Sangam Lit

Nandini Karky
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Reflections on 2000 Year Old Tamil Poetry

  1. 2d ago

    Aganaanooru 260 – Sunset hour on the shore

    In this episode, we listen to a troubled conversation, as depicted in Sangam Literary work, Aganaanooru 260, penned by Mosi Karaiyanaar. The verse is situated amidst the blooming backwaters of the ‘Neythal’ or ‘Coastal landscape’ and paints a vivid portrait of a shore at sunset. மண்டிலம் மழுக, மலை நிறம் கிளர, வண்டினம் மலர் பாய்ந்து ஊத, மீமிசைக் கண்டற் கானல் குருகினம் ஒலிப்ப, திரை பாடு அவிய, திமில் தொழில் மறப்ப, கரை ஆடு அலவன் அளைவயின் செறிய, செக்கர் தோன்ற, துணை புணர் அன்றில் எக்கர்ப் பெண்ணை அக மடல் சேர, கழி மலர் கமழ் முகம் கரப்ப, பொழில் மனைப் புன்னை நறு வீ பொன் நிறம் கொளாஅ, எல்லை பைப்பயக் கழிப்பி, எல் உற, யாங்கு ஆகுவல்கொல் தானே? நீங்காது, முது மரத்து உறையும் முரவு வாய் முது புள் கதுமெனக் குழறும், கழுது வழங்கு அரை நாள், நெஞ்சு நெகிழ் பருவரல் செய்த அன்பிலாளன் அறிவு நயந்தேனே. It’s a scenic trip to the seas, as we listen to the words of the confidante followed by the response of the lady, as the man listens nearby, at a time when the lady had been waiting for long for the man to arrive for their nightly tryst: “‘The sun’s radiance reduces and the mountains get lit by the hues of dusk; Bees pounce on flowers, buzzing around; Atop the Pandanus trees in the backwaters, birds call out aloud; The roar of the waves diminishes and boats lie about, forgetting their work; Crabs playing on the shore rush to rest in their burrows; As dusky skies loom ahead, the red-naped ibis, wishing to mate, flies atop to the tall branches of the palm tree on the sands; Flowers blooming in the backwaters close their buds; The fragrant flowers of the laurelwood blooming in the decorated mansion, take on a golden hue, and the day gently recedes, little by little, ushering in the night. At this time what will become of her?’ ‘Unceasingly, as the old bird with a wide open mouth, residing in the ancient tree, cries out, in an alarming tone, as ghosts roam about in this midnight hour, I seem to only desire the presence of that loveless one, who has inflicted this heartrending affliction on me!'” Let’s take a stroll on the shore and tune in to the voices of these girls amidst the roar of the waves! This is an unusual verse in the Aganaanooru series for apparently it’s the only one in which both the confidante and the lady speak, for it’s usually said only in the voice of one or the other. Such a conversational style we have seen previously only in the Kalithogai verses. Time to move on from style to content! The confidante starts by describing all the changes in the world around them, bringing to fore, the setting sun, radiant mountains in the west, buzzing bees, cawing birds, roaring waves, and boats, resting without a thought about work. The favourite bird of the shore, the red-naped ibis, makes its appearance atop palm trees, with a desire to unite with its mate; Then, flowers closing their buds, and laurel wood trees dropping golden pollen are all sketched, illustrating how the day is fading away and the night is stepping in. After this long description leading to the night’s arrival, the confidante wonders what will happen to the lady. Why is the confidante worried? The answer lies in the lady’s answer to her, talking about how a bird with a split open mouth, sitting on ancient tree, post probably an owl, hoots aloud and how ghosts roam about. In this distressing, dark hour, all she yearns for is the arrival of the one, lacking love for her, the one who has won over her heart, the lady concludes. In essence, it’s a bit of theatrics by the confidante and the lady to impress upon the man that these meetings and partings are taking a toll on the lady’s heart and to nudge him in the right path of seeking the lady’s hand! While the core is an oft-repeated theme, the twilight song does delight by splashing its hues and painting a picturesque portrait on our hearts!

