Kalithogai 77 – Enemy called the heart

Sangam Lit

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We all dream. Every night. Whether we remember them or not. And maybe — just maybe — those dreams aren’t random, ridiculous, or irrelevant. Maybe they’re trying to tell us something we’re too distracted, too busy, or too burned out to hear while we’re awake. Here to help us decode the language of dreams is Dr. Bonnie Buckner — founder of the International Institute for Dreaming and Imagery®, executive coach, faculty director at GWU’s Center for Excellence in Public Leadership, and author of The Secret Mind: Unlock the Power of Your Dreams to Transform Your Life . She’s spent her career teaching people how to use dreaming and imagery for personal growth, leadership, and creative breakthroughs . We explore: Why your dreams are worth paying attention to (even the weird ones) The science and strategy behind using dreams for personal development How feelings and subconscious wisdom can point to answers What to do if you don’t remember your dreams Why slowing down might be the key to speeding up your clarity Because what if the clarity you're chasing isn't out there — it's already in you, waiting for you to slow down, shut off, and tune in? Connect with Bonnie: Website: https://bonniebuckner.com/ Book: https://bonniebuckner.com/the-secret-mind/ IG: https://www.instagram.com/dreamwithiidi/ Related Podcast Episodes: How To Rewire Patterns That No Longer Serve You with Judy Wilkins-Smith | 323 The Icelandic Art of Intuition with Hrund Gunnsteinsdóttir | 307 The Astrology Advantage with Tali Edut of The AstroTwins | 301 Share the Love: If you found this episode insightful, please share it with a friend, tag us on social media, and leave a review on your favorite podcast platform! 🔗 Subscribe & Review: Apple Podcasts | Spotify | Amazon Music Learn more about your ad choices. Visit megaphone.fm/adchoices…

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In this episode, we perceive the lady's loss owing to the man's actions, as portrayed in Sangam Literary work, Kalithogai 77, penned by Maruthan Ilanaakanaar. The verse is situated in the ‘Marutham’ or ‘Farmlands landscape’ and sketches the lady's state of despair.

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Kalithogai 77 – Enemy called the heart

Sangam Lit

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Sangam Lit

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Aganaanooru 67 – Despair of the drylands 4:48

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In this episode, we listen to a frustrated response, as portrayed in Sangam Literary work, Aganaanooru 67, penned by Noy Paadiyaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse depicts the dreary state of the place the man traverses. யான் எவன் செய்கோ? தோழி! பொறி வரி வானம் வாழ்த்தி பாடவும், அருளாது உறை துறந்து எழிலி நீங்கலின், பறைபு உடன், மரம் புல்லென்ற முரம்பு உயர் நனந்தலை, அரம் போழ் நுதிய வாளி அம்பின், நிரம்பா நோக்கின், நிரயம் கொண்மார், நெல்லி நீளிடை எல்லி மண்டி, நல் அமர்க் கடந்த நாணுடை மறவர் பெயரும் பீடும் எழுதி, அதர்தொறும் பீலி சூட்டிய பிறங்கு நிலை நடுகல் வேல் ஊன்று பலகை வேற்று முனை கடுக்கும் மொழி பெயர் தேஎம் தருமார், மன்னர் கழிப் பிணிக் கறைத்தோல் நிரை கண்டன்ன உவல் இடு பதுக்கை ஆள் உகு பறந்தலை, ”உரு இல் பேஎய் ஊராத் தேரொடு நிலம் படு மின்மினி போல, பல உடன் இலங்கு பரல் இமைக்கும்” என்ப நம் நலம் துறந்து உறைநர் சென்ற ஆறே! A trip to the drylands and here it’s all about the place! The lady says these words in response to the confidante, who asks her to bear with grace, the man’s parting from the lady, in pursuit of wealth. “What can I do, my friend? Though the spotted, striped skylark sings praising the skies, without rendering its graces of showering down raindrops, the clouds part away heartlessly. Losing their leaves, trees appear listless in those pebble-filled high and wide spaces. In the dark of the night, wielding arrows with split edges, shaped by saws, with eyes focused on their targets, many left to recover their cattle, and won those battles but perished in the fight. Amidst those paths, filled with gooseberry trees, appearing akin to a battlefield, inscribed with the name and fame of those honourable warriors, hero stones abound between the bushes, adorned radiantly with peacock feathers. Akin to heaps of blackened shields tied with ropes, belonging to the armies of kings, who wish to conquer other lands, where different languages are spoken, appear stone graves in the vast spaces, without people any. Many say, ‘Akin to fireflies flitting on land, twinkle those shining pebbles, amidst the formless, deceiving mirages’ about the path that the one, who abandoned my beauty, traverses now!” Let’s get walking through the scorching drylands with the man! The lady starts by responding to her confidante that she is unable to help her response of despair and anxiety. Then she goes on to say why describing in detail, the rain-less, leaf-less, shade-less spaces, where the man treads. She also mentions about hero stones being put up in these places for warriors, who perished in their battles to recover their cattle, and how these are adorned with peacock feathers. Then, she talks about shallow stone graves of wayfarers buried there, appearing like blackened shields of conquering kings. As the final image, she mentions how those dry, blistering places are filled with mirages, and shining pebbles that spread everywhere seem like fireflies, flitting about on the land. ‘So dreadful is the place my beloved walks and how do you expect me to be calm and composed?’, the lady concludes to her confidante. A simple verse that talks about the pain one feels on behalf of another. The lady no doubt is in the comfort of her wealthy home, but still she feels the distress and despair of her man so faraway. That empathy is perhaps the guiding beacon for those in love!…

Sangam Lit

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Aganaanooru 66 – A child’s hold 6:41

