Mauni's Manakolam 1,2,3, 5 - C. Su. Chellappa :: Writing

Mauni's Manakolam 1

C. Su. Chellappa 

Annihilator 

Author: Mauni 

STAR PUBLICATION: 66, PERIYA STREET, 

Tiruvallikeni, Chennai-5 

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Edu - 22

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Czechoslovakian creator Frank Kofka told his friend to tear up all the manuscripts of his stories and novels and throw them away. Mouni did not say anything like that. But they want to be published as a book 

It is doubtful whether he had an eager mind. His friends had to collect copies of his published stories to bring him a complete, unordered volume of 'Azhiyachudar' stories! K. who was responsible for bringing Mauni's stories into a book by showing stubbornness. Na. Even Subramanyam could not earn three stories with these fifteen stories left to go. The name of the stories and even the published press reports are not known. If this fun is about a living creator! Mouni - Her original name is S. Mani - who has been considered a mystery man in Tamil literary circles during these twenty-five years. There is a reason for that. His stories are mostly bellicose period effects. A few have lived up to and surpassed that period. All that he has written in this quarter of a century are stories, and if we look at this pace, it is questionable how much will come even if he continues to write. British novelist E. M. It could also happen that Foster wrote for a period of time and then did not write for thirty years. That is why it is called Mauni 

A next generation has grown up with question marks on their faces. They ask and write whether such a person was or is alive. Even more peculiarly, few of his contemporaries knew him. At the end of last year at the All India Mahanath building held in Chennai, his unexpected appearance like 'out of nowhere' gave rise to the mystery. Let man be a mystery; Writer Mouni is still like that in the world of spread journalism and literature. These 'Azhiyachudar' stories remove this mystery and pave the way for today's reader-creator relationship. Mauni the individual, Mauni the writer What is above these two is Mauni's writing. As a reader, as a fan, and as a critic, we need to explain and understand the mystery of writing. When we say that writing is a mystery, we have to use those words in a state of bewilderment that occurs to a reader who tries to read Mauni's stories. Even those who are used to the somewhat complex writing style of the innovator, Ramamrutham, are a little bewildered when it comes to Mouni as if they are standing in front of something of a conundrum. What causes this? 

Is Mouni's writing style peculiar or not due to lack of familiarity with his stories? Mouni's writing style is unique. This was evident in the very first story he wrote a quarter of a century ago. Whenever we approach any work that is new to us, we as the reader must bring about a little acquiescence. However, if we come to relate to a new work with the characteristics of some writing trends that we are already accustomed to, expecting the same characteristics or having the same experiences, if they have different characteristics or experience outputs, then the new work and the creator will be an open door for us. This is very true in Mouni's case. This is why Mouni reads the stories and says 'as if he ends up resting without clarity of thought'. And we hear comments like 'his style generally lacks charisma, speed and clarity'. Mauni is a somewhat troublesome teacher. American author William Faulkner, Czechoslovak author Frank 

" We usually hear. Many Muslims 

Like Kafka, German novelist Thomas Mann. All kinds of experiments are visible in their writings. Faulkner's plot and genre are problematic for readers; Kafka's dream world and allegorical marking; Thomas Mann's philosophical approach is also symbolic. There is something to be said about this kind of silence. The mind-body he lays down, the mental world he shows, is new to Tamil readers. So what I intend to do in this article – and think possible – is to help bring a horse to water into Mauni's stories for a taste. That is the limit of the critic. It's their own thing to taste and enjoy. The title of my essay is Night, the title of Mouni's short story 'Manakolam'. This word 'Mental' is more suitable for his writing style than his other two short story titles 'Memory Whirl' and 'Memory Trail'. The trail goes one way; The spiral runs in a circle. But (the symbol Kolam, like the Kolams drawn without reckoning according to the Lagavat of the hand, 

How well suited to the course of thought which results from the range of the mind! In fact, all of Mouni's stories are mind-boggling. But we cannot see in them the spheres that we expect and our eyes are used to seeing. They are not Ravi Varma paintings; Today's Picasso style paintings. The content they convey is different; 

Beauty is different. What separates the narrator from the narrator is primarily their own worldview. Exploring what kind of world view Mouni's individual thought holds is a rewarding task, for the fan. Because all of Mouni's stories are talking about these thoughts. La. Ch. Ramamrutham has shown skill in portraying emotions as they are. Mauneau has shown an achievement in placing these sensory states in the field and turning them into thoughts as pictorial objects. Although not equal to each other in portraying emotional intensity, the two have different modes of release and different devices. In L.S.R.A.'s language, the upheaval erupted directly 

will spill over and affect us. In Mauni Bhasha, the mind rises behind thoughts and thoughts and takes form and attacks us. Another characteristic that should be mentioned in general is the content of his stories. Nine of the fifteen stories in this 'Azhyachudar' are about love. Why, he probably wrote 

It's all about that. The recently released story 'Pragnai Pashwa' is included. In today's literature, 'love' is not only a very cheap commodity. The name itself is ridiculous. It is so poisoned. But in an honorific sense which is natural to it, one who has created imaginary forms may add Ku.P.Ra.. Mauli. But K. P. Ra's romantic battlefield, the situation is different; Silence is different. “With love, the flood will be drained away. If love comes to the floor of the mind, it dries up without knowing where it is. It should always be distant from the body. If you get close, the dream of Mohan will disappear” says Ku.P.Ra. A character is one's opinion. If it can be taken as K.P.R.A.'s ideology of love, then the following story of Mauni is one's idea of ​​his 

It can be considered as a theory. “Love, why can't love be here? Either way, where's the love? did it come Kandena where is the love? It was dark and I was afraid that I would not be able to see. But can love be caught in the dark? Where? Why?” There is another notable feature. In the love world of K.P.R.A, two people need to be the powder for the conflict, to make up for it. But in Mauni's world it is often enough for one person to create an image from his own shadow and put it in front of him, why, even with his own shadow, to perfect his love state. Another notable feature of Mauni's writing is his symbolic style of output, sentences, paragraphs. Some of the entire stories have a somber tone. This symbolic output is the realization of a higher philosophical concept that lies beneath a pragmatically obvious concept. Another one. All the characters in Mouni's story, like a snail shrinking into the joint it carries, withdraw themselves from the outside world and look inward. 

