அருந்தமிழும் அன்றாட வழக்கும் – 130
எழில் கொஞ்சும் தேவாரம்
முனைவர் ஔவை அருள்,
1936-ஆம் ஆண்டு தென்னாப்பிரிக்காவில் தொடங்கப்பட்ட மியர்பேங்க் தமிழ்ப் பாடசாலையின் பொன்விழா எழிலேட்டில் இடம்பெற்ற பகுதிகள் வருமாறு:-
இசைப் பேரரசி சேலம். எஸ். ஜெயலட்சுமி அவர்கள் எழுதிய
‘Ancient Tamil Music’ என்னும் கட்டுரை: MUSIC ACCORDING TO LANDSCAPE: தொடர்ச்சி…
“In Sangam literature each division of land has been identified with its particular nature, surroundings, climate seasons and particular instruments, melodies (Panns), dances etc were ascribed to it.
Each poem is defined as belonging to a certain region.
By the mere mention of the name of the region one gets a panoramic view of the land in his imagination.
The most clever people as they were.
Tamils made a thorough analysis of the nature and environ and defined the relevant properties of each land.
KURINJI:
This is mountain and mountainous forrain – The life of man started from this region.
In the rich forest plentiful nature gave a comfortable life to the inhabitants.
The stringed instrument of Yazh belonging to this region is Kurinji Yazh.
The melody is Kurinji pann.
The percussion instrument is parai –
The god of this region Is Lord Muruga – God of the Mountains.
The people were mainly gypsies.
They performed the dance of “Kuravai Koothu.”
The Mountain ranges were the first living abodes of the human beings.
In very early days they killed animals for their food and lived on fruits etc.
MULLAI:
The next stage was to come down to the plains and produce millets etc. and start rearing cattle for milk.
This Mullai land constituted of Pastoral land.
They belonged to the shepherd class.
This yadava community worshipped Tirumal.
Their instrument was Mullal Yazh – the pann, Sadari – and the percussion instrument.
Eru-Kot-Paral – The womenfolk of Ayarpadi danced the Aichear Kuraval – The wind instrument of flute was special to this region.
The shepherd would take his cattle to pastoral lands and in the evening he would play his flute to call back the cows and take them home.
MARUTAM:
This region is the habitat on the perennial river Banks – Man started cultivating the field to produce food grains.
The god of Marutam was Indra.
The instrument was Maruta Yazh, the percussion instrument ‘Muzhava’ a much sophisticated drum instrument than the paral etc.
The pann was maruta pann.
The agriculturists of this land celebrated a number of festivals including “holy bath” festivals.
This land of Marutam because of its fertility gave the people a happy cozy and easy life, so they had plenty of time to develop arts and culture.
They built temples and specialised in architecture.
NEITAL:
This is coastal region, Varuna was the God of this land.
The colonies of fishermen were called Pakkam’ or ‘Pattinam’.
The instrument of this land was Naval Pambai and ‘Vilari Yazh’ The pann was Sewazhi pann.
The fishermen engaged themselves in fishing and boating.
On the coastal region shipping trade developed and the Tamils became adepts in sea voyage and overseas trades.
The proverb is “Thirai Kadalodium Thiravyam Thedu” This is just contrary to the practice of other people who prohibited sea voyages.
The trade people were called Vanika Chettiars, and they did lot of imports and exports with countries like Greece, Egypt, Rome, China etc.
PALAI:
This was desert like region.
The Goddess of this land was Kotravai – Palai yazh was the instrument.
The special pann of this region was Panjuram.
The percussion instrument was ‘Tudi’ The hunters and decoits of this regions worshipped and danced before the Goddess of Kotravai.
Conclusion:
Tamil Music abounds with details about raga, scales, its structure, emotion, its reaction etc.
We come across many fresh information which we cannot get in other systems, of music.
There is great scope for further research on Tamil Music and the Pann systems.
These studies and their publications will bring credit not only to Tamil Music but will also enhance the image of Tamil culture and civilization.”
சைவ புலவர் திரு. கே.சி. கௌண்டன் அவர்களின் BEAUTIFUL THEVARAM எனும் தலைப்பிலான கட்டுரை:
“Those who sing Hymns of Praise to the Lord, and those who listen to the Divine songs, are both afforded the attainment of Divine Consciousness.
It is to be appreciated that such hymns are contained in our Tamil language, which are greatly honoured and adored.
Amongst these hymns, the Thirumaraigal, or Sacred Writings, are the most authentic.
These Thirumaraigal are divided into 12 sections.
The authors of these songs are from Thiru Gnana Sambandar to Sekizhar, totalling 27 religious teachers.
