Ksrcasw Tam & Eng Book

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CP
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gd;dhl;Lf; fUj;juq;f Ma;Tf; Nfhit
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An
INTERNATIONAL SEMINAR
On
NATURE IN THE PERSPECTIVES OF
TAMIL AND ENGLISH WRITERS
Jointly Compiled
By
Department of Tamil & English
Date - 11.12.2015
K S R COLLEGE OF ARTS AND SCIENCE FOR WOMEN

Affiliated to Periyar University - Salem
(An ISO 9001 2008 Certified Institution)
TIRUCHENGODE-637215, NAMAKKAL
20, v,
Pzy & 641 001.
vijayapathippagam2007@gmail.com
Kjd;ikg; gjpg;ghsh; (Editor in chief)

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(jkpo;j;Jiwj; jiyth;)
Mrs.J.Mary Mimicklin Rexella

(Assistant Professor & Head)
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- Sub Editors
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(jkpo; cjtpg; Nguhrphpah;)
jpUkjp fh.ejpah
(jkpo; cjtpg; Nguhrphpah;)
Mrs.P.Nithya
(Assistant Professor)
Ms.M.T.Gomathi
(Assistant Professor)
ii
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Nature in the Perspectives of Tamil and English Writers
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0422 & 2382614 / 2385614
www.vijayapathippagam.org
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ISBN - 81-8446-722-2
iii / UP : 520 / : . 400/&
An International Seminar On Nature in the

perspectives of Tamil and English Writers
SOUVENIR
CHIEF PATRON
1. Lion. Dr. K. S. Rangasamy MJF
Chairman
2. Mr. R.Srinivasan
Secretary
3. Ms. S. Kavitha Srinivasan
Executive Director
PATRON & PRINCIPAL

1. Dr. M. Karthikeyan
CONVENOR
1. Dr. R. Gunaseelan
(Assistant Professor and Head) Department of Tamil
2. Ms. J. Mary Mimicklin Rexella
(Assistant Professor and Head) Department of English
ADDITIONAL CONVENOR
1.
Ms. P. Logambal
- Assistant Professor, Department of Tamil
2.
Ms. K. Nathiya
3.
Ms. P. Nithya
- Assistant Professor, Department of English
4.
Ms. M.T.Gomathi
ORGANIZING COMMITTEE
1.
Dr. N. Gowri
2.
Ms.P.Narmatha
3.
Ms.N.Savitha
4.
Ms.R.Mohana Priya - Assistant Professor, Department of English
5.
Ms. P. Nithya
6.
Ms.R.Sathya Priya
7.
Ms.M.Yasotha
8.
Mr.T.Srinivasa Raja - Assistant Professor, Department of English
9.
Ms.J.Parvin Sulthana- Assistant Professor, Department of English
iv
CHAIRMAN
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jpfo;fpwJ. njhd;ikahYk;> njhlh;r;rpahd ,yf;fpa> ,yf;fz
tsj;jhYk; nrk;khe;j nkhopahfj; tpsq;FtJ jkpo; nkhop.
gd;dhl;Lj; jfty; njhlu;G nkhopahfg; Ngrg;gLtJ Mq;fpy
nkhop. ,t;tpU nkhopfspd; rpwg;gpay;GfisAk; xg;gl
P L
; Kiwapy;
Ma;T nra;Ak; Kaw;rpahf ,e;jg; gd;dhl;L Ma;Tf; fUj;juq;fk;
miktJ ghuhl; L jYf; F upaJ. 'jkpo; kw; W k; Mq; f py
vOj; j hsh; f s; ghh; i tapy; ,aw; i f" vd; w jiyg; g py;
eilngWk; fUj;juq;fk; fhyj;jpd; Njitahf mikfpwJ.
Ma;Tf; Nfhitapy; ,lk;ngw;w fl;Liufs; jkpo;> kw;Wk; Mq;fpy
nkhopfspd; tsj;ijAk;> jkpo; kw;Wk; Mq;fpy vOj;jhsh;fspd;
Mw;wiyAk; vLj;jpak;Gfpd;wd. fl;Liu vOjpa
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,f;fUj;juq;fj;ij elj;jpa jkpo; kw;Wk; Mq;fpyj; Jiw
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ghuhl;LfpNwd;. NkYk; ,f;fUj;juq;fj;ij elj;j Cf;fkspj;j
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SECRETARY
Just living is not enough
One must have Sunshine,
freedom, and a little flower.
-Hans Christian Anderson.
I am very much glad to know that the Departments of Tamil and
English are jointly conducting an International Seminar on Nature in the
Perspectives of Tamil and English Writers with full devotion at this
juncture. It is really a very great initiative as the topic is the need of the hour.
The seminar is aimed at analyzing and researching Nature with respect to
the writings of Tamil and English writers.
I extend my hearty wishes to the Principal, Heads of Tamil and
English departments and the entire organizing team for their painstaking
efforts in making this mega event a grand success.
Thiru. R. Srinivashaan
vi
EXECUTIVE DIRECTOR
I feel extremely delighted to know that the faculty of Tamil and
English organize an International Seminar on Nature in the Perspectives of
Tamil and English Writers as a joint venture.
There is a pleasure in the pathless woods,
There is a rapture on the lonely shore,
There is a society, Where none intrudes
By the deep sea, and music in its war
I love not man the less but nature more
Lord Byron.
The faculty members have chosen the right topic so as to extract the
unscalable facets of nature depicted in the genres of Tamil and English
Literatures. It is also notable fact that this seminar will facilitate many
faculty and research scholars to emerge with innovative ideas with
researching Tamil and English Writings. This will further create an
awareness on the depiction of Mother Nature in literatures. This Seminar
will really help many researchers to re-search and re-invent nature in the
perspectives of Tamil and English Writers.
I wish the seminar a grand success and may it witness a glory of
researches in future.
Tmt.Kavitha Srinivashaan
vii
PRINCIPAL
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njhlh;e;J Mz;LNjhWk; eilngw Ntz;Lk; vd tho;j;JfpNwd;.
Look deep into Nature, and then
you will understand everything better.
Albert Einstein.
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viii
Dr.M.Karthikeyan
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ix
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xi
nghUslf;fk;
Nguhrphpah; f s;
Mq;fpy topahf vOjg;gl;l jkpo;f;fl;Liufs;
01
Nature as the Background of Tamil Classical Poems

Dr. S. Kumaran, Associate Professor in Tamil
02
Landscape on the view of Sangam Poets

Dr.R.Gunaseelan, Asst. Prof in Tamil
03
Nature in the Perspectives of Author

Ms.P.Anupriya, Tutor
11
jkpo; topahf vOjg;gl;l Mq;fpyf; fl;Liufs;

04
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13
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18
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06
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07
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xii
25
30
08
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34
09
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39
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44
11
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50
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55
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61
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15
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71
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77
17
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81
18
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88
19
20
67
95
100
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104
22
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108
xiii
23
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112
24
rq; f ,yf; f paj; j py; ahid

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117
25
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FwpQ; r pAk;
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121
26.
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,aw;ifr;
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#oy;
126
27
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131
28
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137
29
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142
30
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jpUkjp fh.ejpah
146
31
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,aw;if
th;zidAk; ,aw;if Fwpj;j nrhy;yikg;Gk;
150
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32
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156
33
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161
34
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167
35
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172
36
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jpU. Nr.gpNukh=yl;Rkz; Fkhu;
176
xiv
37
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jpU g.kzpfz;ld;
181
38
Gytu; f s; Nghw; W k; ,aw; i f

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187
39
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40
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196
41
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jpUkjp g. Nyhfhk;ghs;
200
42
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Kidth; k.NyhNf];tud;
204
43
jkpo; ,yf; f paq; f spy; ,aw; i f

Kidth; ir.t`pjhnfsrpah
210
44
etP d vOj; j hsh; f spd; ghh; i tapy; ,aw; i f

Kidth; ngh. n[agpufhrk;
215
45
ghNte; j hpd; - ',aw; i fapy; " fUj; J g; G yg; g hL

nry;tp R. N[hjpkzp>
219
46
Theme of Population Exchange and Identity Formation in Amitav

223
Ghoshs The Shadow Lines
Ananthan . S, Prof. Dr. Saravana selvan
47
Mysticism of Literature is Science

Ms. R.Anitha devi
48
S.T. Coleridge's Attitudes toward Nature and their

Effect on him as a Poet
Ms. N. Anusuya
226
229
49
Treatment of Nature in Wordsworths Poetry

Dr.k.Anuradha & Mr. V.Elumalai
234
50
Nature in the Perspectives of Tamil and English Writers

Mr. S.K.Baskar.
238
xv
51
Theme of Love and Nature in Emily dickinsons Selected Poems

Ms. J.Brindhadevi
243
52
Depiction of Nature in Dickens A Bird Came Down the walk

Mr. Dharmaraj.
247
53
An Eco- Critical Analysis of Kiran Desais The Inheritance of Loss

R. Deepika,S.Priyadarshini
251
54
Enunciation of Aesthetic Sense in John Keatss Ode on a Grecian

Urn and Robert Frosts Stopping by Woods on a Snowy Evening
Ms M.T.Gomathi
256
55
Portrayal of Nature by Emily Dickinson

Ms K. Jayaranjini,
Nature in the Perspectives of Tamil and English writers
Ms. R. P. Jeswill
56
260
266
57
Nature in the Perspective of Kamala Markandayas Nectar in a

Sieve
270
Ms. S.Kalpana
58
The Representation of Nature in William Wordsworths Tintern

Abbey
275
Mr. R.Kanagaselvam.
59
Portrayal of Nature in Romantic Literature

Mr. P.Kannan
60
Imperative Role of Nature in the Existence of Human Beings and

Annihilation made by Human Beings as Portrayed in Literature
The Hungry Tide
282
Mr. L.Kamal
61
Portrayal of Nature with the Special Reference to Amitav Ghoshs

Novel The Hungry Tide
286
Mr. K.Karthik
62
Frost and Nature

Ms. K. Kavi priya
278
290
xvi
63
Portrayal of nature in the poems of John Keats

Mr. P. Maheswaran,
64
Nature as symbols and images in the select poems of Robert Frost

Dr. M.Manopriya
298
65
Portrayal of Nature by English Romantic Poets

Mr.K.Mariappan and Mr.K.Mahalingam
66
Voice of voiceless a comparative study of Bamas Karukku and

Mulkraj Anands Untouchable"
306
Mr. V.Mohanbharathi
67
Birds and animals in P. B. ShelleySOde to a skylark

Ms. R. Mohana priya
68
Pantheistic elements in William Wordsworths Resolution and

Independence, and P.B shelleys Ode to the West Wind
315
Mr. K.Nandhakumar
69
The Beneficial Influence of Nature by Romantic Poets

Mrs. P.Nithya
294
302
310
320
70
Notion of Nature in Wordsworths The Daffodils and Keats Ode

to Autumn
325
Ms. P.Nithya
71
Nature in the Perspectives of Tamil and English Writers Nature

Spelled out in Verses
329
Dr. T. V. S. Padmaja and Ms. Uma Rajmohan
72
Naturalistic View of Rabindranath Tagore in Gitanjali

Ms. J.Parvin sulthana
333
73
The Essence of Ecology in Herman Melvilles Moby Dick

Ms. M. Pradeepa
338
74
Modern English Writers Views on "Nature''

Mr.P.Ramesh
343
75
Nature In Its Vibrant Colours Portayed

Ms.S.Ramya M.A., & Ms. R. Subha Jasmine
348
76
Literaryy forms and terms

Ms. K.Ramya
352
xvii
77
God and Nature in Hopkins The Wind Hover

Ms. S.Sangeetha
78
Portrayal of Nature in John Jeats Ode to Autumn and Shelleys

Ode to the West Wind
359
Ms. R. Sathya Priya
79
Keats Thoughts on Nature in Ode to a Nightingale

Ms. N.Savitha
80
Exploration of Eco Critical Perspective in Amitav Ghoshs Hungry

tide and Kamala Markandaya Nectar in a Sieve
365
Mr. A.Ssenthil Nathan
81
An Eco-Critical View in Kiran Desais Hullabalo in The Guava

Orchard
370
Ms. V. Sivapriya,
82
Elineation of Nature in Robert Frosts Birches

Mr.T.Srinivasaraja
83
The Relationship between Man and Nature in Amitav Ghoshs The

Glass Palace
377
T.Shreemathi and Dr. M.poonkodi
84
Biocentrical Study of Yann Martels Life of Pi

Ms. R. Sudha
Omnipresence of Nature in William Wordsworths
The Solitary Reaper'
Mr. L. Suresh
85
355
362
373
382
387
86
Cultural forms of Oppression in Khaled Hosseinis and Manju

Kapurs Selected Novels: A Comparative Study
389
Ms. S.Umamaheswari
87
Portrayal of Nature in the Poems of William Wordsworth and

Robert Frost
393
Ms G. Yamuna
88
Texture of Nature in Robert Frosts Selected Poems

Ms. M. Yasotha
xviii
398
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89
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405
91
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419
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94
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95
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96
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434
97
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454
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xix
101
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463
467
Research Scholars in English

104
The Quintessence of Aesthetic Aspects in Amitav Ghoshs

The Hungry Tide
Ms. M.Archana,
472
105
Nature as Esnigmatic: Preoccupation with the Grotesque in the

Selected Poems of Walter de la Mare
476
Mr. P.Boopathi
106
Portraiture of Nature in Emily Dickenss poems

Ms. D.Deepa
480
107
The Portrayal of Nature in Robert Frosts Mending Wall

Ms. A.Indhu Priyanga, and Mr. S.Gopinath
483
108
An Indian Aesthetic Consciousness of Natural Corollary in

Sri Aurobindos Selected Poems
Mr. S.Karthick.,
488
109
Place and Displacement in Sa Kandasamys The Defiant Jungle

Mr. N.Sethunarayanan
491
110
Parallel Concept of Nature in Robert Frosts Works

Ms. M.Siva vidhya
495
111
Portrayal of Nature in Wordsworths Selected Poems

Ms. R.T. Vinodhini
499
xx
jkpo; kw;Wk; Mq;fpy vOj;jhsHfs; ghHitapy; ,aw;if
01. NATURE AS THE BACKGROUND OF

TAMIL CLASSICAL POEMS
Dr. S. Kumaran Dip.Ed.B.A., M.A., (Hons) Ph.D.,
Associate Professor in Tamil
Department of Indian Studies
University of Malaya
Kuala Lumpur, Malaysia
Translation of Tamil terms brought under naturalism and romanticism

creates an innovative genre - Editor
The name like kurinci, mullai, palai, marutam, neytal, vetci, karantai,
kanci, ulinai and nocci are very popular in literature indicating some of
the trees. The first five of these indicate the well-known aspects of Jove
and the regions of land appropriate for them. There are arguments in
favour of the theory that the names originally indicated the aspects of
love and then the respective regions as expounded by Naccinarkkiniyar
(Tol., 5), On the other hand, the earliest commentator Ilampuranar (Ibid. 5,
11am.) believed that the names originally indicated the flowers and then
only the regions concerned and finally came to symbolise the aspects of
love specified for these regions.
V. R. Ramachandra Dikshitar says that the ancient Tamil distinguished five regions (tinais): kurinci, mullai, palai, neytal and marutam.
These names probably were given after the trees or flowers which grew in
abundance in the respective regions (1930:273). This shows the interest
of the ancient Tamilians lives associated their lives with nature through
the plants of the various regions and the rich knowledge they had of
them. Human drama, being the representation of a phase of human life, is
expressed here in akam or puram poetry as their essence, and nature as
its background. The essence is the uripporul; the time-space continuance
is its mutalporul.
NATURE IN THE PERSPECTIVES OF TAMIL AND ENGLISH WRITERS
Regions have been divided into five-fold divisions, i.e. Kurinci, the
mountainous region considered appropriate for pre-marital love; Mullai,
the pastoral region which is the setting for the ideal home life of chastity
and peace; Palai, desert region enhancing the feeling of desolation in the
poetry of love in separation; Neytal, the coastal region of the seaboard
enhancing the feeling of despair. When in the course of pre-marital Jove
there is an inexplicable continued absence of the hero.
In Tamil poetry, nature has set her regional geography, the fivefold divisions e.g. of Kurinci - the mountainous region considered
appropriate for pre-marital love; Mullai - the pastoral region which is the
setting for the idyllic home life of chastity and peace; Palai - desert
region enhancing the feeling of desolation in the poetry of love in
separation; Neytal - the coastal region or the sea-board enhancing the
feeling of despair where in the course of pre-marital love there is an
inexplicable continued absence of the hero; and Marutam- the agricultural tract or civilised life fill of wealth and pomp characterised by the
institution of public woman gives rise sometimes to suspicion and
sometime to escapades into extra marital relationship and this enhances
the heroines sulky mood (Somasundaram, J. M. 1968: 109).
These again change their colour and aspect in accordance with the
time of the day and with the changing season. This idealised aspect is
that which is called Karupporul - their concrete representations being the
birds, beasts, trees, flowers, cultivated fields, grains, men and women
with their varying occupations, their games and dances, their feasts and
festivals, their Gods and worship, their songs and music, their musical
instruments and peculiar tunes, all making nature a living and concrete
backgrounds for human life. This nature in all its varied and varying
aspects becomes important as giving us the clue for understanding
classic poems in their natural settings (Somasundaram Pillai., J.M.,
1968:58-60).
Naturalism and romanticism are two distinct qualities of the age of
Cankam literature (Varadarajan, 1957: 2). The ancient Tamil poetry
includes lines of a deeply philosophic nature. Tamil poets often reval in
details more natural to scientific treatises on botany or biology. These
ancient poets do not treat nature alone for its own sake but always resort
it to describe human life in its varying aspects chiefly love and war. In
short, they knit together the feeling of man and beauties of nature.

The poems on the theme of love are all in the form of dramatic
monologues. The hero or the heroine the lady companion seems to
appear on the stage and express his or her feelings and thoughts.
Appropriate natural scenery forms the background. The poet has no
place on this poetic stage. He cannot express his own feelings unless
through the actors, i.e., the hero, the heroine and others in the drama of
love. What have been expressed to be taken as the feelings and thoughts
of the characters imagined and created by him.
The poet merges himself with the characters he creates and does
not, as in subjective poetry or in ordinary narrative, gives his own
description as a third person. The dramatic element commonly appears
more or less prominently in the shape of a dialogue. There might have
been some autobiographical material incorporated by the poet in such
poems, but it is not always easy to distinguish these elements. These are
dramatic lyrics, and in spirit and method subjective poems; but the
subjective element pertains, not to the poet himself but to some imaginary characters into whose feelings and thoughts he gives vicarious
expression.
In some kind of descriptions especially in love songs of
marutattinai, nature is used in allegories called ullurai uvamam or the
implied simile. All the objects of nature and their activities stand for the
hero, the heroine and others and their activities in the drama of love. It is
simile incognito which leaves it to the reader to discover it (M.
Varadarajan, 1969:49).
The anthologies are abounding in apostrophes. The hero or the
heroine addresses the moon, the wind, the sea, the crab, the crow, the
creeper or the tree and expresses the grief of the heart or requests one of
them to sympathize with him or her. The heroine addresses the sea and
enquires why it cries aloud even at midnight and who caused such
suffering (Kur. 163). She also asks whether it cries aloud in sympathy
with the misery of those pining in separation just like herself or it has
been forsaken by anybody as in her own case (Kali. 129) She blames the
north wind! we never meant any harm to you. Please do not cause further
suffering to this forsaken and miserable soul of mine (Nar. 196).
There are some arruppatai or guide-songs in the two anthologies,
Purananuru and Patirruppattu. In these, the bard, either panan (a musician) or virali (dance) or kuttan (actor) who has received gifts from a
generous patron guides another bard suffering from poverty and directs
him to the same patron and praises of his endearing qualities abound in
such guide-songs.
In Purananuru, there are seven poems as guide-songs of the
musicians, four of the women dancers, and three of the literary artists.
Patirruppattu contains one guide-song of the musician and five of the women
dancers (M. Varadarajan, 1969:50). All of them are inaccordance with the exposition
of Tolkappiyanar regarding the form of such songs (Tol. Porul. 18).
Nature serves only as background for or setting to the human
emotions that are depicted in akam or puram poetry. They serve as frames
for pictures of love or war, munificence, etc. Though nature is made
subservient to the human theme, yet, there is a free play of descriptions
of nature. Nature has a prominent, place in these anthologies. They
essentially depict mental states which are predominantly psychological,
meditative and argumentative.
In the later days, the poets indulged in the descriptions of persons
from head to foot or from foot to head calling such descriptions kecati
pata varunanai and patati kesa varunanai (M. Varadarajan, 1969:52).
According to C. T. Winchester (1908), the difference between
unimaginative and imaginative treatments of nature is lie difference
between trying to describe all one sees and rendering them in a few
epithets or images what one feels. The pictures of the poets of Ettuttokai
only consist of a few vivid features enough to enter emotional experiences. They drop off their pictures all irrelevant and unpleasant details,
so that the readers attention is concentrated upon the few features that
gives him a powerful and characteristic impression.
Though single lines, or sometimes single epithets, the poets flash
upon the readers imagination of the whole pictures. The picture of a hare
by the poet Tamil Kuttanar may be cited is an example( Puram. 334) In one
single line of four simple qualities and four small nouns tumayirk kuruntal
netuncevik kurumuyal (the small hare with pure fur, short legs and long
ears) lie complete picture of the animal is impressively drawn. Such simple
and direct words have a suggestive magical power. There is no room for
exaggeration in such artistic descriptions, which tie rather interpretations
of the poets experience. They have such an intensity of feeling and
imagination that their descriptions not to deteriorate into exaggeration
(M. Varadarajan, 1969:53)).

She expects the hero to understand from this description that a
number of people will frequent the spot attracted by the honey, the ripe
fruits and the fragrant flowers and thus indirectly forbids him from
coming during daytime or night. She urges him to marry and avoid such
clandestine meetings (Akam. 18). Similarly when he comes frequently
during the day, she requests him to come at nights and describes the
frontyard of the houses adorned by the punnai trees with fragrant
blossoms and the panai trees with the nests of anril birds. The suggestion heroine is that at night the anril birds which are so close to the house
cries keep the heroine awake throughout the night by their heart-rending
(Ibid.3 60). it also has indirect urge on the hero to marry early and settle
himself in an inseparable life with her.
The vivid description given by our Cankam poets in apt words
and pithy phrases to bring out the characteristics and rare features of the
birds, marine mammals and animals can serve as a model for the modern
writer. The ancient poets were capable of observing and describing
minute details of the habits and features of the birds, marine mammals
and animals. In doing so they were even able to give some details which
are considered to be exclusively within the scope of modern scientific
zoologists. There are many soliloquies, which are not called as such, but
are classified as the lovers or the sweethearts addresses to his or her
heart. Beside these, there are also verses in the form of addresses of the
lover or his sweetheart to some objects of nature such as the parrot, the
crane, the anril and the rain.
A love of nature cannot but be inherent in people that often come
in touch with nature. The influence in fostering an appreciation and love
for nature is usual between poets and people. The Tamil poets among
from the people were encouraged in their enthusiasm for nature by what
they wrote. We can say that naturalism and romanticism are the distinct
qualities of the age of Cankam literature.
Although ancient Tamil poetry includes lines of a deeply philosophic nature in deep, These ancient poets do not treat nature alone for
its own sake but always resort to it to describe human life in its varying
aspects, chiefly love and war. In short, they knit together the feelings of
man, the beauty of nature in closest bonds and warmest associations.
Works Cited
Ainicurunuru with old commentary edited by U. V. Caminata Aiyar, 5th
edition, Madras, 1957.
Akananuru with old commentary edited by N. M. Venkatasamy Nattar and
R.Venkatasalam Pillai, 3rd edition, 1954 -1957.
Katittokal, with Naccinarkkiniyar s commentary, 5th edition, Madras,
1958.
Kuruntokai, with U. V Caminata Aiyar, 3th edition, Madras, 1958.
Narrinai, with Pinnattur A. Narayanacami Aiyars commentary, 2nd
Patirruppattu, with old commentary edited by Avvai Duraisamy Pillai, 2nd
Purananuru, with old commentary edited by U.V Caminata Aiyar, 5th
Somasundaram P111th, J. M. A History of Tamil Literature, 1st edition,
Annamalainagar, 1967.
Tolkapiyam (Porulatikaram), with Ilampuranars commentary, 2nd edition,
Madras, 1956.
Varadarajan, M., Kuruntokai Viruntu. Madras. 1957.
Varadarajan, M., A type of Appostrophes in Sangam Literature,
Proceedings of the Third International Conference Seminar of Tamil
Studies, Paris, 1970.
02. Landscape on the view of Sangam Poets

Dr.R.Gunaseelan
Asst. Prof in Tamil & HOD
KSR College of Arts &Science for women
Tiruchengode.
Intensified explanation of Sangam poets gives the consequential vision
about Agam and Puram- Editor
One of the oldest, longest, sweetest, youngest and simplest
languages in the world is Tamil. The world of Tamil is ever growing. From
the ancient days onwards Tamil has got a highest place among the minds
of people. The soul of Tamil Literature is sangam. It gives identity to
Tamil literature. At heart sangam literature can be divided into two groups.
One is Agam, another one is puram. In the broadest sense, Agam deals with
the ideas of love and puram deals with the ideas of war. On the whole the
backbone of sangam literature is Nature. The emancipation of sangam
literature amplifies the heart beats of Nature in tradition- bound Indian
society. Its the vital quality of Nature at the hand of sangam poets.
Muthal, Karu, Uri
In Sangam poetry place and time plays a vital role. On the one
hand God, Food, Birds, Beasts, Plants are the component. On the other
hand love, hatred and longing are the another component. But sangam
poets give first two place for Nature next for human emotion.
Nature in the names of sangam poets
The total numbers of sangam poetry are 2381 which was written by
473 poets. But some writings have got anonymous author. In that
situation their rhetorical qualities create a name. Well doing is as much
important as well knowing. It is not enough if we are well-versed in the
correctness of language. It is equally important that we are well-equipped

with strategies for effectiveness. Sangam poets are well-versed in
metaphorical writings as well as effective tone. Totally 27 writers names
explain the dominant position of effective Nature. Their names are
respectively, Anilaadu mundrilar, Orerulavanar, Kangul Vellathar, kalporu
Cirunuraiyar, kovenkaip perunkatavanar, Sempulap peyaleerar,
netuvennilavinar, mineri tuntilar
Treatment of Nature in Agam and Puram
Our ancient Tamil people had a Deep and passionate love of
Nature. Nature is indeed one of the main theme of their writings. The
astonishing fact of sangam literature, that is, there we cannot trace out
any word Nature - M.Varadharajan . contains that love and war are the
two dimensions of Tamilians culture. They always give equal part to love
and war. This Nature is inter-woven with both. We cannot separate
Nature from their writings even though they never used a word Nature,
because they theNature as a part of their life. Through this, we can learn
that the position of Nature in the life of Tamilians.
Nature at the hand of Agam
Ex 1 On the view of Devakulaththar in Kurunthokai, Love is
longer than the sand, higher than the sky, depth than the sea.
Kurunthokai 3, Thevakulathar, Kurinji Thinai What the heroine
said about her love for the hero, as he listened nearby
Larger than the earth,
higher than the sky,
and harder to fathom
than the ocean,
is my love for the man from
the country whose slopes have
have black-stalked kurinji
flowers, that yield rich honey.
Ex 2 In the same vein Sempulapeyal neeraar, in his lyric compares
the tamil love,

Kurunthokai 40, Sempulapeyl neerar, Kurinji Thinai What the
hero said to the heroine, about their love
My mother and your mother,
what are they to each other?
My father and your father,
how are they related?
You and I,
how did we know each other?
Like rainwater that falls and
merges with the red earth, our
loving hearts have become one.
These lyrics are explaining the indispensible role of v Nature in
Agam.
Nature at the hand of Puram
Puram -187 deals with the speakers view on nation. Here the Poet
Avvai States, Land gives sometimes space for people, sometimes for
beasts, sometimes for water, sometimes for stones. According to the
elements we called them as nation. Forest, sea, mountain when the land
gives space for humanity then it will considered as true Nation, Because
live and let live is an Indian policy. The glory of land is based on the hard
work of people.
Purananuru 187, Poet Avvaiyar, Thinai: Pothuviyal, Thurai: Porunmoli
Kanji
May you live long, land!
Whether you are cleared land,
forests valleys or mountains,
if men who live there are good,
there will be goodness there!
Example 2
We are the elements of universe. Universe is the product of
Nature. Nature has five elements like Land, Sky, Water, Fire and Air. Each
has its own distinctive quality. In the lyric, puram -2 Muranghiyur
mudinagarayar compares the great king cheran with the five great
elements of Nature respectively,
Purananuru 2, Poet Muranjiyur Mudinakanar sang to Cheraman
Perunchotru Uthiyan Cheralathan, Thinai: Padan, Thurai: Seviyarivuruu,
Valthiyal
Your nature is like the five elements the earth filled with sand,
the sky raised above the earth, wind that blows in the sky, fire that
sweeps up the wind, and water that encounters that fire.
You tolerate your enemies and your deliberation is broad. You are
strong, destructive and merciful.
This is the common quality for all people.
Summation
From the decade of sangam literature onwards we started our
processions on civilization. In our civilization, Nature plays a crucial role.
Sangam poets are beautifully narrates the influence of Nature in their
writings. They had an eye for Nature in its twin aspects of Beauty as well
as terror. The contrast between glory and plight is beautifully portrayed
by the poets through the medium of Nature. Normally Nature gives life to
human society. At this occasion, sangam literature gives life to Nature,
because sangam literature is the tribute of nature. Finally this paper is the
tribute for Sangam literature.
10
03. NATURE IN THE PERSPECTIVES OF

AUTHOR
Ms.P.Anupriya,
Tutor,
Blk 255,10-Yishun Ring Road,
Singapore.
The field of naturism is decorating in every way - Editor
"Earth and sky, woods and fields, lakes and rivers, the mountain
and the sea are the excellent schoolmasters and teach some of us more
than we can never learn from books"
From the above the quotes, we come to know that nature is the source of
all things. Here "all" refers to everything."Everything" refers to living
and non-living things. This everything in the universe has at least some
connection in the part of the Nature. When nature connects with everything, automatically it also connects with Art and Literature.
"Nature is the art of God"
The above line justifies that Nature is an art. In Literature, the
writer portrays nature in skillful and awesome manner. They compare
nature with human life and actions of humans. we celebrates William
Wordsworth as nature poet and his poems mainly based on nature. Not
only Wordsworth, but also other writers such as Robert Frost, William
Blake, Emily Dickinson, Shelley Keats etc, who deal nature in their poems.
Lets see the poems of Robert Frost and William Blake.
In the poem of Robert Frost's "Stopping by Woods on Snowy
Evening" he deals nature and gives a message through nature. When we
read the poem, it explains that the poet admired the beauty of nature. The
snow which spreads in the woods looks beautiful and the poet stops his
11
horse and enjoys the beauty of nature. But the real meaning of the poem
explain the concept in the last two lines. The lines are,
"And miles to go before I sleep,
And miles to go before I sleep."
In the given lines "Sleeps" refers to "Death". He states that he has
to finish his duties of life before going to graveyard. He thinks that
nature is a life. The nature remains the same but the human life has to go
on and complete the duties of life before their life ends. He explains this
through the Nature in his poem.
Next William Blake's Echoing Green. In this poem also Blake
explains human life with nature. The title refers to beautiful memories of
old men's childhood. The poet explains this in the following lines,
"Such, such were the joys
when we all, girls and boys,
In our yiuth-time were seen
On the Echoing Green."
The above lines explains that the old men sit under the oak tree and they
are thinking about childhood. This exemplifies through nature by the poet.
When the writers write about nature, we enjoy it while reading. But
in real life we fails to enjoy the nature.
"One of the tragic things I know about human nature is, we are all
dreaming of some magical rose garden over the horizon instead of
enjoying the roses that are blooming outside our windows today."
This kind of activities of human is condemned by the nature poet
Wordsworth in the poem, "The World is Too Much With Us." He explains that
human fails to enjoy the nature which is the property of human. He says
that "Little we see in Nature that is ours." Atlast he says that he wants to be a
pagan. So, for every writer Nature is the source of everything in the universe.
Each and every poet tries to enjoy and celebrates nature in their perspectives. Like our writers, we also enjoy nature not only in reading but in real life.
"Study nature, Love nature, Stay nature. It will never fail you."
12
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Mq; f pyf; f htpaj; i j vspa eilapy; > kpf El; g khf
tpsf; f pr; nry; f pwJ ,f; f l; L iu - gjpg; g hrpupaH
[hd; kpy;ldpd; ghuil]; yh];l; xU kpfg;nghpa fhtpak;.
,jid kpy;l;ld; gd;dpnuz;L Gj;jfq;fshf ntspapl;Ls;shh;.
,g;Gj;jfk; xt;nthd;iwAk; nra;As; eilapy; vOjpAs;shh;.
,g;Gj;jfj;jpy; iggps; rhh;e;j tpraq;fis fw;gid eakhf
kpfg; n ghpa mstpy; ahuhYk; xg; g plKbahj jd; i kapy;
jd; D ila jdpj; J tj; i j ntspg; g Lj; j pAs; s hh; . ,jid
'kpy;l;lhdpf; ];ily;" vd;W Fwpg;gpLth;.
,g;gd;dpnuz;L gjpg;GfspYk; [hd; kpy;l;ld; ,iwtd;
cyif cUthf; f paijAk; rhj; j hd; Mjpf; f k; cUthd
fhuzq;fisAk; ,iwtd; mikjp Njb kdpjid cUthf;fpaijAk;
kdpjd; kl;Lk; ,Ug;gJ ed;wd;W vd;W mtDf;F Jizahf
ngz; i z cUthf; f paijAk; ,iwtDila kfpo; r ; r pia
Fiyf;Fk; tpjkhf rhj;jhd; kdpjid Nrhjpjj
; ijAk; kdpjDf;Fk;
,iwtDf;Fk; ,Uf;ff;$ba md;gpy; Vw;gl;l tphpriy gw;wpAk;
cyfpd; rPuopTf;F ngz;jhd; %yf;fhuzk; vd;gijg; gw;wpAk;
mjdhy; ,iwtd; cyfpw;F nfhLj;j rhgj;ijg; gw;wpAk;
13
nrk;ikahf kpfTk; tpaf;fj;jf;f tpjkhf 'ghuil]; yh];l;"

vd;w jiyg;gpd; %yk; ,t;Tyfk; kw;Wk; ,t;Tyifr;rhh;e;j
midj;Jk; (kdpjh;fs; tpyq;Ffs; kuq;fs; kyu;fs; ejpfs;)
vt; t hW flTs; mikj; J f; nfhLj; j nrhh; f ; f cyif
,oe;jhh;fs; vd;gijg; gw;wpj;jhd; kpy;l;ld; tpthpj;Js;shh;.
,og;ig kl;LNk vOjpa kpy;l;ld; mk;kdpj Fyj;jpd;
rhgj;ij ePf;f ,uf;fKs;s ,iwtd; kdpj cUtpy; ,NaR
fpwp];Jthf te;J kdpjDf;fhf jd; capiuNa nfhLj;jhd;
vd;Wk; rhit ntd;whh; vd;Wk; 'ghuil]; hPnfa;z;l;" vd;w
jiyg;gpy; vOjp jdJ gjpg;gfj;ij epiwT nra;jhh;.
,g;ghuil]; yh];l; Gj;jfk; xd;gjpd; xU gFjpjhd
;'VNjd; Njhl;lk;".
Now not, though sin, not time, first wrought the change
where Tigris at the foot of paradise
Into a gulf shot underground, hill part
Rose up a fountain by the tree of life.
In with the river sunk and with it rose
(71-75)
flTs; VNjd; Njhl; l j; i j jdf; F gpbj; j tpjkhf

uridahd Kiwapy; gilj;;jhh;. ,j;Njhl;lj;jpd; kiyfs;
mUtpfs; ejpfs; (ilfphP];)tpyq;Ffs; G+r;rpfs; midj;Jk;
fs;sk;> fglkpd;wp kfpo;r;rpahf Js;spd. ,it midj;Jk;
xd;iwnahd;W md;G nra;J tho;e;jd. flTs; jhd; gilj;j
mj;Njhl;lj;ij kpfTk; Nerpj;jhh;. mth; cs;sj;jpy; neUly;
VNdh mth; mtw;wpy; epiwTf; fhztpy;iy.
,Wjpahf rpwpJ fspkz;iz vLj;J tbtikj;J flTs;
jdJ %r;Rf;fhw;iw Cjp Kjy; kdpjid (Mjhk;) gilj;jhh;.
jdJ KOikahd kdmikjpf; fpilj;jJ. Kjy; kdpjd;
flTs; gilj;j ahtw;iwAk; Nerpj;jhd;. mitfSk; mtid
Nerpj;jd. Mdhy; kdpjDf;F epiwT ,y;iy. ,jid czh;e;j
flTs; kdpjd; cwq;Fk; Ntisapy; mtd; tpyh vOk;igf;
nfhz;L Kjy; ngz;iz (Vths;) cUthf;fpdhh;. Kjy; kdpjh;fs;
Foe;ij kdk; nfhz;;lth;fshf fs;sq;fglkpd;wp MjhKf;F
14
Vthshf> VthSf;F Mjhkhfj; Mbg;ghb tpisahb VNjd;

Njhl;lj;jpy; ,iwtd; gilj;j midj;Jg; gilg;GfisAk; fz;L
fspj;J cz;L cwq;fp te;jdh;.Mdhy;
The serpant sublest beast of all the field
Him after long debate ,irresolute
Of thoughts revolved,his final sentence chose
Fit vessel,fittest imp of fraud
(87-90)
,jidf;fhz tpUk;ghj nghwhikf;nfhz;l rhj;jhd;

,iwtd; kpfTk; Nerpj;j Kjy; kdpjh;fis mthplkpUe;J
gphpf;fj; jpl;lkpl;lhd;. ,iwtd; VNjd; Njhl;lj;ijr; Rw;wpYk;
thdj; J }jh; f is fhtYf; F itj; j hh; . rhj; j hdhy; VNjd;
Njhl;lj;jpy; Eioa Kbatpy;iy. mtd; gy topapy; gyKiw
Kaw;rp nra;Jk; mtdhy; kdpjh;fis neUq;fKbatpy;iy.
,Wjpahf ejpapd; topahf VNjd; Njhl;lj;jpy; Eioe;j mtd;
ghk;gpd; cliy jdJ jPr;nraYf;F fUtpahf Njh;e;njLj;jhd;.
me;ehs; Kjy; fs;sq;fglkpy;yhj ghk;gpd; clypy; eQ;R GFe;jJ.
mikjpahd ghk;G rPw Muk;gpj;jJ. kdpj Fyj;jpw;F vjpupahdJ.
ghk;gpd; clypy; Vwpa rhj;jhd; kdpjh;fis Njl Muk;gpj;jhd;.
Whose higher intellectual more I shun,
And strength, of courage haughty, and of lime
Heroic built, though of terrestrial mould
(482-484)
Mjhikf; fz;lhd;. mtd; typikkpf;ftdhf ,Ue;jhd;.

rhj;jhd; Mzpd; typik kpFe;j fk;gPukhd cliyf; fz;L
nghwhikg;gl;lhd;. rhj;jhidNa gaKWj;Jk; tpjkhf Miz
flTs; gilj;jhd;. mtd; Mjhkplk; neUq;fj; jaq;fpdhd;. ngz;izj;
Njbr; nrd;whd;.
Angelic, but more soft and feminine
Her graceful innocence, her every air
Or gesture or least action unawed
(458-460)
Vths; xU Njtijg;Nghy; fhl;rp mspj;jhs;. Foe;ij

jdkhd mtsJ kdij nfLf;f Kw;gl;lhd;. mtsJ moiff;
;fz;L mtd; Vq;fpdhd;.
15
From his own evil, and for the time remained

stupidly good, of enmity die armed
Of guile, of hate, of envy, of revenge
(464-466)
rhj;jhd; jhd; ,Uf;fNtz;;ba ,lj;jpy; Kjy; kdpjh;fs;

,Ug;gijf;fz;L kdk; cile;jhd;. flTs; kPJ mtdJ Nfhgk;
mjpfkhdJ. gopthq;Fk; vz;zk; mtdpy; NkNyhq;fp epd;wJ.
MfNt mk; K jy; kdpjh; f spd; kfpo; r ; r piaf; Fiof; f
Ntz;Lnkd;W KbT nra;jhd;. VNjd; Njhl;lj;jpd; ghpRj;jj;ij
nfLf;f Kw;gl;lhd;.
Mzplk; neUq; f pdhd; Mz; rhj; j hidf; fz; L f
;nfhs;stpy;iy. ngz;zplk; nrd;whd;. ngz; Gj;jp gpd; Gj;jp"
vd;w nrhy;Yf;F Kjy; ngz;Nz fhuzk; vd;w mstpw;F
rhj;jdpd; Gfo;rr
; papy; kaq;fpa mts; mtd; nrhy;tijnay;yhk;
ftdpf;fj; njhlq;fpdhs;. ,iwtd; Kjy; kdpjh;fSf;F nfhLj;j
epge;jidiar; Rl;bf; fhl;bdhs.; mJ vd;dntd;why; mth;fs;
mq;Fs;s
ahtw;iwAk; fz;L cz;L kfpoyhk;. xNu xU
kuj;jpd; fdpiaj; jtpu vd;gJ me;epge;jid. mk;kuk; ed;ikj
;jPik mwpAk; kuk;;. (Tree of knowledge)
mijj; njhpe;j rhj;jhd; mk;kuj;ijg; gw;wp Ngr Muk;gpj;jhd;.
ngz; Kjypy; Gwf;fzpj;jhs;. rhj;jhd; tpltpy;iy. mk;kuj;ij
tUzpf;fj; njhlq;fpdhd;. mJtiu Ngrhj ghk;G Ngr mk;kuNk
fhuzk; vd;W mtsplk; nrhd;dhd;. mk;kuj;jpd; goj;jpd; epwj;ijAk;
RitiaAk; tpthpf;fj; njhlq;fpdhd;. mg;nghOJ kjpa Ntis
grp Neuk;. ngz; rw;W rhj;jhd; gf;fk; rha;e;jhs;. ,t;tha;g;ig
gad;gLj;j tpUk;gpa rhj;jhd; mg;goj;ij cz;lhy; MjhKk;
VthSk; flTisg;Nghy; Mfyhk; vd;W vLj;Jiuj;jhd;.
ngz; kuj;jpd; mUNfr; nrd;whs;. mk;kuj;jpd; fdpiag;
gwpj;J jhd; cz;lhs; cz;lTld; gak; mtis Ml;nfhz;lJ.
mtsJ Foe;ij kdk; rpe;jpf;fj; njhlq;fpaJ. jhd; nra;j
jtWf;F flTs; jd;id kl;Lk; jz;bj;jhy; Mz; NtnwhU
ngz; i z kze; J f; n fhs; t hd; vd; W kdk; fyq; f pdhs; .
mtDf;Fk; cz;zf; nfhLf;f Ntz;Lk; vd;W KbTr;nra;jhs;
16
mtdplk;
eakhfg; Ngrp mtDf;Ff; nfhLj;jhs;. ,UtUk;
cz;ldh;. Foe;ijiag; Nghy ,Ue;j mth;fSf;F czh;T Vw;gg; l;lJ.
khw;wk; te;jJ. ehzk; nfhz;L Xb kiwe;Jf; nfhz;lhh;fs;.
Earth trembled from her entrails, as again
In pangs, and Nature gave a second groan:
Sky lured and, muttering thunder, so me, sad drops
wept at completing thunder, so me, sad drops
wept at completing of the mortal sun
(1000-1003)
mt;tpUthpd; nrayhy; VNjd; Njhl;lk; khRg;gl;lJ. G+kpj;

jha; fyq;fpdhs; ,aw;iff;F typf;fj; njhlq;fpaJ. Nkfq;fs;
gjwp mq;Fk; ,q;Fkhf Xbd thdk; ,b Kof;fkpl;L fjwpd.
mOifj; Jspfshf kiog; nga;jJ.
Thus they in mutual accusation spent
The fruitless hours, but neither self condemning
And of their vain contest no end
(1187-1189)
,e;epiy czuhj kdpjh;fs; xUtiu xUth; Fw;wg;gLj;jpf;

nfhz;ldh;. Kjy; kdpjh;fs; ,aw;ifapd; md;ig ,oe;jhh;fs;
flTs; kdpjh;fSf;fhfg; gilj;j VNjd; Njhl;lk; ntWk; fdthf
tre;j fhy epidTfshf khwpaJ. ,t;tUzidfspd; %ykhf
kpyl
; l
; d; flTis ,oe;Njhk; vd;Wk; ,iwtd; gilj;j ,aw;ifapd;
,aw;ifj;jd;ikia ,oe;Njhk; vd;Wk; rpwg;ghf kpf mofhd
Kiwapy; ghuil]; yh];l; Gj;jfk; vd;gjpy; tpthpj;Js;shh;.-
17
05. rhdl; (Sonnet): Mq;fpyj;jpypUe;J

jkpOf;F te;j R+oy;
Kidth; j. Re;juuh[;
cjtpg;Nguhrpupau; - jkpo;j;Jiw>
Nf.v];. uq;frhkp fiy mwptpay; fy;Y}up (jd;dhl;rp)>
jpUr;nrq;NfhL.
,j; j hypapy; Njhd; w pa rhdl; vd; D k; ftpij
tbtj; j pd; rpwg; g pay; G fis vLj; j pak; G fpwJ
,f; f l; L iu - gjpg; g hrpupaH
rhdl; b d; Njhw; w Kk; tsu; r ; r pAk;

gjpdhd;fhk; E}w;whz;by; ,j;jhypapy; Njhd;wpaJ rhdl;
vd;Dk; ftpij tbtk;. ,j;jhypapy;
gpuhd;]p]; Ngl;uhu;r;
(Francis Petrarch,1304-1374), lhz;Nl mypnfup (Dante Alighieri, 12651321) Mfpa ftpQu;fs; rhdl; tbtpy; gilj;j ftpijfs;
gjpdhwhk; E}w;whz;by; Mq;fpyj;jpw;F mwpKfkhapd. gjpdhuhk;
E}w;whz;bd; njhlf;fj;jpy; ru; jhk]; ahl; (Sir Thomas Wyatt,15031542) vd;Dk; Mq;fpyf;ftpQu; gpuhd;]p]; Ngl;uhu;rr
; pd; ,j;jhypa
rhdl;Lfs; rpytw;iw Mq;fpyj;jpy; ngau;j;jhu;. mjidj;
njhlu;e;J ru; jhk]; ahl;> n`d;wp N`htu;l; (Henry Howard,
1517-1547) vl;Kz;l; ];ngd;]u; (Edmund Spenser 1552-1599)> ru;
gpypg; rpl;dp (Sir Philip Sidney 1554-1586)> tpy;ypak; Nrf;];gpau;
(William Shakespeare1564-1616)> [hd; Nlhd; (John Donne 1572-1631)
[hd; kpy;ld; (John Milton1608-1674) Kjypa Gfo;ngw;w Mq;fpyf;
ftpQu;fs; rhdl; tbtj;jpy; Mu;tk; fhl;bdu;. rhdl; tbtj;jpy;
gy; N tW nghUz; i kfspy; mtu; f s; ftpij Gide; j du; .
18
Nrf;];gpaUk;> ];ngd;]Uk; rhdl; tbtj;jpy; Gjpa Nrhjid

Kaw;rpfis Nkw;nfhz;ldu;. mjd; gadhf mikg;G Kiwapy;
rhdl; %d;W tifahf gupzkpj;jJ. mit: 1.Ngl;uhu;rd; rhdl;
(Petrarchan sonnet) my;yJ ,j;jhypad; rhdl; (Italian sonnet)
2.Nrf;]g
; hP pad; rhdl; (Shakespearean sonnet) my;yJ Mq;fpy rhdl;
(English sonnet)> 3. ];ngd;n]upad; rhdl; (Spenserian sonnet).
rhdl; b d; nghJ mikg; G :
gjpdhd;F mbapy; mikjy;
<uirAila IQ;rPub (iambic pentameter) (xU mbapy; Ie;J

rPu; mikjy;)
xypapiaG njhileak; (rhyme)
Ngl;uhu;rd; rhdl;bd; mikg;G:
gjpdhd;F mbf;ftpijapy;>
Kjy; vl;L mbfs; (octave) ,Utif Xir eaj;Jld;

mikAk; (AB/BA/AB/BA).
,Wjp MW mbfs; (sestet) ,uz;L my;yJ %tif Xir

eaj;Jld; mikAk; (CDE/CDE).
Kjy; vl;L mbfspy; ghLnghUs; my;yJ gpur;rid gw;wpAk;

,Wjp MW mbfs; mjd; KbT my; y J mjw; f hd
jPu;thfTk; mikAk;.
]; n gd; N ]upad; rhdl; b d; mikg; G :
gjpdhd;F mbf;ftpijapy; Kjy; gd;dpnuz;L mbfs; %d;W

ehyb ntz;ghf;fshfTk; (quatrains)> filrp ,U mbfs;
<ubahfTk; (couplet) mikAk;.
ntz;gh tbtpyhd Kjy; %d;Wk; ,Utif Xireaj;jpy;

khwpkhwp mikAk;. (AB/AB-BC/BC-CD/CD).
,Wjp <ubfs; xNu Xir eaj; J ld; (,izahf :

N[hbahf;fpair) mikAk; (E/E).
19
Nrf;];gPupad; rhdl;bd; mikg;G: gjpdhd;F mbf; ftpijapy;

Kjy; gd;dpnuz;L mbfs; %d;W ehyb ntz;ghf;fshfTk;
(quatrains) filrp ,U mbfs; <ubahfTk; (couplet) mikAk;.
ntz;gh tbtpyhd Kjy; %d;Wk; %d;W tif Xireak;

nfhz;bUf;Fk; (AB/AB-CD/CD-EF/EF).
,Wjp <ubfs xNu Xir eaj; J ld; (,izahf :

N[hbahf;fpair) mikAk; (G/G).
Kjy; ehyb (ntz; g h) ftpijapd; ghLnghUisAk; >

R+oiyAk; mwpKfg;gLj;Jk;.
,uz;lhtJ kw;Wk; %d;whtJ ehyb (ntz;gh) ghLnghUis

tpupthf tpsf;Fk; my;yJ Kd;djpypUe;J NtWgl;Lk;
mikAk;. Kd;djpypUe;J khWgLk; jpUg;gk; rpy Neuq;fypy;
%d;whtJ (ehyb)ntz;ghtpy; mikAk;.
,Wjp <ub Ke;ija gd;dpnuz;L mbfspd; njhFg;ghfNth>

Gjpu;tpLtpg;ghfNth> KbthfNth mikAk;. rpy Neuq;fspy;
Ke;ija rpe;jidapypUe;J khWtjhfTk;> tpyFtjhfTk;
$l mikAk;. vjpu;ghuhj jpifg;G+l;Lk; jpUg;gkhfTk; ,e;j
<ub miktJz;L.
rhdl; b d; ghLnghUs;
tho;T - rhT ,sik - KJik fhjy;; mtek;gpf;if
Nrhfk; ; moifg; Gfo; j y; - Nghw; W jy; ; gioa epidTfis
mirNghLjy;; xw;Wik; ,zq;fp elj;jy;; xU ehlfk; Nghd;w
tho;f;if. vd gy nghUz;ikfspy; rhdl; ghlg;gl;lJ.
,j;jhypapy; Nt&d;wp Mq;fpyj;jpy; tpUl;rkhf tsu;e;j
rhdl; ,Ugjhk; E}w; w hz; b d; njhlf; f j; j py; jkpOf; F
mwpKfkhfpaJ.
Mq;fpy ,yf;fpaj;jpd; jhf;fKk; jkpo;R+oYk;:

jkpo; ,yf;fpaj;jpy; jkpo; kugpy; Njhd;wpa ,yf;fpa
tbtq; f NshL gpw kuGfspypUe; J fld; ngw; w ,yf; f pa
tbtq;fSk; cz;L. fp.gp. gd;dpnuz;lhk; E}w;whz;Lf;Fg; gpd;
20
vOr;rpngw;w ,];yhkpa jkpo; ,yf;fpak;> Guhzk;> fhg;gpak;>

rpw;wpyf;fpak; vd kughu;e;j jkpo; ,yf;fpa tbtq;fNshL>
muG> ghurPf ,yf;fpa kuGfspypUe;J kryh> fp]]
; h> ehkh Nghd;w
,yf;fpa tbtq;fis jkpopy; mwpKfg;gLj;jpaJ. mjidj;
njhlu;e;J gy Gjpa ,yf;fpatbtq;fs; jkpOf;F te;jd.
gj; n jhd; g J kw; W k; ,Ugjhk; E}w; w hz; L fs; jkpo;
,yf;fpaj;jpw;F Gj;Japu; Cl;Lk; tifapy; mike;jd. mf;fhy
fl; l j; j py; ,Ue; j jkpo; g ; g ilg; g hspfs; ,Utifapduha;
gpupe;jpUe;jdu;.Kjy; tifapdu; kughu;e;j jkpo; ,yf;fpaq;fisg;
Nghw;wp> nra;As; tbtj;jpNyNa ftpij Gide;J nfhz;bUe;jdu;.
,tu;fspy; Kjd;ikahdtu; kPdhl;rpRe;juk; gps;is (1815-1876).
,tu; ghba Mapuf;fzf;fhd ghly;fs; nra;As; tbtpNyNa
mike;jd. ,uz;lhtJ tifapdu; kughu;ej
; nra;As; tbtpy; ftpij
GidtNjhL kl;Lkd;wp> Mq;fpy fhydpahjpf;fj;jpd; top
jkpOf; F mwpKfkhfpf; n fhz; b Ue; j Nkw; f j; j pa ,yf; f pa
tbtq;fspYk; ,yf;fpak; gilj;jdu;. gpupl;b ,e;jpahtpy; ,e;jpa
nkhop ,yf;fpaq;fspy; Nkw;fj;jpa ,yf;fpaq;fspd; nry;thf;F
ngUfpaJ. Fwpgg
; hf ehty;> rpWfij> trdf;ftpij Nghd;w GJg;GJ
,yf;fpa tbtq;fisnay;yhk; iff;nfhz;L ,yf;fpak; gilj;J
jkpOf;F mzpNru;fF
; k; gzpapy; <Lgl;l ,uz;lhtJ tif jkpog
; ;
gilg;ghspfspy; Kjd;ikahdtu; Rg;gpukzpa ghujp (1882-1921).
xUGwk; kuGf;ftpij gilg;gjpy; ty;ytuhfj; jpfo;e;j ghujp>
kWGwk; jkpo;f;ftpijapy; gy;NtW Nrhjid Kaw;rpfspy;
<LgLfpwhu;. mtuJ GJf;ftpij NrhjidfSf;F Mjhukhf
tpsq;fpaJ> Nkw;fj;jpa ,yf;fpaj;jpy; Fwpg;ghf Mq;fpyf;
ftpijfspy; mtUf;F ,Ue;j gupr;raNkahFk;.
ghujpapd; rkfhyj;jpy; ,e;jpahtpYk;> ,yq;ifapYk;
gz;bju;fshf tpsq;fpa rp.it.jhNkhjuk; gps;is (1832-1901)>
ng.Re;juk;gps;is (1855-1897)> nt. fdfrig gps;is (1855-1906)>
jp.nry;tNfrtuha Kjypahu; (1864-1921)> v];.vk;.eNlr rh];jpup
(1859-1916)> vk;.v];.G+u;zypq;fk; gps;is (1866-1947)> gupjpkhw;
fiyQu; (1870-1903)> gp.Mu;.,uh[k; Iau; (1872-1893)> M.khjitah
(1872-1925) Nghd; w tu; f s; Nkw; f j; j pa ,yf; f paq; f spYk; >
21
jj;Jtq;fspYk;
gupr;rakhdtu;fshf ,Ue;jhu;fs;. mjdhy;
Nkw;fj;jpa mwpQu;fspd; fUj;Jf;fis jd; gilg;Gfspy;
Nkw;Nfhs; fhl;bdu;. khA+uk; Ntjehafk; gps;is (gpujhg Kjypahu;
rupj;jpuk;>1879)> t.Nt.R.Iau; (Fsj;jq;fiu murkuk;)> gupjpkhw;
fiyQu; (jdpg; g hRuj; njhif>1901)> gp.Mu; . ,uh[k; Iau;
(fkyhk;ghs; rupjj
; puk;>1893-1895)> M.khjitah (gj;khtjp rupjj
; puk;>
1898) Nghd;w rpyu; Mq;fpy ,yf;fpa tbtq;fspy; (ehty;>
rpWfij> rhdl;> trdf;ftpij) jkpo; ,yf;fpak; gilj;jdu;.
jkpo;f;ftpijapy; ghujp Nghd;wtu;fs; etPdj;ij Nehf;fp
Kd;Ndwpdu;. Mq;fpyf; ftpijfspd; cUtk;> cs;slf;fk; Nghd;wtw;wpy;
epfo;e;Jnfhz;bUe;j GJik Kaw;rpfis tuNtw;W jkpOf;F
mwpKfg;gLj;jpdhu;fs;. mJkl;Lkd;wp fPl;];> nry;yp Nghd;w
Mq;fpyf;ftpQu;fspd; jhf;fj;jpy; Fapy;ghl;L Nghd;w ,aw;ifg;
ghly;fs; gytw;iw ghujp gilj;jhu;. gupjpkhw;fiyQu; Nghd;wtu;fs;
Mq;fpy ,yf;fpaj;jpd; ghLnghUs;fis tpl> jkpo;r;nra;Aisg;
(ntz;gh) Nghd;W mikg;G nfhz;l rhdl; tbtq;fshy;
<u;f;fg;gl;lhu;fs;. ghujpiaAk; rhdl; tbtk; nfhQ;rk; ghjpj;jJ.
jkpopy; rhdl;
jkpopy; rhdl; ftpij tbtq;fis mwpKfg;gLj;jpatu;fs;
ghujpAk;> gupjpkhw;fiyQUNk. ~QhdNghjpdpapy; gupjpkhw; fiyQu;
njhlu;e;J gilj;J te;j rhdl; ftpijfs; ~jdpg;ghRuj; njhif|
vd 1901-,y; E}y;tbtk; ngw;wJk;> mr;rpy; ntspahd ghujpapd;
Kjy; ftpijahd 'jdpikapuf;fKk;" jkpopd; njhlf;ffhy
rhdl; ftpijfshFk;.
ghujp kw;Wk; gupjpkhw;fiyQupd; rhdl; ftpijfis
Kjd;Kjypy; ,jo;fspy; jhd; ntspahfpd. gupjpkhw;fiyQu;
QhdNghjpdpapy; ntspapl;L te;j rhdl;Lfis 1901-,y; E}yhfg;
gjpg;gpf;fpwhu;. ghujpapd; 'jdpikapuf;fKk;" vd;Dk; rhdl;> kJiu
apypUe;J te;j 'tpNtfghE" ,jopy; 1904-,y; ntspahfpwJ.
jkpo; etP d ,yf; f paj; i j tsu; j ; n jLj; j ,jo; f s; jhd;
rhdl;ilAk; ntspapl;ld.
22
rhdl; i lj; jkpopy; gilf; f gupjpkhw; f iyQUf; F

ce;Jjyhf ,Ue;j Kf;fpakhd xU tp\aj;ij
jdpg;ghRuj;njhifapd; Kd;Diuapy; Fwpg;gpLfpwhu;. mJjhd;
rhdl; jkpopy; mwpKfkhd topAkhFk;. 'Mq;fpy E}y; gapw;rp
Aila jkpo; kf;fs; jkpo;nkhopiag; ngupJk; ftdpj;jyd;wp
ifNrhu tpLfpd;wdu; vd gyUk; $Wk; tir nkhop vk;
nrtpg;glYk; kdk;nghNwk;> GJ topahy; VNjDk; nra;a
Ntz;Lnkd;W GFe;Njhk;."
ghujpapd; 'jdpik ,uf; f k; "

(Neupir Mrpupag;gh)
Fapydha; ! epd; n dhL Fytpapd; fytp
gapy; t jpw; fopj; j gd; d hs; epide; J gpd;
,d; n wdf; fpilNa vz; z py; Nahridg; g Lk;
Fd; w Kk; tdKk; nfhopjpiug; GdYk;
Nktplg; Gupe; j tpjpiaAk; epidj; j hy;
ghtpnad; neQ; r k; gfP n udy; mupNjh?
fyq; f iu tpsf; n fhU fhtjk; Nfhbah
kyq; F Nkhu; rpwpa kuf; f yk; Nghd; N wd;
Klk; g L jpdq; f hs; ! Kd; d u; a hd; mtSld;
clk; n ghLk; capnud cw; W tho; ehl; f spy;
tspnadg; gwe; j eP u ; kw; w pahd; vdhJ
fpspapidg; gpupe; J opf; fpupnadf; fplf; F k;
nraiynad; ,ak; G ty; rptNd!
kaiyapw; nwd; n wtu; tFg; g uq; ftl; N f|
gupjpkhw; f iyQupd; ,aw; i ff; f tpij ~kjp|
ghujp Mq;fpy rhdl;Lfspd; ghLnghUshd Nrhfj;ij
mg;gbNa jdpikapuf;fk; vd;Dk; jd; ftpijapy; nfhz;L tUfpwhu;.
mjhtJ tbtk; kl;Lkd;wp ghLnghUisAk; Mq;fpyj;jpypUe;J
vLf;fpwhu;. Mdhy; gupjpkhw;fiyQu; fy;tp> ,ir> flTs;> kjp>
tpz; k P d ; > fly; > ,uT> ,y; y wk; > jpUts; S tu; vd ve; j
tiuaiwAk; ,d;wp vy;yhtw;iwAk; ghLnghUshff; nfhs;fpwhu;.
23
gupjpkhw;fiyQupd; jdpg;ghRuj;njhifia Mq;fpyj;jpy;

rhdl; tbtj;jpNyNa [p.A+.Nghg; nkhopngau;j;jhu;. mjid
jdpg;ghRuj;njhifapd; ,uz;lhtJ gjpg;gpy; %yj;Jld; ,izj;J
gupjpkhw;fiyQu; ntspapl;lhu;.
Jiz E}y; f s; :
tP.Nfh.R+upa ehuhaz rh];jpupahu;> jdpg;ghRuj; njhif>
Kjy; gjpg;G: nrd;id> 1901; ,ud;lhk; gjpg;G: mz;zhkiy
efu;>1933.
Kamaliah. K.C.,Tamil Classical Poetry in English Sonnets
Kailasapthy. K.,?The relation of Tamil and Western literatures?, The
Indian Review of World Literature in English, Vol. 2,No.II Jul, 2006.
24
06. %Jiuapy; ctik eyd;

jpU. ij.me; N jhzpuh[; . vk; . V.>vk; g py; . >
cjtpg;Nguhrphpah;> jkpo;j;Jiw
NrTfd; mz;zhkiy fiy mwptpay; fy;Y}hp
NjtNfhl;il
%Jiuapy; $wg; g Lk; mofhd ,aw; i f Fwpj; j
ctikfis rhd; W fSld; ,f; f l; L iu
vLj; J iuf; f pwJ - gjpg; g hrpupaH
ve;jnthU nghUSk; cs;sJ cs;sthW ,aw;ifahf
,Ue;jhy; ghh;ff
; pd;wth; jk; cs;sj;ij <h;gg
; jpy;iy. fhz;fpd;wth;
jk; cs;sk; tpUk;GkhW moF Nrh;jJ
; f; fiyj;jd;ikNahL kpsphe
; j
; hy;
jhd; mg;nghUspy; ghh;f;fpd;wth; moiff; fhz;gh;. mofhd
ftpijfSk; ,ijg;Nghd;wNj. ghLfpd;w ftpQh; cs;sij
cs;sthW ghlhky; gbf;fpd;wth; cs;sk; tpioAkhW rpytw;iwr;
Nrh;j;J myq;fhug;gLj;jpf; fw;gidahfg; ghLth;> Ritia
cz;lhf;Fth; me;j tifapy; kdpjid kdpjdhf thor; nra;tjw;Fj;
Njhd;wpa mw ,yf;fpaq;fspYk; Ritahd ctikfs; fhzg;
gLfpd;wd. mt;tifapy; mt;itahhpd; %Jiuapy; fhzf;$ba
ctikfis ntspf;fhl;LtNj ,f;fl;Liuapd; Nehf;fkhFk;.
ctik : ctik vd;gJ nghUisj; jf;f xg;Gik nfhz;L
czh;j;JtjhFk;. njhy;fhg;gpah;> tpidgad; nka;cU vd;w
ehd;Nf
tifgl te;j ctikj; Njhw;wk; (njhy;fhg;gpak; : ct:272)
vd ctikapd; ,yf;fzj;ijf; $Wfpwhh;.
25
ctik vd;gJ ftpQdpd; mDgtg; nghUshFk;. mtd;

Vw;fdNt fz;Litj;jg; nghUisg; Gjpjhff; fhZk; nghUNshL
nghUj;jp itj;J mg;nghUspd; cah;T jho;Tfis mse;J
$Wfpd;whd; vdf;$wyhk;. nghUspd; rpwg;ig typAWj;Jtjw;fhf
ctik mikf;fg;gLfpwJ. mjd; cah;itf; fhl;l mjdpDk;
cah;e;j nghUisNa tiuaiwahf mikf;f Ntz;bAs;sJ.
me;j tifapy; md;whlk; kdpjh;fs; gad;gLj;Jk; nghUl;fisNa
mt;itahh; ctikahf $wpAs;shh;.
fy;tp :
kdpj tho;tpd; mwpahik vd;w Nehiag; Nghf;FtJ fy;tp
jhd;. ,e;jf; fy;tp kdpjid kdpjdhf gz;gLj;JfpwJ. mwpit
tphpff
; r; nra;fpwJ. fw;wwpej
; th;fs; mlf;fj;Jld; fhzg;gLthh;fs;.
fy;yhjth;fs; fw;wth;fs; Nghy ebg;ghh;fs;. vd;gij
'fhd kapyhlf; fz; b Ue; j thd; N fhop
jhD kJthfg; ghtpj; J j; - jhDe; j d;
nghy; y hr; rpwif tphpj; jhbdhw; NghYNk
fy; y hjhd; fw; w ftp"
(%Jiu : 14)
,g; g hlypd; topahf tpsf; F fpwhh; . gapy Ntz; b a
E}y;fis KiwNa gapyhky; gbj;jth;fs; $Wtij kl;Lk;
Nfl;Lj; jhNd gbj;jJ Nghy kw;wth;fsplk; ebg;gJ> fhl;by;
cs;s kapy; jdJ Njhifia tphpj;J MLfpwijf; fz;l
thd;Nfhop jdJ mofpy;yhj - nghy;yhj rpwif tphpj;J Mbdhw;
Nghd;wJ vd;W ctikg; gl ghbAs;shh;.
NkYk; fy;tp fw;wth;fs; fw;wth;fNshLjhd; Nrh;thh;fs;
vd;gij jhkiu kyh;fs; G+j;Js;s Fsj;jpy; ey;y md;dg;
gwit Nrh;e;jhh; Nghy vd;w fUj;ij
'ew; w h kiuf; f aj; j py; ey; y d; d Q; N rh; e ; j hw; Nghy
fw; w hiuf; fw; w hNu fhKWth; - fw; g pyh
%h; f ; f iu %h; f ; f h; Kfg; g h; KJfhl; b w;
fhf; i f cRf; F k; gpzk; "
(%Jiu : 24)
26
,g;ghlypd; %yk; $Wfpwhh;. fy;tpawptpy;yhj %lh;fNshL

%lh;fNs Nrh;th;. ,J ,Lfhl;by; gpzj;ijf; fhf;iffs; tpUk;gpr;
Nrh;tJ Nghy vd fw;wthpd; rpwg;igf; $wpAs;shh;.
mwpTilath; jkf;Fj; jPq;F nra;NthUf;Fk; ed;ikNa nra;th;.
vt;thnwdpy; kuj;ij ntl;b tPo;j;Jk; msTk; mJ xUtUf;Ff;
Fsph;e;j epoiyf; nfhLf;Fk;. nfhbNa ntapiy kiwf;Fk;
'Fiwf; F e; jidAq; Fsph; epoiyj; je; J
kiwf; F khq; fz; B h; kuk; "
(%Jiu : 30)
vd ,g;ghlypy; kuj;jpd; jd;ikia mwpTilatNuhL xg;gpl;Lf;
$wpAs;shh; mt;itahh;.
,y; y wk; :
rKjhak; rPUk; rpwg;Gkhf miktjw;F xt;nthU FLk;gKk;
,d;wpaikahjitahFk;. FLk;gq;fs; rpwg;Gld; ,Ue;jhy; kl;LNk
rKjhak; tsh;r;rp ngWk;. FLk;gk; ey;y Kiwapy; ,aq;f
Ntz;Lk; vd;why; kidtp vd;gts; rhpahf mike;Jtpl;lhy;
mf;FLk;gj;jpw;F NtW vJTk; Njitapy;iy. midj;Jk;
rpwg;Gld; ,Uf;Fk;. ,f;fUj;ij mt;itahh;>
',y; y h sfj; j pUf; f ,y; y hj njhd; w py; i y
,y; y hSk; ,y; y hNs ahkhapd; - ,y; y hs;
typfple; j khw; w kiuf; F Nky; mt; t py;
Gypfple; j J}wha; tpLk; "
(%Jiu : 21)
,g;ghlypd; topahf Gyg;gLj;Jfpwhh;. kidtp
Fzf; N fLs; s tshf mike; J tpl; l hy; mt; t P l ; b y; vy; y hk;
,Ue;Jk; vJTk; ,y;yhkw; Ngha;tpLk;. mt;tPL Gypjq;fp tho;e;j
Fif Nghy; MfptpLk; vd vLj;Jiuj;Js;shh;.
cz;ikahd cwtpdh; vd;gth;fs; tWik te;Jw;w
NghJk; ek;NkhL $lNt ,Ug;gth;fs;jhd; vd;gij
'mw; w Fsj; j pd; mWeP h ; g ; gwitNghy;
cw; W ope; jP h ; t hh; cwty; y h; - mf; F sj; j pw;
nfhl; b Ak; Mk; g Yk; nea; j Yk; NghyNt
Xl; b AWthh; cwT"
(%Jiu : 17)
27
,g;ghlypd; thapyhf ntspf;fhl;Lfpwhh;. Fsj;jpy; ePnuy;yhk;

tw;wpdhy;> mf;Fsj;jpy; Kd;dh; tho;ej
; pUe;j gwitfs; vy;yhk; ePh;
epiwe;Js;s NtW Fsj;ijj; Njbg; gwe;J nry;Yk;. Mdhy;
mf;Fsj;jpy; Kd;dh; ,Ue;j nfhl;bf; fpoq;F> my;ypg;G+> nea;jy;
ahTk; mf;Fsj;jpNyNa ,Ue;J fha;e;J gpd;dh; ePh; tUk;NghJ
kPz;Lk; jsph;f;Fk; vd;w epfo;it cz;ikahd cwtpdh;fNshL
ctikg;gl fhl;bAs;shh;. NkYk; cld;gpwe;jhUf;Fs;Ns jPik
nra;NthUk; mayhUs;Ns ed;ik nra;NthUk; cz;L vd;gij
'cld; g pwe; j hh; Rw; w j; j hh; vd; w pUf; f Ntz; l h
cld; g pwe; N j nfhy; Y k; tpahjp - cld; g pwth
khkiyapYs; s kUe; N j gpzpjP h ; f ; F k;
mk;kUe;J Nghy;thU Kz;L" (%Jiu : 20)
,g;ghlypd; topahf vLj;Jiuf;fpwhh;.
NkNyhh; fPNohh; :
xU kdpjdpd; Fzk; mtdJ nray;ghLfspd; topNajhd;
mikAk;. me;j tifapy; NkNyhh; fPNohh; ve;j #k;epiyapy;
vt;thW ,Ug;ghh;fs; vd;gij ctik ghbAs;shh;.
'ml; l hYk; ghy; R itapw; Fd; w h jstsha;
el; l hYk; ez; g y; y hh; ez; g y; y h;
nfl; l hYk; Nkd; k f; f s; Nkd; k f; f Nsrq; F
Rl; l hYk; ntz; i k jUk; "
(%Jiu : 4)
vd;W Nkd;kf;fis rq;F kw;Wk; ghYld; xg;gpl;Lf; $wpAs;shh;.
cUtj;jpy; nghpatuhfTk; Fzj;jpy; rpwpatuhfTk;>
cUtj;jpy; rpwpatuhfTk; Fzj;jpy; nghpatuhfTk; ,Ug;gth;fs;
cz;L. ,jid jhok; G+ ,jo;fspNy nghpajhf ,Ue;jhYk;
mJ kzf;fhJ. kfpok;G+ ,jo;fspNy rpwpajhf ,Ue;jhYk;
mJ kzf;Fk; vd;W mt;itahh; $Wfpwhh;.
NkNyhh; tWikAw;whYk; jq;fs; epiyapypUe;J Fiwa
khl;lhh;fs; vd;gij.
28
'nghd; d pd; FlKile; j hw; nghd; d hF nkd; d hFk;

kz; z pd; FlKile; j f; fhy; "
(%Jiu : 18)
,g;ghlypy; nghd;Flk;> kz;Flj;Jld; xg;gpl;L mth;fsJ
Nkd;ikia vLj;Jiuf;fpwhh;.
NkYk; kdpjh;fis %d;W tifahf gphpj;J xg;gpl;Ls;shh;.
mg;ghly; gpd;tUkhW
'fw; g psNth nlhg; g h; fath; fLQ; r pdj; J g;
Nghw; g psNth nlhg; g hUk; Nghy; t hNu - tpw; g pbj; J
eP h ; f popa va; j tLg; N ghy khWNk
rP n uhOF rhd; N whh; rpdk; "
(%Jiu : 23)
fPNohh; rz;ilapl;Lf; nfhz;L gphpe;jhy; fy; gpse;jhy;
Nghy ,Ug;gh;. xUtNuhL xUth; jpUk;gTk; ,izakhl;lhh;. el;gpy;
gphpe;j rpyh;> fhyg;Nghf;fpy; NtWrpyhpd; jiyaPlb
; y; ntl;lg;gl;l
nghd;Nghy kPz;Lk; ,izthh;fs;. rhd;Nwhh; rpdk; mk;gpdhy;
ePh;gpsf;f va;j gpsTNghy fz;%bj; jpwg;gjw;Fs; ,t;thW
mwf;fUj;Jf;isf; $w te;j mt;itahh; kdpjh;fs; md;whlk;
tho;tpy; gad;gLj;Jk; epfo;TfNshL xg;gpl;L $wpAs;shh;.
frg; g hd kUe; i j Njdpy; Nrh; j ; J f; nfhLg; g J Nghy
mwf;fUj;jf;fis ctikNahL kdpjdp;d; Nkd;ikfisAk;
Kd;Ndw;wq;fisAk; $wpAs;shh;.
29
07 Re;juh; ghly;fspy; ,aw;if

Kidth; . jh.f.mDuhjh
cjtpg; Nguhrphpah; - jkpo;j;Jiw
gp.[p.gp. fiy kw;Wk; mwptpay; fy;Y}hp
ehkf;fy;.
,aw; i fapy; fye; J ngw; w Nghpd; g j; i j vLj; J
toq; F k; mDgt ghly; f shf Re; j uh; ghly; f s;
tpsq; F fpd; w d vd; g jw; F r; rhd; W gfh; f pwJ ,f; f l; L iu
- gjpg; g hrpupaH
Kd; D iu:
jkpoh; ,aw;ifNahL ,iae;j tho;it ,dpNj elj;jp
te;jdh;. ,iwtidAk; ,aw;ifiaAk; xUq;Nf Nghw;wpa jkpo;
kf;fs; ,iwtid ,aw;ifapy; fz;ldh;. ,iwtd; kPJ gf;jp
nfhz;L ghba mbath;fs; gf;jpapD}NlNa ,aw;ifiaAk;
,izj;Nj ghbAs;shh;. ,aw;ifapy; ,iwtidf;fz;L Ja;j;j
nja;tr; rhd;Nwhh;fs; jhd; ek; jPej
; kpo; ehl;L ghtyh;fs;. ,aw;ifapd;
eLNt ,iwnahsp fhZk; mUl; g z; G nrYj; j fhyj; N j
jpfo;e;jth;fNs jpUKiw Mrphpah;fs; jkpo;ehl;by; nrYj;j
MWfspd; fiufspy; mike;j rptjyq;fisf; fhy;eilahfr;
nrd;W fz;Fspuf; fz;L thahug; ghbAs;sdh;. ,iwtid
Nghw;Wk; NghNj Mq;fhq;F cs;s ,aw;if vopy; nfhQ;Rk;
fhl;rpfisAk; ,dpNj tbj;J fhl;bapUf;fpd;wdh;. mtw;Ws; Re;juh;
ghly;fspy; fhzg;gLk; ,aw;iff; fhl;rpfis vLj;Jiug;gNj
,f;fl;Liuapd; Nehf;fkhFk;.
30
,iwtbtk; :
,iwtdpd; Njhw;wk; gw;wp $Wk; Re;juh;
'eP U k; kyUk; epyTk; rilNky;
CUk; muTk; cilahd; "
(93.1)
'fhpad; chpapd; fiykhd; kwpAk;

vhpAk; kOTk; cilahd; "
(93.8)
fq;if ePUk; nfhd;iw kyUk; gpiw epyTk; tphp rilNky;

mzpe;J fOj;jpy; CUk; ghk;igAk; cilatd; ,iwtd;.
NkYk; ahidia chpj;Jg;Nghj;jpatd;. fiykhd; kwpiaAk;
vhpAk; kOTk; Ve;jpatd; ,iwtd; vd;W ,iwtd; ,aw;ifia
mzpfsdha; mzpe;J ,Ug;gjhf ,iwtid fhl;rpg;gLj;Jfpwhh;.
kyh; f s; :
jpUehNfr;rug; gjpfj;jpy; Re;juh; taiyr; Rw;wpAs;s
fplq;fpy; FtisAk; fOePUk; fhzg;gLtJld; mjpy; this
kPd;fSk; gha;fpd;w tsKilaJ. vd;gij
'Nfhy kyh; f ; F tis
fOeP h ; t ay; R+o; f plq; f py;
NrnyhL thisfs; gha;
jpU ehNfr; ruj; j hNd".
(99.3)
vdg; ghLtop mwpa KbfpwJ.

fhpa vUikfs; ePuhLk; fay; kPd;fs; epiwe;j jpUf;fya
ey;Y}hpy; cs;s ePh; epiy jhkiukyhpy; NjDz;L fspj;j
tz;Lfs; jphpAk; tsj;ijAilaJ. vd;gij Re;juh;
'fUNkjp Gdy; k z; l f; fay; k z; l f; fkyk;
fsptz; b d; fzk; ,hpAk; fya ey; Y }h; "
(16.2)
vd;W ghbAs;sjd; top mwpa KbfpwJ.

jpUr; N rhw; W j; Jiwj; jpUf; N fhtpiyg; g hLk; Re; j uh;
khe;jsphpd; epwj;ij neUg;ig nfhg;gspj;jhw; Nghd;w nre;epwj;
jsph;fs; vd ctikg;gLj;jp;
31
'rP j g; Gdy; c z; nlhpiaf; fhYk;

R+jg; nghopy; R +y; Nrhw; W j; JiwNa"
(94.6)
vd eaj;Jld; ghbas;shh;.
MWfs; ;
fhtpupapd; Gdpjj;jd;ikia typAWj;j vz;zpa Re;juu;.
fhtpup kpfg; GdpjkhdJ Mjyhy; Nghfepiyapy; ,Uf;Fk;
,y;ywj;jhUk; Nahfepiyapy; ,Uf;Fk; Jwtwj;jhUk; ePuhLk;
rpwg;gpw;FupaJ vd;gjidf; fPo;f;fz;lthW tpsf;Ffpwhu;.
'Gy; f pAk; jho; e ; J k; Nghe; J jtQ; n ra; A k;
ghfUk; NahfKk; Gs; s ptha; k %o; f r;
nry; Y kh fhtpupj; J Uj; j pahu; . "
(74-3)
fhtpupiar; R+o;e;J tho;gtu; kl;Lk; ,g;Gz;zpag; gad;

milgtuhf ,y;yhky; vl;Lj;jpf;fpy; cs;stu;fSk; Gz;zpag;
gad; fUjp ,t;thw;wpy; te;J MLtJ. ,jid
'vz; b ir Nahu; f Sk; Mlte; J ,q; N f
Rope; j pop fhtpupj; JUj; j pahu; "
(74-5)
vdg; Nghw;Wfpwhu;.
muprpyhw;wpd; njd;fiuapy; muprpw;fiug; Gj;J}u; cs;sJ.
,j;jpUg;gjpiag; Nghw;Wk; Kfkhf muprpyhw;iwg; Nghw;Wfpd;whu;.
khd; f spd; nfhk; G fisAk; ahidapd; je; j q; f isAk;
NjhifAila kapypd; ,wFfisAk; fupa mfpw;fl;ilfisAk;
nfhz;L tUk; rpwg;GilaJ vd;W $WKfkhf
'fdy; f ; nfhk; G k; fupkUg; G k; ,lwpf;
fytk; kapy; gPypAk; fhu; mfpYk;
miyf; F k; Gdy; Nru; muprpy; " .
(9-1)
,t;tupfisg; ghbAs;shu; Re;juu;.

jpUntz; i za; ey; Y }u; g ; gjpfj; j py; ngz; i zahW
%q;fpiyAk; nghd; kzp ituk; Kjypatw;iwj; js;spf; nfhz;L
tUfpwJ vd;gjid
32
'nghd; N d kzpjhNd tapuk; N k nghUJe; j p

kpd; d hu; ngz; i z"
(1-3)
vd;Wk; ,UkUq;fpYKs;s kyu;fis Vw;W tUtjhy; 'jhjhu;

ngz;iz" vd;Wk; rpwg;gpj;Jf; $Wfpd;whu;. kyu;fisr; Rke;J
nry;tjd; thapyhf mk;kyu;fspYs;s Njd; KOtJk; me;ePupd;
fz; fye;J tUjypd; "Njdhu; ngz;iz" vd;Dk; rpwg;Gg;
ngWfpwJ. jpUj;JiwA+u;g; gjpfj;jpy; kiyapypUe;J tUk;
mUtpNa ,t; t hwhf XLfpd; w J. Mjypd; mk; k iygL
nghUl;fshfpa kzpfs; ahidj;je;jk; Kj;Jf;fs; eWkzkpf;f
mfpy; re;jdk; Mfpatw;iw Vw;W tUfpd.
KbTiu:
Re;juh; ghly;fs; mth;jk; ,aw;if topgg
; hl;il ,aw;ifapy;
fye;J mth; ngw;w Nghpdg
; j;ij vLj;J toq;Fk; mDgt ghly;fshf
tpsq;Ffpd;wd. ,aw;ifapd; %ykhf ehdpyf; fUg;nghUs;
fisAk; ed;whfg; Gide;J $wpAs;shh;. ,aw;ifNahL ,iae;j
Re;juhpd; ghly;fisg; gbj;J ,d;GWNthkhf!
33
08 rpWghzhw;Wg;;gilapy; ,aw;if
th;zid
Kidth; . ngh. md; g hde; j d; vk; . V.>vk; g py; . >gpvr; b .>
cjtpg;Nguhrphpah; - jkpo;j;Jiw
ghujpjhrd; gy;fiyf;fof cWg;Gf; fy;Yhhp
etYhh; Fl;lg;gl;L> jpUr;rp.
Itif epyq; f spy; > goe; j kpoh; tho; e ; j ,aw; i fNahL
,iaGila tho; f ; i fia rpWghzhw; W g; g il topahf
jpwk; g l nkhopfpwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu:
Mw;Wg;gil gj;Jg;ghl;L E}y;fspy; rpwg;gplk; ngWfpwJ.
Mw; W g; g Lj; J tJ my; y J topg; g Lj; J tJ vd; W nghUs; .
tWikapy; thb eype;j xU FLk;gj;ij rpj;jhpf;fpwhh; Mrphpah;
ej;jj;jdhh;. Gyth;fSk; ftpQh;fSk; Ehy;fis gilf;Fk; Kd;dh;
,aw;ifia tzq;fpNa ikag;nghUSf;F nry;fpd;wdh;. Kjd;
Kjy; Njhd;wpa njhy;fhg;gpak; Kjy; ,d;iwa ,yf;fpak;
tiu ,e;j epiy fhzg;gLfpwJ. rpWghzhw;Wg;gilapy; Itif
epyj;jpd; th;zidfs;> ahopd; th;zid> ghzdpd; th;zid>
murdpd; ehl;Lr;rpwg;G gw;wpa th;zidfs; Nghd;wit ,lk;
ngWfpd; w d. ey; y paf; N fhld; ehl; L kf; f Sf; F nra; j
nfhilj;jd;ikia mofhf th;zpf;fpd;whh;.
rpWghzhw;Wg; gilapy; ghzd; nry;Yk; topapd; jd;ik>
mjid xl;ba nea;jy; epy th;zid> vapw;gl;bdr; rpwg;G
mq;fpUe;J NtYhh; NghFk; topapy; Ky;iy epy th;zid
mq;fpUe;J MKh; nry;Yk; topapy; kUj epy th;zid fplq;fpy;
34
efuj;jpd; rpwg;G> ey;ypaf;Nfhld; ,ay;Gfs;> mtd; tpUe;Njhk;gp

ghprpy; ey;Fk; rpwg;G ,g;gb gbg;gbahf th;zpf;fg;gLk; Kiw
Neh;j;jpahf mike;Js;sJ.
ghiy top th;zid:

murid fhz nrd;w ghzd; ghiy epyj;jpd; top
nry;fpd;whd;. Gytd; ghiy epyj;jpd; neL topapd; jd;ikia
ngz;NzhL Nrh;j;J th;zid nra;fpwhh;.
'nrk; G dy; coe; j Nra; t uy; fhd; a hw; W f;
nfhy; f iu eWk; n ghopw; Fapy; File; J jph; j ; j
GJg; G +Q; nrk; k y; #bg; Gil newpj; J f;
fJg; G tphpj; jd; d fhof Wzq; f wy;
ntapYUg; Gw; w ntk; g uy; fpopg; g
ghiy epd; w ghiy neLtop"
khzpf;f kiyfSk; Kj;J khiyia Nghy XLfpd;w
ePUk; fiuapy; cs;s kzk; tPRk; Nrhiyapy; Fapypd; mofpdhy;
File;j cjphj
; j
; thb Nghd G+tpid #bf;nfhz;L ePhf
; s; nry;fpdw
; d.
,sNtdpy; fhyj;jpd; ,aw;if epfo;T mofhf vLj;Jiug;gJld;
KJNtdpy; gUtk; eilngWk; ehl;fspy; #hpadpd; ntg;gj;jhy;
Vw;gLk; ghjpg;Gfs; vLj;Jiuf;fg;gLfpwJ. ,g;gbg;gl;l ,aw;if
#oiyAk; eP h ; epiyiaAk; Gyth; f s; ikag; g Lj; j p
vOjpapUf;fpd;wdh;. ,d;iwa jiyKiwfs; jq;fs; flikahf
,tw;iwg; ghJfhf;f jFe;j topfis Nkw;nfhz;lhy; gUtk; Kk;khhp
kio nga;Ak;> Jha;ikahd fhw;Wk; Neha;nehb ,y;yhj tho;fi
; fAk;
kdpjd; tho;e;J kfpo;NthL ,Ug;ghd; vd;gjpy; Iakpy;iy.
thdpy; ,Ue;J rpW Jhwy;fsha; tpOfpd;w kioj;Jspapd;
moif jd; d fj; N j G+kp nfhz; b Uf; f pwJ.
,g; G +kpapy;
trpf;ff;$bath;fs; tpwypah;fs;. Mrphpah; tpwypapd; moif
,aw;ifapy; cs;s kyh;> tpyq;F> gwit cs;spl;l ctikfis
$wp mofhfTk; vspikahfTk; th;zid nra;fpwhh;.
'kapy; k apw; Fspf; F Q; rhay; rhma;
caq;F eha; ehtpd; ey;nyopy; mir,
taq; F fpio cywpa mbapd; mbnjhlh; e ; J "
35
tpwypapd; mofpwF
; ,iz Mf khl;Nlhk; vd;W ,aw;ifapd;
gilg;ghd kapy;fs;> Mz;kapy;fs;> ngz;kapy;fspd; $l;lj;jpy;
jq;fs; Kfj;ij kiwj;Jf; nfhs;fpdw
; d. Xb ,isj;j ehapd;
ehf;fpidg;Nghd;W mtsJ ghjk; tpsq;Ftjhff; Fwpg;gpLfpd;whh;.
thiog;G+> Ntq;if kyh;> Nfhq;f kyh;> Eq;fpd; ,dpik nghUe;jpa
ePh;> khd;fs; cs;spl;l ,aw;ifNahL ,uz;lw fye;jtw;iw
mofhd th;zidahf vLj;Jiuf;fpd;whh;. ,aw;ifapd; gilg;gpy;
cz;lhd gwitfisAk;> tpyq;FfisAk; ftpQh;fs; jq;fs;
fUj;jpwF
; Vw;g ctikahf cUtfkhf mofhd thh;j;ijfspy;
,lk;ngw nra;fpd;whh;fs;. ,e;j gwitfSk;> tpyq;FfSk; kdpj
rKjhaj;jpw;F ey;y Cd;WNfhy;fshf ,g;G+kpapy; tho;e;J
tUfpd;wJ vd;gJ midtUk; mwpe;j xd;whFk;.
nea;jy; epy th;ziz:

flYk; fly; rhh;e;j gFjpAk; nea;jyhFk;. flw;fiu
epfo;Tfis rpWghzhw;Wg;gil rpwg;ghf vLj;Jiuf;fpd;wJ.
flw;fiuapy; jhior;nrbfSk; md;dk; Nghd;w kyh;fSk; fhzg;gLk;.
nrUe;jp nghd;id Nghd;w epwKs;s kyiuf; nfhz;bUf;Fk;.
Ks;sp ePyk; G+it Njhw;Wtpf;Fk;. ,g;gb ,tw;wpw;F ,ilapy;
Ch;fSk; mq;F thOk; kf;fSk; ,aw;ifNahL ,izj;J
th;zpf;fpdw
; hh; Gyth;. ngz;zpZila moif th;zpff
; Nkw;Fwpgg; pll
;
xt; n thd; i wAk; xt; n thU tpjkhf th; z pf; F k; ghq; F
vspikahdjhFk;.
Ky;iy epy th;zid:

vapw;gl;bdk;> NtYhh;> MKh; Nghd;w Ch;fisg;gw;wpAk;
mtw;wpd; rpwg;G gw;wpAk; xt;nthU epyj;jpd; jd;ikNahL
,izj;J th;zid nra;fpd;whh;; Gyth;. fhLk; fhL rhh;e;j
gFjpAk; Ky;iyahFk;. ,d;iwa ,aw;if moptpy; Kf;fpa
,lk; ,jw;F cz;L. fhLfs; mopf;fg;gl;L me;j epyj;jpy; tPL
fl; l GJj; j pl; l k; tFj; J f; n fhz; b Uf; f pd; w dh; .
kapypd;
fOj;ijg; Nghd;w epwj;Jld; fhah kyh;fs; kyh;e;jpUf;Fk;.
fhe;jy; iftpuy; Nghy G+j;jpUf;Fk;. vq;Fk; Ky;iyf;nfhbfs;
glh;e;jpUf;Fk;. ntbg;Gfspy; Fjpf;Fk; ePiuAila mUtpfisf;
36
nfhz;l kiyfis cilaJ.

mq;F NtYhh; vd;w efuk;
cs;sJ. NtYhh; efuj;ijr; Rw;wpAs;s epfo;it ,aw;ifNahL
,ize;J mofhf th;zpj;J ,Uf;fpd;whh;. ,g;gb ,aw;if
vopy; kpf;f ,lq;fis ghJfhg;gJ ekJ flikahFk;.
tQ;rp efu th;zid:

muridg;gw;wp Fwpg;gpLk; NghJ mtdJ Ch;fspd; ,aw;if
epfo;Tfis Gyth;fs; vLj;Jiuf;fpd;wdh;. mg;gb Nru ehl;L
kd;diu Njb tUk; ,utyh;fSf;F Ntz;ba midj;J cjtp
fisAk; nra;gtd; kd;dd;. mtDila ehL ,aw;if tsj;jhy;
rpwg;Gw;W tpsq;FfpwJ. ePh; epiyfs;> kuk;> nrb> nfhb Nghd;wit
epiwe;J fhzg;gLfpwJ. "nfhOkPd; Fiwa xJq;fp ts;spjo;f;
fOeP h ; Nka; e ; j fatha; vUik
igq; f wp epte; j gytpd; epoy;
kQ; r s; nky; y piy kaph; g ; G we; ijtu
tpisah ,sq; f s; ehw nky; F G ngauhf; "
gUj;j kPdf
; s; kpje;J nfhz;L nry;Yk; tskhd ,jo;fis
cila nrq;fOePh; kyiu Nka;e;j vUik> gRikahd kpsF
nfhbfs; gle;jpUf;Fk; gyhkuj;jpd; epoypy;> fhl;L ky;ypif
nfhbfs; epiwe;j gLf;ifapy;> Njd; kzk; epiwe;J mir
Nghl;Lf; nfhz;Nl Japy;fpd;w epiyia nfhz;lJ NruehlhFk;.
Nruehl;L ePh; tsk;> epytsj;ij kd;ddJ rpwg;ig xg;gpl;L
th;zidNahL vLj;Jiuf;fpd;whh;. ,aw;if vopy; kpf;f Nru
ehl;by; ghzd;> tpwypah;fs; Nghd;wth;fs; kd;ddpd; Gfiog;ghb
ghpR ngw;W nry;fpd;wdh;.
nfhw;if efu th;zid:

Edh kuj;ij mWj;Jr;nra;j khiy mzpe;jpUf;Fk;
khl;rpiaAk;> nraw;ifahf gy ,iofs; nfhz;L nra;ag;gl;l
G+ khiyiaAk;> Rw;wp ,Uf;fpd;w new;wpapidAk;> ths; Nghd;w
thapid cila fpspQ;ry;fspd; cs;Ns gw;fs; Nghd;w
Kj;Jf;fs; fhzg;gLfpd;wd.
37
'ewTtha; ciwf; F k; ehFKjph; Wztj; J

Miwtha; Few; J zp mapy; c sp nghUj
ifGid nrg; g q; file; j khh; g pw;
nra; G +q; fz; z p nrtpKjy; jpUj; j p"
vd;w ghly;fspd; %yk; ,aw;ifNahL ehl;ilAk;
,izj;Jg;ghLfpd;whh;. ve;j xU epfo;itAk; th;zpf;Fk; NghJ
mjw;F nghUj;jkhd ,aw;ifia Gyth;fs; Fwpg;gpLfpd;wdh;.
KbTiu:
rpWghzhw;Wg;gilapy; ey;ypaf;NfhldJ Gfo; rpwg;ghf
vLj;Jiuf;fg;gLfpd;wJ. ,td; Mz;l gFjpapd; ehl;L rpwg;Gld;>
,aw;if rpwg;Gk;> ngz;zpZila moF
,aw;ifNahL
,ize;J fhzg;gLfpwJ. Itif epyq;fspy; cs;s ,aw;if
mikg;ig rpWghzhw;Wg;gilapy; gy ,lq;fspy; fhz KbfpwJ.
,g;gb Gfo; tha;e;j Gyth;fs; ehtpy; ,iraha; gpwf;ff;$ba
,aw;ifia ghJfhg;gJ ekJ flikahFk;. ,aw;ifNa ekf;F
,dpikahd ,d;gj;ijAk; ey;y Rw;Wr;#oiyAk; jUfpd;wJ.
,j;jifa Gfo; tha;e;j ,aw;ifia rpWghzhw;Wg;gilapy;
midj;J ,lq;fspYk; fhz Kbfpd;wJ. ,aw;ifia fhg;Nghk;>
eyKld; tho;Nthk; vd;w fUj;J midj;J epiyfspYk;
typAWj;jg;glNtz;Lk;.
38
09. jpUf;Fw;whyf; FwtQ;rp ,aw;if

j. md; G r; n ry; t p
,e;J];jhd; fiy mwptpay; fy;Y}hp
Nfhit -8
,irtpUe; N jhL ,aw; i f tpUe; i jAk; ms; s p toq; F k;
jpUf; F w; w hyf; FwtQ; r papd; ftpeaj; i j ,ak; G fpwJ
rpw; w pyf; f paq; f spy; ,aw; i f tUzid Vuhskhf
,lkngw;Ws;sJ. rq;f ,yf;fpaq;fspYk;> fhg;gpaq;fspYk; ,aw;if
ngUk;ghd;ik ,lj;ijg; ngWfpd;wd. mtw;NwhL rpw;wpyf;fpaq;fspy; xd; w hf jpUf; F w; w hyf; FwtQ; r pAk; ,aw; i fiar;
nrOikahfTk; nrwpthfTk; gilj;Js;sJ. ,jid ,aw;wpath;
'jphp$luhrg;gf; ftpuhau;" vd;gtuhthh;. ,th; midtUk; tpUk;gpg;
gbf;FkhW ,irtpUe;NjhL ,aw;if tpUe;ijAk; thrfh;fSf;F
toq;fpa tpjj;ij vLj;Jiug;gjhf ,f;fl;Liu mikfpwJ.
Njth;fSk; tpUk;Gk; kiytsk;:

'Fw;whyf; FwtQ;rp" vd;Dk; E}y; mstpw; rpwpajhf
,Ue;jhYk; nrhy; tsj;jpYk; nghUs; tsj;jpYk; kpf kpfg; nghpaJ.
jiytd; cyh tUjy; jiytp mtidf; fz;L fhjy; nfhs;Sjy;
mtidNa epidj;Jf; fhjy; nfhz;bUg;gjhy; jpq;fs; njd;wy;
Nghd;wit jiytpf;Fj; Jd;gk; jUfpd;wd. ,j;jifa epiyapy;
Fwj;jp kiytsk; ghb tUfpwhs;. mtsplk; eP ghLk; kiy tsj;ijf;
vdf;Ff; $Wthahf vd;W Nfl;fpwhs;. Fwj;jp jd; kiyapy;
39
'thduq; f s; fdpnfhLj; J ke; j pnahL nfhQ; R k;

ke; j prpe; J fdpfSf; F thd; f tpfs; nfQ; R k;
fhdth; f s; tpopnawpe; J thdtiu miog; g hh;
fkzrpj; j h; te; J te; J fharpj; j p tpisg; g hh; "
- kiy tsk; Nfl;ly;.
vd;fpwhh;. Mz; Fuq;Ffs; gytifahd goq;fisg; gwpj;Jf;
nfhLj;Jg; ngz; Fuq;FfNshL jOtpf; nfhz;bUf;Fk;. mf;
Fuq;Ffshy; rpjwp vwpag;gLk; goq;fis thDyfj;jpy; thOk;
Njth;fs; ,ue;J Ntz;bf; Nfl;ghh;fs;. fhLfspy; tho;fpd;w
Ntl;Lth;fs; jk; fz;fshy; cw;Wg;ghh;j;J Njth;fis Nehf;fp
'ePqf
; s; vy;yhk; fPNo thUq;fs;" vd;W mioj;Jf; nfhz;bUg;ghh;fs;.
Njd; fye;j kiyapDila mUtp ePh; NkNy nrd;W
thd;topahf xOfpf; nfhz;bUf;Fk;. mjdhy; R+hpa gfthDila
Njhpy; G+l;;lg;gl;Ls;s Fjpiufspd; fhy;fSk; NjhpDila
rf;fuq;fSk; tOf;fp tpOtjhf ,Uf;Fk; vd;W $Wfpwhh;.
Kj;Jf;fis thhp toq;Fk; kiy tsk;:

xypf;fpd;w miyfis cila ePh; tPo;r;rpahdJ nry;Yk;
Ntfj;jpy; fhZk;nghOJ mJ 'foq;fhbr;" nry;;fpd;wNjh vd
vz;zj; Njhd;Wk;. mt;thW fy; tpisahbr; nry;Yk; NghJ
Kj;Jf;fisr;nrhhpe;J xJf;fpr; nry;Yk;. kf;fs; tho;fpd;w
tPl;bd; Kw;wq;fs; midj;jpYk; gutpg; gha;;e;J rpWkpfspd;
kzy; tPLfis mopj;Jf; nfhz;L Xbf; nfhz;bUf;Fk;. mjid
'Koq; F jpiug; GdyUtp foq; n fdKj;
Kw;wk; vq;Fk; gue;J ngz;fs; rpw;wpiyf;
fpoq; F fps; s pj; NjndLj; J tsk; g hb
fpk; G hpapd; nfhk; n ghbj; J ntk; G jpid
jhLk;
nfhz;Nlh
Lk;
lhLk;
ebg; N ghk; .
,bg; N ghk; "
vd;fpwhh; ftpuhah;. Fwth;fshfpa ehq;fs; kiyf;fpoq;Ffisj;

Njhz;b vLg;Nghk;. Njd; ,why;fisg; gpa;j;J vLj;J kiyapd;
nropg;igg; ghbf; nfhz;Nl $j;jhLNthk; vd;W Fwg; ngz;
mtSila kiytsj;ijf; $Wfpwhs;. fspw;W ahidfspd;
nfhk;Gfis xbj;Jf; nfhz;L te;J mjd; Nkw;gFjpapy;; G+z;
40
fl;b tWj;j jpidia cuypNy ,l;L ,bg;Nghk; vd;Wk; $Wjy;.

fhLfspy; cs;s Fuq;Ffs; ,dpa khkuj;jpd; tskhd goq;fisg;
gwpj;Jg; gwpj;J tPRtJ Fuq;Ffs; vy;yhk; ge;jhLtJ Nghy
fhl;rpaspf;Fk;. Njd; epiwe;j nrz;gf kyh;fspd; thrNkh
thDyfpy; nrd;W guTk;. ,j;jifa ,aw;if tsk; kpf;fJ
jphp$l kiyahFk; vd;fpwhs; Fwj;jp.
mfpYk; re;jdKk; fkYk; thrid kpFe;j tsehL

ehfg; ghk;Gfs; ,uj;jpdf; fw;fis thapypUe;J ntspNa
nfhzh;e;J itf;Fk;. mt;thW nfhzh;e;j ntspr;rj;jpNy mit
,iu NjLk; vd;W goikahd ek;gpf;if cz;L. me;j ek;gpf;if
jtwhdJ vd;W ,d;W mwptpayhsh;fs; $Wfpd;wdh;. ,jid
jphp$l uhrg;gf; ftpuhah;.
'MLku tP D kzp Nfhbntapy; vwpf; F k;
mk; G ypiaf; ftsnkd; W Jk; g ptop kwpf; F k;
NtLth; f s; jpidtpuf; f r; rhLGde; NjhWk;
tpe; i j mfpy; F q; F kKQ; re; j dKk; ehWk;
fhLnjhWk; Xbtiu MLFjp ghAk;
fhfkZ fhkiyapy; Nkfepiu rhAk;
eP L gy tP r h; f ap yhrfphp thrh;
epiyjq; F k; jphpTl kiyvq; f s; kiyNa"
vd;W ghLfpwhh;. Fw;why kiyapy; MLfpd;w ehfg; ghk;Gfs;
ff;Fk; ehfuj;jpdq;fs; Nfhb Nfhbahff; fhzg;gLk; vd;fpwhh;.
mj;jifa kiy tsk; kpff
; J. mt;thW ehfq;fs; ff;fp itj;Jr;
nrd;w ehfuj;jpdq;fs; xsptPrpf; nfhz;Ubf+;Fk;. thdpy; kpje;J
nfhz;bUf;Fk; ntz;zpyitg; ghh;j;J mjd; topahf te;j
fhl;L ahidfs; jq;fSf;fhf ntz; Nrhw;Wf; ftsk; cUl;b
itf;fg;gl;Ls;sJ vd;W topkwpj;J epw;Fk;. thdpy; cs;s
epyT kiyapy; cs;s ahidfSf;F kpf mUfpy; fhl;rp
mspg;gjhf tUzpf;fg;gl;Ls;sJ.
'jpid" vd;Dk; jhdpak; NtLth;fSf;F chpa czT
tiffs; xd;whFk;. me;jg; gaphpid tpijg;gjw;fhf epyj;ijg;
gz;gLj;Jfpd;wdh;. epyj;ijg; gz;gLj;Jtjw;Ff; fhl;bid
41
mopf;fpd;wdh;. mt;thW fhl;bid mopj;J Ntl;Lth;fs; neUg;G

itf;fpd;wdh;. me;j neUg;gpy; fpilg;gjw;fhpa mfpy; Fq;Fkk;
re;jdk; Kjypa eWkzk; kpFe;j kuq;fSk; cld; neUg;gpy;
vhpAk;. thrid jputpaq;fis jd;Ds; nfhz;bUf;fpd;w kuq;fs;
vhptjhy; mtw;wpd; eWkzk; fhnlq;Fk; fko;e;J nfhz;bUf;Fk;
vd;fpwhh; Gyth;.
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vd;Wk; mk;kiyapd; kPJ Nkff; $l;lq;fs; gbe;jpUf;Fk; vd;fpwhh;.
Fiffs; NjhWk; fjputd; xsp tPRjy;

fapiy ehjh; tPw;wpUf;Fk; fapiy kiy vd;W Nghw;wg;
gLfpd;w tljpirapYs;s kiyf;F xg;ghfg; Nghw;wg;gLk; xNu
kiy njd; jpirapNy tpsq;fpj; Njhd;Wk; ,e;j kiyNa MFk;.
nghd;dpwk; tha;ej
; 'NkU" kiyf;F epfuhd kiy vd;W nrhy;Yk;
msTf;F cah;e;J epw;Fk; kiyahFk;.
'fapiyvDk; tlkiyf; F j; njw; F kiy mk; N k
fdfkfh NkUvd epw; F kiy mk; N k
rapykiy njd; k iyf; F tlf; F kiy mk; N k
rfykiy Ae; j df; F s; mlf; F kiy mk; N k
tapuKld; khzpf; f k; tpisAkiy mk; N k
thdputp Kiofs; njhWk; EioAkiy mk; N k
JapYkth; tpopg; g hfp mfpynkq; F k; NjLk;
Jq; f hjphp $lkiy vq; f s; kiy mk; N k"
Nkw;$wpa ghly; %yk; rfy kiyfSk; ngw;wpUf;Fk;
rpwg;Gfs; midj;ijAk; jdf;Fs; nfhz;bUf;fpwJ jphp$l kiy
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Eioe;J Eioe;J xspgug;Gk; ,kakiy ,e;j kiyNa MFk;.
ghw; f lypy; gpwe; j ntz; z pyh

epyT jd;id tUj;Jtjhf jiytp $Wk; tz;zkhf
xU ghliy ,aw; w pAs; s hh; . jiytp epytpid VRtjhf
,Ue;jhYk; mg;ghly; epytpd; rpwg;igf; $Wtjhf ,Uf;fpwJ.
42
rhd;whf
'jz; z K Jld; g pwe; j ha; ntz; z pyhNt - me; j j;
jz; z pspia Vd; kwe; j ha; ntz; z pyhNt
ngz; Z ld; gpwe; j Jz; N l ntz; z pyhNt vd; w d;
ngz; i k fz; L k; fhayhNkh ntz; z pyhNt"
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$Wfpd;whh;.
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jd;Dila jd;ikia kwe;jJ. jiytp kz;zpy; gpwe;jts;.
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jUtjha; ,g;ghly; mike;jhYk; mjDila Fsph;r;rp ,q;F
Nghw;wg;gLfpwJ.
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tiffs; Njhd;wp tsh;e;J nropj;jpUf;fpd;wd. mt;thwhfj;
Njhd;wpa ,yf;fpa tiffs; rpw;wpyq;fSf;Fr; rpwg;gplk; cz;L.
mtw;Ws; xd;whd FwtQ;rp ,yf;fpaj;jpy; ,lk;ngWk;. ,aw;if
'kiytsk;" xg;gl
P L
; Muha;rr
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43
10. jfty; njhopy;El;g tho;tpaYk;

,aw;ifAk;
jpU [h. My;gh;l;> vk;.V.>vk;gpy;.>
cjtpg; Nguhrphpah; - jkpo;j;Jiw>
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mjpy; ,aw;if gw;wpa gjpTfs; mjpfkhf cs;sJ. rq;f
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mth;fs; rq;f ,yf;fpaj;jpy; ,aw;if Fwpj;j Gyth;fspd;
gjpTfis Muha;e;Js;shh;. fhg;gpaq;fspd; ,yf;fzj;jpNyNa
,aw;if Fwpj;j GidTfs; mika Ntz;Lk; vdj; njspthff;
Fwpg;gpLfpwJ.
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th;zpj;Jf; $wg;gl;Ls;sJ. mjd; njhlh;rr
; p Nkdhl;bdhpd; tuthy;
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44
,aw; i f GidT ngw; W s; s J. me; j tifapy; Gjpd

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njhopy;El;gj; Jiwapd; tuT ,aw;ifia khw;wpAs;sJ vd;gij
tpsf;Ftjhf ,f;fl;Liu mikfpwJ.
,aw; i f
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fhzg;gLk; #oiy ,aw;if vd;gh;. me;j tifapy; kio> ePh;>
fhL Nghd;witfSk;> jhdhfj; Njhd;wf; $ba kio> fhw;W>
,b Nghd;witfs; ,aw;if MFk;. goq;fhyj;jpy; fhLfs;
mjpfkhff; fhzg;gl;ld. me;jf; fhLfs; kdpj ehfuPfj;jpd;
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,yf;fpaq;fspYk; gjpT nra;ag;gl;Ls;sd.
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45
nghpa nghpa mLf;Fkhbf; FbapUg;GfshfTk; khw;wk; ngw;wjid

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; il itj;Js;shh;.
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; hy; fz;Zf;F vl;ba J}uk;
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46
Njhg;Gf;fs;> Njhg;gpw;Fg; gpd; rpd;dr; rpd;d kiyj; njhlh;fs>;

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Ntiy ghh;jj
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te;j gpd;G ,e;jg; gFjpapy; tptrhak; ngl;Lf;$l ,y;iy.
47
jq; f NtY nrl; b ahh;

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Vw; g l; l khw; w j; i j ,tuJ gioa epidTfs; topahf
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nfhs;tjd; top ,dq;fhzyhk;.
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njhpe;jd. xd;W ,d;ndhd;iw efy; vLj;jJ NghyTk; rPuhd
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tpisahl thypghy; ikjhdk; $l ,Ue;jd. ikjhdj;jpd; gf;fj;jpy;
tz;z tz;zg; ngah; njhpahj kyh;fs; nfhz;l rpd;dg;
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gue;J fplf;Fk; vd;W epidj;Jg; ghh;j;jpUf;ftpy;iy.
48
KbTiu
,t;thwhf ,aw;ifahf mike;j fhLfs;> Njhg;Gf;fs;> Vhp>
Fl;il midj;Jk; kiwe;J I.T epWtdq;fSk;> ];lhh; N`hl;ly;fSk;>
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uh[Pt;fhe;jp rhiy vd;Dk; Gjpdk; topahf tpehaf KUfd;
mth;fs; vLj;Jf;fhl;bAs;s ghq;fpid ,jd; %yk; mwpayhk;.
rhd; n wz; tpsf; f k;

1.tpehaf KUfd;> uh[PTfhe;jp rhiy>g.18. 2. NkyJ.>
g.18. 3. NkyJ.> g.21. 4. NkyJ.> g.21. 5. NkyJ.> g.40. 6. NkyJ.>
49
11. GJikg;gpj;jd; rpWfijfspy;

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,yf;fpak; rpwg;ghd ,lj;ijg; ngWfpwJ. rpWfij vd;gJ
xd;W my;yJ xd;iw kzp Neuj;jpw;Fs; gbj;J Kbf;fj;
jf;fjhfTk; tpWtpWg;ghfTk; mika$bajhfTk; ,Ug;gJ vd;W
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nra;jp nghpNjahFk;. mjdhy; md;W Kjy; ,d;W tiu
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; d;
Mthh;. ,th; gy ,yf;fpag;gapw;rp kpf;ftuhf ,Ug;gpDk; jk;
ftpijf;fhd fUit jkpo;r; R+oypNyNa mike;jpUg;gJ mwpa
KbfpwJ. ,d; i wa kf; f spd;
epiyfisAk; elg; g pay;
epiyfisAk; vQ; r pf; fhl; L tdthf ,tuJ gilg; G
mike;jpUf;fpd;wd. ,tuJ fijfspy; gy fUj;Jf;fs; ,aw;if
50
epfo;NthL nghUe;jp ,Ug;gij czuKbfpwJ. ,g;gilg;ghshpd;

rpWfijapy; fhzyhFk; ,aw;if epfo;Tfis tpsf;Ftjhf
,f;fl;Liu mikfpwJ.
tUzid:
gilg; g hsdpd; fiy El; g j; i jf; fhl; L tJ mtd;
tUzidj; jpwdhFk;
'ehty; kw;Wk; rpWfijfspy; tUk; tUzidfs; Mrphpahpd;
ftpj;Jt Mw;wiy f ; f h l ; L t j h F k ; . f t p i j N a h L
nghUe; j pajhfTk; fw; N ghUf; F tpUg; G +l; L k; KiwapYk;
mike;jpUf;f Ntz;Lk;."1 vd;W kh.,uhkypq;fk; tUzid
mikAk; ghq;fpidf; Fwpg;gpLfpwhh;.
NkYk; 'Gyd;fshy; czu;e;jtw;iw my;yJ Gyd;fspd;
thapyhf czUk; Gwf;fhl;rpfisr; nrhw;fspy; nkhopngau;jJ
; f;
2
fhl;LtNj tUzidahFk;." vd;Wk; tpsf;fk; mspf;fpwhhh;.
gilg;ghsh;fs; jk; gilg;gpy; fiyaoF ntspg;gLk;gb
tUzid mikg;gh;. eilKiw tho;f;ifapy; md;whlk; epfOk;
epfo;r;rpfs; ghj;jpuq;fspd; nray;tpisTfs;> Mfpatw;iw jk;
fijfspy; fij gbg;gtDf;F kfpo;T+l;Lk; Nghf;fpy; tUzid
vjpnuhypf;fr; nra;th;. GJikg;gpj;jd; ,k;Kiwapid mofhf
ntspf;fhl;bAs;shu;. mj;NjhL jk; gilg;gpidg; gbg;gtDf;Fg;
nghUs; tpsq;Fk; tifapy; ntspg;gLj;Jk; jpwd; Nghw;wj;jf;fJ.
,aw; i f tUzid.
,aw; i f Gidtjpy; tUzid mikg; g J ,aw; i f
tUzid vd;gh;.
GJikg; gpj;jd; jhd;> cyfpy; czu;e;j nray;fisAk;>
gl;lwpe;j rpdj;ijAk; gbg;gtd; czUk; tifapy; fiyahf
ntspg;gLj;jpAs;shu;. mtuJ gilg;Gfspy;> jhd; czu;e;jijg;
gpwu; mwpa fw;gidfisr; Nru;j;J ntspg;gLj;jpAs;shu;.
fhspNfhapy; vd;w rpWfijapy;> ',Us; el;rj;jpuq;fSk;
me;j Nkf ,Us;> thdj;jpUis ntl;b kbf;Fk; kpd;dy;fs;>
51
,USld; ,Ushf efUk; ejp gbfspy; Nkhjp vOg; G k;

miyfspdhy; md;wpj; njupahJ> fiuf;F tlf;Nf xU Nfhapy;
,Us; jpuz; L vOe; J epd; w khjpupahf" 3 vd; w gFjpapy;
GJikg;gpj;jdpd; ,aw;if tUzidg; ghq;F ntspg;gLfpwJ.
nghd;dfuk; vd;w rpWfijapy; mk;khS kpy; njhopyhsp.
fztd; KUNfrd; Fjpiutz;b Xl;bg; gpiog;gtd;. ,tu;fspd;
tUthapyj
; hd; FLk;gk; elf;fpwJ. xUehs; FbNghijapy; KUNfrd;
rthup nra;Ak;NghJ> tpgj;Jf;Fs;shfpg; gLj;j gLf;ifahfp
tpLfpwhd;. jd; kidtpaplk; ghy; fQ;rp Ntz;Lk; vd;W KiwapLfpwhd;.
fztdpd; Miria epiwNtw;wg; gzkpd;wpj; jtpf;fpwhs;
mk;khS. ,Wjpapy; NtW topapdw
; p fztdpd; Miria epiwNtw;Wk;
nghUl;L NtnwhU MltDld; Nrhuk; Nghfpwhs;. ,jid>
'Fk; k pUl; L gQ; r hf; f j; j pd; g b ,d; i wf; F r; re; j pud;
tuNtz;Lk;. Mdhy;> mJ Nkfj;jpy; kiwe;Jnfhz;lhy; Kdprpghypb
vd;d nra;aKbAk;"4 vd;W mk;khStpd; jtnwhOf;fj;Jf;F
,aw;ifAk; fhuzkhf mikfpwJ vd;W $Wfpwhh; GJikg;gpjj
; d;.
'nghd;dfuj;Jf;F Foe;ijfSf;F kPd; gpbj;J tpisahLtjpy;
ntF gpupak;. me;j Kdprpgy; jPuj
; j
; q;fspy; kPd; VJ? vq;fpUe;Njh
gzf;fhu tPLfspy; ,Ue;Njh rpy rkaq;fspy; mOfpa gok;> Crpa
til> ,j;ahjp cUz;L tUk;. mJ Cu;fF
; oe;ijfsps; ,ufrpak;"5
vd;w gFjpapy; Cupy; eilngWk; epfo;Tfs; ,aw;ifNahL
tUzpf;fg;gLfpwJ. nghd;dfuj;J ,sk;gps;isfspd; Vf;fq;fs;
tWik epiyfs; Rl;lg;gLfpd;wd. tWikr; #oypy; rpf;fpj;
jtpf;Fk; Foe;ijfspd; kdNthl;lq;fs; rpj;jupg;gjpy; Mrpupauhy;
,aw;if epfo;Tfisg; gad;gLj;jpAs;shu;.
ghj;jpuj; Njhw;w ,aw;if tUzid:

vLj;Jf;nfhz;l nghUs; tpsf;fKk;> njspTk; ngWkhW
ghj;jpuq;fspd; gz;Geyq;fis tpupj;Jiuf;fg;gLk; newpapy;
,aw;if kpspUtJ ghj;jpuj; Njhw;w ,aw;if tUzid vd;gu;.
gilg; g hsd; ghj; j puq; f is Kjd; i kg; g Lj; j p fij
gpd;Dthd;. Kjd;ikg; ghj;jpuq;fspy; epfo;Tfis Jizikg;
52
ghj;jpuq;fNshL njhlu;Gg; gLj;Jthd;. mj;NjhL gbg;gtd; kdJs;

ePq;fhj tz;zk; mg;ghj;jpuq;fspd; gz;Gfis ,lk;> #oy;>
,aw;ifNahL Fwpgg
; pLthd;. jd; tho;fi
; fapy; Vw;gl;l gl;lwptpid
ntspg;gLj;Jk; tifapy; jd;idNa xU ghj;jpukhfTk; gilj;Jf;
fhl;Lthd; vd;gJ Fwpg;gplj;jf;fJ.
'xU ghj;jpuj;ij mwpKfg;gLj;Jk;NghNj Fwpal
P L
; Kiwapy;
mg;ghj;jpuj;jpd; ,ay;G> mJ fijapy; ngwg;Nghfpw ,lk;>my;yJ
khw;wk; ,tw;iwnay;yhk; czu;j;Jk;"6 vd;W fU Kj;jha;g;ghf
tpsf;fk; $Wfpwhh;. ,tuJ fUj;Jf;F ,zq;f GJikg;gpj;jdpd;
ghj;jpuj;Njhw;wj;jpidf; fhzKbfpwJ.
'Mz;ik" vd;Dk; rpWfijapy; Uf;kpzp vd;w ngz;zpd;
mofpid ,aw;ifNahL GJikg;gpj;jd; gpd;tUkhW tUzid
nra;fpwhu;.
'Uf;kpzp ,aw;ifapNy ey;y mofp rpW gpuhaj;jpNyNa Mis
tpOq;Fk; tpopfs; ,aw;ifapd; gupG+uz fpUig ,Uf;Fk; nghOJ!
Mdhy; $k;gpr; rhk;gpa cs;sj;jpd; cs;nshsp mtSila
Jauk; Njq;fpa fz;fspy; gpujpgypf;Fk; mtisg; ghu;f;Fk;
nghOJ ek;ikawpahJ ngU%r;R tUk;"7
,g; g Fjpapy; ngz; z pd; ghj; j puj; Njhw; w ,aw; i f
tUzid capNuhl;lkhf ntspg;gLj;jg;gl;Ls;sJ.
njhFg; G iu
kzpf; n fhbg; gilg; g hsu; f spy; jkf; n fdj; jdpaplk;

gpbj;jtu; GJikg;gpj;jd; Mthh;.
GJikg;gpj;jd; jhk; fw;Wzu;e;j gl;lwptpidAk; Rw;Wg;Gw

mwpitAk; ntspg; g Lj; j jk; gilg; G fspy; rpy
tUzidfisf; ifahz;L ntspg;gLj;jpAs;shu;.
,aw; i f tUzid topahf Mrpupaupd; jdpj; j d; i k

mwpaKbfpwJ.
53
Nkw;Nfhs; tpsf;fk;
1. ,uhkypq;fk; kh. ehty; ,yf;fpak; g 155> 2. ,uhkypq;fk; kh.
Gjpa ciueil g 116
3. Njt rfha Fkhu; vk;> (njh.M) GJikg;gpj;jd; fijfs; g 29>
4. NkyJ g 40
5. NkyJ g 39> 6. Kj;ijah fU n[afhe;jd; ehty;fspy;
ghj;jpug; gilg;G g 59
7. Njt rfhaf; Fkhu; vk; (njh.M) GJikg;gpj;jd; fijfs; g 160
54
12. gjpw;Wg;gj;J : Gs;spdg; gjpTfSk;

fhuzfhhpaKk;
Kidth; e. ,uhN[e; j pud; > vk; . V.>vk; g py; . >gpvr; b .>
jkpo; - cjtpg;Nguhrphpah;>
kfhuh[h ,Ughyh; fiy mwptpay; fy;Y}hp>
ngUe;Jiw - 638 052.
kdpj czh; T fisf; $wte; j rq; f g; G yth; f s; >
gwitfs; Fwpj; J $wpa El; g khd nra; j pfs;
topahf goe; j kpohpd; ,aw; i f Fwpj; j mwpTf; F
rhd; W gfh; f pwJ ,f; f l; L iu - gjpg; g hrpupaH
jkpopyf;fpaq;fspy; Gs;spdq;fisg; gw;wpa gjpTfs;
gutyhf fhzf;fplf;fpd;wd. goe;jkpo; ,yf;fpakhd rq;f
,yf;fpaj;jpy; gjpT nra;ag;ngw;Ws;s cah;jpiz kf;fspd;
fhjy;> tPuk; ,t;tpuz;bd; cr;rfl;l czh;Tfis vLj;Jiug;gjw;F
m/wpiz capuhd Gs;spdq;fspd; ,ay;Gfis> tz;zq;fis>
tbtq;fis Fuy; xypfis> thOk; ,lq;fis ctikahf;;fpAs;sdh; rq;fg;Gyth;fs;. mt;tifapy; gjpw;Wg;gj;jpy; gjpT
nra; a g; n gw; W s; s Gs; s pdq; f spd; gjpTfisf; fz; l wpe; J
mg;gjptpwf
; hd fhuz fhhpaj;ijAk; ,lk; nghUSf;F Vw;whw;Nghy;
ifahz;Ls;s Gyth;fspd; gilg;ghw;wiyAk; tpsf;Fk; Kfkhf
,f;fl;Liu mikfpwJ.
gjpw;Wg;gj;J Gs;spdq;fs; Fwpj;j gjpTfs;

gjpw;Wg;gj;jpy; 31 ,lq;fspy; Gs;spdq;fs; Fwpj;j
gjpTfs; fhzf;fplf;fpd;wd. ,tw;wpy; Fkl;^h;f;fz;zdhh;
,uz;lhk; gj;jpy; ,uz;L gjpTfSk; ghiyf;nfsjkdhh; %d;whk;
55
gj;jpy; xd;gJ gjpTfSk; fhg;gpahw;Wf;fhg;gpadhh; ehd;fhk;

gj;jpy; Ie;J gjpTfSk; guzh; Ie;jhk; gj;jpy; ehd;F gjpTfSk;
fhf;ifg;ghbdpahh; Mwhk; gj;jpy; ,uz;L gjpTfSk; fgpyh; Vohk;
gj;jpy; ,uz;L gjpTfSk; mhprpy;fpohh; vl;lhk; gj;jpy; xU gjpTk;
ngUq;Fd;W}h;fpohh; xd;gjhk; gj;jpy; MW gjpTfSk; gjpT
nra;Js;sdh; (gjptpd; tpguk; gpd;dpizg;G - 1 ,y; fhz;f).
Fkl; ^ h; f ; f z; z dhh;
Gyth;fspd; gyehs; grpj;Jd;gk; ePq;f> Ml;biwr;rpiaf;
fye;J rikj;j ntz;Nrhw;wpid cz;zr;nra;gtd;. kjpia
kaf;ff;$ba njspe;j fs;is gUfr;nra;gtd;. kioapy; eide;j
gUe;jpd; fhpa rpwF Nghd;W kz; mhpjJ
; khRila fe;jyhilia
ePf;fpg; gl;L ,ioahy; nea;j Milapid cLj;jr;nra;gtd;
vd;gjid>
'ikCd; nga; j ntz; n ey; ntz; N rhW
eidmik fs; s pd; NjwnyhL khe; j p
eP h ; g ; g L gUe; j pd; ,UQ; r pwF md; d
epyk; j pd; rpjhmh; fise; j gpd; i w>
E}yhf; fypq; f k; thy; m iuf; nkd; N jhs; "
(gjpw;.12:17-21)
vd;w thpfs; njspTWj;Jfpd;wd. ,t;thpfs;> ,ikatuk;gd;
neLQ;Nruyhjdpd; tpUe;Njhk;gy; gz;gpid vLj;Jiug;gjw;F
gUe;jpd; tz;zj;jpidg; Gyth;fs; cLj;jpapUe;j MilNahL
xg;GikgLj;jpf; fhl;Lfpd;whh;. ,t;xg;GikahdJ Gyth;fs; rq;f
fhyfl;lj;jpy; ve;j mstpw;F tWikAw;wpUe;jdh; vd;gjidj;
njspTgLj;Jfpd;wJ. ,t;tWikapd; cr;repiyia thrfh;fspd;
kdjpy; vspjpy; gjpaitf;f> gUe;J kioapy; eide;jhy; vt;thW
,Uf;FNkh mijg;Nghy> Gyth;fspd; cil fpopeJ
; ,Ue;jJ vd;W
thrfh;fSf;Fj; njhpe;j epfo;r;rpia xg;gpl;Lf; fhl;b jd;
gilg;ghw;wiyg; giwrhw;Wfpd;whh; Fkl;^h;f;fz;zdhh;.
ghiyf; n fsjkdhh;
twl;rp kpFe;j fhyj;jpy; cd;d kuj;jpd; kPjpUe;J rps;
tz;Lfs; hPq;fhuk; ,LtJ Nghy>; euk;ik ,Oj;Jf; fl;ba
56
aho; Kjypa ,irf;fUtpfisf; nfhz;l

twl;rp kpFe;j fhyj;jpy; Fl;Ltdpd; Ciu
ghprpyh; jq;Fk; nghJkd;wj;jpidr; Nrh;e;J
Gwq;fspYs;s tPLfspd; Kd;dh; epd;W ghb
ngw;wdh; vd;gij>
$j;jUk; ghzUk;
ehbr;nrd;W mq;F
gpd; njUtpd; ,U
kpFjpahd ghpirg;
'mye; j iy cd; d j; J mk; f tL nghUe; j pr;

rpjb fiuag; ngUtwk; $h; e ; J
epyk; i gJ mw; w Gyk; n fL fhiyAk; >
thq; F G jifj; j fyg; i gah; Mq; f z;
kd; w k; Nghe; J kWFrpiw ghLk;
taphpa khf; f s; fLk; g rp eP q ; f g; "
(gjpw;.23:1-6)
vd;w thpfs; tpsf;Ffpd;wd. ,t;thpfs; gy;ahidr; nry;nfO
Fl;Ltdpd; nfhilj;jd;ikapidg; Gyg;gLj;Jfpd;wJ. tWikAw;w
fhyj;jpy; ghzUk; $j;jUk; vt;thW ,ir kPl;bg;ghbdh;
vd;gjw;F rps;tz;Lfspd; hPq;fhu Xiria ctikahf;fpAs;shh;
ghiyf; n fsjkdhh; . rps; t z; L fs; mlh; j ; j pahd fha; e ; j
kuq;fspd; fpis cl;Gwj;jpy; mkh;e;J nfhz;L hPq;fhukplf;$ba
,ay;G epfo;r;rpia tPLfs; mjpfKs;s njUf;fspy; nrd;W
ghzUk; $j;jUk; ghba epfo;rr
; pf;F xg;Gikg;gLj;jpAs;shh; Gyth;.
,g;gjptpd; top ghiyf;nfsjkdhh; cah;jpiz kf;fis
kl;Lky;yhJ m/wpiz capuhd rpst
; z;bd; ,ay;G tho;fi
; fiaAk;
$h;e;J ftdpj;jpUf;fpwhh; vd;gij mwpaKbfpwJ.
fhg; g pahw; W f; fhg; g padhh;

nghpa Mz; ahidfspd; ntz;ikahd nfhk;GfNshL>
neba Njhpd; rf;fuq;fs; gutpff
; plf;Fk; Nghh;ff
; sj;jpy; ngilNahL
$ba Mz;gUe;jpd; ,dk; jir cztpid cz;z> jiyfs;
ntl;lg;gl;L vQ;rpf;fplf;Fk; Fiw cly;fs; vOe;J MLk;.
NkYk; mg;Nghh;f;fsk; FUjp ngUfpapUg;gjhy; khiy Neuj;jpy;
rpte;J fhzg;gLk; me;jp thdk;Nghy; fhl;rpaspf;Fk; vd;gij>
57
'm
sFilr; Nrty; fpisGfh Muj;
'msFilr;
jiyJkpe; J vQ; r pa nka; M L gwe; j iy
me; j p khiy tpRk; G fz; ld; d
nrQ; R lh; nfhz; l FUjp kd; w j; J g;
Ngva; MLk; nty; N ghh; "
(gjpw;.35:5-9)
vDk; thpfs; tpsf;Ffpd;wd. fsq;fha;f;fz;zp ehh;Kbr;Nruy;
Nghh;ff
; sj;jpy; giftPuh;fisf; nfhd;W Ftpf;fg;gLtjhy; vLj;Jr;
nrd;W mlf;fk; nra;aKbahj mstpwF
; g; gif tPuh;fspd; cly;fs;
epiwe;J fpilf;fpwJ. mt;Tly;fisg; gUe;Jfs; jd; ngilNahL
te;J nfhj;jpj; jpd;fpd;wJ vd;W ehh;Kbr;Nruypd; tPuj;jpidf;
fhg;gpadhh; ghuhl;LtNjL rq;f fhyj;jpy; Nghhpd; nfhûk; ve;j
mstpw; F ,Ue; j pUf; f pd; w J vd; g ij ,g; g jpT ed; F
Gyg;gLj;JfpwJ.
guzh; ,iuf;fhf kPd;fisj;Njbj; jphpAk; kPd;nfhj;jpg;
gwit Fsph;e;j Fsj;jpy; gha;e;J %o;fp vOk;NghJ mjd;
tha; myfpid> tPuhp;d; khh;gpy; gl;l Gz;fisj; ijf;Fk; NghJ
me;jg; Gz;zpd; ,uj;jj;jpy; %o;fp kiwe;J vOk; ijay;
CrpNghy; xj;jpUe;jJ vd;gij>
'kP d ; N jh; nfhl; g pd; gdpf; f ak; %o; f pr;
rpuy; n gah; e ; jd; d neLnts; Crp
neLtrp gue; j tLtho; khh; g pd;
mk; G Nrh; clk; g pdh; r ; Nrh; e ; N jhh; my; y J"
(gjpw;.42:2-5)
vd;w thpfs; tpsf;Ffpd;wd. ,t;thpfspd; %yk; guzh;> fly;
gpwf; N fhl; b a nrq; F l; L tdpd; tP u h; f isg; ghuhl; L fpwhh; .
kPdn
; fhj;jpg; gwit Fsph;ej
; ePhpy; %o;fp kPidf; nfhj;jpf;nfhz;L
Nky;vOk; mjd; myifg;Nghy Nghh;f;fsj;jpy; tpOg;Gz;gl;l
tPuh;fspd; Gz;iz ijf;Fk; Crpapd;Kid ,Ue;jJ vd;fpwhh;.
,jd;top ijay; Crpapd; $h;ikf;F kPd;nfhj;jpg; gwitapd;
myfpid xg;GikgLj;jpAs;shh;.
58
fhf; i fghbdpahh; er; n rs; i sahh;

tz;Lfs; Gwj;Nj nkha;g;gdTk; Rit khWglhjdTk;
mhpthshy; mWf;fKbahj kuq;fspy; Njhd;wpadTk; cs;Ns
Ritahd rhW epiwe;jdTk; Kl;il NghYk; tbTiladTkhf
tpise;j goq;fs;> topr; nry;Yk; kf;fspd; Nrhh;itg;Nghf;Fk;
,ay;Gk; khwhj tpisr;rYk; GJtUthAk; nfhz;lJ ewT
vDk; Ch; vd;gij>
'kpQpWGwk; %rTk; jP k ; R it jphpahJ
muk; N gho; fy; y h kuk; g L jP q ; f dp
mk; N rW mike; j Kz; i l tpisgok;
MWnry; khf; f l; F Xa; j if jLf; F k;
...........................................................
Jt; t h ewtpd; rha; , dj; jhNd"
(gjpw;.60:4-12)
vDk; thpfs; tpsf;Ffpd;wd. ,t;thpfs; ewT vd;w Chpd;
,aw;if tsj;jpid ntspg;gLj;Jtjhf mike;Js;sJ. gOj;j
goj; j pid tz; L fs; nkha; g ; g J ,ay; G . ,t; t pay; i g
er;nrs;isahh; MLNfhl;ghl;Lr; Nruyhjdpd; nfhilj;jd;ikf;F
xg;gpLfpd;whh;. vt;thnudpy;> gOj;j goj;jpid MLNfhl;ghl;Lr;
NruyhjdhfTk; tz;Lf; $l;lq;fis ,utyuhfTk; xg;gpLfpd;whh;.
fgpyh;
kyh;e;j fhe;jspdJ kyiu ,J nja;tj;jpw;Fhpanjd;W
mwpe;Jk; mjid tpl;L ePq;fhky; nkha;j;j Jk;gpapd; ,wFfs;
gwthky; rP h ; n fl; l optjw; F f; fhuzkhdJk; ngUik
nghUe; j paJkhd neba fw; f s; cah; e ; j Nehp kiyf; F j;
jiytd; vd;gij>
'kyh; e ; j fhe; j s; khwhJ Cjpa
fLk; g iwj; Jk; g p #h; e irj; jhma; g ;
giwgz; mopAk; ghLrhy; neLtiuf; "
(gjpw;.67:19-21)
vDk; thpfs; tpsf;Ffpd;wd. ,t;thpfs; #h; vdg;gLk; jPz;b
tUj;Jk; nja;tk; tpUk;gpa fhe;js; kyiu m/wpiz capuhd
59
Jk;gp nkha;f;ff;$lhJ vd;w goq;fhy ek;gpf;ifia mwpe;j

fgpyh; nry;tf;fLq;Nfh thopahjid fhe;js; kyuhfTk; gifth;fisj;
Jk;gpahfTk; cUtfg;gLj;jpg; Gide;Js;shh;.
KbTiu
jkpopyf;fpaq;fspy; Gs;spdq;fisg; gw;wpa gjpTfs;
gutyhf fhzf;fplf;fpd;wd. goe;jkpo; ,yf;fpakhd rq;f
,yf;fpaj;jpy; fhjy;> tPuk; ,t;tpuz;bd; cr;rfl;l czh;Tfis
vLj;Jiug;gjw;Fg; Gs;spdq;fspd; ,ay;Gfis rq;fg;Gyth;fs;
ifahz;Ls;shh;. gjpwW
; g;gj;jpy; 31 ,lq;fspy; Gs;spdq;fs; Fwpjj
;
gjpTfs; fhzf;fplf;fpd;wd. njhpahj xU nghUisj; njhpe;j
nghUisf; nfhz;L xg;Gikg;gLj;jpf; $WtNj Gyth;fspd;
gilg;ghw;wy; jpwkhFk;.
rq; f fhyj; j py; Nghhpd; nfhûk; ve; j mstpw; F
,Ue;jpUf;fpd;wJ vd;gij rq;fg;ghly;fs; ed;F Gyg;gLj;JfpwJ.
,sQ;Nruypd; gilfs; vt;thW fle;J nrd;wJ vd;gjw;Ff;
$l;lkhfr; nry;Yk; nfhf;Ffis xg;Gikg;gLj;jpAs;shh;.
Jizepd; w it
Myp]; . M> gjpw; W g; g j; J %yKk; ciuAk; > 2004.
Jiurhkpg;gps;is.
Xsit.R> gjpw;Wg;gj;J %yKk; ciuAk;> 1995.
ghpkhzk;. m.kh> gjpw;Wg;gj;J %yKk; ciuAk;> 2003.
KfkJ myp. R> ,aw;if: nra;jpfs; rpe;jidfs;> 2007.
uj;dk;. f> jkpo;ehl;Lg; gwitfs;> 2002.
60
13. neLey;thil ,yf;fpaj;jpy;

,aw;ifg; GidTfs;
Kidth; g.,uhN[\; vk; . V.vk; . gpy; . >gpvr; b .>
Nf.v];.uq;frhkp fiy kw;Wk; mwptpay; fy;Y}hp (jd;dhl;rp)
jpUr;nrq;NfhL - 637 215. ehkf;fy; khtl;lk;.
,f; f l; L iu neLey; t hilapy; ,lk; n gw; w fhh; f hyk;
kw; W k; $jph; f hy ,aw; i fg; GidTfisg;
gilg; g hrphpahpd; top Muha; f pwJ - gjpg; g hrpupaH
Kd; D iu
rq; f k; itj; J jkpo; tsh; j ; j ,yf; f paq; f spy;
neLey;thilf;Fj; jdprr
; pwg;G cz;L. neLey;thil ,yf;fpaj;ij
vOjpath; ef;fPuh;. ,th; gj;Jg;ghl;L E}y;fspy; ,lk; ngw;Ws;s
neLey;thil> jpUKUfhw;Wg;gil vd;Dk; ,uz;ilAk; rpwg;Gwr;
nra;jth; rq;ffhyg; Gyth; ngUkf;fspy; Nehf;F cj;jp nfhz;l
cz;ikahd Gyth;. ,f;fl;Liu neLey;thil ,yf;fpaj;jpy;
,lk; n gw; W s; s fhh; f hyk; kw; W k; $jph; f hy ,aw; i fg;
GidTfisg; gilg;ghrphpahpd; top Muha;fpwJ.
neLey; t hil
jkpo; Kd; N dhh; f s; ,aw; i fahfpa fhw; i w ehd; F
jpirfspd; mbg;gilapy; tFj;Js;sdh;. mjhtJ njd;jpirapy;
,Ue;JtUk; fhw;iw 'njd;wy;" vd;Wk;> fpof;Fj; jpirapypUe;J
vOk; fhw;iw 'nfhz;ly;" vd;Wk; Nkw;Fj; jpirapypUe;J tUk;
fhw;iw 'Nfhil" vd;Wk;> tlf;Fj; jpirapypUe;J xyp vOg;gp
61
tUk; fhw;iw 'thil"vd;Wk; miog;gh;. Vd;? thilf;fhw;Wf;F

kl;Lk; vd;d tpwg;G vd;gij MuhAk; NghJ> fhh;fhyj;jpd; NghJ
Njhd;Wk; thilahFk;. NkYk;> ,y;ywtho;fi
; ff; nfhz;lth;fs;
,f;fhyj;jpy; gphpa khl;lhh;fs; vd;gJ Fwpg;gplj;jf;fJ. Mf>
gilg;ghspauhfpa ef;fPuh; xU r%f tho;tpaiy ,aw;ifNahL
Gide;Js;sij mwpayhk;.
,q;F 'neLey;thil" vDk; ngahpy; 'neL" vd;gJ jiytpfF
;
nebajhfTk; (Jd;gk;)> 'ey;" vd;gJ jiytDf;F ey;yjhAk;>
(,d;gk;) ,t;tpuz;bw;Fk; nghJthdJ 'thil" vDk; fhw;whFk;.
Mf> ,d;gKk; Jd;gKk; ngw itg;gJ ,aw;if vd;gij czu
KbfpwJ. Vnddpy;> muz;kidapy; ,Uf;ff;$ba jiytpf;F
,t;tpaw;ifahfpa fhw;W ghz;bkhNjtpapd; gphpTj; JaiuAk;
ghriwapy; (Nghh;ff
; sj;jpy;) ,Uf;ff; $ba jiytDf;F ,f;fhw;W
tP u Tzh; r ; r piaj; jUk; R+oiy cUthf; f pAs; s J.
Mf>
,aw;ifahfpa R+oNy kdpjdpd; tsh;r;rp> tPo;r;rp fhuzkhf
mikfpd;wd vdyhk;.
fhh; f hyg; gUtq; f s;

jkpopyf;fpaj;jpd; (mf ,yf;fpak;)> fl;likg;Gfshf
Kg;nghUs; mikfpd;wd. mjhtJ Kjw;nghUs;> fUg;nghUs;>
chpg;nghUs; vd;gd. ef;fPuh; Kjw;nghUshfpa epyk;> nghOJ
,itfspy; ngUk;nghOjpy; fhh;f;fhyj;ijr; Rl;bf;fhl;Lfpd;whh;.
fhh;fhyk; vd;gJ kiof;fhykhFk;. njhy;fhg;gpak;>
'khNahd; Nka fhLiw cyfKk; " (njhy; . 9510)
'fhUk; khiyAk; Ky; i y; FwpQ; r p
$jph; ahkk; vd; k dhh; Gyth; " (njhy; . 952)
vd;fpwJ. Mf> njhy;fhg;gpah; $wpa fhh;fhyj;jpd; jd;ikapid
ef;fPuh; tphpTgLj;jpAs;shh;. mjhtJ>
'itafk; gdpg; g tyNdh; G tis,g;
ngha; a h thdk; GJg; n g
ay; nghope; n jd" (neL..1-2)
gay;
62
vd;Dk; ghlybfspy; ,t;Tyfk; kfpo;r;rpailfpwJ vd;fpwhh;.

