உரை மொழிபெயர்ப்பு, மொழிபெயர்ப்பு முடிவுகள், ஆவண மொழிபெயர்ப்பு, இழுத்து விடவும்.
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ஓநாய் குலச்சின்னம் நாவல் ஆசிரியர் : ஜியோங் ரோங் தமிழில் : சி. மோகன் பதிப்பகம் : அதிர்வு பக்கம் : 670
மங்கோலிய மேய்ச்சல் நிலப்பகுதியில் சீனாவால் மேற்கொள்ளப்பட்ட மாற்றங்களால் அந்நிலப்பகுதியில் ஏற்பட்ட விளைவுகளே இந்த நாவல் எழுதப்பட அடிப்படை காரணம். அந்த விளைவுகள் மனித சமூகத்திற்கும் இயற்கைக்கும் இயற்கை வாழ் பிற உயிரினங்களுக்கும் எதிரானதாக திரும்புவதையும் உயிரினங்களின் வாழ்வு சிதைவுறுவதையும் பதிவு செய்கிறது இந்த நாவல்.
உணவுச் சங்கிலியை அடிப்படையாகக்கொண்டு இயற்கையில் உயிரினங்கள் ஒன்றை ஒன்று சார்ந்து வாழ்கின்றன. இந்த உணவுச் சங்கிலி தொடர்பில் ஒரு குறிப்பிட்ட உயிரினம் மட்டும் அழிக்கப்பட்டுவிட்டால் அந்த சங்கிலி தொடர்பில் உள்ள மற்ற சில உயிரினங்கள் பெருகிவிடவோ சில உயிரினங்கள் அழிந்து விடவோ கூடும். இது உயிரினங்களின் எண்ணிக்கை சமநிலையை குழைத்து அந்த நிலம் பாழ்பட வழிவகுக்கிறது என்பதை தனது அனுபவத்தின் வாயிலாக இந்த நாவலை படைத்திருக்கிறார் ஜியாங் ரோங் . இந்த நாவலை தமிழின் மொழி அமைப்புக்கும் பொருள் அமைவிற்க்கும் ஏற்றவாறு சிறப்பான முறையில் மொழிபெயர்ப்பு செய்திருக்கிறார் சி. மோகன்.
1950களில் சீனாவின் கட்டுப்பாட்டுக்குள் வந்த மங்கோலியப் பகுதிகளை சீனா புனரமைக்க முற்படுகிறது. அந்தப் பகுதிகளை தனது உற்பத்திக்காக பயன்படுத்திக் கொள்ள முயல்கிறது. அப்படி பயன்படுத்திக் கொள்ள முயலும் போது ஏற்படும் சிக்கல்களை மையமாகக்கொண்டு இந்த நாவல் புனையப்பட்டிக்கிறது. ஆடு வளர்ப்பு, குதிரை வளர்ப்பு மற்றும் தானியங்கள் விளைவிப்பு போன்ற உற்பத்தி காரணங்களுக்காக காலங்காலமாக பின்பற்றப்பட்டு வந்த மங்கோலிய மேய்ச்சல் நில கோட்பாடுகள் தகர்க்கப்படுகிறது. அப்படித் தகர்க்கப்பட்டு உற்பத்தி பெருமளவில் மேற்கொள்ளப்படும்போது ஒரு குறிப்பிட்ட காலத்திற்கு மட்டுமே அது பலனளிக்கக் கூடியதாக இருக்கிறது. சிறிது காலத்திலேயே அந்த நிலம் பாழ்பட்டு பயன்படுத்த தகுதியற்றதாக மாறிவிடுகிறது என்பதை ஆழமாக உணர்த்துகிறார் ஆசிரியர்.
இந்த இடத்தில் ஓர் ஐயம் எழ வாய்ப்புள்ளது. மனித குலத்தின் முன்னேற்றங்களை தடுக்கலாமா? வளர்ச்சி என்பதே கூடாதா? மாற்றம் என்பதே கூடாதா? பழமையான மங்கோலிய கோட்பாடுகளையும் நம்பிக்கைகளையும் இன்றும் கடைபிடிக்க வேண்டுமா?என்றெல்லாம் ஐயப்பாடுகள் எழலாம்.
மனிதனின் வளர்ச்சி மாற்றங்களுக்கும் இயற்கையின் வடிவமைப்பிற்கும் இடையேயுள்ள நுட்பமான கூறுகளை வெளிப்படுத்துவது தான் இந்த நூலின் சிறப்பம்சம்.
