journal of tamil studies july 2015

îINò™îINò™îINò™îINò™îINò™JOURNAL OF TAMIL STUDIES

JULY 2015

àôèˆ îIö£ó£Œ„C GÁõù‹àôèˆ îIö£ó£Œ„C GÁõù‹àôèˆ îIö£ó£Œ„C GÁõù‹àôèˆ îIö£ó£Œ„C GÁõù‹àôèˆ îIö£ó£Œ„C GÁõù‹F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®

INTERNATIONAL INSTITUTE OF TAMIL STUDIES

Tharamani, Chennai - 600 113. Tamil Nadu, India.

ISSN No. 0022-4855 Vol. No. 89 Issue: July 2015

INTERNATIONAL INSTITUTE OF TAMIL STUDIES

Board of Governors

JULY 2015

CHAIRMAN

Thiru. K.C. VEERAMANIHon'ble Minister for School Education, Tamil Official Language,

Archaeology and Tamil Culture, Govt. of Tamil Nadu

VICE-CHAIRMENDr. M. Rajaram I.A.S.Secretary to GovernmentTamil Development and Information Department, Govt. of Tamil Nadu.

Vice-ChancellorUniversity of Madras, Chennai.

Vice-ChancellorAnnamalai University, Annamalai Nagar.

Vice-ChancellorMadurai Kamaraj University, Madurai.

Vice-ChancellorTamil University, Thanjavur.

MEMBERS

SECRETARY TO GOVERNMENTFinance Department, Govt. of Tamil Nadu.

Dr. F. GROSFormer Director, French Institute of Indology, Pondicherry (IATR-Representative).

DIRECTORCentral Institute of Indian Languages, Mysore.

MEMBER SECRETARY

Dr. G. VijayaraghavanDirector, International Institute of Tamil Studies, Chennai.

îINò™îINò™îINò™îINò™îINò™JOURNAL OF TAMIL STUDIES

July 2015

àôèˆ îIö£ó£Œ„C GÁõù‹àôèˆ îIö£ó£Œ„C GÁõù‹àôèˆ îIö£ó£Œ„C GÁõù‹àôèˆ îIö£ó£Œ„C GÁõù‹àôèˆ îIö£ó£Œ„C GÁõù‹F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®F¼õœÀõ˜ Ý‡´ 2046, ñ¡ñî, ÝQ - Ý®

INTERNATIONAL INSTITUTE OF TAMIL STUDIESTharamani, Chennai - 600 113. Tamil Nadu, India.

www.ulakaththamizh.org.in/E-mail : [email protected] Phone: 22542992, 22542781/ Fax: 22541436

ISSN No. 0022-4855 Vol. No. 89 Issue: July 2015

BOARD OF EDITORS

Dr. G.L. HART

Dept. of South and South East Asian Studies, University of California,

U.S.A.(Retd.)

Dr. A. VELUPILLAI

Former Professor of Tamil, University of Jaffna, Srilanka.

Dr. S.N. KANDASAMY

Former Professor of Tamil, Tamil University, Thanjavur.

Dr. Pon. KOTHANDARAMAN

Former Vice-Chancellor, University of Madras, Chennai.

Dr. G. VIJAYARAGHAVAN

Editor-in-Chief

Dr. B. RAJA

Associate Editor

Editorial Board

Dr. P. SELVAKUMAR

Dr. A. THASARATHAN

Dr. M.J. RABI SINGH

Kalaimamani MARAIMALAIYAN

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Articles in the Journal of Tamil Studies do not necessarily represent either the

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04. Tamil Scholars from Overseas 13

05. ñ¬øñ¬ôò®èœ 14

06. The Kural 17

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16. Index of The Journal of Tamil Studies 93

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18. List of Translations of Tamil Works 100

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20. Guide lines for writing a research article106

Regulations for submission of research Papers in the Journal 108

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ðˆñMÌû‡ ðˆñMÌû‡ ðˆñMÌû‡ ðˆñMÌû‡ ðˆñMÌû‡ M¼¶ (1990)

ð£óî óˆù£ ð£óî óˆù£ ð£óî óˆù£ ð£óî óˆù£ ð£óî óˆù£ M¼¶ (1997)

ÝAò M¼¶èœ îƒè¬÷Š ªð¼¬ñŠð´ˆF‚ ªè£‡ìù.

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ï£œ.31.07.2015.

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No.89 JULY 2015


02. îIöè‹ ªêŒî îõŠðò¡

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«ñî° ÝÀï˜ Üõ˜è¬÷‚ «è†´‚ªè£‡ì£˜. ñ£‡¹I° îI›ï£´

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No.89 JULY 2015


ñ£‡¹I° ð£óîŠ Hóîñ˜ F¼. ñ£‡¹I° ð£óîŠ Hóîñ˜ F¼. ñ£‡¹I° ð£óîŠ Hóîñ˜ F¼. ñ£‡¹I° ð£óîŠ Hóîñ˜ F¼. ñ£‡¹I° ð£óîŠ Hóîñ˜ F¼. ï«ó‰Fó «ñ£® Üõ˜èO¡ õ£›ˆ¶ï«ó‰Fó «ñ£® Üõ˜èO¡ õ£›ˆ¶ï«ó‰Fó «ñ£® Üõ˜èO¡ õ£›ˆ¶ï«ó‰Fó «ñ£® Üõ˜èO¡ õ£›ˆ¶ï«ó‰Fó «ñ£® Üõ˜èO¡ õ£›ˆ¶

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Ü‰î‚ è®îˆF¡ Mðó‹ H¡õ¼ñ£Á:

“ I thank you for your congratulations and good wishes on

my being sworn in as the Chief Minister of Tamil Nadu for

the fifth time.

I convey my best wishes to you.”

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F¼.î£µ, Þò‚°ù˜èœ F¼.Ý˜.M.àîò°ñ£˜ à†ðìŠ ðô˜ èô‰¶

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YQõ£ê¡, ªî£NôFð˜ F¼. ã.C.ºˆ¬îò£, Þó£ñ„ê‰Fó£ ñ¼ˆ¶õŠ

ð™è¬ô‚èöè «õ‰î˜ F¼. ªõƒèì£êô‹ ÝA«ò£˜ èô‰¶

ªè£‡ìù˜.

ä‰î£‹ º¬øò£èˆ îI›ï£´ ºîô¬ñ„êó£èŠ ªð£ÁŠ«ðŸø

ñ£‡¹I° ¹ó†Cˆî¬ôM Ü‹ñ£ Üõ˜èœ 24.05.2015 Ü¡Á î¬ô¬ñ„

ªêòôèˆF™ ºîô¬ñ„ê˜ Ü¬ø‚° õ¼¬è î‰¶ ¹Fò F†ìƒèÀ‚è£ù

ä‰¶ «è£Š¹èO™ ¬èªò£Šð‹ Þ†ì£˜èœ. îI›ï£´ Üó²ˆ î¬ô¬ñ„

ªêòô£÷˜ F¼. °.ë£ù«îCè¡ Þ.Ý.ð. Üõ˜èœ àìQ¼‰î£˜.

ªî£°Š¹: Ý.Mñô£Fˆî¡, Ý.Mñô£Fˆî¡, Ý.Mñô£Fˆî¡, Ý.Mñô£Fˆî¡, Ý.Mñô£Fˆî¡, ªî£°ŠÌFò‚ èEQˆ î†ì„ê˜,

àôèˆ îIö£ó£Œ„C GÁõù‹, îóñE, ªê¡¬ù 600 113.

No.89 JULY 2015


03. «ñ¬ôï£†´ˆ îIöPë˜èœ õK¬êÞó£ð˜† ªî ªï£HL (Robert de Nobile) (1577-1656)

õ. ð£‚Aòó£x õ. ð£‚Aòó£x õ. ð£‚Aòó£x õ. ð£‚Aòó£x õ. ð£‚Aòó£x

îˆ¶õŠ «ð£îè˜ âù Ü¬ö‚èŠð´‹

Þó£ð˜† ªî ªï£HL (Robert de

Nobile S.J) Þˆî£L «îêˆ¬î„ «ê˜‰î

îvèQ ñ£è£íˆF™ æ˜ àò˜‰î Hó¹‚

°´‹ðˆF™ Hø‰îõ˜. ªðŸ«ø£˜èœ

Hó£¡Cv«è£ ªî ªï£HL, A÷£Kv

C«ò£L Ýõ˜. î¡Â¬ìò 26 õòF™

Þ«ò² ê¬ðJ™ «ê˜‰¶ èˆ«î£L‚è‚

°¼õ£A ̂îI›ï£†®™ êñòŠðEò£Ÿø

M¼‹H, 1605 «ñ 20-Þ™ «è£õ£ õ‰¶

«ê˜‰î£˜. 1606 Ý‹ Ý‡®™ ñ¶¬ó¬ò

Ü¬ì‰¶ îI›ˆ¶øM «ð£™

õ£öˆªî£ìƒA‚ èˆ«î£L‚è ñ¬øŠ

ðEò£÷ó£èŠ ðE¹K‰î£˜.

ãø‚°¬øò 56 Ý‡´èœ îI›ï£†®™ êñòŠðE ÝŸPò Þõ˜, 1656 Ý‹

Ý‡´ HŠóõK 16 Ý‹ ï£œ Þ¬øõQ¡ F¼õ® Ü¬ì‰î£˜.

îI›ŠðEîI›ŠðEîI›ŠðEîI›ŠðEîI›ŠðE

A.H.16 Ý‹ ËŸø£‡®™ ä«ó£ŠHò Ü¬ìò£÷ƒè«÷£´

îI›ï£†®™ APˆ¶õ‹ ÜPºèŠð´ˆîŠð†ì¶. êñòŠ ðóŠ¹î¬ô

ºî¡¬ñ «ï£‚èñ£è‚ ªè£‡ì«ð£F½‹ îI› Þô‚Aò õóô£ŸP™ Cô

°PŠHìˆî‚è õ÷˜„C ñ£Ÿøƒèœ Þˆî° ÅöL™ ãŸð†´œ÷¬î

ñÁŠðîŸA™¬ô. A.H. 17 Ý‹ ËŸø£‡®™ APˆ¶õˆ¬îŠ ðóŠð õ‰î

ªï£HL ß´ð†ì ¶¬øè÷£è Ü¬ìò£÷Šð´ˆîŠð´õ¶ à¬óï¬ì,

Üèó£F, ªêŒ»†èœ ÝAòùõ£°‹. ï£Ÿð¶‚°‹ «ñŸð†ì à¬óï¬ì

Ë™è¬÷»‹ ÞòŸPˆ îI› à¬óï¬ì õ÷˜„CJ™ °PŠHìˆî‚è

ðƒèOŠ¬ð„ ªêŒîõ˜. ªï£HLJ¡ ÞŠðƒèOŠ¹ êñòŠ ðóŠ¹î™

è£óíñ£è Gè›‰î «ð£F½‹ îI› Þô‚Aò õ÷˜„C ñ£ŸøƒèÀ‚°

ºî¡¬ñ‚ è£óEò£è Ü¬ñ‰F¼‰î¶.

‘ªï£HL’ îI›, ªî½ƒ°, êñvA¼î‹ ÝAò Í¡Á ªñ£Nè¬÷‚

èŸø ºî™ ä«ó£ŠHò˜ â¡ø ªð¼¬ñ»¬ìòõ˜. ªñ£N â¡ð¶

Þó£ð˜† ªî ªï£HL


No.89 JULY 2015

ð‡ð£†«ì£´ ªï¼ƒAò ªî£ì˜¹ ªè£‡´ M÷ƒ°Aø¶. ªñ£N¬ò

ÜP‰¶ ªè£‡ìî¡ Hø«è Ü‰î ï£†®¡ ð‡ð£†´‚ ÃÁè¬÷

Þùƒè£í º®»‹. «ñ¬ôï£†®ù˜ Ü¬ùõ¼‹ îI›ªñ£N¬òˆ

îò‚èI¡Pˆ èŸøù˜. è£óí‹ Üõ˜èÀ¬ìò ªè£œ¬èèœ G¬ø«õø

ªñ£N¬ò‚ è¼Mò£èŠ ðò¡ð´ˆFù˜.

Þó£ð˜† ªï£HL»‹ Þî¬ù ï¡° ÜP‰F¼‰î£˜. îI›ï£†®™

àœ÷ ªð£¶ñ‚èÀ‚è£èˆ îI› ªñ£N¬ò»‹ ñ¶¬óJ™ F¼ñ¬ô

ï£ò‚è¡ Ý†C Ý¬èò£™ ªî½ƒ° ªñ£N¬ò»‹ Hó£ñí˜è¬÷‚

APˆ¶õ˜è÷£è ñ£Ÿø â‡E Üõ˜èÀ¬ìò «õîˆ¬î ÜPò„ êñvA¼î

ªñ£N¬ò»‹ èŸøP‰î£˜ ªï£HL.

à¬óï¬ìà¬óï¬ìà¬óï¬ìà¬óï¬ìà¬óï¬ì

Ü„²Š ðò¡ð£†®¡ M¬÷õ£è ä«ó£ŠHò˜è÷£™ îIN™

à¬óï¬ì õ®õ‹ ÜPºèñ£ù¶. îI› Þô‚Aò‹ Ü¶õ¬ó ªêŒ»œ

õ®õñ£è Þ¼‰î¶. ÜF™ ñ£Ÿøˆ¬î ãŸð´ˆFòõ˜èœ ä«ó£ŠHò˜èœ.

ÜîŸ°ˆ ªî£ì‚èŠ ¹œOò£è M÷ƒAòõ˜ Þó£ð˜† ® ªï£HL.

îI› Þô‚Aò à¬óï¬ìJ¡ î‰¬îò£èŠ «ð£ŸøŠð´‹

ªï£HLJ¡ à¬óï¬ì Ë™èœ Ü¬ùˆ¶‹ êñòŠ ðóŠ¹î½‚è£è

ñ‚èÀ‚° àð«îê‹ ªêŒòŠð†ì¬õò£°‹. HŸè£ôˆF™ Ü¬õ

Ü„«êPù. Hóêƒèƒè÷£èˆî£‹ Üõ¼¬ìò ªñ£Nï¬ì»‹

Ü¬ñ‰¶œ÷¶. ï£Ÿð¶‚°‹ «ñŸð†ì Ë™è¬÷ â¿F»œ÷ «ð£F½‹

Cô Ë™èÀ‚° ñ†´«ñ ðFŠ¹ Mõóƒèœ A¬ì‚A¡øù.

ªï£HLJ¡ ªê£Ÿªð£N¾ ÝŸø¬ô»‹ à¬óï¬ì Ë™èœ

ÞòŸÁõF™ õ™ôõó£è M÷ƒAò¬î»‹ Üõ¼¬ìò à¬óï¬ì Ë™èœ

Üõ˜ è£ôˆFŸ°Š Hø° Ü„ê£ù¬î‚ °Pˆ¶‹ ñJ¬ô YQ. «õƒèìê£I

APˆîõº‹ îI¿‹ â¡ø î‹ ËL™ (ð‚.68-69) ðF¾ ªêŒ¶œ÷£˜.

ªï£HL â¿Fò Ë™è÷£è ñJ¬ô YQ.«õƒèìê£I ð†®òL´‹

Ë™èœ H¡õ¼ñ£Á:

1. ë£«ù£ð«îê è£‡ì‹, 2. ñ‰Fóñ£¬ô, 3. Ýˆ¶ñG˜íò‹,

4. ÉûíF‚è£ó‹, 5. êˆFò «õî ôzí‹, 6. ê°ù Gõ£óí‹, 7. ðóñ

Å†²ñ£HŠ Hó£ò‹, 8. èì¾í´í‹, 9. ¹ù˜ ªü¡ñ Ý†«êð‹, 10.GˆFò

põ¡ ê™ô£ð‹, 11. îˆ¶õ‚ è‡í£®, 12. ã²ï£î˜ êKˆFó‹,

13. îõ²„êî‹, 14. ë£ùbH¬è, 15. cF„ªê£™, 16. ÜGˆFò GˆFò

MˆFò£ê‹, 17. Hóð…ê M«ó£î MˆFò£ê‹, 18. îI› - «ð£˜„²‚WCò Üèó£F.

ªî£°Š¹: õ.ð£‚Aòó£x,õ.ð£‚Aòó£x,õ.ð£‚Aòó£x,õ.ð£‚Aòó£x,õ.ð£‚Aòó£x, º¬ùõ˜ ð†ì ÝŒõ£÷˜, àôèˆ

îIö£ó£Œ„C GÁõù‹, îóñE, ªê¡¬ù - 600 113.

No.89 JULY 2015


04. Tamil Scholars from Overseas

Vinson, Julian (1843 - 1926)

French National, wrote Tamil grammar in French; translated UVS’s edition of

‘CIvakacintAmaMi’ into French and also part of ‘TirukkuraL’.

♦ Vinson, Julien: Manuel de la langue tamoule (grammaire, textes,

vocabulaire): Paris Imprimerle nationale, E. Leroux, Edlteur, 1903;

Reprinted New Delhi: Asian Educational Services, 1986.

♦ Vinson, Julien: Le verbe dans les langues dravidiennes : tamoul,

canara, telinga, malayala, tulu, etc., Paris : Maisonneuve et cle, 1878.

♦ Vinson, Julien: Les religions actuelles, leurs doctrines, leur evolution,

leur historie, Paris, A. Deiahaye et E. Lecrosnier, 1888.

Winslow, Miron (1789 - 1864)

Author of ‘A comprehensive Tamil and English Dictionary of High and Low

Tamil’, a corpus of 67000 words published in 1862.

♦ Winslow, Miron, Rev. (assisted by competent native scholars: in part from

manuscript materials of the late Rev. Joseph Knight, and others.):

A comprehensive Tamil and English dictionary of high and low Tamil,

Madras: P.R. Hunt, American Mission Press, 1862.

♦ Winslow, Miron : Tamil-English dictionary, Reprint of 1862 edition, ed. by

Klaus Ludwig Janert. Wiesbaden : Steiner, 1977.

♦ Winslow’s English and Tamil dictionary = (ViVculOviV ANkila-Tamil akArati

by Rev.Winslow, L.Spaulding, revised, enlarged & romanized by C.Appasamy

Pillai, 3rd ed. New Delhi : Asian Educational Services, 1989.

♦ Winslow, Miron : A sketch of missions, or, History of the principal attempts

to propagate christianity among the heathen / by Miron Winslow. Andover,

Mass.: Flagg and Gould, 1819. (to be continued)


No.89 JULY 2015

05. Þ‰Fòˆ îIöPë˜èœ õK¬ê

ñ¬øñ¬ôò®è÷£˜ (1876 - 1950)

ð.ªüèbê¡ð.ªüèbê¡ð.ªüèbê¡ð.ªüèbê¡ð.ªüèbê¡

ð¡ªñ£NŠ¹ô¬ñ ªðŸP¼‰¶‹

î£Œªñ£Nò£ù îI› ªñ£NJ™ Høªñ£N

èôŠH™ô£î îQˆîIN™ â¿¶õ¬î,

«ð²õ¬î, ªêò™ð´õ¬î«ò èì¬ñò£è¾‹

è†ì¬÷ò£è¾‹ ªè£‡´ õ£›‰îõ˜

ñ¬øñ¬ôò®èœ. Þõ˜ Ü¬ùˆ¶

ñ‚è¬÷»‹ Ü¬ùˆ¶ˆ ¶¬øè¬÷»‹

îQˆîIN™ Þòƒè„ªêŒò «õ‡´‹,

Þô‚AòŠð¬ìŠ¹èœ îQˆîIN™

ð¬ì‚èŠðì «õ‡´‹, îIN¡ «ñ¡¬ñ

CøŠ¹ø «õ‡´‹ â¡ðõŸPŸè£èˆ

îQˆîI› Þò‚èˆ¬îˆ ªî£ìƒAòõó£õ£˜.

«î£Ÿø‹«î£Ÿø‹«î£Ÿø‹«î£Ÿø‹«î£Ÿø‹: ñ¬øñ¬ôò®èœ ï£¬è

ñ£õ†ìˆF™ è£ì‹ð£® âÂ‹ CŸÚK™ ªê£‚èï£î¼‚°‹

C¡ù‹¬ñò£¼‚°‹ 15-07-1876 Ü¡Á ñèù£èŠ Hø‰î£˜.

F¼‚è¿‚°¡øˆF™ àœ÷ ßê¬ù õNð†ìî¡ M¬÷õ£èŠ Hø‰î

°ö‰¬îò£îô£™ ªðŸ«ø£˜ Þõ¼‚° ²õ£I «õî£„êô‹ â¡Á

ªðòK†ìù˜. H¡ù£O™ Þõ˜ îI› ªñ£NJ¡ e¶ ªè£‡ì ðŸP¡

è£óíñ£èˆ î‹º¬ìò ªðò˜ ÉòîIN™ Þ¼‚è «õ‡´‹ â¡ðîŸè£è

ñ¬øñ¬ôò®èœ â¡Á ñ£ŸP‚ªè£‡ì£˜.

è™MG¬ôè™MG¬ôè™MG¬ôè™MG¬ôè™MG¬ô: ï£èð†®ù‹ ªõvL è™ÖKJ™ ðJ¡ø£˜

Ü®è÷£˜. ÝƒAô Þô‚Aòƒè¬÷Š ð®ŠðF™ «ðó£˜õ‹ àœ÷õó£èˆ

Fè›‰î£˜. ÝJÂ‹ îI› ªñ£NJ¡ e¶ ñ†ìŸø ðŸÁ¬ìòõó£è‚

è£íŠð†ì£˜. ñ«ù£¡ñaò‹ ²‰îó‹Hœ¬÷J¡ ñ£íõó£è M÷ƒAò

Ü®è÷£˜ Üõ˜ ÞòŸPò Ë™èœ ðôõŸ¬ø„ ªê‹¬ñ»ø‚ èŸÁˆ

«î˜‰î£˜. î£‹ ªðŸø îIöP¬õ»‹ êñò àí˜¬õ»‹ î‹«ñ£´ åˆî

ñ£íõ˜èÀ‚° á†ì M¼‹H “Þ‰¶ ñî£Hñ£ù êƒè‹” â¡ø«î£˜

êƒèˆ¬î GÁM Üî¡ õNò£èŠ ðŸðô ªê£Ÿªð£N¾è¬÷ò£ŸP

Üõ˜èÀ‚° ÜP×†® õ‰î£˜.

Ü®è÷£˜ êƒè Þô‚AòˆF™ «î˜„C, ªî£™è£ŠHò‹ «ð£¡ø

Þô‚èíƒèO™ «î˜„C, êñò Ë™èO™ Ý›‰î ÜP¾, F¼º¬øèO™

ÝŒ¾ â¡Á ð¡ºèŠ¹ô¬ñ ªè£‡ìõó£Œ‚ è£íŠð†ì£˜.

è£¬ó‚è£L™ ïì‰¶õ‰î ‘Fó£Mì ñ‰FK’ âÂ‹ Fƒèœ ÞîN½‹

No.89 JULY 2015


ï£èð†®ùˆF™ ï¬ìªðŸÁõ‰î ‘ï£¬è cô«ô£CQ’ âÂ‹ ï£OîN½‹

Ü¼‹ ªð¼‹ è†´¬óèœ ðô â¿Fõ‰¶œ÷£˜.

ÝCKò˜ðEÝCKò˜ðEÝCKò˜ðEÝCKò˜ðEÝCKò˜ðE: ñ«ù£¡ñaò‹ ²‰îó‹Hœ¬÷J¡ð£™ ãŸð†ì

ªî£ì˜H¡ è£óíñ£è Ü®è÷£˜ F¼õù‰î¹óˆF™, ñ£˜ˆî£‡ì¡ î‹H

â¡ðõó£™ ïìˆîŠð†ì ÝƒAôŠðœOJ™ îIö£CKòó£èˆ îñ¶ ºî™

ðE¬òˆ ªî£ìƒAù£˜. «ñ½‹ «ðó£CKò˜ Ü¬öˆîî¡ «ðK™

F¼õù‰î¹ó‹ Üóê˜ è™ÖKJ™ ‘ï£ìèˆîI›’ ðŸP ÜKòªî£¼

ªê£Ÿªð£N¬õ Gè›ˆFù£˜.