,q;F 'gdpg;g" vd;gJ Fsph;r;rp> mjhtJ kfpo;r;rpapd;ghw;gLk;
vdyhk;. fhh;fhyk; GJnts;;sk; Njhd;Wk; mstpw;F kio
nghope;jJ vd;gijr; Rl;bf;fhl;Lfpd;whh;.
,q;F ehk; ftdpf;ff;$ba nra;jp vd;dntd;why; fhyj;jpd;
khw; w j; j hy; kf; f Sf; F kfpo; r ; r pAk; Jd; g Kk; Vw; g Ltij
mwpayhk;. vf;fhyj;jpYk; ntg;gepiy xU ed;ikahf ,Ue;jhy;>
kdpj caph;fSf;F ,dpikg; gw;wp njhpahJ vd;gJk; vy;yh
caph; f Sf; F ,d; g j; i j Cl; L fpd; w ,iwtd; (,aw; i f)
ntWg;Gj; jd;ikapidAk; nfhLf;fpd;whd;. vdNtjhd; fhh;fhyk;>
$jph;fhyk;> Kd;gdpf;fhyk;> gpd;gdpf;fhyk;> ,sNtdpw; fhyk;>
KJNtdpw; fhyk; Mfpatw;iw khwpkhwp cUthf;fp> ,aw;if
cd;id (kdpj r%fj;ij) thoitf;Fk; vd;gijr; Rl;bf; fhl;Lfpdw
; hh;.
NkYk; > fhh; f hyk; ve; j khjj; i jf; nfhz; l J vd; g ij
ciuahrphpah; er;rpdhh;f;fpdpah; nrhy;Yk;NghJ Mtzp> Gul;lhrp
khjj;ijf; $Wfpdw
; hh;. mjhtJ fhh;fhyk; vd;d nra;Ak; vd;gij>
'Mh; f yp Kid,a nfhLq; N fhw; Nfhtyh;
VWil ,depiu NtWGyk; gug; g pg;
Gyk; n gah; Gyk; n ghL fyq; f pf; Nfhly;
eP b jo; f ; fz; z p eP u iyf; fyht
nka; f ; n fhs; ngUk; g zp eypag;
gyUld;iff;nfhs; nfhs;spah; fTs;GilA+c eLq;f"
(neL.3-8)
vd; D k; ghlybfspd; thapyhf nts; s j; i j ntWj; j
,ilah;fshfpa Nfhtyh;fs; xd;W Nrh;e;J nfhz;L> jk;Kila
MepiufisAk; > vUJfisAk; ghJfhg; g jw; F hpa topia
ehLfpwhh;fs;. mjhtJ jho;e;j gFjpahfpa FwpQ;rpg;gFjpf;Fr;
nry;y ,Uf;fpwhh;fs;. vdNt> jk; epyj;ij tpl;Lte;J jdpik
tUj;jk;> jk; md;GkpF kidtpaiug; gphpe;J te;j jdpikj;
Jd;gk; mth; neQ;irf; fth;e;J nfhs;fpd;wJ. mj;jdpikj;
Jd;gj;NjhL kdk; fyq;fpAs;sij czuKbfpwJ.
NkYk;>
63
Ky;iy epyj;jpw;Fhpa fhe;js; G+f;fisr; R+bf; nfhz;Lk;>

jd;Dila clk;gpd; Fsph;r;rp epiyapid Nghf;Fk; tpjkhf>
fhdfj;jpy; fpilf;ff; $ba tpwFfisf; nfhz;L jP %l;b>
jPapy; cs;s ntg;gj;jpidf; ifapy; xj;jpf; fd;dj;jpy; itj;Jf;
nfhs;tJk;> Fsph;r;rpapd; kpFjpahy; Nfhtyh;fspd; fPo;g;gy;Yk;
Nkw;gy;Yk; giwabg;gJ Nghy Nkhjp xypAz;lhf;Ffpd;wd
vdyhk;. ,t;thW fhh;fhyj;jpy; epfo;tpid ntspg;gLj;Jfpd;wJ.
$jph; f hyg; gUtq; f s;

FwpQ; r pepyk;
fhh;fhyg; gUtq;fis mLj;J $jph;fhyg; gUtk; gw;wp
Ngrte;j ef;fPuh; FwpQ;rp> Ky;iy> kUjk;> nea;jy;> Mfpa
ehdpy fhl;rpfisg; Gide;J $Wfpd;whh;. FwpQ;rp epyj;jpd;
,aw;ifiag; Gide;J $Wk;NghJ>
'khNkay; kwg; g ke; j p$ug;
gwit gbtd tP o f; fwit
fd; W Nfhnshopaf; fba tP r pf;
Fd;W Fsph;g;gd;d $jph;g; ghdhs;" (neLey;.9-12)
vd;Dk; ghlybfshy; ehdpy $jph;fhy epfo;r;rpfisf; $Wk;
tpjkhf Kjypy; FwpQ;rp epyf;fhl;rpia ikag;gLj;Jfpd;whh;.
mjhtJ MuwpT ngw;w kdpjh;fisj; Jd;gg;gLj;JtJ Nghy
Ie;jwpT caph;fisAk; Jd;gg;gl;L epw;gijAk; czh;j;Jfpd;whh;
ef;fuP h;. tpyq;Ffs; vy;yhk; Nka;jj
; y; jd;ikia kwe;J epw;gJk;>
ke;jpfs; czT cl;nfhs;Sjy; kwe;J Fspuhy; eLq;fp epw;gJk;>
gRf;fspd; fd;Wfs; ghy; cz;z Ntz;b kbf;fhk;gpid
neUq;Fk;NghJ gR js;sp tpLtijAk;> NkYk; kuq;fspy; cs;s
gwitfs; fhy; g pbg; G j; jd; i kapy; y hky; fP N o tpOtJk; >
,f;$jph;fhykhdJ capUk; czh;r;rpAkpy;yhj Fd;wpidAk;
Fsph; g ; g jhf miktJk; > Mfpa $jph; f hy epfo; T fs;
ntspg;gLtij czu KbfpwJ.
64
Ky;iy epyk;
ef; f P u h; neLey; t hil ,yf; f paj; j py; Ky; i yepyk;
njhlh;ghd ,aw;if GidTfisr; Rl;bf;fhl;Lk; NghJ>
'Gd; n fhb KRz; i l nghWg; G w thd; G +q;
nghd; N ghw; gP u nkhL Gww; G jd; k y" (neLey;.13-14)
vd;Dk; ghlybfspy; Ky;iyepyj;jpy; cs;s KRz;ilahfpa
ntz;ikahd G+f;fs;> nghd;Nghd;w epwj;ijAila gPhf
; f
; kyh;fs;
G+j;J FOq;fpAs;sij mwpayhk;.
NkYk;> ,g;G+f;fs; G+j;J
FOq;FtJ Nghy Ky;iy epykf;fSk; G+j;Jf; FOq;f Ntz;Lk;.
Mdhy;> $jph;fhyk; kw;Wk; fhh;fhyk; vd;gjdhy;> Ky;iyepy
kf;fs; Jd;gg;gLtJk;> ghl;Lilj; jiytdhfpa ghz;ba kd;dtDk;>
ghz;bkhNjtpAk;> Jd;gk; ngw;W ,Ug;gijAk; czuyhk;.
ciuahrphpah; er; r pdhh; f ; f pdpah; ,th; f isf; $Wk; N ghJ
jiytDk; Kff; Fwpg;Gk; jiytpapd; Kff;Fwpg;Gk; KRz;ilg;
G+itg; Nghy fhl;rpaspf;ftpy;iy vd;gijr; Rl;bf;fhl;Lth;.
kUj epyk;
taYk; tay; rhh; e ; j gFjpiaAk; cs; s lf; f paJ
kUjepykhFk;. kUjepyj;jpy; new;gaphf
; s; G+jJ
; f; FYq;fpf; fplg;gJk;>
,jidaLj;J fKfkuq;fs; G+j;J nrwpe;J fhzg;gLtJk;>
,jd;NkNy kioj;Jsp khwhky; tPo;e;Jnfhz;L ,Ug;gijAk;
fhzyhk;. ,jid> (neL21-28) vd;Dk; ghlybfs; czuyhk;. vdNt
kUjepy kf;fisAk; nghUs;fisAk; Jd;gg;Lj;Jk; mstpw;F
mike;Js;sij fhzyhk;.
nea; j y ;
ef;fuP h; nea;jy; epyj;ijr; Rl;bf; fhl;Lk; NghJ> ntz;ikahd
epwj;ijAila nfhf;Ffspd; $l;lk; fhzg;gLfpwJ. mtw;wpd;
fhy;fs; gRikahf cs;sd. ,t;tiw moFtha;e;j ehiuf;Fk;
nfhf;FfSk; Mw;WePhpd; mUfpy; thpirahf mkh;e;J nfhz;L>
fay;kPd;fis cz;gjw;fhf ,Ug;gijAk;> fhh;fhyj;jpy; cs;s
GJnts;sk; $jph;fhyj;jpy; nry;YtJk;> ,il,ilNa kio
rpWrpW Jtiyfshfj; J}tj; njhlq;FtJk; nts;sj;jpd;
khw;wj;jpw;Ff; fhuzk; vd;gij>
65
'igq; f hw; nfhf; f pd; nkd; g iwj; njhOjp

,Uq;fsp
gue;j <u ntz;kzy;
nrt; t hp ehiunahL vt; t hAq; ftuf;
fayw vjpUf; fLk; G dy; rhma; g ;
ngaYye; njOe; j nghq; f y; ntz; k io
mt; t pU tpRk; g py; Jtiy fw; g "
(neL.ey;. 15-20)
vd;Dk; ghlybfshy; njspayhk;.
mjhtJ> MwwpTila
kf;fSs; rpwe;j kd;dtd; gifNkw;nrd;W kdk; epiyapd;wp
,d;gj;ij tpUk;ghJ> es;sputpYk; J}q;fhJ gzpnra;Ak; ghz;ba
kd;dtDk;> Ie;jwpTila gwitfs; tpUk;gpaijg; ngw;W
,d;GWk; epiyapy; jiytpapd; epiy vt;thW mike;J ,Uf;Fk;
vd;gijr; Rl;bf;fhl;Ltij czuKbfpwJ.
KbTiu
kdpj r%fj;ij ey;topg; gLj;Jtjw;F Vw;gLj;jpf; nfhz;l
cwNt ,aw;if. ,aw;ifNahL tho;ej
; kdpj r%fKk; Nehapdw
; p
nrk;ikahf tho;e;jdh;. ,aw;if khWk;NghJ kdpjh;fspd;
epiyAk; khwp nry;tijf; fhz KbfpwJ. rq;ffhy jkpoh;fs;
vy;yh gUtq;fspYk; ,d;gk;> Jd;gk; vDk; nray;fspy; tho;e;J
te;Js;sij mwpa KbfpwJ. neLey;thil ,yf;fpaj;jpy;
,aw; i fia kdpjr%fk; kl; L kpd; w p gpw caphpdq; f Sk;
vt;thnwy;yhk; ,d;gJd;gq;fis mDgtpj;Js;sdh; vd;gij
mwpeJ
; nfhs;s KbfpwJ. Mf> ,d;iwa kdpjh;fSk; ,aw;ifNahL
xd;w Ntz;Lk; vd;gjpy; Iakpy;iy vdyhk;. ,aw;ifapd;
thapyhf xU r%f tho;tpaiyg; glk; gpbj;Jf; fhl;bAs;shh;
gilg;ghrphpah; mth;fs;.
66
14.fypj;njhifapy; cs;Siw ctkk;

jpU. g. uhN[\; vk;.V.vk;.gpy;.>
Nf.v];.uq;frhkp fiy kw;Wk; mwptpay; fy;Y}up(jd;dhl;rp)
jpUr;nrq;NfhL
fypj; n jhifapy; fhzg; g Lk; cs; S iw ctkj; i j
ntspf; f hl; L k; tifapy; ,f; f l; L iu mikfpwJ
- gjpg; g hrpupaH
gz;ila jkpo; kf;fs; ,aw;ifNahL ,iae;j tho;tpid
tho; e ; j hh; f s; . jq; f s; tho; t py; xt; n thU nray; f spYk;
,aw;ifapd; VNjDk; xU nghUisj; njhlh;GgLj;jp tho;ej
; NjhL
kl;Lky;yhky;> mij vjph;fhyr; r%fj;jpw;Fk; gad;gLk;tifapy;
,yf;fpaq;fspy; gjpT nra;jdh;. mt;tifapy; ekf;F fpilj;j
kpfg;nghpa ,yf;fpag; Gijayhf tpsq;FtJ rq;f ,yf;fpaq;fshFk;.
rq;f ,yf;fpaj;jpy; fypg;ghtpdhy; ghlg;gl;l xNu ,yf;fpakhfTk;
fw; w wpe; N jhuhy; Vj; j g; g Lk; ,yf; f pakhfTk; tpsq; F tJ
fypj;njhifahFk;. ,f;fypj;njhifapy; fhzg;gLk; cs;Siw
ctkj;ij ntspf;fhl;Lk; tifapy; ,f;fl;Liu mikfpwJ.
cs; S iw
ntspg;gilahf ntspg;gLk; nghUspd; cs;Ns El;gkhf
ciwAk; nghUs; cs;Siw vd;gh;. ,jidf; Fwpg;Gg; nghUs;
vd;Wk; $Wth;. rq;f ,yf;fpaj;jpy; Fwpg;ghf mfg;ghly;fspd;
,yf;fpa eaj;ij ftpj;Jtj;ij ntspf;nfhzu Jizahf
,Ug;gJ cs;SiwahFk;.
67
cs;Siw ctkk;
njhy; f hg; g pah; mfj; j pizapaypy; ctkq; f spd;
tiffisf; Fwpg;gpLk; nghOJ>
'cs; S iw ctkk; Vid ctkk; vdj;
js;shJ MFk; jpizAzh; tifNa" (njhy;.mfj;.46)
vd;fpwhu;. NkYk; cs;Siw ctkj;jpd; fsdhf
'cs; S iw nja; t k; xope; j ij epynkdf;
Nfhs;Sk; vd;g Fwpawpe;NjhNu"
(njhy;.mfj;.47)
vd;Wk; cs;Siw ctkj;jpd; gz;ig
'cs; S Wj; J ,jNdhL xj; J g; n ghUs; Kbnfd
cs; S Wj; J ciug; g Nj cs; S iw ctkk; "
(njhy;.mfj;.;48)
vd;Wk; Fwpg;gpLfpd;whh;.
cs; S iwapd; Nehf; f k; :

rq;f fhyj;jpy; mftho;f;ifapy; Neubahff; Fiwiar;
Rl;bf;$Wk; kuG ,y;iy. Neubahff Fiwfisr; Rl;bf;
$Wtjhy; kdpj kdk; vjph;g;Gzh;r;rpiaf; fhl;Lk;. Mdhy;>
fij Nghyf; $wpdhy; kdpjdpd; kdk; NtW ahiuNah
nrhy;tjhf epidf;Fk;. NkYk; kdpjdpd; cah;T jho;Tfis
,aw; i fg; nghUs; f NshL rhh; j ; j pf; $WtJ mbg; g il
cstpayhFk;. ,e;epfo;rr
; piaf; Fwpg;gpLk; NghJ m/wpiziar;
Rl;bf;fhl;b cah;jpiziaj; jpUj;jr; nra;tJ cs;Siw
ctkj;jpd; Nehf;fkhFk;.
cs; S iwapd; tiffs;

'clDiw ctkk; Rl;L eif rpwg;G vdf;
nflyUk; kutpd; cs;Siw Ie;Nj" (njhy;.nghUs;.48)
vd;W njhy;fhg;gpag; nghUspay; E}w;gh cs;Siwia Ie;J
tifahfg; gFj; J s; s hh; . mth; ntspf; f hl; b a Nghf; f py;
fypj;njhifg; ghlypy; cs;Siw mikfpwJ vdf; fUjyhk;.
68
jiytp kdepiyia ntspg;gLj;Jk; cs;Siw

jiytd; jpUkzk; gw;wp epidahJ fsT ePlb
; ikf; fz;L
jiytpapd; kdk; fyq;FfpwJ. jiytpapd; vz;zj;jpidf;
fz;L NjhopAk; Jd;gg;gLfpwhs;.; mjdhy; jiytid tuT fUjp
tw;GWj;Jfpwhs; Njhop. jiytpapd; epiyg;ghl;bidg; gpd; tUkhW
Njhop cs;Szu;j;jpf; $Wfpwhs;.
'cWGyp cUNta; g ; g g; G+j; j Ntq; i fiaf;
fWTnfhz; L mjd; Kjy; Fj; j pa kjahid
ePbU tplufk; rpyk;gf $a;j; jd;
NfhL Ga;f;fy;yhJ cof;Fk; ehl" (Fwp.fyp 2:6-9)
,g;ghlypy; kyh;e;J kzk; tPRk; Ntq;ifiag; Gypnadf;
fUjpaJ> ,y;yw ,d;gk; ngwj; Jiznra;Ak; Njhopapd;
mwpTiuiaf; fsT ,d;gj;ij ,of;fr; nra;tjhy; nfhbnjdf;
fUjyhk;. ahid Ntq;ifia mopf;f vz;Zjy; jiytd;
Njhopapd; tiuTflha $w;iw kWf;fj; Jzpjw;F cs;SiwahFk;.
ahid jd; Nfhl;bidg; gpLq;f Kbahky; $tp mOjy;> mts;
$w;iwf; nfhLik cilajhff; fUjpaij khw;wpf; nfhs;s
Kbahky;> jiytd; tUe;Jtjhf cs;Siw mwpTWj;jg;gLfpwJ.
jiytpapd; cly; eyk; nfLjypy; cs;Siw:

jiytDk; jiytpAk; fhjy; nfhz;L ehSk; mtisf;
fhz te;j jiytd;> ehsiltpy; jd; tUifiaf; Fiwj;Jf;
nfhz;lhd;. mjdhy; jiytpapd; cly; eyk; ghjpj;jij
cs;Siw %yk; ntspg;gLj;Jfpwhh;.
'vLj; j ewtpd; Fiyayk; fhe; j s; n jhLj; j Njd;
Nrhuj; jaq; F k; "
(Fwp.fyp 4:12-13)
fhe;js; kyhpy; cs;s NjdhdJ> fPNotpOe;J jhNd

ghohjy;> jiytpapd; eyk;> jiytd; thuhf; ftiyahy>;
jiytd; te;J tiue;J nfhs;tjw;F Kd;dNu nfLjYf;F
cs;Siwahf ntspg;gLj;jg;gLfpwJ.
69
'eLq; f h vopy; N tok; tP o ; g pbf; F cw; w

fLQ; # y; tahtpw; F mkh; e ; J neLQ; r pidj;
jP q ; f z; fUk; g pd; fiothq; F k; "
(Fwp.fyp- 4:26-28)
Nrhk;gp ,Uj;jiy mwpahj Mz; ahid> jhd; tpUk;Gk;
gpbahidf;F> mJ Kjy; #y; cw;wpUg;gjhy; mf;fhyj;J
Ntl;ifiaj; jPh;f;f> mJ tpUk;Gk; ,dpa fUk;ig Kwpj;Jj;
jUk;. ,e;epfo;T jiytd; tpiue;J te;J jiytpia kz;e;J>
mts; fUTw;w fhyj;J mts; tpUk;Gk; nghUisj; Njbf;
nfhz;Lte;J jUtjw;F cs;Siwahff; $wg;gl;Ls;sJ.
jiytp myiug; Nghf;fp $Wk; cs;Siw:

jiytd; jiytpNahL fsT Nkw;nfhz;ljhy>; Cuhu;
myh; J}w;w Muk;gpj;jdh;. mjdhy; Njhop KjyhNdhh; jiytidg;
gopj;jdh;. Mdhy; jiytp> gopg;gijg; nghWf;fkhl;lhky;
jiytidg; Gfo;eJ
; ghbaij cs;Siw %yk; vLj;Jiuf;fpwhh;.
'kwq; n fhs; ,Uk; G ypj; njhd; K uz; njhiyj; j
KwQ; n rtp thuzk; Kd; F sF mUe; j f;
fwq;F nts;ypUyp xypapd; JQ;Rk;" (Fwp.fyp- 6:1-3)
,g;ghlypy; Gypiaf; nfhd;W ftiyaw;W czT cz;L>
mUtp xypapy; ahid JQ;RtJ> jiytpapd; kPJ Cuhh; $Wk;
myiuf; nfLj;J mtis kze;J ,y;ywk; Nkw;nfhz;L Rw;wk;
ghuhl;lj; jiytpia ,d;gk; Efu cs;SWj;Jf; $wg;gl;Ls;sJ.
njhFg; G iu
fypjn
; jhifapy; cs;Siw ,d;wpaikahj cWg;ghfpdw
; J.
cs; S iwg; nghUis czh; e ; j hy; j hd; ftpijg; nghUs;
rpwg;gilAk;. ghliyr; RitAilajhf;Fk;. jiytp Njhop
$w;Wfspy; jiytdJ nray;fis ehfhpfkhf kiwj;Jg; NgrTk;>
Fw;wq;fis nkypjhff; $wp typjhff; fz;bf;fTk; cs;Siw
fypnjhifapy; gad;gLj;jg;gl;Ls;sd.
70
15. gz;ilj;jkpoupd; ,aw;ifawpTk;

,aw;ifrhHe;j fhg;GzHTk;
(ngUk; g hzhw; W g; g ilia Kd; i tj; J )
KidtH j. fz; z d; vk; . V.vk; . gpy; . >gpvr; b .>
cjtpg; NguhrpupaH - jkpo;j;Jiw
Nf.v];. uq;frhkp fiy mwptpay; fy;Y}hp (jd;dhl;rp)
jpUr;nrq;NfhL>- 637 215. ehkf;fy; khtl;lk;.
gz; i lj; j kpoupd; ,aw; i fawpitAk; > ,aw; i f

rhHe; j #oy; f hg; G zHitAk; rhd; W fSld; El; g khf
,ak; G fpwJ ,f; f l; L iu - gjpg; g hrpupaH
ngUk;ghzhw;Wg;gil rq;f ,yf;fpaj;Js; fhzg;gLk;
Mw;Wg;gil E}y;fSs; xd;whFk;. 500 mbfisf; nfhz;l
,e;E}y; filr;rq;f fhyj;ijr; NrHe;j E}yhFk;. ,e;E}ypd;top
mwpayhFk; gz;ilj;jkpoupd; ,aw;ifawpitAk; ,aw;if rhHe;j
#oy;fhg;GzHitAk; vLj;Jiug;gJ ,f;fl;Liuapd; Nehf;fkhFk;.
#oy; fhg; G zHTfs;

rq;ffhy kdpjd; ,aw;ifAld; ,iae;J tho;ej
; td;; jhd;
tho; epyj;jpw;Nfw;gj; jd; tho;it ,dpikahf;fpf; nfhz;ltd;.
vdpDk; mtd; tho;tpy; ,aw;ifAldhd Nghuhl;lq;fSk;
epfo;j;Js;sd.
,aw; i fia vt; t sTjhd; mwpe; J itj; j pUe; j hYk;
,aw;ifia ntd;nwLg;ghH ahUk; ,y;iy. ,aw;if mikjpahf
cwq;Fk; tiu ehk; ,aw;ifia ntd;wtHfshff; fhl;rpaspf;fpd;;Nwhk;. ,e;epiyapy; ,aw;ifahy; tUk; Jd;gq;fis
71
Kd;djhf mwpe;J mtw;wpypUe;J jd;idf; fhj;Jnfhs;s

KaYjy; rpwg;ghFk;. ,f;fhg;GzHT rq;f fhy kf;fsplk;
fhzg;gl;lijg; ngUk;ghzhw;Wg;gilapd; top mwpaKbfpwJ.
thd; kb nghOJk; jz;zPUk;

kdpjDf;Fj; Njitg;gLk; mj;jpahtrpag; nghUl;fspy;
kpf Kf;fpakhdJ jz;zPH. ePupd;wp mikahJ ,t;TyF. ,j;
jz; z P i ur; Nrkpj; J itj; j Yk; Nrkpj; J itj; j ijg;
ghJfhj;jYk; kpf Kf;fpakhdjhFk;. jz;zPUf;fhd fhg;GzHT
cyfj;J capHfspd; tho;tpw;fhd fhg;GzHthFk;.
kioapd;wp twz;L NghFk; fhyj;ijg; ngUk;ghzhw;Wg;
gil thd;kb nghOJ vd;Wiuf;fpd;wJ. ,e;jg; nghOjpy;
kioapd;ikahy; jz;zPHg; gQ;rk; Vw;gLjy; ,ay;G. vdNt
,f;fhyj;ija jz;zPHj; Njitiar; rhpnra;tjw;Fr; rq;f fhy
kf;fs;> jz;zPiur; Nrkpj;J itj;Js;sdH. ePz;l ehl;fSf;Fj;
jz;zi
P ur; NrkpjJ
; itj;jpUf;Fk; ngha;ifia 'KJePH ngha;if"
(ngUk;. 295) vd;W Rl;LfpwJ ngUk;ghzhw;Wg;gil. Nfhilfhy
ePHj; Njitf;fhff; Fsq;fis Mokhf ntl;bj; jz;zPiu
mjDs; ghJfhj;J itj;jpUe;jij mwpaKbfpwJ. ,jid>
'Nfhil eP b Dq; Fiwgl ywpahj;
Njhlho; Fsj; j "
(ngUk;. 272-273)
vd;Dk; mbfs; czHj;Jfpd;wd. ,q;F rq;f fhy kf;fs;

ePiuf; Fsq;fs; Njhz;br; Nrkpj;jdH vd;gij mwptJld;
me;ePiu ePz;lehl;fSf;Fr; Nrkpf;Fk; KiwfisAk; ed;fwpe;J
itj;jpUe;jdH vd;gijAk; mwpaKbfpwJ. ePiur; Nrkpg;gjw;fhfj;
Njhz;lg;gLq; Fsq;fs; mfykhf ,Ug;gijtpl Mokhf ,Uf;f
Ntz; L k; vd; g ijf; fz; l wpe; J s; s dH. Nfhil ntapypd;
jhf;fj;jhy; ePHepiyfs; vspjpy; tw;wptpLk;. vdNt ePiu mfykhfr;
Nrkpg;gjpy; mjpf gyd; fpilg;gjpy;iy. ePiu Mokhfr; Nrkpj;J
itg;gjd; top Nfhil ntapy; ePiu tpiue;J vLj;Jr; nrd;Wtpl
Kbahnjd;gij mwpe;J mf;Fsq;fis Mokhf ntl;bAs;sdH.
72
,f;Fsj;jpw;Fs; xUtH ,wq;fp jd; iffis NkNy

J}f;fpf; nfhz;L cs;Ns nry;yr; nry;y mthpd; Njhs;fs;
kiwe;J mthpd; iffSk; kiwAkstpw;F ,Ue;jd vd;gijNa
'Njhlho; Fsj;j" vd;gJ Rl;LfpwJ. ,t;tstpw;fhd MoKk;
mjw;Fs; Nrkpj;J itf;Fk; ePUk; rq;f fhy kf;fspd; Nfhilfhy
ePiuj; Njitiag; ngWtjw;F Nghjpajhf ,Ue;Js;sij>
'Fiwgly; mwpahj;" vDk; nrhw;fs; czHj;Jfpd;wd.
,t;thwhd ngha;if ,y;yh epiyapy; Fopfisj; Njhz;b>
mf;Fopapd; top ePiug; ngw;Ws;sdH vd;gijAk;
ngUk;ghzhw;Wg;gil czHj;Jfpd;wJ. ,jid>
'thd;kb nghOjp dPHeir, Fopj;j"
(ngUk;. 107)
vd;Dk; mbAzHj;Jk;. ,jdhy; jz;zPH Nrkpg;Gj; jPHe;j ,lj;J

jz;zPiug; ngWtjw;Ff; Fopfisj; Njhz;bAs;sdH vd;gij
mwpaKbfpwJ.
ePH Mjhuq;fis twz;L Nghfr; nra;Ak; Nfhilfhyj;Jld;
rq;f fhy kf;fs; Nghuhb tho;e;Js;sdH. Nfhilapd; ntg;gk;
QhapW nfhz;l fLq;Nfhgk; vd;Wk; vspjpy; ntd;nwLf;f
Kbahjstpy; gyfjpHfspd; typik cilanjd; W k;
Rl;lg;gLtijf; fhzKbfpwJ. ,jid>
'mfypU tpRk; g pw; ghapUs; gUfpg;
gfy; f hd; nwOjU gy; f jpHg; gUjp
fha; r pde; jpUfpa fLe; j pwy; Ntdpy; " (ngUk; . 1-3)
vd;Dk; mbfs; czHj;Jfpd;wd.
fhg;G NtypfSk; eha;fSk;

tpyq;Ffsplk; ,Ue;J jq;fisf; fhj;Jf;nfhs;s rq;f
fhy kf;fs; jq;fspd; FbapUg;Gg; gFjpfspy; Ks;Ntypfis
mikj;Js;sdH vd;gijg; ngUk;ghzhw;Wg; gilapd; top
mwpaKbfpwJ. ,k;Ks;Ntypfis ,t;thw;Wg;gil 'tho;Ks;
Ntyp" (ngUk;. 126) vd;Wk; ',LKs; Ntyp" (ngUk;. 154) vd;Wk;
,uz;L tifahff; Fwpg;gpLfpwJ. Kl;nrbfis ,aw;ifahf
tsur; nra;J Ntypahf mikj;jy; tho;Ks; NtypahFk;.
73
ghiyepyj;Js; kf;fspd; Ks;Ntypfs; tho;Ks; Ntypfshf

,Ue;Js;sd. Ky;iy epy kf;fs; jq;fspd; ,Ug;gplj;jpw;Fj;
Njitg;gLk; Ks;Ntypfis tho;Ks; Ntypfhshf mikf;fhJ
,LKs; Ntypfshf mikj;Js;sdH. Kl;nrbfisf; fhl;lhff;
fl;bte;J jq;fSf;fhd ghJfhg;gig cz;lhf;fpf; nfhs;Sjy;
,LKs; NtypahFk;.
ghJfhg; g pw; f hd Ks; N typfisg; Nghd; W fhtYf; F
eha;fisAk; jq;fspd; tPLfspy; fl;bitj;Js;sdH vd;gijAk;
ngUk;ghzhw;Wg;gilapd; topawpaKbfpwJ. ,jid> 'njhlHeh
ahj;j Jd;dUq; fbefH" (ngUk;. 125) vDk; mbAzHj;Jk;.
topapilf; fhg; G zHTfs;

neLe; n jhiyTg; gazq; f Ss; ftdpf; f j; j f; f d gy
cs;sd. mt;thwhd gazf; fhg;GzHTfs; rq;f fhy kf;fsplk;
fhzg;gl;lijg; ngUk;ghzhw;Wg;gilapd; top mwpaKbfpwJ.
topapilj; Jd;gq;fSs; ngUk;ghzhw;Wg;gil Fwpg;gpLtd>
topg;NghNthiuf; Nfhntd;W mywj; jhf;fp topg;NghNthH ifapy;
,Uf;Fk; nghUisf; fth;e;Jnfhs;fpd;w fs;tH
Ngupb tpOjy;
ghk;G fbj;jy;
fhl;Ltho; tpyq;Ffs; jhf;Fjy;
vd;gdthFk;. ,jid>
'mj; j Q; nry; N th uywj; jhf; f pf;
ifg; n ghUs; ntsTk; fsNtH tho; f ; i ff;
nfhbNah upd; w td; fbAil tpad; G yk;
cUK Kuwh jute; jg;gh
fhl; L khT KWfz; nra; a h.."
(ngUk;. 39-43)
vd;Dk; mbfs; czHj;Jk;. ,j;Jd;gq;fisr; rq;ffhy kf;fs;
kd;ddpd; fhty; rpwg;ghYk; mtdJ nrq;Nfhl;rpwg;ghYk;
ntd;Ws;sdH. '39-41: ,t;tbfspy; ,se;jpiuadJ ehl;by; fs;sH
gak; ,y;iynad;W $wpathwhapw;W. 44-43: ,t;tbfshy;
74
,se;jpiuaDila nrq;NfhYf;Ff; fPolq;fpj; jPiknaJk;

epfohikiaf; $wpathW" vd;W tpsf;fpAiug;gH er;rpdhHf;fpdpaH.
,jdhy; topapilg; gazj; j py; epfOk; Jd; g q; f Sf; f hd
fhg;Gfshf kd;ddpd; tPuKk; nrq;Nfhl;rpwg;Gk; miktijf; fhz
KbfpwJ. ,t;thwhd topapilj; Jd;gq;fis me;epyq;fspNy
tho;e;JtUk; FwpQ;rp epy kf;fs; vjpH nfhz;Ls;sdH. mtHfs;
kd;ddpd; tPuj;ijNah nrq;Nfhl;rpwg;igNahj; Jizahff;
nfhs; s hky; jq; f sJ tP u j; i jNa ,jw; f hd fhg; g hff;
nfhz;bUe;jdH vd;gij>
'ahid jhf; f pD kuTNkw; nrypDk;
eP d pw tpRk; g pd; ty; N yW rpiyg; g pDk;
#d; kfz; khwh kwk;g+z; tho;f;if"
f"(ngUk;.134-136)
vd;Dk; mbfs; top mwpayhk;.
nrUg; g zpjy;
Ky;iyepyj;jpy; Mepiufis Nka;jJ
; thOk; ,ilaHfs;
fhL NkLfspy; Xbj;jpuptjhy; jq;fspd; fhy;fisg; ghJfhf;f
Ntz;b nrUg;gpid mzpe;Js;sdH. ,r;nrUg;Gfis mtHfs;
vg;nghOJk; mzpe;jpUe;jdH. vdNt mtHfspd; fhy;fspy;
nrUg;Gj; jlq;fs; fhzg;gLfpd;wd. ,jid>'njhLNjhd; kuP,a
tLtho; Nehdb" (ngUk;.169) vd;Dk; mbAzHj;Jk;.
kf; f l; f ; fhg; G zHT

gUtq;fisAk; epyq;fisAk; me;epyj;J tpyq;FfisAk;
ed; f wpe; J mtw; ; w plkpUe; J jd; i df; fhj; J f; n fhs; S k;
fhg;GzHTld; fhzg;gl;l rq;f fhy kf;fs; jk; Nghd;w kf;fisAk;
ed;fwpe;J mtHjk; Fzq;fis czHe;J mjw;Nfw;whH Nghd;w
fhg;GfisAk; tFj;Jf;nfhz;L tho;e;Js;sdH.
khWghL nfhz; neQ;rpid cilatHfs; FwpQ;rp epyj;Nj
tpbaw;fhyj;Nj Mepiufisf; ifg;gw;wp me;epiufSf;fhd
Njhg;gpf; fs;isg; ngw;W mjid cz;L kfpo;e;J $j;jhLk;
,ay;gpid cilatHfs; vd;Wiuf;Fk; ef;fPuH. mt;tplj;jpy;
jq;FtJ Fwpj;Njh czTngWjy; Fwpj;Njh vJTk; $whJ
75
tpLj;jhH (ngUk;.134-147). Vd;ndd;why; mt;tplj;jpUg;N

; ghH ,ay;G
khWghLilajhFk;. ,jid> 'FwpQ;rp epyKk; mjd; gifg;GyKk;
flj;jiyf; $Wfpdw
; td; mt;tplj;Jg; ngWk; czitf; $whdhapdhd;.
mtH khWghl;NlhL ,Ug;gtuhjyhy;" vd;gH er;rpdhHf;fpdpaH.
,jdhy; kf;fspd; ,ay;Gfis mwpe;J mjw;fhd fhg;GzHTld;
nray;gl;l jd;ik ngwg;gLfpwJ.
#oy; fhg; G zHT ,yf; f pak;

topg;NghNthid Mw;Wg; gLj;Jk; Mw;Wg;gil ,yf;fpaq;fs;
neLe;njhiyTg; gazj;jpy; ftdpff
; Ntz;baijg; gl;baypl;Lf;
$WtJ Nghy; mike;Js;sJ. ,jDs; topaplq;fs;> topapilj;
Jd;gq;fs;> vjpHnfhs;sg; NghFk; kf;f
; s;> mq;Ffpilf;Fk; czT
Kjypatw;iw tpuptha; vLj;Jiuf;fpd;wd. ,tw;iw tpupthf
MuhAk; NghJ Mw;Wg;gil ,yf;fpaq;fs; #oy; fhg;GzHtpw;fhd
,yf;fpaq;fshfj; jpfo;tijf; fhzKbfpwJ.
KbTiu
gUtfhyq; f spd; ,ay; G fis mwpe; J mjw; f hd
fhg;GzHTfSld; nray;gl;Ls;sdH. mtw;Ws; thd;kbnghO
njdg;gLk; Nfhilfhy ,ay;ig ed;fwpe;J mf;fhyj;jpy;
Njitg;gLk; ePHj; Njitiag; ngWk;nghUl;L KJePHg; ngha;if
mikj;Js;sdH. mg;ngha;if ePH ,y;yhepiyapy; Mof; Fop
Njhz;bAs;sdH.
jq;fsJ tPLfSf;F fhg;GNtypfshf Ks; Ntypfis
mikj; J s; s dH. mt; t hNw jq; f isf; fhj; j pLk; nghUl; L
eha;fisf; fl;bitj;jpUe;jdH. gazj;jpd; NghJ ftdpff
; Ntz;baij
mwpeJ
; itj;jpUe;jdH. Ky;iyepy kf;fs; jq;fspd; epy ,ay;gpwN
; fw;g
nrUg; G fis mzpe; J s; s dH. ,t; t hW fhg; G zHtpw; f hd
,yf;fpakhf Mw;Wg;gilfs; jpfo;tjw;Fg; ngUk;ghzhw;Wg;gil
rhd;whf mikfpwJ.
76
16. ftpQh; K. Nkj;jhtpd; ghh;itapy;

,aw;if
jpU K. fz;zd;> vk;.V.>vk;gpy;.>
cjtpg; Nguhrphpah; - jkpo;j;Jiw>
ghujpjhrd; gy;fiyf; fof cWg;Gf; fy;Y}hp>
etY}h;Fl;lg;gl;L> jpUr;rp- 9.
,aw; i f Fwpj; j ftpQh; K.Nkj; j htpd; ftpj; j pwj; i j
rpwg; g hf vLj; J iuf; f pwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu
,Ugjhk; E}w;whz;Lf; ftpQh;fspy;; kpfr; rpwe;jth; ftpQh;
K. Nkj;jh. ,th; jd; ftpij thpfspy; ek;iknay;yhk; rpe;jpf;f
itf;Fk; rpe;jidf; ftpQh;. ,aw;ifia kdpj tho;tpaNyhL
Nerpf;Fk; Nerf;ftpQh;. ,aw;if fw;Wf; nfhLf;Fk; ghlq;fshy;
kdpjid kdpjdhf;f Kw;gLk; Kw;Nghf;F ftpQh;. ,aq;ifapy;
,iwtidf; fz;lth; jkpo;j; njd;wy; jpU.tp.f. ,aw;ifiaNa
kdpjdhf; fz;lth; ftpQh; K.Nkj;jh. kdjpy; gl;lij gl;nld;W
ciuf;Fk; cd;djkhd ftpQh;. ,tuJ 'vd;Dila Nghjp kuq;fs;"
vd;w ftpijj; njhFg;gpy; cs;s ftpijfis Muha;tNj
,t;tha;tpd; Nehf;fk; MFk;.
,aw; i f
,iwtdpd; gilg;Gfs; ',aw;if" vd;Wk; kdpjdpd;
gilg;Gfs; 'nraw;if" vd;Wk; fUjg;gLfpdw
; d. ,ijNa njhy;fhg;gpah;
fpstpahf;fj;jpy;>
77
',aw; i fg; nghUis ,w; n wdf; fpsj; j y; " vd; W k;

'nraw; i fg; nghUis Mf; f nkhL $wy; " vd; W k;
Fwpg;gpLfpwhh;.
jhtuq;fs;> tpyq;fpdq;fs;> MW> mUtp> fly;> kzy;>
epyk;> nghOJ> Ik;G+jq;fs; Kjypad ,aw;ifg; nghUl;fshFk;.
njhy; f hg; g pah;

'Kjy;
EtYq;
ghlYl;
fU chpg; n ghUs; vd; w %d; N w

fhiy Kiw rpwe; j dNt
gapd; w it ehLq; f hiy"
vd;w jpiz mbg;ilapy; kf;fs; tho;itf; fhl;Lk; ,yf;fpaq;fshf

$Wfpwhh;. ,jd; %yk; goq;fhyj;jpy; ,Ue;J kf;fs; ,aw;iff;F
mspj;Js;s Kf;fpaj;Jtk; GydhFk.;
rKjhak;
ftpQh;fs; ,aw;ifia jk; ghly;fspy; gytpjkhfg;
gad;gLj;jp cs;sdh;. rKjha rPhpNfLfisf; fz;L jd;
czh;r;rpfisf; fhz;gpg;gjw;Fk;> ntspg;gLj;Jtjw;Fk;> jd;
fUj;ij xU gpd;dzpapy; miog;gjw;Fk; K. Nkj;jh ,aw;ifia
,izj;J fhl;Lfpwhh;.
'Filfspy; Ch;tyk;" vd;w jiyg;gpy; kioapdhy; Vw;gl;l
nts;s Nrjj;ijg; gw;wp ghLk;nghOJ>
'gs; s pf; $lq; f s; vy; y hk;
gbf; f g; gad; g l; l J Ngha;
Viofs; ,g; N ghJ
gLf;fg; gad;gLfpd;wd"
vd;fpwhh;.
NkYk; rhiyfspd; mtyk; gw;wpf; $Wk;nghOJ>
'rhiyfs; ,g; N ghJ
Fz; L q; FopAkha;
................................
fhz; l ; u hf; l h; f spd;
fij nrhy;fpd;wd"
vd;fpwhh;.
78
,aw;ifiag; ghh;j;J kdpjd; gag;gLfpwhd; vd;gij>

'Ftis eP U f; f hf
ftiyg; g l; l J Ngha; - ,g; N ghJ
jz; z P i ug; ghh; f ; f Nt
gakhf ,Uf;fpwJ"
vd;fpwhh;.
,jd; %yk; kdpjd; ePiug; Nghy; nkd;ikahf> gpujpgypgg; tdhf>
NghuhLgtdhf> ,Uf;f Ntz;Lk; vd;gij tpsf;Ffpwhh;.
MAjk;
goq;fhyj;jpy; Nghh; Vw;gl;lhy; Nghh;f;fhyj;jpy; tPuh;fs;
tPu kuzk; milth;. Mdhy; ,d;Nwh Fz;L tPRgth;fs; gj;jpukha;
gJq;F Fopfspy; ,Uf;f ghku kf;fs; ghjpg;gilfpd;wdh;.
vd;gij 'ehis" vd;w ftpijapy;>
'cyf tP j pfspy;
Ch; t yk; NghFk;
MAjq; f s; . ...........
tP L fSf; F s; xspe; j gb
vl; b g; ghh; f ; F k;
kdpjd; "
vd; W MAjq; f shy; ; kdpjd; kl; L ky; y
ghjpg;gilfpwJ vd;w kiwKfkhf Rl;Lfpwhh;.
,aw; i fAk;
Gj; j h;
Gj;jUk; ftpQDk; ciuahLfpd;wdh;. fhyr; rf;fuk;
kdpjid Ntfkhf ,Oj;Jr; nry;fpwJ vd;gij 'vd;Dila
Nghjpkuq;fs;" vDk; ftpijapy;
'cz; i kapNyNa
fbfhuk; md; N wh cd; i df;
fl; b itj; j pUf; f pwJ
cw; W g; g hh; eP N a
cs; S f; F s; Ks; s puz; L k;
79
Xbf; nfhz; b Uf; f pwjh......

cd; i dj; j hd;
Xl itj; J f; nfhz; L s; s jh?
vd;W Nfl;fpwhh;. NkYk; Gj;jh; ftpQdplk; eP Qhdj;ijg; ngw;w
topnad;d vd;W Nfl;Fk; nghOJ
',q; n fdf; F j;
Njit tUk; Nghnjy; y hk;
Njspthd Qhdk; tUk;
Vndd; w hy;
vy; y h kdpjh; f Sk;
vd; D ila Nghjp kuk; "
vd;W ftpQd; md;W ,aw;ifaha; tsh;e;j Nghjp kuk; %yk;
Qhdg; ngw;whh; Gj;jh;. Mdhy; ,d;W kdpjh;fNs vdf;Fk; Nghjp kuk;
vd;W fhy khw;wj;ij khWgLj;jpf; $Wfpwhh;.
#hpaDk; fbfhuKk;
,yl;rpaj;NjhL Nghuhbdhy;> cioj;jhy; ,aw;if $l
NtW cUtpy; ekf;F cjtpahf ,Uf;Fk; vd;gij 'xU tpLfij
ftpijahfpwJ" vd;w jiyg;gpy; fbfhuj;ijg; ghh;j;J>
'#hpaid G+kp
Rw; w p tUtijNa
RUf; n fOj; j py;
Fwpg; n gLf; f pd; w hNa
cioj; j hy; vg; N ghJk;
cauyhk; vd; g jw; F
cjhuzk; eP jhNd"
vd;fpwhh.;
KbTiu
jkpo;g; GJf;ftpijapy; ,aw;ifiag; ghLnghUshf; nfhz;L
nrhy;yp tUk; fUj;Jf;fisr; rl;nld;W Ghpaitj;J midtUk;
mwpe;j ,aw;ifia GJikahfg; ghbath; ftpQh; K. Nkj;jh
Mthh;.
80
17. 'ghNte;jhpd; mofpd; rphpg;gpy;

,aw;if eak;"
jpUkjp k.ftpjh vk; . V.>vk; g py; ;
cjtpg; Nguhrphpah;> jkpo;j;Jiw
tpNtfhde;jh kfsph; fy;Y}hp>
jpUr;nrq;NfhL
ghNte; j hpd; mofpd; rphpg; g py; ,lk; n gw; W s; s ,aw; i f
eaj; i j Rit Fd; w hky; ciuf; f pwJ ,f; f l; L iu gjpg; g hrpupaH
Kd; D iu
,aw;ifiaAk;> mjd; ,af;fj;ijAk; fz;L czu;e;j
mDgtj;ijg; gpwUk; Ritf;Fk; tz;zk; ftpijahf;fpj; je;J
ftpij cyfpy; jdf;nfd xU jdp Kj;jpiuiag; gjpj;j
ftpQh;fs; gyuhtH. mth;fSs; ,aw;ifapd; mofpid mjd;
Rit Fiwahky; jkJ ftpijfspy; tbj;njLj;J mjid
fhyj;jhy; mopf;f Kbahj fy;ntl;Lfshf kf;fs; kdjpy;
nrJf;fpath; ghNte;jh; ghujpjhrd;. mtuJ ghly;fs; gyjpwj;jd.
nkhop> ,dk;> ehL> ,aw;if> fhjy;> gFj;jwpT> ngz;Zhpik Kjyhd
nghUz;ikfspy; mtuJ ghly;fs; mike;Js;sd. midj;J
gilg;GfspYk; mtuJ ,aw;if <Lghl;bid mwpayhk;. ,aw;ifapd;
mofpid ms;spg; gUfpa jkJ gutrj;jpid midtUk;
mDgtpf;f Ntz;b mth; gilj;j ,yf;fpaNk mofpd; rphpg;ghFk;.
,aw;ifapd; mofpidg; ghl kl;LNk vOe;j E}y; ,J xd;Nw
vdyhk;. mofpd; rphpg;gpy; fhzyhFk; ,aw;if eaj;ij mjd;
Rit Fiwahky; vLj;jpak;GtNj ,f;fl;Liuapd; Nehf;fkhFk;.
81
,aw;ifad;idapd; vopy; $j;J

xU ftpQd; jhd; fz;l fhl;rpapid fhtpakhf;Fk; Mw;wy;
ngw; w td; . ,aw; i fapy; xd; w hjth; f Sk; > ,aw; i fia
czuhjth;fSk; KOikahd ftpQh;fshf kyu KbahJ.
,aw;ifapd; midj;J $WfSk; moF epiwe;jitNa. me;j mofpy;
jpisj;j ghNte;jh;> ,aw;if $Wfshd njd;wy;> thdk;> #hpad;>
re;jpud;> tpyq;Ffs;> gwitfs;> Fd;Wfs;> kiyfs; vd midj;jpd;
tdg;gpYk; kdijg; gwpnfhLf;fpwhh;.'moFjidf; fz;Nld;
ey;ypd;gq; nfhz;Nld;" vd;W mofpid tpae;J Ritf;fpwhh;.
'vd; i d ehd; ,oe; N jd; ; ,d; g
cyfj; j py; thoYw; N wd;
nghd; J fs; njd; w w; fhw; W g;
GJkzk; tz; b d; ghl; L g;
gd; D }W nrO khzpf; f g;
gwitNghy; $l; l g; G+f; f s;
,d; n wyhk; ghh; j ; j pl; l hYk;
njtpl; l hj vopypd; $j; N j"
vd ,aw;ifaofpid th;zpf;fpwhh;.
jkJ ftpijfspd; top ek;ikAk; ,aw;ifad;idapd;
kbapy; ,isg;ghw itf;fpwhh;. jhd; ngw;w ,d;gk;> juzpapYs;NshUk; ngwNtz;Lk; vd;w ce;JjNy ,aw;if Fwpj;j
mtuJ ftpijfSf;F fhuz fh;jj
; hthf mike;Js;sJ vdyhk;.
flypd; fz; n fhs; s hf; fhl; r p

ePhpd;wp mikahJ cyF vd;gJ ts;Sth; jk; thf;F.
ek; tho;tpd; midj;J epiyfspYk; ehk; caph;thoj; Njitahd
tho;thjhuq;fspy; Kf;fpakhdJ ePuhFk;. gy;NtW ePh;epiyfspd;
rq;fkkhd fly; Fwpj;j MrphpauJ fw;gidahdJ gpd;tUkhW
mikfpwJ.
82
'CUf; F fpof; N f cs; s

ngUq; f ly; Xu nky; y hk;
fP h papd; cly; tz; z k; N ghy;
kzy; nkj; i j"......
flypd; kzw;gug;G fPhpapd; cliyg; Nghy; ftpQUf;F
fhl;rp jUfpwJ. nkj;ij Nghd;w kzw;gFjp ghh;g;gjw;F fPhpapd;
cliyg; Nghd;W gOg;G tz;zkhf cs;sJ. mq;F mth;
fhZk; xt;nthU fhl;rpAk; mtuJ fw;gidr; rpwFfis
tphpj;njor; nra;fpwJ.
'fly; e P U k; > eP y thDk;
ifNfhf; F k; mjw; f pjw; F k;
,ilapNy fplf; F k; nts; s k;
vopy; tP i z...."
flypdJ xt; n thU mirTk; mtuJ uridfSf; F
tpUe;jhf mikfpwJ. fz;zhb Nghd;w flypd; Nky; gpujpgypf;Fk;
mj;jidAk; mofpd; gpk;gkhfNt Mrphpahpd; fz;fSf;Fj;
Njhd;WfpwJ. gue;J tphpe;j flw;gug;gpy; vq;Fk; moNf nfhl;bf;
fplf;fpwJ. me;j mofpd; fhl;rpahdJ> ,aw;if eaj;Jld;
tpsf;fg;gl;Ls;sJ.
nrq; f jputDk; > ntz; z pyTk;

#hpaidAk;> re;jpuidAk; ghlhj ftpQh;fNs ,y;iy
vd;Dk; mstpwF
; > ghkuidAk; ghly; vOJk; ghtydha; khw;wpait
,e;j ,U xspr; Rlh;fs; vdyhk;. mtw;Ws; cynfq;Fk; jdJ
xspf;fw;iwfis guttpl;L xU ngUk; jdpr;Rluhf tpsq;Fk;
rpwg;G Qhapw;wpDf;F cz;L. Gyth; ngUkf;fshy; nghpJk;
vLj;jhsg;gl;L> ngUk; Nghw;WjYf;Fk; ghuhl;LjYf;Fk; chpajhf
,d;wsTk; tpsq;fp tUtJ fjputDf;F cz;lhd jdpr;rpwg;G
vdyhk;. mj;jidg; ngUikfSf;Fk; chpa fjputdpd; G+kpapd;
kPjhd murhl;rpia Njh;e;j nrhw;fshy; jpwk;gl fPo;fz;lthW
vLj;jpak;gpAs;shh;.
83
'vO
e; j J nrq; f jph; jhd;
'vOe;
fly; k pir mllh vq; F k;
tpOe; j J jq; f j; J}w; w y;
ntspnayhk; xspapd; tP r ; R "
fhiy Neuj;J flypd; Njhw;wk; Qhapw;wpdJ tUifahy;
jq;fkakhf fhl;rp jUfpwJ. Qhapw;wpdJ mofpidg; glk;gpbj;j
Mrphpah;> fhiyapsk; ghpjp> eLg;gfy; QhapW> khiyapy; njhpAk;
khzpf;fr; Rlh;fjputd; vd xU ehspd; gyNeuj;Jf; fjputd;
Njhw;wj;jpidAk; eak;gl tpthpj;Js;shh;. gfw;nghOjpy; G+kpapy;
NfhNyhr;rpa fjputid mLj;J jdJ FSikahy; G+kpiaj;
jhyhl;l tUk; ntz;zpyitf; fhz;fpwhh; ghNte;jh;. ghNte;jh;
fz;l epyh khR khWtw;w KOepyh. epiwkjpapd; epynthspapy;
ghh;f;Fk; ,lnky;yhk; mtUf;Fg; gspq;fhfj; Njhd;WfpwJ.
epynthspapy; Fd;wpdJ Njhw;wk; mtiu gutrg;gLj;JfpwJ.
'epyKf; fhl; L f; fhhp
epyhg; ngz; z hs; > tw; w pf; fha; e ; j
ghypNy ciwNkhh; Cw; w pg;
gUkj; j hy; file; J ghid
NkYw; w ntz; n za; ms; s pf;
Fd; w pd; N ky; tP r p tpl; l hs; "
epytpid Nkfk; jOTfpd;w fhl;rp> ePy Kf;fhbl;l
ngz;zhf ftpQUf;Fj; Njhd;WfpwJ. epynthspapy; Fd;wpd;
Njhw;wk;> epyhg;ngz;zhy; Fd;wpd; Nky; tPrg;gl;l ntz;nza;
Nghd;W kdjpy; tope;NjhLfpwJ. epyT ghNte;jhpd; neQ;ir
kpfTk; fth;ej
; ,aw;ifahFk;. ,dpikahd ve;j th;zidapYk;
MrphpaJ Kjy; Njh;thf ,Ug;gJ FSik nfhQ;Rk; epyTjhd;.
epytplk; Nerk; nfhz;l ghNte;jh;> epyT cyTk; ,lkhd thd;gug;gpd;
kPJk; Nerk; nfhs;fpwhh;. ,d;gf; Fsph; tpsf;fhd KOepytpd; Njhw;wk;
mtuJ fz; Z f; F tpUe; j hFk; Nghnjy; y hk; > mf; f hl; r p
nrhy;Nyhtpakhfp mtuJ ,aw;if Nea <Lghl;bw;F rhd;W gaf;fpwJ.
84
ghNte; j Uk; gwitfSk;

ghNte;jh; cyf caph;fs; midj;jpd; kPJk; gw;Wk;> ghrKk;
nfhz;lth;. midj;J caph;fspd; tho;f;if KiwfisAk;
KOikahf mwpeJ
; itj;jpUg;gtNd ,aw;if fy;tpia KOtJk;
gbj;Jzh;e;j gz;bjd; Mthd;. me;j tifapy; ghNte;jhpd;
ghh;itapy; gl;l midj;J gwitfspd; tho;tpay; $WfisAk;
KOJk; czh;e;jth; mth;> vd;gjw;F mthpd; ghly;fNs rhd;W
gaf;fpd;wd.
mofpd; rphpg;G E}ypy; fpsp> Gwh> rpl;L> ntsthy;> gUe;J>
Fapy;> thdk;ghb> kapy; vd gy;NtW gwitfspd; tho;f;iff;
$Wfis vLj;Jiuj;Js;s Mrphpah;> mjd;thapyhf khdpl
rKjhaj;jpw;F gy;NtW mwpTiufis toq;fpAs;shh;. ,Ug;gpDk;
mg;gilg;gpy; kpFjpahd ,lq;fisg; ngw;w gwitfshff;
fpspAk>; GwhTNk cs;sd. kw;w gwitfisf; fhl;bYk; ,t;tpU
gwitfspd; tho;tpaiy mZmZthf urpj;j Mrphpahpd;
uridahdJ ftpijfspy; ,ioj;NjhLtJ fz;$L. fpspfspd;
Njhw;wj;ij th;zpf;Fk; NghJ> ,aw;ifapd; nkhj;j mofpdpy;
xU Jsp fps;sp nra;j cUtk; vd;fpwhh;. nrhd;dijr; nrhy;Yk;
fpspg;Ngr;rpid> ve;j #o;epiyapYk; rhkh;jj
; pakhf tho;fi
; fia
elj;Jk; kf;fSld; xg;gpLfpwhh;. NkYk; Mykuj;jpy; mkh;ej
; pUf;Fk;
,izf;fpspfisf; fz;L kfpo;e;j Mrphpah;> mjd; nray;fisf;
nfhz;L mjd;top cz;ikf; fhjypd; Moj;ij mofhf
Fwpg;gpLfpwhh;.
'nfhj; j hd gof; F iyf; F f;
FWq; f pis jdpy; Mz; f ps; i s
njhj; J q; f hy; jtwp mq; N f
Jbf; F e; j d; ngl; i l az; i lg;
nghj; n jd; W tP O k; > md; g pw;
gpize; j pLk; "
fps;isapd; moF> Ngr;R> md;G vd midj;ijAk;
tpsf;fpa Mrphpah;> mLj;J Gwhf;fspd; gf;fk; jd; ghh;itiar;
nrYj; J fpwhh; .
Gwhf; f spy; gytif ,dq; f s; cz; L .
85
Gwhf;fspd; tho;f;if md;G kaKk;> mwpT kaKk; nfhz;lJ.

fpspfisg; NghyNt Gwhf;fspdJ Njhw;wk;> eil> xOf;fk;>
fhjy; vd midj;ijAk; th;zpf;fpwhh;. jk; ,dj;Jld; xd;W$b
cztpid cz;Zk; Gwhf;fspd; topahf gfph;eJ
; z;Zk; gz;ig
khdplh;f;F vLj;Jiuf;fpwhh;.
',l; l Njhh; jhkiug; G +
,jo; t phpe; jpUj; j y; NghNy
tl; l kha; Gwhf; f s; $b
,iwAz; Z k; "
jhkiug; G+tpDila ,jo; f s; xNu tl; l kha; Xh;
xOq;fpw;Fs; epd;W tphpjy; Nghd;w mikg;Gld; Gwhf;fSk;
tl;lkhf mkh;e;J cztpid cz;Zfpd;wd vd;w nra;jpapd;
top Vw;wj;jho;tpy;yhj rkj;Jt rKjhak; G+kpapy; kyu Ntz;ba
mtrpaj; i j typAWj; J fpwhh; . kdpjh; f Sf; F gwitfspd;
tho;tpaiyf; fhl;b mwpTWj;Jk; ghq;F ftpQUf;Nf cz;lhd
jdpr;rpwg;ghFk;.
ctikaofpy; tpyq; F fs;

ghNte;jhpd; ghly;fspy; GJikf; fUj;Jf;fs;
nghype;jpUf;Fk; mNj Ntisapy; ctikeaKk; kpFe;jpUf;Fk;.
mthpd; mofpd; rphpg;gpNy fhZk; ,lnky;yhk; ctikfNs.
,e;Ehypy; tpyq;Ffis gy;NtW ,lq;fspy; Fwpg;gpl;Ls;s Mrphpah;>
mt;tpyq;Ffs; Fwpj;j gy;NtW nra;jpfisAk; gjpT nra;Js;shh;.
,aw;iff;$WfSs; xd;whd Fd;wk; Fwpj;Jg; ghLk;NghJ epyT
Nky; vOfpd;w kpd;diyf; fPo;f;fz;lthW $Wfpwhh;.
'vUjpd; Nkw; ghAk; Ntq; i f
epyTNky; vOe; j kp; d ; d y; "
kpd;dYf;F Ntq;ifapidAk;> epyTf;F vUjpidAk;
ctikahf;fpa ghNte;jh;> Ntq;ifahdJ vUjpd; Nky; ghAk;
jd; i k nfhz; l J vd; w mt; t pyq; F fspd; ,ay; N ghL
ntspg;gLj;jpapUf;Fk; ghq;F ghNte;jUf;Nf chpaJ MFk;.
NkYk; ePh;epiyfSs; xd;whd Mw;wpNy nts;sk; gha;e;J
86
tUk;NghJ> nts;sg; ngUf;fhy; ,Ufiufs; ,be;J tpOfpd;wd.

Xuj;jpy; epw;Fk; kuq;fs; NtNuhL rha;fpd;wd vd;gij gpd;tUkhW
ctkpf;fpwhh;.
'ngUQ; r pq; f k; miwa tP O k;
ahidNghy; ngUfpg; gha; e ; J "
nghpa rpq; f khdJ ahidia miwe; J nfhy; Y k;
jd;ikia ,aw;if rPw;wj;NjhL rhpahfg; nghUj;jpAs;shh;. xU
nra;jpia ctikNahL fhl;Ljy; vd;gJ vspjhdJ md;W. me;j
ctikapd; rpwg;ghdJ mJ midtUf;Fk; nrd;W Nrh;tjpNyNa
mlq;fpapUf;fpwJ. gwitfisAk;> tpyq;FfisAk; Fwpg;gpLk;
nghOJ> mtw;wpd; gz;Gfis tpsf;FtNjhly;yhky;> mjd;
%yk; kdpjh;fs; ngw Ntz;ba gbg;gpidfisAk; czh;jj
; pAs;s
tpjk; Nghw;WjYf;FhpaJ.
KbTiu
,aw;ifiaf; fhl;b kdpj ,dj;ij ey;topg;gLj;j
Kide;jth; ghujpjhrd; vd;gJ mtuJ ftpijfspd; topahf
mwpaKbfpwJ. mj;jifa ftpijfshdJ ,aw;ifapd; kPJ
mtUf; f pUe; j <Lghl; b idAk; > kf; f s; kP J nfhz; b Ue; j
mstpy;yhg; gw;wpidAk; giwrhw;WfpwJ. ,aw;ifia mjd;
xt;nthU Nfhzj;jpypUe;Jk; mwpe;Jzh;eJ
; > kfpo;eJ
; mDgtpj;j
ghq;Nf mtiu kpfr;rpwe;j ftpQh;fspd; thpirf;F ,l;Lr; nrd;wJ
vd;gJ jpz;zkhFk;. ghujpjhrDf;F ,aw;if aplj;jpYs;s
Ngud;igAk;> ngUkjpg;igAk; cyfpw;F czh;jj
; pa gilg;GfSs;
Fwpg;gplj;jf;fJ mtuJ mofpd; rphpg;Ng vd;gJ ,t;tha;tpd;
top njspTw vLj;Jiuf;fg;gl;Ls;sJ.
87
18. Iq;FWE}w;wpy; fgpyh; ghh;itapy;

ePh;tsk;
Kidth; rp.Nfhgpah vk; . V.>vk; g py; . >gpvr; b .>
ghit kfsph; fiy kw;Wk; mwptpay; fy;Y}hp
mizg;ghisak;>
ehkf;fy; -637 401
,aw; i fia ,aw; i fahfNt gad; g Lj; j p mjd;
Nghf; f pNyNa tho; e ; j ek; Kd; N dhhpd; tho; f ; i f
Kiwiaf; fz; K d; epWj; J fpwJ ,f; f l; L iu gjpg; g hrpupaH
xt; n thU kdpjDk; caph; t ho ,aw; i fr; #oy;
,d;wpaikahjJ. ,aw;if vd;gJ ,ay;ghf ,Ug;gJ ,ay;ghfj;
Njhd;wp kiwAk; nghUl;fs;> mtw;wpd; ,af;fk;> ,aq;Fk; ,lk;>
,aq;Fk; fhyk; Mfpa midj;Jk; ,ize;jNj ,aw;if.kdpjd;
kl;Lkpd;wp gpw caphpdq;fSk; tho;tjw;F,d;wpaikah ,aw;ifg;
nghUs;fshdepyk;> ePh>; fhw;W> jP> Mfhak; Mfpait kpfj; Njit.
Ik;G+jq;fshfpa ,t; ,aw;ifg; nghUs;fis 'nghWik> #o;rr
; p>
typik> Mf;fy;> mopj;jy;"1 (Gwk; : 2:1-8) Kjypa Mw;wy;fshf
GwehD}W ctkpff
; pdw
; J. cyf caphf
; s; midj;Jk; nropjJ
; tho
,e;j Ik;G+jq;fspYk; ,d;wpaikahjdthfj; jpfo;tJ ePh;.
ePh; caph;fspd; kjpg;gw;w Mjhuj;jputk; MFk;. ePUf;fhd
ejpePh; gq;fPL gpur;rpid ,d;iwa Njrj;jpd; xUikg;ghl;bw;Nf
rthyhf ,Uf;fpd;wJ. Mdhy; gz;ila fhyq;fspy; ,aw;ifapd;
nfhilahy; ePh;tsk;; kpFe;J ,Ue;jjijAk;> mjid mk;kf;fs;
88
rpwg; g pj; J NgzpghJfhj; j ikiaAk; gy ,yf; f paq; f s;

Rl;bAs;sd. ,j;jifa ePhpd; rpwg;gpidAk;> ePh;tsq;fisAk;>
mt;tsq;fis goq;fhy kf;fs; gad;gLj;jpaNjhL
kpFjpahdtw;iw Nrfhpj;jKiwiaAk; Iq;FWE}w;wpy; fgpyuJ
ghlypd; top Ma;tjhf ,f;fl;Liu mikfpd;wJ.
eP h pd; rpwg; G
G+kpapy; %d;wpy; ,U klq;F ePh; ,Ug;gjdhy; kl;LNk
caphf
; s; tho KbAk; MfNt ePuhdJ cyf caphf
; Sf;F caph;
ehb Nghd;wJ. midj;J nghUl;fSf;Fk; ed;ik tpistpg;gjpYk;>
midj;ijAk; Ml;nfhs;tjpYk;> midtUk; ntWf;ff;$ba
nghUs; f isAk; Mjhpg; g Jk; eP h pd; rpwg; g hFk; . ,J gy
tbtq;fspYk; kf;fSf;F gadspg;gij> 'czTg; nghUl;fis
tpistpj;jw;Ff; fhuzkhfpj; jhDk; cztha;g; gad;gLtJ
ePuhFk;."2 (rq;ffhyj; jkpo; kf;fs;. g. 37) vd;w $w;wpdhy; czuyhk;.
ePhpdhy;jhd; cyf ,af;fNk eilngWfpd;wJ vd;gij>
'eP h ; ,d; W mikah ahf; i ff; nfy; y hk; ; c z; b
nfhLj;Njhh; caph; nfhLj; NjhNu;"3 (Gwk; : 18:18-19)
vd;w FlGytpadhh; ghly; nka;g;gpf;fpd;wJ. 'ePh; kpf
kypthdJ> vspjpy; fpilg;gJ> rh;t rf[khdJ vd;nwy;yhk;
nghUs;gLk; tpjj;jpy; 'ePh;" gw;wpa nrhy;yhly;fs; cyfpd;
midj;Jf; fyhr;rhuq;fspYk; fhzf;fpilf;fpd;wd."4 (nea;jy;
RtLfs; g. 181) vd;w thf;fpid nka;g;gpf;Fk; tpjj;jpy; fgpyh;>
'Njd; kaq; F ghypDk; ,dpa mth; e hl; L
ctiyf; $tw; fP N o
khDz; L vQ; r pa fYop eP N u"
(Iq; : 203:2-4)
vd;w thpfspy; jiytpapd; ngUikia ePNuhL Nrh;jJ
; rpwg;gpjJ
; s;shh;.
ePUf;fhf gd;dhl;L mstpy; Nghh;fs; vOk; epiyapy; ,d;iwa
#oy; mike;Js;sJ. ,j;jifa Nghuhl;lq;fs; vJTkpdw
; p goq;fhy
kf; f is ,aw; i fahdJ jdJ kpFjpahd nfhilahy;
kfpo;tpj;jikia>
89
'kzpepwk; nfhz; l khkiy ntw; g pd;

Jzp ePh; mUtp - - - - -"
(Iq; : 224:2-3)
vd fgpyh; njspe;j ePuhdJ nghpa kiyapd;fz; mUtpahf
tPo;tijf; Fwpg;gpLtjd; %yk; njspayhk;. ,it kl;Lkpd;wp
'mak;" (Iq; : 264:3) vd ePhpidf; fgpyh; ctkpg;gijAk;
Iq;FWE}w;wpy; fhzKbfpwJ.
kio
ePh; Row;rpapd; epfo;thf kiog; nghopT mikfpd;wJ."
ePiug;ngWtjw;F kf;fs; njhd;Wnjhl;L kioiaNa ek;gp
tho;e;Js;sdh;"5. (jkpof tuyhW kf;fSk; gz;ghLk;. g.17).
'kioj; J spapd; w p gRk; Gy; Y k; jiy fhl; l hJ" 6 vd; g hh;
jpUts;Sth;. ,j;jifa kioahdJ midj;J ,lq;fspYk;
midj;Jf; fhyq;fspYk; rkkha;g; nghoptjpy;iy vd;gjid
fgpyhpd;> 'ciw tPo; Mypapd; njhFf;Fk; rhuy;" (Iq; : 213:3)
,t;thpfs; kioahdJ rhjhuz kiog; nghopthf ,y;yhky;
Myq;fl;b kioahf nghope;Js;sjhfr; rhd;W gfh;fpd;wd.
gz;ila kf;fs; ,aw;ifia Nghw;wpajhy; thdKk;
ngha;f;fhky; Fwpg;gpl;l fhyq;fspy; kiog;nghope;J te;Js;sJ.
,Ug; g pDk; rpy fhyq; f spy; gUtkio nga; a hJ kf; f s;
Jauj;jpw;Fs;shFk;NghJ>mk;kf;fs; kio Ntz;b ,iwtid
topgl;likiaAk;> ,th;fs; topghl;bd; fhuzkhf ,aw;ifAk;
mth;fSf;F Ntz;ba tsq;fis mth;fs; tpUk;Gk;Nghnjy;yhk;
toq;fpAs;sikia>
'Fd; w f; Fwtd; Mh; g ; g pd; vopyp
Ez; g y; mopJsp nghopAk; ehl"
(Iq; : 251:1-2)
vd kiytho; kf;fs; kio Ntz;b flTis topgLtijAk;>

cld; Nkfq;fs; jpuz;L kio rpWrpWJspfshf njhlq;fp
fiuAk;> tug;Gk; mopAk; mstpw;F ngUkioahf
nghope; j ikiaAk; > mk; k ioeP h ; nghoptpdhy; cz; l hFk;
ePh;f;Fkpopfis Fuq;Ffs; cilj;J tpisahLtij>
90
'- - - - - - fLtd;
#uy; mk; rpWNfhy; nfhz;L tpay; miw
khhp nkhf; F s; Gilf; F k; "
(Iq; :275:1-3)
vd;w ghly; thpfspy; Rl;bAs;shh;. NkYk; kio nghopag; NghFk;
Kfpypd; ,af;fj;ijf; fz;L kapy;fs; MLtij>
'kio tuT mwpa kQ;iQ MYk;"
(Iq; : 298:1)
vdTk;> Kjypy; nghopAk; kioia>

'jz;kio jiy ,a - - - - - "
(Iq; : 292:2)
vdTk; kioiaf; fgpyh; Fwpj;jNjhL kl;Lky;yhky;>

'ngay;"> ',skio"> 'tpiu ngay;"> (Iq; : 232:4> 252 : 2>3) vdTk;
kiotsj;jpid tUzpj;Js;sJ> gz;ila kf;fs; ,aw;ifia
,aw;ifahfNt Nghw;wpAs;sikia mwpa cjTfpd;wJ.
mUtpfs;
ePhpd; gad;ghl;iled;F czh;e;jpUe;j kf;fs; gy;NtW
tif ePhe
; piyfisg; gad;gLj;jpAs;sdh;. FwpQ;rp epyj;J tho;ej
;
kf;fs; kiyapdpd;W ,opAk; nts;sUtpiaAk;> kiyr;rhuiyAk;
ePh; epiyfshfg; gad;gLj;jpaikia>
'xyp nts;sUtp Xq;F kiy ehld;"
(Iq; : 205:3)
fgpyupd; ,e; j ghly; thpfSk; > mUtpahdJ kio

nghope;jhYk; nghopahtpl;lhYk; fz;Nzzpfisf; nfhz;L
tpsq;Fk; neba gf;f kiyfspd; mLf;fLf;fhd %q;fpy; fhL
mike;j gf;f kiyapd; fPopwq;Fk; vd;gij>
'myq; F kio nghope; j mfz; f z; mUtp"
(Iq; : 220:1)
vd;Dk; ,g;ghlYk; rhd;W gfh;fpd;wd. NkYk; ,t; mUtpfs;
,ilaPL ,y;yhky; xsp tPrf; $ba nghpa ePh;epiyfshfj;
jpfo;e;jij>
91
'epue; J ,yq; F mUtpa neLkiy"

'kh my; mUtpj; jz; ngUQ; rpyk;g"
',yq; F k; kUtpr; #h; kiy"
(Iq; : 228:2)
(Iq; : 238:3)
(Iq; : 249:3)
,t;thW fgpyh; Fwpg;gpl;Ls;shh;.
Ridfs;
,aw;if ePhe
; piyfshd mUtp> MW> fly;> Cwy;> ngha;if>
Rid Nghd;w midj;Jk; goe;jkpofj;jpy; nropg;ghf ,Ue;Js;sd
vd;gij ,yf;fpaq;fs; ekf;Fr; Rl;bAs;sd. 'kiyapy; nga;Ak;
kio epy;yhky; XbtpLk; ,ay;GilaJ. vdNt> mk;kio ePiuj;
Njf;fp itj;Jf;nfhs;s> ,aw;if md;id Fsq;fs; Njhz;b
itj;J ,Ug;ghs; mtw;wpw;F 'Ridfs;" vd;W ngah.;"7 (mfKk;
GwKk; g. 115).
kiyfspy; mike;Js;s Ridfs;> nghpjhfTk;> Mo;e;Jk;
mfd;Wk; gr;ir epwj;jpYk; fhzg;gLk;. ,r;Ridfspy; gRikahd
,iyfis cila Ftis kyUk; vd;gjid>
'- - - - - - igQ;Ridg;
ghril epte;j gdpkyh;f; Ftis"
(Iq; : 225:1-2)
vd; D k; thpfs; czh; j ; J fpd; w d. NkYk; Ridfis

KUfDf;FhpajhfTk;> mr;Ridfspy; G+f;Fk; Ftis kyh;
mfykha; tphpe;j ,jo;fNshL ngz;fspd; fz;fisg; Nghy
kyUtij fgpyh; gpd;tUk; ghly; thpfspy;>
'Fd; w j; J f; fth md;
igQ;Ridg; G+j;j gFtha;f; FtisAk;" (Iq; :299:1-2)
,t;thW tUzid nra;fpd;whh;.
ePh; epiyfisf; fhj;jy;

gUt kiof; fhyq;fspy; ngUf;nfLf;Fk; ngUnts;sk;
nghUshjhur; Nrjq;fis Vw;gLj;jpf; flypy; fye;JtpLfpwJ.
Nfhilf; f hyq; f spy; ngUk; twl; r p epyTfpd; w J. ,t; t pU
gpur; r pidfisAk; jP h ; g ; g jw; f hf kdpjdhy; gy nraw; i f
ePh;epiyfs; cUthf;fg;gl;ld.
92
,f;fhyj;jpy; tpQ;Qhdj;jpd; Jiznfhz;L ,aw;ifahy;

tpisAk; ,d;dy;fSk;> ,lh;ghLfSk; tho;f;iff;F CW
tpistpf;fhky; Mw;wpd;Nky; mizapl;L Vhpfs;> Fsq;fs;
Mfpatw;iw epug;gp nghpa nghpa ePh;j;Njf;fq;fis mikj;Jf;
nfhz;Ls;Nshk;. Mdhy; vt;tpj tpQ;Qhdj;jpd; JizAkpd;wp
mf;fhy kf;fs; ePh;epiyfisg; gad;gLj;jpaNjhL kl;Lkpd;wp
mtw;wpd; mtrpak; fUjp mtw;iwg; NgzpghJfhj;Jk; cs;sdh;.
nts;sg; ngUf;fhy; ngUfp tUk; Mw;W ePhpd; tpiriaf;
fl;LgLj;jpj; Njf;fp itf;Fk; epiyapy; fy;yhy; Md mizfisf;
fl;bdh; vd;w nra;jpapid njhy;fhg;gpaj;jpy; fhzKbfpwJ.
'MWfis ntl;b mtw;wpd; topNa kioePiu Vhp> Fsk;> CUzp
vd;Dk; ePh; epiyfspy; gha;r;rpg; gz;ilj; jkpo; Nte;jh; ehl;il
tsg;gLj;jpdh;. Nrhoh; ngUkhdhfpa fhpfhy; tstd; fhtphpf;F
fiu fl;b> mjd; ePh; ehnlq;Fk; gha;tjw;F tsk;gLj;jpa tuyhW
rpwg;ghf fUJtjw;FhpajhFk.;"8 (rq;ffhyj; jkpo;kf;fs;. g.37)
,t;thW ,aw;ifaha; mike;j ghiwfisAk; kz; jpuLfisAk;
tisj;Jj; Njitahd ,lq;fspy; fiuaikj;J ePh;epiyia
cUthf; f pf; nfhs; S k; jpwik gz; i lj; jkpoh; f splk;
,ay;ghfNt ,Ue;jJ.
gz;ila fhyj;jpy; Ch;g;nghJf; Fsq;fs;> fiufs;
cah;j;jg;gl;L kioePiur; Nrkpf;Fk; tpopg;Gzh;T kl;Lkpy;yhky;
fiufs; cilahtz;zk; ,uT gfyhf tpopg;Gld; fhty; fhj;J
te;Js;sikia>
'- - - - - ctf;fhz;
khhpf; Fd; w j; J f; fhg; g hs; md; d d;
J}typd; eide; j njhliy xs; t hs;
ghR #o; e ; j ngUq; f oy;
jz;gdp itfpa thpf;fr; rpdNd"
(Iq; : 206:1-5)
vd;w ghly; thpfs; ngUkio nga;fpd;w fhyj;J> Fsj;jpd;
mUfpNyNa fhty; fhj; J epw; F khW tP u h; f is gzpapy;
mkh;jj
; papUe;jikiaAk;> mth;fs; kioapy; eide;j thSlDk;
ghrp #o;e;j foYld; fhty; Ghpe;jikiaAk; nka;g;gpf;fpd;wJ.
93
KbTiu
,d;iwa kdpjdJ Raeyj;jpdhy; gy ePu; epiyfSk;
jq;fsJ Raj;ij ,oe;Jnfhz;bUf;fpd;wd. ePu;epiyfis
mikj;Jf;nfhz;l ehk;> mtw;iw KOikahf ghJfhf;fj;
jtwptpl;Nlhk; vd;gij gy Clfq;fSk; ekf;F czh;j;jpf;
nfhz;bUf;fpd;w ,t;Ntisapy;> rq;ffhy kf;fs; ,aw;iff;F
vt;tpj rpijtpidAk; cz;lhf;fhky;> ,aw;ifia ,aw;ifahfNt
gad;gLj;jp mjd; Nghf;fpNyNa tho;e;J ,aw;if toq;fpa
tw;whj nry;tkhd ePiu Kiwahfg; gad;gLj;jp kpFjpahd
ePiu Nrkpj;J ghJfhj;J tpopg;Gzh;Tld; nray;gl;lijAk;
,f;fl;Liu fgpyuJ ghlypd; %yk; epidTgLj;jpAs;sJ.
94
19. rq;f,yf;fpaq;fspy; ctikfs;

Kidth; e.nfshp vk; . V.vk; . gpy; . >gpvr; b .>
jkpo;j;Jiw cjtpg;Nguhrpup;ah;
Nf.v];.Mh; kfsph; fiy mwptpay; fy;Yhhp
jpUr;nrq;NfhL- 637215 ehkf;fy; khtl;lk;
rq; f g; G yth; f spd; fw; g id Mw; w Yf; F ,aw; i f
Jizepd; w ghq; i f ctikfs; top EtYfpwJ
kdpjd; jhd; fz;lij Nfl;lij jdf;F NeHe;jij
kw;wtUf;F czHj;j Kw;gLk; NghJ mtDf;Fj; Jiznra;Ak;
Kf;fpaf; fUtp mtdpd; fw;gid Mw;wyhFk;. xUthpd; fw;gid
Mw;wyhy; rpe;jidapd; Mok; mjpfhpf;fpwJ. mJ ,yf;fpaj;jpy;
ghpzkpf;fpwJ tsHfpwJ. ctik cUtfk; cs;Siw ,iwr;rp
vd ,yf;fpaq;fis urpf;Fk;gb nra;fpwJ. rq;ffhy kf;fs;
,aw;ifNahL tho;e;jtHfs;. mtHfspd; fw;gid Mw;wy; rq;f
,yf;fpaq;fspy; gy ctikfshy; ntspg;gLfpd;wd.
ctik:
GytH jhq;fs; $Wk; nghUis tpsf;Ftjw;F ctikiaf;
ifahs;thHfs;; rq;f ,yf;fpak; fhl;Lk; ctikfspy; rpwg;ghff;
fUjj;jf;f rpy ctikfisf; fhzyhk;. ctik ,uz;lhf
gFj;J Nehf;fg;gLfpwJ. czHT gw;wpa ctik nghUs; gw;wpa
ctik vd gFf;fg;gLfpwJ.cs;sj;J czHTfis
ntspg;gLj;JtJ KjypYk; nghUs; tpsf;fj;jpw;F gad;gLtJ
,uz;lhtjhfTk; ghHf;fyhk;.
95
czh; T gw; w pait:

jiytpapd; Nky; nfhz;l fhjyhy; cs;sk; jLkhWfpwhd;
jiytd;. jd; fhjiy gyh; mwpa ntspg;gLj;jTk;> Kbahky;
jdf;Fs;NsNa itj;Jf;nfhs;sTk; Kbahky; jtpf;fpwhd;.
,Wjpapy; me;j jtpg;ig jd; ez;gdplk; ntspg;gLj;Jfpwhd;.
mjpy; mtd; ifahSk; ctik eakhdJ.
'QhapW fhAk; nat; t iw kUq; f py;
ifapy; Ckd; fz; z pd; fhf; F k;
ntz; n za; czq; f y; Nghyg;
gue; j d; W ,e; N eha; Nehd; W nfhsw; F mhpNj!||
(FW:58:3-6)
vd;w ghlypy; fjputdpd; fjph;fs; RLfpd;wd. mjdhy; ghiw
#lhf cs; s J. mt; n tg; g j; j hy; ghiwkP J itf; f g; g l; l
ntz;nza; cUFfpwJ. mij fz; Nghyf;fUjp fhj;jpUf;fpwhd;
ifapyy
; hj Cik. ntz;nza; cUfiyf; fz;L mtd; Jbf;fpwhd;.
ifapy;yhjjhy; mij vLf;fTk; Kbatpy;iy tha; ,y;yhjjhy;
gpwhplk; nrhy;ypf; fhg;ghw;wTk; Kbatpy;iy. mijg;Nghyj;jhd;
jd; epiyAk; vd mtd; ez;gdplk; KiwapLfpwhd;.
gpd; jiytpapd; el;ig ngw;W fsntOf;fj;jpy; <Lgl;L
tUfpwhd;.nghUs; <l;Ltjw;fhfhf gphpe;J nry;fpwhd;. Fwpj;j
gUtj; j py; jiytd; tutpy; i y jiytpAk; NjhopAk;
tUe;JfpwhHfs;.
~~Koe;jhs; ,Uk;gpbf; fae;jiyf; Fotp||
(FW:394)
vd;w ghlypy; jpidGdj;jpy; tp;isahLk; rpWtHfs; xU ahidf;

fd;iw tsHf;fpwhHfs;. rpWtajpy; mJ kfpo;r;rpia jUfpwJ.
gpd;dhspy; me;j ahidNa mtHfspd; jpidGdj;ij mopf;fpwJ.
Jd;gj;ij jUfpwJ.mJNghy jiytd;Kjypy; ,d;gk; je;J
gpd;; Jd;gk; jUfpwhd; vd Njhop tUe;Jfpwhs;.,q;F jiytid
ahidNahL xg;gpl;L ctik $wpapUg;gJ eakhdJ.
fhjy; nfhz;l jiytd; jd;id iftpl;lij vz;zp
kdk; tUe;Jfpwhs; jiytp.
96
~~Fd; w y; ed; d hld; tha; i kapw; ngha; N jhd; w pd; "

(fyp:Fwp.fyp.5)
vd;w ghlypy; jiytd; nra;j rj;jpak; ngha;ahdJ vd;why;
mJ FspHe;j epyNt RLtijg;NghyTk; #hpaDf;Fs;Ns ,Us;
Njhd; W tijg; N ghyTk; FspHe; j eP h py; ,Uf; F k; Ftis
nte;JtpLtijg; NghyTk; jd;ikahdJ vd;fpwhs;.jd;Dila
fhjiy caHthd nghUNshL xg;gpl;L ctikf; $Wfpwhs;.
jd;id Vkhw;wpa jiytid kwf;f Kbahky; jtpf;fpwhs;
jiytp. mtid xUKiwahtJ fz;zhy; fz;lhy; NghJk;
vd vz;Zfpwhs;.mij xU ctikahy; ntspg;gLj;Jfpwhs;.
~~FWe; j hl; $jsp Mba neLtiug;
ngUe; N jd; fz; l ,Uf; i f Kltd;
cl; i fr; r pWtd; Nfhypf; f P o ; ,Ue; J
Rl; L G Nehf; f p ahq; F f; fhjyH
ey; f hy; eathH MapDk;
Gy; f hy; fhz; l Yk; cs; s j; J f; F ,dpNj"
(FW:60)
kuj;jpd; cr;rpapy; ,Uf;Fk; Njid Ritf;f vz;Zfpwhd;

Kltd;. mJ KbahJ NghfNt jd; ifia cz;fykhf vz;zp
fw;gidapy; Ritf;fpwhd;. mijg;Nghy mtidf;fz;zhy;
fz;lhy; NghJk; vd;fpwhs;. mts; ctik rpwg;ghdJ.
jiytd;jiytpia tpl;L tpiykhjh;fsplk; nry;fpwhd;
rpyfhyk;. mtDf;F thapyhf te;j Njhopaplk; jiytp jd;
kdtUj;jj;ij ctikahf ntspg;gLj;Jfpwhs;.
~~Gd; Gyj; J mkd; w rpwpapiy neUQ; r pf;
fl;F ,d; GJkyh; Kl; gae;jh mq;F
,dpa nra; j ek; fhjyh; "
(FWe;)
nghUs; gw;wpa ctik:

xU nghUis tpsf;f mjNdhL njhlHGila kw;nwhU
nghUis ctikahf;fp $WtJ ,g;gFg;gpy; mlq;Fk;. Mk;gy;
vd;gJ nea;jy; epy kyH. mJ kyUk; fhl;rp ew;wpizg; ghlypy;
97
,lk;ngWfpwJ. Mk;gy; xU ePHg;G+. mg;G+ nkJthf kyHfpwJ.

mf;fhl;rp fhz;gtHf;F ePHf;fhf;if nfhl;lhtp tpLtijg; Nghy
fhl;rp mspf;fpwJ.
~~.....Mk; g y;
rpWntz; fhf; i f Mtpj; J md; d
....tphpAk; "
(ew;:345:3-5)
,yt kuj;jpd; ,iyfs; cjpHe;j gpd;dNu G+f;fs; Gf;Fk;.

mg; g b G+j; j pUf; F k; G+f; f s; ghHg; g jw; F fhHj; j pif jP g k;
Nghyf;fhl;rpaspf;fpwJ. (mf:185).
GwehDw;W ghly; xd;wpy; Nrhokd;ddpd; giltPuh;fs;
ghriwf;F te;J ghl;LghLk; ghzh;fSf;F czit mspj;jdh;.
mJ fhz;gjh;f;F Ky;iy mUk;Gfis njhLj;J nra;j G+g;ge;J
Nghd;W ,Ue;jJ vd ctkpj;jy; eakhdJ.
~~kyuh khiyg; ge; J fz; ld; d
Cd;Nrhw; wkiy ghz;fLk; gUe;Jk;" (Gwk;33:10-14)
Kw;nwhU ghiy epyghlypy; jiytpapd; vapW ehzy;
Gy;ypw;F ctikahff; $wg;gLfpwJ.
~~Ks; S wo; KisnaapW"
(fyp.gh.fyp3:13).
vd ctkpf;fg;gLtjpdhy; mf;fhy kf;fspd; cUtmikg;G

ntspg;gLfpwJ.
FwpQ;rp epy ghly; Xd;wpy; Kq;fpypd; ghiyf;F khd;
nrtp ctikahff; $wg;gLfpwJ.
~~Ez; n ghwp khd; n rtp Nghy ntjph; K idgf;
fz; n ghjp ghis"
(fyp.Fwp.7:24-25)
rq;ffhyj;jpy; tpwypah;fs; vd;w eld kq;ifah;fs;
,Ue;jdh;. eld kq;ifah;fshd mth;fs; NkYk; jq;fis
mzpfyd;fshy; moF nra;J nfhs;fpwdh;;. ,e;j moF mtiu
fth;fpwJ. jk; epyj;J G+j;JFYq;Fk; Ntq;if kuk; epidtpw;F
tUfpd;;wJ.
98
~~rpy; t is tpwyp
kyh; e ; j Ntq; i fapd; taq; f pj ozpe; J "
(gjpw;-4.10:21-22)
vd jd; vy;yhg;gf;fKk; G+j;Jg;FOq;Fk;
Ntq;if Nghyj;
jiy fOj;J fhJ vd vy;yh ,lq;fspYk; ,ioazpe;J
tpwypah; Njhd;Wtjha; ghLk; eak; urpf;fj;jf;fJ.
kiytho; Fuq;F xd;W tapW epiwa mtiuf;fhia
jpd;fpwJ.,jdhy; mij ghh;g;gjw;Fg; gz;lk; tpw;Wr;nry;Nthh;d;
ruf;Fg;igiag; Nghyj; Njhd;WfpwJ.
~~mtiu aUe; j ke; j p gfth;
gf; f pw; Njhd; W ehld; "
(Iq;.271:1-2)
rq;fg;ghly;fs; gbf;Fk; NjhWk; ,d;gk; jUtJ. mjw;F

Jiznra; t J fw; g idAk; ctikANk MFk; . rq; f
,yf;fpaq;fspy; vz;zw;w ctikfs; nfhl;bf;fplf;fpd;wd.
,Jtiu ghly; thpfSf;F nkUF Cl;b nghUs; tpsf;fj;jpw;F
rpwg;GjUk; ctikfs; rpytw;iw fz;Nlhk;.
99
20. ghujp ghba ,aw;if

Kidtu; eh. rq; f uuuhkd;
uhkd; vk; . V.vk; . gpy; . >bgpb.>gpvr; b .>
jkpo; cjtpg; Nguhrphpah;
v];.v];.vk; fiy mwptpay; fy;Y}up
Fkhughisak;
,aw; i fia ,iwtdhfNt fz; l ghujpapd;
gue; j kdg; g hd; i kiaj; vLj; J iug; g jhf ,f; f l; L iu
mikfpwJ - gjpg; g hrpupaH
,aw;if vg;NghJk; ftpQu;fSf;F ghLnghUshf ,Ue;J
tUfpwJ. njhlu;e;J ,aw;if Nerpf;Fk; ftpQu;fshy; kl;LNk
kdpjj; i jAk; ghl KbAk; vd; g J epju; r dk; . ghujpiag;
nghWj;jtiu mtd; guhrf;jp vd;gijNa ,aw;ifapd; Fwpal
P hfNt
fz;ltd; mtd; ghlhj ,aw;if nghUs; VJkpy;iy vd;W
nrhy;yyhk;. ,aw;ifia jj;Jt juprdkhfNt ghu;jj
; td; ghujp>
jP ,dpJ fhw;W ,dpJ fly; ,dpJ
kiy ,dpJ ,b ,dpJ
vd;w tifapNy ,aw;ifa vy;yhtw;iwAk; ,dpikapd; tbtkhf
ghbatd; . jd; i d R+o; e ; j pUf; F k; midj; i jANk mtdJ
ghly;fspy; ghLnghUshf itj;J ghbatd;. ghujpapd; Kg;ngUk;
ghly;fspy; xd;whd Fapy; ghl;L $l ,aw;ifapd; juprdk;
nrhy;Yk;...
,aw; i fapd; Fzq; f is ghLk; N ghJ mtDf; F gy
,lq; f spy; gwitfSk; tpyq; F fSNk ghLnghUshf
,Ue;Js;sd>
100
rpd;dQ;
dQ; rpW FUtp NghNy - eP
jpupe;J gwe;J th ghg;gh!
td;dg; gwitfisf; fz;L - eP
kdjpy; kfpo; r ; r p nfhs; S ghg; g h
nfhj; j pj; jpupAk; me; j f; Nfhop - mijf;
$l; b tpisahL ghg; g h
vj; j pj; jpULk; me; j fhf; f ha; - mjw; F
,uf; f g; g l NtZk; ghg; g h!
ghiyg; nghope; J jUk; ghg; g h- me; j g;
gRkpf ey; y jb ghg; g h
thiyf; Fioj; J tUk; eha; j hd; - mJ
kdpju; f ; F j; Njhodb ghg; g h!
tz;b ,Of;Fk; ey;y Fjpiu - ney;Y
taypy; cOJtUk; khL
mz;bg; gpiof;Fk; ek;ik ML - ,it
Mjupf; f NtZkb ghg; g h!
vd;W ghb rpd;df; Foe;ijfsplk; vLj;j vLg;gpNyNa md;ig
m`pk;iriag; Nghjpf;fpwhd;. ,g;gbr; rpd;d tajpy; fw;Wf;
nfhLj;Jtpl;lhy; cyfk; KOJk; m`pk;ir nfhy;yhik guTk;
vd;gJ mtdJ fzpg;G.
,aw;ifiag; ghlhj ftpQd; ,y;iy. Neubahf ,aw;ifia
urpjJ
; g; ghLtJ xU tif. me;j ,aw;if %yk; kdpjd; fw;f
Ntz;baJ vd;d vd;gij czu;jJ
; k;tifapy; ghLtJ ,d;ndhU
Kiw. ,e;j ,uz;L tifg; ghly;fisAk; ghujp ghly;fspy;
fhzyhk;.
Xb tpisahL ghg;gh vd;w ghg;gh ghl;by; gpuhzpfsplj;jpy;
md;G nrYj;j Ntz;Lk; vd;W Nghjpf;Fk; ghujp fhf;ifr;
rpwfpdpNy ee;j yhyh ce;jd; fupa epwk; Njhd;Wijah ee;jyhyh
vd;w ghlypy; ngupa jj;Jtj;jpd; cr;rpf;Fg; Ngha;tpLfpwhd;.
Fapy; ghl;L FUtpg;ghl;L fpspf;fz;zp vd;W mtd; ghlhNj
gwitNa ,y; i y. tpl; L tpLjiyahfp epw; g ha; ,e; j r;
101
rpl;Lf;FUtpiag; NghNy vd;W ghb Md;kPf tpLjiy> ehl;L

tpLjiy> mbikj;jdj;jpypUe;J tpLjiy vd;w vy;yh tif
tpLjiy czu;TfisAk; ntspg;gLj;Jfpwhd;.
<iaf; fUl epiyf;F Vw;WNtd; vd;w FU Nfhtpe;j
rpk;kd; ghly; tupfs; %yk; vijAk; rhjpf;Fk; Fzj;ij Neu;kiw
rpe;jidia gug;Gfpwhd;.
jpl;l Ntz;ba ,lq;fspy; eupapd; rpWikf; Fzj;ijg;
ghLfpwhd;. ehia xg;gpLfpwhd;.
ehAk; gpiof;Fk; ,e;jg; gpiog;G vd;W VRfpwhd;. rFe;jiy
ngw;w gps;is Xu; rpq;fj;jpid jl;b tpisahb vd;w tupfs;%yk;
,e;jpahTf;F ghujk; vd;w ngaiu <e;j gujidg; ghLfpwhd;.
fhf;if FUtp vq;fs; [hjp ePs; kiyAk; flYk; vq;fs;
$l;lk; vd;W ghb jhtu [q;fkg; nghUl;fs; midj;Jk; ehNk,iwtdpd; tbtNk - vd;w gftj; fPij tpG+jp Nahf fUj;Jf;fis
ciuf;fpwhd;.
Nts;tpj;jP ghl;by; fhl;by; NkAq; fhis ntq;fNlR
nul;lg;g G+gjp ghl;by; vy;ypidf; fhzg; ghAk; ,lgk; Nghy;
Kw;glhNah? vd;W ,lgk; fpspg;ghl;by; Jd;g epidTfSk; Nrhu;Tk;
gaKk; vy;yhk; md;gpy; mopAk; - fpspNa - md;Gf;F moptpy;iy
fhz; vd;w cau;e;j fUj;Jiu - ,g;ig gl;bay; ePSk;
Fapy; ghl;L vd;W rpwpa ftpij E}Ny vOjp FapYf;F
mopahj ,lk; jUfpwhd;.
euptFj; j tiyapdpNy rpq; f k; eOtp
tpOk; rpw; n wWk; g hy; ahid rhFk; ;
tuptFj; j clw; G ypiag; GOTk; nfhy; Y k;
vd;W ghQ;rhyp rgjk; ghb tpjpapd; typikiaf; fhl;Lfpwhd;.
gf;jp vDk; ghl;by; ngha;g; ghk;G kbAk; vd;W ghk;igAk;
ghLfpwhd; . [aNgupif ghl; b Yk; gak; vDk; Nga; j id
mbj;Njhk; - ngha;ikg; ghk;igg; gpse;Japiuf; Fbj;Njhk;
vd;W Kof;fk; ,Lfpwhd;.
102
md;G vd;W te;Jtpl;lhy; re;ahrpiag; Nghy jpd;d tUk;

Gypaplj;jpYk; md;igf; fhl;lnrhy;fpwhd;:jpd; d tUk; Gyp jd; i dAk; md; n ghL
rpe; j apw; Nghw; w pLtha; ed; n dQ; N r
vd;ghd; flypy; thOk; Kj;Jr; rpg;gpfSk;> gtsKk; mtd;
ghl;by; ,lk;ngWfpd;wd. rpg;gpapNy ey;y Kj;J tpise;jpLk;
nra;jp mwpahNah - ed;ndQ;Nr vd;W giftD}fUs;tha; ghl;by;
ghLfpwhd;
tz; z q; f s; Ntw; W ikg; gl; l hy.............
nts; i s epwj; n jhU G+id- vq; f s;
tPl;by; tsUJ fz;Bu;;
gps;isfs; ngw;wjg; G+id - mit
NgUf; n fhU epwkhFk;
vd;W gy tz;zg; G+idfisr; nrhy;yp tz;zq;fs; Ntw;Wikg;
gl;lhy; - mjpy; khDlu; Ntw;Wik ,y;iy vd;w mupa- ngupa
epw Ntw;Wik vjpu;g;Gf; nfhs;ifia gpurhuk; nra;fpwhd;. njd;
Mg;gpupf;f kz;NlyhTf;Fk; Kd;djhf I.eh. rigf;Fk; Kd;djhf
epw Ntw; W ik vjpu; g ; G g; gpuhr; r uj; i jg; G+izfs; %yk;
tpsf;fptpl;ltd; ghujp!
ghujp ghba msTf;F xU ftpQd; ,j;jid gwitfs;>
kpUfq;fisg; ghb xU jj;Jtj;ijf; fw;gpj;J ,Ug;ghdh vd;gJ
re;NjfNk. thy;kPfpAk;> fhspjhrDk; vj;jidNah ,aw;if
tUzidfspy; vj; j idNah gwitfs; kpUfq; f isf;
Fwpgg
; pLfpwhu;fs;; mit vy;yhk; ,aw;if urid. Mdhy; ghujpNah
xt;nthd;wpYk; xU Fzj;ij> jj;Jtj;ijf; fhz;fpwhd;!
KUfd; ghly;fspy; khd; kapy; Mfpatw;iwAk; tpehafu;
ghy;fspy; ahidiaAk; ghlj; jtwtpy;iy.
,aw; i fia ,iwtdhfNt fz; l ghujpapd; gue; j
kdg; g hd; i kiaj; njhl; L f; fhl; L tNj ,f; f l; L iuapd;
Nehf;fkhFk;.
103
21. FWe;njhifapy; gwitfs;

Kidth; Nj.rq; f P j h vk; . V.vk; . gpy; . >gpvr; b .>
cjtpNguhrphpah; - jkpo;j; Jiw
tpNtfhde;jh fiy mwptpay; fy;Y}hp
cQ;rid> jpUr;nrq;NfhL
FWe; n jhifapy; ,lk; n gWk; gwitfs; Fwpj; j
nra; j pfs; rq; f fhy kf; f spd; gwitapay; mwpTf; F j;
jf; f rhd; W vd; g ijg; Gyg; g Lj; J fpwJ ,f; f l; L iu gjpg; g hrpupaH
Kd; D iu:
rq;f ,yf;fpa vl;Lj; njhif E}y;fSs; FWe;njhifNa
Kjypy; njhFf;fg;gl;lJ vd;gJ Ma;thsh;fspd; fUj;J.
FWe;njhifg; ghly;fSs; flTs; tho;j;J jtph;j;j ehDw;nwhU
ghly; f spy; jiytd; $w; w hf mWgj; J ehd; F ghly; f s;
mike;Js;sJ. mWgj;J %d;W ghly;fis ehw;gj;J Ie;J
Gyth;fs; ghbdh;. xU ghlYf;fhd Mrphpah; kl;Lk; ahnud;W
njhpatpy;iy. gwitfspd; tho;iffis Mq;fhq;Nf Gyth;fs;
vLj;Jiuj;Js;s gFjpfs; Ritg;gl mike;Js;sd. FWe;njhifapy;
cs;sgwitapdq;fshd> md;wpy;> md;dk;> fze;Js;> fhf;if>
fpspFapy;> FUtp> FWk;G+o; $if> nfhf;F> Nfhop> ehiu> Esk;G>
tz;L Mfpad gw;wp tpsf;FtNj ,f;fl;Liuapd; Nehf;fkhFk;.
md; w py; :
md;wpy; jlhkuj;jpy; cah;e;jfpisapy; $Lfl;bthOk;.
Mz; md;wpypd; cr;rp neUg;GNghy; nre;epwkhf ,Uf;fkhk;.
104
,jd; myFtise;jJ. mjw;F ,whkPid ctikahff; $Wth;.

,Jgidkuj;jpy; $Lfl;bthOk;. ahkj;jpYk; ,J euWk; mt;nthyp
Nfl;L jiytp JaUths;.
~~neUg; g py; md; d nre; j iymd; w py;
,wtpd; md; d nfhLtha; g ; n gilNahL
jltpd; Xq; F rpidf; f l; r papy; gphpe; N jhh;
ifaw; euWk; es; n sd; ahkk; " .
(FWe; -160)
md; d k; :
,g; g wit ngUk; g hYk; nea; j y; epyj; j pw; F hpajhfr;
nrhy; y g; g LfpwJ. ,JFWq; f hiyAk; ntz; z pwj; i jAk;
cilaJ. kzypy; jq;fpapUf;fk;. kpfTk; cauj;jpy; tpiuthfg;
gwf;Fk; mt;tpiuT gw;wpf; Fjpiuf;F ctikahf $wg;gLfpd;wJ.
fze; J s;
ghiyepyj;jpy; thOk; gwitfSs; xd;W. ePz;lfhiy
cilaJ. ,g;gwitfs; $l;lkhftrpf;Fk;. ,g;gwitjd; Fuyhy;
topg; N ghf; f Uf; F Mwiyfs; tUtij mwpTWj; j pngaur;
nra;fpd;wJ.
~~neLw; f hw; fze; J shswpTwP ,
MWnry; tk;gyh; giljiyngah;f;Fk;".
(FWe; -350)
fhf;if : fOj;jpy; rpwpjsTntz;zpwk; cilaxUtiff;

fhf;ifr; ~~rpWntz;fhf;if"vd;gh;. ,jd; cs;tha; rpte;jpUf;Fk;.
,J flw;fiwapy; tPRk; jptiyshy; eide;J Nrhiyapy; jq;Fk;
fopia Johtp kPid cz;Zk;. ,J fiuj;jhy; tpUe;jpdh;
tUthh; vd;gJ ek;gpf;ifahFk;.
fpsp:
~~jpidg; G dkUq; f pw; gLfpspNahg; g pAk;
fhiyte; j khiyg; nghOjpy; " .
(FWe; -346)
fpspapd; tise;j myfpw;F if tpuy; efOk; mtiu

kyUk; vdxg;gplg;gLfpd;wdh;.,J Ntg;gk; goj;ijAk; jpidf;
fjpiuAk; cz;Zk; Fwkfspuhy; fbag;gLk;.
105
Fapy;: Fapy; khkuj;jpy; thOk; fhpaepwk; cilaJ.

