In this episode, we listen to the greatness of a king in war and peace, as depicted in Sangam Literary work, Puranaanooru 392, penned about the Velir King Poguttu Ezhini by the poet Avvaiyaar. The verse is situated in the category of ‘Paadaan Thinai’ or ‘Praise’ and reveals a fascinating fact in the history of agriculture.

மதி ஏர் வெண் குடை அதியர் கோமான்,
கொடும் பூண் எழினி, நெடுங் கடை நின்று, யான்
பசலை நிலவின் பனி படு விடியல்,
பொரு களிற்று அடி வழி அன்ன, என் கை
ஒரு கண் மாக் கிணை ஒற்றுபு, ‘கொடாஅ,
உரு கெழு மன்னர் ஆர் எயில் கடந்து,
நிணம் படு குருதிப் பெரும் பாட்டு ஈரத்து
அணங்குடை மரபின் இருங் களந்தோறும்,
வெள் வாய்க் கழுதைப் புல் இனம் பூட்டி,
வெள்ளை வரகும் கொள்ளும் வித்தும்
வைகல் உழவ! வாழிய பெரிது!’ எனச்
சென்று யான் நின்றனெனாக, அன்றே,
ஊர் உண் கேணிப் பகட்டு இலைப் பாசி
வேர் புரை சிதாஅர் நீக்கி, நேர் கரை
நுண் நூல் கலிங்கம் உடீஇ, ‘உண்’ எனத்
தேள் கடுப்பு அன்ன நாட்படு தேறல்
கோள்மீன் அன்ன பொலங் கலத்து அளைஇ,
ஊண் முறை ஈத்தல் அன்றியும், கோள் முறை
விருந்து இறை நல்கியோனே அந்தரத்து
அரும் பெறல் அமிழ்தம் அன்ன
கரும்பு இவண் தந்தோன் பெரும் பிறங்கடையே.

The words of the prolific and peerless female poet Avvaiyaar resound in this verse sung not about her best friend and king Athiyamaan but about Athiyamaan’s son, Poguttu Ezhini. Here, she assumes the voice of a male drummer to convey the essence of this king’s generosity effectively. Her words can be translated as follows:

“With a royal, white umbrella, akin to the moon, rules the king of Athiyars, Ezhini, the one wearing curvy garlands of gold. Standing at his wide gates, as the young moon sheds its misty dew in the morning hours, I beat on the eye of my huge kinai drum, shaped like the footprint of a battle elephant, and sang, ‘Conquering the formidable walls of terrifying kings, who had refused to render, in that huge battlefield made moist with flowing blood, filled with fatty flesh, you would tie white-mouthed, dull-hued donkeys to a plough and sow white millets and horse gram day after day, like a farmer, O lord! May you live long!’.

As I sang so and stood there, right that moment, he appeared and removed my garment, torn and stained like the roots of the wide-leafed moss that spreads on the drinking water tanks in the village, and rendered unto me, a neatly cut attire made of fine threads. Then, saying ‘Eat’, he gave me a long-fermented distillation of toddy, with a scorpion’s sting, in a golden bowl, akin to the planets in the sky. The way he rendered was not merely as per the tradition of giving food to another, but going further, he rendered a feast unto me with perfect hospitality! He is the scion in the line of that great ancestor, who, from a place that was beyond, brought that hard-to-obtain ambrosia called sugarcane!”

Time to explore the nuances. The poet starts in the voice of a male drummer and talks about the famous rule of Ezhini, by referring to his royal umbrella as the moon. The drummer describes how he stood at the gates of this king and sang about the king’s prowess in the battlefield and the way he ploughs it with donkeys, sowing millets and horse gram, something which sounds curious to our ears but could be an age-old tradition of insulting the enemies in the battleground. Immediately after this song, the king seems to have summoned the drummer and then seeing the stained, moss-like garments, gave him fine clothes. After that, toddy of the best possible quality, something that had been fermented for many days to give it the sting of a scorpion, was given to him, in a golden bowl that shone like a planet in the sky, says the drummer. He then summarises how the king did not do these things merely out of tradition but he could sense the true hospitality in the king’s manner of giving. Finally, the poet concludes in the voice of this drummer saying that this king is one who comes in the great lineage of that famous king, who had brought the delicious ambrosia on earth called sugarcane from far beyond to this land. 

That single line is the highlight of this verse, which otherwise contains the usual descriptions of war and generosity. When I searched about the history of sugarcane, I learnt that it came from the Austranesian lands of Papua New Guinea to India around 1000 BCE, and only from here, it travelled to regions as far as Greece and Rome. The lines of this verse tells us that it was the ancestor of this king who brought sugarcane from far beyond. This ‘far beyond’ could be ‘beyond the seas’ and behind this one line, rests so much history about agriculture,maritime trade and commerce between regions, separated by more than 7000 kilometres, three thousand years ago. Sadly, the rich history of the people in these regions have been swept away in the current of colonialism because of the mistaken branding of these cultures as ‘primitive’. Hope such striking words that speak to us will inspire future generations to uncover such unsung glory of the past!

In this episode, we perceive the journey of a people in search of a better life, as portrayed in Sangam Literary work, Puranaanooru 391, penned about the Leader Poraiyaatrukizhaan, by the poet Kalladanaar. Set in the category of ‘Paadaan Thinai’ or ‘Praise’, the verse expresses the hope of finding refuge in the domain of this prosperous ruler.

தண் துளி பல பொழிந்து எழிலி இசைக்கும்
விண்டு அனைய விண் தோய் பிறங்கல்
முகடுற உயர்ந்த நெல்லின் மகிழ் வரப்
பகடு தரு பெரு வளம் வாழ்த்தி, பெற்ற
திருந்தா மூரி பரந்து படக் கெண்டி,
அரியல் ஆர்கையர் உண்டு இனிது உவக்கும்
வேங்கட வரைப்பின் வட புலம் பசித்தென,
ஈங்கு வந்து இறுத்த என் இரும் பேர் ஒக்கல்
தீர்கை விடுக்கும் பண்பு இல முதுகுடி
நனந்தலை மூதூர் வினவலின்………..
‘முன்னும் வந்தோன் மருங்கிலன், இன்னும்
அளியன் ஆகலின், பொருநன் இவன்’ என,
நின் உணர்ந்து அறியுநர் என் உணர்ந்து கூற,
காண்கு வந்திசின் பெரும, மாண்தக
இரு நீர்ப் பெருங்கழி நுழை மீன் அருந்தும்
துதைந்த தூவி அம் புதாஅம் சேக்கும்
ததைந்த புன்னைச் செழு நகர் வரைப்பின்,
நெஞ்சு அமர் காதல் நின் வெய்யோளொடு,
இன் துயில் பெறுகதில் நீயே வளஞ்சால்
துளி பதன் அறிந்து பொழிய,
வேலி ஆயிரம் விளைக, நின் வயலே!

