Posts Tagged ‘Language’

The Traditions of Sabarimala Ayyappa

November 7, 2018

Samiye Saranam Ayyappa

There is a whole chapter in the holy Tamil Text, TirukkuraL, titled as ‘Ikal’ (இகல் = Humiliation, Hostility). Herein the Saint Poet Tiruvalluvar in three couplets tells us about the harms of hostility and humiliation.

குறள் 857:

மிகல்மேவல் மெய்ப்பொருள் காணார் இகல்மேவல்
இன்னா அறிவி னவர்.

The real intent and meaning of victory will be lost, if the victor ever humiliates the vanquished with hostility

குறள் 858:

இகலிற்கு எதிர்சாய்தல் ஆக்கம் அதனை
மிகலூக்கின் ஊக்குமாம் கேடு.

Real victory is to be devoid of hostility and humiliation. Otherwise the victory will turn out to be harmful.

குறள் 859:

இகல்காணான் ஆக்கம் வருங்கால் அதனை
மிகல்காணும் கேடு தரற்கு.

The real winner will not humiliate the loser. If he does, winner will be the only loser.

This is exactly what happened in the case of Sabarimala verdictof gender equality by Supreme Court of India and the aftermath of the verdict. It was a just cause and a good victory by Indian Women Activists. Their celebrations are well justified. But where is the need to humiliate the system that existed earlier and its followers?

The Sabarimala devotees traditionally start their ritual penance for the pilgrimage, 41 days in advance. As such, when the verdict against the tradition came they were already half-way into the rituals. There is no way the activists, who hurried to celebrate their victory could have done this 41-day ritual. Most of the women, who dared to visit the shrine, did so in a way that humiliates the traditional devotees. It could have even been their aim, and not any true devotion or serene happiness. Unfortunately as said in the above verses of TirukkuraL:     a) Even the real winners lost the intent and meaning of their victory, b) their victory itself has come under suspicion, and c) and who knows, ultimately, they may even become the losers.

Without going into the merits of the verdict, we can easily conclude that SC has not specified any time limit for implementing their verdict of gender equality. The leftist (atheist) Govt of Kerala could have easily waited for a period of time, and could have used this time, to at least make preparations for the security and safety of first batch of women pilgrims and also more importantly, to secure the ritual value of the pilgrimage of thousands of devotees under penance. But the Govt in trying to celebrate the victory of atheists, chose to humiliate the devotion of the pilgrims. The visual, social and print media in their hurry to celebrate the victory of their ‘secular’ backgrounds, chose to send their women correspondents to the shrine along with the so-called women pilgrims. They never gave a thought for the humiliation it caused for the real devotees under penance. Almost all of the so-called women pilgrims with their media escorts were from non-Hindu communities. What were the intentions behind such a move, except that to humiliate the real devotees? It was really surprising that Supreme Court also did not take cognisance of its verdict, being sabotaged in this manner, let alone the fact, that they chose to remain unconcerned with the violent fallout of its verdict. In this process they allowed their verdict to be sabotaged openly.

I am not a Sabarimala devotee. I have never ever undertaken the penance and neither joined the pilgrimage. But I have great respects for those who go on such a pilgrimage. I have equal respect for the Haj Pilgrims also. It will be really nice, if women devotees of all ages are enabled to go on such pilgrimages. As we all know all pilgrimages have rules and regulations to be followed. Were there any such rules and regulations evolved for women by the Devasvom Board? Did Kerala Govt ask Devosvom Board for such set of rules as existing for male pilgrims? Any pilgrimage, (including for Haj), cannot be treated like a picnic by any new set of pilgrims. If they were real devotees, they themselves could have asked the Devasvom Board to evolve such rules, and could have given adequate time for them to do so. Supreme Court, in their hurry, or some would say, in their Judicial Activism, did not think of such a clause in their verdict also.

Amidst all these tussles within the Hindu Community, was there anybody interested in evolving a solution or a compromise; – neither victors, nor vanquished, nor the mediator and nor the media? Everyone was just following their agenda, political or otherwise. I have no agenda and I am totally apolitical. Being a Hindu, I am interested in safeguarding our gender equality and intrinsically secular culture, and hence I have evolved a solution which can be reviewed by all concerned. Activists can reserve their right to fight against such a solution if they find it not agreeable, either at the proposal stage or at the subsequent implementation.

In any South Indian temple, only the appointed priests are allowed inside the sanctum. They will do Abisheka, Alankara, Archana and Aradhana from inside the sanctum and will be in direct physical contact with the deity or murthy. The devotees will witness and participate only from outside. This is very much unlike temples in North India. Even in the case of Ayyappa Temple at Sabarimala, devotees are allowed only up to the upper prakara of the temple above the traditional 18-steps. Of course they will have uninterrupted darshan of the deity, will have their offerings accepted and will receive their prashad. The 41-day penance they do is only to become eligible to go up these holy 18-steps. A few of the women activist have managed to reach the terrace just below the 18-steps, and that is where, they were violently, or otherwise, stopped by the devotees and the priests. When thousands of devotees voluntarily undertook penance to reach that stage, how can such activists with police protection be allowed, sans any such penance? Under this context, here comes my solution:

Women of ages between 10 years and 50 years, if they are menstruating, will not be able to observe 41-day penance for obvious biological reasons. Hence they could be specified some easier penance for say 18-days. After completing this easier penance, they can be admitted to take the pilgrimage, in a way not to distract or disturb the more severe penance of male devotees. These women devotees may be admitted up to the terrace below 18-steps. From then on, only those women who are below 10, or above 50 years, who have kept up their penance for 41-days will be allowed to mount the 18-steps and have a close darshan of the deity. All other women can have indirect darshan, say through a real time CCTV/screen, just outside the 18-steps, thus respecting the celibate status (Naishtika Brahmacharya) of Lord Aayyappa of Sabarimala. Offerings of the devotees may also be collected and made to the deity by the priests, who will then distribute the prashads to these devotees. In every Sabarimala season, the first day of opening of the shrine may be allotted only for women. All the male devotees may be stopped at Pamba base camp itself, till darshan by women devotes are completed and they have returned to the dedicated base camp at Pamba.

This solution or any other variations should be discussed with all devotees, priests, Devasvom Board, Pandalam Royalty and Kerala Govt. Such an agreed solution should be presented to the Supreme Court, during the ongoing review of the verdict, if possible. Otherwise, they should appeal to Supreme Court now itself, for sufficient time to implement any other solution based on the revised verdict they may pass on review.

Even if no party appeals for more time or if they show no intention of drafting a solution enabling the visit to the shrine by women devotees of all ages, Supreme Court on their own wisdom may direct the parties to form a committee and propose such a solution. In the end, there should not be any Victor or Vanquished and neither any scope for humiliation of any one.  Hope with the help of such a fair justice to be delivered by Supreme Court, with the cooperation of all Sabarimala (men and women) devotees and by the divine grace of Lord Ayyappa, we will all find an amicable solution with a win-win status.

Samiye Saranam Ayyappa




Carnatic/Hindu Music

September 6, 2018

I have a Tamil book on Carnatic music bequeathed by my grandfather. This book was published in 1910, more than 100 years ago. The title of this Tamil book on Carnatic music is, yes, ‘Hindu Sangeetham’. So I am well within my rights to give the same title to my blog also. Most of my readers may be aware of the recent controversy of yet another attempt, by Christian Missionaries of India, to appropriate this essential Hindu culture of Carnatic music into their system with an obvious attempt at incentivised conversion. When I first heard of this controversy I did not believe Christian Missionaries will risk doing this. In all good intention I wrote to some of these Christian organisations a general appeal to reassure the Carnatic Music community of their respect for Hindus and their culture. But when I realised their true intentions, I wrote another appeal to some of the Carnatic Artists I happen to know, to resist these measures from Christian Missionaries. The above two appeals are given at the end of this blog. Subsequently, Sri T M Krishna, an artist whom I like and respect a lot, turned the whole issue upside down, perhaps, to serve his socio-political ideology. I started following TMK on his twitter handle.  I interacted with all in the conversation and I learnt there are several aspects to this controversy. But most of my tweets were not answered by T M Krishna. I am listing my reactions and my comments on major issues below, quoting my tweets wherever needed.

  1. What is wrong if we sing compositions on gods and icons of other Religions?

Nothing wrong at all, if such compositions are sung during the natural course of a concert. I have heard many singers do it and enjoyed the musical and other aspects of such compositions, including the melody, rhythm and emotion. But it should not lead to a situation where there is an obligation on every singer to do at least a few such compositions in every concert or otherwise he will be branded as manuvadi, brahminical or a sanghi, the usual attributes given to secular Hindu artists.

  1. T M Krishna promised to sing and release one song on Allah or Jesus every week. Why not?

If he is doing it on his own I appreciate his initiative, but why only at this point of time and why such a regularity of one song every week?

