An investigative podcast hosted by world-renowned literary critic and publishing insider Bethanne Patrick. Book bans are on the rise across America. With the rise of social media, book publishers are losing their power as the industry gatekeepers. More and more celebrities and influencers are publishing books with ghostwriters. Writing communities are splintering because members are at cross purposes about their mission. Missing Pages is an investigative podcast about the book publishing ind ...
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Kalithogai 89 – Pleading and conceding
Manage episode 451457994 series 2708216
Контент предоставлен Nandini Karky. Весь контент подкастов, включая эпизоды, графику и описания подкастов, загружается и предоставляется непосредственно компанией Nandini Karky или ее партнером по платформе подкастов. Если вы считаете, что кто-то использует вашу работу, защищенную авторским правом, без вашего разрешения, вы можете выполнить процедуру, описанную здесь https://ru.player.fm/legal.
In this episode, we perceive sparks fly in a domestic quarrel, as portrayed in Sangam Literary work, Kalithogai 89, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and relates a heated exchange between a couple.
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301 эпизодов
ПоделитьсяManage episode 451457994 series 2708216
Контент предоставлен Nandini Karky. Весь контент подкастов, включая эпизоды, графику и описания подкастов, загружается и предоставляется непосредственно компанией Nandini Karky или ее партнером по платформе подкастов. Если вы считаете, что кто-то использует вашу работу, защищенную авторским правом, без вашего разрешения, вы можете выполнить процедуру, описанную здесь https://ru.player.fm/legal.
In this episode, we perceive sparks fly in a domestic quarrel, as portrayed in Sangam Literary work, Kalithogai 89, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and relates a heated exchange between a couple.
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301 эпизодов
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In this episode, we listen to recollections of a joyous event, as portrayed in Sangam Literary work, Aganaanooru 86, penned by Nallaavoor Kizhaar. Set in the prosperous towns of the ‘Marutham’ or ‘Farmlands landscape’, the verse depicts intricate customs in a Sangam era wedding. உழுந்து தலைப்பெய்த கொழுங் களி மிதவை பெருஞ் சோற்று அமலை நிற்ப, நிரை கால் தண் பெரும் பந்தர்த் தரு மணல் ஞெமிரி மனை விளக்குறுத்து, மாலை தொடரி, கனை இருள் அகன்ற கவின்பெறுகாலை; கோள் கால் நீங்கிய கொடு வெண் திங்கள் கேடு இல் விழுப் புகழ் நாள் தலைவந்தென, உச்சிக் குடத்தர், புத்தகல் மண்டையர், பொது செய் கம்பலை முது செம் பெண்டிர் முன்னவும் பின்னவும் முறை முறை தரத்தர, புதல்வற் பயந்த திதலை அவ் வயிற்று வால் இழை மகளிர் நால்வர் கூடி, ‘கற்பினின் வழாஅ, நற் பல உதவிப் பெற்றோற் பெட்கும் பிணையை ஆக!’ என, நீரொடு சொரிந்த ஈர் இதழ் அலரி பல் இருங் கதுப்பின் நெல்லொடு தயங்க, வதுவை நல் மணம் கழிந்த பின்றை, கல்லென் சும்மையர், ஞெரேரெனப் புகுதந்து, ‘பேர் இற்கிழத்தி ஆக’ எனத் தமர் தர, ஓர் இற் கூடிய உடன் புணர் கங்குல், கொடும் புறம் வளைஇ, கோடிக் கலிங்கத்து ஒடுங்கினள் கிடந்த ஓர் புறம் தழீஇ, முயங்கல் விருப்பொடு முகம் புதை திறப்ப, அஞ்சினள் உயிர்த்தகாலை, ‘யாழ நின் நெஞ்சம் படர்ந்தது எஞ்சாது உரை’ என, இன் நகை இருக்கை, பின் யான் வினவலின், செஞ் சூட்டு ஒண் குழை வண் காது துயல்வர, அகம் மலி உவகையள்ஆகி, முகன் இகுத்து, ஒய்யென இறைஞ்சியோளே மாவின் மடம் கொள் மதைஇய நோக்கின், ஒடுங்கு ஈர் ஓதி, மாஅயோளே. A long song featuring a single day’s events in the fertile farmlands. These words are said by the man to the confidante, when she refuses to allow him entry into the lady’s house, as he was returning from a courtesan’s place: “Thick and soft porridge, perfectly cooked with urad dal, and heaps of rice balls were relished; Under the huge and cool canopy with rows of pillars, fine sand was spread; Lamps were lit in the house; Garlands were hung on that beautiful morning, when the thick darkness had receded; On that flawless, famous and auspicious day, when the curving, white moon had stepped out of the influence of the wrong planets, holding pots atop their heads, and new, rounded ‘mandai’ vessels in their hands, old and virtuous women, who conduct public rituals arrived with loud sounds, and handed out different elements before and after, as per custom. Just then, four women clad in bright ornaments, with beautiful pallor-spotted bellies, who had given birth to sons, came together, and with the words, ‘Without swerving from your chastity, offering all good aid, be a loving spouse to your partner!’, blessed her by sprinkling paddy and water with moist petaled flowers, on her thick, dark tresses. After this fine ritual of wedding was over, with a loud uproar, quickly rushing in, her kith and kin offered her saying, ‘May you attain fame as a good wife’. On that fine night, in that room, where we were to unite together, curving her back, she was lying covered in her wedding attire. As I hugged her with desire and lifted her buried face, she let out a fearful sigh. When I gently inquired saying to her with a smile, ‘Whatever is in your mind, speak it all freely to me’, her face lit up with a heartfelt joy, making her bright, heavy earrings, fitted with red gems sway. She quickly bent her head in shyness, that dark-skinned maiden with neatly oiled tresses and a deer’s naive and beautiful eyes!” Let’s join in the wedding festivities in a Sangam era town! When the confidante stops the man and chides him for courting the courtesan, telling him the lady does not wish to see him in her house, the man responds in a totally opposite tone. He starts recollecting the events of his wedding. Food is foremost! And we find mention of a soft porridge, made with urad dal, sounding very close to the contemporary ‘Pongal’, a well-known Tamil breakfast item. The man also mentions how heaps