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Archive for February, 2009

THE UNBRIDLED MARE


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This MARE had been groomed in convent school, where morality was laid on so thick, that she was perennially left with a sense of guilt. The easiest way to sense a guilt ridden soul is to check if they, at the start of any activity, indulge in a seemingly innocuous question IF THE ACTIVITY WOULD PLEASE THE ELDERS OF THE FAMILY & SCHOOL. If the answer is a YES, then the morality had seeped into their souls thru constant indoctrination.

The mares raised in a liberal atmosphere are more likely to do whatever they want and if thwarted, would ask WHAT IS WRONG? The liberal ones want to know the PRINCIPLES, but the convent groomed ones constantly require the mental REASSURANCE of their superiors. Herein lies the difference and consequently their behaviour.

This buxom mare, in its youthful exuberance and self-assured morality had launched into an enviable career. She was stately in her posture and brusque in her response, in fact the Stallions which nursed hopes of covering her, were not so confident in making their suit upfront. They were drawn into her moral structure and could not see her needs as any mare would have. Consequently they either stuttered, stammered and fumbled their way out or engaged in inanities, without having the guts to state their cause. Some stallions befriended her with the hope that someday the mare would relent and then they would turn victorious. Their HOPES were kept in perpetual abeyance.

In the sidelines, was a COLT that had sighted this mare and was smitten to the depths of his soul. But our colt was able to see thru the games that the stately mare was indulging in. None was repelled by her but her intimidating stature allowed none to verbalize their cause. Having been raised in a stud farm, the colt had seen the SIRING stallions treating the mares. He learnt early that he had to do three things, firstly, VERBALIZE, secondly SHOOT STRAIGHT and thirdly EXHIBIT NO SIGNS OF DESPAIR IF REJECTED(one can always fight another day).

His language skills broke her silence. The mare was no more able to deploy her silence and flummox the Colt. The stallions that were following her, sensed no threat in the colt. In fact they were happy that the colt was at ease with the mare, which got them tongue-tied. They thought that it was a sign of supreme INNOCENCE. An Innocence that is born of LACK of GUILT. It was only the colt which knew its surging passions. The stallions were not able to get even a whiff of it.

But the Mare was fascinated by the skillful use of the language by the colt and the confidence that betrayed no hidden passion. It is mostly our curiosity that forms the first step of our attraction to the opposite sex. Naturally, the mare from fascination moved into the next gear of mental curiosity. The mare did not mind making herself the neighbour in the grazing pastures. The colt was not only grazing but leading her to activity without the main question IF THE ACTIVITY WOULD PLEASE THE ELDERS OF THE FAMILY & SCHOOL? entering her head. She was beginning to TRUST him. Trust him with her moral principles. No more did the hackneyed morality bother her. It was a liberating force. A force that introduced her to LIFE.

One evening, while grazing with the colt, the sun was setting and anxiety was rising in the Mare’s mind about getting to the stables. The colt pretended that he was unaware of the drawing night. She neighed at him almost nudging him if it wasn’t time to leave. The colt in the flush of passion, shot the question straight- IF U WORRY ABOUT THESE TRIFLES, WHEN ARE WE GOING TO HAVE THE INTIMACY THAT ONLY WE CAN FEEL AND, NONE ELSE CAN FEEL FOR US?

The question was too quick, she thought for a moment. But she sensed the opportunity of the INTIMACY in the darkness, outside the ken of the other stallions and mares. The colt heard that sudden swallow of her saliva that gave him the signal of consent. He moved in a jiffy to her back and she in total reception stood still, but as if she was stunned by his behaviour.

She was stirred as a tremulous petal and she could feel the flow of her reception. A stirring that made her feel like the female of any specie, when surrender was the form to tether the male to her soul. The colt mounted but the distraction of the whistle, from the groom from afar, brought her senses back and she moved out. The movement was so elegant, that it was a message to the colt that HAD THE GROOM NOT INTERFERED, WE COULD HAVE FELT WHAT WE ONLY CAN FEEL, AND NONE ELSE FOR US!

Both were hustled into the stables and separated. But the night was the most eventful, both for the colt and the Mare. The Mare could not forget the line: WHEN ARE WE GOING TO HAVE THE INTIMACY THAT ONLY WE CAN FEEL AND, NONE ELSE CAN FEEL FOR US?

She was ruminating on the poetic content of that bold line. It made her tingle thru the night. She finally felt the LIBERATING power of CONFESSED LOVE.

BLOGGERS BEWARE!


