Sangam Lit

In this episode, we infer emotions from intricate similes about human nature, as depicted in Sangam Literary work, Kalithogai 120, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and brings forth the transformation at the cusp of an event.

அருள் தீர்ந்த காட்சியான், அறன் நோக்கான், நயம் செய்யான்,
வெருவுற உய்த்தவன் நெஞ்சம் போல், பைபய
இருள் தூர்பு, புலம்பு ஊர, கனை சுடர் கல் சேர
உரவுத் தகை மழுங்கித் தன் இடும்பையால் ஒருவனை
இரப்பவன் நெஞ்சம் போல், புல்லென்று, புறம் மாறிக்
கரப்பவன் நெஞ்சம் போல், மரம் எல்லாம், இலை கூம்ப
தோற்றம் சால் செக்கருள் பிறை நுதி எயிறாக,
நால் திசையும் நடுக்குறூஉம் மடங்கல் காலை,
கூற்று நக்கது போலும், உட்குவரு கடு மாலை!

மாலை நீ உள்ளம் கொண்டு அகன்றவர் துணை தாராப் பொழுதின்கண்,
வெள்ள மான் நிறம் நோக்கிக் கணை தொடுக்கும் கொடியான் போல்,
அல்லற்பட்டு இருந்தாரை அயர்ப்பிய வந்தாயோ?

மாலை நீ ஈரம் இல் காதலர் இகந்து அருளா இடன் நோக்கி,
போர் தொலைந்து இருந்தாரைப் பாடு எள்ளி நகுவார் போல்,
ஆர் அஞர் உற்றாரை அணங்கிய வந்தாயோ?

மாலை நீ கந்து ஆதல் சான்றவர் களைதாராப் பொழுதின்கண்,
வெந்தது ஓர் புண்ணின்கண் வேல் கொண்டு நுழைப்பான் போல்,
காய்ந்த நோய் உழப்பாரைக் கலக்கிய வந்தாயோ?

என ஆங்கு,
இடன் இன்று அலைத்தரும் இன்னா செய் மாலை,
துனி கொள் துயர் தீரக் காதலர் துனைதர
மெல்லியான் பருவத்து மேல் நின்ற கடும் பகை
ஒல்லென நீக்கி, ஒருவாது காத்து ஆற்றும்
நல் இறை தோன்ற, கெட்டாங்கு
இல்லாகின்றால் இருளகத்து ஒளித்தே.

Descriptions of an evening and its impact on parting continue in this series of ‘coastal’ domain songs. The verse can be translated as follows:

“A person who has an appearance utterly lacking in compassion; One who does not abide by justice; One who does not do good by others; One who causes fear in the heart of others; Akin to the heart of this person, darkness envelopes slowly. Making the town brim with loneliness, the thick-rayed sun reaches the mountain. Akin to the heart of one, who has lost his old greatness, and because of his suffering, pleads to another, the trees have turn listless. Then, akin to the heart of a miser, who hides his wealth, the trees appear with closed and drooping leaves. As the crescent moon climbs looking like the teeth of the impressive red sky, appearing as if Death was having a good laugh, making all four directions tremble, like the end of time, arrives the fear-inducing, stern evening!

“O evening, in a time, when my companion, who has parted away with my heart, has not yet returned, akin to a cruel man, who aims an arrow at a deer caught in the floods, have you come to torment the tortured?

O evening, seeing that my lover lacking kindness has parted away, without rendering his grace, akin to those who mock and laugh at others defeated in a war, have you come to agonise the anguished?

O evening, in a time when the wise one, who is my pillar, has not yet ended my suffering, akin to one, who stabs a fire-burn wound with a spear, have you come to overwhelm the oppressed?”

And so, without finding elsewhere to go, the evening brought great distress to the lady. But the moment her strong and determined lover arrived as her companion and ended her sorrow, akin to how the fierce enemies of a weak king, who had laid siege, thinking it’s the right time, are scattered away, when a strong king appears and supports the other king, utterly ruined turns the evening, which scuttles and hides in fear in the heart of the darkness!”

Let’s delve into the details. The verse is situated in the context of a man’s parting prior to marriage and here, a narrator remarks on the effect of an evening on a lady. The narrator starts by describing the arrival of an evening. To do that, the natures of individuals are brought to the fore. The first description is about the heart of a compassion-less, unjust, unkind, fear-evoking person, and this is placed in parallel to darkness that spreads in that time of the day. Then, the heart of a person, who is reduced to a state of begging to another, is placed in parallel to how the trees start looking dull, without their life-giving sun. One more heart simile appears and now it’s the heart of a miser, who hides the plenty he has, and this is placed in parallel to the drooping trees with closed leaves in that dark hour. To add another simile, the crest moon is presented as the teeth on the red sky’s face and this image is connected to the laughing face of Death that seems raise its head, as the evening enters the scene.

Seeing the arrival of the evening, the lady describes how like a hunter aiming his arrow at a deer thrashing in the floods, like people who mock and laugh at those others, who have lost in a battle, like one who takes a spear and pierces it through a burn wound, the evening seems to assail and assault her agony that is brimming over, because her man is not beside her. After rendering these words of the lady, the narrator brings forth yet another simile of the way the enemies of a weak king, who had gathered around, thinking this is the right time to attack, are routed and ruined utterly, when a strong king rises in support of the besieged king. Likewise, when the man arrived as the companion to the lady and ended her suffering, the evening seemed to run and hide in fear, the narrator concludes.

Although the verse lacks any tangible connection to the sea or other coastal elements, the verse etches the contrast of emotions before and after the arrival of the man, and also, presents a string of fascinating similes to connect human nature and the time of the day. Marvellous indeed is the creativity of these Sangam poets who are able to see subtle connections between all things in life!

In this episode, we perceive a lady’s pain, as portrayed in Sangam Literary work, Kalithogai 119, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and highlights the happenings of an evening.

