Sangam Lit

In this episode, we listen to arguments against parting away, as depicted in Sangam Literary work, Kalithogai 10, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and portrays a place using human qualities.

“வறியவன் இளமை போல் வாடிய சினையவாய்ச்
சிறியவன் செல்வம் போல் சேர்ந்தார்க்கு நிழல் இன்றி
யார் கண்ணும் இகந்து செய்து இசை கெட்டான் இறுதி போல்,
வேரொடு மரம் வெம்ப விரி கதிர் தெறுதலின்,
அலவுற்றுக் குடி கூவ ஆறு இன்றிப் பொருள் வெஃகிக்
கொலை அஞ்சா வினைவரால் கோல் கோடியவன் நிழல்
உலகு போல் உலறிய உயர் மர வெஞ்சுரம்

இடை கொண்டு பொருள் வயின் இறத்தி நீ எனக் கேட்பின்,
உடைபு நெஞ்சு உக ஆங்கே ஒளிஓடற்பாள் மன்னோ,
படை அமை சேக்கையுள் பாயலின் அறியாய் நீ
புடை பெயர்வாய் ஆயினும், புலம்பு கொண்டு இனைபவள்?

முனிவு இன்றி முயல் பொருட்கு இறத்தி நீ எனக் கேட்பின்,
பனிய கண்படல் ஒல்லா படர்கூர்கிற்பாள் மன்னோ,
நனி கொண்ட சாயலாள் நயந்து நீ நகை ஆகத்
துனி செய்து நீடினும், துறப்பு அஞ்சிக் கலுழ்பவள்?

பொருள் நோக்கிப் பிரிந்து நீ போகுதி எனக் கேட்பின்,
மருள் நோக்கம் மடிந்து ஆங்கே மயல்கூர்கிற்பாள் மன்னோ,
இருள் நோக்கம் இடையின்றி ஈரத்தின் இயன்ற நின்
அருள் நோக்கம் அழியினும், அவலம் கொண்டு அழிபவள்?”

என ஆங்கு,
“வினை வெஃகி நீ செலின், விடும் இவள் உயிர்” எனப்
புனை இழாய்! நின் நிலை யான் கூறப், பையென,
நிலவு வேல் நெடுந்தகை நீள் இடைச்
செலவு ஒழிந்தனனால், செறிக நின் வளையே.

The confidante is back doing what she does best! The words can be translated as follows:

“Akin to the youth of an impoverished man, is the faded branch; Akin to the wealth of a miserly man, it offers no shade to those who come seeking; Akin to the final days of one, who has lost his fame doing wrong deeds to everyone, even the roots of the tree are parched in the scorching rays of the sun; Akin to a land in the shade of a cruel king’s sceptre, who has murderous men to do his bidding, greedy for wealth, where’s there no justice and people scream in misery, is the hot drylands with shrivelled, tall trees!

If she hears that you wish to part away thither, breaking your togetherness, with a broken heart, won’t her beauty and glow vanish away? Isn’t she one who worries and laments, even when you move away a little unintentionally, when lying with her on your well-built bed?

If she hears that you wish to part away thither, lacking any regret, with tear-filled eyes, won’t her sleep abandon her? Isn’t she one who fears the separation and tears up, even when to tease that delicate maiden a little, you delay coming to her side?

If she hears that you wish to part away thither, wanting to gather wealth, with utter confusion and won’t her spirit diminish? Isn’t she one who feels ruined, even when your gracious looks to her, bereft of any darkness, full of love, changes for a moment?

And so, as I said, ‘If you leave desiring your mission, it’s her life that will part away’, speaking of your state, O maiden, wearing etched ornaments, slowly, the great lord with a moon-like spear gave up his journey through the long drylands path. So, let them remain firm, those bangles of yours!”

Let’s explore the details. The verse is situated in the context of the man’s parting from his lady, after marriage. When he expresses his intent of seeking wealth to the confidante, she counsels him against it and then relays the success of her efforts to the lady. The confidante begins by sketching the harshness of the drylands through its representative member, a tree therein. To talk about the faded branch of this tree, she calls in parallel the youth of someone who lacks wealth, implying the ancients thought that this was a period of joy and pleasure, and for that, wealth was essential. Next, to depict the nature of this tree that gives no shade to anyone, no doubt because of its withered leaves, the confidante calls in parallel wealth of a miser, of no use to those who come seeking. Following this, the confidante dives deep and reaches the roots of the said tree, which one would expect to have some moisture, but she says even those roots are parched, like the last days of someone who has done only evil to others. Finally, the entire lifeless drylands is depicted as a land, ruled by a cruel and greedy king, who steals away his people’s wealth, leaving them in agony. And so, the dreariness of this landscape is etched in our minds by these mini-portraits of various human lives. 

Then, the confidante employs the customary three-step presentation talking about how the lady would be shattered if she hears that the man wants to part away to seek wealth. To present her case, the confidante reminds the man about how the lady would suffer even if the man moves away a little, without realising, when sleeping together in their bed, about how the lady would tear up when the man, just for joke, delays coming to her side, and about how the lady would feel devastated, when the man’s gracious look to her changes for even a moment. With all these words and the final punch that the lady would die if he left, the confidante succeeds in dissuading the man from taking up his journey, and this, she conveys to the lady, saying that now there was no need for the lady’s bangles to slip away! 

What a frail depiction of the lady these ancient poets seem to present! Is that the way the male poets thought of the women then? For it seems rather bizarre to imagine that women of any age should be so utterly and fatally dependent on the men of their lives! And this was indeed an age when some women were penning poetry and advising kings. So, could it be a tradition that dictated these themes to be expressed in verse for some reason of theirs? While there are more questions to ponder, the verse also presents clear insights about how the Sangam people thought a life should be. Through those similes for the drylands, we understand they thought youth should be blessed with wealth, wealth should be shared with all, a person should do good to everyone in their life, and finally, a king should be one, full of kindness for his people, ruling them with a nurturing and protective spirit. What a place is not describes how a person should be, in these unique words!

In this episode, we perceive a profound philosophy, as portrayed in Sangam Literary work, Kalithogai 9, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and presents the consoling words said to an anxious heart.

‘எறித்தரு கதிர் தாங்கி ஏந்திய குடை நீழல்,
உறித் தாழ்ந்த கரகமும், உரை சான்ற முக்கோலும்,
நெறிப்படச் சுவல் அசைஇ, வேறு ஓரா நெஞ்சத்துக்
குறிப்பு ஏவல் செயல் மாலைக் கொளை நடை அந்தணீர்!
வெவ் இடைச் செலல் மாலை ஒழுக்கத்தீர்; இவ் இடை,
என் மகள் ஒருத்தியும், பிறள் மகன் ஒருவனும்,
தம்முளே புணர்ந்த தாம் அறி புணர்ச்சியர்;
அன்னார் இருவரைக் காணிரோ? பெரும!’

