Critical Recovery - Premil

 

Critical Recovery - Premil

 Essay 
 Review Recaps -
Something called a pyramidal genealogy
What's up? There is no literary history that links this lineage with the names of Yavaram, Ilango and Kampan. In Tamil only after Bharati's demise, it was born as a preyagam called Bharati Paramparai. The meaning of this practice refers to Bharathi's engagement with his poetic worship to his sociological worship. Bharati openly opposed a social mentality where the principle of varnasrama was justice. This is why Bharathidasa from Bharathi, Annadurai and Karunanidhi from Bharathidasa show a line of descent. Although the modern tone born of Bharati poetically is seen as a series of prose with concentration of thought behind innovation passion, Bharathidasan, Pudumaippittan, Annadurai, Karunanidhi all studied a new spiritual awakening as writers. Among them
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The literary achievement of the innovator, Veeru, shows him as an emperor. E. V. Ramasamy rose to spread and root this new spirit among lay people, leaving behind a modern tone and concentration of thought. Bharathidasan, Annadurai and Karunanidhi have modeled and written the interview character (Periyar). These are the evidences available from the written forms. The theatrical output of this movement was most prominently with Periyar's MR. Born from Radha and MG Ramachandran, who worked with Annadurai Karunanidhi as an attractive character in film production, it penetrated the secular majority. Therefore, it is a social revolutionary movement. This revolution alone is the justification for the application of Bharati Paramparai. However, the innovator never considered himself a Bharati heir.
PS Ramaiah also copied 'Veeraparatheyan' (info C.S. Chellappa). Periyar's social revolution was different from Bharati's. Sensing this difference
, Bharti even wrote an article criticizing Periyar's movement.
Before coming to its internal details and Bharati Periyar's distinction, if there is any meaning to literary lineage, it must be the belief of justice, the outward expression of principle, that gives substance to the literary form of this thread. There can be no tendency to follow beauty contrary to the character of justice. To throw dust in the eye of criticism, is injustice
There is no room for aesthetic design.
However, aestheticism in India has been studied as a varnasrama-oriented discipline, rooted in rational movements without deprivation and social ups and downs
. The reason is that Varnasram itself is a continuation of the Indian psychological system of Dharma Neeti Niyati. This has historically shown India as a country that kneels to anyone. People with a historical social conscience will not deny this.
But, such is also
Swadeena
E here today in the field of writing 'Poontu' does not exist for the majority. Vitality is 'beauty'. Vitality, as the nature of new blossoming, is the prevailing condition in a publication, "Beauty is the 'aesthetics' of those who do not perceive it", a dry 'nature' itself, not something related to beauty. If we look at what this vitality is, it can be seen that it is a mentality that does not deviate from justice. When Artist from this spirit
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Even if it is an individual human perspective that is detached from his creation, it will allow his artistic movement to grow. This is what happened to Mauni, is my ideology that I reiterate over and over again. Despite having the ideals of a great artist, he was unable to expand and spread because of this mental disorder. The same thing has happened to Sundara Ramaswamy, the "smart" talent who is many readings below him. N. Muthuswamy, who showed some faith and became a pure sorcery due to this moral scourge, and Jayamohan Ira, who was born as a creator of chaval by this moral scourge at birth, and who makes surgical literature, there are testimonies of my ideology.
'Aesthetics' is the bandwagon given by these and their allies to this moral evil. According to the description I have already given here about aesthetics, the renaissance that results from the vitality of spirituality is absent, and thus beauty is absent. It can be seen that it is composed by them only naturally. The opposite is Periyar's cultural annihilation. That is. Periyar attacked Silapathikaram as feminism and Kambaramayana as secularism. It is at this point that we come to the Bharati Periyar distinction. Bharathi's view of culture and Periyar's view of cultural annihilation. The conflict between these two. This is a source difference. If you look at it, even Bharati's cultural vision has led him to wrong conclusions here and there. Anti-Semitism, Periyar and Bharathi are twins in anti-feminism. But in Bharati's preface to the Bhagavad Gita, which he translated directly from Sanskrit into Tamil, we can see a view that misunderstands and attacks Buddhism.
