Sangam Lit

Nandini Karky
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Reflections on 2000 Year Old Tamil Poetry

  1. 9h ago

    Aganaanooru 367 – The hour of pining

    In this episode, we listen to a lady’s angst-ridden thoughts, as depicted in Sangam Literary work, Aganaanooru 367, penned by Paranar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches a scene of wait and watch at the boundary of the tamed and wild.  இலங்கு சுடர் மண்டிலம் புலம் தலைப்பெயர்ந்து, பல் கதிர் மழுகிய கல் சேர் அமையத்து, அலந்தலை மூதேறு ஆண் குரல் விளிப்ப, மனை வளர் நொச்சி மா சேர்பு வதிய, முனை உழை இருந்த அம் குடிச் சீறூர், கருங் கால் வேங்கைச் செஞ் சுவல் வரகின் மிகு பதம் நிறைந்த தொகு கூட்டு ஒரு சிறை, குவி அடி வெருகின் பைங் கண் ஏற்றை ஊன் நசைப் பிணவின் உயங்கு பசி களைஇயர், தளிர் புரை கொடிற்றின், செறி மயிர் எருத்தின், கதிர்த்த சென்னிக் கவிர்ப் பூ அன்ன நெற்றிச் சேவல் அற்றம் பார்க்கும் புல்லென் மாலையும், இனிது மன்றம்ம நல் அக வன முலை அடையப் புல்லுதொறும் உயிர் குழைப்பன்ன சாயல், செயிர் தீர், இன் துணைப் புணர்ந்திசினோர்க்கே. In this trip to the drylands, we perceive intense scenes, as we listen to the lady say these words to the confidante, when the man continues to remain parted away, having left in search of wealth: “As the radiant, flaming orb, migrating away, traverses to the mountains, diminishing its rays, an anxious, old male deer sends out its call, and near the chaste tree, which grows near houses, herds of deer come together and rest, in that beautiful, little hamlet near a jungle fort. Here, upon the red earth with black-trunked Kino trees, blooms millets. Standing on one side of the silo containing these abundant millet grains, wishing to end the exhausted hunger of its mate, yearning for flesh, a green-eyed male cat with pointed feet stands biding its time, to nab the rooster with cheeks, akin to tender sprouts, a neck covered in thick hair, and a comb atop its upright neck, akin to a Coral tree flower cluster, in this listless evening hour. Even this dull time, would turn sweet for those, who have the good fortune to be one with their flawless, sweet mate, feeling as if life’s melting every time their fine, decorated bosom is embraced!” Time to take a walk in the scrub jungle! The lady starts by talking about the time of the day, when the sun sets in the western mountains. She mentions how at that time, a worried male deer would send out a call and its herd of deer would group around the chaste tree, growing near a house in the village by the fort. She mentions how upon this red earth, millets bloom in abundance, and how the people of that village heap the grains in a silo. Standing near one such silo, a green-eyed jungle cat, wanting to end the hunger of its mate, waits to seize a rooster, roving around in that evening hour. The lady concludes by declaring that even such a dull time would turn pleasant to someone who had their mate to embrace. Another declaration of ‘I’m lost without him’ by the pining lady. The evening, the night, the rainy season, spring all seem to torment the parted, according to the Sangam poets!

