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Apr 8, 2014

Karanams of the Ancient Tamils

Karanams of the Ancient Tamils
K. V. Ramakrishna Rao

K. V. Ramakrishna Rao is an Independent / private Researcher. Prersented more than 200 papers in national and international conferences and seminars of which 139 have been published in the proceedings, journals, books and websites. Life member of Indian History Congress, South Indian History Congress, Tamilnadu History Congress, Andhrapradesh History Congress, Mythic Society, All India Oriental Conference etc. Associate member of Institution of Engineers (India).
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The paper was presented at the first session of Tamilnadu History Congress, held at Madras from September 10 and 11, 1994. Accepted for publication, but not published in the Proceedings, because there was no space (as accepted by the organizers)!


1. Introduction: Man of any society, in any civilization at time and place is totally affected, roused and even exited by the events taking place from birth to death. As such happenings are connected with social, economic and political processes, with the advancement of civilization, some of them are recognized as institutions. The connected rites, rituals and ceremonies are developed and codified to suit the changes and requirements of society. A critical study of such rites, rituals and ceremonies reveal many interesting details in historical perspective.


1.2. An attempt is made in paper to examine various rites, rituals and ceremonies of the ancient Tamils as depicted in Ettuttogai and Pattuppattu. Different names and expressions used like Tanniradal, Madalerudal, Varaipaydal, Silambu kazhi, Kadi, Varai, Manral, Nan manam, Vadhuvai, Neyyani mayakkam, Udanurai vazhkkai, Vizhavu, Kaimmai, Nadukal etc., are analyzed as to whether they represented various functions conducted and ceremonies performed. For convenience, the word “Karanam” is used here with an embracing sense to cover all aspects of such practices.


1.3. The word Karanam is not found in the Ettuttogai and Pattuppattu literature, but in Tolkappiyam, where it refers to the sacrament or ceremony of marriage introduced1. It has profound meaning in Tamil expounding various aspects of mind-body relationship2. Karanams are the psychosomatic actions of the ancient Tamils performed from birth to death connecting not only the processes of mind and body, but also with nature.they educate, cultivate, train, refine, perfect and purify mind through the external and physical rituals,. The external symbols used and actions performed have a greater impactr on mind and psychological processes. The birth to death Karanams are generally divided into the following broad categories:


Natal – Karanams pertaining to impregnation, conception and birth.

Childhood – pertaining to children’s growth.
Eduction – pertaining to education and learning processes.
Marital – pertaining to Kalavu and Karpu.
Funeral – pertaining to death and thereafter.

Accordingly, the practices of the ancient Tamils are taken up for study.


2. Impregnation: Kalavi, Kudal, Punarchi and Meyyaru punarchi are the expressions used to denote Impregnation. As for as the ancient Tamils is concerned, there were two forms of union of man and woman: Kalavu – union in secrecy and Karpu – union in open. But, such union is effected according to pre-determined and prescribed norms. Paripadal outlines3 that of all desires, the desire that springs from love is the best; of sexual pleasure, the accepted ones who agree to have such one I the best; of all feigns the blessed one is the result of Karpu. This proves that impregnation results with purpose. After impregnation, the fertilized egg grows to attain full form of child within ten months. With the metabolic growth, the child grows with the knowledge of present and future4. From the arrangement of poems according to tinai, uripporul and season, the prescribed day, time and other details of impregnation are implied. But, in Tolkappiyam, we find some direct references about the sacrament performed to this effect. The Karpiyal sutra 185 mentions that the poets say husband should not be away from his wife during the twelve days after the menstrual period, even if he were in the midst of pratathaiyar (prostitutes). Nachiniyarkuiniyar comments that the twelve days might be six days before and six days after the period of menstruation. Some scholars say husband can have union with wife after the period of menstruation, that is from fourth day onwards for twelve days. Again in sutra 185 of Kalaviyal, it is mentioned that the union in Kalaviyal occurs all the days except the three days (of menstruation). Begetting children was considered as the fruit of such solemnized union. Therefore, it is evident that ancient Tamils knew the science of eugenics to have good children.


3. Procreation of Vigorous Child: The ancient Tamils longed foe begetting both male and female children without any discrimination. Ingurunuru depicts as to how a Kuravan prays to God to bless him with a female child5. The first male chiold is mentioned as “Kadunchuzh ciruvan” and first female child “Kadunchuzh magal”6. The right of “mother of a son” is stressed, implying that the son gets all the rights of family, property, because he is the son of the mother7.A son is also known as “Tantaipeyran” i.e, having the name of father8. The names of sons start with the names of fathers. Many examples can be cited from the names of the Sangam poets, heros and kings. Paditruppattu mentions how mothers are praised with esteem for begetting worthy sons. It also describes about a yagna performed by Peruncheral Irumporai along with his wife9. Agananuru emphasizes that having a son makes one benefited for both immai (this present life) and marumai (the next life)10. Purananuru mentions about the practice of seeing the first born child-son, after few days with marital constume11.


4. Taking care of Pregnant Women: Many poems depict how the husbands are always going after parathaiyar even leaving pregnant wives at home to suffer. But, they are strongly condemned by companions, foster-mothers and others and advised them to be with their wives, keeping them mentally satisfied and happy. Puram describes how a husband is rushing to his house knowing about the expectancy of his wife to help her12. the pregnant state of women is vividly portrayed in several poems: sufferings from masakkai (longings, aversions etc of a pregnant woman mainly due to pollution) 13; her desire to eat earth, because of masakkai14; manner of walking15; going to temple to worship God16; comparing her body to a cow, because of the tender and delicate nature17; All these show that they should be taken care of carefully providing them with all their requirements. Then, only she would be happy and mentally prepared to deliver a good baby. As the growth of child starts from conception, they should be treated with kindness, then only, the born child would be normal and good without any defects. In fact, Puram accounts to avoid eight types of natal defects18:


Blindness (eye defects)

Irregular physical growth / physical deformation.
Hump-back.
Dwarf ness.
Dumbness.
Deafness.
Animal-form birth (physical deformation leading to such forms).
Dunce / mental retard ness.

The learned have categorically told that life is useless with these defects. It is also emphasized that is the duty of a mother to beget a good son and bring him with care19. all these prove the importance of taking care of pregnant women.


4.1. An important point to be noted in the ancient Tamil literature is the significance of women’s hair. Before marriage, the hair can be touched only by her mother and after marriage by her husband and not by any other20. The parting off of wife’s hair during the ceremony of Simantam can be perhaps traced back to this practice. This is done only to make pregnant wife fully prepared to deliver baby and keep her mind calm and happy.


5. Neyyani Mayakkam: As has already been mentioned the presence of husband is very much required before and after the delivery of child. The pregnant woman prays to God for having a good and normal delivery without any problem21. Just after delivery, her body becomes warm and tender22. A ceremony “Neyyani mayakkam” is performed for purification purpose. The mother who just delivered a baby is considered as impure. After some specified time, she is given a bath to purify her body and polluted state (Pulavu punirvu – th state of impurity)23. The bath also helps her to secret milk24, thus attaining lactating stage. The bath is given with the application of ghee on her body. The interior of the hoiuse, where she has delivered the child, is applied with the paste of ghee and white mustard seeds for the benefit of the mother and child25. In fact, the mother rest after the bath along with the child26. there is also a practice that such women do not wear bangles27.


