வேரல்‌ வேலி வேர்‌கோட் பலவின்‌
சாரல்‌ நாட! செவ்வியை ஆகுமதி
யார்‌ ௮ஃது அறிந்திசினோரே சாரல்‌
சிறுகோட்டுப்‌ பெரும்‌பழம்‌ தூங்கி யாங்கிவள்‌
உயிர்‌ தவச்சிறிது காமமோ பெரிதே
– கபிலர்‌, குறிஞ்சித் திணை

Veral veli verkot palavin
Saaral nada! Sevviyai aakumathi
Yaar akthu arinthisinore saaral
SiRukottu perumpazham thoongi yaangival
Uyir thavacchiridhu kaamamo peridhe

Oh Lord of the hills where bamboos fence the jackfruits growing in the roots
Marry this girl soon, find an auspicious time!
Her love and passion for you is great, and her hold on life is tenuous
Like a big jackfruit hanging from a fragile branch
– Kapilar, Kurinji Thinai (Hilly Landscape)

This is one of the brilliant poems from Kurunthokai. It is the imagery, the simile that elevates this poem.

The friend of the heroine is admonishing the hero. Probably there are secret trysts between them, which are getting rarer and rarer. It is easier on the hero, but the heroine is wasting away. And he needs to take the next step to save her.

Imagine a huge jackfruit hanging from a fragile branch, a twig. It is a not a question of if the fruit is going to fall to the ground but when. Her life is too hanging by a thread, she cannot live separated from him. Her love is immense, she is pining for him all the time and this all consuming passion is making her hold on life progressively tenous.

The friend of the heroine is bringing in a beautiful contrast. The hero owns lands where jackfruits goes on roots. There is no question of those fruits falling on the ground. The hero is the root-grown jackfruit, his passion is not eating him away. But the heroine is the fragile-branch-grown jackfruit, there is no life for her without him. A marriage as soon as possible is the only way to save her.

The poem refers to hills, slope, jackfruit trees. Hence the classification as a hilly landscape poem.

Kapilar has been referred to before, he is one of the most famous poets of the Sangam age.

Category: Kurunthokai Page

வேரல்‌ வேலி வேர்‌கோட் பலவின்‌
சாரல்‌ நாட! செவ்வியை ஆகுமதி
யார்‌ ௮ஃது அறிந்திசினோரே சாரல்‌
சிறுகோட்டுப்‌ பெரும்‌பழம்‌ தூங்கி யாங்கிவள்‌
உயிர்‌ தவச்சிறிது காமமோ பெரிதே
– கபிலர்‌, குறிஞ்சித் திணை

Veral veli verkot palavin
Saaral nada! Sevviyai aakumathi
Yaar akthu arinthisinore saaral
SiRukottu perumpazham thoongi yaangival
Uyir thavacchiridhu kaamamo peridhe

Oh Lord of the hills where bamboos fence the jackfruits growing in the roots
Marry this girl soon, find an auspicious time!
Her love and passion for you is great, and her hold on life is tenuous
Like a big jackfruit hanging from a fragile branch
– Kapilar, Kurinji Thinai (Hilly Landscape)

This is one of the brilliant poems from Kurunthokai. It is the imagery, the simile that elevates this poem.

The friend of the heroine is admonishing the hero. Probably there are secret trysts between them, which are getting rarer and rarer. It is easier on the hero, but the heroine is wasting away. And he needs to take the next step to save her.

Imagine a huge jackfruit hanging from a fragile branch, a twig. It is a not a question of if the fruit is going to fall to the ground but when. Her life is too hanging by a thread, she cannot live separated from him. Her love is immense, she is pining for him all the time and this all consuming passion is making her hold on life progressively tenous.

The friend of the heroine is bringing in a beautiful contrast. The hero owns lands where jackfruits goes on roots. There is no question of those fruits falling on the ground. The hero is the root-grown jackfruit, his passion is not eating him away. But the heroine is the fragile-branch-grown jackfruit, there is no life for her without him. A marriage as soon as possible is the only way to save her.

The poem refers to hills, slope, jackfruit trees. Hence the classification as a hilly landscape poem.

Kapilar has been referred to before, he is one of the most famous poets of the Sangam age.

