Sangam Lit

Nandini Karky
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Reflections on 2000 Year Old Tamil Poetry

  1. 2D 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

  2. 3D AGO

    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

  3. 4D AGO

    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

  4. 5D AGO

    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

  5. 6D AGO

    Aganaanooru 176 – The crab’s rushed return

    In this episode, we listen to a pointed refusal to a request, as depicted in Sangam Literary work, Aganaanooru 176, penned by Marutham Paadiya Ilankadunko. The verse is situated amidst the flourishing fields of the ‘Marutham’ or ‘Farmlands landscape’ and presents a precise portrait of the other woman. கடல் கண்டன்ன கண் அகன் பரப்பின் நிலம் பக வீழ்ந்த வேர் முதிர் கிழங்கின் கழை கண்டன்ன தூம்புடைத் திரள் கால், களிற்றுச் செவி அன்ன பாசடை மருங்கில், கழு நிவந்தன்ன கொழு முகை இடை இடை முறுவல் முகத்தின் பல் மலர் தயங்க, பூத்த தாமரைப் புள் இமிழ் பழனத்து, வேப்பு நனை அன்ன நெடுங் கண் நீர்ஞெண்டு இரை தேர் வெண் குருகு அஞ்சி, அயலது ஒலித்த பகன்றை இருஞ் சேற்று அள்ளல், திதலையின் வரிப்ப ஓடி, விரைந்து தன் நீர் மலி மண் அளைச் செறியும் ஊர! மனை நகு வயலை மரன் இவர் கொழுங் கொடி அரி மலர் ஆம்பலொடு ஆர்தழை தைஇ, விழவு ஆடு மகளிரொடு தழூஉ அணிப் பொலிந்து, மலர் ஏர் உண்கண் மாண் இழை முன்கைக் குறுந் தொடி துடக்கிய நெடுந் தொடர் விடுத்தது உடன்றனள் போலும், நின் காதலி? எம் போல் புல் உளைக் குடுமிப் புதல்வற் பயந்து, நெல்லுடை நெடு நகர் நின் இன்று உறைய, என்ன கடத்தளோ, மற்றே? தன் முகத்து எழுது எழில் சிதைய அழுதனள் ஏங்கி, வடித்தென உருத்த தித்திப் பல் ஊழ் நொடித்தெனச் சிவந்த மெல் விரல் திருகுபு, கூர்நுனை மழுகிய எயிற்றள் ஊர் முழுதும் நுவலும் நிற் காணிய சென்மே. A long song and trip to this prosperous but troubled landscape, where we get to hear the confidante, say these words to the man, when he comes seeking entry into the lady’s house, after being in the company of a courtesan for a while: “Appearing like a sea, as far as the eyes can see, spreads the land. With deep roots, akin to mature tubers that split the earth, with hollow thick stems, appearing akin to bamboos, green leaves, akin to an elephant’s ears, fleshy buds, bursting in between here and there, akin to upraised stakes, are the many lotus flowers that sway here and there in between, like smiling faces. In this field, blooming with lotuses and resounding with bird songs, having tall eyes, akin to neem flowers, a water crab fearing a white bird that’s searching for prey, scuttles on dark, muddy spaces, where rattle-pods have sprouted thickly, and making marks, akin to pallor spots, rushes to hide inside its water-filled mud pits. Such is your town, O lord! Wearing a fine garment of leaves and flowers, woven with thick vines of ‘vayalai’ creepers, growing in the house, and radiant flowers of white lily, glowing with the beauty of dancing together with maiden at the town festival, having flower-like, beautiful, kohl-streaked eyes, and forearms, decked with fine jewels and small bangles, that lover of yours seems to have sulked with you when you happened to simply loosen your long embrace! She has been crying with yearning, ruining the painted beauty of her face, making pallor spots, akin to melted gold, spread on her form. Cracking her knuckles many, many times, she makes her delicate fingers turn red. That maiden, whose sharp teeth are blunted, now roams the town entire in search of you! Does she have the fate like the lady, to live patiently without you, after bearing and rearing your son, who has a grass-like tuft of hair, and to be shut within the expense of this grain-filled, wide mansion?” Let’s chase some field crabs and learn what’s cooking in this part of the world! The confidante starts with a long description of the man’s town, bringing before our eyes, the expansive fields, where lotuses are blooming, and she builds a stack of similes calling the bloomed lotus flowers as smiling faces, the buds standing tall as stakes, the leaves as elephant’s ears, the roots as firm and mature tubers and the land itself as the vast and spreading sea. After setting the scene, she zooms on to a particular creature there, a crab, who tall eyes are compared to neem flowers. She then depicts how this animal fears a hovering bird, looking for prey, and rushes to hide in its little mud hole. Such is your town, the confidante tells the man. No doubt she means to conceal some meaning here but we’ll get to that in a moment! Then she goes on to talk about a particular woman, a courtesan who happens to be the man’s lover. She etches the flowers and leaves that the woman wears, and how the courtesan dances exuberantly in the town festivities. Then, she describes the woman’s eyes and bejewelled forearms. After all the framing, the confidante comes to the crux and says how that courtesan had started quarrelling with the man, just because he happened to loosen his embrace. That lover of his seems to have been filled with much agony, as visible from her tears that ruined her painted beauty, the golden pallor spots and her cracking of the knuckles too many times, reddening those slender fingers. The confidante talks about how that courtesan is searching all over town, to catch hold of the man again. She contrasts the state of the lady, who after giving birth and rearing the man’s child, had to stay within their wealthy mansion, no matter where the man went or what he did, and concludes by sarcastically remarking that the courtesan has no such restrictions!  In the scene of the scuttling crab and the hovering bird, the confidante places a metaphor for how slander spread by the townsfolk had driven the man back to his home, seeking the lady’s company, and it’s not true love that has brought him there. In essence, it’s a refusal to allow the man to return back, after his escapades with the courtesan. Yet again, the natural world echoes the relationship dynamics vividly. The verse also presents the implicit societal rules in the contrasting behaviour of the lady and the courtesan, the former, characterised by patience and restraint, and the latter, by freedom and impulsiveness!