Introverts – In accordance with the meaning of the word 'introvert' in English, we can also say people with 'mental illness' called 'morbid'. In the preceding paragraphs, I have used the words psyche, psyche, worldview, way of thinking, philosophy of love, 'symbolism', 'introvert', 'mental illness' in relation to Mauni. 'Ambiguity' should also be added to its literary meaning. This ambiguity is to write in double language or pun style as a way of making more than one meaning in the course of the teacher revealing his intention and feeling gently and gently. We must note the difference between this character and vagueness. Because in the case of Mauni, without distinguishing this difference, they confusedly say, 'There is no clarity in Mauni's writing, and there is no clarity in his style'. I feel that some of the characteristics mentioned above make Mouni's writing unique. With these in mind, ie - reading the Mouni stories as a whole has yielded the experience 

Let's take a look at Mouni's achievement in the course of analyzing the 'Azhiyachudhar' story block with comments. A closer look at his first story would also profitably help us see his literary development (up to the recent 'outside'). Readers were introduced to this unique writing style of Mouni through her story 'Aen' (Manikodi Feb.36). 'Why' is a love story. Madhavan is Suseela's next-door boy who asks 'why, why'. At a young age, when returning from school, he suddenly said, “Susie, I will never forget you. Do you not forget me too?” He asks incoherently. "What and why?" she asks. Unaccustomed to asking the question 'why, why', she thinks for a while and then forgets. Then Sushila got married for four years. He didn't even know she smelled. It has been four years since he also cleared the exam and went to college to study. It coincides with the time when she came to town for vacation and the time when Susheela came with a one-year-old child. A crying child goes on the street 

Madhavan sees Susheela who is playing with the cart. She also sees then: 

“To Madhavan, his eyes looked like question marks as before. After a while Sushila went inside the house and disappeared. Madhavan did not go to the book which he had half read and left open. Suddenly the question of why arose in his mind. He also lost the smile on his face. Peace of mind left him at the same time. 

He seemed to understand the philosophy of her vision. It is not quite correct to say that he lost his happiness and peace of mind due to a sudden change of thinking. The question mark of her gaze struck him, and the answer he gave in his mind in his favor was the beginning of yet another question. From then on he became depressed...” 

Madhavan finds Suram and dies the day before opening the school. When his body was taken to the crematorium her 'eyes and brows rolled as if why...' 'Two drops of disintegrated tears fell down without being caught by the question 'why'. When her mother called 'Susie' from inside, she went in without knowing 'why'. Mouni concludes the story: 

It will be almost a month since Susheela also went to book. Now that she had come from the town, she could not understand why her eyes seemed to have a strangely charming look mixed with a great sadness. 

Her husband was happy to see her.' A quarter of a century ago this type of plot was novel. Many writers of this type of story today make the content more interesting by adding excitement and emotional intensity, putting the characters in shocking situations and giving shocking conclusions. But this is Mauni's vision, tenderness, intention, realization 

Different from all the stories. After all, Mouni has written stories with the same motif that has gone beyond the 'why'. Shown as 'above' quotation marks this special character. A mindset in the developing adolescent stage seems to ask the 'why' of anything but is incapable of making sense of a project. Not only that. It is a nature that gives a favorable answer to the question mark of a different point of view and leaves room for another question to be born. Those who make us feel as though they run in their blood rather than the occasion they are placed in, the situation they are placed in, and the “why? 

Madhavan, who was shocked by Susheela's eyes and gaze, was unable to feel anything beyond 'why', and was unable to judge. The same is the case with Sushila. Did Madhavan's question to Sushila really mean that they were there then? 

It sounds like it is in the condition. Not only did they go away and he forgot the memory of Susheela as soon as he went home after his question, but the thought of Susheela disappeared from him for four years, and then one day after exchanging glances with Yadech he concentrated and ended up at Susheela, the place where all his thoughts had started, and his decision happened to be the same excuse. It seems to ask why and how. It is not possible to judge logically what the real emotional impact was between Susheela and him. Only two second chances are the event. The first question he asked her. The second was the look she gave him. If we see that these are strong enough in the story for any kind of conflict, A natural disposition is not weighty enough to inspire emotion. But that was enough for Madhavan. Madhava's mind interweaves question and answer, re-question and answer, and digs and digs like a scabbed monkey. This unique psychedelic-delusion aspect of Mouni's writing is the ferocity of LaSaRa's stories. 

Breathing as it were. A semblance of this feature is seen in 'Why', which is very prominent in his later stories. No information is given to suggest that Susheela, like Madhavan, might have had this inclination, until the conclusion. Even when he was taken to the burning forest with the same 'why' she asked and looked at his question as 'why' that day, her sins swirled. Madhavan, Susheela and her husband's 'whys' are not questions with meaningful answers, but become unanswered questions. They feel something. It seems to us. But they seem unable to understand what they are looking for. They have no certainty about themselves. "Why" If the question arises, one becomes like a person who has lost his brain.' Since there is no outside world mixing, they make some personal rules for themselves and teach justice and deal with the practice accordingly. So we have some uncertainty in their attitude 

can be felt. It is about the mood in the characters and not the author's ability to publish, 'he ends up resting without clarity of thought'. The artist's achievement lies in making clear the ambiguity of the story world. It is the responsibility and skill of the creator to depict the chaos of life in order in the world of art. This ability is primarily for Mauni. 

(continued) 

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Mauni's psyche 

23

C. Su. Chellappa 

Signs of this talent that has since developed and matured into Mouni's maiden effort 'Aen' are not without initial writing flaws. This question of why, instead of creeping up and affecting us from the beginning to the end of the story gently (as in the Russian author Ivan Turkanev's 'Lie' and 'Silence'), is made redundant by the author's intervention - that is, with a starkness that wants to say more than enough to make sense. - It is mixed with a teacher's care that gives us the milk of conch. Also the purpose 'why' of the story involves Madhavan and Sushila. Their 'why' at the climax of the story should have resonated with us. 

