The poetry forms of AruLi-ch-cheyal

[Guest guest]

SRIMATHE RAMANUJAYA NAMAHA.

 

ramanuja, Sreekanth <sreekanth_a> wrote:

>

> Dear bhagavathas

 

> > i also have some specific doubts

> 1. What is a "maDal" means

> 2. what is "Thandakam" in thirukkurunthANDakam and

> thirunEdumthANDakam

> 3. similarly the meanings of the titles

> "thiruviruthamthiruvAsiriyam"

> 4. What is "anthAthi" type prabandham means

> 5. some prabandhams are named after the begining word,

> like "amalanAdipirAn", kaNNInuNchirutthAmpU etc, but

> then what is the speicality of "thiruvEzhukUTTirukkai"

> 6. what are the specialities of meters like

> kalivirutham, venpa etc...

>

> Sreekanth

>

>

>

----

----------

 

Respected Swamin,

 

Though I don't hold any degree in Tamil literature and grammar, due

my interest in Tamil works, particularly poetry, I think I can to

some extent help you in getting some replies to your query.

 

First of all, lets look at the name, Divya Prabandam.

 

Prabandam is a form of poetry which is of 96 different types.

 

Majority of the verses in Aruli-ch-cheyal are some or other type of

prabandham only.

 

Prabandam came to be used later than the earlier forms of poetry of

the sangam period, such as VeNbaa, Aasiriappa, Kali-p-paa and Vanji-

p-paa. The aim and message to be conveyed usually decide the kind of

poetry form that the poet chooses.

 

The earlier four forms of poetry underwent modifications taking up

other forms also, as per the requirement and intuition of the poet.

That is how we get to see kali-veNbaa, Kochchga-k-kali-p-paa, Vanji

viruttham, Aasiriya viruttham etc. But all these are within

established norms of grammar.

 

In course of time the 96 prabandhams came to be handled by many poets

of post-sangam period, as they were able to convey specific ideas

through them with a greater reach. While the former forms were

difficult to understand by commoners, the prabandams are easy to

understand.

 

Now about the word `divya'. `Div' in Sanskrit means `to shine'. It is

the root word for deva and divya. The prabhandam is divyam, since it

shines, glows, shows the way by glowing and has Bhagavan in Divya

desas as the Hero (karu-p-poruL) of all the verses.

 

The divya desa derives its name from `div'. This is understood by the

way temples are established. There are 3 ways by which temples are

established. (1) Bhagavan being present in a place as swayambhu, (2)

Bhagavan appearing in a place as prathyaksha to bless some devotee

and (3) Bhagavan coming to reside through consecration by mantra,

tantra or yantra.

 

One special feature of the divya desam is that bhagavan has at some

time in the past appeared as prathyaksha to some devotee in all these

kshetras. The bhagavan's glow has been enshrined in those places as

temples. Every divya desam has a history of Bhagavan's leela shown to

some devotee. Therefore they are divya kshetras.

 

The entire body of verses dedicated to bahgavan in divya kshetras is

Divya prabhandam.

These kshetrams are known as `aazhwargaL ugandu aLLittha nilangaL.'

 

One can see a divine design in the way aazhwars' avataras had been

effected and the way they have sung the prabandhams.

 

The songs of the first 3 Mudal aazhwars are all in traditional forms

of poetry namely in VeNbaa.

The aazhwars have started their verses in the traditional way of

lighting Thiru villakku as is done before starting any worship or

action. Vilakku means `edu vilanga-ch-chaigiradO adu vilakku'. By

lighting the lamp, the aazhwars have removed the darkness or tamas.

 

The first verse of the Mudal Thiruvandaadhi, " vaiyam thagaliya..'

is about lighting the vilakku at the physical level with the world as

the lamp, the oceans as the ghee and the Sun as the light. Modern

science considers the entire world as a single cell, in that whatever

happens in one part of the land affects the other parts too. The

wind movements, monsoons, hurricanes are all only but a few examples

of global phenomenon. Poigaiyaar had considered the earth as one unit

even in those times itself and lit the lamp for the entire human

race.

 

The second Thiruvandhaadhi begins with lighting the ViLakku at the

mental level. (anbE thagaLiyaa).

 

With this, the entire body of Bhagavan comes to be seen in the Third

Thiruvandhaadhi in Thiru-k-kandEn, pon mEni kanden..