  2. 1d ago

    Aganaanooru 366 – Field of Fury

    In this episode, we perceive words about a person’s state of mind, as depicted in Sangam Literary work, Aganaanooru 366, penned by Kudavayil Keerathanaar. The verse is situated amidst the lush paddy fields of the ‘Marutham’ or ‘Farmlands landscape’ and presents a unique scene of conflict between people from two different professions. தாழ் சினை மருதம் தகை பெறக் கவினிய நீர் சூழ் வியன் களம் பொலிய, போர்பு அழித்து, கள் ஆர் களமர் பகடு தலை மாற்றி, கடுங் காற்று எறிய, போகிய துரும்பு உடன் காயல் சிறு தடிக் கண் கெடப் பாய்தலின், இரு நீர்ப் பரப்பின் பனித் துறைப் பரதவர் தீம் பொழி வெள் உப்புச் சிதைதலின், சினைஇ, கழனி உழவரொடு மாறு எதிர்ந்து, மயங்கி, இருஞ் சேற்று அள்ளல் எறி செருக் கண்டு, நரை மூதாளர் கை பிணி விடுத்து, நனை முதிர் தேறல் நுளையர்க்கு ஈயும் பொலம் பூண் எவ்வி நீழல் அன்ன, நலம் பெறு பணைத் தோள், நல் நுதல் அரிவையொடு, மணம் கமழ் தண் பொழில் அல்கி, நெருநை நீ தற் பிழைத்தமை அறிந்து, கலுழ்ந்த கண்ணள், எம் அணங்கு அன்னாளே. In this trip to the land of plenty, we see nerves flare and sparks fly, as we listen to the confidante say these words to the man, when he returns after courting a courtesan, seeking entry into the lady’s house: “In that water-enveloped, wide field, adorned by Arjuna trees, with low lying branches, blooming with beauty, spreading haystacks, those farmers, who delight in fine toddy, let bulls stomp around to thresh their grain. As fierce winds blow, the husk flies and spreads around the drying patches in the salt pan. As their fine, white salt gets ruined because of this, the fishermen, who live on the cool shores of the huge ocean, become furious, and rise up in anger against farmers in the field. Seeing the conflict bursting out in the battleground of that dark, muddy field, wise men with greying hair, separate the fighting parties, and offer well-aged nectar to the fisherfolk in the town of ‘Neezhal’, ruled by ‘Evvi’, clad in golden ornaments. Akin to the beauty of this town, are the beautiful, bamboo-like arms of that maiden having a fine forehead, with whom you rested along, in the cool and fragrant shores yesterday. Knowing that you wronged her thus, the eyes of the one, who’s akin to a spirit, brim over with tears!” Let’s explore this prosperous domain and learn more! The confidante starts with a detailed description of a place, where first we see a wide field, with the characteristic trees of this landscape. Here, farmers are threshing their harvested paddy grain by letting bulls walk through. At this time, a speedy wind blows through and because of this, the husk flies and settles on the fields of the salt pan nearby. It’s one of those rare mentions of both ‘Marutham’ or ‘Farmlands’ and ‘Neythal’ or ‘Coastal’ landscape occurring close to each other! Returning, the fisherfolk, who are involved in the complementary work of making salt, get mad seeing their produce ruined. So, they head to the fields and pick up a fight with the farmers. Arriving at that conflict-ridden spot, wise old men separate the fighting folks and calm the newcomers by giving them sweet, filtered nectar, the confidante etches, mentioning that this is happening in the town of ‘Neezhal’, ruled by Evvi. Why this long description of this coast-farm city? Only to say, akin to the beauty of this city was the arms of the courtesan, the man had been spending time in the cool shores the previous day. The confidante concludes by saying that the lady had come to know of the man’s meandering with the courtesan, and that, much wounded, she had been wallowing in tears!  In essence, the confidante is telling the man that there’s no hope of reconciliation at the moment since the lady was mad and sad about the man’s actions! Apart from the usual rivalries, what’s striking in this verse is that scene of conflict between fishermen and farmers, and more importantly, the sweet resolution enacted by wise old members of the society, which present a vivid slice of life from the ancient past!

