Sangam Lit

In this episode, we perceive the support rendered by a bard, as depicted in Sangam Literary work, Kalithogai 30, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and sketches the prior acts of the man.

‘அருந்தவம் ஆற்றியார் நுகர்ச்சி போல், அணி கொள
விரிந்து ஆனாச் சினை தொறூஉம், வேண்டும் தாது அமர்ந்து ஆடி,
புரிந்து ஆர்க்கும் வண்டொடு, புலம்பு தீர்ந்து எவ் வாயும்,
இருந் தும்பி, இறை கொள எதிரிய வேனிலான்

துயில் இன்றி யாம் நீந்த, தொழுவை அம் புனல் ஆடி,
மயில் இயலார் மரு உண்டு, மறந்து அமைகுவான்மன்னோ
‘வெயில் ஒளி அறியாத விரி மலர்த் தண் காவில்
குயில் ஆலும் பொழுது’ எனக் கூறுநர் உளராயின்

பானாள் யாம் படர் கூர, பணை எழில் அணை மென் தோள்
மான் நோக்கினவரோடு மறந்து அமைகுவான்மன்னோ
‘ஆனாச் சீர்க் கூடலுள் அரும்பு அவிழ் நறு முல்லை,
தேன் ஆர்க்கும் பொழுது’ எனத் தெளிக்குநர் உளராயின்

உறல் யாம் ஒளி வாட, உயர்ந்தவன் விழவினுள்
விறல் இழையவரோடு விளையாடுவான்மன்னோ
‘பெறல் அரும் பொழுதோடு, பிறங்கு இணர்த் துருத்தி சூழ்ந்து,
அறல் வாரும், வையை’ என்று அறையுநர் உளராயின்’

என ஆங்கு,
தணியா நோய் உழந்து ஆனாத் தகையவள் தகை பெற,
அணி கிளர் நெடுந் திண் தேர் அயர்மதி பணிபு நின்
காமர் கழல் அடி சேரா
நாமம் சால் தெவ்வரின் நடுங்கினள் பெரிதே.

After a long time, we are hearing the voice of a person other than the confidante and the lady and it happens to be a bard! The words can be translated as follows:

“‘With the ever-present joy found in those who have achieved hard penance, blacks bees buzz obtaining their food, relishing pollen plenty that they were yearning for, on flowers that open their petals, adorning all the branches with beauty, delighting in the end of their sorrow. Such is the season of spring that has arrived.

As I tossed without sleep, he played in the lush waters of the river, inhaling scents of those who appear like peacocks, back then. Can he forget that and stay away if some one were to go to him and say, ‘It’s the time when, in the moist grove with fully-bloomed flowers that know not about sunlight, cuckoos sing’?

As suffering spread in me at midnight, he was in the embrace of those who have bamboo-like, delicate arms, and the gaze of a deer, back then. Can he forget that and stay away if some one were to go to him and clarify, ‘It’s the time when, in Koodal of unending fame, around fragrant jasmine buds, bees buzz’?

As I, his wife, faded away, the noble man was playing in the festival with women clad in exquisite jewels, back then. Can he forget that and stay away if some one were to go to him and declare, ‘It’s the time when, in the Vaigai, causing many sand islets, streams gush’?’

Saying these words, with a disease that abates not, she suffers. To render grace to that gracious one, ride on your tall and sturdy chariot, adorned with beauty, for akin to how the foes, who do not bow before your feet, quiver when they hear your name, she shivers in worry tremendously!”

Time to explore the nuances. The verse is situated in the context of the man’s parting from the lady and here, a bard renders the words of the lady and his concluding thoughts to the man, who is to be found in a battle encampment. The bard conveys through the lady’s words that the season of spring was there, wherein bees were in the state of those, who had obtained deep bliss through their penance. The bees were in that state of ‘Nirvana’ because all the branches had bursted with flowers and pollen, the very thing they wanted! Now the lady continues by remembering how when she was lying sleepless the man used to enjoy himself, playing in the waters, inhaling the scents and embracing the bamboo-like arms of courtesans. Now, we get a taste of ‘Marutham’ or ‘Farmlands’ in this verse situated in the drylands. The lady has recollected these events to say that back then, the man was like that, and now if someone were to go and tell him that the cuckoos were singing in moist groves, bees were buzzing in Koodal and streams were flowing making many sand islets in the Vaigai, the man would recollect his joyous times with those maiden and return home instantly. This seems to be a strategy of the lady wherein she declares, ‘Maybe he has forgotten me but he is sure to not have forgotten his dear courtesans!’.

The bard takes these words of the lady to the man and nudges him to ride his chariot and be back with her soon. He concludes with a sharp simile that the lady seems to tremble without the man’s presence akin to how the foes of this noble man do, when they hear his name. The last line informs us the man is in a battlefield, and also, the lady’s words about his affection for courtesans is meant to shock the man and divert his thoughts towards the lady. Thinking tangentially, why should a lady lament for such a man if the statements about his courting courtesans are true? Was her life so irrevocably tied to the presence of the man or is that the narrative the poets wished to depict? If they do, what was the inner motive? Sangam Lit continues to raise questions about these intricate facets of a culture’s intention!

In this episode, we perceive a message of good tidings, as portrayed in Sangam Literary work, Kalithogai 29, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and talks about the many elements that bring anxiety to the lady in the man’s absence.

‘தொல் எழில் வரைத்து அன்றி வயவு நோய் நலிதலின்,
அல்லாந்தார் அலவுற ஈன்றவள் கிடக்கை போல்,
பல் பயம் உதவிய பசுமை தீர் அகல் ஞாலம்
புல்லிய புனிறு ஒரீஇப் புது நலம் ஏர்தர;
வளையவர் வண்டல் போல், வார் மணல் வடுக் கொள;
இளையவர் ஐம்பால் போல், எக்கர் போழ்ந்து அறல் வார;
மா ஈன்ற தளிர்மிசை, மாயவள் திதலை போல்,
ஆய் இதழ்ப் பல் மலர் ஐய கொங்கு உறைத்தர;
மே தக இளவேனில் இறுத்தந்த பொழுதின்கண்

