Sangam Lit

Nandini Karky
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Reflections on 2000 Year Old Tamil Poetry

  1. 3 uur geleden

    Aganaanooru 279 – How can she bear this parting?

    In this episode, we perceive a heart that beats for another, as depicted in Sangam Literary work, Aganaanooru 279, penned by Irunkon Ollaiyaayan Chenkannanaar. Set in the ‘Paalai’ or ‘Drylands Landscape’, the verse presents the core reasons for venturing out in search of wealth. ‘நட்டோர் இன்மையும், கேளிர் துன்பமும், ஒட்டாது உறையுநர் பெருக்கமும் காணூஉ, ஒரு பதி வாழ்தல் ஆற்றுபதில்ல பொன் அவிர் சுணங்கொடு செறிய வீங்கிய மென் முலை முற்றம் கடவாதோர்’ என, நள்ளென் கங்குலும் பகலும், இயைந்து இயைந்து உள்ளம் பொத்திய உரம் சுடு கூர் எரி ஆள்வினை மாரியின் அவியா நாளும் கடறு உழந்து இவணம் ஆக, படர் உழந்து யாங்கு ஆகுவள்கொல் தானே தீம் தொடை விளரி நரம்பின் நயவரு சீறியாழ் மலி பூம் பொங்கர் மகிழ் குரற் குயிலொடு புணர் துயில் எடுப்பும் புனல் தெளி காலையும் நம்முடை மதுகையள் ஆகி, அணி நடை அன்ன மாண் பெடையின் மென்மெல இயலி, கையறு நெஞ்சினள், அடைதரும் மை ஈர் ஓதி மாஅயோளே? In this trip to the drylands, we experience more of an abstract journey, as we listen to the man say these words to his heart, in the middle of his travels to earn wealth: “Thinking, ‘Those who cannot venture beyond the borders of the soft and dense bosoms with gold-like pallor spots have to live and accept the state of lack in friends, sorrow in relatives and prosperity in foes’, as the sharp and fierce flames blazed bright in my heart, be it in the middle of the night or the day, pouring my effort as the rain shower, day after day, I suffer here, apart from her. As for her, who is languishing with a deep sorrow, what will become of her now? Back then, when sweet sounds of the ‘vilari’ tune resounds from the strings of a small lute, along with the ecstatic voices of a cuckoo in the flower-filled groves, and wakes her up from a deep sleep in that morning hour, as water is sprinkled to cleanse the ground, seeking me as her only pillar of strength, with a gentle gait akin to a picturesque swan, she would walk slowly with a helpless heart and come embrace me!” Time to walk on through that familiar space and learn more! The man starts by talking about what pushed him to tread these spaces, and mentions how a spark of thought appeared in his mind about how those who did not want to move away from the pleasure of being with their beloved would have to live with their friends’ poverty, their kin’s sorrow and their enemies’ rise to prosperity. This spark of thought burst into wild flames in his heart and he decided to quench that with the rain of his hard work and so he left the lady and was suffering there in the drylands. After narrating his state, the man’s mind shifts to that of his beloved, whom he had left behind and reminisces about one morning he had spent in her company. Even when she was right next to him, in the early hours of the morning, when she would wake up hearing the sweet notes of the small lute and the voice of the cuckoo in the grove, as water was being sprinkled on the courtyard, she would immediately miss the man, seek him out with her slow, swan-like walk and embrace him tight, the man recollects, and he concludes by wondering how she would be able to bear with a separation now. Here’s an exquisite moment when a person, who is in deep suffering themselves, thinks beyond them about the state of the one they love. A highlight here is the imagery of the rain of hard work quenching the flames of angst in a heart. Yet another nuance to be relished is what used to wake a person in the early morning hours, in the place of our modern screeching alarm clocks. To wake up to the strings of a lute and the songs of a cuckoo sounds like heaven indeed. A verse which goes on to show how music and nature was an inseparable part of the lives of these ancients!

    5 min.

