Old Tamil Poetry

Translations of Tamil Poetic works that span 2000 years

Silappathikaaram – Indira Vizhavu 68-75

Offering steamed lentils, sesame seed balls, rice mixed with meat,
flowers, incense and freshly cooked rice
women hold hands together and dance in a trance
as old elegant women bless and proclaim
“In this great land ruled by our ruler
may hunger, disease and enmity leave;
may rains and wealth spring forth;”


புழுக்கலும், நோலையும், விழுக்கு உடை மடையும்,

பூவும், புகையும், பொங்கலும், சொரிந்து;

துணங்கையர், குரவையர், அணங்கு எழுந்து ஆடி;
‘பெரு நில மன்னன் இரு நிலம் அடங்கலும்
பசியும், பிணியும், பகையும், நீங்கி;
வசியும், வளனும், சுரக்க’ என வாழ்த்தி;
மாதர்க் கோலத்து, வலவையின் உரைக்கும்,
மூதில் பெண்டிர்

Today is the first day of Chittirai month in Tamil Calendar, considered an auspicious day. The above verse detailing the celebration during the month of Chittirai is from the epic Silappathikaaram, written in 2nd Century AD.

Women get together and offer steamed lentil snacks, sesame seed balls, rice mixed with meat, flowers and incense and Pongal (interpreting it as rice cooked in front of the temple, I have used freshly cooked rice) to the Protecting deity (காவல் பூதம்) at a grove in between two parts (Maruvoorp Paakkam and Pattinap Paakkam) of the town of Kaveri Poompattinam. The young women are in a trance as the Goddess enters them (அணங்கு ஏறி ஆடுதல்)  and dance traditional folk dances of Thunangai and Kuravai. Old women from their clan prays to the deity and proclaims may this great land ruled by our ruler amidst two kingdoms, may hunger, disease and enmity leave; may rains and wealth springforth”

The prayer ritual is almost the same as it is practiced in Tamil Nadu today. Most of the Tamil words in the above lines are still in use today. I never tire to repeat the saying “Glory of Tamil language is not in its antiquity, but its continuity” (தமிழின் மேன்மை அதன் தொன்மையில் இல்லை, தொடர்ச்சியில் உள்ளது)

Naaladiyaar – 214

Though they live nearby for days together,
one doesn’t warm to those not close to heart;
though they live apart for days together,
does one forego a soul mate’s bond?

பல நாளும் பக்கத்தார் ஆயினும், நெஞ்சில்
சில நாளும் ஒட்டாரோடு ஒட்டார்; பல நாளும்
நீத்தார் என, கைவிடல் உண்டோ-தம் நெஞ்சத்து
யாத்தாரோடு யாத்த தொடர்பு.

Some people might be living with us for a long time, but they will never be close to our heart. When we have friends with whom our bond is strong, will the bond ever unravel even if they live away from us for a long time? No. Friendship depends not on distance but on understanding.

கைவிடல் – give up / forgo
நெஞ்சத்து யாத்தார் -those with whom our hearts are bound
யாத்த – bonded / tied

Siddhar – Pattinaththaar – 17

Life’s false, death is real; so don’t wish
anyone harm, my heart! – while we think
our paunch is ours, dogs,foxes, ghouls and vultures
wait thinking it’s theirs.

இருப்பதுபொய் போவதுமெய் என்றெண்ணி நெஞ்சே
ஒருத்தருக்கும் தீங்கினை உன்னாதே – பருத்ததொந்தி
நம்மதென்று நாமிருப்ப நாய்நரிகள் பேய்கழுகு
தம்மதென்று தாமிருக்கும் தான் !

“Life in this world is false, death is the only constant. Keep this in mind my hear and do not think of harming others. Because we think our paunch is ours. But the dogs, foxes, ghouls and vultures in the graveyard wait for us thinking that it is to be food for them after we die.”

