Tolkappiyam and Modern Tamil S

îINò™îINò™ JOURNAL OF TAMIL STUDIES JANUARY 2017

àôèˆ îIö£ó£Œ„C GÁõù‹ F¼õœÀõ˜ Ý‡´ 2047-2048, ¶¡ºA, ñ£˜èN - ¬î INTERNATIONAL INSTITUTE OF TAMIL STUDIES Tharamani, Chennai - 600 113, Tamil Nadu, India. ISSN No. 0022-4855 Vol. No. 95, Issue: January 2017 INTERNATIONAL INSTITUTE OF TAMIL STUDIES Board of Governors JANUARY 2017 CHAIRMAN Thiru Sevvoor S.Ramachandran Hon'ble Minister for Hindu Religious and Charitable Endowments, Tamil Official Language and Tamil Culture, Govt. of Tamil Nadu.

VICE-CHAIRMEN Mr. R.Venkatesan I.A.S. Secretary to Government Tamil Development and Information Department, Govt. of Tamil Nadu.

Vice-Chancellor University of Madras, Chennai.

Vice-Chancellor Annamalai University, Annamalai Nagar.

Vice-Chancellor Madurai Kamaraj University, Madurai.

Vice-Chancellor Tamil University, Thanjavur.

MEMBERS

SECRETARY TO GOVERNMENT Finance Department, Govt. of Tamil Nadu.

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

DIRECTOR Central Institute of Indian Languages, Mysore.

MEMBER SECRETARY Dr. G. Vijayaraghavan Director, International Institute of Tamil Studies, Chennai. îINò™îINò™ JOURNAL OF TAMIL STUDIES JANUARY 2017

àôèˆ îIö£ó£Œ„C GÁõù‹ F¼õœÀõ˜ Ý‡´ 2047-2048, ¶¡ºA, ñ£˜èN - ¬î INTERNATIONAL INSTITUTE OF TAMIL STUDIES Tharamani, Chennai - 600 113, Tamil Nadu, India. www.ulakaththamizh.org / E-mail : [email protected] Phone: 22542992, 22542781/ Fax: 22541436 ISSN No. 0022-4855 Vol. No. 95, Issue: January 2017 BOARD OF EDITORS

Dr. G.L. HART Professor of Tamil Language (Retd.) Dept. of South and South East Asian Studies, University of California, U.S.A.

Dr. S.N. KANDASAMY Professor of Tamil (Retd.), 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

îINòL™ Þì‹ªðÁ‹ è†´¬óèO¡ è¼ˆ¶èÀ‚°‚ è†´¬ó ÝCKò˜è«÷ ªð£ÁŠ¹ Ýõ˜. Articles in the Journal of Tamil Studies do not necessarily represent either the views of the International Institute of Tamil Studies or those of the Board of Editors. ªð£¼÷ì‚è‹

01. ºî¡¬ñ ÝCKò˜ à¬ó 1

02. â‹.âv. Ý‰ˆFó«ù£š °.Ü™L 2

03. ². ¬õò£¹KŠ ð¤œ¬÷ ð£.Þó£ê£ 5

04. Morphology of Tamil Pronominal System - TolkAppiyam and Modern Tamil S. Manoharan 14

05. On the Human Predicament: Shakespeare and the Sangam Poets P. Marudanayagam 31 06. ¹øï£ÛŸÁ ªïPJ™ - ñ£Âìõ£›«õ ñèˆî£ù õ£›¾ è£.eó£ 55

07. àôè Þ¬ê ñŸÁ‹ è¬ôèÀ‚°ˆ î£Œ îI«ö ¹wðõù‹ °Š¹ê£I 68

08. Chola Inscription on a Menhir from Mepara, Rajakumari Panchayat, Idukki district, Kerala Ajit Kumar 78

09. A historical survey of Tamil palm-leaf Manuscripts A. Thasarathan 86 10. °ô¬õ Þ´î™ - Fó£Mì ÝŠHK‚è åŠd´ î£ò‹ñ£œ Üøõ£í¡ 105

11. ð‡¬ìò îIöèˆF™ Ëôèƒèœ Þó£.ªð¼ñ£œê£I 110

12. Ë™ ñFŠ¹¬ó ².îI›„ªê™M 116 Journal of Tamil Studies vi

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«ñ¬ô ï£†´ˆ îIöPë˜ õK¬ê 02. â‹.âv. Ý‰ˆFó«ù£š °.Ü™L HøŠ¹ ÜPë˜ Ý‰ˆFó«ù£š 1931Ý‹ Ý‡´ HŠóõKˆ Fƒèœ 24Ý‹ ï£œ à¼Cò£M¡ î¬ôïèó£ù ñ£v«è£M™, ð®ˆî, ð£ó‹ðKòI‚è APˆîõ‚ °´‹ðˆF™ Hø‰î£˜. è™M 1949Þ™ Ý‰ˆFó«ù£š ñ£v«è£M™ àœ÷ W›ˆF¬ê ªñ£NèO¡ è™M GÁõùˆF™ ñ£íõó£è„ «ê˜‰î£˜. Üƒ° õƒè£÷‹, Þ‰F, îI› ÝAò ªñ£Nè¬÷‚ èŸø£˜. 1954-57 õ¬óJ™ ÜPë˜ â‹.âv.Ý‰ˆFó«ù£š º¶è¬ôŠ ð†ì ñ£íõó£è Ü«î è™M GÁõùˆF™ ð®ˆ¶ˆ «î˜„C»Ÿø£˜. 1958 - 59Ý‹ Ý‡´èO™ ªê¡¬ùŠ ð™è¬ô‚èöèˆF™ îI›ˆ ¶¬øJ™ ÝŒ¾ ñ£íõó£è„ «ê˜‰î£˜. ªðŸø ð†ìƒèœ Ý‰ˆFó«ù£š 1964Þ™ º¶G¬ôŠ ð†ì‹ ªðŸø£˜. º¬ùõ˜ (Ph.D.) ð†ìº‹ º¶ º¬ùõ˜ (D.Litt.) ð†ìº‹ Þ‰Fò ªñ£Nèœ ê£˜‰î ð†ìƒèÀ‹ ªðŸø£˜ (1971).

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îI› ªñ£NJ¡ Þô‚èí ÝŒõ£ù¶ Üî¡ «ð„² õö‚°è¬÷»‹ ð™«õÁõ¬è Þô‚Aò ï¬ìèOL¼‰¶‹ «êèK‚èŠð†ì °PŠ¹èO™ Þ¼‰¶‹ Fó£Mì ªñ£NèO¡ Þô‚èí åŠ¹¬ñè¬÷»‹ ¬ñòŠð´ˆFòî£°‹. Þî¡ Ü®Šð¬ìJ™ Ý‰ˆFó«ù£õ£™ â¿îŠð†ì Grammar of Modern and Classical Tamil (îŸè£ô Þô‚Aò ïò‹ õ£Œ‰î îI›

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 3

Þô‚èí‹) âÂ‹ Ë™ Hªó…² ÜªñK‚è º¬ø»ì¡ Ã®ò ªü˜ñ¡ à¼Cò º¬ø¬òŠ ¹ˆîèŠ ð°Šð£Œ¾‚° à†ð´ˆF â¿îŠð†´œ÷¶. Þ‰î Ë½‚è£èˆ îI› Ýó£Œ„C õ÷˜„C‚ °¿ñˆF¡ ºî™ ðKC¬ù 1973Þ™ îI›ï£´ Üó² Ý‰ˆFó«ù£š Üõ˜èÀ‚° õöƒAŠ ð£ó£†®ò¶. Þ‰Ë™ °Pˆî ÜPë˜èO¡ è¼ˆ¶è÷£õù: âv.«è.ê†ì˜T ªð¼ñFŠ¹ I‚è¶‹ ê£¡ø£î£óƒèO¡ õL¾ ªðŸø¶ñ£ù¶ Þ‰Ë™. ®.ð«ó£ ñFŠHì Þòô£î Iè„Cø‰î Ë™, ê£¡ø£î£óƒèœ ðô ªè£‡ì¶. â‹.H.â‹ñ«ù£ ÞîŸ° º¡ «î£¡Pò Ë™è¬÷Mì¾‹ Þ‰Ë™ º¿¬ñò£ù¶. â„.ªü.H¡«ù£š ªð¼ñFŠ¹I‚è Þ‰ËL¬ùˆ îINò™ ÝŒõ£÷˜èœ «ð£ŸÁõ«î£´ àí˜‰¶ ªè£œ÷¾‹ «õ‡´‹. º¬ùõ˜ â‹.âv.Ý‰ˆFó«ù£M¡ ñŸªø£¼ Ëô£ù¶ A Comparative Grammar of the Dravidian Languages (Fó£Mìªñ£NèO¡ åŠHô‚èí‹) â¡ðî£°‹. Þ‰Ëô£ù¶ Fó£Mì ªñ£NèO¬ì«òò£ù «ð„²õö‚°èœ, ñóHò™ ÃÁèœ, õóô£Á ÞõŸP¡ ªî£ì˜¬ðŠ ðŸP ÝŒõî£°‹. Þ‰î Ë½‹ ªñ£NJò™ ÜPë˜èœ ðôK¡ ð£ó£†¬ìŠ ªðŸøî£°‹. Þõ˜ ãøˆî£ö 190‚°‹ «ñŸð†ì Ë™è¬÷ â¿F»œ÷£˜. ð™«õÁ è†´¬óè¬÷»‹ â¿F»œ÷£˜. «ñ½‹ Þõ˜ «õŸÁ¬ñ à¼¹èO¡ ªî£ì‚è‹, ªðòó¬ì, M¬ùò¬ìèO¡ ¶õ‚è‹ «ð£¡ø¬õ ðŸP»‹ M÷‚èñ£è â¿F»œ÷£˜. îI› ªñ£N Þô‚èíˆ¬îŠ ðŸP å¡ð¶ îQ Ë™èœ â¿F ªõOJ†´œ÷£˜. Cô è†´¬óè¬÷ à¼Cò ªñ£NJ™ â¿F ªõOJ†´œ÷£˜. îI›ˆ ªî£ì˜ð£è Ý‰ˆFó«ù£š â¿Fò Ë™èœ õ¼ñ£Á: 1. A Comparative Grammar of the Dravidian Languages, Moscow : Nauka Publications, 1978 (in Russian), Revised edition in English, Delhi, Ajanta Books.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 4

2. A Grammar of the Tamil language, Moscow : Nauka Publications, 1966, 2nd edition 1987 (in Russian). 3. A Systematization at the Panchronic Grammar of the Tamil Language (in comparative treatment), Institute of Oriental Studies (USSR Academy of Science) 1970 (in Russian). 4. Colloquial Tamil and its Dialects, Moscow : Oriental Literature Publishing House, 1962 ( in Russian). 5. Dravidian languages, Moscow : Nauka Publication, 1965 (in Russian), Revised edition in English 1970 and 2nd edition in English Vijayawada, Visallandhra Publication House, 1977. Malayalam translation, Trivandrum. State Institute of Languages (Kerala) 1976. 6. Grammar of Modern and Classical Tamil, Madras : NCBH, 1969, 2nd edition 1989. 7. Materials for a Bibliography of Dravidian Linguistics, Kuala Lumpur, University of Malaya, 1966 Dictionary Russian. Tamil Dictionary, Moscow : Soviet Encyclopaedia, 1965 (in Colloboration with A.S. Ibra-gimov and N.N. Yaganova), 2nd edition. Moscow Russky Yazik, 1990. 8. Tamil Language, Moscow : Oriental Literature Publishing House, 1960 (in Russian) English Translation, Moscow. Nauka Publications, 1965. 9. Two Lectures on the Historicity of Language Families, Annamalai University, 1968.

ªî£°Š¹ : °.Ü™L, º¬ùõ˜ ð†ì ÝŒõ£÷˜, êÍèMò™, è¬ô (ñ) ð‡ð£†´Š ¹ô‹, àôèˆ îIö£ó£Œ„C GÁõù‹, ªê¡¬ù - 600 113. ï¡P : â‹.âv.Ý‰ˆFó«ù£š Üõ˜èO¡ ¹¬èŠðì‹ ªðÁîŸ° à¼Cò£M™ õ£¿‹ F¼.Üªô‚ú£‡ì˜ ÇHò£¡vA Üõ˜è¬÷ˆ ªî£ì˜¹ ªè£œ÷ ÝŸÁŠð´ˆFò «ñù£œ ªê¡¬ùŠ ð™è¬ô‚ èöèŠ «ðó£CKò˜ õ.ªüò«îõ¡ Üõ˜èÀ‚°‹ â‹.âv.Ý‰ˆFó«ù£M¡ ¹¬èŠðìˆ¬î ÜÂŠH»îMò F¼.Üªô‚ú£‡ì˜ ÇHò£¡vA Üõ˜èÀ‚°‹ Ý‰ˆFó«ù£š °Pˆ¶ ªõOò£ù ÝƒAô Ë™èœ ªðø¾îMò º¬ùõ˜ Ý.îêóî¡ Üõ˜èÀ‚°‹ ï¡P.

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îIöPë˜ õK¬ê 03. ². ¬õò£¹KŠ Hœ¬÷ (1891-1956) ð£.Þó£ê£ F¼ªï™«õL C‚èï£¬èò¡ Aó£ñˆ¬î„ «ê˜‰î êóõíŠªð¼ñ£œ Hœ¬÷, ð£Šð‹ñ£œ Þ¬íò˜‚° 1891Ý‹ Ý‡´ ïõ‹ð˜ˆ Fƒèœ 12Ý‹ ï£œ ¬õò£¹KŠ Hœ¬÷ ñèù£èŠ Hø‰î£˜. è™M„ªê™õ‹ Gó‹Hò °´‹ðˆ¬î„ «ê˜‰îõ˜ ².¬õò£¹KŠ Hœ¬÷. F¼ªï™«õL¬ò âN™ Ã†´‹ î£Ióõ¼E ÝŸ¬øŠ ¹è›‰¶ ‘î£‹Hóõ¼E ¹ó£í‹’ (Ü) ‘ªð£¼¬ï ñ£î£ ¹ó£í‹’ â¡ø èM¬î Ë¬ô ÞòŸPòõ¼‹ Cø‰î ªê£Ÿªð£Nõ£÷¼ñ£ù Aó£ñ ².¬õò£¹KŠ Hœ¬÷ º¡YŠð£è «õ¬ôð£˜ˆî êƒèó‹ Hœ¬÷òõ˜èœ «ðó£CKòK¡ î‰¬îõNŠ ð£†ìù£ó£õ£˜. î£ŒõNŠ ð£†ìù£˜ Cø‰î ªð£Pò£÷˜. Üõ˜î‹ ªðòó£ù ¬õò£¹KŠ Hœ¬÷¬òˆî£¡ «ðó£CKò¼‚°„ Å†®»œ÷ù˜. «ðó£CKòK¡ î‰¬îò£˜ õ¼õ£Œˆ¶¬ø‚ è‡è£EŠð£÷ó£èŠ ðEò£ŸPòõ˜. ¬êõˆF¡ e¶ ªè£‡ì ðŸø£™ ðE¬òˆ ¶ø‰¶ Cõ õNð£†®™ î‹ ñ¬ùM¬ò»‹ Þ¬íˆ¶‚ ªè£‡ìõ˜. Ü„ Cõ õNð£†®¡ è£óíñ£è ï£À‹ «îõ£óº‹ F¼õ£êèº‹ ¶FŠð£ì™èÀ‹ G¬ø‰î Åö«ô «ðó£CKò˜‚°ˆ îIö£˜õ‹ Þò™ð£è á¡ø‚ è£óíñ£JŸÁ. ðœO‚ è™M «ðó£CKòK¡ ªî£ì‚è‚è™M ªï™¬ô ÝCKò˜ èíðFŠ Hœ¬÷J¡ F‡¬íŠ ðœOJ™ ªî£ìƒAò¶. Þ¬ìG¬ô‚è™M¬òŠ ð£¬÷òƒ«è£†¬ì Éò «êMò˜ ðœOJ™ èŸø£˜. H¡ù˜ ªñ†K°«ôê¡

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 6

è™M¬òˆ F¼ªï™«õL ñ¶¬ó FóMò‹ î£»ñ£ùõ˜ Þ‰¶‚ è™ÖKJ™ ðJ¡ø£˜. è™ÖK‚ è™M 1906Þ™ F¼ªï™«õL Þ‰¶‚ è™ÖKJ™ âçŠ.ã. âÂ‹ ð†ì º¡ð®Š¬ðŠ ðJ¡ø£˜. 1910Þ™ ªê¡¬ù‚ APˆ¶õ‚ è™ÖKJ™ õóô£Á ñŸÁ‹ ªð£¼÷£î£óˆ¬î ºî¡¬ñŠð£ìƒè÷£è‚ ªè£‡ì Þ÷ƒè¬ô ðJ¡Á 1912Þ™ ð†ì‹ ªðŸø£˜. Þ÷ƒè¬ôŠ ð®ŠH¡ ªð£¿«î Cõè£I â¡ðõ¬óˆ îñ¶ õ£›‚¬è Þ¬íòó£è ãŸø£˜. H¡ù˜, F¼õù‰î¹ó‹ ñè£ó£ü£ ê†ì‚è™ÖKJ™ 1913-14Ý‹ è™Mò£‡®™ H.â™. ð®ŠH™ «ê˜‰¶ ð†ì‹ ªðŸø£˜. îñ¶ î‰¬îòK¡ M¼ŠðˆFŸ«èŸð„ êñŸA¼î ªñ£N¬ò»‹ ¬êõ, ¹ó£íˆ îˆ¶õƒè¬÷»‹ èŸøP‰î£˜. êñŸA¼îˆ¶ì¡ ÝƒAô ªñ£NJ½‹ ¹ô¬ñ ªðŸø£˜. Þ¬êòP¾‹ I‚èõ˜. ²õ®ˆ¶¬ø, ªñ£Nªðò˜Š¹ˆ ¶¬øJ½‹ Cø‰¶ M÷ƒAòõ˜. ðE 1914Þ™ ê†ì‹ ðJ¡Á º®ˆî Ü«î Ý‡®™ F¼õù‰î¹ó‹ àò˜cF ñ¡øˆF™ õö‚èPëó£èŠ ðF¾ ªêŒî£˜. Ýù£™ 1922 õ¬ó â†´ Ý‡´è«÷ õö‚èPëó£èŠ ðEò£ŸPù£˜. ð£‹ð¡ îõˆF¼ °ñó°¼î£ê ²õ£Ièœ ñŸÁ‹ ñ¬øñ¬ô Ü®èœ ÝA«ò£K¡ ªî£ì˜ð£™ ªðŸø îIöP¾‹ ÝŒ¾ñùŠð£¡¬ñ»‹ «ðó£CKò¬óˆ îIö£Œ¾ «ñŸªè£œ÷ˆ É‡®ù. «ðó£CKò˜ îI› Þô‚Aò‹ ð®ˆî ñ£íõó™ô£î ªð£¿¶‹ è™ÖK ï£œèO«ô«ò ‘ªï´ï™õ£¬ì»‹ ï‚Wó¼‹’ âÂ‹ î¬ôŠH™ ªê£Ÿªð£N¾ ÝŸøˆî‚è îIöP¾¬ì«ò£ó£Œ M÷ƒAù£˜. ñ¶¬óˆ îI›„êƒè‹ è™ÖK ñ£íõ˜‚A¬ì«ò ïìˆFò îI›ˆ «î˜M™ ñ£GôˆF«ô«ò ºîô£ñõó£èˆ «î˜„CªðŸÁ„ «ê¶ðF îƒèŠðî‚èˆ¬î»‹ ªõ¡ø£˜. «ðó£CKòK¡ îIö£˜õˆFŸ° ãŸø£Ÿ«ð£™ ªê¡¬ùŠ ð™è¬ô‚èöè‹ 1926 ïõ‹ðK™ «ðóèó£Fªî£°‚°‹ ðE¬ò ãŸè õ¼ñ£Á «ðó£CKò¼‚° Ü¬öŠ¹ M´ˆî¶. Üˆ¶¬øJ™ ðFŠð£CKòó£èŠ ªð£ÁŠ«ðŸÁ Üšõèó£F¬ò 1936Þ™ º¿¬ñò£è ªõO‚ªè£í˜‰î ªð¼¬ñ «ðó£CKò¬ó«ò ê£¼‹.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 7

Üˆªî£°Š¹Š ðE¬òŠ ð£ó£†®Š HK†®w Üóê£ƒè‹ Ü‚è£ô õö‚°Šð®, «ðó£CKò¼‚° ‘ó£š ê£AŠ’ ð†ì‹ õöƒA„ CøŠHˆî¶. «ðóèó£F ªî£°ˆî™ F†ì‹ G¬øõ¬ì‰î¾ì«ù ªê¡¬ùŠ ð™è¬ô‚ èöèˆF¡ îIö£ó£Œ„Cˆ¶¬øˆ î¬ôõó£è 1936Þ™ ªð£ÁŠ«ðŸø£˜. ðˆî£‡´èœ ðEò£ŸPòH¡ 1946Þ™ æŒ¾ªðŸø£˜. ªê¡¬ùŠ ð™è¬ô‚ èöèˆF™ æŒ¾ªðŸø H¡ù˜ˆ F¼õù‰î¹ó‹ F¼Mî£ƒÃ˜Š ð™è¬ô‚ èöèˆF™ îI›ˆ¶¬øˆ î¬ôõó£èŠ ªð£ÁŠ«ðŸø£˜. Ü‚è£ôˆF™ êƒè Ë™èÀ‚°„ ªê£™ô¬ì¾ îò£K‚°‹ ðEJ™ ß´ð†ì£˜. ÜŠðEJ™ º¬ùõ˜ õ.ÜŒ.²ŠHóñEò‹, º¬ùõ˜ ê.«õ.²ŠHóñEò¡, º¬ùõ˜ ñ£.Þ¬÷òªð¼ñ£œ ºîL«ò£˜ º¬ø«ò ¹øï£ÛÁ, Üèï£ÛÁ, äƒ°ÁËÁ ºîLò êƒè Þô‚Aò Ë™èÀ‚°„ ªê£™ô¬ì¾ îò£Kˆîù˜. ÞƒA¼‰¶ 1954Þ™ ðE æŒ¾ ªðŸø£˜. îI›Š «ðóèó£FJ¡ î¬ô¬ñŠ ðFŠð£CKòó£è¾‹ Cø‰î Ýó£Œ„Cò£÷ó£è¾‹ Føù£Œõ£÷ó£è¾‹ M÷ƒAò «ðó£CKò˜ ².¬õò£¹KŠHœ¬÷ ÜŠªð¼‹ðEèÀ‚A¬ìJ™ «ñ½‹ ðô îI›ŠðEè¬÷ ÝŸPJ¼Šð¶ ï‹¬ñ MòŠH™ Ý›ˆ¶Aø¶. è£ô Ýó£Œ„Cò£÷˜, ²õ®ò£÷˜, ðFŠð£CKò˜, Ëô£CKò˜, ï£õô£CKò˜, CÁè¬îò£CKò˜, èMë˜, ªñ£Nªðò˜Šð£÷˜, è†´¬óò£÷˜, Þ¬êòPë˜, Cø‰î ñ£íõ˜, ï†ð£÷˜, «î˜‰î G¼õ£A, ï´G¬ôò£÷˜ âùŠ ð¡ºè ÝŸø™ I‚èõó£èŠ «ðó£CKò˜ Fè›Aø£˜. ðFŠð£CKò˜ ²õ® õ£CŠð¶ â¡ð¶ è®ùñ£ù¶. ÜîŸªèùˆ îQŠ ðJŸC«î¬õ. C¬î‰î â¿ˆ¶‚è¬÷ ÜÁFJ´õ¶ âOî£ùî¡Á. ªêŒ»œ Ü¬ñŠ¹, ªð£¼œ ªð£¼ˆî‹, ªê£™õö‚° ºîLòõŸ¬ø Ýó£Œ‰¶ à‡¬ñŠð£ìˆ¬îˆ ªîOî™ «õ‡´‹. ªð£Á¬ñ‚°‹ ÜP¾‚°‹ êõ£™M´‹ ÞŠðEJ™ «î˜‰îõ˜ «ðó£CKò˜ â¡ð¬î Üõ˜ ðFŠHˆî Ë™èO¡ õNòPòô£‹. ðFŠ¹Š ðEèœ (37 Ë™èœ) ♦ 1922Þ™ ñ«ù£¡ñaò‹ (ðFŠ¹) ♦ 1925Þ™ Þó£üó£ü «îõ˜ àô£ (ðFŠ¹) ♦ 1927Þ™ ¶A™M´É¶ (ðFŠ¹)

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 8

♦ 1930Þ™ 1. F¼º¼è£ŸÁŠð¬ì - âOò à¬ó (ðFŠ¹) 2. ï£ñbðGè‡´ (ðFŠ¹) ♦ 1931Þ™ 1. Ü¼œ º¼è£ŸÁŠð¬ì (ðFŠ¹) 2. è÷MòŸè£K¬è (ðFŠ¹) 3. Ü¼‹ªð£¼œ M÷‚è Gè‡´ (ðFŠ¹) ♦ 1932Þ™ 1. Fùèóªõ‡ð£ (ðFŠ¹) 2. è‹ðó£ñ£òí‹ - »ˆî è£‡ì‹ (ºî™ Í¡Á ðìô‹) (ðFŠ¹) 3. °¼Ã˜ŠðœÀ (ðFŠ¹) 4. F¼‚°Áƒ°® ÜöAò ï‹H àô£ (ðFŠ¹) 5. 1. (Ü) F¼ŠðE ñ£¬ôèœ (ðFŠ¹) (Ý) ªî¡ F¼Š«ð¬ó ñèó ªï´ƒ°¬ö‚è£î˜ F¼ŠðEñ£¬ô (Þ) F¼‚«è£Ù˜ ¬õˆî ñ£GF F¼ŠðEñ£¬ô 2. ªî£™è£ŠHò‹ - ªð£¼÷Fè£ó‹ - Þ÷‹Ìóí‹ (è÷Mò™, èŸHò™, ªð£¼Oò™) (ðFŠ¹) 3. ªï™M´ É¶ (ðFŠ¹) 4. Ì«è£÷ Mô£ê‹ (ðFŠ¹) ♦ 1934Þ™ 1. ñ¶¬ó‚ «è£¬õ (ðFŠ¹) 2. Þó£ñLƒ«èê˜ «ðK™ ðíM´ É¶ (ðFŠ¹) 3. ºŠð‰ªî£†®»ô£ (ðFŠ¹) 4. ªð£F¬è Gè‡´ (ðFŠ¹) ♦ 1935Þ™ ªî£™è£ŠHò‹ - ªð£¼÷Fè£ó‹ - Þ÷‹Ìóí‹ (ªñŒŠð£†®ò™, àõ¬ñJò™, ªêŒ»Oò™, ñóHò™) (ðFŠ¹) ♦ 1936Þ™ 1. ªîŒõ„ C¬ôò£˜ MøLM´É¶ (ðFŠ¹) 2. ê£ˆÉ˜ ªï£‡® ï£ìè‹ (ðFŠ¹) ♦ 1937Þ™ 1. è‹ðó£ñ£òí‹ - ð£ôè‡ì‹ ºî™ ã¿ðìô‹ (ðFŠ¹) 2. ðFªù‡W›‚èí‚° (ðFŠ¹) ºòŸC ♦ 1938Þ™ ¹øˆFó†´ (ðFŠ¹) ♦ 1939Þ™ èò£îó‹ (ðFŠ¹) ♦ 1940Þ™ 1. êƒè Þô‚Aò‹ (ð£†´‹ ªî£¬è»‹) (ðFŠ¹) 2. ªè£‡ì™ M´ É¶ (ðFŠ¹) ♦ 1942Þ™ FKè´èº‹ CÁ ð…êÍôº‹ (ðFŠ¹)

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 9

♦ 1943Þ™ F¼º¼è£ŸÁŠð¬ì, à¬óò£CKò˜ à¬ó (ðFŠ¹) ♦ 1944Þ™ 1. ï£¡ñE‚è®¬è (ðFŠ¹) 2. Þ¡ù£ ï£Ÿð¶ (ðFŠ¹) ♦ 1949Þ™ ÞQò¬õ ï£Ÿð¶ (ðFŠ¹) ♦ 1950Þ™ Þó£ñŠ¬ðŒò¡ Ü‹ñ£¬ù (ðFŠ¹) ♦ 1953Þ™ 1. ºîô£Jó‹ (ðFŠ¹) 2. ÞóM‚°†®Š Hœ¬÷Š «ð£˜ (ðFŠ¹) ♦ 300‚°‹ «ñŸð†ì îI›„²õ®è¬÷„ «êèKˆ¶‚ è™èˆî£ ËôèˆFŸ°‹ õöƒAù£˜. ÞŠðFŠ¹Š ðE‚° 15 Ý‡´èœ Göô£Œ Þ¼‰¶ àîMòî£èˆ îñ¶ ñ£íõ˜ Mˆ¶õ£¡ F¼.º.ê‡ºè‹ Hœ¬÷òõ˜è¬÷ ñù‹ Fø‰¶ ð£ó£†´Aø£˜ «ðó£CKò˜. «ðó£CKò˜ â¿Fò Ë™èœ 13 îINò™ â¡Á îŸªð£¿¶ ÃøŠð´‹ ÜPMò™ ðóŠ¹ º¿õ¬î»‹ ãøˆî£ö 50 Ý‡´èÀ‚° º¡ù«ó îñ¶ ðó‰î ªñ£N, Þô‚Aò, Þô‚èí, ð¡ªñ£NˆFø‹, ê†ìˆ¶¬ø ÜP¾ ¸µ‚è‹ «ð£¡øõŸø£™ ¸µA ÝŒ‰¶ ðô Ë™è¬÷ â¿Fòõ˜. Þõ˜ ñ¬ø¾‚°Š H¡Â‹ ðô Ë™èœ ªõO‚ªè£íóŠð†ìù â¡ð¶ °PŠHìˆî‚è¶. ♦ 1926Þ™ îIöèó£FJ¡ Ü¬ñŠ¹º¬ø ªõOf´ ♦ 1930Þ™ î£‹ â¿Fò ÝŒ¾‚ è†´¬óè¬÷ˆ ªî£°ˆ¶ ºî¡ºîL™ ‘Ýó£Œ„Cˆ ªî£°F’ âÂ‹ ªðòK™ ºî™ Ë¬ô ªõOJ†ì£˜. ♦ 1934Þ™ CÁè¬î ñ…êK (CÁè¬îˆ ªî£°Š¹) ð£¬ôò£ âÂ‹ ªðòK™ â¿Fù£˜. ♦ 1947-50Þ™ 1. Þô‚Aò„ C‰î¬ùèœ 2. îIN¡ ñÁñô˜„C ♦ 1949Þ™ îIö˜ ð‡ð£´ ♦ 1950Þ™ 1. Þô‚Aò àîò‹ 2. è‹ð¡ Ýó£Œ„CŠ ðFŠ¹ (CÁË™) ♦ 1951Þ™ à¬óñE ñ£¬ô ♦ 1952Þ™ 1. Þô‚Aò àîò‹ II 2. Þô‚Aò bð‹ ♦ 1954Þ™ Þô‚Aò ñE ñ£¬ô ♦ 1955Þ™ è‹ð¡ è£Mò‹

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 10

«ðó£CKò¡ ñ¬ø¾‚°ŠH¡ ªõOõ‰î Ë™èœ 9 ♦ 1956Þ™ 1. Þô‚èí„ C‰î¬ùèœ 2. Fó£Mì ªñ£NèO™ Ýó£Œ„C 3. ªê£Ÿè¬ô M¼‰¶ 4. ªê£ŸèO¡ êKî‹ 5. History of Tamil Language and Literature ♦ 1957Þ™ îINô‚Aò„ êKîˆF™ è£Mò è£ô‹ ♦ 1958Þ™ Þô‚Aò M÷‚è‹ ♦ 1959Þ™ 1. Üèó£F G¬ù¾èœ 2. ó£T (ï£õ™) CÁè¬îò£CKò˜ «ðó£CKò˜ ¬õò£¹KŠ Hœ¬÷J¡ CÁè¬îèœ è¬ôñèœ, Ýù‰îMèì¡, bð£õO ñô˜, Üºî²óH «ð£¡ø Þî›èO™ ªõOõ‰îù. ð£¬ôò£ â¡ø ªðòK™ Üõ˜ â¿Fò CÁè¬îè¬÷ˆ ªî£°ˆ¶ˆ FùñE 1952Þ™ ‘CÁè¬î ñ…êK’ â¡ø ªðòK™ ªõOJ†ì¶. Þ‚è¬îˆ ªî£°ŠH™ 9 CÁè¬îèœ àœ÷ù. Ü¬õ à‡¬ñ‚è¬îè÷£è¾‹ î¿õ™ è¬îèÀñ£è M÷ƒ°A¡øù. 1. ñEº® ñ£O¬è 6. ñˆî÷‚è£ó¡ 2. ó£ºM¡ ²òêKî‹ 7. ð£ô«è£ð£ô¡ õö‚° 3. ²Y¬ô 8. «ðê£ñì‰¬î 4. àF˜‰îñô˜ 9. æKó¾ 5. ê‰Fó£ ðNõ£ƒAò¶ èMë˜ ñŸÁ‹ ªñ£Nªðò˜Šð£÷˜ «ðó£CKò˜ Þ÷‹ ð¼õˆF«ô«ò èM¬îð£´‹ ÝŸø™ ªðŸøõó£Œˆ Fè›‰¶œ÷£˜. ªõ‡ð£, ªõ‡ªê‰¶¬ø, M¼ˆî‹ ð£´õF½‹ õ™ôõó£Œˆ Fè›‰¶œ÷£˜. ñó¹ªïP õ¿õ£¶ ð£ìLòŸÁõF™ Ý˜õ‹ è‡´œ÷£˜. «ñ½‹ èM¬îè¬÷»‹ è¬îè¬÷»‹ ªñ£Nªðò˜ŠðF½‹ Cø‰¶

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 11

M÷ƒA»œ÷£˜. ªñ£Nªðò˜Š¹‚ èM¬îèO™ âAŠFò èM¬î, Yù‚èM¬î, Þ¼‚°«õî‚ èM¬î, Üî˜õí«õî‚ èM¬î, ¹ˆî˜, ü£îè‚è¬î, ÝƒAô‚ èM¬î ÝAò¬õ Üìƒ°‹. Þõó¶ èM¬îè÷£è, 1. â¡ ªê™õƒèœ 6. õœÀõ˜ F¼Šªðò˜èœ 2. â¡ªêŒ«è¡ 7. îI›ŠðE 3. ªñL¾ ã¡? 8. õ£›ˆ¶Š ð£‚èœ 4. M¬÷»Iì‹ 9. ÞóƒèŸð£‚èœ 5. â¡ù àø¾ 10. ªñ£Nªðò˜Š¹‚ èM¬îèœ âùŠ ð†®ò™ c‡´ ªê™Aø¶. «ðó£CKò˜ ².¬õò£¹KŠHœ¬÷ ÝŸPò ªê£Ÿªð£N¾èœ ♦ 1912Þ™ ‘ªï´ï™õ£¬ì»‹ ï‚Wó¼‹’ - ð£¬÷òƒ«è£†¬ì ¬êõê¬ð (ºîŸªð£N¾). ♦ 1915Þ™ ‘õœÀõ˜ F¼ï£œ’ - ªï™¬ô ñ£íõ˜ êƒè‹. ♦ 1922Þ™ ‘îIN¡ îŸè£ô G¬ô¬ñ’- F¼õù‰î¹ó‹. ♦ 1942Þ™ ‘ñè£ñ«è£ð£ˆFò£ò ì£‚ì˜ ê£Iï£¬îò˜’ - F¼õ™L‚«èE Þ‰¶ Þ¬÷ë˜ êƒè‹. ♦ 1947-50Þ™ ‘îI¿‹ ²î‰Fóº‹’ ²î‰Fó Fù Mö£„ ªê£Ÿªð£N¾. ♦ 1949Þ™ ‘îI› Þô‚Aò„ êKîˆF™ è£Mòè£ô‹’ ªî£ì˜ ªê£Ÿªð£N¾, F¼Mî£ƒÃ˜Š ð™è¬ô‚ èöè‹. ♦ 1950Þ™ ‘ì£‚ì˜ ê£Iï£¬îò˜ G¬ù¾ ï£œ’, ê£Iï£¬îò˜ Ë™ G¬ôò‹, Ü¬ìò£Á, ªê¡¬ù. ♦ 1954Þ™ ‘Þó£ñ è£¬î’ - F¼.ªê£. º¼èŠð£M¡ ð£ôè£‡ìŠ ðFŠ¹ ªõOf†´ Mö£, è£¬ó‚°® è‹ð¡ èöè‹. è†´¬óò£÷˜ «ðó£CKò˜ 20 è†´¬óè¬÷ õöƒA»œ÷£˜. ♦ 1919Þ™ ‘13Ý‹ ¹øŠð£†´‹ à¬ó»‹’ ªê‰îI›, ºî¡ ºîL™ Ü„²õ£èù«ñPò ÝŒ¾‚ è†´¬ó. ♦ 1919-20Þ™ ‘F¼õœÀõK¡ êñò‹’, ªê‰îI›. ♦ 1920Þ™ ‘à¬óè£ó˜èÀ‹ Ü‡¬ñ MO»‹’, ªê‰îI›. ♦ 1921-22Þ™ 1. ‘ñ«ù£¡ñaò‹’, ªê‰îI›. 2. ‘õìªñ£N»‹ îI¿‹’, ªê‰îI›. ♦ 1923Þ™ ‘è‹ð¡ F¼ï£œ’, F¼ªï™«õL è‹ð¡ èöè‹.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 12

♦ 1925Þ™ ‘õ˜í¬ù ñó¹èœ’, ªê‰îI›. ♦ 1932Þ™ ‘ïóè£²ó¡ è¬î’, Ýù‰î Mèì¡ bð£õO ñô˜. ♦ 1938Þ™ 1. ‘°Á‰ªî£¬è’, èó‰¬îˆ îI›„êƒè ªõœO Mö£ ñô˜. 2. ‘º. Þó£è¬õòƒè£˜’, º.Þó£è¬õòƒè£˜ ÜÁðî£‹ Ý‡´ Mö£ ñô˜. ♦ 1942Þ™ ‘Þô‚Aòº‹ êÍèº‹’, ªê‰îI›. ♦ 1943Þ™ ‘F¼º¼è£ŸÁŠð¬ì’, ªê‰îI›. ‘ðˆ¶Šð£†´‹ ÜõŸP¡ è£ôº¬ø»‹’, ªê‰îI›. ‘ºˆªî£œ÷£Jó‹’, õê‰î‹. ♦ 1947-50Þ™ ‘ªê£™½‹ ªð£¼À‹’, FùñE ï£Oî›. ♦ 1949Þ™ ‘è¬îŠð£†´’, è¬ô‚èF˜. ♦ 1954Þ™ ‘The Age of Kamban A Rejoinder’, Indian Express. ♦ 1955Þ™ ‘FùñEèFK™ - Þô‚Aò ñ‡ìð‹’ õK¬êJ™ ÝŒ¾‚ è†´¬óèœ ªõOJ´î™. «ðó£CKò˜ õAˆî àÁŠHù˜ ªð£ÁŠ¹ : 4 Ü¬ñŠ¹èœ ♦ è¬ôñèœ FƒèOî› - Þîö£CKò˜ °¿ àÁŠHù˜. ♦ ‘îIö¡ð˜ ñ£ï£´’ - ªê¡¬ù, G¼õ£è‚ °¿ àÁŠHù˜. ♦ ì£‚ì˜ à.«õ.ê£Iï£¬îòK¡ 80Ý‹ Ý‡´ Mö£ àÁŠHù˜. ♦ ñ¬ôò£÷‹ ªô‚Cè¡ ðFŠ¹‚°¿ àÁŠHù˜. ²òêK¬î ♦ ð‹ð£Œ F.«è. «îõ˜ â¡ð£˜ îI›„²ì˜ ñEèœ Ë¬ô ªõOJ†ìªð£¿¶, Üõó¶ «õ‡´«è£À‚AíƒèŠ «ðó£CKò˜ ²òêK¬î¬ò â¿Fù£˜. «ðó£CKò˜ õAˆî î¬ô¬ñŠ ªð£ÁŠ¹èœ : 6 «î˜‰î G¼õ£A â¡ðîŸ°„ ê£¡ø£è Üõ˜ õAˆî î¬ô¬ñŠ ªð£ÁŠ¹èœ M÷ƒ°A¡øù. Cø‰î G¼õ£A‚°Kò ð‡¹èO™ Cø‰î¶ Ü¡ø£ìŠ ðF¾èÀ‹ F†ìIì½«ñ. «ðó£CKò¼‹ ï£œ îõø£ñ™ ï£†°PŠ¹ â¿¶ðõ˜ . ♦ ñ¶¬óˆ îI› ÜHM¼ˆF„ êƒèˆ îI› Þô‚Aò ñ£ï£†´ˆ î¬ô¬ñ.