  3. 3d ago

    Aganaanooru 365 – A Kino tree in Kaamoor

    In this episode, we listen to words of admonishment, as portrayed in Sangam Literary work, Aganaanooru 365, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a study in contrast of barrenness and beauty. அகல் வாய் வானம் மால் இருள் பரப்ப, பகல் ஆற்றுப்படுத்த பையென் தோற்றமொடு சினவல் போகிய புன்கண் மாலை, அத்த நடுகல் ஆள் என உதைத்த கான யானைக் கதுவாய் வள் உகிர், இரும் பனை இதக்கையின், ஒடியும் ஆங்கண், கடுங்கண் ஆடவர் ஏ முயல் கிடக்கை, வருநர் இன்மையின் களையுநர்க் காணா என்றூழ் வெஞ் சுரம் தந்த நீயே துயர் செய்து ஆற்றாயாகி, பெயர்பு, ஆங்கு உள்ளினை வாழிய, நெஞ்சே! வென் வேல் மா வண் கழுவுள் காமூர் ஆங்கண், பூதம் தந்த பொரி அரை வேங்கைத் தண் கமழ் புது மலர் நாறும் அம் சில் ஓதி ஆய் மடத் தகையே. In this trip to this harsh domain, we get to see familiar sights, as we listen to the man say these words to his heart, in the middle of his journey through the drylands: “As darkness spreads in the wide sky, the day crosses over, and with a listless appearance, filled with fury, the suffering-filled evening arrives. At this time, thinking that a hero stone in the middle of the drylands is a person, a jungle elephant kicks it, causing its huge toe nail to break, appearing akin to a palm fruit’s shell. In such a place, harsh-eyed men, who wait, intent on showering their arrows, find no wayfarers to end their impoverishment. You have brought me to such a barren, scorching space, and not satisfied with the sorrow you’ve rendered thus far in coming here, now you are also thinking about that naive and noble maiden with beautiful tresses, which have the fragrance of the moist, new flowers blooming upon that Kino tree, with a parched trunk, on which resides a spirit, in the town of Kaamoor, ruled by the strong and courageous Kazhuvul, who wields a victorious spear! Long may you live, my heart!” Time to brave the formidable paths! The man starts by sketching the time of the day and talks about how a dull evening seems to arrive, pushing aside the daylight in the sky, and at this time, not seeing very clearly, an elephant seems to mistake a memorial stone in the middle of the drylands for a person standing there, and gives it a kick, only to find its nail tearing apart in the impact. This is equated aptly to the torn shell of a palm fruit or ice apple, called as ‘nungu’ in contemporary Tamil. From the time of the day, the man moves on to talk about the place, and he mentions how the prominent denizens of this domain, the highway robbers, seem to lie in wait for wayfarers, but their wait only ends in disappointment for no one dares to come through those scorching spaces. The man turns to his heart and points out how it has brought him to such a place where even those harsh-eyed robbers are to be pitied, and concludes by saying as if the heart had not caused enough trouble, now it was thinking about the lady, the scent of whose tresses is akin to the flowers of a particular Kino tree, favoured by spirits, in the town of Kaamoor, ruled by Kazhuvul. Indeed, it’s the familiar theme of separating one’s heart from oneself and trying to overcome the despair of the situation.  On a tangent, what struck me in this verse is the way this poet remembers a particular Kino tree, in a specific town, and its features. Doesn’t it seem like these poets had a unique bonding with the trees they encountered in their travels, as if they were on first name basis with them? I conclude that it’s only by living such a life, characterised by a deep awareness of all the elements of nature around, that these poets have attained their extraordinary powers of expression!

  4. 4d ago

    Aganaanooru 364 – The rain’s shower of pain

    In this episode, we listen to a lady’s lament, as portrayed in Sangam Literary work, Aganaanooru 364, penned by Madurai Maruthankizhaar Maganaar Perunkannanaar. The verse is situated amidst the blooming trees of the ‘Mullai’ or ‘Forest Landscape’ and sketches the picturesque changes in the season of rains. மாதிரம் புதையப் பாஅய், கால் வீழ்த்து, ஏறுடைப் பெரு மழை பொழிந்தென, அவல்தோறு ஆடு களப் பறையின் வரி நுணல் கறங்க, ஆய் பொன் அவிர் இழை தூக்கியன்ன நீடு இணர்க் கொன்றை கவின் பெற காடு உடன் சுடர் புரை தோன்றிப் புதல் தலைக் கொளாஅ, முல்லை இல்லமொடு மலர, கல்ல பகு வாய்ப் பைஞ் சுனை மா உண மலிர, கார் தொடங்கின்றே காலை; காதலர் வெஞ் சின வேந்தன் வியன் பெரும் பாசறை, வென்றி வேட்கையொடு நம்மும் உள்ளார்; யாது செய்வாம்கொல்? தோழி! நோதகக் கொலை குறித்தன்ன மாலை துனைதரு போழ்தின், நீந்தலோ அரிதே! In this trip to this moist landscape, we get to see pleasant sights, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left her on a mission of war: “Spreading in a such a way as to bury all sense of direction, descending down, along with thunder, huge rain clouds have poured down. Striped toads in many pits resound akin to drums in a festivity. As if exquisite, radiant ornaments are hung down, the golden shower tree with long clusters makes the forest glow with beauty. Akin to lamps, the flame-lily blooms atop bushes, and along with wild jasmines, the clearing nut tree too blooms. All the wide-mouthed, fresh springs in the mountains fill up for animals to savour.  Such is the hour when the rainy season has begun. At this time, that lover of mine, who’s at the wide battle camp of the furious king, with his intention focused on victory, has no thought about me. What should I do, my friend? When the evening hour arrives beside me with much haste, as if intent on murder, it would be impossible to prevail over!” Let’s soak in the rain of emotion! The lady starts by talking vividly about how the rains have showered, and as a consequence, toads are croaking, akin to festival drums, the golden shower tree is all ablaze, as if adorned with hanging ornaments, flame-lilies seem to light up with lamps, and as if all these splendours were not enough, the wild jasmines and clearing nut tree flowers have bloomed in synchrony. Further, to render relief to all thirsting animals, the watering holes in the mountain paths were brimming over. After stating that everything was blooming in the season of rains, the lady explains that her state was in contrast, for her lover was locked in a king’s battle, and so intent on victory was he that he had no thought about her. She concludes by wondering what she would do, when the murderous evening hour arrived and stood beside her! Reading these lines, it occurred to me how these poets have visualised a woman as a vine that would collapse if not for the sturdy support of her beloved.  Moving beyond the lady’s sorrow which no doubt the man would soon allay, it was a sensory delight to hear the toads croaking, see the dangling golden shower clusters, inhale the fragrance of the wild jasmines, taste the cool mountain springs and sense the magic that the rains seem to cast upon the earth!

