Subrahmanyan Chandrasekhar

From Subramanyan Chandrasekhar – Autobiography...

"I was born in Lahore (then a part of British India) on the 19th of October 1910, as the first son and the third child of a family of four sons and six daughters. My father, Chandrasekhara Subrahmanya Ayyar, an officer in Government Service in the Indian Audits and Accounts Department, was then in Lahore as the Deputy Auditor General of the Northwestern Railways. My mother, Sita (neé Balakrishnan) was a woman of high intellectual attainments (she translated into Tamil, for example, Henrik Ibsen's A Doll House), was passionately devoted to her children, and was intensely ambitious for them.

My early education, till I was twelve, was at home by my parents and by private tuition. In 1918, my father was transferred to Madras where the family was permanently established at that time.

In Madras, I attended the Hindu High School, Triplicane, during the years 1922-25. My university education (1925-30) was at the Presidency College. I took my bachelor's degree, B.Sc. (Hon.), in physics in June 1930. In July of that year, I was awarded a Government of India scholarship for graduate studies in Cambridge, England. In Cambridge, I became a research student under the supervision of Professor R.H. Fowler (who was also responsible for my admission to Trinity College). On the advice of Professor P.A.M. Dirac, I spent the third of my three undergraduate years at the Institut för Teoretisk Fysik in Copenhagen.

I took my Ph.D. degree at Cambridge in the summer of 1933. In the following October, I was elected to a Prize Fellowship at Trinity College for the period 1933-37. During my Fellowship years at Trinity, I formed lasting friendships with several, including Sir Arthur Eddington and Professor E.A. Milne.

While on a short visit to Harvard University (in Cambridge, Massachusetts), at the invitation of the then Director, Dr. Harlow Shapley, during the winter months (January-March) of 1936, I was offered a position as a Research Associate at the University of Chicago by Dr. Otto Struve and President Robert Maynard Hutchins. I joined the faculty of the University of Chicago in January 1937. And I have remained at this University ever since.

During my last two years (1928-30) at the Presidency College in Madras, I formed a friendship with Lalitha Doraiswamy, one year my junior. This friendship matured; and we were married (in India) in September 1936 prior to my joining the University of Chicago. In the sharing of our lives during the past forty-seven years, Lalitha's patient understanding, support, and encouragement have been the central facts of my life.

After the early preparatory years, my scientific work has followed a certain pattern motivated, principally, by a quest after perspectives. In practise, this quest has consisted in my choosing (after some trials and tribulations) a certain area which appears amenable to cultivation and compatible with my taste, abilities, and temperament. And when after some years of study, I feel that I have accumulated a sufficient body of knowledge and achieved a view of my own, I have the urge to present my point of view, ab initio, in a coherent account with order, form, and structure.

There have been seven such periods in my life: stellar structure, including the theory of white dwarfs (1929-1939); stellar dynamics, including the theory of Brownian motion (1938-1943); the theory of radiative transfer, including the theory of stellar atmospheres and the quantum theory of the negative ion of hydrogen and the theory of planetary atmospheres, including the theory of the illumination and the polarization of the sunlit sky (1943-1950); hydrodynamic and hydromagnetic stability, including the theory of the Rayleigh-Bernard convection (1952-1961); the equilibrium and the stability of ellipsoidal figures of equilibrium, partly in collaboration with Norman R. Lebovitz (1961-1968); the general theory of relativity and relativistic astrophysics (1962-1971); and the mathematical theory of black holes (1974- 1983). The monographs which resulted from these several periods are:

1. An Introduction to the Study of Stellar Structure (1939, University of Chicago Press; reprinted by Dover Publications, Inc., 1967).

2a. Principles of Stellar Dynamics (1943, University of Chicago Press; reprinted by Dover Publications, Inc., 1960).

2b. 'Stochastic Problems in Physics and Astronomy', Reviews of Modern Physics, 15, 1 - 89 (1943); reprinted in Selected Papers on Noise and Stochastic Processes by Nelson Wax, Dover Publications, Inc., 1954.

3. Radiative Transfer (1950, Clarendon Press, Oxford; reprinted by Dover Publications, Inc., 1960).

4. Hydrodynamic and Hydromagnetic Stability (1961, Clarendon Press, Oxford; reprinted by Dover Publications, Inc., 1981).

5. Ellipsoidal Figures of Equilibrium (1968; Yale University Press).

6. The Mathematical Theory of Black Holes (1983, Clarendon Press, Oxford).

However, the work which appears to be singled out in the citation for the award of the Nobel Prize is included in the following papers:

'The highly collapsed configurations of a stellar mass', Mon. Not. Roy. Astron. Soc., 91, 456-66 (1931).

'The maximum mass of ideal white dwarfs', Astrophys. J., 74, 81 - 2 (1931).

'The density of white dwarfstars', Phil. Mag., 11, 592 - 96 (1931).

'Some remarks on the state of matter in the interior of stars', Z. f. Astrophysik, 5, 321-27 (1932).

'The physical state of matter in the interior of stars', Obseroatoy, 57, 93 - 9 (1934)

'Stellar configurations with degenerate cores', Observatoy, 57, 373 - 77 (1934).

'The highly collapsed configurations of a stellar mass' (second paper), Mon. Not. Roy. Astron. Soc., 95, 207 - 25 (1935).

'Stellar configurations with degenerate cores', Mon. Not. Roy. Astron. Soc., 95, 226-60 (1935).

'Stellar configurations with degenerate cores' (second paper), Mon. Not. Roy. Astron. Soc., 95, 676 - 93 (1935).

'The pressure in the interior of a star', Mon. Not. Roy. Astron. Soc., 96, 644 - 47 (1936).

'On the maximum possible central radiation pressure in a star of a given mass', Observatoy, 59, 47 - 8 (1936).

'Dynamical instability of gaseous masses approaching the Schwarzschild limit in general relativity', Phys. Rev. Lett., 12, 114 - 16 (1964); Erratum, Phys. Rev. Lett., 12, 437 - 38 (1964).

'The dynamical instability of the white-dwarf configurations approaching the limiting mass' (with Robert F. Tooper), Astrophys. J., 139, 1396 - 98 (1964).

'The dynamical instability of gaseous masses approaching the Schwarzschild limit in general relativity', Astrophys. J., 140, 417 - 33 (1964).

'Solutions of two problems in the theory of gravitational radiation', Phys. Rev. Lett., 24, 611 - 15 (1970); Erratum, Phys. Rev. Lett., 24, 762 (1970).

'The effect of graviational radiation on the secular stability of the Maclaurin spheroid', Astrophys. J., 161, 561 - 69 (1970"

