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Text of the page (random words):
blished in 1930 by this kudiarasu press the cover indicates that in the first run about 2000 copies were printed by a printer in kanchipuram the author of this book is a certain iyengarkulam s latchumanar iyengarkulam is the name of a village near kanchipuram pankajam allathu paarpana kodumai the play the author iyenkarkulam s latchumanar lakshman wrote this book as a play much in the same manner as the later iraniyan allathu inayattra veeran which was released in 1934 to a mostly illiterate audience plays offer much more effective means to to take the anti brahmin message the dialogs appear to be authentic and sensational accounts of what the tamil brahmins speak among themselves the rustic onlooker cannot tell that what he is witnessing is not actual brahmins conversing but dravidians acting and inventing these roles and dialogs the play is not written in an amateur manner but has all the structural elements as a bernard shaw play would it has acts actors the locations laid out the dialogs assigned all packaged in a book format with a code printer preface and so on the author seems to be fully aware of the vileness and hence uses softening language up front in preparation of what is to come he quotes mahakavi bharathi in the same manner many do today bharathi when quoted absolves the person who is about to make a hate speech of all culpability the play in 12 acts the play is set in 12 acts each of these acts contain the vilest dialogs and plots that the tamil brahmin characters are assigned to speak a masterful exercise in freudian projection projection is a technique where you let out your vilest thoughts through the voice of someone else or you accuse the person on the other side of the wicked things that you actually do and think the story there lived a tamil brahmin man named padmagireesa iyer who was an astrologer brahmin panjaanga paapaan he had a daughter named pankajam who was by nature very haughty and arrogant in order to meet her marriage expense he tried to exploit the non brahmin in his area by doing various rituals in addition he would take his daughter to various non brahmin houses and get them to give her dresses and ornaments he had a relative kailasam iyer who was a personal assistant to a wealthy naatukottai chettiar man they hatch a plot to exploit his generosity by working on his likes and dislikes since the nattukottai chettiar couple did not have a girl child they liked them padmagirieesa iyer took his daughter and managed to dupe the chettiar into donating 6 acres of land the brahmins tricks of acting as agents of city lawyers and exploiting poor non brahmins are exposed then they get her married to a brahmin groom who demanded 2000 dowry he managed to study ics at the marriage of the couple they beat up a poor non brahmin who entered and ate some of the wedding food after marriage the husband goes to a border area for a job and then returns as a collector to the same town pankajam is the defacto collector her arrogant ways now out in the open they mistreat and abuse a qualified mudaliar boy who had come for a job the now westernized husband now smokes a cigarette and orders a tumbler of brandy the collector couple vow never to allow non brahmins in the district to progress curtains as you can see there isn t much of a plot here that would require actual playwright skills like shakespeare and chekov the real purpose is to use these situations to spread the vilest anti brahmin propaganda amongst the masses for instance in act 1 pankajam was an arrogant girl well that seems tame so many plays feature arrogant women but look at how this arrogance is portrayed in the dialog place agraharam house பங்கஜம் சூத்திரச்சி எந்நோத்துக்குடி வர்ரது நோக்கென்ன கண்ணிலே கொழுப்பாடி மேயாது என்னாஆஆ தின்பாளே பண்ணியாட்டமா லக்ஷ்மி பையில் இரண்டு பாத்திரம் எடுத்துக்கொண்டு ஒதுங்கி வருகிறாள் இந்த சூத்திரச்சிக்கு என்ன கண்ணைக்கூட தெரிய மாட்டேன்ரதே இயூச்சிண்டுன்னாபோரா hey sudra chi endi cant you look where you are going do you have lard in your eyes you eat like aaa aaa like a pig the servant maid takes two vessels and goes on the side pankajam this sudrachi cant even see she is touching me and moving along this continues for page after page dialog after dialog you can now see that the non existent plot is not important these vicious dialogs are now imagine if you are non brahmin tamil in a village who hears this play you are bound to develop a deep resentment towards brahmins without question that leads us directly to the ideological base of contemporary tamil non brahmin society and its receptiveness for anti brahmin content act 2 all castes insulted and exploited in act 2 a skit is shown where the brahmin padmagireesa iyer deals with a number of villagers and tries to extract money from them for this or that ritual once again nothing much plot wise but the dialogs are key the actors are natesan the barber a poor caste then a naidu mudaliar reddiar konar