Sangam Lit

Nandini Karky
  • 4.7 (18)
  • BOOKS
  • UPDATED DAILY

Reflections on 2000 Year Old Tamil Poetry

  1. 17H AGO

    Aganaanooru 201 – Roaring waves and soaring slander

    In this episode, we listen to words of assurance, as depicted in Sangam Literary work, Aganaanooru 201, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals aspects of Pandya and Chozha kingdoms. அம்ம, வாழி தோழி! ‘பொன்னின் அவிர் எழில் நுடங்கும் அணி கிளர் ஓடை வினை நவில் யானை விறற் போர்ப் பாண்டியன் புகழ் மலி சிறப்பின் கொற்கை முன்துறை, அவிர்கதிர் முத்தமொடு வலம்புரி சொரிந்து, தழை அணிப் பொலிந்த கோடு ஏந்து அல்குல் பழையர் மகளிர் பனித் துறைப் பரவ, பகலோன் மறைந்த அந்தி ஆர் இடை, உரு கெழு பெருங் கடல் உவவுக் கிளர்ந்தாங்கு, அலரும் மன்று பட்டன்றே; அன்னையும் பொருந்தாக் கண்ணள், வெய்ய உயிர்க்கும்’ என்று எவன் கையற்றனை, இகுளை? சோழர் வெண்ணெல் வைப்பின் நல் நாடு பெறினும், ஆண்டு அமைந்து உறைநர்அல்லர் முனாஅது வான் புகு தலைய குன்றத்துக் கவாஅன், பெருங் கை எண்கின் பேழ்வாய் ஏற்றை இருள் துணிந்தன்ன குவவு மயிர்க் குருளைத் தோல் முலைப் பிணவொடு திளைக்கும் வேனில் நீடிய சுரன் இறந்தோரே. In this trip to the drylands, we take a detour to the Pandya and Chozha country, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left to earn wealth to claim the lady’s hand in marriage: “Listen my friend, may you live long! You say to me, ‘Wearing well-etched head ornaments made of gold that glow resplendently, battle elephants of the victorious Pandya king stand proudly, near the shores of Korkai, celebrated for its immense fame, as daughters of pearl-divers, wearing leaf attires around their radiant, striped uplifted waists, spread sparkling pearls and right-whorled conch shells on those cool shores, at that precious time when the sun sets. Akin to how the formidable, huge ocean there would rise high with a roar, slander does soar around town. Hearing this, with sleepless eyes, mother keeps sighing loudly’. Worrying so, don’t feel so helpless, my dearest! Even if he were to attain the fine country of the Chozhas, which yield unceasing mounds of white paddy, he is not someone who will stay there, content. Indeed the one, who has left to the drylands with a prolonged summer, near the slopes of the mountains with sky-soaring peaks, where a male sloth bear with huge hands and a fierce mouth, frolics with its coarse-haired cub, which looks like a bundle of darkness, and its mate with skinny breasts, will not stay away for anything!” Time to explore the scorching drylands path! The confidante starts by inviting the lady’s attention and repeating the worry running through the lady’s mind. To do that, she zooms on to ornamented battle elephants belonging to the Pandya kings, victorious in war, as they stand near the shore of the famous town of Korkai. Here, the daughters of pearl divers are performing a special ceremony, by spreading pearls and conch-shells, possibly a festival of gratitude for the king’s victories in the battlefield. This happens at dusk, and at this time, the seas nearby would rise high and roar, the confidante details, and connects it to the slander that was similarly soaring in town about the lady’s relationship with the man. The lady was worried because Mother had heard these rumours and was lying sleepless, sighing ceaselessly. Now, the confidante asks her friend not to feel so anxious and helpless and she promises that the man who had left to the drylands, would not stay there, even if he were to be given the country of the Chozhas, known for its unceasing yield of paddy. The confidante concludes with a description of the place, where the man has left, talking about how in that scorched domain, where summer does not want to part, a male sloth bear finds the means to frolic with its cub and mate! In the scene of the sloth bear family, the confidante places a metaphor for how the man would soon return and rejoice with his beloved. Yet again, the message we recently encountered, about how no amount of wealth would keep away a man from the lady he loves, echoes aloud. But here, the context differs, and we are presented with a bonus gift of intriguing images that echo the glory and prosperity of ancient Tamil kingdoms!