“பழையன கழிதலும் புதியன புகுதலும் வழுவல” என்று தமிழிலும் முதுமொழி உள்ளது. புதியன வேண்டும் தான். ஆனால் இயல்பை சீர் குலைக்காத வகையில் புதியன கட்டமைக்கப்பட வேண்டும் என்பதை இந்த நாவலில் வரும் பில்ஜி தொடர்ந்து வலியுறுத்துகிறார். தமது முன்னோர்களின் கோட்பாடுகளையும் தத்துவங்களையும் நம்பிக்கைகளையும் கைக்கொண்டு வாழ்ந்து வரும் பில்ஜி புதிய மாற்றங்களையும் ஏற்றுக்கொள்ள தான் செய்கிறார். ஆனால் நிலத்தின் இயல்புத்தன்மை கெடாதவாறும் சார்பு வாழ் உயிரினங்களின் உணவுச்சங்கிலி பாதிக்கப்படாதவாரும் உற்பத்தி இருக்க வேண்டுமென்று செயல்படுகிறார். ஆனால் அவரது எண்ணம் நிறைவேறுவதில்லை. உற்பத்திக்காக தலைமைப் பொறுப்பில் அமர்த்தப்படுபவர்கள் மரபு சார்ந்த, நிலம் சார்ந்த கோட்பாடுகளை கடைபிடிப்பதில்லை. அவற்றை அறிந்து கொள்ளவும் முற்படுவதில்லை. அறிந்து கொள்ளவே முன்வராத போது ஆய்வுகள் செய்யவும் அவற்றை அங்கீகரிக்கவும் வாய்ப்புகளே இல்லாமல் போய்விடுகிறது.
மங்கோலிய மேய்ச்சல் நில மக்களின் வாழ்க்கைச் சூழலை இந்த நாவல் தெளிவாக வெளிப்படுத்துகிறது. அவர்களின் இடம்பெயர்தல், உணவு முறைகள், வேட்டை உத்திகள், பழக்கவழக்கங்கள், நம்பிக்கைகள் ஆகியவற்றை பதிவு செய்திருக்கும் ஒரு காலப்பெட்டகம் இந்த நாவல்.
இறந்த மனிதனின் உடலை குறிப்பிட்ட இடங்களுக்கு எடுத்துச் சென்று கழுகிற்கு வைக்கிறார்கள். இதை வான்புதை என்கிறார்கள். இது அவர்களின் மூதாதையர்களின் வழியாக தொன்று தொட்டு வரும் பழக்கம். மேய்ச்சல் நில சமநிலையை பாதுகாக்க முனையும் கடைசி மனிதர் பில்ஜி. பில்லி இறந்த பிறகு அவரை வான்புதையலிடுகிறார்கள். வான்புதைக்கு செல்லும் கடைசி மனிதரும் அவரே! நாவலின் உருக்கமான பகுதி இது.
இறந்தவர்கள் வானிற்கு செல்கிறார்கள் என்ற நம்பிக்கை இந்தியர்களிடையேயும் உண்டு. இந்த நம்பிக்கை வான்புதையிலிருந்தும் பிறந்திருக்கலாம் என்று தோன்றுகிறது. ஆய்வு செய்ய வேண்டிய பகுதி இது.
உற்பத்தியில் பெண்களின் பங்களிப்பையும் பதிவு செய்கிறது இந்த நாவல். பில்ஜியின் மகளாக வரும் கஸ்மாயி ஆண்களுக்கு நிகரான உழைப்பை தருகிறார். தமது முன்னோர்களின் கோட்பாடுகளின் மீது நம்பிக்கை கொண்டவராகவும் உடல் திறன் மிக்கவராகவும் உழைப்பின் மீதும் சமூக கட்டமைப்பின் மீது ஆர்வம் உள்ளவராகவும் காணப்படுகிறார்.
கூரிய பற்கள், கழுத்தை கவ்வுதல், நடுநிசியில் பயமுறுத்தும் நீண்ட ஊளை என்று மனிதனுக்கும் மற்ற உயிரினங்களுக்கும் எதிரானதாக கருதப்படும் ஓநாய்களின் இன்னொரு பக்கத்தை காட்டுகிறது இந்த நாவல். இந்த பக்கங்களில் மனித குலம் கவனிக்கத் தவறவிட்ட ஏராளமான தகவல்கள் உள்ளன. இந்த பக்கங்கள் ஓநாய் பற்றிய பிம்பங்களை தகர்க்கிறது.
