Great THAMIZH - ISAI !

Vikram said:

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there can be mathematically infinite no of janya ragas, around 300 janya ragas are in vogue..to add u add 72 melakartas and a few bhashanga/upanga/vakra ragas, u get around 400-450 ragas...sad that u cudnt get even this much out of that "report"and could only jump to condemn the effort i took to share some of my limited knowledge with u.....

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At least Mr Vikram now you are closer to the realities of music! Only 300 to 450 ragas left eh? The claim that the melakarta scheme 'offered' infinite ragas to the world is a bluff in reality. Mathematically true yeah. Bewilder, go on!

If you look at these 300 to 450 ragas (I don't know how you dreamt up that figure), just over 150 ragas a common and popular. The rest have just one or two, or no songs at all to it - They sound horrible or resemble closely another raga. So stop your 'lakhs raga' melakarta brag.

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how many ever it might be, one thingz for sure, the no of ragas in vogue were certainly more than the no of panhs!

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Another thing for sure - you statment above is terribbly wrong - and it exhibits your anti-Tamil sentiments. Take care!

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so u know which one is more evolved than the other...btw, how many panhs were in vogue Mr Learned sir???

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There are all there, even in 'carnatic music' by different (sanskritised) names. Keep looking, my dear Sampath!

Guys
Why is this fight over the number of panhs and ragas? Both of them only enhance the carnatic music.They do not conflict each other or try to destroy each other.If they are now known by sankritised names,does that make carnatic music lower? or if they are known by Tamil names,does that make carnatic music lower?

The carnatic musicians dont bother!!! the devoted audiences in chennai and throughout the world do not bother and even Lord Shiva does not seem to bother.Even Lord Shiva has thousands of sanskrit and Tamil names.Does it diminish HIM anyway?

Sirs,
JUst enjoy the music and the bliss and ONEness with God it brings and do not let things like names,languages etc. spoil it!!! All prejudices should melt in the music and all prejudices are because of our egos.

Immerse yourself in the great ,divine,pure spiritual music by letting go of all prejudices,egos,political affliations etc.:-)

I agree with viggop that we must put this partisan debate to rest before it gets out of hand. My previous posts in this thread were just to highlight the fact that Tamizh songs are in no way inferior to songs in Telugu, and MAY be preferred if the audience so desires, and more importantly, if the musician has not learnt the other language he/she sings in.
I think that the very survival of Carnatic music pays tribute to the fact that it bends and absorbs, rather than breaks. It is possible that many older forms of music were not able to do this and this may have contributed to their disappearance. Most of the music and dance from the region of the Tamizhs has always been very catholic in their approach: take the classical dance forms of India: most of the repertoire is performed to local languages and Sanskrit. e.g.: While kathak is danced to compositions in Hindi/Urdu and sanskrit, mohiniattam and kathakali to sanskrit and Malayalam songs, kuchipudi to Telugu and sanskrit, even in the days when it was called dasiattam, or Sadir or Koothu, bhratanatyam dancers could perform a Tamizh padam (tirvotriyoor tyaagesan chid-vilaasakaaranadi), or a Telugu padam (maaname bhooshanamu) or a Telugu jaavalai (parullanna mata vinnavaddu, praananaayakaa) with equal elan. Following this tradition, current dancers have danced to compositions in Hindi (Dr. Padma Subrahmaniam is credited with using a Meera Bhajan for a Padam first), Bengali, Gujrati (Chandrasekhars) etc. making the repertoire of bharatanatyam so extensive. Similarly, while Hindustani musicians like Bhimsen Joshi are execptions (he has sung some Purandaradasa compositions), most hindustani musicians stick to Urdu/Hindi (and its dialects) lyrics. Rabindra Sangeeth is exclusively in Bengaali, and if the current move to make Odissi music another branch of classical music in India succeeds, then it is another example of a kind of music where the songs are exclusively if not predminantly in Oriya and sanskrit. Unlike all these, I think that we should be proud that Carnatic music has a much wider lyrics-base to exist on.
The language of the songs become important only to those of us (a minority, it appears) that appreciate the innate poetry and godliness of the lyrics and the saintliness of the composers (for die hard, 'true' lovers of music, the lyrics do not seem to carry much weight, because it is difficult to even put a language to the songs several of the 'great' musicians have sung).
Much has been said of the beauty of Telugu compositions, but I love some hindi and kannada songs as well: in the song 'yAd AvE, brindAvan kI mangal lIlA', I was struck by the following lines: 'kOyi kahE yeh mITTA sapna, krishn kahAnI kavi man rachnA, mohE nahIn kaCHu kahnA sunn-nA, mOhE thO brij lAlan lalnA' (the pun on mOhE is great!). In a mIra bhajan, the poetess is asked about the person in her dreams: 'koyi kahE srIrAm hai kya? yA gowrI kAlI maiyA?' and she replies: 'mein kahUn, nahI, gOpAl hai woh ik, ban mei charAyE gaiyAn' (how simple, yet so profound), and she goes on: 'umA patI paramEshwar nahIn, nA nArayan BayahAri, mIrA kA hridaya vihArI, ang pItAmbar, mOr mukut sar, mAlA galE suhAVE'. Similarly, the phrase 'AshegaLeshTO, nirAshEgaLeshTO, suKa, duKa prEmOtsArangaLeshTO' from a purandaradAsa composition also makes my day, or 'sakala vidhyABimAnI, ajana pattadharAnI' also appeals tremendously.
Every language has its innate beauty, and in my opinion, it is the duty of the singer to learn the language, enunciate the words clearly and appropriately and communicate the meaning of the song to the listener to fulfill the prophecy that 'advaita sidhDHiki, amaratvalaBDHiki, gAnamE sOpAnamU'!