    8 min

  6. FEB 6

    Aganaanooru 175 – Flashing roaring rainbow sky

    In this episode, we listen to the lament of a lady, as depicted in Sangam Literary work, Aganaanooru 175, penned by Alamperi Saaththanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the victory of a historic king and the glory of a supernatural entity. வீங்கு விளிம்பு உரீஇய விசை அமை நோன் சிலை வாங்கு தொடை பிழையா வன்கண் ஆடவர் விடுதொறும் விளிக்கும் வெவ் வாய் வாளி ஆறு செல் வம்பலர் உயிர் செலப் பெயர்ப்பின், பாறு கிளை பயிர்ந்து படுமுடை கவரும் வெஞ் சுரம் இறந்த காதலர் நெஞ்சு உணர அரிய வஞ்சினம் சொல்லியும், பல் மாண் தெரி வளை முன்கை பற்றியும், ”வினைமுடித்து வருதும்” என்றனர் அன்றே தோழி! கால் இயல் நெடுந் தேர்க் கை வண் செழியன் ஆலங்கானத்து அமர் கடந்து உயர்த்த வேலினும் பல் ஊழ் மின்னி, முரசு என மா இரு விசும்பில் கடி இடி பயிற்றி, நேர் கதிர் நிரைத்த நேமிஅம் செல்வன் போர் அடங்கு அகலம் பொருந்திய தார்போல், திருவில் தேஎத்துக் குலைஇ, உரு கெழு மண் பயம் பூப்பப் பாஅய், தண் பெயல் எழிலி தாழ்ந்த போழ்தே? In this trip to the drylands, amidst the whizzing of arrows, we get to hear the lady say these words to her confidante, when the man continues to remain parted away, after leaving in search of wealth: “Grazing the edge of the broad shoulder, lies the sturdy bow. When harsh-eyed men bend this bow and aim the arrow, they never miss their mark. Those arrows with sharp mouths, when left out, flies whistling, and end the life of wayfarers on those paths. And so, calling their kith and kin, vultures feast on that reeking flesh. Such is the scorching drylands that my lover has left to! That day, he swore a heartfelt, furious oath, as he held my forearm with many, well-etched, radiant bangles, and declared, ‘I shall return after my mission’! Wielding chariots that move like the wind, is the generous Chezhiyan. More than the spears raised in his victorious battle of Aalangkaanum, are streaks of lightning, and akin to the drums there, roars unceasing thunder in the huge, black sky. Akin to the garland on the enemy-slaying chest of God Selvan, who wields the discus with perfect spokes, a picturesque and colourful rainbow curves above. And so, making the land flower with flourish, clouds have descended down with moist rains. Wasn’t this the time he said he would return, my friend?” Time to witness the action in the skies! The lady starts by painting a vivid picture of the drylands, zooming on to the highway robbers, mentioning bows hanging on their shoulders, and harp arrows that they launch, which always ends up finding their target in the chests of wayfarers, and delivering their end. What ends there becomes the feast of vultures, the lady adds, saying that’s the dreary place the man has left to. Then she recollects how the man had sworn an oath, holding her forearm, and said he would return by a specific time. The lady now turns to the confidante and points out how the skies are flashing with streaks of lightning, just like the flashes of spears raised by the victorious army of the Pandya King Chezhiyan at the Thalaiyaalangaanam battle. In other verses we have read about how this king single handedly quelled the armies of seven kings and seized victory there. Returning, the lady then points to the sound of thunder echoing and connects it to the drums in that battlefield. From this king in life and blood, the lady shifts to mention a God, referred as ‘Selvan’ here, which interpreters attribute to ‘God Thirumal’ as identified by the ‘Sudarsana chakra’ or divine discus held in his right hand, symbolising the ‘wheel of time’. Interestingly I learnt today that there has been archaeological discoveries of coins in Taxila, featuring a sixteen-spoke wheel, dating back to the 2nd century BCE, thought to reflect a belief in this very God. This poem too makes specific mention of the perfectly radiating spokes of this discus held in the hand of God ‘Selvan’.  Reverting back to the lady’s words, we learn that she has mentioned this god’s name only to draw in parallel the many-flowered garland on his chest and the radiant rainbow curving in the sky. Lightning done, thunder done, rainbow done. All checks to say that it’s the season of rains, when the clouds pour down and make the land bloom, the lady connects. She concludes by asking her friend, ‘Wasn’t this when he said he would be back, with that firm oath of his?’  With these words, the lady intends to echo her anxiety about the man’s dangerous travels and the unfulfilled promise he made. Hope the man returns the very moment to slay the sorrow in her heart. Fascinating how the verse makes us fly from the feeding vultures down on the ground to the pouring clouds in the sky, on the chariot of a king and the discus of a god!

