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SRIMATHE RAMANUJAYA NAMAHA.

--- In ramanuja@xxxxxxxxxxxxxxx, Sreekanth <sreekanth_a@xxxx> wrote:
>
> Dear bhagavathas

> > i also have some specific doubts
> 1. What is a "maDal" means
> 2. what is "Thandakam" in thirukkurunthANDakam and
> thirunEdumthANDakam
> 3. similarly the meanings of the titles
> "thiruvirutham" "thiruvAsiriyam"
> 4. What is "anthAthi" type prabandham means
> 5. some prabandhams are named after the begining word,
> like "amalanAdipirAn", kaNNInuNchirutthAmpU etc, but
> then what is the speicality of "thiruvEzhukUTTirukkai"
> 6. what are the specialities of meters like
> kalivirutham, venpa etc...
> 
> Sreekanth
> 
> 
> 
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----------

Respected Swamin,

Though I don't hold any degree in Tamil literature and grammar, due 
my interest in Tamil works, particularly poetry, I think I can to 
some extent help you in getting some replies to your query.  

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

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

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

Prabandam came to be used later than the earlier forms of poetry of 
the  sangam period, such as VeNbaa, Aasiriappa, Kali-p-paa and Vanji-
p-paa. The aim and message to be conveyed usually decide the kind of 
poetry form that the poet chooses.

The earlier four forms of poetry underwent modifications taking up 
other forms also, as per the requirement and intuition of the poet. 
That is how we get to see kali-veNbaa, Kochchga-k-kali-p-paa, Vanji 
viruttham, Aasiriya viruttham  etc. But all these are within 
established norms of grammar. 

In course of time the 96 prabandhams came to be handled by many poets 
of post-sangam period, as they were able to convey specific ideas 
through them with a greater reach. While the former forms were 
difficult to understand by commoners, the prabandams are easy to 
understand.

Now about the word `divya'. `Div' in Sanskrit means `to shine'. It is 
the root word for deva and divya. The prabhandam is divyam, since it 
shines, glows, shows the way by glowing and has Bhagavan in Divya 
desas as the Hero (karu-p-poruL) of all the verses. 

The divya desa derives its name from `div'. This is understood by the 
way temples are established. There are 3 ways by which temples are 
established. (1) Bhagavan being present in a place as swayambhu, (2) 
Bhagavan appearing in a place as prathyaksha to bless some devotee 
and (3) Bhagavan coming to reside through consecration by mantra, 
tantra or yantra.

One special feature of the divya desam is that bhagavan has at some 
time in the past appeared as prathyaksha to some devotee in all these 
kshetras. The bhagavan's glow has been enshrined in those places as 
temples. Every divya desam has a history of Bhagavan's leela shown to 
some devotee. Therefore they are divya kshetras.

The entire body of verses dedicated to bahgavan in divya kshetras is 
Divya prabhandam.
These kshetrams are known as `aazhwargaL ugandu aLLittha nilangaL.'

One can see  a divine design in the way aazhwars' avataras had been 
effected and the way they have sung the prabandhams. 

The songs of the first 3 Mudal aazhwars are all in traditional forms 
of poetry namely in VeNbaa. 
The aazhwars have started their verses in the traditional way of 
lighting Thiru villakku as is done before starting any  worship or 
action. Vilakku means `edu vilanga-ch-chaigiradO adu vilakku'. By 
lighting the lamp, the aazhwars have removed the darkness or tamas.

The first verse of the Mudal Thiruvandaadhi,  " vaiyam thagaliya..' 
is about lighting the vilakku at the physical level with the world as 
the lamp, the oceans as the ghee and the Sun as the  light. Modern 
science considers the entire world as a single cell, in that whatever 
happens in one part of the  land affects the other parts too. The 
wind movements, monsoons, hurricanes are all only but a few examples 
of global phenomenon. Poigaiyaar had considered the earth as one unit 
even in those times itself  and lit the lamp for the entire human 
race. 

The second Thiruvandhaadhi begins with lighting the ViLakku at the 
mental level. (anbE thagaLiyaa). 

With this,  the entire body of Bhagavan comes to be seen in the Third 
Thiruvandhaadhi in Thiru-k-kandEn, pon mEni kanden..


Thereafter the other aazhwars have taken up the task of revealing 
Bhagavan in various ways for the benefit of mankind. And the poetry 
forms they have employed also shows how wonderfully they have been 
able to convey their message in ways that can not be easily ignored 
or forgotten. Almost all of them are in Prabhandam form with suitable 
types of sound enjoyment (rhythm) that can be easily memorized and 
remembered. Not to miss is the bhava and the emotion conveyed by them 
by their choice of specific poetry forms.