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Ramana Maharhshi was a guru of international renown from southern India who taught during the first half of the twentieth century. He was born in 1879 near Madurai, Tamilnadu. His father was a farmer. He was the second of three sons. The family was religious, giving ritual offerings to the family deity and visiting temples. One unusual aspect of his family history was a curse that was put on the family by a wandering monk who was refused food by a family member. The monk decreed that in every generation, one child in the family would renounce the world to lead a religious life.
Ramana was largely disinterested in school and absent-minded during work. He had a marked inclination towards introspection and self-analysis. He used to ask fundamental questions about identity, such as the question "who am I?". He was always seeking to find the answer to the mystery of his own identity and origins.
One peculiar aspect of Ramana's personality was his ability to sleep soundly. He could be beaten or carried from one place to another while asleep, and would not wake up. He was sometimes jokingly called "Kumbhakarna" after a figure in the Ramayana who slept soundly for months.
In the summer of 1896, Ramana went into an altered state of consciousness which had a profound effect on him. He experienced what he understood to be his own death, and later returned to life.
He also had spontaneous flashes of insight where he perceived himself as an essence independent of the body. During these events, he felt himself to be an eternal entity, existing without reliance on the physical body or material world.
Along with these intuitions came a fascination with the word "Arunachala" which carried associations of deep reverence and a sense that his destiny was closely intertwined with this unique sound. At the age of sixteen, Ramana heard that a place called Arunachala actually existed (the modern town's name is Tiruvannamalai) and this brought him great happiness.
Ramana was nearing the end of high school when a careless criticism describing him as a person not fit to be a student jarred him into making a final decision to leave school. He had been reading a book on famous Tamil saints and resolved to leave home and lead the life of a religious seeker. Naturally, he planned to go to Arunachala, the place which was the focal point of all his religious ideals.
When he was seventeen years old, Ramama left for Arunachala, arriving after four days of mostly train travel. He went directly to the central shrine at the temple and addressed the Shiva symbol (linga) stating he had given up everything and come to Arunachala in response to the god's call.
Ramana spent ten years living in temples and caves meditating, and pursuing spiritual purification, keeping the disciplines of silence and non-attachment. At this point, his reputation as a serious teacher (he was called Brahma Swami) began to grow and other seekers began to visit him. His disciples, some of whom were learned individuals, began to bring him sacred books. He became conversant with the religious traditions of South India written in the different regional languages.
Early disciples had a difficult time learning about Ramana's background and even his native language because he was silent and refused to speak. As time passed he ceased his ascetic phase and began to live a more normal life in an ashram setting. Many people came to visit him with a variety of problems, from both India and abroad.
Ramana's disciples constructed an ashram and temple, and space the accommodate the many visitors. All ate the same food and Ramana sat with the rest of the people during meals and did not expect special treatment. The ashram was a sanctuary for animals and Ramana had great fondness for the cows, monkeys, birds, and squirrels that inhabited the grounds.
Ramana continued to practice the method of inquiry into the nature of the self best expressed by the question "who am I?".
Ramana was not a guru in the classic sense of a teacher who gives instruction on a regular basis or gives mantras during initiation. In fact, if the seeker wanted to practice repetition of a mantra rather than the "who am I?" method of self inquiry, he recommended repeating the pronoun "I" or the phrase "I am" rather than repeating sacred Sanskrit words or the names of gods. This focused the person's mind on "being itself" or the mystery of their own awareness rather than an external object or word.
However, Ramana did give informal initiations using a special glance, or touch, or in dreams. Lex Hixon writes:

... although the Guru , or teacher is within everyone as primal awareness, an illuminated sage can push us in the direction he described as inward in the sense of being more primary, or primal. Ramana could give this initiatory push by touch or by glance. Seated in silence, he would suddenly turn, fix one with an intense gaze, and the person would become directly aware of the right-hand Heart (the spiritual center of one's awareness) and its vibrant current of primal awareness. Those who experienced the power of Ramana's gaze have reported that the initiation was so clear and vivid that they could never again seriously doubt that the Guru was none other than their own primal conscious being.
(Coming Home, The Experience of Enlightenment in Sacred Traditions by Lex Hixon, Jeremy P. Tarcher - Martin's Press, New York, 1989, p. 46)

Ramana also initiated people in dreams by gazing intently into their eyes, and he would sometimes travel in the subtle body to visit people. He would appear to a disciple hundreds of miles away as a luminous figure, and the person would recognize his apparence in that form. He noted that one's waking life and one's dream life were both a kind of dream each with different qualities of awareness. He referred to them as "dream 1" and "dream 2". He therefore did not make a big distinction between appearing to a waking disciple and a dreaming disciple since he considered both spheres of existence to be dreams.
Ramana recommended renunciation of enjoyment of physical and mental pleasures as a means of entering into a state where the oneness of the self and cosmos could be perceived. He also felt that a person who is not attached to the results of his actions can live in the world like an actor that plays his or her part but is immune to emotional disturbance, because he realizes he is only play-acting on the stage of life.
Ramana was able to demonstrate his own non-attachment when thieves broke into the ashram and he counseled the disciples and visitors to let them have anything they wanted. He remained calm during the incident even when struck by one of the thieves. He also displayed no loss of equanimity at the death of his mother, who had come to live at the ashram after selling the family home.
Ramana developed cancer and when his devotees voiced concern about losing him, he responded with the statement "I am not going anywhere, where shall I go? I shall be there where I am always." He died in April, 1950, sitting in lotus position. The final word that passed from his lips was the sacred syllable OM.
The French photographer Cartier-Bresson was visiting Ramana's ashram as Ramana neared death. He noted the following astronomical event which appeared in the night sky over the sacred mountain Arunachala as Ramana died:

I saw a shooting star with a luminous tail unlike any I had ever seen before moving slowly across the sky and reaching the top of Arunachala, the mountain, disappearing behind it. We immediately looked at our watches. It was 8:47. We raced to the ashram only to find that the master had passed in to Mahanirvana at that exact minute. Nor was this experience only documented by a select few … All the English and Tamil papers which arrived this morning from Madras referred to the meteor which had been seen in the sky over the entire state of Madras at 8:47 on the night of April 14 by a large number of people in different places. These eyewitnesses had been struck by its peculiar look and behavior.

Ramana who often circumambulated the sacred mountain as an act of worship seemed to be making his final arc around the mountain as a blazing light in the night sky.

