Sangam Lit

In this episode, we listen to an animated conversation between two women, as portrayed in Sangam Literary work, Kalithogai 60, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and presents a situation, where the confidante pleads the man’s case in the court of the lady’s mind!

தோழி
சுணங்கு அணி வன முலை, சுடர் கொண்ட நறு நுதல்,
மணம் கமழ் நறுங் கோதை மாரி வீழ் இருங் கூந்தல்,
நுணங்கு எழில், ஒண் தித்தி, நுழை நொசி மட மருங்குல்,
வணங்கு இறை வரி முன்கை, வரி ஆர்ந்த அல்குலாய்!
‘கண் ஆர்ந்த நலத்தாரை, கதுமென, கண்டவர்க்கு
உள் நின்ற நோய் மிக, உயிர் எஞ்சு துயர் செய்தல்
பெண் அன்று, புனையிழாய்!’ எனக் கூறி தொழூஉம்; தொழுதே,
கண்ணும் நீராக நடுங்கினன், இன் நகாய்!
என் செய்தான் கொல்லோ இஃது ஒத்தன் தன்கண்
பொருகளிறு அன்ன தகை சாம்பி உள்உள்
உருகுவான் போலும் உடைந்து?

தலைவி
தெருவின்கண் காரணம் இன்றிக் கலங்குவார்க் கண்டு, நீ,
வாரணவாசிப் பதம் பெயர்த்தல், ஏதில
நீ நின்மேல் கொள்வது எவன்?

தோழி
‘அலர்முலை ஆய்இழை நல்லாய்! கதுமென,
பேர் அமர் உண்கண் நின் தோழி உறீஇய
ஆர் அஞர் எவ்வம் உயிர் வாங்கும்;
மற்று இந் நோய் தீரும் மருந்து அருளாய், ஒண்தொடீ!
நின் முகம் காணும் மருந்தினேன்’ என்னுமால்;
நின் முகம் தான் பெறின் அல்லது, கொன்னே
மருந்து பிறிது யாதும் இல்லேல், திருந்திழாய்!
என் செய்வாம்கொல், இனி நாம்?

தலைவி
பொன் செய்வாம்!
ஆறு விலங்கித் தெருவின்கண் நின்று ஒருவன்
கூறும் சொல் வாய் எனக் கொண்டு, அதன் பண்பு உணராம்,
‘தேறல் எளிது’ என்பாம் நாம்

தோழி
‘ஒருவன் சாம் ஆறு எளிது’ என்பாம், மற்று

தலைவி
சிறிது, ஆங்கே ‘மாணா ஊர் அம்பல் அலரின் அலர்க’ என,
நாணும் நிறையும் நயப்பு இல் பிறப்பு இலி

தோழி
பூண் ஆகம் நோக்கி இமையான், நயந்து, நம்
கேண்மை விருப்புற்றவனை, எதிர் நின்று,
நாண் அடப் பெயர்த்த நயவரவு இன்றே.

A change of pace to a dialogue-oriented format in this verse! The words rendered can be translated as follows:

“Confidante:
With beautiful bosom decked with beauty spots, flame-like fragrant forehead, dark tresses akin to descending clouds, adorned with a fragrant garland, a slender waist, filled with radiant and intricate pallor spots, a curving and lined forearm, loins with exquisite lines, you are, O maiden! Saying to me, ’O maiden wearing well-etched ornaments, it isn’t feminine nature to be unmindful of the deep suffering that arises in a person, tormenting their very life, when they behold the exquisite beauty of the woman’s form before them suddenly’, he pleaded to me. When he pleaded, his eyes filled with tears and he trembled with emotion, O maiden with a beautiful smile. Do you know what else he did? He seemed to have the majesty of a battle elephant. But he stood there with moist eyes, showing how he was anguished and broken deep within!

Lady:
Seeing someone who cries for no reason in the street, akin to those in the city of Varanasi, who take up the pain of others, why do you burden yourself with the feelings of a stranger?

Confidante:
Saying, ‘O beautiful maiden with a blooming bosom and well-etched ornaments! Instantly, your friend’s beautiful, big, kohl-streaked eyes caused great suffering and drained out my life entire. However, you are not kind to render the cure for this deadly affliction, O maiden wearing radiant bangles. And that cure is to see her face’. So he pleaded to me. He thinks other than attaining the grace of your face, there is no other cure, O maiden wearing well-carved ornaments! What shall we do now?

Lady:
Nought, we shall do now! Straying from the normal, a man stands on the street and speaks something. Taking that as the truth, without realising its true nature, you seem to tell me, ‘It’s better to understand him’.

Confidante:
So, should I say, ‘It’s better to let him die’?

Lady:
There’s also the concern of how slander will rise in town because of our acceptance. However, he doesn’t have the goodness to even think a little about that. He won’t die!

Confidante:
Gazing at your beautiful form, adorned with jewels, without taking his eyes away, with desire, he seeks your relationship. It’s not good nature to shamelessly move away from such a person, without rendering your grace!”

Time to delve into the details. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and depicts a discussion between the confidante and the lady. The confidante starts by praising the lady’s beauty, no doubt echoing the words said by the man to her about the lady’s beauty. He seems to have complained to the confidante about how when he looked at the lady, he felt a deep affliction rise in him, bewitched by her presence, and remarked that it’s not becoming for the lady’s femininity if she did not care about that. Then, she goes on to etch in detail the way he stood there, tearful, quivering with feeling, and tells the lady that the man, who was like an elephant, was reduced to this state, after falling in love with the lady and not seeing her reciprocate his feeling. When the confidante finishes this statement, the lady remarks with apathy, asking her friend why she should bother about some person on the street, who was shedding tears for no reason. Did the confidante think that she was a person from the town of Varanasi, where people were known to take up the pain and burden of others? This simile seems to depict an ancient understanding in Sangam society about religious beliefs in the northern part of the subcontinent.

Moving on, the confidante continues her case saying how the man said the only cure for his deep suffering was seeing affection on the lady’s face, and the confidante asks the lady what they should do. The lady in turn sarcastically asks the confidante, ‘Should we do exactly as he asks?’, implying they should do nothing. She remarks he’s not behaving in a normal manner and he’s speaking random stuff and the confidante seems to support him and asks the lady to understand him. To this, the confidante pointedly asks the lady should she just let him die. And to that, the lady points out how the man seems not to care about the slander that would rise in their town if they accept him and declares that he will not die for sure. The confidante has the last word, advising her friend saying it was not a just thing to disregard the emotions of someone, who sought her out with so much love. And thus, we witness an interesting exchange between two women and understand the role of a confidante in bringing together the man and the lady and make love bloom in their lives. Whether such a depiction is rooted in the reality of Sangam culture or whether it ha been imaginatively created to present the timeless conflict in a woman’s heart when accepting a man’s advances is something fascinating to ponder upon!

In this episode, we listen to a man’s attempt to convince a maiden, as depicted in Sangam Literary work, Kalithogai 59, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and informs us about certain customs of penances undertaken by Sangam women.

