Sangam Lit

Nandini Karky
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Reflections on 2000 Year Old Tamil Poetry

  1. 2H AGO

    Aganaanooru 184 – Rejoicing in the Return

    In this episode, we listen to joyous words of welcome, as depicted in Sangam Literary work, Aganaanooru 184, penned by Madurai Maruthan Ilanaakanaar. The verse is situated amidst the falling flowers of the ‘Mullai’ or ‘Forest landscape’ and relays emotions that arise at the juncture of a homecoming. கடவுட் கற்பொடு குடிக்கு விளக்கு ஆகிய புதல்வற் பயந்த புகழ் மிகு சிறப்பின் நன்னராட்டிக்கு அன்றியும், எனக்கும் இனிது ஆகின்றால்; சிறக்க, நின் ஆயுள்! அருந் தொழில் முடித்த செம்மல் உள்ளமொடு சுரும்பு இமிர் மலர கானம் பிற்பட, வெண் பிடவு அவிழ்ந்த வீ கமழ் புறவில் குண்டைக் கோட்ட குறு முள் கள்ளிப் புன் தலை புதைத்த கொழுங் கொடி முல்லை ஆர் கழல் புதுப் பூ உயிர்ப்பின் நீக்கி, தெள் அறல் பருகிய திரிமருப்பு எழிற் கலை புள்ளி அம் பிணையொடு வதியும் ஆங்கண், கோடுடைக் கையர், துளர் எறி வினைஞர், அரியல் ஆர்கையர், விளைமகிழ் தூங்க, செல்கதிர் மழுகிய உருவ ஞாயிற்றுச் செக்கர் வானம் சென்ற பொழுதில், கற் பால் அருவியின் ஒலிக்கும் நல் தேர்த் தார் மணி பல உடன் இயம்ப சீர் மிகு குருசில்! நீ வந்து நின்றதுவே. A glimpse of many, different elements of the lush forest in this trip, as we listen to the confidante say these words to the man, when he returns home after completing his mission: “Not only to the good woman, with a god-like chastity, a veritable lamp of the household, who has the fame and excellence of bearing your child, but also to me, this is cause for delight! Long may you live! With an esteemed heart that has accomplished a hard task, you have left behind the jungle, buzzing with bees, and crossed the fragrant forest filled with fallen flowers, where white malabar jasmines have bloomed. Here, burying the dull heads of the cactus with sharp thorns and short branches, thick vines of the wild jasmine spread. Removing new flowers that have loosened and fallen from these vines, with its breath, the handsome stag with twisted antlers savours the clear water underneath, and then rests along with its spotted, beautiful mate in those spaces. At this time, when those with sickles in hand, the cleansers of weed seek and drink fine toddy and sway with ecstasy, when the sun with its diminished rays leaves the reddened sky, with the many bells on your chariot, resounding together like a mountain cascade, the way you have arrived here, O noble lord, brings forth immense joy!” Time to relish the sound of the returning chariot! The confidante sees the man at their doorstep and declares that the man has brought so much happiness not only to the lady, who has borne him a son, but also to her. We should not miss how she celebrates the lady’s chastity and portrays her as a ‘lamp of the household’, a phrase that can be heard in Tamil homes even today, calling a new bride, who enters her husband’s home thus! Returning, we see the confidante narrating the man’s journey back, talking about how he has succeeded in his mission, and has left behind forests, wafting with the scent of many fallen flowers, and where the vines of a wild jasmine cover the dull tops of cactus, and a male deer that comes to drink water nearby, scatters the fallen jasmine flowers with its breath and savours the pure, clear water. After quenching its thirst, the male deer rests peacefully with its beautiful mate, the confidante sketches. From place, she moves on to time, taking about how it’s the evening hour, when the people hard at work in the fields, those weeding with sickles, are calling it a day, and seeking the refreshment of toddy, as the sun bids bye to them and curls up in the twilight redness. The confidante has referenced this time only to say how the man had returned at this hour with his chariot bells, resounding like a cascade, and she concludes by saying the man has flooded their lives with joy because of his timely return! A verse in which every sound, word and line reverberates with delight! In the scene where the wild jasmine vines cover the dull cactus, the confidante informs the man how the lady had hidden her feelings of distress and pallor with the garment of her chastity and patience. Likewise, in the scene of the stag blowing away the fallen flowers, relishing the clear water and resting with its mate, the confidante presents an image of events to follow, such as the man slaying the pallor in the lady, relishing her old beauty and resting happily with her. Also interesting how the confidante, who always sees her as one and same as her friend, especially when in sorrow, separates herself from the lady, and conveys her personal satisfaction at the man’s return, no doubt her skilful implementation of the concept of ‘doubling the joy and halving the sorrow’!