,sNtdpy; khG+tpd; jhijf; NfhJk; mg;nghOJ me;jjhJthdJ
,jd;Nky; gbe;J nghd;id ciuf;Fk; fl;lisf; fy;iyg;
Nghyj; Njhw;wj;Jld; fhzg;gLk;.
FUtp:
FUtpfspy; gytif cz;L ,q;Nf tPl;by; ciwAk;
rpl;LFUtpAk; fhl;Lf; FUtpAk; J}f;fzq;FUtpAk;
$wg;gLfpd;wd. tPl;bd; ,wg;gpNy tiuAk; FUtpapd; rpwfpw;F
Mk;gw; G+tpd; thliy ctikahff; $Wth;.
tPl;by; thOk; FUtpfs; tPl;bd; Kd;dplj;jpNy cyh;j;jpa
jhdpaq;fis cz;LgpwF Ch;kd;wj;jpy; Ez;zpa jhJf;fis
jho;thuj;jpy; cs;sgLf;ifapy; fplf;Fk; jk; FQ;RfNshL
jq;fptho;fpd;w khiyf;fhyk; vd;fpwhd;.
~~kidAiwFhP ,
Kd; w P y czq; f hy; khe; j pkd; w j; J
vUtpd; Ez; j hJFiltd Mb
,t; , iwg; gs; s pj; j k;
gps; i snahLcjpAk;
Gz; f z; khiy".
(FWe; -46)
FUtpfs; thOk; tho;ifiaAk; jdf;Ftha;f;ftpy;iy.
mtw;iwg; NghyxUq;Nf ,y;ywk; elj;jpXh; ,lj;jpy; thOk;
tho;T ,y;iyNa vdVq;Ffpwhs;.
$if:
,JngUk;ghYk; kiyapy; tho;tjdhy; Fd;wf; $if
vdg;gLk;. ,g;gwitxypj;jiyf; FKwy; vd;gh;. mt;nthypahdJ
Nfl;gtUf;F mr;rj;ijj;jUk;.
Nfhop:
tPl;by; thOk; ngl;ilf; Nfhopfs; khiyapy; Ntypg;
gf; f khff; fhl; L G+idf; $l; l k; tUtijf; fhz; f pd; w d.
mtw;wpw;F ,iwahfhky; jg;gpGFk; ghJfhg;ghd ,lk; mwpahky;
vy;yhk; xUNruf; $bj; jk; FQ;Rfismioj;Jf; nfhs;fpd;wd.
106
~~kidAiwNfhopf; FWq;fhw; Ngil (FWe; -139)
ehiu:
~~fUq; f hy; ntz; F UFNkAk;
ngUq;Fskhapw;nwd; dpilKiyepiwe;Nj" (FWe; -325)
,Jnts; s parpwifAk; grpafhiyAk; nrt; t hiaAk;
cilaJ. jiytpjdf;Fg; gw;Wf;Nfhlhfpajiytd; vq;Nf
,Uf;fpd;whNdhgphpthy; mOjfz;zhP ; epiwe;J fhpafhiyAila
nts;spa ehiuczitcz;Zk; nghpaFsk; Nghy; Mapw;W.
tz; L :
tz;Lfs; gytif cz;L. Njd; fUk;Gtz;L vd;gd
,e;Eypy; $wg;gLfpd;wd. ,tw;Ws; Jk;gp vd;gJ cah;e;jrhjp
mJed; kzj;jpw; nry;tJ 'nfhq;FNjh; tho;fi
; f aQ;rpiwj;Jk;gp"
vd rpwg;gpf;fg;gLfpd;wJ.
Njd; vd;Dk; xU tif tz;L Jk;gpNahL kyiu CJk;
nra; j p xUGytuhy; nrhy; y g; g Lfpd; w J. nea; j y; kyhpd;
kzj;ijf; nfhd;iw FwpQ;rp Ftis Gd;id Ky;iy Nfhq;F
fhe;js; Mk;gy; Kjypakyh;fspy; cs;skzj;ijAk; NjidAk;
tz;L cl;nfhs;fpd;wJ. Itifepyj;jpYk; G+f;fspYk; gapYk;
jd;iktha;e;jjhFk;.
KbTiu:
rq;ffhyj;jpy; tho;e;j gwitfspd; tho;tpay; Fwpj;j
mupa nra; j pfis mwpe; J nfhs; s FWw; n jhif ngupJk;
gad;gLfpwJ. cyfpay;NghL Gyth;fs; ,aw;ifapd; xU $whf
tpsq; F k; gwitfspd; ,ay; G fis ed; w hf czh; e ; J
ntspg;gLj;jp ,Uf;fpwhh;fs;.
107
22. jpUf;Fwspy; ,aw;if tsk;

jpU K.rjP ] ; F khH vk; . V.vk; . gpy; . >
jkpo; - cjtpg;NguhrpupaH
Nf.v];.MH fiy mwptpay; fy;Y}up (jd;dhl;rp)
jpUr;nrq;NfhL - 637215 ehkf;fy; khtl;lk;
,aw; i f tsq;fs; gw;wpa ts;Sthpd; El;gkhd mwpit
Kd; i tg; g jhf ,f; f l; L iu mikfpwJ - gjpg; g hrpupaH
Kd; D iu
kdpj tho;f;iff;Fk; gpw capHfspd; tho;f;iff;Fk;
,t;Tyf ,aw;ifg; nghUs;fs; ,d;wpaikahjit. mtw;wpd;
tsk; nfhz;Nl capHfs; nropf;fpd;wd. ,UgJ E}w;whz;Lfisf;
fle;j gpdd
; Uk; kpfr; rpwe;j tho;tpay; E}yhf tpsq;Fk; jpUf;Fwspy;
ts;Sth; ,e;j ,aw;if tsq;fisj;; jkJ Fwl;ghf;fspy;
njspTw tpsf;fpAs;shH. ehL> nkhop> ,dk;> kjk; vd;Dk; vy;iyfisf;
fle;J kdpj Fyj;jpd; tho;thf tpsq;Fk; ,e;j E}y; XH
cyf E}y; vd Vw;Wf;nfhs;Sk; jFjpiaf; nfhz;lJ MFk;.
,aw;if tsk;
epytsk;: jhtuk; ed;Kiwapy; tsu kz; tsk; Njit.
kz;zpy; tsk; epiwe;jpUe;jhy; gapH nropj;J tsHe;J gad;
jUk;. kz;zpd; tsj;ij Kiwahfg; gad;gLj;JtJ Njit
,ijj; jpUts;StH>
~~njhbg; G Ojp f/rh czf; f pd; gpbj; n jUTk;
Ntz;lJ rhyg; gLk;"
jpUf;Fws; - 1037
vd;w Fws; %yk; tpsf;FfpwhH.
108
xU gyk; GOjp fhy; gyk; MFk;gb cOJ fha tpl;lhy;>

xU gpb vUTk; ,l Ntz;lhky; me;epyj;jpy; gapH nropj;J tsUk;.
kz;zpd; tif
Ik;ngUk; g+jq;fspd; NrHf;if cyfk;. Ik; g+jq;fSk;
xd; N whnlhd; W nghUe; j p tho; i tr; nrk; i kahf; F fpd; w d.
epyj;jpd; jd;ikia ePH ngWfpd;wJ.,ijj; jpUts;StH>
~~epyj; j pay; g hd; eP H jpupe; jw; w hFk; khe; j Hf;
fpdj; j pay; g jhFk; mwpT"
jpUf;Fws; -452.
vd;w Fws; %yk; tpsf;FfpwhH.
kio tsk;
kio nga;a cyfk; tho;e;J tUtjhy;> kio cyfpy;
capHfSf;F mkpo;jk; vd;W czuj; jf;fjhFk;. cz;gtHf;Fj;
jf;f czTg; nghUs;fis tpistpj;Jj; jUfpwJ. gUFthHf;Fj;
jhDk; xU nghUshfp ePuhf ,Uf;fpwJ.
kio nga;ahky; ngha;f;FNkahdhy;> fly; #o;e;j mfd;w
cyfpy; grp capHfis tUj;Jk;. kio Fd;wptpl;lhy;> cotH
VH nfhz;L cokhl;lhH. ,f;fUj;ij ts;StH>
~~Vupd; cohmH cotH Ganyd; D k;
thup tsq; F d; w pf; fhy; "
jpUf;Fws; -14
vd;w Fwl;ghf;fshy; tpsf;FfpwhH.
kio nga;ah tpl;lhy; ,t;Tyfj;jpy; thNdhHf;F elf;Fk;
jpUtpohTk; eilngwhJ> ehs; tpohTk; eilngwhJ. ,jid>
~~rpwg; n ghL g+rid nry; y hJ thdk;
twf; F Nky; thNdhHf; F k; <z; L "
jpUf;Fws; - 18
vd;w jpUf;Fwshy; tpsf;FfpwhH.
kio nga;ahtpyi
; yahdhy; ,e;jg; ngupa epyTyfpy; jhdKk;>
jtKk; ,y;iyahFk;. ePH ,y;yhky; cyf tho;fi
; f eilngwhJ
NghFk;. Gjpa cjtp vjpHghuhky; kio jd; flikiar; nra;fpd;wJ
vd;W jpUts;StH kioapd; Njitia czHj;jpAs;shH.
109
ehLk; eP U k;
Gfo; nghUe;jpa nry;tH cw;w rpwpa tWik cyiff;
fhf;Fk; Nkfk; tWik kpFe;jhw; Nghd;wjhFk;. VH cOtijtpl
vU ,Ljy; ey;yJ@ ,e;j ,uz;Lk; nra;J fis ePf;fpa gpwF>
ePH gha;r;Rjiytplf; fhty; fhj;jy; ey;yjhFk;. ,jid>
~~VupDk; ed; w hy; vU,Ljy; fl; l gpd;
eP u pDk; ed; w jd; fhg; G "
jpUf;Fws; -1038
vd;w Fwl;gh %yk; tpsf;FfpwhH.
kzpNghyj; njspe;j ePUk; ntl;l ntspahd epyKk;>
kiyAk;> mofpa epoy; cila fhLk; Mfpa ,it ehd;Fk;
cilaNj muz; MFk;. ePH muzhf ,Ue;J ehl;ilf; fhf;fpwJ.
fhw;Wk; kzKk;
mUk;G Njhd;Wk; NghJ mlq;fp ,Uf;Fk; kzj;ijg;
Nghy;> fhjypapd; Gd; KWty; Njhw;wj;jpy; mlq;fp ,Uf;Fk; FwpgG;
cs;sJ. mUk;G kyHe;jJk;> fhw;Wld; fye;J kzk; tPRk;.,jid>
~~Kifnkhf; F s; cs; s J ehw; w k; N ghy; Ngij
eifnkhf;Fs; cs;snjhd;W cz;L" jpUf;Fws; -1274
vd;Dk; ghlyhy; tpsf;FfpwhH.
kUe;jhFk; fhw;W
kUj;Jt E}NyhH> fhw;W> ePH> czT vd vz;zpa %d;Wk;
msTf;F kpFe;jhYk; Fiwe;jhYk; Neha; cz;lhFk; vd;fpd;wdH.
,jid>
~~kpfpDk; FiwapDk; Neha; n ra; A k; E}NyhH
tspKjyh vz; z pa %d; W "
jpUf;Fws; -941
vd;Dk; jpUf;Fwshy; tpsf;FfpwhH.
~~thd; e pd; W cyfk; toq; f p tUjyhy;
jhdkpo; j k; vd; W zuw; ghw; W "
jpUf;Fws; -11
110
thdj;jpypUe;J Nkfk; kio nga;a cyfk; tho;e;J

tUtjhy;> kio cyfpy; thOk; capHfSf;F mkpo;jk; vd;W
czuj;jf;fjhFk;.
KbTiu
thdj;jpypUe;J kio nga;ahky; ngha;gLkhdhy; fly;
#o;e;j mfd;w cyfpy; grp gapHfis tUj;Jk;. thdj;jpypUe;J
kilj;Jsp tpohtpl;lhy; cyfpy; XuwpTapuhfpa gRk; Gy;iyf;
$lf; fhz KbahJ. kio nga;ahky; cyfpy; thNdhHf;Fr;
nra;Ak; jpUtpohTk; ehy; tpohTk; eilngwhJ. cyfpy; cs;s
capHfs; vy;yhk; kioia Nehf;fp tho;fpdw
; d. ,jid ts;StH
~~thNdhf; f p thOk; cynfy; y hk; " vd ciuf; f pwhH. Mf
capupdq;fs; tho;tjw;Fj; Njitahd ,lk;> fhw;W> ePH> kio>
kz;> fly; Nghd;w ,aw;ifapd; epiyfisAk;> ek; tho;Tld;
mit vt;thW nghUe;jp nray;gLfpd;wd vd;gJ ek; ts;Stg;
ngUe;jifapd; mUk;gzpfspy; xd;whf tpsq;FfpwJ.
111
23. NrhoNguurHfspd; flTs; gzpfs;

KidtH J.ru]; t jp vk; . V.vk; . gpy; . >gpvr; b .>
cjtpg;NguhrpupaH - jkpo;j;Jiw
jpUr;nrq;NfhL - 637215 ehkf;fy; khtl;lk;
Nrhog; Nguurh; f spd; flTs; jpUg; g zpfisr;
rhd; W fSld; vLj; j pak; G fpwJ ,f; f l; L iu gjpg; g hrpupaH
Kd; D iu
NrhoH Nguuir epWtKjypy; mbNfhypatd; fp.gp.xd;gjhk;
E}w;whz;bd; ,ilapy; vOe;j tprahyad; vd;Dk; Nrho kd;dNd
Mthd;. ,td; jQ;ir khefiuf; ifg;gw;wp mjidj; jd; jiyefuhf
itj; J f; nfhz; l hd; vd; W jpUthyq; f hl; L r; nrg; N gLfs;
czHj;Jfpd;wd. tprahyadpd; guk;giuapy; Njhd;wpaKjy;
,uhruhrNrhod;> Kjy; ,uhNre;jpuNrhod;> Kjy; ,uhrhjp
uhrNrhod;> ,uz;lhk; ,uhNre;jpuNrhod;> tPuuhNre;jpuNrhod;>
mjpuhNre;jpuNrhod; Nghd;NwhH ,iwtDf;Fk; Nfhapy;vLj;jikf;
Fwpj;jnra;jpfis ,f;fl;Liuapy; fhz;Nghk;.
tprahyad;
tprahyad; vd;gNj ,td; ,aw;ngaH. gyNghHfs; Gupe;J
ntw;wpngw;wikgw;wp mf;fhyj;jpy; ,tDf;Ftoq;fpte;j rpwg;G
ngauhfTk; ,Uf;fyhk;. MfNt>jd; khHgpy; njhz;Z}w;whWGz;
nfhz;l ntw;wpNte;jd; ek; tprahyaNd Mthd;. jhd; epfo;jj
; pa
NghHfspy; vy;yhk; thif #LkhWmUs; Gupej
; ikahy; JHf;iff;Fj;
jd; jiyefuhfpa jQ;rht+upy; ,ts; Nfhapy; vLg;gpjJ
; topgl;lds;.
112
Kjy; Mjpj; j Nrhod;

guNfrup tprahyaNrhodpd; kfdhd ,td; ,uhrNfrup
vd; w gl; l k; Gide; J nfhz; L murhz; l hd; . ,tDf; F f;
Nfhjz;luhkd; vd;wkw;nwhUngaUk; cz;L. ,t;thjpj;jNrhod;
fhtpupahw;wpd; ,UkUq;Fk; gy rpthyaq;fisf; fw;wspfshf
vLg;gpj;jhd; vd;Wmd;gpd; nrg;NgLfs; Gfo;e;J $Wfpd;wd.
jpUr; r puhg; g s; s pf; F mz; i kapYs; s jpUvWk; g pa+Hf; Nfhapy;
,t;Nte;jd; Ml;rpf;fhyj;jpy; fw;wspahf mikf;fg; ngw;wJ.
,td; nfhq; F ehl; b ypUe; J nghd; n fhz; L te; J jpy; i yr;
rpw;wk;gyj;jpd; Kfl;ilg; nghd;Nta;e;jtd; Mthd;.
,tDila kidtpahfpa jpupGtdkhNjtp vd; g hs; >
jpUg;g+e;JUj;jp> jpUr;Nrhw;Wj;Jiw vd;wCHfspYs;s rptd;
Nfhapy; f spy; tpsf; F fs; itj; J mtw; w pw; F epte; j khfg;
nghd;Dk; nfhLj;Js;sdd;.
,td; gy;ytFbapy; Njhd;wpats;
jpUg;godj;jpYs;s xUfy;ntl;lhy; Gydhfpd;wJ.
vd;gJ
Kjy; guhe;jfr; Nrhod;

guhe;jfd> rpwe;jrptgf;jpr; nry;tk; tha;ff
; g; ngw;wtdhjypd;
jpy;iyr; rpw;wk;gyj;ijg; nghd; Nta;e;J mjid cz;ikapy;
nghd; d k; g ykhf; f pdhd; . ,r; n ra; j pia Midkq; f yr;
nrg;NgLfspYk; jpUthyq;fhl;Lr; nrg;NgLfspYk; fhzyhk;.
,t;Nte;jd; Ml;rpf;fhyj;jpy; jpUtpilkUJ}H> jpUthtLJiw>
jpUr;nre;Jiw> cW%H Mfpa CHfspYs;s rptd; Nfhapy;fs;
fw;wspfshf Mf;fg;gl;ld. mtw;Ws; jpUthtLJiwNfhapy;
,td; nghUSjtp nfhz;LjpUf;fw;wsp gpr;rd; vd;wgilj;
jiytdhy; vOg;gpf;fg; ngw;wJ.
fz; l uhjpj; j Nrhod;

,t;Nte;jd; kpFe;jrptgf;jpAk; mupa nre;jkpo;g; GyikAk;
xUq; N f mikag; ngw; w td; . jpy; i yak; g jpapy; ngupJk;
<LghLilatd;. mg;ngUkhd; kPJ ,td; ghbajpUg;gjpfk;
113
xd;Wirtj; jpUKiwfSs; xd;whfpa xd;gjhk; jpUKiwapy;

,Uj;jy; mwpaj;jf;fJ. ,t;turd; jd;idf; ~~NfhopNte;jd;" vdTk;
jQ;iraHNfhd; vdTk; $wpapUg;gJ czuw;ghyjhk;.
Kjy; uhruhrNrhod;
Nrhod; jiyiktha;e;jtd; vd;W $wyhk;. ,t;Nte;jw;F
toq;fpa rpwg;Gg; ngaHfs; ,uhruhrd; vd;gJ ahz;Lk; gutp
,aw;ngaH Nghy; toq;fp te;jikapd; ,tdJ ,aw;ngauhfpa
mUz;nkhopj;Njtd; vd;gJ tof;fw;Wg; Nghapw;W. ,td; jd;
ngauhfpa ,uhruhrd; vd;gJ epd;W epyt Ntz;Lk; vd;w
vz;zKilatdha; jiyefuhfpa jQ;rht+upy; khngUq;Nfhapy;
xd;iw vLj;Jg;gpbj;J mjw;F ,uhruhNrr;Ruk; epte;jq;fs;
toq;fpr; rpwg;gpj;Js;shd;.
mk;khlf; Nfhapy; gpw;fhyr; NrhoHfhyj;Jr; rpw;gj;jpwj;jpw;F
vLj; J f; f hl; l hfTk; ,uhruhrdJ ngUikf; F k; GfOf; F k;
rptgf; j pf; F k; fyq; f iu tpsf; f hfTk; fz; N lhH ahtUk;
tpaf;FkhWthdshtp epd;W epyTtJ ahtUk; mwpe;jnjhd;whk;.
,uhruhrdpd; Ml;rpapd; 19 Mk; Mz;by; njhlq;fg;gl;L
23Mk; Mz;by; ,f;Nfhapypd; jpUg;gzp ngUk;ghYk; epiwNtwp
tpl;lJ vd;W njupfpwJ. ,td; Ml;rpapd; 25Mk; Mz;L 275Mk;
ehspy; Jgpj;jspapy; itg;gjw;Fg; nghw;wfLNte;j nrg;Gf;Flk;
nfhLf;fg;gl;bUe;jjhy; mf;fhyj;jpy; jhd; jpUg;gzp KbTw;Wf;
flTz; kq;fyKk; eilngw;wpUj;jy; Ntz;Lk;. ,uhruhrNrhod;
rptghjNrfud; vd;DQ; rpwg;G ngaH cilatd; vd;gJk; ,td;
rptngUkhdplj;jpy; mstw;w gf;jpAilatd; vd;gJk; ,td;
jQ;irapy; vLg;gpj;jngUq;NfhapyhYk; mjw;F toq;fpAs;s
epte;jq;fshYk; ed;F tpsq;Fk;. ,td; mj;Jizr; rptgf;jp
Ailatdha;j; jpfo;e;jikf;Ff; fhuzk;> rptngUkhdplj;jpy;
Ngud; G g+z; L gynjhz; L fs; Mw; w panrk; g pad; khNjtpAk;
Fe; j itg; gpuhl; b Ak; ,tid ,sikapy; tsHj; J ey;
topg;gLj;jpdikahk;.
114
Kjy; ,uhNre; j puNrhod;

,uhruhrdpd; kfdhd ,uhNre;jpuNrhod; jd; je;ijiag;
Nghy; rptnewpiaNa jdf;Fuparkakhff; nfhz;ltd;. ,td;
jd; tho;ehspy; rptngUkhdplj;jpy; xg;gw;w gf;jpAilatdha;j;
jpfo;e;jdd; vd;gJ ,td; jd; jiyefuhfpa fq;ifnfhz;l
NrhoGuj;jpy; fw;wspahf vLg;gpjj
; <Lk; vLg;Gkw;w rpthyak; xd;wpdhy;
ed;fwpag;gLk;. ,td; mt;thW rptgf;jpr; nry;tKilatdha;
tpsq;fpaikf;Ff; fhuzk; Kjw;fz;luhjpj;jNrhod; kidtpahH
nrk;gpad; khNjtpahFk;.
Kjy; ,uhrhjpuhrNrhod;
,tHKjy; ,uhNre;jpuNrhoDila %j;jGjy;td; Mthd;.
,t;Nte;jd; fp.gp1070 Mk; Mz;by; fq;if nfhz;lNrhoGuj;jpy;
jd; muz;kidapy; ,Ue;Jnfhz;L>njhz;ilehl;Lj; jyq;fSs;
xd;whfpajpUg;ght+Hf; NfhapYf;Fupa Njtjhdkhfpa Nriy
vd;Dk; Ciu ,iwapyhf;fpa nra;jpmf;Nfhapypy; tiuag;
ngw;Ws;sJ.
Kjyhk; FNyhj; J q; f dJrkaepiy

irtnewpiar; rpwg; g hff; iff; n fhz; n lhOfpatd; >
rptngUkhdplj;jpy; vy;iyaw;w Ngud;Gilatdha;j; jpfo;ej
; td;.
mf;fhuzk; gw;wpNa ,td; jpUePw;Wr; Nrho;d; vd toq;fg;
ngw;wdd;. vdpDk; jk; rkaky;yhjkw;iwr; rkaq;fisr; rhHe;j
kf;fisj; Jd;GWj;Jk; rpy murHfs; Nghy ,td; Gwr; rkaj;jpdH
ghy; rpwpJk; ntWg;G fhl;batdy;yd;. Nrho ,uhr;rpaj;jpYs;s
gy itzt> rkz> ngsj;jNfhapy;fs; NjhWk; ,td; fy;ntl;Lfs;
fhzg;gLfpdw
; d. jQ;rht+H [pyy
; hitr; NrHe;j kd;dhHFbapYs;sJk;
,g;NghJ ,uhrNfhghyrhkp vd;W toq;fg; ngWtJkhfpajpUkhy;
Nfhl;lk; ,td; Ml;rpf; fhyj;jpy; vLg;gpf;fg;ngw;W ,td;
ngauplg;gl;lnjhd;whk;. FNyhj;Jq;fNrho tpz;zfuk; vd;gJ
mf;Nfhapypd; gioangauhFk;.
115
tpf; f pukNrhodJjpy; i yj; jpUg; g zp

,t;Nte;jd; jd; MSifapd; gj;jhk; Mz;by; gpwmurHfs;
mspj; j jpiwg; nghUisf; nfhz; L jpy; i yak; g jpapy;
mk;gythzuJ NfhapYf;Fg; gw;gyjpUg;gzpfs; Gupe;jdd; vd;W
,td; nka;f;fPHj;jp $Wfpd;wJ.
jpy; i yr; rpw; w k; g yj; i jr; #o; e ; j jpUr; R w; W khspif>
NfhGuthapy>; $lrhiy> gypgl
P k; vd;gtw;wpwF
; g; nghd; Nta;ej
; ikAk;
jhd; gpwe;j cj;jpul;lhjpehspy; eilngWk; ngUtpohtpy; ,iwtd;
vOe;jUSk; jpUj;Njiug; nghd; Nta;e;J mjw;F Kj;Jtlq;fs;
mzptpj; J moFWj; j paikAk; ,td; Mw; w pa mupa
jpUg;gzpfshFk;. Md;wpAk; ,iwtd; jpUtKJGuptjw;Fg;
nghw; f yq; f s; mspj; j ikNahLNfhapypy; nghd; d hyhfpa
fw; f j; j Uf; f Sk; ,td; mikj; J s; s ik Fwpg; g plj; j f; f j;
jf;fjhFk;.
,uz; l hk; FNyhj; J q; f Nrhod;

tpff
; pukNrhodpd; kfdhd ,td; jpyi
; yak;gjpapy; NjtHNfhd;
%J}upYs; s ngUtP w ; fz; L ehZkhWehw; ngUe; n jUf; f s;
mikj;Jk; gw;gykz;lgq;fs; fl;Ltpj;Jk; mw;wfiu rpwg;gpj;jhd;
rpw;wk;gyj;ijnghd;dhYk; gy;tifkzpahYk; myq;fupj;Jg;
gzpGupe;jhd;@ Nguk;gyj;ijAk; cl;NfhGuj;ijAk; jpUr;Rw;W
khspifiaAk; khNkUNghy nghd;kakhf;fpdhd; vOepiyf;
NfhGuq;fs; vLg;gpj;jhd;@ ckhNjtpahHjhk; gpwe;j ,kantw;g
kwf; F k; g b rptfhkNfhl; l k; kpfg; ngupjhfmikj; j hd; .
mt; t k; i kahH tpohehspy; cyhtUtjw; F g; nghd; d hYk;
kzpahYk; moFWj;jg; ngw;wNjnuhd;W nra;jspjj
; hd;@ jpUf;Nfhapypy;
nghd;dhyhfpafw;gfj; jUf;fismikj;jhd; jpUf;Nfhapypy;
nghd;dhyhfpafw;gfj; jpUf;Fsk; xd;Wfl;bdhd;.
KbTiu
,JfhWk; $wpa nra;jpfspypUe;J tprahyaNrhod; njhlq;fp
%d;whk; ,uhruhrNrhod; tiu ,iwtDf;Fnra;j njhz;Lfs;>
vLg;gpj;jNfhapy;fs; gw;wpa midj;Jnra;jpfisAk; ek;khy;
ed;fwpaKbfpd;wJ.
116
24. rq;f ,yf;fpaj;jpy; ahid

jpUkjp R.rhe; j p vk; . V.>vk; g py; . >
rq; f fhyj; j py; kd; d h; f s; Kjy; kf; f s; tiu
ahidfisg; Ngzpa tpjj; i j rq; f ,yf; f paq; f s;
thapyhf
vLj; J iuf; f pwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu:
rq;f ,yf;fpaghly;fspy; ehw;gj;jpuz;L tif tpyq;Ffs;
gw;wpa nra;jpfs; fhzg;gl;lhYk; kpf mjpfkhf mjhtJ 618
ghly;fspy; ahidfisg; gw;wpa Fwpg;Gfs; ,lk; ngw;Ws;sd.
mfehD}w;wpy; jhd; mjpfkhfg; ghlg;gl;Ls;sJ. ,jw;fLj;j gbahfg;
GwhD}w; w pYk; ew; w pidapYk; FWw; n jhifapYk; fypj;
njhifapYk; ghpghlypYk; ,lk; n gw; W s; s d vd; w hYk;
rq;f,yf;fpaE}y;fs; gjpndl;bYk; ahidgw;wpa nra;jpfs; ,lk;
ngw;ws;sd vd;gJ Fwpg
; gplj;jf;fJ. FwpQr
; pjpizapy; 147 ghly;fspy;
ahid gw;wpa FwpgG; fs; fhzg;gLfpdw
; d. ahidg; gw;wpa nra;jpfs;
mfk; Gwk; vd ,Ujpizg; ghly;fspYk; kpFjpahd mstpNy
fhzgLfpdw
; d. ,j;jifa rpwg;GkpF ahidfs; rq;f ,yf;fpaj;jpy;
,lk; ngWk; tpjj;ij Ma;tNj ,f;fl;Liuapd; Nehf;fkhFk;.
FwpQ;rp epy kf;fshy; tsh;f;fg;ngwy;:

kpfg; nghpa fhl;Ltpyq;fhd ahidiag; gpbj;j Kiwiag;
gl;bdg;ghiy tpsf;FfpwJ. (gl;. 223-24) vd;w ghly;thpfs;
Nkw;$wpa nra;jpia tpsf;FfpwJ.
117
FwpQ;rp epy tpyq;fpdq;fspy; ahidNa kf;fsplk; kpFjpahfTk;

neUf;fkhfTk; fhzg;gl;bUf;fpwJ.
FWw;njhifg; ghlnyhd;W ,jid vLj;Jiuf;fpd;wJ.
~~Koe; j hs; ,Uk; g bf; FOtp
....................Fwkfs; <d; w
Fwpapiwg; Gjy;tnuhL kwte;J Xb"
(FWw; 394)
vd;w ghlybfs; Fwr; rpWth;fs; ahidf;fd;WfSld; mr;rkpd;wp

Xb tpisahbaijj; njhptpf;fpd;wd.
~~FwpQ;rpepy kd;dd; mjpakhidg; gw;wpa xsitahh;
ghlypy; rpWth;fSk; ahid guhkupj;jypy; <Lgl;bUe;jdh; vd;gij
mwpfpNwhk;.
~~Ch; f ; F W khf; f s; ntz; N fhL fohmypd;
eP h ; j ; J iw gbAk; ngUq; f spW"
(Gwk; 94)
vd;w ghly;thpfs; Nkw;$wpa nra;jpia czh;j;JfpwJ.
FwpQ;rp epy kf;fsplkpUe;J ahid nry;te;jh;fSf;Fk;
ts;sy;fSf;Fk; kd;dh;fSf;fk; tpw;fg;gl;bUf;fyhk;. Fwkf;fs;
ahidiag; ngw;wpUe;j nra;jpia
~~xd; g jpw; W xd; g J fspw; n whL mts; e piw
nghd; nra; g hit nfhLg; g Tk; "
(FWe; 292)
vd;w nra;Asbfs; Nkw;$wpa nra;jpia mwpayhk;. ed;dd;
vd;w FWepy kd;ddpd; Mw;wq;fiwj; Njhl;lj;jpYs;s khkuj;jpd;
fhia ePuhl te;j xU ngz; rhg;gpl;Ltpl;ljhfTk; mjw;f;F
jz;lidahf mts; je;ij kd;dDf;F vz;gj;NjhU Mz;
ahidfisAk; mts; epiw mstpshd nghw;gJikfisAk;
ju Kd; te;jjhfTk; $wngw;Ws;sd. ahid tsh;gG; Fbkf;fsplk;
,Ue;jikf;F ,r;nra;jp Kjd;ikr; rhd;whf mikfpwJ.
ahidg; g hfh; ahidfSf; F gapw; r paspj; j y; :

rq; f fhyj; j py; Mhpaf; fiyf; $ j; j h; Mhpag; n ghUeh;
MfpNahiug; Nghd;W mhpag; ghfh; ahidfisj; jkf;Fhpa
tlnkhopahy; Mizapl;Lg; gapw;W tj;jdh;.
118
~~tpuTnkhop gapw; W k; ghfh; Xij"
(kiy327)
vd;w ghly;thp Nkw;$wpaij tpsf;Fk;.NkYk;

~~....rpWfz; ahid
fit Kl; f Utpapd; tlnkhop gapw; w p
fy; y h ,isQh; . ..."
(Ky;iy. 36)
vd; w ghly; thpfSk; tlnkhopahy; ahidfs; gapw; W
tpf;fg;gl;ld vd;gijr; Rl;bf;fhl;Lfpd;wJ.
Nghh; Kidfspy; fspW:

ahidg;gilNa Nghhpd; ntw;wp Njhy;tpfis
nra;fpd;wJ. ,jidj; njhy;fhg;gpah; Gwj;jpizapy;
KbT
~~fspW vwpe; J vjph; e ; N jhh; ghLq; f spw; n whL

.......................................
thNshh; MLk; mkiyAk; "
(njhy;.1018)
vd;W Fwpg;gpLfpwhh;.
Nghhpy; kd;dh;fs; ahid kPNjwpg; Nghh;Ghpe;jdh; vd;gij
~~tyDah; gojP h ; ahidg;
nghyddzp naLj;j Nky; nfhLz;L nghypr;f epd;;||
(gjp;.11)
vdf; Fkl;^h; fz;zdhh; ,katuk;gd; neLQ;Nruyhjidg; ghba
ghlybfs; fyg;gLj;Jfpd;wd.
ghpRg; nghUspy; a hid ngUkplk; :

rq;f fhy Nte;jUk; FWepy kd;dUk; jq;fs; ts;sz;ikiaf;
fhl;l ahidfisg; ghprspg;gij tof;fkhfp nfhz;bUe;jdh;.
(FWe;.298) vd;w FWe;njhifg; ghly;fspy; xd;wpy; $l ,utyu;fF
; g;
gRf;fisNah> kw;w fhy;eilfisNah ghprspj;jw;fhd rhd;Wfs;
,y;iy. Mdhy; Gyth; ngUkf;fSf;F ahidiag; ghprspj;jy;
xU kughfNt ,Ue;Js;sik vz;zj;jf;fJ.
119
ahidfs; ngUQ; n ry; t q; f shfp tpsq; f paik:

ahidg; gilfSk; Nghh;gilfSk; Kjd;ikahhdjhf
tpsq;fpaikahy; Nghhpdhy; ahidfspd; ,og;G kpFjpahf
,Ue; j pUf; F k; . ahidg; g il ,d; w paikahjyhy; Gjpa
ahidfis Fbkf;fs; muR nghUisg; ngw;wpUg;gh;.
ahidapd; je;jk; mWj;jhy; kPz;Lk; tsUk; jd;ik
Ailjhjyhy; je;jq;fisf; Fwpg;gpl;l ,ilntsptpl;L mWj;J
mtw;iw tpiyg;gLj;jpapUg;ghh;. kf;fs; je;jq;fis capUs;s
ahidfspypUe;Jk; ngWtij ,yf;fpaq;fs; mwptpf;fpd;wd.
je;jq;fs; xU gz;lkhw;W nghUshfg; gad;gl;lij>
~~nrq; N fhl; lhkhNdhL fhl; l
kjDil Ntoe; J ntz; N fhL nfhz; L
nghd;Dil epakpj;Jg; gpopnehil nfhLf;Fk;"(gjp30)
vd;w mbfs; %yk; mwpayhk;.
ahidfs; ,J Nghd;W gyg;gy topfspy; gad;gl;Ls;sij
ahidfisAilNahh; nry;tj;ij <l;l Kbe;Js;sJ.
KbTiu:
rq;f fhyj;jpy; kd;dh;fs; Kjy; kf;fs; tiu ahidfisg;
Ngzpa tpjj;ij rq;f ,yf;fpaq;fs; thapyhf mwpaKbfpwJ.
NkYk; kf;fspd; Gwtho;ifapy; ahidfspd; gq;fspg;G kpFjpahf
,Ue;jij rq;f ,yf;fpaq;fs; ekf;Fr; Rl;bf;fhl;Lfpd;wd.
FwpQ;rp epyj;J tpyq;Ffspy; Gwtho;ifapy; ngUQ;nry;tkhf
tpsq;fpaik Fwpj;J ,f;fl;Liu thapyhf mwpa KbfpwJ.
120
25. fk;gUk;
FwpQ;rpAk;
jpUkjp rh.Rjh> vk; . V.vk; . gpy; . >

,izg;Nguhrpupau; - jkpo;j;Jiw
muR fiyf;fy;Y}up(jd;dhl;rp)
f&u;.5
FwpQ; r p epyf; fhl; r pfis> fk; g hpd; ghly; f s; topahf
fz; K d; epWj; J fpwJ ,f; f l; L iu - gjpg; g hrpupaH
epyk; vd;gJ kdpjdhy; cw;gj;jp nra;a Kbahj ,aw;ifapd;
xg;gw;w nfhilahFk;. kf;fspd; gz;ghl;ilAk; ehfupfj;ijAk;
jPu;khdpg;gjpy; epyk; Kf;fpa ,lk; tfpf;fpwJ. ,J jhtuq;
fSf;Fk; capupdq;fSf;Fk; tho;tplkha;j; jpfo;fpwJ. kdpj
Fyj;jpw;Fj; Njitahd czT> cil> ciwtplk;> vupnghUs;
Nghd;wtw;iw epyj;jpypUe;J ngw;W tUfpNwhk;. ,e;j epyk;jhd;
ek; tho;tpy; gpupf;f Kbahj Xu; mq;fkhfj; jpfo;fpwJ.
xU r%fj;jpd; Nkd;ikf;Fk;> tsj;Jf;Fk; epyk; mbg;gil
Mjhukhf tpsq;FfpwJ. ,J kiyj;njhlu;fs;> Fd;Wfs;> rkntspfs;>
jho;epyq;fs; kw;Wk; gs;sj;jhf;Ffs; Mfpa gy;NtW ,aw;if
mikg;Gfisg; ngw;Ws;sJ. NkYk; mJ ntg;gj;jpypUe;J kpff;
Fspuhd gFjptiu> <ug;gjj;jpypUe;J twz;l gFjptiu vdg;
gy;NtW jl;gntg;g epiyfisf; nfhz;Ls;sJ.
epyg; g hFghL
goe;jkpofj;jpy; tho;ej
; kf;fs; epyj;ij mjd; jd;ikiag;
nghWj;J FwpQ;rp> Ky;iy> kUjk;> nea;jy; vd ehd;fhfg;
ghFgLj;jpdu;. ,t;thW epyg;gFjpia ehd;fhfg; gpupj;jjdhy;
cyfpw;F ehdpyk; vd;W ngau; R+l;bdu;. ,t;tof;fpypUe;J
121
jkpofj;jpy; ghiy epyk; ,y;iy vd;gij mwpa KbfpwJ.

,e; e hy; t if epyq; f Sk; Ntshz; nray; f Sf; N fw; w thW
gpupf;fg;gl;L ntt;NtW ngau;fspy; toq;fg;gl;ld.
fk;gu; fpl;fpe;jh fhz;lj;jpy; njhz;il ehl;ilg; gw;wp
tUzpf;Fk;NghJ> mJ ehy;tif epyq;fisAk; nfhz;lJ
vd;fpwhu;.
~~Fd; W R+o; e ; j flj; n jhLk; Nfhtyu;
Kd; w py; R+o; e ; j glg; i gAk; nkha; Gdy;
nrd; W R+o; e ; j fplf; i fAk; njz; jpiu
kd; W R+o; e ; j gug; G k; kUq; F vyhk; "
(f.uh.>fpl;.>gh.v.923)
vd;w ghlypy;> njhz;il ehl;bd; ,lq;fnsy;yhk; kiyfs;
R+o;e;j rhuy;fSk; (FwpQ;rpAk;>) ,ilau;fspd; ,Ug;gplq;fisr;
R+o;eJ
; s;s fhLfSk; (Ky;iy epyKk;)> Rw;wpYk; ePu; epiwe;Js;s
,lq;fshd kUj epyq;fSk;> njspe;j miyfisAila fly;
R+o;e;j nea;jy;
epyq;fSk; cs;sd vd;fpwhu; fk;gu;.
Ky;iy epyg; gFjpfshd fhl;Lg; gFjpfSk;> FwpQr
; p epyg;
gFjpfshd kiyg;gFjpfSk; kioapd;wp> ntg;gj;jhy; jhf;Fz;L>
jq;fs; ,ay;ig ,oe;J twz;L ghiy vd;w Ie;jhtJ epykhfj;
Njhw;wk; ngw;wd vd;fpwhu; ,sq;Nfhtbfs;.
~~Ky; i yAk; FwpQ; r pAk; Kiwikapy; jpupe; J
ey; y pay; gpoe; J eLq; F Ja UWj; J g;
ghiy vd; g Njhu; gbtq; nfhs; S k; "
(rpyk;G. fhLfhz; fhij>tupfs;.64-66)
vd;W ghiy epyk; cUthFk; tpjj;ijg; glk; gpbj;Jf; fhl;LfpwJ
rpyg;gjpfhuk;.
FwpQ;rp Kjyhd ehy;tifj; jpizfSk; ehy;tifahd
,aw;ifr; R+oy;fis ikakhff; nfhz;L mike;jit. FwpQ;rp
epyj;jpd; kiyAk; kiy rhu;e;j ,lq;fSk; kiytsj;ijAk;
122
Ntl;ilj; njhopiyAk; mbg;gilahff; nfhz;L mike;Js;sd.

NjDk; jpidAk; Itdk; vdg;gLk; kiyney;Yk; Gy;yuprpAk;
%q;fpyuprpAk; mtiuAk; fpoq;Fk; Ntl;ilg; nghUs;fSk;
,r;rKjhaj;jpd; mbg;gil czTfshfj; jpfo;e;jd.
FwpQ;rp epyk; vd;gJ ,aw;if tsj;ij cilaJ.
~~Fd; W jiy kze; j Gd; G y itg; G k; "
(gjp.30)
vd;W Fd;iwr; R+o;e;j rpW rpW fw;fSk; kz;Zk; fye;j

kiyg;gFjpNa FwpQ;rp epyk; vd;W gjpw;Wg;gj;J Fwpg;gpLfpwJ.
Fd;Wg; gFjpfspy; Njhd;Wk; gy;NtW tifahd kyu;fspy;
kpFe;j rpwg;GilaJ FwpQ;rp kyu;. ,J gd;dpuz;L Mz;LfSf;F
xU Kiw G+f;Fk; rpwg;G tha;e;jJ. ,k;kyu; ePy epwk; cilaJ.
~~fUq; N fhy; FwpQ; r pg; G+f; n fhz; L
ngUe; N jd; ,iof; F k; ehlndhL el; N g"
(FW.3)
vd;W FwpQ;rp kyupd; rpwg;gpidf; Fwpg;gpLfpwJ FWe;njhif.

,g;ghlypy; jiytd; ehl;bd; rpwg;igf; Fwpg;gpLk;NghJ FwpQ;rp
kyupd; rpwg;Gf; $wg;gl;Ls;sJ. rpwg;G kpff
; ,k;kyupd; ngauhNyNa
,e;epyk; FwpQ;rp vd;Dk; ngaiug; ngw;wpUf;f Ntz;Lk;.
FwpQr
; p epyk; Gdk;> ,ij> Kij> Jlit vd;w ngau;fshYk;
toq;fg;gl;lJ.
,e;epyj;jpy; Gd;nra; gapupLk; epyj;ijj; 'Jlit|| (FW.105)
vdTk;> kuq;fs; mopf;fg;gl;L tpisepykhf;fg;gLk; Gjpa Gdj;ij
',ij|| (mfk;. 394) vdTk;> goikahd tpisepyj;ij 'KijGdk||
(FW.105) vdTk; toq;fpdu;.
,ij
,ij vd;Dk; nrhy; fk;guhkhazj;jpy;>
~~,ijg; Gdy; eidj;jpl Kisj;jNj" (f.uh.>ghy.946)
vd;W Xuplj;jpy; kl;Lk; gapd;W te;Js;sJ. ,J jpid vd;Dk;
nghUspy; ifahsg;gl;Ls;sJ. jpid vd;gJ FwpQ;rp epyj;jpy;
tpisAk; gapuhFk;.
123
Gdk;
Gdk; vd;Dk; nrhy;iy>
~~Gd; jiyg; Gdk; fhg;G cil nghq;fupy;" (f.uh.>ghy.66)
~~vy; nfhs; khy; tiu ck;gupd; ,Uk; Gdk; fhf;Fk;"
(f.uh.>mNah.744)
~~miw foy; rpiyf; Fd;wtu; mfd; Gdk; fhty;"48
(f.uh.>mNah.749)
vd;W rpy ,lq;fspy; fk;gu; ifahz;Ls;shu;.
Gd; jiyg; Gdk; vd;Dk; njhlu; Gd;nra;g; gapu;fs;
tpisAk; jpidg; Gdk; vd;Dk; nghUspYk;> ,Uk; Gdk; vd;Dk;
njhlu; ngupa jpidf; nfhy;iy vd;Dk; nghUspYk; ifahsg;
gl;Ls;sijf; fhz KbfpwJ.
Kij
kpf Kjpu;ej
; kuq;fisAila fhl;il Kij vd;W $Wtu;.
,jw;Fj; jpthfu epfz;L 'goq;nfhy;iy|| (jpthfu epfz;L>
gh.v.996) vd;Wk;> rJufuhjp 'Rl;Lj; jpUj;jpa epyk;|| vd;Wk;
nghUs; $Wfpd;wd.
Jlit
Jlit vd;Dk; nrhy;Yf;Fj; Njhl;lk;> Nrhiy> tpisepyk;
Mfpa nghUs;fs; toq;fg;gLfpd;wd.
fk;gu; jk; fhg;gpaj;jpy; FwpQ;rp epykhd kiyg; gFjpapd;
Njhw;wj;ijg; gw;wpf; $Wk;NghJ>
~~epyk;
nfhOe; J cau; e ; j idaJ Xu; neba Fd; W "
(f.uh.>mNah.1082) vd;fpwhu;.
,yf;Ftd; Vwpa kiyiag; gw;wpf; $Wk;NghJ 'epyk;
nfhOe;J tpl;L cau;e;jijg; Nghd;W Njhw;wkspj;j neba
kiyapd; Nky|| Vwpajhff; $Wfpwhu; fk;gu;.
124
FwpQ;rp epyj;jpd; tsk; Fwpj;J fk;gu; jk; fhg;gpaj;jpy;

gy ,lq;fspy; Fwpg;gpl;Ls;shu;.
~~Nrk;G fhy; ,wr; nrq;fOePu; Fsj;
J}k; G fhyRuptis Nka; t d
fhk;G fhy; nghu fz; mfy; khy; tiu
ghk;G ehd;nwdg; gha; gRe; NjwNy" (f.uh.>ghy.67)
vd;w ghlypy; FwpQ;rp epyj;jpd; tsk; $wg;gLfpwJ.
kw;Nwhu; ,lj;jpy; FwpQ;rp tsj;ijf; $Wk;NghJ FwpQ;rp
epyj;jpy; ts;spf; fpoq;Ffisj; Njhz;Lk;NghJ mtw;Wld;
,uj;jpdq;fSk; fpilg;gjhff; $Wfpwhu; fk;gu;.
~~ts;sp nfhs;gtu; nfhs;td kh kzp"
(f.uh.>ghy.65)
vd;w ghly; mbahy; ,jid mwpayhk;.

,t;thW fk;guhkhazj;jpd; gy ,lq;fspy; FwpQ;rp
epyj;ijg; gw;wpa nra;jpfs; ,lk;ngw;Ws;sikiaf; fhz
KbfpwJ.
125
26. GwehD}w;wpy; ,aw;ifr; #oy;

Kidth; fp. Rjh Njtp
,izg; nguhrphpah;
jpUg;G+h; Fkud; kfsph; fy;Y}hp
jpUg;G+h;- 641 687.
GwehD}w; w py; Gyth; f shy; ghlg; g l; l mofhd
,aw; i fr; #oy; f isf; fhl; r pg; g Lj; J fpwJ ,f; f l; L iu
- gjpg; g hrphpah;
jkpo; nkhopapapd; jdpj;Jtj;jpw;F rhd;wha; tho;tpay;
tpOkpaq;fis vLj;Jiuf;Fk; Kfkhf rq;f ,yf;fpag; ghly;fs;
tpsq;Ffpd;wd. ,r;rpwg;G tha;e;j rq;fg; ghly;fspy; ,aw;if
gpdG; ykhf mike;J fhzg;gLfpdw
; d. rq;ffhy kf;fs; ,aw;ifiag;
Nghw;wpg; Ngzp ghJfhj;jnjhL epy;yhky; NgZk; KiwiaAk;
cyfpwF
; f; fw;Wf; nfhLj;Js;sdh;. mtw;Ws; gz;ilj; jkpoh;fspd;
tho;it vLj;Jiuf;Fk; ,yf;fpakhd GwehD}w;wpy; mike;Js;s
,aw;ifr; #oiyf; ,dk; fhz;gNj ,t;tha;tpd; Nehf;fkhFk;.
',aw; i f|| tpsf; f k;

',aw;if|| vd;gjid ek; thh;j;ijfshy; mlf;fptpl
Koahj xd;W. fhz;Nghh; fz;zpYk;> kdjpYk; epiyj;J goe;jkpoh;
,yf;fpaq;fspy; gue;J fhzg;gLfpd;wd. jkpohpd; njhd;ik
,yf;fz E}yhfpaj; njhy;fhg;gpak;>
',aw; i fg; nghUis ,w; n wdf; fpsj; j y; | |
(njhy;.fpstp.E}.vz;.19)
vd;Dk; E}w;ghtpy; ,aw;if vd;gjid ',ay;G" vd;Dk; nghUspy;
tpsf;FfpwJ> fofj;jkpo; mfuhjp.
126
',yf; f zk; > ghd; i k> Rghtk; > tHf; f k; > epiyik>
nfhs; i f> ,ay; G > Fzk; > jFjp>jpuhzp>Kiwik||
(g.vz;. 113)
vd;W tpsf;fk; jUfpwJ. goe;jkpoh; tho;tpy; ,d;wpaikahf; $whf
,aw;if ,Ue;jikia ,t;tpsf;fj;jhy; czuyhk;.
,d;W
ehk; fhZk; Rw;Wr; #oy; gw;wpa rpe;jidfs; goe;jkpohplj;Jk;
,Ue;jij ek; rq;f ,yf;fpaq;fs; czh;jJ
; fpdw
; d.
epyk; ePh>;
neUg;G> fhw;W;> thd; Mfpa Ie;Jk; cs;slf;fpaJ kl;Lky;yhJ
cyfk; vd;gJ ,aw;ifapd; ghw;gl;lJ vd;gijAk; goe;jkpoh;fs;
mwpe;jpUe;jdh;. ,jidj; njhy;fhg;gpah;> 'epyk; jP ePht
; sp tpRk;nghL
Ie;Jk;
fye;j kaf;fk; cyfk; Mjypd||
Mjypd||(bjhy;.bghUs; - 1539)
vd; D k; E}w; g htpy; ,g; G +kpahJ Ik; n gUk; G+jq; f isAk;
cs;slf;fpaJ vd;fpwhh;. ,Nj Nghd;W GwehD}Wk;>
(Gwk;. 20.1-6) ,g;ghlypy; cah; gz;GfSf;F ,izahdJ
vd fly;> fhw;W> Mfhak; %d;iwAk; Fwpg;gpl;Ls;sJ. NkYk;>
Gwk; 2: 1-6) vDk; ghlypy; kz; epiwe;j epyk;. epyj;ij Ve;jpa
thd;> Mfhaj;jpd; top tUk; fhw;W fhw;wpy; fye;J tUk; jP>
jPapy; cs;s ePUk; fye;jJ cyfk; vd;gnjhL> Ik;G+jq;fshfpa
,aw;ifahy; gilf;fg;gl;lJ cyfk; vd;gjidAk; mwpayhk;.
thdpaywpT:
goe;jkpoh;;fs; ,aw;ifapidf; flTshf vz;zp topghL
nra;jdh;. G+jq;fspy; mtw;Ws;Sk; Fwpg;ghf QhapW> topghL
njhd;ik topghlhf ,Ue;J te;Js;sJ. GwehD}w;wpy; Qhapw;wpd;
Njhw;wk;> QhapW ,aq;Fk; Kiw Mfpad gw;wpa Fwpg;igf;
fhz;fpNwhk;.
~~Qhapw; W r; nryTk;
mQ; Q hapw; W g; ghpg; G k;
ghpg; G r; Nrh; e ; j kz; b yKk;
tsp jpupjU jpirAk;
twpJ epiy,a fhaKk; | |
127
(Gwk; : 30
1-6)
,g;ghly; top #hpa tl;lk;> Nhpadpd; ,af;fk;> thd;btsp

kz;lyk;> Fwpj;j mwpT md;Nw ek; goe;jkpohpil ,Ue;jikia
ehk; mwpayhk;.
nts;spf;nfhs;> kiof;Nfhs; vd;W fUjg;gl;L mJ nry;Yk;
ghijapidf; nfhz;L twl;rp Njhd;WtijAk; rq;f ,yf;fpag;
ghly;fs; czh;j;Jfpd;wd.
'nts; s pj; njd; G yj; Jiwa tpistaw;
gs; s k; thoa gadpy; fhiy||
(Gwk; : 388)
vd;Dk; ghly; tHp nts;sp NfhshdJ njd;Gyj;jpy; kiwe;jjhy;
ePhpd;wp tpis tay;fs; thbf; fplf;fpd;wd vd;gjid mwpayhk;.
thdpy; nfhs;fspd; ,ilNa eilngWk; khw;wj;ij rq;fj;
jkpoh;fs; czUk; Mw;wy;; ngw;wth;fshf ,Ue;jdh; vd;gjid
mwpayhk;. kio cUthFk; tpjk; njspe;j FbePh; Mfpa gw;wpa
njspthd tpsf; f q; f s; rq; f ,yf; f paq; f spy; epiwe; J
fhzg;gLfpd;wd.
ePUk; epyDk;:
epyk; vd;gJ clk;G. ePh; vd;gJ caph;. 'clk;ghh; mopapd;
capuhy; mopth;|| vd;gJ jpU%yh; $w;W. epyk; vdg;gLk; clk;G
mopahky; fhf;fg;gl Ntz;Lkhapd; ePh; epiyfshf capiug;
Ngz Ntz;Lk; vd;W goe;jkpou; czh;e;jpUe;jdh;.
~~ePuhd; tPW va;Jk; tpis epyk;" vd ePh; epiwe;j epyj;jpd;
rpwg;ig ehd;kzpf;fbif tpsf;FfpwJ. mNjNghd;W goe;jkpoh;;
Fsk; njhl;L tsk; ngUf;Fk; gzpapYk; <Lgl;Ls;sdh; vd;gjid
~~epyd; n esp kUq; f py; eP h ; e piy
ngUfj; jl;Nlhh; mk;k ,tz; jl;lhNu|| (Gwk; : 18)
vDk; Gwg;ghly; %yk; mwpayhk;.
mNjNghd;W
'miwAk; nghiwa[k; kze; j iya

vz; e hs; jpq; f s; mida nfhLq; f iu
njz; z P h ; r ; rpWFsk; . "
(Gwk; : 118)
128
vDk; ghlypy; vl;lhk; ehspy; Njhd;Wk; gpiw Nghd;w tise;j

Njhw;wKila fiuiaf; nfhz;L Fsk; fl;lg;gl;L
Ntshz;ikf;Fg; gad;gLj;jpdh; vd;gjid mwpayhk;.
fhw; W :
thA vdg;gLk; fhw;iw xt;nthU ehl;bdUk; flTs;fspd;
Foe;ijahfNt fUjpdh;. Nkdhl;lhh; mwpahj fhyj;jpNyNa
fhw;wpd; gy;NtW jd;ikfisg; goe;jkpoh; mwpe;jpUe;jdh;.
fhw; n whL vhp epfo; e ; j d; d nrytpd;
(Gwk;)
vdf; fhw;W fye;jhy; jP tpiuthf vhpAk; vd;w mwptpay;

cz;ikia ctikahff; NfhT+h; fpohh;. thptpjpg;ig ePf;Fk;
nghUl;L mwpTiu $Wk; Gyth; nts;isf;Fb ehfdhh; Nrhod;
FsKw; w j; J j; JQ; r pa fps; s ptstd; vd; D k; Nte; j dplk;
thptpjpg; i g eP f ; F khW Ntz; b aNghJ mth; > goe; j kpoh;
vy;iyiaAk; Nte;jh; rpwg;igAk; Fwpg;gpLk; tifapy; fly;fshy;
#og;ngw;w> fhw;W toq;fhj thdj;jpd; fPo; cs;s epyj;ij
MSk; Nte;jh; vd
esp,U Ke; e P h ; Vzpahf
tsp ,il toq;fh thdk; #ba
kz; jpzp fplf; i f
(Gwk; : 35)
Fwpg;gpLfpwhh;.
Gyth; FWq;NfhopA+h; fpohh; tsp toq;F jpir (Gwk; : 20)
vdf; fhw;Wk; toq;Fk; jpir gw;wpf; Fwpg;gpLfpwhh;. mNjNghd;W
Gyth; ciwA+h; KJfz;zd; rhj;jdhh; ~~tsp jphpjU jpir||
(Gwk; :3 0) vd;Wk;> ~~tspGilj;j fyk; Nghy|| (Gwk; : 26)
vd;Wk; Fwpg;gpLfpd;wdh;. fhw;wpd; ,ay;igAk mjd;
,af;fj;ijAk; mwpe;J MSik ngw;w kd;dh;fs; vd
kd;did tho;j;Jk; ,lj;Jk; GwehD}w;Wg; ghlypy; fhw;wpidg;
gw;wpa Fwpg;G fhzg;gLtij mwpayhk;.
129
neUg; G :
rq; f g; Gyth; f s; kd; d dJ Fzq; f is Ik; n gUk;
G+jq;fspd; Mw;wNyhL xg;gpl;L ghLtJ kuG. jP Nghy vjphpfis
mopgg
; td;. fhw;W Nghd;w Ntfk; cilatd;. Mfhak; Nghy rh;t
ty;yik cs;std;. G+kp Nghd;W nghWikAk; cWjpAk; cilatd;
vd; W Nghw; w pg; ghbAs; s dh; .
GwehD}w; W g; Gyth; f Sk;
gQ;rG+jq;fisAk;; gw;wp Nghw;wpAs;sdh;.
tpRk;G
ijtU tspAk;
tspj; jiy,a jP A k;
(Gwk; : 2)
vDk; ghlypy; Gyth; KuQ;rpA+h; Kbehfuhah; tpz;zpy; coYk;

fhw;iwAk; jPiag; gw;wp gutr; nra;aAk; mjd; Mw;wiyg;
ghbAs;sijf; fhzyhk;. Gyth; NfhT+h; fPohh; fhw;W neUg;Gld;
,ize;J mHpf;Fk; Mw;wiyf; fhw;nwhL vhp epfH;ej
; d;d nrytpd;
(Gwk; : 41) vd;Dk; mbfspy; Fwpgg
; plL
; s;shh;. GwehD}w;Wg; Gyth;fs;
,aw;if tsq;fisg; gw;wp ed;F mwpe;jpUe;jdh; vd;gjid
mwpayhk;.
KbTiu
nrt; t pay; ,yf; f paq; f spy; xd; w hd GwehD}w; w py;
gQ;rG+jq;fspd; Mw;wy; mit njhlh;ghd rpe;jidfs; epiwe;J
fhzg;gLfpdw
; d. cyf ,af;fk; QhapW kz;lyk; Mfpad gw;wp
mwpe;j thdtpay; rpe;jidahsh;fs; ,Ue;jdh; vd;gJ Fwpj;Jk;
epyk;> ePh;> thd;> fhw;W neUg;G Nghd;w gQ;rG+jq;fspd;; Mw;wy;
Fwpj;Jk; tpsf;fpapUg;gij mwpayhk;.
mb Fwpg; G fs;
1.fofj; jkpo; mfuhjp
2.GwehD}W
- fof ntspaPL
3.njhy;fhg;gpak;
130
27. ghujpjhrd; ghly;fspy; ,aw;if

Kidth; rp.uh.RNu\; ; vk; . V.>vk; . gpy; . >gpvr; b .>
cjtpg; Nguhrpupah; - jkpo;j;Jiwj;jiyth;;
Nf.v];.uq;frhkp fiymwptpay; fy;Y}hp(jd;dhl;rp)
jpUr;nrq;NfhL - 637 215.
,aw; i f ,d; W jd; d pay; g poe; J tUk; #oypy; > Gul; r pf;
ftpQhpd; rpe; j idfisf; fUj; j py; nfhs; N thk; .
,aw; i fiaf; fhg; N ghk; . khrpy; y h cyfk; gilg; N ghk;
vd; f pwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu
,Ugjhk; E}w; w hz; b y; jkpo; ,yf; f pak; vy; y hj;
JiwfspYk; khw; w Kk; Vw; w Kk; ngw; W tpsq; F fpd; w J.
,f;fhyj;ijj; jkpo; ,yf;fpaj;jpd; nghw;fhykhfg; Nghw;Wfpdw
; dh;.
ciueil tsh;rr
; pAk;> ftpijg; ngUf;fKk; jkpo; ,yf;fpag; gug;ig
tphpTgLj;jpaJ. ,f;fhyf; ftpijf;F Kd;Ndhbahf tpsq;fpath;
,uhkypq;f mbfshh;. ftpij cyfpy; Gul;rpiaAk; GJikiaAk;
GFj;jpath; ghujp. ghujpf;Fg; gpd; mtiug; gpd;gw;wp ftpijfs;
gilf;fj; njhlq;fpath; ghujpjhrd;. GJitapy; gpwe;J GJ
,yf;fpa newp fz;lth;.
~~vq; n fq; F fhzpDk; rf; j palh - jk; g p
VOfly; mts; tz; z klh"
vd;W ghb ghujpahy; ghuhl;Lg; ngw;wth;.
njhlq;fpath;.
rhjpg;G+ry;> rka Ngjk;> ngz;zbik Mfpatw;iwr;

rhbath;.
kapy;> rphpj;jKy;iy> cjaR+hpad;> fhL> fhdy;>
131
kf;fs; fhl;rp ,d;gk; Mfpa gy;NtW jiyg;Gfspy; ,aw;ifiag;

gw;wpg; ghbAs;shh;. ,tuJ ,aw;if gw;wpa rpe;jidfis
Muha;tNj ,f;fl;Liu Nehf;fkhf mikfpwJ.
cjaR+hpad;
epyk;> ePh>; fhw;W> neUg;G> Mfhak; vd;Dk; gQ;rG+jq;fspd;
fyg;ghy; MdJ ,aw;if. ,q;F midj;jpw;Fk; Kjd;ikahf
tpsq;FtJ R+hpad;. ,e;neUg;Gf; Nfhyk; ,y;iynadpy; mfpyk;
KOtJk; ,Ul;Lf; Fiff;Fs; rpf;fp ,y;yhky; NghapUf;Fk;.
cyfpd; cd;djj;ij ehk; mwpa KbtJ fjputdpd; fpuzq;fshy;
jhd;. mofpa NrhiyfisAk; gs;sj;jhf;FfisAk; cah;e;j
kiyfisAk; mofpa MWfisAk;
mUtpfisAk; ehk;
fz;zhuf; fz;Lfspf;f fjputdpd; mUs; Ntz;Lk;. ,jid>
~~cyfkpir czh; n tOg; g pf; fP o ; j ; j pirapd; kP j py;
cjpj; J tpl; l hd; nrq; f jpNuhd; ; jfj; j fhak; ghh; !
tpyfpw; W f; fhhpUs; j hd; ; gpwe; j J ghh; mah; T ;
tpz;zpny;yhk; nghd;ndhspia Vw;Wfpd;whd; mllh!||
(cjaR+hpad;> ghujpjhrd; ftpijfs;> g.53 )
vDk; ghly;thpfspy; czh;j;Jfpwhh;.
fhL
tdk; ,y;iyNay; ekf;F tsk; ,y;iy. ,jidNa ,d;W
muR Kidg;NghL 'tdtsk; fhg;Nghk;|| vd;w Kof;ff;jpd; %yk;
ntspg;gLj;JfpwJ. ghujpjhrd; mth;fs; rpe;jidapy; fhL
vz;zw;w rpe;jidfis vOg;gpAs;sij gpd; tUk; ghly; top
fhzyhk;.
~~Kl; G jh; f s; nkha; j ; j jiu vq; F k; ! - vjph;
Kl; L fUq; fw; f Sk; neUq; F k; - kf; f s;
,l; l b vLj; n jLj; J
itf; ifapNy fhy; f spy;
jLq; F k; cs; eLq; F k; "
(fhL> ghujpjhrd; ftpijfs;> g.53 )
132
vd;w ghly; thpfs; %yk; fhl;bd; epiyia Rl;bf;fhl;Lfpwhh;.

Kl;Gjh;fSk;> fUq;fw;fSk; mlh;e;J fplf;Fk; fhL kf;fs;
cs;sj;jpy; vg;gbg;gl;l czh;it elf;Fk;NghJ Vw;gLj;Jk;
vd;gij eak;gl ciuf;fpd;whh;.
fhLfspy; cs;s kuq;fspd; fhl;rpfisAk;> mq;F trpf;Fk;
tpyq;Ffs;> gwitfspd; nray;ghLfisAk; $l $h;eJ
; Nehf;Fk;
rpe;jid ek;ikg; gutrg;gLj;JfpwJ. ,jid>
~~fpl;bku Nth;fs; gy $Lk; - mjd;
fP o pUe; J ghk; G tpiue; N jhLk; - ku
kl; i l air thy; G ypapd;
Fl; b fs; Ngha; j ; jha; g ; Gypiaj;
NjLk; - gpd; thLk;" (fhL> ghujpjhrd; ftpijfs;> g.54)
vDk; ghly; mbfs; %yk; czh;j;Jfpwhh;.
mlh;e;j fhLfisf; fz;lNghJ ftpQh; thdj;jpd; kPJ
kw;nwhU thdj;ijf; fhz;fpwhh;. ,t;tlh;e;j fhLfspy;> cs;s
NjdilfisAk;> njd;id kuq;fisAk; fz;L mjprapf;fpwhh;.
,jid>
~~thdpil Xh; thdlh;e;j thW - ngU
tz; fpis kuq;fs; vd;d tPW ! - ey;y
Njdil nrhhpe; jJTk;
njd; i d kuk; Cw; w paJk;
MW - ,d;gk;
rhW!"
(fhL> ghujpjhrd; ftpijfs;> g.54)
vd;Dk; ghly; mbfshy; czuyhk;.
thdk;
thdk; vy; i yaw; w J. vz; z pylq; f h fhl; r pfisf;
nfhz;lJ. fhz;gthpd; vz;zq;fSf;nfy;yhk; cUtk; nfhLg;gJ.
,J thdj;jpd; ,ay;G. xd;WNk ,y;yhky; ,Ug;gJk; thdk;
jhd;. midj;ijAk; jd;Ds; nfhz;bUg;gJk; thdk;jhd;. ,J
133
fhz; g th; fUj; i jAk; nghWj; j J. ftpQh; f Sf; F thdk;

Nghjpkuk;. ghujpjhrDk; thdpd; moif> mjd; nraiy> jkJ
fw;gidNahL ,izj;Jf; fhl;Lfpwhh;.
kdpj vz;zq;fSf;F Vw;wk; jUtJ thdk; vd;gij>
~~vz; z q; f s; NghNy - tphp
ntj; j id! fz; l ha; ,U
fz; i zf; fth; e ; j pLk; Mapuk; tz; z q; f s;
$br; Rlh; jUk; thd;!"
(thDk; Ky;iyAk;> ghujpjhrd; ftpijfs;> g.57 )
vd;w ghly; thpfs; %yk; czh;j;Jfpwhh;. ,g;gb fhzg;gl;l
thdk; rpy nehbfspy; vg;gbg;gl;l khw;wj;ij milfpwJ
vd;gij>
~~tz;zq;fisg; Ngha;f;
- fU
khKfpy; cz;L
- gpd;G
gz; Z k; Kof; f j; i j kpd; d iy mk; K fpy;
gha; r ; r pa thdtpy; i y"
(thDk; Ky;iyAk;> ghujpjhrd; ftpijfs;> g.57 )
vd;w mbfspy; tpae;J $Wfpwhh;.
gy tz;zq;fspy; fhl;rpaspj;j thdk; rpy nehbfspy;
epwk;khwp kpd;dp thd tpy;iyj; Njhw;Wtpj;J nra;Ak; [hyq;fis
tpae;J ghLfpwhh;.
,t;thW thdj;jpy; Njhd;Wk; khw;wk; G+kpapYk; khw;wj;ij
cz;L gz;ZfpwJ. thDf;Fk; kz;Zf;Fk; cs;s njhlh;G
ftpQiu tpaf;f itf;fpwJ. thdj;jpy; fz;l khw;wj;ijf;
fz;L kapy; MLfpwJ. ,jidg; ghh;j;j Ky;iyg;G+ tha;tpl;Lr;
rphpf; f pwJ. thdKk; jd; Kj; J f; f isr; nrhhpfpwJ.
,k;Kj;Jf;fisr; R+hpa Ky;iy Nkdp rpyph;j;jhs;. ,jidf;
fhzf; fhz cs;sj;jpy; ,d;gk; nghq;fpnaOfpwJ vd;gij>
134
~~tz;zf; fyhg
- kapy;
gz;zpa $j;ij - mq;F
ntz; K j; J ky; y pif fz; L
rphpj; j ds; !
Nky; K j; i j thd; nrhhpe; j hd; !
tpz; K j; jzpe; j hs; mts;
Nkdp rpyph; j ; j hs; - ,ijf; "
(thDk; Ky;iyAk;> ghujpjhrd; ftpijfs;> g.57)
vd;Dk; ghly; mbfshy; czuyhk;.
kapy;
ekJ Njrpag; gwit kapy;. kapypd; mofpy; kdk;
kaq;fhjth; ahUkpy;iy. mJTk; kapy; jdJ Njhif tphpj;J
MLtJ fhzf;fpilf;fhj fhl;rp. ,f;fhl;rpapd;gj;ij ghujpjhrd;
,aw;ifNahL ,izj;Jf; $Wfpwhh;. jz;liy kapy;fs; Ml
jhkiu tpsf; f e; j hq; f " vd; D k; ghly; top fk; g iu
cs; s f; f psh; r ; r pailar; nra; j Nrhiy ghujpjhridAk;
tpaf;fitj;jpUf;fpw ghq;if gpd;tUk; ghly; top mwpayhk;.
~~mQ; R fk; nfhQ; r > mKj fP j k;
fUq; F apypypUe; J tpUe; J nra; a f;
fbkyh; tz; L fs; nebJ ghlj;
njd; w y; cytr; rpyph; f ; F k; Nrhiyapy;
mbnaL J}d; w p mq; f k; Gsfpj;
jhLfpd; w ha; mofpa kapNy!"
(kapy;> ghujpjhrd; ftpijfs;> g.51)
vd;Dk; ghly; mbfshy; kapy; Mba Nrhiy ghujpjhrid
kaf;fpa tpjk; Gyg;gLfpwJ.
fhdy;
ghujpjhrdpd; ,aw;if gw;wpa rpe;jid mofpa fhl;rpfis
kl;Lky;yhky; kf;fis thl;Lk; twl;rpiaAk; ghbAs;shh;.
kioapd; w p cyfk; twz; l epiyapy; ,aw; i f md; i d
gLk;ghl;ilj; jkJ ghlypy; tbj;Jf; fhl;Lfpwhh;.
135
fs;spkuk; twl;rpiaj; jhq;Fk; ,ay;GilaJ. ghiyapy;

Njhd;Wk; nrb. ,q;F fs;spr; nrbAk; fUfp thLk; epiyia>
~~Kisj; j fs; s papidf; fdy;
nkha; j ; J f; fhpahf; f p
tpisj;j rhk;giyg; Ngha; - ,dp
NkYk; cUf; f plNt
nfhSj; j pLk; fhdy; : - caph;
nfhd; W jpd; D k; fhdy; ; "
(fhdy;;> ghujpjhrd; ftpijfs;> g.55)
vd;w ghly; mbfs; %yk; tpsf;Ffpwhh;.
KbTiu
Gul;rpf; ftpQh; ghujpjhrd; r%fk; rhh;e;j rpe;jidfis
kf;fs; kdjpy; mOj;jkhfg; gjpa itg;gth;. nkhop> fhjy;>
ngz;Zyfk;> ehL gw;wpa rpe;jidfis ngUk;ghd;ikahfg;
ghba NghJk; ,aw;ifia kwf;ftpy;iy. ,tuJ ghly;fspy;
cs;s ,aw;if moif ,f;fl;Liu czh;j;j Kw;gLfpwJ.
gz;ilj;jkpoh; ,aw;ifNahL ,iae;J tho;e;jdh;.
,d;W
,aw; i f gy; N tW ,d; d y; f Sf; F Ml; g l; L jdpj; j d; i k
,oe;JtUk; ehspy; ftpQhpd; rpe;jidfisf; fUj;jpy; itj;Jg;
Nghw;WNthk;. ,aw;ifiaf; fhg;Nghk;. khrpy;yh cyfk;.
Jiz epd;w E}y;fs;

1.ghujpjhrd; ghly;fs;> epA+ nrQ;Rhp Gf; `T];> Vohk;
mr;R> Mf];l; 2006.
2.Kidth; fh.thRNjtd;> gd;Kf Nehf;fpy; jkpo; ,yf;fpa
tuyhW> Njtd; gjpg;gfk;> brk;gh;> 2006.
136
28. ew;wpiz ghiyj;jpizg; ghly;fspy;

,aw;if tUzid
jpU nr. jq; f uh[; > vk; . V.vk; . gpy; . >
cjtpg;NguhrpupaH - jkpo;j;Jiw
Nf.v];. uq;frhkp fiy kw;Wk; mwptpay; fy;Y}up(jd;dhl;rp)
ew; w pizapy; ,lk; n gWk; ghiyepyf; fhl; r pfisg;
ghq; F w ,ak; G fpwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu
~~epyk; e P H jP t sp tpRk; n ghL Ie; J k;
fye; j kaf; f k; cyfk; "
(njhy;.ku. 90)
vd;w E}w;ghtpy;> epyk;> ePH> jP> fhw;W> Mfhak; Mfpa Ie;Jk;

fye;jNj cyfk; vdf; $WfpwhH njhy;fhg;gpaH. ,tH $w;Wg;gb
ghHf; f pd; ,e; j Ie; j Ds; mlq; f p ,Ug; g Nj ,d; W ehk;
nrhy;yf;$ba ,aw;if.
~~,aw;if(Nature) vd;gJ ,ay;ghf ,Ug;gJ vd;Dk;
nghUs; nfhz;lJ. ,ay;ghfj; Njhd;wp kiwAk; nghUl;fs;>
mtw;wpd; ,af;fk;> mit ,aq;Fk; ,lk;> ,aq;Fk; fhyk;
Mfpait midj; i jAk; ,izj; J ,aw; i f vd; f pNwhk; .
capupdk;> capupd mwpT Nghd;witAk; ,aw;ifapy; mlf;Fk;."
vd tpf;fpgPbah fl;Liu xd;W njuptpf;fpwJ. ,jdbg;gilapy;
rq;f ,yf;fpaq;fshd gj;Jg;ghl;L> vl;Lj;njhifapid mZFk;
NghJ gy; N tW ,aw; i f rhHe; j epfo; T fis md; i wa
fhyg;GytHfs; Rl;br; nrd;Ws;sJ ekf;Fj; njupa tUfpwJ.
137
,r;rq;f ,yf;fpaq;fs; Kjw; nghUshd epyj;ijg; gw;wpAk;

me;epyj;jpy; cs;s fUg;nghUl;fs; gw;wpAk; kpf tpupthf tpsf;Ffpdw
; J.
vl;Lj;njhif E}y;fspy; xd;whd ew;wpizapd; ghiyj; jpizg;
ghlypy; vq;qdk;> vt;thW ,aw;if ,lk; ngw;W te;Js;sJ
vd;gij tpsf;FtNj ,f;fl;Liuapd; Nehf;fkhFk;.
ghiyj; jpizapy; ,aw;if

jiytd; jiytpia mioj;Jf; nfhz;L cld;Nghf;F
Nkw;nfhs;fpwhd;. mtd; NghFk; topapid ngUk;gJkdhH vd;Dk;
GytH kpf mofhf tUzid nra;fpwhH. ,tHfs; nry;Yk; topahtJ
,ilr;RukhFk;. mt;topapy; ,tHfs; nry;Yk; NghJ xUrpy
epfo;Tfs; eilngWfpd;wd. ,tHfs; nry;Yk; fhl;bd; Xuj;jpy;
FspHr;rp nghUe;jpa Fd;W cs;sJ. jioj;j <r;rkuq;fs; epiwe;J
fhzg;gLfpwJ. khiy Neuj;jpy; fhw;W Rod;W mbf;fpd;wJ.
mq;F ,z;lq;nfhbAk; <q;iff; nfhbAk; glHe;jpUf;fpwJ. ,uT
Neuk; neUq;fptpl;lJ. fhw;Wld; NrHj;J ngUkio nghopfpd;wJ.
mg;NghJ ,bf;Fk; ,b Fd;wpYs;s fw;fisAk; Gul;bf; fPNo
js;SfpwJ. me;j ,bapd; nfhLikia tplj; jiytdpd; ,jak;
cs;sJ vdf; $WfpwhH. ,jid>
~~mOe; J gl; l tP o ; e ; j ngUe; j z; Fd; w j; J >
xypty; <e; j pd; cyit aq; f hl; L >"
(ew;. 2> 1-2)
vdTk;>
~~fhnyhL gl; l khup
khy; t iu kpspHf; F k; cUkpDk; nfhbNj!"
(ew;. 2> 9-10)
vdTk; $WfpwhH. ,t;thW Nrhfj;jpYk; xU ,d;gj;ij ekJ
rq;f fhyg; GytHfshy; kl;LNk fhl;l KbAk;. xU rpw;W}upy;
cs;s Ntg;gkuj;ij ,sq;fPudhH vd;Dk; GytH>
~~<d; g Ue; J caTk; thd; n ghU neLQ; r pidg;
nghupaiu Ntk; g pd; Gs; s p eP o y; "
(ew;. 3> 1-2)
vdf; $WfpwhH. mjhtJ> FQ; R fisg; nghupj; j gUe; J
jq;fpapUf;f VJthd thdsT caHe;jJk;> ngupa
138
mbg;ghfj;ijAk;> neba fpisfisAk; cilaJ ,t;Ntg;gkuk;.

mjd; epoyhdJ ntapy; Neuj;jpy; Gs;sp Gs;spahf epyj;jpy;
tpOfpd;wJ vd xU Ntg;g kuj;jpd; mofpid kpfr; rpwg;ghf
jdJ ghiyj; jpizg; ghlypy; ifahz;Ls;shH.
jiytpiaf; $l;br; nry;Yk; jiytd;> ehk; nry;Yk;
topahdJ moF nghUe;jpaJ. mq;F khkuf;fSk; Fapy;fSk;
epiwe;j Nrhiy cs;sJ. MfNt eP tUe;jhky; th vd;NdhL
vdf; $Wfpwhd;.
~~kheid nfhOjp kfpo; F apy; MYk;
eWe; j z; nghopy> fhdk; @
FWk; g y; Y}u ahk; n ry; Y k; MNw"
(ew;. 9> 10-12)
kio nghopfpwJ mjdhy; ePH ngUf;nfLj;J tUfpwJ. mq;Fs;s
xU Fsk; GJePuhy; epuk;GfpwJ. mf;Fsj;jpy; ,Ue;j kPd;fs;
Gjpa ePupy>; ePH tUk; jpirf;F vjpjj
; piria Nehf;fp ePej
; pr; nry;fpwJ
vd;w mofhd fhl;rpia>
~~thlhg; g+tpd; ngha; i f ehg; g z;
xLkP d ; topapd; nfLt"
(ew;. 16> 5-6)
vd;w tupapy; rpiwf;Fb Me;ijahH tpsf;FfpwhH. mtpoh kuj;jpidAk;

mjd; mofpidAk; fzf; f hadhH gpd; t UkhW tUzid
nra;fpwhH. epyk; gpsf;f ,wq;fpa Ntupid cilaJk;> ngupa
fpisfis cilaJk;> cLk;gpid xl;l itj;jhw; Nghy; cs;s
mbkuj;jpid cilaJk; tpshkuk;. mjpypUe;J tpOk; goq;fs;
gr;rpf; fk;gyk; tpupj;jhw; Nghy; cs;sJ vd;w fl;rpia>
~~ghHgf tP o ; e ; j NtUil tpOf; N fhl; L
cLk; g ile; jd; d neLk; n ghup tpstpd;
Ml; L xop ge; j pd; Nfhl; L %f; F ,WG
fk; g yj; jd; d igk; g apHj; jhmk; "
(ew;. 24> 1-4)
jiytdJ Cupd; rpwg;gpid KJ$w;wdhH vDk; GytH>
~~kzpvd
Ntq; i f
MLfio
,opjUk; mUtp> nghd; n dd

jha Xq; F kiy mLf; f j; J
epte; j igq; f z; %q; f py;
139
XL
kio fpopf; F k; nrd; d pf;
XLkio
NfhLcaH gpwq; f y; > kiyfpo NthNd!"
(ew;. 28> 5-9)
vdf; $WfpwhH. ePykzp Nghy tpOk; mUtpAk;; nghd; Nghd;W Ntq;if
kyHfs; cjpHe;J ,Ug;gJkhd kiyg;gf;fk;. mq;F fhw;wpy; mirAk;
fZf;fis cila %q;fpy;fs; tsHe;Js;sJ. thdj;jpy; XLk;
Nkfj;ijj; njhLk; mstpwF
; nfhLKbfs; caHe;j kiyf;F cupatd;
jiytd; vd;gJ ,jd; nghUshFk;. ,q;F ePHtPo;r;rpapd; moFk;>
%q;fpyf
; spd; moFk; thdpd; Njhw;wKk; tUzid nra;ag;gl;Ls;sJ.
jhfj; i j gUj; j pr; nrbfs; Kisj; J s; s taYf; F
mUfpYs;s fpzw;Wf;Fr; nrd;W ePH Ntl;ifiag; Nghf;fpf; nfhs;StH
vd ,se;NjtdhH vDk; GytH Fwpg;gpLfpwhH. tzpfH nry;Yk;
topapy; cs;s gUj;jpf; fhLfspd; vopy; ,jd; %yk; ntspgg
; LfpwJ.
~~Rud; K jy; tUe; j pa tUj; j k; iggag;
ghuk; kyprpW $typd; jzpAk; "
(ew;. 41> 3-4)
Nfhq;fk; vd;Dk; xUtifg; g+ rpwpa Gw ,jio cilaJ.
,J g+j;jhy;> tpbaw;fhiy Neuj;jpy; thdj;jpy; cUthFk;
tpz;kPd;fisg; Nghd;W gpufhrpf;Fk; vd;W mg;g+tpd; mofpid
ghiyghba ngUq;fLq;Nfh tptupf;fpd;whH.
~~Gy; y pjo; f ; Nfhq; f pd; nky; y pjo; f ; Filg; g +
itFW kP d pd; epidaj; Njhd; w p"
(ew;. 48> 3-4)
Fuhkuj;jpd; mofpid ngUtOjp vd;Dk; GytH>
~~FWepiyf; Futpd; rpWeid eWtP
tz; L jU ehw; w k; tspfye; J <af;
fz;fsp ngW}ck; ftpd;ngW fhiy"
(ew;. 56> 1-3)
vd;Dk; mbfspy; tpsf;FfpwhH. Fl;ilahf ,Ug;gJ Fuhkuk;.

mk;kuj;jpy; mUk;Gfs; Kw;wp kyuhf kyHe;Js;sJ. mk;kyupy;
tz;Lfs; tpOe;jjhy; kzk; tPRfpwJ. mk;kzk; fhw;wpy; fye;J
vd;id te;jilfpwJ. mg;NghJ mijf; fhZk; NghJ vd; fz;fs;
140
kfpo;r;rp milfpd;wd vdj; jiytp Fuhkuj;jpd; rpwg;gpay;gpid

ciuf;fpwhs;. midtUk; tpUk;Gk; tz;zk; g+q;nfhj;Jf;fspy;
nfhd;iw kyH g+j;Jf; FYq;FfpwJ vd;w ,aw;if mofpid>
~~,ioazp kfspupd; tpiojfg; g+j; j
eP L Rup ,zu RlHtP f ; nfhd; i w"
(ew;. 302> 1-2)
vd;w mbfs; Rl;LfpwJ. vd; nrhy;iyf; Nfl;L cd; ,y;yj;ij
tplL
; vd;Dld; te;jha;. gue;j ,f;fhl;by; ,d;W jhd; kio nghopej
; J.
vy;yh ,lj;jpw;Fk; nry;Yk; jk;gyg; g+r;rpfs; nkha;fpd;wd.
mtw;iwg; ghH. rpwpJ Neuk; mtw;Wld; tpisahL vdj; jiytd;
$Wfpwhd;.
~~jiyehl; L vjpupa jz; n gay; vopyp
mzpkpF fhdj; jfd; G wk; gue; j
fLQ;nrk; %jha; fz;Lk;> nfhz;Lk;" (ew;. 362> 3-6)
KbTiu
gz;ila fhy kf;fs; ,aw;ifNahL ,iae;j tho;T
elj;jpYs;sdH vd;gjw;F ,J Nghd;w rq;f ,yf;fpag; ghly;fNs
rhd;whfj; jpfo;fpd;wd. mJkl;Lkpd;wp GytHfs; jhq;fs; ghl
te;j fUj;jpid kl;Lk; ghbtpl;Lg; Nghfhky; mf;fUj;JfSld;
,aw;if njhlHghd mofpidAk; NrHj;Jg; ghbapUf;Fk; gzp
ghuhl;LjYf;FupaJ.
141
29. jpUf;Fwspy; ctikfs;

nry;tp g.Njd;nkhop vk;.V.> vk;.vl;.>
Nf.v];.Mh;. fy;tpapay; fy;Y}hp
,aw; i f fw; g pf; F k; tho; t pay; newpfis
ts; S th; top epd; W ciuf; f pwJ ,f; f l; L iu gjpg; g hrpupaH
cyf nkhopfSs; ; Kjd; i kahdJ jkpo; n khop.
njhd;ikahd Ngr;R tsKk;> vOj;J tsKk; ngw;w jkpo;nkhop.
,j;jF rpwg;Gg;ngw;w nkhopapd; rpwg;ghd E}y; cyfg; nghJ
kiwahk; jpUf;Fws; vDk; xg;Gah;tw;w E}y;. 'ts;Std; jd;id
cyfpDf;Nf je;J thd;Gfo; nfhz;l jkpo;ehL" vd;W rpwg;gpg;ghh;
ghujp. ,j;jpUf;Fws; xh; mwpT> E}y; mwE}y.; me;j mwj;jpYk;
rpwe;J tpsq;Fk; ctikfs; ifahsg;gl;Ls;sik Fwpg;gplj;jf;fJ. xU ngz;zpwF
; xg;gid ve;j msTf;F ,d;wpaikahjNjh
mNj Nghy; nra;ASf;Fs; ctik ,lk;ngWtJk; ,d;wpaikahNj.
MfNt jpUf; F wspy; ,ioe; N jhLk; ctikfs; Fwpj; J
tpsf;FtNj ,f;fl;Liuapd; Nehf;fk;.
ctik:
kdpjDf;F fhz;fpd;w xt;nthU nghUisAk; xg;Gikg;
gLj;jpg;ghh;f;Fk; ,ay;G ,aw;ifahfNt mike;Js;sJ.,j;jF
gz;Ng ,yf;fpaj;NjhL ,iaj;Jf; fhl;Lk; ,ay;ig Vw;gLj;jpaJ
vdyhk;.,jidNa jz;b myq;fhuk;.
142
~~gz; G k; njhopYk; gaDk; vd; W ,tw; w pd;

xd; W k; gyTk; nghUnshL nghUs; Gzh; j ; J
xg;Gik Njhd;wr; nrg;GtJ ctik"
(E}.v.30)
vd;fpwJ. gz;G> gad;> njhopy;> tbtk; vdg; gy tiffspy;
mikfpwJ.
coth; f spd; ,d; w paikahik:cOJ gaphpl;L tpisr;riy cz;lhf;ff; $ba coth;fs;

jhd; kf;fs; tz;bapd; mr;rhukhf tpsq;Fgth;fs; vd;gij
~~cOthh; cyfj; j hh; f ; F Mzp; m /J Mw; w hJ
vOthiuAk; vy; y hk; nghWj; j J"
(F.v-1041)
vd;W mofhd ctikahy; Rl;Lfpwhh;.tpQ;QhdpNah> mwpQNuh>
murpay;thjpNah cyFf;F czT fpilf;f top nra;atpy;iy.
gpwnjhopfs; nra;athh;f;Fk; coTj; njhopNy mr;rhukha;
mike;J tapw;Wf;Fr; NrhwpLfpwJ.
J}a; i k:ek; tho; t pd; mbg; g ilaha; Rj; j Kk; RfhjhuKk;

tpsq;FfpwJ.ehk; clystpy; J}a;ik cilath;fsha; ,Ue;jhy;
kl; L k; NghjhJ.kdk; , mwpT, epidT vy; y htw; w pYk;
J}a;ikahdth;fshfj; jpfo Ntz;Lk; vd;gij typAWj;Jtjhf>
~~Gwk; J }a; i k eP u hd; mikAk; mfk; J}a; i k
tha; i kahy; fhzg; gLk; "
(F.v-298)
mike;Js;sJ. kdj;J}a;ik vd;gij moFwg; glk;
gpbj;Jf; fhl;LtJ Fwpg;gplj;jf;fJ.
nghWik:Nfhgj;NjhL vOgtd; el;lj;NjhL cwq;Fthd; vd;gJ

Kd;Ndhh; thf;F. mNj Nghy; 'nghWik flypDk; nghpJ|| vd;gij
ehk; xt;nthUtUk; czh;jy; ,d;wpaikahik MFk;.nghWik
vd;gNj G+kpj;jha;. Vnddpy; ek; vj;jid Jauq;fs; nfhLg;gpDk;
mjidg; nghWj;J ek;ikj; jhq;fpf; nfhz;bUf;Fk; rpwg;ig
mofhd ctikahy; gjpT nra;Ak; ts;Sth;>
143
~~mfo; t hiuj; jhq; F k; epyk; N ghyj; jk; i k

,fo; t hh; g ; nghWj; j y; jiy"
(F.v-151)
vd;Dk; Fwspd; thapyhf epyk; jk;ik vt;tsT Mokhfj;
Njhz;bdhYk; mtiuf; fPNo js;shky; jhq;Ffpd;wNjh mNj
Nghy; ek;ik ,fo;ej
; tiuAk; ehk; nghWj;Jf; nfhs;sy; Ntz;Lk;
vd;W vLj;Jf; fhl;Lfpwhh;.
md; G :md;G midtiuAk; cUfr; nra;tJ. ,uf;fk,; fUiz

vDk; ,izgphpahr; nrhw;fspd; MzpNth;.kdpjd; cs;sj;jpy;
md;G ,y;iy vd;why; mtDila tho;f;if rpwg;Gw mikahJ.
md;G vd;gJ xUth; kl;Lk; nrYj;JtJ md;W. kdpjNeak;
vd;Dk; nrhy;ypd; ikak; vd;gJ Fwpg;gplj;jf;fJ. ,jid
moFw ctikahf;Fk; ts;Sth;.;
~~md; G mfj; J ,y; y h caph; t ho; f ; i f td; g hw; f z;
tw; w y; kuk; jsph; j ; jw; W "
(F.v-78)
vd;Dk; Fws;top ePh;g;girNa ,y;yhj twz;l epyj;jpy;,;
Kisj; J tpl; l kuk; vt; t hW jsph; j ; j Yk; , nropj; j Yk;
,y;iyNah mJNghy; jhd; md;gpy;yhj kdpjh;fSk; caph;
tho;eJ
; k; gad; ,y;iy vd;gij moFw glk; gpbj;Jf; fhl;Lfpwhh;.
,jid ,d;ndhU ctikapd; %yk; Rl;Lk; nghOJ
~~vd; G ,yjid ntapy; Nghyf; fhANk
md; G ,yjid mwk; "
(F.v-77)
vDk; Fws; t op kdpjhgpkhdk; nfhz; L kdpjNeaj; J ld;

kf;fsplk; md;G nrYj;j Ntz;Lk;.md;G ,y;yhjtid ey;y
fhhpaq;fisr; nra;ahjtid mwNk Jd;GWj;jpf; nfhd;WtpLk;
vd;Wk; vr;rhpg;gijf; fhzKbfpwJ.
jd; k hdk; : khd; ,dj;jpy; xU tif fthpkhd;.mjd; cly; KOJk;

kaph; epiwe;jpUf;Fk;.,tw;wpy; xU kaph; ePq;fpdhy; $l mJ
,we;J tpLk; ,ay;GilaJ.kdpjh;fspYk; nfsutk;> Gfo;> tPuk;>
144
mwpT ,tw;wpy; rpwe;J tho;gth;fs; cz;L. khdk; vd;w

nrhy;Yf;Fg; gy nghUs; cz;L. vdpDk; ,q;Ff; $Wk; khdk;
vd;gJ jd; jtW gw;wp> jd; kdk; tUe;j mjdhy; Vw;gLk;
czh;r;rpapd; cr;rf;fl;lNk caph;Jwj;jNy khdk;.mjidr;
rpwg;ghd ctikahy; tpsf;Fk; ts;Sth;>
~~kaph; e P g ; g pd; thohf; fthpkh md; d hh;
caph; ePg;gh; khdk; thpd;"
(F.v-969)
vDk; Fwspy; moFw tpsf;Ffpwhh;.
typik:kdpj tho;tpd; flikfisj; jpwk;glr; nra;tjw;F typik

,d;wpaikahjJ.tPuk; ,y;yhj ngUk;gil $l tPuk; cila
rpWgilapd; Kd;dh; Njhw;Fk; vd;gij>
~~xypj; j f; f hy; vd; d hk; cthp vypg; g if
ehfk; caph; g ; g f; nfLk; "
(F.v-763)
vDk; ,f;Fwspy; vypfs; vy;yhk; ngUk; $l;lkhfr; Nrh;e;J

fly; miy Nghy Mu thuk; nra;jhYk; tplk; cs;s ey;y
ghk;ghdJ rPwp %r;R tpl;lhNy gae;J eLq;fp mope;J tpLk;
vd; g ij jk; ctikr; rpwg; g hy; vLj; J f; f hl; L tjpypUe; J
kdpjDf;F typik vd;gJ vj;jF ,d;wpaikahik cilaJ
vd czuyhk;.
,yf;fpaq;fs; ekf; F vLj; J f; fhl; L k; ,dpa newp
tho;tpay;. mt;tifapy; vz;zw;w tho;tpay; newpfis ekf;Ff;
fw;Wf;nfhLj;Js;sJ vd;gjpy; vs; msTk; Iakpy;iy.tho;tpy;
ehk; filgpbf;f Ntz;ba newpKiwfis coT - mr;rhzp J}a;ik - tha;ik. md;G tw;wy; kuk;- typik - ehfk; -Nghd;wtw;wpy;
rpwe;j ctikfis ,ioNahl tpl;L tho;tpay; jj;Jtq;fisg;
ghq;Fld; tpsf;fpapUg;gJ ,f;fl;Liuapd; top GydhFk;.
145
30. jpUts;Sth; ghh;itapy; ,aw;if

jpUkjp f.ejpah vk; . V.>vk; g py; . >
cjtpg; Nguhrpupah; - jkpo;j;Jiw
Nf.v];.Mh;kfsph; fiymwptpay; fy;Y}up
jpUr;nrq;NfhL
,aw; i fapd; mofhd fhl; r pfis jpUf; F ws; top
,ak; G fpwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu:
,aw;ifNahL ,iae;j tho;it elj;jpatdhf jkpod;
tho;e;jhd; vd;gjw;Fr; goe;jkpo; ,yf;fpaq;fs; rhd;WjUfpd;wd.
md;gpd; Ie;jpizahf ,Ug;gpDk; rhp Gwj;jpizahf ,Ue;jhYk;
rhp mjw;F FwpQr
; p> Ky;iy> kUjk;> nea;jy;> ghiy> ntl;rp> tQ;rp>
fue;ij> thif> copiQ vd kyhpd; ngaiu itj;J ,aw;if
NahNl tho;ej
; hh;fs; vd $wyhk;. mg;gbg;gl;l ,e;j ,aw;ifiaj;
jpUts;Sth; vt;thW ifahz;Ls;shh; vd;gij ehk; ghh;f;fyhk;;.
,aw; i ftpsf; f k; :
,aw;if vd;gJ ,ay;ghf ,Ug;gJvd $wyhk;. ,ay;ghf
Njhd;wp kiwAk; nghUl;fs; mtw;wpd; ,ay; mit ,aq;Fk; ,lk;
,aq;Fk; fhyk; Mfpait mizj;ijAk; ,aw;if vd;fpNwhk;.
mjhtJ ,aw;ifahf ,aw;ifapy; fhzg;gLtJk; kdpjFyj;jpw;Fg;
gad;gLtJkhd $Wfs; ,aw;if tsq;fs; vdg;gLk;.
,aw; i ff; F ed; w p:

,aw;if moif ghlhj ftpQh;fNs ,y;iy. mg;gbg;gl;l
,aw;iff;F jkJ Fwspy; ed;wpnrhy;Yfpwhh;;.
146
~~nra; a hky; nra; j cjtpf; F itafKk;

thdfKk; Mw; w y; mhpJ"
101
,f;Fwspy; ts;Sth; ehk; ve;j cjtpAk; ahUf;Fk;

nra;jpUf;fkhl;Nlhk; Mdhy; ekf;F cjtp nra;j ey;y cs;sq;fis
kdjpy; epidj; J ed; w pnrhy; Y Nthk; ,y; i yahmJNghy
,aw;iff;F ed;wp nrhy;Yfpwhh;.
ts;Sth; topapy; ,aw;if:

muz; :
muz; vd;why; ghJfhg;gpw;F gad;gLk; kjpy; jLg;GNghd;w
mikg; g hFk; . mNjNghy; fhLkiy MW Nghd; w itAk;
,aw;ifahfNt mike;jmuz; vd;W $wyhk;. mg;gbg;gl;l ,e;j
muizgw;wp ts;Sth; ehL vd;wmjpfhuj;jpy;>
~~,UGyDk; tha; e ; j kiyAk; tUGdYk;
ty; y uDk; ehl; b w; FWg; G "
Fws; -737
vd;Wk;> ,NjNghy; muz; vd;w mjpfhuj;jpy;
~~kzpeP U k; kz; Z k; kiyAk; mzpepow;
fhLk; cilaJ muz; "
Fws; -742
xU ehl; L f; F ghJfhg; g hfmiktJ muz; f Nsvd; W
$Wfpwhh;.
khiyNeuk; :
khiyNeuk; fhjyh;fspilNa vt;tpjkhd Jd;gj;ij
jUfpwJ vd;W nghOJfz;L ,uq;fy; mjpfhuj;jpy;>
~~khiyNahmy; i ykze; j hh; capUz; Z k;
NtiyeP t hop nghOJ".
Fws; -1221
vd;Wk;
~~khiyNeha; nra; j hy; kze; j hh; mfyhj
fhiymwpe; j jpNyd; "
Fws; - 1226
vd;Wk; $Wfpwhh;.
147
fhiyNeuk; :
khiyNeuk; vt;thWjiytd; jiytpaplk; Jd;gj;ij
jUfpwNjh mNjNghy; fhiyNeuk; kd; d h; f spd; ntw; w p
Njhy;tpfis nrhy;fpwJ.
ts;Sth; kd;dhpd; ntw;wpf;Ffhyk; mwpjy; mjpfhuj;jpy;
~~gfy; n ty; Y q; $ifiaf; fhf; i f ,fy; n ty; Y k;
Nte; j hh;; f ; F Ntz; L k; nghOJ"
Fws; - 481
vd;fpwhh;.
kio :
kioapd; nghUikia ts;Sth; Xh; mjpfhukhfNt
$wpAs;shh;.
~~thd; e pd; Wyfk; toq; f ptUjyhy;
jhdkpo; j k; vd; W zuw; gw; W "
Fws; - 11
vd kioNa cyfpw; Fmkpo;jk; vd;fpwhh;.

,NjNghy;>
~~Jg; g hh; f ; F Jg; g ha Jg; g hf; f pj; Jg; g hh; f ; F j;
Jg; g ha J}ck; kio"
Fws; - 12
vd;W kioapd; ngUikia $Wfpwhh;.
mNjNghy; kw;Nwhh; Fwspy;
~~Vhpd; cohmh; coth; Ganyd; D k;
thhptsq; F d; w pf; fhy; " .
vd;w FwspYk;
~~eP h pd; w ikah Jynfdpd; "
FwspYk; ePhpd; Kf;fpaj;Jtj;ij $Wfpwhh;.
148
Fws; - 14
coT:
~~Rod; W k; V h; g ;
gpd; d Jyfk; mjdhy;
coe; J k; coNt jiy"
Fws; - 1031
vd;W cotpd; rpwg;ignrhy;Yfpwhh;.

rq;ffhyj;jpy; kf;fspd; tho;tplkhdJk;> ,aw;if vopy;
kpFe;j mofpa fhl;ilAk; nghUs;;> tsk; epiwe;j tay;
ntspiaAk;> tho;thjhukhf coTj;njhopiy Nkw;nfhz;ldh;.
vd;gij ts;Sth; Fwspd; %yk; mwpaKbfpwJ.
kyh; :
kyiu ngz;fSld; xg;gpl;L nrhy;yhj Gyth;fNs ,y;iy
vdnrhy;yyhk;. mg;gbg;gl;l kyiuts;Sth; tpUe;Njhk;gYf;F
vLj;Jf;fhl;lhfr; nrhy;Yfpwhh;.
~~Nkhg; g f; FioAk; mdpr; r k; Kfe; j phpe; J
Nehf; f f; FioAk; tpUe; J ".
Fws; - 90
vd;Wk;>
~~kyud; d fz; z hy; mUikmwpahJ
jynukf; fP e ; j jpt; T+h; "
Fws; -1119
vd kyiu ngz;fspd; fz;fSf;F ctikahfr; nrhy;fpwhh;.
KbTiu:
kf;fspd; tho;ifepiyapy; ,aw;if xd;NwhL xd;whf
gpizf;fg;gl;L ,Ue;jijj; ts;Sth; Fwspd; %yk; mwpa
KbfpwJ.
ekf; F muzhf ,Uf; f f; $baJ ,aw; i f vdTk;
fhiy>khiy gw;wpAk; $Wfpwhh;.
kioapd; ngUikiaAk; eP h pd;
mwpaKbfpwJ.
mtrpaj; i jAk;
coTnjhopypd; Kf;fpaj;Jtj;ijiaAk; tpUe;Njhk;gypd;

rpwg;igAk; ,th; Fwspd; %yk; mwpaKbfpwJ.
149
31. gl;bdg;ghiyapy;
cUj;jpuq;fz;zdhhpd;
,aw;if
th;zidAk; ,aw;if Fwpj;j
nrhy;yikg;Gk; nkhopapay; ghh;it
jpU m.eluh[d; vk; . V.>gpvr; b .>
ghujpahh; gy;fiyf;fofk; KJfiy gl;l tphpthf;f ikak;
<NuhL.
gl; b dg; g hiyapy; fhzg; g Lk; ctikfs; >
tUzidfs; > ,aw; i f Fwpj; j nrhw; f is nkhopapay;
ghh; i tapy; Nehf; F fpwJ ,f; f l; L iu - gjpg; g hrpupaH
nrt;tpyf;fpa fUt+ykhfj; jpfOk; rq;f ,yf;fpakhd
gj;Jg;ghl;L njhFg;gpy; xd;gjhtjhfTk;> nkhopapay; mwpQH
r.mfj;jpaypq;fk; rq;f ,yf;fpa Ma;Tg; gFg;G thpirg;gLj;Jjy;
gb %d;whTjhfTk; itj;J rpwg;gpf;fg;gLtJ gl;bdg;ghiy
,yf;fpakhFk;. jpUkhtstid ghl;Lilj;jiytdhf itj;J
,aw;wg;gl;l ,t;tpyf;fpak; Gwg;nghUs; kl;Lkd;wp> mfg; nghUs;
Jiwapy; gphpjYk; gphpjy; epkpHj;jKkhfpa ghiyj;jpizf; Fwpj;j
nra;jpfSk; mikj;Jg; ghlg; ngw;Ws;sJ. vdNt ,e;E}y; mfk;>
Gwk; E}yhfg; Nghw;wg;gLfpwJ. gl;bdg;ghiyapy; fhzyhFk; ,aw;if
tsq;fis ikakpl;L epw;Fk; ctikfs;> tUzidfs; kw;Wk
,aw;iff; Fwpj;J ifahsg;gl;Ls;s nrhw;fspd; nrhy;yikg;G
epiyia nkhopapay; ghHitapy; Ma;T nra;Ak; fl;Liuahf
,t;tha;T mikfpwJ.
150
Ma;T Nehf;fk;
gj;Jg;ghl;by; fhzyhFk; ,yf;fpaq;fspy; ,aw;if Fwpj;j
nrhw;fs; gad;ghL kpFjpahf ifahsg;gl;Ls;sitfspy; xd;whf
gl; b dg; g hiyj; jpfo; f pwJ. ,t; t hW mikag; g l; L s; s
,yf;fpaj;jpy; gad;gLj;jg;gl;l ctik eak; kw;Wk; ,aw;iff;
Fwpjj
; nrhy;yikg;G; epiyia nkhopapay; ghHitapy; tpsf;FtJ
,t;tha;tpd; Nehf;fkhFk;.
Ma;T vy;iy
nrk;nkhop ,yf;fpaq;fspy; xd;whf mike;Js;s rq;f
,yf;fpa E}yhd gl;bdg;ghiy KOtJk; Ma;T vy;iyahf
vLj;Jf; nfhs;sg;gl;lJ.
E}y; mikg;Gk; rpwg;Gk;

gl;bdg;ghiyapy; fhpfhy; Nrhodpd; rpwg;ig tpsq;Fk;
tifapy; vOjg;gl;l E}yhfpDk; mfr;nra;jpia $Wfpd;wikahy;
mfk;> Gwk; rhHe;j E}yhf mikag; ngw;Ws;sJ. ghl;Lj;jiytd;
rpwg;igf; $Wk; Kd; ehl;bd; tsk; nropf;f top nra;tdDk;>
ehfhPfj;njhl;byhfTk; Nghw;wg;gLk; Mw;wpd; rpwg;G> ePhpd; rpwg;G
vd tiuaiw nra;J Nrho ehl;bd; ngUk; rpwg;ghf tpsq;Fk;
fhtphpahw;wpd; nropg;ig Kjyhtjhf tpsq;fp xd;wd; gpd; xd;whf
ehl;bd; tsk;> kf;fspd; ,aw;ifNahL ,iae;j tho;f;if
Kiw> gof;ftof;fq;fs;> njhopy;> mfr;nra;jpahf jiytpia
tpl;l gphpa vz;zhj jiytdpd; neQ;Rf;$w;W vd thpirg;gLj;jpa gpdN; g fhpfhy;; Nrhod; Ml;rpg; ngw;W ehl;ilAk;> jiy
efiuAk; tsg;gLj;jpa epfo;itAk; $WfpwhH. ,Wjpahf jiytd;>
jiytp Fwpj;j mfr;nra;jpNahL gl;bdg;ghiy KbTfpwJ.
nrhy; y ikg; G tiuaiw

nghJthf nrhy; Y f; F k; > nghUSf; F k; ,ilNaahd
njhlHG mr;nrhy;ypw;fhd nghUis jPHkhdpg;gjpy; mike;Js;sJ.
nrhw;fspd; nghUis epHzapg;gjpy; nrhw;fspd; Rl;ly; jd;ik>
czHit gpujpgypf;Fk; jd;ik vd ,uz;LNk Kf;fpa gq;F
ngWfpd;wd. xU nrhy; njhlHGila gy nghUs;fis ngWtjw;F
151
nkhopr; #oy; xU Kf;fpa fhuzkhf mikfpwJ. nkhopapd;

,yf;fzf; $Wfshf ngaH> tpid> ngauil> tpidail
Nghd;wit gpw nrhw;fSld; ,ize;J nray;gLk; NghJ gy
GJ nghUz;ikfisg; ngWfpd;wd. mt;thwhf ,yf;fpaj;jpy;
ctikfisf; nfhz; L nghUs; tpsf; f Kw; g Lk; NghJ
MrphpaHfs; xNu ,aw;iff; Fwpj;j ngaHfis my;yJ me;jr;
#oy; epiyfis tpsf;f gy ,lq;fspy; xNu ctikfisf;
nfhz;L ,aw;iftUzidia tpsf;fp nry;fpd;wd. mtw;iw
XH ,yf;fpaj;jpy; kl;Lk; NjHe;J Ma;T nra;jhy; gy nghUs;
tpsf;fj;jpw;F ctik> ,iwr;rp> cs;Siw Nghd;w ,yf;fzf;
$Wfisj; njhFj;J nrhy;yikg;ghf fhl;lyhk;. MrphpaH
ghHitapy; ,aw;if tsk; gl;bdg;ghiy njhlf;fNk Nrhoehl;bd;
tsk; nropf;f nra;Ak; ePuhjhukhf tpsq;Fk; fhtphpahw;wpd;
rpwg;ig tpsf;Ftjd; %yk; ,aw;if tUzidapd; cr;repiyf;F
nrd;Ws;shH MrphpaH. NkYk; cyf ,aw;if gilg;Gfspy; epyk;
Kjy; thd;tiu fhzg;gLk; vopy;kpF Njhw;wq;fis ,yf;fpa
eilahfTk;> 'nts;sp vd;Dk; Nfhs;" thdj;jpy; fhzyhFk;
Nfhspd; mikg;G epiyia tpsf;Ftjd; top mwptpay; ghu;itf;
nfhz;Lk; ,aw;if tUzidiar; nra;Js;shH vd;gij mwpa
KbfpwJ. rq;f fhy kf;fs; ,aw;ifNahL ,iae;j tho;fi
; fia
Nkw;nfhz;ldH vd;gij cg;G> ney;> Njhg;G> Nrhiy> ngha;if>
Vhp> fly;> tpyq;fpdq;fs;> gwit ,dq;fs;> kiy Nghd;w ,aw;if
gilg;GfNshL ,yf;fpa Nghf;fpw;F Vw;g xt;nthU ,lj;jpYk;
tpsq;Ftjd; top Mrphpahpd; ,aw;iff; Fwpj;j tprhykhd
ghHitia mwpa KbfpwJ.
gl;bdg;ghiyapy; ,aw;if Fwpj;j ctikfs;

gl;bdg;ghiyapy; MrphpaH ,aw;ifapd; moF> kf;fspd;
rpwg;G Nghd;w $Wfis tpsf;f gy ,lq;fspy; ,aw;ifnahL
,iae;j ctikfis ifahz;L cs;shu;. Nrho ehl;bd;
rpwg;ghf NrhW tbj;j fQ;rp tPjpfspy; MW Nghy fhl;rpg;gLj;jp
fhl;LfpwhH. ,jidg; Nghd;Nw kf;fs; $l;lj;pid thdj;jpy;
Njhd;Wk; ehs; kPd; $l;lkhfTk;> eLfw;fs; Rw;wp mikf;fg;gLk;
Nflaq; ; f is fz; L NtypahfTk; > gujtHfs; tP j pfspy;
cyuitf;Fk; tiy epytpd; eLtpy; fhzg;gLk; fsq;fs; vdTk;
152
ctikg;gLj;jp fhl;LfpwhH. NkYk; nre;epw Nkfk; jhapd; khu;G

gw;wp fplf;F ,tw;iw fhtphpahW njspe;j miyAld; xd;whf
fyq;Fk; #oYf;F ctikahfTk;> fjputdpd; Njhpy; G+l;lg;gl;l
Fjpiuia Rq;fk; t#ypg;gtu;f;F ctikahfTk;> Nkfq;fspd;
nray;ghl;il nghUs; ghJfhtyu; gzpf;F ctikahfTk;>
ngz;zpd; Njhw;w rpwg;ig khd;> gtsk;> fpsp> kapy; Nghd;wtw;iw
ctikahf fhl;b tpsf;fpr; nry;fpwhH MrphpaH.
,aw;iff; Fwpj;j nrhy;yikg;G

,aw;if tpsf;f KiwAk;> ,aw;iff; Fwpj;j nghUl;fspd;
ngaUk; kpFjpahfNt gl;bdg;ghiyapy; gapw;W te;Js;sd.
,r;nrhw;fs; ,yf;fpaj;jpy; nghUs; cwT> nghUs; njhlHr;rp
epiy tpsf;Fk; tifapy; ifahsg;gl;Ls;sd. gl;bdg;ghiyapy;
gad;gLj;jg;gl;Ls;s ,aw;iff; Fwpj;j nrhw;fis
nghUz;ikf;fsha;thf xd;W jpul;Lk; NghJ mr;nrhw;fs; jdp
jdp nrhw; njhFjpfshf nghUz;ikiar; Rl;b nrhy;yikg;G nfhz;L
epw;gij mwpaKbfpwJ. mt;thW njhFj;J epw;Fk; nrhw;fis
ml;ltizahf tpsf;fyhk;.
,aw; i f ngaHr; n rhw; f s;

kuq; f s;
jpir
eP H epiy
thrid
fha;
fha; f ; F k; kuq; f s;
kuq; f s;
g+f; f s;
fpof; F gid
re;jdk;
nea;jy;
Nkw; F njd;id
mfpy;
Mk;gy;
tlf;F
kh
njw;F ghf;F
eP N uhl; eP H
lq; f s; epiyfs; ;
MW
Fsk;
Vhp
jhio
ngha;if
copiQ
fly;
thio
neUQ;rp
rpWg+is
ngUk;g+is
153
,aw; i f ngaHr; n rhw; f s;

epiyj; j it
,af; f k; ngw; w it
fly;
kzy;
fhL
epyk;
-
fhw;W
Nkfk;
fjputd;
epyh
kio
,aw; i f ngaHfs;
xw; W
xyp
xw; W ik xw; W ik
nghUz; i k
nrhy; y piz
neUf; f k; ngaHtpid milngau;
Fiy
njd;dq;
Fiy
,aw;ifahf
mike;jit
kiy
gdq;Fiy czTg;nghUs; VH - cO
miy
thioFiy
tPuH-NghHnra; kio-Nkfk;;
Nty;-gha;r;R
gid-kuk;
mhprp-czT
ghf;FFiy
khq;Fiy
ngaHr; n rhw; f s;
,ay; G
ngaHfs;
nraw; i f
ngaHfs;
eP H
eP N uhl; l q; f s;
epiyfs;
fly;
Fsk;
Vhp
-
fly; ePH
nts;s ePH
Mw;W ePH
ed;dPH
NjWePH
(njspe;j ePH)
#oypizg;
ngaHfs;
capH
capH
cs; s it mw; w it
glF
Xlk;
kuf;fyk;
gha;kuk;
-
kPd;
ez;L
-
154
J}z;by;
tiy
-
gl;bg;ghiyapy; ifahsg;gl;Ls;s nrhw;fis njhFj;J

epWTtjd; %yk; gy;NtW nghUz;ikf;fsq;fspy; epd;W nrhw;fs;
nrhy;yikg;ig Rl;b epw;gij tpsf;fKbfpwJ. mtw;wpy; ,aw;if
Fwpj;j nrhw;fshf ehL> tPL> tpyq;F> kf;fs; vd gj;jpw;Fk;
Nkw;gl;l nrhy;yikg;ig mikj;J tpsf;fyhk;. Ma;tpd; vy;iy
fUjp %d;W nrhy;yikg;G epiy kl;Lk; tpsf;fg;gl;Ls;sd.
KbTiu
fhpfhy; Nrhodpd; rpwg;ig tpsf;Fk; tifapy; Njhd;wpa
,yf;fpak; vd;w NghJk; MrphpaH ,yf;fpag;Nghf;fpd; Kjd;ikapy;
Nrhoehl;bd; ,aw;if vopy; kpF rpwg;ig> MW> fly;> ngha;if>
kiy> fhL> Vhp> g+f;fs;> kuk;> nrb> nfhbfs;> tpyq;Ffs;
kw;Wk; gwitfs; vd ,aw;ifapd; xl;L nkhj;j gilg;GfisAk;
xd;wd; gpd; xd;whf thpirg;gLj;jp ,yf;fpa Nghf;fpw;F Vw;g
xd;Wld; xd;W vt;thW njhlu;GWfpd;w vd;gij ,yf;fpa
eaj;Jld; ek; Kd;Nd fhl;rp gLj;jpAs;shH cUj;jpuf;fz;zzhu;.
ghh; i t E}y; f s;
1. NrhkRe;judhh;. ngh.Nt (c.M 2007
fofntspaPL> nrd;id
gj;Jg;ghl;L>
2. mfj;jpaypq;fk;. r lhf;lh; 2009 rq;f jkpo; (gFjp

1>2>4) cyfj; jkpohuha;r;rp epWtdk;> nrd;id -13.
3. ,uhrkhzpf;fdhh; 2012 gj;Jg;ghl;L Muha;rr
; p rhfpj;a
mfhnjkp> ,utPe;jug gtd;> GJjpy;yp -001.
155
32.rq;f ,yf;fpaq;fspy; kio

jpUkjp g.eh; k jh vk; . V.>vk; g py; . >
Nf.v];.Mh;. kfsph; fiy mwptpay; fy;Y}hp
rq; f ,yf; f paq; f spy; kio Fwpj; j nra; j pfisr;
rhd;W fhl;b ehKk; ,aw;ifia kjpj;J ,aw;ifNahL
,ize; J tho; N thk; vd; w rpe; j idia Kd; i tf; f pwJ
Kd; D iu
rq;f ,yf;fpag; ghly;fspYk;> ,d;iwa eilKiwapy;
,Uf;Fk; ftpQh;fs;> ghly;fspYk; ngUk;gq;F tfpg;gJ ,aw;if
MFk;. ,e;j ,aw;ifia ikakhff; nfhz;L> kio> Fsph;>
tpyq;Ffspd; nray;ghLfs; ,tw;iw ,f;fl;Liu Muha;fpwJ.
kio Ntz;ba topghLfs;

kio nghopahj fhyq; f spy; ghku kf; f s; kio
nja;tj;ij Ntz;b topgLth;. fpuhkg; gFjpfspy; tpba tpba
$j;J MLthh;fs;. fQ;rp fha;r;Rthh;fs;. mjw;F kiof;fQ;rp
vd;Nw ngah; Vw;gl;lJ. fOijf;Fj; jpUkzk; nra;J itj;jy;
Nghd;w gof;fq;fs; ,d;Wk; eilKiwapy; ,Ue;J tUfpd;wd.
kio
kio mjd; gUtj;jpw;F Vw;wthW nghopa Ntz;Lk;.
,jid khjk; Kk;khhp nghopf! vd;gh;.
156
~~thopahjd; > thop mtpdp

khhp tha; f ; f tsedp rpwf; f " 1
vd;Dk; mbfs; Iq;FWE}W ekf;F czh;j;Jfpd;wd. kio
mjpfk; nghope;jhy; cUthFk; ePhe
; piyfSf;Fg; ngha;if vd;gh;.
~~ngha; i f G+j; j Gow; f hy; Mk; g y; " 2
xU ,lj;jpNyh my;yJ ePh;epiyapy; G+ G+j;jJ vd;why;
me;j ,lk; neLq;fhykhf xNu epiyapy; ,Uf;f Ntz;Lk;.
mg;gb ,Ue;j ngha;ifapy; Mk;gy; kyh; G+j;jijf; $Wfpd;wd.
,aw; i f
,aw;if vd;w xU nrhy;ypy; vnjy;yhk; mlq;fpapUf;fpwJ
vd;why; gQ;r G+jq;fspd; nray;fNs ehk; ,aw;if vd;W
nrhy;fpNwhk;. mit epyk;> ePh>; fhw;W> Mfhak;> jP vd;W midtUk;
mwpej
; Nj. ,tw;wpy; ePh; vd;gjid ikakhff; nfhs;Nthk;. ePh;
vd;gJ vjpypUe;J tUfpwJ kio ,k;kio mjpfkhf nghope;jhy;
fdkio vd;fpNwhk;. njhlh;eJ
; nghope;jhy; milkio vd;fpNwhk;.
rpWrpW Jspahfj; Jspj;jhy; J}wy; vd;W gy ngah;fspy; ehk;
miof;fpNwhk;. kioNa ,y;yhky; Nghdhy; twl;rp vd;Wk; ghiy
epyk; vd;Wk; $WfpNwhk;.
fdkio
fdkio Vw;gLq; fhyj;jpy; mizfis cilj;Jf;
nfhz;L ngUk; nts;sg; ngUf;F Vw;gLfpd;wd.
,jid
Iq;FWE}w;wpy;
~~rpiwaop GJg; G dy; " 3
mizia cilj;Jf; nfhz;L tUfpd;w ePiu GJ nts;sk;
vd;W $Wfpd; w hh; . kio nghope; J nts; s k; Vw; g l; l jhy;
mUtpfspy; ePh; nfhl;Lfpd;wd. ,jidAk;>
~~myq; F kio nghope; j mfd; f z; mUtp" 4
vd; W $Wfpd; w hh; . kio nghope; j jhy; vq; F ghh; j ; j hYk;
ePhe
; piwe;J fhzg;gLk;. ML> khL Nka;fF
; k; Nfhtyh;fs; fhl;by;
157
,Uf;Fk; Fsk; Fl;ilapy; tpyq;FfSf;F ePh; mUe;j Xl;br;

nry;thd;. Fsk; Fl;il ,y;iynadpy; jd;Dila ifapy;
,Uf;Fk; Nfhypidf; nfhz;L Fop Njhz;Lthd; mjpy; ePh; tu
tpyq;fpdq;fis mUe;jr; nra;thd;. ,jidAk;>
~~fy; y hf; Nfhtyh; Nfhypy; Njhz; b a
MdP h ; gj; j y; " 5
Mepiuf;Fhpa ePiu Nfhtyh; Nfhyhy; Njhz;ba gs;skhFk;.
kioahdJ njhlh;e;J nghope;jjhy; njhOtj;jpy; fl;b
,Uf;fk; gRf;fs; fPNo gLf;fKbatpy;iy.
mjd; fapw;Wg;
gFjpia NkNy Vj;jpf; fl;bapUe;jd.
~~JspAilj; njhOtpd; Jzpjy; mw; w j; J
cr; r pf; fl; b a $io Mtpd; " 6
gRtpd; epiyapid ew;wpizapd; %yk; mwpa Kbfpd;wd.
twl;rp (m) ghiy tdk;

kio ,y;iynadpy; midj;Jg; gFjpfSk; ntg;gk;
kpFe;J fhzg;gLk;. ePh; vd;gJ G+kpapy; midj;J caphpdq;fSf;Fk; fpilf;fhky; Ngha;tpLk;.
,e;epiyapy; jiytd;
jiytpia tpl;Lg; gphpe;J nry;y epidf;fpd;whd;. mg;nghOJ
jiytp jiytd; nry;yf; $ba topia $Wfpd;whs;.
~~fhd; czq; F fLnewp" 7
kio nga; a hky; Nghdjhy; thdk; ntg; g kpFjpia
cilajhfj; jPa;e;j fLikahd top vd;fpwhs;. NkYk; xU
ghlypy; jiytp $WtJ>
~~kio ngay; khwpa fiojpuq; F " 8
kio nga;ahikahy; %q;fpy;fs; giraw;W cyh;eJ
; Ngha;
tpsq;Ffpd;w vd;W jiytd; nry;yf;$ba topj;jlq;fisg;
gw;wp jiytp $Wfpdw
; hs;. kio mjpfkhf nghopej
; hy; gdp mjpfk;
,Uf;Fk; mjpfgdp nga;jhy; Fsph; mjpfk; ,Uf;Fk;. gonkhop
158
~~ij khjk; jiu eLq; F k;

khrp khjk; kuk; eLq; F k; "
vd;w gonkhop
czh;j;Jfpd;wd.
Fsph;
ve;jsT
,Uf;Fk;
vd;gjid
Fsph; fhyj; j py; tpyq; F fspd; nray; g hLfs;

kiof; fhyq;fspy; md;whlk; eilKiw ,Uf;Fk; gof;f
toq;ffq;fs; Kw;wpYkhf khWgLfpd;wd. kdpjdpd; tho;tpy;
kl;Lk; khw;wk; vd;W ghh;jj
; hy; fpilahJ tpyq;Ffs;> gwitfs;>
Ch;td vd;W midj;J caphpdq;fspd; tho;tpY; khw;wq;fs;
epfo;fpd;wd. md;whl nraypy; ,Ue;J rw;W tpyfp ,Uf;fpNwhk;.
Fsph;fhyj;jpy; tpyq;Ffs; jd; njhopiy kwe;jd.
~~kh Nkay; kwg;g ke;jp $ug;
gwit gbtd tP o f; fwit
fd; W Nfhs; xopaf; fba tP r pf; " 8
tpyq;Ffs; ntspNa te;J Nka;tij kwe;jd. kuq;fspYk;
kiyapYk; cs;s ke;jpfs; Fspuhy; eLq;fpd. kuq;fspy; ,Ue;j
gwitfs; fhw;Wf;Fk; kiof;Fk; Mw;whJ jiuapy; tPo;e;jd.
jha;g;gRf;fs; ghy; Fbf;f tUk; fd;WfSf;Fg; ghy; juhky;
cijj;J xJf;fpd. NkYk; xU ghlypy; nfhf;fpd; nray;ghLfisf;
fhzyhk;.
~~igq; f hy; nfhf; f pd; n kd; giwj; njhOjp
,Uq;fsp gue;j <u ntz; kzy;
nrt; t hp ehiunahL vt; t hAk; ftu
fay; mwy; vjpu fLk; Gdy; rhma;" 9
gRq;fhYila nfhf;Ffs; kio nga;J Nrwhd tz;ly;
gbe;j ,lq;fspy; rpte;j fhYila ehiufSld; Nrh;eJ
; nfhz;L
Ntfkhf ePiutpl;L tpyfp vjph; Nehf;fp ePeJ
; k; kPdf
; is nfhj;jpj;
jpd;Dk; nfhf;fhdJ kio mjpfkhfg; nghopej
; jhy; gpw gFjpfF
; r;
nry;yhky; xNu gFjpapy; ,Ue;j epiyapidg; ghh;j;Njhk;.
159
tP l ; b Ny tsh; f ; f g; g Lk; GwhthdJ Fsph; mjpfk;

,Ue;jjpdhy; ve;jg; gFjpf;Fk; nrd;W ,iuNjlhky; jd;Dila
nfhLq;ifapNy ,Ue;jd. ,jid>
~~kid ciw Gwtpd; nrq; f hy; Nrty;
,d; G W ngilnahL kd; W Njh; e ; J cz; z hJ
,uTk; gfYk; kaq; f pf; ifaw; W
kjiyg; gs; s p khWtd ,Ug; g " 10
tPl;bNy Gwhf;fs; tsh;fpd;wd. mg;gb tsh;f;fg;gLfpd;w
Gwhf;fspd; rpte;j fhYila Mz;Gwhf;fs; jq;fSila JiznahL>
ntspaplq;fSf;Fr; nrd;W ,iuNjb cz;zhky;> ,uT gfy;
ve;NeuKk; nrayw;Wg; gwf;fhky; nfhLq;ifapNyNa jq;fp ,Ue;jd.
KbTiu
rq;f ,yf;fpaq;fisg; ghh;f;Fk; nghOJ kdpjd; kw;w
caphpdq;fSld; ,aw;ifiar; rhh;e;Nj tho;e;Js;shd; vd;giJ
ekf;Fg; GydhfpwJ. ehKk; ,aw;ifia kjpj;J ,aw;ifNahL
,ize;J tho;Nthk;.
ghh; i t E}y; f s;
1. rq;f ,yf;fpak; %yKk; ciuAk;> Iq;FWE}W> Gyth;fs;
m.khzpf;fk;> th;j;jkhdd; gjpg;gfk;> ghly;.10> gf;.44.
4. rq;f ,yf;fpak; %yKk; ciuAk;> Iq;FWE}W-2> Gyth;fs;
m.khzpf;fk;> th;jj
; khdd; gjpg;gfk;> ghly;.304> gf;.166.
5. rq;f ,yf;fpak; %yKk; ciuAk;> ew;wpiz> th;jj
; khdd;
gjpg;gfk;> ghly;.109> (thp7-8 )gf;.206.
160
33. fgpyUk; ,aw;ifAk;

Kidth; . nt.ghDkjp>
vk; . V.>vk; g py; . >gpr; b .>
cjtpg;Nguhrphpah;> jkpo;j;Jiw>
tpNtfhde;jh fiy kw;Wk; mwptpay; kfsph; fy;Y}hp>
(jd;dhl;rp)
visahk;ghisak;> jpUr;Nrq;NfhL.
,aw; i f rpwe; J tpsq; f pdhy; mq; F kdpjDk; ed; w hf
tho; t hd; vd; w tho; t pay; cz; i kiaf; fgpyh;
ghly; f spd; top tpsf; F fpwJ ,f; f l; L iu gjpg; g hrpupaH
Kd; D iu
rq;f ,yf;fpaq;fs; gy;NtW MSik kw;Wk; epyk; rhh;e;j
Gyth;fshy; gilf;fg;gl;lit. ,it gy;NtW fhyq;fspy;
cUthd ghf;fs;. ngUk;ghYk; fUg;nghUs;fis cs;spioahff;
nfhz;L EZf;fkhfg; gilf;fg;gl;lit. rq;fg; ghly;fisg;
ghba Gyth;fSs; fgpyNu mjpfkhd ghly;fisg; ghbath;.
FwpQ;rpf;Ff; fgpyh; vd;w rpwg;gpidAk; ngw;wth;. mg;ngUik
tpsq; F k; nghUl; L FwpQ; r pj; j piziaf; fl; ; l ikg; g jpy;
ty;ytuhfj; jpfo;fpwhh;. mjpy; Mhpa murd; gpufjj;jDf;F
jkpo; mWTwj;Jtjw;fhfg; ghba FwpQ;rpg;ghlypy; njhz;Z}w;W
xd;gJ tifahd G+f;fisg; gw;wpf; $Wfpwhh;. ,g;G+f;fspd;
tifiaf; $Wtjw;fhd fhuzj;i;j Nehf;Fkplj;J FwpQ;rp
epyj;jpd; ,aw;if tsk; nropg;ghf ,Ue;jijf; fhzKbfpwJ.
cyfpy; thOk; midj; J caphpdq; f Sk; nropj; J tho
,d;wpaikahikahdjhfj; jpfOk; ePh; tsk; rpwe;jpUg;gpd; mq;F
thOk; midj;J caphpdq;fSk; mjd; %yk; gyd; milAk;.
161
MfNt> FwpQ;rp epyj;jpy; ePh;tsk; Fiwtpy;yhky; fpilj;jjhy;

mq;F ,aw;if nropj;J tpsq;fp mjdhNy mth; njhz;Z}w;W
xd;gJ tifahd G+f;fisg; gw;wpf; $Wfpwhh;.
,aw; i fAk; kdpjDk;

,aw;if kdpjdpd; MwhtJ mwptpd; Kjy; Mrphpah;.
epyj;jpypUe;J jd; i dg; ghJfhj; J f; n fhs; S k; MAjkhd
fw;fUtpfisAk; fw;fis Nkhjp cz;lhf;fg;ngw;w neUg;gpidAk;
tpz;zpd;W nga;j kioapidAk; kiyapdpd;W ngUfpa ePhpdhYk;
jd;Dila Njitfis epiwNtw;wf; fw;Wf; nfhz;lhd;. ehsiltpy;
me;j ,aw;if mikg;Gfis itj;Nj jq;fSila ,Ug;gplq;fisAk;
mikj;Jf; nfhz;lhd;. ,e;epyg;ghFghNl xt;nthU ,dkf;fisAk;
xUthplkpUe;J kw;nwhUtiu NtWgLj;jpf; fhl;baJ.
rq;f ,yf;fpaq;fSk; jpiz mikg;GfSk;:

goq;fhyj; jkpoh;fspd; tho;tpidf; $Wk; Kjy; Mjhukhd
tuyhw;W ngl;lfkhfj; jpfo;td ek;Kila rq;f ,yf;fpaq;fs;.
,t;tpyf;fpaq;fs; ghl;Lk; njhifAkhfj; njhFf;fg;gl;Ls;sd.
,it jpizia mbg;gilahff; nfhz;L gilf;fg;gl;ljhy;
jpiz ,yf;fpaq;fs; vd;Wk; rpwg;gpf;fg;gLfpd;wd.
,j;jpiz ,yf;fpaq;fs; epy mikg;ig Kjy;> fU> chp
vd;w tiffspy; fl;likf;fpd;wd. ek;Kila goq;fhy kf;fs;
,aw;ifia ikakpl;Nl md;iwa gy ngah;fis itj;Js;sdh;.
mjw;Fr; rhd;whf ek;Kila mfj;jpizfspd; ngah;fisf; fhzyhk;.
,t;tifahd ngah;fis ek; Kd;Ndhh;fs; md;W itj;jjw;fhd
fhuzk; ,d;Wk; KOikaha; mwpag;glhikahfNt cs;sJ.
,jidf;$l xU topapy; Nehf;Fk;NghJ ,aw;ifapd; kPJ mth;fs;
nrYj;jpa khpahijAk; mjd; ngUikAkhff; $l ,Uf;fyhk;.
fgpyh; ghly;fspy; ,aw;if tsk;

Iq;FWE}w;wpy; ,aw;if :
,ay;ghfNt gy;tif kuq;fshy; R+og;gl;l ,aw;ifiaf;
nfhz;l epy mikg;G kiyahFk;. vy;yh tsq;fisAk; nfhz;l
kiyfshy; FwpQr
; p epyk; rpwg;Gg; ngWfpdw
; J. 'NrNahd; Nka iktiu
Ayfk|| vd;gJ njhy;fhg;gpah; tFj;j newp.
162
jiytDila kiy tsKk;> jiytpapd; md;Gk; xUNru

,aw;ifia vLj;Jf;fhl;Ltjha; cs;sJ.
'kzpepw khy; t iu kiwnjhW ,ts;
mzpkyh; neLq; f z; Mh; e ; j d gdpNa||
Fwth; fpoq;F vLg;gjw;fhfj; Njhz;lg;gll nghpa Fopfs;
epiwa Ntq;ifapd; nghd; Nghd;w Gjpa G+ff
; s; Ngha;gbAk;. jiytdpd;
ePykzpapd; epwk; cila nghpakiy kiwAe;NjhWk; jiytpapd;
mofpa fz;fs; ePiur; nrhhpej
; d vd;W Njhop $Wkplj;J kiyapd;
tsKk; njhiytpypUe;J fhZk; kiyapd; rpwg;Gk; Gyg;gLfpwJ.
FWe;njhifapy; ,aw;if :
,aw;ifNahL ,iae;j tho;fi
; fr; R+oiy tpsf;Fk; fgpyh;
ghly;fspy; mUtp> kio gw;wpa nra;jpfs; kpFe;Js;sd.
~~fUq; f hw; FwpQ; r pg; G+f; n fhz; L
ngUe; N jd; ,iof; F k; ehlndhL el; G "
epyj;jpDk; nghpJ> thdpDk; cah;ej
; J. flypDk; MoKilaJ
vd;W FwpQ;rp epyk;> thdk;> fly; ,tw;iw ,izahf;FfpwJ.
Ky;iy tsj;jpidg; gjpT nra;Ak; fgpyh;> FwpQr; pj; jpizf;fhd
fUg;nghUs;fspd; topahff; FwpQr; p epyj;jpd; R+oiy ek; kdf;fz;Kd;
epWj;Jfpwhh;.
'khrwf; foP , a ahid Nghyg;
ngUk; ngay; coe; j ,Uk; g pzh; j ; JWfh;
igjy; xU jiyr; Nrf;Fk; ehld;||
(FWe; - 13)
mOf;fwf; Fspgg
; hl;lgl;l ahidiag; Nghd;W ed;whfg; nga;j
kioapd; fhuzkhf J}a;ikahd Fd;wpdJ Fsph;r;rp nghUe;jpa
gf;fj;jpy; vd;Dld; ,Ue;j jiytd; vd;W jiytp $Wtjhf
mikfpwJ.
'fUtp khkio tP o ; e ; n jd mUtp
tplufj; jpak; G ehlntk; | |
163
(FWe; - 42)
es;sputpy; nga;j nghpa kioapd; fz; ngUfpa mUtpePh;

top ehs; kiy KoQ;RfspNy ahtUk; mwpaj;J}w;Wk; kiy ehL.
~~mUtpg; g ug; g pd; Itdk; tpj; j pg;
gUtpiyf; FstpnahL gRkuy; fl; F k;
fhe; j s; Ntypr; rpWFG"
(FWe; - 100)
kiy mUtpapidAila gue;j epyj;jpd; fz; kiy ney;ypid
tpijj;J me;epyj;jpilNa Kisj;j ghpa ,iyapid cila
kiy ky;ypifAk;> grpa kuYkhfpa fisapidg; gwpf;fpd;w
fhe;jshfpa tho;NtypiaAila rpWFbapd;fz; tho;Nthh;
~~Ntuy; Ntyp Nth; f ; Nfhl; gytpd;
......................................................
rpW Nfhl; L g; ngUk; g ok; ; . ..........."
(FWe;
- 18)
%q;fpiy NtypahfTk; NthpNy Fiyfis cilaJkhfpa

gyh kuj;jpidAk; cila kiy ehl;by; rpW nfhk;gpy; nghpa
gokhfpa gyh ,Ug;gijf; Fwpg;gpLfpwhh;.
~~jpidj; j hs; md; d rpWgRq; fhy
xOFeP h ; Muy; ghh; f ; F k;
FUFk; ........................"
(FWe; - 25)
jpidj;jhis xj;j grpa fhy;fis cila FUF>

vjph;ghh;j;Jf; fhj;jpUe;jijf; fhl;rpg;gLj;Jfpwhh; fgpyh;.
~~khy; t iu ,opjUe; J}nts; mUtp
Fy; K ifj; jJk; G k; gd; k yh; r ; rhuy;
rpWFbf; Fwtd; ngUe;Njhl; FWkfs;" (FWe; - 95)
nghpa kiyapdpd;Wk; tPohepd;w J}a nts;ispa mUtp>
kiy KoQ;RfspNy xypjw;Ff; fhuzkhd gythfpa kyh;fis
cila kiyg;gf;fj;jpYs;s; rpwpa Fbapd; fz; thOk; Fwtd;>
nghpa Njhs;fis cila FWkfisg; gw;wpf; Fwpg;gpLfpwhh;.
~~ngUq; f lw; fiuaJ rpWntz; fhf; i f
fspw; W r; n rtp md; d ghlril kaf; f pg;
gdpf;fop JoTk; ghdhs; jdpj;JXh;"
(FWe;- 249)
164
nghpa flw; f iuapYs; s rpwpjhfpa ntz; f hf; i ffs;

ahidapd; nrtpiag; Nghd;w grpa ,iyfisf; fyf;fpf; Fsph;ej
;
fopePiu cztpw;fhfj; JohTtijf; fhl;rpg;gLj;Jfpwhh;.
FwpQ;rpg;ghl;by; ,aw;if :
FwpQ;rpg;ghl;by; njhz;Z}w;nwhd;gJ tifahd G+f;fis
ngz;fs; Ma;e;J Ftpj;jhff; $wg;gLfpwJ. ,it mf;fhyg;
;Gyth;fspd; kuq;fs; nrbfs; gw;wpa mwpitAk; mtw;iw
,yf;fpaj;jpy; gjpTnra;Ak; jd;ikiaAk; ntspg;gLj;Jfpd;wd.
GwehD}w;wpy; ,aw;if :
mUtpahdJ kio nga;jhYk; nga;ahJ tpl;lhYk; neba
kiyfspd; rpfuq;fs; NjhWk; ,ope;NjhLk; jd;ikajhf ,Uf;Fk;.
,t;thW tUfpdw
; mUtp ePuhdJ kyh;fspy; jd; Fsphe
; j
; Jspapidr;
rpjwtpl;L cOj epyj;jpy; fhyhf XLk; jd;ikajhf ,Uf;Fk;.
,t;tUtp ePh; kpf;f ,dpikAilajhfTk; tpsq;fpaij>
~~ngha; a pDk; nga; a hjhapDk; mUtp
nfhs; S K tpay; G yj; Jisfh yhf
khy; G il neLtiuf; NfhLNjh wopjUk;
eP h pDk; "
(Gwk;.105)
,g;ghlybfs; czh;j;Jfpd;wd.
Nkfq;fSk; mwpaKbahj cr;rpapidf; nfhz;ljhf kiyfs;
cah;e;J tpsq;fpd. NkYk; Fsphr
; r
; p nghUe;jpajhfTk; tpsq;fpaij>
~~gdptiu...
Kiykpir awpah khy;tiu aLf;fj;Jf;: (Gwk; - 200)
~~khy; G il neLtiu"
(Gwk; - 105)
~~NghpUq; Fd; W"

W"
(Gwk; - 111)
Nghd;w ghlybfs; kiyfspd; cah;rr

; papidf; fhl;LfpwJ.
nghpa kiyahdJ fhyky;yhj fhyq;fspYk; GJtUthapidf;
nfhz;ljhfNt tpsq;fpaJ. ,jid>
165
~~fhy kd; w pA kuk; gak; gfUk;

ahz uwhm tpad; k iy"
(Gwk; - 116)
vd;w ghlybfs; czh;j;Jfpd;wd.

kiyfspy; mike;Js;s Ridfs; nghpaitahfTk;>
Mo;e;J mfd;Wk; fhzg;gLk; jd;ikad. ,r;Ridfspy; fhpa
,jo;fisf; nfhz;l Ftis kyh;fSk;> nrq;fOePh>; epyk; Mfpa
kyh;fSk; tz;Lfs; nkha;fF
; k; tz;zk; GjpajhfTk; tpsq;Fk;.
,jid>
~~jP e P h ; g ; ngUq; F z; L Ridg; G j; j Ftisf;
$k; g tpo; Konewp"
(Gwk; - 116)
vd;w thpfs; tpsf;Fk;.
KbTiu
FwpQ;rp epyj;jpd; fUg;nghUs;fshd ahid> kapy;> Fuq;F>
ehiu> fpsp> $if Nghd;w caphpdq;fSk> gyh> jpid> kiyney;>
fhe;js;> Ftis> Ntq;if> ,w;wp> kuhkuk;> kpsFf;nfhb> %q;fpy;
Kjyhd jhtuq;fSk; mUtp> fhl;lhW> Kjyhd ePh;epiyfSk;>
nea;jy; epyf; fUg;nghUs;fshf fhf;iffs; Nghd;witAk;
Kjw;nghUs;fshd kiyehLk; flw;GwKk; ntspg;gLkhW fgpyh;
ghbAs;sij mwpaKbfpwJ. ,aw;if rpwe;J tpsq;fpd; mq;F
kdpjDk; ed;whf tho;thd; vd;gJ mtuJ ghly;fspy; cs;s
Fwpg;Gg; nghUshFk;.
166
34. FWe;njhifapy; Ky;iy epy

kyh;fs;
KidtH. g. gpujPgh
FWe; n jhifapy; Fwpg; g plg; g Lk; Ky; i y epy kyh; f s;
Fwpj; j ,f; f l; L iu goe; j kpohpd; ,aw; i fNahL
,iae; j tho; i tf; fhl; L tjhfj; jpfo; f pwJ.
- gjpg; g hrpupaH
G+kpjj
; hapd; gilg;Gfspy; cd;djkhdJ kyh;fshFk;. ,e;j
kyh;fs; ,aw;ifapd; ed;nfhilahFk;. gytpj tz;zq;fspy;
kdijf; nfhs;is nfhs;Sk; tifapy; gy tbtq;fspy>; mstpy;
gytpj khWghl;Lld; gytifahd kyh;fs; cs;sd. epyj;jpd;
nrOikia jd; kyh;r;rpapy; nfhz;L tpsq;FtJ kyh;fshFk;.
rq;f fhy kf;fs; kyh;fis kq;fyg; nghUs;fshfTk>; moFg;
nghUs;fshfTk; fUjp rlq;Ffspy; gad;gLj;jpdh;. flTs;
topghLfspYk; gad;gLj;jg;gLfpwJ. gz;ila fhyk; Kjy;
,d;W tiu Xtpak;> rpw;gk; Nghd;w fiyfspy; kyh;fs; jdpaplk;
ngw;Ws;sd. kyh;fisg; gw;wp ghlhj Gyth;fs; ,y;iy vdyhk;.
,aw;if ,yf;fpakhd rq;f ,yf;fpaj;jpy; Gyth;fs; jk;
ghly;fspy; kyh;f; fz;fhl;rpNa elj;Jfpd;wdh;. FWe;njhifapYk;
kyh; f s; gytifapy; th; z pf; f g; g Lfpd; w d. ,f; f l; L iu
FWe;njhifapy; Ky;iyepy kyh;fis Gyth;fs; th;zpj;Js;s
jpwk; gw;wp Muha;tjhf mikfpwJ.
167
kyh; r ; n rhw; f s;
~~G+> kyh; vd;w nrhw;fNs moF> kyh;r;rp vd;w nghUisj;
je;J epwf
; pdw
; d" vd ,y.jhzk;khs; (rq;f ,yf;fpaj;jpy; kyh;fs;.g.3)
$Wthh;. Rq;f fhyj;jpy; kyiuf; Fwpff
; tP> kyh;> myh;> myhp> G+
Nghd;w nrhw;fs; gad;gLj;jg;gl;ld. ",yf;fpaq;fspy; kyh;> NghJ>
myh;> jhh;> jhkk;> tP> ,zh;> Jzh;> rkdrk;> Frfk;> G+ vd;w
ngah;fspy; toq;fg;gl;ld". Md;wyh;;e;j kyiu ehz;kyh;> ehl;G+
vd;Wk; cjph;e;j kyh;fis nrk;ky; vdTk; fPNo thb tpOe;j
kyiu rhk;gy; vd;Wk; mioj;jdh;.
'gz;ila jkpoh;fs; gy tifahd kyh;fisAk; $h;e;J
Nehf;fp mtw;wpd; jd;ikfs;> gUtq;fs;;> gz;Gfs;> tbtq;fs;>
Mfpatw;iw mwpeJ
; kyh; kuGfis tFj;Js;sdh";. (ntw;wpr; nry;td;>
jkpo; ,yf;fpaj;jpy; kyh;fs;> gf;.18>19) FWe;njhifapYk; Ky;iyj;
jpizapy; ghlg;gl;Ls;s kyh;fSk; Kjw;nghUs;> fUg;nghUs;
Mfpatw;NwhL ,izj;Nj ghlg;gl;l kuig fhzKbfpwJ.
mtiu
Ky;iy epyj;jpd; Fsphe
;j
; Gjhpd; Nky; glh;eJ
; s;s grpa mtiuf;
nfhbapy; kyh;fs; kyh;e;jpUf;Fk;. ,e;j kyh;fs; fpspapDila
myifg; Nghd;W jpfo;tij>
~~gdpg; G jy ,th; e ; j igq; n fhb mtiu
fpsptha; xg; g pd; xsptpL gy; k yh; "
(FWe;.240)
vDk; ghly; Rl;LfpwJ.jpid tpise;J mWf;fg;gl;l gpd; mjd;

jz;by; mtiuf; nfhb glh;e;J gdpf;fhyj;jpy; G+j;jpUf;Fk;.
,k;kyh;fis kzpg;G+ mtiu vd kJiuf;fhQ;rp th;zpf;fpwJ.
<q; i f
,k;kyh; ,z;il vdTk; miof;fg;gLfpwJ. ,J ntz;ik>
Jth; Mfpa epwq;fspy; fhzg;gLfpwJ. Ez;zpa Kl;fisf; nfhz;l
,r;nrbapd; nrt;tpa mUk;Gfs; thilf; fhw;why; cjph;f;fg;
gLtij Gyth;>
'Ez;Ks; <q;ift; nrt; mUk;G Co;j;j
tz; z j; Ja; kyh; "
(FWe;.110)
168
,g;ghly; fhl;LfpwJ. ,k;kyh; ,U gpsTgl;l <uiyg; NghyTk;>