Praises continue to pour at the gates of rulers. The poet’s words can be translated as follows:

“Pouring down cool raindrops, clouds resound and swirl around sky-soaring hills. Heaped like these hills, were mounds of paddy, harvested by the joyful work of oxen. Praising this great prosperity and obtaining huge chunks of meat, they spread it, cooked it, relished it with toddy and lived happily in the north of the Venkatam Hills. Since drought spread in that region, my huge group of kith and kin came here seeking. When the ancient people there, who never have to leave from that widespread place, were asked… Knowing about you and seeing me, they said, ‘This person came before too, and he is a supplicant who is to be pitied.’ So, I came to see you, O lord, in your prosperous mansion, surrounded by ‘punnai’ trees, in which beautiful storks, with thick feathers, after feeding on the fish in the dark backwaters, rests upon. Here, may you always attain a sweet sleep with your wife, who resides in your heart with love, and may the rains know the needs of all your fields and make them flourish in thousands of ‘veli’.”

Let’s explore the details. The poet, wishing to talk about mountains, mentions clouds, which pour down rain drops, and talks about their tendency to envelope these projections on the land. Here, the poet gives us a subtle geography lesson on the inseparable bond between clouds that bear rain and mountains that stop them in their tracks and make them pour down, much to the joy of those living there. Moving on, these mountains have been spoken about to place them in parallel to heaps of paddy that were to be found in a particular place. Here, people like the poet praised the wealth of this land made possible by the oxen, they called their possessions. As a gift they obtained pieces of meat and toddy. Such was the happy life of his kith and kin, the poet reveals, in a country to the north of Venkatam Hills, identified as the contemporary Tirupati Hills in the state of Andhra Pradesh. 

But that life had to end, continues the poet, saying drought and famine spread in that region, and so they all came to this town, whose people had been living there from ancient times, so deep were their roots. This is the story of migration which perpetually keeps repeating in the history of human life! Those migrants questioned the people living there and because they knew about their leader’s generosity, they spoke kind words to allay the poet’s situation and directed him to the ruler’s abode. To describe this place, the poet calls in thick-feathered birds that have had a plentiful catch of fish in the backwaters and are now retiring for the day in the soaring ‘Laurelwood’ trees. These ‘punnai’ trees surround the leader’s home, indicating that this is a coastal town. The poet concludes with a blessing that the leader should always sleep in peace with his loving wife, and also, that the rains should always understand the needs of the leader’s fields, and make them flourish vastly. In the original verse, the word ‘veli’ is used in connection with the prosperity of these fields, and though that word means ‘fence’ in contemporary Tamil, here it’s used as a measure of land such as acres or hectares, which we employ today. The nuanced element in this blessing is how the poet personifies the rains as a knowing entity that has the ability to pour according to the needs of a land. And thus, the poet neatly ties up the verse starting from the rain clouds around the mountains to the raindrops on the fields beneath!

In this episode, we perceive the thoughtful generosity of a much-celebrated king, as depicted in Sangam Literary work, Puranaanooru 390, penned about the Velir King Athiyamaan Nedumaan Anji by the poet Avvaiyaar. Set in the category of ‘Paadaan Thinai’ or ‘Praise’, the verse talks about all the ways the leader allayed the suffering of a supplicant.

அறவை நெஞ்சத்து ஆயர், வளரும்
மறவை நெஞ்சத்து ஆய் இலாளர்,
அரும்பு அலர் செருந்தி நெடுங் கால் மலர் கமழ்,
விழவணி வியன் களமன்ன முற்றத்து,
ஆர்வலர் குறுகின் அல்லது, காவலர்
கனவினும் குறுகாக் கடியுடை வியல் நகர்,
மலைக் கணத்து அன்ன மாடம் சிலம்ப, என்
அரிக் குரல் தடாரி இரிய ஒற்றிப்
பாடி நின்ற பல் நாள் அன்றியும்,
சென்ற ஞான்றைச் சென்று படர் இரவின்
வந்ததற் கொண்டு, ‘நெடுங் கடை நின்ற
புன் தலைப் பொருநன் அளியன்தான்’ என,
தன்னுழைக் குறுகல் வேண்டி, என் அரை
முது நீர்ப் பாசி அன்ன உடை களைந்து,
திரு மலர் அன்ன புது மடிக் கொளீஇ,
மகிழ் தரல் மரபின் மட்டே அன்றியும்,
அமிழ்து அன மரபின் ஊன் துவை அடிசில்
வெள்ளி வெண் கலத்து ஊட்டல் அன்றி,
முன் ஊர்ப் பொதியில் சேர்ந்த மென் நடை
இரும் பேர் ஒக்கல் பெரும் புலம்பு அகற்ற,
அகடு நனை வேங்கை வீ கண்டன்ன
பகடு தரு செந்நெல் போரொடு நல்கி,
‘கொண்டி பெறுக!’ என்றோனே உண் துறை
மலை அலர் அணியும் தலை நீர் நாடன்;

கண்டாற் கொண்டும் அவன் திருந்து அடி வாழ்த்தி,
………………………………………………………………………
வான் அறியல என் பாடு பசி போக்கல்;
அண்ணல் யானை வேந்தர்
உண்மையோ, அறியல்? காண்பு அறியலரே!