 

 

Thereafter the other aazhwars have taken up the task of revealing

Bhagavan in various ways for the benefit of mankind. And the poetry

forms they have employed also shows how wonderfully they have been

able to convey their message in ways that can not be easily ignored

or forgotten. Almost all of them are in Prabhandam form with suitable

types of sound enjoyment (rhythm) that can be easily memorized and

remembered. Not to miss is the bhava and the emotion conveyed by them

by their choice of specific poetry forms.

 

Before proceeding, lets us know some basic grammar to understand the

verses.

 

Each letter is known as `yezhutthu' in tamil.

2 letters together are known as `asai'.

The asai, coming singly or in two or in three together is known

as `sIr'. It is nothing but the `word'.

It is this term sIr that one often finds in the poetry type of the

verses.

 

In Prabandham we find iru sIr (2 words), aru-sIr (6 words), ezhu-sIr

(7 words) or eN sIr (8 words) in each line.

 

Now about the poetry type. The poetry type is mostly a blend

of `Viruttham' and `kali'.

 

Viruttha-p-paa is known for its vOsai nayam (rhythm). So also kali

and aasiriya-p-paa. We often find the blend of Viruttham with kali

and aasiriyam in AruLi-ch-cheyal giving different sound effects.

 

The basis of this is in placing `mellina mei' suitably in between 2

vallinam (ka, cha, ta, tha, pa, ra). This combination can be made in

countless ways and a beautiful stress can be attained on the

otherwise soft mellinam. The Viruttha-p-paa gives plenty of these

combinations. Kali viruttham is even more effective in bringing out

the sound variation effectively.

 

To understand this, let us take up 2 verses from SenniyOngu pasurams.

(Periaazhwar Thirumozhi). This is kali viruttham. The 3rd

verse `emmanaa en kula deivamE' is full of such placing of mellina

mei in between 2 vallinams or others. The bhava effect and sound

effect in this is different from the very next verse "kadal kadaindu

amudam kondu" which is dominated by vallinams with much less of

mellina mei. While the former exudes pathos, the latter excels

in `seppudal' (utterance).

 

Now lets see the poetry types of starting from Thiruppallaandu ( in

the order as found in Mayilai Madahava dasan edition).

 

(1) Thiruppallaandu. – aru sIr aasiriya viruttham.

 

You will find 6 words (sIr) of 4 lines (may be split up in different

publications)

The aasiriyam ensures the `agavalOsai' which is like calling someone

or in the note of a peacock.

 

(2) Periaazhwar Thirumozhi. A variety of forms have been

employed. The popular one being Pillai-th-thamizh, about different

stages in the life of a child (pillai).

 

>In kali viruttham, one can find 4 words of 4 lines

 

Ø In kali-th-thaazhisai (seeda-k-kadal), there is addition of

extra lines due to use of thaazhisai. The effect is that of a `neer-

ch-chuzhi' (swirl) in thaazhisai as per grammar sutras

 

Ø Likewise in other forms of kali viruttham, you can find

differences in the number of words per line.

 

Ø In aru sIr aasiriya viruttham, 6 words per lines are used and

in eN sIr aasiriya viryttham, 8 words per line are used. The grammar

type such as aasiriyam depends on the other angas of Yaappu as per

grammar.

 

(3) Thiruppavai – iyal tharavu iNai kochchaga-k-kali-p-paa.

 

Tharavu is the first part of kali-p-paa. There are many varieties by

which the taravu is applied in a poem. By the name of it, I guess

that it is about the first two taravu (taravu iNAi) blending

naturally (iyal – iyalbaaga).

We find that the first 2 taravus (words) of each line go together.

Like

Maagazhi-thingaL

Neeraada-p-pOduvIr

Vongi-ulagu

That is, the words are blended in such a way that one of them

conveys something of the other, either as adjective or adverb. They

are best interpreted as one.

This is understood from the way that the verses are paused at the

next or previous line while reciting.

Such as,

In the 3rd verse, Vongi ulagu, we make a pause at seertha mulai

pattri vaanga and not at the end of 4th sIr, seertha mulai pattri.

Because only then the next verse `kudam –niraikkum' completes the

grammar `iyal taravu iNai.'

It should not be vaanga –k-kudam which is not a double taravu as per

the grammar of Thituppavai. It should be `kudam-niraikkum'.