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

Each letter is known as `yezhutthu' in tamil.
2 letters together are known as `asai'.
The asai, coming singly or in two or in three together is known 
as `sIr'. It is nothing but the `word'. 
It is this term sIr that one often finds in the poetry type of the 
verses.

In Prabandham we find iru sIr (2 words), aru-sIr (6 words), ezhu-sIr 
(7 words) or eN sIr (8 words) in each line.

Now about the poetry type. The poetry type is mostly a blend 
of `Viruttham' and `kali'. 

Viruttha-p-paa is known for its vOsai nayam (rhythm). So also kali 
and aasiriya-p-paa. We often  find the blend of Viruttham with kali 
and aasiriyam  in AruLi-ch-cheyal giving different sound effects. 

The basis of this is in placing `mellina mei' suitably in between 2  
vallinam (ka, cha, ta, tha, pa, ra). This combination can be made in 
countless ways and a beautiful stress can be attained on the 
otherwise soft mellinam. The Viruttha-p-paa gives plenty of these  
combinations. Kali viruttham is even more effective in bringing out 
the sound variation effectively. 

To understand this, let us take up 2 verses from SenniyOngu pasurams. 
(Periaazhwar Thirumozhi). This is kali viruttham. The 3rd 
verse `emmanaa en kula deivamE' is full of such placing of mellina 
mei in between 2 vallinams or others. The bhava effect and sound 
effect in this is different from the very next verse "kadal kadaindu 
amudam kondu" which is dominated by vallinams with much less of 
mellina mei. While the former exudes pathos, the latter excels 
in `seppudal' (utterance). 

Now lets see the poetry types of starting from Thiruppallaandu ( in 
the order as found in Mayilai Madahava dasan edition).

(1)     Thiruppallaandu. ? aru sIr aasiriya viruttham. 

You will find 6 words (sIr) of 4 lines (may be split up in different 
publications)
The aasiriyam ensures the `agavalOsai' which is like calling someone 
or in the note  of a  peacock.

(2)     Periaazhwar Thirumozhi. A variety of forms have been 
employed. The popular one being Pillai-th-thamizh, about different 
stages in the life of a child (pillai). 

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

Ø       In kali-th-thaazhisai (seeda-k-kadal), there is addition of 
extra lines due to use of thaazhisai. The effect is that of a `neer-
ch-chuzhi' (swirl)  in thaazhisai as per grammar sutras

Ø       Likewise in other forms of kali viruttham, you can find 
differences  in the number of words per line.

Ø       In aru sIr aasiriya viruttham, 6 words per lines are used and 
in eN sIr aasiriya viryttham, 8 words per line are used. The grammar 
type such as aasiriyam depends on the other angas of Yaappu  as per 
grammar.

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

Tharavu is the first part of kali-p-paa. There are many varieties by 
which the taravu is applied in a poem. By the name of it, I guess 
that it is about the first two taravu (taravu iNAi) blending 
naturally (iyal ? iyalbaaga).
We find that the first 2 taravus (words) of each line go together. 
Like 
Maagazhi-thingaL
Neeraada-p-pOduvIr
Vongi-ulagu
That is, the words are blended in such a  way that one of them 
conveys something of the other, either as adjective or adverb. They 
are best interpreted as one. 
This is understood from the way that the verses are paused at the  
next or previous line while reciting.
Such as, 
In the 3rd verse, Vongi ulagu, we make a pause at seertha mulai 
pattri vaanga and not at the end of 4th sIr, seertha mulai pattri. 
Because only then the next verse `kudam ?niraikkum' completes the 
grammar `iyal taravu iNai.'
It should not be vaanga ?k-kudam which is not a double taravu as per 
the grammar of Thituppavai. It should be `kudam-niraikkum'.

Some other places where we recite the taravu (from previous line)
together are 
`nammaal pOttra' (not narayanan nammaal and then pOttra-p-parai 
tharum)
`pandoru naaL koottram' (not puniyanaal pandorunaaL)
`vulaginil thOttramaai'
`matthinaal vOsai-p-paduttha' (we should not stop at matthinaal along 
with the previous line)
`maadhavi-p-pandal mEl'
`abhimaana bhangamaai'


(4)     Naachchiyaar Thirumozhi ? 