    5 min

  2. 3d ago

    Aganaanooru 259 – Encouragement to depart

    In this episode, we listen to words of persuasion, as portrayed in Sangam Literary work, Aganaanooru 259, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals the role of a confidante in directing the love life of the lady. வேலும் விளங்கின; இளையரும் இயன்றனர்; தாரும் தையின; தழையும் தொடுத்தன; நிலம் நீர் அற்ற வெம்மை நீங்கப் பெயல் நீர் தலைஇ, உலவை இலை நீத்துக் குறு முறி ஈன்றன, மரனே; நறு மலர் வேய்ந்தன போலத் தோன்றி, பல உடன் தேம் படப் பொதுளின பொழிலே; கானமும், நனி நன்று ஆகிய பனி நீங்கு வழி நாள், பால் எனப் பரத்தரும் நிலவின் மாலைப் போது வந்தன்று, தூதே; நீயும் கலங்கா மனத்தை ஆகி, என் சொல் நயந்தனை கொண்மோ நெஞ்சு அமர் தகுவி! தெற்றி உலறினும், வயலை வாடினும், நொச்சி மென் சினை வணர் குரல் சாயினும், நின்னினும் மடவள் நனி நின் நயந்த அன்னை அல்லல் தாங்கி, நின் ஐயர் புலி மருள் செம்மல் நோக்கி, வலியாய் இன்னும்; தோய்கம், நின் முலையே! In this trip to the drylands, it’s all about the changes around, as we listen to the confidante say these words to the lady, at a time when the lady is confined to the house and prevented from trysting with the man: “Spears are glowing; Helpers are making preparations to part; Garlands are being tied; Leaf adornments are being stringed; For the land to be rid of its arid heat, bereft of water, rains have poured down, and shedding the dried-up leaves, trees have yielded tender sprouts; Many fragrant flowers have appeared, akin to decorations, brimming over with honey in the groves; The forest has turned exquisite as cold days have receded. In this evening hour, when the moon spreads on the sky like milk, came a message; Letting go of your confusions, you must heed my words with love, O maiden who resides in my heart! Even if the flower bushes on the raised front yard withers, even if the vayalai vines dry up, even if the bent sprouts on the gentle branches of the chaste tree fade, the one who is even more innocent than you, your mother will bear with that sorrow. As for your brothers with their tiger-like proud stance, they will handle it all. So, find the courage and leave. Let me embrace your bosom before you part!” Let’s listen to these passionate words from a friend! The confidante starts by talking about how the man is making preparations to leave, with spears shining, workers buzzing about, tying garlands and other leaf adornments. Is this going to be a song about the man’s parting away? Let’s find out! The confidante then mentions about how the harshness of summer was routed by the rains, and then tender sprouts and fragrant flowers have bloomed. Then came the cold season and that too parted away. She goes on to mention about how a messenger had come in the evening hour, and she bids her friend to not reel in confusion but listen and do as she says. Then she offers strength to the lady asking her not to worry about her innocent mother, for mother will somehow bear with the loss, even if the shrubs and vines on the front yard becomes parched with the lady’s parting. The confidante also promises that the lady’s brothers would manage the loss for they are known to have a proud stance. She concludes by asking her friend to embolden herself and leave with the man, after embracing her one last time! As we can clearly see this is a song on elopement, with the man realising that his love relationship with the lady cannot go on, owing to the hostility of the lady’s kin, and the realisation that the only path forward was eloping with the lady. To this end, he approaches the confidante and the good friend agrees to his plan and persuades the lady to take the next bold step in her life. A verse that seems to echo the timeless truth that the words of a friend have great power in changing a person’s life!