    6 min

  2. 23H AGO

    Aganaanooru 183 – I hear you but…

    In this episode, we perceive the anguish of a parted heart, as portrayed in Sangam Literary work, Aganaanooru 183, penned by Karuvoor Kalingaththaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the emotional response to words of consolation. ‘குவளை உண்கண் கலுழவும், திருந்திழைத் திதலை அல்குல் அவ் வரி வாடவும், அத்தம் ஆர் அழுவம் நத் துறந்து அருளார் சென்று சேண் இடையர் ஆயினும், நன்றும் நீடலர்” என்றி தோழி! பாடு ஆன்று பனித் துறைப் பெருங் கடல் இறந்து, நீர் பருகி, குவவுத் திரை அருந்து கொள்ளைய குடக்கு ஏர்பு, வயவுப் பிடி இனத்தின் வயின்வயின் தோன்றி, இருங் கிளைக் கொண்மூ ஒருங்குடன் துவன்றி, காலை வந்தன்றால் காரே மாலைக் குளிர் கொள் பிடவின் கூர் முகை அலரி வண்டு வாய் திறக்கும் தண்டா நாற்றம் கூதிர் அற்சிரத்து ஊதை தூற்ற, பனி அலைக் கலங்கிய நெஞ்சமொடு வருந்துவம் அல்லமோ, பிரிந்திசினோர் திறத்தே? In this trip to the drylands, it’s more about the weather rather than the land, 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: “‘Making your blue-lily-like, kohl-streaked eyes to brim with tears, the beautiful lines on your spotted loins, adorned with well-etched ornaments, to fade, he parted away to those formidable paths in the drylands. Even though he’s gone afar, he will not delay further in returning’, you say to me, my friend! Dipping into the resounding huge ocean, with a cool shore, guzzling the water from the roaring waves, and brimming with excess, climbing on to the west, appearing here and there, akin to a parade of pregnant elephants, the dark herd of clouds then come together and pour down. Such a day in the season of rains has arrived, and in the evening, sharp buds of the wild jasmine shivering in the cold, open to the nudge of the bees. The irrepressible fragrance of these flowers is spread everywhere, by the winds of the cold season. Isn’t it natural to worry, with a heart shaken by these circumstances, thinking about how the one who parted away, hasn’t returned?” Let’s hear the roar of the rain clouds and inhale the fragrance of the jasmines! The lady starts by repeating the words of her friend who had been talking about how the man had left, causing the lady’s eyes to brim with tears and her beauty lines to fade, and how though he was far off, he would return soon to the lady’s fold. After acknowledging these words, the lady talks about how the rainy season, characterised by dark clouds, which she imaginatively connects to a herd of pregnant elephants, had come and gone, and now the wild jasmines were blooming. She concludes by relating how shaken by the scent of these flowers and the touch of the cold winds, she had no other go but to worry about the man and his absence. In all, it seems like just an expression of pining but within hides some intricate elements of therapy, such as a concerned friend and her thoughtful words, as well as acknowledgement of the lady about her friend’s act of consolation and her own expression of worrying emotions within. Aren’t these the exact elements to help overcome those seemingly impossible moments in life?