  2. 1 dag geleden

    Aganaanooru 278 – Seeing him in the stream

    In this episode, we perceive the subtle art of persuasion, as portrayed in Sangam Literary work, Aganaanooru 278, penned by Kabilar. The verse is situated amidst the gushing cascades of the ‘Kurinji’ or ‘Mountain Landscape’ and sketches the journey of water and its significance in the lady’s life. குண கடல் முகந்த கொள்ளை வானம் பணை கெழு வேந்தர் பல் படைத் தானைத் தோல் நிரைத்தனைய ஆகி, வலன் ஏர்பு, கோல் நிமிர் கொடியின் வசி பட மின்னி, உரும் உரறு அதிர் குரல் தலைஇ, பானாள், பெரு மலை மீமிசை முற்றினஆயின், வாள் இலங்கு அருவி தாஅய், நாளை, இரு வெதிர் அம் கழை ஒசியத் தீண்டி வருவதுமாதோ, வண் பரி உந்தி, நனி பெரும் பரப்பின் நம் ஊர் முன்துறை; பனி பொரு மழைக் கண் சிவப்ப, பானாள் முனி படர் அகல மூழ்குவம்கொல்லோ மணி மருள் மேனி ஆய்நலம் தொலைய, தணிவு அருந் துயரம் செய்தோன் அணி கிளர் நெடு வரை ஆடிய நீரே? In this trip to the highlands, we witness the dynamic actions of the elements of land, as we listen to the confidante say these words to the lady, pretending not to notice the man, listening nearby, but making sure he’s in earshot: “Clouds brimming over, after dipping into the eastern seas, looking like rows of shields around many different armies, lead by a king with ‘panai’ drums, rises to the right, and akin to a flag that flutters on top of a pole, flashes, splitting the skies, and with an uproarious voice that thunders on, it pours down in the middle of the night, laying siege atop huge hills, and comes down as cascades, shining like swords. Tomorrow, those cascades will come pouncing, breaking tall and beautiful bamboos, in the manner of a speeding horse, and will arrive at the vastly spreading spaces of our town’s river shore. Making those dew-covered, rain-like eyes to redden, in the dark of the night, to be rid of this hateful suffering, shall we take a dip in those waters that have arrived here, after playing on the picturesque mountains of the one, who has rendered a ceaseless sorrow, making the old beauty of your sapphire-hued skin to fade?” Let’s listen to the music of this mountain song! The confidante starts by talking about how the clouds have taken a dip in the eastern seas and were travelling west. To sketch their appearance, she brings in parallel, the marching armies of a king, covered in shields, and talks about how these rise to the right, and then roar with a thunderous voice. The companion, lightning, is compared to a fluttering flag on high by the confidante. Now, this army of clouds lay siege to a mountain, and then pour down with gusto, in the middle of the night, says the confidante. Next, she sketches the transformation of that downpour into a cascade, that seems to speed on like a king’s horse, and chop away bamboos standing in the way. In this manner, those gushing waters arrive at their door-step, the river shore of their town, the confidante connects. She concludes by beckoning the lady to go take a dip in those waters which comes from the mountains of the lord, who has brought a great sorrow to the lady and made her beauty wither away! The nuance here is the hidden statement in the words of the confidante to the lady, ‘You seem to suffer without embracing the chest of the man. Perhaps you will find some relief in dipping in the waters that gush from his mountains!’. The listening man would understand the yearning in the lady’s heart to be with him and the angst she suffers when he is not able to tryst with her. Through this, the good friend hopes to nudge the man to give up his sporadic trysting and seek the permanent path of happiness by marrying the lady. Leaving aside this repeated theme, isn’t that picture-perfect parallel depiction of flowing water and a king at war? The army of clouds, rising from the sea, the siege of the mountains, roar of thunder, the flag of lightning fluttering in the sky, leaping horses of cascades and the journey’s end at the river shore of the lady’s town, presents a graphic geography lesson on ‘Orographic rainfall’, with the perfect fusion of poetic elements!

    5 min.