    7 min

  7. FEB 5

    Aganaanooru 174 – Without waiting for accolades

    In this episode, we observe the anxious rumination in a man’s mind, as depicted in Sangam Literary work, Aganaanooru 174, penned by Madurai Alakkar Gnaazhaar Makanaar Mallanaar. The verse is situated amidst the pouring clouds and blooming jasmines of the ‘Mullai’ or ‘Forest Landscape’ and expresses the love and yearning in the hearts of those separated by circumstances. ”இரு பெரு வேந்தர் மாறு கொள் வியன் களத்து, ஒரு படை கொண்டு, வருபடை பெயர்க்கும் செல்வம் உடையோர்க்கு நின்றன்று விறல்” என பூக் கோள் ஏய தண்ணுமை விலக்கிச் செல்வேம்ஆதல் அறியாள், முல்லை நேர் கால் முது கொடி குழைப்ப, நீர் சொரிந்து, காலை வானத்துக் கடுங் குரற் கொண்மூ முழங்குதொறும் கையற்று, ஒடுங்கி, நப் புலந்து, பழங்கண் கொண்ட பசலை மேனியள், யாங்கு ஆகுவள்கொல் தானே வேங்கை ஊழுறு நறு வீ கடுப்பக் கேழ் கொள, ஆகத்து அரும்பிய மாசு அறு சுணங்கினள், நல் மணல் வியலிடை நடந்த சில் மெல் ஒதுக்கின் மாஅயோளே? This fragrant trip through the rain-soaked forests takes us in the presence of the man, as he says these words to his heart, when he remains in a battle camp: “Declaring, ‘Those who possess the wealth of courage to scatter the enemy army with one’s own in the midst of a wide spreading field, where two great kings are waging war against each other, unfading would remain their glory’, drums roar and floral war tributes are presented by the victorious king. Not knowing that I would rush to her, without even waiting for these tributes, that sorrowful maiden, would be feeling dislike for me, and she would curl up helplessly whenever the harsh-voiced, dark clouds resounded in the morning sky, shedding raindrops, and crushing straight-stemmed jasmine flowers blooming on mature vines. Pallor would be spreading on her form, so flawless, having beauty spots, in the hue of fragrant golden flowers of the Indian Kino tree. What would be the state of that dark-skinned maiden, whom I saw walking with short hesitant steps upon the fine sands of our wide mansion, when I left her then?” Time to travel to the battlefield and listen to the drum beat of the man’s heart! He starts by reflecting on how the king would honour his victorious acts in the battlefield of defeating the enemy army and shower tributes even as drums roar. The man says he would do his duty of fighting in the battle and bringing victory to his king but he wouldn’t wait to receive the king’s tributes because his heart would be in a rush to be back with his beloved, who would be worried that the season of promised return, the rains, had come and gone and still there was no sign of him. He imagines her curling up with pain every time the clouds roared and the rains poured. The man concludes by bringing back the image of the lady, with her fine beauty spots in the hue of yellow Kino flowers, as she was walking with hesitant steps, when he bid farewell to her, back then. A verse filled with tender longing on both sides, with the man tied by the norms of duty in a battlefield, and the lady, bound by the norms of society, to remain back at home!