    4 min

  3. 1D AGO

    Aganaanooru 182 – The red-stained white jasmine

    In this episode, we listen to a hidden message of persuasion, as depicted in Sangam Literary work, Aganaanooru 182, penned by Kabilar. The verse is situated amidst a scene of leaping monkeys and showering trees, in the ‘Kurinji’ or ‘Mountain Landscape’ and relays the consequences of a person’s present actions. பூங் கண் வேங்கைப் பொன் இணர் மிலைந்து, வாங்கு அமை நோன் சிலை எருத்தத்து இரீஇ, தீம் பழப் பலவின் சுளை விளை தேறல் வீளை அம்பின் இளையரொடு மாந்தி, ஓட்டு இயல் பிழையா வய நாய் பிற்பட, வேட்டம் போகிய குறவன் காட்ட குளவித் தண் புதல் குருதியொடு துயல் வர, முளவுமாத் தொலைச்சும் குன்ற நாட! அரவு எறி உருமோடு ஒன்றிக் கால் வீழ்த்து உரவு மழை பொழிந்த பானாட் கங்குல், தனியை வந்த ஆறு நினைந்து, அல்கலும், பனியொடு கலுழும் இவள் கண்ணே; அதனால், கடும் பகல் வருதல் வேண்டும் தெய்ய அதிர் குரல் முது கலை கறி முறி முனைஇ, உயர்சிமை நெடுங் கோட்டு உகள, உக்க கமழ் இதழ் அலரி தாஅய் வேலன் வெறி அயர் வியன் களம் கடுக்கும் பெரு வரை நண்ணிய சாரலானே. In this illustrative trip to this vibrant domain, we get to hear the confidante say these words to the man, who arrives for a nightly tryst with the lady: “Wearing golden clusters of the Kino tree, blooming in the picturesque place, placing a curving, sturdy bow on the shoulder, relishing nectar from sweet jackfruit slices in the company of helpers, who wield whistling arrows, followed by fierce dogs that never miss an animal’s track, a mountain man who goes hunting, makes the moist bush of a wild jasmine splatter with blood, when he fells a porcupine, in the peaks of your domain, O lord! In the dark hour of midnight, when clouds, shaken by winds, pour down rain, accompanied by lightning, and thunder that ruins snakes, you walk on alone. Thinking about the path you tread so, all day, her eyes brim with tears. And so, you must come in the brightness of day here, where an old harsh-voiced monkey, disliking the bite of pepper vine leaves, leaps from the tall and long branches, and shedding and scattering fragrant petals of flowers many, making this slope of the huge mountain, appear like the arena of Velan’s ‘Veri’ ritual!” Time to track the scent of a porcupine in the hills! The confidante starts with a vivid portrait of the man’s country, and to do that, she zooms on to the quintessential denizen of this place – a mountain hunter, and paints a verbal sketch of the golden Kino flower garland he wears, the strong bow he carries, and his manner of enjoying the nectar of jackfruit, with his helpers. Then, she transports the listener to a particular moment, when with the help of his talented dogs, this mountain hunter has tracked a porcupine and because he has felled it, the blood from the beast splatters on the white flowers, blooming in the wild jasmine bush. After that graphic account of the man’s country, the confidante switches to talk about how the man comes walking all alone in the middle of the night, when the clouds pour and she talks of how this brings great distress to the lady, making her cry all day. So, she concludes by asking the man to come to their mountain slope, by day, a place where a leaping monkey scatters flowers of the forest on the mountain floor, making it appear like the ‘Veri’ ritual arena, where Velan does his divining dances. While this may seem like a simple request to change the meeting time, there’s much more going on here! The confidante, by talking about the blood-splattered wild jasmine bushes, brings forth a metaphor for how the man had been trysting with the lady at night and leaving her at other times, which has led to visible signs of distress in her, which in turn has invited the attention of the lady’s kin and the gossiping townsfolk. In that subtle simile about the mountain slope looking like Velan’s arena, the confidante hints that steps are being taken by the lady’s parents to arrange such a ritual, which could end up dishonouring the lady because the true reason for her affliction was not God Murugu, who was being prayed to, but that mortal man she was in love with. Next, by asking the man to come by day, the confidante actually means to tell him to come claim the lady’s hand for all to see. It’s indeed ‘Marry her, Marry her’ but encased in the ancient equivalent of today’s cryptographic encryption!

