For 1000s of old ages music and vocals have played an of import function in the Tamil community. Tamil vocal wordss are largely written for film, and research reveals that Tamil film in the 20th century have formed a major portion of mass communicating and have besides served as mass-entertainment to people chiefly due to the narratives and song wordss. Among the great lyric authors of Tamil vocals from 1944 to 1981 was the legendary Poet Kannadasan ( 1927 -1981 ) who was besides known as Kavi Arasu or male monarch of poets. However Poet Kannadasan ‘s parts are yet to be highlighted sufficiently in media literatures. Therefore the aim of this paper is to research Poet Kannadasan ‘s part in learning doctrine and human values through his vocals which are relevant to the Tamil community even today. This paper is considered to be the first to research Poet Kannadasan ‘s doctrine and human values in an academic diary of the English linguistic communication although several articles have been written in the Tamil linguistic communication. In showing this paper, hermeneutics ( a qualitative research methodological analysis ) which includes content ( vocal ) analysis is used by the writers. The writers hope that this paper will supply the model for analyzing Poet Kannadasan ‘s vocal wordss in many countries apart from doctrine and human values. This paper is expected to lend and enrich the English linguistic communication literatures on Poet Kannadasan ‘s parts in the Indian context.
Music can be defined as “ the art of look in sound, in tune, in harmoniousness, including both composing and executionaˆ¦not mere noise ” ( Chambers twentieth Century Dictionary, p. 869 ) . In music, a vocal is a composing that contains vocal parts ( wordss ) that are performed ( Sung ) , normally accompanied by musical instruments. Hence a vocal is a piece of music for accompanied or unaccompanied voice or voices or, the act or art of vocalizing ( Peake, 1980 ) . For Adorno, music was linked to the cognitive wonts, manners of consciousness and historical developments ( Adorno, 1973:15 ) . In 2008, Nature published a series of essays on music positing that music is cross-cultural and cosmopolitan, yet endeavoring to research the power of music upon thw universe ( Editorial, 2008 ) . The early decennaries of 1900s chiefly consisted of unwritten societies and their history is non written but spoken and it is kept in the signifier of poesy, vocals, Proverbss, narratives and assorted rites. Their historical and cultural information is passed on from one coevals to another through some of these agencies and through personal influences between people which proved to be more effectual ( Lazarsfeld, P.E et al ; 1949 ) instead than mass runs. Songs therefore played a major function in act uponing the populace, educating and arousing them.
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For 1000s of old ages, music and vocals have played of import functions in the lives of the people of the Tamil ( Indian ) community worldwide. Tamil music and vocal wordss are largely written for film and research reveals that Tamil film in the 20th century have formed a major portion of mass communicating and have besides served as mass-entertainment to the Tamil community ( Ceyalatcumi, C.E ; p.33 ) . Furthermore, music and vocal wordss have besides been indispensable ingredients for the commercial success of Tamil movies. Even today the destiny of Tamil films relies on the strength of its music and vocals. Therefore the Tamil vocal wordss act as strong instruments to develop and transform people by supplying enlightening vocals incorporated with interesting plot lines and messages to people.
In the history of Tamil film, even though there have been many great lyric authors, the legendary Poet Kannadasan ( 1927 -1981 ) – “ Kavi Arasu ” or “ King of poets ” , is considered by the Tamil community worldwide as the greatest of all. He has made great impact on the lives of the Tamils worldwide through his several thousand vocals for the Tamil movies particularly in the 1960ss and 1970ss. Poet Kannadasan contributed extensively to the development of the Tamil community worldwide with powerful messages through his vocals which encompass all facets of human life such as doctrine and human values. For most Tamil movie fans, Poet Kannadasan has been non merely the psyche but besides the encephalon behind some of the most beautiful wordss of all time penned in the history of Tamil music. However in the media literatures his parts are insufficiently highlighted particularly in the English linguistic communication. Therefore the aim of this paper is to supply and foreground Poet Kannadasan ‘s function in learning doctrine and human values through his vocals which are still relevant to the Tamil community even today.
Song and its Lyrics ; Communicative and Philosophical Persona
In the early phases of human life, music and vocals were likely used more for communicating than for pleasance: membranophones, horns and bells, even the human voice ; pitched to transport many stat mis ( Lynne, 2010, par.3 ) . Some research workers believe that early signifiers of human linguistic communications were developed from communicating through music, and surely music continues to carry through many maps in different civilizations today ( ibid, par.5 ) . Communication through music is verbal communicating sinceA songsA are made up of happy words or wordss ( Stargazer, L ; 2008 ) . Associating ideas and thoughts with music, it has been efficaciously used as propaganda ( Wells, K.A ; 2004 ) . Despite the fact that Music evokes different feelings among audience, they are identifiable because it is portion of their civilization and even a fragment of it will elicit the established significance ( Perris, A ; 1985, p.6 ) . The thought of aggregate civilization, of mass audience, who consume trade goods of a cultural industry ( Scott, D.B, 2000:1 ) , seems to be good fitted with the analysis of vocals. Music plays a cardinal function in the operation and development of the head, consciousness, and civilizations which made scientists analyzing development of linguistic communication to the decision that linguistic communication and music were one for the crude work forces ( Perlovsky, L ; 2010 ) .