of rice were being relished along with this Sangam ‘Pongal’. From food, his attention moves towards the decorations, and he talks about how tents were put up and sand was spread, and the whole place dazzled with bright lamps. It was the early morning hour, the man informs us, at the time when the darkness was being quelled by the first light. Apparently, choosing the right day was very important to these ancient folks and they seem to have waited for a day, when the moon was free from the influence of other planets. Here we find a subtle reference to the practice of studying the skies to determine a favourable time. On such a day, the rituals start with the arrival of elderly women, who have seen much in life, known for their wisdom, and they arrive there, carrying pots on their heads and bowls in their hands, and as per custom, they arranged all these things in order. Once everything was in place, four women, who had given birth to sons, stepped forward and blessed the bride, wishing that she would be a loving partner to her spouse, even as they showered paddy and sprinkled water with moist flowers on the lady’s thick tresses. The mention of paddy made me recollect how even today in Tamil weddings, it’s turmeric-coated rice kernels that’s sprinkled on the bride and groom, at the moment they tie the knot and become one before the eyes of their society. Next, after these rituals are done, the lady’s kith and kin offer her to the groom, while blessing her to attain the fame of being a good wife. All this done, the man and lady are together in a room that night, and the man finds her lying covered in her wedding garment. When he hugs her and lifts her face, she seems to let out a fearful sigh. The man gently asks the lady to speak her mind. Hearing his kind tone, the lady seems to have felt a deep joy, as smiles spread on her, and her earrings swayed. Out of shyness, she seems to have quickly bent her head down again, the man recollects, and concludes by drawing a word portrait of his dark-skinned beloved, with neat hair and a deer’s naive eyes. The question may arise as to why the man is talking about his wedding day, when the confidante was confronting him! What the man implies is that the lady was such a sweet person and she would never refuse him entry, casting the blame on the confidante for the lady’s reaction. Pushing aside these love quarrels, we can turn our attention to this cultural treasure of an acute rendering of an ancient Tamil wedding. The thing I most loved about this account was the way women are at the forefront of all the customs, blessing the couple and guiding them as they take the first step of their future together, endowing the whole event with the serenity and practicality of a feminine wisdom.…
In this episode, we listen to a recollection of promises, as portrayed in Sangam Literary work, Aganaanooru 85, penned by Kaattoor Kizhaar Maganaar Kannanaar. The verse is situated amidst the ‘Paalai’ or ‘Drylands landscape’ and offers consolation to an anxious heart. ‘நல் நுதல் பசப்பவும், பெருந் தோள் நெகிழவும், உண்ணா உயக்கமொடு உயிர் செலச் சாஅய், இன்னம் ஆகவும், இங்கு நத் துறந்தோர் அறவர்அல்லர் அவர்’ எனப் பல புலந்து, ஆழல் வாழி, தோழி! ‘சாரல், ஈன்று நாள் உலந்த மெல் நடை மடப் பிடி, கன்று பசி களைஇய, பைங் கண் யானை முற்றா மூங்கில் முளை தருபு ஊட்டும் வென் வேல் திரையன் வேங்கட நெடு வரை, நல் நாள் பூத்த நாகு இள வேங்கை நறு வீ ஆடிய பொறி வரி மஞ்ஞை நனைப் பசுங் குருந்தின் நாறு சினை இருந்து, துணைப் பயிர்ந்து அகவும் துணைதரு தண் கார், வருதும், யாம்’ எனத் தேற்றிய பருவம்காண் அது; பாயின்றால் மழையே. In this trip to the drylands, we are left to stay back home and hear these words of the confidante said to the lady, as the man remains parted away: “Saying, ‘Even as my fine forehead spreads with pallor, my thick arms thin away, my life wallows with the suffering of not eating, he chooses to remain parted away. He’s not a just man’, and lamenting deeply, do not cry, my friend, may you live long! Remember what he said when consoling you: ‘In the mountain slopes, to end the hunger of the young calf, which had been just birthed a few days ago by the gentle-gaited, naive female, the fresh-eyed male elephant gathers tender sprouts of bamboo, and feeds the young one in the tall mountains of Venkatam, ruled by Thiraiyan, who wields a victorious spear. Here, amidst the fragrant fallen flowers of a young Kino tree, when a peacock with spots and specks dances, calling to its mate, sitting on the fragrant branch of a moist and green wild lime tree, I will arrive and be by her side, in that moist and cool season of rains!’. Lo behold, those clouds spreading yonder! That season of rains approaches!” Time to play the waiting game with these maiden! The confidante starts by mentioning how the lady had been feeling let down by her man, as he decided to part away and has left her to lose her health and beauty. Asking her friend to wipe her tears, the confidante reminds the lady about the man’s promise. When he was leaving, the man had detailed a place in the north, amidst the hills of Venkatam, which was said to be ruled by Thiraiyan, and here, he brings forth the poignant scene of a father elephant feeding tender bamboo shoots to a recently-born young calf. After mentioning the place, the man had talked about a specific time, and this was just when the peacocks dance, amidst the Kino flowers, and call to their mates sitting on the wild lime trees. This time is the season of rains, and when that approaches, he would be by the lady’s side, the man had said. The confidante reminds the lady of this, and points to the clouds gathering at a far distance, and says, ‘If the rains are here, can he be far behind?’. Nothing like a friend to bring cheer to a heart by recollecting the positive past and reiterating the hopeful future!…