 

Some other places where we recite the taravu (from previous line)

together are

`nammaal pOttra' (not narayanan nammaal and then pOttra-p-parai

tharum)

`pandoru naaL koottram' (not puniyanaal pandorunaaL)

`vulaginil thOttramaai'

`matthinaal vOsai-p-paduttha' (we should not stop at matthinaal along

with the previous line)

`maadhavi-p-pandal mEl'

`abhimaana bhangamaai'

 

 

(4) Naachchiyaar Thirumozhi –

 

The now familiar types of poetry forms are found in this

composition. The basic form is kali viruttham with beautiful rhythmic

effect. The kOchchgam is also a kind of kali-p-paa which has some

blends in sIr. There is another prabhandam type blended here, which I

will quote while taking up Madal. The Thoodu vidudal (sending clouds

as messenger) is also a famous type of prabandham

 

(5) Thiru-ch-chanda viruttham –

 

There are not just 2 but 3 types of sound- based poetry forms blended

into one, the chandam, kali and viruttham. There is a beautiful blend

of all the three as per meanings of the verses. The chandam is based

on yedugai, the 2nd letter in the first word of every line. The

language itself is rhythmic in this combination.

My favourites, `voonin mEya' and `atthannagi' which I consider as the

essence of all Vedanta are more chandam based than the other two

types. There is that forceful declaration by using more of vallinam

in the former and a `kuzhaivu' by using more of mellina mei in the

latter one (above quoted)

(6) Thirumaalai – aru sIr aasiruya viruttham.

6 words in each line with aasiriya—p-paa grammar and viruttham.

 

(7) Thiru-p-paLLiyezhuchchi – eN sIr aasiriya viruttham.

8 words in each line with aasiriyam and viruttham.

 

(8) Amalanadhi piraan – Aasiriya-th-thurai.

Usually thurai is the sub-set of the main one (like the banks of the

river forming the subset of the river. Thurai means bank –like in

aattru-th-thurai).

 

Here the main poetry form is aasiriya-p-paa. The traditional form of

it will have 4 words in all lines except the penultimate line which

will have one less. (that is, 3 words). The minimum number of lines

will be 5. Maximum any number.

 

In this prabandham, the grammar is that of aasiriya-p-paa.

All lines have 5 words (since it is thurai)

The penultimate line has lesser words than the other lines.

The last one `kondal vannan' is kali viruttham having 4 words in 4

lines.

 

(9) KaNNi nuN sirutthaambu – kali viruttham

 

 

(10)Peria Thirumozhi – Various types of kali, aasiriyam, viruttham

with 6 or 7 or 8 words are used.

 

One can understand the types by the sIr used and its number.

>In `vaanavar thangaL' , thurai of aasiriyam is used which

can be determined by the

number of words in each line and the way they are repeated.

Ø In `VaNduNu naru malar' vanji vbiruttham is used.

As per Yaaparumkalam sutram, there are 4 lines of sindhu-p-paa

(another variety of prabandham) joined with viruttham of 4 words each

line.

 

( 11) Thiru-k-kurum thaandagam.

Thaandagam is a type of prabandham and this one is a shorter version

(kurugiya) of it having 6 words of 4 lines. The speciality of this

type is that the lines look similar. The rhyme is distinct which can

be experienced while reciting. The paadu-pOruL (the Hero, in other

words) is always some God. In contrast the other prabandhams may have

any valiant person, a king or God as the theme of the composition.

 

(12) Thiru nedum thaandagam.

 

Same as Thiru-k-kurum thaandagam. Only that the words are more per

line. It is 8. Usually Thaadagam comes only in 6 or 8 sIr per line.

 

(13) Mudal Thiru andhaadi.

 

Nerisai Venbaa with andhaadi adi.

 

This veNbaa type has 4 lines of 4 words in the first 3 lines and 3

lines in the last line. The first words of the first two lines have

similarity in rhyme (yedugai) followed by the 4th sIr of the 2 nd

line having the same yedugai which blends with the 3rd line. There

will be a – in the 2 nd line showing the split. The last 2 lines go

together in yedugai. There are grammar rules to determine how the

last sIr of the poem must end.

 

This type is also an andhaadhi, a prabandham type. The first 3

Thiruvandhaadis are a blend of traditional veNbaa and prabandham

(andaadhi)

 

Andaadhi is that in which the andam of the previous verse, becomes

the aadhi of the next verse. That is, the last word of the previous

verse becomes the first word of the next verse.

 

(14) Irandaam Thiruvandaadhi

 

Same as the previous one.

 

(15) Moondraam Thiruvandaadhi

Same as previous one.

 

(16) Naan mugan Thiruvandaadhi

Same as previous one.

