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- xU âwdhŒî

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ïªâahÉš ɉgid cÇik

khahÉ gâ¥gf« 2/3, gh£rh rh»¥ Kjš rªJ, òJ¥ng£il, br‹id - 2.

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BIBILIGRAPHICAL DATA

Title of the Book : SINGAPORE‟S NEW POEMS: - A CRITICAL STUDY

Author : Dr. M. THYAGARAJAN, M.A.,

B.Ed., M.Phil., Phd.

Subject : Research on Singapore‟s New Poems (Modern Literature)

ISNN : 978-981-08-4087-7

Copyright Holder : Author

Publisher : Tamil Art Printers Pvt. Ltd., Singapore.

Language : Tamil

Edition : First, Feb. 2010

Paper Used : 18.6. Maplitho

Size of the Book : Demmy 1/8

Number of Pages : 112

Price : $7/-

Printer : Tamil Art Printers Pvt. Ltd., Singapore.

3

e. bjŒtRªju« v«.V., (jÄœ), v«.V., (bkhÊÆaš), ãv¢.o., nguháÇa® & Jiw¤ jiyt® jÄœ bkhʤJiw, br‹id¥ gšfiy¡fHf«, bkÆdh tshf«, br‹id - 600 005.

thœ¤Jiu

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Kjš âwdhŒî¡ f£Liu, bghJthf¥ òJ¡fÇijÆ‹

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f£Liu á¤f¥ó®¥ òJ¡fÇijÆ‹ njh‰wK« ts®¢áí«

g‰¿í« _‹whtJ âwdhŒî¡ f£Liu, „á‹d¢á‹d

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c¤fË‹ Koî¡nf Ç£LÇL»nw‹.

ï¥go¡F

kh. âahfuhr‹

6

FOREWORD

MARAIMALAI ILAKKUVANAR Professor of Tamil (Retd.) Presidency College, Chennai-5

Formerly Visiting Professor of Tamil, University of California, Berkeley, US.

Free Verse is a form of Poetry composed of either rhymed

or unrhymed lines that have no set fixed metrical pattern. There

are thousands of definitions for the genre free verse, but we can

have a glance of the definition given by Britannica Encyclopedia

(concise):

“Poetry organized according to the cadences of speech and

image patterns rather than according to a regular metrical scheme.

Its rhythms are based on patterned elements such as sounds,

words, phrases, sentences, and paragraphs, rather than on the

traditional units of metrical feet (see metrical foot). Free verse

thus eliminates much of the artificiality and some of the aesthetic

distance of poetic expression. It became current in English

poetics in the early 20th century. “

Free verse claims to be free from the constraints of regular

meter and fixed forms. This makes the poem free to find its own

shape according to what the poet - or the poem - wants to say, but

still allows him or her to use rhyme, alliteration, rhythms or

cadences (etc) to achieve the effects that s/he feels are

appropriate. Here a poet evolves a kind of self-prosody which is

the outcome of the artistic pursuit for a sophisticated form of

expression.

Free verse in Tamil is called as “Puthu Kavithai” (New

Poetry).The poets who contribute „New poetry‟ in Tamil have

7

done a considerable variety or kinds in this form and as a result of

their achievement it has become a Genre

Poets in Tamilnadu who have a good command of

conventional prosody and at the same time wish to perform some

new experiments so as to evolve a modern literary form are the

forerunners of Free verse in Tamil.

Thamizhanban, Abdul Rahman and many other poets who

belong to the Bharatidasan School alone have succeeded in their

modernist experiments.

But there is another kind of Free verse in Tamil.

People who do not know prosody –who do not even know

the syntactic structure of Tamil language- and who wish to gain

popularity, scribble something to suit their fancies and pose

themselves as modernist poets. Such kind of poets are patronized

by literary magazines and their gimmicks with ungrammatical

utterances are misunderstood y the serious readers as the products

of avant-gardism.

The modernist literary trends evolved in the western

countries are the outcome of the post-war scenario and industrial

revolution. Karl Marx, Sigmund Freud and Charles Darwin were

the path-breakers, not only in the history of mankind, but also in

the thinking process of man. Approaches to life and arguments in

Philosophy gained new vision and provoked a kaleidoscopic

variety of arguments and counter-arguments.

Inventions in Atomic physics and explorations in the space,

made the mankind, reach new zeniths of intellect. Literature had

its impact from printing technology and the development of

photography. The modernist trends in painting like Cubism,

Fauvism, Impressionism and Expressionism provoked the

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modern poets.Symbolism, Imagism and Obscurantism attracted

them and the verse libre had its origin in these kinds of post-war

modernist trends.

The theme of “International citizen” and the sublime value

of Humanism found their places, crossing borders. Japanese

haiku was adopted by Europeans and Americans.

Haiku contests were conducted in English by many Airline

companies in U.S.

The poems of T.S. Eliot were translated in Japanese

language and many Eliot clubs were founded in Japan. The

intermingling of East and West was considered as the only way to

achieve unity and solidarity of mankind.