  3. 2 dgn geleden

    Aganaanooru 277 – Heartbreaking Spring

    In this episode, we perceive the angst-ridden words of a maiden, as depicted in Sangam Literary work, Aganaanooru 277, penned by Karuvoor Nanmarban. Set in the ‘Paalai’ or ‘Drylands Landscape’, the verse sketches dynamic similes involving birds and animals to etch the situation at hand. தண் கதிர் மண்டிலம் அவிர் அறச் சாஅய்ப் பகல் அழி தோற்றம் போல, பையென நுதல் ஒளி கரப்பவும், ஆள்வினை தருமார், தவல் இல் உள்ளமொடு எஃகு துணை ஆக, கடையல்அம் குரல வாள் வரி உழுவை பேழ் வாய்ப் பிணவின் விழுப் பசி நோனாது, இரும் பனஞ் செறும்பின் அன்ன பரூஉ மயிர், சிறு கண் பன்றி வரு திறம் பார்க்கும் அத்தம் ஆர் அழுவத்து ஆங்கண் நனந்தலை, பொத்துடை மரத்த புகர் படு நீழல், ஆறு செல் வம்பலர் அசையுநர் இருக்கும், ஈரம் இல் வெஞ் சுரம் இறந்தோர் நம்வயின் வாரா அளவை ஆயிழை! கூர் வாய் அழல் அகைந்தன்ன காமர் துதை மயிர் மனை உறை கோழி மறனுடைச் சேவல் போர் புரி எருத்தம் போலக் கஞலிய பொங்கு அழல் முருக்கின் ஒண் குரல் மாந்தி, சிதர் சிதர்ந்து உகுத்த செவ்வி வேனில் வந்தன்று அம்ம, தானே வாரார் தோழி! நம் காதலோரே. In this trip to the familiar landscape, we get to see striking sights, as we listen to the lady say these words to her confidante, when the man continues to remain parted away: “Akin to how the moon with cool rays, appears during the day, with its glow ruined, making the light of my forehead wane slowly day by day, so as to gain wealth, with a relentless heart, and a spear for company, he has parted away to the drylands, where a tiger with sword-like stripes and having a voice akin to the churning of curd, unable to bear the deep hunger of its huge-mouthed mate, lies in wait for a small-eyed boar, with hair on its neck like the splinters on a palm tree, in those arid and wide open scrub jungles, where in the spotted shade of trees with hollows, wayfarers treading those paths, find a spot to rest. He, who has left to such a scorching drylands, bereft of moisture, still does not return to me, O maiden wearing well-etched jewels! Having feathers, akin to a swaying, sharp-tipped flame, is the hen that lives in a home. Akin to the bristling hair on the cape of its mate, a courageous rooster, in the middle of a fight, blooms the radiant, fire-like coral tree’s flowers, upon whose bright buds, bees swarm around and scatter nectar, announcing the arrival of this season of spring, and still that lover of mine returns not, my dear friend!” Let’s brave the sweltering heat and walk on through this domain! The lady observes how the shine of her forehead is fading just like how the moon loses its glow during the day. The reason for that is the absence of her beloved, who has left in search of wealth with much determination in his heart and a spear in his hand, she says, and goes on to describe where he’s at. To do that, she paints an image of a roving tiger, which wanting to end the hunger of its mate, roams the paths, waiting to snatch a boar, whose rough hair is likened to the splinters of a palmyra tree. The lady further describes how these spaces have hardly any trees, and people walking those paths sit down with relief even in the broken shade of small tree. She goes on to then talk about how the season of spring had arrived at their doorstep, knocking with the sight of bees buzzing around coral tree flowers, whose shape is so exquisitely placed in parallel to the bristling fur around the neck of a rooster in the middle of a fight. The lady concludes by crying that though this beautiful season, meant for togetherness had arrived, her man hadn’t!  A case of lamenting for the man, who’s missing even after the promised season of return. In the reference to the male tiger wanting to appease the hunger of its mate, and the bees swarming around the coral-tree flowers with much passion and desire, the lady seems to say, ‘The whole world around is buzzing with expressions of love, whereas my man shows not this to me!’. This curiously reminded me of the concept of ‘social media envy’ and how seeing the idealised posts and reels of others can point to the lack in one’s own life. Two thousand years ago, the natural world was the place of action wheres now the scene has shifted to the world of 1s and 0s. What remains the same is the human nature of comparison of one’s own state to the world around, and perhaps the cure for this timeless crisis is to just feel gratitude for the things that we do have, regardless of what we don’t and what others may have!

