Sunday, July 18, 2010

Why Tamil is a classical Language ?

Why Tamil is a classical Language ? – George L Hart

I am posting here the letter sent by George L Hart,Professor of Tamil,Chair in Tamil Studies, University of California, Berkley to the Governement of India explaining why Tamil should be classified as a Classical Language.



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April 11, 2000

Statement on the Status of Tamil as a Classical Language

Professor Maraimalai has asked me to write regarding the position of Tamil as a classical language, and I am delighted to respond to his request.

I have been a Professor of Tamil at the University of California, Berkeley, since 1975 and am currently holder of the Tamil Chair at that institution. My degree, which I received in 1970, is in Sanskrit, from Harvard, and my first employment was as a Sanskrit professor at the University of Wisconsin, Madison, in 1969. Besides Tamil and Sanskrit, I know the classical languages of Latin and Greek and have read extensively in their literatures in the original. I am also well-acquainted with comparative linguistics and the literatures of modern Europe (I know Russian, German, and French and have read extensively in those languages) as well as the literatures of modern India, which, with the exception of Tamil and some Malayalam, I have read in translation. I have spent much time discussing Telugu literature and its tradition with V. Narayanarao, one of the greatest living Telugu scholars, and so I know that tradition especially well. As a long-standing member of a South Asian Studies department, I have also been exposed to the richness of both Hindi literature, and I have read in detail about Mahadevi Varma, Tulsi, and Kabir.

I have spent many years — most of my life (since 1963) — studying Sanskrit. I have read in the original all of Kalidasa, Magha, and parts of Bharavi and Sri Harsa. I have also read in the original the fifth book of the Rig Veda as well as many other sections, many of the Upanisads, most of the Mahabharata, the Kathasaritsagara, Adi Sankara’s works, and many other works in Sanskrit.

I say this not because I wish to show my erudition, but rather to establish my fitness for judging whether a literature is classical. Let me state unequivocally that, by any criteria one may choose, Tamil is one of the great classical literatures and traditions of the world.

The reasons for this are many; let me consider them one by one.

First, Tamil is of considerable antiquity. It predates the literatures of other modern Indian languages by more than a thousand years. Its oldest work, the Tolkappiyam,, contains parts that, judging from the earliest Tamil inscriptions, date back to about 200 BCE. The greatest works of ancient Tamil, the Sangam anthologies and the Pattuppattu, date to the first two centuries of the current era. They are the first great secular body of poetry written in India, predating Kalidasa’s works by two hundred years.

Second, Tamil constitutes the only literary tradition indigenous to India that is not derived from Sanskrit. Indeed, its literature arose before the influence of Sanskrit in the South became strong and so is qualitatively different from anything we have in Sanskrit or other Indian languages. It has its own poetic theory, its own grammatical tradition, its own esthetics, and, above all, a large body of literature that is quite unique. It shows a sort of Indian sensibility that is quite different from anything in Sanskrit or other Indian languages, and it contains its own extremely rich and vast intellectual tradition.

Third, the quality of classical Tamil literature is such that it is fit to stand beside the great literatures of Sanskrit, Greek, Latin, Chinese, Persian and Arabic. The subtlety and profundity of its works, their varied scope (Tamil is the only premodern Indian literature to treat the subaltern extensively), and their universality qualify Tamil to stand as one of the great classical traditions and literatures of the world. Everyone knows the Tirukkural, one of the world’s greatest works on ethics; but this is merely one of a myriad of major and extremely varied works that comprise the Tamil classical tradition. There is not a facet of human existence that is not explored and illuminated by this great literature.