நாவல் நிகழ்காலத்தில் சீன மாணவர்கள் தொலைதூர கிராமங்களுக்கு சென்று அங்கேயே தங்கி கற்கும் செயல் வழிக் கல்வியை அறிந்து கொள்ள முடிகிறது. சீன மாணவனான ஜென் மங்கோலிய மேய்ச்சல் நிலப்பகுதிக்கு கல்விகற்க செல்கிறான். அங்கு அவன் கற்று கொள்ளும் அறிந்து கொள்ளும் உணர்ந்து கொள்ளும் விசயங்களே இந்த முழு நாவல் எனலாம். உற்பத்திக்கு உதவ செல்லும் ஜென் உற்பத்தி திட்டங்களுக்கும் அங்குள்ள மக்களின் பாரம்பரிய நம்பிக்கைகளுக்கும் இடையேயுள்ள வேறுபாடுகளை உணரத் தொடங்குகிறான். அவனது பார்வையிலேயே நாவல் நகர்கிறது.
ஜென் அம்மக்களின் நம்பிக்கைக்கு எதிராக ஒரு ஓநாய் குட்டியை எடுத்து வளர்க்கிறான். என்னதான் அதை வளர்த்து பழக்கப்படுத்தினாலும் வளர்ந்து பெரியதானதும் தம் மூதாதையர்களின் தன்னியல்பிலிருந்து மாறாததாக அது இருக்கிறது. ஓநாய் கூட்டத்தின் தொடர்புகள் துளியும் இல்லாது அந்த ஓநாய் குட்டியானது வளர்க்கப்பட்ட போதும் ஓநாய்களின் இன இயல்பை, இயல்பாகவே அது பெற்றுவிடுகிறது. இந்த ஓநாய் குட்டி ஊளையிட கற்றுக்கொள்ளும் காட்சிப்படைப்பு அற்புதம்.
ஒரு நிகழ்வை நேரில் கண்டு அதனுடன் வாழ்ந்து அதனை அனுபவித்து மனதில் ஊறிய பின் படைக்கப்படும் படைப்பு அசாத்தியமானது. ஓநாய்குட்டி ஊளையிட கற்றுக்கொள்ளும் அந்த தருணங்களும் ஓநாய்களின் குழு வேட்டை நிகழ்வுகளும் சிறப்பான காட்சி படைப்புகள். இதில் ஆசிரியரின் அனுபவங்களையும் படைப்புத்திறனையும் உணர்ந்து கொள்ள முடிகிறது.
அங்கு வாழும் மக்கள் தங்களது கோடைக்கால பனிக்கால உணவுகளை தயாரித்துக் கொள்ளும் முறைகளும் அவர்கள் வேட்டையாடும் விதங்களும் அந்தப் பகுதியில் வாழும் எலிகள், மர்மோட்டுகள் போன்ற உயிரினங்கள் பருவ மாற்றத்திற்கேற்ப தங்களது உணவுகளை சேமிக்கும் முறைகளையும் நாவல் பதிவு செய்கிறது. பின்வரும் பனி காலத்திற்கான உணவை முன் வேனில் காலத்திலேயே உயிரினங்கள் தயாரித்துக் கொள்ளும் விதங்களை சிறப்பாக பதிவு செய்திருக்கிறது இந்த நாவல்.
ஓநாய்கள் எவ்வாறு குழுக்களை ஏற்படுத்திக் கொள்கிறது. அந்த குழுக்கள் எவ்வாறு குழு வேட்டையில் ஈடுபடுகிறது. குழுக்களை வழி நடத்துவதில் தலைமை ஓநாயின் பங்கு. ஓநாய் குழுக்களை பாதுகாப்பதிலும் வேட்டையாடுவதிலும் உளவு ஓநாய்களின் பங்கு. வயதான மற்றும் குட்டி ஓநாய்களுக்கான உணவு பகிர்ந்தளிப்புகள் என ஓநாய்களின் வாழ்க்கைமுறையை சிறப்பாக படம் பிடித்துக் காட்டியுள்ளார் ஆசிரியர். இதில் மனிதன் கற்றுக் கொள்ள வேண்டியவை ஏராளம்.
நாவலாசிரியரின் கற்பனை நயத்தை பாராட்ட ஒரு காட்சியை சொல்ல விழைகிறேன். நாவலின் ஓரிடத்தில் ஒரு ஓநாயானது ஆட்டு மந்தையிலிருந்து ஒரு ஆட்டை அடித்து சாப்பிட்டுக் கொண்டிருக்கும். அந்த காட்சியை மற்ற ஆடுகள் நடுங்கிப் பார்த்துக்கொண்டிருக்கும். உயிரிழந்து உணவாகிக் கொண்டிருக்கும் அந்த ஆட்டைப் பார்த்து உயிருடன் இருக்கும் மற்ற ஆடுகளின் எண்ண ஓட்டத்தை இவ்வாறு பதிவு செய்கிறார். “நல்லவேளை ஓநாய் உன்னைத் தின்கிறது. என்னை இல்லை” என்று சொல்வது போலவும் “நீ செத்து விட்டாய் அதனால் நான் வாழ்கிறேன்” என்பது போலவும் அந்த ஆடுகளின் பாவனைகள் இருந்தன. இந்த காட்சி ஓநாய்களுக்கு மட்டுமா பொருந்தும் என்ற கேள்வியை உள்ளடக்கியிருக்கும் இலக்கிய இன்பம் அளப்பரியது.