    6 min.

  4. 3 dgn geleden

    Aganaanooru 276 – Stealing with stealth

    In this episode, we perceive the ire of a woman, as depicted in Sangam Literary work, Aganaanooru 276, penned by Paranar. The verse is situated amidst the fish-filled ponds of the ‘Marutham’ or ‘Farmlands landscape’ and relays scenes of rivalry in a rich town. நீள் இரும் பொய்கை இரை வேட்டு எழுந்த வாளை வெண் போத்து உணீஇய, நாரை தன் அடி அறிவுறுதல் அஞ்சி, பைபயக் கடி இலம் புகூஉம் கள்வன் போல, சாஅய் ஒதுங்கும் துறை கேழ் ஊரனொடு ஆவது ஆக! இனி நாண் உண்டோ? வருகதில் அம்ம, எம் சேரி சேர! அரி வேய் உண்கண் அவன் பெண்டிர் காண, தாரும் தானையும் பற்றி, ஆரியர் பிடி பயின்று தரூஉம் பெருங் களிறு போல, தோள் கந்தாகக் கூந்தலின் பிணித்து, அவன் மார்பு கடி கொள்ளேன்ஆயின், ஆர்வுற்று இரந்தோர்க்கு ஈயாது ஈட்டியோன் பொருள்போல், பரந்து வெளிப்படாது ஆகி, வருந்துகதில்ல, யாய் ஓம்பிய நலனே! Sparks fly in this trip to the farmlands, as we hear a courtesan say these words to her friends, conveying a pointed message to the lady’s friends, listening near by: “Searching for prey in the long and vast pond, a stork, wishing to feed on the white male of the scabbard fish, fearing its footsteps would be heard, walks slowly, akin to a thief entering a well-guarded house, and takes soft steps in the shore-filled town of the lord! Why should I hold back out of modesty anymore? When he comes by to our neighbourhood, making sure his women with kohl-streaked eyes with red lines, see, clutching on to his garlands and garments, akin to a female elephant, trained by the Aryars, to seize a huge male elephant, with my arms as the post, I will bind him with my tresses and hold on tightly to his chest. If I don’t do this, akin to wealth earned, which is not given away to those who plead in need, without being known and cherished with fame, let that beauty of mine, reared by my mother, languish and turn to ruin!” Let’s watch this familiar tussle in the land of plenty! The courtesan starts by describing the man’s town and to do that, she sketches the scene of a stork walking like a thief entering a guarded mansion, so as to prey upon the scabbard fish, swimming blissfully in a pond. After that scene of stealth, she goes on to say that there’s no use suffering with a sense of shame anymore. Declaring that the next time the man came to their neighbourhood, the courtesan, in the manner of a female elephant, trained by the Aryans to tempt and capture huge wild, male elephants, would clutch on to the man’s clothes and garlands and hold tightly, with her tresses as the rope and her arms as the post. The courtesan concludes with a vow that if she does not do such a thing then let the beauty that her mother reared in her, become ruined without any fame like the wealth of a person, who hoards and gives not, to those who come seeking in need.  The core of this tale is that the courtesan is angered by the disparaging words of the lady that has reached her ears and she intends to send back a sharp message to the lady challenging that her husband was about to be stolen away like an elephant in the wild. The opening image of the stork stealing in softly to make its kill is a metaphor for how the courtesan would snag the man with her stealth and strategy. In a verse full of emotions that have not aged very well, there’s one line that shines and that’s about the purpose of wealth, which according to these ancients was meant to serve the needy. If this future descendant could talk to those women of the past, I would say, ‘Dear ladies, quit the fighting over that silly man and realise the power and beauty of being the best you can be!’