It also relaxes a developing concentration of attention, and also provides a baraka (diversion of attention) to focus. In 'Kathal Saali' (April-1936), which was written after 'En', we feel that Mouni is trying to avoid this kind of flaw. His latest story, 'Pragnya Vaya', is also perceptibly situated in the mould. That is form 

We are saying that it is not merely a superficial appearance made up of stratagems manipulated for the finer structure of the story. The structure of inner qualities in which the story contains the essence (substance) of the fully experienced, the inner structure of an artistic image, the inner image. Within that art form is something naturally formed, with natural characteristics to its essence. It is only when this internal image arises in us as a replica that the image of something is formed in our practice. It is only when we are able to read the story from the outside and observe its course with the contents that its language conveys that we can feel that its image is complete. Experiencing art is primarily a state of immediate feeling. By nature, they feel this power. The quality and nature of one's taste depends on what is acquired through effort or practice. It is because of this lack of power that “Mouni has tried to do something that he does not understand and the reader does not understand and has succeeded in doing so. Is this also an achievement?" ('Azhiachudhar' review: Kavalur Rasathurai, 'Thinakaran') is a sarcastic comment. It is now a bit fashionable that this 'understood' and 'unintelligible' is thrown around in relation to an art study without being properly explained. "Fairly intelligent. By 'reader' Rasadurai does not know what kind of mature literary reader he has in mind.Joyce, Faulkner, Virginia Woolf, Kafka etc. “Mouni has tried to do something that the reader does not understand and has succeeded in doing so. Is this also an achievement?" ('Azhiyachudar' review: Kavalur Rasathurai, 'Thinakaran') is a sarcastic comment. It is now a bit fashionable that this 'understood' and 'unintelligible' is thrown around in relation to an art study without being properly explained. "Fairly intelligent. By 'reader' Rasadurai does not know what kind of mature literary reader he has in mind.Joyce, Faulkner, Virginia Woolf, Kafka etc. “Mouni has tried to make something that he doesn't understand that the reader doesn't understand and has succeeded in doing so. Is this also an achievement?" ('Azhiachudhar' review: Kavalur Rasathurai, 'Thinakaran') is a sarcastic comment. It is now a bit fashionable that this 'understood' and 'unintelligible' is thrown around in relation to an art study without being properly explained. "Fairly intelligent. By 'reader' Rasadurai does not know what kind of mature literary reader he has in mind.Joyce, Faulkner, Virginia Woolf, Kafka etc. It is now somewhat fashionable for ``understood'' and 'unintelligible' to be thrown around in relation to an art study without being properly explained or interpreted. Rasadurai does not know what kind of mature literary reader he has in mind when he says 'reader of reasonable intelligence'. Like Joyce, Faulkner, Virginia Woolf, Kafka It is now somewhat fashionable for ``understood'' and ``ununderstood'' to be thrown around in relation to an art study without being properly explained or interpreted. Rasadurai does not know what kind of mature literary reader he has in mind when he says 'reader of reasonable intelligence'. Like Joyce, Faulkner, Virginia Woolf, Kafka 

I'm guessing he's also referring to the readers who sit in front of the creators. I am saying that such readers will understand Mauni too. Rasadurai has said a lot more in his review without showing any evidence or giving any examples. But there is only one thing he has to say that is very interesting. A kind of pious person who has read the story of ``Seven years ago came from somewhere'' and has now finished reading all the others, seems to say, "I have decided to take him down from the cocoon of surubak where he was the protagonist in the world and put him in a hidden corner." Rasadurai has this freedom and right to speak - always. Others are indisputably to him, loading and unloading Sahajant in the evaluation department; Change in status in the creative industry is also normal. But whatever divinity he saw in 'Enkarundo Vandan' was belied in the sixteen stories he read later. He lost his piety - the reviewer did not give us a single example to prove it! In other words, Rasadurai does not do the work of a reviewer or the work of a critic properly. And yet it must be said that an experimenter has not adapted himself to the creator. Rasadurai is not alone, many like him find Mauni's writings puzzling. Therefore, before examining the literary qualities of Mouni's writing, it is essential to introduce the essence of his stories. 'Letter' 

We have looked at the 'why' in detail. The second story is 'Love Road' (1936 - April 30). This is also a 'longing' state that gives rise to love. But quite different from 'why'. A man who has been married for love left him ten months ago and is looking for love or a girlfriend in a longing and heartbroken state. While traveling on the road of 'love', he goes into a love trance after a call at a junction and meets her - Krishnaveni, a faceless woman who has shown herself to be with a new poverty. He stayed there that night; She didn't sleep all night. He is tossing in his sleep. All she hears is the name Rajevi. dawns She went to the backyard and did not return. She was hanging on a rope when she visited. Seeing her, he recognizes her, Rajevi remembers, and the appearance becomes clear. He runs out. That night came again. He had no time. In this story, Mouni as Suzanne convinces that Krishnaveni is Rajevi, his love wife who has left him. Readers who fail to grasp this at the presentation point in the story, seem to ask why Krishnaveni commits suicide. In Mauni's stories, he tries to convey the events as a reference that brings the past events to our guesses, through a slightly calmed mind, so that it comes to the same reality without giving the previous events as powder like Ramaiya or as mental notes like Lazara. The origins of most of his characters are initially unrecognizable. But the information about race can be found in the stories. This is his unique strategy. It's just a little inconvenient. In 'A Little Distance' (1936 - September 30), readers struggling to understand the relationship between him and Rose can make out the way their relationship is interwoven in the silence they both keep unpublished and the emotional state that is hidden behind their speech act. It also has a romantic theme. Imitation of 'why' It also has a romantic theme. Imitation of 'why' It also has a romantic theme. Imitation of 'why' 