    6 min

  4. 2D AGO

    Aganaanooru 181 – Releasing the heart

    In this episode, we perceive the resolution of a dilemma, as depicted in Sangam Literary work, Aganaanooru 181, penned by Paranar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse links a battlefield and a place of prominence in the ancient world. துன் அருங் கானமும் துணிதல் ஆற்றாய், பின் நின்று பெயரச் சூழ்ந்தனைஆயின், என் நிலை உரைமோ நெஞ்சே! ஒன்னார் ஓம்பு அரண் கடந்த வீங்கு பெருந் தானை அடு போர் மிஞிலி செரு வேல் கடைஇ, முருகு உறழ் முன்பொடு பொருது களம் சிவப்ப, ஆஅய் எயினன் வீழ்ந்தென, ஞாயிற்று ஒண் கதிர் உருப்பம் புதைய ஓராங்கு வம்பப் புள்ளின் கம்பலைப் பெருந் தோடு விசும்பிடை தூர ஆடி, மொசிந்து உடன் பூ விரி அகன் துறைக் கணை விசைக் கடு நீர்க் காவிரிப் பேர் யாற்று அயிர் கொண்டு ஈண்டி, எக்கர் இட்ட குப்பை வெண் மணல் வைப்பின் யாணர் வளம் கெழு வேந்தர் ஞாலம் நாறும் நலம் கெழு நல் இசை, நான் மறை முது நூல் முக்கட் செல்வன், ஆலமுற்றம் கவின் பெறத் தைஇய பொய்கை சூழ்ந்த பொழில் மனை மகளிர் கைசெய் பாவைத் துறைக்கண் இறுக்கும் மகர நெற்றி வான் தோய் புரிசைச் சிகரம் தோன்றாச் சேண் உயர் நல் இல் புகாஅர் நல் நாட்டதுவே பகாஅர் பண்டம் நாறும் வண்டு அடர் ஐம்பால், பணைத் தகைத் தடைஇய காண்பு இன் மென் தோள், அணங்குசால் அரிவை இருந்த மணம் கமழ் மறுகின் மணற் பெருங் குன்றே. In this long trip to the drylands, it’s more of a travel to other spaces, as we listen to the man say these words to his heart, in the middle of his journey through the domain, seeking wealth: “If you don’t have the courage to cross this formidable and inaccessible jungle, and instead you wish to stand behind me, looking to leave, then go and tell about my state, O heart! The battle-worthy, victorious Mignili, who has a huge army that has crossed many a soaring enemy fort, crossed spears with Aay Eyinan, who fought with the courage of God Muruku, making the battlefield redden. When Aay fell in battle, preventing the heat of the sun’s shining rays from touching him, a huge flock of birds flew in formation together, high up, with a thunderous uproar, hiding the sky entire. Later, these birds flew and rested in the flower-filled shore of the great River Kaveri, which brings along huge quantities of fine silt, turning them into heaps of white sand. Nearby, is a place filled with prosperity and ruled by wealthy kings, and happens to be ‘Aalamuttram’, where the Three-Eyed Lord, composed the four ancient scriptures, whose abundant fame spreads around the world. In the picturesque orchards, filled with ponds here, maiden from households craft handmade statues and place on the river shore, where those birds would arrive and rest. This unfolds in the good country of Puhaar, decked with sky-soaring forts, fluttering with fish flags, whose tops cannot even be seen, so tall are the mansions! Here, with five-part, thick, braided, bee-buzzing tresses, wafting with the scent of merchants’ products in the streets of Puhaar, with curving delicate arms, pleasing to the eyes, akin to bamboos, like a divine spirit, she waits for me, upon a sand hill, wafting with the scent of the fragrant streets nearby.” Time to catch the conversation between the man and his heart! The man starts with a hidden rebuke to his heart because it wants to leave the man and turn back. He does this by giving it permission to go speak about his state to his beloved. Then, he goes on a tangent, and talks about the battle between Aay Eyinan and Mignili, we have seen in other verses, repeating the victory of Mignili and the defeat of Aay Eyinan, and stressing on how birds flew in formation and prevented the sun’s rays from touching the fallen body of Aay Eyinan, indicating what a lover of birds he had been, in his lifetime. Then apparently, these birds would fly to a particular shore and rest there, which happens to be on the Kaveri river, near a famous place called Aalamuttram, with the religious significance of a God called the ‘Three-Eyed One’, interpreted as God Siva, said to be the very place, where he composed the ancient scriptures. Another marker of this river shore are the hand-made statues carved by married women. Then, the man explains this river shore is in the renowned country of Puhaar, known also as ‘Kaveripoompattinam’ or ‘Poompuhar’. And such is the fragrance of the streets, wafting with the scent of the many products sold by merchants. Not only are the birds from that battlefield resting here, but the man’s beloved, characterised by her abundant tresses , bamboo-like arms, is also waiting right there, on a sand hill, wafting with the scents of the town, yearning for his return, the man concludes.  The technique of separating the heart from oneself to find motivation in times of hardship is illustrated at the core of this verse. This natural method, which we have seen in many verses, is very much in line with modern psychological principles, which advocate a detachment from troubling thoughts and disturbing feelings and seeing them for what they are, to handle them in the right way. Yet again, this is subtle proof that the Sangam folks were masters of the mind!