அகன் ஞாலம் விளக்கும் தன் பல் கதிர் வாயாகப்
பகல் நுங்கியது போலப் படு சுடர் கல் சேர,
இகல் மிகு நேமியான் நிறம் போல இருள் இவர,
நிலவுக் காண்பது போல அணி மதி ஏர்தர,
கண் பாயல் பெற்ற போல் கணைக் கால மலர் கூம்ப,
தம் புகழ் கேட்டார் போல் தலை சாய்த்து மரம் துஞ்ச,
முறுவல் கொள்பவை போல முகை அவிழ்பு புதல் நந்த,
சிறு வெதிர்ங் குழல் போலச் சுரும்பு இமிர்ந்து இம்மென,
பறவை தம் பார்ப்பு உள்ள, கறவை தம் பதிவயின்
கன்று அமர் விருப்பொடு மன்று நிறை புகுதர,
மா வதி சேர, மாலை வாள் கொள,
அந்தி அந்தணர் எதிர்கொள, அயர்ந்து
செந் தீச் செவ்அழல் தொடங்க வந்ததை
வால் இழை மகளிர் உயிர் பொதி அவிழ்க்கும்
காலை ஆவது அறியார்,
மாலை என்மனார் மயங்கியோரே.

A crisp little song after a long time! The words can be translated as follows:

“The sun, which illuminates the wide world with the many rays spelt out from its mouth, then swallows that very day it made and retires to the mountains; Akin to the hue of the war-worthy one with a discus, darkness shrouds; To shed some light and make the world see, the beautiful moon soars in the skies. Akin to eyes that have attained sleep, the thick-stemmed flowers close their buds; Akin to those, who have heard their praise fall on their ears, bending their heads, trees sleep; Akin to spreading smiles, buds bloom lusciously on the bushes; Akin to music from small bamboo flutes, bees resound around; Birds count their young ones; Cows rush towards their hamlets, to attend to their calves with love; Animals return to their lairs; Dusk spreads with light, bearing a sword; Priests welcome the twilight; Red lamps are lit up with red flames; Not realising this is a time that has come to end the lives of maiden wearing radiant jewels, those confused people seem to say it’s just an evening!”

Let’s delve into the details. The verse is situated in the context of a man’s parting from a lady, prior to marriage. These words are rendered by a lady revealing the state of her mind. The lady starts by listing the changes in the outer world unfolding before her eyes. First, she talks about the sun, which was showering rays and lighting up the world all day, now taking up the task of swallowing those very rays and hitting the bed in the mountain. As a consequence, darkness starts spreading and the colour of this darkness is etched with a simile of a dark-skinned god holding a discus in hand, possibly referring to God Thirumaal. Seeing darkness raise its head, the moon decides to do its bit and shows its face in the high skies. 

From the skies, the lady then flies to the earth beneath and talks about how flowers are closing their buds like eyes that have found sweet sleep. She also mentions trees bending their heads and resting, in the manner of people who have heard themselves praised. A moment to pause and note this subtle comment about a reaction to appreciation. This highlights how the ancients would exhibit humility when they receive a praise. In the West, in societies where individualism is prized, an appreciation is expected to be met and received with confidence. However, in many eastern cultures, there’s a refusal to accept praise, wherein often the recipient would deflect the same outwardly, saying, ‘Oh, it’s nothing. I cannot accept your praise’ and so on. It’s this subtle difference we can observe in this simile between trees at night and people receiving praise. 

Returning, the lady then turns to the flowers blooming like smiles on the bushes and bees buzzing like bamboo flutes around them. She points to birds that have returned to their nests and are checking on their chicks, and cows, rushing homeward to be with their dear calves. That time of twilight seems to her as holding a sword. She then goes to also talk about priests welcoming this time of the day, with verses, and red lamps being lit up. Both are traditions followed till this day in temples and homes in Tamilnadu, a practice to welcome the twilight hour. Now, after listing all the events around here, the lady declares that this is not just a time of the day, this is something that has come to claim the life of maiden, who are parted away from their beloved. She concludes with scorn about people who call this sword-bearing, killing entity as just a harmless ‘evening’. Through these words, we realise the pain of separation that pierces the heart of the lady. At the same time, we have been transported to another time and place to perceive something so well-known to us, the setting of the sun, through the eyes of another!

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Kalithogai 118, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and sketches the words rendered to an evening.

வெல் புகழ் மன்னவன், விளங்கிய ஒழுக்கத்தால்
நல் ஆற்றின் உயிர் காத்து, நடுக்கு அற, தான் செய்த
தொல் வினைப் பயன் துய்ப்ப, துறக்கம் வேட்டு எழுந்தாற்போல்
பல் கதிர் ஞாயிறு பகல் ஆற்றி மலை சேர,
ஆனாது கலுழ் கொண்ட உலகத்து, மற்று அவன்
ஏனையான் அளிப்பான் போல், இகல் இருள் மதி சீப்ப,
குடை நிழல் ஆண்டாற்கும் ஆளிய வருவாற்கும்
இடை நின்ற காலம் போல், இறுத்தந்த மருள் மாலை!

மாலை நீ தூ அறத் துறந்தாரை நினைத்தலின், கயம் பூத்த
போது போல் குவிந்த என் எழில் நலம் எள்ளுவாய்;
ஆய் சிறை வண்டு ஆர்ப்ப, சினைப் பூப் போல் தளை விட்ட
காதலர்ப் புணர்ந்தவர் காரிகை கடிகல்லாய்

மாலை நீ தையெனக் கோவலர் தனிக் குழல் இசை கேட்டு
பையென்ற நெஞ்சத்தேம் பக்கம் பாராட்டுவாய்;
செவ்வழி யாழ் நரம்பு அன்ன கிளவியார் பாராட்டும்
பொய் தீர்ந்த புணர்ச்சியுள் புது நலம் கடிகல்லாய்

மாலை நீ தகை மிக்க தாழ் சினைப் பதி சேர்ந்து புள் ஆர்ப்ப,
பகை மிக்க நெஞ்சத்தேம் புன்மை பாராட்டுவாய்;
தகை மிக்க புணர்ச்சியார், தாழ் கொடி நறு முல்லை
முகை முகம் திறந்தன்ன, முறுவலும் கடிகல்லாய்

என ஆங்கு
மாலையும் அலரும் நோனாது, எம்வயின்
நெஞ்சமும் எஞ்சும்மன் தில்ல எஞ்சி,
உள்ளாது அமைந்தோர் உள்ளும்,
உள் இல் உள்ளம், உள்உள் உவந்தே.