6. Of Children: There is no specific mention about the naming ceremony of child, except that the child, if it is a male will be having the name of his father (Tanthai peyaran) 28. The practice of bringing child outside the house to a place of fresh air is implied at many places. Mooon is shown to the child29. Breast feeding is emphasized and practiced30. It is considered as duty to mothers and they are also proud to do so. Purananuru enumerates the rituals conducted for a child in order31 as follows:


Removal of silver anklet and tying of virakkazhal (ornament of valour). It reminds the Silambu kazhi nonbu (the ceremony of removal of anklet) performed in the case of women just before marriage.

Removal of hair (tonsure) and tying tender neem leave with Uzhinjai (cerua – a kind of cotton shrub) creeper.
Removal of small bangles and giving bow in hands.
Removal of Imbadaitali (on the fifth day of completion of childhood)
Dispensing with milk and started giving rice / cereal food.

Kalittogai32 gives the following details: decoration of child with jewels; dropping of saliva from the mouth; trying to walk with go-cart; breast feeding; babbles; comparing characteristic features of son with that of father; advising and disciplining by the mother. The references of Purananuru as mentioned above are abundantly found in other works33. This clearly proves the fact that the ceremonies of tying anklets, wearing bangles and Imbadaitali were in vogue. Ear-boring ceremony must also have been present, as there are many references about children, ladies and even gents wearing “kuzhais” – ear-rings34. Kings, chieftains and heroes wore kuzhais invariably, therefore, they mut have been undergone the ear-boring ceremony. Considering the nature of practice mentioned, it is evident that the ceremonies enumerated were for the children below one year or so and that of Kalittogai for the children who were trying to learn walking or about to walk.


7. Of Education: Some modern scholars have opined that the study of the ancient Tamils society shows that education was not formalized or institutionalized, as theyt were only leading tribal state of life and hence the prevalence of established educational institutions cannot be thought of35. This view could not be totally true considering the nature of Sangam literature. Such high quality and standardized literature could not have sprung from the tribes, nomadic bards and petty poets. Just because, there are few references about the formal or institutionalized educational system as perceived by the modern mind, we cannot categorically come to the conclusion that such system was absent during Sangam period. The very name “Sangam” or the existence of such institution proves the established system of education. Besides poetry, other arts and sciences were also definitely flourished during that period as evidenced by the factors of civilization, heritage and culture of the ancient Tamils.


7.1. Paditruppattu alludes that developing child inside embryo starts learning36. After ten months, the child comes out with the knowledge of present and future and all other goo qualities. According to Indian tradition, education starts from the embryonic state or from the fetus, the first sense organ to be developed is ear. That is why pregnant women are treated well and care is taken that thet always listen to good new. It is interesting to note that the ancient Tamils knew the fact. Puram emphasizes that it is the duty of father to make his son wise and knowledgeable37. it is better that one should learn and acquire knowledge by helping teachers during their critical days or giving money to them with respect and devotion38. Acquiring knowledge by either serving or helping the teachers can be considered as Gurukula system of education and by paying institutionalized form of education. Though, for a mother all sons are equal, she may treat them discriminately, because of their wisdom and knowledge acquired through their education39. the rulers govern getting advise from the learned irrespective of the fact as to whether such learned person is an elder or younger of a family. Similarly, if a person from lower strata of society learns and excels in studies, he will be respected by others of higher strata of society40. Tolkappiyar specifically mentions that lovers or husband and wife can separate for the purpose of “Otal” i.e, education41.


8. Returning Home after Education: Marriage after education is implied in the poems deaking with Kalavu and Karpu. Companions and foster-mothers of lady-love and wife advise the sojourned lover or husband to join immediately. In the case of lovers, they hasten the process of marriage by meeting and advising the lovwer to initiate action for the purpose by revealing the fact to the parents. As the concept of Aram, Porul and Inbam is found in Purananuru itself and the references about the union of separated in the cases of earning wealth and war have been mentoned, it is evident that those who have separated for education also follow the order to fulfill their traditional and domestic obligations and duties.


9. Marriage: The rites, rituals and ceremonies connected with marriage are perhaps the most elaborate. Kadi, Varai, Manral, Vadhuvai, Manral, Manam, Nan manam and Perumanam are the expressions used for marriage. There are two forms of marriage Kalavu and Karpu according to the traditional union of man and woman. Love is the basis for such process. No doubt, though it originates instinctively between man and woman, in some cases, even at first sight, it binds their hereditry and environmental factors. Love succeeds only after the satisfaction of such factors. Therefore the possibilities are love accepted by both or one sided. In the former case, it leads to marriage proposals and in the latter to undesirable consequences of resorting to violent methods by lovers of Madalerudhal, Varaipaydal etc.


According to Tamil tradition, the unmarried girls have the custom of praying God and taking bath in rivers during the month of Tai (January) for having a good husband42. Therefore, they will be expecting their would-be-husband with anxious. The girls, who have attained the age of marriage are kept at house with all comforts43, but they have every right to select their own choice of their life partner.


According to another tradition44, the father of girl has a violent bull and it will be let out during a festival or for challenge. Any boy, who catches the bull by its horns and brings under control, can ask the hand of the girl for marriage.


Once the love is known, it becomes the talk of the town (alar). The companions and foster-mothers help the lovers to meet, discuss and understand each other for the fulfillment of love. They also advice the male counterparts, if they err in their behaviour, go to Parathaiyar or try to break the relationship. They make maximum efforts for the success of their love.


In the case of boys, they first enquire about the girl, her name, residence etc., and make arrangements for marriage proposals through their parents45. the parents of boy go to the residence of girl and ask for marriage. They offer parisam i.e, bride-price46. if the parents of the girl accept, they proceed further to finalise for formalities. If the do not accept, instances are there where the parents of boy threaten them with battle47. there are occasions, where even kings, chieftains and others heads ask the hands of girls of ordinary social status, because of their beauty48. The marriage by acceptance has the following features:


Checking the matching factors: As has been pointed out by Paripadal, only man and woman of acceptable status and willingness will be united by the Karanam. Tolkappiyar49 specifies the following factors: Birth, family lineage, strength, age, beauty, love, patience, mercy, knowledge and wealth.


Fixing an auspicious day and time: The auspicious day is selected in such a way that the star Rohini is in conjunction with moon and the time is morning, without any combination of bad planets50.


Parisam – Bride price: The age-old practice is to offer parisam i.e, bride-price before marriage. It may be an offer of money, towns or any other valuable thing51. Varai and Kodai are also used to denote this.


Pandal, decoration etc: Agananuru describes beautifully the decoration of marriage pandal and other details connected with a typical ancient Tamil marraiage52.


Silmbu kazhi nonbu: it is performed at the residence of the bride a day before the marriage. The Silambu or anklet worn at the time of her puberty is removed now, to mark the occasion of the fulfillment of it. As it is a purely a function of bride, the mothers consider it as an honour to perform at their residences53.