    7 min

  5. 5D AGO

    Aganaanooru 180 – Eyes on the golden pollen

    In this episode, we perceive the communication of a hidden message, as portrayed in Sangam Literary work, Aganaanooru 180, penned by Karuvoor Kannampaalanaar. The verse is situated amidst the sand dunes and flower orchards of the ‘Neythal’ or ‘Coastal landscape’ and narrates an incident and its consequences. நகை நனி உடைத்தால் தோழி! தகை மிக கோதை ஆயமொடு குவவு மணல் ஏறி, வீ ததை கானல் வண்டல் அயர, கதழ் பரித் திண் தேர் கடைஇ வந்து, தண் கயத்து அமன்ற ஒண் பூங் குவளை அரும்பு அலைத்து இயற்றிய சுரும்பு ஆர் கண்ணி பின்னுப் புறம் தாழக் கொன்னே சூட்டி, நல் வரல் இள முலை நோக்கி, நெடிது நினைந்து, நில்லாது பெயர்ந்தனன், ஒருவன்; அதற்கே புலவு நாறு இருங் கழி துழைஇ, பல உடன் புள் இறை கொண்ட முள்ளுடை நெடுந் தோட்டுத் தாழை மணந்து ஞாழலொடு கெழீஇ, படப்பை நின்ற முடத் தாட் புன்னைப் பொன் நேர் நுண் தாது நோக்கி, என்னும் நோக்கும், இவ் அழுங்கல் ஊரே. In this little trip to the seashore, we get to hear the lady say these words to her confidante, pretending not to notice the man listening nearby, but making sure he’s in earshot: “It makes me laugh out aloud, my friend! Along with my esteemed playmates, clad in garlands, I had climbed on a sand dune, and then was relaxing by building sand houses in that flower-filled orchard. Just then, a speeding, sturdy chariot stopped there. Stepping down, bringing a bee-buzzing head garland, tied tightly with buds of shining blue-lilies that had been blooming in a cool pond, a man tied it to the tresses hanging low on my back, without me seeking that. Then, he took a look at my uplifted, young bosom, stood there thinking for a long time and parted away without staying longer. After searching the flesh-reeking, dark backwaters, along with their flock, birds rest upon the spiny tall branches of the pandanus, fused with the tiger claw, standing next to the laurel-wood tree, with a curving stem, in our hamlet. Just for that unexpected moment with the man, this uproarious, slanderous town looks at me and looks at the gold-like pollen of the laurel wood tree alike!” Ready for a walk upon the pristine sands of an ancient shore? Here we go! The lady starts by remarking that something seemed ridiculously funny to her. Then she goes on to tell what that incident is, talking about how one day, she had been playing with her mates on the heaped sand in the fragrant orchards by the sea. At that time, a chariot that was whizzing by, stopped near them. A man stepped down, with a garland of blue lilies in his hand. Then, coming near the lady, he seemed to have tied it on her braids, hanging low on her back. The lady insists that she didn’t want that or ask for that. Then she talks about how the man had stood looking at her bosom, thought and sighed for a bit, and left without a word. This was all that happened, and the townsfolk are pointedly looking at me and the golden pollen of the laurel wood tree, the lady concludes. That seems like a puzzle to you, no doubt! What’s the connection between pollen and the lady and why should this make the lady laugh with exasperation? The answer lies in the association between the golden pallor spots that spread on a lady’s skin and the pollen of this tree. The lady must have got into a relationship with the man and was perhaps yearning for him when he was gone. This would result in the appearance of those spots, leading to gossip and slander in town, the lady implies. These words are said for the benefit of the man, listening nearby, to echo the troubles the lady’s facing and nudge him to seek her hand and put an end to this misery! If at all these ancient poets are to be believed, imagine what mental gymnastics those in love in that era had to go through to simply understand what was in the mind of the other! On the other hand, perhaps such contortions of the mind are something natural and needed for those in love, no matter where or when they live, with only the ‘why’ changing every time!