Category: Kurunthokai Page

மா என மடலும் ஊர்ப; பூ எனக்
குவிமுகிழ் எருக்கங் கண்ணியும் சூடுப;
மறுகின் ஆர்க்கவும் படுப;
பிறிதும் ஆகுப; காமம் காழ்க்கொளினே
– பேரெயின்‌ முறுவலார்‌, குறிஞ்சித்திணை

Maa ena madalum oorba; poo ena
Kuvimugizh erukkam kanniyum sooduba;
Marukin aarkkavum padupa;
Piridhum aagupa; kaamam kaazhkkoline

I am lost to all sense of honor and propriety
All I know and want is she
I don’t care if I have to go through the humiliation of
“Madalerudhal”, riding a palm stem instead of a horse;
if I am adorned with the disgusting crown flowers instead of real flowers;
if the village laughs at me; if anything even more humiliating happens to me
– Pereyinmuruvalar, Kuriji Thinai (Hilli landscapes)

Another reference to Madalerudhal, the ancient strange custom of Tamil Nadu. The male would typically ride a horse like structure made out of palm tree, wearing crown flowers which typically have sticky milk oozing out of the stems, don’t smell at all – but look pretty in my eyes, we use them to make garlands for Lord Ganesha nowadays – only during Ganesh Chathurthi – and going through the streets of the village proclaiming his unrequited love, making him the laughingstock of the village. The theory is that girl would take pity on him, and agree.

Personally, it is hard for me to connect with the poem as it describes a now extinct custom, which doesn’t make sense. But the idea – that the man (woman) is willing to undergo humiliation, hoping against hope that somehow the relationship will work out, is still understandable. It is interesting because it fleshes out some details of this strange social mores of those days.

Why is this classified as belonging to Kurinji Thinai (Hilly Landscapes?) Perhaps Madalerudhal was referred to only in Kurinji Thinai poems.

Category: Kurunthokai page

மா என மடலும் ஊர்ப; பூ எனக்
குவிமுகிழ் எருக்கங் கண்ணியும் சூடுப;
மறுகின் ஆர்க்கவும் படுப;
பிறிதும் ஆகுப; காமம் காழ்க்கொளினே
– பேரெயின்‌ முறுவலார்‌, குறிஞ்சித்திணை

Maa ena madalum oorba; poo ena
Kuvimugizh erukkam kanniyum sooduba;
Marukin aarkkavum padupa;
Piridhum aagupa; kaamam kaazhkkoline

I am lost to all sense of honor and propriety
All I know and want is she
I don’t care if I have to go through the humiliation of
“Madalerudhal”, riding a palm stem instead of a horse;
if I am adorned with the disgusting crown flowers instead of real flowers;
if the village laughs at me; if anything even more humiliating happens to me
– Pereyinmuruvalar, Kuriji Thinai (Hilli landscapes)

Another reference to Madalerudhal, the ancient strange custom of Tamil Nadu. The male would typically ride a horse like structure made out of palm tree, wearing crown flowers which typically have sticky milk oozing out of the stems, don’t smell at all – but look pretty in my eyes, we use them to make garlands for Lord Ganesha nowadays – only during Ganesh Chathurthi – and going through the streets of the village proclaiming his unrequited love, making him the laughingstock of the village. The theory is that girl would take pity on him, and agree.

Personally, it is hard for me to connect with the poem as it describes a now extinct custom, which doesn’t make sense. But the idea – that the man (woman) is willing to undergo humiliation, hoping against hope that somehow the relationship will work out, is still understandable. It is interesting because it fleshes out some details of this strange social mores of those days.

Why is this classified as belonging to Kurinji Thinai (Hilly Landscapes?) Perhaps Madalerudhal was referred to only in Kurinji Thinai poems.

Category: Kurunthokai page

உள்ளார் கொல்லோ தோழி கள்வர்
பொன்புனை பகழி செப்பங் கொண்மார்
உகிர்நுதி புரட்டும் ஓசை போலச்
செங்காற் பல்லி தன்றுணை பயிரும்
அங்காற் கள்ளியங் காடிறந்தாரே
– சேரமான் பாலை பாடிய பெருங்கடுங்கோ, பாலைத்திணை

ULLaar kollo thozhi kaLvar
Ponpunai pakazhi seppam konmaar
Ukirnuthi purattum osai pola
Senkaal palli than thunai payirum
amkaal kaLLiyankaadu iRanthare

The red legged male house lizard is calling out to his mate
It sounds like desert robbers sharpening their arrows`
When my lover crosses the cactus covered desert
Will he think of me?
– Cheraman Paalai Paadiya Perunkadunko, Palai Thinai (Desert Landscape)

This poem speaks to me.