Pattinathaar was one of the prominent Siddhars (ascetic rebels) in Tamil nadu. There have been atleast 3 people named Pattinathaar, living in 10th, 14th and 17th centuries. This poem is thought to have been written by the second one, from 14th Century. I have not been able to conclusively decide which one of the three wrote the above poem. All their poems are clubbed together as Pattinathaar Paadal in texts. The leitmotif of all their poems is despairing of human life and praying to become one with God. The poems range from self flagellations to pleading to Lord Shiva. A set of soulful poems sung by Pattinathaar the first while cremating his mother is still recited by some communities during cremation.

Kambaramayanam – 34

Rushing water’s sound; cane crushers’ noise;
cane juice’s gurgle; fresh water snails’ squeak;
bull fighting bustle; crash of buffaloes jumping in water;
All these mingle to create a heady buzz in the farm lands.

ஆறு பாய் அரவம்; மள்ளர் ஆலை பாய் அமலை; ஆலைச்
சாறு பாய் ஒதை; வேலைச் சங்கின் வாய் பொங்கும் ஓசை;
ஏறு பாய் தமரம்; நீரில் எருமை பாய் துழனி; இன்ன
மாறு மாறு ஆகி தம்மின் மயங்கும் மா மருத வேலி.

Kamban uses various synonyms of “sound” in Tamil – அரவம், அமலை, ஒதை, ஓசை, தமரம், துழனி. I have tried to do the same in the English translation.

Describing various sounds of a city or land is an age old technique in Tamil literature. Similar lines can be found in Sangam poetry (Malai Padu Kadaam – lines 291 – 345, Madurai Kanchi line 260-270).

Thirukkural – 1255

Dignity to not grieve over one who caused them grief
is not something a love sick person knows.

செற்றார்பின் செல்லாப் பெருந்தகைமை, காம நோய்
உற்றார் அறிவது ஒன்று அன்று.

He has been away from her for long. She is angry with him for making her suffer. Yet, she cannot dismiss him from her thoughts. When her friend asks her to forget him, she says lovesick persons lack such dignity.

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.

Elaadhi – 74

Beauty of waist, shoulders or wealth,
of gait, coyness or shapely neck,
these are not real beauty; Beauty
of words and numbers is real beauty.

இடை வனப்பும், தோள் வனப்பும், ஈடின் வனப்பும்,
நடை வனப்பும், நாணின் வனப்பும், புடை சால்
கழுத்தின் வனப்பும், வனப்பு அல்ல; எண்ணோடு
எழுத்தின் வனப்பே வனப்பு.

This poem in Elaadhi (ஏலாதி) one of the books in the 18 post Sangam poetic works (பதிணென் கீழ்க் கணக்கு). Written by KaNimEdhaiyaar (கணிமேதையார்), it is considered to be one of the latter day works, dated around 5th Century CE.

In this poem the poet says the external beauty or aspects of a person is not real beauty. One’s learning is the real beauty. The poet introduces two qualities – wealth and shyness- along with physical appearance. I have no idea of the reason behind it. Literal meaning of ‘எண்ணோடு எழுத்து’ is ‘Number (logic) with words’. The commentary for the poem interprets ‘numbers with words’ as ‘literature as per rules’. I have gone with the literal meaning. Also the original poem has the word ‘Beauty,(வனப்பு) attached to every external aspect. As it will be unwieldy to read in English, I have used ‘Beauty’ as a common descriptor for all aspects.

Similar thoughts are echoed in poem number 36 of Sirupanchamoolam, another one of the 18 post Sangam poetic works.

Ainthinai Aimpathu – 21

O’ Bard, you are not unlike the man who sells
small eyed needle in blacksmith’s street
at inflated prices! – tell us the real message
sent by the man from paddy field ringed village.

கொண்டுழிப் பண்டம் விலை ஒரீஇக் கொற்சேரி
நுண் துளைத் துன்னூசி விற்பாரின், ஒன்றானும்
வேறு அல்லை,-பாண!-வியல் ஊரன் வாய்மொழியைத்
தேற, எமக்கு உரைப்பாய், நீ.

