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Aganaanooru 275 – Lament of those left behind
Jun 27, 2026
Unknown duration
Aganaanooru 274 – There lives my beloved
Jun 26, 2026
Unknown duration
Aganaanooru 273 – The tree of suffering
Jun 25, 2026
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Aganaanooru 272 – The man in mother’s eyes
Jun 23, 2026
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Aganaanooru 271 – Is there a cure?
Jun 22, 2026
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| Date | Episode | Topics | Guests | Brands | Places | Keywords | Sponsor | Length | |
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| 6/27/26 | ![]() Aganaanooru 275 – Lament of those left behind | In this episode, we listen to words of lament, as depicted in Sangam Literary work, Aganaanooru 275, penned by Kayamanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse etches the emotions of a Sangam mother at the juncture of her daughter’s elopement. ஓங்கு நிலைத் தாழி மல்கச் சார்த்தி,குடை அடை நீரின் மடையினள் எடுத்தபந்தர் வயலை, பந்து எறிந்து ஆடி,‘இளமைத் தகைமையை வள மனைக் கிழத்தி!பிதிர்வை நீரை வெண் நீறு ஆக’ என,யாம் தற் கழறுங் காலை, தான் தன்மழலை இன் சொல், கழறல் இன்றி,இன் உயிர் கலப்பக் கூறி, நன்னுதல்பெருஞ் சோற்று இல்லத்து ஒருங்கு இவண் இராஅள்,ஏதிலாளன் காதல் நம்பி,திரள் அரை இருப்பைத் தொள்ளை வான் பூக்குருளை எண்கின் இருங் கிளை கவரும்வெம் மலை அருஞ் சுரம், நம் இவண் ஒழிய,இரு நிலன் உயிர்க்கும் இன்னாக் கானம்,நெருநைப் போகிய பெரு மடத் தகுவிஐது அகல் அல்குல் தழை அணிக் கூட்டும்கூழை நொச்சிக் கீழது, என் மகள்செம் புடைச் சிறு விரல் வரித்தவண்டலும் காண்டிரோ, கண் உடையீரே? In this trip to the drylands, we take in a few familiar sights and listen to the outpouring of sorrow from the mother, at a time when her daughter had eloped away with the man: “Amidst the bushes of vayalai vines that she had reared by pouring water, collected with a tightly woven palmyra bowl from a tall and brimming urn, seeing her playing with a ball, I had scolded her saying, ‘O young and naive maiden of this prosperous mansion! You seem to be roaming around without a care. You are sure to be doomed!’. At this time, without any anger, she rendered her child-like, sweet words that made my sweet life melt away with joy. But that maiden with a fine forehead, without choosing to remain in this mansion, with copious food to share, has trusted in the love of a stranger, and leaving me to languish here, has left to a formidable drylands in the scorching mountains, where clusters of white flowers from the thick-trunked Mahua tree are stolen by huge sleuths of bear cubs. That maiden with great naivety, who has left yesterday to the terrible scrub jungle around which the huge land sighs in suffering, using her reddened little fingers, had built a sand house under the chaste tree, which used to render fine leaves to adorn her wide and uplifted loins. Those who have eyes, won’t you see this work of art left behind by that daughter of mine!” Time to listen to this expression of grief! Mother starts like mothers often do, recollecting a past moment with their beloved offspring. She remembers how one day the lady had been playing near the vayalai bushes that the lady herself had reared with much love, pouring water for it every day using a palmyra bowl. A moment to note the use of biodegradable material of palm leaves to stitch baskets with such skill that they seem to even hold water! Something we should perhaps learn from the descendants of these basket weavers in the remote villages of Tamil Nadu. Returning, Mother talks about how her girl had been playing with a ball amidst these bushes and this seems to have angered Mother, who had admonished her for roaming around without a care. There seems to be a hidden implication in mother’s tone that the girl had matured and she had no business to be playing around in this manner. In any case, mother remembers how her daughter showed no anger for that scolding and spoke so sweetly in a child-like tone, which made mother’s heart melt away. But that same girl, believing in some stranger’s promise of love, had left to the drylands, where bear cubs roam about gathering white Mahua flowers, Mother says. She concludes by asking all around her to take a look at the sand house her daughter had made under the chaste tree, near the house, and perceive the pain that throbs in her heart! A verse that talks about the poignant feelings, which arise when one glimpses at the places and things, resounding with memories of a parted one. A desk, a pair of spectacles, a ‘Bullet’ motorbike, a letter that arrives late… The objects may change in different spaces and different times, but they all proclaim the indelible presence of a person, even in that moment of their absence! | — | ||||||
| 6/26/26 | ![]() Aganaanooru 274 – There lives my beloved | In this episode, we perceive the anticipation of returning to a beloved, as depicted in Sangam Literary work, Aganaanooru 274, penned by Idaikaadanaar. The verse is situated in the midst of the falling rain in the ‘Mullai’ or ‘Forest landscape’, and sketches a scene from this domain in the dark hour of midnight. இரு விசும்பு அதிர முழங்கி, அர நலிந்து,இகு பெயல் அழி துளி தலைஇ, வானம்பருவம் செய்த பானாட் கங்குல்,ஆடு தலைத் துருவின் தோடு ஏமார்ப்ப,கடை கோல் சிறு தீ அடைய மாட்டி,திண் கால் உறியன், பானையன், அதளன்,நுண் பல் துவலை ஒரு திறம் நனைப்ப,தண்டு கால் ஊன்றிய தனி நிலை இடையன்,மடி விடு வீளை கடிது சென்று இசைப்ப,தெறி மறி பார்க்கும் குறு நரி வெரீஇ,முள்ளுடைக் குறுந் தூறு இரியப் போகும்தண் நறு புறவினதுவே நறு மலர்முல்லை சான்ற கற்பின்மெல் இயற் குறுமகள் உறைவு இன் ஊரே. In this trip to the forest, we get to see a denizen of the domain at work, as we listen to the man say these words to his charioteer: “Quaking the vast skies, the sky roars, ruins snakes and falls as huge drops of the downpour. In the midnight hour of this season, to protect his herd of sheep with swaying heads, lighting up a small flame on a fire-stick, as many, little drops of rain soak him on one side, the man who has a sturdy pot hanger, pots and a bed of leather, leans on a firmly planted stick, and standing all alone, bends his tongue and lets out a sharp whistle, which makes a little fox, which had been lying in wait to snatch a leaping sheep kid, scuttle away into the thorny bushes, in the cool and fragrant forest. Herein lies the delightful town of my chaste, gentle-natured maiden, adorned with fragrant wild jasmine flowers.” Time to hear the man’s passionate plea! He starts by revealing the season of rains, which thunders in the sky, rains down and according to their belief, kills snakes. Then he talks about a sheep herder, who is etched as having cords around him to hold pots and the way he carries a layer of leather to serve as his bed. The man tells us it’s the middle of the night and so as to keep the flock safe, the herder lights up a flame and lets out a sharp whistle. Hearing the sound of this whistle, a fox which had been biding its time to seize a sheep kid, runs away in fear, into the bushes. The man then connects and concludes by saying such is the forest, where the hamlet of his beloved, jasmine-clad maiden is to be found. Through that scene of the shepherd’s whistle and the scuttling fox, the man places a metaphor for how the sound of his chariot’s arrival would make the fox of pining, which had been preying on his beloved and waiting to finish her, to rush away in fear. In essence, the man is dropping the location of his loved one to his charioteer, and impressing on the need for speed! | — | ||||||
