Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
London has become the Babel of the modern world. More than a third of Londoners are foreign born. Our city encompasses more than 270 nationalities and 300 languages.
Lot of foreigners come here for work or study. Most of them stay here. According to the statistics published ten years ago Indian community with 157,000 migrants is the largest migrant community. Next comes Nigerians with 68,000 people. European population is a floating population and it may change due to Britain’s decision to come out of European Union.
From Metro Newspaper ,1 March 2011
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The Secret World of Gang Slang
Often impenetrable and indecipherable to all but those in the know, street slang has become a separatist form of communication. The roots of London’s modern street slang are hard to pinpoint, as the city is a linguistic melting pot of many races that have left their mark on the capital’s language.
The words on our streets:
Irrespective of who uses it and for what purpose, street slang is constantly evolving. Words in common parlance five years ago like ‘buff – good looking’ are deemed antediluvian, replaced by newer terms such as ‘chug’, ‘peak’,and ‘wavey’. Skadoosh, many persons’ favourite, is a relative new comer.
Here is a list of London slang
Bang – Punch
Bare – a lot
Bate – obvious
Blud – friend
Booky- suspicious
Butters – ugly
Chug- good looking
Dutty- nasty
Fam – friends
Gallis- womaniser
Gased- talking nonsense
Gem- fool
Ghost – to be frequently absent
Greezy- bad
Junge- whore
Liccle- small
Marga- extremely skinny
Moist- no rating, silly, naff
Murk- attack
Nang – good
Peak – used to highlight an eventful situation
Penguin- good looking
Shank – stab
Shower- cool
Skadoosh – Goodbye
Skettel – loose woman
Slipping- to be caught off guard
Swag – crap
Tekkers- technique
Wallad- idiot
Wavey – high or drunk
From Metro Newspaper 1 November 2010
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Ship Lost in Translation
A ship was lost in the mid sea because of language problem.
The Mary Rose was the flagship of the English fleet defending the country against the French in July 1545.
It was during an exchange of cannon fire that the ship capsized and sank, losing all but 35 of its crew.
Named after Henry VIII’s sister she was one of the purpose built warships to serve in the Royal Navy.
This ship went down because most of the crew were foreigners who could not understand their commanders’ orders to save the ship.
Studies of the sailors’ teeth have revealed that many of them were Spanish- lending weight to the theory that the ports were left open because frenzied orders to shut them were lost in foreign ears. Professor Huge Montgomery of University College London, who carried out the study revealed this finding.
Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
ஒரே சொல் மீண்டும் மீண்டும் வந்தால் ஓரிரு இடங்களில் மட்டுமே கட்டத்தில் இருக்கும். கொண்டு கூட்டி பொருள் கொள்க . விடை கீழே உள்ளது . சில நேரங்களில் படங்களைப் பார்த்தாலும் விடை காண உதவலாம்.
விடை
1.ஆலமரம் பழுத்தால் வேடன் பாடு கொண்டாட்டம்
2.ஆலமரம் பழுத்தத்தை என்று பறவைக்கு ஆர் சீட்டு அனுப்பியது ?
3.ஆலை விழுது தாங்கினது போல
4.ஆலும் வேலும் பல்லுக்கு உறுதி , நாலும் இரண்டும் சொல்லுக்கு உறுதி
Source book :–
பயன்படுத்திய நூல்- கழகப் பழமொழி அகர வரிசை, கழக வெளியீடு.
The chronicles of Tyagaraja contain imaginary legends and invented incidents. Pauranikas will relate a story in respect of almost every kriti. Some kritis do have references to some personal issues or concerns, but it is not sound to construct an entire biography of his external life on the basis of his kritis. The life of a saint or Sage does not entirely consist of external events. Nor do they treat external events as we do. The life of a person like Tyagaraja who was almost always immersed in divine consciousness has to be understood on the basis of what he has revealed of his mind and thought and of his divine experiences, and not merely on the basis of reconstruction of some events supposed to have taken place, as interpreted by us. Sri Aurobindo said that his life was not on the surface for people to see! This applies to all mystics.