FUtpf; FQ;R NghyTk; ,Ug;gjhf th;zpff
; g;gl;Ls;sJ (mfk;.294>).
fhe; j s;
fhe;js; kyh;fs; kfsphpd; nkd;ikahd tpuy;fSf;F xg;Gik
gLj;jp th;zpff
; g;gLfpwJ. fhe;jis ntz;fhe;js;> nrq;fhe;js; vd
,Utifahff; $Wth;. ntz;fhe;jis Nfhly; vdTk; nrq;fhe;jis
Njhd;wp> FUjpg;G+ vdTk; ,yf;fpaq;fs; $WfpwJ. 'Kspjaph;
gpire;j fhe;js; nky;tpuy;" vdTk;> 'kzpf; fhe;js; nky;tpuy;"
vdTk; Gyth;fs; ghLtij FWe;njhifg; ghly;fs; fhl;LfpwJ.
fhahk; G +
fhahk; G+f;fs; ,d;iwa fhyj;jpy; fhrhk;G+ vd toq;fp
tUtjhf c.Nt.rh. $Wthh;. ,k;kyh;fs; ,zuhfg; (nfhj;Jf; nfhj;jhf)
G+f;Fk; jd;ikaJ. kio nga;tjw;F Kd; nghyptpoe;Jk; kio
nga;j gpd; ,jd; fpisfs; nky;ypa kapypd; fOj;ijg; Nghd;Wk;
Njhd;wpaJ (FWe;.183). fhah kyh;fs; kfsphpd; fz;fSf;F itf;Fk;
ik Nghd;W fUikahd epwj;Jld; tpsq;fpaij mfehD}Wk; (133)>
Ky;iyg;ghl;Lk; (93) $WfpwJ.
nfhd; i w
Gjpa G+ff
; Sld; nfhd;iw kuq;fshy; Ky;iyepyf; fhLfSk;
nghypTld; tpsq;fpaJ. kfsph; jk; jiyapy; ,k;kyh;fis
mzpe;Js;sJ nghd; mzpfis mzpe;jpUg;gij xj;jpUe;jJ.
,k;kyh;fs; rpwpa fpisfspYk; mjpfkhf G+q;nfhj;Jf;fSld;
fhzg;gLk; jd;ikaJ. ,k;kyh;fs; jiytpapd; griy Neha;f;F
ctikgLj;jg;gl;Ls;sij 'nfhd;iw mk; gRtP> ek; Nghy; grf;Fk;
fhiy" (FWe;.183) vd;Dk; ghly; thapyhf mwpa KbfpwJ. ftiyf;
fpoq;Ffis mfo;e;j Fopfspy; epuk;gpa nfhd;iw kyh;fs;
nghd;id ,l;L itj;j ngl;bapd; tha; jpwe;jpUg;gijg; Nghd;W
fhzg;gl;lij
'nfhd; i w xs; t P jhma; r ; nry; t h;
nghd; nga; Ngio %aljpwe; j d"
,g;ghly; czh;j;JfpwJ.
169
(FWe;.233)
ePy kyh;
ePhpYs;s ePy kyuhdJ nrk;ikahd nrt;tpia cilaJ.
,jd; nkhf;Ffs; thilf;fhw;W tPRtjhy; kyh;tjw;F Kd;Ng
cjphe
; j
; ij 'ePu> epyg; igk; NghJ cshpg"; (FWe;.110) fhz KbfpwJ.
,k;kyh;fs; ngz;fspd; fz;fSf;F ctikahf nrhy;yg;gl;lij
rq;f ,yf;fpaq;fspy; fhzyhk;. Ftis kyiuNa ePyk; vd
xU rhuhh; $Wth;. Mdhy; FtisAk;> ePyKk; NtWNtW kyh;fs;
vd;gij rpy rq;fg; ghly;fshy; njspa KbfpwJ.
gP h ; f ; F
gPhf
; i
; f gPiu> gPh>; gPuk;> vd;W ,yf;fpaq;fspy; toq;fg;gLfpwJ.
,J kiof; fhyj;jpYk;> gdpf; fhyj;jpYk; kpFjpahf tsuf; $baJ.
Njhl;lj;jpy; ePh; xOFk;gb Gjhplj;Nj mike;j gPh;f;fq;nfhbapd;
kyh;fs; jiytpap;d; griy Neha;fF
; ctikahff; $wg;gLfpwJ.
'ek glg; i g eP h ; t hh; igk; G jw; fypj; j
khhpg; gPuj;J myh; rpyh; nfhz;N;l"
(FWe;.98)
khik epwj;ijAila jiytp griy Nehapd; fhuzkhf

gPhf
; f
; k;G; +g; Nghy nghd; epwj;ij mile;jij jiytdpl
; k; $WNthh;
,y;iy vd jiytp Gyk;Gtjhf mike;j ,g;ghlypy; nghd;dpd;
epwj;ijAila gPh;f;F vd th;zpg;gij fhz KbfpwJ.
Ky;iy kyh;
Ky;iy kyh; fw;Gf;Fhpa kyh; vd rpwg;gpf;fg;gLfpwJ.
,jid rq;f ,yf;fpaq;fs;
'Ky;iy tP|| vd rpwg;gpff
; pdw
; d. ,J fhh; fhy khiyg; nghOjpy;
kyuf; $baJ. ,k;kyh;fs; jiytpapd; gw;fSf;F ctik gLj;jg;
gLfpwJ. NkYk; Ky;iyf; nfhbapd; gRikahd nrt;tpa G+tpd;
nky;ypa rpwpa mUk;Gfs; kyh;eJ
; s;s fhl;rp Gyth;fSf;F fhl;Lg;
G+id rphpgg
; ijg; Nghd;Ws;sJ vd;W Gyth;fs; ghLfpdw
; dh;. ,jid>
~~,Utp Nrh; kUq; f py; G+j; j Ky; i y
ntUF rphpj; j d; d gRtP nkd; g pzpf;
FWKif mtpo;e;j eWkyh;g; Gwtpd;"
170
(FWe;. 220)
vd;Dk; FWe;njhifg; ghly; tpsf;FfpwJ. ,k;kyh;fs; nrq;fjph;

kiwAk; nrt;thdk; Njhd;Wfpw xspkq;fpa nghOjpy; kyh;fpwij
'vy;iy fopa Ky;iy kyu" (FWe;. 384) fhl;LfpwJ.
Ky;iy mUk;Gfs; ntz;ik epwj;Jld; tpsq;Ftij
'Ky;iy ntz; KifNa" vDk; ghlYk; fhl;LfpwJ. Ky;iyg;
G+thdJ Njd; kzf;Fk; fky Gjh;fspYk;> fy;> ghiw> ,tw;wpd;
NkYk; glh;eJ
; grpa kyh;fSld; moF ngw tpsq;Ftij ew;wpiz
(248)> ,jd; mUk;Gfs; $h;ikahdJ vdTk; Gjhpy; cwq;Fk;
gd;wpapd; KJF kiwAk; mstpw;F Ky;iy kyh;fs; kyh;e;J
cjph;e;J fple;jJ vdTk; mfk; (84) $WfpwJ.
KbTiu
,aw; i fahdJ rq; f fhy kf; f spd; tho; f ; i fNahL
,iae;jpUe;jij FWe;njhifapd; Ky;iyj; jpizg; ghly;fs;
thapyhf mwpa KbfpwJ. rq;fg; Gyth;fs; kyh;fspd; jd;ik>
tbtk;> epwk; Mfpa gz;Gfspd; mbg;gilapy; th;zpj;jpUg;gij
fhz KbfpwJ. FWe;njhif Ky;iyj; jpizg;ghly;fspy; gapdW
;
te;Js;s kyh;fspy; mtiu> fhe;js;> fUtpis> Ky;iy Mfpa
kyh;fis tbtj;jpd; mbg;gilapYk; <q;if> fhah> nfhd;iw>
jstk;> ePyk;> gPhf
; F
; > Ky;iy Mfpa kyh;fis epwj;jpd; mbg;gilapYk;
th;zpj;jpUg;gijf; ,f;fl;Liu fhl;LfpwJ.
171
35. thil Rl;Lk; #oypay;

Kidth; . rp.N[.gpurpy; y h rfhaNkhp
cjtpg;Nguhrphpah; - jkpo;j;Jiwj; jiyth;
lhf;lh; v];.vd;.v];. ,uh[yl;Rkp
fiy mwptpay; fy;Y}hp (jd;dhl;rp)
Nfhak;Gj;J}h;-49
neLey; t hilapd; ,aw; i ff; $Wfis Kd; i tj; J
,d; i wa khRgl; l tho; T Fwpj; j tpopg; G zh; i tj;
jUtjhf ,f; f l; L iu mikfpwJ.- gjpg; g hrpupaH
nrt;tpay; ,yf;fpaq;fshf tpsq;Fk; rq;f E}y;fs; kf;fspd;
tho;tpaiy jd;dfj;Nj mlf;fpAs;sd. ,d;iwa #oypy; njhopy;
El;gj;jpd; tsh;r;rp fhuzkhf cyfk; KOtJk; khRgl;Ls;sJ.
mk;khR tUk; jiyKiwapdUf;Fg; ngUq; jPqi
; f Vw;gLj;Jk; vd;w
tpopg;G epiyia czh;jJ
; tJ mtrpakhfpwJ. mjd; tpisthfNt
gy tpopg;Gzh;T fl;Liufs; ntspapl Ntz;baJ ,d;wpaikahj
jhfpwJ. mt;tifapy; rq;f tho;tpaypy; kf;fs; tho;e;j #oiy
neLey;thilapd; %yk; mwptNj ,t;thtpd; Nehf;fkhFk;.
neLey; t hil
neLey;thil vd;gJ ePzl
; ey;y thilf;fhw;W vd;w nghUis
czh;j;JfpwJ. Xt;nthU jpirapdpd;W tPRk; fhw;wpw;F ngah;
nfhLj;jdh; jkpoh;fs;. Flf;fpypUe;J tUtJ Nfhil> Fzf;fpypUe;J
tUtJ nfhz;ly;> tlf;fpypUe;J tUtJ thil> njw;fpypUe;J
tUtJ njd;wy; vd;gjhFk;.
172
$jph; f hy tUzid
Ie;jpizf;Fhpa Kjw;nghUs; epyKk; nghOJkhFk;.
mg;nghOJ ngUk;nghOJ rpWnghOJ vd ,Utifg;gLk;. ngUk
;nghOJ vd;gJ Mz;bDila MW nghOJfspd; $WghL. ,jid>
'fhNu $jph; Kd; g dp gpd; g dp
rP h ps Ntdpy; vd; w hk;
,U %d; W jpwe; j J njhpngUk; nghONj||
(mfg;nghUs; tpsf;fk;>mfj;jpizapay;-10)
vd;w E}w;gh tpsf;FfpwJ.
,g;ngUk; nghOJfspy; xd;whdJ $jph;f;fhyk; MFk;.
thilf;fhw;W $jph;f; fhyj;jpy;> tuf; $baJ ,J kpFe;j
Fsph;r;rpAilajha; ,Uf;Fk;. ,e;jf; $jph;f; fhyj;jpy; neLey;
thilapy; Rl;lg;gLk; gwitfs;> tpyq;Ffs; KjyhditAk; kf;fSk;
Nfhtyh;fSk; Fspuhy; tUe;jpd jd;ikAk; Fwpg;gplj;jf;fJ.
kionghope; ; j #oy;
gUtkio g+Tyfk; FspUkhW NkUkiyia tyk; te;J
thdpd;W ngha;ahJ nghope;jJ. mjdhy; mt;tplj;Nj kio ePh;
ngUf;nfLj;J XbaJ. me;j kioapdpdW
; jkJ Mepiu $l;lj;jpid
fhf;Fk; nghUl;L ,ilah;fs; mtw;iw Nklhd gFjpfSf;F
Xl;br;nrd;wdh;. kiokpFjpahy; mth;fs; KOJtkhf eide;jdh;.
Fspuhy; gw;fs; eLq;fpd> Fsphpd; fhuzkhf tpyq;Ffs; Nka;tij
kwe;jd. ke;jpfs;> gwitfs; gwf;f ,ayhJ tPoe
; j
; d. jha;gg
; Rf;fs;
ghy;Fbf;f tUk; jdJ fd;WfSf;F ghy; juhky; cijj;Jj; js;spd.
czh;r;rpaw;w kiyfisNa Fspur; nra;Akstpw;F Fsph;
kpFjpahff; fhzg;gLfpwJ. kior;#oiy fPo;tUk; thpfspy;>
'khNkay; kwg; g > ke; j $u>
gwit gbtd tP o >fwit
fd;W Nfhs; Xopaf; $ba tPrp.
Fd; W Fsph; g ; g d; d $jph; g ; g hdhs; | |
vd;W Gyg;gLj;jg;gLtJ Nehf;fj;jf;fJ.
173
(neL. 9-12)
nghOJ kaq; F jy;

kio kw;Wk; Fspuhy; rhsuq;fs; milf;fg;gl;bUe;jd.
Nkff;$l;lk; fhuzkhf QhapW Njhd;whikahy; gpr;rpapd; mUk;G
kyh;eJ
; kzk; tPRtij itj;J khiy te;jij czh;eJ
; ngz;fs;
tpsf;fpwF
; nea;aplL
; ney;Yk; kyUk; nfhz;L topgg
; l;ldh; vd;w
gFjpapd; topahf khiyg;nghOij kyh;fs; kyh;tijf; fz;L
czUk; tof;fk; gz;ila jkpohpilNa ,Ue;J te;jij mwpayhk;.
~~nghOij mwptpgg
; jhy; kyUk; gUtj;jpYk; cs;s mUk;gpwF
; g;
NghJ vd;W ngah; Vw;gl;bUf;fyhk;" vd;w c.Nt.rhkpehija;ahpd;
fUj;J ,q;F Nehf;fj;jf;fjhFk;.
eP h ; t sk;
gUt fhyj;jpy; kio tUtjhy; rpy caphpdq;fs; Jd;Gw;wd.
MapDk; gaphf
; s; nropeJ
; tsh;ej
; d. ePht
; sKk; epytsKk; ngUfpd.
mt;thW ePht
; sk; ngUfpajhy; mq;Nf ngUf;nfLj;j ePNuhl;lj;jpy;
fay; kPd;fs; Js;sp ePNuhl;lj;jpw;F vjpuhf nrd;wd. mt;tkak;
mUNf kzw;gug;gpy; epdw
; pUe;j nfhf;FfSk; ehiuf; $l;lKk; mf;fay;
kPd;fisg; gpbj;J cz;L kfpo;e;jd vd;w gFjp ePh;tsj;ij
vLj;Jf;fhl;Ltjhf cs;sJ.
epy tsk;
ePh;tsk; kpFe;jjdhy; ,ay;Ng epytsKk; kpFe;jJ. nrb
nfhbfs; nropj;jd. nkd;ikahd KRz;ilf; nfhbap;y; gUj;j
ntz;epwg; g+f;fs; kyh;e;jpUe;jd. mtw;NwhL nghd;dpwj;ij
cila gPhf
; f
; k; g+f;fSk; Gjh;fs; NjhWk; kyh;ej
; pUe;jd vd;gij>
'Gd; n fhb KRz; i lg; nghwpg; G w thd; g +
nghd;Nghy; gPunkhL Gjy;Gjy; kyu||
(neL.13-14)
vd;w thpfspy; czh;j;Jfpwhh;.
NkYk;. tay;ntspfspy; nropjJ
; tsh;ej
; new;fjphf
; s; Kw;wp
tzq;fp epd;wd. ghf;F kuq;fs; ed;F fha;j;J Kw;wpapUe;jd.
Fsph; r ; r pahd FUe; j kuf; f pisfspd; FUj; J f; f spypUe; J
kioj;Jspfs; ,ilawhJ tPoe
; j
; J vd;gd Nghd;w tUzidfs;>
epytsj;jpidr; Rl;Ltjhf mikfpd;wd.
174
,t;thW kiof;fhyj;jpy; mg;gFjpapy; Vw;gLk; Jd;gq;fs;

gw;wpAk; kWGwk; Vw;gLk; ew;gad;fSk; ghly; topahf njspthf
vLj;Jiuf;fg;gl;Ls;sJ.
~~tPqF
; k; fly;ehP py; jPTfs; jiyKOq;F" vd;whh; GJf;ftpQh;.
,d;iwa #oypy; gUtq;fs; ngha;jJ
; tUtJ ,ay;gha; cs;sJ.
gz;ila jkpod; ,aw;ifNahL ,iae;j tho;f;if elj;jpdhd;.
,d;iwa tho;fi
; f epiy njhopy; El;gj;jpd; Kd;Ndw;wj;jhy; nghpJk;
khWgl;Ls;sJ. MapDk;> ,JNghd;w fhl;rpfSk; gUtq;fSk; ,d;Wk;
ek; tho;tpy; ,lk;ngwNt nra;fpwJ. ,aw;ifia Nerpff
; > urpff
; tUk;
jiyKiwapdUf;F fw;Wf; nfhLg;gJk; mtw;iwg; gw;wpa tpopg;
Gzh;it Vw;gLj;JtJk; ekJ flik vd;gij mwpa KbfpwJ.
,aw;ifr; #oiy ,yf;fpaj;jpy; kl;Lk; urpff
; fw;Wf; nfhLg;gJ
Vl;Lr; Ruf;fhaha; KbAk;.
175
36. ghNte;ju; ghujpjhrd; ghu;itapy;

,aw;if
jpU. Nr.gpNukh=yl;Rkz; Fkhu;> vk;.V.> vk;/gpy;.>
b.b.rp.>
cjtpg;Nguhrpupau; - jkpo;j;Jiw>
,yl;;Rkp ehuhazd; tprhyhl;rp fiy mwptpay; fy;Yhup>
Nfhak;Gj;Jhu; - 641201.
kdpjd; nraw;ifapy; vj;jid GJikfs; nra;jhYk;
mit> ,aw; i fapd; rpwg; g pw; F ,izahFkh? vd; W
ghNte; j hpd; ftpijfisf; nfhz; L tpdTfpwJ
Kd; D iu
'fd;dy; jkpNo eP Xu; G+f;fhL
ehd; Xu; Jk;gp||
vd;fpwhu; ghujpjhrd;. jkpo; kl;Lkh G+f;fhL. me;j moFj;
jkpohy; mtu;ghl te;j ,e;j cyfKk; G+f;fhLjhd;. jkpopidAk;
,aw;ifiaAk; rpwg;gpj;J ,tu;Nghy; vtUk; ghbajpy;iy. ,tuJ
ghu; i tapy; jkpopidAk; ,aw; i fapidAk; md; i dahf
tbtikj;J ftpij tbj;jpUf;fpwhu;. ,tuJ ftpijfSs;
mofpd;rpupg;G kl;Lk; ,f;fl;Liuf;F vLj;Jf;fhl;lg;;gLfpwJ.
,f; f Uj; j uq; f j; j pw; f hd Ma; T f; f sq; f shd ,aw; i f>
flTs;> ctik> cUtfg;gLj;Jjy;> fw;gidtsk;> kPf;fw;gid>
gwitfs;> tpyq;Ffs;> Rw;Wr;R+oypay; Fwpjj
; rpej
; idfs;> gUt
tUzidfs; Mfpa midj;Jk; mofpd; rpupgg
; py; mikag; ngw;W>
,it jtpu ghujpjhrd; ghu;itapy; rKjha Nehf;Fk;> czu;Tg;
176
G+u;tkhd nrhw;fSk; Nru;eJ

; xl;L nkhj;j ftpij Ehyhf mikj;Jf;
fhl;bAs;shu;. fl;Liu vy;iy fUjp mofpd; rpupg;gpy; ghNte;jupd;
ghu;itapy; ,aw;if kl;Lk; Muhag;gLfpwJ.
,aw; i f
fz;zpw;F mofhfj; njd;gLk; ,aw;ifahdJ
cs;sj;; jpYk; mofhf epiyj;J epw;; ;Fk;. cyfpy; ,aw;;if
xt;nthd;Wk; jdpg;gl;l mofpidAk;> rpwg;gpidAk; ngw;W>
,iwapd; fl;lisf;F cl;gl;L ,aq;fp tUfpd;wJ. ,aw;i
; fapid
,iwtdhf ek; kf;fs; md;W Kjy; ,d;wsTk; filgpbj;J
tUfpd;wdu;. cyfpy; ey;Nyhu; xUtu; csNuy; mtu;nghUl;L
vy;NyhUf;Fk; kionga;tJ Nghy; rpwg;Gkpf;f ey;Nyhu; rpyu;
,d;wsTk; ,aw;ifapidg; Nghw;wp tUfpd;wdu;.
ghNte;ju;mofpd; rpupg;gpy; R+upad;> fly;> njd;wy;> epyT>
thdk;> fhL> MW> jhkiu> tz;L> Njd;> Mykuk;> gwitfs;> tpyq;Ffs;>
Nghd;w ,aw;if midj;ijAk; rpwg;gpj;Jf; fhl;bAs;shu;. jhd;
fz;l fhl;rpapd;gq;fisj; jdJ ftpijtupfs; %yk; gbg;Nghu;fs;
fhZk; tz;zk; ghly; tupfis mikj;Js;shu;.
flYk; ,sq;fjpUk;
moif tpUk;;ghjtu;fs; ,Uf;f KbahJ. mjpfhiyg;
nghOjpy; cjpjn
; jOk; R+upadpd; fhl;rp kpfTk; mofhdJ. mtw;wpYk;
flYk; thDk; ,ize;j epiyapy; vOk; fjpupd; xspAk; mofhdJ.
,tw;wpid>
'fhiyapsk; gupjpapNy mtisf; fz; N ld;
flw; g ug; g py; > xspg; G dypy; fz; N ld; ! me; j r;
NrhiyapNy> kyu; f spNy> jspu; f s; jk; k py;
njhl; l ,lnk yhk; f z; z py; jl; L g; ; g l; l hs; !
khiyapNy Nkw; w pirapy; ,yFfpd; w
khzpf; f r; Rlupyts; ,Ue; j hs; ! ||
vd;W ,aw;i
; fapid ngz;zhf cUtfpjJ
; f; ftpij vOjpAs;shu;.
177
flYk; thDk;
'vOe; j J nrq; f jpu; j hd; fly; k pir!
mllh vq;Fk; tpOe;jJ jq;fj;; Jw;wy;
ntspnayhk; xspapd; tP r ; R !||
vOk; fjpu;fs; flypd;kPJ gl;Lj; njupj;jpLk; fhl;rpahdJ
jq;fj;Jfs;fisj; JhtpaJ Nghd;wpUe;jJ.
fly; KOf;fk;
'Koq; f pa eP u ; g ; g ug; g pd;
KOJk; nghd; n dhsp gwf; F k;
fly;ePUk;> ePythDk; ifNfhu;;j;Jf;fplf;Fk; ,lj;jpy;; ePupd;
Njhw;wk; vopy;tPiz Nghd;wJ vd;fpwhu;. mf;flypd; kPJ tPrpLk;
fhw; N wh ,irf; f Utpapid kP l ; L k; Gytuhfp tpl; l jhfTk;
Fwpg;gpLfpwhu;.
epytpw; fly;
'nghd; D ilfise; J > NtNw
Gjpjhd Kj; J r; Nriy
jd; , il mzpe; j hs; me; j j;
jlq; f lw; ngz; z hs; ; | |
gfy; kiwe;J ,uT Njhd;wpajdhy; jd;Dila kpd;Dfpd;w
nghd; Nghd;w ciliaf; fise;J> epyT vDk; Kj;Jr; Nriyiaj;
jd; clypy; mzpe;J nfhz;lhs; me;j mofpa fly; ngz;zhs;
vd;fpwhu;.
njd; w y;
'fspr; r pWJk; g p ngw; w
fz; z hbr; rpwfpy; kpd; d pg; gpd;
,sq; f hw; i wj; jUfpd; w ha; njd; w Ny||
kpFe;j kfpo;r;rpAld; gwe;jpLk; rpW Jk;gpfspd; fz;zhb
Nghd;w nky;ypa rpwfpy; kpd;Dfpd;wha;> mNj rkaj;jpy; kpfTk;
nkd;ikahd jd;ikAilatshfTk; ,Ug;gts; ePNa vdTk;
njd;wiyf; Fwpg;gpLfpd;whu;.
178
Fd; w k;
jq;fj;ij cUf;fp tpl;l thNdhiljd;dpy; Xu; nrq;fjpu;
khzpf;fj;Jr; nrYk;gok; jd;i
; d khiy Neuj;jpy; Fd;W KOJk;
cilapy; Nghu; j ; j papUe; j ha; . mk; k iyapd; W nfhl; L fpd; w
mUtpapid mk;kiyg; ngz;Zf;Fmzptpj;j ituj;njhq;fyhf
ctikg;gLj;jpapUf;fpwhu;;.
,utpy; Fd;wpd; fhl;rp

',Ue; j Xu; fUe; j p iuf; F s;
,l; l nghw; Ftpay; Nghy; | |
vd;w ctikapidf; Fwpg;gpl;L fUg;ghd fUe;jpiuf;Fs; nghw;
Ftpay;fis kiwj;J itj;jijg; Nghd;W> Fd;whdJ ,utpy;
xspkiwe;J %bf;fple;jJ vd;W Fd;wpd; moFf ;fhl;rpapidf;
Fwpg;gpLfpwhu;.
nts; s g; g ha; r ; r y;
ngUQ;rpq;fk; xd;W ahidia mbj;J tPo;j;JtJ Nghd;W
Mw;W nts;skhdJ rpq;fj;Jld; xg;gpl;L ,aw;ifahd Mw;W
nts;s tutpidf; Fwpg;gpLfpwhu;.
'ngUQ; r pq; f k; miwa tP O k;
ahidNghy; ngUfpg; gha; e ; J
tUk; nts; s k; > NkhjyhNy
kzw; f iu ,be; J tP O k;
eP u pd; fhl; r papy; ,aw; i faoF ,Ug; g pDk; > mbj; J f;
nfhs;Sk rpq;fj;jpw;F ,izahd mr;rj;ijAk;> nts;sg;gha;rr
; y;
nfhz;L Rod;W tUk; ePupd; fhl;rp tpsf;fg;gLfpwJ.
~~tP u u; f Sk; Mw; W nts; s Kk;
xNu tif Mil G+z;l
ngUk; g il> xOq; f ha; epd; W
rNunydg; gifNkw; ghAk;
jd; i kNghy; Mw; W nts; s k; | |
179
Nghupy; tPuu;fs; tupirapy; epdW

; > jpBnud;W giftu;fs; Nky;
gha;fpd;w jd;ikiag; Nghd;W Mw;wpy; te;j nts;sKk; jpbnud;W
gha;e;J te;J midj;ijAk; mopj;JtpLfpd;wJ. ,aw;ifahf
Vw;gLk; nts;sg;gha;r;riy tPuu;fNshL xg;gpl;L vOjpapUf;fpwhu;.
KbTiu
',j; j iu nfha; a hg; gpQ; R
eP mjpy; rpw; n wWk; N g||
vd;W ghujpjhrd; nfha;ahg;gpQ;rpw;F ,izahf ,g;GtpapidAk;
rpw;nwWk;gpid kdpjNdhLk; xg;gpLfpwhu;. ,t;thwhf ,aw;ifNahL
kdpjd;> tpyq;Ffs;> gwitfs;> ngz;fs; vd;W jdpjj
; dpNa xg;gplL
; k;
,tuJ gilg;Gfs; mike;Js;sd. thd; Kjy; kz;tiu fz;zpy;
gl;l GJik midj;Jk; ,aw;ifapd; ngUikapid giw rhw;wf;
$bad. kdpjd; nraw;ifapy; vj;jid GJikfs; nra;jhYk;
mit ,aw;ifapd; rpwg;gpw;F ,izaw;witahFk;.
180
37.
Iq;FWE}w;wpy; Ie;jpidAk;
,aw;ifAk;
jpU g.kzpfz; l d;
nkhopj;Jiw> cjtpg;;Nguhrphpah;>
,e;J];jhd; fiy mwptpay; fy;Y}hp> Nfhit-28.
Iq; F WE}w; w py; fhzg; g Lk; ,aw; i ff; fhl; r pfis
kdf; fz; K d; epWj; J fpwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu
vl;Lj;njhif E}y;fspy; mfg; nghUs; ,yf;fpaq;fspy;
Iq;FWE}W msthd mbastpy; thkdf; fUj;Jf;fisj; jd;Ds;
nghjpe;J itj;Js;s E}y; MFk;. mj;jifa Iq;FWE}w;wpy;
Ie;jpizapy; fhzg;gLk; ,aw;ifiaf; fhz;gjhf ,f;fl;Liu
mikfpd;wJ.
Iq; F WE}W
Ie;J Gyth;fshy; E}Wghly;fs; tPjk; IE}W ghly;fisf;
nfhz;lJ xt;nthU jpizf;Fk; E}W ghly;fis cilaJ. Xt;nthU
E}W ghly;fspYk; gj;J gFjpfshf gphpf;fg;gl;L gj;J ghly; vd;w
mikg;gpy; %d;wb Kjy; Mwb tiuapy; mikf;fg;gl;L gz;ila
jkpoh; tho;tpaiy moFld; $Wk; E}y; Iq;FWE}W MFk;.
Ie;jpizAk; ,aw;ifAk;
,aw;ifNahL ,iae;j tho;tpid moFld; tho;e;jdh;
rq;ffhy kf;fs; ,aw;ifia Nerpj;jdh;> tzq;fpdh; Ie;jpiz
epy kf;fspd; tho;Tk; ,aw;if rhh;eN
; j mike;jpUe;jd vd;gij
Iq;FWE}w;wpy; Ie;jpizfspd; topNa mwpayhk;.
181
kUjk; - Xuk;Nghfpah;
Iq;FWE}w;W kUjj;jpizg; ghly;fspy; coth;fspd;
tho;fi
; f Kiwfs;> ePh; tsKs;s epyg;gFjpfspd; ,aw;iftsk;
coTj; njhopypd; cah;T efuq;fspd; fhl;rpfs; moFld;
$wg;gl;Ls;sJ.
kUj epyk; ePht
; sKk; epytsKk; cilaJ. ePht
; sk; epiwe;j
Ch;fSk;> Ch;fisr; rhh;e;j ,lq;fSNk fhz;gjw;F mofhFk;.
,jid>
'fUk; G eL ghj; j pay; fypj; j Mk; g y;
RUk;G grp fisAk; ngUk; Gdy; Cu"
(65)
fUk;G el;Lg; gaph; nra;jpUf;fpd;w ghj;jpapNy nropj;J

tsh; e ; j pUf; f pd; w my; y p kyh; f s; tz; L fspd; grpapidg;
Nghf;Ffpd;wd. ,j;jifa ePh;tsj;ij cilaJ kUj epyk;.
'fUq; N fhl; L vUik nrq; f z; G dpw; w hf
fhjy; Fotpf; F CW Kiy kLf; F k; "
(92)
typikahd nfhk;GfisAila vUik. rpte;j fz;fisAila

gRtpd; ,sq;fd;Wf;Fg; ghy; CWfpdw
; jd;kbia Cl;lf; nfhLf;Fk;
,j;jifa md;Gf; fhl;rp kUj epyq;fspy; fhzyhk;.
'kUj kuq;fs; gUj;J tsh;ej
; pUf;fpd;wd. mtw;wpy; kyh;ej
;
G+f;fs; tPo;e;Jfplf;fpd;w nghpa ePh;j;Jiw cilaJ. ,jid
'kUJ cah;e;J Xq;fpa tphpG+k; ngUe;Jiw"
(33)
NkYk; my;yp kyh;fspNy tz;Lfs; mkh;eJ

; NjDz;L grp
ePqF
; k;. vUikfs; gRq; fd;Wf;Fk; ghY}l;Lk; fhl;rpfs; kUjepyk;
vq;Fk; epiwe;jpUf;Fk;.
nea;jy; - mk;%tdhh;
flw;fiuAk; flw;fiuiar; rhh;ej
; epyKk; nea;jy; epykhFk;.
'Gd;id nghd;dpwk; tphpAk; G+f;nfOJiw"
(110)
Gd;id kuq;fs; nghd;dpwKila kyh;fisg; G+jj

; pUf;fpdw
;
xsp epiwe;j fly; Jiwia cilaJ nea;jy; epyk;.
182
'vf; f h; Qhoy; ,zh; gL nghJk; g h; j

jdpf; FUF cwq; F k; Jiw"
(144)
kzy; Nkl;bNy> RuGd;idapd; kyh;fs; tPo;e;J fplf;Fk;

GjhpNy> jdpahf ehiu cl;fhh;e;J cwq;Ffpd;wJ. ,j;jifa
ePh;j;Jiwapy;>
'ngUq; f lw; fiuaJ rpWntz; fhf; i f
,Uq; fop kUq;fpd; mapiu MUk; jz;zk; Jiw"
(164)
nghpa flw;fiuapNy tho;tjhfpa rpwpa ntz;fhf;if ePzl
;
cg;gq;fopapd; gf;fj;jpNy cl;fhh;e;J mapiu kPidg; gpbj;Jj;
jpd;Dk;. ,j;jifa Fsph;e;j mofpa flw;fiuia nea;jy;
epyj;jpy; fhzyhk;.
FwpQ;rp - fgpyh;
kiyAk; kiyr;rhuYk; FwpQ;rp epykhFk;.
'Fd;wf; Fwtd; Gy; Nta; Fuk;ig
kd; w hL ,s kio kiwf; F k; "
(252)
kiyapNy tho;fpd;w FwtDila Gy;Nta;e;j rpwpa

Fbiria thdj;jpNy vg;NghJk; mire;J nfhz;bUf;fpd;w
Nkfq;fs; kiwf;Fk; fhl;rp rpwg;ghdjhFk;.
'Fd;wf; Fwtd; rhe;j eWk; Gif
Njk; fko; rpyk; g pd; tiuafk; fkOk; "
(253)
kiyapy; thOk; Fwtd; Giff;fpd;w re;jdj;jpd; ey;y

Gif Njd;kzk; fkOk; kiy KOtJk; eWkzk; tPRk;.
'nfhbr; r p fhf; F k; ngUq; F uy; Vdy; "
(296)
Fwkfs; fhty; fhf;Fk; nghpa fjph;fisAila jpidg;

GzkhFk;. ,j;jif moFkpFe;j fhl;rpfs; FwpQ;rp epyj;jpy;
fhz ,aYk;.
ghiy - Xjyhe;i jahh;

#hpa ntg;gj;jhy; twz;L fplf;Fk; epyk; ghiyahFk;.
183
'fy; y hf; Nfhtyh; Nfhypd; Njhz; b a

Md; ePh;g; gj;jy; ahid ntsTk; fy; mjh;"
(304)
#Jthjwpahj ,ilah;fs; jq;fsJ ifapy; itj;Js;s
Nfhypd; %yk; Njhz;ba Mokhd ePhf
; F
; opia ahidfs; jz;zhP ;
Fbg;gjw;fhf fth;e;J nfhs;Sk; fhl;rp rpwg;ghdJ.
'rpiytpy; gfopr; nre; Jth; Milf;
nfhiytpy; vapdh; "
(363)
typa tpy;yw;F Vw;w mk;gpidAk;> mOf;file;j nre;epw

miliaAk; topg;Nghf;fiuf; nfhy;Yk; tpy;iyAk; cila
Ntlh;fs; ghiy epyj;jpNy tho;gth;fs;.
'fz kh njhiyr; r pj; jd; i dah; je; j
epzT+z; ty; r pg; gLGs; Xg; G k
eykhz; vapw; w p"
(365)
$l;lkhd tpyq;Fffis mopj;Jj; jd; je;ijah; nfhz;L

te; j khkprj; i jAk; > %q; f py; mhprpiaAk; ftu tUfpd; w
gwitfis xl;bf; nfhz;bUf;fpd;w ey;y moFila ngz;iz
fhl;rpg;gLj;JfpwJ ghiy epyk;.
Ky;iy - Ngadhh;
fhLk; fhl;ilr; rhh;ej
; epyKk; Ky;iyahFk;. fhl;Lg;Gwq;fspy;
,aw;ifr; #oy; epiwe;jpUf;Fk;. ,jdhy; mg;gFjpfspy; kio
tsk; FiwahJ.
'fhah> nfhd; i w nea; j y; Ky; i y
Nghjtpo; jstnkhL gplT myh; e ; j ftpdpg;
G+ mzp nf
hz; l d; w hy; GwNt"
nfhz;
(412)
Ky;iy epyf; fhl;by; fhahk;G+> nfhd;iwg;G+> nea;jw;G+>

Ky;iyg;G+> ,jo; tphpe;j ky;ypifg;G+> gpltk;G+ ,itfnsy;yhk;
kyh;e;J moFw fhl;rpg; gLj;Jfpd;w epyg;gFjpahf Ky;iy
epyk; cs;sJ.NkYk;>
184
'FUe; j k; fz; z pf; Nfhtyh;

ngUe; jz; e piya ghf; f Kk; cilj; N j"
(439)
FUj;j kyh;khiyia mzpej

; ,ilah;fs; kpfTk; kfpor
;r
; pAld;
thOk; ghf;fk; vd;Dk; CUk; Ky;iy epyj;jpy; cz;L.
'mty; n jhWk; Njiu njtpl; l kpirnjhWk;
ntk; F uy; Gs; s pdk; xypg; g cJf; fhz;
fhh; njhlq; fpd; w hy; "
(453)
Ky;iy epyj;jpy; kiof;fhyk; njhlq;fptpl;lij czh;jj

;
gs;sq;fspy; vy;yhk; jtisfs; fj;jpd> NkLfs; NjhWk; gwitfs;
xypj;j fhl;rp fhz;gjw;F ,dpik jUfpd;wd.
tay; gFjp
ehl;bNy coT rpwg;ghf ,Uf;f Ntz;Lk;. kf;fs; tho;T
rpwf;f Ntz;Lk;. kf;fs; Nehapdw
; p grpapdw
; p kfpoT
; ld; tho Ntz;Lk;
vd;gJ gz;ila kf;fspd; nfhs;ifahFk;.
'new; g y nghypf> nghd; nghpJ rpwf; f
vd Ntl; l hNs ahNa"
(01)
'tpisf taNy tUf ,utyu;

vd Ntl; l hNs ahNa"
(02)
vd;w thpfs; %yk; tay; gFjpfspd; tsikia mwpayhk;.

nre;ney; tpise;jpUf;fpd;w mofpa taypNy cs;s new;
fjph;fis ez;Lfs; gw;wpfn
; fhz;L Fsphe
; j
; jd;Dila kz; tisf;
Fs;Ns GFk; fhl;rp rpwg;ghf Gyth; vLj;Jiug;gJ Nehf;fj;jf;fJ.
'nre; n ey; mk; nrWtpy; fjph; n fhz; L fs; t d;
jz; z f kz; misr; nry; Y k; "
(27)
kiof; f hl; r p
,aw;ifapd; nfhil kio 'ePhpd;wikahJ cyF" vd;gJ
Nghy kiof; fhl;rpia fhz;gJ Iq;FWE}w;wpy; moFld;
$wg;gl;Ls;sJ.
'kio tuT mwpah kQ;iQ Myk; mLf;fy;"
185
298
kio tUtij Kd;$l;ba mwpe;j kapy;fs; MLfpd;w

kiyg;gFjp. ,jd; %yk; kioapd;; tuit mwpAk; Mw;wy;
kapYf;F cz;L vd;gij ,jd; %yk; mwpayhk;.
Ntdpyh apDk; jz;Gdy; xOFk; NjD}h;"
(54)
'Mk; g y; mk; nrWtpd; NjD}h; "
(58)
Nfhilf;fhykhdhYk; Fsph;e;j ePh; Fiwahky; Xbf;

nfhz;bUf;Fk; tskhd gFjp. NkYk; my;ypfs; kyh;ej
; pUf;fpd;w
mofpa tay;fis cilaJ NjD}h;.
coth;fs; mbf;fpd;w giwf;Fj; jf;fthW kapy;fs; Mbf;
nfhz;bUf;fpd;wd cah;e;j nghpa kioapNy gbe;jpUf;fpd;w
Nkfq;fs; Gwg;gl;L Fsph;e;j kioia nga;al;Lk; ghiytdk;
Nrhiytdkhfl;Lk; vd;gij
'ks; s h; nfhl; b d; kQ; i Q MYk;
cah; neLk; Fd;wk; gL kio jiy,r;
Ruk; edp ,dpa thFf!
(371)
vd;w mbfs; %yk; mwpayhk;.
KbTiu
rpwpa ghly;fshy; Md Iq;FWE}w;wpy; Ie;jpiz kf;fs;
,aw;ifNahL tho;e;j gFjpfspy; cs;s ,aw;if fhl;rpfis
ghly;fspd; topNa mwptNjhL ,aw;if tsq;fis kPz;Lk;
ek; kdf;fz;Kd; fhl;rpg;glk; Nghy fhl;Ltij czuKbfpd;wJ.
186
38 Gytu;fs; Nghw;Wk; ,aw;if

Kidtu; g h.kQ; R sh
vk; . V.vk; . gpy; . >gpvl; . >gpvr; b .>
jkpo;j;Jiwj; jiytu;
v];. v];. vk; fiy mwptpay; fy;Y}up
Fkhughisak;
,aw; i f vd; g J nkhop> ehL> rkak; fle; j J>
,aw; i ff; F kpQ; r paJ ,q; F vJTk; ,y; i y
,aw; i fNa flTs; vd; W ciuf; f pwJ ,f; f l; L iu
- gjpg; g hrpupaH
cyfj;jpy; cs;s rkaq;fs; gyTk; kdpju;fshy; gilf;fg;
ngw;witNa. Mdhy; Nghw;WjYf;Fupa irt> itzt newpfis
,iwtdhy; gilf;fg; ngw;wjhfNt fUjg;gLtjhy; mjd;
njhd;ikAk; Nkd;ikAk; kpfTk; rpwg;GilaJ. Itif epyk;> gQ;r
G+jk;. jj;Jt kpfTk; rpwg;gpay;G ngw;w ,iwtid ,aw;ifahf
tzq;Fk; jd;ik ekJ jkpopd; rpwg;G mijf; fz;l Gytu;fs;
,aw;ifia nja;tkhf tzq;Fk; ghliy ,aw;wpdhu;fs;. ,e;j
cyfj;jpy; gilf;fg; ngw;w xt;nthU nghUSk; moFk; El;gKk;
ngw;wJ.mjd; gilg;gpd; jd;ikia ehk; czUk; NghJ mjd;
moF ,d;Dk;rpwg;ghf ntspg;gLfpwJ. kw;wtu;fis fhl;bYk;
xU ftpQupd; ghu;itapy; ,aw;if kpf mofhfTk; njspthfTk;
uridAld; ntsptUk;
itak; jfspah thu; f lNy nea; a hf
nta; a fjpNuhd; tpsf; f hfr; nra; a
Rluhopahd; mbfl; N f R+l; b Ndd; nrhd; k hiy
,luhop eP q ; F fNt vd; W .... ngha; i faho; t hu;
187
md; N g jfspah Mu; t Nk nea; a hf

,d; G UF rpe; i j ,Ljpupah-ed; G Ufp
Qhdr; Rlu; tpsf; F Vw; w pNdd; ehuzw; F
Qhdj; jkpo; Gupe; j ehd; - G+jj; j ho; t hu;
vd mofhf jkpio ghLk; kuG ekJ Gytu;fspd; rpwg;G. ekJ
jkpio mtu;fs; capuhfTk; RthrkhfTk; fye;J ghbdhu;fs;
ekJ ,yf;fpaj;jpy; nrt;tpa jd;ik mJNt MFk;.
,t;Tyfj;ij gilj;j flTs; xt;nthU tp\aj;jpYk;
jdJ gilg;gpd; ngUikiaAk; mjd; ufrpaKk; fz;L kw;wtu;fs;
tpaf;Fk; tz;zk; gilg;gpd; R+l;Rkk; mikAkhW nra;jhu;.
,jw;F xU fijia $Wthu;fs;.
cyfj;ij jhNd fhZk; Mirapy; rptd; jdJ NjtpAld;
,kakiy te;jhu;. rptdpd; jpUeldj;jpy; kfpo;e;J ckhNjtp
mtUld; Mbdhs;. ,UtUk; kdkfpor
; pAld; ,Uf;Fk; NghJ md;id
rptdplk; ,e;j ,lk; kpfTk;mofhfTk; ,aw;if vopy; nfhQ;Rk;
tz;zk; cs;sJ ,q;F glu;e;jpUf;Fk; kiyKfLfs;> gdpahW>
,it vdJ kdij kaf;FfpwJ ,e;j ,aw;ifia ehd;kpfTk;
tpUk;GfpNwd; ,q;F ekf;F xU khspif mikj;jhy; kpfTk; ed;whf
,Uf;Fk;. vd;W jdJ fztuplk; Nfl;lhu;. mjw;F rptd; ,e;j ,lk;
rdpghftDf;F nrhe;jkhd ,lk; vdNt ,q;F khspif fl;Lk;
cupik ekf;F ,y;iy vd;whu; clid Njtp Nfhgk; nfhz;l ,e;j
cyfj;ijNa Ms;gtu; ePqf
; s; cq;fs; Ngr;ir me;j rdp eprr
; akhf
Nfl;ghu; vd;whu; clid rptd; jdJ Njtpaplk; mJ kupahij
,y;iy flTshf ,Ue;jhYk; cupikAilatu;fs; epyj;jpy; ahu;
te;J khspif mike;jhYk; mtuJ mDkjp thq;FtJ Kf;fpak;
ehd; nrd;W mDkjp thq;FfpNwd; mtu; mDkjpjutpy;iy
vd;why; vdJ cLf;fapy; Xiria vOg;GfpNwd; vd;whu; clid
rdpaplk; nrd;W Njtpapd; Miriaf; $wpdhu;. mjw;Fs; Njtp
,iwtDila Ngr;Rf;F kWg;G njuptpg;ghu; ahu;? ,e;j mfpyj;jpy;
,Uf;fpwhu;fs; vd;w vz;zj;jpy; rpwpJ Mztk; nfhz;L
,iwtd; Nfl;Fk; Kd;G me;j ,lj;jpy; xU mofhd khspifia
,e;jpu cyfj;jpd; Njt jr;rd; Kyk; fl;bdhy; rdpaplk; nrd;w
rptd; Njtpapd; Miriaf; $w mijf; Nfl;l rdpghftd;
,iwtdplk; Mz;lth mfpyj;ij gilj;jtiu cq;fSf;F
188
,y;yhj cupik ahUf;Fk; ,y;iy vd;W gzpe;J $wpdhu;.gpd;du;

vdf;F xU Mir ePz;lfhykhf cz;L mij epiwNtw;w
Ntz;Lk; vd;whu;.
rptd; cdJ Miriaf; $W vd;whu; clNd rdp ehd;
,J tiu cq;fs; Mde;jjz;ltk; ghu;ff
; tpyi
; y ehd; fapiyf;F
tUk; NghJ midtUk; vdJ ghu;it gl;lhy; Voiur;rdp vd;W
gae;J XLthu;fs; mjdhy; ehd; cq;fs; eldj;ij fhZk;. ghf;fpak;
,y;iy ,g;NghJ vdJ nghUl;L cq;fs; eldj;ij MLq;fs; vd;whu;
clid <rDk; cLf;if ehjk; mjpu jdJ eldj;ij Mbdhu;.
me;j xyp midj;Jyfj;Jf;Fk; Nfl;lJ. clid Njtp
INah! ,iwtdpd; Mizia kPwp ehd; ,q;F khspifia
fl;btplN; ld; cLf;if xyp Nfl;lhy; mDkjpapyi
; y vd;W $wpr;
nrd;whu; ehd; mjw;Fs; mtrug;gl;L fl;btplN; ld; vt;tsT ngupa
jtW nra;Jtpl;lhd; vd;W epidj;J jd; fl;ba khspifia
clid jiukl;lkhf;fp jdJ jtiw czu;e;J tUj;Jj;Jld;
fhj;jpUf;f rptd; clNd Njtpaplk; te;J tUj;jk; nfhs;s
Ntz;lhk; ele;jij ehd; mwpNtd; ,e;j ,lj;jpd; moF mjd;
,aw;ifahd gilg;G jhd; mijtpl;L eP ,q;F nraw;ifahf
xd;iw cUthf;f epidj;jha; mJ kpfTk; jtW mij cdf;F
czu;j;jNt ,t;thW nra;Njd; ,aw;iff;F kpQ;rpaJ ,q;F
vJTk; ,y;iy ,aw;ifNa flTs; mtNd gpugQ;r ufrpak; vd;whu;.
jpU%yUk; gilg; g pd; ngUikia .......
Cop tyQ; nra;jq; (F) XUk; xUtw;F
thoprJKfd; te; J ntspg; g Lk;
tPo; ,j; jiyePu; tpjpj;jJ jhtu
Copf; fjpNuhd; xspiantd; whNd
(380)
jiyapy; ,Ue;J tPOk; ePiuNa nfhz;L ,e;j cyfj;ij

gilf;f gpuk;khTf;F fl;lis ,l;lhu; rptd;. Copf; fhyj;J cUj;jpud;
Kykhf ,e;j epfo;T ele;jJ. MjpAk; me;jKk; ,iwtid vd;gij
KOtJk; czu;e;jhy; xU Jd;gKk; ,y;iy.
MjpNahL me; j k; ,yhj; j ud; guhguk;
Nghjk jhfg; GzUk; guhguk;
189
Nrhjp mjdpy; gue; N jhwj; Njhd; W khk;

jP j py; giuajd; ghy; jpfo; ehjNk
381
KjYk; KbTk; ,y;yhj vq;Fk; ePf;fkw epiwe;jpUf;Fk;

guk; nghUs; mwpT kakhd
guhrf;jpNahL fye;J gurptkhf;fhl;rp jUk; mg;NghJ mq;F
Xk; vd;Dk; gpuzt ehjk; Njhd;Wk; ,JNt gilg;gpd; Kjy;
gb ,e;j xirapy; midj;J cyfKk; xLq;Fk; Mz;ltd;
gilg;gpy; midj;Jk; mofhdit gilg;gpd; ngUik ehk;
czUtJk; ,y;iy mij ehk; ghJfhg;gJk; ,y;iy.
,aw;ifia gpugQ;r Mw;wy; gpugQ;rj;jpd; kpf ngupa rf;jp
mij ehk; czUk; NghJ jhd; mjDila kfj;Jtk; ekf;F
njupAk;. ,ij jhd; ghujp vq;F fhzpDk; rf;jpalh vd;W $Wthu;
,aw; i fia Mrhd; . .........
,iwtd; mspj; j
caupa nfhil eP !
,t; T yf tho; t pd;
cd;dj tpil eP!
nrhy; y ha; > nghUsha;
Ritaha; > Gjpjhf fhZk;
ftpQupd; fU eP !
,aw; i fia kpQ; R k; ve; j
nraw;ifAk; ,t;Tyfpy; tho;e;jhf rupj;jpuk; ,y;iy
epiwthf ...
,e;j cyfj;jpy; ,aw;ifNa Nghw;Wk; ftpQu;fs; midj;J
nkhopfspy; jkJ gilg;gpd; ngUikia giwrhw;Wk; ghly;fs;
vOJthu;fs; ,aw;if vd;gJ nkhop ehL rkak; fle;j xd;W.
mJ czu;T rhu;e;j cs;Szu;T> mij czu;e;J mDgtpj;Nj
mij ntspfn
; fhz;L tu Ntz;Lk; ekJ ftpQu;fs; mij jhd;
gz;ila fhyk; njhl;L ,g;NghJ tiu nra;J tUfpwhu;fs;.
190
39.
rq;f ,yf;fpaj;jpy; tpyq;F khDlg; g hHit

jpU.tPuh.KUfhde;jk; vk;.V.vk;.gpy;.>
jpUr;nrq;NfhL- 637215
fhLjhd; kdpjdpd; Kjy; fy; t p epiyak; vd; W
,aw; i f kdpjDf; F nrhy; y pj; j e; j ghlq; f is
vLj; J iuf; f pwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu
tpyq;fpypUe;J kdpjd; Njhd;wpdhd; vd;gJ lhHtpdpd;
gupzhkf; nfhs;if. khdpl tsHr;rpapy; tpyq;fpdj;jpw;Fk; ngUk;
gq;Fz;L. kdpjd; Kjypy; fhL. tpyq;fpdKk; te;jJ fhL. kdpjd;
Kjypy; fhl;bypUe;Jjhd; tPlL
; w;F te;jhd;. vdNt fhLjhd; mtdJ
Kjy; fy;tp epiyak; vdyhk;. fhl;bypUe;J nfhz;Ljhd; kdpjd;
jd; tho;f;ifg; ghlq;fisf; fw;fj; njhlq;fpdhd; fhl;bNy
FOthff; $l;lkhf jpupeJ
; nfhz;bUe;j kdpjd;> fdpAk; fpoq;Fk;
cz;L capH thoyhapdhd;. ,iu Njb fhl;bNy miye;J jpupeJ
;
nfhz;bUe;j tpyq;Ffs; NghyNt mtDk; mYg;gpd;wp miye;J
nfhz;bUe;jhd;. mjdhy; tpyq;fpdj;jpd; rhayhdJ kdpjdplk;
xl;bf; nfhz;lJ. mstplw;fupa ngupa fhdfj;jpy; Rw;wpj;jpupe;J
nfhz;bUe;j kdpjDf;F tpyq;fpdj;jpdhy; NeHe;j ,d;dy;fs;
xd;wy;y gythk;. tpyq;fpdj;jpy; XH Mz; ,dkhdJ jkJ
td;GzHr;rpiag; ngz;zpdj;NjhL gfpHe;J nfhs;Sk; Nehf;Fld;
tPupakpf;;f epiyapy; gha;e;J te;jNghJ mjd; Ntfj;ijf; fz;l
kdpjd; jpLf;fpl;Lj; jd; mUfpNy te;jNghJ jhd; ngz; ,d;g
191
czHthdJ mtdplk; XH ,dk;Gupahky; njhw;wpf; nfhz;lJ

vdyhk;. mjd; gpwFjhd; ngz;zpd; JizNahL tho tpUk;gpdhd;.
,aw;iff; fhl;rpapy; tpyq;F

,aw; i fNahL thoj; njhlq; f patd; kdpjd; . ,e; j
,aw;ifaplkpUe;Jjhd; tho;fi
; fiag; Gupe;J nfhz;lhd;. jhtuk;>
kuk;> Gog;g+rr
; p> tpyq;F Kjypa ,aw;ifNahL ,ize;j xt;nthU
nghUSk; mtDf;Fg; gy;NtW epiyapy; gad;gl;L te;jd. gwitiaf;
fz;lhd; tpkhdk; gilj;jhd; vd;gJ $l kdpjd; ,aw;ifapl
kpUe;J fw;Wf; nfhz;l gupkhzj;ijNa czHj;Jfpdw
; J. mq;qdk;
fhL> kiy vd;w ,lq;fspy; Rw;wpj; jpupe;J nfhz;bUe;j tpyq;fpdq;
fsplKk; kdpj czHTfs; rpy fhzf;fplf;fpd;wd.
ifikAa;ahf; fhkH ke;jp

FWe;njhifapy; ,uTf;Fwp te;J ePq;Fk; jiykfidj;
Njhop vjpHepd;W tiuT flhajhf tUk; ghly; xd;W ,lk;
ngw;Ws;sJ. ,jidg; ghbatH fUj;Njhs; futPudhH vDk;
rq;ffhyhg; GytuhthH. ,jpy; ngz; Fuq;fpd; ifikj; JaH
fhl;lg;gl;Ls;sJ.
kdpjHfsplk; Njhd;Wk; gpupTfs; gy. rpy gpupTfs; neQ;irj;
njhLk;. rpy gpupTfs; neQ;ir RLk;. fhjy;> el;G> el;GwT Nghd;w
epiyfspy; gpupT NeUk;NghJ tUfpd;w Jd;gj;jpd; Mw;whikiar;
nrhy;yp tpsf;fplyhfhJ. mjid mDgtpjj
; tHf;Fj; jhd; njupAk;.
,g;gpupTfs; ,Uf;Fk; NghJ typgg
; ijtpl> ,wf;Fk; NghJ mjhtJ
,e;j cyif tpl;Nl gpupAk; NghJ tUk; cs;sj;jpd; mjpHTfis
Mw;wyhfhJ. MWjy; $wTk; ,ayhJ. mjpYk; capUf;Fapuhfg;
gofpNahH gpupitj; jhq;fpf; nfhs;tJ kdpjdhy; kl;Lkpd;wp
tpyq;fpdhYk; KbahJ.
'nry; y hik cz; N ly; vdf; F iu kw; W epd;
ty; t uT tho; t hHf; Fiu"
vd;Dk; Fwl;ghthy; fhjyd; gpupit ,we;jjw;Fr; rkkhff;
fUj epw;Fk; fhjypapd; kdg;ghq;if mwpa KbfpwJ. fhjyidr;
rhjhuzkhfg; gpupa NeHe;jjw;F ,e;j epiynad;why;> ,t;Tyif
tpl;Nl gpupe;J NghFk; fztdpd; ,wg;gpid vg;gbg; ngz;kdk;
192
jhq;fpf; nfhs;Sk;? vdNt rq;ffhyr; r%f tof;fj;jpy; ,Ue;J

te;j ifikj;Jaiu Mz;Fuq;F ,we;jikahy; mg;gpupTj; Jaiug;
nghWf;fkhl;lhj ngz;Fuq;F jdf;Fg; gpwe;j Fl;biaj; jd;
Rw;wj;jhuplk; xg;gilj;J tpl;Lj; jd; fztdhd Mz;Fuq;Fk;
Nghd ,lj;jpw;Nf jhDk; Ngha; tpLfpd;wJ.
,f;fhl;rpia>
'fUq; f z; jhf; f iy ngUk; gpwpJ cw; n wdf;
ifk; i k ca; a hf; fhkH ke; j p
fy; y h td; g wo; fpisKjy; NrHj; j p
Xq; F tiu mLf; f j; J g; gha; e ; J apH nrFf; F k; "
vd;Dk; ghly; tupfshy; czuyhk;.
fs;sj;jpd; Cr;Rk; fiykhd;

gjpndz;fPo;f;fzf;fpy; mfj;Jiwr; rhHe;j E}y;fSs;
xd;W Ie;jpiz Ik;gJ| MFk;. Md;gpd; Ie;jpizf;Fk; Ik;gJ
ghly;fis cilajhy; Ie;jpiz Ik;gJ vd;W miof;fg;gLfpwJ.
,jid ,aw;wpatH khwd; nghiwadhH MthH. ,g;gFjpapy; ,uz;L
khd;fspd; md;Gf; fhl;rp ,lk; ngw;Ws;sJ.
khdpl tho;tpd; ,d;wpaikahjJ md;G. ,e;j md;G vYk;Gk;
NjhYk; rijAk; ,uj;jKk; euk;Gk; nfhz;Lg; gilf;fg;gl;l kdpjDila
midj;J czHr;rpfSf;Fk; mbg;gilahdJ. thOk; kdpj r%fj;ij
kdpj Neaj;Jld; fl;bg; gpzpf;Fk; rf;jp md;gpdhNyNa KbAk;.
md;gpd; mtrpaj;ij typapWj;j te;j ts;StH>
'md; g pd; topaJ capHepiy m/jpyhHf; F
vd; G Njhy; NghHj; j clk; G "
vd;W Fwpg;gpLtH.
cz;ikahd md;ig ntspg;gLj;Jk; #o;epiyfs; ,d;dJ
vd;gJ tiuaWf;fyhfhJ. mJ vg;nghONjDk; tUk;. fly;
miyiaAk; mlf;fyhk; ngUq;fdiyAk; mizf;fyhk;. Mdhy;
md;ig mlf;fTk;> mlf;fp itf;f epidf;fTk; KbahJ. ,jid>
193
md; g pw; F k; cz; N lh milf; F e; j ho; MHtyH

Gd; f zP H g+ry; jUk; "
Vd;Dk; jpUf;Fws; fUj;J nka;g;gpf;Fk;.
gpba+l;bg; gpd; cz;Zq; fspW

rq;f ,yf;fpak; vl;Lj;njhifapy; mfE}yhff; fUjg; ngWtJ
fypj;njhif> jpizf;Fk; xUtuhfg; ghbapUf;Fk; ,j;njhif
E}ypd; gl;baYs; ,lk; ngWtdthFk;. ghiyj;jpiziag; ghLtjpy;
ty;ytuhd ngUq;fLq;NfhTk; xUtH. ,tH ahidf; FLk;gj;jpd;
fhl;rpia tpsf;Fk; ghly; xd;iw Fwpg;gpLfpd;whH.
fhLfs; ghiyahf khwptpl;l fhyj;jpd; NghJ xU ahidf;
FLk;gk; xd;W mg;ghiy topapy; gpuNtrpjj
; J. Mz;> ngz; kw;Wk;
Fl;b ahidfshdJ mt;twl;rpAila epyj;jpNy epwf
; Tk; epoypdw
; p>
gUfTk; ePupd;wp> gupjtpj;jthW jq;fsJ gazj;ijj; njhlHe;jd.
mg;nghOJ rw;Wk; vjpHghuhj epiyapy; mitfspd; vjpNu ePH
fz;zpy; gl;lJ. ePiuf; fz;l Fl;bahid clNd mtrukhf ePH
gUfpaJ kl;Lkpd;wp vQ;rpa ePiuf; Fjpahky; Nghl;L Fog;gp
tpl;L te;jJ.
,sq;fd;W gak; mwpahJ vd;gJ Nghy mjd; nray; ,Ue;jJ.
Fl;bia mLj;Jg; ngz; ahidAk; Fbj;j gpwF> ,tw;iwnay;yhk;
nghWikahf Xukhf epd;W ghHj;Jf; nfhz;bUe;j Mz;ahid
filrpahf ePH gUfr; nrd;wJ. ,j;jifaf; fhl;rpiag; Gytd; mf;fhy
kdpjdpd; FLk;g tho;fi
; fapd; gpd;dzpNahL Fwpg;gpl;bUf;fpd;whd;
,jid>
'mbjhq; F k; mstpd; w p moyd; d ntk; i kaha;
fbaNt fdq; F oha; fhnld; w hH mf; f hl; L s;
Jbabf; fae; j iy fyf; f pa rpd; d P i ug;
gpba+l;bg; gpd; cz;Zq; fspnwdTk; ciuj;jdNu"
vd;Dk; ghly; tupfshy; czuyhk;.
jd;dpoiyf; nfhLj;jspf;Fk; fiykhd;
'tpl;Lf; nfhLg;gtHfs; nfl;Lg; Nghtjpy;iy" vd;gJ
ek; Kd;NdhH nrhd;d gonkhop.
194
,t;tbg;gilapy; tho;tpy; tplL

; f; nfhLj;Jg; NghFk; jd;ikiag;
ngw;w xUtDf;F ahnjhU jPq;F> gif tuhJ. ,g;gz;Gilatd;
r%fj;jpy; kjpff
; g; ngWthd;. ,g;gz;G r%fj;jpilNa njhlHGila
kdpj tHf;fj;Jf;F kl;Lkpd;wp tpyq;fpdj;Jf;Fk; mJ nghWe;Jk;.
mjpYk; jdpkdpj tho;tpNy FLk;gk; vd;w epiyapy; ghHf;Fk;
NghJ Mz;> ngz;Zf;F kpfTk; mtrpakhfpwJ.
'fy; k pir Nta; t hlf; fidfjpH njUjyhy;
Jd; d Us; jifaNt fhnlhd; w hH mf; f hl; L s;
,d; d poy; ,d; i kahd; tUe; j pa klg; g pizf; F j;
jd; d piof; nfhLj; j spf; F k; fiy> vdTk;
ciuj; j dNu"
vd;Dk; rq;f ,yf;fpakhfpa fypj;njhifg; ghlypNy ,U
khd;fspd; fhl;rpapdhy; mf;fUj;J typAWj;jg;gLfpwJ.
nfhba ntg;gk; epiwe;j ghiy epyj;jpNy md;ig mbkbapy;
fl;bf; nfhz;L miye;J jpupe;J Mz;khDk; ngz;khDk;
mt;ntg;gj;ijg; nghUf;fkhl;lhJ jpifj;J epw;fpd;wd. ,jpy;
fUTw;w epiyapy; ,Ue;j ngz;khd; kpfTk; mtjpAw;W epd;W
nfhz; b Ue; j epiyikia czHe; j Mz; k hd; vt; t pj
kukl;ilfSk; ,y;yhjpUe;j ntl;l ntspr;rkhd mg;gFjpapy;
jhd; thbdhYk; jd; Jiz thlf;$lhJ vd;Dk; vz;zj;Jld;
jd;dpio mjw;F nfhLj;J cjTfpd;wJ.
MfNt> khdkhfpa mt;tpyq;fplk; fz;l me;jj; jpahf
czHT kdpjdplKk; kyUk; Kfj;jhd; vLj;Jiug;ghd; Ntz;b
rq;fg; Gytd; ghbapUg;gJ <z;L czuw;ghyhJ.
,jd; top ,d;ndhU rpej
; idAk; $wyhk;. ,d;iwa FLk;g
tho;tpy; kidtpiag; Gupe;J nfhs;shJ mtis thl;b tiff;
fpd;w fztd;khHfs; ,r;r%fj;jpy; epiwa cz;L. mtHfs;
,d;gnkd;why; jhk; mDgtpj;Jk; Jd;gnkd;why; mij mtsplk;
tplL
; tplL
; xJq;fp epww
; Yk; cz;L. vdNt ,k;kdepiy ,y;ywj;jpy;
<LgLk; Mz;> ngz; ,UghyUf;Fk; ,Uf;ff; $lhJ vd;Dk; khdplg;
ghHitia gjpT nra;Js;sik <z;L Nehf;Fjw;FupaJ.
195
40. rka tho;tpy; flTs;

Kidth;. R.Kg;gplhjp vk;.V.gpvr;b.>
jkpoh; rka kuGfis eak; g l vLj; J iug; g jhf
,f; f l; L iu mikfpwJ.
- gjpg; g hrpupaH
Kd; D iu:
cyf ehLfspilNa Md;kPf vOr;rpapd; tuyhw;wpy;
xg;Gah;T ,y;yhj epiyapid Nktp kpsph;tJ ghujkhFk;. mjpfhu
kw;Wk; mlf;Fthj mikg;GfSf;F ,lk; nfhLf;fhkYk; jilapyy
; hj
Mde;jg; Nghpd;gg; ngUikNahLk; jd;dpfhpy;yhj; JzpNthLk;
Md;kf
P j; Njhl;lj;jpy; <Lgl;lr; rhd;Nwhh; ngUkf;fs; jhd; czh;ej
;
,iwTzh;tpidAk; ,iwrhh;e;j ek;gpf;iffisAk; jk; ghly;
fshYk; ,irNahL ,iae;j Mly; ghly; KiwfshYk; rka
tho;tpy; ,iwtdpd; njhd;ikg; ngUikapid kf;fs; Kd; vLj;J
,ak;gp kf;fis rka topay; flTs; topghl;bw;f;F ,l;Lr;
nrd;wdh;. ,j;jF rpwg;G epiy mile;Js;s flTspy; kdpj kdk;
ngw;Ws;s cah;epiyapid ,f;fl;Liu top mwpayhk;.
Gwr; rkaf; flTs;:

,y;ywj;jpw;F vjph;g;G ,irf;f vjph;g;G Mly; ghly; fiy
kWg;G Mil kw;Wk; czT ,d;wpa tho;tpay; Kiwikfs;
Nghd;w gy fhuzq;fshy; Gwr; rkaq;fshff; fUjg;gl;l rkzk;
kw;Wk; ngsj;jk; rKjhaj;jpy; tPor
;r
; p epiy mile;jd. ,t;to
P r
; r
; pid
196
jq;fs; rkaq;fSf;F rhjfkhfg; gad;gLj;jpa irt ehad;khh;fs;

kw;Wk; itzt Mo;thh;fs; Nghd;Nwhh; jj;jk; rkaf; flTs;fSf;F
cz;lhd jdpj;Jtkhd Nfhl;ghLfis jj;jk; ghly;fs; top
ntspg;gLj;jpdh;. mjhtJ 'rptd; cikNahL ghfdhf cs;shd;".
vd;W irt rkaf; Futh;fSk; jpUkhy; jpUkfis tyg;gf;f neQ;rpy;
itj;Js;shd; vd Mo;thh;fSk; ghRuq;fs;%yk; vLj;Jf;fhl;bdh;.
irt itzt flTis jdpjj
; dpj; nja;tq;fs; my;y. ,uz;Lk;
xNu nja;tq;fs; jhd; vdTk; mjhtJ 'mhpAk; rptDk; xd;W
mwpahjtd; thapy; kz;Z". vd;gJ khjphpahd epiyg;ghLfSk;
kf;fs; kdjpy; epiyapid vLj;J ,ak;gpaJ.
KUf topghL:
FwpQr
; p epyf; flTshfTk; jkpof
; ; flTs; vdTk; rptghh;tjp
Njtpapd; ike;jd; KUfd; vdTk; irt rkaf; flTspy; xUtd;
KUfd; vdTk; fe;jf; flTis xU tiuaiwf;Fs; mlf;fpdhh;fs;.
Nkyhy; 'r];bapy; tpujk; ,Ue;jhy; mfg;igapy; Foe;ij jq;Fk;".
vd;w gonkhopfs; ngz;fis KUf topg;ghl;bw;f;F mijj;Jr;
nrd;wdh;. gy;NtW tifg;gl;l ,yf;fpaq;fs; KUfidg; gw;wpa
ngUikapid vLj;Jf; fhl;bdhYk; mjpy; jdpj;JtkhdJk;
fy;yhh;fF
; k; fw;wth;fF
; k; ey;yh;fF
; k; nghy;yhh;fF
; k; ty;yhh;fF
; k;
khl;lhh;f;Fk; tuk; mspf;Fk; tukhf tsq;Ffpwhh;. vd;gijj;
jpUKUfhw;Wg;gil E}ypy; %yk; ef;fuP h; rpwg;ghf vLj;Jiuj;Js;shh;.
nghUs; moFk; czh;rr
; p NtfKk; ,ir eaKk; xUNrug; ngw;w
jpUKUfhw;Wg;gil E}y; cyfpy; cs;s midtUk; tpaf;Fk;
gbahfTk; gyuhYk; Gfog;gl;lJkhd xU E}yhfTk; rpwg;G
ngw;W jpfo;fpwJ. NkYk;
'khNahd; Nka fhLiw cyfKk;
NrNahd; Nka iktiw cyfKk;
Nte; j d; Nka jP k ; G dy; cyfKk;
tUzd; Nky ngUkzy; cyfKk;
Ky; i y FwpQ; r p kUjk; nea; j y; vdr;
nrhy;ypa Kiwahy; nrhy;yTk; gLNk"
vd;ghh; njhy;fhg;gpah;.
197
(nghUs;-2)
njhd;Wj;njhl;L jkpoh; cs;sj;jpy; nfhY tpw;wpUf;Fk;

nrt;Nts; tlGyj;jpy; rpt FkhudhfTk; NjtNrdhjpgjpahfTk;
nja;thid kzhydhfTk; MWKfdhfTk; cUnfhz;l Fkuf;
flTSld; rq;f fhyj;jpw;f;F Kd;Ng If;fpakile;Jtpl;lhd;.
NkYk; jpUr;nre;J}hpy; ts;sp kzhsdpd; MWKfq;fSk;
,JNghy MWj;jyq;fspYk; KUfg;ngUkhdpd; fhl;rp eyd;fSk;
mbahh; ngUikfs; mbahUf;F KUfd; mUSk; ghq;F Kjypa
gy epfo;TfSk; ef;fPuhy; vLj;Japak;gg;gl;lJ.
rpt topghL:
rptid jiyik nja;tkhfg; Nghw;wp mthplk; gf;jp
nfhz;nlhOFk; newpia njspthf vLj;Jiuf;fpwhh;. RNtjh];
tpju cgepljk; mq;fpqn
; fdhjgb vq;Fk; epiue;j rptDf;F tbT
VJk; ,y;iy vd;W Gfd;W mtiug; guk;nghUshf rpj;jupf;fpwJ
me;j cgepljk;. mNjNghjpy; mtNu Njth;fSf;F Njtdhd
kNfRtud; vd;Wk; me;j cgepljk; rhw;WfpwJ. mtiu jtj;jhy;
milayhk;. gf;jpNahL nra;ag;ngWk; topg;ghl;lhYk; milayhk;.
rpt fjpapd;wp NtW nry;fjpapy;iy. rptg;gf;jpNahL FUgf;jpAk;
rptnewp czh;Tf;F Kd;dpiyj;Njit.
,r;rpt topghL fpuhkq;fspYkpUe;J efuj;jhh; tiuapYk;
midtuhYk; Vw;Wf;nfhs;sf;$bajhfTk; Nghw;wg;glf; $baJkhfTk;
tpsq;fp tUtjpid ehk; mwpe;Jf; nfhs;s KbfpwJ.
itzt topghL:
irt rka flTshd rptgpuhid mLj;J itztr; rkaj;ijr;
rhh; e ; j KOKjw; flTshfTk; jpUkfspd; fztuhfTk;
ghw;flypy; Japy;gtWkhd flTs; fz;zd; Mthd;. ,tiug;
gw;wpaf; fijfs; gy;NtW jsq;fspy; toq;fg;gl;L tUfpwJ.
Mhpa nkhopapy; 'fpU\;z" vd;Dk; nrhy; fWg;G vd;W
nghUs;gLk;. rpeJ
; ntspapy; fpU\;zDf;F fUepwf; flTs; vd;W
ngah; mike;jpUf;fyhk;. NkYk; fpU\;ziug; gw;wp ahjt Fyj;jpy;
cjpj;j tRNjtd; kfdhd thRNjtDk; fpU\;zNd vd;gJk;
gz;ila kughFk;.
198
gf;jp
,af;fk;
njd;dfNk gf;jpapd; gpwg;gplk; vd;gJ midj;J jug;gpYk;

Vw;Wf;nfhs;sf; $bajhFk;. Mo;thh;fSk; ehad;khh;fSk; guj
fz;lj;jpy; gf;jp ,af;fj;ijj; Njhw;Wtpj;J flTsuJ rf;jp
ntspg;ghl;L epiyapid kf;fs; Kd; vLj;Jf;fhl;bdh;.
ehad; k hh; f sJ Njhthu jpUthrfKk; Mo; t hh; f sJ
jpt;tgpuge;jq;fSk; vspa jkpopy; mike;J gbg;gth; kdjpid
fspg;gilar;nra;jJ. 'Kj;jkpOk; ehd;kiwAk; Mdhd; fz;lha;".
vd;W ghb ehd;F Ntjj;Jf;Fk; epfuhf Kj;jkpOf;Fk; ,iwik
fw;gpf;fpwhh; mg;gh; mbfs;. 'ehOk; ,d;dpirahy; jkpo; gug;Gk;
Qhdrk;ge;jd;". vd;ghh; Re;juhh;.
njhopy; gphptpid mbg;gilapy; Njhd;wpa rhjp Kiw Vw;wj;
jho;T ghuhl;Lk; rKjha Vw;ghlhf tsh;eJ
; nfhLik ,aw;Wjiy
rhbaJ gf;jp ,af;fk;. Mz;ltdJ rd;dpjhdj;jpy; midtUk;
rkk;. vd;W rhw;wp rKjhak; guhkhpjj
; rpWikia vjphj
; J
; gf;jp
newpr;rhh;e;j newpfNshL kpfr; rpwg;Gw;W tpsq;FfpwJ gf;jp
,af;fk; vdyhk;.
KbTiu:
rhd;Nwhh; ngUkf;fs; jhk; czh;e;j ,iwAzh;tpidAk;
,iwrhh;e;j ek;gpf;iffisAk; ghly;fs; %ykhfTk; ,irNahL
,iae;j Mly; ghly;fs; thapyhfTk; kf;fis rka topapy;
<LghL nfhs;sr; nra;jdh;.
199
41. gl;bdg;ghiyapy; ctikfs;

jpUkjpg.Nyhfhk; g hs;
vk; . V.>vk; g py; . >

Nf.v];.Mh; kfsph; fiy mwptpay; fy;Y}hp
jpUr;nrq;NfhL - 637 215
,aw; i f vopy; nfhQ; R k; ctikfisg;
gl; b dg; g hiy top tpsf; f pr; nry; f pwJ ,f; f l; L iu
- gjpg; g hrpupaH
Kd; D iu
jkpo; kf;fspd; rkak;> gz;ghL> murpay;> nghUshjhuk;
Mfpatw;wpd; tuyhw;Wf; fUT+ykhf jpfo;tJ gj;Jg;ghl;L>
,tw;Ws; tQ;rpg;ghly;fshy; Md njhd;ikAk; neLikAk; kpf;f
,yf;fpak; gl;bdg;ghiy MFk;. ,J 'tQ;rp neLk;ghl;L" vdTk;
miof;fg; ngWfpwJ. gz;ila Gyth;fs; ctikNahL ,iae;j
ghly;fisg; Gide;Js;sik rq;fg;ghly;fSf;F kpFe;j rpwg;G
Nrh;f;fpd;wJ. gl;bdj;ijr; rpwg;gpj;Jf; $Wk; gl;bdg;ghiyapy;
ctikia Muha;tjhf ,f;fl;Liu mike;Js;sJ.
ctik
Ghpahj xd;iwg; GhpeJ
; nfhs;s cjTtJ. Xd;NwhL kw;nwhd;iw
xg;gplL
; f; $WtJk; ctik. Ctik tpsf;fKk;> njspTk; juf;$baJ.
Gz;G> njhopy;> gad;fhuzkhf xd;whfTk; gythfTk; tUk;
nghUNshL nghUs; ,iae;J tUtJ ctikahFk; vd;gh;.
'tpidgad; nka; cUvd; w ehd; N f
tif ngwte;j ctikj; Njhw;wk;"
(njhy; ct 1)
vd;w ctikapd; gaidj; njhy;fhg;gpah; tpsf;Ffpd;whh;.
200
Fjpiufs;
ckzh;fspd; glFfs; cg;gfopapy; cs;s jwpfspy;
thpirahff; fl;lg;gl;bUg;gJ. fl;Lj; jwpapy; Fjpiufs; gpzpf;fg
g
; l;bUg;gJ Nghyf; fhl;rpaspg;gjhff; gl;bdg;ghiy Fwpg;gpLfpwJ
,jid
'ney; n yhL te; j ty; t ha; g ; g/wp
Gizepiyg; Gutpapd; midKjy; gpzpf; F k; "
(g.gh 30> 31)
vd;w thpfs; %yk; mwpa KbfpwJ.
ehs; k P d ;
Gfhh; efhpy; fhzg;gLk; cah;e;j fiufisf; nfhz;l
ngha;ifapd; tbtk;> Mfhaj;jpy; jpqf
; isr; Nrh;eJ
; tpsq;Fk; kfk;
vd;Dk; ehs;kPdpd; tbtk; Nghd;W cs;sjhff; $wg;gLfpwJ.
'kio eP q ; f pa kh tpRk; g py;
kjpNrh; e ; j kfntz; k P d ;
cUnfO jpwy; cah; Nfhl; l j; J
KUF mkh; G+ Kuz; fplf;if
thp mzp Rlh; thd; ngha;if"
(g.gh 34> 38)
,q;F kjp ngha;iff;Fk;> kf ntz;kd

P ; ngha;ifapd; fiuf;Fk;
ctikfshff; $wg;gl;Ls;sd.
ahid
Gfhh; efhpy; NrhW tbf;Fk;NghJ xOFk; fQ;rp MWNghy;
gutp XLk;. mjid cz;z tUk; fhisfs; jk;Ks; Nkhjpf; nfhs;
tjdhy; mf;fQ;rp Nrwhf khWk; gpd; NrW fha;ej
; mjd; Jfs;fs;
Xtpaq;fs; jPll
; g;gl;l khlq;fspd; Nky;gbAk;. ,k;khlq;fs; GOjpiaj;
jd;Nky; G+rpf;nfhz;l ahidNghyf; fhl;rpaspf;Fk; ,jid
'eP W Mba fspWNghy
NtWgl; l tpid Xtj; J
ntz; N fhapy; khR Cl; L k; "
(g.gh 48-50)
vd;w ctikapd; %yk; cUj;jpuq;fz;zdhh; tpsf;Ffpwhh;.
201
Nfhs; k P d ; f s;
Gfhhpy; mfd; w kd; w j; j py; Ml; L f; f plha; f s; kw; W k;
nfsjhhpg; gwitfs; Mfpatw; i wj; jj; j k; ,dj; J ld;
Nkhjtpl;Lg; Nghh;Ghpar; nra;Ak; tpisahl;L elj;jg;gLk;.
Mjidf; fhzg; gyUk; xd;W$Lk; fhl;rpf;F ePy epwj;ijAila
Mfhaj;jpy; tykhf vOe;J nry;Yk; ehd;kd
P f
; Sld; $b epw;Fk;
Nfhs; kPd;fs; ctikahf;fg;gl;Ls;sd. ,jid
'ehs; k P d ; tpuhma Nfhs; k P d ; Nghy
kyh;jiy kd;wj;Jg; gyh; cld; FoP,;"
(g.gh 68-69)
vd;w thpfs; czh;j;Jfpd;wd.
nre;epw Nkfk;
fhtphp MW flypy; fyf;Fk; fhl;rpf;F fhpa kiyiar;
Nrh;e;j nre;epw Nkfk; ctikahff; $wg;gLfpwJ.
'khkiy mize; j nfhz; % g; NghTk; "
(g.gh 95)
flypd; fhpa cah;ej

; miyfs; kPJ rpte;j Mw;W nts;sk;
guTk; fhl;rp kiykPJ Nkfq;fs; guTtijg; Nghy; Njhd;Wk;.
fjputd; Njhpy; G+l; l g; g l; l Fjpiufs;

Gfhh; efhpy; gz;lfrhiyapy; ,Ue;J Vw;Wkjp nra;ag;gLk;.
nghUs;fSf;Fk;> ,wf;Fkjp nra;ag;gLk; nghUs;fSf;Fk; Rq;fk;
tpjpf;fg;gLk;. mr;Rq;fr; rhiyfspy; fhty; Ghpgth; Nrhk;gYld;
fisg;Gk; ,y;yhky; Rq;fk; nfhs;tjw;F fjputdpd; Njhpy; G+ll
; g;
gl;l Fjpiufs; ctikfshff; fhl;lg;gl;Ls;sd. (gh 120-23)
kiy ePh; flypy;guTjy;

mse;J $w ,ayhj mstw;w nghUs;fs; Gfhh; efuj;
njUf;fspy; gz;lrhiyfspy; Ftpe;jpUg;gjw;Fk; mit flypy;
nry;Yk; kuf;fyq;fspy; Vw;wg;gLtjw;Fk;. Nkfq;fs; kiof;fhyj;jpy;
,ilawhJ nra;Ak; njhopy; ctikahff; $wg;gl;Ls;sJ.
202
khdpd; Njhw; w k;
gz;lf rhiyapy; nghjpfs; mLf;fpa Nghh;fspy; Mz;
eha;fSk; Ml;Lf;fplha;fSk; Vwpf; Fjpj;J tpisahLtJ. kiyg;
gFjpfspy; jhtp XLk; tUil khdpd; Njhw;wk; Nghy; tpsq;Fk;.
(gh137-139)
kiyAk;> fhe;js;; kyUk ;

khlq;fspy; ,Ue;J kfsph; if$g;gp tzq;Fk;. fhl;rp> kiy
fspy; fhe;js; G+jj
; J Nghy Njhw;wk; mspff
; pwJ. (gh 153. 154)
khlj;Jf;F kiyAk;> kfsphpd; iffSf;Ff; fhe;jSk; ctikahf;fg;
gl;Ls;sd.
KbTiu
Gyth;fs; jhk; nrhy;yf; fUJk; nghUisr; rpwg;ghfr;
nrhy;tjw;Fg; gad;gLj;Jk; cj;jpfspy; ctikAk; xd;W
mt;ctikiaf; fbaY}h; cUj;jpuq;fz;zhh; gl;bd;ghiyapd;
kpfr; rpwg; g hff; ifahz; L s; s dh; vd; g J ,jd; %yk;
GydhfpwJ.
203
42. njhz;b - mk;%td; - kPsg

; hu;it
Kidth; k.NyhNf]; t ud
ud;
vk; . V.>vk; g py; . >gpvl; . >gpvr; b .>
jkpo; - cjtpg; Nguhrpupau;

Nf.v];.uq;frhkpfiymwptpay; fy;Y}up(jd;dhl;rp)
jpUr;nrq;NfhL
,aw; i fia cs; s P l hfg; ghba mk; % tdhhpd; ;
gilg; g hf; f j; jpwDf; f hd rhd; W fis epuy; g l
tifg; g Lj; J fpwJ ,f; f l; L iu
- gjpg; g hrpupaH
njhz;b vDk; efuk; Gytdpd; fUj;J ntspg;ghl;bw;F
vt;tifapy; Jizepd;Ws;sJ vd;gij Iq;FWE}w;wpd; njhz;bg;
gj;J top tpsf;FtJ ,t;Ma;Tiuapd; Nehf;fkhFk;.
njhz; b g; gj; J
Iq;FWE}w;wpd; Gwf;fl;likg;gpYk; mff;fl;likg;gpYk;
Vuhskhd Gjpa Kaw;rpfs; Nkw;nfhs;sg;ngw;Ws;sd. mjpYk;
Fwpg;ghf njhz;bg; gj;jpw;nfd rpwg;Gfs; rpy cz;L
1. me;jhjp eilapy; vOjg;ngw;w rq;f ,yf;fpak; vd;gJ.
mjw;Fr; rhd;whf miktJ njhz;bg; gj;J.
2. ehlfg;ghq;fpy; gilf;fg;ngw;w gj;J.
3. fijAzu;T NkypLfpd;w gj;J
4. Nru kd;diur; Rl;Lfpd;w gj;J.
(Iq;.178)
5. jiytd; jiytpapd; ,aw;ifg;Gzu;r;rp> ,le;jiyg;ghL>

ghq;fw;$l;lk;> ghq;fpau; $l;lk;> tiuTflhTjy; vd;fpw mf
,yf;fzKiwg;gb njhz;bg;gj;J ahf;fgl;Ls;sik.
204
njhz;bg;gj;jpid me;jhjpg; gpd;dzpapy; gilj;jjw;Ff;

fhuzk; Nrudpd; kpf Kf;fpa JiwKfkhd njhz;biar; rpwg;gpjj
; Ny
vdyhk;. mjdhy; jhd; Fl;Ltdpd; ngaUk; ,g;gj;jpy; jtpu;f;f
tpayhjhfpwJ. Mifahy; ,g;gj;jpidg; gilj;jjd; gpd;dzpapy;
murhl;rp rhu;ej
; Kidg;G GytUf;F ,Ue;jpUf;fpwJ vd Cfpf;f
,lKz;L.
njhz; b - Nju; T g; g pd; d zp

khe;ij> nfhw;if> NfhtY}u; Kjyhd efuq;fs; mk;%tdhy;
rpwg;gpf;fg;ngw;wpUe;jhYk; Nrudpd; njhz;b efuk; jdpg;gj;jhfr;
rpwg;gpf;fg;ngw;Ws;sJ. njhz;b FwpjJ
; mk;%tdpd; ghu;itapidf;
fPo;tUkhW Fwpg;gplyhk;.
1) miyNahirAk; njUf;fspy; KoNthirAk; tpsq;Fk; njhz;b.
(Iq;.171)
2) tz;Lfs; xypf;fpd;w Fspu;e;j JiwapidAila njhz;b
(Iq;.172)
3) njhz;bapd; ePuj
; J
; iwapy; Fspu;ej
; ed;ikgaf;fpd;w nea;jy;
kyu; kzk; gug;Gfpd;wJ
(Iq;.173)
4) nja;tk; ciwfpdw
; Fspue
; j
; Jiwaike;Js;s njhz;b efuk;
(Iq;.174)
5) vy;yhr; rpwg;igAk; cila njhz;b efuk;.
(Iq;.175)
6) njhz;b efupy; Gjpjha;g; G+j;j kyupd; kzk; gug;Gjy;

(Iq;.176)
7) xd;wd; Nky; xd;whf tpOk; miyfs; NkhJjyhy; kzy;
gug;gg;gl;L> me;j cau;ej
; fiuiaAila Jiwapy; ePuK
; s;sp
vDk; eWkzk; guTfpd;w njhz;b efuk;
(Iq;.177).
8) nrq;Nfhd;ikAila Fl;Ltd; vDk; Nru kd;dDf;Fupa
njhz;b efuk;
(Iq;.178).
9) fiuapypUe;J nfhz;L ez;L jhf;ftjhy; mjdplkpUe;J
,why; kPdf
; s jg;gpj;jypd; NghJ vOfpd;w ,dpa XirAila
njhz;b efuk;
(Iq;.179)
205
10) gujtu; flypdpd;Wk; gpbj;Jf; nfhzu;e;j nfhOtpa kPdhfpa

cztpid cz;gjw;Fg; gwg;gjw;F typikapy;yhj Kjpu;ej
;
FUF jq;fpapUf;Fk; JiwapidAila njhz;b efuk;
(Iq;.180).
Nkw;$wg;ngw;w nra;jpfSs; njhz;b vDk; efuk; ntspg;
gilahff; Fwpff
; g;gl;bUe;jhYk; njhz;bapd; JiwKfk;> ePug
; g
; ug;G>
kyu;fs;> kPdf
; s; Mfpait kpFjpahf tpje;Njhjg;gl;Ls;sikia
fhztpaYk;. njhz;b vDk; efu tsikiag; ghLtjw;Fj; jdpnahU
gj;J Njitapyy
; hjij NkNyhl;lkhd thrpgG; epiyapy; czuyhk;.
mjhtJ jpiz epiyapyhd gFg;G Kiw ghly;fspy; fUg;nghUs;
fshf milahsk; fhZfpd;w tifapy; jhd; Cu;> efuk;(epyk;)
Ngrg; n gw; w pUf; F k; . Iq; F WE}w; i wg; nghWj; j tiuapy; epyk;
Kjd;ikahf;fk; ngw;Ws;sJ. njhz;b vDk; JiwKfk; Gytd;
rhu;ej
; murpd; kpf Kf;fpa ikakhfj; jpfo;eJ
; s;sjhy; mjidAk;
ghLnghUshff; fUj Neupl;Ls;sJ.
nea;jy; epynkd;gjhy; fly; rhu;e;j epy tUzidfs;
,lk;ngWtjpy; tpag;gpy;iy. nea;jy; epyk; rhu;e;j ghly;fspy;
JiwKfq;fs; ,lk; ngWtJ tof;fk;jhd;. xU JiwKfj;ijf;
nfhz;Nl epyj;ijg; ghLfpdw
; Kiwapaiy Iq;FWE}w;wpy; jhd;
fhztpaYfpwJ. fhuzk; Iq;FWE}w;wpd; mikg;GKiwNa ,j;jifa
jd;ikapy; ,Ug;gJ vdf; fhuzj;ij kpf vspjhf $wptpl
,ayhJ. Vndd;why; Gytd; ,g;gj;jpid kl;Lk; murpay; rhu;e;j
gpd;dzpapy; gilj;jpUf;fpwhd; vd;gJ epidtpy; nfhs;sj;jf;fJ.
Fl;Ltdpd; ngaiug; Gytd; njhz;bg; gj;jpy; Fwpg;gpLtjd;
Nehf;fk; efu Ml;rpiaj; Jfspd; cl;fl;likga kd;dDld;
njhlu;GgLj;jpf; fhl;Ljw;NfahFk;. NkYk; me;jhjpj; njhiliag;
gad;gLj;jp ,g;gj;jpw;Ff; $Ljy; ftdk; nrYj;jpapUg;gJk;
cld;itj;J vz;zj;jf;fJ. Gytd; ,g;gj;jpwF
; kl;Lk; ,t;tsT
Kidg;G fhl;l mtd; rhu;ej
; murpay;> tho;tpay; epiyg;ghNlahFk;.
mNj rkak; ftdr; rpjwypd;wp Vida gj;Jf;fspd; nrwpT
,jpYk; epiwe;jpUg;gijf; fhztpaYfpwJ.
206
mk; % tdpd; gilg; g hf; f j; j pwd;

mk;%tdpd; njhz;bg;gj;J Gwf;fl;likg;gpy; kl;Lky;yhJ
mff;fl;likg;gpYk; Ez;zpa mwpTg;GyikAld; jpfo;e;Js;sJ.
,g;gj;J ,d;iwa fhyf;fl;l rpWfij> ehlfk;> fijahly;> ciuahly;
Kjyhd Gupjy;fSf;Fk; toptFf;fpwJ. mk;%tdpd; Nju;ej
; gilg;
ghf;fj;jpw;Fr; rhd;whf ,g;gj;J mikfpwJ vdyhk;. MfNt
,aw;ifiag; Gfo;eJ
; ghLjy;> mfkuG NgRjy; vd;fpw epiyfisf;
fle;J mk;%td; ,g;gj;jpwF
; Kf;fpaj;Jtk; mspjJ
; s;shu; vd;gij
mwpayhk;.
,aw;ifg;Gzu;r;rp Gzu;e;J ePq;Fk; jiykfd; Maj;NjhL
nry;Yk; jiykfisf; fz;L nrhy;ypaJ.

fz; Japy;fpd;wpiy ,jw;Ff; fhuzk; vd;? vd;W tpdtpa
ghq;fw;Fj; jiykfd; nrhy;ypaJ.

jiykfd; Fwptopr; nrd;W jiykfisf; fz;l ghq;fd;
jd;Ds;Ns nrhy;ypaJ.
Fwptopr; nrd;W jiykfisf; fz;L te;j ghq;fd; mts;
epd;Wop epd;whs; vd;W $wpa top Mz;Lr; nry;yf; fUjpa

jiykfd; jd;Ds; nrhy;ypaJ.
ghq;fw; $l;lk; $b ePq;Fk; jiykfd; ,dp tUkplj;J epd;
NjhopnahLk; tuy; Ntz;Lk; vdj; jiykfl;Fr; nrhy;ypaJ.

jiykfSk; NjhopAk; xUq;F epd;Wopr; nrd;w jiykfd;
,ts; vd;id ,it Nfhlw;Ff; fhuzk; vd;? vd;W Njhopia

tpdtpaJ.
jiykfSk; NjhopAk; xUq;F epd;Wop ,ts; vd;id tUj;J
tjw;F ehd; nra;j jtW vd;? vd;W tpdtpa jiykfw;Fj;

Njhop eifahbr; nrhy;ypaJ.
jiykfd; Njhopia ,ue;J FiwAWthd; nrhy;ypaJ.
Fwpaplj;J te;J ePqF
; k; jiykfidj; Njhop vjpug
; g
; l;L tiuT
flhaJ
jho;e;J tiuaf; fUjpa jiykfidj; Njhop neUq;fpf;
fbjpd; tiua Ntz;Lk; vdr; nrhy;ypaJ.
207
Nkw;fz;l $w;W Kiwfis Nehf;fpd; xd;Nwhnlhd;W

njhlu;GW Kiwia tpsq;fpf; nfhs;syhk;. NkYk; cs;Siwia
kpFjpahf mikj;Jg; ghlg;ngw;w E}y; Iq;FWE}W vd;gJ mwpe;j
xd;W. cs;SiwAk; ,iwr;rpAk; rpwpjstpy; NtWgLj;jpf; fhl;lj;
jf;fJ. vd;whYk; ,iwr;rpg; nghUz;ikAld; ghlg;ngWjy; kpf
mupNjahFk;. ,g;gj;jpy; ,iwr;rp ,uz;L ghly;fspy; (Iq;.177>180)
nghjpe;Jiuf;fg;gl;Ls;sJ.
md;gpd; cr;rj;jhy; jiytd; jdJ eyid ,oe;jjhff;
fUjpj; Njhopia Nehf;fpj; jdJ jtw;wpid tpdTfpd;whd;.
jd;dplkpUe;j gz;igAk; eyidAk; jiytp ngw;Wf; nfhz;lhs;.
vdf;Fupaij ,y;yhky; nra;j mstpwF
; ehd; nra;j gpio vd;dNth
(Iq;.176) njhz;b efupy; Fspue
; j
; Gjpa kyupd; kzk; tPRk; njhbia
cilats; vd;W NjhopiaAk; eaKiuf;fpdw
; hd;. ,jw;F Njhopia
cld;gLj;jpj; jiytpiaf; $l;lj;jpwF
; ,irar; nra;tJ jiytdpd;
Nehf;fk; vd;W xit.R.ciu tiutJ kdq;nfhs;sj;jf;fJ
jiytdpd; Ngr;rpy; cz;ikapUf;ff; $Lk; vd;gijAzu;ej
;
Njhop> jiytpapd; eyidf; fz;ltu; eLf;fKWtJ ,ay;Ng.
m/J jtwd;W vdy; (Iq;.177) vd;W jiytpia cau;j;jpg;
NgRfpwhs;. miyfs; xd;wd; Nky; xd;W tPoj
; yhy; vq;Fk; gug;gg;gl;l
kzw;gug;gpy; ePu;Ks;sp kyuhdJ kzk; gug;gp epw;fpd;wJ.
,j;jifa rpwg;gpw;Filats; jiytp mjdhy; ahtUk; kaq;Fjy;
jtwd;W vd;W mk;%td; njhlu;GgLj;Jfpwhu;.
,dpAk; jiytpia tpLj;J tho;jy; mupJ vd;gijAzu;ej
;
jiytd; Njhopia ehb jdf;F top Vw;gLj;jpj; jUkhW Ntz;L
fpwhd; eae;J eP ey;fhf; fhNy jdf;fhf ,y;tho;fi
; fia Vw;gLj;jpj;
jUkhW Njhopia Ntzbf; nfhs;sy;. (Iq;.178) vd;W Ntz;Lfpwhd;.
,jw;F nrq;Nfhyhl;rpAila Fl;Ltdpd; njhz;b efuk; vd;W
rpwg;gpf;fg;gl;Ls;sJ.
njhz;bf; flw;fiuapy; thOk; ez;lhdJ JiwAs; thOk;
,why; kPidj; jhf;Fk; nghOJ Vw;gLfpd;w xyp vDk; ,aw;if
eak; tiuTflhjYf;F cs;Siwahff; ifahsg;gl;Ls;sJ.
jiytpapd; eyd; nflhky; tiue;J nfhs;thahf(Iq;.179) tiuT
flhjypd;wp fhyk; jho;j;Jjyhy; epfotpUf;Fk; ,lu;g;ghl;bidj;
208
Njhop vLj; J iuf; f pd; w hs; . gujtu; nfhzu; e ; j nfhOkP d ;

cztpidf; ftu;jw;nghUl;L gwf;Fk; typikapy;yhj Kjpu;e;j
FUF jq;fpapUf;fpd;w FUF vDk; cs;Siw> Ntw;Wtiutpw;F
top tFf; f hky; tpiue; J tiue; J nfhs; t hahf(Iq; . 180)
vd;gijg; Gyg;gLj;JtjhFk;.
njhFg; G iu
Iq; F WE}w; w pd;
njhz; b g; g j; J Vida gj; J fspypUe; J

mff;fl;likg;G> Gwf;fl;likg;G epiyapy; NtWgl;ljhFk;
mk;%td; njhz;bg;gj;jpidj; jdJ muR rhu;ej

; epiyg; ghl;bid
ntspg;gLj;j vLj;Jf;nfhz;l Gyikj;Jt mwpthFk;

njhz;bg;gj;jpy; cs;s gj;Jg; ghly;fs; thrfu;fSf;F
gug;gg;gLfpd;w Kaw;rpia mk;%td; nfhz;Ls;shu;. mjdhy;

jhd; me;jhjpj; njhilia ,g;gj;jpy; ifahz;Ls;shu;. ,JTk;
xUtifahd muRrhu; Kidg;Ng vd;W fUj Ntz;bAs;sJ.
mk; % td;
mfkuGg; gpd; d zpapy; ,aw; i fr; #oiyg;

ghbapUe; j hYk; njhz; b g; g j; j py; cs; s ghly; f isf;
fUg;nghUs; mikj;jy; vDk; kuigj; jhz;b efu tUzid>
jw; r hu; G muir ntspg; g Lj; J jy; vd; f pw Kidg; G ld;
gilj;jpUf;fpwhu; vd;W fUJjw;F ,lKz;L
mftpyf;fz kuigg; gpd;gw;Wjy;> cs;Siw> ,iwr;rp
gFg;GKiw> me;jhjpj; njhil vd;fpw cl;nrwpTfs; midj;Jk;

mk;%td; vDk; Gytdpd; gilg;ghf;fj;jpwDf;Fr; rhd;WfshFk;.
209
43. jkpo; ,yf;fpaq;fspy; ,aw;if

Kidth; ir.t`pjhnfsrpah vk;.V.>vk;gpy;.> gpvr;b.>
= kPdhl;rp murpdh; kfsph; fiyf;fy;Y}hp>
kJiu-2.
rq; f g; Gyth; f s; > ,aw; i fg; GidTfis
nka; g ; g hLfspy; Gyg; g Lj; j pa
El; k hd nra; j pfis
tifg; g Lj; J fpwJ ,f; f l; L iu
- gjpg; g hrpupaH
rq;f fhyj;jpy; ,aw;if

rq;f fhyk; vd;gJ jkpohpd; nghw;fhyk; MFk;. KbAil
Nte;jh; jkpo; ehl;il Mz;ldh;. mth;fSila Ml;rpapy; mikjpAk;
,dpikAk; epiwe;j #oypy; Gyth;fs; ,aw;ifNahL ,iae;j
tho;f;ifia tho;e;jdh; kf;fs; ftpijfshfj; jk; vz;zf;
fUj;Jf;fis tbj;jdh;. vz;zw;w ,yf;fpaq;fisAk; gilj;jdh;.
kf;fSila gof;f tof;fq;fs;> gz;ghL> Nghd;wit mth;fs;
tho;fpd;w epy mikg;igg; nghWj;Nj mikfpd;wd. me;j
epyj;jpwF
; k; mjidr; rhh;ej
; RoYf;Fk; Vw;g mq;F thOk; kf;fspd;
czh;rr
; pg; ngUf;fpidf; ftpijfshfg; Gyth;fs; vOjpdh;. ,j;jifa
,aw; i fNahL ,ize; j ,yf; f par; rpwg; G f; f isr; rq; f
,yf;fpaq;fspy; czu ,aYk;.
',aw;if" vd;w nrhy; goe;jkpopy; ,ay;G vd;w nghUspy;
toq;fpaJ (md;dp kpUjyFkhhp jhk]; ghpg;ghlypy; ,aw;if :
gf; : 20) nkhop tuyhw;wpy; ,r;nrhy; gy;NtW nghUSilajhf
tsh;e;jJ. (Iq;FW Ehw;Wr; nrhw;nghopTfs; gf; - 34 -35)jkpo;
210
Ngufuhjp jUk; gy nghUs;fspy; nraw;iff;F khwhdJ (Iq;FW

: ghly; vz; : 1: 2-5) vd;w nghUSk; cz;L. nraw;iff;F khwhdjhf
,aw;ifiag; gy mwpQh; tpsf;fpAs;sdh;. ,aw;ifNahL ,iae;j
tho;T jkpoh; jk; ,dpa tho;T! gUt fhyq;fSk;> gpw caphpdq;fSk;
ekJ tho;Tf;Fr; Rit $l;Lk; el;Gk; $Wfs; vd;gijr; rq;f
,yf;fpak; Xtpakhf;FfpwJ. Ik;g+jq;fshfpq epyk;> ePh;> fhw;W>
neUg;G> Mfhak; Mfpait rq;f ,yf;fpaj;jpd; midj;Jr;
rpe;jidapYk; CLUtp epw;fpd;wd.
gwitfSk; tpyq;FfSk; cw;w Njhouha; kf;fs; tho;tpy;
gq;Nfw;fpd;wd. md;gpd; topg;gl;l Itif ,d;g xOf;f epfo;r;rp
fSf;F epyKk; nghOJk; $wpdh;. ,r;nray;fSf;F vopy;
$l;lj; nja;tk; czT> tpyq;F> gwit> kuk;> nrb> nfhb> kyh;> ePh;>
giw> aho;> njhopy; Mfpatw;why; mike;j ,aw;ifr; Roiyf;
fhl;rpahf;fpdh;. Rw;Wg;Gwr;#oy; czh;Tk; xU Nru mike;j cahpa
gilg;GfshFk;. mfj;jpizfSk;> Gwj;jpizfSk; ,aw;ifapd;
ngauhNyNa mike;jd. ,aw;ifiar; rhh;eN; j kdk; ,aq;FfpwJ
vd;gijr; rq;f ,yf;fpak; mWjpapLfpwJ.
rq;f fhyg; Gyth;fs; ,aw;ifNahL ,iae;j tho;f;if
elj;jpdh;. ,aw;ifg; nghUs;fisf; fz;L Muha;e;J mtw;iwg;
gw;wpa Ez;zwpTg; iftug; ngw;wdh;. ,aw;if vopiyNa
,iwahfTk; nfhz;L Vj;jp ,iwQ;rpdh;. ePyj;jpiuf; flypy; Njhd;wpa
Qhapww
; pd; nre;epwf; fhl;rp jkpoh; jk; cs;sj;ij <h;jj
; J. mf;
fhl;rpia ePy kapy; kPJ Njhd;Wk; nrt;Ntshf epidj;J topgl;ldh;.
'cyfk; ctg; G tyNdh; G jphpjU.
gyh; Gfo; QhapW flw; f z; lhmq; F "
vd KUfhw;Wg; gil $WfpwJ.
kf;fs; jhk; tho;e;j epyj;Jf; Nfw;gNt cz;L cLj;J>
Mbg; ghbj; njhopy; Ghpe;jdh;. kuq;fs; mlh;e;j mltpapYs;s
,Uspd; ,aw;if moifj; nja;tkhff; fz;L khNahd; vd
topg; g l; l dh; . ,ilFy kle; i j eg; g pd; i d khNahdpd;
Jiztpahdhs;. fhl;by; kyh;ej
; pUf;Fk; fhahk; g+ mts; epwj;jpwF
;
ctikahapwW
; . xt;nthU jpiz kf;fSk; jkpofj;J ,aw;ifNahL
,iae;j tho;f;if elj;jpdh;. ,aw;ifg; nghUspy; jkf;Fs;s
211
<Lghl;lhy; jhk; cLf;Fk; Mil mzpfyd;fspYk; g+> nfhb. ,iy

Mfpatw;iwg; Gide;J moF ghuhl;lyhapdh;.QhapW> jpq;fs;>
njd;wy;> kyh;fs; Kjypa jdp ,aw;ifg; nghUs; gw;wp Nky; ehl;L
Gyth;fs; NghyTk;> gpwi
; w ehl; ftpQh;fs; NghyTk;> rq;fg; Gyth;fs;
ghbw;wpyh;. ,aw;ifg; Giditj; Jizahff; nfhz;L Gyth;fs;
mwf;fUj;Jf;fisAk; cs;Szh;TfisAk; jk; ghly;fspy; tbj;Jf;
fhl;bAs;sdh;. ,aw;ifg; ghly;fspy; rpytw;iw cs;sthNw
Gidfpd;whh;.
rq;fg; Gyth;fs; ifahz;Ls;s ,aw;if ctikfis Nehf;Fk;
NghJ gaphpdq;fs;> tpyq;fpdq;fs; Kjypatw;wpd; ,ay;Gfis
mth;fs;vj;Jizf; $h;eJ
; Nehf;fpapUe;jpUe;jdh; vd;gJ ngwg;gLk;.
rq;fg; Gyth;fs; kd;gijapd; gytif tho;tpaw; $Wfis ed;F
Muha;eJ
; rpy cz;ikfis tho;tpay; mwq;fisf; fz;lwpej
; dh;.
,aw;ifNahL njhlh;Gila mg;Gyth;fSf;F ,aw;if epfo;rr
; pfNs
mt;twq;fis czh;j;Jjy; Nghy; Njhd;wpd.
ez;bd; fz;Zf;F Ntk;gpd; mUk;gpidAk;> nehr;rpaUk;gpidAk;>
fspw;wpd; Kfj;Js;s Gs;spf;Fj; njWo;f; nfhbapd; kyhpidAk;>
kapypd; cr;rpf; nfhz;ilf;F thifg; g+tpidAk;> FWKaypd;
neLQ; nrtpf;Fj; jhkiu ,jopidAk; ctik $Wth;. %q;fpy;
Kisapw; nghjpe;Js;s ghisf;F khd; nrtpapidAk;> fUk;gpd;
mUk;Gf;Fr; rpidg;gRk; ghk;gpidAk;> Futpd; mUk;Gf;F mutpd;
vapww
; pidAk; nehr;rpapiyf;F kapy; mbapidAk;> Ky;iy mUk;Gf;Ff;
fhl;Lg; g+idapd; gy;ypid ctik $Wth;. ,q;qdk; tpyq;F
gwitapdq;fl;Fg; gaphpdq;fisAk;> gaphpdq;fSf;F tpyq;F
gwitapdq;fisAk; ctik $wpAs;sdh;. ,jdhy; rq;fg;Gyth;fspd;
,aw;if gw;wpa Ez;zwpT njs;spjpd; Gyg;gLfpd;wJ.
mfk;
jiytd; jiytpaplk; $wpr; nrd;wf; fhh;ff
; hyk; te;Jtpll
; J.
jiytd; jiytpiaf; fhzj;Njh; Vwp tUfpwhd;. tUk; topapy;
NrhiyapYs;s kyh;fspy; tz;Lfs; jd; JizAld; ,ize;J
Njd; cz;Zfpdw
; ijf; fz;lhd;. Njhpy; fl;bAs;s kzpNahirahy;
mtw;wpd; ,d;gk; jilg;gLk; vd;gij czh;ej
; mtd; NjhpYs;s
kzpapd; ehtpid ,Oj;Jf; fl;bdhd;.
212
'; g +j; j
jhJz;
kzpeh
nghq; f h; j ; JiznahL tjpe; j

gwit NgJwy; mQ; r p
thh;j;j khz;tpidj; Njud;"(NkyJ 48 : 1-3)
vd;w mfehDhw;Wg;ghly; thpfspd; %yk; fhzyhk;.kiyapNy

xU gf;fk; tz;L Jisj;j %q;fpypd; Jiz topahff; fhw;Wr;
nrd;wjhy; ,dpa ,irnahyp vOe;jJ. fy;iy cUl;b Xb tUk;
kiy mUtpapd; Xirf; Nfl;lJ. Js;sp tpisahLk; Gs;sp khd;fspd;
Fuy; xypAk;> kiyg;g+Q;rhuypy; cs;s tz;Lfspd; hPqf
; hu xypAk;
Nfl;ld. kapy;fs; Njhif tphpj;jhbd. ,k;kiyf;fhl;rpia
mfehDhw;Wg; ghly; thpfs; vLj;jpak;Gfpd;wd. (NkyJ : 25 :
1-3),yt kyh;fs; fPNo tpOe;J fplf;f me;j ,yt kyhpy>; Nfhq;F
kuj;jpd; g+tpdJ Ez;jhJ tpo> mit gtsr; nrg;gpy; nghd; nrhhpeJ
;
fple;jJ Nghy vd;gJ ,ytpd; rpte;j g+> gtsr; nrg;gpwF
; Xg;gplg;
gl;bUf;fpd;wJ. (NkyJ:26:1-2)FUF FuT kyiug; gw;wp rq;fg;
ghly;fspy; $Wk; NghJ fhilapd; fhypy; gpdN; d ,Uf;Fk; Ks;spwF
; f;
Futpd; mUk;ig xg;gpll
; J kpfTk; nghUj;jNkahFk;. (NkyJ 27:1-2)
,t;thwhf mfehDhw;Wg; ghly;fs; ,aw;ifia czh;jJ
; fpdw
; d.
Gwk;
,aw;ifNahL neUq;fpa njhlh;Gila xU GytUf;Fk;
,aw;if epfo;rr
; pfNs mt;twq;fis czh;jJ
; tJ Nghy Njhd;w
Gyth; jpq;fis cw;W Nehf;fpdhh;. mj;jpq;fs; FiwtijAk;>
epiwtijAk;. mbNahL moptijAk;> gpd; gpwg;gijAk; fz;lhh;.
GytUf;F tho;tpy; fz;l Xh; mwj;ij mwpTWj;JtJ Nghy
Njhd;wpaJ. tsh;tJ gpd; ,wf;Fk;. ,we;njhd;W gpd; gpwf;Fk; vd
Gyth; xU ghlypy; $Wfpwhh;. (NkyJ : 49 : 1-1)<ay; Njhd;wpaJk;
mq;Fk; ,q;Fk; Xb rpwpJ nghOJf;Fs; jk; rpwF ,oe;J>
gpd;dh; capiuAk; ,og;gijf; fhz;fpNwhk;. me;j <ay; tho;itf;
fz;l GytUf;F epiyahikf; fUj;J epidTf;F tu
'Ez; g y rpjiy mhpJ Kad; nwLj; j
nrk;Gw; wPay; NghyxU gfy; tho;fi
; ff; FykU NthNu."
(NkyJ : 53 : 2-4)
vd;W ghbAs;shh;. ,t;thNw ,aw;ifg; nghUl;fs; gyg;gy
mwf;fUj;Jf;fisg; Gyth;fl;F epidt+l;bd.
213
ew; w piz
xU Gyth;f;Fj; Njidf; fz;lJk; gz;Gilahh; el;G
,dpik jUk; mwf; fUj;J epidTf;F te;jJ. nghJthfj;
Njidg; gw;wpf; $w Ntz;Lk; vdf;fUjp g+tpw; rpwe;j jhkiuapy;
jhJhjp> eWkzkpf;f re;jd kuj;jpy; njhLj;j ,dpa Njid
ctikahf;fpdhh;.
'jhkiuj; jz; j h JhjpkP k pirr;
rhe; j pd; njhLj; j jP e ; N jd; Nghyg;
Giua kd; w GiuNahh; Nfz; i k"
(NkyJ : 70 : 1-3)
ew;wpizg; GytNuh re;jd kuj;jpy; njhLj;j jhkiuj;
Njid vLj;Jf; $wp el;gpd; ,dpikiaf; $wpAs;shh;.ew;wpizg;
ghly; xd;wpy; ke;jp kiyaUtpahb %q;fpNywp mjd; Edpia
tisj;J Cryhbg; gpd; Ntq;if kyh;fs; Ridapy; tpOkhW
fpisapNywp jd; fLtNdhL $b tpisahbaJ. g+j;Jf;FYq;fpa
Ntq;if kuj;jpy; njhLj;j ,whiyj; NjdPf;fs; nkha;j;jyhy;
frpe;J Njd; xOfp ghiwapd; Fopfspy; jq;fpaJ. mjidf;
Fwr; rpWth;fs; topj;Jg; gUfpdh;. kpQ;rpa kpr;riy kiy tho;
ke;jpapd; Fl;bfs; ef;fpd. (NkyJ : 87 : 1-2)Nkw;$wpathW
ew;wpizg; ghlypy; ,aw;ifiag; gw;wpa ghly;fs; mike;Js;sd.
214
44. etPd vOj;jhsh;fspd; ghh;itapy;

,aw;if
Kidtu; ngh.n[agpufhrk;
vk; . V.vk; . gpy; . >
cjtpg;Nguhrphpah;
,e;J];jhd; fiy mwptpay; fy;Y}hp
Nfhit - 28.
etP d vOj; j hsh; f spd; gilg; G fis Kd; i tj; J
mope; J tUk; ,aw; i fiaf; fhf; f ehk; xd; w pize; J
nray; g lNtz; L k; vd; W $WfpwJ ,f; f l; L iu gjpg; g hrpupaH
Kd; D iu
'ePh; ,d;wp mikah cyfk;" vd;W fgpyh; $Wthh;. ,e;j
cyf ,af;fNk ,aw;ifia Nehf;fp Rod;W nfhz;bUf;fpwJ.
,e;j ,aw;ifapd; nfhilapy; jhd; cyf [Pt uhrpfs; tho;e;J
nfhz;bUf;fpd;wd. mj;jifa ,aw;ifiaf; fhj;jYk; fhj;J
tFj;jYk; ek; flik. cyf ,aw;if tsj;jpy; ek; ehl;bd; gq;F
mstplw;fhpaJ. mj;jifa ,aw;if tsj;ij ehk; gy tpjj;jpy;
mopj;J tUfpNwhk;. ,aw;if tsj;jpd; ,d;wpaikahikiag;
gw;wp ek; tsUk; gilg;ghsh;fs; gy;NtW tpjq;fspy; $wpAs;sdh;.
mit gw;wp tpsf;Ftjhf ,f;fl;Liu mikfpwJ.
gQ;r G+jq;fs; midj;jpd; xl;L nkhj;j ,af;fnk ,e;j
cyfk;. ,tw;wpd; VNjDk; xd;wpd; ,af;fk; jil gl;lhYk; ,aw;ifg;
NguopTfs; epr;rak;. mtw;iwg; NghyNt xt;nthU G+jq;fSk;
xd;nwhnlhd;W njhlh;Gilajhf ,Uf;fpd;wd. xd;wd; ghjpg;G
kw;w midj;ijAk; Klf;FtjhNt ,aw;if mike;Js;sJ.
215
,j;jifa ,aw;ifapypUe;J Njhd;wpait jhd; gy caphpdq;fs;.

me;je;j jl;g ntg;g epiyfSf; Nfw;g caphpfs; jhkhfNt Njhd;wp
kiwe;J tUfpd;wd. me;j ,aw;ifapd; gilg;gpy; gFj;jwpAk;
jpwNdhL gilf;fg;gl;l Xh; caphpdk; jhd; kdpj ,dk;. ,e;j
caphpaplk; rpf;fpf; nfhz;l ,aw;ifahdJ glhjghL gLfpwJ.
,jidj; jhd; ftpQh; xUth;
'kuj; j hy; jhd; MdJ
fhLfis mHpf; F k;
Nfhlhhpg; gpb"
vd;w ,f;ftpijap;y; ,aw;ifia mopf;Fk; kpfg; nghpa rf;jp
ek;kplk; jhd; ,Uf;fpwJ vd;gJ njhpa tUfpwJ. ,g;gb fhLfisAk;
kuq;fisAk; ehk; ehs;NjhWk; mopj;J te;jhy; filrpapy; ,e;j
cyfj;jpy; kpQ;rpapUg;gJ vJ> vd;w Nfs;tp vOfpwJ. mt;thW
kuq;fis mopj;jhy; Vw;gLk; ghjpg;gpid
'kio ,y; i y
Nfhopfspd; cwf; f k;
fyg; i gfs; kP J "
vd;W ftpQh; $Wfpwhh;. vdNt jhd; Nkw;$wpaJ Nghy ,aw;if
xd;nwhL xd;W njhlh;GilaJ. xd;;iw mopj;jhNy kw;w
midj;Jk; mope;J tpLk; vd;gij ,f; ftpQhpd; ftpijfs;
ntspg;gLj;Jfpd;wd. NkYk;
'elf; f pwJ
tptrhak;
Kisg; g hhpapy; kl; L k; "
vd;w thpfs; ,d;iwa #oiy ntspg;gLj;Jtjhf mikfpwJ.
,e;jpah xU tptrha ehL vd;W khh;jl;bf; nfhs;Sk; ehk; ,d;W
mhprpf;Fk; gUg;Gf;Fk; ifNae;Jk; mtyepiyf;F te;J tpl;Nlhk;.
ehSf;F ehs; tpiythrp Vw;wk; Vw;gLtjw;F ehk; xU kpf Kf;fpa
fhuzpahf mikfpNwhk;. cjhuzkhf ,j;jifa Vw;;wj;jpw;F
ehk; nra;Ak; ,op nraYk; xU fhuzpahf mikfpd;wd. gz
Kjiyfshy; rpf;F
; z;l murhq;fk; fhf;fTk; jLf;fTk; Kbahky;
jpzUfpwJ. ,jid ikag;gLj;Jtjhf
216
'rpWtajpy; Mw; w py;

,g; N ghJ Chpy;
tP L fl; l j; j hdh kzy; "
vd;w ,f;ftpij Mw;wq;fiuapy; elf;Fk; kzy; nfhs;isfis
ikag;gLj;Jtjhf mikfpwJ. ,t;thW ehs;NjhWk; kzy;
ms;Stjd; %yk; Njq;;fp epw;Fk; ePiu tPzhf;FfpNwhk;. ,jdhy;
,jNdhL njhlh;Gila tptrhak; ghjpf;fg;gLfpwJ. vJ Njit>
vd;gijNa czuhj kdpjd; mwptpay; Afj;jpy; G+hpj;Jf; nfhz;L
Mbf; nfhz;bUf;fpwhd;. ,jid njhlh;GgLj;Jtjhf
'fy; y hy; mbj; J k;
Nfhgk; ,y; i y
rpZq; f pr; rphpf; F k; Fsk; "
vd;w thpfs; jz;zPhpy;yh mty epiyiar; Rl;LfpwJ. NkNy
cs;s ftpijapy; Mw;iwAk; ,f;ftpijapy; Fsj;ijAk; khRgLj;Jk;
R+oiyg; ghh;ff
; pNwhk;. ,t;thW MW Vhp Fsk; Fl;il vd vy;yh
tw;iwAk; khRgLj;jp tpl;lhy; ve;j caphpdk; ,e;j cyfj;jpy;
thOk;. ,e;j tpopgG; zh;T ,d;Dk; Vd; Vw;gltpyi
; y vd;gJ jhd;
,d;iwa r%fj;jpd; Nfs;tpf;Fwp. ntWk; mwpf;ifapy; mtw;iwf;
fhg;ghw;w KbahJ vd;gij
'kuk; tsh; g ; N ghk;
kio ngWNthk;
vd; W tpsk; g uk;
nra; a g; g l; l
thfdj; j py;
nfhz; L nry; f pd; w dh;
ntl; l g; g l; l kuq; f is"
vd;w thpfspd; %yk; murhq;fk; ntWk; mwpfi
; f ,y;yhky; fLikahd
rl;lj;jpd; %yNk mtw;iwg; ghJfhf;f KbAk; vd;fpwhh;.
Aj;jk; Kbe;jgpd; me;jg; Nghh;ff
; sk; vg;g
; b ,uj;jKk; clYk; rpjwpa
Nfhuf; fhl;rp njd;gLfpwNjh mNjNghy kio nga;ahky; kuq;fs;
midj;Jk; fhLfspy; twz;L epw;Fk; fhl;rpia nrhy;fpwJ.
217
kuj;ij mopf;f rpy epkplk; NghJk;. Mdhy; mj;jifa kuj;jpid

Mf;f gy fhyk; Njitg;gLk;. ,aw;ifNahL njhlh;Gila
midj;ijAk; fhf;f vJ %yk; vd;gij ehk; fz;lwpe;Jk;
fhf;fj; jtwp tpl;Nlhk;.
'Gwg; g L
xUtdha; my; y
Nghh; g ; g ilaha;
,dp vjph; f hykhtJ
,dpjhfl; L k;
re; j jpfshtJ
re; N jhrg; g l; L k; "
vd;w thpfs; ,aw;ifia fhf;f kPz;Lk; xU Gul;rp vo Ntz;Lk;
vd;fpwhh;. vg;gb Rje;jpuj;jpwf
; hf ehk; midtUk; xd;wpize;NjhNkh
mNj Nghy ,aw;ifiaf; fhg;gjw;fhf ehk; midtUk; xd;WgLNthk;
vd;fpwhh;.
KbTiu:
,aw;ifg; NguoptpypUe;J fhf;f ,d;W ehk; gy Kaw;rpfs;
vLj;J te;jhYk; mJ NghjhJ vd;gijNa ,f;ftpijfs; ntspg;
gLj;JfpwJ. tsUk; vOj;jhsh;fshd ,uh. rpj;jd; <. uQ;rpj;
Vfhjrp vd; g th; f Sila ftpijfNs rhd; W fSf; F
vLj;Jf; nfhs;sg;gl;ld. ,th;fSila gilg;gpy; r%fr; rpej
; idNahL
mtw;iwf; fhg;ghw;Wtjw;Fz;lhd NtfKk; njhpfpwJ. vdNt
gilg;gpd; topahf kl;Lky;yhky; vy;yh tpjj;jpYk; ,aw;ifia
fhg;gjw;F NghuhLNthk;.
218
45. ghNte;jhpd; - ',aw;ifapy;"

fUj;Jg;Gyg;ghL
nry;tp
R. N[hjpkzp> vk;.v];rp.>
cjtpg; Nguhrphpah; - Ntjpapay;>

Nf.v];.Mh; kfsph; fiy kw;Wk; mwptpay; fy;Y}hp>
jpUr;nrq;NfhL.
ghNte; j hpd; ftp; j ; j pwid> ,aw; i f Fwpj; j
ftpijfis Kd; i tj; J eak; ghuhl; L fpwJ ,f; f l; L iu
- gjpg; g hrpupaH
Kd; D iu
kdpjtho;fi
; ff;F MzpNtuhf ,Ug;gJ ,aw;ifNa. ,e;j
,aw;ifiag; gw;wp ghlhj> Ngrhj ftpQd; ,y;iy vd;gNj cz;ik.
,aw;ifNahLjhd; kdpjd; ,ize;J tho;eJ
; tUfpwhd;. ,aw;if
,y;yhky; kdpj tho;fi
; fia vs;ysTk; tho;fi
; fia ,af;f
KbahJ. Mdhy; ,d;iwa etPd ehfhPf cyfpy; ,aw;if jUk; gy
tifahd mhpa nfhilfis kwe;JtplL
; ,aw;ifia mopjJ
; f;
nfhz;bUf;fpNwhk;. Ntfkha; nrd;W nfhz;Ls;s ,e;j mjpNtf
cyfj;jpy; ',aw;if"jhd; tho;tpw;F Mjhuk; vd;gjid mid
tUf;Fk; czh;jJ
; jy; ,d;wpaikahjJ.gy;NtW jkpo; mwpQh;fs;
gy;Ntwhd kNdhghtj;jpy; ,aw;ifiag; gw;wp gythW tpthpjJ
; s;sdh;.
,g;gbg;gl;l ,r;#oypy; vd;id kpfTk; fth;e;j ekJ 'ghNte;jh;
ghujpjhrd;" mDgtpjJ
; kfpoe
; j
; ,aw;ifiag; gw;wp ,f;fl;Liuapy;
tpthpj;Js;Nsd;.
kdk; fth;e;j ghNte;jh;

ftpijAyfpy; gy;NtW jkpo; mwpQh;fs; jq;fsJ ftpg;
Gyikfis gy;NtW tpjkhf ntspg;gLj;jpAs;sdh;.mg;gbg;gl;l
219
ftpijAyfpy; jdpg;ngUk; rpwg;gplk; ngw;W> jkpOf;Fg; Gfo;

Nrh;jj
; th; ekJ ghNte;jh; mth;fs;. mbik ,e;jpahtpy; gpwe;jth;>
tpLjiy ngw;w Rje;jpu ,e;jpahtpy; Gfo; Nrh;j;J kiwe;jth;
ghujpjhrd;. jkpod; fy;tpj;JiwapYk;> nghUshjhuj; JiwapYk;>
r%fj;JiwapYk; rpwg;G ngw Ntz;Lk; vd;W vz;zpAk;> mjid
epiwNtw;wpAk; fhl;bath;.
',aw;ifiaj; jk; ghL nghUshff; nfhz;L ftpij vOjpath;>
ehlfq;fisg; gilj;jth; ghNte;jh;. ftpQhpd; fUj;Jf;fis czh;eJ
;
tho;tpy; njspT ngw Ntz;Lk;. Mq;fpyf; ftpQu; 'Nthl;]n
; thh;j;"
Nghy ghNte;jUk; cyfk; ghuhl;lj;jf;f nghpa ftpQh;. jdJ Mwhk;
tajpNyNa ghly; vOJk; mstpw;F jpwd; ngw;wtuha; ,Ue;jhh;.
,t;thW gy;NtW fhuzq;fisf; $wpf; nfhz;Nl Nghfyhk;.
gy;NtW ftpQh;fspy; vd;idf; fth;e;jth; ghNte;jh; mth;fNs.
Mjyhy; mtuJ ghh;itapy; ,aw;ifia gw;wpAk;> mtuJ fw;gidj;
jpwikapd; Moj;ijAk; ,f;fl;Liuapy; fhz;gpf;f cs;Nsd;.
ghNte;jh; fhl;Lk; ,aw;if

flTs; nfhLj;j midj;J ,aw;if tsq;fisAk; gw;wp
ftpQh; jdJ vy;yh gilg;GfspYk; tpthpj;Js;shh;. mtw;Ws;
vd;idf; fth;ej
; tw;iw ehd; ,q;F vdJ gilg;ghf $wpAs;Nsd;.
kapy; f s;
'cdJ Njhif Gidahr;rpjj
; puk; xspNrh; etkzpf; fsQ;rpak;
mJthk;"
flTspd; gilg;gpy; ,t;Tyfpy; vy;yh caphpdq;fspd;
(v.fh- jhtuq;fs;> tpyq;Ffs;> gwitfs;> kdpjh;fs;) tho;Tk; xNu
khjphpjhd;. jq;fSf;Fj; Njitahdtw;iw jhNk Njb mjidg;
gad;gLj;jp tho;tNj caphpdq;fspd; nray;ghlhFk;. Mdhy;
caphpdq;fs; midj;Jk; gy;NtW tpjkhd clyikg;igg;
ngw;Ws;sd. xUrpy caphpdq;fs; mofhd cUtikg;igg; ngw;Ws;sd.
mt;thW mofhd cUtikg;igg; ngw;Ws;s 'kapy;" gw;wp ftpQh;
mofhf rpj;jhpj;Js;shh;.
'kapNy cdJ Njhif Gidag;glhj rpjj
; pukhf ,Uf;fpwJ.
xsp nghUe;jpa etkzpf; fsQ;rpaNk cd;dplk;jhd; ,Uf;fpd;wJ.
220
cs;sj;jpd; kfpo;r;rp xspapd; fw;iwjhd; cd; jiy cr;rpapy;

nfhz;ilaha; cah;e;jJNth> vd;dNth" vd;W Iaj;Jld; jdJ
,aw;if eaj;jpid ntspg;gLj;jpAs;shh;.
'gpwh; g op J}w; W k; ngz; f s; ,g; n gz; f s;
mth; f Oj; J cd; fOj; j hNkh nrhy; t ha; !
mayhd; tP l ; b y; miwapy; elg; g ij
vl; b g; ghh; f ; f h jpUg; g jw; N f
,aw; i f md; i d ,g; n gz; f l; n fy; y hk;
Fl; i lf; fOj; i jf; nfhLj; j hs; "
kapyplk; ftpQh;> ePAk;> ngz;Zk; xd;whk; cz;ikjhd;
vd;fpwhh;. NkNy $wpAs;s thpfspy; mq;fjkhf kdpjg;gz;Gfis
ntspf;nfhz;L tUk; Gyg;ghl;Lj;jpwd; ftpQhpd; thpfspy;
mOj;jkhf ,Ug;gij czuyhk;.
vO QhapW
G+kpapd; Row;rp fhuzkhfj;jhd; ekf;F gfy;> ,uT vd;W ,U
nghOJfs; ekf;F cs;sd. ,g;gbg;gl;l gfw;nghOjpy; kpfTk;
gpufhrkhf ,Ug;gjw;F fhuzk; #hpa cjak; xd;Nw. mg;gbg;gl;l
QhapW cjaj;jpid ftpQh; NtWtpjkhf vz;zpAs;shh;.
'#hpad; cjakhtijg; ghh;jj
; ftpQh;> cyfnky;yhk; fjph;
gug;gpf; fPo;j;jpirapd; kPjpy; cjpj;Jtpl;lhd;. mt;thW cjpj;jJ
jfj;j fhak; Nghy; ,Uf;fpwJ. fhhpUs; tpyfp Ntfkha; gwe;jJ.
tpz;zpnyy;yhk; nghd;ndhspia Vw;Wfpd;whd; vd;W ftpQh;
tpae;J ntspgg
; Lj;jpAs;shh;. ngUk;ghd;ikahd kf;fs; cs;sj;jpy;
kfpo;r;rp Vw;gLj;;Jfpwhd;. kf;fisj; njspTgLj;j ,Ul;fjit
cilj;njwpfpwhd; vd;W #hpadpd; nray;ghLfis th;zpf;fpwhh;.
fhdy ;
,d;iwa #oypy; ekJ Gtpg;gug;G KOtJk; fhdy; vd;gJ
xU vspikahd tpakhf cs;sJ. fhdy; vd;gJ kpfTk; nfhLikahd
xU ,aw;if epfo;T. mj;jifa ,aw;if epfo;it ftpQh; jdJ
ghzpapy; mofha; tUzpj;Js;shh;.
221
'Kisj; j fs; s papidf; fdy;

nkha; j ; J f; fhpahf; f p
tpisj; j rhk; g iyg; N ghy; - ,dp
NkYk; cUf; f plNt
nfhSj; j pLk; fhdy; caph;
nfhd; W jpd; D k; fhdy; "
thdKk; ntg;gj;ijr; nrhhpfpd;wJ; kz;Zk; ntg;gj;ijr;
nrhhpfpdw
; J fhypy; xl;Lfpdw
; rhk;gy; Jfs; $l RLfpdw
; J. fhiy
khw;wp itj;jhy; mJTk; RLfpd;wJ; rptg;G mdypy; fe;jfkha;
vhpfpwJ vd;fpwhh;. ,t;thW fhdypd; nfhLikfis ghNte;jh;
tpsf;Ffpwhh;. fhdypd; nfhLik $l ftpQhpd; thpfspy; ,dpff
; pwJ.
KbTiu
Gul;rpf; ftpahf tpsq;fpa ghujpjhrd; ftpijfs; vOr;rp
kpf;fitahf ,Ue;jhYk; cyfpdpilNa fhZk; ,aw;if tsq;fspd;
kPJ mth; Mo;ej
; <LghL nfhz;bUe;jhh; vd;gJ Gyg;gLfpwJ. ,tuJ
ftpijfs; ,aw;ifNahL fye;j kdpj tho;tpid ntspg;gLj;Jk;
tpjkha; mike;Js;sJ.
,aw;ifAk; kdpjDk; tpyfp thOk; ,f;fhyj;jpy; ,aw;ifNahL
thOk; ftpjJ
; t cs;sk; mikag; ngWkhdhy; ,aw;ifAk;> kdpjDk;
nrOik ngWthd; vd;gjpy; Iakpy;iy.
mbf; F wpg; G
1. ghNte;jh; ghujpjhrd; fUj;jpay; tsk; - gjpg;ghrphpah;
- Kidth;.,uh.re;jpuNrfud;. g.149
2. NkyJ - g.1501
3. NkyJ - g.150
4. NkyJ -
g.150
5. jpUf;Fws; - Fws;vz; 527
222
46. Theme of Population Exchange and Identity

