Tag: Palindrome

  • Longest Palindrome 44 Lines Tamil Sambhandhar Poem Maalaimaatru

    Longest Palindrome 44 Lines Tamil Sambhandhar Poem Maalaimaatru

    Wonder that is Sanatan Dharma and amazing in Tamil, the language of exquisite beauty, and culture.Tamil is not merely a tool for communication ,but a way of life. Might sound nonsense but one has to learn, experience and enjoy the language. In our limited time span of Life, we waste time in trying to argue and disprove something. Instead of we set aside our preconceived notions and try to explore new frontiers out of curiosity, we would strike rich and enjoy.

    Tamil language is quite ancient and is quite active even after twenty thousand years. Those who look at my statement with shock and suspect my sanity, may refer my arty on Tamil , especially, Poompuhar sets Tamil date; Million year old Tamil site .

    Tamil is rich in grammar and literature. Earliest work that is available now is a work on Grammar called Thol Kaapiyam.Tamil literary history goes back to about 15, 000 years. They are called Sangam Literature, Literary works of Poets’ Conclave.

    Tamil grammar has set of rules for poetry, different rules different styles. Poetry must be rich not only in content but words as well. Tamil treats content akin to Life and words to Body. Healthy body is needed .One such definition of a special type of Poetic composition is Andhadhi, that is, in a poem, the concluding word/ letter of it, must be the first word/ letter of the succeeding poem.There are a lot of literary works of this genre in Tamil, the popular one being Abhirami Andhadhi.

    Going a step further, Thirugnana Sambhandhar, one of Four great Savants of Siva, belonging to 10 Century AD had composed a unique Palindrome Poem in Tamil on Siva at Sirkazhi, a town near Cuddalore in Tamilnadu.

    This Palindrome Poem is in the form of a pathikam of Eleven .Number of lines in this poem is 44. This is a Palindrome.That is, if you read it backwards, it would be the same as it would, forwards.Both make exquisite sense.And the poem is like a garland . You start from where you end. It is called Maalai Maatru. That is changing garland, yet part of one. The ceremony is followed in South Indian Hindu marriages.

    This poem on Siva , in a nut shell, says that it may not be correct to say all Souls are Independent and are different,Siva is Supreme.The poem also describes Vishnu.

    Translation of first few lines. For more follow the link. யாமாமாநீ யாமாமா யாழீகாமா காணாகா
    காணாகாமா காழீயா மாமாயாநீ மாமாயா
    இப்பாடலின் சொற்பிரிப்பு
    யாம் ஆமா நீ ஆம் ஆம் மாயாழீ காமா காண் நாகா
    காணா காமா காழீயா மாமாயா நீ மா மாயா
    இதன்பொருள்
    யாம்- ஆன்மாக்கள் ஆகிய யாமே கடவுள் என்று கூறினால்,
    ஆமா- அது சரியாகுமா?;
    நீ- நீ தான் கடவுள் என்றால் அது,
    ஆம்ஆம்- அது சரியாகும் ஆம்;
    மாயாழீ- பேரியாழை வாசிப்பவனே, (மாயாழ் என்பது பேரியாழ் ஆகும்)
    காமா- யாவரும் விரும்பும் கட்டழகா;
    காண்- யாவரும் காணும்படியாக,
    நாகா- நாகங்களையே(பாம்புகளை) அணிகலனாகப்பூண்டவனே, நாகா.
    காணா-எவரும் காணாதபடி,
    காமா- காமனைச் செய்தவனே (அதாவது, எரித்து அழித்தவனே)
    காழீயா- சீகாழீப்பதியில் எழுந்தருளியுள்ளவனே,
    மாமாயா = பெரிய மாயைகளைச் செய்தலில் வல்லவனே! Source
    நீ- நீ,
    மா-கருமையாக உள்ள (அறியாமையைச் செய்கின்ற),
    மாயா- மாயை முதலிய மலங்களிலிருந்து எம்மை விடுவிப்பாயாக.

    https://ta.m.wikisource.org/wiki/%E0%AE%AE%E0%AE%BE%E0%AE%B2%E0%AF%88_%E0%AE%AE%E0%AE%BE%E0%AE%B1%E0%AF%8D%E0%AE%B1%E0%AF%81

    Am providing link to video. Those who do not know the language, listen from 2. 44 in the video to hear the 1st Verse