gounder nayakar pillai presumably representing the non brahmin elite vanguard of the anti brahmin movement the act shows how the brahmin deals with the caste groups differently speaking sweetly with the money castes abusing the barber and then when speaking with a fellow brahmin abuses all of them as shudra paya an example of a visceral dialog when the brahmin dismisses the love the poor natesan shows by bringing meager offerings instead of lots of money he abuses him as kammunati get out tries to milk the rich non brahmin elites dravidians for money for various events like annual death ceremony birth of a new child etc finally when all the shudra boys have left another brahmin shows up they mock all the non brahmins and say lets wash the places they sat with cowdung you can see how clever this is in one step creating a non brahmin group as that set of people subjected to this injustice of course the lack of logic that life cycle events by definition are are and hence is not a site of exploitation unlike day to day farm agristic slavery that the real oppressed endured you get a new baby once every 2 years hence you cant be oppressed every day by definition the only reason was to deprive some poor brahmins of their income by use of ceaseless propaganda exploiting the naatukottai nagarathar chettiars a remarkable and persistent theme in this play is the focus on nattukottai nagarathar exploitation by tamil brahmins in acts 5 onwards the brahmins guile fully tricks the generous and innocent chettiar into parting with not just money but land the principal agent here is kailasam iyer the personal assistant of the chettiar the chetti and chettichi dont have a girl child hence they love girls that too from nammava b community use that thats why i have brought along pankajam the 12 yr old girl using the same trick our friend ganapathi iyer managed to get a ton of land and money from the chetti the act goes on and on as a string of brahmins come and go collecting various donations the brahmins abuse others and among themselves plot to cheat the wealthy nagarathar chetty now the masterful piece is here a non brahmin audience bystander who himself wants some of that donation goodies may wonder how is it that the nagarathar chetty who is presumably an insider to the non brahmin volksgemeinschaft not donating to other non brahmins that is covered brilliantly ஆனா நான் இங்கே வர்ர வாளை விரட்டி அடிச்சுண்டுதான் இருக்கேன் இரண் டாவது வந்துதே அந்த தரித்திரத்துக்கு மாசம் 1 ரூபா கொடுக்கச்சொல்லி செட்டி 10 நாளாகுது இன் னும் கொடுக்காமையே விரட்டி அடிச்சுண்டு வர்ரேன் 10 தடவை இப்படி அடிச்சாக்கே தானா நின்று போகுதுங்கோ கழுதைகொ kailasam iyer chetty is good man he is reading kudiarasu dravidian magazines and donating to others but i am here i am preventing and driving out any shudra the chetty asked me to give 1 rupee per month to that daridiram non brahmin but i drive him out if i drive him out 10 times he will stop coming to get money on his own accord this is uncommon intelligence by i s latchumanaar it is the brahmin agent or the brahmin peon or the brahmin clerk who is acting as a gatekeeper and preventing the chettiar patron from helping the non brahmins in one sweep all agency is removed from the chettiar and pinned on the brahmin i have noticed that the highly dubious and improbably kasi episode also involved a chettiar mutt in my view it appears that chettiars of that time period were somewhat indifferent and uncommitted to the anti brahminism perhaps due to their sponsorship of temples and vedic schools and so on this could have been attempts to bring them around and boy was it a success in act 5 brahmin registrar aids and abets stealing dalit lands the scene shifts to a govt registrar office where land documents are made having drafted the land donation from the nattukottai chettiar nobleman his assistant kailasam iyer gets the land registered in the office the sub registrar is clearly identified as an iyengar tamil brahmin சப்ரி இந்தப் பறப்பயல் வந்திருக்கானோ அன்னோ நரசி ஒ வந்திருக்கான் மண்ணாங்கட்டியை அழைக்க எழுந்திருக்கிறார் to show that brahmins in govt offices openly refer to oppressed with the worst slurs sub registrar has that para payal come narasimman yes he has rises to call mannankatti these dialogs are highly incendiary as the tamil word parapayal paraya boy is a offensive slur the play written by s lakshmanar a non brahmin makes the brahmin character use in nonchalantly land dispossessed in the scene in the registrar office a scene is shown where the dalit is deprived of his land by a hurried and deceptive process his thumb impression is obtained on a hurriedly drafted paper by tamil brahmins this is once again a masterful uncommon inteligence by author s lakshmanan to show that it is the brahmins who are responsible for the landlessness of dalits and that the lands the brahmins hold are dalits which means the non brahmin elites are innocent and the land they hold are legitimate and outside of dalit claims மண் சாமி ஆடி அரவட்டையிலே கஞ்சிக்கில்லாதபோயி