Sri Tyagaraja did not merely worship Rama, he experienced Him in many moods and aspects.This is what we have to learn from his kritis..
The definite elements known of his life are that he led a very simple life, wholly devoted to spiritual pursuit through the medium of devotion to his Ishta Devata- Sri Rama through ritual worship, japa, dhyana and devotional singing-sankirtana.. His literary output in the form of his musical compositions is an exuberant outpouring of his spiritual experiences. The extraordinary variety, richness and depth of his kritis reflect the quality of his spiritual life over many decades. They do give the clearest clue to his mind and heart. Saint Arunagirinatha sang of a devotee being ‘ skilled of mind and pure of heart’- “Matiyaal vitthakanaagi manadaal utthamanaagi”, மதியால்வித்தகனாகிமனதால்உத்தமனாகி– what in ordinary parlance we call the qualities of ‘head and heart’. We see this amply proved in the case of Tyagaraja.
Tyagaraja lived in troubled times. The foundations of religious life were being shaken. Orthodoxy was degenerating into mere show and hypocrisy. Hindu society was leaderless, dharma lacked royal protection and patronage.. At the same time the traditional economic arrangements were also breaking down. Independent sources of livelihood were disappearing, and large sections were becoming landless labourers. Patronage was dwindling for forms of traditional religious life. The crisis faced was thus religious, social and economic at the same time.
Even so, the Tanjore region- the famed Chola Desa- was still fortunate. There were pockets of traditional art and craft, learning and religion. Above all, some outstanding religious figures appeared and infused new life and arrangements. The chief among them was the path of Nama Siddhanta, and Sankirtan. This could be practiced individually and in groups, did not depend on any social or religious order, though it did not contradict or oppose them, either. It did not need elaborate paraphernalia or organization. Sri Tyagaraja is a great exemplar and advocate of this fresh trend, though he made use of all the ancient elements- like mantra japa and dhyana, legend and lore, itihasa-purana etc. All this is seen in his kritis.
Tyagaraja seeks to know the secrets of worship- from those who are themselves great worshippers- from Sita and Lakshmana- no less!
Pakkala nilabadi
Tanuvuche vandana monarinju chunnara
chanuvuna nama kirtana seyu chunnara
Manasuna dalachi maimarachi yunnara
nenarunchi Tyagarajunito Hari Hari meeru iru
Pakkala nilabadi koliche muchchata
Baaga telpa raada……
Sudati Sitamma Saumitri Ramuniki iru
Pakkala
O mother Sita! O Lakshmana! Can you not tell me the secret of the service you are rendering to Rama, standing by his side?
Do you worship him by prostrating with your body ( ie by sashtanga namaskar)?
Or do you engage in Nama Sankirtan with devotion?
Or do you meditate on Him in your heart and thus forget your body ( ie lose external consciousness)?
Can you two not reveal the secret to me?
Here, Tyagaraja is referring to the very basics- engaging the body ( namaskar), speech (kirtan) and mind (dhyana). True worship involves all three. Also, he is referring here to three aspects of the nine-step bhakti- vandana, kirtana and manana. It is the true blood of the die-hard bhakta that is coursing through the veins of Tyagaraja.
Tyagaraja is a keen observer of life around him. He notices how people indulge in mere show.
Teliyaleru Rama bhaktimargamu
Ilanandata tiruguchu galuvarincere gaani
Teliyaleru Rama bhaktimargamunu
Vega lechi neeta munigi bhuti boosi
vaellanenchi veliki slaaganeeyulai
baaga paina maarjanalolulaire gaani
Teliyaleru
People run about in frenzied activity all over the world, but they do not (care to) know the good way of Ramabhakti.