Finally, Tamil is one of the primary independent sources of modern Indian culture and tradition. I have written extensively on the influence of a Southern tradition on the Sanskrit poetic tradition. But equally important, the great sacred works of Tamil Hinduism, beginning with the Sangam Anthologies, have undergirded the development of modern Hinduism. Their ideas were taken into the Bhagavata Purana and other texts (in Telugu and Kannada as well as Sanskrit), hence they spread all over India. Tamil has its own works that are considered to be as sacred as the Vedas and that are recited alongside Vedic mantras in the great Vaisnava temples of South India (such as Tirupati). And just as Sanskrit is the source of the modern Indo-Aryan languages, classical Tamil is the source language of modern Tamil and Malayalam. As Sanskrit is the most conservative and least changed of the Indo-Aryan languages, Tamil is the most conservative of the Dravidian languages, the touchstone that linguists must consult to understand the nature and development of Dravidian.

In trying to discern why Tamil has not been recognized as a classical language, I can see only a political reason: there is a fear that if Tamil is selected as a classical language, other Indian languages may claim similar status. This is an unnecessary worry. I am well aware of the richness of the modern Indian languages — I know that they are among the most fecund and productive languages on earth, each having begotten a modern (and often medieval) literature that can stand with any of the major literatures of the world. Yet none of them is a classical language. Like English and the other modern languages of Europe (with the exception of Greek), they rose on preexisting traditions rather late and developed in the second millennium. The fact that Greek is universally recognized as a classical language in Europe does not lead the French or the English to claim classical status for their languages.

To qualify as a classical tradition, a language must fit several criteria: it should be ancient, it should be an independent tradition that arose mostly on its own not as an offshoot of another tradition, and it must have a large and extremely rich body of ancient literature. Unlike the other modern languages of India, Tamil meets each of these requirements. It is extremely old (as old as Latin and older than Arabic); it arose as an entirely independent tradition, with almost no influence from Sanskrit or other languages; and its ancient literature is indescribably vast and rich.

It seems strange to me that I should have to write an essay such as this claiming that Tamil is a classical literature — it is akin to claiming that India is a great country or Hinduism is one of the world’s great religions. The status of Tamil as one of the great classical languages of the world is something that is patently obvious to anyone who knows the subject. To deny that Tamil is a classical language is to deny a vital and central part of the greatness and richness of Indian culture.

(Signed:)
George L. Hart
Professor of Tamil
Chair in Tamil Studies
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Source: http://tamil.berkeley.edu/Tamil%20Chair/TamilClassicalLanguage/TamilClassicalLgeLtr.html

Saturday, July 17, 2010

Indus script is Dravidian



Eminent Finnish Indologist Asko Parpola on the status of research on the undeciphered script, the new Dholavira finds, whether the Indus script was a system of writing, the Dravidian-Aryan question, the present state of Sanskrit and Vedic studies in Tamil Nadu and Kerala, and the Tirukkural.

Asko Parpola: “I am convinced that some two dozen specific signs have already been deciphered, because in these cases there appears to be sufficient confirmation — it all makes good sense together.”
Asko Parpola’s field of specialisation is Sanskrit, especially Vedic Sanskrit, and the Indus Valley Civilisation, particularly its script, on which he is one of the world’s leading authorities. This renowned Indologist from Finland has done significant research on the Sama Veda, having studied it under the guidance of a Namboothiri scholar of eminence from Panjal, Kerala. Dr. Parpola is Professor Emeritus of Indology and South Asian Studies at the University of Helsinki. About 4,000 seals have survived from the Indus Valley Civilisation, which flourished around 2600-1900 BC. The two volumes he co-edited, Corpus of Indus Seals and Inscriptions (Helsinki, 1987 & 1991), are considered the standard work in the field. His study concludes that the Indus script encodes a Dravidian language. The Indus script is perhaps the most important among ancient systems of writing that are undeciphered. Excerpts from an interview with Dr. Parpola, who was in Chennai recently to deliver a lecture at the Indus Research Centre at the Roja Muthiah Research Library:

I learn that you have come to Chennai straight from Dholavira in Gujarat. Have the new finds in Dholavira, like the signboard, made any difference to our understanding of Indus script?
Yes... the Dholavira signboard is the first example of what we could call monumental inscriptions. Each sign is about 30 cm high. The usual sign on a seal is less than one cm, as you know. The board itself is three metres long. We have also got some new seals and artifacts. However, though these are important finds, they do not bring about any fundamental change in our understanding of the Indus script.