TRUTH IS A GOOD DEFENCE AGAINST SLANDER, BUT IF YOUR BLOGGING IS GOING TO ENRAGE SOMEONE SOMEWHERE IN THIS COUNTRY, FOR ANY REASON, HE COULD GET AN FIR REGISTERED AND THE MAGISTRATE IN-CHARGE OF THE POLICE LIMITS WITHIN WHICH THE FIR WAS REGISTERED COULD PULL YOU UP! SO MUCH FOR YOUR RIGHTS!!!

A writ filed by a person from Kerala, named Ajith D, for quashing the FIR registered against him in Thane, in the state of Maharashtra by a Shiva Sainik, has not been allowed by the Supreme Court. Well, so much is the gist, of what i’ve understood, of what was published in today’s (24/02/2009) TOI (p.10 Bangalore Edition titled BLOG IS NO PRIVATE DOMAIN).

The Writ Petitioner is stated to be a member of the social networking site- ORKUT. In the said site he is said to have published ideas that made the police invoke Sections 295A and 506 (?) of the Indian Penal Code.

The grounds that he had pleaded for quashing the FIR were:-

1. The contents of the blog were for the group and not for outsiders, &

2. that he feared his life, if he were to be compelled to appear in Thane courts.

According to me the first ground is not a valid ground, as in a social networking site anyone could easily have access and stating slanderous things there are equally damaging. Therefore the writer of the blog should be held accountable.

So far as the second reason is concerned, it is a valid ground. The boy, just 19 years, who in the exuberance of his youth, having made statements damaging to someone, should not be thrown into a terrain, where he could become an easy target. Let us recall that , not so long ago, Mr.M.Karunanidhi, the CM of Tamil Nadu made a statement that was CONTRARY TO THE GENERAL BELIEF IN WHICH LORD RAMA, WAS THOUGHT OF. MK WENT SO FAR AS TO SAY THAT RAMA WAS A PERSON GIVEN TO LIQUOR.

It is possible, that a person, in any other part of the country, could have been offended by such statements. They could have filed FIRs against him (the law of precedent states “however incredible the person’s belief might be regarding his God, ridiculing that belief would invite the provisions of 153A of IPC”) and dragged him to the courts in different states. They tried. But he has at his beck and call, the best Lawyers in the country, that he could get an FIR either transferred to another court of convenient location, or get it quashed. But what could a student in indigent circumstances do to counter such a predicament?

Smt. Renuka Choudury, is said to have stated demeaning things against the Mangaloreans and somebody is offended in Mangalore and she is to appear there. She being from a National Party, and also by virtue of having been a person with political standing (any publicity is good!), may not be unduly concerned in facing such court cases even outside her home state. But in the case of Ajith,D it is truly a case of throwing the lamb to the wolves!

I suppose, the Supreme Court should have allayed his fears (having come to the Supreme Court, as an Individual pitted against an organization) by directing the DGP, MH to provide him necessary security while within the state, for attending the court case.

ARE WE TO RESTRAIN OUR INFERENCES AND IMPUTATIONS, SINCE OUR POCKETS ARE either HOLLOW or SHALLOW? MAY BE, THE ANSWER IS YES.

IN INDIA IT IS BETTER TO BE WISE, THAN TO BE TRUTHFUL.

PROPAGATED TRUTHS COULD CAUSE RIOTS, THEREFORE LET US KEEP THE OFFENDING TRUTHS FROM THE ARROGANT & IGNORANT MASSES AND MAINTAIN OUTER TRANQUILITY!

THAMIZH HITS ACADEMY AWARDS!


Finally the wait was PLEASANTLY over. The BEST MUSIC DIRECTOR’S ACADEMY AWARD was awarded to A.R.Rahman. It was an expectation of every Indian that A.R.Rahman should win the Oscar, but he won TWO. Also for the BEST SONG category, and that was doulbly pleasing.

A.R.Rahman’s biography had been updated in the Wikipedia within minutes of him having won the OSCARS. I’ve excerpted here below the part that proclaims his feat:

His acclaimed music compositions have led to references to him as the “Mozart of Madras” and several Tamil commentators have given him the title Isai Puyal (Tamil: இசைப் புயல்; English: Music Storm). Rahman also won two Oscar Awards in 2009 (Best Original Score and Best Original Song) for his work in Slumdog Millionaire. He also performed at the ceremony.