To put it brief, the countries which were hostile and

inimical before the Second World War craved for peace and

prosperity. The calamity and chaos they witnessed during the war

taught them new lessons. They now understood that by ignoring

the ethnic and geographical divisions mankind should get united

and speak in one voice against oppression in any kind by any

force. This vision made poets crossing the borders to advocate for

Humanism.

But in India, which was the least affected by the wars, the

scene is a different one.

As a country of Thiruvalluvar, Buddha and Mahavira, India

preached and practiced non-violence. The freedom struggle under

the leadership of Mahathma Gandhi followed ahimsa, the non-

violent approach. One world theory is not new to India.” Every

country is my country and every man is my relative” is the lofty

9

maxim gave by the Tamil poet Kaniyan poongkundranaar , three

thousand years ago.

India never witnessed an industrial revolution. The socio-

economic background of Europe which was the nursery of

modernism can not be equated with that of India. Here in India,

there was the need for a war against the atrocities committed in

the name of religion. The practice of Untouchability was so

prevalent in almost all of the Indian villages.

Mahathma Phule, Mahathma Gandhi, Periyar E.V.R. and

B.R.Ambedkar dedicated their lives for the uplift of the

oppressed „lower caste‟ Hindus. The caste system and

discrimination were eliminated by their sincere efforts at least

among the educated urban people. Stringent laws are enforced to

ban the discrimination in the name of caste. The modern India

owes for its emergence as a welfare state not only to leaders like

them but also to poets who propagated the lofty ideals of

Phule,Gandhi, Periyar and Ambedkar.

If modernism was the maxim that motivated the western

poets, Gandhian thoughts and progressive views were the force

behind the Indian poets during the post-war period.

It is the post-colonial period that witnessed the switch over

to western thoughts and literary trends in India. The craze for

imitating the western experiments infected the Indian literary

scene like an epidemic fever from the Mount Himalayas to Cape

Comorin.

Poets justified their Eurocentric misadventures and

succeeded in their attempt to popularize the Free verse, a blend of

meaningless matter and misleading manner.

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Now Free verse has emerged as a genre in Indian languages

with various kinds to suit different sets of audience.Hiaku, senryu

and limeraiku have flourished and found their way to attain

important places in Indian languages.

We, as critics, can not prescribe rules and dictate them to

poets. The new genres have to be analyzed, appreciated and

acknowledged without any hesitation.

Dr.Thyagarajan, an Assistant Professor in NIE, Singapore,

has done a laudable work in analyzing the modern Tamil Poetry

of Singapore.

An objective study with a superb critical acumen is

accomplished in this wonderful study of modern Tamil poetry of

Singapore.Through this book one can understand the changing

trends in modern Tamil poetry of Singapore. The poems of

Ka.Thu.Mu.Iqbal, Ka.Ilangoven, Kumari Gnanapragasam

Monica, C.Meenaakshi, Mohammed Ali, Azhagiapandian and

Tajuddin form the source material for this

analysis.Dr.Thyagarajan has well established in this book the

leading trends of free verse written in Singapore.

Individulism, Avant gardism, Progressivism and Populism

are the main trends of Modern Tamil Poetry in Singapore,

according to Dr.M.Thyagarajan.

Dr.Thyagarajan does not assail any poet in this tiny volume.

He neither reprimands them nor impeaches them by putting any

blame on them.

Content-analysis, Exponential approach, Descriptive

analysis and literary appreciation are the methods he has

practiced in this book.

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The first chapter, titled “Origin and Growth of New Poetry-

A bird‟s view” attempts to give the evolution of the Free verse in

Europe, U.S.A and its impact in Asian countries.

The author, Dr.M.Thyagarajan, describes the modernist

experiments of Picasso in Painting and the reflection of such

innovative ideas attempted by Apollianaire in poetry.

He has given a clear narration of the emergence of Free

verse in western countries and the role played by T.S.Elliot, Ezra

Pound and others in popularizing the modernist techniques. The

literary revolution of Walt Whitman who ventured to stage a

rebellion against the British colonialism by his disobedience to

the English prosody and the welcome to his efforts in India are

vividly portrayed by the author.

Bharatiyar, the morning star of modern poetry in Tamil and

his impact and influence in Indian poetry have found an

important place in this chapter. The author should have explained

the role of Bharatidasan, hailed as the revolutionary poet, who

played a prominent role inthe development of modern poetry in

Tamil.Iconoclasaticity, Thematic surprise and Technical

innovation ,the three important theories, followed by

Bharatidasan.These three theories turned as practices in his

poetry, attracted a number of young poets and thousands of

brilliant poets contributed enervating poems in exuberant style,

vibrant enough to usher in a new era of rationalism and literary

renaissance.

As this volume is a compilation of essays presented at

several academic bodies, this omission may not be a deliberate

one. But without mentioning the revolutionary path of

Bharatidasan in modern Tamil poetry any survey of modern

12

Tamil poetry is incomplete and imperfect. These essays catered to

the need of various literary seminars and the author can not be

blamed.

Even then this first chapter is a highly commendable survey

of modern and modernist trends in twentieth century poetry. The

role of Individualism, Avant-gardism, Socialism and Populism in

modern poetry is well explained by Dr.M.Thiyagarajan, who

deserves many laurels and accolades for such an enlightening

essay- educative, informative and thought-provoking.

