தினசெய்தி – 26 11 2023
பக்கம் எண் : 4
அருந்தமிழும் அன்றாட வழக்கும் – 189
ஷேக்ஸ்பியர் நாடகங்களில் தமிழ்ப் பெயர்கள்
முனைவர் ஔவை அருள்
தில்லிப் பல்கலைக்கழகத்தில் யான் 28 ஆண்டுகளுக்கு முன்பு வழங்கிய
முனைவர் பட்ட ஆய்வின் முப்பத்தொன்பதாம் பகுதி வருமாறு:
EFFLORESCENCE IN THE MEDIA . . .
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We have yet another list of Tamil journals and magazines of yesteryear which served the cause of publishing Shakespeare.
Special mention must be made of ‘Jana Vinodhini’ ‘Gnana Vinodhini’, and ‘Madhar Manoranjini’ (1901).
Gopala Iyengar’s translation of Cymbeline (Imarjunai) appeared in ‘Madhar Manoranjini’ in a serialised form.
Another journal ‘Thamizh Pozhil’, published by ‘Karanthai Thamizh Sangam’ in Thanjavur serialised Pulavar Ekambarathans translations of Tempest (Puyal Kaatru) during 1952-53.
Special mention must be made of The Shakespeare Association of India, established in 1983 with Madurai as its Headquarters.
This Association has conducted one-day seminars and organised lectures on Shakespeare.
This Association has started a journal in English entitled Indian Journal of Shakespeare studies published annually with Dr.K. Chellappan, former Head of the Department of English, Bharatidasan University, as its Chief Editor.
The journal has as its main objective a true representation of Indian scholarship on Shakespeare and to have a good section on Indian productions of Shakespeare.
The journal has an ambition to become a Quarterly like ‘The Shakespeare Quarterly’ and to contribute to the spread of knowledge of Shakespeare and his works.
Mention has already been made of the prescription in school and colleges of scenes or stories from Shakespeare’s plays.
They were primarily meant for those to whom English was a compulsory subject.
At the same time, it is worthwhile recording here the publication of the stories of Shakespeare and Shakespeare characters in Tamil so that they could be first understood in the mother tongue to facilitate better comprehension in English.
A book entitled ‘Shakespeare Kathaigal’ written by Anandan was published containing 34 stories from Shakespeare in lucid Tamil, each not running to more than 4 pages.
The novelty about this book is that the titles of the stories do not bear the usual Shakesperean titles ..but reflect the theme and content of the individual plays.
Stories from Shakespeare were published in Tamil in Eight Volumes by Prof. K. Appadurai, a multilinguist of great renown, adapting 34 stories on the model of Lamb’s Tales.
The volumes were published from 1942 onwards till 1953.
Similar books on Shakespeare-quotations, characters. Shakespeare’s women etc were published from 1940-60.
It has been already stated that many writers who came forward to narrate these stories in Tamil resorted to the localisation of names.
Cymbeline has thus become Simhalanathan, and Imogen as Himarjunai.
Some names retain the sound sequence of names as for example Othello, who spent a great part of his life in battle fields has becomes Yuddhalolan in Tamil.
One can equate this nomenclature with ‘Lucrece’ becoming Karpukkanal, and Venus as Kamavalli and Peter as Royappan as Peter has a root in ‘Petre’ meaning rock.
‘Roy’ meaning rock in Telugu or Malayappan in Tamil.
Many translators have either added or deleted a few scenes taking into account the culture of Tamilnadu.
The basic images have been retained and it is noteworthy that these writers have thought of the literary archetypes so that Shakespeare could be understood by the Tamils.
There is an element of sincerity and earnestness in all the translators of Shakespeare’s plays in Tamil.
The role of Pammal Sambanda Mudaliar, veteran professors, publishers, film makers and journalists has gone a long way in promoting the Shakespeare awareness in Tamilnadu.
Significantly Antony & Cleopatra scenes were enacted in majority and tamils found this root in this exclusive play and in one tamil movie titled Adutha Veetu penn there was a Dance drama sequence of Antony & Cleopatra.
What has been discussed so far, clearly demonstrates the extent to which Shakespeare has influenced Indian dramaturgy in general and Tamil Literature in particular.
This influence acquires an importance all the more, in view of the fact that after the great dramatic tradition of Sanskrit had died out, drama in India became just a source of entertainment and not a great literary medium of human expression.
With the advent of Shakespeare into India there came a renewed sense of realization that drama as a literary form could be a true mirror of life.
Shakespeare began to exercise a refining influence in that, the concepts of comedy and tragedy opened up new and unprecedented vistas before Indian dramatists.
Portraying the inner conflicts of the soul became progressively popular.
Greater attention was given to the delineation of character imitating the Shakesperean model.
– முனைவர் ஔவை அருள்
தொடர்புக்கு dr.n.arul@gmail.com
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