ

என ஆங்கு
அனையள் என்று, அளிமதி, பெரும! நின் இன்று
இறை வரை நில்லா வளையள் இவட்கு, இனிப்
பிறை ஏர் சுடர் நுதற் பசலை
மறையச் செல்லும், நீ மணந்தனை விடினே.

On behalf of a friend again! The words can be translated as follows:

“Thinking, ‘there’s no one to see what we are doing’, some ignorant people in the world may do certain things, without remaining in the right path and without having anyone to stop them. They would then try to hide the evil they have done. They should know that there can be no greater witness than their heart, which knows everything, O man who owns many strong and skilled horses! Even though I know this very well, because of your actions, which lack grace, I have come here to rebuke you, saying ‘You have no love!’ O lord, listen:

Back then, your bond with her made the young bosoms of that maiden, with joyous words, akin to honey, bloom. But now making her kohl-streaked eyes blossom with tears, you have forsaken her, without rendering your grace, O lord of the resounding waves! Terrible, you are!

Back then, your bond with her made the beauty of the maiden wearing radiant, glowing fine bangles, flourish, when you adorned her with a leaf attire. But now making her lament and cry, you have forsaken her, without rendering your embrace, O lord of the shining waters! Terrible, you are!

Back then, your bond with her made you hold close the maiden of few words, having thick tresses and wearing anklets with sweet-sounding bells. But now making the fine lines on her snake-hooded loins fade, you have forsaken her, without rendering your presence, O lord of the cool shores! Terrible, you are!

And so, understanding that she is in such a state, you render your grace, O lord! Without you, her bangles stay not on her wrists. The pallor that hides her glowing, crescent-moon forehead now, would vanish away forever, if only you would marry her!”

Time to delve into the nuances. The verse is situated in the context of a man’s parting from a lady, prior to marriage, and here, the confidante presents her case to the man. She starts in an abstract fashion, talking about how even though people may do certain things thinking that nobody is watching them, their hearts know it and can bear the best witness. Even though she knows this truth, the confidante says she has come to state the man’s mistake openly to him. She goes on to talk about how the man made the beauty of the lady glow by being with her, by giving her the gift of leaf attires and by embracing her. But later, he left her, and because of that, the same beauty he had endowed had now waned, making the lady shed tears. The confidante calls the man a heartless person. After scolding him so, the confidante concludes by saying how the lady’s bangles never stay on her wrists, when the man is away, and if only he graces her by marrying her, the pallor on her fine forehead would be banished forever!

Felt somewhat disheartened by yet another portrayal of the Sangam woman as a person, utterly dependant on her man. Looking at the past with these modern eyes, I can’t help wishing that the women then were presented as individuals, who could stand and flourish on their own. What could be the purpose in projecting women in this frail manner? At the same time, seeing from a different angle, I feel so much joy and pride about women, who have risen from such notions about them in many, many parts of the world, to conquer the world and beyond!

In this episode, we listen to the confidante’s thoughtful request, as depicted in Sangam Literary work, Kalithogai 124, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and relates the consequences of a man’s parting.

ஞாலம் மூன்று அடித் தாய முதல்வற்கு முது முறைப்
பால் அன்ன மேனியான் அணி பெறத் தைஇய
நீல நீர் உடை போல, தகை பெற்ற வெண் திரை
வால் எக்கர்வாய் சூழும் வயங்கு நீர்த் தண் சேர்ப்ப!

ஊர் அலர் எடுத்து அரற்ற, உள்ளாய், நீ துறத்தலின்,
கூரும் தன் எவ்வ நோய் என்னையும் மறைத்தாள்மன்
காரிகை பெற்ற தன் கவின் வாடக் கலுழ்பு, ஆங்கே,
பீர் அலர் அணி கொண்ட பிறை நுதல் அல்லாக்கால்

இணைபு இவ் ஊர் அலர் தூற்ற, எய்யாய், நீ துறத்தலின்,
புணை இல்லா எவ்வ நோய் என்னையும் மறைத்தாள்மன்
துணையாருள் தகை பெற்ற தொல் நலம் இழந்து, இனி,
அணி வனப்பு இழந்த தன் அணை மென் தோள் அல்லாக்கால்