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6:41

In this episode, we listen to the narration of a unique intervention, as depicted in Sangam Literary work, Aganaanooru 66, penned by Selloor Kosikan Kannanaar. Set amidst the wealthy streets of the ‘Marutham’ or ‘Farmlands landscape’, the verse celebrates the presence of a child at a home. ”இம்மை உலகத்து இசையொடும் விளங்கி, மறுமை உலகமும் மறு இன்று எய்துப, செறுநரும் விழையும் செயிர் தீர் காட்சிச் சிறுவர்ப் பயந்த செம்மலோர்” எனப் பல்லோர் கூறிய பழமொழி எல்லாம் வாயே ஆகுதல் வாய்த்தனம் தோழி! நிரை தார் மார்பன் நெருநல் ஒருத்தியொடு வதுவை அயர்தல் வேண்டி, புதுவதின் இயன்ற அணியன், இத் தெரு இறப்போன் மாண் தொழில் மா மணி கறங்க, கடை கழிந்து, காண்டல் விருப்பொடு தளர்பு தளர்பு ஓடும் பூங் கண் புதல்வனை நோக்கி, ”நெடுந் தேர் தாங்குமதி, வலவ!” என்று இழிந்தனன். தாங்காது, மணி புரை செவ் வாய் மார்பகம் சிவணப் புல்லி, ”பெரும! செல் இனி, அகத்து” எனக் கொடுப்போற்கு ஒல்லான் கலுழ்தலின், ”தடுத்த மாநிதிக் கிழவனும் போன்ம்” என, மகனொடு தானே புகுதந்தோனே; யான் அது படுத்தனென் ஆகுதல் நாணி, இடித்து, ”இவற் கலக்கினன் போலும், இக் கொடியோன்” எனச் சென்று அலைக்கும் கோலொடு குறுக, தலைக்கொண்டு இமிழ் கண் முழவின் இன் சீர் அவர் மனைப் பயிர்வன போல வந்து இசைப்பவும், தவிரான், கழங்கு ஆடு ஆயத்து அன்று நம் அருளிய பழங் கன்ணோட்டமும் நலிய, அழுங்கினன்அல்லனோ, அயர்ந்த தன் மணனே. It’s the farmlands and though the theme dwells around the conflict between the man and the lady owing to relations with courtesans, here we hear the lady recollect a recent incident to her confidante, and remark on its inferences about the man’s gracious behaviour: “Many have quoted the proverbial statement, ‘Those great people, who have borne children, having a blemish-less appearance relished even by enemies, will surely live with fame in this life, and attain the next life without any trouble’. I realised how true these words are, my friend! Yesterday, the lord, adorned with many garlands on his chest, desiring a union with another woman, wore a new and shining attire, and prepared to leave our street. As the finely etched bells of his horse resounded and he crossed the gate, with a wish of seeing his father, with toddling steps, my flower-eyed son rushed towards him. Seeing him, the man said, ‘Stop the chariot, O charioteer’ and got down. Without pausing, he lifted his son, and pressing the child’s red mouth, akin to coral, on his chest, he held him close, and said to the child, ‘My noble lord! Go inside the home now’. The child, refusing to heed this request, started crying. And so, the great lord with much wealth, stopped by his son, entered our home, carrying him. Thinking the blame for the child’s action would fall on me, with shame, I scolded the child, ‘This little terror has muddled the lord’s plans’ and went near him with a rod. The lord embraced his son and pulled him away. Just then, even though sweet sounds of the resounding drum, inviting him to their home, fell on his ears, the lord avoided going thither, and with the same old thoughtful eyes with which he graced me, when playing with ‘Kazhangu beans’ with my friends back then, he gave up the thought of parting away for his desired union!” Time to tackle the love troubles in this rich region! The lady starts by quoting a proverb from those times which talks about how those people who have adorable children are sure to live gloriously in this life, and not only that, the next eternal life is guaranteed for them, as well. Saying she had thought it to be a mere old saying but recently realised that it was perfectly true. Then the lady goes on to describe how on a previous day, the man had wanted to leave for his rendezvous with a courtesan, and had stepped out of his home, adorned with garlands and new accessories. As he was leaving out of the gate, with the bells on his horse tinkling, the man’s young son, playing on the street, had come running to see his dear daddy. Spotting the child, the man asked his charioteer to hold on and he got down. He lifted the child and held the toddler close to his chest. Then remembering his appointment, the man turned to the boy and said, ‘Why don’t you go inside the home now?’ As all children do, the boy refused and started crying. So, the man stepped inside his home. Observing all this, the lady thought she was going to be blamed for the boy’s actions and came there scolding the child, and brandishing a rod. The man seemed to have pulled away the child from her reach and hugged him. The lady concludes by saying that even though the drums roared from the house of the courtesan, inviting him there, the man did not heed that, and with the same love and care in his eyes he had had, when he first looked at the lady, as she was playing with her mates back in the day, he gave up his prior plans of uniting with the courtesan, and remained at home with her and her son. Thus, with his tiny fingers and little arms, the innocent child seems to have done the magic trick of binding his strong and powerful father to their home, so effortlessly. The nuanced highlight of this verse is the way the lady is able to perceive the love the man had for her in their days of courtship, after the years have passed, under unlikely circumstances, in the actions of the man towards their son. Perhaps a promise that true love, felt and lost, could once again be found, if we care to see with different eyes!…

