WHY TAMIL IS A CLASSICAL LANGUAGE? -GEORGE L HART

| Friday, November 2, 2012
Professor Maraimalai has asked me to write regarding the position of Tamil as a classical language, and I am delighted to respond to his request.
I have been a Professor of Tamil at the University of California, Berkeley, since 1975 and am currently  holder of the Tamil Chair at that institution.  My degree, which I received in 1970, is in Sanskrit, from Harvard, and my first employment was as a Sanskrit professor at the University of Wisconsin, Madison, in 1969.  Besides Tamil and Sanskrit, I know the classical languages of Latin and Greek and have read extensively in their literatures in the original.  I am also well-acquainted with comparative linguistics and the literatures of modern Europe (I know Russian, German, and French and have read extensively in those languages) as well as the literatures of modern India, which, with the exception of Tamil and some Malayalam, I have read in translation.  I have spent much time discussing Telugu literature and its tradition with V. Narayanarao, one of the greatest living Telugu scholars, and so I know that tradition especially well.  As a long-standing member of a South Asian Studies department, I have also been exposed to the richness of both Hindi literature, and I have read in detail about Mahadevi Varma, Tulsi, and Kabir.
I have spent many years — most of my life (since 1963) — studying Sanskrit.  I have read in the original all of Kalidasa, Magha, and parts of Bharavi and Sri Harsa.  I have also read in the original the fifth book of the Rig Veda as well as many other sections, many of the Upanisads, most of the Mahabharata, the Kathasaritsagara, Adi Sankara’s works, and many other works in Sanskrit.
I say this not because I wish to show my erudition, but rather to establish my fitness for judging whether a literature is classical.  Let me state unequivocally that, by any criteria one may choose, Tamil is one of the great classical literatures and traditions of the world.
The reasons for this are many; let me consider them one by one.
First, Tamil is of considerable antiquity.  It predates the literatures of other modern Indian languages by more than a thousand years.  Its oldest work, the Tolkappiyam,, contains parts that, judging from the earliest Tamil inscriptions, date back to about 200 BCE.  The greatest works of ancient Tamil, the Sangam anthologies and the Pattuppattu, date to the first two centuries of the current era.  They are the first great secular body of poetry written in India, predating Kalidasa’s works by two hundred years.
Second, Tamil constitutes the only literary tradition indigenous to India that is not derived from Sanskrit.  Indeed, its literature arose before the influence of Sanskrit in the South became strong and so is qualitatively different from anything we have in Sanskrit or other Indian languages.  It has its own poetic theory, its own grammatical tradition, its own esthetics, and, above all, a large body of literature that is quite unique.  It shows a sort of Indian sensibility that is quite different from anything in Sanskrit or other Indian languages, and it contains its own extremely rich and vast intellectual tradition.
Third, the quality of classical Tamil literature is such that it is fit to stand beside the great literatures of Sanskrit, Greek, Latin, Chinese, Persian and Arabic.  The subtlety and profundity of its works, their varied scope (Tamil is the only premodern Indian literature to treat the subaltern extensively), and their universality qualify Tamil to stand as one of the great classical traditions and literatures of the world.  Everyone knows the Tirukkural, one of the world’s greatest works on ethics; but this is merely one of a myriad of major and extremely varied works that comprise the Tamil classical tradition.  There is not a facet of human existence that is not explored and illuminated by this great literature.
Finally, Tamil is one of the primary independent sources of modern Indian culture and tradition.  I have written extensively on the influence of a Southern tradition on the Sanskrit poetic tradition.  But equally important, the great sacred works of Tamil Hinduism, beginning with the Sangam Anthologies, have undergirded the development of modern Hinduism.  Their ideas were taken into the Bhagavata Purana and other texts (in Telugu and Kannada as well as Sanskrit), hence they spread all over India.  Tamil has its own works that are considered to be as sacred as the Vedas and that are recited alongside Vedic mantras in the great Vaisnava temples of South India (such as Tirupati).  And just as Sanskrit is the source of the modern Indo-Aryan languages, classical Tamil is the source language of modern Tamil and Malayalam.  As Sanskrit is the most conservative and least changed of the Indo-Aryan languages, Tamil is the most conservative of the Dravidian languages, the touchstone that linguists must consult to understand the nature and development of Dravidian.
In trying to discern why Tamil has not been recognized as a classical language, I can see only a political reason: there is a fear that if Tamil is selected as a classical language, other Indian languages may claim similar status.  This is an unnecessary worry.   I am well aware of the richness of the modern Indian languages — I know that they are among the most fecund and productive languages on earth, each having begotten a modern (and often medieval) literature that can stand with any of the major literatures of the world.  Yet none of them is a classical language.  Like English and the other modern languages of Europe (with the exception of Greek), they rose on preexisting traditions rather late and developed in the second millennium.  The fact that Greek is universally recognized as a classical language in Europe does not lead the French or the English to claim classical status for their languages.
To qualify as a classical tradition, a language must fit several criteria: it should be ancient, it should be an independent tradition that arose mostly on its own not as an offshoot of another tradition, and it must have a large and extremely rich body of ancient literature.  Unlike the other modern languages of India, Tamil meets each of these requirements.  It is extremely old (as old as Latin and older than Arabic); it arose as an entirely independent tradition, with almost no influence from Sanskrit or other languages; and its ancient literature is indescribably vast and rich.
It seems strange to me that I should have to write an essay such as this claiming that Tamil is a classical literature — it is akin to claiming that India is a great country or Hinduism is one of the world’s great religions.  The status of Tamil as one of the great classical languages of the world is something that is patently obvious to anyone who knows the subject.  To deny that Tamil is a classical language is to deny a vital and central part of the greatness and richness of Indian culture.
(Signed:)
George L. Hart
Professor of Tamil
Chair in Tamil Studies

