Sangam Lit

In this episode, we listen to many sounds that arise in a town, as depicted in Sangam Literary work, Kalithogai 70, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and portrays the formidable foes of sleep.

மணி நிற மலர்ப் பொய்கை, மகிழ்ந்து ஆடும் அன்னம் தன்
அணி மிகு சேவலை அகல் அடை மறைத்தென,
கதுமென காணாது கலங்கி, அம் மடப் பெடை
மதி நிழல் நீருள் கண்டு, அது என உவந்து ஓடி,
துன்னத் தன் எதிர் வரூஉம் துணை கண்டு, மிக நாணி,
பல் மலரிடைப் புகூஉம் பழனம் சேர் ஊர! கேள்:

நலம் நீப்பத் துறந்து எம்மை, நல்காய் நீ விடுதலின்,
பல நாளும் படாத கண், பாயல் கொண்டு இயைபவால்;
துணை மலர்க் கோதையார் வைகலும் பாராட்ட,
மண மனைத் ததும்பும் நின் மண முழ வந்து எடுப்புமே

அகல நீ துறத்தலின், அழுது ஓவா உண்கண், எம்
புதல்வனை மெய் தீண்ட, பொருந்துதல் இயைபவால்;
நினக்கு ஒத்த நல்லாரை நெடு நகர்த் தந்து, நின்
தமர் பாடும் துணங்கையுள் அரவம் வந்து எடுப்புமே

வாராய் நீ துறத்தலின், வருந்திய எமக்கு, ஆங்கே
நீர் இதழ் புலராக் கண் இமை கூம்ப இயைபவால்;
நேர் இழை நல்லாரை நெடு நகர்த் தந்து, நின்
தேர் பூண்ட நெடு நல் மான் தெள் மணி வந்து எடுப்புமே

என ஆங்கு
மெல்லியான் செவிமுதல் மேல்வந்தான் காலை போல்,
எல்லாம் துயிலோ எடுப்புக நின் பெண்டிர்
இல்லின் எழீஇய யாழ் தழீஇ, கல்லா வாய்ப்
பாணன் புகுதராக்கால்!

In this verse, the confidante speaks in the voice of the lady. The words can be translated as follows:

“In a sapphire-hued pond, a swan that was frolicking, suddenly when not seeing its handsome mate, because it was hidden by a huge leaf, becomes anxious. Such is the naivety of that female! Seeing the shadow of the moon in the water, thinking that its beloved is there, it rushes with joy thither, and then seeing its true mate appear in front of it, with much shame, hides behind the many flowers in your town, filled with fields, O lord! Listen:

Making my beauty fade, when you abandoned me, without rendering your grace, my eyes that hadn’t seen sleep for days many, would have closed and rested. But the sounds of women, wearing garlands with flower pairs, singing your praises ceaselessly, arising from the joyous home, proclaim your union and woke me up with a start!

As you forgot me for long, my kohl-streaked eyes that cried endlessly, after feeling the caress of my son, would have closed and rested; But when you brought the women you desire to the tall mansion and danced the ‘thunangai’ with them, those sounds woke me up with a start!

When you had forsaken me by not coming here, I was filled with worry. These eyelids of mine which would never dry up may have closed and rested. But when you brought the women, wearing well-etched ornaments, to the tall mansion, the sounds of the tinkling bells on your fine horses tied to your chariot woke me up with a start!

And so, like the sounds of a mighty king arriving which falls on the ears of a weak one, such things wake me up from sleep. Let it be so! As long as that foolish bard, who played the strings in the abodes of your women, does not enter this home!”

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 and these words are rendered by the confidante, in the voice of the lady, to drive home a sharp message to the man. The confidante starts by sketching the man’s town, and like the previous verse, she resorts to the scene of two swans in a pond, but the difference is, now, it’s night, and when the female swan looks up, it’s unable to see its mate as the other was hidden by a huge leaf. Startled, it looks around here and there, and then spots the shadow of the moon in the pond. Thinking that the reflection is its mate, the swan rushes towards it and then when it sees its real mate appear before it, it buries its head amidst the flowers that bloom. Here’s a classic case of projecting human emotions on animals, a favourite trope of poets, especially poets from this era. After sketching the man’s town so, the confidante, speaking in the voice of the lady, talks about how although there was a slight possibility of her sleepless, crying eyes finding sleep, when she embraced her son or when overcome by the lack of sleep and the tiredness of crying, but that possibility was obliterated when sounds of the courtesan’s singing praises of the man, sounds of the man dancing with them in the mansion, and the sounds of the bells on the man’s horses, as he took the courtesans to a tall mansion, fell on the lady’s ears.

The confidante in the voice of the lady concludes saying, ‘Yes, these sounds do fall on my ears and wake me up. I can bear with all that, but one thing I can’t bear is if the bard, who plays on lutes in the homes of those courtesans, decides to come here to our home’. It’s a case of the confidante refusing entry to the man into the lady’s home. The hedonistic lifestyle in a farmland town is highlighted in this verse, which rings with the sounds of the man’s pleasure-seeking and the lady’s pain!

In this episode, we listen to the sharp words of a lady, as depicted in Sangam Literary work, Kalithogai 69, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the man’s activities with courtesans.

போது அவிழ் பனிப் பொய்கை, புதுவது தளைவிட்ட
தாது சூழ் தாமரைத் தனி மலர்ப் புறம் சேர்பு
காதல் கொள் வதுவை நாள், கலிங்கத்துள் ஒடுங்கிய
மாதர் கொள் மான் நோக்கின் மடந்தை தன் துணையாக,
ஓதுடை அந்தணன் எரி வலம் செய்வான் போல்,
ஆய் தூவி அன்னம் தன் அணி நடைப் பெடையொடு
மேதகத் திரிதரூஉம் மிகு புனல் நல் ஊர!

தெள் அரிச் சிலம்பு ஆர்ப்ப, தெருவின்கண் தாக்கி, நின்
உள்ளம் கொண்டு, ஒழித்தாளைக் குறை கூறிக் கொள நின்றாய்
துணிந்தது பிறிதாக, ‘துணிவிலள் இவள்’ என,
பணிந்தாய் போல் வந்து, ஈண்டுப் பயனில மொழிவாயோ?

பட்டுழி அறியாது, பாகனைத் தேரொடும்
விட்டு, அவள் வரல் நோக்கி, விருந்து ஏற்றுக்கொள நின்றாய்
நெஞ்சத்த பிறவாக, ‘நிறையிலள் இவள்’ என,
வஞ்சத்தான் வந்து, ஈங்கு வலி அலைத்தீவாயோ?

இணர் ததை தண் காவின், இயன்ற நின் குறி வந்தாள்
புணர்வினில் புகன்று, ஆங்கே புனலாடப் பண்ணியாய்
தருக்கிய பிறவாக, ‘தன் இலள் இவள்’ என,
செருக்கினால் வந்து, ஈங்குச் சொல் உகுத்தீவாயோ?