The familiar three-step format of Kalithogai greets us in this verse that echoes a lady’s pain. The words can be translated as follows:

“Akin to how a king, renowned for his victory and his protecting of lives, with righteousness and virtue, without any regrets, nudged by the good deeds he has done in his life, rises with intention to the heavens, the many-rayed sun, after fulfilling its duties of the day reaches the mountain. Akin to how another one guides the world that is now deeply distressed by the king’s parting, the spreading darkness is dispersed by the rising moon. Akin to that period of time that stands between the one, who ruled in the shade of his glorious royal umbrella, and the one who follows him, is this confusing hour of evening, which brings much agony!

O evening! You mock at my exquisite beauty that has now vanished, akin to a flower in a pond that has closed its buds, owing to the ceaseless memory of the one, who parted away, ruining me entirely! But you never seem to disturb the beauty of others, akin to a wide-open flower on a leafy branch, around which bees with beautiful wings buzz around, when they are united with their lovers!

O evening! You relish the sorrow that soars in the hearts of those who listen to the resounding music of the solitary flute in the hands of a cowherd! But you never seem to disturb the fresh beauty of maiden with words, akin to the strings of a lute’s ‘chevvazhi’ melody, when they are relishing a faultless, perfect union with their beloved!

O evening! You relish the emptiness that envelopes the hearts of those who are filled with agony, when birds call out aloud, uniting with their pairs on the fine, low hanging branches. But you never seem to disturb the smiles of those, akin to the blooming of wild jasmines on low hanging vines, when they are in a blessed union with those they love!

And so, my heart seems to find its joy by thinking about the one who thinks not about me. Will my thoughtless heart continue to remain so within, bearing the assault of the evening hour and the spreading slander?”

Let’s 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 at this juncture. The lady begins by talking about a famous and much respected king, who has won many battles and has guarded the people of his land in all the right ways. There will come a moment when his life would end and he would naturally rise to the heavens because of all the good deeds he has done in his life. The lady connects this moment to the sun setting in the mountains after accomplishing all its duties of the day, filling the world with life and energy. An insightful parallel that talks about the importance of the sun to life as we know it!

Returning, next the lady connects the moon, which disperses the soaring darkness a little, to the king who will succeed that famous ruler, and do what he can, to end the tears of the mourning subjects. There is a sliver of time filled with bewilderment between the first ruler and the next, between the setting of the sun and the rising of the moon, and that is the evening hour, the lady connects. She directs her words to this evening hour, and talks about how it seems to mock and ruin her beauty, as she keeps thinking about the man who parted away, which seems to delight in her sorrow that heightens listening to the music of a cowherd’s flute, and also, seems to feel happy about the emptiness in her heart, when she hears birds around uniting merrily with their mates. She compares how the evening seems to have no power whatsoever on those who are happily united with their beloved. The lady concludes by wondering if her heart, which has remained within her, thinking about the man, will continue to remain so, now that the evening hour and the slander in town is attacking her, with such fury! 

The verse made me wonder in what way is this connected to the coastal landscape, for we hear not the roar of the oceans or see the gliding fish. On reflection, I understood it’s the theme of ‘lamenting’ that has made this song be categorised as belonging to this domain. Here, we see how an evening hour, a flute’s music, flowers blooming, birds chirping, elements which we consider joyous and serene, brings so much pain to this ancient lady in love, parted from her beloved. This echoes to us the truth of how the world within us can dominate the world outside, projecting inner shades and moods and changing the outer world’s very reality. A nudge to pay attention and to guard that inner world with the care of that righteous king, for everything has its beginning right here!

In this episode, we listen to the words of a lovelorn man, as portrayed in Sangam Literary work, Kalithogai 117, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and portrays an expression of interest in a conversation between a couple.

தலைவன்
மாண உருக்கிய நன் பொன் மணி உறீஇ,
பேணித் துடைத்தன்ன மேனியாய்! கோங்கின்
முதிரா இள முகை ஒப்ப, எதிரிய
தொய்யில் பொறித்த வன முலையாய்! மற்று, நின்
கையது எவன்? மற்று உரை

தலைவி
கையதை சேரிக் கிழவன் மகளேன் யான்; மற்று இஃது ஓர்
மாதர்ப் புலைத்தி விலையாகச் செய்தது ஓர்
போழின் புனைந்த வரிப் புட்டில்…..

தலைவன்
……..புட்டிலுள் என் உள?
காண் தக்காய்! எற் காட்டிக் காண்

தலைவி
காண், இனி: தோட்டார் கதுப்பின் என் தோழி அவரொடு
காட்டுச் சார்க் கொய்த சிறு முல்லை மற்று இவை

தலைவன்
முல்லை இவை ஆயின் முற்றிய கூழையாய்!
எல்லிற்று போழ்து ஆயின், ஈதோளிக் கண்டேனால்;
‘செல்’ என்று நின்னை விடுவேன், யான்; மற்று எனக்கு
மெல்லியது ஓராது அறிவு.

A short and simple song in the conversational format. The words can be translated as follows:

“Man
As if highly valuable fine gold and sapphires have been melted and fused together with much care, glows your skin, O maiden! Akin to the immature, young buds of the buttercup, are your bosoms, etched with ‘thoyyil’ paintings! What is that you are holding in your hand? Tell me.

Lady
I’m the daughter of this village’s headman. What I hold in my hand is a lined basket, made from palm fronds, by a weaver woman, to be sold, but one she gave me as a gift!

Man
O maiden, pleasing to the eyes! What is there within the basket? Show it to me!

Lady
See now! These are little wild jasmines that were spreading in the forest that I plucked along with my friend having flower-filled tresses.

Man
O maiden with thick tresses! I can see these are wild jasmines and that the night is here. When I look around at this place, I should say, ‘go’, and let you leave. But what can I do when my mind is weak and frail and refuses to let me to?”

