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In this episode, we perceive words of consolation, as portrayed in Sangam Literary work, Aganaanooru 173, penned by Mulliyoor Pothiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse highlights the wealth and glory of a Sangam king’s domain. ‘அறம் தலைப்பிரியாது ஒழுகலும், சிறந்த கேளிர் கேடு பல ஊன்றலும், நாளும் வருந்தா உள்ளமொடு இருந்தோர்க்கு இல்’ எனச் செய்வினை புரிந்த நெஞ்சினர், ‘நறு நுதல் மை ஈர் ஓதி! அரும் படர் உழத்தல் சில் நாள் தாங்கல்வேண்டும்’ என்று, நின் நல் மாண் எல் வளை திருத்தினர்ஆயின், வருவர் வாழி, தோழி! பல புரி வார் கயிற்று ஒழுகை நோன் சுவற் கொளீஇ, பகடு துறை ஏற்றத்து உமண் விளி வெரீஇ, உழைமான் அம் பிணை இனன் இரிந்து ஓட, காடு கவின் அழிய உரைஇ, கோடை நின்று தின விளிந்த, அம் பணை, நெடு வேய்க் கண் விடத் தெறிக்கும் மண்ணா முத்தம் கழங்கு உறழ் தோன்றல, பழங் குழித் தாஅம் இன் களி நறவின் இயல் தேர் நன்னன் விண் பொரு நெடு வரைக் கவாஅன் பொன் படு மருங்கின் மலை இறந்தோரே. In this trip to the drylands in the mountains, we get to hear the confidante say these words to the lady, at a time when the man continues to remain parted away: “Deciding, ‘Living a life without swerving away from justice and bearing the many burdens of one’s honourable kith and kin, are both impossible for those, who stay in comfort with a complacent heart!’, the one who wished to part away on the mission of gaining wealth, said, ‘O maiden with a fragrant forehead and thick, moist tresses, you must bear the deep suffering of parting for a few days!’, as he caressed your exquisite, shining bangles. Tying sturdy ropes with many thick threads to the necks of their oxen, arrive salt merchants on upraised river shores. Startled by their sharp whistles, herds of male deer along with their exquisite mates scuttle away; Making the jungle lose its beauty, the summer sun scorches. The tall and beautiful bamboos, that have dried up bereft of water, burst at the nodes, and scatter soiled seeds that appear akin to beans, which fall into old pits. The man, who has left to these mountains, which lie near the rich, golden lands in the slopes of sky-soaring peaks, belonging to Nannan, who wields fast chariots and is renowned for the sweetness of his toddy, will return to you soon, my friend, may you live long!” Time to tread those hot sands! The confidante starts by reflecting the man’s words to the lady before he had left on his mission. With much tenderness, he had consoled the lady and explained the reasons he had to undertake the journey, talking about how it was his duty to live a life of justice and to help all their kith and kin in their hour of need, and to do this, he had to leave the comfort of home and go seek wealth. He had requested the lady to bear with this pain for some time and left, the confidante reminds the lady. Then she talks about the place where the man treads now, talking about an arid region, where salt merchants traverse with their oxen, frightening the deer there with their sharp whistles, and where bamboos split open in the heat, scattering their seeds. The confidante concludes by adding that those drylands were in the vicinity of the wealthy domain, filled with gold, ruled by King Nannan, known for his swaying chariots and sweet toddy, and promises the lady that the man would return soon to her.  With those specific words about Nannan’s golden lands, the confidante hints that the man would be blessed with riches in his mission, and the lady’s days of pain were at an end. What a thoughtful friend who highlights the positive qualities of the very person, seemingly the cause of pain! By connecting the goodness of the man in the past, and the promise of his return in the future, this fine friend alleviates the lady’s misery in the present moment. The perfect recipe for reassurance indeed!

In this episode, we perceive an attempt at changing a person’s behaviour, as portrayed in Sangam Literary work, Aganaanooru 172, penned by Madurai Paalaasiriyar Nappaalanaar. The verse is situated amidst the roaring cascades and resounding slopes of the ‘Kurinji’ or ‘Mountain Landscape’ and paints vivid images of life in this domain. வாரணம் உரறும் நீர் திகழ் சிலம்பில் பிரசமொடு விரைஇய வயங்கு வெள் அருவி இன் இசை இமிழ் இயம் கடுப்ப, இம்மெனக் கல் முகை விடர்அகம் சிலம்ப, வீழும் காம்பு தலைமணந்த ஓங்கு மலைச் சாரல்; இரும்பு வடித்தன்ன கருங் கைக் கானவன் விரி மலர் மராஅம் பொருந்தி, கோல் தெரிந்து, வரி நுதல் யானை அரு நிறத்து அழுத்தி, இகல் அடு முன்பின் வெண் கோடு கொண்டு, தன் புல் வேய் குரம்பை புலர ஊன்றி, முன்றில் நீடிய முழவு உறழ் பலவில், பிழி மகிழ் உவகையன், கிளையொடு கலி சிறந்து, சாந்த ஞெகிழியின் ஊன் புழுக்கு அயரும் குன்ற நாட! நீ அன்பிலை ஆகுதல் அறியேன் யான்; அஃது அறிந்தனென்ஆயின் அணி இழை, உண்கண், ஆய் இதழ்க் குறுமகள் மணி ஏர் மாண் நலம் சிதைய, பொன் நேர் பசலை பாவின்றுமன்னே! In this action-packed trip to the mountains, we get to hear the confidante say these words to the man, after bringing over the lady for a tryst with him: “In the water-filled mountains, elephants trumpet; shining white cascades descend, fused with honey, resounding akin to the sweet music of instruments, making clefts and caves in the hills echo with a loud sound; bamboos crowd densely on the slopes of the soaring peaks; Here, a mountain hunter, having black hands, appearing as if cast in iron, climbs on to a blooming bur-flower tree, aims the perfect arrow and pierces the tough chest of an elephant with a lined forehead, and brings its white tusk, capable of attacking enemies with strength, and plants it to dry in front of his hut, thatched with grass. Then, from a jackfruit sprouting in his front yard, appearing akin to a drum, he extracts sweet nectar and relishes it, amidst the uproar of his joyous kith and kin, sharing with them, rice cooked with meat on the fire of sandalwood barks. Such is your domain in the mountains, O lord! I never knew that you were such a loveless person; Had I known that, I wouldn’t have let the beauty of the young maiden, adorned with exquisite ornaments, having kohl-streaked, petal-like eyes, to be ruined, by the spreading of gold-like pallor on her sapphire-like skin!” Trek time! The confidante starts by bringing the mountains alive. She makes us hear the roar of elephants and the descent of cascades, flowing with the music of an orchestra. She points to the densely crowding bamboos and after giving us a sense of place, she zooms on to a person, namely a mountain hunter, who is perched atop a burflower tree. From his vantage point, he takes aim with a sharpened arrow and hits straight into the chest of an elephant. Then, coming down, he brings home the gentle giant’s tusk and plants it in front of his home. His day’s work done, the hunter delights in drinking the nectar of jackfruit juice and eating rice and meat, cooked on a sandalwood fire, in the boisterous company of his beloved kin. The confidante has mentioned all these vivid elements to represent the man’s domain. After such glowing praise for his land, the confidante arrives at the core concern and declares that she never knew the man would turn up to be such a person, lacking in love. She concludes by lamenting if only she had known, she would have never allowed the lady’s beauty to be ruined by the fair pallor that was spreading on her dark skin!  The confidante means to say to the man, ‘I thought you loved the lady. How can you make her suffer so?’. In response, he would query the reason for such an accusation and the confidante would end up revealing how his absences affected the lady and brought great suffering to her. In the opening scene of elephants trumpeting and cascades roaring, using the imagery of sound, the confidante places a metaphor for how slander is spreading through town about the relationship between the man and the lady. Then in the scene of the mountain hunter felling the elephant and bringing the trophy of its tusk home, the confidante places a wish for the man to fell the enemy of slander and claim the lady’s hand and rejoice in the permanent union, sanctioned and celebrated by the kith and kin. Thus, with the firm stones of vivid images in the outer world, the confidante paves the road to happiness in the life of the man and the lady! 