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D.K.Pattammal

An extraordinary woman is D.K.Pattammal, with her appearance and achievements contributing to a seeming paradox.
She is quite traditional in appearance. She will be 75 on March 28 and not surprisingly, she looks like an elderly matron. But, even in her twenties, when she had a radiantly beautiful face, she wrapped herself in a sari so well that, projecting a picture of modesty, she could have aroused the envy of Draupadi. On stage, then as now, she sat like a rock as she sang, moving little and gesticulating not at all; interestingly even the music she offered was solid as a rock.
In her role too as a wife and mother, she has been deeply conservative, showing deference to her husband, R.Iswaran, in all matters, including music. So much so, because Iswaran disapproves of the cinema, she stopped going to see any after they were married! She sat on pins and needles for more than 35 years eagerly waiting to see M.S.Subbulakshmi in `Meera' and had her wish fulfilled only when the film was telecast.
Traditional and conservative -- yes, indeed. And yet she has been a revolutionary, a pathfinder, and a liberated career woman, expressing her individuality as a musician. Perhaps those interested in women's liberation in the country would find that her life and career represent a unique blend of tradition and change.
Even as a little girl, Pattammal had an aptitude for music. She learnt to sing without going through formal step-by-step lessons, although she had teachers then as later. And she was neither shy nor scared to sing before an audience. None of this, however, could have led anyone to expect she would have a professional career in music, given the social circumstances prevailing at that time. Among women -- insofar as art music was concerned -- singing for the public was restricted to those who belonged to the Isai Vellala caste. Virtually no Brahmin family would dare allow its daughter to enter the performing arts arena. Moreover, Pattammal's father was a conservative who had difficulty in contemplating anything but an early marriage for her.
In the event, these circumstances could not hold Pattammal down. Her musical gifts were too precious to be ignored and the Columbia Gramaphone Company came forward to record her after seeing in a newspaper, a photograph of Pattammal which the headmistress of her school had arranged to be published in order to draw atten tion to her talents. Thereafter, although still troubled by the idea of deviating from tradition, her father yielded to sugges tions that the young girl should be groomed as a musician. He took her to Madras from Kanchipuram, where the family lived, and arranged for her further training. And it was not long before Pattammal made her debut as concert musician. This was in 1933, when she was but 14 years old. In retrospect, it was a historic event, for she was the first girl from among the forward communities to break through the caste barrier and take to singing in public. She was, indeed, a trailblazer.
In the years that followed, as her music gained in depth and amplitude, she crossed yet another barrier, that of the gender. In the early Thirties, it was taboo for women, even devadasis, to display their manodharma when performing in public; they were expected to restrict themselves to rendering the song demurely. As I wrote elsewhere commenting on this aspect; "Manodharma, it seemed, was considered a man's dharma and women had to follow Manu's dharma and refrain from pushing themselves forward. Such taboos were, of course, enjoined by men, even if they were per haps willingly respected by the womenfolk of those times. It was therefore ironical that the men, especially male musicians, at the same time described the circumscribed music of the women derisively as ladies' music and considered it inferior to their own.
M.S.Subbulakshmi, D.K.Pattammal and M.L.Vasanthakumari -- the Carnatic music trinity of the modern times -- finished off this fashionable fallacy that ladies' music was inferior. In this context, I should like to recall what I wrote about DKP in `Sruti': "Pattammal's contribution has been that of a pioneer. She it was that emerged as the role model for other women singers by daring to do on the concert stage what had earlier been proscribed. Manodharma was nor her forte, may be, but she deployed her mastery of laya to render ragam-thanam-pallavi as no woman had even attempted to do before. She broke the ice not with a pickax but with an icebreaker of a ship. Many a male chauvinist musician has perforce acknowledged that, yes, indeed women can sing like men -- that at least Pattammal could."
Pattammal was thus a pathfinder too, providing inspiration to other women musicians to sing with freedom, without being inhib ited by the accident of their gender.
Laya was of course only one facet of her music which won her respect and admiration. She excelled too in rendering kriti-s, with perfect diction. As a critic once observed: "With her deep-toned voice.... her deep roots in classicism and sound knowledge of gamaka, she could render every song unhurriedly, with progressive and logical sangati-s, and the musical expres sion became enjoyable."
Pattammal was a pioneer in regard to another aspect of art music as well. At a time when even those musicians who included Tamil songs in their performances relegated them to the tailend of their concerts, she began singing a Tamil composition or two even in the pre-pallavi segment.
It was entirely consistent with this remarkable record of achievement that she played a leading role in popularising, through her recordings, the songs of Subramania Bharati, the freedom poet, and that she embellished the music of films like `Naam Iruvar' with her mellifluous singing.
There was an yet another barrier that this steeplechase runner of a musician had to jump over. Yet another gender barrier, in fact. The combined impact of the separate contributions of Subbulakshmi, Pattammal and Vasanthakumari had, by the Sixties if not earlier, smashed the silly notion of male superiority in music. The maestros and the mandarins who ruled the Music Academy of Madras, that mecca of carnatic music, had inevitably to consider inviting a woman musician of their calibre to preside over the annual conference of the Academy and to receive the title of Sangeeta Kalanidhi that goes with the responsibility.
At that time, if both MS and DKP were respected as well as popular musicians, the congnoscenti seemed to respect Pattammal's music a bit more even as they acknowledged MS was the more popu lar of the two. Yet, the record shows that the credit of being the first woman musician to receive the Sangeeta Kalanidhi title went to MS. Not many know even today that it was DKP who was initially selected for this honour and that she was even apprised of it by some of the numbers of the Experts' Committee of the Academy. Reportedly even at this stage some influential members argued in favour of MS and Pattammal herself agreed to the suggestion that MS might be honoured first. A sequel to this story is that, in the following year, when there was a wish to honour Madurai Srirangam Iyengar a senior musician, Pattammal volunteered the suggestion that she should wait yet another year. In the event, Pattammal received the Sangeeta Kalanidhi title in 1970.
A paradigm of tradition in personal life, Pattammal as a musician has thus been a revolutionary, a trailblazer and a pathfinder. If her contribution to music has been immense, her role in the emancipation of women musicians can only be termed historic. Significantly, and in contrast to the present day trend, she has made her contribution almost unobtrusively, without media hype.
There was yet another notable achievement. In her heyday, she stood shoulder to shoulder with giants of Carnatic vocal music like Ariyakudi Ramanuja Iyengar, Chembai Vaidyanatha Bhagavatar, Musiri Subramania Iyer, Semmangudi Srinivasa Iyer, G.N.Balasubramaniam and Madurai Mani Iyer, all senior to her in age. Like them, she too played a crucial role in building up an audience for Carnatic classical music, without compromising her artistic integrity, after the patronage of the art had shifted from princes and she landed gentry to the lay public organised in sabhas. She and MS were among the icons who transformed thou sands of casual listeners into devotees of art music.
In an appreciation of Pattammal's life and career, a veteran "observer wrote 10 years ago (in Sruti)." Up and coming women vocalists -- and why not men as well? -- could do no better than take DKP as their guide and model. Her uncompromising adherence to tradition while putting her own individual stamp on it, her willingness to blaze new trials, her sense of moderation, her dedication and systematic approach to learning -- and continuous learning at that -- and her innate grace and sense of humility are virtues worthy of emulation. This sums up the unique personality perfectly.

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Paddukoddai Kalyanasundaram

Aram paaduthal [Pricking with a curse by verse, in response to an insult] was an age-old tradition in Tamil literary theater. Even the powerful kings, chieftains and patrons trembled at the thought of being a recipient of a curse from a learned poet. It is believed that the Goddess of Learning (Kalai Magal/Saraswathi) resided at the tongues of learned and sincere poets. Can this be true, in reality? One could never fathom the truth of past events clouded in historical mist, but anecdotes abound in Tamil literature about great medieval poets Kambar, Avvayar and Kaalameham who, when insulted had sung aram songs on those who insulted them.

The word Aram, though having multiple meanings in Tamil, in this context translates as ‘file’ or ‘rasp’, indicating that the intended verse functions like a file or rasp to corrode the power, pride and dignity of the intended recipient of such a curse verse.

Last year I received a complimentary copy of a felicitation volume of 262 pages, published for Chelliah Rajadurai, and printed by Manimekalai Pirasuram, Chennai. Rajadurai, a Federal Party stalwart in the 1950s and 1960s in East Eelam, became a minister in the UNP Cabinet of J.R.Jayewardene in 1979, and retired from island politics in 1989. Thus, the felicitation volume has a ‘half-baked’ quality.

Though tens of photos show Rajadurai in the company of political, religious and Tamil cine-world celebrities, including one with Yasser Arafat! But not a single photo of Rajadurai with his political mentor S.J.V.Chelvanayakam or other fellow Federal Party leaders had been included. As an aside, I should mention that Mr.Rajadurai’s elder son Ravindran was a class-mate of mine at the Colombo Hindu College, Ratmalana, in 1966.

For some reason, the publication date for this felicitation volume of Rajadurai is also notably missing. But from a congratulatory message presented by DMK leader M.Karunanidhi, who was then the Chief Minister of Tamil Nadu which carried the date December 12, 1997, one could infer that this particular felicitation volume should have appeared in 1998 or later.

One particular contribution [pp.156-158] in this Rajadurai felicitation volume, by Nanjil Sivaraman [who if I’m not wrong was a make-up artist in the Tamil movie world], attracted my attention. In this contribution, Sivaraman had provided an interesting anecdote concerning the aram song of poet Pattukoddai Kalyanasundaram. Presented below is the English translation of what Sivaraman had written in Tamil. This incident should have happened in Chennai in the first half of 1950s. Poet Kalyanasundaram, born on April 13, 1930, would have been in his early 20s then. To quote,

“In his struggling early days as a movie lyricist, poet Paddukoddai Kalyanasundaram faced tough times. He approached a movie company repeatedly, soliciting opportunity to write lyrics. That movie company’s mogul ignored the poet repeatedly, with a scowl, ‘Come tomorrow; Come tomorrow’. The poet was angered, and he looked around and located an empty cigarette packet. Kalyanasundaram ripped it open, and wrote an impromptu derisive curse verse (aram song).

“Thaayaal Piranthaen – Thamizhaal Valarnthaen
Naaye – Nee Yaar – NaaLai Vaa Venru Solvatharku
NaaLai Unai – Nadu Theruvil Santhikkiraen Paar.”

[Note by Sachi: In English translation, the curse verse reads as,  ‘Born from [my] mother – Bred by Tamil Who are You – a Dog? – to chase me to Come Tomorrow In the mid-street, I’ll meet you Tomorrow’.]

Then, the poet handed his curse to the guard, with an admonition, “Give this to your Boss”, and left the compound like an angered sage. The guard went in and handed poet Kalyanasundaram’s curse verse to Udumalai Narayana Kavi, who was penning lyrics there, for that movie mogul. Immediately the sympathetic senior poet Narayana Kavi screamed agitatingly at the guard, ‘Please call him back – Please call him back’. The mogul then inquired, ‘What’s the matter?’, for which the perceptive Narayana Kavi responded, “He has sung an aram [the derisive curse] on you.” The arrogant boss retorted, “Let him go. Aram (file) or Muram (winnow). What can he do to me, with his aram song?”