Formation in Amitav Ghosh's The Shadow Lines
Ananthan . S, Prof. Dr. Saravana Selvan . R,
Ph.D Research Scholar, Professor and Head,
Department of English and Foreign Languages,
Bharathiar University, Coimbatore.
Conservative remembrance of the family surroundings explained
through Ghosh's works. - Editor
Partition of the Indian subcontinent was the most traumatic
experience in our recent history. The event has been the focal point in
many Indian novels. Many writers like Bapsi Sidhwa, Attai Hosain and
Amitav Ghosh have dealt with the partition novel. Bapsi Sidwa's IceCandy-Man presents the attitude of the Parsis towards partition which
relentlessly divided friends, families, lovers and neighbors. Attai Hosain's
Sunlight On a Broken Column reveals the trauma of partition through the
protagonist Lalita's memories and insights. Both the novels depict the
communal response to the horror of violence. Similar patterns of violence
are depicted in Amitav Ghosh's The Shadow Lines.
Amitav Ghosh is one of the most well-known names in contemporary Indian Literature in English. He was born in Calcutta in 1956. He was
in various places like Bangladesh, Sri Lanka, Iran and India. He did his
graduation from the University of Delhi and got his Ph.D. degree in 1982.
At present he lives in New York. He has also written essays, political
commentaries, book-reviews, and translations from Bengali and Literary
anthropologies. Some of his novels are The Circle of Reason (1986) The
Shadow Lines (1988), Count Down (1999), The Glass Palace (2000), The
Iman and The Indian (2002).
223
The Shadow Lines tells the story of the three generations of the
narrator's family which was spread over Dhaka, Culcutta, and London. The novel
lines up characters from different nationalities, religions and cultures in a
close-knit palpable fictive world. The novel follows a nameless narrator who works
to discover the reason for his cousin Tridib's death by interesting and re-imaging
the past. The past of these Characters are separated geographically.
The Shadow Lines posits that maps create borderlines that define
and enforce geographical and ideological limits on humanity. The novel
addresses the national issues in the contact of India, but these issues
stretch beyond India. Ghosh demonstrates how national identity is
created in an international context that demands that we confirm to our
nationality. India, Pakistan and Bangladesh are new found nationalities
that were once united. Ghosh dramatically demonstrates how soon
people are separated by the creation of borderline.
It is a complex novel intervening memory and contemporary life. It
converges on the life of a family. Ghosh depicts the urban middle class in
India to whom education and professional jobs are important. Living and
partly living they drift from one day to another and so for a whole lifetime. The
reward, if one is lucky may be one's own house. The environment of
school and office encourage the cultivation of hard work to the norms of
society. But when misfortune strikes their lives in an unforeseen manner,
they are left baffled. If it is death or disease they may try to comprehend
it. But when violence erupts like a volcano it cracks the mirror of life.
The Grandmother is the central character in the novel The Shadow
Lines. Dhaka was the Grandmother's homeland before partition and
Dhaka was a different city before partition. Her house was quiet large and
was crowded with the family members who were living and eating
together. Due to the partition she crossed over to India at her sixties. All
the time she lived in Calcutta she remembers with great clarity about
Dhaka. Most of the Grandmothers vision is nostalgic. There is no rancor
about partition and Muslim neighbours occupying her ancestral home.
The communal riots in 1964, in both India and Pakistan lead to the
untimely death of Tridib, by an impassioned mob in old Dhaka.
In remarking about Indian Partition, Gayendra Pandey describes
Ghosh's novel:
What is involved here is more than the drawing of new lines on a
map, the unfurling of new national flags and the installation of new
224

national governments. What we are dealing with families, homes, villages
and linguistics have been called nation abilities; and the gradual realization that - this tearing apart was permanent and that is necessitated new
borders, communities, identities and histories. (43)
The Shadow Lines highlights the suffering and destruction caused
by Partition than the political independence of the new nation. Ghosh
addresses the issues of nationality. He further describes how we feel
nationalized and describes the effects of our allegiances to nationality.
The novel allegorizes map making as the natural extension of Partition
which leads to the conceptualization of individual identity.
Amitav Ghosh explores the mysterious pull between Thidib and
May and the intimacy between the two families, when the countries were
pitted against each other. He questions the validity of geographical
boundaries and celebrates the union of aliens pulled together by selfpropelling empathy and attachment.
Throughout the novel The Shadow Lines there are no words to
describe India .According to the narrator, India is a polyphone of echoes and
identities. It is converging and diverging, tearing and mending the
boundaries of memory and imagination. India's distinctive identity is
mosaic of otherness, memory and history. Instances of national allegory
in The Shadow Lines demonstrate how Indian identity is shaped by the
1971 partitions and the ensuing creation of borderlines. Characters like
the grandmother and Jethamoshai are created with the understanding of
national spaces .
Ghosh's works succeeds in exploring the creation of identity by
investigating the shadowy black line on the map, a line that conceptualizes where one branch of humanity begins and another ends. The novel
goes beyond mere presenting the problem by posing challenges to this
phenomena, namely in the imaginative power to deconstruct these
shaping influences and transgress them.
Work cited
Choudry, Aravind. Amitav Ghosh's The Shadow Lines: Critical Essays.
New Delhi: Atlantic Publishers and Distributers, 2002
Ghosh,Amitav The Shadow Lines, Ravi Dayal Publisher,New Delhi,1998
Pandey, Gyanendra, "The Three Partitions of 1947", Cambridge,2001.
225
47. Mysticism of Literature is Science

Ms. R.Anitha Devi M.A., M.Phil.,
Assistant Professor in English,
Sri Sarada Niketan Arts and Science College for Women,
Amaravathi Pudhur.
This paper deals the relationship between Science and Literature in
educational system and also describes Ten Avatars of
Vishnu in Hinduism - Editor
Science and literature play a crucial role in our educational system.
Science is a dimension and literature is an another dimension, even though there
is a close relationship between the two. The relationship is Religion. You
may pose this question towards me, what is Religion? My answer is;
Religion is an inseparable part of literature. Let us see what religion is.
According to Oxford Advance Leaner's dictionary, Religion means
the belief in the activities that are connected with worship. But the book,
My India, The India Eternal, gives various definitions to religion.
1)
Religion is the manifestation of the divinity already in man
2)
Try to be pure and unselfish- that is the whole of religion
3)
The secret of religion lies not in theories but in practice. To be good

and to do good that is the whole of religion.
4)
Religion is the idea which is raising the brute unto man, and man
unto God.
Belief in the unseen is a universal characteristic of religion. All

religious beliefs essentially involve commitment and obligation, and may
appear mere ritual to the unenlightened. Mysticism, seen rightly, is not
something opposed or alien to religion. it stands at the very root of
226

religious experience . The mystic, not content with the bare externals of
religion, seeks a direct experience of God or Ultimate Reality .He aims to
bring himself into an intimate relationship with the Divine. This attitude the insistence on direct experience- establishes his kinship with the
founders of various faiths "who owed their power and originality to the
fact of their personal communion with the divine. (Dhar.A.N:1) Hence there is
no conflict between the mysticall temper and the practice of religious
belief. In fact, mysticism and religion are integrally linked, though there
have been many mystics who steered clear of creeds and dogmas.
The intricate nature of the relationship between the two has been
appropriately pointed out:
Though deeply religious person can be without a touch of
mysticism , no mystic can be ,in the deepest sense , other than religious
,the dialogue between mystics and conventional religionists has been far
from happy though it validates religion., Mysticism also tends to
escape the fetters of organized religion .( ibid)
The religious and the "mystic" shade into each other in what is
taken to be religious mysticism, practiced by those, whose mystical
temper and religious devotion reinforce each other. Otto pfleiderer, a 19th
century scholar, says aptly that mysticism is "the immediate feeling of
unity of the self with God; it is nothing, therefore, but the fundamental
feeling of religion, the religious life at its heart and centre."(ibid: 2)
This mystical quality is science. In Hinduism, Vishnu is a preserver. He has ten avathars.
jrhtjhuk;
1. kr;rhtjhuk;
2. $h;khtjhuk;
3. tuhf mtjhuk;
4. eurpk;k mtjhuk;
5. thkd mtjhuk;
6. guRuhk mtjhuk;
7. uhkhtjhuk;
227
8. gyuhk mtjhuk;
9. fpU\;zhtjhuk;
10. fy;fp mtjhuk;
Inside this religious thought we have scientific thought also.
Biological evolution by Charles Darwin and others, stating that all
species of organisms arise and develop through the natural selection of
small, inherited variations that increase the individual's ability to compete, survive, and reproduce.
The above religious and mystical facts and feelings find their way
into literature through Tholkappium, which says: 2
Next let us see another scientific fact inside literature. There we
can trace out pascal's law. One of the most important facts about fluid
pressure at one part of the liquid will be transmitted without any change
to other parts. This was put forward by Blaise Pascal(1623-1662), a
French mathematician and physicist. Pascal states that if the effect of
gravity can be neglected then the pressure in a fluid in equilibrium is the
same everywhere.
Another amazing example is atom theory. In 1904 Sir J.J.Thomson
proposed the first definite theory as to the internal structure of the atom.
Rutherford conducted a scattering in 1911 to find out the arrangement of electron and protons.
Bohr theory had explained the existence of various lines in Hspectrum, but it predicted that only a series of lines exist. At that time this
was exactly what have been observed. However, as better instruments
and techniques were developed it was realized that the spectral line that
had been thought to be a single line was actually a collection of several
lines very close together.
These evolutionary thoughts were already pinpointed our Cankam
Literature. This Cankam literature was 3000 years old one.. its known for
its two parts, one is Akam(love) and another one is Puram(war) . Apart from
this two, there are lot scientific thoughts also overflow with prove.
228
48. S.T. Coleridge's Attitudes towards Nature

and their Effect on him as a Poet
Ms. N. Anusuya, M.A.,M.Phil.,
Assistant Professor of English,
Bharathidasan College ofArts and Science,
Erode.
The role of imagination is colouring the work of Coleridge in the
presentation. - Editor
Samuel Taylor Coleridge is an English poet,literary critic who is the
founder of the Romantic Movement in England and a member of the Lake
Poets. He is popular for his innovative verse, revealing his unique way of
expression on nature. The relationship between Coleridge and Nature
forms an important component in Coleridge's poetry and prose writing.
Coleridge's views about the poet's creativity and its relation to nature are
profound because he was both a poet and a philosopher. Therefore, as
the title of this article shows Coleridge's vacillating outlook toward
nature. However, Coleridge is a devotee to nature, and his concept is
"sense of fraternity with man and nature permeates".
It is significant that, for Coleridge, nature (Lawrence, 1999) "holds
a special key to comprehending the meaning of life" and the "human
happiness." However,Coleridge's 'Dejection: An Ode', a poetic expression
of the relationship between the poet's perceptive mind and the external
world that is, the relationship between the subjective and the objective.
Coleridge's ideas about the nature of imagination are central to his
critical theory, but at the same time, he goes beyond a traditional concern
with imagination and considers it to be the only mediator in the field of
creativity and aesthetics. Thus, as a romantic poet to whom nature is an
229
integral part of creativity, Coleridge tries to analyze and logically explain

the relationship between imagination and nature that he intuitively
experienced in his poems. In Biographia Literaria (1962), he gives his wellknown definition of imagination. The primary imagination is the living
Power and prime Agent of all human Perception, and as a repetition in the
finite mind of the eternal act of creation in the infinite. The secondary
Imagination is an echo of the former, co-existing with the conscious will,
yet still as identical with the primary in the kind of its agency, and
differing only in degree, and in the mode of its operation.
The above definition that the primary imagination provides the
secondary imagination with the raw materials from what comes to a
creative person from his senses. These senses are then processed into a
coherent, unified organic wholeness. In other words, the poet (Beer, 1977)
"can see into the life of things" through his imagination. Coleridge is
thus able to convert ordinary, familiar aspects of nature into poetry. Pater
(2008) comments on the two types of imagination and called the secondary and the primary imagination as the "productive process" and the
"simpler process", respectively, but the two processes coalesce in poetic
creation. The secondary imagination or poetic imagination is the power
that modifies "images supplied through sensation, yet making something
new and individual out of them". The relationship between nature and
poetic imagination is clarified in the following lines quoted from Sir John
Davies (Biographia Literaria, Vol. 2) in which imagination is a mental
faculty that synthesizes antitheses:
Doubtless this could not be, but that she turns Bodies to spirit by
sublimation strange, As fire converts to fire the things it burns, As we our
food into our nature change.
From their gross matter she abstracts their forms, And draws a
kind of quintessence from things; Which to her proper nature she
transforms, To bear them light on her celestial wings.
Thus does she, when from individual states She doth abstract the
universal kinds; Which then re-clothed in divers names and fates Steal
access through our senses to our minds. (pp. 12-13)
The above lines show the poet's assimilation of nature's spirit that
enables him to understand nature and give him the ability to create. At
his happy moment of joy, the poet's imagination embraces what is in
230

nature and turns it into art by shaping the flux received into a new unity.
In his critical article, On Poesy or Art, Coleridge illustrates the organic
relationship between the poets' creativeness and nature. Art is the
mediator between, and reconciler of, Nature and man. It is, therefore, the
power of humanizing nature, of infusing the thoughts and passions of
man into everything which is the object of his contemplation. To place
these images, totalized, and fitted to the limits of the human mind, as to
elicit from, and super induce upon, the forms themselves the moral
reflexions to which they approximate, to make the external internal, and
the internal external, to make nature thought, and thought nature, this is
the mystery of genius in the Fine Arts.
Coleridge feels free when he is with nature, one can infer from
Coleridge's views about nature that there are two worlds for the romantic
poet, that of the matters of the nature observable by ordinary people and
the poet himself before his elevation. This nature lies beneath. Another
nature lies above when the poet's imagination elevates him to see
nature's spirit. Imagination molds the world above and below and brings
the former slightly beneath to be grasped, as the latter is elevated above.
For example, the "water-snakes" in The Ancient Mariner are elevated
from being biological creatures to being symbols of beauty and imagination. The same is true about the spiritual world of the beautiful, which
becomes tangible through the "water-snakes." The poet's creativity
unveils nature's spirit, which embodies beauty, and thus the two worlds
of the objective and the subjective coalesce. However, nature's spirit is
revealed to a person endowed with imagination, so nature remains lifeless
and without beauty for that person who sees only the crust of nature
The artist must imitate that which is within the thing, that which is
active through form and figure, and discourses to us by symbols the
Nature or spirit of nature, as we unconsciously imitate those whom we
love, so only he hopes to produce any work truly natural in object and
truly human in the effect" (p. 259).
Coleridge's Reversed Attitude toward Nature and Its
Consequences,Coleridge's mood began to change after his visit to
Germany in the fall of 1798. The unique relationship between Coleridge
and nature began to wane, as expressed in (Griggs, 1957, Vol. 2) 'These
Mountains too, these Vales, these Woods, these Lakes, Scenes full of
Beauty & of Loftiness Where all my Life I fondly hop'd to live -I were
231
sunk low indeed, did they no solace give; But oft I seem to feel, &
evermore I fear, They are not to me now the Things, which once they
were'. (p. 797) According to Abram (1958) and various other critics,
Coleridge reversed "the basic orientation of" his "aesthetic philosophy"
(p. 69) by emphasizing the sole role of the subjective. This is a landmark
in his changed attitude toward nature from seeing nature as lively and a
giver to be a perceiver.
In this new attitude toward nature, Coleridge denied attributing
emotions to external objects and missed his mark because, as a romantic
poet, he could find (Knight, 1968) "in nature which helps move beyond
nature, an aspect of the divine purpose" (p. 85). In Coleridge's new
outlook, nature is an "inanimate cold world" (p. 365, l. 51) and from the
soul itself must issue forth A light, a glory, a fair luminous cloud Enveloping the Earth, and from the soul itself must there be sent "A sweeter and
potent voice, of its own birth". (pp. 365, ll. 53-57)
Perhaps, as some critics suggest, Coleridge declared a rupture in
relationship with nature as a result of his (Hill, 1983) "inability to feel, to
respond sympathetically to natural joy" (p. 194). This sentiment is
reflected in Coleridge's letter to Purkins (2013, Coleridge's Letters, No.
490): "nothing pleases long, and novelty itself begins to cease to act like
novelty. Life and all its forms move, in his diseased moments, like
shadows before him, cold, colourless, and unsubstantial." Perhaps, there
is truth in what Fruman (1985) says: "Coleridge had no theory of human
nature in mind," and he often contradicts himself.
The vital relationship between Coleridge and nature proved to be
fruitful in his creative career as a poet. When he began to doubt nature's
powers to aid his imagination, his abilities as a poet began to wane and
he entered a stage of passivity toward nature in which he was(Griggs,
Vol. 1) " looking without seeing" (p. 644).
Coleridge realized the truth that his imagination regenerated
whenever he was in communion with nature and with its rivers and
mountains, and the subtle effects of its light and shades. Unfortunately,
for some reason, Coleridge began intentionally to ignore the fact that
nature is a bridge for him as a romantic poet to achieve his goal.
Coleridge's outlook toward nature is similar to that of the Mariner who
232

begins to see the beauty in nature when he appreciates the water snakes;
but on the other hand, upon killing the Albatross and disconnecting
himself from nature, the Mariner could see nothing but dryness and filthy
creatures.
Coleridge lost himself as a poet when he changed his outlook
toward nature from that of a creature full of life to being an inanimate,
dead and spiritless object. However, the relationship between the
romantic poet and nature remains a complex and compelling theme for
anyone trying to unravel its complexity.
Work Cited
Beer, John. Coleridge the visionary. London: chatto and windus, 1959
Coburn, Kathleen, ed. The Notebook of Samuel Taylor Coleridge, vol. 2,
1804-1808, Text.
Fruman, Norman. Coleridge, the Damaged Archangel. New York: George
Braziller, 1971.
Matheson, Ann. The influence of Cowper's The Task on Coleridge's Conversation poems.
233
49. TREATMENT OF NATURE IN

WORDSWORTH'S POETRY
Dr.K.Anuradha. M.A., M.Phil., P.G.D.C.A., P.hd
Assistant Professor in English
Govt. Arts College (Autonomous).
Coimbatore.
Mr. V.Elumalai.
Assistant Professor of English
KSR College of Arts and Science (Autonomous)
Tiruchengode.
This paper describes the passionate and emotional inseparable relationship between nature and human life. Editor
"All seasons are beautiful for the person who carries happiness
within". - Horace Friess
Nature has a dominant role in Wordsworth's poetry. So, he is
called the poet of nature. He finds out as well as establishes in his poems
a cordial, passionate, impressive, emotional, intellectual, spiritual and
inseparable relationship between nature and human life. According to
him, all created things are parts of a unified whole. Actually, the love of
nature leads Wordsworth to the love of man which is noticeable in many
of his poems. The paper deals the treatment of nature in Wordsworth's
selected major poems.
In 'Tintern Abbey', (composed a few miles above Tintern Abbey,
on revisiting the banks of the Wyes during a tour), through his personal
experience, Wordsworth expresses his philosophy of nature and some
relationships between man and nature.
234

Wordsworth believes in the Pantheistic view that God is all, and all
is God. He feels the existence of a sublime divine spirit pervading all
objects of nature in the setting sun, the round ocean, the living air, the
blue sky, the mind of man etc. He saysA motion and a spirit, that impels
All thinking things, all objects of all thoughts
And rolls through all things.
Thus, nature including man is related to God.
According to Wordsworth, nature plays the role of giving joy to
human heart, of purifying human mind and of a healing influence on
sorrow stricken hearts. Wordsworth takes pleasure in contract with
nature and purifies his mind, 'in lonely rooms, and amid the din of towns
and cities,' with the memory of nature. Moreover, nature has not become
'a landscape to a blind man's eye' to him. It indicates that the eyes of the
city people are blind because they cannot get anything from nature.
Wordsworth mentions the moral influence of Nature on human
being; there is a spiritual intercourse between man and nature. He regards
nature as The anchor of my purest thought, the nurse
The guide, the guardian of my heart, and soul
Of all my moral being.
Wordsworth advises his sister, Dorothy, to put herself under the
influence of nature, and assures her that - "Nature never did betray / The
heart that loved her."
Moreover, Wordsworth shows three stages of human soul in
relation with nature. In the first stage Wordsworth's love for nature was
only of physical passion and animal pleasure. In the second stage, he
loved only the sensuous and outward beauty but the philosophy of
nature. But in the third stage, he can now understand the hidden meaning
of nature and can hear 'the still, sad music of humanity.' That is, nature
not only attracts man with her beauty but also makes him conscious of
the fact that there is something wrong in mankind which is responsible
for all suffering.
235
There is an ode, 'Intimations of Immortality,' showing

Wordsworth's philosophy of preexistence of soul; the soul in relation
with nature in childhood and gradually in mature ages:
"Wordsworth's philosophical implication in this poem is that our
souls come from Heaven or God; after travelling through nature and
being mature they go back to God again."
Wordsworth says childhood as the best time of human life which
is very much close to nature as well as to God. He addresses the child
'best Philosopher,' 'Mighty Prophet' and 'Seer blest.' Because the child
unconsciously knows those deep truths of life and nature which learned
philosophers among men are trying to find out 'in darkness lost, the
darkness of the grave.' The cause of the child knows these well is that he
has been a 'Foster- child' of nature, and has a direct vision of the divine
glory. [Criticism of the views of childhood]
According to Wordsworth, when the child grows up, he gradually
departs from nature as well as God. But, Wordsworth is not worried about
it. Because, there is a possibility of change by nature: he is optimistic that
the immortal memories of his childhood would convert him to nature.
Moreover, being grown up, he has been sober, mature and philosophical,
instead of his having the rapturous vision of childhood. He can perceive
something nobler and wiser even in the humble and common objects of
nature. He says - "To me the meanest flower that blows can give / Thoughts that
do often lie too deep for tears". So, the implicit suggestion for us is that
the suffering humanity can solve his problems by returning to nature.
Romanticism is actually a movement for common people. It adopts
the language of common class for literature. Wordsworth influenced by
the democratic impulse of the French Revolution, eagerly greets the
revolution as a poet of humanity he writes a poem namely 'French
Revolution' expecting "the world / of all of us, - the place where in the
end / we find our happiness.''
Wordsworth connects human life with nature also in "I Wandered
Lonely as a Cloud" or 'Daffodils'. Here Daffodils represent the impermanence of human life. Once the poet experienced a 'jocund company' with
numerous daffodil flowers. But that pleasant moment does not accompany him all time. Wordsworth visualizes them only in his 'vacant or
pensive mode.'
236

Robert Herrick also compares the impermanence of human life with
daffodils in his 'To Daffodils' - " We have short time to stay, as you / We
have as short a spring."
Therefore we see that Wordsworth is 'a worshipper of Nature,' a
devotee of nature. He feels no problem in nature, while Shakespeare in
his 'Under the Green Wood Tree' shows some problem of nature. He
ignores the negative aspects of nature which defers from our experience,
while Shelley considers nature to be both 'destroyer and preserver.' He
regards nature as a preacher, teacher, father and a healing power, while
Byron in his 'Don Juan' shows that Juan cannot get rid of his mental
problems even after going close contact with nature. Anyway, his love of
nature leads him to hear the 'still, sad music of humanity' and to welcome the
beginning of the French Revolution. So evaluating his treatment of
nature, he can be said as the poet of nature as well as the poet of humanity.
Work Cited
Neil Stephen Bauer. William Wordsworth: A Reference Guide to British
Criticism, 1793-1899. G. K. Hall. 1978.
Leslie Nathan Broughton. The Theocritean Element in the Works of William Wordsworth. M. Niemeyer. 1920.
Alger, W. R. The Solitudes of Nature and of Man. Pp. 277-289. Boston, (U.
S. A.), 1867.
Arnold, Matthew. Essays in Criticism. Second Series. 1888.
Bagehot, W. Literary Studies, 1879.
Baumgartner, A. William Wordsworth nach seiner gemeinverstndl. Seite
dargestellt. Zrich, 1897.
237
50. NATURE IN THE PERSPECTIVES OF

TAMIL AND ENGLISH WRITERS
Mr. S.K.Baskar.
Excel Engineering College,
Komarapalyam.
Indigenous genre of post-colonial literature and Indian literature
experiments the contemporary writing. - Editor
Postcolonial literature (or Post-colonial literature, sometimes called
New English literature(s)), is a body of literary writings that reacts to the
discourse of colonization. Post-colonial literature often involves writings
that deal with issues of de-colonization or the political and cultural
independence of people formerly subjugated to colonial rule. It is also a
literary critique to texts that carry racist or colonial undertones.
Postcolonial literature, finally in its most recent form, also attempts to
critique the contemporary postcolonial discourse that has been shaped
over recent times. It attempts to assimilate this very emergence of postcolonialism and its literary expression itself.
Postcolonial literary critics re-examine classical literature with a
particular focus on the social "discourse" that shaped it. Edward Said in
his popular work 'Orientalism' analyzes the writings of Honor de Balzac,
Charles Baudelaire and Lautramont, exploring how they were influenced,
and how they helped to shape a societal fantasy of European racial
superiority. Postcolonial fiction writers might interact with the traditional
colonial discourse by attempting to modify or subvert it. An example of
this is Jean Rhys' Wide Sargasso Sea (1966), which was written as a
pseudo-prequel to Charlotte Bronte's Jane Eyre. Here, a familiar story is
re-told from the perspective of an oppressed minor character. Protago-
238

nists in post-colonial writings are often found to be struggling with
questions of identity, experiencing the conflict of living between the old,
native world and the invasive forces of hegemony from new, dominant
cultures. In 'Wide Sargasso Sea', the protagonist is shown to be re-named
and exploited in several ways.
First, literal colonization is not the exclusive object of postcolonial
study. Lenin's classic analysis of imperialism led to Antonio Gramisci's
concept of "hegemony" which distinguishes between literal political
dominance and dominance through ideas and culture (what many critics
of American influence call the "Coca-Colonization" of the world). Sixties
thinkers developed the concept of neo-imperialism to label relationships
like that between the U.S. and many Latin American countries which,
while nominally independent, had economies dominated by American
business interests, often backed up by American military forces. The term
"banana republic" was originally a sarcastic label for such subjugated
countries, ruled more by the influence of the United Fruit Corporation
than by their own indigenous governments.
Second, among the works commonly studied under this label are
novels like Claude McKay's Banjo and Chinua Achebe's Things Fall
Apart which were written while the nations in question (Jamaica and
Nigeria) were still colonies. Some scholars attempt to solve this problem
by arguing that the term should denote works written after colonization,
not only those created after independence; but that would be "post
colonization" literature. Few people understand the term in this sense
outside a small circle of scholars working in the field.
Third, some critics argue that the term misleadingly implies that
colonialism is over when in fact most of the nations involved are still
culturally and economically subordinated to the rich industrial states
through various forms of neo-colonialism even though they are technically independent.
Fourth, it can be argued that this way of defining a whole era is
Eurocentric, that it singles out the colonial experience as the most
important fact about the countries involved. Surely that experience has
had many powerful influences; but this is not necessarily the framework
within which writers from say India, that has a long history of precolonial literature, wish to be viewed.
239
Contemporary Indian Literature which is only one and a half

centuries old is marked by amazing variables in both the litterateurs and
the regions through which it was produced. Before delving deeply into
the exceedingly diversified genre of contemporary Indian literature, it is
of tremendous importance to comprehend the fraternal terms of 'modern',
'modernity' and 'modernization' in the Indian context. These three terms in
the modern context are quite significant and highly condensed terms for
historical experiences. Keeping in mind the chronological pattern, the
twentieth century is considered to be more modern than the nineteenth
century, but that does not exclude the 19th century from contemporary
literature in India genre. The criterion involved here is not qualitative, but
rather simplistic. Furthermore, anything which is fashionable today is
considered modern whether it is desirable or not.
However, the more significant aspect of modernity is a valuebased approach. Particular attitudes and ideas are conceived more
progressive and hence it is natural to condition them as modern as
opposed to what existed before. The chronological sense is in a way
implicit in this concept. The distinct Indian flavor was back in the English
language and thus the works of the modern Indian writers reflected the
Indianised English. Be it Salman Rushdie, Shahshi Tharoor or Amitav
Ghosh the deconstruction of the British of English was quite evident.
The regional languages were freely used in the prose forms, thus once
again breaking, restructuring and adding a new twist and dimension to
the traditional narrative patterns. . Hindi, Gujarati, Bengali, Telugu, Tamil,
Kannada, Marathi writers adhered to the `modern` and `post modern`
idiom of writing. For instance, Mulk Raj Anand`s work is repleted with
Hindi and Punjabi words like 'haanaai', 'saalamhuzoorii', 'shabashshabash'
(Coolie). Most path breaking is Arundhati Roy`s use of untranslated
malyalam words in day- to-day conversations in her The God of Small
Things like `chacko sir vannu`, `she is very beautiful sundarikutty`,
òower, orkunniley, kushambi.iii`
While some of the authors pen in English, most of them continue
to write in their colloquial languages. The philosophy and thought
behind their works exhibit influences of western thoughts and principles.
The literary genre of the contemporary Indian literature are manifold.
Present Indian readers have novels, plays, short stories, literary criticism,
science fiction and poetry to choose from.
240

For instance, in Marathi literature changes were creeping in after
1800which was the period of intellectual fervor and reformist didactism.
Many English books were translated in Marathi. Ram Ganesh Gadkari and
Prahlad Keshav are also shared the stage with stalwarts like, Mohan
Agashe, Sriram Lagoo, Kashinath Ghanekar, Prabhakar Panshikar started
playing many immortal characters written by geniuses like Vasant
Kanetkar, Kusumagraj, Vijay Tendulkar. There were pioneers like
V.Shantaram and Dadasaheb Phalke and Marathi cinema had a tremendous impact on contemporary film industry.
Modern Marathi poetry commenced with the works of Jyotibha
Phule but the later poets like Keshuta Balakavi, Ravi Kiran Mandal wrote
poetry inspired by romantic and Victorian English tradition. But the major
paradigmatic shift occurred in the mid forties with the poetry of
Mardhekar and in the nineties in the hands of Abhidhanantar and
Shabadavedh. The Little Magazine movement which became powerful in
the fifties because of radical and path breaking writings gained momentum in the nineties too in the hands of Manya Joshi, Hemant Divate and
Sachin Ketkar.
Similar developments were also witnessed in the South Indian
literary circles. In the 19th century the south Indian literature was
inspired by European genres but in the end of the century things started
to change with the help of modern writers like VVS Aiyar and
Subhramania Bharati who started developing new forms. Modern south
Indian literature boasts of great stalwarts who have left their imprint on
the mind of numerous readers the world around.
Contemporary writers like Jhaver Chand Meghani, Dharamvir
Bharati, Mulk Raj Anand, Arundhati Roy, Vikram Seth, Jhumpa Lahiri and
Amitav Ghosh have won international awards and put India firmly on the
world`s literary map. The two most famous names are the Mumbai born
Salman Rushdie who received a booker price for his Midnight Children
and the Keralan author Arundhati Roy who also bagged a booker for her
God of Small Things. Other important writers are Shashi Deshpande
whose A Matter Of Time revolves around the problems in the middle
class household when the husband leaves; RohintonMistry`s Family
Matters and Fine Balance where he deals with Indian society keeping
Mumbai as the background. R.K. Narayan is another renowned south
Indian writer who scaled great heights with his works revolving around
241
the south Indian small towns of Malgudi. His chief works are Swami and
his Friends, The Financial Expert, The Guide, Waiting for the Mahatma
and Malgudi Days. Kamala Markandaya`s Nector in a Sieve describes the
heart wrenching struggle of a south Indian woman against the ravages of
time and the destructive forces of nature.
Kaka Saheb Kalelkar is another celebrated writer in pre-independent India. His philosophical writings demonstrate his vast erudition, his
commentary on the Bhagavad Gita, his essays on culture, his travelogues, his translation of Gitanjali had won him applauding appreciation
from all quarters. The other eminent personalities that contributed to the
literature world redefining contemporary Indian literature during this
period comprise: VempalliGangadhar, K.K.Munshi, Joy Somnath,
Khushwant Singh and many others.
Indian contemporary literature is colossal in its scope and encompasses literature of various genres and styles. Contemporary literature in
India is influenced considerably in content by the western philosophy
and thought. However it knows how exactly to maintain its unique Indian
flavor and assorted richness. In the arena of International literature,
contemporary Indian literature occupies a position of pride for its
sumptuous affluence and originality. Literature of India still bears some of
its ingrained colonial impact and present-day writers often base their
works in the colonial backdrop. However, this is not something heavily
peculiar for a nation under colonial rule for such an extensive period of
time. Contemporary Indian writers have taken to writing in English but
time and again their themes are based upon an Indian backdrop and
household.
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51. THEME OF LOVE AND NATURE IN

EMILY DICKINSON'S SELECTED POEMS
Ms. J.Brindhadevi, M.A.,
KSR College of Arts and Science (Autonomous),
Tiruchengode.
This paper stamped human's inseparable relationship with Nature and
Poem. As a poet of love and nature, Emily Dickinson beautifully described the assimilation feeling, found some relief in associations with
nature. - Editor
Emily Dickinson, the popularly known poet of seclusion and
solitariness, is talking about love and death and time and eternity in her
poems. The irritating human society made Dickinson found her refuge in
nature. The lap of nature also supplied to Dickinson "the thought of
love." The inspiration in the form of love was something different for
Dickinson. The much discussed human passion found a unique expression in Dickinson's poetry. Nature too became a vehicle of revealing the
otherwise concealed thoughts in Dickinson. Naturally, the study of
Dickinson as a poet of love and nature is a matter of scholarly interest for
years after years.
Nature as a theme has an inseparable relationship with poems,
written almost in every language. English poetry is no exception in this
regard. It is from Chaucer's Canterbury Tales that we find nature go hand
in hand with British poems. Nature haunted many great English poets like
William Wordsworth, W.B.Yeats and Thomas Hardy. Roughly, two types
of tendencies can be traced among the nature poets. Either the poets,
being tired of the city life, found solace in nature or they started feeling
243
oneness with nature. The former depicted escapism, while the latter
mysticism. But, Emily Dickinson cannot be grouped with them. She is
indeed a nature poet with a difference.
Dickinson's absorption in the world of feeling found some relief in
associations with nature. She loved nature. Still her interpretations are
always more or less swayed by her own state of being. The colors, the
fragrances, the forms of material world mean to her a divine symbolism.
The spectacle of nature has in her eyes a more fugitive glory, a lesser
consolation that it had for Wordsworth.
Emily Dickinson is often called the American Romantic. True to
this popular movement's basic concept, Dickinson's poems are real
recollections of tranquility. Dickinson did not get the due recognition in
lifetime for her unorthodox choice of a spinster's life, silent denial of long
nurtured social norms and self - chosen seclusion. Her nature vision
betrays the intensity and energy with which she lived her solitary life.
Exiled in her upstairs room, she had enough time to observe natural
phenomena keenly.
Nature, the world of harmony did not give birth to any philosophy
in the poet's mind. There was no systematic philosophy that Emily had
developed about nature like Wordsworth's pantheism. Emily Dickinson
contrasts the world of nature with that of man. While depicting the
movements of a bird, (the poem) A bird came down the walk reveals the
almost impossible gap between these two worlds. Her descriptions of
birds are not reminiscent of any deep philosophy of nature, but are
meaningful as pictures contrasting the world of nature with that of man.
The bird feels itself in the hands of danger in the man's world and that is
why it rejects the offer from human world.
The man fears that the bird might get caught if it comes down to
take the crumb offered by him. The bird also gets suspicious to receive
offer from an unknown face and it decides to fly away. By rejecting the
offer of crumbs, in which it senses a trap, the bird reveals the absurdity of
a rapport between the human world and the world of nature. Bridging the
gap between man and nature is almost an impossible task. The bird's
rejection of man's offer is negation of a probable rapport between these
two worlds.
244

In Dickinson's nature poetry, we are transported to a separate
world that is not only of 'flora and fauna'. Nature became the link between
herself and the external world. Emily's intense response to natural
occurrences opens up a new vista of our understanding of her poetic
nature. Her life's journey is from the world of innocence to that of
experience. So does her understanding of nature.
The whole of Romanticism can hardly be traced in Dickinson's
poetry in its historical sense. She was neither like Tennyson, Browning,
Swinburne or Arnold of her own age nor like Keats, Wordsworth, Shelley
or Coleridge of previous age. She is a poet, hard to label indeed. She
certainly had romantic sensibility but that is not enough to label her as
romantic in the traditional sense of the term.
Dickinson had read some of romantic works specially that of
Byron. But she was never influenced by any of the romantic poets
completely. She revolted against the Calvinistic tradition but could not
forget it wholly that attaches her with 'dark romanticism'. Like Byron,
Goethe or Poe, she also was interested to find an answer of the mysteries
of the universe through individual consciousness. A pre - conceived
affinity between human soul and Divine soul is simply discarded by her.
Her peculiar mysticism and stoicism can be explained in the light of her
romantic sensibility.
Dickinson shares and explores all the various romantic attitudes.
But she never fell a victim to the typical banalities of her times, either in
meaning or expression. Her poetry shares the deeper and grander
qualities of her chief contemporaries in the field of romantic literature. Still
it never sinks for any length of time into commonplaces of romantic
thought, sentiment and style. According to H.W. Wells, "She distrusted
romanticism; still she was too shrewd to discard it altogether."
Emily Dickinson is an unorthodox poet of love and nature. She
paints the theme of love and nature in the canvas of seclusion. Unlike
most of the poets of her age, Dickinson was not under the influence of
major Romantics like Keats, Shelley or Wordsworth. Her world of nature
was replete with minor insects or objects too. In the same way her world
of passion was not ignorant of the simplest feelings of human heart
hitherto unnoticed in the realm of literature. That makes Dickinson a poet
245
of nature and love but not in the traditional sense. Another important
feature of Dickinson's poetry is her easy surpassing the boundary of
'nature' and 'human' in her poetry. To delve deep into the fathom of
human love, Dickinson uses nature as a way, that gives her poetry a rare
fragrance.
Work Cited
Gelpi, A.; Emily Dickinson, The Mind of the Poet, 1965. Harvard University Press.
Johnson, T.; An Interpretative Biography, 1963. Harvard University Press.
Johnson, T. (ed.); The Complete Poems of Dickinson, 1960. Harvard University Press.
Wells, H.W.; Introduction to Emily Dickinson, 1947. Hendricks House Inc.
www.poetryfoundation.org/poem/180204
www.poetryfoundation.org/poem/246772
www.poets.org/poetsorg/poem/i-taste- liquor-never-brewed-214
246
52. DEPICTION OF NATURE IN DICKEN'S

"A BIRD CAME DOWN THE WALK"
Mr.Dharmaraj.
B.T- Assistant,
Government High School,
Erode.
The relationship and contrast of nature between human beings and birds
are being presented philosophically. - Editor
"A Bird Came down the Walk," a short poem by Dickinson first
published in 1891, discusses the narrator's encounter with a small bird.
The short poem demonstrates several key qualities about Dickinson's
work, including a fascination with nature and the plaintive style that is
associated with her treatments of death. The poem itself is highly
formalized in structure. It consists of five quatrains with an alternating
end or slant rhyme on the second and fourth lines of each stanza. The
metrical structure of the poem makes use of Iambic Trimeter and Iambic
Tetrameter, with lines one, two, and four of every stanza containing three
Iambic feet and line three containing four Iambic feet.
This shows the disturbance caused by human encroachment on
the world of nature. She employs a smooth-flowing meter and rhyme
scheme as it describes a bird eating its breakfast and enjoying dew. The
form and the mood of the poem change in stanza three as the bird is
approached by a human, albeit a peaceful one. The bird becomes frightened, feeling something isn't quite right, emphasized even more by the
use of off-rhyme. The bird recovers and flees the scene gracefully.
Dickinson accomplishes the contrast despite the ironical observation that
the bird in nature, the beautiful bird, commits the violent act of biting a worm in
half and eating it raw, whereas the frightening of the bird and the disruption of nature occurs with the gentle, "A Bird Came Down the Walk".
247
The first stanza of the poem is saying that is not aware of the fact
that the speaker is present so he behaves normally. He bits into a worm
and eats it raw. The speaker mentions about the fact that the bird eat the
worn raw. In other words does she expect the bird to cook the worm or
something of that sort before eating it? The first line, "A bird came down
the walk," sounds like walking on a sidewalk.
The second stanza of the poem is saying that the bird drank dew
from a glass which I think is trying to resemble a human being drinking
from a glass. And then he hopped on the side to let beetle pass which I
think sign which I think signifies humanity.
The third stanza of the poem is saying that he glances at every eye
that looks at him which looks frightened which he compares to beads.
This suggests that the bird is scared, and he is cautious, he has fear in
him of some sort / would the word "velvet" describe his innocence.
The fourth stanza of the poem is saying that the speaker tries to
offer the bird some crumbs, but as the bird was already scared, her action
flew him off. One point is to be made here is the bird's beauty, with words such as,
"velvet head, frightened beads, feathers, softer home," are these words
putting more emphasis on the bird's beauty or on the danger of the word?
The final stanza of the poem is describing about the nature, it is
comparing the sky with the air. But the speaker jump from about the bird
to butterflies and ocean. The overall poem is trying to convey the
relationship between the bird and a human. It has many other themes such
as describing nature, and comparing some of his appearance to human
behaviors. The speaker observes the bird and tries to look at the bird by
trying it to feed him food, but the bird flies off. The speaker describes the
bird as a wild creature in nature as she says, "like one in danger; cautious
(Emily Dickinson 2571)."
In the poem, Emily is trying to tell about nature- about how
beautiful nature is. It could be also thought that she is trying to convey her
life and feelings through this poem. At first, the tone of the poem is content,
happiness, but when it progresses, it becomes more of a panic tone, as
described in the following lines: At first the "bird came down the walk," then the
tone changes as "he unrolled his feathers, and rowed him softer home
(2571)." The speaker is comparing this scene in nature to probably show
how birds and humans are alike. In several lines such as, "he drank dew from a
convenient glass" describes how the speaker is comparing the bird to humans.
She conveys that the bird drank from a glass just like we humans do.
248

She describes just as humans are happy when we eat, she
describes the same exact feeling with the bird; the bird is happy that it is
eating. Then when the bird is finished eating, the bird feels frantic as "he
glanced with rapid eyes that hurried all abroad," because it feels scared
that it might be attacked on the ground because that is not his "home" in
a sense since a bird is always flying in the air, but when it is in the air, it
feels safe. As compared with humans, we feel safe in a place we are
familiar with, as compared to an unfamiliar place.
Dickinson describes the bird as it eats a worm, pecks at the
grass, hops by a beetle. The overall message conveyed in this poem is
that as the bird is frightened by the speaker into flying away, the bird
becomes a symbol of wild essence that compares human beings who in a
way try to approach and tame it. The final stanza of the poem reveals the
most imagery as it says, "Than oars divide the ocean or butterflies, off
banks of noon, leap, plashes, as they swim (2571)." This means that the
bird's flying off is invisible, then actually when one rows through water
using oars; his "rowing" as conveyed was "too silver for a seam." It was
presented as even smoother than the butterflies as they swim.
Dickinson was a person of imagery. And as we can see, in
this poem she uses strong imagery and rhyme schemes to attract the
reader's attention and to make them think. Her poems are not easy to
understand but as a fellow reader, I have tried my best to analyze and
dissect the poem as I observed it to be. To you it might have been
something different, but again so many meanings can be pulled out from
Dickinson's poems
This poem deals with man's alienation from nature. In the snake
poem, the speaker is threatened by an emanation of nature. Here, she
unsuccessfully tries to cross the barrier between man and nature as it is
embodied in a less threatening creature. The first two stanzas show the
bird at home in nature, aggressive towards the worm which it eats and
politely indifferent to the beetle. The description of the angleworm as
being a fellow eaten raw simultaneously humanizes the little creature and
places it in a diminutive animal world. The speaker is enjoying her secret
spying, which adds to the tension of the scene, a tension that becomes
more explicit in the third stanza's description of the bird's frightened
uneasiness. Its natural habitat is being invaded, and the speaker appreciates the bird's increased beauty under stress, a stress which is implied by
249
the metaphors of its eyes being like beads and its head being like velvet.
This tension is divided between the speaker, who, rather than the bird,
now seems to be in danger, and the bird who is about to flee. This device
shows the speaker identifying with the bird, a sign of her desire for an
intimacy that the bird will reject. The last six lines use metaphors for the
bird that counter the humanizing touches of the opening stanzas, and
they also counter the somewhat alienated tone of the middle stanza with
more aesthetic images of the bird's power, ease, and union with nature.
The bird departs into an ocean of air where all of creation is seamless.
Probably the ambiguous quality in the speaker's experience is intended to
contrast with the atmosphere of relaxed, almost cosmic, unity of these
closing lines. Written in primarily iambic rhythm, the poem communicates
its uneasy tone partly through its subtle metrical variation, chiefly
reversal of accent, and through its cacophonous sounds - all largely in
the first three stanzas. In the last two stanzas, the rhythms become
smoother and the sounds more euphonious, in imitation of the bird's
smooth merging with nature.
Emily Dickinson's more philosophical nature poems tend to reflect
darker moods than do her more descriptive poems and are often denser
and harder to interpret. The nature scenes in these poems often are so
deeply internalized in the speaker that a few critics deny the reality of
their physical scenes and insist that the poems deal exclusively with
states of mind. Our observation of the blending of idea with scene in the
nature poems which we have already discussed cautions us against such
an extreme view. It is more accurate to say that the philosophical nature
poems look outward and inward with equal intensity.
Work cited
Carruth, Hayden. "Emily Dickinson's Unexpectedness." Ironwood 14
(1986): 51-57.
Eberwein, Jane Donahue. An Emily Dickinson Encyclopedia. Westport,
Conn.: Greenwood Press, 1998.
Grabher, Gudrun, Roland Hagenbchle, and Cristanne Miller, ed. The Emily
Dickinson Handbook. Amherst: University of Massachusetts Press, 1998.
MacNeil, Helen. Emily Dickinson. New York: Pantheon Books, 1986.
Pollack, Vivian R. A Historical Guide to Emily Dickinson. New York: Oxford University Press, 2004.
250
53. An Eco- critical Analysis of Kiran Desai's

The Inheritance of Loss
Ms. R. Deepika &
Assistant Professor,
S.Priyadarshini
Assistant Professor
KSR College of Arts and Science,
Tiruchengode.
This presentation exposes the natural beauty of Mount Kanchenjunga
with its wizard phosphorescence. - Editor
Since the 1960s, the main emphasis of academic and research
studies has been on class, gender race and postcolonial perspective,
but during the last twenty years, attempts are also made by a few thinkers
to critically analyze post modernity linked dangers for the nature world.
They stressed the need of expanding the notion of 'the world', not limited
to human beings but including the entire ecosphere. The novel appeals
the reader at the very first reading, for its eco- centred approach. Kiran's
description of mountains and the people of Kalimpong, the changing
seasons and the inner mindscape of her characters are mesmerizing.
It opens with reader's encounter with the description of the natural
beauty of Mount Kanchenjunga with its 'wizard phosphorescence'. The
house in which a retired judge with his orphaned granddaughter Sai, a
servant and a dog, Mutt, lives is situated at a place from where the
beautiful treasure of nature can be easily enjoyed. "The rooms were
spacious in the old manner of wealth, windows placed for snow views. It
is an old house and stand in the true testimony of contemporary ecofriendly architect where one can receive maximum of nature's blessing.
Though it is winter season and the surroundings are very cool, nature
251
proves to be a source of energy to Sai, the judge and even to Mutt. They
are involved in their activities simultaneously enjoying the pleasures of
natural beauty. They prefer to sit in Veranda because inside the house, it
was still colder, the dark, the freeze, contained by stone walls several feet
deep. The approaching evening and misty environment could not hamper
the spirit of Sai rather she gets motivated by them and begins to walk into
the garden. She feels human like existence of nature.
The mist covers everything, it indicates cessation of activities and
finally Sai also stopped to further wait for Gyan, her mathematics teacher.
In a way, it may be asserted that nature that nature is a source of energy
for those who look at it in an eco-friendly manner like Sai. It guides them
to act and react in the existing circumstances and in a way inter - related
to human life. The portrayal of characters who act according to the will of
nature definitely hints at novelist's purpose to present a text which not
only revolves round their mechanical action but also portrays them as
active entities in the total planning of nature.
In contrast to the peaceful and serene atmosphere, the novelist
has also portrayed the efforts of those who intentionally wish is to
establish their supremacy by disturbing its peace. "They had come
through the forest on foot in leather jackets from Kathmandu black
market ........" (4) they are the young boys who have been demanding for
a separate Gorkhaland. They used to disturb the silence of nature by
firing the bullets. Their job is to terrorize people and rob their wealth,
specially their guns. Here the novelist has tried to show how a changed
mentality of a few persons may easily disturb the balanced, eco-friendly
lifestyle of a large population. Terrorist activities, motivated by political
reasons, easily turn heaven- like nature into a hellish experience. Kiran
Desai like a eco- critic maintains here.
Nature really exists out there beyond ourselves, not needing to be
ionised as a concept by enclosure within knowing inverted commas but
actually present as an entity which affects us, and which we can affects,
perhaps fatally, if we mistreat it.
Otherwise, most of the area lives, maintaining a harmony with
nature. Even in the special hats of Kalimpong, the products those are
sold, do not have any chemical treatment, rather they are in natural
252

form.... "Muddy mushrooms, covered with brackish leaves or greenery,
already half-cooked in the sun. Powers, oils and ganglions of roots were
proffered by Lepcha medicine men" (p.83). When the cook looks at the
dried azalea and juniper in the hat, he remembers the day when they had
burnt this increase all along the path" (84) on the arrival of Dalia and
Panchen Lamas in Kalimpong and the whole of the atmosphere was full of
refreshing smell. But today's "greasy bus station with its choking smell of
exhaust"(84) appears to be in complete contrast of that day. Hostile
treatment of nature in the hands of human being definitely affects human
life adversely and gives rise to rise to various problems.
The growing discontent, anxiety, persistent insecurity and
faithlessness are the natural consequences of the ravishing scenario of
nature. Besides mental imbalance, physical health is in continuous peril at
the face of increasing anti- human and anti-ecological activities.
Sometimes, our ecosystem gets disturbed in the name of national
security and protection of cultural heritage. Those who used to live the
place in complete harmony with nature are turned off in the name of big
political jargons, especially in "area of high sensibility" (221) like
Kalimpong. Father Booty who used to live here for more than forty years,
all of a sudden is asked about his nationality and the decision is taken by the
government authorities to turn him off from his fine and beautiful shelter.
He is a man who "had done much more for development in the hills
than any of the locals" (223) but he becomes the easy victim of political
prejudices and has to sacrifice his love for nature's creation silently. The
district like Darjeeling which used to be famous for three Ts 'Tea, 'Timber'
and 'Tourism' gradually loses its attraction under the army operation and
whole of the natural set-up gets disturbed. Increasing militant activities
against Gorkha Movement (GNLF) disturb whole of the life cycle of local
inhabitants: "Nobody came to Himalayan hotel, the company guests
houses closed" (237). The novelist portrayed realistically the pathetic
conversion of a beautiful place from its dignified state to a place of
terrorist and militant activities. It is not only the increasing use of science
and technology that is disturbing our balanced eco-system but the
increasing terrorist activities are also responsible. Man is not satisfied
nearly by living with nature rather he wants to establish his supremacy
by concurring it.
253
Prefect symbiosis of man and nature is possible only through the

feeling love. Man's will intense desire to be independence gradually
lessons his love for nature, though nature has always been congenial to
the feelings of love. Kiran Desai has proved it through a number of
instances in the novel. Not only love between Sai and Gyan but also love
between her parents initiated and bloomed, getting sustenance from
nature. Her parents met for the first time in a 'public park' in Delhi. Her
mother, then a student, used to go to dry her hair in the shade and quiet
of a tree and her father, Mr. Mistry used to go there for jogging.
Thus, natures promote that sensibility which is the foundation for
human love and can invoke passions that can perpetuities human
relationship. The love story of Sai and Gyan, her mathematics teacher
gets refreshed time to time by the tender touches of nature and feel
enlightened in its lap. "Gyan enjoyed the walk to Cho Oyu and experienced a refreshing and simple happiness, although it took him two hours
uphill" (72). Similarly, Sai's happiness knows no bounds in the monsoon
months. Throughout the time she remains calm and cheerful. Concerning
the seasons, Kiran Desai, employ 'rain' as a central metaphor to reveal the
love relationship. Sai and Gyan also could not save themselves from its
spell bound charm. Their emotions get uncontrollable midst the gusty
winds of monsoon. Even the nick names hey selected for each other were
taken from the beautiful objects of nature. Sai called Gyan as Kaju and he
called as Kishmish. Thought the novel establishes the fact that the
relationship between the judge and his wife was not cordial and he never
gave her the status equal to him, he remembers, even after thirty or forty
years, the time when he offered her a ride on his father's Hercules Cycle,
first time after his marriage,
They went faster and faster, between the trees and cows, whizzing
through the cow pats and ultimately... the ground sloped, and as they
flew down the incline, their hearts were left behind for an instant, levitation amid green leaves, blue sky. (92)
The impressions of this first experience of love are the integral part
of the subconscious of love because it is inevitably associated with
beauty of nature. It signifies that man's association with nature has a
deep and profound relationship corresponding with his relationship with
external variable. Nature is the source of enormous energy, provided we
aspire to use it. In the world of today, man suffers from the permanent
254

fatigue syndrome and to overcome it, the easiest way is the lap of nature,
where nature would heal our impaired faculties and rejuvenate us for
further efforts. The judge in the novel has a past which he does not wish
to revive at least before others.
Judge's love for Mutt, the female dog, in the novel also hints at the
fact that nature through her creation definitely supplies to us whatever
we miss in our life. The hollowness which he faces at the emotional level
gets compensated in his love for Mutt. Her presence in the home is more
important to any other member of the family.
Kiran Desai's The Inheritance of Loss is a text with new alertness
to the present day need of ecological holiness. Nature has been interwoven with the text. The novel deals not only with the lifestyle of the
inhabitants of Kanchenjunga but also its landscape. It reminds us of nonhuman perspectives like trees, rivers, mountains, etc. Kiran Desai's efforts
in this direction are praise worthy as through her novel The Inheritance
of Loss, she affirms that the plight of modern man is integrated not only
in socio-political concerns but also in a manifestation of man's growing
insensibility towards inherited environment.
Work Cited
Desai, Kiran.2006. The Inheritance of Loss: A Novel. New Delhi:
Penguin Books.
Sinha, Sunita. Modern Literary Theory, New Delhi: Atlantic Publishers,
2012. Print.
Desai, Kiran. The Inheritance of Loss. Atlantic Monthly Press USA,
2006. Print.
Ghosh K, Tapan. The Fiction of Kiran Desai. New Delhi: Atlantic
Publishers, 2009. Print.
255
54. Enunciation of aesthetic sense in John Keats'

'Ode on a Grecian Urn' and Robert Frost's
'Stopping by Woods on a Snowy Evening'
Ms. M.T.Gomathi,
KSR College of arts and science for women,
Tiruchengode
The way of portrayal brings a harmony and it makes the nature rich and
divine. - Editor
John Keats, an English romantic poet was one of the main figures
of the second generation of romantic poets. His works have reached
publication after four years of his death. His writings were not received
by critics during his life, his reputation grew after his death. The poetry
of Keats is characterized by sensual imagery and in the series of odes. In
'Ode on a Grecian Urn',one of the memorable and enduring of all the
poems, the speaker observes a relic of ancient Greek civilization. An urn
painted with two scenes which represent the timeless perfection from
Greek life. Keats brought truth and beauty, essential portrayals of art in
the poem with his widened aesthetic sense.
Robert Lee Frost, an American poet was greatly influenced by the
emotions and events of everyday life and he is famous for being a
pastoral poet in terms of the subject of everyday life. The raw emotions
and sense of loss that pervades Frost's poetry is particularly clear
because of his straightforward verse style. In 'Stopping by Woods on a
Snowy Evening', the speaker's dilemma in choosing between the allure of
nature and the responsibilities of everyday life in human society. How-
256

ever, the ambiguity of the poem has lead to extensive critical debate. The
aesthetic sense in the poem explores the contemplate nature and vivid
imagery that readers of his work have come to love
'Ode on a Grecian Urn' portrays Keats's speaker's attempts to engage
with the static immobility of sculpture. The Grecian urn passed down through
countless centuries and it does not age, it does not die, and indeed alien to
all such concepts. The carved human figures into the side of the urn are free
from time but simultaneously frozen in time. The painted figures do not
have to confront aging and death, but the figures neither have experience.
The speaker in the poem attempts three times to engage with scenes carved
in the urn. In the poem, he exclaims the picturesque of the urn and wonders
the mysterious story behind the picture. In other way the speaker astonishes about the figure, that is because who they are, what they are, when
they are and where they are. The speaker admits, the urn can never tell the
hidden plot, carved into the side of the urn. The speaker is forced to abandon the story with dilemma in the poem.
In 'Stopping by Woods on a Snowy Evening', the speaker who is
traveling at night through the snow and pauses with his horse near the
woods to watch the snow falling around him. He astonishes about the
admiring darkened woodland. His horse shakes his harness bells, questioning him, this place isn't on their usual route, in other hand, he is curious that
there doesn't appear to be a farmhouse nearby. The speaker continues to
stand near the woods, attracted by the deep, dark silence of his surroundings. He feels compelled to move further into the snowy darkened woods,
but he ultimately decides to continue, concluding with perhaps the most
famous lines of the poem: 'But I have promises to keep, and miles to go
before I sleep, and miles to go before I sleep'.
The aesthetic sense in 'Ode on a Grecian Urn' is 'Beauty is truth,
truth beauty'. The dual concept in the poem expresses the urn, sylvan historian portrayed as unchanging evidence and perishable element. The long
lasting picture reveals 'a flowery tale, the tale itself is unclear in many ways.
The first scene depicts musicians and lovers in a setting of rustic beauty.
The speaker attempts to identify with the characters because, they represent the timeless perfection, only art can capture. Unlike life, which in Keats's
'Ode to a Nightingale' is characterized by 'the weariness, the fever, and the
fret' brought on by humans' awareness of their own passing, the urn's char-
257
acters are frozen in time. The lovers will always love, though they will never
consummate their desire. The musicians will always play beneath trees that
will never lose their leaves.
The center of the poem brings to a climax this celebration of an
idealized life, 'More happy love! more happy, happy love! / For ever panting, and for ever young.' An unusual intensity is created by the repetition of
such words as 'more', 'happy', and 'for ever' and by the suggestion of a
continuing activity in 'piping', 'panting', 'Breathing', 'burning' and even 'parching'. The speaker admires this state of existence in the urn, but in the end, it
leaves his 'heart high-sorrowful'. This is because the urn, while beautiful
and seemingly eternal, is not life. The lovers, while forever young and
happy in the chase, can never engage in the act of fertility, and the tunes,
while beautiful in the abstract, do not play to the 'sensual ear' and are in fact
'of no tone', filled with the dualities time and timelessness, silence and
sound, the static and the eternal. The urn in the end is a riddle that has
'teased' the speaker into believing that beauty is truth. In life, however,
beauty is not necessarily truth
In 'Stopping by Woods on a Snowy Evening', Frost has given enough
aesthetic pleasure to decorate his lyrics, inspired by many. The speaker
stops his chariot in middle of the darkened forest. He thinks that the owner
who does not know his frozen state of the woodland lives in the village. The
village symbolizes the society which excludes the entertainment of the marveled surrounding. The dark wooden forest drenched with snowfall, symbolizes peace, experienced by the speaker. Here his horse is the reminder
who shakes his 'harness bell' to wake the speaker from his frozen state and
wonders because the chariot stood in the midst of woodland without any
farmhouse near. The frozen appearance of the lake delights him aesthetically, he considers the evening was the darkest evening of the year and the
freaky surroundings delights him favorably. An ecstatic vision of the floating appearance of snowfalls, the tranquility of the darken forest, awe-inspiring frozen lake and the chariot with horse are notably expressed with
more aesthetic sense in 'Stopping by Woods on a Snowy Evening'. In the
final stanza, the speaker gives an eccentric image of eternal sleep, 'death'.
The speaker comes out of his frozen state to continue his journey to fulfill
his responsibilities. He mentions, he has to travel miles and miles before his
sleep which means death.
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Both the writers are exclusively brought the aesthetic sense in their
writings. Though the flowery tale in Ode on a Grecian Urn raises many
unclear statement of the mysterious art in the urn, the carved art, describing
Greek culture conveys the aesthetic pleasure in every aspect in the poem.
Frost's poetic tone of the poem as derived from word choice, meaning and
from the component phonetic sounds of words contradicts the idea of dangerous, wild, risky woods and confirms the idea of friendly lovely woods
that are dark and deep in their loveliness.
Work Cited
Keats, John. The Complete Poems. Ed. John Barnard. 3rd ed. London:
Penguin, 1988.
Stillinger, Jack, ed. Twentieth Century Interpretations of Keats's Odes.
Englewood Cliffs, NJ: Prentice-Hall, 1968.
Frost, Robert. " Stopping By Woods on a Snowy Evening". The Compact
Bedford Introduction to Literature.Ed.
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55. Portrayal of Nature by Emily Dickinson

K. Jayaranjini,
Tiruchengode.
Dickinson's poems are real recollections of tranquility. Editor
Emily Dickinson, the popularly known poet of seclusion and
solitari ness, is talking about love and death and time and eternity in her
poems. Irritated with the human society, Dickinson found her refuge in
nature. The lap of nature also supplied to Dickinson the thought of love.
The inspiration in the form of love was something different for Dickinson.
The much discussed human passion found a unique expression in
Dickinson's poetry. Nature too became a vehicle of revealing the otherwise concealed thoughts in Dickinson. Naturally, the study of Dickinson as a poet
of love and nature is a matter of scholarly interest for years after years.
Nature as a theme has an inseparable relation with poems, written
almost in every language. English poetry is no exception in this regard. It
is from Chaucer's Canterbury Tales that we find nature go hand in hand
with British poems. Nature haunted many great English poets like
Wordsworth, Yeats and Hardy. Roughly, two types of tendencies can be
traced among the nature poets. Either the poets, being tired of the city
life, found solace in nature or they started feeling oneness with nature.
The former depicted escapism, while the latter mysticism. But, Emily
Dickinson cannot be grouped with them. She is indeed a nature poet with
a difference.
Dickinson's absorption in the world of feeling found some relief in
associations with nature. She loved nature. Still her interpretations are
always more or less swayed by her own state of being. The colors, the
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fragrances, the forms of material world mean to her a divine symbolism.
The spectacle of nature has in her eyes a more fugitive glory, a lesser
consolation that it had for Wordsworth.
Emily Dickinson is often called the American Romantic. True to
this popular movement's basic concept, Dickinson's poems are real
recollections of tranquility. Dickinson did not get the due recognition in
lifetime for her unorthodox choice of a spinster's life, silent denial of long
nurtured social norms and self - chosen seclusion. Her nature vision
betrays the intensity and energy with which she lived her solitary life.
Exiled in her upstairs room, she had enough time to observe natural
phenomena keenly. In an ecstatic mood, she defines nature in one of her
poetry:
Nature is what we see
The Hill - the Afternoon
. Nay - Nature is Heaven Nature is what we hear . Nay - Nature is Harmony.
Nature, the world of harmony did not give birth to any philosophy
in the poet's mind. There was no systematic philosophy that Emily had
developed about nature like Wordsworth's pantheism. Emily Dickinson
contrasts the world of nature with that of man. While depicting the
movements of a bird, the poem a bird came down the walk reveals the
almost impossible gap between these two worlds. Her descriptions of
birds are not reminiscent of any deep philosophy of nature, but are
meaningful as pictures contrasting the world of nature with that of man.
The bird feels itself in the hands of danger in the man's world and that is
why it rejects the offer from human world.
Like one in danger; cautious,
I offered him a crumb,
And he unrolled his feathers
And row him softer home.
The man fears that the bird might get caught if it comes down to
take the crumb offered by him. The bird also gets suspicious to receive
offer from an unknown face and it decides to fly away. By rejecting the
offer of crumbs, in which it senses a trap, the bird reveals the absurdity of
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a rapport between the human world and the world of nature. Bridging the
gap between man and nature is almost an impossible task. The bird's
rejection of man's offer is negation of a probable rapport between these
two worlds.
Dickinson's nature poems present a normal urge for love and life.
There is a violent contrast between the external life of a proper spinster
under the nose of a conservative Puritan community and the bubbling
energy of her poems. This is the peculiar Dickinson an dilemma, which
simply amazes us. Her violently controlled emotions get expression in
poems like I taste liquor never brewed.
Inebriate of Air - am - I
And Debauchee of Dew
Reeling - thru endless summer days This is certainly the celebration of life, not denial of life though
there is a popular tendency to portray her as a poet of darkness and
denial only. Dickinson may not be grouped with the so - called "new women" of
her time. But hers was an inward revolution. The private poems came out
of her private life won recognition of public world much later.
Dickinson's preoccupation with the theme of death leaves its mark
upon her nature poems also. In many of her poems death lies at the core
of nature. There's a certain slant of light bears the transcendental
overtones. But, unlike the optimism of transcendentalists, Dickinson, in
the lap of nature, is reminded of final, ultimate death. Winter, the death
like season brings the thought of death in her mind.
Dickinson's age was the age when Whitman was charged for his
"disgraceful" erotic poems. Naturally a woman poet like Emily surely
would not have dreamt of frankly speaking about her own sexual responses in poetry. That resulted in multiple nature symbolism that is too
modern, too witty and brilliant. A Narrow Fellow in the Grass records the
movements of a snake that allowed the poet to explore female sexuality in
poetry. Dickinson examines the terror and awe that a snake's presence
can cause. At first this reptile is treated very playfully; his sudden 'notice'
and quick movements fascinate the observer. The fearful undertones are
aggravated by the adjective 'narrow' and the snake's hidden, gliding
motion. The last line of the poem "And zero at the Bone -" evokes a
sense of terror in us. There is always a hidden indication that it may be
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the Eden serpent, the traditional embodiment of the devil. The poem
gradually develops the sense of man's fear of unknown and evil. Nature's
surface beauty has under its wrapper the terror also. Thus it becomes
Dickinson's only poem where nature truly represents hostility towards
human world. The sudden appearance and vanishing of the snake also
shocks the human beings. The habitat of the snake is unknown.
The obvious sexual overtones in the poem become prominent in
the lines:
The grass divides as with a comb,
A spotted shaft is seen;
And then it closes at your feet
And opens further on.
Dickinson's keen observation and close association with nature
provided her the chance to present the neglected and grotesque aspects
of nature. The rat, the mushroom, the fly, the bat, the snake, the frog, the
stones are enlivened before us through Emily's poems. The romantics
avoided these aspects, the moralists ignored; but Emily Dickinson found
in them the true representation of nature. These minutest details remind
us of another unorthodox poet of Bengali literature who is often called
'the poet of silence'. Jibananda Das also cared to take notice of such
grotesque aspects of nature like rat, bat, grass or owl.
In her portrayal of nature, Dickinson showed neither easy religious
affirmation nor excessive romantic enthusiasm. She loved flowers, the
cycle of seasons, the sunrise or sunset attracted her and she tried to find
the innate mystery behind nature. Dickinson uses phrase, images as well
as metres and stanzas of the Bible and presented a unique vision of earth
as paradise in which nature is sacred. Dickinson created a cosmology in
which consciousness replaces the soul and nature is paradise. She was a
Thoreau in her private life, an Emerson in creating her cosmology, a
Browning in her dramatic expression and Keats in her sensuous portrayal
of nature. To her, flower, plant or friendship was more important than
power, mechanism or wealth.
Emily Dickinson refuses to employ nature as a guide for moral
behavior. John B. Pickard observes: "Emily Dickinson's refusal to employ
nature as a guide for moral behavior . Highlight the difference between
her and other writers of nature poetry in nineteenth - century America".
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In her earlier poems Dickinson found nature 'a mother', and then she
found nature 'mocking man' but finally discovers a mysterious link
between man and nature. The change in the season of natural world
brings change in human thought also.
In Dickinson's nature poetry, we are transported to a separate
world that is not only of 'flora and fauna'. It is a world of her own. Nature
became the link between herself and the external world. Emily's intense
response to natural occurrences opens up a new vista of our understanding of her poetic nature. Her life's journey is from the world of innocence
to that of experience. So does her understanding of nature.
The whole of Romanticism can hardly be traced in Dickinson's
poetry in its historical sense. She was neither like Tennyson, Browning,
Swinburne or Arnold of her own age nor like Keats, Wordsworth, Shelley
or Coleridge of previous age. She is a poet hard to label indeed. She
certainly had romantic sensibility but that is not enough to label her as
romantic in the traditional sense of the term.
There are some romantic traits that can easily be detected by the
readers in Dickinson's poetry. She celebrated the self, childhood imagination plays a vital part in her poetry, and her praise of nature and indulgence in fancy are also found in her poetry. Some of her love lyrics are
personal in tone though some are truly impersonal. But those impersonal
ones also have marks of romantic sensibility. One of her longest lyrics is I
cannot live without you. It presents a more concise vision of the romantic
theme of love and immortality as handled in Rossetti's The Blessed
Damozel. Emily vividly describes her own sensibility in a language
unmistakably romantic. There are many instances in which Emily's
language or images have almost lost the sharpness and distinction of her
literary personality. They come close to romantic expressions. For
instance the following line approximates the style of typical romantic
ballad: "Glee! The great storm is over!"
To the romantics, feelings became a badge of distinction. Soft
phrases, melting airs and literature of sentiment marked the fashion of the
day. Sensibility was the cultural slogan of the age. Dickinson was no
exception in this regard. The entire well - known qualities of a romanticism oriented society left some inevitable marks on Dickinson's verse.
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She was never however sentimental to the degree of hypocrisy nor
extravagant to that of vulgarity. Her writing acquired its warmth and
credibility only in the backdrop of her period that was romantic and
romance loving.
Dickinson shares and explores all the various romantic attitudes.
But she never fell a victim to the typical banalities of her times, either in
meaning or expression. Her poetry shares the deeper and grander
qualities of her chief contemporaries in the field of romantic literature. Still
it never sinks for any length of time into commonplaces of romantic
thought, sentiment and style.
Emily Dickinson is an unorthodox poet of love and nature. She
paints the theme of love and nature in the canvas of seclusion. Unlike
most of the poets of her age, Dickinson was not under the influence of
major Romantics like Keats, Shelley or Wordsworth. Her world of nature
was replete with minor insects or objects too. In the same way her world
of passion was not ignorant of the simplest feelings of human heart
hitherto unnoticed in the realm of literature. That makes Dickinson a poet of
nature and love but not in the traditional sense. Another important feature
of Dickinson's poetry is her easy surpassing the boundary of 'nature' and
'human' in her poetry. To delvelop deep into the fathom of human love,
Dickinson uses nature as a way. That gives her poetry a rare fragrance.
Work Cited
Gelpi, A.; Emily Dickinson, The Mind of the Poet, 1965. Harvard
University Press.
Johnson, T.; An Interpretative Biography, 1963. Harvard University
Press.
Johnson, T. (ed.); The Complete Poems of Dickinson, 1960. Harvard
University Press.
Wells, H.W.; Introduction to Emily Dickinson, 1947. Hendricks House
Inc.
265
56. Nature in the Perspectives of Tamil and

English writers
Ms. R. P. Jeswill. M.A.,
Valliammal College for Women
E-9, Anna Nagar East,
Chennai -600102.
The paper presents the Eco-Literature and Spiritualism through
Tagore's Gitanjali - Editor
In classic literature, writers painted pictures of prosperous farms,
green fields, foxes barking in the hills, silent (herds) of deer's, ferns and
wild flowers, countless birds, trout lying in clear cold streams, delightful
to the eyes of those who pass by. Such images emphasized the harmony
of the humanity and nature that once existed. The disturbing human
activities and solstice would become fables to the children of future if
man does not stop disturbing nature vast strides in industry and technology and man's greed have given the way to catastrophic destruction of
tearing apart the rural idyll and causing health hazards. Long back
Wordsworth has raised his voice against the destruction of nature. The
paper focuses its attentions to Wordsworth's anxiety to protect nature.
He expresses his fears of losing the pastures and forests by valorizing
the beauty of nature.
This paper on'Eco-Literature and spiritualism' explores the love of
creation, creator the God, awareness of environment through art, poetry,
music, spirituality and glory of Nature. The extract of this paper selected
from the works of literary artists like, Tagore, Charles Cummings, David
Levey Chris Mann and Wordsworth will help the readers to a dynamic
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study of love of God and his creations through eco-literature and
spiritualism. Eco-conscious literature enables the readers to understand
the aesthetic, philosophical and ethical values found in them. The ancient
writers praised the nature perpetually and portrayed its strangeness and
beauty in their works of arts. In fact, the writers lived along with nature.
The great poets, dramatist and other writers in English, namely Tagore,
Wordsworth, Whitman &Yeats wrote the mysterious elements of nature
and linked their themes with spiritualism and expressed symbolically the
inner workings of the self and the motifs of nature. Poetry is the language
of feeling. Romantic poets are emblems of larger realities and
subjective realities. The people living on earth, whether learned or
laymen should be given proper awareness of eco-criticism through
literature, as literature has always been a medium to propagate and glorify
nature and spiritualism. This paper tries to examine the collections of
Tagore's poems. Gitanjali and 'Stray Birds', Nature is "revenge and
sacrifice". Manasi and his dramas focus on the development of Tagore's
inner religion, the religion of his heart and Naturalistic ideas as found
expression in his poetry and drama. In addition to the works of Tagore,
the spiritual themes as conceived in the literature of Charles Cummings
David Levey Chris Mann's holistic works of "environmental art" and
Wordsworth's "vision of nature" are discussed herein to highlight the
eco-conscious literature and spiritualism.
Tagore considered the quest of God primarily and secondarily. He
said that the development and maturation of the religions man is
fascinatingly interwoven with that of the poet. He has used the words
'religion' and 'poetry' in a broad sense. The religion counts Gautama
Buddha, Socrates and Spinoza as religious men through his early dramas.
In Nature's Revenge and scarifies, we hope that the non-Bengali readers
understand better extensively and intensively the mind and the world, the
heart of God of Rabindranath Tagore. Kalidas Batiacbarya had rightly
said that Tagore's religion is a unique phenomenon in the history of
religion. His religious themes have been derivate from the Upanishads,
otherwise expressed as theistic Vedanta. Often when a poet is labeled as
a naturalist writer, the poet's concerns are thought to be similar to the
tenets of Romanticism. Tagore's preoccupation with nature throughout
his poems does share certain characteristics with the Romantic poets
such as Wordsworth. Whitman and Yeats, the characteristics such as the
267
desire to express subjective realities, it is the claim here, that we should

read Tagore's love of and concern with nature as part of a greater
tradition ofIndian literature that begins with the cosmogony of Rig Veda.
In Gitanjali, one of the poems that most expresses the gift of
wisdom that is "Brink of Eternity". In it, Tagore draws a comparison
between a material house that is tiny and cramped, with that of spiritual
house, a mansion belonging to God himself. But throughout this extended comparison, Tagore weaves the imagery gently reminders of the
creator, God's ability to make for us humanity, a home out of the sky and
the natural world. In the Rig Veda, even the sky did not exist prior to God
fashioning and forming it [5]. Tagore writes in desperate hope, 'My house
is small and what was one gone from it can never be regained'. In Stray
Birds, Tagore compares the poet to the God of creation, likening the
power of the poet to bring into existence new words through language to
the power of the creator to bring into existence the worlds fashioned
through time. In Tagore's religious philosophy, it is God and He who has
the right to hide. Perceived as creation, nature invites us to turn to the
Creator and to take up our responsibility to protect and enhance the
natural world as Garden of both God and humankind.
The genes of eco-literature which had been for shadowed by the
Romantics, began to emerge in a new form, to which it would seem that
'Lifelines' is a modest contribution. The literary critics and intellectuals
advanced the Maslow's hierarchy for the sustainability of the biological
framework of life. Lifelines, in contrast, it is located in this traditional
poetry about animals found in numerous cultures. Animal metaphor's are
layered into daily speech and remind us of our kindship with other living
creatures. (Wilson1975:271-301). Within the tradition of English Literature, as elsewhere in other cultures, animals signify different meanings in
different texts and eras. Think only of the serpent in Genesis, the antelope in the Song of Songs the lamb in the Gospels and horses of the
apocalypse in Revelations.
Then we have the peacock and other fantastical creatures in the
medical bestiaries and the owl and ass in Shakespeare. Think also of the
lamb, tiger and worm of Williams Blake, the nightingale of Keats, the
skylark of Shelley, Tennyson's eagle, Kipling's just so stories, Orwell's
elephant. Roy Campbell's zebras, Douglas Livingstone's wild-cat, lion,
goat and the cow, the eagle and fox of Ted Hughes. Ecology may at first
268

seem foreign to spirituality or theology. When we grasp ecological crisis,
we sense the underlying problems of spiritualism. If becomes evident that
some of the basic concerns of spirituality - conversion of heart, respect
for life and of other creatures -are basic to the healing of this injured
planet. At the same time, love for the earth shown by many environmentalists reminds us that contemplation often springs from an appreciation
of beauty and an experience of wonderment. The ecological movement is
fighting to preserve a world where a revelation of God's eternal power
and divinity can be found in the study of eco-literature. Ecology and
spirituality can be allies in a common cause. Eco-spirituality will mean a
"mysticism of service". For others it will mean a conversion to a simpler
style of living. For still others it may mean a contemplative awareness of
beauty and fragility of our planet, and a sense of solidarity with all living
and non-living beings, we have to change ourselves to be able to
transmit a truly human quality of life, both interior and external life, to
further generations, which is possible through eco-literature by which the
approach to spiritualism is made accessible.
References:
Stringer,Jenny.The Oxford Companion To Twentieth-Century Literature
In English.
New York. Oxford University Press Inc.1996.TXVI.
Tagore Rabindranath. The English Writings of Rabindranath Tagore:
Essays, Volume IV.India: Atlantic Publishers and Distributors. 2007
S.Radhakrishnan, The philosophy of Rabindranath Tagore (Good
company 1961). p. 79
SasibushanDargupta., Upanishad PattabhunikaRabindramanas
(A.Mukherjee & Co.
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57. Nature in the Perspective of Kamala

Markandaya's Nectar in a Sieve
Ms. S.Kalpana,
Sri Vasavi College (Self Finance Wing),
Erode.
This paper exposes Eco Feminism which gives value for both Women and
Nature. - Editor
Kamala Markandaya is an Indian writer exposes the issue of
women in relation to nature in her novel Nectar in a Sieve. She
demonstrates how women, especially Indian women are marginalized and
devalued by male chauvinistic societies. In the same way, the
environment has also been degraded, devalued and mistreated by the
local domination of masculine regimes. In these villages, women and
nature are regarded as equal and same due to their nurturing and reproductive qualities and all the lower traits are assigned to them by the male
members of these societies. Hence, both women and nature are abused,
underestimated, exploited and dishonored by the agents of patriarchal
domination. This degradation of land and the environment has become an
important issue within agrarian, rural South-Asian societies ,particularly
among women, who took stance in favor of establishing reverence for
women and nature.
Kamala Markandaya deals with balance, plight and
predicament of women, especially of working class women and another
oppressed entity the environment. She portrays; how a society's women
are totally degraded due to poverty, women strong ties with nature and
nature's exploitation by patriarchal zamindari and industrialists. Kamala
Markandaya portrays Rukmani, the protagonist, Ira and environment as
oppressed beings. Rukmani's work in the garden and total dependence on
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this resource through her hard labor depicts her deep rooted link with
nature. She gets pleasure when she sees growth of her field. It becomes
clear when she says, "our freedom to work in the forest and to farm is
very important" (Markandaya, K. 2010, p. 241). It is also important and
tragic to note that her reproductive labor and her domestic duties are not
given any value in this rural male chauvinistic society.
This male dominated society treats both nature and female
gender in a same manner. They are cruel in both gender sensitivity and
environment sensitivity. They don't value the human beings, who wake
with the dawn, do work in the fields for the whole day, grow a variety of
foods for the rest of the people and get back to their homes in the twilight
of the dusk. We can say that they have such a strong tie with nature as
cannot be untied. They always attach their life activities with nature to
develop a deep connection and to establish value and dignity for both
for themselves and for land. These agrarian candidates especially women
are more prone towards nature/ environment. They love their field as they
love their home. The home and the field are not different to them. They
are the masters of nature by an unremitting and permanent practice, and if
someone tries to alienate them from their natural work they shed tear and
sob as it is wearisome and difficult for anyone and everyone to go
beyond the correlated field, particularly from that field, to which you
grant your whole youth. It is always correct to say, if we do not consider
both these entities (women and the nature/ environment) as independent,
autonomous and neglect even one of them, we do not fulfill the principles
and standards of this theory, but we contravene from it; the theory
establishes them uniformly important and independent instead of their
oppression and degradation by male autonomous bodies. We should
respect both women and nature.
Shiva writes that the world is produced and renewed by the
dialectical play of creation and obliteration, cohesion and dissolution.
The manifestation of this opposite power, energy is called nature. Nature
both animate and inanimate is thus an expression of power, the feminine and
creative principle of cosmos; in relation with the masculine principle
nature creates the world. Nature is intrinsically active; a powerful
productive force in the dialectic of creation, revitalization and nourishment of all life, while without this power the force of creation and devastation is as powerless as a corpse.
271
Further, person and nature are a duality in unity. We can't separate

nature from women and women from nature. They are inseparable
complements of one another, in nature, women and men. In Cartesian
concept( mind and body are not identical), dualism between man and
nature has allowed the subjugation of nature by man and given rise to a
new world view in which nature is insert and passive, uniform and
mechanistic, separated and fragmented within itself, separate and inferior
to man and to be dominated and exploited by man.
Rukmani, a poor rural woman, the central character and narrator of
the novel, describes her story of hard life, and shows her bravery in spite
of all heavy oddsput on her by cruel society as well as bynature. This
protagonist develops her bond with nature from the very beginning of
the novel. This association with nature seems stronger after her marriage
with Nathan, a poor tenant farmer. Her strong ties with nature seem to be
superb, brilliant and thought provoking. The text explains Vandana
Shiva's perspective that how the development is actually male development and a cause of environmental demolition and threat of livelihoods
for the poor peasants. Shiva's other aspect that peasants, including
women and men, are regarded feminine infact; historically and colonially,
is also under consideration in this text. The novel also depicts Rosemary
Radford Ruether's argument that human's destruction of nature and
women's degradation are perpetuated and legitimized by a social structure based on hierarchy that allows one group to rule another. It seems
due to Rukmani's close tie with nature, that her day to day activities and
duties are environmentally driven. A normal person cannot even think
about these natural objects which this young protagonist mentions,
when her husband has gone and she is a widow. "Sometimes at night I
think my husband is with me again coming gently through mists, and we
tranquil together (Markandaya. 2010, p. 01).
The single word mist in this reference is a complete depiction of
late summer season (autumn), when nights are drenched, when often rain
falls and the meadows and pastures are full of dew drops. This atmosphere is so amusing and pleasant for the protagonist that it romanticizes
her, and she feels peace and serenity in this climate when she does find
herself with her husband; as dew nights are naturally considered to be
calm. Her choice of weather does not seem poor, inspite of her being
peasant, whereas this is the season when there is not much greenery in
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the fields and on the trees, but she is blissful and contented. Her connection with nature is surely marvelousand a matter of positive reception.
The protagonist from the night scene goes towards break of day, "Then
morning comes the wavering grey turns to gold" (p.02).
Markandaya depicts these villagers having true blood for their
land. Their happiness can be estimated with the fact that they do not
want to move towards cities from their rural houses, but they prefer to
live in their poor cottages, even made of mud and straws, but they love
them. While reading the text I noted Markandaya's description through
her pivotal character, Rukmani that ; their interests lie within having
animals, and using them in their fields to augment the fertility of the land.
Rukmani again narrates that, "We kept a milch goat (p.09)".
These village people love the animals very much. This goat's milk
was the only source of nourishment for her younger son. They love each and
every object of nature, and give them value and respect by not considering them inferior beings. They, just like all Eco feminists, give equal and
independent value to plants, animals and all human beings. A particular
village food fried in "desi ghee" is common to them. We also come to
know that their ways of earning their livelihoods are completely embedded in land, nature. It is produced from the land whatever, they sell to earn
money, and men and women work equally without any discrimination.
Her connection with nature strengthens and she grows a beautiful
garden at her house; this garden becomes very special to her. She
compares her life stages with her work in the garden and with the growth
of vegetables, and seems to be spiritually connected with nature, as
Sussan gives an account of nature before enlightenment that it was
feared as a wild, puzzling spirit of sexuality but also well respected as a
nurturing mother; it was conceptualized as alive and female, associate
with women.
This dualistic approach set a double standard for nature, as a wild
force there was a social desire to tame her unrestrained behavior and
power, while as a nurturing mother constrained her abusive exploitation.
It is common practice till now to consider it the spirit and object of sex
like women, while to give a little value to it on its being mother. Here the
development of pumpkins can be compared with her pregnancy when she
has Ira in her womb (spiritual ecofeminism), and she grows as the
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pumpkin has different stages of growth, and we also come to know that
her work in the garden is somehow valued while her reproductive labor is
not given any significance in that rural family.
It seemed that Rukmani's happiness lied with the happiness of
Nathan as Rukmani got happy when Nathan was zealous on her
pumpkin's growth. It gave Rukmani vigor to give more time and more
worth to land. Her strong connection with nature provided her family
more food and more earning. Rukmani's commitment to the nature never
comes down, even in the days of her pregnancy. In those days she expects
from Nathan that he will do work in the paddy field, but he is a work shirker
and not ready to listen even.
Study shows Rukmani's deep concern and affection for land,
environment and for the community. There is such a subtle relationship
that Rukmani establishes with nature as no one can untie, neither in the
village nor in the city in spite of a great hardships that she confronts
with, at both places. At every stage there is a series of hardships, which
she has to face, but her every trouble ends with her company with nature.
She misses nature and organic form of living when she is alienated from
her land, finds troubles in getting charity food and finally gets back to
prefer her organic company to get pleasure of life.
Markandaya has portrayed a true picture of village life, where
Rukmani and Nathan are not as single characters but they represent the
whole community, where women in spite of their hard labor are devalued
and exploited as entities having meager values. Rukmani's efforts seems
to be dominant over all her tragedies that she faces in the whole novel. It
can be concluded that eco feminists' stance to establish value for both
women and nature will be regarded some day and both these entities will
be given value on equal bases and as independent living beings.
Work Cited
Agarwal, B. (Spring 1992). The Gender and Environment Debate: Lessons
from India in
"Feminist Studies".18(1). Pp.119-158.
Ganesan, I. (1982). Introduction to Nectar in a Sieve by Kamala
Markandaya. New York:
Signet Classic. print. Markandaya, K. (1954). Nectar in a Sieve.New
York:Day.
274
58. The Representation of Nature in William

Wordsworth's Tintern Abbey
Mr. R.Kanagaselvam. M.A., M.Phil. B.Ed.,
Asst. Professor of English,
KSR Institute for Engineering and Technology,
Tiruchengode.
The imagination of Wordsworth's works creates a passionate thought
over the nature -Editor
In Wordsworth's poem "Lines Composed a Few Miles above
Tintern Abbey, on Revisiting the Banks of the Wye during a tour, July 13,
1798" Wordsworth returns after five years with his sister, Dorothy, from a
trip remembering his previous excursions to this area that meant so much
to him. He reflects back on the emotional feelings he experienced during
that first time and how he enjoyed the landscape. However, during this
last visit, he realized he has matured and cannot go back to that moment
in the past. That is why he makes a mirror image of his younger sister
Dorothy, as he teaches her how to look at nature the way he used to look
at it. In doing so, he provides himself with those past joyous feelings as
he fondly remembers them now, while thanking his sister for bringing him
to his former place of residence and student years once more.
Tintern Abbey is one of Wordsworth's most famous poems. The
poem can be seen as a record of the different stages in his poetic career.
In this poem, the speaker sees Tintern Abbey and the surrounding valley
from a hill. The reader is confronted with a sense of overview. The
conception of nature and the composition of the landscape can be
compared with Constable, a contemporary painter, who will be discussed
a bit further. In this poem, Wordsworth connects the human world with
the divine world through the world of Nature. He finds the unity of the
275
universe in the Wye valley. In this stage of Wordsworth's life, he

conceptualises nature as some sort of religion, and 'the universal human
malady in mind and heart could be cured only by Nature's "holy plan"'.
This higher power attributed to nature is clearly visible in the following
lines (l. 107-110):
Of eye, and ear,-both what they half create,
And what perceive; well pleased to recognise
In nature and the language of the sense,
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.
In the poem, there are only traces of people, but not people itself.
That lack of figures is part of the motive of representing the landscape as
wild, untouched and desolate. The traces (hedge-rows, farms, smoke) are
visible in the next few lines (l. 11-19):
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses. Once again I see
These hedge-rows, hardly hedge-rows, little lines
Of sportive wood run wild: these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
Wordsworth also mentions the Hermit. The Hermit can be
regarded as a symbol for solitude and the integration of the human
presence in the landscape (l. 22-23): "Or of some Hermit's cave, where by
his fire / The Hermit sits alone."
Wordsworth writings clearly reflect his love for nature and his
relation with her. Most often his writings notify the beauty of nature as
opposed to the horror of nature, in a few of his writings. The poet seems
to have a particular affection towards nature and therefore presumable
uses many adjectives to vividly describe all his perceptions of nature.
It is pleasurable to read Wordsworth's poetry as the poet acquaints the reader with the beauty of nature. Wordsworth considered
nature to be more than a collection of trees, bushes, hills, streams [] to
276

him nature has personality, almost similar to humans with a power to
poetically inspire those who love her. He considers nature as a friend,
teacher and guide and claims that he could feel the presence of spirituality in nature like no other poet could.
P.B. Shelley, in his poem To Wordsworth, calls Wordsworth 'Poet
of Nature,' as William Hazlitt calls him poet of the mountains, and both
these appellations are very appropriate for Wordsworth, because
Wordsworth both got his poetic inspiration and materials for his poems
from nature. Right from the poems which he wrote in his early years, we
find that his poems are suffused with the beauty and descriptions of
nature, as if nature followed him like a shadow. (Sarker, 2003: 300)
However, as William spent most of his life living with his sister,
Dorothy, it might be reasonable to acknowledge she might have had a
considerable influence on his life and writings. Her love and passion for
nature is similarly reflected in her writings and as Coleridge puts a strain
on her as "her eye watchful in minutest observation of nature". Both
Wordsworth family members seem to find peace and understanding in
nature as Dorothy mentions "It was a sight that I could call to mind at
any time it was so distinct." referring to nature in which she could be
herself. As William Wordsworth took nature to be his truest friend, so did
Dorothy too.
Wordsworth's poetry reflects the thematic characteristics of the
Romantic period perfectly. Following Rousseau's conviction that in
nature 'the essential passions of the heart' could be found in their purest
form, his poems show the same interest in nature and escaping to it.
However, his poetry is more than just describing nature. He places
himself in the landscapes he describes and talks about his own observations and emotions. His poetry is spontaneous and controlled, comparable with nature itself. Wordsworth believed that the naturalistic state of
a person is tranquillity and should not be overwhelmed by society.
Works Cited
Sarker, Sunil Kumar. A companion to Wordsworth. Delhi: Nice Printing
Press. 300-302. 2003. Print.
277
59. Portrayal of Nature in Romantic Literature

Mr. P.Kannan M.A., B.Ed.,
KSR Arts and Science College (Autonomous)
Tiruchengode.
The state of soul and description of feelings is projected through the
image of nature -Editor
Nature plays an important role in English literature. Especially in
Eighteenth Century some writers took it as a tool for their writings. They
expressed their feelings and emotions naturally what they were in the
mind. Romanticism is a movement in art and literature of England emerged
in eighteenth century. It took shape earlier than in other Western European countries and it had its vivid specificity and individualism. It's most
valuable representatives were William Blake, William Wordsworth, John
Keats, Samuel Taylor Coleridge, Robert Southey, Thomas Moore, George
Gordon Byron, Percy Bysshe Shelley, Walter Scott and others, who have
left a rich heritage in the literature of England and contributed to the
world literature. Romanticism is one of the most controversial movements
in European literature.
Romanticism is mostly understand not only as a formal literary
trend, but as a certain philosophy, and it is through this philosophy that
we try to define Romanticism. One of the features of Romanticism in
England was its magnificent lyric poetry, especially lyric poetry, in which
the identity of the poet was brightly expressed in whatever he wrote.
English poets framed their observations and views in parables, fantastic
visions, and cosmic symbolism. Sublime things and feelings were understood by them not only as something exclusive, but that could be present
in the simplest things, in everyday life.
278

When characterizing the relation of romantic writers and poets to
the world, it is important to point aspiration to the ideal, human impulses
and feelings, the belief that not logic and knowledge but intuition and
imagination could reveal all the mysteries of life. But it is aspiration to the
ideal, sometimes illusory or unattainable, that lead to rejection of everyday life which did not meet that ideal. Therefore, the romantic heroes had
an "internal duality", forced to live in two disparate worlds of the ideal
and reality, sometimes coming in protest not only against the bone of
reality, but also against the divine world order.
English Romantics were especially interested in social problems,
as to the modern bourgeois society they opposed the old, pre-bourgeois
relations, they glorified nature and simple, natural feelings. Bright
representative of English Romanticism is Byron, who, according to
critics, "clothed in a dull hopeless romanticism and selfishness." His
works are full of pathos of struggle and protest against the modern world,
glorifying freedom and individualism.
The nature of romantic poetry has saved not only the aesthetic
value of artistic expression of its philosophy, but also it reflected a truly
profound ideas and experiences, great human emotions.
It is important to stress the fact that according to Romantics,
nature in general and all its parts have specific features of the human
soul. Though it is important to say that such personalization and conception of nature as subordinate to the "world spirit" is very important
peculiarity of romantic literature, because it reflects the problem of man's
relationship to the world.
Thus, the very meaning of "nature" in the eighteenth and nineteenth centuries was entirely different. What is the something else,
something new that distinguishes a romantic view of nature from its
premises? Scientific literature emphasizes such characteristics of views
and attitudes towards nature in romantic works:
The deep romanticism subjectivity, the subjectivity of nature,
precise, individual attitude to the subjects of nature;
projection of mood of the writer on nature and vice versa;
the identification of the sensitive subject with nature;
the animation of nature by subjective emotions of the poet;
passionate relationship of man to nature. (Moore J, 2010)
279
Subjectivity of nature is a broader concept than the organic view

of romantics on nature, as this concept unites a wide range of romantic
poets. In English and in German literature subjectivity of nature is
expressed more explicitly than other literatures.
Example of words of Byron, who very often expressed his love to
nature, points to the fact that the subjective relationship with nature is
very important feature of Romanticism.
There is a pleasure in the pathless woods,
There is a rapture on the lonely shore,
There is society, where none intrudes,
By the deep sea, and music in its roar:
I love not man the less, but Nature more.
(Byron G.G., "Childe Harold's Pilgrimage")
The main aspect in the romantic view on the nature is its "subjectivity", the corresponding correlation of the poet's mood with the natural
world. It is a subjective interpretation of nature that is widely used by
Romantic poets, and such features as variety of moral epithets, passion,
and association of objects with personal - these are the most obvious
examples of this poetic temperament. "Nature knows, loves, suffers and
dreams, like a man, and together with the man". (Moore, 2010)
Romanticism is characterized by a sense of unity between man
and nature, but this is not always expressed in the pantheistic forms, and
may be associated with different ideological positions. Moreover, this
unity can act in the forms of dualistic split, when nature embodies peace
and harmony, and is opposed to sufferings and disharmony of human
relationship. Passionate experience of relationship between the hero and
nature is inherent to all romantics, though it may be shown differently by
different romantic poets. On the one hand, in their writings dominate the
image of landscape, which reflects their search for beauty, for picturesque
images. On the other, they pay more attention to the state of the human
soul and his feelings, and so the image of nature is a projection of the
state of the soul, and the poet turns from the descriptions of nature to
description of feelings, mixing them and showing relationship between
them. Thus, the declaration of the relationship of nature with the inner world
of man is an important practice in works of romantic poets. (Perkins, 1994)
280

The nightingale's high note is heard;
It is the hour when lovers' vows
Seem sweet in every whispered word;
And gentle winds, and waters near,
Make music to the lonely ear.
Each flower the dews have lightly wet,
And in the sky the stars are met,
And on the wave is deeper blue,
And on the leaf a browner hue,
And in the heaven that clear obscure,
So softly dark, and darkly pure.
Which follows the decline of day,
As twilight melts beneath the moon away.
(Byron G., "Parisina" (st. 1)
It is important to note that for romantic poets nature was an
expression of spiritual life, where they saw the mirror reflection of either
their own soul, or the ideal life that constituted the object of their dreams.
Therefore, in their works nature is endowed with more deep meaning,
than the meaning of words.
Thus, we can see that the Romantic poets often showed the nature
as free, powerful and beautiful world that is different from the human.
Especially romantic poets liked to portray the sea in this sense, its
boundless scope and majestic power, the wind, which has unlimited
power and freedom, and the mountains with their grandeur and sublime
beauty. In this case, the freedom and the power of natural elements have
a figurative meaning, associated with free and powerful human spirit.
281
60. Imperative Role of Nature in the Existence of

Human Beings and Annihilation made by Human
Beings as Portrayed in Literature
Mr. L.Kamal
Tiruchengode.
This paper portrays the poets' struggle to understand nature and man's
creative and destructive parallel forces.-Editor
"Nature holds the key to our aesthetic, intellectual, cognitive and
even spiritual satisfaction."
Nature plays imperative role in the world of Literature. The power,
ingenuity, and sheer beauty found in nature have always fascinated
mankind. When we look at powerful ocean waves rolling in, we cannot help but
feel small and powerless in comparison. Mighty trees in a vast forest
inspire feelings of insignificance and awe. Animal mothers taking care of
their young make us question the cruelty with which we sometimes treat
one another. The truth is nature can teach us many valuable lessons.
Environmental ethics are founded on the awareness, that we all
living beings are the part of nature and man being the most intelligent is
considered as patron to the nature. Co-existence of man and nature is
interdependent. Nature provides the necessary support to man and other
living beings on the other hand living beings help nature to grow and
develop. In any natural system the well being of a species is dependent
on the growth and harmony of the whole eco-system. Species other than
man has poor understanding of personal and natural growth and devel-
282

opment, so it is fundamental ethical responsibility of man to respect and
protect nature, its resources and its life supporting systems. Nature
should not be taken for granted.
The relationship between man and environment has varied from
the early periods of human settlement on the earth to the present day.
The environment has considerably affected human beings right from his
evolution. Scientists, environmentalists, ecologists and nature lovers, the
artists, poets, philosophers, thinkers and writers also have great concern
and deep rooted interest for maintenance of the ecological balance and
nurturing care for environment. Concern of literary community may be
well felt in the literature. If we undertake a literary journey through the
literature of any community or language, poets and writers have tried
their best to care, protect and preserve the environment.
To express the concern for environment a new term "Eco-criticism"
was coined by William Rueckert in 1978 in his essay "Literature and
Ecology: An Experiment in Eco-criticism." Eco-criticism as an academic
discipline began in earnest in the 1990's, although its roots go back to the
late 1970's. Sir John Betjeman (1906-1984), was a masterly painter of
landscapes and townscapes. His poem "Inexpensive Progress" is highly
relevant to modern times. It is a satirical attack on the obsession of
modern man with so called progress at the expense of nature. It reveals
how increasing industrialization and urbanization is destroying nature
and defacing its fair face.
Encase your legs in nylons,
Bestride your hills with pylons
O age without a soul;
Away with gentle willows
And all the elmy billows
That through your valleys roll
In the above lines the poet has shown deep concern for nature. It is a
satire on modern man, who is destroying nature in the name of progress.
The poet laments the loss of gentle willows and beautiful elmy trees.
Sir John Betjeman being a modern poet has raised the present day
problem of environmental degradation and has shown deep concern for
the preservation of nature. The poet's focus is on the disappearance of
green places and to sensitize the insensitive modern man says:
283
And if there is some scenery,

Some unpretentious greenery,
Surviving anywhere,
It does not need protecting
For soon we'll be erecting
A Power station there.
The tone of these lines is satirical. He says that if there is any
simple patch of greenery still surviving, there is no need to protect it.
Soon the modern man will build a power station there. So, these lines are
a satire on the modern man's lust to modernize at the cost of nature which
inturn proves hazardous for his own self. The eco-critical concern of Sir
John Betjeman is praise worthy as he is committed to the cause of
preservation of nature.
H. Davies (1871-1940), lyric "Leisure" bemoans modern man's
inability and passivity in responding to the beauties of nature. We
always find ourselves in a tearing hurry to acquire material success and
fame. The poem reminds us of Stevenson, who aptly observes in his
essay An Apology for Idlers: 'Look at one of your industrious fellows for
a moment, I beseech you. He sows hurry and reaps indigestion; he puts
vast deal of activity out to interest, and receives a large measure of
nervous derangement in return.' This is exactly what Eliot reproduces in
"The Waste land" when he exposes the squalor, the ugliness, and the
horror of a modern man's neurotic life:
'My nerves are bad tonight. Yes, bad. Stay with me.
Speak to me. Why do you never speak? Speak.
What are you thinking of? What thinking? What?'
So the best recourse is to find pleasure and happiness in our lives
is through our contact with nature. We must not allow materialism to
dwarf and narrow our lives; we can retain and nourish our sense of
beauty and glee only through "leisure". A life led in the lap of nature is
full of calm, serenity & peace of mind. So, the poet suggests that nature
should be preserved and nurtured as it is permanent source of joy. W. H.
Davies says in his poem "Leisure" shows deep concern for nature.
When he saysWhat is this life if, full of care,
We have no time to stand and stare?
284

No time to stand beneath the boughs
And stare as long as sheep or cows:
A poor life this if, full of care,
We have no time to stand and stare.
Modern man is running a mad race of amassing more and more
wealth which provides the luxuries of life but not peace of mind. So, it
becomes the prime duty of all writers to care nature, to preserve it as it is
the only source of joy which has pleasant effect on mind. Nature relieves
modern man from the worries of modern day problems.
Indian poet Gieve Patal shows eco-critical approach in writing the
poem "On Killing A Tree". He describes the process of brutal and
merciless murder of a tree. The tree has been personified here and in the
first stanza it is shown growing and maturing like a human being and in
the second and next stanzas the process of killing a tree is described:
It takes much time to kill a tree,
Not a simple job of the knife
Will do it..
So hack and chop
But this alone won't do it.
Not so much of pain will do it.
Human beings desire a healthy survival on earth, environmental
awareness is very important. To conclude, I agree that the nature poets
are their to explore nature in its entirety, not just in an organic sense, but
also in a theological and philosophical reflection on nature's creative
powers that lead to an ultimate consideration of the state of society and
man's relationship with the universe. These poems also portray the poets'
struggle to understand nature and man's creative and destructive parallel
forces, which still exist today, where man's insatiable need to create to
meet the demands of an ever-growing population, has been widely
viewed to be destroying the earth's ecosystem and ultimately himself, be
it through pollution or the exploitation of natural resources. Nevertheless,
in expressing their longing for an ideal world, the Romantic poets also
present an inkling of hope, that if man desists from this destructiveness,
nature can be preserved. This thus epitomizes Shelley's belief that 'Poets
are the unacknowledged legislators of the World' [27], for the poet's gift
of interpretation and imagination has developed throughout a succession
of artistic movements that have shaped our constantly evolving society.
285
61. Portrayal of Nature with the Special Reference to Amitav Ghosh's Novel The Hungry Tide
Mr. K.Karthik,
Department Of English,
Maharaja Co-Education Arts and Science College,
Perundurai-52
The Mythological representation of Indian Culture presents the identity,
history and love of the country. Editor
Nature and literature always share an intimate relationship. It is
clear from the works of poets and other writers of all ages and in all
literature. "Ecocriticism" is the study of representations of nature in
literary works and of the relationship between literature and the environment. Not only in the branch of literature the intimate relationship
between the natural and social world is being analyzed and emphasized
but also in all branches of knowledge and development. As a separate
movement or school of literary criticism, Ecocriticism started developing
in the 1990s. If you look deep you will find that there is a close relation
between Ecocriticism and literature. Ecocriticism is an interdisciplinary
study of Ecology and Literary Criticism which is unusual as a combination of a natural science and a humanistic discipline. By analogy,
Ecocriticism is concerned with the relationships between literature and
environment or how man's relationships with his physical environment
are reflected in literature. There are many novels in Indian fiction is not
deals with the theme of Ecocriticism though; nature has been used as a
backdrop against which the story develops. It is because a serious
concern with ecology seems to be lacking in the works of earlier writers.
Of late, writers prefer to create awareness of the consequences of human
actions which damages the planets basic life support system. We can
take The Hungry Tide by Amitav Ghosh into consideration.
286

In many literary works in English, nature has been a dominant
issue. Though we read the story of the works and we criticize them, we
forget to evaluate the background where the author comes from and even
we fail to understand the environment in the work we read. Many authors
have a particular place and they, in all their works, make their plot to
happen in and around the place. For example, R.K.Narayan used to write
his stories and made his characters in and around Malgudi. Pathetically,
Colonialism was a significant factor in the devastation of environment
worldwide. The transformation in the social and cultural environments of
the world has completely changed the representations of man's attitude
towards nature in literary expressions. Ecocritisism is a rapidly expanding
area of research covers wide range of texts and theories which study the
relationship of man and nature. Environmental studies in literary texts
through nature imagery, gender construct, feminism, man-woman relationship, tourism, culture etc. have wider meanings than what is portrayed
through their literal expressions. In Indian writings in English too there
are many literary books that reflect the theme of Ecocriticism in them.
There are many ways that authors have explored environmental issues. In
some books it is central to the book, while in others, it is secondary to the
narrative and other themes.
Amitav Ghosh's The Hungry Tide (2005) is one of the first Indian
novels to strongly raise ecological issues in Indian fiction. Ghosh's novel
reveals the interactions between the state, the poor, the fauna and flora,
and the physical environment, and in doing so this work highlights both
the tragedy and the hypocrisy that were inherent in the conservation
efforts in the Sundarbans. In The Hungry Tide Ghosh explains the
tensions that takes place between and within human communities, their
respective relations with the natural world, and the extra-discursive
reality of nature that changes and is simultaneously changed by humanity. The friction between land and the sea in the Sundarbans creates a
constant friction between the plant and animal life. Man's constant
encroachment of the ecosystems of the Sunderbans only justifies the
tension between the various elements of nature. The Hungry Tide is set
in the Sunderbans, an island in the Bay of Bengal which is not just
beautiful but also fascinating. For settlers, the Sunderbans offer an
extremely unpredictable and insecure life.
The Hungry Tide unfolds through the eyes of two upwardly
mobile, educated individuals who undertake a journey to the tide country.
287
Kanai Dutt, the Bengali born, Delhi- settled businessman arrives in

Lusibari to visit his aunt Nilima and claim the package left for him by his
uncle, Nirmal. The package, he discovers is an account of his uncle's last
days, which revolved around Kusum and her son Fokir, who are portrayed as the victims of eviction from the island of Morichjhapi. Ghosh
weaves together two temporal narratives: one unfolding through
Nirmals's journals recounting the Morichjhapi episode that happened 28
years earlier and the second through Piya's expedition, to study the
threatened Gangetic River dolphins. The juxtaposition of these two
narratives highlights the problems and issues of wilderness conservation
and its related social costs in areas populated by the socially and
economically disprivileged both in the past and the present
Water is of special significance in Hindu mythology. Water is
chiefly associated with fertility, immortality, place, creation and the
feminine. Running water is deemed sacred in Indian mythology. According to the Rig Veda, the river is a continuation of the divine waters that
flow from heaven to earth. Mythology has it that when the Ganges
descended from the heavens, so mighty were its currents that it threatened
to drown the earth itself. Shiva anticipating the deluge captured the river
in his dreadlocks. It is only when the river nears the sea that it untangles
into a thousand strands forming a vast archipelago of the Sunderbans.
The water that shelters tigers, crocodiles and snakes and nurtures the
mangrove tree also protects the area from large-scale deforestation and
even frequent natural calamities like storms and typhoons.
The novel tells a very present day story of adventure, identity
and history and love. Ghosh here presents nature not as a setting of
picturesque beauty alone it also appears as hungry of human blood. The
tide and its surges stand for all the devastating aspects of nature. We
may spot the following expression about mangrove forest from the
Bengali script that Kanai reads in the novel:
"A mangrove forest is a universe into itselfMangrove leaves are
tough and leathery, the branches gnarled and the foliage often impassable
dense. Visibility is short and the air still and fetid. At no moments can
human beings have any doubt of the terrain's utter hostility to their
presence, of its cunning and resourcefulness, of its determination to
destroy and expel them. Every year dozens of people perish in the embrace of
that dense foliage, killed by tigers, snakes and crocodiles." (Ghosh 7-8)
288

The novel is rich in presenting the environment that takes place in
the Tide country i.e Sunderbans to which the whole of the work is
devoted. It is not only a far-flung land of intimidating physical environment but also a place of dealings among an assortment of communitiesethnic, religious, linguistic, cultural etc. These are islands where inhabitants live in fear of drowning tides and man-eating animals.
Thus this is an excellent work where Ghosh accurately brings out
the marvels-tigers, river dolphins, crocodiles, lunar rainbows and the
tides-which go against the settlers. The work is an indispensible mark that
bears a conflict between wilderness and human civilization. It may also be
considered, for all time to come for its artistic accuracy, as a drama of love
and endurance and a wonder about man's place in physical environmentthe environment or the landscape which appears itself as a dynamic
character in the novel. A work of imagination, the novel appears in every
speck as epic in scope and ambition as his another superb work, The
Glass Palace. The mingling of imagination and reality in the presentation of
nature exhibits Ghosh's extreme devotion to his art. His picture of nature
appears to be complete and it does not smack of any false sentimentalism
or illusory romanticization of the subject. With a perfect perception of things
and events he arranges a strong combination of minute and inexhaustible
realism and curiosity which keeps our mind on the stretch to the very end.
Thus literature plays a vital role in presenting and preventing
nature as well. Many views literature as a mirror that reflects human life. It
is also clear that literature tends to present nature in its sphere. It is
difficult to separate nature from literature and literature from nature. It is
natural that nature comes under the roof of literature and vice-versa. We
too, as a reader, should try to enjoy the beauty through literature and the
beauty of literature.
Work cited
Bose, Brinda, Amitav Ghosh: critical perspective ed. Pencraft International,
Delhi, 2005
Dhawan, R.K. ed. The Novels of Amitav Ghosh, Prestige Books, New
Delhi, 1999
Ghosh Amitav, the Hungry Tide; 2005, Harper Collins (2011).
Mondol, Anshuman. A, Amitav Ghosh, Manchester University Press, UK,
Indian Edition, 2010.
289
62. FROST AND NATURE

Ms. K. Kavi Priya,
JKKN College of Arts and Science,
Komarapalayam.
This paper concerns humans are part of nature. Frost connects human
with nature concerns. -Editor
Nature, in the broadest sense, is the natural, physical, or material
world or universe. "Nature" can refer to the phenomena of the physical
world, and also to life in general. The study of nature is a large part of
science. Although humans are part of nature, human activity is often
understand as a separate category from other natural phenomena.
The word nature is derived from the Latin word natura, or "essential qualities, innate disposition", and in ancient times, literally meant
"birth". Natura is a Latin translation of the Greek word physis, which
originally related to the intrinsic characteristics that plants, animals, and
other features of the world develop of their own accord. The concept of
nature as a whole, the physical universe, is one of several expansions of
the original notion; it began with certain core applications of the word by
pre-Socratic philosophers, and has steadily gained currency ever since.
This usage continued during the advent of modern scientific method in
the last several centuries.
"Each moment of the year has its own beauty"
- Ralph Waldo Emerson
Depiction is a form of non-verbal representation in which twodimensional images (pictures) are regarded as viable substitutes for
things seen, remembered or imagined. Basically, a picture maps an object
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to a two-dimensional scheme or picture plane. Pictures are made with
various materials and techniques, such as painting, drawing, or prints
(including photography and movies) mosaics, tapestries, stained glass,
and collages of unusual and disparate elements. Occasionally pictures
may occur in simple inkblots, accidental stains, peculiar clouds or a
glimpse of the moon, but these are special cases. Sculpture and performances are sometimes said to depict but this arises where depiction is
taken to include all reference that is not linguistic or notational. The bulk
of research in depiction however deals only in pictures. While sculpture
and performance clearly represent or refer, they do not strictly picture
their objects.
Frost's use of nature is the single most misunderstood element of
his poetry. Frost said over and over, "I am not a nature poet. There is
almost always a person in my poems." "Spring Pools" and "A Winter
Eden" are two rare exceptions to this rule, although both poems embody
the idea of perfection - the spring pools "almost without defect" and the
snow scene described as "paradise." Nature does not idealize - that is the
work of man, so perhaps there is a person there after all.
Frost uses nature imagery in his poem.His grasp and
understanding of natural fact is well recognized. However Frost is not
trying to tell us how nature works. His poems are about human psychology. Rural scenes and landscapes, homely farmers, and the natural world
are used to illustrate a psychological struggle with everyday experience
met with courage, will and purpose in the context of Frost's life and
personal psychology. His attitude is stoical, honest and accepting. Frost
uses nature as a background. He usually begins a poem with an observation of something in nature and then moves toward a connection to some
human situation or concern.
There is much in nature against us. But we forget:
Take nature altogether since time began,
Including human nature, in peace and war,
And it must be a little more in favor of man,
Say a fraction of one percent at the very least,
Or our number living wouldn't be steadily more,
Our hold on the planet wouldn't have so increased.
291
Nature is separate and independent from man. Man "keeps the

universe alone," even though he may call out for "counter love," he will
not find it. Even though he loved natural beauty, Frost recognized the
harsh facts of the natural world. He viewed these opposites as simply
different aspects of reality that could be embraced in poetry. He accepts
these facts with honesty and is remorseless in his realization of them. He
probes the quality of truth and accepts that there may be no answer.
Frost uses nature as metaphor. He observes something in nature
and says this is like that. He leads you to make a connection, but never
forces it on the reader. Read on a literal level, Frost's poems always make
perfect sense. His facts are correct, especially in botanical and biological
terms. But he is not trying to tell nature stories nor animal stories. He is
always using these may not be reminded of the same thing that the poet
was thinking of when he wrote the poem, but he hopes the reader is close.
Frost is often described as a parablist. His poetic impulse starts with
some psychological concern and finds its way to a material embodiment
which usually includes a natural scene. Frost always takes time to describe it
with sensitivity and care while using good poetic technique especially
figurative language. Many of his poems are text book examples of the use
of imagery and poetic devices of all kinds. He was a skilled versifier.
Frost struggled all his life with a traditional faith-based view of the
world and the rise of science. It is still being argued whether or not he
believed in God. Curiously, people of opposing beliefs can find justification of their views in Frost because this poet is full of contradictions.
Basically he believed in a ever changing open-ended universe, which
could not be explained with systematic thought, whether it be science,
religion or philosophy. He declared that evolution was simply a metaphor
for a changing world.
He believed the universe was unknowable and his poems reflect
the withheld judgment based on his skepticism. He declared he was not
an agnostic. He said, "I have no doubts about my beliefs." The contradictions Frost found in the world did not bother him. He saw no reason to
resolve them but believed that man acting in freedom could balance the
contradictions in a sort of play. He never believed one age was worse
than another. He embraced the Christian doctrine of Acceptance thinking
it unworthy to "play the good without the ill." In literature, one of the
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strongest devices is imagery wherein the author uses words and phrases
to create "mental images" for the reader. Imagery helps the reader to
visualize more realistically the author's writings. The usage of metaphors,
allusions, descriptive words and similes amongst other literary forms in
order to "tickle" and awaken the readers' sensory perceptions is referred
to as imagery. Imagery is not limited to only visual sensations, but also
refers to igniting kinesthetic, olfactory, tactile, gustatory, thermal and
auditory sensations as well. The gushing brook stole its way down the
lush green mountains, dotted with tiny flowers in a riot of colors and
trees coming alive with gaily chirping birds.
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63. PORTRAYAL OF NATURE IN THE

POEMS OF JOHN KEATS
Mr. P. Maheswaran,
Tiruchengode.
Paper describes the cult of nature. Beauty could be either physical or
spiritual. His poems are imbued with a sense of melancholy, death and
mortality. Editor
The writing focuses on John Keats, who lived a short time
between the 18th and the 19th century, and his conception of Beauty and
Nature. He is considered to have been of great importance at his time,
since, by exalting Beauty, he grew as a source of inspiration to many
English 19th century poets, becoming the idol of such writers as Tennyson,
Rossetti and the Pre-Raphaelites, as well as Oscar Wilde and the aesthetes, who saw in his cult of Beauty the exaltation of Art for Art's sake.
Like most of the literature of the Romantic period, Keats' poetry mirrors the
tension between actuality and ideal perfection, always trying to reach it.
Keats' life was imbued with family tragedies and professional
setbacks. Moreover, he himself was killed by tuberculosis at the early age
of twenty-five. His poetry was influenced by the events occurred to him
and, in fact, most of his poems are imbued with a sense of melancholy,
death and mortality. In these moments of need, Keats turned instinctively
to poetry, which he conceived as something absolute, his only reason for
life, and through which he might achieve a kind of divinity. Poetry, he
thought, should spring naturally from his inner soul and should reproduce at is imagination suggested to him; and what struck his Imagination
most was Beauty, not the "intellectual beauty" of Shelley, but the one
294

which reveals itself to his senses. Beauty, in fact, became the central
theme of all Keats' poems, since it was the only consolation he found in
life. The memory of something beautiful brought him joy, as he wrote in
the opening lines of Endymion: "A thing of beauty is a joy forever".
Beauty could be either physical or spiritual, though they were to
be considered together, since physical beauty was simply the expression
of spiritual beauty and, even if the former might be subject to time and
decay, the latter was eternal and immortal. Imagination recognizes Beauty
in existing things, but also it is the creative force of Beauty. In the letter
to his friend Benjamin Bailey, Keats wrote: "I am certain of nothing but of
the holiness of the Heart's affections and the truth of imagination. What
the imagination seizes as Beauty must be truth - whether it existed before
or not". The worship of beauty is the clue to everything in Keats and it is
quite usual t find that Beauty and Truth often unite.
Nature was one of the greatest sources of inspiration for Keats.
Like Wordsworth he had a cult of nature, though, unlike him, he did not
see an imminent of God in it. He simply saw another form of Beauty which
he could transform into poetry without the aid of memory; he only
enriched it with Imagination. While Wordsworth thought that "sweet
melodies are made sweeter by distance in time", Keats believed that
"heard melodies are sweet, but those unheard are sweeter", i.e.: beauty
imagined is superior to beauty perceived, since the senses are more
limited than the Imagination and its creative power. While Wordsworth's
love for nature is well explained by the fact that he grew up in the Lake
District, thus being influenced by the suggestive landscape, it is harder
to understand the connection between Keats and nature, since he was a
city boy. For this reason, unlike Wordsworth, whose relationship with
nature was spiritual, he looked at nature with the eye of the aesthete,
recreating the physical world, including all living things.
Nature was a major theme among the Romantics, but Keats turned
natural objects into poetic images. When he already knew that he was
going to die, he looked back at childhood and realized that concrete
contact with natural objects at that time was responsible for the positive
associations they continued to communicate in adulthood.
Nature led Keats to the formulation of a concept he called "negative capability", described as the ability to experience "uncertainties,
295
mysteries, doubts, without any irritable reaching after fact or reason",

managing to negate personality and opening to the reality around. It is an
intuitive activity of mind, a metaphysical process in which nature is a
potential source of truth. Though great number of images connected
with nature in Keats' poems are used only to represent experiences, thus
becoming a symbol of the psyche.
In some sonnets we find in Keats' journal-letter to George and
Georgiana in spring 1819, he already wrote about the theme chosen for
the great odes and in the poem Letter to Charles Cowden Clarke in 1816
he had already an idea of how to structure an ode, since he described the
"grandeur of the ode, Growing, like Atlas, stronger from its load". Prior to
1819 he had wrote some odes: "Ode to Apollo" (1815), "God of the
Golden Bow" (1816) and "Mother of Hermes! And Still Youthful Maia"
(1818), but 1819 was Keats' "Annus mirabilis", when, in the spring, he
composed almost all his greatest poems, published in 1820, except "To
Autumn", which was written in September. Most of these poems were
impromptus, the result of a sudden inspiration, like an autumn afternoon,
a nightingale's song or a mood of dreamy relaxation after sleep.
Already at the age of fifteen, Keats began to be attracted by books
and particularly by classical antiquity. Five years later, his friends the
poet Leigh Hunt and the painter Robert Haydon took him to see the
famous Elgin Marbles, the sculptures brought to England by Lord Elgin
from the Acropolis in Athens and kept in the British Museum. Greek
plastic art enchanted him and deeply influenced his poetry. He could sit
for hours in front of the Elgin Marbles, since ancient Greek and poetry
meant to him Beauty. Thus he turned to the classical world for inspiration, but he interpreted it through the eyes of a Romantic. Keats is
inspired by an ancient Greek vase, which he sees or imagines, investigating the relationship of art and life. The urn is a symbol of ideal Beauty
captured by art, above all classical art. It has remained unchanged
through time, just as ideal Beauty never changes. The figures on it are
immortal too, but only at the price of remaining frozen at a particular
moment in time, without completing their lives. The poet, though, does
not try to identify with them; he only contemplates a work of art, as the
romantic tradition of the picture poesis stated, deriving meditation from it.
Keats seems to be saying that art, because it can capture the ideal
and the eternal, is, in a sense, superior to life, which must come to an end,
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and that man, who is naturally mortal, can only express his sense of the
ideal and eternal through art. Nevertheless, precisely because art is not
subject to the cycle of life and death, it remains curiously
unsatisfying since it can never be made a concrete part of people
everyday's lives.
Though there are a number of characteristic features in Keats'
poetry which affiliate with Coleridge and Wordsworth, his natureconsciousness will be seen to take a slightly different turn. Keats' poetry
and prose show proof of certain monistic traits common in the two elder
poets, justifying the assertion that he can be discussed within the
mainstream of Romantic idealism with regard to nature, even if he does
not handle the matter in a like manner.
With regard to Romantic idealism, there are undoubtedly elements
here that show Keats' the enthusiasm for nature. In terms of aesthetic one
would describe this as the internalization of natural imagery and exteriorization through poetry. One of the developmental phases in this progression
has to do with eco-consciousness. Nature therefore undoubtedly plays a
fundamental role in his poetics of becoming a self-portrayed artist.
297
64. Nature as symbols and images in the select

poems of Robert Frost
Dr. M.Manopriya.,
Assisstant Professor,
Department of English
Vellalar College for Women
Erode- 12.
This paper shows that the psychological rejuvenation through symbolism and naturalism. -Editor
Keats and W.H.Davies a thing of beauty is joy forever and Nature
was considered to have a profound relationship with man. Wordsworth
and Hardy spiritualized or personified Nature and stirred within them
profound philosophical reflections. Northrop Frye, a critic defines an
image as a symbol in its aspects as a formal unit of art with a natural
content. The Elizabethan and Jacobeans know the potentiality of this poetic
device and choose them for expressing poetic moods. This is similar in
case of Robert Frost where his philosophical and his spiritual thoughts
were crystallized to the readers through his use of symbols and imageries.
The poem "Birches" is among Frost's best known pieces and has
acquired a wide popularity. Here the birches swing up and down when the
wind blows and the ice on them shines and turns many colored, as the rays of the
sun are reflected in passing through the ice. As the sun grows warmer the
ice falls down. The ice here connotes the winter season which ultimately
symbolizes the sufferings, pain, the weariness and the fret of one's life.
The words "the pathless woods" and the "cobwebs" symbolize
human bewilderment. Man is often not able to visualize clearly and often
gets confused. The poet suddenly becomes reminiscent of his boyhood
where his swinging on the birches made him to get away from the earthly
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weariness. His swinging movement in the air symbolizes his thoughts
which are floating in the air. Similarly in Charles Dickens' David
Copperfield Mr.Dick's Kite, flying in the air symbolizes his floating
thoughts. The air gives him more consolation for his floating thoughts
without any confusion. ".watch the kite high in quite air, that it lifted
his mind out of his confusion, and bore it in to the skies."(184)Thus like
Dick, Frost also wants to become a sky-bound person. The swinging is
the mystic flight of the soul towards heaven, the birches are the good
deeds of man which take him heavenward, the boyhood of the poet is the
innocent state of the soul, the climbing, ascending and bending of the
birches stand for the obstacles in the path of soul's union with God. The
poet's nostalgic for a get-away from the excessive cares of life is only a
brief one. He says the efficacy of love towards all the beings is the only
solution to move away from the life's sufferings. This mood of the poet
was symbolized by the sun imagery. Thus the sun rays stands for the
hope and cheerful life which breaks the ice i.e., the sufferings of a man.
In his another poem "Fire and Ice", the two elements i.e., the fire
and the ice have a metaphorical meaning. Here the fire symbolizes the
heat of love and the ice stands for the cold of hatred. The similarity can
be seen in the novel of Charles Dickens's David Copperfield, where the
fire symbolizes the sensual passion in case of Roas Dartle who loves
Steerforth sincerely. Her thinness seems to be the effect of some wasting
fire within her, which finds a vent in her gaunt, eager eyes. She is inwardly consumed with a burning and hopeless love for Steerforth. In
Buddha's fire sermon in T.S.Eliot's The Waste Land, the fire symbolizes
the fire of sensuous pleasures which burns mankind from the beginning
of creation. There is a hidden sense of repentance in being burnt by
sensual fire. At this juncture Frost states that the human passions are
always destructive whether it is the passion of desire or the passion of
hate. The combative elements of fire and water i.e. ice are closely linked
to the ever -present motif of death and birth. Here the poet stresses the
destructive nature of the elements.
Writers usually use objective correlative to make a correspondence between the mood of man and that of nature. In the poem "Tree at
my Window" the poet compares himself with the tree outside his window.
He says both are "taken and tossed", "taken and swept", the tree by the
winds outside and the poet by the gusts of ideas within his heart. In the
wind the tree is all but lost, so is the poet lost in spiritual anguish.
299
With reference to the biblical context, after eating the forbidden

fruit of knowledge, Adam and Eve are driven out of the Garden of Eden.
The Tree in Genesis is a Tree of Life before the fruit is eaten, but after the
fruit is eaten, it becomes a Tree of Death, as Adam and Eve are driven out
of the Garden of Eden. On the other hand, the tree is also an important
archetype. The symbolism of the tree connotes the life of cosmos, its
consistence, growth and proliferation, generative and regenerative
process. Here in this poem the tree which is tossed away is symbolized as
the tree of death. In Charles Dickens' David Copperfield, the destroyed
branches of the elm trees symbolise the lack of fatherly guidance in
David's life. The destroyed rookery symbolises the banished stage of
beauty and light in the house after the death of Mr. Copperfield.
In Tony Morrison's Beloved the most damaging of all tree theme is
the tree grown on Sethe's back, a physical reminder of brutal treatment
that left on her flesh a lasting scar reminiscent of a chokecherry tree.
Sethe's back is implanted with the tree of death. Here this tree reflects
both the individual and the collective sorrow. Similarly in David
Copperfield the destroyed old elm tree represents the individual sorrow
of David. In Frosts poem also the tree symbolizes the longing nature of
Frost in the attainment of God.
The poem "West-Running Brook" is full of philosophical
undertones which is educated to the readers through his use of symbols.
The poem starts with the contradictory note i.e. the running of brook into
the west which is usually east.
Here the running brook into the sea is compared to the life of
humans who finally meet their death. Similarly in Charles Dickens' Great
Expectations the life of the prostitute Martha is compared to the polluted
water by Dickens. Usually the western direction symbolizes the sunset,
the death of a day metaphorically it implies the death of the humans.
Here water stands for the birth of a being where the individual life
comes from the umbilical water of the womb. On the other hand water
also symbolizes the re-birth, where it takes its birth from the sky as the
rainwater, falls into the sea and finally reaches the sky once again by
evaporation. Thus man's life is compared to water for his re-birth. Thus
Frost uses the sea as the objective correlative to emphasize the philosophy of birth, death and re-birth which every man has to face in his life.
This is implied in Tamil Literature, "punarabi maranam punarabi jananam".
300

In the poem "The Need of Being Versed in Country Things" one is
cautioned against the suffering soul which can attain its happiness by
making one with the nature. The house which was burnt down stands for
the sufferings in one's life. On the contrary the barn stood opposite to
this house, escapes from the fury of the fire and the birds coming and
going out freely through the broken window stands for the life of nature
amidst the destruction .Here the poet says the birds are not sorrowful
because nature renews itself every year during the season of spring. He
says, "Yet for them the lilac renewed its leaf, And against the aged elm,
though touched with fire."(259). Frost's use of seasons makes one refer
to the Demeter archetype in Greek mythology. The Greek myth of Demeter
and Persephone recounts a year when grew. In the myth, Demeter is the
goddess of agriculture and she is responsible for the fruitfulness of the
earth. Human beings are dependent on Demeter for their ability to grow
food. One day when Demeter's daughter is picking flowers in a meadow,
the God of Hades Kidnaps her and takes her back to his realm, the
underworld of the dead, where he rapes her. Not knowing where his
daughter is, Demeter goes into such deep mourning that she ignores the
prayers of human beings, and nothing grows on the earth. Seeing that
the world will starves, the other Gods intercede.
The Gods work out a compromise by which Presephone spends
six months of the year in the underworld, during which Demeter mourns
and there comes snowfall and winter, and six months with Demeter,
during which there are spring and the summer. In Hindu mythology
Brahma turns inward and a youth appears condensed from the breath of
his nostrils. This youth is called Vasantha' or spring' who is accompanied
by a blossom laden wind. In the novel Oliver Twist by Charles Dickens
spring season symbolizes the psychological re-birth for Oliver. Oliver
Twist finds a rapport with nature after crossing too many sufferings and
hurdles in his life. He begins to lead an Arcadian life. Thus one can say
that Frost is par excellence a symbolist poet. An important criterion of is
that it does not yield itself to meaning at superficial reading. The meaning
so to say "dawns" on us after repeated readings. This is the quality of
Frost's poems.
Work Cited
Dickens, Charles. David Copperfield. Hertfordshire: Wordsworth Editions,
1992. Print.
301
65. Portrayal of Nature by English Romantic

Poets
Mr.K.Mariappan and Mr.K.Mahalingam,
Assistant Professors of English,
SRMV College of Arts and Science,
Coimbatore-20
This paper exposes that, according to William Wordsworth says about
man's relationship with nature and also he says about mankind with
nature "He is a man whose focus is upon man and not man in society but
man in nature" -Editor
Romantic poetry is the poetry of Romanticism, a philosophical,
literary, artistic and cultural era, reacting against prevailing enlightenment
ideals of the nineteenth century providing natural, emotional, personal
and artistic themes. Inevitably, the characterization of a broad range of
contemporaneous poets and poetry under the single unifying name can
be viewed more as an exercise in historical compartmentalization than an
attempt to capture the essence of the actual movement.
Poets such as William Wordsworth was actively engaged in trying
to create a new kind of poetry that emphasized intuition over reason and
the pastoral over the urban, often eschewing consciously poetic language in an effort to use more colloquial language.
Wordsworth stands supreme among nature poets and the stamp of
his influence so strongly marks the short, glorious period of nineteenthcentury romanticism that perhaps it called the age of Wordsworth.
Wordsworth s speciality is an interaction between man and
his environment. He says about man's relationship with nature. He says
about mankind with nature "He is a man whose focus is upon man and
not man in society but man in nature". The poem we are referring to was
302

written by him in 1807.Its main theme is the idea that the modern
people have become disconnected and alienated from the connected to
that world. He laments over the people kind of living and they plunge
into materialistic world .they just earn money and in market as buying
impermanent things, which they believe would give pleasure, and not
aware of those would become dangerous to them from there. He has
pointed out in his sonnet 'World Is Too Much With Us'. The following
poem written in the form of sonnet in which the poet has lamented over
the people who proud of being lived in so called materialistic world
which he assumes that it would bring unhappiness to them.
'The World Is Too Much with Us' is a sonnet by the English
Romantic poet William Wordsworth. It was he had written after criticises
the world of the First Industrial Revolution for being absorbed in materialism and distancing itself from nature. He lamented over materialistic
people. Unlike society, Wordsworth does not see nature as a commodity.
The words "Little we see in Nature that is ours", shows that the relationship of conexisted isenvisioned. We should be able to appreciate
beautiful events like the moon shining over the ocean and the blowing of
strong winds, but it's like we are on a different wavelength from Nature.
This relationship appears to be at the mercy of mankind because of the
vulnerable way nature is described. The verse "This Sea that bares her
bosom to the moon", gives the vision of a feminine creature opening
herself to the heavens above. The phrase "sleeping flowers" might also
describe how nature is being overrun unknowingly and is helpless. The
verse "I, standing on this pleasant lea, have glimpses that would make me
less forlorn", reveals Wordsworth's perception of himself in society: a
visionary romantic more in touch with nature than his contemporaries.
"Great God! I'd rather be/ A Pagan suckled in a creed outworn;"
The speaker would rather be a pagan who worships an outdated
religion so that when he gazes out on the ocean (as he's doing now), he
might feel less sad. If he were a pagan, he would have glimpses of the
great green meadows that would make him less dejected.
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathd horn.
He would see wild mythological gods like Proteus, who can take
many shapes, and Triton, who can soothe the howling sea waves.
303
The world is too much with us; late and soon,

Getting and spending, we lay waste our powers;
Labourers spending their life for earning money. They use the
money only to buy impermanent things from market.
"Little we see in Nature that is ours/We have given our hearts
away, a sordid boon!"
Wordsworth believes that we have given our hearts (the center of
ourselves) away in exchange for money and material wealth. He is
disgusted at this especially because nature is so readily available;
Percy Bysshe Shelley the poet and dramatist was born in 1792, is
enthralled by the divine rhapsody of the bird , there is no music on
earth to surpass the melody of the bird. The poet feels that the bird's
love of its own kind, coupled with its ignorance of the unhappy side of
the human condition through the poem "Ode to a Skylark".
Shelley has praised the bird skylark in ode to a skylark. The poem
describes the beauty of the bird. The poet compares the bird with
human. The bird is freed from pain, pride, hate and anger which are
found in human. The reason for not living in happy moment to human is
they are lived with full of pride and anger. Shelley asked the bird to teach
happiness to him. He is surprised to see the bird that how it lives happy
forever and jealous of it. Politely, asking it to teach happiness to him. So
that he can write in his poems of how to live happily and can teach to his
readers as well. He has finally realized that one is freed from pride and
anger, he can live happier than the bird.
The themes of natural elements handled by the poets are great
example of how much they had been inspired by being called nature
poets. For today people, they are the torch bearer of escaping from
destruction derived from so-called science and technology. If modern
people had to follow their principles, the entire globe will be ever - green
and freed from anger and pride that would lead every being to lead
happy lives.
Work Cited
Blamires, Harry.A History of literary criticism. Delhi : Macmillan
publication, 2009.print.
304
66. VOICE OF VOICELESS -A COMPARATIVE STUDY OF BAMA'S "KARUKKU" AND

MULKRAJ ANAND'S "UNTOUCHABLE"
Mr. V.Mohanbharathi
Tiruchengode.
The existing caste discrimination is revealed in Bama's and MulkRaj
Anand's comparative novels -Editor
Dalits sufferings are shown through the 'Temple incident' in Mulk
Raj Anand's untouchable. Bakha after being hurt by Lalaji in the town
goes to the temple to sweep the courtyard. He sees the devotees in the
temple are chanting 'Ram, Ram.' He wants to go up and see the deities,
but he does not have the courage to go inside. Because, being an
untouchable he is not allowed to move beyond the courtyard. Finally, he
decides to go inside and climbs five steps. Then he has a glimpse of a
sanctuary which had so far been a secret, a hidden mystery to him. He
looks at the deities and unconsciously joined his hands and bowed down
his head in the worship of the unknown God. He hears just then a loud
cry. He is seen by a priest worshipping the God and the priest scolded
him and said that he had polluted the temple.
"Get off the steps, you scavenger! Off with you! You have defiled
our whole service. You have our temple! Now we will have to pay for the
purificatory ceremony. Get down, get away, you dog!" (Anand :53).
According to Hindu religious belief God is everywhere, in dead
and living, in animals and plants but not in 'Untouchable'. Untouchables are
not allowed to enter the portals of temple because it is believed by the caste
Hindus that their contact will pollute the house of God, the creator of all.
305
A temple can be polluted according to the Holy Books by a lowcaste man coming within sixty-nine yards of it, and here he was actually
on the steps, at the door. We are ruined. We will need to have a sacrificial
fire in order to purify ourselves and our shrine (Anand :53).
It shows that they are not even allowed to worship God. High
caste people theoretically believes God is everywhere in this world and
serve the poor people is the only way to see the God. But they cannot
accept that practically.
Similarly in Bama's Karukku the Christian nuns left the Bible
preaching to mere theory, literally carrying nothing of it to practice. Jesus
associated himself with the poor and oppressed and fought for justice
and fairness. But nobody in the convent seems to insist that God is
righteous and would be angered by injustices and falsehood. "There is a
great deal of difference between this Jesus and the Jesus who is made
known through daily pieties" (Bama :33).
Bama realizes that she cannot live a life of duplicity and play a
dual role. One has to be true to oneself. Having realized that there was no
connection between the "convents God" and the suffering poor, Bama's
mind is tormented. Completely alienated from her environment, Bama
decides to leave the order.
This exploitation is started from the origin of universe
on the issue of race, purity and impurity. Purity deals with upper-caste
and impurity deals with lower caste. This division was based on birth on
human being the category of Dalit is lowest caste system to serve upper
caste they don't have any rights, even society deny the right of living
and self-respect. This concept is devilish and Black in Hindu religion.
Untouchable is an inner conflict of an individual who is caught in
the web of an age old caste system. P. K. Rajan in his Studies in Mulk Raj
Anand says,
It is the individual's quest for freedom in a social system of
ruthless exploitation. Bakha as an untouchable seeks his freedom in the
feudal society with its unquestionable faith in the infallibility of caste
discrimination, with its hypocrisy, cruelty, deceit and inhumanity. We see
him stand passive and bewildered at the immensity of horror, hoping for a
change (Rajan 15).
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Anand shows his concern over the organized evil in the society
which is the cause of the miseries of the outcaste downtrodden. This
organized evil is the real enemy of the society. It deliberately denies the
basic human rights to the unprivileged class. Caste system kills the human
dignity by giving an unfair advantage to a certain class over the others
on the basis of their birth which damages the homogeneity of the society.
Anand wants to awaken the exploited, suppressed, dehumanized
classes of the society. He feels that exploiting the proletariat has been our
national sin which we have been committing for centuries together. They
are forced to such a depth that they will sink lower and lower and cannot
rise above. They have been pushed to such a lowly life that it makes
them feel subhuman. Anand wants to uplift them from the deeps. Bakha
endures his social exploitation for quite a long time in the novel.
Dalit writing is originated from pain and exploitation of Dalit
community. It is the voice of Voiceless communities. This literature shows
the gloomy picture of Dalit life and helpless situation of these communities.
Dalit is related with broken, downtrodden untouchable and exploited people.
Dalit literature characterized with pain, agony, revolt, oppression,
humiliation, and assault also possesses boundless aggressive energy
expressed in words and deeds of the characters. Dalits emerge as the
fittest that have survived all challenges of life with great physical and
mental strength. They approach life with rebellious sprit which is exhibited in their music and words. Bama deliberately uses the vernacular
which disturbs the reader. Passive and pleasure reading is made impossible where the text demand action.
In Karukku, Bama revolutionizes the Dalit identity on a wider
canvas by exposing the hypocrisy behind the caste system as well as
religious conversion. According to Oxford University:
Karukku broke barriers of tradition in more than one. The first
autobiography by a Dalit woman writer and a classic of subaltern writing,
it is a bold and poignant-tale of life outside mainstream Indian thought
and function. Revolving around the main theme of caste oppression
within the Catholic Church, it portrays the tension between self and
community and presents Bama's life as a process of self reflection and
recovery from social and institutional betrayal.
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The theme of Dalit consciousness is carried out tremendously in

Karukku, where Bama vehemently criticizes the practice of untouchability
in the Roman Catholic churches in particular and in the caste ridden
Indian society in general.
She used of an unusual narrative strategy that departs radically
from the accepted narrative norms is example of Bama's firm faith in the
collective voice of Dalits. Thus the single Dalit experience is symbolic
and identifiable to what Frantz Fanon calls all the 'wretched of the earth'.
Maintaining the subversive spirit Bama takes up a fresh and new linguistic technique in Karukku.
Karukku explores the wounded self and dark territory of Dalit
consciousness which accept their subordinate state in society and tries
to subvert that subjugated consciousness into a strong, self-sufficient
and respected one. It subverts the Dalit consciousness that accepts the
lower caste people as untouchables, contemptible, polluted and inferior.
"Karukku has enabled many suppressed voices to raise their voices and
proclaim, My language, my culture, my life is praiseworthy, it is excellent"
( Bama : 5).
stills self-respect among Dalits. It indicates the transformation that
has replaced the humility to self- respect, from the victim end to the
survivor's end. It is the need of the hour that Dalits must convert themselves
from their depressed identity into a confident and respective one. Truly,
Karukku spreads the defiant message that encourages Dalits, despite all
the atrocities, to stand firm and fight against all the indignities and the
destructive factors that hinder the creation of an equal and just society.
The Britishers had legally attempted to remove the caste disparity
by introducing the Caste Disability Removal Act-1958. The shackles of
the caste, even after 56 years of the independence have not been broken.
On paper, we could remove untouchable and untouchability. But the
Centuries old disgust is still practiced in the society, then in pre-independent India, Bakha like untouchables.
The exploitation of Dalits begins with harassment, torturing,
molestation and ultimately ends with killing of Dalits. It is true in every
part of the country. Anand's attempt to give to voice the depressed is
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really salute worthy because this work was published in 1935. He broke
the traditional literary trend under the influence of Gandhi. Up to that time
the untouchables were remained untouched by the writers.
In both the novels, the writers have given the microscopic vision
of the vast Dalit community of the country. It should be considered on
the base of Human Rights, Human Values and Human Dignity.
When Dalits will be socially and culturally accepted as fellow
citizen of this democratic India, our India will be great in the real sense.
But it is tough, not impossible, because; the touchable and untouchables
cannot be held together by lawthe only thing that can hold them
together is love (Ambedkar: 140).
Summing up, it is observed that both writers have depicted the
untouchable castes at the center of their literary works, though the
community was excluded since the ages. They have portrayed the social,
cultural and psychological reality of the community in the different
states.
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67. Birds and Animals in P. B. Shelley's 'Ode to a

Skylark'
Ms. R. Mohana Priya,
KSR College Of Arts and Science for Women,
Tiruchengode.
This paper explains about the bird of Skylark and its freedom in the
world and also shows that the author Shelley possesses all the romantic
traits - love of nature, beauty and imagination.- Editor
P.B. Shelley being one of the greatest romantic poets of early
nineteenth century was an uncompromising rebel. He continued his
struggle for the cause of individual liberty, social justice and peace. He
wished to bring social reforms by his inspiring and courageous works of
literature. He dreamt of an ideal society in which there should be no
slavery and no exploitation. In this poem 'To a Skylark' he has addressed
a skylark (a little bird) that soars up at a great height and sings so sweetly
that the world is enchanted and bewitched by its sweetness.
Ode to a skylark is a lyrical poem by P.B. Shelley. It was written in
1820 when he was in Leghorn in Italy. This poem is a manifesto of
Shelley's spirit of balance, order and collaboration. This poem is full of
pragmatic wisdom which reflects the metaphoric treatment of Shelley. He
portrays the philosophy of life and enthralls us to pay our attention
towards the harsh realities of life. Here he compares the skylark to
various objects in order to make the readers understand as much as is
possible the mysterious and beautiful bird, and its divine music.
The poem is about the flight of a real Skylark. It is one of the
glories of English literature which celebrated many poems about birds
that can be considered as signifiers of Romanticism. It is a lyrical poem
where the poet has elevated beauty and sweetness of a Skylark and the
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song it sings. The bird embodies both the purity and simplicity of nature.
In the poem, Shelley praises the Skylark for its beauty and its exquisite
song. He concedes that human nature prevents him from expressing such
joy and asks the Skylark to teach him gladness.
The speaker seems a bit jealous of the freedom of the skylark,
which travels where it pleases. It doesn't matter when or where-whether it
is dusk ("the sunken sun") or morning ("the silver sphere" refers to the
morning star)-the speaker feels that the skylark is always flying high
above. Even if we do not see it, or even hear it, "we feel it is there."
The speaker admits to not knowing whether the bird is happy,
however, or from where it receives its joy. He puts five stanzas in the
middle of the poem in metaphors, comparing the skylark to other living
objects in nature (poets, a maiden, worms, and roses), which express
love, pain, and sorrow. None of them, however, has the expressive ability
of the singing bird. The poet hopes to learn about the realm of spirit from
the bird, plainly asking to teach him how it manages to continue on with its
"rapture so divine" without ever wavering in pain or sorrow. Even the
happiest of human songs, like a wedding song, does not compare to the
song of a skylark.
The song of the skylark, rather than the skylark itself, is what
holds all the power. It is the song that can have the "light of thought" of
"the poet," the "soothing love" of the maiden, invisible existence as the
"glow-worm golden," and the aura of "a rose." It is this power to awaken
so many different parts in nature, and make them aware to the human
mind, that Shelley wants to "be taught."
Eventually, the speaker seems to come to terms with the idea that
in some ways, ignorance can be bliss. Yet, this makes the skylark's joy
inhuman. "We look before and after, and pine for what is not," but a bird
lives in the moment. Nevertheless, recognizing the beauty in the simple
brain of this skylark, the speaker would be happy to know only "half its
gladness," seeking the ability to inspire others the way he was inspired
by the bird.
This poem goes hand-in-hand with "Ode to the West Wind" in
that Shelley uses objects in nature as a catalyst for both inspiration and
introspection as to what his own purpose is as poet. Immediately
referring to the skylark as a "blithe spirit" makes the bird a supernatural
object Shelley is doting upon. As he watches the bird climb higher and
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higher into the sky, he begins to employ natural metaphors commonly

found in religion and mythology to describe the aesthetic beauty and
poetic devotion he has for this "embodied joy."
The bird continues its upward flight until it is no longer visible,
turning its song into climatic-like events in nature: "like a cloud of fire,"
"like the golden lightning," "likes a star in heaven," and "keen as the arrows
from the morning star." These metaphoric elements help create the myth
and power of the skylark, and represent it as a kind of celestial being.
"What thou art we know not; what is most like thee?" is Shelley
showing his vulnerability as a poet and his jealousy of the blithe ignorance of the bird. Setting up the closing stanzas, where he admits to
wanting only "half of its gladness," the redirection of the poem into the
mind of the poet rather than a description of its subject reflects the
struggle Shelley has with the intellectual side of experience. Like Keats'
nightingale, Shelley's skylark is a window into the poet's understanding
of the relationship between sadness and joy, experience and knowledge,
and his desire to only be under the influence of joy and knowledge, even
though he knows that is not possible. Finally, beyond recognizing the
difference between himself and the glorious song of the skylark, Shelley
keeps the hope that someday his words will be heard and heeded the way
he is listening to and being inspired by his avian muse.
Harold Bloom has described "To a Skylark" as Shelley's "farewell
to the theme of the power hidden behind nature and the poet's relation to
that power". In this ode, Shelley attempts to identify the essence of that
powerful force that gives human beings such feelings of joy and excitement when they confront the natural world directly. The unseen bird
whose song prompts the poet to engage in a rhapsody of comparison
stands as a metaphor for nature and Shelley's vain attempts to find a way
to make the power of the natural world seem intelligible suggest the general
inability of humanity to comprehend the forces outside itself. In this
sense, the forces of nature can be equated to the imagination, which for the
Romantics is a kind of divine power that invests them with special insight.
The poet himself does not know what the Skylark actually is. The
mystery of the Skylark is still unsolved to the poet. But he is sure of the
fact that he can learn a message of welfare from it and can spread in the
world for recreation of the society. The poet had drawn beautiful comparison. In such comparison, he has proved his imaginative quality and an
extraordinary talent.
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He has compared the beauty and sweetness of the Skylark to a
highly born beautiful girl who lives in her tower like palatial building and
sings sweet love songs. Similarly, its comparison with a golden glow worm among the flowers and grass and with rose having soothing scent
is excellent and benefitting. The poet is so confident about the sweetness
and joy of Skylark's song that he says that even the rainbow clouds do
not spread as bright drops as the presence of the Skylark spreads a rain
of melody. In short the music of the Skylark surpasses every pleasure of
nature. The poet wishes to get instruction and messages from the
Skylark. So he asks it to teach him its sweet thoughts. The poet is
confident that the Skylark is pouring out a flood of rapture which is divine.
This poem is one of the best lyrics of P. B. Shelley. It has a tragic
feeling in it. The line, "Our sweetest songs are those that tell of saddest
thought" is very meaningful. It tells the philosophy of Shelley's life.
Though the songs of Skylark are the sweetest yet they express saddest
and most tragic thought. The Skylark scorns the nasty habits of the earth
and stands bliss, joy and prosperity of the world. The poet is of cosmopolitan outlook. He is restless to preach his idealism in the world.
Therefore he earnestly requests the Skylark to teach him the message.
To Shelley, Skylark has come to symbolize the spirit of poetry and
music too, which is in accordance with the romantic tradition. Although
the skylark is idealized, it is clearly purposive and practical in its final
intent. Shelley is thrilled to ecstasy on seeing the skylark and at once
bursts into song in praise of the bird which to him is the noble spirit in
flesh and blood. It is owing to his intense poetic capacity that he imagines most unearthly things to its very existence and action. Shelley is rapt
with joy in addressing the skylark as: "Hail to thee; blithe spirit! Bird thou
never wert." No other words can replace this intimate address so passionately and appropriately. It is no bird at all, but a supernatural spirit
with supernatural life and power. That is why its song is heavenly, free,
spontaneous, fluent a rich. The poem reveals Shelley's worship of the
spirit of wonder and delight.
The bird is highly musical and gracious in its movement. Even
nature also assumes a glorious appearance to heighten the beauty of the
bird. The Sun while sinking has sent out golden beams in all directions
and has lent brilliant golden colour to the floating clouds. The bird is
graciously floating against this shining surface and this motion is
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supremely imagined as "Like an embodied joy whose race is just began".