  5. 5d ago

    Aganaanooru 363 – Hope for the fading flower

    In this episode, we listen to words of hope rendered to a languishing heart, as portrayed in Sangam Literary work, Aganaanooru 363, penned by Madurai Pon Sey Kollan Vennaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse details the activities of the denizens in this domain. நிரை செலல் இவுளி விரைவுடன் கடைஇ, அகல் இரு விசும்பில் பகல் செலச் சென்று, மழுகு சுடர் மண்டிலம் மா மலை மறைய, பொழுது கழி மலரின், புனையிழை! சாஅய் அணை அணைந்து இனையை ஆகல், கணை அரைப் புல் இலை நெல்லிப் புகர் இல் பசுங் காய் கல் அதர் மருங்கில் கடு வளி உதிர்ப்ப, பொலம் செய் காசின் பொற்பத் தாஅம் அத்தம் நண்ணி, அதர் பார்த்து இருந்த கொலை வெங் கொள்கைக் கொடுந் தொழில் மறவர் ஆறு செல் மாக்கள் அரு நிறத்து எறிந்த எஃகு உறு விழுப்புண் கூர்ந்தோர் எய்திய, வளை வாய்ப் பருந்தின், வள் உகிர்ச் சேவல் கிளை தரு தெள் விளி கெழு முடைப் பயிரும் இன்னா வெஞ் சுரம் இறந்தோர், முன்னிய செய் வினை வலத்தர் ஆகி, இவண் நயந்து, எய்த வந்தனரே தோழி! மை எழில் துணை ஏர் எதிர் மலர் உண்கண் பிணை ஏர் நோக்கம் பெருங் கவின் கொளவே. In this trip to this formidable domain, we witness harsh scenes, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Wielding horses in a neat row with much speed, as that diminishing flame traverses the huge and wide sky in the course of the day and vanishes into the dark mountains, akin to a flower at dusk, do not fade and fall upon your bed with suffering, O maiden wearing well-etched jewels! Flawless, fresh fruits of the thick-trunked, small-leaved gooseberry tree, are scattered by strong winds upon rocky paths, and appear akin to shining golden coins, in those drylands paths. Keeping a lookout here, those men, who are in the harsh line of work with a heartless policy of killing, aim their spears at the hearts of wayfarers. Those who fall to the wounds of these spears, are spotted by a male vulture with curving bills and sharp claws, which sends out a clear call to summon its flock so as to feed on the flesh, in that hot and hostile drylands. He who traversed thither, has attained success in his mission of gaining wealth, and with much passion for you, he arrives soon, my friend, to claim the great beauty of your kohl-streaked, dark and beautiful eyes, akin to twin flowers tied together, with the gaze of a naive, female deer!” Time to brave the dangers of the scrub jungle! The confidante starts by asking the lady not to fade like a flower bud at the end of the day, when the sun, after riding its chariot across the sky, leaves to rest in the mountains. Then she presents a description of the drylands, first starting with yellow gooseberry fruits, scattered by the wind, appearing like gold coins. Incidentally, the name of the poet who penned this verse has the descriptor ‘Pon Sey Kollan’ which translates to ‘Goldsmith’. Sounds like a goldsmith, who penned poetry in his spare time! Someone who perhaps doesn’t have to worry about the age-old maxim, ‘No money to be made in art!’.  Returning, we find the confidante continuing that description from the shining image of fallen gooseberries to the harsh scenes of killing of wayfarers by highway robbers, and then vultures feeding on the flesh of the fallen. After establishing the horrors of the domain the man had left to, the confidante concludes by declaring he’s done with his mission of gaining wealth, and he returns with much passion to claim the beauty of the lady’s flower-like eyes with a deer-like gaze. Yet again, these are a friend’s words of cheer to a crestfallen heart! These Sangam poets make it sound as if the women then had no other job other than waiting for their men. It’s hard to believe that this and only this was the preoccupation of every woman who lived then. For we do have female poets like ‘Avvaiyaar’ and ‘Vella Veethiyaar’, penning exquisite poetry. So, at least they are proof that women did other things other than to just wait for their beloved. Perhaps this was a standard format of penning poetry, like a template, and it was upto each poet to add their unique touch. Thankful for every glimpse of a tree, a flower, a bird, an animal, a human way of life and aspect of culture that manages to emerge from this beaten-to-death theme of a woman pining!