Subsequently, that particular movie, even though its banner carried the names of big stars, flopped badly without even running for a week. Then, I had seen that movie mogul walking in the street in a sarong and shirt.”

Whether it was a mere happenstance or whether that particular movie’s flop could indeed be attributed to poet Paddukoddai Kalyanasundaram’s curse verse, this anecdote by Nanjil Sivaraman presents two facets of two Tamil lyricists of recognition. The first is that, the three line aram song of then young poet Kalyanasundaram [in his early 20s] in which he majestically rhymed the words Thaai [mother] and Naai [Dog] to insult a movie mogul who repeatedly chased him away. He had pride in his talent, and felt that his talent was insulted by a money-bag in the movie land.

Secondly, the perceptive senior poet Udumalai Narayan Kavi’s anguish in reading the said aram song of poet Kalyanasundaram is also rather touching. For propriety, Nanjil Sivaraman has neither identified the movie mogul nor the flopped movie in his contribution. It is a pity that particular movie mogul couldn’t recognize the budding talent of poet from Paddukoddai [in literal translation, the silk fort] who blossomed into a Paaddukoddai [a fort in songs] within a couple of years.

For the record, I provide below a chronologically arranged list of Tamil movies which featured the memorable lyrics of poet Kalyanasundaram. For 55 movies, he wrote 191 lyrics. The great poet died on October 8, 1959, at the age of mere 29 years.

Chronologically arranged list of Tamil Movies featuring poet Kalyanasundaram’s songs (Number of lyrics penned by Kalyanasundaram are shown within parentheses).

1955
Maheswari (5)

1956
Kula Theivam (4), Padiththa Penn (2), Paasa Valai (6), Rangoon Radha (2)

1957
Ambikapathi(1), Alavudeenum Arputha Vilakkum (1), Karpukkarasi (3), Sakkaravarthi Thirumagal (6), Saubaakiyavathi (10), Puthaiyal (1), Makkalai Petra Maharasi (1), Maha Devi(1)

1958
Anbu Enge?(1), Uththama Puthiran(1), Kanniyin Sabatham(1), Thirumanam(2), Thedi Vantha Selvam(1), Nadodi Mannan(4), Naan Valartha Thangai(6), Pathi Pakthi(7), Pillai Kaniyamuthu(2), Petra Mahanai Vitra Annai(4), Marma Veeran(1)

1959
Amuthavalli(5), Aval Yar?(3), Rathinapuri Ilavarasi(13), Ulagam Sirikuthu(2), Kan Thiranthathu (2), Kalyana Parisu (8), Kalyanikku Kalyanam (6), Kalaivaanan (1), Thanga Pathumai (8), Thalai Koduththan Thambi (2), Nalla Theerpu (1), Paaha Pirivinai (2), Paandi Thevan (5), Puthumai Penn (2), Pon Vilaiyum Poomi (5), Vaazha Vaitha Theivam (1)

1960
Aalukkoru Veedu(7), Irumbu Thirai(4), Elaarum In Naatu Mannar(8), Onru Pattaal Undu Vazhvu(8), Sankili Thevan(2), Paathai Theriyuthu Paar(1), Mahalakshmi(1), Veerakanal(1)

1961
Arasilankumari(4), Kumara Raja(5), Thirudathe(1), Punar Jenmam(2)

1962
Ethaiyum Thaangum Ithayam(1), Vikramathithan(2)

1963
Kalai Arasi(4)

[sources for the movie list: (1) Makkal Kavignar Paddukoddai Kalyanasundaram Paadalkal, edited by P.E.Balakrishnan, New Century Book House, Chennai, 5th edition 1977, 307 pp.
(2) Pattukoddai Kalyanasundaram Paadalkal – Oru Thiranaaivu, by P.Uthayakumar, with a foreword by M.Karunanidhi, Kalaichelvi Publishers, Chennai, 1978, 186 pp.]

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Pattukottai Kalyanasundaram at TFM Page ...

"பாட்டின் திறத்தாலே வையத்தைப் பாலிக்கப் பிறந்தவர் பட்டுக்கோட்டை கல்யாணசுந்தரம். மக்கள் கவியாக விளங்கி ஏழை எளிய மக்களுக்காகவே பாடிய கவிஞர்.

திரையுலகப் பாடல்கள் பட்டிருந்த கறை நீக்கி, மக்கள் நெஞ்சம் நிறைவுறவும், வியத்தகு செந்தமிழில் எளிமையாக அருமையான கருத்துக்கள் கொண்ட பாடல்கள் எழுதி குறுகிய காலத்தில் புகழ் அடைந்தவர் பட்டுக்கோட்டை. தமிழக ஏழை உழைப்பாளிகளும், அறிவால் உழைக்கும் இடைநிலை மக்களும் தங்களுக்காக திரையுலகிலே குரல் கொடுத்துத் தங்கள் வாழ்வை மேம்படுத்த முன்னின்ற பாடலாசிரியரை இவரிடம் கண்டனர்.
தனியுடைமைக் கொடுமைகள் தீர
தொண்டு செய்யடா

என்றும்

காயும் ஒருநாள் கனியாகும் - நம்
கனவும் ஒருநாள் நனவாகும்
காயும் கனியும் விலையாகும்

என்றும் நம்பிக்கை தந்தார்.

உழைப்பை மதித்திதுப் பலனைக் கொடுத்து
உலகில் போரைத் தடுத்திடுவோம்!
அண்ணன் தம்பியாய் அனைவரும் வாழ்ந்து
அருள் விளக்கேற்றிடுவோம்

என்று உலகளாவிய அன்புணர்வோடும், உண்மையுணர்ச்சியோடும் திரையுலகின் வழியாக உரத்த குரலை எழுப்பினார்.

மறைந்து கொண்டிருந்த தமிழ்த் தென்பாங்கு, சிந்து, இலாவணி போன்ற நாட்டுப் பாடல்களின் கூட்டிசைக்குப் புத்துயிரூட்டத் திரையுலகில் தனக்குக் கிடைத்த பத்தாண்டு எல்லையில் மற்றவர்கள் நூற்றாண்டு எல்லையில் செய்ய முடியாத செயலைச் செய்து, மிக சிறிய வயதில் இயற்கை எய்தினார்.

பட்டுக்கோட்டை கல்யாணசுந்தரத்தின் பாடல்கள் காற்றிலே மிதக்கும் கவிதைகளாக மட்டுமல்லாது, ஏட்டில் சிறப்புறும் இலக்கியமாகவும் இருக்கின்றன. திரைப் பட கவிஞர்களில் இவரைப் போன்ற சமூக மறுமலர்ச்சி மக்கள் கவிஞரை, புதிய சமதர்ம சமுதாய இலட்சியக் கவிஞரை நாம் கண்டதில்லை.

ஒரு சாதாரண உழவர் குடும்பத்தில் பிறந்த இவர் (13-4-1930), உழவுத் தொழிலில் முனைந்து, படிப்படியாய் கவிதைகள் இயற்றி புலவர் மணியாய்த் திகழ்ந்து மிகச் சிறியவயதில்(29) இயற்கை எய்தினார். 1951ம் ஆண்டு "படித்த பெண்" எனும் திரைப்படத்திற்கு முதன் முதலாக பாடலை இயற்றித் திரைப்பட உலகில் நுழைந்தார்.

உழவர்கள் படும் துயரத்தைக் கண்டு உள்ளம் உருகி நாடோடி மன்னனில் இவர் எழுதியது:

சும்மாக் கிடந்த நிலத்தைக் கொத்தி, சோம்பலில்லாமல் ஏர் நடத்தி
...நெல்லு வெளைஞ்சிருக்கு - வரப்பும் உள்ள மரஞ்சிருக்கு - அட
காடு வெளைஞ்சென்ன மச்சான் - நமக்கு கையுங் காலுந்தான் மிச்சம் ?

