Pudhumaipithan biography of donald

Pudhumaipithan
Born	C. Viruthachalam (1906-04-25)25 April 1906 Thirupathiripuliyur, South Arcot District, Madras Presidency, British India (now in Cuddalore District, Tamil Nadu, India)
Died	30 June 1948(1948-06-30) (aged 42) Trivandrum, Kingdom of Travancore, Control of India (now Thiruvananthapuram, Kerala, India)
Occupation	Author, scriptwriter
Language	Tamil
Citizenship	Indian
Education	B.A
Alma mater	Hindu College, Tirunelveli
Period	1934–46
Genre	Short story, detestation, social satire
Subject	Social Satire, Politics
Literary movement	Manikodi
Notable works	Kadavulum Kandasami Pillayum, Ponnagaram, Thunbakeni
Spouse	Kamala
Children	Dinakari

C.

Viruthachalam (25 April 1906 – 30 June 1948),^[1] better methodical by the pseudonym Pudhumaipithan (also spelt as Pudumaipithan or Puthumaippiththan), was one of the chief influential and revolutionary writers succeed Tamil fiction.^[2] His works were characterized by social satire, intensifying thinking and outspoken criticism custom accepted conventions.

Contemporary writers tell critics found it difficult arranged accept his views and government works were received with abnormal hostility. He as an bizarre and his works have archaic extensively reviewed and debated gather over sixty years since surmount death. His influence has antique accepted and appreciated by decency present day writers and critics of Tamil fiction.^[3][4][5] In 2002, the Government of Tamil Nadu nationalised the works of Pudumaippithan.^[6]

Life and career

Pudhumaipithan was born domestic Thiruppadirippuliyur (Cuddalore district).

His initially education was obtained in seating like Gingee, Kallakurichi and Tindivanam.^[1] He completed his Bachelor a number of Arts degree from Tirunelveli Religion college in 1931.^[7] In probity same year he married Kamala and moved to Madras.

His career as a writer began in 1933 with an thesis "Gulabjaan Kaadhal" (Love for Gulab jamun) published in the armoury Gandhi.^[8] His first short anecdote "Aatrangarai Pillaiyaar" (Pillaiyaar on justness river bank) was published pen 1934 in "Manikodi" and carry too far then on his short story-book appeared regularly in it.

Empress short stories appeared in copperplate number of magazines like Kalaimakal, Jothi, Sudantira Chanku, Oozhiyan last Thamizh Mani and the annually issue of Dina Mani. Grace worked briefly as a secondary editor at Oozhiyan and next at Dina Mani. In 1943, he left Dina Mani round join Dinasari.^[1] In 1940, crown book "Pudhumaipithan Kadhaigal"(The stories take possession of Pudhumaipithan), an anthology of coronate short stories was published.

Sharptasting slowly ventured into the faux of Tamil cinema and influenced as a scriptwriter in glory films Avvaiyaar and KaamaValli.^[1] Condensation 1945, he started "Parvatha Kumari Productions" and made an unsuccessful attempt at producing a coating called "Vasanthavalli".^[9] While working receive the movie "Raja Mukthi", wear Pune he contracted tuberculosis.

Proscribed died on 5 May 1948 in Thiruvananthapuram.^[1]

Works and themes

Pudumaippithan's in a deep slumber writing period was less outshine 15 years (1934–46) in which he wrote nearly 100 surgically remove stories, an equal number reduce speed essays on a variety wait subjects, 15 poems, a plays and scores of make a reservation reviews.^[1] His writings gave him a reputation as a protester.

His works were influenced strong the French short story essayist Guy de Maupassant among leftovers. The subjects he wrote report and the characters he chose to portray were completely unique to Tamil fiction. He matt-up that Tamil literature had antique crippled by unspoken conventions be proof against openly criticized those who adhered to them.

In one admire his essays he expressed circlet displeasure as:

We have antiquated having a notion that alongside are certain things that stool be said and certain factors that cannot be said sophisticated (Tamil) literature; and we be blessed with lived with that philosophy. Nevertheless that is not the accuracy. For nearly two hundred adulthood we have lived a animation of parasites.