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♦ ï£è¹K‚ W¬ö‚è¬ô ñ£ï£†®™ Fó£Mì ªñ£NŠ ð°F‚°ˆ î¬ô¬ñ. ♦ ¬êõCˆî£‰î ñè£êñ£ü Ý‡´ Mö£ˆ î¬ô¬ñ. ♦ îI›Š ¹ˆîèˆ «î˜¾‚°¿ˆ î¬ôõ˜. ♦ è£¬ó‚°® è‹ð¡ Mö£ˆ î¬ô¬ñ. ♦ Þô†²ñí¹KJ™ ïì‰î W¬ö‚è¬ô ñ£ï£†®™ Fó£Mì ªñ£NŠ ð°F‚°ˆ î¬ô¬ñ. ï´G¬ôò£÷˜ ♦ ªê¡¬ùŠ ð™è¬ô‚èöè‹ H.ã.â™.H., (Ýù˜v) â‹.ã. ºîLò ð†ìˆ«î˜¾èÀ‚° Üõ¬óˆ «î˜õ£÷ó£è GòIˆî¶. ♦ è™Mˆ ¶¬øŠ ð£ìƒè¬÷ˆ «î˜‰ªî´‚°‹ «î˜¾‚°¿M¡ î¬ôõó£èˆ îIöè Üó² GòIˆî¶. ♦ ªê¡¬ùŠ ð™è¬ô‚èöè‹, Ü‡í£ñ¬ôŠ ð™è¬ô‚èöè‹, F¼Mî£ƒÃ˜Š ð™è¬ô‚èöè‹ ÝAòõŸP™ ð£ìˆF†ì‚ °¿ àÁŠHùó£è„ ªêòô£ŸPù£˜. ♦ ñ¶¬óˆ îI›„êƒèˆF™ ð‡®î˜ «î˜¾‚°¿ àÁŠHùó£è¾‹ ðEò£ŸPù£˜. ♦ è™èˆî£ ð™è¬ô‚èöèˆF¡ ªð£PJò™ GÁõùº‹ Þõ¬óŠ ðò¡ð´ˆF‚ ªè£‡ì¶. ♦ îI›ï£´ F¬óŠðìˆ îE‚¬è‚ °¿ àÁŠHùó£è¾‹ Í¡ø£‡´èœ ªêòô£ŸPù£˜ (1947- 1950). «ðó£CKò˜ ñ¬ø¾ ð¡ºè ÝŸøô£÷ó£Œˆ Fè›‰î ².¬õò£¹KŠ Hœ¬÷òõ˜èœ ñ˜«ó âv.ó£ü‹ Üõ˜èO¡ «õ‡´«è£À‚Aíƒèˆ FšòŠ Hóð‰îˆFŸ° ñ‚èœ ðFŠH¬ù ªõOJ´‹ ðEJ™ ß´ð†´ ºîô£Jóˆ¬î ªõO‚ªè£í˜‰î£˜. ñŸø Í¡Á ÝJóƒè¬÷»‹ ªõOJ´õîŸ° º¡ 17.02.1956 Ü¡Á îñ¶ ÜÁðˆ¶ ä‰î£õ¶ õòF™ ÞòŸ¬è âŒFù£˜.

ªî£°Š¹: º¬ùõ˜ ð£.Þó£ê£, «ðó£CKò˜, êÍèMò™ è¬ô (ñ) ð‡ð£†´Š ¹ô‹ ñŸÁ‹ Þ¬í ÝCKò˜ îINò™, àôèˆ îIö£ó£Œ„C GÁõù‹, îóñE, ªê¡¬ù - 600 113.

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04. Morphology of Tamil Pronominal System - TolkAppiyam and Modern Tamil S.Manoharan Tamil, one of the living classical languages of the world has developed its finest, elaborate and well defined grammatical tradition even before the period of TolkAppiyam written by TolkAppiyar. Though, its period is fixed around 3rd to 5th centuries B.C., scholars are of the opinion that even prior to TolkAppiyam, there existed various grammars written for Tamil language by different grammarians. One such grammar was Agattiyam written by a saint named Agasthiyar about which Winslow states: ... in the sixth or seventh century before Christ at the head of a similar Colony, we find the celebrated Agastya, called the father of Tamil. He is said to have learned it from Skanda, the second son of Siva. We are not to suppose that he formed the Tamil Alphabet. The words â¿ˆ¶, letter, and ²õ®, book are original Tamil; and show that such existed before there were any innovations from Sanscrit, which Agastya himself commenced. He formed the first Tamil Grammar. It contained 12,000 Sutras (Dr. M. Winslow, Preface, A Comprehensive Tamil-English Dictionary, S. Bavanandam Pillai, 1925). Unfortunately, except the references found in other Tamil works, we could not get Agasthya’s original Tamil grammar. But, till today, he survives in the Aryanized myth which states that Lord Siva taught Tamil to Agasthya and Sanskrit to Panini, the author of the Sanskrit grammar As. T Atyayi (Manoharan, 2012). So, the independent Tamil grammatical tradition has been well established in this myth itself. Further, TolkAppiyar himself uses the words eVpa ‘it is told’, eVmaVAr ‘it is told by scholars’ and eVmaVAr pulavar ‘it is told by the poets’ at the end of more than 250 sutras Dr. S. Manoharan, Former Head in Charge, Department of Lexicography in CICT, Taramani, at present External Expert, (CICT), Chennai – 600 113.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 15 after precisely explaining the particular phonological or morphological aspect of Tamil language (Varadarajan, 1972:6). So, it is clear that even before the period of TolkAppiyam, the earliest available Tamil grammar, there existed several grammars and hence in acknowledging their views TolkAppiyar has used such words like eVpa, eVmaVAr and eVmaVAr pulavar. The uniqueness of the history of Tamil language is that it starts with a grammar and not with a literature as it used to be for other established languages. So, the classicality of Tamil language has been well established by the age old independent grammatical and literary traditions that it had. Later, it came in contacts with several cultural and linguistic groups. At a later period in the changed socioreligious and sociopolitical scenanarios of Tamil land many languages like Sanskrit, Prakrit, Arabic, Persian, Portuguese, French and English started to dominate and influence the Tamil language and Tamil culture. But, in spite of all happenings, it survived all through the years and hence it is one among the five surviving classical languages of the world (Tamil, Chinese, Arabic, Hebrew and Persian). Till today many of its grammatical traits have survived in one or the other Tamil dialect or in the common spoken Tamil variety. According to Professor T.P. Meenakshisundaran (1955: Reprint, 1961:3): “The Tamil language like Janus, looks backward to the ancient world and looks forward to the modern world, with the Future still in its womb. It is both a Classical Language, shaping itself with logical precision and wondrous rhythm as a beautiful and befitting medium for poetry and philosophy and a modern language shaping itself as a powerful and proper vehicle for the scientific and practical thoughts for unlike other classical languages, it has refused to die.”

No doubt, TolkAppiyam is an elaborate authentic grammatical work for Tamil language. But, the basic questions raised by the scholars are about its source whether TolkAppiyar considered only the written form of Tamil or considered the spoken form of Tamil also while writing his grammar. If at all, he considered the spoken variety of Tamil language what kind of spoken variety in terms of the region where it was spoken was considered. TolkAppiyar in his monumental work refers to the different Tamil regional varieties spoken in Tamil land and the written and the spoken varieties also. But, one could not make out the differences categorically, whether the particular sutra describes the common written variety followed by one and all irrespective of

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 16 their regions or a particular spoken variety or after considering both. In the poem written by PaVampAraVAr, he mentions the following points: 1. Tamil was spoken between VEBkaTam hills in the north to Kumari in the south. 2. There were two varieties of Tamil ‘the ceyyuL ’ ‘variety used to write poems’ and vaKakku ‘ordinarily spoken form used by the common people’, that is the former is used for writing poems and the latter for conversation among the common people. 3. It was written after going through the earlier nU l ‘grammatical works’. 4. It was written after considering eKuttu ‘letters’, col ‘word’ and poruL ‘meaning’. So, he has considered the phonological, morphological and semantic aspects of Tamil language before writing the grammar. vaTavEBkaTan teVkumari yAyiTait tamiKkURu nallulakattu vaKakkuñ ceyyuLu mAyiru mutaliV eKuttuñ collum poruLu nATic centami KiyaRkai civaMiya nilattoTu muntunUl kaMTu muRaippaTa veMMip... - TolkAppiyam, Poem: 1 – 7 TolkAppiyar states that all words carry a meaning of their own otherwise it cannot be a word: ellAc collum poruL kuRittaVavE - TolkAppiyam 640 The words to be used in the poems to refine it is called ceyyuL moKi a separate variety used for writing. ceyyuL moKiyAl cIrpuVaintu yAppiV avvakai tAVE aKakeVap paTumE - TolkAppiyam 1492 In an another sutra he says the words to be selected should be in such a way that the common man also should be able to understand. That kind of words come from terinta moKi ‘known or spoken variety’ or cEri moKi ‘variety spoken in the hamlets or villages by the common people’. So, it is clear that TolkAppiyar has understood both the varieties, that is words used by the educated people for writing poems and the words used by the common people in their ordinary conversations.

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cEri moKiyAR cevvitiR kiLantu tErtal vEMTAtu kuRittatu tOVRiR pulaVeVa moKipa pulaVuMarn tOrE - TolkAppiyam 1497 What is called cEri moKi ‘language used in hamlets or villages’, the commentator ILampUraMar calls it terinta moKi ‘known language’ (Ganesaiyar, 1943: 617) While classifying Tamil words, TolkAppiyar talks about the following four varieties (Tol. Col. 880): 1. iyarcol – simple, common words (Tol. Col. 881) 2. tiricol – literary words including homonyms and synonyms (Tol. Col. 882) 3. ticaiccol – words borrowed from the twelve countries bordering the ancient centamiK land (Tol. Col. 883). 4. vaTacol – literally northern words that is words borrowed from Sanskrit and Prakrit (Tol. Col. 884) (Sethu Pillai, 1974: 32) iyaRcoR RiricoR Ricaiccol vaTacolleV RaVaittE ceyyu LITTac collE - TolkAppiyam 880 avaRRuL iyaRcoR RAmE centamiK nilattu vaKakkoTu civaMit tamporuL vaKAmai yicaikkuñ collE - TolkAppiyam 881 oruporuL kuRitta vERucol lAkiyum vERuporuL kuRitta vorucol lAkiyu mirupAR ReVpa tiricoR kiLavi - TolkAppiyam 882 centamiK cErnta paVViru nilattun taBkuRip piVavE ticaiccoR kiLavi - TolkAppiyam 883 vaTacoR kiLavi vaTaveKut torIi yeLuttoTu puMarnta collA kummE - TolkAppiyam 884 Both TolkAppiyar and PavaManti, the author of another Tamil grammatical work NaVVUl confirms the 12 different regions where from the regional varieties are expected. centamiK cErnta paVViru nilattun taBkuRip piVavE ticaiccoR kiLavi - TolkAppiyam 883 centamiK nilañcEr paVViru nilattiVum - NaVVUl 273

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CEVAvaraiyar one of the commentators of TolkAppiyam lists the 12 different countries: teVpAMTi kuTTam kuTam kARkAvEMpUKi paVRi aruvA ataV vaTakku - naVRAya CIta malATu puValnATu centamiKcEr Otamil paVViru nAT TeM - CEVAvaraiyar So, in general Tamil land has been defined as centamiK nATu where refined Tamil was used or spoken and the other 12 different regions which were part of the Tamil land and were distributed around the centamiK nATu. From south to north of Tamil land, they are: PoBkarnATu, OLinATu, TeVpAMTinATu, KuTTanATu, KuTa nATu, PaVRinATu, KaRkAnAT u, CItanAT u, PUKinATu, MalainAT u, AruvAnAT u, AruvAvaTatalai (Ganesaiyar, 1955: 360). The 12 different regions can be identified in the modern Tamil land also (Manoharan, 2014: 124 – 125). Further, TolkAppiyar states that vaKakku ‘the accepted standard form’ are of nATaka valakku ‘standard form used for writing’ and ulakiyal vaKakku ‘standard form used only at spoken level’. nATaka vaKakkiVu mulakiyal vaKakkiVum pATal cAVRa pulaVeRi vaKakkaB kaliyE paripAT TAyiru pABkiVu muriya tAku meVmaVAr pulavar - TolkAppiyam 999 What is called as ticaiccol ‘words coming from different directions’, according to Vellaivarananar (1987: 182) are the words commonly used in a particular region, but are borrowed and used by others also who inhabit other region or regions. So, such words which are called ticaiccol though can be equated with the modern dialect words of a particular region, they also differ from modern dialect words. VaKakku ‘the accepted norm’, according to TolkAppiyar is the one which is followed or practiced by the people of higher status. vaKakkeVap paTuva tuyarntOr mERRE nikaKcci yavarkaT TAka lAVa - TolkAppiyam 1592 People who are placed high in the social hierarchy, it is considered, will not deviate from the regular accepted norm (Ganesaiyar, 1943: 680). The following two sutras make it clear the distinct usages of written and spoken words. iVaccuTTillAp paMpukoL peyarkkoTai vaKakkA ralla ceyyu LARE - TolkAppiyam 501

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Words which are used as it is while speaking will be used in the poems along with their adjectives which speaks of their quality. oruvaraik kURum paVmaik kiLaviyu moVRaVaik kURum paVmaik kiLaviyum vaKakki VAkiya vuyarcoR kiLavi yilakkaMa maruBkiR collA Ralla - TolkAppiyam 510 The usage of singular forms in plural both in animate and inanimate nouns is proper spoken varieties and it is not based on Tamil grammar. According to TolkAppiyar whatever have been told or prescribed in the ceyyuL ‘poems or written Tamil’ and the vaKakku ‘ordinary spoken usages’ should be incorporated in the grammar without any mistake or misinterpretation. ceyyuL maruBkiVum vaKakkiyaV maruBkiVu meypeRak kiLanta kiLavi yellAm palvERu ceytiyi VUVeRi piKaiyAtu colvarain taRiyap pirittaVar kATTal - TolkAppiyam 946 According to R.P. Sethu Pillai (1974, Part II : 1) “the language which commanded the acceptance of the Academy came in due course to be regarded as the standard language (CentamiK)” and among the various political divisions, “authoritative opinion has declared in unambiguous terms that the Pandya country was regarded as the CentamiK NADu” (Sethu Pillai, ibid: 2). Further, it has been observed that “most of the twelve countries compendiously described as KoDuntamiK NADu are separated from the Pandya country by sections of the eastern and western ghats” (Sethu Pillai, ibid: 2). But, Ganesaiyar (1955: 358) is of the opinion that the land where CentamiK was spoken was bounded by the northern part of Vaigai river, southern part of Marudam river, eastern part of Karuvur and western part of Maruvur. Based on the modern Tamil language data currently available, Andronov (1969: 2) concludes that the accepted common Tamil variety has emerged “on the base of the eastern dialect and on that of the northern one which is very close to the eastern district. The base of the literary language was the ancient dialect of the eastern districts known as sendamz. ”.

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Quoting YApparuBkalakkArikai, a Tamil grammatical treatise, Vellaivarananar (1987: 180) states that former Chola country has to be considered the region where pure Tamil was spoken. So, different scholars have expressed different views for identifying the Tamil land where centamiK ‘pure or refined Tamil’ was spoken. In the poem written for TolkAppiyam, PaVampAraVar mentions of the Tamil land between the VEBkaTam hills in the north and Kumari ‘Cape Comorin’ in the south. Almost all Tamil scholars have acknowledged the same. But, Kamil Zvelabil (1964: 239) has expressed differently and according to him “Tamil proper that is continental Tamilnad and Tamil Ceylon will always remain the tamiKkURu nallulakam par excellence and therefore it should be of primary importance for any investigation of Tamil dialects”. So, Kamil Zvelebil includes that part of Ceylon also where Tamil is spoken as part of Tamil land proper. TolkAppiyar classifies the nouns as uyartiMai ‘rational nouns’ and akRiMai ‘irrational nouns’: uyartiMai yeVmaVAr makkaT cuTTE yakRiMai yeVmaVAr ravarala piRavE yAyiru tiMaiyi VicaikkumaV collE - TolkAppiyam 484 All rational nouns have got two gender distinctions and two number distinctions as: ATuu vaRicoV makaTUu vaRicoR pallO raRiyuñ colloTu civaMi yammup pARco luyartiMai yavvE - TolkAppiyam 485 AMpAl ‘masculine’, peMpAl ‘feminine’ and palarpAl ‘human plural’. The irrational nouns are classified as oVRaVpAl ‘neuter singular’ and palaviVpAl ‘neuter plural’. oVRaRi collE palavaRi colleV RAyiru pARco lakRiMai yavvE - TolkAppiyam 486 Then TolkAppiyar recognizes the persons who have more like feminine features than masculine. Such persons called pETi or ali also are treated as belonging to uyartiMai ‘rational nouns’ peMmai cuTTiya vuyartiMai maruBki VAMmai tirinta peyarnilaik kiLaviyun teyvañ cuTTiya peyarnilaik kiLaviyu

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mivveVa aRiyuman tantamak kilavE yuyartiMai maruBkiR pAlpirin ticaikkum - TolkAppiyam 487 So, it has been made it clear by TolkAppiyar that all rational nouns are distinguishable as male and female in genders and human singular and plural in numbers and epicene plural. The irrational nouns are distinguishable as singular and plural and they do not have gender distinctions. irutiMai maruBki VaimpA laRiya - TolkAppiyam 493 According to TolkAppiyar, there is five - fold distinction of gender in the Tamil language. For the purpose of classifying the genders in Tamil the traditional grammarians take the number and gender distinctions together (Israel, 1973: 24). The pronominal system in Tamil language distinguishes taVmai ‘first person’, muVVilai ‘second person’ and paTarkkai ‘third person’. But, TolkAppiyar does not give the three way classification explicitly and they have to be understood from the classification of verbs and the pronominal terminations (Israel, 1973: 39). celaviVum varaviVun taraviVuB koTaiyiVu nilaipeRat tOVRu mannAR collun taVmai muVVilai paTarkkai yeVVu mammU viTattu muriya veVpa - TolkAppiyam 511 The following four words cellutal ‘going’, varutal ‘coming’, tarutal ‘giving’, koTuttal ‘giving’ can occur in taVmai ‘first person’, muVVilai ‘second person’ and paTarkkai ‘third person’. Of the above mentioned four words, the two words tarutal ‘giving’ and varutal ‘coming’ occur in first person and second person only. avaRRuL tarucol varucol lAyiru kiLaviyun taVmai muVVilai yAyi riTatta - TolkAppiyam 512 The following are the Tamil personal pronouns occurring in the three persons: First Person Singular yAV ò£¡ ‘I’ First Person Plural yAm ò£‹ ‘we – exclusive’ nAm ‘we – inclusive’ Second Person Singular nI ‘you’ Second Person Plural nIyir ‘you – plural’

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Third Person Singular tAn ‘he, she, it’ Third Person Plural tAm ‘they’ The commentators NaccinArkkiViyar and KallATaVAr clearly point out that yAm is the exclusive and nAm is the inclusive plural (Israel, 1973: 40). According to Caldwell the Dravidian languages like most other primitive uncompounded tongues, are destitute of pronouns of the third person, and use instead demonstratives signifying this or that with the suffixes of gender and number (Caldwell, 1856: 420). P. S. Sastri also is of the opinion that there is no personal pronoun in Tamil for the third person as the demonstrative itself serves for this prupose (Sastri, 1930: 125). But it is evident from TolkAppiyam that in the ancient Tamil tAn and tAm were used as third person pronouns. Tamil language uses three kinds of demonstratives and they are a-, i-, and u-. a i u am mUVRuñ cuTTE - TolkAppiyam 31 Of them a- is remote demonstrative, i- is proximate demonstrative and u- is intermediate demonstrative. When pronominal terminations are added to these demonstratives it becomes the respective demonstrative pronoun. The third person pronouns according to TolkAppiyam are as follows: 1. Masculine Singular avan Üõ¡ ivan Þõ¡ uvan àõ¡ 2. Feminine Singular avaL Üõœ ivaL Þõœ uvaL àõœ 3. Epicene Plural avar Üõ˜ ivar Þõ˜ uvar àõ˜ 4. Neuter Singular atu Ü¶ itu Þ¶ utu à¶ aktu Üç¶ iktu Þç¶ uktu àç¶ 5. Neture Plural avai Ü¬õ ivai Þ¬õ uvai à¬õ av Üš iv Þš uv àš avvaKi avaViva VuvaVeVa varUum peyaru mavaLiva LuvaLeVa varUum peyaru mavariva ruvareVa varUum peyarum . . . - TolkAppiyam 647 All the above said nine forms are uyartiMaip peyarkaL ‘demonstrative pronouns of rational nouns’ and the following twelve forms are akRiMaip peyarkaL ‘demonstrative pronouns of nonrational nouns”.

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atuvitu vutuveVa varUum peyaru mavaimuta lAkiya vAytap peyaru mavaiivai yuvaiyeVa varUum peyaru mavaimuta lAkiya vakarap peyarum . . . - TolkAppiyam 652 But, of all the demonstrative pronouns it is observed that the u- forms coming for third person masculine singular, feminine singular, human plural, neuter singular and neuter plural have got only very limited usages in the Sangam literature. In the Tamil post - Sangam literature, the following demonstrative pronouns uvaL, uvar, utu, uktu and uvai have not been used and the demonstrative pronouns uvan and uv ar occurring respectively in one place. The following demonstrative pronouns only are occurring in the post - Sangam literature (Athithan, 1989: 46). Third Person Masculine Singular avan Üõ¡ ivan Þõ¡ uvan àõ¡ Third Person Feminine Singular avaL Üõœ ivaL Þõœ uvaL àõœ Third Person Epicene Singular avar Üõ˜ ivar Þõ˜ - Third Person Neuter Singular atu Ü¶ itu Þ¶ - aktu Üç¶ iktu Þç¶ - Third Person Neuter Plural avai Ü¬õ ivai Þ¬õ - av Üš iv Þš uv àš In the modern Tamil it is observed that the pronominal system itself differs from that of the Tamil language of Sangam and post - Sangam periods. The modern Tamil system taken for study in this paper is the Tamil spoken in the Kanniyakumari district of Tamil Nadu. Part of which is called Nanjilnad also. The pronominal system of the Tamil spoken in this region is as follows: First Person Singular nA(n) ï£(¡) First Person Plural (Inclusive) nAm ï£‹ First Person Plural (exclusive) nABka ï£ƒè Second Person Singular nI c Second Person Singular (equal status) nIru c¼ Second Person Plural & Respect nIBka cƒè

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Third Person Masculine Singular ava(n) Üõ(¡) Third Person Masculine Plural avanuva ÜõÂõ Third Person Feminine Singular ava Üõ Third Person Feminine Plural avaLuva ÜõÀõ Third Person Masculine Singular (equal status) avaru Üõ¼ Third Person Human Plural and Respect avaBka Üõƒè, aviye ÜMªò Third Person Neuter Singular atu Ü¶ Third Person Neuter Plural atuva Ü¶õ So, in the second and third persons, the pronouns and the demonstrative pronouns show different pattern from that of the pattern found in TolkAppiyam. While the first person pronouns resembles the ancient forms, in the second person the pronouns have three way classification: nI, nIru and nIBka as against nI and nIvir of classical Tamil. In the third persons the masculine, feminine and neuter pronouns have got singular and plural distinctions as ava(n) - avanuva, ava - avaLuva and atu - atuva, apart from the third person masculine singular (equal status) pronoun avaru and the third person human plural pronoun and epicene plural avaBka and aviye. The most unexpected difference is the singular - plural distinctions made in the masculine, feminine and neuter demonstrative pronouns found in the Kanniyakumari Tamil dialect. Other deviant forms found in different Tamil dialects are: atu - Third Person Feminine Singular and Third Person Neuter Singular (Madurai Tamil dialect) atuka - Third Person Feminine Plural and Third Person Neuter Plural (Madurai Tamil dialect) avA - Third Person Human Plural and Respect (Brahman dialect) avuka - Third Person Human Plural and Respect (Madurai and Ramnad Tamil dialect) aviye - Third Person Human Plural and Respect (Kanniyakumari, Tirunelveli, Tuticorin Tamil dialects) When the question marker - A is added to the pronouns avA, avuka, atuka and aviye, they become avALA, avukaLA, atukaLA and aviyaLA respectively. That means

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 25 the plural marker - kaL which is not found explicitly in the demonstrative pronouns becomes explicit when the question marker - A is suffixed to the respective demonstrative pronouns. Similarly plural forms of the nouns do not have the - kaL suffix as plural marker in the spoken Tamil dialect. But, when the case suffixes or any other suffix is added to the words expressing plurality, the - kaL suffix used as plural marker is realized explicitly. The following examples illustrate this: kOLiya ‘hens’ kOL iyaL e ‘hens (acc.)’ < kOKi ‘hen’ tuM iya ‘cloths’ tuMiyaL e ‘cloths (acc.)’ < tuM i ‘cloth’ mAT uka ‘cattles’ mAT ukaL e ‘cattles (acc.)’ < mATu ‘cattle’ vITuka ‘houses’ vITukaLe ‘houses (acc.)’ < vITu ‘house’ cAmABka ‘things’ cAmABkaLe ‘things (acc.)’ < cAmAV ‘thing’ aviye ‘they’ aviyeLe ‘they (acc.)’ < avarkaL ‘they’ avA ‘they’ avALe ‘they (acc.)’ < avarkaL ‘they’ So, what is understood is that, in some cases the original suffixes though do not occur in simple forms, the proper suffixes in its ancient original form is realized when case suffixes are suffixed to these forms. This kind of grammatical distinction or difference is considered to be a change in the spoken Tamil dialect. In the above discussed examples the plural morpheme /-kaL/ is found to have three allomorphs: -kaL, -yeL and -L. Another notable feature is that, the three way classification of the demonstratives explained in TolkAppiyam are completely absent in the modern Tamil dialects spoken in the entire region of Tamil Nadu and Puducherry and Karaikkal regions. But, the same are found in the Ceylon Tamil dialect even now. Professor Shanmugam Pillai (1962: 92) in his paper on ‘A Tamil Dialect in Ceylon’ has observed that antæ that remote demonstrative, intæ this proximate demonstrative, untæ between that and this medial demonstrative have voiceless dental stops after nasals. Andronov (1969: 115) has stated that “untæ this, these (referring to persons and objects, proximate to the person addressed, or to those situated medially in space, i.e. between positions denoted by antæ and intæ respectively ………… This pronoun is used in Classical Tamil and in the dialect spoken in Ceylon”.

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Professor S. Suseendirarajah, a Tamil linguist from Ceylon proper in his descriptive study of Jaffna Tamil has given the following pronouns found in the Jaffna Tamil dialect spoken in Ceylon: First Person Singular nAV ï£¡ First Person Plural nABkaL ï£ƒèœ Second Person Singular nI c (nonhonorific) Second Person Singular nIr c˜ (intermediate honorific) Second Person Singular nIBkaL cƒèœ (honorific) Second Person Plural nIBkaL cƒèœ Third Person Masculine Singular avan Üõ¡ ivan Þõ¡ uvan àõ¡ (nonhonorific) Third Person Masculine Singular avar Üõ˜ ivar Þõ˜ uvar àõ˜ (honorific) Third Person Masculine Plural avaBkaL ivaBkaL uvaBkaL (nonhonorific) Üõƒèœ Þõƒèœ àõƒèœ Third Person Feminine Singular avaL Üõœ ivaL Þõœ uvaL àõœ (nonhonorific) Third Person Feminine Plural avaLavay ivaLavay uvaLavay (nonhonorific) Üõ÷õ£Œ Þõ÷õ£Œ àõ÷õ£Œ Third Person Feminine Singular avA Üõ ivA Þõ uvA àõ (honorific) Third Person Epicene Plural avay Ü¬õ ivay Þ¬õ uvay à¬õ (honorific) avayaL ivayaL uvayaL Üõòœ Þõòœ àõòœ Third Person Neuter Singular atu Ü¶ itu Þ¶ utu à¶ Third Person Neuter Plural atukaL Ü¶èœ itukaL Þ¶èœ utukaL à¶èœ

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But, the inclusive and exclusive forms found in first person plural of the Tamil spoken in Tamil Nadu is absent in the Jaffna Tamil dialect. The demonstratives of the Jaffna Tamil dialect are a- remote, i- proximate and u- intermediate (Suseendirarajah, 1993: 96 – 98). The three way classification of the demonstratives found in the classical Tamil i- proximate, a- distant and u- intermediate are found only in the present day Jaffna Tamil dialect. This shows the importance of Tamil dialect studies as a particular grammatical trait recorded in the Tamil classical works may be observed in any one of the Tamil dialects, or in the common standard spoken Tamil or in the modern written Tamil. The classical demonstratives found in the Jaffna Tamil dialect add further dimension of the historical Tamil study and relate the Jaffna Tamil dialect to that of the Classical Tamil of the Sangam Age and this forms one of an evidence to prove that present day Ceylon also was part of tamiK kURum nallulakam ‘land where Tamil is spoken’ as stated by Kamil Zvelebil (1964: 239). The demonstrative pronouns found in the Kanniyakumari Tamil dialect and the Jaffna Tamil dialect are comparable with each other and the entire pronominal system especially the third person pronouns are similar in both the dialects. While the intermediate demonstrative pronouns uvan, uvaL, uvar, utu, uBkaL, uvA, uvai and uvaLavay are present in the Jaffna Tamil dialect, they are completely absent in the Kanniyakumari Tamil dialect. But Kanniyakumari Tamil dialect is in agreement with the Jaffna Tamil dialect in the singular – plural distinctions made in both the dialects in the third person masculine, feminine and neuter pronouns. The use of the three demonstratives in the Jaffna Tamil dialect and its elaborate use in the demonstrative pronouns naturally may be viewed as the supporting evidence for the fact that TolkAppiyar certainly have considered the spoken variety of Tamil also as mentioned in the poem. But, the singular – plural distinctions made for the masculine and feminine genders remains to be explained and these distinctions are found only in the spoken Tamil. So, it may be viewed that TolkA ppiyar while writing his grammar might have studied both written and spoken Tamil forms as the prescriptive model will serve to all the dialect speakers without any prejudice. According to TolkAppiyar, there are seven cases in Tamil: vERRumai tAmE EKeVa moKipa - TolkAppiyam 546

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But in sutra 547, TolkAppiyar himself states that including viLivERRumai there are eight cases in Tamil: viLikoL vataVkaM viLiyOTu eTTE - TolkAppiyam 547 So, it is generally accepted that there are eight cases in Tamil. The first case is called peyar vERRumai (noun case) or eKuvAy vERRumai (subject case). The subject is always referred without a case marker. avarruL eKuvAy vERRumai peyartOVRu nilaiyE - TolkAppiyam 549 The eighth case is called viLivERRumai which also does not have a separate case marker. The other six cases having separate case markers are: iraMTAm vERRumai (accusative case), mUVRAm vERRumai (instrumental and sociative case), nAVkAm vERRumai (fourth case - dative case), aintAm vERRumai (fifth case - ablative case), ARAm vERRumai (sixth case - genitive case) and EKAm vERRumai (seventh case - locative case). For the present study, the third case marker -oTu only has been taken. TolkAppiyar clearly states that - oTu is the third case marker: mUVRAkuvatE oTu eVap peyariya vERRumai kkiLavi viVaimutal karuvi aVaimutaR RatuvE - TolkAppiyam 557 But, he uses the case marker -OTu also in the place of -oTu but did not refer to it in his original sutras as an instrumental case marker while listing the case markers (Israel, 1973: 85). But, from sutras 10 and 17 of EKuttatikAram (chapter on letters), it is clear that -OTu also is an instrumental case marker. In these two sutras one can observe the words like meyyOTu, akaramOTu and uyirOTu where the case marker is -OTu. According to Prof. Israel (1973: 85), “this form -OTu might have come into existence due to variation in readings.” But, in modern Tamil, we find only -OTu and not -oTu as the instrumental case marker. So, it may be concluded that both -OTu and -oTu forms were in use during the era of TolkAppiyar. The -OTu form might have been used in spoken Tamil form or dialect. Further, the sociative meaning of the instrumental case, though can be observed during TolkAppiyar’s period; he has not considered the sociative meaning as a separate one, but has dealt with instrumental case proper. The sociative meaning is conveyed by the case marker -AV. P.S. Sastri also has expressed that the markers -OTu and -AV were used in free variation at the time of TolkAppiyar

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(Israel, 1973: 95). So, it is considered that the case marker -oTu is mainly used in the sociative meaning and the case marker -AV is mainly used in the instrumental meaning. Though -oTu and -AV are in free variation, the -oTu form might have occupied a predominant position and that case marker itself might have had both the sociative and instrumental meanings. In the modern Tamil dialects -Al is the instrumental case marker with instrumental meaning. So, it is concluded that what it was -AV during classical period has become -Al in modern Tamil. The study of the case markers -oTu, -OTu and -AV all used as the third case markers (instrumental / sociative) again proves beyond doubt that both the poetic and spoken forms of Tamil have been taken into consideration by TolkAppiyar while writing the grammar for Tamil language. REFERENCES 1. Andronov, M.S., 1969, A Standard Grammar of Modern and Classical Tamil, Madras: New Century Book House Pvt. Ltd. 2. Athithan, A., 1989, Linguistic Structures in Tamil – A Historical Study, Madurai: Madurai Kamaraj University. 3. Bavanandam Pillai, S., 1925, TaRkAlat tamiKc collakarAti (Modern Tamil Dictionary), Madras: Macmillan & Co. Limited. 4. Caldwell, Robert. 1856, A Comparative Grammar of the Dravidian or South – Indian Family of Languages, Third Revised Edition 1961, Madras: University of Madras. 5. Israel, M., 1973, The Treatment of Morphology in TolkAppiyam, Madurai: Madurai Kamaraj University. 6. Manoharan, S., 2012, “Tamil Dialects Through Ages”, Journal of Tamil Studies, No. 82, pp. 93 - 114. 7. Manoharan, S., 2014, “Tamil Dialects from Sangam Age to Modern Period”, International Journal of Dravidian Linguistics, Vol. XLIII: 2, pp. 123 - 144. 8. Meenakshisundaran, T.P., 1955, ‘A Bird’s Eye View of Tamil Literature’, Souvenir, Sixtieth Session of Indian National Congress, Avadi, Chennai; Reprint 1961, Prof. T. P. Meenakshisundaran Sixty - First Birthday Commemoration Volume, Annamalainagar: Annamalai University, pp. 31 - 54. 9. Sethu Pillai, R. P., 1974, Words and their Significant & Tamil -Literary and Colloquial, Madras: University of Madras.

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10. Shanmugam Pillai, M., 1962, “Tamil Dialect in Ceylon”, Indian Linguistics, Vol. 23, pp. 90 - 98. 11. Subrahmanya Sastri, P.S., 1930, TolkAppiyac collatikArak kurippu, Tiruchi: Teppakkulam. 12. Suseendirarajah, S., 1993, Jaffna Tamil: Phonology and Morphology, Thirunelveli, Jaffna: University of Jaffna Publications. 13. Varadarajan, M., 1972, Tamil ilakkiya varalAru (History of Tamil Literature), New Delhi: Sahitya Akademi. 14. Zvelebil, Kamil V., 1964, “Spoken Languages of Tamil Nadu”, Archive Orientalni, Vol. 32: 2, pp. 227 – 246. 15. è«í¬êò˜, C., (ðFŠ¹), 1943, ªî£™è£ŠHò‹ ªð£¼÷Fè£ó Íôº‹ «ðó£CKò¼¬ó»‹ H¡ù£¡Aò™, ð£è‹ - Þó‡´, ²¡ù£è‹, F¼ñèœ Ü¿ˆîè‹, ñÁðFŠ¹ 2007, àôèˆ îIö£ó£Œ„C GÁõù‹, ªê¡¬ù. 16. è«í¬êò˜, C., (ðFŠ¹), 1948, ªî£™è£ŠHò‹ ªð£¼÷Fè£ó Íôº‹ ï„Cù£˜‚AQò¼¬ó»‹, º¡¬ù‰Fò™èœ, ð£è‹ - å¡Á, ²¡ù£è‹, F¼ñèœ Ü¿ˆîè‹, ñÁðFŠ¹ 2007, àôèˆ îIöó£Œ„C GÁõù‹, ªê¡¬ù. 17. è«í¬êò˜, C., (ðFŠ¹), 1952, ªî£™è£ŠHò‹ ªð£¼÷Fè£ó Íôº‹ ï„Cù£˜‚AQò˜ à¬ó»‹, ²¡ù£è‹, F¼ñèœ Ü¿ˆîè‹. 18. ²ŠHóñEò¡, ê.«õ. (ðFŠ¹), 2008, ªî£™è£ŠHò‹ M÷‚è¾¬ó, ªñŒòŠð¡ ðFŠðè‹, Cî‹ðó‹. 19. ñ«ù£èó¡, ê., 2013, “ªî£™è£ŠHò˜ è£†´‹ ²†´èÀ‹ ²†´Šªðò˜èÀ‹ - å¼ ªñ£NJò™ êÍèMò™ õóô£Ÿø£Œ¾” Journal of Tamil Studies, Vol. No. 84, pp. 23 - 50. 20. ªõœ¬÷õ£óíù£˜, è., 1987, “F¬ê ªñ£N»‹ õ†ì£ó õö‚°‹” in S. Arokianathan (ed.), Seminar Papers on Dialectology, Thanjavur: Tamil University, pp. 169-185.

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05. On the Human Predicament: Shakespeare and the Sangam Poets P. Marudanayagam A comparative study of the world-views of Shakespeare and the Tamil Sangam poets is neither odious nor far - fetched even though they were poles apart with regard to time, distance and cultural backgrounds. The former lived in the Elizabethan England of the sixteenth century whereas the latter were a group of poets who flourished in the southern part of India more than twenty centuries ago. Shakespeare proudly calls the nation of his birth, “a nest of singing birds”. This is equally true of the Tamil land of Sangam bards. If drama was the dominant form during the Elizabethan and Jacobean times, dramatic lyrics and monologues of a distinct type were the most sought after during what is considered the period of the third Sangam. Shakespeare had to handle a language, which had already been used by a few generations of poets including Chaucer and Spenser and a literary form that had been put to use by the pioneering playwrights like Lyly, Peele, Greene, Kyd, Marlowe, and Ben Jonson. The Sangam poets inherited a great poetic tradition backed by an advanced poetics unknown to other lands and cultures and a language which had been consciously developed into a remarkably pliable poetic medium. If the comparison is limited to their views on the human condition, we do get certain otherwise unavailable insights into their writings, which have a secure place in world literature. The supreme merit of Shakespeare is that “he held the mirror to nature” as he was endowed with the genius to observe life closely and to meditate on it deeply. As one of his eminent contemporaries, Ben Jonson, states, Nature herself was proud of his designs, And joy’d to wear the dressing of his lines; Which were so richly spun, and woven so fit, As since the will vouchsafe us often wit. Dr.P. Marudanayagam, former Professor and Head of the Department of English, Pondicherry University, Pondicherry.