In this episode, we listen to an anguished heart, as depicted in Sangam Literary work, Aganaanooru 84, penned by Madurai Ezhuththaalan. The verse is situated in the fragrant forests of the ‘Mullai’ or ‘Forest landscape’ and compares the abodes of two parted lovers. மலைமிசைக் குலைஇய உரு கெழு திருவில் பணை முழங்கு எழிலி பௌவம் வாங்கி, தாழ் பெயற் பெரு நீர், வலன் ஏர்பு, வளைஇ, மாதிரம் புதைப்பப் பொழிதலின், காண்வர இரு நிலம் கவினிய ஏமுறுகாலை நெருப்பின் அன்ன சிறு கட் பன்றி, அயிர்க்கட் படாஅர்த் துஞ்சு, புறம் புதைய, நறு வீ முல்லை நாள் மலர் உதிரும் புறவு அடைந்திருந்த அரு முனை இயவின் சீறூரோளே, ஒண்ணுதல்! யாமே, எரி புரை பல் மலர் பிறழ வாங்கி, அரிஞர் யாத்த அலங்கு தலைப் பெருஞ் சூடு கள் ஆர் வினைஞர் களம்தொறும் மறுகும் தண்ணடை தழீஇய கொடி நுடங்கு ஆர் எயில் அருந் திறை கொடுப்பவும் கொள்ளான், சினம் சிறந்து, வினைவயின் பெயர்க்கும் தானை, புனைதார் வேந்தன் பாசறையேமே! We are back in the earthy forest domain, and here, we get to hear these words from the man: “Painting above the hills, a colourful and captivating rainbow, the clouds, roaring like drums, shower down the great waters they had gathered at the ocean, by climbing on the right, and encircling, burying everything with a downpour, making the land look exquisite to the eyes. In this delightful time, when a wild boar, with small eyes, akin to fire, sleeps on the fine sand, amidst a little drizzle, covering its rear, fragrant flowers of the wild jasmine fall down in the forest, winding through which a road leads to the little hamlet, where resides my beloved, the maiden with a radiant forehead! Cutting down many flowers, akin to flames, grain harvesters, who delight in fine toddy, tie huge heaps of paddy, and leave them swaying in many fields, in the moist farmlands. Ruling over this rich land, stands a well-guarded fort, fluttering with flags, and even though rich tributes are offered by them, refusing them, with his fury fuming, the garlanded king puts his army to work, and at his battle encampment is where I am!” Let’s relish the rich rain of this region and learn more! The man renders a poetic view of the actions of a raincloud, as it seems to paint the hills with the radiant hues of a rainbow, and pour down the water it had collected from the ocean, by climbing high and surrounding the region. At this time, the land looks so captivating to the eyes, remarks the man, and then zooms on to a wild boar sleeping peacefully in these woods, even as the falling flowers of the wild jasmine hide its back. The man has mentioned these details to say this is where his lady lives, in a little hamlet, near the forest. Then, he comes to his own situation and talks about a fertile farmland village, and the scene of paddy harvesters heaping bundles of paddy by the side of their fields, something mentioned to talk about how fertile and prosperous this farmland region is.As can be expected, around such rich farmlands, there’s a fort and a king to rule over the fort. Even though this king extends a peace flag and promises to give a rich tribute, for some reason, his enemy king, the one wearing garlands on his chest, refuses to heed to their appeasement, and remains intent on launching war, the man describes, and concludes by connecting that’s where he is, right now, in the encampment of the raging enemy king! In a nutshell, the man is complaining about his separation from his beloved, even after the promised season of return, simply because his king sees no reason to end the war. Yet another vivid illustration of how war brings misery to the good-hearted, and if you ask me, be it then or now, shouldn’t that be reason enough to shun war and bring hearts together?…
In this episode, we perceive an instance of love across the miles, as depicted in Sangam Literary work, Aganaanooru 83, penned by Kallaadanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse echoes the tender feelings in the heart of a man parted away from his beloved. வலம் சுரி மராஅத்துச் சுரம் கமழ் புது வீச் சுரி ஆர் உளைத் தலை பொலியச் சூடி, கறை அடி மடப் பிடி கானத்து அலற, களிற்றுக் கன்று ஒழித்த உவகையர், கலி சிறந்து, கருங் கால் மராஅத்துக் கொழுங் கொம்பு பிளந்து, பெரும் பொளி வெண் நார் அழுந்துபடப் பூட்டி, நெடுங் கொடி நுடங்கும் நியம மூதூர், நறவு நொடை நல் இல் புதவுமுதற் பிணிக்கும் கல்லா இளையர் பெருமகன் புல்லி வியன் தலை நல் நாட்டு வேங்கடம் கழியினும், சேயர் என்னாது, அன்பு மிகக் கடைஇ, எய்த வந்தனவால்தாமே நெய்தல் கூம்பு விடு நிகர் மலர் அன்ன ஏந்து எழில் மழைக் கண் எம் காதலி குணனே. In this trip to the drylands, we get to see some interesting characters and hear these words said by the man to his heart, in the middle of his journey: “Radiantly adorning their curly, mane-like hair with fragrant, new flowers of the right-whorled, drylands burflower tree, making a naive female elephant, with thick legs like a pounding pestle, scream aloud in the forest, they steal away a male elephant calf. Laughing with joy at their success, with pride, they break the thick branch of a black-trunked burflower tree, and tear a thick cluster of its white bark, so as to make a sturdy rope to tie the calf securely. Then, they bring it over to an ancient town, filled with flag-fluttering markets, and tie it at the entrance of a fine house that sells toddy. These men are none other than the unlearned youth, who are led by Pulli. And even though we have crossed Lord Pulli’s wide-spreading, fine country of Venkatam, without thinking that’s so faraway, brimming over with love, my beloved’s exquisite, rain-like eyes, akin to bright, blooming twin flowers of a blue lotus, have come right here!” Time to track a band of hunters in the drylands! The man starts by describing certain men in this domain by talking about their thick and curly hair and the way they adorn it with burflower tree’s blooms. After putting on that equivalent of the modern tie, these men set about their jobs, which is to steal a young elephant calf, leaving the mother to