‘காணேம் அல்லேம்; கண்டனம், கடத்திடை;
ஆண் எழில் அண்ணலோடு அருஞ் சுரம் முன்னிய
மாண் இழை மடவரல் தாயிர் நீர் போறிர்…

பல உறு நறுஞ் சாந்தம் படுப்பவர்க்கு அல்லதை,
மலையுளே பிறப்பினும், மலைக்கு அவைதாம் என் செய்யும்?
நினையுங்கால், நும் மகள் நுமக்கும் ஆங்கு அனையளே

சீர் கெழு வெண் முத்தம் அணிபவர்க்கு அல்லதை,
நீருளே பிறப்பினும், நீர்க்கு அவைதாம் என் செய்யும்?
தேருங்கால், நும் மகள் நுமக்கும் ஆங்கு அனையளே

ஏழ் புணர் இன் இசை முரல்பவர்க்கு அல்லதை,
யாழுளே பிறப்பினும், யாழ்க்கு அவைதாம் என் செய்யும்?
சூழுங்கால், நும் மகள் நுமக்கும் ஆங்கு அனையளே

என ஆங்கு
இறந்த கற்பினாட்கு எவ்வம் படரன்மின்;
சிறந்தானை வழிபடீஇச் சென்றனள்;
அறம் தலைபிரியா ஆறும் மற்று அதுவே.

After that long sequence of parting away pains, now there’s a change of pace! The words can be translated as follows:

“‘In the shade of an upraised umbrella, that blocks the burning rays, with a pitcher hanging on a low rope, and an esteemed trident placed in the proper manner on the shoulder, you walk with a heart that sees no distractions, having unswerving principles and morals of controlling the senses, O priest! You have the custom of walking through these scorching spaces. In such a place, tread a daughter of mine and a son of another woman. They had a secret relationship, now revealed to all. Did you see them anywhere, O noble priest?’

‘It’s not that they were not seen. They were indeed seen in the midst of the drylands. Along with an esteemed young man, having handsome allure, a maiden wearing well-carved ornaments was treading the harsh drylands. You seem to be the mother of this maiden!’

Even though the much fragrant sandalwood is born in the mountain, other than being of use to those who adorn themselves with it, what could it possibly do for the mountain? When you think about it, your daughter too is like that to you!

Even though the splendid white pearls are born in the seas, other than being of use to those who wear it, what could it possibly do for the seas? When you reflect on it, your daughter too is like that to you!

Even though the fine music of the seven strings is born in the lute, other than being of use to those who play upon it, what could it possibly do for the lute? When you analyse it, your daughter too is like that to you!

And so, don’t you worry on account of this chaste maiden, who parted away. For she has chosen to follow the path of her good man. And that is indeed the only path of righteousness!'”

Time to delve into the nuances. The verse is situated in the context of a lady’s eloping with the man she loves from her parental home. On learning about the lady’s elopement, her mother tries to follow the lady into the drylands and this verse is a dialogue between the mother and a person mother encounters. She begins by describing to us who that person is, and to do that, she talks about the umbrella he holds in his hands, protecting himself from the scorching sun of the drylands, whose handiwork we have seen in song after song. Next she describes the object he is carrying, a pitcher for water, again sensible option for the drylands, and lastly, a trident. Though this sounds to be a ritualistic artefact, much respected as the words that follow indicate, it’s possible the object had some functional use to that wayfarer. From the outer aspects, the mother turns to describe his inner virtue of not heeding to any distractions and who had unwavering morals in place. Sounds like mother has chanced upon an ascetic, for she addresses him as a noble priest. After this salutation, mother arrives at the matter at hand and asks the person if he had come across a woman and a man walking in those parts. She says that woman was her daughter and she says that this young maiden had a love relationship with the man she was walking with.

To mother’s question, the priest renders the answer that indeed he has seen them. Describing the man as being very handsome and the maiden as one wearing well-etched ornaments, he talks of how these two were crossing the drylands. It’s now this priest turns to mother and offers her three similes to explain mother’s state. He describes the sandalwood, pearls and music, and declare though these are born in the mountains, seas and lute respectively, these cannot do anything for the place of their birth, and are meant only for those who use them by applying that sandalwood paste, or adorn themselves with the pearls or play that music. Likewise, he declares the daughter of this mother too is meant to add goodness in the life of another. With the words that the mother shouldn’t worry about her daughter, who has left with the young man, the priest concludes with the convincing words that this girl has chosen the right path by following the man she loves.

And so, we see the clarity of thought in this noble monk, who stands by the young girl, who has eloped away with her love. Most of all, he counsels the mother to let go of her attachment to her daughter, and delight in the fact, that like the sandalwood, pearls and lute, the young maiden is about to add fragrance, beauty and music in the life of another. A verse which reminds me of the 19th century poet Kahlil Gibran’s words that echo the very core of this two thousand year old song to a mother:

‘You are the bows from which your children as living arrows are sent forth.
The archer sees the mark upon the path of the infinite,
and He bends you with His might that His arrows may go swift and far.
Let your bending in the archer’s hand be for gladness;
For even as He loves the arrow that flies, so He loves also the bow that is stable.’

In this episode, we listen to reflections on the nature of wealth, as portrayed in Sangam Literary work, Kalithogai 8, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and ponders on the question of what is lasting wealth.

நடுவு இகந்து ஒரீஇ நயன் இல்லான் வினை வாங்க,
கொடிது ஓர்த்த மன்னவன் கோல் போல, ஞாயிறு
கடுகுபு கதிர் மூட்டிக் காய் சினம் தெறுதலின்,
உறல் ஊறு கமழ் கடாத்து ஒல்கிய எழில் வேழம்,
வறன் உழு நாஞ்சில் போல், மருப்பு ஊன்றி நிலம் சேர,
விறல் மலை வெம்பிய போக்கு அரு வெஞ் சுரம்
சொல்லாது இறப்பத் துணிந்தனிர்க்கு ஒரு பொருள்
சொல்லுவது உடையேன்; கேண்மின், மற்று ஐஇய!

வீழுநர்க்கு இறைச்சியாய் விரல் கவர்பு இசைக்கும் கோல்
ஏழும் தம் பயன் கெட, இடை நின்ற நரம்பு அறூஉம்
யாழினும் நிலை இல்லாப் பொருளையும் நச்சுபவோ?

மரீஇத் தாம் கொண்டாரைக் கொண்டக்கால் போலாது,
பிரியுங்கால் பிறர் எள்ள, பீடு இன்றிப் புறம் மாறும்
திருவினும் நிலை இல்லாப் பொருளையும் நச்சுபவோ?