It’s another nuanced poem by the prolific female poet Avvaiyaar, celebrating her friend and king Athiyamaan. In this verse, she chooses the voice of a male drummer, arriving at the gates of this king to etch the leader’s personality vividly. The poet’s words can be translated as follows:

“Herders of cattle with hearts of righteousness and denizens of small hamlets with thriving hearts of strength hold festivities in wide areas, which are fragrant like the blooming, tall-stalked flowers of the ‘Serunthi’ tree. Akin to this, was the entrance to his well-protected, wide palace that supplicants can reach with ease, but enemies cannot come close even in their dreams. Making the tall mansion resound like the mountains, I beat upon my sharp-toned ‘thadari’ drum with vigour and sang there. This, I did not even have to do for many days, but on the very day I reached there, when night fell, he said, ‘The sparse-haired supplicant standing at the tall gates is to be pitied’, he wished for me to go near him. And when I did, he removed my garment, akin to moss that spreads on water standing for long, and made me wear a new cloth, akin to a soft and gentle flower. He offered me not only ecstasy-endowing, fine toddy, but delicious meat and rice, akin to ambrosia, in a glowing white silver vessel. Not only that, to end the suffering of my huge group of kith and kin with weak gaits, assembled at the common area of the town, making them feel as if they were seeing ‘vengai’ flowers with moist cores, he rendered unto them, red paddy ploughed by oxen, in huge mounds, and said, ‘Take all of this”. He is the lord of the country, where gushing streams decorate their shores with lush mountain flowers.

When seeing him, blessing his perfect feet… Those hungry souls who lament that the sky does not see their suffering, are those who know not this great king, who owns esteemed elephants many, or they have not yet seen him!”

Time to unravel the nuances in this wordsmith’s creation! The poet starts by talking about cattle herders and those who live in small villages. The first group she characterises as people having just hearts and the latter as people having strong hearts. However, the reason for this classification is not evident. Moving on, she has referred to these people to bring to fore the festivities they hold in their town, and she qualifies the fragrance of these festivities to the ‘Serunthi’ or ‘Golden Champak’ flowers, also curiously called ‘Mickey Mouse flowers’, owing to the curious features that form on these flowers to attract bees. Returning, we learn that the poet has mentioned that fragrant and festive area, only to call it in parallel to the entrance of this king’s palace, which he says has the contrasting qualities of being welcoming to supplicants and unapproachable to enemies.

The poet, speaking in the voice of the drummer, says he beat upon his ‘thadari’ drum with such force, making the mansions echo like mountains, and stood there singing. He did not even have to wait for days together to gain the attention of the king. That very night, the king took pity on this sparse-haired supplicant at his gates, called him in, and immediately changed the drummer’s mossy clothes to new clothes with a flower-like softness. After attire, food in the form of intoxicating toddy and elixir-like meat and rice was offered to the drummer. Not only that, thinking about the relatives of this poet, who were waiting at the town centre, the king seems to have showered them with heaps of red paddy, akin to the moist inner core of Kino flowers. Thus, in every possible way, the king seems to have allayed the suffering of the drummer, and he, in turn, paints a vivid image of the king’s country by describing how the rivers that flow decorate the shores there with beautiful mountain flowers. Imagine the taste and fragrance of that water! 

The drummer then goes on to talk about praising the feet of this king but the line that follows is lost in time. The poet, speaking in the voice of the drummer, concludes that if anyone is complaining about the skies disappointing them or not caring about their plight, it can only mean that they do not know about this king or they have not seen him yet. A verse that minutely etches the thoughtful ways this king attends to the needs of a supplicant. The ruler doesn’t make the drummer wait for long, makes him respectable with a clean attire, offers food and drink for his famished body, and most of all, goes beyond the artist, and thinks of the drummer’s family and ends their suffering, which is what the drummer ultimately wants. No wonder the artist is so touched by all these caring moments that he declares that anyone complaining about lack in their lives is sure to be someone who know not this generous king or have not yet had the fortune of meeting him. A female poet, from two thousand years ago, assuming the stance of a male drummer, to render this intricate song of praise, filled with picturesque similes, makes this verse unique and noteworthy!

In this episode, we hear of an ancestor’s fame, as depicted in Sangam Literary work, Puranaanooru 389, penned about the Leader Naller Muthiyan by the poet Kallil Aathiraiyanaar. The verse is situated in the category of ‘Paadaan Thinai’ or ‘Praise’ and puts forth a request to a leader of a hilly domain.

‘நீர் நுங்கின் கண் வலிப்ப,
கான வேம்பின் காய் திரங்க,
கயம் களியும் கோடை ஆயினும்,
ஏலா வெண்பொன் போருறு காலை,
எம்மும் உள்ளுமோ பிள்ளைஅம் பொருநன்!’
என்று ஈத்தனனே, இசைசால் நெடுந்தகை;
இன்று சென்று எய்தும் வழியனும் அல்லன்;
செலினே, காணா வழியனும் அல்லன்;

புன் தலை மடப் பிடி இனைய, கன்று தந்து,
குன்றக நல் ஊர் மன்றத்துப் பிணிக்கும்
கல் இழி அருவி வேங்கடம் கிழவோன்,
செல்வுழி எழாஅ நல் ஏர் முதியன்!
ஆதனுங்கன் போல, நீயும்
பசித்த ஒக்கல் பழங்கண் வீட,
வீறுசால் நன் கலம் நல்குமதி, பெரும!
ஐது அகல் அல்குல் மகளிர்
நெய்தல் கேளன்மார், நெடுங் கடையானே!

Seeking a person’s grace by recollecting the greatness of another is the core of this verse. The poet’s words can be translated as follows:

“‘Whether it’s a harsh summer, when water-filled palmyra ice apples harden, when the forest neem’s shoots dry-up and when deep ponds become parched or it’s a time when the white-gold planet refuses to move from the south, make sure to think of me, O supplicant of young years!’, said he and gave generously, that great and famous king! He is not in a place, where I could go and reach. If at all I were to go, he is not someone who would remain unapproachable.

Making the naive female elephant with spots on its head suffer, they bring its young calf and tie it in the town centre of the fine town in the hills. Such is the domain of Venkatam, filled with cascades descending from the mountains, and you are its lord, O Naller Muthiyan, whose mind doesn’t wander wherever it wants. Akin to Aathaanungan, you should end the suffering of my famished kith and kin and render fine and excellent gifts, O lord! May your royal maiden, having delicate waists, never hear the beats of ‘Neythal’ in your wide front yard!”

Let’s delve into the words. The poet starts by recollecting the words of a person who had asked the poet to remember him, whether it was the harsh and dry times of summer when the normally moist, water-filled palm fruits become hard, when the neem’s soft fruits dry up and even deep ponds show their parched bottoms, or whether it was a time of drought and famine, indicated by the silver planet staying put in the south. This seems to be a practice of generous leaders, to render not only in the present but also offer a promise for the future. Now the poet comes to the present and says that person is no longer in a position where the poet can reach him, implying that this generous soul is no more. The poet adds that such is the generosity of that person such that if at all, the poet is able to go to that unreachable place, even there he would appear to the poet and help him in his time of need. 

