Old Tamil Poetry

Translations of Tamil Poetic works that span 2000 years

Archive for the category “Sangam”

Kurunthokai – 249

School of peacocks scream and
white faced monkeys shiver with their young ones
in rain drenched thickly wooded slopes of his hill country.
Looking at those hills – my friend! –
my faded forehead gains colour, you see?

இன மயில் அகவும் மரம் பயில் கானத்து,
நரை முக ஊகம் பார்ப்பொடு பனிப்ப,
படு மழை பொழிந்த சாரல் அவர் நாட்டுக்
குன்றம் நோக்கினென்-தோழி!-
பண்டையற்றோ, கண்டிசின், நுதலே?

He has not come to see her for long. She is afflicted by love sickness in his absence. Pallor spreads on her face. Noticing that her friend asks how will you manage to hold yourself together in his absence? She says, “I’ll look at his hills and that will sustain me through this period of sepration. See how my faded forehead gains colour on seeing his hills.” Peacocks screaming and monkeys shivering indicate that it is the monsoon season and he will be back soon.

இனம் – group
அகவுதல் – scream (sound of a peacock)
பயில் – செறிந்த – thick
கானம் – forest
நரை – white
ஊகம் – monkey
பார்ப்பு- young one
பனித்தல்- shiver
சாரல் – slope
குன்றம் – hill
பண்டை- (as it was) earlier
கண்டிசின் – you see
நுதல் – forehead

Kurunthokai – 401

In his shores glistening crabs scurry into the sea
afraid of frolicking girls whose damp hair
is adorned with braided flower strings
of fragrant creeper flowers and lilies;
my physical revelry with him, rules out 
further harmless fun, even for a day; strange is this!

அடும்பின் ஆய் மலர் விரைஇ, நெய்தல்
நெடுந் தொடை வேய்ந்த நீர் வார் கூந்தல்
ஓரை மகளிர் அஞ்சி, ஈர் ஞெண்டு
கடலில் பரிக்கும் துறைவனொடு, ஒரு நாள்,
நக்கு விளையாடலும் கடிந்தன்று,
ஐதே கம்ம, மெய் தோய் நட்பே!

She’s been to the beach and made out with him. As her mother notices the change in her, she is locked up at home and further meeting with him is ruled out. She says, “It is surprising that a day’s physical brings about changes in me and rules out chances of even being around with him.” Since she has bathed in the sea her hair is damp and she’s wearing fresh flowers. These make her mother suspicious.

அடும்பு – creeper
ஆய் – beautiful
விரை – fragrant
நெய்தல் – lily
தொடை – braid
ஓரை – frolic
ஈர் – wet
ஞெண்டு – crab
பரி – run
துறை- shore
நகு(தல்) – laugh
கடிதல் – rebuke
ஐது – surprising / strange
மெய் – physical
தோய் – embrace

Puranaanooru – 273

Horse hasn’t returned, horse hasn’t returned;
every one’s horse has returned,
but the horse he rode hasn’t returned,
he who fathered a sparsely maned son in my house;
Like a mighty tree standing guard
at the confluence of two roaring rivers,
was it felled down, the horse he rode to battle?

மா வாராதே; மா வாராதே;
எல்லார் மாவும் வந்தன; எம் இல்,
புல் உளைக் குடுமிப் புதல்வற் தந்த
செல்வன் ஊரும் மா வாராதே
இரு பேர் யாற்ற ஒரு பெருங் கூடல்
விலங்கிடு பெரு மரம் போல,
உலந்தன்றுகொல், அவன் மலைந்த மாவே?

She’s waiting for her husband to return from battlefield. All the warriors have returned with their horses, but he hasn’t. She laments has he been felled at the battlefield, like a tree that stands guard at the confluence of two great rivers. The two armies are equated to great rivers and the battlefield to the confluence of rivers.