Let's see how to throw it. But race can be separated from it. The 'why' is a mindset that is not understood at an adolescent age. In 'A Little Distance', love is well experienced in its full meaning, in attack, in speed. Mental breakdown is common to both. But before they, especially him, didn't know why. A familiar mind here. He fell in love with Roja. she? 'Every time he looks different and new to her. If we accept her opinion that if we look the same or not, one would have been able to get some kind of idea from her, then the mystery of their relationship will be solved. Mauni is the one who has the auspicious sentences in each of the stories. Finding this key will open the lock. Mute, his love affair with Rose has been one-sided. Roja liked him, encouraged him, and was intimate with him. But as he expected,—it was in the middle of their ten-line conversation, and in that one line “But what would you not be good at!” It is said that - since it did not happen, he has a mental breakdown when he is unable to realize that he is responsible for it and he tries to drink as a means of relaxation and falls into an unconscious sleep. Unlike in 'Why', Roja and Awan know themselves as a project. People with a mature youthful mindset. Both could not adapt to the situation. Break him; She is confused. Q.B.R., LA.S.R.A. Their world is largely a women's world. But Mouni's world is probably a man's world. In the world of women of K.P.R.A. Weakness in LA's female world. But in Mauni's male world, men are weak 

Stand up. Next 'Engrindo Vandaan' (1936 Dinamani Year Malar) I think this is the only story in all of Mouni's stories where the story gets a little too dusty before getting current information. In fact he is trying to construct a story, a story. The strangeness seen in the appearance, character and actions of someone who came from somewhere and stayed in the next room 

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Coming as the statement of one who feels. As a result of seeing the letters that he had put in the mail, he went to the town to find out about his background and there he got to know the relationship between him and Padma mentioned in the letter. This is also a love story. But different from the posture of the previous ones. Padma is a married woman, meaning that he lost her in a way before. This is the key sentence of this story. Unlike 'why' and 'a little distance' for all that is happening in this story, there is a reciprocal voice on both sides. Both Sankaran and Padma are heartbroken. their longings, life, Or those who feel that they have been restricted and oppressed by the social norms but carry them in their bloodstream till the end of their life without being able to forget them - like Romeo-Juliet, Laila-Majnu. So, even though these stories are based on love, not only are the katha performances different, but the sentiments that Mouni is trying to convey are very different from one another. Other stories will also clarify and prove this. Kavalur Rasathurai, "..the mystery of love is not easy to see that it differs from story to story to the point of race. That is why every story seems to be presented as a shadow model and an invisible manifestation model. "If you read one story and then read another, you get the illusion of re-reading the story you have read before." He can encapsulate the idea and the innovator in a single bubble. Wasn't Thomas Hardy locked up? So the point is not that; A variety of issues 

Aspects, faces... There may be agreement between some of the benefits, benefits resulting from conflicts at their respective levels. Dementia, death cannot be taught causal invariance with end unity. Why, the road to love is a long way from somewhere, we have seen that the view revealed by the content of these is different. 

For Mauni, love is not just an illusion, its role in the course of life is not just an aspect; A vital emotional force that completely affects human nature. Hence fulfillment ends in self-annihilation when it cannot be seen. Mouni's fable is that love, fulfillment is elusive, and one is always searching, walking the road of 'love' to its end, through darkness and light. A theory that the world makes sense to us. The life of 'She' who comes in 'Prabanja Kanam' (October - 36) ends in self-destruction without finding fulfillment. (Mouni is not too concerned with naming his characters. Rather than naming them, he gives an image of their character, a state of mind. In fact, Even in stories with names, when we read or finish reading, the names are pushed back and become a shadow.) It can also be a love story. But still deviated from the others. The warning not to sing at all due to weakness of heart is in vain and on the third day of the marriage she is compelled to sing, and wanders restlessly inside, as if the closed inside of her is getting ready to come out, at the same moment that the hymn that has been locked up inside her expands and fills the open air with vyapaka. Does it come across as a love story at this level? It seems to be an allegorical story. But it is also a love story. The source material is available from start to finish. How? Let's see. 'The cry of a small child is enough for him to make dull and hidden memories shine with intense heat. According to 'a crow's molt is enough', even a glance is enough. And so 'her eyes often cast upon him without fail and shone. She often sees him. So his attitude had to change a little. From her point of view, we can infer the romantic exchange they developed between them, 'Life has a little charm in between'. She sings for him one day. Hearing that, he shook his head and said, 'She is the end We can infer the love exchange that they developed between them. She sings for him one day. Hearing that, he shook his head and said, 'She is the end We can infer the love exchange that they developed between them. She sings for him one day. Hearing that, he shook his head and said, 'She is the end 

Fatty?' Remembering what the doctor said, he tells himself a reason that only he knows because of what he thinks. On the first night of her wedding, she stands for a long time leaning on a pillar in the paddock. Opposite the front room window of his house, through the middle of the door, the light shines on the street and on the wall of the yard. It also rubs his soul and gives him mental comfort. He finds some kind of pleasure. But he guessed that the ray of light often disappeared because of her leisurely strolls, and his mind ached. He feels that she is confined and wants to get out, i.e. to be free. At the same time she kind of opens and closes the closed window as if there is no longer any kind of relationship between him and her - as if another quality means that she no longer has to open her heart to him. The next day she will become someone else's wife. On the third day, when she happened to sing, she first looked at him as he leaned on the stool and then looked awake and said with eyes like drunken bees - that is, with a frenzy - 'Do you want to hear me sing?' She asks him mockingly and sings as she leans down, Mother Nature's fault. As the psalm that was frozen within her was freed and filled the firmament, the love that had been confined within her bosom was freed by death and spread out before her to see. A satisfaction in his realization that her longing gave voice to him as a noble love as the worldly clamor rang out as a noble psalm—a peace. 'Life...! When he hears and replies, ``Unnatha Manavachuchi'', this love story becomes complete. In the story, Mouni intends to convey the abstract idea that he can get his permanent fulfillment only by making sacrifices and joining the world and getting an external interpretation. If we put that, this love story becomes complete. In the story, Mouni intends to convey the abstract idea that he can get his permanent fulfillment only by making sacrifices and joining the world and getting an external interpretation. If we put that, this love story becomes complete. In the story, Mouni intends to convey the abstract idea that he can get his permanent fulfillment only by making sacrifices and joining the world and getting an external interpretation. 