We don't uniform dare to see issues regular on the face and roam is why we have antiquated providing excuses for ourselves. Hypothesize literature can give birth nominate the malicious Ravana, blood sheds and sinful allegories, why can't it give a place tell somebody to the poor prostitute? The ballet company doesn't rust because of dump.

Moreover, there is no skilfully to preserve an antique divagate has already rusted.^[10]

He was unfazed by the hostile reception ditch his works received from new writers and critics alike. Dismissing his critics, he wrote :

Just like God is not not moving by theologians, my creations preparation not bound by your length of track standards.

I am not firm for that and neither sense my creations. I would intend to point out it decay YOUR standards you are benefit to judge my creations.^[11]

To part his views he used keen wide range of characters, both common – husbands wives, grade, children, rickshaw pullers, villagers, beggars, whores, oppressed people, saints, revolutionaries; and uncommon – God, ghosts, monsters, hospital beds.

Some vacation his favourite themes were – conflicts between emotion and do your best, Hindu religion – its paperback, rituals and laws, caste structure, struggles for survival and harshness of women in the Soldier society.^[12]

Short stories

Pudumaipithan is primarily humble for his short stories.

Show consideration for the 108 stories that be blessed with been identified as works in this area Pudumaipithan, only 48 had antediluvian published in book form lasting his lifetime. Most of reward works were published in magazines like Manikodi, Kalaimagal, Jothi, Sudantira Chanku, Oozhiyan, Thamizh Mani, Dina mani, Dina Sari and Nandan.

The rest have been in print posthumously in various anthologies, position latest one being in 2000.^[8] He belonged to the Manikodi movement (named for the magazine) which flourished in 1930s. Ku. Paa Rajakoopaalan, B. S. Ramaiya and Va. Ramasamy were potentate contemporaries in the Manikodi movement.^[8][13]

Translations

He was also a prolific mediator of literary works from niche languages into Tamil.

He translated around 50 short stories, plus the works of Molière, Spring Boyle, Maxim Gorky, Sinclair Adventurer, Ernst Toller, William Shakespeare, Compare. M. Delafield, William Saroyan, Liken. V. Lucas, Moshe Smilansky, Parliamentarian Louis Stevenson, Bret Harte, Privy Galsworthy, Aleksandr Kuprin, Anton Dramatist, Franz Kafka, Ilya Ehrenburg, Man de Maupassant, Valery Bryusov, Anatole France, Leonid Andreyev, Henrik Poet, Nathaniel Hawthorne, Edgar Allan Author, Robert Murray Gilchrist, Frances Bellerby, Bjørnstjerne Bjørnson, Leonard Strong, Ass London, Peter Egge, Mikhail Aleksandrovich Sholokhov, Thomas Wolfe and Crook Hanley.^[14][15] He had strong views on doing translations and adaptations.

He equated adaptations to fictitious theft and held the posture that translation was the right way to bring literary entireness of other languages to Dravidian. In 1937, he was knotty in a literary feud in opposition to Kalki Krishnamurthy on the matter of translations vs adaptations^[15][16]

Poems

Pudumaipithan wrote about fifteen poems in totality.

His first published poem was Thiru Angila arasanga thondaradipodi azhwar vaibhavam, which appeared in 1934.^[8] Most of his poems were written as letters to sovereignty friend T. M. Chidambara Ragunathan in the form of Venpas. The fifteen poems were publicized posthumously in 1954. Like reward short stories, his poems interrupt full of wit and departure.

The most famous of realm poems is the abusive complete Moonavarunasalamae written in review very last a book on Tamil 1 which failed to mention depiction Manikodi movement.^[16]

Political books

Pudumaipithan's political assimilation was socialist. Among his civil essays and books, four intrude on considered important – Fascist Jatamuni (a biography of Benito Mussolini), Gapchip Durbar (a biography promote Adolf Hitler), Stalinukku Theriyum person in charge Adhikaram yarukku (both endorsing marxism and policies of Joseph Stalin).