தளை நெகிழ் பிணி நிவந்த பாசடைத் தாமரை
முளை நிமிர்ந்தவை போலும் முத்துக் கோல் அவிர் தொடி,
அடுக்கம் நாறும் அலர் காந்தள் நுண் ஏர் தண் ஏர் உருவின்
துடுப்பு எனப் புரையும் நின் திரண்ட நேர் அரி முன்கை,
சுடர் விரி வினை வாய்ந்த தூதையும் பாவையும்
விளையாட, அரி பெய்த அழகு அமை புனை வினை
ஆய் சிலம்பு எழுந்து ஆர்ப்ப, அம் சில இயலும் நின்
பின்னு விட்டு இருளிய ஐம்பால் கண்டு, என் பால
என்னை விட்டு இகத்தர, இறந்தீவாய்! கேள், இனி:

மருளி, யான் மருள் உற, ‘ “இவன் உற்றது எவன்?” என்னும்
அருள் இலை இவட்கு’ என அயலார் நிற் பழிக்குங்கால்,
வை எயிற்றவர் நாப்பண், வகை அணிப் பொலிந்து, நீ
தையில் நீர் ஆடிய தவம் தலைப்படுவாயோ?

உருளிழாய்! ‘ “ஒளி வாட, இவன் உள் நோய் யாது?” என்னும்
அருள் இலை இவட்கு’ என அயலார் நிற் பழிக்குங்கால்,
பொய்தல மகளையாய், பிறர் மனைப் பாடி, நீ
எய்திய பலர்க்கு ஈத்த பயம் பயக்கிற்பதோ?

ஆய்தொடி! ‘ “ஐது உயிர்த்து, இவன் உள் நோய் யாது?” என்னும்
நோய் இலை இவட்கு’ என நொதுமலர் பழிக்குங்கால்,
சிறு முத்தனைப் பேணி, சிறு சோறு மடுத்து, நீ
நறு நுதலவரொடு நக்கது நன்கு இயைவதோ?

என ஆங்கு,
அனையவை உளையவும், யான் நினக்கு உரைத்ததை
இனைய நீ செய்தது உதவாயாயின், சேயிழாய்!
செய்ததன் பயம் பற்று விடாது;
நயம் பற்று விடின் இல்லை நசைஇயோர் திறத்தே.

The man is still crying his heart out! The words can be translated as follows:

“Akin to a lotus bud, rising above its green leaves, relaxing its tight fold and blossoming above, are the pearl-studded, golden bangles on your hands that appear in the delicate form of moist flame-lilies that spread fragrance in the mountains; Akin to oars are your thick, perfect and straight forearms; Upon these arms, you carry bright and wide, well-carved pots and dolls, so as to play with them, and making your exquisite, well-etched anklets resound, you walk gently before me. As I see your dark, five-layered tresses swaying behind when you walk past, my sense and skill slips away from me! Listen to me now:

When strangers shower blame upon you saying, ‘She doesn’t have the grace to enquire with concern about what has happened to that man, who seems bewildered’, would there be any use in the penance you do by bathing in the cool waters in the month of ‘Thai’, in the company of many maiden with beautiful, sharp teeth, glowing with an assortment of jewels?

When strangers shower blame upon you saying, ‘She doesn’t have the grace to enquire about what could be the affliction in this man, which makes his radiance fade’, O maiden wearing a circular head ornament, would there be any benefit in your act of rendering to many others, by playing the role of a woman begging and singing in the mansions of others?

When strangers shower blame upon you saying, ‘She doesn’t have the grace to enquire about what could be the affliction in this man, which makes him sigh with so much distress’, O maiden wearing exquisite bangles, would there be any good that would come in your laughing, playful actions of protecting and caring for a small doll and pretending to feed food to it, along with maiden having fragrant foreheads?

And so, even after I have spoken all these words out of the angst in my heart, you still do not render your grace to me, O maiden wearing well-etched ornaments. Such an act will not be without consequence, for if you are without kindness, such penances of yours will bear no benefit to those whom you love.”

Let’s delve into the details. The verse is situated in the context of the man’s love relationship with his lady, prior to marriage, and speaks in the voice of the man to the lady. The man starts as usual talking about the lady’s beauty and adornments, remarking on her pearl-studded bangles, her flame-lily-like fingers and her oar-like forearms. A moment to reflect how a man is described in terms of the country he rules over, whereas a woman is described in terms of her beauty. This hints of a patriarchal order in that culture. Returning, the man remarks about certain pots and dolls the lady seems to be carrying, the significance of which, we will see in a short while. He speaks of how his intellect seems to melt away seeing her walk past him, and beckons her to listen to his words.

The man proceeds in the familiar three-step format to remark how the world would blame and caste aspersions on the lady for not being concerned about the man’s confusion, about the affliction in him, which makes him lose his joy and makes him sigh with pain. If they do that, what will be the use of the rituals of penance the lady undertakes in the Tamil month of ‘Thai’, the contemporary period between Jan 15th and Feb 15th, the time when she bathes in the cool river waters along with many other maiden, when she plays the role of a woman singing at the house of others and renders the charity she gained to the needy, and then does rituals with a doll, tending to it and feeding it, along with other maiden.

All these activities remind one of contemporary religious practices followed by certain groups of women in the Tamil month of ‘Margazhi’, which falls between December 15 and Jan 15, when these women sing at temples and offer penances. Though there are differences, the core remains that it’s women undertaking this penance for the welfare of the people they love. This is what the man concludes with saying, if the lady does not heed to him and she continues snub his advances, this would lead to people’s blame and ire, which in turn, would result in those penances she does having no effect on the welfare of those she loves. Yet again, the man says to the lady, ‘You must reciprocate my love’, but in this version we get to learn of certain cultural practices followed by women in the Sangam era for the well-being of their future spouses, a custom that seems to have an echo in other cultural traditions, arising in this region!

In this episode, we listen to a man’s angst, as depicted in Sangam Literary work, Kalithogai 58, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and depicts an ancient strategy employed to win love.