தொழிலாளர்கள் பற்றி எழுதியது:

செய்யும் தொழிலே தெய்வம் - அந்தத் திறமைதான் நமது செல்வம்
சின்னச் சின்ன இழை பின்னிப் பின்னி வரும் சித்திரக் கைத்தறி சேலையடி
மணப்பாறை மாடு கட்டி மாயவரம் ஏரு பூட்டி வயக்காட்ட உழுது போடு
ஏற்றமுன்னா ஏற்றம் இதிலேயிருக்கு முன்னேற்றம்

குழந்தைப் பாடல்கள் மூலம் நல்ல கருத்துக்களை சொன்னது:

திருடாதே! பாப்பா திருடாதே! வறுமை நிலைக்கு பயந்து விடாதே
சின்னப் பயலே! சின்னப் பயலே! சேதி கேளடா
தூங்காதே தம்பி! தூங்காதே தம்பி, நீ சோம்பேறி என்ற பெயர் வாங்காதே
சின்னஞ்சிறு கண்மலர் செம்பவள வாய்மலர்
ஏட்டில் படித்ததோடு இருந்து விடாதே -நீ ஏன் படைத்தோம் என்பதை மறந்துவிடாதே
உன்னைக் கண்டு நானாட என்னைக் கண்டு நீயாட

தத்துவக் கருத்துகள் சொன்ன பாடல்கள்:

இதுதான் உலகமடா! பொருள் இருந்தால் வந்து கூடும்..
இரை போடும் மனிதருக்கே இரையாகும் வெள்ளாடே..
நீ கேட்டது இன்பம் கிடைத்தது துன்பம்..
மனிதன் ஆரம்பமாவது பெண்ணுக்குள்ளே-அவன் ஆடி அடங்குவது மண்ணுக்குள்ளே
இந்த திண்ணைப் பேச்சு வீரரிடம்-ஒரு கண்ணாயிருக்கனும் அண்ணாச்சி
குட்டி ஆடு தப்பி வந்தால் குள்ளநரிக்குச் சொந்தம்..
குறுக்கு வழியில் வாழ்வு தேடிடும் குருட்டு உலகமடா..
அது இருந்தா இது இல்லை-இது இருந்தா அது இல்லை..
வீடுநோக்கி ஓடுகின்ற நம்மையே நாடிநிக்குதே அநேக நன்மையே
அறம் காத்த தேவியே-குலம் காத்த தேவியே-நல் அறிவின் உருவமான ஜோதியே

காதல் பாடல்கள்:

துள்ளாத மனமும் துள்ளும் சொல்லாத கதைகள் சொல்லும்..
அன்பினாலே உண்டாகும் இன்பநிலை-அதை அணைந்திடாத தீபமாக்கும் பாசவலை
உனக்காக எல்லாம் உனக்காக இந்த உடலும் உயிரும் ஒட்டி இருப்பது
முகத்தில் முகம் பார்க்கலாம்-விரல் நகத்தில் பவழத்தின் நிறம் பார்க்கலாம்
உள்ளங்கள் ஒன்றாகித் துள்ளும் போதிலே கொள்ளும் இன்பமே
இன்று நமதுள்ளமே - பொங்கும் புது வெள்ளமே
அன்பு மனம் கனிந்த பின்னே அச்சம் தேவையா ?
வாடிக்கை மறந்ததும் ஏனோ - என்னை வாட்டிட ஆசைதானோ
நெஞ்சில் குடியிருக்கும் அன்பருக்கு நானிருக்கும் நிலைமை என்னவென்று
ஆசையினாலே மனம் -ஓஹோ - அஞ்சுது கொஞ்சுது தினம்
துள்ளித் துள்ளி அலைகளெல்லாம் என்ன சொல்லுது
ஆடை கட்டி வந்த நிலவோ-கண்ணில் மேடை கட்டி ஆடும் எழிலோ
கொக்கரக் கொக்கரக்கோ சேவலே- கொந்தளிக்கும் நெஞ்சிலே
என்னருமைக் காதலிக்கு வெண்ணிலாவே-நீ இளையவளா மூத்தவளா

பட்டுக்கோட்டை பல கஷ்டங்களுக்கிடையே, தன் சுயமுயற்சியாலும், இலட்சியத் தெளிவாலும் திரையுலகின் உன்னத நிலையைய் அடைந்தார். சினிமாவில் பெரும் புகழ் அடைந்த போதும், அவர் எப்போதும் விவசாய இயக்கத்தையும், கம்யுனிஸ்ட் கட்சியையும் மறந்த்ததில்லை. தான் பின்பற்றிய கட்சியின் இலட்சியத்தை உயரும் வகையில் கலை வளர்ப்பதில் சலியாது பாடுபட்டார்.

பட்டுக்கோட்டை கல்யாணசுந்தரத்தின் பாடல்கள் காலத்தால் மறையாது என்றென்றும் நிலைத்து நிற்கும்."

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Maraimalai Adigal

Maraimalai Adikal was born on 15 July 1876 at Nagapattinam in Tamil Nadu. He studied Tamil under Ve. Narayanasamy Pillai. He had his schooling in the Wesleyan Christian High School. He enjoyed the friendship of Sundaram Pillai, author of Manonmaniyam. He settled in Madras thanks to the efforts of Sandamarutam Somasundara Nayakar. He joined the Madras Christian College as a Tamil teacher. He founded the Saiva Siddhanta Maha Samajam.

He edited 'Gnanasagaram'  in which appeared Kokilambal's letters, and Kumudavalli. He edited the English journal, 'Oriental Mystic Myna.' He was a research scholar proficient in Tamil, Sanskrit and English. He translated Kalidasa's Sakuntalai into Tamil. He advocated purism in Tamil and changed his very name 'Vedachalam' into 'Maraimalai Adikal'.  He later renounced family life. Contrary to practice, he began writing a commentary on the Thiruvasagam. His famous research work is Manikkavacakarin varalarum kalamum. He passed away on 15 September 1950. 

His original name was VEthAchalam ( வேதாசலம்). He was one of the earliest proponents of the pure Thamizh movement which stood against the Sanskritization of pure Thamizh words. Because the name, VEthachalam was Sanskrit, he changed his name to the pure Thamizh equivalent, MaRaimalai. In his literary works also he used pure Thamizh words. He was proficient in Sanskrit and English and was influenced by the style of English authors. He is well remembered for his excellence in writing in prose. He was one of the earliest Thamizh authors who showed interest in research especially in the field of literary policy. Like his contemporaries he was a staunch Saivaite but had a social reforming motif. His works included the following:

Novels (குமுதவல்லி, கோகிலாம்பாள் கடிதங்கள்);
Drama (அம்பிகாபதி அமராவதி)
Thamizh research (தமிழர்மதம், அறிவுரைக்கொத்து, தமிழ்நாட்டவரும் மேல்நாட்டவரும், முற்காலப் பிற்காலத் தமிழ்ப்புலவர், தமிழ்த்தாய்) Religion (மாணிக்கவாசகர் வரலாறும் கால ஆராய்ச்சியும், பழந்தமிழ்க் கொள்கையே சைவசமயம