 The now familiar types of  poetry forms are found in this 
composition. The basic form is kali viruttham with beautiful rhythmic 
effect. The kOchchgam is also a kind of kali-p-paa which has  some 
blends in sIr. There is another prabhandam type blended here, which I 
will quote while taking up Madal. The Thoodu vidudal (sending clouds 
as messenger)  is also a famous type of prabandham

(5)     Thiru-ch-chanda viruttham ?

There are not just 2 but 3 types of sound- based poetry forms blended 
into one, the chandam, kali and viruttham. There is a beautiful blend 
of all the three as per meanings of the verses. The chandam is based 
on yedugai, the 2nd letter in the first word of every line. The 
language itself is rhythmic in this combination.
My favourites, `voonin mEya' and `atthannagi' which I consider as the 
essence of all Vedanta are more chandam based than the other two 
types. There is that forceful declaration by using more of vallinam 
in the former and a `kuzhaivu' by using more of mellina mei in the 
latter one (above quoted)
(6)     Thirumaalai ? aru sIr aasiruya viruttham.
6 words in each line with aasiriya?p-paa grammar and viruttham. 

(7)     Thiru-p-paLLiyezhuchchi ? eN sIr aasiriya viruttham.
8 words in each line with aasiriyam and viruttham.

(8)     Amalanadhi piraan ? Aasiriya-th-thurai.
Usually thurai is the sub-set of the main one (like the banks of the 
river forming the subset of the river. Thurai means bank ?like in  
aattru-th-thurai). 

Here the main poetry form is aasiriya-p-paa. The traditional form of 
it will have 4 words in all lines except the penultimate line which 
will have one less. (that is, 3 words). The minimum number of lines 
will be 5. Maximum any number. 

In this prabandham, the grammar is that of aasiriya-p-paa. 
All lines have 5 words (since it is thurai) 
The penultimate line has lesser words than the other lines.
The last one `kondal vannan' is kali viruttham having 4 words in 4 
lines.

(9)     KaNNi nuN sirutthaambu ? kali viruttham 


(10)Peria Thirumozhi ? Various types of kali, aasiriyam, viruttham 
with 6 or 7 or 8 words  are used.

         One can understand the types by the sIr used and its number. 
         >In `vaanavar thangaL' , thurai of aasiriyam is used which 
can be determined by the  
     number of words in each line and the way they are repeated.
Ø       In `VaNduNu naru malar' vanji vbiruttham is used.
As per Yaaparumkalam sutram, there are 4 lines of sindhu-p-paa 
(another variety of prabandham) joined with viruttham of 4 words each 
line.

   ( 11) Thiru-k-kurum thaandagam.
Thaandagam is a type of prabandham and this one is a shorter version 
(kurugiya) of it having 6 words of 4 lines. The speciality of this 
type is that the lines look similar. The rhyme is distinct which can 
be experienced while reciting. The paadu-pOruL (the Hero, in other 
words) is always some God. In contrast the other prabandhams may have 
any valiant person, a king or God as the theme of the composition.

(12) Thiru nedum thaandagam.

Same as Thiru-k-kurum thaandagam. Only that the words are more per 
line. It is 8. Usually Thaadagam comes only in 6 or 8 sIr per line.

(13) Mudal Thiru andhaadi.

Nerisai Venbaa with andhaadi adi.

This veNbaa type has 4 lines of 4 words in the first 3 lines and 3 
lines in the last line. The first words of the first two lines have 
similarity in rhyme (yedugai) followed by the 4th sIr of the 2 nd 
line having the same yedugai which blends with the 3rd line. There 
will be a ? in the 2 nd line showing the split. The last 2 lines go 
together in yedugai. There are grammar rules to determine how the 
last sIr of the poem must end.

This type is also an andhaadhi, a prabandham type. The first 3 
Thiruvandhaadis are a blend of traditional veNbaa and prabandham  
(andaadhi)

Andaadhi is that in which the andam of the previous verse, becomes 
the aadhi of the next verse. That is, the last word of the previous 
verse becomes the first word of the next verse. 

(14) Irandaam Thiruvandaadhi 

Same as the previous one.

(15) Moondraam Thiruvandaadhi 
Same as previous one.

(16) Naan mugan Thiruvandaadhi 
Same as previous one.

(17) Thiru viruttham
The type is kattalai kali-th-thurai
The viruttham ensures rhyme. But this is one of the difficult ones to 
compose going by the grammar used. There are rules in using the other 
angas of poetry such as thaLai and the kind of sIr (nEr 16 and nirai 
17 ).The last word also must be of specific sIr type. This comes 
under a category, Iyal paa, meaning strictly adhering to traditional 
grammar form.