Singaporeans may feel proud to have such an art-critic and

literary theoretician in their country. Though this chapter is a tiny

one consisting of fifteen pages the message carried and the

literary acumen behind this have no comparison.

A short history of the modern art, the origin of the verse

libre in European countries, the modernist trends in art and

literature with their reflection in the making of free verse as a

new genre, the influence and impact of Walt Whitman on

Bharatiyar, the development of Tamil New poetry in the second

half of the twentieth century and the current literary scene, are all

portrayed, in a detailed manner, with the help of a short and

efficient narration of relevant information.

The second chapter deals with the origin and development

of Tamil New Poetry in Singapore. The author finds five

important factors for the growth and spread of free verse in

Singapore. They are:

1) The thirst for innovative approaches and origin of a

lateral thinking among writers

2) The ignorance of Tamil prosody and lack of knowledge

(particularly Tamil culture and language)

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3) Declining number of Traditional poets

4) Lack of audience for traditional poetry

5) The warm reception and wider publicity given to new

poetry in media (both electronic and print media)

The volumes of New poetry in (Singapore) Tamil,

published in the years between 1965 and 1990, are the source

material for this analysis. According to Dr.M. Thiyagarajan, the

first volume of new poetry in Tamil (vizhic cannalkalin

pinnaalirunthu)was published in the year 1979 at Singapore. The

pioneer Poet Ka.Ilangoven hardly found any follower for his

experimental effort in verse libre. It prompted him to publish

another volume (mauna vatham) in 1984.Even then no body

dared to follow him. Perhaps his aversion to the traditional values

and his onslaught on Tamil culture in his poems made the

Singaporean Tamil poets hesitate to write verse libre following

Ilangovan.Thereafter he published a bilingual collection of his

poems(in English &Tamil) titled “Transcreations.”in 1988.

It was Poet Ka.Thu.Mu.Iqbal who succeeded in

popularizing verse libre in Tamil at Singapore.His volume titled

“Mugavarikal.” Contained both conventional poems and new

poetry. The long poetic career of Iqbal, his concern to cherish

sublime values and Tamil culture, had already earned him high

esteem among Singaporeans. His attempts to popularize new

poetry gained success among budding poets, leading to a

compilation of such free verses titled”Chinna Chinna

Sidhdhaanthangal.” Such facts and valuable information on the

growth and development of the new poetry as a genre are

provided by Dr.M.Thiyagarajan in this chapter.

Third chapter of this book analyses the volume titled

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”Chinna Chinna Sidhdhaanthangal.”

Thyagarajan enlists all the thirty-four free verses giving

their title and explaining their content in a few words. He

classifies the themes in which the poems may be fit in. According

to him, Love, Society, Nature, Education, Religion, Culture,

Humanism, The status of women in our society are the themes in

which these verses may be classified.

The classification of various themes and the narration of

their content are accomplished in a commendable manner by the

author. His keen observation of the message revealed in each

poem, his interpretation of the content and its relevance to the

contemporary period and his explanation of the aesthetics and

satire of the verse are unique and excellent.

Fourth chapter of this book is analyzing the free verses of

the famous poet Ka.Thu.Mu.Iqbal.The author enlists and

elucidates the images found in the verse of Iqbal.

The intellectual and emotional appeals found in the free

verse of Iqbal are elaborately explained with a view to make the

readers enjoy them.

The fifth chapter explains the poetic excellence of the

verses of Kumari Gnanapragasam Monica. Here Thyagarajan

gives an explanation of Impressionism and its impact in art and

literature. He considers many of Monica‟s poems as impressionist

verses and aptly explains them. He appreciates the social

awareness expressed in some of her poems and at the same time

regrets to point out many of her poems as illustrations of

escapism and victims of Obscurantism.

15

The fifth chapter of this volume renders a superb

description of Image found in Singapore Tamil (free) verses. He

explains the three types of images viz. Unitary Image, Multiple

image and chain-like image. Thyagarajan has done an excellent

job, by his codification and classification of poetic images. There

is no harm in pointing out that he has liberally borrowed from my

book, titled “Three great techniques in new poetry.” Thyagarajan

has not committed any type of plagiarism, but has taken the

theories from my book and successfully applied to the New

Poetry written by Singapore Tamils. In these days of “cut and

paste” culture, Thiyagarajan has duly acknowledged all of his

quotations then and there. He has given charts, Graphs and tables

to elucidate and substantiate the relevant facts, showing his

expertise in adopting a perfect methodology.

Thyagarajan has delved deep in each poem, understood

well the inner beauty of each image and has explained the

architectonics of the imagist creation. In him I see a budding

Elliot. It can not be denied that in Singapore, Thiyagarajan is a

pioneer in the criticism of modernist verses. Being a fore-runner

in the critical career, he may find it hard for a smooth and swift

travel in his journey, as he has no predecessors. This tiny volume

of in-depth matter is an encouraging evidence for his sharp

vision, elaborate knowledge, excellent narration and extra-

ordinary skill in finding the poetic talent.

He never uses his critical job to find fault with any poet.