Sangam Lit

1
Aganaanooru 65 – A definitive decision 5:52

för 5 dagar sedan5:52

5:52

In this episode, we hear news of a much-awaited decision, as depicted in Sangam Literary work Aganaanooru 65, penned by Maamoolanaar. Set amidst the ‘Paalai’ or ‘Drylands landscape’, the verse portrays the change in a person’s mind and its joyous consequences. உன்னம் கொள்கையொடு உளம் கரந்து உறையும் அன்னை சொல்லும் உய்கம்; என்னதூஉம் ஈரம் சேரா இயல்பின் பொய்ம்மொழிச் சேரிஅம் பெண்டிர் கௌவையும் ஒழிகம்; நாடு கண் அகற்றிய உதியஞ்சேரற் பாடிச் சென்ற பரிசிலர் போல உவ இனி வாழி, தோழி! அவரே, பொம்மல் ஓதி! நம்மொடு ஒராங்குச் செலவு அயர்ந்தனரால் இன்றே மலைதொறும் மால் கழை பிசைந்த கால் வாய் கூர் எரி, மீன் கொள் பரதவர் கொடுந் திமில் நளி சுடர் வான் தோய் புணரிமிசைக் கண்டாங்கு, மேவரத் தோன்றும் யாஅ உயர் நனந்தலை உயவல் யானை வெரிநுச் சென்றன்ன கல் ஊர்பு இழிதரும் புல் சாய் சிறு நெறி, காடு மீக்கூறும் கோடு ஏந்து ஒருத்தல் ஆறு கடிகொள்ளும் அருஞ் சுரம்; ‘பணைத் தோள், நாறு ஐங் கூந்தல், கொம்மை வரி முலை, நிரை இதழ் உண்கண், மகளிர்க்கு அரியவால்’ என அழுங்கிய செலவே! This time, the theme dwells on a future travel to the drylands, and here, we hear the confidante excitedly sharing some news to the lady: “May you escape from the words of mother, who knowing well what’s in your heart, keeps it within her mind and says something else; May you be rid of the slander spread by women in our village, full of lies, lacking even a bit of compassion; May you live long with much happiness, like the supplicants, who sing praises of King Udhiyan Cheral, the one who widened the limits of his domain! All through the hills, as bamboos brush against each other, fuelled by the wind, sharp flames that soar, shine like bright lamps, atop curving boats of fishermen, sailing amidst the sky-soaring waves. Walking up and down those dull and small paths, amidst those rocky and hilly spaces, filled with barren Yaa trees, feels like walking on the back of a famished elephant. Such is the formidable drylands jungle, where huge and terrifying, tusked male elephants stand in guard along the many paths. He had previously said that such a place would be impossible to traverse for maiden with bamboo-like arms, fragrant and beautiful tresses, upraised and lined bosoms, thick-petalled and kohl-streaked eyes. But today, he has seen eye to eye with us, and has decided that you should go along with him, O maiden with thick tresses!” Time to imagine an imminent walk through the barren paths! The confidante starts by jubilantly declaring to the lady that her friend was soon going to escape mother’s seemingly innocent but pointed words, for she knew the lady’s situation but refused to reveal what was in her mind. Next prediction was about how the lady will be rid of the dreadful rumours spread by the gossiping village women, who had no kindness in their hearts, and as the third and final forecast, the confidante declares that the lady is going to live happily forever, like those who sing praises of the great Chera King Udhiyan, known for the empire he expanded. After sharing all these fortune cookies, the confidante goes on to describe the formidable drylands, where the winds fan the fire of dry bamboos in friction, and these fiery flames are placed in parallel with objects of another landscape- the lamps on the boats of fishermen. Then the confidante talks about hilly, rocky paths, filled with dry Yaa trees, and how walking on these paths would be like walking on the back of an elephant that has not had food for long. Such scenes of despair and danger fill these drylands and that’s why the man had been saying, there was no way the lady with her delicate qualities was going to be able to traverse it, the confidante explains. She notes with elation that somehow the man had seen sense and changed his mind, now deciding to take the lady and elope away with her the very day. In essence, it’s the confidante telling the lady, the situation is dire here, the man has agreed to our request that you should elope with him, and so get ready and go on. The thing that interests me the most is what made the man change his mind. It’s not like the lady developed those abilities overnight. Perhaps he has seen that the risk of taking the lady through the drylands is worth facing rather than the danger of leaving her amidst slander and suffering. It is indeed such moments of lucid decision making, which spurs us to action, that ends up defining the course of our lives, many a time!…