He has been away at his courtesan’s house for long. Now he wants to return back to his house. Afraid of his wife’s anger he sends his bard to appease her. She refuses to hear the flowery words of the bard. She says to him, “You are not much different from the man who sells small eyed thin needles at inflated prices in blacksmith’s street. I know the value of what you are selling. So don’t waste my time but tell me the real message that he sent across.”

Selling needle in blacksmith’s street is the equivalent of selling coal to Newcastle. The proverb is a common usage in Tamil even today. (கொல்லன் தெருல ஊசி வித்த கதையா).

Ainthinai Aimpathu – 38

Her friend says :

Thinking scanty water in the pond isn’t enough
and wanting his doe to drink her fill,
the buck pretends to drink – so dry’s the way
your beloved has chosen to cross, they say.

தோழி கூற்று :

சுனை வாய்ச் சிறு நீரை, ‘எய்தாது’ என்று எண்ணி,
பிணை மான் இனிது உண்ண வேண்டி, கலைமா தன்
கள்ளத்தின் ஊச்சும் சுரம் என்பர், காதலர்
உள்ளம் படர்ந்த நெறி.

This is a poem in Ainthinai Aimbathu (50 poems on 5 landscapes), one of the 18 post Sangam collections. Maran Porayanar is the author of these poems. Each of the five landscapes has 10 poems. The above poem is from Paalai (Arid landscape). The leitmotif of this landscape is separation of lovers.

In this poem, he has left her to go and earn money. For that he has to cross dry arid lands. She is upset about their separation. Her friend says the land he is crossing is dry and water is scarce. When two deer come to the pond, the buck thinks that the water there is not enough for both of them. Hence he pretends to drink and lets the doe have her fill. So dry is the land.

The implied meaning is seeing the compassionate deer, he will be reminded of his lover, change his mind and come back to her. Even if the wealth they have is very little, couples can manage with that instead of being separated in order to earn wealth.

Sivavakkiyar 159-160

Vedic priests never ate fish, neither then nor now,
isn’t fish inhabited water what they drink and bathe in?
Vedic priests never ate deer meat, neither then nor now,
isn’t sacred thread worn over deer skin*?

Vedic priests never ate goat meat, neither then nor now,
isn’t goat meat offered in your worship though?
Vedic priests never ate cow meat, neither then nor now,
isn’t cow meat the manure in which vegetables grow.**?

மீனிறைச்சி தின்றதில்லை அன்றுமின்றும் வேதியர்
மீனிருக்கும் நீரலோ மூழ்வதுங் குடிப்பதும்
மானிறைச்சி தின்றதில்லை அன்றுமின்றும் வேதியர்
மானுரித்த தோலலோ மார்புநூல் அணிவதும்.    
     
ஆட்டிறைச்சி தின்றதில்லை அன்றுமின்றும் வேதியர்
ஆட்டிறைச்சி அல்லவோ யாகம்நீங்கள் ஆற்றலே
மாட்டிறைச்சி தின்றதில்லை அன்றுமின்றும் வேதியர்
மாட்டிறைச்சி அல்லவோ மரக்கறிக் கிடுவது.

Siddhar Sivavakkiyar, dated to around 10th Century CE was one of the leading rebel poets in Tamil literature. Siddhars were iconoclastic rebels whose thoughts were against the organized Vedic religion. In these two verses he mocks the Vedic priests who abhor meat. He says they abhor meat and flesh, but isn’t it part of their daily lives.

Siddhar songs are written in simple words but no commentary is available. So it is up to individuals to interpret it. The words themselves aren’t difficult and are still in use even now.  But interpretation might vary.

*Krishnajina –  deer skin over which sacred thread is worn.
**My interpretation – Dead cows were buried in the farms in which they were raised. Hence they became manure for vegetables that vegetarians eat.

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