    5 min

  6. FEB 12

    Aganaanooru 179 – Rushing to a mirage

    In this episode, we listen to a pointed question put to another, as portrayed in Sangam Literary work, Aganaanooru 179, penned by Koadimangalathu Vaathuli Narchenthanaar, Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the dreariness of this domain. விண் தோய் சிமைய விறல் வரைக் கவாஅன், வெண்தேர் ஓடும் கடம் காய் மருங்கில், துனை எரி பரந்த துன் அரும் வியன் காட்டு, சிறு கண் யானை நெடுங் கை நீட்டி வான் வாய் திறந்தும் வண் புனல் பெறாஅது, கான் புலந்து கழியும் கண் அகன் பரப்பின் விடு வாய்ச் செங் கணைக் கொடு வில் ஆடவர் நல் நிலை பொறித்த கல் நிலை அதர, அரம்பு கொள் பூசல் களையுநர்க் காணாச் சுரம் செல விரும்பினிர்ஆயின் இன் நகை, முருந்து எனத் திரண்ட முள் எயிற்றுத் துவர் வாய், குவளை நாள் மலர் புரையும் உண்கண், இம் மதி ஏர் வாள் நுதல் புலம்ப, பதி பெயர்ந்து உறைதல் ஒல்லுமோ, நுமக்கே? In this trip to the drylands, we get to hear the confidante say these words to the man, when he conveys his intention to part away from the lady and go in search of wealth: “Adjoining those majestic mountains with sky-soaring peaks, in the scorched, stony spaces, filled with mirages, running away from the wide and formidable scrub jungle, where fire spreads rapidly, a small-eyed elephant extends its long arm and opens its wide mouth. Without receiving the satisfying gush of water, it leaves with dejection from there. In those wide spreading spaces, glory of men with curving bows and red-tipped, speeding arrows is etched on hero stones. If you wish to traverse such paths, where there is no one to end the uproarious deeds of the wicked, do you think you are capable of departing from this place and living apart, leaving the lady with a sweet smile, sharp teeth, akin to the eye of a peacock’s feather, red mouth, kohl-streaked eyes, akin to freshly blossomed flowers of the blue-lily, and moon-like, shining forehead, to lament?” Time to experience the familiar heat of this land! The confidante starts with a vivid description of the place, talking first about the adjoining ranges, telling us this drylands region could be the transformation of a ‘Kurinji’ domain in the heat of summer. Here, she talks about how the heat paints mirages on the land, and fooled, an elephant comes rushing to quench its thirst and leaves in much disappointment, even as wild fires streak around. She points to the many hero stones that echo the glory and death of great warriors, detailing how these are abandoned spaces, away from the protecting hand of law, and there’s no one to quell the mischief of the wicked. After that long description, the confidante talks about the beauty of the lady, her smile, perfect teeth, red mouth, dark eyes, shining forehead, and ends by asking the man how he could even think of staying away from the lady, leaving her in suffering! To put it in a nutshell, the confidante tells the man, ‘The wealth you are searching for, is nothing but a mirage. What is real is the beauty of the lady, right next to you, and that’s all the wealth you need!’. Whether the man accepts her perspective or not, it sure echoes a timeless philosophical debate about the nature of wealth and its conflict with love!