Cˆî£‰î bH¬è âÂ‹ FƒèOîN™ è†´¬óè¬÷ â¿Fõ‰î

Ü®è÷£˜, 1897-ü¨¡ 21 Ý‹ «îF ºî™ ÜšMî¿‚° ÝCKòó£è¾‹

ðEò£ŸPù£˜. H¡ù˜ Þîö£CKò˜ ðE¬ò M´ˆ¶, ªê¡¬ù‚

APv¶õ‚ è™ÖKJ™ îI›ˆ¶¬ø ÝCKòó£èŠ ðEJôñ˜‰î£˜.

îI›ˆ¶¬øˆ î¬ôõó£è Ýƒ°Š ðEò£ŸPò ÅKòï£ó£òí

ê£vFKò£ ̃î‹ ªðò¬óŠ ðKFñ£Ÿè¬ôë ̃â¡Á îIN™ ñ£ŸP‚ ªè£‡ì£«ó

â¡Á, Ü¡Á ºî™ ðKFñ£Ÿè¬ôëK¡ e¶ ñKò£¬î»‹ «ðó¡¹‹

ªè£‡ìõó£Œ M÷ƒAù£˜. Üõ¬óŠ «ð£ô«õ î£º‹ Üðgîˆ îI›ŠðŸÁ

à¬ìòõó£Œ, ²õ£I «õî£„êô‹ âÂ‹ î‹ ªðò¬óŠ Høªñ£N èôõ£î îQˆ

îIN™ ñ¬øñ¬ôò®èœ â¡Á ñ£ŸP‚ªè£‡ì£˜.

Ë™ðEË™ðEË™ðEË™ðEË™ðE: è™ÖKJ™ îI› õ°Š¹ â´‚°‹ «ð£¶ Ü®èœ

º™¬ôŠð£†´, ð†®ùŠð£¬ôº™¬ôŠð£†´, ð†®ùŠð£¬ôº™¬ôŠð£†´, ð†®ùŠð£¬ôº™¬ôŠð£†´, ð†®ùŠð£¬ôº™¬ôŠð£†´, ð†®ùŠð£¬ô ÝAò êƒè Þô‚Aò Ë™èÀ‚è£ù

à¬ó ð£†®¡ ªð£¼¬÷ «ï˜ðì‚ Ãø£ñ™ ‘Ü‰¸õò‹’ âÂ‹

ªè£‡´Ã†ì™ º¬øJ™ ªð£¼œÃP„ ªê™õ¬î ÜP‰î£˜. Þî¬ùŠ

¹K‰¶ªè£œõîŸ° ñ£íõ˜èœ CóñŠð´õ¬îòP‰¶

ÞšM¼Ë™èÀ‚°‹ Üöè£ù âOò à¬ó¬ò â¿F Ü¬î

º™¬ôŠð£†´ Ýó£Œ„C à¬ó, ð†®ùŠð£¬ô Ýó£Œ„C à¬óº™¬ôŠð£†´ Ýó£Œ„C à¬ó, ð†®ùŠð£¬ô Ýó£Œ„C à¬óº™¬ôŠð£†´ Ýó£Œ„C à¬ó, ð†®ùŠð£¬ô Ýó£Œ„C à¬óº™¬ôŠð£†´ Ýó£Œ„C à¬ó, ð†®ùŠð£¬ô Ýó£Œ„C à¬óº™¬ôŠð£†´ Ýó£Œ„C à¬ó, ð†®ùŠð£¬ô Ýó£Œ„C à¬ó

â¡Á Þó‡´ Ë™è÷£è 1903, 1906, 1910 Ý‹ Ý‡´èO™ ªõOJ†ì£˜.

Ü®è÷£˜ ÞòŸPò «ê£ñ²‰îó è£…Cò£‚è‹«ê£ñ²‰îó è£…Cò£‚è‹«ê£ñ²‰îó è£…Cò£‚è‹«ê£ñ²‰îó è£…Cò£‚è‹«ê£ñ²‰îó è£…Cò£‚è‹ âÂ‹ Ë™ êƒè

Þô‚AòƒèO™ å¡ø£è ¬õˆ¶Š «ð£ŸøŸ°Kòî£è‚ è¼îŠð†ì¶.

Þîù£™ ë£ùê£èó‹ë£ùê£èó‹ë£ùê£èó‹ë£ùê£èó‹ë£ùê£èó‹ âÂ‹ FƒèOî¬ö 1903-Þ™ ªî£ìƒAˆ îñ¶

è¼ˆ¶‚è¬÷ ÜšMîN¡ õNò£è ªõOŠð´ˆFõ‰î£˜. H¡¹

îQˆîI›ï¬ì âÂ‹ ð£˜¬õJ™ ë£ùê£èó‹ë£ùê£èó‹ë£ùê£èó‹ë£ùê£èó‹ë£ùê£èó‹ âÂ‹ ÜšMîN¡

ªðò¬ó ÜP¾‚èì™ÜP¾‚èì™ÜP¾‚èì™ÜP¾‚èì™ÜP¾‚èì™ â¡Á ÉòîIN™ ñ£ŸPù£˜. Üˆ¶ì¡

The Oriental Mystic Myna âÂ‹ ªðòK™ W›ï£†´ ñ‚èœ õCò‹W›ï£†´ ñ‚èœ õCò‹W›ï£†´ ñ‚èœ õCò‹W›ï£†´ ñ‚èœ õCò‹W›ï£†´ ñ‚èœ õCò‹

âÂ‹ ªð£¼À¬ìò ÝƒAôˆ FƒèOî¬ö 1908-½‹, The Occan Of

Wisdom âÂ‹ ñŸªø£¼ ÝƒAô Þî¬ö 1935-Þ™ Þó‡´ FƒèÀ‚° å¼

º¬øò£è¾‹ ªõOJ†´õ‰î£˜.


No.89 JULY 2015

1910-Þ™ ªê¡¬ùŠ ð™è¬ô‚èöèˆî£˜ îI› ªñ£N¬ò‚

è†ì£òñ£èŠ ð®‚èˆ «î¬õJ™¬ô; M¼ŠðŠ ð£ìñ£èŠ ð®ˆî£«ô

«ð£¶‹; ÝƒAôˆ¬î»‹, õìªñ£N¬ò»‹ ñ†´‹ è†ì£òŠ ð£ìñ£èŠ

ð®‚è«õ‡´‹ â¡Á b˜ñ£ù‹ ªè£‡´õ‰îù˜. Þîù£™ îI›

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No.89 JULY 2015


06. The Kural

J. LAZARUS

Before proceeding to consider the poet’s treatment of each of these grand

topics, we must dwell very briefly on the Introduction. The four chapters treat

respectively of God, Rain, Virtue and Ascetics, and form a fitting type of the

whole. The very first couplet on God, which is also the first in the whole work, is

characteristic of the man and marks him out as a shining monotheist in those dark

ages.

“As all letters have A for their first,

So the world has the Eternal God for its first.”

Thus does the Valluvan begin his great work. In other words, the poet

would join hands with Moses and say, “In the beginning God created the heaven

and the earth.” This is the nearest Indian parallel to Christian cosmogony. Rain

finds a place in the Introduction, because then as now, it was indispensable to the

well-being of mankind. The fact that eight out of ten distiches describe the evils

of drought, indicates the frequency of famines even in the poet’s days. The chapter

on Virtue, or Righteousness in Scriptual language is well worth study. He says:

“To be spotless in mind is alone virtue,

All else is evanescent show.”

That alone is pleasure which flows from virtue.”

The poet defines virtue and vice thus:

“Virtue is what ought to be done,

And vice what one ought to shun.”

A careful perusal of the Kural will shew that in dealing with Virtue, Wealth

and Pleasure. The poet takes up types of the greatest excellence in each

department. The householder and the ascetic in the first, the king and the citizen

in the next, and conjugal bliss in the last are selected as leading ideals in the

treatment and development of each of these subjects. The headings of the twenty-

three chapters devoted to the portrayal of domestic virtue form, as it were, the

main features of an excellent portrait. The house-holder, married not to a child-

wife but to a frugal woman who is a meet help to his consecrated life, rejoices in

Source: The Tamilian Antiquary Vol. II, No.1, VI. THE KURAL

by the Late Rev. Dr. J. LAZARUS


No.89 JULY 2015

the careful training of his children, through loving whom he learns to love his

neighbour, is hospitable, given to kindly speech, grateful for benefits received,

strictly just and upright in all his dealings, moderate and self-restraining, decorous

in behaviour, faithful unto his wife, forgiving and forbearing, avoiding envy,

covetousness, evil-speaking, even profitless gossiping, dreading evil deeds, always

placing duty supreme, giving to the poor and preserving his good name. I doubt

very much if anything could be added to enhance the beauty of this picture,

especially as each of these features undergoes further and still finer touches from

the poet’s pencil. Sir Alex. Grant states that “humility, charity and forgiveness of

injuries are not described by Aristotle.” But it is these very qualities which are so

forcibly and frequently inculcated by this Tamil bard. It is only the pen of a

Drummond that could adequately bring to light the hidden beauty of his chapter

on Love. One or two extracts will suffice:

“He alone lives who loves.”

“Nothing can restrain love.

The tiny tear will betray it.”

To these may be added one from the chapter on Forbearance:

“Forgiving trespasses is good always,

Forgetting them hath even higher praise.”

The substance of the first couplet in chapter on Giving is simply.

“Tis more blessed to give than to receive.”

Ascetics seem to have formed an important and revered class in the poet’s

days. For their guidance, therefore he lays down a special code, which might be

called the higher virtue. In this section, certain virtues and observances are treated

of. Taking away life and flesh-eating are condemned, while benevolence, veracity

and the like are commended. Referring to veracity, the poet says that “falsehood

may be regarded as truth, if it yields guiltless good.” This is the only instance in

which the moralist leaves the intuitional platform and takes his stand on utilitarian

ground. At all events, he acted up to his light.

No.89 JULY 2015


The Jains claim the poet as belonging to their sect, because of his

restrictions against killing and flesh-eating. But this cannot justify their claim. In

these restrictions, he is laying down the law for the ascetic, not the ordinary

house-holder. Besides people were mostly vegetarians then, as they are now;

probably much more so. The abhorrence of flesh-eating and the slaughter it

involves is common even now among vegetarians. And the poet simply gives

expressions to public opinion in this respect without necessarily attaching himself

to the Jains or to their system of theology. And the only two allusions to be found

in the Kural, one to Indra and the other to Vishnu under the epithet Tirumal –

could not have been acceptable to the Jains who disbelieved the myths alluded

to. On the other hand, Tiruvalluvar seems to have been an eclectic philosopher,

carefully discarding everything which had not a rational or moral basis. It is true

he refers to Fate and Transmigration. But the former he regards in nearly the

same light as Christian Providence, while the latter he seems to have accepted as

a temporary solution of the problem of life. But as I have already remarked,

escape from this “sea of seven-fold births” is the burden of his work.

We now come to Wealth, the second part of the Kural.The king with

equipped state and the law-abiding citizen are the types in this section of the

work. The moral courage with which the humble poet ventures to frame laws for

the wellbeing of the Ch Era, ChlOa and Pandyan kingdoms is certainly wonderful.

It reminds one of the Jewish prophets of old. The poet perceived that if he could

lay down certain general principles the observance of which would be conducive

to the material welfare of the state, their application to individuals and families

would be apparent. And hence this section of the Kural is an exquisite poem on

political economy, or the wealth of nations.

It is on this section that the poet brings to bear his learning, his observation

and his unerring judgment. In the seventy chapters of this part, a great variety of

topics is treated of with the same force and beauty which characterize the former

portion. Kingly greatness, learning, observation, good associations, deliberation,

misplaced confidence, fortitude under affliction, power in speech and purity in

deed, thought-reading, tact in society, are some of the qualities the enlarges upon

as being essential ingredients in what might be called a public man. The essentials


No.89 JULY 2015

of a state are then dwelt upon. It is here that we have the poet’s beautiful chapters

on Friendship, both good and bad. One or two couplets may be quoted:

“The Friendship of the wise increases like the waxing moon;

That of fools diminishes like the waning moon.”

“True friendship dwells, not in the sweet smiles of the face,

But in the sincere smiles of the heart.”

“Seek to gain the friendship of the pure;

But renounce even with a gift that of all others.”

A whole chapter is devoted to conscientiousness. Here are a few

epigrammatic quotions:

“Food, clothing and the like are common to all;

But conscientiousness is peculiar to the good.”

“The conscientious will rather lose their life for their conscience

Than lose their conscience for their life.”

“The poor,” said Christ, “ye have always with you.” It was so indeed in

Tiruvalluvar’s times. He too, in last chapters, speaks of poverty and begging; the

latter, however, he condemns. He says,

“Even thin gruel is ambrosia to him

Who has earned it by labour.”

With reference to royal greatness he says,

“He is a lion among kings who possesses

An army, people, wealth, minister, friend and fort.”

There are some beautiful verses on Fortitude. For example,

“He has no sorrow in sorrow,

Who seeks no pleasure in pleasure.”

“Sorrow flees before him

Who can tickle trouble into joy.

Regarding sins of omission and commission, the following I think

cannot to surpassed:

No.89 JULY 2015


“He dies who does what is not meet;

He also dies who does not what is meet.”

Indeed, such verses are so very numerous that it is difficult to make a

selection. And translation is often a hopeless task. The words indeed may be

rendered, and to a great extent, the sentiments also. But to reproduce the beauty,

the rhythm and the terseness of a couplet is simply impossible. The translator

must himself be a poet. As has been well remarked, each couplet is, as it were,

“an apple of gold in a network of silver.”

The third part of the Kural, that on Pleasure, has been much animadverted

upon. Fifty years ago Mr.Drew said that it could not be translated without

“exposing the translator to infamy.” Public opinion, however, has greatly changed

since that time. Dr.Graul has not only rendered it into German and Latin, but has

said something in praise of its intrinsic excellence. The fact is, as I have already

pointed out, the poet chooses types and ideals for the elucidation of his themes.

When about to explain the nature of true pleasure, he perceives with the Christian

poet that domestic felicity is the “only bliss that has survived the fall.” Even the

Apostle Paul could find no better analogy for the union of Christ and His Church

than that of wedded love. Dr.Pope thinks “he will be regarded as having done

good service” in translating it. It was one of the couplets in this part of the poem,

referring to the two looks of a maid the one which kills and the other which cures

the looker that led Dr.Graul to admire Tamil poetry and study the Kural.

At the same time it must not be forgotten that ancient writers were far

less reserved in their style of writing on such subjects than is the case with modern

authors; and that almost all eastern literature is, more or less, tainted with an

excess of liberty in this particular. Still, it must be stated to the credit of the poet

that this section is perfectly pure in its tendency, though its style is different from

that of the other portions. It embodies no rules for conduct. On the contrary by a

few scintilations of poetic fancy, it aims at giving the reader a vivid though distant

glimpse of the perfect bliss of conjugal life. It consists mainly of soliloquies and

dialogues, and embraces unwedded as well as wedded love for both forms of

union were permitted in the poet’s days. But of the twenty-five chapters, only

eight are devoted to un-wedded lovethus indicating the decided opinion of the


No.89 JULY 2015

poet who in the eighth chapter makes the unwedded union end in wedded love.

A few couplets may be quoted in illustration of what has been said:

“Ah, woe is me! my might that awed my foeman in the fight,

By luster of that beaming brow borne down lies broken now.”

“I look, but her eyes are on the ground the while;

I look away and she looks on we with timid smile.”

“If it is not parting, speak to me; but if ‘tis quick return,

Speak to those who can survive till then.”

“Like the eye which sees not the pencil which paints it

I cannot see my beloved’s faults when I meet him.”

But, it may be asked, may this portion be read by the young? I should

say, no; no more than other eastern books, including even certain portions of the

Old Testament, can be placed in their hands without injuring their immature minds.

We have thus cast a hasty glance at the contents of this remarkable work.

It now remains to offer a few remarks on its general style and language. The

Kural is composed in the purest Tamil. In about 12,000 words which the poet

has employed to convey his thoughts, there are scarcely fifty of Sanskrit origin.

He throws the purity of Bunyan’s English completely into the shade. No known

Tamil work can even approach the purity of the Kural. It is a standing rebuke to

modern Tamil. Tiruvalluvar has clearly proved the richness melody and power of

his mother-tongue. And while the composition of a master-piece like the Kural

so many centuries ago demonstrates the great antiquity and careful culture of the

Tamil language, it is sad to reflect on the condition to which this great vehicle of

thought has degenerated in these days with neither poet to sing, nor moralist to

teach, especially when during this same period a new language that of Great

Britain has arisen and developed into a perfect tongue and bids fair ere long to

occupy the greater part of the globe.

Regarding the Kural as a whole, there is but one opinion as to its

surpassing excellence. Both European and Indian have written in the highest praise

of it. In a little work, usually attached to native editions of the Kural, and called

the Garland of Tiruvalluvar, there are fifty-three verses attributed to the discomfited

professors of the Madura Sangam or College in each of which every variety of

No.89 JULY 2015


hyperbole is exhausted by the author in his praise of the poem and the poet. The

latter is called God, the first of poets, the divine poet, Brahma, Lakshmi’s consort,

etc.; while the former is termed the Triple Treatise, the Later Veda, the Word of

God, the Word of truth, the Tamil Vedam, and the World’s Book. One of these

critics says of it that it is a semi-perforated mustard seed into which the poet has

emptied the contents of the seven seas. He refers of course to its multum in

parvo characteristic. Most of these critics also refer to the chapters as well as

sections as these have come down to us. One of these verses discloses that the

poet flourished in the reign of Ugra-peru-Valudi, a Pandyan king, whose date is

to be sought in the beginning of our era.

A European estimate of this work cannot be out of place here. Dr.Barth

in his “Religions of India” refers to it as that “admirable collection of stanzas in

the Tamil language which is instinct with the purest and most elevated religious

emotion.” M. Ariel, the French translator, calls it “the master-piece of Tamil

literature”; and adds, “that which above all is wonderful in the Kural is the fact

that its author addresses himself, without regard to castes, people or beliefs, to

the whole community of mankind; the fact that he formulates sovereign morality

and absolute reason; that he proclaims in their very essence, in their eternal

abstractedness, virtue and truth; that he presents, as it were, in one group, the

highest laws of domestic and social life; that he is equally perfect in thought, in

language, and in poetry, in the austere metaphysical contemplation of the great

mysteries of the Divine nature, as in the easy and graceful analysis of the tenderest

emotions of the heart.” Yes, it is a wonderful work, second only to that other

Eastern literature which has received the impress of the Divine mind. Tiruvalluvar

seldom discusses; he speaks with authority; his utterances are all ex cathedra.

All his appeals are to the human conscience straight and direct. In the Veda, in

the Code of Manu, and in the great Epics, the chief aim is the exaltation of the

Brahmin; in the Kural, it is the exaltation of man as such, the race as a whole.

The very ideal of the perfect man which he presents, according to the light he has

received from Him “who lighteth every man that cometh into the world,” cannot

fail to inspire men of any creed or clime with purer motives for conduct and

nobler aspirations for life.


No.89 JULY 2015

The one great defect of the Kural – and it is one which belongs to every

unaided human effort – is its conception of God. It is true the poet does not

speculate : but he oscillates between the personal and impersonal idea in the

solitary chapter he devotes to the “praise of God.” In one couplet he speaks of

God as one devoid of desire and aversion, in another he gives Him eight attributes,

while in a third he calls Him the destroyer of the five senses. It could not have

been otherwise. The poet, though a giant in the moral world was after all a child

in the spiritual, with his foot on its threshold “seeking the Lord if haply he might

feel after Him and find Him.” “Tis Revelation alone satisfies all doubts.” In the

chapter on Renunciation, there is a remarkable verse in which the yearning soul

seems to gain a glimplse of the faith by which the “just shall live.” It runs thus:

“Cling to that which He to whom

Nought clings, hath bid thee cling,

And cling to that bond to free thyself

From every clinging thing.”

In other words, the poet would say, “To get rid of sin, cling in faith to

the Sinless One.”

In conclusion, it is refreshing to think that a nation which has produced so

great a man and so unique a work cannot be a hopeless, despicable race. The

morality he preached could not have grown except on an essentially moral soil.

To those therefore who labour for the salvation of the Tamil people, the Kural

must be a work of peculiar, nay, intense interest. To move, to persuade, to

convince the poet’s countrymen, the popular reformer or preacher must be

perfectly familiar with the Kural, so that from their own vedam they may be led

to seek that ideal, perfect Man, whom not having seen but instinctively feeling

after, the poet has sought to sketch in his immortal work, which, in the words of

an ancient Tamil critic is,

“Sweet to the thought, sweet to the ear,

Sweet to the mouth, and which with tongue

Right eloquent, Tiruvalluvar set forth,

That we the way of good may know.”

No.89 JULY 2015


07. PuRRRRRap PorulL L L L L VeMMMMMbAAAAA MAAAAAlai

G.U.Pope

§ 12. The Raiders Return.

The relatives of the raiders rejoice at the return of their hero with the

spoils.

Verse 12.

“First come the cows with their hanging dewlaps;

then come the bulls with their black masses of hair.

The warlike drums sound out, and the wood-land maids

who feared for their loved ones hail the signs that show them safe.”

§ 13. The Spoil brought home.

While the drums sound out, and the whole town is in a state of eager

expectation, the raided herds enter the village enclosure.

Verse 13.

“The hero’s spouse, with shining rows of teeth and rare beauty,

sees her hero crowned with wreaths midst which the beetles hum!

Her heart swells with gladness as she beholds the herds

with tinkling bells filling the open spaces of the village.”

This is sung of in P.N.N., 262 :-

“Bring out the buried toddy; slay the rams;

In PandAl thatched with green leaves, with slender (bambu) posts,

Lavishly strew fine sand from river-bed!

My lord, who first led the charge against the foeman’s van,

Comes home in rear guarding the captured herds;

His faithful comrades march, more wearied than himself.”

This is a song of Madura. Did even the PAMDi kings indulge in these

sports? See also P.N.N., 297.

Source: The Tamilian Antiquary Vol. I, No. VI.

Purap Porul. Ven. bâ Mâlai by the Late Rev. Dr. G.U.Pope, M.A.,D.D.


No.89 JULY 2015

§ 14. Division of the Spoils.

The raided herds of cattle are distributed among the successful

soldiers according to each one’s deserts.

Verse 14.

“To those who overcame with their glittering swords,

to those who sought out as spies, and brought back the tale,

to the skilful ones that interpreted the favouring omens,

they divide the herds of cattle in the little town.”

§ 15. The Feast.

The warriors with jewelled anklets, that tinkle as they walk, drink

‘toddy,’ and dance rejoicing.

Verse 15.

“The aspect of the maidens, sweet of speech and fair as Lakshmi,

fills with pleasing pains the warrior’s soul!

The gladness of the intoxicating draught departs, as does the

anger against his foes from out his soul.

Love is lord of all.”

§ 16. Gifts.

The spoils acquired in the raid are lavishly bestowed on all that ask.

Verse 16.

“The wealth brought back from the battlefield by the warriors

that flinched not in the strife, but bent their bows,

has become the price paid for the fiery drink

by musicians, drummers, singers and singing women.”

§ 17. Extra Rewards.

To those who as scouts explored beforehand the scene of the fierce

strife they give more honour than they take unto themselves.

Verse 17.

“To those who feared not death, but night and day

explored the battlefield, spied out, and brought us news,

some gifts beyond those given to others surely is due,

O warrior wielding the keen dart, that slays the fiery foe!”

No.89 JULY 2015


§ 18. The Favourable Prognosticators.

Some reward is given to those who faithfully expounded the lucky

signs.

Verse 18.

“When we went forth with minds intent upon our foemen’s, herds,

these made plain the favouring signs, and sounds that gave us heart

think not of what is strictly due as their share; to each give

four cows, with udders large, distended with milk!”

§ 19. The Drummer.

The virtues of the old man who beats the drum, according to ancestral

custom, for the jewel-ankleted warriors, are celebrated.

Verse 19.

“For my grandsire’s grandsire, his grandsire’s grandsire

beats the drum! For my father, his father did the same;

so he for me. From duties of his clan he has not swerved:

Pour forth for him one other cup of palm-tree’s purest sweetest

wine!”

The following song (P.N.N., 290) illustrating the section is attributed

to the ancient poetess AvvaiyAr:-

“O king, whose chariot drawn by angry elephants

Is foremost in the fray, pour out for him the palm-wine.

His father’s father, in fierce fight, when spears flew thick,

Died tenacious as the workman’s pincers,

Defending the king, thy father’s father!

He too with valour filled, instinct with glory of his race,

Shall, like palm-leaves that screen from sun’s fierce rays,

Hide thy head from the spear hurled at it”7

§ 20. The Demoness KoRRavai.