The poet then turns to the person who is before him, a leader called Naller Muthiyan, and describes his mountain country of Venkatam, where cascades flow, talking about how the people there separate the calf from the saddened mother elephant and tie it in the town centre. It’s not clear what quality of that place the poet is trying to project with this description. Why should the people separate the mother and calf? Is this to say they raise many battle elephants from a young age? Moving on from this ambiguous reference, we see the poet asking this leader to render unto him just like the person he was talking about previously, whom he reveals as the Leader Aathanungan, who ruled over this land in the past, and is an ancestor of this present ruler. He requests the present lord to relieve the suffering of his kith and kin and ends with a blessing that the royal maiden of this ruler never hear the ‘Neythal’ drum at their gates. To understand the significance of this cryptic statement, we need to delve into the customs of the Sangam era and learn that the ‘Neythal’ drum was the drum that declared to the world that a death had happened. In short, the poet renders a blessing of a long, long life to this leader for his generosity or he is saying that the leader’s generosity is sure to make him immortal. A verse where we hear the striking drum beats of the twin notes of fatality and generosity in a person’s life!

In this episode, we listen to impressive words of praise about a lord of a minor domain, as depicted in Sangam Literary work, Puranaanooru 388, penned about the Leader Pannan by the poet Madurai Alakkar Gnaalalaar Makanaar Mallanaar. Set in the category of ‘Paadaan Thinai’ or ‘Praise’, the verse talks about a poet’s determination to spread the fame of this ruler.

வெள்ளி தென் புலத்து உறைய, விளை வயல்,
பள்ளம் வாடிய பயன் இல் காலை,
இரும் பறைக் கிணைமகன் சென்றவன், பெரும் பெயர்
சிறுகுடி கிழான் பண்ணன் பொருந்தித்
தன் நிலை அறியுநனாக, அந் நிலை
இடுக்கண் இரியல் போக, உடைய
கொடுத்தோன் எந்தை, கொடை மேந் தோன்றல்,
நுண்ணூல் தடக்கையின் நா மருப்பாக,
வெல்லும் வாய்மொழிப் புல்லுடை விளை நிலம்
பெயர்க்கும் பண்ணற் கேட்டிரோ…
வினைப் பகடு ஏற்ற மேழி கிணைத் தொடா,
நாள்தொறும் பாடேன்ஆயின், ஆனா
மணி கிளர் முன்றில் தென்னவன் மருகன்,
பிணி முரசு இரங்கும் பீடு கெழு தானை
அண்ணல் யானை வழுதி,
கண்மாறிலியர் என் பெருங் கிளைப் புரவே!

An interesting description of a poet hides in this verse! The poet’s words can be translated as follows:

“As Venus stood frozen in the south and the yielding fields and rich water resources dried up, on a barren morning, a drummer went playing on his huge ‘parai’ to the gates of Pannan, the famous lord of a small hamlet, and declared his impoverished state. Immediately, making the suffering and angst of that drummer vanish away, my lord, the generous scion, rendered whatever he had. With knowledge gleaned from intricate books as the trunk, their tongues as the tusk, are the poets who always speak elephant-like victorious words of honesty. To them, he grants fertile fields many. Hear of these acts of Pannan! I shall sing praises about his worthy bulls and ingenious water lifts, beating my Kinai drum, every single day. If I don’t do this, let the heir of the southern emperor, in whose courtyard, a bell of justice hangs, and a well-tied drum resounds, the one who has a proud army, and a battalion of esteemed elephants, Vazhuthi, forget to grace and render his protection to my huge band of kith and kin!”

Let’s explore the nuances here. The poet starts by talking about the signs of the skies, focusing on their favourite Venus and says this celestial body seemed to stand for long in the south, and as a consequence, the lands once fertile and ponds brimming with water, dried up. On such a lifeless morning, a drummer seems to have gone to the gates of this leader, who exerted his rule over a small hamlet. Though his domain was small, his name was famous throughout the ancient world, says this poet. This we have witnessed for ourselves, in Puranaanooru 173, when the great Chozha King Killivalavan himself sings the praises of this generous leader. As fitting his name and fame, the leader seems to have generously given all that he had to that drummer, ending his poverty. 

The poet continues by adding that this is no isolated event, for the leader is known to give lands with fertile fields to poets, whom he then depicts with an intriguing metaphor. He equates the knowledge the poets have gained from books as their trunk and their tongue as their tusk, signifying the elephantine qualities of the words they render with truth and victory. To express it in another way, the poet talks about how the words of his people(the poets), portrayed as the elephant here, contain both the knowledge of the past, represented by the trunk, and their own creative expertise that flows from their tongue, symbolised as the tusk. A perfect blend of the abstract and tangible to etch the characteristics of a Sangam poet! 

Returning, we find the poet saying he will always sing about the greatness of Pannan, mentioning his sturdy oxen and his water lifts that render fertility to the fields in his land. And if at all, he forgets to sing about the greatness of this leader, then let the curse of being forgotten and ignored by the Pandya emperor Vazhuthi befall on his kin, concludes the poet with conviction. And, from this line, we understand that the poet was dependant on the graces of the Pandya king, and yet, he glorifies this leader from a minor region. This stands testimony to the fact that in the Sangam era, the extent of power and wealth mattered not, only what they did with what they had!

In this episode, we listen to the glory of a king in war and compassion, as portrayed in Sangam Literary work, Puranaanooru 387, penned about the Chera King Selvakadungo Vaazhiyaathan by the poet Kundrukatpaaliyaathanaar. The verse is situated in the category of ‘Paadaan Thinai’ or ‘Praise’ and renders a heartfelt blessing upon this ruler.