Bold and unbiased, Professor Thiyagarajan sincerely wishes to

propagandise and popularize the poetic talents of Tamil poets in

Singapore to the world. The grand success he has got in this

mission can be easily found out if you venture a cursory reading

of this book.

16

In classifying the genre he holds his knowledge as a

sceptre, in explaining the aesthetics, his brilliant understanding

acts as a torch, to throw new light and guide the readers. His pen

is a magic wand at his hand helping him to enthrall the readers as

well as the poets. His criticism will surely accelerate more and

more creations serving as a catalyst in the process of the growth

of literature.

I sincerely hope, lovers of Poetry will find this book quite

interesting, inspiring and invigorating.

I am sure, Dr.Thyagarajan will bring many more volumes

like this, which will help the readers understand the original

matter and appreciate the awesome manner enriching the Modern

Tamil Poetry of Singapore.

17

gâ¥òiu

òJ¡fÇijfis¥ g‰¿í« á¤f¥ó®¥ òJ¡fÇP® fis¥ g‰¿í« âwdhŒths® jh« bfh©LŸs áªjid¥ ngh¡Ffis ïªüÈš ïl« bg‰WŸs âwdhŒî¡ f£LiufŸ fh£L«. ït® ïj‰F K‹ Rkh® VG üšfisí« xU KG¤ âwdhŒî üš x‹iwí« btËÆ£LŸsh®. flªj fhš ü‰wh©LfS¡F nkyhf¢ á¤if¤ jÄœ k©Âš ïUªJ jÄœ¥g M‰¿ tUgt®. ah« bg‰w ï‹g« bgWf ï›itaf« v‹w T‰¿‰nf‰g¤ jh« mDgǤjt‰iw¢ Rit¤jt‰iw¥ ãwU« mDgǤJ ï‹g« bgw nt©L« v‹w kd¥gh‹ik bfh©lt®. ïtUila jÄœ¥g ïªüÈ‹ _yK« bjhl®»wJ. ïªüš gy ïs« âwdhŒths®fŸ cUthtj‰F tÊ brŒí«. mnj rka« á¤f¥ó® tuyh‰¿š jl«gâ¤J thœªJ kiwªj fÇP®fisí« thœªJ bfh©oU¡»w fÇP®fisí« ngh‹W gy fÇP®fŸ ï«k©Âš cUthf nt©L«. nkY« ïªüš òâa fÇij ïy¡»a¤ij¥ gil¥gj‰F« ïs« âwdhŒths®fis cUth¡Ftj‰F« Jiz ÉF«.

khzt®fŸga‹bgw nt©L« v‹w neh¡»š gy üšfis vGâ tU« lh¡l®kh. âahfuhr‹ mt®fŸ V‰bfdnt xU âwdhŒî üiy vGâ v¤fŸ jÄœ¡fiy m¢rf¤â‹ _y« btËÆ£L¥ bgU« tunt‰ig¥ bg‰wh®. mnjngh‹W á¤if¡ fÇP®fË‹ òJ¡fÇij üšfis¤ âwdhŒî brŒJ v¤fŸ jÄœ¡fiy m¢rf¤â‹ _y« Äf¡ Fiwªj ÇiyÆš btËÆ£oU¡»wh®. jÄœ TW« ešYyf« ïªj üiy¡ Fiwªj Çiy¡F th¤» Ãiwªj gaid¥ bgWth®fŸ v‹W jÄœ¡fiy¥ gâ¥gf¤jh® e«ò»wh®fŸ. ïªüyháÆaiu¥ ngh‹nw cŸq®

18

vG¤jhs®fS« áwªj âwdhŒî üšfis vGâ btËÆl nt©Lbkd¡ nf£L¡bfhŸ»nwh«. ï¤jUz¤âš ïª üY¡F MŒîiu vGâa jÄHf¥ òJ¡fÇij¤ âwdhŒ ths®fËš xUtuh»a K‹dhŸ khÃy¡fšÿÆ¥ nguháÆa® lh¡l® á.ï.kiwkiy mt®fS¡F« thœ¤Jiu vGâa br‹id¥ gšfiy¡ fHf¤ jÄœ bkhʤJiw¤ jiyt® Kidt®.e.bjŒtRªju« mt®fS¡F« ghuh£Liu vGâa òyt®fur‹ bgh‹dur‹ mt®fS¡F« e‹¿. ïªüš e‹F totika cWJizòǪj nguháÇa® lh¡l® kiwkiy mt®fS¡F« mt®fŸ JizÇah® mt®fS¡F« gâ¥gf¤jh® rh®ãš e‹¿Æid kdKtªJ bjÆǤJ¡ bfhŸ»nwh«.

龜d«

k. bgÇarhÄ jÄœ¡fiy m¢rf«, á¤f¥ó®.

19

ghuh£Liu

òyt®¡fur‹ bgh‹dur‹ jiyikaháÆa® (XŒî)

jiyt® - ò‹dif¥ g£ok‹w¥ ghriw, br‹id - 118.