    5 min.

  5. 4 dgn geleden

    Aganaanooru 275 – Lament of those left behind

    In this episode, we listen to words of lament, as depicted in Sangam Literary work, Aganaanooru 275, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the emotions of a Sangam mother at the juncture of her daughter’s elopement. ஓங்கு நிலைத் தாழி மல்கச் சார்த்தி, குடை அடை நீரின் மடையினள் எடுத்த பந்தர் வயலை, பந்து எறிந்து ஆடி, ‘இளமைத் தகைமையை வள மனைக் கிழத்தி! பிதிர்வை நீரை வெண் நீறு ஆக’ என, யாம் தற் கழறுங் காலை, தான் தன் மழலை இன் சொல், கழறல் இன்றி, இன் உயிர் கலப்பக் கூறி, நன்னுதல் பெருஞ் சோற்று இல்லத்து ஒருங்கு இவண் இராஅள், ஏதிலாளன் காதல் நம்பி, திரள் அரை இருப்பைத் தொள்ளை வான் பூக் குருளை எண்கின் இருங் கிளை கவரும் வெம் மலை அருஞ் சுரம், நம் இவண் ஒழிய, இரு நிலன் உயிர்க்கும் இன்னாக் கானம், நெருநைப் போகிய பெரு மடத் தகுவி ஐது அகல் அல்குல் தழை அணிக் கூட்டும் கூழை நொச்சிக் கீழது, என் மகள் செம் புடைச் சிறு விரல் வரித்த வண்டலும் காண்டிரோ, கண் உடையீரே? In this trip to the drylands, we take in a few familiar sights and listen to the outpouring of sorrow from the mother, at a time when her daughter had eloped away with the man: “Amidst the bushes of vayalai vines that she had reared by pouring water, collected with a tightly woven palmyra bowl from a tall and brimming urn, seeing her playing with a ball, I had scolded her saying, ‘O young and naive maiden of this prosperous mansion! You seem to be roaming around without a care. You are sure to be doomed!’. At this time, without any anger, she rendered her child-like, sweet words that made my sweet life melt away with joy. But that maiden with a fine forehead, without choosing to remain in this mansion, with copious food to share, has trusted in the love of a stranger, and leaving me to languish here, has left to a formidable drylands in the scorching mountains, where clusters of white flowers from the thick-trunked Mahua tree are stolen by huge sleuths of bear cubs. That maiden with great naivety, who has left yesterday to the terrible scrub jungle around which the huge land sighs in suffering, using her reddened little fingers, had built a sand house under the chaste tree, which used to render fine leaves to adorn her wide and uplifted loins. Those who have eyes, won’t you see this work of art left behind by that daughter of mine!” Time to listen to this expression of grief! Mother starts like mothers often do, recollecting a past moment with their beloved offspring. She remembers how one day the lady had been playing near the vayalai bushes that the lady herself had reared with much love, pouring water for it every day using a palmyra bowl. A moment to note the use of biodegradable material of palm leaves to stitch baskets with such skill that they seem to even hold water! Something we should perhaps learn from the descendants of these basket weavers in the remote villages of Tamil Nadu. Returning, Mother talks about how her girl had been playing with a ball amidst these bushes and this seems to have angered Mother, who had admonished her for roaming around without a care. There seems to be a hidden implication in mother’s tone that the girl had matured and she had no business to be playing around in this manner. In any case, mother remembers how her daughter showed no anger for that scolding and spoke so sweetly in a child-like tone, which made mother’s heart melt away. But that same girl, believing in some stranger’s promise of love, had left to the drylands, where bear cubs roam about gathering white Mahua flowers, Mother says. She concludes by asking all around her to take a look at the sand house her daughter had made under the chaste tree, near the house, and perceive the pain that throbs in her heart! A verse that talks about the poignant feelings, which arise when one glimpses at the places and things, resounding with memories of a parted one. A desk, a pair of spectacles, a ‘Bullet’ motorbike, a letter that arrives late… The objects may change in different spaces and different times, but they all proclaim the indelible presence of a person, even in that moment of their absence!