Time to explore the nuances. The verse is situated in the category of excessive love expressed by a person. These words are exchanged by the man and the lady. The man opens the scene by approaching the lady and praising her for her exquisite complexion which seems to him, as if pure gold and dazzling sapphires have been blended and polished to perfection. Then, he equates her bosom on which ‘thoyyil’ paintings have been drawn to the buds of a buttercup flower. After these high praises, he asks the lady what she is holding in her hand. The lady replies that she is holding a little basket, woven from palmyra leaves. This was actually made for sale by a weaver woman, but because the lady happened to the village chief’s daughter, that worker had given it to the lady, with much affection, she adds. The man questions her further asking what is inside that basket. The lady responds by opening the basket and showing him that those were the wild jasmine flowers that she had plucked along with her friends. Seeing those jasmine flowers, the man decides to show the lady, the blooms of love in his heart, and he concludes by saying, ‘Yes, what’s there are jasmines, the time now is night and this place is so dark and dense. I should let you go. That would be the right thing. However, my mind doesn’t want to let you go. Please tell me what should I do!’. The words are intended to express the man’s brimming love for the lady and win her heart. Whether the lady accepted the man or not is left to the imagination of the reader, like an open-ended movie with varying interpretations!

With this verse that speaks the truth of a heart, we come to the end of verses situated in the ‘Mullai’ or ‘Forest landscape. In most of these few songs in this domain, the focus was on bull taming by young men of this domain and the celebration of that courage by young maiden through their ‘Kuravai’ dances. The facets about love among workers, rather than a man and a woman, who had nothing else to do, but be a lord and lady of a domain, was a refreshing break in perspective. Now, it’s time to bid bye to these men, battling the bulls, and maiden, looking starry-eyed at them, and journey on to our next and last landscape in Kalithogai!

In this episode, we perceive a conflict between a lady and a man, as depicted in Sangam Literary work, Kalithogai 116, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and portrays the relentlessness of a man’s pursuit.

தலைவி
பாங்கரும் பாட்டங்கால் கன்றொடு செல்வேம்; எம்
தாம்பின் ஒரு தலை பற்றினை, ஈங்கு எம்மை
முன்னை நின்றாங்கே விலக்கிய எல்லா! நீ
என்னை ஏமுற்றாய்! விடு!

தலைவன்
விடேஎன்! தொடீஇய செல்வார்த் துமித்து, எதிர் மண்டும்
கடு வய நாகு போல் நோக்கித் தொழு வாயில்
நீங்கிச் சினவுவாய் மற்று.

தலைவி
நீ நீங்கு! கன்று சேர்ந்தார்கண் கத ஈற்று ஆ சென்றாங்கு
வன்கண்ணள் ஆய்வரல் ஓம்பு.

தலைவன்
யாய் வருக, ஒன்றோ பிறர் வருக, மற்று நின்
கோ வரினும், இங்கே வருக, தளரேன் யான்
நீ அருளி நல்க பெறின்.

தலைவி
நின்னை யான் சொல்லினவும் பேணாய்; நினைஇக
கனைபெயல் ஏற்றின் தலை சாய்த்து, எனையதூஉம்
மாறு எதிர்கூறி மயக்குப் படுகுவாய்!
கலத்தொடு யாம் செல்வுழி நாடிப் புலத்தும்
வருவையால் நாணிலி நீ!

A song depicting a conversation between a couple! The words can be translated as follows:

“Lady
When I’m going to the dense grove nearby, with the calf, you catch hold of one end of the cattle tether, and standing in front, you block me! Are you crazy? Let me go!

Man
I won’t let you go! You are free to be furious with me, akin to a strong and fast young bull that shakes away those who come near to touch it, as it leaps out of the barn’s entrance!

Lady
You should leave! Akin to how a cow that has just birthed a calf would go menacingly towards those who come near its young one, my harsh-eyed mother is on her way! Save yourself!

Man
Let mother come! Let any other come! Even if your king wants, let him come! I shall remain steadfast, until you render your grace!

Lady
Whatever I say, you don’t listen to me! Standing there, akin to a buffalo that stands in the midst of a downpour, slanting its head, you have something to say in response to what I say. You confuse me no end! O Shameless one, when I go with the milking vessel to the field, seeking me, will you come there too?”

Let’s explore the details. The verse is situated in the context of love among workers and these words are spoken between a herder man and a herder lady. The lady starts by stating that the man was standing there, blocking her path, and pulling the rope of the calf, she was taking to graze in the grove nearby, she asks him if he had gone mad, and demands that he let her go. The man refuses and says he gives her permission to be as mad as a young bull in a barn, one which won’t let anyone come near it, and runs out of the barn with much fury. Catching on to his ‘young bull’ simile, the lady decides to repay him in kind by talking about how her mother was coming there, in the stance of a young cow, which has just delivered a calf, when it pounces towards someone, who decided to go near her young one. A furious mother is a force of nature, the lady seems to tell the man! But the man is unperturbed, for he says, ‘Let your mother come, let anyone else who wants to come come here, why even if your king wants to come here with his army, let him, I won’t budge from here!’.

The lady responds by bringing forth yet another simile, where she paints a picture of a buffalo standing in a downpour, without moving, simply slanting its head. This is one of those similes that had me cracking up, for it reminded me of an oft-used, familiar phrase in contemporary Tamil, which goes, ‘எருமை மாட்டு மேல மழை பெஞ்சமாதிரி’, meaning ‘akin to rain that pours on a buffalo’ to talk about how there’s no effect of one’s words on the person listening in front. A favourite line of Tamil parents, when talking to their teenagers! It’s fascinating to see such a phrase used in light conversations in Tamil land be a part of a classical verse two thousand years ago!

Returning, our lady is mad that the man is acting like that buffalo not responding to the downpour of her refusals. Finally, she ends with a question, asking the man whether he will shamelessly come following her when she goes to the fields with a milking vessel later! The last line is also meant to be a cryptic way of inviting the man to another, more favourable trysting spot. Yet again, the similes from this land talking about the animals and the life therein, delight us, and make us perceive the love that blooms in these wild spaces of the past!