Marriage function: It is performed in a decorated pandal with all relatives and friends and others of the town blessing the couple54. Elderly and auspicious ladies with children help to perform various rites and rituals. Finally, theyt bless the bride to live with her husband forever55. The practice of tying Tali is also there56. The grasping of the bride’s hand by the groom is also mentioned57.


Other forms of marriage: If the parents do not accept for marriage, the lovers run away from their town, get married and return57a. If they are accepted by their parents, karanams are applicable to them with some exceptions58. As the previous union (or marriage) has happened without proper karanams, a mother suggests that her daughter may have a symbolic bath at her residence, so that she can undergo other rituals59. Marriage by force or kidnapping is also considered as virtue / right in some cases60. In any case, some karanams are performed, if they are accepted by their parents for regularization.


10. Married Life: Udanuraivu, Udanurai vazhkkai and Ilvazhkkai are used for the married life with profound meaning implying the duties of husband and wife61. It is stressed that married life or living with wife during youth is important than earning wealth. Life can be enjoyed, when there is youth in the body and desire in the minds of husband and wife62, implying that they should fulfill the obligations of married life. Thus, successful marriages are considered as the hallmark of any civilization and hence importance given.


11. Retiring from Family Life: Retiring from life is not escaping from the duties and responsibilities, but setting an example for present generation through their illustrious acts and deeds. Then, they also need not have any worries about the past and can lead contended life. When Pisiranthaiyar was asked why his hair did not turn grey in spite of old-age, re replied that his wife had great virtues and her actions were also according to such virtues; his children were educated and they were full of wisdom and knowledge his servant did what he thought to do so; his rulers did only that were good to their citizens and not any other thing. Moreover, the city where he lived, there were many great men of good virtues with humility before elders, conquering their five senses63. Thus, the purpose of life is succinctly described. In fact, the concept of Aram (virtue), Porul (wealth) and Inbam (happiness) with addition of Veedu (Perfection of spirituality or total liberation) found in the Sangam works is the systematized stages of life to be followed.


12. Leading Life of Spirituality: After retiring from the family life, man slowly starts to think about uncertainty of the mundane life and prepare himself for certainty of other life. Universal outlook, equanimity of mind, modesty and other similar virtues change lifestyle and direct his mind towards spirituality. Purananuru explains such a state of a person. For him, all places are his native place and all are relatives; good or bad, nothing comes through others, but all are due to one’s own action only. Death is also not new for anybody, because, it is known that even at the time of conception, (it is predetermined that) one is to born to die. Therefore, one need not be happy about life, when there is happiness or feel dejected, when there is trouble. The life is just like a bubble floating over a river, moving quickly during rain. Just like bubble, it may break at any time. Therefore, one need not praise the great or criticize the ordinary people with bias64. In one house, drum is beaten to announce death, whereas in another house, drum is beaten to mark the occasion of marriage. There the ladies remove jewels with tearful eyes; here ladies are bedecked with jewels and flowers. The creator has made these provisions during his creation itself. This nature of the world is perhaps very cruel. But, understanding this, one should do good things leading to heaven65. Even if one cannot do any good thing, let him not do any bad thing that is appreciated by everybody. That attitude itself leads him to right direction66. If a man accomplishes the duties of earlier stages of life, he will attain equanimity of mind to view and consider all happiness without any discrimination. He will be in a position to endure, forebear and moderate anything that may or may not happen to him or others. In others, he may be in mental state to get him released quickly from this world.


13. Last Rites: The rites and rituals conducted to the dead are fundamentally based on the beliefs and philosophical aspects about birth, death, life after death, rebirth, next world, transmigration of soul and other ideas. The ceremony of the disposal of dead is the very old practice in the ancient Tamilzhagam closely connected with the ancestor worship. Puram67 specifies three types of disposal:

] Exposure or cast away (Iduthal),
] Cremation (Sudhuthal) and
] Complete inhumation (Paduthal).
It is quite natural that initially, the dead bodies are left as such to be decayed in due course or eaten away by vultures or animals68. Then, the close relatives may not have liked the dead bodies to be disposed in such a way, therefore, they are covered with stones69. Then, the practice of cremation is introduced with the introduction of fire and fire connected rituals70. Where fire wood is scanty, the extension of exposure is converted into complete inhumation of the dead, including urn and stone burials. Urn burial is found in the literature with interesting details71 and so also stone burials supported by many archaeological evidences72.

13.2. Nadukal: The given details about Nadukal73 (literally meaning ‘an erected stone’) show how the practice is evolved into a full-fledged ritual. Initially, the place where the person died is considered as important or sacred and nadukal is erected there74. Then, a place is selected for erection75 followed with other rites – covered with cloth; stone is placed on an elevated platform; washed with good waters; name and fame of the dead are inscribed; worshipped with the offer of flowers, food, incense; even animals are sacrificed; lamps are lit; thus the dead is elevated to the status of god and considered as God76. The direction was chosen as ‘south’ perhaps coinciding with the direction in which the body fell or found. From this, the concept of fore-fathers living in the southern direction with the status of god might have been developed. In fact, Puram emphasizes that one should perform the duty of offerings to their forefathers, who live in the southern direction, implying the pitrs or departed ancestors77. Similarly, a son saves his forefathers of his lineage by his actions. Thus, the offering of panda or rive ball is recognized as an important ritual78.


13.3. The Significance of Pinda: Puram brings out the relation between body, life and growth with earth, water and food. As the human body depends on water, giving food amounts to giving life, because body is primarily based on food. Food is nothing but water in association with land. One who combines water and land into one entity is also the creator of life and body. Here, the expression used is “unavin pindam” i.e, the body is considered as part of food, as it grows with food79. This concept can also be considered as the point of evolution of the concept of “Panchabhuta tatva” connecting five natural elements with the creation of five senses of human body and hence the man himself. Therefore, when a man dies, it is quite natural to think that his body should go back to the five natural elements quickly, so that he may have the next life immediately. This should be the origin of cremation in Tamilzhagam, of course with the association of fire-related rituals or yagnas. Puram also mentions about the performance of 21 yagnas. Avur Mulangizhar describes that Punjatrur Parppan Guaniyan Vinnathayan has come from a family, that has performed 21 types of Yagnas. Though, the names of 21 yagnas are not named or mentioned, they are implied as seven Soma yagnas, seven Havir yagnas and seven Baga yagnas performed as a part of last crematory rites80.


13.4. Other types of Burials: Post-crematory burial is found, where an Urn is brought to crematory grounds and it is also supported by the archaeological evidences81. In the case of royal burials, even in the dead is a child or just a lump of flesh or diseased man or otherwise, it will be cut placing on the Kusa grass with a sword, as they always long for a glorious death on the battle fields82.