 

(17) Thiru viruttham

The type is kattalai kali-th-thurai

The viruttham ensures rhyme. But this is one of the difficult ones to

compose going by the grammar used. There are rules in using the other

angas of poetry such as thaLai and the kind of sIr (nEr 16 and nirai

17 ).The last word also must be of specific sIr type. This comes

under a category, Iyal paa, meaning strictly adhering to traditional

grammar form.

 

(18) Thiru aasiriyam

This is also an iyal paa, composed in a traditional type, aasiriyappa

with 4 words in all lines except the penultimate line where it will

be 3

 

(19) Peria Thiruvandaadhi.

VeNbaa and andaadhi together. Same as Mudalaazhwars' pasurams.

 

(20) Thiruvezhu koottrirukkai.(Thiru yezhu koottru irukkai)

 

This is in aasiriyappa form with a beautiful build –up of verses. The

words indicate a ThEr thattu (temple car) in successive layers.

 

That is, it begins with words meaning 1,2,1

1,2,3,2,1

1,2,3,4,3,2,1……

upto 7 (yezhu koottru )

The last layer will be 1,2,3,4,5,6,7,6,5,4,3,2,1.

If my memory is right, this pasuram has been depicted in

Thirukkudandai Koil in the form of a temple car.

 

(21) Siriya Thiru madal.

I am too excited to write about madal. I think Bhagavan too would

have been excited to listen to Thirumangai aazhwar sing this. A

daring poetry fittingly given by a daring person with whom bhagavan

too enjoyed His leela. It is perhaps to enjoy the madal that bhagavan

chose none other than our Kaliyan who was so vociferous in expressing

his feelings and emotions.

 

Madal is originally known as MadalEral or Madaloordal in Tamil.

Madal is the palm leaf and the dried twigs of the palm leaf (panai

maram).

The scenario always involves a nayaka and a nayaki (thalaivan and

thalaivi). The two are in love and there are obstructions to

consummate their love into marriage. In another scenario, the nayaka

is in love, but the nayaki is not serious about his love. In any of

these circumstances, the nayaka takes the extreme step of madaloordal.

 

In this, he paints the picture of his lady-love on a palm leaf, makes

a horse out of the dried palm leaves, takes the picture and looks at

it as though nothing else matters and sits on this madal horse and

moves around in that (oordal) like a mad person. He would not care

what people think about him, nor would he bother about the shabby

looks he has developed due to lack of care of his body. Such a person

would even roam like this with no clothes on. The sharp edges of the

palm leaf would hurt him. If by such hurt, his vital fluid is

released, people would think that his love is indeed supreme and see

to it that he marries his lady-love. If the obstacle to his love is

from the nayaki herself, she would relent. But instead, if blood

seeps out due to the scratches by palm leaf, people would not

consider his as true love.

 

There are instances when the nayaka would blackmail the nayaki that

he would mount the madal if she refuses him. If he mounts the madal,

every one in the town would come to know of the affair and the tiff

between them and it wont be a pleasant one for the nayaki. So she

would oblige.

 

A similar threat is sounded by Andal in the first pasuram of

Naachchyaar Thirumozhi when she takes refuge in Ananga devan. This is

an indirect warning to perumaaL that he must come immediately to

accept her.

 

Thirumangai aazhwar excels in flinging such `ultimatums' to perumaL

in his two madals. The entire composition is fast-paced showing his

aattraamai and anger that bhagavan has not yet taken him with Him. If

recited with bhava after knowing the meaning, I am sure the madals

are a great experience.

 

This is termed as siriya Thirumadal going by its size. The entire

composition is in single kali veNbaa with no full stop in between!.

 

(22) Peria Thirumadal.

This is same as the previous one, only that it is lengthier than it.

Usually madals is mounted by the man. Women don't mount it. But

aazhwar makes a deviation from the established norms and takes up

nayaki bhava in madaloordal. "mannum vada neriyE vEndinOm" meaning

that though this is not in vogue in tamil culture, he has taken up

the way of Northies.

 

(23)Thiruvaimozhi.

All types discussed above have been handled by aazhwar with most of

them also of andaadhi type.

 

Even madaloordal has been done by Nammaazhwar.

In 2-1-4, (kadalum, malaiyum, visumbum..) he expresses the nature of

the one mounting the madal in always moving around without sleep

catching the `vudalam nOi'

 

The vanji-th-thurai of `veedumin' (1-2) and `vodum puLLEri' (1-8) are

another special form of poem. In this there are 2 words of 4 lines

which speak about a specific notion. They are usually written in

kuraLAdi, two lines like kuraL.

 

 

 

Ramanuja Noottrandaadhi is in the difficult kattaLai kali-th-thurai,

like Thiru viruttham.