In this episode, we observe an attempt at allaying anxiety, as depicted in Sangam Literary work, Aganaanooru 171, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches vivid elements of life and wildlife in this domain. ”நுதலும் நுண் பசப்பு இவரும்; தோளும் அகல் மலை இறும்பின் ஆய்ந்து கொண்டு அறுத்த பணை எழில் அழிய வாடும்; நாளும் நினைவல்மாது அவர் பண்பு” என்று ஓவாது இனையல் வாழி, தோழி! புணர்வர் இலங்கு கோல் ஆய் தொடி நெகிழ, பொருள் புரிந்து அலந்தலை ஞெமையத்து அதர் அடைந்திருந்த மால் வரைச் சீறூர் மருள் பல் மாக்கள் கோள் வல் ஏற்றை ஓசை ஓர்மார், திருத்திக் கொண்ட அம்பினர், நோன் சிலை எருத்தத்து இரீஇ, இடம் தொறும் படர்தலின், கீழ்ப்படு தாரம் உண்ணா, மேற் சினைப் பழம் போற் சேற்ற தீம் புழல் உணீஇய, கருங் கோட்டு இருப்பை ஊரும் பெருங் கை எண்கின் சுரன் இறந்தோரே! In this trip to the drylands, there’s much to see even as we hear the confidante say these words to the lady, as the man, who had left in search of wealth, continues to remain parted away: “Saying ‘Let intricate spots of pallor spread on the forehead; Let arms, which are akin to well-selected bamboos in the wide mountain forests, lose their beauty and become ruined; Still, I shall not stop thinking of his nature all day, every single day!’, do not suffer unceasingly, my friend, may you live long! Making your well-rounded, resplendent bangles slip away, he left to gain wealth, treading paths abounding with axle-wood trees having scorched tops, through small hamlets in the foothills of the huge mountain, where many people, tense with fear, keep watch for the sounds of a killer male bear, and wait in readiness with their well-sharpened arrows, carrying their sturdy bows on their shoulders. As they spread about hither and thither, knowing of their movements, not feeding on what has fallen down, that huge-handed bear, wishing to instead feed on flowers that taste as sweet as fruits upon high branches, crawls atop trees in those drylands. He shall return and unite with you soon!” Let’s tread on and trace the dangers of this domain! The confidante starts by repeating the lady’s words, who seems not bothered that pallor would spread on her forehead and that her bamboo-like arms would lose their beauty, and continues to wallow in the memory of the man, who had left her to seek wealth. The confidante goes on to describe where he has gone, talking about the ‘Gnemai’ trees that grow there and their burnt tops in the sweltering summer. Then, she goes on to mention people there, those living in a small town at the foothills, who are always on the lookout for dangerous male bears that could kill, and wait in all readiness with sharp arrows and sturdy bows. Knowing of their movements on land, the bear tries to outsmart them by not eating the easy pick of fallen fruits and flowers, but instead, climbs up on the Mahua tree and goes for the high branches to pluck the flowers that are said to be as sweet as the fruits. The confidante concludes by saying though the man walks through such a land, he will return soon to the lady’s fold. It’s indeed a simple reassurance from a concerned friend but what hides within are interesting aspects of intelligence and evolution in the face of animal-human conflict, something that remains a serious concern in our world today!

In this episode, we perceive an attempt to enlist a unique messenger, as portrayed in Sangam Literary work, Aganaanooru 170, penned by Madurai Kallitru Kadaiyathan Vennaakanaar. The verse is situated amidst the silent backwaters of the ‘Neythal’ or ‘Coastal landscape’ and etches exquisite scenes of life in this domain. கானலும் கழறாது; கழியும் கூறாது; தேன் இமிர் நறு மலர்ப் புன்னையும் மொழியாது; ஒரு நின் அல்லது பிறிது யாதும் இலனே; இருங் கழி மலர்ந்த கண் போல் நெய்தல் கமழ் இதழ் நாற்றம் அமிழ்து என நசைஇ, தண் தாது ஊதிய வண்டினம் களி சிறந்து, பறைஇ தளரும் துறைவனை, நீயே, சொல்லல் வேண்டுமால் அலவ! பல்கால் கைதைஅம் படுசினை எவ்வமொடு அசாஅம் கடற் சிறு காக்கை காமர் பெடையொடு கோட்டுமீன் வழங்கும் வேட்டம் மடி பரப்பின் வெள் இறாக் கனவும் நள்ளென் யாமத்து நின் உறு விழுமம் களைந்தோள் தன் உறு விழுமம் நீந்துமோ! எனவே. In this trip to the shore, we get to see the lady saying these words to an intriguing little denizen of the domain: “The seashore grove will not exhort him; The backwaters will not explain to him; The bee-buzzing fragrant laurel wood tree will not expound either; Other than you, I have no one, O crab! Desiring the wafting scent from the petals of the blue lotus, blooming like eyes in the dark backwaters, bees swarm around their cool pollen, and then brimming over with ecstasy, find themselves unable to fly. Such are the shores of the lord! Going to him, you need to tell him something. Upon the curving branch of the many-legged pandanus tree, with suffering, rests a little sea gull, along with its desirable mate, and dreams about white shrimp in the expanses, frequented by swordfish, when the fish hunt has ended, in the darkness of the midnight hour. Please go to him and ask him, ‘How can the one, who ended your sorrow at many such midnight hour, swim across through the sea of her own sorrow, caused by your parting, now?’” Ready to swim through the backwaters and eavesdrop on a conversation? Here we find the lady having a chat with a crab on the shore. She starts by lamenting to the crustacean about how neither the grove, nor the backwaters, nor the laurel wood tree is going to speak up in her defence, and tells the crab that she has no one else. What a way to make the crab feel special! Then, she describes the man’s domain by the seas and here we find bees drunk on the pollen of blue lotuses and unable to even flap their little wings, so sloshed in the sweetness of the nectar they are! Then, the lady insists to the crab that it must go to the man and remind him of how the lady had come to his rescue in the many hours of the deep darkness of night, when a sea gull dreams of feasting on shrimp, at a time when all the hunting of fish had ceased. She concludes by requesting the crab to question him about how the lady can bear her sorrow if he forgets all that she has done and continues to stay away!  Flying back to the scene of those intoxicated bees, struggling to fly, we understand that the lady has placed it as a metaphor for the man being drunk on the pleasures of temporary trysting and forgetting his duty of keeping her happy. Brimming with excessive love for the man, the lady thus expresses it to the elusive crab on the shore. The beauty of this verse is in how it highlights a human’s attempt to see a friend in an element of nature, reminding us that the world awaits with open ears and a ready shoulder, if only we can open our eyes and heart! 