    5 min

  2. 1D AGO

    Aganaanooru 200 – Stay by day and by night

    In this episode, we perceive the communication of a nuanced message as depicted in Sangam Literary work, Aganaanooru 200, penned by Ulochchanaar. The verse is situated amidst the shining sands of the ‘Neythal’ or ‘Coastal landscape’ and conveys an awaited news. நிலாவின் இலங்கு மணல் மலி மறுகில், புலால் அம் சேரி, புல் வேய் குரம்பை, ஊர் என உணராச் சிறுமையொடு, நீர் உடுத்து, இன்னா உறையுட்டுஆயினும், இன்பம் ஒரு நாள் உறைந்திசினோர்க்கும், வழி நாள், தம் பதி மறக்கும் பண்பின் எம் பதி வந்தனை சென்மோ வளை மேய் பரப்ப! பொம்மற் படு திரை கம்மென உடைதரும் மரன் ஓங்கு ஒரு சிறை பல பாராட்டி, எல்லை எம்மொடு கழிப்பி, எல் உற, நல் தேர் பூட்டலும் உரியீர்; அற்றன்று, சேந்தனிர் செல்குவிர்ஆயின், யாமும் எம் வரை அளவையின் பெட்குவம்; நும் ஒப்பதுவோ? உரைத்திசின் எமக்கே. Pleasant scenes of the seashore greet us in this trip, as we listen to the confidante say these words to the man, who had relayed his interest in trysting with the lady through the confidante: “Having streets filled with abundant sands that shine like the moon, our beautiful little hamlet, surrounded by water, wafting with the scent of flesh, and having huts, thatched with grass, may have a smallness that does not make it fit to be called a town. Though it may not have houses, comfortable enough to reside, for those who live there just for a day, it would endow so much joy, that would make them forget their own town the next day. Why don’t you come to this hamlet of ours, O lord of the seashore, which is filled with roving sea snails? Rendering praises many, you could spend the day on these shores, filled with soaring trees, where radiant waves resound with a roar, and when the day ends, you could yoke your fine chariot and depart; If you don’t want that and wish to stay here, we will shower our care as best as we can. Is this agreeable to you? Pray tell!” Let’s get ready to dip our feet in the salty waters and take in the spread of the heart! The confidante starts with a description of the lady’s village, talking about the streets with moon-like sands, thatched huts, and brimming with the scent of fleshy fish. She accepts with humility that it’s indeed a small place that may not deserve to be called a town, perhaps hinting at the prosperous place where the man comes from. She adds that it may not have luxurious places, worthy enough for the lord to stay. While it may be so, it’s also true that anyone, who has been there for a day, would feel so much joy that they would forget their own town, the confidante describes. With that praise for their humble town, the confidante invites the man to spend the day, rejoicing in the roaring shores and soaring trees. Later, when the sun sets, the man could leave in his chariot, if he so chose; however, if he wished to stay, even that was fine and they would extend their hospitality to the best of their ability, the confidante declares and concludes by asking him if this worked out well for him! The stage of the relationship when this conversation is unfolding is the thing of interest here! It’s at a time, when the man has seen the lady and fallen in love with her. He tries to further his relationship by seeking the confidante’s favour. The confidante tests to see if the lady reciprocates the man’s feelings. After she has received positive vibes from her friend, the confidante returns back to the man, and conveys this, through the said words. In a nutshell, the confidante is telling the man that the lady has agreed for a tryst with him, and whether it is by day or by night, it was fine by the lady. No doubt the man would be jubilant after hearing these words he has been yearning to hear! To me, the highlight of this verse is the perfect balance between humility and pride about the place where they live that the confidante echoes in her words. Through this simple song, the confidante teaches us the right way to have an understanding about anything in life is to accept its weaknesses and celebrate its strengths!