Ravi Shankar
you are right.I too agree with you.
I thought only we Tamilians are broad minded but from your post,everyone else seem to be as broadminded in accepting all langauges.For them,the music and dance are a separate language by itself.I think when you become a musician ,you only breath music and things like language,geographical boundaries,all these disappear totally.
Long live such an attitude

After successful completion of Cleveland Thygaraja Aradhana,Michigan thygaraja aradhana is going to start on April 24.US guys can make use of this oppurtunity too.

Leaving all those distractions aside and getting back on track, Tamil Isai. The compostions of the Earlier Trinity, as far as I can collect:

---- Muthu Thandavar (1600 AD)
Keerthanai - 60
Padam - 25

---- Marimuthu Pillai (1712 - 1787)
Keerthanai - 25
Puliyur venba
ChithambarEsar viRalividu thUthu
Thillai PaLLu
Chitirak Kavigal
Singaara Velavar Pathigam

---- Arunasala Kaviraayar (1711 - 1779)
1. Rama Naadaga Keethanai - consisting of:
Tharu (Keethanai) - 197
IradikaNNigal (Thabathai) - 60
Kadavul vaNakkam - 1
Viruththam - 268
Miscellaneous - 6
Venba - 2
KaliththuRai - 1
Various Musical pieces - 258

2. Seerkazhi ThalapurANam
3. Anumaar Pillai Thamizh

Any additions???

Idiappam
The entire holy books like Thevaram,thiruvasakam etc can be set to musical tones.Arunagirinathar thirupugazh.Also,vaishnavite works of Allwars.Everything is part of Thamizh isai.

Later works by periswamy thooran,papanasam sivan,lalgudi jayaraman,ambujam krishna etc. are now sung at concerts.

Bharathiyar poem and few non polemical poems of bharathidasan

Ariyakudi Ramanuja Iyengar set the tune for vaishnavite works like thirupavai etc.periaswamy thooran was a freedom figher from a farmer family near coimbatore.though he did not know music,he wrote a lot of songs and they were set to tune by some musician.

Ambujam Krishna belonged to the TVS industrial family,i think.
Papanasam Sivan is a well known film song composer.

Also,I forgot to mention Koteeswara Iyer who has composed Tamil songs in all 72 melakartas.his grandson K.Veeramani sings light devotional songs.

lalgudi has composed several thiallanas and varnams which are very enjoyable.Chitravina Ravikiran has also composed songs in Tamil,telugu,sanskrit and I think his mudra is "ravishashi"

T.N.Bala and Tanjavur Sankara Iyer have composed Tamil krithis recently

if you know about any other recent composers in Tamil,please post here.

Also add Gopalakrishna bharathi and suddhananda bharathi,swami dayanand saraswathi to above list fo Tamil composers

On sanskritisation of Tamil musical Terminology - an example:

Óò¾¢¨Ã§Â ӾĨÉòÐ Ó¨Èò¾¡Éõ §º¡¾¢òÐ
¨Åò¾Ð¨Ç ¡áö Åì¸Ã¨É ÅÆ¢§À¡ì¸¢
´ò¾¿¢¨Ä ¯½÷ó¾¾üÀ¢ý ´ýÚÓ¾ø ÀÊӨȡõ
«ò¾¨¸¨Á ¬§Ã¡¨º «Á§Ã¡¨º ¸Ç¢É¨Áò¾¡÷.
---- sEkkizhaar periya puraNam - AnAya nAyanAr puraNam (12th C. AD)

ArOsai and amarOsai, respectively sanskritised as Arohana and avarohana - Who did that?