“á¤f¥ó®¥ òJ¡fÇijfŸ xU âwdhŒî” v‹D« bgaÆš btËtU»‹w ïªj¤ âwdhŒî üiy¢ á¤f¥ó®¤ jÄH¿P® nguháÇa® - Kidt® kh.âahfuhr‹ vGâíŸsh®.

mH»a MW f£Liufis¡ bfh©LŸs ïªüš, á¤if k©Âš òJ¡fÇij MW gha¤bjhl¤»Ç£lJ v‹gij cyf¤ jÄH®fS¡F Çs¡»¡ fh£L»‹w fhyjuhf (#‹dyhf) Çs¤F»‹wJ.

MW f£LiufSŸ, “òJ¡fÇijÆ‹ njh‰wK«, ts®¢áí« xU gwit gh®it” v‹D« jiy¥ãš mikªJŸs Kjšf£Liu, jhŒ¤ jÄHf¤âš òJ¡fÇij ky®ªj tuyhW, ts®ªj tuyhW, ã‹d®¥òfGl‹ bghȪj tuyhW M»at‰iw¤ bjËthf¤ bjÆǤJŸsJ.

Vida IªJ f£LiufS« á¤f¥ó® k©Âš òJ¡fÇijÆ‹ njh‰w«, bkšy bkšy mJ bg‰W tU« V‰w«, mjdhš ïy¡»a¤Jiw milªJtU« kh‰w« M»at‰iw ÇU¥ò btW¥ãšyhkš Çs¡»¡ fh£L»‹w Ôg¤fshf xË®»‹wd.

vŸËÈUªJ vL¡f¥gL»‹w v©bzŒ nghy, ïy¡»a§fËÈUªJ M¡f¥gLtnj ïy¡fz«.

ts®ªJ bgU»tU« ïy¡»a¤fis MŒªJ, ïy¡»a¥ gÆ® tiuKiw ï‹¿ tsuhkš, tsU« gÆU¡F tiuaiw brŒJ všiy mik¥gJ«, všiy¡FŸ

20

jiH¡F« ïy¡»a Çisit ntÈahŒ¡ fh¥gJ« ïy¡fz¤â‹ ga‹ MF«. ïy¡fz tu«òfS¡F c£ g£L¥ òida¥ bg‰w fÇijfŸ kuò¡ fÇijfŸ vdî«, ïy¡fz tu«òfis¤ jf®¤bj¿ªJ kuig Û¿¤ njh‹¿a t‰iw¥ òJ¡fÇijfŸ vdî« m¿P®fŸ tif¥gL¤â dh®fŸ.

fhy¥ngh¡»š òJ¡fÇijfË‹ bjhifí« gš»¥ bgU»aJ. mt‰iw¤ âwdhŒths®fŸ MŒªJ m¿ªJ, òJ¡fÇijfS¡»ilna mikªJŸs bghJ¤ j‹ik fis¡ f©l¿ªJ, òJ¡fÉijfS¡F« áy kuòfis¡ T¿íŸsh®fŸ.

Kidt® kh.âahfuhr‹ mt®fŸ gil¤JŸs ïªüš òJ¡fÉij kuòfis tif¥gL¤â¥ òJ¡fÉijfS¡F xUntÈ mik¤âU¡»wJ. òJ¡fÇijfË‹ bghJ¥ ngh¡»ÈUªJ xU òâa kuãid¢ R£o¡ fh£L¡»‹w ïy¡fz üšnghyî« ïej¤ âwdhŒî üš âfœ»wJ.

ïªüš, òJ¡fÇij kuòfis¢ á¤f¥ó®¡fÇP® j« òJ¡fÇijfSl‹ bghU¤â¡fh£oíŸs fhuz¤jhš, òJ¡ fÇij¤JiwÆš bghÈî« òfG« bg‰WŸs Ǥjf®fŸ j« fÇijfŸ òJ¡fÇij kuòfSl‹ vªj msî¡F x¤J¥ngh»‹wd v‹gij v©Â¥ gh®¤J¡ bfhŸs cjî« f©zhoahfî«, òJ¡fÇijfŸ òida ÇU«ò« ïisP®fŸ bt‰¿fukhf mt‰iw¥ òidtj‰F tÊfh£L« fy¤fiu Çs¡fkhfî« mikªJŸsJ.

knyáah ïy¡»a¤fis¥ g‰¿ Kidt® âyftâ mt®fŸ, “bgU«ghY« knyáa¤ jÄœ ïy¡»a«, jÄœeh£L ïy¡»a¥ ngh¡»id mo¥gilahf¡ bfh©L, cŸeh£L¥ ngh¡»‰nf‰g toî bfh©L tsU« JiwahF«” v‹W T¿íŸs fU¤ij vL¤J¡fh£oíŸs

