Sangam Lit

In this episode, we perceive the intersection of different aspects of life, as portrayed in Sangam Literary work, Kalithogai 100, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and pleads for a king’s kindness.

ஈண்டு நீர்மிசைத் தோன்றி இருள் சீக்கும் சுடரே போல்,
வேண்டாதார் நெஞ்சு உட்க, வெரு வந்த கொடுமையும்,
நீண்டு தோன்று உயர் குடை நிழல் எனச் சேர்ந்தார்க்குக்
காண் தகு மதி என்னக் கதிர் விடு தண்மையும்,
மாண்ட நின் ஒழுக்கத்தான், மறு இன்றி, வியன் ஞாலத்து
யாண்டோரும் தொழுது ஏத்தும் இரங்கு இசை முரசினாய்!

‘ஐயம் தீர்ந்து யார்கண்ணும் அருந் தவ முதல்வன் போல்
பொய் கூறாய்’ என நின்னைப் புகழ்வது கெடாதோதான்
நல்கி நீ தெளித்த சொல் நசை எனத் தேறியாள்
பல் இதழ் மலர் உண்கண் பனி மல்கக் காணுங்கால்?

‘சுரந்த வான் பொழிந்தற்றா, சூழ நின்று யாவர்க்கும்
இரந்தது நசை வாட்டாய்’ என்பது கெடாதோதான்
கலங்கு அஞர் உற்று, நின் கமழ் மார்பு நசைஇயாள்
இலங்கு கோல் அவிர் தொடி இறை ஊரக் காணுங்கால்?

‘உறை வரை நிறுத்த கோல், உயிர் திறம் பெயர்ப்பான் போல்,
முறை செய்தி’ என நின்னை மொழிவது கெடாதோதான்
அழி படர் வருத்த, நின் அளி வேண்டிக் கலங்கியாள்
பழி தபு வாள் முகம் பசப்பு ஊரக் காணுங்கால்?

ஆங்கு
தொல் நலம் இழந்தோள், நீ துணை எனப் புணர்ந்தவள்
இன் உறல் வியன் மார்ப! ‘இனையையால்; கொடிது’ என,
நின்னை யான் கழறுதல் வேண்டுமோ,
என்னோர்கள் இடும்பையும் களைந்தீவாய் நினக்கே?

Another verse in the exact same sentiment of the previous one, making a plea to a king on behalf of a maiden! The words can be translated as follows:

“Akin to the flame that soars above the seas ending the darkness, you shower harshness to spread fear in the hearts of foes, and akin to the pleasant moon that renders its cool rays, you render compassion to those who come seeking the towering shade of your tall umbrella. Since you are one with such estimable qualities that are flawless, everyone in this wide world worship and praise you, O lord with resounding drums!

Won’t the praise rendered to you, ‘Without a doubt, akin to the First One, renowned for his penances, he would never lie to anyone’ become false when one sees the many-petaled-flower-like, kohl-streaked eyes of the lady, who trusted your words to be those of love and grace, fill with tears?

Won’t the words, ‘Akin to the shower from the skies, you render with generosity to all those who surround you seeking’ become false when one sees the radiant and rounded bangles on the lady, who filled with tormenting sorrow, desires your fragrant chest, slip away from the wrist?

Won’t the words said about you, ‘Akin to One, who renders death and the rightful end to everyone’s days of life, with an unswerving sceptre, you render the right justice’ become false when one sees the faultless, shining face of the lady, who tormented by deep suffering, wishes for your grace, become covered in pallor?

And so, the one who has lost her old beauty, the one whom you united with as your companion must attain your sweet embraces, O man with a wide chest! Should I even say ‘Such is the situation filled with cruelty’ and chide you, O lord, when you are one who has ended the distress of countless others?”

Let’s explore the nuances. The verse is situated in the context of a love that brims over and brings suffering. As in the case of the previous verse, these are words said to a king, referring to his domestic life, spoken by the lady’s confidante. The confidante starts by portraying the nature of the king’s rule, talking about how he can be the harsh sun, when it comes to inciting fear in his enemies and how he can be the cool moon, when showering with compassion to those who come seeking. She also mentions how everyone praises and worships the king. Then, she takes the three-step Kalithogai path to ask the king, won’t the words of praise about his truthfulness, generosity and justice become falsified when one takes in the tear-streaked eyes, slipping bangles, pallor-covered face of the lady, who suffers seeking the love and grace of the king.

Interesting to see the similes employed for each of the king’s qualities: For his truthfulness, a God called as the First One, whom some interpreters think refers to God Siva, is referred; For the king’s generosity, the much used simile of a rain shower that ends the thirst of a land is employed; and for justice, the most interesting simile of Death, which renders its judgement to all the people at the end of their days of life, without bias, has been used. Through this, we understand the perspective of Sangam people about death, seeing it as a deserved and righteous end to a person’s life.

Returning, the confidante, after appealing to the king’s honour in being true to his fame, talks about how it’s essential for the lady to attain the king’s grace and ends with a piercing question of whether there was any need for her to even talk and rebuke the king, the person who has destroyed the distress of many, many people in his land! Fascinating to see this confluence of the political and personal in the life of an ancient ruler, bringing together the realms of outer and inner life.

With this slice of life, we come to the end of verses in Kalithogai that are situated in the ‘Marutham’ or ‘Farmlands’ landscape. While most of the verses dealt with the in-house fighting between the man and the lady over the courtesan, there have been some intriguing exceptions like that portrait of love between a dwarf and a hunchback, and these final verses taking a holistic view of different dimensions in life. Even in the songs of the love quarrel, we have witnessed the spellbinding creativity in connecting disparate elements. Now, it’s time to say bye to the quarrelling couple, surrounded by the plenty of this landscape, and journey on to the next domain!

In this episode, we hear a passionate speech in support of another, as depicted in Sangam Literary work, Kalithogai 99, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and puts forth a plea to a king.

நறவினை வரைந்தார்க்கும் வரையார்க்கும், அவை எடுத்து,
அற வினை இன்புறூஉம் அந்தணர் இருவரும்
திறம் வேறு செய்தியின் நூல் நெறி பிழையாது,
குழவியைப் பார்த்து உறூஉம் தாய் போல், உலகத்து
மழை சுரந்து அளித்து ஓம்பும் நல் ஊழி யாவர்க்கும்
பிழையாது வருதல் நின் செம்மையின் தர, வாய்ந்த
இழை அணி கொடித் திண் தேர், இன மணி யானையாய்!

அறன் நிழல் எனக் கொண்டாய், ஆய் குடை; அக் குடைப்
புற நிழற்கீழ்ப் பட்டாளோ, இவள்? இவண் காண்டிகா
பிறை நுதல் பசப்பு ஊரப் பெரு விதுப்பு உற்றாளை!

பொய்யாமை நுவலும், நின் செங்கோல்; அச் செங்கோலின்
செய் தொழில் கீழ்ப் பட்டாளோ, இவள்? இவண் காண்டிகா
காம நோய் கடைக்கூட்ட வாழும் நாள் முனிந்தாளை!

ஏமம் என்று இரங்கும், நின் எறி முரசம்; அம் முரசின்
ஏமத்து இகந்தாளோ, இவள்? இவண் காண்டிகா
வேய் நலம் இழந்த தோள் கவின் வாட இழப்பாளை!

ஆங்கு
நெடிது சேண் இகந்தவை காணினும், தான் உற்ற
வடுக் காட்ட கண் காணாதற்றாக, என் தோழி
தொடி கொட்ப நீத்த கொடுமையைக்
கடிது என உணராமை கடிந்ததோ நினக்கே?

Moving away from those imaginative love quarrels, we step into a new domain of pleading for a person! The words can be translated as follows:

“To those who abstained from toddy and to those who did not, showing the path of righteousness are the two high priests. Never swerving from the truth to do something different from what is penned in the book by these two, akin to a mother who delights in her child, the good fate of having rains at the right time has been accorded because of your goodness, O lord with an adorned sturdy chariot, fluttering with a flag, and having elephants, resounding with many, many bells!

Your umbrella stands as a beautiful shade of justice; Is she standing outside that shade? Won’t you look at her, as pallor spreads on her crescent-moon forehead and she suffers tremendously?

Your sceptre speaks declaring truth; Does she not deserve a space in its domain? Won’t you look at her, as her love affliction exceeds and makes her detest her days of life?

Your drum resounds proclaiming protection; Has she regressed to a state where she cannot claim its protection? Won’t you look at her as her arms lose their bamboo-like beauty and leave her in ruin?

And so, akin to how the eyes can see very far but cannot see the scars inflicted on them, you are unable to see the harsh cruelty that makes her bangles loosen. How can you be rebuked for this ignorance?”