An interesting trivia. The poet is Erumai Veliyanaaar, that is Veliyan from Erumai Naadu. The current Mysore region was called Erumai (Buffalo) Naadu in Tamil epigraphs. So it can be assumed that this poem was about a battle / skirmish around Mysore area. The name Mysore derives from Mahisha Asura, which means (Buffalo demon).

மா – horse
இல் – home
புல் – smallness (I’ve used ‘sparse’)
உளை – mane
ஊர் – ride
கூடல் – confluence / together
விலங்கு – guard
உலத்தல் – to die
மலை – to battle

Ainkurunooru – 185

The lass with fine bangles shaped by file* –
her teeth are like shining pearls in Korkai harbour
where lily petals sway;
her mouth is of coral hue;
her word is sweet like a harp’s twang.

* – polishing file; probably shell bangles carved with a file

அலங்குஇதழ் நெய்தல் கொற்கை முன்துறை
இலங்கு முத்து உறைக்கும் எயிறு கெழு துவர் வாய்,
அரம் போழ் அவ் வளைக் குறுமகள்
நரம்பு ஆர்த்தன்ன தீம் கிளவியளே.

He is in the beach looking at a group of girls. One of the girls comes and asks him who is his lover among the group. He describes her. She is the one wearing bangles shaped by a polishing file. Her teeth are like shining pearls fished in Korkai’s (an important harbor in Pandiya Kingdom, situated in present day South Tamil Nadu) anchorage, where lily petals sway gently. Her mouth is coral red in colour. Her words are sweet like the music emanating when strings of a harp are plucked.

அலங்கு – sway
நெய்தல் – Lily flower
முன் துறை – lightening anchorage where load is lightened before the vessel goes to berth
இலங்கு – shine
உறைக்கும் – similar
எயிறு – teeth
கெழு – color
துவர் – coral
அரம் – file
போழ் – cut (I have used ‘shaped’)
குறுமகள் – young girl – lass
நரம்பு – string of a harp (யாழ்)
ஆர் – sound (I’ve used ‘twang’)
தீம் – sweet
கிளவி – word

Kurunthokai – 4

Don’t grieve my heart, don’t grieve my heart;
don’t grieve that our lover who should wipe away
my eyelash singeing tears and cheer me,
is indifferent to my plight.

நோம், என் நெஞ்சே; நோம், என் நெஞ்சே;
இமை தீய்ப்பன்ன கண்ணீர் தாங்கி,
அமைதற்கு அமைந்த நம் காதலர்
அமைவு இலர் ஆகுதல், நோம், என் நெஞ்சே.

He hasn’t come as promised. She chides her heart not to grieve over him. He who should have wiped away her tears that are so hot that they singe her eyelashes and cheered her up is indifferent to her plight. So she asks her heart not to grieve over him.

Two phrases in this poem stand out for me.

இமை தீய்ப்பன்ன கண்ணீர் – eyelash singeing tears. Instead of simply saying ‘hot tears’, when the poet uses ‘ eyelash singeing tears’, the pain comes through more sharply.

The word play of அமைதற்கு அமைந்த நம் காதலர் அமைவு இலர் ஆகுதல் is hard to bring out in English. I have had to settle for prosaic words – “our lover who should cheer is indifferent”.

 

நோ(வு) – suffer , grieve

தீய்ப்பன்ன – burn like fire

தாங்கி – to stop (the tears)

அமைதல் – to be content

அமைந்த – to happen

அமைவு – support

 

 

 

 

Kurunthokai – 120

Like a pauper yearning for pleasure,
you wish for the unattainable, my heart!
My girl’s sweet, you realize;
that she’s hard to get, you don’t.

இல்லோன் இன்பம் காமுற்றாஅங்கு,
அரிது வேட்டனையால்-நெஞ்சே!-காதலி
நல்லள் ஆகுதல் அறிந்தாங்கு
அரியள் ஆகுதல் அறியாதோயே.

He’s returning after yet another secret rendezvous with her. He feels the pain of separation badly. He chides his heart to not wish for what is not attainable. He says “Like a pauper yearning for pleasure you yearn for her. You know that she is a pleasant girl. What you don’t know is that she is hard to get.”

