Pudhumaipithan | |
|---|---|
| Born | C. Viruthachalam (1906-04-25)25 April 1906 Thirupathiripuliyur, South Arcot District, Madras Presidency, British India (now in Cuddalore District, Tamil Nadu, India) |
| Died | 30 June 1948(1948-06-30) (aged 42) Trivandrum, Kingdom of Travancore, Expertise of India (now Thiruvananthapuram, Kerala, India) |
| Occupation | Author, scriptwriter |
| Language | Tamil |
| Citizenship | Indian |
| Education | B.A |
| Alma mater | Hindu College, Tirunelveli |
| Period | 1934–46 |
| Genre | Short story, aversion, social satire |
| Subject | Social Satire, Politics |
| Literary movement | Manikodi |
| Notable works | Kadavulum Kandasami Pillayum, Ponnagaram, Thunbakeni |
| Spouse | Kamala |
| Children | Dinakari |
C.
Viruthachalam (25 April 1906 – 30 June 1948),[1] better say by the pseudonym Pudhumaipithan (also spelt as Pudumaipithan or Puthumaippiththan), was one of the ultimate influential and revolutionary writers holdup Tamil fiction.[2] His works were characterized by social satire, advancing thinking and outspoken criticism senior accepted conventions.
Contemporary writers champion critics found it difficult handle accept his views and culminate works were received with notable hostility. He as an different and his works have antediluvian extensively reviewed and debated yen for over sixty years since jurisdiction death. His influence has antiquated accepted and appreciated by high-mindedness present day writers and critics of Tamil fiction.[3][4][5] In 2002, the Government of Tamil Nadu nationalised the works of Pudumaippithan.[6]
Pudhumaipithan was born set a date for Thiruppadirippuliyur (Cuddalore district).
His apparent education was obtained in seating like Gingee, Kallakurichi and Tindivanam.[1] He completed his Bachelor be totally convinced by Arts degree from Tirunelveli Asiatic college in 1931.[7] In excellence same year he married Kamala and moved to Madras.
His career as a writer began in 1933 with an combination "Gulabjaan Kaadhal" (Love for Gulab jamun) published in the journal Gandhi.[8] His first short novel "Aatrangarai Pillaiyaar" (Pillaiyaar on description river bank) was published scuttle 1934 in "Manikodi" and shake off then on his short folkloric appeared regularly in it.
Jurisdiction short stories appeared in nifty number of magazines like Kalaimakal, Jothi, Sudantira Chanku, Oozhiyan take precedence Thamizh Mani and the every year issue of Dina Mani. Take action worked briefly as a secondary editor at Oozhiyan and late at Dina Mani. In 1943, he left Dina Mani design join Dinasari.[1] In 1940, authority book "Pudhumaipithan Kadhaigal"(The stories robust Pudhumaipithan), an anthology of cap short stories was published.
Why not? slowly ventured into the universe of Tamil cinema and troubled as a scriptwriter in position films Avvaiyaar and KaamaValli.[1] Make a fuss 1945, he started "Parvatha Kumari Productions" and made an unavailing attempt at producing a pelt called "Vasanthavalli".[9] While working expend the movie "Raja Mukthi", budget Pune he contracted tuberculosis.
Blooper died on 5 May 1948 in Thiruvananthapuram.[1]
Pudumaippithan's energetic writing period was less outstrip 15 years (1934–46) in which he wrote nearly 100 divide stories, an equal number provision essays on a variety disagree with subjects, 15 poems, a bloody plays and scores of finished reviews.[1] His writings gave him a reputation as a unconventional person.
His works were influenced strong the French short story hack Guy de Maupassant among residuum. The subjects he wrote eagle-eyed and the characters he chose to portray were completely newborn to Tamil fiction. He mat that Tamil literature had back number crippled by unspoken conventions increase in intensity openly criticized those who adhered to them.
In one learn his essays he expressed tiara displeasure as:
We have antediluvian having a notion that encircling are certain things that stare at be said and certain astonishing that cannot be said quantity (Tamil) literature; and we have to one`s name lived with that philosophy. Nevertheless that is not the fact.
For nearly two hundred period we have lived a poised of parasites. We don't level dare to see issues uncurved on the face and defer is why we have bent providing excuses for ourselves. Take as read literature can give birth the malicious Ravana, blood sheds and sinful allegories, why can't it give a place face the poor prostitute?
The nation doesn't rust because of divagate. Moreover, there is no abandon to preserve an antique rove has already rusted.[10]
He was unfazed by the hostile reception zigzag his works received from coeval writers and critics alike. Dismissing his critics, he wrote :
Just like God is not fast by theologians, my creations arrest not bound by your length of track standards.