இன்று இவ் ஊர் அலர் தூற்ற, எய்யாய், நீ துறத்தலின்,
நின்ற தன் எவ்வ நோய் என்னையும் மறைத்தாள்மன்
வென்ற வேல் நுதி ஏய்க்கும் விறல் நலன் இழந்து, இனி,
நின்று நீர் உகக் கலுழும் நெடும் பெருங் கண் அல்லாக்கால்

அதனால்,
பிரிவு இல்லாய் போல, நீ தெய்வத்தின் தெளித்தக்கால்,
அரிது என்னாள், துணிந்தவள் ஆய் நலம் பெயர்தர,
புரி உளைக் கலிமான் தேர் கடவுபு
விரி தண் தார் வியல் மார்ப! விரைக நின் செலவே.

Another plea in the voice of a friend! The words can be translated as follows:

“The Elder of the First One, who measured the world in three paces, is the Milk-complexioned One. Akin to the beautiful, blue-hued attire that adorns him, the exquisite white-waved blue sea surrounds the light sands, O lord of the radiant waters!

When you abandoned her, thoughtlessly, and the town spread slander with raised voices, the piercing suffering of her affliction, she hid from me. I would have known nothing of it, had not her crescent moon forehead turned into the hue of ridge gourd flowers, as she cried making her esteemed beauty fade!

When you abandoned her, inconsiderately, and the town spread slander joining together, her affliction that was drowning without a raft, she hid from me. I would have known nothing of it, had not her soft arms thinned away, as her beauty, much-celebrated among companions, began to fade!

When you abandoned her, inconsiderately, and the town spread slander day after day, her affliction that stood relentlessly with her, she hid from me. I would have known nothing of it, had not her huge and wide eyes shed tears that were welling within, as her beauty, similar to the edge of a victorious spear, began to fade!

And so, when you swore an oath before God saying, ‘There is never ever going to be a separation’, without considering that it’s impossible, she trusted you. To return to her that excellent beauty of hers, wield your chariot, tied with thick-maned, proud horses, O man with a wide chest, wearing a blooming, cool garland, and hasten your journey!”

Let’s delve into the details. The verse is situated in the context of a man’s parting prior to marriage and here the confidante says these words to the man. She starts by bringing in a mythical reference to a personality, who has measured the world entire in three paces, interpreted by scholars, as referring to the avatar of God Vishnu. Although this figure is referenced, it’s the brother of this figure the verse focuses on, saying he has a skin in the hue of milk. Apparently, the favourite colour of this mythical figure was blue and that’s the attire he wore often. The white skin of this personality hemmed at the edges of that blue attire is placed in parallel to the waves of the blue sea surrounding the white sands, in the man’s domain!

After that reference to the man’s land, the confidante goes on to talk about how the man had forsaken the lady, leaving her to be ripped apart by the slander in town. Even so, the lady seems to have carefully hid her suffering from her, the confidante says, and adds that if not for the changing hue on the lady’s forehead, her waning arms, and the falling tears from her exquisite eyes, the confidante would never have known about the pain within. She continues by reminding how the man swore an oath saying he would never, ever part from his maiden, and the lady too, without realising that that’s something that can never be fulfilled, believed the man and lost her beauty now. She concludes to the man that the only way to return to the lady, her past health and beauty, was to wield his chariot and horses, with much haste, to the lady’s abode!

Here, we can note the nuanced negotiation skills of the confidante, who starts by saying what a worthy candidate the lady is, for she never gave up the man before others, hiding her own suffering and pain. Next, prior promises made are brought to the fore, and finally, the positive outcome expected and the only way to achieve that are presented clearly, making us hear the trotting of the horses, and see their manes flying in the air, as the man moved by these words, takes action to end the suffering of his beloved!

In this episode, we perceive the actions of a troubled heart, as portrayed in Sangam Literary work, Kalithogai 123, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and presents a portrait of a maiden, parted from her beloved.