13.5. Ancestor Worship: It is a pre-historic practice as evidenced by the Neolithic and megalithic cultures. The practice of burying the used things by the dead along with their dead bodies or bones in urns, pits etc are followed by the ancient Tamils. Generally, a hole on the eastern side of the burial is left, just enough a man can enter with the belief that the soul may enter and leave through it. The belief in rebirth, cyclic nature of birth and death, and immorality are abundantly found in the literature83. All are mentioned in one poem: Grown is declined, declined is grown; born is dead, dead is born and born is dead again; the Moon teaches this wonderful philosophy even to illiterate man to understand the mortal nature of life.


14. A Comparison of Karanams and Samskaras: After discussing about the Karanams from birth to death, a comparison is made here with the Samskaras. The number of Samsklaras varies from ten to fifty two depending upon various traditions. Earlier sources contain ten starting with Garbadhana to Vivaha84.


Garbadhana (Sacrament of Impregnation).

Punsavana (the ceremony of procreation of vigorous child).
Simantinayana (the ceremony of keeping the mind of pregnant woman satisfied – parting off of her hair etc).
Jatakarma (ceremony of the newly born child).
Namakarma (ceremony of naming the child).
Annaprashana (ceremony of giving solid or cereal food to the child).
Chudakarma (tonsure and ceremony of tuft).
Upanayana (sacrament of thread).
Samavartana (returning home after studies).
Vivaha (sacrament of marriage).

In later lists, we find other Sasmksras, particularly that of death and yagnas are added. The question as to whether a few Samskaras were increased to have elaborate rituals or many Samskaras were reduced to have definite and limited numbers is a debatable one. Generally, it is found that South Indian tradition contain elaborate ceremonies for death and cremation. Later, slowly, the North Indian tradition appears to have incorporated these into their Samskara list. Swami Dayanana Saraswati strongly refutes that certain last rites followed are not consistent with Vedic rituals85. But, in South India, even in remote villages, after death and cremation / burial, the 13th day, 16th day ceremonies are elaborately performed irrespective of caster affiliations. The most popular list contains Sixteen Samskaras (mentioned as ‘Shodasa Samskaras’):


Garbadhana.

Pynsavana.
Simantonayana.
Jatakarma.
Namakarma.
Niskarma.
Annaprashna
Chudakarma.
Karnavedha
Upanayana.
Vedaambha.
Samavartana.
Vivaha.
Vanaprastha.
Sanyasa.
Antyasti.
The added six are shown underlined.

It can be seen that the underlined Samskaras are added ones to the earlier list. Then, another popular grouping id Forty Samskaras, as listed below86:


Garbadhana.

Punsavana.
Simantonayana.
Jatakarma.
Namakarma.
Annaprashna
Sausam.
Upanayana.

Vedavrathas

Prajapatya.
Saumya.
Aneya.
Vaisvedeva.
Samavartana.
Vivaha.
Pancha Yagnas
Brahma.
Deva.
Pitru.
Bhuta.
Manushya.


Paka Yagnas

Pitru sraddham.
Pavana.
Astaka.
Sravana.
Asveyuji.
Agrahayani.
Caitra.

Havir Yagnas.

Agni adhana.
Agnihotra.
Darsapurnamsa.
Agrahyana.
Caturmasya.
Nirudapasuband
Sautramani.

Soma Yagnas.

Agnistoma.
Adhyaknistoma.
Ukdhya.
Shodasi.
Vajpeya.
Atirata.
Aptoryama.

Thus, when we go through the lengthy list, it is evident that more importance is given to yagnas and connected rituals. Then, slowly importance is shifted to child birth and marriage at one end, and last rites at another end. Therefore, the Samskaras involving yagnas must have been the ancient ones than others, though all incorporate Vedic hymns for procedural methods, if we consider that Vedic rituals are Yagna-oriented. Then, the Samskaras involving child birth and marriage must have been ancient ones than others, if we consider that they are not yagna-oriented. Therefore, the sudden importance given to the elaborate last rites and their inclusion in the Samskaras list shows some influence occurred during that period.


14.2. The important point to be noted is that most of the writers on last rites in Sanskrit are from South India and the works are very much later dated than the Sangam literature. There are some practices, which were followed by the ancient Tamils are conspicuously found in the rituals of Brahmins. They are Kaimmai nonbu, Tali, Bride price, 21 yagnas and Nadukal.


Kaimmai: There aare many verses which clearly mention about the status of widows, who do not want to commit sati, but live with the following restrictions: shaving off hair, removal of bangles and other ornaments including Tali, eating tasteless food, bathing in cold water and sleeping on the floor.


Tali: Much importance is given to the Tali, which is the symbol of married life. There are many sects in south and mostly in North India, who do not wear any Tali, even after marriage. But, a Brahmin women, like any other Tamil women cannot think about the lose of Tali under any circumstance.


Bride price: The practice of giving bride-price for marrying off a woman is found symbolically in offering Tali and saree to her. Stridhana meaning woman’s property is sometimes unique in the sphere of inheritance, where woman alone has absolute and exclusive right to its possession, enjoyment, disposal and transfer.


21 Yagnas: As has been pointed out, the 21 yagnas are added with the 16 Samskaras with modification, popular South Indian 40 Samskaras have been evolved. The mention of 21 yagnas in Purananuru, just as in the Gautama Sutras is significant87.


Nadukal: For the preparation of Nadukal, six steps have been prescribed: 1. Selection of stone, 2. Chiselling, 3. Immersion in water (for cleaning), 4. Erection (at a place), 5. Engraving and 6. Paying homage (with offerings) 88. Surprisingly, very similar rites are followed by Brahmins even today on 10th day for the dead. The ceremony contains the following steps:

Selection stone,
Cleaning with water, milk etc.,
Seating on darpa (Kusa) grass and writing the name of death on it with the grass symbolically,
Pashana Sthapanam (stone fixing, one at the house and another on the banks of river or where rituals are conducted)
Invoking spirit to enter and
Offerings with Vastodharana (offering of dress) etc.

14.2. These examples clearly prove that Brahmins or such type of people of the ancient Tamizhagam must have contributed to the development of Samskaras pertaining to Last rites connected with cremation and the 21 yagnas. Or the Brahmins, who consciously follow these practices must have links with the ancient Tamizhagam and continue to practice such rites without break at least in some cases, in spite of the onslaught of modernism, atheism and anti-brahminism. Therefore, it is worthwhile to appreciate such existing cultural links in historical perspective and interpret the past. The evolurtion of fire worship must have influenced the practices of Karanams / Samskaras to incorporate the element of fire in the rituals leading to yagna oriented Samskaras. Now, in all Samskaras, fire and Vedic hymns are used. Therefore, when exactly fire was started to be used by the ancient Tamils may be another interesting study to be taken up.


Notes and References


“After the appearance of falsehood and immorality,

Iyer introduced the Karanam (sacrament)” – Tol. Porul. Karpiyal – 143.

The meaning of Karanam are:


] Manam = mind; the other meaning is ‘marriage’.

] Buddhi = intellect / reason.
] Siddhi = firmness / success.
] Shankaram = self-will.
] Bavam = state of being.

In short, it has similar meaning to “Sanskar”.


The other philosophical meanings are developed later with the development of Saiva Siddhanta.