Let’s explore the details. The verse is situated in the context of a love that exceeds its bounds and suffers anguish. As it addresses a king, it seems to contains elements of ‘Puram’ or ‘outer life’. However, the namelessness of the ruler leaves it in the domain of ‘Aham’ or ‘inner life’ literature. The words are spoken by the lady’s confidante to the man, who happens to be the king of the land. The confidante starts by talking about the flawless rule of this king, who never swerves from the prescribed code in the book of ethics, penned by priests, who remain the guide to all people, regardless of who they are, and how owing to this, the rains pour without fail in the land, according much prosperity. She also describes the king as the owner of sturdy chariots and adorned elephants.

Then, applying the three-step format of Kalithogai, the confidante talks about how the king’s umbrella, sceptre and drum proclaim justice, truth and protection to all his people and she asks if the lady was someone who was outside the domain of these aspects of rule. She pleads to the king to pay attention to the lady’s state of ruin. The confidante talks about how the eyes can see even far away but when a wound happens to the eyes themselves, they are unable to see that, and connects this truth to the king’s attitude of protecting his entire land but not paying attention to the pain of his own lady and concludes wondering how to make the king realise this ignorance of his! Looking at the verse from the lens of the present, we can see that the core truth talks about the case of a person, who may be wise, patient and knowledgeable in their chosen line of work, but may not have those estimable qualities in their personal lives. A nudge from the past to bring out the best in us not only in the wider sphere of work but also in the intimate world of our love and family!

In this episode, we perceive the practice of bathing in the fresh waters of a river, as portrayed in Sangam Literary work, Kalithogai 98, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and portrays an element of the land in a new light.

தலைவி:
யாரை நீ எம் இல் புகுதர்வாய்? ஓரும்
புதுவ மலர் தேரும் வண்டே போல், யாழ
வதுவை விழவு அணி வைகலும் காட்டினையாய்,
மாட்டு மாட்டு ஓடி, மகளிர் தரத் தரப்,
பூட்டு மான் திண் தேர் புடைத்த மறுகு எல்லாம்
பாட்டு ஆதல் சான்ற நின் மாயப் பரத்தைமை
காட்டிய வந்தமை கைப்படுத்தேன், பண்டு எலாம்
கேட்டும் அறிவேன் மன் யான்.

தலைவன்:
தெரி கோதை அம் நல்லாய்! தேறீயல் வேண்டும்;
பொரு கரை வாய் சூழ்ந்த பூ மலி வையை
வருபுனல் ஆடத் தவிர்ந்தேன்; பெரிது என்னைச்
செய்யா மொழிவது எவன்?

தலைவி:
ஓஒ! புனல் ஆடினாய் எனவும் கேட்டேன்; புனல் ஆங்கே
நீள் நீர் நெறி கதுப்பு வாரும் அறல் ஆக,
மாண் எழில் உண்கண் பிறழும் கயல் ஆகக்,
கார் மலர் வேய்ந்த கமழ் பூம்பரப்பு ஆக ,
நாணுச் சிறை அழித்து நன்பகல் வந்த அவ்
யாணர் புதுப் புனல் ஆடினாய், முன் மாலைப்
பாணன் புணை ஆகப் புக்கு,
ஆனாது அளித்து அமர் காதலோடு அப் புனல் ஆடி,
வெளிப்படு கவ்வையை யான் அறிதல் அஞ்சிக்
குளித்து ஒழுகினாய் எனவும் கேட்டேன்; குளித்து ஆங்கே
போர்த்த சினத்தான் புருவத் திரை இடா,
ஆர்க்கும் ஞெகிழத்தான் நன் நீர் நடை தட்பச்
சீர்த் தக வந்த புதுப் புனல் நின்னைக் கொண்டு,
ஈர்த்து உய்ப்பக் கண்டார் உளர்;
ஈர்த்தது உரை சால் சிறப்பின் நின் நீர் உள்ளம் வாங்கப்,
புரை தீர் புதுப் புனல் வெள்ளத்தின் இன்னும்
கரை கண்டதூஉம் இலை

தலைவன்:
நிரை தொடீஇ! பொய்யா வாள் தானைப் புனை கழல் கால் தென்னவன்,
வையைப் புதுப் புனல் ஆடத் தவிர்ந்ததைத்
தெய்வத்தின் தேற்றித் தெளிப்பேன்; பெரிது என்னைச்
செய்யா மொழிவது எவன்?

தலைவி:
மெய்யதை மல்கு மலர் வேய்ந்த மாயப் புதுப் புனல்
பல் காலும் ஆடிய செல்வுழி, ஒல்கிக்
களைஞரும் இல்வழிக் கால் ஆழ்ந்து தேரோடு
இள மணலுள் படல் ஓம்பு, முளை நேர்
முறுவலார்க்கு ஓர் நகை செய்து.

Another imaginative comparison in this verse! The words can be translated as follows:

“Lady:
O man stepping into my home! Who are you? Akin to a bee that keeps searching ceaselessly for new flowers, you exude your wedding-like, festive adornments every day and run around hither and thither, to attain more and more women. In all the streets, where your sturdy chariot tied with horses strides through, the talk is all about you! I see how you have come here, proclaiming your famous betrayal of seeking courtesans. Even though I heard all about it previously, I didn’t understand then!

Man:
O maiden as beautiful as a garland of well-chosen flowers, know this well! I was delayed because I stayed back to bathe in the flower-filled, fresh waters of the Vaigai river, which surrounds and lays siege to its shores. Why do you keep talking about things I have not done?

Lady:
Is that so? I did hear about your bathing in the stream! There, in that stream, long and wavy tresses were heaped black sand, esteemed and exquisite eyes were leaping fish, well-tied flowers worn on the head were blooms gushing down the stream in the rainy season. Breaking the barriers of shame, came that prosperous fresh stream in the middle of the day, and of course, you bathed in it, with the bard as your raft in those early evening hours! I also heard of how showering your endless grace, you bathed in that stream with much love, and then fearing that I would come to know of the spreading slander, how you tried to hide it too.

When you did that, with rage rising, raising eyebrows like waves, anklets resounding ceaselessly, that new stream roared and blocked you from turning onto the right path, and pulled you within, say those who have seen this. That which pulled you within captured your esteemed heart, and still, it has not risen from the flawless fresh flood of that stream and reached the shore!

Man:
O maiden wearing well-etched bangles! In the domain of the Southern King, wearing well-etched warrior anklets and having an undefeated army of swords, flows the Vaigai, and I was delayed as I was bathing in the river’s fresh waters. I will swear this upon God to make you understand. Why do you keep talking about things I have not done?

Lady:
Indeed, it is true! But do take care when you journey on that path again and again to bathe in the bewitching fresh new stream, brimming with woven flowers, for there might be no one to save you, when your chariot wheels get stuck in the slushy mud, making those with bud-like smiles burst out laughing!”

Time to delve into the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. Here the man and lady are in conversation, with the lady acting as the primary speaker. The lady starts by asking the man in anger who was he to enter her home, and describes how he runs around like a bee seeking maiden day after day and it’s all talk about his behaviour in the streets that his chariot strides upon. The man, as expected, denies everything and says that he was delayed for all this while only because he was bathing in the fresh waters of the River Vaigai.

Now, the lady talks about how she knows all about that river the man was bathing in and goes on to describe a courtesan’s tresses as the river’s black sand, her eyes as the fish jumping about in it, her flowers as the rain-swept blooms from the mountains that fill a river after a downpour. She extends the simile taking about how the man bathed with much love in that stream, with the bard as his raft, implying the help rendered by this helper to bring the man and the courtesan together. She continues saying how the man suddenly came to his senses and feared the lady may come to know of this. Seeing the changes in the man, that courtesan, with her eyebrows moving up and down like waves and anklets roaring, rose as the bewitching stream and pulled the man back in, and from that time, he has not been able to escape the clutches and come ashore, the lady connects in a perfect parallel.

As a response to this, the man says that he would swear on God to prove that he was only bathing in the River Vaigai that adorns the domain of the conquering Pandya King. Not paying any heed to his words, the lady concludes by asking him to take care when he goes on that path again and again to bathe in that fresh stream, for one day, making maiden around laugh aloud, the man’s chariot wheels may get stuck in the slush, with no one to save him!

Though it is again the same bickering between the man and the lady with one saying ‘No, I didn’t’ and the other ‘Yes, you did’, what’s stunning here is the creativity and imagination of this poet who connects disparate elements such as river stream and a woman with perfection. Each element of this comparison sounds true and natural in this context. In the past few songs, the act of seeing something entirely different in a quail fight, riding horses, parading on elephants and even bathing in a river stream seems to tell us the profound truth that all life is connected in spirit!