(I tweeted) I am afraid it will become obligatory on other artists to sing one such song in every concert (as otherwise the concert will be called communal?) which is not good for Music.  I do not think, TMK is doing it for evangelical purposes.

Sri. KVN used to sing Vedanayakam Pillai’s Krithis on Karthar very regularly in concerts, not for evangelical purpose, neither for obtaining the support of Christians.

If Carnatic Art music had not been secular in content, how come Kanimozhi(DMK) is able to enjoy these concerts on a regular basis?

No, I don’t think singing one or two compositions in concerts on other non-Hindu icons (like Buddha, Mahavir, Guru Gobind, Allah, Jesus, Ambedkar, Gandhi, Abdul Kalam or our Nation) is wrong.

My Tweet: 90% of Indian Christians are converted Hindus – may not mind & may even be proud to sing and listen to melodious songs on Hindu Gods.

  1. Then why this hue and cry, when Aruns/Arunas sing krithis on Jesus?

My Tweet: Hue and cry is not about singing Christian Carnatic songs. Done 100 years back. But why an event of only Christian songs, and who sings & why. It depends on who is arranging and why? You saw OS Arun wearing the cross while singing? Will TMK do it and back to Thirumann for Vishnu!!

Is it secular to do it? It was obvious that here is an attempt to propagate Christianity through Carnatic music, than to propagate Carnatic music through Christianity. This is simply a cultural appropriation.

  1. How do you say this is a cultural appropriation?

You may all be aware of Churches celebrating their religious festivals with all types of Hindu customs, like Dwjasthamba, Abhisheka, Archana, Procession and Rathotsavam. If it had stopped with that may be Hindus would not have objected. But now they have Yesu Suprabhatm, Christhu Bhujangam, Jesus Sashti Kavacham and Mary Ashototram. And I hear they also have Yesu Rudram, Yesu Suktham, Yesu Upanishad etc. Tomorrow they may pay Rs 100,000 (from the funds of Christian missionaries abroad) to any Brahmasri Rama Subramania Ganapadigal (with full support of T M Krishna) and ask him to recite these mantras (and play them) at Churches. Is this not cultural appropriation and propaganda?

My Tweet: What is done is not to promote music thru’ Christ but to promote Christ thru’ music. Let them first accept it. TMK et al shouldn’t support this.

  1. Haven’t the brahmins appropriated this music from lower castes?

My tweet: “Dravidian movement alienated Carnatic Music from other communities. Want to unfollow everything brahmins follow. M.K. himself was of music caste”. This remained as one of the top tweets in @TMKrishna handle for almost a week with 1500 viewers. 

All carnatic musicians respect Thevarams as the first ever scripted musical pieces available in the whole world. Tamil Panns are the precursors for many modern day ragas. They are aware of silappdikaram and its documentation and grammar of performing arts of those times including Music. Even with all these historical facts, the Dravidian movement disowned their own music. Though late Sri M Karunanidhi, the doyen of Dravidian Movement is himself from a musical community of Isai Vellalars, he was tragically instrumental in alienating other non-brahmin communities from this music and calling Brahmins as non-dravidians. Brahmins continued to invest their quality time, efforts and resources to keep this tradition of music alive. As more and more Isai Vellalars and Oduvars have dropped out of learning and practicing their musical tradition, Brahmins took up the job of preserving it. Even today many conservative Brahmin families do not allow their talented and trained girl children to perform concerts in public. As performers from traditional music communities dropped out, these talented Brahmin youngsters were reluctantly permitted to perform. Oduvar tradition in Hindu Temple was discouraged by the same Dravidian rulers. When Archakas are getting paltry sums as compensation, how will Oduvars get anything reasonable?

Brahmins did not appropriate carnatic music. It was abandoned by other communities; Brahmins are investing their time, efforts and resources keeping the tradition alive. Even today it is the Brahmins who are mainly saving our music traditions and fighting the appropriation by a foreign Christian culture.

And it is not easy. Aruna Sayeeram struggled for 30 years before she became a front line performing artist at the age of 50. She is now 70 as she gains the title of Sangeetha Kalanidhi from Music Academy. Brinda Manickavasagam, a non-brahmin was very lucky to come into prominence early in her life. Of course she richly deserves her place with her rich and effortless singing. Once you gain a place among celebrities, still you have to struggle to retain your rankings. They earn paltry sums, compared to film music singers under A R Rehman or Ilaya Raja.

My Tweet: other communities allowed the Brahmins to dominate in what’s essentially their art. Now they avoid it saying it is brahminical. What a pity!

  1. Why Titles and recognition are given only to Brahmin artists?

When others have disowned this music, what else do you expect? Till 10 years back a lot of non Brahmin artists received many awards. Tamil Isai Sangam is now finding it difficult to find non-brahmin Tamil artists for awards. I heard the organisers of Thirugnana Sambandhar Vizha In Mylapore lamenting that they have no way than to take the cooperation of Brahmin community to find artists and audience for this festival. Othuvar community has been bankrupted and impoverished by successive Dravidian governments’ anti-Hindu policy. Where are Madurai Somu’s, Namagiripettais, Pazhani Subramania Pillais, T M Thygarajans?

  1. Why Tamil songs are not given prominence in concerts?

This art was founded and developed by Dravidians. Purnadaradasa, the Bhishma Pitamaha of Carnatic Music, a non-brahmin, is from Karnataka region of Dravida Nadu. Almost all his compositions are in Kannada.  St Thygaraja was a Telugu composer from Tamil Nadu. Swati Tirunal was from Kerala and mainly composed in Sanskrit. Muthiah Bhagavatar is a Tamil Composer from Mysore Durbar. Tamil Moovar are Tamil Composers of Pre-Trinity period (Mutthu Thandavar, Marimuttha Pillai, Arunachala Kavirayar). We all know about Papanasam Sivan a 100% Tamil composer of Mylapore. All musicians from Dravida Nadu, i.e., Andhra, Telengana, Karnataka, Kerala and Tamil Nadu, are learning compositions of all Dravidian languages including Tamil. Only then they can perform all over South India and India, including cities like Chennai, Coimbatore, Trivandrum, Bangalore and Hyderabad, not counting Mumbai, Delhi and Calcutta. They select compositions according to the mix of the expected audience, their own mood and choice. Do you know that Tamil Brahmins recite Kanda Sashti Kavacham more often than Vedas, Abirami Andhadi more often than Lalita Sahasranamam? I hope other communities will not disown these great works also like they have done with their music.

  1. Are not the Brahmins biggest manuvadis and communalist and deserve all the mud being thrown on them?

Please be aware that MANU is not a Brahmin and neither Tamil Saint Thiruvalluvar was a Brahmin. In those days Brahmins were a respected community and hence they got the prominence. Atrocities being committed on dalits, now and in the last century, were not only by Brahmins, and neither had they the sanction of Manu Smrithi. Presently all the atrocities on Dalits are by other upper caste non-brahmins, and habitual Brahmin-haters know it. They are diverting this blame to Brahmins for political reasons and thereby degrading both the Dalits and the Brahmins . And who are these singers performing for Christians? Almost all of them are Brahmins and you call them communalists. I appeal to all Hindus, especially dalits to care for Brahmins who are safeguarding Hinduism and its cultural traditions from decay, appropriation and possible extinction. As writer Jeyamohan says “Brahmins are small in number and hence they are defenceless. They are surrounded by a social behaviour in which, insulting them is considered a social duty.”

  1. Why do you think Carnatic music is in the domain of Hindu Culture

Make no mistake. Carnatic Music is Hindu Music. It is not like Hindustani music which was influenced by Mughal invaders and it has no lyrical importance. Rik Veda is montonic on ‘sa’. Yajur Veda is 3-toned Ni-Sa-Ri and Sama Veda is 5-toned Da-Ni-Sa-Ri-Ga. Ma-Pa were introduced later as 4/3 & 3/2 ratios for consonance with Sa of both octaves. All music system of the world followed the same. Carnatic Music is the original Hindu/Indian music which is the mother music for all other music. We still have 22-sruthi system as described in 4th-century-BC scripts of Bharata Muni and Tamil epic Silapadikaram. Others have diluted this to a 12-sruti (equi-tempered) System. Being secular does not mean forgetting our culture.

Again, Chanda Sastra of ancient Hindus have developed prosody and meters for recitations; such as, Anushtup Chanda for Sahasranama, Gaythri Chanda for gayathri mantra, and a complicated chanda for Bhujangam. Christians have composed recitations using these chandas, Yesu Sahasranama, Jesus Gaythri, Christ Bhujangam.

I have a question for the so-called secularists – if the music being of Hindu origin stops you from enjoying the same, what kind of a secularist you are? – If the music being followed heavily by Brahmins stops you from following it, what kind of caste-free attitude you have?

