Pudhumaipithan
Pudhumaipithan | |
---|---|
Born | C. Viruthachalam 25 April 1906 Manikodi |
Notable works | Kadavulum Kandasami Pillayum, Ponnagaram, Thunbakeni |
Spouse | Kamala |
Children | Dinakari |
C. Viruthachalam (25 April 1906 – 30 June 1948),[1] better known by the pseudonym Pudhumaipithan (also spelt as Pudumaipithan or Puthumaippiththan), was one of the most influential and revolutionary writers of Tamil fiction.[2] His works were characterized by social satire, progressive thinking and outspoken criticism of accepted conventions. Contemporary writers and critics found it difficult to accept his views and his works were received with extreme hostility. He as an individual and his works have been extensively reviewed and debated for over sixty years since his death. His influence has been accepted and appreciated by the present day writers and critics of Tamil fiction.[3][4][5] In 2002, the Government of Tamil Nadu nationalised the works of Pudumaippithan.[6]
Life and career
Pudhumaipithan was born in Thiruppadirippuliyur (
His career as a writer began in 1933 with an essay "Gulabjaan Kaadhal" (Love for
Works and themes
Pudumaippithan's active writing period was less than 15 years (1934–46) in which he wrote nearly 100 short stories, an equal number of essays on a variety of subjects, 15 poems, a few plays and scores of book reviews.[1] His writings gave him a reputation as a maverick. His works were influenced by the French short story writer Guy de Maupassant among others. The subjects he wrote on and the characters he chose to portray were completely new to Tamil fiction. He felt that Tamil literature had been crippled by unspoken conventions and openly criticized those who adhered to them. In one of his essays he expressed his displeasure as:
We have been having a notion that there are certain things that can be said and certain things that cannot be said in (Tamil) literature; and we have lived with that philosophy. But that is not the truth. For nearly two hundred years we have lived a life of parasites. We don't even dare to see issues straight on the face and that is why we have been providing excuses for ourselves. If literature can give birth to the malicious Ravana, blood sheds and sinful allegories, why can't it give a place to the poor prostitute? The society doesn't rust because of that. Moreover, there is no way to preserve an antique that has already rusted.[10]
He was unfazed by the hostile reception that his works received from contemporary writers and critics alike. Dismissing his critics, he wrote :
Just like God is not bound by theologians, my creations are not bound by your conventional standards. I am not responsible for that and neither are my creations. I would like to point out it is YOUR standards you are using to judge my creations.[11]
To voice his views he used a wide range of characters, both common – husbands wives, students, children,
Short stories
Pudumaipithan is primarily known for his short stories. Of the 108 stories that have been identified as works of Pudumaipithan, only 48 had been published in book form during his lifetime. Most of his works were published in magazines like Manikodi, Kalaimagal, Jothi, Sudantira Chanku, Oozhiyan, Thamizh Mani, Dina mani, Dina Sari and Nandan. The rest have been published posthumously in various anthologies, the latest one being in 2000.
Translations
He was also a prolific translator of literary works from other languages into Tamil. He translated around 50 short stories, including the works of
Poems
Pudumaipithan wrote about fifteen poems in total. His first published poem was Thiru Angila arasanga thondaradipodi azhwar vaibhavam, which appeared in 1934.[8] Most of his poems were written as letters to his friend T. M. Chidambara Ragunathan in the form of Venpas. The fifteen poems were published posthumously in 1954. Like his short stories, his poems are full of wit and satire. The most famous of his poems is the abusive limerick Moonavarunasalamae written in review of a book on Tamil prose, which failed to mention the Manikodi movement.[16]
Political books
Pudumaipithan's political orientation was socialist. Among his political essays and books, four are considered important – Fascist Jatamuni (a biography of Benito Mussolini), Gapchip Durbar (a biography of Adolf Hitler), Stalinukku Theriyum and Adhikaram yarukku (both endorsing communism and policies of Joseph Stalin). All the four books contain scathing indictments of fascism and a general agreement with Stalinist policies.[1]
Writing style
Pudhumaipithan was the first Tamil writer to successfully use a dialect of Tamil other than that of