    Maalaimaatru pathikam.
    திருச்சிற்றம்பலம்
    யாமாமாநீ யாமாமா யாழீகாமா காணாகா காணாகாமா காழீயா மாமாயாநீ மாமாயா 1
    -------------> <-------------------
    யாகாயாழீ காயாகா தாயாராரா தாயாயாயாயாதாரா ராயாதா காயாகாழீ யாகாயா 2
    தாவாமூவா தாசாகா ழீநாதாநீ யாமாமாமாமாயாநீ தாநாழீ காசாதாவா மூவாதா 3
    நீவாவாயா காயாழீ காவாவானோ வாராமேமேராவானோ வாவாகா ழீயாகாயா வாவாநீ 4
    யாகாலாமே யாகாழீ யாமேதாவீ தாயாவீவீயாதாவீ தாமேயா ழீகாயாமே லாகாயா 5
    மேலேபோகா மேதேழீ காலாலேகா லானாயேயேனாலாகா லேலாகா ழீதேமேகா பொலேமே 6
    நீயாமாநீ யேயாமா தாவேழீகா நீதானேநேதாநீகா ழீவேதா மாயாயேநீ மாயாநீ 7
    நேணவரா விழயாசைழியே வேகதளேரிய ளாயுழிகாகாழியுளாய ரிளேதகவே யேழிசையாழவி ராவணனே 8
    காலேமேலே காணீகா ழீகாலேமா லேமேபூபூமேலேமா லேகாழீ காணீகாலே மேலேகா 9
    வேரியுமேணவ காழியொயே யேனைநிணேமட ளோகரதேதேரகளோடம ணேநினையே யேயொழிகாவண மேயுரிவே 10
    நேரகழாமித யாசழிதா யேனனியேனனி ளாயுழிகா காழியுளானின யேனினயே தாழிசயா தமிழாகரனே 11

    Sambhandhar works Moonram Thirumurai ,Poem 375 on Sirkazhi Siva.( Third Anthology of Sambhandhar)

  • Read Straight Rama Story Reverse Palindrome Ramakrishna Vilomakavyam

    Sanskrit is language, when handled by experts can do anything including conveying two stories separated by thousands of years, with totally different content.

    An example of this adaptability of Sanskrit can be seen in Magha’s Sisupala Vadha, where the verses form a Wheel!

    The Link to this Post is given at the close of this Post.

    There are Sanskrit slokas which convey both the Stories of Rama and Krishna in a Single verse, in A Palindrome Format.

    You read straight, you get Ramayana.

    Read it in the reverse order, Krishna’s Life Story.

    I am providing below the  Raghava  Yadaviyam by Venkathdhvari( 17 Century)

    Krishna and Rama.jpg
    Krishna and Rama.

    This poetic composition, which was written by the scholar Dyvagyna Surya
    Pandita in the 14th Century, is a marvelous example of palindromic verses.
    It also has another speciality – This set of poems, when read forward
    relate to Rama and the Ramayana, and when read in reverse relate to Krishna
    and the Mahabharata.(Forward) तं भूसुतामुक्तिमुदारहासं वन्दे यतो भव्यभवम् दयाश्रीः ।”I pay my homage to Him who rescued Sita, whose laughter is captivating,
    whose incarnation is
    grand, and from whom mercy and splendor arise everywhere.”(Backward) श्रीयादवं भव्यभतोयदेवं संहारदामुक्तिमुतासुभूतम् ॥

    “I bow before that Sri Krishna, the descendent of Yaadava family; who is a
    divinity of the sun as
    well as the moon; who destroyed Putana who only gave destruction; and who
    is the soul of all
    this universe.”..

    ( There are verses in Plaindrome format in other Indian Languages.

    I shall Post one from Tamil.Readers may contribute from their Languages)

    तं भूसुतामुक्तिमुदारहासं
    वन्दे यतो भव्यभवं दयाश्रीः ।
    श्रीयादवं भव्यभतोयदेवं
    संहारदामुक्तिमुतासुभूतम् ॥ १॥
    
    चिरं विरञ्चिर्न चिरं विरञ्चिः
    साकारता सत्यसतारका सा ।
    साकारता सत्यसतारका सा
    चिरं विरञ्चिर्न चिरं विरञ्चिः ॥ २॥
    
    तामसीत्यसति सत्यसीमता
    माययाक्षमसमक्षयायमा ।
    माययाक्षसमक्षयायमा
    तामसीत्यसति सत्यसीमता ॥ ३॥
    
    का तापघ्नी तारकाद्या विपापा
    त्रेधा विद्या नोष्णकृत्यं निवासे ।
    सेवा नित्यं कृष्णनोद्या विधात्रे
    पापाविद्याकारताघ्नी पताका ॥ ४॥
    
    श्रीरामतो मध्यमतोदि येन
    धीरोऽनिशं वश्यवतीवराद्वा
    द्वारावतीवश्यवशं निरोधी
    नयेदितो मध्यमतोऽमरा श्रीः ॥ ५॥
    
