TAMIL LITERARY WORKS AND MUSIC

                                  An essay on TAMIL LITERARY WORKS AND MUSIC

 
Introduction:

     In this article references to music in various Tamil literary works is dealt with in detail.

     There are lots of references available on music in ancient Tamiz works. Works like Cillapadikāram have fund of information about music and musical instruments, including dance. References to music in some of the important literary works are taken into account for discussion. Only some of the references to music in each work is given. This is because each work has got an ocean of information about music and it is impossible to refer to everything in a lesson. Hence, the students are advised to refer the original works for further information.

1.Tolkāppiyam:

          Tolkappiyam belongs to the pre-christian era and is the earliest available source to give information about ancient Tamiz music. The author is referred to as Tolgāppiyar. According to this work land was divided into four main regions, namely, mullai, kuriñji, marudam and neidal.

“Mullai kuriñji marudam neidalena…”

Subsequently pālai or desert was added to this list. Each type of land had its own parai. They also had their pans namely, mullaippan, kuriñjippan, marudappan, neidal pan and pālaippan. Palai or Chempalai was the basic scale of the ancients. They also had the yāzs having the name of the respective land.

     The grammer of playing the instrument ‘yāz’ is given as

          ‘Alappirandu uyirttalum orrisainīdalu ulavena moziba icaiyodu

  sivaniya narambin maraiya yenmanār pulavar’.

          Tolgāppiyar states that an original literary work is likely to be spoiled in its translation, adaption, epitomisation or expression in the same way as a good melody is likely to be spoiled by an incompetent accompaniment.

          ‘Mudal vaziyayinum yāppirutcidaiyum vallōn punarā vāram pōnrē’.

There is also reference to the musicians who were called pānars and dancers who were called kūttars.

          ‘Kūttarum pānarum porunarum viraliyarum ārridaikkatcī …”. The term “Kuttar” refers to the dancers. The term “Panar” refers to the male singer. The term “Viraliyar” refers to the female singer.
2. Sangam literature:

          This comprises of Pattupattu and Ettutogai. The work  

Pattuppāttu consists of Tirumurugārruppadai, Porunarārruppadai, Cirupānārruppadai, Perumpānārruppadai, Mullaippāttu, Maduraikkāñci, Nedunalvādai, Kuriñjippāttu, Pattinappālai, and Malaipadugadām.

The Ettuttogai has the following works:-

     Narrinai, Kuruntogai, Ainkurunūru, Padirruppattu, Paripādal, Kalittogai, Aganānūru, and Puranānūru.

Some of the works are certainly meant for singing, as their names themself suggest, like Pattuppāttu and Paripādal. There are many references to music and musical instruments in these works.

In Paripādal the words are composed by one expert and the music is by another expert. For instance Kannanāganār has set to music the composition of Nallaccutanār. Many pans like Gāndhāram, Nōdiram and Pālaiyāz are mentioned. The instruments kuzal and yāz are referred to as ‘kaivaittimirpukuzal kāngu vōru miyāzin ilI kural samangkolvōrum’. There is reference to the instrument murasu – ‘Ūzura murasin oli ceivōrum’. We find the reference in another place also –

“Viral ceri tūmbin vidutulaikkērpa mural kural tumbi avizmalar ūda yānar vandinam yāzicai pirakkap pānI muzavicai aruvinīr tadumba”.

 The flute is referred to as ‘Ūdu cīrttīnguzal iyamba’. Pānars are referred to in the following song:-

‘Orutiram pānar yāzin tīnguraleza oru tiram yānar vandin imiticai yeza

  oru tiram kannār kuzalin karaipeza oru tiram pannār tumbi parandicai yūda

  oru tiram mannār muzavin icaiyeza oru tiram annal neduvari aruvinīr tadumba

  oru tiram pādalnal viraliyar olgupu nudanga

  oru tiram vādai yularvayir pūngodI  nudanga

  oru tiram pādini muralum pālaiyankuralin nīdukilar kizamai nirai kurai tōnra’.

The musical instruments parai and sangu are said to have been played during marriage – “Parai padappanīlam ārpa”. Panilam means conch. A parai called Tondagapparai belonged to the people residing in kuriñji land. They played it for guarding the city during nights – ‘tiravai vārīr tondagacciruparai pārāl yāmattung karagum’(Kuruntogai).

The musicians ‘pānars’ are referred- “Pānar padumalai paniya yāzāl” (Kuruntogai).

The melodious music of the yāz which had the capacity to tame wild animals is referred – “Yāzvāraittani yāngu tāzpuninva nel karinrolaitañji (Kalittogai). The musical instrument parai is referred as “Paraiyaraittāngoruvanīttanavanai” (Kalittogai). ‘Yāz’ is reffered as ‘Yāzicaikondainavandu imitindārppa’(Kalittogai). The flute is reffered to as –“Konraittīnguzal”.

A type of flute ‘Āmbal kuzal’ is reffered-“Āmbal kuzalinēgik kalanga…”(Narriani).