These teachers experienced the Divine Nature of God, and defined the truths of God Realisation, and also warned of the wrong paths that could obstruct these truths, in an elaborate manner.
Of the 12 Thirumaraigal, the first 7 are known as Thevaram.
The first three of these consisting of 4181 songs, were sung by Thiru Gnana Sambandar.
The 4th, 5th and 6th sections consisting of 3066 songs, were sung by St. Thirunavukkarasar,
whilst the 7th Thirumarai of 1026 songs were sung by St. Sundaramurthie.
Thus the entire Thevaram consists of 8273 songs.
The poetical effusion of the Thevaram greatly inspired the spread of Saivism.
The sages went from shrine to shrine, singing their hymns in praise of God, and enlightening the followers in the tenets of Salva Sithantha Philosophy.
In connection with reforms, the paying of homage to several deities were suppressed, and the establishment of Lord Siva as the Supreme God came into being.
People were further discouraged to pay individual homage to God in the shrines, and were urged to worship in groups, singing Hymns to His Glory.
The masses were taught that to attain God Consciousness, one must act according to sound moral laws and spiritual observances. renouncing pride and egoism and ever praising the power of God Almighty.
These saints set an illustrious example by their holy lives which they urged their followers to do.
The authors of the Thevaram were God-Conscious, and performed some miracles.
Therefore it is up to us to sing the Hymns of Thevaram as we go along our journey towards the Path of God Realisation.”
Servants of India Society அமைப்பின் செயலாளர் திரு. எஸ்.ஆர்.வெங்கட்ராமன் அவர்கள் ‘SRINIVASA SASTRI, The Silver Tongued Orator’ எனும் தலைப்பில் வரைந்த கட்டுரை:
“The eighteen months’ sojourn of the Rt. Hon. V.S. Srinivasa Sastri in South Africa as the first Agent General of the Government of India to the Government of the Union of South Africa, was the most momentous and fruitful period in his career during which his reputation as a scholar, statesman, reconciler and a man of wisdom rose to greater and nobler heights.
Mr Jan H. Hofmeyr, a distinguished South African Boer and a great orator himself had this to say of Sastri:
“He revealed to us an India of an ancient civilisation, one of the great civilisations of the world, a civilisation which has made many important contributions to our modern life, an India of a serene philosophy, a wide culture and a developed art, an India with a literature well worthy to be numbered among the great literatures of the world.
Of that India we did not know before Sastri came among us or if we knew of it, we did not often think of it.
He made it real to us, and against the background which he thus created he made it possible for us to see what we have called an Indian problem in a different way.”
It is because of this unique contribution of Sastri to a correct understanding of India by the South African whites, that Mrs Sarojini Naidu called Sastri the greatest Ambassador abroad of Indian culture.”
——————————-
பேராசிரியர் கு. சிவமணியின் ‘ஔவையும் புலமையும்’ – (54)
சுட்டுகை நூல்கள்
டாக்டர் உ. வே. சாமிநாதையர் பதிப்பு
புறநானூறு 1892,
ஐங்குறுநூறு 1920,
பதிற்றுப்பத்து 1920
பின்னத்தூர் அ.நாராயணசாமி ஐயர் பதிப்பு.
நற்றிணை
உரைவேந்தர் ஔவை துரைசாமிப்பிள்ளை
புறநானூறு பகுதி 1, 1961,
பகுதி-2, 1962 (கழகப் பதிப்பு);
ஐங்குறுநூறு, 1938, கா.கோவிந்தன் பதிப்பு
பதிற்றுப்பத்து, நற்றிணை, ஐங்குறுநூறு
(தமிழ்மண் அறக்கட்டளைப் பதிப்பு, 2012)
கு. சிவமணி
இருபதாம் நூற்றாண்டுத் திறனாய்வாளர் அவ்வை துரைசாமிப்பிள்ளை
உரைவேந்தருக்கு ஒரு நூற்றாண்டு (கட்டுரைகள் தொகுப்பு),
2003
ச.சாம்பசிவவார்
உரைவேந்தர் ஒளவை சு. துரைசாமிப்பிள்ளை 2007
ஒளவை துரைசாமிப் பிள்ளை, கட்டுரைக் களஞ்சியம்
*சைவத்தமிழ், *வரலாற்றுத் தமிழ் (காவ்யா வெளியீடு, 2018)
இதழ்கள்
*தமிழ்ப்பொழில் (1927 முதல் 1972) ;
* செந்தமிழ்ச்செல்வி
மேலும் பல நூல்கள்.
‘ஔவையும் புலமையும்’
ஆய்வு முற்றிற்று.
வளரும்…
– முனைவர் ஔவை அருள்,
தொடர்புக்கு “dr.n.arul@gmail.com
Add a Comment