Kaniyazhi / June 2014
Periyar was also ignorant of Buddhism. But just as Buddhabran fought with all his might against any Indian caste and weakened it for a few centuries, similarly EV Ramasamy Periyar from Tamil Nadu fought with all his might against caste and its Devadasi system wet processes. This continued till the reign of MG Ramachandran. What compelled MGR was Periyar's anti-caste fervor. It is only in Tamil Nadu that no one adds caste names to their names, which is Periyar's supreme socio-psychological achievement.
Because of this argument of Periyar, the Arisanas, who had blasphemed their names,
When the tribal mud of Devar and Pillai has dried up and those who stand as mere Jayakanthans, Sa.Shandasamis and Carlos Tamilavans are squatting in the central government's Sahitya Akademi today and obstructing Periyar's views from reaching other Indian languages, we should see if this obstruction is the old tribal mud. Bharati's criticism of Periyar cannot be categorically stated only from a cultural point of view. When Tsarism fell in Russia, Bharathi greeted it with the slogan 'Kridayugam Eguga Mato', and his view shows that he was confused about where and how Periyar's movement, a local revolutionary, would end up. As I am writing this with Bharti's inaugural article in mind, this should not be taken as my conclusion. however, While Bharti was living outside British rule as a resident of Pondicherry, there was a rumor that the French government of Pondicherry, Aurobindo, was going to hand over Bharti-leaning nationalists to the British. Purani, the author of Aurobindo's basic historical book, has recorded that when Bharati went to Aurobindo and inquired if he would go abroad, Bharati became afraid.
Purani's Bharti is consistent with the attitude of Bharti who saw Periyar's revolution. This is the individualistic form of non-poetic Bharati. Therefore, even the term 'Bharati Parambarai' does not apply hundred percent to the determined social revolutionaries I mentioned here earlier. An innovator who set himself apart from the 'Veera Bharatiyaans' was Bharathidasan, in his tireless rejection of formalities, in the way he could lovingly poke fun at Periyar himself, in his platforming methods, etc.
He lived like a hero. Bharathi and Bharathidasan are great examples of the disconnect between creation and creator here. Veera rasam is manifested to an extreme extent in Bharati's works, as an individual he exudes the common sense of 'Konjam Phayandasupavam'. In the works of Bharathidasan, there is nothing of Bharati's extreme heroism. However, if we take this angle as an individual, let him be a person who has become Anjam, then the sequence of Annadurai, Karunanidhi, MR Radha, MG Ramachandran can be seen as the 'Bharati Paramparai', not the Periyar Paramparai'.
At this point, one thing must be said to those who belittle Karunanidhi from a creative point of view. And his 'Mandrikumari'. “Parashakti” also ushered in a new era in mass media. Along with them, Jayakanthan also revolutionized the masses. Never published. What Jayakanthan did was a cheap charity campaign. Karunanidhi never dreamed of descending to this site and touching a writing instrument. And, "Adei priest/Read your horoscope first!" In Karunanidhi's 'Parashakti' verse, Bharati's prophecy that "Barpanai Iyer na kalam poche" takes on an enormous ironic form. There is room to give more examples of this, which gives rise to action in even the lowest layman's souls. this,
If the use of 'Bharati Paramparai' is so persistent, it may be recalled here that I have recorded the details of the meeting between Periyar and J.Krishnamurthy and its outcome in the Violation feature interview. Despite that encounter, let us note here the fundamental similarities between Periyar and Krishnamurthy.
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"There is no God, no, no Imraa" and "Forget God,
remember man
" are the principles of Periyar. .Krishnamurti's key ideas include that one can only know oneself through constant observation of one's impulses in everyday relationships with others.