Sangam Lit

1
Aganaanooru 64 – Return home to love 5:43

för 6 dagar sedan5:43

5:43

In this episode, we perceive a man’s fervent wish, as depicted in Sangam Literary work, Aganaanooru 64, penned by Aarkkaadu Kizhaar Makanaar Vellai Kannathanaar. The verse is situated amidst the moist red lands of the ‘Mullai’ or ‘Forest Landscape’ and sketches the yearning to return home after a mission. களையும் இடனால் பாக! உளை அணி உலகு கடப்பன்ன புள் இயற் கலி மா வகை அமை வனப்பின் வள்பு நீ தெரிய, தளவுப் பிணி அவிழ்ந்த தண் பதப் பெரு வழி, ஐது இலங்கு அகல் இலை நெய் கனி நோன் காழ் வெள் வேல் இளையர் வீங்கு பரி முடுக, செலவு நாம் அயர்ந்தனம்ஆயின், பெயல கடு நீர் வரித்த செந் நிலமருங்கின், விடு நெறி ஈர் மணல், வாரணம் சிதர, பாம்பு உறை புற்றத்து ஈர்ம் புறம் குத்தி, மண்ணுடைக் கோட்ட அண்ணல் ஏஎறு உடன் நிலை வேட்கையின் மட நாகு தழீஇ, ஊர்வயின் பெயரும் பொழுதில், சேர்பு உடன், கன்று பயிர் குரல, மன்று நிறை புகுதரும் ஆ பூண் தெண் மணி ஐது இயம்பு இன் இசை புலம்பு கொள் மாலை கேட்டொறும் கலங்கினள் உறைவோள் கையறு நிலையே. The fragrant forests reveal the passion in the man’s heart as he renders these words to his charioteer, when returning home after completing his mission: “It’s time to slay it, O charioteer! Wield those exquisite reins that you know so well, tied around the neck of the proud horse, with a swaying mane, which moves, akin to a bird that traverses the world entire. On the huge road, filled with moisture, where wild jasmines have burst in bloom, and where young aides, holding victorious spears, with beautiful, radiant, wide leaf edges, and well-oiled, smooth and sturdy stems, walk on, hasten the horses so that we overtake them! We should put our mind to our speedy return. On the red land paved with lines, owing to the heavy downpour on the side of the chariot’s path, birds peck around on the wet mud. Dashing against the side of termite mounds, where snakes reside, the esteemed bull becomes covered in mud, and wanting to be together with its mate forever, it embraces the naive young cow in the village. When returning thither from their grazing, the cattle, call out together to their calves, and rush to the village centre, with the sound of their clear bells, rising in a sweet music in that loneliness-filled evening. Whenever she hears this, she would lament and suffer. And so, we should hasten and end this state of helplessness of the one, who tearfully resides back home!” Let’s listen to this song set in rhythm to the tinkling of cow bells. The man starts by saying to the charioteer it was time to change something. Without saying what it is, he goes on to describe the horse running ahead, with its dancing mane, and he compares the movement of this animal to a bird that crosses the world. A moment to pause and reflect on this mention of migration in birds, which traverse thousands of kilometres, and in fact, journey from pole to pole, region to region, as documented by modern science. That a poet from two thousand years ago makes this observation, from one corner of the earth, without knowing so much about other parts of the world, is something deeply perceptive, and goes on to show the scientific thinking of these ancients. Returning, the man tells his charioteer to wield the reins firmly and ride with speed, so that they overtake the young aides on foot, carrying spears. He describes the red soil of the forest, and how lines seem to be carved on it by the pouring rains, and here, forest fowl are seen pecking around, and bulls are coated with red mud, as they dash against termite mounds, where snakes lie sleeping. As a projection of the man’s mind, these bulls are seen embracing their mates in the village. And when evening falls, huge herds of cattle return after their grazing, crying out for their calves, with their bells tinkling, and this is the music that would fall on the lady’s ears and fill her with a deep melancholy, says the man. He concludes by telling his charioteer that they must rush home and slay this state of suffering of his beloved. The verse once again echoes the timeless theme of that burning urgency to be back in the company of love when the work that tore apart the lovers is done with! Take away the speeding chariot and the still forest, and if you place a sailor, a pilot, an astronaut in the scene, you can hear the same heartbeat of this Sangam man in each one of them at the end of their voyage!…

Sangam Lit

1
Aganaanooru 63 – Worry about her sleep 4:53

för 7 dagar sedan4:53

4:53

In this episode, we listen to a mother’s lament, as depicted in Sangam Literary work, Aganaanooru 63, penned by Karuvoor Kannam Pullanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse sketches the journey of a maiden in the mind’s eye of her mother. கேளாய்; வாழியோ! மகளை! நின் தோழி, திரு நகர் வரைப்பகம் புலம்ப, அவனொடு பெரு மலை இறந்தது நோவேன்; நோவல் கடுங்கண் யானை நெடுங் கை சேர்த்தி, முடங்கு தாள் உதைத்த பொலங் கெழு பூழி பெரும் புலர் விடியல் விரிந்து, வெயில் எறிப்ப, கருந் தாள் மிடற்ற செம் பூழ்ச் சேவல் சிறு புன் பெடையொடு குடையும் ஆங்கண், அஞ்சுவரத் தகுந கானம் நீந்தி, கன்று காணாது, புன் கண்ண, செவி சாய்த்து, மன்று நிறை பைதல் கூர, பல உடன் கறவை தந்த கடுங் கால் மறவர் கல்லென் சீறூர் எல்லியின் அசைஇ முதுவாய்ப் பெண்டின் செது காற் குரம்பை மட மயில் அன்ன என் நடை மெலி பேதை தோள் துணையாகத் துயிற்றத் துஞ்சாள், ”வேட்டக் கள்வர் விசியுறு கடுங் கண் சேக் கோள் அறையும் தண்ணுமை கேட்குநள்கொல்?” எனக் கலுழும் என் நெஞ்சே. Elopement’s in the air in this trip to the drylands and we hear these words of the lady’s mother to the lady’s confidante: “Listen, may you live long, my girl! I worry not that your friend left with him beyond the huge mountains, leaving this wealthy mansion in loneliness. Let me tell you what I worry about. A harsh-eyed elephant, bending its legs, and using its long trunk, kicks up the golden dust. As the great dawn arrives and the sun scorches, the male black-necked red quail, along with its delicate, little mate pecks around, in the fearsome scrub jungle. Traversing such a place, she would come at night to an uproarious hamlet, where robbers have tied stolen cows many, in the town centre, and those herds, bending their ears, with sorrowful eyes, not seeing their calves, would be crying out in suffering. Here, my naive daughter, who has a gentle gait like a peacock, would rest in a wise old woman’s rickety hut. That she would not be able to sleep, even when he offers her his shoulder, because she would be frightened by the hunting robbers’ resounding beats on their ‘thannumai drums’, as they seize cattle, worries this heart of mine, shedding tears!” Time to take a walk amidst the swirling dust of the scorching drylands! Mother starts by clarifying to the lady’s confidante that her pain, sorrow and anxiety was not about the fact that the lady had left them. and gone with the man, beyond the mountains. Mother imagines the place where the girl walks at the moment through the barren, blistering expanses of the scrub forest, where an elephant kicks up dust and quails peck around, looking for some food, some moisture. Mother continues saying crossing such spaces, the lady would come to a little hamlet, which happens to be the abode of robbers, who have just stolen cows, and these cows stand there, sending out sorrowful cries, missing their calves. A subtext for mother’s yearning! Next, mother visualises that her daughter would be resting in an old woman’s hut, and even though her man would offer his strong shoulder, the girl would find no rest, for she would be startled by the beating of the robber’s drums, as a mark of their successful cattle hunt. This is the precise thing that wrings her heart and tears up her eyes, mother concludes. The highlight of this verse is no matter how this woman was hurt by the actions of her daughter, she seems to be more concerned about her child’s welfare. That’s a mother for you, the verse seems to say, with a wise smile!…