  6. 6d ago

    Aganaanooru 362 – Moonlight on the Mind

    In this episode, we listen to a hidden message of persuasion, as portrayed in Sangam Literary work, Aganaanooru 362, penned by Velli Veethiyaar. The verse is situated amidst the spraying cascades of the ‘Kurinji’ or ‘Mountain Landscape’ and describes the dangers of a tryst by night. பாம்புடை விடர பனி நீர் இட்டுத் துறைத் தேம் கலந்து ஒழுக, யாறு நிறைந்தனவே; வெண் கோட்டு யானை பொருத புண் கூர்ந்து, பைங் கண் வல்லியம் கல் அளைச் செறிய, முருக்கு அரும்பு அன்ன வள் உகிர் வயப் பிணவு கடி கொள, வழங்கார் ஆறே; ஆயிடை எல்லிற்று என்னான், வென் வேல் ஏந்தி, நசை தர வந்த நன்னராளன் நெஞ்சு பழுதாக, வறுவியன் பெயரின், இன்று இப்பொழுதும் யான் வாழலெனே; எவன்கொல்? வாழி, தோழி! நம் இடை முலைச் சுணங்கு அணி முற்றத்து ஆரம் போலவும், சிலம்பு நீடு சோலைச் சிதர் தூங்கு நளிப்பின் இலங்கு வெள் அருவி போலவும், நிலம் கொண்டனவால், திங்கள் அம் கதிரே! In this trip to the highlands, we get to see the usual sights, as we listen to the confidante say these words to the lady, speaking in the voice of the lady, pretending not to notice the man listening nearby, but making sure he’s in earshot: “From the mountain peaks, filled with snakes, cool water flows through the narrow shores, fused with honey, making the river brim over; After fighting with a white-tusked elephant, nursing its wounds, the green-eyed, strong male tiger rests in the mountain cleft, protecting its tired mate with sharp claws, akin to Coral tree buds, in that path, which wayfarers avoid; Without considering the dangers of such a place and that it’s the dark hour of night, carrying a white spear, with desire, the good and noble man would arrive here. If he were to return empty-ended, with a broken heart, I have to give up my life, this very instant. What to do? Long may you live, my friend! Akin to the necklace that lies between our pallor-spotted bosoms, is the radiant, white cascade, and akin to the way it spreads moist drops all through the groves in the mountains, the rays of the moon shower upon the land!” Time to take that night trek through the mountains. The confidante speaks in the voice of the lady, and starts by talking about how water gushes down from the mountains, filled with flowers and the nectar of honeycombs, making the river overflow. The confidante adds that in a path nearby, a tiger rests after a fight with an elephant, even as it protects its mate, picturesquely placing its sharp claws in parallel to the coral tree buds. She continues by saying so dangerous is that path that wayfarers stay away from it, and yet the man, without caring about the predators, which wait to attack, or the dark hour of the midnight, comes walking with just his spear for company, hoping to tryst with the lady. This is where we find out the confidante us speaking in the voice of the lady for she says, if at all he were to return disappointed, then she wouldn’t live another moment. The confidante means the lady wouldn’t live another moment, and by extension, herself. The confidante concludes by pointing out how the moon’s rays spread all around the land, just like the white cascade amidst the mountains, which is like a necklace amidst their bosoms, spreads moist drops all over the mountain groves.  These words are to impress upon the listening man the pain and suffering the lady goes through every time the man doesn’t get to tryst with her. To avoid such frequent angst, the confidante subtly nudges the man to choose the path of permanent happiness by marrying the lady. Moving beyond the usual ‘Marry her, Marry her’ theme, we find the striking aspect of this verse in the way the similes are stacked by comparing the necklace on the bosom to the cascade amidst the mountains, and then the spray of that cascade upon all the groves in the mountain to the moonlight that brightens the land! To add to this stack of similes, like that moonlight that brightens the spread of the land, these words from the past seem to shower their glow upon the acres of time!