வார் உறு வணர் ஐம்பால், வணங்கு இறை நெடு மென் தோள்,
பேர் எழில் மலர் உண்கண், பிணை எழில் மான் நோக்கின்,
கார் எதிர் தளிர் மேனி, கவின் பெறு சுடர் நுதல்,
கூர் எயிற்று முகை வெண் பல், கொடி புரையும் நுசுப்பினாய்!
நேர் சிலம்பு அரி ஆர்ப்ப, நிரை தொடிக் கை வீசினை,
ஆர் உயிர் வௌவிக்கொண்டு அறிந்தீயாது இறப்பாய்! கேள்:

உளனா, என் உயிரை உண்டு, உயவு நோய் கைம்மிக,
இளமையான் உணராதாய்! நின் தவறு இல்லானும்,
களைநர் இல் நோய் செய்யும் கவின் அறிந்து, அணிந்து, தம்
வளமையான் போத்தந்த நுமர் தவறு இல் என்பாய்

நடை மெலிந்து, அயர்வு உறீஇ, நாளும் என் நலியும் நோய்
மடமையான் உணராதாய்! நின் தவறு இல்லானும்,
இடை நில்லாது எய்க்கும் நின் உரு அறிந்து, அணிந்து, தம்
உடைமையால் போத்தந்த நுமர் தவறு இல் என்பாய்

அல்லல் கூர்ந்து அழிவுற, அணங்காகி அடரும் நோய்
சொல்லினும் அறியாதாய்! நின் தவறு இல்லானும்,
ஒல்லையே உயிர் வௌவும் உரு அறிந்து, அணிந்து, தம்
செல்வத்தால் போத்தந்த நுமர் தவறு இல் என்பாய்

என ஆங்கு
ஒறுப்பின், யான் ஒறுப்பது நுமரை; யான் மற்று இந் நோய்
பொறுக்கலாம் வரைத்து அன்றிப் பெரிதாயின், பொலங்குழாய்!
மறுத்து இவ் ஊர் மன்றத்து மடல் ஏறி,
நிறுக்குவென் போல்வல் யான், நீ படு பழியே.

The man continues to be in the spotlight. The words can be translated as follows:

“With five-layered, wavy, flowing tresses, curving forearm, long and soft arms, exquisite, flower-like kohl-streaked eyes, gaze of a beautiful female deer, complexion of a new sprout in the rains, an alluring, glowing forehead, sharp bud-like white teeth, a waist akin to a vine, you are, O maiden! As those well-set anklets resound, swaying your bangle-clad arms, you seem to walk on, without realising that you are stealing away my precious life! Listen to me:

Leaving just a bit of life to say that I exist, you have devoured all the rest of it, and rendered a deep disease of affliction in me. You know not of all this, owing to your youth. Though it’s not your fault, knowing about your beauty, which would spread an affliction no one can cure, adorning you with jewels, because of their prosperity, your kin sent you out. Can you claim they are not at fault?

Making my gait lack spirit, filled with exhaustion, you have rendered this deep suffering to me. You know not of all this, owing to your naivety. Though it’s not your fault, knowing about your form, which ceaselessly torments, adorning you with jewels, because of their wealth, your kin sent you out. Can you claim they are not at fault?

Ruining me with a soaring pain, you have rendered this disease that torments like a spirit. You understand not of all this, even when it’s spoken out. Though it’s not your fault, knowing about your form, which steals a life instantly, adorning you with jewels, because of their affluence, your kin sent you out. Can you claim they are not at fault?

And so, if I have to chide someone, it’s your kin; Besides, if this affliction exceeds the limits of my ability to bear it, O maiden wearing golden earrings, I will have to climb on a ‘palmyra horse’ in this town centre and declare my suffering, and when I do, you will have to face the blame!”

Time to explore the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage and speaks in the voice of the man to the lady. The man starts as usual praising the different aspects of the lady’s beauty such as her tresses, arms, eyes, complexion, forehead, teeth and waist. He talks about her resounding anklets and the way she walks swaying her hands, and tells her she does not realise that as she walks on, she’s stealing away the man’s life. Then, citing three different ways in which he is suffering, the man says that the lady is not to be blamed. The blame should fall on her kin, for sending her out, so adorned, without realising the effect she would have on him. He blames the lady’s relatives and decides when his suffering exceeds a limit, he will have no other go but to climb on a ‘palmyra horse’ and declare his love for the lady to the town entire, and when he does that, blame will fall on her, the man concludes.

A verse in which the man talks of immense suffering. The words used and the extreme anguish depicted reminds one of the same emotions expressed by the lady when the man parts away from her on a mission. Now, the gender roles are reversed and we see the man hard at work trying to win the lady’s love by expressing his state of suffering. And in the conclusion, we come across the concept of ‘Madal eruthal’ that we have seen in many other ‘Aham’ songs. When nothing else works, this was the final step taken by a man to declare his love, and was considered as not a honourable thing for the man or the lady. In most of these verses, this act is said only a threat, and perhaps, through that, the man intends to change the heart of the lady he woos. These are notions and traditions of the past, which have evolved for reasons, unfathomable to us. The only thing of relevance we can extract from this verse is the way the man shies not from talking of his suffering and pain, standing against many implicit beliefs of modern generations, as symbolised by the phrase ‘Boys don’t cry’. The echo from the pages of this ancient book reiterates the timeless truth that expression of emotions is independent of gender!

In this episode, we listen to a long list of praises, as depicted in Sangam Literary work, Kalithogai 57, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals both the glory of a king and the power of a maiden.

வேய் எனத் திரண்ட தோள், வெறி கமழ் வணர் ஐம்பால்,
மா வென்ற மட நோக்கின், மயில் இயல் தளர்பு ஒல்கி
ஆய் சிலம்பு அரி ஆர்ப்ப, அவிர் ஒளி இழை இமைப்ப,
கொடி என, மின் என, அணங்கு என, யாது ஒன்றும்
தெரிகல்லா இடையின்கண் கண் கவர்பு ஒருங்கு ஓட,
வளமை சால் உயர் சிறப்பின் நுந்தை தொல் வியல் நகர்
இளமையான் எறி பந்தொடு இகத்தந்தாய்! கேள், இனி:

பூந் தண் தார், புலர் சாந்தின், தென்னவன் உயர் கூடல்,
தேம் பாய அவிழ் நீலத்து அலர் வென்ற அமர் உண்கண்,
ஏந்து கோட்டு எழில் யானை ஒன்னாதார்க்கு அவன் வேலின்,
சேந்து நீ இனையையால்; ஒத்ததோ? சின்மொழி!

பொழி பெயல் வண்மையான் அசோகம் தண் காவினுள்,
கழி கவின் இள மாவின் தளிர் அன்னாய்! அதன் தலை,
பணை அமை பாய் மான் தேர் அவன் செற்றார் நிறம் பாய்ந்த
கணையினும், நோய் செய்தல் கடப்பு அன்றோ? கனங்குழாய்!

வகை அமை தண் தாரான் கோடு உயர் பொருப்பின்மேல்,
தகை இணர் இள வேங்கை மலர் அன்ன சுணங்கினாய்!
மத வலி மிகு கடாஅத்து அவன் யானை மருப்பினும்
கதவவால் தக்கதோ? காழ் கொண்ட இள முலை

என ஆங்கு,
இனையன கூற, இறைஞ்சுபு நிலம் நோக்கி,
நினையுபு நெடிது ஒன்று நினைப்பாள் போல், மற்று ஆங்கே
துணை அமை தோழியர்க்கு அமர்த்த கண்ணள்,
மனை ஆங்குப் பெயர்ந்தாள், என் அறிவு அகப்படுத்தே.