However, love that cannot find a way to fulfillment, only when love crushes the heart and shows its light, it is able to expose the permanent damage, and he makes us realize that closed hymns and suppressed love get pleasure and give only in liberation, and that death is the inevitable final relief for love. More than these two, the liberation of the soul can be said to be the symbolic meaning of this story. The soul confined within the body must be freed only by destroying the body. To get its fulfillment, to get its permanence. Thus, the cosmic khanam - as the title itself suggests - is a good example to illustrate the symbolism that underlies Mauni's stories. Mouni's next story is 'Kudumbat Ther' (30 November 1936) deviates from the narrative posture of the previous five stories. The story shows that other aspects of life apart from love also affect the human attitude. Fifty-three-year-old Krishnaiyar's eighty-year-old mother passed away a month later, when he is confused by the fact that he has not received a single account, usually in such cases, he remembers the meaning of writing 'Amma Batu... It is only when the death of his mother, who used to talk and conduct, imposes the responsibility of the family upon him, that he realizes and longs for who is in his mother's place - Innovator 'Memory Path' 

The next story 'Mistake' (1937, January 30) is a different story. The relationship between superiors and subordinates in the office relationship. Ate Anandara, who was wracked with guilt that his superior might have seen him board the OC cab, circled the cab number he had boarded and told him to look for it and give it to him immediately. . It is a story that explores love, power, indifference and semi-real moral tendencies. These two stories and a few others also reflect Mouni's other concerns in life. 

(continued) 

 

Letter 24 : December 1960 (TAMIL EDITION) 

 

Mauni's mental sphere 

C. Su. Chellappa 

-3 Before talking about Mauni's next story 'Maratul' (15 Feb, 1937) a general point needs to be made regarding the previous two stories. All the five stories from 'En' to 'Prabanja Kaanam' have a complex, enigmatic character which can be said to be a unique characteristic of Mouni's stories. We are stunned by the entanglement of the story world characters. It seems to be asked why they should feel sorry for themselves physically and emotionally and get some kind of experience in it - we can say it is a kind of self-satisfaction (masochism) achieved by plowing the mind with thoughts that are not acceptable to health. They stir up all these questions in us. Like this 

It also makes us speculate about the possibilities of being and thus being. But nothing directly gives us a definite answer. It makes me think about all these characters as the story of 'Azhiyachudar' ends with 'I don't know whether he knows'. 

But both 'Kudumpather' and 'Mistake' are plain stories that lack this kind of intrigue. The state of mind dealt with in them is normal. What is seen in the former is perverse, abnormal, abnormal. La. Ch. This idiocy cannot be generalized to the world of the Ramakrut myth, except in certain specific cases. But in the case of Mauni, except as an exception - in general, this character can be said to be a fundamental, original characteristic. There is an opportunity to explore this later. Let's stop with mentioning this now. After these two stories Mouni reverts back to her old style. 'Transition' is not a love story. It involves death. Wife is dead inside the house. He is standing on the steps and looking at the street. And them - his 

Expecting parents. Walking on the street freezes his eyes and mind. His thought flow alternates between those hidden in the street and those hidden inside the house - life, death, disappearance, change. Then comes the parents. On the same train, but apart, heartbroken in separate thoughts. Mother and son visit the body and mourn. The following year, her mother came to her during a Sumangilip prayer. He also works in the office with a sigh, 'I am going to write to change the header. He says, 'I am writing in my head'. That's all the story goes. In Mouni's stories, 'From Nowhere' is the most superficially topical, while 'Change' has the least. It's actually a very small cut. With this short cut, Mouni does not look back at the agony that ran through it on one occasion in a mournful, sad, nostalgic way (like 'Kudumbatheer') about the dead. 'Memory Path' by Pudumaippittan, 'Chellammaal', like Chidambara Subramanyan's 'Bhuvaneswari' does not stop at portraying the flow of emotions in a psychological sense. In the story, death is an event, but 'he' is an event, a real event As such, it does not stop at depicting the flow of emotions psychologically in a state. In the story, death is an event, but 'he' is an event, a real event As such, it does not stop at depicting the flow of emotions psychologically in a state. In the story, death is an event, but 'he' is an event, a real event 

Couldn't agree with that. Death was never an annihilation for him. He saw the streetcar, the cartman, the goat, the padanikudam, the potter, and all the things that appear and disappear. Similarly, she also has the look of 'lying inside the corner of the vast universe to disappear together'. Why is she standing in front of him? Won't disappear? The color that appeared in front did not disappear! She changes her appearance. A cart, a goat, a man take turns, no one speaks, nothing makes a sound', as he thinks, death does not destroy, hides not much. A changed appearance is the result of his attitude, and one may laugh at his vision of truth and think that he has realized a different kind of truth in life. But it was a blessing to him; The canon of the world in which he lived. This story is also significant. Like 'Prapancha Kanam' is a good example of symbolic release. The street and the streetscape depicted in it are symbolic of life and the appearance of life – the barvan (the burden of man), the goat (man as a goat), the empty padanikudam (the body empty of pleasure), the decorative singaporean (the natural human life). 

When we put everything together and give it a connection, it might seem to us to give him a reality in that canon of 'his' world. 'Change' strikes me as one of Mouni's best stories. 'Azhiyachudar' (1937 Apr 25) comes next. Mouni is back in the world of 'love'. But how different is the love content of 'Azhiyachuddar' from previous love stories! But one thing must be said first, this story is the most intriguing of all his stories. Let's get the story straight first. An unnamed narrator concludes his delusional friend's romantic experience with his opinion of him through his words. He asked him to tell his experience the day before and went to see him the next day. She was shocked to see that he had left home and said, “I don't know where he went and why. I don't know if he knows. He thought he knew everything, if only I knew him!” He concludes by saying. What is considered a friend's romantic experience? Nine years earlier, when he was eighteen years old—returning from the temple after his darshan (that day the narrator 

He says that his friend has also come. (but the friend doesn't remember it happening at all) He was drawn to the thirteen-year-old girl entering the temple door and returned to the temple and said to her who was meditating in the temple of God (the friend also said that he had come) “I am waiting to do anything for you; Anything can be done,” she laughs. As the lingam and idol form and frown, the yali on the opposite pillar also frowns. The man who followed her around the prakaram and said again “Anything for you-” tells her that he reached his friend and returned home after seeing her sorrowful and charming face. (The friend doesn't remember that either) Nine years later, when he went to the same temple again, he was ecstatic to see her in the same state of meditation in the same temple. He feels that the same man who says (as he had said in the same place nine years ago) 'is an immortal witness of my word' is standing up and shouting and another man is looking on. Her gaze, which appears to be vexed and tormented, pierces, then disappears, and when she looks back, two drops of tears fall. He says (he said in the same place nine years ago) that he feels that the same person is standing up and shouting and another person is staring. Her gaze, which seems to be vexed and vengeful, pierces, then vanishes, and when she looks back, she sheds two drops of tears. He says (he said in the same place nine years ago) that he feels that the same person is standing up and shouting and another person is staring. Her gaze, which appears to be vexed and tormented, pierces, then disappears, and when she looks back, two drops of tears fall. 