My Tweet: Carnatic Music had originated from Hindu thought and remained that way. Hinduism was not forcibly introduced as being done now by Christians

  1. But Carnatic music still remains Elitist. Why?

What do you mean by elitist?

Do you think it is only for the rich? Annual income of 90% of followers of carnatic music will be much less than Rs 8 Lacs, the official limit for creamy layer among BCs of our society accepted by all the Social-Justice Activists

Do you think it is only for people living in bungalows in posh localities? 90% of listeners live in 1 or 2 bedroom apartment blocks in typical middle class areas

Do you think it is only for car owners? 90% of listeners come to the concerts by share Autos, Buses or two wheelers.

Do you think these concerts cost a lot of money? Minimum Tickets are less than Rs 100 and many of the concerts are free. Compare this with a concert by SP Balasubramanian or AR Rehman where the minimum ticket is Rs 500 to Rs 1000.

Do you think the Carnatic Artist are Elites? They are all from middle income group

Do you think Music teachers are elites? Most of them are well trained musicians who unfortunately failed to make it to the top of the popularity chart, either because of lack of sponsors or due to family responsibilities.

Then why is this, ‘Elitist’ impression?  What irks these so-called social-justicians, is the fact that 90% of the carnatic music listeners and organisers are Brahmins. Carnatic music practitioners and followers know very well that this music cannot become as popular as folk music, pop music or film music. Most of the artists are so highly talented they could have easily shifted to any of the above formats where their chances of success could have been higher. But they chose to remain as carnatic artists basically to save this Dravidian traditional music for the future generations.

The fact is there are countless opportunities for anybody to learn and practice carnatic music. If you are against any brahmin teacher there are many non-brahmin experts available in all cities. There are carnatic music department available in Anna University teaching many students. There is a dedicated Govt Karnatik Music College in Chennai. Kalakshetra is a secular organisation involved in training students in dance and music. Social-justicians, like TMK and others, may campaign for and sponsor non-brahmin and non-hindu students, so that they throng these courses in big numbers.

The following were my initial reactions in this controversy

My appeal to all the people involved in this controversy

I have heard Sri KVN singing in his regular concerts, to predominantly Hindu audiences, excellent Krithis of Vidwan Vedanayakam Pillai on “Karthar”, the Jesus. I have also seen many Christians attending Carnatic vocal concerts, where songs predominantly on Hindu gods were sung. We have seen many Christian artists singing and playing in Carnatic music concerts, including Sri Jesudas, Sri Jose (on Viola) and Sri Higgins Bhagavatar. But then, where is the problem?

None of the above secular rasikas and artists were concerned or interested in religious propaganda conversion. They were truly secular in that they practiced their religion without minding   the religion practiced by their listeners. But the situation has changed a bit in the last 20 years, since a dominant political party of India and the government fell in the hands of a catholic foreigner. Though she became a ‘secular’ Indian, it has not stopped the political back biters in pandering to (apparently) please her, by encouraging conversions and promoting Catholics to prominence. It even encouraged some people to Hindu-bashing to attract the attention of the so called secularists. This has led to expected reaction from Hindus, some of them even violent. The present regime, which is trying to check such tendencies, is not very successful. On the contrary the Hindu elements have started over reacting. The opposition is trying to exploit this situation by further encouraging Christians and other minorities with their appeasement policies. This is resulting in religious polarization, caused by whom, l leave it to your guess and opinion.

Now let us come to this Yesuvin Sangama Sangeetham: Here is a need to unite our Tamil and Dravidian community. (Dravidam = Tamil+ Telugu + Kannada + Malayalam + others).

  1. Let the Yesu program organisers announce publicly: “We have great respect for Hindus and their music composers. We are not for propaganda or conversion. This is just our efforts to promote Carnatic music among all communities”
  2. Let them say “The selected artists are allowed to sing songs of all religions Hindus, Buddhist, Chiristians and Islam”
  3. Let them openly declare that any artist not convinced about this, may withdraw without any financial or contractual constraints.

If organisers are adamant in refusing to do the above, then, they share the blame in polarizing Tamil/Darvidian communities.

Hope good senses prevail on both sides.

My appeal to all the Carnatic Artists

இசை என்பது பல வகையானது. நுண்ணிசை, மெல்லிசை, சேர்ந்திசை, நாடக/நாட்டிய இசை, இறைஇசை, படை இசை என்று பல விதங்கள். எல்லாமே இசை தான். எல்லாவற்றிற்கும், ராகம், இசைவு, தாளம், பாடல், மேலும் உணர்வுகள் தான் அடிப்படை. இருப்பினும், இசைகள் வேறுபடுவது இவற்றில் எதற்கு அதிக முக்கியத்வம் தருவது என்பதில் தான். மாதிரிக்கு சேர்ந்திசையில் இசைவுக்கும், இறை இசையில் பாடல் மற்றும் உணர்வுக்கும், படை இசையில் தாளம் மற்றும் உணர்வுக்கும் முக்கியத்வம். நுண்ணிசையில், ராகத்தோடு இவை எல்லாவற்றுக்குமே முக்கியத்வம் உண்டு.

நுண்ணிசை, மெல்லிசை இரண்டுமே மத சார்பற்றவை. அனைத்து மதத்தினரும் கேட்டு ரசிக்கலாம், இசைக்கலாம். இறை இசை அப்படி அல்ல. அந்த அந்த மதத்தினர் தான் முழுமையாக ஈடுபட்டு ரசிக்கமுடியும். இசைப்போரும் அந்த மதத்தை சேர்ந்தவராகவோ அல்லது பெரிதும் மதிப்பவராக இருக்கவேண்டும்.

இறை இசையை நுண்ணிசை போல பாடலாம். ஆனால் நுண்ணிசையை முழுவதும் இறை இசையாகவே மாற்றிவிடக்கூடாது. அப்படி இல்லாமல் இருப்பதால்தான் கனிமொழி போன்ற நாஸ்திகர்களும் கர்நாடக நுண்ணிசையை ரசிக்கிறார்கள். அவர் நிச்சியமாக இறை இசையை விரும்பமாட்டார். (அவர் ஏன் இந்த கிறித்தவ இறை இசை நிகழ்ச்சியை ஆதரித்தார் என்று தெரியவில்லை).

நமது திராவிட கர்நாடக இசை ராகங்களை இந்த எல்லா இசை வடிவங்களுக்கும் பயன்படுத்துகிறார்கள். இனிமை கருதி சற்றே இலக்கணம் மீறியும் இசைக்கிறார்கள். நுண்ணிசையாளர்கள் அதைச் செய்ய தயங்குவார்கள். பல தேச பக்தி பாடல்கள், ராகங்களில் மெட்டமைத்து பாடப்படுகின்றன. ஒரு பாகிஸ்தானிய தேச பக்தி பாடலை இந்திய கலைஞர்கள் பாடுவதை நாம் ஒத்துகொள்வோமா?

ஆனால் ஒரு இந்து மதத்தை சேர்ந்த ஒரு கலைஞர் மற்ற மத பாடல்களை பாடுவதை நாம் ஏற்றுகொள்கிறோம், அது ஒன்றிரண்டாக இருக்கும்வரை. அதுவே ஒரு மதப்பிரச்சாரமாக, பல பாடல்களை பாடுவதற்கு, அவர்கள் ஒரு கிறித்தவ கலைஞரை பாடவைத்தால் இன்னும் கூட உணர்சசி பூர்வமாக பாடுவார்கள் அல்லவா? முன் காலங்களில் திருமதி ஜிக்கி அவர்கள் பாடிய “எல்லாம் ஏசுவே”, “எனை ஆளும் மேரி மாதா” போன்ற பாடல்களை இன்னும் அனைவராலும் ரசிக்கமுடிகிறது. இல்லையா?

இன்று என்ன நடந்திருக்கிறது? பெயர் பெற்ற நுண்ணிசை கலைஞர்களை வைத்து அவர்களை இயேசு இறை இசையை பாடவைத்திருக்கிறர்கள். அவர்கள் இறை இசை பாடகர்களே அல்ல. பணத்திற்காகவும் நட்பிற்காகவுமே பாடியிருப்பார்கள். இதைச் சிலுவை அணிந்து வீடியோ காட்சிகளாக வேறு. இது முழுக்க முழுக்க அவர்களின் ஜனரஞ்சகத்தை (popularity) மதப் பிரச்சாரத்திற்கு பயன் படுத்தியதாகத்தான் தோன்றுகிறது. இந்த மறைமுக நோக்கம் நமது நுண்ணிசை கலைஞர்களுக்கு தெரியவில்லையா, என்ன?

