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Introduction.
One can see a divine design in the way aazhwars' avataras had been
effected and the way they have sung the prabandhams.
The songs of the first 3 Mudal aazhwars are all in traditional forms
of poetry namely in VeNbaa.
The aazhwars have started their verses in the traditional way of
lighting Thiru villakku as is done before starting any worship or
action.
Modern
science considers the entire world as a single cell, in that whatever
happens in one part of the land affects the other parts too.
The
wind movements, monsoons, hurricanes are all only but a few examples
of global phenomenon.
Poigaiyaar had considered the earth as one unit
even in those times itself and lit the lamp for the entire human
race.
With this, the entire body of Bhagavan comes to be seen in the Third
Thiruvandhaadhi in Thiru-k-kandEn, pon mEni kanden..
Now about the poetry type. The poetry type is mostly a blend
of `Viruttham' and `kali'.
(1) Thiruppallaandu. –
aru sIr aasiriya viruttham.
Ø In aru sIr aasiriya viruttham, 6 words per lines are used and
in eN sIr aasiriya viryttham, 8 words per line are used. The grammar
type such as aasiriyam depends on the other angas of Yaappu as per
grammar.
(3) Thiruppavai –
iyal tharavu iNai kochchaga-k-kali-p-paa.
That is, the words are blended in such a way that one of them
conveys something of the other, either as adjective or adverb. They
are best interpreted as one.
This is understood from the way that the verses are paused at the
next or previous line while reciting.
Such as,
In the 3rd verse, Vongi ulagu, we make a pause at seertha mulai
pattri vaanga and not at the end of 4th sIr, seertha mulai pattri.
Because only then the next verse `kudam –niraikkum' completes the
grammar `iyal taravu iNai.'
It should not be vaanga –k-kudam which is not a double taravu as per
the grammar of Thituppavai. It should be `kudam-niraikkum'.
Some other places where we recite the taravu (from previous line)
together are
`nammaal pOttra' (not narayanan nammaal and then pOttra-p-parai
tharum)
`pandoru naaL koottram' (not puniyanaal pandorunaaL)
`vulaginil thOttramaai'
`matthinaal vOsai-p-paduttha' (we should not stop at matthinaal along
with the previous line)
`maadhavi-p-pandal mEl'
`abhimaana bhangamaai'
There are not just 2 but 3 types of sound- based poetry forms blended
into one, the chandam, kali and viruttham. There is a beautiful blend
of all the three as per meanings of the verses. The chandam is based
on yedugai, the 2nd letter in the first word of every line. The
language itself is rhythmic in this combination.
My favourites, `voonin mEya' and `atthannagi' which I consider as the
essence of all Vedanta are more chandam based than the other two
types. There is that forceful declaration by using more of vallinam
in the former and a `kuzhaivu' by using more of mellina mei in the
latter one (above quoted)
(6) Thirumaalai –
aru sIr aasiruya viruttham.
6 words in each line with aasiriya—p-paa grammar and viruttham.
(7) Thiru-p-paLLiyezhuchchi –
eN sIr aasiriya viruttham.
8 words in each line with aasiriyam and viruttham.
Usually thurai is the sub-set of the main one (like the banks of the
river forming the subset of the river. Thurai means bank –like in
aattru-th-thurai).
(10)Peria Thirumozhi –
Various types of kali, aasiriyam, viruttham
with 6 or 7 or 8 words are used.
One can understand the types by the sIr used and its number.
Same as Thiru-k-kurum thaandagam. Only that the words are more per
line. It is 8. Usually Thaadagam comes only in 6 or 8 sIr per line.
This veNbaa type has 4 lines of 4 words in the first 3 lines and 3
lines in the last line. The first words of the first two lines have
similarity in rhyme (yedugai) followed by the 4th sIr of the 2 nd
line having the same yedugai which blends with the 3rd line. There
will be a – in the 2 nd line showing the split. The last 2 lines go
together in yedugai. There are grammar rules to determine how the
last sIr of the poem must end.
There are instances when the nayaka would blackmail the nayaki that
he would mount the madal if she refuses him. If he mounts the madal,
every one in the town would come to know of the affair and the tiff
between them and it wont be a pleasant one for the nayaki. So she
would oblige.
This is same as the previous one, only that it is lengthier than it.
Usually madals is mounted by the man. Women don't mount it. But
aazhwar makes a deviation from the established norms and takes up
nayaki bhava in madaloordal. "mannum vada neriyE vEndinOm" meaning
that though this is not in vogue in tamil culture, he has taken up
the way of Northies.
(23)Thiruvaimozhi.
All types discussed above have been handled by aazhwar with most of
them also of andaadhi type.
By one method, each ‘kaNNi’ of the 2 Thiru madal are taken as each pasuram,
thereby arriving at 77-1/2 + 148-1/2 = 226.
To substantiate this, the Vaazhi –th- naama cheyyuL is quoted which says,
“mutthi tharum yadiraasar ponnadikkE, mozhinda amutha nal paadal noorum ettum”