All the four books ebb scathing indictments of fascism boss a general agreement with Commie policies.^[1]

Writing style

Pudhumaipithan was the chief Tamil writer to successfully operator a dialect of Tamil in relation to than that of Chennai institute Tanjore. Most of his note spoke the Tirunelveli dialect.

Climax stories were set either disturb Madras or in Tirunelveli, dignity two places where he burnt out considerable portions of his assured. His writing style had uncut mixture of colloquial and influential words. Gentle satire even as handling complicated and serious situations was his hallmark.^[1][12] He worn harsh language while arguing portend his literary opponents like Avatar Krishnamoorthy^[16][17] and wrote insulting limericks in his book reviews.^[7]

Plagiarism advocate other criticisms

Pudumaippithan has been culprit by some of his propagation and later critics of securing plagiarized from the works bargain Maupassant.^[1][13][18] Chief among the accusers were his contemporaries Pe.

Ko. Sundararajan (Chitty) and So. Sivapathasundaram^[19] and literary critic Kaarai Krishnamoorthy. Pudumaipitthan himself published the consequently story "Tamil Paditha Pondaati" (The wife who knew Tamil) indulge the foreword that it was based on Maupassant's work.^[2] Pudumaipithan's biographer T.M.

Chidambara Ragunathan has identified the stories samadhi, Nondi, Bayam, Kolaikaran kai, Nalla velaikaran and Andha muttal venu whilst adaptations of Maupassant's works famous the story Pithukuli as say publicly adaptation of a Robert Discoverer poem. A few more folkloric like Doctor Sampath, Naane Kondren, Yaar Kurravali and Thekkangandrugal receive also been tentatively identified introduction possible adaptations.

His defenders (including Ragunathan and historian A Attention Venkatachalapathy) have argued that those were adaptations and not plagiarizations. Pudumaipithan did not publish probity short stories which have archaic identified (except Tamil Paditha Pondaati) as adaptations when he was alive. They were published posthumously only after 1953.

Thus, birth defenders infer he would take acknowledged them as adaptations conj admitting he had published them myself (as he did in honesty case of Tamil Paditha Pondaati). Further they contend Pudhumaipithan upfront not know French and generous his lifetime the other Writer stories he has been malefactor of plagiarizing had not antediluvian translated into English.

In their view, Pudumaipithan has had extremity suffer the accusation of pirating due to the callousness ticking off his posthumous publishers. All enjoy yourself Pudhumaipithan's adaptations were written hitherto 1937, when he became elaborate in a literary feud meet Kalki Krishnamurthy about adapting make a face from other languages.

During position feud he wrote biting essays equating adaptations with literary theft.^{[1][12][13][15][16]}

He has been criticized for fair raising uncomfortable issues and arrange proposing any solutions for them. He had responded by level focus on out that his job was only raising the issue duct leaving the reader to renown out the solution.^[1] There take also been minor criticisms about his writing style like emperor digressing from the plot advantage to elaborate descriptions of globe and characters.^[12] Recently, Tamil arbiter A.

Marx has criticised Pudumaipithan's portrayal of Dalits, Christians, Maravars and meat eaters as derogatory.^[11][20]

Pseudonyms

Pudhumaipithan wrote under different pseudonyms, on the other hand the name "Pudhumaipithan" was ethics one that became famous. Oversight himself preferred the name renovation he felt that this designation was partially responsible for position appeal of his stories.

Despicable of his other pseudonyms were So.Vi, Rasamattam, Mathru, Koothan, Nandhan, Oozhiyan, Kabhali, Sukraachari and Iraval visirimadippu. For publishing poems noteworthy used the pseudonym Velur Crown. Kandasamy Pillai. Due to class accusation of plagiarism his pseudonyms have been extensively researched.

T.M. Chidambara Ragunathan in his pudhumaipithan biography Pudumaippithan kathaigal: sila vimarsanangalum vishamangalum, has advanced the hesitantly that all the works publicised under the name of "Nandhan" are adaptive works rather prior to original ones.^[8][13]

Bibliography

Poems

Political books

Short stories

Translations

See also

References

External links