நுண்ணிசை கலைஞர்களே, உங்களுக்கு பெயரும் புகழும் யாரால் வந்தது என்பதை மறக்கலாமா? சிந்தியுங்கள்.

Gid’s Gift of Carnatic Music

Finally here are just a few words for Carnatic Music Artists, Organisers and listeners. Do not allow these aberrations to affect your enthusiasm for our Dravidian Carnatic Music. It is a great tradition. By following this tradition of music you will never become a fundamentalist, or Manuvadi or a Sanghi. These are all epithets used by political activists and they are not social activists as they claim to be. Sqaure-up your shoulders, keep your head high and be proud that you are bestowed by God, with this precious gift of Carnatic Music. You may even wear a T-shirt with words printed boldly “Rasika of Carnatic Music”.

“Entharo Mahanubhavulu Antariki Vandanamu”

(Many are the great souls, to all of them our salutations)

Adik Maas in Luni-Solar Calendars of India

June 10, 2018

I am not sure how many of my readers are aware that we are in the 13th month of the Hindu luni-solar calendar. Though this is only the third month of this current Hindu Luni-Solar calendar, this month (from 16th May 2018 to 13th June 2018) is an extra month, called Adik-Jyeshta, and eventually we will have 13 months during this year in this luni-solar Hindu calendar. From 14th June 2018, we will have the 4th month of Luni-Solar Vilambi year and it will be called as Nija-Jyeshta. The current luni-solar year will range from on 18th March 2018 to 6th April 2019 (i.e. totally 384 days).  The names of the 13 months of current Vilambi year are:

Chaitra, Vaisaka, Adik-Jyeshta, Nija-Jyeshta, Ashada, Sravana, Bhadrapada, Aasvina, Karthika, Margasira, Pausha, Magha, Phalguna.

But why 13 months and 384 days are in this year? We are all aware that lunar months are based on the lunar cycle of 29.53 days between two new moons. An ‘Amanta’ lunar month ends on the new moon day and a new month begins on the next day. (Ama-anta: Ending in Amavasya, the New moon). Hence normally the lunar year will be of 354 days. This is 11 days short of a normal solar year. Hence, to synchronise with Solar year, approximately every third year an extra month (adik Maas) of 29.53 days is added making a year of 384 days. On an average, Adik Maas (or extra month) comes once in 2 years and 8.5 months. A lunar month is given the same name as the solar month in which the new moon occurs signalling the end of the lunar month. Since a solar month is generally of 30 days or more, there are occasions when two new moons occur within a solar month, one at the start and the other at the end. This results in the particular solar year having 13 new moons, instead of normal 12. This accounts for the 13th month or Adik-Maas (extra month). The lunar month starting on the first new moon of this solar month is designated as Adik-Maas with the same name as the next month with an adjective ‘Adik’ or extra. The next lunar month starting after 2nd new moon of the solar month, will also  have the same name, but with adjective ‘Nija’ or real.

During the current solar year of Vilambi, you may observe two new moon days in the second solar month of Vaikasi, (Rishaba or Vaisaka), one on 1st of Vaisaka (15th May 2018) and another one on 30th of Vaisaka (13th June 2018). Hence we have two months of Jyeshta named as Adik-Jyeshta, Nija-Jyeshta. Adik-Jyeshta Amavsasya is occurring in Solar month of Vaisaka itself as extra amavasya, and Nija-Jyeshta  Amavsaya, in Aani, Mithuna or Jyeshta Maasa. Please refer Tamil ‘Pambu’ Panchangam.

Similarly, a few of the shorter solar months of 29 days, (as in Margazhi, Paush and Magh), may, very rarely, not have any new moon at all. Such a solar month is known as ‘Kshaya maas’ or defective month. When this happens there will generally be two Adik maases, one in the month prior to, and another in the month subsequent to kshaya Maas. If Paush happens to be kshaya maas, then Kartika and Phalgun will have two Amavasyas each. Then the sequence will be, Adik Kartika, Nija-Kartika, Margasira, Magh, Adik-Phalgun, Nija-Phalgun. Lunar month of Paush will not exist at all and the year still having 13 months.

I have discussed only about Luni-Solar ‘Amanta’ calendar widely followed in South India and Maharashtra. A major variation of this is known as “Purnimanta calendars”, (purnima-anta: ending in Pournami, Full moon), which are followed in most of the Hindi belt in North India. It generally follows the same principle, including the names of the months. Following is an interesting point to note. Purnimanta months are named after the star that is brightest and closest to the moon, on the full moon day. Amanta calendar also adopted the same names.  Same names were adopted by the Solar system also, in addition to the names of the zodiac. In fact Kerala still go by Rasi names only for the solar months.

In the appendix, I have given a list of Regional Varieties of the Indian Calendars, as given by Helmer Aslaksen and Akshay Regulagedda.

The Government of India set up a committee to reform our calendars in 1955 with the renowned physicist Meghnad Saha as its chairman. The committee recommended, among other things, that the Indian Solar year should start on March 22, the vernal equinox, and the first month should be called Chaitra. It was adopted, with a lot of fanfare, as The Indian National Calendar known as ‘Saka Varsh’ in 1957. But the Union Govt under Sri Jawahar Lal Nehru failed to respect the existing system which was also based on scientific observations and principles. Our existing almanacs were described as “encyclopaedia of errors, superstitions and half truths”. Hence Saka calendar failed to take off. (Satyam Bhruyat, Priyam Bhruyat !!!) Even the current universal Gregorian calendar proposed in 1582 CE got adopted by England only in 1752 CE. But then, it was proposed by Pope Gregory, not by any Govt order.


  1. Tamil Pambu Panchngam – விளம்பி வருஷ வாக்கிய பஞ்சாங்கம்
  2. Regional Varieties of the Indain Calendars –
  3. Names of the Months in the Indian Calendars
  4. Medieval mistake – by Biman Nath :FRONTLINE, Vol. 25 – 06 : Mar. 15-28, 2008;



Regional Varieties of the Indian Calendars

 by:  Helmer Aslaksen and Akshay Regulagedda

State   Calendar   New Year
Andhra Pradesh   Southern amanta   One day after the last new Moon before the Mesha samkranti
Goa   Southern amanta   One day after the last new Moon before the Mesha samkranti
Karnataka   Southern amanta   One day after the last new Moon before the Mesha samkranti
Maharashtra   Southern amanta   One day after the last new Moon before the Mesha samkranti
Gujarat   Western amanta   One day after Deepavali
Gujarat – Kathiawar   Western amanta   Ashaadha S 1
Bihar   Purnimanta   One day after the last full Moon before the Mesha samkranti
Chattisgarh   Purnimanta   One day after the last full Moon before the Mesha samkranti
Delhi   Purnimanta   One day after the last full Moon before the Mesha samkranti
Haryana   Purnimanta   One day after the last full Moon before the Mesha samkranti
Himachal Pradesh   Purnimanta   One day after the last full Moon before the Mesha samkranti
Jammu and Kashmir   Purnimanta   One day after the last full Moon before the Mesha samkranti
Jharkhand   Purnimanta   One day after the last full Moon before the Mesha samkranti
Madhya Pradesh   Purnimanta   One day after the last full Moon before the Mesha samkranti
Uttaranchal   Purnimanta   One day after the last full Moon before the Mesha samkranti
Uttar Pradesh   Purnimanta   One day after the last full Moon before the Mesha samkranti
Rajasthan   Purnimanta   One day after the last full Moon before the Mesha samkranti
Punjab   Purnimanta   One day after the last full Moon before the Mesha samkranti
Punjab – Nanakshahi   (Solar) Sidereal; fixed relative to Gregorian calendar   14th March
Tamil Nadu   Solar   The Mesha samkranti
Kerala   Solar   Simha samkranti
Orissa   Solar   The Mesha samkranti
Assam   Solar   Solar day after the Mesha samkranti
Tripura   Solar   Solar day after the Mesha samkranti
West Bengal   Solar   Solar day after the Mesha samkranti

Note: The table is exhaustive neither in terms of calendars nor in terms of states. Arunachal Pradesh, Manipur, Meghalaya, Mizoram, Nagaland and Sikkim were left out.



Tamil – Class: 5 / Teaching Tamil Through English

April 9, 2018


Generally people ask a question, “Why should we learn Tamil?”  In my younger days I asked a similar question, “Why should I learn Sanskrit?” But I was forced to learn Sanskrit, being born as a Brahmin. In my native state of Tamil Nadu, India, Sanskrit is looked up on as a sign of Brahmanism and hence there was not much encouragement. Even in Schools, facility for learning this language was very minimal and insufficient. Hence I had to drop the option of learning this language at some stage. But now I regret I have not learnt a language which contains most of ancient Indian knowledge of Science, Philosophy and Religion. Tamil is also an equally ancient Indian language with a rich treasure of Literature, Science and Cultural History. It is a source of one of the ancient medical practice called Sidda System of Medicines, totally encoded in verses of mystical poetry. With the knowledge of Tamil as a classical language decaying all over, now it needs a learned interpreter to understand and use this system safely. In my younger days in my village, I have heard these verses being recited by our family Native-Physician (Nattu Marutthuvar – நாட்டு மருத்துவர்).  Luckily the present Indian Government is encouraging the knowledge of native Sciences and Technologies, and hence, facilities for study and practice of this system are taken up seriously.