    5 min

  3. 2D AGO

    Aganaanooru 199 – Not even for all that wealth

    In this episode, we listen to a clear decision made after moments of deliberation, as depicted in Sangam Literary work, Aganaanooru 199, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the dreariness and dangers in this domain. கரை பாய் வெண் திரை கடுப்ப, பல உடன், நிரை கால் ஒற்றலின், கல் சேர்பு உதிரும் வரை சேர் மராஅத்து ஊழ் மலர் பெயல் செத்து, உயங்கல் யானை நீர் நசைக்கு அலமர, சிலம்பி வலந்த வறுஞ் சினை வற்றல் அலங்கல் உலவை அரி நிழல் அசைஇ, திரங்குமரல் கவ்விய கையறு தொகுநிலை, அரம் தின் ஊசித் திரள் நுதி அன்ன, திண் நிலை எயிற்ற செந்நாய் எடுத்தலின், வளி முனைப் பூளையின் ஒய்யென்று அலறிய கெடுமான் இன நிரை தரீஇய, கலையே கதிர் மாய் மாலை ஆண் குரல் விளிக்கும் கடல் போல் கானம் பிற்பட, ‘பிறர் போல் செல்வேம்ஆயின், எம் செலவு நன்று’ என்னும் ஆசை உள்ளம் அசைவின்று துரப்ப, நீ செலற்கு உரியை நெஞ்சே! வேய் போல் தடையின மன்னும், தண்ணிய, திரண்ட, பெருந் தோள் அரிவை ஒழிய, குடாஅது, இரும் பொன் வாகைப் பெருந்துறைச் செருவில், பொலம் பூண் நன்னன் பொருது களத்து ஒழிய, வலம் படு கொற்றம் தந்த வாய் வாள், களங்காய்க் கண்ணி நார் முடிச் சேரல் இழந்த நாடு தந்தன்ன வளம் பெரிது பெறினும், வாரலென் யானே. We encounter many different scenes in this trip to the drylands, as we get to hear the man say these words to his heart, at a moment when his heart was pressing him to part in search of wealth: “As strong winds dash against them, mature flowers of the burflower tree growing in the ranges, drop down and scatter on the rocky surfaces, akin to white waves that leap on shores. Thinking it’s rain that’s falling down, tired elephants, filled with fierce thirst, arrive and return disappointed. Resting under the sparse shade of parched trees, whose dried branches are covered with cobwebs, the helpless herd of deer, which feeds on thick hemp bushes, move around. With sharp and fierce teeth, akin to the edges of a saw, a red dog attacks them. Escaping, akin to flowers of mountain knotgrass that fly in the wind, screaming, the deer herd scatter in different directions. In the evening hour, when the sun has set, the male deer’s voice calls out aloud, calling them all together. Wanting me to traverse such a sea-like scrub jungle, you say to me, ‘If you leave like others, your journey will be good’, with a heart that ceaselessly yearns for wealth, you nudge me to part away, O heart! As for me, leaving behind the young maiden with arms that are thick, rounded and curving like fine bamboos, I shall not part, even if I were to attain as much wealth as that in the great country, which the Chera King ‘Kalangaai Kanni Naar Mudi Cheral’, lost and then reclaimed with immense victory, wielding his courageous sword, in the great western battlefield of ‘Perunthurai’, filled with golden lebbeck trees, when he defeated Nannan, clad in gold jewels, and routed him in the battlefield!” Time for a walk in those barren spaces! The man starts by describing the region where his heart expects him to leave, talking about how thirsty elephants mistake the falling flowers of the burflower tree as rain, as these cover the rocky surfaces like waves on the shore. Then, he moves to another group of animals, a herd of deers which are already languishing in the heat, finding only the shade of cobweb-covered, parched trees, and the hardy food of hemp. Their troubles are further worsened by the attack of a red dog, and the family scatters away helter-skelter, and in the evening hour, the piteous voice of the male, trying to bring together its herd, can be heard, says the man. This is the place you are asking me to leave too, looking at all others around, filled with yearning for wealth in your heart, the man says to his heart! Interesting to note how the man sees his heart as having a heart of its own! Returning, the man starts narrating the historic battle between Chera King Naarmudi Cheral and King Nannan, in the battlefield of Perunthurai, where Naarmudi Cheral defeated Nannan and won back the country he had lost. The man now comes to the point and says even if he were to get wealth as much as that can be found in the country that Naarmudi Cheral lost and reclaimed, he was sure he did not want to part away from his beloved! In essence, in the struggle between being with a beloved and going in search of wealth, love has triumphed for the moment!

