In this episode, we listen to a lady’s lament, as portrayed in Sangam Literary work, Aganaanooru 364, penned by Madurai Maruthankizhaar Maganaar Perunkannanaar. The verse is situated amidst the blooming trees of the ‘Mullai’ or ‘Forest Landscape’ and sketches the picturesque changes in the season of rains.

மாதிரம் புதையப் பாஅய், கால் வீழ்த்து,
ஏறுடைப் பெரு மழை பொழிந்தென, அவல்தோறு
ஆடு களப் பறையின் வரி நுணல் கறங்க,
ஆய் பொன் அவிர் இழை தூக்கியன்ன
நீடு இணர்க் கொன்றை கவின் பெற காடு உடன்
சுடர் புரை தோன்றிப் புதல் தலைக் கொளாஅ,
முல்லை இல்லமொடு மலர, கல்ல
பகு வாய்ப் பைஞ் சுனை மா உண மலிர,
கார் தொடங்கின்றே காலை; காதலர்
வெஞ் சின வேந்தன் வியன் பெரும் பாசறை,
வென்றி வேட்கையொடு நம்மும் உள்ளார்;
யாது செய்வாம்கொல்? தோழி! நோதகக்
கொலை குறித்தன்ன மாலை
துனைதரு போழ்தின், நீந்தலோ அரிதே!

In this trip to this moist landscape, we get to see pleasant sights, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left her on a mission of war:

“Spreading in a such a way as to bury all sense of direction, descending down, along with thunder, huge rain clouds have poured down. Striped toads in many pits resound akin to drums in a festivity. As if exquisite, radiant ornaments are hung down, the golden shower tree with long clusters makes the forest glow with beauty. Akin to lamps, the flame-lily blooms atop bushes, and along with wild jasmines, the clearing nut tree too blooms. All the wide-mouthed, fresh springs in the mountains fill up for animals to savour. Such is the hour when the rainy season has begun. At this time, that lover of mine, who’s at the wide battle camp of the furious king, with his intention focused on victory, has no thought about me. What should I do, my friend? When the evening hour arrives beside me with much haste, as if intent on murder, it would be impossible to prevail over!”

Let’s soak in the rain of emotion! The lady starts by talking vividly about how the rains have showered, and as a consequence, toads are croaking, akin to festival drums, the golden shower tree is all ablaze, as if adorned with hanging ornaments, flame-lilies seem to light up with lamps, and as if all these splendours were not enough, the wild jasmines and clearing nut tree flowers have bloomed in synchrony. Further, to render relief to all thirsting animals, the watering holes in the mountain paths were brimming over. After stating that everything was blooming in the season of rains, the lady explains that her state was in contrast, for her lover was locked in a king’s battle, and so intent on victory was he that he had no thought about her. She concludes by wondering what she would do, when the murderous evening hour arrived and stood beside her! Reading these lines, it occurred to me how these poets have visualised a woman as a vine that would collapse if not for the sturdy support of her beloved.

Moving beyond the lady’s sorrow which no doubt the man would soon allay, it was a sensory delight to hear the toads croaking, see the dangling golden shower clusters, inhale the fragrance of the wild jasmines, taste the cool mountain springs and sense the magic that the rains seem to cast upon the earth!

In this episode, we listen to words of admonishment, as portrayed in Sangam Literary work, Aganaanooru 365, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a study in contrast of barrenness and beauty.

அகல் வாய் வானம் மால் இருள் பரப்ப,
பகல் ஆற்றுப்படுத்த பையென் தோற்றமொடு
சினவல் போகிய புன்கண் மாலை,
அத்த நடுகல் ஆள் என உதைத்த
கான யானைக் கதுவாய் வள் உகிர்,
இரும் பனை இதக்கையின், ஒடியும் ஆங்கண்,
கடுங்கண் ஆடவர் ஏ முயல் கிடக்கை,
வருநர் இன்மையின் களையுநர்க் காணா
என்றூழ் வெஞ் சுரம் தந்த நீயே
துயர் செய்து ஆற்றாயாகி, பெயர்பு, ஆங்கு
உள்ளினை வாழிய, நெஞ்சே! வென் வேல்
மா வண் கழுவுள் காமூர் ஆங்கண்,
பூதம் தந்த பொரி அரை வேங்கைத்
தண் கமழ் புது மலர் நாறும்
அம் சில் ஓதி ஆய் மடத் தகையே.