என ஆங்கு
தருக்கேம், பெரும! நின் நல்கல்; விருப்புற்றுத்
தாழ்ந்தாய் போல் வந்து, தகவில செய்யாது,
சூழ்ந்தவை செய்து, மற்று எம்மையும் உள்ளுவாய்
வீழ்ந்தார் விருப்பு அற்றக்கால்.

A down to earth rendition by the lady! The words can be translated as follows:

“In a cool pond where flowers are blooming, around a pollen-filled, newly-sprouted lotus flower, a white-feathered swan along with its mate, with an alluring gait, roves around entrancingly, akin to a man who, on his wedding day, one filled with love, walks around a fire, as a priest renders verses, along with a naive maiden, with a deer-like adorable gaze, as his companion. Such is your town, filled with copious waters, O lord!

With the clear sounds of the anklets resounding, she attacked you on the street and stole your heart. Later when she abandoned you, you had the courage to go pleading to her. While that is so, thinking, ‘She has no courage’, as if you have been humbled, you have come here to render useless words!

Without knowing where she went, you sent your charioteer behind her and awaited her return, with a heart waiting to accept the feast she offers. While that is so, thinking, ‘She has no resolve’, with cunning, you have come here to destroy my strength!

In the moist and cool orchard filled with flower clusters, when she came to the trysting spot you marked, you united with her and played in the river too. While that is so, thinking, ‘She has no mind of her own’, with arrogance, you have come here to shower your words!

And so, your graces will never go to my head; As if you have come with desire, much humbled, you don’t have to do great things here. I know fully well that you will think of me only when your affections for those, whom you roam around with desire, vanishes away!”

Let’s delve into the details. The verse is situated in the context of a love-quarrel between a man and a lady, owing to the man’s seeking courtesans and these words are rendered by the lady to the man. The lady, as custom, starts with a description of the man’s town, and to illustrate that, sketches a pond where a swan and its mate are roving around a lotus flower filled with pollen. This image the lady places in parallel to the way a man and woman walk around the fire, as a priest renders verses, on their wedding day. Next, the lady informs the man that she knows all about his escapades chasing after a courtesan who left him, sending his charioteer to search for her and meeting with the courtesan at the trysting spot and playing in the river streams. While all these are true, the man seemed to think the lady lacked courage, resolve and a mind of her own, for that’s why he has come there, pretending to be humbled and saying pointless words to shake her strength. The lady concludes that his attention is not going to go to her head, because she’s clear the man would come to her only when his desire for being with courtesans has taken a back seat! The perceptive eye of the lady is evident here for she is able to look through the man’s pretences. Whether her life changes markedly because of this understanding is debatable, but heartening to see this subtle sketch of clarity and confidence in this Sangam lady!

In this episode, we perceive the anguished questions in the mind of the lady, as portrayed in Sangam Literary work, Kalithogai 68, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the illusory nature of the man’s relationship.

பொது மொழி பிறர்க்கு இன்றி முழுது ஆளும் செல்வர்க்கு
மதி மொழி இடல் மாலை வினைவர் போல், வல்லவர்
செது மொழி சீத்த செவி செறு ஆக,
முது மொழி நீரா, புலன் நா உழவர்
புது மொழி கூட்டுண்ணும், புரிசை சூழ், புனல் ஊர!

‘ஊரன் மன் உரன் அல்லன் நமக்கு’ என்ன, உடன் வாளாது,
ஓர் ஊர் தொக்கு இருந்த நின் பெண்டிருள் நேராகி,
களையா நின் குறி வந்து எம் கதவம் சேர்ந்து அசைத்த கை
வளையின்வாய் விடல் மாலை மகளிரை நோவேமோ

‘கேள் அலன், நமக்கு அவன்; குறுகன்மின்’ என, மற்று எம்
தோளொடு பகைபட்டு நினை வாடு நெஞ்சத்தேம்?
‘ஊடியார் நலம் தேம்ப, ஒடியெறிந்து, அவர்வயின்
மால் தீர்க்கும் அவன் மார்பு’ என்று எழுந்த சொல் நோவேமோ

முகை வாய்த்த முலை பாயக் குழைந்த நின் தார் எள்ள,
வகை வரிச் செப்பினுள் வைகிய கோதையேம்?
சேரியால் சென்று, நீ சேர்ந்த இல் வினாயினன்,
தேரொடு திரிதரும் பாகனைப் பழிப்பேமோ

ஒலி கொண்ட சும்மையான் மண மனை குறித்து, எம் இல்,
‘பொலிக’ எனப் புகுந்த நின் புலையனைக் கண்ட யாம்?

என ஆங்கு
நனவினான் வேறாகும் வேளா முயக்கம்
மனை வரின், பெற்று உவந்து, மற்று எம் தோள் வாட,
‘இனையர்’ என உணர்ந்தார் என்று ஏக்கற்று, ஆங்கு,
கனவினான் எய்திய செல்வத்து அனையதே.

It’s the lady lament yet again! The words can be translated as follows:

“Without ever saying the land belongs to others, there rule mighty kings, who extend their dominion over all land. Such kings act in accordance with the knowledgeable words of advisors. Akin to these wise people, weeding out unnecessary words, with ears as fields, ancient words of wisdom as water, tongue as plough, poets till and harvest new verses together, in your town, surrounded by forts and flowing with streams, O lord!

Saying, ‘The lord of the town renders no support to us’, your courtesans talk among themselves. Do you think I too am like those women, who are equal in number to the people of an entire town? Should I begrudge the woman, who minds not these words, and comes here to strike against my door with her hands, to announce her arrival with the sound of her bangles?

Saying, ‘He has no connection with me. Do not come here’, I send her away, and then, suffer with languishing arms and a heart that fades with memories of you! Should I begrudge the words of the town that rises saying , ‘He makes the beauty of those who love him fade away, akin to a tree felled at the root, and he leaves to end the angst of other women’!

As your garland, which embraced the bosoms of others, akin to buds, laughs at me, am I to become a garland that it is concealed within a decorative box? Should I blame your charioteer who roams with his chariot inside the quarters of courtesans, asking which is the house that you are at?

Hearing the uproarious loud sounds at my house, thinking this is the house, where the man’s happily married, the bard renders a blessing upon it to flourish! What should I say to this?

And so, at times, in reality, when you come home and render your loveless embraces, I’m delighted even by that. At all other times, my arms fade and worry that others would see the way you are with me. That’s why, to me, embracing your chest is akin to the wealth that is gained in a dream!”

Let’s delve into the nuances. 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, and these words are rendered by the lady to the man. She starts with a rather interesting description of the man’s town, saying it’s a place, where poets are known to harvest verses, with their tongue as the plough, their ears as the field, and the wisdom of ancients as their water, weeding out all that’s unnecessary. For these poets, she stacks another simile of ministers, who counsel conqueror kings. A neat metaphor for that work of the poets in line with the theme of this ‘Marutham’ or ‘Farmlands’ region.