| 6/25/26 | ![]() Aganaanooru 273 – The tree of suffering | In this episode, we listen to words of angst, as depicted in Sangam Literary work, Aganaanooru 273, penned by Avvaiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse employs an exquisite metaphor to etch a person’s state. விசும்பு விசைத்து எழுந்த கூதளங் கோதையின்,பசுங் கால் வெண் குருகு வாப் பறை வளைஇ,ஆர்கலி வளவயின் போதொடு பரப்ப,புலம் புனிறு தீர்ந்த புது வரல் அற்சிரம்,நலம் கவர் பசலை நலியவும், நம் துயர்அறியார்கொல்லோ, தாமே? அறியினும்,நம் மனத்து அன்ன மென்மை இன்மையின்,நம்முடை உலகம் உள்ளார்கொல்லோ?யாங்கு என உணர்கோ யானே? வீங்குபுதலை வரம்பு அறியாத் தகை வரல் வாடையொடுமுலையிடைத் தோன்றிய நோய் வளர் இள முளைஅசைவுடை நெஞ்சத்து உயவுத் திரள் நீடி,ஊரோர் எடுத்த அம்பல் அம் சினை,ஆராக் காதல் அவிர் தளிர் பரப்பி,புலவர் புகழ்ந்த நாண் இல் பெரு மரம்நில வரை எல்லாம் நிழற்றி,அலர் அரும்பு ஊழ்ப்பவும் வாராதோரே. In this trip to the drylands, we don’t get to see any of the familiar sights, and instead, take a detour to the realm of the inner landscape, as we listen to the lady say these words to the confidante, at a time when the man continues to remain parted away, having left in search of wealth: “Akin to a garland of nightshade flowers thrown at the sky, green-legged white birds bend their spreading wings to soar above the uproarious seas, and then settle down among the blooming flowers, in this season of early dew, when the land is done with the task of birthing new crops. At this time, as I waste away, owing to the affliction of pining that steals away health and beauty, does he not know about my sorrow? Even if he knows, not having the gentleness in my heart, perhaps he does not give a thought about my world! What should I think about all this? As this esteemed cold northern wind swells, not understanding its limits, this disease that has bloomed in my bosom sprouts up as a young shoot, and as the sorrow of my heart continues on, thickens its stem, spreads as a beautiful branch, owing to the gossip of the townsfolk, blooms as the tender leaves of unfulfilled love, soars as a shameless huge tree, celebrated by poets, spreading its shade all across the land. Even as the buds of slander upon this tree of suffering bloom, spreading their petals open, he still returns not!” Let’s listen to this lady’s lament and learn more! She starts by describing the seasonal changes around her. She first calls our attention to the white birds flying high and paints them as garlands thrown against the sky. Anyone who has watched the ‘V formation’ of birds in the sky would agree what an apt simile this is! Next, she talks about how the land is all done with birthing of the winter crops, relaying how it was now the early dew season. The lady talks about how the promised season is gone and she suffers endlessly and wonders if the man does not realise this, and even if he does, maybe he does not have her gentle heart to do something about it. She laments asking how is it possible to bear this lack of response from the man. Then reverting back to the season, the lady says, one visitor is sure to arrive without fail at this time, and that’s the cold, northern winds, and talks about how this makes the seed of pining in her heart, shoot up as a tender sprout. Then, as the water of sorrow keeps coursing through her, the stems of this sprout thicken into a trunk. To help it further, winds of gossip swirl around town and make the trunk spread into a branch, and here unfulfilled love sprouts out as the lush green leaves and what was a little shoot, now stands like a shameless tree of suffering, for all to see, spreading its shade far and wide, the lady sketches, and concludes by saying even when the flowers of slander bloom bright on this tree, the man was nowhere to be seen! The prowess of this prolific poet in converting the abstract emotions of the mind into tangible elements of the world can be sensed in that flowing imagery of a seed and sprout turning into that tree of suffering. Perhaps all these songs on separation exist only to teach the world the art of healing by expressing what’s within! | — | ||||||
| 6/23/26 | ![]() Aganaanooru 272 – The man in mother’s eyes | In this episode, we perceive a dramatic attempt at persuasion, as portrayed in Sangam Literary work, Aganaanooru 272, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the flowing cascades of the ‘Kurinji’ or ‘Mountain Landscape’ and presents a hypothetical situation and its impactful consequences. இரும் புலி தொலைத்த பெருங் கை வேழத்துப்புலவு நாறு புகர் நுதல் கழுவ, கங்குல்அருவி தந்த அணங்குடை நெடுங் கோட்டுஅஞ்சு வரு விடர் முகை ஆர் இருள் அகற்றி,மின் ஒளிர் எஃகம் செல் நெறி விளக்க,தனியன் வந்து, பனி அலை முனியான்,நீர் இழி மருங்கின் ஆர் இடத்து அமன்றகுளவியொடு மிடைந்த கூதளங் கண்ணிஅசையா நாற்றம் அசை வளி பகர,துறு கல் நண்ணிய கறி இவர் படப்பைக்குறி இறைக் குரம்பை நம் மனைவயின் புகுதரும்,மெய்ம் மலி உவகையன்; அந் நிலை கண்டு,”முருகு” என உணர்ந்து, முகமன் கூறி,உருவச் செந் தினை நீரொடு தூஉய்,நெடு வேள் பரவும், அன்னை; அன்னோ!என் ஆவது கொல்தானே பொன் எனமலர்ந்த வேங்கை அலங்கு சினை பொலியமணி நிற மஞ்ஞை அகவும்அணி மலை நாடனொடு அமைந்த நம் தொடர்பே? In this trip to the highlands, it’s scenes in the night that greets us, as we listen to these words said by the confidante to the lady, pretending not to see the man listening nearby, but making sure he’s in earshot: “To wash away its flesh-reeking, spotted face after killing a huge tiger, the long-trunked elephant arrives at night to the cascade in the mountains. Casting away the deep darkness of the clefts and caves in those formidable, fear-evoking spaces, as an iron spear, which flashes like lightning, shows the way, he comes alone, without minding the cold dew descending down. Wearing a garland of nightshade flowers woven together with wild jasmines that had been blooming in those picturesque places near flowing waters, as the moving winds scatter its stationary fragrance, he would enter our hut with hanging eaves, adjacent to a field of pepper vines around a short boulder, with his body brimming over with joy. If Mother were to see that state of his, thinking it’s ‘God Murugu’, she would raise her hands in prayer, would sprinkle moistened bright red millets, and worship the Tall Speared One! Alas! If that happens, what is to become of your relationship with the lord of the handsome mountain country, where the sapphire-hued peacock calls out aloud and the fully-bloomed Kino flowers glow upon the swaying branches?” Let’s walk along with the man and investigate what’s in the hearts of these mountain maiden! The confidante starts by talking about how fearsome the mountain paths are at night, mentioning how an elephant which has just killed a tiger would come to the cascades to wash its trunk. Unmindful of all this danger to his safety and not caring for the cold dew pouring down to the detriment of his health, with his spear lighting the way, the man would come walking on this very path, the confidante connects. Then she mentions the garlands of nightshades and jasmines he would be wearing and the way the wind would be spreading that scent all around the place. Walking in this manner, the man would reach the destination, which is the lady’s hut in the mountain hamlet, near a field of pepper vines, the confidante continues. Let’s make a note of this specific field and explore it in a moment. Returning, the confidante asks the lady to imagine the moment he would step inside their house. What if Mother happened to catch a glimpse of him? She predicts that Mother would think the man was the ‘Tall-speared God Murugu’ and would start worshipping him with a scattering of red millets. After saying these words, the confidante wonders what would happen to the lady’s relationship with the man if a such a thing were to happen, and concludes by describing the man’s country as a place, filled with singing peacocks and blooming Kino flowers. An intricate attempt using the powers of visualisation to get the listening man to realise that he needs to change his dark and dangerous path of temporary trysting and take the road to the permanent joy of seeking the lady’s hand. The subtle elements here is the mention of the blooming Kino flowers, indicating it’s the auspicious season of marriage, and that scene of mother mistaking the man for Murugu is to tell the man the lady is in danger of being placed under guard, which would sound the death knell to his secret relationship with her. In short, ‘Marry her, marry her’ with a movie style delivery! Let’s revert and focus on that phrase about a field of pepper vines. This tells us the preciousness of these naturally growing spices was realised by this mention that it was intentionally cultivated in a mountain field. A matter-fact line which actually implies that these pepper corns were much sought after in faraway shores such as Greece and Rome and that those abroad were waiting to shower gold in exchange of these little black beauties! | — | ||||||