இந்த பூமி மனிதர்களுக்கு மட்டுமே சொந்தமானதா என்ற ஆழ்ந்த கேள்வியை இந்த நாவல் எழுப்புகிறது. நாவலை வாசித்து முடிக்கையில் இந்த பூமி நீடித்து நிலைக்க மனிதன் தன்னை சுய பரிசோதனைக்கு உட்படுத்திக் கொள்ள வேண்டும் என்று தோன்றுகிறது.
வான்புதையுண்ட பில்ஜியின் நினைவுகளோடும் உணர்வுகளோடும் ஜியாங் ரோங்கின் வார்த்தைகளைக் கொண்டு நிறைவு செய்கிறேன்.
“பாவம் பில்ஜி, அவருக்கு தான் ரொம்ப சிரமம். ஆனால் மேய்ச்சல் நிலத்திற்காகவும் அதன் மக்களுக்காகவும் ஒருவரை ஒருவர் சார்ந்து வாழும் சமநிலையைப் பேணி பாதுகாப்பதற்கு தேவையான எல்லாவற்றையும் அவர் மேற்கொள்வார்…”
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The book opens with the title story ‘Along with the Sun’ by SA Tamilselvan, the sad-yet-sweet story of Mari who dreams of marrying her uncle according to the custom of her caste.
It was written as a year-long series in the well-known magazine, Ananda Vikatan and was well received by readers. The aim was ‘to introduce young readers to outstanding Tamil stories’ (p. ix). The collection has been translated with sensitivity by PC Ramakrishna and Malini Seshadri
The first point to note about this work, a fact that the ‘translator’ records in her Note, is that it is no straightforward translation of the original Tamil novel
The harsh realities of the caste system and patriarchy are brought to light in this collection of 14 heart-breaking stories of Sahitya Akademi awarded writer Imayam (V Annamalai). They showcase his unparalleled storytelling skills, marked by a strong sense of justice.
The first story ‘Over in a Moment’ offers a peek into the lives of a middle-aged couple. The wife, Kamatchi, feels her life has ‘everything but salt’ as she has an unsatisfactory sex life.
The anthology has a larger pedagogic purpose and is part of the Tamil Nadu Textbook and Educational Services Corporation’s initiative to identify and translate Tamil literary works into English to ‘enhance the reach of Tamil antiquity, tradition and contemporaneity and enrich world literature’.
The novel’s frame story unfolds as a personal investigation: did the narrator’s mother commit suicide by jumping into a lake in Kodaikanal as the police inquiry had concluded, or was she killed? If so, by whom and why? The main story is complex and compressed.
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The english translation of tho paramasivan’s ariyappadatha tamilakam offers just enough salt to taste the richness of tamil..
Published : May 04, 2023 11:00 IST - 10 MINS READ
The Azhagar Koil at Madurai. In “Ariyappadatha Tamilakam”, ThoPa narrates the legend of the deity Alakar and his consort, Tuluka Nachiyar, a Turkish “princess”. | Photo Credit: THE HINDU ARCHIVES
Several years ago, I had an agitated Italian guest, a Tamil teacher in an American university, lamenting about the natives not knowing their own great language. He had just returned from Tamil Nadu, and was shocked that even in Madurai, the land of senthamizh (classical Tamil), people were so unmindful of grammar and ignorant about their rich literary heritage. Generally, a similar attitude can be seen among the non-Indian Sanskritists, who see themselves as carrying the burden of knowledge of the Sanskrit language and culture which Indians have lost or do not appreciate enough.
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At one level, this attitude may be traced to the institutionalisation of the study of language, literature, and culture in the colonial period. Then again, the transformation of the traditions of knowledge transmission across India, in some cases with even breaks in transmission, have resulted in warped ideas about culture, particularly since English is increasingly the language of academic communication and therefore not quite accessible to the diverse worlds of the vernacular.