In this episode, we perceive a scoffing retort, as depicted in Sangam Literary work, Kalithogai 97, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and connects the characteristics of a woman and an elephant.

தலைவி
அன்னை கடுஞ் சொல் அறியாதாய் போல, நீ
என்னைப் புலப்பது ஒறுக்குவென்மன் யான்
சிறுகாலை இற் கடை வந்து, ‘குறி செய்த
அவ் வழி என்றும் யான் காணேன் திரிதர,
எவ் வழிப் பட்டாய்?’ சமனாக இவ் எள்ளல்

தலைவன்
முத்து ஏர் முறுவலாய்! நம் வலைப் பட்டது ஓர்
புத்தியானை வந்தது; காண்பான் யான் தங்கினேன்

தலைவி
ஒக்கும்
அவ் யானை வனப்பு உடைத்தாகலும் கேட்டேன்:
அவ் யானை தான் சுண்ண நீறு ஆடி, நறு நறா நீர் உண்டு
ஒள் நுதல் யாத்த திலக அவிர் ஓடை,
தொய்யில் பொறித்த வன முலை வான் கோட்டு,
தொய்யகத் தோட்டி, குழை தாழ் வடி மணி,
உத்தி பொறித்த புனை பூண் பருமத்து
முத்து ஏய்க்கும் வெண் பல் நகை திறந்து,
நல் நகர் வாயில் கதவ வெளில் சார்ந்து,
தன் நலம் காட்டி, தகையினால், கால் தட்டி வீழ்க்கும்,
தொடர் தொடராக வலந்து; படர் செய்யும்
மென் தோள் தடக் கையின் வாங்கி, தற் கண்டார்
நலம் கவளம் கொள்ளும்; நகை முக வேழத்தை
இன்று கண்டாய் போல் எவன் எம்மைப் பொய்ப்பது, நீ?

எல்லா! கெழீஇ, தொடி செறித்த தோள் இணை, தத்தித்
தழீஇக் கொண்டு, ஊர்ந்தாயும் நீ

குழீஇ அவாவினால், தேம்புவார் இற் கடை ஆறா,
உவா அணி ஊர்ந்தாயும் நீ

மிகாஅது சீர்ப்பட உண்ட சிறு களி ஏர் உண்கண்
நீர்க்கு விட்டு, ஊர்ந்தாயும் நீ

சார்ச்சார் நெறி தாழ் இருங் கூந்தல் நின் பெண்டிர் எல்லாம்
சிறு பாகராகச் சிரற்றாது, மெல்ல,
விடாஅது நீ எம் இல் வந்தாய்; அவ் யானை
கடாஅம் படும்; இடத்து ஓம்பு.

The comparison series continues! The words can be translated as follows:

“Lady:
In the early hours of dawn, she came here and said, ‘I did not see him anywhere near the trysting spot. I have roamed everywhere, where is he?’. Acting as if you know not these harsh words spoken to me, you mock and disrespect me. I lament this state!

Man:
O maiden with a pearl-like smile! Hearing that a new elephant has been caught in our net, to see that, I stayed back!

Lady:
That sounds about right! I too heard that it was an elephant brimming with beauty. That elephant was playing in the heap of aromatic powder, drinking fragrant toddy, wearing a radiant ornament that adorned its shining forehead, having the beautiful tusks of ‘thoyyil’ painted bosoms, and on it, was the ‘thoyakkam’ ornament as its goad, bells hanging low as its ears, and a well-carved golden ornament with a imprinted pendant. That elephant supposedly opened its white teeth, akin to pearls, and leaning on the doors of its fine mansion, displaying its fine beauty, with its esteemed quality, had the ability of making others stumble before it. Continuously swirling around, spreading suffering, bending its trunk of soft arms, it feeds on the ‘rice ball’ beauty of those who behold it. So, why do you lie to me saying you saw that bright-faced elephant just today?

My dear! Holding on to her bangle-clad arms and embracing her, didn’t you ride her aplenty?

Spreading ceaseless distress in those who are filled with love for you, in front of their doors, didn’t you parade her aplenty?

Making the kohl-streaked eyes of maiden, who have drunk just a little toddy within limits, cry a little, didn’t you ride her aplenty?

Without enraging the maiden with low-hanging, dark tresses in many, many abodes, for whom you are the little mahout, you have come silently to my home. That elephant of yours may start rutting in rage. So, go on and appease it!”

Time to delve into the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. Here, the man and lady converse with each other, with the lady’s emotions taking the forefront. The lady talks about how a courtesan had visited the lady’s home and declared that the man had not appeared at the marked trysting spot and had asked the lady where he was, speaking harsh words. The lady accuses the man of not caring about the distressing situation the lady was in. To these angry words, the man says that he had been away, tending to a new elephant that had been caught. Hearing this, the lady launches into a tirade, mentioning how she knows all about that beautiful elephant, and goes on to place in parallel, the features of an elephant and the adornments of a courtesan. An excellent exercise in imagination where the lady rethinks the ears of the elephant as the hanging earrings on the courtesan, tusk as the bosom, trunk as the arms and so on. She extends the metaphor saying the elephant had the prowess to make people stumble before it, and equates the ‘rice ball’ food of the elephant to the beauty and joy of those who behold its beauty. She asks the man not to fool her saying he had just met with the elephant, for she knows that the man had been with her for a while, and that he has caused pain in others by parading her, made the eyes of others who cry, not because of their excess toddy, but because of the pain the man inflicted by his courting with this courtesan. The lady concludes by saying how he has sneaked off to the lady’s home silently, and that elephant might learn of his act and become furious, and so, the man must leave her and go calm his darling elephant!

Yet again, we perceive the sarcasm in the lady’s reply. A verse which made me muse on how the proverbial ‘elephant in the room’ ever present in the life of a Sangam man from the ‘Marutham’ or ‘Farmlands landscape’ is always the other woman, a courtesan vying for the man’s attention, of whom the man doesn’t want to talk about and the lady can’t stop talking about!

In this episode, we listen to an imaginative response to a dishonest explanation, as portrayed in Sangam Literary work, Kalithogai 96, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and renders a comparative study of women and horses.

தலைவி
‘ஏந்து எழில் மார்ப! எதிர் அல்ல, நின் வாய்ச் சொல்;
பாய்ந்து ஆய்ந்த தானைப் பரிந்து ஆனா மைந்தினை;
சாந்து அழி வேரை; சுவல் தாழ்ந்த கண்ணியை;
யாங்குச் சென்று, ஈங்கு வந்தீத்தந்தாய்?’

தலைவன்
‘கேள் இனி:
ஏந்தி எதிர் இதழ் நீலம் பிணைந்தன்ன கண்ணாய்!
குதிரை வழங்கி வருவல்’

தலைவி
அறிந்தேன், குதிரைதான்;
பால் பிரியா ஐங்கூந்தற் பல் மயிர்க் கொய் சுவல்,
மேல் விரித்து யாத்த சிகழிகைச் செவ் உளை,
நீல மணிக் கடிகை வல்லிகை யாப்பின் கீழ்
ஞால் இயல் மென் காதின் புல்லிகைச் சாமரை,
மத்திகைக் கண்ணுறையாகக் கவின் பெற்ற
உத்தி ஒரு காழ், நூல் உத்தரியத் திண் பிடி,
நேர் மணி நேர் முக்காழ்ப் பல்பல கண்டிகை,
தார் மணி பூண்ட தமனிய மேகலை,
நூபுரப் புட்டில், அடியொடு அமைத்து யாத்த
வார் பொலம் கிண்கிணி ஆர்ப்ப இயற்றி, நீ
காதலித்து ஊர்ந்த நின் காமக் குதிரையை,
ஆய் சுதை மாடத்து அணி நிலா முற்றத்துள்
ஆதிக் கொளீஇ, அசையினை ஆகுவை,
வாதுவன்; வாழிய, நீ!

சேகா! கதிர் விரி வைகலில், கை வாரூஉக் கொண்ட
மதுரைப் பெரு முற்றம் போல, நின் மெய்க்கண்
குதிரையோ வீறியது?
கூர் உகிர் மாண்ட குளம்பினது; நன்றே
கோரமே வாழி! குதிரை

வெதிர் உழக்கு நாழியால் சேதிகைக் குத்திக்
குதிரை உடல் அணி போல, நின் மெய்க்கண்
குதிரையோ கவ்வியது?
சீத்தை! பயம் இன்றி ஈங்குக் கடித்தது; நன்றே
வியமமே வாழி! குதிரை

மிக நன்று, இனி அறிந்தேன், இன்று நீ ஊர்ந்த குதிரை;
பெரு மணம் பண்ணி, அறத்தினில் கொண்ட
பருமக் குதிரையோ அன்று; பெரும! நின்
ஏதில் பெரும் பாணன் தூது ஆட, ஆங்கே ஓர்
வாதத்தான் வந்த வளிக் குதிரை; ஆதி
உரு அழிக்கும், அக் குதிரை; ஊரல், நீ; ஊரின், பரத்தை
பரியாக, வாதுவனாய் என்றும் மற்று அச் சார்த்
திரி; குதிரை ஏறிய செல்.