They get up early in the morning, and after bath, apply sacred ash all over the body and adopt other paraphernalia, count on their fingers ( as if doing japa), show themselves like good outside, but only desire to earn money!
Will such people know where Ayodhya is?
Nadachi Nadachi chooche
Nadachi nadachi chooche
Ayodhya nagaramu gaanare
Pudamisuta sahayudai chelange
Poornuni Atmaramuni gooda…..
Atte kanula goorchi terachi sootramu
batti veliki vesadaarulai
puttu chavuleni taavu teliyaka
pogaderu
Atmarama is perfect, and shines in the company of Sita. People wish to join this Atmarama, they keep walking but have not found Ayodhya! They just open and close their eyes; they hold the rosary and count the beads; they just don such disguises. They indulge in praising God but do not know the place beyond birth and death. Such people cannot find Ayodhya!
Here, Tyagaraja employs both deep philosophy and pungent irony. Rama is not just Ayodhyapati, but Atmarama ie the ruler of Atma! Ayodhya is not just a place out there, but the space of our heart! Unless we realise Rama as seated in our heart ie as our very Atma, how can we find him in any external, physical Ayodhya?
How can people who merely adopt the external signs and symbols without the inner dedication, lacking in spiritual insight, realise that truth of Atma? Hypocrisy will not do.
There is indeed a Royal path one must take!
Chakkani Raja margamu
Chakkani raja margamu lundaga sandula dooranelae O manasa Chikkani paalu meegada undaga cheeyanu ganga sagara mele kantiki sundara taramagu roopame muk- kanti nota chelage naamame Tyagaraju intane nela konna aadi deivame yitu- vanti Srisaketa Ramuni bhaktiyane
O mind! When there is the Royal path, why do you wish to enter the lanes and by lanes? When there is the nourishing milk and cream, why do you take the despicable liquor?
Rama has the beautiful form which delights the eyes.
He has the name which is ever on the tongue of Lord Shiva ( which takes one across the ocean of samsara). He has his abode at the residence of Tyagaraja, as his ancient Deity. Devotion to Him is the Royal path. When this is available, why do you wish to enter lanes
and bylanes ( ie take up less wholesome ways?) This kriti is rather well known among those who listen to Harikatha on Tyagaraja. The pauranikas delight in expounding that this song was sung when Serfoji, the ruler of Tanjore invited Tyagaraja to his court but Tyagaraja declined, incurring the wrath of his brother. The allusion is that Tanjore was full of lanes and by lanes, whereas Tiruvaiyaaru where Tyagaraja resided was better, with broad streets and a famous ancient temple of Lord Shiva. As we see here, the kriti has a philosophical import and can stand on its own.
However, there is a bit of social history here. Those days the poor labourers used to consume country liquor at the end of a day of hard labour, and roll on the streets, in a state of semi-stupor, as if floating on the waves of the ocean! This was called ‘gangasagar’.
(Incidentally, scenes of such people floating on gangasagar can be witnessed even today, in broad daylight, in several areas in Bangalore!) This kriti has as its theme the idea that Bhakti is the Royal path and contemplation on Rupa and japa and kirtan of Nama are sure aids- thus instantly connecting it to the classical ideas and authorities!
O my Father! Please do not stop showing your mercy to me. Considering that I lack the heroism to understand that everything appearing before me is the (one) Self, I am unable to control my five senses ( from wandering among the sense objects), I lack the courage to praise you constantly- do not stop showing your mercy.
Here, Tyagaraja reveals himself as the essential bhakta, who depends only on the mercy of God. As for sadhana, the things he is listing here are typically those of the jnani or yogi- the idea of universal oneness, the control of the senses and also the resort to constant praises- the path of viveka and vairagya. The other idea is even more fundamental for the devotee: we can never DESERVE God’s mercy, by anything that we do. It is only God’s causeless compassion-universal karuna- that can save us. This is what a bhakta pleads for. Sri Ramakrishna used to say: Mother, keep your jnana with you. Give me bhakti!’.
