The Sangam landscape (Tamil: அகத்திணை "inner classification") is the name given to a poetic device that was characteristic of love poetry in classical Tamil Sangam literature. The core of the device was the categorisation of poems into different tiṇais or modes, depending on the nature, location, mood and type of relationship represented by the poem. Each tiṇai was closely associated with a particular landscape, and imagery associated with that landscape—its flowers, trees, wildlife, people, climate and geography—was woven into the poem in such a way as to convey a mood, associated with one aspect of a romantic relationship. Symbolism Classical Tamil love poetry assigns the human experiences it describes, and in particular the subjective topics that those experiences relate to, to specific habitats. Every situation in the poems is described using themes in which the time, the place and the floral symbols of each episode are codified. These codifications are used as symbols to imply a socio-economic order, occupations and behaviour patterns, which, in turn, are symbolized, by specific flora and fauna. Details of secondary aspects are just as rigidly codified—the seasons, the hour a god, musical instruments and, above all, the sentimental connotations of each landscape: lovers' meetings, patient waiting, lovers' quarrels, separation, and the anxiously awaited return. Geographical and non-geographical thinais Under this codification, the inner universe associated with love is divided into seven modes, or thinai, five of which are geographical and associated with specific landscapes, and two of which are non-geographical and not associated with any specific landscape. Four of the geographical landscapes are described as being landscapes that occur naturally in the Tamil lands. These are: kuṟiñci (குறிஞ்சி)—mountainous regions, associated with union, mullai (முல்லை)—forests, associated with waiting, marutam (மருதம்)—cropland, associated with quarreling, and neital (நெய்தல்)—seashore, associated with pining. The fifth—pālai (பாலை), or desert, associated with separation—is described in the Tolkappiyam as not being a naturally existing landscape. From these basic associations of landscape and subject, a wide range of specific themes suitable for each landscape were derived. Thus, for example, the commentary on the Iraiyanar Akapporul states that as a result of the association of the kuṟiñci landscape with union, it was also associated with the fear of separation, reassurance, the hero's or heroine's discussions with their friends, their being teased or taunted by their friends, their replies to their friends, the friends' role as intermediary, the meeting of the lovers, grief and doubt, and