வள் உகிர வயல் ஆமை
வெள் அகடு கண்டன்ன,
வீங்கு விசிப் புதுப் போர்வைத்
தெண் கண் மாக் கிணை இயக்கி, ‘என்றும்
மாறு கொண்டோர் மதில் இடறி,
நீறு ஆடிய நறுங் கவுள,
பூம் பொறிப் பணை எருத்தின,
வேறு வேறு பரந்து இயங்கி,
வேந்துடை மிளை அயல் பரக்கும்
ஏந்து கோட்டு இரும் பிணர்த் தடக் கை,
திருந்து தொழில் பல பகடு
பகைப் புல மன்னர் பணிதிறை தந்து, நின்
நகைப் புலவாணர் நல்குரவு அகற்றி,
மிகப் பொலியர், தன் சேவடி அத்தை!’ என்று,
யான் இசைப்பின், நனி நன்று எனா,
பல பிற வாழ்த்த இருந்தோர் தன் கோன்……
மருவ இன்நகர் அகன் கடைத்தலைத்
திருந்து கழல் சேவடி குறுகல் வேண்டி,
வென்று இரங்கும் விறல் முரசினோன்,
என் சிறுமையின் இழித்து நோக்கான்,
தன் பெருமையின் தகவு நோக்கி,
குன்று உறழ்ந்த களிறு என்கோ?
கொய் உளைய மா என்கோ?
மன்று நிறையும் நிரை என்கோ?
மனைக் களமரொடு களம் என்கோ?
ஆங்கு அவை, கனவு என மருள, வல்லே, நனவின்
நல்கியோனே, நசைசால் தோன்றல்,
ஊழி வாழி, பூழியர் பெரு மகன்!

பிணர் மருப்பு யானைச் செரு மிகு நோன் தாள்
செல்வக் கடுங்கோ வாழியாதன்
ஒன்னாத் தெவ்வர் உயர்குடை பணித்து இவண்
விடுவர் மாதோ, நெடிதோ நில்லாப்
புல் இலை வஞ்சிப் புற மதில் அலைக்கும்
கல்லென் பொருநை மணலினும், ஆங்கண்
பல் ஊர் சுற்றிய கழனி
எல்லாம் விளையும் நெல்லினும் பலவே.

A long song of praise extolling the greatness of this much-celebrated Chera King. The poet’s words can be translated as follows:

“Like the white underbelly of the sharp-clawed field turtle, appears the spread-out, well-tied new skin of the clear-eyed, huge Kinai drum. Playing on this drum, I sang, ‘The one who always shatters walls of enemies, with elephants, which are known to work with expertise, having fragrant foreheads coated with mud, thick necks covered with fine spots, upraised tusks, thick and rough long arm, by making them spread in different directions in the forests of the foes; The one, who receives taxes, handed over subserviently by kings of enemy lands, and removes the suffering of poets who are dear to him; May his feet shine with glory forever’. Hearing this, saying ‘That’s very good’, many others praised too.

There, stood the great king at the imposing entrance of his palace. He beckoned me to come near his fine feet clad with well-etched warrior anklets, that king with a strong drum that always resounds with victory. Without looking down upon the inferiority of my state, he saw me from the superiority of his stature. Should I talk about the hill-like elephants? Or the horses with clipped manes? Or the cattle that filled the common space? Or the fields and field workers? Right there, confusing me as if it was a dream, promptly he rendered all this, in reality, that affectionate scion! May he live long, the great lord of Poozhiyar! The one who has elephants with fine tusks and efforts that always end in victory, King Selva Kadungo Vaazhiyaathan. Hearing his name, even enemies bend their tall umbrellas, and without prolonging for long, offer all manner of respect to him. And so, more than the sand on the shores of the uproarious Porunai that caresses the boundary walls of the leafless Vanji, and more than the paddy that grows in all the fields in the many towns around, may he live on!”

Time to explore the details. The poet starts with a striking simile, equating the underside of a turtle that lives in paddy fields and the new, stretched-out skin on his ‘Kinai’ drum. Upon some research, understood that this turtle could be the ‘Indian Flapshell Turtle’, for this lives near river streams and irrigation channels. Seeing a picture of this turtle’s other side, I was convinced that this is exactly what our poet is talking about. Returning, we find the poet saying how he was drumming on the eye of the Kinai drum that looks like the turtle’s belly, and singing about the way the king defeats his enemies with his sturdy, fierce battle elephants. He also sang about how the king takes the taxes of these enemies and ends the poverty of the poets and supplicants who come to him. When others assembled at the king’s court heard these praises, they too declared that it was true and good. Just then, the king himself appeared with warrior anklets glowing on his feet and he beckoned the poet, not minding his shabby appearance and lowly state, for he saw him from the height of his stature, the poet explains.

Then, the poet talks in excitement about the elephants, horses, cattle and fields given along with field workers. All this was showered upon the poet, making him wonder if it was a dream. Then, he declares with conviction that the king has offered all this in reality indeed. He goes on to praise the king once again saying how his very name makes even enemies bow down with respect and how the king’s drums forever resound with victory. The poet wishes that the king lives on for more days than the sand on the shores of the Porunai river that encircles the boundary walls of the great city of Vanji, referred to as ‘leafless Vanji’ to differentiate the city from the tree with the same name. Not only that, he must live for more days than all the paddy in all the fields in all the towns around this rich river, the poet concludes. That is an astronomical number of days, no doubt! A verse which praises a king, celebrating his victory in war and his generosity in peace, and with that unique blessing, not only shows the regard the poet held for the king, but also underscores the harvest of prosperity born from the fertility of ancient rivers!

In this episode, we perceive the prosperity of a country, as portrayed in Sangam Literary work, Puranaanooru 386, penned about the Chozha King Kulamutrathu Thunjiya Killivalavan by the poet Kovoor Kizhaar. Set in the category of ‘Paadaan Thinai’ or ‘Praise’, the verse proclaims the trust in this patron’s generosity.

நெடு நீர நிறை கயத்துப்
படு மாரித் துளி போல,
நெய் துள்ளிய வறை முகக்கவும்,
சூடு கிழித்து வாடுஊன் மிசையவும்,
ஊன் கொண்ட வெண் மண்டை
ஆன் பயத்தான் முற்று அழிப்பவும்,
வெய்து உண்ட வியர்ப்பு அல்லது,
செய் தொழிலான் வியர்ப்பு அறியாமை
ஈத்தோன், எந்தை, இசை தனது ஆக;

வயலே, நெல்லின் வேலி நீடிய கரும்பின்
பாத்திப் பன் மலர்ப் பூத் ததும்பின;
புறவே, புல் அருந்து பல் ஆயத்தான்,
வில் இருந்த வெங் குறும்பின்று;
கடலே, கால் தந்த கலன் எண்ணுவோர்
கானல் புன்னைச் சினை அலைக்குந்து;
கழியே, சிறு வெள் உப்பின் கொள்ளை சாற்றி,
பெருங் கல் நல் நாட்டு உமண் ஒலிக்குந்து;
அன்ன நல் நாட்டுப் பொருநம், யாமே;
பொராஅப் பொருநரேம்;

குண திசை நின்று குடமுதல் செலினும்,
குட திசை நின்று குணமுதல் செலினும்,
வட திசை நின்று தென்வயின் செலினும்,
தென் திசை நின்று குறுகாது நீடினும்,
யாண்டும் நிற்க, வெள்ளி; யாம்
வேண்டியது உணர்ந்தோன் தாள் வாழியவே!