"pAlai" and 'pan peyarthal' coming up next.

Why should we worry about who changed the names to other languages for whatever reason?

whether it is sanskritised,tamilised,teluguised,it does not matter anyway as Tamilians still rule the roost in carnatic music.

Tamils have more sangeetha kalanidhi awards than people from any other state!.

Idiappam
Also, what is the meaning of the sEkkizhaar's stanza which you posted here.
I do not understand classical Tamil without an Urai.

Viggop said:

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Why should we worry about who changed the names to other languages for whatever reason?
whether it is sanskritised,tamilised,teluguised,it does not matter anyway as Tamilians still rule the roost in carnatic music.

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Yes, they can be even 'englishised'. But the roots - 'what came from where?' is very important here! For this is the 'Great' Tamil Isai thread. Else the Greatness would be brushed aside by some anti-Tamil elements here!

Very important, yes!

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Idiappam
Also, what is the meaning of the sEkkizhaar's stanza which you posted here. I do not understand classical Tamil without an Urai

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Oh dear! Viggop that verse is just to show, specifically, where some music terms occured in Tamil LIterature. Overall in Anaya Nayanar Kathai of Sekkizhar - there are more verses (about 15) relating to music.

Anaya Nayanar (I don't know when he lived - but before Sekizhar, of course) was a flutist. So, Sekizhar talks about the making of the bamboo flute (Veingkulal) = to some brief descriptions of how some melodies were played by Anaya Nayanar.

I order to understand this verse, that i posted, you need to know the rest of the verses too - the whole story in context. I will post them with brief 'urai's later tonight - my Tamil typing is slow.

Idiappam
Thanks for acceding to my request for the Urai.You can perhaps open a new thread for it if you feel this is not the right thread.

The earliest trinity in Tamil music is Appar,Sundharar and Sambandhar. Thevaaram verses also happen to be the most ancient verses to be set to music(paNN) by the composers themselves. Thevaaram started the Bhakthi movement in saivite Tamil country and moved upwards north!

"viggop"

// "Idiappam.... Thanks for acceding to my request for the Urai.You can perhaps open a new thread for it if you feel this is not the right thread.//

I agree with Mr. Idiappam.. This is a COMPREHENSIVE-THREAD on the Greatness of Thamizh-Isai...

...which covers each and every aspect of the so called Tamil-Isai... in all the possible outlooks.

So I welcome one and all my friends here to speak out anything whatever they have got to say on Tamil-Isai... PRO OR ANTI..

.. without offending or hurting any Person or Faith or Sentimentimental Beliefs.

... We all are here to reply and clarify suitably as it deserves.

Sudhaama
I do not like to hear any Anti sentiments here.Being Pro-anything does not mean a person is anti-any other thing.If anyone has this opinion,we should only feel sorry for him.
If a pro-tamil isai person is anti-telugu krithis,then his interest in music is not real.it is superficial only because anyone who has immersed themselves in isai will not have such divisive opinions.
Music/Isai is all-encompassing in my opinion & should not be divided on languages,geographic boundaries etc.
This thread can be devoted to greatness of Thamizh Isai only and it should not be anti-telugu isai,anti-kannada isai,anti-sanskrit isai or anti anything.

hey, do you know where i can find Alaipayuthey veena notations?
thank you

Viggop asked:

Quote:

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Idiappam
Also, what is the meaning of the sEkkizhaar's stanza which you posted here.
I do not understand classical Tamil without an Urai.

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Óò¾¢¨Ã§Â ӾĨÉòÐ Ó¨Èò¾¡Éõ §º¡¾¢òÐ
¨Åò¾Ð¨Ç ¡áö Åì¸Ã¨É ÅÆ¢§À¡ì¸¢
´ò¾¿¢¨Ä ¯½÷ó¾¾üÀ¢ý ´ýÚÓ¾ø ÀÊӨȡõ
«ò¾¨¸¨Á ¬§Ã¡¨º «Á§Ã¡¨º ¸Ç¢É¨Áò¾¡÷.
---- sEkkizhaar periya puraNam - AnAya nAyanAr puraNam (12th C. AD)

studying from the (hole that produces) first basal note, accordingly the positions for subsequent notes;
and according to the set fingering methods for notes in retrograde (vakkaranai);
and suiting the melody that is played - from the first to last note (on the octave);
in that manner, (on the flute) the ascend and descend, he set to order.