| 6/22/26 | ![]() Aganaanooru 271 – Is there a cure? | In this episode, we perceive an impactful attempt at changing a person’s course of action, as depicted in Sangam Literary work, Aganaanooru 271, penned by Kaaviripoompattinathu Chenkannanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse mentions intriguing aspects about the flora and fauna in this domain. பொறி வரிப் புறவின் செங் காற் சேவல்சிறு புன் பெடையொடு சேண் புலம் போகி,அரி மணல் இயவில் பரல் தேர்ந்து உண்டு,வரி மரல் வாடிய வான் நீங்கு நனந்தலைக்குறும்பொறை மருங்கின் கோட் சுரம் நீந்தி,நெடுஞ் சேண் வந்த நீர் நசை வம்பலர்செல் உயிர் நிறுத்த சுவைக் காய் நெல்லிப்பல் காய் அம் சினை அகவும் அத்தம்சென்று, நீர் அவணிர் ஆகி, நின்று தருநிலை அரும் பொருட் பிணி நினைந்தனிர்எனினே,வல்வதாக, நும் செய் வினை! இவட்கே,களி மலி கள்ளின் நல் தேர் அவியன்ஆடு இயல் இள மழை சூடித் தோன்றும்பழம் தூங்கு விடரகத்து எழுந்த காம்பின்கண் இடை புரையும் நெடு மென் பணைத் தோள்,திருந்து கோல் ஆய் தொடி ஞெகிழின்,மருந்தும் உண்டோ, பிரிந்து உறை நாட்டே? In yet another trip to this searing region, we get to see dynamic scenes, as we listen to the confidante say these words to the man, when he proposes a plan to leave in search of wealth, wishing to prepare the lady for his parting: “The red-legged male of the pigeon with specks and lines, along with its gentle little mate flies afar, and after landing on the spreading rough, river sand, chooses pebbles and eats them. Then, it sings, sitting atop the beautiful branch of a gooseberry tree, bearing many fruits, which have the power of bringing back the parting life of those wayfarers, who arrive with a searing thirst, from a faraway country, traversing vast spaces in the formidable drylands, by the side of small hills, bereft of clouds, where even the lined hemp withers. If you intend to leave to this place, pushed by that ever-changing affliction of seeking wealth, may those efforts of yours bear fruit! As for her, her soft arms are akin to the tall bamboos, with flawless nodes, that shoot up in the mountain ranges, filled with hanging fruits, around which young rain clouds dance around in the joyous town of ‘Kallil’, ruled by Aviyan, who wields chariots many! So, tell me, in that land that you intend to part away to, could there be any cure to remedy the slipping away of well-etched, fine bangles from those arms of hers?” Let’s tread on those scorching spaces and learn more! The confidante starts by sketching the drylands region, and to do that, she seeks the help of a pigeon couple. First, she talks about the red-legged male pigeon and then its delicate, little mate. Note the use of the word ‘Siru’ meaning ‘small’ to describe the female pigeon. When I checked whether this was factual or the Sangam poets’ way of projecting human notions on the birds, turns out indeed the females are smaller than the males, though they may have more body mass. What a nuance captured! Returning, the confidante tells us that these two birds take off and fly for quite distance and then they land on a place with coarse, dried-up river sand. Now she mentions something that made me ask, “Really? No way. There must be some mistake!” The thing the confidante says about these pigeons is that they can be seen eating pebbles from that river sand. Now you know why I was so surprised. I was telling myself that the interpreters had got this wrong and the word ‘Paral’ should mean something else. Like some grain or some seed! Then, when I went and asked the seemingly ridiculous question, ‘Do pigeons eat pebbles?’, the internet blew my mind saying, ‘Indeed, it does!’ Apparently, pigeons do not have teeth but they need to digest the grains and seeds they eat. So, to this end, they gobble those pebbles and these stones in their stomach acts like a grinder and extracts the nutrients from their diet. The marvels of nature indeed! At the same time, I think we should also celebrate the Sangam poets for their powers of observation to note this intricate behaviour of these birds and the creativity to blend it in a song on relationships! Moving on from our pigeon tales, now the confidante tells us that the pigeons, after swallowing those pebbles, fly to the branch of a gooseberry tree and sing their songs perched there. Then turning her attention from the birds to the fruits hanging in this tree, the confidante details how these fruits have the power of bringing back the lives of those who are dying of thirst in that harsh drylands region, where even the sturdiest of plants, the hemp takes to withering away in the sweltering sun. Once again, these verses glorify the gooseberry as an elixir of life! Then, the confidante connects by telling the man if he intends to leave to such a place in search of wealth, may his endeavour succeed. And then she goes on to compares the arms of the lady to the bamboos growing in a mountain town called ‘Kallil’ ruled by Aviyan, and concludes by asking the man if he knew some medicine that could cure the slipping away of fine bangles from the lady’s arms! With these words, the confidante intends to tell the man that the lady would lose her health and beauty in his absence and ask him to give up his idea of parting from the lady. While it’s the same ‘Don’t go, she’ll pine!’ at the core, those fascinating facts about pigeons eating pebbles and gooseberries bringing back dying lives presents to us the medicine of awe about our natural world, something that can revive and rejuvenate us, as we traverse the drylands of our day-to-day life! | — | ||||||
| 6/19/26 | ![]() Aganaanooru 270 – Lament of the lonely bird | In this episode, we perceive a passionate attempt at persuasion, as portrayed in Sangam Literary work, Aganaanooru 270, penned by Saakalaasanaar. The verse is situated amidst the blooming blue lilies of the ‘Neythal’ or ‘Coastal Landscape’ and etches the scenes of loneliness and lament in this domain. இருங் கழி மலர்ந்த வள் இதழ் நீலம்,புலாஅல் மறுகின் சிறுகுடிப் பாக்கத்துஇன மீன் வேட்டுவர், ஞாழலொடு மிலையும்மெல் அம் புலம்ப! நெகிழ்ந்தன, தோளே;சேயிறாத் துழந்த நுரை பிதிர்ப் படு திரைபராஅரைப் புன்னை வாங்கு சினைத் தோயும்கானல்அம் பெருந் துறை நோக்கி, இவளே,கொய் சுவற் புரவிக் கை வண் கோமான்நல் தேர்க் குட்டுவன் கழுமலத்து அன்ன,அம் மா மேனி தொல் நலம் தொலைய,துஞ்சாக் கண்ணள் அலமரும்; நீயே,கடவுள் மரத்த முள் மிடை குடம்பைச்சேவலொடு புணராச் சிறு கரும் பேடைஇன்னாது உயங்கும் கங்குலும்,நும் ஊர் உள்ளுவை; நோகோ, யானே. In this trip to the shore, we get to see familiar sights and also take a short detour to a historic town, as we listen to the confidante say these words to the man, when he arrives to tryst with the lady, by day: “Those who live in the flesh-reeking streets of the seaside hamlet, those hunters of shoals of fish, adorn themselves with thick-petaled blue lotus flowers, blooming in the vast backwaters, along with the tigerclaw flowers, in your gentle shores, O lord! Her arms have thinned away! Resounding waves filled with spraying foam, muddled by red shrimps, splash against the curving branch of the broad-trunked, laurelwood tree in the orchard-filled huge shore. As she keeps looking in the direction of that shore, the old beauty of her exquisite, dark complexion, akin to the town of ‘Kazhumalam’, ruled by Kuttuvan, who wields fine chariots, a leader renowned for his generosity, having horses with swaying manes, becomes utterly ruined, and she suffers with sleepless eyes. Upon that tree, on which god resides, perched on a nest made of thorns, a small black female bird, unable to unite with its mate, laments ceaselessly in this dark midnight hour. Even at such a time, you are thinking of leaving to your town. Oh! I’m filled with anguish!” Time to take a dip in those ancient waves! The confidante starts with a description of the man’s shore, talking about how people who live in flesh-reeking streets wear the fragrant flowers of the blue lotus and the tigerclaw on their heads. Then, from the man’s place, she moves on to talk about the lady’s thinning arms, and compares the lady’s beauty to the town of ‘Kazhumalam’, ruled by the famous Chera King Kuttuvan, in the Sangam trademark style of equating beauty with a town. The confidante has mentioned that great beauty only to say it’s now becoming ruined every time the lady keeps looking in the direction of the orchard, where the waves dash against the low-hanging branch of a laurelwood tree, perhaps the spot of the lady’s tryst with the man. The confidante talks about how the lady’s eyes turn sleepless owing to all this. She mentions how without understanding all this, the man was talking about leaving to his town at night, a time when a lonely red-naped ibis would call to its mate ceaselessly and torment the lady further. The confidante concludes by declaring that she knows not what to do! The truth is the confidante knows perfectly well what is to be done and that’s for the man to give up his temporary trysting and seek the lady’s hand. This is her subtle way of portraying the lady’s precarious situation, while highlighting the lady’s love for the man. Hearing this, no doubt the man would change his ways and do the right thing. A verse which makes me want to ask, ‘Is the confidante just a companion, or a caretaker, mentor and lawyer all rolled into one?’. Lucky is the lady, to have such a friend! | — | ||||||