Next, she goes on to talk about the courtesans in the man’s life and the way they bicker over him, and renders a comparative statistic saying the number of courtesans the man has is equivalent to the number of people in a town! Is that an angry exaggeration or an astute observation? Then, she talks about how one of these courtesans dares to come home and knock at her door, thinking the man is within, announcing that she’s there by the sound of her bangles. The lady then talks about how she sends away the woman saying the lord is no relation to her, and then she laments about how people in town talk about the man’s conduct of going away to other women. She then wonders if she’s to fade and wither like a garland kept concealed in a box, while the man’s garland, which embraced other women, laughs at her in mockery! She then brings the sight of the man’s charioteer who knocks on different houses in the neighbourhood of the courtesans to see where the man is, highlighting his promiscuity. She also nods her head in disbelief about the action of a bard, who renders a blessing on her house, thinking the man is happily married and lives there, as if to say, what is he even thinking! In conclusion, the lady mentions how the man comes home at times and she declares that embracing him is just like the wealth that a person earns in their dream, lost when the eyes wake open! 

A verse which made me ponder upon the connection between the land and the nature of the people therein. Here’s a fertile land, which yields plenty, and plenty into the pockets of a few men, who possess it all. Since there’s much wealth, there would be strife and war inherent here. In the wars and conflicts that follow, many men are lost. Of the few that remain, there would result in immense wealth and power accumulation in the hands of these few. This would inevitably result in the social prevalence of many women seeking the shade of that one with plenty. And so, we see direct evidence of how a land-owning agricultural society transforms into a patriarchy and becomes detrimental to the worth of women! 

In this episode, we listen to a lady’s lament, as depicted in Sangam Literary work, Kalithogai 67, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and echoes a feeling of betrayal in the lady.

கார் முற்றி, இணர் ஊழ்த்த கமழ் தோட்ட மலர் வேய்ந்து,
சீர் முற்றி, புலவர் வாய்ச் சிறப்பு எய்தி, இரு நிலம்
தார் முற்றியது போல, தகை பூத்த வையை தன்
நீர் முற்றி, மதில் பொரூஉம் பகை அல்லால் நேராதார்
போர் முற்று ஒன்று அறியாத புரிசை சூழ் புனல் ஊரன்

நலத்தகை எழில் உண்கண் நல்லார் தம் கோதையால்
அலைத்த புண் வடு காட்டி அன்பு இன்றி வரின் எல்லா!
புலப்பென் யான் என்பேன்மன்? அந் நிலையே, அவற் காணின்,
கலப்பென் என்னும், இக் கையறு நெஞ்சே

கோடு எழில் அகல் அல்குற் கொடி அன்னார் முலை மூழ்கி,
பாடு அழி சாந்தினன், பண்பு இன்றி வரின் எல்லா!
ஊடுவென் என்பேன்மன்? அந் நிலையே, அவற் காணின்,
கூடுவென் என்னும், இக் கொள்கை இல் நெஞ்சே

இனிப் புணர்ந்த எழில் நல்லார் இலங்கு எயிறு உறாஅலின்,
நனிச் சிவந்த வடுக் காட்டி, நாண் இன்றி வரின் எல்லா!
துனிப்பென் யான் என்பேன்மன்? அந் நிலையே, அவற் காணின்,
தனித்தே தாழும், இத் தனி இல் நெஞ்சே

என ஆங்கு,
பிறை புரை ஏர் நுதால்! தாம் எண்ணியவை எல்லாம்
துறைபோதல் ஒல்லுமோ தூ ஆகாது ஆங்கே
அறை போகும் நெஞ்சு உடையார்க்கு?

Here, we hear the lady’s thoughts about her distressful situation! The words can be translated as follows:

“In the peak of the rainy season, when flower clusters have fallen down and adorned with fragrance, the Vaigai river attains its full splendour, making poets pen praises, and appears as if it’s garlanding the huge land. When its waters brim over, it attacks the walls. Other than this enmity, that fort knows not what it means to be in a siege. Such is the town of the lord, surrounded by streams!

If he were to come here, without love, showing imprints of garlands, worn by beautiful maiden with exquisite kohl-streaked eyes, my friend, I thought that I should fight with him. However, when it sees him, this helpless heart of mine nudges me to unite with him!

If he were to come here, without graciousness, with the sandalwood on his chest wiped away in embracing the bosom of maiden with a vine-like waist and wide loins, my friend, I thought I should sulk with him. However, when it sees him, this unprincipled heart of mine nudges me to become one with him!

If he were to come here, without shame, showing the deep red scars, made by the shining teeth of those beautiful maiden that he united with desire, my friend, I thought that I should hate him. However, when it sees him, this heart of mine which lacks individuality, stoops low to embrace him!

And so, O maiden with a beautiful, crescent-like forehead, is it possible for those to achieve what they want if they have a heart that stands not firm and abandons them so?”

Let’s explore the details. The verse is situated in the context of a love-quarrel situation between the man and the lady, because of the man’s seeking courtesans. These words are rendered by the lady to the confidante. Apparently, the man had returned from the courtesans and though the lady refused entry many times, he made it back to his home and then left from there. At this time, the confidante scolds the lady for not keeping him away because of his conduct. In response, the lady conveys her point of view. She starts by describing the Vaigai river in the rainy season when it’s adorned by the fallen flowers. She describes how the gush and flow of the river makes poets pen their verses with gusto, and sketches the way the river garlands the spread of that land. To talk about the copious waters, she mentions how the waves rise and strike against the fort walls. Other than this surge, that fort has never seen the siege of another army, she continues, talking about the power and strength of that town, which is the one ruled by her man.

Then, in the usual three-step format of Kalithogai verses, the lady talks about how she had decided to quarrel, sulk and be mad at the man, if he returned home showing signs of being with the courtesans such as the imprints of their garlands, wiped-out sandalwood on his chest or scars of their teeth on his skin. They do sound a bit like Lady-Draculas! Joking apart, we see the lady saying how all her decisions to be angry and aloof with the man failed miserably because, the moment it saw the man, her heart made her want to unite with him. She concludes by asking the confidante how can those who want to do certain things be able to accomplish them if they have hearts that fail them so, at the crucial moment. A verse which depicts the very relatable feeling of how no matter how much our minds command and dictate about things in life, be it in keeping away from certain foods, gadgets or even relationships, at times, we find ourselves unable to hold strong, because the heart does seem to sway to a different tune!

In this episode, we perceive the ire of a lady towards her man, as portrayed in Sangam Literary work, Kalithogai 66, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the escapades of the man with courtesans.

வீங்கு நீர் அவிழ் நீலம் பகர்பவர் வயற் கொண்ட
ஞாங்கர் மலர் சூழ்தந்து, ஊர் புகுந்த வரி வண்டு,
ஓங்கு உயர் எழில் யானைக் கனை கடாம் கமழ் நாற்றம்
ஆங்கு அவை விருந்து ஆற்ற, பகல் அல்கி, கங்குலான்,
வீங்கு இறை வடு கொள, வீழுநர்ப் புணர்ந்தவர்
தேம் கமழ் கதுப்பினுள் அரும்பு அவிழ் நறு முல்லை
பாய்ந்து ஊதி, படர் தீர்ந்து, பண்டு தாம் மரீஇய
பூம் பொய்கை மறந்து, உள்ளாப் புனல் அணி நல் ஊர!