Paripadal – 9: 14-16; Tol. Porul. Kalaviyal – 90; Tol. Porul. Karpiyal – 140;


Paditruppattu – 74: 17-21.


Ingurunuru – 251: 1-2.


Kadunchuzh ciruvan – Ing. 309:3.

Kadunchuzh magal – Ing. 386:4.

Ing.90:4; 405:4; 409:2; 442:5.

Agananuru – 6:13; 16:19; Kuruntogai – 8:6, 359:6.

Ing 403; Kalittoai – 75:23-25; 81:35..


Padi – 9:13-16.


Agananuru – 66:1-4.


Puram. 100:11.


Puram.82.


Kali. 29:1-4.


Puram.20:14.


Kuru.287:3-8.


Maduraikanchi. – lines 603-610.


Kali.110:14.


Puram.28:1-7.


Puram.312:1, Agam.35:1.


Puram.113:8-9.


Madu. Lines 609-615.


Ing.65:3-4.


Madu. Line.602; Natrinai. 380:1-6.


Nat.40:6-8; 370:1-5; 380:1-5.


Mad.line.615.


Nat.40:7-8.


Malaipadukadam. Line.253.


Ing.403; Kali.75:23-25; 81:35.


Kali.80:18-19; Puram. 160:22.


Kali.81:7; 82:2-3; 83:5-6; 84:2-5. Puram.160:19; 164:3-4; Natrinai.355:2; Ing.128.


Puram.77.


Kali. 77 to 80.


Pulippaaltali – Agam.54:18, 7:17; Kuru.161:3;

Cereal food – Nat.77:7-8; Agam.219:5-8 etc.

Pari.11:95-96; Pari.tirattu.10:1; Padi.86:11; Nat.16:9, 286:1-2.


N. Subramaniam, Sangam Polity, Ennes Publications, Madurai, 1980.


Padi.74:17-21.


Puram.312:2.


Puram.183.


Puram.183.


Puram.183; Tol.Porul.Agattinaiyiyal – 31, 33.


Tol.Porul.Agat. – 27,28.


Tanniradal: Kali.59:10-13; Pari.11:90-91, 11:134-139; Nat.22:6-7, 80:7; Kuru.196:4; Ing.84:4; Puram.70:6.


Puram.337l Nat.351:2.


Kollerukodal; Kali.99 to 105.


Puram.3365 to 340.


Bride price: Nat.300:5; puram.344, 366, 354; Ing. 253, 276, 147; Mullaikkali.3:71.


Puram.344, 336-343.


Puram.336,341.


Tol.Porul.Meipattiyal – 269.


Agam.86, 136.


Nat.300:10; Ing.253, 276, 147: Mullaikkali.3:71; Puram.344:3-4;


Agam.86,136.


Ing.399, 371-380.


Ing.379.


Agam.86, 136.


Padi.5:15; Puram.127, 261, 78:8-12; 224;15-17.


Agam.369:2, 385:11; Kurinchippattu lines 231-232.


57a. Ing.391 to 400.


Ing.394, 399.


Ing.394; Agam.397.


Kurunchikkali.26.


Kali.93:6-7; Puram.246:10-12; Puram.206.


Palaikkali.17.


Puram.191.


Puram.192.


Puram.194.


Puram.195.


Puram.239:20-21.


Puram.291, 359.


Agam.289:1-4; Puram.3:21-22, 264.


Puram.231:1-3, 238:1-5; 246:11-12, 356,259, 363 (crematory grounds).


Puram.238:1-5;, 228:12, 266:5, 364:13; Nat.27:11-12; Padi.44:22-33.


Agam.289:1-4; Puram.3:21-22, 264.

Archaeologists divide them into –

Cain circle

Dolmenoid cist.
Umbrella stone
Topikkal.
Rockcut cave.
Menhir.
Hero stones.
Urn.

Puram. 221, 260, 263, 264, 265, 329, 335.

Agam.35, 53, 67, 131, 179, 269, 289, 297, 298, 365.
Malaipadukadam lines 387-389; Ing. 352 (references about Nadukal).

Puram.260:22-28, 263:7-8, 265:1.


Puram.260:1-4.


As in.73, all references about nadukal;

God – Puram. 335:11-12, 265:4-5, 329:1-4; Agam.35:8-11.

Puram.6:4-5, 58:4-5.


Puram.234:2-6, 249:12-14, 360:17-20, 363:10-14.


Puram.18:19-23, 186:1-4.


Puram.166:8.


Puram.238:1-5.

S. P. Gupta, Disposal of the Dead and Physical Types in Ancient India, Oriental Publishers, New Delhi, 1972, p.217.

Puram.74:1-2, 93:7-11.


Puram.134:1-4, 214:6-13, 236:10-12, 245:4-7, 256, 356 to 363, 27:11-14, 31:2, 188; Nat.397:7-9.


Manu. II-26.


Swami Dayananda Saraswati, The Samskara Vidhi, Arya Pratinidhi Sabha, New Delhi, 1976, pp.342-43.


Gautama Dharma Sutra.VIII: 13-19.


According to modern estimates, the Sutra period falls within 4th to 6th centuries BCE and Sangam period 300- BCE to 300 CE. Those who emphasize about the influence of Sanskrit literature on Tamil literature should take important fact that most of such Sanskrit writers were from south. Particularly, Boudhayana Apastamba, whose Sraddha rituals are popular, are from south. He lived in Andhra area in those days. There are many references about the performance of yagnas and other performers in the Sangam literature. Parpar, Anthanar, Arutozhilalar, Aravor, Marayavar, Muppirinulor, Irupirappalar, Vedhiyar and other expressions are used to denote the persons connected with the rituals of Yagnas, Vedas and other fire-connected ceremonies.


Tol.Purattinaiyiyal.Sutra.60.

Similar steps are found in the Sangam literature as explained.

Apr 5, 2014

Anand: Life

FRONTLINE
Volume 21 - Issue 21, Oct. 09 - 22, 2004      
India's National Magazine from the publishers of THE HINDU

OBITUARY  
A Creator with Social Concern          
Mulk Raj Anand, 1905-2004 
By:  K. Satchidanandan

WITH the passing away of Mulk Raj Anand, India has lost one of its great progressive writers. He belonged to a generation of writers committed to the democratic ideals of egalitarianism and social justice - including stalwarts such as Shivram Karanth, Thakazhi Sivasankara Pillai, Gopinath Mohanty, Tarasankar Banerjee, Phaneeshwarnath Renu, Khwaja Ahmed Abbas, Sajjad Zaheer, Ali Sardar Jafri, Kaifi Azmi, Sri Sri, Jayakantan, L.S. Ramamritam, Si.Su. Chellappa, Abdul Rehman Rahi and a host of others - who were inspired by the Gandhian identification with the marginalised and the Marxist principle of the struggle for class justice. These writers, whose time begins with Premchand and Saadat Hassan Manto, and whose lineage can ultimately be traced back to the Bhakti and Sufi poets such as Basava, Kabir, Raidas, Chokha Mela, Gora, Bulle Shah, Baba Farid and Sheikh Abdul Lateef who rebelled against every form of hierarchy on earth, created their own epoch of secular and socialist literature with its own aesthetic of resistance.