| 6/18/26 | ![]() Aganaanooru 269 – The hand that wipes away tears | In this episode, we listen to the rendition of a much-awaited news, as depicted in Sangam Literary work, Aganaanooru 269, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse presents intricate details about the custom of installing hero stones. தொடி தோள் இவர்க! எவ்வமும் தீர்க!நெறி இருங் கதுப்பின் கோதையும் புனைக!ஏறுடை இன நிரை பெயர, பெயராது,செறி சுரை வெள் வேல் மழவர்த் தாங்கியதறுகணாளர் நல் இசை நிறுமார்,பிடி மடிந்தன்ன குறும்பொறை மருங்கின்,நட்ட போலும் நடாஅ நெடுங் கல்அகல் இடம் குயின்ற பல் பெயர் மண்ணி,நறு விரை மஞ்சள் ஈர்ம் புறம் பொலியஅம்பு கொண்டு அறுத்த ஆர் நார் உரிவையின்செம் பூங் கரந்தை புனைந்த கண்ணிவரி வண்டு ஆர்ப்பச் சூட்டி, கழற் கால்இளையர் பதிப் பெயரும் அருஞ் சுரம் இறந்தோர்,தைஇ நின்ற தண் பெயல் கடை நாள்,பொலங்காசு நிரைத்த கோடு ஏந்து அல்குல்நலம் கேழ் மாக் குரல் குழையொடு துயல்வர,பாடு ஊர்பு எழுதரும் பகு வாய் மண்டிலத்துவயிர் இடைப்பட்ட தெள் விளி இயம்ப,வண்டற் பாவை உண்துறைத் தரீஇ,திரு நுதல் மகளிர் குரவை அயரும்பெரு நீர்க் கானல் தழீஇய இருக்கை,வாணன் சிறுகுடி, வணங்கு கதிர் நெல்லின்யாணர்த் தண் பணைப் போது வாய் அவிழ்ந்தஒண் செங் கழுநீர் அன்ன, நின்கண் பனி துடைமார் வந்தனர், விரைந்தே. In this trip to the drylands, we get to see intriguing sights and take a detour to a historic site, as we listen to the confidante say these words to the lady, at a time, when the man continues to remain parted away, having left in search of wealth: “Let the bangles ascend on your arms! Let the suffering cease! Let flower garlands adorn your wavy, dark tresses! After rescuing herds of cattle comprising of prize bulls, without retreating, those fearless men stood and fought against the cattle stealers, who bear thick and curving white spears. To reinstate the good fame of these warriors, near small hills, which appear akin to a seated female elephant, their young helpers wearing resounding anklets, carve on tall and natural stones, which appear as if planted there, inscribing the many names of those fearless fighters in the wide spaces, streaking fragrant paste of turmeric upon the radiant, moist stone surfaces, and adorning them with peeled bark of trees cut by arrows and garlands of woven red globe thistle flowers. Only then do they leave from those formidable drylands, where the man has left to, now. In the month of ‘Thai’ when the last cool showers cease, wearing coins of gold around their uplifted waists, along with swaying, many-hued flowers and dark clusters of leaves, as clear notes of music that arises from the huge open mouth of the ‘vayir’ horn instrument spreads all around the land, carving dolls of mud on the shore, maiden with fine foreheads perform the ‘Kuravai’ dance in those well-watered orchards of the prosperous town of ‘Sirukudi’, ruled by Vaanan. Here, amidst the curving crops of paddy blooming in the fertile fields, blooms a shining red lotus that has opened its petals. Akin to this red lotus, are your eyes, and to wipe away the tears dropping down from them, he has come, with much haste!” Let’s walk along with the wandering man through the drylands and explore on! The confidante starts with a jubilant shout, saying the lady’s bangles will not slip away anymore, and her dark days were at an end and that it was time to adorn those tresses with exquisite flowers. Then without saying why, she goes on to talk about the place where the man has left to, and to do that first she brings forth the setting of a cattle theft, and then zooms on to those warriors, who valiantly rode behind and defeated those cattle stealers and recovered the cattle. Though they won in that conflict, they were killed and in honour of their memory, their helpers would choose the perfect stones, which may seem like someone installed them there, but were actually natural, and would carve the names of those warriors, streak turmeric paste, adorn with globe thistle flowers and then only leave that place. The confidante has been describing all this to say the man had left the lady to go to such a drylands region. Then, she goes into another lengthy description of a town called ‘Sirukudi’, ruled by Vaanan, where maiden would come together and carve mud dolls in the month of ‘Thai’, which corresponds to mid-January, a time when the rains are said to cease, and those women would perform the ‘Kuravai’ dance as part of the festivities. Why has the confidante mentioned all this? Only to take us to the lush paddy fields in this prosperous town and point to a red lotus blooming there. She then compares the lady’s eyes to that particular flower and concludes by saying the man was coming there with much speed, to wipe away the dew from the lady’s lotus-like eyes! To put it in a nutshell, the confidante’s message is ‘The man is on the way home and all your pain is about to be gone’! Wrapping this gift to the lady with those scenes of hero stone worship and celebrations in Sirukudi, the confidante also offers us the gift of travelling to a long-gone time, meeting the people who lived then and witnessing their ways of life! | — | ||||||
| 6/17/26 | ![]() Aganaanooru 268 – Reflect on my words | In this episode, we listen to a subtle attempt at persuasion, as depicted in Sangam Literary work, Aganaanooru 268, penned by Vadama Vannakkan Peri Saathanaar. The verse is situated amidst the fragrant flowers of the ‘Kurinji’ or ‘Mountain landscape’ and presents a portrait of the delicate state of affairs. அறியாய் வாழி, தோழி! பொறி வரிப்பூ நுதல் யானையொடு புலி பொரக் குழைந்தகுருதிச் செங் களம் புலவு அற, வேங்கைஉரு கெழு நாற்றம் குளவியொடு விலங்கும்மா மலை நாடனொடு மறு இன்று ஆகியகாமம் கலந்த காதல் உண்டுஎனின்,நன்றுமன்; அது நீ நாடாய், கூறுதி;நாணும் நட்பும் இல்லோர்த் தேரின்,யான் அலது இல்லை இவ் உலகத்தானேஇன் உயிர் அன்ன நின்னொடும் சூழாது,முளை அணி மூங்கிலின் கிளையொடு பொலிந்தபெரும் பெயர் எந்தை அருங் கடி நீவி,செய்து பின் இரங்கா வினையொடுமெய் அல் பெரும் பழி எய்தினென் யானே! In this trip to the hills, there’s more of abstract feelings, as we listen to the confidante say these words to the lady, in an attempt to further the man’s relationship with the lady: “You should ponder on what I say, my friend, may you live long! As a tiger attacked an elephant, having a flower-like head, filled with lines and spots, the blood that spilled paints the mushy field red. To wipe away the stench of that flesh, the fragrance of the formidable Kino flowers, along with wild jasmines, wafts in the huge mountains of the lord. If there is a faultless love, fused with passion for him, that would be good. But if you don’t seek that, pray tell me. If one were to search for the person who doesn’t have any shame or the virtue of friendship, there can be no better candidate than me, in this world. Without consulting with you, who is akin to my own sweet life, and also not caring about the strict guard of our famous father, who dwells with kith and kin, abundant like the sprouts of a bamboo, I have done something which I do not regret, and I seem to have attained an unjustified blame for that!” Let’s understand the nuances here! The confidante starts with a request to her friend to reflect on what she was about to say. Then she describes the man’s mountain country as a place where the fragrance of the Kino and wild jasmine flowers removes the stench of the blood that has spilled in the attack of a tiger and elephant and mushed up the red earth beneath. Then she asks her friend if the lady feels a deep love for the man. And when the confidante sees no response from the lady, the confidante declares that she must be the only person on earth not having any sense of shame or the true feeling of friendship. She concludes by explaining that she has done a deed, without checking with the lady and not minding the strict guard of the lady’s father, but one for which she feels no regret and one she doesn’t mind the blame endowed on her without cause. To understand this complicated expression, we have to reflect on certain cultural practices. Apparently, in this era, it was the custom of the man to seek out the lady’s confidante to further his relationship with the lady, by means of arranging trysts. Some sense of modesty perhaps prevented him from approaching the lady directly. So, the confidante, understanding the lady’s interest in the man, is presenting the man’s case before the lady. She then tries to convince the lady by pretending to take responsibility for all the blame and censure in her delicate situation. In the scene of the mountain flowers removing the stench of flesh, the confidante places a metaphor for the man’s future action of marrying the lady and wiping away the slander of their secret love relationship. A verse that illustrates the influence a friend can exert in one’s life, something that is true not just two thousand years ago, in this particular culture, but even today, and mostly everywhere! | — | ||||||