The development of vocal as mass communicating was non a self-generated phenomenon. Indian civilization is inextricably linked with music and other related humanistic disciplines that vocals of course became portion and package of daily life. “ Life is non what it used to be 30 old ages ago and one of the factors that has changed life is, movie music ” ( Chandavarkar, B ; 1976 ) . He suggested that in India music is conceived as human voice and so, movie music took the form of vocals to a greater extent. ‘Indianess ‘ is profoundly enrooted in common people music and it has been used for moral, spiritual and political intents ( Kumar, K.J ; 2000 ) . In Tamil Nadu excessively, vocals emerged from much known and celebrated traditional art signifier ‘Therukoothu ‘ , which brought together prose, music and play. Prior to that, laies were really popular at that place, and they helped to proliferate this art signifier to more corners. These art signifiers decidedly influenced movies, which bit by bit took vocals as an of import constituent in movies. With the coming of movies in India, other media like telecasting or wireless which were non popular became more successful. More than amusement, within a short period, it leapfrogged into a perfect tool for moral and societal communicating. The term ‘popular music ‘ is best used to imply to music which is closely allied, to development, selling, and distribution with the mass media which is produced and disseminated it on a aggregate footing. ( Manuel, P ; 1988 ) . In India, as movie music being massively disseminated, popular music turned to be movie vocals.
Most frequently vocals are considered as mere amusement material, but when looked intensely, one can recognize the possible deduction and intension of the wordss ( Furmanek, O ; 2006 ) . Music and song wordss played, and to an extent are playing, a important function in the society as a traditional manner of communicating ( Ojha, J.M: p.78 ) . Human existences ( and animate beings ) have long back realized the influence of music in triping single and group behavior and to make societal coherence every bit good as struggle ( Brown, Steven and Ulrik Volgsten ; 2006: p.13 ) .A Even now movie music is the most sold and exported in the state. The chief distinctive feature of old movie vocals is that it used poetries of celebrated poets and authors, hence it created values, ethical motives, moralss, ideals and good people. This explains the popularity of vocals and how it traversed to achieve the position of important music director in the communicating of complex societal phenomena ( Forman, F ; 2002 ) . Often music announces one significance while deliberately or unwittingly evokes a different response.A Music is one of the most expressionistic signifiers of media known to society. As a consequence, music influences every facet of society -with each coevals organizing a radically different sentiment.
“ aˆ¦music, the organisation of noise. . . reflects the industry of society ; it constitutes the hearable frequency band of the quivers and marks that make up society. An instrument of apprehension, it prompts us to decode a sound signifier of cognition. ” ( Attali, 1985 )
Marshall McLuhan uses the phrase “ the medium is the message ” as a agency of explicating how the distribution of a message can frequently be more of import than content of the message itself ( 1964, p.40 ) . But in this peculiar state of affairs, channels of communicating lose significance once they reach the receiving systems. The decryption of messages undergoes in their heads and the consequence differs harmonizing to different perceptual experiences of receiving systems ( Hall, S ; 1980 ) . Since it is an intimate communicating, most frequently barriers and breaks are resolutely avoided by the receiving systems. The context and the content of the music both come into drama. Although music semiologies ab initio focused on the content of the music many bookmans have tried to analyse the contextual elements excessively ( Brackett, D ; 2000, Stefani, G ; 1987, Middleton, R ; 1990 ) . However, the consequence of vocals and its wordss will differ from one person to other, depending upon their several perceptual experiences accorded with their cultural norms ( Inskip, C et al ; 2008 ) . Harmonizing to Individual difference theory, different personality variables produce different reactions to the same stimulation, which lead to selective exposure and selective perceptual experience. The procedure can be linked to the cognitive disagreement theory. The theory asserts that since people usually like to hedge disagreement in their belief system, they frequently try to cut down this disagreement by alining their belief system with the information available.
Inskip, C. , Macfarlane, A. & A ; Rafferty, P ( 2008, p.477 ) proposed that a user centered theoretical account would more accurately reflect the procedure of meaning-making when taking music on behalf of others, as significances shared by user and proprietor will be used to find the relevancy of music picks. These can be incorporated into established communications theoretical accounts ( Shannon, C. and Weaver, W ; 1949 ) in order to explicate the communicating procedure that is taking topographic point when listening to music. The flow of information in the signifier of vocals can besides be described as a one-way procedure ( from Transmitter or manufacturer to Receiver or hearer ) .