suffer and scream. Not minding the mother elephant’s pain, they seem to be intent at amplifying their joy, and to do that, first they tear some thick fibres from the burflower tree’s branch to make a strong rope to bind the calf securely, and then they set off to an ancient town, with the flags of great houses fluttering around, and they step inside the market and locate the very place they are looking for – a shop that sells toddy, and here, they tie the elephant calf to the entrance. We can imagine the intentions of these boys, described as ‘unlearned’, implying they have no education, and are skilled only in their job of hunting, and perhaps, drinking! ‘An elephant calf for a toddy cup’ seems to be their motto! In any case, these hunting young men are said to be ruled by the Lord Pulli, and the man connects this description to his narrative by saying, at that moment, they had crossed even the northern domain ruled by this Pulli, and even so, without thinking it’s too far away, his dear lady’s exquisite eyes have followed him thither! In essence, the man’s saying, ‘I’ve come so far away, and yet, her eyes are here!’, reflecting his feelings of missing his beloved as he journeys on, in those dreary paths. A feeling, which anyone can relate to, beyond space and time, for what could give greater comfort than musing on a beloved’s presence when separated from them!…
In this episode, we delight in musical sounds many, as depicted in Sangam Literary work, Aganaanooru 82, penned by Kabilar. The verse is situated amidst the bee-buzzing cascades of the ‘Kurinji’ or ‘Mountain landscape’ and reveals the hidden emotions of a lady. ஆடு அமைக் குயின்ற அவிர் துளை மருங்கின் கோடை அவ் வளி குழலிசை ஆக, பாடு இன் அருவிப் பனி நீர் இன் இசை தோடு அமை முழவின் துதை குரல் ஆக, கணக் கலை இகுக்கும் கடுங் குரற் தூம்பொடு, மலைப் பூஞ் சாரல் வண்டு யாழ் ஆக, இன் பல் இமிழ் இசை கேட்டு, கலி சிறந்து, மந்தி நல் அவை மருள்வன நோக்க, கழை வளர் அடுக்கத்து, இயலி ஆடு மயில் நனவுப் புகு விறலியின் தோன்றும் நாடன் உருவ வல் விற் பற்றி, அம்பு தெரிந்து, செருச் செய் யானை செல் நெறி வினாஅய், புலர் குரல் ஏனற் புழையுடை ஒரு சிறை, மலர் தார் மார்பன், நின்றோற் கண்டோர் பலர்தில், வாழி தோழி! அவருள், ஆர் இருட் கங்குல் அணையொடு பொருந்தி, ஓர் யான் ஆகுவது எவன்கொல், நீர் வார் கண்ணொடு, நெகிழ் தோளேனே? In this picturesque trip to the mountains, we find ourselves in the presence of the lady, sharing these words to her confidante: “The beautiful summer breeze that flows within the holes of the swaying bamboos turns into the music of flutes; The sweet sounds of the resounding cascades, flowing with cool water, turns into the dense music of a variety of drums; The grunts of male deers turn into the sharp music of the ‘thoombu’ horns; The buzzing of bees, amidst the mountain blooms, turn into the music of lutes; As monkeys sit around together, looking on with bewilderment, hearing the many notes of such a sweet music, filled with ecstasy, peacocks sway and dance, in the bamboo-filled mountain slopes, appearing akin to dancing maiden, who enter an arena of festivities. Such are the scenes in the mountain domain of the lord. He had come here, holding on to his strong and beautiful bow, and a clutch of arrows, inquiring about the path of the elephant, which he had shot at. Just then, near the entrance of the millet field blooming with thick crop clusters, there were many, who stood and looked at this lord, with a wide chest, garlanded by flowers. Long may you live, my friend! Among all those, how come I am the only one, lying in bed, in the dead dark of the night, with eyes, shedding tears and arms, thinning away?!” Time to relish a treat for the eyes and ears in this hilly domain! The lady starts by describing how various elements of nature turn into instruments of music. First, it’s the breeze flowing through the holes of bamboos, which turns into flutes; Next, the roaring cascades become the drums; The unique grunts of male deers turn into ‘Thoombu’ horns, and as the last aspect, the buzzing of bees become the music of lutes. When there’s so much music resounding, shouldn’t it be honoured with dance? ‘Indeed yes!’, say the peacocks, and spread out their bright plumes, as the monkeys sit around like the audience. The entire scene has a close resemblance to the performance of ‘dancing maiden’ in a town’s festivities, the lady adds, and connects these as events unfolding in the mountain country of the lord. Then she goes on to narrate a particular incident involving this lord, as he had come close to their village one day, holding a bow, and inquiring about the path an elephant he had just shot had taken. At that moment, there were many young maiden, who stood and watch him, standing by the side of the millet fields, the lady details, and ends with a question as to how only she was affected by that sight in a such a way, that every night, as she lay in bed, tears poured from her eyes and her arms thinned away! This is no mere question but a statement of fact about the lady’s love for her man, which she is subtly revealing to her confidante. This is the first step in a series of revelations, by which the lady’s love moves up the ladder from the confidante to the confidante’s mother, and from her, to the lady’s mother, and finally to the lady’s family, hoping for their acceptance of a permanent union between the man and the lady. Beyond these cultural subtleties, the stunning aspect of this verse is the perfect synchrony of music and nature, doubling the healing capabilities of these two superpowers, and offering a visual and auditory treat, the kind that modern audiences witness, when two talented performers create sparks together on the same screen!…