By the fine use of simile the poet has compared the bird's flight to a
brilliant mass of joy gliding at a fantastic speed. The red evening gradually melts into a black sheet spreading over the whole nature. The bird is
not seen now as the evening grows darker but its delightful note is
clearly audible. The shrill note of the skylark is aptly compared to the
darting sharp arrow of Venus.
Further the skylark's situation and gradual disappearance are
realistically conceived and portrayed by the simile of the bright star
Venus gradually vanishing out o sight in the presence of growing
sunshine. Shelley describes the radiating delightful voice of the skylark.
He says that all the earth and air are filled with its haunting melody. This
is compared with the clear sky radiant with moonlight spread all over the
still overflowing: "As when right is bare, From one lonely cloud, The
moon rains out her beams and Heaven is overflowed." Thus, with the
bird the poet soars as he sings and sings he soars.
Some critics say that P. B. Shelley was not a practical man. He was
far away from realism. So his Skylark always flew higher and higher and
did not come to the earth, like the Skylark of Wordsworth. On the whole,
the poem is Shelley's one of the finest creations. The flow of art, the
similes, the flight of imagination and lyrical quality make this poem
unparallel in romantic literature.
'To a Skylark' is one of the greatest works of all time. The poem is
fulfillment and through the richness of images, the poet has prolonged its
fulfillment. It is most satisfying in thought and expression. He asks the
bird for insight to his eternal bliss and superior knowledge, that he may
tell the world of it. Then, Shelley explains a fault in man, using the "things
more true and deep" that the Skylark has. Finally, he praises the Skylark
again, and pleads that it teaches him more of its gladness, that he may
pass it on to humanity. This poem shows that Shelley possesses all the
romantic traits - love of nature, beauty and imagination.
Works Cited
Stephens, James, and Edwin L. Beck and Royall H. eds. English Romantic
Poets. New York: American Book Company, 1961. Print.
Carter, R, Peter Stockwell, ed., The Language and Literature Reader New
York: Rouledge, 2008. Print.
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68. Pantheistic Elements in William

Wordsworth's "Resolution and Independence",
and P.B.Shelley's "Ode to the West Wind"
Mr. K.Nandhakumar,
Sri Ramakrishna Mission Vidyalaya College of Arts and Science,
Coimbatore.
This paper portrays nature is playing an important role for every living
and non-living thing is in the form of nature only - Editor
It was firmly followed by the English romantic writers as per the
ideology of Romantic poetry furnished in the Preface to Lyrical Ballads:
"to choose incidents and situations from common life, and to relate or
describe them, throughout, as far as possible". Besides that, to write
poetry in common man's language, about his rustic life and with the
background of the former in order to nurture the aesthetic sense in every
reader, so as to relish the substance of the literary works immensely. All
Romantic poets were perceived as "pantheists" as they celebrated and
worshipped nature as that of God itself. Most significantly, they found
god in every animate and inanimate object on the earth, which is what
known as "pantheism". Hence, according to them, "nature" is the
manifestation of "god". Moreover they did not consider nature just as a
natural phenomenon, but beyond that they tried to nurture a good
rapport with the nature which helped redeem them from their mental
depression to certain extent.
Besides the fore-mentioned ideas, all literary works of the romantic
writers are quite subjective or personal, which are mere reflection and
result of agonies and angst which they experienced in their personal
lives. Most of the romantic writers were miserably failed in their personal
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lives, especially in their youth, perhaps which could also have been the
cause for the sublimity of their works. It is obviously discernible that
each of their works seems to mourn over their present trauma, and hence
longing for the eternal peace and relief from their perennial plights.
Similarly the reputed romantic writers William Wordsworth and P.B. Shelley
would also have extremely suffered much in their lives which was the
reason for the creation of their evergreen literary works. This paper aims
to explicate the pantheistic elements incorporated in their famous poems,
"Resolution and Independence", and "Ode to the West Wind" respectively.
Both the poems likely to be in search of solace from the unbearable and perennial mental agonies of the poets which would be resolved
by the nobility of the nature. In "Resolution and Independence", an old
Man is the symbol of God; whereas in "Ode to the West Wind", the West
Wind itself is personified as the God. However, in either case the dejected
poets' trauma is soothed by the metaphorical god (old Man and the West
Wind) and they get a hope and inspiration strong enough to face the
problems in their life optimistically. Themes and purposes of the poems
are identical in nature as they take off agonies of the poets and replace it
with hope and confidence to face various problems in their lives confidently.
Wordsworth in his poem intends to inject a hope and diligence
in the poet's desolated heart by introducing a very old and feeble man at
his decrepitude striving hard to pursue his mission until his last breath like
Tennyson's Ulysses. The very appearance of the old man in a moor land
without any companion, persevering relentlessly unmindful of his tiredness
and physical pain, and that too quite contrarily at his very old age, that
itself seems to prick the conscience of the young poet very deeply. The poet
describes the old man's appearance in "Resolution and Independence":
Such seemed this Man, not all alive nor dead,
Nor all asleep-in his extreme old age:
His body was bent double, feet and head
Coming together in life's pilgrimage;
As if some dire constraint of pain, or rage
Of sickness felt by him in times long past,
A more than human weight upon his frame had cast. (64-70)
The old man answered the poet in a solemn and stately speech
with "lofty utterance", "measured phrase" and that too "above the reach
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of ordinary men". Despite being old and suffering due to his poverty, he
toils ceaselessly in the lonely place in order to accomplish his duty i.e.
gathering leeches which are hardly available in the season and endures
all his hardships tolerably. It is discernible that the old man is not just a
common man, but he is a divine Man sent by the Lord to teach the
dejected young poet a valuable lesson as well as to give him human
strength, which he is deprived of, by apt admonishment. The words of
the old man are quite uncommon which have left a great impact on his
sober nature immensely, so as to enable him to approach his life optimistically. Thus the poet has sown the seed of hope and perseverance in his
mournful heart very deeply, which has enabled him to surmount his woes.
Shelley in his poem expresses the mournful state of the poet
who implores the wild and omnipotent West Wind to expel all his agonies
from his heart so as to refresh his dejected life. The West Wind is being
treated as a metaphorical God, as it has the ability to drive away the dead
leaves that are lying on the ground like that of corpses buried under the
ground, and also gives them a new life during the Spring. At one point of
time the poet goes to the extent of addressing the Wind as a "Destroyer
and Preserver", since it gives rebirth to the dead leaves that were once
driven away by the wind. Besides that, the West Wind seems to make a
commotion in the broad sky with its surge like that of dead leaves
withering from the tree, in order to bring rain to the earth. And it is
capable of cleaving even the very steep Atlantic ocean in a single blow
so as to make a deep crack on its path, which ghastly threatens the
sapless foliage of the woods adjacent to the sea. Like the old Man in
"Resolution and Independence", here the West Wind does the action of
the God, who is sought to relieve the depressed poet from his trauma by
driving away his agonies and bestowing him a pleasant rebirth as it did to
the dead leaves before.
Wordsworth as a pioneer of the romantic poetry, he is not only
celebrated nature but also worshipped the nature and rustic life of
common men on par with God. Therefore, he realizes the latter in every
animate and inanimate being on the earth. That is why he describes the
appearance of the old Man as cloud, stone, and sea-beast in the poem,
since he could find the lord in them. Here the old Man gathers leech
leaves i.e. medicinal leaves which are capable of saving people from
being affected by some dire physical diseases. To be precise, this leech
gatherer as a romantic doctor renders romantic treatment to the victims
317
who have been affected by any kind of physical or mental illnesses.

However, in this poem he does not give any of such medical treatment to
the dejected poet to heal his mental illness, but he was able to cure him
by sowing the seed of "hope" in his heart by just portraying his tireless and
persevering nature and with his optimistic words alone. He gave him
mental treatment instead of physical treatment as he has been really
affected by some internal disease and not by any external disease.
Thereby one can realise the magical or spiritual power of the old leech
gatherer.
Nevertheless Shelley was perceived as an atheist, he was a fanatic
pantheist as he compares the violent West Wind on par with the lord as it
is capable of both destroying and preserving the leaves of the trees
through the alternate seasons of winter and spring respectively. Besides
being a godly nature it also does the duty of a doctor by rendering some
powerful panacea i.e. "hope" and "inspiration" to the grief-stricken poet
in order to save him from his mental illness. It is in the fourth stanza of
the poem he realizes his own strength which he had in his boyhood and
then he was as uncontrollable and tameless as that of the violent West
Wind. Eventually by the end of the poem he regains his lost vitality and
hence he directly challenges the West Wind as if he were its counterpart.
It is obviously discernible in these poems which unveil the
pantheistic beliefs of the great romantic poets more apparently. For
instance, the "old Man" in "Resolution and Independence" and the West
Wind in "Ode to the West Wind", though they are not exact god which
we worship in churches and temples, but they are seemed as metaphoric
God as they do the former's duty and have the ability to redeem the
dejected persons from their neurotic depression. According to the
principles of the romantic poetry, as has been observed earlier "Nature"
is God; and the God and godly nature is mere manifestation of nature and
natural elements alone. He resides in every living and non-living being in
the form of nature. Man always has to depend on nature, because it is we
the human beings are mortal, contrarily the nature is an immortal. It is the
former is controllable and the latter is uncontrollable. Hence it is the
indisputable truth that man can never live without nature, regardless of
place and time but the latter can. Man is a refugee who is protected by
the nature, whereas the latter is a refuge which gives shelter to all the
creatures on the earth. Hence he must not pollute the sublimity of the
318

nature for any cause. Instead he must preserve the nature from external
perils imposed by men, such as deforestation, industrialization and any
other development process in the era of development. He must not perish
the nature rather he must cherish and worship it. He must befriend the
nature. Moreover, he must find himself in the nature. He must realize that
it is not only the creator but also a good teacher, doctor and essential
friend who always protects every living being on the earth from all
internal and external troubles and guides them in the correct direction
during the crises.
Thus Wordsworth and Shelley have done precise justice to their
Romantic movement by their pantheistic beliefs and miscellaneous
treatment of nature, especially for personifying and internalizing the
nature as that of his confidant. From their poetry, it is revealed that every
creature in the universe is quite naturally depending on nature to live
peacefully. Whereas today, contrary to the romantic poets, people have
started plundering and exploiting nature for their material benefit, instead
of cherishing and preserving it. As a result of their nemesis, now they are
inviting various dire consequences and apocalypses in the nature such
as global warming, frequent earth quakes and all kinds of pollution in the
universe, etc. Hence as Wordsworth observed centuries before, today we
have to go back to our past and we ought to preserve our deteriorating
nature in order to retain the lost beauty of the nature. It is high time for
the human community to realize the fact that the more we cherish the
nature the better we are. Eventually there must be only one religion in the
world to be worshipped by everyone irrespective of country, creed,
colour, language and religion that is "Pantheism".
Works Cited
Shelley, P.B. Prometheus Unbound with Other Poems. London: C and J
Ollier Vere Street Bond Street, 1820. Print.
Wordsworth, Williams. Poems in Two Volumes, Vol. I. London: Longman
Press, 1807. Print.
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69. The Beneficial Influence of Nature by

Romantic Poets
Mrs. P.Nithya., M.A.,
K.S.R.College of Arts and Science for Women,
Tiruchengode.
This paper includes that the Romantic English writers contain many
descriptions and idea of Nature in their works and says that Nature is
important role in the lives of human beings -Editor
Nature was a predominant Romantic theme in the Romantic age.
Romantic poets are predominantly nature poets for they explore nature,
an organic sense, theological and philosophical reflection on nature's
creative powers. That leads to an ultimate consideration of the state of
society and man's relationship with the Universe. Their poems also
portray the poets' struggle to understand nature and man's creative and
destructive parallel forces, which are existing today also. Romanticism
was an extensive artistic and intellectual movement originated in late
eighteenth-century in Europe. It challenged the Age of Enlightenment's
scientific and rational, objective ideas, and instead promoted the power
of individual imagination and subjective experience. It explores nature to
express their admiration and desire to be at one with its power. There are
four important poets in this age. They are Wordsworth, S.T. Coleridge,
P.B.Shelley and Keats.
Many of Wordsworth's poems (including masterpieces such as
"Tintern Abbey" and the "Intimations of Immortality" ode) deal with the
memory of childhood in the mind. Childhood's lost connection with
nature, which can be preserved only in memory. Wordsworth's images
and metaphors mix natural scenery, religious and symbolism. In one of his
320

sonnets he describes "It is a beauteous evening, calm and free," in which
the evening is described as being "quiet as a nun". Poet's connects rustic
childhood with cottages, hedgerows, orchards, and other places because
humanity intersects gently and easily with nature. Wordsworth presents
a more passive portrayal of nature in 'Tintern Abbey'.
Throughout Wordsworth's work, nature provides the ultimate
good influence on the human mind. All manifestations of the natural
world-from the highest mountain to the simplest flower-elicit noble,
elevated thoughts and passionate emotions in the people who observe
these manifestations. A good relationship with nature helps individuals
connect to both the spiritual and the social world. As Wordsworth
explains in The Prelude, a love of nature can lead to a love of humankind.
In such poems as "The World Is Too Much with Us" (1807) and "London,
1802" (1807) people become selfish and immoral when they distance
themselves from nature by living in cities. In contrast, people who spend
a lot of time in nature, such as laborers and farmers, retain the purity and
nobility of their souls.
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
A motion and a spirit, that impels
All thinking things, all objects of all thought (94-101)
This passage is suggestive of a divine presence within nature; a
depiction that Shelley also uses by addressing the West Wind as 'Wild
Spirit'(13). Their work is described by Wordsworth in his Preface to Lyrical
Ballads (1798) as "the spontaneous overflow of powerful feelings"(28); an act of
creation inspired by the sublimity of nature that still does not cease to
astonish us today.
Coleridge worshiped nature and recognized poetry's capacity to
describe the beauty of the natural world. Nearly all of Coleridge's poems
express a respect for and delight in natural beauty. Close observation,
great attention to detail, and precise descriptions of color aptly demonstrate Coleridge's respect and delight. Still other poems, including "The
Nightingale" (ca. 1798), simply praise nature's beauty. Even poems that
don't directly deal with nature, including "Kubla Khan" and "The Rime of
the Ancient Mariner," derive some symbols and images from nature.
Nevertheless, Coleridge guarded against the pathetic fallacy, or the
attribution of human feeling to the natural world.
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Coleridge explores dreams and dreaming in his poetry to communicate the power of the imagination, as well as the inaccessible clarity of
vision. "Kubla Khan" is subtitled "A Vision in a Dream." According to
Coleridge, he fell asleep while reading and dreamed of a marvelous
pleasure palace for the next few hours. Upon awakening, he began
transcribing the dream-vision but was soon called away; when he
returned, he wrote out the fragments that now comprise "Kubla Khan."
Some critics doubt Coleridge's story, attributing it to an attempt at
increasing the poem's dramatic effect. Nevertheless, the poem speaks to
the imaginative possibilities of the subconscious. In his real life, however,
Coleridge suffered from nightmares so terrible that sometimes his own
screams would wake him, a phenomenon he details in "The Pains of
Sleep." Opium probably gave Coleridge a sense of well-being that
allowed him to sleep without the threat of nightmares.
In Shelley's poetry, the figure of the poet (and, to some extent,
the figure of Shelley himself) is not simply a talented entertainer or even a
perceptive moralist but a grand, tragic, prophetic hero. The poet has a
deep, mystic appreciation for nature, as in the poem "To Wordsworth"
(1816), and this intense connection with the natural world gives him
access to profound cosmic truths, as in "Alastor; or, The Spirit of
Solitude" (1816). He has the power-and the duty-to translate these truths,
through the use of his imagination, into poetry, but only a kind of poetry
that the public can understand.
Shelley demonstrates a great reverence for the beauty of nature,
and he feels closely connected to nature's power. In his early poetry,
Shelley shares the romantic interest in pantheism-the belief that God, or a
divine, unifying spirit, runs through everything in the universe. He refers
to this unifying natural force in many poems, describing it as the "spirit
of beauty" in "Hymn to Intellectual Beauty" and identifying it with Mont
Blanc and the Arve River in "Mont Blanc." This force is the cause of all
human joy, faith, goodness, and pleasure, and it is also the source of
poetic inspiration and divine truth. However, Shelley simultaneously
recognizes that nature's power is not wholly positive. Nature destroys as
often as it inspires or creates, and it destroys cruelly and indiscriminately.
For this reason, Shelley's delight in nature is mitigated by an awareness
of its dark side.
322

Shelley sets many of his poems in autumn, including "Hymn to
Intellectual Beauty" and "Ode to the West Wind." Fall is a time of beauty
and death, and so it shows both the creative and destructive powers of
nature, a favorite Shelley theme. As a time of change, autumn is a fitting
backdrop for Shelley's vision of political and social revolution. In "Ode to
the West Wind," autumn's brilliant colors and violent winds emphasize
the passionate, intense nature of the poet, while the decay and death
inherent in the season suggest the sacrifice and martyrdom of the Christlike poet. Shelley uses the West Wind to symbolize the power of nature
and of the imagination inspired by nature.
John Keats was a part of the Romanticism era which means he
loves and appreciates nature. Nature is a huge part of being a romantic
poet and often nature will somehow be a part of their poems. Keats love
for nature is very simple compared to many of his fellow romantic poets.
Keats describes nature exactly how he sees it or feels it. Nature is such a
beautiful thing to Keats and describes it beautifully in his poetry, mainly
using senses. Other poets look for a deeper meaning in nature and they
try to explain it, while Keats is just busy trying to simply describe what
he sees. Byron is interested in the vigorous aspects of nature, while
Coleridge thinks nature has a moral touch, while Shelley intellectualizes
nature. All romantic poets have different aspects on what nature is and
how they incorporate in their poems, but the main point is that all
romantic poets are interested in nature itself. John Keats did love nature
and strived to portray it in his poetry.
"Ode to Autumn" By John Keats. This poems helps support Keats
love for nature and how he incorporates it into his poems. In "Ode to
Autumn," Keats explains autumns relationship with the sun. I believe
that "Ode to Autumn," helps support the idea that Keats attitude toward
nature is a good one. In this poem is explains a lot of beautiful sights,
feelings, and sounds, which makes me believe that Keats loves nature.
The English Romantic period (1800-1832), often contains many
descriptions, and ideas of nature, not found in most writing. The Romantic poets share several characteristics in common; certainly one of the
most significant of these is their respective views on nature. Nature took
a different role in each of the Romantic poets, and even the Pre-Roman-
323
tics, and Victorians writings, but each of these writers has that one major
thing in common: They all write extensively on the role of nature in the
lives of people.
Work cited
Edmund Burke, 'Part I, Section VII - Of the sublime', in On the Sublime and
Beautiful,
Percy Shelley, 'Ode to the West Wind', Stephen Greenblatt, ed., The Norton
Anthology of English Literature: Vol. D, The Romantic Period, Ninth Edition (New York: W. W. Norton, 2012), line 1 (p. 791) - All references are to
this edition and hereafter line references will be cited in parenthesis in the
text.
William Wordsworth, 'Lines Composed a Few Miles above Tintern Abbey, on Revisiting the Banks of the Wye during a Tour, July 13, 1798',
Greenblatt, ed., The Norton Anthology of English Literature: Vol. D, The
Romantic Period, Ninth Edition, p. 288.
324
70. Notion of Nature in Wordsworths The

Daffodils and
Keats Ode to Autumn
Ms. P.Nithya,
K.S.R. College of Arts and Science for Women,
Tiruchengode.
This paper explains that Wordsworth and Keats deal with the same
concept of naturalism and also expressed two different kinds of beauty of
naturalism in their poems. And both say about beauty of the daffodils and
the season of autumn in naturalistic manner.- Editor
William Wordsworth is an eminent naturalistic writer, who
created a separate ideal of naturalism in British literature. He vividly
exposes the rustic life of common man in all his poems. He has followed
separate theory on poetry, Poetry is the spontaneous overflow of
powerful feelings, its takes its origin from emotion recollected in
tranquility. In this poem The Daffodils, Wordsworth excellently
portrays his aim of using plain language and the literary devices in a
lively manner.
On the other hand, John Keats is an escapist and the youngest
writer of Romantic age. He is also followed the naturalism in an excessive
level of aestheticism like Wordsworth in a distinct way. His sense of
aestheticism recounts with the sense of Wordsworth. Even he is also
ensued separate theory on beauty and naturalism in his poems. It is
enormously depicted in this poem Ode to Autumn. The autumn season
is a common naturalistic process on the earth but Keats presents it in an
extravagant manner.
325
Wordsworths The Daffodils vividly explicits the close

attention to detail of the physical environment around him such as
flowers, harvesting fields, plants, animals and geography weather. It
proves that he is a self-conscious literary artist whose works are referred
as Wordsworthian. He combines his narrative and descriptive skills and
composed the poem The Daffodils. The subject of the poem is so
familiar that it very often goes unnoticed by most of the people but that
is observed by Wordsworth.
Once upon a time, the poet wandered alone as a cloud from one
place to another place. All of a sudden, he sees a large number of golden
daffodils which are growing on the bank of the lake under the trees. A
light breeze is blowing and making the daffodils flutter and dance with it.
Everyone can understand the plain poetic dictions of Wordsworth from
the lines of the poem The Daffodils such as,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze (Wordsworth 3-6).
Wordsworth used the rhyme scheme of ababcc and the meter of
iambic tetrameter which creates a song like rhythm to which daffodils
might dance. For the poet, the view of these beautiful golden daffodils is
similar to the stars are shining and twinkling in the milky-way. All of these
flowers are tossing their heads in a sprightly dance. In the nearby lake,
the waves are dancing with the wind and sparkling because of the sunrays falling on them. The poet starts to admire the mesmeric beauty of the
daffodils and is unable to think of anything else. The poet feels very
happy and blessed in such an enchanting and cheerful company. It is
expressed through the words such as And then my heart with pleasure
fills/ And dances with the daffodils (Wordsworth 24-25).
The poet is completely absorbed in the beauty of the daffodils
and for the moment he has lost touch with his surroundings. He
considers himself fortunate and has been the witness to such a
wonderful sight of the daffodils. For Wordsworth, nature is better than
everything. He breathes through with nature and finds solace and
326

spiritual peace in it. In his opinion, nature has the solution for all the
problems of mankind. It is through nature that he seeks salvation. This
shows the healing and refreshing effect of nature on the poet.
On the other hand, Keats Ode to Autumn opens the first
stanza by addressing Autumn and describing its abundance and its
intimacy with the sun, with whom Autumn ripens fruits and causes the
late flowers to bloom. In the form and descriptive surface, To Autumn
is one of the simplest of Keatss odes. There is nothing confusing or
complex in Keatss paean to the season of autumn, with its fruitfulness,
its flowers, and the song of its swallows gathering for migration. The
extraordinary achievement of this poem lies in its ability to suggest,
explore, and develop a rich abundance of themes without ever ruffling its
calm, gentle, and lovely description of autumn. Everyone can understand
aesthetic sense of naturalism from the following lines, And fill all fruit
with ripeness to the core; \ To swell more, later flower for the bees, \ Until
they think warm days will never cease.
In the second stanza, the speaker describes the figure of
Autumn as a female goddess, often seen sitting on the granary floor, her
hair soft-lifted by the wind, and often seen sleeping in the fields or
watching a cider-press squeezing the juice from apples. Autumn in
Keatss ode is a time of warmth and plenty, but it is perched on the brink
of winters desolation, as the bees enjoy later flowers, the harvest is
gathered from the fields, the lambs of spring are now full grown.
In the third stanza, the speaker tells Autumn not to wonder
where the songs of spring have gone, but instead to listen to her own
music such as,
Where are the songs of Spring? Ay, where are they?
Think not of them, thou has thy music too,While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue (Keats 22-25)
In the final line of the poem, And gathering swallows twitter in the
skies which indicates the gather for their annual winter migration. The
understated sense of inevitable loss in that final line makes it one of the
most moving moments in all of his poetry. It can be read as a simple,
uncomplaining summation of the entire human condition.
327
Ode to Autumn is a beautiful ode and it brings an engagement

with that connection out of the realm of mythology and fantasy and into
the everyday world. Most importantly, the image of Autumn winnowing
and harvesting recalls an earlier Keats poem in which the activity of
harvesting is an explicit metaphor for artistic creation. In this poem, the
act of creation is pictured as a kind of self-harvesting; the Pen harvests
the fields of the brain, and books are filled with the resulting grain.
Even though Wordsworth and Keats deal with the same
concept, but they exhibit everything in their own way of notion
marvelously. And they have expressed two different kind of beauty of
naturalism in their poems. Wordsworth advocated the use of simple
language should directly come from the heart of the poet. On another
point, Keats is a passionate lover of beautiful images. He keenly
associates with the love of beauty in the ordinary sense of term. From the
deep passion, Keats wants to escape from the dreary and painful real life
of him because he suffered from tuberculosis. Finally, Wordsworth and
Keats compile with their similar notions on Nature and both of them
proved as Romantic and Naturalistic writers through their one of the
poems of The Daffodils and Ode to Autumn.
WORK CITED
Wordsworth, William. Preface to the Second Edition of the Lyrical Ballads:
English Romantic Writers. 2nd, edition. Harcourt,1995. Print.
Wordsworth, William. Poetry down the Ages. Orient Black Swan. Mumbai,
1998. Print.
Perkins David. John Keats, English Romantic Writers. 2nd ,edition. Harcourt
Brace & Company, 1995. Print.
328
71. Nature in the Perspectives of Tamil and

English writers
Nature spelled out in verses
Dr. T. V. S. Padmaja M.A., Ph.D.,
Principal
Valliammal College for Women,
Chennai -600102.
Ms. Uma Rajmohan M.A.,M. Phil.,

Chennai -600102.
The paper deals The Industrial Revolution Which affected humanitys
conception of its relationship to nature and other creatures
- Editor
Throughout history there have been legends describing Earth as a
living being, Mother Earth, an entity which nurtures and sustains us.
All manifestations of the natural world from the highest mountain to the
simplest flower elicit noble, elevated thoughts and passionate emotions
in the people who observe these manifestations. Human life cannot be
separated from other forms everything is related and everything is kin.
Nature has taken an important role in poetry of different periods of
literature and countries. The natural beauty and grandeur of his land was
a major source of inspiration for Wordsworth throughout his life. He is
considered by many to be the spokesman of the Romantic Movement. He
329
has a strong Romantic flare for nature. Throughout his works, nature
provides the ultimate good influence on the human mind. Wordsworth
repeatedly emphasizes the importance of nature to an individuals
intellectual and spiritual development.
Wordsworths attitude to nature is vitally different from that of all
other poets. He is not merely content in losing himself in raptures over
the beauty and loveliness of nature. To him nature is not merely a passive
inanimate object, contributing to mans pleasure, but is a live, sensitive
being, capable of feelings and affections. It was his faith that every flower
enjoyed the breath sense. A good relationship with nature helps
individuals connect to both the spiritual and the social worlds. He
celebrates the beauty and mystery of nature in some of his most famous lyrics,
including Michael (1800), which portrays a simple shepherd who is
deeply attached to the natural world around him. Michael, the shepherd,
in his attitude to nature is none other than Wordsworth himself, as in the
case of the poet, nature played a prominent part in his life.
In classic literature, writers painted pictures of prosperous farms,
green fields, foxes barking in the hills, silent (herds) of deers, ferns and
wild flowers, countless birds, trout lying in clear cold streams, delightful
to the eyes of those who pass by. Such images emphasized the harmony
of the humanity and nature that once existed. The undisturbing human
activities and solstics would become fables to the children of future if
man does not stop disturbing nature vast strides in industry and
technology and mans greed have given the way to catastrophic
destruction of tearing apart the rural idyll and causing health hazards.
Long back Wordsworth has raised his voice against the destruction of
nature. The paper focuses its attentions to Wordsworths anxiety to
protect nature. He expresses his fears of losing the pastures and forests
by valorizing the beauty of nature.
Industrial revolution and city development in England had laid a
veil of thick haze of photochemical smog all over the England. Blakes
poem London describes the bleak and polluted urban environment.
Blake states that the degradation of the physical environment would also
result in the degradation psychological disillusion to the industry.
Many Romantic poets rallied against the destruction of nature
Wordsworth in his poems insists on the need for an essential harmony
330

between humanity and nature. He connects the cultural relationship of
with one community in one region with natural world of that plays.
According to him that community can develop a spiritual reciprocity and
nurturing by its physical interconnectivity with nature. In no other poet
does nature figure so prominently as in Wordsworth. Wordsworths
attitude to nature is vitally different from that of all other poets. He is not
merely content in losing himself in raptures over the beauty and
loveliness of nature. To him nature is not merely a passive, inanimate
object, contributing to mans pleasure, but is a live, sensitive being,
capable of feelings and affections. It was his faith that every flower
enjoyed the air it breathed.
The most interesting part of Wordsworths attitude to nature is
that dealing with the relation between man and nature. Nature is a mother,
who carefully rears up the child Wordsworth. Not only did the poet
drink in a pure organic pleasure from the manifestations of nature, but
his very soul was fostered alike by beauty and fear. In Tintern Abbey,
poem contains one of the earliest definitions of Wordsworthian
philosophy, and seen in the context of subsequent utterances, it can be
judged the best definition. Wordsworth has discussed in this poem, the
three different ways in which nature has affected the three various stages
of his growth and life. Nature is something on which feasted the external
or physical passions of Wordsworth. This kind of physical indulgence in
the joys provided by nature satisfies his animal spirit in childhood.
In his Resolution and Independence, Wordsworth gives an
account of the previous stormy night and the bright, shiny hay. The poet
feels that nature is the path chalked out by God guiding man to travel in
his life with confidence and cheerfulness. In all the Wordsworths poems
we can see how he valorizing the nature. At the same time Wordsworth
holds the doctrine and speculates on how the Industrial Revolution
affected humanitys conception of its relationship to nature and other
creatures. His warning is valuable and important to make claims for the
historical continuity of a tradition of environmental consciousness.
Wordsworths proto-ecological, expresses a new vision of listening,
appreciating, and understanding nature as an animate, equal partner with
humanity. Some literary critics like Meyer Abrams adds to this ecocritical
interpretation by arguing Wordsworth believed the growth of the
imagination was a process away from self-centeredness and towards an
331
intimate interaction with nature (Structure 203). McKusick and Bate

have recently taken more overtly ecocritical stances on Wordsworths
nature poetry, praising his desire for human man reciprocity with the
natural world. Wordsworth rejected the assumptions that human should
dominate nature and selfishly exploit the natural world for personal profit.
His poetry counters the pastoral and picturesque artists attempts to hide
or justify the oppression of the other by being socially and
environmentally progressive.
References
Hartman, Geoffrey. The Romance of nature and the Negative Way.
Romanticism and Consciousness. Ed. Harold Bloom. New York: Norton,
1970
Liu, Alan. Wordsworth: The Sense of History. Stanford: Stanford UP. 1989.
Wordsworth, William. The Oxford Authors: William Wordsworth. Ed.
Stephen Gill. Oxford: Oxford Up, 1990.
Rengasamy.P.Selected Poems of Wordsworth. Madras: The
Macmillion Company of India limited, 1978.
and the Biology Of the mind. New York: Columbia UP, 1994. Mckuick,
James C. Green Writing: Romanticism and Ecology. New
York: St.Martins, 2000.
332
72. Naturalistic View of Rabindranath Tagore in

''Gitanjali''
Ms. J.Parvin Sulthana, M.A., B.Ed.,
K.S.R College of Arts and Science for Women,
Tirchengode - 637215.
This paper portrays the relationship between Nature and God and also
shows inter-relations of soul and other mankind things. According to
author humanity to experience the true peace and harmony in life by
giving up evil and taking up good deeds - Editor
Tagore's 'Gitanjali' is one of the most celebrated works in modern
Indian Literature. In his enthusiastic foreword to the book W.B.Yeats
gave eloquent expression to the magnetic charm which it exercised upon
his mind and heart. 'I have', he said, 'carried the manuscript of these translations about with me for days, reading it in railway trains, or on the top of
omnibuses and in restaurants, and I have often had to close it lest some,
strangers would see how much it moved me.' What Yeats said about the
manuscript proved true of the printed book also. 'Gitanjali' found a vast
audience in its many editions.
In the tremulous months before the First World War, as well as
during the war, its spiritual message and reverence for the natural world
struck a chord. It contains the lines Owen wrote in his pocketbook, and
soon had translations in many other languages, including French, by
Andr Gide, and Russian, by Boris Pasternak. The success turned
everyone's heads, including Tagore's. He became the most prominent
embodiment of how the west wanted to see the east - sage like, mystical,
descending from some less developed but perhaps more innocent
333
civilisation; above all, exotic. He looked the part, with his white robes and
flowing beard and hair, and sometimes overplayed it. Of course, the truth
was more complicated.
Tagore's most innovative and mature poetry embodies his exposure to Bengali rural folk music, which included mystic Baul ballads such
as those of the bard Lalon. These, rediscovered and re-popularised by
Tagore, resemble 19th-century. Tagore reacted to the half hearted uptake
of modernist and realist techniques in Bengali literature by writing
matching experimental works in the 1930s. These include Africa and
Camalia, among the better known of his latter poems. He occasionally
wrote poems using Shadhu Bhasha, a Sanskritised dialect of Bengali; he
later adopted a more popular dialect known as Cholti Bhasha. Other
works include Manasi, Sonar Tori (Golden Boat), Balaka (Wild Geese, a
name redolent of migrating souls), and Purobi. Sonar Tori's most famous
poem, dealing with the fleeting endurance of life and achievement, goes
by the same name; hauntingly it ends:
'Gitanjali' is Tagore's Poetry which had earned him remarkable
success. It is an evident that Tagore started writing at a very young age
of thirteen and the next sixty seven years were marked by continual and
torrential flow of creativity in various forms of literary works.
The poem 'Gitanjali' gives impassioned expression to the aspiration
of the human soul-the 'Jeevathma' - for union with god, the universal soul
or parameters. It is also a literary 'germ of pure stray serene'. The lyric
says W.B.Yeats, display in their thought a work of a supreme culture they
yet appear as much the growth of the passed through the centuries,
gathering from learned and unlearned metaphor and emotion, and carried
back again to the multitude the thought of the scholar and the noble'.
Tagore himself puts it in his 'Sadhana', 'the touch of an infinite mystery
passes over the trivial and the familiar, making it break out into ineffable
music. In his 'Stray Birds' the poet makes the pity remark, "The perfect decks
itself in Beauty for the love of the Imperfect', the Beauty of Nature (that is
of creation) is, therefore, one of the forms in which the Lord may be
apprehended by the true mystic. It will be seen that this direct approaches to
God brushes away all theological dogmas and ecclesiastical regulations.
334

The mystic is so eager to go straight to God that he cares nothing
for the formulate laid down by different interpreters of religion. In the
words of Miss, Underhill 'To those who keep their eye on the "One thing
needful" demotions, creeds , ceremonies and the disciplines of asceticism
are matters of comparative indifferent angels from which the soul may
approach that simple union with Brahma which it is goal and are useful
only in so far as they contribute to this consummation. Tagore's freedom from
all the oppressions of the world would enable everyone to live a life full
of contentment. This freedom leads to a total whole that is Infinite, which is
the consolidation of the best in the finites. This perfect freedom is the
key that leads Man from the state of finiteness to identify with the Infinite.
The poet informs us that the Lord is so great that the Heaven is
his Thorne and the Earth is his Footstool. He says that the Lord walks in
the midst of the poorest and the lowest and the lost people who have no
hopes and the Lord is there with them to love and take care of them. He
feels himself that he has pride and he can never find his way towards the
ways of the Lord. He feels he has to become good and try to overcome
the pride and only then he can follow the Lord, as his self pride is seen as
a hindrance in his love for the Lord. In one way he tries to address to
those people who have pride of wealth and standard to correct them to
share the love and be human to the needy people and let everyone leave
in peace and harmony.
According to Tagore, freedom from all the oppressions of the
world would enable everyone to live a life full of contentment. This
freedom leads to a total whole that is Infinite, which is the consolidation
of the best in the finites. This perfect freedom is the key that leads Man
from the state of finiteness to identify with the Infinite. Tagore feels that
he (Orthe poet) has been sent here by God and has to do his work of
singing, perfect himself and go through a human of number of lives
before he can retune with God and become acceptable to him. This
assumption of the singer's separation from God in sprit of his keen desire
to become one of with time is the very foundation of all mystic poetry. It
gives wise to the ideas that the poet is yearning to reach the lord and
unite with him, and that, therefore, he cries out passionately for this
union. When the lord some kindness or reveals himself in the least tittles
manner, the poet feels immense joy. The first poem 'Gitanjali' expresses
335
this idea effectively. 'Gitanjali' which won for Tagore the Nobel Prize for
literature also won for him reputation as a mystic. In the song of the book
the poet represents himself as the beloved, God as the lover, and his
poetry as the means of attaining union of God. This attitude is excellently
expressed in a little lyrical poem by the sixteenth century Punjabi mystic
poet, Amar Das. Tagore feels that he has been sent here by the God and
has to do his work of singing, perfect himself and go through a number of
lives before he can reunite with God and become acceptable to him. This
assumption of the singer's separation from God in spite of his keen desire
to become one with Him is the very foundation of all mystic poetry.
It is evident that Tagore started writing at a very young age of
thirteen and the next sixty seven years were marked by continual and
torrential flow of creativity in various forms of literary works. In 'Gitanjali'
he writes about many things that makes him happy and also the things
that make him loose his cool. At the beginning of his literary career
Tagore is a romantic and to some extent a spiritualist poet as he is the
worshipper of beauty and this is also reflected in his poetry 'Gitanjali'. For
Tagore anything that is beautiful in nature, the poet feels shuddering of
his own self in it and then we see him trying to write down his feeling with
the help of the nature. We may sum up by repeating that the mystic does
not bother himself with elaborate methods of worship, and, to take a
phrase from Mahadevi, 'incantations innumerable'. He adores God, of
course, in a particular from, but without involving himself in the quagmire
of rituals and ceremonials and chanting. To use the words of Miss.
Caroline Spurgeon, 'Mysticism is, in truth, a temper rather than a doctrine,
an atmosphere rather than a system of philosophy'.
Tagore gave all through his life, through his paradisiacal imagination that envisioned a world of love, equality, honesty bravery, and
spiritual unity of all the mankind. He sees the present humanity is
infatuated with the greed, wealth and power and further leaves it to those
who do evil to turn away from their evil doings and their horrific moral
slumber. Tagore prayers for India and in turn he prays for the whole
Humanity to experience the true peace and harmony in life by giving up
evil and taking up good deeds.
336
Work Cited
Dutta, Krishna and Robinson, Andrews, (1995) Rabindranath Tagore: The
Myriad- MindedMan, London, Bloomsbury.
Mukherjee, Bharati. "Tagore's Poetry: Ballad of Humanism"
Sastri, K.S. Ramaswami, (1988), Sir Rabindranath Tagore: His life, personality andgenius, Delhi, Akashdeep.
Tagore, R.; Dutta, K. (editor); ROBINSON, A. (editor) (1997), Rabindranath
Tagore: An Anthology, Saint Martin's Press. (ISBN 978-0312169732)
Tagore, R.; Stewart, T. K. (translator); Twichell, C. (translator) (2003),
Rabindranath Tagore: Lover of God, Lannan Literary Selections, Copper
Canyon Press.
337
73. The Essence of Ecology in Herman Melville's

'Moby Dick'
Ms. M. Pradeepa,
Assistant Professor and Head,
Department of English,
Dr. R.V. Arts and Science College, Coimbatore.
This paper contains the authors experience with a sailor and a harpooner. It contains adventures story which is the essence of eco
sensitization - Editor
The novel Moby Dick by Herman Melville, a landmark of American
literature that mixed a number of literary styles including a fictional
adventure story, historical detail and even scientific discussion with the
essence of ecology at its best. The present paper is a valid attempt in
focusing the essence of ecology filled in the novel which contains the
story of the voyage of the whaling ship Pequod. The novel draws at least
partially from the experiences of its author while a sailor and a harpooner
on whaling ships before settling in New England as a writer.
Ishmael is the narrator of the novel, a simple sailor on the Pequod
who undertakes the journey because of his affection for the ocean and
his need to go sea whenever he feels "hazy about the eyes." As the
narrator Ishmael establishes him as somewhat of a cipher and an
everyman, and in fact his role in the plot of the novel is inconsequential.
His primary task is to observe the conflicts around him. Nevertheless,
Melville does give his narrator several significant character traits, the
most important of which is his idealization of the Sperm Whale and his
belief in its majesty. Also, it is Ishmael who has the only significant
personal relationship in the novel. He becomes a close friend with the
338

pagan harpooner Queequeg and comes to cherish and adore Queequeg
to a somewhat improbable level open to great interpretation. Melville
even describes their relationship in terms of a marriage. Ishmael is the
only survivor of the Pequod's voyage.
Moby Dick begins with Ishmael's arrival in New Bedford as he
travels toward Nantucket. He rests at the Spouter Inn in New Bedford,
where he meets Queequeg, a harpooner from New Zealand who will also
sail on the Pequod. Although Queequeg appears dangerous, he and
Ishmael must share a bed together and the narrator quickly grows fond of
the somewhat uncivilized harpooner. Queequeg is actually the son of a
High Chief who left New Zealand because of his desire to learn among
Christians. The next day, Ishmael attends a church service and listens to
a sermon by Father Mapple, a renowned preacher who delivers a sermon
considering Jonah and the whale that concludes that the tale is a lesson
to preacher Truth in the face of Falsehood.
Several days into the voyage, Ahab finally appears as a man
seemingly made of bronze who stands on an ivory leg fashioned from
whalebone. He eventually gets into a violent argument with Stubb when
the second mate makes a joke at Ahab's expense, and kicks him. This
leads Stubb to dream of kicking Ahab's ivory leg off, but Flask claims that
the kick from Ahab is a sign of honor.
At last, Ahab tells the crew of the Pequod to look for a whiteheaded whale with a wrinkled brow: Moby Dick, the legendary whale that
took Ahab's leg. Starbuck tells Ahab that his obsession with Moby Dick
is madness, but Ahab claims that all things are masks and there is some
unknown reasoning behind that mask that man must strike through. For
Ahab, Moby Dick is that mask. Ahab himself seems to recognize his own
madness. Starbuck begins to worry that the ship is overmatched by the
mad captain and knows that he will see an impious end to Ahab.
After passing the Cape of Good Hope, the Pequod comes across
the Goney (Albatross), another ship on its voyage. Ahab asks whether
they have seen Moby Dick as the ships pass one another, but Ahab cannot hear
his answer. The mere passing of the ships is unorthodox behavior, for
ships will generally have a 'gam,' a meeting between two ships. The
Pequod does have a gam with.
339
The next ship that the Pequod meets is the Jungfrau (Virgin), a
German ship in desperate need of oil. The Pequod competes with the
Virgin for a large whale, and the Pequod is successful in defeating it.
However, the whale carcass begins to sink as the Pequod attempts to
secure it and thus the Pequod must abandon it. The Pequod next finds a
large group of Sperm Whales and injures several of them, but only
captures a single one.
Stubb concocts a plan to swindle the next ship that the Pequod
meets, the French ship Bouton-de-Rose (Rosebud), of ambergris. Stubb
tells them that the whales that they have vanquished are useless and
could damage their ship, and when the Rosebud leaves these behind the
Pequod takes them in order to gain the ambergris in one of them.
Several days after encountering the Rosebud, a young black man
on the boat, Pippin, becomes frightened while lowering after a whale and
jumps from the boat, becoming entangled in the whale line. Stubb
chastises him for his cowardice and tells him that he will be left at sea if
he jumps again. When Pippin (Pip) does the same thing again, Stubb
remains true to his word and Pip only survives because a nearby boat
saves him. Nevertheless, Pip loses his sanity from the event.
The next ship that the Pequod encounters, a British ship called the
Samuel Enderby, bears news of Moby Dick but its crewman Dr. Bunger warns
Ahab to leave the whale alone. Later, Ahab's leg breaks and the carpenter
must fix it. Ahab behaves scornfully toward the carpenter. When Starbuck
learns that the casks have sprung a leak, he goes to Ahab's cabin to report
the news. Ahab disagrees with Starbuck's advice on the matter, and becomes
so enraged that he pulls a musket on Starbuck. Although Ahab warns
Starbuck that there is but one God on Earth and one Captain on the
Pequod, Starbuck tells him that he will be no danger to Ahab, for Ahab is
sufficient danger to himself. Ahab does relent to Starbuck's advice.
The next ship that the Pequod meets is the Bachelor, a Nantucket
ship whose captain denies the existence of Moby Dick. The next day, the
Pequod slays four whales, and that night Ahab dreams of hearses. He
and Fedallah pledge to slay Moby Dick and survive the conflict, and
Ahab boasts of his own immortality.
340

Ahab must soon decide between an easy route past the Cape of
Good Hope back to Nantucket and a difficult route in pursuit of Moby
Dick. Ahab easily chooses to continue his quest. The Pequod soon
comes upon a typhoon on its journey in the Pacific, and while battling
this storm the Pequod's compass moves out of alignment. When Starbuck
learns this and goes to Ahab's cabin to tell him, he finds the old man
asleep. Starbuck considers shooting Ahab with his musket, but he cannot
move himself to shoot his captain after he hears Ahab cry in his sleep
"Moby Dick, I clutch thy heart at last."
The next morning after the typhoon, Ahab corrects the problem
with the compass despite the skepticism of his crew and the ship continues
on its journey. Ahab learns that Pip has gone insane and offers his cabin
to the poor boy. The Pequod comes upon yet another ship, the Rachel, whose
captain, Gardiner, knows Ahab. He requests the Pequod's help in searching for Gardiner's son, who may be lost at sea, but Ahab flatly refuses
when he learns that Moby Dick is nearby. The final ship that the Pequod
meets is the Delight, a ship that has recently come upon Moby Dick and has
nearly been destroyed by its encounter with the whale. Before finally
finding Moby Dick, Ahab reminisces about the day nearly forty years before in
which he struck his first whale, and laments the solitude of his years out on
the sea. He admits that he has chased his prey as more of a demon than a man.
The struggle against Moby Dick lasts three days. On the first day,
Ahab spies the whale himself, and the whaling boats row after it. Moby
Dick attacks Ahab's boat, causing it to sink, but Ahab survives the ordeal when
he reaches Stubb's boat. Despite this first failed attempt at defeating the
whale, Ahab pursues him for a second day. On the second day of the chase,
roughly the same defeat occurs. This time Moby Dick breaks Ahab's ivory
leg, while Fedallah dies when he becomes entangled in the harpoon line and is
drowned. After this second attack, Starbuck chastises Ahab, telling him
that his pursuit is impious and blasphemous. Ahab declares that the chase
against Moby Dick is immutably decreed, and pursues it for a third day.
On the third day of the attack against Moby Dick, Starbuck panics
for ceding to Ahab's demands, while Ahab tells Starbuck that "some
ships sail from their ports and ever afterwards are missing," seemingly
admitting the futility of his mission. When Ahab and his crew reach
341
Moby Dick, Ahab finally stabs the whale with his harpoon but the whale
again tips Ahab's boat. However, the whale rams the Pequod and causes
it to begin sinking. In a seemingly suicidal act, Ahab throws his harpoon
at Moby Dick but becomes entangled in the line and goes down with it.
Only Ishmael survives this attack, for he was fortunate to be on a whaling
boat instead of on the Pequod. Eventually he is rescued by the Rachel as
its captain continues his search for his missing son, only to find a
different orphan.
Thus the novel Moby Dick contains the essence of eco sensitization inspite of terrible adventure.
Work Cited
Melville, Herman. Moby-Dick; or, The Whale. London: Constable & Co.,
1922. Print.
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74. MODERN ENGLISH WRITERS VIEWS

ON "NATURE
Mr.P.Ramesh,
Assistant professor of English,
Tiruchengode.
The paper exposes the characters are changed by nature's compelling.
The essential thing is characters view changed by nature.Editor
From birth until death nature has an immense affect upon the
development of everyone's life. The same idea is demonstrated by the
authors William Blake in his poem "Introduction" and by John
Galsworthy in his short story The Japanese Quince. In both works it is
seen how the power of nature alters the characters lives. Both pieces
show how nature brings out hidden elements of the characters. The
theme in both these works show how the characters are changed by
nature's compelling force. The essence of both works demonstrates how
a brush with nature can change a person's view.
In Galsworthy's The Japanese Quince he writes, "He (Mr. Nilson)
was on the point of resuming his promenade when a blackbird close by
burst into song, and, looking up, Mr. Nilson sawa little tree." The
Morning walk of Mr. Nilson is interrupted by two components of nature.
What at first seems an insignificant cause the character to break his
normal routine? The same effect is seen in Blake's "Introduction" where it
says: "Piping down the Valleys wild,
Piping songs of pleasant glee,
On a cloud I saw a child,
And he laughing said to me,
343
'Pipe a song about a Lamb,'

So I piped with merry cheer."
Nature initiates a change in the Piper. The setting creates a feeling
of exuberant joy. The blue skies and fluffy clouds set the mood for the
change the piper experiences. The descriptions of "pleasant glee," and
"merry cheer," show how the child on the cloud and nature as seen by
the piper accelerated the joy he was feeling. In The Japanese Quince the
idea that nature's simple beauty is enough to change these two characters entire mood, which is similar to the theme of nature bringing about
change in "Introduction".
Nature writing often draws heavily on scientific information and
facts about the natural world; at the same time, it is frequently written in
the first-person and incorporates personal observations of and philosophical reflections upon nature. Modern nature writing traces its roots
to the works of natural history that were popular in the second half of the
18th century and throughout the 19th, including works by Gilbert White,
William Bartram, John James Audubon, Charles Darwin, Richard Jefferies,
and other explorers, collectors, and naturalists. Henry David Thoreau is
often considered the father of modern American nature writing. Other
canonical figures in the genre include Ralph Waldo Emerson, John
Burroughs, John Muir, Aldo Leopold, Rachel Carson, M. Krishnan, and
Edward Abbey. Today we are more likely to call it "lyrical" nature writing
than "elegant" nature writing. And "charming" is not quite right now,
either - at least not in the feather-footed-through the plash fen sense in
which Fisher meant it. Perhaps we might now use something a little darker
- "bewitching", or "enchanting. "Recognition that a writer must be part
of the story does not compel the writer to become the story".
Maybe himself wrote earlier this year that he longs for the day that
"nature writing" is just "writing", which is as it should be. There's plenty
of scope to criticize individual works on nature topics without seeking to
get them disqualified and their authors struck off the register. Maybe, of
course, is an elder statesman of a certain tradition in British nature
writing, slotting more or less neatly in between Oliver Rackham and Mark
Cocker. Rackham, author of The History of the Countryside (1986), was
"humorous, trenchant, wry, and with a pleasant directness of expression", Melissa Harrison has written, and a writer who "intrudes in a
344

personal way into the text barely at all". Maybe rambles a little wider in
his work, and allows us to see a little more of himself (though his necessarily introspective Nature Cure is not typical), but both write as though
countering to themselves - or perhaps to each other - in the course of a
country walk. Cocker has fewer cranky moments, more everyman charm.
The works of all three are staggeringly rich in expertise.
Cocker has written extensively about being a "birder" - that is,
among other things, an in-the-field expert. He is, as Michael McCarthy
put it, "a writer-naturalist, or a naturalist-writer, and it is impossible to tell
where one passion began and the other ended". He has written, too,
about embarrassment: about childhood fears of being taunted as a
nature-loving "sissy", of - as an adult - sloping off when the discomfort
of hanging around a housing estate with a pair of binoculars became too
much. He presents a stark contrast to, say Robert Macfarlane (who is
never a whit abashed). Cocker's brand of nature writing shades into the
extended feature-journalism of McCarthy's excellent Say Goodbye to the
Cuckoo or Jameson's Looking for the Goshawk. The latter might have
come with a version of Grey's caveat: Those who do not care for goshawks will have no interest in the subject. The book is, it's true, framed as
an obsessive pursuit of the bird, but literary goshawk-obsessions are
now a competitive sport, and in these terms Jameson is a distant third to
Macdonald and T. H. White. His strength, as with Cocker, is his expertise,
as a birder and as a writer.
Criticism of a work about nature shouldn't be seen as an exclusionary measure aimed at designating the work non-canonical: Not Nature
Writing to say that technical expertise sits at the opposite end of the
spectrum from personal communion with nature would be to create a
wholly false opposition. The biologist David George Haskell concludes
The Forest Unseen with a confrontation: the author, a committed man of
science, bumping up against the realization that "wild animals enjoying
one another and taking pleasure in their world is so immediate and so real,
yet this reality is utterly absent from textbooks and academic papers
about animals and ecology. There is a truth revealed here, absurd in its
simplicity". He adds, a little later, a heartfelt warning "not to turn away
from science", and there is no contradiction here. A swooning Keats an
response to the nightingale's song needn't be scorned as unscientific;
Dawkins has posited that, as Keats and the nightingale were both
345
relatively recently evolved warm-blooded vertebrates, the poet experienced much the same overwhelming biochemical responses to the bird's
song as another nightingale might have.
Haskell's gentle push away from over-academic zed nature study
recalls the early nineteenth-century grumble of Charles Waterston, who
complained that the modern breed of naturalist "spent more time in books
than in bogs". Later in the century, Richard Jeffries's arch essay "Nature
and Books" (1887) explained at length the futility of writing on nature; no
book or monograph, he says, can tell him the true colour of a dandelion
seen in reality. In numerical comparison with the facts of nature, there are
"no books; the books are yet to be written". "Man's mind is the most
important fact with which we are yet acquainted", he concludes.
In 1926, W. H. Hudson agreed that books appeared inadequate
when set against the "minute history" of even a single bird species. He
imagined a young boy who has read "a dozen long histories" of a given
species. On going out to watch the bird for himself, he is amazed and
indignant to find how much of what he sees was not mentioned in the
books he studied.
"The reflection will follow that there must be a limit to the things
that can be recorded", Hudson notes; "that the life-history of a bird
cannot be contained in any book, however voluminous it may be; and, finally,
that books have quite a different object from the one he had imagined.
And in the end he will be more than content that it should be so."
Writers and nature-lovers gathered to discuss "Nature
and the Written Word" yesterday evening at the Barker Center during a
roundtable discussion sponsored by the Museum of Natural History and
the New England branch of PEN, an organization of writing professionals.
Moderated by Tufts English professor Dale Peterson, the
conversation featured authors John Elder, Montgomery, and Katy Payne,
who talked about the connection to nature portrayed in writing. "Nature
writing encompasses robust narrative and well-grounded observations
from the science of the natural world," Elder said. He said that 20th
century nature writing-as well as the 19th-Century Transcendentalist
movement's emphasis on the connection between people and the
environment-had greatly inspired him.
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"Most people are not interested in nature. We're more interested in
other people," Peterson, the moderator, said. "The trick is to draw people
away from the human experience to another foreign
experience."Montgomery stressed the connection between people and
the rest of creation in her writing. "My goal is to make people care about
the green sweet world," she said. Harvard Museum of Natural History
Executive Director Elisabeth A. Werby used the words of conservationist
Wendell Berry-"the only thing we have to protect nature with is culture"to underline the importance of nature writing, especially in light the grave
modern climate change situation. Payne said that as a nature writer, she
finds that humans' separation from nature is a more severe crisis than
either global warming or the decimation of forests.
"Most of the world now lives in urban areas. Children watch more
T.V. than they play outside," Payne said. "It's an attitude change that
needs to be reversed."Audience member and Harvard environmental
research librarian George E. Clark said after the talk that people need to
change their perspective. "There needs to be a shift from the human
perspective to the natural one," he said. "Think about how many environmental problems are at the root of social problems."
To conclude,these writers are appreciating and praising the beauty
and immortality of "Nature".
347
75. NATURE IN ITS VIBRANT COLOURS

PORTRAYED
Ms. S. Ramya. M.A., and Ms. R. Subha Jasmine
Assistant Professors,
Chennai -600102.
The design of Feminism and the Mastery of Nature "gendering nature
as a mother or goddess"- Editors
For years feminist theory has resisted, reversed, or deconstructed
the binary oppositions that inform phallogocentric Western language and
thinking: male/female, mind/body, culture/ nature. Stacy Alaimo's
poststructuralist study blurs the boundaries of nature and culture and
traces a tradition of American women writers who locate in nature an
"undomesticated ground" of feminist possibility. Alaimo's work counters
the works of Annette Kolodny (The Lay of the Land and The Land Before
Her) to contend that American feminist women have narrated nature
neither as a space of colonization and conquest nor as a domestic garden.
Whether one agrees with Alaimo's conclusions or not, the wide range of
writers considered, which includes Catharine Maria Sedgwick, Sarah Orne
Jewett, Mary Wilkins Freeman, Mary Austin, Emma Goldman, Donna
Haraway, Margaret Atwood, Toni Morrison, Marian Engel, Leslie Marmon
Silko, Octavia Butler, innumerable women conservationists, and contemporary visual artists, attests to the richness and centrality of her subject.
Alaimo begins with a brief history of feminists' "flight from
nature." In their desire to resist the nature/culture binary in Western logic
that has allied women with nature and made possible their colonization
by patriarchal culture, liberal feminists have rejected nature. Ecofeminist
348

critics, by contrast, embrace nature and are, therefore, often dismissed by
postmodern feminists as essentialist. Using the work of Donna Haraway,
Carolyn Merchant, and Sandra Harding, who view the earth and its
inhabitants as agents, Alaimo argues that "we must transform the
gendered concepts-nature, culture, body, mind, object, subject, resource,
agent, and others-that have been cultivated to denigrate and silence
certain groups of humans as well as nonhuman life" (13). Alaimo contends that American women writers and theorists since the nineteenth
century have transformed nature into an undomesticated space. Alaimo
defines this as a space "utterly free from such confining [gendered]
concepts, values, and roles," "a space apart . . . an indispensable site for
feminist cultural critique" (16). Further, Alaimo claims, in this space,
"women could be untamed, unruly, and unregenerate" (16).
Part One, "Feminist Landscapes," locates in the works of
Sedgwick, Freeman, Jewett, and Austin examples of "undomesticated"
nature that resist dominant cultural narratives of colonization. Sedgwick's
Hope Leslie (1827) ties its heroine and Native Americans to nature, an
anti-patriarchal, anti-authoritarian space. Both Freeman and Jewett
construct "hybrid spaces . . . that do not conform to boundaries between
nature and culture, places where nature takes root in the domestic and
the domestic opens out into nature" (39). In Part Two, "Nature as Political
Space," Alaimo examines early twentieth-century feminist responses to
dominant cultural narratives that condemn birth control as "unnatural."
Finally, Part Three, "Feminism, Postmodernism, Environmentalism,"
explores the presence of "natures" within contemporary novels, theoretical works, and popular cultural texts.
Poststructuralist or postmodern feminisms "denaturalize" the
concept of "woman" itself, often disassociating it from the system of
hierarchies (including body/mind, object/subject, etc.) that bind woman
to an abject nature. Centuries of misogynist thought that has justified the
oppression of women by casting women as "closer" to nature and that
has made nature synonymous with essentialism has produced a discursive landscape which makes it nearly impossible to forge productive
alliances between environmentalism and feminism without raising the
doubly baneful double-entendre of a "female nature." If, as Yet, it would
be difficult to imagine an environmental feminist politics that did not, in
some way, affirm nature, especially since "nature" and the "natural" are
349
such potent discursive nodes. As much cultural studies work demonstrates, cultural struggles often gain more ground by articulating their
aims with already potent ideological elements, rather than attempting to
create an entirely original vision.
As Paula Treichler puts it, "Counter- discourse does not arise as a
pure autonomous radical language embodying the purity of a new
politics. Rather it arises from within the dominant discourse and learns to
inhabit it from the inside out" (132). Susan Griffin's poetic Woman and
Nature: The Roaring inside Her is probably the best example of dwelling
within - but subverting - the tenacious associations between woman and
nature. The partnership ethic avoids "gendering nature as a mother or
goddess" and "endowing either males or females with a special relationship to nature or to each other" (216).
The central project of Feminism and the Mastery of Nature,
however, is to analyze the workings of the system of dualisms in Western
thought (such as, culture/nature, reason/nature, male/female, mind/body,
master/slave, etc.) and to propose an alternative way to conceive of
difference. Plumwood analyzes how dualisms function to construct
difference "in terms of an inferior and alien realm" (42) by
"backgrounding," "radical exclusion," "incorporation," "instrumentalism," and "homogenisation." In order to break down these structures of
dominance Plumwood advocates a "non- reductionist basis for recognizing continuity and reclaiming the ground of overlap between nature, the
body, and the human," in which, as other postmodern philosophers have
done, we "discover the body in the mind, the mind in the animal, the body as the
site of cultural inscription, nature as creative other" (123, 124).
Merchant and Plumwood both conceptualize nature in, broadly
speaking, anti-Enlightenment, "postmodern" terms, that refuse to sever
and distance nature from the human realm. Though "nature" has long
served to stabilize and contain the signification of "woman," Butler
argues that the term "nature" itself has also been "'fixed,' normalized,
immobilized, paralyzed in positions of subordination" (Butler 16). If the
"constant rifting" over the term "woman" "ought to be affirmed as the
ungrounded ground of feminist theory," so should environmentalist
philosophy embrace not only the broad rifting over the term "nature," but
the localized struggles waged within specific discursive ecologies over
the constitution, valence, and articulations of such abstract concepts as
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"continuity" and "difference" and the more highly charged, ideologically
saturated associations between "woman" and "nature." Moreover,
poststructuralist and postmodern philosophies, by denaturalizing the
category of the transcendent human (for which nature, as terra nullius,
was constructed), can help to decalcify fossilized significations of nature
that render it distant, empty, and mute.
Works Cited
Merchant, Carolyn. Earthcare: Women and the Environment New York:
Routledge, 1995
Plumwood, Val. Feminism and the Mastery of Nature New York: Routledge,
1993
Treichler, Paula A. "Feminism, Medicine, and the Meaning of Childbirth"
In Body/Politics: Women and the Discourses of Science, ed. Mary Jacobus,
Evelyn Fox Keller, and Sally Shuttleworth. New York: Routledge, 1990
Alaimo, Stacy. "Cyborg and Ecofeminist Interventions: Challenges for Environmental Feminism" Feminist Studies 20.1 (Spring 1994): 133-152
Butler, Judith. "Contingent Foundations: Feminism and the Question of
'Postmodernism'?" In Feminists Theorize the Political, ed. by Joan W.
Scott and Judith Butler. New York: Routledge, 1992
351
76. LITERARY FORMS AND TERMS

Ms. K.Ramya, M.A., B.Ed.,
JKKN college of Arts and Science,
Komarapalayam.
This paper exposes that the literary devices of Literary Elements or
Literary Techniques and also says that usage of Literary Terms in some
Literary works.- Editor
Literary terms refer to the typical structures used by writers in
their works to convey his or her messages in a simple manner to the
readers. When employed properly, the different literary devices help
readers to appreciate, interpret and analyze a literary work
Literary Devices have two aspects. They can be treated as either
Literary Elements or Literary Techniques. It will be convenient to define
them separately. Literary Elements have an inherent existence in literary
piece and are extensively employed by writers to develop a literary piece
e.g. plot, setting, narrative structure, characters, mood, theme, moral etc.
Writers simply cannot create his desired work without including Literary
Elements in a thoroughly professional manner.
Literary Techniques, on the contrary, are structures usually a word
s or phrases in literary texts that writers employ to achieve not merely
artistic ends but also readers a greater understanding and appreciation of
their literary works. Examples are: metaphor, simile, alliteration, hyperbole, allegory etc. In contrast to Literary Elements, Literary Techniques
are not unavoidable aspect of literary works Alliteration is a literary
device that repeats a speech sound in a sequence of words that are close
to each other. Alliteration typically uses consonants at the beginning of a
352

word to give stress to its syllable. Alliteration plays a very crucial role in
poetry and literature: It provides a work with musical rhythms. Poems that
use alliteration are read and recited with more interest and appeal.
Poems with alliteration can be easier to memorize. Alliteration lends
structure, flow, and beauty to any piece of writing. Today, alliteration is
often used to make slogans more memorable or to make children's stories
more fun to read out loud. There is numerous examples of alliteration in
poems. Here are examples of alliteration taken from The Raven by Edgar
Allan Poe: Once upon a midnight dreary while I pondered weak and
weary...rare and radiant maiden. And the silken sad uncertain rustling of
each purple curtain. Deep into that darkness peering, long I stood there
wondering, fearing, Doubting, dreaming dreams no mortal ever dared to
dream before. In this Poe poem, weak and weary; rare and radiant; silken
and sad; deep and darkness; and wondering and fearing are all examples
of alliteration
An anagram is a type of word play, the result of rearranging the
letters of a word or phrase to produce a new word or phrase, using all the
original letters exactly once; for example, the word anagram can be
rearranged into nag-a-ram. Someone who creates anagrams may be called
an "anagrammatist".[1] The original word or phrase is known as the
subject of the anagram. Anagrams are often used as a form of mnemonic
device as well
Any word or phrase that exactly reproduces the letters in another
order is an anagram. However, the goal of serious or skilled
anagrammatist is to produce anagrams that in some way reflect or
comment on the subject. Such an anagram may be a synonym or antonym
of its subject, a parody, a criticism, or praise;
Anagrams can be traced back to the time of Moses, as "Themuru"
or changing, which was to find the hidden and mystical meaning in
names. They were popular throughout Europe during the Middle Ages,
for example with the poet and composer Guillaume de Machaut. They are
said to go back at least to the Greek poet Lycophron, in the third century
BCE; but this relies on an account of Lycophron given by John Tzetzes in
the 12th century.
The word 'allegory' derives from the Greek allegoria (speaking
otherwise). The term loosely describes any writing in verse or prose that
353
has a double meaning. This narrative acts as an extended metaphor in

which persons, abstract ideas, or events represent not only themselves
on the literal level, but they also stand for something else on the symbolic level. An allegorical reading usually involves moral or spiritual
concepts that may be more significant than the actual, literal events
described in a narrative. Typically, an allegory involves the interaction of
multiple symbols, which together create a moral, spiritual, or even
political meaning. The act of interpreting a story as if each object in it had
an allegorical meaning is called allegoresis. If we wish to be more exact,
an allegory is an act of interpretation, a way of understanding, rather than
a genre in and of itself. Poems, novels, or plays can all be allegorical, in
whole or in part.
These allegories can be as short as a single sentence or as long as
a ten volume book. The label "allegory" comes from an interaction
between symbols that creates a coherent meaning beyond that of the
literal level of interpretation. Probably the most famous allegory in
English literature is John Bunyan's Pilgrim's Progress (1678), in which the
hero named Christian flees the City of Destruction and travels through
the Valley of the Shadow of Death, Vanity Fair, Doubting Castle, and
finally arrives at the Celestial City. The entire narrative is a representation
of the human soul's pilgrimage through temptation and doubt to reach
salvation in heaven. Medieval works were frequently allegorical, such as
the plays Mankind and Everyman. Other important allegorical works
include mythological allegories like Apuleius' tale of Cupid and Psyche in
The Golden Ass and Prudentius' Psychomachiae. More recent nonmythological allegories include Spenser's The Faerie Queene, Swift's
Gulliver's Travels, Butler's Erewhon, and George Orwell's Animal Farm
354
77. GOD AND NATURE IN HOPKINS' "THE

WIND HOVER"
Ms. S.Sangeetha,
Adharsh Vidhyalaya College of Arts and Science,
Paruvachi.
This paper describes the beauty of bird and its tricks flights towards
sky. - Editor
The Wind hover by Gerard Manley Hopkins is a semi-romantic, religious
poem dedicated to Christ. It is a usual Hopkinson sonnet that begins with
description of nature and ends in meditation about God and Christ and
his beauty, greatness and grace. The poem also uses his usual "sprung
rhythm", Anglo-Saxon diction, alliteration, internal rhyming, new compound metaphors, elliptical grammar and complex threads of connotation.
Hopkins has mixed his romantic fascination with the nature with
his religious favor of gratitude towards God for giving us a beautiful
nature. The beauty of nature is here illustrated by a wonderful bird flying
in the air. He describes a bird which he saw flying in the sky that morning,
Like in a romantic poem, he remembers the experience to express his
feelings. That morning, the speaker had been out at dawn. From the
excited description in the poem, we can infer that the speaker was
probably in the field. His attention was suddenly drawn by the scene of a
bird flying in the sky.
The first stanza of the poem is a description of the different tricks
of the bird's flight. In the second the speaker remembers the beauty of
Christ and says that he is a billion times loveliest. So, claiming that the
nature's beauty is no wonder, he concludes in the last stanza that
everything he looks at reminds him the pain and suffering of Christ which
355
has made human life so beautiful and given this opportunity to enjoy it.
To this devotee of Christ, everything brings the image of Christ and his
wounds and pain and sacrifice. This suggests that he always remembers
and becomes thankful to Christ. As the subtitle suggests, the poem is a
thanks giving to Christ.
The Wind hover is a sonnet whose octave describes the flight of a
kestrel that he saw that morning. The sestet is divided in two parts: the
first three lines are about the bird and the comparison of the bird with
Christ who is 'a billion times lovelier', and the last three lines express his
memories and appreciation of Christ. But the poem is rather difficult the
poet has used odd old English words, only implications, and Christian
symbols to suggest the pain, wound, blood, sacrifice, and so the greatness of Christ. The bottom- line of the difficult ideas in this poem is that
'it is because of the sacrifice of Christ that we have such a life, and we
can enjoy the majestic beauty of the nature: so we should thank him.
The speaker compares the bird with Christ, "my chevalier", who is
a billion times lovelier, more brute and dangerous in his beauty. The fire
or brilliance of Christ is dazzling this bird is no wonder." No wonder",
says the poet about the bird because the real wonder of the world is
another supreme gift of God, his son, the Christ. His steps on the soil
make a semblance of a wound when the blood-red and golden light of the
sun is cast on it. The flight of the bird reminds the speaker of his Christ's
crucifixion: his blood falls on us for redemption: his suffering is also
another thing to remember.
The last stanza associatively brings together unrelated words,
each telling something about Christ and his suffering and scarifies for
human beings. The description first stanza and the comparison of the
second stanza are all forgotten when the poet deeply meditates and exalts
in the scarifies and greatness of Christ in the last three lines stanza. The
red ember likes the light of the morning son on the horizon of the blue bleak sky and he is lost in contemplation.
The poem is almost impossible to understand without good
background knowledge about Hopkins's ideas and his odd words. There
are many words of the Anglo-Saxon origin like rung. There are also
unusual combinations like" dapple- dawn- drawn", which is an image of
the bird. The last stanza is particularly complex because of the associatively linked words related to Christ and his sacrifice.
356

The poem opens with an offering: "Glory is to God for dappled
things." In the next five lines, Hopkins elaborates with examples of what
things he means to include under this rubric of "dappled." He includes
the mottled white and blue colors of the sky, the "brined" (brindled or
streaked) hide of a cow, and the patches of contrasting color on a trout.
The chestnuts offer a slightly more complex image: When they fall they
open to reveal the meaty interior normally concealed by the hard shell;
they are compared to the coals in a fire, black on the outside and glowing
within. The wings of finches are multicolored, as is a patchwork of
farmland in which sections look different according to whether they are
planted and green, fallow, or freshly plowed.
The final example is of the "trades" and action the final five lines,
Hopkins goes on to consider more closely the characteristics of these
examples he has given, attaching moral qualities now to the concept of
variety and diversity that he has elaborated thus far mostly in terms of
physical characteristics. The poem becomes an apology for these
unconventional or "strange" things, things that might not normally be
valued or thought beautiful. They are all, he avers, creations of God,
which, in their multiplicity, point always to the unity and permanence of
His power and inspire us to "Praise HimvitieThis is one of Hopkins's
"curtail" (or curtailed) sonnets, in which he miniaturizes the traditional
sonnet form by reducing the eight lines of the octave to six and shortening the six lines of the sestet to four and a half. This alteration of the
sonnet form is quite fitting for a poem advocating originality and contrariness. The strikingly musical repetition of sounds throughout the poem
enacts the creative act the poem glorifies: the weaving together of
diverse things into a pleasing and coherent whole.
This poem is a miniature or set-piece, and a kind of ritual observance. It begins and ends with variations on the mottoes of the Jesuit
order ("to the greater glory of God" and "praise to God always"), which
gives it a traditional flavor, tempering the unorthodoxy of its appreciations. The parallelism of the beginning and end correspond to a larger
symmetry within the poem: the first part (the shortened octave) begins
with God and then moves to praise his creations. The last four-and-a-half
lines reverse this movement, beginning with the characteristics of things
in the world and then tracing them back to a final affirmation of God. The
delay of the verb in this extended sentence makes this return all the more
satisfying when it comes; the long and list-like predicate, which captures
357
the multiplicity of the created world, at last yields in the penultimate line
to a striking verb of creation (fathers-forth) and then leads us to acknowledge an absolute subject, God the Creator. The poem is thus a hymn of
creation, praising God by praising the created world. It expresses the
theological position that the great variety in the natural world is a
testimony to the perfect unity of God and the infinitude of His creative
power. In the context of a Victorian age that valued uniformity, efficiency,
and standardization, this theological notion takes on a tone of protest.
The first stanza would lead the reader to believe that their significance is an aesthetic one: In showing how contrasts and juxtapositions
increase the richness of our surroundings, Hopkins describes variations
in color and texture-of the sensory. The mention of the "fresh-fire coal
chestnut-falls" in the fourth line, however, introduces a moral tenor to the
list. Though the description is still physical, the idea of a nugget of
goodness imprisoned within a hard exterior invites a consideration of
essential value in a way that the speckles on a cow, for example, do not.
The image transcends the physical, implying how the physical links to
the spiritual and meditating on the relationship between body and soul.
Lines five and six then serve to connect these musings to human life and
activity. Hopkins first introduces a landscape whose characteristics
derive from man's alteration (the fields), and then includes "trades," "gear,"
"tackle," and "trim" as diverse items that are man-made. But he then goes on
to include these things, along with the preceding list, as part of God's work.
Hopkins does not refer explicitly to human beings themselves, or
to the variations that exist among them, in his catalogue of the dappled
and diverse. But the next section opens with a list of qualities which,
though they doggedly refer to "things" rather than people, cannot but be
considered in moral terms as well; Hopkins's own life, and particularly his
poetry, had at the time been described in those very terms. With "fickle"
and "freckled" in the eighth line, Hopkins introduces a moral and an
aesthetic quality, each of which would conventionally convey a negative
judgment, in order to fold even the base and the ugly back into his
worshipful inventory of God's gloriously "pied" creation.
Work Cited
Abbot, Claude Coller, ed. Further Letters of Gerard Manley Hopkins including his Correspondence with Coventry Patmore. London: Oxford University Press, 1956. Print.
358
78. Portrayal of Nature in John Keats 'Ode to

Autumn' and Shelley's 'Ode to West Wind'
Ms. R. Sathya Priya,
KSR College of Arts and Science for Women,
Tiruchengode.
This paper portrays Keats' enjoyable autumn season and force of Nature
in Shelley's West Wind. According to them Nature can be both powerfully destructive and also brings a renewal of life. - Editor
Nature is defined as the natural Earth and the things on it, or the
essence of a person or thing. Nature plays a predominant role in Earth. In
English Literature there are many Nature poets like William Wordsworth,
John Keats, Robert Frost Etc... Their views on Nature clearly viewed
through their poems.
John Keats lived a short time between 18th and 19th century. He is
a Romantic poet. And he otherwise called as Nature poet. Nature was one
of the greatest sources of inspiration for Keats. Like Wordsworth he had
a cult of nature, though unlike him, he did not see an imminent God in it.
Nature was a major theme among the Romantics, but Keats turned natural
objects into poetic images. He wrote Nature ode like 'Ode to Nightingale,
Ode on a Grecian Urn, Ode to Autumn, Ode on Melancholy'.
Most of the Keats poems clearly explored his personal experience.
He used a great number of images connected with Nature in Keats poems.
It is used to only represent Keats experiences. Keats' 'Ode to Autumn' is
one of the best Nature poem. In 'Ode to Autumn' Keats mentioned that
Spring and Autumn are not comparable because both have their own
beauties, charms and glories. He personified Autumn as a beautiful
359
women sitting carelessly. Most often Autumn is taken as a harsh season,

the age of 'fruitfulness' and 'completeness', the age of total saturation and
fulfillment.
He said that this is a season which has a music of its own. To
Autumn is particularly significant because Keats is able to improve his
presentation of beauty from his previous perception that is explored
through the other odes. Ode to Autumn describes three different aspects
of the season. Keats celebrates Autumn as a season of abundance, a
season of reflection, a season of preparation for the winter.
Autumn is depicted firstly as a harvester sitting carelessly in the
field during a winnowing operation. Secondly, as a tired reaper fallen
asleep in the very midst of reaping. Thirdly, as a gleaner walking
homewarls with a load on the head. And fourthly, as a cider-presser
watching intently the apple-juice flowing out of the cider press. At the
end of the poem, poet is well aware that Autumn is dying or is in the
process of change with 'soft dying day'. "While barred clouds blooms the
soft-dying day / And touch the stubble-plains with rosy hue"
So it will soon be followed by winter. The longing for avoiding the
dark and gloomy winter is urging the poet to lament the loss of spring
though he feels the beauty of present hour. According to Keats point of
view the season of autumn must be enjoyed.
Percy and Shelley thoughts on Nature also similar like Keats. He
was an atheist. Nature could be beautiful for Shelley, but that does not
imply that it was caring. According to Shelley, Nature is at once splendorous and deadly, a dynamic force that cannot be tamed by man. While
appreciating Nature's aesthetic majesty, Shelley warns man not to equate
beauty with tranquility.
Rather, Shelley advises us to view nature from both sides of the
coin, admiring its unapproachable synthesis of power and grace. Like
many of the romantic poets especially William Wordsworth, Shelley
demonstrates a great reverence for the beauty of mature, and he feels
closely connected to Nature's power. Shelley uses Nature as his primary
source of poetic inspiration. In such poems as The Mask of Anarchy
written on the occasion of the Massacre at Manchester and Ode to the
West Wind.
360

Shelley suggests that the natural world holds a sublime power
over host imagination. At the same time, although Nature has creative
power over Shelley because it provides inspiration, he feels that his
imagination has creative power over Nature. Shelley works belong to the
Romantic period. One of his most famous poem 'Ode to the West Wind',
which he wrote in November 1819.
'Ode to the West Wind' was inspired by a Natural phenomenon,
as Autumn storm that prompted the poet to contemplate the links
between the outer world of Nature and the realm of the intellect. This
poem portrays a force of Nature, the West Wind, that can be both
powerfully destructive but also a force that brings a renewal of life. In
each stanza, Shelley speaks to the West Wind if it is an animate power.
The opening line of the poem describe the way the Wind sweeps away
the Autumn leaves and carries of seeds of vegetation, which will the
dormant through winter until the spring comes to give them new life as
plants. Then he portrays about the effects of the wind on the air with the
clouds moved everywhere by its violent action.
Shelley seems to be calling upon the Natural forces of change in
order to facilitate a moral and political evolution. Leaves dead' and being
'driven like ghosts' are akin to images of tyranny forces of social and
political oppression that animated Shelley's belief in freedom. Here again,
is the Romantic tendency to equate the truth of Nature with the universality of political values that embrace the Natural setting. The closing line
of the poem also emphasize this condition on being If Winter comes , Can
Spring be far behind?"
In this line, Shelley makes the argument that tyranny and the
political silencing of voice will always give way to the condition of
freedom and individual expression. In making this Romantic dialectic a
Natural one, Shelley argues that temporality will succumb to transcendental notion of identity. The Natural images end up endorsing Shelley's
political stance.
Shelley's ability to believe that Nature's beauty comes solely
from a divine source.
Work Cited
Thompson, Edward, ed. John Keats: A Collection of Poems. London:
Crumb Elbow Publishers, 1998.
361
79. Keats' Thoughts on Nature in 'Ode to a

Nightingale'
Ms. N.Savitha,
K.S.R. College of Arts and Science for Women,
Tiruchengode.
This paper vividly impressed the songs of a nightingale. Exposing the
melancholy song, which is echoing intact of the forest - Editor
John Keats was born in 1795 and died in 1821. He wrote much
praiseworthy romantic poems. This poem, 'Ode to a Nightingale' is an
Ode. In this kind of ode , the author addresses to a person, place or thing.
He praises the best qualities of the object through this ode. As the title
suggests in this poem, Keats reveals his mental state of being numbed
after listening to the nightingale's song.
The song inspires him to forget the harsh life on the earth. It
inspires him to escape the reality and live in the world of the bird. He asks
for a kind of wine, water and poetic imagination in order to enter into a
new life with the bird. At last, he comes back to his reality and wonders
whether he was asleep or awake. Thus, he praises the bird's beautiful
song and emotionally expresses his mental attitude. In the beginning of
the poem, Keats describes his pain. He is depressed. His heart is paining
and he is in the mood of sadness. He feels that his senses are numbed as
if he had taken some opium- drugs, taken the juice from the plant.
Hemlock or taken the water from the river, Lethe, a river of forgetfulness.
The song kindles drowsiness to the poet, as if he had taken
some drugs. The result is that he feels sleepy. He explains the reason for
his numbness. Keats says that he hears a song from the nightingale bird.
The song is joyful. The bird reveals its happiness through its song. The
362

song is joyful; Keats heart is numbed with sharing the happiness of the
song. Keats compares the bird to a light- winged Dryad, a spirit. According to him, the bird does not belong to the earthly creatures. It is supernatural one in the green forest in summer timer.
O, for a draught of vintage! That hath been
Cool'd a long age in the deep- delved earth,
Tasting of Flora and the country green,
Dance, and Provencal song, and sun burnt mirth!
Keats wants to escape reality. He wants to forget himself. In order
to forget, he wants to take wine which should be prepared under the
earth. The wine should be prepared in south Europe. The wine, by its
taste would remind him the Goddess Flora. Presently, he wants to take
water from Hippocrene. The place is, according to the Greek Mythology,
a fountain on Mount Helicon. It is believed that if people drink water from
this fountain, the water will generate great poetic imagination. He asserts
that a full grass of such wine or water will inspire his poetic imagination
and will make him lose consciousness. By losing consciousness, Keats
wants to go to the imaginary world. He describes to escape from his
problems through poetry. He hopes to merge with the bird to forget the
miseries and sorrows of this earthly life.
Keats describes to live with the bird in the forest. He wants to
enter into a new life and forget the fear, worry, sorrow, despair, anxiety
and miseries of life. In the earthly life, men are loaded with lots of worries
and they grow old and become ill and at last die. All these human
sufferings never occur to the bird. The world of the bird is free from all
these human sufferings. Also, the bird does not have the old age and
death. So, Keats wants to be one with the bird because the nightingale
has never experienced these things.
Suddenly, Keats changes his mind. He does not want to enter into
the bird's world through a glass of wine. At present, Keats mentions the
reference of Bacchus, the God of wine. He emphasizes that he does not
want to travel to the bird's world by Bacchus' chariot. He wants to enter
into the quite world through poetical imagination. He imagines the moon
surrounded by stars. He imagines a wonderful world in the forest though
the forest is not bright because of the thickness of the leaves.
363
Keats wants to travel to the bird's world. The bird is in the forest.
The forest is dark. Keats believes that though the forest is dark, he can
guess what flowers are growing around him from the smell of the flowers.
He can guess whether the flowers such as the white hawthorn, eglantine,
violets and the musk- roses have plenty of honey. He can guess by the
sound of the flies because the flowers would be surrounded by flies on
summer evenings. Thus, he states that he will leave the earthly world and
enter a world where he can see and enjoy everything with his heavenly
eyes. Darkling I listen; and, for many a time
I have been half in the love with easeful Death,
Call'd him soft names in many a mused rhyme,
To take into the air my quite breath;
Keats then speaks of death. He says that it would be rich and
happy to die in this beautiful world. He wants to die while listening to the
bird's song. This sort of death is painless. However, the problem with
dying is that he will no longer hear the nightingale's song which will
continue to sing ceaselessly. He symbolically refers that nightingale's
song is a symbol of nature's perfection.
Keats contrasts the bird with mankind. Keats emphasizes that he is
mortal whereas the bird's song is immortal. He wonders that the nightingale is free from death. Specifically, its song is immortal. So, Keats
mentions that the song is of the bird might have been heard in ancient
times by emperors, clowns, kings and even Ruth, a Biblical woman
character who felt homesick, might have heard it. As a result, its song
might have set a great imagination in the faeries and myths such as "Was
it a vision, or a waking dream?/ Fled is that music: - Do I wake or sleep?".
Keats comes back to his consciousness. He comes back from his
imaginary world. The bird's song is gradually fading away. The song has
crossed the distant meadows, the river, and hill and at last it has disappeared. He comes to the normal world of man. He gives a farewell to the
bird's song. The experience he has had seems confusing and strange.
Immediately, Keats questions whether he had a day dream about the bird
or it was real. He is not sure whether he is awake or as sleep.
Works cited
Perkins, David. John Keats, English Romantic Writers. 2nd, edition. Harcourt
Brace & Company, 1995. Print.
364
80. Exploration of Eco critical perspective in

Amitav Ghosh's The Hungry Tide and Kamala
Markandaya Nectar in a Sieve
Mr. A.Senthil Nathan,
KSR College of Arts and Science (Autonomous),
Tiruchengode.
The theory of Eco-criticism presents the interdependence of man and
nature - Editor
The word ecocriticism is a semi neologism [Buell 1999: 1091]. Eco
is short of ecology, which is concerned with the relationship between
living organisms in their natural environment as well as their relationships
with that environment. The relationship between man and nature is not
just interdependent but also interrelated. The word ecocriticism first
appeared in William Rueckert's essay "Literature and Ecology: An
Experiment in Ecocriticism" in 1978. However, it was only in the 1990s that
ecocriticism emerged as a separate discipline although it is a fact that the
relationship between man and his physical environment
Ecocriticism is a branch of literary criticism which has is being
discussed worldwide as an interdisciplinary study of literature and the
environment. It covers the study of subjects like science, literature,
anthropology, sociology, psychology etc. and attempts to study the
attitude of mankind towards nature. Some popular names for this relatively new genre are Eco poetics, green culture and environmental literary
criticism. It is study in which has invoked the interest of scholars
worldwide. Ecocriticism is not only the application of ecology and
ecological principles but also the study of literature and theoretical
365
approach to the interrelations of nature, culture and sometimes even

supernatural elements in nature. It attempts to explore the expressions of
environment in literary texts and theoretical discourse.
Amitav Ghosh's The Hungry Tide (2005) is one of the first Indian
novels to strongly raise ecological issues in Indian fiction. Ghosh's novel
reveals the interactions between the state, the poor, the fauna and flora,
and the physical environment, and in doing so this work highlights both
the tragedy and the hypocrisy that were inherent in the conservation
efforts in the Sundarbans. In The Hungry Tide Ghosh problematizes the
tensions between and within human communities, their respective
relations with the natural world, and the extra-discursive reality of nature
that changes and is simultaneously changed by humanity. The friction
between land and the sea in the Sundarbans creates a constant friction
between the plant and animal life. Man's constant encroachment of the
ecosystems of the Sunderbans only justify the tensions between the
various elements of nature. The Hungry Tide is set in the Sunderbans, an
island in the Bay of Bengal which is not just beautiful but also fascinating. For settlers, the Sunderbans offer an extremely unpredictable and
insecure life.
Unrest and eviction are constant threats and attacks by tigers are
most common. Tidal floods destroy the stability of life on the island
without any warning. Amitav Ghosh's The Hungry Tide constantly
discusses the conflict between man and nature in the context of the
Sundarbans in India and Bangladesh. The novel reflects the conflicts
between the residents and the aquatic and wild life of the Sunderbans.
Amitav Ghosh has warned mankind against the overt exploitation of
nature. The Tide Country is a harsh landscape, full of peril and death in
many forms. "At no moment can human beings have any doubt of the
terrain's hostility to their presence, of its cunning and resourcefulness, of
its determination to destroy or expel them. Every year, dozens of people
perish in the embrace of that dense foliage, killed by tigers, snakes and
crocodiles.? (Ghosh 7). Rajender Kaur in his essay on The Hungry Tide
titled, "Home Is Where the Oracella Are" says, "Ghosh's selection of the
Sundarbans for his setting was aptly chosen? (Kaur 127).
The Hungry Tide unfolds through the eyes of two upwardly
mobile, educated individuals who undertake a journey to the tide country.
Kanai Dutt, the Bengali born, Delhi- settled businessman arrives in
366

Lusibari to visit his aunt Nilima and claim the package left for him by his
uncle, Nirmal. The package, he discovers is an account of his uncle's last
days, which revolved around Kusum and her son Fokir, who are portrayed as the victims of eviction from the island of Morichjhapi. Ghosh
weaves together two temporal narratives: one unfolding through
Nirmals's journals recounting the Morichjhapi episode that happened 28
years earlier and the second through Piya's expedition, to study the
threatened Gangetic River dolphins. The juxtaposition of these two
narratives highlights the problems and issues of wilderness conservation
and its related social costs in areas populated by the socially and
economically disprivileged both in the past and the present Water is of
special significance in Hindu mythology.
Water is chiefly associated with fertility, immortality, place,
creation and the feminine. Running water is deemed sacred in Indian
mythology. According to the Rig Veda, the river is a continuation of the
divine waters that flow from heaven to earth. Mythology has it that when
the Ganges descended from the heavens, so mighty were its currents that
it threatened to drown the earth itself. Shiva anticipating the deluge
captured the river in his dreadlocks.
Kamala Markandaya novel Nectar in a Sieve (1954) describes the
female protagonist Rukmani's attempt to retrieve and revive elements of
her family's? rural life and a strong sense of rootedness to their land.
Both, she and her husband toil on the land and have a special sense of
belonging to it. However, their sole dependency on this piece of land for
survival is also a cause of their poverty. The relationship between land
and Rukmani becomes an important insight into understanding Rukmani's
sense of belonging to her rural .environment. The very beginning of the
novel focuses the relationship between Rukmani, the land and her rural
environment. This is how Rukmani recalls her early married days: "While
the sun shines on you and the fields are green and beautiful to the eye,
and your husband sees beauty in you which no one has seen before, and
you have a good store of grain laid away for hard times, a roof over you
and a sweet stirring in your body, what more can a woman ask for? ?
(Markandaya 8).
Rukmani associates her husband's praise for her beauty with the
beauty that she sees in her fields. However, this harmony with nature that
she associates her rural life with is extremely short lived. Very soon
modern technology which takes man away from nature and ultimately
367
completely destroys their relationship with nature enters the life of

Rukmini's family. The tannery symbolizes of modernity. It transforms
both, the environment and the economic conditions of the village. It also
brings about a drastic change in the relationships between the villagers.
While Kunthi is glad about the tannery, Rukmani sees it as a threat
to the village life. The Tannery became the main factor for the loss of her
three sons. The tannery helped Arjun, Thambi, and Raja to deal with the
dire poverty that they were struggling with. While it created employment
for them, it also took them away from their family members, thus, degrading the importance of their family life. This oft-quoted passage from the
novel is seen to romanticize the relationship that Rukmani has with her
land and to nature. The quote highlights that for a peasant woman,
happiness consists of bare necessities at the elemental level made up
largely of food, clothes, shelter and the idyllic beauty of the countryside
(Srivastava, 1998). Nature, the sun and the beauty of the green fields
appear as Rukmani's source of well-being. Two other themes emerge from
the quote above: the symbolism of grains/seeds and women's sexuality.
Grains and seeds represent the overriding symbol for life itself in
Nectar in a Sieve. When Rukmani tends to her garden and plans pumpkin
seeds, she marvels at the life concealed within each of the seeds she
sows, thinking that their growth to me was constant wonder-from the
time the seed split and the first green shoots broke through, to the time
when the young buds and fruit began to form. it seemed to me
thateach of the dry, hard pellets I held in my palm had within it the very
secret of life itself, curled tightly within, under leaf after protective leaf for
safekeeping, fragile, vanishing with the first touch or sight. With each
tender seedling that unfurled it small green leaf to my eager gaze, my
excitement would rise and mount; winged, wondrous. (Markandaya,
2002).According to Beth Zeleny, "Markandaya implicitly connects woman
and landscape through her recurring use of seed imagery. As giver and
nurturer and endure of life, woman participates in the cycle of life as seed,
then seedling, which ultimately becomes part of the soil that supports
future seed" (Zeleny, 1997).
Here, the biological role of procreation (reproduction) is intimately
linked to Rukmani, land and seeds. Procreation is seen to be a critical role
for a woman in Rukmani's society. A woman who fails to conceive early in her
marriage maybe renounced by her husband, as Ira is later on in the novel.
368

Here, the claim that women are closer to nature rests on the
premise of women bringing forth life from their bodies, undergoing the
pleasures and pains of pregnancy, childbirth and nursing. In a social
sense, childrearing and domestic caretaking have kept women close to
the hearth and thus closer to nature. Cultural Eco feminists celebrate the
relationship between women and nature by reviving ancient pre-patriarchal rituals centred on goddess worship, the moon and linking this to the
female reproductive system.
Ecocriticism is the combination of ecology and expressions of the
theory. Ecocriticism shares with critical animal studies an interest in
redefining humans' relationships to other species. But whereas animal
studies have privileged the social, cognitive, and emotive abilities of
higher animals and humans' consciously perpetrated violence against
them, ecocritics have tended to focus on systemic and often unintentional damages to other species, including a wide range of both animals
and plants. These two approaches converge in some cases, but they
conflict in those where ecocritics accept violence to individual animals or
species in the interest of maintaining ecosystem functioning
Work Cited
Ghosh Amitav, The Hungry Tide; 2005, Harper Collins (2011).
Kamala Markandaya, The Nectar in the Sieve; 1954, Penguin Books
India Pvt. Ltd (04/10/2009).
Kaur, Rajender. "Home Is Where the Oracella Are': Toward a New
Paradigm of Transcultural Ecocritical Engagement in Amitav Ghosh's The
Hungry Tide." Interdisciplinary Studies in Literature and Environment.
14.1 (2007): 125-141.
Selvamony Nirmal Nirmaladasan, Essays in Ecocriticism; Sarup Book
Publishers Pvt. Ltd, 2005.
Volkmann, Laurenz Nancy Grimm, Ines Detmers and Katrin Thomson
(Eds). Amsterdam/NewYork, NY, 2010, X.
Sivaramakrishnan Murli and Jana Ujjwal, Ecological criticism for our
times: Literature, Nature and Critical Inquiry; Author Press (2011).
Srivastava, Ramesh K. (1998). The Novels of Kamala Markandaya: A
Critical Study. Amritsar: Guru Nanak Dev
369
81. An Eco-Critical View in Kiran Desai's

Hullabalo in 'The Guava Orchard'
Ms. V. Sivapriya,
Nandha Arts and Science College,
Erode-52.
This paper includes that intimate relationship between Nature and
Literature and also contains ecological sensitivity - Editor
Nature is origin of all sciences. Life of human being depends
upon nature. So nature and literature having intimate relationship goes
hand in hand. Eco-criticism is new critical movement that studies literary
representation of nature and environmental crisis. Eco-criticism studies
the relationship between literature and the science of ecology by applying ecological concepts to literature.It is a holistic approach to literature
that seeks to examine the relationship between man and his environment.
Even as a daughter of Anita Desai, a fiction writer of international
repute, Kiran Desai has charted a territory of her own. In her debut novel
'Hullabaloo in the Guava Orchard', the fire of fertile imagination sweeps
through one page to another. In Hullabaloo in the Guava Orchard, Kiran
Desai argues that if man is to be complete and content, he cannot continue
to view himself as existing apart from the natural world. He must instead
begin to view himself as being part of the entire ecological system. Desai
demonstrates that if the natural world is to survive, man cannot continue
to empower his surroundings, he must learn to live in harmony with them.
Novel begins with introducing global environmental crisis i.e.
global warming and its implications. There is news in newspaper which is
read by Mr. Chawla. Newspaper raises important issues responsible for
rise in heat and famine. 'Problems have been located in the cumulus that
370

has become overtly heated. It is all a result of volcanic ash thrown up in
the latest spurt of activity in the polar ice-caps' (Desai, 1).
However, we have a Highest temperature was recorded in Shahkot.
There were dozens of monsoon including proposals. To bring rain various
efforts were done all over the world. 'Hungarian musician offers to draw
rain clouds from Europe to India via music of his flute Army proposed
the scattering and driving of clouds by jet planes flying in a special
geometric formation (Desai, 1).Even the Temple priest thought of wedding
of frog to bring rain. Various creatures are commonly associated with cultural
rituals. Natural disaster makes the society try to find out solution.
Protagonist of novel Sampath Chawla escaped from world of
responsibilities and entered into orchard for peace and contentment.
Orchard was extremely beautiful and peaceful. He observed there was
silence held between branches like a prayer. As Sampath climbed on
guava tree, he felt his breathing slow and a wave of peace and contentment overtook him. 'All about him the orchard was spangled with the
sunshine of a November afternoon webbed by the reflections of the shifting
foliage and filled with liquid intricacy of sun and shadow. '[Desai, 50]
Beautiful and peaceful atmosphere of orchard hold Sampath
spellbound. Townspeople worshipped Sampath taking him as rise spirit
of unfathomable wisdom.
Richness of orchard made Sampath to stay there forever. He
wandered in the deepest parts of the woods amidst the bamboo groves,
the towering moss-laden trees. There were wild cats, snakes, the scorpions
and leeches but he was not frightened. After some day when there was
arrival of monkeys in orchard picture of guava orchard changes. They
looked upon Sampath as the strange sedentary member of another
species in their usual domain with some trepidation.
Some days later Monkeys found bottles of rum while rifling
through their bag. They drank all up. They started making noise and
disturbing devotees and Sampath. In this connection one devotee's
comment is remarkable 'It is not the monkey's fault. Always men are
degenerate ones'. Monkeys develop unquenchable taste for liquor. They
grew violent leapt on each bus, scooter, and rickshaw in search of liquor.
They grew more violent and aggressive. Army and police were given
training to catch the monkeys. They entered in guava orchard with huge
371
preparation. Mr. Chawla, the crowd of devotees they all ran wheezing,
panting, desperate. Monkeys jumped from one tree to another. The forest
birds flew up and scattering in alarm, their cries mingling with the voices down
below. There was big hullabaloo created by monkeys in guava orchard.
Nature in 'Hullabaloo in the Guava Orchard' is symbol of freedom
where Sampath gets peace and contentment. Orchard provides ecological
base and setting to this novel. All characters wander and live in orchard
which is main place of all events and hullabaloo as suggested in the title.
Orchard has rich ecological wealth. Kiran Desai pictures various scenes
and landscapes of orchard. All eccentric characters create not only
pollution but also environmental destruction. So inhabitants are responsible
for ecological imbalance and its ruin. Their encroachment of the natural
habitat of animals often creates a tension between man and animals.
Man always tries to control and to overpower the nature and
animals but it is impossible for him. He has always become helpless in
front of mighty nature. In their meaningless efforts to catch monkeys
there is a great hullabaloo in guava orchard. From ecological point of
novel can be called as 'Eco-hullabaloo'. It is representative novel in the
field of eco-criticism which shows man's attitude towards nature. Novel
reflects Kiran Desai's ecological concern and she successfully depicts
that concern and draws attention to preserve it, care it and create it.
Sampath's ecological sensitivity is brilliantly captured by Desai
and is interwoven into the book to provide insights into environmentalists and city dwellers. Here Desai hints that the forest depletion and
denudation can lead to several environmental crises like global warming,
ozone depletion and its affects. This would in turn lead to extinction of
life on earth. It focuses on the socio-environmental issues with questions
of competing claims of human and non human species for existence .The
conflict of pitting man against nature and man against man addresses the
context of the contemporary Indian the story by opening up issues
[pertaining to ecological conservation, species extinction, ecotourism and
environmental economics]. Her message comes loud and clear through
this parable with its brilliant touch of irony and satire as the story.
Work Cited
Desai, Kiran.Hullabaloo in the Guava Orchard. London: Faber and Faber, 1999.
Glotfelty, Cheryll and Harold, Fromm (1996) The Eco-criticism Reader:
Landmarks in
372
82. Elineation of Nature in Robert Frost's

'Birches'
Mr.T.Srinivasaraja, M.A.,
Asst.prof of English
K.S.R College of Arts and Science for women,
Tiruchengode.
This paper portrays the supernatural element and overflows of nature
and deals a comparison between reality and imagination. - Editor
'Birches' is one of Robert Frost's most anthologized poems. The
poem 'Birches' deal with rural landscape and wildlife, shows Frost as a
nature poet. His work is principally associated with the life of New England
and though he was a poet of traditional verse forms and metrics who remained
steadfastly aloof from the poetic movements and fashions of his time.
The poem centers on various themes of balance, youth, spirituality
and natural world. The poem deals with the issue of how to reconcile
between impulse and carefulness, between spontaneity and structure.
Youth also comes as a theme in this poem as the speaker imagines some boy
despite coming across one. The poem consists of fifty-nine easily flowing
blank verse lines. Rich metaphoric thinking and imagery abounds the
poem where Frost presents some sharp descriptions of natural phenomena.
In 'Birches', the speaker's attention is first caught by a cluster of
bent birch trees that he knows were bowed by ice storms. The sight
reminds him of his boyhood sport of swinging on birch trees, although
such an activity does not permanently bow them. Swinging on birches is
a form of play that can be done alone, the competition strictly between
child and tree. It is a sport requiring poise and good judgment; for a safe
and satisfactory ride, one must climb to the very top of the tree and
"launch out at just the right moment. A country boy might expect to
master all the birches on his father's land."
373
The speaker dreams of swinging on birches again. From the

perspective of adulthood, he envies his childhood capacity for launching
out a new, making a new beginning on a new tree. In his mind, the game
has become a way of escaping from earth, where life sometimes seems to
be a "pathless wood" but he knows that such a game is not a permanent
escape from earth and that part of the fun is "coming back," for life is not
always a pathless wood, and the earth from which he contemplates
escaping is "the right place for love." The mature man thus recognizes a
symbolic value that he could not have consciously realized when he was
young enough to be a swinger of birches.
Seen from another perspective, however, 'Birches' also reveals a
more sophisticated view of the theme that relation between imagination
and reality. Though in general terms the poem presents these two realms
as in conflict, Frost also delights in showing that realistic and imaginative
language often dissolve into each other, so that the dichotomy between
them is not as clear as many people (including the speaker of the poem)
seem to think it is.
Like much of Frost's poetry, 'Birches' takes a look at the interaction
between nature and man. In this case, we have a grown man, the narrator,
telling the reader that he recalls what it was like to swing on birch trees
when he was young. As an adult, he knows that birch trees are bowed
because of the ice that bent their trunks in the winter, but he prefers to
think that, like he did as a youngster, "I like to think some boy's been
swinging them"
The memory of birch swinging is a release from the cares and trials
of adult life, a sort of freedom that takes him back in time. Thus, as we
grow, play and adventure is replaced with pain, danger, and weariness.
Frost concludes with something of an understatement in the poem's final
line: "One could do worse than be a swinger of birches". This emphasizes
Frost's point that interacting with nature in a playful way is actually more
rewarding than the responsibilities that accompany adult life.
Youth, like death, is a constant backdrop for many of Frost's
poems. The speaker of 'Birches' never sees a boy or comes across one.
He only imagines one, and the boy that he does imagine is himself at a
younger age. The boy seems to be similar to William Wordsworth and
Walt Whitman's portrayals of boys. These boys have their own rules and
wisdom that they can pass on to the older men and women around them.
374

They are ready for adventures in nature and represent the wild, untamed
state of "man" that remains good and moral even though no one is there
to govern him.
The title is 'Birches', but the subject is birch "swinging." And the
theme of poem seems to be, more generally and more deeply, this motion
of swinging. The force behind it comes from contrary pulls truth and
imagination, earth and heaven, concrete and spirit, control and abandon,
flight and return. We have the earth below, we have the world of the
treetops and above, and we have the motion between these two poles.
But the speaker does not leave it at that. He does not want his
wish half- fulfilled does not want to be left, so to speak, out on a limb. If
climbing trees is a sort of push toward transcendence, then complete
transcendence means never to come back down. But this speaker is not
someone who puts much stock in the promise of an afterlife. He rejects
the self-delusional extreme of imagination, and he reinforces his ties to
the earth. He says, "Earth's the right place for love," however imperfect,
though his "face burns" and "one eye is weeping." He must escape to
keep his sanity; yet he must return to keep going. He wants to push
"[t]oward heaven" to the limits of earthly possibility, but to go too far is
to be lost. The upward motion requires a complement, a swing in the
other direction to maintain a livable balance.
And that is why the birch tree is the perfect vehicle. As a tree, it is
rooted in the ground; in climbing it, one has not completely severed ties
to the earth. Moreover, as the final leap back down takes skill, experience,
and courage, it is not a mere retreat but a new trajectory. Thus one's path
up and down the birch is one that is "good both going and coming
back." The "Truth" of the ice storm does not interfere for long; for the
poet looks at bent trees and imagines another truth: nothing less than a
recipe for how to live well. A poem as richly textured as 'Birches' yields no
shortage of interpretations. The poem is whole and lovely at the literal
level, but it invites the reader to look below the surface and build his or
her own understanding. The important thing for the interpreter is to
attune her reading to the elements of the poem that may suggest other
meanings. One such crucial element is the aforementioned swinging
motion between opposites. Notice the contrast between Truth and what
the speaker prefers to imagine happened to the birch trees. But also note
that Truth, as the speaker relates it is highly figurative and imaginative:
375
Ice storms are described in terms of the "inner dome of heaven," and bent
trees as girls drying their hair in the sun. This sort of truth calls into
question whether the speaker believes there is, in fact, a capital-T Truth.
The language of the poem vocabulary and rhythm is very conversational and, in parts, gently humorous: "But I was going to say when
Truth broke in with all her matter of fact about the ice storm." But the
folksiness does not come at the cost of accuracy or power; the description of the post-ice storm birch trees is vivid and evocative. Nor is this
poem isolated, with its demotic vocabulary, from the pillars of poetic
tradition. The "pathless wood" in line 44 enters into a dialogue with the
whole body of Frost's work a dialogue that goes back to the opening
lines of Dante's 'Inferno'. And compare line 13 with these well-known
lines from Shelley's elegy for Keats, 'Adonis': "Life, like a dome of many
colour'd glass / Stains the white radiance of Eternity / Until death
tramples it to fragments."
In 'Birches', the pieces of heaven shattered and sprinkled on the
ground present another comparison between the imaginative and the
concrete, a description of Truth that undermines itself by invoking an
overthrown, now poetic scheme of celestial construction (heavenly
spheres). Shelley's stanza continues: "Die, if thou wouldst be with that
which thou dost seek." Frost's speaker wants to climb toward heaven but
then dip back down to earth not to reach what he seeks but to seek and
then swing back into the orbit of the world.
Work Cited
Frost, Robert. Mountail Interval (1916), Henry Holt and Company.
Untermeyer, Louis. Modern American Poetry, New York: Harcourt, Brace
andHowe, 1919.
https://en.wikipedia.org/wiki/Birches_(poem)
http://www.sparknotes.com/poetry/frost/section8.rhtml
http://www.gradesaver.com/the-poetry-of-robert-frost/study-guide/summary-birches-1916
http://study.com/academy/lesson/birches-by-robert-frost-analysis-lessonquiz.html
376
83. The Relationship between Man and Nature

in Amitav Ghosh's
The Glass Palace
T.Shreemathi,
Ph.D Research Scholar,
Karunya University,
Coimbatore.
Dr. M.Poonkodi,
Associate Professor,
Karunya University,
Coimbatore
Nature is given priority and an aworness is created to preserve nature -
Editor
Amitav Ghosh is a renowned writer who has expressed his sincere
concern for nature and its preservation in almost all his fictions. In the
novels The Glass Palace, The Hungry Tide and Sea of Poppies he has
deployed his knowledge on ecology reflecting upon nature's multifarious
characteristics both benign and malign. Ghosh's novels advance the
proposition that Nature articulates to Man through its silence and when
Man fails to listen to the voice of Nature, it reveals its mind through
devastation. He reiterates through his characterization that man needs
eco consciousness. He eminently brings out the relationship between the
living organisms and their adaptability to the physical environment
through his novels.
Man is a part of the complex relationship among all the creations
that exists on Earth. But man when he feared nature, he worshiped them,
377
when he gained knowledge he tried to be friendly with them and found

the right use for the plenty of resources that nature gifted him like taming
the horses for riding, using the hounds for hunting, building houses by
cutting trees etc. and created an intimacy with nature. When he started
to believe himself to be superior of all other creations and the sole bearer
of the intrinsic values of nature that co-exist with him, he wanted to
possess all the sources of energy for himself. When he multiplied in
numbers he became avaricious he started to destroy nature and question
his very mean of existence, where his existence is hand in hand with
nature, dominated nature and tried to bend nature to his tunes. He
became human - centered and techno-centered rather than life- centered
when he was able to adapt to nature and create or replica the natural
things through technology.
Man does not give equal value to all the organisms that exist in
nature. He believes in the Darwinian terms of the "Survival of the Fittest
Theory" which says that "Survival of the form that will leave the most
copies of itself in successive generations". He wanted to prove his
superiority either by killing (War/Combat) or by slavery. Man started his
civilization along the river side which gave him food, water and shelter.
As he increased in population, he started clearing the woods and started
cultivation and build homes for dwelling. As technology advanced, he
unleashed the secrets of nature and found him superior to all other living
beings and non-living beings and tested his power on things which he
once feared and worshiped. But nature patiently waits for man to understand but when he fails it reacts against man in forms of Tsunami,
Earthquake, and Cyclone.
In the novel, The Glass Palace Ghosh, brings out the war between
British and India - King of Burma over teak, in "The Hungry Tide" he
explores the plight of displaced group of refugees from Bangladesh who
found themselves in a confrontation with the Indian state in 1979 and
sharing complex and dangerous ecosystem with animals and in Sea of
Poppies he projects Britain's Opium Wars against China and the conversion of the cultivable lands as opium fields, the downfall of Raja Neel
Rattan.
The historical novel, The Glass Palace is set in the background of
Burma, Bengal, Malaya and India during the Second World War till recent
times. The novel opens with the Anglo-Burmese war of 1865. It portrays
378

the economic background of Burma and India. "None of the brute
creation requires more than Food and Shelter. The necessities of life for
man in this climate may, accurately enough, be distributed under the
several heads of Food, Shelter, Clothing, and Fuel; for not till we have
secures these are we prepared to entertain the true problems of life with
freedom and a prospect of success".1 But Man is never satisfied with the
basic needs, his attitude to search, to invent and explore makes him
conquer new places. This search had resulted in exploring new places
which opened new avenues for man to enjoy, exert his power over his
fellow men and on nature. Invading kingdoms were not only to show the
valor of the King and his men but to expand the territory and to plunder
the abundant resources of a Kingdom. The Kings of Burma had defeated
the Emperor of China, Conquered Thailand, Assam and Manipur and
expended his territory as a vast kingdom. King Mindon was the wisest
and the most prudent ruler to rule Burma. He educated his son Thebaw in
an English school in Mandalay, later he was withdrawn by his father with
a remark that "If Thebaw ever becomes king, the country will pass into
the hands of foreigners"(38). But Thebaw had earned distinction in
scriptural study, passing the difficult "Patama-byan" examination at the
age of nineteen. There were forty-six other princes in Mandalay who were
very good as Thebaw and far exceeded in ambition and political ability.
The Kings who decorated the throne were very conscious in protecting
nature especially the teak woods which were the fortune of the country
and made them economically strong. The forests cover about 40% of the
total land area and they are traditionally classified into two categories:
reserved forests and public forests. The exploitation of the resources in
the forest was controlled by law as the genetic resources play a major
role in socio-economic development and forest product exports are an
important source of foreign exchange and they were the world's largest
supplier of teak.
Thebaw was made King by his wife Supayalat over the death of
seventy-nine princes who were also the rightful heirs of the throne. King
Thebaw was successful in gaining throne against his own blood but lost
his war against British. British came to India to trade but after seeing the
divisions among the Indian Kings who already adopted the "Divide and
Rule" methods without supporting each other, found that they can rule
under one umbrella and started to colonize by invading kingdoms.
379
They were successful in turning the Indian mob against their

rulers. The drawbacks that the Kings had been undergoing was that they
never moved with commoners and they were in their own world enjoying
their royal life from the money received by the over levied taxes received
from the people. The teak which was the identity of Burma and the
resource worth protecting attracted the British and British Timber
Company had permission to cut down trees. But the company didn't
follow the regulations on cutting down the trees and also avoided paying
the duties for the same. When the royal customs officers slapped a fine
on the company, they refused to pay and complaints were carried to the
British Governor in Rangoon. When King Thebaw refused further felling
of the teak trees, war broke out which lasted for only ten days. At first,
though it posed that the Burmese soldiers were gaining victory, they
were of no match with the new equipped guns and canons with which
Burma was captured, which marked the end of Konbaung Dynasty. Two
senior ministers of Burma, Kinwun Mingyi and Taingda Mingyi are too
eager to keep the Royal family under guard because they expected to get
rich rewards from the English for handing over the royal couple king
Thebaw and Queen Supayalat, along with their family. As the royal family
prepares to surrender the looters, the Burmese public who earlier stood in
fear now quickly move into the palace.Similarly, the British soldiers in
charge of shifting the king's precious jewels and ornaments from the
palace to the ship that was waiting to take the royal family into exile, also
steal these things. Ghosh here strips the veils off human nature to reveal
the crude and brutal greed that drives people at various levels.
King Thebaw and his family were given ten minutes to leave the
palace with their possessions and were send to lead a life of exile at
Ratnagiri, India. Though the royal family was allowed to be accompanied
by maids and servants, when the time came for their exile none were
ready to go with them except the orphans who were bought on sale from
the distant village. The reality of life dawned on king and queen when
there were no volunteers to accompany them in their exile. Dolly, Evelyn,
Augusta were ready to accompany the royal family. People looted the
palace the day before when they learnt that King Thebaw no longer rules
them but grieved for his exile as they are no longer under the safe roof of
the King and could not understand what will happen to them under the
British rule.
380

Ghosh brings out the relationship between man and animal. The
white elephant is the symbol of the Burma which is associated with
monarchy. A trained elephant by oo-sis showers its love, shows its anger
and shares its emotion with him. It listens to oo-sis and obeys him in
bringing the huge logs down. When the elephant loses his master, it
becomes aggressive and becomes critical to control. ShweDoke, the
Elephant loses its master while bringing the log to the right path of the
stream. The young oo-si was crushed and ShweDoke couldn't be
controlled and when there was delay in cremating the young oo-si
because the body was not officially signed by McKay-Thakin. ShweDoke
though it was separated from the heard took its revenge on McKayThakin by attacking the structure and bringing instant death.
The novel portrays that any disturbance in ecology affects the
entire life span of Earth. The avarice of conquering Nature and controlling it made the characters in the Glass Palace realize the reality that
Nature cannot be dominated or expelled and Nature must be considered
as a symbol for the glory and orderliness of God.
Works Cited
Ghosh, Amitav The Glass Palace, Harpercollins, 2000
Tiwari, Subha. Amitav Ghosh: A Critical Study. New Delhi: Atlantic, 2003
Mahanta, Namrata Rathore. History in Retrospect: Amitav Ghosh's The
Glass Palace. Littcrit: Indian Response to Literature 29.1(June 2003):46-53.
Kadam, Manasing G. Amitav Ghosh's The Glass Palace: A Postcolonial
Novel.
Littcrit: Indian Responseto Literature 30.2(December 2004): 35-49.
Thoreau, David Henry, Walden: Or Life in the Woods, CreateSpace Independent Publishing Platform (25 March 2014)
381
84. Biocentrical Study Of Yann Martel's Life Of

