Old Tamil Poetry

Translations of Tamil Poetic works that span 2000 years

Archive for the category “Sangam”

Ainkurunooru – 309

Her friend says:

O’ man from the hills! You wish to cross
hot barren lands in this summer month, fine;
The wealth you earn by going across,
is it sweeter than seeing
your loving wife’s first born son smile?

தோழி கூற்று:

வேனில் திங்கள் வெஞ் சுரம் இறந்து
செலவு அயர்ந்தனையால் நீயே; நன்றும்
நின் நயந்து உறைவி கடுஞ் சூல் சிறுவன்
முறுவல் காண்டலின், இனிதோ
இறு வரை நாட! நீ இறந்து செய் பொருளே?

The arid landscape poems (பாலைத் திணை)  in Sangam literature talk about separation. In this poem the man from the hills wants to go across the arid lands in summer to earn his wealth. His wife doesn’t want him to leave. So she sends her friend to dissuade him. The friend asks him, “All the wealth you earn by going across, is it more precious than seeing the smile of your first born son?”

It is not clear from the poem or its commentary whether she is still pregnant or has already given birth. I lean towards seeing it as a poem written from the point of a pregnant woman. She wants him to be near her when she births his first son.

Puranaanooru – 192

Every town’s our home town; every man, our kinsman;
Good and evil happen not because of others;
Pain and relief happen on their own;
Dying isn’t something unknown;
Neither do we rejoice that life is a joy,
Nor in disgust, do we call it a misery;
Since we know from words of wise men
‘Our precious lives follow their destined course,
Like rafts following the course of a mighty river
Clattering over rocks after a downpour
from lightning slashed skies’,
We aren’t impressed by the mighty;
Even more, we don’t scorn the lowly too.

யாதும் ஊரே; யாவரும் கேளிர்;
தீதும் நன்றும் பிறர் தர வாரா;
நோதலும் தணிதலும் அவற்றோரன்ன;
சாதலும் புதுவது அன்றே; வாழ்தல்
இனிது என மகிழ்ந்தன்றும் இலமே; முனிவின்,
இன்னாது என்றலும் இலமே; ‘மின்னொடு
வானம் தண் துளி தலை இ, ஆனாது
கல் பொருது இரங்கும் மல்லல் பேர் யாற்று
நீர் வழிப்படூஉம் புணை போல், ஆர் உயிர்
முறை வழிப்படூஉம்’ என்பது திறவோர்
காட்சியின் தெளிந்தனம் ஆகலின், மாட்சியின்
பெரியோரை வியத்தலும் இலமே;
சிறியோரை இகழ்தல் அதனினும் இலமே.

This poem by Kanian Poonkundranar (Astrologer from Poonkundram) is one of the most famous poems of Sangam Literature. He lived in the village of Mahibalanpatti (in Sivaganga district today). He was a wise man, but never wrote in praise of kings or benefactors as was the practice then. When he was asked why he didn’t do so, this poem was his answer. You can either read this poem as surrendering to the inevitability of life or as a proclamation of independence from man made boundaries. This poem is that of a global citizen, who doesn’t reduce himself to an identity.

There are no boundaries for humans. Every town that we go is our home town. Every person we interact with is our kin (like Vasudhaiva Kutumbakam, whole world is one family). Good and evil in our lives occurs not because of others, they come by themselves. (This can also be read as Good and evil are inherent in us, and not dependent on external factors). Pain and its relief happen on their own. Dying isn’t something new, it has been happening since ages. So we do not rejoice that life is blissful. At the same time we aren’t bitter about life being a misery. Wise men have already written down that our lives, though precious to us, follow their predetermined course. Just like rafts following the course of a great river that flows noisily over rocks after a downpour from the skies. Life happens on its own with hardly any control by the individual. So we do not wonder at those who are superior to us. Neither do we scorn those who are inferior to us.

It is with trepidation that I set out to translate this poem. AK Ramanujan’s translation of this poem is well known and well received. I have borrowed heavily from him. However I differ from AKR on the following points.

