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BIBILIGRAPHICAL DATA : SINGAPORES NEW POEMS: - A CRITICAL STUDY : Dr. M. THYAGARAJAN, M.A.,
B.Ed., M.Phil., Phd.

Title of the Book Author Subject

: Research on Singapores New Poems (Modern Literature) : 978-981-08-4087-7 : Author : Tamil Art Printers Pvt. Ltd., Singapore. : Tamil : First, Feb. 2010 : 18.6. Maplitho : Demmy 1/8 : 112 : $7/: Tamil Art Printers Pvt. Ltd., Singapore.

ISNN Copyright Holder Publisher Language Edition Paper Used Size of the Book Number of Pages Price Printer

e. bjtRju
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bjh.ng. : +91-44-2844 2501 bjh.e. : +91-44-2844 5517 dr : ndsundaram@hotmail.com

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FOREWORD
MARAIMALAI ILAKKUVANAR
Professor of Tamil (Retd.) Presidency College, Chennai-5 Formerly Visiting Professor of Tamil, University of California, Berkeley, US.

Free Verse is a form of Poetry composed of either rhymed or unrhymed lines that have no set fixed metrical pattern. There are thousands of definitions for the genre free verse, but we can have a glance of the definition given by Britannica Encyclopedia (concise): Poetry organized according to the cadences of speech and image patterns rather than according to a regular metrical scheme. Its rhythms are based on patterned elements such as sounds, words, phrases, sentences, and paragraphs, rather than on the traditional units of metrical feet (see metrical foot). Free verse thus eliminates much of the artificiality and some of the aesthetic distance of poetic expression. It became current in English poetics in the early 20th century. Free verse claims to be free from the constraints of regular meter and fixed forms. This makes the poem free to find its own shape according to what the poet - or the poem - wants to say, but still allows him or her to use rhyme, alliteration, rhythms or cadences (etc) to achieve the effects that s/he feels are appropriate. Here a poet evolves a kind of self-prosody which is the outcome of the artistic pursuit for a sophisticated form of expression. Free verse in Tamil is called as Puthu Kavithai (New Poetry).The poets who contribute New poetry in Tamil have

done a considerable variety or kinds in this form and as a result of their achievement it has become a Genre Poets in Tamilnadu who have a good command of conventional prosody and at the same time wish to perform some new experiments so as to evolve a modern literary form are the forerunners of Free verse in Tamil. Thamizhanban, Abdul Rahman and many other poets who belong to the Bharatidasan School alone have succeeded in their modernist experiments. But there is another kind of Free verse in Tamil. People who do not know prosody who do not even know the syntactic structure of Tamil language- and who wish to gain popularity, scribble something to suit their fancies and pose themselves as modernist poets. Such kind of poets are patronized by literary magazines and their gimmicks with ungrammatical utterances are misunderstood y the serious readers as the products of avant-gardism. The modernist literary trends evolved in the western countries are the outcome of the post-war scenario and industrial revolution. Karl Marx, Sigmund Freud and Charles Darwin were the path-breakers, not only in the history of mankind, but also in the thinking process of man. Approaches to life and arguments in Philosophy gained new vision and provoked a kaleidoscopic variety of arguments and counter-arguments. Inventions in Atomic physics and explorations in the space, made the mankind, reach new zeniths of intellect. Literature had its impact from printing technology and the development of photography. The modernist trends in painting like Cubism, Fauvism, Impressionism and Expressionism provoked the 7