Here they celebrate the never-failing grace of her who protects the

warlike host, whose glory never grows dim.


No.89 JULY 2015

Verse 20.

“Her beauteous banner bears the lion’s form. Her hand the

golden parrot grasps and bounding stag.

A countless host of demons round her press-great KoRRavai!

When we designed the attack on the foeman’s fort,

she went before our host, and made foes flee!”

§ 21. The Devil-Dance.

The damsels, with flawless jewels decked, dance the mystic dance

with Velan,8 now the deed is done. This is called the Vallai Dance.

Verse 21.

“Did the black-throated One behold, he would rejoice;

it is the dance performed for the dart-hurling Murugan

by warrior, and by jewel-bearing lovely maid,

with fragrant garlands dight.”

The followin (P.N.N., 257) gives a potrait of the leader of the cattle-

raid. It is somewhat confused, but belongs to the VeTchi PaDalam:-

Call the Milk Maids!

“Softly he treads as though pebbles were in his sandals;

Huge his paunch and broad his chest,

Bright his eye, and beard bristly as the mountain-side,

His cheeks hang down like dewlaps!

who is this that thus cometh with his bow? A fearful sight!

Look close, he doth not come from far:

He is not one whose fort is in the wilderness.

At early dawn he watched the course of the foeman’s herds,

Pointed them out with his hand, numbered them,

And with his bow drove off the would-be rescuers!

The herd is large, but what the gain

If those who milk with white large-mouthed vessels,

And who churn are not at hand.”

No.89 JULY 2015


These twenty-one verses from the whole PaDDDDDalam commemorating

the incidents of the cattle-raid.

PaDDDDDalam II.

The Karanthai Wreath, or the Rescuers.

This is a wreath of basil or tulaci, a sacred plant of several species

having dark purple flowers, contrasting with the bright crimson of the VeTchi

of the former PaDalam. This Karanthai wreath was worn by those who went

forth to oppose the raiders and rescue the herds. In P.N.N., there are eleven

lyrics referred to this TiMai.

§ 1. The Karanthai.

Here the owners of the herds with their chaplets of dark purple flowers

rush forth to the rescue.

Verse 22.

“The crowding warriors crown their heads with garlands of

karanthai,

and go forth to rescue the herds the foeman drives away;

as though one should bring back the souls of dwellers on earth

begirt by the sounding sea, after death has devoured them.”

§ 2. The Summons.

The people whose herds are being driven away are bidden to

relinquish their occupations and haste to the rescue.

Verse 23.

“The jewel-ankleted heroes, the fierce bowmen,

they who wield the spear, men terrible to sight, who fear not

death in their fierce anger, all hear the sound of the drum,

and go to rescue the flocks which the veTTTTTchi-chapletted have

carried off.”

§ 3. The Rescuers on the Track.

Only those unfit for war remain in the town; the rest, boiling with

fierce wrath, follow the track of the raiders.


No.89 JULY 2015

Verse 24.

“The conch-shell sounds, with the mighty horn, and instruments

of music;

adorned with peacock feathers, and roused by the roll of the

loud drum.

The Rescuers arise, and over the fiery desert make their way,

following the tracks of the cattle, spears glistening like the sun.”

§ 4. The Doubtful Fight.

They draw near the raiders, surround them, attack them with fearful

energy, and a battle with many changeful fortunes is fought.

Verse 25.

“Like a multitude of tigers or lions or warrior-elephants,

full of power and wrath and honourable shame and glorious

resolve,

they shout, and hasten on, as they hear

the raiders’ defiant cry; and so the battle rages.”

The following sections of this chapter speak of the glory of the

individual heroes on either side. They fall fighting to the last full of enthusiasm.

But we shall henceforth content ourselves with a few specimen verses.

§ 13. Glory of the King

The praise is sung of the MaRavan King, a valiant swordsman.

Verse 34.

* * * * * * *

“They truly live who yield their lives fighting against the foe in

the fierce battle amid the flash of swords and the whirling of

the spear!”

§ 14. The Heroic Race.

The praises of the heroes of tried valour and of ancient race.

Verse 35.

“The men of ancient race that appear foremost in the fight

wielding their swords; who stand as, in the universal

No.89 JULY 2015


deluge, some mountain-top rises firm amid the flood:-

what wonder if their glory lives when all falsehoods have passed

away!

Thus ends the chapter of the Rescue.

We have seen that many of the lyrics in the PuRa-nAnURu seem to

have been composed from the hints given in these verses; or it may be that

from those lyrics this more systematized work has arisen. Certain it is that

they are closely connected, and must be studied together. Thus P.N.N., 259

evidently refers to an incident in the attempted rescue. The rescuers are in

sight of the raided flocks, but the raiders themselvs are not seen; the bard

cries out to the angry pursuers:-

“See’st not the ambushed MaRavars with well-strung bows,

Hid in the jungle vast amid the leafy trees,

Who while the raided cattle move, move not with them!

Stay, stay, all honour to thy glorious soul! O thou

Whose foot the hero’s jewelled anklet wears, by whose side

Glistens the sword resplendent, whose steeds,

Quivering with eagerness, shake like the priestess’ frame

Before the demon shrine, when Murugan inspires her soul!

Here we have an instructive glimpse of the current demon worship,

with the agitated priestess dancing wildly before the image of the hill-god.

This may be seen daily even yet in the South.

Cattle-lifting is the chief topic in all these poems. It was the beginning

of warfare : the Raid was followed by the Rescue, and these by the organized

Invasion of the enemy’s country (for which another wreath was assumed).

This leads to the systematic defence, and the defenders assumed a different

wreath. The siege and protection of forts each demanded its appropriate

garland. Then came war in general and for that another wreath was borne.

And finally, the victors who had gained supremacy had another wreath, which

they wore as the proud token of their victory. Thus our work relates to the

expeditions in which these eight different chaplets were worn by the

combatants. Some interesting chapters follow in which kings and their

attributes, and miscellaneous matters connected with the life of the people,

are illustrated. It is from these, as has been said, that the authors of the

KuRRRRRal, the NA l a D i AA l a D i AA l a D i AA l a D i AA l a D i Ar, and other lesser poets drew much of their material. It


No.89 JULY 2015

08.¹¶¬èJ™ 12Ý‹ ËŸø£‡´‚ è™ªõ†´ è‡´H®Š¹

¹¶‚«è£†¬ì Ü¼«è, ñ¡ù˜ è™ÖKŠ

«ðó£CKò˜èœ ïìˆFò è÷ ÝŒM™, 12‹

ËŸø£‡¬ì„ «ê˜‰î è™ªõ†´

è‡ªì´‚èŠð†ì¶.

¹¶‚«è£†¬ì ñ¡ù˜ è™ÖK õóô£ŸÁˆ

¶¬øŠ «ðó£CKò˜ ê‰Fó«ð£v, îINò™ ¶¬øŠ

«ðó£CKò˜ è¼Š¬ðò£ ÝA«ò£˜,

¹¶‚«è£†¬ì¬ò Ü´ˆî °÷ˆÉ˜ î£½è£,

è£«õK ïèK™ è÷ ÝŒ¾ «ñŸªè£‡ìù˜.

ÜŠ«ð£¶, A.H. 12‹ ËŸø£‡¬ì„ «ê˜‰î

è™ªõ†´ å¡¬ø‚ è‡ªì´ˆîù˜. Þ¶°Pˆ¶,

«ðó£CKò˜èœ ÃPòî£õ¶: °÷ˆÉ˜ î£½è£

ð°FJ™ è÷ ÝŒ¾ «ñŸªè£‡ì«ð£¶,

ê£¬ô«ò£ó‹ Aì‰î Í¡Á Ü® àòóºœ÷ å¼

è™ªõ†´ è‡ªì´‚èŠð†ì¶.

Ü‰î‚ è™ªõ†¬ì ÝŒ¾ªêŒî «ð£¶, ÜF™, 'eïõ‰ ºˆî¬óò˜

á˜. ª(ï)´ƒ°® Þó(‡)´ è¬ó ï£†´ ñøñ£E‚è˜, ªð(£)‰ ñ£E‚è

ï™Ö˜' â¡Á, å¡ð¶ õKèœ â¿îŠð†´œ÷ù.

Þ¬î, ªð£¡ñ£E‚èï™Ö˜ â¡ø áK™, Þó‡´ è¬ó ï£†´

ñøñ£E‚è˜ b˜ñ£Qˆîð® ïìŠð†ì â™¬ô‚è™ â¡Á ªð£¼œ

ªè£œ÷ô£‹. îŸ«ð£¶, è£«õK ïè˜ â¡Á Ü¬ö‚èŠð´‹ áK¡ å¼ ð°F,

A.H. 12‹ ËŸø£‡®™, ªï´ƒ°® â¡Á‹, ñŸªø£¼ ð°F

ªð£¡ñ£E‚èï™Ö˜ â¡Á‹ Ü¬ö‚èŠð†ìî£è‚ è¼îô£‹.

ÞšM¼ á˜èO¡ â™¬ôJ™, Þ‰î‚ è™ªõ†´

ïìŠð†®¼‚èô£‹. «ñ½‹, Þ‚è™ªõ†®™ Þì‹ªðÁ‹ ªðò˜èœ

ð£‡®ò˜-ºˆî¬óò˜ ªî£ì˜¬ð‚ è£†´õî£è àœ÷ù.

Fùñô˜ (ð.11) ï£œ.02.02.2015.

must be evident, therefore, that in many respects the work we are now

concerned with is an introduction to almost the whole of the genuine poetry

of the Tamil language.

Notes

7. “He will cover thy head in the day of battle.”

8. Velan = spearman.

No.89 JULY 2015


09. ð£‡®ò¡ ðKC™ ð®ñ‹ - ªñ£Nªðò˜Š¹„ C‚è™

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ð£«õ‰î˜ ð£óFî£ê¡ Ýõ£˜.

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'ð£‡®ò¡ ðK²' â¡ð¬õ Ý°‹.

õóô£ŸÁ Ü®Šð¬ìJ™ å¼ ¹Fò ºòŸCò£è Ü¬ñ‰¶œ÷

'ð£‡®ò¡ ðK²' â¡ø °Áƒè£ŠHò‹ ÝƒAô ªñ£NJ½‹

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à¼õè‹, ð®ñ‹, °Pf´ ºîLò àˆFèœ Ý°‹. 'ð£‡®ò¡ ðKC™ ð®ñ‹'

â¡Â‹ Þô‚Aò àˆF Ü¬ñ‰¶œ÷ Mîº‹ Ü¶ ªñ£Nªðò˜‚èŠð†´œ÷

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ð£´ªð£¼œè¬÷Š ðò¡ð´ˆFˆ î‹ Y˜F¼ˆîƒè¬÷ «ñŸªè£‡ìõ˜

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ð¬ì‚èŠð†ì å¼ ¹ó†C‚ è£ŠHòñ£è M÷ƒ°Aø¶. ð£‡®ò¡ ðK²

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â¡ðõ¬ù ñí‚°‹ èŸð¬ù‚ è¬îJ™ ¹ó†C¬ò à¼õ£‚A»œ÷£˜

ð£«õ‰î˜.

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ªêòŸð£ƒ«è ªñ£Nªðò˜Š¹ â¡ð˜. ªñ£NèÀ‚A¬ìJ™ Þì‹ªðÁ‹

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âù¾‹,

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language”3 å¼ ªñ£NJL¼‰¶ Þ¡ªù£¼ ªñ£N‚°Š ªðò˜‚°‹ ªêò™

Ü™ô¶ ªêòŸð£ƒ°, «õŸÁ ªñ£NJ™ å¼ ªñ£Nªðò˜Š¹¼ âù¾‹

M÷‚°A¡øù.

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No.89 JULY 2015


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ñ¬øªð£¼œ, ¹¬îG¬ôŠ ªð£¼œ, î¼‹ªñ£NŠ ðÂõL¡ C¬î¾Ÿø

G¬ô ÝAòõŸP™ ðô¾‹ ªñ£Nªðò˜Š¹„ C‚è™èÀ‚°‚ è£óíƒèœ

Ýèô£‹.

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ðò¡ð£†´ ªñ£Nªðò˜Š¹ ÝAò ªñ£Nªðò˜Š¹èO™ C‚è™èœ

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ð®ñƒèœ âùŠð´‹”

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ïñ‚°ˆ î¼Aø£˜. Þ„ ªê£Ÿè«÷ ð®ñƒèœ; C‰î¬ù - ÞõŸP¡

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Føù£Œõ£÷K¡ è¼ˆ¶ð® èM¬îJ¡ ð®ñƒèœ ªê£ŸèO¡ Íô‹ ï‹


No.89 JULY 2015

¹ô¡è¬÷ˆ ªî£Á¡øù. ¹ô¡èO¡ Íô‹ ð®Š«ð£K¡ àí˜„CèÀ‹

ÜP¾‹ M¬óõ£èˆ É‡ìŠ ªðÁA¡øù. Þî¡ è£óíñ£è‚ èM¬îJ™

ð®ñ‹ ÜFèñ£èŠ ðò¡ðÁø¶.6 Üõ˜ «ñ½‹ ÃÁõ¶:

ªê½ˆîŠ ªðÁ‹ ¹ô¡èÀ‚«èŸð, ð®ñ‹ õ¬èŠð´ˆîŠ

ªðÁAø¶." Ýè«õ ï£‹ ªðÁð¬õ: è†¹ôŠ ð®ñƒèœ,

ªêMŠ¹ôŠ ð®ñƒèœ, ï£ŸøŠ¹ôŠ ð®ñƒèœ, ªî£´¹ôŠ

ð®ñƒèœ â¡ð¬õ Ý°‹.7

Þš õ¬èèœ ð£«õ‰î˜ ð£óFî£ê¡ ð£ì™èœ õN Ýó£òŠðÁ¡øù.

è†¹ôŠ ð®ñ‹è†¹ôŠ ð®ñ‹è†¹ôŠ ð®ñ‹è†¹ôŠ ð®ñ‹è†¹ôŠ ð®ñ‹

“ð™«õÁ ð®ñƒèO¬ì«ò»‹ è†¹ôˆ¬î‚ èõ¼‹

ð®ñƒè«÷ ÜFèñ£è àœ÷ù. Þ¬õ«ò ð®Š«ð£K¡

ñùˆF™ G¬ôò£ù ðFM¬ù à‡ì£‚A MÁ¡øù.” 8

ð£«õ‰î˜ ð£ì™èO™ è†¹ô¬ù‚ èõ¼‹ å¼ Cô ð®ñƒèÀ‹ «õÁ

õ¬èŠ ð®ñƒèÀ‹ «ðó£CKò˜ ï.²Š¹ ªó†®ò£˜ ²†®‚è£†®

àœ÷ð® W›‚è‡ìõ£Á Ü¬ñ‰¶œ÷¬î‚ è£íô£‹. ð£«õ‰î˜

Ìîñ£è õ¼‹ "â†®" â¡ð¬î õ¼E‚°‹ èM¬îŠ ð°F¬ò

«ï£‚èˆî‚è¶.

"â†®" âÂ‹ æ˜ Ý¬÷ Ü¬öˆ¶ õ‰«î

âKMN»‹ è¼ºèº‹ c‡ì ð™½‹

°†¬ìñJ˜ MKî¬ô»‹ ªè£´õ£œ ¬è»‹

Ã‚°ó½‹ c˜Šð£‹¹ ªïO»‹ ñ£˜¹‹

è†®ò«î£˜ è£¼¬ì»‹ Ýè ñ£ŸP‚ è£µõ£˜.” 9

ÞF™ âKMN, è¼ºè‹, c‡ì ð™, °†¬ì ñJ˜, MKî¬ô,

ªè£´õ£œ e¬ê, c˜Šð£‹¹, ªïO»‹ ñ£˜¹, è£¼¬ì â¡ð¬õ è†¹ôŠ

ð®ñƒèœ. ÞîŸè£ù ÝƒAô ªñ£Nªðò˜Š¹ H¡õ¼ñ£Á:

A person named ‘Etti’ was brought there

And made to appear like a monster!

Black face, flaming eyes and protruding teeth

Broad skull, short hair, armed with dagger,

A painted snake on the breast-portion,

Of its black robe and frightening noise!10

No.89 JULY 2015


ªñ£Nªðò˜ŠH™, ÞŠð®ñƒè¬÷,

Black face, flaming eyes and protruding teeth, broad skull, short hair, armed

with dagger, a painted snake on the breast-portion, of its black robe

âù ªñ£Nªðò˜ˆ¶œ÷î£èˆ ªîKAø¶. îI› ªñ£N Ü¬ñŠ¹‹ ÝƒAô

ªñ£N Ü¬ñŠ¹‹ ªõš«õø£ù¬õ Ýîô£™ ªñ£Nªðò˜Šð£÷˜ ÝƒAô

ªñ£NJ™ èM¬î ï¬ì¬ò‚ ªè£‡´ õó ºòŸC ªêŒ¶œ÷£˜. 'â†®'

â¡ðîŸ° åLªðò˜Š¹ ÜOˆî«î£´ ÍôŠ ªð£¼¬÷ àí˜ˆ¶‹ð®

ÜîŸ°Kò M÷‚è‹ Ü®‚°PŠH™ îóŠð†´œ÷¶.

A poisonous bitter tree here this term indicates an unwanted

creature. Also refers to abominable snowman (Tibetan)

ÞîŸè£ù Þ¬íò£ù M÷‚è‹ Ý°‹.

ªêMŠ¹ôŠ ð®ñ‹ªêMŠ¹ôŠ ð®ñ‹ªêMŠ¹ôŠ ð®ñ‹ªêMŠ¹ôŠ ð®ñ‹ªêMŠ¹ôŠ ð®ñ‹

è£Fù£™ ñ†®½‹ «è†´ àœ÷ˆ¬îŠ ðPªè£´‚è„ ªêŒ»‹

ð®ñ‹ ªêMŠ¹ôŠ ð®ñ‹ Ý°‹. ïK‚è‡íÂ‚° º®Å†ìŠ «ð£õ¬î

ºó² ÝŒ‰¶ ºöƒ°õ¬î,

"º®" ¬õˆî£¡; ºöƒ°A¡ø£¡; Ü¡«ù£¡ õ£›M¡

º®¬õˆî£¡ ºö‚°A¡ø£¡ ºóê ¬ø‰«î!11

â¡ø Ü®èœ àí˜ˆ¶A¡øù. ÞîŸè£ù ªñ£Nªðò˜Š¹,

Crowned today, his end is nor far! That is the portent of this

drummer.12

â¡ðî£°‹.

ªñ£Nªðò˜ŠH™ ÍôˆF½œ÷ ªð£¼œ Iè ¸µ‚èñ£è

ÜO‚èŠð†´œ÷¶. «ñ½‹ '¬õˆî£¡' â¡ø M¬ù F¼ŠHˆ F¼ŠH

õ¼õî£™ Üî¡ M÷‚è‹ Ü®‚°PŠH™ îóŠð†´œ÷¶. Ü¶

“again typical of the poet, is this stanza with its tonemic repetition of

vaittaan. Again ‘then’ is the emphatic intensive particle, signifying

certainty. The genitive use of these terms and particle is impossible in

English by any equivalent”

â¡Á Ü¬ñAø¶.


No.89 JULY 2015

ºöƒAŸÁ °F¬óèO¡ Ü®æ ¬êî£¡!13

â¡ðîŸ°

The noise of the hooves of drating horses"14

â¡Á õöƒèŠð†´œ÷¶. ' Drating' â¡ð¶ ÜFè„ êˆî‹ ªè£‡ì¶ â¡Á

ªð£¼œð´‹. ÍôˆF½œ÷ «ï˜ ªð£¼¬÷»‹ «õèˆ¬î»‹ àí˜ˆ¶Aø¶

Þ‹ªñ£Nªðò˜Š¹. 'Made the earth tremble!' â¡ø Ü® I¬èò£è

Ü¬ñ‰¶œ÷¶.

èF˜ï£†®¡ MFªòô£‹ ò£¬ùe¶

è®ºó² ºö‚Aù£¡15

â¡ðî¡ ÝƒAô ªñ£Nªðò˜Š¹

The drum mounted on an elephant, made this

announcement in all the streets16

â¡ðî£°‹.

ÝƒAô ªñ£N ï¬ì¬ò‚ ªè£‡´õó Íô Ü®èO™ àœ÷õ£Á

ªñ£Nªðò˜‚è£ñ™ º¡H¡ Ü®è÷£è ªñ£Nªðò˜‚èŠð†´œ÷¶. 'è®'

â¡ø ªê£™ è£õ™, Ã˜¬ñ, M¬ó, M÷‚è‹, õ¡¬ñ â¡Â‹ ðô

ªð£¼œè¬÷ˆ î¼A¡ø æ˜ àK„ªê£™. 'è® ºó²' â¡ð¶ õ¡¬ñ ºó² â¡ø

ªð£¼O™ Ü¬ñ‰¶œ÷¶. ªñ£Nªðò˜ŠH™ Þ¶ ªñ£Nªðò˜‚è£ñ™

M´ð†´œ÷¶.

²¬õŠ¹ôŠ ð®ñ‹²¬õŠ¹ôŠ ð®ñ‹²¬õŠ¹ôŠ ð®ñ‹²¬õŠ¹ôŠ ð®ñ‹²¬õŠ¹ôŠ ð®ñ‹

«õô¡ ªï…ê‹ Ü¡ù‹«ñ™ àœ÷¶ â¡ð¬î‚ èMë˜,

è¡ùL«ô ê£ªø´ˆ¶ îI›° ¬öˆ¶‚

èQ Þîö£Ÿ ðKñ£Á‹ ÞQò ªê£™ô£œ 17

â¡Á ð£´Aø£˜. Þî¡ ªñ£Nªðò˜Š¹ ªê£™½‚°„ ªê£™

ªñ£Nªðò˜Šð£è Ü¬ñ‰¶œ÷¶. Þš Ü®èÀ‚°

“in sweet Tamil mixed in sugar cane juice”18

â¡Á ÜO‚èŠð´œ÷¶. ÍôˆF¡ ªð£¼œ ªñ£Nªðò˜‚èŠðì£ñ™

M´ð†´œ÷¶. îI› ªñ£NJ¡ ÞQ¬ñ¬òŠ ¹ôŠð´ˆî‚ èMë˜

No.89 JULY 2015


è¡ùL¡ ê£Á â¡ð«î£´ åŠ¹¬ñ ªêŒAø£˜. Þ‰î åŠ¹¬ñ

ªñ£Nªðò˜ŠH™ ªîOõ£è Ü¬ñòM™¬ô. è¼ˆ¬î â´ˆ¶‚

ªè£‡´ Ü¬î M÷‚°‹ð® Ü¬ñ‰¶œ÷¶.

²ó‰î ð£™ Þ¼‰î¼‰FŠ ðó‰¶ ô£¾‹

ªï´‹ ð¡P‚ °†®èœ«ð£™ ñ‚èœ ò£¼‹19

â¡ðîŸ°

Even piglets of the same litter,

Cling affectionately to each other!,

Likewise all humans should be kindly treated20

â¡Á ªñ£Nªðò˜Š¹ õöƒèŠð†´œ÷¶. ÍôˆF½œ÷ ²¬õŠ¹ôŠ

ð®ñ‹ àõ¬ñŠ ªð£¼÷£è‚ ªè£‡´ ªñ£Nªðò˜‚èŠð†´œ÷¶.

ï£ŸøŠ¹ôŠ ð®ñ‹ï£ŸøŠ¹ôŠ ð®ñ‹ï£ŸøŠ¹ôŠ ð®ñ‹ï£ŸøŠ¹ôŠ ð®ñ‹ï£ŸøŠ¹ôŠ ð®ñ‹

ïK‚è‡í¡ «ð¬ö¬ò Ýœ ñ£ø£†ìˆî£™ îõø£è‚

ªè£´ˆ¶M†ì¬î,

“Þ¬ñ‚°œ«÷ è¼MN¬ò‚ ªè£‡´ «ð£°‹

âˆîùõ¡ «ð¬öJ¬ù ãŠð I†ì£¡

èñö£î ¹î˜ŠÌŠ«ð£™ F¼ì˜ ò£õ¼‹” 21

â¡Á èMë˜ õ¼Eˆ¶Š ð£®»œ÷£˜. ÞF™ 'èñö£î ¹î˜ŠÌ' â¡ð¶

ï£ŸøŠ¹ôŠ ð®ñ‹ Ý°‹. ÝƒAô ªñ£Nªðò˜Š¹

“From one’s eyes, he stole that chest!,

Like smelless flowers in thickets” 22

â¡Á Ü¬ñ‰¶œ÷¶. àõ¬ñŠ ªð£¼¬÷‚ ªè£‡´ «ïó£ù

ªñ£Nªðò˜Š¹ õöƒèŠð†´œ÷¬ñ °PŠHìˆî‚è¶.

