Moon is used in world literature as an allusion,allegory simile to express various emotions.
Moon Shining Courtyard of Moon.
The practice of using the concept Moon as a part of Life goes to the Tamils.
There is no Poet who has not sung about Moon right from the Classical Age of the Sangam till the present day.
It is also the part of Indian life to show Moon and feed the child.
Usually a song is sung inviting The Moon to play with the child.
This has been such an expected custom that a special grammar has been created to accommodate this activity.
In PillaiThamizh, The Tamil of The child, various stages of the child’s growth has been explained and suitable songs were sung.
Those who know Tamil, enjoy this song, Thiuvoimozhi of Periyazhvar sung in praise of Lord Krishna asking Him to sleep while making Him sleep in a Cradle.
The celebration of the Moon is not restricted children.
Moon is used to express Love,Pangs of separation and even pathos.
I am proving some songs towards the close of the Post.
It is the practice, as the child grows up, to have the family sit around in the Pial( a reclining slab at the entrance of the House) have the food made into a Ball , place in the Palm of the family members.
This is/was widely practiced.
I used it to do this for my children till they were in the Ninth or tenth standard.
The taste and the camaraderie one feels as a Unit is incomparable.
Children eat more than what they usually consume.
Tamils have taken this a step further,
In ancient days, Homes had a special area built, normally in the first floor and the Kings used to build a Floor for this purpose , enjoy the Moon and take food.
This place is called the Courtyard of Moon.’Nila Mutram’.
There is also the practice of eating under the Moon with the family on the Full Moon Day of the Chaitra,Chiththitrai Month , The Full Moon Day of April.
Special festival is celebrated on this day and this is special in Madurai, Chitra Pournami
Such simple pleasures do not cost you nor do they harm children.
Lullaby is one of the most delightful forms of Literature.
Lullaby
Though I am very well versed in English, Sanskrit and Tamil Literature. I have a bird’s-eye view of them.
To my knowledge the kinds of Lullabies found in Tamil Literature seem to be unmatched.
I have not come across anything close to it.
Though Tamil and Tamils are perceived to be highly emotional, thanks to idiotic self-styled fanatics of Dravidian parties who make a living off Tamil, the Truth is that Tamil and Tamil Grammar,though very rich in content, imagery,has a highly organised system of Grammar totally different from Sanskrit.
It is organised not merely by content of the poem but also relates to the Ages Of Man,Woman and Child.
Shakespeare would talk to us on The Seven Ages of Man in As you Like It.
Tamil speaks of the Ages of Woman.
Read my post on this,
Lullaby forms an important form of Tamil Literature.
It abounds in early Classical Tamil , though it has gained momentum in the middle ages through the Bhakti Ilakkiyam(Devotional Classics)
This has organised Literature in such a manner that it has assigned different types of Lullabies to be sung for the Child.
As we all know, at least Grandparents know, that children love Lullabies.
As the child grows up, so is the ear for Music.
Hence the Lullaby one sings between one year to another has to be different to keep the child engaged.
Tamil has done it.
They have devised a system where various ages , corresponding type of Lullabies are listed and the parameters for them set.
There are Ten.
They are.
1. காப்புப் பருவம் – இது குழந்தையின் இரண்டாவது மாதத்தில் பாடுவது.
எந்த குழந்தையாயினும் முதலில் அதற்கு எந்த தீங்கும் நேர்ந்திடா வண்ணம், சிவன், பார்வதி, விநாயகர், திருமால், முருகன் என்று பலத் தெய்வங்களும் குழந்தையைக் காக்க வேண்டி,அவர்கள் மீது பாடல்கள் பாடி, குழந்தைக்குக் காப்பிட வேண்டும்.
Protective Age.
This type is sung during the second Month of the Child.
Here as child is very tender, Gods like Ganapati,Siva,Parvati, Subramanya or Vishnu are invoked and prayed for the protection of the Child.
2. செங்கீரைப் பருவம் – இது குழந்தையின் ஐந்தாம் மாதத்தில் பாடுவது.