நம்ப ஐயரண்டே 2 பதக்கு நெல்லுவாங்கி காச்சிக் குடிச்சிட்டோம் சாமி அதுக்கு வட்டியும் முதலும் 25 ரூபா ஆவுதுங்கொ சாமி சப்ரி இந்தப் பத்திரத்துக்கு ஆறணா ஆறது பீசு நரசி ஆ ஆ இதோ இருக்கு எடுத்து வைக்கிறார் சப் ரிஜிஸ்டார் பெட்டியில் எடுத்துப் போடுகிறார் சப்ரி சரி பத்திரத்தின் மீது எழுகவேண்டியதை எழுது கிறார் பின்பு கோவிந்தன் கையில் பத்திரத்தைக் கொடுத்து டேகோவிந்தா ஜாக்கிரதை எட்ட இருந்து விரல்குறி வாங்கிண்டுவா தொட்டுண்டு வந்து சோப் போரெ கர்மம் கர்மம் in aadi when i didnt have anything for my stomach i brought some grain and cooked and ate it the loan now stands at rs 25 the brahmin narasimmachari thereby takes the land of the parayar important is the tone danger stand away from him and get the fingerprint slaps the wrist of the scared parayar insults throws him out after taking the paper merciless and crude two other iyengars supply the witness for the property transfer tamil insults any person who reads this will develop a hatred for the brahmin characters in the play once again remember these are official cultural productions of the elitest of the non brahmins not some riff raff this goes on and on various specific named communities are insulted abused and mistreated after cheating the nattukottai chettiar of land panjakam gets married in the wedding we see a non brahmin aasaari thrashed up by brahmins because he ate the food the insults in tamil supply the real impact வல்லார ஒழிப்பிள்ளை தடியாம்பிள்ளை ஆசாரித் தாழி மகன் கம்மாளத் தாழிஒழி வாய்மேல் உதை வயித் தைப்பார்த்து உதை என்று பல தவறான சொற்களைப் பலபேர் கோபத்துடன் கூறுகிறார்கள் ஐயோ ஐயோ வென்று ஆச்சாரி வெளியே ஓடிவருகிறார் பார்ப்பனர் தொடர்ந்துவந்து மடக்கிமடக்கி அடிக்கின்றனர் புரட் டிப் புரட்டி உதைக்கின்றனர் ஆச்சாரி பசி சாமி சாப் பிட்டு ரெண்டுநாள் ஆகிறது சாமி என்று கத்திக்கத்தி கடைசியாகத் தப்பித்துக்கொண்டு ஓடிவிடுகிறார் ஒரு பிராமணர் துரத்தி ஓடுகிறார் this is too vulgar for me to translate but these are the peak expletives in tamil have to do it vallara ozhi aachaari taazhi taazhi ozhi kammala taazhi consider them variants of mother f smash his mouth beat him on his stomach saying that the tamil brahmins chase the aachaari artisan caste out of the dining hall the poor aachari wails swamy have mercy i havent eaten for 2 days yet they beat him and he ran away back to the nattukottai nagarathar choultry in vada thillai kasi varanasi after the wedding of pankajam is completed the bride and grooms father go on a pilgrimage they end up at a choultry a religious motel of sorts established and run by the same wealthy chettiars in varanasi immediately this reminded me of the famous kasi sambavam or the kasi incident that is given as the origin story of periyar s anti brahminism the brahmins eat their full rub their stomachs a character named sathakeerthi iyer clearly a play on sathyamurthy iyer of congress is in the same mutt at that time he explains to other brahmins how to defeat the shudra political power just like elephants are use to capture other elephants he explains how he mixes with non brahmins and has many non brahmin friends they will attack the dravidians by becoming his slaves in that way the brahmins will keep their interests there are other acts where a brahmin woman rukmini complains how she was touched in a bus rukmini dad there are shudras everywhere now i got on a bus they are everywhere a thulukkan slur for muslim sat next to me and he was wearing a scent he was touching then a christian was touching against me while sitting i was waiting for the bus journey to end the play ends with pankajam s ics husband who has now changed his name to western a r g paul ics a rajagopal the play shows how selvaraj mudaliar an innocent and qualified candidate was prevented from getting a job the couple then vow to never allow non brahmins to ever rise in the district as long as they are there pankajam alone in excitement as long as i am in this district i will see to it that not a single shudra will progress shudra is transitively non brahmin dravidian as per their definition the end the curtains close the play ends the relevance today one may wonder why is this play relevant today these are primary cultural productions of the dravidian movement in 2024 the dravidian ideology is not just strong in tamilnadu but even the congress party has adopted the talking points and techniques of the dravidian ideology 6 it would be a different matter if tamil non brahmin elite society which has ruled for nearly 100 years would have evolved a more cogent logical modern and compassionate view of social justice and abandoned such hateful production however that has not happened a mere scan of tamil cultural productions in youtube twitter insta reveals a doubling down on vulgar hate videos spreading canards half lies full lies against brahmins dravidian tamil literary and cultural productions of anti brahmin are not balanced out by other modern and academic works hence these are uncontested in my twitter journey itself many bjp or ntk people too seem to have such strong influences from their elders who would have trans...