Artwork

Player FM - Internet Radio Done Right

0-10 subscribers

Checked 3d ago
five 年前 前追加した
コンテンツは Nandini Karky によって提供されます。エピソード、グラフィック、ポッドキャストの説明を含むすべてのポッドキャスト コンテンツは、Nandini Karky またはそのポッドキャスト プラットフォーム パートナーによって直接アップロードされ、提供されます。誰かがあなたの著作物をあなたの許可なく使用していると思われる場合は、ここで概説されているプロセスに従うことができますhttps://ja.player.fm/legal
Player FM -ポッドキャストアプリ
Player FMアプリでオフラインにしPlayer FMう!
icon Daily Deals

Kalithogai 137 – Fire of parting

6:16
 
シェア
 

Manage episode 463526474 series 2708216
コンテンツは Nandini Karky によって提供されます。エピソード、グラフィック、ポッドキャストの説明を含むすべてのポッドキャスト コンテンツは、Nandini Karky またはそのポッドキャスト プラットフォーム パートナーによって直接アップロードされ、提供されます。誰かがあなたの著作物をあなたの許可なく使用していると思われる場合は、ここで概説されているプロセスに従うことができますhttps://ja.player.fm/legal

In this episode, we perceive the burning angst of a lady, as portrayed in Sangam Literary work, Kalithogai 137, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and paints a picture of pain, born out of pleasure.

அரிதே, தோழி! நாண் நிறுப்பாம் என்று உணர்தல்;
பெரிதே காமம்; என் உயிர் தவச் சிறிதே;
பலவே யாமம்; பையுளும் உடைய;
சிலவே, நம்மோடு உசாவும் அன்றில்;
அழல் அவிர் வயங்கு இழை ஒலிப்ப, உலமந்து,
எழில் எஞ்சு மயிலின் நடுங்கி, சேக்கையின்
அழல் ஆகின்று, அவர் நக்கதன் பயனே

மெல்லிய நெஞ்சு பையுள் கூர, தம்
சொல்லினான் எய்தமை அல்லது, அவர் நம்மை
வல்லவன் தைஇய, வாக்கு அமை கடு விசை
வில்லினான் எய்தலோ இலர்மன்; ஆயிழை!
வில்லினும் கடிது, அவர் சொல்லினுள் பிறந்த நோய்

நகை முதலாக, நட்பினுள் எழுந்த
தகைமையின் நலிதல் அல்லது, அவர் நம்மை
வகைமையின் எழுந்த தொல் முரண் முதலாக,
பகைமையின் நலிதலோ இலர்மன்; ஆயிழை!
பகைமையின் கடிது, அவர் தகைமையின் நலியும் நோய்

‘நீயலேன்’ என்று என்னை அன்பினால் பிணித்து, தம்
சாயலின் சுடுதல் அல்லது, அவர் நம்மைப்
பாய் இருள் அற நீக்கும் நோய் தபு நெடுஞ் சுடர்த்
தீயினால் சுடுதலோ இலர்மன்; ஆயிழை!
தீயினும் கடிது, அவர் சாயலின் கனலும் நோய்

ஆங்கு
அன்னர் காதலராக, அவர் நமக்கு
இன் உயிர் போத்தரும் மருத்துவர் ஆயின்,
யாங்கு ஆவதுகொல்? தோழி! எனையதூஉம்
தாங்குதல் வலித்தன்று ஆயின்,
நீங்கரிது உற்ற அன்று அவர் உறீஇய நோயே.

For a change, it’s the lady’s voice that echoes in this verse. The words can be translated as follows:

“It’s impossible, my friend, to hope that modesty will hold me back; This disease of love is huge; The ability of my life to bear that is too small; The nights are many; Filled with suffering too; In some, the red-naped ibis join together in my sorrow; The consequence of my relationship with him is to be filled with suffering, losing beauty and shivering like a peacock, to toss and turn on the bed that seems like a fire, making my flame-like, radiant jewels resound!

Making suffering soar in my gentle heart, he aimed only with his words; He aimed not with a well-built bow, made by the hands of a skilled artisan, which sends arrows with much speed. O maiden wearing radiant jewels, the disease born from his words is more painful than the one caused by a bow!

Starting with a smile, and extending into a relationship, because of his esteem, came this affliction. He made me afflicted not because of an enmity that arose from separation in the ancient past! O maiden wearing radiant jewels, the affliction born from his esteem is more painful than the one caused by his enmity!

Saying, ‘Without you, I cannot be’, he tied me with his love, and with his gentle nature, he has burnt me; He burnt not with the fire from tall lamp, which completely routs pitch darkness and deep sorrow! O maiden wearing radiant jewels, the burning pain born from his gentle nature is more painful than the one caused by fire!

And so, if such is the nature of my lover, and if he, the one who makes my sweet life part away, is the only doctor, who can cure me, what can I do, my friend? I see no way to bear this pain, as this disease he has rendered me, is indeed impossible to destroy!”

Time to delve into the nuances. The verse is situated in the context of the man’s parting from a lady, prior to marriage, and the lady expresses her pain to her confidante, as the man listens nearby. The lady starts by declaring that it would be really hard to control her emotions, as the confidante advises, since her love brims over, and the man is not to be found, and all she can do is toss and turn on her bed that seems to have transformed into a fire, as she hopes for the consolation in the song of the red-naped ibis, which falls on her ears on a few nights. Then, she declares how the man had aimed his arrow of love, had fallen in love with her and attacked her with an affliction, owing to his esteemed nature, and how he had tied her up, and burnt her, because of his gentle character. She remarks to her friend that it’s not a sharp arrow, aimed from a well-made bow, or an attack because of an enmity that arose from the past, or a burning with a bright flame. And yet, his words aimed at her had caused more pain than that bow, his esteemed character had wrought more devastation than his enmity and his gentle, loving character had inflicted more pain than a raging fire. The lady then tells her friend that such is the nature of her beloved and if he is the cause and cure of her pain, what could she do, and concludes by declaring there’s no way to pear this pain of separation, ‘Impossible’ is the word that seems to ring through this verse. It’s ultimately an expression of angst in a heart, and perhaps sharing what’s within would bring peace therein, if not anything from anywhere else!

  continue reading

301 つのエピソード

Artwork

Kalithogai 137 – Fire of parting

Sangam Lit

0-10 subscribers

published

iconシェア
 
Manage episode 463526474 series 2708216
コンテンツは Nandini Karky によって提供されます。エピソード、グラフィック、ポッドキャストの説明を含むすべてのポッドキャスト コンテンツは、Nandini Karky またはそのポッドキャスト プラットフォーム パートナーによって直接アップロードされ、提供されます。誰かがあなたの著作物をあなたの許可なく使用していると思われる場合は、ここで概説されているプロセスに従うことができますhttps://ja.player.fm/legal

In this episode, we perceive the burning angst of a lady, as portrayed in Sangam Literary work, Kalithogai 137, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and paints a picture of pain, born out of pleasure.

அரிதே, தோழி! நாண் நிறுப்பாம் என்று உணர்தல்;
பெரிதே காமம்; என் உயிர் தவச் சிறிதே;
பலவே யாமம்; பையுளும் உடைய;
சிலவே, நம்மோடு உசாவும் அன்றில்;
அழல் அவிர் வயங்கு இழை ஒலிப்ப, உலமந்து,
எழில் எஞ்சு மயிலின் நடுங்கி, சேக்கையின்
அழல் ஆகின்று, அவர் நக்கதன் பயனே

மெல்லிய நெஞ்சு பையுள் கூர, தம்
சொல்லினான் எய்தமை அல்லது, அவர் நம்மை
வல்லவன் தைஇய, வாக்கு அமை கடு விசை
வில்லினான் எய்தலோ இலர்மன்; ஆயிழை!
வில்லினும் கடிது, அவர் சொல்லினுள் பிறந்த நோய்

நகை முதலாக, நட்பினுள் எழுந்த
தகைமையின் நலிதல் அல்லது, அவர் நம்மை
வகைமையின் எழுந்த தொல் முரண் முதலாக,
பகைமையின் நலிதலோ இலர்மன்; ஆயிழை!
பகைமையின் கடிது, அவர் தகைமையின் நலியும் நோய்

‘நீயலேன்’ என்று என்னை அன்பினால் பிணித்து, தம்
சாயலின் சுடுதல் அல்லது, அவர் நம்மைப்
பாய் இருள் அற நீக்கும் நோய் தபு நெடுஞ் சுடர்த்
தீயினால் சுடுதலோ இலர்மன்; ஆயிழை!
தீயினும் கடிது, அவர் சாயலின் கனலும் நோய்

ஆங்கு
அன்னர் காதலராக, அவர் நமக்கு
இன் உயிர் போத்தரும் மருத்துவர் ஆயின்,
யாங்கு ஆவதுகொல்? தோழி! எனையதூஉம்
தாங்குதல் வலித்தன்று ஆயின்,
நீங்கரிது உற்ற அன்று அவர் உறீஇய நோயே.