| 6/16/26 | ![]() Aganaanooru 267 – Blame him not | In this episode, we perceive an expression of angst, as depicted in Sangam Literary work, Aganaanooru 267, penned by Paalai Paadiya Perunkadunko. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse describes the scenes in the sweltering drylands with a stack of similes. நெஞ்சு நெகிழ்தகுந கூறி, அன்பு கலந்து,அறாஅ வஞ்சினம் செய்தோர், வினை புரிந்து,திறம் வேறு ஆகல் எற்று?’ என்று ஒற்றி,இனைதல் ஆன்றிசின், நீயே; சினை பாய்ந்து,உதிர்த்த கோடை, உட்கு வரு கடத்திடை,வெருக்கு அடி அன்ன குவி முகிழ் இருப்பை,மருப்புக் கடைந்தன்ன, கொள்ளை வான் பூமயிர்க் கால் எண்கின் ஈர் இனம் கவர,மை பட்டன்ன மா முக முசுவினம்பைது அறு நெடுங் கழை பாய்தலின், ஒய்யெனவெதிர் படு வெண்ணெல் வெவ் அறைத் தாஅய்,உகிர் நெரி ஓசையின் பொங்குவன பொரியும்ஓங்கல் வெற்பின் சுரம் பல இறந்தோர்தாம் பழி உடையர்அல்லர்; நாளும்நயந்தோர்ப் பிணித்தல் தேற்றா, வயங்கு வினைவாள் ஏர் எல் வளை நெகிழ்த்த,தோளே தோழி! தவறு உடையவ்வே! We get to see plenty of flora and fauna in this trip to the drylands, as we listen to the lady say these words to her confidante, at a time when the man continues to remain parted away from her, having left in search of wealth: “Saying, ‘How come the one who said the right words to make the heart melt, filled with love, and took an oath to never part away, has now turned a different person and left in search of wealth?’, do not analyse and suffer ceaselessly, my friend! Upon those fear-evoking paths, pouncing on the branches, hot summer winds shed clusters of Mahua flowers, which appear akin to the paws of a wild cat, in a bright white hue, akin to powdered tusks, and these are eaten by a sleuth of furry-legged sloth bears. Since monkeys with dark faces as if painted with kohl, leap about, from tall bamboos, bereft of green, suddenly bamboo seeds drop down and spread on the hot rocks beneath, and with the noise of snapping nails, these seeds pop and fry in those highland drylands, through which the man traverses. He is not the one to be blamed; Those arms of mine, which day after day, without knowing how to bind the one it loves, lets the well-etched, sword-cut, shining bangles slip away, is the one at fault, my friend!” Time to take a hot walk on those arid paths! The lady starts by requesting her confidante not to look at her state and worry endlessly, thinking about all the promises the man made when courting the lady and how he has changed now on account of seeking wealth. Then she describes the drylands path where the man walks and to do that, she brings before our eyes, fallen Mahua flowers, nudged from the branches by the hand of the summer winds, comparing the shape of these flowers to the paws of a wild cat and their hue to powdered ivory. Then she points out how furry-legged bears feed on these flowers that have fallen down. Next, she turns her attention to drying bamboos and points out to a leaping monkey, whose face seems to be blackened with kohl, possibly a langur, and in its brisk motion, the bamboo seeds scatter and fall on the rocks below, and the moment they do, they pop and fry, so hot the weather is, the lady connects. Instant bamboo pop-corn, seems like! It’s such a path that the man walks, the lady describes. She concludes by asking her friend not to blame the man for her state, saying the real culprit is her arms which seem not to know how to bind the man to her and all they can do is to let those exquisite bangles slip away, losing their health! Can we see this as a subtle way of taking responsibility for one’s state? Ultimately, there’s no use blaming another for how we feel, no matter how justified it may seem. Seeing this timeless truth, whether the lady rises above her pain and faces the future with confidence or not, we surely can, in the various sweltering paths of our lives! | — | ||||||
| 6/15/26 | ![]() Aganaanooru 266 – Past vow and Present vice | In this episode, we listen to a pointed expression of discontent, as depicted in Sangam Literary work, Aganaanooru 266, penned by Paranar. The verse is situated amidst gushing new streams of the ‘Marutham’ or ‘Farmlands landscape’ and relays a jilted woman’s feelings. “கோடுற நிவந்த நீடு இரும் பரப்பின்அந்திப் பராஅய புதுப் புனல், நெருநை,மைந்து மலி களிற்றின் தலைப் புணை தழீஇ,நரந்தம் நாறும் குவை இருங் கூந்தல்இளந் துணை மகளிரொடு ஈர் அணிக் கலைஇ,நீர் பெயர்ந்து ஆடிய ஏந்து எழில் மழைக் கண்நோக்குதொறும் நோக்குதொறும் தவிர்விலையாகி,காமம் கைம்மிகச் சிறத்தலின், நாண் இழந்து,ஆடினை என்ப மகிழ்ந! அதுவேயாழ் இசை மறுகின் நீடூர் கிழவோன்வாய் வாள் எவ்வி ஏவல் மேவார்நெடு மிடல் சாய்த்த பசும் பூண் பொருந்தலர்அரிமணவாயில் உறத்தூர் ஆங்கண்,கள்ளுடைப் பெருஞ் சோற்று எல் இமிழ் அன்ன,கவ்வை ஆகின்றால் பெரிதே; இனி அஃதுஅவலம் அன்றுமன், எமக்கே; அயலகழனி உழவர் கலி சிறந்து எடுத்தகறங்கு இசை வெரீஇப் பறந்த தோகைஅணங்குடை வரைப்பகம் பொலிய வந்து இறுக்கும்திரு மணி விளக்கின் அலைவாய்ச்செரு மிகு சேஎயொடு உற்ற சூளே!” In this colourful trip to the farmlands, as usual, we see sparks fly between a couple, as we listen to the lady say these words to the man, when he returns home, after being in the company of courtesans: “Leaping high up to the banks, amidst the dark and vast spread of those exquisite gushing new floods, akin to a strong and skilful male elephant, holding on to the head of the raft, yesterday, along with those young companions of yours, having thick clusters of tresses, wafting with the scent of bitter orange, adorning yourself with a wet attire and accessories, you played on and on, in those waters, and every time you looked at those exquisite, rain-like eyes of theirs, roving around, with desire brimming over, and passion exceeding its bounds, losing your sense of shame, you frolicked, they say, O lord of the town! The slander that arose because of this has become louder than the uproar at the festivities in the town of ‘Arimanavayil Urathoor’, when copious toddy and ceaseless food were offered in the middle of the day, at a time when the lord of the ancient town, where the music of the lute spreads in the streets, Evvi, who wields an honest sword, ruined and routed the power of those clad in golden ornaments, those who had refused to accept his command! But even the uproar of that slander is not something that brings distress to me. Fearing the resounding beats made by farmers in the field nearby, a peacock, fluttering its wings, takes off to those fear-evoking mountain ranges, and lands in a place called ‘Alaivaai’, lit by exquisite lamps, the abode of the battle-worthy Dark-skinned One. It’s the memory of the oath that you had taken before this God, which happens to brings that sense of suffering in me!” Let’s listen in to this quarrel and learn more! The lady starts by coming straight to the point and talking about how the news of the man’s activities the previous day had reached her ears already. Apparently, the man had adorned himself with ancient wet-wear and jumped into the gushing new river streams along with maiden he desired, and was romping around, without any sense of shame. The lady goes on to talk about how the uproar of slander in town owing to his activities was louder than the festivities at a place, filled with toddy and much food, called ‘Arimanavayil Urathoor’, after Lord Evvi quelled those wealthy others, who refused to heed to his command. That’s a pretty common comment, made