In this trip to this harsh domain, we get to see familiar sights, as we listen to the man say these words to his heart, in the middle of his journey through the drylands:

“As darkness spreads in the wide sky, the day crosses over, and with a listless appearance, filled with fury, the suffering-filled evening arrives. At this time, thinking that a hero stone in the middle of the drylands is a person, a jungle elephant kicks it, causing its huge toe nail to break, appearing akin to a palm fruit’s shell. In such a place, harsh-eyed men, who wait, intent on showering their arrows, find no wayfarers to end their impoverishment. You have brought me to such a barren, scorching space, and not satisfied with the sorrow you’ve rendered thus far in coming here, now you are also thinking about that naive and noble maiden with beautiful tresses, which have the fragrance of the moist, new flowers blooming upon that Kino tree, with a parched trunk, on which resides a spirit, in the town of Kaamoor, ruled by the strong and courageous Kazhuvul, who wields a victorious spear! Long may you live, my heart!”

Time to brave the formidable paths! The man starts by sketching the time of the day and talks about how a dull evening seems to arrive, pushing aside the daylight in the sky, and at this time, not seeing very clearly, an elephant seems to mistake a memorial stone in the middle of the drylands for a person standing there, and gives it a kick, only to find its nail tearing apart in the impact. This is equated aptly to the torn shell of a palm fruit or ice apple, called as ‘nungu’ in contemporary Tamil.

From the time of the day, the man moves on to talk about the place, and he mentions how the prominent denizens of this domain, the highway robbers, seem to lie in wait for wayfarers, but their wait only ends in disappointment for no one dares to come through those scorching spaces. The man turns to his heart and points out how it has brought him to such a place where even those harsh-eyed robbers are to be pitied, and concludes by saying as if the heart had not caused enough trouble, now it was thinking about the lady, the scent of whose tresses is akin to the flowers of a particular Kino tree, favoured by spirits, in the town of Kaamoor, ruled by Kazhuvul. Indeed, it’s the familiar theme of separating one’s heart from oneself and trying to overcome the despair of the situation.

On a tangent, what struck me in this verse is the way this poet remembers a particular Kino tree, in a specific town, and its features. Doesn’t it seem like these poets had a unique bonding with the trees they encountered in their travels, as if they were on first name basis with them? I conclude that it’s only by living such a life, characterised by a deep awareness of all the elements of nature around, that these poets have attained their extraordinary powers of expression!

In this episode, we listen to a lady’s angst-ridden thoughts, as depicted in Sangam Literary work, Aganaanooru 367, penned by Paranar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches a scene of wait and watch at the boundary of the tamed and wild.

இலங்கு சுடர் மண்டிலம் புலம் தலைப்பெயர்ந்து,
பல் கதிர் மழுகிய கல் சேர் அமையத்து,
அலந்தலை மூதேறு ஆண் குரல் விளிப்ப,
மனை வளர் நொச்சி மா சேர்பு வதிய,
முனை உழை இருந்த அம் குடிச் சீறூர்,
கருங் கால் வேங்கைச் செஞ் சுவல் வரகின்
மிகு பதம் நிறைந்த தொகு கூட்டு ஒரு சிறை,
குவி அடி வெருகின் பைங் கண் ஏற்றை
ஊன் நசைப் பிணவின் உயங்கு பசி களைஇயர்,
தளிர் புரை கொடிற்றின், செறி மயிர் எருத்தின்,
கதிர்த்த சென்னிக் கவிர்ப் பூ அன்ன
நெற்றிச் சேவல் அற்றம் பார்க்கும்
புல்லென் மாலையும், இனிது மன்றம்ம
நல் அக வன முலை அடையப் புல்லுதொறும்
உயிர் குழைப்பன்ன சாயல்,
செயிர் தீர், இன் துணைப் புணர்ந்திசினோர்க்கே.