The ire and fire of the lady continues! The words can be translated as follows:

“Lady:
O man with an upraised handsome chest! Your words don’t seem to fit the situation; O man with unceasing strength, your clothes are crumpled and torn, your sandalwood is smudged by your sweat, your head garland is hanging low by your shoulders. Where did you go, before coming here?

Man:
Listen to me now. O maiden with eyes, akin to two perfectly similar blue-lilies woven together, I was out riding a horse.

Lady:
I know well about that horse! It has unseparated, five layered braids of thick tresses falling low on the neck’s nape, and these are gathered in a tight bun upon its red mane, a necklace of blue sapphires as its halter, swaying below, ear ornaments as tassels around its gentle ears, and it wears a beautiful ornament as its eye-protector, a cloth with a sturdy grip above, perfect gems stitched together in a three strand garland around its neck, and around its hooves, a golden tinkling anklet, well-fitted. Making these many jewels resound, you rode that desirable horse of yours with love, in that well-plastered mansion on the night of the beautiful moon, making it trot in the ‘Aadhi’ horse routine. Such a talented horseman, you are! May you live long!

O warrior! In the early morning, when the sun spreads its rays, akin to how the great streets of Madurai are cleaned with hand brooms, did the horse leave these lines on your form? Its hooves seem to have sharp nails. What a fine horse! May it live long!

Akin to the colourful adornments made on the horse’s form with a bamboo measure, did the horse bite you and leave these marks on your form? Deplorable one! How could it bite in all those places without any fear? Unbelievable! Long may that horse live!

Excellent this is! Now, I know the horse that you rode! It’s not the one you married with great celebration and the one hold rightfully, O lord! As the bard who fulfils your every command went as a messenger, believing your words, akin to the wind, came that horse! It’s one that will ruin your old handsome form! So, ride it not! If you want to ride it still, then leave from here and let that courtesan be your horse and you, as the horse-rider, and may you carry on with this horse-riding of yours forever and ever!”

Let’s explore the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. This is a conversation between the lady and the man, with the lady’s words and emotion in the spotlight. The lady starts by remarking on the torn clothes and the low-hanging garland of the man and asks him where he has been. In response, the man says he had been out, riding a horse.

The lady retorts that she sure knows the horse he’s talking about and goes on to list all the jewels worn by a courtesan as the adornments and accessories on a horse, talking about the woman’s tresses as the horse’s mane, a necklace of blue sapphires as the halter, ear ornaments as tassels around the horse’s ear, a beautiful ornament as the eye protector, a well-stitched attire as its saddle and so on. She talks about how the man rode the horse not out in the open, but at night, in a mansion, making it perform a horse-taming routine that they refer to as ‘Aadhi’. She mockingly lauds the man as a great horseman, and asks him, if the lines on his handsome body were made by that horse, wondering if the horse had nails on its hooves, and then she asks him, if the bite marks all over his body, were left by the horse too. The lady adds that this is no rightful horse belonging to the man, the one he married, but rather one lured by the words of the bard, who went to her as the man’s messenger. She advises the man not to ride and if he insisted that he must, then she asks him to carry on with riding with the courtesan all he wants, but make sure to leave her and go away!

Another verse which reveals the creativity of Sangam poets in connecting the qualities of disparate things. The perfectly stitched stack of similes for the horse and a woman is incredible to behold. In a tangent, this verse reminded me of a quote I had read, attributed to the motorcycle racer, Valentino Rossi: “The most important thing is to have a good relationship with the bike… you have to understand what she wants. I think of a motorcycle as a woman, and I know that sounds silly, but it’s true.” Vehicles that one rides may change, but in this verse, we smile to see how this Tamil Sangam poet and that Italian racer nod in agreement, across the centuries!

In this episode, we perceive fighting over the truth, as depicted in Sangam Literary work, Kalithogai 95, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and renders details about quail fights in ancient times.

தலைவி
நில், ஆங்கு; நில், ஆங்கு; இவர்தரல் எல்லா! நீ
நாறு இருங் கூந்தலார் இல் செல்வாய், இவ் வழி,
ஆறு மயங்கினை போறி! நீ வந்தாங்கே
மாறு இனி, நின் ஆங்கே நின் சேவடி சிவப்ப

தலைவன்
செறிந்து ஒளிர் வெண் பல்லாய்! யாம் வேறு இயைந்த
குறும்பூழ்ப் போர் கண்டேம்; அனைத்தல்லது, யாதும்
அறிந்ததோ இல்லை, நீ வேறு ஓர்ப்பது

தலைவி
குறும்பூழ்ப் போர் கண்டமை கேட்டேன், நீ என்றும்;
புதுவன ஈகை வளம் பாடி, காலின்
பிரியாக் கவி கைப் புலையன் தன் யாழின்
இகுத்த செவி சாய்த்து, இனி இனிப் பட்டன
ஈகைப் போர் கண்டாயும் போறி; மெய் எண்ணின்,
தபுத்த புலர்வில் புண்

ஊரவர் கவ்வை உளைந்தீயாய், அல்கல் நின்
தாரின்வாய்க் கொண்டு முயங்கி, பிடி மாண்டு,
போர் வாய்ப்பக் காணினும் போகாது கொண்டு, ஆடும்
பார்வைப் போர் கண்டாயும் போறி; நின் தோள் மேலாம்
ஈரமாய்விட்டன புண்

கொடிற்றுப் புண் செய்யாது, மெய்ம் முழுதும் கையின்
துடைத்து, நீ வேண்டினும் வெல்லாது கொண்டு, ஆடும்
ஒட்டிய போர் கண்டாயும் போறி; முகம்தானே
கொட்டிக் கொடுக்கும் குறிப்பு

தலைவன்
ஆயின், ஆயிழாய்! அன்னவை யான் ஆங்கு அறியாமை
போற்றிய, நின் மெய் தொடுகு

தலைவி
‘அன்னையோ! மெய்யைப் பொய் என்று மயங்கிய, கை ஒன்று
அறிகல்லாய் போறிகாண், நீ

தலைவன்
நல்லாய்! பொய் எல்லாம் ஏற்றி, தவறு தலைப்பெய்து,
கையொடு கண்டாய்; பிழைத்தேன்; அருள், இனி’

தலைவி
அருளுகம் யாம் யாரேம், எல்லா! தெருள
அளித்து, நீ பண்ணிய பூழ் எல்லாம் இன்னும்
விளித்து, நின் பாணனோடு ஆடி அளித்தி
விடலை நீ நீத்தலின் நோய் பெரிது ஏய்க்கும்
நடலைப்பட்டு, எல்லாம் நின் பூழ்.

Reverting from the striking exception in the previous verse, we are back to in-house fighting! The words can be translated as follows:

“Lady:
Stay there, stay right there! Do not come here! It looks like you lost your way when going to the home of those maiden with dark and fragrant tresses and came here instead! Go back the way you came from, reddening your fine feet!

Man:
O maiden with perfect, shining teeth! I was elsewhere watching a ‘quail fight’. Other than that, I know not what you are talking about!

Lady:
Indeed, I so heard about your watching the quail fight! I heard all about how as the one, who keeps singing new praises about your endless generosity, that inseparable bard of yours played on the lute, you, slanting your head, watched the fight of newly caught quails! Those wounds on the form are still not healed indeed!

Without giving a thought about the slander in town, you held them close to your garland and embraced them, and watched the quail fight, and even that was not enough for you, for it appears as if you watched the fight of the decoys used to bait the quails as well; Behold how your arms are filled with moist wounds!

Taking care to not wound your cheeks, caressing your entire form with the hands, even if you plead, not winning, as those quails fought so closely, it’s clear you were watching it intently; Your face reveals it without a doubt!

Man:
If you say so, O maiden wearing well-etched jewels. I will swear on your form that I know not of what things you speak of!

Lady:
Is that so? As if you are someone who doesn’t know how to confuse me saying a lie is the truth!

Man:
O beautiful maiden! You saw through my lies and found out the mistakes I made. Render me your grace!

Lady:
Who am I, to render my grace to you, O lord? The quails that you celebrated and offered generously to are calling out to you! Leave with that bard of yours and render your grace to them. If you were to forsake them, feeling betrayed, the affliction would soar in all those quails of yours!”

Let’s explore the details. The verse is situated in the context of a love quarrel between the man and the lady, owing to the man’s seeking of courtesans. Here, the words are exchanged by the man and the lady. The lady starts by stopping the man in his tracks, asking him if he had lost his way when going to the house of the courtesans. The man declares that the lady was mistaken and he was just away watching a quail fight.