in these situations but the lady follows that up by saying to the man, ‘Even that uproar is not causing me any concern. The only thing that worries me is when I remember the oath you took in front of God Murugan, at ‘Alaivaai’, frequented by peacocks that have arrived thither, after being frightened by the drums of farmers’. What this implies is that during the time of their courtship, the man had taken an oath of being true and loyal to the lady in front of God Murugan, which is now washed away in the flood of that river he played in. The lady means to say to the man, ‘All this slander is nothing but I fear some harm may befall you for you did not keep the promise you made in front of God’. Through that reference of the peacock flying away to God’s mountain, after being frightened by the farmer’s drums, the lady places a metaphor for how the man has come to their home, only because he feared the slander that arose in town and not any true feeling of love within. This will hopefully make the man reflect on his past promises, present aberrations and change his future path. Through multiple modes, the lady expresses her dissatisfaction with the man’s behaviour and illustrates an instance of effective communication in interpersonal conflict! | — | ||||||
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| 6/13/26 | ![]() Aganaanooru 265 – Worth of that wealth | In this episode, we perceive a disgruntled comparison, as depicted in Sangam Literary work, Aganaanooru 265, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse introduces an intriguing historic detail. புகையின் பொங்கி, வியல் விசும்பு உகந்து,பனி ஊர் அழற் கொடி கடுப்பத் தோன்றும்இமயச் செவ் வரை மானும்கொல்லோ?பல் புகழ் நிறைந்த வெல் போர் நந்தர்சீர் மிகு பாடலிக் குழீஇ, கங்கைநீர்முதல் கரந்த நிதியம்கொல்லோ?எவன்கொல்? வாழி, தோழி! வயங்கு ஒளிநிழற்பால் அறலின் நெறித்த கூந்தல்,குழற் குரல் பாவை இரங்க, நத்துறந்து,ஒண் தொடி நெகிழச் சாஅய், செல்லலொடுகண் பனி கலுழ்ந்து யாம் ஒழிய, பொறை அடைந்து,இன் சிலை எழில் ஏறு கெண்டி, புரையநிணம் பொதி விழுத் தடி நெருப்பின் வைத்து எடுத்து,அணங்கு அரு மரபின் பேஎய் போலவிளர் ஊன் தின்ற வேட்கை நீங்க,துகள் அற விளைந்த தோப்பி பருகி,குலாஅ வல் வில் கொடு நோக்கு ஆடவர்புலாஅல் கையர், பூசா வாயர்,ஒராஅ உருள் துடி குடுமிக் குராலொடுமராஅஞ் சீறூர் மருங்கில் தூங்கும்செந் நுதல் யானை வேங்கடம் தழீஇ,வெம் முனை அருஞ் சுரம் இறந்தோர்நம்மினும் வலிதாத் தூக்கிய பொருளே! In this trip to the drylands, we receive some vivid word portraits, as we listen to the lady say these words to the confidante, when the man continues to remain parted away, having left in search of wealth: “Brimming over like smoke, soaring in the wide sky, flowing with snow, akin to a burst of flame, appears the crimson Himalayan mountains. Would it be equal to that? Or, take the riches that the battle-worthy Nandars, having much fame, had gathered in the renowned city of Patali and then drowned in the waters of the Ganges, lost in time. Would it be equal to that? May you live long, my friend! Forsaking me, the one having wavy tresses, akin to fine slit in the shade, a voice like the flute, the one akin to a doll, he has parted away, letting my shining bangles slip away, making my eyes shed tears, filled with much sorrow, to the mountains in the scorching, formidable drylands, where after killing a fine, sturdy bull, roasting its fatty, fleshy meat in the fire, akin to demons from a fear-evoking tradition, they eat the dry meat and to quench the thirst that arises, those men with curving, sturdy bows and harsh eyes, drink crystal clear, well-aged rice liquor named ‘Thoppi’. Then, with meat-covered hands, and unclean mouths, to the tune of a tufted eagle-owl’s ceaseless hooting, in the streets of the hamlet with burflower trees, they sway around and dance, close to the hills of Venkatam, where elephants with red foreheads, are to be found! What is the true worth of that wealth he seeks in these spaces, with more intent, upheld higher than me, pray tell?” Let’s brave the scary drylands and learn more! The lady starts by describing the Himalayas with a stack of similes, such as smoke and flames, and presents its soaring personality, and she asks if the wealth the man seeks is greater than these mountain ranges? From the physical wealth of a natural feature, the lady turns to man-made wealth of a certain clan of kings named ‘Nandas’, who are said to have ruled over a city named ‘Pataliputra’. Apparently, they then sank this accumulated wealth in the waters of the Ganges and it was lost for all time. Wonder what made those Nandas destroy their hard-earned wealth? In any case, the lady asks whether the wealth the man seeks is greater than this wealth of the famous Nandas. Then, she talks of herself, calling her a doll, having a voice like that of a flute, tresses akin to the river silt in the shade. Modest lady, indeed! She turns to describe how the man has left her, ruining her health and beauty, making her filled with sorrow and suffering. And where has he left? Predictably, to the drylands, the lady adds and to sketch this space, she paints an image of highway robbers with harsh eyes and bent bows, feeding on the roasted flesh of a bull they killed, drinking rice liquor known as ‘Thoppi’, and then, without even washing their hands or mouth, dancing to the hoots of a tufted Rock Eagle-owl, in a drylands hamlet, filled with burflower trees, close to the Venkatam hills in the north. The lady concludes by pondering on the great worth of that wealth that the man has forsaken her for! In essence, the lady talks about how she cannot understand the man’s quest for wealth instead of relishing the joy of togetherness with her. A striking instance of how priorities seem to clash between the genders even two thousand years ago! | — | ||||||
| 6/12/26 | ![]() Aganaanooru 264 – Won’t he realise?✨ | Sangam literatureangst+3 | — | — | — | AganaanooruSangam literature+5 | — | 4m 44s | |
| 6/11/26 | ![]() Aganaanooru 263 – If only I had known✨ | Sangam literaturemother's emotions+3 | — | — | — | AganaanooruSangam literature+5 | — | 5m 00s | |
| 6/10/26 | ![]() Aganaanooru 262 – Ecstasy of fulfilment✨ | Sangam literaturelove+3 | — | — | — | AganaanooruSangam literature+6 | — | 5m 43s | |
| 6/9/26 | ![]() Aganaanooru 261 – Walk on ahead O beloved✨ | Sangam literaturelove+3 | — | Aganaanooru 261 | — | Sangam literatureAganaanooru+5 | — | 6m 22s | |
| 6/5/26 | ![]() Aganaanooru 260 – Sunset hour on the shore✨ | Sangam literatureCoastal landscape+3 | — | — | — | AganaanooruSangam literature+3 | — | 5m 14s | |
| 6/4/26 | ![]() Aganaanooru 259 – Encouragement to depart✨ | Sangam literaturelove and relationships+3 | — | Aganaanooru 259 | — | Sangam literatureAganaanooru+6 | — | 4m 56s | |
| 6/3/26 | ![]() Aganaanooru 258 – Portrait of disappointment✨ | Sangam literaturedisappointment+3 | — | Aganaanooru 258 | PaazhiNannan Uthiyan | Sangam literatureAganaanooru+6 | — | 4m 36s | |
| 6/2/26 | ![]() Aganaanooru 257 – Words of admiration✨ | Sangam literatureadmiration+3 | — | — | — | AganaanooruSangam literature+4 | — | 6m 10s | |
| 6/1/26 | ![]() Aganaanooru 256 – An act of justice✨ | Sangam literaturejustice+3 | — | — | — | AganaanooruSangam literature+4 | — | 7m 08s | |
| 5/29/26 | ![]() Aganaanooru 255 – From the shore to the sea✨ | Sangam literatureyearning+4 | — | — | — | AganaanooruSangam literature+6 | — | 6m 38s | |