புரை தவப் பயன் நோக்கார் தம் ஆக்கம் முயல்வாரை
வரைவு இன்றிச் செறும் பொழுதில், கண் ஓடாது உயிர் வௌவும்
அரைசினும் நிலை இல்லாப் பொருளையும் நச்சுபவோ?

என ஆங்கு
நச்சல் கூடாது பெரும! இச் செலவு
ஒழிதல் வேண்டுவல், சூழின், பழி இன்று
மன்னவன் புறந்தர வரு விருந்து ஓம்பி,
தன் நகர் விழையக் கூடின்,
இன் உறல் வியன் மார்ப! அது மனும் பொருளே.

Here’s an intellectual discourse on the nature of wealth to persuade a person to change their path! The verse can be translated as follows:

“Akin to a king’s sceptre, which doles out cruelty, straying far away from the fair path of justice, as dictated by a compassionless subordinate, the sun spreads its rays with much haste and scorches the land with fury. Here, a once-handsome elephant, fragrant with musth and swarming with bees, now starved and thirsty, bends down to the land leaning on its tusk, looking like a plough, in that victorious mountain that has now burnt down to become an inaccessible hot drylands domain. To such a place, you dare to leave without even telling us. I wish to tell you one thing. Listen, O lord!

A lute’s music spreads ecstasy in those who listen. Even more unstable than a lute, whose middle string is broken, making all seven strings lose their purpose, is fading wealth. Why do you desire it so?

When it arrives in the hands of someone, it makes them celebrated, and when it parts away, it leaves them to the scorn of others. Such is the dishonourable nature of fame that keeps changing its face. Even more unstable than this fame is fading wealth. Why do you desire it so?

Without understanding the noble intentions of those who worked for his benefit, in a moment of boundless anger, without even blinking his eye, a king takes away a person’s life. Even more unstable than such a king is fading wealth. Why do you desire it so?

And so, you shouldn’t desire it, O lord! You need to abandon this journey. If you think about it, the pleasant state of being as one with her, who desires to stand with you, her lord, beside her, and offer feasts of hospitality in her home, O lord with a wide chest, only that can be stable wealth!”

Let’s explore the details. The verse is situated in the context of a man’s parting from his lady, after marriage. When the lady’s confidante realises the man’s intention of parting away without telling them, she says these words to him. The confidante begins by placing in parallel the scorching, punishing heat of the drylands and the rule of a cruel king, who simply listens to the words of his unkind subordinates and strays away from the fair path of justice. Coming from the pen of this poet- king, this holds special value. The confidante describes the drylands so, where a once-handsome and wild elephant now bows low, searching for a few drops of water in that parched land, and as it presses its tusk into the ground, it looks like a plough. She continues saying this is where the man wants to go, that too without even telling the lady. Deciding to give him a few choice words, she starts to talk about the nature of wealth.

Again, in the three-step style of Kalithogai, she goes on to compare wealth with a lute, whose middle string is broken, fame which brings glory to a person when it arrives and scorn when it parts, and finally, another king reference, one, who is so blinded by rage that he does not stop to consider the merit or the good deeds of the person in front but orders them to be instantly executed. In all three cases, the confidante concludes even more unstable than these three elements, is the state of wealth, which is fleeting. She advises the man not to hanker after wealth and tells him that the state of being with the lady and making her fulfil her only wish of being hospitable to the world in her home, is what can be considered true and forever wealth. ‘There can be nothing more precious than togetherness’ is the perspective put forth with precision in this verse from the past!

In this episode, we listen to a piercing question put forth, as portrayed in Sangam Literary work, Kalithogai 7, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and narrates the consequences of the man’s preparations to part away.

வேனில் உழந்த வறிது உயங்கு ஓய் களிறு
வான் நீங்கு வைப்பின் வழங்காத் தேர் நீர்க்கு அவாஅம்
கானம் கடத்திர், எனக் கேட்பின், யான் ஒன்று
உசாவுகோ ஐய! சிறிது?

நீயே, செய் வினை மருங்கில் செலவு, அயர்ந்து, யாழ நின்
கை புனை வல் வில் ஞாண் உளர்தீயே;
இவட்கே, செய்வு உறு மண்டிலம் மையாப்பது போல்,
மை இல் வாள் முகம் பசப்பு ஊரும்மே

நீயே, வினை மாண் காழகம் வீங்கக் கட்டி,
புனை மாண் மரீஇய அம்பு தெரிதியே;
இவட்கே, சுனை மாண் நீலம் கார் எதிர்பவை போல்,
இனை நோக்கு உண்கண் நீர் நில்லாவே

நீயே, புலம்பு இல் உள்ளமொடு பொருள்வயிற் செலீஇய,
வலம் படு திகிரி வாய் நீவுதியே;
இவட்கே, அலங்கு இதழ்க் கோடல் வீ உகுபவை போல்,
இலங்கு ஏர் எல் வளை இறை ஊரும்மே

என நின்,
செல் நவை அரவத்தும் இனையவள் நீ நீப்பின்,
தன் நலம் கடைகொளப்படுதலின், மற்று இவள்
இன் உயிர் தருதலும் ஆற்றுமோ
முன்னிய தேஎத்து முயன்று செய் பொருளே?

We continue to be in the domain of a confidante’s persuasion, asking the man not to part away. The verse can be translated as follows:

“In that place, which the clouds have abandoned, a fatigued elephant, which has lost its strength in the heat of summer, seeks with desire the illusory water in the mirage. You want me to tell her that such is the forest you wish to cross. Before that, can I ask you about a little something, O lord?

When you, with thoughts about your journey to gather wealth, stroke the strings of your strong hand-carved bow, akin to the well-made moon shrouded by clouds, her flawless, shining face becomes covered with pallor!

When you, tying the well-stitched glove with a bulge on your hand, check the strength of the well-carved arrow, akin to blue-lilies in the springs facing the rains, in her kohl-streaked eyes, the tears stop not!

When you, wanting to part away to gather wealth with no worry in your heart, rub the mouth of your victorious chariot wheel, akin to the falling flowers of a white glory lily plant with swaying petals, her beautiful and shining bangles cross past her wrists and slip away!

And so, she feels so much distress just seeing your preparations to part away. If you actually do part away and her health and life ends utterly, will her sweet life be brought back by the wealth you gain, with much effort in that country you are parting away to?”

Let’s explore the details. The verse is situated in the context of a man’s parting away from his lady, after marriage, with an intention to seek wealth. When the man conveys this intention to the lady’s confidante, she says these words to him. The confidante, following the custom of describing the drylands, now paints a picture of how a thin and tired elephant, confused by its thirst and starvation, in that place which has not seen rains in ages, mistakes a mirage for water, and tries to drink up the nothingness. Such is the arid spread of the drylands, where the man says he wants to leave, the confidante relates. Now she turns to him and says, ‘You want me to go tell this to the lady. Before I do that, I have something to ask you.’