The longing comes out beautifully. The statements are disjointed, she is just jumping from one topic to another. One line talks about the house lizard; that takes her to desert robbers; a jump to the desert, and then then poignant question, “will he think of me?”. That is the only thought in her mind, isn’t it?

She misses him, and she is just babbling. Nothing else matters to her. The first two words in the verse “ULLaar kollo?” – will he think of me? – that is the poem, that is the core of this poem. Everything else is build up, just emphasizing the core of the poem by being so far from her real thoughts.

This is what makes Kurunthokai brilliant poetry in my eyes. It captures an ageless feeling in a few lines – typically in a few words within those few lines. “ULLaar kollo?” – that is the poem! How the hell do you write an ageless poem in 2 words?

The poet was a king. Cheraman means a Chera king. Tamil Nadu in those days include present day Kerala, Chera kings ruled the western Tamil Nadu and the Kerala. The adjective to his name – “Paalai Paadiya” – literally means the one who wrote poetry of the Paalai thinai, the desert landscape. More than 60 verses have been written by him, all on Paalai Thinai, and have been collected under various Sangam collections – 10 in Kurunthokai itself.

This poem refers to cactus plants and robbers, typical motifs of the desert landscape. Hence the classification of Paalai Thinai, the desert landscape.

Category: Kurunthokai Page

உள்ளார் கொல்லோ தோழி கள்வர்
பொன்புனை பகழி செப்பங் கொண்மார்
உகிர்நுதி புரட்டும் ஓசை போலச்
செங்காற் பல்லி தன்றுணை பயிரும்
அங்காற் கள்ளியங் காடிறந்தாரே
– சேரமான் பாலை பாடிய பெருங்கடுங்கோ, பாலைத்திணை

ULLaar kollo thozhi kaLvar
Ponpunai pakazhi seppam konmaar
Ukirnuthi purattum osai pola
Senkaal palli than thunai payirum
amkaal kaLLiyankaadu iRanthare

The red legged male house lizard is calling out to his mate
It sounds like desert robbers sharpening their arrows`
When my lover crosses the cactus covered desert
Will he think of me?
– Cheraman Paalai Paadiya Perunkadunko, Palai Thinai (Desert Landscape)

This poem speaks to me.

The longing comes out beautifully. The statements are disjointed, she is just jumping from one topic to another. One line talks about the house lizard; that takes her to desert robbers; a jump to the desert, and then then poignant question, “will he think of me?”. That is the only thought in her mind, isn’t it?

She misses him, and she is just babbling. Nothing else matters to her. The first two words in the verse “ULLaar kollo?” – will he think of me? – that is the poem, that is the core of this poem. Everything else is build up, just emphasizing the core of the poem by being so far from her real thoughts.

This is what makes Kurunthokai brilliant poetry in my eyes. It captures an ageless feeling in a few lines – typically in a few words within those few lines. “ULLaar kollo?” – that is the poem! How the hell do you write an ageless poem in 2 words?

The poet was a king. Cheraman means a Chera king. Tamil Nadu in those days include present day Kerala, Chera kings ruled the western Tamil Nadu and the Kerala. The adjective to his name – “Paalai Paadiya” – literally means the one who wrote poetry of the Paalai thinai, the desert landscape. More than 60 verses have been written by him, all on Paalai Thinai, and have been collected under various Sangam collections – 10 in Kurunthokai itself.

This poem refers to cactus plants and robbers, typical motifs of the desert landscape. Hence the classification of Paalai Thinai, the desert landscape.