modern poets.Symbolism, Imagism and Obscurantism attracted them and the verse libre had its origin in these kinds of post-war modernist trends. The theme of International citizen and the sublime value of Humanism found their places, crossing borders. Japanese haiku was adopted by Europeans and Americans. Haiku contests were conducted in English by many Airline companies in U.S. The poems of T.S. Eliot were translated in Japanese language and many Eliot clubs were founded in Japan. The intermingling of East and West was considered as the only way to achieve unity and solidarity of mankind. To put it brief, the countries which were hostile and inimical before the Second World War craved for peace and prosperity. The calamity and chaos they witnessed during the war taught them new lessons. They now understood that by ignoring the ethnic and geographical divisions mankind should get united and speak in one voice against oppression in any kind by any force. This vision made poets crossing the borders to advocate for Humanism. But in India, which was the least affected by the wars, the scene is a different one. As a country of Thiruvalluvar, Buddha and Mahavira, India preached and practiced non-violence. The freedom struggle under the leadership of Mahathma Gandhi followed ahimsa, the nonviolent approach. One world theory is not new to India. Every country is my country and every man is my relative is the lofty 8

maxim gave by the Tamil poet Kaniyan poongkundranaar , three thousand years ago. India never witnessed an industrial revolution. The socioeconomic background of Europe which was the nursery of modernism can not be equated with that of India. Here in India, there was the need for a war against the atrocities committed in the name of religion. The practice of Untouchability was so prevalent in almost all of the Indian villages. Mahathma Phule, Mahathma Gandhi, Periyar E.V.R. and B.R.Ambedkar dedicated their lives for the uplift of the oppressed lower caste Hindus. The caste system and discrimination were eliminated by their sincere efforts at least among the educated urban people. Stringent laws are enforced to ban the discrimination in the name of caste. The modern India owes for its emergence as a welfare state not only to leaders like them but also to poets who propagated the lofty ideals of Phule,Gandhi, Periyar and Ambedkar. If modernism was the maxim that motivated the western poets, Gandhian thoughts and progressive views were the force behind the Indian poets during the post-war period. It is the post-colonial period that witnessed the switch over to western thoughts and literary trends in India. The craze for imitating the western experiments infected the Indian literary scene like an epidemic fever from the Mount Himalayas to Cape Comorin. Poets justified their Eurocentric misadventures and succeeded in their attempt to popularize the Free verse, a blend of meaningless matter and misleading manner. 9

Now Free verse has emerged as a genre in Indian languages with various kinds to suit different sets of audience.Hiaku, senryu and limeraiku have flourished and found their way to attain important places in Indian languages. We, as critics, can not prescribe rules and dictate them to poets. The new genres have to be analyzed, appreciated and acknowledged without any hesitation. Dr.Thyagarajan, an Assistant Professor in NIE, Singapore, has done a laudable work in analyzing the modern Tamil Poetry of Singapore. An objective study with a superb critical acumen is accomplished in this wonderful study of modern Tamil poetry of Singapore.Through this book one can understand the changing trends in modern Tamil poetry of Singapore. The poems of Ka.Thu.Mu.Iqbal, Ka.Ilangoven, Kumari Gnanapragasam Monica, C.Meenaakshi, Mohammed Ali, Azhagiapandian and Tajuddin form the source material for this analysis.Dr.Thyagarajan has well established in this book the leading trends of free verse written in Singapore. Individulism, Avant gardism, Progressivism and Populism are the main trends of Modern Tamil Poetry in Singapore, according to Dr.M.Thyagarajan. Dr.Thyagarajan does not assail any poet in this tiny volume. He neither reprimands them nor impeaches them by putting any blame on them. Content-analysis, Exponential approach, Descriptive analysis and literary appreciation are the methods he has practiced in this book. 10