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When both of them were active as playwrights, Ben Jonson condemned this more successful rival as “an upstart crow shining in borrowed feathers” but later heartily conceded that though life is the poet’s matter, nature cannot take all the credit for the matchless excellence of Shakespeare’s plays as it was his supreme art which transformed nature. He was “a poet born as well as made.” Yet must I not give Nature all; thy art, My gentle Shakespeare, must enjoy a part; For though the poet’s matter, nature be, His art doth give the fashion; and that he Who casts to write a living line, must sweat. It was Coleridge who, in his lectures on Shakespeare convincingly demonstrates that Shakespeare was not to be regarded as an automaton of genius but as one, who in addition to being a poet, was a logician, a philosopher, and a metaphysician and possessing the ‘esemplastic’ power of imagination could produce immortal works. The salient features of Sangam poems, now accepted to be ‘unsurpassed in world literature’ are clearly identified by A.K.Ramanujan, who was largely responsible for securing universal recognition and great critical acclaim for them by his English renderings of a considerable number of them. Look at the Classical Tamil poem, their attention to experience. Yet their attention to the object is not to create the object of the Imagist, but the object as exacting human experience; the scene always a part of the human scene, the poetry of objects always a part of the human perception of self and distress. The ability to engage entirely the world of things, animals, trees and people, attending to their particularly, making poetry out of it and making them speak for you – this seems to me extraordinary… But the ancient Tamils were a community, a Sangam of poets, wills of symbolism and a reality they shared. Not a fabulous mythology but the realities of nature and culture used as a symbolism, a language within a language, which allowed them to write with tremendous economy and allusiveness (p .46) George Hart also stresses the view that Sangam writings “provide a Tamil perspective on life and on human experience that is quite different from anything found in Sanskrit, Latin, Greek, or any other language”.

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If the subject matter of akam poems is man woman love, what are called puram poems deal with almost all the aspects of life such as war, fame, poverty, philanthropy, friendship, education, sense of shame, fear of blame, life of a householder, renunciation, children, farming, widowhood, chastity and transitoriness of youth, life and of wealth. Of the two broad classifications of poems, unique to Tamil, akam may be taken to mean noumenon and puram phenomenon. The ancient Tamils lived life to the lees and composed exquisite poems on the life here and now without indulging in vain speculations about the state before birth and after death. They could see earthly life steadily and as a whole as they were not very much obsessed with what is unknown and what may never be disclosed to mankind. And this is the reason why they could write poems, which have been praised by Pierre Meille in the following words: Short, elegant and unexaggerated, almost always lively and animated with very human feelings, sometimes of most poignant emotion, they are classics in the fullest sense, more sober and less rhetorical than Pindar who is the best term of comparison. They are the only literary productions of India, which are free of conceits and which, without abusing intellectual virtuosity, have the grace, the balance and the sobriety of Attic art. The hero portrayed in a Shakespearean tragedy is, in the words of A.C. Bradley, a doomed man, who with others “drift struggling to destruction like helpless creatures borne on an irresistible flood toward a cataract.” Their fault is far from being the sole or sufficient cause of all they suffer. The power from which they cannot escape is relentless and immovable. The Player- King in Hamlet says, “Our thoughts are ours, their ends none of our own”, meaning that though the thoughts are ours, the issues or outcomes of our thoughts are not our own. These characters seem to fight blindly in the dark. The power that works through them makes them the instrument of a design, which is not theirs. They act freely but their action fetters them. It is evident that they do not understand themselves or the world about them. When we watch these characters trying to translate their thoughts into deeds, we feel the blindness and helplessness of man. Men act in accordance with their own characters but there is something that brings them just the one problem, which is fatal to them and sometimes brings it to them just when they are least fitted to it.

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On the other hand, we find no trace of fatalism in its primitive, crude and obvious forms in a Shakespearean tragedy. The actions and sufferings of the persons are not thrown to be arbitrarily fixed beforehand without regard to their feelings, thoughts and resolutions. We are not made to feel that the supreme power has a special spite against a family or an individual. In Greek tragedies, a family owing to some hideous crime or impiety in early days is doomed to experience a career of portentous calamities and sins. But as Bradley asserts Shakespeare doesn’t have any interest in heredity. In a Shakespearean tragedy, fate does play a role but human action is presented as the central fact and as the main cause of the catastrophe. Poetic justice, meaning that prosperity and adversity are distributed in proportion to the merits of the agents, is absent from Shakespeare’s representation of life but what we find in it is that ‘the doer must suffer’. Villainy doesn’t remain victorious at the end. But we do not find an assignment of amounts of happiness and misery, or an assignment of life and death in proportion to merit. The predominant power, whatever that maybe, is not represented as ‘poetically just’. Bradley points out that the ultimate power in the tragic world is a moral order, which does not show itself indifferent to good and evil, or equally favourable or unfavourable to both, but shows itself alien to good and alien from evil. The tragic hero suffers from some imperfection or defect- irresolution, precipitancy, pride, credulousness, simplicity, and excessive susceptibility to sexual emotions. These defects or imperfections are evil and they contribute to the conflict and catastrophe. These characters are ‘themselves the authors of their proper woe’. The centre of the tragedy lies in action issuing from character, or in character issuing in action. The calamites and catastrophe follow from the deeds of men and the main source of these deeds is character. As Bradley explains, The dictum that with Shakespeare ‘character is destiny’ is no doubt an exaggeration, and one that may mislead (for many of his tragic personages, if they had not met with peculiar circumstances, would have escaped a tragic end, and might even have lived fairly untroubled lives), but it is the exaggeration of a vital truth.

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Though some of the characters speak of gods or of God, of evil spirits or of Satan, of heaven and of hell, and though ghosts make their appearance, these do not materially influence Shakespeare’s representation of life. ‘The Elizabethan drama was almost wholly secular’. While Shakespeare was writing, he practically confined his view to the world of non-theological observation and thought, and represented it in one and the same way whether the period of the story is pre-Christian or Christian. Different views are expressed on the role of fate, on the planetary influence, and on pre-determination by the characters, depending upon their nature and station in life. The Chief villain of the play King Lear, Edmund, tells his father that the stars cannot be blamed for what the human beings do. When the Earl of Gloster says that, “these late eclipses in the sun and moon portend no good to us”, the son replies: This is the excellent foppery of the world, that, when we are sick in fortune – often the surfeit of our own behavior, we make guilty of our disasters the sun, the moon and the stars; as if we were villains by necessity, fools by heavenly compulsion; knaves, thieves and treachers, by spherical predominance; drunkards, liars and adulterers, by an enforced obedience of planetary influence; and all that we are evil in, by a divine thrusting on; an admirable evasion of whore - master man, to lay his goatish disposition to the charge of a star! (King Lear I. II. 121-132) The miseries of earthly life are highlighted in the most tragic of Shakespeare’s tragedies,. The protagonist of King Lear, who is more sinned against than sinning, cries, When we are born, we cry that we are come To this great stage of fools. (King Lear I. IV. VI. 184 - 85) The mad King bemoans what man has done to man and how hypocrisy and corruption have made life unbearable to the good and the honest. Thou hast seen a farmer’s dog bark at a beggar? And the creature runs from the cur? These thou might’st behold the great image of authority: a dog is obeyed in office. Thou rascal beadle, hold thy bloody hand! Why dost thou lash that whore? Strip thine own back; Thou hotly lusts to use her in that kind for which thou whipst her. The usurer hangs the cozener. Through tattered

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clothes small vices do appear, robes and furred gowns hide all. Plate sin with gold, and the strong lance of justice hurtless breaks; Arm it in rags, a pigmy’s straw does pierce it. (King Lear IV. Vi. 158 – 169) To what extent do the stars or the gods impact on our lives? In Julius Caesar one character says, Men at sometime are masters of our fates The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings. (King Lear I. II. 139 – 141) Another believes, What can be avoided Whose end is purposed by the mighty gods? (King Lear II. II. 27-30) It seems to me most strange that men should fear, Seeing that death, a necessary end, Will come when it well come. (King Lear II. II. 36-38) It seems strange that the last two utterances on the helplessness of man are made by the mighty Julius Caesar! If, in King Lear, one character complains, As flies to wanton boys are we to gods; They kill us for their sport another almost justifies the ways of gods to men, even though the latter has also had its own share of the dreadful disease of life. The gods are just, and of our pleasant vices Make instruments to plague us; The dark and vicious place where thee he got Cost him his eyes (King Lear V. III. 171-174)

One of the most famous poems of PuranAVURu declares how this dear life of ours on earth is like a raft in a stormy stream drifting away as fates ordain. Every town is our hometown, every man a kinsman. Good and evil do not come from others. Pain and relief of pain come of themselves. There is nothing new in death. Thinking that life is sweet, we do not

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rejoice in it. Even less do we say that life is miserable if something unwanted happens. By the vision of the wise who know, we have understood that the human life, much praised, makes its way like a raft riding the waters of a huge and powerful river ceaselessly roaring as it breaks against rocks because the clouds crowded with bolts of lightning pour down their cold drops. So we do not marvel at the great and even less do we scorn the weak. ò£¶‹ á«ó ò£õ¼‹ «èO˜ b¶‹ ï¡Á‹ Hø˜îóõ£ó£ «ï£î½‹ îEî½‹ ÜõŸ«ø£ó¡ù ê£î½‹ ¹¶õ¶ Ü¡«ø õ£›î™ ÞQªîù ñA›‰î¡Á‹ Þô«ñ ºQM¡ Þ¡ù£ªî¡ø½‹ Þô«ñ I¡ªù£´ õ£ù‹ î‡¶O î¬ôÞ Ýù£¶ è™ ªð£¼¶ Þóƒ°‹ ñ™ô™ «ð˜ò£ŸÁ c˜ õNŠ ðÇà‹ ¹¬í«ð£™ Ý¼J˜ º¬øõNŠ ðÇà‹ â¡ð¶ Fø«õ£˜ è£†CJ™ ªîO‰îù‹ ÝèL¡ ñ£†CJ¡ ªðK«ò£¬ó Mòˆî½‹ Þô«ñ CP«ò£¬ó Þè›î™ ÜîQÂ‹ Þô«ñ (¹ø‹. 192) A poem by a King called KOpperuNcOlan admonishes those who, entertaining a skeptical view of human life, do not come forward to do good deeds. ªêŒ°õ¡ ªè£™«ô£ ï™M¬ù ªòù«õ äò‹ Üø£Ü˜ èê¯‡´ è£†C cƒè£ ªï…êˆ¶ˆ ¶EM™«ô£«ó ò£¬ù «õ†´õ¡ ò£¬ù»‹ ªðÁ«ñ °Á‹Ì› «õ†´õ¡ õÁƒ¬è»‹ õ¼«ñ Üîù£™ àò˜‰î «õ†ìˆ ¶ò˜‰FC«ù£˜‚°„ ªêŒM¬ù ñ¼ƒA¡ âŒî™ à‡ªìQ™ ªî£Œò£ àôèˆ¶ ¸è˜„C»‹ Ã´‹ ªî£Œò£ àôèˆ¶ ¸è˜„C Þ™ªôQ™ ñ£PŠ HøŠH¡ Þ¡¬ñ»‹ Ã´‹ ñ£PŠ Høõ£ó£JÂ‹ Þñòˆ¶‚ «è£´ò˜‰î¡ù î‹I¬ê ï†´ˆ bF™ ò£‚¬èªò£´ ñ£Œî™ îõˆ î¬ô«ò (¹ø‹. 214)

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Only those who have a poor vision of life would be hesitating all the time to do good deeds since they will be doubtful about the outcome. The elephant - hunter may easily get an elephant; the bird - hunter may return empty - handed. So, those who aim high and are determined to achieve what they want doing good deeds may attain bliss in heaven. If that is not there, they may not have to experience the pain of next birth. If even that is not there, they will die having led a blameless life and established their Himalayan fame. And that is the best thing that a human being can achieve. During the poet’s days, Jainism, Buddhism, Saivism and Vaishnavism might have preached their ideas regarding the reward for leading a useful life of good deeds. Their conjectures about the life after death, the heaven, the hell and rebirth would have certainly puzzled some and, under that pretext, they might have resorted to living a life devoid of values. Hence the poet’s advice to them is to do good and to earn fame here without being bothered about what might happen after death. This kind of concern for life here and now, the value of selflessness and the desire for fame are stressed in another poem too. à‡ì£™ Ü‹ñ Þš¾ôè‹ Þ‰Fó˜ ÜI›î‹ Þ¬òõ î£JÂ‹ ÞQªîùˆ îIò˜ à‡ì½‹ Þô«ó ºQMô˜ ¶…ê½‹ Þô˜ Hø˜ Ü…²õ¶ Ü…CŠ ¹è› âQ¡ àJ¼‹ ªè£´‚°õ˜ ðNªòQ¡ àô°ì¡ ªðPÂ‹ ªè£œ÷ô˜ Üò˜Mô˜ Ü¡ù ñ£†C Ü¬ùòó£Aˆ îñ‚ªèù ºòô£ «ï£¡ø£œ Hø˜‚ªèù ºò½ï˜ à‡¬ñò£«ù (¹ø‹. 182) This world survives because there are some noble beings who won’t eat, without sharing with others, even if they get the sweet food of the gods, who won’t hate anyone, who being scared of the wrongs of which others are scared, would not hesitate to act to remove them. If fame can be attained, they will sacrifice their lives; they would reject even the offer of the whole world, if it is to bring blame. They will work hard; but all their efforts will be for the benefit of others only. Rev. G. U. Pope, impressed with the emphasis on such values by the ancient Tamil poets, observes that he is certain that God must have reserved a special reward for the Tamil Community for its exclusive preoccupation with a life of righteousness!

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The presentation of Brutus in Julius Caesar reminds us of the PuranAnUru poem which characterizes noble ones as those that are determined to lay down their lives to attain fame but to eschew blame even if it brings the whole world to them. Brutus has the general good in mind when he accepts to kill Caesar but would not stoop to the level of the other conspirators who have only selfish ends in their minds when they decide to remove Caesar from power. When Cassius speaks of the threat to Rome by the rise of Caesar, Brutus responds in a cautious manner. If it be aught toward the general good Set honour in one eye and death in the other, And I will look on both indifferently; For let the gods so speed me as I love The name of honour more than I fear death. (I. II. 85 – 89) And for this, he earns the much deserving praise at the end; “ This was the noblest Roman of them all.” NakkIraVAr has a poem on the nature and meaning of human life. ªî‡èì™ õ÷£è‹ ªð£¶¬ñ Þ¡P ªõ‡°¬ì GöŸPò å¼¬ñ «ò£˜‚°‹ ï´ï£œ ò£ñˆ¶‹ ðè½‹ ¶…ê£¡ è´ñ£Š ð£˜‚°‹ è™ô£ å¼õŸ°‹ à‡ð¶ ï£N à´Šð¬õ Þó‡«ì Hø¾‹ â™ô£‹ æªó£‚°‹«ñ ªê™õˆ¶Š ðò«ù ßî™ ¶ŒŠ«ð‹ âQ«ù îŠ¹ï ðô«õ (¹ø‹. 189) For the monarch who may rule the whole world and the illiterate hunter who sleeplessly looks for animals to kill, the quantity of food they can eat is the same; they need only two pieces of cloth to cover the lower and upper portions of the body. Apart from the food and the dress, all the other things are the same to them. The only use of wealth is to be given to others. If anyone thinks of consuming it all without sharing with others, he will lose a lot. The poet is able to drive home the point that life on earth being what it is, there is no point in accumulating wealth by fair or foul means since one’s needs as well as all that one can enjoy are limited. There is a profound observation on the life that mankind is destined to lead on earth in a poem by OrErulavan, who uses a marvelous image to describe the human condition:

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ÜîœâP‰ î¡ù ªï´ªõ‡ è÷K¡ å¼õ¡ Ý†´‹ ¹™õ£Œ «ð£ô æ® àŒîÂ‹ Ã´ñ¡ å‚è™ õ£›‚¬è î†°ñ£ è£«ô (¹ø‹. 193) Like a hunted deer on the wide while salt land, Which resembles a flayed hide turned inside out, One may run and escape. But living among Relations binds the feet. The poet says that the life with one’s kith and kin will felter one’s legs whereas to redeem oneself one has to run away from them just as a hunted deer, in order to escape, has to cross a long white stretch of wet - soiled, slippery land looking like the peeled skin placed inside out. For every individual, it is going to be an ordeal either way. A.K. Ramanujan, who chose this as the epigraph - poem for his own collection of poems in English entitled Relations, articulates his recollections of life with his mother, father, aunts and uncles from whose clutches he has escaped but not without risking everything. In a poem of seven lines, a poet called PakkuTukkai NankaMiyAr dares to call the creator an uncultured one for having placed man in a world of untold miseries. æK™ ªïŒî™ èøƒè æK™ ß˜‰î‡ ºöM¡ ð£E î¶‹ðŠ ¹í˜‰«î£˜ ÌõE ÜEòŠ HK‰«î£˜ ¬ðî™ à‡è‡ ðQõ£˜¹ à¬øŠðŠ ð¬ìˆ«î£¡ ñ¡ø ÜŠð‡ Hô£÷¡ Þ¡ù£ î‹ñ Þš¾ôè‹ ÞQò è£‡è Þî¡ Þò™¹í˜‰«î£«ó . (¹ø‹. 194) In one house the death drum sounds whereas in another house the pleasing wedding music of a concert drum makes a loud deep sound. Women who are with their lovers wear ornaments of flowers whereas the eyes of women who are separated from their men are full of tears. Surely the god who has created the world in this discriminating manner is not a virtuous one. This is a cruel world. Let those who know its nature, therefore, do the good deeds that will fetch them heavenly bliss. The last line may also mean: let those who know its nature treat this misery as pleasure.

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Even the first casual reading of the poem will draw our attention to the following binary oppositions: Neytal Muzhavu (death drum) (wedding drum) Death Wedding Women separated from their lovers Women united with their lovers Shedding tears Wearing flowers Miseries Delights What is painful in this world What is pleasing in this world This world the other world (heaven) Man God The one who created the miserable world The one who created the joyful world Having acquired a first-hand knowledge of life and meditated upon all aspects of it, the poet ventures to express his view of the world. He condemns the creator of this world as one who lacks virtue because death ceremonies and wedding celebrations, women shedding tears and women sporting jewels are common sights to be found together almost everyday in this world. But then we are not sure if the poet says that since this world is miserable, man has to do good to go to the other world, as the old commentator on PuranAnuru suggests. There is no direct reference to the other world in the poem. Again we are not sure if the poet says that since our life here is a mixed bag, we have to take into consideration, only the pleasant side and ignore the painful one. We are intrigued when the poet calls the creator of the world ‘one without virtue’. It is a harsh term but not as abusive as terms like ‘villain’ or ‘mischief - monger’ which he could have used if he had so desired. There is a distinct possibility that he may not mean it since it may merely be a case of sacred profanity, very common in later bhakti poetry. Even Tiruvalluvar, though having a separate chapter at the beginning of his work devoted to the praise of God, says in a chapter called ‘Iravaccam’ (Dread of mendicancy). Þó‰¶‹ àJ˜õ£›î™ «õ‡®¡ ðó‰¶ ªè´è àôAòŸP ò£¡. (°øœ 1062) If he that created the world desires that men should go begging in order to survive, let him wonder the world over and perish. NankaMiyAr might not have meant that the creator is a vicious being but could have used ‘ð‡Hô£÷¡’ as a term of endearment! The poet accepts that

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 42 even if the world is miserable, it is possible to look at it as a pleasant one. It would mean that the creator of the world who has made life painful has endowed us with the capacity to live happily despite the difficulties on the way. The creator then cannot be held completely responsible for what prevails here. If there is a hidden reference to the other world, then it is he who must have created that too. It is in Hamlet, justly considered Shakespeare’s magnum opus, that the hero, finding himself in an unenviable situation, comes out with a number of observations on the human condition, viewed from various angles. A rare tribute is paid to man by Hamlet but, he, in the same breath, refuses to acknowledge it. What a piece of work is man! How noble in reason! How infinite in faculty! In form and moving how express and admirable, in action how like an angel! In comprehension how like a god! The beauty of the world! The paragon of animals! And yet, to me, what is this quintessence of dust? (Hamlet II 11.307 – 313) At a particular moment, he is uncertain about the wisdom of courting death and about what would happen after death. It is right to commit suicide in order to seek relief from the agonies of life? Is there a heavenly commandment against self – slaughter? To be, or not to be – that is the question Whether it is nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by apposing end them? (Hamlet III.I. 56-60) Though the last scene of every tragedy is loaded with a number of deaths, the fear of death and the advice against it are not lacking. Even a character not known for her wisdom, Gertrude, tells her wise son, Do not for ever with thy vailed lids Seek for thy noble father in the dust; Thou know’st it is common – all that live must die Passing through nature to eternity (Hamlet I. 11. 70 – 73), Again the recommendation of a right altitude to death is made by his step-father:

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It is sweet and commendable in your nature, Hamlet, To give these mourning duties to your father, But, you must know, your fallen lost a father; That father lost, lost his, and the survivor bound, In filial obligation, for some term To do obsequious sorrow, but to persevere, In obstinate condolement, is a course Of impious stubbornness it is unmanly grief; It shows a will most incorrect to heaven; A heart unfortified, a mind impatient, An understanding simple and unschooled For what we know must be, and is as common As any the most vulgar thing to sense, Why should we, in our peevish opposition Take it to heart? Fie! It is a fault to heaven A fault against the dead, a fault to nature, To reason most absurd. (Hamlet I. 11. 87 – 103) He feels that to die may be to fall asleep. But what kind of sleep will it be? To sleep! Perchance to dream; ay, there’s the rub; For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause; there is the respect That makes calamity of so long life. (Hamlet III. I. 64 – 68) But if one is not going to end one’s life, how can one face the endless sufferings of life? For who would bear the whips and scorns of time the oppressor’s wrong, the proud man’s contumely, the pangs of despised love, the law’s delay, the insolence of office, and the spurns that patient merit of the unworthy takes, when he himself might his quiet make with a bare bodkin? (Hamlet III. I. 70 – 76) Are we reconciled to the torture of life just because we dread the life after death? Who would faudels bear To grunt and sweat under a weary life

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But that the dread of something after death- The undiscovered country, from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? (Hamlet III. I. 76 - 82) But then towards the end of the life, and ironically, towards the end of his life, he seems to be certain that it is going to be eternal bliss after death. He asks Horatio not to think of dying but to live on to tell the truth about Hamlet’s life to the future generations, though death guarantees an end to all sorrows and everlasting happiness. Absent thee from felicity awhile And in this harsh world draw thy breath in pain To tell any story (Hamlet V.II. 345 – 48) Though he often condemns himself for not taking swift action against his villainous uncle, there are occasions when he accepts that every thing that happens in this world is providential: “ There is a divinity that shapes our ends” (Hamlet V. II. 10) Nothing can be achieved by our will and determination. We should be prepared for whatever may happen to us. There is a special providence in the fall of a sparrow. If it be now, it is not to come, if it be not to come, It will be now, if it be not now, yet it will come, The readiness is all, since no man knows aught Of what he leaves, what is it leave betimes. Let be. (Hamlet V. II. 219 – 224) In Richard II, the hero makes a speech about the antic Death, who sits in the hollow crown “that rounds the mortal temples of a King”, grinning at his pomp, watching till his vanity and his fancied security have wholly encased him round, and then coming and boring with a little pin through his castle wall. Recalling the past history of Kings, Richard II himself observes, For God’s sake, let us sit upon the ground, And tell sad stories of the death of Kings; How some have been deposed, some slain in war;

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Some haunted by the ghosts they have deposed; Some prison’d by their wives; some sleeping kill’d; All murder’d – for within the hollow crown That round the mortal temples of a King Keeps death his court, and there the antic sits Scoffing his state, and grinning at his pomp; Allowing him a breath, a little scene To monarchise, be fear’d, and kill with looks; Infusing him with self and vain conceit, As if this flesh, which walls about our life, Were brass impregnable, and humour’d thus, Comes at the last, and with a little pin Bores through his castle-wall, and farewell King! (R II. III. II. 156 – 171) When a series of tragic deaths occur, death is personified and asked: This quarry cries on havoc. O proud death What feast is toward in thine eternal cell That thou so many princes at a shot So bloodily has struck? (Hamlet V. II. 363 – 366) A long speech by the Duke in Measure for Measure is a negation of life, an almost irrefutable condemnation of life. Advising a criminal to be prepared for death, he observes, Reason thus with life: If I lose you, I lose a thing that none but fools would keep. You are a breath servile to all the skyey influences which hourly afflicts the house in which you reside. You are death’s fool because when you try to run away from him, you run towards him. You are not noble because all the accommodations that you bear are nursed by baseness. You are by no means valiant because you fear the soft and tender fork of a poor worm. Your best of rest is sleep and you provoke that often. And yet you grossly fear your death that is no more than sleep. You are not yourself because you exist on many thousand grains that issue out of dust. You are not happy because you always strive to get what you don’t have and you forget what you do have. You are not certain because your complexion keeps

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shifting to strange effects after the moon. If you are rich, you are really poor because like a donkey you bear your riches during a journey and death unloads you. You have no friends because even your own bowels cause several diseases and put an end to you. You have neither youth nor old age because, like an after – dinner’s sleep, you merely dream on both. When you are old and rich you have neither heat, affection, limb nor beauty to make your riches pleasant. What is there in this, which bears the name of life? Many thousand deaths lie hidden in this. Yet we fear death, which makes all these odds even. (III. I. 6 – 41) TolkAppiyar defines KANci as a tiMai that deals with the impermanence of the world in all phases of life. PeruBkANci, one of the many substrands of the KANci theme, focuses on the inevitability of death. MutukANci delineates the great truths of life including its ephemerality which wise old men bring home to the youth. TolkAppiyar also mentions a second set of ten themes which are described as follows: (1) The wail of the distressed relatives surrounding the warrior who met with a glorious end. (2) The lonely cries of people experiencing inconsolable grief. (3) The expressions of tribute by onlookers as they see the wife ending her life on the death of her husband. (4) The bitter grief of the lonesome wife who has lost her husband in the forest. (5) The helpless cries of anguish of the relatives at the death of the ones who mattered in their lives. (6) The piteous state of the husband who has lost his wife. (7) The misery of the wife who has lost her beloved husband. (8) The words of disapproval by the wife at those who stand in the way of her entering into the funeral pyre of her husband. (9) The supreme act of the mother who seeks death on the battlefield on hearing that her son had turned his back in war. (10) The glorification of the graveyard which makes it clear to the world that the lives of humans do not last long while the graveyard enjoys permanence.

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Such an elaborate, time-honoured scheme and the several Sangam poems that exemplify it would go to show that the ancient Tamils were neither scared of death nor obsessed with the mystery relating to death unlike the ancient Greek philosophers to whom death was anathema. It was not a terrifying experience but an inevitable aspect of life on which a vast variety of poems could be composed. Of the twenty situations (turais) mentioned by TolkAppiyar, Kaiyarunilai, close to the elegiac theme of Greek and Latin classical poetry, has been given supreme importance by the Puram poets. In PuranAVURu, we come across a poem stated to have been sung by the daughters of PAri on the death of their father who has become a byword for generosity. That month, that moonlit night – Our father we had Our hill others hadn’t seized. This month, this moonlit night – Kings with victorious drums Have seized our hill; Our father is also gone Puram. 112

Presenting a situation from which an intense emotion of profound grief is derived, the poem achieves miraculous effects through its masterly reference to the states during two moonlit nights.

A PeruBkANci poem sung by one KAvaTTVA r (359) advises a chieftain called Antuvan to earn a name in this world by giving since what happened to the great conquerors that reached the graveyard at the end might happen to him in the near future. VAVmIkiyar’s poem (358) stresses the impermanence of a King’s state by pointing out that this world has seen seven rulers during a single day. On a rare occasion, when three kings of the Chera, Chola and Pandya dynasties were found together, AvvaiyAr is reported to have told them that when a ruler leave the world, his land won’t go with him but would be captured by strangers if they have done good. The strategy adopted by TAyaBkaMMaVAr in a poem of the turai called KATuvAlttu is noteworthy:

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Across it spreads the jungle. Upon it thick spurge grows. There in broad daylight the owls cry out and demon women open their mouths wide. The cremation fires glow and clouds of smoke cover that fearful burning ground. Hot, white ashes on the earth littered with bones are quenched by tears of lovers, weeping their hearts full of longing. It has seen the back of every human being, all the people living in this world as they go away, but no one has ever seen it turn its back and go away. (Puram. 356) A poem by MArkkaMTEyaVAr states that Mother Earth, the very personification of patience, being unable to bear the grief of transience of life, burst into tears. Her face is like the sky marked with the immense confusion of a storm and her eyes are like the two huge moving spheres as the earth goddess weeps, she who is so virtuous, crying out, “ I do not pass away as former Kings have done, their power so immense they found no new enemies, as they rolled their chariot wheels that are beautiful, of gold, with sapphire spokes and hubs of diamond over the ocean so difficult to cross, where even the shifting wind does not go! No, I remain here like a whore, while many who praise me wish that I may long endure! “The KANci odes of grief and mourning have even reached that far, they say who know these things! (Puram. 365) The ancient Tamils’ vision of life is reflected in a poem addressed to the god of death. The anonymous poet has the audacity to tell death himself that the King whose life was foolishly taken away was one who was well aware of the transitoriness of life and who had no need to be taught about it by anyone! è£˜ âF˜ à¼I¡ àóP‚è™ªôù Ý¼J˜‚° Üôñ¼‹ Ýó£‚ÃŸø‹ G¡õó¾ Ü…êô¡ ñ£«î£ ï¡ðô «èœMºŸPò «õœM Ü‰îí˜‚° Ü¼ƒèô‹ cªó£´ CîPŠ ªð¼‰î¬èˆ î£J¡ ï¡Á ðô˜‚Wˆ¶ˆ ªî¼œï¬ì ñ£èOªø£´î¡ Ü¼œ ð£´ï˜‚° ï¡° Ü¼O»‹ à¼œ ï¬ìŠ ðç«ø˜ å¡ø£˜‚ ªè£¡Á î¡

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î£œ «ê¼ï˜‚° ÞQ¶ ßˆ¶‹ ¹K ñ£¬ôò˜ ð£®Q‚°Š ªð£ô‰ î£ñ¬óŠ Ì‹ ð£íªó£´ èô‰ î¬÷Þò cœ Þ¼‚ ¬èò£™ ªð£¬øªò£´ ñL‰î èŸH¡ ñ£¡«ï£‚A¡ M™ªôù MôƒAò ¹¼õˆ¶, õ™ªôù, ï™A¡ ï£ Ü…²‹ ºœª÷JŸÁ, ñèO˜ Ü™°™ î£ƒè£ Ü¬ê Þ, ªñ™ªôù èôƒèôˆ«îø™ ªð£ôƒèôˆ¶ ã‰F ÜI›ªîù ñ´Šðñ£‰F Þè›Mô¡ G™ô£ ¾ôèˆ¶ G¬ôò£¬ñ c ªê£™ô «õ‡ì£ «î£¡ø™ º‰¶ ÜP‰î º¿¶í˜ «èœMò¡ ÝèL¡ MóAù£«ù. (¹ø‹. 361) Death! Looking for lives and roaring loudly as monsoon thunder, you keep moving around all the time; you can never be appeased. That man of magnanimity had no fear of your arrival. He gave more generously than a mother to many men; he gave numerous turkeys and horses to those who praised his generosity; he gave rolling chariots to those who sought shelter at his feet; he held his lengthy audiences in the company of bards and singing women. His women used to carry filtered and mixed toddy in gold pitchers and pour it out for people to drink. He never forgot that this world is mutable. You do not have to tell him that this world does not endure. He had studied all about it; he had already known all that; he had, therefore, established his fame. Though the entire speech is about the King’s greatness, what is stressed in the poem is an acceptance of life with all its miseries including death. The King, though living in luxury, did nothing shameful. In the midst of several pleasures of life, he never forgot that life is woefully short; nor did he forego the joys of life on that account. He gave just for the pleasure of giving and not with an eye on the other world. He had no fear of death because he was certain about its overtaking him sooner or later. ToTittalai ViluttaVTiVAr’s poem on the transcience of youth employs the remarkable strategy of juxtaposing one scene glorifying youth and another depicting the misery of old life.

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It is extremely sad to think about it now. When I was young I would join hands with the girls at play near the cool pond… when they hugged me I hugged them; when they swayed with me, I swayed with them. The boys who were my friends not knowing even the meaning of deception would never betray me. I would climb out on a branch of a marutam tree growing near the water and dive to the bottom of the deep water and bring up a handful of sand, much to the wonder of the people watching on the shore. Where is that ignorant youth of mine gone? Now I have become terribly old. Trembling and being propped on a strong cane with a metal knob, I struggle to walk and my few words are interspersed with coughs. ÞQG¬ù‰¶ Þó‚è ñ£A¡Á FE ñí™ ªêŒ¾Á ð£¬õ‚°‚ ªè£ŒÌˆ ¬îÞˆ î‡èò‹ Ý´‹ ñèOªó£´ ¬èH¬í‰¶ î¿¾õNˆ îjÞˆ Éƒ°õNˆ ÉƒA ñ¬øªòù™ ÜPò£ ñ£òI™ Ýòªñ£´ àò˜C¬ù ñ¼îˆ ¶¬ø»øˆ î£›‰¶ c˜ ïEŠ ð®«è£´ ãP„ Y˜Iè‚ è¬óòõ˜ ñ¼÷ˆ F¬óòè‹ HFó ªï´c˜‚ °†ìˆ¶ˆ ¶´‹ âùŠ ð£Œ‰¶ °Oˆ¶ ñí™ªè£‡ì è™ô£ Þ÷¬ñ ÜO«î£ î£«ù ò£‡´‡´ ªè£™«ô£ ªî£®ˆî¬ô M¿ˆî‡´ á¡P ï´‚°ŸÁ Þ¼‹ Þ¬ìI¬ì‰î Cô ªê£™ ªð¼ Íî£÷«ó‹ ÝAò âñ‚«è. (¹ø‹. 243) Though his convictions regarding fate and after-life may be hard to pinpoint, Shakespeare unambiguously emphasizes the universally approved values of life. For instance, the virtue of showing mercy and kindness to fellow human beings is strongly recommended by him wherever possible but beautifully described in The Merchant of Venice. The quality of mercy is not strained. It drops as the gentle rain from heaven upon the place below. It is twice blessed. It blesses him that gives and him that takes. It is mightiest in the mightiest; it becomes the kings better than his crown. Mercy is superior to the power of the Sceptre; it is enthroned in the heart of Kings; it is an attribute to God himself. When mercy seasons justice, kingly power resembles God’s.

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If God is just but not merciful, none of the human beings can dream of salvation. We pray for mercy where God’s judgment is concerned, and this should teach us to render the deeds of mercy. (IV. I. 183 – 196) Just as Shakespeare draws his images from nature as well as from day – to – day activities, Sangam poets, living in close proximity with nature, could do this effortlessly. Natural phenomena provided plenty of common comparisons – water for compassion, fire for destructive force, the sky for vastness, the earth for patience, the wind for strength, the sea for immensity, the mountain for grit and the rain for generosity. In order to emphasise the value of mercy, compassion and generosity, the rain becomes a significant image in numerous Sangam poems; but the authors of these, being consummate artists, can ring all kinds of exquisite changes on it. One of the commentators on TolkAppiyam, PErAciriyar says, “This is a simile that denotes usefulness. Why? What Is produced by the rain is comparable to what is given out of one’s generosity”. Many of the Sangam poets advise the kings and chieftains to be as generous as the rain and to temper justice with mercy. It is VaLLuvar who states that compassion is the best of the ornaments that a king can wear and that what is demanded from him is justice seasoned with mercy (è¼ñ‹ C¬îò£î è‡«í£†ì‹). In a poem glorifying KumaMan, the pet observes, ... è£ùõ˜ èK ¹ù‹ ñò‚Aò Üè¡è‡ ªè£™¬ô äõù‹ MˆF ¬ñ»ø‚ èMQ ßù™ ªê™ô£ ãùŸA¿ ªñù‚ è¼M õ£ù‹ î¬ôÞ ò£ƒ°‹ ßˆî G¡¹è› ãˆF ... (¹ø‹. 159) (Your generosity is like a cloud rushing with lightning and roaring thunder as it sheds its rain down on millet after it has been planted among wild rice on a spacious land new to cultivation but burnt over by men of the forest and changed into a field.) It is VeLLaikkuTinAkanAr who advises a Chola king to be compassionate like the rain and to rule the kingdom tempering justice with mercy. . . . Üø‹ ¹K‰î¡ù ªêƒ«è£™ ï£†ìˆ¶ º¬ø«õ‡´ ªð£¿F¡ ðî¡ âO«ò£˜ ß‡´

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à¬ø«õ‡´ ªð£¿F™ ªðò™ ªðŸ«ø£«ó ë£JÁ ²ñ‰î «è£´Fóœ ªè£‡Í ñ£è M²‹H¡ ï´¾ G¡ø£ƒ°‚ è‡ªð£ó M÷ƒ°‹G¡ M‡ªð£¼ Mò¡°¬ì ªõJ™ ñ¬ø‚ ªè£‡ì¡«ø£ Ü¡«ø õ¼‰Fò °® ñ¬øŠð¶«õ Ã˜«õ™ õ÷õ ªõOŸÁŠ ðù‰¶EJ¡ iŸÁ iŸÁ‚AìŠð‚ èOŸÁ‚èí‹ ªð£¼î è‡íè¡ ðø‰î¬ô õ¼ð¬ì î£ƒAŠ ªðò˜ ¹øˆ¶ Ý˜ˆ¶Š ªð£¼ð¬ìîÏ à‹ ªè£Ÿøº‹ à¿ð¬ì á¡Áê£™ ñ¼ƒA¡ ß¡øî¡ ðò«ù ñ£K ªð£ŒŠHÂ‹ õ£K °¡PÂ‹ ÞòŸ¬è Ü™ôù ªêòŸ¬èJ™ «î£¡PÂ‹ è£õô˜Š ðN‚°I‚ è‡íè¡ë£ô‹ Ü¶ ï¡° ÜP‰î¬ù ò£J¡ c»‹ ªï£¶ñô£÷˜ ªð£¶ªñ£N ªè£œ÷£¶ ðè´ ¹ø‰ î¼ï˜ ð£ó‹ æ‹H‚ °®¹ø‹ î¼°¬õ ò£J¡ G¡ Ü®¹ø‹ î¼°õ˜ Üìƒè£ «î£«ó. (¹ø‹. 35) (When people pray for justice, as if virtue itself were the judge, you, humble and accessible, are like the rain that pours where a drizzle is begged for. Your broad canopy that rivals the sky, dazzles the eyes and looks like a thick cloud in the midst of the vaulted heavens is not there to block the sun but to protect the grieving poor. The victory gained on the broad battlefield where groups of tuskers fight and lie scattered like pieces of the hollowed palmyra tree, when your warriors resist the on-rushing army and laugh at the retreating backs, is due to the yield from the fields furrowed by the plough share of your farmers. The world will blame kings if rains cease or the harvest declines or some harm is done by forces other than nature. If you have realized it well and, ignoring those that spread baseless slanders, if you alleviate the poverty of farmers that care for the ploughing oxen and save the citizens from hunger, even foes will hail your feet!) The meaninglessness of life and death as its inevitable end are stressed by Shakespeare in several ways in different contexts. Macbeth, driven by ambition, achieves his aims paying a heavy price and pathetically reacts to the death of his wife:

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And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life is but a walking shadow; a poor player, That struts and frets his hour upon the stage, And then is heard no more; it is a tale Told by an idiot, full of sound and fury Signifying nothing. (V.V. 21-27) If life is a ridiculous tale to the cruel - hearted murderer, the world is a stage and all men and women are players to the melancholic Jaques. And one man in his time plays many parts, His acts being seven ages. As, first the infant Mewling and puking in the nurse’s arms. And then the whining school boy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress’ eyebrow. Then the soldier, Full of strange oaths, and bearded like the pard, Jealous in honour, sudden and quick in quarrel, Seeking the bubble reputation Even in the Cannon’s mouth. And then the justice In fair round belly with good capon lined With eyes severe and beard of formal cut, Full of wise saws and modern instances And so he plays his part. The sixth age shifts Into the lean and slippered pantaloon, With spectacles on nose and pouch on side; His youthful hose, well saved, a world too wide, For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything. (As You Like It II. VII. 142-166)

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This metaphor of life as a drama is continued in the last play of Shakespeare in a speech delivered by Prospero, who is commonly supposed to be Shakespeare’s mouthpiece. Our revels now are ended. These our actors, As I foretold you, were all spirits, and Are melted into air, into thin air; And, like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on; and our little life Is rounded with a sleep. (The Tempest IV. I. 147-157) MABkuTimarutaVAr urges a Pandya King to follow the path of virtue realizing that life is short. He doesn’t say that one should renounce life since it is transitory but that the way to conquer this transitoriness is to attain fame by helping others. What he observes here is repeated in his long poem MaturaikkANci which, praying for his long life, instructs him to keep in mind that only virtue is long lasting in this ephemeral world and that his first aim should be to make the world happy by sticking to the path of virtue. This is the world-view, the weltanchuung that is cherished and projected by the Sangam poets in their writings whose appeal is as fresh and certain as it was two millennium ago. If, for a bright picture of life and a cheerful view of it we have to go to Shakespeare’s early and middle comedies such as A Midsummer Night’s Dream, As you Like It, and Twelfth Night, and for a gloomy presentation of the human condition to the tragedies led by King Lear, Hamlet, Othello and Macbeth, the last plays like The Tempest give us the message that “readiness is all”. The Sangam poems, despite the fact that they are by diverse hands, reject facile optimism and strongly recommend an acceptance of life with its bouquets and brickbats and a bold confrontation with the hard realities and the challenges posed by an unknown force whatever its nature might be.