    5 min

  3. 4d ago

    Aganaanooru 258 – Portrait of disappointment

    In this episode, we perceive a portrait of disappointment, as depicted in Sangam Literary work, Aganaanooru 258, penned by Paranar. The verse is situated amidst the dark and dangerous paths of the ‘Kurinji’ or ‘Mountain landscape’ and etches the failure of a mission and its emotional consequences. நன்னன் உதியன் அருங் கடிப் பாழி, தொல் முதிர் வேளிர் ஓம்பினர் வைத்த பொன்னினும் அருமை நன்கு அறிந்தும், அன்னோட் துன்னலம்மாதோ எனினும், அஃது ஒல்லாய் தண் மழை தவழும் தாழ் நீர் நனந்தலைக் கடுங் காற்று எடுக்கும் நெடும் பெருங் குன்றத்து மாய இருள் அளை மாய் கல் போல, மாய்கதில் வாழிய, நெஞ்சே! நாளும், மெல் இயற் குறுமகள் நல் அகம் நசைஇ, அரவு இரை தேரும் அஞ்சுவரு சிறு நெறி, இரவின் எய்தியும் பெறாஅய் அருள் வரப் புல்லென் கண்ணை புலம்பு கொண்டு, உலகத்து உள்ளோர்க்கு எல்லாம் பெரு நகையாக, காமம் கைம்மிக உறுதர, ஆனா அரு படர் தலைத்தந்தோயே! In this trip to the mountains, it’s all about midnight travels, as we listen to the man say these words to his heart, at a time when he is unable to meet with the lady, during a planned tryst by night: “Knowing fully well that she’s harder to attain than the gold, secured by the ancient clan of Velirs, in the well-guarded town of ‘Paazhi’, ruled by Nannan Uthiyan, and even when I said it would be impossible to go near her, you heeded not! In those wide spaces filled with descending cascades and enveloped by moist rainclouds, in those tall and huge peaks, where harsh winds blow, in a cave filled with a confusing darkness, akin to a precious stone that is lost, may you be doomed. Long may you live, O heart! Day after day, desiring the fine bossom of the gentle-natured young maiden, you traverse fearsome narrow paths frequented by snakes in search of prey, in the darkness of night, and yet, not attaining her grace, with dull eyes, you are filled with lament. Thus, becoming an object of great ridicule to those in the world, with your passion exceeding bounds, you have brought a ceaseless great suffering upon me!” Let’s explore the nuances in this mountain song! The man starts by declaring how his heart had the knowledge that the lady was extremely hard to attain, harder even than that gold that had given accumulated and protected by an ancient tribe of Velirs, in the town of ‘Paazhi’, now ruled by Nannan Uthiyan. Even though his heart had this knowledge and even though the man had said there’s no way to go near the lady, the heart still refused to accept these words. He talks about how it kept roving in the small paths, where snakes crawl about, in the scary darkness, and yet its valiant efforts were of no avail, because the lady was not to be seen, and as a result, the heart had become an object of scorn and had brought suffering to him, the man says, and concludes with a curse that his heart must get lost like a gem in a dark cave in the tall mountains, even as he wishes it a long life! The last line must have sounded quirky, no doubt, but those are the words of the man as he says ‘May you be ruined’ and ‘Long may you live’! The possible explanation for this is it was Sangam custom to always bless the person being addressed, and this seems to have this amusing consequence in this instance of an expression of anger! The core of this verse is putting a distance between oneself and one’s heart so as to gain perspective, and it vividly sketches a moment when things do not go one’s way, and the reflection of what led one there!