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List of Writings

1. முதற்குறள் வாத நிராகரணம் (1898)
2. சித்தாந்த ஞான போதம், சதமணிக்கோவை குறிப்புரை (1898)
3. துகளறு போதம், உரை (1898)
4. முனிமொழிப்ப்ரகாசிகை (பாடகள்) (1899)
5. வேதாந்த மத விசாரம் (1899)
6. வேத சிவாகமப் பிராமண்யம் (1900)
7. திருவொற்றி முருகர் மும்மணிக்கோவை (1900)
8. சோமசுந்தரக் காஞ்சியாக்கம் (1901)
9. ஞானசாகரம் மாதிகை (1902)
10. முல்லைப்பாட்டு- ஆராய்ச்சியுரை (1903)
11. பட்டினப்பாலை (1906)
12. பண்டைக்காலத் தமிழரும் ஆரியரும் (1906)
13. சைவ சித்தாந்த ஞானபோதம் (1906)
14. சாகுந்தல நாடகம் (சமசுகிருதத்தில் இருந்து மொழி பெயர்த்தது) (1907)
15. சிந்தனைக் கட்டுரைகள் (1908)
16. Oriental Mustic Myna Bimonthly (1908-1909)
17. மரனத்தின்பின் மனிதர் நிலை (1911)
18. குமுதவல்லி: நாகநாட்டரி (புதினம்) (1911)
19. சாதி வேற்றுமையும் போலி சைவரும் (1913)
20. பொருந்தும் உணவும் பொருந்தா உணவும் (1921)
21. கோகிலாம்பாள் கடிதங்கள் (புதினம்) (1921)
22. அறிவுரைக் கொத்து (1921)
23. யோக நித்திரை: அறிதுயில் (1922)
24. வேளாளர் நாகரிகம் (1923)
25. மனித வசியம் அல்லது மனக்கவர்ச்சி (1927)
26. மாணிக்க வாசகர் வரலாறும் காலமும் (இரு தொகுதி) (1930)
27. மக்கள் நூறாண்டு உயிர்வாழ்க்கை, இரு தொகுதிகள் (1933)
28. சாகுந்தல நாடக ஆராய்ச்சி (1934)
29. சிறுவற்கான செந்தமிழ் (1934)
30. தொலைவில் உணர்தல் (1935)
31. மாணிக்க வாசகர் மாட்சி (1935)
32. Ocean of Wisdom, Bimonthly(1935)
33. முற்கால பிற்காலத் தமிழ் புலவோர் (1936)
34. Tamilian and Aryan form of Marriage (1936)
35. தமிழ் நாட்டவரும் மேல்நாட்டாவரும் (1936)
36. இந்தி பொது மொழியா ? (1937)
37. Ancient and Modern Tamil Poets (1937)
38. திருவாசக விரிவுரை (1940)
39. Saiva Siddhanta as a Philosophy of Practical Knowledge (1940)
40. தமிழர் மதம் (1941)
41. திருக்குறள் ஆராய்ச்சி (1951)
42. மாணிக்க வாசகர் வரலாறு (1952)
43. அம்பிகாபதி அமராவதி (நாடகம்) (1954)
44. மறைமலை அடிகள் கடிதங்கள் (1957)
45. இளைஞர்க்கான இன்றமிழ் (1957)
46. சோமசுந்தர நாயகர் வரலாறு (1957)
47. சிவஞான போத ஆராய்ச்சி (1958)
48. பழந்தமிழ்க் கொளகையே சைவ சமயம் (1958)
49. கடவுள் நிலைக்கு மாறான கொள்கைகள் சைவம் ஆகா (1968)
50. Can Hindi be a lingua Franca of India? (1969)
51. அறிவுரைக் கோவை (1971)
52. உரைமணிக் கோவை (1972)
53. கருத்தோவியம் (1976)
54. மறைமலையடிகள் பாமணிக் கோவை (பாடல்கள்) (1977)

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Samuel Jeyanayagam Gunasegaram

Samuel Jeyanayagam Gunasegaram was born on the 21st March 1901 at Chundikuli in the Jaffna Peninsula. He was the eldest son of Joseph Muttiah Gunasegaram, whose family originally hailed from Maviddapuram, and Susan Arulpragasam of Moolai. He had the advantage of receiving a sound primary education under his father – a school-master, Christian catechist and Tamil scholar.

Gunasegaram was a devoted and loyal alumnus of St. John’s College, a leading educational institution in Jaffna, where he served for a time (1922 to 1934) as Senior Master in English and History. He was the Editor of the Jubilee Number of the College Magazine in 1932 and the author of the College Anthem.

He was one of the earliest students of the University College, Colombo, and he also attended the Colombo Training College for Teachers, where he distinguished himself by winning the prize for short-story writing and the Gold Medal at the annual oratorical contest. At the Training College he came under the influence of the late Professor Leigh Smith who taught him Shakespeare and English Poetry, subjects which never failed to absorb Gunasegaram’s interest. He took Tamil at the London Matriculation examination, and later secured the Tamil Teacher’s Certificate of the Education Department, qualifying in Tamil Language and Literature. He graduated as an external student of the University of London with Second Class Honours in Philosophy, and finally obtained the Master’s degree specialising in History of Philosophy and Sociology. Professor J.L.C. Rodrigo has stated that he was “one of the first of our pupils to specialise in Sociology”. Gunasegaram was a most versatile student, and some of the subjects, besides Tamil, where he obtained proficiency at the various London University examinations were Latin, History, English, Logic and Ethics.

Gunasegaram was the Principal of St. Thomas College, Matara, for two years until 1936, when he was invited to join the Government Inspectorate of Schools. He was soon made a Divisional Inspector of Schools, later Education Officer. He served in the Western, Northern, Eastern and Central Provinces of Ceylon. For a time he was at the Head Office of the Education Department at Colombo and in charge of all Government Schools in the Island. He was also a District Commissioner in the Ceylon Scout Movement. In 1956 he retired from the Government Educational Service. His last appointment at Colombo before he left for Jaffna in 1958 was at St. Thomas College, Mount Lavinia, where he was a popular teacher under Warden de Saram.

He just missed an appointment as Reader in Philosophy at the University of Ceylon, but latterly he was appointed by this University as a tutor in English to new entrants who had been educated at school in the Sinhala and Tamil media. He was a founder-member and a modest benefactor of the Tamil University Movement and a member of its Executive Committee. He lectured in English and Philosophy to undergraduates at Navalar Hall, the Colombo institution of the Movement. He was associated with R.R. Crosette Tambiah in the production of the monthly journal “Tamil” during 1955.

He was a popular public lecturer and had visited Malaya where he lectured on such subjects as Tamil Language and Literature, Tamil Culture, Tamils in South-East Asia and Ceylon History. He was a member of the Ceylon Branch of the Royal Asiatic Society, the Tamil Cultural Society and the Classical Association where he read interesting papers on Tiruvalluvar’s Kural and on Socrates.

He was a sportsman of no mean ability, a member of the Football teams at St. John’s and the Colombo Training Colleges, and a Tennis Champion of the Eastern Province in Ceylon. He liked swimming, being a confident and daring swimmer, and he would often be seen solitarily enjoying himself afloat in the Indian Ocean by the shores of Mount Lavinia or Batticaloa. In his prime he was a perfect example of mens sana in corpore sano.

The last few years of Gunasegaram’s life were the most noteworthy. They formed a glorious sunset. He devoted these years almost entirely to the study of Tamil Culture. It was truly a crowded life he lived – “crowded with culture” as Professor Rodrigo has approvingly written. One could say that this last and most notable and valuable phase of his life commenced in 1955 with his association with the journal “Tamil”.

He then began his eventful career as an unceasing writer to the Press and a vigilant defender of what he held to be true, an exciting career, taken all in all, that was terminated by the cruel blow of death.

He died in his sleep at his home in Kopay, Jaffna, before the day dawned on the 4th January 1964. An indefatigable worker, he died in harness. He was at his desk among his books until late that night working on his latest piece of research on Vallipuram, an ancient seat of the Tamil Kingdom of Jaffna.

Well deserved tributes were paid to Gunasegaram in the Ceylon newspapers. The Times of Ceylon published his epitaph the day following his death, fittingly recording, “whoever wanted to get away with half truths found this scholar a thorn in the flesh”. The Hindu Organ mourned the death of a “zealous protector of Tamil culture”.

Professor Emeritus J. L. C. Rodrigo formerly Professor of Classics of the University of Ceylon lost no time to write in his inimitable style in the Ceylon Daily News as follows, “like many of the strongest advocates of the Tamil cause I knew, he counted many Sinhalese among his friends. Despite their political differences, their personal relations were as cordial as ever. No petty prejudices marred his friendship”. Professor Emeritus F. H. V. Gulasekharam, formerly Professor of Mathematics and Registrar of the University of Ceylon, wrote in the Times of Ceylon “In addition to a sound knowledge of Tamil, his acquaintance with Sanskrit, Pali, Sinhala, Elu and Prakrit, was remarkable…His copious quotations from German, English and Indian scholars indicate in some measure the extent and depth of his scholarship”. F. B. Wijayanayake, a cultured Sinhalese gentleman, wrote to the Times of Ceylon, “Though I have not known him personally except through the medium of the press, his demise has indeed created a void, and I am sure the reading public will miss his scholarly contributions to the Press”.