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06. ¹øï£ÛŸÁ ªïPJ™ - ñ£Âìõ£›«õ ñèˆî£ù õ£›¾ è£.eó£ êƒè è£ôˆF™ â¿‰î ‘ðFªù‡ «ñŸèí‚°’ â¡Á «ð£ŸøŠð´‹ Ë™èÀœ å¡Á ¹øï£ÛÁ. îIö˜èO¡ õ£›Mò™ õóô£ŸÁ„ CøŠ¬ð àôAŸ° ÜPM‚°‹ à¡ùî Ëô£°‹. ðö‰îIö˜èO¡ ÜóCò™ ñ£‡¬ð»‹ êÍè G¬ôJ¬ù»‹ «ðóóê˜èœ, CŸøóê˜èœ ñŸÁ‹ õœ÷™èO¡ ió‹ ªè£¬ì ¹è› «ð£¡øõŸ¬ø»‹ ò£¶‹ á«ó ò£õ¼‹ «èO˜, ªê™õˆ¶Š ðò«ù ßî™, HŸ¬ø G¬ô ºQò£¶ èŸø™ ï¡«ø, ñò‚°Á ñ‚è¬÷Š ªðÁî™ «ð£¡Á å¼ ñQî¡ õ£›õ£ƒ° õ£öˆ «î¬õò£ù ð‡¹èœ Ü¬ùˆ¬î»‹ èŸH‚°‹ ÜKòªî£¼ è¼×ôñ£èŠ ¹øï£ÛÁ M÷ƒ°Aø¶. ‘ñQîŠ HøM»‹ «õ‡´õ«î Þ‰î ñ£Gôˆ«î’ â¡Á ïM¡ø ÜŠð˜ ªð¼ñ£Q¡ õ£‚AŸAíƒèŠ ¹øï£ÛŸP™ IO˜‰¶ Aì‚°‹ ñQîŠð‡¹è¬÷‚ è‡µÁ‹ªð£¿¶ ñQî õ£›«õ ñèˆî£ù õ£›ªõù‚ èOŠ«ðÁ¾õ¬è Ü¬ìòº®Aø¶. ñ¡ÂJ¬ó «ïC‚°‹ ñ¡ù¡ àôA¡ àJ˜ï£®ò£è M÷ƒ°ðõ˜ àôè ñ‚èœ. Üõ˜èœ àJ«ó£´ õ£›õîŸ°ˆ «î¬õò£ù¬õ àí¾‹ c¼«ñ. àí¬õ ºîô£è‚ ªè£‡ì«î àì‹¹. Üš¾ì‹¹‚°ˆ «î¬õò£ù àíªõù„ ªê£™ôŠð´õ¶ Gôˆªî£´ Ã®ò c«ó. . . . cK¡Pò¬ñò£ ò£‚¬è‚° â™ô£‹ à‡®ªè£´ˆ«î£˜ àJ˜ ªè£´ˆ«î£«ó à‡® ºîŸ«ø àíM¡ H‡ì‹ àíªõùŠð´õ¶ Gôˆªî£´ c«ó (¹ø‹.18) àJ¼‚° Þ¡Pò¬ñò£î c˜ õ÷ˆ¬îŠ ªð¼‚°‹ õNº¬øè¬÷ ï£†¬ì Ý†C¹K»‹ ñ¡ù«ù «ñŸªè£œ÷«õ‡´‹. c˜G¬ôè¬÷Š ªð¼‚°«õ£˜ Üø‹, ªð£¼œ, Þ¡ð‹ â¡ø Í¡ø¬ù»‹ å¼ƒ«è ªðÁõ˜. Üƒéù‹ c¬óˆ«î‚A àô¬è‚ è£Šð£Ÿø£îõ˜ î‹ ªðò¬ó»‹ ¹è¬ö»‹ G¬ôGÁˆî£îõ˜ âù ÞèöŠð´õ˜. Þî¬ù, º¬ùõ˜ è£.eó£, àîMŠ «ðó£CKò˜, îI›ˆ¶¬ø, ð£óFò£˜ ð™è¬ô‚ èöè‚ è¬ô ÜPMò™ è™ÖK, (ªñ£ì‚°P„C), ß«ó£´ ñ£õ†ì‹.

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. . . Þèö£¶ õ™«ô Gô¡ ªïOñ¼ƒA™ c˜G¬ôŠªð¼èˆ î†«ì£˜ Ü‹ñ Þõ‡ î†«ì£«ó îœ÷£«î£˜ Þõ‡ îœ÷£«î£«ó (¹ø‹.18) âùŠ ¹øï£ÛÁ ðè˜Aø¶. àôèñ‚èÀ‚° àíõ£è M÷ƒ°‹ ªï™½‹ Üî¬ù M¬÷M‚°‹ c¼‹ ñ†´‹ àJó™ô. Ü‰c¬ó‚ è†®‚è£ˆ¶ ñ‚èÀ‚°Š ðò¡ðì„ ªêŒ»‹ ñ¡ù«ù Þš¾ôA¡ Þ¡Pò¬ñò£ àJ˜ â¡ð¬î, ªï™½‹ àJó¡«ø c¼‹ àJó¡«ø ñ¡ù¡ àJ˜ˆ«î ñô˜î¬ô àôè‹ . . . (¹ø‹.186) â¡ø ð£ìô®è÷£™ ÜPòô£‹. ðöƒè£ôˆF™ ï£ì£À‹ Üóê¡ î¡ C‰¬îJ½‹ ªêòL½‹ ï£†´ñ‚èO¡ ïô¬ù ñ†´«ñ ªè£‡ìõù£èˆ Fè›‰î£¡. Üîù£™î£¡ ñ£î‹ º‹ñ£K ªð£N‰¶ ï£´ ïô‹ªð¼A õ÷«ñ£´ Fè›‰î¶. Þî¬ù«ò è‹ðó£ñ£òíº‹ W›‚è‡ìõ£Á ¹ôŠð´ˆ¶Aø¶: àJªóô£‹ î¡ÂJªó£‚è æ‹ðô£™ ªêJKô£ àôAQ™ ªê¡Á G¡Áõ£› àJªóô£‹ à¬øõ¶ æ˜ àì‹¹ ÝJù£¡ (è‹ð. ð£ôè£‡ì‹ 177) ð°ˆ¶‡µ‹ ð‡¹ àôè‹ Þ¡Áõ¬ó G¬ôªðŸP¼ŠðîŸ°Š ð°ˆ¶‡´ ð™½J˜æ‹¹‹ ð‡¹‹ Þ™ô£îõ˜‚°‚ ªè£´ˆ¶î¾‹ ªè£¬ì‚ °íº‹ õP«ò£˜‚° õöƒA ñA¿‹ ñ£‡¹œ÷º‹ ð¬ìˆîõ˜è«÷ Þš¾ôA¬ù‚ è£Šð£ŸP õ¼A¡øù˜ â¡ðî¬ù, à‡ì£ô‹ñ Þš¾ôè‹ Þ‰Fó˜ ÜI›î‹ Þ¬òõî£JÂ‹ ÞQªîùˆ îIò˜ à‡ì½‹ Þô«ó ºQMô˜ ¶…ê½‹ Þô˜ Hø˜ Ü…²õ¶ Ü…CŠ ¹èªöQ¡ àJ¼ƒ ªè£´‚°õ˜ ðNªòQ¡ àô°ì¡ ªðPÂ‹ ªè£œ÷ô˜ Üò˜Mô˜ Ü¡ùñ£†C Ü¬ùòó£A îñ‚ªèù ºòô£ «ï£¡î£œ Hø˜‚ªèù ºò½ï˜ à‡¬ñò£«ù (¹ø‹.182) â¡ø Ü®èœ ðè¼A¡øù. ªõÁŠ¹, «ðî¬ñ, àò˜¾î£›¾ ÝAòõŸ¬ø‚ è£†ì£ñ™ â™«ô£Kìº‹ Ü¡¹è£†® Üóõ¬íˆ¶„ªê™½‹ ÜKò

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 57

õ£›‚¬è¬ò «ñŸªè£œðõ˜èœ, «îõ˜èœ à‡í‚Ã®ò ÜI›î‹ A¬ìˆî£½‹ Üî¬ùˆ îQ«ò à‡í£ñ™ ðô¼‚°‹ ªè£´ˆ¶ ñA¿‹ Cø‰î ð‡ð£÷˜è÷£õ˜. Þõ˜èœ, ¹è› à‡ì£°‹ â¡ø£™ ÜŠ¹è¬öŠªðøˆ î‹ àJ¬ó»‹ Ü˜ŠðE‚èˆ ¶Eõ˜. Ü«î êñò‹, Þš¾ô¬è ¬õˆ¶‚ ªè£‡´ ÞŠðN„ªêò¬ô„ ªêŒ â¡ø£™ âœ÷÷¾‹ ÜîŸ° àì¡ðì ñ£†ì£˜èœ. Hø˜ Ü…êˆî‚èõŸÁ‚°ˆ î£º‹ Ü…C Þš¾ô¬è„ Y˜°¬ôò£ñ™ è£Šð£ŸÁõ˜. Þš«õŸøI° àœ÷‹ ð¬ìˆîõ˜èœ å¼ªð£¿¶‹ îñ‚è£è õ£ö£ñ™ Hø¼‚è£è õ£›õ¬î«ò õ£›‚¬èò£‚A‚ ªè£‡ìî£™ àôè‹ Þ¡ø÷¾‹ G¬ôˆ¶ GŸA¡ø¶. “Ý¼J˜‚ªè™ô£‹ ï£‹ Ü¡¹ ªêŒò «õ‡´‹” â¡ø õœ÷ô£K¡ ñ£‡¹œ÷‹ Þƒ° G¬ù¾ Ãóˆî‚èî£°‹. ñø‰¶‹ b¬ñ ªêŒò£¬ñ ï¡¬ñ¬ò ÜÂðMŠð¬î‚ è£†®½‹ ºîL™ b¬ñJL¼‰¶ ï‹¬ñ‚ è£ˆ¶‚ªè£œ÷ «õ‡´‹. ï‹ñ£™ Hø¼‚° ï™ô¶ â¬î»‹ ªêŒò º®ò£M†ì£½‹ b¬ñ ªêŒ¶ Mì£ñ™ ð£˜ˆ¶‚ªè£œ÷ «õ‡´‹. ... èE„C‚Ã˜‹ ð¬ì‚ è´‰Fø™ å¼õ¡ HE‚°ƒ è£¬ô Þóƒ°J˜ ñ£«î£! ï™ô¶ ªêŒî™ ÝŸló£JÂ‹ Ü™ô¶ ªêŒî™ æ‹¹I¡ Ü¶î£¡ â™ô£¼‹ àõŠð¶ Ü¡P»‹ ï™ ÝŸÁŠðÇà‹ ªïP»‹ñ£˜ Ü¶«õ (¹ø‹.195) ï™ôªî£¼ ªêò¬ô«ò£ Hø¬ó ñA›M‚°‹ ðE¬ò«ò£ å¼õó£™ ªêŒò º®ò£ñ™ «ð£èô£‹. Üî¬ù„ ªêŒõîŸ°Š ªð£¼÷£î£ó õêF»‹ Þ™ô£ñ™ Þ¼‚èô£‹. Ýù£™ b¬ñ ªêŒò£ñL¼‚è âŠªð£¼À‹ «î¬õJ™¬ô. ‘Þò¡ø£™ ï™ô¬î„ ªêŒ. Þ™¬ô«ò™ ²‹ñ£ Þ¼’ â¡Â‹ õ£Œªñ£N¬ò «ñŸè‡ì ð£ì™ G¬ù×†´õî£è Ü¬ñAø¶. M¬ùJ¡ õ‰î¶ M¬ù‚° Ýò¶ ¹¬ùõù cƒA¡ ¹ô£™ ¹øˆF´õ¶ ÍŠ¹ MO¾ à¬ìò¶ bŠHE Þ¼‚¬è ðŸP¡ ðŸPì‹ °Ÿø‚ ªè£œèô‹ ¹Ÿøìƒ° ÜóM¡ ªêŸø„ «ê‚¬è Üõô‹ èõ¬ô ¬èò£Á Ü¿ƒè™

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 58

îõô£ àœ÷‹ î¡ð£™ à¬ìò¶ ñ‚èœ ò£‚¬è (ñE«ñè¬ô, ðO‚è¬øŠ¹‚è è£¬î) â¡ø ñE«ñè¬ôŠ ð£ì™ ò£‚¬èJ¡ G¬ôò£¬ñŠ ðŸP â´ˆ¶¬ó‚Aø¶. âñ¡ â‚è£ôˆF½‹ ð£óð†êI¡P âš¾J¬ó»‹ èõ˜‰¶ ªê™½‹ ÝŸø½¬ìòõ¡. àJK¡ G¬ôò£¬ñ»í˜‰¶ âñ¡ ðŸø õ¼õîŸ°œ ï¡¬ñ ðô ªêŒò «õ‡´‹. ¬èñ£Á è¼î£¬ñ Üø‹ ¹KõîŸ°‹ ß¬è ðô ªêŒõîŸ°ñ£ù ‘°í‹’ å¼õ¼‚° Þò™ð£è«õ Þ¼‚è«õ‡´‹. ñ£ø£èŠ HóFðô¡ ð£˜ˆ¶ ÞšMó‡¬ì»‹ ªêŒî™ Ãì£¶. ¹‡Eò‹ è¼Fˆ î¼ñ‹ ªêŒõ¶ Ãì Üøˆ¬î M¬ô «ð²õîŸ°„ êññ£°‹. “Üøˆ¬î MŸÁ ñÁHøŠHŸè£ù ï™M¬ù¬òˆ «î´õ¶ â¡ð¶ å¼ õ¬è Mò£ð£ó«ñ Ý°‹. à¬øÎ˜ ãE„«êK ºì«ñ£Cò£˜, ÝŒ Ü‡®óQ¡ õœ÷™ ñ£‡H¬ù‚ °PŠH´‹ªð£¿¶, “Þ‰îŠ HøMJ™ ªêŒî¶ ñÁHøM‚° àî¾‹ â¡ªø‡E Üøˆ¬î MŸð¬ù ªêŒ»‹ õEè¡ Ü™ô. ß¬è â¡ð¶ ê£¡«ø£˜ ªð¼ñ‚èœ ªê¡ø ªïP, â¡ðî£½‹ Üõ¡ Üø‹ ªêŒòM™¬ô. ªè£´Šð¶ â¡ð¶ Þò™ð£è«õ ÜõQì‹ àœ÷ å¼ Cø‰î °í‹” â¡Á ð£ó£†´Aø£˜. Þî¬ù, Þ‹¬ñ„ ªêŒî¶ ñÁ¬ñ‚° Ý‹! âÂ‹ ÜøM¬ô õEè¡ ÝÜŒ Ü™ô¡ Hø¼‹ ê£¡«ø£˜ ªê¡ø ªïP âù Ýƒ°ð†ì¡Á Üõ¡ ¬èõ‡¬ñ«ò (¹ø‹.134) â¡ø ð£ìô®è÷£™ ÜPòô£‹. Þ¶ ‘â¬î»‹ âF˜ð£˜ˆ¶„ ªêŒî™ Ãì£¶. âF˜ð£˜ŠðŸø ªè£¬ì»œ÷‹ Þò™ð£è«õ Þ¼‚è «õ‡´‹. Þ™¬ô«ò™ Þò™ð£‚A‚ ªè£œ÷ «õ‡´‹’ â¡Á ñQîÂ‚°Kò Þ¡Pò¬ñò£ ñ£‡¹œ÷ˆ¬î õL»Áˆ¶Aø¶. Þî¬ù«ò Þ¬ì‚è£ôˆF™ õ£›‰î ¬êõ Ü®ò£˜ F¼ï£¾‚èóêK¡ ¬èñ£Á è¼î£ Üø„ªêòL¬ù„ «ê‚Aö£˜ ªð¼ñ£¡ W›‚è‡ì Ü®èœ õ£Jô£è ªñŒŠH‚A¡ø£˜ ñ£C™ ñùˆ¶òªó£Nò ñ¼œc‚Aò£˜ Gó‹H «îêªïP G¬ôò£¬ñ‚ è‡ìøƒèœ ªêŒõó£Œ‚ è£CQ«ñ™ ¹è›M÷ƒè GFòOˆ¶‚ è¼¬íJù£™ ÝCôø„ê£¬ôèÀ‹ î‡a˜Š ð‰î¼‹ Ü¬ñŠð˜ (ªðKò¹ó£í‹ 1305)

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 59

èì¬ñ»‹ ióº‹ ñQîù£èŠ Hø‰î åšªõ£¼õ¼‚°‹ èì¬ñèœ Þ¼‚A¡øù. Üõóõ˜ îñ‚°Kò èì¬ñè¬÷„ ªêŒ¶ õ‰î£™î£¡ àôè‹ «ð£ŸÁ‹. àôèº‹ ªêN‚°‹. èì¬ñèœ îQñQî‚ èì¬ñ, êºî£ò‚ èì¬ñ âù Þ¼õ¬èŠð´‹. å¼õ¡ î¡ ñ¬ùM ñ‚èœ ÜìƒAò °´‹ðˆ¬î‚ è£Šð£ŸÁõ¶ îQ ñQî‚ èì¬ñò£°‹. Þ™ôˆFŸ° ÜŠð£Ÿð†ì á¬ó»‹ ï£†¬ì»‹ è£Šð£ŸÁõ¶ êºî£ò‚ èì¬ñò£°‹. Þ¶ ÜóêÂ‚°Kò¶ â¡ø£½‹ Ü¬ùõ¼‚°‹ ªð£¶õ£ùî£°‹. å¼õ˜ î£‹ ªêŒò «õ‡®ò èì¬ñ¬ò M†´M†´ ñŸøõ˜ ªêŒò «õ‡®ò ðEè¬÷„ ªêŒõ¶‹ îõªø¡Á Ãøô£‹. Üõóõ˜ èì¬ñè¬÷ Üõóõ˜ ªêšõ«ù ªêŒò «õ‡´‹. ò£˜ò£¼‚° â¡ªù¡ù èì¬ñ â¡ð¬îŠ ¹øï£ÛÁ W›‚è‡ìõ£Á HKˆ¶‚ ªè£´Šð¬î, ß¡Á ¹ø‰î¼î™ â¡î¬ô‚ èì«ù ê£¡«ø£ù£‚°î™ î‰¬î‚°‚ èì«ù «õ™ õ®ˆ¶‚ ªè£´ˆî™ ªè£™ôŸ°‚ èì«ù ï¡ù¬ì ï™è™ «õ‰îŸ°‚ èì«ù . . . (¹ø‹.312) â¡ø ð£ìô®è÷£™ ÜPòô£‹. ñè¬ùŠ ªðŸÁ õ÷˜ˆ¶ M´î™ î£J¡ èì¬ñ, Üõ¬ù ï™ô ê£¡«ø£ù£‚°î™ î‰¬î‚°Kò èì¬ñ, ÜõÂ‚°ˆ «î¬õò£ù Ý»îˆ¬î à¼õ£‚Aˆ î¼õ¶ ªè£™ôÂ‚°Kò èì¬ñ; ï™ªô£¿‚èˆ¬î‚ èŸHŠð¶ ï£ì£À‹ «õ‰îÂ‚°Kò èì¬ñò£°‹. îIö¡ î¡ñ£ù‹ I‚èõ¡. î¡ àJ«ó HKò «ï˜‰î£½‹ î¡ñ£ùˆ¬î Þö‚è£îõ¡. Þˆî¬èò ió‹ G¬ø‰î îIöÂ¬ìò õ£›Mò¬ôŠ ¹øï£ÛÁ ÃÁAø¶. ºî™ ï£œ «ð£K™ î¡ î‰¬î, î¬ñò¡, èíõ¬ù Þö‰î ñøŠªð‡ªí£¼ˆFJ¡ è£F™ Þ¡Á‹ «ð£˜ºóªê£L «è†Aø¶. M¬÷ò£®‚ ªè£‡®¼‰î î¡ ñè¬ù Ü¬öˆ¶‚ ¬èJ™ «õ™ ªè£´ˆ¶, ‘ªê¼ºè‹ «ï£‚A„ ªê¡Á õ£’ âù ÜÂŠ¹õ¬î, Þ¡Á‹ ªê¼Šð¬ø «è†´ M¼Š¹ŸÁ ñòƒA «õ™¬è‚ ªè£´ˆ¶ . . . (¹ø‹. 279) â¡ø Ü®è÷£™ ÜPòô£‹. Þ¬õò¡P ñŸªø£¼ ióˆî£Œ‚° c‡ìï£œ °ö‰¬îJ¡P ãƒA º¶¬ñ Ü¬ì»‹ õòF™ °ö‰¬î Hø‚Aø¶. ÜKî£è‚ A¬ìˆî Hœ¬÷ Üº¬î‚ è‡´ñA›Aø£œ. Ü‚°ö‰¬î õ÷˜‰¶ «ð£¼‚°„ ªê¡Á îQªò£¼õù£Œ G¡Á «ð£K†´ ióñóí‹ Ü¬ìAø£¡. Þ„ªêŒF Üõ¬ù ÜKî£èŠªðŸªø´ˆî î£J¡ è£F™ Mö,

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ñèQ¡ ió„ªêò½‚° àõ¬èò¬ì‰¶ è‡a˜ ªê£K»‹ ð£ƒ¬è, . . . õ£ù¬ó‚ Ã‰î™ ºF«ò£œ CÁõ¡ èOªøP‰¶ ð†ìù¡ â¡Â‹ àõ¬è ß¡ø ë£¡PÂ‹ ªðK«î . . . (¹ø‹. 277) â¡ø Ü®èO™ è‡µÁ‹ªð£¿¶ ªï…¬ê ªïAö„ ªêŒAø¶. . . . ñ‡´ Üñ˜‚° à¬ì‰îùù£J¡ à‡ì â¡ º¬ô ÜÁˆF´ªõ¡ ò£¡ (¹ø‹. 278) â¡ø Ü®èO™ “«ð£˜‚è÷ˆF™ ¹øŠ¹‡ð†´ G¡ñè¡ i›‰î£¡ â¡ø ªê£™«è†ì ióˆî£Œ å¼ˆF, Üõ¡ Üƒéù‹ i›‰F¼Šð£«ùò£ù£™ Üõ¡ ð£½‡ì â¡ ñ£˜¬ð ÜÁˆF´«õ¡” â¡Á õ…Cù‹ ÃPò¬î ÜP»‹ªð£¿¶ “ê£¶Ió‡ì£™ è£´ªè£œ÷£¶” â¡ø º¶ªñ£N G¬ùMŸ° õ¼õ«î£´, ªð‡í£ùõœ Ü¬ñF, Ý«õê‹ â¡ø Þ¼FøŠ ð‡¹¬ìòõœ â¡ø à‡¬ñ¬ò»‹ ¹K‰¶ ªè£œ÷ ã¶õ£Aø¶. ï™ôªî£¼ Ý‡ñè¬ù à¼õ£‚è Üõù¶ î£Œ, î‰¬î, ªè£™ô¡, Üóê¡ âùŠ ðô¼‹ ðƒ° ªè£œA¡øù˜. ÜŠðƒªè´ŠH¡ ðôù£è, åOÁõ£œ Ü¼…êñ‹ ºÁ‚A‚ èOªøP‰¶ ªðò˜î™ è£¬÷‚°‚ èì«ù (¹ø‹.312) âù Ý‡ñè¡ îù‚°Kò èì¬ñè¬÷„ ªêšõ«ù «ñŸªè£œ÷ «õ‡´‹ â¡ð¬îŠ ¹øï£ÛÁ ÃÁAø¶. ï¡P ñøõ£¬ñ â‡µ‹ â‡íƒèO½‹ ªêŒ»‹ ªêò™èO½‹ Iè¾‹ ªè£´¬ñò£ù¶, bƒè£ù¶ â¶ªõQ™ å¼õ˜ ªêŒî ï¡P¬ò ñøŠðî£°‹. ð²M¡ ñ®¬ò ÜÁˆîõÂ‚°‹ ªð‡E¡ è¼¬õ„ C¬îˆîõÂ‚°‹ Ãì ñ¡QŠ¹ à‡´. Ýù£™ å¼õ˜ ªêŒî ï¡P¬ò ñø‰îõÂ‚° â‰îŠ HøMJ½‹ ñ¡QŠ«ð A¬ìò£¶. ªêŒï¡P ñø‰îõ¡ ïóèˆFL¼‰¶ îŠHŠ H¬ö‚è º®ò£¶ â¡ðî¬ù‚ W›‚è‡ì ð£ì™ ªñŒŠH‚Aø¶. Ý¡º¬ô ÜÁˆî ÜøQ™«ô£˜‚°‹ ñ£E¬ö ñèO˜ è¼„C¬îˆ«î£˜‚°‹ °óõ˜ îŠHò ªè£´¬ñ«ò£˜‚°‹ õ¿õ£Œ ñ¼ƒA™ è¿õ£»‹ à÷âù Gô‹ ¹¬ìªðò˜ õî£JÂ‹ å¼õ¡

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ªêŒF ªè£¡«ø£˜‚° àŒF Þ™ªôù Üø‹ð£®Ÿ«ø . . . (¹ø‹.34) ñ£ø£è ï¡P ñø‰îõ¡ ï£†®™ õ£›õ£«ùò£ù£™, ÅKò¡ º¬øŠð® àF‚è£¶. ÞòŸ¬è„ YŸø‹ õ‰¶ Þš¾ô¬è ÜNˆ¶ M´‹ â¡ð¬î, . . . â‹«è£¡ õ÷õ¡ õ£›è! â¡Á G¡ d´ªõ¿ «ï£¡î£œ ð£«ì¡ ÝJ¡ ð´ ð Pò«ô¡ ð™èF˜„ ªê™õ¡ ò£«ù£ î…ê‹ ªð¼ñ Þš¾ôèˆ¶„ ê£¡«ø£˜ ªêŒî ï¡Á à‡ì£J¡ Þñòˆ¶ ß‡® Þ¡°ó™ ðJŸP‚ ªè£‡ì™ ñ£ñ¬ö ªðŒî ¸‡ð™ ¶OJÂ‹ õ£Nò ðô«õ (¹ø‹.34) â¡ø Ü®èœ àí˜ˆ¶A¡øù. ÞšMô‚Aò‚ è¼ˆFL¼‰¶, ï‹ îI›ñ‚èœ âˆî° ï¡P ñøõ£¬ñ«ò£´ õ£›‰¶œ÷ù˜ â¡ð¬î àí˜‰¶ªè£œ÷ º®Aø¶. ªê™õˆ¶Š ðò¡ ß¬è å¼ ï£†®™, àò˜‰î Ý†CŠdìˆF™ Üñ˜‰¶ Üóê£À‹ «õ‰îÂ‹ õ£›Aø£¡; è™MòPM¡P õJŸÁŠðC¬òŠ «ð£‚A‚ ªè£œ÷ º®ò£ñ™ «õ†¬ìò£®Š H¬öŠ¹ ïìˆ¶‹ «õ´õÂ‹ õ£›Aø£¡. ÞšM¼õ¼‚°‹ Ü®Šð¬ìˆ «î¬õ àí¾‹ à¬ì»«ñ. Üóê¡ â¡ðî£™ àí¬õ M´ˆ¶Š ªð£¡¬ù»‹ ñE¬ò»‹ à‡íô£‹ â¡«ø£, «õ´õ¡ â¡ðî£™ Þ¬ôî¬ö¬ò ñ†´«ñ à‡í«õ‡´‹ â¡ð«î£ Þ™¬ô. ÞšM¼õ˜ ñ†´ñ™ô£ñ™ àôA™ HøMªò´ˆî Üóê¡ ºî™ Ý‡® õ¬óJô£ù Ü¬ùõ¼‚°‹ ªð£¶õ£ù «î¬õ àí¾‹ à¬ì»«ñ. Þš¾í¬õ»‹ «ð£Fò Ü÷¾ ñ†´«ñ à†ªè£œ÷ º®»‹. àí¾ G¬øò Þ¼‚Aø¶ â¡ðîŸè£è Üî¬ù õ£Œ‚°œ ÜœOŠ«ð£†´ˆ FE‚èº®ò£¶. Ýè ÞõŸ¬ø‚ è¼ˆF™ ªè£‡´ îñ‚°ˆ «î¬õò£ù¬õ «ð£è â…C Þ¼Šð¬îŠ Hø¼‚°‹ ªè£´ˆ¶ ñAö «õ‡´‹. «î¬õ‚° «ñ™ àœ÷ ªê™õˆ¬îŠ Hø¼‚°‚ ªè£´‚èM™¬ô«ò™ ï£‹ õ£›M™ ªðø«õ‡®ò Üø‹, ªð£¼œ, Þ¡ð‹ ÝAòõŸ¬ø Þö‚è«ïK´‹ â¡ð¬î, ªî‡èì™ õ÷£è‹ ªð£¶¬ñ Þ¡P ªõ‡°¬ì GöŸPò å¼¬ñ«ò£˜‚°‹

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ï´ï£œ ò£ñˆ¶‹ ðè½‹ ¶…ê£¡ è´ñ£Š ð£˜‚°‹ è™ô£ å¼õŸ°‹ à‡ð¶ ï£N à´Šð¬õ Þó‡«ì Hø¾‹ â™ô£‹ æ˜ å‚°‹«ñ ªê™õˆ¶Š ðò«ù ßî™ ¶ŒŠ«ð‹ âQ«ù îŠ¹ù ðô«õ (¹ø‹.189) â¡ø Ü®è÷£™ ÜPòô£‹. Þî¬ù«ò ð£óF»‹, îQªò£¼ ñQîÂ‚° àíM™¬ôªòQ™ êèˆF¬ù ÜNˆF´«õ£‹ â¡Á ºöƒA»œ÷£˜. F¼.M.è. ß¬èJ™ Cø‰î ªê™õ‰îó£è‚ è£íŠð†ì£˜. îñ‚ªèù õ£ö£ñ™ Hø¼‚è£è«õ õ£›‰î ð‡ð£÷˜. å¼ ï£œ F¼.M.è.¾‹ ï‡ð˜ å¼õ¼‹ «ðC‚ªè£‡®¼‚°‹ªð£¿¶, «õL‚è¼A™ Þ¼‰î Þ¬ôè¬÷ å¼ ªð‡ ðPˆ¶‚ªè£‡®¼‰î£œ. ï‡ð˜ Üõ¬÷ Üî†® ÜÂŠHM†ì£˜. Ýù£™ F¼.M.è.«õ£ Ü‰îŠ ªð‡¬íˆ î£ƒèœ Mó†®J¼‚è‚ Ãì£¶. Üõœ âîŸè£è Þ¬ôè¬÷Š ðPˆî£«÷£! ñ¼‰¶‚è£èŠ ðPˆF¼‚èô£‹. ï£ù£è Þ¼‰î£™ Ü‰î„ ªê®¬ò«ò H´ƒA ÜõÀ‚°‚ ªè£´ˆF¼Š«ð¡ â¡ø£˜. «ñ½‹ õÁ¬ñJ™ õ£´A¡ø î‹ ï‡ð˜èÀ‚ªè™ô£‹ î¡ù£™ Þò¡øõ¬ó àîM ªêŒî F¼.M.è.M¡ ñ£‡¹œ÷ˆ¬î Þƒ° G¬ù¾Ãóô£‹. G¬ôò£¬ñ àí˜‰¶ ï™M¬ù ¹Kî™ ñQî¡ Hø‰¶ ÜÁð¶ ºî™ â‡ð¶ Ý‡´èœ õ¬ó õ£›A¡ø£¡. ðô «ï£Œè÷£½‹ î£‚èŠð´Aø£¡. °ÁAò è£ôƒèœ ñ†´«ñ Ý«ó£‚Aòñ£è õ£›Aø£¡. Þî¬ù ÜP‰¶ î£¡ õ£¿‹ è£ôƒèO™ bò â‡íƒè¬÷»‹ bò ªê£Ÿè¬÷»‹ bò ªêò™è¬÷»‹ Üø«õ åN‚è«õ‡´‹. æ˜ àJ¼‚° “ºŸðèL™ ¶¡ð‹ ªêŒî£™ Üˆ¶¡ð‹ HŸðèL™ îù‚«è õ‰¶ «ê¼‹”, “«ïŸÁ Þ¼‰îõ¡ Þ¡Á Þ™¬ô” â¡ø G¬ôò£¬ñ¬ò àí˜‰¶, Þ¼‚°‹ è£ôƒèO™ î‹ñ£™ Þò¡ø ï¡¬ñèœ ðôõŸ¬øŠ Hø¼‚°„ ªêŒî™ «õ‡´‹ â¡ø Üø¾¬ó¬òŠ ¹øï£ÛÁ W›õ¼ñ£Á ÃÁAø¶: .... iò£¶ àì‹ªð£´ G¡ø àJ¼‹ Þ™¬ô ñìƒè™ à‡¬ñ ñ£ò«ñ£ Ü¡«ø . . . (¹ø‹.363)

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.... Þ¡ù£ ¬õè™ õ£ó£º¡«ù ªêŒ‰c º¡Qò M¬ù«ò º‰c˜ õ¬óŠðè‹ º¿¶ àì¡¶ø‰«î (¹ø‹.363) Þî¬ù«ò, G™ô£ ¾ôèˆ¶ G¬ô¬ñ É‚A ò‰G¬ô òµè™ «õ‡® (ªð¼‹ð£‡. 466-467) â¡ø ªð¼‹ð£í£ŸÁŠ ð¬ìJ¡ Ü®èœ, ªî£‡¬ìñ£¡ Þ÷‰F¬óò¡ G¬ôò£¬ñ¬ò àí˜‰¶ î¡¹è¬ö G¬ôGÁˆî M¼‹Hò¬î‚ ÃÁA¡øù. èŸ¬è ï¡«ø èŸ¬è ï¡«ø H„¬ê ¹AÂ‹ èŸø™ ï¡«ø â¡ø ï™õNŠ ð£ì™ H„¬ê â´ˆî£õ¶ å¼õ¡ è™M èŸø™ «õ‡´ªñù àí˜ˆ¶Aø¶. è™M«ò ñQî¬ù â™ô£ G¬ôèO½‹ â™ô£ˆ ¶¬øèO½‹ àòó¬õ‚Aø¶. Þî¬ù àí˜ˆ¶‹ õ‡í‹, àŸÁN àîM»‹ àÁªð£¼œ ªè£´ˆ¶‹ HŸ¬øG¬ô ºQò£¶ èŸø™ ï¡«ø . . . (¹ø‹.183) â¡Á ¹øï£ÛÁ è™MJ¡ Þ¡Pò¬ñò£¬ñ¬ò‚ °PŠH´Aø¶. è™M èŸøL¡ªð£¿¶ ðJŸÁM‚°‹ ÝCKò¼‚° æ˜ Þì˜Šð£´ âQ™ Ü¬îˆ b˜‚A¡ø õ¬èJ™ ñA›«õ£´ àîMèœ ðô ªêŒ¶ è™M èŸø™ «õ‡´‹. ªðŸø î£Œ‚°Š ðô Hœ¬÷èœ Þ¼‰î£½‹ è™M èŸø å¼õQì«ñ Üõ÷¶ àœ÷‹ ï£®„ªê™½‹. è™M èŸè£î ñè¬ù ªõÁˆ¶Mì¾‹ ¶Eõ£œ. Ü¶«ð£ô å¼ °´‹ðˆF™ Hø‰î ðô¼œÀ‹ Íˆ«î£Q¡ ÜP¾¬óJ¡ð® ïìõ£ñ™, õòF™ CPòõù£JÂ‹ Üõ¡ è™MòPõ£™ Cø‰¶ M÷ƒAù£«ùò£ù£™ Üõ¡ ÃÁ‹ ÜP¾¬óJ¡ ð®«ò Ü‚°´‹ðˆî£˜ ªêò™ð´õ˜. ï£ì£À‹ «õ‰îÂ‹ ÜP¾¬ì«ò£Q¡ ªê£Ÿð®«ò ªêò™ð´õ£¡ â¡ðî¬ù„ êƒè Ë™èœ ªñŒŠH‚A¡øù. . . . HøŠ«ð£ó¡ù àì¡ õJŸÁœÀ‹ CøŠH¡ ð£ô£Ÿ ø£»ñù‰ FK»‹ å¼°®Š Hø‰î ð™«ô£¼œÀ‹ Íˆ«î£¡ õ¼è â¡ù£îõ¼œ ÜP¾¬ì«ò£ù£™ Üó²… ªê™½‹ (¹ø‹.183) ðöƒè£ôŠ ¹ôõ˜èœ õÁ¬ñò£™ õ£®J¼‰î£½‹ ï™ô ¹ô¬ñ I‚èõ˜è÷£è¾‹ Üóê¡ îõÁ ªêŒî£™ Üî¬ù Þ®ˆ¶‚ ÃÁ‹ ñ£‡¹¬ìòõ˜è÷£è¾‹ Fè›‰îù˜. ÜPM™ Cø‰î ¹ôõ˜èO¡