The lady catches hold of his mention of a quail fight and says how she heard all about it, and about how the man watched his quails fight over him, as he listened to the bard’s praises, and how those quails seem to have left their wounds on his form. She continues talking about how he held those quails close and watched the endless fight of the quails and the decoys, and adds that those quails would not win and end the fight even if he begged them to. All this was evident from the scars on his arms, chest and cheek, the lady says.

By now, it’s clear that the lady is not talking about quails but those women the man has been with. Still, the man pretends innocence and says he’ll swear on her. The lady replies saying he is someone adept at presenting a lie as the truth. Now, it’s total surrender on the part of the man saying, yes indeed, he was doing what she says and asks her to forgive and render her love. To which, the lady angrily replies that she is no one to him and asks him to leave to those quails, who are calling out to him, and wishes that he does not let them feel betrayed by his presence at the lady’s home!

Yet again, the same fiery sparks from the lady about the man’s behaviour unfold here. But within this repeating theme, we learn of the practice of quail fights in the Sangam era. This reminds us of ‘rooster fighting’ that has been prevalent since ancient times, spreading from the Indus Valley to Greek and Roman civilisations. Perhaps, this was the origin for the practice of betting still active in many sports of today. From quails and roosters, it’s players on the field fighting it out in the present and the continuity of this custom tells us there is something ingrained in human nature, which makes them want to watch a fight!

In this episode, we perceive a unique love story, as portrayed in Sangam Literary work, Kalithogai 94, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the coming together journey of two striking personalities.

குறளன்
என் நோற்றனைகொல்லோ
நீருள் நிழல் போல் நுடங்கிய மென் சாயல்
ஈங்கு உருச் சுருங்கி
இயலுவாய்! நின்னோடு உசாவுவேன்; நின்றீத்தை

கூனி
அன்னையோ! காண் தகை இல்லாக் குறள் நாழிப் போழ்தினான்,
ஆண்தலைக்கு ஈன்ற பறழ் மகனே நீ! எம்மை,
‘வேண்டுவல்’ என்று விலக்கினை; நின் போல்வார்
தீண்டப் பெறுபவோ மற்று?

குறளன்
மாண்ட எறித்த படை போல் முடங்கி மடங்கி,
நெறித்துவிட்டன்ன நிறை ஏரால் என்னைப்
பொறுக்கல்லா நோய் செய்தாய்; பொறீஇ நிறுக்கல்லேன்;
நீ நல்கின் உண்டு, என் உயிர்

கூனி
குறிப்புக் காண் வல்லுப் பலகை எடுத்து நிறுத்தன்ன
கல்லாக் குறள! கடும் பகல் வந்து எம்மை,
‘இல்லத்து வா’ என, மெய் கொளீஇ, எல்லா! நின்
பெண்டிர் உளர்மன்னோ? கூறு

குறளன்
நல்லாய்! கேள்: உக்கத்து மேலும் நடு உயர்ந்து வாள் வாய
கொக்கு உரித்தன்ன கொடு மடாய்! நின்னை யான்
புக்கு அகலம் புல்லின், நெஞ்சு ஊன்றும்; புறம் புல்லின்,
அக்குளுத்து; புல்லலும் ஆற்றேன்; அருளீமோ,
பக்கத்துப் புல்லச் சிறிது

கூனி
‘போ, சீத்தை! மக்கள் முரியே! நீ மாறு, இனி; தொக்க
மரக் கோட்டம் சேர்ந்து எழுந்த பூங் கொடி போல,
நிரப்பம் இல் யாக்கை தழீஇயினர், எம்மைப்
புரப்பேம் என்பாரும் பலரால்; பரத்தை என்
பக்கத்துப் புல்லீயாய் என்னுமால்; தொக்க
உழுந்தினும் துவ்வா, குறு வட்டா! நின்னின்
இழிந்ததோ, கூனின் பிறப்பு?’

குறளன்
கழிந்து ஆங்கே,
“யாம் வீழ்தும்” என்று தன் பின் செலவும், உற்றீயாக்
கூனி குழையும் குழைவு காண்

கூனி
யாமை எடுத்து நிறுத்தற்றால், தோள் இரண்டும் வீசி,
யாம் வேண்டேம் என்று விலக்கவும், எம் வீழும்
காமர் நடக்கும் நடை காண்

குறளன்
கவர் கணைச்
சாமனார் தம்முன் செலவு காண்

கூனி
ஓஒ! காண்

குறளன்
நம்முள் நகுதல் தொடீஇயர், நம்முள் நாம்
உசாவுவம்; கோன் அடி தொட்டேன்

கூனி
ஆங்கு ஆக! சாயல் இன் மார்ப! அடங்கினேன்; ‘ஏஎ!
பேயும் பேயும் துள்ளல் உறும்’ எனக்
கோயிலுள் கண்டார் நகாமை வேண்டுவல்;
தண்டாத் தகடு உருவ! வேறாகக் காவின் கீழ்ப்
போதர்; அகடு ஆரப் புல்லி முயங்குவேம்
துகள் தபு காட்சி அவையத்தார் ஓலை
முகடு காப்பு யாத்துவிட்டாங்கு.

A verse which introduces characters we have never before seen in Sangam Literature. The words can be translated as follows:

“Dwarf:
What penance did you do, for me to see you here, O maiden, who appears with a shrunken form, akin to a shadow fluttering within the water? Wait and heed my words!

Hunchback:
Oh, is that so? You, who appears short and unfit for the eyes and seems like the little one of an ‘Aandalai’ owl, born at an inauspicious time! And you have stopped me saying that you desire me. Can someone like you even touch me?

Dwarf:
Akin to the blade of a tiller plough, bent, deformed and twisted, with your brimming beauty, you inflicted in me a terrible affliction; I can’t bear it any longer. If you render your grace, my life will go on!

Hunchback:
Look at him talk! You naive dwarf, who appears as if a gambling board was placed upright! In this harsh time of noon, you come here and pull my hand, asking me to come to your home. Don’t you have any other women? Tell me!

Dwarf:
O good maiden, listen! Above your waist, with your back upraised, you appear bent like a skinned stork! If I were to embrace you from the front, my chest would hurt; If I were to embrace you from the back, I would feel tickled. It’s no easy task to embrace you. But still, why don’t you let me embrace you a little on your side?

Hunchback:
Be gone! You lowly half-man! Give up this thought of yours! Akin to a flower-filled vine that reaches out and spreads on the branch of a tree, there are many, who love my form and yearn to embrace me, and you want to embrace me on the side, O deplorable one! You, who is not even higher than a ‘ulunthu’ crop, O stubby cretin! Is my hunchback shape worse than your form?

Dwarf to his heart:
Even though I go near her and tell her that I have fallen for her, look at the way the hunchback moves away and stands shrunken there!

Hunchback:
Even though I say no and push him away, as if a tortoise was held upright, swaying his arms, look at the way the one who desires me strides like the god of love!

Dwarf:
Indeed, see the stride of Saman, the younger brother of the god, who wields those arrows of love.

Hunchback:
What a sight!

Dwarf:
Let’s find the right place for us to unite together. I will not laugh at you. I swear by the king’s feet!

Hunchback:
Let it be so, O man with a handsome chest! I’m appeased! All I ask is that those in the temple should not laugh at us saying, ‘Hey! Look at those two ghosts frolicking together’! O man with an undiminished golden form! Let’s go down to the grove, and akin to how a minister with flawless wisdom would place a protective seal upon the palm letters, let’s embrace tightly till our desires are fulfilled!”

Time to delve into the nuances. All the verses we have seen thus far talk about the relationship between the man and the lady, the principal, nameless protagonists of Sangam ‘Aham’ literature. For the first time, we get to see the love between the supporting characters, the people who work for the protagonists. This verse is situated in the context of a love relationship between a dwarf and a hunchback and since it contains elements of quarrel and sulking, perhaps this verse has been placed under the ‘Marutham’ or ‘Farmlands’ landscape. Let’s dive into the words of these characters that tell this different tale.