இல்லோன் – இல்லாதவன் – pauper
காமுறுதல் – காமம் உறுதல் – desire / wish / yearn
வேட்ட ல் – desire
அரிது – rare / difficult / unattainable
நல்லள் – good / pleasant girl
அரியள் – hard to get girl

Paripadal – 4 : 25-35

Thy fieriness and radiance are in the Sun;
thy gentleness and grace are in the moon;
thy abundance and bounty are in the rains;
thy patience and generosity are in the earth;
thy fragrance and beauty are in the flowers;
thy slpendour and expanse are in the seas;
thy form and sound are in the skies;
thy arrival and departure are in the breeze;
though these, that, those and others
have grown out of the Supreme you,
they still depend on you.

நின் வெம்மையும் விளக்கமும் ஞாயிற்று உள;
நின் தண்மையும் சாயலும் திங்கள் உள;
நின் சுரத்தலும் வண்மையும் மாரி உள;
நின் புரத்தலும் நோன்மையும் ஞாலத்து உள;
நின் நாற்றமும் ஒண்மையும் பூவை உள;
நின் தோற்றமும் அகலமும் நீரின் உள;
நின் உருவமும் ஒலியும் ஆகாயத்து உள;
நின் வருதலும் ஒடுக்கமும் மருத்தின் உள;
அதனால், இவ்வும், உவ்வும், அவ்வும், பிறவும்,
ஏமம் ஆர்ந்த நிற் பிரிந்து,
மேவல் சான்றன, எல்லாம்.

This poem is in praise of Thirumal from Paripadal in Sangam literature. Paripadal consists of 70 poems in praise of Thirumal, Murukan, Madurai city and the Viagai river. Only 22 of these poems have been found. The above verses are from poem no.4 in praise of Thirumal.

The poet says , ” Your qualities are imbued in everything in this universe – the sun, moon, rains, earth, flowers, seas, skies and the breeze. Hence all these elements have grown out of you, yet they rely on you.” Everything in this world is a manifestation of God. Though they have grown out of him, still they are dependent on him. (I know it is confusing, that’s the best I could explain it.)

Tamil language had a word ‘உது’ that was intermediate between ‘these’ (closeby) and ’those’(far away). The word is now out of use. We find that word in this poem written approximately 2000 years ago. I have used ‘that’ as a compromise.

4th line in the original reads generosity (புரத்தல்) and patience (நோன்மை). I have interchanged them to maintain cadence.

You can find the echo of this poem’s philosophy in many Tamil works , for example 12th century Kambaramayanam to 20th Century Bharathi poems.

தன்னுளே உலகங்கள் எவையும் தந்து அவை
தன்னுளே நின்று தான் அவற்றுள் தங்குவான் (கம்பராமாயணம் – 6374)

பார்க்கின்ற பொருளெல்லாம் தெய்வம் கண்டீர்;
வெயிலளிக்கும் இரவி, மதி, விண்மீன், மேகம்,
மேலுமிங்குப் பலபலவாம் தோற்றங் கொண்டே
இயலுகின்ற ஜடப்பொருள்கள் அனைத்தும் தெய்வம் (பாரதி அறுபத்தியாறு – 18)

Puranaanooru – 83

I fear mother noticing that my bangles slip out
as I pine for the anklet wearing, dark bearded young man;
I’m shy to embrace his valorous shoulders in public;
May this indecisive town which doesn’t decide
either in favour of mother or myself
but vacillates between us two,
tremble as much as I do.

அடி புனை தொடுகழல், மை அணல் காளைக்கு என்
தொடி கழித்திடுதல் யான் யாய் அஞ்சுவலே;
அடு தோள் முயங்கல் அவை நாணுவலே;
என் போல் பெரு விதுப்புறுக என்றும்
ஒரு பாற் படாஅதாகி,
இரு பாற் பட்ட இம் மையல் ஊரே.