கருங் கோட்டு நறும் புன்னை மலர் சினை மிசைதொறும்
சுரும்பு ஆர்க்கும் குரலினோடு, இருந் தும்பி இயைபு ஊத,
ஒருங்குடன் இம்மென இமிர்தலின், பாடலோடு
அரும் பொருள் மரபின் மால் யாழ் கேளாக் கிடந்தான் போல்,
பெருங் கடல் துயில் கொள்ளும் வண்டு இமிர் நறுங் கானல்

காணாமை இருள் பரப்பி, கையற்ற கங்குலான்,
மாணா நோய் செய்தான்கண் சென்றாய்; மற்று அவனை நீ
காணவும் பெற்றாயோ? காணாயோ? மட நெஞ்சே!

கொல் ஏற்றுச் சுறவினம் கடி கொண்ட மருள் மாலை,
அல்லல் நோய் செய்தான்கண் சென்றாய்; மற்று அவனை நீ
புல்லவும் பெற்றாயோ? புல்லாயோ? மட நெஞ்சே!

வெறி கொண்ட புள்ளினம் வதி சேரும் பொழுதினான்,
செறி வளை நெகிழ்த்தான்கண் சென்றாய்; மற்று அவனை நீ
அறியவும் பெற்றாயோ? அறியாயோ? மட நெஞ்சே!

என ஆங்கு
எல்லையும் இரவும் துயில் துறந்து, பல் ஊழ்
அரும் படர் அவல நோய் செய்தான்கண் பெறல் நசைஇ,
இருங் கழி ஓதம் போல் தடுமாறி,
வருந்தினை அளிய என் மடம் கெழு நெஞ்சே!

The voice of a lady missing her man echoes aloud! The words can be translated as follows:

“On all the branches of the fragrant, black-trunked laurel wood tree, along with the voice of humming honeybees, black bees buzz together in a resounding rhythm, near the huge ocean, which appears asleep, akin to God Thirumal, who lies down listening to the song of a lute that comes from a glorious tradition, in those bee buzzing fragrant backwaters!

In a time of utter despair when the unseeing darkness spreads, you left to be with the one who gave me this relentless affliction. Did you get to see him? Or did you not see him? O foolish heart!

In an evening filled with confusion, when killer male sharks rove around fiercely, you left to be with the one who gave me this sorrowful affliction. Did you get to embrace him? Or did you not embrace him? O foolish heart!

In an hour when birds flying in neat rows retire to their nests, you left to be with the one who made my well-fitting bangles slip away. Did you get to perceive him? Or did you not perceive him? O foolish heart!

And so, forgetting sleep both in the day and night, wishing to attain the man, who has endowed me with this affliction of utter suffering for many days, akin to the sea waves that ebbs and flows in the dark backwaters, you worry ceaselessly, O pitiable, naive heart of mine!”

Let’s explore the nuances. The verse is situated in the context of a man’s parting from the lady, prior to marriage. Here, the lady speaks to her heart and conveys her inner state. She starts by sketching the characteristic tree of this landscape – The ‘Punnai’ or ‘Indian laurel wood tree’ known for its prolific uses. Here, the branches of the tree are highlighted with the sense of sound, making us hear the buzzing of honeybees and black bees in unison, thereby letting us infer the presence of the bright-hued and fragrant flowers therein. As this is happening near the sleeping seas, the lady connects that image to the image of God Thirumaal, sleeping to the sound of traditional song from a lute. Then, the lady addresses her heart and remarks about how it went in search of the man, in that pitch darkness, in that evening when sharks rove, in that hour when birds fly towards their nests, seeking him, who had left her, with an unceasing and sorrowful affliction that made her bangles slip away. She asks her heart whether it succeeded in seeing, embracing and being with the man. The lady concludes saying her heart, which keeps rushing to the man and returning to her, akin to a flood in the backwaters that recedes and soars, is a naive thing, much to be pitied! In this verse, we can observe the oft-repeated custom in Sangam poetry of separating the heart from oneself. We can understand how the ancients saw the heart as a separate being, with a mind of its own, not always under the control of whom it belongs to! 

In this episode, we perceive the confused heart of a lady, as depicted in Sangam Literary work, Kalithogai 122, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and reveals an impossible situation in a person’s life.