    4 min

  8. FEB 4

    Aganaanooru 173 – Near the land of gold

    In this episode, we perceive words of consolation, as portrayed in Sangam Literary work, Aganaanooru 173, penned by Mulliyoor Pothiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse highlights the wealth and glory of a Sangam king’s domain. ‘அறம் தலைப்பிரியாது ஒழுகலும், சிறந்த கேளிர் கேடு பல ஊன்றலும், நாளும் வருந்தா உள்ளமொடு இருந்தோர்க்கு இல்’ எனச் செய்வினை புரிந்த நெஞ்சினர், ‘நறு நுதல் மை ஈர் ஓதி! அரும் படர் உழத்தல் சில் நாள் தாங்கல்வேண்டும்’ என்று, நின் நல் மாண் எல் வளை திருத்தினர்ஆயின், வருவர் வாழி, தோழி! பல புரி வார் கயிற்று ஒழுகை நோன் சுவற் கொளீஇ, பகடு துறை ஏற்றத்து உமண் விளி வெரீஇ, உழைமான் அம் பிணை இனன் இரிந்து ஓட, காடு கவின் அழிய உரைஇ, கோடை நின்று தின விளிந்த, அம் பணை, நெடு வேய்க் கண் விடத் தெறிக்கும் மண்ணா முத்தம் கழங்கு உறழ் தோன்றல, பழங் குழித் தாஅம் இன் களி நறவின் இயல் தேர் நன்னன் விண் பொரு நெடு வரைக் கவாஅன் பொன் படு மருங்கின் மலை இறந்தோரே. In this trip to the drylands in the mountains, we get to hear the confidante say these words to the lady, at a time when the man continues to remain parted away: “Deciding, ‘Living a life without swerving away from justice and bearing the many burdens of one’s honourable kith and kin, are both impossible for those, who stay in comfort with a complacent heart!’, the one who wished to part away on the mission of gaining wealth, said, ‘O maiden with a fragrant forehead and thick, moist tresses, you must bear the deep suffering of parting for a few days!’, as he caressed your exquisite, shining bangles. Tying sturdy ropes with many thick threads to the necks of their oxen, arrive salt merchants on upraised river shores. Startled by their sharp whistles, herds of male deer along with their exquisite mates scuttle away; Making the jungle lose its beauty, the summer sun scorches. The tall and beautiful bamboos, that have dried up bereft of water, burst at the nodes, and scatter soiled seeds that appear akin to beans, which fall into old pits. The man, who has left to these mountains, which lie near the rich, golden lands in the slopes of sky-soaring peaks, belonging to Nannan, who wields fast chariots and is renowned for the sweetness of his toddy, will return to you soon, my friend, may you live long!” Time to tread those hot sands! The confidante starts by reflecting the man’s words to the lady before he had left on his mission. With much tenderness, he had consoled the lady and explained the reasons he had to undertake the journey, talking about how it was his duty to live a life of justice and to help all their kith and kin in their hour of need, and to do this, he had to leave the comfort of home and go seek wealth. He had requested the lady to bear with this pain for some time and left, the confidante reminds the lady. Then she talks about the place where the man treads now, talking about an arid region, where salt merchants traverse with their oxen, frightening the deer there with their sharp whistles, and where bamboos split open in the heat, scattering their seeds. The confidante concludes by adding that those drylands were in the vicinity of the wealthy domain, filled with gold, ruled by King Nannan, known for his swaying chariots and sweet toddy, and promises the lady that the man would return soon to her.  With those specific words about Nannan’s golden lands, the confidante hints that the man would be blessed with riches in his mission, and the lady’s days of pain were at an end. What a thoughtful friend who highlights the positive qualities of the very person, seemingly the cause of pain! By connecting the goodness of the man in the past, and the promise of his return in the future, this fine friend alleviates the lady’s misery in the present moment. The perfect recipe for reassurance indeed!

    5 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