In this episode, we perceive the fearful stance of the lady, as portrayed in Sangam Literary work, Kalithogai 115, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and sketches a domestic scene and its consequences in the life of the lady.

தலைவி
தோழி! நாம் காணாமை உண்ட கடுஙகள்ளை, மெய்கூர
நாணாது சென்று நடுங்க உரைத்தாங்குக்,
கரந்ததூஉம் கையொடு கோட்பட்டாம் கண்டாய், நம்
புல்லினத்து ஆயர் மகன்சூடி வந்ததோர்
முல்லை ஒரு காழும் கண்ணியும், மெல்லியால்!
கூந்தலுள் பெய்து முடித்தேன் மன் தோழி! யாய்
வெண்ணெய் உரைஇ விரித்த கதுப்போடே,
அன்னையும் அத்தனும் இல்லரா யாய் நாண,
அன்னை முன் வீழ்ந்தன்று அப் பூ;
அதனை வினவலும் செய்யாள், சினவலும் செய்யாள்,
நெருப்புக் கை தொட்டவர் போல விதிர்த்திட்டு,
நீங்கிப் புறங்கடை போயினாள்; யானும் என்
சாந்து உளர் கூழை முடியா நிலம் தாழ்ந்த
பூங்கரை நீலம் தழீஇத் தளர்பு ஒல்கிப்
பாங்கரும் கானத்து ஒளித்தேன்;

தோழி
…………………… அதற்கு எல்லா!
ஈங்கு எவன் அஞ்சுவது?
அஞ்சல் – அவன் கண்ணி நீ புனைந்தாய் ஆயின் நமரும்
அவன்கண் அடைசூழ்ந்தார் நின்னை; அகல்கண்
வரைப்பில் மணல் தாழப் பெய்து, திரைப்பில்
வதுவையும் ஈங்கே அயர்ப; அதுவேயாம்
அல்கலும் சூழ்ந்த வினை.

A simple verse relaying a problem and its solution as well! The words can be translated as follows:

“Lady
My dear friend, akin to how someone, after drinking strong toddy without others knowing, starts shivering, and then, without shame, owns up their act before others, I have been caught redhanded with that which I was hiding! This is how it happened: Taking a jasmine strand from the head garland worn by the son of the goatherds, I tied that within my tresses. When I came home, foster mother untied my hair to rub it with ghee. At this time, both mother and father were at home too. Making foster mother confused, before her, fell a flower from that strand. Neither did she query me about it nor did she get angry about it. Akin to someone who has touched fire, she stood up, shaking her hands, and left from there to step into the backyard. As for me, without tying up my tresses, covered with dried-up sandalwood paste, pulling up my blue attire, with a floral border hanging low, taking unsteady steps, I ran to hide in the dense grove nearby!

Confidante
Hey dear! Why do you fear? Fear not! Knowing that you tied his garland in your tresses, our kin have decided to offer you to him; In the wide open spaces of the front yard, spreading sands and covering with a canopy, they are making arrangements for your wedding; That’s the thing we wished they would do, every single day!”

Time to delve into the details. The verse is situated in the context of revealing a lady’s relationship with the man to her kin. Though the theme comes from the young love phase of the mountain landscape, elements of life from the herder’s community places the same in this forest domain. These words are spoken by the lady and her confidante. The lady starts the conversation with an interesting simile. She paints the portrait of a person who has gone and secretly drunk up some strong liquor. Later, when they start shivering because of its side effects, they will be pushed to a state of shamelessly owning up their act of getting sloshed. That’s what happened to her, she says, and then elaborates by relating to her friend, an incident at home. Apparently, the lady had tied a jasmine flower strand from the head garland of her beloved, the son of goatherds. Later, when she was at home, her foster mother, wanting to do some hair grooming, had opened out the tresses of the lady, and that jasmine strand fell down just then. Without getting angry, without incessant questioning, the foster mother seemed to have simply got up, shaking her hand as if she had touched fire and moved out into the backyard. On top of this, the lady’s mother and father were also at home, just then, the lady says. Shocked by the incident, the lady seems to have run out, tresses loose, holding her favourite attire of a blue skirt with a floral pattern, and hidden in the grove nearby.

Hearing all this, the confidante tells her not to fear at all, for the lady’s parents, understanding their girl’s heart, had decided to wed her to that young man, and at the moment, they were making preparations to spread the sand and tie the tent to conduct the wedding- the very thing the lady and confidante had dreamt about, for long. The joy we feel, when those around us understand and fulfil our heart’s desires, even before we ask for the same, is evident in the verse. Incidentally, it’s also a feeling, which can be felt in equal measure, when we do something like that for someone we love!

In this episode, we perceive a lady’s anxious state, portrayed in Sangam Literary work, Kalithogai 114, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and sketches the agony of a lady, as momentous events unfold before her.

தலைவி
வாரி, நெறிப்பட்டு, இரும்புறம் தாஅழ்ந்த
ஓரிப் புதல்வன் அழுதனன் என்பவோ,
புதுவமலர் தைஇ, எமர் என் பெயரால்,
வதுவை அயர்வாரை கண்டு? “மதி அறியா
ஏழையை” என்று அகல நக்கு வந்தீயாய்! நீ
தோழி அவன் உழைச் சென்று.

தோழி
சென்று யான் அறிவேன்; கூறுக மற்று இனி.

தலைவி
‘சொல் அறியாப் பேதை! மடவை! மற்று எல்லா!
நினக்கு ஒரூஉம்; மற்று, என்று அகல் அகலும்; நீடு இன்று
நினக்கு வருவதாக் காண்பாய்’, அனைத்து ஆகச்
சொல்லிய சொல்லும் வியங்கொளக் கூறு.