‘கோதை ஆயமும் அன்னையும் அறிவுற,
போது எழில் உண்கண் புகழ் நலன் இழப்ப,
காதல் செய்து அருளாது துறந்தார்மாட்டு, ஏது இன்றி,
சிறிய துனித்தனை; துன்னா செய்து அமர்ந்தனை;
பலவும் நூறு அடுக்கினை; இனைபு ஏங்கி அழுதனை;
அலவலை உடையை’ என்றி தோழீ!
கேள், இனி:

மாண் எழில் மாதர் மகளிரோடு அமைந்து, அவன்
காணும் பண்பு இலன் ஆதல் அறிவேன்மன்; அறியினும்,
பேணி அவன் சிறிது அளித்தக்கால், என்
நாண் இல் நெஞ்சம் நெகிழ்தலும் காண்பல்

இருள் உறழ் இருங் கூந்தல் மகளிரோடு அமைந்து, அவன்
தெருளும் பண்பு இலன் ஆதல் அறிவேன்மன்; அறியினும்,
அருளி அவன் சிறிது அளித்தக்கால், என்
மருளி நெஞ்சம் மகிழ்தலும் காண்பல்

ஒள் இழை மாதர் மகளிரோடு அமைந்து, அவன்
உள்ளும் பண்பு இலன் ஆதல் அறிவேன்மன்; அறியினும்,
புல்லி அவன் சிறிது அளித்தக்கால், என்
அல்லல் நெஞ்சம் மடங்கலும் காண்பல்

அதனால்,
யாம நடு நாள் துயில் கொண்டு ஒளித்த
காம நோயின் கழீஇய நெஞ்சம்
தான் அவர்பால் பட்டதாயின்,
நாம் உயிர் வாழ்தலோ நகை நனி உடைத்தே.

The evening’s gone and the verse has turned abstract! The words can be translated as follows:

“‘Revealing to your garlanded playmates and your mother by making your beautiful, flower-like, kohl-streaked eyes lose their beauty, after loving you, he had parted away without grace, unreasonably. So, you are a little angry; You sit and ponder upon his shortcomings, coming up with hundreds of flaws; And then with suffering and yearning, you shed tears. Such is your sorrow’, you declare to me, my friend! Listen to me now.

Courting those maiden with esteemed beauty, he has no desire to come see me. I know this very well. Even though I do, whenever he happens to show a little care and affection, behold how my shameless heart melts for him!

Courting those maiden with black tresses akin to darkness, he has no way of understanding me. I know this very well. Even though I do, whenever he happens to show a little grace and love, behold how my confused heart delights in him!

Courting those maiden wearing radiant ornaments, he has no reason to think of me. I know this very well. Even though I do, whenever he happens to embrace me a little, behold how my tormented heart simmers down for him!

And so, if my heart has utterly forsaken me and has parted away to him, leaving me in the clutches of a love affliction that lets me sleep not even in the dark hour of midnight, then the fact that I live on is something to be laughed at!”

Time to delve into the details. The verse is situated in the context of a man’s parting from a lady prior to marriage and the lady expresses her emotions in this one. She starts by repeating the words said by her confidante, commenting on how the man had parted away, leaving the lady’s beauty to fade, and thereby revealing their relationship to her playmates and mother, adding how the lady was perpetually mulling over the man’s flaws and then crying about him. In response to this comment about her outer state, the lady talks about her inner state to her confidante, mentioning how the man seemed to be courting beautiful maiden with dark tresses and radiant ornaments, and how even though she knows of this, whenever he happens to come by and show a little love or grace, she forgets everything and melts in love. The lady blames her heart for this state, concluding with the words that if it has decided to take sides with the man in this manner, then one can only laugh at the fact that the lady was still alive!

The dejection in the lady’s mind about conflicting feelings for the man is evident from this verse. Whether the man really was courting other women or whether these were the suspicions rising in the lady’s mind because he had parted away without saying anything is a moot point. In any case, the way the mind and heart seem to be at loggerheads when in love can be inferred from this timeless expression from the ancient past!

In this episode, we hear a passionate plea on behalf of a friend, as portrayed in Sangam Literary work, Kalithogai 121, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and depicts the state of a maiden with elements of nature.