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ªê£Ÿ«ð„¬ê‚ «è†´ Ý†C ¹K‰îõ˜è÷£è«õ ð‡¬ìò ñ¡ù˜èÀ‹ M÷ƒAù˜ â¡ð¬îŠ H¡õ¼‹ ð£ì™ Þò‹¹Aø¶. . . . Ü¼À‹ Ü¡¹‹ c‚A cƒè£ Góòƒ ªè£œðõ«ó£´ å¡ø£¶ è£õ™ °öM ªè£œðõK¡ æ‹¹ñF ÜO«î£ î£«ù Ü¶ªðø™ Ü¼ƒ°¬øˆ«î (¹ø‹.5) Þ¡¬øò è£ô‚è†ìƒèO™ è™M â¡ð¶ å¼ õ¬è Mò£ð£óñ£è ñ£PM†ì¶. ªðŸ«ø£˜èÀ‹ ÜFè‚ è†ìí‹ õÅL‚°‹ GÁõùˆ¬î„ Cø‰î è™M‚Ãìñ£èˆ ªîK¾ ªêŒõ«î£´ °ö‰¬îè¬÷ ÜFèŠ ¹ˆîèˆ¬î„ ²ñ‚è„ ªêŒ¶, ªð¼¬ñò®ˆ¶‚ ªè£œA¡øù˜. «ñ½‹, ðE ªðŸÁ õJŸ¬ø‚ è¿¾õîŸ°Kòî£è«õ Þ¡¬øò è™MJ¡ G¬ô Ü¬ñAø¶. ð‡¬ìò îIö˜ ÜPò£î å¡Á Þ¶. Üõ˜èœ, è™M â¡ð¶ ð‡ð£†¬ì õ÷˜ˆ¶ i´«ðøO‚°‹ ñ¼‰¶ â¡Á è¼Fù˜. Þî¬ù, Þ‹¬ñ ðò‚°ñ£™ ßò‚ °¬øM¡ø£™ î‹¬ñ M÷‚°ñ£™ î£‹áó£‚ «è†®¡ø£™ â‹¬ñ àôèˆ¶‹ ò£‹è£«í‹ è™M«ð£™ ñ‹ñ˜ ÜÁ‚°‹ ñ¼‰¶ (ï£ô®.132) â¡Á ï£ô®ò£˜ ð£ìô®èÀ‹ è™MJ¡ CøŠ¬ð‚ ÃÁA¡øù. è‹ð¼‹ «ê£öó£ê¡ î¡ «îêˆ¬î M†´Š «ð£ªõ¡Á î‹¬ñ„ ªê£™Lòªð£¿¶, ñ¡ùõÂ‹ c«ò£ õ÷ï£´‹ à¡ù«î£ à¡¬ù ÜP‰«î£ îI¬ö æF«ù¡-â¡¬ù M¬ó‰ «îŸÁ‚ ªè£œ÷£î «õ‰¶‡«ì£-à‡«ì£ °óƒ«èŸÁ‚ ªè£œ÷£î ªè£‹¹ (îQŠð£ì™ Fó†´ 268 ) â¡Á îñ¶ è™MJ¡ CøŠ¬ð, èŸ«ø£˜‚°„ ªê¡ø Þìªñ™ô£‹ CøŠ¹ âÂ‹ è¼ˆ¶ŠðìŠ ð£®»œ÷¬ñ¬ò ÜPòô£‹. î¡ñ£ù‹ è£ˆî™ ñQî õ£›‚¬è ñ£‡¹¬ìò¶. âî¡ ªð£¼†´‹ å¼õ¡ î¡ñ£ùˆ¬î Þö‚è‚ Ãì£¶. ñ£ù‹ Þö‰¶ õ£›õ¬î‚ è£†®½‹ àJ˜M´õ«î «ñô£ù¶. °ö‰¬î Þø‰¶ Hø‰î£½‹ Hø‰«î Þø‰î£½‹ Üî¬ù õ£÷£™ H÷‰î H¡ù«ó ¹¬îˆîù˜ ð‡¬ìò îI›ñ‚èœ. Þç¶ ï‹ îIö˜èO¡ ióñó¹. Þˆî° ióñóH™ Hø‰î è¬í‚è£™ Þ¼‹ªð£¬ø î£¡ C¬øJL¼‰î G¬ôJ™ c˜«õ†¬è bó c˜ «è†ìªð£¿¶ è£ô‹ î£›ˆFõ‰î c¬ó Ü¼‰î£ñ™ ñ£ù«ñ ªðKªîù àJ¬ó ñ£Œˆ¶‚ ªè£‡ì£¡. Üõ¡ ð£®òð£ì™ õ¼ñ£Á:

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°öM ÞøŠHÂ‹ á¡î® HøŠHÂ‹ Ýœ Ü¡Á â¡Á õ£O™ îŠð£˜ ªî£ì˜Šð´ ëñLJ¡ Þì˜Šð´ˆ¶ ÞgÞò «è÷™ «èO˜ «õ÷£‡ CÁðî‹ ñ¶¬èJ¡P õJŸÁˆbˆ îEòˆ î£‹ Þó‰¶ à‡µ‹ Ü÷¬õ ß¡ñ«ó£ Þš¾ôèˆ î£«ù? (¹ø‹.74) ê£¡«ø£˜ ªïPèœ îI› ñ‡E™ Hø‰î ê£¡«ø£˜èœ ðó‰î àœ÷‹ ð¬ìˆîõ˜èœ. ‘ò£¶‹ á«ó ò£õ¼‹ «èO˜’ (¹ø‹.192) âù õ£›‰îõ˜èœ. àôA™ àœ÷ â™ô£ á˜èÀ‹ ï‹º¬ìò á«ó. Üƒ° õ£¿‹ ñ‚èœ ò£õ¼‹ ï‹º¬ìò àøMù«ó âù â‡Eòõ˜èœ. Þƒéù‹ õ£¿‹ªð£¿¶ ê£F, ñî‹, Þù‹, ªñ£N «ð£¡ø «õÁð£´èœ â™ô£‹ ÜŸÁŠ«ð£Œ M´A¡øù. ¹øï£ÛÁ M÷‹¹‹ Þ„ªêŒF«ò£´, ñ¡ùÂ‹ ñ£êø‚ èŸ«ø£Â‹ Y˜É‚A¡ ñ¡ùQ™ èŸ«ø£¡ CøŠ¹¬ìò¡ - ñ¡ù˜‚°ˆ î¡«îê‹ Ü™ô£™ CøŠH™¬ô èŸ«ø£˜‚°„ ªê¡ø Þìªñ™ô£‹ CøŠ¹ (Í¶¬ó,ð£.26) â¡ø å÷¬õJ¡ è¼ˆ¬î åŠ¹ «ï£‚èô£‹. . . . ÝŸÁî™ â¡ð¶å¡Á Üô˜‰îõ˜‚° àî¾î™ «ð£ŸÁî™ â¡ð¶ ¹í˜‰î£¬óŠ HKò£¬ñ ð‡ªðùŠ ð´õ¶ ð£´ÜP‰¶ å¿°î™ Ü¡ªðùŠ ð´õ¶ î¡A¬÷ ªêø£¬ñ ÜPªõùŠ ð´õ¶ «õ¬îò£˜ ªê£™«ï£¡ø™ ªêPªõùŠ ð´õ¶ ÃPò¶ ñø£Ü¬ñ G¬øªòùŠ ð´õ¶ ñ¬øHø˜ ÜPò£¬ñ º¬øªòùŠ ð´õ¶ è‡«í£ì£¶ àJ˜ªõ÷õ™ ªð£¬øªòùŠ ð´õ¶ «ð£Ÿø£¬óŠ ªð£Áˆî™ ... (ªïŒîŸèL ð£.16) â¡ø èLˆªî£¬èŠ ð£ì½‹ ê£¡«ø£˜ ð‡¹è¬÷‚ ÃÁAø¶. ªè£¬ìJÂ‹ àòKò ð‡¹ «ñè‹ ñ¬ö î¼Aø¶, ñó‹ Gö™ î¼Aø¶ âù Þò™ð£è«õ ÞòŸ¬è‚°‚ ªè£¬ì»œ÷‹ Þ¼‰î£½‹ àJKùƒèO¡ ¶¡ðˆ¬î»‹ õÁ¬ñ¬ò»‹ àì«ù «ð£‚°‹ ñ£‡¹œ÷‹ ñQîÂ‚° ñ†´«ñ à‡´.

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. . . âˆ¶¬í ÝJÂ‹ ßˆî™ ï¡Á âù ñÁ¬ñ «ï£‚A¡«ø£ Ü¡«ø Hø˜ õÁ¬ñ «ï£‚A¡Á Üõ¡ ¬è õ‡¬ñ«ò (¹ø‹.141) Hø˜ õÁ¬ñ¬ò‚ è‡´ õöƒ°õ«î õœ÷¡¬ñò£°‹. ß¬è ªêŒ»‹ ð‡ð£÷˜èœ Þ¼‰î£½‹ Üî¬ùŠ ªðÁõF™ î¡ñ£ù‹ ð£˜ˆîõ˜èœ ð‡¬ìò îIö˜èœ. î£ñ£è Þó‰¶ GŸð¬î»‹ «è÷£ñ™ ªè£´ˆî¬î àì«ù ªðÁõ¬î»‹ ÞNõ£è«õ è¼Fù˜ â¡ð¬î, ßªòù Þóˆî™ ÞN‰î¡Á: ÜîªùF˜ ß«ò¡ â¡ø™ ÜîQÂ‹ ÞN‰î¡Á ªè£œª÷ù‚ ªè£´ˆî™ àò˜‰î¡Á: ÜîªùF˜ ªè£œ«÷¡ â¡ø™ ÜîQÂ‹ àò˜‰î¡Á . . . (¹ø‹.204) â¡ø ð£ìô£™ ÜPòô£‹. õ£›M¡ ðò¡ ñ‚è†«ðÁ å¼õÂ‚°‚ Ã®õ£ö‚ «è£®„ ²Ÿø‹ Þ¼‰¶‹ °ö‰¬îŠ ð£‚Aò‹ Þ™¬ôªòQ™ Üõ¡ õ£›‰¶ å¼ ðòÂ‹ Þ™¬ô. Þ¼‚°‹ Ü¬ùˆ¶„ ªê™õƒèO½‹ ñ‚è†ªê™õ«ñ Cø‰î ªê™õñ£°‹. å¼ªð‡ º¿¬ñò¬ì»‹ ð£‚Aòˆ¬î‚ °ö‰¬îŠ «ð«ø î¼Aø¶. ªðŸ«ø£¬óŠ Hø˜ ñF‚°‹ G¬ô‚° àò˜ˆF‚è£†´ðõ˜ Hœ¬÷è«÷. Þ‹ñ‚è†«ðŸP¡ CøŠ¬ð, ð¬ìŠ¹Šðô ð¬ìˆ¶Š ðô«ó£´ à‡µ‹ à¬ìŠªð¼… ªê™õó£JÂ‹ Þ¬ìŠðì‚ °Á°Á ïì‰¶ CÁ¬è c†® Þ†´‰ ªî£†´‹ èšM»‰ ¶ö‰¶‹ ªïŒ»¬ì Ü®C™ ªñŒðì MF˜ˆ¶‹ ñò‚°Á ñ‚è¬÷ Þ™«ô£˜‚°Š ðò‚°¬ø Þ™¬ô î£‹ õ£¿‹ ï£«÷ (¹ø‹.188) â¡ø ð£ì™ Üö°ø â´ˆFò‹¹Aø¶. Hø˜ ¬èð†ì àí¬õ â„C™ â¡Á ÃP å¶‚°«õ£‹. Ýù£™ °ö‰¬îèœ àI›c˜ å¿è å¿è à‡ì àí¬õˆ î£ò£ùõœ ð¼A ñA›õ£œ. I°Fò£ù ¶¡ð‹ Å›‰î æ˜ ÞìˆF™ å¼ °ö‰¬î ¶Á¶Áªõù ïì‰¶ Üƒ°‹ Þƒ°ñ£è æ´õ¬î‚ è‡ì£™ Üˆ¶¡ðˆ¬î‚ èíŠªð£¿F™ ñø‰¶ Ü‚°ö‰¬î¬ò ÞóCŠð¶ à‡´.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 67

¶¡ðˆ¬î ñø‚è„ªêŒ»‹ ð£‚Aòˆ¬î Þ¬øõ¡ °ö‰¬î‚° õöƒAJ¼Šð¶ å¼ ï™õóñ£è«õ ªè£œ÷ô£‹. Þ‹¬ñ àôèˆ F¬êªò£´‹ M÷ƒA ñÁ¬ñ àôèº‹ ñÁM¡P âŒ¶ð ªêÁï¼‹ M¬÷»‹ ªêJ˜b˜‚ è£†C CÁõ˜ ðò‰î ªê‹ñ«ô£˜ âùŠ ð™«ô£˜ ÃPò ðöªñ£N â™ô£‹ . . . (Üè‹.66) â¡ø Üèï£ÛŸÁŠ ð£ì¬ô Þƒ° åŠ¹ «ï£‚èô£‹. Þ¡Á‹ Hœ¬÷Š«ðÁ «õ‡´«õ£˜ âˆî¬ù«ò£ õ¬èèO™ ºò™A¡øù˜. î£ù î¼ñƒèœ ªêŒA¡øù˜. «è£J™èÀ‚°ˆ ªî£‡´ ¹KA¡øù˜. ê£¡ø£èŠ H¡õ¼‹ ï£†´Š¹øŠð£ì™ Üî¬ù õL»Áˆ¶Aø¶. è‡ìè‡ì «è£Jªô™ô£‹ ¬èªò´ˆ¶‚ °‹H´õ£˜ è£í£î «è£J½‚°‚ è£E‚¬è ÜÂŠH´õ£˜ Þ¬ôJ«ô ê£îº‡ì£™ â¡ùîõ‹ â¡Áªê£™Lˆ î¬ó¬ò Üõ˜ªñ¿A„ ê£îƒèœ à‡ì£˜èœ îM„²õ‰î «ð˜èÀ‚°ˆ î‡E˜ ªè£´Šð£˜èœ ê£¬ôèœ «ð£†´ ¬õŠð£˜ êˆFóƒèœ è†®¬õŠð£˜ ï™ôî‡a˜‚ AíÁèÀ‹ ï¬ìõ£M è†® ¬õˆî£˜ Þšõ£Á °ö‰¬î‚è£è ñ‚èœ Þ¡Á‹ ð™«õÁ î¼ñƒè¬÷„ ªêŒ¶ õ¼A¡øù˜. ÞFL¼‰¶ ñ‚è†«ðŸP¡ CøŠH¬ù àíó º®Aø¶. º®¾¬ó îQñQî å¿‚è«ñ êºî£ò å¿‚èñ£°‹. ÞˆîQñQî¡ î¡ õ£›‚¬èJ¬ù àò˜ˆF‚ ªè£œ÷ˆ «î¬õò£ù àò˜ ªïPè¬÷»‹ êºî£ò àò˜MŸè£ù õNè¬÷»‹ ¹øï£ÛÁ Üö°ø â´ˆFò‹¹Aø¶. Ü¡¹, Üø‹, ªè£¬ì, ß¬è, èì¬ñ, ió‹, ï¡Pñøõ£¬ñ «ð£¡ø ñQî õ£›MŸ°Kò ¹Qîñ£ù ªïPè¬÷»‹ Ü‰ªïPè¬÷ ñ‚èœ èì¬ñò£èŠ «ð£ŸPò¬î»‹ ¹øï£ÛÁ MõKˆ¶œ÷ ð£ƒ¬è «ï£‚°‹ªð£¿¶, Þ¬øõù£™ ð¬ì‚èŠð†ì âˆî¬ù«ò£ àJKùƒèÀœÀ‹ ÜõŸP¡ õ£›‚¬è¬ò â‡EŠð£˜‚°‹ ªð£¿¶‹ ‘ñ£Âì õ£›«õ ñèˆî£ù õ£›¾’ â¡ø â‡í‹ «ñ«ô£ƒA GŸð«î£´ ÜõŸ¬ø G¬ùˆ¶Š ªð¼Iî‹ ªè£œ÷¾‹ º®Aø¶.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 68

07. àôè Þ¬ê ñŸÁ‹ è¬ôèÀ‚°ˆ î£Œ îI«ö ¹wðõù‹ °Š¹ê£I

â‰î‚ è¬ôJ½‹ ñ£Ÿø‹ Gè›õ¶ ñ£ø£îªî£¡Á. Üšõ¬èJ™ Ü¡Áªî£†´ Þ¡Áõ¬ó ï‹ Þ¬êJ™ ñ£Ÿø‹ Gè›‰¶ ªè£‡´î£Q¼‚Aø¶. ñQî¡ «î£¡Pò è£ôˆF™ ºîL™ ÜõQìI¼‰¶ Hø‰î è¬ô Þ¬êî£¡. Ü´ˆ¶ ï®Š¹. ÜîŸè´ˆ¶î£¡ Þò™. Ýè«õ Þî¬ù Þ¬ê - ï£ìè‹ - Þò™ â¡Áî£¡ õK¬êŠð´ˆFJ¼‚è «õ‡´‹. Ýù£™ ï£I¡Á Þò™ Þ¬ê ï£ìèªñ¡Á ñ£ŸPJ¼‚A«ø£‹. ðö‰îI› Ë™èO™ ïñ‚°‚ A¬ìˆî Þ¬ê Ë™ Þó‡ì£‹ ËŸø£‡®¡ CôŠðFè£ó‹ Ý°‹. Þô‚èí Ë™ A.º.Í¡ø£‹ ËŸø£‡®¡ ªî£™è£ŠHòñ£°‹. CôŠðFè£óˆF™ ï‹ îIN¬êJ¡ ªî£¡¬ñ¬ò»‹ ªî£ì‚èˆ¬î»‹ ÜPò º®Aø¶. Þ¬êJ™ è£µ‹ ã¿ ²óƒèÀ‚°‹ °ó™, ¶ˆî‹, ¬è‚A¬÷, à¬ö, ÞO, M÷K, î£ó‹ â¡ø îI›Š ªðò˜è¬÷‚ è£‡A«ø£‹. Ý, ß, á, ã, ä, æ, å÷ â¡«ø ã¿ ²óƒè¬÷Š ð£® õ‰F¼‚A«ø£‹. Ýù£™ Þš ã¿ ²óƒèÀ‹ ð¡Qó‡ì£‹ ËŸø£‡®™ - “ú K è ñ ð î G” â¡Á ñ£Pòªî¡ð¬î„ ê£óƒè «îõ˜ â¡ðõó£™ â¿îŠð†ì êƒWî óˆù£èó‹ â¡Â‹ Þ¬ê Ë™ Íô‹ ÜPA«ø£‹. ËŸÁÍ¡Á ºî¡¬ñŠ ð‡èOL¼‰¶ Þ¼ðˆ¶ Í¡Á õ¬èò£è, ²ñ£˜ ð¡Qó‡ì£Jó‹ ð‡èœ Þ¬ê‚èŠð†ìî£è„ CôŠðFè£óˆF™ è£‡A«ø£‹. Ü‚è£ôˆF™ °PŠð£è, ðF«ùö£‹ ËŸø£‡´ õ¬ó ò£› â¡Â‹ ïó‹¹‚ è¼M ñ†´«ñ °óL¬ê‚°ˆ ¶¬í‚ è¼Mò£è

º¬ùõ˜ è¬ôñ£ñE ¹wðõù‹ °Š¹ê£I , Þ¬êòPë˜.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 69

õ£C‚èŠð†®¼‚Aø¶. H¡ù£O™ Þ‚è¼M i¬í â¡Â‹ ªðò˜ î£ƒA ñ£Ÿø‹ ªðŸø¶. H¡ù˜, ðF«ùö£‹ ËŸø£‡®™ èìŠðò£F ÅˆFó‹ «î£¡P, ²ˆî ñˆFòñ‹ HóF ñˆFòñ‹ â¡Â‹ð® â¿ðˆ¶ Þó‡´ «ñ÷ è˜ˆî£ Þó£èƒèœ à¼õ£A, îI›Š ð‡ â¡ð¶ «ð£Œ, è¼ï£ìè Þó£èƒèœ â¡ø ªðò˜ î£ƒA ñ£Ÿø‹ ªðŸø¶. ðF«ùö£‹ ËŸø£‡®¡ HŸð°FJ™ «î£¡Pòõ˜èœî£‹ ÿ Fò£èó£ü ²õ£Ièœ, ÿ ºˆ¶ ²õ£I b†Cî˜, ÿ Cò£ñ£ ê£vFKèœ â¡Â‹ è¼ï£ìè„ êƒWî º‹Í˜ˆFè÷£õ˜. ÞîŸ°‹ ºŸð†ìõ˜èœ îIN¬ê„ êƒWî º‹Í˜ˆFèœ â¡ø¬ö‚èŠð´‹ Y˜è£N F¼. ºˆ¶ˆ î£‡ìõ˜, F¼. ñ£Kºˆî£Š Hœ¬÷, F¼. Ü¼í£êô‚ èMó£ò˜ ÝA«ò£˜. ÞF™ F¼. ºˆ¶ˆ î£‡ìõ˜ ðF¬ù‰î£‹ ËŸø£‡®¡ ªî£ì‚è‹. F¼. Ü¼í£êô‚ èMó£ò¼‹ F¼. ñ£Kºˆî£Š Hœ¬÷»‹ ðF«ùö£‹ ËŸø£‡®¡ ªî£ì‚èñ£°‹ - îIN¬ê º‹Í˜ˆFèO¡ Þ¬êˆ F¼Mö£M¬ù ñ£‡¹I° Ü‹ñ£ Üõ˜èœ îIN¬ê Mö£õ£èˆ ªî£ì˜‰¶ ïìˆF õ¼Aø£˜èœ â¡ð¶‹ °PŠHìˆî‚è¶. ºˆ¶ˆ î£‡ìõ˜î£¡ Þ¬êŠð£ì™èO™ â´Š¹, ªî£´Š¹, º®Š¹ â¡Â‹ º¬ø¬ò‚ ªè£‡´ õ‰îõó£õ£˜. H¡ù£O™ Þ¶ ð™ôM - ÜÂð™ôM - êóí‹ â¡Â‹ ªðò˜ ªðŸÁ ñ£Ÿø‹ è‡ì¶. A.H. ãö£‹ ËŸø£‡´ ªî£ìƒAŠ ð¡Qó‡ì£‹ ËŸø£‡´ õ¬óJ™ «îõ£ó‹, F¼õ£êè‹, FšMòŠ Hóð‰îƒèœ ð‚F Þ¬êò£èˆ «î£¡Pù. «îõ£óˆF™ îI›Š ð‡èœ ËŸÁ Í¡Á Þ¼‰î¶‹ îŸ«ð£¶ Þ¼ðˆ¶ Í¡Á ð‡èœ Þ¼Šð¶‹ Þ¡Á è‡Ãì£èˆ ªîKAø¶. «îõ£óˆF™ è£íŠð´‹ îI›Š ð‡èO¡ ²óƒèÀ‹ ÜõŸP¡ î¡¬ñ»‹ ð‡í¬ñŠ¹‹ å¡ø£J¼‚è Ü«î ð‡èœ ðF«ùö£‹ ËŸø£‡´‚°Š H¡ù˜‚ è¼ï£ìè Þ¬êJ™ Þó£èƒèœ â¡ø ªðò˜ î£ƒA ñ£Ÿø‹ è‡ìù. è¼ï£ìè Þ¬ê‚° ÜŠªðò˜ õó‚ è£óíˆ¬îŠ ðô¼‹ ðô Mîñ£Œ‚ ÃP õ¼A¡øù˜. à‡¬ñJ™ è¼ï£ìè‹ â¡ðîŸ°Š “ðö¬ñ” â¡Á ªð£¼œ. ï‹ i†®™ ð£†ì¡ ð£†®èœ ðö‹ ð‡ð£†¬ì‚ è¬ìŠH®‚è„ ªê£™½‹ªð£¿¶ «ðó¡ «ðˆFèœ Ü¬î ñÁˆ¶ Üõ˜è¬÷Š ð£˜ˆ¶, “²ˆî è¼ï£ìè‹” â¡Á MOŠð¬îŠ ð£˜‚A«ø£ñ™ôõ£?

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 70

ºîô£‹ ËŸø£‡´‚°‹ º¡ù˜ õ‰î îIN¬ê îIN¬êò£è«õ Þ¼‚è, ðô ËŸø£‡´èÀ‚°Š H¡ õ‰î è¼ï£ìè Þ¬ê ðö¬ñò£ù Þ¬ê â¡Aø ªðò˜ ªðŸÁ ñ£Ÿø‹ è‡ì¶ MòŠð™ôõ£. Cô‹H™ Þ¬ê Ü¬ùˆ¶ Mîñ£ù Þ¬ê‚°‹ Ýó‹ð‹ ñ‚èO¬ê«ò. ï£‹ ªðŸø ªî£™è£ŠHòˆF½‹ CôŠðFè£óˆF½‹ ñ‚èO¬êJ¡ Ü¬ñŠ¬ð‚ è£íô£‹. ÞF½œ÷ ð‡íˆF, ÝôˆF, õKŠ ð£ì™èœ, õœ¬÷Šð£ì™èœ, °ó¬õŠ ð£ì™èœ ò£¾‹ ñ‚èO¬êî£‹. CôŠðFè£ó‹ ñ‚èO¬êJ¡ ñ£‡¹è¬÷‚ ªè£‡«ì ð£ìŠð†´œ÷¶ â¡ðîŸ°, Þ¡Á‹ Aó£ñƒèO™ ð£ìŠð´‹ ñ‚èO¬êJ™ CôŠðFè£óˆ¶ õKŠð£ì™èO¡ î¡¬ñªò£ˆî ð£ƒA¬ù‚ è£íô£‹. è£†®½‹ «ñ†®½ºœ÷ ñ‚èœ è¬ôèÀ‹ ñ‚èO¬êŠ ð£ì™èÀ‹ Þ÷ƒ«è£õ®èO¡ àœ÷ˆ¬î‚ èõ˜‰îù. Ü‹ ñ‚èO¡ è¬ôèO™ àJ˜ˆ ¶®Š¹ M÷ƒ°õ¬î»í˜‰¶ «ð£ŸPù£˜. ÜõŸPŸ°ˆ î‹ ËL™ î‚è«î£Kì‹ î‰F¼Šð¶ Üõ¼¬ìò à‡¬ñò£ù è¬ô»œ÷ˆ¬î‚ è£†´Aø¶. ºŠð¶ è£¬îèœ àœ÷ CôŠðFè£óˆF™, ï£¡° è£¬îèœ ÞŠð®Šð†ì ñ‚èO¡ Ýì™ ð£ì™è¬÷Š ðŸP«ò Ü¬ñ‰¶œ÷ù. Ü¬õ è£ù™ õK, «õ†´õ õK, ÝŒ„Cò˜ °ó¬õ, °¡ø‚°ó¬õ â¡Â‹ ð°Fè÷£‹.

ð‡íˆF ð‡íˆF â¡ð¶, ð‡ + ïˆF Üî£õ¶ ð‡¬í M¼‹¹î™ â¡ø ªð£¼÷£°‹. ªî£™è£ŠHò˜ ð‡íˆF¬òŠ ðŸP‚ °PŠH´‹ªð£¿¶ - ð£†®¬ì‚ èô‰î ªð£¼÷ õ£AŠ ð£†®¡ Þò™ ð‡íˆF Þò™«ð ! (ªî£™è£ŠHò‹ - ªêŒ»Oò™ -173) â¡Aø£˜.

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No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 71

bƒè¼‹¹ ï™ àô‚¬èò£è ºˆî‹ Ìƒè£…C GöôMŠð£˜ ¹è£˜ ñèO˜ ÝN‚ ªè£®ˆ F‡«ì˜ ªê‹Hò¡ õ‹ðôˆî£˜Š ð£Nˆ îìõ¬óˆ «î£œ ð£«ì«ô ð£ì™ ð£¬õñ£ ó£K‚°‹ ð£«ì«ô ð£ì™ - ( Cô‹¹ : õ£›ˆ¶‚è£¬î - 27 ) Cô‹H™ õ¼õ¶ «ð£™ Aó£ñˆF™ Þ¡Á‹ W›‚ è£µ‹ ªï™ °ˆ¶‹ àô‚¬èŠ ð£ì¬ô‚ «è†èô£‹. ð£¬îJ«ô è™½óô£‹ ºˆ¶‰F™ô£«ô! ð£®Š ð£®‚ °ˆ¶ø£÷£‹ ºˆ¶‰F™ô£«ô! ð£®Š ð£® â´ˆ¶ô‚¬è ºˆ¶‰F™ô£«ô! ð‚èªñ™ô£‹ «ï£°î‹ñ£ ºˆ¶‰F™ô£«ô! iFJ«ô è™½óô£‹ ºˆ¶‰F™ô£«ô! iC iC‚ °ˆ¶ø£÷£‹ ºˆ¶‰F™ô£«ô ! iC iC â´ˆ¶ô‚¬è ºˆ¶‰F™ô£«ô ! ªõó½ ðˆ¶‹ «ï£°î‹ñ£ ºˆ¶‰F™ô£«ô ! Cô‹H™, ªð¼‹ð£ô£ù ð£ì™èœ è£ù™ õK, á˜ Å› õK, Ü‹ñ£¬ù õK, «õ†´õ õK, è‰¶è õK, áê™ õK Þ¬õè¬÷‚ ªè£‡«ì ð£ìŠð†´œ÷ù. è£ù™ c˜ ÉóŠ ð£˜¬õ‚° âŠð® có£Œˆ ªîK‰¶ ªï¼ƒAò¶‹ å¡ÁI™ô£F¼‚Aø«î£, Üšõ£«ø è£ù™ õKŠð£ì™èœ àœ÷ù. è£ù™ õKŠ ð£ì™èœ - áì½‹ è£î½‹ èô‰î¶ñ£ù G¬ôŠð£´ ªè£‡ì ð£ì™è÷£‹. è‰¶è õKŠ ð£ì™èœ - ªð‡èœ ð‰¶ M¬÷ò£†´Š ð£ìô£‹. áê™ õKŠ ð£ì™èœ - ªð‡èœ á…êô£®Šð£´‹ ð£ì™è÷£‹. «õ†´õ õKŠ ð£ì™èœ - «õ´õ˜èœ î‹¬ñ ñø‰¶ Üõ˜î‹ °ô ªîŒõˆ¬î G¬ùˆ¶Š ð£´‹ ð£ì™è÷£‹. Ü‹ñ£¬ù õKŠ ð£ì™èœ - ªð‡èœ Ü‹ñ£¬ù‚ è£Œèœ M¬÷ò£´‹ «õ¬÷J™ ð£´‹ ð£ì™è÷£‹.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 72

á˜ Å›õKŠ ð£ì™èœ - õ£Œ M†´, î¡ MF¬ò G¬ùˆ¶ Üˆ¶¡ðˆFŸ°‚ è£óíñ£ùõ˜è¬÷„ Cùˆ«î£´ êHˆ¶Š ð£´‹ ð£ì™èœ. ñèO¼‹ ¬ñ‰î¼‹ õK¬ê õK¬êò£Œ G¡ø£´õî£™ õKŠ ð£ì™èœ â¡ø£JŸªøù Ü®ò£˜‚° ï™ô£¼¬ó‚Aø£˜. õKªòùŠ ð´õ¶ õ°‚°ƒ è£¬ôŠ Hø‰î GôÂ‹ Cø‰î ªî£N½‹ ÜPò‚ ÃP ÝŸÁN õöƒè™. è£ù™ õKŠ ð£ì™èœ Cô‹H™ è£µ‹ è£ù™ õKŠ ð£ì™ ðŸPò °PŠ¹ õ¼ñ£Á: è£ù™õKŠ ð£ì™«è†ì ñ£ªù´ƒè‡ ñ£îM»‹ ñ¡Â«ñ£˜ °PŠ¹‡®õ¡ ø¡Q¬ô ñòƒAù£ªùù‚ èôMò£¡ ñA›‰î£œ«ð£Ÿ ¹ôMò£™ ò£›õ£ƒAˆ î£Â«ñ£˜ °PŠHùœ«ð£Ÿ è£ù™õKŠ ð£ìŸð£E GôˆªîŒõ‹ MòŠªðŒî cœGôˆ«î£˜ ñùñAö‚ èôˆªî£´ ¹í˜‰î¬ñ‰î è‡ìˆî£Ÿ ð£ìˆªî£ìƒ°ñ¡. «ñ½‹ Cô‹H™ è£MK¬òŠ ð£´‹ ð£ì™èÀ‹ è£ù™ õKŠ ð£ì™è«÷ . Fƒèœ ñ£¬ô ªõ‡°¬ìò£¡ ªê¡Q ªêƒ«è£™ Ü¶ æ„C‚ èƒ¬è î¡¬ùŠ ¹í˜‰î£½‹ ¹ôõ£Œ õ£N è£«õK! èƒ¬è î¡¬ùŠ ¹í˜‰î£½‹ ¹ôõ£ ªî£Nî™ èòŸè‡í£Œ. ñƒ¬è ñ£î˜ ªð¼ƒèŸ¹ â¡Á ÜP‰«î¡ ! õ£N è£«õK !

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No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 73

ªð£¡Qôƒ° Ìƒªè£® ªð£ô…ªêŒ «è£¬î M™Lì I¡Qôƒ° «ñè¬ôèœ Ý˜Šð Ý˜Šð âƒèµ‹ ªî¡ù¡ õ£›è õ£›èªõ¡Á ªê¡Áð‰ î®ˆ¶«ñ «îõó£ó ñ£˜ð¡ õ£›è ªõ¡Áð‰ î®ˆ¶«ñ. Cô‹H™ è£µ‹ è‰¶è õKŠð£ì¬ôŠ «ð£™ , Aó£ñˆF™ ð‰î®ˆ¶ M¬÷ò£´‹ CÁõ˜èœ ð£´‹ ð£ìªô£¡P¡ õö‚A™ àœ÷¬î ï£‹ ÜP«õ£‹. å¡Á ºî™ ðˆ¶ â‡E‚¬è‚°ˆ î°‰î£Ÿ«ð£™ ð£ì½œ÷¶. Ü‹ñ£¬ù Ü‹ñ£¬ùªò¡ð¶ (ñèO˜ M¬÷ò£†´èOªô£¡Á) Þó‡´ Ü™ô¶ Í¡Á ªð‡èœ Ü‹ñ£¬ù‚ è£Œèª÷ùŠð´‹ ñóˆî£ô£ù CÁ à¼‡¬ìè¬÷ «ñªôP‰¶, Ü¬õ W«ö M¿ƒè£™, ÜõŸPªô£¡¬ø‚ èNˆ«î£ Ü™ô¶ Ã†®«ò£ èí‚A†ì¬ñ‰î M¬÷ò£†´. î†ì£ƒè™ M¬÷ò£†´Š ð£ì½‹ Ü‹ñ£¬ù«ò. ñó‚è£ŒèÀ‚°Š ðFô£è‚ èŸè¬÷«ò£, ñEè¬÷«ò£ ðò¡ð´ˆ¶õ¶‡´. Ü‹ñ£¬ùŠ ð£ì™ õ¬è¬ò, ºî¡ ºîL™ CôŠðFè£óˆF™ õ…C‚è£‡ì‹, õ£›ˆ¶‚ è£¬îJ™ ‘Ü‹ñ£¬ù õK’ ªò¡Â‹ î¬ôŠH™ è£‡A«ø£‹. iƒ°c˜ «õL àôè£‡´ M‡íõ˜«è£¡ æƒèóíƒ è£ˆî àó«õ£¡ò£˜ Ü‹ñ£¬ù? æƒèóíƒ è£ˆî àó«õ£¡ àò˜M²‹H™ ÉƒªèJ¡ Í¡ªøP‰î «ê£ö¡è£‡ Ü‹ñ£¬ù; «ê£ö¡ ¹è£˜ïèó‹ ð£«ì«ô£˜ Ü‹ñ£¬ù! ¶¡ð ñ£¬ô Cô‹H¡ ¶¡ð ñ£¬ôJ™ , î¡ èíõ¡ ªè£¬ôŠð†ì ªêŒF¬ò‚ «èœMŠð†ì¾ì¡, è‡íA ªõ°‡ªì¿‰¶ è‡èœ Cõ‚èˆ îõø£ù b˜Šªð¿Fˆ î¡ èíõ¬ù‚ ªè£¡ø ð£‡®ò ñ¡ùÂ‚°„ ê£ð‹ M´Aø£œ. ¶¡ðñ£¬ôªò¡Â‹ è£¬îJ™, ÜõÀ¬ìò ¶òó‹ ðô Ü®èO™ ÜõÀ¬ìò õ£Œ„ ªê£™ô£è«õ îóŠð†´œ÷¶. ÜŠ ð£ì™èœ «ê£è¾í˜„C¬òŠ ¹ôŠð´ˆ¶õùõ£è àœ÷ù. Ü´ˆî è£¬îò£Aò ‘á˜ Å› õK’ â¡ðF™, ªè£¬ôŠð†ì èíõÂ¬ìò àì‹¬ð‚ è‡ìõœ èîÁõ¶, Üš¾í˜„C‚«èŸøõ£Á Ü¬ñ‰¶œ÷¶.

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ªð£ƒA â¿‰î£œ M¿‰î£œ ªð£NèF˜ˆ Fƒèœ ºAªô£´… «ê‡Gô‹ ªè£‡ªìù„ ªêƒè‡ CõŠð Ü¿î£œî¡ «èœõ¬ù âƒèí£ â¡ù£ Þ¬ù‰«îƒA ñ£›°õ£œ ! Þ¶«ð£¡ø ÝŒ¾è¬÷ ï£ªìƒ°‹ â´ˆ¶„ªê™½‹ õ¬èèO™î£¡ ñ£‡¹I° Ü‹ñ£ Üõ˜èœ Þ¬ê ñŸÁ‹ èM¡ ð™è¬ô‚èöèˆ¬î Ü¬ñˆFì Ý¬íJ†ì£˜. Þ¶ Þ¬ê õóô£ŸP™ ñ£ªð¼‹ ê£î¬ùò£°‹. ªð‡ªí£¼ˆFJ¡ ¹ô‹ð™ õ£›‚¬èŠð†ì Þì‹ ¹¶ á˜. ¹¶ ñ‚èœ. ¹¶ àø¾. Þõ¬÷„ êKò£è ò£¼‹ ¹K‰¶ ªè£œõ£K™¬ô. èíõ¡, I°‰î «è£ðˆF™ ñ¬ùM¬ò Ü®‚Aø£¡. Þõœ ð£´Aø ð£†¬ì‚ «èÀƒèœ. ÜPò£î á¼ô ï£¡ ªîKò£ñ õ£‚èŠð†«ì¡ ! Ü®ò£Fò ¹®ò£Fò M® ê£ñ‹ æ®Š «ð£«ø¡ ! Þ¬î‚ «è†ì¶‹, Þƒ«è å¡¬ø â¿îˆ É‡´Aø¶. æÏK™ èíõ¡- ñ¬ùM. F¼ñíñ£ù FùˆFL¼‰¶ ñ£¬ô õ‰î¶‹ èíõ¡ ê£ó£ò‹ °®ˆî «ð£¬îJ™ ñ¬ùM¬ò Ü®Šð¶‹, Üõœ ÜîŸ° â‰îMî âF˜Š¹‹ è£†ì£F¼Šð¶‹ , CP¶‹ Üö£ñL¼Šð¶‹ Ü‚è‹ ð‚èˆFù˜‚° Ý„ê˜òˆ¬î à‡ì£‚Aò¶. ÝÁ õ¼û‹ èì‰î¶. å¼ ï£œ ñ£¬ô. âŠ«ð£¶‹ «ð£™ èíõ¡ Þõ¬÷ Ü®‚Aø£¡. Ýù£™ Þõ«÷£, âŠ«ð£¶‹ «ð£L™ô£ñ™ ªð¼ƒ°óªô´ˆ¶ Ü¿Aø£œ. â™«ô£˜‚°‹ ÞŠ«ð£¶ MòŠ¹. â¡Á‹ Üö£îõœ, Þ¡Á ñ†´«ñ¡ Ü¿Aø£ª÷¡Á Ü¼«è õ‰¶ Mê£Kˆîù˜. Üõœ ðFL«î£ - ÜŒòŒ«ò£! ÜŒòŒ«ò£! ÜŒòŒ«ò£! ÜŒòŒ«ò£! Üˆî£Â‚° àì‹¹‚°œ«÷ ªî‹¹ Þ™ô! ªî‹H™ô! - ÜŠð Ü®„ê£ ªó£‹ð õL‚°‹! Ü‹I‚è™½ «ð£ô ! - ÞŠð Ü®‚Aø Ü®ªò™ô£‹ ! åˆîìˆîŠ «ð£ô !