That's is the english 'urai' for the above verse. I hope that's clear!

Excellent! Thanks.Please update us more on Thamizh Isai.
Awaiting eagerly.

viggop: Some additions to your list:

ANNaamalai reddiyaar
DaNdapaNi desikar
Kambar ( kamba raamaayaNam has been set to music by some musicians. One of my Tamil professors used to sing kambaraamaayaNam verses in the class room. He also sang silappadhikaaram verses.)
Ilango adigaL (silappadhikaaram)

Dear Rajraj
Thanks a lot.TN.Seshagopalan and OS Arun too have rendered songs from Kamba Ramayanam
Bombay Jayashree was involved with a project to make a dance drama on Silapadhikaram along with Ms.Kanimozhi(daughter of DMK chief Karunanithi)
MS made the silapadhikaram song "vadavayirai mathaki" famous by singing it in UN General assembly.

Tholkappiam on vannams....

'Varna' is another sanscritisation of the Tamil word 'vaNNam'. Tholkappiar (5th century BC) mentions the vaNNams in Tamil isai. Altogether there are 20 kinds of vaNNams (varna)..

Tholkappiam 8. sEyyuL iyal

Åñ½õ¾¡§Á ¿¡ø ³óÐ ±ýÀ. 204

«¨Å¾¡õ,
À¡« Åñ½õ ¾¡« Åñ½õ
ÅøÄ¢¨º Åñ½õ ¦ÁøÄ¢¨º Åñ½õ
þ¨ÂÒ Åñ½õ «Ç¦À¨¼ Åñ½õ
¦¿Îﺣ÷ Åñ½õ ÌÚﺣ÷ Åñ½õ
º¢ò¾¢Ã Åñ½õ ¿Ä¢Ò Åñ½õ
«¸ôÀ¡ðÎ Åñ½õ ÒÈôÀ¡ðÎ Åñ½õ
´ØÌ Åñ½õ ´å¯ Åñ½õ
±ñÏ Åñ½õ «¨¸ôÒ Åñ½õ
àí¸ø Åñ½õ ²ó¾ø Åñ½õ
¯ÕðÎ Åñ½õ ÓÎÌ Åñ½õ ±ýÚ
¬íÌ ±É ¦Á¡Æ¢À «È¢ó¾¢º¢§É¡§Ã. 205

«ÅüÚû,
À¡« Åñ½õ ¦º¡üº£÷òÐ ¬¸¢ áüÀ¡ø À¢Öõ. 206
¾¡« Åñ½õ þ¨¼Â¢ðÎ Åó¾ ±Ð¨¸òÐ ¬Ìõ. 207
ÅøÄ¢¨º Åñ½õ Åø¦ÄØòÐ Á¢Ì§Á. 208
¦ÁøÄ¢¨º Åñ½õ ¦Áø¦ÄØòÐ Á¢Ì§Á. 209
þ¨ÂÒ Åñ½õ þ¨¼¦ÂØòÐ Á¢Ì§Á. 210
«Ç¦À¨¼ Åñ½õ «Ç¦À¨¼ À¢Öõ. 211
¦¿Îﺣ÷ Åñ½õ ¦¿ð¦¼ØòÐô À¢Öõ. 212
ÌÚﺣ÷ Åñ½õ Ìü¦ÈØòÐô À¢Öõ. 213
º¢ò¾¢Ã Åñ½õ ¦¿ÊÂ×õ ÌÈ¢Â×õ §¿÷óÐ ¯¼ý ÅÕ§Á. 214
¿Ä¢Ò Åñ½õ ¬ö¾õ À¢Öõ. 215
«¸ôÀ¡ðÎ Åñ½õ ÓÊ¡ò ¾ý¨Á¢ý ÓÊó¾¾ý §Áü§È. 216
ÒÈôÀ¡ðÎ Åñ½õ ÓÊó¾Ð §À¡ýÚ ÓÊ¡¾¡Ìõ. 217
´ØÌ Åñ½õ µ¨ºÂ¢ý ´ØÌõ. 218
´å¯ Åñ½õ ´Ã£þò ¦¾¡ÎìÌõ. 219
±ñÏ Åñ½õ ±ñÏô À¢Öõ. 220
«¨¸ôÒ Åñ½õ «ÚòÐ «ÚòÐ ´ØÌõ. 221
àí¸ø Åñ½õ Åﺢ À¢Öõ. 222
²ó¾ø Åñ½õ ¦º¡øĢ ¦º¡øÄ¢ý ¦º¡øÄ¢ÂÐ º¢ÈìÌõ. 223
¯ÕðÎ Åñ½õ «Ã¡¸õ ¦¾¡ÎìÌõ. 224
ÓÎÌ Åñ½õ «Ê þÈóÐ µÊ «¾ý µÃü§È. 225
Åñ½õ¾¡§Á þ¨Å ±É ¦Á¡Æ¢À. 226