R. R. Crosette Tambiah, former Solicitor-General of Ceylon and Commissioner of Assize and the Editor of the journal “Tamil” wrote to the Morning Star offering the following bouquet, “As he entered our home, there would be the loud call of greeting, and then that cascade of conversation, our home team drinking in every word. If the theme was part of Tamil History or Tamil Culture, the flow of words was copious and spontaneous, the result of a lifetime of reading and meditation…… This sincere man, this true man, this courageous man, this shining one has been taken away in the most crucial year of our struggle for existence. I sit and stare at the falling rain and I ask why? I sit and stare at the falling rain….”.

D. J. Thambapillai, a friend from his boyhood days, wrote to the Morning Star, “During the last few years of his life, his one thought which became almost an obsession with him, was the future of the Tamils in Ceylon… He worked hard in his own way to safeguard the dignity, and self-respect of the Tamil race in Ceylon. He wielded his pen, which he could do with such ease and ability, in safeguarding and fighting for the rights of the Tamils. The Tamils have lost in him a sincere and ardent worker.” M. Chelvatamby, one of his many admirers, wrote to the Hindu Organ, “Mr. Gunasegaram’s (forthcoming) book on Kathirkamam and the Kathirkamam God, I thought, was going to be a revealing and epoch-making one”.

The above tributes and panegyrics expressed with such obvious sincerity, understanding and sense of loss were well-deserved and it is meet that we should record them here.

The Times of Ceylon had acknowledged that he was “one of the most prolific contributors to the Letters to the Editor column of the Times of Ceylon” and added, “Inaccuracies and misinterpretations of historical facts, especially where they concerned his community always found a correction from Mr. Gunasegaram”.

Gunasegaram, who in the past used to declaim in the periods of Burke, address himself to be the Ocean in the manner of the majestic numbers of Byron in “Childe Harold” and soliloquise impeccably like Hamlet, later turned to the classics of Tamil Literature for his main mental sustenance. No Tamil who has heard him recite the mellifluous lines of Kamban’s Ramayanam would ever fail to remember the spell-binding effect of that unique poetry when uttered so effectively by Gunasegaram.

No one who knew him can ever forget Gunasegaram chant the psalms of Tayumanavar and other Saivite Saints, or forget that glow of pardonable pride on his face when he softly rolled the agglutinated syllables of Tamil from his lips. Have you heard him sing with the supreme joy of the satisfied man? Have you heard his uproarious laughter?

Wijayanayake in the Times of Ceylon had written, “It would be a tribute to the departing scholar if all his writings were collected and published as a memoir. Even posthumously the fruits of his research should be edited and printed without additions or subtractions giving the naked truth as seen by him.” We are happy that such a publication of some of his writings is now forthcoming.

One of Gunasegaram’s articles to the first issue of the journal “Tamil” in January 1955, was on the Prophet Mohamed. In the same issue reviewing Rajagopalachari’s English translation of the Mahabharata, he reveals himself in autobiographical foot-note worthy of record. “The Writer” he says, speaking of himself, “recalls the thrilling experience he had in his quiet little home in the Northern Ceylon, many years ago, when he with his two brother (one alas! the keenest of them, no longer alive), listened in the evening to his father, as he sang in Tamil verse and interpreted it into graphic Tamil prose the stirring incidents of this grace Epic. It laid the foundations of that literary taste which later led him and his brother to search for the pearl of great prize in the classics of other lands, with the aid of that wonderful ‘open sesame’ the English Language – and thus experience priceless delights”.

The pages of the Tamil, which continued its publication for one year, contain a number of other interesting articles by Gunasegaram. He had written on the Mahavamsa, Indo-Aryans and several reviews of books, notably one on Nilakanta Sastri’s History of South India. He had also translated into English verse the references to Tiruketiswaram and Tirukonamalai found in the hymns of Sambanthar and Sundarar. A specially interesting contribution is his Sonnet to Jaffna which appeared in the February issue of the Tamil. Its two stanzas reveal a depth of feeling and love for Jaffna so characteristic of the man.

“But thou, dear Jaffna, loving nurse of mine…..
to me art lovelier far than all….”

The Rev. Father Xavier Thani Nayagam, editor of the prestigious journal Tamil Culture had published five articles by Gunasegaram during the years 1957 to 1963, all of which, excepting the one on the poet Bharathi, are being included in the present volume. Apart from these, Gunasegaram had published a large number of notes and comments as “Letters to the Editor” to the daily newspapers, some of which are perhaps lost forever, hidden as they are in the files of the media.

Gunasegaram had on some occasions challenged popular or hitherto more accepted versions of history, and had been proved correct according to critics. But he has also been opposed. There is of course no finality to history. Gunasegaram’s writings are deserving of close study and the highest consideration.

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Annie Besant

Born Oct. 1, 1847, London, Eng. died Sept. 20, 1933, Adyar, Madras.British social reformer, sometime Fabian socialist, theosophist, and Indian independence leader. Besant had been the wife of an Anglican clergyman. They separated in 1873, and Besant became associated for many years with the atheist and social reformer Charles Bradlaugh. She was an early advocate of birth control, and in the late 1880s she became a prominent Fabian socialist under the influence of George Bernard Shaw. Finally, in 1889, she was converted to the doctrines of the Russian-born religious mystic Helena Blavatsky, a cofounder of the Theosophical Society. The teachings of the society emphasized human service, a spiritual evolutionism drawn from both Eastern and Western esoteric philosophy, and the role of suprahuman masters of wisdom. Besant plunged vigorously into theosophical work, lecturing and writing widely. Her numerous books and articles are still considered among the best expositions of theosophical belief. She was international president of the Theosophical Society from 1907 until her death, residing principally at its headquarters in Madras. She was active in educational and humanitarian work in India and became involved in the Indian independence movement, establishing the Indian Home Rule League in 1916. She promoted her protégé, Jiddu Krishnamurti, whom she believed to be a potential world teacher, in the years before his renunciation of formal theosophy in 1929.

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Raja of Panagal-Panaganti Ramarayaningar

Sir Panaganti Ramarayaningar KCIE, (July 9, 1866 – December 16, 1928), also known as the Raja of Panagal, was a zamindar of Kalahasti, a Justice Party leader and the Chief Minister or Premier of Madras Presidency from July 11, 1921 to December 3, 1926. Ramarayaningar was born in Kalahasti on July 9, 1866. He did his schooling in Madras and obtained degrees in Sanskrit, law, philosophy and Dravidian languages before plunging into politics. He was one of the founder-members of the Justice Party and served as its President from 1925 to 1928. From December 17, 1920 to July 11, 1921, Ramarayaningar served as the Minister of Local Self-Government in the first Justice Party government led by A. Subbarayalu Reddiar. He served as the Chief Minister of Madras Presidency from July 11, 1921 to December 3, 1926. He introduced a number of reforms during his tenure. The Theagaroya Nagar locality in Chennai was developed during his Chief-Ministership. Ramarayaningar resigned as Chief Minister in 1926 when the Justice Party failed to obtain a majority in the 1926 elections to the Madras Legislative Council. He, however, continued to remain active in politics and served as the President of the Justice Party until his death on December 16, 1928. Ramarayaningar was regarded as an advocate of democracy and a staunch supporter of empowerment of the depressed classes. Historians generally attribute the decline of the Justice Party in the mid 1930s to the absence of charismatic leaders in the Justice Party following his death.  
Early life
Ramarayaningar was born in a family of landlords. He belonged to the Velama community that claims to be the earliest Kshatriyas to settle in the Telugu country. Ramarayaningar's family, in particular, patronised Brahmins and the Raja had his early education in the household of Calamur Sundara Sastri, the father-in-law of C. P. Ramaswami Iyer. He completed his schooling from Triplicane High School in 1886 and graduated in Sanskrit from the Presidency College in 1893 with Advanced Chemistry as his optional subject. He graduated in B.L. and M.A. (Philosophy and Dravidian Languages) in 1899. In 1919, he was appointed a fellow of the Presidency College.