Following the three-step playbook of narrating incidents we have seen thus far in Kalithogai, the confidante presents three scenes in the man’s household in quick succession. First, we see the man testing his well-made bow, checking how taut the strings are. The lady happens to catch a glimpse, and just like how clouds cover the face of the radiant moon, pallor shrouds her glowing face, seeing this, the confidante says. Scene 2, the man is now wearing a glove which bulges over his hand and he holds the arrow in it, testing his comfort with his weapon. As in the previous case, when the lady happens to see this, like how water droplets shed unceasingly from blue-lilies in the rain, the lady’s eyes unceasingly shed tears. Final scene, the man is now cleaning his chariot wheels and perhaps rubbing it with some oil. And now, just the way the flowers of a white glory lily fall away in time, the lady’s bangles slip away and fall! Instantaneous slimming treatment for Sangam ladies seems to be to get an inkling of their husbands’ parting away!

Returning, the confidante remarks to the man, ‘You are just making preparations and already she’s under so much stress. Tell me something: If you do part away and she dies, will the wealth you gain, by your going away, bring her back?’ Again, this appears to be a severe threat of life loss to prevent the man from doing what he wants to do! A moment to connect back to the first image of that elephant rushing to quench its thirst in a mirage. Now, we understand the confidante has sketched that scene to imply the futility of the man’s quest for wealth. He will not find the satisfaction he’s looking for, for all will be lost when the lady’s lost!

Which brings us to the question of why did the Sangam folks give so much importance to this common occurrence of parting. When you compare this with most of the classics from this period, those seem to dwell on heroism, war and fantastical journeys of men. But Sangam literature dwells on the domestic domain of togetherness and love. Could this be because this was a settled society in which migration and war was alien, something that happened because of recent changes to their world? Could this be why they focused so much on this taken-for-granted event of parting away? Questions to ponder upon when understanding the history and society of these ancient people!

In this episode, we perceive the immense love in a lady, as depicted in Sangam Literary work, Kalithogai 6, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals the determination in the mind of a young woman.

மரையா மரல் கவர, மாரி வறப்ப
வரை ஓங்கு அருஞ் சுரத்து ஆர் இடைச் செல்வோர்,
சுரை அம்பு, மூழ்கச் சுருங்கி, புரையோர் தம்,
உள் நீர் வறப்பப் புலர் வாடு நாவிற்கு
தண்ணீர் பெறாஅத் தடுமாற்று அருந் துயரம்
கண்ணீர் நனைக்கும் கடுமைய, காடு என்றால்,
என், நீர் அறியாதீர் போல இவை கூறல்?
நின் நீர அல்ல, நெடுந் தகாய்! எம்மையும்,
அன்பு அறச் சூழாதே, ஆற்றிடை நும்மொடு
துன்பம் துணையாக நாடின், அது அல்லது
இன்பமும் உண்டோ, எமக்கு?

A crisp verse depicting the harshness of the drylands region. The verse can be translated as follows:

“As the clouds have dried up, wild oxen devour the hemp leaves that alone remain. Those who traverse such formidable paths of the drylands in the soaring mountain, soon sense hollow-stemmed arrows plunging into them. Even those bowmen, with such a harsh and flawed nature, find their mouths going dry, without any moisture. The terrible sorrow of not finding any water makes them shed tears, which is the only moisture that falls on that hard and arid jungle. You say all this about that land, without understanding my nature. This is not befitting your nature, O noble lord. Without thinking about abandoning me, bereft of love, if you take me along with you in those paths, as the companion for your suffering, what more joy can there be, for me?”

Time to delve into the details. The verse is situated in the context of a man’s parting from his lady, after marriage. Here, the words are said by the lady to the man when he expresses his intent to part away to seek wealth. The lady starts by talking about how a wild ox, finding nothing else to eat, devours the hemp leaves, which are the only green things still surviving. On doing a little research, learnt that once established these hemp plants can withstand severe drought conditions, which explains why our wild cow has chosen to feed on this plant. The lady continues by talking about how the rains have failed and those who traverse those drylands soon find themselves dead, thanks to the sharp arrows of the highway robbers. What brutal souls they seem to be, but even they find themselves with their throats dried up and not finding even a bit of water, shedding tears because of their extreme thirst. These tears are the only moisture that falls on that arid land, the lady narrates. She continues by revealing that all these words were actually said by the man about the place where he’s heading to. At this time, she scolds him saying he does not understand her nature if he thinks this can dissuade her and that this was not right on his part. She concludes by putting her request that he take her along with him in this difficult journey and declares no matter what suffering comes their way, there can be no greater joy than being with him! 

In this episode, we perceive an effort of persuasion, as portrayed in Sangam Literary work, Kalithogai 5, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and narrates the state of the lady if the man were to part away.

பாஅல் அம் செவிப் பணைத் தாள் மா நிரை
மாஅல் யானையொடு மறவர் மயங்கித்
தூறு அதர்பட்ட ஆறு மயங்கு அருஞ் சுரம்
இறந்து, நீர் செய்யும் பொருளினும், யாம் நுமக்குச்
சிறந்தனம் ஆதல் அறிந்தனிர்ஆயின்,
நீள் இரு முந்நீர் வளி கலன் வௌவலின்
ஆள்வினைக்கு அழிந்தோர் போறல் அல்லதை,
கேள் பெருந் தகையோடு எவன் பல மொழிகுவம்?
நாளும் கோள் மீன் தகைத்தலும் தகைமே

கல்லெனக் கவின் பெற்ற விழவு ஆற்றுப்படுத்த பின்,
புல்லென்ற களம் போலப் புலம்பு கொண்டு அமைவாளோ?

ஆள்பவர் கலக்குற அலைபெற்ற நாடு போல்,
பாழ்பட்ட முகத்தோடு, பைதல் கொண்டு அமைவாளோ?

ஓர் இரா வைகலுள், தாமரைப் பொய்கையுள்
நீர் நீத்த மலர் போல, நீ நீப்பின், வாழ்வாளோ?

என ஆங்கு
பொய்ந் நல்கல் புரிந்தனை புறந்தரல் கைவிட்டு,
எந் நாளோ, நெடுந் தகாய்! நீ செல்வது,
அந் நாள் கொண்டு இறக்கும், இவள் அரும் பெறல் உயிரே.

