In this episode, we hear the reasoning for a resolute decision, as portrayed in Sangam Literary work, Aganaanooru 77, penned by Maruthan Ilanaakanaar. Set in the ‘Paalai’ or ‘Drylands landscape’, the verse reveals insightful historical facts through its intriguing similes.

”நல் நுதல் பசப்பவும், ஆள்வினை தரீஇயர்,
துன் அருங் கானம் துன்னுதல் நன்று” எனப்
பின்னின்று சூழ்ந்தனை ஆயின், நன்று இன்னாச்
சூழ்ந்திசின் வாழிய, நெஞ்சே! வெய்துற
இடி உமிழ் வானம் நீங்கி, யாங்கணும்
குடி பதிப்பெயர்ந்த சுட்டுடை முது பாழ்,
கயிறு பிணிக் குழிசி ஓலை கொண்மார்,
பொறி கண்டு அழிக்கும் ஆவணமாக்களின்,
உயிர் திறம் பெயர, நல் அமர்க் கடந்த
தறுகணாளர் குடர் தரீஇ, தெறுவர,
செஞ் செவி எருவை, அஞ்சுவர இகுக்கும்
கல் அதர்க் கவலை போகின், சீறூர்ப்
புல் அரை இத்திப் புகர் படு நீழல்
எல் வளி அலைக்கும், இருள் கூர் மாலை,
வானவன் மறவன், வணங்குவில் தடக் கை,
ஆனா நறவின் வண் மகிழ் பிட்டன்
பொருந்தா மன்னர் அருஞ் சமத்து உயர்த்த
திருந்துஇலை எஃகம் போல,
அருந் துயர் தரும், இவள் பனி வார் கண்ணே.

Back again in the drylands and here we hear the man say these words to his heart:

“If you say, ‘Even if pallor spreads on her fine forehead, for the sake of earning wealth through your determined effort, you should leave to the formidable forest’, standing behind me, you are doing a great wrong to me. May you live long, my heart! Everywhere, there would be nothing but heat, and thundering clouds, nowhere in sight. In those spaces, people have migrated elsewhere, leaving behind ancient ruins that are pointed out. Akin to those public election officials, who check the seal and then unseal, to pull out the inscribed palm leaves from the pot, tied with ropes, the red-headed vulture pulls out the intestines of brave warriors, who had crossed many a battlefield, but who were lying there, with their life, parted away. Such are the scenes from the fear-evoking, pebble-filled paths, and if I were to traverse these drylands, in those hamlets, surrounded by the spotted shade of dull-trunked fig trees, hot winds would assail me in the darkness-filled evening. Akin to the sharp-edged spear, raised against enemies in a fierce battle, belonging to the Chera King Vanavan’s commander Pittan, who wields a curving bow in his strong hands, known for his delight in ceaseless toddy, her eyes pouring with tears, would render endless pain in me!”

Time to take a walk amidst the spotted shade of those drylands trees and learn more! The man starts by declaring to his heart, which had been pressing him to leave the lady and go earn wealth, that it was nudging the man in the wrong direction. He then goes on to talk about those drylands spaces, where there’s only heat and more heat, a place, which people have abandoned a long time ago, and there are nothing but ancient ruins. Imagine an archaeologist’s delight in discovering these ancient ruins pointed out in this ancient verse! Returning, we hear the man declaring that there would be nothing in this space but dull-trunked fig trees with few leaves, offering only a scarce shade and no protection against the hot winds.

The man specifically points to the image of a vulture swooping down and pulling the intestines of a dead warrior, and to etch this, he brings in the simile of public officials, who pull out palm leaves from a pot tied with ropes. This matter-of-fact simile offers a unique window to the politics of the Sangam era. Here’s democracy in action! Those palm leaves were said to be inscribed with the names of the leaders for village councils and those public officials are the equivalent of the Election Commission, and they break the seal and pull out the palm leaves to declare the winner of that poll. Elated to find mention of democratic ideas, even in the midst of those monarchies of the Sangam times. It’s clearly an instance of decentralisation of power and effective rule at the grassroots, even under the reign of a king.

Returning, the man concludes by saying just like the enemies of the Chera king, who would suffer because of the spear, wielded by the king’s commander, Pittan, he too would be pained by the thought of the lady’s tear-filled eyes, if at all he were to leave to those drylands at his heart’s behest! In essence, this is a clear-cut refusal to leave the lady and go in search of wealth. It’s interesting how those few words about inscribed palm leaves in a pot, casually employed about what was probably a routine event in the past, and that too, only as a reference for something else, excites us so much, telling us we can never predict which aspect of what we do will turn out to be of interest to our future generations!