Coming from a family of hereditary craftsmen in Peshawar, Anand inherited from his father the pieties of craft and from his mother the rich tradition of mythology. He grew up, as he himself wrote, like most of his contemporaries, "a very superficial, ill-educated young man, without any bearings". After graduating from Punjab University, he won a fellowship to study at the University of London. He obtained his Doctorate in Philosophy from the University of London in 1928, at the age of 23. Exposure to Marxism, a personal encounter with Mahatma Gandhi and a deep study of Gandhian ideals, participation in the anti-fascist struggle in Spain and involvement in the national struggles for freedom and democracy, strengthened his commitment to socialism and democracy.

Anand himself traced his growth as a progressive writer in a conversation with this writer at his Hauz Khas cottage in New Delhi in 1992: "My earlier writings were naive, impetuous and sporadic utterances coming from intense feelings. I found myself embroiled in sad moods, despairs and agonies. My teachers thought that my confusion was the natural expression of adolescence. They did not know that behind the broken lines there were many feelings about my good mother turning into a cruel mother-in-law, my father, a servant of the Sahibs even while being a pseudo-Arya Samajist, my professors, mostly pompous, and senior students, admirable because they were thinking brave thoughts."

He then reflected on how he met Muhammad Iqbal, the great poet who invited his attention to a question from the Brihadaranyaka Upanishad that inspired his long poem, "Asrar-i-Khudi" (Secrets of the Self). The Upanishad says: "A devotee asked the sage: What may I do with my life? And the sage answers: Ask yourself every day: Who am I? Where have I come from? And where am I going?" He began to ask himself these questions and put down his loose thoughts in his diary, thoughts that hovered around the cruelty based on caste, class and gender he saw around him. He was also inspired by Guru Nanak and Kabir, whose compassion he failed to find in Advaita philosophy.

At that time he fell in love with a Muslim girl. However, her parents married her to a railway guard as his third wife. The guard murdered her as he found Anand's love letters in her bag. This deepened his agony. Annie Besant's talk in his college on the freedom struggle, however, gave him hope; so did the tales of Balgangadhar Tilak, Aurobindo Ghosh and Mahatma Gandhi. Annie Besant's chanting of the Rig Vedic hymn on creation moved him deeply. When the Principal was given a punishment transfer for having invited Annie Besant to the college, Anand and his collegemates went on strike and spent a month in jail.

His father's ire at the wayward son made him flee home. Again he went to Iqbal, ready to follow in his footsteps. Iqbal dissuaded him from going to Germany; instead he asked him to go to England and meet his friends there for help. He went to London with the Rs.101 Iqbal gave him and an equal amount gifted by his new Principal for having done well in the honours examinations.

In England, he was admitted for research in philosophy. The notes in his diary grew gloomier as he was being ill-treated even by the Indians - the `brown Sahebs' - in England and Churchill put down the coal miners' strike in 1926. Here he read Johann Wolfgang von Goethe, Honore de Balzac, Victor Hugo, Leo Tolstoy, Maxim Gorky, Charles Dickens, Thomas Hardy, Rabindranath Tagore and others. During one of Virginia Woolf's reading sessions at her home that he attended regularly, a young critic, Edward Sackville, asked him what he was writing. He replied that he was writing about an outcaste, and the critic reacted superciliously: "O, there can be no novel about the poor! One can only laugh at the Cockneys, like Dickens." This was unnerving.

Later in Ireland, he met the poets A.E (George Russell) and W.B. Yeats. When Anand reported to A.E. what Sackville had said, the poet asked him to go to Gandhi and join his battle against the caste system and imperialism. He wrote to Gandhi. Anand reached Ahmedabad in March 1927. Gandhi laughed at Anand's corduroy suit but agreed to look at the manuscript of The Untouchable. The next day he told Anand to refrain from using big words and write in a simpler language and transliterate what the `harijans' say. He rewrote the novel at Gandhi's ashram; Gandhi approved the draft. Nineteen publishers in London rejected the script, but with E.M. Forster's preface, it was accepted by a publisher. The Untouchable went on to become a modern classic and was translated into 20 languages. That was the birth of Mulk Raj Anand the novelist.

Anand, the ideologue of the Progressive Literary Movement, was born simultaneously. Sajjad Zaheer, Dr. Ghosh, who taught Bengali at Oxford, Cedric Dover, an Anglo-Indian scholar from Calcutta, and Dr. M.D. Taseer, an Urdu poet, were the first to frame the manifesto heralding the new Movement. The manifesto condemned religious bigotry, casteism and superstitions of all kinds and exhorted writers to confront the dual reality of imperial hegemony and internal social decadence.

Since the manifesto attacked fascism as a pseudo-imperialist movement, intellectuals outside India such as Andre Gide, Andre Malraux, Laurence Housman, Ilya Ehrenberg, Pablo Neruda, Ernest Toller and Thomas Mann too welcomed its clear anti-fascist stance. With this the writers from India began to be invited to international conferences of writers. Anand and Sajjad Zaheer attended the World Conference of Intellectuals in 1935 organised by Gide and Malraux and presided over by Gorky.

Later Sajjad Zaheer came to India to organise the first Progressive Writers Conference next year; it was chaired by Premchand. Anand went to Spain to join the battle against fascism and participated in the World Conference of Writers in Madrid in 1937. Coming back to India, he organised the Second Conference of Progressive Writers in Calcutta; it was chaired by Tagore. While Anand and his group of writers were attacked by Hindu and Muslim fundamentalists, they found supporters in Mahatma Gandhi, Jawaharlal Nehru, Tagore, Iqbal, Manik Banerjee, Bibhutibhushan Banerjee, Tarasankar Banerjee, Vallathol Naryana Menon, Thakazhi , Karanth, Faiz Ahmed Faiz, Ali Sardar Jafri, Majaz, Ismat Chugtai, Umashankar Joshi, Premchand, Yashpal, Amritlal Nagar and a host of other thinkers and writers from various parts of India.

The Indian People's Theatre Association (IPTA), with which he was associated, was instrumental in spreading the message of democracy and socialism, backed by the Communist movment. It was the period of creative turbulence that fired Mulk Raj Anand's imagination: the same that had produced Premchand's Godaan, Thakazhi's Chemmeen, Gopinath Mohanty's Paraja, K.A. Abbas' Inquilab, Renu's Maila Anchal and Karanth's Chomana Dudi.

ANAND brought to fictional life Bakha, his boyhood companion, the untouchable sweeper boy, in The Untouchable. Anand's mother abused Bakha for `polluting' her son when Bakha carried home a bleeding Anand, hurt by a stone. Bakha is reviled by caste Hindus as he cleans latrines; but Anand captures Bakha's pride in his work: he tackles his odious job with a conscientiousness that invests his movement with beauty. The novel was not only a powerful social tract, but a remarkable technical feat as in a single days' action the author builds round his hero a spiritual crisis broad enough to embrace the whole of India. Forster wrote in its introduction: "It has gone straight to the heart of its subject and purified it."