ஒண் சுடர் கல் சேர, உலகு ஊரும் தகையது,
தெண் கடல் அழுவத்துத் திரை நீக்கா எழுதரூஉம்,
தண் கதிர் மதியத்து அணி நிலா நிறைத்தர,
புள்ளினம் இரை மாந்திப் புகல் சேர, ஒலி ஆன்று,
வள் இதழ் கூம்பிய மணி மருள் இருங் கழி
பள்ளி புக்கது போலும் பரப்பு நீர்த் தண் சேர்ப்ப!

தாங்கருங் காமத்தைத் தணந்து நீ புறம் மாற,
தூங்கு நீர் இமிழ் திரை துணையாகி ஒலிக்குமே
உறையொடு வைகிய போது போல், ஒய்யென
நிறை ஆனாது இழிதரூஉம், நீர் நீந்து கண்ணாட்கு

வாராய் நீ புறம் மாற, வருந்திய மேனியாட்கு
ஆர் இருள் துணையாகி அசைவளி அலைக்குமே
கமழ் தண் தாது உதிர்ந்து உக, ஊழ் உற்ற கோடல் வீ
இதழ் சோரும் குலை போல, இறை நீவு வளையாட்கு

இன் துணை நீ நீப்ப, இரவினுள் துணையாகி,
தன் துணைப் பிரிந்து அயாஅம் தனிக் குருகு உசாவுமே
ஒண் சுடர் ஞாயிற்று விளக்கத்தான், ஒளி சாம்பும்
நண்பகல் மதியம் போல், நலம் சாய்ந்த அணியாட்கு

என ஆங்கு
எறி திரை தந்திட, இழிந்த மீன் இன் துறை
மறி திரை வருந்தாமல் கொண்டாங்கு, நெறி தாழ்ந்து,
சாயினள் வருந்தியாள் இடும்பை
பாய் பரிக் கடுந் திண் தேர் களையினோ இடனே.

The pain of a lady takes precedence in this one! The words can be translated as follows:

“As the radiant flame reaches the mountain, the one with a quality of roving over the world entire, the cool-rayed, beautiful moon rises from the southern ocean, pushing aside the waves, and fills the sky. As bird flocks eat their food and retire to their nests, resounding around, and thick and luscious petals close their buds in the sapphire-hued darkness, it appears as if the dark coast has gone to sleep in your domain, O lord of the cool, spreading seas!

As you stayed away leaving her with an unbearable desire, the waves, brimming over the dancing waters resound as the only companion of the maiden, with eyes that flow down with tears, incapable of stopping, akin to a flower filled with dewdrops!

As you visited not and stayed away, the pitch black darkness, even as it tormented her faded beauty, became the only companion of the maiden, whose bangles slip away from her wrist, akin to flowers of the flame lily, when the end is near, as their clusters droop down, shedding cool and fragrant pollen.

As you abandoned your sweet companion, the song of the solitary bird, parted away from its mate at night, became the only companion of the maiden, whose beauty has faded, akin to the moon in the middle of the day, shorn of its light, owing to the brightness of the radiant rays of the sun!

And so, akin to how a thrashing fish, thrown onto the sands of the shore by the waves, is quickly recovered without much pain by a returning wave, this is the time and place to end the suffering of the one, who worries and fades because of your actions, by wielding towards her, your sturdy chariot with leaping horses!”

Let’s explore the nuances. The verse is situated in the context of a man’s parting from a lady prior to marriage, and here, the confidante speaks to the man on behalf of the lady. She begins in the customary way of describing an evening, when the sun is down and the moon is up, birds are in their nests and flowers are closing their buds, giving an appearance of an entire land mass in deep slumber. The confidante then addresses the man and tells him how because he abandoned her and stayed away in his town, without trysting with her, the lady suffered with only the roaring waves, the spreading darkness and a singing bird, keeping her company, even as her eyes brimmed over with tears like a flower dripping with dew, her bangles slipped away like the pollen shedding from a drooping flame-lily and her beauty fading like the colour of the moon in the middle of a day, bright with the sun’s rays. Now, she comes to the core of her message and tells the man just the way a fish that was thrown by a wave, and which is thrashing about, fighting for its life, is quickly saved by that returning wave, the man too must direct his chariot and horses to the lady’s abode, and save her that very moment. Finally, it’s good to see actual elements of the sea in this series on the coastal domain. Especially, the last simile about a thrashing fish on the sands of the shore vividly illustrates the pain of the lady through piercing words!