Here we see that the 'Periarium' reaches a new dimension in an astonishing way. The use of the sticky 'Bharati Paramparai' can be seen here too. Because Bharti could not even feel Periyar. We can even find the kind of mental background that can grasp the above ideas of Krishnamurti in any of Bharati's writings. Rather, 'Who speaks Ambala?' Asking the priest, 'When did Ambal speak? Asks Karunanidhi in his 'Parasakthi'. This mass media release directly reflects Periyar's 'no God' and Krishnamurti's 'no fear, therefore no God' views. Stopping this discussion for
sudden brevity, we turn to the question posed at the beginning of this section. let's come
Is there such a thing as 'inheritance'? After seeing 'Bharati Paramparai' itself as a brat, this very question is worthy of a mild chuckle. This smile will come only to those who realize that in the discussion so far I have shown publishing as a psychodynamic tool and its various dimensions. In the field of Tamil writing today, 'Kacha Varinthuk Kattik Kadungovanam Thanum
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Katti', they come and stand! They offer him a blasphemous eulogy for the follower of manodharma, who defies them for their impiety (Layam 11, p.75) and ill-intentioned grasping, as 'hood rowdy'! (Roots magazine, Pinnatta inside page) And they are panicking that they have made a shallow story from Japanese into lifeless Tamil without 'dressing up like a hood raider'! They have something to say. A dog will pretend to be a tiger cub; Even the snail and the 'peekakai' cannot do that. Is this 'literary lineage'? The article 'Lettering and new poetry' by the surrogate reader S. Sankara Subramanian, who reads for the writer C. S. Chellappa, is a 'petty raider' who can think beyond the threats of this kind of list. For a matter that needs to be investigated, S. Kandasamy's history-making short story called 'Ada Puta' was picked up in the Roots magazine. If the target of this kind of 'Ada Buda' remains silent and solves the problem, he is the hood raider. Now-a-days wherever you see this hooded rowdy, 'Ada Buda' historical hero Cha. Kandasamiyar likes to leave the walk! Even this one who does not have the moral courage to apologize for getting into 'Ada Puta' without questioning, Vikramadityan is a beautiful singer who does not come up with poetry even if the 'literary lineage' is shot! If the target of this kind of 'Ada Buda' remains silent and solves the problem, he is the hood raider. Now-a-days wherever you see this hooded rowdy, 'Ada Buda' historical hero Cha. Kandasamiyar likes to leave the walk! Even this one who does not have the moral courage to apologize for getting into 'Ada Puta' without questioning, Vikramadityan is a beautiful singer who does not come up with poetry even if the 'literary lineage' is shot! If the target of this kind of 'Ada Buda' remains silent and solves the problem, he is the hood raider. Now-a-days wherever you see this hooded rowdy, 'Ada Buda' historical hero Cha. Kandasamiyar likes to leave the walk! Even this one who does not have the moral courage to apologize for getting into 'Ada Puta' without questioning, Vikramadityan is a beautiful singer who does not come up with poetry even if the 'literary lineage' is shot!
Aug. Thus, if we look at the short list of journal operations of the 'literary pedigree' magazine, the names of two journals that are not included in it will surprise the honest literary observer. Two magazines, Layaam, which carried Pramila's writings.
Unnatham conducted by Gautama Siddhartha, mentored by Layam teacher Kala Subramaniam, is a rare modern writer who devours what he knows with great thirst despite his lack of knowledge of English . This excellence has even recently received the accolade of Best Tamil Small Magazine. But, information about these is not known! No wonder they say 'to us' and 'to whom'!
It is behind their magazine. One of the secrets of publication of 'Peekakkai' publication. This should not be published by C. Su Chellappa!' He said that.
However, since the publisher has come forward in the guise of 'literary 'heritage'' in order to cover up the issue involved , the matter is revealed. At present, C.S.C. He will agree to this.