தருமணல் தாழப் பெய்து இல் பூவல் ஊட்டி,
எருமைப் பெடையோடு, எமர் ஈங்கு அயரும்
பெரு மணம் எல்லாம் தனித்தே ஒழிய,
வரி மணல் முன்துறைச் சிற்றில் புனைந்த
திரு நுதல் ஆயத்தார் தம்முள் புணர்ந்த
ஒரு மணம் தான் அறியும் ஆயின் எனைத்தும்
தெருமரல் கைவிட்டு இருக்கோ, அலர்ந்த
விரிநீர் உடுக்கை உலகம் பெறினும்,
அருநெறி ஆயர் மகளிர்க்கு
இரு மணம் கூடுதல் இல் இயல்பு அன்றே?

Time to explore the nuances. The words can be translated as follows:

“Lady
Even after seeing that my kin are preparing for my wedding by stringing fresh and new flowers, after combing and straightening tresses, hanging low on both sides, will they simply say, ‘Our little boy is crying!’? Please go to his home, my friend, and scorn him saying, ‘You are a pitiable one, who knows nothing!’

Confidante
I will go thither and find out! What else should I tell him, tell me now.

Lady
Tell him, “You are an ignorant one, who does not know to speak up! A fool and everything else! It will slip away from you. It will slip far from you. You will see this happen to you’ – Say all this and much more to make him understand!

It appears as if this great wedding that my kin are about to hold, spreading fresh sand in front of the house, adding red soil, and praying to the female buffalo, might happen without him. Those who have united with their beloved in the lined sands of the shore, filled with small sand houses, built by maiden with fine foreheads, know that their wedding is over. Won’t they be startled and bewildered? Isn’t it well known that even if they were to gain the entire world with the spreading seas, it’s not in the nature of herder women with virtue to accept to be part of two weddings!”

Let’s delve into the details. The verse is situated in the context of a lady’s attempt to persuade a man to marry her. Though this theme is most commonly found in the ‘Kurinji’ or ‘Mountain landscape’, it has been grouped under the ‘Mullai’ or ‘Forest landscape’, owing to the presence of elements from the herder community. These words are said by the lady to her confidante. The lady starts in an agitated tone talking about how her family is preparing for her wedding and asks whether the man’s relatives will say, ‘Our little boy is crying!’, indirectly asking if the man she loves is but a child! She asks her confidante to go there and tell him what a fool he is. The confidante asks what more should she tell him and the lady replies saying the confidante must make him understand that he should speak up, otherwise he is going to lose the lady for sure. Then, she talks about the wedding preparations her family is carrying on with, by spreading fresh sand in front of her house, adding red soil there and then praying to the female buffalo, perhaps a fertility ritual. She talks about another place filled with sands, the river shore, where she united with her man, and declares her wedding with the man was already over, at that moment, She insists to the confidante to ask him, how will a virtuous herder woman let herself be married twice, even if the entire world is offered on a platter! The verse in addition to throwing bright light on the sky-soaring virtue of Sangam women of being true to their beloved, also subtly conveys the culture of a herder community by sketching its wedding customs!

In this episode, we listen to a intriguing conversation, as depicted in Sangam Literary work, Kalithogai 113, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and presents hidden layers in the relationship between a man and his lady.

தலைவன்
நலமிக நந்திய நயவரு தட மென்தோள்,
அலமரல் அமர் உண்கண், அம் நல்லாய்! நீ உறீஇ
உலமரல் உயவு நோய்க்கு உய்யும் ஆறு உரைத்துச் செல்.

தலைவி
பேர் ஏமுற்றார் போல முன் நின்று விலக்குவாய்
யார்? எல்லா! நின்னை அறிந்ததூஉம் இல்வழி?

தலைவன்
தளிர் இயால்! என் அறிதல் வேண்டின், பகை அஞ்சாப்
புல்லினத்து ஆயர் மகனேன், மற்று யான்.

தலைவி
ஒக்கும் மன்.
புல்லினத்து ஆயனை நீ ஆயின், குடம் சுட்டு
நல் இனத்து ஆயர் எமர்.

தலைவன்
எல்லா!
நின்னொடு சொல்லின் ஏதமோ இல்லை மன்.

தலைவி
ஏதம் அன்று எல்லை வருவான் விடு.

தலைவன்
விடேன்.
உடம்பட்டு நீப்பார் கிளவி மடம் பட்டு,
மெல்லிய ஆதல் அறியினும், மெல்லியால்!
நின் மொழி கொண்டு யானோ விடுவேன், மற்று என் மொழி கொண்டு
என் நெஞ்சம் ஏவல் செயின்?

தலைவி
நெஞ்சு ஏவல் செய்யாது என நின்றாய்க்கு, எஞ்சிய
காதல் கொள் காமம் கலக்குற ஏதிலார்
பொய்ம் மொழி தேறுவது என்?

தலைவன்
தெளிந்தேன், தெரி இழாய் யான்!
பல்கால் யாம் கான் யாற்று அவிர் மணல் தண் பொழில்
அல்கல் அகல் அறை ஆயமொடு ஆடி,
முல்லை குருந்தொடு முச்சி வேய்ந்து எல்லை
இரவுற்றது; இன்னும் கழிப்பி; அரவுற்று
உருமின் அதிரும் குரல் போல் பொருமுரண்
நல் ஏறு நாகுடன் நின்றன,
பல் ஆன் இனநிரை நாம் உடன் செலற்கே.

Like the previous verse, this too is another tryst between a determined man and a reluctant lady! The words can be translated as follows:

“Man
O beautiful maiden, glowing with allure, are your soft and curved arms, and those huge and fighting kohl-streaked eyes! Tell me the way to abate this suffering-filled disease you have caused in me.

Lady
Like a crazed person, you stand before me and block me! Who are you? I have never seen you before!

Man
O maiden, akin to a tender sprout! If you have to know who I am, I’m the son of goat herders, who are fearless of foes!

Lady
That sounds right. If you are the son of goat herders, my kin are cattle herders, who gather pots of milk!

Man
I hope there’s nothing wrong in conversing with you.

Lady
Nothing wrong. I will come tomorrow. Let go of me.

Man
I won’t! O gentle maiden, although I know the words of those who seem to agree but wish to part away are shallow, with naivety, I want to accept your words and let you go, but what can I do, when my heart commands me not to listen to my own words?