The first chapter, titled Origin and Growth of New PoetryA birds view attempts to give the evolution of the Free verse in Europe, U.S.A and its impact in Asian countries. The author, Dr.M.Thyagarajan, describes the modernist experiments of Picasso in Painting and the reflection of such innovative ideas attempted by Apollianaire in poetry. He has given a clear narration of the emergence of Free verse in western countries and the role played by T.S.Elliot, Ezra Pound and others in popularizing the modernist techniques. The literary revolution of Walt Whitman who ventured to stage a rebellion against the British colonialism by his disobedience to the English prosody and the welcome to his efforts in India are vividly portrayed by the author. Bharatiyar, the morning star of modern poetry in Tamil and his impact and influence in Indian poetry have found an important place in this chapter. The author should have explained the role of Bharatidasan, hailed as the revolutionary poet, who played a prominent role inthe development of modern poetry in Tamil.Iconoclasaticity, Thematic surprise and Technical innovation ,the three important theories, followed by Bharatidasan.These three theories turned as practices in his poetry, attracted a number of young poets and thousands of brilliant poets contributed enervating poems in exuberant style, vibrant enough to usher in a new era of rationalism and literary renaissance. As this volume is a compilation of essays presented at several academic bodies, this omission may not be a deliberate one. But without mentioning the revolutionary path of Bharatidasan in modern Tamil poetry any survey of modern 11

Tamil poetry is incomplete and imperfect. These essays catered to the need of various literary seminars and the author can not be blamed. Even then this first chapter is a highly commendable survey of modern and modernist trends in twentieth century poetry. The role of Individualism, Avant-gardism, Socialism and Populism in modern poetry is well explained by Dr.M.Thiyagarajan, who deserves many laurels and accolades for such an enlightening essayeducative, informative and thought-provoking. Singaporeans may feel proud to have such an art-critic and literary theoretician in their country. Though this chapter is a tiny one consisting of fifteen pages the message carried and the literary acumen behind this have no comparison. A short history of the modern art, the origin of the verse libre in European countries, the modernist trends in art and literature with their reflection in the making of free verse as a new genre, the influence and impact of Walt Whitman on Bharatiyar, the development of Tamil New poetry in the second half of the twentieth century and the current literary scene, are all portrayed, in a detailed manner, with the help of a short and efficient narration of relevant information. The second chapter deals with the origin and development of Tamil New Poetry in Singapore. The author finds five important factors for the growth and spread of free verse in Singapore. They are: 1) The thirst for innovative approaches and origin of a lateral thinking among writers 2) The ignorance of Tamil prosody and lack of knowledge (particularly Tamil culture and language) 12

3) Declining number of Traditional poets 4) Lack of audience for traditional poetry 5) The warm reception and wider publicity given to new poetry in media (both electronic and print media) The volumes of New poetry in (Singapore) Tamil, published in the years between 1965 and 1990, are the source material for this analysis. According to Dr.M. Thiyagarajan, the first volume of new poetry in Tamil (vizhic cannalkalin pinnaalirunthu)was published in the year 1979 at Singapore. The pioneer Poet Ka.Ilangoven hardly found any follower for his experimental effort in verse libre. It prompted him to publish another volume (mauna vatham) in 1984.Even then no body dared to follow him. Perhaps his aversion to the traditional values and his onslaught on Tamil culture in his poems made the Singaporean Tamil poets hesitate to write verse libre following Ilangovan.Thereafter he published a bilingual collection of his poems(in English &Tamil) titled Transcreations.in 1988. It was Poet Ka.Thu.Mu.Iqbal who succeeded in popularizing verse libre in Tamil at Singapore.His volume titled Mugavarikal. Contained both conventional poems and new poetry. The long poetic career of Iqbal, his concern to cherish sublime values and Tamil culture, had already earned him high esteem among Singaporeans. His attempts to popularize new poetry gained success among budding poets, leading to a compilation of such free verses titledChinna Chinna Sidhdhaanthangal. Such facts and valuable information on the growth and development of the new poetry as a genre are provided by Dr.M.Thiyagarajan in this chapter. Third chapter of this book analyses the volume titled 13