In this episode, we listen to a man’s worry about his beloved, as depicted in Sangam Literary work, Aganaanooru 169, penned by Thondi Aamoor Saathanaar. Set amidst the arid spaces of the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the consequences of parting in a visual manner. மரம் தலை கரிந்து நிலம் பயம் வாட, அலங்குகதிர் வேய்ந்த அழல் திகழ் நனந்தலை, புலி தொலைத்து உண்ட பெருங் களிற்று ஒழி ஊன் கலி கெழு மறவர் காழ்க் கோத்து ஒழிந்ததை, ஞெலி கோற் சிறு தீ மாட்டி, ஒலி திரைக் கடல் விளை அமிழ்தின் கணம் சால் உமணர் சுனை கொள் தீம் நீர்ச் சோற்று உலைக் கூட்டும் சுரம் பல கடந்த நம் வயின் படர்ந்து நனி பசலை பாய்ந்த மேனியள், நெடிது நினைந்து, செல் கதிர் மழுகிய புலம்பு கொள் மாலை மெல் விரல் சேர்த்திய நுதலள், மல்கிக் கயல் உமிழ் நீரின் கண் பனி வார, பெருந் தோள் நெகிழ்ந்த செல்லலொடு வருந்துமால், அளியள், திருந்திழைதானே! A trip to the drylands filled with striking events, where we get to hear the man say these words to his heart, in the middle of his journey to seek wealth: “Scorching treetops and ruining the land’s fertility, the hot sun spreads its swaying rays in those wide open spaces, where the carcass of a huge elephant that a tiger has attacked, fed on and abandoned, is carried by uproarious highway robbers on a pole, and what’s left over from that, is collected by salt merchants, who travel in hordes, bearing that elixir harvested from the resounding waves of the sea. They light up a small flame with their fire rods and add this meat to the rice cooking in the sweet waters of the spring. As her heart forsakes her and rushes to me, who has crossed many such drylands, with pallor spreading on her form, ceaselessly thinking, pressing her soft fingers on her forehead, with tears spilling over from her eyes, akin to water drops spit out by a fish, her thick arms wasting away, she would be worrying deeply in that evening hour of loneliness, when the sun’s rays diminish. That maiden wearing well-etched jewels is to be pitied indeed!” Let’s observe the changing scene in this domain and learn more! The man starts by describing the drylands that he has come across. He first talks about the relentless sun, burning and ruining everything in sight. Then, he points to a single spot and talks about three different events that have occurred right there. First, it’s a fight between a tiger and an elephant. The elephant loses out and is killed by the fierce tiger. After the tiger has had its fill of the beast, it abandons the carcass and walks on. Next, a bunch of highway robbers, who come there, carve out a huge portion of the meat and tying it on a pole, they carry it away. Finally, salt merchants arrive there, and of course, there’s still a lot of meat left, for it’s an elephant we are talking about. They set up camp nearby, start a fire with their fire rods, and then to the rice they are cooking in sweet spring water, they add the meat too. No spring water here, for sure. It must be something they have carried along in their carts. Thus, that huge elephant has now been fed upon by not one, not two, but three different parties in the scene.  After that vivid description, the man turns to reflect on the lady and laments to his heart that she is sure to be worried immensely, wondering about his whereabouts, as pallor spreads on her body and her arms thin away. He paints a portrait of the lady sitting there with her hands holding her feverish forehead and tears spilling out of her eyes like water from the mouth of a fish. The man concludes by echoing how his heart throbs with pity for the lady’s state. In the scene of the elephant carcass that was abandoned by the tiger, being fed on by the highway robbers and salt merchants, the man places a metaphor for how the lady’s beauty abandoned by him is now being feasted upon by pallor and pining. The pain in parting felt in the intimate spaces of the heart is illustrated with the scenes of the wide open spaces in the drylands, highlighting the Sangam poets’ expertise in seamlessly connecting the inner world and the outer!

In this episode, we perceive an attempt to change a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 168, penned by Kotampalathu Thunjiya Cheramaan. The verse is situated amidst the soaring peaks of the ‘Kurinji’ or ‘Mountain landscape’ and portrays the dangers of treading through this domain in the dark. யாமம் நும்மொடு கழிப்பி, நோய் மிக, பனி வார் கண்ணேம் வைகுதும்; இனியே; ஆன்றல் வேண்டும் வான் தோய் வெற்ப! பல் ஆன் குன்றில் படு நிழல் சேர்ந்த நல் ஆன் பரப்பின் குழுமூர் ஆங்கண் கொடைக் கடன் ஏன்ற கோடா நெஞ்சின் உதியன் அட்டில் போல ஒலி எழுந்து, அருவி ஆர்க்கும் பெரு வரைச் சிலம்பின் ஈன்றணி இரும் பிடி தழீஇ, களிறு தன் தூங்குநடைக் குழவி துயில் புறங்காப்ப, ஒடுங்கு அளை புலம்பப் போகி, கடுங் கண் வாள் வரி வயப் புலி கல் முழை உரற, கானவர் மடிந்த கங்குல் மான் அதர்ச் சிறு நெறி வருதல், நீயே? In this little trip to the highlands, we get to hear the confidante say these words to the man, as he prepares to leave after his nightly tryst with the lady: “After spending nights with you, full of affliction, she remains with tear-filled eyes at other times; And so, you must give it up, O lord of the sky-soaring mountains! In the shadow of a peak called ‘Pallaankundram’, spreads a town called ‘Kuzhumoor’, filled with fine cattle. Here, rules a king called ‘Uthiyan’, the one with an unswerving heart, who has assumed the duty of charity. Akin to the uproar in his kitchen, cascades resound in the slopes of the majestic mountain ranges. Here, embracing its dark mate that has just given birth, a male elephant stands in guard of its calf with a swaying gait, even as a strong, harsh-eyed, striped tiger leaves its cozy den in the cave in loneliness, and steps out, roaring aloud amidst the mountain bamboos, in the dead dark of the night, when the mountain folk are fast asleep. Indeed, you must give up your trips through these small bushy paths, frequented by beasts many, at this hour!” It’s time for a midnight stroll through the mountains! The confidante talks about how the lady is all smiles and delight when she is with the man, during their nightly trysts, but the moment he leaves, she seems to be filled with suffering, with tears threatening to leap beyond the bounds of her eyelids. So, the confidante tells the man that he must give up something he’s been doing. Without directly telling what it is, she goes on to talk about a king named ‘Uthiyan’ and his town of ‘Kuzhumoor’, a town in the shadow of a peak called ‘Pallaankundram’, which translates as ‘the peak of cattle many’. No coincidence, the town is said to have many cattle indeed, echoing its wealth. The confidante takes us to the kitchen of this king’s palace and there’s a loud noise, lot of uproar, why because the king had sworn to uphold unceasing charity. That’s why his kitchen was always abuzz! The confidante has mentioned this fact only to place in parallel that uproar to the resounding roar of the cascades in their mountains. And here, she points to how a male elephant is embracing its female and guarding their newborn calf, even as the roar of a tiger that has left its cave resounds in the air. The confidante details how all this is happening in the middle of the night and it’s his walking in the dark amidst those narrow mountain paths that the man must give up! ‘Don’t you add angst to the lady’s heart’, the confidante seems to be telling the man, revealing how much the lady fears for the man’s safety, echoing her love for him. At the same time, telling the man that the lady cannot bear to be apart from him. In a hidden way, the confidante tells the man the only path forward was to forget this temporary trysting and seek the lady’s hand in marriage. ‘Marry her, marry her’ indeed, but interesting that we got to listen to the uproarious sounds in an ancient kitchen that never stops working, and keeps piling mounds and mounds of food, for all those who arrive at that doorstep, seeking! A capture of generosity and prosperity in one shot!