However, in a more basic sense, realisation of oneness of existence and control of the senses are common to all paths. Some strive by them as the means, to others they come as by products!
Everything appearing before me is the One Self: even the bhakta has this attitude- the idea of Vasudeva. In the pujas performed by Smartas, they do utter a mantra at the beginning invoking this oneness: ‘tyajeth ajnana nimalyam So’ham bhavena pujayet’.
Please accept the worship (Puja, archana) I perform with Tulasi, Bilva, Mallika, Lotus etc flowers! This Tyagaraja performs this aradhana to your blessed chest, face, head, your shoulders and arms, and your feet. He always offers these flowers, with deep love and great joy. Please accept this worship.
On the path of saguna worship, every aspect connected with the Deity’s form assumes importance- his feet, arms, eyes, weapons, his retinue etc. Even the mounts like garuda, peacock, sesha, or symbols in flags like the cock assume importance and their worship acquires cult status! Typically, the dhyana slokas systematically recall and describe these aspects! Every one of them symbolises some deep philosophical idea. It is typical of Tyagaraja’s universality that he uses both Tulasi ( held dear to Vishnu) and Bilva ( held sacred for Shiva ) for the puja of Rama! In another place, he says he uses both Shiva and Rama nama for archana! Kallaladaka molla sumamula nee challani padamu kollalaaduchu (Innaallu) I performed archana to your cool feet with jasmine flowers.
Tyagaraja also takes a typical dig at hypocrites, thereby telling us what we should avoid on the path of devotion.
Adikaadu bhajana Edalo jenjutokati pai- yedalo galginacho nokati Adikaadu bhajana manasa If what is thought in the mind, and what is performed outside are different, then that is not bhajan, o mind! Goppadanamukai aasa kuchchita vishaya pipaasa meppulakai bahu vesamidi uppadilledaru…..adikaadu bhajana Assuming different disguises,( as devotees but) wishing to amass wealth, desiring all sorts of despicable sense pleasures,for the sake of achieving worldly name and fame- this kind of activity is not bhajan!
Bhajana seyumani balikiri gaani Nijamuga nee mahima delpa leru They will say outwardly that they want to do your bhajan, but in fact these people are not qualified to expound your greatness. Ajagaja simha srugalaantaramani The difference is like that between sheep and elephant, or fox and lion – (between these people and the real devotees ) Buddhyanu tallini vishaya vidulaku proddu nosagi pakamu laarginche siddhulu sujanula sabhaku raanerani
peddalu……….nijaamuga
They have handed over their buddhi to sense pleasures, like handing over one’s mother to other men. They are the ‘adepts’, constantly engaged in amassing money; they are the ‘ big or great men’ unfit to enter the assembly of holy men. Such people are unqualified to talk about your greatness.
Tyagaraja can deal a deadly punch. He uses harsh language to describe bad people. And the sarcasm! Adepts (siddhulu) and ‘big or great men (peddulu)- oh, what venom is packed in these words! The point is, hypocrisy is bad anywhere but in the religious-spiritual sphere, it is just intolerable. See the damage done even now by false gurus and promoters of cults! So, we are tempted to say, ‘Well done, Swami’.
A real devotee need not be a bum.
Swararaga sudharasayuta bhakti swagaapavargamura o manasa Maddala taala gatula teliyagane mardinchuta sukhama suddhamanasuleka pooja seyuda sookara vrittira o manasa
O mind! Bhakti accompanied by (singing) with the divine essence of swara and raga alone can confer both heaven and Liberation!
Can we enjoy the playing of mridanga, when the player lacks knowledge of its nuances? Likewise, it is low type of existence, like that of a pig, when some one resorts to puja without a pure heart or mind.