சேயார்கண் சென்ற என் நெஞ்சினை சின்மொழி!
நீ கூறும் வரைத்து அன்றி, நிறுப்பென்மன்! நிறை நீவி,
வாய் விரிபு பனி ஏற்ற விரவுப் பல் மலர் தீண்டி,
நோய் சேர்ந்த வைகலான், வாடை வந்து அலைத்தரூஉம்

போழ்து உள்ளார் துறந்தார்கண் புரி வாடும் கொள்கையைச்
சூழ்பு ஆங்கே சுடரிழாய்! கரப்பென்மன்! கைநீவி
வீழ் கதிர் விடுத்த பூ விருந்து உண்ணும் இருந் தும்பி
யாழ் கொண்ட இமிழ் இசை இயல் மாலை அலைத்தரூஉம்

தொடி நிலை நெகிழ்த்தார்கண் தோயும் என் ஆர் உயிர்
வடு நீங்கு கிளவியாய்! வலிப்பென்மன்! வலிப்பவும்,
நெடு நிலா, திறந்து உண்ண, நிரை இதழ் வாய் விட்ட
கடி மலர் கமழ் நாற்றம், கங்குல் வந்து, அலைத்தரூஉம்’

என ஆங்கு,
வருந்தினை வதிந்த நின் வளை நீங்க, சேய் நாட்டுப்
பிரிந்து செய் பொருட் பிணி பின் நோக்காது ஏகி, நம்
அருந் துயர் களைஞர் வந்தனர்
திருந்து எயிறு இலங்கு நின் தேமொழி படர்ந்தே.

The confidante changes the mood of the verse with her concluding statement. The words can be translated as follows:

“As the sickness in pregnancy tormented, losing her old beauty, making the family much worried, appeared a woman. Akin to her state after she has given birth, when the distressing labour is done, the wide lands with fields that have prospered plentifully but which had lost their fertility, have regained their health and beauty; Akin to the sand houses of young girls, the river sands have filled up with fallen flowers; Akin to the five-part braid of young maiden, the sands have split in waves along the shore; Akin to the pallor spots of a dark-skinned maiden, the pollen of many beautiful flowers have spread atop the new shoots of the mango tree; Such are the changes enacted by the season of spring that has arrived at this time;

O maiden who speaks sparse words! The heart of mine, which laments about the man who lives far apart, I can bring that under perfect control, even more than the bounds you ask for! But even when I do, caressing the many scattered, bloomed and moist flowers in this evening time when affliction brims, the northern winds torment me so!

O maiden who wears radiant ornaments! The fading changes in my form owing to my heart dwelling around the man, who thinks not about me, I can hide! But even when I do, feeding on the flowers that have been touched by the falling rays of the sun in this evening, the black bees that resound with the sound of lutes torment me so!

O maiden who renders perfect words! The precious life of mine that seems to revolve around the one who has made my bangles slip away, I can subdue! But, even when I do, as the faraway moon glows and bees pierce open and the flowers spread out their wide petals at night, the fragrance of these fine flowers torment me so!

Saying all this, you worried and made your bangles slip away. The one who parted away to a strange country in search of wealth, without thinking about you, has now come to end your great sorrow, thinking about the honey-like words from your perfect, shining teeth!”

Let’s delve into the details. The verse is situated in the context of the man’s parting after marriage and speaks in the voice of the lady initially with the confidante’s concluding words. The lady presents various similes to talk about the advent of spring, such as how the fields have turned lush following their period of drought, much like how a pregnant woman regains her lost health, after the birth of her child; river sands being decked with flowers and pollen like the sand houses of girls; wavy sands on the shore shining like a maiden’s five-part braid, and pollen of many different flowers falling on the green leaves of a mango tree, like the pallor-spotted complexion of a dark-skinned woman. So, it’s again the theme of ‘Spring’s here. But he’s not’.

As if replying to prior words of the confidante asking her to be strong, the lady says she can try to control her heart, hide the changes in her form and even subdue the quivering of her life, all affected by the man who had parted away. But even when she does so, the northern winds, the buzzing black bees and the fragrance of flowers that soar in the evening attack her and make her lose her resolve. Quoting these words of the lady, the confidante says, ‘you were so worried but now, the man arrives to end your sorrow’, thinking only about the sweet words the lady speaks. This statement is probably said with a laugh for the lady’s words lamenting about the man are hardly sweet! But the highlight of the verse is the message of hope for a worrying heart!

In this episode, we listen to a lady’s lament and a confidante’s consolation, as portrayed in Sangam Literary work, Kalithogai 28, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and narrates the seasonal changes in spring.

‘பாடல் சால் சிறப்பின் சினையவும், சுனையவும்
நாடினர் கொயல் வேண்டா, நயந்து தாம் கொடுப்ப போல்,
தோடு அவிழ் கமழ் கண்ணி தையுபு புனைவார்கண்
தோடுறத் தாழ்ந்து, துறை துறை கவின் பெற,
செய்யவள் அணி அகலத்து ஆரமொடு அணி கொள்பு,
தொய்யகம் தாழ்ந்த கதுப்புப் போல் துவர் மணல்
வையை வார் அவிர் அறல், இடை போழும் பொழுதினான்

விரிந்து ஆனா மலராயின், விளித்து ஆலும் குயிலாயின்,
பிரிந்து உள்ளார் அவராயின், பேதுறூஉம் பொழுதாயின்,
அரும் படர் அவல நோய் ஆற்றுவள் என்னாது
வருந்த, நோய் மிகுமாயின் வணங்கிறை! அளி என்னோ?

புதலவை மலராயின், பொங்கரின வண்டாயின்,
அயலதை அலராயின், அகன்று உள்ளார் அவராயின்,
மதலை இல் நெஞ்சொடு மதனிலள் என்னாது
நுதல் ஊரும் பசப்பாயின் நுணங்கிறை! அளி என்னோ?

தோயின அறலாயின், சுரும்பு ஆர்க்கும் சினையாயின்,
மாவின தளிராயின், மறந்து உள்ளார் அவராயின்,
பூ எழில் இழந்த கண் புலம்பு கொண்டு அமையாது
பாயல் நோய் மிகுமாயின் பைந்தொடி! அளி என்னோ?’

என ஆங்கு,
ஆயிழாய்! ஆங்கனம் உரையாதி; சேயார்க்கு
நாம் தூது மொழிந்தனம் விடல் வேண்டா; நம்மினும்
தாம் பிரிந்து உறைதல் ஆற்றலர்,
பரிந்து எவன் செய்தி வருகுவர் விரைந்தே.