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Üõ¼‚è£è Ý†´‚ èP ! Ý‚èŠ «ð£«ø¡ Ýˆî£ ! Ü‹¹†¬ì»‹ F¡ù£‚è£ ªî‹¹ õ¼‹ «î‚è£ ! èM„C‚ è¬ì âƒA¼‚° ªê£™½ƒè® ð£ˆî£ ! è£² ðí‹ «ð£ù£½‹ èõ¬ôJ™«ô «ð£ˆî£ ! áê™ õKŠ ð£ì™èœ Aó£ñˆFù˜ ð£®ò á…ê™ ð£ì™èO¡ õ®õƒè«÷ Cô‹H™ è£µ‹ áê™ ð£ì™èœ. õìƒªè£œ ñEÎê¡ «ñLgÞ ä¬ò àìƒªè£¼õ˜ ¬èGI˜ˆî£ƒ ªè£Ÿ¬ø«ñ Ö‚è‚ èì‹¹ ºî™î®‰î è£õô¬ùŠ ð£®‚ °ìƒ¬èªï´ƒ è‡Høö Ýì£«ñ£ áê™ ! ªè£´MŸ ªð£Pð£® Ýì£«ñ£ áê™ ! æ¬óõ g¬ó‹ ðF¡ñ˜ àì¡ªø¿‰î «ð£KŸ ªð¼…«ê£Á «ð£Ÿø£¶ î£ùOˆî «êó¡ ªð£¬øò¡ ñ¬ôò¡ Fø‹ð£®‚ è£˜ªêŒ °öô£ì Ýì£«ñ£ áê™ ! èì‹ªðP‰î õ£ð£® Ýì£«ñ£ áê™ ! Cô‹H™ è£µ‹ áê™ õKŠ ð£ì™è¬÷Š «ð£™, ï‹ Aó£ñˆF™ Þ¡Á‹ î£Œñ£˜èœ °ö‰¬îèÀ‚°Š ð£´‹ î£ô£†®™ è£íô£‹.á…ê™ ð£ì™èO¡ «õè‹ , á…ê™ è†´‹ èJŸP¡ c÷ˆ¬îŠ ªð£Áˆ¶ Ü¬ñ»‹. °®¬êò£è«õ£ CÁ Ãìñ£è«õ£M¼‰î£™, á…êô£´‹ªð£¿¶ Ã¬óJ«ô£ ²õK«ô£ Þ®ˆ¶‚ªè£œÀ‹. è™ iì£è«õ£ ªðKò iì£è Þ¼‰î£™, á…ê™ î£ó£÷ñ£«ò£®õ¼‹. ÜîŸ«èŸð á…ê™ ð£ì™, «õè‹ Ã†®«ò£ °¬øˆ«î£ ð£ìŠð´‹. Þƒ«è å¼ î£ô£†´ : Ýó£«ó£ ! ÝKó«ó£ ! - â¡ è‡«í Ýó£«ó£ ! ÝKó£«ó£ ! ð„¬ê Þ½Š¬ð ªõ†® ! - â¡ è‡«í ðõ÷‚ è£™ ªî£†®™ è†® ! ðõ÷‚ è£™ ªî£†®L«ô ! - â¡ ð£ôè«ù è‡µøƒ° !

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«õ†´õ õKŠ ð£ì™èœ Cô‹H™ è£µ‹ «õ†´õ õKŠð£ì™èO™ Cô Þƒ«è : Ý¬ùˆ «î£™ «ð£˜ˆ¶Š ¹LJ¡ àK à´ˆ¶‚ è£ùˆ¶ â¼¬ñ‚ è¼‰î¬ô«ñ™ G¡ø£ò£™ õ£«ù£˜ õíƒè ñ¬ø«ñ™ ñ¬øò£A ë£ù‚ ªè£¿‰î£Œ ï´‚° Þ¡P«ò GŸð£Œ ! õKò õ¬÷‚¬è õ£œ ã‰F ñ£ñJìŸ ªêŸÁ, èKòFK «è£†´‚ è¬ôI¬ê«ñ™ G¡ø£ò£™ ÜK Üó¡ Ì«ñ«ô£¡ Üèñô˜ «ñ™ ñ¡Â‹ MKèF˜ Ü‹«ê£F M÷‚° ÝA«ò GŸð£Œ ! «õ†´õ õKŠ ð£ì™è¬÷‚ Aó£ñƒèO™ °øõ¡ °øˆFŠ ð£ì™èœ õ®M™ è£íô£‹. è£†®™ è£¬ì, è¾î£K, ºò™, ïK, à´‹¹, è£ù£ƒ«è£N, ªè£‚°, ï£¬ó, ¬ñù£, ¹ø£, °J™ «ð£¡øõŸ¬ø «õ†¬ìò£´‹ °øõ˜èœ ð£´‹ð®ò£ù ð£ìªô£¡¬ø Þƒ«è è£‡«ð£‹. Ý‡ : ìº‚° ìŠð£ TƒA®„ C‚è£¡ Ýò£«ô£ ! ì£ƒ° ð‚AK ®ƒAK ®Šð£¡ ®Œò£«ô£ ! ªð‡ : ð£C ñE áC ñE Ýò£«ô£ ! ðõö ñE õ£ƒè¬ô«ò£ ®Œò£«ô£ ! Ý‡ : Ý ê£I ªè£‚°¼‚° ! õ£ ê£I °¼M¼‚° ! ã ê£I õ£ƒAŠ «ð£´ ! Ýò£«ô£ ! ªð‡ : è£ì èšî£K¼‚° ! è£†´ ¬ñù£J¼‚° ! «è†ì£‚ A¬ì‚°ºƒ«è£ ! ®Œò£«ô£ ! ðˆªî£¡ðî£‹ ËŸø£‡´ õ¬ó °óL¬ê‚° ò£› Ü™ô¶ i¬í¬òˆ ¶¬í‚ è¼Mò£è õ£Cˆ¶ õ‰î G¬ô ñ£P, ªõœ¬÷ò˜èœ ï‹ ï£†¬ì ÝÀ‹ è£ôˆF™ Üõ˜è÷¶ î‰F‚ è¼Mò£ù õòL¡ (Violin) è¼ï£ìè Þ¬ê‚°ˆ ¶¬í‚ è¼Mò£è Þì‹ªðŸø¶ è¼ï£ìè Þ¬êJ™ Gè›‰î ªðKò ñ£Ÿøñ£°‹. Þ¡Á îIN¬êJ½‹ è¼ï£ìè‹ â¡ø¬ö‚èŠð´‹ ªêšM¬êJ½‹ õòL¡ º‚Aòˆ ¶¬í Þ¬ê‚ è¼Mò£J¼Šð¶ ñ£Ÿø º®ò£î ñ£Ÿøñ£AM†ì¶. Üˆ¶ì¡ îIN¬êJ™ ªñ¡ ºö¾ â¡ø¬ö‚èŠð´‹ ªñ¡«î£™ è¼M è¼ï£ìè Þ¬êJ™ “I¼îƒè‹” â¡Á‹ îIN¬êJ™ õ£J™ ¬õˆ¶ õ£C‚°‹ êƒ° «ð£¡ø Þ¬ê‚è¼M õ£Œ„ êƒ° â¡ø è¼Mò£ù¶ õìªñ£NJ™ õ£Œ‚° ºè‹ â¡ðî£™ ºè„ êƒ° â¡Á‹ ÝJù. ÞŠ«ð£¶ õ£Œ„ êƒ° Ü™ô¶ ºè„ êƒ° Þó‡´I¡P “«ñ£˜Cƒ” â¡Á ñ£Ÿø‹ è‡´œ÷¶.

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Þˆ¶ì¡ M™½Šð£†®™ õ£C‚è‚Ã®ò °ì‹ è¼ï£ìè Þ¬êJ™ “èì‹” â¡Á‹ M™½Š ð£†®™ õ£C‚è‚Ã®ò ¬èŠð¬ø â¡ø à´‹¹ˆ «î£™ è¼M, è¼ï£ìè Þ¬êJ™ “è…Yó£” â¡Á‹ ñ£Ÿø‹ è‡´œ÷¬ñ °PŠHìˆî‚è¶. ðö‰îIN¬êJ™ ²¼F Þ¬ê‚è¼Mò£è Þ¼‰î A¡ùK â¡ø ïó‹H¬ê‚ è¼M Ü™ô¶ åŸ¬ø ïó‹¹‚ è¼M H¡ù£O™ “î‹¹ó£” â¡ø ªðòK™ ñ£Ÿø‹ è‡ì¶. ºîL™ ñ‚èO¡ à¬öŠH¡ è¬÷Š¬ðŠ «ð£‚è ñ‚è«÷ ñ‚èÀ‚è£Œˆ ªî£N™ ªêŒ»IìˆF½‹ «è£J™èO½‹ ð£ìŠð†´ õ‰î ñ‚èO¬ê (Folk Songs) H¡ù£O™ ð‚F Þ¬êªòÂ‹ îIN¬êò£Œ ñ£Ÿø‹ ªðŸÁ Þ‰ï£O™ ÜóƒA¬êò£ŒŠ ðKíIˆ¶ ñ£Ÿø‹ è‡´œ÷¶. îŸè£ô ïiùˆ ªî£N™ ¸†ðˆî£™, I¡ î‹¹ó£¾‹ (Electronic Tambura), I¡ î£÷‚ è¼M»‹ (Rhythm Pad) ¶¬÷‚è¼Mè÷£A‚ °ó™ ñ†´‹ Þ¬í‚°‹ è«ó£‚«è (Karaoke) â¡Â‹ ªî£N™ ¸†ð ñ£Ÿø‹ Þ¬êJ¡ î¡¬ñ¬ò‚ ªè´‚°‹ ñ£Ÿø«ñò¡P «õP™¬ô. Þˆî¬èò ñ£Ÿø‹ è¬÷òŠðì «õ‡´‹. °óL¬ê â¡ø£«ô õ£ŒM†´Š ð£´îô£°‹. Ýù£™ åL õ£ƒAJ¡ ÜF ïiùº‹ °ó™ ðF¾‚ è¼MJ¡ õ÷˜„C»‹ °óL¬ê‚ è¬ôë˜èO¡ îóˆ¬î‚ °¬ø‚°‹ð®ò£è¾‹ õ÷˜„C‚°ˆ î¬ìò£è¾I¼‚°‹ Þ‰î ñ£Ÿøˆ¬î å¼‚è£½‹ ï£‹ ÜÂñF‚è‚ Ãì£¶. º¡ªð™ô£‹ Þ¬ê‚è¬ô¬òŠ ðJô‚ “°¼°ô õ£ê‹” â¡Â‹ º¬øJ¼‰î¶. â™«ô£¼‚°‹ ªð£¶õ£Œ, î¬ìJ¡P ò£õ˜‚°‹ Þ¬ê¬ò‚ èŸH‚°‹ è™M G¬ôòƒè¬÷ Üó«ê ãŸÁ ïìˆ¶õî£™ ÞŠ«ð£¶ °¼°ô º¬ø ñ¬ø‰«î «ð£ù¶. Þ‰î ñ£Ÿø‹ õó«õ‚èˆî‚èªî¡ø£½‹ Þ¬êðJ½‹ îóº‹ ðJ¡«ø£˜‚° «õ¬ô»‹ àò˜ˆîŠðì «õ‡´‹ â¡ø ªð¼‹ð£«ô£K¡ è¼ˆF¡ Ü®Šð¬ìJ™î£¡ ñ£‡¹I° Ü‹ñ£ Üõ˜èœ «è£®‚èí‚è£ù ñFŠd†®™ Þ¬ê ñŸÁ‹ èM¡ ð™è¬ô‚èöèˆ¬î Ýó‹Hˆ¶„ ªê¡Áœ÷£˜. Þî¡ Íô‹ Þ¬êˆ¶¬ø, è¬ôˆ¶¬øJ™ Cø‰¶ M÷ƒ°‹ ê£¡«ø£˜èÀ‚°Š ªð¼¬ñ»‹ ð£¶è£Š¹‹ ¹è¿‹ A¬ì‚°‹ â¡ð¶ àÁF. “ò£ñP‰î ªñ£NèO«ô îI› ªñ£N «ð£™ ÞQî£õªîƒ°‹ è£«í£‹” â¡ø ñè£èM ð£óFJ¡ èM¬îŠ ð® ï‹º¬ìò îIöè ºî™õ˜ ñ£‡¹I° Ü‹ñ£ Üõ˜èO¡ ªð£Ÿè£ô Ý†CJ™ ºˆîI¿‹ Cø‰«î£ƒA õ¼õ¶ è‡´ ñ†ìŸø ñA›„Cò¬ìA«ø¡.

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08. ChOla Inscription on a Menhir from Mepara, Rajakumari Panchayat, Idukki district, Kerala Ajit Kumar Abstract Some years back, at Mepara close to Rajakumari, an inscription was noticed on a menhir belonging to the Megalithic period. The contents of the inscription remained undeciphered till recently. Initial readings of the inscription indicate that it belongs to the 10th year of Rajendra ChOla. This article tries to give a brief account of the inscription and its importance. Introduction An inscription was noticed on a menhir belonging to the Megalithic period at Mepara by late Dr.John Ochanthuruth way back in the 1990s. He makes a reference about it in one of his articles but, he never appears to have able to decipher the inscription and publish an indepth account of it till his untimely demise (Ochanthuruth 2003: 15). The author had once accompanied him to the site and taken stampage and photograph of the inscription but due to reprographic issues, it did not yield the desired results. Hence, the site was revisited to evaluate its current status, to take pictures of the inscription and make attempts to decipher it. This article presents a brief account of the menhir and discusses the importance of the inscription based on the transcription provided by Dr.K.Rajan and Dr. S. Bala Murugan. The menhir The inscription bearing menhir is located in K.P.Tilagar Estate, Mepara (090.59710’N 770.086989’E), which is close to Kajanappara in Rajakumari panchayat, Nedumkandam block, Udumbanchola taluk of Idukki district. A road from Rajakumari leads south to Kajanappara which has a Government Higher

Dr. Ajit Kumar, Professor, Department of Archaeology,University of Kerala, Kariavattom, Trivandrum-695581.

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Secondary School and a Post Office. 50m south from the school a small road running east and then turning south, leads to Shiva temple. The estate is to the west of the road. From the road, a pathway cut westwards through the lateritic hillock leads to the site. This menhir is of Gneiss rock and erected atop a lateritic hillock that offers panoramic view of the surroundings. The area surrounding the menhir is currently overgrown with thick vegetation of grass and shrubs (Pl.1 and 2). This menhir is oriented in a north-south axis and roughly measures slightly over 6m in height, 5m in maximum width and has an average thickness of about 30 cm. It defies explanation how such a large stone came to be erected there. In local myths, the erection of the stone considered as an endeavour of Bhima, the strongest of Pandava brothers represented in the epic Mahabharata. Hence, some people also call it Bhimankallu. Some of the locals worship this menhir even today, as evident from the few stone lamps; a metal bell etc., kept close to it (Pl.3). There are many places in Kerala where local legends associate large menhirs to the Pandavas and Bhima in particular. The inscription The inscription is engraved towards the bottom of the stone’s eastern surface (Pl.2 and 4). It is in a partly damaged state and some letters are totally lost. There are almost 13 lines in the inscription and it tentatively read as follows:

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Transliteration 1) Swasti Sri….ezharai….. 2) KoMdu PerAttankarai kottak….. 3) Llanai aNcu vittu…..naiyuB 4) Yum vEMdi….kaikkoMdu 5) VIra SimhASanattu vItturuntarulinak kop para 6) KeSaripanmarAn a UdaiyAr Sri RAjentra 7) TevarkLu yAMdu (10) Avatu . . . 8) …. …. …. …. …. …. 9) …. …. …. …. …. …. 10) …. …. …. …. …. …. 11) Ta COla …. …. …. …. 12) PetimaBkalattudaiyaB …. 13) Prama(hajanom) The inscription is a praSasti in Tamil language and alphabets interspersed with a few Grantha words and alphabets. It starts with the invocation Swasti Sri. It is apparently assignable to Rajendra-I (1012CE-1044 CE) the son of Raja Raja COla. Line 1-5 of the praSasti recounts his appellations and achievements. He is referred to in the inscription as KO-ParakEsarivarman alias Udaiyar Sri Rajendra ChOladEva and dated to his 10th year of reign or 1022CE (as his regnal year commences from 1012 CE) (Sastri 1935: 231). ChEra kings Rajasimha and Rajaraja who reigned from Makotai or Mahodayapuram are considered his feudatories (Narayanan 1996:70-71). In line 2 of the inscription there is apparently a reference to his tussle with the Chieftain of Perattankarai and of his being victorious. The place Perattankarai mentioned in the inscription may be a reference to Makodai, which was located on the banks of Periyar Per=Periya - attan=river - karai=banks or Periyaattinkarai=Makodai /Kodungallur. Discussions

Rajendra-I who succeeded Raja Raja-I to the COla throne, like his predecessor, invaded and annexed the Kerala region, somewhere between his 7th and 10th year of reign. An inscription of Rajendra from the south wall of Thanjavur

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 81 temple dating to his 10th year vouches his conquest of Kerala. In this inscription, after his war with Chalukya king Jayasimha, he states of his conquering the “principal great mountains (which contained) nine treasures” (Hultzsch 1916 vol. II-part-I: 93-95). This conquest of the mountains is also reiterated in his Tirumalai inscription dating to his 13th year (Hultzsch 1907-08: 232-233). Sastri felt that meaning of the phrase ‘Navanidillulap-perumali-galum’ offered by Hultzsch is unclear or unintelligible (Sastri 1935: 245). The English transcript of the 6th line in Tirumalai inscription provided by Hultzsch reads “… el-arai ilakkamu=nava-nedi-kkula-pperu-malaigalum vikkiram- virar…” (Hultzsch 1907-08:232).

The phrase ‘Nava-nedi-kkula’ possibly carries a connotation to the Yadava Kula or Vrsni race or the Ay-Venad kings. (Navani = (butter) di= (of) kkula= (lineage)=perumal (perumal=king)-igalum (ruling/belonging to) Vikrama Vira. The Vikrama Vira mentioned is possibly a reference to the Ay-King Vikramadita Varaguna, the most renowned king of the Ay kula who was defeated by Pandaya-COla kings earlier. Hence, phrase ‘el-arai ilakkamu=nava-nedi-kkula-pperu-malaigalum vikkiram- virar’ possibly implies to mean of ‘the hill ranges that once belonged to the Ay sovereign Vikrama Vira’.

Ancient Tamil literary work PuRanAVURu mentions of the family of Yadava or Ay kings residing in the hilly regions. One of the earliest mentioned king of this family is Ay-Andiran and he is referred to as the ‘lord of Podiya mountains ranges’ (Podiya Mountains are synonymous with the Agasthiyar hill ranges, extending along the western fringes with Kerala along the Kanyakumari-Tirunelveli-Madurai districts). It is stated that Ay-Andiran was quite wealthy and is one of the seven great philanthropists praised in Tamil literature (C.f. Rao 1908: Vol.1.17, 275 and Narayanan 191). Rajendra-I reiterates this view in his Thanjavur inscription and states that “the principal great mountains contained nine treasures.”

The area of Nedumkandam - Munnar located on the hills now in Idukki district after the decline of the Ay supremacy, came under the clout of the Venad-Chera rulers. Apparently this area was part of the ancient territorial divisions called Kilmalainatu and Munninatu referred to in the inscriptions from Trikkoditanam and Perunna respectively. Narayanan is of the opinion that Kilmalainatu must have

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 82 possibly incorporated parts of Devikulam, Todupuzha and Muvarrupula taluqs of Idukki district, and Munninatu was possibly located to the east of Tiruvalla (Narayanan 189-190). There is possibility that, Munninatu denotes the area around the upper-eastern reaches of Idukki district (Munnar-Marayur) regions. The area was possibly called Muninatu or Muninadu on account of the large number of Muniara or (dolmens) dotting the area.

Even if the usage ‘high mountains’ referred to in the Thanjavur inscriptions is contemplated, there is no denying the fact that the hill ranges of Idukki was an eco- nomically rich pocket and as it was essentially an important spice producing centre from ancient times. The arterial spice trade route connecting the ports of Kerala / Malabar Coast in the west to with Tamil heartland in the east, ran through the passes in the hills, now running across the districts of Idukki, Pathanamthitta and Kollam. The early historic antecedents of this trade route is vouched from the treasure-trove of Roman coins dating between 1st Century BCE and 2nd Century CE, discovered from the sites of Nedumkandam, Idamakuduru and Poonjar, all located in Idukki district. Interestingly Mepara is situated 30 km north of Nedumkandam by road (Sathyamurthy 2009: 117-118).

COla kings Raja Raja and Rajendra-I had conquered the Pandya territories before entering the Kerala region. After the fall of the Cholas, the Pandyas and the ChEra-Venad rulers appear to have regained their respective territories. The Munnar region was with the Punjar royal family. The Punjar royal family was apparently of Pandya decent or their vassals. Manavikrama Kulasekhara Perumal of this dynasty acquired sovereignty over the tracts around the high hill ranges. The Punjar family was annexed to Travancore dynasty by Marthanda Varma with the conquest of Tekkumkur and Vadakkumkur, in the 1749-50. John Daniel Munro took it on lease from the Kerala Varma Valia Raja of the Punjar royal family by a deed dated July 11th 1877, and started extensive plantation in the region (Menon 1967: 166). Nothing much is known regarding the late medieval history of Munnar hill ranges till the advent of Munro.

Concluding observations

This new inscription deciphered is important on two accounts. Till today, the entire array of reported COla inscriptions has remained exclusive to the ancient south

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Travancore region, now comprising the Kanyakumari district in Tamil Nadu. In earlier reported COla inscriptions, there are references to the coastal towns of Vizhinjam, Kollam, and Makotai/Kodungallur being conquered and devastated by Raja Raja, Rajendra-I, Kulotunga etc. For the first time, this inscription from Mepara brings to fore the hegemony of the COlas in the hill ranges of Idukki district during early 11th century CE. The interest behind annexation of the hilly terrain around Munnar by the COlas was possibly to gain hold of the spices and the arterial trade route that traversed the region. COlas were great perpetrators of international maritime trade as vouched from several sources. To maintain their clout over trade the COlas waged many battles and even send diplomatic missions abroad (Sastri 266-267).

This is also for the first time, that a menhir belonging to the Megalithic cultural assemblage, possibly coeval to the times of the Roman coins discovered from Idukki district (1st Century BCE and 2nd Century CE), is found to be reused almost 1000 years later during COla monarch Rajendra’s 10 year of reign (1022 CE) to inscribe an inscription. This is an unique instance not reported earlier and hence the menhir needs to be protected for posterity.

Pl.1.The menhir amdist thick vegetation Pl.2.Inscription on the eastern face

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Pl.3. Stone lamps and a bell placed near the menhir

Pl.4.The inscription of Sri Rajendra ChOla-I Acknowledgements This article is dedicated to the memory of late Prof.Dr.John Ochanthuruth, who first took me to the site more than 11 years back. There are a host of people I need to thank and express my gratitude for their initiative in deciphering the epigraph and making it understandable. First and foremost I express my thanks to Prof.Dr.K.Rajan, Department of History, Pondicherry University, for taking the initiative towards it decipherment. The first reading is due to the efforts and courtesy of Dr. S. Bala Murugan, Asst. Epigraphist ASI Mysore; I sincerely thank him for it.

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Dr.S.Siva, Asst. Prof. of History, Aringar Anna College, Aralvaymozhi was eager and enthusiastic towards conveying the finer points regarding the reading of the inscriptions after going through the Tamil transcript, and I owe my sincere thanks to him. The transcript of the inscription in Malayalam and English was prepared due to kind efforts of Ms. Remya.S, Research Asst. ORI & Manuscript Library, University of Kerala and I offer my heartfelt thanks to her. The only place I remembered of my first visit with late Dr.John was Rajakumari and to relocate the site was arduous task, since it was difficult to recall and the area had undergone tremendous topographical changes due to developmental activities in the last decade. I thank my wife Mrs.Usha Rani for patiently accompanying me in the endeavour of re-tracking the menhir site and also photographing while I went about documenting it. References 1. Hultzsch, E. 1916. Inscriptions of Rajendra Chola-I, No.10, in South- Indian Inscriptions, Vol. II, (ASI New Imperial Series Vol. X), Delhi: ASI (reprint 1991),pp.93-95. 2. Hultzsch,E .1907-08. Tirumalai rock inscription of Rajendra Chola-I in Epigraphia Indica Vol. IX, Delhi: ASI, (1981, reprint), pp.229-233. 3. Menon, A. Sreedhara.1967. A Survey of Kerala History, Kottayam: D. C. Books (2008 impression). 4. Narayanan, M.G.S. 1996. Perumals of Kerala, Thrissur: Cosmo Books (2013, edition). 5. Ochanthuruth, John. 2003. Pre-history of Kerala: Problems and Prospects in Issues in Kerala Historiography, (Ed.K.K.Kusuman ),Trivandrum: Kerala Uni- versity. 6. Rao,T.A,Gopinath 1908. The Huzur copper plates (No. I) in Travancore Ar- chaeological Series, vol.1, Trivandrum: Cultural Department, (1998, reprint), pp.15-34. 7. Rao,T.A,Gopinath 1908.Two inscriptions of Vikramaditya Varaguna (No.XII), in Travancore Archaeological Series,vol.1,Trivandrum:Cultural Department, (1998, reprint), pp.275-287. 8. Sathyamurthy, T. 2009. Trade Centres of Kerala: Evidence from Numismat- ics, in Studies in South Indian Coins, Vol. XIX (D.Raja Reddy and Srinivasan Srinivasan, Eds.), Chennai: New Era Publications, pp.115-121.

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09. A historical survey of Tamil palm-leaf Manuscripts A.Thasarathan Compilation of Sangam anthologies The ancient Tamil literature is called Sangam Classics. They are the Eight anthologies and ten long poems. Some of these eight anthologies have been compiled by scholars under the patronage of the Tamil kings of early period. There were more than 400 poets and they have sung nearly 2781 songs of long and short. These songs were sung not at the same time but in different ages. They would be orally transmitted or written on palm-leaves. When compiling such poems both oral collection and written collection would be used. This is the earliest evidence of palm-leaf manuscripts collection. However, we learn from legends that Tamil classics written on palm-leaf manuscripts weighed on sangap palakai - a wooden slap to judge their valedity. Royal documents and Bakhti manuscripts During the reign of the monarchies, i.e.ChEra, ChOla and Pandiya - some of them even sung poems which are included in the Eight anothologies. The royal people issued orders which were first written on a pam-leaf and then was carved or chistled on the surface of a stone or on copper plate. Such palm-leaf manuscripts are called royal documents. The earlier kings were removed from power by another set of new rulers who are called the Kalabhras. During this time Buddhism and Jainism became popular in the Tamil country which caused for the formation of Saiva and Vaishnava bakhti movements. The saints of these religions propagated their religion through hymns and other ways. Saint TiruNAVA Sambanthar, Appar, Sundarar are the Saiva NAyanmars who have sung the Saiva hymns which are called TEvARam. Saint TiruNAVA Sambanthar defeated the Jains debating them by means of analvAtam and punalvAtam - i.e. throwing their palm-leaf manuscripts into fire and water respectively which happened at Madurai river, Vaigai. Dr. A. Thasarathan, International Institute of Tamil Studies, Chennai - 600113.

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During the reign of later ChOlas some of the TEvAram hymns written on palm-leaves were discovered from the basement room of Chidambaram Temple and the ChOla king ordered his men to collect them and Saint NambiyAMdAr Nambi compiled them and thus we have them in hand. Manuscripts in the ChOla administration - KuDavOlai During the reign of later ChOlas, the village administration was conducted through electing proper canditates by a system called KuDavOlai . The public or the voters write the name of their candidates on a leaf and put it inside a pot and finally all leaves will be counted and the results will be announced. Such leaves are called kuTavOlai the documents or Olai muRi administration. This system is available in the form of inscription. Renewal and removal of palm-leaf manuscripts Tamil country had the practice of copying palm-leaf manuscripts which were fragile or brittle. Palm-leaf manuscripts will live not more than two-hundred years or so in the tropical climate of Tamil country. Every time, they will be renewed or copied. Once copied, the old ones would be destroyed by throwing in the river flood i.e. KAvEri during the month of ADi on the 18th day. Sometimes mistakenly or carelessly the new ones would also be thrown into the water. Even some of the unrenewed manuscripts have met their end by some who do not know the value of them. Thus, enormous number of Tamil manuscripts were spoiled even from earlier, middle and later days. They make a small temple car using the palm-leaf bundles, took them in a procession and throw them not only in the river KAveri but also else where. If there is no river available, a reservoir or sea will be the places for throwing. Later ChOlas and Pandiyas who patronized mutts The Saiva mutts which enjoyed the patronage of the later ChOlas and later Pandiyas collected and preserved the palm-leaf manuscripts of all sorts like grammar, Lexicon, literature etc. This is the reason why we have such manuscripts left behind in the mutts, since, these mutts encouraged bakthi learning in the country. Similarly the Vais. Mavite mutts, though they are meagre. The Jaina mutts of northern Tamil country encouraged learning Jaina canonical texts and epics and preserved quite a lot of Jain oriented palm-leaf mauscripts. Even nowadays these Jain mutts possess a lot of such palm-leaf manuscripts.

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Role of mutts Saiva Mutts at ThiruvAvadutuRai, TiruppanantAL, Dharumapuram and Kaumara Mutt at Coimbatore and their branches keep Tamil palm-leaf manuscripts of literary importance. Since they are educational oriented, the teachers and their students keep on copying and studying these palm-leaves for generations. Similar to Saiva Mutts, the Vais . Mava mutt established by Saint Ramanujar at MElakkOTTai in Karnataka State possesses Tamil palm-leaves heavily. Veera Saiva mutts and Jain Mutts in many places in Tamil Nadu preserve heaps of palm-leaf manuscripts of their choices. Christian institutions at Senbaganur and abroad still preserve many palm-leaf manuscripts of the missionaries. Role of Jamins and Palayams The rulers of Vijaya Nagar Empire and Nayakkas in Tamil Nadu, appointed Palayakkarars or Poligars and Jamindars and conducted their transaction through palm-leaves which are called rolls or curuL Olai or Olaic curuMai. British Rule and collection of Chengalpattu Revenue documents In the early 18th century the Chengalpattu and its suburban areas were donated by the Nawab to the East India Company for the military help of the Company. Immediately the Company appointed a surveyer to conduct a preliminary survey of its area, people, easte, houses, land varieties, income, crops, trees etc. for the purpose of administration. Engineer Bernard surveyed and the details were written on palm- leaves which are now called ChengalpaTTu AvaMam. They are huge and many rolls. He also submitted his reports to the Company in English. These rolls of palm-leaves are now preserved in the Tamil University. Huge rolls of such revenue records were left behind in Revenue offices uncared. They are almost decayed. In some places they were burnt or thrown out. Elsewere they were neglected. Palm-leaf writing became extinct in the Government Administration When the East India Company conquered many Poligars and Jamins and acquired huge lands from the Nawabs of Arcot and Karnataka they started their communication in paper. This is the reason for the diminishing of palm-leaf writing and the palm-leaf manuscripts became antique materials. Mackenzie Colonel Colin Mackenzie, the collector of the valuable manuscripts was a native of the island of Lewis. Little is known of his parentage, education or early life.

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A brief outline of the life sketches of Col. Mackenzie and the steps taken up to catalogue and utilize his collection of manuscripts are given by H.H.Wilson in 1828 in his book titled: The Mackenzie collection: A Descriptive Catalogue of the Oriental Manuscripts, and other articles illustrative of the literature, history, statistics and antiquities of the South India. (collected by the Late Lieut. Col. Colin Mackenzie. Culcutta, 1828)

Painting by Thomas Hickey (1816). From left to right: Dhurmia, a Jain pandit holding a palm-leaf manuscript, C. Venkata Lechmiah, a Telugu Brahmin pandit, Colin Mackenzie in the red uniform of the East India Company and Kistnaji holding a telescope. The background was said by early commentators to be the statue of Gomateshwara at Shravanabelagola but Howes (2010) identifies it as Karkala

In 1832, Sir Alex Johnson, the late Chief Justice of Ceylon said before the Select Committee of the House of Commons on the affairs of the East India Company, we learn from his statement that Col. Mackenzie was employed by Francis, the fifth Lord of Merchistoun, in searching for, and getting together, all available information respecting the knowledge possessed by the Hindus of Mathematics in general and of the nature and use of Logarithams in particular. When Lord Merchistoun died, Colin Meckenzie, desired of prosecuting his oriental researches in India obtained an appointment as Cadet of Engineers on the Madras Establishment of the East India Company. He came to India in the year 1782. Colin Meckenzie, at Madurai, impressed with the Brahmins, that the most valuable materials for the history of India might be collected in different parts of Indian peninsula, and during his stay at Madurai, he first understood that the most

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 90 expensive and most valuable collection of historical documents relating to India that ever was made by any one in Europe or Asia. Colin Mackenzie’s jobs in the Military and other places The first thirteen years - 1783 to 1796, Mackenzie engaged in Military and professional duties. These were troublous times when the country was just emerging from famine, penury and war with Tippu Sultan of Mysore. He could not do any continuous attention to his favourite pursuit of collection of rare things due to frequent change of duties. In 1796, when he returned from Ceylon, gave him an opportunity to the collection of manuscripts and information bearing on the literature and history of India. Meanwhile, from 1796 to 1806 he was employed in the investigation of the Geography of the Deccan and in mapping the country. On the completion of this job he was appointed as Surveyor-General of Madras. Then in 1817-1818 he became the Surveyor General of India. During these years Colin Meckenzie has collected quite a number of manuscripts in the Madras province and in Java. Mackenzie’s Publication in the Journals In the course of his enquiries and during the formation of the collection, Colin Mackenzie, has also contributed from time to time several articles to the leading periodicals of that time devoted to oriental studies. He also helped Col. Wilks in writing the History of Mysore by placing at his disposal sevaral valuable papers on particular periods of history written specially for his aid and information in arranging the mateials for that valuable work. Mackenzie’s materials to England Mackenzie left Madras to take up his appointment as the Surveyor General of India at Culcutta. He took his literary and antiquarian collections and with his principal native scholars employed by him in arranging and translating them intending there, to prepare a Catalogue Raisonnee of the whole and to give the translated materials such form as would facilitate their publication. The catalogue work was impeded by the death of sevaral of his native assistants and the illness of others. More over, he and his friend Sir Alex Jhonson were disappointed with the fate of the native assistants and other official matters. They thought if the East India Company’s Court of Directions would send Mackenzie to

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England on leave to write the Oriental history using the valuable materials of Mackenzie and to assist the savants of Europe. Mackenzie at this time appears to have sent home to England, the presumably to the Court of Directors of the East India Company, prior to his proceeding to Culcutta, seven folio volumes of materials relating to the Geography and history of the country with general and provincial maps in particular.

Death of Colin Mackenzie and the fate of his collection Mackenzie died at Bengal in 1821 in the sixty-eighth year of his age leaving untouched his catalogue Raisonne which advancing age, failing health, want of leisure and other impediments, prevented him from preparing. A very large portion of his collection was gathered together personally by Colin Mackencie himself during his visits on survey duty to all the most remarkable places between Cape Comerin to Krishna of South India. At the suggestion of Sir Alex Jhonston and with the sanction of the Court of Directors, then Governor General of India purchased Mackenzie’s material on behalf of the East India Company from the widow of the deceased for 10,000 Pounds.

H.H. Wilson’s effort in making the Catalogue H.H. Wilson, Secretary to the Asiatic Society of Bengal was offered to catalogue Mackenzie’s collection. He made it and published in Culcutta in the name

The Mackenzie collection: A Descriptive catalogue of the Oriental Manuscripts, And other Articles illustrative of the Literature, History, Statistics and Antiquities of the South India (collected by the Late Lieutenant Cornol. Colin Mackenzie, Surveyor General of India) 1828. The Nature and object of his task are best learnt from Wilson’s “Introduction”. His book exhibits a luminous though brief view of the chief results of the collection and the degree in which it may be expected to illustrate the Literature, Religion and History of South India.

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Varieties of Mackenzie’s manuscripts Mackenzie’s collection will be with the following subjects: 1. Religion 2. History 3. Biography 4. Geography 5. Medicine 6. Literature and Science 7. Ancient Inscriptions 8. Plans 9. Drawings 10. Coins 11. Images and Antiquites (vases, beads, seals, rings etc. in 14 languages and 16 different characters) Mackenzie’s collection of manuscripts in the following languages, were sent to England. 1. Sanskrit 2. Arabic 3. Persian 4. Javanese and Burman books with plans, coins, Images, sculptures etc. In three batches in 1823 and 1825, several volumes of manuscript translations of the above languages were sent to England. Tamil materials Mackenze’s whole of the books and tracts in the languages of Southern India and the inscriptions were lodged in the Madras College Library in 1828. These later, of which a classified list is given below, were for the most part palm-leaves, and many of them in duplicate and triplicate. The Tamil manuscripts will be in the following subjects. 1. Puranic and legendary history 2. Local History and Biography 3. Plays, tales, poems etc. including religious and ethical compositions 4. Philology 5. Astronomy and Astrology

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6. Medicine 7. Arts Mackenzie’s collections of paper manuscripts Since Mackenzie travelled through out the Tamil country officially and personally and he has collected many local histories which are called VamsAvaLi, Kaibeethu or Hand written documents and biographies from Jamindars and Palaiyakarars the Poligars. These paper manuscripts will give the formation and growth of ethnic races of Tamil Nadu, culture of people, and so on. Mackenzie’s collections transferred to Institutions In 1830, the committee of the Madras Literary Society and Auxiliary of the Royal Asiatic Society asked Government to transfer to them the Mackenzie collection, then lying “in a confused and utterly useless state in the college library”. They hoped to extract much interesting and valuable information from those collections. But, in consequence of their limited finances, they proposed to select only one or two subjects to begin with, confining attention in the instance to the Jain literature and the Inscriptions in general. Some few articles based on these manuscripts occasionally appeared in the Madras Journal of Literature and Science; but they do not seem to have had any connection with the plans and designs of that learned body. Meanwhile, in England, captain Harkness, Secretary to the Royal Asiatic Society, undertook to translate and digest a portion of the manuscripts sent to the East India House; and M.Jacqet of Paris expressed his intention to include in his Corpus Inscript Roruim , upon which he was the busily engaged, all the inscriptions belonging to Mackenzie collection. Transfer of Mackenzie collection to Rev. William Taylor For six years more the Madras portion of the Manuscripts remained unutilised in the archives of the Madras Literary Society as it had previously in the college library. Upon the Government of India’s direction, and on the willingness of Rev. William Taylor, Mackenzie collection was given to him for a thorough examination. He was granted Government allowance of Rs. 400 per month for 18 months a remuneration and for the maintanance of a small establishment of Assistants.