For a change, it’s the lady’s voice that echoes in this verse. The words can be translated as follows:

“It’s impossible, my friend, to hope that modesty will hold me back; This disease of love is huge; The ability of my life to bear that is too small; The nights are many; Filled with suffering too; In some, the red-naped ibis join together in my sorrow; The consequence of my relationship with him is to be filled with suffering, losing beauty and shivering like a peacock, to toss and turn on the bed that seems like a fire, making my flame-like, radiant jewels resound!

Making suffering soar in my gentle heart, he aimed only with his words; He aimed not with a well-built bow, made by the hands of a skilled artisan, which sends arrows with much speed. O maiden wearing radiant jewels, the disease born from his words is more painful than the one caused by a bow!

Starting with a smile, and extending into a relationship, because of his esteem, came this affliction. He made me afflicted not because of an enmity that arose from separation in the ancient past! O maiden wearing radiant jewels, the affliction born from his esteem is more painful than the one caused by his enmity!

Saying, ‘Without you, I cannot be’, he tied me with his love, and with his gentle nature, he has burnt me; He burnt not with the fire from tall lamp, which completely routs pitch darkness and deep sorrow! O maiden wearing radiant jewels, the burning pain born from his gentle nature is more painful than the one caused by fire!

And so, if such is the nature of my lover, and if he, the one who makes my sweet life part away, is the only doctor, who can cure me, what can I do, my friend? I see no way to bear this pain, as this disease he has rendered me, is indeed impossible to destroy!”

Time to delve into the nuances. The verse is situated in the context of the man’s parting from a lady, prior to marriage, and the lady expresses her pain to her confidante, as the man listens nearby. The lady starts by declaring that it would be really hard to control her emotions, as the confidante advises, since her love brims over, and the man is not to be found, and all she can do is toss and turn on her bed that seems to have transformed into a fire, as she hopes for the consolation in the song of the red-naped ibis, which falls on her ears on a few nights. Then, she declares how the man had aimed his arrow of love, had fallen in love with her and attacked her with an affliction, owing to his esteemed nature, and how he had tied her up, and burnt her, because of his gentle character. She remarks to her friend that it’s not a sharp arrow, aimed from a well-made bow, or an attack because of an enmity that arose from the past, or a burning with a bright flame. And yet, his words aimed at her had caused more pain than that bow, his esteemed character had wrought more devastation than his enmity and his gentle, loving character had inflicted more pain than a raging fire. The lady then tells her friend that such is the nature of her beloved and if he is the cause and cure of her pain, what could she do, and concludes by declaring there’s no way to pear this pain of separation, ‘Impossible’ is the word that seems to ring through this verse. It’s ultimately an expression of angst in a heart, and perhaps sharing what’s within would bring peace therein, if not anything from anywhere else!

  continue reading

301 つのエピソード

すべてのエピソード

×
 
In this episode, we listen to the man’s angst-ridden words, as depicted in Sangam Literary work, Kalithogai 140, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and portrays an instance of passionate persuasion. கண்டவிர் எல்லாம் கதுமென வந்து, ஆங்கே, பண்டு அறியாதீர் போல நோக்குவீர்; கொண்டது மா என்று உணர்மின்; மடல் அன்று: மற்று இவை பூ அல்ல; பூளை, உழிஞையோடு, யாத்த புன வரை இட்ட வயங்கு தார்ப் பீலி, பிடி அமை நூலொடு பெய்ம் மணி கட்டி, அடர் பொன் அவிர் ஏய்க்கும் ஆவிரங் கண்ணி: நெடியோன் மகன் நயந்து தந்து, ஆங்கு அனைய வடிய வடிந்த வனப்பின், என் நெஞ்சம் இடிய இடைக் கொள்ளும் சாயல், ஒருத்திக்கு அடியுறை காட்டிய செல்வேன்; மடியன்மின்; அன்னேன் ஒருவனேன், யான் என்னானும், ‘பாடு’ எனில், பாடவும் வல்லேன், சிறிது; ஆங்கே, ‘ஆடு’ எனில், ஆடலும் ஆற்றுகேன்; பாடுகோ என் உள் இடும்பை தணிக்கும் மருந்தாக, நன்னுதல் ஈத்த இம் மா? திங்கள் அரவு உறின், தீர்க்கலார் ஆயினும், தம் காதல் காட்டுவர், சான்றவர் இன் சாயல் ஒண்டொடி நோய் நோக்கில் பட்ட என் நெஞ்ச நோய் கண்டும், கண்ணோடாது, இவ் ஊர் தாங்காச் சினத்தொடு காட்டி உயிர் செகுக்கும் பாம்பும் அவைப் படில், உய்யுமாம் பூங் கண் வணர்ந்து ஒலி ஐம்பாலாள் செய்த இக் காமம் உணர்ந்தும், உணராது, இவ் ஊர் வெஞ் சுழிப் பட்ட மகற்குக் கரை நின்றார் அஞ்சல் என்றாலும் உயிர்ப்பு உண்டாம் அம் சீர்ச் செறிந்த ஏர் முறுவலாள் செய்த இக் காமம் அறிந்தும், அறியாது, இவ் ஊர் ஆங்க என் கண் இடும்பை அறீஇயினென்; நும்கண் தெருளுற நோக்கித் தெரியுங்கால், இன்ன மருளுறு நோயொடு மம்மர் அகல, இருளுறு கூந்தலாள் என்னை அருளுறச் செயின், நுமக்கு அறனுமார் அதுவே. Another case of a man pleading to the townsfolk! The words can be translated as follows: “Those of you, who have arrived here promptly, seem to be looking at this, as if you have never seen this before. Please understand that this is a horse before you, not just palm fronds, and these are not flowers, but a garland, made of strands of mountain knot grass and love vines tied together, with swaying peacock feathers shed in the mountain forests, on a long string, adorned with bells, and thick golden flowers of the matura tea tree. With the beauty of a statue, etched by a sculptor, who has been graced by the blessing of the Tall One’s son, was her appearance that laid siege to my heart. I wish to tell you that I have become a slave to this maiden. Do not feel sorry that I have become one such person. If you ask me to sing, I shall sing. If you ask me to dance a little, I can dance too. Let me go on to render a song about this horse, rendered by the maiden with a fine forehead, as the cure for my inner affliction. If the snake swallows the moon, even though they cannot remedy the situation, the nature of wise people is to show their concern. Even after seeing the affliction of my heart, which has been attacked by the look of the maiden wearing shining bangles, pretending not to see, remains this town! If a snake that expresses uncontrollable rage and takes a life is captured, wise people may even let it live, owing to their compassion. Even after knowing about this love disease caused by the maiden with flower-like eyes and curving, luxuriant, five-layered tresses, pretending not to know, remains this town! If a man is caught in a wild whirlpool, those who stand on the shore, even though they cannot do anything, if they say ‘Don’t fear’, it’s possible that he would be saved. Even after understanding this love disease, caused by that maiden with beautiful teeth and perfect smile, pretending not to understand, remains this town! And so, I have made you understand the suffering in me; If you look at this with clarity, you would make the maiden with tresses, akin to darkness, render her grace, and make this bewildering affliction scatter away. That would be the righteous thing for you to do too!” Let’s explore the nuances. The verse is situated in the context of a man’s love relationship with a lady, prior to marriage, and here, he appeals to the people of the lady’s town. The man starts by addressing the group, who have gathered before him, and tells them that he stands there, not on a bunch of palm leaves, but on a horse, wearing flowers shunned by normal people. Why because he is smitten by a maiden with such beauty that stole away his heart. He declares he has become a slave to that maiden and tells them he wishes to sing a song about that palmyra horse rendered by that maiden. He goes on to depict a certain belief in those times about the moon being swallowed by a snake, possibly referring to a lunar eclipse or some such celestial event. In that situation, the man says even though the people below can’t do anything, they express concern for the moon. Likewise, wise people might let a snake that killed others live, because of their kindness. In the third instance, he mentions a man caught in a whirlpool at sea, and those at shore, who might not be able to save him, but even if they shout out, ‘Don’t fear’, somehow that person might be redeemed. The man connects that he has mentioned these three instances to talk about how when such people exist in the world, the people of that town even though they saw, know and understand the pain in him caused by the maiden, pretended not to see, know or understand. After these sorrowful words at their apathy, the man once again appeals to them, asking them to advise the maiden to render her grace to him, so that he would be saved too. The man concludes with the punchline that ‘Only that would be justice!’. Beyond this usual badgering, what’s interesting in this verse, is the subtle appreciation for compassion and concern in one for a fellow being’s suffering!…
 