It’s the same duo of maidens in conversation here! The words can be translated as follows:

“Flowers, worthy of being sung in a song, are endowed with affection by the low hanging branches to those who adorn themselves with fragrant flower garlands containing blooming petals, giving no reason for them to search for these flowers in branches and springs. These branches adorn the river shores with such allure. Akin to how a necklace beautifies the wide chest of the goddess, flows the river Vaigai, amidst the salty red sands, akin to tresses that have descended out of their ‘thoyyagam’ clasp. Such is the season of spring!

The flowers have bloomed, the cuckoos have sent out their calls, and yet he, who is parted from me, thinks not that in this confusing time, she will suffer because of the terrible affliction and that disease will soar in her, O maiden with curving forearms! What can his grace do?

The bushes have flowered, bees have started buzzing in the groves, and slander has spread among the neighbours, and yet, if he who lives apart from me, thinks not that her heart will lack the strength and support, and that pallor would spread on her forehead, O maiden with swaying arms! What can his grace do?

The sands have become soaked, the branches have started buzzing with bees, and the mango tree has sprouted new leaves, and yet, if he has forgotten me, making my flower-like eyes lose their beauty and suffer in loneliness, as this disease brims over, O maiden wearing new bangles! What can his grace do?

Do not say all this, O maiden wearing well-etched ornaments! Let’s not send a messenger to the one who lives far away; Even more than you, he cannot bear to be apart. What’s the use of worrying? He will be back soon!”

Let’s explore the details. The verse is situated in the context of the man’s parting after marriage and speaks in the voice of the lady initially, followed by the concluding words of the confidante. The lady starts by talking about the exquisite branches of flowering trees that hang low over the Vaigai river, offering their blooms to those who want to make flower garlands, without any need for searching in faraway trees or springs. And the river too flows like a necklace on the chest of a goddess, a creative way of illustrating the geographic concept of ‘river meandering’. Once again, the river sands are equated to the tresses of women that have escaped a clasp mentioned as ‘thoyyagam’, possibly the rubber bands or hair pins of the Sangam era!

The lady has mentioned these elements of land to inform how the season of spring has arrived, and she continues by talking about all the changes such as the blooming of flowers, buzzing of bees, singing by cuckoos, slander from neighbours, soaking of river sands, sprouting of mango trees, and so on, mentioning the exuberant expressions of nature as this season enters the fold. She adds yet the man does not think about how love affliction, pallor and the disease of loneliness would spread in her, and he remains far away. So, she asks the same question wondering what good can his grace do later when he returns. Hearing this, the confidante asks her not to speak so, and declares the man is someone who cannot bear to be apart from the lady and advises that there’s no use in worrying, concluding that he’ll be back soon. The confidante’s good sense echoes in these words and instead of running out of patience for this lamenting lady, who seems so helpless without her man, we can instead admire the persistent portrayal of sense and sensibility in the psyche of the confidante!

In this episode, we perceive pertinent similes to describe a person’s state of mind, as portrayed in Sangam Literary work, Kalithogai 27, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals the thoughtfulness of the man.

‘ஈதலில் குறை காட்டாது, அறன் அறிந்து ஒழுகிய
தீதிலான் செல்வம் போல், தீம் கரை மரம் நந்த;
பேதுறு மட மொழி, பிணை எழில் மான் நோக்கின்
மாதரார் முறுவல் போல், மண மௌவல் முகை ஊழ்ப்ப;
காதலர்ப் புணர்ந்தவர் கதுப்புப் போல், கழல்குபு
தாதொடும் தளிரொடும், தண் அறல் தகை பெற;
பேதையோன் வினை வாங்க, பீடு இலா அரசன் நாட்டு,
ஏதிலான் படை போல, இறுத்தந்தது, இளவேனில்

நிலம் பூத்த மரமிசை நிமிர்பு ஆலும் குயில் எள்ள,
நலம் பூத்த நிறம் சாய, நம்மையோ மறந்தைக்க;
கலம் பூத்த அணியவர் காரிகை மகிழ் செய்ய,
புலம் பூத்து, புகழ்பு ஆனாக் கூடலும் உள்ளார்கொல்?

கல்மிசை மயில் ஆல, கறங்கி ஊர் அலர் தூற்ற,
தொல் நலம் நனி சாய, நம்மையோ மறந்தைக்க;
ஒன்னாதார்க் கடந்து அடூஉம், உரவு நீர் மா கொன்ற,
வென் வேலான் குன்றின்மேல் விளையாட்டும் விரும்பார்கொல்?

மை எழில் மலர் உண்கண் மரு ஊட்டி மகிழ் கொள்ள,
பொய்யினால் புரிவுண்ட நம்மையோ மறந்தைக்க;
தைஇய மகளிர் தம் ஆயமோடு அமர்ந்து ஆடும்
வையை வார் உயர் எக்கர் நுகர்ச்சியும் உள்ளார்கொல்?’

என ஆங்கு,
நோய் மலி நெஞ்சமோடு இனையல், தோழி!
‘நாம் இல்லாப் புலம்பாயின், நடுக்கம் செய் பொழுதாயின்,
காமவேள் விழவாயின், ‘கலங்குவள் பெரிது’ என,
ஏமுறு கடுந் திண் தேர் கடவி,
நாம் அமர் காதலர் துணை தந்தார், விரைந்தே.

The lady’s confusion and the confidante’s consolation are combined in this rendition. The words can be translated as follows:

“Akin to the wealth of a flawless man, who knows the path of justice and who leaves nothing amiss in his generosity, the trees on the sweet shore flourish; Akin to the smiles of women, who have the beautiful eyes of a female deer and who entice men with their naive words, the fragrant wild jasmine buds bloom; Akin to the tresses of those who have united with their lovers, with fallen pollen and leaves, the cool river shores shine; Akin to the armies of enemy kings, arriving in the country of a king without honour, guided by a foolish counsel, the season of spring lays siege around me!

Cuckoos sing with joy, atop the trees that prosper, and seem to mock me, as the beauty of my skin fades, and so, he might have forgotten me; But won’t he at least think of Koodal, with unceasing fame, where the land blooms with plenty, and those who are clad in brilliant jewels await to endow pleasures many.