அணை மென் தோள் யாம் வாட, அமர் துணைப் புணர்ந்து நீ,
‘மண மனையாய்’ என வந்த மல்லலின் மாண்பு அன்றோ
பொதுக் கொண்ட கவ்வையின் பூ அணிப் பொலிந்த நின்
வதுவை அம் கமழ் நாற்றம் வைகறைப் பெற்றதை?

கனலும் நோய்த் தலையும், ‘நீ கனங் குழையவரொடு
புனல் உளாய்’ என வந்த பூசலின் பெரிது அன்றோ
தார் கொண்டாள் தலைக் கோதை தடுமாறிப் பூண்ட நின்
ஈரணி சிதையாது, எம் இல் வந்து நின்றதை?

தணந்ததன் தலையும், ‘நீ தளரியலவரொடு
துணங்கையாய்’ என வந்த கவ்வையின் கடப்பு அன்றோ
ஒளி பூத்த நுதலாரோடு ஓர் அணிப் பொலிந்த நின்
களி தட்ப வந்த இக் கவின் காண இயைந்ததை?

என ஆங்கு,
அளி பெற்றேம்; எம்மை நீ அருளினை; விளியாது
வேட்டோர் திறத்து விரும்பிய நின் பாகனும்,
‘நீட்டித்தாய்’ என்று, கடாஅம் கடுந் திண் தேர்;
பூட்டு விடாஅ நிறுத்து.

Here we are enter new territory with this verse, and in this first step into the fertile agricultural towns, we listen to the lady’s voice. The words can be translated as follows:

“Enticed by blue lotuses in copious waters that have been plucked by sellers, a striped bee parts from its home and buzzes around flowers blooming in the fields nearby and enters inside town. There, it feasts on the fragrance of musth, oozing copiously from a tall and handsome elephant, resting there by day. Then at night, as maiden unite with their beloved, leaving imprints of bangles on their thick wrists, the bee buzzes around the fragrant jasmine buds, glowing on their honey-fragrant tresses. Feeding so, ending its desire, the bee thinks not about the flower-filled pond that it called as home in the past, in your good town, filled with flowing streams, O lord!

Hasn’t the news, that leaving my soft arms to fade, you had left to unite with your desirable mate, and were living with her at her home, attained complete glory, when I take in the scent of your slanderous and fragrant union with those flower-clad common maiden, at dawn?

Hasn’t the uproar, that arose, when leaving me in a fever, filled with suffering, you were playing in the stream with maiden wearing heavy earrings, been exceeded, when depicting how in confusion you took to wearing her head garland around your shoulders and how she took your neck garland, reflecting both your fused forms so clearly, you stand here in my home?

Hasn’t the gossip, that arrived, when after leaving me, you were dancing ‘thunangai’ with those maiden, akin to tender shoots, been surpassed, when I can see the beauty of your state, brimming with ecstasy, echoing your inseparable union with those maiden having radiant foreheads?

And so, saying these words, I have attained your attention; You have showered your grace too; But tarry no more, for your charioteer, intending to take you to those whom you desire ceaselessly, thinking, ‘He won’t be long here’, stands there holding the reins of your fast and sturdy chariot, without even untying the horses!”

Time to explore the nuances. The verse is situated in the context of a man’s parting from his lady after marriage, seeking the company of courtesans. The words here are rendered by the lady to her man. The lady starts by sketching the activities of a bee to describe the man’s town. She talks about how the bee leaves the copious waters of its pond and travels along with the sellers of blue-lotuses, buzzes around flowers in the field and enters inside town. Then, all day, it delights in buzzing around the musth juices flowing from an elephant. At night, it journeys inside the homes of maiden delighting with their beloved and buzzes around the jasmine buds in their tresses. In this fashion, this bee completely forgets its home of the pond, the lady describes, to talk about the man’s town. There is a significance to this description, which we will explore in a short while.

The lady then talks about how the man can stayed for long in a courtesan’s home, played in the stream with her and danced the thunangai too. She had heard news about all this, but the state of the man as he stood there before her at dawn, wafting with the scent of his union with the courtesan, with exchanged garlands, and full of ecstasy of having enjoyed the courtesan’s company, seemed to transcend the glory of that slanderous news that reached her. The lady concludes saying to the man, ‘Yes, you have come here, heard these words, and rendered your grace. Now, don’t delay any longer. For I can see how your charioteer is waiting to take you back to the courtesans, thinking ‘my lord will not take long at his home’, as clearly evident from the way he stands all ready, reins in hand, without even letting the horses to graze!’

A verse brimming with sarcasm, reflecting the fury of a woman scorned. The description of the bee buzzing everywhere and forgetting its home is a clear metaphor for the man forsaking the lady’s home and seeking the delights of being with courtesans. Here is the first glimpse of the ‘Sulk’ country, where the man, the lord of the fertile town, owner of many riches, parts away from his beloved wife to seek the pleasures of courtesans, and then comes back at times to be showered with her wrath!

In this episode, we listen to a curious incident that unfolded one night, as portrayed in Sangam Literary work, Kalithogai 65, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and attempts to convey the gravity of the situation in an indirect manner.

திருந்திழாய்! கேளாய், நம் ஊர்க்கு எல்லாம் சாலும்
பெரு நகை! அல்கல் நிகழ்ந்தது: ஒருநிலையே
மன்பதை எல்லாம் மடிந்த இருங் கங்குல்,
அம் துகில் போர்வை அணிபெறத் தைஇ், நம்
இன் சாயல் மார்பன் குறி நின்றேன் யான் ஆக

தீரத் தறைந்த தலையும், தன் கம்பலும்,
காரக் குறைந்து, கறைப்பட்டு வந்து, நம்
சேரியின் போகா முட முதிர் பார்ப்பானை,
தோழி! நீ போற்றுதி என்றி அவன் ஆங்கே,
பாரா, குறழா, பணியா, ‘பொழுது அன்றி
யார் இவண் நின்றீர்?’ எனக் கூறி, பையென,
வை காண் முது பகட்டின் பக்கத்தின் போகாது
‘தையால்! தம்பலம் தின்றியோ?’ என்று, தன்
பக்கு அழித்து ‘கொண்டீ’ எனத் தரலும் யாது ஒன்றும்
வாய்வாளேன் நிற்ப, கடிது அகன்று கைமாறி,
‘கைப்படுக்கப்பட்டாய், சிறுமி! நீ மற்று யான்
ஏனைப் பிசாசு; அருள்; என்னை நலிதரின்,
இவ் ஊர்ப் பலி நீ பெறாஅமல் கொள்வேன்’

எனப் பலவும் தாங்காது வாய் பாடி நிற்ப
முது பார்ப்பான் அஞ்சினன் ஆதல் அறிந்து, யான் எஞ்சாது,
ஒரு கை மணல் கொண்டு மேல் தூவக் கண்டே,
கடிது அரற்றிப் பூசல் தொடங்கினன் ஆங்கே,
ஒடுங்கா வயத்தின், கொடுங் கேழ், கடுங்கண்,
இரும் புலி கொண்மார் நிறுத்த வலையுள் ஓர்
ஏதில் குறு நரி பட்டற்றால்! காதலன்
காட்சி அழுங்க, நம் ஊர்க்கு எலாஅம்
ஆகுலம் ஆகி விளைந்ததை என்றும் தன்
வாழ்க்கை அதுவாகக் கொண்ட முது பார்ப்பான்
வீழ்க்கைப் பெருங் கருங் கூத்து.