| 5/28/26 | ![]() Aganaanooru 254 – The joy of coming home | In this episode, we listen to the ecstatic words of a person, as depicted in Sangam Literary work, Aganaanooru 254, penned by Madurai Aruvai Vaanikan Ilavettanaar. The verse is situated amidst the blooming jasmines of the ‘Mullai’ or ‘Forest landscape’ and sketches the emotions in a homecoming. ‘நரை விராவுற்ற நறு மென் கூந்தற்செம் முது செவிலியர் பல பாராட்ட,பொலன் செய் கிண்கிணி நலம் பெறு சேவடிமணல் மலி முற்றத்து நிலம் வடுக் கொளாஅ,மனை உறை புறவின் செங் காற் சேவல்துணையொடு குறும் பறை பயிற்றி, மேல் செல,விளையாடு ஆயத்து இளையோர்க் காண்தொறும்நம்வயின் நினையும் நல் நுதல் அரிவைபுலம்பொடு வதியும் கலங்கு அஞர் அகல,வேந்து உறு தொழிலொடு வேறு புலத்து அல்கி,வந்து வினை முடித்தனம்ஆயின், நீயும்,பணை நிலை முனைஇய, வினை நவில் புரவிஇழை அணி நெடுந் தேர் ஆழி உறுப்ப,நுண் கொடி மின்னின், பைம் பயிர் துமிய,தளவ முல்லையொடு தலைஇ, தண்ணெனவெறி கமழ் கொண்ட வீ ததை புறவின்நெடி இடை பின் படக் கடவுமதி, என்று யான்சொல்லிய அளவை, நீடாது, வல்லென,தார் மணி மா அறிவுறாஅ,ஊர் நணித் தந்தனை, உவகை யாம் பெறவே! In this trip to the woodlands, we take in familiar scenes that rush past, as we listen to the man say these words to his charioteer, at a moment when he’s returning home to the lady, after having parted with her to work on a mission: “As many experienced old caretakers, having fragrant, soft tresses, interspersed with greys, pamper, young ones amidst the playmates, wearing golden, tinkling anklets on their beautiful feet, leaving marks on the sand-filled front yard, run around, making the red-legged male pigeon residing at home, and cuddling with its mate, to spread its short wings and flutter away above. Seeing these sights, that young maiden with a fine forehead, would think of me, and be filled with lament. To end her state of suffering, at this time, when my task in this foreign land, taken at the behest of the king, is complete, I asked you to tie the battle-worthy horses, which hate to remain in the stables, to the bejewelled, tall chariot, and rotating its wheels, with the speed of vine-like lightning, chopping shrubs on the path, striding through the fragrant forest, blooming with wild jasmines and pink jasmines, filled with fallen flowers, and leaving that long and winding path behind, and ride on. Even before I finished my words, without waiting, with much speed, making those horses clad in garlands understand, you have brought me so close to the town, making me attain much joy!” Let’s listen to the duet of the man’s heartbeat and the horses’ hoofbeat! The man starts by talking about his lady’s state, and to do that, he paints a picture of many old women, with the stamp of wisdom in the hue of grey on their fragrant tresses, who have the task of taking care of the lady and her playmates. As they pamper, in the front yard, the lady’s many playmates would be running about, making the cuddling pigeons scuttle away, the man imagines. He infers that the lady would be reminded of the man when she sees those pigeons in the air, and as a result, would be filled with much worry. Considering all this, the man wanting to return to her with much speed, now that his mission for the king is all done, had said to his charioteer to rush homeward, with the sturdy horses and decorated chariot, chopping the shrubs on the way, and leaving behind the scene of a forest filled with blooming white and pink jasmines. The man concludes by saying how even before he finished those words, the charioteer understanding his heart and wielding the horses with much skill, had brought the man so close to the lady’s town, and thus made him feel a deep happiness! In essence, this is appreciation for the work of a subordinate, who has exceeded expectations. A feeling we can relate to, even two thousand years later, when we share a word of praise for a job well done. Indeed, it’s an ecstatic instance, with ripples many, in the life of the giver and the receiver. A verse that seems to nudge us to find ways to express gratitude for the many blessings endowed by the people in our lives! | — | ||||||
| 5/27/26 | ![]() Aganaanooru 253 – Assurance of a return | In this episode, we perceive thoughtful words of consolation, as depicted in Sangam Literary work, Aganaanooru 253, penned by Nakeerar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse illustrates the fame of a leader in capturing cattle. ”வைகல்தோறும் பசலை பாய, என்மெய்யும் பெரும்பிறிது ஆகின்று, ஒய்யென;அன்னையும் அமரா முகத்தினள்; அலரே,வாடாப் பூவின் கொங்கர் ஓட்டி,நாடு பல தந்த பசும் பூட் பாண்டியன்பொன் மலி நெடு நகர்க் கூடல் ஆடியஇன் இசை ஆர்ப்பினும் பெரிதே; ஈங்கு யான்சில நாள் உய்யலென் போன்ம்” எனப் பல நினைந்து,ஆழல் வாழி, தோழி! வடாஅது,ஆர் இருள் நடு நாள் ஏர் ஆ உய்ய,பகை முனை அறுத்துப் பல் இனம் சாஅய்,கணம்சால் கோவலர் நெடு விளிப் பயிர் அறிந்து,இனம் தலைத் தரூஉம் துளங்கு இமில் நல் ஏற்றுத்தழூஉப் பிணர் எருத்தம் தாழப் பூட்டியஅம் தூம்பு அகல் அமைக் கமஞ்செலப் பெய்ததுறு காழ் வல்சியர் தொழு அறை வௌவி,கன்றுடைப் பெரு நிரை மன்று நிறை தரூஉம்நேரா வன் தோள் வடுகர் பெரு மகன்,பேர் இசை எருமை நல் நாட்டு உள்ளதைஅயிரி யாறு இறந்தனர்ஆயினும், மயர் இறந்துஉள்ளுபதில்ல தாமே பணைத் தோள்,குரும்பை மென் முலை, அரும்பிய சுணங்கின்,நுசுப்பு அழித்து ஒலிவரும் தாழ் இருங் கூந்தல்,மாக விசும்பின் திலகமொடு பதித்ததிங்கள் அன்ன நின் திரு முகத்து,ஒண் சூட்டு அவிர் குழை மலைந்த நோக்கே. In this long trip to the drylands, we get to see more of an event rather than the place, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Saying, ‘As pallor spreads day after day, my body seems to be losing its life, little by little; As for mother, she has a troubled look on her face; As for slander, that resounds louder than the sweet-sounding uproar in the streets of ‘Koodal’, filled with gold-brimming, tall mansions, when its king Pasumpoon Pandiyan, who had conquered countries many, drove away the Kongars, clad in undying flowers of gold; It appears as if I shan’t live for more than a few days!’, thinking about too many things, cry not, my friend, may you live long! In the north, capturing cattle in the deep darkness of midnight, ruining battlefronts many and causing groups to decline, the lord of the Vadugars, who has unparalleled, strong shoulders, known by the famous name of ‘Erumai’, would drive towards his town centre, sturdy oxen with radiant humps and coarse necks, which knowing the specific loud whistle of their many herders, would round up their herd, and bring them to the barns, built with the beautiful stems of wide bamboos, and filled with copious food, stealing them along with huge herd of cows with calves. In this leader’s fine country, flows the ‘Ayiri’ river. Even though the man has gone beyond this river, indeed he cannot help but reflect, beyond all his confusion, on your bamboo-like arms, your soft bosoms, akin to palm fruits, dotted with beauty spots, low-hanging, thick, long tresses that make the waist vanish, your exquisite face, akin to the moon, which is a radiant dot on the cloud-filled skies, adorned with shining heavy earrings, and most of all, your attacking eyes!” Time to walk on through the drylands and learn more! The confidante starts by repeating the recent words of the lady, lamenting on her fading beauty, mother’s disturbance, and the slander that’s spreading in town, owing to all this. To describe the slander, a historic incident involving Pasumpoon Pandiyan’s routing of the Kongars and the resulting jubilation that arose in the city of Koodal is brought forth in comparison to the soaring gossip in town. This tells us that the parting between the man and lady had transpired before the man’s wedding to the lady and that’s why the slander has risen, owing to the changes in the young maiden. After repeating the lady’s anxious words, the confidante asks her friend not to cry thinking on these lines. Then the confidante launches into a long description of how a Sangam-era leader of the Vadugars, a chief who goes by the name ‘Erumai’, would capture bulls, cows and calves, stealing them from prosperous barns and bring them to his town centre. The exploits of this chieftain have been outlined to point out a river named ‘Ayiri’ that flows in his domain, and to say the man is presently travelling beyond this river. How does the confidante know of this? Has she put a tracker on the man? Kidding apart, the confidante after presenting the exact location of the man, then tells the lady that it would be impossible for the man to not think of the lady’s many beautiful attributes, and concludes with the confirmation that the man would return soon to the lady’s fold. Another assurance, another consolation, and we journey on, taking in the new sights of kings and captures in that era! | — | ||||||