It’s the man speaking his heart out again! The words can be translated as follows:

“With rounded arms, akin to bamboo, fragrant and curving five-layered thick tresses, eyes akin to that of a deer, a swaying, graceful walk like that of a peacock, as well-etched anklets resounded, as ornaments shone spreading light, making one wonder in utter confusion, ’Is it a vine?’, ‘Is it a lightning?’ or ‘Is it a devouring spirit?’, your waist bended so slenderly, captivating the eyes, as you came out of the wide and prosperous mansion of your esteemed and famous father, brimming with youth, holding a ball!

Listen to me!

Wearing moist flower garlands upon his chest streaked with sandalwood, rules the king of the south. In his renowned capital of Koodal, blooms blue-lilies, filled with nectar. Your kohl-streaked, beautiful eyes win over those picturesque flowers. The spear of this king, which torments the handsome, battle-elephants with uplifted tusks, belonging to his foes, and you, are the same. Is this befitting, O maiden who speaks sparse words?

With a generosity, akin to a downpour, having Ashoka trees in his grove, is this king. Akin to an enticing young mango leaf therein, you are, O beautiful maiden! On top of that, more than the arrows that pounce on his enemies, wielding chariots and leaping horses, you cause affliction. Isn’t this utterly cruel, O maiden wearing golden earrings?

Wearing many different cool garlands is the king. Akin to the esteemed flower clusters of the Kino tree that grows on the slopes of his high mountain peaks, are your beauty spots, O maiden! With more rage than the tusk of his wild and mad elephant, in a state of musth, appears your young bosom, swaying with pearl strands. Is this right, O maiden?

And so, as I said these words, bending down and looking at the ground beneath, as if thinking for long about something, then turning her eyes towards her playmates, who were around, she left to go inside her mansion, holding my mind in her grasp!”

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 speaks in the voice of the man to the lady. The man starts by vividly sketching the appearance of a maiden, as she stepped out of a rich mansion, holding a ball in hand. He talks of her bamboo arms, thick hair, deer-like eyes and peacock’s gait. Adding sensorial elements, the man mentions the tinkling of her anklets and the way her golden ornaments glinted in the light. Then, he seems to spend extra time on her waist, which makes him wonder if it’s a vine, so slender it is, or is it a lightning, so brightly it captivates, or could it be a fearsome spirit that torments. After saying these words to the lady, who had come out of her father’s rich mansion just then, the man asks her three questions in that familiar format. In each case, he talks about the famous king of the south, referring to a Pandya King.

In the first, he talks about the capital of this king, Koodal, which is another name for ‘Madurai’, known to us all. The man has mentioned Koodal to talk about the blue-lilies that bloom there, saying the lady’s eyes defeat those blue-lilies with their exquisite beauty. Next, the man talks about the king’s spear and how it devours the enemy elephants, connecting back to the lady, saying that’s how she seemed to attack the man. In the second, the groves of the generous Pandya king, filled with Ashoka trees, are highlighted, and then a mango tree, growing there, is zoomed upon, to sketch a tender leaf sprouting on it, and the man connects it with the complexion of the lady. Then, turning to those fierce elements, the man talks about the arrows of the king, which slay enemies, and declares even more than those arrows, the lady causes suffering in him. In the third, we are taken to the mountain slopes of the Pandya king, to gaze at the flower clusters of the Kino tree growing there, only to be brought back in the lady’s presence, to say that’s how her beauty spots appear. Once again, turning to elements of power, the man talks about the rage of this Pandya king’s mad elephants in musth or rutting, and says the lady’s bosom seems to have more rage than those elephants. He ends each of these instances asking her if this is right on her part! Then, he concludes saying how the lady did not respond to any of his words, but just looked down for a long while, gazed at her playmates around and then left inside her home, taking the man’s heart and mind along with her.

And so, we see that this is a sketch of love at first sight, and within this well-known theme, we have perceived the picturesque beauty of a king’s country, taking in the flowers and the trees that bloom there, as well as the power the king holds, in the form of his spears, arrows and elephants, before which foes don’t stand a chance. And all this is said as a simile to a woman’s beauty and the effect on a person smitten by her. Through this, we witness once again the unique creativity of Sangam poets, who are able to blend the disparate and present a cohesive perspective of vastly different domains, that of love and war!

In this episode, we listen to the words of a man in love, as depicted in Sangam Literary work, Kalithogai 56, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and expresses admiration for a lady.

ஊர்க்கால் நிவந்த பொதும்பருள், நீர்க் கால்,
கொழு நிழல் ஞாழல் முதிர் இணர் கொண்டு,
கழும முடித்து, கண் கூடு கூழை
சுவல்மிசைத் தாதொடு தாழ, அகல் மதி
தீம் கதிர் விட்டது போல, முகன் அமர்ந்து,
ஈங்கே வருவாள் இவள் யார் கொல்? ஆங்கே, ஓர்
வல்லவன் தைஇய பாவைகொல்? நல்லார்
உறுப்பு எலாம் கொண்டு இயற்றியாள்கொல்? வெறுப்பினால்,
வேண்டு உருவம் கொண்டதோர் கூற்றம்கொல்? ஆண்டார்,
கடிது, இவளைக் காவார் விடுதல்: கொடி இயல்,
பல் கலை, சில் பூங் கலிங்கத்தள் ஈங்கு, இது ஓர்
நல்கூர்ந்தார் செல்வ மகள்!
இவளைச் சொல்லாடிக் காண்பேன், தகைத்து
நல்லாய்! கேள்:

ஆய் தூவி அனம் என, அணி மயில் பெடை என,
தூது உண் அம் புறவு என, துதைந்த நின் எழில் நலம்
மாதர் கொள் மான் நோக்கின் மட நல்லாய்! நிற் கண்டார்ப்
பேதுறூஉம் என்பதை அறிதியோ? அறியாயோ?

நுணங்கு அமைத் திரள் என, நுண் இழை அணை என,
முழங்கு நீர்ப் புணை என, அமைந்த நின் தட மென் தோள்
வணங்கு இறை, வால் எயிற்று, அம் நல்லாய்! நிற் கண்டார்க்கு
அணங்காகும் என்பதை அறிதியோ? அறியாயோ?

முதிர் கோங்கின் முகை என, முகம் செய்த குரும்பை என,
பெயல் துளி முகிழ் என, பெருத்த நின் இள முலை
மயிர் வார்ந்த வரி முன்கை மட நல்லாய்! நிற் கண்டார்
உயிர் வாங்கும் என்பதை உணர்தியோ? உணராயோ?

என ஆங்கு,
பேதுற்றாய் போலப் பிறர் எவ்வம் நீ அறியாய்,
யாது ஒன்றும் வாய்வாளாது இறந்தீவாய்! கேள், இனி:
நீயும் தவறு இலை; நின்னைப் புறங்கடைப்
போதர விட்ட நுமரும் தவறு இலர்;
நிறை அழி கொல் யானை நீர்க்கு விட்டாங்கு,
‘பறை அறைந்தல்லது செல்லற்க!’ என்னா
இறையே தவறு உடையான்.