Peacocks, atop the hill, cry, while the uproarious town spreads slander, as my old beauty diminishes greatly, and so, he might have forgotten me; But won’t he at least desire the games he used to play upon the hill belonging to the white-speared one, who vanquished his enemies in battle and destroyed the demon in the form of a mango tree amidst the salty waters.

Eyes, akin to flowers, kohl-streaked, he delighted and caused awe in them with his falsehoods and made me fall for him, and now, he might have forgotten me. But won’t he at least remember the happy times upon the high sands of the Vaigai river, where he sat and played with well-adorned maiden and their playmates?

Saying all this, do not suffer with an afflicted heart, O friend! Thinking, ‘She would be lonely without me, and it would become a time of great anxiety, for the festival of ‘Kamavel’ is around the corner’ and ‘She would be in immense sorrow’, with worry, he climbed upon his sturdy chariot and rode it here with much speed, to render his fine company to you!”

Time to explore the nuances. The verse is situated in the context of the man’s parting from the lady after marriage, and here, the confidante initially speaks in the voice of the lady and concludes with her own words. Speaking as the lady, she reveals how the season of spring has caused distress using a cascade of exquisite similes: The trees that bloom in this season are said to flourish like a just man’s wealth, who is generous without reservation; The wild jasmine buds are said to bloom like the smiles of maiden who entice men with their sweet words; The river sands spread and glow with shed pollen and leaves, much like the tousled tresses of those who have united with their beloved. The final one is the most intriguing of all, where the lady talks about how this season of spring lays siege around her, exactly like the army of enemy kings, who have no qualms in invading the country of a king without honour and who has no wise counsel to guide them in the right path. There’s politics and strategy concealed within this comment about a woman’s state of mind!

Next, the lady seems to talk about how , making the cuckoo mock at her, and the peacock cry and the village folk gossip, and after winning her over, and as her beauty fades, perhaps it’s natural for the man to forget her. But how could he forget their city of Koodal, where plenty of courtesans are awaiting to endow joys in that famous place; the peak of white-speared king, a possible reference to God Murugu, and the mythical stories of his vanquishing demons and others in the sea, for that place seems to be where the man has spent joyful moments in play, and finally, she asks how the man could forget the sands of the River Vaigai, where he played delightfully with the bejewelled courtesans and their playmates. In short, the lady seems to say, ‘It’s fine he’s forgotten me. How can he forget all these other things he does in this city of ours and why isn’t he back yet?’. Since this is situated in ‘Paalai’ or ‘Drylands’ signifying the theme of separation, the lady seems to be in this mood. If at all the same song is in ‘Marutham’ or ‘Farmlands landscape’, she’s sure to shower her ire on the man for doing the very same things.

In any case, the confidante negates all these unnecessary worrying on the part of the lady and declares that the man is expected anytime now, for he thought that the lady cannot bear to be apart from him, at this particular time, for the festival of Kamavel was fast approaching. This made me imagine a worker in Dubai rushing home to be with his family in Cochin for Ramzan; a worker in London wishing to be with her husband in New York for Christmas; And a worker in Canberra flying to be with their children in Calcutta for Diwali and thrilled me to see this reflection of an ancient emotion in the modern world of today!

In this episode, we listen to the questions in the mind of a lady, as depicted in Sangam Literary work, Kalithogai 26, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and concludes with a reassuring message.

‘ஒரு குழை ஒருவன் போல், இணர் சேர்ந்த மராஅமும்,
பருதி அம் செல்வன் போல், நனை ஊழ்த்த செருந்தியும்,
மீன் ஏற்றுக் கொடியோன் போல், மிஞிறு ஆர்க்கும் காஞ்சியும்,
ஏனோன் போல், நிறம் கிளர்பு கஞலிய ஞாழலும்,
ஆன் ஏற்றுக் கொடியோன் போல், எதிரிய இலவமும், ஆங்கு,
தீது தீர் சிறப்பின் ஐவர்கள் நிலை போல,
போது அவிழ் மரத்தொடு பொருகரை கவின் பெற,
நோ தக வந்தன்றால், இளவேனில் மே தக

பல் வரி இன வண்டு புதிது உண்ணும் பருவத்து,
தொல் கவின் தொலைந்த என் தட மென் தோள் உள்ளுவார்
ஒல்குபு நிழல் சேர்ந்தார்க்கு உலையாது காத்து ஓம்பி,
வெல் புகழ் உலகு ஏத்த, விருந்து நாட்டு உறைபவர்

திசை திசை தேன் ஆர்க்கும் திருமருதமுன்துறை,
வசை தீர்ந்த என் நலம் வாடுவது அருளுவார்
நசை கொண்டு தம் நீழல் சேர்ந்தாரைத் தாங்கி, தம்
இசை பரந்து, உலகு ஏத்த, ஏதில் நாட்டு உறைபவர்

அறல் சாஅய் பொழுதோடு, எம் அணி நுதல் வேறாகி,
திறல் சான்ற பெரு வனப்பு இழப்பதை அருளுவார்
ஊறு அஞ்சி நிழல் சேர்ந்தார்க்கு உலையாது காத்து ஓம்பி,
ஆறு இன்றிப் பொருள் வெஃகி அகன்ற நாட்டு உறைபவர்’

என, நீ
தெருமரல் வாழி, தோழி! நம் காதலர்,
பொரு முரண் யானையர் போர் மலைந்து எழுந்தவர்
செரு மேம்பட்ட வென்றியர்;
‘வரும்’ என வந்தன்று, அவர் வாய்மொழித் தூதே.

The confidante has the final say in this verse! The words can be translated as follows:

“‘Like the incomparable ear ornament of the one, are the flower clusters of the burflower tree; Like the esteemed sun, are the flower buds of the golden champak tree; Like the one who has an upraised flag with a fish emblem, are the bee-buzzing portia trees; Like the other one, are the bright flower clusters of the tigerclaw trees; Like the one who has an upraised flag with an oxen emblem, are the flowers of the silk-cotton tree; Akin to the state of the flawless and famous five kings, bloom the flowers of the tree on the shore. Adorning them with such beauty, the season of spring has arrived!

In this season when the many-lined bees savour fresh honey, will he think about my delicate, curving arms that have lost their old beauty? Protecting those who have attained his shade, for the world to celebrate his fame, he who lives in the strange country!