21

ïªüyháÆa®, á¤f¥óÆš njh‹¿íŸs òJ¡fÇijfis¥ g‰¿¡ F¿¥ãL«nghJ« Kidt® âyftâ mt®fŸ T¿aij Ãidî¥gL¤â¢ á§f¥ó®¥ òJ¡fÉij¤ Jiw ahdJ, jÄœ eh£o‹ òJ¡fÇij¥ ngh¡»id mo¥gil ahf¡ bfh©L cŸeh£o‹ ngh¡»D¡F V‰g tot¤ bfh©L ts®ªJ tU»wJ v‹W F¿¥ã£LŸsh®. 龜d« T¿aj‹ _y« Kidt® âahfuhr‹ mt®fŸ á¤f¥ó®¥ òJ¡fÉij¤ Jiw¡F kiwKfkhf kÂKo N£o m nr®¤JŸsh® v‹gJ bjÆ»wJ. jÄœeh£o‹ òJ¡fÇij¥ ngh¡F, á§f¥ó®¥ òJ¡fÉijfS¡F mo¥gilahf mikªâUªjhY« mit, cŸeh£L¥ ngh¡»D¡nf‰w tot« bfh©LŸsd v‹W TWtj‹ _y« á¤f¥ó®¡ fÇijfS¡F V‰w« mˤJŸsh®. “cyf ehLfËilna, mH»Y«, xG§»Y«, ts¤âY«, g©gh£L ey¤âY« ca®ªâU¥gJ á¤f¥ó® v‹gJ cyf¿ªj c©ik; vdnt, cŸeh£L¥ ngh¡»D¡nf‰g tot¤bfh©L v¤fŸ òJ¡fÇijfŸ bghJ kuãš jÄHf¤â‹ òJ¡fÇij¥ ngh¡»id x¤âUªjhY« v¤fŸ k©Q¡nf‰w t©zK« totK« bg‰WŸsjhš v¤fŸ ïy¡»a¤fŸ ca®thdit” v‹gij¤ âwdhŒths® âahfuhr‹ neuoahf¡ Twhkš kiwKfkhf cz®¤âíŸsh®.

jhŒ¤jÄœeh£oš ïU¡»‹w msî¡F¤ jÄH®fŸ bjhif, fÇP®fŸ bjhif, th¤»¥go¡F« thrf® gu¥ò ngh‹wit á¤f¥óÆš Fiwî v‹gjhš jÄœeh£L¡ fÉP®fSl‹ v¤fŸ fÇP®fŸ ngh£oÆl ïayhJ vd¤ bjÆǤJŸs „âwdhŒî¤ bj‹wš‟ âahfuh#‹, ïªüÈš á¤f¥óÆš ky®ªJŸs òJ¡fÇijfŸ áyt‰iw vL¤J¡ fh£o, mt‰¿‹ FiwÃiwfis vªjÇjkhd cŸ neh¡fK« ïšyhkš cŸsij cŸsthnw vL¤J¡fh£o

22

íŸsh®. mjdhš á¤f¥ó®¥ òJ¡fÇijfË‹ áw¥igí« btË¥gl¢ brŒJŸsh®.

á¤f¥óÆš kuò¡fÉij - òJ¡fÉij Mjuths®fS¡ »ilna fU¤J¥ngh® - jÄœKuR ïjœ mj‰F¡ fskhf És§»aJ - ïªj¥ngh® _y« ïy¡»a¤Jiw nkY« ÕL« bgUikí« bg‰wd M»at‰iw ïªj üš mHFw vL¤J¡ T¿íŸsJ.

“kuò¡fÇij F¤JÇs¡F

òJ¡fÇij Tiu beU¥ò”

ïJ kuò¡fÇij Mjuths® T¿aJ. ïj‰F kW bkhÊahf¥ òJ¡fÉij Mjuths®

“MŸtá¡f yha¡»šiy

MÆu« bgh¤jšfSl‹

Mo¡bfh©oU¡F«

giHa Tiufis¤ jiuk£lkh¡F«

âU beU¥ò¤jh‹ òJ¡fÇij”

v‹W T¿a gh¤F, vd¥ g£ok‹w¥ ghÂÆš Ãfœªj fU¤J¥ngh® KGtijí« ïªüyháÇa® Ritgl¤ bjÇɤ JŸsh®.

“ãugŠr¤â‹ MH mfy¤fis¡

f‰W¤ jªj msî¡F

ÇŠPhd« v¤fS¡F

kÅj®fË‹ MH mfy¤fis¡ f‰W¤juÇšiy”

v‹D« á¤if¡ fÇPÆ‹ òJ¡fÇijia, kfhfÇ ghuâah® ghoa,

23

“MÆu« fÇfŸ f‰guhÆD«

MœªâU¡F« fÇís« fh©»y®”

v‹D« fÇij tÆfSl‹ x¥ã£L¥ gh®¤J ïªüyháÆa® ctifbfhŸ»wh®.

k‰bwhU á¤if¡ fÇP®

“e£r¤âu Çyhr¤fis¤

njo¥òw¥g£l

nkf¡ f‹ÅiffË‹ gaz«.....”

vd¤ bjhl®ªJ bršY« fÇij tÇfis¡ fÉaur® ituK¤J mt®fŸ òidªJŸs,

K»Èd¤fŸ miy»‹wd

KftÆfŸ bjhiyªjdnth?

KftÆfŸ jt¿ajhš mGâLnkh mJkiHnah?

v‹D« fÇij mHFl‹ x¥ã£L¥gh®¡»wh®. ïªüÈš ï¤jifa x¥ÕLfŸ Äf¢ áw¥ghfî« bghU¤jkhfî« mikªJŸsd.