Plagiarism and other criticisms
Pudumaippithan has been accused by some of his contemporaries and later critics of having
He has been criticized for just raising uncomfortable issues and not proposing any solutions for them. He had responded by pointing out that his job was only raising the issue and leaving the reader to figure out the solution.[1] There have also been minor criticisms regarding his writing style like his digressing from the plot due to elaborate descriptions of environment and characters.[12] Recently, Tamil critic A. Marx has criticised Pudumaipithan's portrayal of Dalits, Christians, Maravars and meat eaters as derogatory.[11][20]
Pseudonyms
Pudhumaipithan wrote under different pseudonyms, but the name "Pudhumaipithan" was the one that became famous. He himself preferred the name as he felt that this name was partially responsible for the appeal of his stories. Some of his other pseudonyms were So.Vi, Rasamattam, Mathru, Koothan, Nandhan, Oozhiyan, Kabhali, Sukraachari and Iraval visirimadippu. For publishing poems he used the pseudonym Velur Ve. Kandasamy Pillai. Due to the accusation of plagiarism his pseudonyms have been extensively researched. T.M. Chidambara Ragunathan in his pudhumaipithan biography Pudumaippithan kathaigal: sila vimarsanangalum vishamangalum, has advanced the theory that all the works published under the name of "Nandhan" are adaptive works rather than original ones.[8][13]
Bibliography
Poems
- Thiru Angila arasanga thondaradipodi azhwar vaibhavam
- Moona arunasalamae mooda
- Inaiyarra India
- Sellum vazhi iruttu
Political books
- Fascist Jatamuni
- Kapchip Darbar
- Stalinukku Theriyum
- Athikaram Yaarukku[1]
Short stories
- Ahalyai
- Sellammal
- Gopalayyangarin Manaivi
- Idhu machine yugam
- Kadavulin Pradhinidhi
- Kadavulum kandasami pillayaum
- Padapadappu
- Oru naal kalindadhu
- Theruvilakku
- Kalanum Kizhaviyum
- Ponnagaram
- Irandu ulagangal
- Aanmai
- Athangarai Pillayar
- Abinav snap
- Andru iravu
- Andha muttal venu
- Avadharam
- Brammarakshas
- Bayam
- Doctor Sampath
- Eppodum mudivilae inbam
- Gnanagugai
- Gopalapuram
- Ilakkiya mamma nayanar puranam
- Indha paavi
- Kaali kovil
- Kapatakuram
- Kalyani
- Kanavu penn
- Kaanchanai
- Kannan kuzhal
- Karuchidaivu
- Kattilai vittu iranga kadhai
- Kattil pesugiradhu
- Kavandanum Kamamum
- Kayirravu
- Kodukkapuli maram
- Kolaikaran kai
- Konra sirippu
- Kuppanin kanavu
- Kurravaki yaar
- Maayavalai
- Magamasaanam
- Manakugai oviyangal
- Mana nizhal
- Motcham
- Naane kondren
- Nalla velaikaran
- Nambikkai
- Nanmai bayakkumenin
- Naasakara kumgal
- Nigumbalai
- Ninaivu padhai
- Nirvigarpa samadhi
- Nisamum ninaippum
- Nyayam
- Nyayamthan
- Nondi
- Oppandam
- Oru kolai anubavam
- Paal vannam pillai
- Parimudhal
- Paattiyin deepavali
- Pithukuli
- Poikaal kudhirai
- Poosanikkai ambi
- Puratchi manappanmai
- Pudhiya koondu
- Pudhiya kandapuranam
- Pudhiya nandhan
- Pudhiya oli
- Ramanathanin kaditham
- Saba vimosanam
- Salaram
- Samaavin thavaru
- Sayangala mayakkam
- Samaadhi
- Samiyarum kuzhandhaiyum seedaiyum
- Sanappan kozhi
- Sangu tharmam
- Selvam
- Sevvai dhosham
- Sirpiyin naragam
- Sithan pokku
- Sithi
- Sivasidambara sevugam
- Sonna sol
- Subbaya pillayin kadhalgal
- Thani oruvanukku
- Thega kandrugal
- Thirandha jannal
- Thirukkural kumaresa pillai
- Thirukkural seidha thirukoothu
- Thyaga moorthi
- Thunba keni
- Unarchiyin adimaigal
- Ubadesam
- Vaada malli
- Vaazhkai
- Vazhi
- Velipoochu
- Vedhalam sonna kadhai
- Vibareedha aasai
- Vinayaga Chathurthi[14]
Translations
- Ashatapoorthi
- Aattukuttithani
- Amma
- Andha paiyan
- Ashtamasithi
- Asisriyar Araichi
- Adhikaalai
- Bali
- Sithravadhai
- Daimon kanda unmai
- Ini
- Indha pal vivakaram
- Ishtasithi
- Kadhal kadhai
- Kanavu
- Kalappumanam
- Karaiyil kanda mugam
- Kizhavi
- Latheefa
- Magalukku manam seidhu vaithargal
- Manimandhira theevu
- Maniosai
- Markheem
- Milees
- Mudhalum mudivum
- Nadakakaari
- Natchathira ilavarasi
- Om santhi santhi
- Kattukathai
- Oruvanum oruthiyum
- Paithiyakaari
- Palingusilai
- Balthazar
- Poi
- Poochandiyin magal
- Rajya ubadhai
- Roger melvinin eemachadangu
- Saaraya peepai
- Sagothararkal
- Samathuvam
- Scheherazade kadhai solli
- Siritha mugakaaran
- Sooniyakaari
- Suvaril vazhi
- Thayilla kuzhandaikal
- Thayal machine
- Thanthai mugarkarrum udavi
- Deivam kudutha varam
- Desiya geetham
- Deivathukku marru
- Thuravi
- Uyir Aasai
- Veedu thirumbal
- Aei padagukaara
- Yaathirai
- Emanai emaarra
- Yutha devadhaiyin thirumuga mandalam[14]
See also
References
- ^ a b c d e f g h i j k l Remembering Pudumaippithan – Frontline Magazine 08-21 April 2006
- ^ ISBN 978-81-902272-7-8.