Lady
Saying my heart does not let me, you stand there, then why do you accept those falsehoods of those, who confuse you with remnants of their love and desire?

Man
I’m clear now, O maiden wearing well-etched jewels! Many a time, on the spreading sands by the wild river, in the cool shade of the grove, on the wide boulders, we have played together with your playmates, wearing woven garlands of wild jasmine and wild lime on our heads, until it became dark. When we delayed further, akin to the roar of thunder that startles snakes, the fighting bulls that stood with the cows bellowed, waiting for us to leave together!”

Let’s explore the details. The verse is situated in the context of forbidden love between a man and a lady. The words are exchanged between a herder girl and a herder man. The man opens the scene by asking a maiden to show the way to cure his love affliction. The lady responds by asking who he is, for she has never seen him before and why is he blocking her path. The man replies by saying to her, ‘If you really want to know, I’m the son of goat herds’. As if introducing her, in response, she says, ‘I’m the daughter of cowherds’. The man queries innocently asking if there was anything wrong in talking to her, to which the lady says, ‘Nothing wrong. Let me go. I will come tomorrow’. But the man persists saying although he believes her words, which are most probably lies, and let her go, his heart is not letting him to. The lady asks why he believes in those so-called lies. The man responds by recollecting a time they both spent together in the groves, until it became dark, and all the fighting bulls that they had brought to graze, had started roaring like thunder, as if telling them, ‘Come on. Let’s get going home’. Through this last account by the man, we understand that the lady already knows the man and is simply pretending not to know him, perhaps because her kin have forbidden their union. The man tries to regain her love by reminiscing about the good times they had spent together. Nostalgia is indeed the stream of water that makes the seed of love sprout with gusto!

In this episode, we perceive a lady’s change of stance, portrayed in Sangam Literary work, Kalithogai 112, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and etches the determined pursuit of a man.

தலைவி
யார் இவன், என்னை விலக்குவான்? ‘நீர்உளர்
பூந்தாமரைப் போது தந்த விரவுத் தார்க்
கல்லாப் பொதுவனை நீ மாறு நின்னொடு
சொல்லல் ஓம்பு’ என்றார் எமர்.

தலைவன்
எல்லா! ‘கடாஅய கண்ணால் கலைஇய நோய் செய்யும்
நடாஅக் கரும்பு அமன்ற தோளாரைக் காணின்
விடாஅல் ஓம்பு’ என்றார் எமர்.

தலைவி
கடாஅயார் நல்லாரைக் காணின் விலக்கி நயந்து அவர்
பல்லிதழ் உண்கண்ணும் தோளும் புகழ் பாட
நல்லது கற்பித்தார் மன்ற நுமர், பெரிதும்
வல்லர் எமர் கண் செயல்.

தலைவன்
ஓஒ வழங்காப் பொழுது நீ கன்று மேய்ப்பாய் போல்
வழங்கல் அறிவார் உரையாரேல் எம்மை
இகழ்ந்தாரே அன்றோ எமர்?

தலைவி
ஒக்கும் அறிவல் யான் எல்லா, விடு;

தலைவன்
விடேன் யான்; என் நீ குறித்தது இருங்கூந்தால்
நின்னை என் முன் நின்று
சொல்லல் ஓம்பு என்றமை அன்றி அவனை நீ
புல்லல் ஓம்பு என்றது உடையரோ, மெல்ல
முயங்கு நின் முள் எயிறு உண்கும்

தலைவி (தன் நெஞ்சிடம்)
எவன் கொலோ?
மாயப் பொதுவன் உரைத்த உரை எல்லாம்
வாயாவது ஆயின், தலைப்பட்டாம்; பொய்யாயின்,
சாயல் இன் மார்பில் கமழ்தார் குழைத்த நின்
ஆயிதழ் உண்கண் பசப்பத் தட மென்தோள்
சாயினும் ஏஎர் உடைத்து.

Another one in the light conversational format! The words can be translated as follows:

“Lady
Who is he, the one stopping me? ‘Do not talk to that unwise herder man wearing a garland of mixed flowers, the one, who gave those lotus flowers blooming in the water!’ – So said, my kin!

Man
Hey dear! ‘Do not let go if you see the one with bewitching eyes, she who disturbs and renders an affliction, the one with sugarcane painted, beautiful arms!’ – So said, my kin!

Lady
The kin of yours have taught you well indeed, saying if you see those with bewitching eyes, stop them, and flatter their many-petalled, kohl-streaked eyes with songs many! If they are so capable, why don’t they approach my kin?

Man
Oh! If my kin know that you will take the calves grazing in this place at a time when no-one is about and then don’t tell me about that, wouldn’t that mean they don’t care about me?

Lady
That sounds about right. I know all about it! Let me go now!

Man
I won’t! O maiden with thick tresses, what did you just tell me now? Your kin said ‘Do not stand before him and talk to him’. Did they say, ‘Do not embrace him!’? So, hug me gently so that I can savour the nectar of your sharp teeth!

Lady (To her heart)
What shall I do? If the words rendered by this deceptive herder becomes true, I will be saved; But if it were to become false, the beautiful petaled, kohl-streaked eyes that has now decided to crush the garland worn on the sweet chest, would become coated with pallor, and these curving soft arms would thin away. Even so, they would remain beautiful!”

Let’s delve into the details. The verse is situated in the context of forbidden love between a man and a lady. The words are exchanged between a herder girl and a herder man. The lady opens the scene by wondering who was this chap, who was blocking her path, and then she says, ‘Isn’t he the one my folks have asked me not to talk to?’. Hearing this, the man says, ‘Is that what your folks have said to you? Do you know what mine have said to me? Never let go if I see someone as beautiful as you are, cross my path’. To this, she responds with scorn, ‘Oh! They have taught you well to sing and praise the beautiful maiden who cross your path. They seem very wise. Why don’t they come and talk to my kin?’. The man answers this tangentially saying, ‘Only if they don’t advise me so, I’d think they care not about me at all!’ The lady dismisses his words and prepares to leave but the man refuses to let her go saying, ‘Hey listen! All your folks said was don’t talk to me. Did they say don’t embrace me? Come on then, what’s stopping you from coming close to me?’. The lady is now resigned to her fate and concludes saying to her heart, ‘If the love and promise the chap gives me is to come true, then I’ll be saved. If he’s going to deceive me and vanish away, then my eyes will be filled with pallor and my arms will thin away. But even then, they will still be beautiful!’. This last line reveals to us that the lady is ready to take the risk of furthering her relationship with this man, who has relentlessly pursued her. A verse which reveals to us how the perceptions and opinions of a family in Sangam times, affect two people in love!