To this present period, people tend to esteem Poet Kannadasan for his unexcelled endowment and societal duty. Illiterate people rely on such vocals and its wordss to understand the doctrine and political orientation of a society, and give greater importance and trust to it. They interpret the destiny, luck and fate of human life praising truth as good and wisdom as baronial. Film managers excessively gave accent to wordss as it was the primary nexus between the audience and the movie. When these meaningful wordss combine with music playing, it became appealing and even memorable. Such vocals cut across the geographic, demographic and cultural barriers to give both connotative and denotive significance across centuries. However, such morally good wordss in movie vocals began to be played in all political meetings, nuptialss, festivals and in authorities maps. More than being amusement material, it was a disciplinary force and a torch visible radiation through which the populace were driven towards the right way with the lessons of truth, wisdom, difficult work and love ( Wright, degree Celsius, 2008: p.240 ) .
Music serves either as a agency of distraction from day-to-day scruples or as an amusement. Although the mass media ( film, wireless, telecasting ) has changed popular gustatory sensations music and vocals continue to stay Indian in character and disposition ( Pesch, n.d ) .A A The function of music in the signifier of film vocals is really popular in Indian societyA all over the universe. In the Indian context, besides ancient literatures and verse forms, vocals that reflect human values have been written to convey legion lessons to Indian communities around the universe. For case, The Bhagavad-Gita which was spoken by Sri Krishna to Arjuna more than 5000 old ages ago in Kurukshetra, India, is besides in the signifier of a vocal ( geetam ) .
The vocals are invariably sung as a reminder and applied to modern life styles of Indians to this twenty-four hours. Such is the might of these wordss. Today, wordss are largely written for film in India and in the Indian context, research reveals that cinemas in the 20th century have formed a major portion of mass communicating and have besides served as mass-entertainment to people of different socio-economic position ( Bhawani, 1994 ) . Together with the wordss and films, the Indian film industry particularly Tamil, Telugu and Hindi movie industries have created many politicians. A few Tamil movie loyalists who have turned prima politicians are CN Annadurai, M.G. Ramachamdran ( MGR ) , M. Karunanidhi and J. Jayalalitha, Telugu movie-politician NT Rama Rao and Hindi stars such as Amitabh Bachan, Rajesh Khanna, Shatrughan Sinha, Dharmendra, Vinod Khanna and Govinda.
Many of the film wordss are written specially for histrions to capture and retain the audience and their involvements throughout the film which lasts three hours. The song-writers are similar novelists or poets who want the audience to believe, respond or be affected, in some manner. The authors impart to the audience through the film stars ‘the message ‘ which they intend to state through their vocals. These wordss are much beyond the intent of merely supplying simple amusement. The intangible significance that it carries in the wordss relates to every facet of human life that is meant to learn, promote, actuate, remind, inform, influence, inspire and develop people. Basically, these vocals serve a societal map to beef up the circle of society. Some vocals try to leave to persons the functions and duties to the society and state. In add-on, a figure of wordss in vocals besides give an inspiration for life.
Doctrine is the survey of general and cardinal jobs refering affairs such as being, cognition, values, ground, head, and linguistic communication ( Grayling, 1998 ) . The word “ doctrine ” comes from the Grecian word philosophia, which literally means “ love of wisdom ” ( ibid ) . Despite learning doctrine and homo values which are really important for today ‘s society, vocals besides provide powerful messages to actuate one ‘s life and battle against any obstructions that stop the advancement ( Muniapan, et Al, 2006 ; Muniapan and Dass, 2008 ) . Chatterjee, Satischandra ; Datta, Dhirendramohan ( 1984 ) states that,
Indian minds viewed doctrine as a practical necessity that needed to be cultivated in order to understand how life can outdo be led. It became a usage for Indian authors to explicate at the beginning of philosophical works how it served human terminals.
Human values on the other manus are an built-in portion of every civilization. Values tell people what is good, good, of import, utile, beautiful, desirable, constructive, etc. Over clip, they have become the roots of traditions that groups of people find of import in their twenty-four hours to twenty-four hours lives. Both these factors ( doctrine and value ) find profound infinite in Indian music, peculiar in Kannadasan ‘s sacred plants.