In this episode, we listen to a pointed question put forth, as depicted in Sangam Literary work, Aganaanooru 81, penned by Alamperi Saaththaanaar. The verse is situated in the ‘Paalai’ or ‘Drylands landscape’ and vividly illustrates the elements of nature in this domain. நாள் உலா எழுந்த கோள் வல் உளியம் ஓங்குசினை இருப்பைத் தீம் பழம் முனையின், புல் அளைப் புற்றின் பல் கிளைச் சிதலை ஒருங்கு முயன்று எடுத்த நனை வாய் நெடுங் கோடு, இரும்பு ஊது குருகின், இடந்து, இரை தேரும் மண் பக வறந்த ஆங்கண், கண் பொரக் கதிர் தெற, கவிழ்ந்த உலறுதலை நோன் சினை நெறி அயல் மராஅம் ஏறி, புலம்பு கொள எறி பருந்து உயவும் என்றூழ் நீள் இடை வெம் முனை அருஞ் சுரம் நீந்தி சிறந்த செம்மல் உள்ளம் துரத்தலின், கறுத்தோர் ஒளிறு வேல் அழுவம் களிறு படக் கடக்கும் மா வண் கடலன் விளங்கில் அன்ன எம் மை எழில் உண்கண் கலுழ ஐய! சேறிரோ, அகன்று செய் பொருட்கே? In this trip to the drylands, the region appears in a hypothetical question put forth by the confidante to the man, as detailed in these words: “Rising up and setting out on its daily stroll, a bear, adept at claiming its food, feeds on the sweet fruits of the Mahua tree with soaring branches, and when it starts disliking this food, the bear moves towards a termite mound with many small hollows, built by the effort of many families of white ants, working together. Nearing the wet-mouthed, tall mound, akin to an ironsmith blowing through the nozzle of the bellows, the bear breathes within, and gathers its food. In those barren places, where the earth is split into cracks, and where the sun scorches the eyes, climbing upon the upturned, dried-up branch of the burflower tree, growing near the path, a lonely eagle sits with suffering. Such is the heat-soaked, long paths of the fiery and formidable drylands. The lady’s dark and beautiful kohl-streaked eyes are akin to the town of ‘Vilangil’ ruled by the great and strong Kadalan, who overcomes shining spears of his enemies with his army of elephants in the battlefield. To traverse those drylands, pushed by your esteemed heart, O lord, are you going to leave to earn that wealth to be made faraway, making those exquisite eyes of hers shed tears?” Let’s attempt a walk through the sun-swept paths of the drylands and learn more! The confidante starts by describing the drylands region, and to do that, she follows the activities of a sloth bear, that has risen from its rest, and is setting out on its daily activities. The first stop of the bear happens to be a Mahua tree, with dried-up leaves, and the bear manages to collect some fruits on a tall branch. After having its fill and wanting no more of the fruit, the bear navigates to its next food place, which is a termite mound, built by the concerted effort of many groups of ants, the confidante details. Here, akin to a blacksmith blowing into the bellows, the bear too breathes into the termite mound to clear the ants and feed on its tasty snack of termite comb. In a such a place there’s nothing but heat, the confidante continues, now turning her focus to a lonely eagle, perched on top of a bur flower tree. Saying how the earth is all cracked up and the burning heat scorches the eyes, the confidante sums up this place as one dry and dreary place to be! Then, she goes on to describe how the lady’s eyes are like the famous town of ‘Vilangil’ ruled by a victorious King Kadalan, known for his army of elephants. The confidante concludes by asking the man, whether he was going to make those beautiful eyes of the lady shed tears, by leaving her and parting away to those drylands, so as to earn wealth. A question with which she expects to move the man and make him put off his plans of parting away. The interesting elements of this verse are the metaphors seamlessly placed in the narrative. For instance, in the scene of the bear tiring of the Mahua tree fruits and moving towards the termite mound, the confidante places a metaphor for the man, relishing the lady’s company, and then as if done with that, moving towards seeking wealth. In the image of the lonely eagle, sitting in suffering in the middle of the drylands, the confidante predicts that’s going to be the precise future of the man, if he so decides to leave the lady. Thus, a verse comprising of a simple question, ‘Are you really going to part away and make her cry?’, is elevated by its elegant description of the dynamics of emotions through the actions of elements in nature!…
In this episode, we perceive an indirect technique of persuasion, as depicted in Sangam Literary work, Aganaanooru 80, penned by Marunkoor Kizhaar Perunkannanaar. The verse is situated amidst the trees and vines of the ‘Neythal’ or ‘Coastal landscape’ and sketches a well-etched portrait of an ancient shore. கொடுந் தாள் முதலையொடு கோட்டுமீன் வழங்கும் இருங் கழி இட்டுச் சுரம் நீந்தி, இரவின் வந்தோய்மன்ற தண் கடற் சேர்ப்ப! நினக்கு எவன் அரியமோ, யாமே? எந்தை புணர் திரைப் பரப்பகம் துழைஇத் தந்த பல் மீன் உணங்கற் படுபுள் ஓப்புதும் முண்டகம் கலித்த முதுநீர் அடைகரை ஒண் பல் மலர கவட்டு இலை அடும்பின் செங் கேழ் மென் கொடி ஆழி அறுப்ப, இன மணிப் புரவி நெடுந் தேர் கடைஇ, மின் இலைப் பொலிந்த விளங்கு இணர் அவிழ் பொன் தண் நறும் பைந் தாது உறைக்கும் புன்னைஅம் கானல், பகல் வந்தீமே. In this quick trip to the seas, we meet with the confidante and hear her say these words to the man, when he comes to tryst with the lady, by night: “Traversing narrow paths through the huge backwaters, frequented by crocodiles having curving legs and sharks as well, you have been coming here in the dark of the night, O lord of the cool seas! It shouldn’t be that difficult to see us! Wielding your tall chariot, resounding with the sound of bells, tied on your horses, with your chariot wheels, cutting the slender, red-hued vines of the beach morning glory, having many radiant flowers and twin-lobed leaves, on the shores of those ancient waters, densely filled with water-thorn bushes, to that beautiful orchard filled with laurel wood trees, with resplendent leaves and radiant flower clusters, showering cool, fresh, fragrant, golden pollen, if you were to come by