A song containing vivid images from different regions of an ancient country. The poet’s words can be translated as follows:

“Akin to drops that fall and splatter in the rainy season upon a huge and deep pond, food dropped in ghee, is taken and relished. Also, pierced by kindling sticks, dried meat is roasted in fire and eaten. White vessels that had held meat, brims over with cow’s milk. Other than the sweat that pours from eating such hot food, we know not sweat that arises out of hard labour. For thus, our lord rendered, to claim fame as his!

In the fields, tall sugarcanes that soar as a fence to paddy crops, bloom with many flowers; In the forests, many herds of cattle graze on grass, protected by bowmen; In the shores, those who count ships that sail with the wind, sitting on the ‘punnai’ tree growing in the groves, shake its branches; In the backwaters, shouting out the price of small white salt crystals, thrive salt merchants, who take their wares to fine countries with huge hills; We are the bards of such a good country, and we are not bards who need to battle;

Whether it goes from east to west, or west to east, or north to south, or stands in the south for long without moving, the Venus can stand wherever it wants; May the rule of the one, who knows what we desire and renders it to us, live for long!”

Let’s unravel the layers of this verse. In the first section, the poet talks about all the food that’s to be had in this king’s country. He starts with a sensory simile of rain drops falling on a pond during a downpour. Imagine the sound and sight of that splattering! The poet equates this sensory experience to that of food being fried in plentiful ghee. After saying such tasty, fried food is served to them, he moves on to the next type of cooking, which is roasting meat pieces, pierced by a kindling stick, possibly skewers- the ancient Tamil equivalent of kebabs perhaps. In addition to all this main food, a beverage of cow’s milk overflows in the vessel that held meat, says the poet. With all that eating, sweat pours down his face, relates the poet, and he declares proudly that’s all the sweat he ever sees, and never the kind that comes from doing hard labour. An interesting reference which we will revisit soon! The poet clarifies this is because his lord, the Chozha King, renders copiously to him.

Moving on to the next section, the poet gives vivid details about how in the fertile fields of this king’s country, paddy is fenced by sugarcane and these bloom with many flowers, indicating the rich water resources available in that region. From this farmland landscape the poet shifts to the forests, where cows are grazing with content. Following this, the poet moves to the seashore, and shows us how there are people who climb on the branches of the ‘punnai tree’, and shake it as they count the numerous ships that arrive from faraway countries, courtesy of the wind. Also, in the backwaters, salt merchants are to be found stacking their wares and preparing to go to faraway hilly regions to sell their stock. Such is the prosperity of this king’s country, describes this poet, and declares he is a bard, who belongs to this domain, and he is not a bard who has to go to the battlefront either. In the final section, the poet concludes with a simple message that no matter where Venus moves or stands, it doesn’t concern him, because he has the protection of this king, who gives to him all that his heart desires. 

Exploring the details presented here, we learn that the ancient Tamils attached great importance to the position of Venus in determining their future. Perhaps, skywatchers in those days had a correlation between the position of this planet and the possibilities of drought and famine that year. Most probably, all this was an oral tradition, and that’s why, we lack the documentation from the past, revealing these fascinating details about the ancient sky and its connection to the livelihood of the people then. In the section about the different regions, we see how this king’s country comprised all the four fertile landscapes such as farmlands, forests, shores and hills. The fertility of the farmlands is presented in the lush paddy fields and blooming sugarcane plants, whereas in the forests, the cattle grazing echoes this same element. The shores and seaside reveal wealth pouring in from faraway countries in those images of ships sailing to this port. The thriving trade of salt merchants, who barter their wares with the riches of the hilly regions, also stands testimony to this facet. Thus, the king has every resource at his disposal, details the poet. And finally, what amused me is the proud declaration by the poet that they never have to work hard and sweat in consequence, for the king makes them sweat with all the food he showers upon them. In effect, he’s saying all he does is eat and nothing else, and somehow, that’s a glorious thing to these ancients, quite contrary to our assessment of this same scenario. Interesting how the perception of work has changed over the millennia! 

In this episode, we learn of the compassion of a patron, as depicted in Sangam Literary work, Puranaanooru 385, penned about the local leader Ambar Kizhaan by the poet Kallaadanaar. Set in the category of ‘Paadaan Thinai’ or ‘Praise’, the verse delivers a heartfelt blessing.

வெள்ளி தோன்ற, புள்ளுக் குரல் இயம்ப,
புலரி விடியல் பகடு பல வாழ்த்தி,
தன் கடைத் தோன்றினும் இலனே; பிறன் கடை,
அகன்கண் தடாரிப் பாடு கேட்டருளி,
வறன் யான் நீங்கல் வேண்டி, என் அரை
நிலந்தினச் சிதைந்த சிதாஅர் களைந்து,
வெளியது உடீஇ, என் பசி களைந்தோனே;
காவிரி அணையும் தாழ் நீர்ப் படப்பை
நெல் விளை கழனி அம்பர் கிழவோன்,
நல் அருவந்தை, வாழியர்! புல்லிய
வேங்கட விறல் வரைப் பட்ட
ஓங்கல் வானத்து உறையினும் பலவே!

A crisp song in this series of lengthy praises! The poet’s words can be translated as follows:

“As the morning star appeared and songs of birds soared, in that dawn that ends the darkness, I was standing there, praising oxen. I stood not even at his gate. Even though I was standing at the gates of another, hearing the song of my wide-eyed thadari drum, graciously, wishing for my poverty to be done away with, he asked me to be rid of my half garment ruined by mud, gave me fresh and white clothes, and removed my hunger too. He is the leader of Ambar, the low-lying farmlands filled with lush paddy fields, upon which River Kaveri flows with gusto. He goes by the good name of ‘Aruvanthai’. May he live for days more than the rain drops that fall from the high skies on the ‘Venkata’ mountain ranges, ruled by Pulli.”