ªî£´¹ôŠ ð®ñ‹ªî£´¹ôŠ ð®ñ‹ªî£´¹ôŠ ð®ñ‹ªî£´¹ôŠ ð®ñ‹ªî£´¹ôŠ ð®ñ‹

ñ¡ù¡ Þø‰¶ AìŠð¬î Üóêñ£«îM è‡µ‚AQò£œ

è£‡Aø£œ.


No.89 JULY 2015

Ü¬íˆF†ì£œ! ñô˜‚¬èò£™ è¡ù‹ à„C

ÜEñ£˜¹ îìMù£œ!23

Þî¡ ÝƒAô ªñ£Nªðò˜Š¹

“Him she hugged close; felt his cheeks, crown and chest,

in cuirass with her flower soft hands”24

â¡ð¶ Ý°‹. ÍôˆF½œ÷ Üõôˆ¬î ÝƒAô ªñ£NJ½‹ ªè£‡´

õ¼õî¡ ºòŸC Þ¼Šð¬î‚ è£íô£‹. «ñ½‹ ÍôˆF½œ÷ Gèó¡

ªè£‡´ õ¼õ¬î‚ è£íô£‹.

î£Œ î‰¬îò£¬ó Þö‰î Ü¡ùˆF¡ àœ÷‹ Ý›‰î ¶¡ðˆ¬îŠ

ªð£Á‚è º®ò£ñ™ î¡ «õî¬ù¬ò à¬óˆî Ü®èœ,

å¼‚èEˆ¶ ñ£˜ð¬íˆ¶ «ñQ ªò™ô£‹

¬èŠ¹øˆF™ Ý‹ð®‚°ˆ î¿M â¡ø¡

è‡ñ¬ø‚°‹ ²K°ö¬ô «ñ«ôÉ‚A

¬ñŠ¹¼õ MNe¶ MNò ¬ñˆ¶

ñô˜õ£ò£™ °O˜ îIö£™ è‡«í25

â¡ð¶ Ý°‹.

Þš Ü®èO¡ ÝƒAô ªñ£Nªðò˜Š¹

Hugged me when I was a cuddlesome babe, caringly caresses my

hair, trimmed it, prettied my arched and low- like eyebrows, kissed

my rosy lips and forehead, and called me 'My child!' In dulcet Tamil!26

â¡ð¶ Ý°‹.

ð®ñƒèœ èM¬î‚°„ ªêP×†´A¡øù. Þ‰î„ ªêP¬õŠ

ð£«õ‰î˜ ð£óFî£êQ¡ 'ð£‡®ò¡ ðK¬ê' ÝƒAôˆF™

ªñ£Nªðò˜ˆîõ˜ Fø‹ ð™«õÁ õ¬èèO™ ªõOŠð†®¼Šð¶

Þ‚è†´¬ó õN«ò ªîKò õ‰¶œ÷¶.

No.89 JULY 2015


Ü®‚°PŠ¹èœÜ®‚°PŠ¹èœÜ®‚°PŠ¹èœÜ®‚°PŠ¹èœÜ®‚°PŠ¹èœ

1. J.C. Catford, A Linguistic Theory of Translation, p. 20.

2. World book Dictionary, p. 1047.

3. Oxford Universal Dictionary, p. 1148.

4. The mental pictures and the language that presents them are called imagery” -

Lynn Aktenrubernd and Leslie Lewis, A Handbook for the study of poetry,

1970, p.12.

5. êƒè Þô‚Aò åŠd´ - Þô‚Aò‚ ªè£œ¬è, ð. 107.

6. Burton, N., The criticism of poetry, Longman and GreenCo. Ltd, London,

p. 97.

7. Ibid., p. 11.

8. ï. ²Š¹ ªó†®ò£˜, ð£‡®ò¡ ðK² - å¼ ñFŠd´.

9. ð£óFî£ê¡, ð£‡®ò¡ ðK², ð. 47.

10. M.S. Venkatachalam, Paratitacan Pantiyanparicu, p. 128- 129.

11. ð£óFî£ê¡, ð£‡®ò¡ ðK², ð. 27.

12. M.S. Venkatachalam, Paratitacan Pantiyanparicu, p. 68.

13. ð£óFî£ê¡, ð£‡®ò¡ ðK², ð. 28.

14. M.S. Venkatachalam, Paratitacan Pantiyanparicu, p. 69-70.

15. ð£óFî£ê¡, ð£‡®ò¡ ðK², ð. 41.


17. ð£óFî£ê¡, ð£‡®ò¡ ðK², ð. 78.

18. M.S. Venkatachalam, Paratitacan Pantiyanparicu, p. 218

19. ð£óFî£ê¡, ð£‡®ò¡ ðK², ð. 26.


21. ð£óFî£ê¡, ð£‡®ò¡ ðK², ð. 47.


23. ð£óFî£ê¡, ð£‡®ò¡ ðK², ð. 10.


25. ð£óFî£ê¡, ð£‡®ò¡ ðK², ð. 26.



No.89 JULY 2015

10. ‘Vettezhuthu’ inscriptions of Chola period found

A.D.Balasubramaniyan

Two of them were inside an irrigation tank in Sirupakkam Village

Tiruvanamalai: Tamil looped character (vattezhuthu) inscriptions belonging to

Chola period found near here have been deciphered by K.Karuppaiah, Assistant

Superintending Epigraphist, Archaeological Survey of India (ASI).

Dr. Karuppaiah, who camped here recently for a week, found several

valuable inscriptions that were either left uncared for or worshipped as deities by

ignorant locals in the countryside of Tiruvannamalai district.

THROWING LIGHT ON HISTORY: An inscription belonging to the

Chola period found at Sirupakkam near Tiruvannamalai.

No.89 JULY 2015


Important among them are two looped letter inscriptions found inside an

irrigation tank in Sirupakkam village. According to Dr. Karuppaiah, the normative

inscriptions seek to protect the irrigation tank and give values for protecting the

structure while pouring curses on possible vandals.

Object of worship

An inscription blonging to the reign of a Chola king, Koparakesari, was

found inside the ‘chinna erikkarai’ of Sirupakkam village. It was being worshipped

by the locals as Oomai Vediyappan, he said.

The inscription dates back to the 15th year of the reign of Koparakesari,

in a period before the Great Raja Raja Chola, whose era starts from 985 CE.

So, the inscription is more than 1000 years old. The inscription, carved out of

stone, declares that

“destroyers of the tank will go to the deepest of hell than the seventh

hell and the foot of the one who maintains it well is above my

head.”

What is amazing is that the village is still called Sirupakkam as found in

the inscription and the irrigation tank is intact. Another inscription found at the

same irrigation tank is identical in letter structure and content he said.

Donation of land

An inscription found in ‘pachayathal parai’ in the Periyakolappadi village

in Chengam taluk speaks about the donation of Devadhana kuzhi 300 (land

allocated for maintenance of temple) to Manavala Eeswaramudaiaya Nayanar

(temple). Kuzhi is an ancient standard of measurement of land.

Presently there is no trace of the temple, leave alone the land, said Dr.

Karuppaiah. He suggested that the inscription could have belonged the 9th or 10

century CE. He has also discovered a hero stone from China Kolappadi village.

R.Sekar, lecturer of history, Muthurangam Government Arts College,

Vellore; T.Devendran, research assistant; and S.Alagesan, copying assistant,

accompanied Dr. Karuppaiah in his expeditions.

Source: THE HINDU , Sunday, August 30, 2009.


No.89 JULY 2015

11. Natural Language Processing in Tamil

V.Dhanalakshmi

Introduction

The processing of human languages with the technologies and computational

models is known as Natural Language Processing (NLP). The ultimate goal of NLP

is to build computational models that equal human performance in the linguistic task

of reading, writing, learning, speaking and understanding [Allen, 1995]. Computational

models are useful to explore the nature of linguistic communication as well as for

enabling effective human-machine communication. Jurafsky and Martin (2005)

describe Natural Language Processing as “computational techniques that process

spoken and written human language as language”. Natural Language Processing (NLP)

research has a long tradition in European countries. It has taken giant leaps in the last

decade with the initiation of efficient machine learning algorithms and the creation of

large annotated corpora for various languages. In countries like India where more

than thousands of language are in usage, the importance of the NLP is very relevant.

NLP research in Tamil language has mainly focused on the development of rule based

systems due to the lack of annotated corpora. However, machine learning, Data

Driven approaches are being used due to the availability of language independent

open source tools.

Computational Language Models

Computational models are useful to learn the linguistic nature of a language

and enable the machine to communicate effectively with human. Computational

language models can be build by two methodologies,

1. Knowledge driven- Rule based

• Grammar rules

• Performance depends on accurate rate of human

encoded grammar rules.

• Human effort is high

Dr.V.Dhanalakshmi, HOD, Department of Tamil, SRM University,

Kattankulathur-603203. E-mail: [email protected]

No.89 JULY 2015


2. Data driven – Machine Learning

• Using Machine Learning technique

• Human effort is less

• Performance depends on quality and quantity of

annotated corpus.

Figure 1:NLP and its methodologies

Natural Language Processing in Tamil

There are many factors that make NLP task difficult. These relate to the

problems of repersentation and interpertation. Language computing requries precise

repersentation of context. The Natural languages are highly ambiguous and vague, so

achieving such repersentations are difficult.

Tamil is a morphologically rich language in which most of the morphemes

coordinate with the root words in the form of suffixes. Suffixes are used to perform the

functions of cases, plural marker, euphonic increment and postpositions in noun class.

Tamil verbs are inflected for tense, person, number, gender, mood and voice. Other features

of Tamil Language are, using plural for honorific noun, frequent echo words, and null

subject feature i.e. not all sentences have subject [Eg: avan oru maanavan]. Tamil is

consistently head-final language. The verb comes at the end of the clause with a typical

word order of Subject Object Verb (SOV). However, Tamil Language allows word

order to be changed, making it a relatively word order free language.

The pre-requisites for developing NLP applications in Tamil language are

the availability of Speech corpora, Annotated text corpora, Lexical resources and

ComputerNLINPUT

Understanding Generation NLOUTPUT

KNOWLEDGE DRIVENDATA DRIVEN


No.89 JULY 2015

Computational Models. The sparseness of these resources for Tamil language is one

of the major reasons for the slow growth of NLP work in Tamil. Like any other

language analysis process, Tamil language analysis also involves morphological analysis,

syntax analysis and semantic analysis.

Levels in Tamil Natural Language Processing

Figure 2: Levels in NLP

No.89 JULY 2015


Computational Linguistics look language as a structured object at different

levels of recognition: phonological level, morphological level, syntactic level and

semantic level. Thus natural language processing involves the following levels of

language analysis:

Phonological Analysis: The basic level of language analysis is Phonological Analysis.

Here speech is analyzed into significant sound units. It is the analysis of the articulation,

transmission and reception of sounds. Text to speech and speech to text analysis are

the main analysis carried out in this level. For Tamil language the following Tools have

been developed.

1. Indian Institute of Science has developed a text-to-speech (TTS) software

for Tamil and Kannada languages, which will help the speech impaired.

2. Dhvani –It is a free software for Linux that can be used offline and provides

support for many Indian languages, including Tamil.

3. eSpeak – A free speech synthesizer for many Indian languages.

4. Osai - Part of Kural software’s ‘Kavidhai’ cheyali (http://kuralsoft.com)

5. Azhagi’s initiative in Tamil ‘Text to Speech, is carried out since 2001.

Morphological Analysis: Individual words are analyzed into their components

(morphemes) and non word tokens such as punctuation are separated from the words.

The computational analysis of morphology leads to the development of morphological

analyzer and morphological generator.

Computational morphology deals with developing theories and techniques

for computational analysis and synthesis of word forms. In computational analysis of

morphology, one can extract any information encoded in a word and bring it out so

that later layers of processing can make use of it. In morphological generation, one

has to generate the word corresponding to a set of features or morpho-lexical

information.

Morphological Analyzer

Morphological Analyzer plays an important role in the field of Natural Language

Processing. Some of the applications are, Spell checker, Search Engines, Information

extraction and retrieval, Machine Translation system, Grammar checker, Content

analysis, Question Answering system, Automatic sentence Analyzer, Dialogue system,

Knowlege representation in learning and Language Teaching.


No.89 JULY 2015

In Tamil language, the first step towards the preparation of morphological

analyzer for Tamil was initiated by Anusaraka group. Ganesan developed a

morphological analyzer for Tamil to analyze CIIL corpus [Rajendran.S, 2006].

In these phonological and morphophonemic rules, he takes into account the

morphotactic constraints of Tamil in building morphological analyzer for Tamil.

Resource Centre for Indian Language Technological Solutions-Tamil has prepared

a morphological analyzer (Atcharam) for Tamil. Finite automata state-table has

been adopted for developing this Tamil morphological analyzer [Anandan. P et.al.

2002]. Dr.N.Deviasundram has developed an analyzer using rule based approach.

AUKBC, Anna university and Amrita university has developed analyzer for their

funded project.

Morphological Generator

Morphological generator generates a word-form from a lemma, a word class

tag, and morpho-lexical description. In Tamil language the lemma undergoes

morphological change when it get attach to certain morphemes. Morphological

generator has been designed for syntactic categories of Tamil using Paradigm based

approach and sandhi rules by P.Anandan, et.al., Dr.N.Deviasundram has developed

a generator using rule based approach. AUKBC, Anna university and Amrita university

have developed morphological generator for their funded project.

Parts of Speech Tagger

Parts of speech tagging scheme, tags a word in a sentence with its parts of

speech. Part of speech tagging (POS tagging) plays a crucial role in different fields of

natural language processing (NLP). Parts-of-speech-tagging is defined as the process

of assigning its grammatical category to each word in a sentence.

Various attempts have been made for developing Tamil language POS tagger.

Vasu Ranganathan proposed a Tamil POS tagger based on Lexical phonological

approach. Another POS tagger was prepared by Ganesan based CIIL Corpus

and tagset. An accuracy improved rule based Morphological Analysis and POS

Tagging in Tamil were developed by M. Selvam and A.M. Natarajan in 2009.

Dhanalakshmi V, Anand Kumar, Shivapratap G, Soman KP and Rajendran S of

AMRITA university, Coimbatore developed two POS taggers for Tamil using

their own developed tagset in 2009.

Syntactic Analysis: It is the study of combination of word into phrases, phrases

into clauses and clauses into sentences. Linear sequences of words are

transformed into structures that show how the words relate to each other.

No.89 JULY 2015


AUKBCRC’s Noun Phrase Chunker for Tamil, Vaanavil of RCILTS-Tamil,

Dhanalakshmi e.tal have developed a dependency based parser. Loganathan

Ramasamy has developed a rule based and hybrid dependency parser.

Dhanalakshmi V has developed a syntactic parser for Tamil classical

literature:kuruntokai for the project funded by Central Institute of Classical Tamil,

Chennai.

Figure 3: Grammatical Parser for Kuruntogai

Semantic Analysis: Semantic analysis is concerned with creating meaningful

representation of linguistic inputs. It is the study of interpretation of meanings

when morphemes are combined into words, words into phrases, phrases into

classes and clauses into sentences. The structures created by the syntactic analyzer

are assigned meanings. A number of dictionaries are available for Tamil language

but only few dictionaries are with lexical information.

Discourse Analysis: The meaning of an individual sentence may depend on the

sentences that precede it and may influence the meanings of the sentences that

follow it. It requires the resolution of anaphoric references and identification of

discourse structure. It also requires discourse knowledge, i.e., knowledge of

how the meaning of a sentence is determined by the preceding sentences. For

Tamil language it is still in the initial stage.


No.89 JULY 2015

Pragmatic Analysis: The highest level of language analysis is Pragmatic analysis.

It deals with the purposeful use of sentences in situations. It requires the knowledge

of the world, i.e., knowledge that extends beyond the contents of the text. For

Tamil language it is still in the initial stage.

Conclusion

NLP research in Tamil language is developing slowly but steadily. But still

we have to travel a long way, especially in the semantic and pragmatic level.

Corpus development has to be done for the data training implementation using

Machine learning methodologies. Rule based and Machine learning based

techniques have to be implemented separately and Hybrid approach should be

formulated to get better results.

Reference

1. Anandan P, Ranjani Parthasarathy and Geetha T.V (2002), “Morphological

Analyzer for Tamil”, ICON 2002, RCILTS-Tamil, Anna University, India.

2. Arulmozhi P, Sobha L, Kumara Shanmugam. B (2004), “Parts of Speech

Tagger for Tamil”, Proceedings of the Symposium on Indian Morphology,

Phonology & Language Engineering, Indian Institute of Technology, Kharagpur.

3. Arulmozhi P and Sobha L (2006), “A Hybrid POS Tagger for a Relatively

Free Word Order Language”, Proceedings of MSPIL-2006, Indian Institute

of Technology, Bombay.

4. Daelemans Walter, Booij G, Lehmann Ch. and Mugdan J (eds.) (2004),

“Morphology- A Handbook on Inflection and Word Formation”, Berlin and

New ork: Walter De Gruyter, 1893-1900.

5. Dash N S (2005), “Corpus Linguistics and Language Technology”, Mittal,

New Delhi.

6. De jean Herve (2000), “Learning Syntactic Structures with XML”,

Proceedings of CoNLL-2000 and LLL-2000, Lisbon, Portugal.

7. Dhanalakshmi V, Anand Kumar M, Rekha R U, Arun Kumar C, Soman K P,

and Rajendran S (2009), “Morphological Analyzer for Agglutinative Languages

Using Machine Learning Approaches”, ARTCOM- 2009 International

Conference on Advances in Recent Technologies in Communication and

Computing, IEEE Press, doi: 10.1109/ARTCom.2009.184.

8. Dhanalakshmi V, Anand Kumar M, Vijaya M S, Loganathan R, Soman K P,

Rajendran S (2008), “Tamil Part-of-Speech tagger based on SVMTool”,

Proceedings of the COLIPS International Conference on natural language

processing(IALP), Chiang Mai, Thailand.

No.89 JULY 2015


9. Dhanalakshmi V, Padmavathy P, Anand Kumar M, Soman K P, Rajendran S

(2009), “Chunker for Tamil”, Proceedings of International Conference on

Advances in Recent Technologies in Communication and Computing, IEEE

Press, doi: 10.1109/ARTCom.2009.191.

10. Dhanalakshmi.V , Anand kumar M, Rekha R U, Soman K P and Rajendran

S (2010), “Grammar Teaching Tools for Tamil”, Proceedings of Technology

for Education Conference (T4E), IIT Bombay, India.

11. EAGLES (1996), “Recommendations for the morphosyntactic annotation of

corpora. Technical report”, Expert Advisory Group on Language Engineering

Standards, EAGLES Document EAG - TCWG - MAC/R.

12. Jurafsky D and Martin J H (2009), “Speech and Language Processing”,

Prentice- Hall.

13. Jurafsky Daniel and Martin James H (2005), “An Introduction to Natural

Language Processing, Computational Linguistics, and Speech Recognition”,

Prentice Hall, ISBN: 0130950696, contributing writers: Andrew Kehler, Keith

Vander Linden, and Nigel Ward.

14. Lakshmana Pandian S and Geetha T V (2008), “Morpheme based Language

Model for Parts-of-Speech Tagging”, POLIBITS – Research Journal on

Computer Science and Computer Engineering with applications,

Volume 38, Mexico. pp. 19-25.

15. Rajan K (2002), “Corpus Analysis And Tagging for Tamil”, Annamalai

University, Annamalai nagar.

16. Rajendran S (2006), “Parsing in Tamil –Present State of Art”, Language in

India, www.languageinindia.com, Volume 6 : 8.

17. Rajendran S (2007), “Complexity Of Tamil In Pos Tagging”, Language in

India, Volume 7 : 1.

18. Rajendran S, Arulmozi S, Ramesh Kumar and Viswanathan S (2001),

“Computational morphology of verbal complex”, Paper read in Conference

at Dravidian University, Kuppam.

19. Selvam M, Natarajan. A M, and Thangarajan R (2008), “Structural Parsing

of Natural Language Text in Tamil Using Phrase Structure Hybrid Language

Model”, International Journal of Computer, Information and Systems

Science, and Engineering .


No.89 JULY 2015

12. Musical forms featured in TiruNAVasambandar’s TEvAram

Margaret Bastin

Introduction

South Indian Music has a very long history where reference the oldest

extant Tamil grammar to music, musicians and instruments are found even

in TolkAppiyam. From the fifth century A.D. the focus was more on bhakti

tradition which propagated worship and devotion through Tamil and music.

The saivite saints restored saivism, Tamil and music from Buddhist and

Jain influence. The hymns sung by NAyaVmAr-s (saivite saints) are hailed

as saiva tirumuRai-s. The phrase PaVViru tirumuRai means the twelve

sacred works in praise of Lord Siva.

Of the twelve sacred books of Saivism collectively known as PaVViru

TirumuRai, the first seven books contain the TEvAram hymns. The first three

contain the hymns of Sambandar, the next three of Appar, both belonging

to the 7th century AD and the 7th book consists of the hymns of Sundarar

who lived in the 8th century AD. The songs have been composed on Lord

Siva in the various shrines located in the different towns and villages of

Tamil Nadu and other regions. The towns and villages are known as

PADalpeRRa talaBgaL meaning the pilgrim centres that have been sung upon.

TEvAEvAEvAEvAEvAram Songs

The following is a selection of the special types of TEvAram songs

rendered in the traditional paM-s preserved by the OtuvAr-s. The rAga-s

that correspond to the paM-s are those that have been decided at the

deliberations of the PaM Research Conference conducted by the Tamil

Dr.Sr.Margaret Bastin, former Principal, Kalai Kaveri College of fine Arts,

Tiruchirapalli, former Head of the Department of Music, Mother Therasa

Women’s University, convener for NAAC peerteam, Assessor for National on

music - International level : 8, National level : 38. Published 9 books 19 research

articles on music. 18 awards (National and International level. Produced audio

CD on music.

No.89 JULY 2015


Isai Sangam. The ancient Tamil musical forms were classified on the basis

of rhythm as mutanaTai, vAram, kuTai and tiraL. The vArappAdal was a

form which gave equal importance to the words as well as the music

rendered in medium tempo. From the verse, ‘kavuMiyar, nAvukkarasar,

pEyAr immUvar kaRkum isai vallAr’ (U m A p a t i S iv A c A r i y A r , S E k k i z A r

p u r A M a m , s o n g 46 ) in SEkki z Ar’s PeriyapurAMam, it is clear that

KAraikkAl ammaiyAr, TiruNAna Sambandar and TirunAvukkarasar were

proficient in Tamil literature and Tamil music.

The first three tirumuRai-s out of the paVViru tirumuRai-s consist of

the padigam-s sung by TiruNAna Sambandar. A padigam comprises ten

hymns. KAraikkAl AmmaiyAr holds credit as the first one who composed

in this style. Later it could be seen that Sambandar, Appar and Sundarar

also followed her example.

TEvAEvAEvAEvAEvAram - Etymology

The system of music of the seventh century blossomed into a

movement where congregational worship through music was propagated

by TEvAram composers. The TEvAram hymns are understood as VAram

compositions. VAram songs are in praise of God (TE-VAram). The word

tEvAram is first found in the ‘EkambaranAtar ulA’ sung by IraTTai pulavar-s

who were contemporaries of MallinAta SamvarAyan who ruled the kingdom

of PaDaivIdu between 1321-1339 AD. The meaning is different in these

verse.

Íõ£î «ðó¡H¡ Íõ˜ ºîLèÀ‹

«îõ£ó… ªêŒî F¼Šð£†´‹

mUvAta pEraV piV mUvar mutalikaLumtEvAraN ceyta tiruppATTum

In these verses, tEvAram means that the hymns (tiruppATTu) were sung

with music.

As per the sculptures that belong to eleventh and twelfth century AD,

those who sang the padigam-s with music are mentioned as TEvAra

nAyakam. It is also seen that the lord is mentioned as TEvAra tEvar and the

place of worship as TEvArattu suRRukkallUri.


No.89 JULY 2015

The sculptures mention,

ï‹ «îõ£óˆ¶ˆ F¼ŠðFò‹ ð£´‹ ªðKò£¡

1. nam tEvArattu tiruppatiyam pATum periyAV...