Pi
Ms. R. Sudha,
PSG College of Arts and Science,
Coimbatore.
This paper shows the relationship between human and non- human
environment and also says that environment and literature thus broadening the sphere of nature studies in literature - Editor
The novel 'Life of Pi' discusses the relationship between human
and non-human environment. This novel can be viewed through
biocentrism, which means the involvement of animals and humans in all
three sections- in zoo, in ocean and in Mexico where Japanese officials
find the animal story unbelievable but they readily accept human story.
Biocentrism is an ecological term which places equal emphasis on
non-human species like animals, sea-creatures, birds which are no way
inferior to humans, remarked by a renowned philosopher named Paul
Taylor. The earth belongs equally to non-human species and hence man
has to seek a harmonious way of co-existence with other species too.
Discarding this bio-centric belief, we see in the novel Pi's father
deciding to transform some portion of Pondicherry Botanical Garden into
a zoo. Pi was only fifteen years old then and it should be remembered that
Pi's views stated in the novel were his current views when the author had
gone to interview him, else being a young boy's opinion they would have
been easily overlooked. Though Pi's opinion about animals change in
due course of the narration, does he finds anything wrong in running a
zoo. Pi recounts that Pondicherry at that time had nearly no amusement
source and hence running a zoo appeared to be a great idea to his father.
382

Zoo was kind of assurance of earning huge profits, as being the only
amusement destination it would attract many visitors daily. It is pity that
in this whole conception of doing business through wildlife, nobody
thought about the everyday inconveniences of animals. His father
decided to transform botanical garden into a zoo which even Pi did not
find any fault with. We witness such stories daily in newspapers and
magazines, where rich businessmen forcefully take away the fertile,
irrigated, agricultural land for their construction sites. Sometimes even
the deforestation is carried out in nearly acres of land for these construction sites. Not only in the first instance described above, but the entire
narrative of first part appears quite contradictory. Beginning with Pi's
long speech where he explains the causes behind animals' death in zoo,
"The obituary of zoo animals that have died from being fed foreign
bodies would include gorillas, bison, storks,.and most variety of deer,
ruminant and songbird. Among zookeepers, Goliath's death is famous, he
was a bull elephant sealHe died of internal bleeding after someone fed
him broken bottle" (Martel 31).
He goes on explaining that in spite of facing many problems in the
smooth functioning of zoo like adequate arrangement of food, building
up proper shelter for animals, involvement in lot of legal issues regarding
the health of all animals, a zookeeper is further made to suffer from the
harsh criticism of various animal rights organizations. The motive behind
reporting of these
difficulties, gives the impression of Pi's desperate attempt to
defend his father from accusations.
By listing all the charges and problems of a zoo keeper himself, he
seems to make others feel
sympathetic about his father's business thus completely turning
out his father from the frame of being blamed further. From this entire
episode, the question that follows is that if he knew that animals in zoo
were easily prone to death than in jungle then why did he favour his
father's business? What is the need of defending the guilty? Pi never
answered these questions; on the contrary he adopted an easy way of
escapism. He regarded visitors responsible for animal deaths who fling
anything and everything inside the cages. He seemed to forgot the fact
that if anyone decides to run a business, the profit or loss of entire
383
business rests on the owner. In the same way none other than Pi's father
can be blamed for the concerned deaths. Consequently the truth
thatcomes out is that hardly anyone is concerned about death of animals.
Later in the novel Pi's father decided to shift from Pondicherry to
Canada, due to the occurrence of emergency. This decision was made
bearing in mind the huge loss which his family had to suffer in times of
emergency. Pi explains,
To prosper, a zoo needs parliamentary government, democratic
elections, freedom of speech, freedom of press, freedom of association,
rule of law and everything else enshrined in India's constitution.Longterm bad politics is bad for business. (79).
This makes it evident that he does not have any guilt conscience
in taming animals and forcing them to live in confines. Pi's family did not
think of emergency as social problem but only as their personal problem.
This attitude of Mr. Patel, the zoo owner, shows how intensely he was
engrossed in making money. He not only decided to take his family
abroad but also the animals of zoo too. He had plan of selling them there
at high prices to ensure his luxurious future there.
Martel has efficiently depicted this dark side of human nature.
Concepts like biocentrism are brought into force only to put an end to
these human cruelties. It attempts to stop man from thinking that he alone
is the epicenter of the universe like Pi's father.
The second part of the novel 'The Pacific Ocean' consists of
struggle description for territory, between Pi and Richard Parker (the
tiger), on one boat. In the beginning there were few other animals which
gradually got eaten up by other physically superior animals thus justifying the concept of life-cycle. Only Parker and Pi were left at last. In order
to save his life from Parker, Pi decided to tame tiger, as that was the only
way left, to remain alive. He applied the same tactics as that of a ring man
of circus in taming Parker. Pi's act of taming tiger cannot be condemned
here, because in this situation, it is his necessity to do so. But yes it is on our part
to remember that ring master is never under compulsion to take charge of
tigers and beat them with hunter but only to offer a good circus show.
Pi being a son of a zoo owner was familiar with animals'
behaviours. He talked about it in the first part which he brings into
practice in this part. According to him, animals don't attack anyone
384

because they are hungry or bloodthirsty but only when someone enters
their territory. They always believe in living in own territory and any
attempt to invade their territory will result to attack from their side. So Pi
now decided to build his own separate territory from that of Richard
Parker. After few days Parker too got an idea that Pi understands his idea
of space and willingly depends on Pi for his food. Parker is portrayed
with some consciousness in the novel as he did not attack Pi in the entire
journey. Pi too knew that Parker won't attack him till he provides Parker
with food from sea. At this juncture it would be interesting to contrast
Pi's father with Parker. Parker in spite of carnivore did not feel the need of
killing Pi till his basic need of food got fulfilled. On the other hand Pi's
father, being a human, to whose heart we attach notions of beauty, love,
peace, humanity, did not hesitate in extracting money through animals till
the very end. This episode clearly states that animals do not have
tendency to hurt humans but it is greed of humans which forces them to
land up in their territory and develop enmity with them.
acceptance of that gesture can be regarded no less. There are men
who seek pleasure in killing innocent animals. Pi's feelings about Parker
changed suddenly,
"A part of me did not want Richard Parker to die at all, because if
he died I would be left
alone with despair, a foe even more formidable than a tiger. If I still
had the will to live, it was due to Richard Parker. He kept me thinking too
much about my family and my tragic
circumstances. He pushed me to go on livingI am grateful. It's
plain truth without Richard
Yann Martel, has marked the development of Pi's character
throughout the novel. In the beginning we see Pi who did not find
anything good in leaving animals to live in forests. He advocated the view of
keeping them in bars where they can be served with all amenities. Then we
witness Pi who went on thinking the worst of all plans that can be adopted to kill
Parker but now with the furthering of the narrative he started feeling for
Parker. By taming it would have become easy for him to control Parker
according to the necessities of time and also make him stand through the
adversities of hunger, seasickness, thirst if the situation demanded so.
"And so it came to be Plan Number Seven Keep Him Alive" (136)
385
In the third part of novel 'Benito Juarez Infirmary, Tomatlan,

Mexico' Pi and Parker are seen landing on the shore of Mexico after 227
days' of journey in Pacific Ocean. But as they reached the shore Parker
left Pi and went to jungle without acknowledging any emotion to him
which deeply hurt Pi. Pi was saddened by the fact that Parker did not
even bothered to
look back at his savior. It might be possible Pi being a human
thinks too much about his favours of supplying food to Parker. But if Pi
considers Parker as ungrateful he should think twice before leveling such
charge on him as it was Parker who did a huge favour on Pi by not killing
him on a boat where Pi had nowhere to go to save his life. It is only we
humans who attach too much importance to every action but animals just
do it without being grateful or ungrateful to anyone.
Later Pi was taken to local hospital where he was questioned by
two Japanese officials about the cause behind sinking of Tsimtsum ship.
Pi answers everything truthfully by narrating his journey experience with
animals as his companions. The Japanese officials turn down this
explanation of Pi as absurd and ask for some story which can be believed
as true. Pi retells them his story later by replacing animals with his mother,
cook and sailor. The officials become too ready to place their trust on
him when the story is replaced by human beings. The story becomes one
of murder and cannibalism and, ironically, the human in this alternative
story are said to behave like animals.
Contemporary novels like Life of Pi, has begun to develop parallel
relationship between environment and literature thus broadening the
sphere of nature studies in literature. It is witnessed that theorists
oppose traditional method of studying literature. They feel that literature
gives equal opportunity for studying individual and his environment
rather than merely making it a platform for conducting psychological or
socio-political research. Yann Martel has not only dealt with the issues of
environmental concern but also has hinted out the ways through which
these problems can be skillfully handled.
Work Cited
Accessed on 2nd January 2012 at 735 pm http//en.wikipedia.org/wiki/
Ecocentrism accessed
Accessed on 18th January 2012 at 630 am
386
85. Omnipresence of Nature in William

Wordsworth's 'The Solitary Reaper'
Mr. L. Suresh,
Sri Ramakrishna Mission Vidyalaya College of Arts and Science,
Coimbatore-20.
This paper present the connection between nature and humanity and also
says author own experience in 'The Solitary Reaper' - Editor
William Wordsworth, along with Robert Southey and Samuel
Coleridge, is one of the "Lakeland Poets," a group that is widely credited
with beginning the English Romantic Movement. The movement was
characterized by a rejection of the Enlightenment, which focused on
reason, logic, and structure. Romanticism, on the other hand, focuses on
emotion and imagination. Often the poets are called "nature poets"
because of their emphasis on man's connection to nature. The paper is an
attempt in emphasizing Wordsworth as a Nature Poet with reference to
his popular short poem 'The Solitary Reaper'.
"Let Nature be your Teacher". No discussion on Wordsworth
would be complete without mention of nature. Nature and its connection
to humanity makes an appearance in the vast majority of Wordsworth's
poetry, often holding a poem's focus, and has become the cornerstone of
the Romantic Movement primarily because of Wordsworth.
For Wordsworth, Nature is a kind of religion in which he has the
utmost faith. Even though it is intensely beautiful and peaceful, nature
often causes Wordsworth to feel melancholy or sad. This is usually
because, even as he relishes in his connection with nature, he worries
about the rest of humanity, most of who live in cites completely apart from nature.
Wordsworth wonders how they could possibly revive their spirits.
387
'The Solitary Reaper' is one of the famous poems written by

William Wordsworth. One day Wordsworth was touring the highland of
Scotland in the company of his sister and his friend Coleridge. When he
saw the women reaping the harvest in the valley below, he was reminded
of a statement in the book by one of his friend. The passage referred to a
women reaping alone and singing in a local dialect. Her voice was the
sweetest but tune was sad but impression left on the heart was permanent. Wordsworth uses his own experience and the recording of his
friend for giving us unforgettable picture of a solitary reaper.
Wordsworth chooses a simple theme and uses. Simple words to
produce a simple poem. While climbing a hill in the island, the poet
notices a girl reaping and singing all alone. She is singing to herself with
great tenderness. The song fills the whole valley. The poet compares it to
the song of a nightingale in the Arabian deserts and cuckoo in the
Hebrides.
The poet says that the song of solitary reaper was more charming
than the song of nightingale and he admits that he would not know what
the theme of the song was but only it was sad song. Her song might be
about an old battle on some every day happening. Whatever it was, it
produced a permanent impression on his mind. He seemed to hear the
song in his heart after the sound had ceased to reach him.
Thus Wordsworth has given a graphic picture of the singing girl
and makes her memorable which proves William Wordsworth, a keen
observer of nature.
Work Cited
David Perkins, William Wordsworth, English Romantic Writers, 2nd
edition, 1995.Print.
388
86. CULTURAL FORMS OF OPPRESSION IN

KHALED HOSSEINI'S AND MANJU KAPUR'S
SELECTED NOVELS: A COMPARATIVE
STUDY
Ms. S.Umamaheswari,
Department of English,
Dr.SNS Rajalakshmi College of Arts and Science,
Coimbatore - 49
The remonstrate of culture is highlighted in Manju Kapur's novels -
Editor
Khaled Hosseini's literary career started during the last decade of
the 20th century. The Kite Runner his first novel was published in the
year 2003 which is an autobiographical account of his childhood experience in Kabul, Afghanistan. A Thousand Splendid Suns is known for its
compelling and bewitching narrative technique and it entraps the heart of
the readers. Both the novels are the reflections of his country which are
vividly picturized by him. His third novel The Mountains Also Echoed
came in the year 2013.
Manju Kapur is an esteemed Indian writer who becomes
popular by her first novel, Difficult Daughters which was published in
the year 1998 the same year the book won the Common Wealth Writers
Award for the first best book. She published five novels including
Difficult Daughters. Her portrayals of characters are sound, sympathetic
and empathetic as well. She represents themes of love, social and cultural
awareness. Her first novel is being entitled as 'Partition' but it becomes
changed into Difficult Daughters.
389
Culture is the basic foundation of society. Accordingly, these two

novels are structured and organized. Both the novelists voice for
women's emancipation and enlightenment. They toil hard to emancipate
women from the cruel clutch of the society and male dominance or male
chauvinism. The role of culture has an immense importance and much
attention is paid in both the novels. Culture determines the fate of the
characters. The culture exalts the characters to culminate their destination.
But, sometimes, in the name of culture their fates become exploited and
gradually, it leads to their destruction. The two novels foresight, how the
characters are the victims of culture and how they expostulate against the
cultural exploitation. Certain incidents strike in both the novels, in Manju
Kapur's Difficult Daughters the protagonist, Virmati undergoes and
encounters an exploitation of culture, when her illicit love with Garish is
being considered as culturally outlaw and forbidden; she compels him to
marry her for her cultural legitimization. Though, the second marriage is not
recognized one, she aims for her cultural legitimization. The incident
echoes in Khaled Hosseini's A Thousand Splendid Suns, Laila, the second
heroine of the novel, admits that culture is requisite to accomplish moral law
and cultural justification when she realises Tariq's absence. She regards
that culture exonerates and legalizes her marriage with Raseed, who forces her to
marry him; she utilizes the opportunity to get cultural legitimization. The novelists
explicitly conveyed their intention that, culture is a part of life, it has not
been eliminated or separated from life, and either it is reality or fictional world.
When the social and cultural disputes have grown out of control
or straddle the neck of individual, in order to protect themselves they
relinquish both the aspects rather renounce it. Because the individuals have a
close affinity with the progress of culture and society. This perspective is
evident in Difficult Daughters and A Thousand Splendid Suns. The
characters in the novels are relinquished the society and culture due to its
predominance upon them but they did not renounce the society are
culture. It is quite familiar to ignore the public reprimands but the
reproaches from their kith and kin or blood and flesh is tormentable. The
reprimands of Nana tormented the heart of Mariam. Mariam and Virmati
both are considered to be culturally out law and their own mother and
daughter admit that, they are the symbols of stigma.
"The one thing I had wanted was not to be like my mother. Now
she was gone and I started at the fire that rose from her shrivelled body,
dry eyed, leaden, half dead myself, while my relatives clustered around
the pyre and wept".(DD)
390

Vimati's daughter Ida, who announces her intention that, she does
not want to be like her mother. Even in the very beginning of the novel
before the pyre, this shallows her mother's body. It is a sort of oath. Ida
considers mother is quite treacherous and disloyal to culture and Ganga.
Mariam's mother called her 'herami', which means that illegitimate
girl. Even her mother admonishes scornfully. The word 'herami' is the
label of culture throughout the novel. Both virmati and Mariam are
discriminated and ostracized literally and both are collapsed by the
stereotype type cultural beliefs which obsessed in the mind of the people.
The intention of the parents is to marry their daughters in culturally and socially accepted way before anything stains the name the family
or to escape from the public criticism. To succeed in this adventure, the
tenacity of the parents are being enforced their daughters to fulfil the
wishes of the parents. Their persistence makes their daughters to
concede the demands of their parents? unquestioningly. Virmati and
Mariam are expostulating the demands of their parents. Virmati's ventures
in her attempt of denying the demands of her parents by her tenacious
halt in her endeavour.
Similarly Mariam also does want to be the victim of Jalil's
imposing of his wish of Mariam's marriage with Raseed. Her protest
becomes futile before the tenacity of her parents and she is victimized
who is enforced to marry Raseed. In spite of that, she does not want be
burden to them no longer. Both Mariam and Virmati are clutched tenaciously by the name of culture which deserts their peace.
In the evening the wedding ceremony proceeded
smoothly. The poet's parents did the Kanya-daan, the
seven pheras were taken, the couple pronounced man and wife
(202,DD)
The culture is always associated with legitimization. Culture
renounces the stigma of illegitimatization. Virmati's appetite becomes
fruition. She sanctifies her relationship with Harish. Her relationship is
being recognized by the culture. Her perpetual desire to accomplish
cultural recognition becomes attained.
Similarly, Mariam who is an illegitimate by birth wants to renounce
the unbearable label. Her marriage obliterates the label. Mariam's label
'Herami' becomes wiped out by the cultural label 'wife'. Her stigma is
vanished by the marriage. Their marriages exonerate them from the public
391
criticism and the stigma of illicit. Mariam and Virmati are culturally and
socially achieved legitimate identities who are no longer veiled under the
shadow of illegitimate.
Virmati and Mariam are torn between cultural exploitation. They
made to be submissive to voice against the elders. Their resistance
become exploded. They oppose what is imposed upon them. They
become rebellious or culturally out law when they express their objection
explicitly. Both Mariam and Virmati are considered rebellious against their
parents? intention. Mariam and Virmati are imposed to satisfy the wishes
of their parents. Virmati's parents force her to marry Indrajith but Virmati
ignores the demands of their parents this aggravates the situation of
Virmati's whose parents berated her for her ingratitude.
Mariam also undergoes certain situation as Virmati. Mariam's
father Jalil contempts her who denies the marriage with Raseed. She has
an unshakable faith on her father who is everything to her after the death
of her mother. But Jalil considers that she is the walking stigma of shame
of culture. His corrupt notion compels him to marry off Mariam to Raseed.
Mariam expostulates the wish of Jalil but her endeavour of protest
becomes futile. Jalil is reluctant to compel Mariam to impose his intention.
But the cultural constrains compel him to prosecute his order of marriage.
The cultural and social disputes arise due to the misconception
and the dismantling the relationship and cordiality among the individuals.
Culture is crux and which plays a crucial role in both the novels and it
exonerates the labels of stigma of illegitimatization. Both novelists
consciously or unconsciously pay their attention to cultural significance.
But both condemn the stereotype belief of religion or of women. The
rudimentary notions about women are docile and subordinate to men and
the customs respectively. The dominative attitude eclipses their power
and the potentiality of women. Both India and Afghanistan adhere to
tradition and culture which have profound impact on women who have to
follow the rules of tradition and the custom of their notion without
putting forth any question.
WORK CITED
Hosseini, Khaled. A Thousand Splendid Suns.USA: Bloomsbury
pbks,2007.Print.
392
87. PORTRAYAL OF NATURE IN THE POEMS OF WILLIAM WORDSWORTH AND

ROBERT FROST
G. Yamuna
KSR College of Arts and Science
Tiruchengode.
This Paper presents Roert Frost and Words Worth's Views on the
beauty of Nature - Editor
The discussion on nature is the study of our natural surroundings
- this means the near and the far away, the very small and the extremely
huge, the visible and that which is invisible - It also means trees, birds,
animals, clouds, winds, rocks and stars. In sort, it includes everything
and anything that are natural as well as man-made gadgets that depend
upon natural materials and forces for their operation. In the history of
mankind, the natural environment was the source of food and shelter.
Natural materials were used to fashion tools and natural fires were tamed
to provide heat and light, the calls of animals could indicate danger or
mere contentment and man learned to know the difference because life
depended in large part upon such knowledge. Lighting and thunder were
frightening until their nature was understood. Man was curious about his
surroundings and tried to find out just how ordinary rocks or minerals
might change to precious metals such as gold and silver.
Poetry everywhere has found in nature some of the most
valuable sources of its inspiration and subjects of its interpretation. It
teems with descriptions of nature or with analogies drawn from its
working to its scenes and sometimes with move mystical writers, verities,
a living garment of God. So, too, philosophy and science have sought to
393
pierce its secrets, joining hands with religion and sometimes regarded as
divine or a model of the divine existence. Nature's attraction for men is, in
fact perennial, whether as a thing of beauty, a restful consoler of heart
and mind, suggestive symbol, or a baffling mystery. Tennyson's nature
poetry is original and bears the impact of contemporary science. It is seen
in the minuteness and exactness of his observations. Hudson remarks
"but Wordsworth had seen nature with the eyes of the poet only, while
Tennyson saw it with the eyes of the scientist as well". Tennyson
happily blended accurate observation with delicate poetic feeling in his
nature poetry. Tennyson never paints nature as something outside of
man, with a life - spirit purpose of its own. Nature for him is always a
background for reflecting some human emotion. Tennyson's nature is
intellectual. His world of nature is the world of "imaginative scientific
man" (Kumar & Tayal, p), who has an eye for beauty, and a heart to feel
it _ He is content to describe the outward beauty of nature and he finds
out a living soul in nature. To him nature is soulless and lifeless. Nature is
beautiful but is also cruel and indifferent.
The essence of Romanticism was, it must be remembered, that
literature was to reflect all that is spontaneous and unaffected in nature
and in man, and be free to follow its own fancy in its own way. In
Wordsworth this literary independence led him in word to the heart of
common things. More than any other writer of the age, he invests the
common life of nature and sense of men and women, wit glorious significance. The two poets, Coleridge and Wordsworth, are the best to
represent the romantic genius of the age in which they lived. The poets
of the Romanticism are, William Wordsworth and Samuel Taylor
Coleridge, Robert Southey, and Walter Scott. Wordsworth's attention
moves from the pastoral to the sublime, from the "pleasures of a softer
kind" (Paul D Sheats p 29) exemplified even the schoolboy by
"Grasmere's heavenly vale", to the "mingling storms, roaring torrents,
swelling oceans, lightning and thunder", that compound the landscape of
Ossian, it brings with a highly figured style that mingles and confuses
subject, natural and supernatural, animate and inanimate.
William Wordsworth's chief originality is, of course, to be
sought in his poetry of nature. However, it is not the mere fact of his
being a poet of nature that makes him unique. There had been many
poets of nature before more were to come after him. It is not even the
minute, precise, loving observation of her aspects that gives him his pre-
394

eminence. Certainly, he was one of the most truthful describers when his
task was to describe; though, for accuracy or subtlety of outward detail,
he may have been equaled, who, at the same time, were botanists or
naturalists, writers as different from each other, as were Crabbe and
Tennyson. Of flowers, insects and birds, the latter two knew, perhaps,
more than Wordsworth did.
Wordsworth is passive observer, all his attentions fall on the
object like, landscape, and dramatizes a moral breach between nature and
man. His early poetries were embodies both English violence towards
France and human violence towards nature. His memories of the period,
natural power humbles the proud isolation that was forced to him by his
allegiance to the French Revolution, and restores the possibility of a
social communion as authentic as the meeting world. Nature forces a
compulsive flight from isolation, exposure, and violence towards man,
and towards a pastoral landscape, that embodies the possibility of
harmony with nature. In the 'Evening Walk' Wordsworth compares the
plain to an "ocean" in his poem. The passionate reunion of his eyes with
the landscape, which varied, pastoral, and reminiscent of his "nature
requires" that he called in Tintern Abbey.
I cannot paint
What then I was. The sounding cataract
Haunted me like a passion: the tall rock,
The mountain, and the deep and gloomy wood,
Their colors and their forms, ere then to me
An appetite; a feeling and a love,
That had no need of a remote charm,
Un-borrowed from the eye (II. 75-83)
The state of mind recalled here was not product of an escape from
man to nature, as has been repeatedly conjectured. Wordsworth was
flying from a landscape that embodied alienation from both man and
nature to another that offered the hope of reconciliation with both, and
the restoration had been destroyed by the "sunset cannon."
In Lyrical Ballad, Wordsworth, was attempting to write in a new
way, using unadorned style and language to reveal the workings of
human heart in its simplicity. His purpose was to make the incidents of
common life interesting by tracing in it the primary laws of our nature.
395
Many poems center on emotional crises, what Wordsworth called "the

fluxes and refluxes of the mind when agitated by the great and simple
affections of nature" (Chris Murry: 1170-72).
Wordsworth believed that all knowledge whether that of the poet
or the scientist, was rooted in pleasure, a pleasure which arises from an
inner universe. When a man, "has no pleasure, he has no knowledge".
Robert Frost has many themes in his poetry. One of the main
themes that always repeated is nature. He always discusses how beautiful nature is or how destructive it can be. Frost always discusses nature
in his poems. First, in the poem "Stopping by the Woods on a Snowy
Evening"; there are many expressions of nature. Frost's very first
sentence already talks about the woods. Whose woods there are I think I
know (line I. 1105). In addition, in the poem he states that the narrator
likes to sit and watch the snow. He is also a nature lover. In the second
stanza, Frost refers back to the woods. He must also like ice, because he
brings ice and cold up a lot in his poems. Once again, Frost brings ice up
when he mentions flake and cold wind. Then in the last stanza Frost mention
wood again. Even though the narrator has a long way to go, he always
has enough time to stop and watch the small thing in nature in detail.
"The Road Not Taken", "After Apple Picking", and "Stopping by
Woods on a Snowy Evening" are worth, approachable collections of
poetry from Frost, which include not only the aforementioned popular
poems, but some obscure ones also. What is particularly resourceful
about the poem is that Frost's works is that they are categorized into
similar are of thought: there is a section about woods, roads, nature and
common everyday life and people.
The poetry of Robert Frost contains two major themes of nature:
the exploration of beauty and nature, and the interaction between man
and nature. The role of these two themes will be discussed in "The Tuft
of Flowers" explores the existence of such a bond, as experienced by the
speaker. In the everyday circumstances of performing a common chore,
the speaker discovers a sense of brotherhood nature. Frost contrasts a
sense of aloneness with a sense of understanding to convey his theme of
unity between man and nature.
For both the poets nature bring the same thing, yet in very
different ways. For Robert Frost, the simple wood (forest) filling slowly
396

up with snow. As for William Wordsworth the scene is very much a more
vibrant picture as he describes the daffodils in their sprightly dance.
Frost uses the woods 'sweep; to give the soft feeling of how the snow
drifts through the trees. Sounds the sweep is also a perfect example of
assonance and soft alienation.
In the poems of William Wordsworth and Robert Frost there are
lots of natural elements in their poems. It is right to say that the theme of
these two poets is Nature. They have written all their poems based on
nature where nature plays a great role in their works. They are always
influenced by the nature to write the poem. Anything that they encounter
in their life they write it down in the form of poems or sonnets. So the
right theme of their poetry is nature.
Work Cited
Chris Murry. 1999. Encyclopedia of Literary Critics and Criticism Vol.
2. London.1999.Fitzroy Dearborn Publishers', Chicago.pp.1160-72.
Edward Balfour.1976.Encyclopedia Asiatica. Vol.VI,New Delhi, Cosmo
Publication, NewDelhi.p.1086.
Paul D.1973.Sheats.1973.The Making of Wordsworth's Poetry, 17851789: Massachusett.Cambridge, Harvard University Press.
Ralph Waldo Emerson.1836.Nature (essay) Wikipedia. The free Encyclopedia.
Satish Kumar & Anupama Tayal, 2002. A History of English Literature. Agra, LakshmiNarain Agarwal, Agra.
397
88. TEXTURE OF NATURE IN ROBERT

FROST'S SELECTED POEMS
Ms. M. Yasotha., M.A.,
KSR College of Arts and Science for Women,
Tiruchengode.
This paper engraved the tenor of Forest and carved with the real beauty
of seasons - Editor
Robert Frost is one of the famous and most popular American
poets. His collection won a Pulitzer Prize and got an extensive recognition
as an important American writer. His poems are pact with the contemplation of nature. The tone of the poems is not identified whether it is
somber or happy. He used the plain speech of the former's of New
England. Most of his poems deal with the landscape and rural life of New
England. A Boy's Will, his first volume of poems, was first published in
England. According to Frost, poetry begins in delight and ends in
wisdom. 'Stopping by Woods on a Snowy Evening' is one of the frost
best-known lyrics. This had been taken from the volume New Hampshire
published in 1923. Robert Frost's poem, 'Stopping by Woods on a Snowy
Evening,' discusses the idea of solitude versus living in a world of other
people and obligations. He is probably a trespasser, being a stranger
overwhelmed with the beauty of snow. The main theme of the poem is life
and death, man and nature.
This is perhaps of the most perfect poems. It begins with a
delightful experience of Frost and ends with a philosophical reflection.
Frost describes a winter landscape beautifully and accurately. Setting is
woodland or forest, away from the village. Its winter and the time is
evening. In fact it is the darkest evening of the year. Snowflakes fall to
398

cover the leaves and the branches of the tree and ground beneath. The
lake by the side of the woods has frozen into a field of ice. He was
entirely attracted by the silence of the snow and dark.
The poet thinks that the owner of the house is in the village. He
will not see the poet stopped there and watched the woods fill up with
snow. While riding, he passed by the woods, which are completely filled
up with the snow. He finds the snowy evening appeared lovely. He says
that the owner of the woods never see him because his house is far away
from the woods. He gazed the snow without winking his eyes. He freezes
completely with the snow, never give up his mind to go away. But the
owner is not aware of the poet standing in the woods and enjoying their
beauty. He writes about solitude and man's relationship with nature:
Whose woods these are I think I know.
His house is in the village, though;
He will not see me stopping here
To watch his woods fill up with snow. (1-4)
Frost considered himself very fortunate to have this enjoyment
whereas the owner of the woods do not have aesthetic sense. Frost has
never stopped his horse at any place where there is no farmhouse at all.
His horse knows him and his nature well. But when Frost stopped his
horse in the woods without nearby any farmhouse, he thinks that his
horse should have the feeling that Frost has stopped it at the woods by
his mistakes. Therefore when the horse shakes it harness bell, Frost
considers it as the mild protest. Such an action of the horse looks like
asking him whether there is anything wrong with him. Robert Frost rides
homewards on his horse in the dark evening of the winter. At once he
stopped his horse between the snowy woods and frozen lake, "Between
the snowy woods and frozen lake\The darkest evening of the year" (7-8).
During the dark winter evening, the woods remain very calm and
quiet. In this deep quietness, the tingling of the harness bells and the
sound of the soft wind and that of the snowflakes falling are clearly
heard. Though the snowy woods look very awesome. Frost cannot stay
on enjoying the beauty of Nature because he remembers his far away
home and his duties to perform before thinking of any rest or sleep,
The woods are lovely, dark and deep,
But I have promises to keep,
399
And miles to go before I sleep,

And miles to go before I sleep. (14-16)
Hence he leaves the woods reluctantly. He realizes the fact that
the nature doing her duty without fail, he has to perform many duties
during his stay on earth. He should complete them before he can think of
days rest or sleep. Nehru was fond of this poem and had following lines
engraved on his table.
In the 'Mending Wall' Frost makes the image of a wall. Every
year, two neighbours meet each other to repair the stone wall that divides
their property. He does not believe that the existence of the wall. Frost
creates two different people who have different thoughts. The people
unnecessarily create boundaries around themselves. The wall is the
symbol of separating the property of two neighbors. In the beginning of
the poem Frost says that something in Nature that does not love a wall.
The poet is damn sure that the destruction of the wall is not made by the
hunters or the animals. The force of the weather ruined the wall, is
immeasurable because, it was destructed naturally. For the reconstruction
of the wall, the narrator and his neighbour meet on a specified date for
constructing the wall. Rebuilding the wall is a difficult task. His neighbors
never understands the uses of walls.
The stones are uneven in size and they are not made the
previous one. His neighbour says, "Good fences make good neighbors"
(27). Frost says that a fence is unnecessary to keep because the poet and
the narrator have only pine and apple trees. So, there is no a cow or cattle
to cross the boundaries. The neighbour never gives up his customs of
Stone Age. He wants to continue his tradition. An Old Stone Age man
armed with stone.
Frost concludes that his neighbour will not change his ideas,
nor will he give up the practices set forth by his fore father. Like the
savage the man keeps repeating "Good fences make good neighbors"(45). From 'Stopping by Woods on a Snowy Evening' and 'Mending
Wall' are depended on the seasons. One is focused on spring and another
is winter season. Frost described the beauty of the nature in these two
poems. Robert Frost writes the poem 'Stopping by Woods on a Snowy
Evening' in first person point of view has symbolic meanings hidden in it.
Work Cited
Frost, Robert. 'Stopping By Woods on a Snowy Evening'. The Compact
Bedford Introduction to Literature. Ed. Michael Meyer. 9th ed. Boston:
Bedford/St. Martin's 2012.887-888. Print.
400
89. ngupaGuhzj;jpy; mzpeaq;fs;

e. mkpHjf; nfhb>
gFjp Neu KidtH gl;l Ma;thsH - jkpo;j;Jiw>
ghujpahH gy;fiyf; fofk;>
Nfhit.
nghpaGuhzj; j pd; mzpeaq; f spd; rpwg; g pay; G fis
Muha; t jhf
,f; f l; L iu mikfpwJ - gjpg; g hrpupaH
jkpopy; fhg;gpaq;fs; ,aw;wpa GytHfs; midtUNk
xg;gw;w ,yf;fpag; Gyik gilj;jtHfs; vd;gjpy; Iakpy;iy.
nrhy;yhl;rp> Xireak;> fw;gid> tUzid> ctikfs; vd;gtw;Wld;
fhg;gpak; KOtijAk; fhZk; nghOJ mit fhl;Lk; moNf
me;jf; fhg;gpaj;ijg; gilj;j ftpQDila rpwg;ig ntspg;gLj;jp
epw;fpd;wJ. 'nrhy; GjpJ> nghUs; GjpJ> Rit GjpJ" vd;W ghujp
ghbajw;F ,yf;fzkha; tpsq;FtJ ngupaGuhzk;. fhg;gpaj;ijf;
fUtpahff; nfhz;L jsHe;jpUe;j jkpo; kf;fspd; tho;f;ifapy;
xU jpUg;G Kidia Vw;gLj;JkhW nra;tNj Nrf;fpohupd
fUJNfhshFk; . gpw fhg; g paq; f s; gyUf; F k; mwpKfkhd
RitfisNa kpFjpahf> ntspg;gLj;jpAs;sd. Mdhy; Nrf;fpohH
gf;jpr; Ritia eak;glg; ghbAs;shH.
ctik eak;
ftpijf; F capH Nghd; w J ctik. ctikapd;
rpwg;gpid ntspg;gLj;jNt njhy;fhg;gpaH 'ctktpay;" vd;W
jdpNa XH ,aiyg; gilj;Js;shH. xU ftpQUila rpwg;gpid
ntspg;gLj;jp epw;gJ ctikNa MFk;. ctikfs; ftpQUila
fy;tpapd; tpupit kl;Lk; fhl;lhky; cs;s ts;Hr;rp> vz;zj;jpd;
ntspg;ghL Mfpatw;iwAk; ntspgg
; Lj;jp epwf
; Ntz;Lk;. Nrf;fpohUk;>
401
'nrhy; y Uk; #w; g Rk; ghk; g pd; Njhw; w k; N ghy;

nky; y Nt fUtpUe; J > <d; W > NkyhH
nry; t Nk Nghy; jiyepWtpj; NjHe; j E}y;
fy; t pNrH khe; j upd; ,iwQ; r pf; fha; j ; j Nt"
fy;tp NrH khe;jHfs; jiytzq;fpdhYk; mt;tzf;fj;jpy;
tzq;FfpNwhk; vd;w jd;DzHr;rp ,Uf;Fk;. Mdhy;> jd; czHit
mwNt xopj;jhH tzq;Fk; NghJ new;fjph;fs; jiyrha;e;J
,Uf;Fk; epiyapidf; nfhz;L ctik $Wfpd;whH. NkYk;>
kioNkfj;jpw;F> 'fUF ikapUspd; fzk; fl;Ltpl;L"
epyT vOtjw;F> 'eWkyH fyq;F eq;ifKd; nfhz;lGd;
KWty; vd;d Kfpoj
; j
; J ntz;zpyh" 'mz;zy; ntz;zw
P w
; pd;
Ngnuhsp Nghd;wJePs; epyh" vdTk;> cs;nshd;W itj;Jg; Gwj;Nj
jtf;Nfhyk; nfhs;tjw;F> 'vd;d kdj;jpDl; fWg;G itj;J"
vdTk;> murHfs; ,y;yhj ehL tho KbahJ vd;gjw;F>
'kd; d iu ,d; w p itFk; kz; Z yF vz; Z q; f hiy
,d;DapH ,d;wp thOk; ahf;ifia xf;Fk;" vdTk;>
jpz;zdhH FLkpj; Njtiu midj;Jf; nfhz;L tukhl;Nld;
vd;W $wpajw;F ehzd; $Wk; ctik>
'tq;fpidg; gw;wpg; Nghfh ty;YLk;G vd;d ePqf
; hd;" Nghd;w
ctikfs; Nrf;fpohupd; Gyikj; jpwj;ij ntspff
; hl;b epwf
; pdw
; d.
cUtf mzp
ehTf;furUk;> MSila gps;isAk; rPHfhopapy; Kjd
;Kjypy; re;jpj;Jg; gpd; jpUf;NfhapYf;F tUfpd;w epiyapid>
'mUl; n gUF jdpf; f lYk; cy
nfy; y hk;
cynfy;
md; G nrwp flYkhk; vdTk; Xq; F k;
nghUl; rkaKjw; i rt newpjhd; ngw; w
Gz; z paf; fz; ,uz; n ldTk; Gtdk; c a; a "
vd;w ghlypd; thapyhf> MSila gpsi
; sia md;G nrwp flyhfTk;>
mg;giu mUl;flyhfTk; cUtfpj;Jr; rpwg;gpf;fpd;whH.
402
,ay;G etpw;rp mzp

Nrf;fpohH jhk; ghba ngupaGuhzj;jpy; gy;NtW GJik
fisg; GFj;jpAs;shH. fle;j fhyq;fspy; mjpf mstpy; ,lk;
ngw;W te;j caHT etpw;r;rp mzpf;F tpilnfhLj;J ,ay;G
etpw;rr
; p mzpia mjpf mstpy; gad;gLj;jpAs;shH. murHfspd;
Fbg;gpwg;G> ngUikfs;> tPuk;> nfhilj;jd;ik Mfpatw;iw ngUksT
tpae;J $whky; ,aw;ifia mjpf mstpy; tpae;J $wpAs;shH.
rhd;whf> 'NraGyj; njt;tnujpH ney;Ntypr; nrUf;fsj;J"
epd;wrPH neLkhw ehadhH Guhzj;jpy; ney;Ntypg; Nghiu ehd;F
ghly;fspy; rpwg;gpjJ
; g; ghbAs;shH. ,NjNghy> mjpfDf;Fk; Gfo;r
;NrhoUf;Fk; ,ilNa ele;j Nghupy; rptdbahH Ntlkzpe;j
jiyapidj; Jz;bj;J tplN; lhNk vd;W fUjpa Gfo;r; NrhoH jPgg
; ha
;fpd;whH. ,jid kpFjpg; gLj;jpg; ghlhky; ,ay;ghfNt ghbAs;shH.
fw;gidj; jpwk;
fhg;gpag; GytHfs; MW> ehL> efHtsk; Mfptw;iwr;
rpwg;gpj;Jf; $WtJ kughFk;. mj;jifa ghly;fNs mf;ftpQUila
rpe;jid Xl;lj;ijAk;> rpwg;igAk; ntspg;gLj;jp epw;fpwJ. fw;gid
vd;gJ Gyttupd; mbkdjpy; epiwe;Js;s rpej
; idia ntspgg
; Lj;jp
epw;fpwJ. Nrf;fpohUk; kuG gw;wpa ,j;jifa tUzidapy;
jkf;nfdnjhU jdpr; rpwg;ig ntspg;gLj;jp epw;fpd;whH. rhd;whf>
Nrf;fpohupd; fw;gidapy; 'MW" ,iwtDk; ,iwtpAkhff; fhl;rp
jUtij>
'Nfhyew; Fz; b if jhq; F k; nfhs; i fahy;
ehd; KfidAk; nghd;dp khejp" vd;w ghlyhy; mwpa
Kbfpd;wJ.
mf kd Moj;jpy; XLk; vz;z Xl;lq;fis fhl;LtJld;
fw;ghH kdjpYk; ,iwAzHit Vw;gLj;Jk; tifapy; fw;gid
fye;j tUzidf; fhl;rpfis gy;NtW ,lq;fspy; fhg;gpak;
KOikAk; Nrf;fpohH ntspg;gLj;jp epw;fpd;whH.
fpspfSk;> ikdhg; gwitfSk; NgRk; ,ay;Gilait.
,jidf; fz;l Nrf;fpohUk; jpUth&H gw;wpf; $Wk; NghJ>
403
'cs; s k; MHcU fhjtH CHtpil

ts; s yhHjpU M&H kUq; n fyhk;
njs; S k; Xirj; jpUg; g jp fq; f s; i gq;
fps; i s ghLt Nfl; g d G+itfs; "
vd;W ghLtJ mtUila jdprr
; pwg;ig ntspgg
; Lj;Jtjhf cs;sJ.
Xir eak;
Nrf;fpohH nrhw;fspd; Xir NtWghLfis gpupj;jwpAk;
jpwKilatH. ty;ypdk;> nky;ypdk;> ,ilapdk; Mfpa vOj;Jf;fis
mtw;wpd; ,ay;gwpe;J gad;gLj;Jtjhy;> ghlypy; ve;j xU
tpisitAk; Vw;gLj;j ,aYk;. ftpQHfs; gad;gLj;Jk; nrhw;fs;
Xirahy; nghUs; tpsf;fk; juy; Ntz;Lk;. rpwe;j nrhw;fis
gadgLj; J k; ,ay; g wpe; J ntspg; g Lj; J k; NghJ ghlypd;
nghUSk; eakhf mikfpwJ. rhd; w hf> 'epfsj; njhlH
ghrj;njhil Kwpah gwpaj;jwp" vd;w ghlyhy; czu Kbfpd;wJ.
irt rka ,yf;fpaq;fspd; Kbkzpahf tpsq;FfpwJ
ngupaGuhzk;.'vd;id ed;whf ,iwtd; gilj;jdd; jd;id
ed;whfj; jkpo; nra;AkhNw" vd;w jpU%yupd; thf;fpw;fpzq;fj;
jkpo; gug;Gk; njhz;luhf Nrf;fpohH jpfo;fpwhH. ,e;E}ypy; czHTk;
capUk; xd;wpa epiyapy; 'md;G" vd;w cs;s nefpor
; r
; pia jk;
Gyikj; jpwj;jhy; ntspg;gLj;jpAs;shH. irtKk; jkpOk;
,Ufz;nzdf; fUjp mzpeak;> fw;gid> ahg;gikjpAld; eak;gl
ghbAs;s jpwj;jpid ngupaGuhzg; ghly;fNs ntspgg; Lj;jp epwf
; pdw
; d.
404
90. ,uh. eluhrdpd; Gidfijfspy;

,aw;ifAk; ctikAk;
jpU k. fz;zd;
Kidtu; gl;l Ma;thsh; - jkpo;j;Jiw
ghujpjhrd; gy;fiyf;fofk;>
jpUr;rpuhg;gs;sp - 24
,aw; i fAk; > ctikAk; Gjpdq; f spy; ,lk; n gWk;
,ay; i g Muha; f pwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu
,Ugjhk; E}w;whz;by; tsu;rr
; p fz;l etPd ,yf;fpaq;fshd
Gjpdk;> rpWfij Mfpatw;wpy; rpwg;ghd ,lj;ij ctik
ngw;Ws;sJ. fUj;Jfis Mokhf epiyepWj;j ctikfs;
gad;gLfpd;wd. ctikfis ,aw;ifAld; ,izj;J> jk;
Gidfijfspy; mikj;Js;shu; ,uh. eluhrd;. mj;jifa
njhlu;gpidg; gw;wp Muha;tNj ,f;fl;Liuapd; Nehf;fk;.
ctik
gz;ila kugpyf;fzkhd njhy;fhg;gpak; ctik gw;wp
tpupthf ctikapay; vDk; VohtJ ,ayhfg; nghUsjpfhuj;jpy;
mikj;jpUg;gjdhy; mjd; rpwg;gpid mwpaKbfpwJ. ctik
Njhd;Wk; ,lq;fshf>
tpidgad; nka; c U vd; w ehd; N f
tifngw te;j ctkj; Njhw;wk; (njhy;.nghU. 272)
vDk; E}w;gh %yk; ehd;F ,lq;fis ikakhff; nfhz;L mikAk;
vd; g ijj; njspthf; F fpwhu; . ctik Njhd; W kplq; f isf;
405
fl; G ydhFgit> fl; G ydy; y hjit vd; W ,Utifahfg;

gpupf;fpwhu; ,sk;G+uzu;. NkYk; ctikapd; epiyf;fsd;fshfr;
rpwg;G> eyd;> fhjy;> typ vd;W ehd;fpidg; gFg;gu;.,optpd; nghUl;Lj;
Njhd;Wtijf;> 'fpof;fpL nghUNsh ile;J khFk;" (njhy;.nghUs;.
276) vd; ; f pwhu; njhy; f hg; g pau; . xUnghUis cau; j ; j pNah
jho;j;jpNah ciug;gjw;F ctik gad;gLfpd;wJ.
,aw; i fNahL xg; g pLtjhy; fUj; J fisr; rpwg; g hd
Kiwapy; ntspg;gLj;JtJ vspjhfpwJ. ,aw;if epfo;Tfisj;
jk; GidTfspd; topNa ctikahf;fp ciuf;f Ntz;ba fUj;Jfis
Mokhfg; gjpTnra;;Js;shu;; ,aw;ifiaNa ctikahfTk;
,aw; i ff; F g; gpwtw; i w ctikahfTk; ,Uepiyfspy;
ifahz;Ls;shu; ,uh. eluhrd;.
m) flyiyAk; flYk;
cyfpy; %d;W gq;F ePuhff; nfhz;Ls;s flypidg; gw;wp
ciuf;fhj ftpQu; ,y;iy vdyhk;. 'ePyf; flyiyNa - cdJ
neQ;rp yiyf sB" (ghujpahu; ftpijfs;> g.239) vd;W fz;zk;khit
epidj;J ghujp neQ;rj;jplk; Gyk;Gfpwhu;. flyiy Nghy; ciog;gtu;fs; epiwe;Js;sdu; vd;gij> 'ePu;epiwe;j fliynahf;Fk;
Neu;ciog; gtu;njhif!" (ghujpjhrd; ftpijfs;> g.82) vDk;
ghly;tupfshy; ghNte;ju; ciug;gijf; fhzKbfpd;wJ.
flyiyfs; XahJ fiuia Nehf;fpg; Nguutj;Jld; te;Jnry;Yk; ,aw;ifahd epfo;tpidg; NgUe;jpd; ,iur;rYf;F ctikahf
'ghypj;jPd; igfs;" vDk; Gjpdj;jpy; mikj;Js;shu; Mrpupau;
,uh. eluhrd;.
NgUe;J rj;jj;jpy; Gije;J Gije;J vOk;Gk; flyiy Nghy
xypaiy mtd ;Fuiy %o;fpnaLj;Jf ;nfhz;bUe;jJ. (g.21)
vDk; $w;wpd; %yk; Rfpu;juhR jd;FLk;gj;jpd; fijia
ciuf;fpdw
; nghOJ ,ilkwpfF
; k; NgUe;J rj;jk; flyiy Nghy;
tpl;Ltpl;L xypjJ
; f;nfhz;bUe;jJ vd;gij czu;jJ
; fpwJ. flyiy
NgUe;J rj;jj;jpw;F ctikahfpwJ. NkYk;> jpUld; xUtdpd;
tho;f;ifKiwAk; fliyg; Nghd;W cs;sjhff; 'fsthzp"
vDk; rpWfij ,ak;Gk;.
406
fsthzpapd; kdk; xU Xahj fly; khjpupjhd.; flNy

miyNkhjpf;nfhz;Nl ,Uf;Fk; tho;fi
; f. fiuf;Fg; Ngha;gN
; gha;
jpUk;Gk; cdJ miyNghy ntspNa Ngha; kPz;Lk; rpiwf;Nf
jpUk;GtJ mJ. (eluhrd; rpWfijfs; g.43)
vd;gjdhy; Jd;gq;fs; epiwe;J tho;fpd;w fsthzp
mbf;fbr; rpiwf;Fr; nrd;W jpUk;Gk;; nraYf;F flyiy ctikahfpwJ. mtdJ kdj;jpwF
; f; fly; ctikahf cs;sJ. fliyg;
Nghd;W mtd; kdk; gy ,lu;ghLfisf; nfhz;Ls;sij ctik
czu;j;Jfpdw
; J. ,jd;%yk; fsthzpapd; Jd;gepiy GydhfpwJ.
M) xsp tpsf;(F)fk;
cyfpwF
; xsp ,y;yhtpby; ,Us; kl;LNk epiyj;J ahTk;
,y;yhjepiy cz;lhfpapUf;Fk;. xspapd; jj;Jtj;ij mwpe;J
Myaj;jpy; ,iwtidf; fhZk; topahf;fpdu; Kd;Ndhu;fs;.
mjd; n ghUl; N l Myaq; f spy; kf; f s; jP g kpl; L ,iwtid
topgLfpd;wdu;; jPgxsp kpspu;tJ Nghd;W mtu;fsJ tho;fi
; fAk;
rpwg;GWk; vd;w ek;gpf;if nfhs;fpd;wdu;. xspia kf;fspd;
,d;gk; Jd;gk; ,uz;bw;Fk; ctikahf;Ftu; ftpQu;. ghujpahu;
J}z; b w; GOtpidg; Nghy; - ntspNa
Rlu; t psf; f pidg; Nghy; >
ePz;l nghOjhf - vdJ
neQ; r e; Jbj; j jB!
(ghujpahu; ftpijfs;> g.233)
vd;W fhw;wpy; miye;JjpupAk; Rliuf; fz;zidf; fhjydhff;
nfhz;l xUj;jpapd; cs;sf;FKwYf;F ctikahf;fp neQ;rj;jpd;
Jd;gj;ijAzu;j;jpAs;shu;. ,jidg;Nghd;W kdpj tho;NthL
xsp ,ize;jpUg;gij ,uh. eluhrdpd; GidTfspy; fhz
Kbfpd;wJ.
xU jpupapd; topNa tope;J XLk; xspapd; fw;iw Nghyhd
,e; j tho;tpy; kuzk; kl;LNk epr;rapf;fg;gl;Ls;sJ.(eluhrd;
rpWfijfs; gf;.215-216)
vDk; $w;wpy; tpsf;nfhsp epiyahikf;F ctikahfpwJ.
kdpj tho;Tk; kuzj;ij mile;J VJkw;wjhfptpLk; vd;gij
xspapd; fw;iw rpWfrpWf Fiwe;Jnfhz;Nl nrd;W Kbtpy;
407
kiwe;JtpLtij nfhz;L czu;j;Jfpwhu; ,uh. eluhrd;; 'kjp

vDk; xU kdpjdpd; kuzk; Fwpj;J" vDk; rpWfijapy; kjpapd;
tho; f ; i fia xspf; f w; i wf; F ctikahf; f pf; fhl; L fpwhu; .
ek;gpf;if Vw;gLj;Jk; tifapYk; xsp ctikahfpwJ. jpUld;
xUtd; > kuzj; i jj; jOthJ tho; f ; i fNahL NghuhLk;
ek;gpf;ifiaf; 'fsthzp" vDk; rpWfij ciuf;fpd;wJ. ,jid
cUf;Fiye;j Xtpak; xd;wpypUe;J tPRk; xw;iw xspiag;
Nghy eP kl;Lk; ,y;iynad;why; vd; flNy ehd; vd;dnty;yhk;
Mfpg;NghapUg;Ngd;. (eluhrd; rpWfijfs; g.38) vDk; $w;wpd;
topNa mwpaKbfpd;wJ. ek;gpf;ifA+l;Lk; xw;iw xspiag; Nghy;
fly; ,Uf;fpwJ vd;gij ,t;Ttik Rl;Lfpd;wJ.
NkYk;> itfiwg; nghOjpy; Njhd;Wk; tpbnts;spf;
Nfhspdhy; ,uhg;nghOJ ePq;fpg; gfy; Njhd;WtJ ,aw;if.
Kisj;J tpl;lhd; tpbnts;sp. thdpy; Kisj;j ifNahL
md;W me;j fpuhkj;jpw;F xU gbj;j kUj;Jtd; Kisj;J
tpl;bUe;jhd;. (ghypj;jPd; igfs;g.62)
vd;gjhy; kUj;Jt trjpfsw;w xU fpuhkj;jpw;F Mj;kup\p
kUj;Jtuhf Njhd;wpdhnud ,ak;GfpwJ. ,q;F ,Uisg; Nghf;Fk;
tpbnts;spiag; Nghy kf;fspd; Nehiag; Nghf;Fk; kUj;Jtu; Mj;kup\p
Njhd;wpdhu; vd;gij ciuf;fpwJ ,t;Ttik. ,aw;ifapy; epfOk;
tpbnts;spapd; Njhw;wk; vjpu;ghu;jj
; ew;gaDf;F ctikahfpwJ.
,) ejpAk; mUtpAk;
xU ejp Xa;tpy;yhJ Xbg; gyUf;Fk; mjd; njhlu;r;rpahy;
kl;LNk gad; milar; nra;fpwJ. ejpiag; Nghy jpUf;Fws;
Rtbfisj; NjLk; njhlu; Kaw;rpia Nkw;nfhs;Sk; Ie;J
rpWtu;fisg; gw;wpaJ 'ru;ff
; ]; lhl; fhk;" vDk; Gjpdk;. ,jid>
tw;whj xU [Ptejp Nghy ,d;Wtiu Xbf; nfhz;bUf;Fk; vq;fs;Fws;
NjlYf;F vLj;jTlNdNa khahtp ru;ff
; ]; te;Jtpltpy;iy.(g.66)
vd;gjhy; mwpaKbfpdw
; J. Fws; Rtbiaj; NjLtjw;Fg; gy
Kaw;rpfis Nkw;nfhs;fpdw
; du;. thridiaf; $l EfUk; jd;ik
nfhz;l fzpdpia cUthf;fpj; NjLjiy Nkw;nfhs;fpdw
; du;. XLk;
ejp rpWtu;fspd; njhlu;Kaw;rpfF
; ctikahfpdw
; J. ejpiag;Nghd;W
408
mUtpiaf; fz;zPNuhL ctkpf;Fk; epiyia 'kpr;rkpUg;gtd;"

vDk; rpWfijapy; fhzKbfpd;wJ. vupe;J mlq;fpa jd;Dila
Ciuf; fz;l mtdJ fz;fspy; fz;zPu; mUtpiag; Nghd;W
njhlu;e;J te;J nfhz;bUe;jJ vd;gij> 'cyu;e;j mtdJ
cjLfSf;F ,UGwKk; Nfhiuj; jhbia eidj;jgb mUtpaha;
fz;zPu; Xbf;nfhz;bUe;jJ" (,uh. eluhrd; rpWfijfs;>g.134)
vd;W tptupf;fpwhu; ,uh. eluhrd;.
KbTfs ;
,aw;i
; fia ctikahfr; Rl;Ltjd; %yk; nrhy;Yk; fUj;jpid
njspthf epiyepWj;jKbAk;.
,aw;ifaplk; jk;Jd;gq;fisr; nrhy;ypg; Gyk;Gtjd; %yk;

kdj;jpw;F mikjp fpilf;f topNfhYfpwJ.
kf;fspd; nray;fSk; ,aw;iff;F ctikahtijf; fhz

KbfpwJ.
,aw;ifapy; cs;s fly;> ejp> xsp> G+ff

; s;> Gay;> GOjpf;fhw;W
Nghd;wit ,uh. eluhrd; Gidfijfspy; ctikahfpAs;sd.
,aw;ifia midtUk; mwpe;Js;sjhy; ,t;Ttikfs;

vspjpy; nghUisg; Gyg;gLj;Jfpd;wd.
409
91. ghujpahh; ftpijfspy; ,aw;if

th;zidfs;
jpU R.fUg; G r; r hkp vk; . V.>vk; g py; . >
Kidth; gl;l Ma;thsh; - jkpo;j;Jiw
Nf.v];.uq;frhkp fiy mwptpay; fy;Y}hp (jd;dhl;rp)
,aw; i fapy; ,iwtidf; fhZk; Xh; Mj; k Qhdp
ghujp! vd; w fUj; i j mtuJ ftpijfs; top
nka; g pf; f pf; f pwJ ,f; f l; L iu- gjpg; g hrpupaH
Kd; D iu
Mjpkdpjd; ,aw;ifNahL ,ize;J tho;fi
; f elj;jpdhd;.
ftpQh;fs; ,aw;ifapd; moif ntt;NtW epiyfspy; fz;L
jj;jk; kdj;jpw;Nfw;g mjid cUtfk; nra;J ghbAs;shh;fs;.
ghujpahh; ,aw;ifia caph%
; r;rhf Nerpjj
; ftpQh; kl;Lky;yhky;
mth; xU ,aw;if tpQQ
; hdpAk; $l. gQ;r G+jq;fshfpa epyk;> ePh;>
fhw;W> neUg;G> Mfhak; Nghd;wtw;iw jkJ ftpijfspYk;>
fl;LiufspYk; moF kpspu th;zpj;Js;shh;. mth; ,aw;ifapy;
,iwtidf; fhZk; Xh; Mj;k Qhdpnadpy; mJ kpifahfhJ.
me; j pr; nrt; t hdk;

khiyapy; fjputd; kiwAk;NghJ thdj;jpy; Vw;gLk;
khw;wq;fs; mtUf;F vy;iyapyy
; hj kfpor
; r
; piaj; jUk;. 'mt;tha;
tsh;gpiw Mbr; nrt;tha; me;jp thdj;J mLkio vd;Nw thdj;ijr;
rq;fg;Gytd; ghLfpwhd;. ghujpfN; fh me;jpkhiyg; nghOJ md;id
guhrf;jpahff; fhl;rp jUfpwJ." (ghujpapd; gd;Kfg;ghh;it> g.115)
410
jhd; ,aw;wpa ghQ;rhyp rgjj;jpy; khiy Neuj;ij kpf mw;Gjkhf

th;zpf;fpd;whh;. R+hpadpd; kiwAk; Neuk; mbthdj;jpy; Ntfkhfr;
RoYk;NghJ Vw;gLk; mjpraq;fs; cyfpYs;s nry;tj;ijnay;yhk;
nryT nra;J mf;fhl;rpfis nraw;ifahf cUthf;f ahuhYk;
,ayhnjd;W $Wfpwhh;.
'fze; N jhUk;
fze; N jhUk;
fze; N jhUk;
tpag; G f; f s; GjpaNjhd; W k; >

ntt; N tW fdT Njhd; W k;
etetkhk; fspg; G j; Njhd; W k; "
(khiy tUzid> ghly;.148)
vd;W mth; R+hpad; kiwAk; NghJ Vw;gLk; Mr;rh;aq;fis th;zid

nra;fpwhh;. mf;fhl;rp fhyq;fhykhf ekJ Ntjj;ij cUthf;fpa
Kdpth;fisg; Nghw;wpa nrOik epiwe;j moifnay;yhk;
xUNruf; fhz;gJ NghYs;sJ vd;W $Wfpwhh;.
'cah; e ; j thdpil cw; w Nkw; f py;
xspg; g puthfk; xU E}W epwq; f s;
...................................... nghd; d pd
cUf; F nts; s j; j py; Xbf; fye; j Nj"
vd;w ghujpjhrdpd; me;jpgn
; ghOJ th;zidAk; epidtpwF
; tUfpwJ.
gr;ir epwr; R+hpad;

NkYk; ,uz;L tl;lkhd jfLfs; xd;wpd;Nky; kw;nwhd;W
Rod;W nfhz;bUf;fpwJ vd;Wk; NkNy ,Ug;gJ gr;ir epwtl;lk;
gpd;Gwk; cs;skpd; tl;lj;j
; pypUe;J ituk; Nghd;w xspf;fjph;fs;
,ilapilapy; Njhd;Wk; vd;Wk; $Wfpwhh;. ghujpahh; gr;ir
tz;zr; R+hpaidf; fz;lJ Nghy mutpe;jUk; mf;fhl;rpiaf;
fz;bUf;fpwhh; vd;W mwpa KbfpwJ. 'ghujpahh; ghQ;rhyp rgjk;
vOjj; njhlq;fp Kbj;j fhy vy;iyf;Fs; mikAk; gr;irr; R+hpaidf;
fhZk; mDgtk; ,UtUf;Fk; xU Nru tha;j;jpUg;gJ ,yf;fpa
tpag;G vdyhk;." (ghujp Njlypy; rpy Gjpa ghpkhzq;fs;.38)
411
Mfhak;
Mfhaj;jpd; fhl;rpia tpthpf;Fk; NghJ Nkfq;fs; jPg;gw;wp
vhptJ NghyTk; jq;fj;ij cUf;fptpll
; J NghyTk; Njhd;Wfpd;wd
vd;Wk; Xil Nghd;w tbtq;fSk;> ePyepwj;jpy; ngha;iffSk;
mjpy;kpjf;Fk; jq;fj; NjhzpfSk; fUikahd kiyKfLfisg;
nghd;dhy; fiuapl;lJ Nghy; Nfhyq;fSk; ,Ul;flypy; jq;fj;
jpkpyq;fq;fs; kpjg;gJ Nghy fhl;rpfSk; Njhd;Wfpd;wd ntd;W
mofhf th;zid nra;fpwhh;. mh;rR
; zDk; ghQ;rhypAk; ,j;jifa
mofhd xspkakhd fhl;rpfis tpl;L R+hpaf; fjph;fs; ghh;j;J
kiwAKd;G xsp kq;fpa mj;jpdhGuj;ij ghz;lth;fs; te;jile;jij
fjph; 'kq;fpL" Kd;ndhsp kq;F efhpil te;Jw;whh; vd;W ,UnghUs;gl
tUk; epfo;Tfis Kd;$l;bNa mwptpf;fpwhh; ghujpahh;.
fhw; W
thAitg; gw;wpf; $Wk;NghJ fhw;wpdhy; flypy; R+whtsp
Vw;gLfpwnjd;Wk; thdj;jpy; Njhd;Wk; kpd;dyhy; ePh; neUg;ghfpwJ>
neUg;G ePuhfpwJ ePhJ
; spahfp> Jsp ePuhfpwJ vd;Wk; ,aw;ifapd;
Row;rpia vLj;Jiug;gij>
'thAtpDila clw;nra;ifjhNd Gaw;fhw;W ,e;jpud;
kpd;diyAk; ,biaAk; fhl;Lfpwhd; Nkfq;fs; rpjWfpd;wd
G+kpf;Fj; jz;zPh; fpilf;fpwJ" (ghujpahh; ftpijfs;.659)
kio
kioahy; Ch;KOtJk; <ukhfptpl;lJ. jkpoh;fs; vg;NghJk;
<uj;jpNyNa epd;Wk; cl;fhh;eJ
; k; ele;Jk;> gLj;Jk; tho;fpwhh;fs;.
,j;jifa epiyapUe;jhy; Neha;fz;L ,wg;G NehpLk; vd cly;
MNuhf;fpaj;ijg; Ngz typAWj;Jfpwhh;.
vy; i yfs ;
,aw;if muzhf mike;j ghuj ehl;bd; tlvy;iyahfpa
,kakiy gw;wpf; $Wk;NghJ 'kd;Dk; ,akkiy vq;fs; kiyNa"
vd;Wk; tpz;izapbf;Fk; jiyapkak; vd;Wk; thdfk; Kl;Lk;
,kakhy; tiuAk; vd;Wk; Nghw;Wfpdw
; hh;. njd;vy;iyahfpa Fkhp
Kidiag; Nghw;Wk;NghJ ePyj;jpiuf;flNyhuj;jpNy epd;W epj;jk;
jtk;nra; Fkhpnay;iy vd;Wk; $Wfpwhh;. ,jidNa gjpwW
; g;gj;Jk;>
412
'.................... fy; Xq; F neLtiu

tljpir vy; i y ,kak; Mf
njd; mk;FkhpNahL Mapil"
(ghly; thpfs;> 6-8)
vd;W ghuj ehl;bd; vy;iyfis tFf;fpwJ.
,aw;if tsq;fs;
,aw;if tsq;fis gw;wpf; $Wk;NghJ mofhd MWfs;
ehnlq;fpYk; cz;L vd;Wk; mit nky;yg; gha;e;J vy;iyaw;w
flypy; fyf;fpdw
; dntd;Wk;> mf;flyiyfs; Eiufis ntspgg
; Lj;jp
,iur;rypLtJ Xq;fhurg;jk; Nfl;gijg; NghypUf;fpwJ vd;Wk;
$Wfpwhh;. NkYk; NrhiyfSk;> tdq;fSk;> tz;zg; G+f;fSk;
,dpa gotiffSk; nfhz;lJ ekJ ehL vd;Wk; $Wfpwhh;. gwitfs;>
tpyq;Ffs;> Ch;td. kPd>; Rwh tiffs; Nghd;w ,aw;ifr; nry;tq;fis
ghujkhjh ekf;fspjJ
; s;sjhfTk; fz;zd; ghl;by; Fwpgg
; pLfpdw
; hh;.
NkYk; ghujehL ejpehP ; tsj;ijAk; Cw;W ePh; tsj;ijAk;
nfhz;lJ vd;Wk; tpisr;ry; epytsKk; Nrhiy tsKk; fdpk
tsKk; nfhz;lJ vd;Wk;>
'Njhl; l j; j pNy kuf; $l; l j; j pNy - fdp
aPl;lj;jpNy gap&l;lj;jpNy" (ehl;Lg;ngUik ghly;.8)
vdf; $WtjpypUe;J mwpayhk;.
fq;if> rpe;J> Jq;fgj;jpuh> aKid Nghd;w ejpfSk;>
eP&w;WfSk;> ePh; epiyfSk;> Fsph;e;j NrhiyfSk; nfhz;l
,aw;ifaoF epuk;gpaJ ekJ ehL vd;fpwhh;.
ghQ;rhyp rgjj;jpy; ,aw;if tUzid

,e;jpug; gpu];j ehl;bd; ,aw;ifnaopiyg; gw;wpf; $Wk;
NghJ ePy epw kiyfisf; nfhz;l mKjk; Nghd;w ePhg
; hAk; ehL
vdTk; cyfk; KOtJk; grpapy;yhky; fhf;Fk; ed;nra;> Gd;nra;
epyq;fs; Vuhskhff; nfhz;l ehL vdTk; Gfo;fpwhh;. NkYk; vz;zq;fs;
Nghd;w jhkiuf;Fsj;jpy; jto;eJ
; nfhz;bUg;gijAk; tz;Lfs;
xypnaOg;GtijAk; fpspfs; koiy NgRtijAk; Fapy;fs;
mKJ}Wk;gb ghLtijAk;> eWkyh;rN; rhiyfspy; G+f;fs; kzkpf;f
thrid gug;GtijAk; $wpg; gutrg;gLfpwhh;.
413
me; j pg; n ghOJ

me;jpgn
; ghOjpy; gwitfspd; eltbf;iffs; gw;wpAk; ftpij
Gide;Js;shh;. fhfq;fs; kuf;fpisfspy; mkh;ej
; pUg;gijAk; xd;whf
,ize;J gwg;gijAk;> gr;irf;fpsp> rplL
; f;FUtp> gUe;Jfs; Kjypa
gwg;gijAk; Nrty; $TtijAk; R+hpad; kiwe;J re;jpud; xsp gug;Gtij>
'nrt; n thsp thdpy; kiwe; N j - ,se;
Njd; epyntq; F k; nghope; j J fz; B h; "
(me;jpg;nghOJ> 3)
vd eak;gl vLj;Jiuj;Js;shh;.
KbTiu
ghujpahh; ftpijfspYk; trdftpijfspYk; vLj;Jf;
fhl; b As; s ,aw; i f tUzidfs; vf; f hyj; J k; mopahg;
Gfo;nfhz;lit. xt;nthU ,aw;if epfo;itAk; guk;nghUspd;
mk;rkhfg; ghh;f;fpwhh;. fhf;ifapd; fUik epwj;jpYk; kuj;jpd;
gr;ir epwj;jpYk; ,iwtidf; fz;lth; ghujpahh;.
'fhf;if FUtp vq;fs; [hjp" vd;W gwitfisAk; kdpj
,dj;Jld; Nrh;jJ
; f; nfhs;fpwhh;. ,aw;ifNa mtUila %r;rhf
,Ue;jJ. ,aw;ifapd; Fzq;fis mw;gkhd mwptpdhy; msf;f
KbahJ. mjw;Ff; ftpij cs;sk; Ntz;Lnkd;W ep&gpjj
; th; ghujpahh;.
414
92. GwehD}w;wpy; ,aw;if ctikfs;

nry; t p f.fiyr; n ry; t p> vk; . V.>vk; . gpy; . >
Kidth;gl;l Ma;thsh; - jkpo;j;Jiw
mofg;gh gy;fiyf;fofk;>
fhiuf;Fb. 3
rq; f fhy kf; f s; ,aw; i fNahL nfhz; b Ue; j
cwtpidg; GwehD}w; W g; gjpTfs; top tpsf; F fpwJ
Kd; D iu
kdpjdhy; cz;lhf;fg;glhky; jhdhfNt Njhd;WtJ
,aw;ifahFk;. kio> ePh>; fhw;W> jP> Mfhak; Nghd;wit ,aw;ifapd;
rf;jpfshFk;. ,t; ,aw;if ,d;gj;ij Ik;Gyd;fspYk; Efh;e;j
Gyth;fs; mjid ctikahff; fhl;rpgg
; Lj;Jfpdw
; dh;. mt;tifapy;
GwehD}w;wpy; ,lk;ngw;Ws;s ,aw;if ctikfs; FwpjJ
; tpsf;FtJ
,f;fl;Liuapd; Nehf;fkhFk;.
,aw; i f
jd; epiyapypUe;J khwhJ> ,ay;ghd epiyapy; cs;sit
,aw;ifahFk;. GwehD}w;wpy; ,UgJ ghly;fspy; ,awif rhh;ej
;
ctikfs; ,lk; ngw;Ws;sd. ,it ngUk;ghYk; kd;dh;fisAk;
mth;jk; nray;fisAk; ,aw;ifNahL ctkpf;Fk; epiyapy;
mike;Jsd.
kd; d Uk; Ik; n gUk; Ik; n gUk; g+jj; j paw; i fAk

fAk;
Nrukhd; ngUQ;Nrhw;W cjpaQ; Nruyhjid> KuQ;rpa+h;
Kbehfuhah;> (Gweh.2:1-6) vd;w ghlypy>; Ik;ngUk; g+jq;fNshL xg;gpl;L
ciug;gh;. ,jpy; ngUQ;Nrhw;W cjpaQ; Nruyhjd; ,aw;ifiag;
415
Nghy; nghpa Mw;wy;fis cilatdha;j; jpfo;tjhy; gifth;fs;

jtW nra;Ak; NghJ epyk; Nghy; nghWikaha; ,Ug;gjhfTk;>
gifth;fs; kf;fSf;F jPik nra;Ak; NghJ thdsT cah;e;J
Nghh; nra;tjhfTk;> kd typikapy; fhw;wpd; typikia xj;Jk;
giftiu mopj; j ypy; jP a pidg; Nghd; W k; > mg; g ifth; f s;
tzq;Fk; NghJ ePh; Nghd;W Fsph;r;rpaile;Jk; tpsq;Ftjhf
ctikg;gLj;Jfpwhh;.
epyT> fjputDk;
ghz;bad; gy;ahfrhiy KJFLkpg; ngUtOjpiaf; fhhpff
; pohh;>
eP ,t;Tyfj;jpy; Fsph;r;rp nghUe;jpa epyT NghyTk;> RLfpd;w
fjph;fisAila fjputd; NghyTk; jpfo;fpwha; (Gweh.6:27-28)
vd;W ghuhl;Lth;. ,jpy; jpqf
; s;> QhapW Mfpa ,uz;lNdhLk; murd;
xg;Gikg;gLj;jg;gLfpwhd;.
,aw;ifia msj;jy; vd;gJ ,ayhJ. Mdhy; FWq;Nfhopa+h;
fpohh; 'Ik;ngUk; g+jq;;fshfpa nghpa flyd; MoKk;> mfd;w
cyfj;jpd; gug;Gk;> fhw;W tPRk; jpirfSk; ve;jg; gw;Wf;NfhLkpd;wp
epiy ngw;w MfhaKk; vd;Dk; ,itnay;yhtw;iwAk; $l mse;J
$w ,aYk;> mwpTk;> mUSk;> md;Gila fz;Nzhl;lKk; nfhz;l
cd;Dila Fzq;fis msj;jy; mhpjhFk; vd (Gweh.20:6> 30:6)
midj;J Fzq;fsk; mspf;f Kbahj ,aw;ifiaAk; jhz;b
tpsq;FtJ Gytuhy; fhl;rpg;gLj;jg;gl;LsJ.
Nrhod; FsKw;wj;Jj; JQ;rpa fps;sp tstd; jd; fdtpy;
gy jPa epkpj;jq;fisf; fz;Lk; mjidg; nghUl;gLj;jhJ Nghh;f-;
fsj;jpy; fhw;Wk; neUg;GK; fye;J Roy;tJ Nghy Nghh;gG; hpej
; ikia
Nfht+h; fpohh; ciug;gh;. ,q;F murdpd; Nghuhw;wy; ,aw;ifahfpa
fhw;Wf;Fk;> neUg;Gf;Fk; ctkpf;fg;ngw;WsJ (Gweh.41:16-18).
jpUkhtstDk; ngUtOjpAk; xUq;fpUe;j epiyiaf;
fz;l fhhpf;fz;zdhh; fhtphp ePh; Nghy vd;Wk; ePLop tho;thahf
vd;W tho;jJ
; fpwhh; (Gweh.58-1). Mykuj;jpd; Nth; ,w;Wg; NghdhYk;
tpOJ kuf;fpisfisf; fhf;Fk; mJNghy cd; Kd;Ndhh; ,we;j
gpd;Dk; cd; Fbkf;fisj; jLkhwhJ fhj;J tUfpwha; vd;W
ghuhl;Lth;. ,jpy; fhj;jy; vDk; murdJ nray; Mykuj;jpd;
tpOJfNshL xg;gpl;Liuf;fg;gl;Ls;sJ.
416
'Md; K iy mWj; j mwd; , Nyhh; f ; F k;

Ez; g/WspapDk; thopa> gyNt!"
(Gweh.34)
vd;Dk; ghlypy; ghzh;fSf;F mfyhr; nry;tj;ij toq;FgtNd!

cd;idf; fhiyapYk; khiyapYk; ehd; ghltpy;iynad;why;
QhapW Njhd;Wtij ehd; mwpahky; NghNtd;. mjdhy; ,ka
kiyapy; Njhd;Wk; fhpa Nkfk; nghope;j Ez;zpa gy kioj;
jptiyfspYk; gy fhyk; eP tho Ntz;Lk; vd;W tho;j;Jth;.
,jpy; kioj; jptiyfs; kd; d dpd; tho; ehl; f Sf; F
ctkpf;fg;ngw;Ws;sJ.
kd; d h; f spd; Nghh; r ; r pwg; g py; ,aw; i f

ghz;bad; $lfhuj;Jj; JQ;rpa khwd; tOjpia Ia+h;
Kltdhh; ePh;> jP> fhw;W vDk; %d;W rf;jpfNshLk; xg;Gikg;gLj;Jfpwhh;. 'ePh; ngUf;nfLj;J XLkhdhy; mjidj; jLj;J epWj;Jk;
muz;fSk; ,y;iy. jP ngUfp vhpf;Fkhdhy; cyfpy; caph;fisf;
fhf;Fk; rf;jpAk; ,y;iy. fhw;W kpFjpahf tPrpdhy; mjidf;
fl;Lg;gLj;j ve;j typikAk; ,y;iy. ,k; %d;Wk; xd;W Nrh;ej
; hh;
Nghy Nghh;f;fsj;jpy; Nghh; Ghpe;J ntw;wp ngWgtd; vd;W
ctkpf;fpwhh; (Gweh.51:1-4).
'fhy khhpapd; mk; G ijg; g pDk; "
(Gweh.287:3)
vd;gjpy; fhh;fhyj;J kio Nghy tPud; Nghh;ff

; sj;jpy; gifth;fspd;
Nky; tPRk; mk;Gfs; tpsq;fpd vdr; rhj;je;ijahh; ghLfpwhh;.
Nghh;f;fsj;jpy; jd; kfd; fspW vwpe;J ,we;jhd; vDk;
nra;jpiaf; Nfl;l jha; rpej
; pa fz;zhP ; typa %q;fpy; mirfpdw
;
ntjpu kiyapy; nga;j thd; kio %q;fpy;fspdpd;W nrhl;Lk;
kioj;JspapDk; kpFjpahFk; vd;W ctkpff
; pwhh; g+qf
; z; cj;jpiuahh;
Gyth;fs; kd;dDf;F mwk; mwpTWj;jypy; ,aw;if

rq;f fhyj;jpy; kd;dh;fs; ePjp toq;Fk; ePjpgjpahfTk; tpsq;fpdh;.
ePjp vd;gJ jf;f rkaj;jpy; fplb
; dhy; jhd; ghjpff
; g;gl;lth; gydilth;.
jhkjg;gLj;jp toq;fg;ngWk; jPhg
; g
; hy; ed;ik fpll
; hJ. ,f;fUj;ij>
'mwk; Ghpe; j d; d nrq; N fhy; ehl; l j; J
thdj;;J md;d td;ikAk; Nghy"
Gweh.55:5-7)
417
vd;Dk; ghlypy; ciug;gh; nts;isf;Fb ehfdhh;. Njitg;gLk;

gUtj;jpy; rhpahf kio nga;jhy; kf;fs; vt;thW gad; ngWthh;fNsh
mJNghy tpiuthf ePjpfis Muha;e;J eLepiyNahL $wpdhy;
kf;fs; kfpo;r;rpailth; vd;W kd;ddpd; ePjpKiwf;F thd;kio
ctikg;gLj;jg;gl;LsJ.
'nja;tj;ijg; Nghw;Wk; Fwkhf;fs; kioaw;w; fhyj;jpy;
kio nga;a Ntz;Lk; vd;W gypg; nghUl;fis J}tp topg;gLth;.
mth;fs; topgl;lTld; kpFjpahd kio nga;Ak;> kpFjpahd kio
nga;jjyhy; Jd;gk; tUk;> Jd;gj;ijg; Nghf;f kPz;Lk; gypg;
nghUl;fisj; J}tp kioia epWj;Jth;. mJ Nghy Gyth;fs;
kd;dh; jtW nra;Ak; NghJ kioiag; Nghy; te;J mwpTiu
$wp Jd;g epiyia khw;Wth;" (Gweh.143) vd;gjpy; Gythpd;
mwpTiuf;F kio ctikg;gLj;jg;gl;Ls;sJ.
KbTiu
Ik;ngUk; g+jq;fshd ePh;> epyk;> jP> fhw;W> Mfhak; Mfpa
,aw;ifapd; $Wfisr rq;fg; Gyth;fs; murh;fNshLk; mth;jk;
nra;ifNahLk; ctikg;gLj;jp ciug;gJ ,aw;ifapd; ghy; mth;fl;F
cs;s gw;wpidg; Gyg;gLj;Jk;. Ik;ngUk;g+jq;fs; jtph;e;j epyT>
Mykuk;> neUQ;rpg; g+ Nghd;w ,aw;ifapd; $WfSk; GwehD}w;Wg;
Gyth;fshy; ctikahff; $wg;ngw;Ws. ,aw;if ctikfspy;
ePh; Fwpj;J ctikNa nghpJk; ,lk;ngw;Ws;sikk Rl;lj;jf;fJ.
418
93. rpyg;gjpfhuj;jpy; ftpQhpd;

ftpj;Jtj;ij vLj;Jf;fhl;Lk; ,aw;if
epfo;Tfs;
eh.ftpjh
D.T.Ed., M.Ed., M.Ed., M.Phil.,

Nf.v];.Mh; fiy kw;Wk; mwptpay; fy;Y}hp (jd;dhl;rp)
jpUr;nrq;NfhL
,sq; N fhtbfspd; ftpeaj; j py; ,aw; i ff; f hl; r pfs;
,lk; n gWk; jd; i kia vLj; j pak; G fpwJ ,f; f l; L iu
- gjpg; g hrpupaH
Kd; D iu
,aw;if epfo;Tfis elg;G nray;ghLfNshL xg;gpl;L
vLj;Jf;fhl;Lk; ty;yik kpf;fit fhg;gpaq;fs;. ,it kiy>
fly;> #hpNahjak;> re;jpNuhjak;> gUtq;fs; Nghd;wtw;iwf; nfhz;L
,ay;ghf ,aw;ifahf epfo;Tf;F cl;gLj;jpgg
; Lfpdw
; d. ,tw;wpd;
njhif gjpndl;L vd;W jkpot
; pLJ}J njd;Dk; gpuge;jk; njhptpff
; pwJ.
'jho; t pyh ml; l h jrtd; didfnsDk;
tho; n tyhk; fz; L kfpo; e ; j hNa"
- (jkpo;tpLJ}J - 34)
'...... nfhw; w tUf; F
vz; z pa td; d idfs; <nuhd; gJkwpaf;
fz; z pa kpf; f ngUq; fhg; g paKk; "
- (jkpo;tpLJ}J 52 - 53)
419
khwdyq;fhu ciuahrphpah; Xhplj;jpy; ,q;qdNk czh;jJ

;
fpd;whh;> 'mwk; Kjypa ehw;nghUSk;> kiy fly; ehL Kjypa
gjpndl;L tUzidAk;> xope;jdTk; Fiwtpd;wp czh;j;Jtd
ngUq;fhg;gpaq;fs;".(khwdyq;fhuk;>cjhuzk;.191.ciu),g;gjpndl;Lf;Fk;
tif. 1>kiy 2> fly; 3> ehL 4. efh;> (5-10) rpWnghOJ MW> (11-16)
ngUk;nghOJ MW> 17> re;jpNuhjak;> 18> #hpNahjak;.
,tw;nwhL khwdyq;fhu Mrphpah;> NkftUzid> Mw;W
tUzid vd;gtw;iwAk; Nrh;j;Jf; $Wth;.
ngUq;fhg;gpaj;Jf;Fhpa ,t;tUzidfs; Vidj; njhlh;epiyr;
nra;Al;fSf;Fk; chpadNtahk;. Mjypd; ,t;tUzidfisg;
Guhzf; fhg;gpaq;fspYk; fhzyhk;. ,tw;iwapdw
; p NtW gy tUzid
fisAk; $WtJ cz;L mtw;iw ',idad" vd;gjdhy; nfhs;s
Ntz;Lk;. Mw;W tUzid> jPh;j;j tUzid Kjypad me;jg;
gjpndl;by; mlq;fhjit MFk;.
,t;tpaw;if tUzidfs; midj;Jk; fhg;gpaq;fspy; tu
Ntz;Lk; vd;w epajp ,y;iy. ,tw;Ws; rpy Fiwe;J tUjYk;
cz;L. ,jid>
'$wpa cWg; g pw; rpy Fiwe; j jpaypDk;
NtWgh bd; n wd tpsk; g pdh; Gyth; "
(jz;b> #9)
vd;Dk; #j;jpuk; czh;j;Jfpd;wJ.
rpwg;ghf mike;jpUf;Fk;.
,t;tUzidfspYk; rpy
njd;wy; ,d;gk;
nrq;fOePhg
; g
; +> Nrjhk;gy;g+> ,jo; xbahj KOtJk; tphpe;j
Ftisg;g+> mUk;Gfs; tphpe;j tz;Lfs; xypf;fpd;w jhkiug;g+>
tay;fspy; kyh;e;Js;s ePhg; g+f;fs; gytw;wpd; kzq;fisAk;
fye;J cz;L. maypYs;s jhio klypd; tphpej
; ntz;epwg; g+ff
; s;>
khiyNghy; kyh;eJ
; njhq;Fk; khjtpg;g+> rz;gfr; NrhiyapYs;s
kyh;fspd; kfue;j nghbapid Nrh;jJ
; cz;Zk;. NkYk; epiwT
ngwhj njd;wy; fhw;whdJ> xsp nghUe;jpa Kfj;jpidAila
ngz; f s; > Ghpe; j Row; r piaAila $e; j ypd; kzj; i jAk;
ngWtjw;F Vq;fp> Rod;W jphpAk; tz;LfNshL mjw;Fhpa Neuk;
ghh;j;J> kzpf;Nfhitfshy; xOq;Fgl mikj;J tFj;j> moF
420
nghUe;jpa rhsuq;fspd; FWfpa ,lq;fpy; Eioj;J tz;LfSld;

mk;kzj;ijAk; cz;L. kyh; md;Gfis nfhz;l kd;kjdpd;
kfpo;rr
; pf;Fk; VTfisahfp ,d;gj;ij mspf;fpwJ vd;W njd;wy;
jUk; ,d;gj;ij> mbfs; kid mwk; gLj;j fhijapy; mofhf
vLj;jf;fhl;bAs;shh;.
,aw;if moNfhL nraw;if moifAk; ghuhl;ly ;

mbfshh; fz;zfpapd; ,aw;if moif> nraw;if moNfhL
xg;gpl;L cah;jj
; pf; $Wfpd;whh;. ngz;Nz! cd;Dila ,aw;if
moF my;yhky;> gpwpJ gy mzpfisAk; cdf;F Vd; mzpej
; dh;?
cd; ePzl
; fUq;$e;jypy; rpykyh;fNs mofhf cs;sd. mtw;iw
tpLj;J> xsp nghUe;jpa kyh; khiyiaAk; Vd; #l;bapUf;fpwhh;fs;.
mofpa khh;gpy; njha;apy; vOJtJ kuG jhd;. mJNghf xg;gw;w
Kj;J tlj;ijAk; mzpej
; pUf;fpwhh;fs;! vd;d gad; fUjp? cd;
$e;jYf;F kzKila ey;y mfpy; GifNa NghJkhdJ. mJ
ty;yhky; fj;J}hpf;Fok;igAk; g+rp tpl;bUf;fpwhh;fNs Vd;? eP
,aw;ifahfNt kpf mofhf ,Uf;fpwha;> ,Ug;gpDk; cd;Dila
new;wpapy; tpah;it mUk;Gk; gbahfTk;> rpwpa ,il tUe;Jk;
gbahfTk; ,j;jid mzpfis mzpe;Js;shh;fNs! mth;fSf;F
vd;d Neh;ej
; njd;W njhpatpyi
; y> vd;W $wp ,aw;ifia ,ay;gha;
vLj;jf;fhl;bAs;shh;. ,jid>
'eWkyh; f ; Nfhijepd; e yk; g h uhl; L eh;
kW,y; kq; f y mzpNa md; w pAk;
gpwpJmzp mzpag; ngw; w ij vtd; n fhy; ?
gy; ,Uk; $e;jy; rpd;kyh; md;wpAk;
vy; m tpo; khiynahL vd; c w; w dh; nfhy; ?
ehdk; ey; m fpy; eWk; G if md; w pAk;
khd; k jr; rhe; n jhL te; j ij vtd; n fhy; ? "
(kidmwk; gLj;j fhij - 65)
vd;w thpfs; %yk; czuKbfpwJ.
khiyapd; tUif
miyfisAila fliyj; jd; Milahff; nfhz;Ls;s
nghpa epykle;ij> tphpej
; fjphf
; isg; gug;gp ,e;j cyfk; KOtJk;
421
Mz;L> xg;gw;w rf;fuj;ijAila fjputdhfpa jd; jiytd;>

khiyf; fhyj;jpy; kiwa> mtidf; fhzhJ. mofpa ,lkfd;w
thdj;jpy;> jd; mofpa xspapid tphpf;Fk; jpq;fshfpa kfd;
vq;fpUf;fpd;whd; vdj;Njb> jd; jpirfshfpa Kfq;fs;> fztd;
gphpthy; nghd;dpw Kw;W ntspwp> epyj;jpYs;s nrOikahd
kyh;f;fz;fs; ePhpidf; nfhl;l> jd;Dly; KOikAk; eLq;fp>
Jd;GWfpd;w fhyk; mwpe;J khiynghOJ Njhd;Wk;> vd;W
,aw;ifahd nray;ghl;bid> czh;r;rpg;nghq;f me;jpkhiyr;
rpwg;Gr; nra;fhijapy; mofhf vLj;Jf; fhl;bAs;shh; mbfshh;.
epyhtpd; Njhw; w k;
gy tpz;kd
P f
; shfpa el;rj;jpuf; $l;lkhfpa jd; gilAld;>
ghy; fjpiug; gug;gp> ghz;badpd; Fy Kjy;tdhfpa jpq;fs;
Njhd;wpdhd;> Kj;JkhiyiaAk;> re;jdf; Fok;igAk;> mofpa
,skhh;Gfs; Nrug; ngwhJ ePq;fTk;> kfue;jg; nghbAld; $ba
Fsph;r;rp nghUe;jpa fOePh; kyh; khiy> Ky;iy kyh; Nrh;e;j
nkd;ikahd $e;jypy; #lhJ ePq;fTk;> re;jd Jsph;fSld;>
gy mofpa Jsph;fSk;> nrk;ikahd jsph; Nkdpapy; NruhJ
ePq;fTk;> nghjpa kiyapy; Njhd;wp> kJiuapy; tsh;e;J>
Gyth;fspd; ehtpy; nghUe;jpa njd;wy; fhw;Wld;> ghy; Nghd;w
ntz;epyh> ,f;fz;zfpahfpa ngz;Nky; nrhhpa Ntdpy; fhyNk
eP Ntz;bdhNah vd;W vz;zp> tUe;jp> epy kfs; ngU%r;R
tpl;L> J}q;fpa gpd;dh; epyT Njhd;wpaJ vd ,aw;ifapd;
mofhd Njhw;wj;ij mofhf fhl;bAs;shh; mbfshh;.
kJiuapy; fhiynghOJ
Gwefh;g; gFjpapy; mike;j Nrhiyfs;> ePh;tsk; kpFe;j
gz; i zfs; > Kw; w pj; j iy rha; e ; j pUf; F k; fjph; f isAila
tay;fs;> ,q;nfy;yhk; fhiy Neuj;jpy; gwitfs; xopvo
GyUfpd;w itfiwg; nghOjpy;> jhkiu kyh;g; nghjpia> cyfk;
njhOfpd;w kz;bykhfpa #hpad;> mtpo;j;J> kyur; nra;J>
gpwehl;L murh; eLq;f> ntw;wp this Ve;jpa ghz;badpd; Xq;fpa
cah;ej
; Nkk;gl;l kJiu efuj;ijj; Japy; vOg;gpdhd; fjputd;.
422
,aw;if tUzidg; Ngr;R

kzpNkfiyAk; RjkjpAk; kyh; nfha;a tdQ; nry;fpwhh;fs;.
Nrhiyapil ke;jp MLjiyAk;> Fapy; $TjiyAk;> Rjkjp
fhl;b tUfpd;whs;. mg;NghJ ngha;ifapy; nre;jhkiu kyhpilf;
fay;fs; gpwo;fpd;wd. mtw;iwr; rpr;rpypg;gwit ,iu fUjpg;
gha;eJ
; jhf;Ffpd;wJ. jhf;fypdpd;Wk; jg;gpf; fay;fs; ePUl;GFe;J
xspe;J nfhs;fpd;wd. rpr;rpypg;gwit vz;zpa ,iungwhJ
tUe;jp> te;j topNa Ngha;tpLfpd;wJ.
'mQ; r piw tphpa myh; e ; j jhkiur;
nrq; f ay; gha; e ; J gpwo; t d fz; l hq; F
vwpe; j J ngwhmJ ,iuapoe; J tUe; j p
kwpe; J eP q ; F k; kzpr; r puy; fhz; "
(kyh;tdk; Gf;f fhij)
vd;W Njhop khjtp kfSf;Fr; rpyhpd; vz;zk; if$lhikia
fhl;Lfpd;whs;. ,jid NkNyhl;lkhfg; gbg;ghh; VNjh xU ey;y
tUziz> vd;w mstpNy jhd; Ritf;f KbAk;. mLj;J
tug;NghFk; fijg; gFjpia mwpe;jth;f;F ,t;tUzidapy;
xU fij epfo;r;rp cs;sPlhf ,Ug;gJ ed;F Njhd;Wk;. murd;
kfd; cjaFkud; kzpNkfiyapy; eP q ; f hj fhkNtl; i f
nfhz;ltd;. kzpNkfiy jd; NjhopNahL ,r;Nrhiyf;Fr;
nrd;whs;> vd;W Nfs;tpg;gl;l mtd; nghopypil mtisf;
ifg;gw;Wk; Nehf;fj;NjhL NjNuwp tUfpd;whd;. mtd; Njnuhyp
Nfl;l kzpNkfiy> fay; ePhf
; F
; s; xsptJ Nghy> gspf;fiwf;Fs;
kiwe;J nfhs;fpd;whs;. te;j cjaFkhud; neLk;nghOJ
Kad;Wk; kzpNkfiyiaj; jd; fhkg;grp jPh;f;Fk; ,iuahf
mile;jhdpy;iy. vz;zpaJ ngwhJ tUe;jpj; jpUk;gpdhd; vd;gJ
gpd; t Uq; fijg; g Fjp. gpd; e lf; F k; ,e; e pfo; r ; r p Kd; N g
rpr;rpypg;gwit tUzidapy; cs;sPlhf mike;J fplf;fpwJ
vd;W njspayhk;. ,t;thW cyfg; Ngr;R fhg;gpag; Ngr;rpw;F
mbg;gil vd;Wk;> jkpo;f; fhg;gpak; tof;nfhL xl;baJ vd;Wk;>
czh;e;J nfhs;s ,t;tUzidg; Ngr;R vJthdjhfTs;sJ.
423
jPikia Rl;bf;fhl;Lk; ,ay;Gf;F khwhd nray;ghLfs;

cwpapy; itj;jpUe;j ntz;iz cUfitj;Jk; cUftpy;iy.
Ml;Lf;Fl;bfs;> Js;sp tpisahl tpy;iy. Fioe;J fplf;Fk;>
mjdhy; VNjh jPik tUfpd;wJ. ehd;F fhk;GfisAila>
gRf;$l;lq;fs; eLq;fpf; fjWfpd;wd. mtw;wpd; fOj;jpy; fl;lg;
ngw;wpUe;j nghpa kzpfs; mWe;J epyj;jpy; tPof
; pd;wd. mjdhy;
ekf;F VNjh xU jPik tUfpdw
; J vd;W kf;fs; mQ;Rk; tz;zk;
,aw;ifepiy jphpe;J nray;gLk; nray;fis nfhz;L mofhf
rpj;jhpj;Js;shh; mbfshh;. ,jid>
'ntz; n za; cUfhikAk; kwpKlq; f p MlhikAk;
khd; k zp epyj; j w; W tP o ; j Yk; tUtJ
Xh;Jd;gk; cz;L vd; kfis
Nehf; f p kdk; kaq; f hNj"
vd;W khjhp Ma;r;rpah; Fuitapy; $Wtjd; %yk; mwpayhk;.
KbTiu
fhg;gpaq;fspy; $wg;gLk; ,aw;if tUzidfs; ftpQUila
rpwe;j ftpj;Jtj;ij ntspg;gLj;Jtd. goe;jkpo; E}y;fshfpa
njhifepiyr; nra;Al;fspy; gUt tUzid kpFjpahf cs;sd.
mfj;jpizf;Fhpa nghUs;fs; xd;whfpa Kjw;nghUs; epyk;> nghOJ
vd;Dk; ,U tifg;gLk;. nghOJ ngUk; nghOJ> rpWnghOJ vd;gd.
mfg;nghUl; nra;Al;fs; gytw;wpy; ,g;nghOJfisg; gw;wpa
nra;jpfisf; fhzyhk;. MfNt> nghOij tUzpj;jy; jkpo;g;
Gyth;fSf;F mbg;gl;l tof;fkhfptpl;lJ. fhg;gpaf; ftpfs;
mtw;iwj; jk;Kila fijg; Nghf;fpNy ,ilg; ngah;jJ
; $Wjyhy>;
gpd;Dk; Rit kpf;fjhf Njhd;WfpwJ.
424
94. fbaY}h; cUj;jpuq;fz;zdhhpd;

#oy;rhh; rpe;jidfs;
g. Nfhfpythzp
mwpQh; mz;zh muR fiyf;fy;Y}hp
ehkf;fy; - 637002
,aw; i fiag; Nghw; w pg; ghJfhj; j jkpoh; khz; G fis
fbaY}h; cUj; j puq; f z; z dhhpd; ghy; top
tpsf; F fpwJ ,f; f l; L iu - gjpg; g hrpupaH
Ik;G+jq;fspd; fyitahy; MdJ ,t;Tyfk;. ,aw;ifNa
caphpdq;fspd; Kjd;ik kw;Wk; mbg;gil tho;thjhukhfj;
jpfo;fpd;wJ. mt;tpaw;if caph;fis tpLg;gpDk; my;yJ
caph;fs; ,aw;ifia kwg;gpDk; vt;thW mike;jhYk; kpfTk;
fLikahd mopTfisr; re;jpg;git kdpjd; cl;gl;l midj;J
caph;fSNk vd;gJ Nehf;fj;jf;fjhFk;. tskhd ,aw;ifia
mjhtJ fhL> kiy> mUtp> tpyq;Ffs;> jhtuq;fs;> rpw;Waph;fs;>
ed;ePh;> fhw;W> Mfhak; Nghd;witfspd; ,d;wpaikahikia
czh;;e;J mjidg; nghd;NdNghy; Nghw;wpf;fhj;j kdpjdpd;
khz;Gfis ehk; fhzNtz;Lnkdpy; rq;f ,yf;fpaj;ijg;
Gul;bg;ghh;f;f Ntz;baJ mtrpakhd xd;W. ,q;qdk; rq;f
,yf;fpaq;fshd gj;Jg;ghl;by; ngUk;ghzhw;Wg;gil kw;Wk;
gl;bdg;ghiy ,t;tpU E}y;fisg; nghUz;ikahff;nfhz;L
,jid ,aw;wpa fbaY}h; cUj;jpuq;fz;zdhhpd; Rw;Wr; #oy;rhh;
rpe;jidfisg; gjpT nra;tJ ,f;fl;Liuapd; Nehf;fkhFk;.
425
Rw;Wr; #oy;
Rw;Wr; #oy; vd;gJ caph;fisr;Rw;wpAs;s capUs;s
jhtuq;fs; kw;Wk; tpyq;Ffs; (kdpjd; cl;gl) mit tho;tjw;F
cjTk; midj;J nghUl;fSNk MFk;. ,r;#oypy; kdpjdpd;
gq;F kpf kpf ,d;wpaikahjjhFk;. ePz;l fhykhf kdpjd;
jdJ Njit kw;Wk;; Mlk;guj;jpw;fhf ,aw;ifia Ruz;b
tho;fpwhd;. kw;w caphpdq;fSld; xg;gpLk;nghOJ kdpjd; #oy;
kPJ Vw;gLj;Jk; jhf;fk; kPsh tpisTfis Vw;gLj;Jfpd;wJ.
,jd; jhf;fk; Rw;Wr;#oiy mrhjhuzkhd NguopTg;ghijf;F
,l;Lr;nry;fpd;wJ. rq;ffhy kdpjd; ,aw;ifiar; rhpahf
ghJfhj;jjd; tpisTjhd; ,d;Ws;s kdpjdpd; #oy;kPjhd
jtwhd gad;ghl;ilAk; ,aw;if nghWj;Jf;nfhs;fpwJ NghYk;.
Gythpd; ghh; i tapy; #oy;

'vg; n ghUs; vj; j d; i kj; jhapDk; mg; n ghUs;
nka; g ; n ghUs; fhz; g J mwpT".
(Fws; - 355)
vd;w ts;Sthpd; thf;fpw;F ,yf;fzkhfj; jpfo;e;jth;fs;
rq;fg;Gyth;fs;. ,q;qdk; cUj;jpuq;fz;zdhh; jkJ ghf;fspy;
MHghpfF
; k; mUtp ePh>; mjid Mjhukhff;nfhz;l coTj;njhopy>;
fly;tho; caphpdq;fs;> ghLk; Fapy;> MLk; kapy;> mjw;Fg;ghprhf
kioePiuj;je;j Nkff;$l;lq;fs;> vz;zw;w tpyq;fpd tif
ikfisf;nfhz;l fhLfs;> thd;kiwf;Fk; tskhd kiyfs;>
kfpo;thd kf;fs;> mth;fspd; czT Kiwfs;> gz;l tsh;g;G>
tzpfk;> nghUshjhuk; ,tw;wpw;F mbg;gil Mjhukhd ,aw;if
Nghd;w gytw;iw edpkpF rpwg;Gld; nkhope;jikapd; Nehf;fk;
,aw;ifapd; cz;ikg; nghUis czh;e;Js;sikNa vdf;
nfhs;syhk;. njhz;ilkhd; ,se;jpiuadpd; kiyr;rpwg;G $w
tpisifapy; GytH
'fpd;du KuYk; mzq;Filr; rhuy;; ;
xspwpyq; fUtpa kiyfpo NthNd"
ngUk;; (494 -500)
fpd;duk; vd;Dk; gwit ghLk; ,dpikahd uhfKk;
njha;tq;fs; thOk; kiyr;rhuy;fis cilaJk;> kapy;fs;
426
elkhLk; kuq;fs; nfhz;l Nrhiyfs; cilaJk;> Fuq;Ffs;

gha;tjhy; G+f;fs; cjpUk; fhLfis cilaJk;> Fuq;F jd;
Fl;bfSf;F jiythug; ngw;wJk;> khDk; GypAk; Japy;nfhs;tJk;>
ahidfs; Kwpj;Jf;nfhz;L tUk; tpwiff;nfhz;L Kdpth;fs;
Nts;tp elj;JtJk;> mUtpfs; epiwe;jpUg;gJkhd kiyapid MSk;
chpik cilatd; ,se;jpiuad; vd murdpd; Gfiof;$Wifapy;
gz;ila kdpjd; ,j;jifanjhU ,aw;if nfhQ;Rk; #oypy;
tho;e;jpUf;fpwhd; vd;gJ Nehf;fr;rpwe;jJ. kd;ddpd; kiyapd;
(,aw;ifapd;) rpwg;gpidf;$WtJ #oypd; tsikNa ehl;bd;
(kf;fspd;) tsikf;fhd mbg;gil vd;gij czh;e;Nj Gyth;
,q;qdk; nkhope;Js;shh;.
,aw; i frhh; Ntshz; i k

'Rod; W k; Vh; g ; gpd; d J cyfk; mjdhy;
coe; J k; coNt jiy"vd;w ts;Sthpd; thf;fpwf
; pzq;f Ntshz;ikNa cztpd; mbg;gil>
nghUshjhug;gpdd
; dp> ,d;Ws;s ,urhad coT Nghd;wjy;y gz;ila
kdpjdpd; coTj;njhopy;. rq;ffhy coTj;njhopy; Kw;wpYk;
mUtp ePh;> kio ePh;> tpyq;Ffspd; vUf;fy; nfhz;L cukpLjy;>
fis gwpj;jy;> jpidg;Gdk; Nghd;w ,aw;ifahd Mjhuq;fisf
;nfhz;L Nkw;nfhs;sg;gl;lJ vd;gjw;fhd gy rhd;Wfis
cUj;jpuq;fz;zdhh; jkJ ghly;fspy; gjpT nra;Js;shh;.
kUjepy tay;fspy; coth;fs; jk; njhopiy
'Fbepiw ty; r pr; nrQ; r h Yoth;
td; G y kpwe; j gpd; i w-
ngUk; (196-206)
vDk; ghlypd;fz; coth;fs; rpwe;j rhy;gpbj;J cOfpd;w

fhisfis tPlL
; thrypy; cs;s Efj;jpy; ,izj;J tisthd
thapid cila fyg;igiaf; nfhz;L tisa cOJ> tpij
tpijj;J gpd; fis gwpj;Jg;gpd; mWtil nra;Ak; ghq;fpid
Gyth; rpwg;ghf nkhope;Js;shh;;.
ML> khL> vUik Nghd;w tpyq;Ffis tPl;by; tsh;j;J
mtw;wpd; vUtpid cukhfg; gad;gLj;jpaikia
(ngUk;ghz;:147-154); jpidg;Gyj;jpy; ahidfs; jpidiaj;
427
jpd;dhky; fhty;fhj;jik (ngUk;ghz;:51-58); Kw;wpa new;fjph;fs;

cila jhspid mWtil nra;jik (ngUk;ghz;:224-231);
flhf;fisf; nfhz;L mjpy; cs;s ney;iy cjphj
; j
; gpd; ney;
J}a;ik MFkhW mjpy; cs;s Fg;igfis vy;yhk; ePf;fptpl;L
ney; ed;whff;fha;e;j gpd;G ntg;gf;fhw;wpy; J}tp gjuw;w ney;
Ftpay;fs; Njhd;Wk; tay;fs; #o;e;jpUe;jik (ngUk;ghz;:232242); ,q;qdk; ,aw;ifrhh; coT nra;J mjd; %yk; rpwg;ghd
caph;fisg;ghjpf;fhj cztpidg;ngw;W tsNkhL tho;e;jdh;
njhd;ikj; jkpoh;fs;.
capdg; gy; t ifik

Gtpapd; gupzhkj;jpy; caphpdg;gy;tifik vd;gJ Kf;fpag;gq;F
tfpff
; pdw
; J. jhtu kw;Wk; tpyq;fpdg; gy;tifik vd;gJ jl;g
ntg;g epiy> epy cauk;> kz;> ePh; Mfpatw;iwg; nghUj;J ,lj;jpwF
;
,lk; khWgLfpd;wJ. ,d;iwf;F ,Uf;Fk; caphpdq;fspy; 40
rjtPjk; rptg;G gl;baypy; ,lk; ngw;Ws;sd. ,jpy; 40>177 ,dq;fs;
,Uf;fpd;wd. ,j;Jld; 16>119 ,dq;fs; Mgj;jpwF
; s;shd epiyapy;
,Uf;fpd;wd. capup gy;tifik G+kpapy; xUtiyNghy; xd;iw
xd;W rhh;e;J tho;fpd;wd. kdpjd; caphpdq;fSf;F ,ilNa
cs;s rq;fpyp tiyia mWj;Jf;nfhz;L ,Uf;fpwhd; ,jdhy;
caphpdq;fs; mopfpdw
; d vdNt ,jidg; ghJfhg;gJ xt;nthUthpd;
jiyaha flikahFk;.
,jid czh;e;Nj cUj;jpuq;fz;zdhh; jkJ E}ypy; 15
tifahd kuq;fs;> 12-f;Fk; Nkw;gl;l nrbtiffs;> 16-f;Fk; Nkw;gl;l
kyh;fspd; tiffs;> tz;L> ez;L Nghd;w G+r;rpfs;> 8 tifahd
gwit ,dq;fs;> 22 tpyq;fpd tiffs; Nghd;w caphpdq;fisf;
Fwpg;gpLfpwhh;. jd;idr; Rw;wpAs;s ,j;jifa caphpd tiffis
kdpj tho;tpd; mbg;gil vd;gijAzh;eJ
; Gyth; ,q;qdk; gilj;jhh;.
ePh; Nkyhz;ik
'ePhpdw
; p mikahJ cyF" vd;w ts;Sthpd; thf;fpwf
; pzq;f
ePNu caphf
; spd; mbg;gil Mjhuk;. epyj;jpwF
; ePh; ,y;iynad;why;
tapw;wpw;F czT ,uhnjd;gJ cz;ikNa. ,d;iwa ,aw;iff;F
khwhd tho;f;if Kiwahy; ePh; tpiue;J khrile;J tUfpd;wJ.
,jd; tpisT fLikahd eP h ; g ; g w; w hf; F iwf; F f; nfhz; L
428
nry;fpwJ. ePh; Nkk;gl;bd; Kf;fpaj;Jtk; fUjpNa rq;ffhy murHfs;

mizfisf;fl;b Fsq;fis ntl;b ePhpidg; ghJfhj;jdh;.
,q;qdk; cUj;jpuq;fz;zdhh; jk; ghf;fspy; kio ePhpidr N; rkpff
; Tk;
Cw;W ePiuj;Njf;fp itf;fTk; fpzWfs; ,Ue;jikia
'neLq; f pzw; W
ty; Y }w; Wthp Njhd; b j; njhy; i y."
(ngUk;ghz;: 97> 98)
vDk; ghly; mbfshYk;> kio ,y;yhj fhyj;jpy; ePh; ngWk;
nghUl;L cz;lhf;fpa gs;sq;fs; ,Ue;jikia
'khdb nghwpj; j "
(ngUk;ghz;: 106-108)
vDk; ghly; mbfshYk; ,dpJ mwpayhk;. fly; ePiu Kfe;j

Nkfj;jpy; gfy; fhyj;jpy; nga;Ak; kioj; Jspapd; ,ilapy;
Njhd;wp XLk; kpd;diy> ngUk;ghz;: 480-486 vd;w ghly;
mbfshy; Gythpd; kio nghoptpw;fhd mwptpay; cz;ikia
czh;e;jpUe;j ghq;F Gydhfpd;wJ.
KbTiu
fbaY}h; cUj;jpuq;fz;zdhh; jk; ghf;fspy; ,aw;iff;
$Wfis th;zidahf> ctikahf> murdpd; kiy> Ch;> tPuk;
Nghd;wtw;wpd; rpwg;Gfshf> kq;ifapd; mq;f nkhopahf> njhopy;
Kiwfshf> ,it Nghd;w vz;zw;w tifapy; mikj;J
nkhope;;Js;sikapd; fz; Rw;Wr;#oypd; ,d;wpaikahikiaAk;
#oy; rhh; tpopgG; zh;tpidAk; vjphf
; hy re;jjpapdh; ngw;W ,aw;ifiag;
Nghw;wp ,d;Gw;W tho Ntz;Lnkd;w cahpa rpe;jidiaf;
nfhz;bUe;jik Nghw;Wjw;FhpajhFk;. njhd;ikj; jkpoh;fs; Nghy
,aw;if top tho;ej
; hy; ,t;Tyfk; NguopTfspypUe;J fhg;ghw;wg;gLk;
vd ,f;fl;Liu njspTWj;Jfpd;wJ.
429
95. ghujpjhrd; ftpijfspy; ,aw;if

jpU K.rj; j pauh[; vk; . V.>vk; g py; . >
Ma;tpay; epiwQh; - jkpo;j;Jiw
Nf.v];.Mh; fiykw;Wk; mwptpay; fy;Y}hp(jd;dhl;rp)
jpUr;nrq;NfhL.
,aw; i fia eaKwg; ghba ghNte; j hpd; ftpijfis
tpsf; F tjhf ,f; f l; L iu mikfpwJ - gjpg; g hrpupaH
Kd; D iu
,aw;ifiag; gw;wpg; gy ftpQh;fs; ghly;fs; ghbAs;shh;fs;.
me;jthpirapy; ghujpjhrd; mth;fSk; jdJ ftpijfspy;
,aw;ifiag; ghb ,lk; gpbj;Js;shh;. ,f;fl;Liuapy; ghujpjhrd;
gw; w pa Fwpg; G fisAk; mtuJ gilg; G fspy; fhzg; g Lk;
,aw;ifiag; gw;wpAk; fhz;Nghk;.
ghujpjhrd; - Fwpg; G
,th; GJitapy; 29.04.1891> Gjd;fpoik 10.15 kzpfF
; gpwe;jhh;.
ngw;Nwhh; fdfrig> ,yf;Fkp. ,aw;ngah;-Rg;Guj;jpdk;. ,th; ghujpahh;
kPJnfhz;l <Lghl;lhy; jk; ngaiu ghujpjhrd; vdkhw;wpf; nfhz;lhh;.
,th; mfty;>vz;rPh; tpUj;jk;> mWrPh; tpUj;jk;> rpe;J> fz;zp.
fypntz;gh> nehz;br;rpe;J> Fk;kp Nghd;witfisg; gad;
;gLj;jpghly;fs; ghbAs;shh;. ,th; ,jo;fs; elj;jpAs;shh;. gy
ftpijg; gilg;GfisAk; gilj;Js;shh;. MrphpuhfTk; gzpahw;w
pAs;shh;. jkpo;gg
; w;Wnfhz;l ,th; ghNte;jh;> Gul;rpftpQh; vd;Dk;
rpwg; G g; ngauhy; miof; f g; g l; l th; . ,tUilatP L ,d; W
muRlikahf;fg;gl;L mUq;fhl;rpahfkhfj; jpfo;fpwJ. ,tUila
gilg;Gf;fs; midj;Jk; ehl;Llikahf;fg;gl;Ls;sJ. ,th; 72 Mz;Lfs;>
11khjq;fs;>28ehl;fs; tho;eJ
; 21.04.1964 -y; ,aw;if va;jpdhh;.
430
rQ; r P t pghh; t j; j pd; rhuy;

rQ;rPtpkiyapd; ,aw;ifiag; gw;wpf; $Wk; ghujpjhrd;>
'Fapy; $ tpf; nfhz; b Uf; F k; > Nfhyk; kpFe; j
kapyhbf; nfhz; b Uf; F k; > thrk; cilaew;
fhw; W f; Fsph; e ; j bf; F k; fz; z hbNghd; w eP h ;
Cw; W f; f s; cz; L > fdpkuq; f s; kpf; f cz; L >
G+f; f s; kzq; f kOk; > G+f; f s; n jhWk; nrd; W Nj
dP f ; f s; ,Ue; j gb ,d; d pirghbf; f spf; F k; "
vd;Dk; thpfs; %yk; Fapy; $tpf; nfhz;bUf;Fk;> moF epiwe;j
kapy;fs; Mbf; nfhz;bUf;Fk;> Fsphe
; j
; ey;y fhw;W thridAld;
tPRk;> fz;zhb Nghd;w ePh; cw;Wf;fs; ,Uf;Fk;> fdpfs; epiwe;jpUf;Fk;>
G+f;fs; kzk; gug;Gk;> G+ff
; isj; Njbr; nrd;w NjdPff
; s; ,d;dpir
ghbf; nfhz;bUf;Fk; vd;W ,aw;ifia mofhff; $wpAs;shh;.
kapy;
kapy;MLk;moifjdJ ftpijfspy; moFld; Gyg;gLj;j
pAs;shh; vd;gij>
'mofpakapNy! mofpa kapNy!
mQ; R fk; nfhQ; r > mKjfP j k;
fUq; F apypUe; J tpUe; J nra; a f;
fbkyh; tz; L fs; nebJghlj;
njd; w y; cytr; rpyph; f ; F k; Nrhiyapy;
mbnaLj; J}d; w pmq; f k; Gsfpj;
jhLfpd; w ha; mofpakapNy!"
vd;Dk; thpfspy; mofhd kapNy nfhQ;Rfpd;w fpspAk; $Tfpd;w
fUq;Fapy;fSk;; ghLfpd;wfbkyh; tz;LfSk; fhw;Wk;tPRk;
Nrhiyapy;> fhy;fshy; mbnaLj;Jcly; rpyph;j;J MLfpd;wha;
mofpakapNy! vd;Wkapy; MLk; fhl;rpia moFzh;r;rpAld;
ntspg;gLj;jpAs;shh;.
rphpj;j Ky;iy vd;Dk; jiyg;gpy; Ky;iykyh;f;nfhbapd;
,aw;ifaoif jdJftpij %ykhf $wpapUg;gij>
431
'khiyg; Nghjpy; Nrhiyapd; gf; f k;

nrd; N wd; . Fsph; e ; j njd; w y; te; j J.
te; j njd; w ypy; thrk; fko; e ; j J.
thrk; te; j trj; j py; jpUk; g pNdd; .
NrhiyeLtpy; nrhf; F g; gr; i rg;
gl; L ilG+z; L glh; e ; J fple; J
Fyf; n fd; W rphpj; j Ky; i y
kyh; f ; n fhbfz; N ld; kfpo; r ; r pnfhz; N lNd!"
vd;Dk; thpfs; %yk; khiyNeuj;jpy; Nrhiyfs; gf;fk; nry;Yk;
NghJkzk; fkOk; thrj;NjhL Fsphr
; r
; pahdfhw;W mbj;jJ. fhw;W
te;j jpiriag;ghh;fF
; k; NghJ mq;FNrhiyapd; eLtpy; kaf;Fk;
gr;irg; gl;Lcilapy; glh;eJ
; rphpjJ
; f; nfhz;bUe;jJ Ky;iyf; nfhb.
me;j ,aw;ifia f;fz;Lkfpo;r;rp mile;Njd; vd;W ghujpjhrd;
$Wfpwhh;.
thdk; g hb
thdk;ghbiag; gw;wpghNte;jh;> vd;Dk; thpfspy; thde;jhd;
ghbajh? thdj;jpy; cs;s epyTghbajh? Njid Fbj;JtplL
; ,Uf;Fk;
rpWJk;gpey;y ,irje;jjh? eLq;Fk; ,b nky;ypa ,irfw;W
,dpikiaj;je;jjh? vd;Wjd; ftpijfspy; ghbAs;shh;.
,URlUk; vd; tho; T k;
fhiyvd;Dk; jiyg;gpy; ,aw;ifiag;ghNte;jh;>
'xspiaf; fz; N ld; fly; N ky; - ey;
czh; i tf; fz; N ld; neQrpy;
nespaf; f z; N ld; nghd; d pd; - fjph;
epiwaf; fz; N ld; ctif!
Jspiaf; fz; N ld; Kj; j ha; f ; - fsp
Js; s f; fz; N ld; tpopapy; !
njspaf; fz; N ld; itak; - vd;
nraypw; fz; N ld; mwNk!"
fly;Nky; xspiaAk;> neQ;rpy; ey;y czh;rr
; pfisAk;> fhtphp
MW nespeJ
; nry;tijAk;> gaphf
; is kfpor
; r
; p epiwaTk;> Jspfis
432
Kj;Jf;fshfTk;> fz;zpy; kfpo;r;rp nghq;FtijAk;> cyfk;

njsptiltijAk;> vd; nraypy; flTisg; ghh;j;Njd;. vd;Wjd;
urpj;j ,aw;ifia $Wfpwhh;.
njd; w y;
fhw;wpd; moiff; $Wk; ghNte;jh;>
'nghjpifkiytpl; n lOe; J re; j dj; j pd;
GJkzj; j py; Njha; e ; J >G+e; jhJthhp>
ejpjOtpmUtpapd; N jhs; ce; j pj; njw; F "
vd;Dk; thpfspy; nghjpifkiyapy; gpwe;Jre;jdkuj;jpd;
kPJ Nkhjp Gjpa kzj;ijg; ngw;W G+ff
; s; kPJ gl;L ejpiaj; jOtp
mUtpiaj; jhz;b njw;Fg; gf;fk; nry;Yk; njd;wy; fhw;W vd;W
fhw;W gpwe;J mJ vq;F nry;Yk; vd;gij $wpAs;shh;. NkYk;>
'me; j papNy ,sKy; i yrpyph; f ; f r; nre; n ey;
mbnjhlUk; kilg; G dYk; rpyph; f ; f > vd; w d;
rpe; i jcly; mZxt; n thd; Wk; r pyph; f ; f r;
nry; t k; x d; W tUk; > mjd; N gh; njd; w w; fhw; W "
fhiyapy; Ky;iyr; nrbfs; rpyphf
; f
; > nre;ney;ypd; mbnjhWk;
cs;sePh; rpyph;ff
; > cly; mZf;fs; xt;ntd;Wk; rpyph;ff
; > nry;tk;
xd;WtUk; mJjhd; njd;wy;. vd;W fhw;wpd; ,aw;ifia $wpAs;shh;
KbTiu
ghNte;jh; ghujpjhrd; jkJftpijfspy; ,aw;ifapd;
moif gy;NtW tiffspy; Gide;J $Wfpwhh;. epyk;>ePh;> fhw;W>
kapy;> Ky;iy kyh;> Nghd;wtw;wpd; moifAk; mtw;wpd; nray;
fshy; Rw;Wr;R+oy; ngWk; moifAk; ,tw;wpy; jdJ kdij
gwp nfhLj;jijAk; mofhf vLj;jpak;gpAs;sij ,f;fl;Liu
thapyhf mwpaKbfpwJ.
433
96. ,yf;fpaj;jpy; epyT

nj. rhe;jp
Kidth; gl;l Ma;thsh;
jkpo;j;Jiw
Nf.v];.Mh;.fiy mwptpay; fy;Y}hp>
,aw; i fapd; nfhilahd epytpidg; gw; w pa
,yf; f par; rhd; W fis moFgl vLj; j pak; G fpwJ
Kd; D iu:
Nguz;lj;jpy; moF kpspuf; fhl;rpjUk; ,aw;ifapd;
mw;Gjk; thdk;. G+kpapy; thOk; kf;fs; tpyq;Ffs;> gwitfs;
kw;WKs;s capupdq;fs; midj;jpwF
; k; thdj;jpd; %yk; fpilf;Fk;
ed;ikfs; Vuhsk;. thdpy; ,Uf;Fk; QhapW> epyT> tpz;kPd;fs;
MfpadTk; ,aw;ifapd; mjpraq;fs; MFk;. G+kpapd; xNu Jizf;
Nfhshf epyT tpsq;Ffpd;wJ. ,e;epytpidg; ghlhj Gyth;fNs
,y;iy vd;W nrhy;YkstpwF
; epyT gw;wpa nra;jpfs; ,yf;fpaq;fspy;
ngUkstpy; ,lk; ngWfpdw
; d. epythdJ ,yf;fpaq;fspy; jpqf
; s;>
kjp vd;Dk; ngah;fspYk; Fwpgg
; plg;gLfpdw
; J. ,uT thdpy; moF
nghq;ff; fhl;rpaspfF
; k; ,aw;ifapd; nfhilahd epytpidg; gw;wp
,yf;fpar; rhd;Wfspd; top tpsf;FtNj ,f;fl;Liuapd; Nehf;fkhFk;.
gpiwepyT :
epytpd; gpiwahdJ tsh;gpiw> Nja;gpiw vd;W ,Uepiy
fisf; nfhz;ljhf mikfpd;wJ. ,g;gpiw ,yf;fpaq;fpspy;
ngUkstpy; ,lk; ngw;Ws;sJ. ,sk;gpiwiaf; flTsh;fs;
434
#bf; n fhs; t jhff; $wg; g Lfpd; w J. rptngUkhidg; gw; w pf;

$Wkplq;fspy; ,sk;gpiwiar; rptd; #bAs;sik $wg n
; gWfpdw
; J.
mfehD}w;Wf; flTs; tho;j;jpy;
'nrt; t hd; md; d Nkdp mt; t hd;
,yq; F gpiw md; d tpyq; F thy; itvapw; W
vhpaife; jd; d mtph; e ; J tpsq; F Ghpril
Kjpuhj; jpq; f nshL RlUk; nrd; d p"
(mfehD}W. flTs; tho;j;J: 8-11)
vd;gjhy; mwpayhk;.
rpyg;gjpfhuf; fl;Liu fhijapYk; ,sk;gpiwia kJuhgjpj;
nja;tk; #bapUe;jik $wg;gLfpd;wJ. ,jid>
'rilAk; gpiwAk; jho; e ; j nrd; d pf;
Ftis cd; f z; jtsths; Kfj; j p"
(rpyg;gjpfhuk;. 23:1> 2)
vd;gjhy; mwpayhk;.
epyitg; Nghw;wpaik :
rpyg;gjpfhuk; 'kq;fytho;jJ
; g; ghly;" vd;Dk; fhij epyT>
QhapW> kio Mfpatw;iwg; Nghw;Wfpd;wJ. rpyg;gjpfhuf;
fhg;gpaj;jpd; Kjy; fhijiaNa ,aw;ifia tho;j;Jtjhf
,sq;Nfhtbfs; mike;jpUg;gjpy; ,Ue;J kf;fshy; ,aw;iff;
$Wfs; cah;e;j epiyapy; Nghw;wg;gl;Ls;sd vd;gij mwpa
Kbfpd;wJ. ,aw;ifiag; Nghw;wpj; njhlq;Fk; rpyg;gjpfhuk;
Kjypy; epyitg; Nghw;wpj; njhlq;Ffpd;wJ. ,jid>
'jpq; f isg; Nghw; W Jk; jpq; f isg; Nghw; W Jk;
nfhq; f yh; jhh; r ; n
rd; d p Fsph; n tz; FilNghd; w pt;
nrd;
tq; f z; cyfspj; j yhd; .
(rpyg;gjpfhuk; -1: 1-3)
vd;Dk; mbfshy; czuyhk;.
435
KOkjpehspd; ,aw;if vopy; :

KOkjpehs; gw;wpr; rq;f ,yf;fpag; Gyth;fs; nra;As;fspy;
epiwa ,lq;fspy; th;zid nra;Js;sdh;. KOkjpehspy;
fjputd; kiwtjw;Fs; fpof;Fthdpy; epyT moFnghq;ff;
fhl;rpaspf;Fk; epfo;tpid fohmj;jiyahh; vd;Dk; Gyth;>
'ctTj; j iy te; j ngUeh skaj;
jpURlh; jk; K Nzhf; f p nahURlh;
Gd; f z; khiy kiykiwe; jhq; F "
(Gweh.65 : 6-8)
vd;W moFwf; fhl;rpgg

; Lj;Jfpwhh;. thdpy; ,aw;ifapd; nfhilahd
epyT xt;nthU ehSk; ve;j Neuj;jpy; Njhd;wpf; fhl;rpjUk; vd;gij
cw;WNehf;fpg; gjpT nra;Js;shh;fs; ek; rq;ffhyg; Gyth; ngUkf;fs;.
,NjNghy; kzpNkfiyf; fhg;gpaj;jpd; Mrphpah; rPj;jiyr;
rhj;jdhh; epytpd; mofpid vopYwf; fhl;rpg;gLj;Jfpwhh;.
thdpy; tpsq;Fk; epytpd; xspahdJ nts;spf;Flj;jpy;
,Ue;J ghy;tPo;tJ NghYk; ,Ue;jJ vd;fpwhh;. ,jid>
'me; j p khiy eP q ; f pa gpd; d h;
te; J Njhd; w pa kyh; f jph; kz; b yk;
rhd; N whh; jq; f nza; j pa Fw; w k;
Njhd; W top tpsq; F e; Njhw; w k; Nghy
khrW tpRk; g pd; kWepwq; fpsu
Mrw tpsq; f pa te; j P e ; jz; f jph;
nts; s pntz; Flj; J g; ghy; n rhhp tJNghw;
fs; s tpo; ; G+k; n ghop ypilapilr; nrhhpa"
vd;Dk; mbfshy; tpsf;Ffpwhh; rPj;jiyr;rhj;jdhh;.
KOkjpehs; : ,e;jputpohj; njhlf;fk; :

KOkjpehspy; epythdJ thdpy; moF nghq;ff; fhl;rp
jUtij ehk; midtUk; mwpNthk;. KOkjpehspy; epyT
Njhd;wpaJk; G+kpnaq;Fk; tpsf;fKld; moFwf; fhl;rpaspf;Fk;.
,k;KOkjpehspy; ,e;jputpohf; nfhz;lhl;lk; njhlq;fg;gl;lijr;
rpyg;gjpfhuk; $Wfpdw
; J. ,jid>
436
'rpj;jpiur
piur;; rpj; j piuj; jpq; f s; Nrh; e ; n jd"
(rpyk;.5 : 64)
vd;gjhy; mwpayhk;.
epyT Nghy; xspUk; Kfk;

jpUKUfhw;Wg;gilapy; KUfdpd; ngUikfs; gyTk;
Ngrg;gLfpd;wd. xt;nthU giltPlb
; Yk; tPww
; pUf;fpd;w KUfdpd;
moFk; tPuKk; nfhilAk; Ngrg;gLfpd;wd. me;jtifapy;
jpUr;nre;J}hpy; tPw;wpUf;fpd;w KUfdpd; Kfk;> J}uj;J thdpy;
,Uf;Fk; epyT Nghy; xspAilaJ vd;fpwhh; ef;fPuh;. epyT
Nghy; KfKila KUfdpd; fhjpy; cs;s mzpfyd;fs;
tpz;kPd;fisg; Nghd;W fhl;rp jUfpd;wthk;. ,jid>
'eifjho; G J}ay; t &ck; tifmik nghyq; F io
Nrz; t psq; F ,aw; i f thd; k jp fit>
mfyhkP d pd; mtph; t d ,ikg; g
jh,y; nfhs; i fj; jk; n ghopy; Kbkhh;
kdd; N eh; G vOjU ths; j U KfNd"
(jpUKUfhw;Wg;gil.86-90)
vd;gjhy; mwpayhk;.
fz; Z f; F ,dpik :
,uT thdpy; epythdJ moFwf; fhl;rp jUtjhy; epyitg;
ghh;j;Jf;nfhz;Nl ,Uf;fyhk; vd;W Njhd;Wk;. rpWFoe;ijfs;
mOjhy; epyitf; fhl;b mOifia epWj;JfpNwhk;. thdnkq;Fk;
,Us;gue;J epyT ntz;zpwkhff; fhl;rpjUtjhy; ghh;g;gjw;F
kpfTk; mofhfj; Njhd;Wfpd;wJ. epytpid mfd;w thdpy;
fhz;gJ ,dpikahdJ vd;gijg; G+jQ;Nre;jdhh; vd;Dk; Gyth;>
'mq; f z; tpRk; g pd; mfy; e pyhf; fhz; g pdpNj"
(,dpait ehw;gJ. 9 : 2)
vd;Dk; mb tpsf;Ffpd;wJ.
437
tpz;kPd;fs; #o; kjp :

rpWghzhw;Wg;gilapd; ghl;Lilj;jiytd; ey;ypaf;
Nfhlidg; Gfo;e;J $Wk;NghJ thdpy; cs;s moFf; Nfhyk;
Rl;lg;ngWfpdw
; J. mjhtJ mofpa epythdJ tpzk
; d
P ; fSf;fpilapy;
tpsq;Fk; fhl;rpNghy; ey;ypaf;Nfhld;> jd;Dila Rw;wj;NjhL
,Ue;jhd; vd;gij ey;Y}h; ej;jj;jdhh;>
'gy; k P d ; eLtz; ghy; k jp Nghy
,d; d if MankhL ,Ue; N jhd; "
(rpWghzhw;Wg;gil. 219> 220)
vd;W Gfo;fpwhh;.
KbTiu:
kf;fs;> ,aw;iff; $whd epytpidj; jq;fs; tho;fi
; fNahL
,izj;Jg; Nghw;wpAs;s jd;ikia mwpa Kbfpdw
; J. ,aw;ifia
,urpf;Fk; jd;ikNahL mt;tpaw;ifia jq;fs; tho;tpd; gy;NtW
nray;ghLfSf;F mbg;gilahfg; gad;gLj;jpaijAk; mwpa
Kbfpd;wJ. NkYk; epythdJ ctikfspy; ngUkstpy; ,lk;
ngw;Ws;sJ vd;gijAk; mwpa Kbfpd;wJ. ,aw;iff; $whd
epytpidg; ghba Gyth;fs; G+kpapy; elf;Fk; gy;NtW epfo;Tfspy;
epytpd; jd;ikiaf; fz;Ls;shh;fs; vd;gJ GydhfpwJ. ,yf;fpak;
gilj;j Gyth;fspd; kdjpy; thd;$Wfs; gw;wpa epidT ve;NeuKk;
,Ue;Js;sij Gyth;fspd; nra;As;fs; topahf mwpaKbfpd;wJ.
epytpd; ,aw;ifnaopy; Gyth;fisg; nghpJk; <h;j;Js;sJ.
Jizepd; w E}y; f s; :
1. GwehD}W> lhf;lh; c.Nt.rhkpehijauth;fs; gjpg;G> lhf;lh;
c.Nt.rh E}y;epiyak;> nrd;id - 600090.
2. kzpNkfiy> lhf;lh; c.Nt.rhkpehijauthf;s; gjpg;G> > lhf;lh;
c.Nt.rh E}y;epiyak;> nrd;id - 600090.
438
97. jkpo;g; Gyth;fspd; ,aw;if

th;zid
jpUkjp eh.rhujhkzp
jpUts;Sth; muR fiyf;fy;Y}hp
,uhrpGuk;
,ae;jpu tho;f;if
Kd; N dhh; f isg; Nghy
gpd; g w; w p thoNtz; L k;
tho;e;J tUk; ehk;> ek;

,aw; i fahd tho; f ; i fiag;
vd; W $WfpwJ ,f; f l; L iu.
- gjpg; g hrpupaH
Kd; D iu
,aw;if moF vd;gJ ek; Kd;Ndhh;fs; fhj;Jitj;j
xU nry;tkhFk;. me;j ,aw;if moF vd;gJ ifGide;jpaw;wh
ftpd;ngU tdg;G. ifahy; nra;a ,ayhj xg;gidahy; Vw;gLj;j
,ayhj moFjhd; ,aw;if moF vd;gjhFk;. vl;Lj;njhif
E}y;fspy; xd;whd FWe;njhifapy; ,aw;if moif ehk; fhzyhk;.
mf;fhyj;jpy; tPLfspy; ehl;fhl;bfs; ,y;iy. Ky;iy
kyh;tjhy; fhh;fhyj;njhlf;fj;ij mwpth;. ,j;jid ehs; ehl;fs;
fopj;J jiytd; tUNtd; vd;W $wpr;nrd;whd; me;j ehl;fis
xU ehisf;F xU Nfhlhf Rthpy; vOjp vz;zpg;ghh;j;Jf;
fhj;Jf;fplg;gJ jiytpapd; nrayhFk;. ,t;thW fhj;Jf;fplf;Fk;
jiytpf;Ff; fhh;fhyk; njhlq;fptpl;lJ vd;gJ njupfpwJ. me;j
,aw;ifahd moif>
439
fhh;gUtj;jpd; njhlf;fj;ijf; Fwpf;f Ky;iyAk; kyh;ej