The confidante is at it again, saying ‘Don’t go’ to the man. The verse can be translated as follows:

“Along with huge herds of rutting elephants, having thick legs and prominent ears, highway robbers too rove amidst the bushes, ruining the paths in the muddled drylands. More than the wealth you gain going thither, to make you understand that she is more special, other than being in the state of those whose great efforts are ruined, because their ship in the huge and dark ocean is seized by a storm, what else can I say to convince you, O noble man! Only the omens of the day and the stars should stop you!

Akin to a listless festival ground, where the uproarious and prosperous festivities have ended, lamenting, will she be?

Akin to a country that is disturbed by the very person who rules it, with a ruined face, suffering, will she be?

Akin to a lotus flower in a pond, wherein the water has been drained within a night, if you part, will she live?

And so, after rendering your false graces, if you show your back, let go of her hand and leave one day, O respected lord, on that very day you leave, it too shall part, that precious life of hers!”

Let’s explore the nuances. The verse is situated in the context of a man’s parting from the lady after marriage, wanting to seek wealth. When he informs the confidante of his intention, she replies to him with these words. First, the image of the drylands as a dangerous place is brought forth, where rutting elephants and ruthless robbers roam. They hide in the bushes and seem to make new paths, confusing the travellers who pass that away. The confidante connects this description saying this is where the man wants to go and if he does not realise that much more than the wealth he can attain, the lady is more important to him, she doesn’t know what to say to him other than wallow in that exact state of those seafarers, who have lost all their ware because their ship is caught in a storm. A moment to pause and note this matter-of-fact simile. That the Tamils were an ancient seafaring nation, with trade in the stormy waters of the Arabian sea, Bay of Bengal and Indian ocean, is evident from this observation. We have to understand that this is no ordinary poet but a Chera King, and no doubt he knows about the trade and commerce of his land. It’s unique how this facet of outer life is used to reflect the inner emotions in a domestic sphere. 

Returning, we find the confidante putting her trust in omens of the day and the position of the stars to stop the man from going on his journey. She also wonders what will happen to the lady if the man continued to be intent on leaving, and brings forth three distinctive similes to portray the lady’s state. One, is a festival ground where the fun and celebration is done; Two, a country disturbed by its own ruler; Three, a lotus flower in a pond whose water has been drained overnight. Each of these three ruined states echo the lamenting, suffering state of the lady, the confidante tells the man, if he were to leave. She ends with the final punch that if the man were to leave one day, in spite of all these words she has rendered, then that will be the day the lady’s life parts away too. 

What a threat the confidante makes to the man! We cannot help but observe how the lady has been projected as a frail creature who has no way of bearing the man’s separation. Perhaps this was only to showcase the deep love of the lady for her man in the Sangam era. Still, seeing with our modern eyes, it’s a fact of life that a woman should bear the separation of her man for the sake of work and vice versa. What’s interesting and timeless though in this verse is the depiction of scenes in the world to show what is seen by the heart!

In this episode, we observe the intricate interactions between the man and the lady, as portrayed in Sangam Literary work, Kalithogai 4, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and depicts the dangers in a journey to seek wealth.

வலி முன்பின், வல்லென்ற யாக்கை, புலி நோக்கின்
சுற்றமை வில்லர், சுரி வளர் பித்தையர்,
அற்றம் பார்த்து அல்கும் கடுங்கண் மறவர் தாம்
கொள்ளும் பொருள் இலர்ஆயினும், வம்பலர்
துள்ளுநர்க் காண்மார் தொடர்ந்து, உயிர் வௌவலின்,
புள்ளும் வழங்காப் புலம்பு கொள் ஆர் இடை,
வெள் வேல் வலத்திர் பொருள் தரல் வேட்கையின்,
உள்ளினிர் என்பது அறிந்தனள், என் தோழி

‘காழ் விரி கவை ஆரம் மீ வரும் இள முலை
போழ்து இடைப்படாஅமல் முயங்கியும் அமையார், என்
தாழ் கதுப்பு அணிகுவர், காதலர்; மற்று, அவர்
சூழ்வதை எவன்கொல்? அறியேன்!’ என்னும்

‘முள் உறழ் முளை எயிற்று அமிழ்து ஊறும் தீ நீரைக்
கள்ளினும் மகிழ்செயும் என உரைத்தும் அமையார், என்
ஒள் இழை திருத்துவர், காதலர்; மற்று, அவர்
உள்ளுவது எவன்கொல்? அறியேன்!’ என்னும்

‘நுண் எழில் மாமைச் சுணங்கு அணி ஆகம் தம்
கண்ணொடு தொடுத்தென நோக்கியும் அமையார், என்
ஒள் நுதல் நீவுவர், காதலர்; மற்று, அவர்
எண்ணுவது எவன்கொல்? அறியேன்!’ என்னும்

என ஆங்கு,
‘கழி பெரு நல்கல் ஒன்று உடைத்து’ என, என் தோழி
அழிவொடு கலங்கிய எவ்வத்தள்; ஒரு நாள், நீர்,
பொழுது இடைப்பட நீப்பின், வாழ்வாளோ?
ஒழிக இனி, பெரும! நின் பொருட் பிணிச் செலவே.

Another verse wherein a man is requested to put off his journey. The words can be translated as follows:

“With immense strength, sturdy bodies, eyes of a tiger, tightly-tied bows, curly, thick locks of hair, are those harsh-eyed robbers, who bide their time. Even if the wayfarers possess not the things that they can steal, just to see them suffer, the robbers would give chase and take those lives. And so, not even birds fly near that lonely, long drylands path. But the fact that you, holding a white spear on your right, intend to go thither to gather wealth, has been discovered by my friend!

For she said, ‘Even after he had unceasingly embraced my young breasts, above which a wide necklace studded with gems moves about, he was not satisfied. For he took to adorning my untied tresses, that lover of mine. What could he be thinking? I know not!’

For she said, ‘Even after he had declared that the sweet nectar that springs forth from my thorn-like teeth is something that delights him even more than toddy, he was not satisfied. For he took to correcting the position of my shining jewels, that lover of mine. What could he be thinking? I know not!’

For she said, ‘Even after he had looked at the tiny, beautiful dark-skinned spots upon my beautiful bosom, for a long time, without even moving his gaze, he was not satisfied. For he took to caressing my shining forehead, that lover of mine. What could he be thinking? I know not!’

And so, my friend later concluded that ‘All these exuberant expressions of love must be for a reason’ and was greatly distressed by the sorrow it evoked. Even if you part away for a single day, will she live? Let go, O lord, this journey to gather wealth!”