(18) Thiru aasiriyam
This is also an iyal paa, composed in a traditional type, aasiriyappa 
with 4 words in all lines except the penultimate line where it will 
be 3

(19) Peria Thiruvandaadhi.
VeNbaa and andaadhi together. Same as Mudalaazhwars' pasurams.

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

This is in aasiriyappa form with a beautiful build ?up of verses. The 
words indicate a ThEr thattu (temple car) in successive layers.

That is, it begins with words meaning 1,2,1
1,2,3,2,1
1,2,3,4,3,2,1??
upto 7 (yezhu koottru )
The last layer will be 1,2,3,4,5,6,7,6,5,4,3,2,1.
If my memory is right, this pasuram has been depicted in 
Thirukkudandai Koil in the form of a temple car.

(21) Siriya Thiru madal.
I am too excited to write about  madal. I think  Bhagavan too would 
have been excited to listen to Thirumangai aazhwar sing  this. A 
daring poetry  fittingly given by a daring person with whom bhagavan 
too enjoyed His leela. It is perhaps to enjoy the madal that bhagavan 
chose none other than our Kaliyan who was so vociferous in expressing 
his feelings and emotions.

Madal is originally known as MadalEral or Madaloordal in Tamil.
Madal is the palm leaf and the dried twigs of the palm leaf (panai 
maram). 
The scenario always involves a nayaka and a nayaki (thalaivan and 
thalaivi). The two are in love and there are obstructions to 
consummate their love into marriage. In another scenario, the nayaka 
is in love, but the nayaki is not serious about his love. In any of 
these circumstances, the nayaka takes the extreme step of madaloordal.

In this, he paints the picture of his lady-love on a palm leaf, makes 
a horse out of the dried palm leaves, takes the picture and looks at 
it as though  nothing else matters and sits on this madal horse and 
moves around in that (oordal) like a mad person. He would not care 
what people think about him, nor would he bother about the shabby 
looks he has developed due to lack of care of his body. Such a person 
would even roam like this with no clothes on. The sharp edges of the 
palm leaf would hurt him. If by such hurt, his vital fluid is 
released, people would think that his love is indeed supreme and see 
to it that he marries his lady-love. If the obstacle to his love is 
from the nayaki herself, she would relent. But instead, if blood 
seeps out due to the scratches by palm leaf, people would not 
consider his as true love.

There are instances  when the nayaka would blackmail the nayaki that 
he would mount the madal if she refuses him. If he mounts the madal, 
every one in the town would come to know of the affair and the tiff 
between them and it wont be a pleasant one for the nayaki. So she 
would oblige. 

A similar threat is sounded by Andal in the first pasuram of 
Naachchyaar Thirumozhi when she takes refuge in Ananga devan. This is 
an indirect warning to perumaaL that  he must come immediately to 
accept her. 

Thirumangai aazhwar excels in flinging such `ultimatums' to perumaL 
in his two madals. The entire composition is fast-paced  showing his 
aattraamai and anger that bhagavan has not yet taken him with Him. If 
recited with bhava after knowing the meaning, I am sure the madals 
are a great experience.

This is termed as siriya Thirumadal going by its size. The entire 
composition is in single kali veNbaa with no full stop in between!.

(22) Peria Thirumadal.
This is same as the previous one, only that it is lengthier than it.  
Usually madals is mounted by the man. Women don't mount it. But 
aazhwar makes a deviation from the established norms and takes up 
nayaki bhava in madaloordal. "mannum vada neriyE vEndinOm" meaning 
that though this is not in vogue in tamil culture, he has taken up 
the way of Northies. 

(23)Thiruvaimozhi.
All types discussed above have been handled by aazhwar with most of 
them also of  andaadhi type. 

Even madaloordal has been done by Nammaazhwar.
In 2-1-4, (kadalum, malaiyum, visumbum..) he expresses the nature of 
the one mounting the madal in  always moving around without sleep 
catching the `vudalam nOi'

The vanji-th-thurai of `veedumin' (1-2) and `vodum puLLEri' (1-8) are 
another special form of poem. In this there are 2 words of 4 lines 
which speak about a specific notion. They are usually written in 
kuraLAdi, two lines like kuraL.



Ramanuja Noottrandaadhi is in the  difficult kattaLai kali-th-thurai, 
like Thiru viruttham.

I think I have covered all the prabandhams. The mistakes in this are 
entirely mine and I may be pardoned and corrected for the same.

Regards, 
Jayasree saranathan.










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