What is the present status of research on the Indus script?
We shall soon have all the material relating to the script in an easily accessible form, in good photographs, or as good as we can get, and also all sorts of indexes and concordances. Thus, good manuals will soon be at hand. As far as decipherment is concerned, we can run various computer programmes that can help in classifying the Indus signs into groups of functionally similar signs. But the real decipherment can only come from making detailed informed guesses and then testing them, seeing if they have enough support from different kinds of evidence. The main thing is that the hypotheses follow strict rules and agree with generally accepted knowledge: the history of writing, proven methods of decipherment, and linguistic and historical evidence.

You have stated in your book Deciphering the Indus Script (London, 1994) that the script cannot be fully deciphered in the present state of our knowledge. Are you hopeful of an eventual full decipherment of the Indus script?
I do not believe in a full decipherment. But I am convinced that some two dozen specific signs have already been deciphered, because in these cases there appears to be sufficient confirmation — it all makes good sense together. In principle, we have a real chance of decipherment only with those signs that we can clearly identify pictorially.

There is a recent controversy that the Indus script is not a system of writing at all. What are your comments on this?
In December 2004, Steve Farmer and his two colleagues published an article where they mention several reasons why the Indus script cannot be writing. In the paper I presented here in Chennai, I examined each one of their nine arguments, concluding that none holds water. For instance, they claim that there is no repetition of signs within a single Indus seal, emphasising this as the most important indicator. But I can quote many examples where such repetition is found.

Another claim was that no longer texts in other writing media like palm leaves have been found at Indus sites. We know from Greek sources that cotton cloth was used as writing material in 325 BC in the Indus Valley. But preserved Indian texts written on cotton cloth date from more than a thousand years later. We know for certain that the Indus people had cotton, but only microscopically small remains of cotton have been preserved in association with metal objects.

Farmer and his colleagues do not discuss the evidence supplied by the Indus sign sequences, which make it virtually certain that the Indus script is writing. How else can we explain that in hundreds of sequences, the signs are always written in the same definite order? If they were just non-linguistic symbols, why did they follow such rules, and did the Indus people keep long registers of sign orders in all the many dozens of sites?

How did you reach the conclusion that the Indus script is Dravidian?
We started with the premise that from the point of view of linguistic history, Dravidian is the most probable alternative. There are several language families in South Asia, the biggest being Indo-European and Dravidian. About a hundred years ago, some 25 per cent of people in South Asia spoke a Dravidian language. Numerically Dravidian is the most important among the non-Indo-European languages of the subcontinent. Brahui, a North Dravidian language, is still spoken in the Indus region. The Munda languages are mainly spoken in eastern India by rather few people and their linguistic relatives are in South-East Asia. The only non-Indo-European language family of South Asia from which there are widely accepted loan words in the Rig Veda is Dravidian. And when applied to the Indus script, Dravidian puns make sense.

Is there scope for further collaboration between Indian and western scholars in studying the Indus script?
I have discussed the possibilities of collaboration. Personally I would be very happy with such a development. Iravatham Mahadevan has been preparing the ground for further Indian research work in this field. India is one of the leading countries in information technology. You have a wealth of young IT experts, and some of them are eager to work on the Indus script. I cannot do this work myself, and would have to hire experts to update our concordances. But no formal decision of collaboration has yet been made. (The Indus Research Centre at Roja Muthiah Research Library Chennai has an ongoing collaborative project with the Tata Institute of Fundamental Research, Mumbai and the Institute of Mathematical Sciences, Chennai. A team of experts had a discussion with Dr. Parpola on this subject – Theodore Baskaran.)