When you know Tamil as a spoken language, it is only a small step to learn the same to read, write and teach the youngsters the great language of Tamil.

We have seen in the earlier 4 classes in this series, the Alphabets, pronunciations, a few words and a brief history of Tamil Language. Now let us proceed to CLASS – 5.

Let us now make a few simple sentence

1. Un(nudaiya) peyar enna? – En peyar Tara

உன்(னுடைய) பெயர் என்ன? – என்(னுடைய) பெயர் தாரா.

What is your Name? – My Name is Tara

2. Idhu yaar? – Idhu en(nudaiya) appa

இது யார்? – இது என்(னுடைய) அப்பா.

Who is this? – This is my father

3. Un amma engey? – En amma veetil irukkiraar

உன் அம்மா எங்கே? – என் அம்மா வீட்டில் இருக்கிறார்.

Where is your mother? – My mother is at home

4. IvaL un thangaiya? – Illai, IvaL en Akka, Mili.

இவள் உன் தங்கையா? – இல்லை, இவள் என் அக்கா, மிலி.

Is she your younger sister? – No, she is my elder sister, Mili.

(Peyar– பெயர்- Name,  Appa- அப்பா-Father,

Amma– அம்மா- Mother, Veedu – வீடு – Home,

Thangai – தங்கை – younger sister, Akka – அக்கா – elder sister,

Illai – இல்லை – No)


Now let us learn a few famous poetic expressions in Tamil

Name of the poet is also given.

  • OnRe Kulam, Ourvane Devan – Tirumular

ஒன்றே குலம், ஒருவனே தேவன். – திருமூலர்

(There exists) Only one Community and only one God

  • Annalum NOkkinAn avaLum NOkkinAL – Kavi Chakravarthi Kambar

அண்ணலும் நோக்கினான், அவளும் நோக்கினாள்.

– கவிச்சக்கரவர்த்தி கம்பர்

He glanced at her, and, She returned the glance

  • Chinnan chiru KiLiye, KannammA, Selva Kalanjiyame! –

– Maha Kavi Subramania Bharathiyar

சின்னஞ்சிறு கிளியே, கண்ணம்மா, செல்வக் களஞ்சியமே

– மஹா கவி சுப்பிரமணிய பாரதி

Oh pretty little Parrot, Kannamma (Darling)!

Oh the store house of my prosperity!

  • Tamizhukkum amudhenRu pe(y)r – Kavignar Bhrathi Dasan

தமிழுக்கும் அமுது என்று பேர் – கவிஞர் பாரதிதாசன்

Nectar is also the name for Tamil Language (of same sweetness)

  • KuRai Onrum Illai MaRai Murthy Kanna, MuRai onRum illai Govinda – Rajaji

குறை ஒன்றும் இல்லை, மறை மூர்த்தி கண்ணா

முறை ஒன்றும் இல்லை, கோவிந்தா – ராஜாஜி

No Wants at all Krishna, the lord of all scriptures

 (and, no) not even one complaint, Govinda! (the God)

  • KAlangaliL avaL vasantham, Kalaigalile aval Oviyam –

– Kaviarasu Kannadasan

காலங்களில் அவள் வசந்தம், கலைகளிலே அவள் ஓவியம்

                                                     – கவியரசு கண்ணதாசன்

Among seasons, she is (like) Spring;

Among arts she is (like a) Painting.

  • Kannukku Mai Azhagu, Kavithaikku Poi azhagu –

Kavignar Vairamuthu

கண்ணுக்கு மை அழகு, கவிதைக்கு பொய் அழகு

கவிஞர் வைரமுத்து

Eye shades – beauty to the eye(s);

Lie adds beauty to the poetry.


Let us learn a few typical phrases in Tamil

கிட்டத்தட்ட – Kitta-tthatta – Approximately

ஏறத்தாழ     –  ERa-ththAzha – More or less

குத்துமதிப்பாக – kutthu mathippAga – as a rough estimate

சுமாரா – sumAra – fairly (close to)

Now a few words with twin syllables:

பளபள – paLa paLa – Shining

சிலுசிலு – Silu Silu – Very Cold

விடுவிடு – vidu vidu – double fast

வழுவழு – vazhu vazhu – Slippery

Just before closing this lesson, let me give you some sentences using a few of the above words:

1. அவனுடைய சம்பளம்  கிட்டத்தட்ட மாதம் ரூபாய் நூறாயிரம்.

Avanudaiya sambaLam kitta thatta mAdham rupai noorAiyiram

His salary will be approximately Rs 100,000 per month

2. அவனுடைய எடை சுமாரா எண்பது கிலோ இருக்கும்

Avanudaiya edai sumArA eNpathu kilo irukkum

His weight may be fairly close to Eighty Kgs

3. சிலுசிலு என்று காற்று வீசுகிறது.

silu silu endru KAtru veesukirathu

Very cold wind is blowing

4. பார்த்து, தரை வழுவழுப்பாக இருக்கிறது

pArthtu, tharai vazhu vazhuppaga irukkirathu

Look out, The floor is slippery.

We come to the end of Lesson 5. In lesson 6 we will try a paragraph of Tamil Text. We will also learn some more useful words.



Tamil – Class: 4 / Teaching Tamil Through English

February 11, 2018


Tamil – Class: 4

e have learnt inthe previous three classes, :almost all the alphabets of Tamil Language and also a number of simple Tamil words. We should next aim to make a few simple sentences. To do this we should learn a few more important words and their usages.

Let us know the pronouns in Tamil:




Let us also learn some  Questions in Tamil and typical answers for them.


Question 1.jpg

Questions 2.jpg




In the next Class-5, we will make a few sentences with the words and usages we have learnt so far.

In the meantime one may get familiar with all those words and usages










Thirukkural – 292

December 3, 2017

Chapter – 30 / Vaaymai/ Verse – 2

பொய்ம்மையும் வாய்மை யிடத்தே – புரைதீர்ந்த

நன்மை பயக்கும் எனின்.

Poymmaiyum vaaymai idatthE – purai theerndha

Nanmai payakkum enin


Poymmai(yum) – (Even) a lie

Vaaymai – Oral Integrity or communicative integrity

Purai – harm, crime

Purai Theerndha – Harmless, without criminal intent

Nanmai – Good, comfort, help

Payakkum – Yield, achieve

Nanmai Payakkum enin – If it yields good result of comfort or help.

Even a lie will be acceptable as vocal integrity, if it yields, but without any criminal intent, good result of comfort or help.

This whole chapter No.30 of ten verses speak about ‘Vaaymai’ as a virtue. Saint Tiruvalluvar defines Vaaymai in the first verse of the chapter as ‘any communication which does not bring harm to anyone’.

‘Vaaymai’ does not have a good translation in English. You may roughly call it as vocal (or communicative) integrity.

This Chapter talks about Truthfulness only in the last verse where the saint says ‘Vaaymai’ is better than ‘Meimmai’. He says there is no better truthfulness than communicative integrity.

He talks about Vaaymai in two more verses where he states vaaymai is the best form of penance and charity and it keeps your mind bright and without guilt. At the same time he extols the virtues of ‘Poyyamai’ or being against falsehood, in five verses. He does not at all approve any type of falsehood.

We may compare this with a famous Sanskrit verse of Saint Adi Sankara: “Satyam bruyat priyam bruyat.  Na bruyat satyam apriyam. Priyam cha nanrutam bruyat. Esha dharmah sanatanah.”  Truth is always spoken with kindness. Truth is never spoken in a harsh way. Even with kindness falsehood is not to be spoken. This is the eternal path of virtue.

Here also the saint give preference to Vaaymai than Meimmai, i.e., Communicative integrity than truthfulness.  After all, Tamil Nadu Government’s emblem saying வாய்மையே வெல்லும் (Vaaymai alone triumphs) is right, instead of the usual (Satymeva Jayate) Truth alone triumphs. We may rank these virues as: Poyyamai is the best, Vaaimai is the next and Meimmai is the last.

There is a proverb in Tamil which says “Unnmai Sudum” (உண்மை சுடும்​), Bear Truth Hurts. As per both Adi Sankara and Tiruvalluvar, we should not tell this truth which hurts. (i.e.) if you are unable to tell it in a way it does not hurt. In such a situation where the ‘Truth Hurts’, It is better to tell a lie, provided it does not have any criminal intent. Hence the Titukkural says,

Even a lie is better than the truth if it yields

Haven to a disturbed situation

Bye till the next Tirukkural.