Thoppaidas Paramasivan’s Ariyappadatha Tamilakam (The unknown Tamil country), first published in 1997, does not have any such pretensions. ThoPa, as he was popularly known, does not claim any superior status nor does his work patronisingly presume the intellectual incapacity of the native. On the contrary, he speaks to the Tamil reader intimately and as an equal, offering the wisdom of one who has spent years dwelling on issues, ideas, and concepts that draw upon the rich literature, culture, and history of the Tamil land, underscored by the fact that it is written in the language of the very culture he is celebrating. The first lines of the text set the mood for the intellectual feast to follow: Tamil is sweetness personified for the Tamilian, and lexicographical works like the Pingala Nighandu [1] aver “sweetness and coolness are the hallmark of Tamil”.[2]
This English translation of ThoPa’s iconic work brings the intuitive and informed interpretation of the literary historian, anthropologist and humanist to an audience that may not have had access to his scholarship in Tamil. In his foreword to the Tamil work, the historian A.R. Venkatachalapathy describes ThoPa as causing ripples with his writings; 25 years later, the English translation again carries a deeply appreciative tribute by the same scholar. ThoPa’s activism as a votary of Dravidian politics, his Marxist leanings, and the narrative style of a folklorist that came so easily to him, his teaching career over two decades in the Thiagarajar College, Madurai, and his reputation as a raconteur are vividly presented in the foreword.
It is understandable that Ariyappadatha Tamilakam was chosen as a text exemplar by the Tamil Nadu Textbook and Educational Services Corporation (TNTB&ESC) for publication in English, so as to widen the understanding of Tamil culture across the world. The Tamil book has seven chapters, while the translation by V. Ramnarayan is arranged in six chapters with each having several themes, and a postscript. There are overlaps and repetitions as well as, at times, disconnected ideas woven together. Perhaps this is why the translator has taken the liberty of giving a broad description of the sub-themes under a new chapter title, as for instance the first part is simply “Tamil” in ThoPa’s rendering but in the translation it is the first subheading under the title “The Lie of the Land”.
The title of the translation is also interesting—it is the translator’s take on the contribution of ThoPa to the appreciation of Tamil. “The sweet salt of Tamil” is a condensation of a pithy verse by Valluvar in the Tirukkural . Verse 1302 says, “ uppamaintarral pulavi atuciritu mikarral neela vital ”—a little reserve or sulking is like salt to food, which in excess will spoil the taste.
The first chapter traces the literary references to Tamil, from the collection of early historic war poems, Purananuru , to the early medieval Saiva Tevaram hymns, to the folk traditions, playing on the thin line between language and literary culture. Be it Sambandar’s evocation of Tamil as pattu (“These are the ten Tamil verses recited by Sambandar”[3]) or the lullaby “your maternal uncle will come to teach you golden Tamil”[4], the author presents a plethora of evidence to show that the land, social relationships, and the environment hold a special significance in relation to the language. This leads to a fascinating discussion on water, and the social and religious dimensions of food.
Reinforcing the choice of title of the translation, ThoPa discusses the importance of salt in Tamil, which in essence means “taste”. He argues that the word campalam or salary is a combination of paddy ( campa nellu ) and salt ( alam ) indicating that payment for work rendered was earlier in kind. From the peralam or big salt pans of the Chola and Pandya kings to the salt satyagraha of Gandhi to the protests against the multinational Cargill being given a licence to set up a salt manufacturing unit in Gujarat, the material and symbolic value of this ubiquitous commodity is brought out. Particularly evocative is the description of salt on the plate as an upper-caste privilege.
“Among the many admirable qualities of ThoPa’s scholarship, his celebration of Islamic and Christian traditions within the larger evocation of Tamil stands out.”
There are interesting discussions on housing and clothing (Chapter 2), indigenous religious traditions versus external beliefs and practices (Chapter 3), board games like pallankuli and atu-puli (goat-tiger) , their reflection on the institution of state and issues of social inequality (Chapter 4) that bring together snippets from fieldwork and literary analysis. Religion and social identity, an issue much-discussed in the present times, is flagged through a discussion of Buddhism, Jainism and the Siddha tradition (Chapter 5). The discussion on the 19th and early 20th century linguistic and cultural milieu of Tamil, in terms of Western missionary influences and the Saivite attacks on Christianity and the retaliation (Chapter 6), makes for interesting reading.
Among the many admirable qualities of ThoPa’s scholarship, his celebration of Islamic and Christian traditions within the larger evocation of Tamil stands out. The legend of Tuluka Nachiyar associated with the deity Alakar in Azhagarkoil narrates that the deity consorted with the Turkish “princess” here, after his visit to Madurai to attend the marriage of his sister Meenakshi was thwarted.
The same Turkish figure appears in Srirangam but the legend here revolves around the daughter of a Sultan falling in love with the idol of Vishnu that was looted from Srirangam and brought to Delhi. ThoPa believes the source of the first legend to be the thriving Arab trading community in the region, as evinced by the mercantile corporation called Anjuvaṇṇam, and the second to be a result of brahmanical mythmaking after the 14th century invasion by the Delhi Sultans.