You are a Sanskritist by training. What attracted you to study the Indus Civilisation?
I went to the university to study the classical languages of Europe, Latin and Greek. In those days we had to choose three subjects and Sanskrit sounded an interesting choice. It became my main field. The Indus Script attracted me when a friend offered to help with computers in any problem relating to my field. At that time, in the early 1960s, the Greek ‘Linear B’ script had recently been deciphered. It was a great sensation in those days. [Linear B is a script used for writing Mycenaen, an early form of Greek.] And India had its Indus script to be studied.

Do the archaeological data help in understanding the seals?
Definitely. Information like where and with what other material a particular seal was discovered can provide us some leads. Let’s say a seal comes from a room where other artifacts point to the practice of a particular craft, for instance bead-making. Then “bead-maker” might be mentioned in the seal. This is just one example of how we may get clues to proceed further.

You have learned the Sama Veda from a traditional guru in Kerala. What is your assessment of the present level of Vedic and Sanskrit studies in Tamil Nadu and Kerala?
I have studied Jaiminiya Sama Veda, which is one of the rare Vedic schools, surviving only in South India. In Kerala there are just a handful of scholars who can chant Jaiminiya Sama Veda and they are old, so the future of this particular tradition is rather bleak there.

In Tamil Nadu the prospect is much better, as there is a vigorous Jaiminiya Sama Veda pathasala near Tiruchi with a number of students and a dedicated teacher. In the case of other Vedic schools, the situation is less critical and there are some very good centres of Sanskrit studies in both Tamil Nadu and Kerala.

Some Indian scholars claim that the Aryans never came from outside India and that the Indus Civilisation was Vedic. What is your stand on the Aryan-Dravidian debate?
The urban civilisation of the Indus Valley differs greatly from the predominantly nomadic culture described in the early Vedic texts. For one thing, the domestic horse, which occupies an important position in Vedic religion and culture, is not represented among the many animals depicted on Indus seals, nor is there any unambiguous bone evidence for the presence of the horse in South Asian before 2000 BC. The horse is not native to South Asia, and was introduced by outsiders in post-Harappan times.

I have always found it most unfortunate that the past is politicised and used for other than scholarly purposes. As far as the Aryan-Dravidian dichotomy is concerned, it must be remembered that ‘Aryan’ and ‘Dravidian’ are linguistic and not racial terms. There is no pure race, and Aryan and Dravidian speakers have been in contact with each other in South Asia from the start of their encounter. Ever since the Aryan speakers came to India from Central Asia, this militarily powerful minority group would have mixed with the local population. Centuries of gradually increasing bilingualism eventually led to a large-scale language shift, making almost the whole population of North India Indo-Aryan speakers. Linguistic and religious fanatics inflame a wrong sort of nationalism, which has led to great ills both in South Asia and elsewhere. Ancient traditions of language must not be used to divide people.

You had said that lexicography is well advanced in Tamil and Malayalam. What are the reasons?
Tamil has a long literary tradition, especially after the discovery of the Sangam texts. S. Vaiyapuri Pillai did great work in compiling the Tamil Lexicon and after him Murray Rajam initiated further important lexicographic work. The Malayalam Lexicon of the University of Kerala is following this lead. I hope Tamil scholars will extend their work to the study of cognate languages, in particular small tribal languages with no native linguists, and thus enlarge the understanding of the common prehistoric background of all Dravidian languages. The study of the Indus script suffers greatly from inadequate knowledge of ancient compound words, which have not survived in Tamil or Malayalam, but [have] possibly [survived] elsewhere.

You recommended creation of linguistic archives. Could you elaborate this?
Not only linguistic but also folklore material should be collected and published. This is necessary for traditions that do not have a written tradition. Instead, tribal languages do have oral traditions of songs, legends, and stories. In Udupi, Professor U.P. Upadhyaya and his wife Susheela, along with their colleagues, have done exemplary work in collecting a rich database of folklore material and using this as the basis of a six-volume Tulu Lexicon. We badly need similar work on the remaining Dravidian languages, which are all the time losing their ancient vocabulary with the increasing influence of Indo-Aryan and English.