Tamil – Class: 3 / Teaching Tamil Through English

November 9, 2017

Class – 3

In class-1 we learnt Tamil Alphabets with their pronunciations. We learnt about basic vowels(6), extended vowels(6), consonants(18), and symbols for modifying these consonants. In class-2, we learnt a few words with their meanings. We also learnt about so called ‘northern alphbets’ to help us write and pronounce correctly, words from other languages. In this class-3, let us learn about some special features of Tamil phonetics.

First, let us see a few words where the hard consonants appear in there different vocal forms.

காரம் – KaaRaM – Spicy; ராகம் – RaaGaM – Melody, மேகம் – MEHum/MEGaM – Cloud. (Ka being used in three different vocal forms: Ka, Ga, Ha)

தங்கம் – ThaNGaM – Gold (here a soft consonant is explicitly used to soften ‘Ka’ to ‘Ga’)

சக்கை – ChaKKai – Remains of a fruit after Juice is extracted. Ka is doubled for harder accent.

சித்தி – ChiTThi – Mother’s younger sister, மோசம் – MoSaM – bad, பச்சை – PaChChai – Green, மஞ்சள் – MaNJaL –Yellow (here Cha is used in different vocal forms. Soft consonant again used in the last word, Tha is doubled for harder accent in the first word)

‘Ta, Tha, Pa, Rra’  (ட, த, ப, ற​)   also have different vocal forms as below

ட :  டீ – Tea – Tea, பாடு – PADu – Sing, பாட்டு – PATTu – Song, நண்டு – NaNDu – Crab

த : தங்கை – ThaNGai – Younger Sister, பாதி – PAdhi – Half, கத்தி – Katthi – Knife, பந்து – PaNDhu – Ball :

ப :  படம் – PaDaM – Picture, சுபம் – SuBaM – All well, கப்பல் – KaPPaL – Ship,  கம்பி – KaMBi – Metal Rod

ற : பறி – PaRri – Grab, வெற்றி – VeTRri – Victory, பன்றி – PaNDRri – Pig

It may be puzzling for some, to know which vocals to use. However in most of the cases meaning do not change even if we use a different vocal form. The words will be understood properly in its context.

There are some letters which even some Tamils do not pronounce correctly. They are La, (r)La and Zha; (i.e) ல, ள and ழ. Let us learn a few words involving these letters:

La (ல) is pronounced with the tip of the tongue just behind the upper teeth. (r)La (ள) is done with the tip of the tongue slightly behind in upper cavity. Zha (ழ) is done with the tip of the tongue still behind, deep in the upper cavity. The following words show their use. Sound bytes are included to help you pronounce them properly.

வலி, வளி, வழி – VaLi, Va(r)Li, VaZhi – Ache/Pain, Air(Atmosphere), Path

தலை, தளை, தழை – ThaLai, Tha(r)Lai, ThaZhai – Head, impediment/Bond, vegetation

பல்லி, பள்ளி, பழி – PaLLi, Pa(r)LLi, PaZhi – Lizard, School, Blame/revenge

வலம், வளம், பழம் – VaLaM, Va(r)LaM, PaZhaM – Right side, prosperity, Fruit

Ancient Tamil Literature

Tamil is one of the classical Languages of the world, along with Sanskrit. Tamil literary history is very ancient and rich. There were distinctly three periods of development of Tamil literature usually called as Sangam periods. Sangam means Academy and there were three Sangams. The last Sangam was from 400BC to 400AD and called as Kadai Sangam (கடைச்சங்கம், or the Last Academy). The literature of this period, known as Sangam Literature, are the only ones available from these ancient periods. The works of earlier two Sangams are many centuries older and now only known as just names. The literary history of Tamil records them as ‘lost in tsunami’. Sangam literatures, and even some ancient Sanskrit works, record a massive tsunami much before 400BC which destroyed a very big landscape known as Kumari Kandam (Continent of Kumari), also known as Lemuria. All the works of earlier two academies were lost forever as per this historical account. However modern history could not find much evidence of this tsunami and the Lost Land. The (3rd) Sangam literature is grouped into three parts – பத்துப்பாட்டு (Ten Anthologies), எட்டுத்தொகை (Eight Collections) and பதினெண்கீழ்கணக்கு (Eighteen Poetic Works).

Tirukkural (திருக்குறள்), by a saint poet Tiruvalluvar is one of the works in the last group of eighteen and is widely translated in almost all major languages of the world. I am giving below the first couplet of this great work consisting 1330 couplets, divided into 133 chapters of ten each

அகர முதல எழுத்தெல்லாம் – ஆதி

பகவன் முதற்றே உலகு

Akara Mudala ezhutthellam – Aadhi

Bhagavan Mudatre’ Ulagu


‘A’ is the start of all alphabets (of all languages) – (Just as)

GOD is the Origin of the world (of this whole Universe)

You may like to listen the audio of this verse given below:


Here is a Tamil proverb which states the importance of ‘Letters and Numbers’.

எண்ணும் எழுத்தும் கண் எனத் தகும்.

Ennum Ezhutthum Kann ena Thahum.


Numbers and Letters are rendered as the eyes (for obtaining knowledge)


With this thought let us conclude our Tamil class – 3


24 Hours-Day X 7 Days-Week

October 5, 2017

24 Hours-Day X 7 Days-Week

L V Nagarajan


In one of my earlier blogs (titled Tamil/Indian Solar Calendar) I have discussed the periods of a day, a month and a year along with evolution of different calendars based on the astral movements of Earth, Moon, Sun and the Stars. I have only briefly discussed about a more convenient period of a week of 7-days. But the evolution of a ‘24-hours Day’ and a ‘7-days Week’ is also quite intriguing and interesting. I should thank my cousins Giri and Vasu, for inspiring me into this research.


European and other Western scientific historians always attribute all ancient scientific developments initially to Greece, then to Egypt and Alexandria and then to Babylon. Generally they do not go beyond Babylon, because they know it will lead them to Hindu/India. In the case of establishment and evolution of Time/Day system, the researchers went one step further down to south-east of Babylon, up to a region known as Chaldea. It is now the general acceptance, that 24-Hours-Day and 7-Days-Week was established and evolved in Chaldea, in 2nd Century BC, the area becoming a part of Babylon in later periods. It is evident, the researchers did not see beyond Chaldea towards further south east, i.e. India.


Let see briefly the history of Chaldea. Chaldea (/kælˈdiːə/) or Chaldaea (ref -1) was a Semitic-speaking nation which existed between the late 10th or early 9th and mid-6th centuries BC, after which it and its people were absorbed and assimilated into Babylonia. It was located in the marshy land of the far south eastern corner of Mesopotamia. Ur Kaśdim (ref -1) commonly translated as Ur of the Chaldees, is a city mentioned in the Hebrew Bible as the birthplace of the Israelite and Ismaelite  patriarch  Abraham. Chaldea is pronounced locally as ‘Kauldee’, which some scholars of Indology (ref -2) say has evolved from ‘Kauldev’ which is a sect of Kashmiri Brahmins.  “Chaldean, more correctly Kaul-Deva (Holy Kauls), was not the name of a specific ethnicity but the title of an ancient Hindu Brahmanical priestly caste, which lived in what are now Afghanistan, Pakistan, and the Indian state of Kashmir”. Chaldea region consists of people who have migrated from east through the regions of Afghanistan. Abraham’s father Terah was living in a place called Ur (yes, a town, in many languages in India). He was apparently of Hindu origin and hence he named his son Brahm, the supreme soul. It later evolved as Abraham. (ref -3)

The Chaldean religion is the outcome of three great religions, the Indian, the Mazdean, and the Egyptian, and bears direct relationship to all of these. To place it still clearer, the Babylonian system recognized  the first ONE (Ad), who is never named but only acknowledged in thought, just as the Hindu Swayambhuva (Or Tamil’s Adi Bhagawan – LVN).The Babylonian civilization was neither born nor developed in that country. It was imported from India, and the importers were Brahmanical Hindus. Science has discovered enough to inform us that Sanskrit originals of Nepal, were translated by Buddhist missionaries into nearly every Asiatic tongue. Likewise Pali manuscripts were translated in Siamese, and carried to Burma and Siam; it is easy therefore to account for the same religious myths circulating in so many countries. (ref-4).

Abraham, son of Terah, lived in Chaldea during 1900BC. The period of Biblical Abraham is also around 1900 BC (ref – 5). Abraham is considered to be the father of Jewish race and religion. Later on other Abrahamic religions like Christianity and Islam also followed.