1. ‘Rafts drifting in the rapids of a great river’ is good imagery. However the original poem says rafts following the course of the river, not drifting. A friend pointed out that rafts don’t drift in rapids but are hurtled forward. Literal meaning of those lines in the original is ‘Rain drops from lightning streaked skies fall down and gush over the rocks noisily and flow as a mighty river. Like a raft following the course of the river, our precious lives too follow a predetermined course’. Here the river is equated to fate and our lives to rafts. So rafts follow the course of the river, they do not drift.

2. He translates திறவோர் காட்சி as ‘vision of men who see’. The commentaries by U.Ve.Saa. and Avvai Duraisami Pillai interpret it as “நன்மைக் கூறுபாடு அறிவோர் கூறிய நூல்”  literally “books of those who know good and evil”. I have decided to go by their commentaries.

3. For the word முனிவின் he uses ‘anger’. U.Ve.Saa. interprets it as வெறுப்பு – loathing. So I have followed U.Ve.Saa.’s commentary and used disgust.

4. He skips the word அதனினும் – ‘more than that’ in the last line. That is crucial to this line. “We do not look at the mighty people with wonder. More importantly, we do not scorn those who are lower than us”.

Nattrinai – 27

Her friend says:
Yesterday, all that you and I did was
to chase bees that swarm the fine pollen of flowers,
in the grove circled by backwaters with banks
of white sand deposited by dashing waves,
nothing else did we do on the sly; even if we did so,
it hasn’t spread for others to know –
then what does mom think? – even after seeing
the round stemmed flowers that have bloomed
like our eyes, in shark infested shallow waters
where herons feeding on prawns croak noisily,
she doesn’t tell us, ‘those small lilies
with tender leaves, why don’t you go pluck them’.

தோழி கூற்று :
நீயும் யானும்,  நெருநல், பூவின்
நுண் தாது உறைக்கும் வண்டினம் ஓப்பி,
ஒழி திரை வரித்த வெண் மணல் அடைகரைக்
கழி சூழ் கானல் ஆடியது அன்றி,
கரந்து நாம் செய்தது ஒன்று இல்லை; உண்டு எனின்,
பரந்து பிறர் அறிந்தன்றும்இலரே-நன்றும்
எவன் குறித்தனள் கொல், அன்னை?-கயந்தோறு
இற ஆர் இனக் குருகு ஒலிப்ப, சுறவம்
கழி சேர் மருங்கின் கணைக் கால் நீடி,
கண் போல் பூத்தமை கண்டு, ‘நுண் பல
சிறு பாசடைய நெய்தல்
குறுமோ, சென்று’ எனக் கூறாதோளே.

This poem is in Neithal thinai , the coastal landscape. He is waiting in the grove near the seashore to meet her. They have met there earlier too. But her friend warns her that it is not good to keep meeting clandestinely. People of the hamlet  might start to gossip. So the friend says to her, “Listen, yesterday we were just chasing bees in the grove and did nothing else. Even if we did something, nobody knew. Do you think your mom knows? Normally when she sees flowers blooming in the shallow waters she’ll ask us to go and pluck them. But today she isn’t asking us to go to those shark infested waters where herons croak noisily. So maybe she knows. Let’s not go to the grove today”

The poem has two beautiful sets of metaphors. First  is the bees swarming the flowers – like how he is following her relentlessly. When the friend says we chased the bees away, she means that you didn’t fall for his words. But the friend isn’t sure. So in the next line she says even if we did, nobody  knew. The second metaphor is Shark – him, lily flowers – her, and the croaking herons – gossiping village people.