Idiappam,
A letter is missing in some of the words: idai ezhudhu is shown as dai ezhuthu!

Idiappam,

//'Varna' is another sanscritisation of the Tamil word 'vaNNam'. //

Vanhnham = Azhahu (Beauty), Chezhumai (Richness)

"Kaal Vanhnham angu kandaen... Kai vanhnham ingu kandaen.."

-- Kamba-Ramayanam

VANHNHAM does not mean.... VARNAM .... another word meaning COLOUR ...

Quote:

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Originally Posted by rajraj

Idiappam,
A letter is missing in some of the words: idai ezhudhu is shown as dai ezhuthu!

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Thank you raj, That must be a font version error. Corrected that.

Quote:

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Originally Posted by Sudhaama

Idiappam,
//'Varna' is another sanscritisation of the Tamil word 'vaNNam'. //

Vanhnham = Azhahu (Beauty), Chezhumai (Richness)
"Kaal Vanhnham angu kandaen... Kai vanhnham ingu kandaen.."
-- Kamba-Ramayanam

VANHNHAM does not mean.... VARNAM .... another word meaning COLOUR ...

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Well 'vaNNam' or 'VARNA', if we restrict ourselves to their use in music everything will fall in place! In Tamil Isai 'vaNNam' means:

1. A melody or a music mode
2. Harmony
3. Rythmic cycle (santha vaNNam)
4. Variation of metre
5. A melodious tune with quick succession of short syllable (as in vaNNa kuzhimbu)
6. etc etc etc

Also meaning in other context:
1. Beauty
2. happiness
3. co-efficient (mathematics)
4. way or manner - as in 'avvaNNam' - In like manner; 'evvaNNam' - in any manner.
5. etc etc etc

---- from my dictionary

Excellent work Idiappam avarkaLE!

I found a thamizh akaraathi link which gives the various contextual meanings for "vaNNam":

http://dsal.uchicago.edu/cgi-bin/rom...able=tamil-lex

Sudhaama,

"sEl" enkiRa sol eppadi miinukkum, (peNkaL) kaNNukkum - kuRippup peyarAka varukiRathO - athu pOla thamizhil pala soRkaL - pala poruL kuRiththu niRpathu neengaL aRiyAthathA? :)

inthath thiri thuvakkiyamaikku nanRikaL! :)

"geno"

// Sudhaama .... "sEl" enkiRa sol eppadi miinukkum, (peNkaL) kaNNukkum - kuRippup peyarAka varukiRathO - athu pOla thamizhil pala soRkaL - pala poruL kuRiththu niRpathu neengaL aRiyAthathA? ://

Idhan Vidaiyai .. ilakkiya-Maedaiyil inrhu alhikkiraen Angu kaanhga.

// inthath thiri thuvakkiyamaikku nanRikaL//

Karumbu thinna yenakku-k- Kooli vaendumaa?... Nanrhi... kalh.. kalh.. kalh.!!!

Idiappam
Excellent posting on varnams from Tholkapiyam.
Please continue your work.
We can all enjoy the greatness of thamizh isai standing on your hard-working shoulders :-)

Thank you Geno - that online dictionary would be useful. And thanks to Sudhama and Viggop too.

BTW, Tamils had various types of flutes and pipes, harps (yazh) and drums. Did they have some sort of fiddle - stringed but played with a bow??? What is the Tamil name for that?? Checking.... Anyone....

I have seen rajasthan folk musicians use a instrument which has only a single string and a bow.

kinnaram - The violin of the Tamils

Thirunavukkarasar (5 - 6th century AD) frequently mentions this instruments in his Thevaram.