 

I think I have covered all the prabandhams. The mistakes in this are

entirely mine and I may be pardoned and corrected for the same.

 

Regards,

Jayasree saranathan.

[Guest guest]

Dear Mrs Jayshree Saranathan,

 

Good expanation. Such basic lessons, I hope, will make people understand more

and make them evince more interest and eagenress in learning aruLich cheyal.

 

Thanks a lot

 

dAsan

vanammalai padmanabhan

-

jayasartn

ramanuja

Thursday, October 27, 2005 8:42 AM

[ramanuja] The poetry forms of AruLi-ch-cheyal

SRIMATHE RAMANUJAYA NAMAHA.ramanuja, Sreekanth

<sreekanth_a> wrote:>> Dear bhagavathas> > i also have some specific

doubts> 1. What is a "maDal" means> 2. what is "Thandakam" in

thirukkurunthANDakam and> thirunEdumthANDakam> 3. similarly the meanings of the

titles> "thiruviruthamthiruvAsiriyam"> 4. What is "anthAthi" type prabandham

means> 5. some prabandhams are named after the begining word,> like

"amalanAdipirAn", kaNNInuNchirutthAmpU etc, but> then what is the speicality of

"thiruvEzhukUTTirukkai"> 6. what are the specialities of meters like>

kalivirutham, venpa etc...> > Sreekanth> > >

--Respected

Swamin,Though I don't hold any degree in Tamil literature and grammar, due my

interest in Tamil works, particularly poetry, I think I can to some extent help

you in getting some replies to your query. First of all, lets look at the name,

Divya Prabandam.Prabandam is a form of poetry which is of 96 different types.

Majority of the verses in Aruli-ch-cheyal are some or other type of prabandham

only. Prabandam came to be used later than the earlier forms of poetry of the

sangam period, such as VeNbaa, Aasiriappa, Kali-p-paa and Vanji-p-paa. The aim

and message to be conveyed usually decide the kind of poetry form that the poet

chooses.The earlier four forms of poetry underwent modifications taking up other

forms also, as per the requirement and intuition of the poet. That is how we get

to see kali-veNbaa, Kochchga-k-kali-p-paa, Vanji viruttham, Aasiriya viruttham

etc. But all these are within established norms of grammar. In course of time

the 96 prabandhams came to be handled by many poets of post-sangam period, as

they were able to convey specific ideas through them with a greater reach.