    कौशिके त्रितपसि क्षरव्रती
    योऽददाद्ऽद्वितनयस्वमातुरम् ।
    रन्तुमास्वयन तद्विदादयोऽ
    तीव्ररक्षसि पतत्रिकेशिकौ ॥ ६॥
    
    लम्बाधरोरु त्रयलम्बनासे
    त्वं याहि याहि क्षरमागताज्ञा ।
    ज्ञातागमा रक्ष हि याहि या त्वं
    सेना बलं यत्र रुरोध बालम् ॥ ७॥
    
    लङ्कायना नित्यगमा धवाशा
    साकं तयानुन्नयमानुकारा ।
    राकानुमा यन्ननु यातकंसा
    शावाधमागत्य निनाय कालम् ॥ ८॥
    
    गाधिजाध्वरवैरा ये
    तेऽतीता रक्षसा मताः ।
    तामसाक्षरतातीते
    ये रावैरध्वजाधिगाः ॥ ९॥
    
    तावदेव दया देवे
    यागे यावदवासना ।
    नासवादवया गेया
    वेदे यादवदेवता ॥ १०॥
    
    सभास्वये भग्नमनेन चापं
    कीनाशतानद्धरुषा शिलाशैः ।
    शैलाशिषारुद्धनताशनाकी
    पञ्चानने मग्नभये स्वभासः ॥ ११॥
    
    न वेद यामक्षरभामसीतां
    का तारका विष्णुजितेऽविवादे ।
    देवाविते जिष्णुविकारता का
    तां सीमभारक्षमयादवेन ॥ १२॥
    
    तीव्रगोरन्वयत्रार्यो
    वैदेहीमनसो मतः ।
    तमसो न महीदेवै-
    र्यात्रायन्वरगोव्रती ॥ १३॥
    
    वेद या पद्मसदनं
    साधारावततार मा ।
    मारता तव राधा सा
    नन्द सद्मप यादवे ॥ १४॥
    
    शैवतो हननेऽरोधी
    यो देवेषु नृपोत्सवः ।
    वत्सपो नृषु वेदे यो
    धीरोऽनेन हतोऽवशैः ॥ १५॥
    
    नागोपगोऽसि क्षर मे पिनाकेऽ
    नायोऽजने धर्मधनेन दानम् ।
    नन्दानने धर्मधने जयो ना
    केनापि मे रक्षसि गोपगो नः ॥ १६॥
    
    ततान दाम प्रमदा पदाय
    नेमे रुचामस्वनसुन्दराक्षी ।
    क्षीरादसुं न स्वमचारु मेने
    यदाप दाम प्रमदा नतातः ॥ १७॥
    
    तामितो मत्तसूत्रामा
    शापादेष विगानताम् ।
    तां नगाविषदेऽपाशा
    मात्रासूत्तमतो मिता ॥ १८॥
    
    नासावद्यापत्रपाज्ञाविनोदी
    धीरोऽनुत्या सस्मितोऽद्याविगीत्या ।
    त्यागी विद्यातोऽस्मि सत्त्यानुरोधी
    दीनोऽविज्ञा पात्रपद्यावसाना ॥ १९॥
    
    सम्भावितं भिक्षुरगादगारं
    याताधिराप स्वनघाजवंशः ।
    शवं जघान स्वपराधिताया
    रङ्गादगारक्षुभितं विभासम् ॥ २०॥
    
    तयातितारस्वनयागतं मा
    लोकापवादद्वितयं पिनाके ।
    केनापि यं तद्विदवाप कालो
    मातङ्गयानस्वरतातियातः ॥ २१॥
    
    शवेऽविदा चित्रकुरङ्गमाला
    पञ्चावटीनर्म न रोचते वा ।
    वातेऽचरो नर्मनटीव चापं
    लामागरं कुत्रचिदाविवेश ॥ २२॥
    
    नेह वा क्षिपसि पक्षिकन्धरा
    मालिनी स्वमतमत्त दूयते ।
    ते यदूत्तमतम स्वनीलमा-
    राधकं क्षिपसि पक्षिवाहने ॥ २३॥
    
    वनान्तयानस्वणुवेदनासु
    योषामृतेऽरण्यगताविरोधी ।
    धीरोऽवितागण्यरते मृषा यो
    सुनादवेणुस्वनयातनां वः ॥ २४॥
    
    किं नु तोयरसा पम्पा
    न सेवा नियतेन वै ।
    वैनतेयनिवासेन
    पापं सारयतो नु किम् ॥ २५॥
    