¸£¾Ã¡öì ¸£¾í §¸ðÎì
¸¢ýÉÃó ¾ý¨É ¨Åò¾¡÷ 4.33.7

¸£¾í¸û À¡¼ ¨Åò¾¡÷
¸¢ýÉÃó ¾ý¨É ¨Åò¾¡÷ 4.38.9

Å¢ñ½¢¨¼ Å¢ñ½ Å÷¸û
Å¢ÕõÀ¢Åó ¾¢¨Èﺢ Å¡úò¾ô
Àñ½¢¨¼î ͨÅ¢ý Á¢ì¸
¸¢ýÉÃõ À¡¼ø §¸ð¼¡÷ 4.43.3

¾ÇÕí §¸¡Çà Åò¦¾¡Î ¾ñÁ¾¢
ÅÇÕí §¸¡Ä ÅÇ÷º¨¼ ¡÷츢¼í
¸¢ÇÕõ §Àâ¨ºì ¸¢ýÉÃõ À¡ð¼È¡ì
¸ÇÕí ¸¡÷츼õ â÷ì¸Ãì §¸¡Â¢§Ä. 5.19.1

µ¾ Á¡¸¼ø ÝÆ¢Äí ¨¸ì¸¢¨È
¸£¾í ¸¢ýÉÃõ À¡¼ì ¦¸ØŢɡý
À¡¾õ Å¡í¸¢ô Àâó¾Õû ¦ºö¾í§¸¡÷
¬¾¢ ¡¢Îõ ¬¨É측 «ñ½§Ä. 5.31.10

ÓÃÖí ¸¢ýÉÃõ ¦Á¡ó¨¾ ÓÆí¸§Å
þÃÅ¢ É¢ý¦Èâ ¡¼Ö ¿£ÎÅ¡ý
¿ÃÖõ šâ¿ý É¡¨Ãä÷ ¿õÀÛì
¸Ã×õ âϾø «õÁ «Æ¸¢§¾. 5.55.9

Å¢Îò¾ àÐÅ÷ ÅóРިÉìÌÆ¢ô
ÀÎò¾ §À¡Ð ÀÂÉ¢¨Ä À¡Å¢¸¡û
«Îò¾ ¸¢ýÉÃí §¸ðÌõÅ¡ð §À¡ì¸¢¨Â
±ÎòÐ §Áò¾¢Ôõ þýÒÚ Á¢ý¸§Ç. 5.86.2

In song 5.31.10 Appar says that even the Ilangai King Ravana sang the Lord with the Kinnaram accompaniment...

BTW, what does Kinnaram mean in Malayaalam?? Web search for 'kinnaram' showed many Malayaalam sites.. Just curious!

Idiappam Sir
What happened to these instruments?
How did the Kinnaram look like? was it a stringed instrument akin to the modern day violin? What happened to Yazh? How did it all disappear in later days? Did the musicians who practiced it lose interest with it and moved over to other instruments?
Some old instruments like mridangam,flute,veena etc are still there.

Hope the archaeolgy department finds some artifacts of these instruments. It would give us a clue to the type of sounds these instruments produce.Probably,people can learn to play it again if we know how it looked like.

Ravana is also supposed to be a great Veena player.

What is the history of nadhaswaram which is known for mangala isai? is it a very old instrument? Is there any reference to it in ancient Tamil texts? How was it known to ancient Tamilians?

Dear Mr IDIAPPAM,

Many Thanks for your ENRICHMENT of this thread... by taking trouble to fech the Original Text forms of ... APT... Tamil Quotations...

... from PURHANAANOORHU ... and ... THAEVAARAM...

But on my TWO Requests...

(1) I am unable to follow the Purhanaanoorhu words.. . Will you please post its meanings also.... word by word.?

(2) VANNAM... as per your Quotations... Does it mean .. "VARNAM"... in the Carnatic-music... similar to Keerthana, Thillaana, Viruththam etc.... in a Concert?....

You know... coventionally the VARNAM... is sung as the Firstl item of Concert

WOW!! :shock: Excellent thread!! Thanks to Sudhamma, and Idiappam, Vignop, etc.! :thumbsup:

Idiappam
Like Sudhaama, I too would like to know the meanings of the Tamil quotes you had reproduced here.

Oh dear, I thought I could go on to 'pan peyarthal' (tonic shift) the Tamils described in their Literature - silapathigaram especially. Mr Sudhama, giving meanings 'word for word' for everything I quote would just keep me occupied and busy (Is that indended - I hope not).

Anyway, I will post the meanings soon.

Thank you anyway, for creating this opportunity to share with all of you the Greatness of Tamil Isai.. You too, Viggop and Surya.

Vazhga Pallaandu!

Thanks Idiappam! :clap: Eagerly waiting. :D :thumbsup: