Tamil becoming modern

Even in the title, David Shulman makes clear that he is writing a biography of Tamil, and not a history.

Old languages like Tamil, given to intense reflection of many centuries, write their own autobiographies, in many media, though we may not know hot to read them.  Sometimes they ask the assistance of a ghostwriter, a biographer, like me.

What a wonderful storyteller he is!  In this biography of Tamil, he educates me on how the grammar evolved, which then made the rich poetic literature happen, and then as the times changed, well, prose also developed.

Modernity is always a relative concept, privileging the more recent over the more distant past and thereby habitually distorting the latter.  It never happens in a single shot.

That applies to the changes in the language as well as to any aspect of life, it seems.

From the Sangam poetry to modern prose is one hell of a journey over nearly 2,000 years.  "Modern literary prose," for which the Tenkasi period played a critical role, is very different from the poetry of the past.  "Nothing can quite prepare us for the expressive power and stylistic range of nineteenth-century Tamil prose works, which 'bespeak a change of consciousness, of conscience'"

In addition to Sanskrit being woven into Tamil, "by the late seventeenth century, two new languages have entered into Tamil-ness from the outside--Persian and Arabic."  The biography of Tamil, it seems, is also about assimilation.  Perhaps this cosmopolitanism that is innate in the language in which we grew also contributes to how easily we move around and assimilate into societies that are completely unlike the Tamil country.

Shulman discusses "the great Muslim poet Umaruppulavar."  Of course, I had no idea about him either.  Even though he was from the part of the Tamil country that was home to my people. He was born in Ettayapuram, the same place that also claims as its own the poet whose verse I have in a tshirt!

Umaruppulavar's opus was:

the best-known literary work of Muslim Tamil, the Cirappuranam, probably the finest large-scale narrative poem in Tamil in the seventeenth-century; this vast work, largely modeled on Kamban, tells the story of Muhammad in a Hijaz that has reimagined as the verdant Tamil land

I had no idea that my ancestral areas in the old Tamil country played such roles in the evolution of the "modern" Tamil.

Tamil at the border ... and yet at the center

Tirunelveli with its own dialect is where my people are from.  Well, one branch is from close to Tirunelveli, and the other is at Sengottai, which is at the foothills of the Western Ghats.  Sengottai used to be a part of the old Travancore kingdom, and then Kerala.  After the disastrous creation of language-based states, Sengottai became a part of Tamil Nadu and Tirunelveli district.

Tenkasi is the big town near Sengottai.  I have never explored that town, other than waiting at the bus stand there, or passing through.

David Shulman makes me feel that I have missed out on something important at Tenkasi.  This town that is seemingly insignificant was not really insignificant:

A line of rulers claiming to be descendants of the medieval Pandya kings consolidated a small-scale state in this far southern corner of the Tamil country in the course of the fourteenth and fifteenth centuries.  By the decade of the 1440s this Pandya state had attained a solid economic base, at least partly sustained by the lucrative trade passing over the Ghats, that enabled the rulers, among other projects, to build the great Visvanatha-Siva temple still standing in the city

One of the rulers was Ativirarama Pantiyan.  Tamil literature "beginning ca. 1564, witnessed a burst of activity unparalleled elsewhere in Tamil Nadu."

From Tenkasi!

How unparalleled at that time?

the king himself was a powerful poet, the author of the complex work known as Naitatam ... Once considered the basis of an education in Tamil, this work is, sadly, little read today, as are Ativiraraman's other monumental narrative poems

Again, in Tenkasi!

Contributing to poetry itself is significant.  But there is more.  Tenkasi poets produced "major works of what we could call poetry-as-prose."

In Tamil, believe it or not, one could draw a line leading from late-sixteenth century Tenkasi poetic narratives to twentieth-century prose artists such as Putumaippittan, with a big but necessary detour around late-nineteenth-century novelists such as Vedanayakam Pillai and Rajam Iyer.

Maybe I should have picked up the Putumaippittan collection.

A guy who was born in Waterloo, Iowa, and an Israeli after immigrating, teaches me about Tamil and Tenkasi and Tirunelveli.  Serendipity at the bookstore!