Kannadasan-The poet of the century
In analyzing the history of Tamil film, there is a twine of poets who have contributed outstanding wordss ; the power of their words and wordss act as a strong instrument to supply hopes in hopeless state of affairss and besides power in powerless lives. Hence, Tamil songs become of import constituents of mass media to present the intended message to the audience, incorporated with the interesting plot line. Among the great lyric authors of Tamil vocals from 1944 to 1981 was Poet Kannadasan ( 1926-81 ) who made a great impact on the life of the Tamils worldwide. Get downing as an atheist, Kannadasan became philosophical in ulterior life, composing devotional and educative vocals ( Modern Indian literature, an anthology: p.1081 ) . His wordss are noted for their deepness of feeling and thought conveyed in simple, yet elegant linguistic communication. The wordss written by Poet Kannadasan have contributed extensively to the development of the Tamil community worldwide through the powerful messages of his vocals which encompass all facets of human life. His passion for Tamil linguistic communication ad his excessive esteem for feminine beauty made him write some fantastic chef-d’oeuvres of the century ( Modern Indian literature, an anthology: p.1082 ) . Poet Kannadasan wrote wordss on many facets of human life runing from doctrine, political relations, economic system, society, civilization, linguistic communication, art, godlessness, theism, poorness, art of life, art of death, rhythms of life, charity, adult females, gaming, imbibing, harlotry, love, instruction, and of class on human values and many other subjects of social involvement. The wordss composed by Poet Kannadasan enthralled people from all walks of life intruding into caste, credo or societal barriers ( Muniapan, et Al, 2006 ; Muniapan and Dass, 2008 ) . For Tamils worldwide he ( Kannadasan ) epitomized Tamil poesy as even nonreaders who can non read and memorise the poesy of Kamban ( Kamba Ramayana ) or the axioms of Thiruvalluvar ( Thirukkural ) can hum the composings ( paadalgal ) of Poet Kannadasan ( Sri Kantha, 1991 ; Muniapan and Dass, 2008 ) . Sri Kantha ( 1991 ) besides describes his ( Poet Kannadasan ) singular part to the Indian movie industry as follows:
“ aˆ¦ If merely Kannadasan had been born in Europe or the USA, alternatively of Sirukuudalpatti small town in the Ramanathapuram territory of Tamil Nadu, he likely would hold become a Nobel laureate in literature and received international acknowledgment. But on the other manus, Tamils would hold lost a goliard, who composed wordss in Tamil from every sentimental minute they experience in lifeaˆ¦ . ”
In another vocal, when depicting the concluding phase of a human life, Poet Kannadasan pondered about who will attach to us when we quit this organic structure, through the undermentioned lines:
Veedu varai uravu… ..veethi varai manaivi… ..kaadu varai pillai… … kadaisi varai yaaro? ( The relations will mourn till the house ; the married woman mourns till the street, the boy will mourn up to the graveyard, but who will mourn beyond that? )
In the above vocal, Poet Kannadasan philosophically tried to pass on to people about some blazing facts of life- ‘we came with nil ; we created nil ; nil was in our ownership and nil was our creative activity ; but still we mourn, believing that we have lost something. How could we free something, when we ne’er had anything? ‘ This is besides consistent with the kernel from the Bhagavad-Gita as below:
That which has happened has happened good! That which happens good! That which will go on will go on good! What have you lost, that was yours? For what do you keen? What have you brought, that you can free? What have you created, that can acquire spoiled? What of all time you took, you took from here! What of all time you give off, you give them, back here! What of all time is your ‘s today, will be some other individual ‘s tomorrow! And the twenty-four hours after, it will be a 3rd individual ‘s ownership. This is the ageless regulation! The kernel of my creative activity! ( Quoted from hypertext transfer protocol: //theholygita.blogspot.com/ )
In another words for the film Pava Mannippu in 1961, Poet Kannadasan wrote:
Aadai inri piranthome – aasai inri piranthoma? Aadi mudikkaiyile alli chenror yaarumundo? ( Though born without a frock, did we come without passions? when we complete the gaiety can anyone transport their ownerships? )
In another vocal, Poet Kannadasan could even depict Freudian subjects in mere four lines ( Sri Kantha, 1991 ) . For illustration, he one time wrote:
Ullam enpathu aamaiaˆ¦ athil unmai enpathu oomai sollil varuvathu paathi – nenjilthoonki kidappathu neethi ( Mind is like a tortoise in which the truth fells in silence words can convey out merely the half while justness calmly slumbers ) .