Sevvazipan is reffered –‘Sevvazi nalyāzicaiyārttanna…’(Aganānūru).

The instrument yāz was played by pānar. This is referred – ‘Cīriyāz kaivār narambin pānarkkokkiya…”(Puranānūru).

The lady singers are referred to as viraliyar – ‘Pāduval viraliyar…’(Puranānūru). Kāñcippan when sung to the accompaniment of the cymbal and the flute is said to have the power of protecting the corpses from the demons –“ Āmbalūdi icai manI yerindu kāñci pādi” (Puranānūru). Kanchippan was usually sung only in the war field. The yāzpānars were of two types, namely, cirupānar and perumpānar. They played cīriyāz and pēriyāz respectively. It is referred as ‘In kurarcīriyāz idavayir tazīi’ (Cirupānārruppadai).

The different parts of a yāz are referred in these works. Egsample: “Vanankōttuccīriyāz” (Puranānūru). In Maduraikkāñci the instruments yaz and muzavu are referred –‘Yāma nalyāz nāppan tāz payar …ninra muzavin …’. In Pattinappālai we find a reference to women singing to the accompaniment of yāz, flute and drum as ‘Kuzalagava yāz murala muzavadira muraciyamba …’.

The naivalappan is referred –‘Naivalam pazudiay pālai vallōn’(Kurñjippāttu).

3. Kallādam:

          This poetic work is written by Kallādar. It is about Lord Śiva. In this work Edakkai is variously referred to said ‘Kaittiri and tudI’. It is as follows:

‘Talai viri kaittiri’ and ‘Kayiramai kaittiri’. “TudI” is referred as ‘Tudiyerindiśaippa’. The “Kudamuzavu” is referred as a huge resonator.It has five faces, one each on four sides and the fifth one in the centre. This description suits the pañcamukha vādyam.

     The instrument ‘Sallari’ is referred to as ‘Sallariyāl kaitalai viraltākka’. Tannumai is referred as ‘Irutalai kuvinda nettudal tannumai’. Kokkarai is referred to as ‘urulvāi kokkarai’.

          This work also refers to ‘Nārada pēriyāz’, ‘Kīcaga yāz’, Maruda yāz and ‘Tumburu yāz’.

          The eight defects of singers like nāśi,Kāguzi, vedikural etc., are explained.

4. Cilappadikāram:

          It is called as muttamiz kāppiyam because it contains information about iyal Tamiz, icai Tamiz and nātakattamiz.

          Information about śruti and svara are found in this work. The verse is as follows:

“Kural tuttam nāngu kilaimūnrirandam kuraiyāvuzaināngu – viraiya vilariyenin mūnrirandu tāramenacconnār kalaricēr kannurravar”.

          Reference is made to yāz, kuzal and tannumai as “Yāzunkuzalum cīrumidarum tāzkural tannumai yādalodivarrin…”.

     Music, dance, rāga and tāla are referred to as “Ādal pādal icaiyē tamizē panne pāni tūkkē mudamē…”. The techniques of playing the yāz are referred to as ‘Vārtal vadittal undal urazdal …”. The vādi, samvādi etc are referred to as “Inai kilai pagai natpenrinnāngin icaipunar kurinilai yeida nōkkik kural vāyiliyavāikkēttanalanriyum...”

          Cilappadikāram refers to pānar and cengōttuyāz as ‘Pādum pānarir pāngrccērndu centiram purinda cengōttiyāin…’. The orchestra is referred to a ‘Palliyam’. Tāla is referred to as ‘Ādalum variyum pāniyum tūkkum’.

          The pans and the tirams are referred to as ‘Nālvagaiyāzinumpirakkum inriyamaiyāda mūvēz tirattaiyum’. Group of instruments is also referred to as “karuvigalellām”. The parts of the yāz are referred to as ‘Pattarānkōdu nāniyu narambenru’. The three octaves are referred to as ‘Valivumelivusamanellām’.
 
5. Perungatai:

          This work has many references to music. A song with tāla is referred to as ‘Pādal pāniyodu’. The instrument vīna is referred to as ‘Tān payil vīnai tangaiyum orutti’. The training in vīna is referred to as ‘Cīrkezuvīnai cirappodu kāttip payirci’. “Payirchi” is a Tamil word which gives the meaning “Training”.

          The instrument yāz is referred to as ‘yāzmuraikkarumam ivaladu’. The teaching of vīna is referred to as ‘Arumperal tattaikku āsān āgip pōgavīnai punarkkapperra’.

          The word pan is referred to as ‘Panamainalyāz’. The svara is referred to as ‘narambu’, also the instrument –‘Narambicai tallI varidinil’.

           The four pans and pālais are referred- ‘Nālperumpannum ezuvagaippālaiyum mūvēztirattodu murrakkātti’.

          Murasu is referred to as’idikural murasin mun ezundanal’ Orchestra is referred to as’pādal pānippalicaikēttum’.

          Many instruments are reffered in this work-“Padukanmuzavodu paliyamkarnga ēma murasam izumenaccilaippak kāmar cangam vāyvadin muzanga varitta pūngodI virittu vicumbu ivarap pattirappadākai palavayin nudanga”.