    स नतातपहा तेन
    स्वं शेनाविहितागसम् ।
    सङ्गताहिविनाशे स्वं
    नेतेहाप ततान सः ॥ २६॥
    
    कपितालविभागेन
    योषादोऽनुनयेन  सः ।
    स नये ननु दोषायो
    नगे भाविलतापिकः ॥ २७॥
    
    ते सभा प्रकपिवर्णमालिका
    नाल्पकप्रसरमभ्रकल्पिता ।
    ताल्पिकभ्रमरसप्रकल्पना
    कालिमर्णव पिक प्रभासते ॥ २८॥
    
    रावणेऽक्षिपतनत्रपानते
    नाल्पकभ्रमणमक्रमातुरम् ।
    रन्तुमाक्रमणमभ्रकल्पना
    तेन पात्रनतपक्षिणे वरा ॥ २९॥
    
    दैवे योगे सेवादानं
    शङ्का नाये लङ्कायाने ।
    नेयाकालं येनाकाशं
    नन्दावासे गेयो वेदैः ॥ ३०॥
    
    शङ्कावज्ञानुत्वनुज्ञावकाशं
    याने नद्यामुग्रमुद्याननेया ।
    याने नद्यामुग्रमुद्याननेया
    शङ्कावज्ञानुत्वनुज्ञावकाशम् ॥ ३१॥
    
    वा दिदेश द्विसीतायां
    यं पाथोयनसेतवे ।
    वैतसेन यथोपायं
    यन्तासीद्ऽविशदे दिवा ॥ ३२॥
    
    वायुजोऽनुमतो नेमे
    सङ्ग्रामेऽरवितोऽह्नि वः ।
    वह्नितो विरमे ग्रासं
    मेनेऽतोऽमनुजो युवा ॥ ३३॥
    
    क्षताय मा यत्र रघोरितायु-
    रङ्कानुगानन्यवयोऽयनानि ।
    निनाय यो वन्यनगानुकारं
    युतारिघोरत्रयमायताक्षः ॥ ३४॥
    
    तारके रिपुराप श्री-
    रुचा दाससुतान्वितः ।
    तन्वितासु सदाचारु
    श्रीपुरा पुरि के रता ॥ ३५॥
    
    लङ्का रङ्काङ्गराध्यासं
    याने मेया काराव्यासे ।
    सेव्या राका यामे नेया
    सन्ध्यारागाकारं कालम् ॥ ३६॥
    
    ॥ इति श्रीदैवज्ञपण्डित सूर्यकवि विरचितं
    विलोमाक्षररामकृष्णकाव्यं समाप्तम् ॥
    
    Another One.
    
    Raghava Yadaviyam
    Raghava-yadaviyam by Venkatadhvari (17th cent.) is an “anuloma-viloma kavya” that narrates the story of Rama. But the Shlokas read in the reverse relate an adventure of Shri Krishna.
    
    

    वन्देऽहं देवं तं श्रीतं रन्तारं कालं भासा यः ।
    रामो रामाधीराप्यागो लीलामारायोध्ये वासे ॥

    “I pay my obeisance to Lord Shri Rama, who with his heart pining for Sita, travelled across the Sahyadri Hills and returned to Ayodhya after killing Ravana and sported with his consort, Sita, in Ayodhya for a long time.”

    In reverse

    सेवाध्येयो रामालाली गोप्याराधी मारामोरा ।
    यस्साभालंकारं तारं तं श्रीतं वन्देहं देवं ॥

    “I bow to Lord Shri Krishna, whose chest is the sporting resort of Shri Lakshmi;who is fit to be contemplated through penance and sacrifice, who fondles Rukmani and his other consorts and who is worshipped by the gopis, and who is decked with jewels radiating splendour.

    Download at

    http://www.ibiblio.org/sadagopan/ahobilavalli/raghavayadaveeyam.pdf

    Ramakrishna Viloma kavyam can be found here:
    Citation.

    Sanskrit Poem Drwas a Wheel, Sisupala Vadha

  • Sanskrit Poem Draws A Wheel Sisupala Vadha

    That Sanskrit is among the greatest of Languages, needs no explanation for people who know at least couple of languages besides Sanskrit .

     

    Verbal Gymnastics, two languages I know, can do effectively, one Sanskrit and another Tamil.

     

    See Sanskrit drawing a wheel by a Verse.

     

    Verse forms Wheel Mghas's Sisupala Vadha.Image.svg
    Verse forms Wheel Mghas’s Sisupala Vadha.