In this episode, we listen to a lady’s plea to a friend, as depicted in Sangam Literary work, Kalithogai 111, penned by Chozhan Nalluruthiran. The verse is situated in the ‘Mullai’ or ‘Forest Landscape’ and sketches the petition and dismissal of a man’s requests.

தீம்பால் கறந்த கலம் மாற்றிக், கன்றெல்லாம்
தாம்பின் பிணித்து, மனைநிறீஇ, யாய் தந்த
பூங்கரை நீலம் புடைதாழ மெய்அசைஇ, பாங்கரும்
முல்லையும் தாய பாட்டங்கால் – தோழி! நம்
புல்லினத்து ஆயர் மகளிரோடு எல்லாம்
ஒருங்கு விளையாட, அவ்வழி வந்த
குருந்தம்பூங் கண்ணிப் பொதுவன் மற்று என்னை
“முற்றிழை ஏஎர் மட நல்லாய்! நீ ஆடும்
சிற்றில் புனைகோ சிறிது?” என்றான்; “எல்லா! நீ
‘பெற்றேம் யாம்’ என்று பிறர் செய்த இல் இருப்பாய்,
கற்றது இலை மன்ற காண்” என்றேன்; “முற்றிழாய்!
தாதுசூழ் கூந்தல் தகைபெறத் தைஇய
கோதை புனைகோ நினக்கு?” என்றான்; “எல்லா! நீ
ஏதிலார் தந்த பூக்கொள்வாய் நனி மிகப்
பேதையை மன்ற பெரிது” என்றேன்; “மாதராய்!
ஐய பிதிர்ந்த சுணங்குஅணி மென்முலை மேல்
தொய்யில் எழுதுகோ மற்று?” என்றான்; “யாம் பிறர்
செய்யுறம் நோக்கி இருத்துமோ? நீ பெரிது
மையலை மாதோ விடுக” என்றேன்; தையலாய்!
சொல்லிய ஆறு எல்லாம் மாறுமாறு யான் பெயர்ப்ப,
அல்லாந்தான் போலப் பெயர்ந்தான், அவனை நீ
ஆயர் மகளிர் இயல்பு உரைத்து, எந்தையும்
யாயும் அறிய உரைத்தீயின் யான் உற்ற
நோயும் களைகுவை மன்.

An account of a past conversation! The words can be translated as follows:

“After placing vessels with sweet milk within, I tied the calves with ropes. Leaving them in the house, wearing a blue attire with a floral border, hanging low, swaying my form, I went to the grove filled with toothbrush trees and wild jasmine vines. My friend, I was playing together with the daughters of goatherds there. Just then, a herder man came that way, wearing a garland of wild lime flowers.

He said, “O beautiful maiden, wearing radiant jewels, shall I carve a little sand home for you to play with?”. I replied, “Hey you! Only you will live in the homes of others, thinking ‘I’ve got it. What more do I want? You know not what’s right!”.

He said, “O beautiful maiden wearing flawless jewels, shall I weave a garland to adorn with much beauty, your pollen-filled, fine tresses?”. I replied, “Hey you! Only you will accept the flowers given by a stranger. Your foolishness is great indeed!”

He said, “O pretty maiden, on your soft bosom, on which beauty spots spread so alluringly, shall I etch ‘thoyyil’ paintings?. I replied, “Do you think I’m waiting for someone to come do this for me? You are in some delusion. Leave me alone!”

O young maiden! Whatever he said, I rejected repeatedly, and he parted away with much disappointment. If you will go to him and talk about the true nature of herder maiden, and let my father and mother know about this, you will vanquish my affliction too!”

Let’s explore the details. The verse is situated in the context of revealing a lady’s relationship with a man to the lady’s kin. Although this theme is mostly found in the ‘Kurinji’ or ‘Mountain landscape’, the setting of a herder community situates it in the ‘Mullai’ or ‘Forest Landscape’. The words are said by a lady to her confidante. The lady begins by talking about her activities on the day before. She presents the scene of how she milked the cows, brought those brimming vessels, and placed them within her home. Next, she ties up the calves, making sure they don’t scoot off, and then she mentions that she wore a blue attire with a floral design in the border, hanging low. This mention of an attire with varying patterns tells us the weaving industry was thriving well in that time and place. Returning to the lady, she says after that, with a little hop and dance, she went out to the grove filled with toothbrush trees and jasmine vines, to play with other young girls, daughters of goatherds.

As she was playing there, a young man seems to have approached her and put forth three requests: First, he asks whether he could build a little sand home for her to play with; Next, whether he could weave a garland to adorn her tresses; And last, whether he could draw ‘thoyyil’ paintings on the lady’s beautiful bosom. To each of these requests, the lady replies with, ‘Only you will be content with a home that someone else builds for them, not me; only you will accept flowers from a stranger, not me; and finally, about the ‘thoyyil’ question, she asks him whether he thought she was waiting for someone to come and paint her bosom’. She scolds the man for his delusion and asks him to leave. This series of exchanges the lady shares with her confidante and tells her, ‘That day, I cheekily retorted to him and made him leave so disappointed. But now, my heart has changed. So, please go to him and tell him this is how herder girls will talk, rejecting at first, and also wishing to accept their men only after they tame the bulls. You also please reveal my love for him to my father and mother. Only this will resolve the love affliction in my heart’! Quite a mission for the lady’s friend! The verse highlights how the mind can look at something one way in the beginning and totally change course after a while, especially when it comes to the matters of the heart!