    6 min.

  6. 5 dgn geleden

    Aganaanooru 274 – There lives my beloved

    In this episode, we perceive the anticipation of returning to a beloved, as depicted in Sangam Literary work, Aganaanooru 274, penned by Idaikaadanaar. The verse is situated in the midst of the falling rain in the ‘Mullai’ or ‘Forest landscape’, and sketches a scene from this domain in the dark hour of midnight. இரு விசும்பு அதிர முழங்கி, அர நலிந்து, இகு பெயல் அழி துளி தலைஇ, வானம் பருவம் செய்த பானாட் கங்குல், ஆடு தலைத் துருவின் தோடு ஏமார்ப்ப, கடை கோல் சிறு தீ அடைய மாட்டி, திண் கால் உறியன், பானையன், அதளன், நுண் பல் துவலை ஒரு திறம் நனைப்ப, தண்டு கால் ஊன்றிய தனி நிலை இடையன், மடி விடு வீளை கடிது சென்று இசைப்ப, தெறி மறி பார்க்கும் குறு நரி வெரீஇ, முள்ளுடைக் குறுந் தூறு இரியப் போகும் தண் நறு புறவினதுவே நறு மலர் முல்லை சான்ற கற்பின் மெல் இயற் குறுமகள் உறைவு இன் ஊரே. In this trip to the forest, we get to see a denizen of the domain at work, as we listen to the man say these words to his charioteer: “Quaking the vast skies, the sky roars, ruins snakes and falls as huge drops of the downpour. In the midnight hour of this season, to protect his herd of sheep with swaying heads, lighting up a small flame on a fire-stick, as many, little drops of rain soak him on one side, the man who has a sturdy pot hanger, pots and a bed of leather, leans on a firmly planted stick, and standing all alone, bends his tongue and lets out a sharp whistle, which makes a little fox, which had been lying in wait to snatch a leaping sheep kid, scuttle away into the thorny bushes, in the cool and fragrant forest. Herein lies the delightful town of my chaste, gentle-natured maiden, adorned with fragrant wild jasmine flowers.” Time to hear the man’s passionate plea! He starts by revealing the season of rains, which thunders in the sky, rains down and according to their belief, kills snakes. Then he talks about a sheep herder, who is etched as having cords around him to hold pots and the way he carries a layer of leather to serve as his bed. The man tells us it’s the middle of the night and so as to keep the flock safe, the herder lights up a flame and lets out a sharp whistle. Hearing the sound of this whistle, a fox which had been biding its time to seize a sheep kid, runs away in fear, into the bushes. The man then connects and concludes by saying such is the forest, where the hamlet of his beloved, jasmine-clad maiden is to be found. Through that scene of the shepherd’s whistle and the scuttling fox, the man places a metaphor for how the sound of his chariot’s arrival would make the fox of pining, which had been preying on his beloved and waiting to finish her, to rush away in fear. In essence, the man is dropping the location of his loved one to his charioteer, and impressing on the need for speed!

    4 min.