day, you can easily find us, chasing away birds that come near the heaps of fish that father brought from his hunt in the wide seas, filled with foaming waves!” Ready for a swim with sharks and crocodiles? Here we go! The confidante starts by pointing out how the man has been coming in the deadly hour of night through a dangerous path in the backwaters, teeming with crocodiles and sharks too, to meet with the lady. Then she asks the man why take all this risk and come at such a time through such a place. It’s not very hard to meet the lady, she adds. The confidante then describes the man’s tall chariot and horses tied to it, resounding with bells many, and concludes by telling him, if at all the man decided to come by day, wielding his chariot, cutting the red vines of the beach morning glory, blooming alongside the water thorn, on the shores, heading towards the beautiful orchard of ‘Punnai’ trees with shining leaves, white flowers and golden pollen, then the man could easily see the lady, for she would be right there, chasing away the birds that come to steal away from the heap of fish that father brought from his hunt in the seas. In essence, the confidante tells the man to come claim the lady at a time when she would be in the company of many others. This is another way of telling the man to give up his temporary trysting and ‘Marry her, marry her’! The highlight of this verse is the way the words delight both the naturalist and the anthropologist in each of us, with its vivid portrait of the various dimensions of life on a coastal landscape from another era!…
In this episode, we perceive a man’s annoyance with his heart, as portrayed in Sangam Literary work, Aganaanooru 79, penned by Kudavayil Keerathanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents a vivid account of the people and their activities in this domain. தோட் பதன் அமைத்த கருங் கை ஆடவர் கனை பொறி பிறப்ப நூறி, வினைப் படர்ந்து, கல்லுறுத்து இயற்றிய வல் உவர்ப் படுவில், பார் உடை மருங்கின் ஊறல் மண்டிய வன் புலம் துமியப் போகி, கொங்கர் படு மணி ஆயம் நீர்க்கு நிமிர்ந்து செல்லும் சேதா எடுத்த செந் நிலக் குரூஉத் துகள் அகல் இரு விசும்பின் ஊன்றித் தோன்றும் நனந்தலை அழுவம், நம்மொடு துணைப்ப, ‘வல்லாங்கு வருதும்’ என்னாது, அல்குவர வருந்தினை வாழி, என் நெஞ்சே! இருஞ் சிறை வளை வாய்ப் பருந்தின் வான் கட் பேடை, ஆடுதொறு கனையும் அவ் வாய்க் கடுந் துடிக் கொடு வில் எயினர் கோட் சுரம் படர, நெடு விளி பயிற்றும் நிரம்பா நீள் இடை, கல் பிறங்கு அத்தம் போகி, நில்லாப் பொருட் பிணிப் பிரிந்த நீயே. In this tour of the drylands, the man has left the lady and parted in search of wealth and we catch him saying these words to his heart in the middle of his journey: “Carrying food bundles on their shoulders, men with huge, dark hands, set out on their task of shattering rocks, spreading dense sparks, to build a sturdy well, in that harsh and brackish land. Near the spaces where the hard ground was broken by them, where water springs forth, owing to the splitting open of the rocky surface, bells-clad cattle, belonging to the Kongars, rushes with eager, upraised heads. Just then, the red dust scattered by the these tawny hued cows, soar to the wide expanse of the sky, in that vast spreading drylands domain. Without thinking that you should accompany me and keep on going with determination, I see you stepping back, filled with worry. May you live long, my heart! Here, the huge-winged, curved-mouthed eagle’s white-eyed female, seeing robbers, with curving bows, come dancing as they beat their harsh-sounding ‘thudi’ drums, having beautiful mouths, sends out a long call in the deserted long and barren paths of this rocky drylands. Weren’t you the one who decided to part away and come here, caught in the affliction of seeking transient wealth?” Let’s get ready for an in-depth exploration of the drylands! The man starts by describing the dreary world around him. He first talks about some professionals, who have set out with their lunch packs from home, knowing very well they have a hard task before them. This hard task is to shatter the rocky ground and dig a well to find good water in that terrible rocky land. As they hit the ground, friction makes sparks fly, notes the man. When humans are so intent on something, many a time they find what they are looking for and after much effort, water springs forth, and the scent of this fresh elixir draws out the grazing cattle of the Kongars, and as the herd of tawny cows rushes there, the red dust covers the sky, the man illustrates. At this point, the man pauses and goes inward, talking to his heart saying, ‘Without thinking I must continue steadily with him, you are languishing in worry, in memory of her’. After that statement, he moves to the outer world a second time and points to the sound of a screeching call, made by a roving predator female bird, at the moment it sees highway robbers, marching on, beating their ‘thudi’ drums, swaying to the beat, as they enter that region. Why does the female call so? Just to say to its mate, ‘These harsh men are out and about, they will surely attack and kill innocent wayfarers. So be ready to feast to your full’. An image painted to project the fear-evoking expanse of this region, where death roams in a frenzy. After this illustration of the outer world, the man concludes by stepping within once again and reminding his heart that it was the one, who had sent him on this mad quest for wealth, something that never stays still in one place. In a nutshell, the man is accusing his heart of pushing him on this path and deserting him midway. This separation between oneself and one’s heart is to be aware and bring to fore, the doubts and despair that has started cropping up in one’s mission. That image of men boring the rocky ground to bring sweet water forth is no doubt a vision of inspiration to keep on at one’s task, no matter the obstacles in the world or in the mind!…