Chinna Chinna Sidhdhaanthangal. Thyagarajan enlists all the thirty-four free verses giving their title and explaining their content in a few words. He classifies the themes in which the poems may be fit in. According to him, Love, Society, Nature, Education, Religion, Culture, Humanism, The status of women in our society are the themes in which these verses may be classified. The classification of various themes and the narration of their content are accomplished in a commendable manner by the author. His keen observation of the message revealed in each poem, his interpretation of the content and its relevance to the contemporary period and his explanation of the aesthetics and satire of the verse are unique and excellent. Fourth chapter of this book is analyzing the free verses of the famous poet Ka.Thu.Mu.Iqbal.The author enlists and elucidates the images found in the verse of Iqbal. The intellectual and emotional appeals found in the free verse of Iqbal are elaborately explained with a view to make the readers enjoy them. The fifth chapter explains the poetic excellence of the verses of Kumari Gnanapragasam Monica. Here Thyagarajan gives an explanation of Impressionism and its impact in art and literature. He considers many of Monicas poems as impressionist verses and aptly explains them. He appreciates the social awareness expressed in some of her poems and at the same time regrets to point out many of her poems as illustrations of escapism and victims of Obscurantism.

14

The fifth chapter of this volume renders a superb description of Image found in Singapore Tamil (free) verses. He explains the three types of images viz. Unitary Image, Multiple image and chain-like image. Thyagarajan has done an excellent job, by his codification and classification of poetic images. There is no harm in pointing out that he has liberally borrowed from my book, titled Three great techniques in new poetry. Thyagarajan has not committed any type of plagiarism, but has taken the theories from my book and successfully applied to the New Poetry written by Singapore Tamils. In these days of cut and paste culture, Thiyagarajan has duly acknowledged all of his quotations then and there. He has given charts, Graphs and tables to elucidate and substantiate the relevant facts, showing his expertise in adopting a perfect methodology. Thyagarajan has delved deep in each poem, understood well the inner beauty of each image and has explained the architectonics of the imagist creation. In him I see a budding Elliot. It can not be denied that in Singapore, Thiyagarajan is a pioneer in the criticism of modernist verses. Being a fore-runner in the critical career, he may find it hard for a smooth and swift travel in his journey, as he has no predecessors. This tiny volume of in-depth matter is an encouraging evidence for his sharp vision, elaborate knowledge, excellent narration and extraordinary skill in finding the poetic talent. He never uses his critical job to find fault with any poet. Bold and unbiased, Professor Thiyagarajan sincerely wishes to propagandise and popularize the poetic talents of Tamil poets in Singapore to the world. The grand success he has got in this mission can be easily found out if you venture a cursory reading of this book. 15

In classifying the genre he holds his knowledge as a sceptre, in explaining the aesthetics, his brilliant understanding acts as a torch, to throw new light and guide the readers. His pen is a magic wand at his hand helping him to enthrall the readers as well as the poets. His criticism will surely accelerate more and more creations serving as a catalyst in the process of the growth of literature. I sincerely hope, lovers of Poetry will find this book quite interesting, inspiring and invigorating. I am sure, Dr.Thyagarajan will bring many more volumes like this, which will help the readers understand the original matter and appreciate the awesome manner enriching the Modern Tamil Poetry of Singapore.

16

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vGjhsfS wj wdh fis vG btl ntLbkd nfLbfhnwh. jUz YF Miu vGa jHf Jfij wdh thsf xUtuha Kdh khyf nguha lhl ..kiwkiy mtfSF thJiu vGa brid gfiy fHf j bkhJiw jiyt Kidt.e.bjtRju mtfSF ghuhLiu vGa ytfur bghdur mtfSF e. eF totika cWJizj nguha lhl kiwkiy mtfSF mtf Jizah mtfSF ggfjh rh eid kdKtJ bjJ bfhnwh.