“Bus was Abraham Real? Good Question. (ref-6) Historians today are divided on whether the tales about Abraham are mythology. The problem is lack of archaeological records. – – – – In the secular view, however, Judaism has to begin somewhere. Someone had to believe god had spoken to him. Why not call that person, Abraham?” According to the above research, even the area known as Chaldea is far south-east of the city of Babylon. The town Abraham lived, Ur, is on southern part of this area. Later on the whole area came to be called as Babylon.

With such a history of Chaldea, it is rather obvious we have to look elsewhere for the origin of 24×7 day/week system.

24 Hours-Day:

Initially, ancient men divided the day only into day and night. The first ever division of a day into smaller units are seen in ancient Hindu scriptures of 4000 BC. Herein there are mentions of a day being divided into Ghatikas (Nazhikai in Tamil). Sunrise to sunset was divided into 30 ghatikas and similarly sunset to sunrise was also divided into 30 ghatikas. It did not take them long to find that these periods are neither same nor consistent. They then standardised the time measure of a ghatika by a standard pot with a hole at the bottom. The time taken for this pot full of water to empty through the hole was standardized as a Ghatika and a gong was sounded to indicate this passage of time. It was calibrated in such a way that 60 Ghatikas was the time between two successive sunrises. Obviously in those days, Sun rise was considered as the start of the day. When ancient Hindus observed other heavenly objects also through their naked eye, especially the brighter planets like Mercury, Venus, Jupiter, Mars and Saturn, they believed that along with Sun and Moon even these visible planets affect the life on earth and that belief lead to a new ‘science’, Jyothish, now known as astrology. Earliest Hindu scripture available on Jyothish is Brihat Parasara Hora Sastra (ref -7). It is a compilation of Indian astrology existing at the time. In this text, Sage Parasara first describes how to record one’s time of birth, or lagna. He describes several lagnas- House Lagna (or Bhava), Hora lagna, Ghatika Lagna. “After noting down the time of birth after sunrise in Ghatikas and fractions of a Ghatika (known as Vighatika or Vinadi), it is divided by 5 to get House Ghatika or (Bhava). Hora lagna is obtained by dividing the time of birth in ghatikas, further by 2. For ghatika lagna only Ghatikas and Vighatikas are considered”, (i.e.) Bhava = Ghatikas/5 and Hora = Bhava/2.  Since 60 ghatikas make a day, which clearly amounts to 24 horas. This may perhaps be the start of 24-Hour day. How this Hora became Hour is another story.

“Parasara was the father of Sage Vyasa of Mahabharata. According to Varahamihira, Yuthishtra, the Pandava King of Mahabharata lived 2526 years ahead of Saka Era, which means 2448 BC. This will place Parasara’s time to be at least 2600BC” (Ref-8).

‘Hora’ is a word used for time/hour in many languages, especially in the regions around Egypt. Most accepted theory is that the word ‘Hora’ is of Jewish origin, historically derived from early Chaldean civilisation.  As we had discussed earlier, Abraham’s father Terah named his son Brahm, the supreme soul. It later evolved as Abraham. So Abraham was a follower of the Vedic religion, which at that time was spread all over the world and was not confined to India alone, as it later came to be. Abraham, father of Jewish and Ismaelite religions, must have learnt about Ghatika, Hora and Yama (Jama) time periods from his father or from their traditional Hindu holy texts.

With all the above studies, it is safe to assume that Abraham, credited with the idea of 24-Hours-Day was actually aware of definition of Ghatika, Hora and Yama (Or Jama, 3-Hours)) as divisions of time periods in the ancient Hindu way of life in which he also once belonged to. Even today we call the modern clocks as Ghadi in Hindi and Ghatikaram in Tamil. Please refer to for an interesting account of how the time was kept throughout the day in ancient India. Abraham was not perhaps interested in Indian astrology and hence he was interested to take up only Hour (or Hora), Minutes and Seconds as units of time. Since India was already using Hora as a unit of time it was fairly easy and acceptable for modern India to adapt to the international time standard of HH:MM:SS, with 24-hour days. But for religious and cultural purposes even now we use Ghatikas and Vighatikas (or Nazhikai and Vinadi in Tamil). We also use Shuba Horas for finding auspicious periods. Other time periods used till today, are the Yama (or Jama for temple rituals) and Muhurtha for holy rites like marriages.

7 Days-Week

Now let us consider the time period of a WEEK. Many Egyptian, European and Abrahamic cultures had time periods of a week which were neither consistent nor regular. They started by coinciding them with the phases of the moon. The 28/29 day cycle of moon was divided into 4 parts to make a week, but needing constant adjustment with intermittent 8-day weeks. There were cultures which had even working weeks of 8/10 days. Here again the Chaldean Hindus came to the rescue.

At some point of time in ancient astral history of India, Hindus started attributing the influence of the 7 heavenly objects (Sun, Moon and the 5 visible planets) to every hour (or Hora) of the day, in addition to every day, to every luni/solar month and to every planetary year. They found the planet Saturn to be the slowest around the sun, and the Moon to be the fastest around the sun, relative to Earth. Saturn’s average orbital velocity was observed as 0.33 times the orbital velocity of earth. As seen from the earth Sun takes 365 days to go around the Earth whereas Moon, following a similar path in the ecliptic, just takes 29 days to go around the earth. Hence its speed is the fastest at 365/29=12.59 relative to Earth. The table below gives the speeds of other planets relative to Earth.


Moon/ Planet

Orbital  Speed (kM/s)

Speed relative to Earth



365 days / 29 days



Mercury 47.87




Venus 35.02




Earth/Sun 29.78




Mars 24.08




Jupiter 13.07




Saturn 9.69



I have made two significant changes in the above table. Moon has been included as the fastest heavenly object. Earth will be replaced by Sun, as relative to Earth, Sun is rotating the earth. The ancient Hindus believed that slower planets had larger influence on the lives on Earth even on daily and hourly basis. As said earlier, at some point of time in ancient history, Hindus started to believe in a 7-hour cycle of influence by all the seven Grahas as above, starting with Saturn and then going through all the Grahas from Jupiter to Moon, each period of influence lasting for one hour, beginning from sunrise. The cycle looks as below:

The above cycle starts from Sunrise of Day-0 and continues. By Hindu astrology each day is defined by the first Hora of the day (i.e. the first hour after sun rise) and hence named the days after the graha which rules the first hour of the day after sunrise. The days were called ‘vaaraas’ in Sanskrit and hence we had Ravi Vara, Soma Vara, Mangal Vara, Buddh Vara, Guru Vara, Shukra Vara, and Sani Vara (which directly translate into Sun-Day, Mon-Day etc). The cycle naturally repeated on and on, and ancient Hindus landed on a 7-day weekly cycle more by default than by design. A ‘week’ was never used as an explicit time period in ancient cultural history of India.

Abraham of Chaldea might have struggled hard to make the other cultures of the world to accept the week days named after planets. Many western communities accepted the 7-day week some time during 4th Century AD, but used numbers 1 to 7 to represent week days. When they eventually did accept Sunday to Saturday nomenclature, for centuries, they could not figure out why the days/planets were ordered specifically this way.  Perhaps westerners were never interested to know or to acknowledge, the Indian contribution behind this. As recorded in (ref – 9): “No one is certain as to how the idea of planetary hours came into being.  The only thing that is certain is that it is responsible for the order of the days of the week and therefore predates the Bible and the Genesis story for the creation. While the planetary hour’s true origin is something of a mystery, ancient astrologers used them to find the most auspicious time to start something important.  It was also used in horary astrology to see what influences were predominant for a given question. At some point in the distant past, by what philosophical reasoning is unknown, a sunrise or sunset defined the first planetary hour in history.  It has run on uninterrupted in this manner (as far as I know) longer than recorded history.” That nails the truth.

Twist In the Tail (or Tale)

I had an intriguing question. When did this Planetary-Hora cycle started, (i.e.) which and when was actually the day-0, mentioned in the above table? The first identifiable year for which a date is cited complete with day of the week is 6th Feb 0060 AD, as per the then existing Julian calendar. Found it very funny to note that this occurs in ‘Pompeiian graffito’. Pompei is a city in ancient Roman Empire that was immersed in ash from a volcano, Mount Vesuvius, in 0076 AD. It was dug up again only in 18th Century. They found thousands of graffiti in the walls and floorings of the ancient houses, many of them erotic. (You may google on this if interested). This particular graffiti mentions as below – “eighth day before the ides (middle) of February, day of the Sun”. Hence we know now 6th Feb 0060 was a Sunday. Or is it? As per the present system it is a Wednesday. We conclude two things from this:

  1. Romans started following 7-day week with planetary names in 0060 AD or earlier
  2. Romans were following Sunset as the start of the day. Day-4 in the planetary table given above is Sunday as per Sunset Hora and Wednesday as per Sunrise Hora.