    6 min

  4. 3D AGO

    Aganaanooru 198 – Who is she really?

    In this episode, we listen to words of passion, as portrayed in Sangam Literary work, Aganaanooru 198, penned by Paranar. The verse is situated amidst the soaring peaks of the ‘Kurinji’ or ‘Mountain landscape’ and echoes the beating heart of man in love. கூறுவம்கொல்லோ? கூறலம்கொல்?’ எனக் கரந்த காமம் கைந்நிறுக்கல்லாது, நயந்து நாம் விட்ட நல் மொழி நம்பி, அரை நாள் யாமத்து விழு மழை கரந்து கார் விரை கமழும் கூந்தல், தூ வினை நுண் நூல் ஆகம் பொருந்தினள், வெற்பின் இள மழை சூழ்ந்த மட மயில் போல, வண்டு வழிப் படர, தண் மலர் வேய்ந்து, வில் வகுப்புற்ற நல் வாங்கு குடைச் சூல் அம் சிலம்பு ஒடுக்கி அஞ்சினள் வந்து, துஞ்சு ஊர் யாமத்து முயங்கினள், பெயர்வோள், ஆன்ற கற்பின் சான்ற பெரியள், அம் மா அரிவையோ அல்லள்; தெனாஅது ஆஅய் நல் நாட்டு அணங்குடைச் சிலம்பில், கவிரம் பெயரிய உரு கெழு கவாஅன், ஏர் மலர் நிறை சுனை உறையும் சூர்மகள்மாதோ என்னும் என் நெஞ்சே! This trip to the highlands is all about reverence, and we get to hear the man say these words, after a tryst by night with his lady: “The hidden love within me, about which I was deliberating, ‘Should I tell? Should I not?’ failed to heed my shackles, and so, I sent good words to her with much desire. Trusting in these words, in the midnight hour, waiting for the pouring rain to cease, having tresses fragrant with the scent of rain, wearing an intricate attire made of fine threads that enveloped her, akin to a naive peacock descending down from a cloud-covered mountain, clad in moist, well-woven flowers, which were swarming with bees, adorned with exquisite anklets with hollow tubes, curving akin to a bow, taking care to silence the sound of the said anklets, with fear she came walking, and when the town entire was sleeping in that hour, she embraced me and parted away. That great woman, who shines with her deep chastity, is not just a beautiful, dark-skinned young maiden; In the southern lands, in the fearsome mountain slopes, in the fine country of ‘Aay’, called as ‘Kaviram’, there are formidable mountain ranges, filled with picturesque flowers and brimming springs. My heart says she is surely a heavenly maiden from thither!” Let’s go on that midnight trek in the mountains and learn more! The man starts by reminiscing about the past when he was hesitating about expressing his love for the lady. Beyond all bounds of logic, his love seemed to brim over and he had sent word about the promise of his affections to the lady, and she too had come there to him, in the middle of the night, at a time when there was a break in the rains, with her moist, flower-decked hair, wearing a dainty attire, and taking care to still the sound of her exquisite anklets, embraced him and left from there, the man describes. Now the man reflects on this noble and chaste maiden and concludes by saying that his heart was convinced that she was no ordinary maiden but surely a goddess, the one who is said to reside in the ‘Kaviram’ mountain ranges in Chieftain Aay’s domain! That feeling of awe and admiration, inevitable elements in the first stages of love, seems to resonate in this mountain song from long ago. So many songs and poems over the ages have echoed this very bewilderment about a beloved – Am I dreaming? Is this life real? Is the other person merely human or could they be an angel in disguise? – A sentiment oft-heard from those in the throes of love, no matter the place or time!

    5 min

  5. 4D AGO

    Aganaanooru 197 – The promise of a return

    In this episode, we listen to words of consolation, as depicted in Sangam Literary work, Aganaanooru 197, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the domain with a heartwarming simile. மா மலர் வண்ணம் இழந்த கண்ணும், பூ நெகிழ் அணையின் சாஅய தோளும், நன்னர் மாக்கள் விழைவனர் ஆய்ந்த தொல் நலம் இழந்த துயரமொடு, என்னதூஉம் இனையல் வாழி, தோழி! முனை எழ முன்னுவர் ஓட்டிய முரண் மிகு திருவின், மறம் மிகு தானை, கண்ணன் எழினி தேம் முது குன்றம் இறந்தனர் ஆயினும், நீடலர் யாழ, நின் நிரை வளை நெகிழ தோள் தாழ்பு இருளிய குவை இருங் கூந்தல் மடவோள் தழீஇய விறலோன் மார்பில் புன் தலைப் புதல்வன் ஊர்பு இழிந்தாங்கு, கடுஞ்சூல் மடப் பிடி தழீஇய வெண் கோட்டு இனம்சால் வேழம், கன்று ஊர்பு இழிதர, பள்ளி கொள்ளும் பனிச் சுரம் நீந்தி, ஒள் இணர்க் கொன்றை ஓங்கு மலை அத்தம் வினை வலியுறூஉம் நெஞ்சமொடு இனையர் ஆகி, நப் பிரிந்திசினோரே. In this trip to this domain, we get to hear the confidante say these words to the lady, at a time when the man remains parted away, having left in search of wealth: “Your eyes, akin to dark flowers, have lost their hue; Akin to a pillow that has lost its plumpness, your arms have thinned; The beauty of yours, celebrated by your good friends, have lost the old state! With the sorrow of realising all this, do not suffer ceaselessly, my friend, may you live long!  The one, who parted away, making your neat row of bangles slip away, left to the terrifying drylands, which makes one shiver, where akin to the scene in a home, when upon the chest of a strong man, lying down embracing his naive woman, with darkness-like, thick tresses that fall beneath her arms, his young son, with coarse hair, crawls down, on the body of a male elephant, one of a herd, having white tusks, which had been embracing its naive and fully pregnant mate, its calf would climb up and descend down. Indeed, he has parted away, without any grace, with a heart that was pressing him to go on his mission through the drylands, near the soaring mountains, filled with golden shower trees, having radiant flowers. Always chasing away those who dared to rise in opposition, Kannan Ezhini rises with furious strength, wielding a courageous army. Even though your man has crossed the honey-covered, ancient peaks of his, he shan’t delay any longer!” Time to tread the scorching spaces again! The confidante starts by describing how the lady’s eyes, her arms and her beauty had lost their old state. After acknowledging these changes, the confidante asks the lady to not keep worrying so. Then, she describes the drylands path where the man is traversing, and to do that, she zooms on to a scene in a home, where a little boy would be crawling on the chest of his father, as that man lies embracing his wife with long tresses. Then, the confidante connects this scene to that of a male elephant and its pregnant mate and the way, an elephant calf would be playing, climbing on its father’s back and rolling down. Doesn’t seem like a scary place to me! In any case, that’s how the confidante says this place is, and talks about how the man walks through these lands, crossing highlands with golden shower trees, and walking beyond the peaks of a courageous king named ‘Kannan Ezhini’. The confidante ends by saying while all that is true, the man wouldn’t dream of staying there one moment longer than necessary and would be back soon with the lady.  That scene with the bonding elephant family must be the confidante’s way of projecting the image of future happiness the lady is going to experience once the man returns. Utilising the effective techniques of acknowledging the pain of the present, and visualising the pleasure of the future, this expert ‘psychologist’ of Sangam times heals her languishing friend!

    5 min

  6. 5D AGO

    Aganaanooru 196 – On pleasure and duty

    In this episode, we perceive a woman’s anger, as portrayed in Sangam Literary work, Aganaanooru 196, penned by Paranar. The verse is situated amidst the uproarious streets of the ‘Marutham’ or ‘Farmlands landscape’ and contrasts the nature of men and women. நெடுங் கொடி நுடங்கும் நறவு மலி பாக்கத்து, நாள் துறைப்பட்ட மோட்டு இரு வராஅல் துடிக்கண் கொழுங் குறை நொடுத்து, உண்டு ஆடி, வேட்டம் மறந்து, துஞ்சும் கொழுநர்க்குப் பாட்டி ஆம்பல் அகல் இலை, அமலை வெஞ் சோறு தீம் புளிப் பிரம்பின் திரள்கனி பெய்து, விடியல் வைகறை இடூஉம் ஊர! தொடுகலம் குறுக வாரல் தந்தை கண் கவின் அழித்ததன் தப்பல், தெறுவர, ஒன்றுமொழிக் கோசர்க் கொன்று, முரண் போகிய, கடுந் தேர்த் திதியன் அழுந்தை கொடுங் குழை அன்னிமிஞிலியின் இயலும் நின் நலத் தகுவியை முயங்கிய மார்பே. In this quick, little trip to this domain, we see interesting sights and get to hear the lady say these words to the man, when he returns home after being with the courtesan: “In those streets, fluttering with tall flags and brimming with fragrant toddy, after selling the drum-eye-like, fatty pieces of the murrel fish ,with huge bellies, caught during the day at the shore, they drink and dance, and then forgetting the next day’s hunt, the men sleep on. For these husbands of theirs, daughters of bards, spread hot, cooked rice on wide leaves of the water lily, and pour sweet-sour curry of the thick tamarind fruit, and serve them in the early hours of the morning in your town, O lord! For the mistake of ruining the health of her father’s eyes, with fury, she killed the Kosars, who are men of their word, with the aid of ’Thithiyan’, who wields speeding chariots, in the town of Azhunthai, and quenched her enmity. Like this Anni Mignili, who wears curving heavy earrings, that woman, you deem so fitting for you, walks around with pride. I shall not touch the chest of yours that she has embraced! Come not near me!” Time to see the exuberant and emotional sights of the farmlands! The lady starts by describing the man’s town, and to do that, she zooms on to the men of the town, who catch murrel fish in the river shores, sell these in the evening markets, where flags flutter with flourish. Then, they procure the abundant toddy, eat, drink and make merry, and retire to their homes. So tired out by these exertions they are, that they sleep on, forgetting the next day’s work. Waking them up, their loving wives serve them a tasty meal of cooked rice and sweet-sour curry of tamarind, the lady details. Could this be hangover medicine?  Returning, after describing the man’s town, we find the lady switching gears and talking about a historic event, wherein a lady named Anni Mignili was furious because the tribe of Kosars had hurt her father, and to take revenge, she seeks the aid of a king called ‘Thithiyan’ and in the town of ‘Azhunthai’, kills the Kosars. Just the way that lady walked about, content and proud, at the successful fulfilment of her wish, the man’s courtesan moves around, the lady connects, and concludes by telling him that she has no wish of touching the man’s chest, which had been embraced by the said courtesan and asks him to move away from her.  As we can clearly see, the lady’s ire is on fire! She’s angered about how the courtesan has won over her husband, as projected by the simile of Anni Mignili’s vengeful victory. In the description of the men and the women of the man’s town, the lady intends to place a metaphor for how the men seemed to forget their duty in their pleasure-intent revels, whereas their wives were the epitome of chastity, who fulfilled their duties without fail, and connects to the contrast of her man’s pleasure-seeking and her own duty-mindedness. Interesting how society and history lend their hands to sculpt the scene of this intimate tussle at home!

    5 min

  7. MAR 6

    Aganaanooru 195 – Headed here or there?

    In this episode, we listen to a mother’s yearning words, as depicted in Sangam Literary work, Aganaanooru 195, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals the questions that arise in a Sangam mother’s heart at the moment of her daughter’s elopement. ”அருஞ் சுரம் இறந்த என் பெருந் தோட் குறுமகள் திருந்துவேல் விடலையொடு வரும்” என, தாயே, புனை மாண் இஞ்சி பூவல் ஊட்டி, மனை மணல் அடுத்து, மாலை நாற்றி, உவந்து, இனிது அயரும் என்ப; யானும், மான் பிணை நோக்கின் மட நல்லாளை ஈன்ற நட்பிற்கு அருளான் ஆயினும், இன் நகை முறுவல் ஏழையைப் பல் நாள், கூந்தல் வாரி, நுசுப்பு இவர்ந்து, ஓம்பிய நலம் புனை உதவியும் உடையன்மன்னே; அஃது அறிகிற்பினோ நன்றுமன் தில்ல; அறுவை தோயும் ஒரு பெருங் குடுமி, சிறு பை நாற்றிய பல் தலைக் கொடுங் கோல், ஆகுவது அறியும் முதுவாய் வேல! கூறுகமாதோ, நின் கழங்கின் திட்பம்; மாறா வருபனி கலுழும் கங்குலில், ஆனாது துயரும் எம் கண் இனிது படீஇயர், எம் மனை முந்துறத் தருமோ? தன் மனை உய்க்குமோ? யாது அவன் குறிப்பே? It’s more about the dunes of the mind in this trip to the drylands, as we listen to the lady’s mother say these words, at a time when the lady has left with the man, seeing no other way to sustain her love relationship: “They say that thinking my daughter with beautiful, thick arms, who parted away to the formidable drylands, will come home, with the young man carrying a well-etched spear, his mother, spreads red mud on the well-adorned, outer walls of their house, scatters fresh sands in front of the home, decorates the spaces by hanging garlands, and goes about many such tasks with much joy. Even if he does not honour me for having given birth to that naive, good woman, with the gaze of a female deer, he should know that it was me, who cared for that helpless, young girl, with a fine smile, for many days, by combing her tresses, carrying her on my hips, and rendering all I could to enhance her beauty. If he understands this, it will be good.  O wise Velan, clad in white cloth, having a huge tuft, carrying a many-spoked, curving rod, from which hangs a small bag, you are someone who knows what is about to transpire! Won’t you tell me, seeing the spread of your beans, will he render sweet sleep to my eyes, which cease not from crying, filled with suffering, on this dark night, by bringing her first to my home? Or will he take her to his? Pray tell me, what his mind seeks!” Time to pause and listen to another’s angst! Mother starts by talking about another mother, and this happens to be the man’s mother, about whom the lady’s mother had received some news, saying she was getting ready to welcome her son and the lovely maiden he had chosen as his mate. To this end, she was spreading red mud on their walls, scattering fine sand in front of the house, and tying garlands everywhere. In short , it’s going to be one joyous welcome for the couple, who had eloped and are traversing a harsh domain just then. The lady’s mother continues by saying, ‘All that’s well and fine. But that man should consider it was me who had brought his beloved to this world, and even if he doesn’t care about that, he should have some gratitude for all those days I took care of my girl, when she was a helpless little thing, and I made sure she grew up with much health and beauty’. After this declaration of her predominance in the lady’s life, mother turns to Velan, who is performing some divining with his Molucca beans, and concludes, by asking him, whether the man would do the honour of bringing the lady to her house and slay the sleeplessness and suffering of her eyes or will the man take the lady to his own house.  Didn’t the lady just leave her own house because she thought her mother and relatives were against her love relationship with the man? What would make her return? Perhaps it’s a depiction of a state of mind that we all go through, when things have gone too far in the opposite direction, and yet we cling on to the possibility that we can go back to being how we were! Seeing it from another angle, perhaps like the lady’s mother mentions, the man might think of the lady’s parents and all that they have done for the lady and what they must be going through, and might bring back the lady and seek their approval for their marriage. I know, a slim sliver of a possibility, and that’s exactly what mother’s clinging on, dreaming about clasping her precious daughter back in her arms, somehow! A classic case of ‘hope against hope’!

    6 min

  8. MAR 5

    Aganaanooru 194 – Isn’t this that season?