A dwarf referred by the Tamil word ‘Kuralan’ is the initial speaker. Note how the term for this short person contains the same core as the celebrated book of the Tamils from the Post Sangam era – ‘Thirukural’ – The book of two-line couplets, filled with philosophy! Returning, we find the dwarf calling out to a girl with a hunchback saying to her that she, the deformed one, must have done some good deeds because he happened to see her there. He asks her to listen to him. The hunchback girl is offended deeply and she calls him unfit for the eyes, looking like an owlet born at the wrong time. She asks him angrily how can he even touch her. The dwarf continuous comparing the girl to a curved blade of a plough, and even though she is so, she has left a love affliction in him and he seeks her grace. The girl is still affronted, and compares him to a gambling board placed upright, and asks him how dare he pull her hand, asking her to come to him. The dwarf still doesn’t get the message and continues talking about the girl’s form, saying it looks like a stork that has been skinned, and goes on to talk about how it would be impossible for him to embrace her in the front, because his chest would hurt, and from the back too, for he would feel tickled. While that may be so, he asks her to let him embrace her on the side. Like any self-respecting woman, the girl is offended, and calls him a half-man, and tells him there are many who want her for who she is, and here he is, with his hunchback form, insulting her!

The dwarf seems to get the drift and laments to his heart about how even though he says he has fallen for the girl, she seems so affronted. The hunchback too, talks about how he keeps coming back to her, even though she pushes him away, and remarks how he walks about like a god of love. The dwarf hears the comment, and says, yes, he is indeed the younger brother of the god of love. In response, the girl says what a sight it was. Now, the dwarf says that they should find a good place to be together and promises in the name of the king that he shall not laugh at her anymore. That’s the word the girl seems to have been waiting for and she calls him with admiring words and says, ‘Yes, All I want is not to have people in this temple laugh at us and talk about two ghosts getting together’. She concludes by offering her acceptance to the dwarf’s proposal and says they should go to the grove and embrace each other tightly, just the way a seal holds tight the palm letters from a wise counsel’s hand!

After seeing more than thousand five hundred verses, which only talk about the perfect and pristine beauty of the man and the lady, here in a riveting exception, we find the poet talking about the love between two characters with defects. The unique Sangam style of comparing a person’s appearance to varied elements, we find here too, not to talk about how exceptional and flawless the trait is, but rather the opposite, to talk about the flaws. While the initial few exchanges seem all about body shaming, it’s actually a way to convey the reality of these characters, whom we would otherwise assume to be the perfect beings that we have become used to.

Two aspects fascinated me in this rendition: One, is in the confidence that shines in the personality of the dwarf and the hunchback, regardless of the so-called defects in their appearance. Two, the moment love blooms is not when one boasts about oneself, as the dwarf does in the beginning, or when one belittles the other, calling out their inadequacies, but it appears in the moment when respect for the other is born. The moment the dwarf says he would never laugh at the hunchback, is when the hunchback accepts his offer of love. No matter who we are or where we are, this striking Sangam verse should tell us the foundation of a strong love is confidence in one self and respect for the other!

In this episode, we perceive a sarcastic response to a dubious explanation, as depicted in Sangam Literary work, Kalithogai 93, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches an animated conversation.

தலைவி
வண்டு ஊது சாந்தம் வடுக் கொள நீவிய,
தண்டாத் தீம் சாயற் பரத்தை வியல் மார்ப!
பண்டு, இன்னை அல்லைமன்; ஈங்கு எல்லி வந்தீய,
கண்டது எவன்? மற்று உரை

தலைவன்
நன்றும் தடைஇய மென் தோளாய்! கேட்டீவாயாயின்
உடன் உறை வாழ்க்கைக்கு உதவி உறையும்
கடவுளர்கண் தங்கினேன்

தலைவி
சோலை மலர் வேய்ந்த மான் பிணை அன்னார் பலர், நீ
கடவுண்மை கொண்டு ஒழுகுவார்
அவருள், எக் கடவுள்? மற்று அக் கடவுளைச் செப்பீமன்

தலைவன்
முத்து ஏர் முறுவலாய்! நாம் மணம் புக்கக்கால்,
“இப் போழ்து போழ்து” என்று அது வாய்ப்பக் கூறிய
அக் கடவுள், மற்று அக் கடவுள்

தலைவி
அது ஒக்கும்
நா உள் அழுந்து தலை சாய்த்து நீ கூறும்
மாயமோ; கைப்படுக்கப்பட்டாய் நீ; கண்டாரை
வாயாக யாம் கூற வேட்டீவாய்! கேள், இனி:

பெறல் நசை வேட்கையின் நின் குறி வாய்ப்ப,
பறி முறை நேர்ந்த நகாராக, கண்டார்க்கு
இறு முறை செய்யும் உருவொடு, நும் இல்,
செறி முறை வந்த கடவுளைக் கண்டாயோ?

நறுந் தண் தகரமும் நானமும் நாறும்
நெறிந்த குரற் கூந்தல் நாள் அணிக்கு ஒப்ப,
நோக்கின் பிணி கொள்ளும் கண்ணொடு, மேல் நாள், நீ
பூப் பலி விட்ட கடவுளைக் கண்டாயோ?

ஈர் அணிக்கு ஏற்ற ஒடியாப் படிவத்துச்
சூர் கொன்ற செவ்வேலாற் பாடி, பல நாளும்,
ஆராக் கனை காமம் குன்றத்து நின்னொடு
மாரி இறுத்த கடவுளைக் கண்டாயோ?

கண்ட கடவுளர் தம்முளும், நின்னை
வெறி கொள் வியல் மார்பு வேறாகச் செய்து,
குறி கொளச் செய்தார் யார்? செப்பு: மற்று யாரும்
சிறு வரைத் தங்கின் வெகுள்வர், செறு தக்காய்!

தேறினேன்; சென்றீ நீ செல்லா விடுவாயேல்,
நல் தார் அகலத்துக்கு ஓர் சார மேவிய
நெட்டிருங் கூந்தற் கடவுளர் எல்லார்க்கும்
முட்டுப்பாடு ஆகலும் உண்டு.

Yet again, we hear the lady and the man in conversation about events that transpired. The words can be translated as follows:

“Lady:

O man with a wide chest,  streaked with the lines of bee-buzzing sandalwood, desiring courtesans with an unceasing sweet nature! You were not like this previously! You have come here late at night. Where have you been and what did you see? Pray tell me!

Man:

O maiden with soft and curving arms! It’s good that you ask! I was staying in the company of gods, who render counsel for our marital life.

Lady:

Those many others, akin to female deers, wearing garlands of flowers from groves, you seem to see as gods! Of them, which god did you see? Tell me about that god of yours!

Man:

O maiden with a smile of pearls! The god I was with was the god who said, ‘This is the perfect time’, when we wanted to get married.

Lady:

That seems totally believable! The way you pressed your tongue within and bent your head tells me that I have caught you red-handed with your lies! You wish to hear about those whom you really saw from me. So listen now:

With desire brimming over, to be there for the marked tryst, the one with mature and straight teeth, with a beauty that could devour those who see, the one, who so rightfully came to your home – Is that the god you saw?

Having thick and straight tresses, wafting with the scent of the fragrant and cool ‘milkwood’ along with musk, adorned fresh every day, who could tie you down with one look of her eyes, the one whom you showered with flowers as your offerings the previous day – Is that the god you saw?

Celebrating the red-speared god, who conquered the demon with a formidable dual form, they stayed for many days with a profound passion in ‘Kundram’ along with you, in the rainy season – Is that the god you saw?

Among the gods you saw, who is the one who made those marks on your fragrant, wide chest? Tell me. Also, if you were to stay elsewhere for a little while, won’t they be angry, you who incites my fury! I’m clear now! Please leave. If you don’t,  that would be an encumbrance for all those gods with long tresses, who together desire to embrace your garlanded wide chest!”

Let’s delve into the details. The verse is situated in the context of a love quarrel between a man and lady, owing to the man’s seeking of courtesans. Here, the lady and man are in conversation. The lady starts by remarking on the sandalwood streaked on the man’s chest, full of signs of his courting of courtesans. She mentions how he has arrived late at night to their home and asks him where he has been. To this question, the man says he was with people of god, who are known to render wise counsel for a happy, married life. The irony of it! The lady immediately gets the drift and says, you seem to think beautiful maiden are people of god, and asks him pointedly which of them he saw. The man tries to mollify her by reminding her of that ascetic who had marked the auspicious time for their wedding and tells her that’s whom he was with. The lady replies, ‘Yes, absolutely. I totally believe you’, noting the micro expressions on the man’s face, such as pressing his tongue and bending his head to one side. Knowing him so well, the lady comes to the conclusion that he’s just lying, and then she goes on to sketch the ‘gods’ the man was supposed to have been with, mentioning maiden with mature teeth who came rightfully to the man’s home, other maiden with thick and fragrant tresses on whom the man had rendered offerings of flowers, as if to a real god, and then interestingly about maiden the man had met in a place called ‘Kundram’, where they sang praises of God Murugan and delighted with the man. This reference hints at the practice of maiden, who spend their life in a temple, worshipping a deity and performing arts, supported by wealthy patrons. Returning, we find the lady questioning the man asking which of those god people left their mark on his chest, and in anger, she asks the man to leave immediately to them, for the gods might be angry, if he showered his attention elsewhere, even for a little while. A verse which reveals a wide variety of elements such as micro expressions and their meanings, the effective use of sarcasm in conveying emotion as well as references to socio-religious practices of the past! 