Aandavan Kattalai – A Conduit to the Doctrine of Life
In the universe today, everyplace, the eroding of human values is discussed. Day by twenty-four hours, people forget the interior quality of being human and bury the felicity of other populating entities. Lust, greed, choler, psychotic belief, pride and fright have possessed people in every community of the universe. Selfishness, intolerance, unfairness, irresponsibleness, sloppiness, violent behaviour and many other negative facets of human life are seen everyplace irrespective of race, faith and nationalities. Each one of us wants the universe to be a better topographic point to populate in, nevertheless non many of us takes the attempt to instill positive human values in the community and state. Valuess are societal norms, which are acceptable by all subdivisions of society. It is non what an single thinks or wants to execute. Valuess are the profoundly held beliefs of persons and groups what they cherish as desirable or good. Rokeach ( 1973, p.5 ) defines values as “ digesting belief that is personally or socially preferred to the antonym or converse manner of behavior or a province of being. In kernel, values are our bedrock constructs of what we want ( or want to avoid ) . Indian philosophical surveies, both in the past and in the present, have emphasized the significance of values in human life -situations. Valuess must hold two features viz. acceptableness and adaptability ( Dash, 2005 ) . They work in the degree of organic structure, address and head or actions, words and ideas. Human values are of assorted types such as personal values, moral values, societal values and besides religious values.
There have been many vocals in which Poet Kannadasan explored the doctrine of life and gave people the kernel of Indian doctrine in signifier of music and vocal wordss. His part besides extends to the development of positive human values. Equally far as human values are concerned, Poet Kannadasan clearly highlighted six commandments for developing positive homo values and harmonious human dealingss regardless of race, ethnicity and faith. Aandavan kattalai or slackly translated as supreme commandments which was composed in 1964 was themed after the instructions of Swami Vivekananda, when he realized that ordinary people were unable to read about the philosophies of Swami Vivekananda. In this vocal he had simplified the plants of the great philosopher and medium for the benefit of nonreader or semi-illiterate people in society.
The vocal starts with following lines: –
aaru maname aaru andha aandavan kattalai aaru ; serndhu manidhan vaazhumvagaikku dheivaththin kattalai aaru ( The supreme commandments are six for the development of human values and integrity among the life entities )
In the 2nd paragraph of aandavan kattalai, Poet Kannadasan penned the undermentioned lines: –
onre solvaar onre seivaar ullaththil ulladhu amaidhi ; inbaththil thunbam thunbaththil inbam iraivan vaguththa niyadhi ( Walk your talk and speak your walk and you will achieve the felicity within ; grieve within felicity and felicity within sorrow are all plants of Godhead )
Walking the talk and speaking the walk is one of the key demands for effectual human dealingss and leading is all about the ability to influence, inspire, motivate and stimulate people to accomplish their possible ( Muniapan, 2005 ) . Leaderships ( political or organisational ) in the community need to mind this message as they set illustrations for others to follow. It has some glowering similarities with the poetries in Bhagavad-Gita, in which Sri Krishna advices Arjuna that ( 3:21 ) : –
yad yad acarati sresthas cheapness shade evetaro janah SA yat pramanam kurute lokas shade anuvartate ( Whatever action a great adult male ( leader ) performs, common work forces follow ; and whatever criterions he ( leader ) sets by model Acts of the Apostless, all universes pursue ) .
Happiness and sorrow is the portion and package of life as it is the work of godly forces and happens harmonizing to an person ‘s karmic actions and reactions. The lines continue like this ( 18.54 ) : –
brahma-bhutah prasannatma na socati na kanksati, samah sarvesu bhutesu mad-bhaktim labhate param ( One who is therefore transcendentally situated at one time realizes the supreme, he ne’er laments nor desires to hold anything ; he is every bit fain to every life entity. In that province he attains pure devotional service unto me ) .
In the 3rd stanza of aandavan kattalai vocal, Poet Kannadasan drew a beautiful image on truth and Dharma, which is indispensable for human life to be successful. –
unmaiyai solli nanmaiyai siedhaal ulagam unnidam mayangum ; nilai uyarum podhu panivu kondaal uyirgal unnai vanangum ( When you speak true words and make good workss, the whole universe will toast you and when you progress in life with great humbleness, every life entity will toast you )
All faiths are rooted in truth, and honestness, justness, downrightness and earnestness are looks of truth. Truth ( satyam ) and non-violence ( ahimsa ) are the highest Dharma, the tool of male parent of Indian state, Mahatma Gandhi. However, wise work forces of the past Tell us that there is a universe of a difference between “ being true ” and “ talking the truth ” , when the Upanishad says satyam vada, it means, “ be true ” at all times. However, this does non intend that we speak the truth ; there are certain times when keep backing truth is permitted. The authoritative Thirukkural written by ancient Tamil poet, Thiruvalluvar explains that even falsity is of the nature of truth if it renders good consequences and is devoid of mistake. For case, a physician might non state his patient that he will decease in three yearss when he sees the critical marks weakening. Alternatively, he may promote positive thought ; give hope, cognizing that life is ageless and that to raise fright might make depression and hopelessness in the head of the sick individual. This is termed as Wisdom ( Muniapan and Dass, 2009 ) .