    5 min

  4. 5d ago

    Aganaanooru 257 – Words of admiration

    In this episode, we perceive an expression of awe, uttered to a beloved, as depicted in Sangam Literary work, Aganaanooru 257, penned by Uraiyoor Maruthuvan Thaamotharanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the dangers of traversing this domain. வேனிற் பாதிரிக் கூனி மா மலர் நறை வாய் வாடல் நாறும் நாள், சுரம், அரி ஆர் சிலம்பின் சீறடி சிவப்ப, எம்மொடு ஓர் ஆறு படீஇயர், யாழ நின் பொம்மல் ஓதி பொதுள வாரி, அரும்பு அற மலர்ந்த ஆய் பூ மராஅத்துச் சுரும்பு சூழ் அலரி தைஇ, வேய்ந்த நின் தேம் பாய் கூந்தல் குறும் பல மொசிக்கும் வண்டு கடிந்து ஓம்பல் தேற்றாய், அணி கொள நுண் கோல் எல் வளை தெளிர்க்கும் முன்கை மெல் இறைப் பணைத் தோள் விளங்க வீசி, வல்லுவைமன்னால் நடையே கள்வர் பகை மிகு கவலைச் செல் நெறி காண்மார், மிசை மரம் சேர்த்திய கவை முறி யாஅத்து, நார் அரை மருங்கின் நீர் வரப் பொளித்து, களிறு சுவைத்திட்ட கோதுடைத் ததரல் கல்லா உமணர்க்குத் தீ மூட்டு ஆகும், துன்புறு தகுவன ஆங்கண், புன் கோட்டு அரில் இவர் புற்றத்து அல்கு இரை நசைஇ, வெள் அரா மிளிர வாங்கும் பிள்ளை எண்கின் மலைவயினானே. In this trip through the much frequented region, we get to see interesting sights, as we listen to the man say these words to the lady, at a time when the lady has eloped away with him, and they are in the middle of the drylands: “Traversing the drylands on a day, when the fragrance of the honey-filled, faded flowers of the summer Trumpet flower tree, with huge, bent blossoms, wafts around, reddening your fine feet, adorned with pebble-filled anklets, you have come with me, to walk on this lonely path, closely combing your radiant tresses, and adorning it with the exquisite flowers of the burflower tree, which stands bereft of buds, having bloomed entirely. At this time, you don’t even know how to chase away the many little bees swarming around your honey-fragrant tresses. Our travels take us through this mountain, where to help wayfarers find the right way amidst the many paths filled with the danger of robbers, high on top, twigs are stacked on a ‘Ya’ tree, whose thick trunk is torn apart by a male elephant, seeking the moisture within, and the broken barks then serve as firewood for illiterate salt merchants, who pass that way. Such spaces abound with trouble, where seeking the food that is to be found within the mounds amidst bushes with drying branches, young bear cubs dig in, making white snakes within to twist and turn. As you sway your bamboo-like arms with soft wrists, and forearms adorned with tinkling, fine-stemmed, radiant bangles, and walk on, I wonder how you have become capable of doing this daring deed!” Let’s walk along the formidable paths and eavesdrop on this couple’s conversation! The man starts by describing how the lady is walking along with him through the drylands, during the hot summer, when the flowers of the trumpet flower tree have faded and are exuding this old fragrance through the scrub jungle. He describes the lady as wearing burflowers on her tresses and etches her innocence by saying how she seems not even capable of chasing away the bees that are laying siege on her fragrant head. Then he goes on to talk about the mountain, they are traversing, and here, we find an instance of care for strangers. People who have walked that way previously, wanting to guide those who come after, stack twigs on Ya trees, letting the followers know that this is the right path amidst all those fearsome ones, filled with attacking highway robbers. The man then zooms on to one such ‘Ya’ tree and points out how its bark has been torn off by an elephant to taste the moisture inside and how those chewed barks later come to serve as firewood for travelling salt merchants. These salt merchants sure have had no time to sit and read, for the man describes them as ‘uneducated’. Interesting qualifier for these ubiquitous sellers of the Sangam era! Perhaps their learning is through the experiences of their travels rather than knowledge from books.  Returning, after that portrait, the man goes on to visualise how bear cubs are on and about, digging up termite mounds, in search of their favourite food, and in their attempts make the snakes hiding within to roll about hither and thither. After painting what a harsh and dangerous place this is, the man then concludes by looking at his beloved and wondering how she has dared to take this difficult journey along with him.  In my eyes, I see the young maiden struggling to walk, unused to the harshness of her surroundings and this is the man’s way of encouraging her to walk on, by admiring her decision to take this journey. Nothing like a shot of positivity to nudge someone to scale those peaks!