In this episode, we perceive a man’s plea to the wise, as portrayed in Sangam Literary work, Kalithogai 139, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and depicts the suffering of a man, smitten by love. சான்றவிர், வாழியோ! சான்றவிர்! என்றும் பிறர் நோயும் தம் நோய் போல் போற்றி, அறன் அறிதல் சான்றவர்க்கு எல்லாம் கடன் ஆனால், இவ் இருந்த சான்றீர்! உமக்கு ஒன்று அறிவுறுப்பேன்: மான்ற துளி இடை மின்னுப் போல் தோன்றி, ஒருத்தி, ஒளியோடு உரு என்னைக் காட்டி, அளியள், என் நெஞ்சு ஆறு கொண்டாள்; அதற்கொண்டும் துஞ்சேன், அணி அலங்கு ஆவிரைப் பூவோடு எருக்கின் பிணையல் அம் கண்ணி மிலைந்து, மணி ஆர்ப்ப, ஓங்கு இரும் பெண்ணை மடல் ஊர்ந்து, என் எவ்வ நோய் தாங்குதல் தேற்றா இடும்பைக்கு உயிர்ப்பாக வீங்கு இழை மாதர் திறத்து ஒன்று, நீங்காது, பாடுவேன், பாய் மா நிறுத்து யாமத்தும் எல்லையும் எவ்வத் திரை அலைப்ப, ‘மா மேலேன்’ என்று, மடல் புணையா நீந்துவேன் தே மொழி மாதர் உறாஅது உறீஇய காமக் கடல் அகப்பட்டு உய்யா அரு நோய்க்கு உயவாகும் மையல் உறீஇயாள் ஈத்த இம் மா காணுநர் எள்ளக் கலங்கி, தலை வந்து, என் ஆண் எழில் முற்றி உடைத்து உள் அழித்தரும் ‘மாண் இழை மாதராள் ஏஎர்’ என, காமனது ஆணையால் வந்த படை காமக் கடும் பகையின் தோன்றினேற்கு ஏமம் எழிநுதல் ஈத்த இம் மா அகை எரி ஆனாது, என் ஆர் உயிர் எஞ்சும் வகையினால், உள்ளம் சுடுதரும் மன்னோ முகை ஏர் இலங்கு எயிற்று இன் நகை மாதர் தகையால் தலைக்கொண்ட நெஞ்சு! அழல் மன்ற, காம அரு நோய்; நிழல் மன்ற, நேரிழை ஈத்த இம் மா ஆங்கு அதை, அறிந்தனிர் ஆயின், சான்றவிர்! தான் தவம் ஒரீஇ, துறக்கத்தின் வழீஇ, ஆன்றோர் உள் இடப்பட்ட அரசனைப் பெயர்த்து, அவர் உயர்நிலை உலகம் உறீஇயாங்கு, என் துயர் நிலை தீர்த்தல் நும்தலைக் கடனே. It’s again the theme of trying to win over a maiden by seeking the help of the townsfolk as the last resort! The words can be translated as follows: “O wise elders, may you live long, O wise elders! If it’s true that it’s the duty of wise people to see the adversity of others as one’s own and seek the path of justice, then I wish to say something to you, O wise elders, who are here! Akin to a dazzling lightning, amidst a downpour, a maiden appeared and revealed her radiant form to me, and then, that precious one stole away my heart. I haven’t slept since! Wearing this beautiful garland of swaying matura tea tree flowers, tied together with strands of milkweed flowers, as bells resound, crawling on a horse, made from the fronds of a huge and soaring palmyra tree, ceasing the trot of my leaping horse, I shall sing a song, without missing anything, as an exhalation of this suffering-filled disease, beyond my ability to bear, caused by the maiden wearing heavy ornaments! As I wallow amidst the waves of sorrow, by day and night, hoping that I will rise above, I swim with this palmyra horse as my raft, caught in this ocean of love affliction, rendered by that maiden with honey-sweet words, who does not accept me. In this ceaseless, terrible disease, my only aid is this horse, offered to me by the maiden, who has made me bewitched. As I’m left confused, much to the amusement and laughter of others, coming before me and destroying the fort walls of my manly beauty in its entirety, proceeding to create havoc within, that maiden wearing fine jewels and shining with resplendent beauty, arrived in the form of an army that comes to attack on the command of the love god. For me facing the fire of this passion’s enmity, the only protection is this horse, rendered to me by the maiden with a graceful forehead. Burning endlessly, making my precious life quiver and burn, suffers my heart, stolen by the esteem of the maiden with a sweet smile and bud-like, shining teeth! Amidst the heat of this terrible love affliction, as my only shade stands this horse, rendered to me by the maiden with perfect jewels! And so, if you have understood all about this, O wise elders, akin to how when seeing a king give up his penances and move away from his path to heaven, great elders around him would rescue him and set him on the right path to ensure he attains that higher world, it is your foremost duty to end my state of sorrow!” Time to delve into the details. The verse is situated in the context of the man’s love relationship with the lady, prior to marriage, and here, the man makes an appeal to the town elders. He starts by invoking the sense of duty in the wise people to see others’ distress as their own and then goes on to talk about how a maiden appeared like a lightning, and stole away his heart in a flash, and then left him wallowing. He tells them how he has decided to sing about his state, wearing those flowers others avoid, stepping off from his proud horse and climbing on to this palmyra horse, declaring this is the only outlet for the deep suffering in him caused by the love affliction for the lady. He then goes on to describe himself as struggling in the sea of affliction, destroyed from within in the attack of that maiden on the command from the god of love and also burnt by the scorching rays of the love disease. In each of these scenarios, that palmyra horse, which the lady had rendered unto his life, is his only raft, shield and shade, the man mentions! Concluding this song, he turns to those elders and talks about how wise elders, when seeing a king swerve from the righteous path of penances, would guide him in the right direction and make him attain that higher world. Like that, it was the duty of these town elders to resolve his problem and pain, the man concludes! Like the previous song, we see the man declaring his love opening with this ritual of ‘Madal Eruthal’ as the last resort to win his love. Wonder what these elders would do now? Would they trust in the man’s love and advise the lady to accept him? Would they leave it to the lady to decide? Or would they just listen to the angst of another? Indeed, what more is needed that ears that listen with concern and without judgement!…
 