In this episode, we observe a person’s decision-making process, as portrayed in Sangam Literary work, Aganaanooru 167, penned by Kadiyaloor Uruthirankannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches in detail the state of an abandoned house in this domain. வயங்கு மணி பொருத வகைஅமை வனப்பின் பசுங் காழ் அல்குல் மாஅயோளொடு வினை வனப்பு எய்திய புனை பூஞ் சேக்கை, விண் பொரு நெடு நகர்த் தங்கி, இன்றே இனிது உடன் கழிந்தன்றுமன்னே; நாளைப் பொருந்தாக் கண்ணேம் புலம்பு வந்து உறுதரச் சேக்குவம்கொல்லோ, நெஞ்சே! சாத்து எறிந்து அதர் கூட்டுண்ணும் அணங்குடைப் பகழிக் கொடு வில் ஆடவர் படு பகை வெரீஇ, ஊர் எழுந்து உலறிய பீர் எழு முது பாழ், முருங்கை மேய்ந்த பெருங் கை யானை வெரிந் ஓங்கு சிறு புறம் உரிஞ, ஒல்கி இட்டிகை நெடுஞ் சுவர் விட்டம் வீழ்ந்தென, மணிப் புறாத் துறந்த மரம் சோர் மாடத்து எழுது அணி கடவுள் போகலின், புல்லென்று ஒழுகுபலி மறந்த மெழுகாப் புன் திணைப் பால் நாய் துள்ளிய பறைக்கட் சிற்றில், குயில் காழ் சிதைய மண்டி, அயில் வாய்க் கூர் முகச் சிதலை வேய்ந்த போர் மடி நல் இறைப் பொதியிலானே? We get to glimpse a striking chain of events in this trip to this domain, as we hear the man say these words to his heart: “With the dark-skinned maiden, who wears a green string woven exquisitely with shining gems of many kinds around her waist, lying on the flowery mattress laid out on a bed, etched with fine art, staying within the sky-soaring tall mansion, the whole of today has passed on pleasantly indeed! As for tomorrow, with eyes that sleep not, as loneliness arrives to torment, won’t we be there, O heart? Fearing the terrors of those men with curving bows and demonic arrows, who live and eat together by attacking merchants and stealing their possessions, people had left town. In such an abandoned and arid place, ridge-gourd vines had spread around the ruins. Arriving here, a long-trunked elephant, which had just grazed on drumstick leaves, rubs its itching back against a wall, and that wall with loosened bricks falls down, pulling the ceiling too. Startled, pigeons that had been pecking about in the courtyard fly away in fear. In this space, where trees look listless, and where well-etched portraits of gods have faded, upon the uncleaned, dull platform, which had not seen divine offerings in many days, a dog suckling its young lies about in that forgotten old little house, where destroying the once-sturdy wood, termites with sharp faces, akin to spear edges, spread around. That’s the place, right there, in that wide open, unprotected space, amidst that caved-in roof, where we shall arrive tomorrow, won’t we, O heart?” Let’s brave the dangers of this domain and tread on! The man starts by describing how his today went so pleasantly in the company of his beloved on their comfortable bed, within the cozy expanse of their sturdy and well-etched tall mansion. After this account, he turns to his heart and says, ‘Do you know where we’ll be tomorrow?’, and then goes on to describe this very place. He takes his heart to the drylands, a place frequented by highway robbers, whose livelihood is killing and stealing from wayfarers. There used to be a town nearby, but fearing the antics of these men, the people had left that town, seeking safer spaces. Near one abandoned house in this town, an elephant, which had been feeding on the leaves of a drumstick tree arrives, wanting to scratch its itchy back. Finding a wall, it goes about doing what it came to do, but that wall, unable to bear the impact, comes falling down and pulling the roof along too. At that moment, startled the pigeons which had been pecking about lazily, flutter away in fear. In this abandoned house, the paintings of gods have lost their lustre and offerings are no more done. On that platform, where such devout rituals used to happen, now there lies a dog suckling its puppies. Not only that, the wood in these houses is being feasted upon by termites, which swarm around everywhere. The man concludes his long description of this place by saying that’s where he’ll be lying down, without a moment’s rest, filled with loneliness, if at all he followed the nudge of his heart to leave in search of wealth. In essence, by contemplating and contrasting the pleasure of his present and the horror of his future, the man comes to a decision not to part away from his beloved!

In this episode, we listen to the sarcastic words of a person, as portrayed in Sangam Literary work, Aganaanooru 166, penned by Idaiyan Nedunkeeranaar. The verse is situated amidst the river shores of the ‘Marutham’ or ‘Farmlands landscape’ and echoes the tension and rivalry in a rich town. ‘நல் மரம் குழீஇய நனை முதிர் சாடி பல் நாள் அரித்த கோஒய் உடைப்பின், மயங்குமழைத் துவலையின் மறுகு உடன் பனிக்கும் பழம் பல் நெல்லின் வேளூர்வாயில், நறு விரை தெளித்த நாறுஇணர் மாலை, பொறி வரி இன வண்டு ஊதல கழியும் உயர் பலி பெறூஉம் உரு கெழு தெய்வம், புனை இருங் கதுப்பின் நீ கடுத்தோள்வயின் அனையேன்ஆயின், அணங்குக, என்!’ என மனையோட் தேற்றும் மகிழ்நன்ஆயின், யார்கொல் வாழி, தோழி! நெருநல் தார் பூண் களிற்றின் தலைப் புணை தழீஇ, வதுவை ஈர் அணிப் பொலிந்து, நம்மொடு, புதுவது வந்த காவிரிக் கோடு தோய் மலிர்நிறை ஆடியோரே? Here’s a dash of gods and oaths in this trip to the farmlands, as we listen to the courtesan say these words to her friend, on receiving a particular news about the man: “Saying, ‘When the measuring stick breaks a jug of toddy, which had been aged for many days, the contents would shower down, confusing people as if it’s the drizzle of rainclouds, in the streets of the ancient town of Veloor, known for its heaps of paddy. At the gates of this town, striped bees fear to buzz around fragrant garlands, woven with scented buds, and fly away, seeing the huge offerings laid alongside, in front of the statue of that formidable god. O maiden with thick, flowing tresses, as you doubt, if at all I had embraced the other, let this god possess and torment me’, the lord of the town had consoled his wife, I hear. If this is true, who might that be, my friend, may you live long? The one who came yesterday, akin to a garlanded elephant, and held on to the edge of the raft, and shone like the jewel of the group, and rejoiced playing with us, as the new flood of the River Kaveri brimmed over the shores?” Time to stroll into the expanse of this prosperous town and listen on! The courtesan starts by repeating the words of the man. The man seems to have described the ancient town of Veloor, by mentioning how toddy would shower as rain on its people, when a pot containing aged liquor was accidentally broken by a measuring stick. He continues by talking about how even bees don’t buzz around the garlands, offered to the mighty god at the gates of this town, in fear. The reason he had mentioned this god is to say to his wife, who was doubting his actions, that he never embraced anyone else. He reiterates his statement, telling her, that if at all, as she was suspecting, he had embraced another, he invites that god to smite him, then and there. In short, he has sworn an oath in the name of that fearsome God about his innocence before his wife. Hearing this, the courtesan shoots back to her friend saying, ‘If what the man is saying is true, then who was that person, who was life and soul of the party, yesterday, as we played and swam in the new flood of the River Kaveri, as it leaped over the banks?’ The intention of the courtesan was for these words to travel back to the lady and reinstate that the man is not so true as he claims to be and he was indeed entranced by the courtesan. Leaving behind this mere tussle over a man, let’s turn our focus to that activity of the Tamils recorded here, and that is to play in the river, when it comes rushing with fresh new waves, after the rains. No doubt the river brings the freshness of the mountains in its waves and energises the folks on the plains. A record of how this culture did not worship this life-giving river as a distant God, but saw it as a delightful companion, one which nourishes the soul!