«îõ£óˆ¶‚° M‡íŠð‹ ªêŒ»‹ Ü‹ðôˆî£®

2. tEvArattukku viMMappam ceiyyum ampalattATi...

Saiva Ellapa NAvalar (14th century) is the first one who mentioned the

tiruppadigam-s sung by the three saints as TEvAram. In the kAppu ceiyyuLwhich hails the four saints in his ‘tiruvaruMai kalampakam’, he mentions:

õ£Œ¬ñ ¬õˆî Y˜ˆF¼ «îõ£óº‹, F¼õ£êèº‹

àŒ¬õˆîó„ªêŒî ï£™õ˜ ªðŸø£œ â‹ àŒˆ¶¬í«ò

- F¼õ¼¬í‚èô‹ðè‹, è£Š¹. ï£™õ˜ ¶¬í, Ü® 3, 4

vAymai vaitta cIrttiru tEvAramum, tiruvAcakamumuyvaittaracceyta nAlvar peRRAL em uyttuMaiyE

- TiruvaruMaikkalampakam, kAppu. NAlvar tuMai, aTi 3,4

in the following verse in TolkAppiyam,

õ™«ô£¡ ¹íó£ õ£ó‹ «ð£¡«ø (ñóHò™ 109 ÅˆFó‹)

vaLLOV puMarA vAram pOVRE (marapiyal 109 sUttiram)

the word vAram means music. The verses from AraBkERRu kAtai in

SilappatikAram which stand testimony to this are:

ªî£¡ªùP ÞòŸ¬èˆ «î£Kò ñèO¼‹

YKò™ ªð£Lò cóô cƒè

õ£ó‹ Þó‡´ õK¬êJ™ ð£ì

ð£®ò õ£óˆ¶... - Cô‹¹, Üóƒ., Ü® 134-137

toVVeRi iyaRkait tOriya makaLirumcIriyal poliya nIrala nIBgavAram iraMtu varicaiyil pATapATiya vArattu... - silambu, araB. aDi 134-137

The commentators explain this as ‘ iroRRu vAram’ in their

commentaries. From this we come to know that these names correspond

to the tempo of each song.

While explaining the qualities of a flutist, the commentator mentions

muTanaDai, vAram, kUtai and tiraL, of these, mutanaTai is of slow tempo and

No.89 JULY 2015


tiraL is of fast tempo. Since the commentator mentions that these two

speeds should be avoided and the vArappATal should be played in the

flute, it is clear that the word ‘vAram’ here denotes the tempo. A few authors

also state that since the hymns are in praise of the Lord, it is named TEvAram(tE+vAram).

SArBgadEva who belonged to the 13th Century AD explains the

paM-s of tEvAram in his work SaBgIta RatnAkara. In that we find uses the

term ‘tEvAra vardanI ’ to explain.

The patikam structure as seen in Sambandar’s compositions

A compilation of ten songs is a patikam. The eleventh song will be

the kAppucceyyuL. In this, the name of the person who authored that patikam

and also the benefits of singing it will be mentioned. Hence, this also

happens to be the verse with the mudra. The following are present in

Sambandar’s compositions.

44 patikam-s with 10 verses






1 patikam with 6 verses and

1 patikam with 1 verses.

Thus we have a total 385 patikam-s with 4169 verses at present.

One could find a common pattern followed in Sambandar’s

compositions. Of the ten verses, the first seven will be descriptive of the

shrine and the presiding deity. The eighth verse will be on RAvaMa. The

ninth will describe the story of Brahma and Hari going in search of Lord

Siva’s head and toe. The tenth verse will be condemning the principles of

Buddhism and Jainism.


No.89 JULY 2015

There are also a few patikam-s which do not follow the pattern

mentioned above. For instance, there are 19 patikam-s without information

about RAvaMa in the 8th verse. They are 5, 25, 60, 63, 83, 105, 107, 119,

157, 213, 214, 236, 248, 304, 311, 313, 321, 352 and 362. There are 18

patikam-s which do not mention the details normally found in the 9th verse.

They are 60, 73, 56, 57, 78, 87, 138, 156, 181, 214, 248, 253, 316, 321,

330, 352, 371 and 379. There are also 18 patikam-s which do not consist

of the normal details in the 10th verse. They are 56, 57, 60, 73, 78, 87, 138,

156, 181, 214, 248, 253, 316, 321, 330, 352, 371 and 379.

The Person who discovered the verses (EDu kaMTavaVEDu kaMTavaVEDu kaMTavaVEDu kaMTavaVEDu kaMTavaV)

History states that it was King RAjarAja cOla who discovered the

verses in the 10th century AD with the help of NambiyAMDAr Nambi. These

verses which were abandoned in a temple were later on categorized and

compiled into seven TirumuRais. The first three TirumuRai-s belong to

Sambandar, 4, 5 and 6 belong to Appar and the seventh to Sundarar. A

woman belonging to the tradition of TirunIlakaMDa yAlpphAMar of

TiruerukkattampuliyUr explaind the method of singing the verses, to the

king, which she unearthed from the abandoned verses from the temples.

This is mentioned in TirumuRaikaMDa purAMam that the above mentioned

incident happened by divine grace.

ï™L¬ê ò£›Šð£íù£˜ ï¡ñóH¡ õNõ‰î

õ™L å¼ˆF‚° Þ¬êèœ õ£ŒŠðOˆ«î£‹

Vallicai yAlppAMaVAr naV marapiV valivanta

valli oruttikku icaikaL vAyppaL ittOm

TirunIlakaMDa yAlppAMar was the one who sang playing the yAl, along

with NAVasambandar.

Music in Sambandar’s songs

From the following verses in SEkki zAr’s PEriyapurAMam, we come

to know of the existence of various ‘pA’ varieties which are:

No.89 JULY 2015


ªê‰îI› ñ£¬ô MèŸð

ªêŒ»œè÷£¡ ªñ£Nñ£ŸÁ‹

õ‰î ªê£™ Y˜ ñ£¬ô ñ£ŸÁ‹

õNªñ£N â™ô£ ñì‚°‹

ê‰î Þòñè‹ ãèð£î‹

îI› Þ¼‚°‚ °øœ ê£ˆF

â‰¬î‚° â¿ ÃŸP¼‚¬è

ßó® ßó®«ñ™ ¬õŠ¹ (2179)

centamil mAlai vikaRpa

ceyyuLkaLAV molimARRum

vanta col cIr mAlai mARRum

valimoli ellA maT akkum

canta iyamakam EkapAtam

tamil irukkuk kuRaL cAtti

entaikku elu kURRirukkai

IraTi IraTimEl vaippu

ï£ô®«ñ™ ¬õŠ¹ «ñ¡¬ñ

ï¬ìJ¡ º´° Üó£è‹

ê£™HQ™ ê‚èó‹ ÝF

MèŸðƒèœ ê£ŸÁ‹ ðFè‹

Íô Þô‚Aò‹ Ýè

â™ô£Š ªð£¼œèÀ‹ ºŸø

ë£ôˆ¶ àò˜ è£Nò£¬óŠ

ð£®ù£˜ ë£ùê‹ð‰î˜ (2180)

nAlaTimEl vaippu mEVmai

naTaiyiV muTuku arAkam

cAlpiVil cakkaram Ati

vikaRpaBkaL cARRum patikam


No.89 JULY 2015

mUla ilakkiyam Aka

ellAp poruLkaLum muRRa

NAlattu uyar kAliyAraip

pATiVAr NAna campantar (2180)

Sundarar mentions about V AVasambandar as follows:

ï£À‹ Þ¡Q¬êò£™ îI› ðóŠ¹‹

ë£ùê‹ð‰îÂ‹ àôèõ˜ º¡

î£÷‹ ß‰¶ Üõ¡ ð£ì½‚° Þóƒ°‹

î¡¬ñò£÷˜ . . .

nALum iVVicaiyAl tami lparappum

VAVacampantaVum ulakavar muV

tALam Intu avaV pATalukku iraBkum

taVmaiyALar . . .

From this we come to know that Sambandar sang in praise of

the Lord, with a pair of golden tA La-s in his hand. Dr V.P.K.

Sundaram states that ‘though Sambandar’s songs are not

mentioned as kIrtana-s, they comprise the aspects of a kIrtana,

the rhythm and svara patterns. Also his patikam-s are authored

in accordance with Ati, rUpaka, Eka and cApu tA La-s. Hence

Sambandar is the father of tA La in Tamil music’.

TirumuRaikaMTa purA Mam states that Sambandar’s TEvAram is sung in

19 paM-s. Four paM-s which were not mentioned by NambiyAMDAr Nambi were

found later. They are, Palam paNcuram, KollikkauvA Mam, Piyantai kAntAram

and YAlmuri. Thus there are 23 paM-s mentioned totally, along with these four.

Though the PaNcamarapu mentions the names of 103 paM-s, only 23 paM-s

are used in the TE v A rE v A rE v A rE v A rE v A ra patikam-s.

S.No. Name of the paMMMMM Equivalent present day rAAAAAga

1. NaTTapAti NA T T ai k u R i N c i

2. TakkarAkam KannaDakAmbhOdi

3. PazantakkarAgam SuddasAvEri

No.89 JULY 2015


4. TakkEsi KAmb hOdi

5. Ku R i N c i Malahari

6. ViyAlakkuRiNci SaurAsTram

7. MEgarAgakkuRiNci NIlAmbari

8. YAlmuRi AThAMa

2nd TirumuRRRRRai

9. IndaLam NeLita paNcami / HindOLam

10. SikAmaram MAyAmALavagauLa

11. GAntAram NAdanAmakriya

12. PiyantaigAntAram Iccicci

13. NaTTarAkam PantuvarALi

14. Sevvali YadukulakAmbhOji

3rd TirumuRRRRRai

15. GAntArapaNcamam KEdAragauLa

16. Kolli NavrOj

17. Kausikam Bhairavi

18. PaNcamam Ahiri

19. SAtAri PantuvarALi

20. Palam paNcuram SaBkarAbaraMam

21. Kollik kauvAMam SindukannaDa

22. AntALikkuRiNci SailadEsAksi

23. PuRanIrmai BhUpALam /BauLi


No.89 JULY 2015

A few types of pA not mentioned in PeriyapurA Mam are also found in

Sambandar’s TEvAram.

Unique Features of Patikam-s with special reference to periyapurAMAMAMAMAMam

verses

1. molimARRu

2. mAlaimARru

3. m a T ak k u

4. iyamakam

5. irukkukkuRaL

6. elukURRirukkai

7. IraDi IraDimElvaippu

8. nAlaTimElvaippu

9. m u D u g u

10. arAkam

11. cakkaram

Besides the above, a few others are also found. They are:

1. viVAvuraippatikam

2. namaccivAya tiruppatikam

3. paNcATcarat tiruppatikam

4. kOLaRu tirup patikam

5. tiruppAsuram

6. tirunIRRup patikam

7. kUDaRcatukkam

8. EkapAdam

9. yAlmuRi

No.89 JULY 2015


Vinavuraip patikam

This is in the form of questioning the Lord or His devotees. The third and

fourth lines are in the form of questions. There are nine such patikam-s. (4, 6,

7, 137, 138, 139, 140, 172 and 296).

¬ñ‹ñ¼ Ìƒ°öŸ èŸ¬ø ¶Ÿø õ£µî™

ñ£¡MN ñƒ¬è«ò£´‹

ªð£Œ‹ªñ£Nò£ ñ¬ø«ò£˜èœ «÷ˆî ¹èL

Gô£Mò ¹‡Eò«ù!

â‹ Þ¬ø«ò! Þ¬ñò£î º‚è‡ ßê â¡ !

«ïê! Þ¶ â¡ ªè£™ ªê£™ô£Œ

ªñŒ‹ªñ£N ï£¡ñ¬ø «ò£˜ Iö¬ô M‡EN

«è£J™ M¼‹Hò«î

maimmaru pUBkulaR kaRRai tuRRa vAMutal

mAVvili maBkaiyOTum

poymmoliyA maRaiyOrkaL Etta pukali

nilAviya puMMiyaVE

em iRaiyE! imaiyAta mukkaM Ica eV

nEca! itu eV kol collAy

meymmoli nAV maRaiyOr mi lalai viMM i li

kOyil virumpiyatE

NamaccivAAAAAyat tiruppatikam

Every song ends with the words “nAtaV nAmam namacci vAyavE”.

Ex.309

è£îô£A èC‰¶ è‡a˜ ñ™A

æ¶õ£˜ î‹¬ñ ï¡ªùP‚° àŒŠð¶

«õî‹ ï£¡A½‹ ªñŒŠªð£¼œ Ýõ¶

ï£î¡ ï£ñ‹ ïñ„C õ£ò«õ

kAtalAki kacintu kaMMIr malki

OtuvAr tammai naVVeRikku uyppatu

vEtam nAVkilum meypporuL Avadu

nAtaV nAmam namacci vAyavE


No.89 JULY 2015

PaNANANANANAkkarat tiruppatikam

Every song ends with the words “aNcu eluttumE”. There is only one

patikam in this starting with the words, TuNcalum tuNcal ilAta... (280).

3. 022 F¼Šð…ê£‚èóŠðFè‹3. 022 F¼Šð…ê£‚èóŠðFè‹3. 022 F¼Šð…ê£‚èóŠðFè‹3. 022 F¼Šð…ê£‚èóŠðFè‹3. 022 F¼Šð…ê£‚èóŠðFè‹

ð‡ - è£‰î£ó ð…êñ‹ð‡ - è£‰î£ó ð…êñ‹ð‡ - è£‰î£ó ð…êñ‹ð‡ - è£‰î£ó ð…êñ‹ð‡ - è£‰î£ó ð…êñ‹

F¼„CŸø‹ðô‹F¼„CŸø‹ðô‹F¼„CŸø‹ðô‹F¼„CŸø‹ðô‹F¼„CŸø‹ðô‹

¶…êô‰ ¶…êL ô£î «ð£›FÂ‹

ªï…êè ¬ï‰¶ G¬ùI¡ ï£ªì£Á‹

õ…ê‹ ÜŸø® õ£›ˆî õ‰îÃŸ

ø…ê¾ ¬îˆîù Ü…ªê ¿ˆ¶«ñ

M oooool i m A R R ui m A R R ui m A R R ui m A R R ui m A R R u

è£´ Ü¶ ÜEèô‹ è£˜ Üóõ‹ðF è£™ ÜîQ™

«î£´ Ü¶ ÜE°õ˜ ²‰îó‚ è£FQ™ - É„Cô‹ð˜

«õ´ Ü¶ ÜEõ˜ MêòŸ° à¼õ‹ M™½‹ ªè£´Šð˜

d´ Ü¶ ÜEñE ñ£ìŠ Hóñ ¹óˆî£«ó (117)

kATu atu aMikalam kAr aravampati kAl ataVil

tOTu atu aMipavar cuntarak kAtiVil - tUccilampar

vETu atu aMivar vicayaRku uruvam villum koTuppar

pITu atu aMimaMi mATap pirama purattu aracE

KOLOLOLOLOLaRRRRRu tiruppatikam

This is sung in the lines of assuring that all days and all planets always

turn out to be good for the devotees of Lord Siva.

«õ»Á «î£O ðƒè¡ Mì‹ à‡ìè‡ì¡

Iè ï™ô i¬í îìM

ñ£êÁ Fƒèœ èƒ¬è º®«ñ™ ÜE‰¶ â¡

à÷«ñ ¹°‰î Üîù£™

ë£JÁ Fƒèœ ªêšõ£Œ ¹î¡ Mò£ö¡ ªõœO

êQ ð£‹¹ Þó‡´‹ àì«ù

Ý² ÜÁ ï™ô ï™ô Ü¬õ ï™ô ï™ô

Ü®ò£˜ Üõ˜‚° Iè«õ

No.89 JULY 2015


vEyuRu tOLi paBkaV, viTam uMTa kaMTaV

mika nalla vIMai ta Tavi

mAcaRu tiBkal kaBkai muTimEl aMintu eV

uLamE pukunta ataVAl

NAyiRu, tiBkaL, cevvAy, putaV, viyAlaV, veLLi

caVi pAmpu iraMTum uTaVE

Acu aRu nalla nalla avai nalla nalla

aTiyAr avarkku mikavE

TiruppAAAAAcuram

An argument arose to find out which faith was better among Saivism and

Buddhism or Jainism. To decide this, a puVal vAtam was held. According to

that, the scriptures would be thrown into the river and the faith of which the

scriptures float against the running water would be declared the winner. This

particular patikam was sung on such occasion.

õ£›è Ü‰îí˜ õ£ùõ˜ Ý¡ Þù‹

i›è î‡¹ù™! «õ‰îÂ‹ æƒ°è

Ý›è bò¶ â™ô£‹! Üó¡ ï£ñ«ñ

Å›è ¬õòèº‹ ¶ò˜ b˜è«õ III (312)

vAlka antaMar vAVavar AV iVam

vIlka taMpuVal! vEntaVum OBkuka

Alka tIyatu ellAm! araV nAmamE

cUlka vaiyakamum tuyar tIrkavE

Tiru iyamakam

When a word or a line in a song repeats but gives a different meaning on

each occasion, it is termed as iyamakam. In Tamil literary terms, it is called

maTakku. The patikam-s beginning with the following verses are of this type.

àŸÁ¬ñ «ê˜õ¶ ªñŒJ¬ù«ò

àí˜õ¶ G¡ù¼œ ªñŒJ¬ù«ò

èŸøõ˜ è£Œõ¶ è£ñ¬ù«ò

èù™ MN è£Œõ¶ è£ñ¬ù«ò


No.89 JULY 2015

uRRumai cErvatu meyyiVaiyEuMarvatu niVVaruL meyyiVaiyEkaRRavar kAyvatu kAmaVaiyEkaVal vi li kAyvatu kAmaVaiyE

ð£»‹ñ£™ M¬ì«ñ™ å¼

Ýôcö™ àè‰î¶

¶¡Á ªè£¡¬ø ï‹ ê¬ìò«î

pAyummAl viTaimEl oruAlalnIal ukantatu

tuVRu koVRai nam ca TaiyatE

TiruniRRRRRRRRRRupatikam

It speaks about the greatnees of the holy ash. This patikam is sung in

kAntArappaM.

ñ‰Fóñ£õ¶ cÁ õ£ùõ˜ «ñô¶ cÁ

²‰îó‹ Ýõ¶ cÁ ¶F‚èŠð´õ¶ cÁ

î‰Fó‹ Ýõ¶ cÁ êñòˆF™ àœ÷¶ cÁ

ªê‰¶õ˜ õ£Œ à¬ñðƒè¡ F¼ Ýôõ£ò¡ F¼c«ø

mantiramAvatu nIRu vAVavar mElatu nIRucuntaram Avatu nIRu tutikkappatuvatu nIRutantiram Avatu nIRu camayattil uLLatu nIRucentuvar vAy umai paBkaV tiru AlavAyaV tirunIRE

Tiruirukkuk kuRRRRRaLLLLL

It is composed in two lines like the TirukkuRaL. But it speaks of the

essence of Rig VEda and hence the name. Ex:

õ£C bó«õ è£² ï™°i˜

ñ£C¡ Iö¬ôf˜ ãê L™¬ô«ò.

vAci tIravE kAcu nalkuvIr

mAciV milalaiayIr Eca lillaiyE

MAlaAlaAlaAlaAlaiiiii mARRu mARRu mARRu mARRu mARRu

In a garland, there is no starting or ending point; similarly these

compositions can be sung either way - from beginning to end or end to

No.89 JULY 2015


beginning. The meaning remains the same. Sambandar is the first to have

composed in this style.

ò£ñ£ñ£ c ò£ñ£ñ£ ò£jè£ñ£ è£í£è£

è£í£è£ñ£ è£jò£ ñ£ñ£ò£c ñ£ñ£ò£

yAmAmA nI yAmAmA yAlIkAmA kAMAkAkAMAkAmA kAlIyA mAmAyA ni mAmAyA (paM - kaucikam)

K ATaR catukkamATaR catukkamATaR catukkamATaR catukkamATaR catukkam

The composition which mentions the four shrines TirukkayilAyam,

TiruvAVaikkA, TirumayEntiram and TiruvArUr is called kAtar catukkam. This is

also classified as a type of cittirakkavi.

ñ‡ Ü¶ à‡ì (Ý)K ñô«ó£¡ è£í£

Ü‡í™ ÜÏ˜ - ÝF Ý¬ù‚è£«õ (3: 367)

maM atu uMTa (A)ri malarOV kAMAaMMal arUr - Ati AVaikkAvE

E_ kkkkk apatam apatam apatam apatam apatam

The three lines following the first line are similar to the first line (127). It

is sung in the paM ViyA lakkuRiNci.

Tiru elukURRURRURRURRURRirukkai

This is a type of composition based on numbers. It is sung in

ViyAlakkuRiNci.

The patikam is as follows.

æ˜ à¼ ÝJ¬ù ñ£¡ Ýƒè£óˆ¶

ß Þò™¹ ÝŒ å¼M‡ºî™ ¹èô‹

å¡Pò Þ¼²ì˜ à‹ð˜èœ Hø¾‹

ð¬ìˆ¶ ÜOˆ¶ ÜNŠð º‹Í˜ˆFèœ ÝJ¬ù

Þ¼õ«ó£´ å¼õ¡ ÝA G¡ø¬ù

Or uru AyiVai mAV ABkArattu

I iyalpu Ay, oru viMmutal pUkalam

oVRiya irucuTar umparkaL piRavum

paTaittu, aLittu, alippa, mummUrttikaL AyiVaiiruvarOTu oruvaV Aki niVRaVai.


No.89 JULY 2015

TiruccakkaramARRARRARRARRARRu

CIrkAli has twelve names. These names are set in the form of a wheel

and sung in a circular pattern. This type of poetry is termed as

TiruccakkaramARRu.

Hóñ¡á˜ «õµ¹ó‹ ¹èL ªõƒ°¼Š

ªð¼c˜ˆ «î£E

¹óñ¡Â Ì‰î£ó£Œ ªð£¡ù… Có¹ó‹

¹øõ… ê‡¬ð

Üó¡ñ¡Â î‡è£N ªè£„¬êõò ºœO†ìƒ

è£F ò£ò

ðóñ¡ á˜ ð¡Qó‡´ ÝŒG¡Á

F¼‚è¿ñô‹ - ï£‹ ðó¾‹ á«ó

piramaVUr vEMupuram pukali veBkurupperunIrttOMi

puramaVVu pUntArAy poVVaN cirapurampuRavaN caMpai

araVmaVVu taMkAli koccai vaya m uLLiTTaBkAti yAya

paramaV Ur paVViraMTu AyniVRutirukkalumalam - nAm paravum UrE

Tiruppiramapuram - Triuccakkara mA RR A RR A RR A RR A RR u

paM M M M M - kAntAramAntAramAntAramAntAramAntAram


M÷ƒAòY˜Š HóñÛ˜ «õµ¹ó‹

¹èLªõƒ °¼«ñŸ «ê£¬ô

õ÷ƒèõ¼‰ «î£E¹ó‹ Ì‰îó£Œ

Có¹ó‹õ‡ ¹øõ ñ‡«ñ™

è÷ƒèIÖ˜ ê‡¬ðèñ› è£Nõòƒ

ªè£„¬ê è¿ñô ªñ¡ P¡ù

Þ÷ƒ°ñó¡ ø¡¬ùŠªðŸ P¬ñ òõ˜î‹

ð¬èªòPMˆ F¬øõ Û«ó. 2.73.1

viLaBkiyacIrp piramaVUr vEMupuram pukaLiveB kurumER cOlai

vaLaBkavarun tOMipuram pUntarAy cirapuramvaM puRava maMmEl

No.89 JULY 2015


kaLaBkamilUr caMpaikamal kAlivayaBkoccai kalumala meV RiVVa

iLaBkumaraV RaVVaippeR Rimai yavartam pakaiyeRivit tiRaiva VUrE

NAAAAAlaDDDDDimEEEEElvaippu

In this composition, the first four lines will have a particular prosody and

the following two lines will have different prosody.