Porunar Aattruppadai – lines 103-122

Soft grass fed sheep’s juicy thigh meat
cooked to tenderness, he compelled us to eat.
Grilled on long sticks were large pieces of meat,
that we rolled inside our mouth to lessen the heat.
When we said we were tired of these meats,
we were seated and plied with snacks of varied shapes.
Small harps accompanied drums with black centers,
and radiant faced dancers danced to its beats,
thus pleasantly did our days pass.
One day we requested “give us rice too”.
Jasmine bud like unbroken grains devoid of husk,
cooked to even sized rice that stood up like fingers,
along with well fried meat sliding down our throat
we relished, spent our time joyously with him.
Our teeth worn out by chewing meat day and night
like the farmer’s plow plowing the field,
stuffed to our nostrils, sick of the meat, one day
we gingerly told him , “O ruler who has mastered
the art of making enemies pay, let us go to our kin”

துராஅய் துற்றிய துருவை அம் புழுக்கின்
பராஅரை வேவை ‘பருகு’ எனத் தண்டி,
காழின் சுட்ட கோழ் ஊன் கொழுங் குறை
ஊழின் ஊழின் வாய் வெய்து ஒற்றி,
அவைஅவை முனிகுவம் எனினே, சுவைய
வேறு பல் உருவின் விரகு தந்து இரீஇ,
மண் அமை முழவின் பண் அமை சீறியாழ்
ஒண் நுதல் விறலியர் பாணி தூங்க,
மகிழ்ப் பதம் பல் நாள் கழிப்பி, ஒரு நாள்,
‘அவிழ்ப் பதம் கொள்க’ என்று இரப்ப, முகிழ்த் தகை
முரவை போகிய முரியா அரிசி
விரல் என நிமிர்ந்த நிரல் அமை புழுக்கல்,
பரல் வறைக் கருனை, காடியின் மிதப்ப
அயின்ற காலை, பயின்று இனிது இருந்து,
கொல்லை உழு கொழு ஏய்ப்ப, பல்லே
எல்லையும் இரவும் ஊன் தின்று மழுங்கி,
உயிர்ப்பிடம் பெறாஅது, ஊண் முனிந்து, ஒரு நாள்,
‘செயிர்த்து எழு தெவ்வர் திறை துறை போகிய
செல்வ! சேறும், எம் தொல் பதிப் பெயர்ந்து’ என,
மெல்லெனக் கிளந்தனம் ஆக,

Porunar Aaatruppadai (248 lines long) is one of the Ten Long Poems in Sangam Literature. It is about the glory and prosperousness of Karikala Chola’s rule. Karikalan was the most accomplished of the early Chola Kings. This poem is estimated to have been written around 2nd Century AD. The poem is written as a bard returning from the court of Karikalan telling his fellow bard of Karikalan’s hospitality.

These lines 103-122 detail the food offered by Karikalan. They give us a peek into the culinary habits of Tamils 2000 years ago.

Puranaanooru – 245

Vast though my grief is, isn’t it still limited,
if it lacks strength to take my life away?
In this arid land overrun with cacti,
on firewood placed in a clearance,
laid on her flaming funeral bed,
died before me, my woman;
but I still live; what’s the point of this!

யாங்குப் பெரிதுஆயினும், நோய் அளவு எனைத்தே,
உயிர் செகுக்கல்லா மதுகைத்து அன்மையின்?
கள்ளி போகிய களரி மருங்கின்
வெள்ளிடைப் பொத்திய விளை விறகு ஈமத்து,
ஒள் அழல் பள்ளிப் பாயல் சேர்த்தி,
ஞாங்கர் மாய்ந்தனள், மடந்தை;
இன்னும் வாழ்வல்; என் இதன் பண்பே!

Poem written by Chera King Kotambalathu Thunjiya MaakkOthai – literally the Chera King MaakOthai who died in Kotambalam (modern day Ambalapuzha). When his wife dies, he wants to die along with her in the funeral pyre. He was stopped by his courtiers saying that it doesn’t behoove a king to die for his love. This poem was written by him in that grief struck situation.

Perumpaanaattrup Padai 275-282

Unpounded rice cooked to a mushy porridge
and spread in a wide wicker basket to cool down,
finely ground sprouted rice – like white ants
in nests where snakes reside – mixed with this
and fermented for two days and two nights
in a strong mouthed jar till it matures,
this warm aromatic wine that ripples on touch,
along with fresh fried fish, you’ll get when hungry.