Time to delve into the details. Yet another verse set in the context of a man’s parting from a lady, after marriage, with the intention of seeking wealth. Here, the confidante speaks these words to the man. She starts by depicting the danger in the drylands path to which the man intends to leave, and to do that, she presents a detailed portrait of the people who dominate this region namely the highway robbers. She etches their outer appearance, talking about their strong bodies, eyes that seem to pierce like a tiger’s, and their thick, curly hair. They can be seen carrying well-tied bows on their body. Next, to give a slice of their inner nature, she talks about how even though the wayfarers these robbers meet may not happen to have anything of value to them, the robbers would still chase them and kill them, just to see the fear of these travellers. This is a rather sadistic depiction of this tribe by the confidante, for we have seen these very people building stone graves for the lives they have taken, in other verses. Could these people have so much evil in them to kill for no reason and yet the good nature to respect the dead? A question to ponder upon. Returning, the confidante continues saying such is the terrible nature of those robbers, that even birds fear to go their way, but the man seems to want to go and cross such a dangerous path with the intention of gathering wealth. She adds that not only that, the lady seems to have discovered this fact, without the man telling her so. 

Then, the confidante goes on to reveal the three different ways in which the lady has arrived at this conclusion. In each, the man performs an action of endearment, such as embracing the lady, relishing the nectar of her mouth, and looking at the lady’s beautiful skin. Even after each of these actions, he seemed not to be content, for he went on to do something more, such as tying the lady’s tresses, adjusting her jewels and caressing her forehead. So she adds one and one together and decides that all his extra attention is because the man intends to part away from her. Even thinking about this possibility has distressed the lady so much, the confidante tells the man, and declares that the lady cannot even bear a single day’s separation from her man, and bids him to give up his journey in search of wealth.

The highlight of this verse is in the subtle expressions of love in a relationship and the hidden meanings that are perceived. Beyond the usual message of ‘Don’t leave the lady’, what’s striking here is the time and attention the couple seem to have given each other. Every movement, every gesture, why even every breath seems to have been noted and this sheds light on the quality of relationships in a more relaxed world!

In this episode, we listen to a conversation about the man’s parting, as portrayed in Sangam Literary work, Kalithogai 3, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and reveals the impact of nature on human emotions.

அறன் இன்றி அயல் தூற்றும் அம்பலை நாணியும்,
வறன் நீந்தி நீ செல்லும் நீள் இடை நினைப்பவும்
இறை நில்லா வளை ஓட, இதழ் சோர்பு பனி மல்க,
பொறை நில்லா நோயோடு புல்லென்ற நுதல் இவள்
விறல் நலன் இழப்பவும், வினை வேட்டாய்! கேஎள், இனி:

‘உடை இவள் உயிர் வாழாள், நீ நீப்பின்’ என, பல
இடைகொண்டு யாம் இரப்பவும், எம கொள்ளாய்ஆயினை;
கடைஇய ஆற்றிடை, நீர் நீத்த வறுஞ் சுனை,
அடையொடு வாடிய அணி மலர் தகைப்பன

‘வல்லை நீ துறப்பாயேல், வகை வாடும் இவள்’ என,
ஒல் ஆங்கு யாம் இரப்பவும், உணர்ந்தீயாய் ஆயினை;
செல்லு நீள் ஆற்றிடை, சேர்ந்து எழுந்த மரம் வாட,
புல்லு விட்டு இறைஞ்சிய பூங்கொடி தகைப்பன

‘பிணிபு நீ விடல் சூழின், பிறழ்தரும் இவள்’ என,
பணிபு வந்து இரப்பவும், பல சூழ்வாய்ஆயினை;
துணிபு நீ செலக் கண்ட ஆற்றிடை, அம் மரத்து
அணி செல, வாடிய அம் தளிர் தகைப்பன

என ஆங்கு
யாம் நிற் கூறவும் எம கொள்ளாய்ஆயினை;
ஆனாது இவள்போல் அருள் வந்தவை காட்டி,
மேல் நின்று மெய் கூறும் கேளிர் போல், நீ செல்லும்
கானம் தகைப்ப, செலவு.

Yet again, we perceive the confidante’s efforts to stop the man from parting away. The verse can be translated as follows:

“Feeling ashamed thinking about the unjust town’s gossip that would follow, and worrying about the long and winding path you would walk on to cross the drylands, her bangles, refusing to stay on her forearms, would slip away, and her petal-like eyes would fill with fatigue and pool with tears. This unbearable affliction would make her forehead lack lustre and she would lose her great beauty. Even after knowing all this, you are still focused on your task. Listen to me now:

Saying ‘If you part, she who thinks of you as her life, will live no more’, even though I plead in many different ways, you accept it not; In that path you will cross, upon a dried-up pond, bereft of water, a string of beautiful flowers, which have faded along with the leaves, will stop you.

Saying, ‘If you part away so soon, her many beautiful qualities will fade’, even though I plead in the proper manner, you understand it not; In the long path you will travel to, as a soaring tree fades, the flower-filled vines, which have let go of their hold and fallen down listlessly, will stop you.

Saying, ‘If you part letting go of your hold, she will part with her life’, even though I plead with humility, you still are considering your journey; In that path that you dare to leave to, the leaves, which have faded, making the tree’s beauty perish, will stop you.

You heed not these many words I have rendered to you. However, unceasingly showing you scenes that will appear like her, in the manner of elders, who speak the truth with authority, the forest you traverse to, will stop your journey!”

Let’s explore the nuances. Like the previous verse, this too is set in the context of a man’s parting from his lady after marriage. Here, the words are rendered by the confidante to the man. She starts by listing the different kinds of distress that would fall upon the lady if the man happens to part away. The very first thing she says is that the town would gossip. What’s there to gossip if the man leaves on a mission after his marriage? Perhaps they would think the man has abandoned the woman he married! In any case, the worry about these rumours and the worry about the man’s travel would make the lady’s bangles slip away, eyes well with tears, fade the lustre of her forehead and in short, lose her exquisite beauty. The confidante turns to the man and says even though he knows very well about all this, he still wants to leave. Now, she starts putting forth her arguments to him. 

In both the verses of Kalithogai we have seen thus far, there’s the same structure, with an introduction of context, and then three different ways of putting forth a point, followed by a conclusion. In the middle portion containing three different segments, the confidante talks about how she has pleaded to the man saying the lady will lose her beauty and will even lose her life, if the man parts away. And yet in all three cases, he refuses to understand it, accept it and continues to make plans for his travel. At this juncture, the confidante visualises three different scenes in the drylands path he will travel to: One, a dried-up pond where a string of once-beautiful flowers lie faded; Two, where flowering vines which were twirling around a tree, wither away and fall to the ground, and lie there listlessly; And three, the leaves which used to adorn the tree, lie scorched and dried up. Now, the confidante concludes with the words that even though the man listens not to the many words she has said to him, such scenes will appear and remind him of his lady’s state, and will block him from even taking a single step towards his mission, just the way wise elders would advise one from a position of authority and clarity.