இந்த பருவத்தில், குழந்தை ஓரளவு தவழவும் முயற்சிக்கும்.அதாவது, குழந்தை தன் ஒரு காலை மடக்கி, ஒரு காலை நீட்டி, இரு கைகளையும் நிலத்தில் ஊன்றித் தலையை நிமிர்த்தி முகமாட்டும் பருவம். குழந்தை இவ்வாறு செய்யும் போது, அது செங்கீரைக் காற்றில் ஆடுவது போன்று மிகவும் அழகாக, மனமும் அதோடு சேர்ந்து ஆடுற மாதிரி இருக்கும்.
For a toddler of Five months.
The child would start Crawling, by folding one leg, leaning both the hands on the ground , shall thrust its face.
This would look like a typical South Indian Green Leaves plant fluttering in the breeze.
Meter for this type of Lullaby would be more bet oriented.
The name of the plant ‘Sengeerai‘ is given for this stage.3. தாலப் பருவம் – இது குழந்தையின் ஏழாம் மாதத்தில் பாடுவது.
தால்~நாக்கு. தாய் தன் தாலை ஆட்டிப் பாடும் போது, நாக்கின் அசைவுகளைக் குழந்தைகள் கவனித்துக் கேட்கும்.(தாலாட்டுப் பாடும் பருவம்)
Next is sung at the Seven Month.
Now the child would carefully observe the tongue movement of the Mother.
this is the actual age of the Lullaby’,Thaalaattu’.4. சப்பாணிப் பருவம் – இது ஒன்பதாம் மாதம் பாடப்படும்.
சப்பாணி என்றால் – கைகளைத் தட்டுதல்; குழந்தைத் தன் இரு கைகளையும் ஒன்றாகச் சேர்த்துத் தட்டி ஆடும் பருவம்.
At nine months, the child would clap its hands.
This is called ‘Chappani’ or Clapping.
Interesting to note the word in Kannada for Clapping is ‘Chappali’5. முத்தப் பருவம் – இது குழந்தையின் பதினோறாம் மாதத்தில் பாடுவது.
பெற்றோர், தங்களுக்கு முத்தம் தருமாறு குழந்தையிடம் கெஞ்சும் பருவம்.
At the eleventh month, parents beseech the child to give them a Kiss.
This is named as ‘Muthaadal Paruvam’ Kissing Age.6. வாரானைப் பருவம் (வருகை) – இது குழந்தையின் 13ம் மாதத்தில் பாடுவது. குழந்தை தன் ஒரு வருட காலத்தின் நிறைவில் அவர்கள் செய்யும் சாகசம், தளிர் நடைப் போடுதல்.
ஓரளவு நடக்கத் தெரிந்த தன் குழந்தையை, தாய் தன் இரு கைகளையும் முன்னே நீட்டி, தன்னிடம் நடந்து வருமாறு அழைக்கும் பருவம்.
This is the Thirteenth Month when the child is able to walk, albeit hesitatingly, with it’s both hands outstretched, when parents call the Child to come to them.7. அம்புலிப் பருவம் – இது குழந்தையின் பதினைந்தாம் மாதத்தில் நிகழ்வது.
அம்புலி என்றால் நிலா. நிலவை நோக்கிக் கை நீட்டி, தன் குழந்தையுடன் விளையாட வருமாறு அம்புலியை அழைக்கும் பருவம்.
At the Fifteenth Month, the Moon is shown to the child and the child invites Moon to come and play.8. சிற்றில் பருவம் – இது குழந்தையின் பதினெட்டாம் மாதத்தில் பாடப்படுவது.
ஆண்பிள்ளைகளும், பெண் பிள்ளைகளும் வேறுபடுவது இந்த பருவத்தில் இருந்துதான்.
(சிற்றில் – சிறு+இல் – சிறிய வீடு)பெண்பிள்ளைகள் மணலில் சிறுவீடு கட்டி விளையாடும் பொழுது, அவர்கள் மண்வீட்டைத் தன் சிறு பொற் பாதத்தால் உதைத்துக் கலைக்கும் பருவம்.