O the compassionate Lord! The (so called ) Bhagavatas who lack knowledge of raga, tala, the right emotion, devotion, basic jnana, yoga discipline, love- are they not interested only in filling their belly? (using the art as a means to making a living, or living like animals) Is it becoming of you to treat these people and the real devotees as equal, O Lord of compassion!
We do not know the context in which Tyagaraja wrote this kriti. That God treats the bogus and real Bhagavatas as equal may be an observation based on how prosperous some of these musical exponents are, though they lack the qualifications and discipline required for a Bhagavata. Today, most performing professional musicians will sing any song, including a film song, in a serious classical music concert. And they will sing a song written by a known atheist right next to one by Tyagaraja! Because, it is all for the belly, for the money! These musicians treat ‘vaarini, veerini’ as equals! Those who take our classical music as noble and sacred should ponder over the situation. Above all, Sri Tyagaraja did not write for the concert platform or the sabhas. His kritis are the repositories of our traditional spiritual and religious treasure, based on our Itihasa-Purana-Upanishadic lore,and should be accorded the deserved respect, if we are real Hindus. We must create and evolve a separate order and arrangement for the recital of Tyagaraja keertanas. They cannot be reduced to the status of fillers in a sabha program, conducted for the sake of money, or name and fame.
Aasapaasamula dega kosi yanniyu
Aasapaasamula dega kosi yanniyu Madirosi karmamu baasi ninu karunaa vaaraasiyani puja jesi…. (Idhe bhagyamu) Giving up all worldly attachments, developing intense hatred for them in the heart, giving up all karmas, (one should) only worship You, the repository of all sacred traits.
Only this is real happiness and fortune.
It is important to note here the qualifications prescribed for taking up serious puja. The reference to giving up karma is a direct link to the Gita. Karma here is used in its technical sense- of those prescribed by our sastras, but they are kamya karmas. Gita has dealt with them elaborately, revealing what should be avoided, and what should not. ( We have seen this in earlier postings) Karma is anathema to people taking up the path of devotion seriously. “Give up all dharmas and surrender to Me alone ” is the supreme word of Bhagavan (Paramam vacha). Sadguru Tyagaraja is sticking to that line, undiluted.
Neeke dayaraaka
Manasu nilvanivaaru mayajalamujesi mari mukti konanaune Meppulagai bahu dharmamu jesite migul brova dagune Neeke dayaraaka ne jesiyu panulella neraveruna Rama The man who cannot control his mind (or concentrate on any object)- can he attain Liberation by resorting to some magic? If many dharmas are performed for the sake of attracting wealth, will God save us? If you do not have mercy on me, can my efforts bear fruit, O Rama!
(Gattiga nanu) Performing Siva puja and Vishnu puja, and puffed up that there are no equal to them in performing puja- such people lacking discrimination but full of the pride of wealth… Tyagaraja says in this kriti that Rama prevented Tyagaraja from seeking help (begging){ vedaga vaddu} from such people. A true devotee never advertises his piety or practices, nor does he develop pride.
Snanadi japa tapa yoga dhyana samadhi suka prada…….(ninne bhajana)
You are the one to confer happiness on those who take to the right path of snana, japa, tapas, yoga, dhyana and samadhi!
These are all traditional methods prescribed by experienced authorities- forming part of Vaidi Bhakti, an essential aid and stage on the path. They should not be discarded.
Good and bad people
When all is said and done, we observe that in the world there are people who are inherently religious and spiritual, while there also others who lack or dislike any notion of God, Religion, spirituality. How does this happen? Bhagavan Krishna explains this in an entire chapter of the Gita- chapter XVI titled ” the Yoga of Divine and Demonic Attributes- Deiva Asura Sampat vibhaga Yoga”. There Bhagavan makes it clear that people ARE BORN with divine or non-divine (Asuric) attributes. This is entirely due to their past karma. Bhagavan says there that one should avoid acting according to one’s fancy or inclination, but take sastra as the true guide for action, to avoid bad karma and itsevil effects. Saints do not blame God for their suffering or difficulties, but only blame their own past karma. Tyagaraja has a moving piece on this subject.