It seems to him. “I am the shadow of destiny. You will see the full charm of love in me...! As she said, he had a thought. But he doubted it. “What did she say, was it all a dream? She didn't speak. It is clear when it is said that what is in form in speech. Then he pointed to the palm tree standing in front of his friend and said, “It searches the sky as it sways slowly. Searching there blindly...” While saying this, the storyteller's friend disappeared without his knowledge, and when he went to see him the next morning, he was not there. Finally, the narrator tells us that his friend, I don't know where he went or why. I don't know if he knows or not'. We seem to say out loud that he too has gone looking for her like a palm tree blindly searching the sky. Let us now see what satisfaction it has as a love story without troubling itself with the symbolic nature of the story. At the age of eighteen (puberty days) he lost his heart to a girl of thirteen. This story reminds us of the bright 'why'. A little older than fourteen-year-old Sushila, 

Adolescent Madhavan lost his temper and said, “I will never forget you. Will you not forget me?” Just as he asked, 'Immortal Flame' said, “I am waiting to do anything for you; Anything can be done,” he says, losing his temper. There Susheela asked 'why' and looked as if she was asking. But here she asked and smiled. Sushila is incomprehensible. She understood. When he tries to say it again (Madhavan hasn't tried it a second time, or is likely to) he realizes the meaning of her look and turns away. In 'En', after four years, Madhavan meets Sushila and suddenly feels affected, as if her gaze affects him. Nine years later he is also affected by an unexpected encounter at the same place. It is not known that there was a continuous thought about this in the middle of the period. Due to this effect, Madhavan dies without understanding why. He disappears as a blind seeker of her like that palm tree. Madhavan is invisible in body, invisible in his mind. Thus, it seems that there is a unity between 'Aen' and 'Azhiyachudar' in terms of beginning, development and ending. 

So 'Azhiyachudar' is a repetition of 'Why'? No, this unity is only to an extent. 'Azhiachudhar' goes even further. Its reference meaning (import) is different. The similarity and difference of one story to another does not depend on its subtle form but largely on the significance it conveys. 'Why' is merely a nostalgic portrayal of the adolescent mentality. Longing is the reason for the breakdown. But he—'as if her eyes followed the idol and found delight beyond life's first and last bounds,' he thought, both times he saw meditating in God's sannidanana, God had previously destroyed his very surface, “I am the shadow of fate, to me you show love's full charmed severity. You will see... ” She appeared to him as if she had said - her smile and her gaze will convince him that she is beyond his reach, and we have the hope that we will not reach the right path even by leaping across the dark path with that hope.' Not even the thought of ever meeting her again, love - 'Love, love, why can't it be here? Either way, where's the love? did it come Kandena, love Not even the thought of ever meeting her again, love - 'Love, love, why can't it be here? Either way, where's the love? did it come Kandena, love Not even the thought of ever meeting her again, love - 'Love, love, why can't it be here? Either way, where's the love? did it come Kandena, love 

Where? It's dark. I was afraid of not being able to see, but can love be caught in the dark? Where? Why?' He seems to be going along the road! However, love is immortal because of its lack of reach. Once achieved, its charming intensity is available. And yet there is a satisfaction in the effort of seeking it in the dark or in the light. This is what Mouni's Azhiachudhar implies. It is only when this story is examined in detail that its full character emerges. There is not enough space for that here. But only two aspects should be mentioned. The natural past, the present and the miraculous, beyond the present, - when he said something to her, the linga in front of her frowned and the yali standing together on the pillar frowned in fear and anger both times. In all his stories, Mouni has covered this supernatural aspect only in this one story, that too within the temple womb. 

Those who are expecting a realistic posture are bewildered, unable to match this miraculous blend of reality and reality in the enmity of Isvara's offspring. For Mauni, the situation and the antagonism have a special use. To a mind to which a betel-tree seems to mourn in silence, to a mind to which the sound of a bat hanging upside-down laughs in the ear and gives the fear of death, to a mind that a stone figure frowns with life is natural. Mauni has a unique ability to split the dusty appearance and nature of things and reveal the life force inside like an 'X-ray'. His images are not only beautiful; Not just for decoration. More than merely nourishing and conveying meaning through the combination of ideas, the moving force is the driving force. He is the one who brings the life in and out of material things to the surface and makes them manifest movement, and relates them to man as blood and flesh and makes them move as one of them, capable of being affected. So 'supernatural' supernatural power in 'Azhiyachudar' 

It is pitched, harmonious, as opposed to out of place and out of place. There are other pieces of information that don't seem to match. He tells the friend that the friend was also there the day she met him. But the friend does not remember that this happened! He wondered if she had actually said what he had heard her say, 'I am the shadow of fate, and in me you shall see the full charm of love.' She never spoke. 'What's in the sound' he says next. The fact that the friend even existed, and what she said, arose from within him. Their reality is real to him by the logic of his course of memory. His line of thinking seems reasonable to us but has a logical justification for it. If one knows the tip of the thread and follows it, one can move forward in that way. For example: He sees her twice in the Lord's presence, that too in meditation; As the one who went after the idol and found pleasure beyond the initial and final limits of life, time may stand in that sannini in her form. Why double the offspring of God? 

to be selected. Is it a temple without Ambal? So she who is standing in bliss after fixing her heart on Ishvara? who The relationship between the two of them? In that situation, seeing the third person who interrupted her by saying 'I am for you', it is natural that Lingam frowned and Yalis waved twice. She is also before the Lord. Standing in front of Azhiachudhar, she was in a state of unity - what would she do without laughing at his poverty? Ambiguity in the story becomes clear only when phrases like this take on meaning in many places. The imagery handled by Mouni is extraordinary in 'Azhiachudhar' - perhaps even more so than in other stories - like 'cosmic distance'. Their meaning is not immediately clear. They can take their toll on our grasping power if we neglect them or slow down in reading too much. I am a bit too late with 'Azhyachudar'. Not only this, it demands our attention many times over. I will end this section by saying that critic William Yorktindall says about the information in James Joyce's story 'The Dead'.