  7. Oct 27

    Aganaanooru 361 – The dream of the turtle

    In this episode, we perceive the pain of parting, as depicted in Sangam Literary work, Aganaanooru 361, penned by Eyinanthai Makanaar Ilankeeranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the yearning of the heart to turn back the hands of time. ”தூ மலர்த் தாமரைப் பூவின் அம் கண், மா இதழ்க் குவளை மலர் பிணைத்தன்ன, திரு முகத்து அலமரும் பெரு மதர் மழைக் கண், அணி வளை முன்கை, ஆய் இதழ் மடந்தை வார் முலை முற்றத்து நூல் இடை விலங்கினும், கவவுப் புலந்து உறையும் கழி பெருங் காமத்து இன்புறு நுகர்ச்சியின் சிறந்தது ஒன்று இல்” என அன்பால் மொழிந்த என் மொழி கொள்ளாய், பொருள் புரிவுண்ட மருளி நெஞ்சே! கரியாப் பூவின் பெரியோர் ஆர, அழல் எழு தித்தியம் அடுத்த யாமை நிழலுடை நெடுங் கயம் புகல் வேட்டாஅங்கு, உள்ளுதல் ஓம்புமதி, இனி நீ, முள் எயிற்று, சில் மொழி, அரிவை தோளே பல் மலை வெவ் அறை மருங்கின் வியன் சுரம், எவ்வம் கூர இறந்தனம் யாமே. In this trip to this familiar domain, we take an inward journey, as we listen to the man say these words to his heart, having parted from the lady and in the middle of his journey through the drylands, in pursuit of wealth: “Having an exquisite face, akin to a pristine lotus, upon which dark-petalled blue-lilies are fused as eyes, which are huge, exquisite and rain-like, and wearing beautiful bangles on her forearms, is that maiden with alluring lips. I had said with much love to you, O heart, that there is no greater pleasure than dwelling with that huge passion that resides, fusing as one, parting not even a thread’s distance from the spread of her bosoms. And yet, you were filled with the confusion of seeking wealth! Akin to a turtle, which has been placed in the burning sacrificial pit, as an offering to those elders, who wear unfading flowers, the one which yearns to be back at its shaded, wide pond, don’t you keep thinking about that maiden with thorn-like teeth, few words, for leaving behind her arms, crossing many mountains, we have come to this scorching, wide space filled with suffering now!” Time to listen to the man’s chat with his heart! The man starts by describing his beloved calling her face, a lotus, and her eyes, a pair of blue-lilies. He then tells his heart how earlier he had said there was no greater joy in the world than being fused as one with her, not even parting a thread’s distance from her bosoms. At that time, his heart had refused to heed his warning and had pushed him to seek wealth, he says. He turns to his heart and talks about how they have come a long way, crossing many mountains, and concludes with an admonishment to his heart saying, ‘Having pushed me in this direction, now you have no right to think and yearn for the lady, like a turtle, which yearns to be back in its pond, when it finds itself in a burning, sacrificial pit, as an offering to the gods’.  The highlight of this verse is the simile of the turtle in the middle of a sacrificial pit. Imagine the helplessness of that being, which was happily swimming about in its cool pond, finding itself amidst the burning flames. One may argue that the turtle had no say for it was brought there by human hands, whereas the man had the option of staying back. However the point here is that the man feels the force of his heart that pushed him into seeking wealth was beyond his power to tame, just like that little turtle. A verse which makes us reflect on the power that our dreams and desires seem to exert upon us and sometimes leave us in seemingly helpless paths in life! Where we go from there all depends on our ‘why’!