அவையா அரிசி அம் களித் துழவை
மலர் வாய்ப் பிழாவில் புலர ஆற்றி,
பாம்பு உறை புற்றின் குரும்பி ஏய்க்கும்
பூம் புற நல் அடை அளைஇ, தேம் பட
எல்லையும் இரவும் இரு முறை கழிப்பி,
வல் வாய்ச் சாடியின் வழைச்சு அற விளைந்த,
வெந் நீர், அரியல் விரல் அலை, நறும் பிழி,
தண் மீன் சூட்டொடு, தளர்தலும் பெறுகுவிர்.

Sangam Poetry consists of Pathup Paattu (10 long poems) and Ettuth Thokai (8 anthologies). Perumpaanaatrup Padai (500 lines) is one of the 10 long poems, written praising Ilanthirayan, ruler of Thondai Mandalam (North Tamilnadu today) with Kancheepuram as capital. The poet asks a bard to go to Ilanthirayan’s court and get gifts. He details the prosperous landscapes under Ilanthirayan’s rule. These lines detail what kind of food the bard can expect from fisher folk in coastal area.

I was surprised to read termites as simile for sprouted rice. However when I googled for pictures, they did look similar.

From Japanese Sake to Philipine’s Tapuy all rice wines are brewed the same way. Mushy rice is mixed with a fermenting agent -Koji for Sake, Bubod for Tapuy, Jiu Qu for Chinese rice wine- and let to settle for a couple of days and then filtered. Tamils too have used the same technique with powdered sprouted rice as fermenting agent. For side dish you got fresh fried fish. Some things never change in 2000 years.

P.S. This page is getting lot of hits from people searching for old Tamil word for termites. In this poem புற்று – ant hill, குரும்பி – comb of termites are used. While researching for this poem I found சிதல் – termites; புற்றாஞ்சோறு – cluster of termites. Hope this helps.

Puranaanooru – 292

O petty people, quit being angry
that he stood up grasping his flawless sword
and pushed away Ruler’s sweet, chilled wine
you stirred and served as per rank!
In battle field too he will do the same,
will not say “let my turn come”; will rush
to meet the mighty forces of the enemy
and force them away, such a man is he.

வேந்தற் கேந்திய தீந்தண் ணறவம்
யாந்தனக் குறுமுறை வளாவ விலக்கி
வாய்வாள் பற்றி நின்றனெ னென்று
சினவ லோம்புமின் சிறுபுல் லாளர்
ஈண்டே போல வேண்டுவ னாயின்
என்முறை வருக வென்னான் கம்மென
எழுதரு பெரும்படை விலக்கி
ஆண்டு நிற்கு மாண்டகை யன்னே.

Purananooru 292. The tradition before battle was for the King to drink clear toddy and pass it on to this soldiers. Since the soldiers needed more kick out of the booze, it was stirred up and served to them. The hero of this poem refuses the toddy offered because he thinks it has come to him late. So he pushes away the toddy, stands up with his sword,  ready to go to the battlefield. Those who served him are angry because he didn’t wait for his turn and is breaking tradition. Poet says to them, “Stop being petty. He is not one to follow tradition. You are angry that he stood up with his sword and pushed away the toddy you offered. In the battle field too he will do the same. He will not wait for his turn to go and fight. He will rush to meet the enemy forces with his sword and force them to retreat, such is his valor”.

Puranaanooru – 226

If it had come with covert hatred or overt fury,
or dared to touch him, it wouldn’t have survived;
it must have come as a supplicant bard
and pleaded, the Death that took away
golden garlanded Valavan, the mighty chariot rider
whose army won fierce battles.

செற்றன்று ஆயினும், செயிர்த்தன்று ஆயினும்,
உற்றன்று ஆயினும், உய்வு இன்று மாதோ;
பாடுநர் போலக் கைதொழுது ஏத்தி,
இரந்தன்றாகல் வேண்டும் பொலந் தார்
மண்டு அமர் கடக்கும் தானைத்
திண் தேர் வளவற் கொண்ட கூற்றே.