I learn you are translating Tirukkural into Finnish. How is the progress? What is your experience?
Fifteen years ago, I could recite by heart the first hundred stanzas of Tirukkural. I gave lectures at Helsinki University on this Tamil classic that I greatly admire, and translated into Finnish prose almost one half of the text. Unfortunately I have since then not found time and opportunity to finish the job, but I hope this will be possible in the future.


source:http://www.hindu.com/2008/03/04/stories/2008030454850900.htm

Tuesday, April 6, 2010

மரணம் ஜனனம்...!




உயிரற்றவருக்காக
உயிர்க்கொண்டவைகள்
சாகடிக்கப்படுகின்றன
சவ ஊர்வல்த்தில் பூக்களாய்..!


ஆனால்,
கல்லறையிலும்
உயிர்தெழுகிறது
பூக்கள்..!

Sunday, April 4, 2010

வலிகள்...!

எதிர்த்து பேசியதால் வந்த
தந்தையின் -வார்த்தைகள்.....!

நான் திட்டியதால் வழிந்த
தாயின் -கண்ணீர்...!

பார்த்தும் மலராமல் போன
தோழியின் -சிரிப்பு...!

கேள்விக்கு பதிலாய் வந்த
காதலியின் -மெளனம்....!

சொல்லாமல் போனதால் வந்த
நண்பனின் -கோபம்....!

இவையாவும்
வலிகள்,
துன்பத்தில் மனதில் பட்ட
திரவத்துளிகள்....!

வலிகள்...!


எதிர்த்து பேசியதால் வந்த
தந்தையின் -வார்த்தைகள்.....!

நான் திட்டியதால் வழிந்த
தாயின் -கண்ணீர்...!

பார்த்தும் மலராமல் போன
தோழியின் -சிரிப்பு...!

கேள்விக்கு பதிலாய் வந்த
காதலியின் -மெளனம்....!

சொல்லாமல் போனதால்
நண்பனின் -கோபம்....!

இவையாவும்
வலிகள்,
துன்பத்தில் மனதில் பட்ட
திரவத்துளிகள்....!

பூக்கள்...!



வாசம் தந்த
ஆசையில் விளைந்த ஓசைகள் நாம்..!

முதல் தாலாட்டு பாடக்கிடவையில்,
நம்மை சூழ்ந்த வாசமாய்...!

வேண்டியது நடக்க கடவுளுக்கு
-லஞ்சமாய்...!

பூப்படைந்த மலருக்கு முதலில் வைக்கும்
-அணிகலனாய்..!

பருவத்தில் காதலிக்கு கொடுக்கும்
-அன்புப் பரிசாய்....!

மண மேடையில் பந்தங்களை இணைக்கும்
-உறவுப்பாலமாய்...!

ஊடலைக் கூட கூடலாக்கும்
மந்திரக்கோளாய்....!

இறுதிவரை இறுதிபயணத்தில்
-தோழனாய்...!

கல்லறையிலும் உடனிருக்கும்
-காவலனாய்..!

இப்படிக்கு,
-பூக்கள்

ஹைகூ -2

தண்ணீர்..!
இரத்தம் இல்லா இதயம் போல்
தண்ணீரில்லா சென்னையின் முக்கிய பகுதிகள்....!


மாறுவேடம்...!
பூங்காற்று
போட்ட மாறுவேடமோ ?
-மழை


அம்மா..!
என் வாழ்வின்,
முதல் உலகம்
முதல் சொந்தம்
முதல் கடவுள்
-அம்மா..!


விண்மீன்….!
கண்விழித்து பார்ப்பது யார்,
இரவெல்லாம் ஜொலிக்கிறது,
-விண்மீன்..!

Saturday, April 3, 2010

கடலே....!