While the former forms were difficult to understand by commoners, the

prabandams are easy to understand.Now about the word `divya'. `Div' in Sanskrit

means `to shine'. It is the root word for deva and divya. The prabhandam is

divyam, since it shines, glows, shows the way by glowing and has Bhagavan in

Divya desas as the Hero (karu-p-poruL) of all the verses. The divya desa

derives its name from `div'. This is understood by the way temples are

established. There are 3 ways by which temples are established. (1) Bhagavan

being present in a place as swayambhu, (2) Bhagavan appearing in a place as

prathyaksha to bless some devotee and (3) Bhagavan coming to reside through

consecration by mantra, tantra or yantra.One special feature of the divya desam

is that bhagavan has at some time in the past appeared as prathyaksha to some

devotee in all these kshetras. The bhagavan's glow has been enshrined in those

places as temples. Every divya desam has a history of Bhagavan's leela shown to

some devotee. Therefore they are divya kshetras.The entire body of verses

dedicated to bahgavan in divya kshetras is Divya prabhandam.These kshetrams are

known as `aazhwargaL ugandu aLLittha nilangaL.'One can see a divine design in

the way aazhwars' avataras had been effected and the way they have sung the

prabandhams. The songs of the first 3 Mudal aazhwars are all in traditional

forms of poetry namely in VeNbaa. The aazhwars have started their verses in the

traditional way of lighting Thiru villakku as is done before starting any

worship or action. Vilakku means `edu vilanga-ch-chaigiradO adu vilakku'. By

lighting the lamp, the aazhwars have removed the darkness or tamas.The first

verse of the Mudal Thiruvandaadhi, " vaiyam thagaliya..' is about lighting the

vilakku at the physical level with the world as the lamp, the oceans as the ghee

and the Sun as the light. Modern science considers the entire world as a single

cell, in that whatever happens in one part of the land affects the other parts

too. The wind movements, monsoons, hurricanes are all only but a few examples

of global phenomenon. Poigaiyaar had considered the earth as one unit even in

those times itself and lit the lamp for the entire human race. The second

Thiruvandhaadhi begins with lighting the ViLakku at the mental level. (anbE

thagaLiyaa). With this, the entire body of Bhagavan comes to be seen in the

Third Thiruvandhaadhi in Thiru-k-kandEn, pon mEni kanden..Thereafter the other

aazhwars have taken up the task of revealing Bhagavan in various ways for the

benefit of mankind. And the poetry forms they have employed also shows how

wonderfully they have been able to convey their message in ways that can not be

easily ignored or forgotten. Almost all of them are in Prabhandam form with

suitable types of sound enjoyment (rhythm) that can be easily memorized and

remembered. Not to miss is the bhava and the emotion conveyed by them by their

choice of specific poetry forms.Before proceeding, lets us know some basic

grammar to understand the verses.Each letter is known as `yezhutthu' in tamil.2

letters together are known as `asai'.The asai, coming singly or in two or in

three together is known as `sIr'. It is nothing but the `word'. It is this term

sIr that one often finds in the poetry type of the verses.In Prabandham we find

iru sIr (2 words), aru-sIr (6 words), ezhu-sIr (7 words) or eN sIr (8 words) in

each line.Now about the poetry type. The poetry type is mostly a blend of

`Viruttham' and `kali'. Viruttha-p-paa is known for its vOsai nayam (rhythm).

So also kali and aasiriya-p-paa. We often find the blend of Viruttham with

kali and aasiriyam in AruLi-ch-cheyal giving different sound effects. The

basis of this is in placing `mellina mei' suitably in between 2 vallinam (ka,

cha, ta, tha, pa, ra). This combination can be made in countless ways and a

beautiful stress can be attained on the otherwise soft mellinam. The

Viruttha-p-paa gives plenty of these combinations. Kali viruttham is even more

effective in bringing out the sound variation effectively. To understand this,

let us take up 2 verses from SenniyOngu pasurams. (Periaazhwar Thirumozhi).

This is kali viruttham. The 3rd verse `emmanaa en kula deivamE' is full of such

placing of mellina mei in between 2 vallinams or others. The bhava effect and

sound effect in this is different from the very next verse "kadal kadaindu

amudam kondu" which is dominated by vallinams with much less of mellina mei.

While the former exudes pathos, the latter excels in `seppudal' (utterance).

Now lets see the poetry types of starting from Thiruppallaandu ( in the order

as found in Mayilai Madahava dasan edition).(1) Thiruppallaandu. – aru sIr

aasiriya viruttham. You will find 6 words (sIr) of 4 lines (may be split up in

different publications)The aasiriyam ensures the `agavalOsai' which is like

calling someone or in the note of a peacock.(2) Periaazhwar Thirumozhi.

A variety of forms have been employed. The popular one being Pillai-th-thamizh,

about different stages in the life of a child (pillai). >In kali

viruttham, one can find 4 words of 4 linesØ In kali-th-thaazhisai

(seeda-k-kadal), there is addition of extra lines due to use of thaazhisai. The

effect is that of a `neer-ch-chuzhi' (swirl) in thaazhisai as per grammar

sutrasØ Likewise in other forms of kali viruttham, you can find

differences in the number of words per line.Ø In aru sIr aasiriya

viruttham, 6 words per lines are used and in eN sIr aasiriya viryttham, 8 words

per line are used. The grammar type such as aasiriyam depends on the other angas

of Yaappu as per grammar.(3) Thiruppavai – iyal tharavu iNai

kochchaga-k-kali-p-paa.Tharavu is the first part of kali-p-paa. There are many

varieties by which the taravu is applied in a poem. By the name of it, I guess

that it is about the first two taravu (taravu iNAi) blending naturally (iyal –

iyalbaaga).We find that the first 2 taravus (words) of each line go together.

Like Maagazhi-thingaLNeeraada-p-pOduvIrVongi-ulaguThat is, the words are

blended in such a way that one of them conveys something of the other, either

as adjective or adverb. They are best interpreted as one. This is understood

from the way that the verses are paused at the next or previous line while

reciting.Such as, In the 3rd verse, Vongi ulagu, we make a pause at seertha

mulai pattri vaanga and not at the end of 4th sIr, seertha mulai pattri.