Sangam Lit

1
Aganaanooru 62 – Delightful memories and Dashed hopes 6:40

för 8 dagar sedan6:40

6:40

In this episode, we listen to the angst of unfulfilled expectations, as portrayed in Sangam Literary work, Aganaanooru 62, penned by Paranar. Set amidst the soaring peaks and descending cascades of the ‘Kurinji’ or ‘Mountain Landscape’, the verse reiterates the presence of a renowned man-made structure in those times. அயத்து வளர் பைஞ்சாய் முருந்தின் அன்ன நகைப் பொலிந்து இலங்கும் எயிறு கெழு துவர் வாய், ஆகத்து அரும்பிய முலையள், பணைத்தோள், மாத்தாள் குவளை மலர் பிணைத்தன்ன மாஇதழ் மழைக்கண், மாஅயோளொடு பேயும் அறியா மறை அமை புணர்ச்சி பூசல் துடியின் புணர்பு பிரிந்து இசைப்பக் கரந்த கரப்பொடு நாம் செலற்கு அருமையின், கடும் புனல் மலிந்த காவிரிப் பேரியாற்று நெடுஞ்சுழி நீத்தம் மண்ணுநள் போல, நடுங்கு அஞர் தீர முயங்கி நெருநல் ஆகம் அடைதந்தோளே, வென்வேல் களிறு கெழு தானைப் பொறையன் கொல்லி ஒளிறு நீர் அடுக்கத்து வியல் அகம் பொற்பக் கடவுள் எழுதிய பாவையின், மடவது மாண்ட மாஅயோளே. Treading through the hills, we listen to the man’s yearning at a time, when his expected tryst with the lady did not come through: “Akin to flower buds of the whitehead spike sedge grass that grows in watery spaces, shines her teeth, adorned with smiles in her red mouth. With budding bosoms, bamboo-like arms, huge-petaled rain-like eyes, akin to two blue lotuses, with black stems, intertwined together, is that dark-skinned maiden. At a time, not known even to ghosts, I united with her in secret. Still they have spread slander about our union, with the uproar of ‘thudi’ drums, by assembling together and going separate ways. So, it has become rare for us to come together! Knowing this, yesterday, as if she was swimming in the long, swirling whirlpools in the huge flood of the River Kaveri, brimming with copious waters, ending the shivering suffering within, she embraced me again and again, and lay on my chest, without moving away. Such were the actions of my dark-skinned maiden, resplendent in her naivety, the one, who looks like the goddess statue, carved to add glory to those wide spaces, with radiant waters flowing down the Kolli hills, by Poraiyan, renowned for his army of elephants and his victorious spears!” It’s all about a lady’s qualities in this one! The man starts by describing his beloved saying she has smiling teeth, akin to particular sedge grass, which I learnt was the ‘whitehead spike sedge’, also called ‘white water sedge’, to indicate the watery spaces it abounds, as illustrated by the first two words of this Tamil verse. Yet again, impressed by the connection between the common modern English name and the ancient Tamil descriptor of this plant! Returning, we find the man next talking about the lady’s red mouth, her blooming bosoms, her arms, akin to bamboo, and those eyes, which are not only rain-like, but are also akin to two huge-petaled blue lotuses threaded together. The man talks about how he and the lady united at a time that even ghosts know not about, implying it could be in dead secret, in the darkest hour, when even the ghosts would want to get some sleep! But even more perceptive than those ghosts, were the slander-spreading folk of their town, who have been sharing gossip about them, and that’s why meeting the lady has become a rare thing, the man explains. He thinks back to how realising this, the lady had embraced him over and over, as if she was dipping in the brimming floods of the River Kaveri, and would not even part away from his chest for a very long time. He sighs thinking about the past, and concludes, by placing the lady’s appearance, in parallel with the statue of a goddess in the Kolli hills, built by King Poraiyan, known to have a victorious army of elephants and soldiers with spears! The repeated reference to this structure in many verses, and that too, in parallel with the beauty of a woman, makes me think this was a much-celebrated work of art in Sangam times. Just like the Mona Lisa, Statue of Liberty, the Pyramids, the Great Wall of China and the Taj Mahal to us, for whom the world has shrunk, this statue of the Kolli Goddess was to the people of ancient Tamil land. Wonder how such a celebrated structure lost its battle to time! The other interesting aspect that can be unearthed from the actions of the lady with the man the previous day is the timeless fact that when we get a feeling that something is going to become rare, often an urgency to relish it to the full soars within, whenever it becomes available! And likewise, reframing taken-for-granted things in our life as something precious and something which could be lost at any time, is the perfect recipe to rekindle our appreciation for the same!…