In this episode, we perceive a mother’s angst, as portrayed in Sangam Literary work, Aganaanooru 165, penned by an anonymous poet. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse talks about the consequences of a lady’s parting away with her beloved. கயந் தலை மடப் பிடி பயம்பில் பட்டென, களிறு விளிப்படுத்த கம்பலை வெரீஇ, ஒய்யென எழுந்த செவ் வாய்க் குழவி தாது எரு மறுகின் மூதூர் ஆங்கண், எருமை நல் ஆன் பெறு முலை மாந்தும் நாடு பல இறந்த நன்னராட்டிக்கு ஆயமும் அணி இழந்து அழுங்கின்று; தாயும் ”இன் தோள் தாராய், இறீஇயர் என் உயிர்!” என, கண்ணும் நுதலும் நீவி, தண்ணென, தடவு நிலை நொச்சி வரி நிழல் அசைஇ, தாழிக் குவளை வாடு மலர் சூட்டி, தருமணற் கிடந்த பாவை என் அருமகளே என முயங்கினள் அழுமே! It’s all about the state of those left behind in this trip to the drylands, where we get to hear the onlookers say these words about the lady’s family, at the juncture of the lady’s elopement with her man: “As the naive female elephant with a soft head fell into a pit, the male elephant trumpets aloud. Startled by the uproar, their red-mouthed, young calf quickly rises up and runs to the ancient town, having streets coated with pollen dust, and drinks up milk from the heavy udders of the good buffalo. Crossing many such places, the esteemed maiden had parted away; And so her playmates now look listless, shorn of their beauty; As for her mother, she picks up the doll lying about in the imported sands, caresses its eyes and forehead. Then placing it upon the coolness of the swaying, lined shade of the chaste tree with curving branches, she adorns it with faded blue lilies from the urn. Embracing the doll, she sheds tears saying, ‘My dearest daughter, won’t you offer your sweet arms for me to embrace? Let my life part away!’” Time to hear the uproar in the drylands. The onlookers start by relating the state of a male elephant, whose mate has fallen into a pit. Hearing its troubled cries, its young one is startled and runs away to a nearby town, where the streets are covered in pollen. Here, a mother buffalo accepts the elephant calf as its own and suckles it with kindness. The lady would have traversed many places with such scenes, the onlookers connect. Then, moving from where the lady was, they turn to talk about those she left behind, and mention how her friends are all looking sad and crestfallen. As for the lady’s mother, she goes about picking the lady’s doll lying about on the sands brought from elsewhere, and places it in the shade of the chaste tree and adorns it with blue lilies. Then embracing the doll, and seeing it as her daughter, she asks the doll to offer her arms and wishes her unbearable life would depart, conclude the onlookers. In the scene of a mother buffalo taking care of an elephant calf, parted from its family, hides the metaphor of the lady’s family hoping that the lady finds love and care in those places that she has left to. In essence, a tender verse filled with emotions of loss, lament and love for the one departed!

In this episode, we perceive a heartfelt wish throbbing in a man’s mind, as depicted in Sangam Literary work, Aganaanooru 164, penned by Madurai Tamil Koothan Naakanthevanaar. The verse is situated amidst the fragrant flowers of the ‘Mullai’ or ‘Forest landscape’ and relays the yearning in a person to be with their beloved. கதிர் கையாக வாங்கி, ஞாயிறு பைது அறத் தெறுதலின், பயம் கரந்து மாறி, விடுவாய்ப்பட்ட வியன் கண் மா நிலம் காடு கவின் எதிரக் கனை பெயல் பொழிதலின் பொறி வரி இன வண்டு ஆர்ப்ப, பல உடன் நறு வீ முல்லையொடு தோன்றி தோன்ற வெறி ஏன்றன்றே வீ கமழ் கானம். ”எவன்கொல் மற்று அவர் நிலை?” என மயங்கி, இகு பனி உறைக்கும் கண்ணொடு இனைபு, ஆங்கு இன்னாது உறைவி தொல் நலம் பெறூஉம் இது நற் காலம் கண்டிசின் பகைவர் மதில் முகம் முருக்கிய தொடி சிதை மருப்பின், கந்து கால் ஒசிக்கும் யானை, வெஞ் சின வேந்தன் வினை விடப்பெறினே! A verse in which we witness the transformation of this domain as we listen to the man say these words to his heart, as he remains at a battle encampment, in the service of his king, and parted away from his lady love: “Extending its rays as hands, the sun had seized every drop of moisture, and so, losing its green utterly, changing from its stance of fertility, the wide spreading land, became parched with cracks many. For the land to regain its state of being filled with lush green, the rains have poured heavily, and so fragrant flowers of wild jasmine along with flame-lilies have bloomed, making swarms of striped bees buzz around, spreading a rich scent across that forest of fallen flowers! At this time, worried wondering, ‘What state might he be in?’, with tears pooling in her eyes, helpless, my lady remains there. Our king possesses battle elephants, which after tearing apart gates of enemy forts, now stand with ruined golden rings on their tusks and pull against the posts to which they are tied. Good times would arrive truly and my lady would attain her old beauty, if only our furious king decides to end his mission of war!” Let’s inhale that intense scent of a rain-soaked forest and learn more! The man starts by talking about how summer had come and the sun had been greedy about gathering with its many hands and gulping down every bit of water on the expanse of land. As a consequence, there was no sign of anything fertile, and the earth looked listless, all parched and thirsty. As if granting the wish of this land, the rains had arrived in the due season, and poured down, filling the forest with wild jasmines and flame-lilies, much to the excitement of bees around, the man describes. Then, in his mind’s eye, the man leaves the world around behind and visits the lady. He sees her worrying about him, wondering what he’s going through, and her eyes filled to the brim with unshed tears. He returns back to his camp and takes in the battle elephants that have done their job of smashing enemy gates quite well. and are now standing there, with broken tusk rings, shaking their posts, still seething with the remnants of fury. The man concludes by saying that good times would return in his life and his lady would regain her old beauty, if only the king decided his war was over.  Inferring from the state of the elephants, though the king had gained victories, he seemed not satisfied and perhaps, he was intent on continuing the war. This is what the man wishes would end and that in turn, he could end the suffering of his beloved. There’s a flowing beauty in the thought of this verse in how the man talks about the nature of the parched land and the effect of the pouring rains, subtly connecting to the state of his pining lady, parted from him and his hope to end her suffering! As a modern office-goer would say, ‘It’s all in the boss’ hands!’ Here’s wishing our man gets his leave of absence and returns home soon, and ends up pouring as the loving rain upon the parched earth of the lady’s heart! 