ÞìKÂ‹ î÷KÂ‹ âù¶ àÁ«ï£Œ

ªî£ìKÂ‹ àƒèö™ ªî£¿¶ â¿«õ¡

èì™îQ™ Üºªî£´ èô‰î ï…¬ê

IìPQ™ Üì‚Aò «õFò«ù

Þ¶«õ£ â¬ñò£Àñ£Á ßõªî£¡Á âñ‚A™¬ô«ò™

Ü¶«õ£ GùF¡ù¼œ Ýõ´¶¬ø Üó«ù

iTariVum taLariVum eVatu uRunOytoTariVum uBkalal tolutu eluvEVkaTal taVil amutoTu kalanta naNcaimiTaRiVil aTakkiya vEtiyaVEituvO emaiyALumARu IvatoVRu emakkillaiyElatuvO niVatiVVaruL AvaTutuRai araVE

T iririririru t t A L a c c a t iu t t A L a c c a t iu t t A L a c c a t iu t t A L a c c a t iu t t A L a c c a t i

It is possible to sing these patikam-s in various naTai-s like the jati-s in

dance. This patikam is on the shrine Tirukkalumalai and is sung in the paMViyAlakku RiNci. The following canta pattern is found in this.

F¼‚è¿ñô‹ - F¼ˆî£÷„êFF¼‚è¿ñô‹ - F¼ˆî£÷„êFF¼‚è¿ñô‹ - F¼ˆî£÷„êFF¼‚è¿ñô‹ - F¼ˆî£÷„êFF¼‚è¿ñô‹ - F¼ˆî£÷„êF

ð‡ - Mò£ö‚°P„Cð‡ - Mò£ö‚°P„Cð‡ - Mò£ö‚°P„Cð‡ - Mò£ö‚°P„Cð‡ - Mò£ö‚°P„C

ð‰îˆî£™ õ‰ªîŠð£™ ðJ¡ÁG¡ø ¾‹ðóŠ

ð£«ô«ê˜õ£ «ò«ù£˜è£¡ ðJ™èí ºGõ˜èÀ…

C‰Fˆ«î õ‰FŠð„ Cô‹H¡ñƒ¬è î¡ªù£´…

«ê˜õ£˜ï£œï£œ cœèJ¬ôˆ Fè›î¼ ðKêªîô£…

ê‰Fˆ«î J‰îŠð£˜ êùƒèœG¡Á îƒèí£Ÿ

î£«ñè£í£ õ£›õ£óˆ îè¾ªêŒ îõùFìƒ

è‰îˆî£™ â‡®‚°ƒ èñ›‰Fôƒ° ê‰îù‚

è£ì£˜Ìõ£˜ Y˜«ñ¾ƒ è¿ñô õ÷ïè«ó.


No.89 JULY 2015

î‰îˆî£ î‰îˆî£ îù‰ îù‰î î‰îùˆ

î£ù£ î£ù£ î£ù£ù£ îùîù îùùîù£

pantattAl vanteppAl payiVRuniVRa vumparap

pAlEcErvA yEVOrkAV payilkaMa munivarkaLuñ

cintittE vantippac cilampiVmaEkai taVVoTuñ

cErvArnALnAL nILkayilait tikaltaru paricatelAN

cantittE yintappAr caVaBkaLniVRu taBkaMAR

tAmEkAMA vAlvArat takavucey tavaVatiTaB

kantattAl eMTikkuB kamalntilaBku cantaVak

kATArpUvAr cIrmEvuB kalumala vaLanakarE.

tantattA tantattA taVan taVanta tantaVat

tAVA tAVA tAVAVA taVataVa taVaVataVA

K oMoMoMoMoMT u k U T T iT u k U T T iT u k U T T iT u k U T T iT u k U T T i

It is a feature occurring in the rendering of certain TEvAram-s where

the whole line is rendered once and the process of repetition starts with

the last word and gradually shifting to the preceding words. KoMTukUTTi are

found in the TEvAram of Sambandar and Appar. ToMTaraNji in paM cevvalhi.

TirukkEtAram

PaM-cevvli

F¼‚«èî£ó‹F¼‚«èî£ó‹F¼‚«èî£ó‹F¼‚«èî£ó‹F¼‚«èî£ó‹

ð‡ - ªêšõNð‡ - ªêšõNð‡ - ªêšõNð‡ - ªêšõNð‡ - ªêšõN


ªî£‡ìó…² èOÁ ñì‚A„ ²¼‹ð£˜ñô˜

Þ‡¬ìè†® õNð£´ ªêŒ» Iìªñ¡ðó£™

õ‡´ð£ì ñJô£ô ñ£¡è¡Á ¶œ÷õK‚

ªè‡¬ìð£ò„ ²¬ùcô ªñ£†ìô¼ƒ «èî£ó«ñ. 2.114.1

toMTarañcu kaLiRu maTakkic curumpArmalar

iMTaikaTTi valipATu ceyyu miTameVparAl

vaMTupATa mayilAla mAVkaVRu tuLLavarik

keMTaipAyac cuVainIla moTTalaruB kEtAramE.

No.89 JULY 2015


Y AAAAAl m u R im u R im u R im u R im u R i

YAlmuRi is a type of a verse which contains passages of short words

which are rendered with emphasis and stress along with some melodic and

rhythmic embellishments. This passage of short words is rendered in three

degrees of speed. MAtarmaTapppiTiyum is sung to aTAVa rAkam, here yAlmuRi

refers to a specific style of rendering and not the name of the paM.

Tiruttarumapuram

P a M - y Aa M - y Aa M - y Aa M - y Aa M - y Al m u R im u R im u R im u R im u R i

F¼ˆî¼ñó¹ó‹F¼ˆî¼ñó¹ó‹F¼ˆî¼ñó¹ó‹F¼ˆî¼ñó¹ó‹F¼ˆî¼ñó¹ó‹

ð‡ - ò£›ºKð‡ - ò£›ºKð‡ - ò£›ºKð‡ - ò£›ºKð‡ - ò£›ºK

ñ£î˜ ñìŠH®»‹ ñì Ü¡ùº ñ¡ù«î£˜

ï¬ì »¬ì ñ¬ô ñèœ ¶¬íªòù ñA›õ˜

ÌîM ùŠð¬ì G¡ P¬ê ð£ì¾ ñ£´õ˜

Üõ˜ ðì˜ ê¬ì‰ ªï´ º®òªî£˜ ¹ùô˜

«õîªñ£ «ìN¬êð£´õ ó£›èì™ ªõ‡®¬ó

Þ¬ó‰ ¸¬ó è¬ó ªð£¼ ¶M‹I G¡ øò«ô

î£îM› ¹¡¬ù îòƒ°ñ ô˜„C¬ø õ‡ì¬ø

âN™ ªð£N™ °J™ ðJ™ î¼ñ¹ ó‹ðF«ò.

mAtar maTappiTi yum maTa aVVamu maVVatOr

naTai yuTai malai makaL tuMaiyeVa makilvar

pUtavi VappaTai niV Ricai pATavu mATuvar

avar paTar caTain neTu muTiyator puValar

vEtamo TElicaipA Tuva rAlkaTal veMTirai

irain nurai karai poru tuvimmi niV RayalE

tAtavil puVVai tayaB kuma larcciRai vaMTaRai

elil polil kuyil payil tarumapu rampatiyE.

T i ri ri ri ri r uuuuu n E r i c an E r i c an E r i c an E r i c an E r i c aiiiii

It gets its name due to the nEricai or straight notes used in the

rendering. It is traditionally sung in paM kolli corresponding to rAga navrOj.

In the TirunEricai of Tirukurukkai vIruTTam there is a reference suporting

this tradition. KolliyuAm paMMum vaBtAV kurukkai vIraTTAVAr.


No.89 JULY 2015

T iiiiir u v i r u t t a mr u v i r u t t a mr u v i r u t t a mr u v i r u t t a mr u v i r u t t a m

It consists of four lines each having five cI r-s or syllabic groups.

Triuviruttam is the name of verse and not the paM. This is generally sung in

paM kausikam corresponding to Bhairavi rAgam.

Tirukuruntokai

It is a type of kali viruttam consisting of four lines with four cIr-s or

syllabic groups. It is sung either in Ati or misra cApu tALa. Since the paMhas not been mentioned it can be sung in any suitable paM. However there

is a tradition wherein it is rendered in paM cIkAmaram or rAga

nAtanAmakriya.

TiruttAMtAMtAMtAMtAMtakam

It is a verse in which each line has eight feet known as eMcIrviruttam.

It is sung without being bound by tALa and is referred to as cutABkam. It is

rendered in kuriNci paM. corresponding to HarikAmbhOji. Appar was known

as tAMTakavEntar.

SundaramUrtti nAyanAr’s unique contribution apart from his TEvAram

hymns is the tiruttontartokai starting with the words tillaivAlantanartam

atiyAr. Here he pays homage to the sixty Saivaite saints. This later inspired

Nambi AMTAr nambi and CEkki zAr to compose TiruttoMTar TiruvantAti and

TiruttoMTarpurAMam.

Conclusion

The merits of TEvAram hymns are manifold. The variety of musical

as well as literary compositions sung by Sambandar is a unique feature

unequalled by any other. He had invented many new forms in prosody and

metre. The variety of difficult verses employed by him has never been

attempted by any other poet or hymnist in Tamil.

They are products of intense devotional fervour, philosophical

profundity, richness of the Tamil language, flourish of the music tradition

and the like. TEvAram saint singers were great integrators in many respects.

They propagated a form of composite culture, integrating the ‘Vedic’ and

the ‘Aagamic’ streams and with emphasis on Siva worship. In the process,

devotion and music intensified each other, benefiting and promoting both.

This rich musical dimension of the TEvAram hymns served as an effective

strategy for a refreshing revival of the ancient system of Tamil or Tamil

music, after some centuries of neglect.

No.89 JULY 2015


13. ªñ£N, ð‡ð£†´Š ð£˜¬õJ™ Ý(G¬ó)

è.ðôó£ñ¡è.ðôó£ñ¡è.ðôó£ñ¡è.ðôó£ñ¡è.ðôó£ñ¡

ñQî êÍè‹ è£†®™ ªî£ìƒAò¶. Môƒ°è«÷£´ Môƒè£Œ

õ£öˆªî£ìƒAò ñQî¡ è£ô«õ£†ìˆF™ Môƒ°è¬÷„ CP¶ CPî£èŠ

ðö‚èˆ ªî£ìƒAù£¡. ðòÂ¬ìò Môƒ°èœ â¡ðî£è âõŸ¬ø‚

è¼Fù£«ù£ ÜõŸ¬øªò™ô£‹ î¡ õ£›M¡ æ˜ Üƒèñ£è«õ

Ý‚A‚ªè£‡ì£¡.

Ý‚èÀ‹ Ý´èÀ‹ ÜõÂ‚° «ïK¬ìò£èŠ ð£ªô¡Â‹

Ü¡ø£ì Ü¼ñ¼‰F¬ù õöƒ°‹ ªê™õñ£Œ Þ¼Šðî£™ ÜõŸ¬ø«ò

Üõ¡ ºîL™ ðö‚AJ¼Šð£¡. è£õ½‚° ï£»‹ ñ£IêˆFŸ°Š ð¡P,

«è£N, Ý´ ºîô£ù Hø àJKùƒèÀ‹ ÜõÂ‚°ˆ «î¬õŠð†ìù.

Þ¼ŠHÂ‹, Þ¡Áõ¬ó Ý‚è«÷ ñQî «î¬õJ¡ Ýî£óŠ ªð£¼œèœ

Þó£Cõ†ìˆF™ Ý´‹ èì£¾‹ ºîL™ Þ¼‚A¡øù â¡ð¬î Þƒ°

â‡EŠð£˜‚èô£‹.

ÝG¬ó ªê™õ‹ÝG¬ó ªê™õ‹ÝG¬ó ªê™õ‹ÝG¬ó ªê™õ‹ÝG¬ó ªê™õ‹

ÜƒAƒ° âù£îð®ò£è àôè‹ º¿õ¶‹ ð²«õ ºî™ «î£öù£è¾‹

ºî¡¬ñò£ù Môƒè£è¾‹ Þ¡Á‹ Þ¼Šð¬î‚ è£íô£‹. CÁ CÁ

Þù‚°¿‚èÀ‚° Þ¬ì«ò CÁ CÁ Ìê™èœ â¿õîŸ°‚ è£óíñ£è¾‹

Ý‚èœ Þ¼‰F¼‚A¡øù. è£ô«õ£†ìˆF™ Ý‚è«÷ ªê™õˆF¡ ÜP°Pò£è

à¼õ£Jù. ÝG¬ó, ªê™õˆFŸè£ù Ü÷¾«è£™ â¡ø G¬ô»‹ à¼õ£ù¶.

ð²‚èœ, â¼¬ñèœ ÜFèñ£è ¬õˆF¼Šðõ¡ êÍèˆF™ ñF‚èŠ ªðŸø£¡;

ªê™õ‹ I°‰îõù£è¾‹ è¼îŠð†ì£¡. Üîù£™î£¡, ñ£´ â¡Â‹ ªê£™

ªê™õˆ¬î‚ °P‚°‹ ªê£™ô£è¾‹ Ü¬ñ‰¶œ÷¶.

Ý‡ì£œ ð£®ò F¼Šð£¬õJ½‹ ÞŠð®ªò£¼ °PŠ¹ õ¼Aø¶.

è¬ùˆ¶ Þ÷ƒ èŸÁ â¼¬ñ è¡Á‚° ÞóƒA

G¬ùˆ¶ º¬ô õN«ò G¡Á ð£™ «ê£ó

ï¬ùˆ¶ Þ™ô‹ «êÁ Ý‚°‹ ïŸ ªê™õ¡ îƒè£Œ (ð£ì™ 12)

º¬ùõ˜ è. ðôó£ñ¡,è. ðôó£ñ¡,è. ðôó£ñ¡,è. ðôó£ñ¡,è. ðôó£ñ¡, àîMŠ «ðó£CKò˜, îI›ˆ¶¬ø, ÜóCù˜ Ýìõ˜

è¬ô‚ è™ÖK (î¡ù£†C) ï‰îù‹, ªê¡¬ù 600035.


No.89 JULY 2015

î¡ è¡¬ø G¬ùˆî¾ì¡ â¼¬ñèœ ñ®G¬øò„

«ê˜ˆ¶¬õˆF¼‰î ð£L¬ù„ ªê£Kòˆ ªî£ìƒAù. ÜŠð®Š ð£™

ªê£K‰îî£™ Þ™ô‹ º¿¶‹ «êø£AM†ì¶. ÞŠð®ò£è ÝG¬ó¬ò„

ªê™õñ£è‚ ªè£‡ìõ¡ îƒ¬è«ò! â¡Á MO‚Aø£œ Ý‡ì£œ.

â¼¬ñèœ I°Fò£è Þ¼‰îî£™ Üõ¡ ªê™õù£è ñF‚èŠð†ì£¡.

ïŸªê™õ¡ â¡«ø Ü¬ö‚èŠð´Aø£¡.

àö¾ˆ ªî£N™ à¼õ£°‹ º¡ù˜õ¬ó ñQîÂ‚°‚ è£´î£¡

àôè‹. Üƒ° ò£˜ Ý‚è¬÷ I°Fò£è ¬õˆF¼‰î£«ó£ Üõ«ó

ªê™õ‰î˜. Üõ˜ ¬õˆî¶î£¡ ê†ì‹. Üõ«ó Üóê¡. «è£ â¡Â‹ ªê£™

Üóê¬ù‚ °P‚°‹. ð²¬õ‚ °P‚°‹ «è£ â¡Â‹ ªê£™«ô Üóê¬ù‚

°P‚è¾‹ õöƒèŠð´Aø¶ â¡ð˜. ÝJÂ‹, «è£™ â¡Â‹

ªê£™ô®JL¼‰¶ «è£ â¡Â‹ ªê£™ «î£¡Pò¶ âùô£‹.

Ýò˜ °ôº‹ Ý†Cº¬ø»‹Ýò˜ °ôº‹ Ý†Cº¬ø»‹Ýò˜ °ôº‹ Ý†Cº¬ø»‹Ýò˜ °ôº‹ Ý†Cº¬ø»‹Ýò˜ °ôº‹ Ý†Cº¬ø»‹

Ý†C º¬ø¬òˆ «î£ŸÁMˆîõ˜èœ Ýò˜èœ. è£†®™ õ£›¬õˆ

ªî£ìƒAò CÁ CÁ Þù‚°¿‚èœ îƒèÀ‚° àKò î¬ôõ¬óˆ

«î˜‰ªî´ˆ¶ õ£›Mò½‚° àKò ê†ìF†ì º¬øè¬÷

à¼õ£‚AJ¼‰îù˜.

ñóˆî®J™ Üñ˜‰¶, Ý‚è¬÷ «ñŒ‚èŠ ðò¡ð´ˆ¶‹ «è£L¬ù‚

¬èJ™ H®ˆîð®ò£èˆ î¡ Ã†ìˆFŸ° àKò è†ì¬÷ HøŠHˆ¶‚

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«è£«è£«è£«è£«è£ â¡Á‹ Ü¬ö‚èŠðìô£ù£¡. õL¬ñ I°‰îõ¡ â¡ðî£™

«è£õô¡ Ýù£¡. «è£™ - «è£¡ - «è£ «è£™ - «è£¡ - «è£ «è£™ - «è£¡ - «è£ «è£™ - «è£¡ - «è£ «è£™ - «è£¡ - «è£ â¡Á ªê£™ Ü¬ñõ¬î‚

èõQˆî£™ ªîO¾A¬ì‚°‹. ÝƒAôˆF½‹ ÝG¬ó Ü™ô¶

Môƒ°è¬÷ º¡«ù à‰Fˆ îœ÷Š ðò¡ð´‹ «è£½‚°‚ «è£´ (GOAD)

â¡«ø ªðò˜. Üóê¬ù‚ °P‚°‹ Aƒ (KING) â¡Â‹ ªê£™ «è£ â¡Â‹

îI›„ ªê£™ô®JL¼‰¶ à¼õ£AJ¼‚°‹ â¡«ø «î£¡ÁAø¶. (Dutch

Koning, Old Norse Konungr, Danish Konge, Old Saxon and Old High German

Kuning, Middle High German Künic, German König). ¶¼‚Aòªñ£N„

ªê£™ô£ù è£¡ (KHAN) â¡Â‹ ªê£™½‹ Üóê¬ù‚ °P‚Aø¶ â¡ð¶

Þƒ° â‡íˆî‚è¶. ð£CLòv (Basilius) â¡Â‹ ðöƒA«ó‚è„ ªê£™

Üóê¬ù‚ °P‚°‹. Ü„ªê£™½‚° Íô‹ â¶ â¡Á ªîKòM™¬ô

â¡ð˜. ð² â¡ð«î Üî¡ Íô‹ â¡øPòô£‹.

No.89 JULY 2015


Üóê¡ àò˜‰î ÞìˆF™ Üñ˜‰¶, ¬èJ™ «è£™ ¬õˆF¼Šð£¡

â¡Â‹ °Pf´ ñ¼î GôˆF™ õ£öˆ ªî£ìƒAò H¡ù¼‹ ªî£ì˜‰¶

õ‰î¶. ï£÷¬ìM™ Üó‡ñ¬ù â¿ŠHŠ «ðóóêù£è ñ£PòH¡ù¼‹

Þ«îº¬ø ªî£ì˜‰î¶. Ýò¡ Üñ˜‰î àò˜‰î Þì«ñ ÜKò¬íò£ù¶.

Üõ¡ ¬èJ™ H®ˆF¼‰î «è£™ ªêƒ«è£ô£ù¶. ñó‚A¬÷(è«÷)

ªè£Ÿø‚°¬ìò£ù¶.

îIöèˆF™ ñ†´ñ™ô£¶ àôè‹ º¿¶‹ Þ«î G¬ôî£¡

Þ¼‰î¶. ð¬öò âAŠF½‹ A«ó‚èˆF½‹Ãì Ýò˜è«÷

Ý†Cº¬ø¬ò‚ èŸÁˆ î‰îù˜. âAŠF™ àœ÷ ð¬öò CŸðƒèO™

Üóê¡ àò˜‰î ÞìˆF™ Üñ˜‰îð®ò£è‚ ¬èJ™ Ý‚èÀ‚°

Þ¬ôî¬öè¬÷Š ðP‚èŠ ðò¡ð´‹ ¶ø†®»ì¡ Þ¼Šð¶«ð£¡ø

è£†Cè¬÷‚ è£íº®»‹.

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ðö‰îIöèˆF™ I°‰î ªê™õ£‚«è£´ Þšõö‚è‹ Þ¼‰î¶.


No.89 JULY 2015

Ý‚èœ I°Fò£è‚ ªè£‡ìõ¡ ªê™õ‰î¡

â¡ðî£½‹ ÜõŸ¬ø «ñŒŠðîŸ°Š ðCò

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No.89 JULY 2015


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No.89 JULY 2015

ªè£‹¹ Ü™ô¶ «è£´ â¡Â‹ ªê£™ «è£ â¡Â‹ ªê£™ô®JL¼‰¶

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M÷ƒ°A¡ø¶.

No.89 JULY 2015


14. ªî£™è£ŠHò„ªêŒ»Oò½‹ Þ¬ê»‹

“ð‡íˆF” ð£.«ýñï£î¡ ð£.«ýñï£î¡ ð£.«ýñï£î¡ ð£.«ýñï£î¡ ð£.«ýñï£î¡

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Þ¬êŠ ðJŸCŠ ðœOJ™ °óL¬ê ðJ¡øõ˜.


No.89 JULY 2015

ªêŒ»OòL¡ àò˜¾ªêŒ»OòL¡ àò˜¾ªêŒ»OòL¡ àò˜¾ªêŒ»OòL¡ àò˜¾ªêŒ»OòL¡ àò˜¾

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No.89 JULY 2015


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â´Š¹ ÞîóŠ HK¾è÷£ù ªî£´Š¹, º®Š¹ ÝAòõŸP¡

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M÷‚è‹ ÜÂð™ôMJ½‹ êóíˆF™ º¿ M÷‚èº‹ Ü¬ñ»‹.

àî£óíˆFŸ°ˆ îIN™ ºî™ W˜ˆî¬ù ÞòŸPò ºˆ¶î£‡ìõ˜ W˜ˆî¬ù

å¡P¬ù Þõ‡ «ï£‚°î™ ïô‹.

â´Š¹â´Š¹â´Š¹â´Š¹â´Š¹

è£í£ñ™ iE«ô

è£ô‹ èNˆ«î£«ñ

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Cî‹ðóˆ îôˆ¬î (è£íñ™ iE«ô)


No.89 JULY 2015

º®Š¹º®Š¹º®Š¹º®Š¹º®Š¹

«êó¡ «ê£ö¡ ð£‡®ò¡

ÞóEò¡ ªêŒ «è£¹óº‹

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ð£¼ô°‹ «ð£ŸÁA¡ø

ðŸê£†ì ð®èÀ‹

Ýóíƒèœ Å›‰î F¼

ÝJóƒè£™ ñ‡ìðº‹ ( è£í£ñ™ iE«ô)

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èNˆî¬î»‹ º®ŠH™ ðô ñ¡ù˜èœ ªêŒî F¼ŠðEè¬÷»‹

Üƒ°œ÷ ÝJóƒè£™ ñ‡ìðº‹ è£í£ñ™ iE«ô è£ô‹ èNˆî¬î»‹

ð£ì™ Ü®èœ M÷‚°A¡øù. ð‡íˆFJ¡ Ü® Þô‚èíñ£èŠ

ð¡Q¼ Ü®èœ Ü¬ñòŠ ªðŸP¼‚A¡øù.

â´ŠH™ è£è£è£è£è£í£ñ™ ...... è£è£è£è£è£ô‹ â¡Á «ñ£¬ùˆ ªî£ì˜¹

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Ü¬ñõ¬î»‹ è£íô£‹.

W˜ˆî¬ùW˜ˆî¬ùW˜ˆî¬ùW˜ˆî¬ùW˜ˆî¬ù

W˜ˆî¬ù Þô‚Aòƒè¬÷„ êñò Ü®Šð¬ìJô£ù W˜ˆî¬ùèœ,

êñò‹ ê£ó£‚ W˜ˆî¬ùèœ âùŠ ð£´ªð£¼œè¬÷‚ ªè£‡´

Þ¼õ¬èè÷£èŠ HK‚èô£‹. W˜ˆî¬ù â¡ð¶ ¹è›ð£´î™ â¡ø º¬øJ™

Þ¬øŠ¹è¬öŠ ð£´î™ ñ†´«ñ «ï£‚èñ£è‚ ªè£‡´ ð£ìŠð†´

õ‰î¶.¬êõ‹, ¬õíõ‹, Þ²ô£‹, APˆ¶õ‹ ÝAò êñòƒèO¡

Ü®Šð¬ìJô£ù ªð£¼œèO™ W˜ˆî¬ùèœ Ý‚èŠð†ìù.