Sangam Lit

1
Aganaanooru 61 – Duty Versus Beauty 5:31

för 9 dagar sedan5:31

5:31

In this episode, we listen to a friend’s encouraging words, as depicted in Sangam Literary work, Aganaanooru 61, penned by Maamoolanaar. Set in the ‘Paalai’ or ‘Drylands landscape”, the verse highlights some historic personalities and their renowned towns. “நோற்றோர்மன்ற தாமே கூற்றம் கோளுற விளியார், பிறர் கொள விளிந்தோர்” எனத் தாள் வலம்படுப்பச் சேட் புலம் படர்ந்தோர் நாள் இழை நெடுஞ் சுவர் நோக்கி, நோய் உழந்து ஆழல் வாழி, தோழி! தாழாது, உரும் எனச் சிலைக்கும் ஊக்கமொடு பைங் கால் வரி மாண் நோன் ஞாண் வன் சிலைக் கொளீஇ, அரு நிறத்து அழுத்திய அம்பினர் பலருடன் அண்ணல் யானை வெண் கோடு கொண்டு, நறவு நொடை நெல்லின் நாள் மகிழ் அயரும் கழல் புனை திருந்துஅடிக் கள்வர் கோமான் மழ புலம் வணக்கிய மா வண் புல்லி விழவுடை விழுச் சீர் வேங்கடம் பெறினும், பழகுவர்ஆதலோ அரிதே முனாஅது முழவு உறழ் திணி தோள் நெடு வேள் ஆவி பொன்னுடை நெடு நகர்ப் பொதினி அன்ன நின் ஒண் கேழ் வன முலைப் பொலிந்த நுண் பூண் ஆகம் பொருந்துதல் மறந்தே. This trip to the drylands takes us in the presence of a lady, who is parted away from her man, and we get to hear these words of the lady’s confidante to her friend: “Saying, ‘Blessed are those, who do not lose their lives to the God of Death for no reason, but instead to others in battle’, he left to a faraway land to bring home victory, with his determined efforts. Seeing the marks of the days he has been away on the tall wall, do not cry, wallowing in a deep suffering, my friend, may you live long! With unceasing thunderous roars, holding on to the green-edged, striped strong bows with fine threads, having an army of men capable of showering arrows on the chests of foes, possessing white tusks of esteemed elephants, bartering toddy for paddy, the great leader of the robbers, the strong and mighty Pulli, wearing well-etched, perfect warrior anklets, the one, who defeated the clan of Mazhavars, spends happy days many, in the festivities-filled, fertile land of Venkatam. Your bosom, decked with fine jewels many, is akin to the huge, gold-filled town of Pothini, ruled by the famous Neduvel Aavi, who has arms akin to strong drums. Even if your man were to attain all of Pulli’s Venkatam, it would be hard for him to stay away, forgetting your shining bosom!” Let’s walk along with the man through those barren lands and understand his mission! The confidante starts by remembering the words of the man, who seems to think that dying by natural causes was not as noble as dying in the battlefield. With those words, he had left to some faraway land, determined to return with victory. If someone leaves with such words, it may fill them with the fiery confidence needed to face the battle, but what about the one at home? No doubt this makes the lady suffer deeply with anxiety, wondering when the man will return and if he will return. As she sits at home, looking at the wall with the marks of the days he has spent away from her, her confidante does what all good friends do, which is to comfort the other. This blessed soul asks the lady to imagine that the man were to attain a town as prosperous as Venkatam, ruled by the famous leader of the robbers, Pulli, known for his army of men, well-versed in archery, and for his possession of white tusks, barter of toddy for paddy, and one who spends happy days in that fertile town in his domain. The confidante concludes by saying even if such a thing were to happen, it would be impossible for the man to stay away from the lady’s bosoms, which she places in parallel to another gold-rich town of Pothini, ruled by Aavi, who is said to have arms as thick as drums! In essence, the confidante says to the lady that no matter how much wealth the man attains, it would surely not be more precious to him than the lady’s beauty. A verse which reiterates that though wealth and duty were prime concerns, love and beauty were no less important in the minds of these ancient folks, and most of their dilemmas seemed to revolve around the conflict of these two timeless pursuits of humans!…

Sangam Lit

1
Aganaanooru 60 – A taste of the future 6:01

för 12 dagar sedan6:01

6:01

In this episode, we listen to an account of mother’s nature, as portrayed in Sangam Literary work, Aganaanooru 60, penned by Kudavaayil Keerathanaar. Set amidst the roaring waves of the ‘Neythal’ or ‘Coastal landscape’, the verse etches a unique instance of persuasive communication. பெருங் கடற் பரப்பில் சேயிறா நடுங்க, கொடுந் தொழில் முகந்த செங் கோல் அவ் வலை நெடுந் திமில் தொழிலொடு வைகிய தந்தைக்கு, உப்பு நொடை நெல்லின் மூரல் வெண் சோறு அயிலை துழந்த அம் புளிச் சொரிந்து, கொழுமீன் தடியொடு குறுமகள் கொடுக்கும் திண் தேர்ப் பொறையன் தொண்டி அன்ன எம் ஒண் தொடி ஞெமுக்காதீமோ தெய்ய; ”ஊதை ஈட்டிய உயர் மணல் அடைகரை, கோதை ஆயமொடு வண்டல் தைஇ, ஓரை ஆடினும் உயங்கும் நின் ஒளி” எனக் கொன்னும் சிவப்போள் காணின், வென் வேற் கொற்றச் சோழர் குடந்தை வைத்த நாடு தரு நிதியினும் செறிய அருங் கடிப் படுக்குவள், அறன் இல் யாயே. In this seaside vacation of ours, we hear the lady’s confidante saying these words to the man, when he comes to the lady’s home to tryst by day: “Making red shrimp in the vast sea quiver by throwing an exquisite net, fitted with red rods, for the severe task of capturing fish, on a tall boat, immersed in his profession, stands father. For him, with the paddy, got in barter for salt, his young daughter cooks and serves hot white rice, along with delicious tamarind curry, made with ‘ayilai’ fish, and also fleshy pieces of fatty fish, in the town of Thondi, ruled by ‘Poraiyan’, renowned for his sturdy chariots. Akin to the beauty of this town is the lady, and pray, do not press her shining bangles with force, and leave imprints. Saying, ‘On the shores, piled with towering heaps of sand, brought by the northerly winds, with your garlanded friends, even if you build sand houses or play ‘orai’ games, your glow might fade’, mother would get angry for no reason. If she were to see these imprints on the lady’s hands, even more than the protection put up in Kudanthai, around the tributes of all those nations, under the rule of royal white umbrella of the Chozhas, she would put up a stern guard around the lady. Such is the nature of this unjust mother!” Time to take in the wafting scent of sour fish curry in the seashore! The confidante starts by describing a girl’s father, intent at his work in the sea, standing on a tall boat. He seems to be making shrimp shiver by throwing his well-stitched net, fitted with red rods. When this father returns home, his young daughter has a tasty meal prepared. Even before this fisherman came home with the catch, the women of the family have bartered their salt for paddy and have prepared a hot meal of cooked white rice. Then, on this white rice, that young girl adds a tamarind curry made of Indian mackerel fish, and also, places fleshy pieces of fish on the side. A moment to pause and relish how this very preparation of fish in tamarind curry and fish fry is a staple in many Tamil homes, even today. Returning, we learn that the confidante has mentioned this meal only to say that this is happening in the prosperous port town of Thondi, ruled by the famous Poraiyan. And as we have seen in many instances, when a prosperous town is mentioned, it would in most cases be, to place it in parallel with the beauty of the lady. Thus, this confidante refers to her friend, and instructs the man to avoid pressing the lady’s bangles and leaving visible imprints. She goes on to say why because the lady’s mother is a person who would get angry for meaningless things and say that the lady shouldn’t even play ‘Orai games’ in the sands with her friends because her beauty may fade. And if at all mother catches a glimpse of these marks, then the lady would be put under a strict guard, stricter than the one around the tributes received from many nations in the Chozha capital of Kudanthai, the confidante concludes. In essence, the confidante is conveying the message of ‘Marry her, marry her’ to the man, to make him let go of the temporary trysting with the lady, by revealing the danger of discovery. The highlights of this verse however, are the description of Thondi’s ceaseless wealth and tasteful food, that subtle point about how the women of the household did some trading on their own by bartering salt to put food on the table, and finally, the huge wealth of the Chozhas in their capital, as illustrated by the heaps of tributes they have received from the nations under their rule, talking about the power and fame of these ancient Tamil kings. Indeed, the confidante has cooked a fine meal with places and people to cure the man of his inaction and energise him to move in the direction of permanent happiness!…