In this verse, formats we have seen before are eschewed and a simple story narrative is employed. The words can be translated as follows:

“O maiden wearing well-etched ornaments, listen! This is something that will evoke a lot of laughter around town. It happened last night. At a time when it appeared as if all humanity had perished, in the darkness of the night, wrapping myself in a beautiful blanket, I was waiting at the trysting spot to meet with my man, the one with a handsome chest.

Just then, there appeared that old and lame priest, having a head bereft of hair and wearing tattered and stained clothes, the one who does not leave from our community. He’s the one whom you have warned me about, many times. He caught a glimpse of me, bent his head and asked, ‘Who are you standing here, at this late hour? Just like how an old bull when spotting a stack of hay, doesn’t budge from the spot, he stood there, so still. He then said to me, ‘O young maiden! Do you want some betel leaves to chew?’, offering his pouch and pressing me to take it. I just stood there speechless. Then, he quickly changed tactics and shouted, ‘You have got yourself trapped, O little girl! You seem like a spirit that has descended in this form. As for me, I’m your mate. So, render your grace. If you don’t and decide to distress me, I will steal away the offerings given to you by this town’.

In this manner, he was blabbering words many mindlessly. I understood that the old priest was scared and deciding to make use of his fear, I grasped a fistful of sand and sprinkled it on him. At that time, he started shouting aloud and created an uproar. To me, it seemed as if in a net that was spread by hunters to trap a huge tiger with boundless strength, curving stripes and fierce eyes, a cunning little fox was caught instead. All this made me miss seeing my lover; Such seems to be the story of that old priest’s life, always stirring up a roaring ruckus and bringing about great distress to lovers in our town!”

Let’s explore the details. The verse is situated in the context of the man’s love relationship with the lady prior to marriage and speaks in the voice of the lady to her confidante, as the man listens nearby. The lady starts by narrating an incident to her friend saying this is going to make everyone in town laugh aloud. She goes on to talk about how this was late last night. It seemed to her that all the people of the town had gone and died, for so still it was. Wearing a blanket around her, she was walking to the trysting spot to meet the man. At this time, out of the blue, there came an old priest with a bald head and tattered clothes, who had stuck to their town and wouldn’t leave from it. The lady pauses the story to remark how the confidante had told her about this old priest many times asking her to beware.

Continuing the story, the lady tells us how that old priest had spotted the lady and asked who was it roaming at that deadly hour? To comment on his stance, the lady talks about the scene where an old bull has caught sight of a stack of hay. It won’t budge even a bit and that’s how the old priest was behaving too, she says. The old priest first tries to befriend the lady offering her betel leaves to chew. When the lady says nothing in response and she stands there so quietly, the old priest declares aloud to the lady, ‘O little girl, you are in my trap. I know that you are a female spirit who has taken on this form. Don’t you recognise me? I’m your good mate! If you don’t render your grace, I’ll steal the offerings given to you by these townspeople’. The lady talks about how the old man was blabbering so, but somehow she could sense there was some fear in him. So, she decides to shock him by throwing a handful of sand at him. This makes the old priest scream in terror and wake up the whole town.

To sum up the situation, the lady yet again brings an apt simile of a fox caught in a net laid for a tiger, implying her disappointment in not seeing the man but having to deal with the antics of this old priest! The lady concludes saying the old priest seems to have no other work other than spoil the joy of trysting lovers in their town.

Interpreters believe that the whole story is a figment of the lady’s imagination and she has cooked up this tall tale to tell the listening man what dangers she might face, if the man persists in his path of temporary trysting. She indirectly nudges him to let go of these visits and instead, seek the path to permanent happiness by marrying her. Even as the lady talks about the tiger trap and the fox, her words are a hidden trap for the man! It’s a case of ‘Marry me, marry me’ but showcased in a rather different style of building a believable story.

Thus far, the dangers we have seen in trysting were some wild animals roving the path, the challenging road in the darkness and the danger of discovery. In this verse, a new danger is outlined, that of being cornered by a stranger, and no doubt this will push the man to avoid putting the lady in such a precarious situation. Reminds me of the stories we sometimes say to nudge someone to give up their wrong ways!

With this verse, we come to the end of Kalithogai verses situated in the ‘Kurinji’ or ‘Mountains landscape’. In these set of verses, we have seen a wide variety of situations such as love blooming, winning the confidence of the confidante, revealing relationship to relatives and trysting as well. The gamut of emotions in the early stages of love has been captured with dialogue and story in these past verses. Now, it’s time to bid bye to these young lovers in the lush mountainside and journey on to yet another landscape!

In this episode, we listen to a playful conversation between a man and lady in love, as depicted in Sangam Literary work, Kalithogai 64, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and etches an attempt to reconcile a disgruntled person.

தலைவன்
அணி முகம் மதி ஏய்ப்ப, அம் மதியை நனி ஏய்க்கும்,
மணி முகம், மா மழை, நின் பின் ஒப்ப, பின்னின்கண்
விரி நுண் நூல் சுற்றிய ஈர் இதழ் அலரி
அரவுக்கண் அணி உறழ் ஆரல் மீன் தகை ஒப்ப,
அரும் படர் கண்டாரைச் செய்து, ஆங்கு இயலும்
விரிந்து ஒலி கூந்தலாய்! கண்டை; எமக்குப்
பெரும் பொன் படுகுவை பண்டு

தலைவி
ஏஎ, எல்லா! மொழிவது கண்டை, இஃது ஒத்தன்; தொய்யில்
எழுதி இறுத்த பெரும் பொன் படுகம்;
உழுவது உடையமோ யாம்?

தலைவன்
உழுதாய்! சுரும்பு இமிர் பூங் கோதை அம் நல்லாய்! யான் நின்
திருந்து இழை மென் தோள் இழைத்த, மற்று இஃதோ,
கரும்பு எல்லாம் நின் உழவு அன்றோ? ஒருங்கே
துகள் அறு வாள் முகம் ஒப்ப மலர்ந்த
குவளையும், நின் உழவு அன்றோ? இகலி
முகை மாறு கொள்ளும் எயிற்றாய்! இவை அல்ல,
என் உழுவாய் நீ, மற்று இனி

தலைவி
எல்லா! நல் தோள் இழைத்த கரும்புக்கு நீ கூறு;
முற்று எழில் நீல மலர் என உற்ற,
இரும்பு ஈர் வடி அன்ன உண்கட்கும், எல்லாம்,
பெரும் பொன் உண்டு என்பாய்! இனி

தலைவன்
நல்லாய்! இகுளை! கேள்:
ஈங்கே தலைப்படுவன், உண்டான் தலைப்பெயின்,
வேந்து கொண்டன்ன பல

தலைவி
‘ஆங்கு ஆக!’