Ending the long standing domination of the confidante and lady, the man speaks out his heart in this verse. The words can be translated as follows:

“Plucking mature flower clusters of the tigerclaw tree that renders a thick shade, fed by streams, in the groves of the town, and tying them tightly on the strands of the hair, letting the tresses hang upon the shoulders, scattering flower pollen around, the maiden, with a face akin to the full moon spreading its rays, comes here. Who might she be? Is she a statue carved by a skilled sculptor? Was she crafted with the features of the best and the beautiful? Or is she the God of Death who has taken on this desirable form, out of hate for me? Isn’t it terrible that her parents have left her go freely without restraining her at home. On her waist, akin to a vine, she wears a well-crafted attire with a floral design. She must be the precious daughter of a wealthy couple, who sought the boon of a child for long. Let me stop her and win her over with my words!

O beautiful maiden, listen:

Akin to a swan with white feathers, akin to a pretty peahen, akin to an alluring pigeon that feeds on pollen, is your brimming beauty; With desirable eyes like that of a deer, you are, O naive and beautiful maiden! Do you know or not that these can befuddle those who see you?

Akin to an intricate bamboo cluster, akin to a soft pillow, akin to a raft in the roaring waters, are your thick, soft arms; With curving wrists and shining teeth, you are, O alluring and beautiful maiden! Do you know or not that these can terrorise those who see you?

Akin to the mature flower of the buttercup, akin to a fresh, blooming palm fruit, akin to a bubble amidst the pouring rain, has blossomed your young bosom; With soft hair and gentle lines on your forearm, you are, O naive and beautiful maiden! Do you know or not that these can usurp the lives of those who see you?

And so, akin to someone confused, without understanding the suffering of others, without saying anything in response, you move away. Listen now! The mistake is not yours; The mistake is not with your kin, who let you go outside, either; The one at fault is the king of this land, who has not sent out a messenger before you, drumming, akin to how he announces the arrival of a mad and murderous battle elephant to the townsfolk, when it’s taken for a bath in the river!”

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 speaks in the voice of the man to the lady. Initially, the man talks to himself describing the lady before him, talking about her flower-clad tresses, full-moon face and wondering whether she’s real or a statue carved by a skilful artisan and whether all the best things in the most beautiful women were chosen to be part of her. In a tangent, he wonders if this female form of the lady before him could be Death himself, who has taken that bewitching form out of hatred for the man! Then he chides the lady’s parents for letting her out of the house, and remarks she seems like a much-adored daughter of an affluent couple.

Instead of just muttering to himself, the man decides to stop the lady and express his love in words. So, he calls out to her, and in that three-step Kalithogai format, talks about her beauty that seems like that of a swan, a peahen and a pigeon; her arms that are like a bamboo cluster, a comforting pillow and a saving raft amidst the resounding waves; and her bosom that are like a buttercup flower, palm fruit and a bubble in a downpour. He mentions other assorted aspects of her beauty like deer-like eyes, shining teeth and alluring forearms, and asks her whether the lady was aware that she had the power to bewilder, to terrorise and even take away the lives of those, who glanced at her! And even though he says these words, the maiden seemed to have turned to walk away and the man declares that she has no understanding of the pain she causes in others. However, the fault was not that of hers or her parents. Rather the fault lies with an entirely different person, and he is the king of the land, for like the way this king announces the arrival of a mad elephant, when it’s taken for a bath in the river, he has not taken steps to announce the danger of this enchanting woman to those who see her, the man concludes.

If you think about it, the man is calling the lady, a wild elephant! Such a comparison may not be looked at favourably today and the man may find himself lifted by a metaphorical elephant trunk and thrown into the dumpster of unrequited love. Joking apart, in essence, this verse is an ecstatic outpouring of a man, who puts his beloved on a sky-high pedestal, extolling her beauty, and trying to win her heart with his words of admiration!

In this episode, we listen to an account of a lady’s first meeting with a man, as portrayed in Sangam Literary work, Kalithogai 55, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and reveals an incident to the confidante.

மின் ஒளிர் அவிர் அறல் இடை போழும் பெயலேபோல்,
பொன் அகை தகை வகிர் வகை நெறி வயங்கிட்டு,
போழ் இடை இட்ட கமழ் நறும் பூங் கோதை,
இன் நகை, இலங்கு எயிற்று, தேம் மொழி துவர்ச் செவ் வாய்,
நன்னுதால்! நினக்கு ஒன்று கூறுவாம்; கேள், இனி:

‘நில்’ என நிறுத்தான்; நிறுத்தே வந்து,
நுதலும் முகனும், தோளும், கண்ணும்,
இயலும், சொல்லும், நோக்குபு நினைஇ,
‘ஐ தேய்ந்தன்று, பிறையும் அன்று;
மை தீர்ந்தன்று, மதியும் அன்று;
வேய் அமன்றன்று, மலையும் அன்று;
பூ அமன்றன்று, சுனையும் அன்று;
மெல்ல இயலும், மயிலும் அன்று;
சொல்லத் தளரும், கிளியும் அன்று’

என ஆங்கு,
அனையன பல பாராட்டி, பையென,
வலைவர் போல, சோர் பதன் ஒற்றி,
நெஞ்சு நெகிழ்ந்த செவ்வி காணூஉப்
புலையர் போல, புன்கண் நோக்கி,
தொழலும் தொழுதான்; தொடலும் தொட்டான்;
காழ் வரை நில்லாக் கடுங் களிறு அன்னோன்
தொழூஉம்; தொடூஉம்; அவன் தன்மை
ஏழைத் தன்மையோ இல்லை, தோழி!

The lady continues to wield the microphone in this one! The words can be translated as follows:

“Akin to streaks of lightning that spreads in between black clouds, wearing gold with flame-like splendour, shaped in many different ways, upon your wavy tresses, along with strands of a fragrant flower garland, having a sweet smile, shining teeth, and red mouth that renders honey-sweet words, you are, O maiden with a fine forehead! I wish to say something to you; Please listen:

Saying ‘Stop’, he prevented me from walking on; Coming near me, he looked at my forehead, face, arms, eyes, gait and words, and then with much thought, he described each saying, ‘The beautiful thing fades not, and so, it’s not the crescent; It has not any blemish, and so, it’s not the moon; They are like bamboos, but there’s no mountain; They are like flowers, but there’s no spring; The walk is slow and gentle with grace, but there walks not a peacock; The words come hesitantly, but there speaks not a parrot’.

And so, he praised me with many such words, and swiftly, akin to a hunter, who lay traps, he bided for the right time, waiting for the moment my heart would melt in his favour, and akin to a helper, looking at my distressed eyes, he folded his hands with respect. And then, he touched me; The man, who was thus acting, akin to mad elephant that is not arrested by a goad, worshipped and touched me. But in his nature, there was no semblance of ignorance, my friend!”

Time to explore the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage and the words are rendered by the lady to her confidante. The lady starts by praising the adornments of the confidante, comparing the many golden jewels she wears on her hair to lightning streaks, spreading amidst dark clouds, mentioning also the strands of flower garlands she wears. Seems like these Sangam ladies put considerable effort into their hairdos! Returning, we see praise for the confidante continuing, with words about her smile, her teeth and her sweet words. After that glowing tribute to her friend, the lady informs the confidante that she has something to say to her, and requests her to listen intently.