At the eighteenth month, male and female differentiation is noticed and accordingly the stages.songs vary.
This is called the ‘Sitril Paruvam’
The child would a house of Sand , destroys it with its feet and rebuilds.
ஆண்டாள் கூட சொல்வாளே, நாச்சியார் திருமொழியின் இரண்டாம் திருமொழியில்(நாமமாயிரம்), இடைப்பெண்கள் சிற்றில் சிதைக்க வேண்டாவென்று கண்ணனை வேண்டுவர்களே!
‘எங்கள் சிற்றில் வந்து சிதையேலே’ என்று ஆண்டாள் சொல்லுவா.
9. சிறுபறைப் பருவம் – இது குழந்தையின் பத்தொன்பதாம் மாதத்தில் பாடப்படும்.
This is the Eighteenth Month when the child plays with a small drum.
Siru Parai Paruvam.ஒரு சிறிய பறையையும் குச்சியையும் வைத்து பறை கொட்டி விளையாடும் பருவம்.
10. சிறுதேர் பருவம் – இது குழந்தையின் இருபத்திஒன்றாம் மாதத்தில் பாடப்படுவது.
Playing with a Small Chariot.
At the age of 21 months , the child would play with a small chariot made of wood.
Siru Ther Paruvam.
பெண்பால் பிள்ளைத் தமிழ்:
கழங்காடல் – அதாவது, தாயக்கட்டை மாதிரி ஒன்ன வெச்சுக்கிட்டு உருட்டி விளையாடுவது.
அம்மானை ஆடல் – அம்மானை ன்னா பந்து. பெண்பிள்ளைகள் ஒரு பாட்டு பாடிக் கொண்டே பந்து விளையாடுவாங்க. அப்பொழுது பாடும் பாட்டு ‘அம்மானைப் பாட்டு’.
ஊசலாடும் பருவம் – ஊஞ்சல் ஆடி விளையாடும் பருவம்.
Then onwards two stages are given for Girls.
One is Kazhangaadal, playing with small pebbles or stones on hand ,tossing them while singing.
Might use Flower balls.
Another is playing in a Swing.
Oonjal Paruvam
Look at the way the growth of the child is observed.
We have lost these pleasures to TV and Video games.
I have not observed my children doing these.
In fact I never noticed them growing up for I was ‘Busy!’
I am on enjoying these in my Grand son and Grand daughter.
Though Kannada is grouped under the Dravidian Languages , it is closer to Sanskrit in Grammar and Alphabets.
Tamil, unlike the Sanskrit Language does not have Phonetic differentiation for Alphabets.
Tamil has Alphabets dispenses with this and Tamil Grammar ,dating back to at least 5000 years, has unique system to replace the Phonetic content as displayed in Sanskrit.
Kannada follows the Sanskrit Grammar patters.
But words resemble ancient chaste Tamil words of yore.
‘Angai’ denotes palms in Kannada which is the purest word meaning the same in Tamil-of course this word is scarcely used now.
It may be noted that some Pallava Kings Mahendravarman and Narasimhavarman are reported to know the language of Pulakesin II.
However excavations in Vellore ,Tamil Nadu dating back to 18th Century AD has Kannada inscriptions.
Beyond this there seems to be no reference in ancient Tamil or Sanskrit Texts.
I came across an interesting article on the relationship between Sanskrit and Kannada.
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KANNADA – The Root of all Indian Languages..!!
Has anybody tried to notice Kannada alphabets and relate to vedic symbols ?
ಪ – the letter ‘pa’ .. The leter symbolizing padmaasana , this letter can be compared to symbol where a person sitting in padmasana posture.
ಶ – the letter ‘sha’ .. the letter symbolizing ‘conch’ which is very much used in vedic culture..