Category: Kurunthokai Page

பறைபடப்‌ பணிலம்‌ ஆர்ப்ப இறைகொள்பு
தொல்‌மூதாலத்து பொதியில்‌ தோன்றிய
நாலூர்‌ கோசர்‌ நன்‌மொழி போல
வாயாகினதே தோழி! ஆய்‌கழல்‌
சேஇலை வெள்‌வேல்‌ விடலையொடு
தொகுவளை முன்‌கை மடந்தை நட்பே
– அவ்வையார், பாலைத்திணை

Transiliteration:

Paraipada PaNilam Aarppa iRaikolbu
Tholmoodhaalatthu podhiyil thondriya
Naaloor Kosar nanmozhi pola
Vaayaginathe thozhi! Aaykazhal
Seilai veLvel vidalaiyodu
Thokuvalai munkai madanthai natpe

The solemn good vows that the tribe of “four-village” Kosars
Take under the grand old banyan tree
With drums booming are never broken
Your daughter of the bangle filled forearms
May have defied the social norms and
Fallen in love with the young man who wields
A mighty spear adorned with red leaves
But their union too would be sanctified
And their secret vows will become public and find wide acceptance as well
– Avvaiyar, Paalai Thinai (Desert landscape)

Avvai is probably the most well known poetess of Tamil Nadu. She is usually depicted as an old woman (Legend says that she was granted the old age as a boon – so that she could travel across the entire Tamil land without worrying about safety. Clearly it wasn’t acceptable for young women to travel alone in ancient Tamil Nadu, probably true of the whole world then)

It is believed that there were several Avvais, and legend has combined then into one. Avvai in the legends was the favorite poet of Lord Muruga the god, a friend of kings, widely influential in the Tamil society of her time; and also poor, often had to resort to charity for food.

Another of those poems that interest me because of the references. The Kosars of the “four-villages” – they are believed to have lived in Karnataka, and looks like they had a reputation for keeping their word. But what is the “four-village” reference? No clue.

Some pandits think that the the lovers have eloped, and the mother of the heroine is being comforted even though the poem doesn’t explicitly mention elopement.

Why is this verse categorized as Palai Thinai i.e. desert landscape? Banyan trees don’t grow in deserts, so the categorization is inexplicable to me…

Category: Kurunthokai page
Related Pages: Avvai wiki page

பறைபடப்‌ பணிலம்‌ ஆர்ப்ப இறைகொள்பு
தொல்‌மூதாலத்து பொதியில்‌ தோன்றிய
நாலூர்‌ கோசர்‌ நன்‌மொழி போல
வாயாகினதே தோழி! ஆய்‌கழல்‌
சேஇலை வெள்‌வேல்‌ விடலையொடு
தொகுவளை முன்‌கை மடந்தை நட்பே
– அவ்வையார், பாலைத்திணை

Transiliteration:

Paraipada PaNilam Aarppa iRaikolbu
Tholmoodhaalatthu podhiyil thondriya
Naaloor Kosar nanmozhi pola
Vaayaginathe thozhi! Aaykazhal
Seilai veLvel vidalaiyodu
Thokuvalai munkai madanthai natpe

The solemn good vows that the tribe of “four-village” Kosars
Take under the grand old banyan tree
With drums booming are never broken
Your daughter of the bangle filled forearms
May have defied the social norms and
Fallen in love with the young man who wields
A mighty spear adorned with red leaves
But their union too would be sanctified
And their secret vows will become public and find wide acceptance as well
– Avvaiyar, Paalai Thinai (Desert landscape)

Avvai is probably the most well known poetess of Tamil Nadu. She is usually depicted as an old woman (Legend says that she was granted the old age as a boon – so that she could travel across the entire Tamil land without worrying about safety. Clearly it wasn’t acceptable for young women to travel alone in ancient Tamil Nadu, probably true of the whole world then)

It is believed that there were several Avvais, and legend has combined then into one. Avvai in the legends was the favorite poet of Lord Muruga the god, a friend of kings, widely influential in the Tamil society of her time; and also poor, often had to resort to charity for food.

Another of those poems that interest me because of the references. The Kosars of the “four-villages” – they are believed to have lived in Karnataka, and looks like they had a reputation for keeping their word. But what is the “four-village” reference? No clue.

Some pandits think that the the lovers have eloped, and the mother of the heroine is being comforted even though the poem doesn’t explicitly mention elopement.