In this place called ‘Thirumaruthamunthurai’, where bees buzz in all directions, will he grace my faultless fine beauty? Sheltering those who have attained his shade with hope and desire, for the world to spread his fame, he who lives in the enemy country!

In this time when the river flow is reduced, will he grace my beautiful forehead and prevent it from losing its splendid, great beauty? Defending those who attain his shade, desiring not wealth that comes in unrighteous ways, he who lives in that wide country!’

Saying so, don’t you be confused! May you live long, my friend! Your lover, who soared against enemies arriving with huge elephants, and won them over in those battles, will return soon, says the messenger, bringing the good word from him!”

Let’s explore the details. The verse is situated in the context of the man’s parting from his lady after marriage and here, the confidante expresses the thoughts of the lady and concludes with a final message. She starts by speaking in the voice of the lady, and in the first section, there’s mention of many nameless entities, talking about their earrings and flags. This is the kind of information that is local and not easily accessible across centuries. Some interpreters have tried to connect these references to mythical and religious figures, but I prefer to focus on the core elements these lines are describing, which are the many different flowers that bloom in the season of spring. A powerful reminder that myths and stories vanish away in time but nature is indeed timeless. 

Returning, the lady has referred to the season of spring, a place called ‘Thirumaruthathurai’, possibly the Madurai on the banks of Vaigai, and the time when rivers flow with reduced intensity, only to wonder if the man will think of her curving arms, faultless beauty and fine forehead, as he’s engaged in protecting and guarding others in a faraway country. Quoting the lady this far, the confidante asks her not to worry anymore because the victorious man, who has been conquering enemies on elephants had sent word that he will return soon through a messenger. In short, words of consolation to a worrying heart!

In this episode, we perceive striking similes on human nature, as depicted in Sangam Literary work, Kalithogai 25, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and talks about the state of the lady in the event of the man’s parting away.

வயக்குறு மண்டிலம் வடமொழிப் பெயர் பெற்ற
முகத்தவன் மக்களுள் முதியவன் புணர்ப்பினால்
‘ஐவர்’ என்று உலகு ஏத்தும் அரசர்கள் அகத்தரா,
கை புனை அரக்கு இல்லைக் கதழ் எரி சூழ்ந்தாங்கு,
களி திகழ் கடாஅத்த கடுங் களிறு அகத்தவா,
முளி கழை உயர் மலை முற்றிய முழங்கு அழல்

ஒள் உரு அரக்கு இல்லை வளிமகன் உடைத்துத் தன்
உள்ளத்துக் கிளைகளோடு உயப் போகுவான் போல,
எழு உறழ் தடக் கையின் இனம் காக்கும் எழில் வேழம்,
அழுவம் சூழ், புகை அழல் அதர்பட மிதித்துத் தம்
குழுவொடு புணர்ந்து போம், குன்று அழல் வெஞ் சுரம்
இறத்திரால், ஐய! மற்று இவள் நிலைமை கேட்டீமின்:

மணக்குங்கால் மலர் அன்ன தகையவாய், சிறிது நீர்
தணக்குங்கால், கலுழ்பு ஆனாக் கண் எனவும் உள அன்றோ
சிறப்புச் செய்து உழையராப் புகழ்பு ஏத்தி, மற்று அவர்
புறக்கொடையே பழி தூற்றும் புல்லியார் தொடர்பு போல்?

ஈங்கு நீர் அளிக்குங்கால் இறை சிறந்து, ஒரு நாள் நீர்
நீங்குங்கால், நெகிழ்பு ஓடும் வளை எனவும் உள அன்றோ
செல்வத்துள் சேர்ந்தவர் வளன் உண்டு, மற்று அவர்
ஒல்கத்து நல்கிலா உணர்விலார் தொடர்பு போல்?

ஒரு நாள் நீர் அளிக்குங்கால் ஒளி சிறந்து, ஒரு நாள் நீர்
பாராட்டாக்கால், பசக்கும் நுதல் எனவும் உள அன்றோ
பொருந்திய கேண்மையின் மறை உணர்ந்து, அம் மறை
பிரிந்தக்கால் பிறர்க்கு உரைக்கும் பீடிலார் தொடர்பு போல்?

என ஆங்கு,
யாம் நிற் கூறுவது எவன் உண்டு? எம்மினும்
நீ நற்கு அறிந்தனை, நெடுந் தகை! வானம்
துளி மாறு பொழுதின், இவ் உலகம் போலும் நின்
அளி மாறு பொழுதின், இவ் ஆயிழை கவினே.

The confidante’s thoughtful persuasion is sketched here! The words can be translated as follows:

“The eldest son of the one, who has the name of the radiant sun in the northern language, and who lacks eyes like the sun, even as the united ‘Five’, great kings celebrated by the world, were within, set fire to the well-carved mansion made of lacquer. Akin to how the soaring flames surrounded the house, when mad elephants in musth were caught within, raging flames burst around on the thorny bamboos in the tall mountains. 

Akin to how the son of the wind broke apart the radiant lacquer mansion and parted away with his beloved kin, a handsome elephant with a club-like trunk protects its herd, by guiding them through the smoke-filled dense forest, trampling on the ground and making a path, taking its kin to safety in the hot and flaming high drylands. If you want to go thither, O lord, listen to her state now: 

There are some unkind people, who worship and praise someone, when they are close by, and speak ill of the person, when the other turns their back. Akin to their nature, when you embrace her, it blooms like a flower, and when you separate a little, it fills with tears – Those eyes of hers!

There are some ungrateful people, who feed on the prosperity of someone, who is wealthy, and then forsakes them when the other incurs poverty. Akin to their nature, when you shower your grace here, it stands firm on her forearms, and when you part away, it slips and falls – Those bangles of hers!

There are some unprincipled people, who learn the secrets of friends they are close with, and then reveal those secrets to others when they part ways with those friends. Akin to their nature, when you grace her one day, they glow with brightness, and when you don’t praise her another day, it spreads with pallor – That forehead of hers!

And so, what more can I say to you? You know much more than I do, O esteemed lord! Akin to this land that changes its nature when the drops from the skies changes, so too, the beauty of this maiden, wearing well-etched ornaments, changes, when your grace changes!”