A verse which demonstrates the truth that we see the world not as it is, but as who we are! Undoubtedly, the man’s worry about the lady will come back with force, when he’s journeying through the harsh drylands seeing those withering sights around him. And with wisdom, the confidante predicts that the man will feel it’s not just the outer world in such a state of ruin but rather it’s his beloved. In a tangent, the verse shows the deep influence that nature has on the people of the Sangam era, and their awareness and understanding of this timeless truth!

In this episode, we hear the jubilant voice of the lady’s confidante, as depicted in Sangam Literary work, Kalithogai 2, penned by the Chera King Paalai Paadiya Perunkadunko. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and ponders on the question of what is true wealth.

தொடங்கற்கண் தோன்றிய முதியவன் முதலாக,
அடங்காதார் மிடல் சாய, அமரர் வந்து இரத்தலின்,
மடங்கல் போல், சினைஇ, மாயம் செய் அவுணரைக்
கடந்து அடு முன்பொடு, முக்கண்ணான் மூஎயிலும்
உடன்றக்கால், முகம் போல ஒண் கதிர் தெறுதலின்,
சீறு அருங் கணிச்சியோன் சினவலின் அவ் எயில்
ஏறு பெற்று உதிர்வன போல், வரை பிளந்து, இயங்குநர்
ஆறு கெட விலங்கிய அழல் அவிர் ஆர் இடை
மறப்பு அருங் காதல் இவள் ஈண்டு ஒழிய,
இறப்பத் துணிந்தனிர், கேண்மின் மற்று ஐஇய!

‘தொலைவு ஆகி, இரந்தோர்க்கு ஒன்று ஈயாமை இழிவு’ என,
மலை இறந்து செயல் சூழ்ந்த பொருள் பொருள் ஆகுமோ
நிலைஇய கற்பினாள், நீ நீப்பின் வாழாதாள்,
முலை ஆகம் பிரியாமை பொருளாயின் அல்லதை?

‘இல் என, இரந்தோர்க்கு ஒன்று ஈயாமை இழிவு’ என,
கல் இறந்து செயல் சூழ்ந்த பொருள் பொருள் ஆகுமோ
தொல் இயல் வழாஅமைத் துணை எனப் புணர்ந்தவள்
புல் ஆகம் பிரியாமை பொருளாயின் அல்லதை?

‘இடன் இன்றி, இரந்தோர்க்கு ஒன்று ஈயாமை இழிவு’ என,
கடன் இறந்து செயல் சூழ்ந்த பொருள் பொருள் ஆகுமோ
வடமீன் போல் தொழுது ஏத்த வயங்கிய கற்பினாள்
தட மென் தோள் பிரியாமை பொருளாயின் அல்லதை?

என, இவள்
புன் கண் கொண்டு இனையவும், பொருள்வயின் அகறல்
அன்பு அன்று, என்று யான் கூற, அன்புற்று,
காழ் வரை நில்லாக் கடுங் களிற்று ஒருத்தல்
யாழ் வரைத் தங்கியாங்கு, தாழ்பு, நின்
தொல் கவின் தொலைதல் அஞ்சி, என்
சொல் வரைத் தங்கினர், காதலோரே.

Just like Ainkurunooru, the previous Sangam Literary collection we encountered, Kalithogai too is grouped by the landscape, with all the poems therein being sung by the same poet. For this ‘Paalai’ or ‘drylands landscape’, a Chera King, who has contributed immensely to the Sangam corpus, dons the role of the wordsmith. It’s heartening to know that in the Sangam era, there lived a king, who cared not about outer conquests and expansion that would inscribe his name in history, but gave his time to studying inner life and the exposition of emotions through poetry. The poet-king’s words can be translated as follows:

“With the Elder, who appeared before the beginning, at the fore, the immortals pleaded to slay the strength of the unruly. And so, like a lion, with fury, he conquered those deceptive demons with his immense skill, and with his three eyes, he burnt their three forts. Akin to the way his face glowed at that moment, burns the sun with its shining hot rays, and akin to how those forts shatter in the rising rage of the one, who wields the powerful battle-axe, mountains break apart and ruin the paths of travellers in the ire of the sun. Such is the drylands path, where you dare to part, leaving her to suffer here with her love that knows not how to forget. Listen to what I have to say!

Thinking, ‘It’s a dishonour not to render something to those who come and plead owing to their poverty’, you wish to gather wealth crossing mountains many. But can that be considered wealth? She is one with unswerving chastity, the one who will perish if you part away. What else can be wealth other than the state of not parting away from her tender bosom?

Thinking, ‘It’s a dishonour not to render something to those who come pleading saying they have nothing’, you wish to gather wealth crossing rocky hills many. But can that be considered wealth? She is one who united with you, seeing you as her companion, as per the ancient custom. What else can be wealth other than the state of not parting away from her soft bosom?

Thinking, ‘It’s a dishonour not to render something to those who come pleading saying they have nowhere to go’, you wish to gather wealth crossing jungles many. But can that be considered wealth? She is one with a chastity, worthy of being worshipped, akin to the northern star. What else can be wealth other than the state of not parting away from her soft and curving arms?

As I said to him, ‘Leaving her to suffer with dull eyes, if you leave for the sake of wealth, that is not love’, filled with love, akin to a mad, male elephant that is stopped, not even by a goad, but that which is calmed by a lute, bending from his stance, fearing that your old beauty would be lost, he paid heed to my word and stayed back, that lover of yours!”

Time to delve into the details. The verse revolves around the context of a man’s parting from his lady after marriage, and is expressed in the words of the confidante to the lady and within this outer margin, contains conversations of the confidante with the man. The confidante starts by sketching God Siva we encountered in the previous verse of invocation. Looking back at the first verse, perhaps this verse was the inspiration for that invocation, which is said to be added at a later stage. Without naming the god mentioned as Siva, the verse talks about the circumstances that lead to this god’s burning of the fort of the demons. Apparently, taking the Elder, the Creator God, as their leader, a bunch of immortals seemed to have sought the help of this God to quell the arrogance of the demons. So, this god, described as one having three eyes, an attribute assigned to God Siva, burns the three forts of the demons and wins over them. 

The confidante has rendered this lengthy, mythical description only to say just the way the God’s face glowed as he burnt those forts, the sun scorches the drylands, and just the way the God’s battle axe broke the forts, the sun breaks apart mountains and impedes the travel of the wayfarers. Describing this drylands path, the confidante connects saying this is exactly where the man planned to go. 