Let’s delve deeper into the verse. The poet starts by saying just when Venus was visible in the eastern sky, and birds started singing in their delicious voices, in the early hours of the morning, he was singing the praises of a rich man’s ploughing bulls. Just then, even though the poet was at someone else’s gates, this leader, hearing the poet’s song and drum beats, had called him over to his mansion, with grace and affection. Seeing the ruined state of his clothes, the leader gave him fresh, white clothes and food too, ending his poverty, declares the poet. He then goes on to describe the town Ambar, ruled by this leader, a rich farmland, made fertile by the great River Kaveri. He reveals the name of this leader to be ‘Aruvanthai’ and concludes by blessing him to have more days of life than the rain drops that fall on the ‘Venkatam’ hills, in the domain of Pulli.

We have heard this blessing before but what could be the significance of rain drops in Venkatam hills specifically? Researchers say that these hills refer to the contemporary Tirupathi hills in the state of Andhra Pradesh. This is not a place recognised for any significant rainfall in contemporary times. But, two thousand years ago, could this same place have had a different climate and could it have been the ‘Cherrapunjee’ of the ancient world? A question for climate researchers to ponder upon! This verse also vividly sketches the hospitality of ancient Tamils, which not only gave food to a supplicant but also new clothes. Incidentally, this tradition of giving clothes such as ‘veshti’ and ‘saree’, the South Indian attire for men and women, along with food, is followed even today in parts of Tamilnadu, if not for guests everyday, at least on special occasions. Thus, in subtle ways, we observe this continuity in the flow of culture across the ages!

In this episode, we observe the natural wealth of a leader’s region, as portrayed in Sangam Literary work, Puranaanooru 384, penned for the Leader Karumbanoor Kizhaan by the poet Purathinai Nannaakanaar. The verse is situated in the category of ‘Paadaan Thinai’ or ‘Praise’ and depicts the boundless trust in a patron’s generosity.

மென்பாலான் உடன் அணைஇ,
வஞ்சிக் கோட்டு உறங்கு நாரை
அறைக் கரும்பின் பூ அருந்தும்;
வன்பாலான் கருங் கால் வரகின்
அரிகால் கருப்பை அலைக்கும் பூழின்
அம் கண் குறு முயல வெருவ, அயல
கருங் கோட்டு இருப்பைப் பூ உறைக்குந்து;
விழவு இன்றாயினும், உழவர் மண்டை
இருங் கெடிற்று மிசையொடு பூங் கள் வைகுந்து;
கரும்பனூர்க் கிணையேம் பெரும!

நெல் என்னா, பொன் என்னா,
கனற்றக் கொண்ட நறவு என்னா,
மனை மன்னா அவை பலவும்
யான் தண்டவும், தான் தண்டான்,
நிணம் பெருத்த கொழுஞ் சோற்றிடை,
மண் நாணப் புகழ் வேட்டு,
நீர் நாண நெய் வழங்கி,
புரந்தோன்; எந்தை; யாம் எவன் தொலைவதை
அன்னோனை உடையேம் என்ப இனி வறட்கு
யாண்டு நிற்க வெள்ளி, மாண்ட
உண்ட நன் கலம் பெய்து நுடக்கவும்,
தின்ற நண் பல் ஊன் தோண்டவும்,
வந்த வைகல் அல்லது,
சென்ற எல்லைச் செலவு அறியேனே.

This verse is an echo of the promise given by this patron in Puranaanooru verse 381 from the poet’s perspective. His words can be translated as follows:

“In the tamed farmlands, along with its flock, the crane that sleeps on the branches of the ‘vanji’ tree, feeds on the flowers of the mature sugarcane; In the wild forest lands, the mouse that lives amidst the stubble of black-stemmed ‘varagu’ millets is chased by a small quail, and startled by that uproar, a small hare with beautiful eyes makes the flowers on the black-trunked ‘Iruppai’ tree nearby fall to the ground; Even though it’s not the time of festivities, bowls of farmers brim with huge ‘keliru’ fish and flower-filled toddy. Such is the country of ‘Karumbanoor’ and we are its ‘kinai’ drummers!

What is paddy? What is gold? What is toddy that heats up the body? Even though I may lack all these in my home, he would never lack of it. Desiring a fame that would put the world to shame, he would offer fat-filled fleshy meat and rice, and pour ghee that would put flowing water to shame. Such is the generosity of my lord. How I can be ruined when I have him as my protector? And so, the star that predicts drought and famine may stand wherever it wants. I will only see day after day, the washing of fine vessels we ate from, still containing leftover food, and wedging out bits of meat in between the teeth. No other sort of day shall I ever see!”

Let’s delve into the details. The poet begins by portraying two different regions in this leader’s country. On one side, there are lands that have been brought under the plough and here we find flocks of cranes that have the habit of sleeping in the branches of the ‘Indian willow tree’. A surprising fact I learnt today about this tree is that even today, the tree is referred to as ‘Vanji’ in Malayalam, the state language of Tamil nadu’s neighbouring state Kerala, reiterating the bond that extends beyond the ages between the people of these two southern states of India. Returning, we find the poet mentioning how this crane flock feeds on the flowers of the ripened sugarcane in the fields. Next, the poet shifts his focus to the forest lands that are not so rich in water but still millet crops abound there. A quail decides to give chase to a mouse, living amidst the stubble of these millet crops. Hearing this uproar, a hare jumps in fear on a ‘Mahua tree’, making it shed its flowers. Such is the beautiful country of Karumbanoor and they are the drummers, who sing the praises of this country, the poet connects.

The poet continues by declaring that he doesn’t have to worry about paddy or gold or toddy, even though it may not always be available at his home. That’s because, the lord of that country will never ever lack for it, the poet explains. He talks about how the leader wishes to attain such fame that shames the entire world and so he gives away fatty meat and rice ceaselessly to supplicants and pours ghee in such quantities that would make a copious stream of water put down its head in shame. Because this is so, the poet boldly declares that he is not worried about what the planets and stars are saying about the imminent drought and famine. He concludes with the words that he is sure to see only days where they would wash vessels still left with food that they couldn’t finish eating and the leisurely picking away at the bits of meat between the teeth, and not a single day of dearth or suffering!