Ninne na valasina demi
Ninna na valasina demi Rama nannana vale gaaga Manasuna nenaruna ninu juchi naanaa Sajjana seva vinayamunu nijamuna jesi naanaa Gana padamuna puja nonarinchi naanaa Kalalonu galigina kalumulakale nenchi valachaka balu tapamunu jesinaanaa
Tolijanmamula puja phalamemo teliya O Rama! How can I blame or find fault with you? I have only to blame myself. Did I see you in my mind and meditate on you? Did I serve the true devotees with real humility? Did I perform puja to your holy Feet? Did I consider all the wealth of the world as equal to a dream and avoiding infatuation for it, did I undertake severe penance? I do not know what is the result of my karma in previous births.
Jalajaaptakula varatilaka veenula Neekatalu vinna balu paapamulu ponugaani kalumula palukula chelulu vachyunugaani O the gem of the line of Surya, who is the friend of the lotus! If one listens to your history, all the serious sins will be annihilated. Besides, he will also get the blessings of both Lakshmi and Saraswati!
Here, Tyagaraja Swami is indicating both that our past karmas bear fruit now and also how to achieve good karma! We should keep Bhagavan in our mind’s eye and meditate on Him. We should serve real holy people. We should perform Bhagavad puja. We should avoid infatuation with wealth and do tapas. Above all, we should listen to the divine lore, especially the accounts of the Avataras. This is the way to get good karma and also wisdom and prosperity in this world. Birth in a noble or pious family, or in prosperous circumstances, association with holy company etc are all obtained through spiritual effort in past births.No spiritual effort ever goes waste, as Bhagavan explains in the Gita, vide Chapter VI, slokas 40-44. When Jnanasambandha starts singing hymns at the age of 3, he states in the very first verse that it was God who blessed him to conduct the worship with flowers in previous birth (“Yedudaiya malaraal munai naal panindetta arul seida”).
While talking of divine and demonic qualities, Bhagavan assures Arjuna that he is born with divine attributes. Can one get the fortune of listening to the supreme words of Bhagavan unless he has sufficient merit? And we, who are able to read and listen to these words now, can also consider ourselves fortunate! The cow gives milk for the sake of the calf, but it feeds other children too! It raineth for the just, but the unjust fellow also reaps the benefit! So, there must be some small merit which has enabled us to learn these things, listen to the words of holy people, and read these holy books and scriptures. Sadguru Tyagaraja Swami has given us the accumulated wisdom as the butter roll placed in the palm of our hands- kaivalya navaneetam! Can we thank him enough? We can only prostrate before his blessed feet!
Pictures are taken from various sources for spreading knowledge; this is a non- commercial blog. Thanks for your great pictures.
tamilandvedas.com, swamiindology.blogspot.com
தமிழ் ஒரு வினோத மொழி
பழங்கால மொழிகளில் தமிழ் ஒரு வினோத மொழி. தமிழில் நிறைய எழுத்துக்கள் முதல் எழுத்தாக வராது. ஆனால் தொல்காப்பியர் சொன்ன விதிகளையும் மீறி சில விஷயங்கள் நடந்துள்ளன.
சம்ஸ்க்ருதத்தில் க் , ச் ம் , ன் முதலிய எல்லா எழுத்துக்களிலும் சொற்கள் உண்டு. ஆனால் தமிழ் மொழியில் புள்ளி வாய்த்த மெய் எழுத்துக்களில் துவங்க மாட்டோம்.