In this episode, we perceive the lady’s angst, as depicted in Sangam Literary work, Aganaanooru 163, penned by Kazhaar Keeran Eyitriyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relays heartfelt words said to an element of the weather. விண் அதிர்பு தலைஇய, விரவு மலர் குழைய, தண் மழை பொழிந்த தாழ்பெயற் கடை நாள், எமியம் ஆக, துனி உளம் கூர, சென்றோர் உள்ளிச் சில் வளை நெகிழ, பெரு நசை உள்ளமொடு வருநசை நோக்கி விளியும் எவ்வமொடு, ”அளியள்” என்னாது களிறு உயிர்த்தன்ன கண் அழி துவலை முளரி கரியும் முன்பனிப் பானாள், குன்று நெகிழ்ப்பு அன்ன குளிர் கொள் வாடை! எனக்கே வந்தனை போறி! புனற் கால் அயிர் இடு குப்பையின் நெஞ்சு நெகிழ்ந்து அவிழ, கொடியோர் சென்ற தேஎத்து, மடியாது இனையை ஆகிச் செல்மதி; வினை விதுப்புறுநர் உள்ளலும் உண்டே! In this trip to the drylands, we don’t get to see much of the domain but we hear the lady say these words to the cold northern winds, when the confidante asks her to bear with the man’s continued absence: “Quaking the skies, crushing the flowers, the moist rain clouds have poured down on this last day of the season. All alone, I stand here, with suffering soaring in my heart, thinking about the one, who parted away, even as the few bangles left too slip away, with a deeply desiring heart, looking at the path he would lovingly return, with a sorrow that seems capable of ending me. Without thinking, ‘She’s to be pitied’, akin to the sigh of an elephant, you spray droplets, ruining everything, during this midnight hour in this early dew season, when a lotus becomes burnt black, spreading a coldness that makes even a mountain quiver, O northern wind! You seemed to have arrived just to assail me! Akin to how the river sand is moistened by the gushing water, to make his heart fill with tenderness, why don’t you depart to the place, where that cruel one treads, and without tempering yourself, being just as you are, blow thither? Perhaps that will make the one, who only desires to complete his mission, think about me! Time to experience the shivering cold in the lady’s life! The lady starts by talking about the world within and outside of her just then. Outside, we see that it’s the last day of the rains, which have made the skies tremble and drenched the flowers too. Inside her, it’s all about suffering. She spends all her time thinking of the one, who parted away, glancing over and over again at the direction he would return home, as the last few bangles on her hands slip away, indicating how much she has thinned down and lost her health. Now she turns to the northern wind and says that the wind doesn’t seem to consider how pitiable her state was, but instead, it was intent on tormenting her even more by spraying its moist droplets in that season of ‘early dew’ and spreading the kind of coldness that makes lotuses turn black and even mountains tremble! What an imagination to think that a mountain would shiver in the cold! No doubt the lady’s saying, ‘If a mighty mountain can quiver, how can I, a little human being, bear this attack!’ In any case, after accusing the wind to be targeting her specifically, the lady concludes by putting forth a request, asking the wind to go blow, where the man is, with the full force it has now, so that he would think of her and return home, instead of being only intent on his mission of seeking wealth. Here’s a creative expression, personifying a non-living entity and projecting the angst within on the action of a natural event!

In this episode, we listen to the passionate heart of a man, as portrayed in Sangam Literary work, Aganaanooru 162, penned by Paranar. The verse is situated amidst the soaring peaks and descending cascades of the ‘Kurinji’ or ‘Mountain landscape’ and reveals the beauty of a lord’s mountain country. கொளக் குறைபடாஅக் கோடு வளர் குட்டத்து அளப்பு அரிது ஆகிய குவை இருந் தோன்றல கடல் கண்டன்ன மாக விசும்பின் அழற்கொடி அன்ன மின்னு வசிபு நுடங்க கடிதுஇடி உருமொடு கதழ்உறை சிதறி, விளிவு இடன் அறியா வான் உமிழ் நடு நாள், அருங் கடிக் காவலர் இகழ்பதம் நோக்கி, பனி மயங்கு அசைவளி அலைப்ப, தந்தை நெடு நகர் ஒரு சிறை நின்றனென்ஆக; அறல் என அவிர்வரும் கூந்தல், மலர் என வாள் முகத்து அலமரும் மா இதழ் மழைக் கண், முகை நிரைத்தன்ன மா வீழ் வெண் பல், நகை மாண்டு இலங்கும் நலம் கெழு துவர் வாய், கோல் அமை விழுத் தொடி விளங்க வீசி, கால் உறு தளிரின் நடுங்கி, ஆனாது நோய் அசா வீட முயங்கினள் வாய்மொழி நல் இசை தரூஉம் இரவலர்க்கு உள்ளிய நசை பிழைப்பு அறியாக் கழல்தொடி அதிகன் கோள் அறவு அறியாப் பயம் கெழு பலவின் வேங்கை சேர்ந்த வெற்பகம் பொலிய, வில் கெழு தானைப் பசும் பூண் பாண்டியன் களிறு அணி வெல் கொடி கடுப்ப, காண்வர ஒளிறுவன இழிதரும் உயர்ந்து தோன்று அருவி, நேர் கொள் நெடு வரைக் கவாஅன் சூரரமகளிரின் பெறற்கு அரியோளே. In this somewhat long trip to the mountains, we get to hear the man say these words to his heart, after a tryst with his lady love: “Never diminishing no matter how much is taken, having an unmeasurable depth where conches bloom, appearing with a thick darkness is the ocean! The vast skies seemed akin to glimpsing this ocean, and here, akin to a vine of flames, lightning flashed, splitting the clouds, along with roaring thunder and scattered heavy rain, with no end in sight. Such was the dark hour of midnight, shrouded in a downpour. Just then, watching for the moment the stern guards would relax, as cold and moist winds tormented me, I stood on one side of her father’s tall mansion. Akin to river sand, cascaded down her tresses; Akin to flowers blooming on her shining face, were her huge-petaled, rain-like eyes; Akin to bee-buzzing buds, assembled in a row, were her white teeth; Akin to jewels, radiantly shone her exquisite red mouth; Swaying her hands and making her rounded, brilliant bangles tinkle, akin to a sprout that had grown legs, trembling, she had come to end my unceasing affliction and embraced me tight. In the mountains ruled by Athikan, who wears warrior anklets, known for his words of honesty, and having the fine fame of generosity that renders to supplicants, never leaving them in a state of unfulfilled wishes, fertile jackfruit trees, which have never known a moment of not bearing a fruit, flourish along with Kino trees. Here, akin to the victorious flag, fluttering atop elephants, owned by Pasumpoon Pandiyan, who wields an army of skilled archers, pleasing to the eyes, descend down from high, radiant cascades. Akin to the tormenting divine spirits that live in the slopes of this tall and majestic mountain range, my lady is hard to attain!” Let’s soak in the shower of the mountains and listen on! The man starts by describing the skies that appear before him just then, and to do that, he summons the deep and immeasurable seas in parallel. In this sea-like sky, lighting was flashing, thunder was roaring and the rain was pouring, with no respite, the man says. He illustrates how he was standing there, shivering in the cold, by the mansion belonging to the lady’s father, waiting for the right moment the guards would relax their watch. Fulfilling his yearning, the lady seemed to have arrived there, walking like a vine with legs, quivering. That’s not all he says about the lady, of course. He calls her tresses, black sand; Her eyes, blue-lotus flowers; Her teeth, wild jasmine buds; Her mouth, red coral jewels; He vividly records how the lady came there, with her bangles tinkling, and embraced him, putting his painful disease of yearning at ease. Then, he goes on to talk about the fertile mountain slopes of a lord named Athikan, who was known for his honesty and generosity, a place, where there were lush jackfruit trees, bursting over with fruits from every part, and radiant Kino trees as well. To describe the cascades flowing down in this mountain, the man summons another historic character, Pasumpoon Pandiyan, and specifically talks about the victorious flags fluttering atop his elephants. Returning back to Athikan’s mountain slopes, the man says this region was inhabited by female spirits, and concludes by declaring however hard it would be to attain those female spirits, it was so with his beloved too. In essence, though the man has just embraced his love, he is already pining for her! That’s the handiwork of love, especially in the blooming stage, modern psychologists would concur, remarking there’s not that much of a distance between love and addiction, symptomatically speaking! 