Relating an incident that happened between her and the man, the lady talks about how the man stopped her when she was going her way, and then coming close to her, looked at her and praised her forehead in a unique way, saying although it was crescent-like, it never fades, and then looking at her face, ‘even though it shone like the moon, it had no blemish’; Turning to her arms, he seems to have said that those were like bamboos and yet there was no mountain in sight; Now gazing at her eyes, he declared these were flowers indeed, but there was no spring around; Talking about her walk, he says it was gentle and graceful but this was no peacock, and about her talk, he mentions how hesitant and sweet it sounded, but this was no parrot either. In short, the man uses the same similes we have heard many times for the lady’s appearance but he says that in a different way.

Following this flow of praise, the man seemed to have taken the stance of a hunter, who had laid a trap and was waiting for the right opportunity, that being when the lady’s heart would melt in his favour. After that, seeing the distressed look in her eyes, caused by shyness, the man seems to have taken the stance of a helper who bows low in respect, with folded hands in an Indian greeting before the lady. Following this, he seems to have touched the lady. About this behaviour of touching her, the lady says this is the act of a mad elephant that is not held back by a goad. ‘But even so, it was not out of ignorance the man was acting so, but out of love for me’, the lady concludes. To us, who are listening to this account two thousand years later, it may be surprising as to why the lady is revealing these intimate moments to her confidante. The possible context is that the man had sought the help of the confidante to further his relationship with the lady, while the lady has thus far not revealed her prior meeting with the man to her friend. Now, the lady decides it’s time to talk of this incident and how she kept her shyness and modesty as the man approached her then, and ends with a note of understanding about his love for her. This way, the lady gives her permission to the confidante to help the man in his requests for trysting and taking this relationship further.

Indeed, it’s a complicated way of dealing with one’s love relationships that would appear bizarre to us in this time and age. However, within these words, subtly hides the important concept of consent in intimacy. The code of conduct in a man’s relationship with a woman in that Sangam culture can be sensed here. It was acceptable for a man to approach a woman and praise her beauty. The lady in question seems to have given no clear acceptance for the same, and in that age, this has been attributed to the innate shyness of the lady. However, it was considered inappropriate for the man to touch the lady without her approval, and this can be sensed in the portrayal of this act as that of a mad elephant. That the lady later forgives him and is able to perceive his love is another angle of the story. But the core here is the delicate balance between attaining intimacy and behaving in the right manner that has been outlined two thousand years ago, by this society. A timeless aspect to reflect upon and be mindful of, in intimate relationships, anytime anywhere!

In this episode, we hear the lady speaking her truth, as depicted in Sangam Literary work, Kalithogai 54, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and seeks the help of a friend.

“கொடியவும் கோட்டவும் நீர் இன்றி நிறம் பெற,
பொடி அழல் புறந்தந்த பூவாப் பூம் பொலன் கோதை,
தொடி செறி யாப்பு அமை அரி முன்கை, அணைத் தோளாய்!
அடி உறை அருளாமை ஒத்ததோ, நினக்கு?” என்ன,

நரந்தம் நாறு இருங் கூந்தல் எஞ்சாது நனி பற்றி
பொலம் புனை மகரவாய் நுங்கிய சிகழிகை,
நலம் பெறச் சுற்றிய குரல் அமை ஒரு காழ்
விரல் முறை சுற்றி, மோக்கலும் மோந்தனன்;

நறாஅ அவிழ்ந்தன்ன என் மெல் விரற் போது கொண்டு,
செறாஅச் செங் கண் புதைய வைத்து,
பறாஅக் குருகின் உயிர்த்தலும் உயிர்த்தனன்;

தொய்யில் இள முலை இனிய தைவந்து,
தொய்யல் அம் தடக் கையின், வீழ் பிடி அளிக்கும்
மையல் யானையின் மருட்டலும் மருட்டினன்

அதனால்,
அல்லல் களைந்தனன், தோழி! நம் நகர்
அருங் கடி நீவாமை கூறின், நன்று’ என
நின்னொடு சூழ்வல், தோழி! ‘நயம் புரிந்து,
இன்னது செய்தாள் இவள்’ என,
மன்னா உலகத்து மன்னுவது புரைமே.

The lady gets the spotlight in this one! The words can be translated as follows:

“O maiden, wearing a golden garland, designed with flowers that bloom not, as if declaring that those on vines and branches could attain their hue, not with water, but with fire and ashes; having a beautiful forearm, decked with neat rows of bangles, and soft arms! Won’t you render the grace to me of residing at your feet?’, he said!

Holding my dark tresses tightly, wafting with the fragrance of sweet orange flowers, and then taking a strand of a flower stalk, adorned with beauty around a hair knot, held by a golden clasp with a fish-mouth design, he twirled it around his fingers and smelt it;

Grasping my soft fingers, akin to bloomed ‘Lavanga’ flowers, he pressed it on his passionate red eyes and sighed like a blacksmith’s bellows;

Touching my young bosom adorned with thoyyil paintings, akin to an enticing male elephant that renders its grace to its beloved female, he caressed me.

And so, my suffering ended, my friend! I think that it would be good if you can reveal this truth to those in our well-protected mansion. If you do so, the fame that ‘with kindness, she did this great thing’ will live long in this changing world!”

Time to delve into the details. The verse is situated in the context of a man’s love relationship with the lady, prior to marriage and around the theme of revealing the lady’s relationship to her kin. The words are uttered by the lady to her confidante. Without any descriptions of the mountain country that we have come to expect, the lady starts narrating the man’s words to her, describing her golden ornaments, bangles and her delicate arms as he sought the grace of living at her feet forever. Then, the lady goes on to talk about how took a flower from her fragrant tresses and inhaled its scent, held the lady’s fingers and pressed it to his eyes, even as he sighed like an ironworker’s bellows, and how he caressed the lady, just the way a male elephant would render its love to its mate. Relating all these events that unfolded between her and the man, the lady says because of that, her suffering of being away from the man ended. Now, she requests the confidante to go to her family and reveal her relationship with the man, so that they do not go ahead with their plan of marrying the lady to a stranger, who had come seeking her hand. The lady concludes with a blessing to her friend that if she were to do that, the friend’s fame would live unchangingly in this world, where everything changes. A verse which goes on to show that the precious role of friends in one’s life remains a constant across space and time.

In this episode, we perceive the lady’s state in the man’s absence, as depicted in Sangam Literary work, Kalithogai 53, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and appeals to the man’s kindness to remedy a distressing situation.