She is pining for him, the dark bearded young man wearing an anklet awarded for bravery. Her arms weaken and her bangles slip out. She is afraid that her mother might notice this and find out about her lover. At the same time she is shy of going public with her love and embracing his shoulders. The townspeople neither understand her fear and shyness and arrange for her marraige to her lover nor understand her mother’s reluctance and put a stop to the affair. They are indecisive and prolonging her agony. So she curses the town to tremble as much as she is trembling now.

The original poem says “the indecisive town which doesn’t decide for one side but vacillates”. I have expanded it as “in favor of mother or myself” to make it easier to comprehend.

Kurunthokai – 73

Her friend says (to make him suffer by not showing up at the nightly rendezvous):

You crave for your lover’s chest;
don’t worry my friend!
Like hostile Kosars*
who raided Nannan’s country
by felling the barrier of mango trees,
a little ruthless scheming too is needed.

*A clan of warriors antagonistic to Chieftain Nannan

தோழி கூற்று:

மகிழ்நன் மார்பே வெய்யையால் நீ;
அழியல் வாழி-தோழி!-நன்னன்
நறு மா கொன்று ஞாட்பிற் போக்கிய
ஒன்றுமொழிக் கோசர் போல,
வன்கட் சூழ்ச்சியும் வேண்டுமால் சிறிதே.

She has promised to meet him in day time. Then changes it to night time. Her friend asks her to not show up during the night time too. Reason? “If you meet him whenever he calls, he will take you for granted. So if you desire to own his broad chest, you need a little ruthless scheming. Like the Kosar warriors who overran Nannan’s country by felling a barrier of mango trees, you have to break his complacency and make him suffer. Only then will he value you better and plan accordingly”

The poem itself talks of her friend asking her to scheme ruthlessly. The ‘no show’ part of it is in the introduction to the poem given by earlier commentaries, derived from palm leaf manuscripts.

Kurunthokai – 84

Her governess says after she has eloped:

When I tried to hug her again, she said “I’m sweaty”;
now I realise the reason why she,
fresher than lily flowers
and smelling of venkai** and kaantal**
in Āy’s* cloudy hills, was irked.

செவிலித்தாய் கூற்று:

பெயர்த்தனென் முயங்க, ”யான் வியர்த்தனென்” என்றனள்;
இனி அறிந்தேன், அது துனி ஆகுதலே-
கழல்தொடி ஆஅய் மழை தவழ் பொதியில்
வேங்கையும் காந்தளும் நாறி,
ஆம்பல் மலரினும் தான் தண்ணியளே.

*Āy – One of the seven benevolent chieftains in Sangam poetry.
** Venkai – yellow flower of Indian Kino (Venkai) tree
*** Kaantal – Flame lily flower

She has eloped with her lover. Her Governess laments and looks back at any hints that she had missed. “Yesterday when I tried to hug her repeatedly she said she was sweaty and pushed me off. I didn’t know the reason then why she who was fresh and fragrant, put me off. Now I realise the reason. She who valued the hug of her lover didn’t felt averse to me”

The word used for ‘fresh’ is தண்மை which literally means ‘cool’. In the temperate climate of Tamilnadu, being cool is pleasant. However in English translation, ‘ she was cool’ might be misread as being aloof. Hence I used fresh. King Āy is described as Arm band wearing Āy. I skipped that to maintain the brevity of the poem as in original.

Some Sangam poems are so cryptic that I depend on the commentaries to decipher them. In this poem there is no direct mention of Governess (செவிலித்தாய்) or daughter. The 11th century commentary for Kurunthokai has not been found. These are interpretations by commentary writers in 20th century. They were rigorous researchers and compared previous commentaries and cross verified before making these notes. The poem is classified under ‘Paalai Thinai’ (Arid landscape) associated with long journey across dry land. But What if it isn’t a Governess’ lament but a man grieving over lover’s tiff? The poem takes a different meaning. It is interesting to think so, though the purists would club me in the head.

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