In this episode, we listen to an attempt at dissuading a person from carrying out their intention, as depicted in Sangam Literary work, Aganaanooru 161, penned by Madurai Pullankannanaar. Set in the ‘Paalai’ or ‘Drylands’ landscape, the verse etches the domain’s elements and the lady’s emotions. வினைவயிற் பிரிதல் யாவது? ”வணர் சுரி வடியாப் பித்தை, வன்கண் ஆடவர் அடி அமை பகழி ஆர வாங்கி; வம்பலர்ச் செகுத்த அஞ்சுவரு கவலை, படுமுடை நசைஇய வாழ்க்கைச் செஞ் செவி எருவைச் சேவல் ஈண்டுகிளை பயிரும் வெருவரு கானம் நீந்தி, பொருள் புரிந்து இறப்ப எண்ணினர்” என்பது சிறப்பக் கேட்டனள்கொல்லோ தானே? தோள் தாழ்பு சுரும்பு உண ஒலிவரும் இரும் பல் கூந்தல், அம் மா மேனி, ஆய் இழை குறுமகள் சுணங்கு சூழ் ஆகத்து அணங்கு என உருத்த நல் வரல் இள முலை நனைய பல் இதழ் உண்கண் பரந்தன பனிஏ. In this quick trip to the drylands, we glance at a striking bird and hear the confidante say these words to the man, at a time when he intends to part with the lady and leave on a mission to earn wealth: “How can you part away on your mission? Did she already hear about your intention to leave, desiring wealth, and traverse that formidable jungle, where harsh-eyed men with thick, curly and untameable hair, aiming their sharp-edged arrows, kill wayfarers, who happen upon those fear-evoking paths, and where having a life of desiring reeking flesh, the male of the red-eared vulture beckons its close kin with a resounding call? I say this because that young maiden, wearing well-etched ornaments, having a beautiful, dark complexion, and thick, black tresses, descending down her shoulders, around which bees buzz around, was standing there, drenching her fine and upraised young bosoms, filled with pallor spots, which torment like a divine spirit, with tears that were brimming over from her many petaled, kohl-streaked eyes!” Time to brave the fear-evoking paths through the scrub jungle! The confidante starts with a pointed question to the man, asking how he thinks he can leave on his mission. Then she goes on to the describe the place he intends to traverse so as to fulfil his mission, namely the formidable drylands path, where harsh-eyed robbers rove with their bows and arrows and have no qualms about ending the lives of wayfarers, and to feast on their flesh, the red-headed vulture beckons its kin. After this description, the confidante asks the man if the lady has already come to know that the man would part away. This is because at the moment when the confidante had gone to inform the lady about the man’s intention and secure her permission, even before she said anything, the lady was standing there, crestfallen, soaking her fine bosoms with tears, brimming over from her flower-like eyes, the confidante concludes. ‘So dangerous is your path and she’s shedding tears already. Do you really have to leave?’, the confidante means to ask the man and prevent him from pursuing his intention of parting away. In the scene of the red-headed vulture feeding on the flesh of the corpse, left behind by highway robbers, the confidante places a metaphor for how the townsfolk would feed on the lady’s health and beauty with their rumours, after the man has felled her with the arrow of his parting! Stepping aside from this frequent theme of the lady’s helplessness at the man’s parting, let’s zoom on to that bird mentioned vividly here. The Tamil description of this bird translates as ‘red-eared vulture’, though the contemporary common name is the ‘red-headed vulture’ or the ‘Pondicherry vulture’. This bird does have distant ear-like flaps on the sides of its head and seemingly the Tamils have focused on this aspect to give the bird its name. The bird apparently does not feed in a large group and just calls one other, possibly its mate, in the carrion sharing. Perhaps that’s what the verse means when it says ‘close kith and kin’. Today, I also learnt how this bird, which seems to have impressed our age-old ancestors, is much threatened by contemporary humans. It has moved into the ‘Endangered category’ mainly because of the use of a drug called ‘diclofenac’, used by vets to treat livestock. One species’ pill is another’s poison! Some remedial steps being taken are to feed diclofenac-free meat to this essential scavenger of the skies. Yet again, truly fascinating how a few lines of ancient poetry about inner life and relationships has led us to reflect on biology, ecology and opened our eyes to the world around!

In this episode, we listen to an intriguing way of communicating an awaited information, as depicted in Sangam Literary work, Aganaanooru 160, penned by Kumizhi Gnaazhalaar Nappasalaiyaar. The verse is situated amidst the sandy shores of the ‘Neythal’ or ‘Coastal landscape’ and conveys the change in the man’s manner and what it means to the lady’s life. ஒடுங்கு ஈர் ஓதி நினக்கும் அற்றோ? நடுங்கின்று, அளித்து, என் நிறை இல் நெஞ்சம். அடும்பு கொடி சிதைய வாங்கி, கொடுங் கழிக் குப்பை வெண் மணற் பக்கம் சேர்த்தி, நிறைச் சூல் யாமை மறைத்து ஈன்று, புதைத்த கோட்டு வட்டு உருவின் புலவு நாறு முட்டை பார்ப்பு இடன் ஆகும் அளவை, பகுவாய்க் கணவன் ஓம்பும் கானல்அம் சேர்ப்பன் முள் உறின் சிறத்தல் அஞ்சி, மெல்ல வாவு உடைமையின் வள்பின் காட்டி, ஏத் தொழில் நவின்ற எழில் நடைப் புரவி செழு நீர்த் தண் கழி நீந்தலின், ஆழி நுதிமுகம் குறைந்த பொதி முகிழ் நெய்தல், பாம்பு உயர் தலையின், சாம்புவன நிவப்ப, இர வந்தன்றால் திண் தேர்; கரவாது ஒல்லென ஒலிக்கும் இளையரொடு வல் வாய் அரவச் சீறூர் காண, பகல் வந்தன்றால், பாய்பரி சிறந்தே. This trip to the coast provides a glimpse of the teeming life in this domain and takes us in the presence of the confidante, as she says these words to the lady: “O maiden with well-set, moist tresses, is it the same for you too? My pitiable, unfulfilled heart is shivering! Ruining the beach morning glory vines by pulling it, the pregnant turtle clears the heap of white sand in the backwaters and then hides itself before laying eggs. Then it buries the flesh-reeking eggs in the shape of ivory dice. Its mate with a split open mouth guards with devotion, until these eggs turn into hatchlings, in the orchards by the picturesque seashore in the domain of the lord. Fearing that if thorny goads are used, it would leap, his horse with an elegant gait, which has learnt the art of pouncing like an arrow, is gently directed to slow down, with the hold of the bridle. Since his chariot comes striding through the cool and lush backwaters, the sharp wheels sever the blooming clusters of the blue lotus, making them wilt, and akin to the hoods of snake, these bob up in the waters. The lord’s sturdy chariot used to arrive this way in the quiet of the night. But now, without any restraint, with uproarious helpers, letting our small town with strong mouths see, he arrives by day, speeding on his pouncing horses!” Time to take a dip in the cool waves of the shore and know more! The confidante starts by declaring that her heart is shell-shocked and she questions the lady if she feels the same way too. Without explaining a thing, she goes on to describe the man’s domain and to do that, first she brings in a mother turtle in the middle of laying its eggs, amidst the sand beneath the beach morning glory vines, in a well-hidden way. Later, the confidante points to us how these eggs are being guarded by the father turtle, which