| 5/26/26 | ![]() Aganaanooru 252 – A Sleepless Stance | In this episode, we listen to an account of an impossible situation, as depicted in Sangam Literary work, Aganaanooru 252, penned by Nakkannaiyaar. The verse is situated amidst the dark and dangerous ranges of the ‘Kurinji’ or ‘Mountain Landscape’ and etches an exquisite simile to capture an intricate emotion. இடம் படுபு அறியா வலம் படு வேட்டத்துவாள் வரி நடுங்கப் புகல்வந்து, ஆளிஉயர் நுதல் யானைப் புகர் முகத்து ஒற்றி,வெண் கோடு புய்க்கும் தண் கமழ் சோலைப்பெரு வரை அடுக்கத்து ஒரு வேல் ஏந்தி,தனியன் வருதல் அவனும் அஞ்சான்;பனி வார் கண்ணேன் ஆகி, நோய் அட,எமியேன் இருத்தலை யானும் ஆற்றேன்;யாங்குச் செய்வாம்கொல் தோழி! ஈங்கைத்துய் அவிழ் பனி மலர் உதிர வீசித்தொழில் மழை பொழிந்த பானாட் கங்குல்,எறி திரைத் திவலை தூஉம் சிறு கோட்டுப்பெருங் குளம் காவலன் போல,அருங் கடி அன்னையும் துயில் மறந்தனளே? In this little trip to the mountains, we get to meet the wild beasts of the land, as we listen to the lady say these words to her confidante, pretending not to notice the man listening nearby, but making sure he’s in earshot: “Making a tiger with sword-like stripes, one which knows not to fell its prey on the left and always hunts it down on the right, to quiver, with a desire to kill, a ferocious lion pounces on the spotted face of an elephant with an upraised forehead, and tears apart its white tusks, in the cool and fragrant orchard, amidst the tall mountain ranges. Treading through such a space with a single spear, he comes alone without any fear; With tears pouring down from my eyes, with the affliction of love attacking me, I too cannot bear to be apart from him; What are we to do, my friend? Making the touch-me-not’s dew-covered flowers with fuzzy petals to drop down, rain clouds gush and pour in the midnight hour. At this time, when the soaring waves spray and spread their droplets in that huge pond with a weak bank, akin to the one who stands in guard there, mother too has put up a protective watch and has forgotten the meaning of sleep now!” Let’s brave the storm clouds and the roving beasts, and listen to the lady’s heartbeat! The lady starts by introducing a tiger, one which is so flawless in its skill of killing that it never hunts a prey on the left and always finishes it on the right. Apparently, this was a big deal to the ancients, as we have heard this obsession over right-side-killing in more than one song! After presenting a portrait of such a valorous tiger, the lady relates a scene which seems to make even this brave tiger quiver in fear, and that’s the scene of an animal she calls as ‘Aali’ attacking an elephant and tearing out its tusks. This ‘Aali’ is a mythical creature depicted in Hindu temples with the composite parts of many animals. However, in this instance, it’s interpreted as a lion. Though today there are no lions in the state of Tamil Nadu and they are confined to the state of Gujarat, perhaps this was a time when the lions roved freely in the South too. Returning, the lady has mentioned the attack only to depict the dangerous path the man walks, with only a spear for company, in the dead darkness of the night, without a drop of fear in his heart. As if saying he may not fear for his safety, but she does, the lady talks about how though tears pour down her eyes, she too cannot bear the thought of being apart from him. After relating the state of mind of the man and herself, the lady turns to depict a third person in this scene, and that’s the state of her mother, who keeps a watchful eye on her daughter, much like how a guard would watch an ebbing pond with a thin bank and though it’s the midnight hour, would forget to seek the calming refuge of sleep. The lady concludes by asking her friend what was the man and herself to do in such a difficult situation! In essence, the lady is telling the man that mother was aware that something’s up and so there’s danger of discovery and the only course of action for the man was to seek the lady’s hand in marriage. With that nuanced depiction and comparison with a person who stands guard around a tank with a weak bank on a rainy night, the verse paints the strokes of anxiety and insomnia with expert hands! Timeless emotions have a way of speaking across the ages indeed! | — | ||||||
| 5/25/26 | ![]() Aganaanooru 251 – Slipping Shell bangles | In this episode, we hear words of consolation, as depicted in Sangam Literary work, Aganaanooru 251, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse relates a significant historic incident involving hostilities between the north and south of ancient India. தூதும் சென்றன; தோளும் செற்றும்;ஓதி ஒண் நுதல் பசலையும் மாயும்;வீங்கு இழை நெகிழச் சாஅய், செல்லலொடுநாம் படர் கூரும் அருந் துயர் கேட்பின்,நந்தன் வெறுக்கை எய்தினும், மற்று அவண்தங்கலர் வாழி, தோழி! வெல் கொடித்துனை கால் அன்ன புனை தேர்க் கோசர்தொல் மூதாலத்து அரும் பணைப் பொதியில்,இன் இசை முரசம் கடிப்பு இகுத்து இரங்க,தெம் முனை சிதைத்த ஞான்றை, மோகூர்பணியாமையின், பகை தலைவந்தமா கெழு தானை வம்ப மோரியர்புனை தேர் நேமி உருளிய குறைத்தஇலங்கு வெள் அருவிய அறை வாய் உம்பர்,மாசு இல் வெண் கோட்டு அண்ணல் யானைவாயுள் தப்பிய, அருங் கேழ் வயப் புலிமா நிலம் நெளியக் குத்தி, புகலொடுகாப்பு இல வைகும் தேக்கு அமல் சோலைநிரம்பா நீள் இடைப் போகி,அரம் போழ் அவ் வளை நிலை நெகிழ்த்தோரே. In this trip to the familiar drylands, we take a detour to observe the path of hostile armies, as we listen to the confidante say these words to the lady, when the man continues to remain parted away, having left in search of wealth: “Messengers have gone thither; Thinning arms shall recover; Pallor that spreads on the shining forehead, hemmed by tresses, shall disappear; If he hears of the deep sorrow that spreads in you, making you lose your health and causing your thick ornaments to slip away, even if he were to attain the wealth of Nandan, he will not choose to remain there! May you live long, my friend! Wielding wind-like, well-etched chariots, fluttering with victorious flags, the Kosars ruined the battlefields of enemies, as the sweet-sounding drums thundered and roared amidst the common grounds, spreading with the thick branches of the ancient banyan tree. At this time, as Mokoor refused to submit to them, the Mauryas arrived with their huge armies to rout the enmity, and to ensure the wheels of their etched chariots roll on, they carved paths through mountains, flowing with shining, white cascades. Beyond those mountain paths, a strong tiger, with a radiant hue, which had previously escaped the attack of an esteemed elephant with flawless white tusks, is now gored, making the wide land to break apart into pits, and where that elephant, removed from its protective herd, now resides with arrogance, amidst the jungle interspersed with teak trees. Though he has left to these uninhabited long paths, making your beautiful shell bangles, carved by a saw, slip away, he shall stay not there and shall return to you soon!” Time to take a stroll amidst those barren spaces and learn more! The confidante opens the conversation by talking about how their messengers have left to where the man was, and because of that the sad happenings in the lady’s life, such as her thinning arms and spreading pallor, would be reversed. The confidante says this because she’s convinced that once the man hears of the lady’s sorrowful state, even if one were to tempt him with as much wealth as someone then named ‘Nandan’, he would not choose to remain where he was. Then she goes on to describe where the man is at now, and to do that, she talks of how the Mauryas had waged war on the south, and the Kosars had chosen to rise in their support. At this time, the Tamil king of Mokoor refused to accept their subjugation. To quell this dissent, the Mauryas themselves had decided to come south, and to do that, they carved paths through the mountains so that their chariots could roll on unimpeded. Now the confidante connects saying the man walks beyond those carved mountainous paths, and here a tiger is attacked by the sharp tusk of an elephant, which roves alone, without its herd. The confidante concludes with the words that though the man had gone to such far places, making the saw-cut, shell bangles of the lady to slip away, he would not remain there for long, and would be back in the lady’s fold. The striking thing in this verse is the mention of the conflict between kings in the north and south of India, even in ancient times. Though the details are sketchy and the focus seems to be more on the roads laid by the Mauryas to come south, it does give a hint of the hostilities of the past. Another subtle reference here is to the saw-cut, shell bangles, in a taken for granted away, but this has current-day implications in the excavation of many such bangles from both the Indus Valley sites in Gujarat as well as Sangam era sites such as Vembakottai in Tamil Nadu, revealing the presence of a nuanced industry to produce decorated bangles from conch shells. Yet again, simple words of consolation throw the spotlight on significant events around trade and war in the ancient world! | — | ||||||
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