ಷ – the letter ‘Sha’ .. the letter symbolizes person with sacred thread in sitting posture.. you can imagine a ‘ruShi‘..
ನಿ – the letter ‘ni’ .. tamil claim a (IVC)symbol of god in sitting position.. But has anybody notice this symbol is a kannada letter..
Note that among south indian languages Kannada and its grammar is very close to sanskrit.. Looks like the kannada region was the first place where mostly occupied by vedic people.. But population density was very less compare to other regions of south india and able to retain sanskrit and its grammatical structure during kannada language evolution..ofcourse kannada is also very old same as Tamil/telugu/malalalam..
Devanagari script seems some what derivative of kannada script.
If kannada alphabet like ka ಕ is rotated 90 degrees, you can see it looks like devanagari ‘ka’ क
To me it looks like grantha,devanagari, tamil script more probably tries to avoid curves. They are straightened so that suitable for writing on stones/rocks or wooden surfaces.
But base original picture must have been from kannada/vedic symbols which brahmins initially might have tried to write on leaves most probably used by brahmins..
As kannada region were famous for ancient saints (majority brahmins/maharshis), they might have tried to write on leaves.. May be they lost as its not so easy to preserve writings on leaves..
Moreover brahmins software kind of people who actually work on development of countries, whose main playground was TN/AP regions where they really worked on..
But those regions were occupied by primitive people and could not preserve sanskrit language , its grammar led to development of new languages like kannada,telugu,tamil,malayalam..
I think initial script creation depended on many factors for example:
* the tools available for writing.
* The surface on which writing is to be done.
It is generally believed that the Tamil Language existed and Kings nurtured it for a period of about 10,000 years ago.
Old Tamil Inscription
“According to P.T. Srinivasa Iyengar[23] who made research on this topic mentions in his book “History of Tamils” Chapter XVI on topic “Criticism of the legend”,[24] as the years mentioned for the Three Tamil Sangams are too vast. The First sangam lasted 4440 yrs and spanned 89 Succeeding Kings. The Second sangam lasted 3700 yrs and spanned 59 Succeeding Kings, The Third sangam lasted 1800 yrs and spanned 49 Succeeding Kings.”(wiki)
By this reckoning the Age of Tamil is approximately 10’000 Years for the Sangam Period.
But recent research says that a relic proves that the Tami land extended its landmass “extended southward below Cape Comorin (Kanya Kumari) incorporating present day Ilankai/ Sri Lanka. It had an enhanced offshore running all the way to the Equator. The maps portray the region as no history or culture is supposed to have known it. The much larger Tamil homeland of thousands of years ago as described in the Kumari Kandam tradition takes shape. It supports the opening of the Kumari Kandam flood tradition set in the remote pre-historic period of 12,000 –10,000 years ago. The inundation specialists confirm that between 12,000-10,000 years ago Peninsular India’s coastlines would have been bigger than what they are today before they were swallowed up by the rising seas at the end of the Last Ice Age.”
With its description of submerged cities and lost lands, the Kumari Kandam tradition predicted that pre-historic ruins more than 11,000 years old should lie underwater at depths and locations off Tamilnadu’s coast. The NIO’s discovery and Dr. Milne’s calculations now appear to confirm the accuracy of that prediction. At that period of time, Ilankai/ Sri Lanka was part and parcel of South India. It is, however, in the inundation map for 10,600 years ago as seen that the island to the south of Kanya Kumari had disappeared to a dot, and the Maldives further ravaged.
But more importantly, a neck of sea is seen separating Tuticorin in South India from Mannar in what is now Ilankai/ Sri Lanka. It is however in the map for 6,900 years ago that the separation of Ilankai/ Sri Lanka from the South Indian mainland is complete as it is today. Ilankai/ Sri Lanka’s separate existence as an island, so it seems, began 6,900 years ago or circa 4,900 BC. ..