கடலே....!
உன் இடம் நெய்தலே,
உனது வேலை பாய்தலே..!

நதி உன்மீது கொண்ட மோகம்,
அதனால், உன்னை தானே வந்து சேரும்...!

என் மனதின் -அசல் நகல் நீ..!

நிலவே முகம் பார்க்கும்
-அழகு கண்ணாடி நீ
என் முயற்சி உந்தன் அலை..!

ஏன் என தெரியவில்லை ,
காரணம் புரியவில்லை,
மாலையில் சிறை பிடித்து
காலையில் விடுவிக்கிறாய் -ஞாயிறை..!

இரவு நிலவோடு குளிர் காய்கிறாய்...!

உன்னோடு உப்பு அதிகமாய் இருப்பதால் தான்,
ரோசப்பட்டாய் போலும்,
ஆழிப்பேரலையாய் தாண்டவம் ஆடினாயே...!

ஏனோ உந்தன் உற்சவம்,
உலகை அழிக்கிறது..!

கரையோடிருக்கும் புதையல் ரகசியம் என்ன?
ஓயாமல் வந்து எப்போதும்
தேடுகிறாயே...!

சித்திரை….!




வந்தது சித்திரை
அது வரும் கோடையின் முத்திரை..!

பள்ளிகளுக்கோ விடுமுறை
மாணவர் நெஞ்சில் இன்ப அலை..!

சித்திரையின் இறுதியில் வருவான்
கதிரவன் கத்திரியாக....!

நீரின் உண்மையான சுவை அறிந்தோம்
உந்தன் வெப்பத்தாலே..!

இது வெயிலின்
வசந்த காலம்....!

குளிரின்
இறந்த காலம்..!

தென்றலும்
வெப்பத்தில் வாடும்..!

இக்காலம்
வெறுத்தாலும் ,
நாம் மறுக்க முடியாது
-இது மழை உண்டாக்கும் மேகங்களின் தேனிலவு என்று..

பக்தி….!



சாராயப்பண்டம் கடையில் குடிக்க,
கூடவே மாமிசம் சுவைக்க,
குடிமக்கள் அனைவரும் அள்ளி நகைக்க,
வெள்ளிக்கிழமை- சாராயக் கடையில் அன்றோ..!
இசைப்பது- பக்தி பாடல் அன்றோ…!

ஆத்தா! என மக்கள் சாமியாடி முடிக்க,
அம்மனுக்கு பூசைகள் நடக்க,
ஏழைகள் கூழினை குடிக்க,
மாலையில் ஞாயிறு மறைய நிற்க,
அப்பொழுதில் -கோயில் திருவிழா அன்றோ…!
இசைப்பது -மலே!மலே! பாடல் அன்றோ..!

பூனை…!



பூனை குறுக்கே செல்வது-போகும் காரியம்
நடைபெறாமல் தடுக்கும்- நம்மை பொருத்தவரை...!

பூனை குறுக்கே செல்வது- பாவம் செய்த மனிதன்
செல்லும் முன் செல்ல வேண்டும் -பூனையை பொருத்தவரை..!

Wednesday, March 31, 2010

கண்ணீர் சிந்தா விழிகள்...!


கண்களின் பொறுப்பு
காட்சிகளை காண்பதல்ல,
உணர்சிகளை காண்பிப்பதும்..!

மகிழ்ச்சி,
சோகம்
கோபம்
ஏக்கம்
என அனைத்தும்
தெரிவது,
இந்த கண்களில்..!

கண்களும்
மொழி பேசும்
கண்ணீராய்..!

மூடிக்கொண்டும்
பார்க்கும்
கனவாய்..!

ஆயினும் சில தருணங்களுண்டு,
அங்கே,
மனம்
வலிகண்டிருக்கும்,
காரணமுமிருக்கும்,
கண்ணீர் மட்டும் சிந்தாது..!

அப்போது காணலாம்,
கண்ணீர் சிந்தா விழிகளை,,,!