- ^ Pudumaipithan's literary legacy remembered, The Hindu 7 May 2007
- ^ Tamil is not language of just a region, says President Kalam, The Hindu 19 Dec 2006
- ISBN 978-81-88661-59-6.
- ^ A heart for Art, The Hindu 25 September 2003
- ^ ISBN 81-87477-05-9.
- ^ a b c d e A.R. Venkatachalapathy – Pudumaippithan Stories in the eyes of the publisher (in Tamil)
- ^ Dinathanthi Film History Series by Ko.Vi. Manisekaran – Essay No.777 (in Tamil)
- ^ "....இலக்கியத்தில் இன்னதுதான் சொல்ல வேண்டும், இன்னது சொல்லக்கூடாது என ஒரு தத்துவம் இருப்பதாகவும், அதை ஆதரித்துப் பேசுவதாகவும் மனப்பால் குடித்துக்கொண்டிருக்கலாம். உண்மை அதுவல்ல; சுமார் இருநூறு வருஷங்களாக ஒருவிதமான சீலைப்பேன் வாழ்வு நடத்திவிட்டோம். சில விஷயங்களை நேர் நோக்கிக் பாக்கவும் கூசுகிறோம். அதனால் தான் இப்படிச் சக்கரவட்டமாகச் சுற்றி வளைத்துச் சப்பைக்கட்டு கட்டுகிறோம்.குரூரமே அவதாரமான ராவணனையும், ரத்தக்களறியையும், மனக் குரூபங்களையும், விகற்பங்களையும் உண்டாக்க இடம் இருக்குமேயானால், ஏழை விபசாரியின் ஜீவனோபாயத்தை வர்ணிப்பதாலா சமூகத்தின் தெம்பு இற்றுப்போய் விடப்போகிறது? இற்றுப்போனது எப்படிப் பாதுகாத்தாலும் நிற்கப்போகிறதா? மேலும் இலக்கியம் என்பது மன அவசத்தின் எழுச்சிதானே? நாலு திசையிலும் ஸ்டோர் குமாஸ்தா ராமன், ஸினிமா நடிகை சீத்தம்மாள், பேரம் பேசும் பிரமநாயகம் – இத்யாதி நபர்களை நாள் தவறாமல் பார்த்துக்கொண்டிருந்து விட்டு, இவர்களது வாழ்வுக்கு இடமளிக்காமல், காதல் கத்தரிக்காய் பண்ணிக்கொண்டிருப்பது போன்ற அனுபவத்துக்கு நேர் முரணான விவகாரம் வேறு ஒன்றும் இல்லை. நடைமுறை விவகாரங்களைப் பற்றி எழுதுவதில் கௌரவக் குறைச்சல் எதுவும் இல்லை"..Essays of Pudumaipithan, Meenakshi Publishers (1954)
- ^ a b வேதாந்திகள் கைக்குள் சிக்காத கடவுள் மாதிரிதான் நான் பிறப்பித்துவிட்டவைகளும். அவை உங்கள் அளவுகோல்களுக் குள் அடைபடாதிருந்தால் நானும் பொறுப்பாளியல்ல, நான் பிறப்பித்து விளையாடவிட்ட ஜீவராசிகளும் பொறுப்பாளிகளல்ல; உங்கள் அளவுகோல்களைத்தான் என் கதைகளின் அருகில் வைத்து அளந்து பார்த்துக்கொள்கிறீர்கள் என்று உங்களுக்குச் சொல்லிவிட விரும்புகிறேன்.A Foreword to Pudhumaipithan katturaigal by M.A. Nuhman – Part 1 (in Tamil)
- ^ a b c d Puthumaipithan – His Contribution to Modern Tamil Literature
- ^ a b c d A trailblazer – Frontline Magazine 02-15 February 2002
- ^ a b c 108 short stories and 57 translated stories of Pudhumaipithan (in Tamil)
- ^ a b c Review of Pudhumaipithan Mozhipeyarppukal, Kalachuvadu Magazine (in Tamil) Archived 12 March 2010 at the Wayback Machine
- ^ a b c d A Foreword to Pudhumaipithan katturaigal by M.A. Nuhman – Part 2 (in Tamil)
- ^ Ilakkiyathil Sandai, An essay on literary feuds by Sa. Kandasamy (in Tamil)
- ^ A.R. Venkatachalapathy, Foreword to Annai itta thee (in Tamil)
- ^ P.K. Sundararajan obituary, Kalachuvadu Magazine (in Tamil) Archived 8 March 2010 at the Wayback Machine
- ^ Marx, A (1995). Pudumaippithanin pirathigalil Dalithugal, Maravargal, Kristhavargal Marrum Idhara Maamisa Pathcanigal (Pudumaippithanin Ilakkiya Thadam) (in Tamil). Bangalore: Kaaviya.