; J
ML khL Nka;ff
; r; nrd;w ,ilah; ifapy; fwe;j ghYld; tPlL
; f;F
te;J mjw;F khwhf czTg; nghUisf; ifapy; ngw;Wr; nry;Yk;N; ghJ
grpa Ky;iy kyu;fis epiwaj; jd; nrd;dpapy; #bapUg;gijg;
ghh;j;Jtpl;lhs; jiytp. gwe;Njhbj; jd; Njhopaplk; ,t;thW
$Wfpwhs;> mtNuh thuhh; Ky;iyAk; G+j;jd
ghnyhL te; J $nohL ngaUk;
MLil ,ilkfd; nrd; d pr;
#ba vy; y hk; rpWgR KifNa
- FWe; -221.
ts;Sth; $Wk; kio

,t;Tyf tho;tpy; kio nghopatpy;iy vd;why; jhdKk;>
jtKk; $l ,y;yhky;g; Ngha;tpLk; vd;fpwhh; ts;Sth;.
jhdk; jtk; ,uz; L k; jq; f h tpaDyfk;
thdk; toq; f h njdpd;
,t;Tyf tho;f;ifapy; ,aw;ifahdJ kpfTk; ,d;wpaik
ahjJ. ek; Kd;Ndhh;fs; ,aw;iff;F khwhd nray;fisr; nra;tjw;F
mr;rk; nfhz;L mjw;F ,iae;j tho;;ifNa tho;;e;jdh; vdNt
Nehaw;w tho;itg; ngw;W epk;kjpahd tho;f;ifia tho;e;jdh;.
,aw;if tsq;fis tsh;jJ
; ,g;GtpAyifg; gRikahfNt
ekf;F mspj;j ek; Kd;Ndhh;fs; khngUk; tpQ;Qhdpfs; vd;Nw
$wNtz;Lk;. ,aw;ifia Nerpj;J mtw;iw mopahky;f; fhj;J
Kiwahd xOf;fkhd tho;fi
; fia tho;ej
; th;fs; ek; Kd;Ndhh;fshth;.
ek; ,yf; f paq; f s; ,aw; i fiaj; nja; t khff; fUjg; g l; l
epfo;itf; $Wfpd;wd.
kJiuf; fhQ; r papy; Ik; G +jq; f s;

kJiuf;fhQ;rp ,aw;ifahd Ik;G+jq;fisAk; tpsf;FfpwJ.
Nfhapy;fspy; me;jpNeuj;jpy; khNahdhd tpoh vLf;fg;gLfpwJ.
ePUld; epyKk; jPAk; fhw;Wk; tpRk;Gkhfpa cyifg; gilj;jUspa
,iwtd; gpwthj cliyf; nfhz;L ,Ug;gtd; ,t;tpiwtd;.
thlhj kyu;fisAk;> ,ikahj fz;fisAk; cila
440
ePUk; epyDk; jPAk; tspAk;

khf t
pRk; N ghL Ie; J cld; ,aw; w pa
tpRk;
kO ths; nebNahd; jiytd; Mf>
455
,aw; i fahf Vw; g Lj; j g; g l; l moFfs; ,t; T yfpy;

gyTs;sd. ,tw;iwnay;yhk; tpLj;J ,d;iwa kdpjd; ,ae;jpu
tho;fi
; fia tho;eJ
; nfhz;bUf;fpwhd;. ek; Kd;Ndhh;fs; tho;fi
; fia
tho;ej
; hh;fs; Mdhy; ,g;NghJ mth;fisg; Nghy ehk; thotpy;iy.
kdpjd; nghUSf;fhf nghUsw;w tho;f;ifia tho;;e;
nfhz;bUf;fpwhd;. kpfNtfkhf Kd;Ndw Ntz;Lnkd;W vz;zp>
jk; eykhd tho;f;ifia gpd; js;Sfpwhd;. jhd; jdJ vd;w
Raeyj;jhy; ,aw;iff;Fg; Gwkhd nray;fisr; nra;J jdf;Fj;
jhNd Nfbid tpistpj;Jf;nfhs;fpwhd;.
ek; Kd;Ndhu;fs; rpwpJk; nraw;ifapy;yhj czTfis
tpistpj;J cz;L eyKld; tho;ej
; dh;.Mdhy; ,d;iwa kdpjd;
,aw;ifia tpLj;J nraw;ifahf cUthf;fg;gl;l tho;fi
; fia
ehfhpfk; vd;w ngahpy; jk;Kila Kd;Ndhh;fs; tplL
; r;nrd;w jhdk;>
jtk;> ,aw;if> MNuhf;fpak; Nghd;wtw;iw tpLj;J ,ae;jpu
tho; f ; i fia tho; e ; J ,aw; i fiaAk; mopj; J jhDk;
mope;JtpLfpd;whd;.
jkpo; ,yf;fpaq;fspy; ngUk;ghyhdit ,aw;ifia
Nghw;wpf; $WgitahfNt ,Uf;fpdw
; d. ,aw;ifapypUe;J kdpjDf;F
czTk; fpilf;fpwJ. Neha;fF
; kUe;Jk; fpilf;fpwJ. Fsph;r;rpAk;>
ntg;gKk;> fhw;Wk; midj;Jk; ,aw;if ekf;Ff; nfhLf;fpwJ.
FwpQ;rpg;ghl;L $Wk; ,aw;if

FwpQr
; pgg
; hl;L khiyapd; tUifia kpf mofhf th;zpff
; g;
gLfpwJ khd;fs; kuj;jbapy; $Lfpd;wd. gRf;fs; jk; fd;Wfis
mioj;jthW tUfpd;wd. gwitfs; gid kuq;fspd; mbklypy;
mkh;eJ
; nfhz;L> jk; Jizg; gwitia miof;fpd;wd> ghk;Gfs;
,iu Njl khzpff
; j;ij ckpof
; pdw
; d. kfsph; kiyaplj;Nj Rlh;fis
vw;wpj; njhOfpdw
; dh;> ghh;gg
; dh;fs; khiyapy; jhk; nra;aNtz;ba
nja;tf; fld;fisr; nra;jdh;. fhl;bYs;s fhdth;fs; guz;Nky;
441
jPf;filf; Nfhyhy; neUg;igj; Njhw;Wtpf;fTk; Kfpy;kiyiar;

#o;e;J fUj;jd. ,;t;thwhf me;jpg;nghOJ njhlq;fpaJ vd;W
FwpQ;rpg;ghl;L $WfpwJ.
khd;
fd;W
Vq;F
Xq;F
fzk;
gapu;
tapu;
,Uk;
kuKjy; njtpl;l> Md; fzk;

Fuy kd;W epiw GFju>
,ira nfhL tha; md;wpy;
ngz;iz mf kly; mft>
220
,t; t hW ,aw; i fahdJ khiy Neuj; j py; vt; t hW

fhzg;gLfpwJ vd;W ,e;jf; FwpQ;rpg;ghl;by; ehk; fhz;fpNwhk;.
,yf;fpaq;fs; vd;whNy Gytd; jhd; mDgtg;gl;l rKjhaj;jpy;
fhz;fpd;w epfo;itf; $WtJ ,yf;fpak;. me;j ,yf;fpaj;ijg;
Gytd; jd; fw;gidj; jpwj;jhy; mofhf Rl;bfhl;b> ,aw;if
moifAk; GFj;jp ,yf;fpaj;ij kpfTk; rpwg;Gkpf;fjhff; fhl;b
tpLfpd;whd; vdNt ,aw;if ek; kdjpy; gbkq;fshfNth> FwpaPL
fshfNth Njhd;WtJ Gyth;fspd; iftz;zj;jhy; MFk;.
njhFg; G iu
,d;iwa kdpjd; ,aw;ifiag; Nghw;wNtz;Lk;. mtd;
mt;tpaw;ifiaf; fz;fshy; fz;L kfpo;eJ
; %f;fpdhy; Efh;eJ
; >
nka;apdhy; czh;eJ
; > kdjhy; Ritj;J> nrtpfshy; ,dpa Fuy;
fisf; Nfl;L ,d;gkhf thoNtz;Lk;. ,t;thwhd tho;f;ifia
ek; Kd;Ndhh;fs; tho;e;Js;sdh; vd;gij ehk; ek; ,yf;fpaq;fs;
thapyhf czuKbfpwJ. vdNt kdpjd; ,ae;jpu tho;f;ifia
tpLj;J ,aw;ifahd tho;f;ifiag; gpd;gw;wp thoNtz;Lk;.
442
98. gwitfspd; thopl mikg;G

rP . rpe; J [h
Kidth; gl;l Ma;thsh;
jkpo;j;Jiw
ghujpahh; gy;fiyf;fofk;
Nfhit - 46.
gwitfspd; thopl mikg; G fs; Fwp; j ; j rq; f ,yf; f pag;
ghly; f is
El; g khf tpsf; f pr; nry; f pwJ ,f; f l; L iu
- gjpg; g hrpupaH
gwitfs; Xh; mjprag; gilg;G. ,it gpuhzpfspy; cahpa
th;f;fkhff; fUjg;gLk; KJnfYk;Gs;s th;f;fj;ijr; Nrh;e;jJ.
KJnfYk;Gs;s ,dq;fspy; mjpfkhd vz;zpf;iff; nfhz;lJ
kPdf
; s;> ,tw;wpwF
; mLj;jgbahd vz;zpfi
; fAilajhfg; gwitfs;
fhzg;gLfpd;wd. rq;f ,yf;fpag; Gyth;fs; jk;ikr;Rw;wp cz;ik
nad;W czh;ej
; tw;iwNa ctikahfg; gad;gLj;jpapUf;fpdw
; dh;.
mt; t ifapy; gilf; f g; g l; L s; s g; gwitfspy; rpytw; i wf;
Fwpj;Jk;> mtw;wpd; thoplk; Fwpj;Jk; mwpe;Jnfhs;Sk; tifapy;
,f;fl;Liu mike;Js;sJ.
gwitfspd; ,Ug; g plk;

gwitfs; $l;lkhfr; Nrh;e;J thOk; gz;Gilait. ,it
Kl;ilapLk; gUtfhyj;jpy; kl;LNk gwitfs; jd; N[hbNahL
jdpj;jdpahfr; nrd;WtpLk;. goq;fs; epiwe;j kuq;fspy; fpspfs;
$l;lkhf mkh;ej
; pUf;Fk;. je;jpf; fk;gpfs; NjhWk; J}f;fzhq;FUtpfs;
$l;lj;NjhL thpirahf ,Uf;Fk;. ,dg;ngUf;ff; fhyj;jpy; kl;LNk
gwitfs; jq;fSf;fhdf; $Lfisf;fl;Lfpd;wd. rpy gwitfs;
443
mg;NghJk; $Lfl;Ltjpyi
; y. khkprk; cz;Zk; gwitfspy; rpy
kiy cr;rpapy; $L mikj;Jf; nfhs;fpdw
; d. rpy gwitfs; rkkhdg;
gug;Gfspy; Nkil Nghd;Wk;> kuq;fspYk; jk; $l;ilf;fl;Lfpd;wd.
rpy gwitfs; kug; nghe;JfisAk;> ghiwr; re;JfisAk; thoplkhf
mikj;Jf; nfhz;L mjpy; Kl;ilfs; ,l;L jd; ,dj;ijg; ngUf;fpf;
nfhs;fpdw
; d." G+kpapy; gwit fhzg;glhj ,lk; ,y;iy. gdp %ba
tl JUtj;jpypUe;J gdp glh;ej
; j; njd; JUtk; tiug; gwitfisg;
ghh;f;fyhk;. twz;l ghiytdj;jpYk; gwitfs; tho;fpd;wd.
cah;e;j kiyfspYk; mit cs;sd. mlh;e;j fhLfspy; mit
kpf mjpfk;. fliy xl;bAk; gwitfs; fhzg;gLfpd;wd. kf;fs;
$l;lk; kpf;f efuq;fspy; $lg; gwitfs; tho;fpd;wd"1.
md;wpy; gwitapd; ,Ug;gplk;

md;wpy; gwitf; flw;fiuapYk;> flw;fiur; rpw;W}h;fspYk;
fhzg; g l; l g; gidkuq; f spy; tho; e ; J te; j jhfr; rq; f
,yf;fpag;ghly;fspy; Fwpg;Gfs; ,lk;ngw;wpUg;gij>
'neUg; g pd; md; d nre; j iy md; w py;
,wtpd; md; d nfhL tha; g ; ngilnahL"
-(FWe; - 160.)
neUg;igg; Nghd;w rpte;jj; jiyia cila Mz; md;wpy>;
,why; kPd; Nghd;w tise;j myif cila ngz; md;wpYld;
jlh kuj;jpd; cah;e;j fpisapy; cs;s jd; $l;by; mkh;e;J
nfhz;L xypf;Fk;> $jph; fhyj;jpYk; jiytd; tiutpw;F
tuhikia vz;zp tUe;Jtjhf ,g;ghly; mike;Js;sJ.
'ngz;iz xq;fpa ntz; kzw; glg; i g
md; w py; mfTk; Mq; f z;
rpW Fuy; nea;jy; vk; ngUq;fop ehl;Nl"
(mfk; - 120.)
nts;spa kzy; gutpa Njhl;lq;fspy; cs;s cah;e;j
gid kuq;fspy; thOk; md;wpy; gwitj; jd; Jizia
miof;Fk; nea;jy; epyk; vd;W $wg;gl;Ls;sJ.
444
'nrf; f h; Njhd; w j; JizGzh; md; w py;

vf; f h; g ; ngz; i z mfkly; Nru"
(mfk;- 260)
rpte;j thdk; Njhd;Wk; khiy Neuj;jpy; jd; Jiziag;
gphpahky; $bapUf;Fk; md;wpy; gwitahdJ kzy; Nkl;by; cs;s
gidkuj;jpd; cs;klypy; te;J milAk; vd;W $wg;gl;Ls;sJ.
'; ; g idkpir
md; w py; Nrf; F k; ; Kd; w py; . .."
(mfk;- 360.)
gid kuj;jpd; kPJ md;wpy; gwit jq;fpapUf;Fk; vd;W

,g; ghlybapy; $wg;gl;Ls;sJ.
ehiuapd; thopl mikg; G

ehiufs; gpg;uthp> khh;r; khjq;fspy; rJg;G epyq;fspYk;>
fspkz; epyq;fspYk;> ePh;epiyfs; epiwe;jj; jpwe;jntspg;
gFjpfspYk; mfd;w Nkil Nghd;W $L mikj;J mtw;iw
,Ug;gplq;fshff; nfhz;Ls;sd. kuf;fpisfspy; $l;lk; $l;lkhf
$L fl;bapUg;gij Ntle;jhq;fy; gwitfs; ruzhyaj;jpy;
fhzyhk;. ,Nj Nghd;W ehiuapdq;fspd; thoplkhfr; rq;f ,yf;fpag;
ghly; f s; kUj epyj; J g; ngha; i ffspYk; > fodpfspYk; >
godq;fspYk; trpg;gjhfTk;> mtw;wpd; trpg;gplj;jpw;Nfw;g fodp
ehiu> god ehiu vd Fwpg;gpl;Ls;sijg;>
'godg; ghfy; KapW %R Flk;ig
fodp ehiu ciuj; j ypw; nre; n ey; "
(ew; - 180)
,iu Mh; FUfpd; epiu giwj; njhOjp

thq;F klw; klw; Flk;ig> J}q;F ,Us; Jtd;"
(ew; - 123)
vd;Wk; FUfpd; epiwthdg; gwitf;$l;lk; nghpa fopapy; ,iu
jpd;w gpd; tise;j gid kly;fspy; fl;ba $l;by; ,uT
Neuj;jpy; neUq;fpapUf;Fk; vd;Wk; nea;jy; jpizapd; #oypy;
Fwpg;gplg;gl;Ls;sJ. ,jid 'jkpofj;jpy; cs;s nghUk;ghyhd
gwitfspd; thoplq;fs; tpisepyq;fNs rhh;eN; j mike;Js;sJ"2.
vd;W nraf;Fkhh; mth;fSk; $wpAs;shh;.
445
Gwhf; f spd; thoplg; g ad; g hL

Gwhf;fs; ntg;g kz;lyf; fhLfspy; mjpfkhf trpf;fpd;wd.
NkYk; ntg;gg; Gy;ntspfs;(rthdhf;fs;)> ghiy tdq;fs;> kpj
ntg;g kw;Wk; rJg;G epyf;fhLfspYk;> kyl;L epyq;fspYk;
trpf;fpd;wJ. rq;fg; ghly;fspy; tUk; Gwh Fwpj;jg; ghly;fs;
ngUk;ghYk; ghiyj; jpizf;FhpajhfNt fhzg;gLfpd;wd. ghiw
,Lf;FfspYk;> tPl;Lr; Rth;fspYk; rpW Rs;spfisf; nfhz;L
$L fl;Lk;. ,f; $l;bd; ,ilntsp topahf Kl;ilfs; fPNo tpOe;J
cile;J tpLtJk; cz;L. ,t;thW Gwhf;fs; ghJfhg;gpy;yhj
thoplq;fisNa nfhz;Ls;sJ. vd;gjw;fhdr; rhd;whf>
'...............................................ahid
Nthpe; X q; F rpWGwk; chpQ; > xy; f p
,l; b if neLQ; R th; tpl; l k; tP o ; e ; n jd
kzpg; G whj; Jwe; j kuk; N rhh; khlj; J .."
(mfk;- 167)
vd;w ghlypy; kzpg;Gwhf;fs; tho;e;J te;j mk;gyf; fl;llj;jpy;
ahidapd; KJF cuha;e;J tpl;lq;fs; tpOe;jjhy; Gwhf;fs;
mq;fpUe;J ePq;fp NtW ,lk; nrd;wjhff; $wpapUg;gjd; %yk;
Gwhf;fs; ghJfhg;gw;w tifapy; khlq;fspy; tho;e;Js;sikia
mwpaKbfpwJ.
Fapy;
gwitfspy; rpy $Lfl;lhky; gpw gwitfspd; $l;by;
Kl;ilapLk;. mg;gwitfSs; xd;W FapyhFk;. ,it kuf;fpisfspd;
,ilNa kiwe;J thOk; gz;GilaJ. Fapy; khkuq;fspy;
,Ug;gijg;>
'nghJk; G NjhW my; F k; G+q; fz; ,Uq; F apy;
ftW ngah; j ; j d; d epy; y h tho; f ; i f ,l; L
mfwy; Xk;Gkpd;> mwpTilaPh................." (ew; - 243.)
khkur; Nrhiyapy; vq;Fk; jq;fpapUf;Fk; G+g; Nghd;w
fz;fisAila Fapy;fs; mwpTilNahiuf; fz;L #jhL fUtp
446
Nghd;W tho;f;if epiyapy;yhjJ. Mjyhy; fhjypaiu tpl;Lg;

gphpAk; jiytidf; fhjypaiu tpl;L gphpahjPh; vd;W $WtJ
Nghy ,g;ghly; mike;Js;sJ.
'cs; Ch;f; FhP,f; fU cilj;jd;d
ngUk; NghJ mtpo; e ; j fUe; j hl; Gd; i df; "
(ew; - 231.)
tPlb
; iwg;gpy; thOk; Ch;fF
; Utpapd; Kl;il cile;jJ Nghd;W
Gd;id kuj;jpd; nghpa mUk;G kyh;tJ Fwpg;gplg;gl;Ls;sJ.
kapy;
kapy;fs; $L fl;b Kl;ilapl;L FQ;R nghhpf;Fk; gof;f
KilaJ. ,it Fr;rpfisr; Nrh;j;J te;J $Lfl;Ltjpy;iy.
Mdhy; Ms; elkhl;lk; ,y;yhj Xh; ,lj;jpy; cs;s rUFfisr;
Nrh;j;J> rpwpjhfg; gs;sk; gwpj;J> mjpy; $L fl;bf; nfhs;Sk;.
,ijj; jtphj
; J
; NtW gwitfs; fl;bAs;sf; $l;bYk; Kl;ilapLk;
gz;GilaJ. rq;f ,yf;fpaj;jpYk; kapy; $L gw;wpa FwpgG; cs;sij>
'kapy; mwpT mwpahkd; N dh"
(ew; - 13.)
vd;w ghlypy; cah;e;j kiyapy; cs;s $l;by; ,Uf;Fk;

kapy;fs; mwpahJ vd;W vz;zp fpspfs; jpizf; fjph;fisf;
fth;e;J nry;Yk; vd;W $wpAs;sjd; %ykhf mwpayhfpwJ.
kiyapy; thOk; kapy;fisg; Nghy GwehD}w;Wg; ghly; xd;W>
'god kQ; i Q AFj; j gP y p
fodp Aoth; #l; n lhL njhFf; F k; "
(Gwk; -13)
vd;W god kQ;iQ vd;Dk; ngaiuf; $wpAs;sijf; fhZk;

NghJ rq;f fhyj;jpy; kapy;fs; tay;fspy; tho;e;jpUf;fyhNkh
vd;W gwit E}yhh;fs; $wpAs;sf; fUj;J Vw;Wf;nfhs;sf;
$bajhf ,Uf;fpwJ.
Me; i j
kf;fspilNa tpUk;gj;;jfhj mr;rj;ij Vw;gLj;jf;$bag;
gwitahfj; jpfo;tJ Me;ijahFk;. Me;ijapd; nfhûkhdf;
447
FuYk;> mjd; ,iuNjLk; ,ay;Gk; ekf;F ntWg;igj; J}z;LtjhfTk;

,Uf; f pwJ. ,it RLfhl; b Yk; > ghiytdg; g FjpfspYk;
tho;fpd;wd. ,ijg; gw;wp rq;f ,yf;fpaj;jpy;>
'typJue; J rpiyf; F k; td; f z; fLe; J b
Gyp JQ; R neLtiuf; FbiQNahL ,ul; L k; . ."
(Gwk; - 170.)
,g;ghlypy; Jb vd;Dk; fUtp Gyp ,Uf;Fk; kiyapypUe;J
mq;F thOk; Nghuhe;ijAld; Nrh;e;J xypf;Fk;. mj;jifa
kiyiaAk;> ehl;ilAk; $h;ikahd NtiyAk; nfhz;bUg;gtd;
gpll
; q;nfhw;wd; vd;W $wg;gl;bUg;gjd; %yk; Me;ijfs; kiyg;
gFjpfspYk; tho;fpd;wd vd;gijj; njhpe;J nfhs;sKbfpwJ.
fUj; j ikT
gwf;Fk; NghJ gwitfs; XNu Nghy Njhd;wpdhYk;> cUtk;>

thopl mikg;G> czTKiw Nghd;w tho;tpay; gz;Gfspy;
khWgl;L ,Ug;gijr; rq;fg; Gyth;fs; ekf;F tpl;Lr;nrd;w
gilg;Gfs; %yk; njhpe;J nfhs;sKbfpwJ.
Fapy;> kapy; Nghd;w gwitfSk; jq;fsJ ,dj;ijg;

ngUf;fpf; nfhs;sj; Njitahd thoplj;ij mikj;Jf; nfhs;shJ>
gpw gwitfspd; $l;by; Kl;ilapl;L ,dg;ngUf;fk; nra;J
nfhs;tJ njhpe;J nfhs;sg;gl;lJ.
448
99.
b.nry;tuh[pd; NjePu; Gjpdj;jpy;

,aw;if
ng. rptN[hjp
Kidtu; gl;l Ma;thsu;> jkpo;j;Jiw

Nf.v];.Mu;. fiy kw;Wk; mwptpay; fy;Y}up (jd;dhl;rp)
jpUr;nrq;NfhL.
,aw; i fapd; moF vd; g J vy; N yhiuAk; ftUk;
jd; i k nfhz; l J vd; w fUj; i j b.nry; t uh[pd; NjeP h ;
Gjpdj; i jf; nfhz; L tpsf; F fpwJ ,f; f l; L iu
- gjpg; g hrpupaH
Kd; D iu
kdpjd; Njhd;wpa fhyfl;l Kjy; ,d;Wtiu kdpjDk;
,aw;ifAk; gpupff
; Kbahj xd;whf ,Ue;J tUfpwhd;. ,aw;if
vd;gJ kf;fspd; tho;NthL gpd;dp gpize;Js;sJ. ,aw;ifapd;
moF vd;gJ vy;NyhiuAk; ftUk; jd;ik nfhz;lJ. rq;f fhy
Kjy; ,f;fhyk; tiu midj;J ,yf;fpaq;fspYNk Gytu;fs;
,aw;ifNa Nghw;wTk;> Gfo;eJ
; Nk te;Js;sdu;. Ik;G+jq;fshd epyk;>
ePu>; fhw;W> neUg;G> thdk; Mfpa Ie;JNk ,aw;if kdpj tho;fi
; ff;F
mspj;j nfhilahFk;.gz;ila fhye;njhl;Nl flTs; topghl;bw;Fg;
gjpyhf ,aw;if topghNl kpFe;jpUe;jnjd;gij ,yf;fpaq;fs;
thapyhf mwpayhk;. gQ;r G+jf;nfhs;iffis kf;fs; ek;gpdnud;gij>
'epyk; j P eP u ; t sp tpRk; n ghL Ie; J q;
fye; j kaf; f k; cyfk; Mjypd"
vDk; ghly;tupfs; %yk; czuyhk;.
449
(njhy;)
,aw;ifia gw;wp b.nry;tuh[; mtu;fs; ,f;fhy ,yf;fpakhd

jdJ NjePu; Gjpdj;jpy;> gy;NtW ,lq;fspy; Gfo;eJ
; gilj;Js;shu;.
mtw;iw ,t;tha;T fl;Liuapy; fhz;Nghk;.
,aw; i f
,aw;ifapd; mofpy; ek; ftiyfs; vy;yhk; kwe;J NghFk;
vd;gij Uf;kzp vd;w ghj;jpuj;jpd; thapyhf Mrpupau; $WtJ.
'kiyiaj; jhz; b gs; s hj; j hf; f pd; topahfg; N ghFk;
ghijapy; te; j NghJ Uf; k zpf; F f; ftiynay; y hk;
kiwe; J kdj; j py; cw; r hfk; gpwe; j pUe; j J. ghijia
xl;bdhw;Nghd;W Ngha;f; nfhz;bUf;Fk; ePNuhilapdpd;Wk;
kzpf;FUtpfs; ,d;dpir vOg;gpa tz;zk; mk;igg;Nghy
fhw;iw CLUtpf; nfhz;L thd kz;lyj;ij Nehf;fpg;
g ha;eJ
;
nfhz;bUe;jd. Njd; rpl;LfSk; tz;z tz;z
tz;zhj;jpg; G+r;rpfSk;> $l;lk; $l;lkhf gwe;J
nfhz; b Ue; j d.
mts; jd;id kwe;J me;jf; fhl;rpia urpj;j
tz; z k; epd; W tpl; l hs; "
(b. nry;tuh[;> NjePu;> gf;-203).
kdjpy; ftiyNahL ele;JtUk; Uf;kzp ftiy kwe;J
cw;rhfk; gpwe;jpUe;jJ. ePNuhil> kzpf;FOtpfs;> Njd;rpl;Lfs;>
tz;zj;Jg;G+rr
; p ,itfs; $l;lkhf gwe;jjhfTk;> me;j ,aw;ifapd;
moif fz;L mts; jd;idNa kwe;jjhf Mrpupau; $Wfpwhu;.
mj;Jld; Mrpupau; ,aw;ifad;id kf;fSf;F Ntz;bNa
mupa fhl;rpia cUthf;fp cs;sJ vd;gij gilg;ghsu;>
vd;W ,aw;ifad;idapd; ngUikiaAk;> mJ kf;fSf;fhf
cUthf;fp itj;jpUf;Fk; ,dpa fhl;rpfisAk; $l ,aw;if Njtpapd;
moifAk; Mrpupau; mofhf Fwpg;gpl;Ls;shu;.
kio
'eP u pd; w p mikahJ cynfdpd; ahu; a hu; f ; F k;
thdpd; W mikahJ xOf; F "
(Fws; )
450
vd ePupd; Kf;fpaj;Jtj;ijAk;> KiwNa midj;J capupdKk;

rhu;ej
; pUf;fpd;wnjd;gijAk; ts;Stu; Rl;bf; fhl;Lfpd;whu;. kio
vd;gJ ,aw;if kdpjDf;F mspj;j kpfg;ngupa nfhilahFk;.
kioiag; gw;wp gilg;ghsu;>
'jfuf; $iuapd; cf;fpu fjpapy; tPo;e;J nfhz;bUf;Fk;
gUt kioapd; ,iur; r y; > kuq; f spd; cr; r pia
vy;yhk; mWj;njupAk; Ntfj;jpy; tPrpf; nfhz;bUf;Fk; fhw;wpd;
`_q; f huk; kiyfspYk; gs; s j; j hf; f pYk; fl; l We; j
Ntfj;jpy; Xbf; nfhz;bUf;Fk; ePu; tPo;r;rpfspd; Ntfk;
,itjhd; mikiaf; fpopj;J xypj;Jf; nfhz;bUe;jd"
NkyJ gf;.8)
,t;thW gUt kioapd; ,iur;rYk;> fhw;wpd; `_q;fhuKk;>
ePu; tPo;r;rpfspd; NtfKk; mikjpiaf; fpopj;J xypg;gjhfTk;>
'kioapd; cf;fpuk; Fiwe;jpUe;j NghJk; rpZf;fk;
Fiwatpy; i y. fhiyapy;
Njhd;wpa tpbT kq;fp
kPz;Lk
;
kQ;
R
%l;
l
k;
NgNuL
fsj; i jAk; "
k;
(NkyJ gf;.16)
Mrpupau; kioapd; moifAk;> mJ nts;skhf XLk; NghJ
vOk; rj;jKk;> kioapd; Jspfs; Fiwthf tPoe
; J
; nfhz;bUg;gij
rpZf;fk; vd;Wk; Fwpg;gpl;Ls;shu;.
gdp
gdp fhyj;jpy; ,aw;if mUspa kuq;fSk;> nrbfSk;>
Fspiu jhq;f Kbahky; fUFtij gilg;ghsu;
'Kd;gdp fhyk; te;J gdpg;glyk; tpOe;J nrb
fUFk;; tiuapy; Nkw;F kiyj; Njhl;lq;fspNy
nkhf;Ffs; fUFk
,g; g b xU uk; k pak; Kfhkpl; b Uf; F k; "
(NkyJ gf;.62)
vd;W Fwpg;gpl;Ls;shu;.
451
ntapy;
ntapypd; tUifia Mrpupau; Kfj;NjhL xg;gpl;L> G+kpj;
Njtpapd; kbapy; gl;L> tUl nrbfs; Jspu;jn
; jOfpwJ vd;gij
gilg;ghsu;>
'Nkiy kiyg; gpuhe; j paj; j py; kd; R +d; gUtkio
Xa; e ; J ntapy; Kfk; fhl; l j; njhlq; f p tpl; l J"
'thd kz; l yj; i j Nehf; f p vOe; J gfytdpd;
ntg; g j; i jj; jhq; f khl; l hky; fiue; J kiwa
eP y thdk; epu; t zkhf fhl; r pj; jUk; . R+upa Njtdpd;
,sk; fjpuf
; s; G+kpj; Njtpapd; kbapy; gl;L tUl> mtSf;Fr
r;;
rpypu; g ; G j; jl; b aJ Nghy; G+kpg; g ug; g py; eP y >kQ; r s; >
fgpy epwr; nrbfSk; G+z; L fSk; Jspu; njOk; "
(NkyJ> gf;.61)
vd;W Fwpg;gpl;Ls;shu;. kio epd;W ntapy; tUtjidAk;>
fjputdpd; xsp G+kpjN; jtpapd; kbapy; gl;L nrbfSk;> G+zL
; fSk;
Jspj;njOfpwJ vd;gij Rl;bfhl;Lfpwhu;.
thdtpy;
kio tUtjw;F Kd;G my;yJ gpdN; gh njupAk; thdtpyy
; pd;
moif urpff
; hjtu;fs; vtUk; ,y;iy. thdtpyi
; y gw;wp gilg;ghsu;>
'Nyrhf kio J}w;wy; Nghl;bUe;jJ fpof;Nf kiyiaj
kiyiaj;;
njhl; L f; nfhz; L
XLfpw khjpup thdtpy"
mOJ nfhz;bUe;j Foe;ijfisf; $g;gpl;lhs;.
rpy Foe;ijfs; te;jd.
fpotp Rl;bf; fhl;ba
,lj;jpy; fhZk; thdtpy;iyg; ghu;j;Jr; rpupj;Jf;

nfhz;ld.ntFNeuk; mJ elf;ftpy;iy.
'fQ; r p!" 'g
rpf; F Nj !"
'grpf;
452
(NkyJ> gf;.171)
Mrpupau; thdtpy;ypd; moif tpae;J ghu;j;j Foe;ijfs;

jq;fs; grpiaNa kwe;J tpl;ljhf jdJ Gjpdj;jpy; thdtpy;ypd;
moif gw;wp $Wfpwhu;.
KbTiu
,t;thW ,yf;fpaq;fspy; ,aw;ifapd; moifAk;> mJ
kf;fspd; tho;tpy; vt;thW vy;yhk; gad;gLfpwJ. mj;Jld;
,aw;ifapd; mofpy; kdpjd; jd; ftiyfisAk;> grpiaAk;
kwe;J ,urpf;Fk; tz;zk; ,aw;if mofdhJ vd;Wk;> kio>
gdp> ntapy;> thdtpy;> Nghd;w ,aw;if kdpjd; tho;tpy; vy;yh
tpjq;fspYk; xd;wpNa tUfpwJ vd;gij b. nry;tuh[{ mtu;fs;
,g;Gjpdj;jpd; thapyhf mofhf ntspg;gLj;Jfpwhu;.
453
100. ehybahh; top mwpag;gLk;

,aw;ifAk; tho;tpay; jj;Jtq;fSk;
jpU.J.#irgpufhrk>;
Ma;tpay; epiwQh; - jkpo;j;Jiw
Nf.v];.Mh; fiy kw;Wk; mwptpay; fy;Y}hp>
jpUr;nrq;NfhL.
jkpoh; tho; t pay; newpKiwfspd; cs; s P l hf ,aw; i f
tpsq; f pa ghq; f pid EtYtjhf ,f; f l; L iu
mikfpwJ - gjpg; g hrpupaH
Kd; D iu
ePjp ,yf;fpaq;fs; vd;w ngUq;flypd; topNa gy;NtW
tifahd tho;f;ifj; jj;Jtq;fs; $wg;gl;Ls;sd.mtw;wpy;
",aw;if" vd;w rhuhk;rj;ijf; nfhz;L Kd;Ndhh; gyh; kdpjd;
ePjpAlDk;>Neh;ikAlDk; tho gy;NtW mwf;fUj;Jf;fisf;
$wpAs;sdhh;. mtw;wpy; jpUf;FwSf;F mLj;j epiyapy; ghuhl;lg;gLk;
ehyhbahh; vd;w ePjp E}ypy; ,aw;if vd;w fUg;nghUspd; topNa
kdpj tho;tpaYf;Fj; Njitahd jj;Jtf; fUj;Jf;fs; ,f;fl;Liuapd;
topNa ,dpf; fhz;Nghk;.
,aw;ifAk; kdpj tho;tpd; nry;tKk; :'clh mJk; > cz; z hJk; jk; clk;
c lk;G nrw; W k;
nflhj ey; m wKk; nra; a hh; nfhlhmJ
itj; J <l; b dhh; ,og; g h; - thd; N eha; kiyehl
ca; j ; J <l; L k; NjdP f ; f hp."
454
,t;thpfs; %yk; NjdPff

; s; MdJ kpff;fLikahd cioj;J
Njd;fisr; Nrfhpj;J itf;Fk;. ehsiltpy; mj;Njd; ahUf;Fk;
gad;gltpy;iynad;why; tPzhfg; Ngha;tpLk;. mJ Nghy xU
kdpjd; jd; tho;ehspy; rpwe;j cilia mzpahkYk;>ey;y czit
cz;zhkhYk; fbd ciog;ghy; cly; eypeJ
; NghJk; $l ey;y
nray;fisr; $l nra;ahkYk; gpwUf;F jd;Dila nry;tj;ijf;
nfhLj;J cjtpnra;ahky; Nrh;fF
; k; nry;tKk; NjdPff
; s; Nrfhpjj
;
Njidg; Nghd;W gadpy;yhky; NghFk; vd;fpwhh;.
,aw;ifAk; kdpj tho;tpd; KJikAk; :'gdp gL Nrhiyg;gad; kuk; vy;yhk;

fdp cjph; e ; J tP o ; e ; j w; W ,sik edp nghpJk; . "
,aw;ifaikg;gpy; Fsph;rr
; p nghUe;jpa mofpa Nrhiyapy;
gy;NtW tifahd jq;fspd; ,sikg;gUtj;jpw;F Vw;wthW
gy;NtW goq;fisj; jUk;. mJNt KJik mile;jTld; fha;eJ
;
tpo;e;J tpLk;. mJ Nghd;W Ntiyg; Nghy mofpa $h;ikahd
fz;fisAila ,sikg;ngz;fis ek;g Ntz;lhk;.Vndd;why;
mtSk; gpw;fhyj;jpy; jhd; ,sikia ,oe;J KJikepiyapy;
Cd;WNfhypd; JizNahL tUk; epiyAk; tuyhk;.
Gy;Edpapd; ePh;j;JspNghy kdpj tho;f;if :'Gy; EdpNky; eP h ; N ghy; epiyahik vd; W vz; z p
,d; d pdpNa nra; f mwtpid- ,d; d pdpNa
epd; w hd; > ,Ue; j hd; > fple; j hd; > jd; N rhs; mywr;
nrd; w hd; vdg; g Ljyhy; ! "
,g;ghlypy;> Fsph; fhyj;jpy; Gy; Edpapy; ,Uf;Fk; rpwpa
ePhj
; ; JspadhJ epiyapy;yhj jd;ikiag; Nghd;wJ.mJ Kjypy;
,Uf;Fk; gpd; eOtprn
; rd;W tpLk;. mJ Nghd;Nw xU kdpjd; jd;
tho;fi
; fapy; epd;W nfhz;bUg;ghd; gpd; mkUthd; gpd; ,Wjpapy;
jk; cwtpdh;fs; khd; Jauk; milAk;gb ,wg;ghd;.Gy;ypd; ePh;
Jspiag; Nghd;W epiyapy;yhj tho;f;ifiag; ngw;w kdpjd;
thOk;nghONj ed;ik nra;a Ntz;Lk; vd;W Mrphpah; ,g;ghly;
top mwpTWj;Jfpwhh;.
,aw;ifAk; ey;y mwpTilNahh;fspd; xg;gPLk;.
455
'gLkio nkhf; f spd; gy; fhYk; Njhd; w p

nfLk; ,JXh; ahf;if vd;W vz;zp jLkhw;wk;"- 27
ed;F nga;fpd;w kioePhpy; Njhd;Wk; nkhl;Lfs; Nghd;w
mofpa Fkpopiag; Nghy ,e;j gue;j cyfpy; gyKiw Njhd;wp
mopAk; xUtifapid nghUs; jhd; kdpjh;fspd; clk;G
vd;gij ed;F mwpe;j rhd;Nwhh;fs; jhd; thOk; fhyj;jpNyNa
epiwa ed;ikfisr; nra;Ak; kdepiy cila mth;fisg;
Nghd;w nghpath;fs; Nghd;W ,t;Tyfpy; ahUk; ,Uf;fkhl;lhh;fs;.
,aw;ifAk; tho;f;ifj; jj;JtKk;

fUk; G Ml; b fl; b rpWfhiyf; nfhz; l hh;
JUk; G vOe; J Ntq; f hy; Jah; M z; L cothh;
tUe; j p clk; g pd; gad; n fhz; l hh; $w; w k;
tUq; f hy; ghptJ ,yh;
-35
,dpg;G vd;Dk; Ritiaj; jUk; fUk;ig Miyapy; Ml;b

mjd; rhw;wpdhy; nty;yf;fl;bia ey;y gjj;jpy; vLj;Jg;
gad;gLj;Jth;. Mdhy; vtw;Wf;FNk gad;glhj mjd; rf;ifia
jPapl;Lf; nfhSj;Jk;nghOJ tUe;jkhl;lhh;fs;. mJNghd;W jd;
tho;ehs; KOtJk; ey;y mwq;fisr; nra;J gpwtpg;gaid
mile;j ey;yth;fs; $w;Wtd; vd;w vkd; jd;Dila capiug;
gwpf; f tUk; n ghOJ Jd; g g; g l khl; l hh; f s; ,aw; i fAk;
tpyq; F fspd; ,dpikahd el; G k; .
',d;d h nrapDk; ,dpa xopf
vd; W
jd; i dNa jhd; Nehtpd; my; y J Jd; d pf;
fye; j hiuf; iftpLjy; - fhdf ehl
tpyq; f pw; F k; tps; s y; mhpJ"
76
Ie;jwpTila tpyq;Ffs; $l jhd; kw;nwhU tpyq;Fld;

neUq;fpg; gofpa gpd;dh; vj;jifa Jd;gkhd Neuj;jpy; $l
jhd; gofpa tpyq;if tpl;Lg; gphptJ ,y;iy. mJNghd;W
MwwpTila kdpjd; jhd; neUq;fpa ez;gd; jdf;F jPik
nra;jhYk; mtw;why; jdf;F ed;ikNa NeUk; vd;W vz;zp
mthpd; el;ig tpl;Ltplf;$lhJ vd;fpwhh;.
456
'mk; G k; moYk; mtph; fjph; QhapWk;

ntk;gpr; RbDk; Gwk; RLk;>
- 89
$h;ikahfpa mk;Gk;> kpf ntk;ikahfpa fjph;fisAila

#hpaDk; mjpf ntg;gj;Jld; Rl;lhYk;> clk;ig kl;LNk RLk;.
Mdhy; fhkk; vd;w nfhba ntg;gkhdJ clk;igAk; jhz;b
kdpjdpd; kdijr; RLtjhy; kdpj tho;tpy; fhkk; vd;gJ
mQ;rj;jf;f xU nrayhFk; vd;fpwhh;.
tpyq; F fisj; Jd; G Wj; J jyhy; Vw; g Lk; tpisTfs;
,Uk; G Mh; f ; F k; fhyh; Ma; Vjpyhh; f ; F Ms; M a;
fUk;G Mh;fodpAs; Nrh;th; - RUk;G Mh;f;Fk; -122
tz;Lfs; hPqf
; huk; ghLk; mofpa fhLfspy; thOk; nfsjhhp>
fhil Nghd;w gwitfisg; gpbj;J $l;by; milj;J itf;Fk;
kdpjh;fs; jq;fSila mLj;j gpwtpapy; gifth;fsplk; mbikahfp
tpyq;Ffs; Nghy elj;jg;gLth; vd;Wk; NkYk; fhLfspYk;>
typikahd epyq;fspYk; mth;fs; tpyq;Ffisg; Nghd;Nw
Ntiy thq;fg;gLth; ,itaidj;Jf;Fk; mth;fs; Kw;gpwtpapy;
nra;j jPtpidfNs fhuzkhFk;.
kpFjpahd nry;tKilahhpd; gadw;w nfhil
'nghd; d pwr; nre; n ey; nghjpNahL gP s ; t hl
kpd; x sph; thdk; flYs; S k; fhd; W tFf; F k; " -269
tay;fspy; mofpa nghd;Nghd;w epwKila nre;ney;
gapuhdJ fjph;fSld; thbf;nfhz;bUf;Fk; Mdhy; ,aw;ifahd
kioahdJ mt;tplk; nga;J mth;fSf;F caph; nfhLf;fhky;
tPzhff; flypy; nga;Ak;. mJNghy mwptw;W kpFjpahd
nry;tj;ij cilath; nra;Ak; cjtpAk; tPzhff; flypy;
nga;Ak; kioiag; Nghd;W gadw;wjhfg; Ngha;tpLk; vd;ghh;fs;.
KbTiu
,JfhWk; fz;ltw;why; ehybahh; vd;w mwE}ypy;
,aw;ifia rhuhk;rkhf; nfhz;L gJkdhh; $wpa tho;tpay;
jj;Jtf; fUj;Jf;fis ,f;fl;Liu topNa mwpeJ
; nfhs;s KbfpwJ.
457
101. kUj;Jtj;jpy; ,aw;if

tp.k.uk; a h
KidtHgl;lMa;thsH
Nf.v];.MH fiymwptpay; fy;Y}up(jd;dhl;rp)
jkpoh
pd; ,aw;if rhh;ej
; tho;tpaypy; kUj;Jt kuGfis
jkpohpd;
vLj; J iug; g jhf ,f; f l; L iumikfpwJ. - gjpg; g hrpupaH
Kd; D iu
,aw; i fapy; khWghL Vw; g Lk; N ghJ kdpju; f Sf; F g;
gytpjkhd Neha;fs; Vw;gLfpd;wd. ,e;Neha;fisj; jPu;g;gjw;F
kUj;Jt cyfpy; gytopfs; cs;sd. kUJt Kiwfspd; Kd;Ndhb
kUj;Jtkhfj; jpfo;tJ ,aw;ifkUj;Jtk;. Vnddpy; ,aw;if
kUj;Jtk; vd;gJG+kpapy; ,aw;ifahff;fpilf;ff;$ba nrbnfhbfs;
kuq;fs;kuq;fspd; ,iyfs; Ntu;fs; gl;ilfs; Mfpatw;iwf; nfhz;L
nra;ag;gLtjhy; mjpfg;gzk; nrytopf;fj; Njitapy;iy. NkYk;
,aw;if R+oypy; tsuf;$ba mr;nrbnfhbfs; vspjhf tPLfspd;
mUfpNyNa tsu;jJ
; j; Njitg;gLk; Neuq;fspy; gwpj;J kUj;Jtk;
nra;Jnfhs;sKbAk;. NkYk; gytifahd %ypifr; nrbfs;
jhkhfNt tsUk; jd;ik nfhz;ldthf ,Ug;gjhy; ,k;kUj;Jt
Kiwkf; f Sf; F vspjhdjhf mikfpd; w J. ,aw; i fapy;
fpilf;ff;$ba xUrpy %ypifr; nrbfisg;gw;wpAk; mtw;wpd;
kUj;Jtg; gad;fisAk; ehfhde;jRthkp vd;gtu; vOjpa
E}ypd;top tpsf;FtNj ,f;fl;Liuapd; Nehf;fkhFk;.
458
Xupjo; j hkiu
,k;%ypifr;nrb ,aw;ifahfNt tsuf;$baJ. fhu;fhyj;jpy;
nropj;JtsUk; jd;iknfhz;lJ. ,k;%ypifapd; kUj;JtFzq;fis
',k;%ypif Mz;ikf; FiwTf;F kpfTk;ey;yJ ,%ypif
%yk; gwpjJ
; epoypy; fhaitj;J ,bf;fpdw
; ehs; kl;Lk; ntspapy;
itj;J ney;ypf;fha; msTghypy; fhiyAk; khiyAk; rhg;gpl;Ltu
Mz;ik tpUj;jpahFk;. ,k;%ypifapy; ,Uk;Gr;rj;Jk; nrk;Grj;Jk;
mjpfkhf cs;sJ" (R+l;RkQhdjpwTNfhy;gFjp 1g.26) vd;W
$Wfpwhu; ehfhe;jhRthkp mtu;fs;.
ijNtis
,k;%ypifr;nrb midj;J ,lq;fspYk; tsUk; jd;ik
nfhz;lJ. ,r;nrbapdG; +ff
; s; ntz;ikepwj;jpy; ,Uf;Fk;. ,r;nrbapd;
,iyfisf; ifahy; njhLk; nghOJ tOtOg;ghf ,Uf;Fk;. ,jd;
kUj;JtFzk;gw;wp "jPuhjxUgf;fj;jiytypf;F VOijNtis
,iyia vLj;J mjDld; rpwpantq;fhak; xUgy;Nru;jJ
; ifapy;
itj;J ed;F frf;fpg; gpope;J rhnwLj;J ,lJgf;fk; jiytyp
vdpy; tyJ Gwf;fhjpy; tplNtz;Lk;. rpwpJ Neujpy;typvLf;Fk;.
mg;NghJ clNd jiyiar; rha;j;Jrhiw ntspNaw;wNtz;Lk;.
....... rpye;jpfl;bf;F %yk; miuj;J G+rptu FzkhFk;" (R+l;Rk
QhdjpwTNfhy;gFjp 1g.48) vd;W$Wfpwhu;.
mk; k hd; gr; r uprp

,jpy; ,uz;L tiffs;cs;sd. xd;W gr;ir epwj;jpYk;
kw;nwhd;W rptg;Gepwj;jpYk; ,Uf;Fk;. ,k;%ypif 'tapw;Wg;Gz;
tha;gG; z; ,itfisMw;Wk;. cly;R+li
; lFiwf;Fk;. NkYk; ,k;%ypif
jha;g;ghiyngUf;Fk;. NkYk; gy tpahjpfisf; FzkhFk;.
,k;%ypifapy; nts;sprj;J mjpfk; cs;sJ". (R+l;RkQhd jpwT
Nfhy;gFjp 1g.40)
Fg; i gNkdp
,JtPl;bd; mUfpNyNa fpilf;f$ba %ypifahFk;. ,J
vy;yhfhyq;fspYk; fpilf;f$ba%ypif. ,k;%ypif Fstpf;
fbfSf;F ,ij ed;whf miuj;J clk;GKOtJk; ed;F Nja;j;J
459
fhaitf;fNtz;Lk;. fhaitf;Fk;nghOJ mjpf vupr;ry;Vw;gLk;.

mg;nghOJ nte;euP py; ed;FFspjJ
; tplNtz;Lk;. ,NjNghy; 48 ehl;fs;
nra;a Fstpf;fb rk;ke;jg;gl;l Neha;fs;jPUk;. ,f;fhyj;jpy;
fj;jpupf;fha; rhg;gplf;$lhJ. NkYk; gyNeha;fis ,JNghf;Fk;.
jPg;Gz;fisMw;Wk;. rpWrpWtprq;fisg; Nghf;Fk; tapw;Wtypf;F
Fg;igNkdpiaAk; cg;igAk; Nru;j;Jf; nfhLf;fclNdjPUk;.
,uj;j %yj;ijg;Nghf;Fk;. thjNuhfj;ijg; Nghf;Fk;. rsp ,Uky;fis
ePf;Fk;. ,uj;jj;ij Rj;jk;nra;Ak;. ,k;%ypifapy; cg;Gr;rj;J
mjpfk;cs;sJ". (R+l;RkQhdjpwTNfhy;gFjp 1g.34)
%ypif gwpf;Fk; Neuk;

R+l; R kQhdjpwTNfhy; E}ypd; Mrpupau; %ypiffis
gwpf;Fk;Neuj;ijg;gw;wpAk; $wpAs;shu;. ,iwtdhy; gilf;fg;gl;l
midj;J [PtuhrpfSf;Fk; czu;TfSk; czu;r;rpfSk; cz;L.
mNjNghy; midj;J capu;fSf;Fk; J}q;Fk; Neuk;cz;L. fy;Yk
J
; }q;Fk; vd;ghu;fs; Kd;Ndhu;fs;. me;jpNeuj;jpy;jhd; ngupafy;iy
J}f;fpitj;J Myak; fl;bdhu;fs;. cyfpy; cs;scapu;fSf;F
capu;nfhLf;Fk;jhtuq;fSk; %ypiffSf;Fk; J}q;Fk;Neuk; cz;L.
J}q;Fk; Neuj;jpy; %ypiffisg; gwpjj
; hy; me;j%ypiff;F capu;
,Uf;fhJ. %ypiffs;> jhtuq;fs;khiy 5.40f;FNky;J}q;f Muk;gpfF
; k;.
mjw;FKd;ghfNt gwpjj
; hy;jhd; KOikahd gyd;jUk;. mNj Nghy;
fhiy 5.40 kzpf;Ftpopf;f Muk;gpf;Fk;. vdNt 6.40f;F Nky;jhd;
%ypiffis gwpf;fNtz;Lk;. (R+l;RkQhdjpwTNfhy;gFjp 2 g.37)
%ypifiag; gwpf; F k; Kiw
%ypifiag; gwpg;gjw;nfd;W rpytopKiwfs; cs;sjhf
R+l;Rk Qhd jpwTNfhy; vd;Dk;E}ypd; Mrpupau; Fwpg;gpLfpwhu;.
%ypiffisf; fhiyapy; Nkw;Nf ghu;j;Jk; khiyapy; fpof;Nf
ghu;jJ
; k; gwpjj
; hy; mk;%ypiffSf;F capu,
; Uf;Fk; vd;W $Wfpwhu;.
NkYk; mk;%ypiffis QhapwW
; f;fpoikapy t
; Uk; mkhthir ehspy;
gwpj;jhy; mjpfgyd; cz;L vd;Wk;;mJNt G+r el;rj;jpuehshf
,Ue;jhy;kpf mjpfg;gyd; cz;L vd;W $Wfpwhu;. mkhthir jpdj;jpy;
gwpj;jhy; MWkhj fhyj;jpwF
; k;> kw;w ehl;fspy; gwpjj
; hy; ,uz;L
khj fhyj;jpw;Fk; R+upafpufzk; md;W fhg;Gf; fl;bg;gwpj;jhy;
,uz;L tUlq;fSf;Fk; gyd; cz;L vd;Wk; $Wfpwhu;.
460
fhg; G f; f l; L k; K iw
%ypiffisf; fhg;Gf;fl;bg; gwpg;gjw;Fk; rpytop Kiwfs;
cz;L." %ypiffSf;F Qhapw;Wf; fpoik nrt;tha; fpoik
tpahof;fpoik ,k;%d;W ehl;fspy; jhd; fhg;Gf; fl;l Ntz;Lk;.
%ypiff;F fhg;G fl;Ltjw;F Kd;G me;j %ypifiar; Rw;wp
Rj;jk; nra;J %ypifapd; Nky;%d;W Kiw kQ;rs;nghb fye;j
jz;zPiuj; njspj;Jtpl;L gpd; Njq;fha; gok; ntw;wpiy ghf;F
R+lk; itj;J gilj;J Ie;J vYkpr;rk;goj;ij mWj;J mjpy;
Fq;Fkk; jltpvl;LjpirfSf;Fk; Nghl;Lthdj;Jf;Fk; G+kpf;Fk;
Nru;jJ
; nkhj;jk; gj;J jpirfSf;F jpir fl;Lfl;lTk;.. %ypifapd;
mUfpy; xUvYkpr;rk;goj;ij itf;fNtz;Lk;. gpd; fd;dp fopahj
ngz;zplk; gUj;jpg; gQ;ir nfhLj;J mij E}yhf jpupff
; r; nrhy;yp
me;jE}ypy; Kid Kwpahj kQ;risf; fl;b mij fpof;F my;yJ
tlf;F gf;fk; ghu;jj
; thW epdW
; nfhz;L %ypifapd; mbghfj;jpy;
xUKiw ke;jpuk; nrhy;yp ,uz;lhtJ Kbr;Rk; %d;whtJ ke;jpuk;
nrhy;yp %d;whtJ Kbr;Rk; Nghl;L xU ke;jpuj;ij %d;W Kiw
nrhy;yp fhg;G fl;l Ntz;Lk;. ,e;j Qhapw;Wf;fpoik fhg;Gfl;L
fpNwhk; vd;why; mLj;j QhapwW
; fpoik %ypifapy; mUfk;Gy; rhj;jp
jpUePW Nghl;L J}gk; fhl;b %ypifia gwpff
; Ntz;Lk;. ,JNt
%ypiff;Ffhg;Gfl;Lk;Kiw". (R+lR
; kQhdjpwTNfhy;gFjp 1 g.143)
KbTiu
,aw;ifapd; khWghl;lhy; kdpju;fSf;F xUrpyNeha;fs;
Njhd;wpdhYk; me;Neha;fs; Fzkhtjw;F ,aw;if kdpju;fSf;F
gy;NtW%ypifnrbfisj; je;Js;sij ,f;fl;Liuapd; thapyhf
mwpfpNwhk;. %ypiffis ve;j Neuj;jpy; gwpj;jhy; gyd; jUk;
vd;gijAk; gwpg;gjw;nfd;W cs;s topKiwfisAk; R+l;Rk
Qhd jpwTNfhy; E}ypd ;top mwpaKbfpd;wJ.
461
102. FwpQ;rpg;ghl;L czh;j;Jk;

gwitfs; Fwpj;j nra;jpfs;
jpUkjp tp\; Z gphpah
jpUts;Sth; muR fiyf;fy;Y}hp
,uhrpGuk; -637401
FwpQ; r pg; g hl; b y; ,lk; n gWk; gwitfs; Fwpj; j
El; g khd nra; j pfisf; $WtJld; gpw; f hyf;
ftpQh; f splk; FwpQ; r pg; g hl; L Vw; g Lj; j pa jhf; f j; i j
nkhopfpwJ ,f; f l; L iu - gjpg; g hrpupaH
Kd; D iu
Md;Nwhh; Gfo;e;j mwptpdpy; nwhpe;J rhd;Nwhh; ciuj;j
jz;lkpo;j; njhpay; xUgJ ghl;bDs; vl;lhk; vz;ZKiwf;fz;
epd;wp ,f; FwpQ;rpg;ghl;il ,aw;wpath; fgpyh; vd;Dk; ey;ypirg;
Gyth; vd;gh;. ,th; nre;jkpog
; ; ghz;behl;bYs;s jpUthjT+h; vd;Dk;
%J}hpy; gpwe;jth;. fgpyh; ,g;ghliy Mhpa murd; gpufjj;jDf;F
jkpo; nkhopapd; rpwg;ig mwpTWj;jg; ghbdhh;.
fgpyUila tho;ehspd; Kw;gFjp xg;gw;w ,d;gKilajhf
mtUf;F mike;jJ. mf;fhyj;Nj ,th;jk; csf;Nfhapypy;
tPw;wpUe;jUspa nja;j; jPe;jkpo; md;idf;Fr; rpwe;j mzpfyd;
gw;gy ,aw;wp> mzpe;J mzpe;J kfpo;thuhapdh;. rq;f E}y;fs;
vd ehk; Nghw;Wk; ek; ,yf;fpar;nry;tq;fSs;> ghl;Lk;> njhifAk;>
fPo;f;fzf;Fk; Mfpa Kj;jpwj;J ,yf;fpaq;fSs;Sk;> ,g;Gyth;
,aw;wpa jPQR
; itr; nra;As;fs; jpfo;fpdw
; d. ,th; ,aw;wpaitahf
,d;W ek; iff;F vl;ba nra;As;fs; 279 vd;g.FwpQ;rp epyj;jpNy
Njhd;wpf; FwpQr
; p epyj;jpNy gapdW
; me;epyj;jpd; Kjy;> fU> chp
462
vd;Dk; Kj;jpwj;j nghUs;fisAk; Ez;zpjpd; czh;eJ

; mt;Tzh;rr
; p
Kjph;tpdhy; ,th; ahj;j nra;As;fs; xg;gw;w eyDilaitahfj;
jpfo;fpdw
; d. ,tw;wpy; FwpQr
; pgg
; hl;by; gwitfs; gw;wpa nra;jpfs;
nefpo;Tgl Mrphpah; rpj;jhpj;Js;shh;.
jiytp jpidg;Gdk; fhj;jy;

rq;ffhyj;jpy; FwpQr
; pepyj;jpy; tho;ej
; kf;fs; jpidg; gapiug;
gapupl;ldh;. jpidg;Gdk; tpise;J fplf;ifapy; FUtpfs; mjidj;
jpdW
; mopfF
; k;. ,r;#oypy; ngw;Nwhh; jq;fs; Gjy;tpiaAk; mtSila
NjhopfisAk; jpidg;Gdf; fhtYf;F mDg;gpitf;fpd;wdh;.
,jidf; FwpQr
; pgg
; hl;bd;%yk; njspthf mwpeJ
; nfhs;s KbfpwJ.
n ey; nfhs; neL ntjpu;fF
;
mze;j ahid>
Kj;J Mu; kUg;gpd; ,wq;Fif fLg;g>
Ja;j; jiy thq;fpa GdpW jPu; ngUq;Fuy;
ey; Nfhs; rpW jpidg; gL Gs; Xg;gp>
vy; gl tUjpau; vd> FwpQ; r pg; g hl; L
- 35-39
,g;ghlypd; %yk; ngw;Nwhh;> jpidg; Gdk; fhj;jYf;F
kfis mDg;gpa nra;jpiaAk;> jiytpAk;> NjhopAk; fhty; nra;J
tpl;L tPL jpUk;gpa epiyapidAk; njhpe;Jnfhs;s KbfpwJ.
FwpQ; r pg; g hl; b d; jhf; f k;

ts;spjpUkzf; fijg;ghlypy>; jpidf;fjph; tpise;J fplf;Fk;
epiyapidAk;> MNyhyk; ghb ts;spAk; mtsJ NjhopfSk;
gwitfis tpul;ba epiyapidAk; ghly;fs; njhptpf;fpd;wd.
ts;spapd; $w;whf>
jpidg; Gdj; i jg; ghLq; f b
nre; j pidAk; tpise; j pUf; F
kzp gpbj;j kly; rha;e;J
kz; kP j py; rha; e ; j pUf; F
FUtpfSk; nfhf; F k; jpd; W
FUl; L rf; i fah ,Uf; F
vd;W ghly; njuptpf;fpwJ. MNyhyk; ghb gwitfis tpul;ba
epiyia>
463
ghh; j ; j hNu Fwf; n fhbia

guz; N kNy epd; w tSk;
MNyhyk; ghLtij
mwpe; j hNu ehujUk;
vd; W k; >
MNyhyk; vd; W ghLq; N fh
Nrbfhs; eP q ; f s;
MSf; N fhh; gf; f k; epy; Y q; N fh
vd;Wk; Fwpgg
; pLfpwJ. fgpyh; $wpAs;s jpidg;Gdk; fhj;jy; epfo;it>
Nkw;$wpa ghlypd; %yk; moFk; XirAk; kpFe;J ghbAs;shh;.
jiytp gwitfis tpul;ba fhl;rp

jpidf;fjph;fs; tpise;Jfplf;Fk; mofhd fhl;rpapidf;
FwpQ;rpg;ghl;L Fwpgg
; pLfpwJ. kdpjh;fs; ,y;yhky; gwitfs; tho;eJ
;
tplKbAk;. gwitfs; ,y;yhky; kdpjh;fshy; thoNt KbahJ.
vd;whh; gwitapayhsh; ryPk; myp. gwitfsw;w xNu ehspy; G+rr
; pfs;
,e;j cyfpy; kdpjh;fis ,y;yhky; nra;JtpLk;. ,e;j ,aw;if
rkepiyiaj; njhpe;Jjhd; 'gFj;Jz;L gy;Yaph; Xk;Gf" ,jd;
Njitia jpUf;Fws; 1 typAWj;JfpwJ. rq;ffhyj;jpy; gwitfis
tpul;bdhh;fNs jtpu mtw;iw xJf;ftpy;iy. Mdhy; ,d;Nwh>
nghpa VhpfspYk;> Fsq;fspYk; gwitfs; njd;glhky; Nghdhy;
me;j ePh; mUe;Jtjw;Fj; jFjpaw;wJ vd;W nghUs;. rhaf; fopT
fisAk; njhopw;rhiyf; Fg;igfisAk;> Mw;wpy; nfhl;bdhy;
vg;gbg; gwitfs; tUk;? thOk; ,aw;if rpye;jp tiyiag; Nghd;wJ.
xU ,iyiaj; jl;bdhYk;> nkhj;j ,lj;jpYk; mjph;Tfs;
vjpnuhypf;Fk;. md;iwa rq;ffhyj;jpy; ,aw;ifiag; Nghw;wpdh;.
xd;wp tho;e;jdh;. kfpo;r;rpNahLk; ,Ue;jdh; vd;gjw;fpzq;f
guz;kPJ mkh;e;J jiytpAk; NjhopAk; gwitfis tpul;ba
fhl;rpiaAk;; ek;Kd; glk;gpbj;Jf; fhl;LfpwJ.
ney; nfhs; neL ntjpu;f;F mze;j ahid>
Kj;J Mu; kUg;gpd; ,wq;Fif fLg;g>
ey; Nfhs; rpW jpidg; gL Gs; Xg;gp>
vy; gl tUjpau;vd> eP tpLj;jypd;
464
fyp nfO kukpirr; NrNzhd; ,ioj; j

Gyp mQ;R ,jdk; Vwp
FwpQ;rpg;ghl;L - 35-41
,tw;NwhL gwitfis tpul;l rj;jkpl;lijAk; FwpQ;rpg;
ghl;L Fwpg;gpLfpwJ.
Gs; Mu; ,aj;j tpyq;F kiyr; rpyk;gpd;>
ts; capu; j ; njs; tpsp ,il,ilg; gapw; w p>
fps; i s xg; g pAk; >
FwpQ;rpg;ghl;L -9-100
NkYk; gwitfisg; guz;Nky; mkh;e;J vwpjoy;> jl;il>
Fsph; Nghd;w fUtpfisf; nfhz;L tpul;ba epiyapidAk;
Gyp mQ;R ,jzk; Vwp> mtz>
rhuy; R+uy; jif ngw tyj;j>
joYk; jl; i lAk; FspUk; > gpwTk; >
fpsp fb kugpd> Co; Co; thq;fp>
cuTf; fjpu; njW}ck; cUg; G mtpu; mkaj; J
FwpQ;rpg;ghl;L -41-45
FwpQ;rpg;ghl;by; Muthukpf;f kuj;jpd; kpir NrNzhd;
,aw;wpj; je;j guzpd;fz; VwpapUe;J joy; Kjypa fpspfb
fUtpfis Kiwahff; ifapNy nfhz;L fpspfis Xl;bdh;.
jiytp moFz; l hf; f pf; n fhs; S jy;

kioahNy J}ajhf;fg;gl;l ghiwapd;fz;> ahq;fs; gwpj;j
kyiuf; Ftpj; J > gwitfspd; Xirahfpa ,d; d pirf;
fUtpfisAila jpidg;Gdj;jpd;fz;> xypkpf;f nrhy;yhNy
,ilapilNa $tpf;fpspfis Xl;b> my;Fyplj;Nj
jiofl;bALj;J> gd;dpw kyu;f; NfhijfisAk; mk;KbapNy
moFz;lhff; fl;b> mNrhf jz;zpoypNy ,dpNj tPww
; pUe;jdkhf>
mg;nghOJ>
fps; i s xg; g pAk; > fpis ,jo; gwpah>
ig tpup my;Fy; nfha;jio ij,.
gy; NtW cUtpd; tdg;G mik Nfhij> vk;
465
nky; ,U Kr;rp> ftpd; ngwf; fl;b>

vup mtpu; cUtpd; mk; Fior; nraiyj;
jhJ gL jz; epoy; ,Ue;jdk; Mf FwpQ;rpg;ghl;L -96-106
moF tPw;wpUg;gjw;Fj; jFjpahd jz;zpoy; tphpj;Jj;
jPk;gpok;Gfs; njhFj;jhw; Nghd;W vopYw kyh;e;J mofpa
jspf;fNshNl jd; epoypNy tPw;wpUf;fpwhs; jiytp.
KbTiu
FwpQ;rpg;ghl;by; fpspfs; gwe;J te;J jpidg;Gdj;ij
mopj;j nra;jpfs; ,lk;ngw;Ws;sd. nghJ epiyapy; fjph;fisj;
jpd;dte;j epiy Fwpj;J njuptpf;fpwJ. fgpyh; Nghd;w Gyth;fs;
gwitapdq; f is Nkk; g Lj; j pg; ghly; f is ,aw; w pajhy;
mtUf;Fg; gpwF te;j ,Ugjhk; E}w;whz;Lf; ftpQuhd ghujpapd;
Mde;j gutrk; jJk;Gk; thpfs; gpwe;jd. ,aw;ifAk; jhDk;
xd;W vd;Dk; czh;tpd; miyfs; cUthapd.
'fhf;if FUtp vq;fs; rhjp - ePs;
flYk; kiyAk; vq; f s; $l; l k;
Nehf; F k; jpirnay; y hk; ehkd; w p Ntwpy; i y
Nehf; f Nehf; f f; fspahl; l k; "
vd;W ,aw;ifia khDlj; Njhodhf ghtpj;jhh;.
mbf; F wpg; G
1.jkpo; kz;Nz tzf;fk; - njhFg;G - j.nr.QhdNty;
466
103. fhg;gpaq;fspy; ,aw;if

nry; t p eh. [hd; r puhzp
Kidth; gl;l Ma;thsh;> (gFjpNeuk;)
kJiu fhkuhrh; gy;fiyf;fofk;>
kJiu-21
fhg; g paq; f spy; ,lk; n gWk; ftpDW fhl; r pfis
rpwg; g hf vLj; J iuf; f pwJ ,f; f l; L iu
- gjpg; g hrpupaH
rpyg; g jpfhuk;
NruehL je;j rpyg;gjpfhunkDk; rPhpa fhg;gpaj;jpy; gy
,aw; i ff; f hl; r pfisf; fij epfo; ; r rpfNshL newpg; g Lj; j p
mspff
; pdw
; hh;. ,sq;Nfhtbfs;> Gfhh; fhz;lj;jpy; Nrho ehl;bd; kUj
tsj;ijAk;> gl;bzj;jpd; nea;jy; epyr; rpwg;igAk; mofhfg;
Gide;Jiuf;fg;gLfpdw
; d. kJiuf;Fr; nry;Yk; top Ky;iyahfTk;>
ghiyahfTk; fhl;rpj; je;jJ vdTk; tQ;rpapd; kiy FwpQr
; pahfTk;
mike;jJ vdTk; mofhf th;zpf;fpwhh; ,sq;Nfhtbfs;.
,aw;ifahfNt ,iwahff; fUjp tzq;fpdh; gz;ila
jkpoh;. mjd; kuGg;gb ,sq;Nfhtbfs; ,aw;ifg; nghUs;fisj;
jk; E}ypd; njhlf;fj;Nj Nghw;Wtijf; fhzyhk;. rq;f ,yf;fpa
kugpd; gb ,a;wifiaf; ifahSk; epiyfs; midj;Jk; rpyk;gpYk;
te; jd. ghj;jpug;gz;ig tpsf;f ,aw;ifiag; gad;gLj;Jjy;
mbfSf; N f chpaJ. ,aw;ifiaf; fijf;Fg; gad;gLkhW
,aw;Wfpdw
; hh; ,sq;Nfhtbfs;. ,aw;ifapy; nefpo;itf; fhl;bg;
gpd;tUk; epfo;Tfis Kd;Nd czh;jJ
; fpdw
; hh;. kyph; ePh; kiw kyuhil
Nghh;e;J tUk; ngha;ahf; Fyf;nfhb itiaAk; (GwQ;Nrhp.170-
467
174)> GwQ;Nrhpia mLj;j gFjpapy; epiyaw;W eLq;Fk; ePh;

kyh;fisAk; (NkyJ.184-188)> fhl;bf; NfhtyDk; fz;zfpAk;
Jd;GWth; vd;gij czh;j;Jfpd;whh;.
,aw;ifiaf; fhg;gpaj;jpy; tUk; fijf;F Vw;wthW
,izj;Jg; ghLtjy; rpyk;gpy; fhzg;gLk; nra;jpahFk;. fhg;gpa
Nehf;fjpwN; fw;g ,aw;if miktJ ,Wjpepiy ngz;ikf;Fr; rpwg;G
fw;gpg;gijNa Nehf;fkhff; nfhz;l ngUe;jif ,aw;ifapYk;
ngz;ikiaNa fhz;fpdw
; hh;. itia ngz;zhf tiue;jij fz;Nlhk;.
fhtphpiaf; fw;Gila eq;ifahf; fz;lhh; (fhdy;tphp> Mw;Wthp-2-4
(25) (27) )> ngha;ifiag; ngz;zhfg; gilj;jhh; (NkyJ. 4: 72-76.).
Gytd; ,aw;ifiar; RUf;fp $wpdhYk; tphpjJ
; Gide;jhYk;
cs;sj;jpy; xd;iwf; fUjpjhd; nra;thd;. fz;zfpapd; tUj;jj;ijf;
$Wk; NghJ cs;sj;Nj Njhd;whj vz;zj;jhy; ,ilawhJ Nfl;Lk;
xypfis vy;yhk; vLj;J $wpdhh; Mrphpah;. ,aw;if xypfshfNt
,Ug;gpd; Nfl;Nghh;f;F ntWg;G Njhd;wy; $Lk; vd;gjw;fhf
ehl;L nkhopg;ghly;fSk; topapil Koq;fpd vd;W ,aw;ifAk;
nraw;ifAk; tpuT xypg;Giditj; njhFg;ghuhapdhh;. Njd;
gUFjy; ,aw;ifg; Gidtpy; tpsf;fg;gl;Ls;sJ. vd;gij
mwpayhk; (ehLfhz; fhij 82-85).
,aw; i fg; G idtpy; mtuJ rkaf; fUj; J j; Njhd; w
,sq;Nfhtbfs; NrhiyiaAk;> taiyAk; ghLtuhapdhh;. mbfs;
,aw;ifg; Gidtpy; ,t;thW mwf;fUj;Jf;fis ,iy kiwf;fha;
Nghy kiwe;jpUg;gjpy; tpag;gpy;iy.
kzpNkfiy
,aw;ifg; GidT rpyk;gpy; kpFjpahf mike;jpUj;jy;
Nghy kzpNkfiyapy; mika tha;g;G ,y;yhky; Nghapw;W.
kzpNkfiyapy; rpy ,aw;if GidTfs; mofhf mike;Js;sd.
nghopy; > ngha; i f> nghOJfs; vd; D k; ,it vopYw
rpj;jhpf;fg;gl;Ls;sd.
,aw;ifia ctikahff; $wpapUg;gJk; Gfhiu kle;ijahfg;
Gide;jpUg;gJk;> nghOJfis $Wk; NghJ mt;tf; fhyj;J
eilngWk; epfo;rr
; pfisj; njhFj;Jf; $wpapUg;gJ rpwg;ghf cs;sJ.
468
Xh; mofpa Nrhiy> nrb> nfhb> kuq;fs; nrwpeJ

; s;sikahy;
xNu ,Ushfj; Njhd;Wfpdw
; J. Qhapww
; pd; gilahfpa xspff
; jph;
fSf;F Kd; epwf
; yhw;whJ mQ;rp> ,Us; mr;Nrhiyfspy; Gfyplkhf
nfhz;L ciwe;Js;sJ Nghy; Njhd;Wfpdw
; J. mq;Nf Jk;gpfs; Njd;
mUe;jp ,irf;f tz;bdq;fs; kfpo;fpd;wd. kapy;fs; MLfpd;wd.
ke;jpfs; Xh; gFjpapy; jq;fpAs;sd. (gspf;fiw fhij- 1-6)
Nrhiyapy; xU Gwk; Nfhq;F kyh;e;jpUe;jJ. mk;kyiur;
rha;e;J khq;fdp xd;W ,Ue;jJ. mjd; gf;fj;Nj kapy; xd;W
jq;fpapUe;jJ. mj;Njhw;wk; eq;if xUj;jp nghd; jl;by; ghy;
nfhzh;e;J fpspf;F Cl;LtJ Nghy Njhd;wpaJ.
Nfhq; f yh; Nrh; e ; j khq; f dpj; jd; i dg;
ghq; F w ,Ue; j gy; n khop kQiQia
nrk; nghw; jl;by; jPk;ghy; Ve;jpg;
igq;fsp A+l;LNkhh; ghit" (rpiwf;Nfhl;lk; 67-70)
vd;w ghly; thpfspd; %yk; mwpayhk;.
mfopapy; jhkiu> Ftis> fOePh;> Mk;gy; Kjypa gy
epwKila kyh;fs; G+j;jd. mjdhy; mt;tfop gy epwq;fSila
thdtpy;iy xj;jpUe;jJ. tz;bdq;fs; mk;kyh;fspy; Njdhh;e;J
kfpo;e;jd. tQ;rp kzpNkfiy Nrh;j;jJ epidaj;jFk;. NkYk;
fhiy epfo;r;rpfisj; njhFj;J $Wk;NghJ tyk;Ghp rq;Ffs;
nghUspd;wp Koq;Ffpd;wd. Nfhopfs; $Tfpd;wd. G+Q;Nrhiyapy;
Njd; gUFk; tz; b dq; f s; kfpo; f pd; w d. iftisay; f s;
xypf;fpd;wd. fjputd; kf;fisj;Japy; vOg;gpdhd;. ,jid>
'tyk; G hpr; rq; f k; twpnjOe; jhh; g ; g
Gyk; g hpr; rq; f k; nghUNshL Koq; f
Gfh; K f thuzk; neLq; $ tpspg; g
nghwpkaph; thuzk; FWq; $ tpspg; g "
(JapnyOg;gpa fhij 113-116)
vd;w thpfshy; mwpayhk;.
tpbaq;fhiy epfo;rr
; pfisf; $Wk; ,t;tbfspy; xU Gjpa jkpo;
eiliaf; fhzyhk;. nrhy; eak;gl rhj;jdhh; mbfshy; njhFj;Js;shh;.
469
fk; g uhkhazk;
'fy;tpapw; nghpath; fk;gd; vDk; epiyapy; ,yf;fpa cyfpy;
cah;e;J epwg
; td; fk;gdpd; tphpthd ,f;fhg;gpaj;ij Nghy ,aw;if
tUzidfSk; tphpthfNt mike;Js;sd.
,aw;ifia GidAk; NghJ Mw;Wg; glyj;jpd; Mw;W
tUzididAk;> tiuf;fhl;rp gyj;jpy; kiy tUzidfisAk;
mikg;gNjhL gpw ,lq;fspy; mit tUzpf;fg;gl;ld. ,aw;if
tsj;ijg; gw;wp ghLtjpy; fk;gid Nghy; ftpeaKld; gilj;jth;
gpwh; ,yh;. Nfhry ehl;ilg; gythwhfr; rpjj
; hpfF
; k; Mrphpah;. mjd;
tsj;ijAk; me;ehl;L caphpdq;fspd; ftiyaw;w tho;fi
; fiaAk;
,aw;ifapd; thapyhfg; Gide;Jf; fhl;Lthh;. fk;gh; jPl;ba Xh;
,aw;ifr; nrhy;Nyhtpaj;ijf; fhl;lhff; fhz;fpd;Nwhk;.
md;dg;gwitfs; jk; FQ;Rfis taypil kyh;ej
; jhkiug;
G+tpy; gs;spf; nfhs;sr; nra;J gpd;dh; mq;F Ntiy nra;Ak;
coj;jpah; Nghyj; jphpfpd;wd. Japd;W nfhz;bUe;j md;dg;
ghh;gG; fs; rpwpJ nghOJf;Fs;Ns vOe;Jtpll
; d. JapnyOk; nghOJ
Foe;ijfs; grpahy; mOJf; nfhz;Nl vOtJ ,ay;ngd;Nwh?
me;jg; gwitfSk; mOJ nfhz;Nl vOe;jd. clNd ghy;
nfhLj;Jg; gLf;ifapy; fplj;Jjy; <d;w japd; ,ay;ghFk;.
ghYl;lj; jhad;dk; gf;fj;jpy; ,y;iy. Mdhy; vUikfs;
,Ue;jd. ghh;gg
; pd; ,sik xypiaf; Nfl;lJk;> mit jk; fd;iw
epidj;J ,uq;fpj; jk; kb topNa ghiyg; ngUf;fpd. mg;ghiyg;
gUfpg; grp jzpe;J> mf;FQ;Rfs; kP;zLk; Japyj; njhlq;fpd.
cwf;fk; nflhjthW gf;fj;jpypU;eJ gr;irj; jtisfs; jk;
nkhypahy; jhyhl;bd. <z;Lf; fk;gUf;Fj; jtis nahyp ,dpik
gaj;jy; fhzyhk; (ehl;Lg;glyk; . gh.v.35)
,g;ghly; kUjtsj;ij moFwg; glk; gpbj;Jf; fhl;LfpwJ.
mjNdhL ehl;Lr; rpwg;igAk; Fwpgg
; pw; Gyg;gj;Jfpdw
; J. (R+ot
; pidg;
glyk;..gh.v.227),J fk;gh; jUk; ,d;ndhU ftpDW fhl;rpahFk;.
fk;ghpd; ghlypy; jw;FwpgN; gw;wk; mjpfkhf cz;L. $dpapd; R+or
; r
; pahy;>
ifNfap> jrujd; caph; xLq;FkhW tuk; ngw;W kfpo;fpd;whs;.
mijj; njhlh;e;J QhapW Njhd;wpaijAk; fk;gd; gilf;Fk;
NghJ jw;Fwpg;Ngw;wj;jpd; cah;itf; fhz;fpd;Nwhk;.
470
rP t frpe; j hkzp
rPtfrpe;jhkzpapy; Gyth;fs; jhk; epidj;j rpwe;j mwf;
fUj;Jf;fisj; jdpNa vLj;Jf; $whky; ,aw;ifiag; Gidtjd;
thapyhfr; Ritg;gLj;jp vLj;Jiuf;fpdw
; hh;. rPtfd; ,aw;if tsk;
fz;L ,d;gk; nfhs;s jdpahf tUfpwhd;. mt;toapy; Fd;wpy;
mUtp Xbf; nfhz;bUe;jJ. mjidf; fhg;gpaj; jiytd; jdpahf
tUtijf; fz;L tUe;jp kiy mOtjhff; $wg;gLfpd;wJ.
ePsUtpf; fz;zPh; tPo;j; jywp tz;zk; fhpj;jUfpf;
NfhSoiy md; d hw; F f; Fd; w K epd; wOjdNt"
(gJikahh; ,yk;gfk;.6:3-4)
njd;idapd; fha; mjw;F mL;j;j caukhf cs;s fKF
kuj;jpd; Nky; tpOe;jJ. mjdhy; mq;fpUe;j Njd; $L cile;J.
gyhkuj;jpd; kPJ tpOe;J gyhgoj;ijg; gpse;jJ. mLj;jj;
Njkhq;fdpiar; rpjwp ,Wjpapy; thiog; goq;fis cjph;j;jJ"
(ehl;Lg;glyk; 31:1-4) vd;W ,aw;ifiag; Gide;Jiuf;fg
;gLtijf; fhzyhk;.
,t;thwhf ,aw;ifapYs;s vy;yhtw;wpYk; Vkhq;fj
ehl;bd; ,aw;if tsj;ijg; gw;wpg; ghLtjpy; kpfTk; ts;sz;ik
kpf;fjd;Nwh? vd;W $WtJ kpifahfhJ.
471
104. The Quintessence of aesthetic aspects in

Amitav Ghosh's
The Hungry Tide
Ms. M.Archana,
P.hd Research Scholar,
Government Arts College,
Karur-2.
This paper presents the fragile ecosystem of the people and their
expectations to improve the present generations in the Tide Country -
Editor
Amitav Ghosh, one of the few Indian writers in English in the post
colonial era, constructs nature in his fictional works by using interweaving
legends, experience, myth and history. In some of his works the setting
shows a pen picture of physical environment and human interaction with it.
But examining the critical outputs on his works we realize that we have yet
to investigate his works from eco-critical point of view to establish his
intrinsic concerns about environment calamity and man-nature interface.
The present study is, therefore, intended to find out how Ghosh,
especially in The Hungry Tide, constructs nature by using interweaving
legends, experience, myths and history to reveal human interaction
with the non-human world. It also makes an attempt to find out his
conscious engagement with the natural world that draws our attention to
impending calamity of the global environment. Besides being an epoch of
progress in science and technology, ours is also an era environmental
destruction which is the consequence of man's parting from natural
world. All the enhancements of technology, science and commerce in the
name of growth are mainly anthropocentric and certainly abandon the
claims of our natural environment. However these ecosystems have been
472

unfavorably affected due to the increasing population and greed of
mankind. The nature and literature goes hand in hand and the world of
literature throngs with the works dealing with beauty and power of
nature. Indeed, the concern for ecology and the threat that the continuous
misuse of the environment has recently caught the attention of writers not
only of science but of humanities too. This sense has given rise to a new
branch of literary study called Eco-criticism which express its idea that the
literary world must include the entire ecosphere of the universe.
The term Ecology is defined by Haeckel as the scientific study of
the relationship between the organisms and the environment. In other
words it is defined as the study of oikos, the Greek term which means
'household'. The early counterpart of oikos is, 'tinai'. The eco-criticism
employs the household concepts as the central theme. Nowadays social
and human ecology are emerging in association with the human society
and natural phenomena which bring together the humans and the
environment. The traditional ecology occupies nature as the center and
not the humans. In the Eco-criticism Reader, eco-criticism is defined as
"the study of relation between literature and the physical environment".
The western academy looks at eco-criticism as an environmental criticism.
It has one foot on literature and other on the land. In order to bring an
ecological education is mandatory so that it will become a world view of
the learning community and later the society at large.
Ghosh's The Hungry Tide deals with the study of the nature
writing and the book is about one of the most dynamic nature of ecological systems of the world. This novel clearly brings out the wrath of
nature and fragility of humans who are always at the mercy of nature. In
short, this novel is about the struggle of each person to find a place in
the world and his existence against the natural barriers. By writing this
novel, Ghosh proves himself to be a successful craftsman who has
brilliantly fore-grounded the multicultural and multilayered intricacies of
the islanders and inmates of Sunderbans. This novel raises national and
global awareness about the history of violence inscribed in the
Sunderbans, throwing into relief the continuing exploitation of the place.
The Hungry Tide begins with the expedition of Piyali Roy and
Kanai Dutt to the tide country. Piya, an American-born Cetologist of
Indian origin, travels to Sunderbans for conducting a field study on the
endangered Gangetic river dolphins, marine mammals, nation, culture,
boundary, ethnicity, immigrants and history of the ecological conscious-
473
ness. Kanai undertakes the journey to Lusibari to claim a package left for
him by his deceased uncle, Nirmal. Piya's expedition into the waterways
of the Sunderbans reveals to her the plight of not just the dolphins but of
the people and their day-to-day struggle to survive. In the course of her
stay in the islands, Fokir, the illiterate fisherman saves Piya's life twice. He
guides Piya and Kanai through the treacherous canals in search of the
dolphins, which are portrayed as the most unprivileged, vulnerable to
both the natural hazards and the oppression of officious bureaucratic
machinery. Fokir with his enormous knowledge of the tide country also
serves as a counterpoise to Piya and Kanai, equipped with their language, dependent on him for their safety in the Sunderbans.
The setting of the novel is the Sunderbans, the vast delta of the
Ganges where the mighty river meets the sea throwing up numerous
paradoxes and contradictions. In this novel Ghosh had liberty to talk
about the violence unleashed upon the natives, the flora and fauna of the
Sunderbans. The Hungry Tide reveals how ecological concerns and
conservation efforts serve as a mere disguise to camouflage the pursuit of
political ends. Piya's enjoyment of fauna and flora, understanding of
ecology, mythology and human life and observation of the proliferation of aquatic
life in this macro environment provide her with the Newton?s apple and
form the Archimedes bath tub to find Orcaella Eureka for her research.
The novel is an overflowing repository of local myths. It provides
a creative outlook on the lifecycle in the learning of man's fight against
nature, the eternal and inherent instinct of man. The settlers in the
Sunderbans believe that anyone without a pure heart venturing the
watery labyrinth will never return. It is the arrival of Piya and Kanai that
disturbs the emotional, social and economic ebb and flow of the settlement of life in the tide country. The environmental crisis becomes
apparent to Piya during her expeditions through the crisscross waterways of the island country guided by Fokir. The importance on the
wilderness is essentially a First World ecologist?s perspective that aims
for a bio-centric world, which is represented through Piya's
convictions as an environmentalist.
The people of the island were facing the hunger and catastrophe
because of the salty water of the river which causes the land infertile.
This drove them into the fish culture and hunting, to overcome the
disaster thrust on them and for this reason the climate of Sunderbans get
474

affected. The fisherman do fishing and take out everything they want
from the water and also the lucrative prawn for that they get a fair amount
which creates complete ecological disaster. Ghosh wants to pay attention
of the common people, to save the life of human beings and the animal world of
Sunderbans. This novel portrays the terrifying beauty of forest and river
that bring forth a perfect connection to the ecological studies. Ghosh draws a
mediating line between his work The Hungry Tide and ecocriticism that
opens the eyes of man to look upon the plight of Sundarbans.
This novel highlights the place and human relationships where
Kanai and Piya both are fond of nature but Kanai is more caring the lives
of human beings than the predators and for Piya, animal life is also
important. From an ecological point of view the life of both the human
beings and the animals are equally important to maintain the balance of
ecosystem. If any of the species disappears totally from the land then the
ecological imbalance will occur and the ecosystem gets endangered. The
spirit of ecology is seen in every chapter of the novel which makes the
people to be aware of the natural happenings that lead man to end up in destruction. Man's reason for demolition with the help of science and technology plays a primitive role in the text and at the same time the motivated
spirit of ecology is well portrayed by Ghosh through his characters.
Thus, the novel The Hungry Tide stands as the best representation of ecology. The spirit of the ecology goes up and down throughout
the novel and the author maintains his narration fairly in relation to the
ecological issues pertaining to an island of Sunderbans. Nature and
humans go hand in hand in these islands and both stand as the best
demolishers of the other. The entry of Piya and Kanai helps to understand the novel moving in an eco-critical aspect and the writer proves
himself to be the best man in depicting the relationship between the
humans, animals and nature. The characters in the novel have created justice by
bringing out the plight of the people of the islands and also the endangered ecology is saved by Piya, Fokir and Kanai as the novel grows.
WORK CITED
Ghosh, Amitav. The Hungry Tide. Uttar Pradesh: Harper Collins Publishers, 2004.
Print.
Selvamony, Nirmal. Essays in Ecocriticism. New Delhi: Sarup and Sons , 2007.
Print.
Sharma, B. K. The Fictions of Amitav Ghosh. New Delhi: Sarup and Sons, 2011.
475
105. Nature as Enigmatic: Preoccupation with

the grotesque in the Select Poems of Walter de la
Mare
Mr. P.Boopathi,
P.hD research scholar,
Department of English Literature,
School of English Literary Studies,
The English and Foreign Languages University.
Hyderabad.
It reflects the peculiar idea of human life and the setting of the human
being by comparing two poems of Walter de la Mare - Editor
Compare to other poets in the particular period, De la Mare has
utilized very strange themes in his poems, which have been widely read
and revered for the depiction of bizarre ideas of love, death, loneliness,
the life of gigantic characters and above all the portrayal of phantoms.
Most of his collections have been extensively read by children and they
were named as children's collections. It is also said that even the children,
who have read the poems, found them difficult to understand the themes.
What is to be noted in the writings of de la Mare as well as his stand in
the modern poetry is that he cannot be located in any of prevailing trends
of modern poetry, as his writings are mysterious and difficult to comprehend the essence, which in fact have led the readers to have a misunderstanding of his poems. His poems also have the viability of conveying
the apparent meanings that can be deciphered by the single reading of
the poem, since the profound and apparent meaning remain apart in the
poems. The embarkation of De la Mare's writings can be partly located
after the supremacy of A.A. Milne and Robert Louis Stevenson that is
also considered to be a grave mistake in criticism (Davison 3). The
476

alluring concepts such as grotesque, fantastic, and curiosity of people
and thing have interested him to write large amount of poetry collections.
For all his poems, short fictions, and various collections of short stories,
imagination is considered to be the key figure.
In his 56 years of literary creations, De la Mare had been in the
suspicion of reality of life. He has often thought that he couldn't distinguish between the reality of waking life and unreality of dream world as
Davison elucidates "The true De la Mare is gradually revealed as a
brooding, melancholy spirit, puzzled and bewildered by the quarreling
claims of reality and unreality, and attempting to reconcile things imagined or dreamed or desired with things accepted or known" (6). Such kind
of ambivalent notion of life is perceptible in the poems of last phase of
his life as the poem 'The Princes in His Arabia' goes;
In the woods as I did walk
Dappled with moon's clear beam, with a stranger I did talk,
And his name was dream.
Similarly his idea of beauty prevails in his later poems and occupied central position, which has also been discussed quite a large extent
by his critics. Transience, the hints of grief, age, decay, mortality, always
the puzzle and despair of the philosophic poet observing mankind have
troubled De la Mare like anything else, which of course have set his
poems to be grotesque and bizarre in nature.
One of the prolific writers of the twentieth century 'De la Mare' has
produced many number of poetry collections, more than 100 short
stories, two gothic novels, and some of the short fictions, which have
made his poems heavily anthologized in many of the anthologies of
twentieth century British poetry and in the anthologies of twentieth
century world poetry as well. One of his off quoted poem 'The Listeners'
which occupies many of the anthologies. However, his career as a poet is
said to have started with the publication of 'Songs of Childhood' brought
out in the year 1902. Though it is often discussed that De la Mare wrote
some of his poems in the 1890s, those writings have been refuted to be
immature, loosely written and above all fit to be called children's writings.
It goes without saying more than his scholarly poems his poems for
children got him many awards and recognition. His well acclaimed poetry
collection for children titled 'Faber and Faber' published in 1947 won
477
annual Carnegie medal from the library association, which was later,
recognized the year's best children's book by a British subject (Albert
510). De la Mare has distinguished two types of imaginations, one is
childlike and another one is boy like. He says child like imagination is a
primary one, which the writer uses in the beginning of his period. Hence
his poems written between 1890 to1902 are embedded with such kind of
imagination, which in fact has caused his poems to be more attractive to
children. The second kind of imagination 'boy like' is more to do with his
later poems, written from 1902 till his death. This particular imagination is
significant to get the clear-cut understanding of the concept called
'grotesque' in his poetry, as he illustrates that such type of mature
imagination has helped him to come out with various kinds of poetry
especially during his last phase of his writings. Another significant
feature of his poetry is the adaptation of supernatural elements, which
can also be inferred as a crucial reason for the preoccupation with the
grotesque in his poetry. His poetry collections such as the Listeners,
Come Hither and others have a large amount of supernatural elements
and incredible settings that are responsible for the unidentifiable demarcation between real and unreal.
Having described the featuares and the themes of De la Mare's
poetry, it is significant to get the general idea of the term 'grotesque' and
its essence in understanding of his majority of his poems in the light of
preoccupation with the grotesque nature of his writings. Oxford online
English dictionary defines grotesque as;
Outlandish or bizarre, as in character or appearance {synonym
fantastic}
Having said the meanings and the definitions of the word 'grotesque' it is to be inferred from the three major dictionaries' entries that
the word grotesque generally means strange or bizarre characteristic or
phantom. The often misunderstood poet of twentieth century 'Walter de
la Mare' has incorporated large substance of grotesque images and
concepts in his poems. Some of the representative poems of his will be
discussed in order to elucidate the significance of the concept called
preoccupation with the grotesque.
The theme and the concept of individual self are very much
discernable in the poetry of De la Mare, which indeed has led to the
mystery of his poems. Such kind of vague writings can be deciphered
478

from the description of Anthony Hecht "in any case, the richly evocative
voice, the metrical inventiveness and syntactical ingenuity, the lovely
imaginative power and slightly dated locutions, the archaic charm of a
world steeped in mystery or to be encountered in the first enchanting
stanza of all that's past" (3). It is against this backdrop the poems such as
The Listeners, Ghost, A Song of Enchantment, Alexander, All but Blind,
Alone, An Epitaph, and Fare Well will be analyzed and stated how far the
particular concept 'grotesque' has gone into making of such poems.
To conclude, the well-known as well as the most quoted poet of
the twentieth century 'Walter de la Mare' is often compared with Hardy
and other poets, who wrote on gothic theme, which intern has been
borrowed from Blake and Poe. Hence it is dispensable for de la Mare to
line with the processing line of gothic genre of poetry. Such kind of
poetic theme is perceptible in the last phase of his writings. Later such
writings have been critically acclaimed and debunked as well of being
over mysterious and ambiguous, which in fact have made the critics call
them as 'preoccupation with the grotesque' writings.
Work cited
Complete poems of Walter de la Mare. www.poemhunter.com. 28 July 2015.
Web. http://www.poemhunter.com/walter-de-la-mare/
Edward, Davison. "Walter de la Mare" The English Journal. (1926): 15.2
89-98. Web. Jstor. 28 July 2015.
Hecht, Anthony. "Poetry of Walter de la Mare" The Wilson Quarterly.
(1997): 21.3 108-114. Web. Jstor. 28 July 2015.
Albert, Edward. The history of English literature. Calcutta; O.U.P, 1976.
Electronic.
479
106. Portraiture of Nature in Emily Dickens's

Poems
Ms. D.Deepa,
M. Phil Research Scholar,
Nandha Arts and Science College,
Erode.
This paper philosophically says that nature poems look outward and
inward with equal intensity and also enclose God manifested everywhere
in nature contributed to her pursuit of personal significance in nature. -
Editor
Emily Dickinson was a child of rural nineteenth-century New England. It is
not surprising that the natural scenes and figurative language drawn from
it loom very large throughout her work. She had read in the poetry of
Wordsworth, Bryant, and Emerson all products of a Romantic movement that
looked for meaning, imagery, and spiritual refreshment in nature. Her
roots in a Puritanism that saw God manifested everywhere in nature
contributed to her pursuit of personal significance in nature. She was fascinated
by its changing seasons and their correspondence to her own inner
moods. Although her direct observations were confined to meadows,
forests, hills, flowers, and a fairly small range of little creatures, these
provided material highly suitable to her personal vision and impressive
symbols for her inner conflicts.
Her nature poems divide into those that are chiefly presentations
of scenes appreciated for their liveliness and beauty, and those in which
aspects of nature are scrutinized for keys to the meaning of the universe and
human life. Dickinson's poems more concerned with nature than at first appears.
'It sifts from Leaden Sieves' (311) shows Dickinson combining
metaphor and imagery to create a winter scene of great beauty. The poem
does not name the falling snow which it describes, thereby increasing a
480

sense of entranced wonder. The 'leaden sieves' that stand for an overcast
sky also contribute to the poem's initially somewhat sad mood, a mood
that is quickly changed by the addition of images that suggest a healing
process. The following five lines show everything in the scene becoming
peacefully smooth. With the third stanza, the observer's eyes have
dropped from sky, horizon, and distant landscape to neighboring fences
and fields. The fence becoming lost in fleeces parallels the image of wool,
and the image of "celestial vail" skillfully provides a transition between the two
stanzas and brings a heavenly beauty to what had been the dissolution
of harvested fields. Perhaps it also implies something blessed about the
memorial which it makes to those harvests. The idea of snow providing a
monument to the living things of summer adds a gentle irony to the poem,
for snow is traditionally a symbol of both death and impermanence. In the last
stanza, the observer takes delight in a close-up thing, the queenly
appearance of fence posts, and then, in a tone of combined relief and
wonder, the poem suggests that the lovely winter scene has really had no
external source, but has simply arrived by a kind of inner or outer miracle. Our
analysis can provide a basis for further symbolic interpretation of the poem.
An apparently more cheerful scene appears in the popular 'I'll tell
you how the Sun rose'. This poem divides evenly into two metaphorical
descriptions - of a sunrise and a sunset on the same day.
She claims to be unable to describe the sunset. Not surprisingly,
the images for the sunset are more metaphorical than those for the
sunrise. The entire scene is presented in terms of little school children
climbing a style. They go over the horizon into a different field. The yellow
children are the waning shafts of light and the purple style is the darkening clouds at sunset. Sunset clouds are a traditional symbol of a barred
gateway into another mysterious world of space and time, or into heaven.
Dickinson has gently domesticated what may be a fearful element in the scene.
In several of her most popular nature portraits, Dickinson focuses on small
creatures. Two such poems, 'A narrow Fellow in the Grass'(986) and 'A Bird came
down the Walk' (328), may at first seem quite different in scene and tone, but close
scrutiny reveals similarities. In 'A narrow Fellow in the Grass' (986), as in
'It sifts from Leaden Sieves', Dickinson does not name her subject,
probably in order to create a mood of surprise or wonder in the reader,
paralleling the speaker's reactions. 'A narrow fellow', of course, is a snake.
The use of "fellow" for the snake combines a colloquial familiarity with a
sense of something presumptuously foreign to the speaker's habitat. The
481
first two stanzas paint a very vivid picture of the smooth movement and semiinvisibility of a snake in deep grass. If one does not meet him, one gets the
shock of seeing grass divide evenly as a signal of his unseen approach.
In several of Dickinson's best poems, the elevating and the
destructive qualities of nature balance one another. Perhaps the best
known of these is the widely anthologized 'There's a certain Slant of
light'. As are several of Dickinson's best philosophical poems, this one is
also related to a moment of seasonal change. The scene is further along
in the year than that of "These are the days" and the poetic artist is more
mature with the exception of its last two lines, this poem presents few
difficulties in its word choice or grammar. The physical substance of the
scene appears only in the first two lines of its opening stanzas and in its
concluding stanzas. The landscape seems to be a meadowland, perhaps
with trees and hills, for one gets a sense of expanse and looming objects.
On winter afternoons, the sunlight is diminished because the northern
hemisphere is inclined away from the sun, making the days shorter and
the sun's rays less direct. Also, there is often a cloud cover. The first stanza
stresses the heaviness of the atmosphere. Beyond this initial observation, a discussion of the poem should begin with an examination of the
parallels and differences among its four stanzas. Their most obvious
similarity is the presence of interrelated paradoxes in the first three
stanzas, which are echoed by the paradoxical tone of the last stanza.
'Furrow on the glow' is one of Dickinson's strangest figures of
speech. A furrow is a physical depression or cleavage, usually made by
plowing or shoveling earth. The glow is the general beauty of nature. She
is creating with her fused image of earth and light a metaphorical picture
to repeat the idea that this beauty is undiminished. The Druids were
ancient pagan priests and prophets who sometimes practiced human
sacrifice. A "druidic difference" would mean that this aspect of nature prophesies
a coming magical and mysterious change, but this prospect of change
enhances rather than mars nature. Also, there is an implication in these lines that
nature and its small creatures are sacrificing themselves so that spring.
Work Cited
www.immersion journals.com
MacEachen, Dougald B. CliffNotes on Dicken's Poems. 29 July 2011
www.bartley.comhttp://www.sparknotes.com/poetry/frost/section8.rhtml
482
107. The Portrayal of Nature in Robert Frost's

MendingWall
Ms. A.Indhu Priyanga,
M.Phil. Research Scholar,
Shri Sakthikailash Women's College
Salem.
Mr. S.Gopinath,
M.Phil. Research Scholar,
AVS College of Arts & Science.
Salem.
This paper exposes the theme of alienation and isolation which is
experienced by the human beings. It also gives philosophy such a
brotherhood, tolerance and twin brothers - Editor
Robert Lee Frost was an American poet. He is highly regarded for
his realistic depictions of rural life and his command of American colloquial speech. His work frequently employed settings from rural life in
New England in the early twentieth century, using them to examine
complex social and philosophical themes. A popular and often-quoted
poet, Frost was honored frequently during his lifetime, receiving four
Pulitzer Prizes for Poetry. Robert Frost was born in San Francisco,
California, to journalist William Prescott Frost, Jr., and Isabelle Moodie.
Despite his later association with rural life, Frost grew up in the
city, and published his first poem in his high school's magazine. He
attended Dartmouth College long enough to be accepted into the Theta
Delta Chi fraternity. Frost returned home to teach and to work at various
jobs including delivering newspapers and factory labor. He did not enjoy
these jobs at all, feeling his true calling as a poet.
483
In 1894 he sold his first poem 'My Butterfly: An Elegy' (published in the November 8, 1894 edition of the New York Independent) for
fifteen dollars. Proud of this accomplishment he proposed marriage to
Elinor Miriam White, but she demurred, wanting to finish college (at St.
Lawrence University) before they married. Frost then went on an excursion to the Great Dismal Swamp in Virginia, and asked Elinor again upon
his return. Having graduated she agreed, and they were married at
Harvard University where he attended liberal arts studies for two years.
He did well at Harvard, but left to support his growing family. Grandfather
Frost had, shortly before his death, purchased a farm for the young
couple in Derry, New Hampshire; and Robert worked the farm for nine
years, while writing early in the mornings and producing many of the
poems that would later become famous. Ultimately his farming proved
unsuccessful and he returned to education as an English teacher, at
Pinkerton Academy from 1906 to 1911, then at the New Hampshire Normal
School in Plymouth, New Hampshire. In 1912 Frost sailed with his family
to Great Britain, living first in Glasgow before settling in Beaconsfield
outside London. His first book of poetry, 'A Boy's Will', was published
the next year. In England he made some important acquaintances, including
Edward Thomas, T.E. Hulme, and Ezra Pound. Pound would become the
first American to write a (favorable) review of Frost's work. Surrounded
by his peers, Frost wrote some of his best work while in England.
As World War I began, Frost returned to America in 1915. He
bought a farm in Franconia, New Hampshire, where he launched a career
of writing, teaching, and lecturing. This family homestead served as the
Frosts' summer home until 1938, and is maintained today as 'The Frost
Place', a museum and poetry conference site at Franconia. During the
years 1916-20, 1923-24, and 1927-1938, Frost taught English at Amherst
College, Massachusetts, notably encouraging his students to account
for the sounds of the human voice in their writing. Frost was 86 when he
spoke and performed a reading of his poetry at the inauguration of
President John F. Kennedy on January 20, 1961. Some two years later, on
January 29, 1963, he died, in Boston, of complications from prostate
surgery. He was buried at the Old Bennington Cemetery in Bennington,
Vermont. His epitaph reads, 'I had a lover's quarrel with the world'.This
poem is the first work in Frost's second book of poetry, 'North of Boston',
which was published upon his return from England in 1915. While living
in England with his family, Frost was exceptionally homesick for the farm
484

in New Hampshire where he had lived with his wife from 1900 to 1909.
Despite the eventual failure of the farm, Frost associated his time in New
Hampshire with a peaceful, rural sensibility that he instilled in the
majority of his subsequent poems. 'Mending Wall' is autobiographical on
an even more specific level: a French-Canadian named Napoleon Guay had been
Frost's neighbor in New Hampshire, and the two had often walked along
their property line and repaired the wall that separated their land.
A highly moving lyric 'Good fences make good neighbours', is
remarkable for superb craftsmanship and depth of meaning. This poem
shows the conflict between two antithesis- Tradition and Modernity.
Every year, two neighbors meet to repair the stone wall that divides their
property. The narrator is skeptical of this tradition, unable to understand
the need for a wall when there is no livestock to be contained on the
property, only apples and pine trees. He does not believe that a wall
should exist simply for the sake of existing. Moreover, he cannot help but
notice that the natural world seems to dislike the wall as much as he does:
mysterious gaps appear, boulders fall for no reason. The neighbor, on the
other hand, asserts that the wall is crucial to maintain their relationship,
asserting, 'Good fences make good neighbors'. Over the course of the
mending, the narrator attempts to convince his neighbor otherwise and
accuses him of being old-fashioned for maintaining the tradition so
strictly. No matter what the narrator says, though, the neighbor stands
his ground, repeating 'Good fences make good neighbors'.
In the poem itself, Frost creates two distinct characters who have
different ideas about what exactly makes a person a good neighbor. The
narrator deplores his neighbor's preoccupation with repairing the wall; he
views it as old-fashioned and even archaic. After all, he quips, his apples
are not going to invade the property of his neighbor's pinecones.
Moreover, within a land of such of such freedom and discovery, the
narrator asks, are such borders necessary to maintain relationships
between people? Despite the narrator's skeptical view of the wall, the
neighbor maintains his seemingly "old-fashioned" mentality, responding
to each of the narrator's disgruntled questions and rationalizations with
nothing more than the adage 'Good fences make good neighbors'.
As the narrator points out, the very act of mending the wall seems
to be in opposition to nature. Every year, stones are dislodged and gaps
suddenly appear, all without explanation. Every year, the two neighbors
485
fill the gaps and replace the fallen boulders, only to have parts of the wall
fall over again in the coming months. It seems as if nature is attempting to
destroy the barriers that man has created on the land, even as man
continues to repair the barriers, simply out of habit and tradition.
Ironically, while the narrator seems to begrudge the annual
repairing of the wall, Frost subtly points out that the narrator is actually
more active than the neighbor. It is the narrator who selects the day for
mending and informs his neighbor across the property. Moreover, the
narrator himself walks along the wall at other points during the year in
order to repair the damage that has been done by local hunters. Despite
his skeptical attitude, it seems that the narrator is even more tied to the
tradition of wall-mending than his neighbour. Perhaps his skeptical
questions and quips can then be read as an attempt to justify his own
behaviuor to himself. While he chooses to present himself as a modern
man, far beyond old-fashioned traditions, the narrator is really no
different from his neighbor: he too clings to the concept of property and
division, of ownership and individuality.
Ultimately, the presence of the wall between the properties does
ensure a quality relationship between the two neighbors. By maintaining
the division between the properties, the narrator and his neighbor are
able to maintain their individuality and personal identity as farmers: one
of apple trees, and one of pine trees. The act of meeting to repair the wall
allows the two men to develop their relationship and the overall community far
more than if each maintained their isolation on separate properties.
According to Robert Graves, "Robert Frost was the first American
who could be honestly reckoned a master-poet by world standards
Frost has won the title fairly, not by turning his back on ancient European
tradition, nor by imitating its successes, but by developing it in a way
that at last matches the American climate and the American language." To
him poetry "begins in delight and ends in wisdom." Frost's poetry has the
flavour of New England life and an insight into New England character.
Two farmers meet every spring to repair the wall separating their
two farms. This commonplace incident from rural life is poetically represented to project the theme of alienation and isolation that human beings
experience. The human world is not yet a 'heaven of freedom', as it is still
'broken up into fragments by narrow domestic walls' (Tagore: Gitanjali).
486

The walls are man-made barriers which only harm man by dividing man
from man. Removal of barriers to communication between human beings
is, therefore, urgently imperative. Here we have a prudential philosophy
of brotherhood and tolerance, the twin virtues of harmonious human
living, set against the unyieldingly dogmatic assertion that 'good fences
make good neighbors'.
Work Cited
Monteiro, George (1988). Robert Frost & the New England renaissance.
Lexington, Ky: University Press of Kentucky.
Freeman, Margaret H. "The Fall of the Wall between Literary Studies and
Linguistics: Cognitive Poetics". Social Science Research Network. Social
Science Electronic Publishing, Inc.
Retrieved 5 May 2015.
Robert Frost's Mending Wall: A Marriage of Poetic Form and Content.
National Endowment for the Humanities. Retrieved 5 May 2015.
Holland, Norman (1988). The brain of Robert Frost. New York: Routledge
487
108.An Indian Aesthetic Consciousness of Natural Corollary in Sri Aurobindo's Selected Poems
Mr. S.Karthick.,
(Ph.D) Research Scholar,
R&D Cell, Bharathiar University,
Coimbatore.
This paper explains Man is simply an intermediate creature between the
animal and the divine nature. - Editor
Despite of an important note India is a knowledgeable society of
ecocentric view. Indian aesthetic has been sharing its knowledge in a
way of understandable to both a philosopher and a common man. In this
aspect the ecoaesthetic view that humans are both part of, and a partner
with, nature. The most intimate part of nature in relation to man is the
biosphere. Indian great writers have being influenced by the message of this ecoaesthetic as an ancient integral wisdom of all. Further the environmental
consciousness relates man and nature and the Indian English writers like
Sri Aurobindo, impregnated with environmental concerns, returns to the
magnanimous peaks to share the beauties of life with nature.
Sri Aurobindo, a man of multi faceted literary personality, a nature
philosopher and a yogi, is a luminous star shining brightly in the firmament of Indian thoughts and literature. Though he holds his place, chiefly
as an Indo-Anglican poet of a very high stature, he is much more than a
poet. He is today recognized undoubtedly one of the greatest poets of
Indian writing in English. His magnum opus Savitri is an epic, the epic of
the present as well as the future. Sri Aurobindo's Internal and external
views about the term Nature are of the utmost importance. According to
him poetry is the medium, which insight the invisible nature of man.
488

Sri Aurobindo's internal and external views about the term nature
are of the utmost importance. According to him poetry is the medium,
which insight the invisible nature of man. He made no distinction
between painting, sculpting, architecture and poetry as far as Nature is
concerned. He presents an integral philosophy of nature and man. The
cardinal principle of nature's philosophy is that of man is what he can be.
In the human existence have many possibilities, that man has a natural
tendency towards self- exceeding. Aurobindo offers the key for interpreting global concept of man and nature. According to him,
is a sprit using the mind, life and body for an individual and a
communal experience and self- manifestation in the universe,
he believes that man is precisely the term and symbol of a
higher existence descended into the material world in which it is
possible for the lower to transfigured itself and put on the nature of
the higher and the higher to reveal itself in the forms of the lower
(Pakle 46).
The logical sequence of reality is that man is not the end product
of evolution. Man is simply an intermediate creature between the animal
and the divine nature. Evolution has come up from (Nature) mineral,
vegetable and animal to human consciousness, the evolutionary process.
It will continue from the mental to the supramental, and from man to
superman. Aurobindo says, "man is a transitional being, he is not final; for in him
and high / Ascend the radiant degrees which climb to a divine
superman"(Pakle 47).
Man is utterly insignificant material but he is of supreme importance as a spiritual being, "Materially you are nothing, spiritually you are
everything" (Pakle 48). There is one and eternal self behind the appearances of the universe. It is only an individual consciousness, an ignorance of the true self in the mind, life and body is able to remove the veil
of this supreme. Human beings can become aware of true nature divinity
that resides in intuition in all.
Sri Aurobindo believes that the one being and consciousness is
already involved in nature. By the process of evolution, it frees itself and
grows higher and higher towards perfection. The consciousness is self
impelled to grow continuously. First life appears as a result of the release
of consciousness and then appears to mind. But the evolution does not
stop with mind. Nature evolution continues towards the emergence of the
super mind. In nature, an ascending evolution goes from the stone to the
plant, from the plant to the animal, from animal to man. Man is not at last
489
rung of the ascending evolution. Nature endeavors for the emergence of a new
man whose consciousness will be much higher than mental consciousness. In Songs of Myrtilla, Aurobindo enfolds the relationship of nature:
Sweet is the night, sweet and cool
As to parched lips a running pool
(Collected poems12)
In this poem, there is a debate between Glaucus and Aethon. They
speak the attraction and felicities of nature. A flowing stream feeding
thirsty lips excellently brings out a picture of a sweet and cool night. As
stream is to "parched lips"(12), so is the "sweet and cool"(12) night to a
hard day-long worker. The image carries the senses of touch and taste
simultaneously. The personification of flowers projects a number of
associated images of nature. Nature is delicate and miracle to human
beings and nature is universally likened to a maiden's beauty. A maiden's
face (Nature) when the beauty it wears, is asleep and looks more beautiful. Similar ideas are expressed in the sonnet To Weep Because a Glorious
Sun, man should not become disheartened by pain and strife. In fact,
man's falls and struggles make him stronger. Human beings' pains and
sorrows are followed by joy. Death is a link to a next life.
Sri Aurobindo's approach seeks to transform man and the external
world. Man should develop his inner being by manifesting the divine and
at the same time he must also try to transform the external world and life by
bringing down the divine into them. Thus, both the ascent to the static
aspect and the descent to the dynamic aspect are equally important.
Aurobindo's aesthetic consciousness is holding the eternal
gospel on supreme soul. Thus, the poetry of Aurobindo has bonded with
an aesthetic fragrance to celebrate Indianism. To conclude on the
contrary, his aesthetic disciplines with natural corollary bring the vision
of inner realization. Thus, the Upanishads is the next logical step to
emulate the soul to reach immortal bliss.
Work Cited
Aurobindo, Sri. Collected poems. Pondichery : Sri Aurobindo publication.
2010. Print.
Aurobindo, Sri. Hyms to the Mystic Fire. Pondichery : Sri Aurobindo
publication. 2004. Print.
Pakle, G.S. Image, Symbol and Myth in Sri Aurobindo's Poetry. New Delhi:
Harman publishing house. 2006. Print.
490
109. Place and Displacement in Sa Kandasamy's

The Defiant Jungle
Mr. N.SethuNarayanan
PhD Research Scholar,
Research and Development Centre,
Bharathiar University, Coimbatore.
The novel highlighted the loss of by the impact of industrialization
environment - Editor
The term 'ecocriticism' was first used by William Rueckart in his
landmark essay "Literature and Ecology: An Experiment in Ecocriticism"
in 1978 and defined it as 'the application of ecology and ecological
concepts to the study of literature, because ecology has greatest
relevance to the present and future of the world'. The term as well as this
novel approach was not widely popular until Cheryll Glotfelty, a Professor of Literature and Environment and one who is known for the book
The Ecocriticism Reader, defined 'ecocriticism' as 'the study of relationship between literature and the physical environment' in WLA conference. After that, ecocriticism has become a popular term in academia. The
term 'ecocriticism' is used by various scholars around the world under
various labels like environmental criticism, literary environmental studies,
literary ecology, literary environmentalism, green cultural studies and so
on based upon two reasons: one, self designated ideology and two,
convenience. So far the ecocritics around the globe has not reached any
consensus regarding the definition and the term as well; and this clearly
points out that this area is still in its evolutionary stage.
Ecocritical research can be categorized into three waves: The first
wave of ecocritics concentrated on nature writing, anthropocentric,
biocentric, and ecocentric ideologies; the second wave of ecocritics
491
concerned about socio-centric ideologies like bioregional, ecopolitical,

and post-colonial theories. The third wave ecocritics are exploring regionspecific issues and native approach as a critical tool to study environmental implications in folklore, case studies, ethnicity, and culture studies
and so on. Also, it has many ecocritical approaches like ecofeminism,
ecoMarxism, ecofascism, Deep Ecology, place and space, wilderness,
urban ecocriticis, and many others. Among these, 'Place studies' has
evolved as a major area of research in ecocriticism, environmentalism,
geography and many other disciplines. Sometime it may be 'a childhood
place'which strongly lingers in one's own mind or an illusionary place to
visit or a place where one is strongly connected in everyday context.
Whatever it may be, place is an important concept in ecocriticism.
Every place is unique like every human being. It has a peculiar
character, spirit, and value. No place in this world can be devalued unless
the merit of the place is intuitively felt as Lawrence Buell in Writing for an
Endangered World points out "A place may seem quite simple until you
start noticing things" (62). What characterizes a place is its geographical
terrain, splendor of the region, flora and fauna, non human beings and so
on. So every place has a distinct character and value. But understanding
of these variations can be felt only when the spirit of the place is keenly
discerned and experienced by the organisms which coexist. This becomes
possible only when such places are identified and differentiated from
space and protected by the local inhabitants. Ecocritical theorist
Lawrence Buell emphasizes this as "If every place on earth were cared for
as we like to think a "protected" reserve is cared for, then perhaps the
health of the planet and people might be secured"(68). Sadly this
awareness is missing among the people at grass root level due to
inadequate ecological awareness. Though value of a place is not recognized immediately, its distinctive geographic characteristics, one's degree
of affinity with a place and patterned approaches will continue to
influence a person and memory in many ways; therefore, a place, in
ecological context, gains value depending on the protection given to it
amidst the developmental projects carried out for various purposes.
Buell in his theoretical works points out that 'place', in
ecocriticism, is considered to be an indispensible concept by many
environmental humanists and researchers because "there never was an is
without a where. Both the bad things and the good that happen to human
beings and other life-forms self-evidently occur when their bodies are
physically located somewhere, in particular locations" (55). Any event
492

irrespective of its kind takes place in a 'place'. But ironically the due and
deserving importance is not given to the concept 'Place' by many early
scholars of literary criticism. It is only after the raise of 'ecocriticism', an
umbrella term for the study of literature and environment, the concept has
started gaining its currency. Though the term 'place' is defined by many
scholars, the definition given by Buell is holistic and so it is noteworthy.
He defines 'place' as "bounded and marked as humanly meaningful
through personal attachment, social relations, and physiographic
distinctiveness" (145). As defined above, a place derives its meaning by
its physical and geographical specificity, also how and what value is
being ascribed by human beings through their personal, cultural and
social affinity. In many ways, a place has the power to influence in itself
and others self. Holding these components for analysis, this paper
attempts to establish the novel The Defiant Jungle as a place-based
novel, examines place-connectedness, how a place acts as a verb, and
finally how it lacks its original form and becomes a non-place.
Sa
Kandasamy's environmental novel The Defiant Jungle is about a place
named Saaya vanam, located in a remote village at Nagapattinam district
of Tamilnadu. The name Saaya vanam means "the forest that can never be
felled or cowed down" (19). This deep and dense jungle Saaya vanam has
an oral environmental history, a mythic tradition, and literature. Its writer
Sa Kandasamy, popularly known as Sa Ka among the Tamil literary circle,
has understood the ecological importance well ahead of the inception of
ecocriticism. Only very few writers of Tamil literature had dealt with the
environment as a focal point in their literary works. This is one of a kind
novel, which in addition to depicting the heartless devastation of a local
environment in an ecological context, also creates eco consciousness
among the readers of Tamil literature in the late 1960s. The writer's
ecological mettle is explicit from the first to the last page of the novel.
Singapore returned Chidambaram, the avaricious protagonist of
the novel, is strongly determined in setting up a sugarcane factory within
the jungle setting against the will of nature and people. This is the central
theme of the whole novel. But the place he masterminded to set up his
dream factory consists of several trees, especially tamarind, which is
considered something special in that region. The novel, in one dimension, clearly highlights how the mindless destruction of the place leads to
the loss of not only its original charm but also the sense of placeconnectedness with which human and non-human beings have been
living, sharing, relishing and celebrating for many decades. How as a
493
geographically and historically marked place, Saaya vanam, is being

reshaped by various external factors adds another significant dimension
of the novel. The writer, in many occasions in the work, has skillfully employed
omniscient narrative structures to voice out the plight of the silenced
nature and to show the atrocious and thoughtless attitude of a human.
Buell, in the glossary of The Future of Environmental Criticism,
differentiates 'a non-place' from place as "neutrally engineered space
such as an airport or a hotel, designed to provide security for the
displaced without the thick platial identity connoted by place" (145). An
important cause for the conversion of a place, which has ecological
value, to non-place, is because of technological, cultural and ecological
globalization. Value forms of a place also vary in differing contexts of
globalization. Over the years industrialists like Chidambaram, land
developers and policy makers fail to note that every place has a folk tale,
it comes to the lime light only when it is identified, celebrated, and
documented. Saaya vanam might be considered as useless by evaluating
its utility in the context of early globalization but as Neil Everndon writes,
"all of nature has utility, all is important" (93). Chidambaram had failed to
understand the ecological and historical value of the place Saaya vanam
and that is why he ended up with an idea to fire the entire jungle.
When a place is demolished only for the sake of development
then it leads to question that development itself. Thus the novel reflects
not only how industrialization impacted a place in the context of globalization but what a place means, the kind of loss it create for itself and for
other organisms (includes Homo sapiens), and changing contexts of
environmental history.
Work Cited
Kandasamy Sa. The Defiant Jungle. Trans. Vasantha Surya. Chennai: New
Horizon Private Media. 2009. Print.
Buell, Lawrence. The Environmental Imagination: Theoreau, Nature Writing, and
the Formation of American Culture. Massachusetts: Harvard UP, 1995. Print.
The Future of Environmental Criticism: Environmental Crises and Literary
Imagination. Oxford: Blackwell, 2005. Print.
-Writing for an Endangered World: Literature, Culture, and Environment in
the U.S and
Beyond. Massachusetts: Harvard UP, 2001. Print.
494
110. Parallel Concept of Nature in Robert

Frost's Works
Ms. M.Siva Vidhya,
M.Phil Research Scholar,
Goverrnment Arts College,
Karur.
The poet compares nature with human life as it represent goals and
target to attain - Editor
Nature is the most beautiful thing in the world. Nature and life of
human are inter related and is very hard to separate them. Robert Frost is
very famous in paralleling nature with human life. Nature is the most
beautiful thing experienced by all. Robert Frost in most of his poems in
one way or other used nature as his main theme.
Frost uses nature to express his views as well as to make his
poetry interesting. Frost places a great deal of importance on nature in all
his collections. Frost does not limit with pastorals like sheep and shepherds but on dramatic struggles in the natural world. Such as changing
season and Destructive side of nature.
Frost presents natural world as one that inspires deep metaphysical thought in the individuals who are exposed to it. In this way
Robert frost depicts nature in other way, looking at beauty in the world is
the first step of purifying the mind
Nature surrounds us and we are bound by its unpredictable
transformation. In many of Frost's poem about nature, he recognizes the
beauty but bewildered and saddened by its continuous change. 'Nothing
Gold can say' portrays the idea of nature for being a life force throughout
all the time. Nature is constantly showing her beauty.
495
Frost's nature is not only a background but central character.

Emotions such as anger, happiness, sadness and loneliness can relate to
different aspects of nature. Robert Frost is a successful poet, in connecting nature with every day human life.
Robert Frost uses nature for the following reasons, to convey
life and humanity, Connection between the nature and humanity or
difference between them, Nature can be seen as the reflection of human
experience, just like humanity which has seasons and life-cycles.
The most important work of Robert Frost is 'Stopping by woods
on a snowy evening'. He himself viewed it as "best bid of remembrance".
The speaker passes through the snow and stops on seeing woods
between the woods and frozen lake
It deals with the contemplation of nature. Though he is inspired
by nature he has obligations to do. He exposed as 'But I have promises to
keep/And miles to go before I sleep'
Robert frost in this poem compares nature with life. 'Between the
woods and frozen lake/ The darkest evening of the year'. This shows
exhaustion with life and longing for death. The isolated spot, cold, frozen
lake and winter associated with death.
In 'Road Not Taken', he talked about the two roads diverged
through woods. The woods are yellow which shows the autumn season
and it shows fall of his life that is the author is growing old.
Woods are thicker and the road disappears which represents
speaker's future is unclear. One path could be better because only a fewer
people used to it which means the decision that is commonly used makes
all difference. Finally the poet repeated the lines, 'Two roads diverged in a
yellow wood' Which represents nature is important to the poet.
In 'After Apple Picking', he talked about an overtired villager who
sleeps under an apple tree. In this poem the poet describes nature very
beautifully. An over tired villager is lulled to sleep by "the essence of
winter sleep", winter evening falls soon. The cold winter breeze is filled
with the scent of apples. A perfect setting that induces sleep.
496

Again the poet compares the nature with human life. Frost says
about magnified apple which means it appears and disappears. This
represents goals and targets of life that may either attain or not. It also
represents unfulfilled desire.
Life and nature are similar concepts because nature is the study of
how life acts and interacts. When we spend time to examine the beauty of
nature around us we can find parallels within our lives. In this way,
Robert Frost depicts nature and parallels it with human life.
Work Cited
Kenneth, John. Robert Frost Biography - Life, Family, Children, Story,
Death, Wife, School, Mother, Young, Son, Old, Information, Born, College,
Contract, House, Time, Year. Encyclopedia of World Biography. Web. 20
Dec. 2010.
Pridmore, Jan. Robert Frost Literary Criticism. Literary History. Literary
HIstory, 25 Mar. 2010. Web. 20 Dec. 2010.
497
111. Portrayal of Nature in Wordsworth's Selected Poems

Ms. R.T. Vinodhini
M.Phil English,
Government Arts College(Autonomous)
Karur.
Wordsworth exposes nature as aliving entity which ha lije and feelings
through his poem - Editor
To Wordsworth the Nature appears as a formative influence. It is
superior to any other. It is the educator of senses and mind. It is the
shower of seeds of our feelings and beliefs in our hearts. Nature stirs the
young poet to an ecstasy. The glow of Nature illuminates his work.
Wordsworth is not only a poet of nature but also a high-priest of Nature.
Like others Wordsworth's Nature also included hills and mountains,
rivers and springs, lakes and seas, earth and sky, winds, woods, trees,
plants and flowers, the sun, the moon and stars. But his outlook is
different from those of others. Other poets looked at Nature objectively.
But Wordsworth's view of Nature is coloured by his 'hyper- individualism. Wordsworth believes that nature is not only a physical phenomenon
but a living entity. To him, Nature has not only life but also feeling. It is
his faith that every flower enjoys the air it breaths. He saw every natural
form, rock, fruit or flower, even the loose stones on the highway feel. He
considered it cruel to walk on green grass for it had life and would be
wounded. Wordsworth's conception of Nature was the product of a slow
process extending from childhood to manhood. There are three stages.
In this state Nature served only a background. In his early days of
boyhood, he spent most of his time in childish joys such as bathing in
498

stream, climbing trees, gathering flowers etc., During this period he
experienced a 'calm delight'. At this stage Nature seemed to speak to him
"rememberable things"
At this stage Wordsworth's love of Nature is of mere sensibility,
devoid of thought. By this time he developed a likening for sensuous
beauty of Nature. He viewed Nature with a purely physical passion. The
beauty of Nature became an object of passions. This type of experience
gradually led him to the final stage of love of Nature.
This stage is marked with Wordsworth's love of Nature. He sees
Nature by the eye of soul. Wordsworth passes through spiritual experience of Nature. At this stage his love of Nature was no longer as passionate as it was earlier. Mixed with an attachment to humanity, it grew
calmer and sober. He began to realize the existence of a unifying spirit
running through all things. At this stage all the senses are suspended
and the disturbing influences of the reason is removed.
In his poem 'The Tables Turned' he says, " Let Nature be your
Teacher". This line suggests that he regarded Nature as his best teacher
The Prelude is an account of the best part of the poet's education that he
received from Nature. Nature exercised upon him the discipline of fear
and joy. This discipline enabled him to feel Nature's presence in the
background of all his activities. He advises to abandon books and
emphasizes the need of getting the direct inspiration that a man can get
from Nature. Even Wordsworth finds sermons in stones.
Wordsworth is acknowledged as a mystic. Mysticism involves the
perception of a divine unity behind the ordinary physical world. The
mystic sees a divine unifying in all lives and considers all things in the
visible world as manifestation of the one divine life. His mysticism is
deeply rooted in his conception of Nature. For him Nature has life and joy
in himself. Nature is a manifestation of an 'active principle'. It has its
noblest seat in the mind of men. He communicates with his Nature
through his senses. Nature is the guardian of his heart and soul of all his
moral beings. To him the God is Man and in Nature is one and the supersensuous world appeared to be more real than the world of senseperception. Even in his conception of the existence of soul and its
relation to the divine soul, he shows himself as a mystic.
499
Wordsworth's poetry is a record of his inner experience.

Wordsworth's poetry is remarkable not so much for his beautiful descriptions, impressions, experiences and emotional reactions about Nature. He
lived an uneventful outward life. He talked much of himself, His own
experiences, thoughts and beliefs. Because of this reason Keats called
him "The Egotistical Sublime". A larger part of his poetry is a record of
his own mind. The poems The Prelude, 'TinternAbbey' , 'Immortality Ode',
are remarkable for their autobiographical significance. The Prelude is
subtitled as 'The Growth of a Poet's Mind. It is a spiritual autobiography.
It is a poetical record of his life from childhood to early middle age. It is
an autobiographical account of Wordsworth, the man but the poet. The
first two books describe his early love of Nature and various formative
influences. The next four books narrate his stay at Cambridge and his
experiences there. The books from VII to XI describes his enthusiasm for
the great revolution.
The poem 'Tintern Abbey' traces the development of the poet's
love of Nature from his boyhood to manhood. In the beginning Nature
was only secondary to the poet's animal pursuits. In the next stage, his
love of Nature grew sensuous. In the final stage, he realized a harmony
between Nature and soul. 'The Immortality ode' also has an autobiographical charm. The poet feels the loss of the 'celestial light' that
appeared in his childhood. Thus Wordsworth's poetry is a truthful record
of his own mind and soul.
Work Cited
William Wordsworth, The Prelude, English Romantic Writers, 2nd edition
(Harcourt: 1995).
William Wordsworth, Preface to the Second Edition of the Lyrical Ballads,
English Romantic Writers, 2nd edition (Harcourt: 1995), 429.
500

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u B[Q

K S R COLLEGE OF ARTS AND SCIENCE FOR WOMEN

Kjd;ikg; gjpg;ghsh; (Editor in chief)

Mrs.J.Mary Mimicklin Rexella

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An International Seminar On Nature in the

3. Ms. S. Kavitha Srinivasan

PATRON & PRINCIPAL

- Assistant Professor, Department of Tamil

- Assistant Professor, Department of Tamil

- Assistant Professor, Department of English

- Assistant Professor, Department of English

- Assistant Professor, Department of Tamil

- Assistant Professor, Department of Tamil

- Assistant Professor, Department of English

Ms.R.Mohana Priya - Assistant Professor, Department of English

- Assistant Professor, Department of English

- Assistant Professor, Department of English

- Assistant Professor, Department of English

Mr.T.Srinivasa Raja - Assistant Professor, Department of English

Ms.J.Parvin Sulthana- Assistant Professor, Department of English

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Nature as the Background of Tamil Classical Poems

Landscape on the view of Sangam Poets

Nature in the Perspectives of Author

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Ksrcasw Tam & Eng Book

Ksrcasw Tam & Eng Book