apparently takes care of these, until they turning into hatchlings. A moment to consider this statement about father turtles guarding eggs. In our current world, there are no instances of paternal involvement, when it comes to protecting turtle eggs. There may be a few species in which the mother offers a little protection, but that too would mostly be in the nesting stage, and after that, the baby turtles would normally have to fend for themselves, with no support from either parent. So, either the Sangam folks are mistaken in their understanding or perhaps there was some unknown species of turtle, which had this characteristic, and one, which has possibly gone extinct now. In any case, at the core, there’s the element of projecting human values on the behaviour of this animal. Returning, we find the confidante turning the spotlight from the man’s domain to the man’s actions. First, she talks about how he used to come so quietly at night, taming the intensity of his horses, and wielding his chariot silently through the waters, severing some blue lotuses in the process. Then, she concludes by contrasting this discreet way of visiting the lady to how he has now come, attracting a lot of attention from their townsfolk with gossiping mouths, led by his boisterous helpers and speeding on his horses, in the bright light of day. Now, we can connect it to the confidante’s statement about her heart stopping at this sight, and understand this is her way of telling the lady, ‘Your man has come to seek your hand. All’s well now’! Even in that scene of the male turtle guarding the eggs, the confidante hides a subtext of how the man has ensured that precious egg of the secret love relationship between him and the lady has turned into the hatching of a happy married life. In essence, the confidante has simply spiced by the story with a little drama in the beginning about her poor heart and ended with the news that’s sure to make the lady’s heart brim over with joy!

In this episode, we listen to words of consolation rendered to allay the anxiety of another, as depicted in Sangam Literary work, Aganaanooru 159, penned by Aamoor Kavuthaman Saathevanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the fame and wealth of a Sangam era town. தெண் கழி விளைந்த வெண் கல் உப்பின் கொள்ளை சாற்றிய கொடு நுக ஒழுகை உரனுடைச் சுவல பகடு பல பரப்பி உமண் உயிர்த்து இறந்த ஒழிகல் அடுப்பின், வடி உறு பகழிக் கொடு வில் ஆடவர் அணங்குடை நோன் சிலை வணங்க வாங்கி, பல் ஆன் நெடு நிரை தழீஇ, கல்லென அரு முனை அலைத்த பெரும் புகல் வலத்தர், கனை குரற் கடுந் துடிப் பாணி தூங்கி, உவலைக் கண்ணியர், ஊன் புழுக்கு அயரும் கவலை, ”காதலர் இறந்தனர்” என, நனி அவலம் கொள்ளல்மா, காதல் அம் தோழி! விசும்பின் நல் ஏறு சிலைக்கும் சேண் சிமை நறும் பூஞ் சாரற் குறும் பொறைக் குணாஅது வில் கெழு தடக் கை வெல் போர் வானவன் மிஞிறு மூசு கவுள சிறு கண் யானைத் தொடியுடைத் தட மருப்பு ஒடிய நூறி, கொடுமுடி காக்கும் குரூஉகண் நெடு மதில் சேண் விளங்கு சிறப்பின் ஆமூர் எய்தினும், ஆண்டு அமைந்து உறையுநர்அல்லர், நின் பூண் தாங்கு ஆகம் பொருந்துதல் மறந்தே. A dash of drylands and a pinch of history in this trip, where we get to listen to the confidante say these words to the lady, when the man remains parted away, having left on his mission to seek wealth: “Taking white salt that was harvested from the clear backwaters, salt merchants journey on, shouting out the price and selling their produce. Then untying their bulls with strong napes, from the curved yokes of their carts, they let the beasts loose to graze around, as they take rest and eat around their stone stoves, which they leave behind, when parting away. Men with curving bows, and arrows, which never miss their targets, bend their sturdy bows, which seem to contain spirits within, and seize many herds of cattle, with a resounding uproar, which makes the land quiver, and then those victorious warriors sway to the sharp beats of thick-throated drums, wearing leaf garlands, and relish the meat they cook on those abandoned stone stoves in those formidable drylands paths! Don’t fall into a deep suffering, thinking that your lover has parted away to such a place, my loving friend!  Having soaring peaks, where the sky’s white steed leaps about, and slopes filled with fragrant flowers, are the hills of ‘Kurumporai’.  To the east of these hills, is the town of Aamoor, filled with dazzling places, guarded by tall forts, under the protection of ‘Kodumudi’, who attacked and seized the bangle-clad tusks of the small-eyed elephants, around whose cheeks, bees buzz, owned by the victorious ‘Vanavan’, who wields a skilful bow in his strong hands. Even if your man were to attain this renowned town of Aamoor, whose fame spreads far and wide, he is not one remain there satisfied, forgetting the embrace of your jewel-clad bosom!” Time to traverse those well-worn arid paths through the drylands! The confidante starts her words to the pining lady by asking her to focus on an object lying about in the drylands. This object is a stove, made of stone, and it’s one that has been abandoned by salt merchants, who had come that way, after selling their harvest of salt from the backwaters. Arriving at this spot after a long journey, they seem to have decided to give their bulls a break, and take one themselves. After loosening the yokes of the cattle, they had settled down for a meal around their stone stove. Once down, they seem to have left that stove behind and gone their way. Cut and we are back in the same spot, but after some time has elapsed. Now, we find jubilant warriors, who seem to have seized cattle, and are celebrating their victory by dancing to the beats of the drum, and settling down for a meal around that same stone stove, abandoned by those salt merchants. After this vivid description, the confidante reveals that this place is none other than the one which the man traverses now. She looks at her friend and asks the lady to worry not, thinking about the man’s travels thither.  Then leaving the barren drylands behind, the confidante takes the lady to the soaring peaks of Kurumporai, where lightning flashes, and the scent of flowers envelops. From there, they travel east and end up in a town called ‘Aamoor’, which has tall forts and is protected by a lord named ‘Kodumudi’, who has the honour of subduing the great elephants of King Vanavan, a Chera king, and seizing their tusks. The confidante concludes by emphatically telling the lady that even if the man were to attain that celebrated town of Aamoor as his reward, the man was not a person to stay behind, settle down and forget the warm embrace of his beloved! In essence, the confidante wishes to stress upon the lady that the man will never forsake her, no matter what the temptation is, and that he would be back the moment his mission was complete. The highlight of this verse though is the journey of that abandoned stove from the hands of salt sellers to the hands of these cattle warriors. Looking at it from another angle, I see how food is the unifying factor here, between very different groups of people, who seemingly have nothing in common. A reminder that if we look closely enough, we’ll be able to find some streak of commonality with people, no matter how far apart in space or time they are from us!