Why is this verse categorized as Palai Thinai i.e. desert landscape? Banyan trees don’t grow in deserts, so the categorization is inexplicable to me…

Category: Kurunthokai page
Related Pages: Avvai wiki page

அமிழ்து பொதி செந்நா அஞ்ச வந்த
வார்ந்து இலங்கு வை எயிற்றுச் சில்மொழி அரிவையைப்
பெறுகதில் அம்ம, யானே! பெற்றாங்கு
அறிகதில் அம்ம, இவ்வூரே! மறுகில்,
”நல்லோள் கணவன் இவன்” எனப்
பல்லோர் கூற, யாஅம் நாணுகம் சிறிதே
– கபிலர், குறிஞ்சித்திணை

Transliteration:
Amizhdu podhi sennaa anja vandha
Vaarndhu ilangu vai eyitru silmozhi arivaiyai
Perugathil amma yaane! Petraangu
Arigathil amma, ivvoore! Mrugil
“Nallol kanavan ivan” ena
Pallor koora yaaam naanugam siridhe

If I cannot win over this young maiden of few words,
with sharp teeth and a tongue full of elixir
I will make this whole town know of my unrequited love
And when we are married, when the people of the town say
“He is the husband of that good woman”,
We both will be slightly embarassed
– Kapilar, Kurinji Thinai (Hilly Landscape)

This poem needs a bit of background. In the ancient times, there was a custom called “Madalerudhal” – it literally mean “riding the folded (palm) leaves”. The hero, if his love is not returned, will ride a horse made out of palm leaves publicly. It is a last resort, it was considered as a public humiliation for the man, and a little embarrassing to the woman. The hero, by being willing to publicly undergo a humiliation for the sake of his love, is showing the girl nothing else matters to him when weighed against the possibility of winning her. I don’t know when the practice died out, but I don’t think there are references to it after the Sangam age, so perhaps a no later than 500 A.D.

Here the hero is talking to the friend of the heroine. He is slightly threatening her. The young maiden doesn’t speak a lot, so perhaps she hasn’t expressed her love for the hero. He is waiting for elixir laden kisses. He is implying that if she doesn’t return his love, he is willing to undergo the humiliation of “madelerudhal” and let the whole town know of his one sided love. He is sure that after hearing of this threat, the heroine would be convinced anyway and their marriage is a certainty. But there will always be the slight stain of what he had to go through to win her, causing them both some embarrassment in the future.

I don’t think highly of this poem, the only thing interesting to me is the reference to an extinct social mores. Without an explanation from the scholars, it would be hard to understand to this poem.

Why is this poem classified as belonging to hilly landscapes? No idea.

I mentioned Kapilar in the previous verse too. He is one of the most well known poets of the Sangam era.

Category: Kurunthokai page

அமிழ்து பொதி செந்நா அஞ்ச வந்த
வார்ந்து இலங்கு வை எயிற்றுச் சில்மொழி அரிவையைப்
பெறுகதில் அம்ம, யானே! பெற்றாங்கு
அறிகதில் அம்ம, இவ்வூரே! மறுகில்,
”நல்லோள் கணவன் இவன்” எனப்
பல்லோர் கூற, யாஅம் நாணுகம் சிறிதே
– கபிலர், குறிஞ்சித்திணை

Transliteration:
Amizhdu podhi sennaa anja vandha
Vaarndhu ilangu vai eyitru silmozhi arivaiyai
Perugathil amma yaane! Petraangu
Arigathil amma, ivvoore! Mrugil
“Nallol kanavan ivan” ena
Pallor koora yaaam naanugam siridhe

If I cannot win over this young maiden of few words,
with sharp teeth and a tongue full of elixir
I will make this whole town know of my unrequited love
And when we are married, when the people of the town say
“He is the husband of that good woman”,
We both will be slightly embarassed
– Kapilar, Kurinji Thinai (Hilly Landscape)

This poem needs a bit of background. In the ancient times, there was a custom called “Madalerudhal” – it literally mean “riding the folded (palm) leaves”. The hero, if his love is not returned, will ride a horse made out of palm leaves publicly. It is a last resort, it was considered as a public humiliation for the man, and a little embarrassing to the woman. The hero, by being willing to publicly undergo a humiliation for the sake of his love, is showing the girl nothing else matters to him when weighed against the possibility of winning her. I don’t know when the practice died out, but I don’t think there are references to it after the Sangam age, so perhaps a no later than 500 A.D.