In other examples, non-Muslims visiting the Nagore dargah (shrine) as well as Muslims worshipping in the Vriddhachalam Bhu-Varaha Perumal temple, and garlands from the latter temple being sent as offerings to the dargah of a Sufi saint at Killai, are presented as evidence for the intermingling of cultures.
Equally, ThoPa’s unequivocal condemnation of caste inequalities and privileges can be seen in numerous instances. Be it the discussion on meat-eating, burial customs, worship of ferocious meat-eating village deities, or even the proscriptions on lower castes with regard to their residential areas and clothing, there is the activist’s zeal for social reform that can be discerned.
“ThoPa’s unequivocal condemnation of caste inequalities and privileges can be seen in his discussions on meat-eating, burial customs, worship of village deities, and the proscriptions on lower castes with regard to their residential areas and clothing.”
Caste came in with the north Indian brahmanical rituals and gods, and communities like the paraiya , who made the parai, or leather drums, that were an important cultural marker in Sangam poems, gradually came to be ostracised. An interesting story of brahmanas becoming afternoon paraiyas is recounted: the priests were performing a sacrifice when Siva, dressed as a paraiya, entered the Tiruvarur temple with a dead calf slung over his shoulder. The priests claimed that the temple had been defiled, and Siva punished them by turning them into paraiyas, only relenting when they pleaded for mercy and reducing the curse to apply to just the afternoon time!
The correlation between caste and class is also something that is brought out by ThoPa. For instance, begging was looked down upon in texts like the Tirukkural , but gradually came to be accepted because of deep social cleavages that emerged with the development of state society. Interestingly, beggary ( piccai ) is shown to derive from the Jaina practice of seeking alms ( irattal ), with the term itself derived from the Sanskrit bhiksa .
On the one hand, caste marked social discrimination and oppression; on the other, there was an attempt to integrate different castes through the ideology of bhakti or devotion. Interestingly, ThoPa lays the blame for the solidification of caste as well as a brahmanical/Hindu identity in the Tamil region on the Vijayanagara period. He does not seem to be concerned with the ample epigraphic evidence for the widespread prevalence of caste hierarchy in the Chola period itself.
Noboru Karashima and Y. Subbarayalu have drawn our attention to the separation of the paraiya ceri (settlement) in villages in early medieval Tamil Nadu, and even separation in death institutionalised by the separate cutukatu (burial grounds) for castes like paraiya and izhava. Further, historians have drawn attention to imprecations against paraiya and pulaiya and the specificity of left- and right- hand ( idangai and valangai ) caste formation during this time.
By pinning the blame for casteism on the outsider—the Telugus or the Vijayanagara rulers—ThoPa seems to lose that catholic quality that allows for accommodation. For instance, in the chapter “Karuppu” (“Black”), he argues that since all the ruling and social elites from the 14th century onwards were fair-skinned, it resulted in dark skin being reviled and looked down upon. One wonders whether this distinction of native from outsider is the natural culminating logic of the exercise undertaken by the author. This exclusionary argument has serious connotations for our times, where Indian cultural identity has been projected as Hindu from ancient times despite overwhelming historical evidence to the contrary, and hence cannot pass without criticism.
Lastly, ThoPa gets so carried away with his raconteuring that custom and belief are validated in terms of tradition, even when there are obvious patriarchal, androcentric, and even anti-women ideas at their core. Issues of honour and saving face when a widow is pregnant, or the significance of the tali , a chain tied at the time of marriage around the neck of the woman by her husband, or of cross-cousin marriage are discussed almost with admiration. This brings us back to the dilemma that we started out with, of the etic and emic perspectives in anthropological studies—the outsider’s view versus the insider’s.
While there is much to recommend the view from within, as exemplified in the work of ThoPa, one also has to tread warily, for historical contexts at times get elided, and description passes for interpretation. Nevertheless, ThoPa is successful in bringing out much that is unknown about Tamil, and the translation is effective in offering the right amount of salt to taste the richness of Tamil.
Dr R. Mahalakshmi is Professor, Centre for Historical Studies, Jawaharlal Nehru University.
‘encounter pradesh’ model of instant justice indicates terror may become state policy.
Editor’s note: modi’s diminished mandate a rebuke to emperor’s robes and divine halo.
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The award-winning writer’s quintessential western tamil nadu sensibility and sharp consciousness make his prose a delight to read .
Published - November 03, 2023 09:51 am IST
Perumal Murugan’s mastery over his craft makes the reader experience immersive. | Photo Credit: Siva Saravanan S.
It speaks to the prolificity of Perumal Murgan and the burgeoning global appetite for his work that two of his books were launched within a month of each other: Fire Bird (translated by Janani Kannan), followed by Sandalwood Soap and Other Stories (translated by Kavitha Muralidharan). Incidentally, Fire Bird also finds itself in the shortlist of The JCB Prize for Literature , the winner of which will be announced later this month.