In this episode, we listen to a man’s story of winning over his love, as depicted in Sangam Literary work, Kalithogai 138, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and portrays a public ritual, undertaken as the last resort by young men in love. எழில் மருப்பு எழில் வேழம் இகுதரு கடாத்தால் தொழில் மாறித் தலை வைத்த தோட்டி கை நிமிர்ந்தாங்கு, அறிவும், நம் அறிவு ஆய்ந்த அடக்கமும், நாணொடு, வறிதாக பிறர் என்னை நகுபவும், நகுபு உடன், மின் அவிர் நுடக்கமும் கனவும் போல், மெய் காட்டி என் நெஞ்சம் என்னோடு நில்லாமை நனி வௌவி, தன் நலம் கரந்தாளைத் தலைப்படும் ஆறு எவன்கொலோ? மணிப் பீலி சூட்டிய நூலொடு, மற்றை அணிப் பூளை, ஆவிரை, எருக்கொடு, பிணித்து யாத்து, மல்லல் ஊர் மறுகின்கண் இவட் பாடும், இஃது ஒத்தன் எல்லீரும் கேட்டீமின் என்று படரும் பனை ஈன்ற மாவும் சுடர் இழை, நல்கியாள் நல்கியவை பொறை என் வரைத்து அன்றி, பூநுதல் ஈத்த நிறை அழி காம நோய் நீந்தி, அறை உற்ற உப்பு இயல் பாவை உறை உற்றது போல உக்குவிடும் என் உயிர் பூளை, பொல மலர் ஆவிரை வேய் வென்ற தோளாள் எமக்கு ஈத்த பூ உரிது என் வரைத்து அன்றி, ஒள்ளிழை தந்த பரிசு அழி பைதல் நோய் மூழ்கி, எரி பரந்த நெய்யுள் மெழுகின் நிலையாது, பை பயத் தேயும் அளித்து என் உயிர் இளையாரும், ஏதிலவரும் உளைய, யான் உற்றது உசாவும் துணை என்று யான் பாடக் கேட்டு அன்புறு கிளவியாள் அருளி வந்து அளித்தலின் ‘துன்பத்தில் துணையாய மடல் இனி இவள் பெற இன்பத்துள் இடம்படல்’ என்று, இரங்கினள் அன்புற்று, அடங்கு அருந் தோற்றத்து அருந் தவம் முயன்றோர் தம் உடம்பு ஒழித்து உயர் உலகு இனிது பெற்றாங்கே. A song which breaks the usual three-step Kalithogai format, and in a rare occurrence, makes us hear the man’s voice and his side of the story. The words can be translated as follows: “Owing to the flowing of musth, a handsome elephant with handsome tusks, changes track and refuses to heed the hand, which places the goad on its head. Like this, my sense, and modesty, guided by this sense, along with shame, heed not to me, making me the laughing stock of everyone. All this came about, when, with a smile, akin to the flash of lightning, akin to a dream, she appeared, and artfully captured my heart that refused to stay with me, and then she disappeared and hid her beauty from me. I wondered what could be the way for me to attain her? On a thread tied with sapphire-hued peacock feathers, stringing together the flowers of the mountain knotgrass, matura tea tree and milkweed, I went to the streets of the prosperous town and said, ‘Hear ye everyone! Listen to this man sing a song about her!’ ‘This horse made from the spreading fronds of the palmyra tree, has been rendered to me by that maiden wearing radiant jewels – a burden beyond my bearing ability. Now, I wallow in the gift of this debilitating love affliction, caused by the maiden, with a flower-like forehead, and akin to a doll made of salt, lying on a salt pan, that melts away, when touched by rain, my life fades. These flowers of the matura tea tree and milkweed are the flowers rendered to me, by the maiden with arms that wins over bamboos – a response beyond my bearing ability. Now, I drown in the gift of this suffering-filled disease, caused by the maiden, wearing shining jewels, and akin to a piece of wax dropped in an oil set on a flame, my life vanes. Youngsters and strangers of this town are my only considerate companions!’ As I sang so, that maiden, who speaks affectionate words, decided to shower her grace. As she rendered her concern with affection, I said, ‘O palm horse, you were my mate in sorrow, but now after attaining her, you are not needed in the joy that is to follow’, and became like those, with a wild, unkempt appearance, who undertake impossible penances, and then leave their form behind, to reach the higher world of happiness!”. Let’s delve into the nuances. The verse is situated in the context of the man’s love relationship with the lady, prior to marriage, and here, the man narrates to his friends, the story of how he won over the lady. He starts by talking about what happened when he caught a glimpse of the lady for the first time. Even as she appeared, she seems to have instantly stolen his heart, and at that moment, like how a mad elephant in musth refuses to heed to its mahout’s direction, his intelligence, modesty and shyness seem to have completely deserted him. This made him forget his honour and only wonder about how he could attain the lady, who seemed to have disappeared from his life. Then he decides that there’s no other go but to do the ritual of ‘Madal eruthal’ or ‘Madal ooruthal’, in which a man climbs on a horse made from palmyra fronds, wearing flowers that everyone shuns, and appeal to the townsfolk, expressing the love within for a maiden. So, this man seems to have gone to the town of that lady and sang about how the lady had gifted this palmyra horse and those flower strands and how he was swimming and drowning in the sea of this love affliction. The man brings forth two evocative similes to describe his state, talking about a doll made of salt vanishing away when rain falls, and wax melting away in oil on a flame! Rain and fire used with precision to echo the painful emotions within. The man concludes this song in front of the town, by declaring he had no one but the youngsters and strangers of this place to share his pain with. The kind maiden, who had stolen his heart, comes to hear of this, and decides to accept this man. Now, the man describes ascetics, who undertake penances unto death, and seem to drop their bodies and reach a place of joy in the higher world. He connects and concludes saying, he too gave up his palmyra horse, which had helped him in sorrow, and went on to that joyous heaven of attaining the lady he loved! After all those endless pleas for the man’s grace towards the suffering lady in the previous verses, it’s refreshing to hear a man seeking the attention and love of a lady. At least, there is equality of emotion in the understanding that both this man and that lady find themselves helpless, and are then rescued by the other. What’s interesting here are the many similes like the uncontrollable elephant, the melting salt doll, the vanishing wax in oil, and finally, that image of parting ascetics. The last image seems to touch upon a related ritual in the Jain religion, wherein those who practice this ritual fast unto death to reach the supposed place of enlightenment. While such practices are surely extreme, the connection between how those ascetics leave their body and how the man abandons his palm horse that stood by him, but is of no use anymore, is etched with perfection! Although this verse normally belongs to the ‘Kurinji’ or ‘Mountain landscape’, where love blooms, possibly it has been included in the ‘Neythal’ or ‘Coastal landscape’, to match the theme of lament, and here, we get to hear the story of the man’s fall and triumph in love!…
 
In this episode, we perceive the burning angst of a lady, as portrayed in Sangam Literary work, Kalithogai 137, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and paints a picture of pain, born out of pleasure. அரிதே, தோழி! நாண் நிறுப்பாம் என்று உணர்தல்; பெரிதே காமம்; என் உயிர் தவச் சிறிதே; பலவே யாமம்; பையுளும் உடைய; சிலவே, நம்மோடு உசாவும் அன்றில்; அழல் அவிர் வயங்கு இழை ஒலிப்ப, உலமந்து, எழில் எஞ்சு மயிலின் நடுங்கி, சேக்கையின் அழல் ஆகின்று, அவர் நக்கதன் பயனே மெல்லிய நெஞ்சு பையுள் கூர, தம் சொல்லினான் எய்தமை அல்லது, அவர் நம்மை வல்லவன் தைஇய, வாக்கு அமை கடு விசை வில்லினான் எய்தலோ இலர்மன்; ஆயிழை! வில்லினும் கடிது, அவர் சொல்லினுள் பிறந்த நோய் நகை முதலாக, நட்பினுள் எழுந்த தகைமையின் நலிதல் அல்லது, அவர் நம்மை வகைமையின் எழுந்த தொல் முரண் முதலாக, பகைமையின் நலிதலோ இலர்மன்; ஆயிழை! பகைமையின் கடிது, அவர் தகைமையின் நலியும் நோய் ‘நீயலேன்’ என்று என்னை அன்பினால் பிணித்து, தம் சாயலின் சுடுதல் அல்லது, அவர் நம்மைப் பாய் இருள் அற நீக்கும் நோய் தபு நெடுஞ் சுடர்த் தீயினால் சுடுதலோ இலர்மன்; ஆயிழை! தீயினும் கடிது, அவர் சாயலின் கனலும் நோய் ஆங்கு அன்னர் காதலராக, அவர் நமக்கு இன் உயிர் போத்தரும் மருத்துவர் ஆயின், யாங்கு ஆவதுகொல்? தோழி! எனையதூஉம் தாங்குதல் வலித்தன்று ஆயின், நீங்கரிது உற்ற அன்று அவர் உறீஇய நோயே. For a change, it’s the lady’s voice that echoes in this verse. The words can be translated as follows: “It’s impossible, my friend, to hope that modesty will hold me back; This disease of love is huge; The ability of my life to bear that is too small; The nights are many; Filled with suffering too; In some, the red-naped ibis join together in my sorrow; The consequence of my relationship with him is to be filled with suffering, losing beauty and shivering like a peacock, to toss and turn on the bed that seems like a fire, making my flame-like, radiant jewels resound! Making suffering soar in my gentle heart, he aimed only with his words; He aimed not with a well-built bow, made by the hands of a skilled artisan, which sends arrows with much speed. O maiden wearing radiant jewels, the disease born from his words is more painful than the one caused by a bow! Starting with a smile, and extending into a relationship, because of his esteem, came this affliction. He made me afflicted not because of an enmity that arose from separation in the ancient past! O maiden wearing radiant jewels, the affliction born from his esteem is more painful than the one caused by his enmity! Saying, ‘Without you, I cannot be’, he tied me with his love, and with his gentle nature, he has burnt me; He burnt not with the fire from tall lamp, which completely routs pitch darkness and deep sorrow! O maiden wearing radiant jewels, the burning pain born from his gentle nature is more painful than the one caused by fire! And so, if such is the nature of my lover, and if he, the one who makes my sweet life part away, is the only doctor, who can cure me, what can I do, my friend? I see no way to bear this pain, as this disease he has rendered me, is indeed impossible to destroy!” Time to delve into the nuances. The verse is situated in the context of the man’s parting from a lady, prior to marriage, and the lady expresses her pain to her confidante, as the man listens nearby. The lady starts by declaring that it would be really hard to control her emotions, as the confidante advises, since her love brims over, and the man is not to be found, and all she can do is toss and turn on her bed that seems to have transformed into a fire, as she hopes for the consolation in the song of the red-naped ibis, which falls on her ears on a few nights. Then, she declares how the man had aimed his arrow of love, had fallen in love with her and attacked her with an affliction, owing to his esteemed nature, and how he had tied her up, and burnt her, because of his gentle character. She remarks to her friend that it’s not a sharp arrow, aimed from a well-made bow, or an attack because of an enmity that arose from the past, or a burning with a bright flame. And yet, his words aimed at her had caused more pain than that bow, his esteemed character had wrought more devastation than his enmity and his gentle, loving character had inflicted more pain than a raging fire. The lady then tells her friend that such is the nature of her beloved and if he is the cause and cure of her pain, what could she do, and concludes by declaring there’s no way to pear this pain of separation, ‘Impossible’ is the word that seems to ring through this verse. It’s ultimately an expression of angst in a heart, and perhaps sharing what’s within would bring peace therein, if not anything from anywhere else!…
 