While accepting the award for the BEST ORIGINAL SCORE, he thanked everyone whom he had to, but the icing was his utterance in Thamizh (Tamil) thanking God in the International Language of Thamizh: YELLA PUGAZHUM IRAIVANUKKAY, which when translated to English would mean ALL GLORY TO GOD.

As a person having been in TamilNadu, it is no surprise that he chose to thank God in Tamil. It is not politics that he brought the language into focus, it is pure THANKFULNESS. The language, which according to the Nobel Laureate Sir.C.V.Raman,  is mathematical in its structure and precise in its expression. It was his utterance in Tamil that made it exhilarating.

I see it as the homage paid by a Thamizhian to the discipline and the work culture that the language Thamizh promotes. Thamizh is not kitschy or glossy languge that skims over human situations in sentimentalism and defeatism . It grapples with human predicaments and brings it into human consciousness and strives to continually find solutions. It is no wonder that an A.R.Rahman had to be from this hoary CULTURE in India.

Long live THAMIZH. Long live INDIA.

GLOTTALIZING TAMIL -II


There have been some questions raised regarding the singing of songs in Tamil by Udit Narayan Jha w r t my earlier blog. The reasons for my opinion are mentioned below and anyone, who could contribute on this topic is most welcome to join in.

Tamil consonants[2]

Labial Dental
Alveolar
Retroflex Postalveolar
Palatal
Velar Glottal
Nasal m n ɳ (ɲ)
Plosive p  (b) t̪  (d̪) ʈ  (ɖ) k  (g)
Affricate tʃ  (dʒ)
Fricative (f)1 s  (z)1 (ɦ)2
Tap ɾ
Approximant ʋ ɻ j
Lateral approximant l ɭ
  1. /f/ and /z/ are peripheral to the phonology of Tamil, being found only in loanwords and frequently replaced by native sounds.
  2. [ɦ] is a possible allophone of /k/

http://en.wikipedia.org/wiki/Tamil_phonology

The above is the link, where the consonants of  Thamizh are represented in a tabular form  classifying the HA sound as a fricative glottal sound. The footnote says that Ha is a possible ALLOPHONE of KA.

Once we get into the allophones, then there is no certainty. We bring in usage into play. Most of Carnatic music (except for Purandaradasa), was formulated in the Thanjavur area of  Tamil Nadu and the Sanskritization of the hyms are well known. The sounds were essential in the singing of these hymns. However, to say that HA, was a sound in Tamil is preposterous. A person who is in a Sanskritised atmosphere is likely to pronounce AGAM as AHAM (meaning inner or inside). It is merely an usage and not a necessary sound in Tamil. (I’d consider it hilarious, if someone were to say AHATHIN AZHAHU MUHATHIL THERIYUM!!!)

The more basic question would be WHETHER THE WORD AGAM itself is Tamil or a LOANWORD, which was  SUBSEQUENTLY adopted into Tamil, by usage ?

INDIRA PARTHASARATHY on Iravatham Mahadevan’s Early Tamil Epigraphy, HAS THE FOLLOWING TO SAY:-

“Though Br-ahm-i was the mother of all the scripts in India, Devan-agari and Dravidian, it was adapted in a way to suit the genius of the language of the region. There were five variations of the Br-ahm-i script such as (1) Northern Br-ahm-i. (2) Southern Br-ahm-i, (3) Bhattiprolu script, (4) Sinhala- Br-ahm-i and (5) Tamil- Br-ahm-i.

Tamil- Br-ahm-i evolved after certain changes were made in Br-ahm-i to suit the phonetic system in the Tamil language.

Tamil- Br-ahm-i omitted sounds not present in Tamil viz., voiced consonants, aspirates, sibilants, the anusv-ara (.m) and the visarga (-h). Tamil has certain sounds for which there were no signs in Br-ahm-i, which called for additional letters viz. -l, .l, -r, -n.

By introducing a diacritical mark called pu.l.li (dots) three things were achieved: (a) basic consonants in final position were indicated (b) ligaturing of consonant clusters was avoided (c) the short vowels `e,’ `o’ were differentiated from the respective long vowels.”

In any case, purity of a language is essential to prove the UNIQUENESS and the NON-DEPENDENCE on other languages. However, PURITY can never be at the cost of one’s SURVIVAL. If GOLD has to SURVIVE AS AN ORNAMENT, IT HAS TO ACCOMMODATE COPPER.