வறன் உறல் அறியாத வழை அமை நறுஞ் சாரல்
விறல் மலை வியல் அறை, வீழ் பிடி உழையதா,
மறம் மிகு வேழம், தன் மாறுகொள் மைந்தினான்,
புகர் நுதல் புண் செய்த புய் கோடு போல,
உயர் முகை நறுங் காந்தள் நாள்தோறும் புதிது ஈன,
அயம் நந்தி அணிபெற, அருவி ஆர்த்து இழிதரும்
பய மழை தலைஇய பாடு சால் விறல் வெற்ப!

மறையினின் மணந்து, ஆங்கே மருவு அறத் துறந்தபின்,
இறை வளை நெகிழ்பு ஓட, ஏற்பவும் ஒல்லும்மன்
அயல் அலர் தூற்றலின், ஆய் நலன் இழந்த கண்;
கயல் உமிழ் நீர் போல, கண் பனி கலுழாக்கால்?

இனிய செய்து அகன்று, நீ இன்னாதாத் துறத்தலின்,
‘பனி இவள் படர்’ என பரவாமை ஒல்லும்மன்
ஊர் அலர் தூற்றலின், ஒளி ஓடி, நறு நுதல்
பீர் அலர் அணி கொண்டு, பிறை வனப்பு இழவாக்கால்?

‘அஞ்சல்’ என்று அகன்று, நீ அருளாது துறத்தலின்,
நெஞ்சு அழி துயர் அட, நிறுப்பவும் இயையும்மன்
நனவினால் நலம் வாட, நலிதந்த நடுங்கு அஞர்
கனவினால் அழிவுற்று கங்குலும் அரற்றாக்கால்?

என ஆங்கு,
விளியா நோய் உழந்து ஆனா என் தோழி, நின் மலை
முளிவுற வருந்திய முளை முதிர் சிறு தினை
தளி பெறத் தகைபெற்றாங்கு, நின்
அளி பெற நந்தும், இவள் ஆய் நுதற் கவினே.

Another plea by the confidante on behalf of the lady! The words can be translated as follows:

“In the wide and spreading, fragrant mountain slopes, filled with lush laurel wood trees, that know not the meaning of drought, a male elephant, full of strength and courage, was resting along with its beloved female. Seeing a rival male elephant arriving there, it attacks the newcomer’s spotted face and scars the same. Akin to its tusk pulled out from the skin of the foe, the tall and fragrant flame-lily blooms anew day after day, near the ponds, adorning the space with much beauty, in the song-worthy mountains, where cascades resound and descend, and clouds surround, in your country, O lord!

After trysting with her in secret, when you abandoned her, maybe she could have accepted that the bangles on her wrist would slip away. But when neighbours spread slander, making her fine beauty fade, and when her eyes shed tears, akin to water that spouts out of a fish, what can she do?

After doing sweet things, when you did the harsh thing of forsaking her, maybe they could have remained without offering sacrifices to gods so as to remedy the suffering of their child. But when the town spreads slander, making her lose her radiance, and when her fragrant forehead takes the hue of ridge-gourd flowers, losing its crescent-moon glow, what can they do?

After saying ‘fear not’, when you parted away and deserted her, without your grace, she could have prevented the deep sorrow that destroys her heart. But when owing to reality, her health fades, and further, she trembles and laments because of her dreams at night, what can she do?

And so, my friend suffered because of that unending disease. Akin to sprouting little millets in your mountain, which were languishing owing to the lack of water, but later rises up when it rains, her fine forehead will glow with beauty, when it attains your grace!”

Let’s explore the nuances. The verse is situated in the context of a man’s love relationship, prior to marriage, and the words are rendered by the confidante to the man, when he had parted away temporarily from the lady. The confidante starts with a description of the mountain country, and in this edition, instead of the common trope of an elephant and tiger fighting, here we see one male elephant, which was resting with its female, attacking another rival elephant that arrives on the scene. Taking the action sequence further, the confidante describes how akin to the blood-soaked red tip of this elephant’s tusk when it pulls the same out of the rival’s face, flame-lilies burst all over the moist and lush mountains of the man. Then, she goes on to talk about how the man had trysted and relished the lady’s company for a while and then abandoned her. At this time, the lady suffered so much that she could not accept her bangles slipping away as her eyes shed tears, that the family could not help making sacrifices to heal the state of the lady, who had lost her radiance, and that the lady had no way of checking the sorrow in her heart because not only the reality of parting with the man but also the troubling dreams made her tremble and lose her health. Stating all these terrible effects, the confidante advises the man on the right course of action, saying like the once-languishing millet crops in his mountain would rise up with exuberance, when the rains pour, the lady’s beauty too would return when it receives the shower of the man’s grace.

In short, it’s again ‘Marry her, marry her’ by sketching the importance of the man’s presence in the lady’s life! While it’s impossible to relate to the state of this languishing lady in her man’s absence, the image that we can relate to, is that of the withering millet crops that sprout up with a smile when the rains fall, telling us to focus on those aspects of our life that are languishing, and contemplate on that one thing they need to make them bloom with a flourish once again!

In this episode, we listen to an argument for seeking an alternative path, as depicted in Sangam Literary work, Kalithogai 52, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches the danger of discovery to a man intent on trysting by night.

முறம் செவி மறைப் பாய்பு முரண் செய்த புலி செற்று,
மறம் தலைக்கொண்ட நூற்றுவர் தலைவனைக்
குறங்கு அறுத்திடுவான் போல், கூர் நுதி மடுத்து, அதன்
நிறம் சாடி முரண் தீர்ந்த நீள் மருப்பு எழில் யானை,
மல்லரை மறம் சாய்த்த மால் போல், தன் கிளை நாப்பண்,
கல் உயர் நனஞ் சாரல், கலந்து இயலும் நாட! கேள்:

தாமரைக் கண்ணியை, தண் நறுஞ் சாந்தினை,
நேர் இதழ்க் கோதையாள் செய்குறி நீ வரின்,
‘மணம் கமழ் நாற்றத்த மலை நின்று பலி பெறூஉம்
அணங்கு’ என அஞ்சுவர், சிறுகுடியோரே

ஈர்ந் தண் ஆடையை, எல்லி மாலையை,
சோர்ந்து வீழ் கதுப்பினாள் செய்குறி நீ வரின்,
ஒளி திகழ் ஞெகிழியர், கவணையர், வில்லர்,
‘களிறு’ என ஆர்ப்பவர், ஏனல் காவலரே

ஆர மார்பினை, அண்ணலை, அளியை,
ஐது அகல் அல்குலாள் செய்குறி நீ வரின்,
‘கறி வளர் சிலம்பில் வழங்கல் ஆனாப்
புலி’ என்று ஓர்க்கும், இக் கலி கேழ் ஊரே

என ஆங்கு
விலங்கு ஓரார், மெய் ஓர்ப்பின், இவள் வாழாள்; இவள் அன்றி,
புலம் புகழ் ஒருவ! யானும் வாழேன்;
அதனால், பொதி அவிழ் வைகறை வந்து, நீ குறை கூறி,
வதுவை அயர்தல் வேண்டுவல், ஆங்கு,
புதுவை போலும் நின் வரவும், இவள்
வதுவை நாண் ஒடுக்கமும், காண்குவல் யானே.