By elaborating the qualities of being true and being happy, in the 4th stanza of aandavan kattalai, Poet Kannadasan elucidated the menace faced by human existences who are possessed with lecherousness and greed, the enemies of work forces.
aasai kobam kalavu kolbavan pesa therindha mirugam ; anbu nanri karunai kondavan manidha vadivil dheivam ( Men who are possessed by lecherousness, greed and choler are animate beings in human signifier, while work forces with love, clemency and compassion are Gods in human signifiers ) .
Lust, greed, choler, psychotic belief, pride and fright are the six enemies of work forces that act as barriers to effectual human dealingss in a society. The lessons from the the Ramayana and the Mahabharata have provided ample groundss on how the above six enemies have destroyed people. Kautilya ( Chanakya Pandit ) has besides mentioned about these enemies in his celebrated work the Arthashastra ( Muniapan and Dass, 2009 ) .
Similar thought can be seen in the Bible excessively, where Jesus Christ asserted the message on the control of choler ( Matthew 5.22 ) , “ that whosoever is angry with his brother without a cause shall be in danger of the judgement ” . “ Thou shall non kill ” is besides one of the Ten Commandments given to Moses, which means to bring down hurting on other life entities is ever incorrect ( ahimsa or non-violence ) . Do unto other as you would hold them make unto you is a cosmopolitan truth. “ If a adult male says, I love God, and hateth his brother, he is a prevaricator: for he that loveth non his brother whom he hath seen, how can he love God whom he hath non seen? ” ( John 4.20 ) .
Sri Krishna excessively asserted to Arjuna the following about choler and psychotic belief in the Bhagavad-Gita ( 2. 63 ) : –
krodhad bhavati sammohah sammohat smrti-vibhramah, smrti-bhramsad buddhi-naso buddhi-nasat pranasyati ( From choler, psychotic belief arises, and from psychotic belief obfuscation of memory. When memory is bewildered, intelligence is lost, and when intelligence is lost, one falls down once more into the material pool ) .
Anger begets eight sorts of frailties – unfairness, heedlessness, persecution, green-eyed monster, taking ownership of others ‘ belongings, killing, rough words and inhuman treatment ( Sivananda, 1997 ) . Harmonizing to the Mahabharata, God favors a individual who does non upset or do painful action in the head of any living entity and who treats everyone, as a loving male parent treats his kids, and whose bosom is pure. In the Thirukkural, it is besides stated that the rule of the pure in bosom is ne’er to injure others, even when they themselves have been hatefully injured and if a adult male inflicts sorrow on another in the forenoon, sorrow will come to him unbidden in the afternoon. The Manu Samhita says that if the diet is pure, the head will be pure, and if the head is pure the mind besides will be pure. The Yajur Veda besides says non to wound the existences populating on the Earth, in the air and in the H2O. Vedic literatures assert and emphasize compassion as the chief quality we should hold toward other life entities, and charity or giving, as the chief responsibility we need to execute in life. Compassion toward others should be balanced with devotedness to the Divine. True compassion comes from the Divine and flows through us by the strength of our devotedness. True compassion has no secret motivation to derive, or to have acknowledgment as being a compassionate individual. Compassion, clemency and love are the godly qualities of work forces, which are important for the development of human values for the benefits of the community and besides the universe ( Muniapan and Dass, 2009 ) . So within a few lines, Kannadasan has tried to reflect all the holy books and heroic poems, yet in simple and elegant linguistic communication. The best wordss are the 1s that are easy to retrieve and which express feelings through clear and fresh images ( Leikin, M.A: P: 51 ) , which are true for the poetries of Kannadasan. The similar perceptual experience of life can be seen in another vocal penned by him for the film Paalum Palamum in 1961, in which he attractively illustrated human life which is unsure as follows:
“ Ponal pohattum poda – intha poomiyil nilaiyai vazhnthavar yaarada, Ponal pohattum poda Vanthathu theriyum povathu enge vaasal namakke theriyathu. Vanthavarellam thanki viddal – intha mannil namakke idamtethu. Vazhkai enpathu viyaparam – varum jananam enpathu varavahum – athil maranam enpathu selavaahum ” ( Let the passions and bonds base on balls by, allow so go through by. Who has lived in this Earth everlastingly? The way of our reaching to this Earth is known but way of our going and the path is unknown. If all who came to this Earth opt to remain here everlastingly, where is the infinite in this Earth? Therefore, life is considered merely like a concern in which the birth is recognition and decease is debit ) .