    6 min

  5. 6d ago

    Aganaanooru 256 – An act of justice

    In this episode, we perceive a sharp refusal, as portrayed in Sangam Literary work, Aganaanooru 256, penned by Madurai Tamizh Koothanaar Kaduvan Mallanaar. The verse is situated amidst the blooming lilies of the ‘Marutham’ or ‘Farmlands landscape’, and depicts an anecdote about an act of justice in those times. பிணங்கு அரில் வள்ளை நீடு இலைப் பொதும்பில் மடி துயில் முனைஇய வள் உகிர் யாமை நொடி விடு கல்லின் போகி, அகன்துறைப் பகுவாய் நிறைய, நுங்கின் கள்ளின் நுகர்வார் அருந்து மகிழ்பு இயங்கு நடையொடு தீம் பெரும் பழனம் உழக்கி, அயலது ஆம்பல் மெல் அடை ஒடுங்கும் ஊர! பொய்யால்; அறிவென், நின் மாயம். அதுவே கையகப்பட்டமை அறியாய்; நெருநை மை எழில் உண்கண் மடந்தையொடு வையை ஏர் தரு புதுப் புனல் உரிதினின் நுகர்ந்து, பரத்தை ஆயம் கரப்பவும், ஒல்லாது கவ்வை ஆகின்றால், பெரிதே; காண்தகத் தொல் புகழ் நிறைந்த பல் பூங் கழனி, கரும்பு அமல் படப்பை, பெரும் பெயர்க் கள்ளூர், திரு நுதற் குறுமகள் அணி நலம் வவ்விய அறனிலாளன் ‘அறியேன்’ என்ற திறன் இல் வெஞ் சூள் அறி கரி கடாஅய், முறி ஆர் பெருங் கிளை செறியப் பற்றி, நீறு தலைப்பெய்த ஞான்றை, வீறு சால் அவையத்து ஆர்ப்பினும் பெரிதே. We get to see plenty of picturesque scenes from the farmlands, as we listen to the confidante say these words to the man, who has returned after courting with a courtesan, seeking entry into the lady’s house: “Disliking its curled-up sleep amidst the long-leaved bushes of the rough and twisted ‘Vallai’ vines, a tortoise with sharp nails, crosses pebbles that resound aloud, and reaches the river shore. There, filling its split mouth to the full, by feasting on the drops that spill around those who are relishing the toddy of palm fruit, it proceeds with a swaying gait, muddles the huge and pleasant fields, and takes cover within the soft leaves of white lilies nearby, in your town, O lord! Don’t you utter lies! I know well about your tricks! You know not that you have been caught red-handed. Yesterday, along with the maiden having painted, kohl-streaked eyes, you delighted so rightfully in the exquisite, fresh stream of the Vaigai river. Even though the mates of that courtesan tried to hide the incident, relentlessly it has risen as a huge slander; In the town of Kalloor, celebrated for its good name, having ancient, picturesque and famous fields, filled with flowers, and soaring stems of sugarcane, an unjust man, had stolen the decorated beauty of a young maiden, having a fine forehead, and then denied knowing her. After investigating this unfair, harsh pledge with those who knew of their relationship, they tied him to the branches of a huge tree with sprouts, and poured slaked lime upon his head, causing a loud uproar in that esteemed assembly. Louder than that, is the slander you’ve caused in town, O lord!” Let’s tread in the footsteps of the waddling tortoise and listen to this intriguing tale! The confidante starts by painting a picture of the man’s town, and to do that, she brings a field tortoise into the frame. We catch this little creature, at a moment when it has grown tired of relishing a sweet sleep amidst the bushes of the ‘Vallai’ vines, and then sets out amidst the screeching pebbles, and reaches the shore of the gushing river. No doubt, this shore is a place of revels, where people delight in the toddy of palm fruit, and drops slosh about around them. Our wandering tortoise gulps these drops and with an intoxicated gait of a drunk, heads towards the fields, and seeking out the soft-leaves of a lily, conceals itself there, the confidante sketches. Seems like the confidante is projecting the man’s behaviour on this tortoise in his town!  Then, she comes to the crux of the matter and asks the man not to go on with his lies, and details how his secretive actions of the previous day in the company of the courtesan, playing in the gushing stream of the river, had become common knowledge in town, even though the courtesan’s friends had tried to hush it up. From here, the confidante takes us on a visit to an ancient and famous town by the name of ‘Kalloor’, and here, a huge injustice has been uncovered, that of a man denying knowing a maiden, with whom he had had a secret love relationship. The townsfolk, had investigated the crime and got the reports from those who knew what had happened and pronounced a verdict. That unjust man was to be tied to the branches of a tree, and something called as ‘neeru’ was to be poured on his head. The confidante emphasises on the uproar that this incident caused in that town and equates it to their current situation, saying the slander the man’s actions had aroused was louder than that commotion.  As for us, let’s investigate what this ingredient named as ‘neeru’ could be! Looking at the many meanings, it could first of all, be just water, but I doubt that a water wash is a punishment for anyone other than stubborn toddlers. Next, the word could mean ‘holy ash’. Again, just applying holy ash is not going to make the man repent. And so, the right meaning of the word should be ‘slaked lime’. When I researched about whether there was any recorded mentions of punishments by pouring slaked lime, I learnt that indeed there was, in Ancient Persia, an act that would end up blinding the one who was punished, and is referred by the term ‘Abacination’. Shocking punishment indeed! But goes to show how much importance these ancients endowed on the honour of their women. Quite a shift from that serene scene of the wandering tortoise to the enactment of justice on an erring human!