There is a perceptible and growing hankering for local, earthy stories that transcend, through sleight of word, the particularities they are set in. Invariably, the hero while still entangled in the process of making a living, unexpectedly rises to be an Everyman, appealingly simple, and yet, universal. Quite like Muthu, in Fire Bird , forced out of comfort by his family, striking out like a pioneer of sorts, marking new territories and lands, displaced and trying to blend in, in a new land. Or, even Velatha, the oracle of sorts, in the short story ‘Magamuni’ that features in Sandalwood Soap . At some point, the readers are cheering the protagonists on, willing them to succeed, vanquishing the evil or pettiness that tries to cow them down.
Undoubtedly, it’s Murugan’s sheer mastery over his craft, though camouflaged by a deceptively simple tone, that makes the reader experience immersive. In fact, it is this that links the two books though they are couched in different genres — Fire Bird is a novel and Sandalwood Soap, a collection of short stories. They convey a Perumal Murugan voice, a quintessential western Tamil Nadu sensibility, both recognisable anywhere, without any introduction, but time and again, content transcends form, and the quotidian rises to be universal.
For instance, the story ‘Loser’ in Sandalwood Soap is about the relationship between a regular office-goer and an extraordinary talking cat, and stunningly Kafkaesque in its conclusion. Muthu’s trials that arise out of deliberate alienation by his family, in Fire Bird , are definitely universal, and in his determination to make it, he could well be Pearl S. Buck’s Wang Lung ( The Good Earth ) who struggles against the malevolence and schadenfreude of his family and the vicissitudes of nature to survive.
The situation of Muthu’s wife Peruma’s abuse might be quite different from the mother who wears no blouse (‘The Last Cloth’), and thus is an object of shame for her family; and their reactions are different, but it is undeniable that their experience emerges from a patriarchal world order. While Peruma’s truculence gets her the title ‘Aalanda Patchi’ (fire bird), the mother literally fades away in bewilderment. In ‘Hunger’, Murugesh’s wife who lives away from her husband is embarrassed at his insistence in getting relatives at a wedding to book a separate room for the couple. Her shame is different from the one that the mother’s family exhibits, and yet in someways, it arises from the same social constructs and gendered expectations.
Murugan’s elevated sentience is where he derives his earthiness from: the scent of the dry earth; the smells of the marketplace; the fragrance of cooking ‘ kali ’ and rice; even the nose-wrinkling odours of the public toilets in the titular story in Sandalwood Soap lift off like hot, swirling vapour from the pages of the book, contextualising his world for the reader.
If sentience blesses his work with the regional context, then his sharp consciousness gives it the larger, metaphysical frame. Ingrained in his work are the concepts of caste, discrimination, class, the gender question, and the meaning of life.
Muthu’s Man Friday Kuppan in Fire Bird does not demur when he is asked to grab a coconut shell to drink tea at a shop, and feels that his master is benevolent because he eats the food the lower caste man has cooked, and even shares his toddy. In ‘ Grant us Pardon, Saami ’ ( Sandalwood Soap ) rests a strange, disturbing tale of a Dalit colony being blamed for the unexplained deaths of cows in the adjoining intermediary caste Hindu village, simply because they are beef eaters. For those who are used to his writing, it defines a Perumal Muruganesque world.
A world that is coaxed into life by the translators, in this case, people who need to be crafty wordsmiths themselves. While reading Sandalwood Soap is like spreading butter on hot toast, Fire Bird does have some decidedly jerky moments. The use of the nga, for instance — in Tamil, a respectful honorific for older people and strangers — seems to disrupt the flow.
But then, to translate a Perumal Murugan book, especially a novel, is no mean task. The unpacking of a world in a cloister, and an intensely regional dialect, requires not merely knowledge of unknown worlds, but also the skill to describe them in another tongue. That makes the published translation an achievement, a neat acrobatic feat.
Penguin random house, sandalwood soap and other stories, perumal murugan, trs kavitha muralidharan, juggernaut books.
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The Hindu Sunday Magazine / Literary Review / Tamil Nadu / Tamil Nadu / books and literature / authors and poets / Caste / fiction / Indian fiction
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Available digitally (whether as an eBook or just text, preferably not a scanned pdf).
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நூல், புத்தகம், ஆசியப் பட்டு are the top translations of "book" into Tamil. Sample translated sentence: 2 Your Congregation Book Study conductor takes a special interest in the Bible study work in your group. ↔ 2 உங்களுடைய சபை புத்தகப்படிப்பு ஊழியர் உங்கள் தொகுதியிலுள்ள பைபிள் படிப்பு வேலையில் விசேஷ ஆர்வம் எடுத்துக்கொள்ளுகிறார்.