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18

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tsJ bgUtU yafis MJ, ya g tiuKiw tsuhk, tsU gUF tiuaiw brJ viy mikgJ, viyF 19

jiHF ya isit ntah fhgJ yfz ga MF. yfz tufSF c gL ida bgw fijf ku fijf vd, yfz tufis jfbjJ kuig njha tiw Jfijf vd mPf tifgL dhf. fhyngh Jfijf bjhif g bgUaJ. mtiw wdhthsf MJ mJ, JfijfSilna mikJs bghJ jik fis flJ, JfijfSF y kufis Tshf. Kidt kh.ahfuhr mtf gilJs Jfij kufis tifgL JfijfSF xUnt mikUwJ. Jfijf bghJ nghUJ xU a kuid Ro fhLw yfz nghy ej wdh fwJ. , Jfij kufis ffP j JfijfSl bghUfhos fhuzjh, J fijJiw bgh fG bgWs jff j fijf Jfij kufSl vj msF xJnghwd vgij v ghJ bfhs cj fzhoahf, Jfijf ida U isPf btfukhf mtiw idtjF tfhL fyfiu sfkhf mikJsJ. knyah yafis g Kidt yft mtf, bgUghY knya j ya, jehL ya nghid mogilahf bfhL, cehL nghnfg to bfhL tsU JiwahF vW Ts fUij vLJfhos 20

yha, f njhs Jfijfis g FLnghJ Kidt yft mtf Taij idgL f Jfij Jiw ahdJ, j eho Jfij nghid mogil ahf bfhL ceho nghDF Vg tot bfhL tsJ tUwJ vW FLsh. d Taj _y Kidt ahfuhr mtf f Jfij JiwF kiwKfkhf kKo No m nrJsh vgJ bjwJ. jeho Jfij nghF, f JfijfSF mogilahf mikUjhY mit, cehL nghDnfw tot bfhLsd vW TWtj _y f fijfSF Vw mJsh. cyf ehLfilna, mHY, xGY, tsY, gghL eyY caUgJ f vgJ cyfj cik; vdnt, cehL nghDnfg totbfhL vf Jfijf bghJ ku jHf Jfij nghid xUjhY vf kQnfw tzK totK bgWsjh vf yaf cathdit vgij wdhths ahfuhr neuoahf Twhk kiwKfkhf czsh. jhjeho Uw msF jHf bjhif, fPf bjhif, thgoF thrf gu nghwit f Fiw vgjh jehL fPfSl vf fPf nghol ayhJ vd bjJs wdh bjw ahfuh#, f kyJs Jfijf ytiw vLJ fho, mt Fiwiwfis vjjkhd c nehfK yhk csij csthnw vLJfho

21

sh. mjdh f Jfijf wig btgl brJsh. f kufij - Jfij MjuthsfS ilna fUJngh - jKuR j mjF fskhf saJ - jngh _y yaJiw nkY L bgUik bgwd Matiw j mHFw vLJ TsJ. kufij FJsF Jfij Tiu beU J kufij Mjuths TaJ. jF kW bkhahf Jfij Mjuths Mtf yhaiy Mu bghjfSl MobfhoUF giHa Tiufis jiuklkhF U beUjh Jfij vW Ta ghF, vd gokw gh fj fUJngh KGtij yha Ritgl bj Jsh. ugr MH mfyfis fW jj msF Phd vfSF kjf MH mfyfis fWjuiy vD if fP Jfijia, kfhf ghuah ghoa, 22

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sfij wdh bjw ahfuhr tHs ghF f wJ. Jnghynt nkY gy fijfSF ahfuh# mtf tHs sff bghUjkhditahf, mjj fijfis gilj fPf vz nthlf Jakhf czJ tifY mik Jsd. Jfijfis wdh brw wdhths gy, fPf gilJs fijf EbghU gok nghwit sfhlh myJ kafkhf mit mikUjh mtiw Rofhl khlhf FiwTw khlhf, Vbdwh - mjJ fij mikJs Egij s bfhS Ekh EiHy jkiy vdw jik Fiwthf kL Lthfns? vD mrjh jkF ahjtiw FHgkhd tfis g fUJ VJ Twhk eGLthf, Mdh, wdh bjw mtfl mj nghjd xU J iy. gy fijf mikJs FHgkhd mofis FL gFf mikJs bghU vdF aiy gyKiw goJghnj gaiy. vdnt bghU sbfhs ayhk d fij vGJtjh vjgaD iy vW wdhths fJthf j fUij g brJsh. J ahfuhr mtf neikia ygLJwJ. bkhj iwfis ngh ghuhL wJ. Fiwfis Rofho Ul KawJ. J fijfSFa bghJ gf f J fijf mikUF ghid vLJ fho 24