Poem by Maarokkatthu Nappasalaiyar. She learns of the death of Chola King Kulamuttrathu Thunjiya Killi Valavan (literally Killi Valavan who passed away at Kulamuttram). She is overcome with sorrow. She says how did death conquer the mighty strong king? If death had come directly to fight it would have lost to him. Death must have come as a supplicant and pleaded for his life and the King must have magnanimously given it away.

Golden garland refers to garland made of Yellow Orchid tree flower (ஆத்திப் பூ), the Clan flower of Chola Kings.

Ainkurunooru – 293

With fingers like a fine bunch of fragrant
flame lilies in hills, you close my eyes!
Supple shouldered woman, with pomp of a peacock,
my sweet companion in bed!
Is there any one else in my heart other than you?

சிலம்பு கமழ் காந்தள் நறுங் குலை அன்ன
நலம் பெறு கையின் என் கண் புதைத்தோயே!
பாயல் இன் துணை ஆகிய பணைத் தோள்
தோகை மாட்சிய மடந்தை!
நீ அலது உளரோ என் நெஞ்சு அமர்ந்தோரே?

A delightful love poem by Kapilar, from Ainkurunooru (500 short poems). He is waiting for her. She comes behind him and closes his eyes, to see if he guesses correctly or says some one else’s name. He lavishes praise on her – flame lily like fingers, bamboo like supple shoulders, with pomp of a peacock – and says “Will I utter any other name? You are the only one in my heart”.

For sake of readability I have used ‘supple shoulder’ instead of ‘bamboo shoulder’ as in original.

Nattrinai – 359

Her friend’s thought :

As a short horned cow grazing in the slopes
shakes a bunch of flame lilies, pollen is strewn,
startling its calf; the man from those hills
gifted a skirt, made of leaves and flowers;
If she wears it, I fear her mother’s query;
If she returns it, I fear his misery;
Can the skirt, made of rare foliage from his hillside,
where the goddess resides
and even wild goats fear to leap, be left to fade away?

சிலம்பின் மேய்ந்த சிறு கோட்டுச் சேதா
அலங்கு குலைக் காந்தள் தீண்டி, தாது உக,
கன்று தாய் மருளும் குன்ற நாடன்
உடுக்கும் தழை தந்தனனே; யாம் அஃது
உடுப்பின், யாய் அஞ்சுதுமே; கொடுப்பின்,
கேளுடைக் கேடு அஞ்சுதுமே; ஆயிடை
வாடலகொல்லோ தாமே-அவன் மலைப்
போருடை வருடையும் பாயா,
சூருடை அடுக்கத்த கொயற்கு அருந் தழையே?

This is another master piece from Kapilar. This poem is written from the point of view of her friend. He has sent a skirt made of leaves and flowers to her through her friend. The friend gives it to her and thinks “If she wears it, I am afraid that her mom will ask how did you get this, who brought this to you. If she returns it I am afraid of seeing his pain. But this skirt is invaluable, made of rare foliage he has gathered with much difficulty. We can’t let it fade away”. Here the skirt is a metaphor for her love. The friend is saying, “don’t let your love fade away, come and ask for her hand in marriage.”

The other metaphor in this poem are the animals –  Cow, calf and wild goat. Her mother, she and him. Now read the poem again. She is still afraid of her mother. He is an impulsive man, roaming around the hills. But her love is so difficult to attain that even the wild goat can’t reach.

The cow metaphor can also be read as  – When the friend gives her the skirt, she stays quiet. The friend thinks like how a cow covered in pollen looks different and startles its calf, she is covered by shyness and hence is not her normal self, thus startling her friend.

Another reading – seeing her clad in a new skirt, her mother is startled; like how a calf is startled seeing its mother covered in pollen from flowers. In this case the metaphor transposes mother/her to calf/cow.

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