  8. Oct 24

    Aganaanooru 360 – Come not by day

    In this episode, we listen to a person’s attempt to change another’s course of action, as portrayed in Sangam Literary work, Aganaanooru 360, penned by Madurai Kannathanaar. The verse is situated amidst the bee-buzzing blue lotuses of the ‘Neythal’ or ‘Coastal landscape’ and seemingly proposes a change in the trysting spot. பல் பூந் தண் பொழில், பகல் உடன் கழிப்பி, ஒரு கால் ஊர்திப் பருதி அம் செல்வன் குடவயின் மா மலை மறைய, கொடுங் கழித் தண் சேற்று அடைஇய கணைக் கால் நெய்தல் நுண் தாது உண்டு வண்டினம் துறப்ப, வெருவரு கடுந் திறல் இரு பெருந் தெய்வத்து உரு உடன் இயைந்த தோற்றம் போல, அந்தி வானமொடு கடல் அணி கொளாஅ, வந்த மாலை பெயரின், மற்று இவள் பெரும் புலம்பினளே தெய்ய; அதனால், பாணி பிழையா மாண் வினைக் கலி மா துஞ்சு ஊர் யாமத்துத் தெவிட்டல் ஓம்பி, நெடுந் தேர் அகல நீக்கி, பையெனக் குன்று இழி களிற்றின் குவவு மணல் நீந்தி, இரவின் வம்மோ உரவு நீர்ச் சேர்ப்ப! இன மீன் அருந்து நாரையொடு பனைமிசை அன்றில் சேக்கும் முன்றில், பொன் என நல் மலர் நறு வீ தாஅம் புன்னை நறும் பொழில் செய்த நம் குறியே. In this trip to this shore, we get to witness changing moments of time, as we listen to the confidante say these words to the man, when he prepares to leave after his tryst by day, with the lady: “In the moist grove, filled with many flowers, after spending the day with her, as that noble lord riding the one-wheeled chariot vanishes into the huge mountains in the west, as bees feeding on the fine pollen of the thick-stalked blue lotus, amidst the thick and cool slush of the curving backwaters, part away, taking an appearance, as if the forms of the two great gods with fearsome strength are united as one, as the twilight sky lights up the seas, if you part away as the evening hour arrives, she ends up being filled with great sorrow. And so, taking care that your well-adorned, proud horses, which never miss a step, wake not the sleeping town in the midnight hour, leaving your tall chariot far behind, quickly crossing the peaks of heaped sands, akin to elephants, why don’t you come at night, O lord of the seas, to our front yard, where upon a palm tree, a stork which has fed on schools of fish and the red-naped ibis nest at night, to the trysting spot I propose, near the fragrant grove, filled with fine, fallen, fragrant flowers of the laurel wood tree!” Let’s walk on those ancient shores and listen to a plan! The confidante starts by describing what the man usually does, which is to spend the day with the lady, and then leave as the sun sets, the blue-lotus closes its buds, and the sky is coated in the twin colours of red and blue, which is associated here with the fusion of two unnamed Gods. She talks about how this fills the lady with much sorrow. So, instead of that usual course, the confidante concludes by proposing that the man takes care that his horses do not wake the sleeping town and come walking down the sand mounds to their front yard, where assorted birds such as the stork and ibis would be retiring for the night upon a palm tree, and meet the lady near the grove with fragrant laurel wood flowers. At the core, it seems to be a ‘Don’t come at this time. Come later’ message and an invitation to tryst closer home, but in essence, it’s a ‘Marry her, Marry her’ message because that path of meeting the lady at night near her house is filled with the danger of discovery. The similes such as the sun riding a one-wheeled chariot and the one which describes sand mounds as elephants etch the time and place vividly in our minds.

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About

Reflections on 2000 Year Old Tamil Poetry

Information

  • Creator
    Nandini Karky
  • Years Active
    2019 - 2026
  • Episodes
    319
  • Rating
    Clean
  • Copyright
    © 2019 Nandini Karky
  • Show Website
    Sangam Lit