A collection of sheets of paper bound together to hinge at one edge, containing printed or written material, pictures, etc. If initially blank, commonly referred to as a notebook. [..]
collection of sheets of paper bound together containing printed or written material [..]
collection of sheets of paper bound together containing printed or written material
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The sacred writings of the Christian religions. [..]
Images with "book", phrases similar to "book" with translations into tamil.
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Book verb ( arrange ).
(Translation of book from the Cambridge English–Tamil Dictionary © Cambridge University Press)
Translations of book.
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towards the direction that is the opposite to the one in which you are facing
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TAMIL BOOKS REVIEW | தமிழ் புத்தக விமர்சனம் ... ஏதோ translate பண்ணி புக்கா போட்டம்னா சைடுல கொஞ்சம் காசு பாக்கலாம். ( அவங்களோட கருத்து என்னன்னா " எதை release ...
Tamil Translation. புத்தக விமர்சனம். Puttaka vimarcaṉam. More Tamil words for book review. நூல் மதிப்புரை. Nūl matippurai book-review. Find more words!
Googleளின் சேவை விலை இல்லாமல் வழங்கப்படுகிறது. வார்த்தைகள் ...
Check 'book-review' translations into Tamil. Look through examples of book-review translation in sentences, listen to pronunciation and learn grammar.
A book review is a form of literary criticism in which a book is merely described or analyzed based on content, style, and merit. A book review may be a primary source, opinion piece, summary review or scholarly review. Books can be reviewed for printed periodicals, magazines and newspapers, as school work, or for book websites on the Internet.
Jiang Rong in Tamil Translation (S. Mohan) Onai Kula Chinnam (ஓநாய் குலச்சின்னம்) Book Review By Na. Jagadeesan. Book Day
The first piece in the present collection of articles on Chennai was written in 1998 and the compilation in Tamil, Oru Parvaiyil Chennai Nagaram ('Chennai at a Glance') took shape gradually over the years.
The anthology has a larger pedagogic purpose and is part of the Tamil Nadu Textbook and Educational Services Corporation's initiative to identify and translate Tamil literary works into English to 'enhance the reach of Tamil antiquity, tradition and contemporaneity and enrich world literature'.
Tamil to English translation dictionary. For Tamil to English translation, you have several options to enter Tamil words in the search box above. 1. Cut & Paste your Tamil words (in Unicode) into the box above and click . 2. If you are familiar with Romanised Transliteration, you can select the Translate Unicode Tamil to English button above ...
It is understandable that AriyappadathaTamilakam was chosen as a text exemplar by the Tamil Nadu Textbook and Educational Services Corporation (TNTB&ESC) for publication in English, so as to widen the understanding of Tamil culture across the world. The Tamil book has seven chapters, while the translation by V. Ramnarayan is arranged in six chapters with each having several themes, and a ...
review translate: ஒரு விஷயத்தைப் பற்றி மீண்டும் சிந்திப்பது அல்லது ...
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Translation of "review" into Tamil . சோதனை, ஆராய்ச்சி, சடுத்தி are the top translations of "review" into Tamil. Sample translated sentence: The school overseer will conduct a 30-minute review based on material covered in assignments for the weeks of September 5 through October 31, 2005. ↔ பள்ளி கண்காணி 30 ...
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The award-winning writer's quintessential western Tamil Nadu sensibility and sharp consciousness make his prose a delight to read Published - November 03, 2023 09:51 am IST Ramya Kannan
Lingvanex introduces a FREE Online translator that instantly translates from Tamil to English or from English to Tamil! Our Lingvanex translator works using machine translation technology, which is the automatic translation of text using artificial intelligence, without human intervention. This technology guarantees complete confidentiality of ...
It would be especially nice if the book was something I'm familiar with from growing up in the US, because that will make it easier to follow along and use context clues without checking the English version (obviously you can't know what I've read, but a book that was written in English first and then translated into Tamil is much more likely ...
Reviewer: Santhanam Ragu - favorite favorite favorite favorite favorite - June 2, 2024 Subject: tamil version of sri ramayanam. a great work with devotion by scholar CR.Srinivasa iyengar.I have read the book a number of times and I feel that every hindu must read the book to know about ramayanam and how and at what period the supreme power had ...
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Check 'book' translations into Tamil. Look through examples of book translation in sentences, listen to pronunciation and learn grammar. ... the person to answer the "Questions for Those Desiring to Be Baptized," found in the appendix of the Our Ministry book, which the elders will review with him.
BOOK translate: அச்சிட்ட அல்லது மின்னணு வடிவத்தில் வெளியிடக்கூடிய ஒரு ...