Here the hero is talking to the friend of the heroine. He is slightly threatening her. The young maiden doesn’t speak a lot, so perhaps she hasn’t expressed her love for the hero. He is waiting for elixir laden kisses. He is implying that if she doesn’t return his love, he is willing to undergo the humiliation of “madelerudhal” and let the whole town know of his one sided love. He is sure that after hearing of this threat, the heroine would be convinced anyway and their marriage is a certainty. But there will always be the slight stain of what he had to go through to win her, causing them both some embarrassment in the future.

I don’t think highly of this poem, the only thing interesting to me is the reference to an extinct social mores. Without an explanation from the scholars, it would be hard to understand to this poem.

Why is this poem classified as belonging to hilly landscapes? No idea.

I mentioned Kapilar in the previous verse too. He is one of the most well known poets of the Sangam era.

Category: Kurunthokai page

மாசறக்‌ கழீஇய யானை போல
பெரும்‌ பெயல்‌ உழந்த இரும்‌பிணர்‌ துறுகல்‌
பைதல்‌ ஒருகலை சேக்கும்‌ நாடன்‌
நோய் தந்தனனே தோழி
பசலை ஆர்ந்த நம்‌ குவளையம்‌ கண்ணே
– கபிலர், குறிஞ்சித்திணை

Transliteration:
Maasara kazheeiya yaanai pola
Perumpeyal uzhandha irumpinar thuRugal
Paidhal orukalai sekkum naadan
Noi thandhanane thozhi
Pasalai aarndha nam kuvalaiyam kanne

My friend,
My lily like eyes have lost their luster
Longing for the one
From the country of jutting rocks washed by rain
That look like elephants that have been washed super clean
– Kapilar, Kurinji Thinai (Hilly Landscape)

Kapilar is one of the well known poets of the Sangam era. He was the friend of kings and chieftains, notably that of Paari, a byword for his genorosity, one of the 7 great generous chieftains of the ancient days. Paari vallal (Paari, the generous giver) is literally the icon of giving in Tamil Nadu, the same way Karna is referred as the icon of giving all over India.

I don’t rate this poem highly. It follows the two part motif, and there is ambiguity about the rock motif. The heroine is suffering from lovesickness – the first part. The second part describes the country of the hero as usual. It is nice image, comparing black rocks to newly washed elephants. Newly washed elephants would be black, not gray due to accumulated dust. But in my view, not a remarkable poem.

There is some ambiguity about the rock reference. Some scholars interpret this as the heroine pining for the place where she and the hero met or may be even had sex. The verse doesn’t explicitly mention it as a meeting place.

5 lines in this poem, 3 lines are still understandable to modern Tamils, they use words used in ordinary conversation. Not bad, eh?

I have translated “pasalai” as lovesickness. It literally means a tinge of green and is understood to mean sexual longing. It is another recurrent motif about longing. But I have never seen anyone turn green because of longing, though.

Why is this Kurinji Thinai? Rocks belong in the hilly landscape, and there are references to elephants.

Category: Kurunthokai Page

Related Pages: Kapilar on Wiki

எறும்பி அளையின் குறும் பல் சுனைய
உலைக்கல் அன்ன பாறை ஏறி
கொடுவில் எயினர் பகழி மாய்க்கும்
கவலைத்து என்ப அவர் சென்ற ஆறே
அது மற்று அவலம் கொள்ளாது
நொதுமல் கழறும் இவ்வழுங்கல் ஊரே
— ஓதலாந்தையார், பாலைத்திணை

Transliteration

Erumbi aLaiyin kurum pal sunaiya
Ulaikkal anna paaRai eRi
Koduvil eyinar pakazhi maaykkum
Kavalaittu enba avar sendra aaRe
Adhu matru avalam koLLaadhu
Nothumal kazharum ivvazhungal oore

The water springs forth in his path from holes as small as ant’s small teeth
The heat is terrible, the rocks are as hot as the anvil in a blacksmith’s forge
The threatening hunters with the cruel bows swarm over the hot rocks disdaining the heat, they are used to it
He is traversing such a route
This unfeeling village doesn’t empathize with the hardships he is facing
Instead gossips about our relationship
— Othalanthaiyar, Paalai Thinai (Desert Landscape)

I like this poem for the image it evokes of the desert – especially the one about water springs. There is water, but it is coming as a trickle from tiny holes in the earth. How tiny? Tinier than an ant! By a factor of 10, 20? – it is as tiny as the teeth of an ant. Not even big teeth, or even normal sized teeth. The poet specifically says “குறும் பல்” i.e. small teeth of an ant. How will that kind of water spring slake one’s thirst?