Å›G¬ô‚°ˆ î‚èõ£Á îQñQî¡ ¹è› ð£®»‹ W˜ˆî¬ùèœ

ð£ìŠð†ìù. êñò‹ ê£ó£‚ W˜ˆî¬ùèœ â¡ø Ü®Šð¬ìJ™ «îCò‹,

ð°ˆîP¾, ªð£¶¾¬ì¬ñ, è£î™ ºîLòõŸ¬øŠ ð£´ªð£¼œè÷£è‚

ªè£‡´‹ W˜ˆî¬ùèœ «î£¡Pù.

No.89 JULY 2015


«è£ð£ô A¼wí ð£óFò£˜ ï‰îù£˜ â¡ø ð£ˆFóˆ¬î

ï£òèù£‚A‚ W˜ˆî¬ùè÷£™ Ýù ï£ìèˆ¬î â¿Fòî£™ ÞF™ àôè

ï¬ìº¬øèœ °Pˆî è¼ˆ¶èœ Þì‹ªðŸøù. îQ‚ W˜ˆî¬ùèO™

èì¡ ªè£´ˆ¶ Ü™ô™ ð†ì å¼õ¼‚° ÜP¾¬ó ªêŒ»‹ «ï£‚A™

ÞòŸPŠ ð£®ò ð‡íˆF Ü®õ¬ó»œ Ü¬ñ‰î W˜ˆîù‹

à.«õ.ê£.â¿Fò êƒWî º‹ñEèœ ËL™ â´ˆ¶‚

è£†ìŠð†´œ÷¶. ÜŠð£ì™ õ¼ñ£Á:

ð™ôMð™ôMð™ôMð™ôMð™ôM

ð£˜ˆ¶‚ èì¡ ªè£´ƒèœ- ñQî¬óŠ

ð£˜ˆ¶‚ èì¡ ªè£´ƒèœ

ÜÂ ð™ôMÜÂ ð™ôMÜÂ ð™ôMÜÂ ð™ôMÜÂ ð™ôM

ð£˜ˆ¶‚ èì¡ªè£´‚ è£M®¡ ðí‹«ð£°‹

ð¿¬îŠ «ð£L¼‰¶ ð£‹¹ «ð£ô£°‹

êóíƒèœêóíƒèœêóíƒèœêóíƒèœêóíƒèœ

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è÷¾ «ð£ù£™ ¶¡ð‹Ü¶ å¼õ£ó‹

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ÜOˆîõ˜ õ£¿‰ ªî¼M½‹ õ‰Fì£˜

âO¬ñò£ù õ®õ‹, êó÷ñ£ù ªñ£N ï¬ìJ™ ð‡«í£´

ð£ìŠð†ìîù£™ ñ‚èO¬ì«ò W˜ˆî¬ù‚° õó«õŸ¹ ãŸð†ì¶.

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è¬ôë˜èÀ‚°‹ îƒèœ Þ¬êˆFø¬ù ªõOŠð´ˆî‚ Ã®ò Þ¬ìªõO

Þ¼‰î¶ W˜ˆî¬ùèO¡ ðôñ£ù¶.

W˜ˆî¬ùèÀ‹ ð£´ªð£¼À‹W˜ˆî¬ùèÀ‹ ð£´ªð£¼À‹W˜ˆî¬ùèÀ‹ ð£´ªð£¼À‹W˜ˆî¬ùèÀ‹ ð£´ªð£¼À‹W˜ˆî¬ùèÀ‹ ð£´ªð£¼À‹

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A¼wí ð£óFò£˜, Þó£ñLƒè Ü®èœ, èM°…êó ð£óF, Ý¬ùäò£,


No.89 JULY 2015

ñö¬õ Cî‹ðó ð£óF, Ü„²îî£ê˜, F¼õ£Ï˜ Þó£ñê£IŠHœ¬÷,

áˆ¶‚è£´ «õƒèì²Š¬ðò˜, Þó£ñê£I Cõ¡, Þô†²ñíŠ

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ê£vFK,²ŠHóñEò ð£óF, èMñE «îCè Mï£òè‹ Hœ¬÷,²ˆî£ù‰î

ð£óF, ªðKòê£Iˆ Éó¡, ð£ðï£ê‹ Cõ¡, Ü‹¹ü‹ A¼wí£

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°íƒ°® ñvî£¡ ê£A¹, ªî£‡® ªêŒ° ñˆî£¡, ÜºîèM ê£ò¹

ñ¬ó‚è£ò˜, ªïŒù£ ºèñ¶ ð£õô˜, ºèñ¶ ý‹ê£ ªôŠ¬ð, ºè‹ñ¶

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î…¬ê «õîï£òè ê£vFKò£˜, ñ£Îó‹ «õîï£òè‹ Hœ¬÷,ñKò£¡

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ã.ªðKòï£òè‹ «ð£¡øõ˜èO¡ A¼ˆ¶õ„ êñò‚ W˜ˆî¬ùèÀ‹ îIN™

â¿‰¶œ÷ù.

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«ð£¡øõ˜èO¡ «îCòˆ¬îŠ «ð£ŸP â¿‰î ð£ì™èÀ‹ ð£óFî£ê¡,

î‡ìð£E «îCè˜ «ð£¡øõ˜èO¡ îI› àí˜M¬ù æƒA åL‚°‹

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W˜ˆî¬ùèO¡ ð£´ªð£¼œ MK‰¶œ÷¶.

ªî£°Š¹¬óªî£°Š¹¬óªî£°Š¹¬óªî£°Š¹¬óªî£°Š¹¬ó

ÜAô Þ‰Fò õ£ªù£L, ªî£¬ô‚è£†C Þ¬ê Gè›„Cèœ ð™«õÁ

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ð™ô£Jó‚èí‚è£«ù£˜ Ã´‹ Þ¬ê Mö£‚èO™ Þ¡ø÷¾‹ åLŠð¶

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Ý°‹.

°PŠ¹èœ°PŠ¹èœ°PŠ¹èœ°PŠ¹èœ°PŠ¹èœ

1. ¹¶¬ñŠHˆî¡, ¹¶¬ñŠHˆî¡ è†´¬óèœ,¹¶¬ñŠHˆî¡ è†´¬óèœ,¹¶¬ñŠHˆî¡ è†´¬óèœ,¹¶¬ñŠHˆî¡ è†´¬óèœ,¹¶¬ñŠHˆî¡ è†´¬óèœ, ð. 57.

2. ò.ñEè‡ì¡ , îIN™ ò£ŠHô‚èí õ÷˜„CîIN™ ò£ŠHô‚èí õ÷˜„CîIN™ ò£ŠHô‚èí õ÷˜„CîIN™ ò£ŠHô‚èí õ÷˜„CîIN™ ò£ŠHô‚èí õ÷˜„C, ð. 13.

3. ªî.ªð£.eù£†C²‰îóù£˜, îI› ªñ£N õóô£Á,îI› ªñ£N õóô£Á,îI› ªñ£N õóô£Á,îI› ªñ£N õóô£Á,îI› ªñ£N õóô£Á, ð. 238.

No.89 JULY 2015


15. Role of Phonetic and Phonological Concepts

in the Tamil Writing System R. Velmurugan

Introduction

Tamil writing system is well known for its syllabic writing process. Syllable in

Tamil is formed with a vowel as its peak. That is, a vowel long or short (VA) forms a

syllable. It is possible to have a consonant (C) occurring before the vowel peak in a

syllable. This peak can be followed by one or two consonants as the coda of the

syllable. The consonant that precedes the vowel peak is called an onset. (Hockett,

1958).

Phones or sounds in a language are the real segments that are pronounced (as in

spoken language or in the reading style). No syllable can function or pronounced

without a vowel. So, vowel is the obligatory segment and consonant is an optional

segment in a syllable.

Example: aT i ‘foot’ has two syllables a- and - T i.

paT Tam ‘kite’ has two syllables paT and T am.

In these two syllables (there is an onset and coda). Even in a monosyllabic word we

find occurrences with peak, onset and coda.

Ex: A : ‘cow’ (peak)

vA : ‘come’ (with onset)

il ‘house’ (coda)

kal ‘stone’ (with onset and coda)

In disyllabic and tri or tetra syllabic words, especially in those syllables which

occur in the medial position can have more than one consonant occurring as coda.

Eg. pukalcci pu- kalc- ci ‘praise/fame’

So, there are four different types of occurrences of vowels and consonants in the

syllables. They are:

(1) Vowel long or short occurrences as an obligatory feature.

(2) A consonant occurrence as an onset occurring before the vowel long/short.

Dr. R. Velmurugan, Senior Lecturer, Asian Languages and Cultures National

Institute of Education, Nanyang Technological University, Singapore.


No.89 JULY 2015

(3) One or two consonants occurring as coda after the vowel.

(4) Occurrence of one or two consonants as coda occurring after the vowel peak.

Moreover, syllables in Tamil are classified as follows based on the above criteria:

(1) Initial syllable A : - D u, pa-D i (Ý´, ð®)

(2) Medial syllable ka – ta-vu (èî¾) and /a: - ta- ra- vu/(Ýîó¾)

(3) Final syllable e - D u, paT - T am (â´, ð†ì‹)

Each of the above syllable types can have two sub-types namely,

(1) Open syllable (as in vA: ‘come’ õ£)

(2) Closed syllable (as in nal – la ‘good’ ï™ô)

There are at least twelve types of initial syllables of which four are open and eight

closed syllables).

In the same way there are six medial syllables (two open and four closed).

Of the four final syllables there are two open and two closed syllables. So,

the use of linguistic concepts in phonetics and phonology with reference to the Tamil

writing system takes into account the following factors:

(1) Tamil sounds and syllables formation

(2) Consonant clusters in Tamil

(3) Occurrence of vowels and consonants in syllables and words

(4) Representation of pure vowels, pure consonants and vowel-consonants.

Hypotheses to be tested

1. The basis for the formation of syllabic writing system for Tamil originates from

the Tamil phonetic system.

2. Three types of phonological occurrences namely

i. Pure vowels and their occurrence,

ii. Pure consonants and their occurrence and,

iii. The occurrence of consonant clusters both two consonants and three

consonants word medially are well conditioned and regular.

No.89 JULY 2015


3. The first member of the three consonant clusters are one of the three phonemes

namely /y, r, l / written as pure consonants.

The Tamil allophonic system for the five stops (valleluttu) is found quite regular

and shows almost similar phonological conditionings (like as the phoneme /k/) showing

three allophones /k, g, h/ which are conditioned based on their phonological

environments.

Tamil Writing System

The basis for the formation of Tamil writing system originates from the Tamil

phonetic system. There are in total 41 sounds in modern written Tamil as in its reading

style of which 13 are vowels and 28 are consonants. These forty one sounds are

reduced to 30 phonemes based on the contrastive distribution of the phonetically

similar sounds in Tamil.

Through the process of complementary distribution the vowel sounds

[u and t] are grouped under one phoneme /u/. In the same way the 28 consonants are

classified as follows:

(1) One sound one phoneme correspondence (There are thirteen such sounds

which show one (1) One sound one phoneme correspondence. That is, they

occur in contrastive distribution. They are:

/l, l, L , r, R , n, B , V , N, v, and y/

(2) one to three correspondence: this is explained by the principle of allophonic

distribution or complementary distribution of the following 15 sounds.

[k, g, h], [t, ä,d ], [ T , D , R ] [c, j, s] and [p, b, â]

These 15 phonetically similar sounds (3 under each group) are grouped under

five phonemes namely, /k, c, T , t, p/.

This kind of distribution based on the phonetic and phonological principles

help us to identify separate phonemes with the help of contrastive distribution and

group phones as allophones under five different phonemes based on their

complementary or allophonic distribution.

The phonological system thus arrived at has to be the basis to form symbols

or letters (alphabets) to write the language or to make the writing system. As stated


No.89 JULY 2015

above the Tamil phones (41) are formed into 30 phonemes. The writing system

especially, the primary letters formed is based on the one phoneme one letter concept,

and so thirty phonemes are represented by 30 letters. So we have thirty primary

letters in Tamil based on the phonological principles contrast and complementation.

i) vowels

/a, A, i, I, u, U, e, E, ai, o, O, au /

/ Ü, Ý, Þ, ß, à, á, â, ã, ä, å, æ, å÷ /

ii) Consonants

Stops k, c, T, t, p (è, ê, ì, î, ð)

Nasals m, n, V, M, B, N (ñ, ï, ù, í, ƒ, …)

Laterals l, l. , l (ô, ÷, ö)

Flap r (ó)

Trill R (ø)

Semi vowels v, y (õ, ò)

In order to explain the writing system three types of phonological occurences are

considered as very important. They are:

(i) Pure vowel symbols and their occurrence (representation)

(ii) Pure consonants and their occurrence

(iii) The occurrence of consonant clusturs in words (two consonant and three

consonant medial clusturs).

As explained earlier, the twelve vowel phonemes have on to one

correspondence with the Tamil letters. All these twelve letters occur or written word

initially only.

Example:

ÜP¾ (a)

Þ¬ô (i)

á˜ (U )

äò£ (ai) etc

No.89 JULY 2015


In Tamil, pure consonants are found to occur word medially and finally only. This is

represented by putting a dot (.) just above the eighteen consonant letters (as ‚, „, †,

ˆ...). The third feature of occurrence is decided by the consonant clusters which

occur medially, and some of the consonants (8) which occur word finally as pure

consonants.

Tamil letters and the process of writing

In the Tamil writing system (syllabic writing system) there are three types of

letters written and their formation and distribution are conditioned.

(1) Primary letters: vowels

All the twelve vowels (alphabets) are written word initially, and each vowel

letter functions as a syllable whether it is short or long. (vA).

However, in the old Tamil poetry vowels are written word medially or finally

also as ‘alphabet’ in order to mark the extra length needed for metrical purposes for

the extra length (ÝÜ).

Example: arai (vA ) a-R ai

A : ru (vA) A -R u

aiyar (va) diphthong) ai –yar

(2) Representation of pure consonants

The second type of letters is known as oRRu (åŸÁ / îQªñŒ) in Tamil and

it is represented by putting a dot above the eighteen consonant symbols.(‚, „, †, ̂

...). The occurrence of this type of letters shows medial and final place of occurrence

only.

(i) Word final Occurrence

Only eight (8) of the pure consonants namely, n (¡) tEV

m (‹) pAT am

l (™ ) kal

l. (œ) eL o

r (˜) pA r

y (Œ) vA y


No.89 JULY 2015

G (‡) kaM

; (›) pukA

occur word finally.

In order to explain the occurrence of pure consonants word medially, the formation

of two consonant and three consonant clusters becomes quite important. In the

following two consonant clusters which occur word medially, we find the representation

of ORRu with a dot above the primary letter. There is a condition namely the first

consonant of the two consonant cluster has to be written as a pure consonant, and

the second consonant of the cluster has to be written as a vowel- consonant.

Example: Ü‹ñ£ /ammA/

Ü¡¹ /anpu/

ªè£œ¬è /ko. lkai/

ºòŸC /muyaRci/ etc.

In all these, we find the occurrence of pure consonants ‘oTTu’ occurring as the first

letter and written with a dot above. The second consonant of the cluster goes with the

following vowel and pronounced as a vowel-consonant (pU:, kai, ci, etc.)

As far as the three consonant clusters are concerned, the first two consonants of

the clusters are represented by pure consonants written with a dot above, and the

third consonant goes with the following vowel and pronounced as a vowel-consonant:

Eg.

- ypp- : vAyppuõ£ŒŠ¹

- - rpp - : tI rppu b˜Š¹

- - ;tt - : vAlttu õ£›ˆ¶

So, there are two conditions that are followed and identified. Along with the one

stated above, the second condition is also identified. That is, the two identical

consonants (that occur in the clusters) are always preceded by one of the three pure

consonants /y, r, l/Œ, ̃ , › and written as õ£ŒŠ¹, (ŒŠ– pure consonant) (¹– vowel

consonant ).

No.89 JULY 2015


When the three consonant clusters occur with three different consonants also,

we find the same pattern of writing in which the first consonant is always among the

three namely /y r l/

-ynt - «îŒ‰î¶ tE yntatu

-rnt - àò˜‰î uyarnta

- lnt - õ£›ˆ¶ pukalntu

However, in the poetical discourse of Tamil the geminated consonants like ‰‰ (nn)

and ‹‹ (mm) and …… (ññ) also found to occur.

Formation of vowel-consonants in Tamil

The formation of vowel-consonants is quite relevant and necessary in the

Tamil writing system. Each vowel-consonant formed functions as a syllable and all

such vowel-consonants can occur word initially, medially and finally in writing.

Ex. Initial : ð® pa-T i (pa-)

Medial : èöè‹ ka - la- kam (-la-)

Final : ð®Š¹ pa- T ip – pu (-pu)

In order to form the vowel-consonants one needs to make use of the eighteen primary

letters by removing the dot above them and by attaching a set of symbols known as

secondary symbols (¶¬í‚ °Pf´èœ).

There are secondary symbols attached to the eighteen consonants other than the

vowel /a/.

Vowel-consonant formation in Tamil

Primary letters by removing the dot above them and pronounced as N a, ca,

ma etc.

Use of secondary symbols:

Primary Letters: consonants (without dot 18)

Secondary symbol for: [A, i, I, e , E , : ai o O : ai au]


No.89 JULY 2015

Conditions for writing:

1) Putting a dot above the primary letter (pure consonant)

[‚, ƒ, „, …, †, ‡, ˆ, ‰, Š, ‹, Œ, ˜, ™, š, œ, Ÿ, ¡]

2) After the removal of the dot: using it as vowel-consonant for

/ka, Ta,ma,ta…

.../è, é, ê, ë..../

3) Using separate secondary symbols for all after vowels

I) sec. symbol

sec. symbol writing process

after the P.L (as è£, é£, ê£...)

attaching the S.C with the P.L (A, C, F, ®...)

ºî¡¬ñ â¿ˆ«î£´ å¡P¬íˆ¶ («ñ«ô)

â.è£: W, d, ¯, m, X...

ºî¡¬ñ â¿ˆ¶‚° º¡ù˜

â.è£: ªè, ªð, ªì, ªù, ªé...


â.è£: «è, «ð, «ì, «ù, «é...

ºî¡¬ñ â¿ˆ¶‚° º¡ù¼‹ H¡ù¼‹

â.è£: ªè£, ªð£, ªì£, ªù£, ªé£...

ºî¡¬ñ â¿ˆ¶‚° º¡ù¼‹ H¡ù¼‹

â.è£: «è£, «ð£, «ì£, «ù£, «é£...


â.è£: ¬è, ¬ð, ¬ì, ¬ù, ¬é...

ºî¡¬ñ â¿ˆ¶‚° º¡ù¼‹ H¡ù¼‹

â.è£: ªè÷, ªð÷, ªì÷, ªù£, ªé£...

No.89 JULY 2015


i. u à

ii. U à

(exception: ÃÃÃÃÃ)

u (ààààà)

Secondary symbols : 3 [ ]

i. → è ì ñ ó ÷ ö

[° ´ º ¼ À ¿] - /6/

ii. → ê ð ò é õ

[² ¹ » ± ¾] - /5/

iii. → î ï í ô ø ù ë

[¶ ¸ µ ½ Á Â ³] - /7/

6+5+7= 18

u: (á)

Secondary symbols : 3 [ +exception 1]

i. → ì ñ ó ÷ ö

[Ç Í Ï Ù Ø] - /5/

ii. → ê ð ò é õ

[Å Ì Î Ä ×] - /5/

iii. → ë î ï ô ø ù í

[Æ É Ë Ö Ú Û È] - /7/

iv. Exception : è [Ã] - /1/

5+5+7+1= 18


No.89 JULY 2015

Conclusion

This particular research has brought to light the phonetic realities

behind the conditioning given for the occurrence of allophones with the help

of phonological concepts like complementary distribution. This study also

would help to make language teaching –learning more simple and effective

through the phonological concepts namely contrastive distribution,

complementary distribution and free variation. This particular research has

also identified the fact that there are thirty clear – cut phonemes occurring

as primary letter in Tamil.

The study has also brought out the phono – tactic rules applied in

explaining the role of vowels and pure consonants in the process of syllable

formation.

REFERENCES AND SELECT BIBLIOGRAPHY

1. Abercrombie, D. (1962). General Phonetics, OUP: London.

2. Agesthialingom, S. (1998). Tamil- Colliyal, Manivasagar: Chidambaram.

3. Murugaiyan, K. (1969). Tholkappiya Mozhiyiyal (eds) Annamalai Universitu:

Annamalainagar.

4. Hockett, C.F. (1998). A Course in Modern Linguistics, Mcmillan: New York.

5. Karunakaran, K & Jeya,V.(2001).Potu Mozhiyiyal(General Linguistics in

Tamil),NCBH(P)Ltd: Chennai.

6. Pike, K.L. (1949). Phonemics. MUP: Ann Arbor (USA).

7. Porko, (1998). A Grammar of Modern Tamil, Tamil Noolagam: Chennai.

8. Thirumalai, M.S. & Karuanakaran, K. (1990). Mozhi Iyal, Pari Nilaiyam:

Chennai.

No.89 JULY 2015


16. Index of The Journal of Tamil Studies

VOL. 33- 42 H. èMî£H. èMî£H. èMî£H. èMî£H. èMî£

TITLE INDEX

17. îINô‚AòƒèÀ‹ - îQ ñQîõ£îº‹ (Individualism)

- ÝFï£ó£òí¡, A.PP. 107 - 118 ; Vol. 37 ; June 1990.

18 . F¬í‚«è£†ð£†´ õ÷˜„CJ™ «êó, «ê£ö, ð£‡® ï£´èO¡ðƒ°.- «õ½ŠHœ¬÷, Ý.PP. 72 - 80 ; Vol. 35 ; June1989.

19. ï´ˆîó °´‹ðƒèO¡ ªð£¼÷£î£ó G¬ô - æ˜ ÝŒ¾- ºóO, Þó£., àñ£ ñ«è²õK, Þó£.PP. 91 -102; Vol. 36 ; December 1989.

20. ï£†ì£˜ è¬ôñóH™ õê‰î¡ Ãˆ¶ - æ˜ ÝŒ¾- ð£ô²‰îó‹, Þ.PP. 103 - 122 ; Vol. 35 ; June1989.

21. ªï´ï™õ£¬ì„ C‚è½‹ - ï£†´Š¹øMò™ b˜¾‹- º¼è£ù‰î‹, ê.PP. 97 - 120 ; Vol. 34 ; December 1988.

22. «ïó£èŠ «ð£! - è¬ôñ£ñE ñ¡ù˜ ñ¡ù¡.PP. 49 - 52; Vol. 39; June 1991.

23. ðˆFK¬èò£÷˜ ªð.ï£. ÜŠ¹²õ£I- Þó£«ê‰Fó¡, ñ.PP. 3-11; Vol. 40; December 1991.

24. ð£óFî£î£ê¡ ËŸø£‡®™ ð£óFî£ê¡ ÝŒ¾èœ- è®è£êô‹, ï.PP. 81 - 142; Vol. 39; June 1991.

25. ð£óFî£êÂ‹ ²ŸÁ„Åö™ MNŠ¹í˜¾‹- ð£ô²ŠHóñEò¡, C.PP. 81 - 142; Vol. 39; June 1991.

26. ð£óFJ¡ ÜóCò™ «è£†ð£´

- ºˆ¶Cî‹ðó‹, ê.

PP. 79 - 90 ; Vol. 36 ; December 1989.


No.89 JULY 2015

27. ð£óFJ¡ «îCò‹ - å¼ õóô£ŸÁ H¡¹ô‹

- ð£‡´óƒè¡, Ü.

PP. 85 - 96 ; Vol. 34 ; December 1988.

28. ð£«õ‰î˜ ð£óFî£êÂ‹ ÞòŸ¬è»‹

- ì£‚ì˜ ïY‹b¡, d.

PP. 71 - 80; Vol. 39; June 1991.

29. ªð.ï£. ÜŠ¹ê£I

- ê‡ºè¡, ªè£´º®.

PP. 32-34; Vol. 40; December 1991.

30. «ðó£CKò˜ ¬õò£¹KŠHœ¬÷ Üõ˜èO¡ ÝŒ¾ ªïPº¬øèœ

- ðóñCõ‹, î.«è£.

PP. 69-83; Vol. 41; June 1992.