Because only then the next verse `kudam –niraikkum' completes the grammar `iyal

taravu iNai.'It should not be vaanga –k-kudam which is not a double taravu as

per the grammar of Thituppavai. It should be `kudam-niraikkum'.Some other

places where we recite the taravu (from previous line)together are `nammaal

pOttra' (not narayanan nammaal and then pOttra-p-parai tharum)`pandoru naaL

koottram' (not puniyanaal pandorunaaL)`vulaginil thOttramaai'`matthinaal

vOsai-p-paduttha' (we should not stop at matthinaal along with the previous

line)`maadhavi-p-pandal mEl'`abhimaana bhangamaai'(4) Naachchiyaar

Thirumozhi – The now familiar types of poetry forms are found in this

composition. The basic form is kali viruttham with beautiful rhythmic effect.

The kOchchgam is also a kind of kali-p-paa which has some blends in sIr. There

is another prabhandam type blended here, which I will quote while taking up

Madal. The Thoodu vidudal (sending clouds as messenger) is also a famous type

of prabandham(5) Thiru-ch-chanda viruttham –There are not just 2 but 3

types of sound- based poetry forms blended into one, the chandam, kali and

viruttham. There is a beautiful blend of all the three as per meanings of the

verses. The chandam is based on yedugai, the 2nd letter in the first word of

every line. The language itself is rhythmic in this combination.My favourites,

`voonin mEya' and `atthannagi' which I consider as the essence of all Vedanta

are more chandam based than the other two types. There is that forceful

declaration by using more of vallinam in the former and a `kuzhaivu' by using

more of mellina mei in the latter one (above quoted)(6) Thirumaalai – aru

sIr aasiruya viruttham.6 words in each line with aasiriya—p-paa grammar and

viruttham. (7) Thiru-p-paLLiyezhuchchi – eN sIr aasiriya viruttham.8 words

in each line with aasiriyam and viruttham.(8) Amalanadhi piraan –

Aasiriya-th-thurai.Usually thurai is the sub-set of the main one (like the

banks of the river forming the subset of the river. Thurai means bank –like in

aattru-th-thurai). Here the main poetry form is aasiriya-p-paa. The traditional

form of it will have 4 words in all lines except the penultimate line which

will have one less. (that is, 3 words). The minimum number of lines will be 5.

Maximum any number. In this prabandham, the grammar is that of aasiriya-p-paa.

All lines have 5 words (since it is thurai) The penultimate line has lesser

words than the other lines.The last one `kondal vannan' is kali viruttham

having 4 words in 4 lines.(9) KaNNi nuN sirutthaambu – kali viruttham

(10)Peria Thirumozhi – Various types of kali, aasiriyam, viruttham with 6 or 7

or 8 words are used. One can understand the types by the sIr used and

its number. >In `vaanavar thangaL' , thurai of aasiriyam is used which

can be determined by the number of words in each line and the way they are

repeated.Ø In `VaNduNu naru malar' vanji vbiruttham is used.As per

Yaaparumkalam sutram, there are 4 lines of sindhu-p-paa (another variety of

prabandham) joined with viruttham of 4 words each line. ( 11) Thiru-k-kurum

thaandagam.Thaandagam is a type of prabandham and this one is a shorter version

(kurugiya) of it having 6 words of 4 lines. The speciality of this type is that

the lines look similar. The rhyme is distinct which can be experienced while

reciting. The paadu-pOruL (the Hero, in other words) is always some God. In

contrast the other prabandhams may have any valiant person, a king or God as

the theme of the composition.(12) Thiru nedum thaandagam.Same as Thiru-k-kurum

thaandagam. Only that the words are more per line. It is 8. Usually Thaadagam

comes only in 6 or 8 sIr per line.(13) Mudal Thiru andhaadi.Nerisai Venbaa with

andhaadi adi.This veNbaa type has 4 lines of 4 words in the first 3 lines and 3

lines in the last line. The first words of the first two lines have similarity

in rhyme (yedugai) followed by the 4th sIr of the 2 nd line having the same

yedugai which blends with the 3rd line. There will be a – in the 2 nd line

showing the split. The last 2 lines go together in yedugai. There are grammar

rules to determine how the last sIr of the poem must end.This type is also an

andhaadhi, a prabandham type. The first 3 Thiruvandhaadis are a blend of

traditional veNbaa and prabandham (andaadhi)Andaadhi is that in which the

andam of the previous verse, becomes the aadhi of the next verse. That is, the

last word of the previous verse becomes the first word of the next verse. (14)

Irandaam Thiruvandaadhi Same as the previous one.(15) Moondraam Thiruvandaadhi

Same as previous one.(16) Naan mugan Thiruvandaadhi Same as previous one.(17)

Thiru virutthamThe type is kattalai kali-th-thuraiThe viruttham ensures rhyme.

But this is one of the difficult ones to compose going by the grammar used.