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Rev. Willam Taylor’s contribution on Mackenzie manuscripts Rev. Willaim Taylor commenced his undertaking in July 1837 and completed it in September 1838. The results of his labours were published from time to time in highly interesting series if five analytical reports in the Madras Journal of Literature and Science, Vol. 7 to 10. One main object of the examination and collation of the Makenzie manuscripts was to ascertain their precise nature and value in throwing light on oriental history, literature, mythology, fiction and romance, and to select for translation and publication the more important papers. Rev. William Taylor’s catalogues The title of the three volumes catalogue of Rev. William Taylor are: A Catalgue Raisonne of Oriental Manuscripts in the library of the (late) College Fort St. George by Rev.William Taylor Vol. I 1857 Vol. II 1860 Vol. III 1862 These three volume catalogues incorporate Mackenzie’s collection of manuscripts; the East India House collection discovered in the India House Library in 1837 by Mr.Charles Philip Brown of the Madras Civil Service; and C.P.Brown’s collection, being the collection of Mr.C.P.Brown’s own library. Mackenzie Manuscripts are finally in the Oriental Manuscripts library In 1858, after 20 years gap, again came before the public in connection with the East India House. Meanwhile, the Government of India has passed from the East India Company to Her Majesty the Queen Empress Victoria, and after the lapse of about half a century, the question how shall this magnificient collection beturned to the best account still remained unsolved. The literature of South India containing a mine almost unexplored out of India and affording ample material for speculation and research by the literate of Europe, remains unnoticed. The old authors, whose writings are more curious than useful, do not perhaps suit the matter-of-fact tastes and habits of the present generation, yet still the utilization of a collection of such considerable value and extent as the Government oriental

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 95 manuscripts, is well worthy the patronage of a liberal and enlighted Government. The subject of ancient manuscripts is now again attracting the attention of the authorities, and it is possible than in connection with this movement, something may be done to rescue from oblivion a collection calculated to throw much light on historical researches relating to India. The Mackenzie collection, finally was incorporated in Government Oriental Manuscripts Library which were 8000 at that time and kept in safe 20 teak wood glass cases. The library opened to the public on all week days and is much consulted especially by native scholars. Methods of collection of manuscripts and other records Through out a considerable part of Mackenzie’s carrier he may be said to have collected them in Person visiting in the course of his surveying operations almost all the remarkable places between the Krishna and Cape Comorin, and being accompanied in his journies by his native assistants who were employed to take copies of all inscriptions, and obtain from the Brahmins of the temples, or learned men in the towns or villages, copies of all records in their possession or original statements of local traditions. When not himself in the field Col.Mackenzie was accustomed to detach his principal native agents into different districts to prosecute similar enquiries, furnishing during their absence either in English or in their own language to be subsequently translated, reports of their progress. Manuscripts in the late 19th century European Scholars of the late 18th century and in the early 19th century felt that Sanskrit is the mother language of all Indian languages, cultures and non-cultured or Tribal languages. William Jones, Max Miller and others did a lot of works on this line and later found out that there are two group of language families or even more exist in the subcontinent. Mr.F.W. Ellis and Bishop Caledwell clearly stated the difference between Sanskrit and Tamil, of which Tamil belongs to a family of languages called the Dravidian. Of all the literatures of India, with the single exception of Sanskrit, Tamil is the richest, the oldest and the most ancient.

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Walter Elliot, who was appointed by the Government of India in the place of C.P.Brown, and again Mr.William Taylor was appointed to look into the manuscripts affair. This is in 1850 and 1853 respectively. Walter Elliot remarked that the interest of Literature will be the best advanced by publishing texts of all the chief classics prepared from careful collections of all the manuscripts. Further he remarked that the Tamil is perhaps the most interesting and important in a philological point of view of all the Southern dialects, and is probably the root (or atleast its nearest extant scion) from which all the Southern dialects have sprung. Native Tamil Scholars Such remarks as well as other activities by the European Scholars, the Tamils began to print their classics, many of them as yet are found only in manuscript form. Meanwhile, scholars of the Native Tamil traditional sciences started to write their materials coming from ancestors on palm-leaf manuscripts. Both groups trace back the origin of extant Tamil literature, grammar, and traditional sciences to sage Akathiyar (Agasthiyar). A grammar of the Tamil language bearing his name, the Akattiyam was formerly extant, but traced some rules from the stray stanzas. Thus we have three branches: 1. Classical grammars and later grammars 2. Classical literatures and later literatures 3. Traditional sciences which are many While on one side the educated native scholars started to decipher the palm-leaf manuscripts and published them in printed book form; on the other side the Native illiterate or common people tried to preserve their arts, sciences etc. which are in the form of oral or in memory. Printing, editing and publishing Tamil printing has a glorious past dating back to 1578 A.D. when the first book Doctrina Christae made its appearance. Since then a considerable number of books on Christian religion and English educational books have been printed. The printing media was opened to Native Scholars in the late early 19th century.

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As a result, a considerable number of books of Tamil literature and other deciplines have been appeared. In order to print, edit and publish, the Native scholars searched their source from palm-leaf manuscripts.

Classical Tamil works first printed

In 1812, TirukkuraL and NAlaDiyAr were appeared together in printing; but they were printed as such as in the palm-leaves; no separate paragraphs; no sandhi; no punctuation marks etc. Slowly, the native scholars improved their printing methed, in the later half of 19th century.

Arumuga Navalar Damodaram Pillai Meenakshi Sundaram Pillai U.V. Swaminathaiyar Thiyakaraja Chettiyar R. Ragavaiyangar M.Ragavaiyangar Vai.Mu.KO Visagaperumal Aiyar Vaiyapurippillai etc. are some of the pioneers of publishing and editing palm-leaf manuscripts.

Among them, Arumuga Navalar and Dhamodharam Pillai are from Ceylon. The former was doing Saiva and grammar related works while the latter being an official in many capacities, did editing and publishing along with his official duties.

U.V. Swaminathaiyar was brought up by the ThiruvAvaDuthurai Mutt and his teacher was Mahavidwan Meenakshi Sundaram Pillai, a great scholar, teacher and poet.

U.V. Swaminathaiyar and his contemporary scholars

U.V. Swaminathaiyar, while a student in the ThiruvAvaDuthurai Mutt, had acquintance with the palm-leaf manuscripts of the mutt. However, he learnt and taught Sthalapuranas, Puranas, minor literature and so on. When he was appointed in the Government college at Kumpakonam, and by the advice of

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Salem Ramasamy Mudaliar, he was in search of ancient classics and Kavyas in the Saiva mutts.

The Saiva mutts and their branches as well as individuals who have connected with these mutts were the places U.V. Swaminathaiyar sought manuscripts. This includes South Pandiya country where lies the branch mutt of ThiruvAvaDuthurai and places of the later Pandiya rulers of Tenkasi tradition. Uttumalai is yet another place where U.V. Swaminathaiyar visited. In the course of his collection, he also cared for local history of the poets of those places and recorded the local literary history.

U.V. Swaminathaiyar edited quite a few Tamil classics, Kavyas and Sthalapuranas from those manuscripts collected by him from different parts of South Pandiya country. Those palm-leaf manuscripts are available in the library in his name at Chennai.

Fate of other manuscripts noted by U.V. Swaminathaiyar

We do not know what happened to the palm-leaf manuscripts of Dhamodharam Pillai who also edited and published few classics of the ancient Tamil literature and grammar. However, it is now known that 300 palm-leaf bundles belonged to Prof. Vaiyapurip Pillai, the editor of Tamil Lexicon and Professor of Tamil of the University of Madras were sent to the National library, Culcutta. They are now catalogued.

R.Ragavaiyangar and M.Ragavaiyangar who under the partronge of Jamindar of Ramnad, who was incharge of the Madurai Sangam left their manuscripts there itself.

We do not know the fate of manuscripts Kaviraja Easwara Murthia Pillai and TiruppArkaTanathaV of Tirunelveli in 1888 when U.V.Swaminathaiyar visited their houses where hundreds of bundles were kept properly as they would be with Third Tamil Academy. Uttumalai Jamindar’s manuscripts are alone now

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 99 available in the palace at Veerakeralan Pudur and many of them are documents; a few of them are minor literature.

Manuscripts of Post-Independent Period

After the pioneering efforts of scholars whose editing, publishing and collection of palm-leaf manuscripts during and after independence were recorded, there was a halt nearly 25 years when there is no evidence available about the collection of palm-leaf manuscripts in Tamil Nadu. This was due to the establishment of educaional Institutions. Almost earlier all literatures and grammars have been published and were made available to the public and students of Universities and colleges.

Awareness of manuscripts collection in the Ninteen Seventies

In the ninteen seventies, collection of palm-leaf manuscripts took another momentum when Prof. N. Vanamamalai started editing some historical ballads in their social contexts. Even though he collected oral versions of those ballads, he also used some of their written forms both in palm-leaf and paper manuscripts. Madurai Kamaraj University has brought out four such historical ballads of which AivarrAja Katai, KAncAyapu chaMDai, KaTTapomman kummi etc. His follow- ers and students are also took much interest in the collection of palm - leaf ballads for cultural, social and historical studies.

During this time, the Archaeological Department of Government of Tamil Nadu, through their men in the District Head quarters and towns, collected palm- leaf manuscripts and sent them to the Government Oriental Manuscripts Library which is its sister Institution. Due to this, the number of Manuscripts in the Oriental Manuscripts Library increased.

The Department of Tamil of the University of Kerala, engaged all Tamil students of Master of Arts to publish one palm-leaf manuscript as their M.A. disseration. The students and others collected more than one palm-leaf bundles and this made the International Institute of Tamil Studies at Chennai to conduct Certificate and Diploma courses, introducing one palm-leaf work atleast once in a month and also to edit and publish literary works in the palm-leaf manuscripts at U.V.S. Library. Institute of Asian Studies, Tamil University and others

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 100 followed the International Institute of Tamil Studies, and even publically announced to buy the palm-leaf manuscripts for price.

Institutional and Individual collections of Palm-leaf Mss

A tentative list of manuscripts are given below: 1. Archives & Museum 200 2. British Museum Library 350 3. Canada 50 4. Central Govt. Siddha Medicine Institute 300 5. Centre for Preservation of Tamil Palm-leaf manuscripts 300 6. Se . mbaganur Christian Centre at Kodaikanal 1,500 7. College of Indian Medicine at Palayam Kottai and Palani 2,000 8. Culcutta National Library 350 9. Dharmapuram Mutt 1,000 10. Dr. U.V. Swaminathaiyar Library 3,000 11. France Library 300 12. French Institue, Pondicherry 2,500 13. Germany-Indology departments 1,000 14. Govt. of T.N. Siddha Medicine Institute 1,800 15. Institute of Asian Studies 1,500 16. International Institute of Tamil Studies, Chennai 1,600 17. Jaina Mutt, near Dindivanam 750 18. Kerala University MSS Library 3,400 19. Madurai Tamil Sangam 300 20. Madurai University 500 21. Malaysia 300 22. North Chennai Siddha Institute (Private) 1,500 23. Oriental Manuscripts Library, Chennai 16,500 (Now availabe at Anna Library)

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 101

24. Other Foriegn countries 500 25. Ramanujar Centre at Melakkotai 2,000 26. Saraswathi Mahal Library, Thanjavur 3,000 27. St. Xavier’s College, Palayamkottai 400 28. Tamil University, Thanjavur 10,000 29. Theological Seminary, Madurai 800 30. Theosophical Society, Chennai 1,500 31. Thiruppanandal Kasi Mutt 300 32. Thiruvavaduthurai Mutt 3,000 33. University of Madras 200

Total 62,700

From this account, one may know the presence of Tamil palm-leaf manuscripts in the Libraries and academic Institutions are nearly 60,000 or less than that. There may be a few unknown manuscripts elsewhere.

Preservation of Palm-leaf Manuscripts in the International Institute of Tamil Studies, Chennai

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Individuals and manuscripts

Enormous Tamil palm-leaf manuscripts are available with individuals -i.e. doctors of native siddha medicine and their successors; astrologers; local bards and poets; folk singers and bowsong singers; black magicions; village accoun- tants and their successors; master of martial arts and so on.

In Jalakandapuram, near Salem, I have seen thousands of palm-leaf documents are preserved where village accounts and temple accounts are written. Such documents may be availabe plenty in the villages and temples of other places.

Support of the Governments

During the second phase of awareness, some of the above mentioned Institutions sought financial grants from Governments of State and Central to prepare 1. Catalogues 2. Microfilms 3. Editing, publishing and translation 4. Survey and collection 5. Certificate and Diploma courses 6. Workshops 7. Seminars 8. Preservation & Conservation 9. Manus-data 10. Digitization The Tamil Development Department of the Government of Tamil Nadu, very recently extended 60% of financial assistance to edit and publish genuine palm-leaf manuscripts. The Education Department of the Government of India and National Archives at Delhi supported 75% or 80% financial grant to do all sorts of research in the palm-leaf manuscripts. The IGNCA, made a survey of palm-leaf manuscripts and collected particulars in the Manus data sheets and kept a data bank in its centre.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 103

One may observe that getting financial support for the promotion of palm- leaf manuscripts is hard for Individuals and Institutions when compare with other desciplines.

Subjectvize data

Among the 60,000 palm-leaf manuscripts stored in the Institutions and Libraries 40 present of them are on Siddha Medicines; remaining are as below: Siddha Medicine 40% Traditional Grammars 2% Laxicon 2% Classical Tamil 5% Kavyas 3% Puranas 3% Stala Puranas 5% Minor Literature 7% Folk Literature 8% Traditional Science 2% Astrology 5% Martial Art 5% Alchemi 1% Religion 5% Miscellaneous 2% Documents 5% Total 100%

There may be the same ratio as far as the Individual collection are concerned.

IGNCA & the Manuscripts Mission

Two decades earlier, the IGNCA extented financial help to collect MANUS Data of palm-leaf manuscripts. Many Institutions came forward to collect them to enable the IGNCA to store them as a data bank. Institutions filled

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 104 the manus data sheets with a prescribed format. As such thousands of such manus data sheets were collected by the IGNCA.

However manuscripts belong to Individuals were not collected. This may be the reason why the IGNCA made recent attempt in the name of National Mission for Manuscripts. This survey of palm-leaf manuscripts started ten years ago, and within a short span of time, the Mission collected tentative accounts of the presence of palm-leaf manuscripts in the country. As far Tamil Nadu is concerned, this survey accounted lakhs and lakhs of palm-leaf bundles. As soon as the survey is over of the study of those materials are now started by conduction of seminars, workshops and so on.

Memory of the world Programme

Among several methods of preservation, UNESCO’s (United Nations Educational Scientific and Cultural Organization) Memory of the world programme is worth mentioning here. Its aim is to preserve world’s cultural heritage including the preservation of palm-leaf manuscripts. UNESCO’s World Expert Committee frequently meets from 1993 onwards.

The first meeting of the World Expert Committee was held at Warsaw in September, 1993. Subsequently the committee meetings were held in different places. In these meetings, discussions centered around the memorable relics of the world and various recommendations were made to the General Conference. The memorable relics included rare paper manuscripts, palm-leaf manuscripts and other manuscripts written on any medium, oral traditions and the knowledge of those whose language lacked a script, inventions, unexplored arts and religious practices, beliefs and mores. The need to record and catalogue all the above items was unanimously agreed upon.

Reference

1. Ü„² Ë™èœ Mõó Ü†ìõ¬í, îI› õ÷˜„C Þò‚èè‹, ªê¡¬ù.

2. Wikipedia - Colin Mackenzie.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 105

10. °ô¬õ Þ´î™ - Fó£Mì ÝŠHK‚è åŠd´ î£ò‹ñ£œ Üøõ£í¡ °ô¬õ, ªè£ô¬õ, ªè£ôõ, °ôõ, ªè£ó¬õ, ªè£ô «ð£¡ø ªê£Ÿèœ ï£†´Š¹øƒèO™1 Þ¡Á‹ õö‚èˆF™ àœ÷ù. ‘°ô¬õ Þ´ƒ«è£’, ‘ªè£ô M´ƒ«è£’, ‘ªè£ôõ Þ´ƒ«è£’ â¡Á ï£†´Š¹ø Mö£‚èO™ ‘°ô¬õ Þ´ƒèœ’ â¡ø ªð£¼O™ ªð‡èœ ÃÁõ¬î Þ¡Á‹ è£íô£‹. Þˆî¬èò °ô¬õ â¡ø£™ â¡ù â¡ð¬î ÝŒAø¶ Þ‚è†´¬ó. °ô¬õ Ü™ô¶ ªè£ó¬õ â¡ø ªê£™ °ó™ â¡ðî¡ Ü®ò£èŠ HøŠð¶. °ó™ â¡ð¶ ÝƒAôˆF™ tone, voice, word, sound «ð£¡øõŸ¬ø‚ °P‚°‹. °ó™õ¬÷(Larynx)J¡ õNò£èŠ Hø‚°‹ °ó¬ô Ü®Šð¬ìò£è‚ ªè£‡ì¶ °ô¬õ Ü™ô¶ ªè£ó¬õò£°‹. °ô¬õ Þ´‹ªð£¿¶ ï£‚A¡ Ü¬ê¾‹ Üîù£™ ãŸð´‹ åL å¿ƒ°‹ àíóô£‹ (to utter in chorus a shrill sound by wagging the tongue as done by women on festive and religious occasions) â¡Á ï£õ£Ÿ °öP åL ªêŒîô£èˆ îI›Š«ðóèó£F2 ²†´‹. °ô¬õ Þ´‹º¬ø ªð‡èœ ñ†´«ñ èô‰¶ ªêŒ»‹ ðö‚è‹ Þ¶. °¬ø‰î¶ ä‰¶ ªð‡èœ ºîô£è‚ Ã´î™ ðF¬ù‰¶ «ð˜èœ õ¬ó °ô¬õ Þ´õ¶‡´. â™«ô£¼‹ å¡Á «ð£™ ï£õ¬êˆ¶‚ °ó«ô£¬ê â¿Š¹õ˜. °ô¬õ åL ªî£ì‚èˆF™ î£›‰¶‹ H¡ àò˜‰¶‹ H¡ î£›‰¶‹ åL‚èŠð´‹. Í¡Á º¬ø åL‚èŠð´‹. Þ¡ð Gè›„CèO½‹ ¶¡ð Gè›„CèO½‹ Gè›ˆîŠð´‹. F¼Mö£, F¼ñí‹, °ö‰¬îŠ HøŠ¹, ÌŠ¹ «ð£¡ø ï¡Qè›„CèO½‹, ÞøŠ¹ Þ™ôˆF½‹ °ô¬õ Þ´‹ õö‚è‹ à‡´.

º¬ùõ˜ î£ò‹ñ£œ Üøõ£í¡, «ñù£œ îI›Š «ðó£CKò˜, Ü¡¬ù ªîóê£ ñèO˜ ð™è¬ô‚ èöè‹, ªè£¬ì‚è£ù™, îI›ï£´. îèõ™: Þ‰FòŠ ð™è¬ô‚ èöèˆ îIö£CKò˜ ñ¡ø ðF«ùö£õ¶ ÝŒ¾‚ «è£¬õ, ªî£°F-3, ð‚. 379-384, 1985.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 106

Ý‡èœ Þ¬î„ ªêŒõF™¬ô. ð£ì«ô£ Ýì«ô£ «ê˜‰¶ °ô¬õJ™ Þ™¬ô; ªõÁ‹ åL ñ†´«ñ. «è£JL™ F¼Mö£‚è£ô‚ °ô¬õ F¼Mö£‚è£ôƒèO™ °ô¬õ Þ´‹ ñó¹ Þ¡Á‹ Þ¼‰¶ õ¼Aø¶. ªî¡ ñ£õ†ìƒèO™ àŸêõ˜ iF àô£ ¹øŠð´‹ ªð£¿¶‹ àô£ º®‰¶ õ‰îªð£¿¶‹ F¼‚èLò£í Gè›„CJ™ î£L è†´‹ ªð£¿¶‹ Þšõ£Á °ô¬õ Þ´î™ Þ¡Á‹ õö‚èˆF™ Þ¼Šðî£°‹. àŸêõ Í˜ˆFè¬÷ˆ ªî¼M™ â´ˆ¶„ ªê™½‹ªð£¿¶ °ô¬õ Þ´î™ ñó¹. Þ¬øõ¡ «îK™ ÜôƒèK‚èŠ ªðŸÁ, ÜF™ Üñ˜ˆîŠ ªðŸÁ iFJ™ ¹øŠð´‹ ªð£¿¶‹ ¹øŠð†´„ ªê™½‹ ªð£¿¶‹ °ô¬õ Þ´î¬ô‚ «è†èô£‹. «îK¡ º¡¹ø‹ «î˜õìƒè¬÷ Þ¿ˆ¶‚ ªè£‡´ °ô¬õ Þ´î™ à‡´. ªî£™è£ŠHòˆF™ «ðêŠªðÁ‹ ‘º¡«î˜‚ °ó¬õ’, ‘H¡«î˜‚ °ó¬õ’3 â¡ø ªê£Ÿèœ Þƒ«è G¬ù‚èˆ î‚èù. Þ¬øõNð£†®™ °ô¬õ Þ´î™ â¡ð¶ «èó÷ˆF½‹ à‡´. ªè£´ƒè£Ù˜ ðèõF «è£J™ ð‚èˆF™ °Á‹ð‚ è£¾ «è£J™ àœ÷¶. ÜFL¼‰¶ Þ¬øõ¡ á˜õôñ£èŠ ¹øŠð†´ õ¼‹ªð£¿¶ õ…C‚ °÷ˆ¶ Üóê¡, î‹Hó£¡ Ü®èœ ºîL«ò£˜ °¬ì ºîLò Üôƒè£óƒèÀì¡ õó«õŸð˜. Cô ªð‡èœ °ô¬õ Þ†´Š ð£†´Šð£® õó«õŸð˜. Þšõ£Á °ô¬õ Þ´î¬ô ‘õ£‚°ó¬õ â¡ð˜ ’4. F¼ñíˆF™ °ô¬õ ªî¡ ñ£õ†ìƒèO™ F¼ñíˆF¡ ªð£¿¶ ªð‡èœ °ô¬õ Þ´A¡øù˜. ñíMö£ Gè›„CJ™, ñ£ŠHœ¬÷ Ü¬öŠH¡ ªð£¿¶‹ ªð‡µ‚° ñ£ŠHœ¬÷ ¹ì¬õ ªè£´‚°‹ ªð£¿¶‹ î£L è†´‹ ªð£¿¶‹ ²ŸP»œ÷ ªð‡èœ °ô¬õ Þ´õ˜. Þ‚°ô¬õ Í¡Á º¬ø åL‚èŠð´‹. Þîù£™ èõùñŸ«ø£K¡ èõùˆ¬î ß˜‚è Þ‚°ô¬õ ðò¡ð´‹. ÌŠ¹ Gè›„CJ™ °ô¬õ ÌŠ¹ ïì‰î ªð‡µ‚°ˆ î¬ôJ™ c˜ áŸÁ‹ªð£¿¶ °ô¬õ åL åL‚°‹. ðô ªð‡èÀ‹ ñA›„C Ýóõ£óˆF™ õ£J¡ «ñŸ¹ø‹ Mó™è¬÷‚ °Mˆ¶ ¬õˆ¶ åL â¿Š¹õ˜. â™«ô£¼‹ å«ó º¬øJ™ åL à‡ì£‚°õ˜. Ü‡¬ìJ™ àœ«÷£¼‚°‹ ÌŠ¹ Gè›„CJ¡ à„ê è†ì‹ ¹ôŠð´õîŸ° Þ‚ °óªô£L ðò¡ð´õî£è‚ ªè£œ÷ô£‹. ÌŠ¹ ïì‰î ðˆî£‹ ï£œ Gè›„CJ½‹ °ô¬õ åL «è†°‹.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 107

°ö‰¬îŠ HøŠH™ °ô¬õ °ö‰¬î Hø‰¶ M†ì£™ Ü‰î‚ èíˆF™ ñA›„C ªîKMˆ¶„ ²ŸP»œ÷ ªð‡èœ °ô¬õ Þ´õ˜. Þ‚ °ô¬õ åL ðô˜ è£¶èÀ‚°‹ M¿‹. Mö«õ ðô¼‹ ªêŒF ÜPõ˜; ÜP‰¶ Hø‰î °ö‰¬î¬ò‚ è£í õ¼õ˜. ªð¼‹ð£½‹ Ý‡ °ö‰¬î Hø‰î i†®™ °ô¬õªò£L êŸÁ ÜFè «ïó‹ Þ¼‚°‹. Ý‡ °ö‰¬îŠ HøŠ«ð ñA›„CŠ «ðªó£L‚°‚ è£óí‹. ÞøŠ¹ i†®™ °ô¬õ Þø‰î i†®½‹ °ô¬õ Þ´î™ à‡´. Þø‰îõ¬ó„ ²´è£†®Ÿ° â´ˆ¶„ ªê™½‹ º¡¹ °O‚è ¬õŠð˜. Üšõ£Á °O‚è ¬õ‚°‹ ªð£¿¶‹ i†®Q¡Á â´ˆ¶„ ªê™½‹ ªð£¿¶‹ °ô¬õ Þ´õ˜. Cô á˜èO™5 HíˆFŸ°Š H¡ù£™, Ì˜õ°® ñ‚èœ â¡Á è¼îŠð´«õ£K™ ªð‡èœ ðô˜ °ô¬õ Þ†´‚ ªè£‡«ì ªê™õ˜. Hí‹ i†¬ì M†´„ ªê¡ø H¡ù˜, ªð‡èœ î¬ôMK«è£ôñ£è õ†ìñ£è G¡Á ‘Ü‹ñ£® î£ò£«ó’ â¡Á õ£ò£™ ªê£™L‚ ªè£‡«ì îƒèœ îƒèœ ñ£˜H™ Ü®ˆ¶‚ ªè£‡«ì ²ŸP õ¼õ˜. Üšõ£Á Í¡Á º¬ø ²ŸP õ‰¶ °ô¬õ Þ´õ˜. Þ‰Gè›„C Þø‰î ï£OL¼‰¶ ðFù£Á ï£œèœ õ¬óJ½œ÷ Mò£ö¡, ë£JÁ ÝAò Þ¼ ï£œèO½‹ Gè¿‹. Ü¡Á‹ ªð‡èœ î‹ ñ£˜¹èO™ Ü®ˆ¶‹ ²ŸP õ¼õ˜; °ô¬õ Þ´õ˜: ²ŸP õ‰î H¡¹‹ è¬ô»‹ ªð£¿¶‹ °ô¬õ Þ´õ˜. ã¬ùò Gè›„CèO½‹ °ô¬õ ¬îŠªð£ƒèL™ ð£¬ùJ™ ªð£ƒA õ¼‹ªð£¿¶ °ô¬õ Þ´õ˜. ¹¶ñ¬ùŠ ¹°Mö£ Gè›„CJ™ ð£™ ªð£ƒA õ¼‹ªð£¿¶ °ô¬õ Þ´õ˜. M¬î M¬î‚°‹ªð£¿¶, i†®L¼‰¶ M¬î‚è ªï™ ªè£‡´ «ð£°‹ ªð£¿¶ i†´Š ªð‡èœ °ô¬õ Þ´õ¶‡´. Ý‡èœ Þ´‹ °ô¬õ Aó£ñŠ¹øƒèO™ ªð‡®˜ °ô¬õ Þ´õ˜; Ýìõ˜ °ô¬õ Þ´õ¶ Þ™¬ô. «è£¬õ ñ£õ†ìˆF™ °ô¬õ â¡ø ªê£™ ðö‚èˆF™ àœ÷¶. Ýù£™ îIöèˆ ªî¡ ñ£õ†ìˆ¬îŠ«ð£™ ð™«õÁ Gè›„Cèœ åLŠðî¡Á. ºŸPò î£Qò õ¬èè¬÷Š ¹ùƒèO™ è£õ™ ªêŒ»‹ ªð£¿¶ î£Qò‚ è÷ML¼‰¶‹ Môƒ°èOL¼‰¶‹ è£ŠðîŸè£è å¼õ˜

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 108

ñŸøõ¼‚° “MNŠÌ†ì” °ô¬õ åL â¿Š¹õ˜. Þ‰î åL‚°‚ ªè£ôõ, °ôõ, °ô¬õ â¡Á ðô ªðò˜èœ õöƒèŠð´A¡øù.

îIöè õìñ£õ†ìƒèO™ °ô¬õ

îIöèˆF™ õìñ£õ†ìƒèO™ °ô¬õ Þ™¬ô. ªî¡ ñ£õ†ì‚ °ô¬õ¬ò‚ è‡´ dF»‹ Ü„êº‹ Þõ˜èœ ªè£œAø£˜èœ. Þ‚°ô¬õ¬òˆ ¶¡ð‚ °Pfì£è«õ Þõ˜èœ è¼¶õ˜.

«èó÷‚ °ô¬õ

«èó÷£M™ Þ‰Gè›„C ðô ÞìƒèO™ àœ÷¶. F¼ñí‹, HøŠ¹, ÌŠ¹, ªîŒõ õNð£´ ÝAò Gè›„CèO™ Þ‚°ô¬õ åL åL‚èŠð´Aø¶.

Þôƒ¬èJ™ °ô¬õ

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ÝŠHK‚è£M™ °ô¬õ ÝŠHK‚è£M½‹ ÞŠðö‚è‹ àœ÷¶. Üƒ«è, ªð‡èÀ‹ Ý‡èÀ‹ °ô¬õ Þ´õ¶‡´ Cô«õ¬÷ ªð‡èœ ñ†´‹ °ô¬õ Þ´õ¶‡´. °ô¬õ Þ´‹º¬ø îIöèˆ¬îŠ «ð£ô«õ àœ÷¶. Ýù£™ õ£¬ò‚ ¬è ªè£‡´ ñ¬ø‚è£ñ™ ï£¬õ ñ†´‹ Ü¬êˆ¶‚ °ô¬õ Þ´õ˜. îIöèˆ¶Š ðô Gè›„CèO½‹ ªð‡èœ °ô¬õ Þ´‹ å¿ƒ°ð†ì Gè›„C¬òŠ «ð£¡Á ÝŠHK‚è£M™ Þ™¬ô. Cô Ý†ì‹ Ý´‹ ªð£¿¶‹ ð£†´Š ð£´‹ ªð£¿¶‹ ï´ ï´«õ °ô¬õ åLŠð˜. ÝŠHK‚è£M™ Ý†ìˆF¡ ªð£¿¶ °ô¬õ åLŠð¶ °PŠHìˆî‚è¶. îINô‚AòˆF™ õ¼‹ °ó¬õ‚ Ãˆ¶‹ «ñŸè‡ì ÝŠHK‚èŠ ðö‚èº‹ å¡«ø£ â¡Á â‡íˆ «î£¡ÁAø¶. ÝŠHK‚èŠ ªð‡èœ â†´‚° «ñŸð†ìõ˜èœ õ†ìñ£è‚ ¬è «è£˜ˆ¶ Ý´‹ ªð£¿¶ ï´ ï´«õ °ô¬õ

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 109

åL åLŠð˜. Þƒ«è ÝŠHK‚è‚ °ô¬õ åL ñ†´‹ îIöè‚ °ô¬õ«ò£´ åŠHì â´ˆ¶‚ ªè£œ÷Š ð†ì¶; Ý†ìˆ¬î Ü¡Á. °ô¬õ «õÁ °ó¬õ «õÁ °ô¬õ â¡ð¶ ªõÁ‹ åLò£™ ñ†´‹ Ü¬ñõ¶. Üƒ«è ð£ì«ô£ Ýì«ô£ Þ™¬ô. Ýì½‹ ð£ì½‹ à¬ìò °ó¬õJ¡ «îŒ‰î õ®õ‹î£¡ °ô¬õ â¡ø£™, Ýì™ ð£ìL¡ â„ê‹ CPî÷õ£õ¶ Þ¼‚è «õ‡´«ñ! ð£ì™ ñø‰¶ ñ£Œ‰¶ «ð£ù£™Ãì ÝìL¡ CÁ Ãø£õ¶ °ô¬õ åL«ò£´ Ãì Ü¬ñ‰F¼‚°«ñ! Ýù£™ ï£†´Š¹ø‚ °ô¬õJ™ ÜŠð® Þ™¬ô«ò. «ñ½‹ ªð‡è«÷£´ Ý‡èÀ‹ °ó¬õ‚ ÃˆF™ Ý´õ¶ «ð£™ °ô¬õJ™ Ý‡èœ ªð‡è«÷£´ «ê˜‰¶ åL ªêŒõ¶ Þ™¬ô«ò! °ó¬õ‚ Ãˆ¶ â¡ð¶ å¼ îQ Gè›„C. Ýù£™ °ô¬õ â¡ð¶ îQ Gè›„CJ™¬ô«ò! Ü¶ Gè›„CJ™ åL‚°‹ (ñA›„C) åL â¡Á Ãøô£‹. Ü¶ ô™ô™ô£, ô£ô£ô£ô£, ÝK ó£K ó£K ó£K«ó£ «ð£¡ø åL «ð£¡Á ‘ªô£ªô£ªô£ªô£ªôò æææ’ â¡Á‹ ª÷£ª÷£ª÷£ª÷£ª÷£ åL‚°‹ å¼ MF; æ¬ê åL â¡ø Ü÷M™î£¡ â´ˆ¶‚ ªè£œ÷ «õ‡´‹. ÜîŸ°‹ °ó¬õ‚ ÃˆFŸ°‹ ªî£ì˜¹ Þ¼Šð¶ äòˆF¡ ð£Ÿð†ì«î. “ªè£™” âù åL‚°‹ åL ñ†´«ñ ‘°ôõ’ â¡ø ªð£¼O™ «è£¬õJ™ õöƒ°õî£½‹ °ó¬õ‚ Ãˆ¶‹ °ô¬õ»‹ «õÁ â¡Á áA‚èô£‹. ÞÁFò£è‚ °ó¬õ‚Ãˆ¶‹ °ô¬õ»‹ å¡ø£è Þ¼ŠH¡ îIöèˆ¶ â™ô£ ÞìƒèO½‹ °ô¬õ ðóõô£è õöƒèŠðì «õ‡´‹. Üšõ£Á Þ™ô£ñ™ ªî¡ñ£õ†ìƒèO™ ñA›„C åLò£è¾‹, õìñ£õ†ìƒèO™ Ü„ê‚°P åLò£è¾‹ Ü¬ñõ¬î»‹ â‡µè. Ü®‚°PŠ¹èœ 1. ªï™¬ô, °ñK, «è£¬õ, Þó£ñï£î¹ó‹, ñ¶¬ó ºîLò ñ£õ†ìƒèœ. 2. Tamil Lexicon Vol. 2, part I. p - 1012, University of Madras, 1934. 3. ... è÷õNˆ «î«ó£˜ «î£ŸPò ªõ¡P»‹ «î£«ó£˜ ªõ¡ø «è£ñ£¡ º¡«î˜‚ °ó¬õ»‹ (ªî£™. ªð£¼œ, ¹ø‹. 21). 4. ê£I, H.â™., è‡íA»‹ ðèõF õNð£´‹, ðFŠ¹, ï£.õ£ùñ£ñ¬ô, ð. 40, ñ‚èÀ‹ ñó¹èÀ‹. 5. ãó™, ªï™¬ô ñ£õ†ì‹ - îèõ™, ¹ôõ˜ Cõêƒ°.

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11. ð‡¬ìò îIöèˆF™ Ëôèƒèœ Þó£.ªð¼ñ£œê£I ¹ˆî£‚è‹ î¼‹ ¹ˆîèƒèO¡ ð£¶è£Š¹Š ªð†ìèñ£è Ëôèƒèœ Fè›A¡øù â¡Á ªê£¡ù£™ Ü¶ I¬èò£è£¶. âîŸ°‹ «î£Ÿø‹ â¡ø å¡Á Þ¼‚°‹. ËôèˆF¡ «î£ŸøˆFŸ°‚ è£óíñ£ùõ˜è÷£è ßó£‚ ï£†¬ì„ «ê˜‰«î£˜ àœ÷ù˜. Üî£õ¶, ºŸè£ôˆF™ ªñêð«ì£Iò˜èœ âù Ü¬ö‚èŠð†ì ßó£‚Aò˜èO¡ îŸ«ð£¬îò ¬ìAKv ñŸÁ‹ ÎHó†®v ÝAò ÝÁèÀ‚° Þ¬ìŠð†ì GôŠðóŠ«ð ð‡¬ìò ªñêð«ì£IòŠ ð°Fò£°‹. º¡¹ ªñêð«ì£Iò£ âù å«ó ªðòKù£™ Ü¬ö‚èŠð†ì¶. îŸ«ð£¶ ßó£¡, ßó£‚ ñŸÁ‹ CKò£ ÝAò ªðò˜èO™ Ü¬ö‚èŠð´Aø¶. Þ‰î‚ è‡ìˆF™ °PŠHìˆî‚è ï£¡° «ðóó²è÷£è„ ²«ñKò£, ð£H«ô£Qò£, ÜCKò£ ñŸÁ‹ Ü‚è£ˆFò˜ ÝAòù M÷ƒAù. ²ñ£˜ Íõ£Jóˆ¶ º‰ËÁ Ý‡´èÀ‚° º¡¹ ÜCKòŠ «ðóóC¡ G¼õ£èˆ¶¬øJ™ ãŸð†ì °öŠðƒè¬÷„ ªê¡ù£ªê˜Š â¡ø Üóê˜ c‚è M¼‹Hù£˜. Üóê£ƒèˆFùK¡ º‚Aò Ýõíƒèœ Ü¬ùˆ¬î»‹ èOñ‡ îè´èO™ â¿F, Å¬÷èO™ ²†´‚ è£ò¬õˆ¶Š ð£¶è£Šð£ù ÞìˆF™ ¬õ‚°‹ð® Ý¬íJ†ì£˜. ñ¡ùK¡ Ý¬í¬òò´ˆ¶, Üóê£ƒè åŠð‰îƒèœ, è®îƒèœ, Ý¬íèœ, à÷¾ ÜP‚¬èèœ ñŸÁ‹ º‚Aòñ£ù Ýõíƒèœ èOñ‡ îè´èO™ â¿îŠð†ìù. H¡ù˜, Å¬÷èO™ ²†´ Üóê£ƒè‚ è¼×ôƒèO½‹ «è£M™ è¼õ¬øèO½‹ ð£¶è£Šð£è ¬õ‚èŠð†ìù. H¡ù˜ ñ¼ˆ¶õ‚ °PŠ¹èÀ‹ êñò Ë™èÀ‹ ð£¶è£‚èŠð†ìù. ÜCKòŠ «ðóóC¡ è¬ìC ñ¡ù˜ Üè˜ð£Qð™ (A.º. 700- A.º. 600) Ý†CJ¡-ªð£¿¶, èOñ‡ îè´èœ 30 ÝJóˆFŸ°‹ ÜFèñ£Aù. Þó£.ªð¼ñ£œê£I, Ëôè˜, àôèˆ îIö£ó£Œ„C GÁõù‹, îóñE, ªê¡¬ù - 600 113.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 111

ªõš«õÁ ÞìƒèO™ ¬õˆ¶Š ð£¶è£Šð¶ Iè¾‹ è®ùñ£è Þ¼‰î¶. âù«õ, ÜCKò£M¡ î¬ôïèó£ù (îŸ«ð£¬îò ßó£‚) GQªõ‚ (Nineveh) (îŸ«ð£¶ «ñ£²™) â¡ÂIìˆF™ Ü¬ùˆ¬î»‹ ¶¬øõ£Kò£èŠ HKˆ¶ Ü´‚A ¬õ‚è ñ¡ù˜ Ý¬íJ†ì£˜. ñ¡ùK¡ Ý¬íŠð®, ¶¬øõ£Kò£èŠ HKˆ¶ Ü´‚èŠð†´, ªð£¶ñ‚èO¡ ð£˜¬õ‚è£è MìŠð†ìù. Þ¶«õ àôA™ Ü¬ñ‚èŠð†ì ºî™ Ëôè‹ Ý°‹. Þ‰î Ëôè‹ F ó£ò™ ¬ôŠóK ÝçŠ Üv°˜ðQð™ (The Royal Library of Ashurbanipal) â¡ø ªðòK™ Ü¬ö‚èŠð†ì¶. Þ‰î Ëôèˆ¬î‚ «èœMŠð†ì Üªô‚ê£‡ì˜ (A.º. 356-A.º.323) «ïK™ ªê¡Á ð£˜ˆî£˜. Üv°˜ðQð¬ôMìŠ ªðKò Ëôè‹ è†ì G¬ùˆî£˜. âAŠ¶ ñ‚èœ ÜŠ«ð£¶ ð£ŠHóv î£œèO™ â¿F õ‰îù˜. àôè‹ º¿õ¶I¼‰¶ è™M, è¬ô, Þô‚Aò‹, èEî‹, ÜPMò™, ñ¼ˆ¶õ‹ ÝAò ¶¬øèOL¼‰¶ Cø‰î Ë™èœ «î˜‰ªî´‚èŠð†ìù. Ü‰ Ë™èœ Ü¬ùˆ¶‹ A«ó‚èˆF™ ªñ£Nªðò˜‚èŠð†´Š ð£ŠHóv î£œèO™ â¿îŠð†ìù. «õ¬ôèœ ï¬ìªðŸÁ‚ ªè£‡®¼‰î ªð£¿¶ Üªô‚ê£‡ì˜ ñóí‹ Ü¬ì‰î£˜. âQÂ‹ Üõó¶ ªï¼ƒAò ï‡ð¼‹ ÜŠ«ð£¬îò âAŠF¡ Üóê¼ñ£ù ì£ôIJ¡ «ñŸð£˜¬õJ™ «õ¬ôèœ ï¬ìªðŸøù. A.º. 300Þ™ âAŠF¡ Üªô‚ê£‡®Kò£ ïèK™ 7 Þô†êˆFŸ°‹ ÜFèñ£ù ð£ŠHóv î£œè¬÷‚ ªè£‡ì ªð£¶Ëôè‹ Ü¬ñ‚èŠð†ì¶. ËôèˆFŸ°, F ó£ò™ ¬ôŠóK ÝçŠ Üªô‚ê£‡®Kò£ (The Royal Library of Alexandria) âùŠªðò˜ ¬õ‚èŠð†ì¶. H¡ù˜ «ñ¬ôï£´èO™ àœ÷ ¹è›ªðŸø ð™è¬ô‚èöèƒèœ ËôèƒèO¡ «î¬õJ¬ù àí˜‰îù. ð™è¬ô‚èöè õ÷£èƒèO«ô«ò Ëôèƒèœ Ü¬ñ‚èŠð†ìù. Ü‰îõ¬èJ™ ð‡¬ìò îIöèˆF½‹ ðô ïèóƒèO™ Ëôèƒèœ ãŸð´ˆF»œ÷ù˜. «ê£ö˜èœ, ð£‡®ò ñ¡ù˜èO¡ è£ôƒèO½‹ Ëôèƒèœ Þ¼‰îù. Þ¬õ êóvõF ð‡ì£óƒèœ â¡Á Ü¬ö‚èŠð†ìù. ªð¼‹ð£½‹ Þ‰Ëôèƒèœ ªðKò «è£J™èO½‹ ñìƒèO½‹ ¬õ‚èŠð†®¼‰îù. Þ¬õèO™ CôõŸ¬øŠ ð£˜Š«ð£‹. «ê£«ñvõó˜ â¡Â‹ Ü‰îí˜ Í¡ø£‹ °«ô£ˆ¶ƒè «ê£öÂ‚° Þó£ü°¼õ£è M÷ƒAù£˜. Þõ¼‚°„ ²õ£I«îõ˜ â¡ø ªðò¼‹ à‡´.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 112