Kannadasan ‘s Lyrics- A Localized Devcom
CommunicationA is defined as a procedure by which we assign and convey intending in an effort to make shared understanding, in which your full purpose is heard. In songwriting, deficiency of communicating agencies that, as a author one failed to acquire across the thought he/she wished to portion with the audience ( Oland, P.P: p.47 ) . The general function of development communicating is to make the human environment necessary for development to win. One of the pre-requisites of development communicating is the human and localised attack to communicating instead than the centralised and abstract ( Narula, Uma, p.23 ) .In this sense, Kannadasan ‘s wordss absolutely serve as a platform for intimate communicating. Muthaya ( 1982, p. ) argued that people ‘s perceptual experience of whatever is go oning around them has an of import bearing on their attitude and engagement in development programmes. Development messages must hold certain qualities taking into consideration the demand of the populace, i.e. they must be positive, progressive and practical. Harold Lasswell asserted that communicating performs three functions- surveillance, correlativity of constituents of society, and cultural transmittal between coevalss. But such communicating aimed at development should dwell of planning in the societal and psychological content of messages to be communicated, and an synergistic group activity must be instigated in order to happen positive consequences in development ( Schramm, W ; 1964 ) . Hence barriers of communicating will be limited and frequently leave fruits of ideas for audience. As Schramm ( 1964 ) asserted, communicating must ‘accomplish the passages to new imposts and patterns ‘ . Songs, hence, exhibit efficient and effectual communicating schemes for Public Communications through the popular medium of movie, where illiterate populations can understand and comprehend concealed messages. But it was a top to bottom communicating, in which in the underside it got shared by word of mouth sign languages as popular vocals. The reaching of talking pictures in Tamilnadu was heartily welcomed by the lower subdivisions of society, since other art signifiers like Carnatic music and Bharatanatyam were entirely monopolized by Brahmins and other upper categories ( Pandian, M.S.S ; 1996 ) . Hence pass oning for rural folks is found effectual through movies and movie vocals. Nevertheless, music for them was synonymous with movie vocals, even though the Music Academy ( founded in 1927 ) conducted concerts often. As ‘magic multipliers ‘ ( Schramm, W ; 1964 ) , it proved to be a disciplinary force in society, by ‘trickling down the development messages ‘ ( Rogers, E. M ; 1962 ) .
Poet Kannadasan ‘s vocals and his messages were so powerful that the politicians in Tamil Nadu used his vocals from 1950s to late 1970s for their political intents. In 1962, when the Ceylon ( Sri Lanka ) authorities treated the Tamils severely, Poet Kannadasan led a protest mass meeting against the Ceylon authorities in Madras. When this intelligence reached the governments in Ceylon they banned all vocals of Kannadasan over Radio-Ceylon with immediate consequence, but enduring for merely a hebdomad. Radio-Ceylon could non last with this prohibition since that was a period when every other 3rd vocal released was by Poet Kannadasan ( Mahendra Raj, n.d ) .
Songs can be considered as a musical rhetoric. Aristotle, in Rhetoric, discussed the agencies and devices an speechmaker uses in order to accomplish the rational and emotional affects on audience that will carry them to submit to the speechmaker ‘s point of position ( Cooper, L ; 1932 ) . In the same manner, through vocals the lyrist tries to take the audience to the universe created by his imaginativeness. The power of vocals in carrying audience is identifiable, when political meetings and mass meetings are backgrounded with chauvinistic and loyal vocals from movies. However, such morally good wordss in movie vocals began to be played in all political meetings, nuptialss, festivals and in authorities maps. In ordinary, commonplace linguistic communication, poet Kannadasan delivers the message of the Bhagavad-Gita in the film ‘Karnan ‘ .
Maranatthai ennik kalanngidum Vijaya… Maranatthin thanmai solven! Maanidar aanmaa, maranam eidhadhu… Marupadip piranthirukkum! Meniyaik kolvaai, menaiyaik kolvaai… Veeratthil arumbondru, Nee vittuvittaalum avargalin meni, Vendruthaan theerum… ohrnaal… ahahah… ( Oh frightened ( because of decease ) Arjuna, I shall portion with you the fact of decease. The human psyche will ne’er be dead… will be re-born some other clip! The organic structure you kill it… the organic structure you kill it… In heroism, will blossom a bud, though you leave them now, all their organic structures, Will be conquered for certain… someday… ) ( interlingual rendition taken from hypertext transfer protocol: //www.hindudharmaforums.com/archive/index.php? t-2643.html )
The above lines are summarized in Chapter 2 of the Bhagavad-Gita and go on in following lines:
Ennai arindhaai, ella vuyirum enathendrum arindhu kondaai! Kannan manadhu kalmanadhendro… Kaandeepam nazhuva vittaai, kaandeepam nazhuva vittaai! Mannarum naane, makkalum naane, Maram sedi kodiyum naane… Konnavan Kannan, kolbavan Kannan… Thunindhu nil, dharumam vaazhga! ( You came to cognize me, all these lives are mine, and you ‘ve known that excessively! Kannan ‘s bosom a rocky bosom you thought so… and the Kandeepam, you let it steal, Kandeeam you let it steal! I am the sovereign, I am the topics, and the tree, works, and creeper am I… Who killed was Kannan, and who putting to deaths now is Kannan… So courageously stand up, long unrecorded Dharma! ) ( interlingual rendition taken from hypertext transfer protocol: //www.hindudharmaforums.com/archive/index.php? t-2643.html )