Sangam Lit

1
Aganaanooru 59 – The care of the other 5:30

för 13 dagar sedan5:30

5:30

In this episode, we listen to a subtle message of consolation, as depicted in Sangam Literary work, Aganaanooru 59, penned by Madurai Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse refers to mythological elements to depict aspects of parting. தண் கயத்து அமன்ற வண்டு படு துணை மலர்ப் பெருந் தகை இழந்த கண்ணினை, பெரிதும் வருந்தினை, வாழியர், நீயே! வடாஅது வண் புனல் தொழுநை வார் மணல் அகன் துறை, அண்டர் மகளிர் தண் தழை உடீஇயர் மரம் செல மிதித்த மாஅல் போல, புன் தலை மடப் பிடி உணீஇயர், அம் குழை, நெடு நிலை யாஅம் ஒற்றி, நனை கவுள் படி ஞிமிறு கடியும் களிறே தோழி! சூர் மருங்கு அறுத்த சுடர் இலை நெடு வேல், சினம் மிகு முருகன் தண் பரங்குன்றத்து, அந்துவன் பாடிய சந்து கெழு நெடு வரை, இன் தீம் பைஞ் சுனை ஈரணிப் பொலிந்த தண் நறுங் கழுநீர்ச் செண் இயற் சிறுபுறம் தாம் பாராட்டிய காலையும் உள்ளார் வீங்கு இறைப் பணைத் தோள் நெகிழ, சேய் நாட்டு அருஞ் செயற் பொருட்பிணி முன்னி, நப் பிரிந்து, சேண் உறைநர் சென்ற ஆறே. Our visit to the drylands takes us in the presence of the confidante, who says these words to the lady, when she wallows in separation from the man, who has left in search of wealth: “With your eyes, losing their great beauty, akin to twin flowers forever buzzed around by bees, abounding in cool ponds, you worry a lot, my friend, may you live long! In the North, where the forceful ‘Thozhunai’ gushes, upon the wide shores filled with its sands, to help the daughters of cow herders wear their attires of cool leaves, the Lord Maal bent the tree branch, by stepping on it. Akin to that, to help its naive mate with soft hair feed on the beautiful cluster of leaves, the bull elephant with its cheeks, moist with the flow of musth, swarming with flies, bends the soaring Ya tree. He thinks not of the times when he delighted in the knots of tresses on your back, adorned with the moist and scented blue lilies, from the fresh and fragrant springs, in the cool hills of ‘Parangkundram’, filled with sandalwood trees, which has been sung about by Anthuvan, the resting abode of the furious Lord Murugan, who holds a leaf-edged, tall spear, after he routed the demons. In the traversed path of the one, who parted away and left to a faraway country to gain that hard-to-attain wealth of a distant land, he shall glimpse upon the scene of the male elephant bending the branch for its mate!” It’s all about a pair of pachyderms in this one! The confidante starts by portraying how the glow of the lady’s eyes is lost, because of her worry. And then she turns to talk about the path, where the man walks in a distant land, and here we see a male elephant, deeply distressed by the flow of musth, still taking care of its mate, through its action of bending the branch of Ya tree for its mate to feed on. This caring action is placed in parallel to a mythological tale that happens in the North of India, by the ‘Thozhunai’ river, identified as the contemporary River Yamuna, where Lord Thirumaal bends a branch for the daughters of cow herders to adorn themselves with their leaf garments. Then, the confidante brings in another such reference talking about the hills of Thiruparankundram, the resting abode of Lord Murugan, after his fight with the demons, and specifically about the red waterlilies blooming here, and how these used to adorn the lady’s hair, and how the man used to worship the sight and scent of the same. Now he doesn’t think of all that, but has just gone on this mission to attain wealth in some far-off country, the confidante says, and concludes by connecting that even here, the man will see that caring action of the elephant. Although it appears as if the confidante is taking the lady’s side and regretting that the man has parted away, in that image of the loving male elephant taking care of its mate, the confidante places a hope that the man will be moved by the scene, and will soon, return to the lady’s fold. Even in this conversation between the confidante and the lady, in the way this friend bends the narrative to feed hope to the lady’s heart about the man’s return, we can see the same love and care between those elephants in the drylands!…