Time to delve into the nuances. The verse is situated in the context of the man’s parting from his lady after marriage and the confidante renders these words to the man, when he conveys his intent to leave. The confidante starts with a curious reference to an incident mentioned in the Epic Mahabharata, the one involving Duryodhana, who is not named here but described as the eldest son of the person, whose name means ‘sun’ in the Northern language. This said person is set to have built a palace made of easily inflammable lacquer and then invited his celebrated cousins, the ‘famed five’ or ‘Pandavas’ as they are called in the epic, to live there. When they are within, this Duryodhana sets fire to the palace and flames soar all around. Why is the confidante talking about some event said to have happened elsewhere? Only to connect the furious flames that soar atop the bamboos on the hill, where a herd of elephants are locked in, like those five kings. In that epic story, the son of the wind god, known by the name of ‘Bheema’, who has phenomenal strength, breaks apart the doors, and finds a path to lead his brothers and others to safety. Likewise, in a parallel, one strong elephant stamps out the fire, and finds a path to guide its herd out. This parallel narration of events in a myth and nature, is used to describe the nature of the drylands the man wants to travel to. 

After that dramatic story, the confidante comes to the core of the matter and asks the man to understand the lady’s state if he parts away. To do that, she presents three similes that talk about the nature of certain people, such as a person, who praises in front of the other and gossips about them when the other’s back is turned; a person, who enjoys the wealth of another and then avoids them when the other is in poverty; and also, a person, who gathers the secrets of a friend and then spills those secrets to others when they part ways with that friend. Just like the changing nature of these lowly people are the lady’s eyes, which bloom when the man is near and fade when he is far; the lady’s bangles, which are firm when the man is near and fall when he is far; and the lady’s forehead, which glows when he is near and pales when he is far, the confidante says. She concludes by declaring that the man sure knows more about this than her. She adds that he should consider how the lady’s beauty varies with the presence or absence of the man’s grace, just like how the land changes its shades with the presence or absence of the raindrops from the skies.

Thus, in this layered verse, we are given illustrations of human nature that are relatable even now. We are still shocked and disappointed when people act in the mean, ungrateful and indiscreet manner described above. And this reaction is something that is true anywhere and anytime. Capturing this essence shows how the poets have understood the timelessness and universality of certain elements. While we cannot understand the pining lady’s misery and despair at the parting away of her man, it’s astonishing that we can grasp these elements of human nature, after two thousand or more years, no matter who we are or where we live!

In this episode, we perceive the lady’s inferences about the man’s course of action, as portrayed in Sangam Literary work, Kalithogai 24, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and sketches a dream study.

‘நெஞ்சு நடுக்குறக் கேட்டும், கடுத்தும், தாம்
அஞ்சியது ஆங்கே அணங்காகும்’ என்னும் சொல்
இன் தீம் கிளவியாய்! வாய் மன்ற: நின் கேள்
புதுவது பல் நாளும் பாராட்ட, யானும்,
‘இது ஒன்று உடைத்து’ என எண்ணி, அது தேர,
மாசு இல் வண் சேக்கை மணந்த புணர்ச்சியுள்,
பாயல் கொண்டு என் தோள் கனவுவார், ‘ஆய் கோல்
தொடி நிரை முன் கையாள் கையாறு கொள்ளாள்,
கடி மனை காத்து, ஓம்ப வல்லுவள்கொல்லோ
இடு மருப்பு யானை இலங்கு தேர்க்கு ஓடும்
நெடு மலை வெஞ் சுரம் போகி, நடு நின்று,
செய் பொருள் முற்றும் அளவு?’ என்றார்; ஆயிழாய்!
தாம் இடை கொண்டது அதுவாயின், தம் இன்றி
யாம் உயிர் வாழும் மதுகை இலேமாயின்,
‘தொய்யில் துறந்தார் அவர்’ என, தம்வயின்,
நொய்யார் நுவலும் பழி நிற்ப, தம்மொடு
போயின்று, சொல், என் உயிர்.

The lady’s imaginative mind is highlighted here! The words can be translated as follows:

“The saying ‘Whatever makes the heart quiver with fear, when hearing about it or suspecting the same, is sure to turn true and cause great suffering’ is the absolute truth, O maiden who speaks sweet words! Listen to this: As he took to praising me for many days, I thought, ‘There’s something behind this’. That became crystal clear when one night after our union on the fine and flawless bed, he slept on my arms and had a dream, in which he said, ‘Does the maiden, wearing well-etched neat row of bangles on her forearms, have the ability to take care of our good home, without feeling helpless, when I leave to the tall mountains in the hot drylands, wherein an elephant with a sharp tusk runs towards a shining mirage? Will she stand firm with a balanced mind, till I finish my mission of earning wealth?’. O maiden wearing exquisite ornaments, if that’s what he has in his mind, then I don’t have the strength to live anymore. Tell him that when compassionless others blame and exclaim, ‘The man has forsaken her ‘thoyyil’ painted arms’, it too shall part away with him, this life of mine!”

Let’s explore the nuances. The verse is situated in the context of the man’s parting from his lady after marriage and the lady says these words to her confidante. She starts by commenting on the truth of a common saying, ‘Whatever you fear will unfold and afflict you’. She continues by describing why she thinks so. The lady tells her confidante about how she noted marked changes in the man, in the way he kept praising the lady for every little thing. She suspected that something was afoot. Fulfilling her fears, one night, the man seems to slept on her arms, and in his dreams, muttered wondering if the lady had the strength to bear his parting, as he prepared to leave to the drylands, where elephants rush towards mirages, and would she hold the home front with strength until he returns. It’s amazing to see such clarity in words muttered in sleep. But let’s grant this licence to our poet, for the sake of coherence! 

Returning, we see the lady shocked hearing these words and she declares to her confidante that if this is the true intention of the man’s mind, then she does not have the strength to go on. She concludes by asking her confidante to inform the man that she sure cannot hear the blame of the townsfolk about how the man abandoned her painted arms, and that her life is sure to part away with him! Setting aside the helpless stance of this lady, we can zoom on to that interesting saying in the beginning. These words sound very close to the concept of a ‘self-fulfilling prophecy’. Centuries apart, cultures apart, how do these connections in philosophy occur? In a subtle way, the verse also showcases the powers of observation and focus on minute things in relationships, which talk about a mindful society back then!