     

    Finally, it ends with a stanza (120th) in the extremely difficult “wheel design” known as cakra-vṛtta orcakrabandha,[18] wherein the syllables can be arranged in the form of a wheel with six spokes.

    सत्वं मानविशिष्टमाजिरभसादालम्ब्य भव्यः पुरो
    लब्धाघक्षयशुद्धिरुद्धरतरश्रीवत्सभूमिर्मुदा ।
    मुक्त्वा काममपास्तभीः परमृगव्याधः स नादं हरे-
    रेकौघैः समकालमभ्रमुदयी रोपैस्तदा तस्तरे ॥

    satvaṃ mānaviśiṣṭamājirabhasādālambya bhavyaḥ puro
    labdhāghakṣayaśuddhiruddharataraśrīvatsabhūmirmudā /
    muktvā kāmamapāstabhīḥ paramṛgavyādhaḥ sa nādaṃ hare-
    rekaughaiḥ samakālamabhramudayī ropaistadā tastare //

    In the figure, the first, second and third lines are read top-to-bottom along the “spokes” of the wheel, sharing a common central syllable, while the fourth line is read clockwise around the circumference (starting and ending where the third line ends), sharing every third syllable with one of the first three lines.

     

    Further, the large syllables in bold (within the annuli), read clockwise, spell out śiśupālavadha-māgha-kāvyamidaṃ (“This is Śiśupālavadha, a poem by Māgha“).

     

    More.

     

    By the 114th stanza, this is taken to an extreme, with a celebrated example involving just one consonant:[17]

    दाददो दुद्ददुद्दादी दाददो दूददीददोः ।
    दुद्दादं दददे दुद्दे दादाददददोऽददः ॥

    dādado duddaduddādī dādado dūdadīdadoḥ
    duddādaṃ dadade dudde dādādadadado’dadaḥ

    Sri Krishna, the giver of every boon, the scourge of the evil-minded, the purifier, the one whose arms can annihilate the wicked who cause suffering to others, shot his pain-causing arrow at the enemy.”

    The same canto also contains increasingly ingenious palindromes. The 44th stanza, for instance, has each line a palindrome:

    वारणागगभीरा सा साराभीगगणारवा ।
    कारितारिवधा सेना नासेधा वारितारिका ॥

    vāraṇāgagabhīrā sā sārābhīgagaṇāravā /
    kāritārivadhā senā nāsedhā vāritārikā

    “It is very difficult to face this army which is endowed with elephants as big as mountains. This is a very great army and the shouting of frightened people is heard. It has slain its enemies.”[17]

    The 88th stanza is a palindrome as a whole (syllable-for-syllable), with the second half being the first half reversed. This is known as pratiloma (or gatapratyāgata) and is not found in Bharavi:[18]

    तं श्रिया घनयानस्तरुचा सारतया तया ।
    यातया तरसा चारुस्तनयानघया श्रितं ॥

    taṃ śriyā ghanayānastarucā sāratayā tayā
    yātayā tarasā cārustanayānaghayā śritaṃ

    The 34th stanza is the 33rd stanza written backwards, with a different meaning. Finally, the 27th stanza is an example of what has been called “the most complex and exquisite type of palindrome ever invented”.[19] Sanskrit aestheticians call it sarvatobhadra, “perfect in every direction” — it yields the same text if read forwards, backwards, down, or up:

    सकारनानारकास-
    कायसाददसायका ।
    रसाहवा वाहसार-
    नादवाददवादना ॥

     

    sakāranānārakāsa-
    kāyasādadasāyakā
    rasāhavā vāhasāra-
    nādavādadavādanā.

    sa ra ra sa
    ya da da ya
    ra ha ha ra
    da da da da
    (and the lines reversed)
    da da da da
    ra ha ha ra
    ya da da ya
    sa ra ra sa

    “[That army], which relished battle (rasāhavā) contained allies who brought low the bodes and gaits of their various striving enemies (sakāranānārakāsakāyasādadasāyakā), and in it the cries of the best of mounts contended with musical instruments (vāhasāranādavādadavādanā).”

     

     

    Magha.

     

    उपमा कालिदासस्य भारवेरर्थगौरवम् ।दण्डिन: पदलालित्यं माघे सन्ति त्रयो गुणाः ॥upamā kālidāsasya, bhāraverarthagauravam,daṇḍinaḥ padalālityaṃ — māghe santi trayo guṇāḥ”The similes of KalidasaBharavi‘s depth of meaning, Daṇḍin‘s wordplay — in Māgha all three qualities are found.”

    Citation.

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

     

    I shall be posting from Tamil as well.

     

    I have read that the Ramayana has been written with only Consonants.

     

    I think it is in Oriya,

    Information please.