Early political career
Ramarayaningar got his first taste of politics when he was appointed to the district board of North Arcot. In 1912, he was nominated to the Imperial Legislative Council of India and represented the landlords and zamindars of South India. He served as a legislator until 1915. During this period, Ramarayaningar earned the praise of the Viceroy, Lord Hardinge. He actively supported reforms in the Hindu society. In 1914, Ramarayaningar moved a legislation for the creation of separate Provincial departments for the welfare of depressed classes. In 1915, he was elected President of the Third Andhra Congress. In 1914, the Madras Dravidian Association was established by C. Natesa Mudaliar. Ramarayaningar was elected as the first President of the Association. On July 19, 1917, at a conference in Coimbatore presided over by the Ramarayaningar, the four different non-Brahmin associations got together to form the South Indian Liberal Federation, unofficially known as the Justice Party. In 1921, Ramarayaningar was sent along with Kurma Venkata Reddy Naidu and Koka Appa Rao Naidu to lobby on behalf of the Justice Party before the authorities in England. Ramarayaningar was also active in the All-India Non-Brahmin movement. He was a friend of Shahu Maharaj and was closely associated with the former's Satya Shodhak Samaj. He attended the All India Non-Brahmin Conference held at Belgaum on December 26, 1924 and presided over the Second All-India Non-Brahmin Conference held at Victoria Hall, Madras on May 25, 1925. When the Government of India Act was passed in 1919, provisions were made to hold elections in the Madras Presidency for the first time in history. The Justice Party unanimously decided to contest the elections and was elected to power in the province. A. Subbarayalu Reddiar became the first Chief Minister of the Madras Presidency. Ramarayaningar served as Minister of Local Self-Government in the Subbarayalu Reddiar Government.When Subbarayalu Reddiar resigned, citing health reasons, Ramarayaningar was appointed Chief Minister.

As Chief Minister of Madras
Ramarayaningar served as the Chief Minister of Madras from July 11, 1921 till December 3, 1926. A. P. Patro of Berhampur was appointed to fill the vacancy caused by Subbarayalu Reddiar's resignation, and he took the portfolio of education.

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Avvaiyyar

About Avvaiyyar
Avvaiyyar was a female poet of the ninth century, who lived in the southern parts of India. She is known, not only for her extraordinary poetry, but also, as a noble and revered saint. The term 'Avvaiyyar' means ' respected old woman' or 'Grandmother'. Even though her real name is not known, it doesn't make her or her literary works any less popular. The children learning Tamil language make use of one of her poems, which has been written especially for the purpose. As we move further in this article, we will come across the various stages in life history of Avvaiyar.

Early Life
As per the legends surrounding Avaiyyar Biography, she was born to a Brahman called Bhagavan and his untouchable wife called Adi. Since Bhagavan was on a spiritual journey at the time of her birth, both of them decided to abandon the child. A poet passing from there noticed the abandoned child and took her under his care. Right from childhood, Avvaiyyar showed a deep interest in poetry. At the tender age of four, she was able to complete a complicated verse that even the most distinguished poets of the land could not.

Devotion to Ganesha
Avvaiyar was extremely devoted to Lord Ganesha since childhood. She always asked Him for three gifts, the gifts of poetry, music and drama. As she grew, her talents also grew to the highest levels. At the same time, she also started getting marriage proposals. Fed up with the proposal and being constantly pressurized to get marries, Avaiyyar asked Lord Ganesha to remove her beauty and turn her into an old woman. The Lord obliged and in acknowledgment of His generosity, she sang a great paean of Praise for Him, regarded as the equivalent of the Vedas.

Her Spiritual Journey
After this incident, she began her journey as a wanderer. The life gave her the much desires education and inspiration and this social conscience started to reflect in her poetry also. The love Avvaiyar had for the common man, her contempt towards pretensions of the rich, etc, all were beautifully brought forward in her poems. During her lifetime, Avvaiyar also came across Skanda, brother of Ganesha. Her last public service was the prevention of the war between King Adiyaman and King Thondiaman.

The Spiritual Journey Ends
It is believed that Avvaiyyar did not die a normal death. Instead, she was transported bodily to Kailasha, the abode of Lord Shiva, by Lord Ganesha Himself.

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Navanethem (Navi) Pillay

Navanethem (Navi) Pillay, the United Nations (UN) High Commissioner for Human Rights was born on 23 September 1941 in Clairwood, Durban. She went to the University of Natal where she graduated with BA in 1963 and with an LLB in 1965. It was at the University that she joined the Unity Movement.  After completing her degree she commenced her legal career by doing her articles in Durban under the guidance of Narainsamy Thumbi Naicker, a banned member of the African National Congress (ANC) who was also under house arrest. In 1967, Pillay became the first woman to open her own law practice in Natal. She provided legal defence for political activists from different political organizations detained by the apartheid government.
In her first case after starting her own legal practice, she represented Phyllis Naidoo who was charged for failing to report to the police station as a banned person. In 1971, she represented 10 members of the Unity Movement who were charged under the Terrorism Act.  Pillay also represented her husband Gaby Pillay who was detained by the Security Police under Terrorism Act. It was at this time that exposed the practice and effects of torture and solitary confinement on detainees held in police custody. In 1973, she fought and won the right for political prisoners to have access to legal counsel. In the mid 1970s, Pillay defended detained members of the Black Consciousness Movement (BCM) such as Saths Cooper and Strini Moodley. Pillay later became the first woman to open legal practice in Durban.
In 1982, she obtained a Master of Law and in 1988 a Doctor of Juridical Science from Harvard University. In 1995, Pillay joined the International Criminal Tribunal for Rwanda, and in 1999 she was elected as its Judge President for which she served two four-year terms. Since 2003, she has served as judge on the International Criminal Court.  Pillay is cofounder of the South African Advice Desk for Abused Women and was appointed the United Nations High Commissioner for Human Rights on 28 July 2008.

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Nammalwar

About Nammalwar
Nammalwar was a Tamil Poet, regarded as one of the twelve Alwars in India. He is quite renowned for his beautiful hymns dedicated to Lord Vishnu. The main aim of Nammalwar's life was to serve the Lord, love Him, praise him and surrender to Him. Even though he was originally from southernmost part of India, he won the hearts of people throughout the country with his beautiful poems.

Early life
Nammalwar was born in Thirukkurugoor (near Thirunelveli) in the Pandaya dynasty of Tamil Nadu. There is a little disagreement as to his birth date. Tradition gives the date as 3102 B.C. (i.e., the beginning of the Kali Yuga), but scholars believe the date to be 880-930 A.D. It is said that as a child, Namalwar never cried, suckled or responded to external stimuli. After seeing this condition of their child, his parents left him at the feet of Lord Vishnu's statue. It is said that, he got up, sat in the lotus position and started to meditate. From then onwards, began the journey of Nammalwar on the path of spirituality.

The End of a Long Samadhi
Nammalwar remained in a meditative state for as long as 16 years. A Tamil poet and scholar, Maturakavi, managed to draw out Nammalwar from his Samadhi by asking him a question. Thereafter, he took Maturakavi as his first disciple. He taught him about the secret doctrines of Vaishnavism. Unable to resist the urge of praising God, he composed a thousand hymns admiring Lord Vishnu then and there only.

His Poems
The subject matter of all the poems written by Nammalwar is "the Lord, the soul, the means, the end, and the impediments to spirituality". The following poems of Nammalwar count amongst his most renowned ones…

Thiru-Viruttam
Thiru-Viruttam, a poem of stanzas, comes up as the essence of Rig Veda. It describes the event of 'falling in love with the Supreme being' and symbolizes 'Bridal Mysticism'.

Thiru-Asiriyam
Thiru-Asiriyam comprises of seven sections or seven poems, of unequal length, within itself. Made up of 71 lines, it describes the beauty of the lord with the help of the most beautiful words one can imagine.

Periya Thiruvandadi
Constituting the quintessence of Atharva Veda, Periya Thiruvandadi has 87 lyrical stanzas.

Thiruvaimozhi
Thiruvaimozhi literally means the 'Divine words'. Considered as the masterpiece of Nammalwar, it comprises of 1102 four lined verses.

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