In this episode, we listen to the lady’s feelings of despair, as depicted in Sangam Literary work, Kalithogai 23, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and vividly sketches the shades of abandonment.

இலங்கு ஒளி மருப்பின் கைம்மா உளம்புநர்,
புலம் கடி கவணையின், பூஞ் சினை உதிர்க்கும்
விலங்கு மலை வெம்பிய போக்கு அரு வெஞ் சுரம்
தனியே இறப்ப, யான் ஒழிந்திருத்தல்
நகுதக்கன்று, இவ் அழுங்கல் ஊர்க்கே:
இனி யான்,
உண்ணலும் உண்ணேன்; வாழலும் வாழேன்

தோள் நலம் உண்டு துறக்கப்பட்டோர்
வேள் நீர் உண்ட குடை ஓரன்னர்

நல்குநர் புரிந்து நலன் உணப்பட்டோர்
அல்குநர் போகிய ஊர் ஓரன்னர்

கூடினர் புரிந்து குணன் உணப்பட்டோர்
சூடினர் இட்ட பூ ஓரன்னர்

என ஆங்கு,
யானும் நின்னகத்து அனையேன்; ஆனாது,
கொலை வெங் கொள்கையொடு நாய் அகப்படுப்ப,
வலைவர்க்கு அமர்ந்த மட மான் போல,
நின் ஆங்கு வரூஉம் என் நெஞ்சினை
என் ஆங்கு வாராது ஓம்பினை கொண்மே.

The lady comes to the spotlight as she tries to convince the man to take her along. The words can be translated as follows:

“The field guards, wanting to chase away an elephant with bright and shining tusks, pelt stones with their slings and end up shedding flowers from branches in those radiant mountains. Those lush lands have been scorched to become a formidable drylands and you intend to part away alone, leaving me behind. This would become a laughable thing for this uproarious town. And so, I intend not to eat or live anymore!

Those whose beauty has been savoured and abandoned, are akin to the palm leaf bowls, discarded by those who have had their fill of water.

Those whose beauty has been savoured with grace and abandoned, are akin to a town whose inhabitants have left to live elsewhere.

Those whose health has been savoured and then abandoned, are akin to flowers thrown away after use.

And so, I too seem to have lost value to you. Akin to how a naive deer is captured by hunters, when surrounded by murderous hunting dogs, my heart seems to want to only come along with you, leaving me behind. So, take it and protect it well!”

Let’s delve into the details. The verse is situated in the context of the man’s parting from the lady after marriage and it’s the lady speaking these words to the man. She starts with a description of a once-prosperous place in the mountains, where field guards wanting to chase away elephants throw stones and these end up shedding flowers from branches. But now, this lush land had turned a drylands, and the man intended to leave there, leaving behind the lady, and somehow the lady says this is going to make her an object of ridicule among the townspeople. I’m clueless as to why! Was it a shameful thing to go in search of wealth, leaving behind your wife?

Returning, we find the lady declaring that she’s neither going to eat nor live, if the man were to persist in his decision. Following this, she sketches three different scenarios – a bowl made of palm leaf, discarded after a thirsty person had drunk from it, a town where the inhabitants live no more, and flowers, thrown away after use. And that’s exactly, the state of those who have been loved and left behind, the lady says, declaring that she too seems to have lost her use to the man. While that may be so, like a deer captured by hunting dogs, which has to leave with the hunters, her heart too surrounded by these feelings, seems to want to leave with the man, forsaking the lady. The lady concludes her statement asking the man to take care of her heart that is no longer hers! 

Yet again, we see a portrayal of the woman as someone who cannot go on without her man. Leaving aside this outdated notion, I would like to zoom on to something subtle mentioned here: A cup made of palm leaves, from which people used to drink water. Imagine the intricate craftsmanship of that vessel to help people drink up with shedding a drop. Also, even when discarded how that vessel hurts not the earth, unlike the ubiquitous plastic and paper cups of our generation that chokes the landfills and oceans. Here’s to reviving some thoughtful inventions of the past, so that we do not let the earth we live on, feel abandoned like the lady in this verse!

In this episode, we observe a unique technique of persuasion, as portrayed in Sangam Literary work, Kalithogai 22, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and depicts the changing stance of the man.

உண் கடன் வழிமொழிந்து இரக்குங்கால் முகனும், தாம்
கொண்டது கொடுக்குங்கால் முகனும், வேறாகுதல்
பண்டும் இவ் உலகத்து இயற்கை; அஃது இன்றும்
புதுவது அன்றே புலனுடை மாந்திர்!
தாய் உயிர் பெய்த பாவை போல,
நலன் உடையார் மொழிக்கண் தாவார்; தாம் தம் நலம்
தாது தேர் பறவையின் அருந்து, இறல் கொடுக்குங்கால்,
ஏதிலார் கூறுவது எவனோ, நின் பொருள் வேட்கை?

நறு முல்லை நேர் முகை ஒப்ப நிரைத்த
செறி முறை பாராட்டினாய்; மற்று, எம் பல்லின்
பறி முறை பாராட்டினையோ? ஐய!

நெய் இடை நீவி மணி ஒளி விட்டன்ன
ஐவகை பாராட்டினாய்; மற்று, எம் கூந்தல்
செய்வினை பாராட்டினையோ? ஐய!

குளன் அணி தாமரைப் பாசரும்பு ஏய்க்கும்
இள முலை பாராட்டினாய்; மற்று, எம் மார்பில்
தளர் முலை பாராட்டினையோ? ஐய!

என ஆங்கு,
அடர் பொன் அவிர் ஏய்க்கும் அவ் வரி வாட,
சுடர் காய் சுரம் போகும் நும்மை யாம் எங்கண்
படர் கூற நின்றதும் உண்டோ? தொடர் கூர,
துவ்வாமை வந்தக்கடை?

An instance of a reminder about the past to resolve a crisis in the present! The words can be translated as follows:

“The face one has when seeking a loan with many words of praise and the face one has when returning that loan is different indeed. From times ancient, this is the nature of the world; This is not a new phenomenon today, O knowledgeable man! Akin to how a mother protects the daughter she brought to life, those who are righteous do not change their words; After relishing her beauty, akin to a bee that feeds on pollen, you wish to part away today. What can I, as a stranger, say about your desire for wealth?