I have always wondered where can one find this kind of desert in Tamil Nadu. There are definitely some parts of Tamil Nadu where water is short supply, but I don’t know where one can find this kind of desert. Wonder whether before the Pallava and Chola kings built lake after lake after lake, the northern Tamil Nadu was mostly a desert as it doesn’t have any perennial rivers.

I also like the image of “கொடுவில் எயினர்” – the hunters with the fierce bows who can actually stand on rocks as hot as an anvil in a forge. If they can make living out of robbery, these desert routes must be well traversed. That implies a booming trade route. What was being sold then in a primarily agrarian society?

The poet uses the familiar motif of two distinct part. Describes the geography and characteristics of a landscape, and then ties it with a relationship. The complaint of the heroine doesn’t quite ring true to me, I like the way the poet brings out the sense of the heroine putting a spin on the village’s talk.

The poem obviously refers to the desert landscape; it talks about the lack of water, heat and so on…

The poet apparently specialized in poems about the desert landscape. I read somewhere that he has written more than 100 poems in different collections.

கோடீர்‌ இலங்கு வளை நெகிழ நாள்தொறும்‌
பாடில கலிழும்‌ கண்‌ணொடு புலம்பி
ஈங்கிவண்‌ உறைதல்‌ உய்குவம்‌ ஆங்கே
எழு இனி வாழி என்‌ நெஞ்சே! முனாது
குல்லைக்‌ கண்ணி வடுகர்‌ முனையது
வல்வேல்‌ கட்டி நல்‌நாட்டு உம்பர்‌
மொழிபெயர்‌ தேயத்தர்‌ ஆயினும்‌
வழிபடல்‌ சூழ்ந்திசின்‌ அவருடை நாட்டே
– மாமூலனார்

Kodeer ilangu vaLai negizha naalthorum
Paadila kalizhum kaNNodu pulambi
EeengivaN uraidhal uyguvam aange
Ezhu ini vaazhi en nenje! munaadhu
Kullai kaNNi vadugar munaiyadhu
Valvel Katti nalnaattu umbar
Mozhipeyar dheyatthar aayinum
Vazhipadal soozndhisin avarudai naatte

The conch bangles are slipping off my hand
My eyes don’t sleep
Enough lamenting, I don’t want to stay here any more
My beloved has gone to the country ruled by Katti of mighty spear
Who fights the Telugus who wear poppy flowers
Even though he doesn’t know the language
Let me leave for that country where he is
May that country be blessed!
– Maamoolanar

There is a proverb in Tamil – “For Sita, Ayodhya is where Rama is”. This verse reflects that sentiment. The heroine doesn’t care about moving away from her root, doesn’t care about the practical difficulties in living in a place where communication is not going to be easy, she just wants to be with her beloved. End of the story.

I find this verse interesting for the references rather than the poetical content.

Katti is believed to be an ancestor of the Kadamba dynasty which rules over most of current day Karnataka. The Kadamba kingdom came into existence around fourth century A.D. and died out in the sixth century. Katti is not a documented king, so he must have predated the fourth century.

Tamil, Telugu, Kannada, Malayalam and Tulu are related Dravidian languages. Tamilians claim that these languages were derived from Tamil; Telugus and Kannadigas claim that there was a proto-Dravidian language from which all these languages were born. In other words, Tamilians think that Tamil is the mother of all Dravidian languages, other Dravidians think that Tamil is the elder sister among the Dravidian languages that are still alive.

Here the hero has gone to a country where he cannot speak the language. They fight the Telugus. So Kannada and Telugu must have existed as distinct languages in the fourth century! Earliest Telugu inscription is dated to the sixth century, and the earliest Kannada description to the fifth.

Category: Kurunthokai page