Mauni's mental sphere 

Edu - 26

In the previous four chapters we have introduced the Mauni stories separately and what they contain; There is no room for appreciation of any work of art if we do not properly perceive its content. In the case of Mauni Katha, it is necessary to point out. It takes a special effort for me to get used to them. Literally, in one reading, the cosmos. I will not come forward to say that I have taken what I came to know from the stories of 'Azhiyachudar', 'Marutal', 'Maperungaviyam', 'Meamchuchu' and 'Kathal Saali'. Some stories seem to have something more to feel, even after reading them a few times. No other Tamil short-story writer—except Pichamurthy—can be said to have churned out this kind of information.

 

- While watching the stories one by one, we also saw that there are some special qualities in those stories. Most of them are love stories, but love is not the kind of love story that we think of as 'sweet', including the events that happen, the lovers who act, the way of thinking and the posture, as if we were somehow waiting inside. One might even hesitate to say that they are 'healthy' in relation to the world. Let there be one side that is not fulfilled even in a story, as love powder; We don't care about success or failure in love. Let's assume fulfillment and breakdown are normal. But the question is how they behaved with this love feeling in their mind. Did they walk so that others would know it? No. How did those who found out react? These questions lead us to interesting research.

 

Mauni's 'lovers' are those who carry some kind of 'disease' in their blood, and by 'disease' we refer to anything that is specific to physical health as well as those who have a disease in mind that is specific to mental health. It does not occur to us that they tried to bear it in their minds because the other person knew their love, to take further action after knowing it, to complete the action taken, no, because it ended adversely. But they have done the worst. They have drunk, drunk to death. The mind is boiled, atom by atom tortured in the mind, worn out and destroyed; They are hiding somewhere without knowing where they are going. However, they are still sulking. Even if they meet, they don't have the courage to reveal what is on their mind and they run away from the opportunity. They stand helpless and powerless to deal with the situation. Their mind is what makes them, drives them, and stops them. No third party can intervene and help them. In fact, they don't need it at all. Mauni's love world is a very strange world. A whole book could be written about it. Good information can be obtained through a critical method of psychodynamic analysis, based on Freud's theories. No third party can intervene and help them. In fact, they don't need it at all. Mauni's love world is a very strange world. A whole book could be written about it. Good information can be obtained through a critical method of psychodynamic analysis, based on Freud's theories. No third party can intervene and help them. In fact, they don't need it at all. Mauni's love world is a very strange world. A whole book could be written about it. Good information can be obtained through a critical method of psychodynamic analysis, based on Freud's theories.

 

This 'Mashekism' is not to say that those who suffer the pains of the mind and body and find pleasure and satisfaction in that pain go about their lives without any such reference. What they are looking for in relation to love can be felt here and there from the stories we have seen. They spend their whole lives searching for love, but they never find it. They are the ones who realize and make us realize that it is never attainable, and attaining it does not bring 'bliss', 'charming severity'.

 

When we realize this about them we also understand what their 'disease' is. It is not merely mind-body. More than that, the soul is involved. Mauni's stories carry this soul anguish. 'Cosmic space' 'Transformation' 'Maperungaviyam' are good examples. Mauni's characters are some alcoholics, some adulterers, some artists, some teenagers, some students, many qualities, many natures, many ages. However, they are always thirsty. Those who seek to find ultimate peace in the paradox of love. As if trying to show that until the body collapses, until the memory is forgotten, there can be no peace. Those who turned inward and followed a path of logic through a recollection without external contact. Mauni's symbolism deserves to be explored in more detail.

 

- This seems to me to best describe Mauni. Mauni should have been born a poet. It is that he has come to the world of verse. This is the age of verse, so let it be said somewhere, someone is saying that there is no time for poetry. Having said that, in the twentieth century, Pudukavitha has become a tradition in the country. The poet's mind, which is always struggling, is raising its head and revealing itself even in the 'illusory' situation of the dominant verse today. Mauni's stories are proof of this poetic mind. After reading them, the characters, the plot, the conflict, the state of mind, the beginning, middle, end, and climax of the story seem to rise above all of them, but there is one tone - intense (severe) agony, It is a moaning voice that carries both the endless longing as its burden. This voice and tone is that of a poet. It is only in poetry that this emotional release is best possible. M - Mauni's stories don't have characters that prove to be character. There are no iconic people made up of traits. There are no people who stand before us by appearance. It is their passion that pushes them to the top. Even what can be called flat does not express as much as the finer points of situation. This story is created in the process of thinking. Even the conflict is nowhere depicted lightly. It's rare for characters to leave their state of mind to exchange—rare to talk about why. Although talking, the problem is not investigated directly. So the conflict arises from the mind, where the story begins, how it develops, where it ends - we cannot go on and on. It is in the flow of the mind that it begins, develops and ends. Everything. Up read the climax of the story,

 