    7 min

  6. May 29

    Aganaanooru 255 – From the shore to the sea

    In this episode, we listen to a unique tale of parting, as portrayed in Sangam Literary work, Aganaanooru 255, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the yearning in a heart, torn apart by the hand of fate. உலகு கிளர்ந்தன்ன உரு கெழு வங்கம் புலவுத் திரைப் பெருங் கடல் நீர் இடைப் போழ, இரவும் எல்லையும் அசைவு இன்று ஆகி, விரை செலல் இயற்கை வங்கூழ் ஆட்ட, கோடு உயர் திணி மணல் அகன் துறை நீகான் மாட ஒள் எரி மருங்கு அறிந்து ஒய்ய, ஆள் வினைப் பிரிந்த காதலர் நாள் பல கழியாமையே, அழி படர் அகல, வருவர்மன்னால் தோழி! தண் பணைப் பொரு புனல் வைப்பின் நம் ஊர் ஆங்கண், கருவிளை முரணிய தண் புதல் பகன்றை பெரு வளம் மலர அல்லி தீண்டி, பலவுக் காய்ப் புறத்த பசும் பழப் பாகல் கூதள மூதிலைக் கொடி நிரைத் தூங்க, அறன் இன்று அலைக்கும் ஆனா வாடை கடி மனை மாடத்துக் கங்குல் வீச, ‘திருந்துஇழை நெகிழ்ந்து பெருங் கவின் சாய, நிரை வளை ஊருந் தோள்’ என, உரையொடு செல்லும் அன்பினர்ப் பெறினே. It’s an oft-repeated trip to the drylands but we perceive nothing familiar in this journey, as we listen to the lady say these words to her confidante, as the man continues to remain parted away, having left in search of wealth: “As if the land rises to stand tall, a formidable ship splits the waters of the flesh-reeking huge seas, and be it day or night, finds no rest. As the strong essence of nature nudges it ahead with speed, seeking that wide shore, filled with brimming sands, soaring like a peak, the captain directs the ship knowingly towards the glow of a radiant light on high ground. Upon this ship, the lover parted away on a mission to gain wealth. At this time, in our town with moist fields, watered by flooding streams, caressing the petals of fertile flowers blooming on the blue rattle-pod, amidst the cool and moist bushes, differing in appearance from the blue pea flowers, and shaking the bitter-melon vines, hanging with ripe fruits, appearing akin to a jackfruit, along with the vines of the three-lobed nightshade, having no justice whatsoever, the ceaseless tormenting northern winds then enters our well-guarded mansion in the middle of the night. That lover of mine would return promptly, without wasting too many days, and make this deep suffering end, my friend, if only we were to find a kind person, who would take the message, ‘The well-etched ornaments of your maiden are falling down, as her great beauty fades, and her neat row of bangles are slipping away from her arms’! If only!” Let’s sail along in the sea of separation and learn more! The lady starts by presenting a portrait of a soaring ship, one that’s coasting along the waves of the sea, teeming with life. She then zooms on to the captain of that ship, and the way he’s intently guiding the vessel, nudged by the ever-present winds of nature, to a destination in his mind, a shore filled with sands, soaring high above. The lady talks about how this ship thinks not about taking any rest, be it day or night, and keeps sailing, hoping to catch a glimpse of the light on high, no doubt implying an ancient lighthouse, inviting ships to its harbour. After that vivid account of a ship’s journey, the lady reveals her beloved is on that ship, and he had left in search of wealth.  Leaving the sailing lover on the swaying ship, the lady turns the camera on her surroundings in their fertile farmland town and we catch a glimpse of another unseen essence of nature, the cold, northern winds, entering and touching the core of blue rattle-pod flowers, shaking the vines of bitter melons and nightshades, and finally stepping into the lady’s mansion, in the middle of the night, holding torture tools in its many hands. The lady concludes by declaring her suffering would end and the man would return without much delay if there was some kind person who could take the message to the man that his beloved lady was wasting away, her ornaments falling down, and her bangles slipping away, as she pined for him! Though at the core, it’s the same old theme of wishing for a messenger to convey pain to the faraway beloved, the matchless aspect of this verse is the portrait of a man’s travel by sea to earn wealth. We have seen hundreds of songs on parting, where the man walks on through the dreary drylands, scorching in the sun’s glare, filled with wild animals and inhabited by highway robbers. This is the first and perhaps the only song in Sangam literature that talks about a man’s journey on a ship to gain wealth. This ties so neatly with recent archaeological discoveries about Tamil traders, leaving their imprints in countries, as far away as Egypt. Even though it’s but one, it’s a precious one that portrays the poignant pain of a beloved left at land, yearning for that sailor in the sea!