There are rules in using the other angas of poetry such as thaLai and the kind

of sIr (nEr 16 and nirai 17 ).The last word also must be of specific sIr type.

This comes under a category, Iyal paa, meaning strictly adhering to traditional

grammar form.(18) Thiru aasiriyamThis is also an iyal paa, composed in a

traditional type, aasiriyappa with 4 words in all lines except the penultimate

line where it will be 3(19) Peria Thiruvandaadhi.VeNbaa and andaadhi together.

Same as Mudalaazhwars' pasurams.(20) Thiruvezhu koottrirukkai.(Thiru yezhu

koottru irukkai)This is in aasiriyappa form with a beautiful build –up of

verses. The words indicate a ThEr thattu (temple car) in successive layers.That

is, it begins with words meaning 1,2,11,2,3,2,11,2,3,4,3,2,1……upto 7 (yezhu

koottru )The last layer will be 1,2,3,4,5,6,7,6,5,4,3,2,1.If my memory is

right, this pasuram has been depicted in Thirukkudandai Koil in the form of a

temple car.(21) Siriya Thiru madal.I am too excited to write about madal. I

think Bhagavan too would have been excited to listen to Thirumangai aazhwar

sing this. A daring poetry fittingly given by a daring person with whom

bhagavan too enjoyed His leela. It is perhaps to enjoy the madal that bhagavan

chose none other than our Kaliyan who was so vociferous in expressing his

feelings and emotions.Madal is originally known as MadalEral or Madaloordal in

Tamil.Madal is the palm leaf and the dried twigs of the palm leaf (panai

maram). The scenario always involves a nayaka and a nayaki (thalaivan and

thalaivi). The two are in love and there are obstructions to consummate their

love into marriage. In another scenario, the nayaka is in love, but the nayaki

is not serious about his love. In any of these circumstances, the nayaka takes

the extreme step of madaloordal.In this, he paints the picture of his lady-love

on a palm leaf, makes a horse out of the dried palm leaves, takes the picture

and looks at it as though nothing else matters and sits on this madal horse

and moves around in that (oordal) like a mad person. He would not care what

people think about him, nor would he bother about the shabby looks he has

developed due to lack of care of his body. Such a person would even roam like

this with no clothes on. The sharp edges of the palm leaf would hurt him. If by

such hurt, his vital fluid is released, people would think that his love is

indeed supreme and see to it that he marries his lady-love. If the obstacle to

his love is from the nayaki herself, she would relent. But instead, if blood

seeps out due to the scratches by palm leaf, people would not consider his as

true love.There are instances when the nayaka would blackmail the nayaki that

he would mount the madal if she refuses him. If he mounts the madal, every one

in the town would come to know of the affair and the tiff between them and it

wont be a pleasant one for the nayaki. So she would oblige. A similar threat is

sounded by Andal in the first pasuram of Naachchyaar Thirumozhi when she takes

refuge in Ananga devan. This is an indirect warning to perumaaL that he must

come immediately to accept her. Thirumangai aazhwar excels in flinging such

`ultimatums' to perumaL in his two madals. The entire composition is fast-paced

showing his aattraamai and anger that bhagavan has not yet taken him with Him.

If recited with bhava after knowing the meaning, I am sure the madals are a

great experience.This is termed as siriya Thirumadal going by its size. The

entire composition is in single kali veNbaa with no full stop in between!.(22)

Peria Thirumadal.This is same as the previous one, only that it is lengthier

than it. Usually madals is mounted by the man. Women don't mount it. But

aazhwar makes a deviation from the established norms and takes up nayaki bhava

in madaloordal. "mannum vada neriyE vEndinOm" meaning that though this is not

in vogue in tamil culture, he has taken up the way of Northies.

(23)Thiruvaimozhi.All types discussed above have been handled by aazhwar with

most of them also of andaadhi type. Even madaloordal has been done by

Nammaazhwar.In 2-1-4, (kadalum, malaiyum, visumbum..) he expresses the nature

of the one mounting the madal in always moving around without sleep catching

the `vudalam nOi'The vanji-th-thurai of `veedumin' (1-2) and `vodum puLLEri'

(1-8) are another special form of poem. In this there are 2 words of 4 lines

which speak about a specific notion. They are usually written in kuraLAdi, two

lines like kuraL.Ramanuja Noottrandaadhi is in the difficult kattaLai

kali-th-thurai, like Thiru viruttham.I think I have covered all the

prabandhams. The mistakes in this are entirely mine and I may be pardoned and

corrected for the same.Regards, Jayasree saranathan.