At present, no civilisation, as known to current history, existed in the Tamil lands of South India around 9,000 BC. Yet the discovery of the U-shaped structure by India’s marine archaeologists leads us to seriously consider that it was the work of a civilisation that archaeologists had failed to identify as its ruins lie submerged so deep beneath the sea. As Mr. S. R. Rao, the doyen of Indian marine archaeology, stated in February 2002, “I do not believe it is an isolated structure; further exploration is likely to reveal others around it”.
Put it simply, the coast line of India , more specifically Tamils extended up to Equator.
And this tallies with the descriptions of Tamil Kings in The Mahabharata during the Swayamvar of Draupadi , the reference to Arjuna having married the daughter of a Pandyan King and the mention of Cheran Perunchotruudiyan Neduncheraathan as having fed both the armies of the Panadavas and Kauravas during the Mahabharata War, among other refernces like the Tamil Knings donated Villages for Baramins po perform Vedic Rites daily in the Agraharas, ear marked for them.
Sources.
History of the Tamils by P.T .Srinivasa Iyengar Chapter XVI on topic “Criticism of the legend
The most famous of his lines in As You Like It‘ on the Stages of Man is a piece in itself.
I am reproducing this with out comments or explanations for in my view Shakespeare is best enjoyed with out some body disturbing.( excepting some like Bradley)
“All the world’s a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first, the infant,
Mewling and puking in the nurse’s arms.
And then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slipper’d pantaloon,
With spectacles on nose and pouch on side,
His youthful hose, well saved, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.”
If Shakespeare could do it,Tamil could do it better, in classifying the Chronological Age of man and Woman.
Tamil , a Language of antiquity, alive and kicking well, has made Life into an Art by its literature and its classification of Life in its Grammar.
Tamils have divide Life into two parts, one that deals with external activities expressed outwards, like War,Arguments,Valor,Philanthropy, called Puram(The term means ‘outside’).
Another is Aham(inside) which deals with emotions like Love, Despair.
Under Aham the chronological Age of Man and Woman has been taken to classify Ages.
* 1 வயது முதல் 8 வயது வரை – பேதை-1-8 Pedha, an age when one does not know to distinguish things.
* 9 வயது முதல் 10 வயது வரை – பெதும்பை-9-10,Pedhubmai, can differentiate but not very clear.
* 11 வயது முதல் 14 வயது வரை – மங்கை-10-14,Mangai, has attained womanhood, but yet to fall in Love.
* 15 வயது முதல் 18 வயது வரை – மடந்தை14-18,Madanthai. has started to develop feelings of Love.
* 19 வயது முதல் 24 வயது வரை – அரிவை-19-24Arivai,has attained an Age where one has gone through the process of Love,separation.
* 25 வயது முதல் 29 வயது வரை – தெரிவை-25-29,Therivai, has loved, successful, or lost but knows Life.
* 30 வயதுக்கு மேல் – பேரிளம் பெண்-30+,has seen it all, either a Spinster,( mostly), mature.
ஆண்களின் ஏழு பருவங்கள்:(Seven Ages of Man).
* 1 வயது முதல் 7 வயது வரையிலான பருவம் – பாலன்-Balan,1-7 as in Woman.
* 8 வயது முதல் முதல் 10 வயது வரையிலான பருவம் – மீளி, Meeli,8-10 Forgetful yet can recall.
* 11 வயது முதல் 14 வயது வரையிலான பருவம் – மறவோன்11-14,Maravon,Fighter, does not forget.
*15 வயதிற்குண்டான பருவம் – திறவோன்-Thiravon,15 Years,Capable.
*16 வயதிற்குண்டான பருவம் – விடலை, Vidalai 16, Irresponsible in all walks of Life.
*17 வயது முதல் 30 வரையிலான பருவம் – காளை ,Kaalai, 16,Responsible in all affairs, including Life.
* 30 வயதுக்கு மேலான பருவம் – முதுமகன்.Mudhumagan,30+ .Mature.
Note that the stages of Man stops for Man after 14 Years and characteristics change year by year.
But women stay steadfast, relatively, which is a fact.
The names given to each stage expresses the meaning explained,
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