In this episode, we perceive a thoughtful intervention on behalf of another, as portrayed in Sangam Literary work, Aganaanooru 78, penned by Madurai Nakeeranaar. Set amidst the honeycombs and flame-lilies of the ‘Kurinji’ or ‘Mountain Landscape’, the verse highlights events in the life of a famous Sangam King. ‘நனந்தலைக் கானத்து ஆளி அஞ்சி, இனம் தலைத்தரூஉம் எறுழ் கிளர் முன்பின், வரி ஞிமிறு ஆர்க்கும், வாய் புகு கடாத்து, பொறி நுதற் பொலிந்த வயக் களிற்று ஒருத்தல் இரும் பிணர்த் தடக் கையின், ஏமுறத் தழுவ, கடுஞ்சூல் மடப் பிடி நடுங்கும் சாரல், தேம் பிழி நறவின் குறவர் முன்றில், முந்தூழ் ஆய் மலர் உதிர, காந்தள் நீடு இதழ் நெடுந் துடுப்பு ஒசிய, தண்ணென வாடை தூக்கும் வருபனி அற்சிரம், நம் இல் புலம்பின், தம் ஊர்த் தமியர் என் ஆகுவர்கொல் அளியர்தாம்?’ என, எம் விட்டு அகன்ற சில் நாள், சிறிதும், உள்ளியும் அறிதிரோ ஓங்குமலைநாட! உலகுடன் திரிதரும் பலர் புகழ் நல் இசை வாய்மொழிக் கபிலன் சூழ, சேய் நின்று செழுஞ் செய்ந் நெல்லின் விளைகதிர் கொண்டு, தடந் தாள் ஆம்பல் மலரொடு கூட்டி, யாண்டு பல கழிய, வேண்டுவயிற் பிழையாது, ஆள் இடூஉக் கடந்து, வாள் அமர் உழக்கி, ஏந்துகோட்டு யானை வேந்தர் ஓட்டிய, கடும் பரிப் புரவிக் கை வண் பாரி தீம் பெரும் பைஞ் சுனைப் பூத்த தேம் கமழ் புது மலர் நாறும் இவள் நுதலே? Our trip to the mountains takes us in the presence of the confidante, who is rendering these words to the man, who has stayed away from the lady for a while, during the days of their courtship: “In your soaring mountain peaks, fearing the ‘aali’ in the widespread jungle, a strong bull elephant with a spotted head, gathers its herd around it and offers protection with its shining strength, as striped bees buzz around, and musth flows inside its mouth. This strong male extends its huge, coarse and curved trunk, and hugs with love, its naive and pregnant mate, which was shivering in the slopes, wherein on the front yards of mountain folk, who distill sweet nectar from honeycombs, beautiful flowers of the bamboo lie scattered. O lord of the soaring peaks, at this time when, making the long-petalled, tall stems of flame lilies break, cool northern winds blow in this early dew season, announcing the arrival of winter, as you left her and stayed away for a few days, did you even think a little and try to understand wondering, ‘What might happen to the one, who is alone in her village, without me for company? Isn’t she to be pitied?’! With the support of the great Kabilan, a poet of truthful words, who has the great fame of being praised by many who travel the world entire, the king obtained lush stalks of paddy crop growing far away, along with flowers of the white-lily with curving stalks, and even when days many passed, not giving up his stance, with much determination, crossed all the tribulations, and attacked those sword-wielding soldiers, chasing away the great rulers on their elephants with upraised tusks. Such was the greatness of King Paari, renowned for his generosity and speedy horses. Akin to a honey-fragrant, new flower that has just bloomed in the fresh and sweet springs in Paari’s land, is the scent of her forehead. Did you even think about its state a little?” Taking in that majestic huddle of the gentle mountain giants, let’s walk on and learn more! The confidante starts by describing the man’s country and to do that she talks about how a male elephant offers its protection to its entire herd by huddling together and standing strong. The focus then shifts to the particular care this elephant gives to its pregnant mate, by hugging it close with its huge trunk, to ease the fear of a creature called ‘aali’. Some interpreters say this could be a lion and others connect it to a mythical creature, with the body of a lion and the trunk of an elephant. This could be a case of the ancients projecting their fantastical beliefs on elements of nature. The male elephant’s caring concern for its mate could be a metaphor placed by the confidante to say how he must take care of the lady. Returning, we find the confidante continuing her description of the mountains, talking about the people, there, who enjoy their work of distilling sweet toddy from honeycombs and how on their front yards, bamboo flowers lie scattered everywhere, painting a picturesque portrait of the man’s land. From place, the confidante switches to time, and talks about how the cool northern winds have landed in their domain, breaking stems of flame-lilies, and declaring the harsh winter was about to arrive. At this time, which is a period of distress for separated lovers, the man had chosen to stay away from the lady, the confidante explains, and questions him about whether he considered the lady’s state even a little. She then launches into a long report on King Paari, making sure to accord praise on poet Kabilar for the latter’s support to the king. The tale about how the king managed to procure paddy crops, growing far away, probably with the use of trained parrots in his mountain country, and thereby survived the blockade of the Chera, Chozha and Pandya kings, and ended up chasing these great rulers of the Tamil country is detailed. King Paari’s story has been summoned only as a reference to the beautiful flowers that grow in his land and the confidante ends by asking the man whether he had any consideration for the state of the lady’s forehead, wafting with the very fragrance of the flowers in Paari’s mountain springs! In essence, the confidante wants to subtly chide the man for ignoring the lady at that difficult time and to nudge him to seek the path of permanent happiness. A song of ‘Marry her, marry her’ conceals within moving elements of the mountain country and the momentous fight of King Paari!…