தலைவன்
‘அத் திறம் அல்லாக்கால், வேங்கை வீ
முற்று எழில் கொண்ட சுணங்கு அணி பூண் ஆகம்
பொய்த்து ஒருகால் எம்மை முயங்கினை சென்றீமோ,
முத்து ஏர் முறுவலாய்! நீ படும் பொன் எல்லாம்
உத்தி எறிந்துவிடற்கு’

An exchange of ‘I did that for you’ and ‘You did what?’ by the man and lady! The words can be translated as follows:

“Man
Your beautiful face is akin to the moon; Akin to the dark clouds that surround that beautiful moon, framing your sapphire-radiant face, are your tresses that fall behind; Upon those falling tresses, the moist-petaled flowers in the garland, stitched together with a long and thin string, appears akin to the exquisite patterns on a snake’s skin, in the shape of shining stars in the sky; All this induces a deep suffering in those who behold you, O maiden with swaying, luxuriant, thick tresses! Don’t forget that you have obtained a golden treasure from me!

Lady:
Hey, look at this! Such words from this man! The only treasure I attained were the thoyyil paintings you did on my arms! Did I get the pleasure of your embrace?

Man:
You have attained it indeed, O maiden wearing bee-buzzing flower garland! Doesn’t the pleasure shine on your perfect and delicate soft shoulders, where I drew sugarcane patterns? Doesn’t it glow in the flawless, bright face, whose eyes bloom like blue lilies? O maiden with teeth that compete with jasmine buds! What other pleasure do you seek now?

Lady:
Hey! Maybe you are right about the sugarcane paintings etched on my fine arms! But will you claim that my beautiful, blue-lily-like, kohl-streaked eyes, which now appear like a tender mango sliced in two, have attained this golden treasure from you?

Man:
O beautiful and young maiden! Listen, if I were to attain you, I will reap the benefits of a king, who attains the services of a skilled person!

Lady:
So shall it be!

Man:
O maiden with a smile, akin to shining pearls, when your anger subsides, with your jewel-clad bosom decked with beautiful spots, akin to Kino flowers, at least render me a fake embrace, so that you can throw away that golden treasure of pallor that has spread upon you!”

Let’s explore the details. The verse is situated in the context of a man’s love relationship with a lady prior to marriage and describes a conversation between the man and the lady, during the trysting phase of their relationship. The man had parted away from the lady after trysting for a while and this conversation unfolds when he returns to her. He starts by praising the face, tresses and flower adornments on the lady, placing them in parallel to the moon, the clouds and stars in the sky, and declares all this causes distress in the beholder, for having to take in so much beauty! Then, he reminds the lady that she has obtained a golden treasure from him in the past. The lady scoffs at this and says to the man, the only thing I have attained from you are the thoyyil paintings on my arms, and yet, you talk so much! The man replies saying indeed, your arms glowed, and your blue-lily-like eyes glowed, because of me. To this, the lady says ‘Yes, you made my arms glow by drawing sugarcane patterns on them but will you accept the responsibility for the gold-like pallor that spreads in my eyes?’. The man talks about how if the lady’s father accepts him, he would attain the satisfaction of a king, who has won over a capable person. And the lady hopes and wishes that this will come true. The man concludes with the words that the lady should at least render him a fake embrace once she has gotten over her anger, so as to shed that gold-like pallor that spreads on her skin.

And so we see how the entire verse is a play on the words ‘golden treasure’, implying the good the man did in the past, as well as the pallor he caused in the lady by parting away. Yet again, I’m impressed by the importance rendered to this minor conversation between two young people in love. But then I’m reminded of all the love songs that have been written and continue to be written in languages many, many, across space and time, and smile in understanding to see this timeless theme of love, echoing from these pages of the past!

In this episode, we perceive an exchange of words to unearth the truth, as depicted in Sangam Literary work, Kalithogai 63, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches the confidante’s attempts at bringing together the man and the lady.

தோழி
நோக்குங்கால், நோக்கித் தொழூஉம், பிறர் காண்பார்
தூக்கு இலி; தூற்றும் பழி எனக் கை கவித்துப்
போக்குங்கால், போக்கு நினைந்து இருக்கும்; மற்று நாம்
காக்கும் இடம் அன்று, இனி
எல்லா! எவன் செய்வாம்?
பூக்குழாய்! செல்லல் அவனுழைக் கூஉய்க் கூஉய்
விரும்பி யான் விட்டேனும் போல்வல்; என் தோள்மேல்
கரும்பு எழுது தொய்யிற்குச் செல்வல்; ‘ஈங்கு ஆக
இருந்தாயோ?’ என்று ஆங்கு இற
அவன் நின் திருந்துஅடிமேல் வீழ்ந்து இரக்கும், நோய் தீர்க்கும்
மருந்து நீ ஆகுதலான்

தலைவி
இன்னும், கடம் பூண்டு, ஒருகால் நீ வந்தை உடம்பட்டாள்
என்னாமை என் மெய் தொடு

தோழி
இஃதோ? அடங்கக் கேள்:
நின்னொடு சூழுங்கால், நீயும் நிலம் கிளையா,
என்னொடு நிற்றல் எளிது அன்றோ? மற்று அவன்
தன்னொடு நின்று விடு.

Another little conversational piece between the confidante and the lady. The words can be translated as follows:

“Confidante:
When I turn and look at him, he too would look up and plead to me; He doesn’t seem to care that others would see; When I bid him away with hand gestures to indicate that others would censure such actions, he doesn’t have the heart to leave; There is no way to be rid of him anywhere, my friend. What can we do?

O maiden wearing flower-like earrings, let’s go where he is, and I’ll pretend to keep calling your name with affection. Then I’ll say I’m stepping away to carve ‘Thoyyil paintings’ with sugarcane patterns on my arms. After I leave, you come there saying, ‘Hey, are you there?’. At this time, he will fall at your perfect feet and plead to you, for you are the only cure for his affliction!

Lady:
It seems to me as if you have given him a promise that ‘I would accept him’. If this is not true, swear on my form!

Confidante:
Oh! Is that so? Listen fully. When I was saying these words, you seemed to be drawing patterns on the ground with your toes. Isn’t it easy for you to show that you agree me with me, in this wordless way? So, go and do the same with him!”