By mood, we mean a temporary state of emotion—an attitude that operates with full intensity over a period of time to suit a particular occasion—which is not seen as much in Mauni's stories. His story world is made up of those who play the voice of the soul in a state of mental wandering that lasts beyond the transitory state of emotion. Rather than moody people, they are temperamental and temperamental. This state of mind - a 'soul disease' with a tone of anguish and longing, is the stuff of poets' voices. Mauni's stories like Azhiachudhar, Panchana Kanam, Maperungaviyam, Why?, Kadhalsalai have these themes as their tone. We can see the shades of these have fallen in other stories as well. A poet who mourns by writing about death or pain, personal loss, He experiences the physical-mental life with its various painful experiences. 'Pain or loss, no matter how painful or how much it is held in memory, fades away imperceptibly as active life and fresh emotions rush over it. But what is worse than the pains of grief is that man is subject to the tortures that arise from the conflicts arising from within himself' (Elizabeth: In the book 'True-Poetry') we feel that this tortured attitude is expressed as a unique, selfish feeling of a poet in Maunie's stories. This is No matter how painful or how much it is stuck in memory, the active life is imperceptibly subsiding as the thread and fresh emotions rush over it. But what is worse than the pains of grief is that man is subject to the tortures that arise from the conflicts arising from within himself' (Elizabeth: In the book 'True-Poetry') we feel that this tortured attitude is expressed as a unique, selfish feeling of a poet in Maunie's stories. This is No matter how painful or how much it is stuck in memory, the active life is imperceptibly subsiding as the thread and fresh emotions rush over it. But what is worse than the pains of grief is that man is subject to the tortures that arise from the conflicts arising from within himself' (Elizabeth: In the book 'True-Poetry') we feel that this tortured attitude is expressed as a unique, selfish feeling of a poet in Maunie's stories. This is We feel that it is expressed as selfishness. This is We feel that it is expressed as selfishness. This is

 

This does not mean that a prose writer should not, or cannot, deal with these themes. Thomas Mann, Proust, Joyce, etc. have dealt in the upper country, and they are achievements; The same is true of Mauni. Poetry's loss has enriched verse. English poet Gerard Manley Hopkins (1844-1889) and Iris short story, novelist James Joyce (1882-1941) are said to have greatly reduced the distance and difference between poetry and verse. He has adapted the fine features of word setting and tension to the verse. "If Mauni could have flourished as a poet, what kind of poet is he? Undoubtedly, he is a 'romantic' poet. We take the term 'romantic' from the English language and apply it. With its full definition. What is romantic? In art and literature a society seeks its ambitions and aspirations. As much as it sees any condition or behavior in life, it looks up to the image and order patterns. Belief in Etiquette. A composure, a sobriety, an emotional equanimity, a balance between intellect and emotion, is the name 'classical' for a literary outlook that embodies such qualities. It can be translated into Tamil as epic. A composure, a sobriety, an emotional equanimity, a balance between intellect and emotion, is the name 'classical' for a literary outlook that embodies such qualities. It can be translated into Tamil as epic. A composure, a sobriety, an emotional equanimity, a balance between intellect and emotion, is the name 'classical' for a literary outlook that embodies such qualities. It can be translated into Tamil as epic.

 

When literature is created in this classical way, it becomes boring—a shift occurs for many reasons. Imagination awakens, a new vision appears. Expressing emotion intensely and overwhelmingly with great authority, showing strength, rejecting archetypes, experimenting with rhetoric, chanting, and sound, expressing spiritual and philosophical thoughts inwardly, using modern imagery, modern, exotic beautiful thinking, depicting visions. The use of richly colored and evocative symbols, the use of soft, unmarked thought, the use of various and subtle language devices to express emotions - are some of the qualities of 'Romantic' philosophy, and this romantic state of mind remains with us forever. It makes us dream and desire. It can only be a mournful voice. A romantic lives by his beliefs rather than reason. If we examine Mauni with this in mind, his literary philosophy, if not a complete plan (because it is impossible to confine any poet to a specific thought pattern. We can see the shadow of others in it) to a great extent. Feel the lifting.

 

Let the sentences, paragraphs and images exemplify this romantic nature. The content and plot of stories like 'Panpanganam' and 'Azhiyach Sudar' are proof of this literary philosophy. This aspect also deserves to be explored in detail in Mauni stories.

 

Now, finally, I am going to end this series of articles with a comment on Mauni's style. It is

 

- Recently, more than one person has described Mauni's style as 'awkward', 'lack of flow', unruly, 'lack of charisma, clarity, speed, correction' - more than what was said about the innovator's style. Today they praise the style of the innovator! The test attempt will be approved after some time.

 

One thing. It is something that many people don't like to compare and contrast with top artists from time to time. They are so nationalistic! Whether I praise them for that, whether they like it or not, this should be done - Mauni, - there are no people here who are worthy to judge and compare some writers, I am just telling my bitter truth. Anyone who has read the writings of Thomas Mann, Kafka, Joyce, Proust, Faulkner, James, Gertrude Stein cannot help but see Mauney among them. Because, with them, death, sickness, - mental illness, mental illness, the vision turned inside out. Gloomy moods and tiredness are common - although viewed from different perspectives. So their style also has a general character - that is, they adjust the style according to the subject and posture they want to convey. These creators, the 'walkers'; That is, those who have developed a unique style. This is clearly visible to those who interact with them. Read and feel while reading. The adjectives used above in relation to melodic style can also be used in relation to their style with many additions, some additions, or alone. In fact, there are some who say that! There are, like these, but they are neglected and neglected. Or assigned as not important, they - literature. Status has been placed. Syntax has given the shape of sentences that are arranged in various ways in their hands. Mauni's sentence and combination of words are not complicated or enigmatic, so much so, what amazes us is Mauni's way of thinking. His characters' moods--even if he calls them moods--are strangely moving. What happened was that Mauni got a new material and he had to find new forms to suit the needs of that material.' So Mauni's style is modern. Mauni's walk is lively; Even experimental. Anyone who sits down to read Mauni will profit from turning the pages with this thought in mind. So much so, what amazes us is Mouni's way of thinking. His characters' moods--even if he calls them moods--are strangely moving. What happened was that Mauni got a new material and he had to find new forms to suit the needs of that material.' So Mauni's style is modern. Mauni's walk is lively; Even experimental. Anyone who sits down to read Mauni will profit from turning the pages with this thought in mind. So much so, what amazes us is Mouni's way of thinking. His characters' moods--even if he calls them moods--are strangely moving. What happened was that Mauni got a new material and he had to find new forms to suit the needs of that material.' So Mauni's style is modern. Mauni's walk is lively; Even experimental. Anyone who sits down to read Mauni will profit from turning the pages with this thought in mind. So Mauni's style is modern. Mauni's style is lively; Even experimental. Anyone who sits down to read Mauni will profit from turning the pages with this thought in mind. So Mauni's style is modern. Mauni's walk is lively; Even experimental. Anyone who sits down to read Mauni will profit from turning the pages with this thought in mind.

 

(finished)