sJ. gy fijf cbghUf ygLkhW mtWF ca sff mJsJ. if fPf Jfij mof gytiw Kndho fP j fijfSl xL xgh brJsJ, fijfis MtJl vj NH mj fijf njhUj TL? vW fij wj jFa fhuzfis MUwJ. fijfis gilj fPf thiy, Niy, kdghF, FzghF KjatiwTl mt tHs fijf t ma KawJ. vdnt, a va eil MfgLs wdh f fukhf fHnghwJ. f fPfSF khiyNo, gbjJ kKo mJ kw j wdh f Jfij gilghsfSF ilJs UJ; iy goJ RitF midtF Ritahd UJ. F wdh iy ngh knw wdh bjw ahfuhrid th knw.

25



(1965- 1990- 25 )

1. 2. 3. 4. 5.

- :

( 27-40) (41 - 54) ( 55 - 77)

- (78 - 89) ... ( (90 - 94) (95 - 112)

6.

26

Jfij njhwK ts - xU gUJ ghit

(PHOTO GRAPHY)

GEOMETRICISM)

27

(APPOLLINAIR)

(CREATOR)

(GEOMETRICISM)

(FRAGMENTATION & DISTORTION)

(DECONSTRUCTION) (RECONSTRUCTION) (Collage Method)

28

(APPOLLINAIR)

(COLLAGE)

29

(Collage Method)

(IMAGISIM)

30

LEAVES OF GRASS

(SCHOOL OF THOUGHT)

31

(SPEECH RHYTHM)

(SCHOOL OF THOUGHT)

32

NCBH

FREUD

(INDUVIDULAISM)

33

(STANDARDISATION)

34

; ;
(OBSCURITY)

AVANT-GARDISM)

(POPULISM) (MASSMEDIA)

( INTERACTION

35

(ANTIPOETRY)

36

(METROPOLITAN)

37

38

(SERIOUS READING)

39

(POPULISM)

40

41

42

f Jfij njhwK ts

43

44

45

46

TRANSCREATIONS

47

48

49

4 3.5 3 2.5 Book 2 1.5 1 0.5 0 1979 1984 1988 1990

50

51

52

53

54

55

56

(BEHIND WINDOWS OF EYES) (SILENT ANNITHILATION)

TRANSCREATIONS)

57

f Jfij d d jhjf : X M ghit

( IMPACT)

(INFLUENCE

(THEME)

58

59

SERENA

60

61

62

63

64

SERENA

65

66

(VALUES)

67

SOCIAL

STATUS)

68

69

FOLLOWER

70

(MEMORY BASE EDUCATION)

EVASIVE

71

72

73

(CYNICISIM)

74

(VICIOUS CIRCLE)

75

76

77

78

SELF PITY

79

80

81

82

f Jfij - # Hf - X M ghit

83

84

85

86

OBSCURITY

(OBSCURITY)

87

(OBSCURITY)

88

SWEEPING STATE MENT

(SWEEPING STATE MENT)

(SWEEPING STATEMENT)

89

90

91

SOCIAL AWARENESS

(SOCIAL

AWARENESS

92

93

94

95

f fP f.J.K. gh mtf Kftf (Jfijf kL) xU ghit

96

97

.(STRUCTURAL PATTERN)

98

99

(SLOGAN)

100

101

f Jfijf gok
:

(Gap

filler)

102

(Bias)

103

(Shades)

104

105

; ;

106

(Realism)

107

108

109

110

111

112

113

114

115

116

(Unit of meaning)

117

118

119

120

(BEHIND WINDOWS OF EYES)

(TRANSCREATIONS)

121