“kd¡Fif¡FŸ

MH¤JHhÇdhš

m‰òjÇs¡bfh‹W

mf¥gL»‹wJ

És¡if¤ njŒ¥gâš

ójkh»¥nghtJ eh‹jh‹ myhîÔ‹fis

V¥g« Çl¡ fh¤âU¡»nw‹.”

v‹D« òJ¡fÇijÆš mikªJŸs gok¤ij¡ fÇP® cz®¤j ÇU«ò« fU¤Jl‹ bghU¤â Äf¢áw¥ghd

24

Çs¡f¤ij¤ „âwdhŒî¤ bj‹wš‟ âahfuhr‹ tH¤»íŸs gh§F Äfî« ïÅ¡»wJ.

ïJnghynt nkY« gy fÇijfS¡F¤ âahfuh#‹ mt®fŸ tH¤»íŸs Çs¡f¤fŸ bghU¤jkhditahfî«, mªjªj¡ fÇijfis¥ gil¤j fÇP®fË‹ v©z nth£l¤f¤ JšÈakhf cz®¤J« tifÆY« mikª JŸsd.

òJ¡fÇijfis¤ âwdhŒî brŒ»‹w âwdhŒths® gy®, fÇP®fŸ gil¤JŸs fÇijfË‹ E©bghUŸ - gok« ngh‹wit Çs¤fhÇ£lhš mšyJ ka¡fkhf mit mikªâUªjhš mt‰iw¢ R£o¡fh£l kh£lh®fŸ FiwTw kh£lh®fŸ, Vbd‹whš - mªj¥òJ¡ fÇijÆš mikªJŸs E£g¤ij Çs¤»¡ bfhŸS« E©kh© EiHòy« jk¡»šiy vd¥ãw® j«ik¡ Fiwthf kâ¥ã£L ÇLth®fns? v‹D« m¢r¤jhš jk¡F¥ òÆahjt‰iw¡ FH¥gkhd tÆfis¥ g‰¿¡ fU¤J VJî« Twhkš eGÇÇLth®fŸ, Mdhš, âwdhŒî¤ bj‹wš mt®fËl¤âš mªj¥ nghȤjd« xU á¿J« ïšiy. gy fÇijfËš mikªJŸs FH¥gkhd mofis¡ F¿¥ã£L “ï¥gFâfËš mikªJŸs bghUŸ vd¡F¥ òÆaÇšiy gyKiw go¤J¥gh®¤nj‹ gaÅšiy. vdnt bghUŸ Çs¤»¡bfhŸs ïayhkš 龜d« fÇij vGJtjhš vªj¥gaD« ïšiy” v‹W âwdhŒths® Äf¤JÂthf¤ j« fU¤ij¥ gâî brŒJŸsh®. ïJ âahfuhr‹ mt®fË‹ ne®ikia¥ òy¥gL¤J»wJ.

bkh¤j¤âš ïªüš Ãiwfis¥ ngh‰¿¥ ghuh£L »wJ. Fiwfis¢ R£o¡fh£o¤ âU¤âl Kaš»wJ. òJ¡ fÇijfS¡FÆa bghJ¥ g©òfŸ á¤f¥ó®¥ òJ¡ fÇijfËš mikªâU¡F« gh¤»id vL¤J¡ fh£o

25

íŸsJ. gy fÇijfË‹ c£bghUŸfŸ òy¥gLkhW mt‰W¡F cÆa Çs¡f¤fŸ mˤJŸsJ.

á¤if¡ fÇP®fË‹ òJ¡fÇij mofŸ gyt‰iw K‹ndho¡ fÇP® j« fÇijfSl‹ x¥ã£L x¥ghŒî brŒJŸsJ, fÇijfis MŒtJl‹ vªj¢ NHÈš mªj¡ fÇijfŸ njh‹¿ÆU¤jš TL«? v‹W fÇij ãwªj j‰FÆa fhuz¤fisí« MŒªâU¡»wJ. fÇijfis¥ gil¤j fÇP®fË‹ thœÃiy, NœÃiy, kd¥gh¤F, Fz¥gh¤F KjÈat‰iw¡Tl mt® tH¤»íŸs fÇijfŸ tÊ m¿a Kaš»wJ.

vdnt, ïÅa vËa eilÆš M¡f¥g£LŸs ïªüš âwdhŒî üšfË‹ áfukhf¤ âfH¥ngh»wJ.

á¤f¥ó®¡ fÇP®fS¡F khiyN£o, g‹Ü®bjˤJ - kÂKo mÂǤJ k»œ»‹w ïªj¤ âwdhŒî üš á¤f¥ó®¥ òJ¡fÇij¥ gil¥ghs®fS¡F¡ »il¤JŸs ÉUJ; üiy¥ go¤J¢ Rit¡F« midt®¡F« Ritahd ÉUªJ.

“Ó®ÄF âwdhŒî üiy¥ ngh‰¿¥ k»œ»nw‹

âwdhŒî¤ bj‹wš âahfuhrid thœ¤â k»œ»nw‹.”