Julian calendar used all over from 45 BC up to 16th century AD, which erred by 11 minutes, 14 Seconds in a tropical year. England accepted the new revised Gregorian calendar only in 1751 AD, 150 years after it was proposed, and it had to advance their calendar by 14 days to correct the accumulated error. Since it was exactly two weeks, the days of the week did not get affected. Luckily somewhere between 60AD and 1751AD world adopted Midnight as the start of the day, (00.00.00 Hrs after 23.59.59 Hrs) and start of the working week as Monday.


I enjoyed this journey back in ‘TIME’ literally. Still it is a mystery, when and where did this idea of Planetary Hours originate. I could not find any reference to its origin. But one culture which is still using these ‘Horas’, to find auspicious and inauspicious times for various spheres of activities, are the Tamils. Readers may comment on this aspect, if they find any information.


  1. Wikipedia
  4. by H. P. BLAVATSKY )
  5. Comparative Religion For Dummies by William P. Lazarus, Mark Sullivan
  6. Was Abraham?  by Gene D. Matlock, B.A., M.A. 
  7. Ways of the natives – Parasara’s Hora Sastra – pp25, and from:
  8. Sūryasiddhānta: An Astro-linguistic Study By Sudhi Kant Bharadwaj

Teaching Tamil through English

September 8, 2017

Many parents of Tamil origin may not have learnt Tamil as a language anytime in their life. Some of them may regret it now and may want to learn Tamil, at least as a language of conversation and understanding. They may also want to teach their children Tamil, as they are not learning the same in their schools. Once children learn basic Tamil, they, depending on their interest, may pick-up deeper knowledge of Tamil on their own at a later stage in life. Unfortunately, not much work is done on such teaching of Tamil, and the regular pedagogy kills even their initial interest and more often than not, they discontinue learning and teaching Tamil. I have two lovely granddaughters (Mili and Tara) who have also started learning Tamil recently in California. I am sure the Tamil classes there is adequately interesting and enthusing for them to continue. With my small experience of teaching Tamil to my daughter and son in early 80’s, I thought of putting together my way of teaching Tamil in a series of blogs, which could be useful to Tamil loving parents in the US and elsewhere. Let me start straight away.

Class – 1

It is always said that Tamil Alphabet has 247+ characters. Any learner who hears this, immediately loses interest to some extent.  In its actual sense, Tamil language has only 26+ characters. Of course it has a dozen more symbols (and a few special characters for writing words from Sanskrit and other foreign languages). Let us first have a look at all these characters.

Five Basic Vowels: The following are the basic vowels in Tamil. Their pronunciation is also given right below.

A as in ‘Avatar’ I as in ‘In’ U as in ‘pUt’ E as in ‘End’

O as in ‘One’


Two Composite Vowels: There are two composite vowels as below:

Ai as in ‘Aisle’

Ou as in ‘Out’

The first one above is a combination of: அ  and  இ   =    ஐ

Second one above is a combination of:   அ  and   உ = ஔ


Five Extended Vowels: The five basic vowels as above have their extended versions with slightly elongated pronunciation as compared to

A as in ‘Avatar’ – I as in ‘In’ –   U as in ‘pUt’ –  E as in ‘End’ –   O as in ‘One’

(As below)

Au as in ‘Aunt’ Ea as in ‘Easy’ Oo as in ‘Ooze’ A as in ‘Area’

Ow as in ‘Own’


Special Character:

ஃ     —    Akh

This is a special character grouped along with vowels to add a specific accent to a few consonants. We will list it here but learn about it later.


Eighteen Consonants: There are eighteen consonants in Tamil. They are as below:













The above six are called Hard consonants. However same letters are used for softer pronunciations also as shown.


Nga Gnya Rn as in ‘BoRn’ Na Ma


The above six letters are known as Soft consonants. The two ‘Na’s are used in different contexts. They are also used to soften the corresponding hard consonants shown earlier. We will learn about them later.


Ya Ra La Va Zha

Rl as in Pearl

The above six letters are known as Medium consonants. The letter ‘Zha’ is very special for Tamil language and its pronunciation presents some difficulty even for some Tamils. La (ல) is pronounced with the tip of the tongue just behind the upper teeth. Rla (ள) is done with the tip of the tongue slightly behind in upper cavity. Zha (ழ) is done with the tip of the tongue still behind.


Symbols: The following table shows the symbols used to add the vowels to the above consonants. A few typical consonants are shown with symbols added.

Basic Vowels:



ி 3 types  ெ


Consonants with symbol added:

கி கு கெ



Ki Ku Ke


சி சு செ சொ
தி து தெ



Composite Vowels:




கௌ க்
kai kau


as in ‘Park’


சௌ ச்
தை தௌ



Extended Vowels



 ீ 3 types  ே



கீ கூ கே கோ
kaa kee koo kay



சீ சூ சே சோ
தா தீ தூ தே


The letters with a dot above them are known as ‘Otru’ – that is, it sounds without any vowel, like, ‘ch’ and ‘th’.


There are a few more special characters and symbols which we can learn later.

The complete list of alphabets as per the above scheme is given in

This is enough for class-1. In Class -2 we will learn a few words using some of these alphabets

Bye for now.


Melody and Prosody

July 30, 2017

Melody and Prosody are two terms in English language associated with Music and Lyrics respectively. Melody is actually a kind of music created by successive sequencing of musical notes (as compared to Harmony, which is musical effect created by a combination of simultaneously sounded notes like in an orchestra). Melody depends on predefined scale of 7 (or less) notes. I presume Melody is a term that might have evolved from the Sanskrit word MELA. Mela represents a scale of 7 notes but still Mela is much more than just a scale. It also means Sruthi (or basic notes), also ‘vibrations’ both physical and metaphorical and also a general musical atmosphere.

On the other hand Prosody is about the meter, rhythm and intonations of a verse or a poem. Rhythm and meter, although closely related, should be distinguished. Meter is the definitive pattern established for a verse, while rhythm is the actual sound that results from a line of poetry. I presume the term Prosody could have evolved from the Sanskrit word ‘prasa’ which roughly means alliteration in a verse or poetry. Sanskrit and Tamil grammars of so-called prosody describe many types of poetical features such as: prasa, chanda, tala (rhythm) and various other poetical ornamentations. When talking about music, we talk of Melakattu and Talakattu. In Hindi they talk Tal-Mel for a pleasant relationship between any two entities. When we welcome special guests we do it with Mela-talam (மேளதாளம்).

Prasa generally in use are of three types – Dwitiya Akshara Prasa, Prathama Akshara Prasa and Anthima Akshara Prasa.  Verses and poetry in Sanskrit, Tamil and in fact in most of the Indian languages use these prasas. In this post I wish to show how these prasas enhance the musical value, of any poetry, or a musical composition by itself. Let us take the following four lines of beautiful poetry by Mahakavi Subramania Bharathi:

சுட்டும் விழிச் சுடர்தான் கண்ணம்மா

சூரிய  சந்திர ரோ

வட்டக்   கரிய விழி  கண்ணம்மா

வானக் கருமை கொல்லோ

பட்டுக்  கரு நீல  புடவை

பதித்த நல் வயிரம்

நட்ட நடு நிசியில் தெரியும்

நட்சத் திரங்க ளடி


Suttum, Vatta, Pattu and Natta appearing as the first words of each line alliterate using Dwitiya Akshara Prasa; (i.e.) their second syllable ‘tt’ repeat in each line. This is also known as Edhukai (எதுகை) in Tamil.  In addition, the second part of each line rhymes as below:

(Suttum, Soorya) – (Vatta, Vaana) – (Pattu, Padhittha) – (Natta, Natsha) : the first letters of the pair of words alliterate. This is known as Prathama Akshara Prasa or Monai  (மோனை) in Tamil.

Now coming to ‘Chanda’ (சந்தம் in Tamil), it is how the intonations are arranged in a rhythmic sense. In the above poetry, the chanda that is followed is somewhat as below:

Ta-ka Ta-ka di-mi-ta-m ta-ka-di-mi

Ta-ki-ta ta-ki-ta ta-a-m (ta-Ki-Ta)


It is interesting to note that the last tala-syllable, Ta-Ki-Ta  is in brackets to indicate it is silent. Why is it needed? Now we come to the third aspect of our prosody, Tala. The poem is set to Adi talam (tisra nadai), of 8 Ta-ki-ta’s; last ta-ki-ta being silent enabling easy return to the beginning of rhythm cycle. The poet maintains same prasa, chanda and tala in the later stanzas also.


Now we need to add Melody to this beautiful Prosody. You may listen to Vidwan (late) Maharajapuram Santhanam’s immortal rendering of this poem set to melodious music, as below:


If you want to listen to other stanzas click on the following link


  • L V Nagarajan / 08 Jul 17