Like, Anglicization of Tamil is required for keeping oneself abreast of the Scientific development in the present times, Sanskritisation was essential for MUSIC and RELIGIOUS PURPOSES in the past, and consequently when certain ALIEN SOUNDS CAME INTO USAGE,  SOME  HAVE BEEN LED INTO BELIEVING THAT THOSE SOUNDS ARE NATIVE TO TAMIL, EVEN THOUGH THESE SOUNDS HAVE OUTLIVED THEIR PURPOSES.

NEVERTHELESS, the foreign sounds need not be adopted, but the foreign words could be adopted and used with the available sounds, till a word in Tamil is invented and brought to large-scale usage. For example, till the coinage of KANIPPORI, in Tamil a computer was pronounced as KAMPOOTER. Alternatively,we can wait till people become liberal to accept foreign words and and pronounce it the foreign way, for example,  ENVELOPE (noun), was pronounced in English as “en-ve-lep” till a few years ago, but now it is not uncommon for persons to ask for an “aan-ve-lop”. But to come to a conclusion that “aan” is a sound in English is downright ERRONEOUS.

NOTHING CAN BE PURE, PURITY IS ONLY TO ESTABLISH ITS ABILITY TO HAVE WITHSTOOD THE RAVAGES OF TIME AND ALSO TO PROVE ITS ANCIENTNESS.

IN LANGUAGES ALSO, IT IS THE SAME AND TAMIL IS NO DIFFERENT.

An Artist & his Stradivarius


An ARTIST according to me is a person who has gone beyond the defined terms of logic, established procedures or even principles; and therefrom had  made man conscious of territories beyond the explained. It could be in any field, including science. For example,Max Planck was not merely a Physicist, but an Artist. An Artist had to explain or even if he is not able to explain the phenomenon, he should show to an intelligent mind a phenomenon hitherto unseen, much less explained.

But there is one area of Activity, where the very nature of the activity precludes the possibility of  a third party. That is the relationship between the Artist and his instrument.

The Stradivarius was played by many musicians, but it was this Artist, who was able to draw the sounds that had not yet been imbedded in the critic’s consciousness. The Critic was having a prejudged mind looking for established patterns and when such pre-established sounds were produced in the accepted form, he made himself the judge of that music.

But the Artist who played this Stradivarius, was no ordinary Musician. He was an Artist. He was looking for sounds that were emanating from his Stradivarius that were not noticed, even not noticeable. They were not new sounds, but merely sounds that had escaped notice in the preoccupation of observing  the existing and established sounds.

The Artist, did not play his Stradivarius in public. It was a spiritual symphony between his soul and the Stradivarius. He did not design the Stradivarius, nor could he have ever made himself accessible to the Stradivarius. It was the longing of his soul, that led him to the Stradivarius, or so he believed. It was beyond him, to contemplate that he through his own efforts, could have ever brought himself near the Stradivarius. It was placed in his hands.

When he held her between his chin and his palm on the one side and the draw of the bow over her from the other side, he heard sounds that he had never heard. Between those, established notes were variations, when augmented in his consciousness he was feeling, an echo of his reverberating soul. He heard himself in his silence. A skill imaginatively commingled, and drawing the inaccessible echoes of his soul.

She was in his hands, surrendered to his mastery and forgetful of her self. A dreamful  state of peace. A sound stagnanttill now, was being drawn out of her & was  wafting the fragrance of her soul. She was no more hearing herself, she was lost in the ecstasy of the Artist. The Artist was no more playing  his Stradivarius, he was emphasizing the hitherto unemphasized notes. She was reveling herself  in the frenzy of the new sounds that she was producing out of the welling eruption of his skill.

She finally felt that all the hands that had played upon her and the stained music produced, were washed away in the flow of the new notes. She transformed herself into a VIRGIN in his hands. The earlier music had been drowned in the Artist’s consciousness. She could never be the same again.

A VIRGIN, IN AN ARTIST’S CONSCIOUSNESS.

NO AMOUNT OF BOWING OR FINGERING COULD MAKE HER FEEL THE USED-TYPE EVER AGAIN.

SHE COULD NEVER ABANDON HER CONSCIOUSNESS, EXCEPT IN HIS HANDS!!!

MOSES & THE MOUNTAINS!


Moses, the DELIVERER of the Jews from their bondage in Egypt, had a special relationship with the mountains. Moses according to his own confession was the MEEKEST man on the face of the earth, while he was still alive. If one were to go by the Hollywood flick, TEN COMMANDMENTS, it would seem as if he was the underdog with a mission not only to resist the cruel treatment meted out to the Jews, but also to get them the liberty.