  7. 6 dgn geleden

    Aganaanooru 273 – The tree of suffering

    In this episode, we listen to words of angst, as depicted in Sangam Literary work, Aganaanooru 273, penned by Avvaiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse employs an exquisite metaphor to etch a person’s state. விசும்பு விசைத்து எழுந்த கூதளங் கோதையின், பசுங் கால் வெண் குருகு வாப் பறை வளைஇ, ஆர்கலி வளவயின் போதொடு பரப்ப, புலம் புனிறு தீர்ந்த புது வரல் அற்சிரம், நலம் கவர் பசலை நலியவும், நம் துயர் அறியார்கொல்லோ, தாமே? அறியினும், நம் மனத்து அன்ன மென்மை இன்மையின், நம்முடை உலகம் உள்ளார்கொல்லோ? யாங்கு என உணர்கோ யானே? வீங்குபு தலை வரம்பு அறியாத் தகை வரல் வாடையொடு முலையிடைத் தோன்றிய நோய் வளர் இள முளை அசைவுடை நெஞ்சத்து உயவுத் திரள் நீடி, ஊரோர் எடுத்த அம்பல் அம் சினை, ஆராக் காதல் அவிர் தளிர் பரப்பி, புலவர் புகழ்ந்த நாண் இல் பெரு மரம் நில வரை எல்லாம் நிழற்றி, அலர் அரும்பு ஊழ்ப்பவும் வாராதோரே. In this trip to the drylands, we don’t get to see any of the familiar sights, and instead, take a detour to the realm of the inner landscape, as we listen to the lady say these words to the confidante, at a time when the man continues to remain parted away, having left in search of wealth: “Akin to a garland of nightshade flowers thrown at the sky, green-legged white birds bend their spreading wings to soar above the uproarious seas, and then settle down among the blooming flowers, in this season of early dew, when the land is done with the task of birthing new crops. At this time, as I waste away, owing to the affliction of pining that steals away health and beauty, does he not know about my sorrow? Even if he knows, not having the gentleness in my heart, perhaps he does not give a thought about my world! What should I think about all this? As this esteemed cold northern wind swells, not understanding its limits, this disease that has bloomed in my bosom sprouts up as a young shoot, and as the sorrow of my heart continues on, thickens its stem, spreads as a beautiful branch, owing to the gossip of the townsfolk, blooms as the tender leaves of unfulfilled love, soars as a shameless huge tree, celebrated by poets, spreading its shade all across the land. Even as the buds of slander upon this tree of suffering bloom, spreading their petals open, he still returns not!” Let’s listen to this lady’s lament and learn more! She starts by describing the seasonal changes around her. She first calls our attention to the white birds flying high and paints them as garlands thrown against the sky. Anyone who has watched the ‘V formation’ of birds in the sky would agree what an apt simile this is! Next, she talks about how the land is all done with birthing of the winter crops, relaying how it was now the early dew season. The lady talks about how the promised season is gone and she suffers endlessly and wonders if the man does not realise this, and even if he does, maybe he does not have her gentle heart to do something about it. She laments asking how is it possible to bear this lack of response from the man. Then reverting back to the season, the lady says, one visitor is sure to arrive without fail at this time, and that’s the cold, northern winds, and talks about how this makes the seed of pining in her heart, shoot up as a tender sprout. Then, as the water of sorrow keeps coursing through her, the stems of this sprout thicken into a trunk. To help it further, winds of gossip swirl around town and make the trunk spread into a branch, and here unfulfilled love sprouts out as the lush green leaves and what was a little shoot, now stands like a shameless tree of suffering, for all to see, spreading its shade far and wide, the lady sketches, and concludes by saying even when the flowers of slander bloom bright on this tree, the man was nowhere to be seen! The prowess of this prolific poet in converting the abstract emotions of the mind into tangible elements of the world can be sensed in that flowing imagery of a seed and sprout turning into that tree of suffering. Perhaps all these songs on separation exist only to teach the world the art of healing by expressing what’s within!

    6 min.