Following this clarification of context, the confidante describes how she speaks about the reasons for the man’s decision to leave. Though she says it in three different ways, ultimately the man wants to part away, only because he cannot bear to say ‘no’ to those who come seeking to him, out of their poverty, with nowhere to go. She establishes that his journey is not for selfish reasons, but for the act of rendering to others. Then, she puts the question to him asking if what he gains can be considered wealth at all. So, what is wealth, he may ask her, and readily she gives the answer that true wealth lies in the man not parting away from the noble, chaste, trusting lady, and living in her embrace. 

After narrating all these words about wealth she said to the man, the confidante delivers the final punch to him saying if he leaves, then his love is not love. Hearing these words, like a mad elephant that could not be tamed even by a powerful goad, which then stands still hearing the notes of a lute, the man too retreated, bent from his resolve, and decided to stay back, concludes the confidante, conveying the joyous news that the man will not part from the lady. 

Through this verse, the poet presents the dilemma between earning wealth and being with a beloved, and argues in a way such that love triumphs. Within these lines, hides the intricate art of negotiation, wherein we see how the confidante presents her case, first by acknowledging the man’s noble intentions in seeking wealth, and then raising a doubt by asking a question. She presents the criticality of choosing that path she recommends by describing the lady’s virtues and the lady’s inability to bear with the man’s parting. Finally, with that exquisite simile of the elephant and the lute, she ends with the lesson that it’s not harsh and punitive whipping rod, such as insults, anger and shouting, that would make someone change their mind, but the gentle notes of a calm appeal to reason. A lesson that shows the way to subdue all those wild elephants in our minds and lives! 

In this episode, we perceive the roles of a god and his consort, as depicted in Sangam Literary work, Kalithogai 1, penned by an anonymous poet. Kalithogai is a collection of musical verses in the ‘Aham’ or ‘Inner life’ classification of Sangam Literature. This first verse is a prayer song, believed to be added to this collection at a later period.

ஆறு அறி அந்தணர்க்கு அரு மறை பல பகர்ந்து,
தேறு நீர் சடைக் கரந்து, திரிபுரம் தீ மடுத்து,
கூறாமல் குறித்ததன் மேல் செல்லும் கடுங் கூளி
மாறாப் போர், மணி மிடற்று, எண் கையாய்! கேள், இனி:

படு பறை பல இயம்ப, பல் உருவம் பெயர்த்து நீ,
கொடுகொட்டி ஆடுங்கால், கோடு உயர் அகல் அல்குல்,
கொடி புரை நுசுப்பினாள் கொண்ட சீர் தருவாளோ?

மண்டு அமர் பல கடந்து மதுகையால் நீறு அணிந்து,
பண்டரங்கம் ஆடுங்கால், பணை எழில் அணை மென் தோள்,
வண்டு அரற்றும் கூந்தலாள் வளர் தூக்குத் தருவாளோ?

கொலை உழுவைத் தோல் அசைஇ, கொன்றைத் தார் சுவல் புரள,
தலை அங்கை கொண்டு, நீ காபாலம் ஆடுங்கால்,
முலை அணிந்த முறுவலாள் முன் பாணி தருவாளோ?

என ஆங்கு
பாணியும், தூக்கும், சீரும், என்று இவை
மாண் இழை அரிவை காப்ப,
ஆணம் இல் பொருள் எமக்கு அமர்ந்தனை ஆடி.

Here’s an invocation song that contains many mythical details about God Siva and his companion Goddess. The verse can be translated as follows:

“You offered precious scriptures to priestly scholars, who had attained the path of righteousness; You hid clear waters in your matted braids; You set the land of ‘Tripuram’ on fire; You are one who transcends the limits of words; You waged a fearsome battle with your army that knows not retreat; O lord with a sapphire neck and eight arms, listen to what I have to say!

When drums many resound, taking many different forms, as you perform the ‘Kodukatti’ dance, will she, the one with uplifted, wide loins, and a waist, akin to a vine, render the final ‘seer’ beat?

Crossing many fierce battlefields with strength, as you perform the ‘Paandarangam’ dance, adorned with ash, will she, the one with beautiful, bamboo-like soft arms and bee-buzzing tresses, render the growing, intermittent ’thookku’ beat?

When the skin of the killer tiger you wear sways and the golden shower garland twirls around your shoulders, as you perform the ‘Kapaalam’ dance, holding a head in your palm, will she, the one with smiles, akin to wild jasmines, render the initial ‘paani’ beat? 

And so, with the initial, intermittent and final beats, as the maiden with well-etched ornaments protects, on us, who have no one to love, you render your grace, dancing. “

Let’s explore the details presented in this verse. The fact is that there was no tradition of starting a collection of verses with a prayer song in Sangam times, for they preferred to delve into the facets of inner life without much ado. And so, although we have not yet entered the actual doors of Kalithogai, this verse can be imagined as the opening of the outer gate that people from a later era have constructed to protect their ideology of a supreme power. 

Delving into the verse, the words are addressed to God Siva, and offers insights about this god. The first note is about how he gave the scriptures to priests, who were on the path of righteousness. The parallel from another religion that strikes me now is how according to the Old Testament, God was supposed to have given the Ten commandments to Moses. Returning to the God in this verse, then there’s an account of how he holds the waters of the Ganges in his matted locks of hair. The third mythical story is about how this God burnt down the land of the demons called as ‘Tripuram’. This description ends with the familiar sketch of this God having a sapphire-hued neck and eight arms, which we notice especially in the dancing version called ‘Nataraja’. 

After the description, the poet beckons the god to listen to him and then describes three kinds of dance performed by the celestial warrior. These are ‘Kodukatti’, in which God Siva takes many forms and dances as drums resound, then the ‘Paandarangam’, in which he dances smeared with the ash of the demons, whom he conquered, and finally, the ‘Kapaalam’, in which he dances holding the head of the vanquished in his palm, as a golden shower flower garland, swirls around his shoulders, and the tiger skin he wears sways around. 

What the poet adds to these dances is the unique aspect here! The poet describes the Goddess consort of this God as having a vine-like waist, bamboo-like arms, bee-buzzing tresses and a smile like that of blooming wild jasmines. The thing to note here is how the description of this mythical, celestial entity matches that of the lady, or the female protagonist of Sangam literature, whom we have met with in many, many Aham verses. After this earthy description, the poet asks if this Goddess is the one who keeps the initial, intermittent and final beats as this great God dances away, and ends in wonder about the love rendered by this God on the worshippers, amidst his fury and rampage in the battlefield.

And so, we see how God and his consort are modelled on the lines of the man and his lady, wherein one, brimming with fury and a sense of duty, while the other is the epitome of peace and calm, the protector and healer. It is in the perfect duet of this masculine and feminine that the world revolves in the rhythm of balance, implies this invocation song at the beginning of our journey into Kalithogai, an uproarious and spirited celebration of love!