In this trip to the drylands, we perceive intense scenes, as we listen to the lady say these words to the confidante, when the man continues to remain parted away, having left in search of wealth:

“As the radiant, flaming orb, migrating away, traverses to the mountains, diminishing its rays, an anxious, old male deer sends out its call, and near the chaste tree, which grows near houses, herds of deer come together and rest, in that beautiful, little hamlet near a jungle fort. Here, upon the red earth with black-trunked Kino trees, blooms millets. Standing on one side of the silo containing these abundant millet grains, wishing to end the exhausted hunger of its mate, yearning for flesh, a green-eyed male cat with pointed feet stands biding its time, to nab the rooster with cheeks, akin to tender sprouts, a neck covered in thick hair, and a comb atop its upright neck, akin to a Coral tree flower cluster, in this listless evening hour. Even this dull time, would turn sweet for those, who have the good fortune to be one with their flawless, sweet mate, feeling as if life’s melting every time their fine, decorated bosom is embraced!”

Time to take a walk in the scrub jungle! The lady starts by talking about the time of the day, when the sun sets in the western mountains. She mentions how at that time, a worried male deer would send out a call and its herd of deer would group around the chaste tree, growing near a house in the village by the fort. She mentions how upon this red earth, millets bloom in abundance, and how the people of that village heap the grains in a silo. Standing near one such silo, a green-eyed jungle cat, wanting to end the hunger of its mate, waits to seize a rooster, roving around in that evening hour. The lady concludes by declaring that even such a dull time would turn pleasant to someone who had their mate to embrace. Another declaration of ‘I’m lost without him’ by the pining lady. The evening, the night, the rainy season, spring all seem to torment the parted, according to the Sangam poets!

In this episode, we listen to a hidden message, as depicted in Sangam Literary work, Aganaanooru 370, penned by Ammoovanaar. The verse is situated amidst the sand houses of the ‘Neythal’ or ‘Coastal Landscape’ and sketches the helplessness in the situation with vivid similes.

‘வளை வாய்க் கோதையர் வண்டல் தைஇ,
இளையோர், செல்ப; எல்லும் எல்லின்று;
அகல் இலைப் புன்னைப் புகர் இல் நீழல்,
பகலே எம்மொடு ஆடி, இரவே,
காயல் வேய்ந்த தேயா நல் இல்
நோயொடு வைகுதிஆயின், நுந்தை
அருங் கடிப் படுவலும்’ என்றி; மற்று, ‘நீ
செல்லல்’ என்றலும் ஆற்றாய்; ‘செலினே,
வாழலென்’ என்றி ஆயின்; ஞாழல்
வண்டு படத் ததைந்த கண்ணி, நெய்தல்
தண் அரும் பைந் தார் துயல்வர, அந்தி,
கடல் கெழு செல்வி கரை நின்றாங்கு,
நீயே கானல் ஒழிய, யானே
வெறி கொள் பாவையின் பொலிந்த என் அணி துறந்து,
ஆடு மகள் போலப் பெயர்தல்
ஆற்றேன்தெய்ய; அலர்க, இவ் ஊரே!

In this trip to the seas, we encounter religious elements, as we listen to the confidante say these words to the lady, pretending not to notice the man, listening by the hedge, but making sure he’s in earshot:

“After playing with sand houses, those young maiden wearing curving garlands, leave, as the day bids adieu and the night arrives. When I say to you, ‘In the thick shade of the wide-leaved laurel wood tree, after playing with me during the day, at night, if you are to remain with much affliction, at our fine, unfading home, thatched with dried grass, your father is bound to keep you under strict guard’, you relent not, and respond saying, ‘If I were to go, I shan’t live!’. In this manner, akin to the goddess of the sea, wearing a head garland woven with bee-buzzing screw-pine flowers, along with a swaying, fresh garland of moist and precious blue lotuses, if you are to remain at the shore, during this evening hour, leaving you here in the orchard, akin to a dancing maiden, who has performed the possessed ‘Veri’ ritual, casting away my radiant beauty, I cannot part away. Let this town spread slander, if it wants to!”