    In this episode, we perceive the arrival of a particular season, as depicted in Sangam Literary work, Aganaanooru 194, penned by Idaikkaadanaar. The verse is situated amidst the millet fields of the ‘Mullai’ or ‘Forest landscape’ and echoes the disappointment in a person’s heart. பேர் உறை தலைஇய பெரும் புலர் வைகறை, ஏர் இடம் படுத்த இரு மறுப் பூழிப் புறம் மாறு பெற்ற பூவல் ஈரத்து, ஊன் கிழித்தன்ன செஞ் சுவல் நெடுஞ் சால், வித்திய மருங்கின் விதை பல நாறி, இரலை நல் மானினம் பரந்தவைபோல், கோடுடைத் தலைக்குடை சூடிய வினைஞர், கறங்கு பறைச் சீரின் இரங்க வாங்கி, களை கால் கழீஇய பெரும் புன வரகின் கவைக் கதிர் இரும் புறம் கதூஉ உண்ட, குடுமி நெற்றி, நெடு மாத் தோகை காமர் கலவம் பரப்பி, ஏமுறக் கொல்லை உழவர் கூழ் நிழல் ஒழித்த வல் இலைக் குருந்தின் வாங்குசினை இருந்து, கிளி கடி மகளிரின் விளி படப் பயிரும் கார்மன் இதுவால் தோழி! ”போர் மிகக் கொடுஞ்சி நெடுந் தேர் பூண்ட, கடும் பரி, விரிஉளை, நல் மான் கடைஇ வருதும்” என்று அவர் தெளித்த போழ்தே. We return to the forests and take in images of farming, as we listen to the lady say these words to her confidante, when the man continues to remain parted away, having left her for a mission of war: “In this morning hour that has dispelled the deep darkness, when huge raindrops have fallen down, the land which had been split by the imprint of the plough, scattering dust on both sides, where the mud had been turned upside down in the moistened ground, appearing like torn red flesh, the long furrows in the red soil, which had been planted with many seeds, have now bloomed forth. Appearing as if herds of male deer are moving around, farmers wearing hats with pointed antler tips, pull out the weeds, in sync to the beat of resounding drums, amidst the blooming Kodo millet fields. Eating from the dark-backed, flourishing crop ears, a long peacock with a crested forehead, spreads its feathers, and flies to the branch of a solitary wild lemon tree with thick leaves, left uncut by farmers of this forest land, to serve as the shade for their afternoon meal. Sitting there, with the sound, akin to that made by maiden chasing parrots, the peacock calls aloud, in this rainy season. Isn’t this the season, my friend, that he talked about in his words of consolation, when he left to fight in the war saying, ‘I will rush back in the decorated tall chariot, yoked with fast and fine horses with spreading manes, and be here, when that season arrives’?” Let’s tread on the vibrant red soil of the forests and unearth the beating heart beneath! The lady starts by talking about the time of the day, saying it’s dawn and the rains have just done pouring. She then talks about the red soil, which has been tamed with much difficulty by these forest farmers, using rugged ploughs, and tearing the land, as if cutting open a piece of meat. Then, she talks about how they had planted many seeds in these furrows and all their hard labour had borne fruit and the crops had risen up. However, weeds do abound and these farmers had been hard at work, wearing hats which made them seem like male deer. Wonder why they went for such an elaborate headgear! The other interesting thing about them is that, as they worked, drums were played and they did their hard work, keeping in tune with the beat of those drums, the lady describes. After all this care, the millets would no doubt flourish and it’s not just the farmers who benefit, but a peacock that loads up on the laden crop ears, and then, content, flies to the top of a single wild lime tree, left uncut by those farmers. And why did they spare the tree? Just making sure they had a spot to sit under and eat, in the afternoon soon! This peacock flies to the top of the tree, and seems to make the exact sounds of maiden chasing away parrots in the nearby mountains, the lady details. These vivid images have been presented by the lady to portray how the season of rains had arrived. And why is she worried? Because the man had promised that he would return by this season when he had left to fight his king’s war, but still there was no sign of him. It’s a simple statement declaring, ‘The rains are here, but he is not!’. However, this core is wrapped up in the striking images of people, animals, birds, land and agriculture, a gift which magically transports us to another time, another space!

    6 min
See All (319)

4.7
out of 5
18 Ratings

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