Time to delve into the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and narrates a conversation between the confidante and the lady about the man’s advances. The confidante starts by talking about the persistent manner in which the man followed her around, seeking to win her confidence. She mentions how he seemed not to care about whether others would see and start spreading slander. Even when she would shoo him away, he wouldn’t budge, and asks the lady what they are to do. Then, continuing, the confidante hatches a plan saying that she will go ahead to the spot, where the man awaits and will pretend to call for the lady repeatedly. Then she would declare that she’s off to do some thoyyil painting on her arms. At that time, the lady should come walking there, seeking out the confidante. When she does, the man would fall at her feet and plead for her grace because the lady was the only cure for the disease that devours him, the confidante declares.

Hearing this, the lady with seeming anger asks if the confidante had promised the man that she would make the lady agree to the man’s request. The confidante replies saying, ‘Cool down, my friend! I was observing you when I was complaining about the man. You didn’t say anything to show his presence was against your liking. You were simply bending your head down and drawing patterns on the sand with your toe. So, I took it as if you have accepted my idea. Now, just go and stand near him and do this same thing and all will be well’. With a laugh, the confidante concludes these words.

Even though the lines are few, this verse was so confusing to comprehend because there are so many hidden layers here. First question would be, why is the man approaching the confidante rather than the lady to express his love? The answer to that is that curious Sangam tradition, according to the poets then, that the man needs to win the favour of the lady’s confidante to further his love relationship with the lady. Next question, why does the confidante hatch that elaborate plan, involving intricate screenplay and dialogue, to make the lady and man meet? To understand this, we have to know that it was considered immodest for a woman to seek out a man and that’s why the confidante wants to pretend that the lady is not coming there to meet the man but the man suddenly happens to be where they were. Finally, in reply to the lady’s angry question, the confidante reveals that she knows about the prior relationship of the lady and the man, as she caught it from the subtle gesture of the lady, drawing patterns on the sand with her feet, head bent. So, ultimately she tells her friend, ‘Enough with the act. Go on and end the suffering of the man’. What a complicated world it seems like! Yet, the impressive thing here is that extreme focus on minute gestures and observations of people around, talking about the mindfulness in such a culture, which in turn hints at the treasure of mental health that these ancients no doubt called their own!

In this episode, we perceive the transformation in a lady’s heart, as portrayed in Sangam Literary work, Kalithogai 62, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches the manner in which the man wins over the lady’s reservations against him.

தலைவி
ஏஎ இஃது ஒத்தன் நாண் இலன் தன்னொடு
மேவேம் என்பாரையும் மேவினன் கைப்பற்றும்

தலைவன்
‘மேவினும், மேவாக்கடையும், அஃது எல்லாம்
நீ அறிதி; யான் அஃது அறிகல்லேன்; பூ அமன்ற
மெல் இணர் செல்லாக் கொடி அன்னாய்! நின்னை யான்
புல் இனிது ஆகலின், புல்லினென்’ எல்லா!

தலைவி
தமக்கு இனிது என்று, வலிதின் பிறர்க்கு இன்னா
செய்வது நன்று ஆமோ மற்று?’

தலைவன்
சுடர்த் தொடீ! போற்றாய் களை, நின் முதுக்குறைமை; போற்றிக் கேள்!
வேட்டார்க்கு இனிது ஆயின் அல்லது நீர்க்கு இனிது என்று
உண்பவோ, நீர் உண்பவர்?
செய்வது அறிகல்லேன்; யாது செய்வேன்கொலோ
ஐ வாய் அரவின் இடைப்பட்டு, நை வாரா
‘மை இல் மதியின் விளங்கும் முகத்தாரை
வௌவிக் கொளலும் அறன்’ எனக் கண்டன்று

தலைவி
‘அறனும் அது கண்டற்றாயின், திறன் இன்றி,
கூறும் சொல் கேளான், நலிதரும்; பண்டு நாம்
வேறு அல்லம் என்பது ஒன்று உண்டால்; அவனொடு
மாறு உண்டோ, நெஞ்சே! நமக்கு?

A rare dialogue between the man and the lady! The words can be translated as follows:

“Lady:
Hey! This man here is a shameless one! Even when one refuses to embrace him, he grasps their hand and pulls them into an embrace!

Man:
Whether you want to embrace or don’t want to embrace, all that only you know; I know not about that, O maiden, akin to an unfading, slender vine, filled with thick flower clusters! Because it was sweet for me to embrace you, I embraced you!

Lady:
Just because it is sweet to you, is it right to do something forcibly that brings distress to the other?

Man:
O maiden wearing radiant bangles! Set aside your words of wisdom, and listen to me carefully! Do those who drink water drink it because they are thirsty or because it’s sweet for the water to be drunk up? I know not what to do! Like a person trapped by a five-headed snake, I’m filled with sorrow! What else should I do, when I know the truth that says, ‘It is virtuous to steal away the one, who has a face akin to a flawless moon!’?

Lady:
Virtue has declared it so; He too seems to not heed whatever words I render and continues to suffer so; Maybe it is true that in some past he and I were united as one! How can we continue to be in conflict with him, O heart?”

Let’s delve into the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and depicts a conversation between the man and the lady. The lady opens the scene by expressing shock that the man seemed to be forcibly pulling her into an embrace, even though she had been refusing his advances. To this, the man replies saying he has no knowledge of what transpires inside the head of the lady, about whether she wants to embrace him or not. All he knows is that it was the sweetest thing for him to embrace her. Now, the lady questions this statement asking him whether he would go and do something unpleasant to another just because it was sweet to him. The man seems to answer the lady, who has a valid point, with sarcasm, saying that she should let go of these words of wisdom and listen to what he has to say. As if cornering her, he asks whether one who drinks water drinks it because the water would feel it so sweet to be drunk up or because it’s sweet for them to quench their thirst. He then declares he feels like a person caught in the gaze of a five-headed snake with no escape. All he knows is the truth he has read that it’s an act of virtue to steal one, who has a face like a moon without any flaws. At this point, the lady becomes resigned to her fate and says to her heart, ‘Looks like what he does is the virtuous thing, and also, whatever I say, he keeps pursuing me. Could it be that we are united by destiny? If that’s the case, there’s no point in continuing to oppose him!’

Thus, in this verse, we observe a transformation from refusal to acceptance on the part of the lady because she is convinced by the words of the man and his persistence in pursuing her. This sort of forcible advance is a rarity in Sangam verses, where the man usually waits and yearns for the lady’s acceptance, watching carefully for signs of change in her. The man’s argument supporting his actions, using that simile of water being drunk up may have convinced the lady then, but to us, the descendants of the twenty-first century, this does not ring true. Today, the undeniable truth is that a woman is not like that lifeless water, without a say, but rather, she’s a man’s equal in every way!

In this episode, we listen to an interesting conversation between three people, as depicted in Sangam Literary work, Kalithogai 61, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals the man’s situation and the confidante’s support.