But underlying the portrayal,if  one could place oneself in his shoes and imagine, it was all about a man who was raised as a prince in Pharaoh’s palace, & lost his position either due to a discovery of a fact and a consequent choice or to the palace intrigue of Ramses. The discovery was that he did not have the royal blood coursing thru his veins, but was an offspring of a Jew! A dim prospect for a man with that lineage in those times, in Egypt.

Many discoveries of parentage had led to great Tragedies.

Like in the case of Oedipus (king of Thebes). He killed (although inadvertently) his father and married his mother Jocasta. The oracle had decreed that the plague in the land was a consequence of the taboo committed. Oedipus was not able to wash away the guilt  thru his penance or any other means, and the end is truly tragic as it unfolds  man’s helplessness in the light of a discovery, that could not have been imagined when the deeds were committed.

Oedipus is laden with PATRICIDE & INCEST. Both ABSOLUTE SINS, one for not knowing one’s father and yet killing him unknowingly, and the other for having sexual relationship with one’s own lineal ascendant- also unknowingly. The forms in which both the acts were committed were LEGAL. Oedipus’ father was killed in a fight with him and Oedipus got married to Jocasta, as she was the prize for having aided in destroying the Sphinx which was troubling the Thebans. The  TRUTH could have lain hidden and  the plague  regressed, but  his imagined non-involvement in the DEATH OF LAIUS (Oedipus’ real father and husband of Jocasta) emboldens him to search out, even against the opinion of TIRESIAS. But his arrogance led him to the discovery, without recourse.

But in the case of Moses, it was not any of those ABSOLUTE SINS, but a MISTAKEN PEDIGREE! The storyline is the reverse of KARNA in the Mahabharata. Karna (Karan, to the Sanskritized) was thought of to be from the hoi polloi, whereas Moses was imagined to be from the Royal stock. Moses’ discovery leads to his abandoning the comforts of the Pharaoh’s palace and consequently takes him to the ghettos of the Jews.

IT IS FROM THIS POINT THAT THE REVOLUTION WITHIN MOSES STARTS. The conflict was WHETHER TO RECONCILE WITH HIS PEDIGREE & TO ACQUIESCE IN THOSE REALITIES OF SQUALOR, SLAVERY, WHIPLASHES, TOIL & IGNOMINY or TO TAKE UP CUDGELS AGAINST THE SYSTEM THAT TREATED MAN IN SUCH BRUTISH WAYS?

Karna’s conflict was that he had the skill fit to be a king, but without the pedigree to rise there. He could at best be a WARRIOR but never a CONQUEROR. The skills that he had in him was pushing him higher, but his supposed humble origins – like gravity- was pulling him down.

To clarify in Christian terms, the distinction between a WARRIOR & a CONQUEROR is the difference between JOAB and DAVID. Joab, the commander of the Israeli army during King David’s reign, used to subjugate the enemies with the strength of his sword, but when the City was to be taken, David used to be called for, by the same Joab and the city gates were flung open for the CONQUEROR KING to make his TRIUMPHAL ENTRY. A warrior has to DO IT HIMSELF EVERYTIME, but for a CONQUEROR things were DONE FOR HIM IN HIS NAME. History RECOGNIZES the CONQUERORS but the warriors are mere footnotes. A KING is mostly a WARRIOR, but a WARRIOR need not become a KING.

Moses’ conflict had to be resolved. But how can it be?

In the movie TEN COMMANDMENTS, Moses’ wife tells the Queen U LOST MOSES WHEN HE WENT LOOKING FOR HIS GOD, AND I LOST HIM WHEN HE FOUND HIS GOD! (one sane inference that could be drawn is that, God and Woman are not simultaneously compatible!), but the pertinent point is that MOSES DISCOVERED GOD. His first tryst with God was in the Mountains of Sinai (Horeb).

IT WAS ALWAYS IN THE MOUNTAINS THAT MOSES MET JEHOVAH. Moses met his maker also in the Mount Nebo.

I am left wondering, as to why God had to meet Moses in the MOUNT and not in the plains.

The Psalmist says I WILL LIFT UP MINE EYES UNTO THE HILLS FROM WHENCE COMETH MY HELP. (Ps.121).

Is it because that the AIR is RARER and the PRESSURE is DOWN that the mortals start hallucinating better there?,

Or is it because of the geographical elevation that a person’s perception is raised above the occupants of the valleys and plains?

Or is it truly that God’s attention is drawn quicker on the hilltop that the mortals made it a habit to get to the mountain top?