O lord! You praised her close-set teeth, akin to a row of fragrant wild jasmine buds then; But when those teeth have fallen out and are replaced by new teeth now, do you praise them?

O lord! You praised her five-part braid, groomed with oil and glowing with the radiance of sapphires back then; But now, do you decorate and praise them?

O lord! You praised her young breasts, akin to fresh lotus buds that adorn a pond; But when they sag a little now, do you praise them?

And so, ruining the beautiful lines on her body, akin to thick sheets of gold spread out, you intend to leave to the drylands, scorched by the sun. What can I say about this suffering? This fate that has arrived to interrupt your togetherness?”

Time to delve into the nuances. The verse is set in the context of the man’s parting from his lady after marriage and the confidante renders these words to the man. In a different style, the confidante begins not by sketching the drylands but by conveying a philosophical thought about debt. She says the face of person, who gets a loan by saying humble words, praising the other, and the face of a person when they return that loan is totally different. She means to say that when people want something, they seem to act with much regard for the other and when the deed is done, that same care and respect is gone. She declares that this is an old truth of the world, telling us that the custom of loans has been there, for a long, long time. Returning, she reverts to another simile involving the manner in which a mother protects her daughter consistently all through life. Like that, righteous people always remain true to their words, she says. Then, she reminds the man about how he used to buzz around the lady like a bee, savouring her beauty, and now, he seems intent on parting with her to go in search of wealth.

In the customary three-step approach, the confidante continues by talking about the man’s behaviour during courtship; The way he used to celebrate the lady’s bud-like neat row of teeth, her well-oiled thick tresses and her lotus bud-like young breasts. She turns to him and says, while that was so, now he does not seem to be praising her permanent teeth or decorating her hair or celebrating her breasts that have sagged a little. A moment to process this accusation! I was startled when I understood that the man was praising the lady’s milk teeth, and now, the confidante is accusing him of not caring for the lady, when those teeth have fallen and permanent teeth have grown in place! We have already encountered a similar situation in Kurunthogai 337, when we understood that marriage happens early in the life of these girls. Setting aside our notions of the right age for marriage, let’s accept this as an uncomfortable historic truth. Moving on, the confidante concludes her statement by declaring her helplessness at the man’s thought to abandon the lady and make her beauty fade, so as to traverse the sweltering drylands in the pursuit of wealth.

The point the confidante seems to be making is simply this: When the man was in courtship, he was all praise for the lady, but now, after he has won her over, in a short while, he seemed to change shades and become someone else. This is the exact circumstance that the confidante opened this verse with, the changing face of a person, who is seeking a loan, and who is returning the loan. Through these references, the confidante intends to evoke the man’s sense of honour and make him protect his lady and remain true to his words always, like a mother’s unwavering love for her children, all through life!

In this episode, we perceive the changing stance of the man, as portrayed in Sangam Literary work, Kalithogai 21, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and depicts the nature of wealth.

‘பால் மருள் மருப்பின், உரல் புரை பாவு அடி,
ஈர் நறுங் கமழ் கடாஅத்து, இனம் பிரி ஒருத்தல்
ஆறு கடி கொள்ளும் வேறு புலம் படர்ந்து,
பொருள்வயிற் பிரிதல் வேண்டும்’ என்னும்
அருள் இல் சொல்லும், நீ சொல்லினையே;
நன்னர் நறு நுதல் நயந்தனை நீவி,
நின்னின் பிரியலன், அஞ்சல் ஓம்பு’ என்னும்
நன்னர் மொழியும் நீ மொழிந்தனையே:
அவற்றுள் யாவோ வாயின? மாஅல் மகனே!
‘கிழவர் இன்னோர்’ என்னாது, பொருள்தான்,
பழ வினை மருங்கின் பெயர்பு பெயர்பு உறையும்;
அன்ன பொருள்வயிற் பிரிவோய் நின் இன்று
இமைப்புவரை வாழாள் மடவோள்
அமைக் கவின் கொண்ட தோள் இணை மறந்தே.

Again, the confidante renders her refusal to the man’s plans. The words can be translated as follows:

“With tusks as white as milk, huge feet akin to pestles, and flowing with moist and fragrant musth, a male elephant separated from its herd guards the path in that faraway land. Now, you say these words without grace, ‘I wish to part away thither, for the sake of wealth’; Caressing her fragrant forehead with love, back then, you said those fine words to her, ‘I shall never ever part away from you. Fear not!’. Of these two, which is true, O confused man? Without ever declaring, ‘So-and-so is my forever leader’, wealth keeps switching loyalties, owing to the nature of a person’s old deeds. For the sake of this wealth, you wish to part away from this naive maiden, forgetting the companionship of her arms with etched beauty, she who cannot live without you, even for the blink of an eye!”

Let’s delve into the details. The verse is situated in the context of the man’s parting after marriage and speaks in the voice of the confidante to the man. She starts by describing the land where the man intends to travel. To do that, she sketches the image of a lone male elephant, with milk-white tusks, and pestle-like feet, separated from its herd, in the state of musth or heat. In short, a dangerous elephant, not in control of itself. The confidante connects this animal to the drylands saying this animal can be seen seizing the path where the man intends to part away to. She turns to him and says that he has declared his intention to leave to this very path now. Recollecting his time of courtship with the lady, the confidante mentions how he had promised he would never part from the lady. Seems like these Sangam chaps will say anything to win their girl! Returning, the confidante now holds it against him, and asks him, which of these statements is the truth. 

After that piercing question, the confidante goes on to talk about the nature of wealth. Wealth is not a loyal servant, who will remain with one person till the end, she declares. It’s something that will keep changing depending on one’s deeds. She turns to the man and asks why he should go in search of something so transient as this wealth, leaving behind the delicate lady, who cannot bear to be apart from the man, even for a single moment!

Yet again, the lady is portrayed as if the man were her breath, and if he were to part, it would be the end! The striking facet of this verse though is the confidante’s depiction of the nature of wealth and how it varies depending on one’s deeds. In this statement, lies the seed of the quintessential Indian concept of Karma. While in a religious context, this invokes past births, to put it in a relatable way, this philosophy declares that ‘whatever we do, be it good or bad, it will have an influential effect on our lives ultimately’. And thus, through this simple verse, we come to understand the subtleties of the Sangam people’s philosophical orientations!