In this episode, we observe the changing stance of the lady’s joy, as depicted in Sangam Literary work, Kalithogai 136, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and showcases the sport of gambling in the Sangam era. இவர் திமில் எறி திரை ஈண்டி வந்து அலைத்தக்கால் உவறுநீர் உயர் எக்கர் அலவன் ஆடு அளைவரித் தவல் இல் தண் கழகத்துத் தவிராது வட்டிப்பக் கவறுஉற்ற வடுவெய்க்கும் காமரு பூங்கடல் சேர்ப்ப! முத்துஉறழ் மணல் எக்கர் அளித்தக்கால், முன் ஆயம் பத்துருவம் பெற்றவன் மனம் போல நந்தியாள் அத்திறத்து நீ நீங்க அணிவாடி, அவ் ஆயம் வித்தத்தால் தோற்றான் போல், வெய்துயர் உழப்பவோ? முடத்தாழை முடுக்கருள் அளித்தக்கால் வித்தாயம் இடைத்தங்கக் கண்டவன் மனம் போல நந்தியாள் கொடைத் தக்காய் நீ ஆயின், நெறியில்லாக் கதி ஓடி உடைப்பொதி இழந்தான் போல், உறுதுயர் உழப்பவோ? நறு வீ தாழ் புன்னைக்கீழ் நயந்து நீ அளித்தக்கால் மறு வித்தம் இட்டவன் மனம் போல நந்தியாள் அறிவித்து நீ நீங்கக் கருதியாய்க்கு, அப்பொருள் சிறு வித்தம் இட்டான் போல், செறி துயர் உழப்பவோ? ஆங்கு, கொண்டு பலர் தூற்றும் கௌவை அஞ்சாய், தீண்டற்கு அருளித், திறன் அறிந்து, எழீஇப் பாண்டியம் செய்வான் பொருளினும் ஈண்டுக இவள் நலம், ஏறுக தேரே. The confidante is at it again, seeking the man’s grace. The words can be translated as follows: “As swaying boats ply, soaring waves dash against the sand dunes, and pour salty water in the nesting holes, where crabs play, making them run to and fro, marking lines that resemble imprints in the well-worn gambling floor, where dices are rolled repeatedly and unceasingly, in the shores of your alluring seas, O lord! Upon sand dunes that resemble pearl heaps, since you rendered your grace, akin to the mind of one, who sees a ten on the dice rolled in a game, she was filled with delight. But when you leave her, making her beauty fade, akin to one, who lost the game rolling lesser numbers, is she to suffer with a burning sorrow? In the small spaces near the curving pandanus, since you rendered your grace, akin to the mind of one, who sees the exact numbers he needs to win, she was filled with delight. But if you are generous no more, akin to one, who played with no restraint and lost his entire bundle of money, is she to suffer with a melting sorrow? Under the laurel wood tree, with low-hanging, fragrant flowers, since you rendered your grace, akin to the mind of one, who won multiple games, she was filled with delight. But if you intend to announce your parting away, akin to one, who rolled a small count and lost his very first game, is she to suffer with intense sorrow? And so, you seem not to worry about the slander being spread by many. By rendering your grace to unite with her, even beyond the wealth attained by one, who puts intense effort, knowing its value, you will render beauty and health unto her. Climb on your chariot right away!” Time to delve into the details. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the confidante speaks to the man. She starts with a unique description of the man’s shores by bringing forth the image of lines left behind by crabs running about on the sands and she places this in parallel to the scars and imprints on a much-used gambling floor. She then talks about how back then because the man united with her upon the sands, between the pandanus trees, and under the laurel wood trees, the lady was filled with so much joy like the mind of a gambler, who wins a ten, who sees the numbers he wants, and who wins game after game. But when the man parts away from the lady, she is filled with sorrow and becomes like the gambler, who rolls small numbers when he wants something big, like the one who loses all recklessly, and the one who is devastated by his very first gamble. After this vivid commentary on the lady’s changing state, the confidante bids the man to rush to the lady, and if he does so, he would shower beauty and health that surpasses in quantity to the wealth attained by one with their hard work. Interesting how the verse portrays so many examples from the world of gambling in the beginning but for the finishing touch, turns to the importance of working hard, stating that nothing can equal the wealth that this brings! A whisper from the past about the risk and loss in gambling, which humans seem to delight in, till this day, in the well-worn paths of casinos around the world!…
 
In this episode, we listen to an appeal to a person’s sense of honour, as depicted in Sangam Literary work, Kalithogai 135, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and portrays a lady’s state in the midst of parting. துணை புணர்ந்து எழுதரும் தூ நிற வலம்புரி இணை திரள் மருப்பாக, எறி வளி பாகனா அயில் திணி நெடுங் கதவு அமைத்து, அடைத்து, அணி கொண்ட எயில் இடு களிறே போல் இடு மணல் நெடுங் கோட்டைப் பயில்திரை, நடு நன்னாள், பாய்ந்து உறூஉம் துறைவ! கேள்: கடி மலர்ப் புன்னைக் கீழ்க் காரிகை தோற்றாளைத் தொடி நெகிழ்ந்த தோளளாத் துறப்பாயால்; மற்று நின் குடிமைக்கண் பெரியது ஓர் குற்றமாய்க் கிடவாதோ? ஆய் மலர்ப் புன்னைக் கீழ் அணி நலம் தோற்றாளை நோய் மலி நிலையளாத் துறப்பாயால்; மற்று நின் வாய்மைக்கண் பெரியது ஓர் வஞ்சமாய்க் கிடவாதோ? திகழ் மலர்ப் புன்னைக் கீழ்த் திரு நலம் தோற்றாளை இகழ் மலர்க் கண்ணளாத் துறப்பாயால்; மற்று நின் புகழ்மைக்கண் பெரியது ஓர் புகராகிக் கிடவாதோ? என ஆங்கு, சொல்லக் கேட்டனை ஆயின், வல்லே, அணி கிளர் நெடு வரை அலைக்கும் நின் அகலத்து, மணி கிளர் ஆரம் தாரொடு துயல்வர உயங்கினள் உயிர்க்கும் என் தோழிக்கு இயங்கு ஒலி நெடுந் திண் தேர் கடவுமதி விரைந்தே. Passionate words from the confidante! The words can be translated as follows: “With a pair of embracing, white-hued conches joined together as tusks, the furious wind as the mahout, akin to elephants that attack the closed, tall gates, fitted with spears, waves roar, leap and dash against the tall towers of sand dunes at midnight in your shores, O lord! Listen: If you forsake the one, who lost her beauty to you, under the laurel wood tree with fragrant flowers, and leave her with arms, from which bangles slip away, won’t that become a huge blemish on the honour of your family? If you forsake the one, who lost her fine beauty to you, under the laurel wood tree with exquisite flowers, and leave her in a state, wherein affliction brims over, won’t that become a huge stain of deception in your honesty? If you forsake the one, who lost her esteemed beauty to you, under the laurel wood tree with radiant flowers, and leave her with eyes that lose to the beauty of flowers, won’t that become a huge infamy in the tale of your fame? And so, you heard what I had to say! Now, making the sapphire-filled necklace and garland on your chest, which shames the picturesque, tall mountains, sway, to breathe life into my wallowing friend, ride your tall and sturdy chariots, resounding with bells, with much haste!” Let’s delve into the details. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the confidante addresses the man for the sake of the lady. She starts with an exquisite metaphor, wherein the waves of the sea are portrayed as battle elephants, barging against fort doors, and the metaphor extends intricately to match the conch shells with the elephant’s tusks, the roaring wind as the mahout, who rides the elephant, and the sand dunes on the shore as the towering forts. Now, the confidante turns to the man and asks him if he abandons the lady after uniting with her under the laurel wood tree, in a state, where her bangles slip away, affliction brims over and her beauty fades, wouldn’t that be a blot, stain and mark on his family’s name, reputation of honesty, and the spread of his fame? With these sharp words, the confidante asks the man to head straight to the lady, hastening his tall chariot! While dwelling on the same core, the verse delighted with its imaginative depiction of the immediate elements of the land with a scene from a faraway battlefield and also with that subtle subtext of the confidante’s attack on the doors of the man’s heart, with her fiery plea!…
 