We are back to the three-step format and the context of a confidante’s plea! The words can be translated as follows:

“Angered by a tiger that pounced and attacked it, hidden because of its winnow-like ears, a handsome elephant with long tusks, akin to the strong and righteous one, who tore apart the thigh of the one, who was the chief of the hundred, piercing with its sharp ends, stabbed the chest of the hostile tiger and ended its enmity, and akin to the towering lord, who vanquished the ‘Mallars’, standing tall amidst its herd, it roves around in the wide slopes of your high mountains, O lord! Listen:

Wearing a lotus garland, streaked with cool and fragrant sandalwood, when you come to tryst with the maiden, adorned with an exquisite-petaled flower garland, the people of the little hamlet, filled with fear, might mistake that fragrant scent as belonging to the fearsome mountain spirit that seeks a sacrifice.

Wearing a cold and dripping attire, adorned with an evening garland, when you come to tryst with the maiden, with low-hanging thick tresses, people carrying radiant firebrands, catapults and bows, who guard the millet fields, might mistake you for an elephant and shout out in a frenzy.

Wearing sandalwood on your chest, with a noble attitude and with grace, when you come to tryst with the maiden, having a wide and beautiful waist, the people of this uproarious town might mistake you as a tiger that has entered the pepper-flourishing mountain slopes.

And when people see that it’s not an animal or a spirit that has come there and know the truth, she would not live; Without her, O man with a deep intellect, I shan’t live either. And so, come here at dawn, when flowers blossom, and stating your claim, seek her hand in marriage. I so wish to see you come here as if you were a stranger to her, and make her blush in shyness on the day of her wedding!”

Let’s delve into the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage and around the theme of trysting. The words are rendered by the confidante to the man. The confidante begins by etching the man’s mountain country with that favourite trope of an elephant fighting with a tiger and vanquishing it. What’s unique in this instance of the repeating reference is the concept of a ‘blind spot’ that we can infer from this verse, in the image of how the elephant was not able to see the tiger behind it, because of its huge, winnow-like ears. Through this minute description, the poet brings out a deep dynamism to the scene, where the tiger, with cunning, hides behind the elephant and pounces on it. There are some mythical references as well in the image of a strong warrior tearing apart the thigh of another, who is said to be the leader of the hundred. Other interpreters have chosen to see this description as signifying the tale of Bheema and Duryodhana in the Epic Mahabaratha.

Returning, we see the confidante relating to the man the situation of the townsfolk mistaking his fragrance, his wet appearance and manner of walking, as that of a fearsome spirit, or a ravaging elephant or a dangerous tiger. Because of this, a huge furore may rise and he may be found out in his secret tryst with the lady. If that happens, the lady cannot bear the shame and she will lose her life, the confidante says, adding so will she. So, instead of paving the way for these terrible consequences, the man must instead seek the lady’s hand to her family, the confidante advises, with a final note, filled with wishfulness, desiring to see the man walk like a stranger to the lady and the lady bending her head low in shyness, on that day they come together as one before the world. By painting these vivid images of the future she wishes for, the confidante makes a strong case to the man, and yet again teaches us the principles of persuasion!

In this episode, we listen to a fascinating incident in the life of the lady, as portrayed in Sangam Literary work, Kalithogai 51, penned by Kabilar. The verse is situated in the ‘Kurinji’ or ‘Mountains landscape’ and sketches a delightful moment of love’s blooming.

சுடர்த்தொடீஇ! கேளாய்! தெருவில் நாம் ஆடும்
மணற் சிற்றில் காலின் சிதையா, அடைச்சிய
கோதை பரிந்து, வரி பந்து கொண்டு ஓடி,
நோ தக்க செய்யும் சிறு பட்டி, மேல் ஓர் நாள்,
அன்னையும் யானும் இருந்தேமா, ‘இல்லிரே!
உண்ணு நீர் வேட்டேன்’ என வந்தாற்கு, அன்னை,
‘அடர் பொற் சிரகத்தால் வாக்கி, சுடரிழாய்!
உண்ணு நீர் ஊட்டி வா’ என்றாள்: என, யானும்
தன்னை அறியாது சென்றேன்; மற்று என்னை
வளை முன்கை பற்றி நலிய, தெருமந்திட்டு,
‘அன்னாய்! இவனொருவன் செய்தது காண்’ என்றேனா,
அன்னை அலறிப் படர்தர, தன்னை யான்,
‘உண்ணு நீர் விக்கினான்’ என்றேனா, அன்னையும்
தன்னைப் புறம்பு அழித்து நீவ, மற்று என்னைக்
கடைக்கண்ணால் கொல்வான் போல் நோக்கி, நகைக் கூட்டம்
செய்தான், அக் கள்வன் மகன்.

Such a different style from all the verses we have seen thus far. The words can be translated as follows:

“O maiden wearing radiant bangles! Listen to me! When we used to play on the streets, there was one little rascal, who would kick away our sand houses, pull out the flower garlands that adorned our tresses and then run away with our striped ball, making us suffer so. Later, one day, when I was at home with mother, we heard a voice call out, ‘O people at this home, would you give me some water to drink?’. Mother, hearing this, said to me, ‘O maiden wearing radiant jewels, pour some water in a thick golden bowl and go give it to that person to drink’. Without knowing who it was, I went out to do what she asked me. Just then, that old rascal caught hold of my bangle-clad arm tightly, and startled me so. I shouted out, ‘O mother! See what he’s doing!’. Mother came out screaming with worry, and I told her quickly, ‘He started having hiccups, when he was drinking water’. When mother rushed to rub his back, he looked at me, from the corner of his eye, as though he would kill me, and then, that daring thief smiled with so much love and joy!”

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 the words are uttered by the lady to her confidante. Without much ado, the lady dives straight into the core, relating how when they were young girls playing on the street, an impish little boy would kick away the sand castles they had built, would pull out their head garlands and then scoot off with the ball they used to play with. No doubt the confidante would have nodded her head, remembering that little scamp. Then, the lady moves to the recent past, when she was at home with her mother and a male voice was heard outside asking for a little water. Mother, full of kindness, seems to have asked her girl to go give water to that person, that too in a golden bowl. The lady too, innocently seems to have gone out to do her mother’s bidding. Just then, she saw that the person before her was none other than that old scamp, who had troubled them in play. When she handed the water, he seems to have pulled her hand and she instinctively shouted calling mother to come see what that person was doing. Mother seems to have come running outside, worrying what’s up. To save him, the lady changed the story and told mother that he had started having severe hiccups and that’s why she called mother. Again, believing her daughter, mother seems to have gone to rub the back and aid the poor, hiccuping man. The lady concludes with the image of how this man, looked at her from the corner of his eye, as though he was about to kill her and then burst into a smile, full of joy and love for her! One of the best narrative verses I have read thus far. It made me burst into a big smile too, reliving this adorable story of love’s antics and the innocent joys of that delightful time in one’s life!