In this episode, we listen to the narration of a dream, as portrayed in Sangam Literary work, Kalithogai 92, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and presents a fused portrait of dream and reality.

தலைவன்
புன வளர் பூங் கொடி அன்னாய்! கழியக்
கனவு எனப்பட்டது ஓர் காரிகை நீர்த்தே:
முயங்கிய நல்லார் முலை இடை மூழ்கி,
மயங்கி, மற்று ஆண்டு ஆண்டுச் சேறலும் செல்லாது,
உயங்கி இருந்தார்க்கு உயர்ந்த பொருளும்;
அரிதின் அறம் செய்யா ஆன்றோர் உலகும்
உரிதின் ஒருதலை எய்தலும் வீழ்வார்ப்
பிரிதலும் ஆங்கே புணர்தலும் தம்மில்
தருதல் தகையாதால் மற்று
நனவினால் போலும், நறுநுதால்! அல்கல்
கனவினால் சென்றேன் கலி கெழு கூடல்
வரை உறழ் நீள் மதில் வாய் சூழ்ந்த வையைக்
கரை அணி காவினகத்து

தலைவி
உரை இனி தண்டாத் தீம் சாயல் நெடுந்தகாய்! அவ் வழிக்
கண்டது எவன் மற்று நீ?

தலைவன்
கண்டது உடன் அமர் ஆயமொடு அவ் விசும்பு ஆயும்
மட நடை மா இனம், அந்தி அமையத்து,
இடன் விட்டு இயங்கா இமையத்து ஒரு பால்,
இறை கொண்டு இருந்தன்ன நல்லாரைக் கண்டேன்,
துறை கொண்டு உயர் மணல்மேல் ஒன்றி நிறைவதை

தலைவி
ஓர்த்தது இசைக்கும் பறை போல், நின் நெஞ்சத்து
வேட்டதே கண்டாய் கனா

தலைவன்
கேட்டை விரையல் நீ; மற்று வெகுள்வாய்!

தலைவி
உரை

தலைவன்
ஆண்டு இதுவாகும், இன் நகை நல்லாய்! பொதுவாக
தாம் கொடி அன்ன தகையார் எழுந்தது ஓர்
பூங் கொடி வாங்கி, இணர் கொய்ய, ஆங்கே
சினை அலர் வேம்பின் பொருப்பன் பொருத
முனை அரண் போல உடைந்தன்று, அக் காவில்
துனை வரி வண்டின் இனம்
மற்று ஆங்கே நேர் இணர் மூசிய வண்டு எல்லாம் அவ் வழிக்
காரிகை நல்லார் நலம் கவர்ந்து உண்ப போல் ஓராங்கு மூச,
அவருள்,
ஒருத்தி, செயல் அமை கோதை நகை
ஒருத்தி, இயல் ஆர் செருவில் தொடியொடு தட்ப;
ஒருத்தி, தெரி முத்தம் சேர்ந்த திலகம்
ஒருத்தி, அரி மாண் அவிர் குழை ஆய் காது வாங்க;
ஒருத்தி, வரி ஆர் அகல் அல்குல் காழகம்
ஒருத்தி, அரி ஆர் ஞெகிழத்து அணி சுறாத் தட்ப:

ஒருத்தி, புலவியால் புல்லாதிருந்தாள், அலவுற்று
வண்டினம் ஆர்ப்ப, இடை விட்டுக் காதலன்
தண் தார் அகலம் புகும்

ஒருத்தி, அடி தாழ் கலிங்கம் தழீஇ, ஒரு கை
முடி தாழ் இருங் கூந்தல் பற்றி, பூ வேய்ந்த
கடி கயம் பாயும், அலந்து

ஒருத்தி, கணம் கொண்டு அவை மூச, கை ஆற்றாள், பூண்ட
மணம் கமழ் கோதை பரிபு கொண்டு, ஓச்சி,
வணங்கு காழ் வங்கம் புகும்

ஒருத்தி, இறந்த களியான் இதழ் மறைந்த கண்ணள்,
பறந்தவை மூசக் கடிவாள், கடியும்
இடம் தேற்றாள் சோர்ந்தனள் கை

ஆங்க, கடி காவில் கால் ஒற்ற, ஒல்கி ஒசியாக்
கொடி கொடி தம்மில் பிணங்கியவை போல்,
தெரியிழை ஆர்ப்ப மயங்கி இரிவுற்றார், வண்டிற்கு
வண்டலவர்; கண்டேன் யான்

தலைவி
நின்னை நின் பெண்டிர் புலந்தனவும், நீ அவர்
முன் அடி ஒல்கி உணர்த்தினவும், பல் மாண்
கனவின் தலையிட்டு உரையல்; சினைஇ யான்
செய்வது இல் என்பதோ? கூறு

தலைவன்
பொய் கூறேன் அன்ன வகையால் யான் கண்ட கனவு தான்
நல் வாயாக் காண்டை நறுநுதால்! ‘பல் மாணும்
கூடிப் புணர்ந்தீர்! பிரியன்மின்; நீடிப்
பிரிந்தீர்! புணர் தம்மின்’ என்பன போல,
அரும்பு அவிழ் பூஞ் சினைதோறும் இருங் குயில்
ஆனாது அகவும் பொழுதினான், மேவர,
நான்மாடக்கூடல் மகளிரும் மைந்தரும்
தேன் இமிர் காவில் புணர்ந்திருந்து ஆடுமார்,
ஆனா விருப்போடு அணி அயர்ப, காமற்கு
வேனில் விருந்து எதிர்கொண்டு.

A long, long song! Possibly the longest, we’ve seen thus far in Sangam Lit! The words can be translated as follows:

“Man:

O maiden, akin to a flower-filled vine in a forest! A fleeting dream is a thing of beauty! After burying oneself in between the bosoms of those beautiful women embraced, wanting to reunite again and again, attaining wealth for those, who stay without effort in one place, and rightfully reaching the higher world for those, who rarely do acts of righteousness, are dreams, whose nature is to make one part away from their beloved, unite with someone else, and then bring them back to their beloved! As if it were real, O maiden with a fragrant forehead! I travelled to the uproarious Koodal in a dream, enclosed by mountain-like long walls, and went to a beautiful grove on the shores of the River Vaigai.

Lady:

So tell me, O esteemed lord, with an unceasingly sweet countenance! What did you see there?

Man:

What I saw was this: Along with their beautiful playmates, akin to swans, with a naive gait that roves the high skies, and then at twilight, comes to settle down, without moving, on one side of the Himalayas, there were beautiful maiden filling the high sand dunes by the shores!

Lady:

Akin to a drum that resounds with what is thought within, whatever your heart desired you have seen as a dream, it seems like!

Man:

Do not be hasty to judge. First listen, then you can get angry!

Lady:

Speak!

Man:

This is what happened there, O maiden with a sweet smile! Women, who were like vines themselves, stood up, bent a vine and plucked flowers. Just then, akin to a fort, attacked by a furious Pandya king, clad in neem flowers, the striped bees in the grove, which were feeding nectar from the flowers, scattered, and started buzzing around the women there, as if wanting to feed on their beauty.

Among those women,

the garland ornament of one woman got caught in the swaying bangles, fighting with the bees, on the hands of another woman;

the radiant pearl in the forehead ornament of one woman was pulled by the shining, heavy earrings on the beautiful ears of another woman;

the attire worn around the lined, wide loins of one woman got caught in the well-etched, exquisite, shark-shaped anklets of another woman;

One woman, who was sulking and avoiding embraces, startled by the resounding bees, jumped to embrace the cool, garlanded chest of her lover;

One woman, holding the attire hanging down to her feet in one hand, and with the other hand, holding on to her dark tresses hanging low, filled with fear, jumped into the flower-filled pond;

One woman, as the bees swarmed around in a huge cluster, unable to chase them away with her hands, took the fragrant garland she was wearing and tried to shoo them away and then entered under an upturned boat to hide there;

One woman, who had too much toddy to drink, with eyelids closed, tried to aimlessly move her hands as the bees fluttered around, and exhausted her hands;

And so, in that flower-filled grove, akin to how vines lie all tangled together when the breeze blows forcefully, those maiden wearing well-etched jewels were bewildered by the ceaseless buzzing of the bees. This is what I saw there.

Lady:

The truth is that your women were sulking with you, and that you fell at their feet to appease them. Do not adorn this with all these stories and present it to me as if it were a dream! Is it because you think I can achieve nothing with my anger? Tell me!