Sangam Lit

1
Aganaanooru 58 – Flavours of absence and presence 4:34

för 14 dagar sedan4:34

4:34

In this episode, we listen to a lady’s angst-filled voice, as portrayed in Sangam Literary work, Aganaanooru 58, penned by Madurai Panda Vaanikan Ilanthevanaar. The verse is situated in the soaring peaks of the ‘Kurinji’ or ‘Mountain Landscape’ and relays a subtle message seeking to change a person’s heart. இன் இசை உருமொடு கனை துளி தலைஇ, மன் உயிர் மடிந்த பானாட் கங்குல், காடு தேர் வேட்டத்து விளிவு இடம் பெறாஅது, வரி அதள் படுத்த சேக்கை, தெரி இழைத் தேன் நாறு கதுப்பின் கொடிச்சியர் தந்தை, கூதிர், இல் செறியும் குன்ற நாட! வனைந்து வரல் இள முலை ஞெமுங்க, பல் ஊழ் விளங்கு தொடி முன்கை வளைந்து புறம் சுற்ற, நின் மார்பு அடைதலின் இனிது ஆகின்றே நும் இல் புலம்பின் நும் உள்ளுதொறும் நலியும் தண்வரல் அசைஇய பண்பு இல் வாடை பதம் பெறுகல்லாது இடம் பார்த்து நீடி, மனைமரம் ஒசிய ஒற்றிப் பலர் மடி கங்குல், நெடும் புறநிலையே. In this little trip to the mountains, we hear the lady speaking her heart to the man, when he returns to tryst with her, after a long interval. “With the sweet music of thunder echoing, as the heavy showers pour down, in the middle of the dark night, when all lives on earth seek rest, the fathers of mountain maiden, having honey-fragrant tresses and well-chosen ornaments, wishing to track and hunt in the forest, but finding no place to sleep there, turn to the striped tiger-skin beds in their homes, during this cold season, in your peaks, O lord! Pressing my sketched and etched young bosoms, and twisting my forearms clad in radiant bangles around the back, I have attained your chest now. Sweeter than this is my state of waiting for you, for a long time, when the compassionless, moist northern winds blew, as I lamented about your absence and lost my health every time I thought about you, and not attaining your warmth at the right time, I extended my hand and pulled a branch of the tree at home, making it fall apart, in that night, when many others slept!” Time to get soaked in the rain showers of the mountains! The lady starts by describing the man’s mountain country as one, where thundershowers are pouring down, and a time of the day, when all lives seek rest. At this time, there are some people, the fathers of mountain maiden, who seek to track and hunt animals. Since it’s pouring heavily, they find no place to sleep in the forest, and hence return home to their tiger-skin beds in the land of the lord, the lady describes. Then she goes on to talk about the state of how the man is embracing her bosom by twisting her hands around and pressing his chest, and concludes by saying this is not as sweet as her state during the long time she was waiting for him, anticipating his warmth, in that harsh cold season, when the northern winds tormented her, as she extended her arm to pull and break a branch of the tree at home, even as all those around her slept in peace. The lady impresses on the man in a subtle manner that the pain of parting in his absence was too great to bear. In the scene of the mountain men seeking their homes without finding a place to sleep, the lady places a metaphor for how the man sought her only when he wanted to tryst and was not taking the right steps to seek a permanent union with her. Here’s a unique way of expressing distress in the behaviour of another, without explicitly saying so, and gently nudging the other towards the right path.…

Sangam Lit

1
Aganaanooru 57 – Dreaming about past plenty 5:54

för 15 dagar sedan5:54

5:54

In this episode, we listen to the man's reflection about his beloved, as portrayed in Sangam Literary work, Aganaanooru 57, penned by Nakeerar. Set in the 'Paalai' or 'Drylands landscape', the verse echoes the yearning and suffering in parting.

Sangam Lit

1
Aganaanooru 56 – Laughing at trouble 5:55

för 16 dagar sedan5:55

5:55

In this episode, we listen to a mirthful tale, as depicted in Sangam Literary work, Aganaanooru 56, penned by Madurai Aruvai Vaanikan Ilavettanaar. Set amidst the blooming lilies and bubbling ponds of the 'Marutham' or 'Farmlands landscape', the verse presents a unique technique of refusing a request.…

Sangam Lit

1
Aganaanooru 55 – On parting away 6:19

för 19 dagar sedan6:19

6:19

In this episode, we perceive the intricate emotions of a mother, as depicted in Sangam Literary work, Aganaanooru 55, penned by Maamoolanaar. The verse is situated in the 'Paalai' or 'Drylands landscape' and presents a momentous historic event from the Sangam era.

Sangam Lit

1
Aganaanooru 54 – Ride on to sweetness 6:47

för 20 dagar sedan6:47

6:47

In this episode, we listen to a man's fervent plea, as portrayed in Sangam Literary work, Aganaanooru 54, penned by Matroor Kizhaar Makanaar Kotrankotranaar. Set amidst the showers and flowers of the 'Mullai' or 'Forest landscape', the verse etches exquisitely the urge to return home to a loved one.

Sangam Lit

1
Aganaanooru 53 – The love of my love 7:59

för 21 dagar sedan7:59

7:59

In this episode, we listen to a lady's response to her friend's consolation, as depicted in Sangam Literary work, Aganaanooru 53, penned by Seethalai Saaththanaar. Set amidst the 'Paalai' or 'Drylands landscape', the verse offers intricate insights about elements of both nature and culture.

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Kalithogai 77 – Enemy called the heart

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Kalithogai 77 – Enemy called the heart