‘ஒள’ என்ற எழுத்தில் துவங்கும் சொற்களே சங்க காலம் அதற்குப் பின்னர் வந்த திருக்குறள் முதலான பதினெண் கீழ் கணக்கு நூல்களில் காண முடியாது !!! எல்லோருக்கும் தெரிந்த ‘ஒளவையார்’ பெயர் ஒன்று மட்டும் பாடலின் கீழ் இருக்கும். அதையும் கூட அவ்வையார் என்று எழுத முடியும் . தொல்காப்பியர் 12 உயிர் எழுத்துக்களிலும் சொற்கள் இருக்க முடியும் என்று சூத்திரம் எழுதியும் கூட 18 சங்க நூல்களிலும் 18 கீழ்க்கணக்கு நூல்களிலும் ஒரு “ஒள” சொல் கூட இல்லாதது வியப்பிலும் வியப்பே.
சம்ஸ்க்ருத மொழியின் உயிர் நாடியே “ச, ஸ , ஷ” சப்தங்களில்தான் இருக்கிறது. ஆனால் தமிழில் “ச” என்ற எழுத்திலும் “சை, சௌ” என்ற எழுத்துக்களிலும் சொற்களே துவங்கக் கூடாது என்று தொல்காப்பியர் தடை போடுகிறார். இது வியப்பிலும் வியப்பான செயல். இந்திய- ஐரோப்பிய மொழிகளில், குறிப்பாக சம்ஸ்க்ருதம் ஆங்கிலம் ஆகிய மொழிகளில் ‘ஸ்’ (sssssss) சப்தம்தான் அதிகம் கேட்கும்
தமிழின் உயிர் மூச்சே மூன்று தமிழ் ‘சங்க’ங்களில் தான். ஆனால் அந்த சங்கம் என்ற சொல்லே தமிழில் கிடை யாது . ஏனெனில் சங்கம் (கூட்டு அமைப்பு) என்பது சம்ஸ்கிருத சொல். பாணினி பலவகை சங்கங்கள் பற்றி 2700 ஆண்டுகளுக்கு முன்னர் எழுதி வைத்துள்ளார். சங்க இலக்கியத்தில் தொல்காப்பியரையும் மீறி சுமார் 30 “ச” எழுத்துச் சொற்கள் உண்டு!!
இதே போல ‘ய’ ,’ஞ’ எழுத்துக்களிலும் சொற்கள் துவங்கக் கூடாது என்று தொல்காப்பியர் தடை போட்டார்.. அவரை மீறி ஓரிரு சொற்கள் சங்க கால நூல்களில் இடம்பெற்றன .
தொல்காப்பியர் என் இப்படி ‘ச, ஞ , ய’ ஆகிய மூன்று எழுத்து துவக்கத்துக்கு தடை போட்டார் என்பது ஆச்சர்யமாக உள்ளது. உலகின் பழங்கால மொழிகளில் இவற்றுக்குத் தடை ஏதுமில்லை.
இதை விட வியப்பான விஷயம் ‘ல, ர’ எழுத்துக்களின் வர்க்கத்துக்கே தடை போட்டுவிட்டார். ஆயினும் இந்த எழுத்துக்களுக்கு முன்னர் உயிர் எழுத்தை இணைத்து அதைத் தமிழ் மயமாக்கும் வித்தையைத் தமிழர்கள் கற்றுக்கொண்டனர் (எ .கா . லோகம் -உலகு, ராமன் – இராமன், ரங்கன் -அரங்கன்)
ஒவ்வொரு மொழிக்கும் ஒரு சில குறைகள் இருக்கத்தான் செய்யும் தமிழில் ‘ஸ ஷ க்ஷ ஜ ஹ’ ஒலிகள் இல்லாமை பெரிய குறைபாடு ; ஷேக்ஸ்பியர், ஸ்டாலின் ,ஜெயலலிதா, ஹாரிபாட்டர், குஷ்பூ , புஷ்பம் முதலிய சொற்களை கிரந்த எழுத்துக்களான ஜ ,ஷ ஹ , க்ஷ , ஷ இல்லாமல் சொல்ல முடியாது!! அப்படிச் சொன்னாலும் அதைக் கேட்கும் எவருக்கும் புரியாது. ஒருவேளை தமிழர்களுக்குக் கொஞ்சம் புரியலாம்!!