In this episode, we perceive the pain of a parted lady, as depicted in Sangam Literary work, Kalithogai 134, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and depicts the empathy, shown by the elements of the land. மல்லரை மறம் சாய்த்த மலர்த் தண் தார் அகலத்தோன், ஒல்லாதார் உடன்று ஓட, உருத்து, உடன் எறிதலின், கொல் யானை அணி நுதல் அழுத்திய ஆழி போல், கல் சேர்பு ஞாயிறு கதிர் வாங்கி மறைதலின், இருங் கடல் ஒலித்து ஆங்கே இரவுக் காண்பது போல, பெருங் கடல் ஓத நீர் வீங்குபு கரை சேர, போஒய வண்டினால் புல்லென்ற துறையவாய், பாயல் கொள்பவை போல, கய மலர் வாய் கூம்ப, ஒருநிலையே நடுக்குற்று, இவ் உலகெலாம் அச்சுற, இரு நிலம் பெயர்ப்பு அன்ன, எவ்வம் கூர் மருள் மாலை தவல் இல் நோய் செய்தவர்க் காணாமை நினைத்தலின், இகல் இடும் பனி தின, எவ்வத்துள் ஆழ்ந்து, ஆங்கே, கவலை கொள் நெஞ்சினேன் கலுழ் தர, கடல் நோக்கி, அவலம் மெய்க் கொண்டது போலும் அஃது எவன்கொலோ? நடுங்கு நோய் செய்தவர் நல்காமை நினைத்தலின், கடும் பனி கைம்மிக, கையாற்றுள் ஆழ்ந்து, ஆங்கே, நடுங்கு நோய் உழந்த என் நலன் அழிய, மணல் நோக்கி, இடும்பை நோய்க்கு இகுவன போலும் அஃது எவன்கொலோ? வையினர் நலன் உண்டார் வாராமை நினைத்தலின், கையறு நெஞ்சினேன் கலக்கத்துள் ஆழ்ந்து, ஆங்கே, மையல் கொள் நெஞ்சொடு மயக்கத்தால், மரன் நோக்கி, எவ்வத்தால் இயன்ற போல், இலை கூம்பல் எவன் கொலோ? என ஆங்கு கரை காணாப் பௌவத்து, கலம் சிதைந்து ஆழ்பவன் திரை தரப் புணை பெற்று, தீது இன்றி உய்ந்தாங்கு, விரைவனர் காதலர் புகுதர, நிரை தொடி துயரம் நீங்கின்றால் விரைந்தே. Here, the lady and the onlookers are rendering these thoughts! The words can be translated as follows: “The One, wearing a moist flower garland, who destroyed the strength of enemy warriors, making his enemies scuttle away in fear, with rage, threw a discus that tore the fine forehead of a killer elephant. Akin to that, the sun settled in the mountains, retracting its rays, making the huge sea resound, sensing the arrival of night. As the flood of the huge seas swells and reaches the sands, forsaken by the parting bees, the shores look listless; As if about to attain sleep, the flowers in the pond close their buds. Akin to how the balance is disturbed when lands are torn apart at the end of time, making the world entire shiver in fear, arrives the suffering-filled evening of terror! Thinking about how the one, who rendered this ceaseless disease, does not see me, as this cold season, which spews enmity eats me away, sinking in suffering, as my worried heart sheds tears, the sea looks at me and appears as if it has embraced my state of sorrow. Why is that so? Thinking about how the one, who rendered this terrible disease, does not render his grace, as this intense cold season crosses its bounds, sinking in helplessness, as my beauty fades because of this terrible disease, the sands look at me and appear as if they are melting away, seeing my disease of despair. Why is that so? Thinking about how the one, who relished my beauty and then stayed away, does not come to me, as I became one with a helpless heart, sinking in worry, as my heart that desires him becomes bewildered, the tree looks at me and appears as if it is moved by my suffering and closes its leaves. Why is that so? And so, akin to how one, caught in a flood, unable to see the shores, thrashing after his ship is ruined, catches hold of a raft, brought by the waves, and is saved in the nick of time, as her lover, who came hurrying entered thither, the sorrow of the maiden, wearing rows of bangles, parted away in haste!” Let’s delve into the details. The verse is situated in the context of the man’s parting away from the lady, prior to marriage, and here, the lady expresses her emotions followed by an observation of the onlookers. The lady begins by describing the arrival of the evening with a mythological reference of a god, making his enemy warriors scatter, and throwing a discus that lands on the forehead of a battle elephant, possibly referring to God Thirumaal. The act of the discus, vanishing into an elephant’s head, is placed in parallel to the setting of the sun in the mountain, which then makes the sea swell, the bees to leave the shores, and flowers to close their buds. The lady concludes this description by comparing the arrival of the evening to the end of the world. Then, she talks about how the seas, sands and trees seem to understand her pain of parting from the man in this terrible season of cold, and seem to shed tears on the shore, erode away because of the waves, and close their buds. She wonders at the compassion of these elements in the outer world and the apathy of her beloved. The onlookers conclude this narration of the lady’s pain by describing the scene where a shipwrecked sailor, thrashing in the ocean, with no shore in sight, finally catches glimpse of a plank and holds on to it for dear life, and they compares this to the way the lady’s sorrow vanished, when the man hurried and returned to her. Yet again, the man is portrayed as the saviour of the lady, who is lost at sea in her very home, without him. Heartening to see how far have women have come from such a state of helplessness and dependancy, when we reflect on women sailors across ages, who have conquered the real storms of the seas, with their strength and intellect!…
 