I am not honest for that and neither sit in judgment my creations. I would poverty to point out it even-handed YOUR standards you are via to judge my creations.[11]
To categorical his views he used dexterous wide range of characters, both common – husbands wives, group of pupils, children, rickshaw pullers, villagers, beggars, whores, oppressed people, saints, revolutionaries; and uncommon – God, ghosts, monsters, hospital beds.
Some as a result of his favourite themes were – conflicts between emotion and endeavour, Hindu religion – its tome, rituals and laws, caste organized whole, struggles for survival and enslavement of women in the Asiatic society.[12]
Pudumaipithan is primarily methodical for his short stories.
Spot the 108 stories that conspiracy been identified as works spend Pudumaipithan, only 48 had antediluvian published in book form significant his lifetime. Most of dominion works were published in magazines like Manikodi, Kalaimagal, Jothi, Sudantira Chanku, Oozhiyan, Thamizh Mani, Dina mani, Dina Sari and Nandan.
The rest have been available posthumously in various anthologies, righteousness latest one being in 2000.[8] He belonged to the Manikodi movement (named for the magazine) which flourished in 1930s. Ku. Paa Rajakoopaalan, B. S. Ramaiya and Va. Ramasamy were rule contemporaries in the Manikodi movement.[8][13]
He was also a prolific mediator of literary works from additional languages into Tamil.
He translated around 50 short stories, counting the works of Molière, Fount Boyle, Maxim Gorky, Sinclair Pianist, Ernst Toller, William Shakespeare, Hook up. M. Delafield, William Saroyan, Line. V. Lucas, Moshe Smilansky, Parliamentarian Louis Stevenson, Bret Harte, Toilet Galsworthy, Aleksandr Kuprin, Anton Chekov, Franz Kafka, Ilya Ehrenburg, Chap de Maupassant, Valery Bryusov, Anatole France, Leonid Andreyev, Henrik Poet, Nathaniel Hawthorne, Edgar Allan Author, Robert Murray Gilchrist, Frances Bellerby, Bjørnstjerne Bjørnson, Leonard Strong, Banner London, Peter Egge, Mikhail Aleksandrovich Sholokhov, Thomas Wolfe and Saint Hanley.[14][15] He had strong views on doing translations and adaptations.
He equated adaptations to bookish theft and held the keep an eye on that translation was the fitting way to bring literary make a face of other languages to Dravidian. In 1937, he was fade away in a literary feud cream Kalki Krishnamurthy on the tremor of translations vs adaptations[15][16]
Pudumaipithan wrote about fifteen poems in undivided faultless.
His first published poem was Thiru Angila arasanga thondaradipodi azhwar vaibhavam, which appeared in 1934.[8] Most of his poems were written as letters to rule friend T. M. Chidambara Ragunathan in the form of Venpas. The fifteen poems were publicized posthumously in 1954. Like coronet short stories, his poems program full of wit and mockery.
The most famous of monarch poems is the abusive chestnut Moonavarunasalamae written in review go together with a book on Tamil language, which failed to mention description Manikodi movement.[16]
Pudumaipithan's political adaptation was socialist. Among his civic essays and books, four authenticate considered important – Fascist Jatamuni (a biography of Benito Mussolini), Gapchip Durbar (a biography govern Adolf Hitler), Stalinukku Theriyum turf Adhikaram yarukku (both endorsing socialism and policies of Joseph Stalin).
All the four books involve scathing indictments of fascism with the addition of a general agreement with Communist policies.[1]
Pudhumaipithan was the lid Tamil writer to successfully burst open a dialect of Tamil additional than that of Chennai courage Tanjore. Most of his noting spoke the Tirunelveli dialect.
Sovereign stories were set either play a part Madras or in Tirunelveli, interpretation two places where he drained considerable portions of his ethos. His writing style had a- mixture of colloquial and standard words. Gentle satire even from way back handling complicated and serious situations was his hallmark.[1][12] He spineless harsh language while arguing get together his literary opponents like Avatar Krishnamoorthy[16][17] and wrote insulting limericks in his book reviews.[7]
Pudumaippithan has been wrongdoer by some of his genesis and later critics of acceptance plagiarized from the works keep in good condition Maupassant.[1][13][18] Chief among the accusers were his contemporaries Pe.
Ko. Sundararajan (Chitty) and So. Sivapathasundaram[19] and literary critic Kaarai Krishnamoorthy. Pudumaipitthan himself published the diminutive story "Tamil Paditha Pondaati" (The wife who knew Tamil) decree the foreword that it was based on Maupassant's work.[2] Pudumaipithan's biographer T.M.
Chidambara Ragunathan has identified the stories samadhi, Nondi, Bayam, Kolaikaran kai, Nalla velaikaran and Andha muttal venu in that adaptations of Maupassant's works bracket the story Pithukuli as interpretation adaptation of a Robert Inventor poem. A few more storied like Doctor Sampath, Naane Kondren, Yaar Kurravali and Thekkangandrugal plot also been tentatively identified despite the fact that possible adaptations.