தலைவன் வருகை கண்டு, தோழி தலைவியை நோக்கிக் கூறுதல்
எல்லா! இஃது ஒத்தன் என் பெறான்? கேட்டைக் காண்:
செல்வம் கடைகொள, சாஅய், சான்றவர்
அல்லல் களை தக்க கேளிருழைச் சென்று,
சொல்லுதல் உற்று, உரைகல்லாதவர் போல
பல் ஊழ் பெயர்ந்து என்னை நோக்கும்; மற்று யான் நோக்கின்,
மெல்ல இறைஞ்சும் தலை

தலைவன் எதிர் சென்று, அவனை நோக்கித் தோழி வினாவுதல்
எல்லா! நீ முன்னத்தான் ஒன்று குறித்தாய்போல் காட்டினை;
நின்னின் விடாஅ நிழல் போல் திரிதருவாய்!
என், நீ பெறாதது? ஈது என்?

தலைவன்
சொல்லின், மறாதீவாள் மன்னோ, இவள்?
செறாஅது ஈதல், இரந்தார்க்கு ஒன்று, ஆற்றாது வாழ்தலின்,
சாதலும் கூடுமாம் மற்று

தோழி
இவள் தந்தை காதலின் யார்க்கும் கொடுக்கும், விழுப் பொருள்; யாது, நீ வேண்டியது?

தலைவன்
பேதாய்! பொருள் வேண்டும் புன்கண்மை ஈண்டு இல்லை; யாழ
மருளி மட நோக்கின் நின் தோழி என்னை
அருளீயல் வேண்டுவல், யான்

தலைவன் நீங்கிய பின்னர், தோழி தலைவியொடு உசாவுதல்
“அன்னையோ?” மண்டு அமர் அட்ட களிறு அன்னான்தன்னை ஒரு
பெண்டிர் அருளக் கிடந்தது எவன்கொலோ?’

தலைவி
ஒண்தொடீ! நாண் இலன் மன்ற இவன்
ஆயின், ஏஎ!

தோழி
‘பல்லார் நக்கு எள்ளப்படு மடல்மா ஏறி,
மல்லல் ஊர் ஆங்கண் படுமே, நறும் நுதல்
நல்காள் கண்மாறிவிடின்’ எனச் செல்வானாம்
எள்ளி நகினும் வரூஉம்; இடைஇடைக்
கள்வர் போல் நோக்கினும் நோக்கும்; குறித்தது
கொள்ளாது போகாக் குணன் உடையன், எந்தை தன்
உள்ளம் குறைபடாவாறு.

For the first time, we perceive a three-directional conversation though it’s the confidante dominating the narrative on the whole! The words can be translated as follows:

“Seeing the man approach, Confidante says to the Lady:
Hey you! Look at that man standing there! What does he want? He seems to be in much plight! Seeing their wealth diminish, feeling pain, the wise would approach their kin to end their state of suffering, but would end up standing there, intending to speak but unable to express words any. Just like them, he keeps looking at me silently many, many times. When I turn to look at him, he slowly bends his head down.

Facing the man, Confidante says to him:
Hey you! You appear as if you want to tell me something, and roam around me just the way your shadow parts not from you. What is that you seek? Why do you behave so?

Man:
If I tell that, will she render that without fail? When another seeks something, one should render charity without any reservations. If they cannot do that, it’s better to die than live so.

Confidante:
Her father is such a person, who would give with affection, whatever anyone asks; What is that you want?

Man:
O naive maiden! I am not in a lowly state to seek wealth from others; All I ask is for your friend, with a bewildered and naive gaze, to render her grace to me.

After the man leaves, Confidante discusses with the lady:
Oh! Is that what he wants? A man, who is akin to a fierce battle elephant, seems to seek the grace of a woman. How is this possible?

Lady:
O maiden wearing shining bangles! He sure seems to be a man without any shame!

Confidante:
He says, “Making many in this fertile town mock and laugh, I would climb on a palmyra horse and announce it, if that beautiful maiden with a fragrant forehead renders not’. Even if we mock and laugh, he would be back for sure. When he does, he would keep stealing glances at you, every now and then; He seems to have a nature of never letting go what he sets his mind on; He is sure to render enough to satisfy father’s heart!”

Let’s delve into the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and depicts a conversation involving the man, the confidante and the lady. The scene opens with the confidante observing the man coming towards where she and the lady were and she turns to tell the lady about how the man seemed to be in a desperate and helpless situation. She talks about how this reminds her of the way when people who have been affluent lose their wealth and then to ease their suffering, they would go with the intention of seeking help from their relatives, but in their presence, they would be unable to open their mouths and ask what they want. This relatable situation is presented as a simile for how the man stands wordlessly before her, not once not twice but many, many times, the confidante describes and tells the lady every time she would turn to look at the man, he would avert his eyes and look down.

So now, the confidante decides to take the matter in her hands and asks the man, ‘What’s up? I know you want to tell me something, for you are roaming behind me like how a shadow separates not from you. What do you want?’ A moment to relish the choice of simile again. This made me think of a line in a Tamil movie, where a young girl who is being pursued by a guy asks him, ‘Are you going to keep following me like the Vodafone puppy?’ Now, the image of the ‘Vodafone puppy’ comes from an advertisement of a Phone network, depicting a dog following a girl wherever she goes, and that’s how strong the network is, that phone company implies. This is an information that is relevant only to a small geographic region and a small slice of time. But even after two thousand years, we are able to relate to this simile of a shadow that parts not from us. Unless humanity travels to a planetary system, where the sun or suns work differently, this simile can live on with meaning. That’s the power of great writing, I think!

Returning, the man replies to the confidante’s question with another question, ‘If I tell what is that I want, will your friend grant it?’ He then continues with an observation that one should render charity without any questions and it’s better to die if one can’t. Strong case he’s putting up in his favour! The confidante pretending not to understand tells him, ‘Sure, the lady’s father is such a person known for his ceaseless generosity. Ask anything you want’. Hearing this, the man scoffs at her suggestion, saying ‘I don’t have to beg for any object from anyone. I lack not in wealth. All I seek is the grace of your friend’s face’. He says these words and leaves the place. The confidante then marvels at how this man who has the strength and power of a battle elephant seems to seek so meekly the lady’s grace. As if she doesn’t get the message, the lady says, ‘He seems to act with no shame’. Hard one to convince indeed!

To this, the confidante responds with the consequences of the lady’s refusal saying the man would climb on a palmyra horse and declare his love, even if everyone laughs, and whatever they do, he’s going to keep returning and take furtive glances at the lady. She concludes saying this man seems to be someone who would never take ‘no’ for an answer and would be relentless in his pursuit of a goal, and also, someone who would render enough to make the lady’s father happy. The last statement may confuse people of the current era because the contemporary practice of a man receiving wealth and gifts from a lady’s family during their wedding was non-existent in the Sangam era, and the roles were in fact reversed, in that the system of bride-price of the man offering wealth to the lady’s family was the custom practiced. In effect, the confidante summarises the man’s nature as persevering and portrays him as an affluent person, who would meet the approval of the lady’s parents, thereby hinting to her friend that she should think about favouring the man and rendering her love. A verse which reveals motivations and perceptions of Sangam men and women in their youth and in love!