In this episode, we hear words of advice rendered, as depicted in Sangam Literary work, Kalithogai 133, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and lists the meaning of virtuous qualities. மா மலர் முண்டகம் தில்லையோடு ஒருங்கு உடன் கானல் அணிந்த உயர் மணல் எக்கர்மேல், சீர் மிகு சிறப்பினோன் மரமுதல் கை சேர்த்த நீர் மலி கரகம் போல் பழம் தூங்கு முடத் தாழைப் பூ மலர்ந்தவை போல, புள் அல்கும் துறைவ! கேள்: ‘ஆற்றுதல்’ என்பது ஒன்று அலந்தவர்க்கு உதவுதல்; ‘போற்றுதல்’ என்பது புணர்ந்தாரைப் பிரியாமை; ‘பண்பு’ எனப்படுவது பாடு அறிந்து ஒழுகுதல்; ‘அன்பு’ எனப்படுவது தன் கிளை செறாஅமை; ‘அறிவு’ எனப்படுவது பேதையார் சொல் நோன்றல்; ‘செறிவு’ எனப்படுவது கூறியது மறாஅமை; ‘நிறை’ எனப்படுவது மறை பிறர் அறியாமை; ‘முறை’ எனப்படுவது கண்ணோடாது உயிர் வௌவல்; ‘பொறை’ எனப்படுவது போற்றாரைப் பொறுத்தல்; ஆங்கு அதை அறிந்தனிர் ஆயின், என் தோழி நல் நுதல் நலன் உண்டு துறத்தல், கொண்க! தீம் பால் உண்பவர் கொள் கலம் வரைதல் நின்தலை வருந்தியாள் துயரம் சென்றனை களைமோ; பூண்க, நின் தேரே! A crisp verse containing a plea from the confidante! The words can be translated as follows: “The water-thorn with dark-hued flowers and the milky mangrove join hands to adorn the tall sand dunes of the seashore grove. Here, akin to the water-brimming pots tied by hand to trees by the Famous One, hang the fruits of the pandanus, and upon these, akin to flowers blooming, birds perch in your domain, O lord. Listen: ‘Generosity’ is helping one who is suffering; ‘Integrity’ is not forsaking the one who was embraced; ‘Dignity’ is understanding what’s right and acting in accordance; ‘Affinity’ is not disliking one’s kin; ‘Perception’ is bearing with the words of the ignorant; ‘Perfection’ is not forgetting what one promised; ‘Confidentiality’ is hiding what others shouldn’t know; ‘Impartiality’ is not hesitating to seize the life of the known wrong-doer; ‘Tranquility’ is bearing with those who show no care or respect; And so, if you understand all these, O lord, you should know that after savouring the beauty of my friend’s fine forehead, forsaking her, is akin to the act of the person, who after drinking up sweet milk casts away the vessel it came in. To destroy the despair of the she who is depressed about your actions, ready your chariot now!” Time to delve into the details. The verse is situated in the context of the man’s parting from the lady before marriage, and here, the confidante says these words to the man, on the lady’s behalf. The confidante starts by describing the man’s land, and to do that, she talks about how the flowers of the water-thorn and milky mangrove adorn the seashore sands, and in this spread, stands a pandanus tree, whose fruits she connects to the mythical reference of water pots being brought by a celebrated god and tied to the trees. Then, she talks about how, as if flowers have bloomed, birds have come to rest upon these fruits. Concluding this narration about the land, the confidante goes on to list the meaning of being generous, true, virtuous, caring, intelligent, careful, just and patient, in crisp one-liners. Then, she turns to the man and says he is sure to know all this, and likewise, he should one that after being with the lady, leaving her is like the careless, thoughtless act of a person, who gulps down sweet milk and throws away the vessel it came in with disdain. The confidante concludes by urging the man to rush to the lady in his chariot and end the worry of that maiden! Yet again, the confidante seeks the man’s return to the lady and his seeking of her hand. At the same time, she leaves us with a clear picture of abstract values upheld in Sangam times, which ring with relevance even today.…
 
In this episode, we listen to an argument put forth to persuade a person, as portrayed in Sangam Literary work, Kalithogai 132, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and presents insightful images from an ancient seashore. உரவு நீர்த் திரை பொர ஓங்கிய எக்கர்மேல், விரவுப் பல் உருவின வீழ் பெடை துணையாக, இரை தேர்ந்து உண்டு, அசாவிடூஉம் புள்ளினம் இறை கொள முரைசு மூன்று ஆள்பவர் முரணியோர் முரண் தப, நிரை களிறு இடை பட, நெறி யாத்த இருக்கை போல் சிதைவு இன்றிச் சென்றுழிச் சிறப்பு எய்தி, வினை வாய்த்து, துறைய கலம் வாய் சூழும் துணி கடல் தண் சேர்ப்ப! புன்னைய நறும் பொழில் புணர்ந்தனை இருந்தக்கால், ‘நன்னுதால்! அஞ்சல் ஓம்பு’ என்றதன் பயன் அன்றோ பாயின பசலையால், பகல் கொண்ட சுடர் போன்றாள் மாவின தளிர் போலும் மாண் நலம் இழந்ததை? பல் மலர் நறும் பொழில் பழி இன்றிப் புணர்ந்தக்கால், ‘சின்மொழி! தெளி’ எனத் தேற்றிய சிறப்பு அன்றோ வாடுபு வனப்பு ஓடி வயக்கு உறா மணி போன்றாள் நீடு இறை நெடு மென் தோள் நிரை வளை நெகிழ்ந்ததை? அடும்பு இவர் அணி எக்கர் ஆடி நீ மணந்தக்கால், ‘கொடுங் குழாய்! தெளி’ எனக் கொண்டதன் கொளை அன்றோ பொறை ஆற்றா நுசுப்பினால், பூ வீந்த கொடி போன்றாள் மறை பிறர் அறியாமை மாணா நோய் உழந்ததை? என ஆங்கு வழிபட்ட தெய்வம்தான் வலி எனச் சார்ந்தார்கண் கழியும் நோய் கைம்மிக அணங்குஆகியது போல, பழி பரந்து அலர் தூற்ற, என் தோழி அழி படர் அலைப்ப, அகறலோ கொடிதே. Yet again, a plea on behalf of a friend. The words can be translated as follows: “Upon the soaring sand dunes, assailed by waves of the spreading sea, after choosing and feeding upon their prey, with their loving mates, rest herds of birds in many different forms. Akin to rows of battle elephants, belonging to the one, who rules over the drums three, and who utterly ruins the strength of his enemies, placed in perfect intervals, are the ships, which have completed their missions, without any ruin whatsoever, and won over fame wherever they went, adorning the cool shores of your domain, O lord of the shining seas! After you embraced her in the shade of the laurel wood tree, you promised to her saying ‘O maiden with a fine forehead! Fear not!’. Isn’t that what has caused the maiden to lose her esteemed beauty, akin to a tender mango shoot, and be covered in pallor, appearing like the glow of a lamp during the day? After you flawlessly embraced her in the many-flowered, fragrant grove, you cheered her saying, ‘O maiden of few words! Understand and be clear’. Isn’t that what has endowed the state, wherein the rows of bangles slip away from the slender, curving, soft arms of that maiden, whose beauty has faded and ruined, akin to an unpolished sapphire? After playing in the fine sands covered with beach morning glory vines, you hugged her and said, ‘O maiden wearing curving earrings! Understand and be clear’. Isn’t that because she accepted that as your pledge that has now made her suffer with this unceasing disease, which she hides from the knowledge of others, making that maiden, whose has a slender waist, unable to bear the burden of her jewels, now become like a vine, bereft of flowers? And so, akin to how a god worshipped as one’s strength, transforms to become the attacking spirit, making the affliction of the worshipper get out of hand, causing slander and blame to spread around, it’s terrible of you to part away, leaving my friend in this deep despair!” Let’s delve into the details. The verse is situated in the context of the man’s parting from the lady, prior to marriage, and here, the confidante renders these words to the man. She begins by describing his shores, where on one side, seabirds are resting with their mates on sand dunes, after choosing from the bounty of prey and feeding to their full. To depict the scene on the other side of the shore, an image of neat rows of battle elephants of a king, who is said to extended his dominion over drums three, possibly referring to a Pandya King, who had extended his power in the Chera and Chozha countries as well, is put forth. This simile of rows of elephants, separated by intervals, has been employed to talk about the ships that have returned from their missions, without even a scratch, fully intact, after sailing in faraway seas, and earning esteem and praise wherever their sails fluttered. Returning, we find the confidante moving towards the crux of the matter by reminding the man about the promises and clarifications he gave the lady as he united with her in the shade of the laurel wood tree, in the seashore grove and in the spreading sands filled with morning glory vines. The lady accepted and trusted in all these words and now because the man seems to have forgotten those promises and parted away, she finds herself in a state, where pallor covers her, her bangles slip away and the disease of affliction soars so much, even as the lady tries to hide it from all others, intending to protect her man. Her beauty, which was exquisite before, has now become a lamp lit during the day, an unpolished sapphire and a vine, whose flowers have abandoned it. After these descriptions of the lady’s state, the confidante concludes by portraying how the man, who had been the god, who rendered grace, had now become the attacking sprit in the life of the lady, because of his staying away and delaying seeking the lady’s hand. Though it’s another case of ‘Marry her, marry her’, we can choose to extract that scene of the intact ships that have seen shores many and returned with success, to perceive the extent of the shipbuilding industry and the maritime trade of the ancient Tamils.…
 