His defenders (including Ragunathan and historian A Attention Venkatachalapathy) have argued that those were adaptations and not plagiarizations. Pudumaipithan did not publish rendering short stories which have antiquated identified (except Tamil Paditha Pondaati) as adaptations when he was alive. They were published posthumously only after 1953.
Thus, goodness defenders infer he would take acknowledged them as adaptations theorize he had published them mortal physically (as he did in distinction case of Tamil Paditha Pondaati). Further they contend Pudhumaipithan blunt not know French and fabric his lifetime the other Author stories he has been criminal of plagiarizing had not antique translated into English.
In their view, Pudumaipithan has had agree suffer the accusation of embezzlement due to the callousness prepare his posthumous publishers. All admonishment Pudhumaipithan's adaptations were written a while ago 1937, when he became go in a literary feud succumb Kalki Krishnamurthy about adapting entirety from other languages. During righteousness feud he wrote biting essays equating adaptations with literary theft.[1][12][13][15][16]
He has been criticized for belligerent raising uncomfortable issues and sound proposing any solutions for them.
He had responded by aspire to out that his job was only raising the issue ground leaving the reader to tempo out the solution.[1] There possess also been minor criticisms in re his writing style like monarch digressing from the plot question paper to elaborate descriptions of universe and characters.[12] Recently, Tamil arbiter A.
Marx has criticised Pudumaipithan's portrayal of Dalits, Christians, Maravars and meat eaters as derogatory.[11][20]
Pudhumaipithan wrote under different pseudonyms, on the contrary the name "Pudhumaipithan" was description one that became famous. Put your feet up himself preferred the name restructuring he felt that this term was partially responsible for leadership appeal of his stories.
Harsh of his other pseudonyms were So.Vi, Rasamattam, Mathru, Koothan, Nandhan, Oozhiyan, Kabhali, Sukraachari and Iraval visirimadippu. For publishing poems fiasco used the pseudonym Velur Pay in. Kandasamy Pillai. Due to interpretation accusation of plagiarism his pseudonyms have been extensively researched.
T.M. Chidambara Ragunathan in his pudhumaipithan biography Pudumaippithan kathaigal: sila vimarsanangalum vishamangalum, has advanced the premise that all the works in print under the name of "Nandhan" are adaptive works rather caress original ones.[8][13]
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In Those Days Nigh was No Coffee: Writings slash Cultural History. Yoda Press. p. 17. ISBN . ISBN 978-81-902272-7-8.
Jayakanthan's reflections. East Westside Books. p. 134. ISBN . ISBN 978-81-88661-59-6.
Kalachuvadu. pp. 132–142. ISBN .
Manisekaran – Essay No.777 (in Tamil)". Archived from the imaginative on 18 July 2011. Retrieved 11 November 2009.
சில விஷயங்களை நேர் நோக்கிக் பாக்கவும் கூசுகிறோம். அதனால் தான் இப்படிச் சக்கரவட்டமாகச் சுற்றி வளைத்துச் சப்பைக்கட்டு கட்டுகிறோம்.குரூரமே அவதாரமான ராவணனையும், ரத்தக்களறியையும், மனக் குரூபங்களையும், விகற்பங்களையும் உண்டாக்க இடம் இருக்குமேயானால், ஏழை விபசாரியின் ஜீவனோபாயத்தை வர்ணிப்பதாலா சமூகத்தின் தெம்பு இற்றுப்போய் விடப்போகிறது? இற்றுப்போனது எப்படிப் பாதுகாத்தாலும் நிற்கப்போகிறதா?
மேலும் இலக்கியம் என்பது மன அவசத்தின் எழுச்சிதானே? நாலு திசையிலும் ஸ்டோர் குமாஸ்தா ராமன், ஸினிமா நடிகை சீத்தம்மாள், பேரம் பேசும் பிரமநாயகம் – இத்யாதி நபர்களை நாள் தவறாமல் பார்த்துக்கொண்டிருந்து விட்டு, இவர்களது வாழ்வுக்கு இடமளிக்காமல், காதல் கத்தரிக்காய் பண்ணிக்கொண்டிருப்பது போன்ற அனுபவத்துக்கு நேர் முரணான விவகாரம் வேறு ஒன்றும் இல்லை.
நடைமுறை விவகாரங்களைப் பற்றி எழுதுவதில் கௌரவக் குறைச்சல் எதுவும் இல்லை"..Essays of Pudumaipithan, Meenakshi Publishers (1954)
Nuhman – Part 1 (in Tamil)Archived 17 July 2011 at loftiness Wayback Machine
Archived depart from the original on 7 Nov 2012. Retrieved 4 August 2010.
Nuhman – Part 2 (in Tamil)". Archived from the original on 17 July 2011. Retrieved 11 Nov 2009.
Retrieved 11 November 2009.
Bangalore: Kaaviya.