    7 min

  7. May 28

    Aganaanooru 254 – The joy of coming home

    In this episode, we listen to the ecstatic words of a person, as depicted in Sangam Literary work, Aganaanooru 254, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the blooming jasmines of the ‘Mullai’ or ‘Forest landscape’ and sketches the emotions in a homecoming. ‘நரை விராவுற்ற நறு மென் கூந்தற் செம் முது செவிலியர் பல பாராட்ட, பொலன் செய் கிண்கிணி நலம் பெறு சேவடி மணல் மலி முற்றத்து நிலம் வடுக் கொளாஅ, மனை உறை புறவின் செங் காற் சேவல் துணையொடு குறும் பறை பயிற்றி, மேல் செல, விளையாடு ஆயத்து இளையோர்க் காண்தொறும் நம்வயின் நினையும் நல் நுதல் அரிவை புலம்பொடு வதியும் கலங்கு அஞர் அகல, வேந்து உறு தொழிலொடு வேறு புலத்து அல்கி, வந்து வினை முடித்தனம்ஆயின், நீயும், பணை நிலை முனைஇய, வினை நவில் புரவி இழை அணி நெடுந் தேர் ஆழி உறுப்ப, நுண் கொடி மின்னின், பைம் பயிர் துமிய, தளவ முல்லையொடு தலைஇ, தண்ணென வெறி கமழ் கொண்ட வீ ததை புறவின் நெடி இடை பின் படக் கடவுமதி, என்று யான் சொல்லிய அளவை, நீடாது, வல்லென, தார் மணி மா அறிவுறாஅ, ஊர் நணித் தந்தனை, உவகை யாம் பெறவே! In this trip to the woodlands, we take in familiar scenes that rush past, as we listen to the man say these words to his charioteer, at a moment when he’s returning home to the lady, after having parted with her to work on a mission: “As many experienced old caretakers, having fragrant, soft tresses, interspersed with greys, pamper, young ones amidst the playmates, wearing golden, tinkling anklets on their beautiful feet, leaving marks on the sand-filled front yard, run around, making the red-legged male pigeon residing at home, and cuddling with its mate, to spread its short wings and flutter away above. Seeing these sights, that young maiden with a fine forehead, would think of me, and be filled with lament. To end her state of suffering, at this time, when my task in this foreign land, taken at the behest of the king, is complete, I asked you to tie the battle-worthy horses, which hate to remain in the stables, to the bejewelled, tall chariot, and rotating its wheels, with the speed of vine-like lightning, chopping shrubs on the path, striding through the fragrant forest, blooming with wild jasmines and pink jasmines, filled with fallen flowers, and leaving that long and winding path behind, and ride on. Even before I finished my words, without waiting, with much speed, making those horses clad in garlands understand, you have brought me so close to the town, making me attain much joy!” Let’s listen to the duet of the man’s heartbeat and the horses’ hoofbeat! The man starts by talking about his lady’s state, and to do that, he paints a picture of many old women, with the stamp of wisdom in the hue of grey on their fragrant tresses, who have the task of taking care of the lady and her playmates. As they pamper, in the front yard, the lady’s many playmates would be running about, making the cuddling pigeons scuttle away, the man imagines. He infers that the lady would be reminded of the man when she sees those pigeons in the air, and as a result, would be filled with much worry. Considering all this, the man wanting to return to her with much speed, now that his mission for the king is all done, had said to his charioteer to rush homeward, with the sturdy horses and decorated chariot, chopping the shrubs on the way, and leaving behind the scene of a forest filled with blooming white and pink jasmines. The man concludes by saying how even before he finished those words, the charioteer understanding his heart and wielding the horses with much skill, had brought the man so close to the lady’s town, and thus made him feel a deep happiness!  In essence, this is appreciation for the work of a subordinate, who has exceeded expectations. A feeling we can relate to, even two thousand years later, when we share a word of praise for a job well done. Indeed, it’s an ecstatic instance, with ripples many, in the life of the giver and the receiver. A verse that seems to nudge us to find ways to express gratitude for the many blessings endowed by the people in our lives!