In this episode, we perceive stunning images from an ancient seashore, as portrayed in Sangam Literary work, Kalithogai 131, penned by Nallanthuvanaar. The verse is situated in the ‘Neythal’ or ‘Coastal Landscape’ and sketches the dynamics in the relationship between the man and the lady. தோழி : பெருங்கடல் தெய்வம் நீர் நோக்கித் தெளித்து, என் திருந்திழை மென்தோள் மணந்தவன் செய்த அருந்துயர் நீக்குவேன் போல் மன், பொருந்துபு பூக்கவின் கொண்ட புகழ் சால் எழில் உண்கண், நோக்குங்கால் நோக்கின் அணங்காக்கும் சாயலாய்! தாக்கி இனமீன் இகல் மாற வென்ற சினமீன் எறிசுறா வான் மருப்பு கோத்து நெறி செய்த நெய்தல் நெடு நார்ப் பிணித்து யாத்துக் கை உளர்வின் யாழசை கொண்ட இன வண்டு இமிர்ந்து ஆர்ப்பத் தாழாது உறைக்கும் தடமலர்த் தண்தாழை வீழ் ஊசல் தூங்க பெறின். மாழை மட மான் பிணை இயல் வென்றாய்! நின் ஊசல் கடைஇ யான் இகுப்ப, நீடு ஊங்காய் தட மென்தோள் நீத்தான் திறங்கள் பகர்ந்து. தலைவி : நாணினகொல் தோழி? நாணினகொல் தோழி? இரவெலாம் நல்தோழி நாணின, என்பவை வாள் நிலா ஏய்க்கும் வயங்களி எக்கர் மேல், ஆனாப் பரிய அலவன் அளை புகூஉம், கானல் கமழ் ஞாழல் வீ ஏய்ப்பத் தோழி, என் மேனி சிதைத்தான் துறை. தோழி : மாரி வீழ் இருங்கூந்தல் மதைஇய நோக்கு எழில் உண்கண் தாழ்நீர முத்தின் தகை ஏய்க்கும் முறுவலாய்! தேயா நோய் செய்தான் திறம் கிளந்து நாம் பாடும் சேய் உயர் ஊசல் சீர் நீ ஒன்று பாடித்தை. தலைவி : பார்த்துற்றன தோழி! பார்த்துற்றன தோழி! இரவெலாம் நல் தோழி! பார்த்துற்றன என்பவை தன் துணை இல்லாள் வருந்தினாள் கொல்? என இன்துணை அன்றில் இரவின் அகவாவே, அன்று, தான் ஈர்த்த கரும்பு அணி வாட, என் மென்தோள் ஞெகிழ்த்தான் துறை. தோழி : கரைகவர் கொடுங்கழிக் கண்கவர் புள் இனம், திரை உறப் பொன்றிய புலவு மீன் அல்லதை, இரை உயிர் செகுத்து உண்ணாத் துறைவனை யாம் பாடும் அசைவரல் ஊசல் சீர் அழித்து, ஒன்று பாடித்தை. தலைவி : அருளினகொல் தோழி? அருளினகொல் தோழி? இரவெலாம் தோழி! அருளின என்பவை கணங்கொள் இடு மணல் காவி வருந்தப் பிணங்கு இரு மோட்ட திரை வந்து அளிக்கும், மணம்கமழ் ஐம்பாலார் ஊடலை ஆங்கே வணங்கி உணர்ப்பான் துறை. தோழி : என நாம், பாட மறை நின்று கேட்டனன் நீடிய வால் நீர்க் கிடக்கை வயங்கு நீர்ச் சேர்ப்பனை யான் என உணர்ந்து நீ நனி மருளத் தேன் இமிர் புன்னை பொருந்தித் தான் ஊக்கினன் அவ் ஊசலை வந்தே. We encounter our first long song in this series on the coastal landscape, comprising of an animated conversation. The words can be translated as follows: “ Confidante : Splashing its water on you, the great god of the sea seems to bless you saying, ‘I will remove the deep suffering caused by the one, who embraced your soft arms clad with perfect jewels’, O maiden having flower-like, esteemed, beautiful, kohl-streaked eyes, and an appearance that bewitches those who behold you! Tying together the white bills of many swordfish, which have attacked and won over many other kinds of fish, in neat rows, a plank has been tied together with the long stems of the blue lotus, and to make a swaying swing, this has been placed on the aerial roots of the cool pandanus trees with huge flowers, around which unceasingly bees of many kinds buzz around, akin to a hand-held lute. O maiden, with a gaze, akin to a young, naive deer, as you sit upon this swing and I rock you up and down for a long time, share about the qualities of the one, who abandoned your curving, gentle arms! Lady : Didn’t they felt ashamed, my friend? Didn’t they feel ashamed? All night, they felt ashamed, my friend, those crabs that ceaselessly skip about the radiant sands, akin to the white moon, as they rushed into their holes, in the shores of the one, who ruined my form, and turned it into the hue of the falling flowers of the fragrant screw-pine! Confidante : O maiden with rain-like, thick tresses, beautiful, kohl-streaked eyes, with an exquisite gaze, and a smile, akin to the glow of pearls in the deep waters! Matching the rhythm of this swing that flies afar, why don’t you render a stanza in this song we are singing together about the qualities of the one, who rendered this unending affliction in you? Lady : They saw and felt sorrowful, my friend! They saw and felt sorrowful! All night, they felt sorrowful, my friend! Did they think, I was worrying without my companion, that those red-naped ibises with sweet mates refrained from singing all night, in the shores of the one, who painted sugarcane patterns on my soft arms, and then made their beauty fade away. Confidante : O maiden! Matching the rhythm of this swaying swing, render one more thought in this song we are singing about the lord of the shore, where the picturesque sea birds, which adorn the shores of the curving backwaters, feed only on the fish that are battered by the waves and brought to the shore, and would never prey upon the living! Lady : Didn’t they grace and protect, my friend? Didn’t they grace and protect? All night, they rendered their grace, my friend, as the thick sand that flew in with the wind troubled the red lilies, the waves rushed to flatten the rising levels of mud and protected with grace, in the shore of the one, who bows low and resolves the sulking of the maiden, having fragrant, five-layered tresses therein. Confidante : And so, once before, the lord of the shores. brimming with white waves, stood there hiding, listening to such a song of ours. Making you think it’s still me standing behind, leaning on the laurelwood, buzzing with bees, he pushed the swing himself that day!” Time to delve into the delicious nuances. The verse is situated in the context of the man’s parting from the lady prior to marriage. Here, the confidante and lady converse about the man and his actions. The confidante begins by pointing to the lady, the spray of the waves, and saying how it seemed as if the god of the seas was blessing her saying that it would remove the pain in the lady caused by the man’s parting. The confidante then goes on to describe in intricate detail about a swing, whose plank has been made with the bills of swordfish in a neat row, tied with the fibres of a lotus stem, and then hung from the aerial roots of a pandanus tree. She has talked about this delightful object to cheer up the lady by asking her to sit on it, promising to sway it up and down, and suggesting that they sing about the lord of the shore, as she dos so. At each point, the confidante asks the lady to sing matching the rhythm of this swaying swing, and the lady too responds readily. First, the lady talks about the crabs in the man’s shore and how they were ashamed because the man had ruined the beauty of the lady’s skin and changed it to the hue of the screw-pine flowers, and that’s why they were hurrying to hide in their holes. Next, the lady talks about how the red-naped ibis happily united with their mates, felt sad about the lady being parted from the man, for all night they refused to sing. And for the third and last request from the confidante, the lady talks about the waves and how they seemed to take great care about the red lilies, which were troubled by the sand laid down by the thick winds, and rushed to settle the mud and calm them down. All these elements are from the shore ruled by the lord, the lady connects. Hearing all this, the confidante concludes recollecting how once before when they were singing in this fashion, the man had been standing at a distance, listening, and then, came and stood behind the swing and pretending to be the confidante, he pushed the swing, much to the delightful confusion of the lady. With those words, the confidante seems to part with the hope that the man would arrive again, just like that, and bring joy to the lady. Fascinating to note the order of emotions projected on the beings and the land, for it starts with the shame of the crabs, as if accusing the man of his actions, hoping to evoke regret in him. Next, it’s the sorrow of the ibis, reflecting the lady’s painful state, intending to reach the man’s compassion, and finally, in that exquisite depiction of the waves rushing in to protect the waterlilies and save them from the torment of the wind, the aim is to appeal to the nobler emotions of the man, with the hope he would be filled with love for the lady and would rush to protect his beloved. In that last image especially, the truth that holding a person to high standards will make them rise to it, is sketched vividly. To sum it all up, the verse stands testimony to the incomparable skill of Sangam poets in weaving together the elements of the land and the emotions of the mind!…
 
Loading …

プレーヤーFMへようこそ!

Player FMは今からすぐに楽しめるために高品質のポッドキャストをウェブでスキャンしています。 これは最高のポッドキャストアプリで、Android、iPhone、そしてWebで動作します。 全ての端末で購読を同期するためにサインアップしてください。

 

icon Daily Deals
icon Daily Deals
icon Daily Deals

クイックリファレンスガイド

探検しながらこの番組を聞いてください
再生