  8. 23 jun

    Aganaanooru 272 – The man in mother’s eyes

    In this episode, we perceive a dramatic attempt at persuasion, as portrayed in Sangam Literary work, Aganaanooru 272, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the flowing cascades of the ‘Kurinji’ or ‘Mountain Landscape’ and presents a hypothetical situation and its impactful consequences. இரும் புலி தொலைத்த பெருங் கை வேழத்துப் புலவு நாறு புகர் நுதல் கழுவ, கங்குல் அருவி தந்த அணங்குடை நெடுங் கோட்டு அஞ்சு வரு விடர் முகை ஆர் இருள் அகற்றி, மின் ஒளிர் எஃகம் செல் நெறி விளக்க, தனியன் வந்து, பனி அலை முனியான், நீர் இழி மருங்கின் ஆர் இடத்து அமன்ற குளவியொடு மிடைந்த கூதளங் கண்ணி அசையா நாற்றம் அசை வளி பகர, துறு கல் நண்ணிய கறி இவர் படப்பைக் குறி இறைக் குரம்பை நம் மனைவயின் புகுதரும், மெய்ம் மலி உவகையன்; அந் நிலை கண்டு, ”முருகு” என உணர்ந்து, முகமன் கூறி, உருவச் செந் தினை நீரொடு தூஉய், நெடு வேள் பரவும், அன்னை; அன்னோ! என் ஆவது கொல்தானே பொன் என மலர்ந்த வேங்கை அலங்கு சினை பொலிய மணி நிற மஞ்ஞை அகவும் அணி மலை நாடனொடு அமைந்த நம் தொடர்பே? In this trip to the highlands, it’s scenes in the night that greets us, as we listen to these words said by the confidante to the lady, pretending not to see the man listening nearby, but making sure he’s in earshot: “To wash away its flesh-reeking, spotted face after killing a huge tiger, the long-trunked elephant arrives at night to the cascade in the mountains. Casting away the deep darkness of the clefts and caves in those formidable, fear-evoking spaces, as an iron spear, which flashes like lightning, shows the way, he comes alone, without minding the cold dew descending down. Wearing a garland of nightshade flowers woven together with wild jasmines that had been blooming in those picturesque places near flowing waters, as the moving winds scatter its stationary fragrance, he would enter our hut with hanging eaves, adjacent to a field of pepper vines around a short boulder, with his body brimming over with joy. If Mother were to see that state of his, thinking it’s ‘God Murugu’, she would raise her hands in prayer, would sprinkle moistened bright red millets, and worship the Tall Speared One! Alas! If that happens, what is to become of your relationship with the lord of the handsome mountain country, where the sapphire-hued peacock calls out aloud and the fully-bloomed Kino flowers glow upon the swaying branches?” Let’s walk along with the man and investigate what’s in the hearts of these mountain maiden! The confidante starts by talking about how fearsome the mountain paths are at night, mentioning how an elephant which has just killed a tiger would come to the cascades to wash its trunk. Unmindful of all this danger to his safety and not caring for the cold dew pouring down to the detriment of his health, with his spear lighting the way, the man would come walking on this very path, the confidante connects. Then she mentions the garlands of nightshades and jasmines he would be wearing and the way the wind would be spreading that scent all around the place. Walking in this manner, the man would reach the destination, which is the lady’s hut in the mountain hamlet, near a field of pepper vines, the confidante continues. Let’s make a note of this specific field and explore it in a moment. Returning, the confidante asks the lady to imagine the moment he would step inside their house. What if Mother happened to catch a glimpse of him? She predicts that Mother would think the man was the ‘Tall-speared God Murugu’ and would start worshipping him with a scattering of red millets. After saying these words, the confidante wonders what would happen to the lady’s relationship with the man if a such a thing were to happen, and concludes by describing the man’s country as a place, filled with singing peacocks and blooming Kino flowers.  An intricate attempt using the powers of visualisation to get the listening man to realise that he needs to change his dark and dangerous path of temporary trysting and take the road to the permanent joy of seeking the lady’s hand. The subtle elements here is the mention of the blooming Kino flowers, indicating it’s the auspicious season of marriage, and that scene of mother mistaking the man for Murugu is to tell the man the lady is in danger of being placed under guard, which would sound the death knell to his secret relationship with her. In short, ‘Marry her, marry her’ with a movie style delivery! Let’s revert and focus on that phrase about a field of pepper vines. This tells us the preciousness of these naturally growing spices was realised by this mention that it was intentionally cultivated in a mountain field. A matter-fact line which actually implies that these pepper corns were much sought after in faraway shores such as Greece and Rome and that those abroad were waiting to shower gold in exchange of these little black beauties!

    7 min.
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Info

Reflections on 2000 Year Old Tamil Poetry

Informatie

  • Maker
    Nandini Karky
  • Jaren actief
    2019 - 2026
  • Afleveringen
    319
  • Beoordeling
    Veilig
  • Copyright
    © 2019 Nandini Karky
  • Website van aflevering
    Sangam Lit

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