Punniyam idhuvendru ulagam sonnaal… Andhap punniyam, Kannanukke! … Potruvaar potralum, thootruvaar thootralum, Pogattum Kannanukke! … Kannane kaattinaan, Kannane thaakkinaan, Kannane kolai seigindraan! … Kaandeepam ezhuga, nin kaivanmai ezhuga, Ik kalamelaam sivakka, vaazhga! … ( punniyam is this 1, if the universe says so… That puNNiyam to Kannan merely! … The congratulations of those who praise you, and the incrimination of those who blame you, Let all that to Kannan merely! … Kannan merely showed the manner, Kannan merely assaulted them, Kannan merely murders them now! … Let the Kandeepam rise to, allow your strength of custodies rise to, And blush all this battleground, hail you! )
The significance of the music is successfully transmitted to the audience through agencies of in agreement cultural codifications – whether these are major/minor for happy/sad or consonance/dissonance as light/shade, every bit good as manner subjects, tonic design, leitmotif, timber and musical and filmic signifier ( Neumeyer, D. and Buhler, J ; 2001 ) . The chief component of vocal semiologies is the content or the wordss of the music, but it is necessary to analyse the contextual elements of vocals in a peculiar film. The chief procedure of any communicating is the encryption and decryption of messages ( in the instance of music cultural messages ) , which would take to the audience act uponing the message every bit good as finding its significance. The significance of wordss more or less depends on how the audience decodes it ; exactly, the significance is something socially constructed. The receiving systems, taking into consideration their societal environment and cultural deductions, make up one’s mind whether to take it for granted or reject it. Possibly the most widely accepted theory onA audience receptionA isA Denis McQuail’sA Uses and GratificationsA theoretical account. As user and satisfaction theory asserts, it is upon the user ‘s involvement that the wordss are being used and interpreted ( McQuail, D. , Blumler, J. G. , & A ; Brown, J ; 1972, p.140 ) . It so acts as a thaumaturgy multiplier ( Wilbur Schramm ; 1964 ) , which reaches maximal figure of audience. Receivers feel a sense of engagement ( audience can sing with it, quote the wordss, analyze it ) , thereby doing it a democratic manner of communicating.
Tamil movie vocals have gone along manner from the meaningful and thought arousing wordss to the hollow catchs of words. Lyrics of vocals in Tamil movies today range from being conventionally poetic, colloquial, amusing and nostalgic to politically incorrect at times ( Srinivasan, M ; 2005: par.5 ) . Veteran Tamil poet-lyricist Vairamuthu observed that “ there was a clip when the wordss touched the bosom. Now, it is progressively about doing hearers tap their pess, ” ( 2005, quoted in The Hindu, 01July2005 ) . Even though vocals and their wordss have been analyzed, non excessively frequently, by many research workers, the function of a poet like Kannadsan, who elucidated the populace through his vocals at a clip when telecasting or any other new media were least popular, is unexplored by the communicating field of survey. Peoples at a clip depended to a great extent on such movie vocals to cognize the doctrine of life and many of these wordss have turned to be sacred expressions, which are inherited from coevals to coevalss. It was a signifier of development communicating, aimed at the populace, to recognize the value for life, love and unimportance. In a nutshell, the vocals written by the poet Kannadasan inspire all folks of life. The lessons in doctrine and human values from poet Kannadasan ‘s vocals will go on to be relevant non merely in this twenty-first century but besides for many centuries to come. It is a commiseration that many of poet Kannadasan ‘s vocals have yet been translated into other linguistic communications ( even in other Indian linguistic communications ) apart Tamil ( Sri Kantha, 1991 ) .
This survey has tried to measure merely the general deduction and communicating schemes of Kannadasan through his wordss. But it opens immense views of research possibilities to analyse each and every vocal penned by him, juxtaposing it with the major theories of development communicating and audience perceptual experience. The present survey is relevant because in the aftermath of information jumble and overload, it is so astonishing to analyze the impact of vocals at a period when movies were the lone links between the populace and mediated amusement. It surpassed the amusement boundary and began to take the function of a instructor who teaches non merely values of good life but besides a great vision towards life. The modern-day vocals are inspired from the plants of such fables, who built great doctrines with words. Poet Kannadasan produced about 5000 film vocal wordss ; nevertheless, in this article the vocals related to the subject on human values have been selected and analyzed. This paper will besides supply basis for farther surveies and research of poet Kannadasan ‘s vocals in English linguistic communication.