26

¦À¡ÕǼì¸õ

º¢í¸ôâ÷ô ÒÐì¸Å¢¨¾¸û ´Õ ¾¢ÈÉ¡ö×

(1965-ìÌõ 1990-ìÌõ þ¨¼ôÀð¼ 25 ¬ñθǢø áø ÅÊÅ¢ø ¦ÅÇ¢Åó¾ ÒÐì¸Å¢¨¾ áø¸û ÁðÎõ ¬ö×ìÌ ±ÎòÐì ¦¸¡ûÇôÀð¼É)

1. ÒÐì¸Å¢¨¾Â¢ý §¾¡üÈÓõ ÅÇ÷Ôõ ´Õ ÀÕóÐô À¡÷¨Å ( 27-40)

2. º¢í¸ôââø ÒÐì¸Å¢¨¾Â¢ý

§¾¡üÈÓõ ÅÇ÷Ôõ (41 - 54) 3. º¢í¸ôâ÷ô ÒÐì¸Å¢¨¾ - º¢ýÉ º¢ýÉ

º¢ò¾¡ó¾í¸û: µ÷ ¬ö×ôÀ¡÷¨Å ( 55 - 77) 4. º¢í¸ôâ÷ô ÒÐì¸Å¢¨¾ - ¿¢ƒò¾¢ý ¿¢Æø¸û

µ÷ ¬ö×ôÀ¡÷¨Å (78 - 89) 5. º¢í¸ôâ÷ì ¸Å¢»÷ ¸.Ð.Ó. þìÀ¡ø «Å÷¸Ç¢ý

‘Ó¸Åâ¸û’ áÄ¢ø þ¼õ¦ÀüÚûÇ (ÒÐì¸Å¢¨¾¸û ÁðÎõ ´Õ À¡÷¨Å (90 - 94)

6. º¢í¸ôâ÷ô ÒÐì¸Å¢¨¾¸Ç¢ø ÀÊÁõ

´Õ À¡÷¨Å (95 - 112)

27

òJ¡fÉijÆ‹ njh‰wK« ts®¢áí«

- xU gUªJ¥ gh®it

(PHOTO GRAPHY)

„ ‟

GEOMETRICISM)

28

(APPOLLINAIR)

(CREATOR)

(GEOMETRICISM)

(FRAGMENTATION & DISTORTION)

(DECONSTRUCTION)

(RECONSTRUCTION)

(Collage Method)

29

(APPOLLINAIR)

(COLLAGE)

30

(Collage Method)

„ ‟

(IMAGISIM)

31

; ;

“LEAVES OF GRASS”

(SCHOOL OF THOUGHT)

32

(SPEECH RHYTHM)

(SCHOOL OF

THOUGHT)

33

NCBH

FREUD

„ ‟

(INDUVIDULAISM)

34

(STANDARDISATION)

35

;

; ;

(OBSCURITY)

( AVANT-GARDISM)

(POPULISM)

(MASSMEDIA)

( INTERACTION

36

(ANTIPOETRY)

37

(METROPOLITAN)

“ ”

“ ”

38

39

(SERIOUS READING)

40

(POPULISM)

„ ‟

41

42

43

á§f¥óÇš òJ¡fÉijÆ‹

njh‰wK« ts®¢áí«

44

45

46

47

TRANSCREATIONS

48

49

50

0

0.5

1

1.5

2

2.5

3

3.5

4

1979 1984 1988 1990

Book

51

52

53

„ ‟

“

„ ‟

”

54

55

56

57

(BEHIND WINDOWS

OF EYES)

(SILENT

ANNITHILATION)

TRANSCREATIONS)

58

á§f¥ó®¥ òJ¡fÉij -

á‹d¢ á‹d¢ á¤jhªj¤fŸ :

X® MŒî¥ gh®it

( IMPACT) (INFLUENCE

(THEME)

59

60

SERENA

61

62

63

64

“ ”

65

“SERENA”

66

67

(VALUES)

68

SOCIAL STATUS)

69

70

FOLLOWER

71

(MEMORY BASE EDUCATION)

EVASIVE

72

73

74

(CYNICISIM)

75

(VICIOUS CIRCLE)

76

77

78

79

SELF PITY

80

„

‟

81

82

83

á§f¥ó®¥ òJ¡fÉij

- Ã#¤â‹ ÃHšfŸ - X® MŒî¥ gh®it

84

85

86

87

OBSCURITY

(OBSCURITY)

88

(OBSCURITY)

89

SWEEPING STATE MENT

(SWEEPING STATE MENT)

(SWEEPING STATEMENT)

90

91

92

SOCIAL AWARENESS

(SOCIAL AWARENESS

93

94

95

96

á¤f¥ó®¡ fÉP® f.J.K. ï¡ghš

mt®fË‹ “KftÇfŸ ”

(òJ¡fÉijfŸ k£L«) xU gh®it

97

„ ‟ „ ‟

98

.(STRUCTURAL

PATTERN)

99

100

(SLOGAN)

101

102

á§f¥ó®¥

òJ¡fÉijfËš gok«

:

„ ‟

(Gap filler)

103

(Bias)

104

(Shades)

105

106

;

;

107

(Realism)

108

109

110

111

112

„ ‟

113

„

‟

114

115

116

117

(Unit of meaning)

118

119

120

:

121

(BEHIND WINDOWS OF EYES)

(TRANSCREATIONS)