    5 min

  8. May 27

    Aganaanooru 253 – Assurance of a return

    In this episode, we perceive thoughtful words of consolation, as depicted in Sangam Literary work, Aganaanooru 253, penned by Nakeerar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse illustrates the fame of a leader in capturing cattle. ”வைகல்தோறும் பசலை பாய, என் மெய்யும் பெரும்பிறிது ஆகின்று, ஒய்யென; அன்னையும் அமரா முகத்தினள்; அலரே, வாடாப் பூவின் கொங்கர் ஓட்டி, நாடு பல தந்த பசும் பூட் பாண்டியன் பொன் மலி நெடு நகர்க் கூடல் ஆடிய இன் இசை ஆர்ப்பினும் பெரிதே; ஈங்கு யான் சில நாள் உய்யலென் போன்ம்” எனப் பல நினைந்து, ஆழல் வாழி, தோழி! வடாஅது, ஆர் இருள் நடு நாள் ஏர் ஆ உய்ய, பகை முனை அறுத்துப் பல் இனம் சாஅய், கணம்சால் கோவலர் நெடு விளிப் பயிர் அறிந்து, இனம் தலைத் தரூஉம் துளங்கு இமில் நல் ஏற்றுத் தழூஉப் பிணர் எருத்தம் தாழப் பூட்டிய அம் தூம்பு அகல் அமைக் கமஞ்செலப் பெய்த துறு காழ் வல்சியர் தொழு அறை வௌவி, கன்றுடைப் பெரு நிரை மன்று நிறை தரூஉம் நேரா வன் தோள் வடுகர் பெரு மகன், பேர் இசை எருமை நல் நாட்டு உள்ளதை அயிரி யாறு இறந்தனர்ஆயினும், மயர் இறந்து உள்ளுபதில்ல தாமே பணைத் தோள், குரும்பை மென் முலை, அரும்பிய சுணங்கின், நுசுப்பு அழித்து ஒலிவரும் தாழ் இருங் கூந்தல், மாக விசும்பின் திலகமொடு பதித்த திங்கள் அன்ன நின் திரு முகத்து, ஒண் சூட்டு அவிர் குழை மலைந்த நோக்கே. In this long trip to the drylands, we get to see more of an event rather than the place, 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: “Saying, ‘As pallor spreads day after day, my body seems to be losing its life, little by little; As for mother, she has a troubled look on her face; As for slander, that resounds louder than the sweet-sounding uproar in the streets of ‘Koodal’, filled with gold-brimming, tall mansions, when its king Pasumpoon Pandiyan, who had conquered countries many, drove away the Kongars, clad in undying flowers of gold; It appears as if I shan’t live for more than a few days!’, thinking about too many things, cry not, my friend, may you live long! In the north, capturing cattle in the deep darkness of midnight, ruining battlefronts many and causing groups to decline, the lord of the Vadugars, who has unparalleled, strong shoulders, known by the famous name of ‘Erumai’, would drive towards his town centre, sturdy oxen with radiant humps and coarse necks, which knowing the specific loud whistle of their many herders, would round up their herd, and bring them to the barns, built with the beautiful stems of wide bamboos, and filled with copious food, stealing them along with huge herd of cows with calves. In this leader’s fine country, flows the ‘Ayiri’ river. Even though the man has gone beyond this river, indeed he cannot help but reflect, beyond all his confusion, on your bamboo-like arms, your soft bosoms, akin to palm fruits, dotted with beauty spots, low-hanging, thick, long tresses that make the waist vanish, your exquisite face, akin to the moon, which is a radiant dot on the cloud-filled skies, adorned with shining heavy earrings, and most of all, your attacking eyes!” Time to walk on through the drylands and learn more! The confidante starts by repeating the recent words of the lady, lamenting on her fading beauty, mother’s disturbance, and the slander that’s spreading in town, owing to all this. To describe the slander, a historic incident involving Pasumpoon Pandiyan’s routing of the Kongars and the resulting jubilation that arose in the city of Koodal is brought forth in comparison to the soaring gossip in town. This tells us that the parting between the man and lady had transpired before the man’s wedding to the lady and that’s why the slander has risen, owing to the changes in the young maiden. After repeating the lady’s anxious words, the confidante asks her friend not to cry thinking on these lines. Then the confidante launches into a long description of how a Sangam-era leader of the Vadugars, a chief who goes by the name ‘Erumai’, would capture bulls, cows and calves, stealing them from prosperous barns and bring them to his town centre. The exploits of this chieftain have been outlined to point out a river named ‘Ayiri’ that flows in his domain, and to say the man is presently travelling beyond this river. How does the confidante know of this? Has she put a tracker on the man? Kidding apart, the confidante after presenting the exact location of the man, then tells the lady that it would be impossible for the man to not think of the lady’s many beautiful attributes, and concludes with the confirmation that the man would return soon to the lady’s fold. Another assurance, another consolation, and we journey on, taking in the new sights of kings and captures in that era!

    6 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