Man:

I lie not! It’s truly a dream that I saw. Wasn’t the scene beautiful, O maiden with a fragrant forehead? As if shouting out, ‘Unite together and love! Separate not! Those who have been separated for long, unite together’, the black cuckoo seems to be singing ceaselessly upon the flower-blooming branches. It’s that season that approaches, the time when women and men adorn themselves with much desire and gather together in the four pavilions of Koodal and unite together in the bee-buzzing groves to celebrate the God of love, who offers the feast of spring!”

Let’s explore the nuances. The verse is situated in the context of a love quarrel between a man and a lady, owing to the man’s seeking of courtesans. These words are exchanged between the man and the lady, with the man as the principal speaker. The man starts by talking about what dreams are and to do that, he mentions the desire of those who want to embrace again and again after an intimate encounter, then attaining wealth without effort and reaching the heavens without doing righteous acts. He connects these elements saying all these things are possible in the dreams and it’s an act which seemingly takes one away from one’s beloved, makes them unite with others and then brings the person back to their beloved. Perhaps, the man is justifying his wandering with courtesans by talking about it as a dream to his lady. After that introduction about dreams, the man tells the lady that he had a dream, where he went to Koodal, and saw a scene in a forest, by the shores of the River Vaigai, a dream so real. The lady then asks him to narrate the dream to her! He replies saying he saw many beautiful women sitting on the shores of the river sand. The lady immediately says sharply to him, ‘You know the drum doesn’t speak anything other than what is in the mind of the drummer. Like that, whatever you desire, you seem to have seen in your dream’. Let’s note this intricate thought, and come back to it, a little later.

Returning, we find the man saying ‘Don’t jump to conclusions. Listen to me. Then, you can get angry, if you must’. So, the lady asks him to go on. And then the man talks about how those women got up to pluck some flowers from a vine, and at that moment, the bees that was delighting in the nectar, immediately rose high and started swarming around them. In that ruckus, the ornaments of some women got tangled in the ornaments of other women, the clothes of some gets caught in the anklets of others and so on. There was a woman, who was fighting with her husband and when the bees attacked, she immediately sought the refuge of his cool chest, forgetting her sulking; Then there was another woman jumping into the waters to avoid the bees, another one shooing the bees with her garland and running to hide under a boat, and then there was a tipsy maiden, who was brandishing her arms this way and that way, her eyes closed, and she tired out her hands. And so, they were all lying entangled, losing their fight to the bees, the man tells the lady. The lady sarcastically responds, ‘Your courtesans are fighting with you and you were falling at their truth. That’s the core truth. This you are dressing up as a dream and serving it to me’. To this accusation, the man replies, ‘No, no, no… This is no lie. It’s truly a dream. Maybe we would see it for real too.’ He explains that last line saying, even as they speak the cuckoos sing aloud in the branches as if calling all lovers to unite, because the beautiful season has arrived, and if the man and lady were to travel to Koodal, they would surely see men and women gathering together with joy, to celebrate the festival in honour of the God of love, for blessing them with the beautiful season of spring.

From his dream, the man takes the lady to a future reality and tries to win her heart. Whether he succeeded or not, we know not, but what’s undeniably true is that this is a verse that etches a dream like no other. Returning to the thought of the lady, who said ‘Whatever you desire, you dream’, isn’t that a profound understanding of human nature, preceding Freud, who said the same thing, and the science of psychoanalysis, by two thousand years? A strong statement to say the study of human mind must start from the Sangam era, for these ancient creations delve into the reality of the human mind in poetic words but with a scientist’s skill!

In this episode, we listen to a conflict-ridden conversation, as depicted in Sangam Literary work, Kalithogai 91, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and traces how the lady’s words turn from scoffing to submission.

தலைவி
அரி நீர் அவிழ் நீலம், அல்லி, அனிச்சம்,
புரி நெகிழ் முல்லை, நறவோடு அமைந்த
தெரி மலர்க் கண்ணியும் தாரும் நயந்தார்
பொரு முரண் சீறச் சிதைந்து, நெருநையின்
இன்று நன்று என்னை அணி

தலைவன்
அணை மென் தோளாய்! செய்யாத சொல்லிச் சினவுவது ஈங்கு எவன்,
ஐயத்தால் என்னைக் கதியாதி; தீது இன்மை
தெய்வத்தான் கண்டீ தெளிக்கு

தலைவி
மற்றது, அறிவல், யான் நின் சூள்; அனைத்தாக நல்லார்
செறி தொடி உற்ற வடுவும், குறி பொய்த்தார்
கூர் உகிர் சாடிய மார்பும், குழைந்த நின்
தாரும், ததர் பட்ட சாந்தமும், சேரி
அரி மதர் உண் கண்ணார் ஆராக் கவவின்,
பரிசு அழிந்து யாழ நின் மேனி கண்டு, யானும்
செரு ஒழிந்தேன்; சென்றீ, இனி

தலைவன்
தெரியிழாய்! தேற்றாய் சிவந்தனை காண்பாய், நீ தீது இன்மை
ஆற்றின் நிறுப்பல் பணிந்து

தலைவி
அன்னதேல், ஆற்றல் காண்:
வேறுபட்டாங்கே கலுழ்தி; அகப்படின்,
மாறுபட்டாங்கே மயங்குதி; யாது ஒன்றும்
கூறி உணர்த்தலும் வேண்டாது; மற்று நீ
மாணா செயினும், மறுத்து, ஆங்கே நின்வயின்
காணின் நெகிழும் என் நெஞ்சு ஆயின், என் உற்றாய்,
பேணாய் நீ பெட்பச் செயல்?

Another verse depicting the lady’s fury and the man’s denial. The words can be translated as follows:

“Lady:

With blue lotuses that had bloomed in the beautiful pond, lilies, red pimpernels, fully blossomed wild jasmines and lavanga flowers, the strands of your garlands, which were woven in striking hues, after encountering the great fury of those who desire you has now become ruined, and yet, adorns you so much better than yesterday!

Man:

O maiden with soft arms! Why do you say things I’ve not done and then get furious with me? Do not vent your anger because of your suspicions! I will show you that I’m faultless by swearing before God.

Lady:

I know very well about your oaths! I can see clearly the marks made by the bangles of those beautiful women, the scratches of sharp nails, made in anger, by those with whom you missed your trysts, your crumpled garlands and smeared sandalwood, because of the endless embraces of those maiden, with flower-like, kohl-streaked eyes in the neighbourhood. When I take in your form that has lost its previous state, I too lose my anger utterly. Go on then!

Man:

O maiden with well-etched ornaments! You are reddened with fury, not understanding. Until you believe, I will show you that I’m faultless with absolute humility.

Lady:

If you can do that, you are talented indeed! When I oppose you, you cry; When I believe you, you immediately hanker after those others; You don’t have to say anything to make me understand. For even when you do wrong unto me, ignoring it, my heart melts the moment it sees you. So, what is the need for you to act with so humility to appease me?”

Time to delve into the details. The verse is situated in the category of a love quarrel between a man and a lady, owing to the man’s seeking of courtesans. The words here are rendered by the lady and the man to each other. The lady starts by listing flowers such as blue lotuses, lilies, red pimpernels, wild jasmines and lavanga flowers to talk about the constituents of the man’s garland.  Then she says that exquisite garland has become ruined by the fury of those, who desired the man, and was jilted by him. Still, it was making him look so handsome, the lady adds sarcastically. To this, the man replies that the lady seemed to be getting angry with him for no reason. He asks her not to vent her anger because of mere doubts, and declares he would swear an oath before God to prove his innocence. The lady replies with scorn that she knows all about his great oaths. When she can clearly see the marks of the bangles of other maiden, the scratches of their nails in anger, when he missed trysting with them, the tattered garland and smudged sandalwood, right way, her anger was put off and she was all at ease, she adds, and asks him to leave to where he came from.

To this, the man says the lady simply doesn’t understand and now he has no other go but to beg and plead with her to prove that he has done nothing wrong. The lady responds saying when she opposes him, he starts pleading, but the moment she accepts him, the man’s heart seems to forget her and go seeking after other women. She concludes with a sigh that no matter what wrong things the man does to her, the moment her heart sees him, it seems to melt away and run to his side, and if that’s the case, why should the man ever beg to her!

In this verse, the sarcastic words of the lady are full of fire in the beginning, but then in the end, yet again, we see an instance of the lady’s aversion to the man debasing himself before her. No matter what wrong he does, she doesn’t seem to want to see him lowered before her! As for the man, his weapons to appease his lady are swearing oaths and saying that he would fall at her feet. Beyond these inferences in the dynamics of this relationship, the one striking aspect is the line about how a loving heart seems to melt when seeing a beloved even if they been wronged by the other. A subtle sketch of the inexplicable power of love to forgive and forget!