In this episode, we hear the reasoning for a resolute decision, as portrayed in Sangam Literary work, Aganaanooru 77, penned by Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals insightful historical facts through its intriguing similes. ”நல் நுதல் பசப்பவும், ஆள்வினை தரீஇயர், துன் அருங் கானம் துன்னுதல் நன்று” எனப் பின்னின்று சூழ்ந்தனை ஆயின், நன்று இன்னாச் சூழ்ந்திசின் வாழிய, நெஞ்சே! வெய்துற இடி உமிழ் வானம் நீங்கி, யாங்கணும் குடி பதிப்பெயர்ந்த சுட்டுடை முது பாழ், கயிறு பிணிக் குழிசி ஓலை கொண்மார், பொறி கண்டு அழிக்கும் ஆவணமாக்களின், உயிர் திறம் பெயர, நல் அமர்க் கடந்த தறுகணாளர் குடர் தரீஇ, தெறுவர, செஞ் செவி எருவை, அஞ்சுவர இகுக்கும் கல் அதர்க் கவலை போகின், சீறூர்ப் புல் அரை இத்திப் புகர் படு நீழல் எல் வளி அலைக்கும், இருள் கூர் மாலை, வானவன் மறவன், வணங்குவில் தடக் கை, ஆனா நறவின் வண் மகிழ் பிட்டன் பொருந்தா மன்னர் அருஞ் சமத்து உயர்த்த திருந்துஇலை எஃகம் போல, அருந் துயர் தரும், இவள் பனி வார் கண்ணே. Back again in the drylands and here we hear the man say these words to his heart: “If you say, ‘Even if pallor spreads on her fine forehead, for the sake of earning wealth through your determined effort, you should leave to the formidable forest’, standing behind me, you are doing a great wrong to me. May you live long, my heart! Everywhere, there would be nothing but heat, and thundering clouds, nowhere in sight. In those spaces, people have migrated elsewhere, leaving behind ancient ruins that are pointed out. Akin to those public election officials, who check the seal and then unseal, to pull out the inscribed palm leaves from the pot, tied with ropes, the red-headed vulture pulls out the intestines of brave warriors, who had crossed many a battlefield, but who were lying there, with their life, parted away. Such are the scenes from the fear-evoking, pebble-filled paths, and if I were to traverse these drylands, in those hamlets, surrounded by the spotted shade of dull-trunked fig trees, hot winds would assail me in the darkness-filled evening. Akin to the sharp-edged spear, raised against enemies in a fierce battle, belonging to the Chera King Vanavan’s commander Pittan, who wields a curving bow in his strong hands, known for his delight in ceaseless toddy, her eyes pouring with tears, would render endless pain in me!” Time to take a walk amidst the spotted shade of those drylands trees and learn more! The man starts by declaring to his heart, which had been pressing him to leave the lady and go earn wealth, that it was nudging the man in the wrong direction. He then goes on to talk about those drylands spaces, where there’s only heat and more heat, a place, which people have abandoned a long time ago, and there are nothing but ancient ruins. Imagine an archaeologist’s delight in discovering these ancient ruins pointed out in this ancient verse! Returning, we hear the man declaring that there would be nothing in this space but dull-trunked fig trees with few leaves, offering only a scarce shade and no protection against the hot winds. The man specifically points to the image of a vulture swooping down and pulling the intestines of a dead warrior, and to etch this, he brings in the simile of public officials, who pull out palm leaves from a pot tied with ropes. This matter-of-fact simile offers a unique window to the politics of the Sangam era. Here’s democracy in action! Those palm leaves were said to be inscribed with the names of the leaders for village councils and those public officials are the equivalent of the Election Commission, and they break the seal and pull out the palm leaves to declare the winner of that poll. Elated to find mention of democratic ideas, even in the midst of those monarchies of the Sangam times. It’s clearly an instance of decentralisation of power and effective rule at the grassroots, even under the reign of a king. Returning, the man concludes by saying just like the enemies of the Chera king, who would suffer because of the spear, wielded by the king’s commander, Pittan, he too would be pained by the thought of the lady’s tear-filled eyes, if at all he were to leave to those drylands at his heart’s behest! In essence, this is a clear-cut refusal to leave the lady and go in search of wealth. It’s interesting how those few words about inscribed palm leaves in a pot, casually employed about what was probably a routine event in the past, and that too, only as a reference for something else, excites us so much, telling us we can never predict which aspect of what we do will turn out to be of interest to our future generations!…
In this episode, we listen to a maiden's oath, as portrayed in Sangam Literary work, Aganaanooru 76, penned by Paranar. Set amidst the resounding drums of the 'Marutham' or 'Farmlands landscape', the verse brings out the rivalry between women in the rich domain of ancient towns.
In this episode, we perceive the resolution of a person's anxiety, as portrayed in Sangam Literary work, Aganaanooru 75, penned by Madurai Poththanaar. The verse is situated in the 'Paalai' or 'Drylands landscape' and argues against parting away in the pursuit of wealth.
In this episode, we perceive the inability to accept assurance from another, as depicted in Sangam Literary work, Aganaanooru 74, penned by Madurai Kavuniyan Boothathanaar. The verse is situated amidst the fragrant flowers of 'Mullai' or 'Forest Landscape' and illustrates an overpowering element in the life of the lady, one evening.…
In this episode, we perceive the portrayal of shared pain, as depicted in Sangam Literary work, Aganaanooru 73, penned by Erumai Veliyanaar. The verse is situated in the 'Paalai' or 'Drylands landscape' and renders a message of hope to the lady.
In this episode, we perceive a subtle technique of persuasion, as depicted in Sangam Literary work, Aganaanooru 72, penned by Erumai Veliyanaar Makanaar Kadalanaar. Set amidst the resounding hills of the 'Kurinji' or 'Mountain landscape', the verse sketches the life in this land on one rainy night.
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