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ஹிந்தி படப் பாடல்கள் – 54 – இரு மணிகள் – எஸ்.டி.பர்மன்!
R. Nanjappa
எஸ்.டி.பர்மன்!
நமது பழைய ஹிந்தித் திரை இசைஞர்களில் மூத்தவர் எஸ்.டி பர்மன். (1906-1975) பர்மன் என்றால் என்னவோ ஏதோ வென்று நினைக்கவேண்டாம் – அது வர்மா தான். திரிபுரா ராஜவம்சத்தைச் சேர்ந்தவர். திரை இசைத்துறையில் தனித்தன்மையுடன் திகழ்ந்தவர். எல்லோராலும் மரியாதைக்குரியவராக மதிக்கப்பட்டவர். இவர் முதல் ஹிந்திபடத்திற்கு இசையமைத்த போதே (1946) இவருக்கு வயது 40. இறுதிவரை ஊக்கத்துடன் இருந்தார். 1975ல் “மிலி” படத்தின் பாடல்களுக்கு ஒத்திகை பார்த்துவிட்டு உடல் நலம் குன்றி சில மாதங்களில் காலமானார்.
இவர் சாஸ்திரிய சங்கீதத்தில் முறையான பயிற்சி பெற்றிருந்ததுடன், வங்காள பிராந்திய, கிராமிய இசை, ரவீந்திர சங்கீதம் ஆகியவற்றிலும் தேர்ச்சிபெற்றிருந்தார். இத்தனை அம்சங்களையும் இவர் இசையில் பார்க்கலாம்
இவருக்கு நல்ல குரல் வளமும் உண்டு. ஆனால் தன்பாட்டுக்கு பிறர் திரையில் வாயசைப்பதை விரும்பவில்லை. இவர் ஹிந்திப் படங்களில் 8 பாட்டுகள் தான் பாடியிருப்பார், ஒவ்வொன்றும் மணியானவை, மறக்க முடியாதவை. இவை திரை நிகழ்ச்சிகளின் பின்னணியாக வரும் இத்தகைய இரு பாடல்களைப் பார்க்கலாம்.
இந்த இரண்டு பாட்டுக்களையும் கேளுங்கள்! எவ்வளவு வித்தியாசமான குரல்! எத்தனை உணர்ச்சிபூர்வமாகப் பாடப்பட்டவை! இது பர்மன் குரலின் விசேஷம்!
இரு பாடல்களையும் கவனிப்போம்- எத்தனை அழகிய கவிதை!
பர்மன் பாடிய பாடல்களின் மெட்டுக்களுக்கு அவர் மனைவி மீராவும் உதவினார் என்பர். அவரும் இசையில் தேர்ந்தவர். ஓரிரு படங்களுக்கு பர்மனுக்கு உதவியாளராக இருந்திருக்கிறார்.
பர்மனுக்கு பணத்தாசை இருந்ததில்லை. இந்த ஆராதனா படம் எடுத்தபோது தயாரிப்பாளரிடம் பொருள் வசதி இல்லை என்று அறிந்த பர்மன், வழக்கமாக வாங்கும் தொகையையை விட குறைத்தே வாங்கினார். 40களின் இறுதியில் பம்பாய் நகரின் பணவெறி பிடித்த சூழ்நிலை அவருக்குப் பிடிக்கவில்லை- பம்பாயை விட்டு நீங்கவே முயற்சித்தார்! ஹிந்தித் திரை இசையில் முதலில் மெட்டமைத்து பின் அதற்குத் தக்கபடி பாட்டெழுதும் வழக்கத்தை முதலில் புகுத்தியவர் எஸ்.டி பர்மனே!
Tamil and Vedas 