What immense confidence resounds from these words! ‘I don’t fear for the future because I have this leader as my protector’ declares the poet. Interesting how the poet qualifies a day of content and prosperity as one when they would be washing vessels with leftover food that they cannot eat, and sitting there, picking away at the bits of meat stuck between the teeth. The first instance would be met with disapproval in the current age for it signifies food wastage. Still it’s a cultural thing and I have read that many Asian cultures consider it rude if you finish all your food, which seems to tell them, as hosts, that they have not offered enough to the guest. Perhaps that philosophy of extreme hospitality comes from such a notion in ancient times. Coming to the other aspect of picking the teeth, this is not something we talk about or give importance to, definitely not seen as a sign of wealth and prosperity. Just wondering which facets of life we consider great in the current era will make the people of the future shake their heads in disbelief! Fascinating that even though, these acts of our human ancestors may not meet our approval after thousands of years, still those scenes from nature that this poem opened with, continue to paint smiles of joy, even today!

In this episode, we perceive the trust of a poet in a patron, as portrayed in Sangam Literary work, Puranaanooru 383, penned about the Leader Aviyan by the poet Maarokaththu Nappasalaiyaar. Set in the category of ‘Paadaan Thinai’ or ‘Praise’, the verse reveals the emotions of the poet after receiving the leader’s patronage.

ஒண்பொறிச் சேவல் எடுப்ப, ஏற்றெழுந்து,
தண் பனி உறைக்கும் புலரா ஞாங்கர்,
நுண் கோல் சிறு கிணை சிலம்ப ஒற்றி,
நெடுங் கடை நின்று, பகடு பல வாழ்த்தி,
தன் புகழ் ஏத்தினெனாக, என் வலத்து
இடுக்கண் இரியல் போக ஊன் புலந்து
அருங் கடி வியல் நகர்க் குறுகல் வேண்டி,
கூம்பு விடு மென் பிணி அவிழ்த்த ஆம்பல்
தேம் பாய் உள்ள தம் கமழ் மடர் உள,
பாம்பு உரி அன்ன வடிவின, காம்பின்
கழை படு சொலியின் இழை அணி வாரா,
ஒண் பூங் கலிங்கம் உடீஇ, நுண் பூண்
வசிந்து வாங்கு நுசுப்பின், அவ் வாங்கு உந்தி,
கற்புடை மடந்தை தன் புறம் புல்ல,
எற் பெயர்ந்த நோக்கி……………………………….

………………………………………….கல் கொண்டு,
அழித்துப் பிறந்தனெனாகி, அவ் வழி,
பிறர், பாடு புகழ் பாடிப் படர்பு அறியேனே;
குறு முலைக்கு அலமரும் பால் ஆர் வெண் மறி,
நரை முக ஊகமொடு, உகளும், சென…………….
…………………..குன்று பல கெழீஇய
கான் கெழு நாடன், கடுந் தேர் அவியன், என
ஒருவனை உடையேன்மன்னே, யானே;
அறான்; எவன் பரிகோ, வெள்ளியது நிலையே?

Another intricate verse with many missing lines. The words of this female poet can be translated as follows:

“As the rooster with radiant spots crowed and woke me up, rising up on that cool, dew-filled morning that hadn’t dawned yet, striking my small ‘kinai’ drum with my light and delicate stick, standing in the long front yard, I sang about his oxen and praised his fame, wanting to relieve the great suffering that had enveloped me and made me thin and famished. As I entered his well-guarded, wide mansion, he was there, holding toddy with honey in a fragrant bowl, akin to a water-lily that has opened out its delicate buds. Wearing a shining, floral garment that was in the texture of snake skin and in the hue of the inner side of a bamboo stalk, with countless well-stitched threads, having a narrow waist shining with intricately carved ornaments, and a gently curving belly, was his virtuous royal maiden, by his side. He turned and looked at me….

After that, I felt as if I was dead before and am born again. Just then, I decided that I shall never go seeking others to sing their praises. A goat kid wanting to suckle runs around the small udders of the mother goat and then leaps along with a grey-faced monkey… With such peaks many, is the jungle-filled country of this lord, Aviyan, with speedy chariots, the one who never swerves from justice. When I have him as my leader, I have no fear about what would happen, reading the signs of the stars in the sky.”

Let’s explore the details. The poet begins by talking about how she woke up on a cool morning when it was not yet dawn, woken up by the crowing rooster, and she decided to go to the palace of this leader. Arriving there at his huge front yard, she started playing on her drum with her stick, and started singing about the wealth of this leader, and in particular, about the ploughing bulls of his. Her intention was to end her poverty by reaching out to this leader. In the next section, she talks about a cup or bowl shaped like a fully blossomed lily which seemed to hold toddy and honey. She also mentions about delicate clothes, so intricate like a snake skin and with a radiant hue of the inner portion of a bamboo sheath, made of dense fibres and shining with its floral designs. Interpreters have varying views about these two descriptions. Some say the leader gave that food and those clothes to this poet. Some say he gave only the food and the clothes were worn by someone else. Reading the verse repeatedly, my instinct told me that the cup being spoken about must have been in the hands of the leader that this poet is seeing before her in his huge mansion. And, those delicate clothes must belong to the leader’s wife, whom the poet describes as wearing well-etched ornaments on her waist and lying by the side of this leader. This is to illustrate the wealth and pleasure aspect of this leader’s life, something deemed important in the portrait of a patron. 

The poet details how the leader turned and looked at her but the words following this are lost in time. When she continues, she declares that she feels as if she’s born again and that she wants nothing more and that she will never sing about anyone else anymore. She talks about the fertile country of this lord where goat kids and grey-faced monkeys play together. The leader then, she sketches, as someone who never goes away from the path of justice. The poet concludes with the words saying with such a leader as her protector, she has no worry about the disheartening signs about the future, seen in the position of stars and planets in the sky. This tells us that astronomical observation and prediction about farming and famines was done in Sangam times. Perhaps, watching the skies so closely, they could tell which year the rains would fail, and consequently, there would be a dearth of resources. A verse that has presented us with intricate details about vessels and clothes used in Sangam times, as well as their observation of the skies, all in a simple verse, praising a leader’s generosity. 

In this episode, we hear of a king's fame, as depicted in Sangam Literary work, Puranaanooru 382, penned for the Chozha King Nalankilli by the poet Kovoor Kizhaar. The verse is situated in the category of 'Paadaan Thinai' or 'Praise' and reveals the respect held for this ruler in the hearts of many.