    4 min

  7. FEB 11

    Aganaanooru 178 – The blessed boar

    In this episode, we perceive the trust and confidence in the actions of another, as depicted in Sangam Literary work, Aganaanooru 178, penned by Paranar. The verse is situated amidst the gushing springs of the ‘Kurinji’ or ‘Mountain landscape’ and etches a day in the life of a wild boar. வயிரத்தன்ன வை ஏந்து மருப்பின், வெதிர் வேர் அன்ன பரூஉ மயிர்ப் பன்றி பறைக் கண் அன்ன நிறைச் சுனை பருகி, நீலத்தன்ன அகல் இலைச் சேம்பின் பிண்டம் அன்ன கொழுங் கிழங்கு மாந்தி, பிடி மடிந்தன்ன கல் மிசை ஊழ் இழிபு, யாறு சேர்ந்தன்ன ஊறு நீர்ப் படாஅர்ப் பைம் புதல் நளி சினைக் குருகு இருந்தன்ன, வண் பிணி அவிழ்ந்த வெண் கூதாளத்து அலங்கு குலை அலரி தீண்டி, தாது உக, பொன் உரை கட்டளை கடுப்பக் காண்வர, கிளை அமல் சிறு தினை விளை குரல் மேய்ந்து, கண் இனிது படுக்கும் நல் மலை நாடனொடு உணர்ந்தனை புணர்ந்த நீயும், நின் தோட் பணைக் கவின் அழியாது துணைப் புணர்ந்து, என்றும், தவல் இல் உலகத்து உறைஇயரோ தோழி ”எல்லையும் இரவும் என்னாது, கல்லெனக் கொண்டல் வான் மழை பொழிந்த வைகறைத் தண் பனி அற்சிரம் தமியோர்க்கு அரிது” என, கனவினும் பிரிவு அறியலனே; அதன்தலை முன் தான் கண்ட ஞான்றினும் பின் பெரிது அளிக்கும், தன் பண்பினானே. In this illuminating trip to the mountains, we get to hear the confidante say these words to the lady, pretending not to notice the man listening nearby, but making sure he’s in earshot: “A wild boar, with upraised tusks, sharp like a diamond; dense hair, akin to bamboo roots; drinks up water from a brimming spring, akin to the eye of a drum; eats up fleshy tubers, akin to sacrificial offerings of food, from the Blue Taro, with wide leaves, in the hue of sapphires; descends carefully from atop a boulder, akin to a sleeping female elephant; moves towards green shrubs, next to cascades, appearing like river tributaries; and akin to a bird that perches on the curving branches, rests there. As the boar brushes against the swaying clusters of the white nightshade, which has loosened the tightness of its buds, pollen sheds down, making the boar appear like a touchstone, coated in gold dust. It then grazes on dense crop ears of the flourishing little millet, and rests peacefully in the fine mountain country of the lord. Overcoming your reservations, you united with him. May he render his sweet company always, never letting the bamboo-like beauty of your fine arms fade, and may you live in this world as you would in the flawless other world, my friend! Knowing that, ‘In the moist and cold season, not minding if it’s day or night, dark clouds shower rains resoundingly. A dawn in such a time is hard to bear for those who are alone’, he would never think of parting from you even in his dreams. And also, he has the good nature of showering even more love and grace than what you have seen before!” Time to track a wild boar in the hills! The confidante starts with a description of the man’s mountain country, and to do that, she chooses a particular animal, a wild boar, and portrays the animal and its activities with a stack of similes, comparing its pointed tusks to the sharpness of diamonds, and its fur, to knotted bamboo roots. She talks about how this boar feeds on the tubers of the Blue Taro, with sapphire-like leaves, and then steps down from a boulder, which resembles a sleeping female elephant. It goes near lush bushes, growing near cascades, and here it brushes against the white nightshade flower clusters and becomes coated in gold dust, looking like a goldsmith’s touchstone. Then, it looks for even more food amidst the millet fields and filled to the brim, rests peacefully, the confidante sketches. What a life of bliss our boar leads! The confidante turns from the man’s country and recollects how the lady decided to accept him and united with him. Then, from the past, she moves on to the future, blessing the lady to live joyously with the man, never losing the beauty of her arms. After this, it’s praise for the man saying he’s someone who would never let the lady remain alone in the cold season when the rains pour incessantly. She concludes with the words promising the lady that the man has the nature of showering even more love than the lady had seen thus far.  Why is the confidante singing these praises of the man? It’s because she knows the man has arrived there with the intention of claiming the lady’s hand, and with these words, she wishes to convey to him he’s on the right path. Even in that lengthy description of the wild boar in the man’s mountain country, the confidante places a metaphor for how the man would do all things perfectly and ensure a blissful life for him and the lady. A nuanced strategy on the part of the confidante to express trust in the man’s future behaviour, thereby inspiring him to live up to the image she has presented to the lady! She is indeed a treasure of a friend, who keeps on giving!

