Volume II, Issue V, May 2026
Volume-II, Issue-V, May, 2026 |
Received: 22.05.2026 | Accepted: 29.05.2026 | ||
Published Online: 31.05.2026 | Page No: | ||
DOI: 10.69655/atmadeep.vol.2.issue.05W.467 | |||
‘কুড়ুন্দোগৈ’ ও ‘বৈষ্ণব পদাবলী’-তে প্রকৃতির আলঙ্কারিক প্রয়োগ ড. শ্রীনাথ মাইতি, রিসার্চ অ্যাসোসিয়েট, সেন্ট্রাল ইন্স্টিটিউট অফ ক্লাসিক্যাল তামিল (CICT), চেন্নাই, ভারত ড. সেন্থিল প্রকাশ সেলকুট্টি, সহযোগী অধ্যাপক, তামিল বিভাগ, বিশ্বভারতী, শান্তিনিকেতন, পশ্চিমবঙ্গ, ভারত |
The Figurative Use of
Nature in Kuruntokai and Vaishnava Padavali
Dr. Srinath Maity, Research Associate,
Central Institute of Classical Tamil (CICT), Chennai, India
Dr. Senthil Prakash. S., Associate Professor,
Department of Tamil, Visva-Bharati, Santiniketan, West Bengal, India | ||
ABSTRACT | ||
The
aesthetic and functional application of nature in two distinct literary
traditions: the ancient Tamil Sangam work, ‘Kuruntokai’, and the medieval
Bengali ‘Vaishnava Padavali’. Despite being separated by significant temporal
and geographical divides, both traditions utilize nature as a sophisticated
rhetorical tool to express profound human emotions, particularly love and
longing. In ‘Kuruntokai’, nature is
structured through the Akam (inner life) tradition, utilizing the Tinai system—
classifying landscapes based on place, time, and specific environmental
elements (Karupporul)— to mirror human psychological states (Uripporul).
Techniques like Ullurai Uvamam (implied simile) and Iraicci (suggestive
meaning) allow poets to convey complex emotional messages through natural
imagery. Similarly, ‘Vaishnava Padavali’ employs nature as an Uddipan Bibhab
(stimulant of emotions), where the lush landscapes of Vraja and the changing
seasons act as dynamic catalysts for Radha’s spiritual devotion and pangs of
separation from Krishna. While ‘Kuruntokai’ remains rooted in
realistic, secular depictions of nature as a reflection of the human psyche, ‘Vaishnava
Padavali’ elevates nature into a transcendental realm, where every element
resonates with divine consciousness. The article concludes by emphasizing that
both traditions converge in their use of natural imagery to transcend
geographical boundaries, articulating the universal language of love and
separation, and highlighting the contemporary relevance of this ecological
perspective in understanding the intrinsic bond between humanity and the
environment. | ||
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