Let’s listen to the words of this friend on a mission! The confidante starts by pointing out how the lady’s playmates after playing on the sands, building sand houses and sand dolls, have called it a day and gone home. She elaborates that night was arriving and she had told the lady that if after playing during the day with much joy, possibly in the company of the man, if the lady were to go home and spend her evening languishing in their home, then her father was sure to forbid her from going out and put her under a strict guard. To these words, the lady pays no heed and says that if she were to leave now, she cannot go on living, the confidante says. Then she sketches the way the lady was standing there on the shore, akin to a sea goddess, clad in flower garlands, shining in the light of dusk, refusing to come home. The confidante concludes by declaring it was impossible for her, to part away, like a worn out ‘Veri’ female dancer, and in a note of desperation, declares she cares not what gossip may coast through the town!

In essence, the lady’s deep love for the man and wish to be with him, day and night, is proclaimed by the confidante, along with the dangers of being put under guard and slander spreading in town. All this to nudge the man to ‘Marry her, Marry her’. What’s interesting in this verse is the portrayal of the lady as the ‘sea goddess’ and the confidante as ‘the devotee seeking a boon’! The extent of responsibility and care the confidante shows for the lady’s life and happiness truly etches her as the abiding symbol of friendship, across space and time!

In this episode, we listen to words of angst, as depicted in Sangam Literary work, Aganaanooru 371, penned by Eyinanthai Magan Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse projects the pain in separation onto elements of nature.

அவ் விளிம்பு உரீஇய விசை அமை நோன் சிலை,
செவ் வாய்ப் பகழி, செயிர் நோக்கு ஆடவர்
கணை இடக் கழிந்த தன் வீழ்துணை உள்ளி,
குறு நெடுந் துணைய மறி புடை ஆட,
புன்கண் கொண்ட திரி மருப்பு இரலை
மேய் பதம் மறுத்த சிறுமையொடு, நோய் கூர்ந்து,
நெய்தல்அம் படுவில் சில் நீர் உண்ணாது,
எஃகு உறு மாந்தரின் இனைந்து கண்படுக்கும்,
பைது அற வெம்பிய பாழ் சேர் அத்தம்,
எமியம் நீந்தும் எம்மினும், பனி வார்ந்து,
என்னஆம் கொல் தாமே ‘தெண் நீர்
ஆய் சுனை நிகர் மலர் போன்ம்’ என நசைஇ
வீ தேர் பறவை விழையும்
போது ஆர் கூந்தல் நம் காதலி கண்ணே?

In this trip to the drylands, we get to see familiar sights, as we listen to the man say these words to his heart, in the middle of his journey through the drylands, having parted with the lady in the quest of wealth:

“Wielding a sturdy bow, with taut strings, an exquisite edge and red-tipped arrows, men with unmerciful eyes, had shot and killed a female deer. Thinking of its fallen mate, as their tall and short young ones frolic around, the male deer with twisted antlers, looking around, with its listless eyes in deep sorrow, refuses to graze, and filled with affliction, doesn’t even drink up the little water, puddling in the pits of that saline land. It lies down with pain, akin to those people, who have been wounded by spears, in that moisture-less, utterly barren, doomed drylands. Even more than me, traversing this path, all alone, filled with tears, wouldn’t the eyes of my beloved, who has long, flower-clad tresses, suffer more? What would be the state of those eyes, around which thinking those are ‘flowers that bloom amidst picturesque springs with crystal waters’, bees in quest of blooms, buzz around?”

Time to brave the barren spaces! The man starts by talking about how harsh-eyed robbers in the drylands have shot down a female deer with their well-etched weapons, namely a bow and arrow. Then, he shifts the focus onto the male deer which has lost its mate as it wallows in grief, even as the young kids leap about without any realisation. The deer refuses to graze or even have the little water, stagnating in a pit, the man etches, detailing the dreariness of the path he walks. The man concludes by declaring that though his suffering is great, it is nothing compared to the tearful state of the lady’s eyes, mistaken by bees for flowers that bloom in spring waters. Tender is the heart that goes beyond its suffering to reflect on the pain of another, and underscores all that is best about humanity!