When the publisher approached him that day that he wished to publish C.S. Chellappa's writings in book form, he agreed. Also magnanimously, he said, "I don't want royalties. Let them be the first of my books to be published regularly. But this should not be known." The published books were 'pushed' to public libraries and did not attract readers. Criticism has been reduced to 'normal' level. The reason for this is that it was brought. Not only this, there are typos that are too small to read. A thousand error-bearing rare Chintamani editions. This is a world record. Guinness record worthy achievement. It is on the one hand and on the other hand C.S.C. The details are said to be kept confidential.
C.S.C., who came to Chennai last year, was in financial crunch. Rejecting the prize money offered to him in a vague manner. He has put it in the style of another of his critical(?) books, my short story. My opinion is that it is rare to sell it and make money. Subamangala was interviewed by a duo, a publisher and a literary poet. Ahead of the release of the screeching Casamusa and the prize-giving ceremony that graced the CSU, the publisher went to the CSU with the poet. C.S.C. asked the publisher for payment on the basis of royalty for his books. C.S.S. that other people should not know about the royalty matter. Having said that, in front of the poet's wall, the publisher successfully said, "You are the one who wants the royalty!"
June 2014 / Capricorn 9

Can't wait to 'Shut up!' Chellappa said. Relationship breakdown! A shield for self-defense, letter lineage Yavaram/
Khattam' as C.S.S. If solved, it means that he immediately got down to the work of assessment monitoring. So
I ask, "Is this a lineage, literally, a 'literary lineage'
?"
The "literary lineage" metaphor, like any other lineage metaphor, is only an exploratory one. Not for a glorified view of 'rights'. This will be shown by my above view of 'Bharati Paramparai'. But the CSU, which conducted the writing, wrote a critical movement in it
Pramila Venkatsaminathan conducted by Na.Pichhamurthy who gave birth to a new dimension through poetry. T. So. Venugopalan, C.Mani, Nakulan, Pasuvaiah, Pramil etc. are the literary lineage. Not the pecan! Without engaging in any creative movement of criticism and poetry, sitting at M.Govindan, C.S.C., Mouni, showing teeth, saying 'goal' against the talented people who are not there, holding Mouni's leg and begging (as he himself told me) who refused to give an interview, would make Mouni mad. Finding an interview
shows that the CSU has nothing to do with the press drive series today.
A historical fact. The world knows modern writers like Brad Hardy, Eliot, Ezrabound. Among them, Eliot has also been awarded the Nobel Prize. But as much as they know about them, most of the readers do not know about a serious teacher who published them through his press movements, even though he was a poet and a writer. The reason is not only that the monitoring there is decisive and honest. The said author does not use media tools, interviews and meetings as a means of giving importance to himself over the writers he has published. The author's name was Fort Maddux Fort. Going back from there, if we look at what is happening 'here', the one css we have covered so far. One who does not have, no matter how far beyond his merits
Throwing away impressions, 'I am all!' You can see the conceptual absurdity of standing as such. This, if we look at the writing in what context makes the CPSU an authority, through the pages of the ongoing small magazines, in which the CPSU is incompetent or creative but not on the basis of observation managed as much as possible by advertising magazines run by people who are ignorant of modern literature. By a journalist who is described as 'foolish' by Yinale. This has happened.
Without understanding the work, publishing the works of the CSU with numerous typographical errors to baselessly undermine the authority of opinion does not make one worthy of any meaningful legacy. If you go to see, recently (last Diwali), the C.S.S. learned from me the news that the publisher had written a story and said, "He's a fool! How can he write a story?" If heritage is the development of evaluation and observation, then Pramila is the only person who remains as a 'literary heir', never directly reading his movement and forming an impression, but only through agent readings like Basappal Rajagopal, S. Sankara Subramanian (Ambi). .Extreme operating period 'Esl
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Courtesy: Lyam Publications, 1996.