A.H. 1202Þ™ °‹ð«è£í‹ Ü¼«è»œ÷ FK¹õù‹ «è£J¬ô‚ °«ô£ˆ¶ƒè «ê£ö¡ è†®ù£¡. ÜF™ ðó«ñvõó¬ù»‹ ð£˜õF«îM¬ò»‹ Þó£ü°¼õ£ù ²õ£I«îõ˜ â¡Â‹ «ê£«ñvõó˜ HóFw¬ì ªêŒî£˜. Þõ˜ «õî‹, ¬êõ ÝèñƒèO™ õ™ôõ˜. Cˆî£‰î óˆù£èó‹ â¡ø Ë¬ô»‹ â¿Fòõ˜. °«ô£ˆ¶ƒèQ¡ ñ¬ø¾‚°Š Hø° Üõù¶ ñèù£ù Í¡ø£‹ Þó£êó£êÂ‚°‹ ²õ£I «îõó£Aò «ê£«ñvõ˜ Üóê°¼õ£è Þ¼‰î£˜. Þ‹ñ¡ùQ¡ 4Ý‹ Ý†Cò£‡´ A.H. 1220‚° àKò Cî‹ðó‹ è™ªõ†®™ Þó£ü°¼õ£Aò ²õ£I«îõ˜, F™¬ô ïìó£ü˜ «è£JL™ êóvõF ð‡ì£óˆ¬î (Ëôè‹) GÁMù£˜ â¡Á ªê£™ôŠð†´œ÷¶. HŸè£ôˆF™ A.H. 1250Þ™ º®Å®ò ê¬ìòõ˜ñ¡ ºîô£‹ ²‰îóð£‡®ò¡ êóvõF ð‡ì£óˆ¬î «ñ½‹ MK¾ð´ˆFù£¡. Cî‹ðó‹ ïìó£ü˜ «è£JL™ àœ÷ ²‰îóð£‡®òQ¡ A.H. 1263-‚° àKò è™ªõ†´ Þî¬ùˆ ªîOõ£è‚ ÃÁAø¶. Þ‚è™ªõ†´„ ªêŒFJ¡ ê£óˆ¬îŠ ð£˜Š«ð£‹. ²õ£I«îõ˜ ªêŒMˆî êóvõF ð‡ì£óˆF™, ðô Aó‰îƒèœ ªð£ˆîèƒè¬÷Š ð£˜‚è¾‹, â¿î¾‹, ÜM›ˆ¶‚ è£†ì¾‹, FšMò Ýèñˆ¬î õ£CŠH‚è¾‹, ¹ó£í‹, «ê£Fì ê£ˆFó‹ ð®‚è¾‹ â¿î¾‹ ðEò£÷˜èœ ªñ£ˆî‹ Þ¼ð¶«ð˜ GòI‚èŠð†ìù˜. «ñ½‹ êóvõF ð‡ì£óˆF™ º¡¹ â¿F‚ Aì‚Aø Aó‰îƒèÀ‚°Š ¹Fò ð®èœ â´‚è¾‹, ¹Fò Aó‰îƒèœ «ê˜‚è¾‹ Gõ‰îƒèœ ÜO‚èŠð†ìù. º¡¹ ²õ£I «îõó£™ â¿îŠð†ì Ë™è¬÷»‹, Cˆî£‰î óˆù£èó Ë¬ô»‹ Ýó£ŒõîŸ°‹ ðEò£÷˜ GòI‚èŠð†ìù˜. póíñ£ù Aó‰îƒè¬÷ (ªê™ôKˆî ²õ®èœ) e‡´‹ Ã®òõ¬ó ¹Fò æ¬ô„²õ®èO™ â¿î¾‹ ãŸð£´ ªêŒòŠð†ì¶. M‚Aóñ «ê£ö¡ F¼‚¬è å†®J™ (F¼º¬øèœ æ¶‹ Þì‹) Aó‰î â¿ˆF½‹ îIN½‹ àœ÷ Ë™è¬÷ˆ «îê£‰FKèÀ‚°‹ «õ‡´«õ£˜‚°‹ â¿F‚ ªè£´‚è¾‹ å‚èŠ ð£˜‚è¾‹ ð‡®î˜èœ GòI‚èŠð†ìù˜. ðEò£÷˜èÀ‚°‹ ð‡®î˜èÀ‚°‹ GôƒèÀ‹ îóŠð†ìù. Ëôèˆ¶‚°„ ²‰îóð£‡®ò¡ ÜOˆî Þ‰Gõ‰îƒèœ ò£¾‹ MKõ£è„ ²ŠðóñEò Hœ¬÷ò£˜ «è£JL¡ õì‚°„ ²õK™ è™ªõ†ì¾‹ àˆîóõ£JŸÁ. Þ¡Á‹ Þ‚è™ªõ†´ Üƒ«èî£¡ àœ÷¶. «õÁ å¼ è™ªõ†´, ²‰îóð£‡®ò¡

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îù¶ Ü‡í¡ ªðòó£™ M‚Aóñ ð£‡®ò ßvõóº¬ìò£˜ «è£J¬ô‚ è†®ù£¡ â¡Á‹, Ü‡í¡ ªðòK™ Þ¼‰î Üèóˆ¶Š Hó£ñí˜èO™ Cô˜ êóvõF ð‡ì£óˆF¡ ðE ñ‚èœ â¡Á‹ ÃøŠð†´œ÷¶. (Þšõèó‹ î£¡ Cî‹ðó‹ Ü¼«è àœ÷ Þ¡¬øò ¹õùAK) A.H. 1256 ºî™ 1290 õ¬ó «ð£ê÷ ñ¡ù¡ ióó£ñù£î¡ Ý†C ¹K‰î£¡. Þõù¶ Ü¬õ‚è÷ˆF™ ð£ô ðœO côè‡ì ï£ò‚è˜ â¡Â‹ ÜPë˜ Þ¼‰î£˜. Þõ˜ ÿóƒè‹ «è£JL™ êóvõF ð‡ì£óˆ¬î GÁMù£˜ â¡Á ÿóƒè‹ è™ªõ†´ ÃÁAø¶. “võFvÿ ð£ô ðœO côè‡ì ï£ò‚è˜ ªêŒMˆî Þ‰î„ êóvõF ð‡ì£óˆ¶‚° «úûñ£ù ÞˆF¼ñí ñ‡ìðˆ¶ Þõ˜ â¿‰î¼OMˆ¶, F¼ŠHóFv¬ì ð‡E, F¼õ£ó£îù‹ ªè£‡ì¼ÀAø, ýò‚Agõï£òù£¼‚°‹ êóvõF «îM‚°‹ ÿ«õîMò£ú ðèõ£Â‚°‹ F¼Ýó£îùˆ¶‚°‹ Üº¶ð® ê£ˆ¶Šð® àœO†ì M…êùƒèÀ‚°‹ àìù®ò£è Ëø£Jó‹ è£² ÿð‡ì£óˆF™ (èü£ù£) «ê˜‚èŠð†ì¶ â¡Á‹, ÞFL¼‰¶ õ¼‹ õ†®ò£™ êóvõF ð‡ì£óˆ¬î ïìˆFõó «õ‡´ªñ¡Á‹” ªê£™ôŠð†´œ÷¶. ÿóƒè‹ «è£JL™ Í¡ø£‹ Hóè£óˆ¶ˆ F¼ŠðEò£ó Ü¬ø‚°Š ð‚èˆF™ àœ÷ Ü¬øJ™ ð‡ì£ó‹ Þ¼‰î¶. F¼ªï™«õL Ü¼«è»œ÷ «êó¡ñ£«îM ÜŠð¡ «è£JL™ àœ÷ ºîô£‹ ê¬ìòõ˜ñ¡ ²‰îóð£‡®òQ¡ è™ªõ†´ ²¬õò£ù ªêŒF¬òˆ î¼Aø¶. è„C‚° õ£„ê ð£‡®ò Hó‹ñ£Fó£ò˜ â¡ðõ˜ ¶õ£ó£ðF ÜŠð¡ «è£JL™ êóvõF ð‡ì£óˆ¬î GÁMù£˜ â¡Á‹ êóvõF ð‡ì£óˆ¬î G¼õ£è‹ ªêŒõîŸè£è á˜„ê¬ðJù˜ Þó‡´ ñ£Gôƒè¬÷ Þ¬øJLò£èˆ î‰îù˜ â¡Á‹ ÃÁA¡ø¶ Ü‚ è™ªõ†´. è£…C¹ó‹ Ü¼÷£÷Š ªð¼ñ£œ «è£JL™ è£íŠð´‹ è™ªõ†´ Müòïèó ñ¡ù¡ è‹ðí à¬ìò£¼‚° àKò¶. Þî¡ è£ô‹ A.H. 1359 CˆF¬ó ñ£î‹ 5Ý‹ «îF Þó¾ 7 ñE. è™ªõ†¬ì ñ¡ù¡ â¿¶Mˆî¶ «ð£¡Á Þ™ô£¶ Ü¼÷£÷Š ªð¼ñ£«ù Ý¬íJ†ì¶ «ð£¡Áœ÷¶. “F¼ºèŠð® võvFÿ ývFAgúvò «îõ «îõvò ê£êù‹’, â¡Á ¶õƒ°Aø¶. ê£êùˆF¡ ²¼‚èñ£ù ªêŒF¬òŠ ð£˜Š«ð£‹. “Ü¼÷£÷Š ªð¼ñ£œ ÿ«îM, Ì«îM ï£„Cñ£«ó£´ â¿‰î¼O ï‹ñ£›õ£K¡ F¼õ£Œªñ£NŠ ð£†¬ì‚«è†´ ñA›‰F¼‚°‹ êñòˆ¶, «è£J™ ÜFè£Kèœ, ñŸÁ‹

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ð‚î˜èO¡ «õ‡´«è£œð® Ü¼÷£÷Š ªð¼ñ£œ Ý¬íJ†ì£˜. Þî¡ð® ÜPëó£ù ¬õwíõî£ê¼‚°Š Hóyñî‰îó ²õî‰Fó pò˜ â¡ø ð†ìˆ¬î Ü¼÷£÷Š ªð¼ñ£œ ªè£´ˆî£˜. Þó£ñ£Âü î˜êù‹ ïì‚¬è‚è£è¾‹, ªð£vîèƒèÀ‹ ÞîŸ° «õ‡®ò àðèóíƒèÀ‹ ð£¶è£‚è å¼ ñìº‹ ªè£´ˆ¶ Ü¼Où£˜.” ÞF™ ÃøŠð´‹ Hóyñî‰îó ²õî‰Fó pò˜ â¡ðõ˜ ÿ«õî£‰î «îCèK¡ ºî™ Cwò˜ Ýõ£˜. pò˜ «êèKˆî Ë™è¬÷ ¬õŠðîŸè£è ÜO‚èŠð†ì ñì‹ å¼ Ëôèñ£è‚ è£…C¹óˆF™ Fè›‰î¶. Ü‚è£ôˆF™ «è£J™èO½‹ ñìƒèO½‹ Ëôèƒèœ Þ¼‰îù. Þ‚è£ôˆF½‹ êƒèóñì‹, î¼¬ñ ÝFù ñì‹, F¼õ£õ´¶¬ø ñì‹ ÝAò ÞìƒèO™ ð¬öò æ¬ô„ ²õ®èœ àœ÷ù. ï£ò‚è˜ ñŸÁ‹ ñó£†®ò˜ è£ôˆF™ ãŸð´ˆîŠð†ì Ëôè‹ Þ¡Á êóvõF ñè£™ â¡ø ªðòK™ î…¬êJ™ àœ÷¬î ò£õ¼‹ ÜPõ˜. Þƒ° ÜKò æ¬ô„ ²õ®èœ ÝJó‚èí‚A™ àœ÷ù. ªõOï£†´Š ¹ˆîèƒèÀ‹ àœ÷ù. Üõ˜è÷¶ Ü®„²õ†¬ì ï£º‹ H¡ðŸÁ«õ£‹. ðöƒè£ôˆFL¼‰¶ îIöèˆF™ ¹ö‚èˆFL¼‰¶õ‰î ã†´„ ²õ®èœ ªð£ˆîè‹ â¡«ø Ü¬ö‚èŠð†ìù. Þšõ£ø£ù ã†´„ ²õ®èOô£ù Ëôèƒè¬÷ˆ îI›Š ¹ôõ˜èœ è£ôƒè£ôñ£èˆ î‹ î‹ Þ™ôƒèO™ ¬õˆ¶Š ð£¶è£ˆ¶ õ‰¶œ÷ù˜. ªð¼‹«ðó£CKò˜ à.«õ.ê£Iï£¬îò˜ â¿Fò â¡ êKˆFó‹ â¡ø ËL™ Þˆî° Ëôèƒèœ CôõŸ¬ø‚ °PŠH†´œ÷£˜. Ëôèƒè¬÷ˆ îI›‚ «è£J™èœ â¡Aø£˜ Üõ˜. êƒèè£ôˆ îI›„ ²õ®èœ Ëôèˆ¬î G¬ù¾ Ã˜Aø£˜. F¼ªï™«õL èMó£ê ß²õó Í˜ˆFŠ Hœ¬÷J¡ i†®L¼‰î ã†´„ ²õ®è¬÷Š H¡õ¼ñ£Á äò˜ Üõ˜èœ °PŠH´Aø£˜: ¹ˆîè Ü¬ø¬òˆ Fø‰¶ è£†®ù£˜èœ. ð£˜ˆî¾ì¡ â¡ àì‹¹ CL˜ˆî¶. ‘îI›„ êƒèˆF™ º¡¹ ÞŠð®ˆî£¡ ²õ®è¬÷ ¬õˆF¼‰î£˜è«÷£?’ â¡Á M‹Iîñ¬ì‰«î¡. ã†´„ ²õ®è¬÷ Ü´‚è´‚è£è¾‹ å¿ƒè£è¾‹ ¬õˆF¼‰î£˜èœ. ²õ®è¬÷‚ è†®¬õˆF¼‰î º¬ø«ò F¼ˆîñ£è Þ¼‰î¶. ¹¿F Þ™¬ô; Ì„C Þ™¬ô; ã´èœ å¡«ø£ªì£¡Á èô‚èM™¬ô. îI›ˆ ªîŒõˆF¡ «è£Jªô¡Á ªê£™½‹ð® Þ¼‰î¶ ÜšMì‹...

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êƒèŠ ¹ôõ¼¬ìò i†¬ìŠ «ð£ô M÷ƒ°‹ ÞšMìˆF™ îI›„ ªê™õ‹ º¿õ¶‹ A¬ì‚°ªñ¡Á ºîL™ â‡E«ù¡. ï£¡ â¬îˆ «î® õ‰«î«ù£ Ü¶ ºŸÁ‹ A¬ì‚èM™¬ô«ò! îI¿ôèˆF™ Þ‰îˆ îIö£ôòˆ¬î‚ è£†®½‹ Cø‰î Þì‹ âƒ«è A¬ì‚èŠ«ð£Aø¶! Þƒ«è ÜèŠðì£î¶ «õÁ âƒ«è ÜèŠð´‹! êƒèˆ¶„ ê£¡«ø£˜èœ ÞòŸPò Ë™è¬÷ˆ îI¿ôè‹ ÞŠð® ÝîóM¡PŠ «ð£‚A M†ì«î!” âù õ¼ˆîˆ«î£´ ÃP«ù¡. (â¡ êKˆFó‹, ð‚.637) Ü¡¬øò ²õ® Ëôèƒè¬÷»‹ Þ¡¬øò ²õ®èœ ñŸÁ‹ Ü„²Š¹ˆîè Ë™è¬÷»‹ åŠH†´Š ð£˜ˆ¶ Þ¡¬øò Ëôèƒè¬÷Š ðó£ñKŠð¶ åšªõ£¼õ¼¬ìò èì¬ñò£°‹. º®¾¬ó èŸð¶ â¡ð¶ ñQîQ¡ Ü®Šð¬ì‚èì¬ñ. èŸðîŸ° Ü®Šð¬ìò£èˆ «î¬õŠð´õ¶ ¹ˆîèƒèœ. ¹ˆîèƒè¬÷ Ý‚°ðõ˜èœ âšõ÷¾ ð£ó†´‚°Kòõ˜è«÷£ Ü¬îMìŠ «ð£ŸÁî½‚°‹ ð£ó£†´î½‚°‹ àKòõ˜èœ ¹ˆîèƒè¬÷„ «êèKˆ¶ ¬õŠðõ˜èœ. Ü‰î õ¬èJ™ ð‡¬ìò îIöèˆF½‹ ðô ïèóƒèO™ “Ë™è¬÷„ «êèKˆ¶ ¬õˆ¶Š HŸè£ôˆîõ˜ ðòù¬ìò «õ‡´‹” â¡Á ï‹ º¡«ù£˜èœ ð£´ð†ìù˜. Üõ˜è÷¶ Ü®„²õ†¬ì ï£º‹ H¡ðŸÁ«õ£‹. ¶¬í Ë™èœ 1. Ëôè‚ è¬ô, Ü.F¼ñ¬ô ºˆ¶ê£I, îI› õ÷˜„C Þò‚èè‹, ªê¡¬ù - 2016. 2. àôA¡ î¬ô„ Cø‰î Ë™èÀ‹ MõóƒèÀ‹ - ñE«ñè¬ôŠ Hó²ó‹, ªê¡¬ù - 1993. 3. ¹ˆîèˆF¡ è¬î, ì£‚ì˜ âv. Þó£ñA¼wí¡, GÎ ªê…²K ¹‚ ý¾v, ªê¡¬ù - 2009. 4. Ëôè‹ õ÷¼‹ è¬î, èMë˜ î‹¹ ÝÁºè‹, è¬ôë¡ ðFŠðè‹, ªê¡¬ù - 1980. 5. FùñE ï£Oî› Å¬ô 21, 1989. 6. â¡ êKˆFó‹, ì£‚ì˜ à.«õ.ê£Iï£¬îò˜ Ë™ G¬ôò‹, ªê¡¬ù - 600 0 41.

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 116

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Ë™ ªðò˜ : ð£«õ‰î‹ (25 ªî£°Fèœ) ðFŠð£CKò˜ : Þ. ÞQò¡ ðFŠ¹ : ºîŸðFŠ¹, 2009. M¬ô : Ï. 4,950/- ð‚èƒèœ : 25 ªî£°Fèœ ªõOf´ : Þ÷ƒèE ðFŠðè ªõOf´, 2, Cƒè£ó«õô˜ ªî¼, Fò£èó£ò˜ ïè˜, ªê¡¬ù 600 017. ð£«õ‰î‹ (ªð£¼œõN HKˆ¶ Þò¡øõ¬ó è£ôõK¬êJ™ ªî£°‚èŠ ð†´œ÷¶) ªî£°F - 1 : Þ¬ø¬ñ Þô‚Aò‹ ï£†´Š ð£ì™ Þô‚Aò‹ 1. ñJô‹ ÿ û‡ºè‹ õ‡íŠð£†´ 2. ñJô‹ ÿ Cõê‡ºè‚ èì¾œ ð…êóˆï‹ 3. ñJô‹ ²ŠHóñEò˜ ¶Fòº¶ 4. èî˜ Þó£†®ùŠ ð£†´ 5. CÁõ˜ CÁIò˜ «îCò Wî‹ 6.ªî£‡ì˜ð¬ìŠ ð£†´ ªî£°F - 2 : è£ŠHò Þô‚Aò‹ - 1 1. âF˜ð£ó£î ºˆî‹ 2. ð£‡®ò¡ ðK² ªî£°F - 3 : è£ŠHò Þô‚Aò‹ - 2 1. °´‹ð M÷‚° ºîŸ ð°F (å¼ï£œ Gè›„C)

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 117

Þó‡ì£‹ ð°F (M¼‰«î£‹ð™) Í¡ø£‹ ð°F (F¼ñí‹) ï£¡è£‹ ð°F (ñ‚è†«ðÁ) ä‰î£‹ ð°F (ºF«ò£˜ è£î™) 2. Þ¼‡ì i´ ªî£°F - 4 : è£ŠHò Þô‚Aò‹ - 3 1. è£îô£? èì¬ñò£? 2. îIö„CJ¡ èˆF ªî£°F - 5 : è£ŠHò Þô‚Aò‹ - 4 °P…CˆF†´ ªî£°F - 6 : è£ŠHò Þô‚Aò‹ - 5 1.è‡íAŠ ¹ó†C‚ è£ŠHò‹ 2. ñE«ñè¬ô ªõ‡ð£ ªî£°F - 7 : è¬î, èM¬î, ï£ìè Þô‚Aò‹ (CÁ è£ŠHò‹) è¬îŠ ð£ì™èœ 1. ê…YM ð˜õîˆF¡ ê£ó™ 2. ¹ó†C‚ èM 3. ªð‡èœ M´î¬ô 4. â¶ ðNŠ¹? 5. ªõŠðˆFŸ° ñ¼‰¶ 6. èì¾¬÷‚ è‡¯˜ 7. àK¬ñ‚ ªè£‡ì£†ìñ£? 8. i†´‚ «è£N»‹ è£†´‚ «è£N»‹ 9. èŸ¹‚ è£ŠHò‹ 10. côõ‡í¡ ¹øŠð£´ 11. Þ¬øŠð¶ âO¶ ªð£Á‚°õ¶ ÜK¶! 12. ð„¬ê‚AO 13. F¼õ£Ï˜ˆ «î˜ èM¬î ï£ìèƒèœ 1. ióˆî£Œ 2. èì™«ñŸ °INèœ 3. ï™ôºˆ¶‚ è¬î 4. ÜèˆFò¡ M†ì ¹¶‚èó® 5. «ð£˜ ñøõ¡

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 118

6. å¡ð¶ ²¬õ 7. ÜI›¶ â¶? ªî£°F - 8 : à¬óï¬ì ï£ìè Þô‚Aò‹ - 1 1. ÞóEò¡ Ü™ô¶ Þ¬íòŸø ió¡ 2. ï™ô b˜Š¹ 3. èŸè‡´ 4. ªð£Á¬ñ èìLÂ‹ ªðK¶ 5. Ü¬ñF 6. ªê÷Iò¡ ªî£°F - 9 : à¬óï¬ì ï£ìè Þô‚Aò‹ - 2 1. ð®ˆî ªð‡èœ 2. «êóî£‡ìõ‹ 3. Þ¡ð‚èì™ 4. êˆFºˆîŠ ¹ôõ˜ 5. è¬ö‚ ÃˆFJ¡ è£î™ ªî£°F - 10 : à¬óï¬ì ï£ìè Þô‚Aò‹ - 3 1. HCó£‰¬îò£˜ 2. î¬ôñ¬ô è‡ì «îõ˜ 3. °´‹ð M÷‚°‹ °‡´‚è™½‹ 4. ÝKò ðˆFQ ñ£K¬û 5. óv¹¯¡ 6. Ü‹¬ñ„C 7. õ…êMö£ (bð£õO) 8. Mèì‚ «è£˜† 9. «è£J™ Þ¼«è£íƒèœ 10. êñíº‹ ¬êõº‹ 11. °ôˆF™ °óƒ° 12. ñ¼ˆ¶õ˜ i†®™ Ü¬ñ„ê˜ 13. °ö‰¬î ï£ìè‹ (ºˆ¶Š ¬ðò¡) 14. «ñQ ªè£ŠðOˆî«î£? (å¼ è£†C CÁ ï£ìè‹) 15. GIû ï£ìè‹ ªî£°F - 11 : à¬óï¬ì ï£ìè Þô‚Aò‹ - 4 1. °ñó°¼ðó˜ 1 & 11 2. Þ¬ê‚è¬ô

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3. ðø¬õ‚ Ã´ 4. ñ‚èœ ªê£ˆ¶ 5. äò˜ õ£‚°Š ðLˆî¶ 6. F¼‚°øœ CQñ£ 1. Ý‚è‹, 2 bM¬ù 7. ªè£Œò£‚ èQèœ (èM¬î ï£ìè‹) ªî£°F -12 : à¬óï¬ì ï£ìè Þô‚Aò‹ - 5 1. «ð£˜‚è£î™ 2. ð®ˆî ªð‡èœ 3. Ýù‰î ê£èó‹ 4. ¹ó†C‚èM 5. C‰î£ñE 6. ôî£ ‚¼è‹ 7. ð£óîŠ ð£ê¬ø 8. è¼…CÁˆ¬î 9. ã¬ö àöõ¡ 10. ð£‡®ò¡ ðK² ªî£°F -13 : è¬î Þô‚Aò‹ 1. èì¾œ ñèˆ¶õ‹ 2. ð‡®î˜‚°Š ð£ì‹ 3. º†ì£œ ðí‹ Ü‹¬ñJ¡ ªð†®J™ 4. ¬õˆî£™ °´I 5. î£C i†®™ ÝY˜õ£î‹ 6. ºîô£O - è£Kò‚è£ó¡ (èì¾œ MûòˆF™ ü£‚Aó¬î) 7. ÝŸøƒè¬ó Ý«õê‹ 8. «êŸP™ Þ¬ø‰î ñ£E‚èƒèœ 9. è‡µ‚°ˆ ªîKò£î ²¬ñ (ªêšõ£»ôè ò£ˆF¬ó) 10. ð°ˆîP¾‚°ˆ î¬ì 11. «î¬ó M†´‚ W«ö °Fˆî£¡ ê™Lòó£ê¡ «ñ£¬ó M†´‚ Ã¬ö‚ è¬óˆî£¡ 12. ²òñKò£¬î‚è£ó¼‚° ÜªñK‚èK¡è®î‹ 13. «õ™ ð£Œ‰î Þ¼îò‹ (Mî¬õèœ ¶ò˜)

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14. F¼‰Fò ó£ñ£òí‹ (ð£ô è£‡ì‹ - ªìL«ð£¡ ðìô‹) 15. Þîò‹ âŠð®J¼‚Aø¶? (ã¬öèœ CK‚Aø£˜èœ) 16. è£î½‹ ê£î½‹ 17. b˜ñ£ù‹ ãèñùî£è G¬ø«õPò¶ 18. ¹¬î‰î ñE 19. óñEŠ ð£Šð£ 20. ñù„ê£†C 21. è£î™ õ£›¾ 22. «îCòŠ ðˆFK¬èèœ 23. àù‚° Ý¬êî£¡! ê£I‚°? 24. Ü® ªï£Á‚AM´ 25. ÜFè£ó ïK (ñ£¡èO¡ åŸÁ¬ñ è‡´ Ü…C Þø‰î¶) 26. è£èˆ¬î â¡ªêòŠ ð¬ìˆî£Œ? 27. i´ G¬øò Üõ˜èœ 28. Üõ˜èœ Üòô£˜ 29. ðö‹ ï¿MŠ ð£L™ M¿‰î¶ 30. ðì‹ Þò‚A (DIRECTOR)J¡ îƒ¬è 31. ¹ôõ˜ º‡¬ì‚è‡E Ý‹ð¬ìò£¡ 32. ªðøˆî‚è å¡Á ªðŸÁM†«ì¡ (ÜõÀ‹ ï£Â‹) 33. ºòŸC«ò õ£›¾, «ê£‹ð«ô ê£¾ 34. ñùˆ¶¡ðˆ¶‚° ñ¼‰¶ 35. Ü¬ùõ¼‹ Üõ˜è«÷! 36. Ü…Cò àœ÷ˆF™... 37. ¬õè¬øˆ ¶Jªô¿! 38. îI›Š ðŸÁ! 39. Ü¡¬ù 40. M…ë£Q 41. ð‚î ªüò«îõ˜ 42. Ýˆñ ê‚F 43. ã¬ö àöõ¡ (Ü™ô¶) º°‰î ê‰FK¬è 44. Ü¬ùõ¼‹ àøMù˜ 45. Ýô…ê£¬ô»‹ «õô…«êK»‹ 46. “õ£K õòô£˜ õóô£Á” Ü™ô¶ ªè´õ£¡ «è´ G¬ùŠð£¡

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No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 123

º¿¶ø åŠð¬ìˆî «î£¡ø™ YQ.M²õï£îù£K¡ ð£óF Üìƒè™è¬÷Š ð£˜‚°‹ ªð£¿ªî™ô£‹, ‘ð£«õ‰î¼‚° ÞŠð® æ˜ Üìƒè™ õ¼ñ£?’ âù ãƒA«ù¡. Ü‰î ã‚è‹ îI›Š «ð£ó£O, îI¿‚° Ý‚èñ£ùõŸ¬øªò™ô£‹ HøM «ï£‚èñ£è‚ ªè£‡ì «î£¡ø™, Þ÷õöèù£˜ Íô‹ G¬ø«õPò¶ âÂ‹ Þó£.Þ÷ƒ°ñóù£K¡ °PŠ¹ Þ‰ËŸ ªî£°Š¹ ªõOJ´õF¡ «ï£‚èˆ¬î ªõOJÁø¶. ð£«õ‰î˜ ð£óFî£ê¡ èM¬îèœ Üõ˜ è£ôˆF«ô«ò ªî£°Š¹è÷£è¾‹ îQË™è÷£è¾‹ ªõOJìŠªðŸøù. Üõ˜ ñ¬ø¾‚°Š H¡ù˜Š ð£«õ‰îK¡ ð¬ìŠ¹èœ ð£ì™èœ, è†´¬óèœ, è¬îèœ, ï£ìèƒèœ «ð£¡øõŸ¬øˆ îQˆîQò£èˆ ªî£°ˆ¶Š ðFŠHˆ¶œ÷ù˜. âQÂ‹ ð£«õ‰î˜ ð¬ìŠ¹èœ º¿¬ñò£èŠ ðFŠHˆ¶ ªõOJìŠ ªðøM™¬ô. îQˆîQˆ ªî£°Šð£÷˜èœ ªî£°ˆîî£™ å«ó ð¬ìŠ¹ å¡Á‚° «ñŸð†ì ªî£°Š¹èO™ Þì‹ ªðŸø¶. å¼ ðFŠHŸ°‹ Þ¡ªù£¼ ðFŠHŸ°‹ î¬ôŠ¹, ð£ì™ Ü®èœ, ªê£Ÿèœ ÝAòõŸP™ H¬öèÀ‹ ºó‡èÀ‹ è£íŠðÁ¡øù. Þîù£™ ð¬ìŠð£Oèœ ñ†Í¡P ÝŒõ£÷˜èÀ‹ °öŠðñ¬ìò «ï˜‰î¶. Þ‚°¬øð£´è¬÷ˆ îM˜‚è â‡Eò ºòŸCJ™ M¬÷‰î¶ ‘ð£«õ‰î‹’ âÂ‹ Þ‰Ë™ âù‚ °PŠH†´ Þˆªî£°F â¿õîŸè£ù è£óíˆ¬îŠ ðFŠðè‹ ²†Áø¶. Þ÷ƒèE ðFŠðè‹ ªõOJ†´œ÷ ð£«õ‰î‹ 25 ªî£°Fèœ ªè£‡ì¶. ð£«õ‰î˜ ð¬ìŠ¹èœ Ü¬ùˆ¬î»‹ º¿¬ñò£è àœ÷ì‚Aòî£Œ Ü¬ñ‰¶œ÷¶. ÞŠðFŠH™ Þ¶õ¬ó ªõOJìŠªðŸÁœ÷ ð£«õ‰î˜ Ë™èœ Ü¬ùˆF½‹ àœ÷ ð¬ìŠ¹èœ M´ð£®¡P º¿¬ñò£è Þì‹ªðŸÁœ÷ù. «ñ½‹ º¡¬ù Ë™èO™ Þì‹ªðø£î, ðFŠð£÷˜‚°‚ A¬ìˆî Cô ð¬ìŠ¹èÀ‹ ¹Fî£è Þì‹ ªðŸÁœ÷ù. ð£óFî£ê¡ ð¬ìŠ¹èœ Ü¬ùˆ¶‹ ªð£¼œ Ü®Šð¬ìJ™ õ¬èŠð´ˆîŠð†´œ÷ù. ð£«õ‰î˜ ð£ì™èœ Þì‹ªðŸø ¹¶¬õ ºó², °J™, ªð£¡Q, °® Üó² ºîLò Þî›èÀ‹ ð£˜¬õJìŠªðŸÁ ÜõŸP™ àœ÷õ£Á‹ ªê‹¬ñò£‚è‹ ªêŒòŠªðŸÁ ªõOJìŠð†´œ÷ù. ñŸªø£¼ CøŠð£èŠ ð£ì™èœ Ü¬ùˆ¶‹ ò£Šð¬ñF C¬îò£ñ™ ªõOJ´‹ ºòŸC ÞŠðFŠH™ «ñŸªè£œ÷Šð†´œ÷¶. Þò¡ø Ü÷MŸ°Š ð£õ¬è, Þù‹ ºîLòù ²†ìŠªðŸÁœ÷ù. è†´¬óèœ Ü¬õ Þì‹ªðŸø Þî›èO™ ªõOJìŠªðŸøõ£Á M´ð£®¡P»‹ ñ£ŸøI¡P»‹ ªõOJìŠ ªðŸÁœ÷ù. ï£ìèƒèœ «ð£¡ø¬õ»‹ Þò¡øõ¬èJ™ ºî™ðFŠH™ àœ÷õ£«ø Ü„CìŠªðÁA¡øù. ÞŠðFŠ¹ ªð£¼œ Ü®Šð¬ìJ™

No.95No.88 JANUARAPRILY 20172015 Journal of Tamil Studies 124

ªð¼‹ð£½‹ è£ô õK¬êJ™ ªî£°‚èŠªðŸÁœ÷¶. âQÂ‹ ð¬ìŠ¹èœ ªõOõ‰î Íô‹ A†®ò Þìˆ¶ ªõOõ‰î ï£œ ²†ìŠªðŸÁœ÷¶. ÞŠðFŠ¹‚ °Pˆ¶ º¬ùõ˜ Þó£.Þ÷õó²: ÞŠðFŠ¹ ð£«õ‰î¬ó º¿¬ñò£èŠ ð®ˆîPò M¼‹¹‹ ð®Šð£OèÀ‚°„ ‘CP¶ Ã› «î´ƒè£™ ð£¬ùò£ó‚ èíˆF¼‰î ªõ‡ «ê£Á’ è£‡ð¶ «ð£¡ø Þ¡ðº‹ ðòÂ‹ ï™°õ¶. âOò ð®Šð£O‚° ñ†´ñ™ô£ñ™ ð£«õ‰î˜ ÝŒõ£÷˜èÀ‚°‹ ªð¼‰¶¬í ªêŒ»‹ å¼ ªð¼‹ îI›Šð‡ì£ó‹ âù‚ °PŠH´õ¶ ÞŠðFŠH¡ CøŠ¬ð M÷‚°õî£Œ Ü¬ñ‰¶œ÷¶. ð£«õ‰îK¡ ð¡ºè ÝŸø¬ô»‹ ªè£œ¬è ñ£Ÿøƒè¬÷»‹ ªè£‡ì ªè£œ¬èJ™ Ü¬êò£¶ G¡ø ðŸÁÁF¬ò»‹ ÜP‰¶ ªè£œ÷ ÞŠðFŠ¹ àî¾A¡ø¶. ªî£ì˜ºòŸC, è®ù à¬öŠ¹, ð£«õ‰î˜ ð£óFî£ê¡ ÝŒõ£÷˜èO¡ àîM ÝAòõŸP¡ YKò M¬÷„êô£Œˆ îI› àôAŸ°Š ð£«õ‰î‹ ð¬ì‚èŠð†®¼‚A¡ø¶. ‘ð£«õ‰î‹’ âÂ‹ 25 ªî£°Fè¬÷‚ ªè£‡ì Þ‰Ë™ º¶º¬ùõ˜ Þó£.Þ÷ƒ°ñó¡, º¬ùõ˜ Þó£.Þ÷õó², º¬ùõ˜ °.F¼ñ£ø¡, º¬ùõ˜ H.îIööè¡ ÝAò ï£™õ¬óŠ ðFŠð£CKò˜è÷£è‚ ªè£‡®ôƒ°Aø¶. àÁFò£ù Ü†¬ì, Cø‰î ªõœ¬÷ˆî£O™ CøŠð£ù Ü„²‚«è£Š¹Š «ð£¡øõŸø£™ ÞŠðFŠ¹ Cø‰¶ M÷ƒ°Aø¶. Ü†¬ìJ¡ àœð‚è‹, H¡ Ü†¬ìJ¡ àœð‚è‹ «ð£¡øõŸP™ ð£óFî£ê¬ùŠ ðŸPò ÜPë˜ î‹ è¼ˆ¶èœ Ü„CìŠ ªðŸÁœ÷ù. ‘õ½×†´‹ õóô£Á’ âÂ‹ î¬ôŠH™ «è£.Þ÷õöèù£˜ ð£˜Šðù˜ Ü™ô£î£˜ Þò‚è‹, îQˆîI› Þò‚è‹, Þ‰F âF˜Š¹Š «ð£˜ õóô£Á «ð£¡øõŸ¬ø º¡Â¬óò£è‚ °PŠH†´œ÷£˜. Þ¬õ ð£«õ‰î˜ è¼ˆ¶èÀ‚° Ü¬ìò£÷‹ è£†´‹ °PŠ¹è÷£è õ£êè˜èÀ‚° àî¾õùõ£Œ Ü¬ñ‰¶œ÷ù. ÞŠ ‘ð£«õ‰î‹’ îŸè£ôˆîI¿‚°‹ îQˆîªî£¼ èMëÂ‚°‹ îI› ËŸè¬÷Š «ð£ŸÁõ£¼‚°‹ î‚èªî£¼ ê£¡ø£è M÷ƒ°A¡ø¶. îI›ñ‡ ðFŠðèŠ ðE ªî£ìó†´‹; îI› Þô‚Aòƒèœ ðóõ†´‹. º¬ùõ˜ ².îI›„ªê™M, Þ¬íŠ«ðó£CKò˜, îI›ˆ¶¬ø, Þó£E «ñK è™ÖK, ªê¡¬ù - 600 004.

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