Anand continued his interest in social themes with his next few novels dealing with the destiny of the working class in India. Coolie centred around Munoo, an orphan boy dying of tuberculosis brought on by malnutrition. It exposes the whole system through its victim's tale of exploitation. Even in the dreariest of surroundings, the little hero retains his qualities of warm-heartedness, love, comradeship and curiosity. In The Village, inspired by the experience of Anand's mother's family whose land was taken away by the landlord of the village, the novelist explores the state of the poor peasantry under British rule.

If The Old Woman and the Cow is about the underprivileged women in Indian society, The Big Heart is woven around a coppersmith whose existence is threatened by mechanisation. Across the Black Waters, another of Anand's widely translated works, is about a peasant hero who joins the army only to fight another's war. The agony of the sepoy is reproduced here in ironic good humour. In The Sword and the Sickle, this hero is back in India to join the peasant movement floated by M.N. Roy and Kanwar Brajesh Singh (who later married Svetlana, Soviet communist leader Joseph Stalin's daughter). Anand wrote this novel while staying with the peasants in Kalakankar. It was published at the same time as Ignazio Silone's Bread and Wine that dealt with a similar theme.

Meanwhile, Anand witnessed the bloodbath of the First World War after he joined the India Section of the British Broadcasting Corporation (BBC) along with George Orwell. The Quit India movement had by then been launched. The British government began censoring Anand's reports with their nationalist bias, but Churchill directly intervened and stopped the censorship as Anand was an anti-fascist. Coming back to India, Anand persuaded Nehru to organise the first Asian Writers' Conference, in which 120 writers from across the continent took part. It was attacked as a Communist conference; but the participation of Nehru, S. Radhakrishnan and Rajaji saved the platform. It also inspired the Afro-Asian Writers' Conference the next year, which later inspired writers such as Wole Soyinka and Chinua Achebe. Reflecting on those days, Anand told this writer: "The writers who criticise the progressives don't understand that there is a search for the other in all writing... The Symbolist movement in France, the Imagist movement in poetry in the U.K. and the U.S., the Impressionist movement in painting in Europe, the Leaning Tower school of British poetry led by C.D. Lewis, [W.H.] Auden, [Stephen] Spender and [Louis] McNiece, the Anti-Fascist Movement in Europe led by writers like Gide and Malraux and, of course, the Russian writers - all these were expressions of a powerful unity emerging among the writers and activists in solidarity with people... . They shared common concerns about human dignity."

Anand's later novels, while retaining his passion for social justice, show greater depths of emotion and achieve a synthesis of the social and personal concerns. Private Life of an Indian Prince is an example of this integration. Based on his experience with lost love, Anand convincingly explores the psychological workings of its hero. The novel is constructed around a youthful prince who holds out against a union with the rulers of three other princely States. He is encouraged to make his choice by his mistress, an illiterate peasant woman. But in the process he loses his mistress, his state and his sanity. In the words of S. Cowasjee, who has studied Anand's work closely, this is a "great historical novel that is at the same time a work of art". He calls it a "Dostoevskyian novel on a grand scale".

In addition to these novels, Anand intermittently worked on a proposed seven-volume series of autobiographical novels titled The Seven Ages of Man. Of these, Seven Summers and Morning Face - which won the Sahitya Akademi award - earned him comparisons to Tolstoy. Confession of a Lover, which won him the E.M. Forster award, and the Bubble continued to represent the aspirations of a whole generation of Indian youth in a momentous period of the country's history. Anand's short stories, which run into eight volumes, illustrate a wide range of mood and tone, from a humorous appreciation of life's little ironies to an awareness of its deeper tragedies. They are written with a Dickensian feeling for character and environment and bridge the gap between the oral and written traditions of Indian fiction.

Equally noteworthy was his passion for painting, sculpture and architecture whose best expression was the issues of Marg that he edited for years. He was a fellow of the Lalit Kala Akademi and the Sahitya Akademi, a laureate of the International Peace Prize and a Padmabhushan, honours that never affected his quiet simplicity and dignity as a warm-hearted human being. Accepting the Sahitya Akademi Fellowship, he said: "Living in action, as Gandhi taught us to do, means the cultivation of the courage to be human with other humans: it means involvement with all earth's citizens; it entails the acceptance of the heroism of defeat as Jawaharlal showed it because defeat involves persistence in struggle, which makes us more than ourselves, sustains us in compassion, affection and devotion in spite of obstacles... Poetry today has to become courage." This attutide also accounts for his cheerful acceptance of Dalit and feminist writing that he considered the progressive writing of our time.

Anand was to Indian people what Anton Chekhov was to Russians: a profound interpreter of their lives, an analyser of their deepest conflicts, a verbaliser of their agonies. Traditionalists criticised him for his departure from tradition; and dogmatic Marxists called him an ambivalent modernist and a liberal humanist. But he believed to the end in people's ability to change themselves and the world. He followed the Gandhian ideals of self-help and self-renewal, rejected the consumerist civilisation of the West and fought against the forces of revivalism. Anand was critical of much of what is written in English in India today; he was all for developing a literature of concern, of awareness, of intellectual opposition. He was more concerned with the passionate moment than the rigours of form. His bardic manner, however, finally achieved an effect analogous to a musical rhapsody: familiarity and elevation coalesced in his fiction giving it a `composed matter-of-fact magnificence'. He was different from both his eminent contemporaries, R.K. Narayan, with his urbanity of style, and Raja Rao, with his sacred, confessional vision. For Anand, literature was a force that released men and women from pre-ordained fate. In his hands, metaphysics became an ethics without God as when Gandhi said: "God comes to the poor in the form of bread."
K. Satchidanandan is Secretary, Sahitya Akademi.


Apr 2, 2014

The Stranger: Camus

Source: http://www.newrepublic.com/article/115492/albert-camus-stranger

Albert Camus Thought That Life Is Meaningless
April 26, 1946: Nicola Chiaramonte Reviews “The Stranger”

We were born at the beginning of the First World War. When we were adolescents, we had the Depression. When we were twenty, Hitler came. Then we had the Ethiopian war; the Spanish war; Munich. This is what we got, in the way of an education. After which, we had the Second World War; the defeat; Hitler in our towns and homes. Born and brought up in such a world, what did we believe in? Nothing. Nothing but the stubborn negation into which we had been forced from the beginning. The world in which we had to live was an absurd world, and there was nothing else, no spare world in which we could take refuge. Confronted by Hitler's terror, what values did we have that could comfort us, and which we could oppose to his negation? None. Had the problem been that of the failure of a political ideology, or of a governmental system, it would have been simple enough. But what was happening came from man himself. We could not deny it. We saw it confirmed every day. We fought Hitlerism because it was unbearable. And now that Hitler has disappeared, we know a few things. The first is that the poison that was in Hitler has not been eliminated. It is still there, in all of us. Anyone who speaks of human life in terms of power, of efficiency, of "historical tasks," is like Hitler: He is a murderer. Because if all there is to the problem of man is a "historical task" of some kind, then man is nothing but the raw material of history, and anything can be done with him. There is another thing we know, and this is that we still cannot accept any optimistic view of human existence, no "happy end" of any kind. But if we believe that to be optimistic about human existence is madness, we also know that to be pessimistic about man's action among his fellow men is cowardly. We were against terror because terror is the situation where the only alternative is to kill or be killed, and communication among men becomes impossible. That is why we now reject any political ideology which raises global claims on human life. Any such ideology spells terror and murder. And we want the Reign of Terror to come to an end.