    7 min

  8. FEB 10

    Aganaanooru 177 – A return to adorn

    In this episode, we listen to words of consolation rendered to allay anxiety, as depicted in Sangam Literary work, Aganaanooru 177, penned by Seyaloor Ilampon Saaththan Kotranaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the victory of a king and the beauty of a lady. தொல் நலம் சிதையச் சாஅய், அல்கலும், “இன்னும் வாரார்; இனி எவன் செய்கு?” எனப் பெரும் புலம்புறுதல் ஓம்புமதி சிறு கண் இரும் பிடித் தடக் கை மான, நெய் அருந்து ஒருங்கு பிணித்து இயன்ற நெறி கொள் ஐம்பால் தேம் கமழ் வெறி மலர் பெய்ம்மார், காண்பின் கழை அமல் சிலம்பின் வழை தலை வாடக் கதிர் கதம் கற்ற ஏ கல் நெறியிடை, பைங் கொடிப் பாகற் செங் கனி நசைஇ, கான மஞ்ஞைக் கமஞ்சூல் மாப் பெடை அயிர் யாற்று அடைகரை வயிரின் நரலும் காடு இறந்து அகன்றோர் நீடினர் ஆயினும், வல்லே வருவர்போலும் வெண் வேல் இலை நிறம் பெயர ஓச்சி, மாற்றோர் மலை மருள் யானை மண்டுஅமர் ஒழித்த கழற் கால் பண்ணன் காவிரி வடவயின் நிழற் கயம் தழீஇய நெடுங் கால் மாவின் தளிர் ஏர் ஆகம் தகை பெற முகைந்த அணங்குடை வன முலைத் தாஅய நின் சுணங்கிடை வரித்த தொய்யிலை நினைந்தே. In this trip to the drylands, we get to hear the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Ruining your old beauty, you worry day after day, saying, ‘He still has not returned. How can I bear this?”. Please stop this great lament of yours! He has left to the drylands path, filled with huge stones, sweltering in the heat of the sun’s rays, which scorch the tops of laurel wood trees, in those spaces by the mountain slopes, decked with bamboos, pleasing to the eyes, where desiring the red fruit of the bitter gourd, growing on green vines, a huge, pregnant jungle peafowl, cries aloud, akin to the ‘vayir’ horn on the banks of the ‘Ayiri’ river. Your oil-moistened, well-tied, five-part braid is akin to the curving trunk of a huge female elephant with small eyes. Even though he is delayed, he will return soon to adorn these tresses of yours, with honey-fragrant, colourful flowers. The great Pannan, who wears warrior anklets, is renowned for changing the hue of his leaf-tipped white spear and destroying the enemy’s elephants, akin to mountains, in the battlefield. To the north of his domain of the ‘Kaveri’ river, there stands a tall-trunked mango tree, rendering its shade to a huge pond. Akin to a tender leaf of this tree, is your tormenting bosom. Dreaming about covering the pallor spots that spread on this beautiful bosom of yours with ‘thoyyil’ paintings, he shall return soon indeed!” Let’s brave the heat and walk the drylands path to learn more! The confidante starts by describing the lady’s current state of pining for the man, worrying incessantly about how he has not returned, ruining her health. She asks the lady to give up this worry of hers, and then goes on to describe the hot drylands path, by the mountains, that the man walks, where he can hear the cry of a pregnant peahen, which he describes as sounding like a ‘vayir’ horn on the banks of a river. This is excellent material for makers of ancient musical instruments for though the ‘vayir’ is no more, the world still has peahens and it gives hope to recreate the music of the past. Returning, we find the confidante describing the lady’s thick tresses, which she equates to an elephant’s trunk! Imagine the thickness of that braid, to be characterised as such! Looks like it was a blessed time for women’s hair, without the ubiquitous chemicals and pollutants that destroy the health of many a modern woman’s locks. The confidante has mentioned that the man cannot keep away from the beauty of these tresses and that he would indeed return soon to adorn it with the choicest of fragrant and vibrant flowers. Then, the confidante goes on to talk about how King Pannan quelled his enemy’s elephants in the battlefield, reddening the leaf tip of his spears. She has summoned this king only to say the River Kaveri was part of his domain, and there was a lush mango tree, to the north of this river, by a fertile pond, and she goes on to equate the tender leaf of this particular tree to the beautiful bosom of the lady, which would no doubt torment the man, no matter where he was. With the additional promise that the man would want to return and adorn the pallor spots on the lady’s bosom with thoyyil paintings, the confidante concludes her words to her friend!  In essence, the confidante is saying, ‘How can the man forget your beauty and stay away?’.’Like a force of nature, it will pull him back to your fold’, the friend promises. The reference to a king’s exploits in the battlefield and then the trip to a mango tree in his domain was an unexpected turn of events. Intriguing to reflect on the creativity of Sangam poets, who could connect vastly disparate things like majestic valour in the tangible reality of a battlefield to intimate beauty in the tender abstraction of relationships!

    7 min
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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