The answer is not certain and whether the question was right at all, is a bigger question!

In any case, the resolution for Moses came from the discovery of his God. A God who believed in what Moses himself believed in, but couldn’t do anything about. He saw that the burden of slavery was so heavy, that thoughts of LIBERTY, FREEDOM & HAPPINESS did not dawn in those embittered hearts, worn down thru slavery and bondage.

It isI here that he invents ways of explaining the GOD, he had discovered. The God who names himself as “I AM WHO I AM“. This God I AM shakes the Pharoah and the Jews alike, from their logic and understanding of their EXTERNALIZED OMNIPOTENT GOD.

This wordings used bu Moses, to define God, brought God to Man. Since the time he was chased out of the garden of Eden, it is for the first time that the first person pronoun  “I” was used to SIGNIFY GOD. The space of “I”, was made DIVINE and men were given a foretaste of the possibility of God becoming Man and also residing in MEN. This definition of God, marks the beginning of the end, to the Externalization and outer experience with God. Even though this tradition continued in the Jewish history. NOW MAN HAD TO MAKE WAY FOR GOD IN HIS “I” CONSCIOUSNESS. The nameless desert God straight made an ENTRY into the JEWISH hearts, through that definition of Moses.

A QUANTUM SPIRITUALISM DAWNED!

MOUNTAINS WERE NO MORE NEEDED TO MEET GOD, ONE HAD TO LOOK WITHIN AND EXPERIENCE GOD.

HOW TRUE, I AM WHAT I AM.

GLOTTALIZING TAMIL


Thamizh ( Tamil for the Anglicized), as a language has shown the maximum resistance towards acceptance of sounds that are foreign to it. Thamizh as a language has prided itself as a language that had not accepted foreign sounds as it was interpreted to mean subjugation of its uniqueness and its status. When Sanskrit entered thru the shlokas into the culture of the Thamizh language, since it was in the name of God, the influx was not palpable to the common man.

The common man accepted the import of all the Ch has, shas, jhas as an essential part of the religious rituals and ACQUIESCED to the religion trotted out by the priests. But with the advent of the RATIONAL MOVEMENT in Thamizh Nadu (formerly Madras State), EV Ramaswamy and subsequently C.N.Anna Durai, identified the import of these sounds alien tothe Thamizh culture and sanitized the language.

IN EFFECT THAMIZH HAD NO GLOTTAL OR GLOTTALIZED SOUNDS.

In Thamizh, one cannot get the sound Ha, Hi, Hu, Hai, Hum or Ho. The H would be substituted by G, K etc..

I am herewith appending the write up on what GLOTTAL STOP means, as mentioned in the Wikipedia.

“The glottal stop, or more fully, the voiceless glottal plosive, is a type of consonantal sound which is used in many spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ʔ. The glottal stop is the sound made when the vocal cords (vocal folds) are (1) drawn together by muscular action to interrupt the flow of air being expelled from the lungs and then (2) released as pressure builds up below them; for example, the break separating the syllables of the interjection uh-oh. Strictly, the perception that it is a consonantal sound is produced by the release; the closure phase is necessarily silent because during it there is no airflow and the vocal cords are immobilized. It is called the glottal stop because the technical term for the gap between the vocal cords, which is closed up in the production of this sound, is the glottis. The term “glottal stop” is one of rather few technical terms of linguistics which have become well known outside the specialism.”

In Thamizh a new route has started by which the sound H is being imported. It is thru the Cine Songs that this sound is being imported. If one were to listen to the singing of Udit Narayan Jha, one could sense the import of GLOTTALIZATION of THAMIZH. In one of the recent movies named PADDIKATHAVAN (Dhanush playing the lead role), in the song RAANGI RANGAMMA one could sense the glottalization of Thamizh. When Udit Narayan sings SUNGUDI CHALLAI, in the cited song, one could sense the import of those sounds that are alien to Thamizh.

I am a great fan of Udit Narayan, and his singing has ENRICHED THE THAMIZH SOUNDS. Yet, the purists, once they identify that the masses like the glottalization of these sounds, they would ascribe a vile social reason for import of the glottal sound, and may even say that Jha ( a Brahmin community from Bihar/Nepal/Jharkhand) being a person from the Upper Caste, has been made a tool in the hands of the Artistes  for advancing their agenda!!

SOME CONSPIRACY THEORY.

Enjoy the song Raangi rangamma in PADIKAATHAVAN and do not get involved in the conspiracy theory!!

LET  US ENRICH THAMIZH!!

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