This is a pot-pourri journal for brainstorming and jotting down thoughts, ideas, and stories on various topics, including Śrīvaiṣṇava scholars, texts and practices;, Tamil and Manipravalam literatures; Sanskrit tidbits; Indological miscellany, and so forth, and sharing them with like-minded people.
இனியது தனி அருந்தேல்
While reading verses, I find some of them more memorable than others, for their beauty, alliterations, emotions, the effects they produce on the reader/listener, the way they inspire. But also sometimes, for their cheekiness. Of course, I enjoy a poet who gives a good set down to the king or god, as we can see in the following stray verse attributed to Kampaṉ, at being turned down by a (Cōḻa) king.
Tamil poets (and not just them, I guess) are notoriously touchy and short-tempered. One had better avoid crossing them, or else, one might end up being immortalised for the wrong reason. Or worse. Going through the solitary verses of a 15th century Tamil poet, Kāḷamēka Pulavar, I found many good […]
Āṇṭāḷ is often represented in her bridal look, and other than the Tiruppāvai, her most well-known decade is the Vāraṇam āyiram from her other composition, the Nācciyār Tirumoḻi. In the decade, she tells her friend that she had a dream, in which she married Kṛṣṇa. Many a wedding rite is mentioned in these verses.
Kalki Krishnamurthy’s Poṉṉiyiṉ Celvaṉ is my favourite novel in Tamil. Actually, it has a fan following just like Jane Austen’s novels do. There still are people who have chat groups dedicated to it, and those who visit together with like-minded people the places mentioned in the historical novel. This post is especially for those who are fellow enthusiasts of Ponniyin Selvan.
While looking for some papers, I bumped into this magnificent picture that I bought in Śrīraṅgam a few years ago. It’s roughly 50cm X 30cm, possibly a copy of an older, bigger print. I find the fortuitous reappearing of this picture opportune, as I’m working on the journey to Vaikuṇṭha for a couple of papers, which is what this image represents.
This post is entirely about my personal experience and impressions, which may not interest most people. But I felt I had to write them down as it might interest fellow Tamils and (non-Sanskritist) Tamilists, and be useful to them if they feel like taking on Pāṇini.
Working extensively on Tamil Vaiṣṇava texts, I’m often confronted with this expression, either because Kṛṣṇa walks valam (‘right’ -> rightwards) when walking to the place where He is to marry Āṇṭāḷ, or because Āṇṭāḷ and Kṛṣṇa go around the fire (tīvalam ceyya) as part of the wedding rites (Nācciyār Tirumoḻi). […]
We were reading the following verse from the Periyāḻvār Tirumoḻi, and a question popped up in mind, which had been disturbing me for a while now: I was trying to explain that the first line may be a reference to Viṣṇu being accessible to the gods in the Milk Ocean, […]
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