31. «ðó£CKò˜ âv.¬õò£¹KŠHœ¬÷ Üõ˜èO¡ Þô‚Aò Ýó£Œ„C

- °«÷£Pò£ ²‰îóñF.

PP. 50-56; Vol. 41; June 1992.

32. «ðó£CKò˜ ¬õò£¹KŠHœ¬÷J¡ ¹è›Š ªð¼‹ðE

- ê‡ºè‹Hœ¬÷, º.

PP. 57-68; Vol. 41; June 1992.

33. ºîô£‹ ðó£‰îè «ê£ö¡ è£ôˆ¶ Gôõ¼õ£Œ º¬ø

- ²õ£Iï£î¡, Å.

PP. 75 - 78 ; Vol. 36 ; December 1989.

34. ªñ£Nªðò˜Šð£÷ó£èŠ ªð.ï£. ÜŠ¹ê£I

- Müòô†²I, ó.

PP. 12-19; Vol. 40; December 1991.

35. õ™L¹ó Mwµ Ýôò‹ : å¼ õóô£Ÿø£Œ¾

- A¼wíó£ê£, ªê.

PP. 76 - 86; Vol. 38; December 1990.

36. M÷‹ðó ªñ£Nªðò˜ŠH™ ªê£™ô£†C

- ªüòó£x, C.

PP. 77 - 94 ; Vol. 33 ; June 1988.

37. ¬õò£¹Kò£˜ õ£›¾‹ ÝŒ¾‹

- Mù£òèŠ ªð¼ñ£œ, õ.

PP. 84-103; Vol. 41; June 1992. (To be continued)

ªî£°Š¹: HHHHH. èMî£,. èMî£,. èMî£,. èMî£,. èMî£, Ëôè˜, àôèˆ îIö£ó£Œ„C GÁõù‹, îóñE,ªê¡¬ù - 600 113.

No.89 JULY 2015


17. àôèˆ îIö£ó£Œ„C GÁõù º¬ùõ˜ ð†ì ÝŒ«õ´èœ-2

Þó£. ªð¼ñ£œ ê£IÞó£. ªð¼ñ£œ ê£IÞó£. ªð¼ñ£œ ê£IÞó£. ªð¼ñ£œ ê£IÞó£. ªð¼ñ£œ ê£I

117. ªê‹ªñ£N¬ò à¼õ£‚Aò êÍè Ü¬ñŠ¹ªê‹ªñ£N¬ò à¼õ£‚Aò êÍè Ü¬ñŠ¹ªê‹ªñ£N¬ò à¼õ£‚Aò êÍè Ü¬ñŠ¹ªê‹ªñ£N¬ò à¼õ£‚Aò êÍè Ü¬ñŠ¹ªê‹ªñ£N¬ò à¼õ£‚Aò êÍè Ü¬ñŠ¹

ªð£.ªüðñ«ù£ð¡, 2009-2012,01.01.2014.

º¬ùõ˜ F. ñè£ô†²I, ªê¡¬ùŠ ð™è¬ô‚èöè‹, ð. VI+ 261.

ªî£ì˜‰¶ ñ£P‚ªè£‡®¼‚°‹ å¼ êÍè‹î£¡ îI›„

ªê‹ªñ£N¬ò à¼õ£‚Aò¶. ðF½‚°„ ªê‹ªñ£N Ü„êÍèˆ¬î

ñ£ŸPò¶. êÍè‹ õ÷˜‰¶ õ‰î¶. H¡ù˜ˆ îI›„êÍèˆF¡ õ÷˜„CJ™

å¼ «î‚èG¬ô ãŸð†ì¶. «ñ½‹ Þˆ«î‚èG¬ô„ êÍèˆF™ ïiù„

²ó‡ì™ º¬ø»‹ õ‰¶ «ê˜‰î¶. Þ¬õ Þó‡´‹ «ê˜‰¶ îŸ«ð£¶ êÍè

õ÷˜„C‚°ˆ î¬ìò£è àœ÷ù. Þ¬õ åN‚èŠð†ì£™ Þ„êÍè‹

àô°‚° º¡«ù£®ò£è Ü¬ñ»‹. ðô ÝJó‹ Ý‡´è÷£è„ êÍèˆ¬î

ñ£ŸPõ‰î ªê‹ªñ£N Þ¡Á êÍè‹ õ÷ó£ñ™ î´‚°‹ ÞšõIêƒè¬÷

åN‚è àîõ«õ‡´‹ â¡ð¬î ÝŒ¾ «ï‚èñ£è‚ ªè£‡´, ªñ£N êÍè

õ÷˜„C‚°‚ °Á‚«è GŸ°‹ ïô¡è¬÷ åN‚èŠ ð£´ðì«õ‡´‹;

ÜŠ«ð£¶ êÍè‹ õ÷¼‹; Üî¡ M¬÷õ£è„ ªê‹ªñ£NJ¡ õ÷˜„CJ™

ãŸð†ì îƒ°î¬ìèœ cƒ°‹ â¡Á Þšõ£Œ¾ è¼¶Aø¶.

º¡Â¬ó, º®¾¬ó cƒèô£è ä‰¶ Þò™è÷£è ÝŒ«õ´

Ü¬ñAø¶ 1. êÍèº‹ ªñ£N»‹ 2. îI¿‹ Hø ªê‹ªñ£NèÀ‹

3. õóô£ŸP™ îIöè‹ 4. îIN¡ îŸ«ð£¬îò G¬ô 5. ªê‹ªñ£NJ¡

èì¬ñ âù Þšõ£Œ«õ´ Ü¬ñAø¶. åšªõ£¼ ÞòL½‹

è‡ìPòŠð†ì à‡¬ñèOL¼‰¶ ÝŒõ£÷˜ º®¬õ º¡¬õ‚Aø£˜.

ªè÷óõ˜ ê¬ðJ™ ð£‡ìõ˜«ð£™, ¶¡ð, ¶òóƒè¬÷‚ è‡´‹

¬èè†® GŸ°‹ «ð£‚¬èˆ îIöè‹ M†ªì£N‚°‹. ªê‹ªñ£N ÜîŸ°

«õ¬ô ªêŒ»‹. îI› ñ‚èO¡ CˆîˆF™ õ˜‚è «ðîˆ¬î á†´‹.

è†® GŸ°‹ ¬èè¬÷Š H®ˆF¿ˆ¶, «ñ«ô£ƒè„ ªêŒ»‹ îIöèˆF™

ð£˜‚°‹ â™ô£õŸ¬ø»‹ ð¬ìˆîõ˜è÷£è¾‹ îŸ«ð£¶ ã¶‹

Þ™ô£îõ˜è÷£è¾‹ àœ÷ ñ‚èÀ‚° â™ô£õŸ¬ø»‹ â´ˆ¶ˆ î¼‹

â¡Á ªê‹ªñ£N„ êÍè‹ °Pˆ¶ å¼ º®¬õˆ î¼Aø¶ ÝŒ«õ´.

118. º™¬ôŠ ð£ì™èœ è£†´‹ êÍè G¬ô º™¬ôŠ ð£ì™èœ è£†´‹ êÍè G¬ô º™¬ôŠ ð£ì™èœ è£†´‹ êÍè G¬ô º™¬ôŠ ð£ì™èœ è£†´‹ êÍè G¬ô º™¬ôŠ ð£ì™èœ è£†´‹ êÍè G¬ô

Ý.ªè÷ê™ò£, 2009-2012, 04.03.2014.

º¬ùõ˜ è¼.Üö.°í«êèó¡, ªê¡¬ùŠ ð™è¬ô‚èöè‹, ð.317.


No.89 JULY 2015

êƒè Þô‚Aò º™¬ôŠ ð£ì™èO™ è£íô£°‹ ñ‚èO¡

êÍèG¬ô âšõ£Á ÞòƒAò¶ â¡ð¶ ðŸP»‹ Ü‚è£ô„

êÍèŠð®G¬ôèœ âšõ£Á Þ¼‰îù â¡ð¶ ðŸP»‹ Ýó£Œõ¬î

«ï£‚èñ£è¾‹ º™¬ôŠ ð£ì™èO™ ºî™, è¼, àKŠªð£¼œèO¡

õN«ò ð™«õÁ êÍèŠ ð®G¬ôè¬÷‚ è‡ìPõ¶ ðŸP»‹ ñ‚èO¡

õ£›‚¬èG¬ô, å¿èô£Áèœ, °®èœ, àì¬ñèœ, Üó²èœ °Pˆî

ªêŒFè¬÷»‹ è¼¶«è£÷£è‚ ªè£‡´, õNò£è º™¬ôGô ñ‚èO¡

å†´ªñ£ˆî õ£›‚¬è º¬øJ¬ù ÜPò¾‹ ñ‚èO¡ õ£›‚¬è

G¬ô¬ò Þ‚è£ô„ êÍèˆFŸ° ªõOŠð´ˆ¶‹ õ¬èJ½‹ Þšõ£Œ¾

«ñŸªè£œ÷Šð†´œ÷¶.

Þšõ£Œ¾ º¡Â¬ó, G¬ø¾¬ó cƒèô£è ï£¡° Þò™è÷£èŠ

ð°‚èŠð†´œ÷¶. 1. êÍèŠð®G¬ôèœ 2. Þ¼ˆî½‹ HKî½‹ °Pˆî

C‰î¬ùèœ 3. º™¬ôGô ñ‚èÀ‹ õ£›‚¬è G¬ô»‹ 4. °®èœ,

à¬ì¬ñèœ, Üó²èœ °Pˆî C‰î¬ùèœ â¡ðù ÜšMò™è÷£õù.

ñQî êÍè‹ åšªõ£¼ è†ìñ£è õ÷˜‰î¶. Þ‰îõ÷˜„C¬ò

«õ†¬ì„êÍè‹, «ñŒ„ê™ êÍè‹, «õ÷£‡ êÍè‹, õEè„ êÍè‹

âùŠ ð°‚èô£‹. åšªõ£¼ êÍèˆF½‹ Þ¼ð£ô¼‹ à¬öˆ¶œ÷ù˜.

ñQî à¬öŠ¹ ñ†´«ñ êÍè‹ ð®G¬ôèO™ õ÷ó‚ è£óíñ£è

Ü¬ñ‰î¶. èŸ¹ â¡ð¶ º™¬ôGôˆ î¬ôõ¡, î¬ôM Þ¼õ¼‚°‹

ªð£¶õ£è àœ÷¶. î¬ôõÂ‚°‚ èŸ¹ â¡ð¶ èì¬ñ¬ò„ êKõó„

ªêŒî™ ñŸÁ‹ î¬ôMJ¡ «ñ™ è£î™ ªè£œÀî™ â¡ðî£è Ü¬ñAø¶.

º™¬ô GôˆF™ ãŸøˆî£›¾ì¡ °®J¼Š¹èœ Ü¬ñ‰¶œ÷ù.

Þ‚°®J¼Š¹èO¡ Ü¬ñŠ¹ º¬ø ãŸøˆî£›¾¬ìò êºî£òˆ¬î‚

è£†´A¡ø¶. CÁ°®™, ñ£O¬è, ñ£ì ñ£O¬è â¡ø ð®º¬ø õ÷˜„C

G¬ôJ™ °®J¼Š¹èœ Ü¬ñ‰¶œ÷ù. º™¬ô GôŠð°FèO™

ªð¼‹ Ü÷M™ ð£‡®ò˜ °®Jù«ó Ý†C ªêŒ¶œ÷ù˜. Þ‰î GôˆF™

ÜFèñ£èŠ «ð£˜ ïì‰îî£è¾‹ ÝŒõ£÷˜ îñ¶ º®M¬ùŠ

ðF¾ªêŒ¶œ÷£˜.

119. Cõèƒ¬è ñ£õ†ì‚ °‹IŠð£ì™èœCõèƒ¬è ñ£õ†ì‚ °‹IŠð£ì™èœCõèƒ¬è ñ£õ†ì‚ °‹IŠð£ì™èœCõèƒ¬è ñ£õ†ì‚ °‹IŠð£ì™èœCõèƒ¬è ñ£õ†ì‚ °‹IŠð£ì™èœ

C.º®òóê¡, 2006-2012, 16.04.2014.

º¬ùõ˜ î£.ªóƒèï£î¡, ªê¡¬ùŠ ð™è¬ô‚èöè‹, ð. 364.

Gè›ˆ¶ è¬ô â¡Á õöƒèŠð´‹ Ãˆ¶ â¡ø è¬ô õ®õ‹

ï£†´Š¹ø ñ‚èO¬ì«ò IèŠªðKò õó«õŸ¬ðŠ ªðŸÁœ÷¶.

ñ‚è«÷ Gè›ˆ¶‹ è¬ôõ®õƒèœ e¶ ñ‚èœ ªðK¶‹ Ý˜õ‹

ªè£œA¡øù˜. °‹I, «è£ô£†ì‹, ¬õ‰î£¬ù Ý†ì‹, è£õ® Ý†ì‹

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«ð£¡ø¬õ ñ‚èœ Gè›ˆ¶‹ è¬ô õ®õƒè÷£°‹. ã¬ùò

è¬ôõ®õƒèœ ªî£N™º¬ø‚ è¬ôë˜è÷£™ Gè›ˆîŠð´ð¬õ.

Üšõ¬èJ™ ñ‚è«÷ Gè›ˆ¶‹ è¬ôõ®õñ£è¾‹ õNð£†´„

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ï‹H‚¬èèœ «ð£¡øõŸ¬ø ÝŒ¾‚°†ð´ˆ¶õ¬î Þ‰î ÝŒõ£÷˜

«ï£‚èñ£è‚ ªè£‡´œ÷£˜.

Þšõ£ŒM¡ Íô‹ ï£†´Š¹ø ñ‚èO¡ õ£›‚¬èº¬ø,

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ð£ì™èO™ ï‹H‚¬èèœ 5. °‹HŠ ð£ì™èO™ Þì‹ªðŸÁœ÷

õóô£ŸÁ„ ªêŒFèœ âù ä‰¶ Þò™èÀ‹ Þì‹ªðŸÁœ÷ù.

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ð£°ð£´èœ Cô Þ¼‰î«ð£F½‹ êìƒ°èœ Ü¬ùõ¼‚°‹ ðƒ«èŸ°‹

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No.89 JULY 2015


Þô‚Aòƒèœ êƒè„ êÍèˆF™ èœ êƒè„ êÍèˆF™ èœ êƒè„ êÍèˆF™ èœ êƒè„ êÍèˆF™ èœ êƒè„ êÍèˆF™ èœ âÂ‹ Þ‰î ÝŒ«õ†®™

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îóñE, ªê¡¬ù - 600 113.


No.89 JULY 2015

18. List of Translations of Tamil Works

THIRUKKURAL

Gujarathi

1. Kalani, Kandilal, L., Thirukural in Gujarathi, Bombay, 1971.

Hindi

1. Khenand Rakar, Thirukural, parts 1 and 2, Ajmer, 1924.

2. Kshemanand Rahat, Thirukural in Hindi, 1924.

3. Govindaraj Jain, Kural in verse, first two parts, New Delhi, 1942.

4. Sankar Raju Naidu, S., Thirukural in Hindi, Madras, 1958.

5. Jain, B.D., Thirukural, thirupananthal, 1961.

6. Venkatakrishnan, M.G., Thirukural, Trichy, 1964.

7. Rajan Pillai, Thirukural, Lucknow, 1976.

8. Seshadri, K., Thirukural in Hindi, Lucknow, 1982.

Kannada

1. Srikanthaiah, B.M., Nitimanjari (part 2), Thirukural, Mysore Translator,

1911, 143p. Poetry.

2. ---, Kural (selections in verses), Bangalore, 1940.

3. Gundappa, L., Thirukural dharma bhaga, Bangalore 1955.

4. Srikanthaiah, B.M., Thirukural, Bangalore: Translator, 1955, 88p. Poetry.

5. ---, Kural Subhashita. Mangalore: Shenoy, K.V., 1956, 18p. Poetry.

6. ---, Thirukural Bangalore: Southern Languages Book Trust, 1960, 299p.

Poetry.

7. Gundappa, L., Thirukural (3 parts), Madras, 1960.

8. Srinivas, P.S., Thirukural with original couplets and translations in

Kannada, Madurai. 1982.

9. Srikanthaiah, B.M., Thirukural Madurai: Madurai Kamaraj University,

1982, 618p. Poetry.

No.89 JULY 2015


Malayalam

1. Azhakathu Kurup, Thirukural in verses, Trivandrum, 1875.

2. Damodaran Pillai, P., Thirukural manikal, Trivandrum, 1951.

3. Gopalakurup, Vennikulam, Thirukural (first 2 parts in verse), Kottayam,

1960.

4. Chellan Nadar, K., Thirukural tharmanaskantam, Parassala, 1962.

5. Balakrishna Nair, G., Kural waith commentary, part I, Trivandrum, 1963.

6. Govinda Pillai, A., Thirukural, Trivandrum.

Marathi

1. Sane Guruji, Kural Tin Prusath. Pune: Continental, 1948, Third ed. 1975,

152p. Poetry.

2. Pursottam Dinkar Joshi, Thirukural , Bombay: Maharastra Rajya Sahitya

Sanskrit Mandal, 1977, xxii, 152p. Poetry.

Oriya

1. Kishrod, Dash, Ch, Thirukural-in Oriya language, Sampalpur, 1985.

2. Bira Kishor Kar, Tiruvalluvar, Kurala Cuttak Vidyapuri, 1987, 80p.

Punjabi

1. Ram Murti Sharma, Thirukural dhamma granth of the tamils,

Chandigarh, 1983.

Rajasthani

1. Kamala Gurg, Thirukural needhi sastra, Jaipur, 1982.

Sanskrit

1. Sriram Desikar, S.N., Thirukural in Sanskrit Slokas, Madras, 1961, 1968.

2. Appa Dikshitar, Neethi kusuma mala, 1922.

Saurastra

1. Ram, S.S. Saurastra, Thirukural payiram pitika pragaranam, Madurai,

1980.


No.89 JULY 2015

Telugu

1. Lakshminarayana Sastri, Kural, Chitoor, 1906.

2. Garimella Satyanarayana, Tirukkural, Arthatraya Sarwasvamu(1), Priya

Agraharam: Sri Sarada Granthamala, 1926, 16+108p. Verse.

3. Jagannatha Sastri, Mudiganthi, Thiruvalluva sookthalu, West Godavari,

1952.

4. Sri Ramulu Reddy, Putalaputti, Tirukkural, Trivargamu Chitoor (A.P.),

The translator, 1955, 14+136p. Verse.

5. Sastri, Senthi Sripati, Tirukkural, Sri Padulu. Madras: The translator, 1960.

14+14+266p. Verse.

6. Jagannatha Raja, Mudunuri, Tiruvalluvar, Mutyula Haramu. Rajapalayam:

Viswa Santi Prachuranalayam, 1978, 16+42p. Poetry.

7. Ramalingachariya, Ch. Tirukkural, Sri Suktulu. Tiruttani: The translator,

1979-86.

8. Veeraswamy Naidu, Sadhna. Tirukkural, Tirupati: Sadhana Publications,

1985, 10+134p. Verse.

9. Jagannath, D. ‘Gurucharan’, Tirukkural, Uuthu kottai: Translator, 1986,

8+134p. Verse.

10. Radha Krishna Sharma, Challa. Tirukkural, Madurai: Lakshmi Naryana

Granthamala, 1989, 20+440p. Verse.

11. Dakshina Vedam, Arudra, Tirukkural, Hyderabad: Telugu University, 1989,

xvi+138p. Poetry.

Urdu

1. Suharawardi Hasarat, Kural in Urdu, New Delhi, 1966.

2. Kohan Muhamad Yusuf, Kural in Urdu andArabic, Madras, 1976.

(to be continued)

No.89 JULY 2015


19. Ë™ ñFŠ¹¬ó

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ÝŸÁŠð¬ì»‹ ð£‡ ñó¹‹ H¡QŠ H¬í‰î¬õ.

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No.89 JULY 2015

20. Guidelines for writing a research article

Thomas V. Perneger, Patricia M. Hudelson

International Journal for Quality

Writing a research article: advice to beginners

Writing research papers does not come naturally to most of us. The typical

research paper is a highly codified rhetorical form. Knowledge of the rules some

- explicit, others implied goes a long way toward writing a paper that will get

accepted in a peer-reviewed journal.

How to write the methods section of a research paper

Author information

The methods section of a research paper provides the information by

which a study’s validity is judged. Therefore, it requires a clear and precise

description of how an experiment was done, and the rationale for why specific

experimental procedures were chosen. The methods section should describe what

was done to answer the research question, describe how it was done, justify the

experimental design, and explain how the results were analyzed. Scientific writing

is direct and orderly. Therefore, the methods section structure should: describe

the materials used in the study, explain how the materials were prepared for the

study, describe the research protocol. Once all elements of the methods section

are written, subsequent drafts should focus on how to present those elements as

clearly and logically as possibly. The description of preparations, measurements,

and the protocol should be organized chronologically. For clarity, when a large

amount of detail must be presented, information should be presented in sub-

sections according to topic. Material in each section should be organized by

topic from most to least important.

` A good research paper addresses a specific research question. The

research question or study objective or main research hypothesis is the central

organizing principle of the paper. Whatever relates to the research question belongs

in the paper; the rest doesn’t. This is perhaps obvious when the paper reports on

a well planned research project. However, in applied domains such as quality

improvement, some papers are written based on projects that were undertaken

for operational reasons, and not with the primary aim of producing new knowledge.

In such cases, authors should define the main research question a posteriori and

design the paper around it.

Generally, only one main research question should be addressed in a paper.

No.89 JULY 2015


Structure of the paper

Once the research question is clearly defined, writing the paper becomes

considerably easier. The paper will ask the question, then answer it. The key to

successful scientific writing is getting the structure of the paper right. The basic

structure of a typical research paper is the sequence of Introduction, Methods,

Results, and Discussion. Each section addresses a different objective. The authors

state: (i) the problem they intent to address in others terms, the research question

in the Introduction; (ii) what they did to answer the question in the Methods

section; (iii) what they observed in the Results section; and (iv) what they think

the results mean in the Discussion.

In turn, each basic section addresses several topics, and may be divided

into subsections (Table 1). In the introduction, the authors should explain the

rationale and background to the study. What is the research question, and why is

it important to ask it? While it is neither necessary nor desirable to provide a full-

blown review of the literature as a prelude to the study, it is helpful to situate the

study within some larger field of enquiry. The research question should always be

spelled out, and not merely left for the reader to guess.

Typical structure of a research paper

Introduction

♦ ♦ ♦ ♦ ♦ State why the problem you address is important

♦ State what is lacking in the current knowledge

♦ State the objectives of your study or the research question

Methods

♦ ♦ ♦ ♦ ♦ Describe the context and setting of the study

♦ ♦ ♦ ♦ ♦ Specify the study design

♦ ♦ ♦ ♦ ♦ Identify the main study variables

Discussion

♦ ♦ ♦ ♦ ♦ State the main findings of the study

♦ ♦ ♦ ♦ ♦ Discuss the main results with reference to previous research

♦ ♦ ♦ ♦ ♦ Analyse the strengths and limitations of the study

Source: OXRFORD UNIVERSITY Journals


No.89 JULY 2015

REGULATIONS FOR SUBMISSION OF

RESEARCH PAPERS IN THE JOURNAL

Scholars from all relevant academic fields of Tamil language,

literature, fine arts, culture, architecture and society are insisted to submit

high quality of Research papers that meet the following requirements :

· Original research findings, reports, review articles and like will be

considered for publication.

· As it is an International journal, the authors are expected to keep the

research papers to an International standard.

· All submitted manuscripts are subjected to a peer review process.

· Papers should be typed utilizing a standard, Unicode font only.

· In transcribing Tamil words or texts, contributors are requested to

make use of the transliteration system adopted by the Madras

University’s Tamil Lexicon (Vol. I-VII 1924-1939).

· The glossary of words given in Tamil (either in conventional

orthography or in transliteration system) may be given immediately

following the quotation: e.g. KuTampai (°ì‹¬ð) ATUu aRicol(ÝÇà ÜPªê£™).

· Submission should not exceed 10 pages in length (typed double-

spaced, with one inch margin).

· The author’s biography in brief including qualifications, special field

of research and e-mail address should be given.

· The author should submit the paper via e-mail ([email protected]) to the

chief editor at International Institute of Tamil Studies.

· Authors of papers selected for submission will be notified by

e-mail.

Prof. Dr. B. Raja

Associate Editor

e-mail: [email protected]

journal of tamil studies july 2015

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