In a bald and clumsy summary, this is what Albert Camus had to say when he was asked to lecture in New York on the subject of "The Crisis of Man." Those who heard him speak had no doubt that he had the right to say "we." His was the voice of a whole generation of Europeans, and more especially Frenchmen, who, caught in a struggle that was both senseless and inescapable, have done more than any accepted notion of duty or "historical task" could ever have required of them, with no other moral aid but the quality of their despair.

The world of action, to them, has not meant an escape from the world of thought, as it has to some of their elder brothers. But neither could they be satisfied with ideas whose connections with actual conduct would be only tangential and general. In fact, this is what they most objected to. They somehow considered the world of thought more dangerous than the world of action, and were suspicious of it. Because of this, they were often considered skeptical, or cynical, or "nihilistic." All of us have heard people report that the youth of France did not believe in anything, while the Fascists and the Nazis had a faith. This kind of talk was current in France itself, before the war. Few persons seemed to take into account the fact that those young men had plenty of reasons to wonder, and that their attitude also implied that thought could be more real than any action, once its authenticity became evident. They were looking for a kind of integrity of which the examples around them were only too rare. In fact, if they had to believe what was shown them on the historical scene, there appeared to be integrity only in evil. The world of Nietzsche was far more real than the world of science, rational thinking, and humanistic moralism. Such being the case, the only sure guide could be loyalty to personal experience and the refusal to believe anything that could not be checked in terms of one's actual encounters with life. A kind of negative truthfulness. The best among those men knew that this was all they had with which to face armed brutality, death, and dereliction. Those who came through must now continue their search in a world no less absurd than the one in which they were born.

There are several eminent writers in France today, but none who has taken up with more decision and clarity than Albert Camus the intellectual and moral implications, as well as the human pathos, of such a situation.

It is a situation that consists essentially of intellectual, moral, and practical antinomies. The absurdity of life; despair; the impossibility of accepting general solutions; the evil in man—all these are questions, rather than answers. They would become meaningless the moment they were not faced with integrity. And it would not be too much to say that integrity is the outstanding quality of Camus' personality as an artist, a philosopher and a political journalist.

In “The Stranger”  the admirable short novel now published in English, Albert Camus has in fact expressed the tragedy of integrity as a modern man can sense it.
The story is simple. A man, Meursault, lets himself get involved in a sordid affair at the end of which he becomes a murderer. He is brought to trial. At that moment, everything he has or has not done before the murder becomes a charge against him. He has let his mother die in a home for the aged; during the wake, he not only did not show any grief, but even smoked a cigarette; after the funeral he went to the movies and spent the night with a girl; he freely consented to become the accomplice of a pimp. During the questioning he expresses no regret; at the trial he remains completely impassive. His callousness, as the prosecutor remarks, is even more revolting than his crime. He is condemned to death.

It is the hero himself who tells the story. His is a peculiar kind of confession, meant for nobody in particular, just for the record. The objectivity, and even the anonymity, of the tone could not be greater. This man makes a point of stating only what is relevant to his case. In fact, in a world that condemns him on the basis of his objective behavior, he is the only objective person. In the routine attempt to save him, the defense substitutes for him a meaningless fiction. In order to have him condemned, the prosecutor retorts by a fiction in the opposite direction. All this is irrelevant. If somebody could say something relevant, explain what has happened, that would be important. But nobody seems to know, and everybody acts as if he knew why things happen to men. As for himself, he does not know either, and that is why he does not defend himself. His only advantage, if any, is that he knows that he does not know anything except the succession of events that was his life. This certainty he cannot betray. That is why he revolts so violently against the priest who comes to console him. Consolation would mean substituting something else for the bare truth. "It might look as if my hands were empty. Actually, I was sure of myself, far surer than he; sure of my own life and of the death that was coming. That, no doubt, was all I had; but at least that certainty was something I could get my teeth into—just as it had got its teeth into me."

Who is Meursault? "Just like everybody else; quite an ordinary person," is his answer. The only difference is that a certain series of events befell him, instead of a certain other. His lot could have been different, but not the final meaning of it. He was caught in a peculiar kind of trap. But this is precisely what describes the situation of the individual in everyday life. Since there is nothing else, there is no difference in meaning, either, "One life is as good as another." It is the self-evident that we have to deny, if we want to make of Meursault a sorry exception.

Meursault is Everyman, with a vengeance. For his actions he has only one explanation, which is very tentative: "Though I mightn't be so sure about what interested me, I was absolutely sure about what didn't interest me." A quite common predicament. Except that Meursault acknowledges it. Because what is right is not clear to him, he can do wrong; but to lie would be to confuse the issue. He cannot do it. The tension of the story consists entirely of the obstinacy with which this man refuses to lie. We feel this tension from the very beginning, and from the very beginning we expect doom. Rather than a virtue, truthfulness here is a radical decision, something like a last defense. That is why the story is tragic. It is the tragedy of the ethical. No book in contemporary literature points with such soberness and directness to what we still call "a man's soul," Macbeth's "eternal jewel." And this is why, among other things, although the tone of the narration might remind us of Hemingway or Caldwell, the parallel remains superficial. What Camus has attempted to describe is precisely what the Americans leave out: the dimension of the ethical, the "I."

In a world which is intrinsically absurd, what can man do? This is Camus' question, Meursault's answer is: die unreconciled. But life's own queries still remain to be answered. And nothing is so characteristic of Camus as his refusal to give answers that would be merely logical, to ignore the diversity and the contradictions of experience. The theme of “The Myth of Sisyphus,” a collection of philosophical essays, is the absurdity of the Absurd, the impossibility of making a logical rule out of it. Pessimism or optimism. God or suicide. Reason or Unreason. These are all attempts to jump out of the real problem by giving it a final solution. Camus calls them "refusals to acknowledge.” In the same way, despair is the most intimate reality of man. To make of it a moral rule would be at the same time to debase it and to get rid of it. "Against eternal injustice, man must assert justice, and to protest against the universe of grief, he must create happiness," says Camus in his “Letters to a German Friend,” written in the thick of the battle and probably the noblest document of the state of mind of the European Resistance.

Albert Camus speaks of happiness against a background of despair, and that is why his voice rings true. Aware as he is of the absurd, he stresses nothing like clear consciousness. And from the ultimate loneliness of man, he draws one consequence, which is the necessity today of reestablishing real communication among men, these "brother enemies" divided more than ever before by false thoughts and violence.

These are reasonable paradoxes. They are not so very different from the ones the Greeks had to face. And we cannot help feeling in Camus' voice a yearning for the return of a man who, however welcome in academic circles, has never since his death been readmitted to his proper place, which was the public place—Socrates, "the simple wise man with a curious distinction."





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