          Music is referred to as an important component for a composition – ‘Icai kol pādalin icaindu udan ozugavicai kol vīnai virundu padap pannI’.

6.Cīvagacintāmani:

          It is one of the five important kāppiyams in Tamiz. Its author is Tiruttakkadēvar. The hero Cīvagan is adept at playing the yāz. Gāndarvadattai, the heroine is expert in playing the vīnai. It is referred to as ‘Tintodaimakara vīnai’. Since the hero was proficient in playing the yāz, he was honoured. It is referred as’Nilamarinda tani kavaiyau Cīvakaneriyinenna nala nudar pattangattI nakai mudI kōdI cūttI’.

          Yāz is referred to as ‘pasumpon yāz narambu’ and vīnai is referred to as ‘Nallal vīnai’. Makaravīnai is referred to as ‘Pannamai makaravīnai’. Flute and muzavu are referred to as ‘Pannamai muzavum vīnai kuzalodu”.  Murasu is referred to as”Murasodu varivalai muzangi”. The conch is referred to as ‘cangam’. Ākōtparai, tudi and tannumai are also referred.

7. Kambarāmāyanam:

          There are many places in which music and musical instruments are referred to in this work. The flute is referred to a ‘Vangiyam’. Orchestra is referred to as ‘pongiyam’. Conch is referred to as cangu. Kombu also is referred –

          ‘Vangiyam pala tēn vilambina vāni mundina pāniyil

            Vensangiyambina kombalambina sāma gīdam muzangavē’.

There are references to ‘Murasu’ – ‘Ānai mēn murasaraindanar’. Yāz is referred as “Tantirikkannirrākkuru karuvi”. When Rāvanan danced, many musical instruments were played and musicians sang for the dance. It isreferred as follows:

‘ Cillarippāndilin muraiyin mandara gīdat ticaippadantodarda

 vagaiyuru kattalai vazāmal andaravānattambaiyar karumbin pādalā raruguvandāda’.

The playing of the stringed instruments is referred to as ‘Narambuga limizicai navila’.

8.    Panniru Tirumurai:

     A detailed study of the Panniru Tirumurai will reveal many musical references. The Tevarams belong to Isai Tamiz. But it should be remembered that Tevarams spread Tamil language through music. Sundarar refers to Sambandar as “Nalum innisaiyal Tamil parappum Gnanasambandar”. While singing the Tevarams the pans used by the composers can be listened to and enjoyed. The rhythmic structure in Tevaram is referred to by the word “Kattalai”.  Some of the works like Tirumandiram and Periyapuranam belong to the genre of Tamil literature. If musical references are, a lot of information can be found about music and musical instruments.

           Periyapuranam has many references to music and musical instruments. When marriage was arranged between Nambiārūrar and Sadangavi many instruments were employed and it is mentioned as- ‘Panai murasu iyamba vāzti’. Mention is also made about orchestra – “Iyampala tuvaippa engum” also ‘Mangala gīda nāda maraiyavar’. Mangalapparai is mentioned as ‘Tūriyam’.

     Many singers sing during the marriage and it is mentioned as ‘Pangalil nirainda gīdam pāduvār Āduvārgal’. The playing of the conch is referred to as

‘Tirumanappandar munbu cenru vencangam engum perumazaikkulattin ārppa”.

          Mention is made about Tamizicai as ‘Collār tamiz icai pādiya

          Tondantanai innum pallārulaginil nampugaz pādenruru parivil’.

The word pan is mentioned –“Pantaruminnicai payinratirupppadigam pādinār”. Lord Shiva is referred to as “Panniner mozhiyan” in this work, which it the 12th Tirumurai.

9. Divyaprabandham:

     This again is a work which belongs to IsaiTamil. There are many musical instruments referred to in Divyaprabandham. Andal writes “Mattalam kotta, varisangam minna” referring to mattalam and sangam. Divya prabandham tells us how to position the Vina while playing, “vinai mulaimel tangi”. Divyaprabandham uses pans like viyandam, which are not found in Tevaram.

10. TIRUPPUGAZ:

     In this work, there are many references to music. Tiruppugaz itself is very famous for its intricate rhythmic patterns, known as Chandams. Lord Muruga is referred to as “Nadarupa ma nada ragatturaivone”.

11. Nighandus:

     The seven pālais are referred in Divākaram and Pingalanighandu. The names of the seven svaras are referred to as ‘sa ri ga mapa dha ni’. The instruments sallari, Tadāri, Padagam, Palliyam, Parai, Pēriyāz, Marudayāz, Murasu, Mullaiyāz, Vīnai and the rāgas like sāyavēlar kolli, cigandI, Cempālai, Cevvazi, Nērtiram, Paiyulkāñci are mentioned in these works. The musical forms like cindu, Pazanilappādal, Mudugiyarpāttu, Vari are mentioned.

CONCLUSION

     Lots of references to music and musical instruments can be found in Tamil Literary works. Here only a bird’s eye view is given.