what ROMAN HOLIDAY is to poornima....

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A REVIEW ON ROMAN HOLIDAY by one of the students in my classrooms.....

A week long of pact making and royal parties in pointed heels leads princess Ann to a nervous breakdown.  It is then she is administered sedatives to sleep her frustrations away. But Ann feels that daring a plot of escape into the city of Rome for a ‘Roman Holiday’ could very well be the antidote to her ‘burn out’.

In this night of escape, she meets Mr.Bradley on his return from a bad game of cards.  He helps her in sheer concern for her age and evils it could attract and later allows her to stay for a night in his apartment which she exclaims as an ‘elevator’.

The next day dawned for Mr.Bradley at 12 noon with a realization of the ‘missed’ interview with the princess.  Later in the day, he barges into his office with yarns of the interview ‘attended’ - only to get bombarded with the news about the illness of the princess, the cancellation of the ‘attended’ interview and the discovery that the woman who has sought asylum in his dingy flat is, in fact, Princess Ann herself who had blanketed her identity in the name Annya. 

The scoop-mongering nature of the shoddy press and preying paparazzo is well established with the news-starving Mr.Bradley challenging his boss with an indigenous scheme of doing an exclusive story on the secret life of the princess.  This, he feels, would help him not only to sustain his job but would also get him a one way ticket to the States.   

Meanwhile, the princess gets on with what she always wanted to do - sleeping in pajamas, ambling in comfortable sandals, a hairdo of her choice, a breakfast on the roadside cafĂ©, fun of a gelato under the sun and a fitting finale of ‘the roman holiday’ with a cut-loose dance over the river.  Narratives of the entire film is exciting and fast paced spiced with panorama of major tourist attractions in Rome - all done on a scooter ride with Mr.Bradley who slowly endears himself not only to the princess but also to every audience of this celluloid classic.

The fun reaches its climax at the dance party when Ann attempts an escape from the Royal Guards and it soon nosedives into its anti-climax with Ann having to return to Embassy House - thus bringing her ‘Roman Holiday’ to its poignant end. 

This film is really about the ‘escape’ everybody dreams of but only a few of us dare to realize.  Breaking away all those chains charged upon us is sheer thrill that instills in us a hope of daredevilry.  While most of us are all spineless escapists, we find Ann an intrepid adventurer of the finest order. 


In fact, this film is not just about a holiday.  It’s about a girl finding ‘the woman’ in her.  Many of us, by oversight, would tend to believe that Ann’s exploration of Rome is interesting and fun-filled.  Nope.   Ann has the guts to explore within herself to find out a woman of exemplary character and fortitude who decides to follow the trail her mind and heart ask her to.   If life were all about making decisions and their executions, Ann has, indeed, grown very tall during this ‘roman holiday’ to live her life fully. 

The final frames of the film could not have been better as they  unfold with a shocking twist in the ballroom of the Embassy House.  Mr.Bradley with his friend reveals to the Princess his real identity which is acknowledged by Ann with a tinge of furtive majesty - at “Meet-the-Press” function . 

After all, hasn’t she become a woman now?